From the asses and thighs of rich women, paydirt.","INT. KITCHEN - NIGHT Jack watches at Tyler stirs a boiling pot. TYLER As the fat renders, the tallow floats to the surface of the water.","EXT. WASTE DUMP SITE - NIGHT (RESUMING) Tyler and Jack climb back over the fence, each carrying several bags of fat. One of Jack's bags gets caught on the barbed wire and rips, spilling the goo all down the fence. Jack's pants and shoes get covered ; he slips and slides. Tyler starts laughing. Jack starts laughing.","INT. KITCHEN - NIGHT (RESUMING) Tyler shows Jack two pots which have a skinned - over layer. TYLER When the tallow separates, there will be a clear layer on top. It's glycerin. We can mix it back in when we make the soap.","EXT. WASTE DUMP SITE - NIGHT (RESUMING) Tyler helps Jack over the fence. They both fall to the ground on the other side, laughing. They try to get up and they both slip in fat, falling on their asses. They laugh louder. FOOTSTEPS ; FLASHLIGHT. Still hysterically laughing, they both get up, slide and fall down again, get up yet again and stagger away, disappearing around a corner.","INT. TAXICAB - MOMENTS LATER Jack and Tyler, slimed with fat, hold their bags, giggling. The CAB DRIVER gives them a deadpan look. END OVERLAPPING INTERCUT. CUT TO :","INT. KITCHEN - LATE NIGHT Tyler and Jack have fat stains and rips on their clothes from the waste dump. The pots boil. Tyler stirs. He sticks a spoon into a pot and lifts up a scoop of the glycerin layer. Then, he grabs a can, opens, it. TYLER Lye - the crucial ingredient for making soap. A paste of lye and water can burn through an aluminum pan. A solution of lye and water will dissolve a wooden spoon. Combined with water, lye heats to over two hundred degrees. Tyler licks his lips until they're gleaming wet. He takes Jack's hand and KISSES the back of it. The saliva shines in the shape of the kiss. Tyler poises the can of lye over Jack's hand. TYLER This is a chemical burn, and it will hurt more than you've ever been burned. Tyler pours a bit of the flaked lye onto Jack's hand. Jack's whole body JERKS. Tyler holds tight to Jack's hand. Tears well in Jack's eyes ; his face tightens. TYLER Look at your hand. Jack looks - the burn is swollen glossy in the shape of Tyler's kiss. Jack's face spasms, but he forces himself to endure it. JACK -LRB- V.O. -RRB- Tyler's kiss was a bonfire or a branding iron on my hand at the end of a long, long road I pictured miles away from me. Jack takes his gaze off his hand and his eyes become glazed and detached. TYLER Come back to the pain. JACK -LRB- V.O. -RRB- Guided meditation worked for cancer it could work for this. TYLER Do n't shut this out. JACK -LRB- V.O. -RRB- I did n't think of the words `` pain'' or `` searing flesh''. I was going to my cave to find my power animal. Quick CUT TO :","INT. CAVE Marla, looking beautiful in a stunning black dress. As soon as Tyler speaks, we CUT BACK TO :","INT. KITCHEN - NIGHT Tyler squeezing Jack's hand. Jack's eyes re - focus on Tyler. TYLER This is the greatest moment of your life and you're off somewhere, missing it. Listen. Your father was your model for God. And if your father bails out, what does that tell you about God? Jack's face spasms in pain. He keeps his attention on Tyler. TYLER You have to consider the possibility that God does n't like you. He hates you. This is not the worst thing that can happen. His hate is better that His indifference. Jack becomes dazed again. CUT TO :","INT. CAVE Marla drops to the ground and pulls Jack on top of her. Jack moves to kiss her. CUT TO :","INT. KITCHEN - NIGHT Tyler tugs at Jack's arm. TYLER We are God's middle children, with no special place in history and no special attention. Unless we get God's attention, we have no hope of damnation or redemption. Jack looks at Tyler and they lock eyes in a stare. TYLER The lower you fall, the higher you fly. The farther you run, the more God wants you back. Jack does his best to stifle his spasms and quivers of pain. Tears drip from his eyes. TYLER Someday, you will die. And until you know that, you're useless to me. Tyler's eyes fill with tears and he smiles. Suddenly, Jack starts breathing heavily and he shakes his hand. JACK Fuck, man. This HURTS. Tyler laughs ; Jack, bearing the pain, cracks a weird little crooked smiles, his eyes wide.","INT. KITCHEN - SUNRISE Tyler watches as Jack cuts several perfectly shaped bars of soap. Tyler finishes wrapping one. The wrapper says : `` The Paper Street Soap Company'' in quaint writing.","INT. BARNEY'S - DAY Jack and Tyler, wearing trenchcoats and looking like death - warmed - over, wait by a counter and trendily - dressed and finely - coiffed SALESPEOPLE zip around. Tyler is the picture of cool. Jack looks around as if expecting to get arrested. He looks at his BANDAGED HAND, shakes it. A BUYER, a woman, comes to the counter, smiles at Tyler ; he smiles back. MOS while Jack's VOICE is OVER the following : the Buyer looks over a sample bar of soap. She nods, smiles and begins to fill out forms. JACK -LRB- V.O. -RRB- Tyler sold it to the stores at twenty bucks a bar. God knows what they charged. We were selling rich women their own fat back to them.","EXT. STREET - NIGHT Jack and Tyler march down the sidewalk, full of purpose, like gunfighters heading for a show - down. TYLER Look at the guys in fight club. The strongest and smartest men who have ever lived - and they're pumping gas and waiting tables ; or they're slaves with white collars. Advertising has them chasing cars and clothes. A whole generation working in jobs they hate, just so they can buy shit they do n't really need.","INT. HIGH SCHOOL HALLWAY - NIGHT MEN are entering the gymnasium for the testicular cancer support group `` Remaining Men Together''. Bob starts to file in with the rest, and suddenly, Jack darts forth from the shadows and blocks his way. BOB Hi. JACK Hi, Bob. Bob tries to go through the door, but Jack blocks him. JACK Are you really a man? BOB Yes. we all are. JACK I'm not so sure. Jack forcefully pushes Bob. Caught off - guard, he backs into a locker with a bang. Jack slaps Bob's face. JACK Come on, you big moose. Let's see if you are. Jack punches Bob in the stomach. Bob puts up his hands to block. Jack throws more punches. Finally, Bob punches Jack in the face, knocking him staggering. Jack comes back and they pummel each other. Bob's face gets redder with anger. Then, Jack steps back, holding out his hands to signal `` stop''. JACK Let's take this somewhere else.","INT. BASEMENT - ELECTRONICS WAREHOUSE - NIGHT The crowd screams insanely as Bob and Jack go at it in the circle of light. Bob's eyes are wild with glee.","EXT. BASEMENT DOOR - ELECTRONICS WAREHOUSE - LATER Everyone quietly sneaks out of the new location - we've seen none of these guys before - this is a new chapter. Jack and Bob stagger out last. They are both dripping blood and covered with bruises - Jack being in worse shape - and they both grin with religious serenity. Bob hugs Jack. BOB Thank you. Thank you. Bob relaxes the hug and Jack drops to the ground like a sack, enervated from the beating he took. JACK You're welcome. JACK -LRB- V.O. -RRB- Fight club - this was mine and Tyler's gift - our gift to the world.","EXT. STREET - DAY Ricky grapples with a YUPPIE. They fall to the sidewalk, pounding each other. YUPPIE WHO ARE YOU?! WHY DID YOU ATTACK ME?! The Yuppie maneuvers Ricky toward a metal fence and insanely tries to impale him on a spike. Tyler and Jack shoot INTO VIEW and grab the YUPPIE, laughing. YUPPIE WHO ARE * YOU *!","INT. TRUCK GARAGE - NIGHT Ricky and the Yuppie fight each other while the crowd - still even more new guys - cheers. JACK -LRB- V.O. -RRB- We started a fight club for every night of the week. CLOSE UP - BUMPERSTICKER Which reads : `` DRUNK DRIVERS AGAINST MOTHERS''. A HAND presses it down in all corners. PULL BACK TO REVEAL - the bumper, THEN the whole car - a luxury sedan. THEN - the entire PARKING STRUCTURE wherein ALL the bumpers have the sticker. JACK -LRB- V.O. -RRB- We started pulling pranks.","EXT. STREET - LATE NIGHT Jack, Tyler and Ricky quickly paste up a basic, black - on - white - lettering BILLBOARD. It says : `` DID YOU KNOW? YOU CAN USE YOUR OLD MOTOR OIL TO FERTILIZE YOUR LAWN! - ENVIRONMENTAL PROTECTION AGENCY''. TYLER We're the middle children of history, with no special purpose or place. We do n't have a great war in our generation, or a great depression. The great depression is our lives. The great war is a spiritual war.","EXT. LARGE PARKING LOT - DAY Jack and Bob, armed with a toolbox, change the `` Enter'' and `` Exit'' signs around. They walk away. In the background, a car drives into the `` entrance'' and the front tires EXPLODE from the BLADES in the ground.","EXT. SIDEWALK - NIGHT Jack walks toward an intersection, beyond which is a large CITY PARK. A group of people are LEAVING A PUBLIC BUILDING in front of him. Marla is among them - it's a support group adjourning for the night. Jack catches Marla's eye. He simply smiles and waves. Marla stares at him, deadpan. She turns and walks away, JUST AS. Tyler STEPS INTO FRAME, looking straight ahead at the park. He signals Jack and they move forward. From out of nowhere, Bob joins them.","EXT. PARK - OUTDOOR BEER FESTIVAL - NIGHT A bad BAND plays German music. BANNERS advertising American beer are everywhere. People wear shirts and hats with beer ads. Jack, Bob and Tyler sneak up to the side of a portable TOILET. They shove it until it falls against the next toilet. An ENTIRE ROW of portable toilets falls like dominoes. They dart behind a row of trees, then casually walk away. JACK -LRB- V.O. -RRB- We were raised by television to believe that someday we'll all be millionaires and movie stars and rock stars - but we wo n't. And we're learning that fact. TYLER And we're very, * very * pissed - off.","INT. AIRPLANE CABIN - ON GROUND - DAY Two AIRPLANE MAINTENANCE MEN - with bruised faces - rip open a box from a PRINT SHOP. They dig up handfuls of AIRLINE SAFETY INSTRUCTION CARDS and begin to inset them into each seat back pouch. We MOVE IN and SEE a card - it shows passengers SCREAMING and FLAILING ABOUT IN TERROR.","INT. PAPER ST. HOUSE - KITCHEN - MORNING Jack, dressed for work, receives a sheet of paper from Tyler. TYLER Make two dozen copies. We're going to have -","INT. PHOTOCOPY ROOM - DAY Jack stands over a copy machine, getting hit by the flashes of light. JACK -LRB- V.O. -RRB- - more than one fight club on every night of the week. Jack looks around. Other faces illuminated in FLASHES. HALF of them are bruised. He smiles, his eyelids getting heavy and his head nodding.","INT. JACK'S OFFICE - LATER Jack sits in his cubicle, playing a game on his computer. Boss enters. JACK -LRB- V.O. -RRB- He was wearing a yellow tie. It must be Thursday. I did n't even wear a tie to work anymore. Boss slaps a piece of paper down on Jack's desk. BOSS `` The first rule of fight club is you do n't talk about fight club''. Jack stares at him stoically. JACK -LRB- V.O. -RRB- I was still half - asleep all the time. I left the original in the copy machine. BOSS Is this yours? `` The second rule of fight club is you do n't talk about fight club''. Is it yours or not? You do n't get paid to abuse the copy machine. JACK `` Abuse'' the copy machine. What an image. BOSS Let's play pretend. You're me. You find * this *. What would you do? Hmm? Make a managerial decision. What would you do? Jack slowly rises, walks softly to his office door, shuts it and faces the boss. JACK I'd be very careful who I talked to about this. It sounds like someone dangerous wrote this, and this buttoned - down psychotic could probably snap at any moment and stalk from office to office with an Armalite AR - 180 Carbine gas - operated semiautomatic. He's probably at home every night with a little rattail file, filing a cross into the tip of every one of his bullets. This way, when he pumps a round into. * someone *. it will split along the filed grooves and spread open the way a dum dum flowers inside you to blow a load of guts out through * someone's * spine. This is probably somebody you've know for years. Boss stares at him with a tinge of outrage, a tinge of fear. JACK -LRB- V.O. -RRB- Tyler's words. Me clowning around. And I used to be such a nice person. Jack's phone RINGS. Jack answers. JACK Compliance and Liability. MARLA'S VOICE My tit's going to rot off. JACK -LRB- to Boss ; big smile -RRB- Could you excuse me? I need to take this call. Boss goes to the office door opens it, stares at Jack a beat, then leaves. JACK -LRB- into phone -RRB- What are you talking about? INTERCUT WITH CLOSE - UP OF MARLA In dim light, her face very pretty with make - up. MARLA I need you to check and see if there's a lump on my breast. I ca n't afford to blow the cash on a doctor just to find out. JACK I do n't know. MARLA You're the only one I can turn to. JACK -LRB- V.O. -RRB- She did n't call Tyler. I'm neutral in her book. MARLA Meet me at work.","EXT. MORTUARY - LATE AFTERNOON Jack goes through the front door.","INT. MORTUARY - SAME Jack walks into the dim, dramatically - lit foyer. He sees Marla at a desk. She does not see him. She's wearing a black formal dress - like a gorgeous angel of death. A VERY FAT MALE CUSTOMER holds an URN the size of an egg cup. Marla studies the urn and the Customer's body with a dreary expression. MARLA Sir, you could n't get the ashes of your * neck * in here. The Customer turns and stomps out the door. Jack steps forward to the desk. JACK Employee of the month? Marla looks up at him and smiles.","EXT. MARLA'S HOTEL - SUNSET Jack watches as Marla takes two boxes from a van with sign `` MEALS ON WHEELS''.","INT. MARLA'S ROOM - MOMENTS LATER Marla leads Jack inside. JACK You know, this is a sweet side of you. MARLA Think so? JACK Picking these up for. -LRB- reads off boxes :. -RRB- `` Mrs. Haniver'' and. `` Mrs. Raines''. Where are they? Top floor? MARLA They're dead. I'm alive and I'm in poverty. You want any of this? JACK No, thanks. MARLA Good. He stares at her while she wolfs down food. Marla takes a napkin and wipes her mouth. MARLA This napkin is `` one - hundred percent recycled''. So is my toilet paper. Can you imagine. The worst job in the world - recycling toilet paper.","INT. MARLA'S ROOM - NIGHT Marla stands in front of a mirror with her shirt open. Jack stands behind her with his hand on the bottom side of her breast. Her hand guides his. JACK Where? Here? MARLA Here. JACK There? MARLA Here. JACK Here. MARLA Feel anything? JACK No. Jack's head is behind Marla's. His eyes close. Both of them speak more slowly, softer. MARLA Make sure. JACK Okay. Okay, I'm sure. MARLA You feel nothing? JACK Nothing. He almost kisses her neck. Marla turns around, faces him and begins to slowly button up her shirt. MARLA Whew. That's a relief. Thanks. JACK No problem. MARLA I wish I could return the favor. Jack touches his breasts, shakes his head. JACK I think everything's okay here. MARLA I could check your prostate. JACK Uh. nah. MARLA Well, thanks. Marla kisses him - and lingers for a bit longer than just friendly. Jack pulls away. JACK Are we done? JACK I got ta go. Marla's voice turns acid : MARLA Yeah, we're done. Get the fuck outta here. Jack goes to her door, opens it, looks back at her. JACK I'm sorry. MARLA GO, ASSHOLE!","EXT. STREET - MOMENTS LATER Jack walks down the sidewalk. He glances back up at Marla's window as he crosses the street. He sees her. She moves away from the window and - Jack's BUMPED - very lightly - by a PASSERBY - it's * Tyler *. TYLER What are you doing? JACK Uh. I. was. coming back from. a. thing. Tyler throws an arm around Jack and leads him down the sidewalk. TYLER We need to talk.","INT. BOSS'S OFFICE - DAY Jack steps into the open doorway and lightly knocks against the frame. Boss looks up from his large, expensive desk. JACK We need to talk. BOSS Okay. Where to begin? With your constant absenteeism? With your unpresentable appearance? I might as well tell you now - you're going to be put up for review. This next line * NOT * in V.O. : JACK I Am Joe's Complete Lack Of Surprise. Boss sits up in his seat, becoming enraged. JACK Let's pretend. You're the Department of Transportation. And you knew that our company intentionally left a front seat mounting bracket that never passed collision tests? Did nothing about leather seats - that were cured in third world countries with a chemical we know causes birth defects? Brake linings that fail after a thousand miles. Turbochargers that blow up and cut off legs at the knees. Fuel injectors that burn people alive. All of these accidents where `` cause of failure'' is stamped `` unknown''. I know where the bodies are buried. Call it job security. BOSS Just who the fuck do you think you are?! Get out of here! You're fired! JACK I've got a better idea. You're going to keep me on payroll as an outside consultant. In exchange for my salary, I'll perform the task of not telling anyone what I know. I wo n't need to come into the office. I can do this job from home. Call it early retirement, with pension. Boss stands, moves around his desk, glaring with rage. JACK Yes, I am shit and crazy, to you and this whole fucking world, but I'm your responsibility. Jack PUNCHES HIMSELF in the nose. Blood starts to trickle down. He punches himself in the jaw, harder. He throws himself back, acting as if the force of the punch knocked him. His back SLAMS against a framed painting and SHATTERS the glass. He and the frame and the glass and the painting fall to the floor. JACK -LRB- V.O. -RRB- I Am Joe's Smirking Revenge. JACK Please do n't hit me again. Please. Jack gets back to his feet and punches himself in the stomach, then punches himself in the jaw again. He reels backwards and falls into a hanging shelf, ripping it off the wall, sending it's contents flying. He falls to the floor again. JACK -LRB- V.O. -RRB- For some reason, I thought of my first fight - with Tyler. Jack crawls along the carpet toward Boss, dripping blood. He tries to keep up the act, but he sporadically GIGGLES. He grabs Boss's leg. JACK Please. give me the paychecks like I asked for. You wo n't see me again. You wo n't have any trouble. Jack climbs up Boss's leg. Boss, aghast, tries to shake him off, and, in doing so, stumbles back in to his desk, knocking off photos, stacks of paper, paperweights. JACK -LRB- V.O. -RRB- Under and behind and inside everything this man took for granted, something horrible had been growing. Jack crawls up high enough to grab Boss's belt and hoist himself up further. He's getting blood all over the Boss's clothes. Jack SMUDGES blood from his face onto the knuckles of both Boss's hands. The horrified man SCREAMS. JACK -LRB- V.O. -RRB- And right then, at our most excellent moment, security guards decided to walk in. Two SECURITY GUARDS come inside and gape at the sight. Behind them stands a crowd of curious workers, also taking in the sight. JACK -LRB- gurgling blood -RRB- Please do n't hit me again.","INT. PAPER ST. HOUSE - JACK'S ROOM - DUSK Jack, all bloody, lies in his bed, asleep. He awakens, hearing the BACK DOOR SLAM. He painfully hauls himself out of bed.","INT. KITCHEN - MOMENTS LATER Jack enters to see Tyler taking beers out of the fridge. Jack waves a PAYCHECK. JACK I did it. TYLER That's fucking great! Jack sees that Tyler is dressed in combat fatigues. He's splattered with various colors of PAINT. There's a rope and rappelling mechanisms lying on the table. Tyler nods toward the living room and hands Jack all the beers. TYLER Go on in. We're celebrating.","INT. LIVING ROOM Jack, a little bewildered, saunters in, carrying the beers. Tyler does NOT follow him. Bob, Ricky and several fight club guys are in front of the TV. They are all dressed like Tyler, all splattered with paint. Jack hands them their beer. One of the guys is sixteen year old with an angelic face. He notices the TV. ANGEL FACE SHHH! They're back to it! Jack looks at the TV as it shows a LIVE shot of a BUILDING, which is identified at the bottom of the screen as the TRW building. It has a GIANT GRINNING FACE PAINTED on it. The two EYES are broken, charred windows with SMOKE pouring out. Firetrucks spray water into the windows. REPORTER Police Commissioner Jacobs has come down. just a second. excuse me, could you tell us what you think this is? The COMMISSIONER JACOBS, a wrinkled man with baleful eyes, turns to camera. COMMISSIONER JACOBS We believe this is related to the other recent acts of vandalism around the city. It's some kind of organized group. And we're investigating thoroughly. Jack turns back and sees Tyler in the archway, watching the TV. Tyler pulls back, out of sight. Jack turns to the others. JACK What did you guys do? They all BURST INTO LAUGHTER, look at Jack and shake their heads. Jack just stares at them. Suddenly, the guys' faces turn to stone. BOB The first rule of Project Mayhem is - you do n't ask questions. Jack stares at them. CUT TO :","INT. HOTEL BALLROOM - NIGHT A loud, luxurious banquet ensues. Commissioner Jacobs guzzles champagne and puffs on a cigar. Jack, in a waiter's uniform, serving another table, stares at Jacobs. Then, Jack looks apprehensively toward certain other waiters : Tyler, Bob, Ricky and Angel Face - mixed in with the mass of waiters.","INT. BATHROOM - SAME Commissioner Jacobs enters, puffing the cigar, and walks toward a urinal. Jack, Tyler, Bob and Ricky leap out of the corner and attack him. Jack's heart is n't in it - he barely helps the others. Tyler knocks the cigar out of Jacob's mouth and slaps a piece of tape over it.","INT. SERVICE ELEVATOR - SAME Jack holds the door while the others drag the struggling Commissioner inside. They hold him down and pull down his pants. Bob snaps a rubber band, then reaches down to Commissioner Jacob's crotch. TYLER Wrap it around the top of his ball sac. Ricky holds a knife to Commissioner Jacob's testicles. Jack, red - faced, keeps his distance. Tyler leans in and whispers in the frightened man's ear. TYLER You're not going to continue your `` rigorous investigation''. You're going to publicly state that there is no underground group. Or - imagine, the rest of your life with your ball sac flapping empty. COMMISSIONER JACOBS No. Please. Stop. Please. TYLER One to the * New York Times * and one to the * Los Angeles Times *. Press release style. Remember this. The people you're after are everyone you depend on. We're the people who do your laundry and cook your food and serve your dinner. We guard you while you sleep. We drive the ambulances. We process your insurance claims. We control every part of your life. So do n't fuck with us. Ricky makes a dramatic cut with the knife - he holds up the severed RUBBER BAND.","EXT. HOTEL - LATER Jack, Tyler and the others file quickly out the back service entrance. Tyler slaps Angel Face's back. Angel Face smiles at him. Everyone splits up in different directions.","INT. BASEMENT - NIGHT Fight club in full swing. Jack squares off with Angel Face. He BEATS the SHIT out of Angel Face with a viciousness heretofore unseen. The crowd shouts maniacally, save for Tyler, who watches with an inscrutable stone face. Angel Face tries to speak, but Jack pounds him too hard. Blood flies everywhere. The crowd becomes QUIETER. Finally, Angel Face, on the floor, is clearly unconscious. Jack stops, stares at him, numb. The crowd seems a little spooked. Tyler scans the faces, looks at Jack.","EXT. STREET - LATER Tyler and Jack walk through pools of streetlight. JACK I felt like destroying something beautiful. TYLER Excellent. An idling car HONKS. Tyler leads Jack toward it. A bruise - faced VALET PARKER throws keys to Tyler. VALET There you go, Mr. Durden. JACK After you, * Mr. Durden *.","INT. STOLEN CAR - MOVING - LATER RAIN GUSHES down. Tyler drives. Jack sits slumped in the passenger seat. They are BARRELING down a two - lane HIGHWAY, intermittently illuminated by oncoming headlights. Jack stews in silence. Tyler glances at him. TYLER What's the problem? JACK Nothing. Why was n't I told about `` Project Mayhem''? TYLER You * were * told about it. JACK Uh - huh. Yeah. Fine. If you ca n't talk to me about it. TYLER That's the whole point - you * do n't * talk about it. JACK So, I ca n't even ask? TYLER What do you want me to say? That Project Mayhem will knock over the pillars of civilization like dominoes? That it's going to bring about a prematurely - induced dark age? Should I E - mail you? Should I put this on your `` action item list''? JACK Fine. TYLER Recognize the make and model of this car? JACK Yeah - so what? TYLER The front seat mounting bracket never passed collision tests. Tyler pulls the car into the opposite lane. HEADLIGHTS in the distance get closer very, very quickly. JACK What are you doing?! The oncoming car gets closer and closer, honking and flashing it's lights. Jack tries to grab the wheel. Tyler uses one arm to pin down Jack's arms. He uses one hand to steer. JACK TYLER! WHAT THE FUCK ARE YOU DOING?! TYLER If you died right now, how would you feel about your life? JACK I WOULD FEEL NOTHING ABOUT MY LIFE! IS THAT WHAT YOU WANT TO HEAR?! TYLER I want to hear the truth. The car swerves at the last second. JACK Fuck my life. Fuck fight club! Fuck you and fuck Marla. I'm sick of this shit! How's that? Huh? TYLER You do n't have any concept of what it is to hit bottom. An oncoming TRUCK honks and flashes it's lights. It moves to the other side of the road. Tyler steers there, too. The truck moves back ; Tyler moves back. More honking and flashing. The truck moves ; Tyler moves. TYLER HITTING BOTTOM IS N'T A WEEKEND RETREAT! IT'S NOT A SEMINAR! ONLY AFTER YOU'VE LOST EVERYTHING ARE YOU FREE TO DO ANYTHING! YOU SEE, YOU LISTEN, BUT YOU DO N'T GET IT! YOU HAVE TO FORGET EVERYTHING YOU KNOW, EVERYTHING YOU THINK YOU KNOW! Just seconds to impact with the oncoming truck and - Tyler swerves. Now the car heads straight for a STALLED CAR on the side of the road, surrounded by flares. Jack stops struggling to get his arms free. JACK I am nothing in the world compared to you. I am helpless. I am stupid and weak and all I do is want and need things. I * am * my little shit job. I * am * my condo and my Swedish furniture. I am SHIT! Tyler lets go of Jack's arms and lets go of the steering wheel. He and Jack look at each other as their car barrels toward the stalled car. Their faces are illuminated by the light of the flares. They SMASH into the stalled car. Both airbags inflate, but the front seat LURCHES forward, loose, causing the men's legs to bang against the dash. Tremendous momentum makes the back of the car whip around and carry it into a ass - over - teakettle ROLL down the hill. JACK -LRB- V.O. -RRB- I'd never been in a car accident. This was what all those statistics felt like before I wrote them into my reports.","INT. FAMILY CAR (JACK'S IMAGINATION) The car that Jack saw, post - wreck, in the warehouse, FLAMING, tumbling END over END ; the FATHER, MOTHER TEENAGE GIRL and BABY all SCREAMING.","INT. TYLER'S STOLEN CAR - RESUMING The hill goes on further and further - it's a deep RAVINE. The car finally hits the bottom, lying on its roof.","EXT. OVERTURNED CAR Tyler crawls out and goes around, opening Jack's door. He drags Jack out into the mud. He grabs Jack's face and squeezes it, shaking it. TYLER You just had a near - life experience.","INT. JACK'S BEDROOM - LATE NIGHT Jack lies in bed, staring at the ceiling. Tyler sits in a chair, next to the bed, speaking softly. TYLER The world I see - you're stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You wear leather clothes that will last you the rest of your life. You climb the wrist - thick vines that wrap the Sears Tower. You see tiny figures pounding corn and laying strips of venison on the empty car pool lane of the ruins of a superhighway.","INT. JACK'S BEDROOM - DAWN Jack lies in bed, staring at the ceiling. Tyler is gone. Faint sounds of SAWING and HAMMERING.","INT. KITCHEN - MOMENTS LATER Jack sits at the table, sipping coffee. He's pale, dazed. He seems broken. He hears the faint sounds of sawing and hammering again ; he's unsure of where they're coming from. He glances out the window, sees nothing. Marla walks into the kitchen. Jack looks up at her. She looks at him, unsmiling. There's a bruise on her face and arm. She pours herself a coffee and lights a cigarette. A beat of silence, then : MARLA I'll be out of your way in a sec. She seems to be as weak as Jack. JACK You. do n't have to. rush off. MARLA Sarcastic prick. JACK No, really. Marla's eyes drift away from his. Jack gets up, tries to move closer to her. She pulls away. He retreats and they wind up on opposite sides of the room. Jack leans against the wall near the BASEMENT DOOR, which is AJAR. JACK Why are we both. caught up like this. with? JACK -LRB- V.O. -RRB- I came so close to saying Tyler's name, I could feel it vibrate inside my mouth. Marla looks at him curiously, waiting. JACK Why does a weak person go out and find a strong person to. hang onto? MARLA It's a real sick relationship. You do n't think I know it? JACK Does it * have * to be? MARLA Does it? Faint sound of sawing and hammering. Jack ca n't quite figure where it's coming from. JACK You hear that? MARLA Hear what? JACK That. sawing and hammering. MARLA We have to change the subject? Have we been talking too long? JACK I just do n't understand what you get out of such a sick relationship. MARLA What the hell do * you * get out of it? Jack turns and sees, through the slim space of the open door, Tyler, at the bottom of the basement stairs, staring a silent warning. Jack turns back to Marla. JACK Nevermind. MARLA No. That day you came over to check my breast. JACK Let's just stop right here. MARLA Come on! You * want * to pull yourself out of whatever you're stuck in. Marla moves slowly toward Jack. JACK Conversation over. Marla strokes Jack's hair. She sees the kiss - scar on his hand. She grabs his hand and studies it. Jack tries to pull it back, but Marla keeps a tight grip. MARLA What is that?! Who did that?! JACK. A person. MARLA Guy or girl? JACK Why would you ask if it's a guy or a girl?! MARLA Why would you get bent if I asked?! JACK Go. MARLA What does it mean? You're afraid to say? JACK Go! Go! Marla kisses Jack's hand, putting her lips right onto the scar, leaving an imprint of lipstick. Jack jerks his hand away from her. He tries to wipe off the lipstick and it smears. He unconsciously licks it off. MARLA MMMMMMMMMM. Swallow it. JACK Get the hell out of here! Stung, Marla stomps toward the back door. MARLA Go fuck yourself - that's probably how you like it best. And out she goes. Jack watches her stomp through the backyard and out to the sidewalk. Tyler comes up from the basement, passes Jack and goes through the archway. Sound of his footsteps going up to the second floor. Jack goes down the basement steps.","INT. BASEMENT - CONTINUOUS TRIPLE - DECKER BUNKS clutter the basement, as many as can fit into the space. JACK What's this for? > From upstairs, the sound of the DOORBELL.","INT. LIVING ROOM - MOMENTS LATER Jack opens the door. Ricky stands on the porch, staring blankly ahead in subordinate military style. He's dressed in black pants, black shirt, black shoes. He holds a brown paper bag. An army surplus mattress sits in a tied - up roll at his feet. Jack is about to say something, when Tyler steps past Jack and speaks very softly to Ricky : TYLER I'm sorry. You're too young to train here. Tyler steps back inside and shuts the door. JACK `` Train'' here? TYLER He's not. If the applicant is young, we tell him he's too young. Old, too old. Fat, too fat. JACK Why? TYLER This is how Buddhist temples tested applicants going back for bah - zillion years. If the applicant waits at the door for three days without food, shelter or encouragement, then he can enter and begin training. JACK Begin training? Tyler grins at him.","EXT. PORCH - MOMENTS LATER Jack bursts out the door, faces Ricky. JACK GET OUT OF HERE! GO! HE TOLD YOU YOU'RE TOO YOUNG! GET OUT! It's clear there will be no response from Ricky, who's like a statue. Jack goes back inside, closes the door.","EXT. PORCH - NIGHT Ricky stands in the same spot. Jack bursts out with a broom, knocks the brown paper bag out of Ricky's hand, kicks it off the porch. Ricky remains in place, motionless. JACK ARE YOU STUPID?! I TOLD YOU TO GET OUT OF HERE! YOU'RE NEVER GETTING INSIDE THIS HOUSE!","EXT. PORCH - MORNING Ricky in the same spot. Tyler slinks out the front door, smiling. TYLER I'm sorry about the misunderstanding. Look, friend, it's not the end of the world. Just go away. Nothing personal, but I'm going to have to call the police. You're trespassing.","EXT. PORCH - NIGHT Ricky, same spot. Jack bursts outside with the broom again. He WHACKS Ricky in the shoulder. JACK YOU'RE NEVER GETTING THROUGH THIS FUCKING DOOR, YOU STUPID LITTLE WEASEL!","INT. JACK'S ROOM - LATER Jack drinks a beer, smokes a cigarette and stares down at the PORCH, which he can see from a sideward / / downward angle. Ricky stands in the same spot. JACK -LRB- V.O. -RRB- Sooner or later, we all just became what Tyler wanted us to be.","EXT. PORCH - MORNING Ricky's in the same spot. Next to him now is Bob, dressed in black with brown paper bag and Army surplus mattress. Tyler steps out the front door. Jack lights in the doorway, locking eyes on Bob. TYLER -LRB- to Ricky -RRB- Get your stuff. -LRB- to Bob -RRB- You're too old to train here. Sorry. Tyler and Ricky go inside and Tyler slams the door.","INT. 2ND FLOOR LANDING - LATER Jack stands in the open bathroom doorway, watching Tyler SHAVE off all of Ricky's HAIR. When he's done, Tyler gives the top of Ricky's head a sharp slap. TYLER A monkey, ready to be shot up into space, ready to sacrifice himself for Project Mayhem. And, so, all those with shaved heads will henceforth be termed `` SPACE MONKEYS''.","EXT. PORCH - LATER Jack looks out the window. Bob continues to stand, motionless. Ricky comes out the front door with the broom. RICKY YOU'RE TOO FUCKING OLD! GET OUT OF HERE! Ricky WHACKS Bob with the broom several times, then goes back inside, SLAMMING THE DOOR. CUT TO :","EXT. PORCH - NIGHT CLOSE ON JACK'S FACE, staring out the window. VOICE YOU'RE TOO SKINNY! GET OUT OF HERE! FULL BACK TO REVEAL a SPACE MONKEY we've never seen before, with the shaved head, whacking a SKINNY APPLICANT with the broom.","INT. LIVING ROOM - SAME Jack pulls back from the window. SPACE MONKEYS, all dressed in black, all with shaved heads, are ALL OVER THE PLACE. There are tables set up for them to wrap bars of soap. Jack lopes into the","INT. KITCHEN - CONTINUOUS Where Space Monkeys render fat and make soap. Several, off to the side, stir a large vat of RICE. One of them recites a memorized statement : FRECKLED SPACE MONKEY `` You are not a beautiful and unique snowflake. You are the same decaying organic matter as everything else. We are all part of the same compost pile.'' JACK -LRB- V.O. -RRB- Planet Tyler Jack dips a spoon into the rice vat and chomps on some rice in an irritable way. JACK -LRB- V.O. -RRB- It could be worse. I could get hit by lightning and my head could burn down to a smoldering baseball and my zipper could weld shut. He moves back out to the","INT. LIVING ROOM - CONTINUOUS And tromps up the steps to the 2nd floor landing.","INT. TYLER'S ROOM - CONTINUOUS Jack enters. Bob reads a book and makes marks on a chart. All along the floor are baskets ; each one is labeled with a number in sequence : `` 1, 2,'' etc.. The first ten are under a sign that says `` WILMINGTON''. Then, there's a sign over some that says `` NEW YORK'', then `` CHICAGO'', and other cities. There are dozens of BOOKS on FINANCE. Jack looks in basket number `` 1'' and sees the word `` CITIBANK'' at the top of a page. He starts flipping through it ; then the next basket. Bob grabs Jack's hand and leads him away from the baskets. BOB The first rule of Project Mayhem is you do n't ask questions. JACK This is me, Bob. Tyler's been gone for over a week. What the hell is going on? BOB The first rule of Project Mayhem is you - JACK Right. Jack leaves the room.","INT. KITCHEN - MOMENTS LATER Jack barges in among the laboring Space Monkeys. They pinch herbs into the soap mix. They also use vodka. Jack grabs a bottle of vodka and takes a long pull off it. JACK -LRB- V.O. -RRB- I had to hug the walls, being a mouse trapped inside this clockwork of space monkeys, cooking and working and sleeping in teams. The house became a living thing, wet on the inside from so many people sweating and breathing. So many people moving, the house moved. The PHONE RINGS. Jack snatches it. All the Monkeys stare at him. JACK Project Mayhem. TYLER'S VOICE Do n't answer the phone like that. Jack turns away from the others, moves to a corner, talks sotto voce. JACK Tyler! Where have you been? TYLER'S VOICE Do n't ask questions. There's a tense pause. JACK -LRB- V.O. -RRB- I Am Joe's Broken Heart because Tyler dumped me. Because I'm just another cog. TYLER'S VOICE Be quiet and listen. Jack reacts with surprise - did Tyler hear his thoughts? TYLER'S VOICE I'll tell you everything when I get back. Right now, you got ta do something for me. JACK Me? When? TYLER'S VOICE Tonight.","EXT. FRONT PORCH - LATER Jack, Bob, and two other Space Monkeys step out the front door, laden with boxes and equipment. SKINNY SPACE MONKEY `` We are the all - singing, all - dancing crap of the world''. The group of four steps off the porch and heads for a VAN.","EXT. PARK - NIGHT A piece of ART adorns the top of a hill : a metal TOWER, wide at the base and a hundred feet high, in design somewhat similar to the Eifel Tower. At the top is a giant GLOBE made of circular poles and wires. Jack, Bob and the other two monkeys attach the explosive packets to the globe ; wire the packets together ; use sandbags to cover the packets.","EXT. PARK - LATER The group of four huddle behind some bushes, staring at the globe. Bob holds a small metal electronic box with a button - a detonator. He presses the button. A RAPID SERIES of EXPLOSIONS runs from the base of the tower to the top, along the four main structural supports. They are contained, shaped blasts. The tower crumbles straight down. Bob turns to smile at Jack. BOB Exactly the way it was supposed to work. The globe falls free, bangs into the top of the hill and begins to roll. When it gets to the street, it bounces onto the top of a parked LIMO - and becomes a FLAMING, raised `` GUTTERBALL'' - it never hits the street - it rolls over one parked limo or expensive luxury car after another, crunching the roofs, causing the windows to explode outward. Fifty cars get this treatment. Then, it arrives at the lobby of a HOTEL, BROADSIDES a couple of limos, CAROMS off them, TURNS and rolls directly into the front of a large -LRB- closed -RRB- STARBUCKS, SMASHING DOWN the windows and the front door and setting the place ON FIRE.","EXT. PARK - AERIAL VIEW As Jack, Bob and the two other Monkeys FLEE, LAUGHING hysterically at their handiwork. They split up and move in different directions. MOVE IN ON JACK, sprinting, keeping hidden by bushes. SIRENS can be heard. He's stripping off his ski mask, his gloves, his combat gear - as he runs. Underneath are street clothes. JACK -LRB- V.O. -RRB- In that moment I `` clicked''. I became what Tyler wanted. I was his limb, his appendage - an extension of his will, nothing more. And he knew it. I could feel him knowing it. Jack dumps the wad of clothes into a trashcan and pulls up the surrounding trash to cover them. He breaks into a sprint again, heading for the edge of the park. GUNSHOT. Jack's smile fades. He stops, looks toward the direction from which the sound came. He turns, heads down along a row of hedges. He comes to a","INT. CONCRETE STAIRCASE - CONTINUOUS And moves to the top step, looking down. A COP is near the bottom, running down to the sidewalk. Next to a STREETLAMP LIES a ONE of the MONKEYS in full combat attire and ski mask. The body is MOTIONLESS, SPRAWLED. In the hand is the DETONATOR - looking somewhat like a gun. The Cop pulls off the ski mask, revealing the DEAD FACE of Bob, a BULLETHOLE through the head. Jack flinches backwards as if punched in the stomach. He gasps for breath. The Cop looks up and catches sight of Jack. He lifts his gun and his PB radio. Jack jerks back out of sight.","EXT. PARK - CONTINUOUS Jack hobbles along. Nearby, from beyond a hedge, he hears the crackling of a PB with a VOICE coming from it. Then : COP'S VOICE -LRB- into PB -RRB- Yeah. We found some clothes. Jack, sweating like a pig, picks up his pace and heads for the edge of the park.","EXT. PAPER ST. HOUSE - NIGHT Jack, panting, white as a ghost, trembling, approaches from the sidewalk. He sees the front door open and four Space Monkeys come out, carrying LUGGAGE. BIG - EARED MONKEY -LRB- a solemn chant -RRB- We are now the. OTHER MONKEYS & BIG - EARED -LRB- unison -RRB-. right hands of Tyler Durden. Jack steps up onto the porch and sees that they are all holding FLIGHT COUPONS. Jack notices that all of them have the KISS - SCAR on their left hands. They ignore him with military demeanor and walk down to the sidewalk and head for the bus stop. JACK -LRB- V.O. -RRB- Under and behind and inside everything I took for granted, something horrible had been growing.","INT. LIVING ROOM - CONTINUOUS Jack walks inside to see a Space Monkey, BEET - RED but silent, holding out his hands while LYE BURNS the inside of the TOPS of his FINGERS. Other Monkeys sit and await the process. JACK -LRB- V.O. -RRB- They were using lye to burn off their fingerprints.","INT. TYLER'S ROOM Jack barges into the room, goes to the desk and rifles through drawers. His elbow bangs against the top of an ANSWERING MACHINE. It plays MESSAGES. MARLA'S VOICE Look, do n't get bent, okay? But. there's a therapist that I think could really help you. Give me a call. Okay? Click. Next message : DETECTIVE STERN'S VOICE This is Detective Stern with the arson unit. I've called four times in the last two days. I need you to come in for some further questioning. Jack shivers, snaps OFF the machine, then more furiously continues his search. He finally finds flight coupons - both used and unused. The used ones have the flight information, including the destination cities. He stuffs all of them into his pocket. CLOSE SHOT : SIGN : `` LAGUARDIA INTERNATIONAL AIRPORT''.","INT. BAR - NIGHT Jack walks in and sees several MALE PATRONS with FIGHT BRUISES. Jack goes to the bar, sidles next to the bruised men and the BRUISED BARTENDER. They stare at him. JACK This is an emergency. I'm looking for Tyler Durden. BRUISED PATRON Never heard of him. Sir. He and the other bruised patrons and the bartender WINK at Jack and crack slight smiles. MONTAGE - DAY & NIGHT : `` WELCOME TO'' AIRPORT SIGNS - Atlanta, Chicago, Dallas, Phoenix, Los Angeles''. FACES - bruised, smiling, tight - lipped. JACK -LRB- V.O. -RRB- In every city, I branched out from the airport to downtown and checked bars. There was always a fight club. Tyler was setting up franchises, all over the country.","INT. ANOTHER BAR - NIGHT Jack walks in and sits at the bar. The BARTENDER wears a NECK BRACE and has a black eye. BARTENDER Welcome back, Sir. No one's in here. It's always empty the day after fight club. JACK Talk to me. Have you ever met Tyler Durden? BARTENDER Is this a test, Sir? JACK Yeah, it's a test. BARTENDER You were in here last Thursday night. You were standing right there, asking me about how good our security is. And it's tight as a drum. JACK Who do you think I am? JACK -LRB- V.O. -RRB- Please return your seatbacks to their full upright and locked position. BARTENDER You're the person who did * this * to me. The Bartender shows Jack his hand - it has the kiss - shaped scar. BARTENDER You're Tyler Durden, Sir.","INT. HOTEL ROOM - NIGHT Jack bursts inside, runs to the phone, punches a number. He does n't bother to turn on the lamp. INTERCUT WITH","INT. MARLA'S ROOM - SAME Marla answers the phone. MARLA Yeah? JACK It's me. Have we ever had sex? MARLA What kind of stupid question is that?! JACK Is it stupid because the answer's `` yes'' or because the answer's `` no''? MARLA Is this a trick? JACK Will you just answer, for God's sake?! MARLA Oh, you mean, you want to know if I think it was `` making love'' or just two animals going at it? JACK So we * did * make love? MARLA Is that what * you're * calling it? JACK ANSWER THE QUESTION! MARLA You fuck me, then snub me. You love me, you hate me, you show your sensitive side, you turn back into an asshole! JACK Oh, God. MARLA Is that a pretty accurate description of this relationship? JACK What's my name? MARLA Tyler Durden. JACK -LRB- V.O. -RRB- We've just lost cabin pressure. MARLA I'm coming over. As Marla hangs up, we END INTERCUT. Jack stares at the receiver a beat, then realizes. JACK Oh, shit! No! I'm out of town! He punches Marla's number like a maniac. Listens. just ringing and ringing. He turns, sees TYLER - sitting on the bed, staring at him with an ominous poker face. Jack drops the receiver. The room is only lit by dim moonlight through the window. TYLER You broke your promise. JACK Why do people think I'm you? TYLER Because we happen to share the same body. JACK What the hell are you talking about? TYLER Sometimes * I * control it and you imagine watching me.","INT. BAR BASEMENT - NIGHT (JACK'S MEMORY) Jack stands near the back of the crowd as Tyler stands in the middle of the light. TYLER The first rule of fight club is - JUMP CUT - SAME SHOT - -LRB- ALTERED FLASHBACK -RRB- - it's JACK in the light, talking, behaving like TYLER. JACK - you do n't talk about fight club.","INT. HOTEL ROOM - RESUMING Jack gasps and wheezes. Tyler grins and nods. JACK But we fought - TYLER When * you're * controlling the body, you see me and hear me. But no one else does.","INT. AIRPLANE CABIN - IN FLIGHT - NIGHT (ALTERED FLASHBACK) Jack sits next to an empty seat and `` looks'' at the blank air beside him, eyes focusing on `` someone'' close. JACK What do you do Tyler? -LRB- pause ; listens to reply. -RRB- I mean - for a living. Jack listens to the reply, then laughs.","INT. HOTEL ROOM - RESUMING Jack has trouble catching his breath. JACK What about when we were together around other people? TYLER You never talked.","EXT. PARK - NIGHT (ALTERED FLASHBACK) Jack -LRB- Tyler -RRB- has his face right in front of the Police Commissioner's. JACK -LRB- `` TYLER'' -RRB- We'll send one ball to the `` New York Times'' and one ball to the `` Los Angeles Times''. Sort of press release style.","INT. HOTEL ROOM - RESUMING Tyler sits down on the bed, takes Jack's hand. He presses his lips to the kiss - scar. TYLER And when you fall asleep, I go places and do things without you.","EXT. BUILDING (FLASHBACK) We see that the building is `` TRW''. Jack, Bob, Ricky, Angel Face and another GUY rappel down the die and start SPRAYING PAINT. Everyone is more or less paired off. Jack IS `` TYLER'' in his demeanor, mannerisms, speech. He's next to Angel Face. JACK -LRB- `` TYLER'' -RRB- -LRB- to Angel Face -RRB- You are not your job. You are not how much money you have in the bank. Suddenly, the TWO WINDOWS SHATTER OUTWARD and two of the men yell out the windows : BRUISED MAN # 1 I AM NOT MY JOB! BRUISED MAN # 2 I AM NOT HOW MUCH MONEY I HAVE IN THE BANK!","INT. HOTEL ROOM - RESUMING Jack shakes his head in disbelief. JACK But you. you. you rent the house. TYLER The house is rented in your name. JACK You're a projection? A personality disorder? A psychogenic fugue state? TYLER Fuck that. You're * my * hallucination. JACK -LRB- points to his body -RRB- I was here first. TYLER Who's done more with it? JACK You're not going to do any more with it. TYLER What are you going to do? You could n't even figure this out. It's been staring you in the face for months. I had to drop my busy schedule and come here and tell you. How are you going to fuck with me? You think there's any possibility that I have n't prepared for? Do you think anyone you care about is safe? Jack quivers with shock, shaking his head, sweating more profusely. JACK No. This is all. it's not possible. Tyler. Tyler. it's a joke, right? Right? Jack FAINTS and falls to the floor, UNCONSCIOUS.","INT. HOTEL ROOM - DAY Jack's eyes snap open. He shoots to his feet. JACK Tyler? He remembers the revelations of the previous night. he looks at himself in the mirror. A sledgehammer of emotions hits him. He looks at the clock - 1:35 p.m. BAM!","INT. HALLWAY The room door slams against the wall as Jack bursts out of the room, SPRINTING for the stairs. Fuck the luggage.","INT. STAIRWELL Jack takes three steps at a time.","INT. LOBBY Jack storms for the front door, passing the length of the front desk. A DESK CLERK calls out to him. DESK CLERK SIR?! Jack catches sight of the Clerk, who waves a piece of paper. DESK CLERK Please initial the list of phone calls. Jack snatches the bill and looks at it. There's a MASS of PHONE NUMBERS. JACK When were these made? DESK CLERK It says right there, Sir. Between two a.m. and five thirty a.m. Jack grins. He initials the bill. The Clerk gives him a copy. Jack stuffs the bill into his pocket and disappears out the door.","INT. AIRPLANE CABIN - IN FLIGHT - DAY Jack sits, staring out the window, his face set hard.","EXT. AIRPORT DRIVE - SUNSET Jack sprints to the curb and leaps onto a taxi.","EXT. MARLA'S HOTEL - SUNSET The taxi pulls to a halt by the curb. Jack leaps out and runs up the front steps.","INT. HOTEL STAIRS - CONTINUOUS Jack sprints up the steps, taking two or three at a time. He gets to a landing and turns and runs down to the end of the","INT. HALLWAY Where he pounds on Marla's door. She opens it. He endures her baleful gaze for a beat. MARLA Your whacked - out, bald feaks threw me out of the house. I thought they were going to kill me. They almost broke my arm. JACK I'm sorry, I. Jack takes both her hands in his. JACK Marla, I'm going to tell you something and it's going to take a tremendous act of faith on your part to believe me. MARLA Here comes an avalanche of bullshit. JACK - A little * more * faith than that. MARLA Spill it.","INT. MARLA'S ROOM - CONTINUOUS Jack leads her toward the bed. JACK Look, did you notice a big difference between me when we were having sex and when. we were n't? MARLA Did I notice? You're manic - depressive. It's like a neon sign all over you. JACK No. It's worse than that. Jack sits on the bed, pulling Marla down next to him. They and the sheets and covers SLIDE OFF onto the floor. Jack keeps his composure and looks into her eyes. JACK Tyler is my split personality. MARLA Then, who are you? Jack takes out his wallet, shows Marla his driver's license. MARLA You gave me a fake name? What a jerk. JACK * I * did n't give you the fake name - a * fake person * did. Listen, those people all over the house - you're in danger. MARLA Okay, what do you want? You want me to create my own wonder - bitch personality to match? So we can be a foursome? JACK I WANT YOU TO FUCKING BELIEVE ME! YOU WANTED TO TALK?! WELL, * HERE'S * OUR FUCKING TALK! Jack's eyes well up with tears. He turns away from her. Marla's face softens. She strokes Jack's hair, turns his face to look at her. MARLA I'm sorry. This split personality thing is. A beat of silence. She squeezes his hand ; he squeezes back. He looks at her, working up some nerve. JACK I've go to know something. Why did you respond to Tyler? Instead of me. Sexually. MARLA I. uh. I do n't know what to say - * you're * Tyler. JACK Okay, however you want to say it - the abusive side of me - the asshole who treated you like shit and made you leave in the morning. MARLA What do you want? You want me to say I'm shit and I deserve to be treated like shit? Well, I AM! And that's how you GOT ME OFF! AND YOU * KNOW IT *! Jack touches her face and she slaps his hand away. He sighs and gets to his feet. He pulls out an airline FLIGHT COUPON and shows it to her. JACK I want you to get out of town for awhile. Whether you believe me or not, you're in * real * danger. Is there someplace you can go? Marla grabs the flight coupon, looks it over. MARLA There's plenty of places I'd like to go. Jack digs into his pocket and produces a wad of cash. Marla roughly seizes the cash, checks out the amount. JACK Leave as soon as possible. Go to a rural little town, away from any major city. Go now. Okay? Please. Promise? MARLA Count on it. And I'm not paying this back - I consider it `` asshole tax''. JACK I agree. More than you know. Marla's expression of rage becomes muddled with confusion over Jack's almost spiritual tenderness. Jack starts toward the door. A WAVE OF DROWSINESS and FATIGUE hits him. He staggers, eyes closing. He drops onto a chair for a beat and rests his hand over his face. He SNAPS AWAKE. Marla is GONE. Jack bolts up out of the seat. JACK Marla?!","INT. HALLWAY Jack leaps out of the room, looks down the hall in both directions. JACK Marla?!","EXT. PAPER STREET - SUNSET The taxi screeches to a halt. Jack leaps out. JACK Wait here.","INT. PAPER ST. HOUSE - MOMENTS LATER Jack walks inside to find it completely EMPTY and DESERTED. He gawks at the bathtub and canisters that hold vast amounts of liquid. He sees bottles labeled `` nitric acid''. He TIP - TOES to the","INT. KITCHEN And picks up the phone. He pulls out the hotel bill and scans the phone numbers. Through the window, the LAST bit of SUNLIGHT slowly SINKS. Jack punches the first number. VOICE -LRB- from phone -RRB- Maintenance. A brief silence while Jack absorbs this and adjusts. JACK Uh, excuse me. I'm not sure I have the right number. I've been calling maintenance departments all over the city, regarding the water supply. Which maintenance department is this? VOICE Very good, Sir. JACK Excuse me? VOICE Do n't worry about us, Sir. We're solid. Jack hangs up the phone. He punches the next number. DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. JACK -LRB- imitating Tyler -RRB- Give me your position. DIFFERENT VOICE -LRB- baffled -RRB- Huh? Who's this? JACK Oh, excuse me. I'm calling from the water company. I've mixed up my phone numbers. Which maintenance department am I talking to? DIFFERENT VOICE You almost had me there, Sir. Everything's A - okay here. Jack hangs up the phone. He punches the next number. ANOTHER DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. Jack hangs up ; punches the next number. YET ANOTHER DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. Jack hangs up ; punches the next number. EVEN YET ANOTHER VOICE -LRB- from phone -RRB- Maintenance. A beat while Jack thinks. JACK There's been a change in the plan. EVEN YET ANOTHER VOICE You told me you'd say that, Sir. JACK I do n't care what I told you - there's * really * a change of plan! EVEN YET ANOTHER VOICE You told me you'd say * that *, too, Sir. JACK Now, listen to me, you stupid fuck! I've got the phone numbers mixed up! Tell me where you are! Now! EVEN YET ANOTHER VOICE This is a very good test, Sir. You sound like you mean it. Jack hangs up the phone and KICKS IT. He flushes red, looks around at passersby. He lifts the receiver again and punches the next number on the hotel bill. SCRATCHY VOICE -LRB- from phone -RRB- Mason Industrial Electronics. JACK This is Tyler Durden. SCRATCHY VOICE -LRB- harsh whisper -RRB- Are you outta your fucking mind?! What the fuck are you doing, calling me in the daytime?! JACK I. have some questions about. SCRATCHY VOICE Jesus! I showed your guys how to use it! A four - year - old could take that shit and break through any security system in the world! If you ca n't then fuck you, moron! Now, do n't ever call me again! Click. Disconnect. Jack looks at the receiver, hangs it up.","EXT. LOU'S TAVERN - NIGHT Jack gets out of the cab, turns to the CABBIE. JACK I got ta have you wait again. Leave the meter running. The Cabbie grins. CABBIE There's no charge, Mr. Durden. Jack gawks at him, backs away.","INT. LOU'S TAVERN - SAME Jack darts inside and signals to Irvine. Irvine comes out from behind the bar and he and Jack move to a corner. Other men with BRUISED FACES turn and watch them. JACK Look, I need to know where the nitroglycerin was taken. Irvine scowls at him a beat, then slowly smiles. IRVINE Right, Mr. Durden. JACK This is n't a test. There's been a mix - up. IRVINE You told me you'd say that. JACK Where are all the maintenance departments?! IRVINE You told me you'd say that, too. Jack bristles with rage. He grabs Irvine's shirt collar. JACK Did I tell you I'd call you a motherfucking asswipe dickhead?! IRVINE Yes, you did. Marla walks into the tavern, makes a beeline for Jack. JACK WHAT THE HELL ARE YOU DOING HERE?! MARLA You told me to meet you here at ten till. JACK WHEN?! MARLA Back in my room. When you dropped into the chair. JACK SHIT! Irvine and a couple of the bruised - faced guys grin at Marla and take a few steps towards her. Jack grabs her and drags her out the door.","EXT. LOU'S TAVERN Jack ignores the waiting cabbie and heads for the main road. He's stomping along at a brisk pace. His face hardens into a mask of psychotic determination. He pulls Marla with him onto a run - down side street. He darts into a","INT. PAWN SHOP He immediately points to something high on a shelf. JACK Let me see that trumpet. The OWNER, a huge, gruff man, pushes a ladder to the spot starts to climb. Jack throws himself onto the countertop near the register, looks around, pulls up a HANDGUN. OWNER Hey! Marla GASPS. Jack checks the clip - it's fully - loaded. He sprints for the door, dragging Marla.","EXT. STREET - CONTINUOUS Jack steps out into traffic. A LEXUS screeches to a halt. Jack goes to the DRIVER'S door and whips it open. JACK Police emergency. DRIVER Bullshit! Jack shoves the gun barrel into the Driver's temple. The Driver gets out of the car and FLEES. Jack points the gun at Marla and motions her to get into the car. Overwhelmed by all this, she complies. Jack leaps behind the wheel and stomps on the gas.","EXT. GREYHOUND BUS STATION - LATER Jack drags Marla into the passenger loading area. A Greyhound bus is taking on passengers. Jack sees the DESTINATION - PHOENIX - and he impulsively averts his eyes, but too late. JACK SHIT! I ca n't know where it's going! Come on, let's find another one. Jack drags her to another loading bus. He keeps his eyes averted from the DESTINATION sign. JACK Get on the bus. MARLA -LRB- reading the destination -RRB- But I do n't want to go to - JACK SHUT UP! Do n't tell me where it's going! MARLA But, the people there talk funny and their teeth are rotten. JACK Shit! Now, I know it's the rural South! Jack jams the gun barrel into Marla's ribs. JACK Get on that fucking bus right now! Marla starts for the bus. Jack keeps himself from seeing the destination sign, but watches Marla get on board. Then, the doors close. Then, the bus pulls away. Then, the bus gets to the end of the road and turns a corner. Jack turns and walks off the passenger platform and out into the","EXT. STREET NIGHT He sees a Space Monkey on the corner, watching him. He looks down and sees another Monkey in the opposite direction, also watching him. JACK -LRB- V.O. -RRB- They probably had a map of the city with little push pins. I felt like a migrating goose on `` Wild Kingdom. Well, fine. They could watch me do * this *''.","INT. POLICE STATION - NIGHT Jack walks past desks of PLAINCLOTHES DETECTIVES until he sees a private office. He glances down at a business card, then keeps moving forward.","INT. OFFICE - CONTINUOUS Jack steps inside the office to see Detective Stern at the desk. JACK I want you to arrest me. I'm the leader of a terrorist organization that's about to set off bombs all over the city. Detective Stern scowls at Jack.","INT. HALLWAY - MOMENTS LATER Jack, handcuffed, is led by Detective Stern. Several other DETECTIVES follow. A somber mood prevails.","INT. INTERROGATION ROOM - CONTINUOUS Stern enters and leads Jack to a table. All the other Detectives file inside. The last one closes the door. Dim light from a single bulb overhead creates the tone of a torture chamber. Cigarette smoke becomes thick. Jack sighs with relief. It's finally over. The Detectives all stare harshly at Jack. Then, they all BURST into HYSTERICAL LAUGHTER. They slap and punch Jack's shoulder. DETECTIVE STERN Very good, Mr. Durden. Jack uses all his strength to stifle his utter shock. He forces a thin smile. DETECTIVE STERN Operation Domino has everyone a little skittish right now. But it's all going like clockwork. Jack, ready to explode, keeps the smile plastered on his face and forces his hand - like a palsy victim - to form the gesture `` thumbs up''. The Detectives give him the same gesture in reply.","EXT. BACK OF POLICE STATION - NIGHT A door opens and Jack is playfully shoved outside. LAUGHTER of Detectives rings out. Jacks starts to walk away from the police station.","EXT. STREET - CONTINUOUS Jack steps out into the street. In a state of shock, he lopes forward, dizzy. JACK. Operation Domino. `` fall like dominoes''. SHIT! ONE, TWO, THREE! YES! Passersby look at him as if he were a homeless, insane guy. JACK THE BANKS! What was the first one?! Number one, number one. * CITIBANK *!","INT. STOLEN LEXUS - MOMENTS LATER Jack RACES along the streets, swerving and passing cars, HONKING. After a beat a MOTORCYCLE COP appears behind Jack and turns on his SIREN and FLASHING LIGHT. Jack reflexively slows down. The motorcycle moves up beside Jack and the COP SMILES, waving Jack forward. The Cop provides an ESCORT. The Lexus turns a corner and heads for the","EXT. CITIBANK BUILDING - CONTINUOUS Jack leaps out of the car. He sprints into the","INT. LOBBY - NIGHT Two Space Monkeys take over the escort and lead Jack toward the elevators. JACK I'll take the stairs. Jack darts to the side, throws open the stairwell door.","INT. STAIRWELL Jack dashes DOWN the steps.","INT. PARKING AREA Jack races from the stairwell into the parking area, eyes combing the place. He darts from one SUPPORT POST to another, his eyes frantically searching. He moves around a support post and sees - Tyler, sitting on the ground, his back against the post. TYLER Looking for something? JACK Where are the charges at?! TYLER Do n't end a sentence with a preposition. JACK WHERE ARE THE CHARGES AT, * FUCKHEAD *?! TYLER Listen to `` Elephant Balls''. shit, slinging a gun. * Where did I go right *? JACK I'll find them. Jack moves away, continues looking around support posts. TYLER There's eight floors of parking. JACK I do n't give a shit. TYLER You do - because you do n't have enough time. Tyler grins, points to his watch. TYLER. Ten minutes. Jack stalks back toward Tyler, gun raised. JACK TELL ME WHERE THE CHARGES ARE! TYLER They're all up and down the building. They're not just here. If you tried to stupidly pull a fuse on a charge, you'd just cause it to blow up. The charges are set to go in a specific order - so that the building will implode and collapse. If you * did * defuse one of the charges, you'd fuck up the sequence, and the building might fall the wrong way. Why do n't you just find a television and watch the party? JACK I'm awake. I have control of the body. You ca n't give orders. TYLER I do n't have any orders left to give. It's all set. Jack boils over, then cracks. He drops the gun, falls to his knees and clutches at Tyler. He touches Tyler's face. JACK Tyler. You're real, are n't you? This is all a big joke, is n't it? You * are * real, you son of a bitch! Tears well up in Jack's eyes. He hugs Tyler. Tyler hugs him back. TYLER We're both real. Jack squeezes harder, then lifts his head - he's hugging ANOTHER JACK. The real Jack gasps, flinches backwards, landing on the gun. He turns, grabs the gun, and turns back around. Fifty feet away, Tyler, standing, leans against a pillar. He winks. Jack raises the gun, turns it around and aims it at his own head. JACK There's only one way to stop all this. Jack shoves the barrel into his mouth. TYLER You better not. If our body is found dead, the Space Monkeys have orders to kill Marla. JACK Marla is gone - and you do n't know where. Tyler's hand suddenly DARTS INTO FRAME, CLOSE - UP and SNATCHES the gun. NEW ANGLE Tyler, laughing, holding the gun, dashes for the elevator. Jack sprints after him.","INT. ELEVATOR Jack manages to leap inside just as the door closes. He lunges at Tyler and fights for the gun. Tyler, laughing, manages to retain it. The elevator climbs rapidly - blinking numbers indicate floors whizzing past.","INT. TOP FLOOR LOBBY The elevator doors open and the struggling pair whirl out and toward the GLASS WALLS. Tyler SHOVES Jack's HEAD against the window, turns it so Jack is looking down. ANGLE ON STREET A GREYHOUND BUS sits idling right by the front lobby doors, having been allowed through the cordon.","INT. TOP FLOOR LOBBY - RESUMING As Tyler and Jack continue to stare downward. JACK That's. not the bus. TYLER You know it is. Tyler swings Jack away from the window and shoves him backwards. TYLER Now, can you grasp that there's nothing you can do? Jack raises the gun, aiming at Tyler. Tyler laughs, but flinches - just as Jack FIRES. The bullet chews out a CHUNK of the wall. JACK I'm not going to kill myself. I'm going to kill * you *. Tyler laughs, but he starts rapidly moving down the hallway. TYLER You ca n't kill me! How can you kill me?! Jack FIRES again, missing Tyler. Tyler breaks into a sprint. Jack does the same.","INT. HALLWAY Jack turns a corner, sees Tyler at the end of the section of hallway, heading for an intersection. Jack aims the gun at Tyler. RAPID CUT SECURITY CAMERA POV - HALLWAY Jack aims the gun at himself. RAPID CUT TO :","INT. HALLWAY Jack FIRES. As Tyler flinches down - RAPID CUT TO : SECURITY CAMERA POV - HALLWAY * Jack * flinches down, having shot at himself. RAPID CUT TO :","INT. HALLWAY Jack resumes sprinting until he turns a corner to","INT. NEW SECTION OF HALLWAY Jack sees Tyler turn, freeze, then leap sideways toward a room. Jack FIRES. The bullet GRAZES Tyler's leg. RAPID CUT TO : SECURITY CAMERA POV - HALLWAY Jack, with the gun still aimed at his own leg, falls backwards, bleeding from the graze wound his just gave himself. RAPID CUT TO :","INT. HALLWAY Jack pulls himself to his feet, and, his face now looking completely insane, runs with his limp, holding the gun up, ready to fire. He turns a corner to -","INT. TOP FLOOR LOBBY And suddenly, Tyler LEAPS onto Jack. RAPID CUT TO : SECURITY CAMERA POV - LOBBY Jack crumples to the floor and wrestles with himself. He punches himself, he tries to trap pin his own arms, he kicks himself. RAPID","INT. TOP FLOOR LOBBY Tyler leaps to his feet and dashes away. Jack pulls himself up and follows into a -","INT. LARGE SOCIAL ROOM With floor - to - ceiling windows showing a view of the city. There are a HUNDRED DUFFEL BAGS lining the floor, along the walls. Tyler leaps onto Jack seizes the gun. Jack holds onto Tyler. Tyler shoves the gun barrel into Jack's mouth. TYLER Okay - let's kill you - let's kill * both * of us. Be a martyr for the cause. Tyler pushes Jack against a glass wall. Jack, exhausted, is losing his spirit. JACK -LRB- V.O. -RRB- I think this is about where we came in. TYLER Two minutes. Jack collapses to the floor. Tyler moves down with him, keeping the gun in Jack's mouth. He sits on Jack. JACK Either way - the building blows us up or you pull the trigger - it'll finally be over. TYLER This building is n't going to blow up. It's the observation room. Pay - per - view. So, what are you going to do? You do n't even have the guts to make a decision. Jack looks into his eyes for a moment, then reaches up and PULLS THE TRIGGER. * GO TO SLOW MOTION * AS - KABLAM! his cheeks INFLATE with gas from the gun. His eyes bulge, BLOOD flies out backwards from his head. SMOKE wafts out of his mouth. RESUME NORMAL SPEED as Tyler gapes at Jack, then reaches behind his head and feels - there's a HOLE BLOWN OUT THE BACK. Tyler's eyes glaze over and he falls backwards, plopping on the floor, DEAD, with a grin on his face. A throng of Space Monkeys - two of whom drag Marla - RUSHES into the room. They see Jack, ALONE, holding a gun, bleeding profusely from the side of his face, where he's SHOT A HOLE through HIS CHEEK. He stares at the empty floor in front of him with his weird, little smile. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?! The two Space Monkeys who hold Marla press forward through the crowd. One of them puts a GUN to her head. He COCKS it. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?! Jack takes in the sight of Marla and the gun at her head. He cracks a Tyler - esque grin. JACK Everything's fine. Give me the girl. The Monkeys release Marla. She moves next to Jack, now becoming more shocked by his bloody state. Jack grabs her arm. She digs through her purse and pulls out a wad of tissue paper. She puts them into his mouth to plug the hole. MARLA What the fuck is going on?! Jack cracks his weird, little smile ; his eyes are wide and half - insane - looking. He winks at Marla and squeezes her hand. JACK Tyler's dead. The Space Monkeys all grab their duffel bags and file out of the room, saluting Jack as they go. Now, Jack and Marla are completely alone. He struggles to get to his feet. She helps him. They look out the window. MASSIVE EXPLOSION - a building a quarter of a mile away. It's destruction is completely visible from here. The glass walls RATTLE LOUDLY from the shock wave. They both stare out the window. JACK Listen, you met me at a really weird time in my life. Marla looks at Jack, then looks back out the window. He reaches for her hand. She takes his hand. They are SILHOUETTED against BRIGHT FLASHES as ANOTHER BUILDING EXPLODES and COLLAPSES. ANOTHER BUILDING EXPLODES. And ANOTHER BUILDING. And ANOTHER BUILDING. The FILM SLOWS DOWN, then ADVANCES ONE FRAME at a TIME - SHOWING the SPROCKET HOLES on the SIDES. It's CAUGHT in the mechanism of the projector's GATE. EACH FRAME is the EXPLODING BUILDINGS - then, * ONE FRAME is a PENIS *. Then, EXPLODING BUILDINGS again. SPEED UP the frames, LOSE the sprocket holes, RESUME NORMAL SPEED. FADE OUT * THE END *"],"string":"[\n \"SCREEN BLACK JACK -LRB- V.O. -RRB- People were always asking me, did I know Tyler Durden.\",\n \"INT. SOCIAL ROOM - TOP FLOOR OF HIGH-RISE - NIGHT TYLER has the barrel of a HANDGUN lodged in JACK'S MOUTH. They struggle intensely. They are both around 30 ; Tyler is blond, handsome, eyes burning with frightening intensity ; and JACK, brunette, is appealing in a dry sort of way. They are both sweating and disheveled ; Jack seems to be losing his will to fight. TYLER We wo n't really die. We'll be immortal. JACK oor - ee - ee - uh - aa - i - JACK -LRB- V.O. -RRB- With a gun barrel between your teeth, you speak only in vowels. Jack tongues the barrel to the side of his mouth. JACK -LRB- still distorted -RRB- You're thinking of vampires. Jack tries to get the gun. Tyler keeps control. JACK -LRB- V.O. -RRB- With my tongue, I can feel the silencer holes drilled into the barrel of the gun. Most of the noise a gunshot makes is expanding gases. I totally forgot about Tyler's whole murder - suicide thing for a second and I wondered how clean the gun barrel was. Tyler checks his watch. TYLER Three minutes. Jack turns so that he can see down - 71 STORIES. JACK -LRB- V.O. -RRB- The building we're standing wo n't be here in three minutes. You take a 98 - percent concentration of fuming nitric acid and add three times as much sulfuric in a bathtub full of ice. Then, glycerin drop - by - drop. Nitroglycerin. I know this because Tyler knows this. Jack manages to SHOVE Tyler away. Then, he leaps onto him and they fall onto a table, then roll off onto the floor. The gun falls and slides. They wrestle with each other, then dash for the gun. Tyler gets there first and grabs the gun. DURING THE ABOVE : JACK -LRB- V.O. -RRB- The Demolitions Committee of Project Mayhem wrapped the foundation columns of this building with blasting gelatin. The primary charge will blow the base charge, and this spot Tyler and I are standing on will be a point in the sky. Tyler drags Jack back to the glass wall and forces him to look out at the city skyline. TYLER This is our world now. Two minutes. JACK -LRB- V.O. -RRB- Two minutes to go and I'm wondering how I got here. MOVE IN ON JACK'S FACE. SLOWLY PULL BACK from Jack's face. It's pressed against TWO LARGE BREASTS that belong to. BOB, a big moose of a man, around 35 years old. Jack is engulfed by Bob's arms in an embrace. Bob weeps openly. His shoulders inhale themselves up in a long draw, then drop, drop, drop in jerking sobs. Jack gives Bob some squeezes in return, but his face is stone. JACK -LRB- V.O. -RRB- Bob had bitch tits. PULL BACK TO WIDE ON\",\n \"INT. HIGH SCHOOL GYMNASIUM - NIGHT All the men are paired off, hugging each other, talking in emotional tones. Some pairs lean forward, heads pressed ear - to - ear, the way wrestlers stand, locked. Near the door a temporary sign on a stand : `` REMAINING MEN TOGETHER''. JACK -LRB- V.O. -RRB- This was a support group for men with testicular cancer. The big moosie slobbering all over me was Bob. BOB I owned my own gym. I did product endorsements. JACK You were a six - time champion. JACK -LRB- V.O. -RRB- Bob, the big cheesebread. Always told me his life story. BOB We're still men. JACK Yes. We're men. Men is what we are. JACK -LRB- V.O. -RRB- Bob cried. Six months ago, his testicles were removed. Then hormone therapy. He developed bitch tits because his testosterone was too high and his body upped the estrogen. That was where my head fit - into his sweating tits that hang enormous, the way we think of God's as big. Bob hugs tighter, then looks with empathy into Jack's eyes. BOB Maybe it's just seminoma. With seminoma, you have a hundred percent survival rate. The Leader steps forward and signals everyone. LEADER Okay. Group hug. Everyone converges into a cluster with arms thrown around shoulders, making a big mass of sobbing, smiling goodwill. JACK -LRB- V.O. -RRB- No. Wait. Back up. Let me start earlier.\",\n \"INT. JACK'S BEDROOM - NIGHT Jack lies in bed, staring at the ceiling. He hears VOICES from beyond the wall. A FLY buzzes over his face. He swats at it, missing. JACK -LRB- V.O. -RRB- For six months. I could n't sleep.\",\n \"INT. DOCTOR'S OFFICE - DAY Jack, eyes puffy, face pale, sits before the Doctor, who studies him with bemusement. DOCTOR No, you ca n't die of insomnia. JACK Maybe I already died. Look at my face. DOCTOR You need to lighten up. JACK Can you give me something? JACK -LRB- V.O. -RRB- Little red - and - blue Tuinal, lipstick - red Seconals. DOCTOR -LRB- overlapping w / above -RRB- You need healthy, natural sleep. Chew valerian root and get more exercise. The Doctor ushers Jack to the door. They step into the\",\n \"INT. HALLWAY Where the Doctor starts moving away from Jack, picking up a chart on a door. JACK I'm in pain. DOCTOR -LRB- facetious -RRB- You want to see pain? Swing by Meyer High on a Tuesday night and see the guys with testicular cancer. The Doctor moves into the other room. Jack stares after him somberly. MOVE IN ON JACK'S FACE.\",\n \"INT. HIGH SCHOOL GYMNASIUM - NIGHT Jack stares at a group of men, including Bob, who are all listening to a group member speak at a lectern. The speaker has death - white skin and sunken eyes - he's clearly dying. SPEAKER I. wanted to have three kids. Two boys and a girl. Mindy wanted two girls and one boy. We never agreed on anything. The Speaker cracks a sad smile. Some men chuckle, happy to lighten the mood. SPEAKER Well. she had her first girl a month ago. with her new husband. Thank God, because she deserves. The speaker breaks down and WEEPS UNCONTROLLABLY. Jack is riveted. He barely breathes. CUT TO :\",\n \"INT. GYM - LATER A Leader herds people into pairing - off. LEADER Find a partner. Bob starts toward Jack, shuffling his feet. Jack watches him, still moved by his experience, face full of intense empathy. JACK -LRB- V.O. -RRB- The big moosie, his eyes already shrink - wrapped in tears. Knees together, invisible steps. Bob takes Jack into an embrace. JACK -LRB- V.O. -RRB- He pancaked down on top of me. BOB Two grown kids. and they wo n't return my calls. JACK -LRB- V.O. -RRB- Strangers with this kind of honesty make me go a big rubbery one. Jack's face is rapt and sincere. Bob stops talking and breaks into sobbing, putting his head down on Jack's shoulder and completely covering Jack's face. JACK -LRB- V.O. -RRB- Then, I was lost in oblivion - dark and silent and complete. Jack's body begins to jerk in sobs. He tightens his arms around Bob. JACK -LRB- V.O. -RRB- This was freedom. Losing all hope was freedom. Jack pulls back from Bob. On Bob's chest, there's a WET MASK of Jack's face from how he looked weeping. JACK -LRB- V.O. -RRB- Babies do n't sleep this well.\",\n \"INT. JACKS' BEDROOM - NIGHT Jack lies sound asleep. JACK -LRB- V.O. -RRB- I became addicted.\",\n \"INT. SMALL PROTESTANT CHURCH - NIGHT Jack moves into a `` group hug'' of sickly people, men and women. In view is a sign by the door `` Free and Clear''. JACK -LRB- V.O. -RRB- I felt more alive than I've ever felt.\",\n \"INT. OFFICE BUILDING BASEMENT - NIGHT Jack pulls back from a group hug of more sickly people. They pair - off. Jack stands with a weeping middle - aged WOMAN. He gingerly takes her in his arms, pats her back. He begins to cry along with her. In view is a sign by the door : `` Onward and Upward''. JACK -LRB- V.O. -RRB- If I did n't say anything, people assumed the worst. They cried harder. I cried harder.\",\n \"INT. CATHOLIC CATHEDRAL - NIGHT Jack is in an embrace with a YOUNG MAN. They are both weeping. JACK -LRB- V.O. -RRB- I was n't really dying. I was n't host to cancer or parasites ; no, I was the warm little center that the life of this world crowded around.\",\n \"INT. PUBLIC BUILDING CONFERENCE ROOM - NIGHT Everyone settles in their seats and a Leader takes the microphone. LEADER Okay, everyone, close your eyes. Imagine your pain as a white ball of healing light. Go down your secret path to your cave and join up with your power animal.\",\n \"EXT. ENTRANCE OF CAVE (JACK'S IMAGINATION) Jack walks up to the entrance and out comes a PENGUIN. The penguin looks at him, smiles. PENGUIN Slide.\",\n \"EXT. STREET - NIGHT Jack walks out of a doorway, saying goodbye to people. He walks down the sidewalk, his face shining with peace. JACK -LRB- V.O. -RRB- Every evening I died and every evening I was born. Resurrected.\",\n \"INT. HIGH SCHOOL GYMNASIUM - *RESUMING* Jack still hanging in an embrace with Bob. JACK -LRB- V.O. -RRB- Bob loved me because he thought my testicles were removed, too. Being there, my face against his tits, getting ready to cry - this was my vacation. MARLA SINGER enters. She has short matte black hair and big, dark eyes like a character from Japanese animation. MARLA This is cancer, right? She raises a cigarette to her lips. The men gape at her, dumbfounded. JACK -LRB- V.O. -RRB- And * she * ruined everything.\",\n \"INT. HIGH SCHOOL GYMNASIUM - LATER Everyone paired - off. MOVE THROUGH ROOM and catch snippets of intimate, painful CONVERSATION. FIND JACK'S FACE as it stares, over Bob's shoulder, eyes full of deep hostility. JACK -LRB- V.O. -RRB- Liar. Faker. Liar. MOVE THROUGH ROOM, hearing more CONVERSATION. FIND MARLA'S FACE, over the shoulder of a MAN she's being embraced by, SMOKING, blowing smoke rings. JACK -LRB- V.O. -RRB- This. chick. Marla Singer. did not have testicular cancer. She had no diseases. She was a liar. I saw her at `` We Shall Overcome,'' my melanoma group Monday night.\",\n \"INT. SMALL PROTESTANT CHURCH - NIGHT Marla sits with the group, smoking, while a member speaks. Jack glares at her.\",\n \"INT. CATHOLIC CATHEDRAL - NIGHT Everyone sits with eyes closed while a speaker takes them through a meditation. Various COUGHING around the room. Jack's eyes open and he glares at Marla. Her eyes are closed and she's smoking a cigarette. JACK -LRB- V.O. -RRB-. at `` Seize The Day,'' my tuberculosis group Friday night.\",\n \"INT. HIGH SCHOOL GYMNASIUM - RESUMING Jack continues to glare at Marla. Her eyes briefly catch his, then roll. Another puff of the cigarette. JACK -LRB- V.O. -RRB- Marla - the big tourist. The faker. With her there, I was a faker, too. Her lie reflected my lie. And all of a sudden, I felt nothing. With her there, I could n't cry.\",\n \"INT. JACK'S BEDROOM - NIGHT Jack, fully clothed, lies on top of his bed, holding a cordless phone to his ear. He stares at the ceiling and swats at a fly. JACK -LRB- V.O. -RRB- So, once again, I could n't sleep. Jack hears something on the phone. He sits up. JACK I've been holding for thirty minutes. Spread all over the floor by Jack's feet are INVOICES for CREDIT CARDS. JACK Yes, that's right. Yes, but I transferred part of my balance to my Visa to get the lower rate. Oh, wait. No, it was n't your Visa. Okay, I transferred all of the MasterCard. to. -LRB- MORE. -RRB- JACK -LRB- CONT'D. -RRB- Look, can I just come down in person? I live here - in Wilmington. Yes, all my credit cards have main headquarters here. No? Why not? Why ca n't I speak to an account rep? No, wait, do n't put me on - Jack reacts to being put on hold.\",\n \"INT. BATHROOM - MOMENTS LATER Jack sits on the toilet. He digs through a magazine rack. IKEA catalogues, Pottery Barn catalogues and more of the kind. Jack opens an IKEA catalog and flips through it. JACK -LRB- V.O. -RRB- I had become a slave to the IKEA nesting instinct. If I saw something like the clever Njurunda coffee tables in the shape of a lime green Yin and an orange Yang - Move in on PHOTO of the tables. CUT TO :\",\n \"INT. JACK'S LIVING ROOM - NIGHT Completely EMPTY. JACK -LRB- V.O. -RRB- I had to have it. The Njurunda tables APPEAR. INSERT - PHOTO OF SOFAS JACK -LRB- V.O. -RRB- The Haparanda sofa group.\",\n \"INT. JACK'S LIVING ROOM - NIGHT The sofa group APPEARS. JACK -LRB- V.O. -RRB-. with the orange slip covers by Erika Pekkari. The Johanneshov armchair in the Strinne green stripe pattern. The armchair APPEARS. JACK -LRB- V.O. -RRB- The Rislampa/Har lamps from wire and environmentally - friendly unbleached paper. The lamp APPEARS. JACK -LRB- V.O. -RRB- The Vild hall clock of galvanized steel. The clock APPEARS. JACK -LRB- V.O. -RRB- The Klipsk shelving unit. The shelving unit APPEARS.\",\n \"INT. BATHROOM - RESUMING Jack flips the page of the catalogue to reveal a full - page photo of an entire kitchen and dining room set. JACK -LRB- V.O. -RRB- I would flip and wonder, `` What kind of dining room set * defines * me as a person?'' Jack drops the catalog down, open to this spread. PAN OVER to the magazine stack - there's an old, tattered PLAYBOY. JACK -LRB- V.O. -RRB- It used to be Playboys ; now - IKEA.\",\n \"INT. JACK'S KITCHEN AND DINING ROOM - CONTINUOUS - Looking exactly like the photo in the catalogue. Jack walks in with the cordless phone still glued to his ear. JACK I want to transfer my balance to get a lower interest rate. Jack looks over the whole kitchen, dining room, and the living room beyond. JACK -LRB- V.O. -RRB- The things you own, they end up owning you. Jack opens a cabinet, takes out a plate. JACK -LRB- V.O. -RRB- My hand - blown green glass dishes with the tiny bubbles and imperfections, proof they were crafted by the honest, simple, hard - working indigenous peoples of wherever. He rummages through the refrigerator. It's practically empty. Jack takes out a jar of mustard, opens it and uses a butter knife to eat it.\",\n \"INT. BEDROOM - LATER Jack lies on the bed, phone still at his ear. JACK I want to talk to a live person. Jack reacts, listens, impatiently punches a single number ; waits, listens, punches another single number ; listens. He rolls over, looks at one of the bills on the floor and punches an entire credit card number. JACK -LRB- V.O. -RRB- Next support group, after guided meditation, the white healing ball of light, after we open our chakras, when it comes time to hug, I'm going to grab that little bitch, Marla Singer, squeeze her arms down against her sides and say. JACK Marla, you liar, you big tourist. Get out. Jack yawns, rubs his eyes. They stay wide open. He punches another number into the phone. He sees a LEVITATING, STEAMING Starbucks paper coffee cup move from side to side in front of his face.\",\n \"INT. COPY ROOM - DAY Jack stands over a copy machine. The Starbucks cup sits on the lid, moving back and forth as the machine makes copies. JACK -LRB- V.O. -RRB- With insomnia, nothing is real. Everything is far away. Everything is a copy of a copy of a copy. Other people make copies, all with Starbucks cups, sipping.\",\n \"INT. OFFICE AREA - DAY Floor - to - ceiling glass instead of walls. Industrial low - pile gray carpet. Walls of upholstered plywood. There are four small offices connected by a hallway to one large office.\",\n \"INT. JACK'S OFFICE - SAME Jack, sipping from a Starbucks cup, stares blankly at his Starbucks bag on the floor, full of newspapers. JACK -LRB- V.O. -RRB- When deep space exploitation ramps up, it will be corporations that name everything. The IBM Stellar Sphere. The Philip Morris Galaxy. Planet Starbucks. Jack looks up as a pudgy MAN in his late thirties, enters. Starbucks cup in hand, pulls up a chair, and slides a stack of reports on Jack's desk. He pats Jack's back in a superficially - friendly way. PUDGY MAN I'm going to need you out - of - town a little more this week. We've got some `` red - flags'' to cover. JACK -LRB- V.O. -RRB- It must've been Tuesday. My Boss was wearing his cornflower - blue tie. JACK -LRB- listless `` management - speak'' -RRB- You want me to de - prioritize my current reports until you advise of a status upgrade? PUDGY MAN - `` BOSS'' You need to make these your primary `` action items''. JACK -LRB- V.O. -RRB- He was full of pep. Must've had his latte enema. BOSS Here's your flight coupons. Call me from the road if there's any snags. Your itinerary. Jack hides a yawn and pretends to listen. JACK -LRB- V.O. -RRB- When you have insomnia, you're never really awake and you're never really asleep, either.\",\n \"INT. SMALL PROTESTANT CHURCH - NIGHT Jack walks in and joins the crowd. LEADER Okay, everyone. Chloe. Jack catches sight of Marla, scowls at her. Taking the lectern is CHLOE, a pale, sickly girl whose skin stretches yellowish and tight around her bones. She wears a head bandage. OVER the beginning of her JACK -LRB- V.O. -RRB- Chloe looked the way Joni Mitchell's skeleton would look if you made it smile and walk around a party being extra nice to everyone. CHLOE My status update is. I'm still here - but I do n't know for how long. That's as much certainty as they can give me. I'm in a pretty lonely place. No one will have sex with me. I'm so close to death and all I want is to get laid for the last time. I have pornographic movies in my apartment, and lubricants and amyl nitrate. The LEADER hardly knows what to do. He inches his way to the lectern, and gingerly takes control of the microphone. LEADER Thank you, Chloe. Everyone, close your eyes for meditation. Go to your cave and find your power animal.\",\n \"EXT. ENTRANCE OF CAVE (JACK'S IMAGINATION) Jack walks up to the entrance and finds MARLA - smoking a cigarette blowing smoke into his face, rolling her eyes in condescension. MARLA Slide.\",\n \"INT. CHRUCH - RESUMING Jack's eyes snap open and turn to Marla. He glowers, watching her smoke with her eyes closed.\",\n \"INT. CHURCH - LATER The Leader, smiling opens his eyes and looks around the group. LEADER Good. Now. Pair off for the one - on - one. Pick someone special to you tonight. Everyone stands and mills about, slowly pairing - off. Jack sees the ghastly spectre of Chloe coming towards him. He smiles at her. She smiles back ; it takes her some time to amble to him. CHLOE Hello, Cornelius. JACK -LRB- V.O. -RRB- I never gave my real name at support groups. CHLOE I'm showing signs of improvement. JACK -LRB- V.O. -RRB- Everyone was always getting better. They never said `` parasite'' ; they said `` agent''. She smiles at him with a twisted, dying mouth. Her eyes eerily bright with desperation. Jack's lip trembles as he, in a sincere attempt at levity, chokes out : JACK You. look. like a pirate. Chloe laughs, a little too much. Jack squeezes out a laugh. Then, he sees Marla, off by herself. Someone is heading for her. Most people have paired - off. Jack gives a quick nod to Chloe and darts for Marla, grabbing her. Chloe watches in sad surprise. STAY ON JACK AND MARLA as he drags her off to the periphery. He whispers into her ear. JACK We need to talk. MARLA O - * kay *. Sure. JACK You're a faker. You are n't dying. Okay, in the brainy brain - food philosophy way, we're all dying. But you're not dying the way Chloe is dying. LEADER Tell the other person how you feel. MARLA You're not dying, either. -LRB- reading his nametag. -RRB-. * Cornelius *. LEADER Share yourself completely. JACK These are my groups. I found them! MARLA I saw you practicing this. JACK What? MARLA - Telling me off. Is it going as well as you thought it would? JACK I'll expose you! MARLA Go ahead. MEDIATOR Let yourself cry. Marla puts her head down on Jack's shoulder as if she were crying. Jack pulls her head back up. She deadpans at him. JACK I've put in some serious time on these groups - I've been coming for a year. MARLA Must've been tough to pull off. JACK Anyone who might've noticed me in that time has either died or recovered and never come back. MARLA Why do you do it? JACK Why do you? No answer. The Leader passes right by Jack and Marla. LEADER Open up. share with each other. JACK. If people think you're dying, they really listen, instead of just waiting for their turn to speak. Everything else about credit card debts and sad radio songs and thinning hair goes out the window. MARLA It started with a lump. I went to a breast cancer support group. The lump turned out benign. But I still needed my Monday fix. So, I went to lymphoma, just to check it out. Dying people are so * alive *. JACK It becomes an addiction. MARLA Yeah. Jack almost smiles, then turns sullen. He pulls back from her. LEADER Now, the closing prayer. JACK Look, I ca n't go to a group with a faker present. Marla's mood hardens. MARLA Well, I ca n't either. LEADER Oh, bless us and hold us. JACK We'll split up the week. Marla starts out of the room. Jack follows her. LEADER. help us and help us.\",\n \"EXT. CHURCH - NIGHT - CONTINUOUS Marla gets to the sidewalk, moving quickly along. JACK You can have lymphoma, tuberculosis and - MARLA No, you take tuberculosis. My smoking does n't go over well. JACK I think testicular cancer should be no contest. MARLA You have your balls, do n't you? Technically, * I * have more of a right to be there than you. JACK You're kidding. MARLA I do n't know - am I? Jack follows Marla into\",\n \"INT. LAUNDROMAT - CONTINUOUS As she walks with authority up to an unwatched DRYER. She takes out all the clothes, sets them on a table and sorts through them, picking out jeans, pants and shirts. MARLA I'll take the parasites. JACK You ca n't have * both * parasites. You take blood parasites and - MARLA I want brain parasites. She opens another dryer and does the same thing again. JACK Okay. I'll take blood parasites and I'll take organic brain dementia and - MARLA I want that. JACK You ca n't have the whole brain! MARLA So far, you have four and I have two! JACK Well, then, take blood parasites. Now, we each have three. Marla gathers up all the chosen garments and heads back for the door. She whooshes past Jack.\",\n \"EXT. SIDEWALK - CONTINUOUS Jack follows, bewildered. JACK You left half your clothes. HONK! Jack starts. Marla's led him into the street with traffic barreling down. She defiantly stomps in front of the cars, which screech to a halt and blare their horns. Jack dashes across. Marla heads into a THRIFT STORE. Jack follows.\",\n \"INT. THRIFT STORE - CONTINUOUS Marla drops all the clothes on a back counter. An old CLERK sifts through the clothes, marks on a pad. JACK What are you doing? You're selling those clothes? Marla steps down hard on Jack's foot. He jerks, wincing in pain. MARLA -LRB- for the Clerk to hear -RRB- Yes, I'm selling some clothes. The Clerk starts to ring up the various amounts he's assessed. MARLA So, we each have three - that's six. What about the seventh day? I want ascending bowel cancer. JACK -LRB- V.O. -RRB- The girl had done her homework. JACK * I * want ascending bowel cancer. The Clerk gives Marla and Jack a strange look as he hands over money to Marla. MARLA That's your favorite, too? Tried to slip it by me, huh? JACK We'll split it. You get it the first and third Sunday of the month. MARLA Deal. They shake hands. Jack starts to withdraw his ; Marla holds it. MARLA I guess this is goodbye. JACK Let's not make a big deal out of this. She walks toward the door. Jack watches her go. MARLA -LRB- not looking back -RRB- How's this for not making a big deal?\",\n \"EXT. SIDEWALK - CONTINUOUS Jack dashes out and catches up to her. JACK Uh, Marla. Should we exchange phone numbers? MARLA Should we? JACK In case we want to switch nights. MARLA Uh - hunh. Sure. He takes out a business card and a pen. He writes his home number on the back and hands it to her. She takes his pen, grabs his hand and writes her number on his palm. She gives him a quick grin, slaps the pen back into his palm, then saunters out into the middle of the street, causing more screeching of tires and honking. She turns back, holding up the card. MARLA It does n't have your name on it. Who are you? Cornelius? Any of the stupid names you give at group? Jack starts to yell, but the traffic noise is too loud. Marla just shakes her head at him, turns, and keeps moving away. A bus moves into view and stops, obscuring her. JACK -LRB- V.O. -RRB- Marla's philosophy of life, I later found out, was that she could die at any moment. The tragedy of her life was that she did n't.\",\n \"INT. AIRPLANE CABIN - DAY As the plane touches down for landing and the cabin BUMPS, Jack's eyes pop open. JACK -LRB- V.O. -RRB- You wake up at O'Hare.\",\n \"INT. AIRPLANE CABIN - DAY Jack snaps awake again, looking around, disoriented. JACK -LRB- V.O. -RRB- You wake up at SeaTac.\",\n \"EXT. HIGHWAY - DUSK The rear end of a car is visible sticking up by the side of the road. Jack stands near the car, marking on a document. The SUN SETS behind him.\",\n \"INT. AIRPORT - NIGHT Jack walks up to a gate counter. An ATTENDANT smiles at him. ATTENDANT Check - in for that flight does n't begin for another two hours, Sir. Jack looks at his watch, steps away and looks at an overhanging clock. His eyes are bleary as he reads it, adjusts his watch. JACK -LRB- V.O. -RRB- Pacific, Mountain, Central. You lose an hour, you gain an hour. This is your life, and it's ending one minute at a time.\",\n \"INT. AIRPLANE CABIN - DAY Jack's eyes snap open as the plane LANDS. JACK -LRB- V.O. -RRB- You wake up at Air Harbor International.\",\n \"INT. AIRPORT WALKWAY Jack stands on a conveyor belt, briefcase at his feet, moving slowly with the flow of the belt. His tired eyes watch people on the opposite conveyor belt, moving past him. JACK -LRB- V.O. -RRB- If you wake up at a different time and a different place, can you be a different person? Jack's eyes catch sight of TYLER - who we recognize from the opening sequence - on the opposite conveyor belt. They pass each other.\",\n \"INT. AIRPLANE CABIN - IN FLIGHT - NIGHT Jack sits next to a BUSINESSMAN. As they have idle CONVERSATION, we MOVE IN ON Jack's fold - out tray. An ATTENDANT'S HANDS set coffee down with a small packet of sugar and a small container of cream. JACK -LRB- V.O. -RRB- The charm of traveling is : everywhere I go - tiny life. Single - serving sugar, single - serving cream. CUT TO : The hands place a plastic dinner tray down. Jack opens the various containers. JACK -LRB- V.O. -RRB- Single - serving butter, single - serving salt. Single - serving cordon blue.\",\n \"INT. HOTEL ROOM - BATHROOM - NIGHT Jack brushes his teeth. JACK -LRB- V.O. -RRB- Single - use toothbrush. Single - serving mouthwash, single serving soap. Jack picks up an individual, wrapped Q - TIP, looks at it. He moves out of the bathroom into MAIN AREA And sits on the bed. He turns on the television. It's tuned to the `` Sheraton Channel'' and shows WAITERS serving people in a large BANQUET ROOM. Jack stops brushing his teeth, feels something near him on the bed, finds it, lifts it. It's a small MINT.\",\n \"INT. AIRPLANE CABIN - IN FLIGHT - NIGHT Jack sits next to a frumpy WOMAN and they chat. Jack turns to look at his food and takes a bite. He turns back and it's - a BALD MAN sitting next to him, talking. He takes another bite, turns back and it's - a BUSINESSMAN sitting next to him. He takes another bite, turns back, and it's - a BUSINESS WOMAN sitting next to him. JACK -LRB- V.O. -RRB- The people I meet on each flight - they're single - serving * friends *. Between take - off and landing, we have our time together, then we never see each other again.\",\n \"INT. AIRPLANE CABIN - LANDING Jack's eyes snap open. JACK -LRB- V.O. -RRB- You wake up at Logan.\",\n \"EXT. CONCRETE LOT - DAY Surrounded by cinderblock walls. Two TECHNICIANS in uniform lead Jack to a WAREHOUSE door. They open it, revealing a BURNT - OUT SHELL of a WRECKED AUTOMOBILE. They move into the\",\n \"INT. WAREHOUSE - CONTINUOUS And Jack sets down his briefcase, opens it, and starts to make notes on a FORM. JACK -LRB- V.O. -RRB- I'm a recall coordinator. My job was to apply the formula. It's simple arithmetic. TECHNICIAN # 1 Here's where the baby went through the window. Three points. JACK -LRB- V.O. -RRB- It's a story problem. A new car built by my company leaves Boston traveling at 60 miles per hour. The rear differential locks up. TECHNICIAN # 2 The teenager's braces locked around the backseat ashtray. Kind makes a good `` anti - smoking'' ad. JACK -LRB- V.O. -RRB- The car crashes and burns with everyone trapped inside. Now : do we initiate a recall? TECHNICIAN # 1 The father must've been obese. See how the fat burned into the driver's seat, mixed with the dye of his shirt? Kind like modern art. JACK -LRB- V.O. -RRB- You take the number of vehicles in the field. -LRB- A. -RRB- and multiply it by the probable rate of failure. -LRB- B. -RRB-, multiply the result by the average out - of - court settlement. -LRB- C. -RRB-. A times B times C equals X. If X is less than the cost of a recall, we do n't do one.\",\n \"INT. AIRPLANE CABIN - TAKING OFF - NIGHT Next to Jack, a chubby, middle - aged LADY gawks at him, appalled. LADY. Which. car company do you work for? JACK A major one. LADY Oh. Jack turns his attention to the window as the PLANE ASCENDS. The lady's VOICE FADES. Jack sees a PELICAN get SUCKED into the TURBINE. His face remains bland during the following : The plane BUCKLES - the cabin wobbles loosely. People begin to panic. Oxygen masks fall. JACK -LRB- V.O. -RRB- Life insurance pays off triple if you die on a business trip. A forceful IMPACT with the ground and people - except for Jack - LURCH FORWARD, some jerking against their seatbelts, magazines and other objects fly forward. JACK -LRB- V.O. -RRB- No more expense accounts, receipt required for over twenty - five dollars. A BALL OF FIRE swoops forward from the rear of the cabin and INCINERATES EVERYTHING AND EVERYBODY - except Jack, who remains in his same position in his seat, with the bland expression. JACK -LRB- V.O. -RRB- No more haircuts. Nothing matters, not even bad breath. DING! - the seatbelt light goes OUT. * EVERYTHING IS NORMAL *. JACK -LRB- V.O. -RRB- Always the same fantasy. But - no such luck. Jack's eyes are closed. He seems asleep. From next to him, a VOICE we've heard before. VOICE There are three ways to make napalm. One, mix equal parts of gasoline and frozen orange juice. Jack's eyes snap open and he turns to see * Tyler *, who is staring out the window. Without turning to Jack, he continues : TYLER Two, mix equal parts of gasoline and diet cola. Three, dissolve crumbled cat litter in gasoline until the mixture is thick. Jack's smile fades. Tyler turns to him and grins. He reaches down under the seat in front of him and pulls up a briefcase. Jack looks at it with trepidation. JACK -LRB- V.O. -RRB- This is how I met - Tyler offers his hand, Jack takes it and Tyler squeezes firmly and shakes hands. TYLER Tyler Durden. You know why they have oxygen masks on planes? JACK Supply oxygen? TYLER That's a sharp answer. The oxygen gets you high. You're taking in giant, panicked breaths and, suddenly, you become euphoric and docile, and you accept your fate. Tyler grabs a safety instruction card from the seat pocket and shows Jack the passive faces on the drawn figures. Tyler imitates the face. Jack laughs ; he is completely beguiled. JACK What do you do, Tyler? TYLER What do you want me to do? JACK I mean - for a living. TYLER Why? So you can say, `` Oh, * that's * what you do.'' - And be a smug little shit about it? Jack laughs. He points to his own briefcase, under the seat in front of him. JACK We have the same briefcase. Tyler pops the latches on his briefcase. A beat, while Jack's expression turns nervous again about what's inside. Tyler swings the lid up, revealing a full bounty of quaintly - wrapped bars of soap. TYLER I make and sell soap. He gives Jack one. Jack takes it, looks it over. TYLER If you add nitric acid to the soap - making process, you get nitroglycerin. With enough soap, you could blow up the world. Jack now looks at the bar of soap nervously. He looks at Tyler, slowly smiles and shakes his head. Tyler takes out a blank BOARDING PASS. He takes out a small stencil, scrapes a pencil over it, creating a seat number which looks printed. Then, he takes out a stamp and ink pad. He stamps the pass. JACK Uh. why are you going to Wilmington? TYLER I live there. JACK Me, too. Tyler shuts his briefcase and stands. TYLER Excuse me. Jack stands, allowing Tyler to pass into the aisle. JACK So, uh. we should hook up sometime. Jack hands Tyler a business card. Tyler snatches it, writes down a number, hands it back to Jack. JACK Tyler, you're by far the most interesting `` single - serving'' friend I've ever met. A beat as Tyler stares at him, deadpan. Jack, enjoying his own chance to be witty, leans a bit closer to Tyler. JACK You see, when you travel, everything is - TYLER I grasp the concept. You're very clever. JACK Thank you. TYLER How's that working out for you? - Being clever. JACK -LRB- thrown off -RRB- Well, uh. uh. great. TYLER Keep it up, then. Keep it right up. Jack sits and watches Tyler walk up to the curtain dividing First Class. Tyler show the bogus boarding pass to an ATTENDANT, who leads him through the curtain.\",\n \"INT. BAGGAGE CLAIM AREA - WILMINGTON - NIGHT Utterly empty of baggage, and, except for Jack and a SECURITY TASK FORCE MAN, utterly empty of people ; quiet. The Security TFM, smirking, holds a receiver to his ear from an official phone on the wall. SECURITY TFM -LRB- to Jack -RRB- Throwers do n't worry about ticking. Modern bombs do n't tick. JACK Throwers? SECURITY TFM Baggage handlers. But when a suitcase vibrates, the throwers have to call the police. JACK My suitcase was * vibrating *? SECURITY TFM Nine times out of ten, it's an electric razor. One out of ten, it's a dildo. Sometimes it's even a * man *. It's airline policy not to imply ownership in the event of a dildo. We got ta use the indefinite article :'' * A * dildo''. Never'' * Your * dildo''. JACK -LRB- V.O. -RRB- I had everything in that bag. Six white shirts, two black trousers, six pair underwear, alarm clock, contact lens stuff, and. cordless electric razor. SECURITY TFM -LRB- into phone -RRB- Yeah? Oh, fuck, now a recording. The Security TFM punches a few code numbers into the phone, waits. CUT\",\n \"EXT. EMPTY RUNWAY - NIGHT A solitary SUITCASE sits on the concrete. KABOM! The suitcase explodes. CUT TO :\",\n \"INT. BAGGAGE CLAIM AREA - RESUMING The Security TFM still on hold, entertains Jack. SECURITY TFM -LRB- to Jack -RRB- You know the industry slang for `` flight attendant''? `` Air Mattress''. -LRB- into phone -RRB- Yeah? Really? The Security TFM, turns to Jack, shakes his head, hangs up the phone ; shrugs.\",\n \"EXT. AIRPORT DRIVE - MOMENTS LATER Jack waits by the curb as a TAXI approaches. JACK -LRB- V.O. -RRB- Things could be worse. A spider could lay eggs under the skin in your face and the larva could tunnel around and baby spiders could burst from your nostrils.\",\n \"INT. TAXI - MOVING - NIGHT Along a residential street. Jack looks ahead, sees a tall grey, bland building on the corner. JACK -LRB- V.O. -RRB- Home was a condo on the fifteenth floor of a filing cabinet for widows and young professionals. The taxi approaches the intersection. JACK -LRB- V.O. -RRB- The walls were solid concrete. A foot of concrete is important when your next - door neighbor lets her hearing aid go and has to watch game shows at full blast. The taxi turns a corner and Jack sees the front of the building. A diffuse CLOUD of SMOKE wafts away from a BLOWN - OUT SECTION on the fifteenth floor. FIRETRUCKS, POLICECARS and a MOB are all crowded around the lobby area. JACK -LRB- V.O. -RRB- - Or when a volcanic blast of burning gas and debris that used to be your furniture and personal effects blows out your floor - to - ceiling window and sails down flaming to leave just your condo - only yours - a gutted, charred concrete hole in the cliffside of the building.\",\n \"EXT. STREET IN FRONT OF BUILDING Jack, gaping at the sight above him, absently gives the Cabbie money. The taxi pulls away. Jack stands frozen. JACK -LRB- V.O. -RRB- These things happen. Jack starts toward the building. He enters the fray of people, pushes through to the lobby. The DOORMAN sees him, gives a sad smile, shakes his head. Jack starts for the elevator. DOORMAN There's nothing up there. Jack presses the button ; waits. The Doorman moves next to him. DOORMAN You ca n't go into the unit. Police orders. They're investigating for arson. The elevator doors open. Jack hesitates. The doors close. DOORMAN Do you have someone you can call? Jack heads back for the lobby doors. The Doorman follows.\",\n \"EXT. CONDO BUILDING - CONTINUOUS Jack walks past SMOKING, CHARRED DEBRIS - a flash of ORANGE from the Yang table, a CLOCK FACE from the hall clock, part of an arm from the GREEN ARMCHAIR. His feet CRUNCH glass. He gets to a payphone. The Doorman stays right with him, watching him. CUT TO : CLOSE SHOT - JACK'S STOVE Hissing. JACK -LRB- V.O. -RRB- Later, the police told me someone could've turned the pilot light off, turned a burner on.\",\n \"EXT. PAYPHONE - RESUMING Jack picks up the receiver, stares at the numbers on the phone. DOORMAN A lot of young people try to impress the world and buy too many things. CLOSE SHOT - JACK'S ENTIRE CONDO - KITCHEN AND LIVING ROOM Sound of the HISS. JACK -LRB- V.O. -RRB- The gas then could have slowly filled the condo from floor to ceiling in every room. Seventeen - hundred square feet with high ceilings for days and days.\",\n \"EXT. PAYPHONE - RESUMING Jack's fingers move over the numbers lightly, as he thinks. DOORMAN A lot of young people do n't know what they really want. INSERT - CLOSE ON BASE OF JACK'S REFRIGERATOR JACK -LRB- V.O. -RRB- Then, the refrigerator's compressor clicked on. Click. KABLAM! SCREEN GOES WHITE.\",\n \"EXT. PAYPHONE - RESUMING Jack digs into his pocket, pulls out his business card, turns it over - sees the number Tyler wrote. He dials it. Its rings. and rings. He waits. JACK -LRB- V.O. -RRB- Tyler Durden. Rescue me. DOORMAN Young people think they want the whole world. JACK -LRB- V.O. -RRB- Deliver me from Swedish furniture. Deliver me from clever art. DOORMAN If you do n't know what you want, you end up with a lot you do n't. JACK -LRB- V.O. -RRB- May I never be content. May I never be complete. May I never be perfect. Deliver me. Jack sighs and hands up the phone. He starts to push past the Doorman when the phone RINGS. Jack grabs it. JACK Hello? TYLER'S VOICE Who's this? JACK Tyler?\",\n \"EXT. LOU'S TAVERN - NIGHT A small building, sitting squarely in the middle of a large concrete parking lot. A few street lamps illuminate the lot. a freeway runs nearby.\",\n \"INT. LOU'S TAVERN - SAME Jack and Tyler sit at a table in the very back of the room. A half - empty pitcher of beer shows dried foam scum from the previous refill. Five DRUNKEN GUYS at a table at the opposite side of the bar keep glancing over and chuckling in a potentially hostile manner. TYLER You buy furniture. You tell yourself, this is the last sofa you'll ever need in your life ; no matter what else goes wrong, you've got the sofa issue handled. Then the right set of dishes. Then the right bed. The drapes. The rug. This is how you're good to yourself. This is how you fill up your life. JACK I. guess so. TYLER And now your condo blows up and you have nothing. JACK I. guess so. TYLER And now you find yourself, sitting here, feeling like it's the best thing that ever happened to you. JACK. yeah. TYLER I do n't know you, so maybe I'm wrong. Maybe it's a terrible fucking tragedy. JACK. no. TYLER I mean, you lost a lot of nice, perfect, neat little shit. JACK Fuck it all. TYLER Wow. That's pretty strong. JACK. yeah. TYLER Do you have family you can call? JACK My mother would just go into hysterics. My Dad. Do n't know where he is. Only knew him for six years. Then, he ran off to a new city and married another woman and had more kids. Every six years - new city, new family. He was setting up franchises. Tyler smiles, snorts, shakes his head. TYLER A generation of men raised by women. Look what it's done to you. JACK To me? TYLER We're on our third pitcher of beer and you still ca n't ask me. JACK Huh? TYLER Why do n't you cut the shit and ask me if you can stay at my place? JACK Well. uh. TYLER Why do n't you cut the shit and ask me if you can stay at my place? JACK Would that be a problem? TYLER Is it a problem for you to ask me? JACK Can I stay at your place? TYLER Yeah. JACK Thanks. TYLER - If you do me one favor. JACK What's that? TYLER I want you to hit me as hard as you can. * FREEZE PICTURE * JACK -LRB- V.O. -RRB- Let me tell you a little bit about Tyler Durden. EXTREME CLOSE - UP - FILM FRAME - And we can see it's a PENIS.\",\n \"INT. PROJECTIONIST ROOM - THEATRE - NIGHT Jack, in the foreground, FACES CAMERA. In the BACKGROUND, Tyler sits at a bench, looking at individual FRAMES that have been cut out of movies. Near him, the PROJECTOR rolls a film. JACK Tyler works some nights as a projectionist. A film does n't come in one big reel. Tyler speaks to Jack normally, not to the camera. TYLER In an old theatre, two projectors are used. I have to change projectors at the exact second so the audience never sees the break when one reel starts and one reel runs out. You can see two dots on screen at the end of a reel - this is the warning. JACK He splices single frames of genitalia from porno movies into family films. TYLER One - twenty - forth of a second. That's how long the penis flashes up there. Towering, slippery, red and terrible, and no one knows they've seen it. Jack and Tyler watch the audience of PARENTS and CHILDREN as an ANIMAL adventure MOVIE plays. Suddenly, children start becoming uncomfortable and squirming. Some start CRYING. Some THROW UP. JACK Tyler also worked as a.\",\n \"INT. LARGE BANQUET HALL - NIGHT Tyler moves the cart around one of many tables, ladling out soup. Jack stands in the same position. FACING CAMERA. JACK. banquet waiter at the luxurious Pressman Hotel. The GUESTS are dressed in resplendent clothes, reeking of wealth and privilege. They command the WAITERS with snaps of the finger. Complaints pop like gunshots. The stiff - necked CATERING MANAGER contemptuously hawk - eyes the waiters. It's hellish.\",\n \"INT. SERVICE ELEVATOR - NIGHT Jack turns and WE PAN to Tyler, standing by a CART with a giant SOUP TUREEN and bowls. His hands are at his open fly and he's in position to piss into the soup. TYLER Do n't watch. I ca n't if you watch me. CAMERA PANS to original position as Jack continues TO CAMERA. JACK He was a guerrilla terrorist of the food service industry. TYLER -LRB- O.S. -RRB- Shit. I ca n't go. After a beat, the sound of WATER SPLASHING the floor. Jack peeks and sees Tyler pouring out a water glass with one hand, the other hand at his crotch. TYLER. Oh, yeah. * Oh *, yeah. Jack turns back TO CAMERA. JACK He farted on creme brulee ; he sneezed on braised endive ; and, with creme of mushroom soup, he. he. TYLER -LRB- O.S. -RRB- Go ahead. Say it. JACK Well, you get the idea.\",\n \"EXT. PARKING LOT OF TAVERN - RESUMING Tyler and Jack come out of the bar ; Jack shakes his head. JACK What? TYLER Hit me as hard as you can. Tyler leads Jack into an open area, lit by a streetlamp. JACK I do n't know about this, Tyler. TYLER I do n't know either. I want to find out. We're virgins. Neither one of us has ever been hit. JACK You've never been in a fight? TYLER I did n't say that. I said I've never been hit. JACK That's good, isnt' it? TYLER Listen to me - hit me. You're the only one I ever asked. JACK Me? Jack stares at him. The five drunken GUYS - the same ones who stared at them earlier - have formed a distant perimeter, sensing a fight. Jack glances at them, then back at Tyler. JACK I've. never hit anyone in my life. TYLER Go crazy. Let it rip. JACK Where do you want it? In the face or the stomach? TYLER Surprise me. Jack swings a wide, clumsy roundhouse that connects with Tyler's neck. It makes a dull, soft flat sound. Tyler's neck turns red. JACK Shit. Sorry. That did n't count. Let me try again. TYLER Like hell. That counted. Tyler shoots out a straight punch to Jack's chest. The impact makes a dull, barely - audible sound and Jack falls back against a car. The Guys whoop and clap, moving closer. Jack's eyes involuntarily well up with tears. He and Tyler breathe HEAVILY and sprout BEADS of SWEAT on their faces. TYLER How do you feel? JACK Strange. TYLER But a * good * strange. JACK Is it? TYLER We've crossed the threshold. JACK. I guess so. TYLER You want to call it off? JACK Call what off? TYLER The fight. JACK * What * fight? TYLER I'm tired of watching only professionals. I do n't want to die without any scars. How much can you really know about yourself if you never go at it, one - on - one? JACK Tyler. TYLER Are you a pussy? Jack swings another roundhouse that slams right under Tyler's ear. The sound, soft and flat. Tyler punches Jack in the stomach. The Guys move closer, cheering the fight. Tyler and Jack move clumsily, throwing punches. They breathe heavier, their eyes red and bright. They drool saliva and blood. They each hurt badly and become dizzier from every impact. JACK -LRB- V.O. -RRB- If you've never been in a fight, you wonder about getting hurt, about what you're capable of doing against another man. Tyler and Jack keep fighting. The guys mix laughter with their cheers, looking at each other in wondrous amusement.\",\n \"EXT. CURBSIDE - LATER Jack and Tyler sit on the curb, staring at the sparse headlights on the nearby freeway. Their eyes are glazed with endorphin - induced serenity. They look at each other. Laugh. Look away. TYLER What were you fighting? JACK My job. My boss, who fiddles with my DOS execute commands. Marla, at my support groups. Everything that's broken and does n't work in my life. What were you fighting? TYLER My father. A pause as Jack studies Tyler's face. JACK We should do this again sometime. Tyler cracks a smile, gives a sidelong glance to Jack, then returns his stare to the night sky.\",\n \"EXT. PAPER STREET - NIGHT A street sign : `` PAPER STREET''. An abandoned PAPER MILL sits on one side and only ONE HOUSE on the other, the rest of the land being undeveloped grass and weeds. It's an old, grand, three - story gone to seed. It looks abandoned, too.\",\n \"INT. PAPER ST. HOUSE - LIVING ROOM -SAME Tyler leads Jack up a staircase to a 2ND FLOOR LANDING, then opens the door to a room.\",\n \"INT. ROOM - CONTINUOUS Jack steps into the room, sits down on the old bed. It CREAKS. Dust drifts upward. JACK -LRB- V.O. -RRB- I do n't know how Tyler found the house. He'd been there for half a year. It was waiting for re - zoning or something.\",\n \"EXT. LOU'S TAVERN PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - A group of SIX GUYS watching TWO GUYS in a fist fight. CUT TO :\",\n \"INT. PAPER ST. HOUSE - KITCHEN - MORNING Jack, his face showing new bruises and cuts, his knuckles puffy, shoos away cockroaches as he makes coffee with a wire - mesh strainer. He has a happy little smile. JACK -LRB- V.O. -RRB- Nothing worked. The rusty plumbing leaked. Turning on a light meant that another light in the house went out. The stairs were ready to collapse.\",\n \"EXT. CONVENIENCE STORE PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with TEN GUYS around two guys fighting. CUT TO :\",\n \"INT. SHOWER - MORNING Jack, showing some new bruises, with even fatter knuckles, turns on the water. LOUD VIBRATION from the walls. Water spits in starts, then dribbles out. CUT TO :\",\n \"INT. KITCHEN - MORNING Tyler, in a nice suit, checks over the bars of soap in his briefcase, then shuts it. Jack walks in, dressed in his work clothes. He picks up a battered old saucepan with boiling coal - black coffee and sips. He offers it to Tyler, who sips. Jack pulls a TOOTH out of his mouth and throws it into the sink. They both walk out the door.\",\n \"EXT. CINEMA PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with FOURTEEN GUYS around a fight. CUT TO :\",\n \"EXT. PORCH - NIGHT Tyler, in his waiter uniform, sits next to Jack on the lip of the porch. They both have newer, different bruises and cuts, sit and guzzle beer. THUNDERCLAPS. RAIN begins to fall. Tyler gets to his feet.\",\n \"INT. BASEMENT - SAME Tyler and Jack are knee - deep in water, standing by a FUSEBOX. Tyler opens it. He grabs two breaker switches, waits for Jack. Jack grabs two other switches, apparently, they have to do this in a certain order. Tyler flips his switches, then Jack flips his. CUT TO :\",\n \"EXT. CONSTRUCTION AREA - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with EIGHTEEN GUYS around a fight. CUT TO :\",\n \"INT. LIVING ROOM - NIGHT Rain DRIPS from the ceiling - some of it from LIGHT FIXTURES. Tyler and Jack enter with LIT CANDLES. They sit down on the decrepit, buckled wood floor. There's not one item of furniture in the room. There are, however, THOUSANDS of MAGAZINES. JACK -LRB- V.O. -RRB- The previous occupant collected magazines. They each pick up an opened magazine and resume reading, adjusting close to the candles. Tyler lies down next to him, setting his candle next to Jack's. Tyler picks up a magazine. TYLER What are your reading? JACK `` I Am Joe's Lungs''. It's written in first person. `` Without me, Joe could not take in oxygen to feed his red blood cells''. TYLER Sounds fascinating. JACK It's a whole series - `` I Am Joe's Prostate''. TYLER `` I get cancer, and I kill Joe''. JACK What are you reading? TYLER Soldier of Fortune, National Geographic. New Republic. Forbes. JACK Show - off. JACK -LRB- V.O. -RRB- Every Wednesday night, after fighting like wild animals, we were too wired to go to sleep.\",\n \"INT. CONFERENCE ROOM - DAY In near DARKNESS as a SLIDE SHOW progresses, run by a chipper salesman, WALTER. Jack sits, deadpan, with a PUFFY LIP and a BRUISE on his cheek. JACK -LRB- V.O. -RRB- Thursday morning, my Boss did n't know what to think. Boss blocks him from the rest of the room, gives him a dubious look, turns back to Walter. JACK -LRB- V.O. -RRB- And all I could do was think about next week. Walter advances to the next slide, showing a view of a COMPUTER SCREEN. WALTER The basic premise of microsofting your office is - make things more efficient. As Walter continues, his sales pitched gets drowned out by Jack's narration : JACK -LRB- V.O. -RRB- Walter, the Microsoft account exec, smiled at me with his steam shovel jaw. Walter, with his smooth, soft hands. Here he was, doing his cute little show. Maybe thinking about a free - range potluck he'd been to last weekend, but probably not. Walter moves to Jack and slaps his shoulder. WALTER I showed this already to my man here. You liked it, did n't you? Slowly, Jack smiles. His teeth are RED with BLOOD. They GLOW eerily in the dim light. JACK -LRB- V.O. -RRB- You can swallow a pint of blood before you get sick. WALTER Jeez, I'd hate to see what happened to the other guy. Jack keeps the smile frozen on his face. JACK -LRB- V.O. -RRB- Fuck Walter. His candy ass would n't last a second in fight club.\",\n \"EXT. LOU'S TAVERN - NIGHT Out of silent darkness, HEADLIGHTS appear from all directions. A synchronous WAVE of cars PULLS UP and parks in the already - filled lot. Young men get out of the arriving cars and wander into the tavern. We recognize, among them, the GUYS who watched Tyler and Jack's * first fight *.\",\n \"INT. LOU'S TAVERN - SAME The men enter ; the bartender, IRVINE, calls out : IRVINE Drink up people. We're closing. Let's go. The crowd consists of men and women YUPPIES : blue collar REGULARS dressed in work clothes or like cowboys ; floozy barfly WOMEN. MUSIC plays from the jukebox. The arriving men simply wait. And wait. Tyler and Jack enter. They, too, stand back against he wall. The waiting army begins to share secret looks and grins. A certain level of eagerness can be seen among them. Irvine looks at Jack and grins. He flips on LIGHTS. The drunken customers squint and get the message. They gulp down their drinks, plop down money and filter out the door. Irvine hits a button and the jukebox loses power - the record simply turns slower until it stops revolving. Finally, the last of the irritated customers leaves. One guy locks the door. Two other guys pull down blinds. Someone else moves over to the BASEMENT DOOR and opens it.\",\n \"INT. BASEMENT STEPS - MOMENTS LATER The grinning men march down steps ; CHATTER begins. TALL GUY I brought my roommate tonight. Phil. FAT GUY Oh, yeah? Hi, Phil. TALL GUY He kept seeing what I looked like. Had to check it out.\",\n \"INT. TAVERN BASEMENT - SAME A BOMB - SHELTER - concrete floor, concrete walls. One BARE LIGHT BULB hangs by a wire from the ceiling. Tyler nods to Jack and Jack turns on the light. The guys mill around, finding partners. The whole mood is very friendly. Everyone brims with eagerness, but tries to act cool about it. CHATTER gets LOUDER. FAT GUY A mean uppercut. WIRY GUY I got ta work on my left. SHORT GUY * He's * got a left. FAT GUY Hey, you're wiping the floor with dudes who are way out of your weight class. TALL GUY -LRB- slapping Wiry Guy's shoulder -RRB- Skinny guys. They fight till they're burger. PEAKING CHATTER, then - Tyler moves into position directly under the light bulb. His face is partially in shadow. Everyone spreads out, forming a circle, the light bulb for a center. Tyler's will WIPES through the room and the CHATTER DIES. A couple of COUGHS, FEET SHUFFLING. Then, SILENCE. TYLER The first rule of fight club is - you do n't talk about fight club. The second rule of fight club is - you do n't talk about fight club. Jack glances over at a short guy, RICKY, with a BLACK EYE. JACK -LRB- V.O. -RRB- This kid, Ricky - supply clerk - he ca n't remember whether you ordered pens with blue ink or black ink. TYLER The third rule in fight club is - when someone says `` stop'' or goes limp, the fight is over. The fourth rule is - only two guys to a fight. JACK -LRB- V.O. -RRB- But Ricky was a god for ten minutes when he trounced an actuary twice his size. TYLER Fifth rule - one fight at a time. Sixth rule - no shirts or shoes. Seventh rule - fights go on as long as they have to. And the eighth rule of fight club is - if this is your first night, you * have * to fight. Tyler steps back, and a FAT MAN and a GOATEED MAN take off their shirts and shoes and step into the center. They circle each other, then begin throwing punches. SWEAT flies into the moist air. SHOUTS become DEAFENING. JACK -LRB- V.O. -RRB- Sometimes you could hear flat, hard packing sounds over all the yelling as someone caught his breath and sprayed : GOATEED MAN Ssstop.\",\n \"INT. OFFICE PARK RESTAURANT - DAY Jack, eating lunch, is served a refill soda by the BROKEN - NOSED WAITER with a GOATEE, the man from the above fight. JACK -LRB- V.O. -RRB- Even if I could tell someone they had a good fight, I would n't be talking to the same man. Who you were in fight club is not who you were in the rest of your world. You were n't alive anywhere like you were alive at fight club. But fight club only exists in the hours between when fight club starts and when fight club ends.\",\n \"INT. JACK'S OFFICE - DAY Boss, passing by the doorway, looks in at Jack with irritated wonder. Jack, playing solitaire on his computer, daubs blood from his mouth with a handkerchief. BOSS What are you getting yourself into every week? Jack flashes a smile at Boss. Boss shakes his head, walks away. JACK -LRB- V.O. -RRB- After a night in fight club, everything else in your life gets the volume turned down. You can deal with anything. All the people who used to have power over you have less and less. Reflexively, Jack's tongue plays with his teeth. JACK -LRB- V.O. -RRB- By this point, I could wiggle most of the teeth in my jaw.\",\n \"INT. BUS - DAY Jack stands, holding a hand grip. An arrogant MAN in a three - piece suit brushes past him, knockng his shoulder. JACK -LRB- V.O. -RRB- We all started to size people up. Jack violently knocks the Man's shoulder in return. The Man turns and he and Jack face each other for a brief moment. Jack's face is stone. JACK -LRB- V.O. -RRB- I'd look at some asshole and * know * I could beat him. The arrogant Man continues down the aisle. Jack notices a GUY with SMASHED LIP. The Guy grins, giving a slight nod.\",\n \"INT. PARKING GARAGE - DAY (FLASHBACK) Jack walks past the parking garage. He sees a VALET who has facial bruises. JACK -LRB- V.O. -RRB- We were all doing it. The Valet and Jack share a quick smile. A BMW pulls up and HONKS at the Bruised Valet. The bruised Valet has no reaction as a FAT EXEC gets out of his car and tosses the keys. Jack watches the Bruised Valet size up the Exec, then hop into the car and loudly PEEL OUT. JACK -LRB- V.O. -RRB- I would see them all the time - fight club members looking at other guys, knowing they could kick their asses.\",\n \"INT. TAVERN BASEMENT - NIGHT Jack lands a couple of jabs to HIS OPPONENT'S stomach, then brings up a left uppercut that smashes the Opponent's jaw. Tiny spatters of BLOOD adorn the walls, along with sweat. JACK -LRB- V.O. -RRB- Fight club was not about winning or losing. It was n't about words. The Opponent recovers, throws a headlock on Jack. Jack snakes his arm into a counter headlock. They, wrestling like wild animals. The crowd CHEERS maniacally. JACK -LRB- V.O. -RRB- The hysterical shouting was in tongues, like at a Pentecostal church. The onlookers kneel to stay with the fight, cheering ever louder. The Opponent smashes Jack's head into the floor, over and over. JACK Stop. Everyone moves in as the Opponent steps away. They lift Jack to his feet. On the floor is a BLOOD MASK of Jack's face - similar to his TEAR MASK on BOB'S SHIRT, seen earlier. Tyler pushes through the crowd. TYLER Cool.\",\n \"EXT. BAR - NIGHT Everyone files out of the bar, sweating, bleeding, smiling. JACK -LRB- V.O. -RRB- Afterwards, we all felt saved.\",\n \"EXT. SIDEWALK - NIGHT Jack and Tyler walk through the pools of light cast by streetlamps. They both drip blood and sport bruises. They each carry a 4x4 piece of WOOD. As they pass parked cars, they SLAM the sticks against the front bumpers, setting off the ALARMS and causing the AIR BAGS to INFLATE. They come to a bus stop that has a large display ad for jeans. It has a photo of a shirtless man. TYLER Is that what a man looks like? JACK Is n't it? Tyler smears blood on the ad. They continue on their way. Tyler comes to a `` ROAD WORK'' sign. Tyler kicks it into a deep HOLE. He and Jack tightrope - walk on wooden beams over darkness. TYLER Guys packing into the gyms, all trying to look like what Calvin Klein says. Fight club is n't about looking good. As they step back onto solid pavement, Tyler kicks one of the beams, causing it to come loose and fall. The whole temporary work structure falls into the hole. Tyler and Jack continue walking. IN the background, a car SKIDS and FISHTAILS, avoiding the hole. Sound of a SIREN getting closer. Tyler hands Jack the 4x4 and runs, laughing. Jack stands there a moment, then throws the stick and runs after Tyler. JACK -LRB- V.O. -RRB- A guy comes to fight club for the first time, and his ass is a wad of cookie dough. After a few weeks, he looks carved out of wood. He trusts himself to handle anything.\",\n \"EXT. ANOTHER STREET - CONTINUOUS Jack and Tyler, panting, sweat mixing with blood, slow down and resume walking. Tyler pulls his fingers, popping them - his knuckles are swollen. He grins at the pain. TYLER Self - improvement is masturbaation. Self - destruction is the answer.\",\n \"INT. PAPER ST. HOUSE - KITCHEN - LATE AFTERNOON The PHONE RINGS. Jack enters from the living room, buttoning his shirt. He answers. JACK Hello? INTERCUT WITH\",\n \"INT. MARLA'S ROOM - SAME She lies on the bed, twisting the phone cord around her neck like a noose. MARLA Where have you been the last few weeks? JACK Marla? MARLA I have n't seen you at any support groups. JACK That's the idea - we split them. MARLA You have n't been going to yours. JACK I found a new one. MARLA Really? Can I go to it? JACK It's for men. MARLA Like testicular cancer? JACK Like that. Look, this is a bad time. MARLA I started going to debtor's anonymous. You want to see * really * fucked up people? JACK Look, I'm going out. MARLA I'm going out of my mind. I got a stomach full of Xanax. I took what was left of the bottle. Might've been too much. probably was. Jack turns TO CAMERA. JACK -LRB- V.O. -RRB- Picture yourself watching Marla throw herself around her crummy apartment, saying, `` I'm dying. Dying. Dying. It could go on for hours. JACK You probably want to die in peace. I'll let you go. MARLA Stay on the line. I want you to hear me describe death. Jack puts the handset on top of the phone, still off the hook, and walks out of the kitchen. MARLA'S VOICE I want to see if my spirit can use the telephone.\",\n \"INT. BEDROOM - LATE NIGHT GRUNTS of PLEASURE and EXERTION. In dim light, we get glimpses of TORSOS, ASSES, LEGS, ARMS, BREASTS, and BLACK FEMALE HAIR - all DRENECHED in SWEAT. Sheets RIP. CA - CHUNK! CA - CHUNK! Bodies hit the FLOOR and roll. More insane GRUNTING. And LAUGHING - CACKLING. A flash of MARLA'S FACE. Then, groans of ecstasy approaching climax.\",\n \"INT. JACK'S BEDROOM - SUNRISE Jack sits up in bed, looks around the room.\",\n \"INT. 2ND FLOOR LANDING Jack steps out of his room, looks down to the next door - the door is closed. JACK -LRB- V.O. -RRB- Tyler's door was closed. I'd been living here a month, and Tyler's door never closed.\",\n \"INT. BATHROOM - SAME Jack stares into the toilet. CLOSE UP - SIX USED CONDOMS IN TOILET.\",\n \"INT. KITCHEN - MORNING Jack sits at the table, sipping coffee, reading Reader's Digest. He takes in a long yawn, rubs his eyes. He hears FOOTSTEPS approaching. JACK You're not going to believe the dream I had. Marla walks in, straightening her dress. She looks like she's been raped by a hurricane. Some of her hair is matted against her head, some of it is sticking out wildly. Jack gapes at her in shock. She cracks a coy smile and runs a finger across the back of his neck. MARLA I can hardly believe * anything * about last night. She pours herself a cup of coffee. She takes a big gulp, GARGLES and SPITS it out into the sink. She gives Jack a lascivious smile. Then, she sips from the cup. She strokes his hair. He pulls back from her. JACK What the fuck are you doing here?! Marla looks at him a beat, then throws the cup into the sink and it SHATTERS. MARLA Fuck you. She kicks open the door to the backyard and walks out. Jack watches her stomp across the lawn to the sidewalk and down the street. Jack turns and - Tyler is at his shoulder, staring after Marla. He's in his usual sweatpants. He grins at Jack, then moves away, pours himself coffee. Jack, smoldering, slumps at the table and picks up Reader's Digest. Tyler puts his foot on a countertop and begins to do stretching exercises. TYLER That crazy bitch almost fucked me in half. Get this - I come home and the phone is off the hook. MOVE IN ON JACK'S FACE as he pretends to read, but glances up at Tyler. TYLER'S VOICE FADES as : JACK -LRB- V.O. -RRB- I already knew the story before he told it to me.\",\n \"INT. KITCHEN - LATE AFTERNOON (FLASHBACK) Tyler enters through the back door and moves to the phone. MARLA'S VOICE -LRB- from handset -RRB- I'll tell you when I'm floating out of my body. Gently, Tyler lifts the handset and listens, smiling. JACK -LRB- V.O. -RRB- I do n't know why, but Tyler actually thought it was a * bad * thing that Marla was about to die.\",\n \"INT. 8TH FLOOR LANDING - LATE AFTERNOON (FLASHBACK) Tyler reaches the top of the stairs and heads for Marla's room. Before he can knock, Marla's hand shoots out and grabs Tyler's arm.\",\n \"INT. MARLA'S ROOM - CONTINUOUS (FLASHBACK) Marla pulls Tyler inside and shuts the door. Her drugged eyes look him over. MARLA You got here fast. She staggers and sits on the bed. She slides off, along with the blanket and sheets, to the floor. MARLA The mattresses here are all sealed in slippery plastic. She tries to focus her eye on Tyler. MARLA Did I call you? SIRENS and vehicles SCREECHING to a halt outside. Doors opening and SLAMMING ; running FOOTFALL. Marla scowls and RAMS Tyler with her knee, knocking him off her. PG54 MARLA You called the cops?! Shit! She gets to her feet, grabs Tyler, hauls him to his feet and pulls him out the door.\",\n \"INT. HALLWAY (FLASHBACK) Marla LOCKS her door, then shoves Tyler toward the staircase. She and Tyler suddenly flatten agains the wall as COPS and PARAMEDICS charge by with oxygen. COP Where's 8 - G? MARLA End of the hall. The rescuers keep running. Marla and Tyler start down the steps. Marla lingers a beat, hearing the cops bang on the door. She calls out to them : MARLA The girl who lives there used to be a charming, lovely girl. But she has no faith in herself. Tyler yanks on Marla's arm. They continue down the steps, with Marla's speech getting louder. MARLA And she's worried that, as she grows older, she'll have less options. She's turned into a monster! She's infectious human waste! Good luck trying to save her!\",\n \"INT. KITCHEN - NIGHT (FLASHBACK) Tyler makes coffee. Marla slouches against the refrigerator. MARLA If I fall asleep, I die. You have to keep me up all night. Tyler smiles. JACK -LRB- V.O. -RRB- He was able to handle it.\",\n \"INT. TYLER'S ROOM - DAWN (FLASHBACK) Marla and Tyler, in a wrecked bed. Tyler's eyes are closed. Marla kisses his ear. MARLA According to ancient Chinese custom, you're responsible for me forever, because you saved my life.\",\n \"INT. KITCHEN - MORNING - RESUMING Tyler gulps some coffee, shaking his head. TYLER. And she's spouting this crap she got from watching too much television. JACK -LRB- V.O. -RRB- If only I had n't gone to a movie. If only I went to her stupid room to watch her die. Tyler sits opposite him, studies his face. TYLER You are n't doing her, are you? JACK -LRB- V.O. -RRB- I Am Joe's Raging Bile Duct. JACK No. TYLER I did n't think so. JACK You did n't think so? TYLER She's not your type. JACK How would you know what my type is? TYLER She's just a wild, twisted bitch. JACK Oh, and my pace is more librarians and den mothers. TYLER Kinky. PG56 JACK -LRB- V.O. -RRB- How could someone like Tyler get involved with someone like Marla Singer? It was impossible. JACK Marla does n't need a lover. She needs a case worker. TYLER This is sport - fucking. She's a hosebag. JACK -LRB- V.O. -RRB- She invaded my support groups, now she's invaded my home. My friendship. Like a cancer. TYLER You're okay, are n't you? JACK -LRB- V.O. -RRB- I Am Joe's Clenching Bowels. JACK Sure. JACK -LRB- V.O. -RRB- Put a gun to my head and paint the wall with my brains. JACK It's fine, great. TYLER Now, listen. You got ta understand something about me. I got a little rule. Do n't ever talk to her about me. I ca n't stand that kind of shit. Tyler fixes Jack with a friendly, but firm stare. TYLER If you ever mention me to her - or anyone else - I'll find out about it. And you'll never see me again. JACK Okay. TYLER You promise? JACK I promise. Tyler abruptly gets up and leaves the kitchen. Jack watches him go, smoldering.\",\n \"INT. LIVING ROOM - NIGHT Jack sits watching television at HIGH VOLUME. Sounds of ROUGH SEX from upstairs.\",\n \"INT. JACK'S BEDROOM - NIGHT Jack lies calmly, in a Zen state, on his bed, staring at the ceilng. Sounds of THUMPS and CRASHES from beyond the wall, along with Tyler's and Marla's VOICES, SNARLING : MARLA'S VOICE You slimy discharge! JACK -LRB- V.O. -RRB- I could've moved to another room, one on the third floor - so I would n't have heard them. But I did n't.\",\n \"INT. BATHROOM - NIGHT Jack brushes his teeth. JACK -LRB- V.O. -RRB- I wrote little haiku things : `` Worker bees can leave Even drones can fly away The queen is their slave'' I became the calm little center of the world. I was the Zen master. MOVE IN ON - KEYHOLE - Jack's EYE MARLA -LRB- gasping in passion -RRB- I love you. I want to have your abortion.\",\n \"INT. BASEMENT - NIGHT Sound of RAIN pelting the house. Jack flips the fuses off, walks up the stairs. JACK -LRB- V.O. -RRB- `` A tiger can smile A snake will say it loves you Lies make us evil''\",\n \"INT. 2ND FLOOR LANDING - SAME Jack walks up the steps. He hears Marla SCREAM in orgasm. He reaches the landing. Tyler's door is slightly ajar. Jack ca n't help stopping. JACK'S POV - TYLER'S ROOM Marla's legs are sprawled on the bed. Her head is down over the far side, out of view. The door PUSHES OPEN WIDER - Tyler, naked, stands CLOSE TO CAMERA. TYLER What are you doing? WIDE ON LANDING Jack steps back. JACK I. uh. just going to bed. Tyler grins and nods toward bed. TYLER You want to finish her off? JACK Uh. nah. Jack continues toward his room.\",\n \"INT. JACK'S OFFICE - DAY Jack's clothes are PERMANENTLY STAINED with BLOOD. He sits in his Zen pose, typing. We see his HAIKUS on the screen. JACK -LRB- V.O. -RRB- I faxed them around to everyone. He hits `` SEND''. Boss enters, reacts with exasperated irritaiton at the sight. BOSS Is that your blood? JACK * Some * of it, yeah. Boss stares at Jack like he's from Mars. BOSS Take the rest of the day off. Come back tomorrow with clean clothes. And get yourself together.\",\n \"INT. HALLWAY - SAME Jack, looking like a war casualty, walks past COWORKERS who coldly stare at him. His face is totally passive. JACK -LRB- V.O. -RRB- I got right in everyone's hostile little face. Yes, these are bruises from fighting. See? It's nothing to me? See how cool I am about it? That's right, I'm enlightened!\",\n \"EXT. PAPER STREET - SUNSET Jack walks toward the house. JACK -LRB- V.O. -RRB- You give up the condo life, give up all your worldly possessions and go live in a dilapidated house in the toxic waste part of town.\",\n \"INT. TYLER'S KITCHEN - SUNSET Jack walks inside. Sound of VIOLENT SEX from upstairs - THUDS and WHAMS. Pieces of PLASTER fall from the ceiling in tufts of dust. JACK -LRB- V.O. -RRB-. And you come home to * this *. TYLER'S VOICE Take that, butt wipe! Jack rolls his eyes, takes off his pants. He runs water in the sink. He takes a tiny bit of soap and begins to scrub the blood stains. PHONE RINGS. He answers. JACK Hello? Speaking. INTERCUT WITH\",\n \"INT. POLICE STATION - OFFICE DETECTIVE STERN leans forward in his chair, consulting a file. DETECTIVE STERN This is Detective Stern with the arson unit. We have some new information about your condo. The deadbolt on your front door was shattered. Someone sprayed freon into the lock to freeze it. Then, they tapped it with a cold chisel to shatter the cylinder. JACK -LRB- V.O. -RRB- I Am Joe's Cold Sweat. And, in fact, cold sweat beads up on Jack's forehead. He scrubs his pants obsessively. DETECTIVE STERN The dynamite had a residue of ammonium oxalate and potassium perchloride - this means we can assume it was homemade. JACK This is. really a shock to me, Sir. DETECTIVE STERN Whoever set the dynamite could've turned on the gas and blown out the pilot lights on the stove days before the explosion took place. The gas was just the trigger. JACK Who do you think did it? DETECTIVE STERN I'm asking the questions, son. JACK I loved my life. I loved that condo. I loved every stick of furniture. That was my whole life. Everything - the lamps, the chairs, the rugs - * were * me. The dishes were me. The plants were me. The television was me. JACK -LRB- V.O. -RRB- I'd like to thank the academy. DETECTIVE STERN Do you know anyone who'd have the expertise and the motive to do something like this? Jack's eyes move upward, then back down. JACK Uh. no. DETECTIVE STERN Well, think about it. If any ideas come to you, give me a call. And, in the meantime, do n't leave town. END INTERCUT Jack hangs up the phone, turns to see Tyler standing right next to him. Tyler puts a hand on Jack's shoulder, squeezes it affectionately. Jack turns away and continues to scrub - rebuffing Tyler. Tyler smiles compassionately at him. Marla's FOOTSTEPS can be heard coming down the stairs. JACK'S POV - as he really grinds the soap against the pants, splashes water all over the place. JACK'S POV PIVOTS, WIDEN ON ROOM. Marla enters. Tyler is GONE. Jack looks around to the open back door, then back at Marla. She lights a cigarette. JACK -LRB- V.O. -RRB- Except for their humping, Tyler and Marla were never in the same room. The same disappearing act my parents pulled for years - one came in, and the other was gone. Marla moves very close to Jack and props a leg up on a stack of magazines near him. She's not wearing underwear. Jack becomes very aware of his having no pants on, so he pushes up against the counter. Marla lasciviously pulls the hemline further up her leg. MARLA I got this dress at a thrift store for one dollar. JACK It was worth every penny. MARLA It's a bridesmaid's dress. Someone loved it intensely for one day, then tossed it. Like a Christmas tree - so special, then, bam, it's on the side of the road with tinsel still clinging to it. She leans in very close to his ear and whispers hoarsely : MARLA You can borrow it sometime. JACK That's hysterical. Marla blows smoke into Jack's face. He grabs her cigarette, throws it into the water in the sink. She smiles saucily and LEAVES the room. Sound of her FOOTSTEPS going upstairs. TYLER -LRB- O.S. -RRB- Get rid of her. Jack turns and sees Tyler in the back doorway. JACK * You * get rid of her. TYLER And do n't mention my name. You promised. JACK Yes, yes, I promise. TYLER Promise? JACK I said I promise! TYLER That was three times you promised. Marla's FOOTSTEPS can be heard coming down the staircase. TYLER Tell her to go. Jack looks toward the archway, then back at -? Tyler is GONE. Marla glides into the kitchen with a PACK of cigarettes. She daintily takes one out and lights it. JACK -LRB- V.O. -RRB- I'm six years old again, passing messages between my parents. JACK Uh. I think you should go now. Marla begins to do a slow, exotic dance around the kitchen, sometimes moving very close to Jack, sometimes moving away. She lifts her dress dangerously high - does she expose herself? - hard to tell. She dances very close to Jack's body, almost touching it. JACK What are you trying to do?! Marla stops dancing, and BURSTS into loud LAUGHTER. MARLA You're such a nutcase, I ca n't even begin to keep up. She touches Jack's hair. He slaps her hand away. JACK Just get out of here. Marla's face turns sour. As she stomps out the back door - MARLA I'm already so fucking gone that all you see is an after - image. Jack watches her through the kitchen window. TYLER -LRB- O.S. -RRB- Good job. As Jack turns, we WIDEN to include Tyler, standing right behind Jack, beaming. Through the window, in the background, Marla can be seen quickly moving away on the sidewalk. Tyler puts his hand on Jack's shoulder. TYLER Let's get out of this place for awhile, take a walk.\",\n \"EXT. STREET - NIGHT Tyler moves forward at a brisk pace. Jack keeps up with him. Tyler cuts across a paved road and into a WOODED AREA. Jack follows.\",\n \"EXT. ALL-NIGHT CONVENIENCE STORE - MOMENTS LATER Tyler, with Jack following, emerges from the trees and heads into the parking lot. A Clerk ambles toward his car, taking off his uniform bow tie. Tyler suddenly pulls a HANDGUN out of his belt and rams it against the Clerk's head.\",\n \"EXT. WOODED AREA - CONTINUOUS Tyler marches the Clerk, the gun aimed at his head. Jack follows. JACK What are you doing?! TYLER Shut up. JACK Are you out of your fucking mind?! TYLER Shut up. Tyler stops the Clerk and pushes him down to a kneeling position. TYLER Give me your wallet. The Clerk fumbles his wallet out of his pocket and Tyler snatches it. Tyler pulls out the driver's license. TYLER Raymond K. Hessel. 1320 SE Benning, apartment A. A small, cramped basement apartment. RAYMOND How'd you know? TYLER They give basement apartments letters instead of numbers. Raymond, you're going to die. RAYMOND Please, God, no. JACK What are you doing?! TYLER -LRB- to Jack -RRB- SHUT UP! You have no idea of what it is to hit bottom. I've been trying to get you there - I blew up your condo. JACK. The. cops are onto you. TYLER No, they think * you * did it. Tyler continues, to Raymond : TYLER Your mom and dad will have to call old doctor so - and - so to get your dental records, because there wo n't be much of your face left. Raymond begins to weep, his shoulders heaving. Jack starts to gasp for air. Growing even paler, he slumps back against a tree. His mouth becomes dry. TYLER Is this a picture of Mom and Dad? RAYMOND Yesss. JACK Look, if this is all about me. TYLER You? Nothing is about you. JACK I'm doing okay, are n't I? TYLER You do n't have your cute, little condo or your fey furniture, you're living in squalor. Tyler continues, to Raymond : TYLER An expired community college student ID card. What did you used to study, Raymond K. Hessel? RAYMOND S - S - Stuff. TYLER `` Stuff''. Were the mid - terms hard? Tyler shoves the gun against Raymond's temple. TYLER I asked you what you studied. RAYMOND Biology, mostly. TYLER Why? RAYMOND I do n't know. TYLER What did you want to be Raymond K. Hessel? A long beat while Raymond weeps and says nothing. Tyler COCKS the gun. Jack JERKS back, wincing, sweating. JACK. Tyler? TYLER I'm busy. Tyler continues, to Raymond : TYLER The question, Raymond, was `` what did you want to be''? Tyler begins to squeeze the trigger. JACK -LRB- croaking with dry mouth -RRB- Answer him! RAYMOND A VETERINARIAN! TYLER Animals. RAYMOND Yeah. animals and s - s - s - TYLER - * Stuff *. That means you have to get more schooling. RAYMOND Too much school. TYLER Would you rather be dead? Tyler shoves Raymond's wallet back into his pocket. TYLER I'm keeping your license. I know where you live. I'm going to check on you. If you are n't back in school on your way to being a veterinarian, you will be dead. Now, get the hell out of here. Raymond staggers into the darkness. Tyler watches. Jack, still clinging to a branch with a deathgrip, looks at Tyler. Tyler slowly turns to face Jack. TYLER Raymond K. Hessel, tomorrow will be the most beautiful day of your life. Your breakfast is going to taste better than any meal you've ever eaten. Jack's eyes light up. He looks at the fleeing Raymond, then back at Tyler. He sighs, then shakes his head, then cracks his weird, little crooked smile. His eyes glow. He looks with almost religious reverence at Tyler. Tyler turns and smiles at Jack. TYLER To make soap, first you have to render fat. CLOSE UP - SIGN : `` DANGER - BIOHAZARD'' PULL BACK TO WIDE ON\",\n \"EXT. FENCED-IN BIOHAZARD WASTE DUMP SITE - NIGHT Tyler is on the ground, inside the fence. Jack's at the top of the fence, trying to get through the BARBED WIRE. He does so, but wobbles and gets his shirt snagged. Tyler tries to help him. Jack falls, ripping his shirt. Tyler breaks the fall, gets Jack to his feet. FOOTSTEPS. FLASHLIGHT BEAM. Tyler pulls Jack down behind a DUMPSTER - one of DOZENS in the site. A silhouette of a SECURITY GUARD moves along the perimeter, waving the flashlight around. He finally walks back toward the adjacent building, goes inside. MOVE BACK to Tyler and Jack, who emerge from hiding. Tyler eagerly grabs the lid of the closest dumpster. Jack gapes at the `` biohazard'' sign. TYLER The best fat for making soap - because the salt balance is just right - comes from human bodies. Tyler lifts the lid - it CREAKS. Jack breathes heavily, afraid to look. Tyler pulls out an industrial - sized, think plastic bag full of PINK GOO. Jack reacts to the smell, turning away. His eyes focus on the side of the adjacent building and its SIGN : `` BODY SCULPTING CLINIC''. TYLER > From the asses and thighs of rich women, paydirt.\",\n \"INT. KITCHEN - NIGHT Jack watches at Tyler stirs a boiling pot. TYLER As the fat renders, the tallow floats to the surface of the water.\",\n \"EXT. WASTE DUMP SITE - NIGHT (RESUMING) Tyler and Jack climb back over the fence, each carrying several bags of fat. One of Jack's bags gets caught on the barbed wire and rips, spilling the goo all down the fence. Jack's pants and shoes get covered ; he slips and slides. Tyler starts laughing. Jack starts laughing.\",\n \"INT. KITCHEN - NIGHT (RESUMING) Tyler shows Jack two pots which have a skinned - over layer. TYLER When the tallow separates, there will be a clear layer on top. It's glycerin. We can mix it back in when we make the soap.\",\n \"EXT. WASTE DUMP SITE - NIGHT (RESUMING) Tyler helps Jack over the fence. They both fall to the ground on the other side, laughing. They try to get up and they both slip in fat, falling on their asses. They laugh louder. FOOTSTEPS ; FLASHLIGHT. Still hysterically laughing, they both get up, slide and fall down again, get up yet again and stagger away, disappearing around a corner.\",\n \"INT. TAXICAB - MOMENTS LATER Jack and Tyler, slimed with fat, hold their bags, giggling. The CAB DRIVER gives them a deadpan look. END OVERLAPPING INTERCUT. CUT TO :\",\n \"INT. KITCHEN - LATE NIGHT Tyler and Jack have fat stains and rips on their clothes from the waste dump. The pots boil. Tyler stirs. He sticks a spoon into a pot and lifts up a scoop of the glycerin layer. Then, he grabs a can, opens, it. TYLER Lye - the crucial ingredient for making soap. A paste of lye and water can burn through an aluminum pan. A solution of lye and water will dissolve a wooden spoon. Combined with water, lye heats to over two hundred degrees. Tyler licks his lips until they're gleaming wet. He takes Jack's hand and KISSES the back of it. The saliva shines in the shape of the kiss. Tyler poises the can of lye over Jack's hand. TYLER This is a chemical burn, and it will hurt more than you've ever been burned. Tyler pours a bit of the flaked lye onto Jack's hand. Jack's whole body JERKS. Tyler holds tight to Jack's hand. Tears well in Jack's eyes ; his face tightens. TYLER Look at your hand. Jack looks - the burn is swollen glossy in the shape of Tyler's kiss. Jack's face spasms, but he forces himself to endure it. JACK -LRB- V.O. -RRB- Tyler's kiss was a bonfire or a branding iron on my hand at the end of a long, long road I pictured miles away from me. Jack takes his gaze off his hand and his eyes become glazed and detached. TYLER Come back to the pain. JACK -LRB- V.O. -RRB- Guided meditation worked for cancer it could work for this. TYLER Do n't shut this out. JACK -LRB- V.O. -RRB- I did n't think of the words `` pain'' or `` searing flesh''. I was going to my cave to find my power animal. Quick CUT TO :\",\n \"INT. CAVE Marla, looking beautiful in a stunning black dress. As soon as Tyler speaks, we CUT BACK TO :\",\n \"INT. KITCHEN - NIGHT Tyler squeezing Jack's hand. Jack's eyes re - focus on Tyler. TYLER This is the greatest moment of your life and you're off somewhere, missing it. Listen. Your father was your model for God. And if your father bails out, what does that tell you about God? Jack's face spasms in pain. He keeps his attention on Tyler. TYLER You have to consider the possibility that God does n't like you. He hates you. This is not the worst thing that can happen. His hate is better that His indifference. Jack becomes dazed again. CUT TO :\",\n \"INT. CAVE Marla drops to the ground and pulls Jack on top of her. Jack moves to kiss her. CUT TO :\",\n \"INT. KITCHEN - NIGHT Tyler tugs at Jack's arm. TYLER We are God's middle children, with no special place in history and no special attention. Unless we get God's attention, we have no hope of damnation or redemption. Jack looks at Tyler and they lock eyes in a stare. TYLER The lower you fall, the higher you fly. The farther you run, the more God wants you back. Jack does his best to stifle his spasms and quivers of pain. Tears drip from his eyes. TYLER Someday, you will die. And until you know that, you're useless to me. Tyler's eyes fill with tears and he smiles. Suddenly, Jack starts breathing heavily and he shakes his hand. JACK Fuck, man. This HURTS. Tyler laughs ; Jack, bearing the pain, cracks a weird little crooked smiles, his eyes wide.\",\n \"INT. KITCHEN - SUNRISE Tyler watches as Jack cuts several perfectly shaped bars of soap. Tyler finishes wrapping one. The wrapper says : `` The Paper Street Soap Company'' in quaint writing.\",\n \"INT. BARNEY'S - DAY Jack and Tyler, wearing trenchcoats and looking like death - warmed - over, wait by a counter and trendily - dressed and finely - coiffed SALESPEOPLE zip around. Tyler is the picture of cool. Jack looks around as if expecting to get arrested. He looks at his BANDAGED HAND, shakes it. A BUYER, a woman, comes to the counter, smiles at Tyler ; he smiles back. MOS while Jack's VOICE is OVER the following : the Buyer looks over a sample bar of soap. She nods, smiles and begins to fill out forms. JACK -LRB- V.O. -RRB- Tyler sold it to the stores at twenty bucks a bar. God knows what they charged. We were selling rich women their own fat back to them.\",\n \"EXT. STREET - NIGHT Jack and Tyler march down the sidewalk, full of purpose, like gunfighters heading for a show - down. TYLER Look at the guys in fight club. The strongest and smartest men who have ever lived - and they're pumping gas and waiting tables ; or they're slaves with white collars. Advertising has them chasing cars and clothes. A whole generation working in jobs they hate, just so they can buy shit they do n't really need.\",\n \"INT. HIGH SCHOOL HALLWAY - NIGHT MEN are entering the gymnasium for the testicular cancer support group `` Remaining Men Together''. Bob starts to file in with the rest, and suddenly, Jack darts forth from the shadows and blocks his way. BOB Hi. JACK Hi, Bob. Bob tries to go through the door, but Jack blocks him. JACK Are you really a man? BOB Yes. we all are. JACK I'm not so sure. Jack forcefully pushes Bob. Caught off - guard, he backs into a locker with a bang. Jack slaps Bob's face. JACK Come on, you big moose. Let's see if you are. Jack punches Bob in the stomach. Bob puts up his hands to block. Jack throws more punches. Finally, Bob punches Jack in the face, knocking him staggering. Jack comes back and they pummel each other. Bob's face gets redder with anger. Then, Jack steps back, holding out his hands to signal `` stop''. JACK Let's take this somewhere else.\",\n \"INT. BASEMENT - ELECTRONICS WAREHOUSE - NIGHT The crowd screams insanely as Bob and Jack go at it in the circle of light. Bob's eyes are wild with glee.\",\n \"EXT. BASEMENT DOOR - ELECTRONICS WAREHOUSE - LATER Everyone quietly sneaks out of the new location - we've seen none of these guys before - this is a new chapter. Jack and Bob stagger out last. They are both dripping blood and covered with bruises - Jack being in worse shape - and they both grin with religious serenity. Bob hugs Jack. BOB Thank you. Thank you. Bob relaxes the hug and Jack drops to the ground like a sack, enervated from the beating he took. JACK You're welcome. JACK -LRB- V.O. -RRB- Fight club - this was mine and Tyler's gift - our gift to the world.\",\n \"EXT. STREET - DAY Ricky grapples with a YUPPIE. They fall to the sidewalk, pounding each other. YUPPIE WHO ARE YOU?! WHY DID YOU ATTACK ME?! The Yuppie maneuvers Ricky toward a metal fence and insanely tries to impale him on a spike. Tyler and Jack shoot INTO VIEW and grab the YUPPIE, laughing. YUPPIE WHO ARE * YOU *!\",\n \"INT. TRUCK GARAGE - NIGHT Ricky and the Yuppie fight each other while the crowd - still even more new guys - cheers. JACK -LRB- V.O. -RRB- We started a fight club for every night of the week. CLOSE UP - BUMPERSTICKER Which reads : `` DRUNK DRIVERS AGAINST MOTHERS''. A HAND presses it down in all corners. PULL BACK TO REVEAL - the bumper, THEN the whole car - a luxury sedan. THEN - the entire PARKING STRUCTURE wherein ALL the bumpers have the sticker. JACK -LRB- V.O. -RRB- We started pulling pranks.\",\n \"EXT. STREET - LATE NIGHT Jack, Tyler and Ricky quickly paste up a basic, black - on - white - lettering BILLBOARD. It says : `` DID YOU KNOW? YOU CAN USE YOUR OLD MOTOR OIL TO FERTILIZE YOUR LAWN! - ENVIRONMENTAL PROTECTION AGENCY''. TYLER We're the middle children of history, with no special purpose or place. We do n't have a great war in our generation, or a great depression. The great depression is our lives. The great war is a spiritual war.\",\n \"EXT. LARGE PARKING LOT - DAY Jack and Bob, armed with a toolbox, change the `` Enter'' and `` Exit'' signs around. They walk away. In the background, a car drives into the `` entrance'' and the front tires EXPLODE from the BLADES in the ground.\",\n \"EXT. SIDEWALK - NIGHT Jack walks toward an intersection, beyond which is a large CITY PARK. A group of people are LEAVING A PUBLIC BUILDING in front of him. Marla is among them - it's a support group adjourning for the night. Jack catches Marla's eye. He simply smiles and waves. Marla stares at him, deadpan. She turns and walks away, JUST AS. Tyler STEPS INTO FRAME, looking straight ahead at the park. He signals Jack and they move forward. From out of nowhere, Bob joins them.\",\n \"EXT. PARK - OUTDOOR BEER FESTIVAL - NIGHT A bad BAND plays German music. BANNERS advertising American beer are everywhere. People wear shirts and hats with beer ads. Jack, Bob and Tyler sneak up to the side of a portable TOILET. They shove it until it falls against the next toilet. An ENTIRE ROW of portable toilets falls like dominoes. They dart behind a row of trees, then casually walk away. JACK -LRB- V.O. -RRB- We were raised by television to believe that someday we'll all be millionaires and movie stars and rock stars - but we wo n't. And we're learning that fact. TYLER And we're very, * very * pissed - off.\",\n \"INT. AIRPLANE CABIN - ON GROUND - DAY Two AIRPLANE MAINTENANCE MEN - with bruised faces - rip open a box from a PRINT SHOP. They dig up handfuls of AIRLINE SAFETY INSTRUCTION CARDS and begin to inset them into each seat back pouch. We MOVE IN and SEE a card - it shows passengers SCREAMING and FLAILING ABOUT IN TERROR.\",\n \"INT. PAPER ST. HOUSE - KITCHEN - MORNING Jack, dressed for work, receives a sheet of paper from Tyler. TYLER Make two dozen copies. We're going to have -\",\n \"INT. PHOTOCOPY ROOM - DAY Jack stands over a copy machine, getting hit by the flashes of light. JACK -LRB- V.O. -RRB- - more than one fight club on every night of the week. Jack looks around. Other faces illuminated in FLASHES. HALF of them are bruised. He smiles, his eyelids getting heavy and his head nodding.\",\n \"INT. JACK'S OFFICE - LATER Jack sits in his cubicle, playing a game on his computer. Boss enters. JACK -LRB- V.O. -RRB- He was wearing a yellow tie. It must be Thursday. I did n't even wear a tie to work anymore. Boss slaps a piece of paper down on Jack's desk. BOSS `` The first rule of fight club is you do n't talk about fight club''. Jack stares at him stoically. JACK -LRB- V.O. -RRB- I was still half - asleep all the time. I left the original in the copy machine. BOSS Is this yours? `` The second rule of fight club is you do n't talk about fight club''. Is it yours or not? You do n't get paid to abuse the copy machine. JACK `` Abuse'' the copy machine. What an image. BOSS Let's play pretend. You're me. You find * this *. What would you do? Hmm? Make a managerial decision. What would you do? Jack slowly rises, walks softly to his office door, shuts it and faces the boss. JACK I'd be very careful who I talked to about this. It sounds like someone dangerous wrote this, and this buttoned - down psychotic could probably snap at any moment and stalk from office to office with an Armalite AR - 180 Carbine gas - operated semiautomatic. He's probably at home every night with a little rattail file, filing a cross into the tip of every one of his bullets. This way, when he pumps a round into. * someone *. it will split along the filed grooves and spread open the way a dum dum flowers inside you to blow a load of guts out through * someone's * spine. This is probably somebody you've know for years. Boss stares at him with a tinge of outrage, a tinge of fear. JACK -LRB- V.O. -RRB- Tyler's words. Me clowning around. And I used to be such a nice person. Jack's phone RINGS. Jack answers. JACK Compliance and Liability. MARLA'S VOICE My tit's going to rot off. JACK -LRB- to Boss ; big smile -RRB- Could you excuse me? I need to take this call. Boss goes to the office door opens it, stares at Jack a beat, then leaves. JACK -LRB- into phone -RRB- What are you talking about? INTERCUT WITH CLOSE - UP OF MARLA In dim light, her face very pretty with make - up. MARLA I need you to check and see if there's a lump on my breast. I ca n't afford to blow the cash on a doctor just to find out. JACK I do n't know. MARLA You're the only one I can turn to. JACK -LRB- V.O. -RRB- She did n't call Tyler. I'm neutral in her book. MARLA Meet me at work.\",\n \"EXT. MORTUARY - LATE AFTERNOON Jack goes through the front door.\",\n \"INT. MORTUARY - SAME Jack walks into the dim, dramatically - lit foyer. He sees Marla at a desk. She does not see him. She's wearing a black formal dress - like a gorgeous angel of death. A VERY FAT MALE CUSTOMER holds an URN the size of an egg cup. Marla studies the urn and the Customer's body with a dreary expression. MARLA Sir, you could n't get the ashes of your * neck * in here. The Customer turns and stomps out the door. Jack steps forward to the desk. JACK Employee of the month? Marla looks up at him and smiles.\",\n \"EXT. MARLA'S HOTEL - SUNSET Jack watches as Marla takes two boxes from a van with sign `` MEALS ON WHEELS''.\",\n \"INT. MARLA'S ROOM - MOMENTS LATER Marla leads Jack inside. JACK You know, this is a sweet side of you. MARLA Think so? JACK Picking these up for. -LRB- reads off boxes :. -RRB- `` Mrs. Haniver'' and. `` Mrs. Raines''. Where are they? Top floor? MARLA They're dead. I'm alive and I'm in poverty. You want any of this? JACK No, thanks. MARLA Good. He stares at her while she wolfs down food. Marla takes a napkin and wipes her mouth. MARLA This napkin is `` one - hundred percent recycled''. So is my toilet paper. Can you imagine. The worst job in the world - recycling toilet paper.\",\n \"INT. MARLA'S ROOM - NIGHT Marla stands in front of a mirror with her shirt open. Jack stands behind her with his hand on the bottom side of her breast. Her hand guides his. JACK Where? Here? MARLA Here. JACK There? MARLA Here. JACK Here. MARLA Feel anything? JACK No. Jack's head is behind Marla's. His eyes close. Both of them speak more slowly, softer. MARLA Make sure. JACK Okay. Okay, I'm sure. MARLA You feel nothing? JACK Nothing. He almost kisses her neck. Marla turns around, faces him and begins to slowly button up her shirt. MARLA Whew. That's a relief. Thanks. JACK No problem. MARLA I wish I could return the favor. Jack touches his breasts, shakes his head. JACK I think everything's okay here. MARLA I could check your prostate. JACK Uh. nah. MARLA Well, thanks. Marla kisses him - and lingers for a bit longer than just friendly. Jack pulls away. JACK Are we done? JACK I got ta go. Marla's voice turns acid : MARLA Yeah, we're done. Get the fuck outta here. Jack goes to her door, opens it, looks back at her. JACK I'm sorry. MARLA GO, ASSHOLE!\",\n \"EXT. STREET - MOMENTS LATER Jack walks down the sidewalk. He glances back up at Marla's window as he crosses the street. He sees her. She moves away from the window and - Jack's BUMPED - very lightly - by a PASSERBY - it's * Tyler *. TYLER What are you doing? JACK Uh. I. was. coming back from. a. thing. Tyler throws an arm around Jack and leads him down the sidewalk. TYLER We need to talk.\",\n \"INT. BOSS'S OFFICE - DAY Jack steps into the open doorway and lightly knocks against the frame. Boss looks up from his large, expensive desk. JACK We need to talk. BOSS Okay. Where to begin? With your constant absenteeism? With your unpresentable appearance? I might as well tell you now - you're going to be put up for review. This next line * NOT * in V.O. : JACK I Am Joe's Complete Lack Of Surprise. Boss sits up in his seat, becoming enraged. JACK Let's pretend. You're the Department of Transportation. And you knew that our company intentionally left a front seat mounting bracket that never passed collision tests? Did nothing about leather seats - that were cured in third world countries with a chemical we know causes birth defects? Brake linings that fail after a thousand miles. Turbochargers that blow up and cut off legs at the knees. Fuel injectors that burn people alive. All of these accidents where `` cause of failure'' is stamped `` unknown''. I know where the bodies are buried. Call it job security. BOSS Just who the fuck do you think you are?! Get out of here! You're fired! JACK I've got a better idea. You're going to keep me on payroll as an outside consultant. In exchange for my salary, I'll perform the task of not telling anyone what I know. I wo n't need to come into the office. I can do this job from home. Call it early retirement, with pension. Boss stands, moves around his desk, glaring with rage. JACK Yes, I am shit and crazy, to you and this whole fucking world, but I'm your responsibility. Jack PUNCHES HIMSELF in the nose. Blood starts to trickle down. He punches himself in the jaw, harder. He throws himself back, acting as if the force of the punch knocked him. His back SLAMS against a framed painting and SHATTERS the glass. He and the frame and the glass and the painting fall to the floor. JACK -LRB- V.O. -RRB- I Am Joe's Smirking Revenge. JACK Please do n't hit me again. Please. Jack gets back to his feet and punches himself in the stomach, then punches himself in the jaw again. He reels backwards and falls into a hanging shelf, ripping it off the wall, sending it's contents flying. He falls to the floor again. JACK -LRB- V.O. -RRB- For some reason, I thought of my first fight - with Tyler. Jack crawls along the carpet toward Boss, dripping blood. He tries to keep up the act, but he sporadically GIGGLES. He grabs Boss's leg. JACK Please. give me the paychecks like I asked for. You wo n't see me again. You wo n't have any trouble. Jack climbs up Boss's leg. Boss, aghast, tries to shake him off, and, in doing so, stumbles back in to his desk, knocking off photos, stacks of paper, paperweights. JACK -LRB- V.O. -RRB- Under and behind and inside everything this man took for granted, something horrible had been growing. Jack crawls up high enough to grab Boss's belt and hoist himself up further. He's getting blood all over the Boss's clothes. Jack SMUDGES blood from his face onto the knuckles of both Boss's hands. The horrified man SCREAMS. JACK -LRB- V.O. -RRB- And right then, at our most excellent moment, security guards decided to walk in. Two SECURITY GUARDS come inside and gape at the sight. Behind them stands a crowd of curious workers, also taking in the sight. JACK -LRB- gurgling blood -RRB- Please do n't hit me again.\",\n \"INT. PAPER ST. HOUSE - JACK'S ROOM - DUSK Jack, all bloody, lies in his bed, asleep. He awakens, hearing the BACK DOOR SLAM. He painfully hauls himself out of bed.\",\n \"INT. KITCHEN - MOMENTS LATER Jack enters to see Tyler taking beers out of the fridge. Jack waves a PAYCHECK. JACK I did it. TYLER That's fucking great! Jack sees that Tyler is dressed in combat fatigues. He's splattered with various colors of PAINT. There's a rope and rappelling mechanisms lying on the table. Tyler nods toward the living room and hands Jack all the beers. TYLER Go on in. We're celebrating.\",\n \"INT. LIVING ROOM Jack, a little bewildered, saunters in, carrying the beers. Tyler does NOT follow him. Bob, Ricky and several fight club guys are in front of the TV. They are all dressed like Tyler, all splattered with paint. Jack hands them their beer. One of the guys is sixteen year old with an angelic face. He notices the TV. ANGEL FACE SHHH! They're back to it! Jack looks at the TV as it shows a LIVE shot of a BUILDING, which is identified at the bottom of the screen as the TRW building. It has a GIANT GRINNING FACE PAINTED on it. The two EYES are broken, charred windows with SMOKE pouring out. Firetrucks spray water into the windows. REPORTER Police Commissioner Jacobs has come down. just a second. excuse me, could you tell us what you think this is? The COMMISSIONER JACOBS, a wrinkled man with baleful eyes, turns to camera. COMMISSIONER JACOBS We believe this is related to the other recent acts of vandalism around the city. It's some kind of organized group. And we're investigating thoroughly. Jack turns back and sees Tyler in the archway, watching the TV. Tyler pulls back, out of sight. Jack turns to the others. JACK What did you guys do? They all BURST INTO LAUGHTER, look at Jack and shake their heads. Jack just stares at them. Suddenly, the guys' faces turn to stone. BOB The first rule of Project Mayhem is - you do n't ask questions. Jack stares at them. CUT TO :\",\n \"INT. HOTEL BALLROOM - NIGHT A loud, luxurious banquet ensues. Commissioner Jacobs guzzles champagne and puffs on a cigar. Jack, in a waiter's uniform, serving another table, stares at Jacobs. Then, Jack looks apprehensively toward certain other waiters : Tyler, Bob, Ricky and Angel Face - mixed in with the mass of waiters.\",\n \"INT. BATHROOM - SAME Commissioner Jacobs enters, puffing the cigar, and walks toward a urinal. Jack, Tyler, Bob and Ricky leap out of the corner and attack him. Jack's heart is n't in it - he barely helps the others. Tyler knocks the cigar out of Jacob's mouth and slaps a piece of tape over it.\",\n \"INT. SERVICE ELEVATOR - SAME Jack holds the door while the others drag the struggling Commissioner inside. They hold him down and pull down his pants. Bob snaps a rubber band, then reaches down to Commissioner Jacob's crotch. TYLER Wrap it around the top of his ball sac. Ricky holds a knife to Commissioner Jacob's testicles. Jack, red - faced, keeps his distance. Tyler leans in and whispers in the frightened man's ear. TYLER You're not going to continue your `` rigorous investigation''. You're going to publicly state that there is no underground group. Or - imagine, the rest of your life with your ball sac flapping empty. COMMISSIONER JACOBS No. Please. Stop. Please. TYLER One to the * New York Times * and one to the * Los Angeles Times *. Press release style. Remember this. The people you're after are everyone you depend on. We're the people who do your laundry and cook your food and serve your dinner. We guard you while you sleep. We drive the ambulances. We process your insurance claims. We control every part of your life. So do n't fuck with us. Ricky makes a dramatic cut with the knife - he holds up the severed RUBBER BAND.\",\n \"EXT. HOTEL - LATER Jack, Tyler and the others file quickly out the back service entrance. Tyler slaps Angel Face's back. Angel Face smiles at him. Everyone splits up in different directions.\",\n \"INT. BASEMENT - NIGHT Fight club in full swing. Jack squares off with Angel Face. He BEATS the SHIT out of Angel Face with a viciousness heretofore unseen. The crowd shouts maniacally, save for Tyler, who watches with an inscrutable stone face. Angel Face tries to speak, but Jack pounds him too hard. Blood flies everywhere. The crowd becomes QUIETER. Finally, Angel Face, on the floor, is clearly unconscious. Jack stops, stares at him, numb. The crowd seems a little spooked. Tyler scans the faces, looks at Jack.\",\n \"EXT. STREET - LATER Tyler and Jack walk through pools of streetlight. JACK I felt like destroying something beautiful. TYLER Excellent. An idling car HONKS. Tyler leads Jack toward it. A bruise - faced VALET PARKER throws keys to Tyler. VALET There you go, Mr. Durden. JACK After you, * Mr. Durden *.\",\n \"INT. STOLEN CAR - MOVING - LATER RAIN GUSHES down. Tyler drives. Jack sits slumped in the passenger seat. They are BARRELING down a two - lane HIGHWAY, intermittently illuminated by oncoming headlights. Jack stews in silence. Tyler glances at him. TYLER What's the problem? JACK Nothing. Why was n't I told about `` Project Mayhem''? TYLER You * were * told about it. JACK Uh - huh. Yeah. Fine. If you ca n't talk to me about it. TYLER That's the whole point - you * do n't * talk about it. JACK So, I ca n't even ask? TYLER What do you want me to say? That Project Mayhem will knock over the pillars of civilization like dominoes? That it's going to bring about a prematurely - induced dark age? Should I E - mail you? Should I put this on your `` action item list''? JACK Fine. TYLER Recognize the make and model of this car? JACK Yeah - so what? TYLER The front seat mounting bracket never passed collision tests. Tyler pulls the car into the opposite lane. HEADLIGHTS in the distance get closer very, very quickly. JACK What are you doing?! The oncoming car gets closer and closer, honking and flashing it's lights. Jack tries to grab the wheel. Tyler uses one arm to pin down Jack's arms. He uses one hand to steer. JACK TYLER! WHAT THE FUCK ARE YOU DOING?! TYLER If you died right now, how would you feel about your life? JACK I WOULD FEEL NOTHING ABOUT MY LIFE! IS THAT WHAT YOU WANT TO HEAR?! TYLER I want to hear the truth. The car swerves at the last second. JACK Fuck my life. Fuck fight club! Fuck you and fuck Marla. I'm sick of this shit! How's that? Huh? TYLER You do n't have any concept of what it is to hit bottom. An oncoming TRUCK honks and flashes it's lights. It moves to the other side of the road. Tyler steers there, too. The truck moves back ; Tyler moves back. More honking and flashing. The truck moves ; Tyler moves. TYLER HITTING BOTTOM IS N'T A WEEKEND RETREAT! IT'S NOT A SEMINAR! ONLY AFTER YOU'VE LOST EVERYTHING ARE YOU FREE TO DO ANYTHING! YOU SEE, YOU LISTEN, BUT YOU DO N'T GET IT! YOU HAVE TO FORGET EVERYTHING YOU KNOW, EVERYTHING YOU THINK YOU KNOW! Just seconds to impact with the oncoming truck and - Tyler swerves. Now the car heads straight for a STALLED CAR on the side of the road, surrounded by flares. Jack stops struggling to get his arms free. JACK I am nothing in the world compared to you. I am helpless. I am stupid and weak and all I do is want and need things. I * am * my little shit job. I * am * my condo and my Swedish furniture. I am SHIT! Tyler lets go of Jack's arms and lets go of the steering wheel. He and Jack look at each other as their car barrels toward the stalled car. Their faces are illuminated by the light of the flares. They SMASH into the stalled car. Both airbags inflate, but the front seat LURCHES forward, loose, causing the men's legs to bang against the dash. Tremendous momentum makes the back of the car whip around and carry it into a ass - over - teakettle ROLL down the hill. JACK -LRB- V.O. -RRB- I'd never been in a car accident. This was what all those statistics felt like before I wrote them into my reports.\",\n \"INT. FAMILY CAR (JACK'S IMAGINATION) The car that Jack saw, post - wreck, in the warehouse, FLAMING, tumbling END over END ; the FATHER, MOTHER TEENAGE GIRL and BABY all SCREAMING.\",\n \"INT. TYLER'S STOLEN CAR - RESUMING The hill goes on further and further - it's a deep RAVINE. The car finally hits the bottom, lying on its roof.\",\n \"EXT. OVERTURNED CAR Tyler crawls out and goes around, opening Jack's door. He drags Jack out into the mud. He grabs Jack's face and squeezes it, shaking it. TYLER You just had a near - life experience.\",\n \"INT. JACK'S BEDROOM - LATE NIGHT Jack lies in bed, staring at the ceiling. Tyler sits in a chair, next to the bed, speaking softly. TYLER The world I see - you're stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You wear leather clothes that will last you the rest of your life. You climb the wrist - thick vines that wrap the Sears Tower. You see tiny figures pounding corn and laying strips of venison on the empty car pool lane of the ruins of a superhighway.\",\n \"INT. JACK'S BEDROOM - DAWN Jack lies in bed, staring at the ceiling. Tyler is gone. Faint sounds of SAWING and HAMMERING.\",\n \"INT. KITCHEN - MOMENTS LATER Jack sits at the table, sipping coffee. He's pale, dazed. He seems broken. He hears the faint sounds of sawing and hammering again ; he's unsure of where they're coming from. He glances out the window, sees nothing. Marla walks into the kitchen. Jack looks up at her. She looks at him, unsmiling. There's a bruise on her face and arm. She pours herself a coffee and lights a cigarette. A beat of silence, then : MARLA I'll be out of your way in a sec. She seems to be as weak as Jack. JACK You. do n't have to. rush off. MARLA Sarcastic prick. JACK No, really. Marla's eyes drift away from his. Jack gets up, tries to move closer to her. She pulls away. He retreats and they wind up on opposite sides of the room. Jack leans against the wall near the BASEMENT DOOR, which is AJAR. JACK Why are we both. caught up like this. with? JACK -LRB- V.O. -RRB- I came so close to saying Tyler's name, I could feel it vibrate inside my mouth. Marla looks at him curiously, waiting. JACK Why does a weak person go out and find a strong person to. hang onto? MARLA It's a real sick relationship. You do n't think I know it? JACK Does it * have * to be? MARLA Does it? Faint sound of sawing and hammering. Jack ca n't quite figure where it's coming from. JACK You hear that? MARLA Hear what? JACK That. sawing and hammering. MARLA We have to change the subject? Have we been talking too long? JACK I just do n't understand what you get out of such a sick relationship. MARLA What the hell do * you * get out of it? Jack turns and sees, through the slim space of the open door, Tyler, at the bottom of the basement stairs, staring a silent warning. Jack turns back to Marla. JACK Nevermind. MARLA No. That day you came over to check my breast. JACK Let's just stop right here. MARLA Come on! You * want * to pull yourself out of whatever you're stuck in. Marla moves slowly toward Jack. JACK Conversation over. Marla strokes Jack's hair. She sees the kiss - scar on his hand. She grabs his hand and studies it. Jack tries to pull it back, but Marla keeps a tight grip. MARLA What is that?! Who did that?! JACK. A person. MARLA Guy or girl? JACK Why would you ask if it's a guy or a girl?! MARLA Why would you get bent if I asked?! JACK Go. MARLA What does it mean? You're afraid to say? JACK Go! Go! Marla kisses Jack's hand, putting her lips right onto the scar, leaving an imprint of lipstick. Jack jerks his hand away from her. He tries to wipe off the lipstick and it smears. He unconsciously licks it off. MARLA MMMMMMMMMM. Swallow it. JACK Get the hell out of here! Stung, Marla stomps toward the back door. MARLA Go fuck yourself - that's probably how you like it best. And out she goes. Jack watches her stomp through the backyard and out to the sidewalk. Tyler comes up from the basement, passes Jack and goes through the archway. Sound of his footsteps going up to the second floor. Jack goes down the basement steps.\",\n \"INT. BASEMENT - CONTINUOUS TRIPLE - DECKER BUNKS clutter the basement, as many as can fit into the space. JACK What's this for? > From upstairs, the sound of the DOORBELL.\",\n \"INT. LIVING ROOM - MOMENTS LATER Jack opens the door. Ricky stands on the porch, staring blankly ahead in subordinate military style. He's dressed in black pants, black shirt, black shoes. He holds a brown paper bag. An army surplus mattress sits in a tied - up roll at his feet. Jack is about to say something, when Tyler steps past Jack and speaks very softly to Ricky : TYLER I'm sorry. You're too young to train here. Tyler steps back inside and shuts the door. JACK `` Train'' here? TYLER He's not. If the applicant is young, we tell him he's too young. Old, too old. Fat, too fat. JACK Why? TYLER This is how Buddhist temples tested applicants going back for bah - zillion years. If the applicant waits at the door for three days without food, shelter or encouragement, then he can enter and begin training. JACK Begin training? Tyler grins at him.\",\n \"EXT. PORCH - MOMENTS LATER Jack bursts out the door, faces Ricky. JACK GET OUT OF HERE! GO! HE TOLD YOU YOU'RE TOO YOUNG! GET OUT! It's clear there will be no response from Ricky, who's like a statue. Jack goes back inside, closes the door.\",\n \"EXT. PORCH - NIGHT Ricky stands in the same spot. Jack bursts out with a broom, knocks the brown paper bag out of Ricky's hand, kicks it off the porch. Ricky remains in place, motionless. JACK ARE YOU STUPID?! I TOLD YOU TO GET OUT OF HERE! YOU'RE NEVER GETTING INSIDE THIS HOUSE!\",\n \"EXT. PORCH - MORNING Ricky in the same spot. Tyler slinks out the front door, smiling. TYLER I'm sorry about the misunderstanding. Look, friend, it's not the end of the world. Just go away. Nothing personal, but I'm going to have to call the police. You're trespassing.\",\n \"EXT. PORCH - NIGHT Ricky, same spot. Jack bursts outside with the broom again. He WHACKS Ricky in the shoulder. JACK YOU'RE NEVER GETTING THROUGH THIS FUCKING DOOR, YOU STUPID LITTLE WEASEL!\",\n \"INT. JACK'S ROOM - LATER Jack drinks a beer, smokes a cigarette and stares down at the PORCH, which he can see from a sideward / / downward angle. Ricky stands in the same spot. JACK -LRB- V.O. -RRB- Sooner or later, we all just became what Tyler wanted us to be.\",\n \"EXT. PORCH - MORNING Ricky's in the same spot. Next to him now is Bob, dressed in black with brown paper bag and Army surplus mattress. Tyler steps out the front door. Jack lights in the doorway, locking eyes on Bob. TYLER -LRB- to Ricky -RRB- Get your stuff. -LRB- to Bob -RRB- You're too old to train here. Sorry. Tyler and Ricky go inside and Tyler slams the door.\",\n \"INT. 2ND FLOOR LANDING - LATER Jack stands in the open bathroom doorway, watching Tyler SHAVE off all of Ricky's HAIR. When he's done, Tyler gives the top of Ricky's head a sharp slap. TYLER A monkey, ready to be shot up into space, ready to sacrifice himself for Project Mayhem. And, so, all those with shaved heads will henceforth be termed `` SPACE MONKEYS''.\",\n \"EXT. PORCH - LATER Jack looks out the window. Bob continues to stand, motionless. Ricky comes out the front door with the broom. RICKY YOU'RE TOO FUCKING OLD! GET OUT OF HERE! Ricky WHACKS Bob with the broom several times, then goes back inside, SLAMMING THE DOOR. CUT TO :\",\n \"EXT. PORCH - NIGHT CLOSE ON JACK'S FACE, staring out the window. VOICE YOU'RE TOO SKINNY! GET OUT OF HERE! FULL BACK TO REVEAL a SPACE MONKEY we've never seen before, with the shaved head, whacking a SKINNY APPLICANT with the broom.\",\n \"INT. LIVING ROOM - SAME Jack pulls back from the window. SPACE MONKEYS, all dressed in black, all with shaved heads, are ALL OVER THE PLACE. There are tables set up for them to wrap bars of soap. Jack lopes into the\",\n \"INT. KITCHEN - CONTINUOUS Where Space Monkeys render fat and make soap. Several, off to the side, stir a large vat of RICE. One of them recites a memorized statement : FRECKLED SPACE MONKEY `` You are not a beautiful and unique snowflake. You are the same decaying organic matter as everything else. We are all part of the same compost pile.'' JACK -LRB- V.O. -RRB- Planet Tyler Jack dips a spoon into the rice vat and chomps on some rice in an irritable way. JACK -LRB- V.O. -RRB- It could be worse. I could get hit by lightning and my head could burn down to a smoldering baseball and my zipper could weld shut. He moves back out to the\",\n \"INT. LIVING ROOM - CONTINUOUS And tromps up the steps to the 2nd floor landing.\",\n \"INT. TYLER'S ROOM - CONTINUOUS Jack enters. Bob reads a book and makes marks on a chart. All along the floor are baskets ; each one is labeled with a number in sequence : `` 1, 2,'' etc.. The first ten are under a sign that says `` WILMINGTON''. Then, there's a sign over some that says `` NEW YORK'', then `` CHICAGO'', and other cities. There are dozens of BOOKS on FINANCE. Jack looks in basket number `` 1'' and sees the word `` CITIBANK'' at the top of a page. He starts flipping through it ; then the next basket. Bob grabs Jack's hand and leads him away from the baskets. BOB The first rule of Project Mayhem is you do n't ask questions. JACK This is me, Bob. Tyler's been gone for over a week. What the hell is going on? BOB The first rule of Project Mayhem is you - JACK Right. Jack leaves the room.\",\n \"INT. KITCHEN - MOMENTS LATER Jack barges in among the laboring Space Monkeys. They pinch herbs into the soap mix. They also use vodka. Jack grabs a bottle of vodka and takes a long pull off it. JACK -LRB- V.O. -RRB- I had to hug the walls, being a mouse trapped inside this clockwork of space monkeys, cooking and working and sleeping in teams. The house became a living thing, wet on the inside from so many people sweating and breathing. So many people moving, the house moved. The PHONE RINGS. Jack snatches it. All the Monkeys stare at him. JACK Project Mayhem. TYLER'S VOICE Do n't answer the phone like that. Jack turns away from the others, moves to a corner, talks sotto voce. JACK Tyler! Where have you been? TYLER'S VOICE Do n't ask questions. There's a tense pause. JACK -LRB- V.O. -RRB- I Am Joe's Broken Heart because Tyler dumped me. Because I'm just another cog. TYLER'S VOICE Be quiet and listen. Jack reacts with surprise - did Tyler hear his thoughts? TYLER'S VOICE I'll tell you everything when I get back. Right now, you got ta do something for me. JACK Me? When? TYLER'S VOICE Tonight.\",\n \"EXT. FRONT PORCH - LATER Jack, Bob, and two other Space Monkeys step out the front door, laden with boxes and equipment. SKINNY SPACE MONKEY `` We are the all - singing, all - dancing crap of the world''. The group of four steps off the porch and heads for a VAN.\",\n \"EXT. PARK - NIGHT A piece of ART adorns the top of a hill : a metal TOWER, wide at the base and a hundred feet high, in design somewhat similar to the Eifel Tower. At the top is a giant GLOBE made of circular poles and wires. Jack, Bob and the other two monkeys attach the explosive packets to the globe ; wire the packets together ; use sandbags to cover the packets.\",\n \"EXT. PARK - LATER The group of four huddle behind some bushes, staring at the globe. Bob holds a small metal electronic box with a button - a detonator. He presses the button. A RAPID SERIES of EXPLOSIONS runs from the base of the tower to the top, along the four main structural supports. They are contained, shaped blasts. The tower crumbles straight down. Bob turns to smile at Jack. BOB Exactly the way it was supposed to work. The globe falls free, bangs into the top of the hill and begins to roll. When it gets to the street, it bounces onto the top of a parked LIMO - and becomes a FLAMING, raised `` GUTTERBALL'' - it never hits the street - it rolls over one parked limo or expensive luxury car after another, crunching the roofs, causing the windows to explode outward. Fifty cars get this treatment. Then, it arrives at the lobby of a HOTEL, BROADSIDES a couple of limos, CAROMS off them, TURNS and rolls directly into the front of a large -LRB- closed -RRB- STARBUCKS, SMASHING DOWN the windows and the front door and setting the place ON FIRE.\",\n \"EXT. PARK - AERIAL VIEW As Jack, Bob and the two other Monkeys FLEE, LAUGHING hysterically at their handiwork. They split up and move in different directions. MOVE IN ON JACK, sprinting, keeping hidden by bushes. SIRENS can be heard. He's stripping off his ski mask, his gloves, his combat gear - as he runs. Underneath are street clothes. JACK -LRB- V.O. -RRB- In that moment I `` clicked''. I became what Tyler wanted. I was his limb, his appendage - an extension of his will, nothing more. And he knew it. I could feel him knowing it. Jack dumps the wad of clothes into a trashcan and pulls up the surrounding trash to cover them. He breaks into a sprint again, heading for the edge of the park. GUNSHOT. Jack's smile fades. He stops, looks toward the direction from which the sound came. He turns, heads down along a row of hedges. He comes to a\",\n \"INT. CONCRETE STAIRCASE - CONTINUOUS And moves to the top step, looking down. A COP is near the bottom, running down to the sidewalk. Next to a STREETLAMP LIES a ONE of the MONKEYS in full combat attire and ski mask. The body is MOTIONLESS, SPRAWLED. In the hand is the DETONATOR - looking somewhat like a gun. The Cop pulls off the ski mask, revealing the DEAD FACE of Bob, a BULLETHOLE through the head. Jack flinches backwards as if punched in the stomach. He gasps for breath. The Cop looks up and catches sight of Jack. He lifts his gun and his PB radio. Jack jerks back out of sight.\",\n \"EXT. PARK - CONTINUOUS Jack hobbles along. Nearby, from beyond a hedge, he hears the crackling of a PB with a VOICE coming from it. Then : COP'S VOICE -LRB- into PB -RRB- Yeah. We found some clothes. Jack, sweating like a pig, picks up his pace and heads for the edge of the park.\",\n \"EXT. PAPER ST. HOUSE - NIGHT Jack, panting, white as a ghost, trembling, approaches from the sidewalk. He sees the front door open and four Space Monkeys come out, carrying LUGGAGE. BIG - EARED MONKEY -LRB- a solemn chant -RRB- We are now the. OTHER MONKEYS & BIG - EARED -LRB- unison -RRB-. right hands of Tyler Durden. Jack steps up onto the porch and sees that they are all holding FLIGHT COUPONS. Jack notices that all of them have the KISS - SCAR on their left hands. They ignore him with military demeanor and walk down to the sidewalk and head for the bus stop. JACK -LRB- V.O. -RRB- Under and behind and inside everything I took for granted, something horrible had been growing.\",\n \"INT. LIVING ROOM - CONTINUOUS Jack walks inside to see a Space Monkey, BEET - RED but silent, holding out his hands while LYE BURNS the inside of the TOPS of his FINGERS. Other Monkeys sit and await the process. JACK -LRB- V.O. -RRB- They were using lye to burn off their fingerprints.\",\n \"INT. TYLER'S ROOM Jack barges into the room, goes to the desk and rifles through drawers. His elbow bangs against the top of an ANSWERING MACHINE. It plays MESSAGES. MARLA'S VOICE Look, do n't get bent, okay? But. there's a therapist that I think could really help you. Give me a call. Okay? Click. Next message : DETECTIVE STERN'S VOICE This is Detective Stern with the arson unit. I've called four times in the last two days. I need you to come in for some further questioning. Jack shivers, snaps OFF the machine, then more furiously continues his search. He finally finds flight coupons - both used and unused. The used ones have the flight information, including the destination cities. He stuffs all of them into his pocket. CLOSE SHOT : SIGN : `` LAGUARDIA INTERNATIONAL AIRPORT''.\",\n \"INT. BAR - NIGHT Jack walks in and sees several MALE PATRONS with FIGHT BRUISES. Jack goes to the bar, sidles next to the bruised men and the BRUISED BARTENDER. They stare at him. JACK This is an emergency. I'm looking for Tyler Durden. BRUISED PATRON Never heard of him. Sir. He and the other bruised patrons and the bartender WINK at Jack and crack slight smiles. MONTAGE - DAY & NIGHT : `` WELCOME TO'' AIRPORT SIGNS - Atlanta, Chicago, Dallas, Phoenix, Los Angeles''. FACES - bruised, smiling, tight - lipped. JACK -LRB- V.O. -RRB- In every city, I branched out from the airport to downtown and checked bars. There was always a fight club. Tyler was setting up franchises, all over the country.\",\n \"INT. ANOTHER BAR - NIGHT Jack walks in and sits at the bar. The BARTENDER wears a NECK BRACE and has a black eye. BARTENDER Welcome back, Sir. No one's in here. It's always empty the day after fight club. JACK Talk to me. Have you ever met Tyler Durden? BARTENDER Is this a test, Sir? JACK Yeah, it's a test. BARTENDER You were in here last Thursday night. You were standing right there, asking me about how good our security is. And it's tight as a drum. JACK Who do you think I am? JACK -LRB- V.O. -RRB- Please return your seatbacks to their full upright and locked position. BARTENDER You're the person who did * this * to me. The Bartender shows Jack his hand - it has the kiss - shaped scar. BARTENDER You're Tyler Durden, Sir.\",\n \"INT. HOTEL ROOM - NIGHT Jack bursts inside, runs to the phone, punches a number. He does n't bother to turn on the lamp. INTERCUT WITH\",\n \"INT. MARLA'S ROOM - SAME Marla answers the phone. MARLA Yeah? JACK It's me. Have we ever had sex? MARLA What kind of stupid question is that?! JACK Is it stupid because the answer's `` yes'' or because the answer's `` no''? MARLA Is this a trick? JACK Will you just answer, for God's sake?! MARLA Oh, you mean, you want to know if I think it was `` making love'' or just two animals going at it? JACK So we * did * make love? MARLA Is that what * you're * calling it? JACK ANSWER THE QUESTION! MARLA You fuck me, then snub me. You love me, you hate me, you show your sensitive side, you turn back into an asshole! JACK Oh, God. MARLA Is that a pretty accurate description of this relationship? JACK What's my name? MARLA Tyler Durden. JACK -LRB- V.O. -RRB- We've just lost cabin pressure. MARLA I'm coming over. As Marla hangs up, we END INTERCUT. Jack stares at the receiver a beat, then realizes. JACK Oh, shit! No! I'm out of town! He punches Marla's number like a maniac. Listens. just ringing and ringing. He turns, sees TYLER - sitting on the bed, staring at him with an ominous poker face. Jack drops the receiver. The room is only lit by dim moonlight through the window. TYLER You broke your promise. JACK Why do people think I'm you? TYLER Because we happen to share the same body. JACK What the hell are you talking about? TYLER Sometimes * I * control it and you imagine watching me.\",\n \"INT. BAR BASEMENT - NIGHT (JACK'S MEMORY) Jack stands near the back of the crowd as Tyler stands in the middle of the light. TYLER The first rule of fight club is - JUMP CUT - SAME SHOT - -LRB- ALTERED FLASHBACK -RRB- - it's JACK in the light, talking, behaving like TYLER. JACK - you do n't talk about fight club.\",\n \"INT. HOTEL ROOM - RESUMING Jack gasps and wheezes. Tyler grins and nods. JACK But we fought - TYLER When * you're * controlling the body, you see me and hear me. But no one else does.\",\n \"INT. AIRPLANE CABIN - IN FLIGHT - NIGHT (ALTERED FLASHBACK) Jack sits next to an empty seat and `` looks'' at the blank air beside him, eyes focusing on `` someone'' close. JACK What do you do Tyler? -LRB- pause ; listens to reply. -RRB- I mean - for a living. Jack listens to the reply, then laughs.\",\n \"INT. HOTEL ROOM - RESUMING Jack has trouble catching his breath. JACK What about when we were together around other people? TYLER You never talked.\",\n \"EXT. PARK - NIGHT (ALTERED FLASHBACK) Jack -LRB- Tyler -RRB- has his face right in front of the Police Commissioner's. JACK -LRB- `` TYLER'' -RRB- We'll send one ball to the `` New York Times'' and one ball to the `` Los Angeles Times''. Sort of press release style.\",\n \"INT. HOTEL ROOM - RESUMING Tyler sits down on the bed, takes Jack's hand. He presses his lips to the kiss - scar. TYLER And when you fall asleep, I go places and do things without you.\",\n \"EXT. BUILDING (FLASHBACK) We see that the building is `` TRW''. Jack, Bob, Ricky, Angel Face and another GUY rappel down the die and start SPRAYING PAINT. Everyone is more or less paired off. Jack IS `` TYLER'' in his demeanor, mannerisms, speech. He's next to Angel Face. JACK -LRB- `` TYLER'' -RRB- -LRB- to Angel Face -RRB- You are not your job. You are not how much money you have in the bank. Suddenly, the TWO WINDOWS SHATTER OUTWARD and two of the men yell out the windows : BRUISED MAN # 1 I AM NOT MY JOB! BRUISED MAN # 2 I AM NOT HOW MUCH MONEY I HAVE IN THE BANK!\",\n \"INT. HOTEL ROOM - RESUMING Jack shakes his head in disbelief. JACK But you. you. you rent the house. TYLER The house is rented in your name. JACK You're a projection? A personality disorder? A psychogenic fugue state? TYLER Fuck that. You're * my * hallucination. JACK -LRB- points to his body -RRB- I was here first. TYLER Who's done more with it? JACK You're not going to do any more with it. TYLER What are you going to do? You could n't even figure this out. It's been staring you in the face for months. I had to drop my busy schedule and come here and tell you. How are you going to fuck with me? You think there's any possibility that I have n't prepared for? Do you think anyone you care about is safe? Jack quivers with shock, shaking his head, sweating more profusely. JACK No. This is all. it's not possible. Tyler. Tyler. it's a joke, right? Right? Jack FAINTS and falls to the floor, UNCONSCIOUS.\",\n \"INT. HOTEL ROOM - DAY Jack's eyes snap open. He shoots to his feet. JACK Tyler? He remembers the revelations of the previous night. he looks at himself in the mirror. A sledgehammer of emotions hits him. He looks at the clock - 1:35 p.m. BAM!\",\n \"INT. HALLWAY The room door slams against the wall as Jack bursts out of the room, SPRINTING for the stairs. Fuck the luggage.\",\n \"INT. STAIRWELL Jack takes three steps at a time.\",\n \"INT. LOBBY Jack storms for the front door, passing the length of the front desk. A DESK CLERK calls out to him. DESK CLERK SIR?! Jack catches sight of the Clerk, who waves a piece of paper. DESK CLERK Please initial the list of phone calls. Jack snatches the bill and looks at it. There's a MASS of PHONE NUMBERS. JACK When were these made? DESK CLERK It says right there, Sir. Between two a.m. and five thirty a.m. Jack grins. He initials the bill. The Clerk gives him a copy. Jack stuffs the bill into his pocket and disappears out the door.\",\n \"INT. AIRPLANE CABIN - IN FLIGHT - DAY Jack sits, staring out the window, his face set hard.\",\n \"EXT. AIRPORT DRIVE - SUNSET Jack sprints to the curb and leaps onto a taxi.\",\n \"EXT. MARLA'S HOTEL - SUNSET The taxi pulls to a halt by the curb. Jack leaps out and runs up the front steps.\",\n \"INT. HOTEL STAIRS - CONTINUOUS Jack sprints up the steps, taking two or three at a time. He gets to a landing and turns and runs down to the end of the\",\n \"INT. HALLWAY Where he pounds on Marla's door. She opens it. He endures her baleful gaze for a beat. MARLA Your whacked - out, bald feaks threw me out of the house. I thought they were going to kill me. They almost broke my arm. JACK I'm sorry, I. Jack takes both her hands in his. JACK Marla, I'm going to tell you something and it's going to take a tremendous act of faith on your part to believe me. MARLA Here comes an avalanche of bullshit. JACK - A little * more * faith than that. MARLA Spill it.\",\n \"INT. MARLA'S ROOM - CONTINUOUS Jack leads her toward the bed. JACK Look, did you notice a big difference between me when we were having sex and when. we were n't? MARLA Did I notice? You're manic - depressive. It's like a neon sign all over you. JACK No. It's worse than that. Jack sits on the bed, pulling Marla down next to him. They and the sheets and covers SLIDE OFF onto the floor. Jack keeps his composure and looks into her eyes. JACK Tyler is my split personality. MARLA Then, who are you? Jack takes out his wallet, shows Marla his driver's license. MARLA You gave me a fake name? What a jerk. JACK * I * did n't give you the fake name - a * fake person * did. Listen, those people all over the house - you're in danger. MARLA Okay, what do you want? You want me to create my own wonder - bitch personality to match? So we can be a foursome? JACK I WANT YOU TO FUCKING BELIEVE ME! YOU WANTED TO TALK?! WELL, * HERE'S * OUR FUCKING TALK! Jack's eyes well up with tears. He turns away from her. Marla's face softens. She strokes Jack's hair, turns his face to look at her. MARLA I'm sorry. This split personality thing is. A beat of silence. She squeezes his hand ; he squeezes back. He looks at her, working up some nerve. JACK I've go to know something. Why did you respond to Tyler? Instead of me. Sexually. MARLA I. uh. I do n't know what to say - * you're * Tyler. JACK Okay, however you want to say it - the abusive side of me - the asshole who treated you like shit and made you leave in the morning. MARLA What do you want? You want me to say I'm shit and I deserve to be treated like shit? Well, I AM! And that's how you GOT ME OFF! AND YOU * KNOW IT *! Jack touches her face and she slaps his hand away. He sighs and gets to his feet. He pulls out an airline FLIGHT COUPON and shows it to her. JACK I want you to get out of town for awhile. Whether you believe me or not, you're in * real * danger. Is there someplace you can go? Marla grabs the flight coupon, looks it over. MARLA There's plenty of places I'd like to go. Jack digs into his pocket and produces a wad of cash. Marla roughly seizes the cash, checks out the amount. JACK Leave as soon as possible. Go to a rural little town, away from any major city. Go now. Okay? Please. Promise? MARLA Count on it. And I'm not paying this back - I consider it `` asshole tax''. JACK I agree. More than you know. Marla's expression of rage becomes muddled with confusion over Jack's almost spiritual tenderness. Jack starts toward the door. A WAVE OF DROWSINESS and FATIGUE hits him. He staggers, eyes closing. He drops onto a chair for a beat and rests his hand over his face. He SNAPS AWAKE. Marla is GONE. Jack bolts up out of the seat. JACK Marla?!\",\n \"INT. HALLWAY Jack leaps out of the room, looks down the hall in both directions. JACK Marla?!\",\n \"EXT. PAPER STREET - SUNSET The taxi screeches to a halt. Jack leaps out. JACK Wait here.\",\n \"INT. PAPER ST. HOUSE - MOMENTS LATER Jack walks inside to find it completely EMPTY and DESERTED. He gawks at the bathtub and canisters that hold vast amounts of liquid. He sees bottles labeled `` nitric acid''. He TIP - TOES to the\",\n \"INT. KITCHEN And picks up the phone. He pulls out the hotel bill and scans the phone numbers. Through the window, the LAST bit of SUNLIGHT slowly SINKS. Jack punches the first number. VOICE -LRB- from phone -RRB- Maintenance. A brief silence while Jack absorbs this and adjusts. JACK Uh, excuse me. I'm not sure I have the right number. I've been calling maintenance departments all over the city, regarding the water supply. Which maintenance department is this? VOICE Very good, Sir. JACK Excuse me? VOICE Do n't worry about us, Sir. We're solid. Jack hangs up the phone. He punches the next number. DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. JACK -LRB- imitating Tyler -RRB- Give me your position. DIFFERENT VOICE -LRB- baffled -RRB- Huh? Who's this? JACK Oh, excuse me. I'm calling from the water company. I've mixed up my phone numbers. Which maintenance department am I talking to? DIFFERENT VOICE You almost had me there, Sir. Everything's A - okay here. Jack hangs up the phone. He punches the next number. ANOTHER DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. Jack hangs up ; punches the next number. YET ANOTHER DIFFERENT VOICE -LRB- from phone -RRB- Maintenance. Jack hangs up ; punches the next number. EVEN YET ANOTHER VOICE -LRB- from phone -RRB- Maintenance. A beat while Jack thinks. JACK There's been a change in the plan. EVEN YET ANOTHER VOICE You told me you'd say that, Sir. JACK I do n't care what I told you - there's * really * a change of plan! EVEN YET ANOTHER VOICE You told me you'd say * that *, too, Sir. JACK Now, listen to me, you stupid fuck! I've got the phone numbers mixed up! Tell me where you are! Now! EVEN YET ANOTHER VOICE This is a very good test, Sir. You sound like you mean it. Jack hangs up the phone and KICKS IT. He flushes red, looks around at passersby. He lifts the receiver again and punches the next number on the hotel bill. SCRATCHY VOICE -LRB- from phone -RRB- Mason Industrial Electronics. JACK This is Tyler Durden. SCRATCHY VOICE -LRB- harsh whisper -RRB- Are you outta your fucking mind?! What the fuck are you doing, calling me in the daytime?! JACK I. have some questions about. SCRATCHY VOICE Jesus! I showed your guys how to use it! A four - year - old could take that shit and break through any security system in the world! If you ca n't then fuck you, moron! Now, do n't ever call me again! Click. Disconnect. Jack looks at the receiver, hangs it up.\",\n \"EXT. LOU'S TAVERN - NIGHT Jack gets out of the cab, turns to the CABBIE. JACK I got ta have you wait again. Leave the meter running. The Cabbie grins. CABBIE There's no charge, Mr. Durden. Jack gawks at him, backs away.\",\n \"INT. LOU'S TAVERN - SAME Jack darts inside and signals to Irvine. Irvine comes out from behind the bar and he and Jack move to a corner. Other men with BRUISED FACES turn and watch them. JACK Look, I need to know where the nitroglycerin was taken. Irvine scowls at him a beat, then slowly smiles. IRVINE Right, Mr. Durden. JACK This is n't a test. There's been a mix - up. IRVINE You told me you'd say that. JACK Where are all the maintenance departments?! IRVINE You told me you'd say that, too. Jack bristles with rage. He grabs Irvine's shirt collar. JACK Did I tell you I'd call you a motherfucking asswipe dickhead?! IRVINE Yes, you did. Marla walks into the tavern, makes a beeline for Jack. JACK WHAT THE HELL ARE YOU DOING HERE?! MARLA You told me to meet you here at ten till. JACK WHEN?! MARLA Back in my room. When you dropped into the chair. JACK SHIT! Irvine and a couple of the bruised - faced guys grin at Marla and take a few steps towards her. Jack grabs her and drags her out the door.\",\n \"EXT. LOU'S TAVERN Jack ignores the waiting cabbie and heads for the main road. He's stomping along at a brisk pace. His face hardens into a mask of psychotic determination. He pulls Marla with him onto a run - down side street. He darts into a\",\n \"INT. PAWN SHOP He immediately points to something high on a shelf. JACK Let me see that trumpet. The OWNER, a huge, gruff man, pushes a ladder to the spot starts to climb. Jack throws himself onto the countertop near the register, looks around, pulls up a HANDGUN. OWNER Hey! Marla GASPS. Jack checks the clip - it's fully - loaded. He sprints for the door, dragging Marla.\",\n \"EXT. STREET - CONTINUOUS Jack steps out into traffic. A LEXUS screeches to a halt. Jack goes to the DRIVER'S door and whips it open. JACK Police emergency. DRIVER Bullshit! Jack shoves the gun barrel into the Driver's temple. The Driver gets out of the car and FLEES. Jack points the gun at Marla and motions her to get into the car. Overwhelmed by all this, she complies. Jack leaps behind the wheel and stomps on the gas.\",\n \"EXT. GREYHOUND BUS STATION - LATER Jack drags Marla into the passenger loading area. A Greyhound bus is taking on passengers. Jack sees the DESTINATION - PHOENIX - and he impulsively averts his eyes, but too late. JACK SHIT! I ca n't know where it's going! Come on, let's find another one. Jack drags her to another loading bus. He keeps his eyes averted from the DESTINATION sign. JACK Get on the bus. MARLA -LRB- reading the destination -RRB- But I do n't want to go to - JACK SHUT UP! Do n't tell me where it's going! MARLA But, the people there talk funny and their teeth are rotten. JACK Shit! Now, I know it's the rural South! Jack jams the gun barrel into Marla's ribs. JACK Get on that fucking bus right now! Marla starts for the bus. Jack keeps himself from seeing the destination sign, but watches Marla get on board. Then, the doors close. Then, the bus pulls away. Then, the bus gets to the end of the road and turns a corner. Jack turns and walks off the passenger platform and out into the\",\n \"EXT. STREET NIGHT He sees a Space Monkey on the corner, watching him. He looks down and sees another Monkey in the opposite direction, also watching him. JACK -LRB- V.O. -RRB- They probably had a map of the city with little push pins. I felt like a migrating goose on `` Wild Kingdom. Well, fine. They could watch me do * this *''.\",\n \"INT. POLICE STATION - NIGHT Jack walks past desks of PLAINCLOTHES DETECTIVES until he sees a private office. He glances down at a business card, then keeps moving forward.\",\n \"INT. OFFICE - CONTINUOUS Jack steps inside the office to see Detective Stern at the desk. JACK I want you to arrest me. I'm the leader of a terrorist organization that's about to set off bombs all over the city. Detective Stern scowls at Jack.\",\n \"INT. HALLWAY - MOMENTS LATER Jack, handcuffed, is led by Detective Stern. Several other DETECTIVES follow. A somber mood prevails.\",\n \"INT. INTERROGATION ROOM - CONTINUOUS Stern enters and leads Jack to a table. All the other Detectives file inside. The last one closes the door. Dim light from a single bulb overhead creates the tone of a torture chamber. Cigarette smoke becomes thick. Jack sighs with relief. It's finally over. The Detectives all stare harshly at Jack. Then, they all BURST into HYSTERICAL LAUGHTER. They slap and punch Jack's shoulder. DETECTIVE STERN Very good, Mr. Durden. Jack uses all his strength to stifle his utter shock. He forces a thin smile. DETECTIVE STERN Operation Domino has everyone a little skittish right now. But it's all going like clockwork. Jack, ready to explode, keeps the smile plastered on his face and forces his hand - like a palsy victim - to form the gesture `` thumbs up''. The Detectives give him the same gesture in reply.\",\n \"EXT. BACK OF POLICE STATION - NIGHT A door opens and Jack is playfully shoved outside. LAUGHTER of Detectives rings out. Jacks starts to walk away from the police station.\",\n \"EXT. STREET - CONTINUOUS Jack steps out into the street. In a state of shock, he lopes forward, dizzy. JACK. Operation Domino. `` fall like dominoes''. SHIT! ONE, TWO, THREE! YES! Passersby look at him as if he were a homeless, insane guy. JACK THE BANKS! What was the first one?! Number one, number one. * CITIBANK *!\",\n \"INT. STOLEN LEXUS - MOMENTS LATER Jack RACES along the streets, swerving and passing cars, HONKING. After a beat a MOTORCYCLE COP appears behind Jack and turns on his SIREN and FLASHING LIGHT. Jack reflexively slows down. The motorcycle moves up beside Jack and the COP SMILES, waving Jack forward. The Cop provides an ESCORT. The Lexus turns a corner and heads for the\",\n \"EXT. CITIBANK BUILDING - CONTINUOUS Jack leaps out of the car. He sprints into the\",\n \"INT. LOBBY - NIGHT Two Space Monkeys take over the escort and lead Jack toward the elevators. JACK I'll take the stairs. Jack darts to the side, throws open the stairwell door.\",\n \"INT. STAIRWELL Jack dashes DOWN the steps.\",\n \"INT. PARKING AREA Jack races from the stairwell into the parking area, eyes combing the place. He darts from one SUPPORT POST to another, his eyes frantically searching. He moves around a support post and sees - Tyler, sitting on the ground, his back against the post. TYLER Looking for something? JACK Where are the charges at?! TYLER Do n't end a sentence with a preposition. JACK WHERE ARE THE CHARGES AT, * FUCKHEAD *?! TYLER Listen to `` Elephant Balls''. shit, slinging a gun. * Where did I go right *? JACK I'll find them. Jack moves away, continues looking around support posts. TYLER There's eight floors of parking. JACK I do n't give a shit. TYLER You do - because you do n't have enough time. Tyler grins, points to his watch. TYLER. Ten minutes. Jack stalks back toward Tyler, gun raised. JACK TELL ME WHERE THE CHARGES ARE! TYLER They're all up and down the building. They're not just here. If you tried to stupidly pull a fuse on a charge, you'd just cause it to blow up. The charges are set to go in a specific order - so that the building will implode and collapse. If you * did * defuse one of the charges, you'd fuck up the sequence, and the building might fall the wrong way. Why do n't you just find a television and watch the party? JACK I'm awake. I have control of the body. You ca n't give orders. TYLER I do n't have any orders left to give. It's all set. Jack boils over, then cracks. He drops the gun, falls to his knees and clutches at Tyler. He touches Tyler's face. JACK Tyler. You're real, are n't you? This is all a big joke, is n't it? You * are * real, you son of a bitch! Tears well up in Jack's eyes. He hugs Tyler. Tyler hugs him back. TYLER We're both real. Jack squeezes harder, then lifts his head - he's hugging ANOTHER JACK. The real Jack gasps, flinches backwards, landing on the gun. He turns, grabs the gun, and turns back around. Fifty feet away, Tyler, standing, leans against a pillar. He winks. Jack raises the gun, turns it around and aims it at his own head. JACK There's only one way to stop all this. Jack shoves the barrel into his mouth. TYLER You better not. If our body is found dead, the Space Monkeys have orders to kill Marla. JACK Marla is gone - and you do n't know where. Tyler's hand suddenly DARTS INTO FRAME, CLOSE - UP and SNATCHES the gun. NEW ANGLE Tyler, laughing, holding the gun, dashes for the elevator. Jack sprints after him.\",\n \"INT. ELEVATOR Jack manages to leap inside just as the door closes. He lunges at Tyler and fights for the gun. Tyler, laughing, manages to retain it. The elevator climbs rapidly - blinking numbers indicate floors whizzing past.\",\n \"INT. TOP FLOOR LOBBY The elevator doors open and the struggling pair whirl out and toward the GLASS WALLS. Tyler SHOVES Jack's HEAD against the window, turns it so Jack is looking down. ANGLE ON STREET A GREYHOUND BUS sits idling right by the front lobby doors, having been allowed through the cordon.\",\n \"INT. TOP FLOOR LOBBY - RESUMING As Tyler and Jack continue to stare downward. JACK That's. not the bus. TYLER You know it is. Tyler swings Jack away from the window and shoves him backwards. TYLER Now, can you grasp that there's nothing you can do? Jack raises the gun, aiming at Tyler. Tyler laughs, but flinches - just as Jack FIRES. The bullet chews out a CHUNK of the wall. JACK I'm not going to kill myself. I'm going to kill * you *. Tyler laughs, but he starts rapidly moving down the hallway. TYLER You ca n't kill me! How can you kill me?! Jack FIRES again, missing Tyler. Tyler breaks into a sprint. Jack does the same.\",\n \"INT. HALLWAY Jack turns a corner, sees Tyler at the end of the section of hallway, heading for an intersection. Jack aims the gun at Tyler. RAPID CUT SECURITY CAMERA POV - HALLWAY Jack aims the gun at himself. RAPID CUT TO :\",\n \"INT. HALLWAY Jack FIRES. As Tyler flinches down - RAPID CUT TO : SECURITY CAMERA POV - HALLWAY * Jack * flinches down, having shot at himself. RAPID CUT TO :\",\n \"INT. HALLWAY Jack resumes sprinting until he turns a corner to\",\n \"INT. NEW SECTION OF HALLWAY Jack sees Tyler turn, freeze, then leap sideways toward a room. Jack FIRES. The bullet GRAZES Tyler's leg. RAPID CUT TO : SECURITY CAMERA POV - HALLWAY Jack, with the gun still aimed at his own leg, falls backwards, bleeding from the graze wound his just gave himself. RAPID CUT TO :\",\n \"INT. HALLWAY Jack pulls himself to his feet, and, his face now looking completely insane, runs with his limp, holding the gun up, ready to fire. He turns a corner to -\",\n \"INT. TOP FLOOR LOBBY And suddenly, Tyler LEAPS onto Jack. RAPID CUT TO : SECURITY CAMERA POV - LOBBY Jack crumples to the floor and wrestles with himself. He punches himself, he tries to trap pin his own arms, he kicks himself. RAPID\",\n \"INT. TOP FLOOR LOBBY Tyler leaps to his feet and dashes away. Jack pulls himself up and follows into a -\",\n \"INT. LARGE SOCIAL ROOM With floor - to - ceiling windows showing a view of the city. There are a HUNDRED DUFFEL BAGS lining the floor, along the walls. Tyler leaps onto Jack seizes the gun. Jack holds onto Tyler. Tyler shoves the gun barrel into Jack's mouth. TYLER Okay - let's kill you - let's kill * both * of us. Be a martyr for the cause. Tyler pushes Jack against a glass wall. Jack, exhausted, is losing his spirit. JACK -LRB- V.O. -RRB- I think this is about where we came in. TYLER Two minutes. Jack collapses to the floor. Tyler moves down with him, keeping the gun in Jack's mouth. He sits on Jack. JACK Either way - the building blows us up or you pull the trigger - it'll finally be over. TYLER This building is n't going to blow up. It's the observation room. Pay - per - view. So, what are you going to do? You do n't even have the guts to make a decision. Jack looks into his eyes for a moment, then reaches up and PULLS THE TRIGGER. * GO TO SLOW MOTION * AS - KABLAM! his cheeks INFLATE with gas from the gun. His eyes bulge, BLOOD flies out backwards from his head. SMOKE wafts out of his mouth. RESUME NORMAL SPEED as Tyler gapes at Jack, then reaches behind his head and feels - there's a HOLE BLOWN OUT THE BACK. Tyler's eyes glaze over and he falls backwards, plopping on the floor, DEAD, with a grin on his face. A throng of Space Monkeys - two of whom drag Marla - RUSHES into the room. They see Jack, ALONE, holding a gun, bleeding profusely from the side of his face, where he's SHOT A HOLE through HIS CHEEK. He stares at the empty floor in front of him with his weird, little smile. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?! The two Space Monkeys who hold Marla press forward through the crowd. One of them puts a GUN to her head. He COCKS it. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?! Jack takes in the sight of Marla and the gun at her head. He cracks a Tyler - esque grin. JACK Everything's fine. Give me the girl. The Monkeys release Marla. She moves next to Jack, now becoming more shocked by his bloody state. Jack grabs her arm. She digs through her purse and pulls out a wad of tissue paper. She puts them into his mouth to plug the hole. MARLA What the fuck is going on?! Jack cracks his weird, little smile ; his eyes are wide and half - insane - looking. He winks at Marla and squeezes her hand. JACK Tyler's dead. The Space Monkeys all grab their duffel bags and file out of the room, saluting Jack as they go. Now, Jack and Marla are completely alone. He struggles to get to his feet. She helps him. They look out the window. MASSIVE EXPLOSION - a building a quarter of a mile away. It's destruction is completely visible from here. The glass walls RATTLE LOUDLY from the shock wave. They both stare out the window. JACK Listen, you met me at a really weird time in my life. Marla looks at Jack, then looks back out the window. He reaches for her hand. She takes his hand. They are SILHOUETTED against BRIGHT FLASHES as ANOTHER BUILDING EXPLODES and COLLAPSES. ANOTHER BUILDING EXPLODES. And ANOTHER BUILDING. And ANOTHER BUILDING. The FILM SLOWS DOWN, then ADVANCES ONE FRAME at a TIME - SHOWING the SPROCKET HOLES on the SIDES. It's CAUGHT in the mechanism of the projector's GATE. EACH FRAME is the EXPLODING BUILDINGS - then, * ONE FRAME is a PENIS *. Then, EXPLODING BUILDINGS again. SPEED UP the frames, LOSE the sprocket holes, RESUME NORMAL SPEED. FADE OUT * THE END *\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,1,0,0,0,0,0,1],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"The unnamed Narrator is an automobile recall specialist who is unfulfilled by his job and possessions. He finds catharsis by posing as a sufferer of testicular cancer and other afflictions in support groups, curing his insomnia. His bliss is disturbed by another impostor, Marla Singer. The two agree to split which groups they attend. On a flight home from a business trip, the Narrator meets soap salesman Tyler Durden. The Narrator returns home to find that his apartment and all his belongings have been destroyed by an explosion. He is disheartened by the loss of his materialistic items. Deciding against asking Marla for help, he calls Tyler, and they meet at a bar. Tyler says the Narrator is beholden to consumerism. In the parking lot, he asks the Narrator to hit him, and they begin a fistfight. The Narrator moves into Tyler's home, a large dilapidated house in an industrial area. They have further fights outside the bar, which attract growing crowds of men. The fights move to the bar's basement where the men form Fight Club, which routinely meets for the men to fight recreationally. Marla overdoses on pills and telephones the Narrator for help; he ignores her, but Tyler goes to her apartment to save her. Tyler and Marla begin a sexual relationship, much to the Narrator's irritation. Tyler warns the Narrator never to talk to Marla about him. The Narrator blackmails his boss for his company's assets to support Fight Club and quits his job. Soon, Fight Clubs begin to form across the country. New members begin to join in mass, including Robert Paulson, a man with testicular cancer who the Narrator had previously met in a support group. Tyler recruits their members to a new anti-materialist and anti-corporate organization, Project Mayhem, without the Narrator's involvement. The group engages in subversive acts of vandalism and violence, increasingly troubling the Narrator. After the Narrator complains that Tyler has excluded him, Tyler leaves the house. The Narrator realizes that Tyler caused the explosion at his apartment. When Paulson is killed by the police during a botched sabotage operation, the Narrator tries to halt the project. He follows a paper trail to cities Tyler has visited. In one city, a Project Mayhem member addresses the Narrator as \"Mr. Durden.\" Confused, the Narrator calls Marla and discovers that she also believes he is Tyler. Tyler appears in his hotel room and reveals that they are dissociated personalities in the same body; the Narrator assumed the personality of Tyler when he believed he was sleeping. The Narrator blacks out. When he returns to the house, he uncovers Tyler's plans to erase debt by destroying buildings that contain credit card records. He apologizes to Marla and warns her that she is in danger, but she is tired of his contradictory behavior and refuses to listen. He tries to warn the police, but the officers are members of the Project. He attempts to disarm the explosives in one building, but Tyler subdues him. With Tyler holding him by gunpoint in the top floor, the Narrator realizes that, as he and Tyler are the same person, he is holding the gun. He fires it into his own mouth, shooting through his cheek, which causes Tyler to collapse since he thinks he has committed suicide; the Narrator ceases mental projection of Tyler. Project Mayhem members bring a kidnapped Marla to the building. Holding hands, the Narrator and Marla watch as the explosives detonate, collapsing buildings around them."},"name":{"kind":"string","value":"Fight_Club"}}},{"rowIdx":151,"cells":{"scenes":{"kind":"list like","value":["EXT. HIGHWAY - DAY It is 1957, and we are in the deserts of Utah. TONY BENNETT sings `` Rags to Riches'' on the SOUNDTRACK. Breath - taking scenery stretches out on either side of a highway. The CAMERA MOVES to reveal a Nash Ambassador as it labors up a hill. Twelve cars are caught behind the thirty - mile - per - hour pace. Two cars decide to ignore safety and cross the solid yellow line to pass the pokey car.","INT. NASH AMBASSADOR - PARALLEL TIME Two people are in the straining car - a woman and her son. The woman is CAROLINE WOLFF. Somewhere in her 30s, she is a pretty woman who can look beautiful if she works at it. -LRB- Just now, though, her prettiness is marred by a fading bruise on her right cheekbone. -RRB- She is bright and energetic and lively. Even more important than these qualities, though, is her humor. And most important of all is a sensual quality she exudes. Her sensuality is effortless - as natural to her as the color of her eyes and hair. Men turn on the street to stare at her. The boy is TOBY WOLFF. A pleasant - faced boy with won - derful eyes, he is 13 - teetering on the brink of adolescence, so that one moment he seems like a self - assured teenager, and the very next like a ten - year - old kid. Just now the ten - year - old kid has the upper hand : bored and weary with the long trip, Toby has been arguing with Caroline, who is ignoring him. TOBY Well, I mean it. I'm serious - I do. You promise and promise, and then you change your mind, just like that. CAROLINE -LRB- totally oblivious. -RRB-. Uh - huh. TOBY You wait'til you ask me for something. Just wait. See if you get it. CAROLINE -LRB- as above. -RRB- Toby, hush. Let me just. So concentrated on her driving she does n't even finish her sentence, she nurses the car upward. Finally the car crests the hill and starts down. Caroline sighs with relief. She turns to Toby with a smile. CAROLINE What'd you say? TOBY I said - for the twentieth time - if a person promises somebody something, they ca n't just turn around and take it back. CAROLINE Oh, honey, Jesus. Do n't start with that again. TOBY Why not? CAROLINE Because I'm the mother, and I get to tell you what to do every minute of your life'til you're eighteen. Seriously, we've got no money. I ca n't buy you the moccasins. TOBY I bet if you'd promised Roy some moccasins he'd of got'em. CAROLINE No talk about Roy, okay? And ditto the moccasins. We, ca n't, afford, them. TOBY Yeah, but you did promise. CAROLINE Sue me. Take me to court. Oh, Toby, I know you're disappointed, but. TOBY Jack. Call me Jack. CAROLINE You're going to drive me to an early grave : I'm never going to make Salt Lake City. TOBY Seriously. If a person ca n't get a stinking miserable pair of moccasins, at least he ought to be able to choose his own name. -LRB- loud. -RRB-. and I wan na be called Jack! CAROLINE Fine. And you can call me. -LRB- she thinks. -RRB-. Jeanette. Jeanette Marie. TOBY Oh, you're so stupid sometimes, I. The BAWLING of an AIRHORN interrupts him. Both of them look through the back window and see a huge tractor - trailer truck, out of control, bearing down on them. Caroline brakes and steers a hard right, SKIDDING the NASH safely onto the side of the road. The truck, its HORN BLASTING steadily, shimmies and slides past them, and then, hideously, fails to make the next curve : it smashes through the guard rails and into empty space, its HORN still BLARING. Caroline and Toby look at each other, then scramble out of the car.","EXT. BROKEN GUARD RAIL - DAY Other drivers have stopped to look : hundreds of feet below, the truck lies on its back among boulders. Caroline glances, then turns away. She pulls Toby away, one arm around his shoulder.","EXT. NASH AMBASSADOR - MINUTES LATER Caroline fills the Nash's steaming radiator with a can of water. CAROLINE -LRB- not much heat. -RRB- Goddamn thing. She glances back to where a larger crowd of people stare avidly down at the truck. She bites her lip. CAROLINE Oh, that poor man. There is a pause. Then Toby speaks : TOBY I hope to hell this is n't some kind of omen. Caroline turns to Toby, her face worried. Then she sees the look in Toby's eyes - he's ragging her. She grins and gives his shoulder a light, affectionate shove.","INT. NASH AMBASSADOR - NIGHT Toby -LRB- feet up on the dashboard wearing a brand - new pair of Indian moccasins -RRB- and Caroline sing `` Mood Indigo'' together. Toby holds a complicated - looking, black con - traption which looks something like an antique flashlight. TOBY How's this thing work, anyway? CAROLINE -LRB- not confident. -RRB- It makes a black light that, uh, causes uranium traces to glow. TOBY And we just walk along the street and find this glowing uranium? CAROLINE Well, it was everywhere in Moab, they say - just like gold in the gold - rush days. TOBY But we were too late in Moab, and that guy at the office said nobody'd found any uranium in Salt Lake City. CAROLINE Well, that means we'll have the place pretty much to ourselves, huh? Honey, this could be a big break for us. If this works out, oh, just think : we'll get us a house, get rid of this damn Nash Ambassador - no money worries. It'll be like heaven on a June day.","INT. CAR - DAWN We hear `` MOOD INDIGO'' on the car RADIO and see that a weary Caroline has driven through the night and Toby is slumped against the passenger door. Toby stirs, then opens his eyes. CAROLINE Ask me how far we are from Salt Lake City. Toby is instantly awake, excited. Caroline points to a small highway sign and both she and Toby yell out. CAROLINE/TOBY Forty - seven miles to go! Both of them are laughing with excitement. Toby claps his hands together once, very hard, and Caroline yells -","EXT. HIGHWAY - MORNING Well, hell. The Nash Ambassador sits by the side of the road, its hood up, its radiator steaming. Caroline and Toby sit in a patch of shade by the car. CAROLINE If I could have one wish right now - only one wish - you know what I'd like? I'd like to burn this damn Nash Ambassador to a crisp. -LRB- as Toby laughs. -RRB- I'm serious. I hate it. I hate the factory that produced it, and I hate the man who invented it. TOBY It almost makes me want to see Roy - he was the only one could make the thing stop overheating. -LRB- a beat. -RRB- My God, he was boring. Boring and mean : you sure got crappy taste in boyfriends. At the mention of Roy's name, Caroline lightly touches the bruise on her right cheekbone. Not enjoying the talk about Roy, she pours the water into the radiator, and speaks directly to the car. CAROLINE I'd like to burn you to the ground. -LRB- to Toby ; big smile. -RRB- Let's go get rich in Salt Lake City!","EXT. SALT LAKE CITY (DOWNTOWN) - DAY Toby waits beside the Nash Ambassador, looking toward a three - story concrete building. He holds a portable RADIO, which PLAYS DEAN MARTIN singing `` Volare.''","INT. BUILDING - PARALLEL TIME Caroline, holding the imitation Geiger counter, stands across the counter from a MAN who is looking at her very strangely. MAN You're pulling my leg, right? CAROLINE No, I came here to look for uranium. MAN My God, lady. If you're looking for uranium, why did n't you go to Moab? CAROLINE We went there, but everybody'd beaten us there. We were too late. MAN So you came here just on the chance you'd find uranium? Listen, you mind me saying something to you might sound rude? Lady, you got more courage than you got common sense.","EXT. NASH AMBASSADOR - DAY Caroline exits the building, dumps the Geiger counter in a trash can and strides to the car. She gets in, and says two words : CAROLINE Do n't ask.","INT. NASH AMBASSADOR - DAY Caroline turns the key in the ignition and gets only a maddening RER - RER - RER - RER noise from the ENGINE : wearily, she rests her forehead on the steering wheel.","EXT. NASH AMBASSADOR - TWENTY MINUTES LATER Caroline and Toby have the hood up and are peering into the engine. TOBY That mechanic in Colorado said it needed points. CAROLINE I know. Do n't tell me what I already know. This thing's a bottomless pit. I do n't know what to do. No matter how much money I pour into it. Suddenly a WOMAN in pedal - pushers and a thin, inexpensive sweater stops. She's vaguely low - class, but friendly and sympathetic. WOMAN I'd rather be whipped with a belt than have car trouble. ` Course these days I do n't have to worry about that. My husband got laid off at the mill, and they repossessed the car, so wherever I wan na go, I just have to hoof it, you know? Caroline smiles, then her face changes. CAROLINE You do n't have a car? -LRB- as the Woman shakes her head. -RRB- You want this one? Shocked, the Woman says - WOMAN I. uh. I. TOBY You're gon na give our car away? CAROLINE -LRB- to the Woman. -RRB- Seriously. It needs points, and it overheats constantly, but you can have it if you want it, because my hand to God, I ca n't look at it one more minute. WOMAN Well, sure. CAROLINE Get the bags out. Get the owner's slip out of the glove compartment. We're rid of this son - of - a - bitch pink and white albatross. You do n't mind taking a car with a big dent in the passenger door? WOMAN Hell, no. -LRB- she looks. -RRB- There's no dent there. Caroline draws back her leg and delivers a terrific, flat - footed kick to the door, leaving a dent the size of a dish - pan. CAROLINE Oh, yes there is! Toby hands the Woman the owner's slip, Caroline gives her the keys. WOMAN you really just giving me this car? CAROLINE It's done. It's yours. You got yourself a Nash Ambassador! -LRB- to Toby. -RRB- Let's go! Both of them pick up two bags apiece - all they have in the world - and off they go, feeling good.","EXT. CITY STREET - DAY (FEW MINUTES LATER) 1957 is all around us : gas is 29.9 cents a gallon ; bread is 19 cents a loaf ; cars are curved and heavily chromed ; people occasionally nod and smile at strangers ; children carry hula hoops. In all, a gentler time. Caroline and Toby stride along briskly, as if they knew where they were going. CAROLINE find ourselves a cheap room someplace, we'll get you into school, I'll brush up on my typing and get a job, and things'll start looking up. I feel it : the good times are coming. And at least we're rid of that damn Nash Ambassador! TOBY Yeah, and like Dad used to say, ` We may be broke, but we're never poor.' And later, if we get a house with a big yard, I could get a collie, you know? One like Lad or Grey Dawn. And someday maybe a palomino. And I'm going to try harder in school, too. The two of them walk on - a bit foolish, but, in an odd way, brave as hell.","INT. VICE PRINCIPAL'S OFFICE - DAY A subdued Toby sits in front of the VICE PRINCIPAL. VICE PRINCIPAL like to give new boys the benefit of the doubt, but this is the second time in two weeks that you've been in front of me, and I do n't like that. -LRB- picks up a telephone. -RRB- Now I think you better just call your mother and tell her to come down here. TOBY She works. She's working. Silent, the man continues to hold out the telephone to Toby. Finally he takes it and dials.","EXT. SCHOOL - AFTERNOON Caroline and Toby exit. Toby sullen ; Caroline angry. TOBY It was n't me broke their stupid windows. CAROLINE Liar. TOBY Gee, thanks a lot, Mom - believe them instead of me. CAROLINE If you care anything about me at all, you'll shut up. TOBY Yeah, well if you'd stayed married to Dad none of this would've ever happened. CAROLINE Look, do n't you put that on my back : I ca n't make your father call you. I ca n't make your brother write you. They dumped you. Yes. But it's not my fault.","INT. CAROLINE AND TOBY'S ROOM - AFTERNOON The place is pretty bleak : a room and a half, Murphy beds, linoleum floors, and a bath down the hall. Caroline and Toby enter. She pulls down the Murphy bed and falls onto it fully dressed, saying : CAROLINE My head is killing me. Toby heads for his room. SAME SCENE - DUSK Caroline wakes up with a start, then sees Toby sitting in a chair, watching her. CAROLINE What time is it? TOBY Seven. Almost. CAROLINE Why did n't you wake me? TOBY I started dinner. The potatoes are frying, and I'm heating up the hot dogs. Caroline sees that he's trying to make it up to her, and pats the bed for him to sit down next to her. He moves to sit beside her. CAROLINE Hold your mother's hand. TOBY I'm sorry. CAROLINE I know you are, honey. Ah, well - it was n't fire, and nobody bled, so I guess we're okay. The TELEPHONE RINGS and she answers it. When she hears the VOICE on the other end she once again touches her right cheekbone with a finger - the spot where the bruise had been. She sags back against a wall. CAROLINE Yes. -LRB- listens. -RRB- Yes. -LRB- listens. -RRB- Yes, I know. -LRB- listens. -RRB- You're right. -LRB- listens. -RRB- All right, yes. in an hour, then. Caroline hangs up. TOBY Who was that? She closes her eyes. TOBY Who was that? Caroline laughs aloud, then slides down the wall until she's on the floor still laughing. CAROLINE We've got a guest for dinner : it's Roy. He tracked us down. Toby groans and falls full - length onto the sofa.","INT. CAROLINE AND TOBY'S KITCHEN - ONE HOUR LATER Caroline, Toby and ROY are eating at the tiny table. Roy is good - looking in a meaty, hairy - chested sort of way. Though he is on his very best behavior just now, there is a mean streak in him. Toby, delighted, holds a Winchester.22 rifle across his lap - a peace - making gift from Roy. ROY I found me a room, but it's clear the hell and gone ` cross town. And I think I got a job lined up doin' tune - ups in a Texaco station. How you like it at Winstead's? CAROLINE How do you know where I work? ROY I been here almost a week. CAROLINE You followed me around? For a week? Watching? Roy does n't answer. He just wiggles his eyebrows like Groucho Marx. CAROLINE And how did you ever find me? Again, Roy does the Groucho Marx. He turns to Toby. ROY You like the rifle, Toby? ` Jack,' I mean. TOBY It's the best present I ever got. I just love it. -LRB- to Caroline. -RRB- I'm going to pretend I'm shooting. CAROLINE Do n't point that thing at anybody or I wo n't teach you to shoot. TOBY It's not loaded! CAROLINE You heard me : anybody or any thing. TOBY It's got no bullets, for God's sake. CAROLINE Do n't make me speak to you again. TOBY I'll point it at the sky, then. Caroline sighs. Toby opens a screenless window and points the gun up into the night sky, pretending to fire it over and over. Caroline starts to clear the table. Roy jumps up to help her.","INT. LIVING ROOM - TWO HOURS LATER Caroline and Roy are kissing on the sofa, and he is all over her : his hands are on her breasts, her thighs, everywhere. Aroused in spite of herself, Caroline pulls away, indicating the light in the other room. CAROLINE Do n't. Toby's still up. Roy leans back, smiling, and eyes Caroline. ROY You are one sweet thing, baby : just the sight of you makes my dick hard. He pulls her to him, starting to kiss her. She fends him off, looking worriedly toward the room where Toby's light burns. ROY Aw, he wo n't hear anything. Again he pulls her toward him ; again she turns her head from the kiss. Then it happens. A spasm of anger passes across his face and he shoves Caroline away from him. It's a hard shove, but nothing that could really hurt her. Violence has happened before between these two, and they recognize it. Caroline is immediately on guard, and Roy is apologetic. ROY Shit, baby, I'm sorry. I did n't mean that. I'm just so glad to see you. He slides toward Caroline, kisses her. This time she accepts the kiss - feels she has no choice.","INT. KITCHEN - PARALLEL TIME Dressed for bed, Toby stands by an open window. He can hear every WORD of ROY'S, who continues to apologize between kisses. The room is illuminated by a nearby streetlamp. The frosty air from the open window causes his breath to steam. He raises two fingers to his lips, pretends to take a drag on a cigarette and blows out the steam from his breath. The VOICES in the other room grow a bit LOUDER, almost to an argument, and then SUBSIDE again. Toby takes another drag from his pretend cig - arette. He looks very young.","EXT. RESIDENTIAL STREET - AFTERNOON Toby wanders toward the rooming house. He stops to watch TWO fiftyish WOMEN who are working in a garden. One Woman looks up. WOMAN #1 Hi. TOBY Hello. The Woman stops to take a breather, lights a cigarette, pokes her companion. WOMAN #1 My Lord, look at the eyes on him - wo n't he be a heartbreaker in three, four years? WOMAN #2 Bedroom eyes. Toby smiles. WOMAN #1 You live in the neighborhood, sweetie? TOBY Over there. -LRB- a beat. -RRB- I wo n't be here long, though,'cause my dad's coming to get me. WOMAN #1 Oh, yes? TOBY Yeah. I'm gon na live on his ranch in Phoenix. The `` Lazy B,'' it's called. WOMAN #2 That sounds like fun. TOBY It is. I've got a palomino horse and a collie, and Dad lets us go on hunts all by ourselves. He gave me this Winchester.22, and last year I shot a mountain lion with it. And Lad - that's my dog - found a nest of rattlesnakes one time, and killed all twelve of them. The two Women exchange a glance. It's obvious the boy is lying. 21 INT. CAROLINE AND TOBY'S ROOMS - AFTERNOON -LRB- SAME DAY -RRB- 21 Toby enters. Four packed suitcases lie on the bed behind Caroline. TOBY What're you doing home so -. -LRB- as he sees suitcases. -RRB- We going someplace? CAROLINE We sure are. TOBY Where? CAROLINE I do n't know. Got any suggestions? TOBY Phoenix. CAROLINE Good. I was thinking of Phoenix or Seattle - lots of opportunities in both those places. TOBY What about your fabulous boyfriends? What about the fabulous, boring Roy? Is he coming, too? CAROLINE Not if I can help it. I looked out the window at work today, and he was parked across the street, watching. TOBY Roy's so uncool. So boring. CAROLINE You liked him well enough last night. -LRB- imitating Toby. -RRB- ` Oh, Roy, I just love my rifle so much! It's the bestest present ever!' TOBY Oh, shut up. But he's smiling, completely unbothered. Suddenly Caroline laughs, stands up, and begins to close the suitcases. Toby laughs, too. TOBY Now? We're going now? What about all the food? CAROLINE Leave it. TOBY Even the canned stuff? CAROLINE Leave it! They grab the four heavy suitcases and head out the door. Both of them are laughing.","INT. BUS STATION - AFTERNOON Caroline and Toby stand at a ticket counter, disappointed. TOBY Well, ask him when the next one to Phoenix is. TICKET SELLER Tomorrow morning, eleven forty - five. Toby and Caroline groan, then Caroline brightens. CAROLINE What about Seattle? TICKET SELLER -LRB- consults a list. -RRB- Leaves in nine minutes. They look at each other.","EXT. BOARDING AREA Toby and Caroline hurry onboard a Greyhound bus with Seattle as its destination. CAROLINE I've always had a good head for figures, and if I could get my C.P.A. license, I believe we could make a real go of it in Seattle. I'll advertise for roommates, and I bet we find us a real cute house to rent. TOBY If there's a big yard, can I get a collie? CAROLINE Sure. Oh, honey, I feel a wind at my back : I think this is going to work out good. TOBY -LRB- as they board bus. -RRB- Yeah - like heaven on a June day. The DOORS of the bus close. WHOOSH! The bus begins to move. Caroline and Toby's faces are at the window : Seattle or bust.","EXT. TRACT HOUSE (SEATTLE, WASHINGTON) - AFTERNOON The house is a nasty little thing with peeling paint. From inside we hear : CAROLINE -LRB- O.S. -RRB- and if you cut school again I'll just wear you out - do you hear me? I'm tired of it! TOBY -LRB- O.S. -RRB- Yeah, yeah. Toby exits the house. But, Jesus, what a new Toby : he's turned cool. A few months have passed. He now wears T - shirts and jeans which ride way low on his hips. As he walks along, he combs his hair into a duck's ass in back, and forward into a curl at the center of his forehead. He's 1957 hip - or thinks he is. He strolls on, feeling cool.","EXT. TRACT HOUSE/FURTHER DOWN STREET - AFTERNOON From one of the houses TERRY TAYLOR emerges, falling into step with Toby. He's Toby's age, and is almost an exact replica of him. TOBY Hey, Terry. TERRY TAYLOR Hey, Jack. What'd your mom say about skipping school today? TOBY Who listens? TERRY TAYLOR You go over to Wanda's house last night? -LRB- as Toby nods. -RRB- You make out good? -LRB- as Toby nods again. -RRB- How good? TOBY I fucked her'til her nose bled. TERRY TAYLOR Sure you did! Oh, Wolff, you're rich.","INT. APARTMENT - AFTERNOON TERRY SILVER opens the door to admit Toby and Terry Taylor. Silver is a clone of both Toby and Terry Taylor.","INT. LIVING ROOM - AFTERNOON As the three boys troop through the room, they pass Terry Silver's two SISTERS, who are sprawled sensually on a sofa. SISTER #1 Oh look - it's Elvis, Elvis, and Elvis. TERRY TAYLOR Excuse me, but does your face hurt?'Cause it's killing me. With that piece of high wit, they're out of the room.","INT. TV ROOM - AFTERNOON The boys light up three cigarettes -LRB- opening a window so the smoke will disappear -RRB-, then throw themselves onto the floor in front of a black - and - white TV. Superman is ON. When Lois Lane comes on, Terry Taylor starts moaning as if sexually aroused ; Terry Silver jumps to his knees and licks the TV screen repeatedly, also moaning. Toby closes his eyes, also as if in sexual transport. TOBY Oh, Lois. Oh, baby, come here - I got six hot inches just waiting for you. TERRY TAYLOR Man, look at her! Look at that body - y - y - y. TERRY SILVER -LRB- continues licking screen. -RRB- Um - m - m - m. M - M - M. Oh, Annette, I want you. I want you so bad. TOBY Oh, babybabybabybabybaby. You make my dick hard! The three carry on for a few more seconds. THREE OF THEM Yum, yum, yum. Making wet kissing noises, or just rocking their heads back and forth as if tempted beyond endurance. Then, slowly, they shut up and lie back down. SAME SCENE - LATER And this is what they really wanted : absolutely silent, all three boys stare fixedly at the screen. They are totally absorbed, caught up in the sweetness and warmth of the show. Not one of these boys has ever touched a girl's breast ; all three are at least two years from their first shave ; all three are pre - pubescent, and their sexuality is all bravado - now we see them for what they are : three skinny - armed 13 - year - olds, fascinated by Superman.","INT. TOBY AND CAROLINE'S KITCHEN - DUSK Caroline pirouettes for her two roommates, KATHY, a diffident, sweet - faced young woman, and MARIAN, a heavyset, loud, red - faced woman who eats compulsively from a package of oatmeal cookies. Both of the women ooh and aah over Caroline's dress. KATHY That belt just makes it. CAROLINE It does pick up the green, does n't it? MARIAN And you say he's getting serious already? CAROLINE Yes, I think. He keeps talking about marriage, keeps saying he wants to meet Toby. MARIAN Well, that's it - three dates and you got ` im good. CAROLINE I do n't know if I want him - She stops as Toby enters the kitchen. TOBY Do n't want who? KATHY -LRB- about Toby. -RRB- Little pitchers. MARIAN Well, it's the tough guy who ca n't be bothered to go to school. CAROLINE -LRB- to Toby. -RRB- Oh, it's nothing - we were talking about Dwight. I told you about Dwight. TOBY He the one drives down from the boondocks? The mechanic? Dwight. What a stupid name. -LRB- he draws the name out. -RRB- Dwiiiight. Duhhhhwight. Dwight - tah - h - h - h. Dwighttahhhhh. There is a KNOCK on the front door. Toby sticks his head around the door, looking into the living room. A man is outlined against the sunset, only his black silhouette is visible. It is our first glimpse of DWIGHT. Has the man heard him? Toby does n't know for sure. Caroline brings Dwight into the kitchen. He is older than her, an attractive - enough man. He is well - built, has a full head of brown hair, and very white teeth. Those are his good points. On the minus side : his over - eagerness to please, his nervous smiles and his clothes. He wears two - tone shoes, a hand - painted tie, and a monogrammed handkerchief, folded beyond perfection, in the pocket. Caroline introduces him to Marian and Kathy. Then she introduces Dwight to Toby. Dwight is all smiles. CAROLINE Would you like coffee before we go? Or a Coke? DWIGHT You know, I believe I could stand a cup of java. As Caroline pours the coffee, Dwight turns to Toby. DWIGHT So you're Toby. TOBY No. DWIGHT You're not Toby? TOBY No. CAROLINE Oh, he wants to be called ` Jack.' It's so silly. ever since he read Jack London. DWIGHT Well, I'll call him anything he wants. -LRB- to Toby, confidential. -RRB- I always say people can call me anything they want, long as they do n't call me late for supper! Kathy and Marian think it's pretty funny. They laugh. Caroline smiles. Toby just stares. DWIGHT So, Jack, you like school? TOBY No. MARIAN He might like it if he ever went there and tried it. TOBY Oh, have another cookie, Marian - keep your strength up. MARIAN I'd like to just yank that nasty tongue of yours out by the roots. CAROLINE -LRB- to Dwight, light. -RRB- My son's decided to try to drive me into an early grave. Truly. -LRB- to Toby ; not so light. -RRB- You straighten up and be polite, you hear me? Dwight takes a swallow of the coffee. His eyes widen. DWIGHT Who made this? CAROLINE I did. DWIGHT Well, well, well, all I can say is that you people are pretty lucky to live in a house where - oh. Marian puts a cigarette into her mouth. Dwight jumps up, pulls a velvet case from his pocket and extracts a mono - grammed Zippo. He snaps open the top of the lighter against his leg, and holds the flame in front of Marian's face. She lights her cigarette. Then Dwight perform the Zippo drama in reverse. What a conversation stopper. Finally, Kathy speaks to Toby. KATHY I hear you're invited up to Dwight's next week for Thanksgiving. DWIGHT Aw, you'll love it. Great air, great water. For scenery, all you have to do is step outside your front door and open your eyes. And there's a turkey shoot Thanksgiving Day. Your mom said you might like it, so I signed you up. Toby sits up, eager. TOBY Really? I can shoot my Winchester? Great! I bet I could be the one to get the turkey. CAROLINE Well, amazing : it can sit up and talk like a normal human being. -LRB- notices the time. -RRB- Dwight, we're going to be late. She grabs her coat -LRB- which Dwight jumps up to hold for her -RRB- and they exit. As Dwight leaves he kisses his hand, then throws the kiss toward Marian and Kathy. The instant the front door slams : TOBY What a geek. MARIAN I love a man knows how to dress. KATHY He's so appealing.","EXT. RESIDENTIAL STREET - AFTERNOON We hear SCREAMING. Toby and Terry Taylor race BY the CAMERA on stolen tricycles, yelling as if they're attack - ing Indians. Behind them comes Terry Silver, on foot. Atop a small hill, both boys jump off, letting the TRICYCLES SMASH into a parked car. Then they run like hell with Terry Silver bringing up the rear.","INT. CAROLINE AND TOBY'S LIVING ROOM - MORNING Caroline is dressed casually. Toby has on a shirt and sweater. He is pretending that he's buck - toothed. Caroline finishes packing a small suitcase. CAROLINE I want you to be polite to Dwight this weekend. TOBY -LRB- buck - toothed speech. -RRB- Okay. CAROLINE I mean it, now. TOBY -LRB- buck - toothed speech. -RRB- I said ` Okay,' did n't I? CAROLINE Hey, c'mon, maybe the weekend'll be fun. maybe Concrete will be pretty. TOBY -LRB- buck - toothed speech. -RRB- Oh, Concrete, my favorite town. Welcome to beautiful Concrete! CAROLINE And stop that. TOBY -LRB- buck - toothed speech. -RRB- Stop what? CAROLINE Sometimes I could kill you as free as I could eat a bite. TOBY -LRB- buck - toothed speech. -RRB- Ditto. A car stops and through a window, we see Dwight. Caroline turns to Toby. CAROLINE Please be nice. Toby stops the buck - toothed thing and speaks normally. TOBY All right.","EXT. ROAD - MORNING We see Dwight driving his shiny Buick, Caroline and Toby beside him. As the CAMERA TRACKS the car with VARIOUS SHOTS, we hear : DWIGHT -LRB- V.O. -RRB- air like wine at my place, and I do n't mind saying I would n't live anywhere else, and that's the God's honest truth. There's good schools, honest people, and some of the best fishing in the world. Ted Williams - you like baseball, Toby? That is, Jack, I mean - you like baseball?'Cause Ted Williams, whom I believe is one of the all - time greats, is also a world - class angler. Many's the day he and I've talked over the best way to get a fish to say yes to a hook. -LRB- a beat. -RRB- Hunting, too : there's game everywhere you look. I do n't think I flatter myself by saying that I'm something of a whiz with a rifle, and Concrete gives me every opportunity to prove it.","EXT. SMALL BRIDGE - DAY The three stand by the edge of the bridge, looking down into the water. They see salmon fighting the last few yards of their yearly battle to spawn. Against the rapid current, they leap again and again. Long strips of flesh hang from their bodies. DWIGHT They always show you salmon fighting to get upstream, but they never show you what they look like when they get there. Her face strained, Caroline leans over for a closer look. The salmon swim in slow, stunned circles, some with an eye missing or hanging by a membrane, a hideous sight. CAROLINE It's pitiful. Awful. DWIGHT They'll spawn, and then they'll die. They're dying now. As Toby and Caroline move to the passenger side of the car, Toby speaks so Dwight ca n't hear : TOBY I hope to hell it's not an omen. Caroline has to fight back a smile.","EXT. CONCRETE SILO - DAY The Buick drives into town past an enormous disused Concrete silo where `` Welcome To Concrete'' is painted in huge faded letters. DWIGHT So here we go. Welcome to Concrete. Dwight's home sweet home. Finest people in the whole state of Washington, you ask me. Lots of churches, too. A neighbor of mine says, `` Looking for nice churches, come to Concrete. Looking for sin, go to hell.'' I think that's funny. Caroline and Toby are severely underimpressed with their first impression of Concrete.","EXT. DWIGHT'S HOUSE - DAY Dwight's Buick pulls to a stop ; Dwight, Caroline, and Toby get out. The scenery is as beautiful as Dwight said it was. DWIGHT All the houses are converted Army barracks, made into duplexes - Three children exit the house. SKIPPER, a pleasant boy who is average in every way, is 17. NORMA is 18, slow - spoken and sensual, Toby can not take his eyes off her. The third is PEARL, two years younger than Toby. Pearl has a bald spot the size of a dollar, high on the side of her head. DWIGHT Well. Let's see here. Kids, this is my pretty friend, Caroline Wolff, and her boy To. -LRB- he catches himself. -RRB- Jack Wolff. These are my kids : Skipper, Norma and my baby, Pearl. Everybody says hello, shakes hands, then they all head into the house.","INT. DWIGHT'S LIVING ROOM - DAY They enter and look around : well, it's not awful, but it sure as hell is n't wonderful. The room is dark, on the small side, and shows the lack of a woman's hand. Caroline looks a bit taken aback, but tries to hide it by saying the word `` nice'' over and over. The CAMERA FOLLOWS them FROM room TO room : DWIGHT Okay, so that was the living room ; over here is the kitchen - I plan on getting all new fixtures in here - and down that hall are the three bedrooms and the bath. He stops at an extra, no - particular - purpose, nondescript room furnished only by two easy chairs and a card table. DWIGHT This is sort of a lounging area. -LRB- as nobody says anything. -RRB- You know, just in case you want to. He searches, ca n't think of how to finish the sentence in any impressive way. He gives up, finishes weakly : DWIGHT lounge. Skipper snorts with laughter, but cuts it off when Dwight gives him a look. Toby, trying to be good, bites his lip to keep from laughing.","EXT. BUSINESS STREET - DAY The business area is small and rather forlorn. The six of them walk in pairs - Dwight and Caroline, Skipper and Norma, and last, Toby and Pearl. -LRB- Toby's eyes are glued to the movement of Norma's body. -RRB- DWIGHT -LRB- about a gas station. -RRB- And over there's where I work. CAROLINE -LRB- to Skipper and Norma. -RRB- How about you guys? You like it here? They glance at each other. SKIPPER Fine. NORMA Yeah, it's fine. NORMA It's a little isolated, is all. DWIGHT Not that isolated. NORMA Well, maybe not that isolated. Pretty isolated, though. DWIGHT Aw, there's plenty to do in Concrete if you kids would take a little initiative. When I was growing up we did n't have T.V. - we used our imaginations. We read the classics. We played musical instruments. You show me a bored kid, I'll show you a lazy kid. CAROLINE I did n't know you played an instrument, Dwight. What do you play? DWIGHT -LRB- one - half second's hesitation. -RRB- Sax. Tenor sax. Skipper and Norma glance at each other, then look away. Caroline takes a cigarette from her purse. Again Dwight jumps to her service : we are once more treated to the mini - drama of Dwight unsheathing the Zippo from its velvet case, opening the top on his pants leg, etc.. CAROLINE -LRB- back to Skipper and Norma. -RRB- How's the school here? SKIPPER There is n't one. We go to Chinook. NORMA Chinook High. DWIGHT It's a few miles downriver. SKIPPER Forty miles. DWIGHT Come off it - it's not that far. SKIPPER Yeah, I clocked it : thirty - nine miles. In spite of the fact that he's eager for this day to go well, Dwight's bottom teeth begin to show. DWIGHT Ah, you'd bellyache if the goddam school was in your fugging back yard. Just shut your god - damn pie - hole. They all shut their pie - holes. The six walk in a tense, uncomfortable silence for five full beats. Then Pearl tries to help out : PEARL I'm in fifth grade. Nobody seems to care.","INT. DWIGHT'S LIVING ROOM - HOUR LATER Dwight has recovered his good mood. Dressed in a marksman's coat with a padded shoulder, Dwight is laughing as he attempts to assemble Toby's Winchester.22. DWIGHT ` Turkey shoot' is just a figure of speech. TOBY There's no real turkey? DWIGHT No, it's just regulation paper targets. It's a test of skill. -LRB- a beat. -RRB- And, Jack, I just found out yesterday that they wo n't let kids shoot. TOBY But you said I could! DWIGHT I know, but they got it all screwed up somehow and told me wrong at first. Toby starts to argue, but Caroline touches his arm. CAROLINE Dwight, you did tell him. DWIGHT -LRB- an edge. -RRB- I do n't make the rules, Caroline. If I made the rules, I might make different ones, but I do n't make the rules.","EXT. OPEN FIELD - DAY A sullen Toby stands with Pearl. Dwight is giving his name and the entry fee to a MAN. As the Man moves away, Caroline stops him and holds out some money. CAROLINE Wolff. Caroline Wolff. MAN You mean you want to enter? I think it's against the rules. CAROLINE Well, that sign says this is an N.R.A. club, and I'm a dues - paying N.R.A. member. That gives me the right to participate in the activities of other chapters. MAN You'll be the only woman shooting. Caroline just smiles. The Man shrugs, takes her money and writes down her name.","EXT. SHOOTING RANGE - DAY The shooting match has begun. The contestants have ten turns to fire ten shots apiece at a large paper bull's - eye fifty yards away. The scores and rankings are on a portable scoreboard. A contestant finishes SHOOTING. There is a pause. Everyone watches as his score is raised from behind the concrete wall on which the bull's - eye hangs. The score comes : 84. There is a smattering of applause, and it's Dwight's turn. From his stance, Dwight looks as if he is a pretty good shot. He's nervous, though, because Caroline is going to shoot, and he squeezes off his TEN SHOTS in RAPID SUCCESSION, hardly pausing to breathe. A pause, and then his score is raised : 73. Dwight smiles an inappropriate smile and hands the Winchester to Caroline. There are a couple of whistles as Caroline takes her position, and someone in the crowd yells out, `` Oh, Mama, shake that thang!'' Caroline ignores it, taking her shooting stance, which is surprisingly graceful and professional - looking. She SHOOTS her TEN BULLETS, taking time to breathe once, deeply, between each shot. The pause, and her score is raised : 93. There is a moment of surprised silence, and then the crowd gives Caroline a sincere round of applause. SAME SCENE - LATER Dwight looks stunned, and Toby is almost equally surprised. On the scoreboard, we see that Caroline is in second place and by only two shots. As the next - to - last round finishes, Caroline is surrounded by a few people who are complimenting her shooting. Dwight's smile is even bigger : Oh, he wanted to be the one to win. The last round starts. A MAN, evidently the one in first place, heads to the shooting alley for his turn. As he passes Caroline, trying to rattle her, he speaks confidently. MAN That second - place trophy ai n't bad, honey. CAROLINE -LRB- big smile. -RRB- Then you wo n't feel too bad about carrying it home, will you? Several people laugh, and the Man, bested, turns away. Everyone turns quiet to watch the Man shoot. He is evidently the one who's nervous, though, for after he SHOOTS and waits, the score is raised : 95. There is an immediate stir - Caroline can win if she shoots a virtually perfect round. Dwight's name is called. He takes his position, but clowns around, SHOOTING first left - handed, then right - handed, then with both eyes closed. His score is raised : 24. There is scattered laughter, and Dwight leads it - hell, it's all a joke to him, his attitude says. Caroline takes her stance. Rock - steady, she SHOOTS her TEN SHOTS and waits. And then it comes : 98. She's won. The second - place Man wheels away angrily, but everyone else congratulates the laughing Caroline, as an official presents her with a small trophy of a gold rifle on a pedestal, and a huge ham. In the midst of the hubbub, Toby manages to get close enough to congratulate his mother. Caroline glances toward Dwight as she whispers to Toby : CAROLINE That was for you, honey. TOBY -LRB- impressed. -RRB- I did n't know you were a member of the N.R.A. CAROLINE I'm a little behind in my dues - Thirty - six years behind.","INT. DWIGHT'S KITCHEN - DAY Caroline, Toby and Pearl enter. Norma is cooking Thanksgiving dinner. Dwight WALKS HEAVILY down the hall to his bedroom and SLAMS the DOOR. NORMA What gives? TOBY Mom won the turkey shoot. NORMA Oh, boy. Now we're in for it - he thinks he's some kind of big hunter. PEARL Well, he killed a deer once. NORMA That was with the car. They all laugh.","INT. DINING ROOM - AFTERNOON Though there are some occasional sentences like `` Could I have the potatoes, please?'' or `` This dressing is really delicious,'' mostly there is just silence and the noise of SILVERWARE ON PLATES. Dwight is working hard on the wine. DWIGHT I got just one thing to say. -LRB- as everyone stiffens. -RRB- I'm sitting at the table with the best damn shot in the county! Everybody relaxes, and general conversation begins.","INT. DWIGHT'S LIVING ROOM - NIGHT Norma plays `` Blue Monday'' on an upright piano whilst Toby sings it. After finishing the song, Norma launches into `` On Moonlight Bay.'' Everybody joins in. Toby and Caroline glance at each other and smile. SAME SCENE - MIDDLE OF NIGHT Caroline, who is sleeping on the sofa bed, returns from the bathroom. She sees that Toby's awake on his pallet on the floor. She sits on the floor beside him. -LRB- The whole conversation is conducted in whispers. -RRB- CAROLINE So what do you think? TOBY They're okay. What's that bald spot on Pearl's head? Ugh. CAROLINE Some sort of infection. TOBY Norma's nice. CAROLINE They're all nice, but Dwight keeps rushing me, keeps talking about marriage. And I do n't really want to get married - not now anyway. TOBY That's fine with me. -LRB- a beat ; new tone. -RRB- I wish you would've stayed married to Dad. CAROLINE Oh, do n't wish Duke back on me. God. TOBY That woman he married? Is she really rich? CAROLINE Like King Midas. Okay, look, we'll go back to Seattle and see how things go. I've been thinking about taking a course in stenotyping. A court reporter's pay is real high. Kathy got engaged, so either I find us another roommate or I've got to make some more money. And this stenotyping thing sounds just right. This could turn out good, honey.","INT. BOYS' BATHROOM AT SCHOOL - DAY Toby, Terry Silver and Terry Taylor lounge against the wall, smoking. TOBY I mean I blew it off, man - I blew his fuckin' turkey's head off. Terry Silver takes a long slow drag on his cigarette. The other boys glance at each other : they do n't buy it. TERRY TAYLOR With a.22. TOBY Fuckin' A. Winchester.22. Pump. TERRY TAYLOR Wolff, you are so full of shit. TOBY Do n't believe me - see if I care. TERRY TAYLOR All a.22 bullet would do is make a hole in his head. Toby takes a drag on his cigarette. TOBY One bullet, maybe. TERRY TAYLOR Oh. Oh, I see - you hit the turkey more than once. While he was flying. In the head. Toby nods. Silver and Taylor howl with laughter. Furious, Toby says `` Fuck you'' over and over. He pulls out a rat - tail and scratches the words `` FUCK YOU'' onto the soft paint of the bathroom wall.","EXT. RESIDENTIAL STREET - AFTERNOON Toby stands at the top of a small hill with Terry Silver and Terry Taylor. They are too casual, their faces too innocent : something's up. They wait until a middle - aged man raking leaves turns and disappears around a corner. Then the three of them open the door of a car, take off the emergency brake, and start it rolling down the hill. The car rolls silently down the hill. It CRASHES into another car at the bottom, making a LOUD NOISE. The three boys run like the wind out of sight.","INT. CAROLINE AND TOBY'S KITCHEN - NIGHT Caroline, Toby, Marian and Kathy sit at the table eating dinner. KATHY exactly what I wanted for my dress. It's a Simplicity pattern, and I'm pretty sure I can make it myself. It's got big puff sleeves. Caroline takes out a cigarette. Then everybody jumps as Toby yells and jumps up knocking his chair over backwards. TOBY Oh! Toby grabs Caroline's lighter, and begins to imitate Dwight : saying, `` Oh!'' and `` Oh, yes!'' and Oh, my!'' and `` Here, let me!'' and `` I'll do that!'' It's a mean, accurate imitation of Dwight. All three women laugh in spite of themselves. Caroline keeps saying `` Jack, that's enough,'' and Marian says, `` Dwight's not that bad.'' But they ca n't help laughing. Toby offers the other two women a light, then offers a broom, the back door, and the refrigerator a light.","INT. PRINCIPAL'S OFFICE - DAY The principal, MR. SHIPPY, sits behind his desk. Toby, looking scared, sits across from him. A secretary lets Caroline into the room. Mr. Shippy rises and introduces himself. Caroline does n't respond to the introduction. CAROLINE What did he do? MR. SHIPPY He violated the school property and flouted the law. CAROLINE Can you say that in English? MR. SHIPPY He wrote obscene words on the wall. CAROLINE -LRB- to Toby. -RRB- Did you do it? -LRB- as he shakes his head `` no''. -RRB- He did n't do it. MR. SHIPPY -LRB- strong. -RRB- He wrote obscene words on the wall. CAROLINE What obscene words? MR. SHIPPY -LRB- after a beat. -RRB- ` Fuck you.' CAROLINE That's one obscene word. Mr. Shippy looks stymied. There is a pause. MR. SHIPPY Look, Mrs. Wolff, Jack's teachers, like him but they think he's fallen in with the wrong kind of friends. -LRB- peers at Toby's hand. -RRB- Is that nicotine stain on your fingers? -LRB- as Toby shakes his head `` no''. -RRB- I hope not. Let me tell you a story : I started smoking in college. Two packs a day. I ate'em. -LRB- a beat. -RRB- One night I went to have a cigarette and lo and behold, the pack was empty. I went downstairs and started to rummage through the garbage cans. But as I reached down - I mean, right down into a garbage can - I suddenly thought, ` Whoa. Hold on right there, Buster.' I went back to my room and to this day I have n't smoked another cigarette. -LRB- a beat. -RRB- After that, every day I saved the exact amount of money I would've spent on cigarettes. In three years, I put it all together, and you know what I bought? I bought myself. -LRB- a dramatic pause ; big finish. -RRB-. a Nash Ambassador. Caroline gives a bark of laughter. She brings out a handkerchief and coughs, as if she has a cold. Mr. Shippy looks puzzled. MR. SHIPPY Well, back to the point : I think two weeks' suspension.","INT. CAROLINE AND TOBY'S HOUSE - SAME DAY (LATER) Caroline and Toby enter the house. Caroline goes into the bedroom, shuts the door. Toby sits on the couch. SAME SCENE - NIGHT Late afternoon sun slants through the venetian blinds. Toby sits exactly as he sat before. Then Caroline comes out of the bedroom, ominously calm. She sits down. CAROLINE So what shall we do? TOBY What do you mean? CAROLINE Ever since Duke and I got divorced, you're a different boy. I know he never calls you and I could kill him for it - but that's how Duke is. And Gregory's in Princeton now, so I guess. -LRB- refocusing. -RRB- So what shall we do? Because this is n't working. -LRB- a beat. -RRB- We barely have enough money, Kathy's moving out, and on top of it all, you've gone wild. You lie. TOBY No I don'. CAROLINE Yes, you do. You steal from Marian's purse - I just ca n't handle you anymore, and it scares me. I do n't know what to do. So, you tell me what to do. TOBY -LRB- he means it. -RRB- I can be better. I will be. -LRB- it bursts out of him. -RRB- And I hate the way I am anymore! I do n't know why I do it! -LRB- a beat. -RRB- What about that stenotyping thing you were gon na do? With peculiar intensity, Caroline speaks in a soft, odd voice : CAROLINE It wo n't happen. It wo n't happen. It wo n't happen. Things are n't going to turn out well, things are n't going to start looking up, and it's never going to be like heaven on a June day. There is no uranium. There is no stenotyping. There is no C.P.A. license. There is n't. She stands for a few moments as if listening for a far - off sound. CAROLINE I talked to Dwight : after Christmas, he wants you to come up to Concrete and live with him for a few months - go to school there. TOBY What are you going to do, just give me away to him? CAROLINE If you two can get along, if it works out, then I guess he and I might get married. The two stare at each other. CAROLINE I ca n't think of anything else to do. But first I want your approval. Again the two stare at each other. TOBY All right. Caroline nods, turns away.","INT. CAROLINE'S LIVING ROOM - DAY Christmas is over : a few scattered pieces of wrapping paper lie scattered on the floor, and a small Christmas tree with bubble - lights glows in a corner. Caroline shuts a suitcase and looks at Toby. CAROLINE I put in both your sweaters. You wear them now, the nights are so chilly up there. TOBY Okay. I will. CAROLINE You do n't have to go if you do n't want to, honey. TOBY No, it's okay. I'll go. O.S. we hear a KNOCKING and Dwight's cheery voice. DWIGHT -LRB- O.S. -RRB- Here I am, you lucky people!","EXT. CAROLINE AND TOBY'S HOUSE - DUSK Dwights hustles the bags into the trunk, tells Toby to kiss his mother, and hops into the car, all smiles, all cheeriness. The Buick pulls away, leaving Caroline white - faced and miserable.","INT. BUICK - NIGHT Dwight takes a pull from a pint bottle of whiskey and gives Toby a sneering, contemptuous look. Toby reaches over, SNAPS ON the RADIO. Immediately Dwight SNAPS IT off. Then, in the headlight's glare, Toby sees a dark shape. TOBY Hey, look : is that a raccoon or a beaver. Dwight swerves deliberately to hit the animal. There is a sickening THUMP, and Dwight stops. As he backs up : DWIGHT Go get it - the pelt's worth fifty bucks, minimum. TOBY That thing's probably got rabies. DWIGHT -LRB- low. -RRB- Get it!","EXT. ROAD - NIGHT Toby moves to where the dead beaver lies on its back, its eyes open, in the red glow of the taillights. Toby picks the thing up and lugs it back toward Dwight, who has the trunk open.","INT. BUICK - NIGHT Dwight is still drinking, between swallows, he gives Toby sneering glances. Dwight is driving very fast. The road begins a series of curves. Dwight does n't slow down, and the TIRES begin to SCREAM on the curves. The road runs along a steep gorge. Dwight increases the speed, and the car begins to fishtail. TOBY I'm a little sick to my stomach. DWIGHT Sick to your stomach? A hotshot like you? TOBY I'm not a hotshot. DWIGHT That's what I hear. I hear you're a real hotshot. Come and go where you please, do what you please. Is n't that right? Yeah, regular man about town. Performer, too. That right, Jack? You a performer? TOBY No, sir. DWIGHT That's a goddamned lie. Dwight keeps glancing from the road to Toby, and back again. DWIGHT If there's one thing I ca n't stomach, it's a liar. TOBY I'm not a liar. DWIGHT Sure you are. You or Marian. Is Marian a liar? She says you're quite the little performer. Is that a lie? You tell me that's a lie and we'll drive back to Seattle so you can call her a liar to her face. You want me to do that? TOBY No. DWIGHT Then you must be the one's a liar, right? -LRB- as Toby nods. -RRB- And you're a performer? TOBY I guess. DWIGHT You guess? You guess? Let's see your act. Go on. Do your act. -LRB- when Toby is silent. -RRB- I'm waiting. TOBY I ca n't. DWIGHT Sure you can. TOBY No, sir. DWIGHT Do me. I hear you do me. Again Toby shakes his head, and then gasps as the CAR SKIDS hideously close to the cliff's edge. Dwight is oblivious to the danger. DWIGHT Yeah, I hear you're good at doing me. Here. Do me with the lighter. Go on. Take it. Dwight holds out the velvet - covered Zippo, driving with one hand, and the car is all over the road. Dwight puts the lighter back into his pocket. The car slows a bit. DWIGHT Hotshot. You pull that hotshot stuff around me and I'll break every bone in your body. You understand me? -LRB- a beat. -RRB- You're in for a change, mister. You got that? Huh? You got that good? -LRB- so scary. -RRB- You're in for a whole ` nother ballgame.","EXT. DWIGHT'S HOUSE - NIGHT Dwight's Buick pulls to a stop as Norma, Skipper and Pearl come out to meet them. Dwight is calmer now. DWIGHT Skipper, go get that washtub out back, and Pearl, bring the hose around and fill it up. Hotshot and me hit a beaver. We'll salt him down. Skipper and Pearl move out on the run. Dwight slits the beaver from throat to testicles, guts it, then pulls the skin off. DWIGHT I know you think you're better than me. Caroline told me all about your rich daddy and your prep - school brother, but your fancy days are over : you're a Concrete boy now. I'm gon na give you a big injection of Concrete. That's right - inoculate you. Oh, my, yes. You're gon na find out that in Concrete we have to be able to do more than sing Fats Domino songs, we work. Skipper and Pearl bring the tub with four blue stars painted on its side, Dwight plops the skinned beaver into the water. The hairless carcass stands in the tub, its chin on the edge. Pearl shudders and turns away.","INT. DWIGHT'S KITCHEN - SAME NIGHT (LATER) Dwight, Toby, Norma, Skipper and Pearl are eating dinner at the kitchen table. Norma speaks to Toby. NORMA You'll be in Miss Graham's class? TOBY Yeah, is she nice? NORMA She's okay. She's pretty. TOBY I hate changing schools. DWIGHT Speaking of changing, I had a talk with Jack on the way up here, and he says he wants to be a better boy. And that's good,'cause things were n't going well for him in Seattle : the police actually came to his house to talk to Caroline about him. Uh - huh, the police. PEARL -LRB- very low ; to Toby. -RRB- Criminal. DWIGHT So here's what I think : I think idle hands are the devil's workshop, and so I found our Jack a little something to do. -LRB- to Toby. -RRB- I picked up two barrels of horse - chestnuts in the park. You can spend your evenings hulling'em. And I enrolled you in the Boy Scouts, and you've got a paper route, starting Monday, every afternoon from three to six - thirty - pays fifty - five bucks a month. What d'you say? Toby glances around the table, he is subdued. TOBY I'll do it. -LRB- means it. -RRB- I want to be. better. DWIGHT That's what I like to hear. Okay, you guys get these dishes cleaned up. Let's show Jack how we do it in Concrete.","INT. SCHOOL ROOM - DAY MISS GRAHAM stands in front of the class. Toby is midway back in the room. MISS GRAHAM -LRB- reading. -RRB- ` Of course I prayed - and did God care? He cared as much as on the air a bird had stamped her foot and cried, `` Give me''.' Now. What is the tone of this short poem? GIRL Is it religious? MISS GRAHAM No - even though it talks about God, I would n't say it was religious. BOY It's sad. MISS GRAHAM Well, closer, maybe. But no. There is a pause. Finally, Toby raises his hand. MISS GRAHAM Jack? TOBY It's angry, sort of bitter. MISS GRAHAM Very good, Jack. Bull's - eye. From the front of the room, a tall, thin, effeminate boy, ARTHUR GAYLE, turns to look at Toby and holds the gaze for three full beats, then turns around and faces the front. What the hell does it mean?","INT. SKIPPER AND TOBY'S BEDROOM - NIGHT The room is dark. Skipper is asleep. Toby lies in a cot. Dwight leans against the wall near the head of Toby's bed. He speaks in a low, reasonable voice : DWIGHT'cause I do n't believe that crap, you know? I believe there is such a thing as a bad boy - bad clear through. And it's gon na be my job to turn you around, to kill or cure. Kill. Or. Cure. Understand? And I'm up to the job, oh yes, believe me, hotshot, I am ready, willing and able to take you on - you and that jibagoo music you like to sing. I'm just the guy to knock that music out of your head and put in some respect and obedience. -LRB- a pause. -RRB- Now your mother has just about washed her hands of you - that's obvious,'cause she's shipped you off up here. I mean, she has had it with you. She told me : she said ` Dwight, I just ca n't handle him anymore.' So do n't go crying to Mama,'cause Mama wo n't listen. Mama is sick to death of her baby boy. -LRB- a beat. -RRB- And your rich Daddy Warbucks and your Princeton brother do n't give a shit about you,'cause Caroline told me they have n't even written in over two years. So it looks like I'm all you got now - it's just you and me. Feels sort of inevitable, does n't it, hotshot? It's like we were fated for each other, like I'm the one guy on Earth could set you straight. And do n't you ever think I wo n't enjoy doing it,'cause. SERIES OF SHORT SCENES TO INDICATE TIME PASSING A -RRB- -LRB- AFTERNOON -RRB- Toby delivers papers in a sack filled with papers slung over one shoulder which thuds against his hip with every step making him tilt to one side against the weight. B -RRB- -LRB- NIGHT -RRB- Toby sits in a utility porch. The floor around him is two feet deep in horse chestnuts. With a knife and a pair of pliers he husks the chestnuts. His hands are covered with scrapes and cuts and the chestnut hulls bleed a juice that has dyed them a bright yellow. CAROLINE -LRB- V.O. -RRB- Dear Toby, I sure do miss you, honey - the house is like a tomb since you left. So quiet. My only entertainment tonight was watching Marian eat a whole pint of ice cream. I hope you're liking it up in Concrete. I just know you'll try hard in school and be good and mind Dwight. I worry about you so much, and I hope this will be just what you need. C -RRB- -LRB- DAY -RRB- Toby rubs futilely at his yellow hands with a cloth and watches Norma, who is drying her hair in her bedroom. She bends over so her head is in a patch of sunlight. Toby is riveted by the girl and her hair gleaming in the sunlight. D -RRB- -LRB- AFTERNOON -RRB- Again see Toby delivering his papers. He sees Arthur Gayle coming toward him in the street. His hips sway as he walks, and his head tilts to one side. As he and Toby pass one another, he raises one arm and points at Toby. The he walks on. TOBY -LRB- V.O. -RRB- Dear Mom, Thanks for the birthday present. It fit fine. You do n't have to worry so much. I'm okay here. The weather is nice, and I like Scouts a lot. Dwight took us all to see Bridge on the River Kwai. I liked it. So things are all right with me, except for stupid Pearl, who I hate. Do n't worry all the time. E -RRB- -LRB- NIGHT -RRB- Dwight introduces Toby at a Scout meeting. All the other boys have on Scout uniforms. F -RRB- -LRB- DAY -RRB- Toby is on the utility porch husking the horse chestnuts. His hands are now orange. Pearl stands in the doorway watching him work. Norma appears beside Pearl. Norma's face turns sympathetic. NORMA You remind me of that boy in the fairy tale who had to spend twenty years sifting sand to find a golden needle. Remember that one? Toby does n't answer. The two girls move away. Toby sighs, and picks up another chestnut. G -RRB- -LRB- DAY -RRB- Toby, keeping an eye on the door to make sure he's unobserved, reaches under the mattress of Skipper's bed and pulls out several billfold - sized black and white pornographic photographs. The hair styles of the women in them are decades old. Toby takes the photographs into the bathroom, shutting the door behind him. CAROLINE -LRB- V.O. -RRB- Dear Toby, Just a note before going to bed. Dwight tells me that the two of you are getting along like a house afire. I'm so glad. I wanted this to work out for you. You left your sock cap here. Do you need it? H -RRB- -LRB- NIGHT -RRB- Skipper is asleep in his bed. Across the room, Toby lies with his portable RADIO against his head. We hear, very, very softly, ROSEMARY CLOONEY crooning `` Hey, There.'' He's tired. He's lonely. He's miserable.","INT. DWIGHT'S LIVING ROOM - AFTERNOON Toby and Pearl are playing a card game called `` Slap - Jack.'' Toby slaps a card down hard, yelling `` I win again!'' and Pearl pouts. PEARL That's no fair. You make me sick. I do n't know why you have to live here, anyway. Daddy says we should think of it like you were a charity kid. Toby takes out his comb, combs his hair a bit, then holds it out to Pearl, an exaggerated look of innocence on his face. TOBY Wan na comb your hair, Pearl? Pearl covers her bald spot with one hand. TOBY Probably you do, since you've got such pretty hair. I know if I had hair as pretty as yours, Pearl, I'd comb it all the time. Pearl is on the verge of tears. There are THREE TREMEN - DOUSLY LOUD FLAT - FOOTED KICKS against the front door. DWIGHT -LRB- O.S. -RRB- Open the hell up! I got us a treat! Pearl opens the door revealing a beaming Dwight holding two dishpans piled high with snow. We see through the doorway that the sun is shining and there is n't snow anywhere. PEARL We're gon na have snowcream!","INT. DWIGHT'S KITCHEN - LATER Dwight, Toby, Skipper, Norma, and Pearl are enjoying the snowcream. DWIGHT heard there was a fresh snow this morning, so I drove up to the mountains. I stopped in a field where it was all clean. I was finished packing it up high when somebody said. -LRB- prissy voice. -RRB- This's private property, in case you're interested. -LRB- normal voice. -RRB- I turned around and there was this woman. -LRB- he shudders. -RRB- Yechh! Ugliest woman I ever saw - ugly as a madman's ass she was. And frowning on top of it. Everybody laughs. NORMA Oh, Daddy! DWIGHT She was! TOBY -LRB- to Pearl ; soft ; happy. -RRB- You're ugly as a madman's ass. PEARL No, you are. SKIPPER What'd you say to the ugly woman? DWIGHT I did n't say nothin' - I ran. Everybody laughs again. They eat in silence for a beat. DWIGHT I'm gon na get you a Scout uniform, Jack. TOBY -LRB- surprised, pleased. -RRB- Really? PEARL Can I join the Girl Scouts? DWIGHT I'm getting one for me, too. Do n't believe in doing anything halfway. If you're serious about the Scouts. -LRB- as Toby nods. -RRB-. then I want you to do it right. We'll do it right together. Dwight takes out a magazine entitled Boy's Life. He hands it to Toby. DWIGHT I got you a subscription to this. I'll take the price out of your paper route money. TOBY Boy's Life? DWIGHT It's the official Scout magazine. Tells about what it means to be a Scout, what kind of boy you need to be, and, oh, about merit badges and stuff like that. Toby opens the book at random, reads from it. TOBY ` Suggested good turns a Scout can do : assist a foreign boy with some English grammar. Help put out a burning field. Give water to a crippled dog.' I could do those. DWIGHT Hell, yes, you could. You're a bright kid. I want this Scout thing done right, okay? Toby nods, enthusiastic, happy.","INT. TOBY AND SKIPPER'S BEDROOM - AFTERNOON Toby stands in front of a full - length mirror wearing a huge Scout uniform that's been unsuccessfully cut down for him. The shirt - sleeves have been shortened but the shoulders extend two inches beyond the ends of his shoulders. The pants legs have been cut off and hemmed but the crotch of the trousers hangs down three inches too low, giving him a stumpy, dwarfish look. Toby yells to someone O.S. TOBY I'm not going. DWIGHT -LRB- O.S. -RRB- The hell you say. TOBY I'm not. Cut down Skipper's old stuff, and he's twice as big as me - I'm gon na stay home. DWIGHT -LRB- O.S. -RRB- You're gon na shit and fall back in it - that's all you're gon na do. Now get out here.","INT. DWIGHT'S LIVING ROOM - AFTERNOON As Pearl watches Dwight also stands in front of a mirror, adjusting his hat. He is resplendent in a brand - new Scout uniform. Toby stalks into the room. Pearl laughs loudly. DWIGHT -LRB- to Pearl. -RRB- Shut your pie - hole. -LRB- to Toby. -RRB- You look fine. TOBY I look like an idiot. DWIGHT You act like an idiot, you look fine. TOBY You said you'd get me a new uniform. DWIGHT I said I'd try to get you a new uniform. Beside, this one is new - new to you. TOBY But look at the sleeves and how it hangs down between my legs! DWIGHT Oh piss and moan - all you can do is piss and moan. TOBY Yeah, piss and moan - I notice you're all jazzed up in new stuff. DWIGHT They did n't have second - hand uniforms in my size. TOBY Oh, yeah, pull the other leg, it's got bells on it! Toby throws himself down on the sofa. DWIGHT And what're you gon na tell Caroline this weekend? You gon na say you would n't join the Scouts because. him did n't wike his widdle uniform? Dwight picks up the copy of Boy's Life and thumbs through it, He reads : DWIGHT ` No boy given over to dissipation or negativity can stand the gaff. He quickly tires and gives up. He is the type who usually lacks courage at the crucial moment. He can not take punishment and come back smiling.' Dwight looks at Toby expectantly. Toby hesitates, then gives up. TOBY All right, but this stinks. Toby walks outside. Dwight follows. DWIGHT Hotshot, you do n't know it yet, but me and Concrete are in your blood. We're going to make a man of you yet - and in years to come you'll thank me. You'll remember me. Me and Concrete.","EXT. CAROLINE'S HOUSE - DAY Dwight's Buick pulls up and Caroline bursts out the front door. She runs to the car and hugs Toby. CAROLINE Oh, I missed you! TOBY Me, too. CAROLINE You look good. How are you? TOBY I'm okay. I'm fine. Dwight comes around the car, kisses Caroline, and the three head into the house. CAROLINE I said to hell with the budget and bought a roast. I made dumplings - God, what's wrong with your hands? TOBY It's just juice from some chestnuts - it'll wear off. CAROLINE I hope so. My, your hair's short.","INT. CAROLINE'S LIVING ROOM - DAY Dwight, Caroline and Marian are having a drink. Toby plays FATS DOMINO'S `` Blue Monday'' on the RADIO, the VOLUME LOW. MARIAN -LRB- to Dwight. -RRB- Well, it's done him a world of good to be up there with you. DWIGHT Oh, we have us some pretty good times. Do n't we, Jack? Have us some good times? Toby, not looking away from the radio, nods. DWIGHT We go to the Scouts together every week. He's got a good start already on merit badges. -LRB- to Toby. -RRB-. though he does concentrate too much on the easy ones, like the one for dental hygiene. -LRB- to Caroline. -RRB-. and we had snowcream one night, and, oh, just lots of stuff. Caroline glances at Toby, then at Dwight, then back again.","EXT. CAROLINE'S HOUSE - AFTERNOON Toby and Caroline walk slowly, idly down the rail tracks. Toby avoids her eyes. CAROLINE How is it in Concrete? TOBY It's fine. CAROLINE School? TOBY School's school. My grades are okay. CAROLINE You have n't been in any trouble? -LRB- as he shakes his head. -RRB- Good. How're you and Dwight? TOBY He made us all snowcream, like he said. CAROLINE Stop that, honey. TOBY What? CAROLINE -LRB- stops walking. -RRB- Well, you've got your eyes out of focus. Look at me. Now, are things all right? TOBY I'm fine. CAROLINE You swear? You act odd. TOBY No, I'm fine. CAROLINE Well, good. I'd feel awful if it had n't worked out. A pause. CAROLINE I told Dwight I'd marry him. In two weeks. I do n't know what else to do. I mean, he's been helping me with the rent since Kathy left. And you need a father. I think it's the best thing all the way around - what d'you think? There is a pause as they look at each other. TOBY I think it's the best thing. CAROLINE I think it's the best thing, too. Caroline smiles, smooths his hair, then goes into the house. Toby continues to walk. Suddenly, he spins around and tears out toward the house. By God, he'll tell her just what's been going on. He bangs through the front door and up the stairs.","INT. LIVING ROOM - DAY Toby stops dead as he sees Dwight and Caroline locked in a busy kiss. He stops dead and shrinks back into the hallway, defeated.","INT. SKIPPER AND TOBY'S BEDROOM - NIGHT Toby is alone in the room in his Boy Scout shirt and hat in front of a mirror. A copy of Boy's Life magazine is open in front of him with drawings of Indians performing sign language. Watching himself in the mirror, Toby makes a sign. TOBY Hungry. He makes another sign. TOBY Food. He makes another sign. TOBY Want. He makes another sign. TOBY Great mystery. He makes another sign. TOBY Father. He stares silently at himself in the mirror.","INT. DWIGHT'S LIVING ROOM - DAY Tarpaulins are everywhere. Toby stands surrounded by seven five - gallon cans of paint. Carrying paintbrushes, Dwight enters, dressed in old clothes singing `` In The Still Of The Night.'' DWIGHT Now that's a song. Not all this Elvis Presley shit. Elvis sings about like I do brain surgery. He imitates Elvis - moves his hips slightly and sings a few notes : DWIGHT. uh - huh - huh, my blue suede shoes.' Dwight gives Toby a flash of his teeth and Toby smiles back. DWIGHT Let's get this place ready for Caroline. They begin painting. After only a few strokes, though, Toby looks doubtful. TOBY It's so white. DWIGHT I got a good deal on this paint. -LRB- stands back ; appraises. -RRB- It'll darken up when it dries. SAME SCENE - LATER The walls and ceiling are almost finished, but the paint has not darkened. As he paints, he absentmindedly sings `` Blue Suede Shoes.'' Then he stops painting, as he notices Toby looking at the walls. DWIGHT What? I like it. It looks clean. TOBY Yeah, but it makes everything else look so dark. Dwight's face changes. He has an idea. MONTAGE A -RRB- SAME SCENE - LATER On the SOUNDTRACK, ELVIS BLASTS OUT `` Blue Suede Shoes.'' Dwight and Toby paint the coffee table and lamp base white. B -RRB- SAME SCENE - LATER Dwight and Toby, working faster, are painting the end tables white. C -RRB- INT. DINING ROOM - LATER The walls and ceiling are white, Dwight and Toby are painting the dining table white. E -RRB- INT. KITCHEN - LATE NIGHT Dwight and Toby are painting the cabinets and kitchen table white. F -RRB- INT. LIVING ROOM - NEXT MORNING Everywhere we look is white, the walls, ceiling, furniture - all of it. Only the old Baldwin upright piano has escaped painting. Dwight eyes it suspiciously. DWIGHT Sort of stands out, does n't it? TOBY Yeah, you could say that. G -RRB- SAME SCENE - LATER They paint the Baldwin white. Dwight hesitates, then starts to paint the foot pedals. H -RRB- SAME SCENE - LATER Dwight's face tells us that something still does n't suit him. He glances at Toby, Toby nods, and they converge on the piano. J -RRB- SAME SCENE - LATER Very carefully, Dwight and Toby finish painting the dark ivory keys to match the rest of the room. ELVIS SCREAMS OUT the last line, `` You can do anything, but stay off of my blue suede shoes!'' They stand up, look around - Arctic white is every - where. Dwight likes it. Toby is less sure. The MONTAGE ENDS.","EXT. DWIGHT'S HOUSE - DAY Skipper and Norma are carrying Caroline's suitcases into the house from Dwight's Buick. From inside the house we hear a WOMAN'S LAUGHTER.","INT. DWIGHT'S LIVING ROOM - PARALLEL TIME Caroline is trying to stifle her laughter, as she stares at the wilderness of white. Dwight and Toby, Skipper, Norma, and Pearl all stand watch. CAROLINE Oh! Oh, I'm so sorry. do n't know what's the matter with me. you're right. it does look clean. But she ca n't stop laughing. Her laughter has just a tinge of hysteria.","INT. SMALL CHURCH - MORNING Dwight and Caroline are being married. Caroline wears a pale blue suit, and Dwight looks good in a navy single - breasted. Aside from Toby and Dwight's children, the only guests are Marian, Kathy, and three people we have n't seen before - friends of Dwight's.","INT. DWIGHT AND CAROLINE'S BEDROOM - LATE NIGHT The bed is a rat's nest of twisted sheets as Dwight and Caroline make love. He takes his lips away from Caroline's breast and moves so that his head is at the bottom of the bed. Holding her foot up, he kisses the instep, then runs his tongue over the same spot and then down under the arch of her foot. A sexy scene. DWIGHT M - m - m. There's not a straight line on you - everything's curved. Caroline draws him up to her, and they kiss. Then Dwight turns Caroline on her side, away from him, pre - paring to enter her. Caroline makes a small sound of protest, turning back toward him. CAROLINE Oh, Dwight, not like that. Not this time - not tonight. DWIGHT It's good this way. CAROLINE But I want to see your face while we make love. DWIGHT -LRB- uncomfortable laugh. -RRB- Oh, no - I just do n't. uh. like that way. Dwight continues to stroke Caroline, his hands everywhere, but now she is unresponsive. CAROLINE You mean you do n't like to make love face to face? DWIGHT -LRB- same laugh. -RRB- No, I do n't like it. I ca n't handle it - I do n't like to see the face. CAROLINE You mean ever? Dwight murmurs an assent. Caroline is appalled. CAROLINE But that's grotesque. DWIGHT -LRB- stung ; flares up. -RRB- Look, you can get it doggie - style or you can get it laying on your side - those are your only choices. This is my house, and I get to say. Wherever McGinty sits is the head of the table, you know? Disgusted, Caroline turns back away from Dwight. He shifts down on the bed a few inches, again preparing to enter her.","INT. KITCHEN - NEXT MORNING Toby is eating toast at the kitchen table. Norma has made a big breakfast, and she hurriedly pours the coffee when she hears Dwight and Caroline's bedroom DOOR OPEN. NORMA Happy Wedding Breakfast! Caroline's eyes are red and swollen. Dwight turns ON a RADIO, sips his coffee, and chats with Norma. Toby gives Norma's rear - end an appreciative glance, then comes up behind Caroline, speaking sotto voce : TOBY So how's the bride? CAROLINE Do n't. TOBY The bride does n't want to chat? CAROLINE Stop it. TOBY Well, the bride is sure snotty this morning. Smiling, Toby waits for some response to his teasing, but there is none. She turns away and sits at the table.","EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON Toby, his news bag slung over his shoulder, stands talking idly with two boys from school, OSCAR BOOKER and JIMMY VOORHEES. One of them says, `` Uh - oh,'' and jerks his head to indicate where Toby and the other boy should look. They look in the direction indicated, and see Arthur Gayle coming down the road toward them, followed by a small black dog called Pepper. As the boys watch Arthur's approach : TOBY What's his name again? OSCAR Arthur Gayle. JIMMY What a homo. TOBY He sure walks like a girl. JIMMY And runs like one and talks like one and throws like one. Probably takes a pee like one too - just squats right down. TOBY He smarted off to me the other day - told me I was a bourgeois. JIMMY What the frig's a bourgeois? OSCAR -LRB- to Toby. -RRB- Call him a sissy. TOBY Why? OSCAR Just see what he says. JIMMY Yeah, do it. By this time Arthur is next to them. Smiling a superior smile, he stops and glances at all three of them as if they were just the oddest things he's ever seen. Then his eye falls on Toby's yellow hands. ARTHUR Oh, my, my - look at all that yellow : Did n't your mama teach you to wash your hands after you pee? TOBY Oh, shut up. ARTHUR -LRB- rolls his eyes ; heavily sarcastic. -RRB- Now that's what I like - an insult with some originality. Did you just make that up? Just now? So clever. TOBY Why do n't you take a long walk off a short pier? ARTHUR -LRB- though he's not nearly close enough to smell Toby's breath. -RRB- Excuse me, but has anyone ever told you your breath would gag a maggot? Both of Toby's friends laugh. TOBY Well, at least I'm not a great big sissy! Two things happen instantly : the superior smile vanishes from Arthur's face, and Toby's friends exchange a single expectant look : `` Here it comes.'' Without warning, Arthur swings a fist at Toby, catching him on the ear. Arthur's second blow hits him in the back of the head. The fight is on. Arthur throws punches sidearm, with lots of wrist action, but there are so many of them. Before Toby can react, Arthur has hit him four times, including one wild haymaker that puts Toby on his knees. While Toby's still on his knees, Arthur tries to kick him in the stomach. The kick is deadened by the papers in Toby's bag, Arthur bends over Toby, screaming as if he has lost his mind : ARTHUR GET UP! GET UP, YOU SON OF A BITCHING MAGGOT GAGGER! I'LL STOMP YOUR GUTS OUT! I'LL KILL YOU! Toby gets up, and again Arthur sails in with those wild roundhouse swings. Then Toby gets in a solid punch to Arthur's face that rocks the bigger boy back on his heels. Arthur grabs his head and roars like a wounded buffalo. Almost immediately Arthur's eye puffs and begins to swell shut. Snot streaming from both nostrils, still roaring, Arthur flies at Toby again. Toby closes with him, to hold those flailing arms still, and the two stagger around the street like drunken dancers. They separate, exchange a few blows, then grapple with each other again. Then Arthur hooks Toby's leg, trips him, and the two roll off the shoulder of the road and down an embankment. They hit the muddy bottom of the gully still hitting, flailing, kicking - first Toby is on top, then Arthur, then Toby, then Arthur. By now they are panting, each breath is a heave, a gasp. Then, suddenly, Arthur gives out completely - he falls on top of Toby, pressing him deeper into the mud. With his last bit of strength Toby throws the bigger boy off him and sits up, while PEPPER BARKS FURIOUSLY at him and threatens to nip his leg. Toby staggers to his feet and starts to climb the gully. He looks relieved - at least it's over. No, it's not. From behind him he hears three words. ARTHUR Take it back. Toby turns to see a bloody - faced, swollen - eyed Arthur clambering up the hill after him, like some monster that wo n't die. Both boys reach the top and stand facing one another. ARTHUR Take it back. Arthur's words are not angry anymore. Toby's worn out too. TOBY Okay. ARTHUR Say it. TOBY Okay. I take it back. ARTHUR No, say ` You're not a sissy.' Toby glances at Oscar and Jimmy. Their faces are gleeful but he does n't care what the hell they think. TOBY You're not a sissy. Arthur immediately turns and walks away, but Toby ignores them and walks away in the opposite direction, delivering his hated newspapers.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON Caroline is painting the white walls a soothing buff color. On the sofa lie half - finished curtains she's making. She is totally focused. She hears Toby, turns, sees his filthy clothes. Her shoulders sag. CAROLINE I wo n't do it, you know. I wo n't be a referee between the two of you. TOBY Who asked you? CAROLINE You both do. You do. Just by coming home like this you ask me to take your side when he raises hell. Well, the answer's ` No.' I'm going to make this marriage work. No fights. TOBY Oh, the bride is calm. Who the hell cares? Caroline refuses to argue. She picks up a piece of material and holds it up to the window to see if her choice of color was a good one. CAROLINE -LRB- to herself. -RRB-. seems like this place is so ugly. Seems like everywhere I look there's something. ugly.","INT. SKIPPER AND TOBY'S ROOM - EVENING A worried Toby sits dreading Dwight's arrival. Behind him, on the wall, Toby has pinned the covers of fifteen copies of the Scout magazine : so that, above Toby's head are the words BOY'S LIFE fifteen times. There is a MURMUR of VOICES, and FOOTSTEPS COMING toward Toby. Toby expects the worst. But, surprisingly, Dwight is beaming. DWIGHT Who won? TOBY -LRB- surprised. -RRB- Uh, well, uh. he's the one ca n't see out of one eye. DWIGHT Hot damn! You actually gave little Lord Gayle a black eye? TOBY Well, it was n't black yet. DWIGHT But it was all puffed up? -LRB- as Toby nods. -RRB- Then it was a shiner. Dwight sits down next to Toby, eager for details. DWIGHT How'd it start? TOBY I called him a sissy. Dwight hoots with laughter and slaps his leg. DWIGHT Well, he sure's hell ca n't sue you for slander. That boy fights for the pink team. Did you make him cry? TOBY Well. he was just ready to. I called him a big - assed, squat - to - pee sissy. -LRB- as Dwight slaps his leg again. -RRB- I'd have won bigger except he hit me when I was n't looking. DWIGHT -LRB- suddenly serious. -RRB- He dry - gulched you. Now that's your fault. You got ta keep your guard up. There's no excuse for getting dry - gulched. I'll show you a couple moves after supper that'll leave Miss Arthur Gayle wondering what month it is.","INT. DINING ROOM - EVENING Still excited, Dwight is holding forth for the whole family. -LRB- We hear THUNDER of an approaching storm -RRB- DWIGHT so he says, ` You and who else's army?' ` Just the three of us,' I say. ` Me, myself and I.'. -LRB- a beat. -RRB- Well, after school he's waiting for me and he yells something - I tell you, with people like that, you got to hurt'em, got ta inflict pain, or they'll never leave you alone. -LRB- a beat. -RRB- So it was real hot out, okay? And there were these horse turds laying all over the place. I picked one up and went up to him, but not acting tough, okay? Acting more like, ` Oh gee, I'm so scared, please do n't hurt me.' Sort of like this : Dwight slumps his shoulders, drops his chin, and looks up through his eyebrows, a simpering expression on his face. DWIGHT So I say, ` Excuse me, but what's the problem?' And he starts in on me again, blah, blah, blah, and I jam a horse turd right into that big mouth. Then I give him a sucker punch in the breadbasket, and he goes down like a. Dwight goes on, relishing the story.","EXT. UTILITY PORCH - NIGHT A steady downpour falls outside the porch. Dwight and Toby, both stripped to the waist, are boxing. Dwight is totally serious about this, absolutely sincere. The sweat streaming off the two, Dwight patiently corrects Toby's movements, or catches the boy's fist to suggest better form. Their feet shuffle, squeak on the floor. DWIGHT No, no. From the shoulder. Straight. -LRB- demonstrates. -RRB- Like this. This. Otherwise you leave yourself wide open. -LRB- as Toby tries. -RRB- Yeah, better, better. and keep those feet moving, shuffle, shuffle, that's right. now try for my face. good.","INT. LIVING ROOM - PARALLEL TIME Caroline is on the telephone, her voice low. -LRB- Behind her, through a doorway, we can see Dwight and Toby boxing. -RRB- CAROLINE not good, to tell you the truth not good at all. -LRB- listens. -RRB- No, he's not mean to me. -LRB- listens again. -RRB- No, he's good about that : comes home right after work every night. -LRB- listens again. -RRB- Oh, Marian, I do n't know - maybe I just got my hopes too high, although I do n't think so. All I want is a little. -LRB- searches. -RRB-. a little son - of - a - bitching sweetness. That's all. -LRB- listens ; laughs. -RRB- You think so, huh? You always did have an eye for Dwight, did n't you? -LRB- leans back ; watches Dwight and Toby. -RRB- The thing is, he's out on the porch teaching Jack to box right now. I keep thinking if I can hang on, things'll settle down. If I can just hang on long enough, it'll work out and my kid'll have a father. You know?","EXT. UTILITY PORCH - LATER Both Dwight and Toby sweating heavily. They lean against a wall, resting. TOBY You said you'd show me how to dry - gulch somebody. DWIGHT Okay. Now you can always kick somebody in the balls, but I like this one better : What you do is hit'em in the throat with the side of your forearm. You wait'til - hah! Without warning, Dwight lunges at Toby and swings the side of his arm toward Toby's throat. Toby dodges wildly, falling backward over a box of sports equipment. DWIGHT Now that's dry - gulching. Hit'em in the throat, but do it before they're expecting it. Now you try. TOBY I'm afraid I'll hurt you. DWIGHT You wo n't. TOBY But I might. Finally Toby gives a half - hearted `` Hah!'' and swings the side of his forearm toward Dwight's throat. Dwight catches the arm easily. DWIGHT Come onnn. You're not trying. Again Toby hesitates, again he says `` Hah!'' and gives a lukewarm swing at Dwight's throat. DWIGHT Well, do n't go all shy and delicate on me - you're as sissy as little Miss Arthur Gayle. Yeah - I'll just call you ` Little Miss Jackie Wolff.' Ooh, my, yes - Hello, Jackie. Toby's eyes flare up, then he lowers his head, biting his lip, sniffling a bit. DWIGHT Aw, Jesus Christ, if you're gon na - Without warning, Toby lunges at Dwight, screaming `` HAH!'' trying for the man's throat. Caught off guard, Dwight stops the main force of Toby's arm, but is slammed onto the ground stunned. TOBY You just about got dry - gulched, my man. Dwight manages a grin, but he is not happy to have been bested.","INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT Dwight and Caroline lie on the bed, kissing passionately. It is clear that Caroline is as excited as Dwight. CAROLINE I know you may think this is silly, Dwight, but it seems like. I do n't know, like an emblem or something. I want to be able to see your face when we make love. How else can we be cl - The rest of the word is jerked out of her as Dwight turns her onto her side, away from him, and proceeds to make love again in his favorite manner. DWIGHT You just do n't know what's good, Sugar. You're too tense. You just relax and Dwight'll take you on a little trip. Okay? You'll have a good time. Caroline closes her eyes. SAME SCENE - HOURS LATER Dwight leans back against the headboard of the bed. Caroline sits between his legs, her back against his chest. With one hand, Dwight strokes Caroline's hair. The other hand is curled around her throat. DWIGHT are the prettiest thing I've ever seen. I mean it. You are. The way your hair curls up right there. So pretty. I just love you so much. I do n't know what I'd do if you ever left me. I could n't take it. -LRB- smiles. -RRB- Guy I knew in the Navy had a saying : ` If you love her, here's what to do : Let her go visit places new. If she loves you, she'll come back to you. If she do n't come back. hunt the bitch down and kill her.'. -LRB- laughs. -RRB- That's awful, I guess. I do n't feel that way, but close. My pretty thing. We see that Caroline realizes the enormity of her mistake.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - MUCH LATER Smoking a cigarette and wearing a nightgown, Caroline walks to the front door. She opens the front door and stands looking out. Then she puts her finger on the door and slowly pushes it shut with one finger. She does this once more. Then she does it again. She turns, walks toward Toby's room.","INT. SKIPPER AND TOBY'S BEDROOM - NIGHT Caroline enters and stands by Toby's bed. She bends over the boy and she starts to touch his hair, decides not to. She stares at Toby for a few beats.","INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT Caroline enters, looks down at the sleeping Dwight. She gets back into the bed and Dwight throws a sleepy hand over her. Caroline hesitates, but forces herself to put a hand over Dwight's.","INT. DWIGHT AND CAROLINE'S KITCHEN - MORNING THROUGH a window, Dwight, dressed in his coveralls, leaves for work. Caroline is sewing on a machine whilst Toby leans against the kitchen sink. TOBY but ask him again, why do n't you? I hate it so much. CAROLINE -LRB- never stops sewing. -RRB- I asked him a week ago, I asked him this morning - he wants you to keep the paper route. TOBY Then make him give me the money. It's mine, I earned it. It's $ 220.00 already. CAROLINE He wo n't. He says he'll keep it for when you really need it. TOBY That's not fair. I ought to be able to have my own money. -LRB- as Caroline shrugs. -RRB- But it's mine. CAROLINE You remind me of a baby bird - you know those frantic little things with their mouths wide open, wanting, wanting. TOBY Well, at least ask him about my gym shoes again. I can practice barefoot but for games I got ta have shoes. CAROLINE I'm not a referee. I wo n't do it. TOBY Oh, we know, we know : the bride wo n't argue. The bride wo n't raise her voice. CAROLINE Well, I'll tell you what the bride will do : the bride will get up and walk over there and slap hell out of the bride's son. Now does the bride's son want his face slapped? TOBY Oh, I hate it here! I wish we could just get up and go. CAROLINE I do n't have another ` get up and go' left in me! You understand? I'm telling you I've hit a god - damn wall. I ca n't run anymore. Now this whole thing is n't perfect for me, either. let me impress that on you real strong, okay? I do n't wake up singing every morning. But I'm going to make this marriage work - I wo n't join in any fights, you got that? I wo n't even raise my voice! Caroline points to the sink. CAROLINE See those two roses? He picked them for me on his way home last night. TOBY Big deal. CAROLINE I'm trying to concentrate on the good stuff. Norma appears in the kitchen door, wearing her cap and gown. She strikes a pose. NORMA What d'ya think? I think I look like a fool. -LRB- shrugs. -RRB- Who cares? Six weeks to graduation, and California, here I come! Norma snaps her fingers and goes back to her bedroom. CAROLINE -LRB- lamely. -RRB- Seriously : you have to concentrate on the good stuff. Caroline turns her attention back to the curtains.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - SAME NIGHT (LATER) `` The Lawrence Welk Show'' is ON the TELEVISION. Dwight, Caroline, Skipper, Norma and Pearl and Toby watch an Irish tenor sing a lugubrious ballad. Dwight stands in a corner of the room, his saxophone to his lips. He's playing along with the MUSIC, but silently. Occasionally he gets overcome and accidentally causes the saxophone to squawk. The Irish ballad ends, and Lawrence Welk's Champagne Orchestra strikes up a lively polka. Dwight takes a sip of his drink and grabs Caroline, pulls her to her feet, and begins to dance with her. A polka can be a decorous, contained dance. He dances Caroline vigorously around the living room, out into the kitchen, around the table, and then back again. Dwight is really good, and Caroline matches him every step of the way. Skipper turns the VOLUME UP and Dwight kicks the dance into an even higher, wilder gear : The kids clap on the beat, the two whirl and stamp and spin. Faster and faster - Caroline's heel catches an end table and sends it spinning and faster they go. Caroline's head is thrown back ; she's laughing with pleasure. As the MUSIC reaches its CLIMAX, Dwight spins Caroline back to the sofa, lets her go, and WHAM! she lands back where she was seated exactly on the last note of the song. Amid the general laughter and applause, Caroline smiles at Toby. CAROLINE -LRB- breathy. -RRB- Try to find the good stuff, honey.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - AFTERNOON Dwight and Toby face one another in the living room. Both wear their Scout uniforms. Dwight holds a box of chocolate - coated cherries in one hand. TOBY I'm telling you I did n't. DWIGHT And I know damn well you did. TOBY Well, you're wrong. DWIGHT About some things, yeah. Not about this. You're a goddam hog, and I proved it. TOBY How do you know Skipper did n't eat it? Or Norma? Or Pearl? DWIGHT I told all three of them to stay away from this candy for twenty - four hours. TOBY Well, how do you know I even ate any? DWIGHT -LRB- a triumphant smile. -RRB- I counted them. You hogged down eleven chocolate covered cherries since yesterday afternoon. TOBY So what? DWIGHT So that makes you a hog. I just wanted to establish that fact, and now I have. Caroline and Skipper enter, carrying throw pillows and materials. DWIGHT -LRB- to Caroline and Skipper. -RRB- Hey. Mr. Hotshot Hog and I've just been establishing some facts, and what we come up with is this : One, he's a pig who gobbles down everybody's candy ; two, he lies about it ; three, he lays around on his lazy ass day and night reading, reading ; and four, he's not getting any ten - dollar gym shoes. That's about what we've come up with so far. SKIPPER Oh, Dad. DWIGHT -LRB- a high, mincing voice. -RRB- Oh, Dad! Skipper leaves the room. Caroline sits down, begins to try various materials as coverings for the pillows. TOBY -LRB- to Caroline. -RRB- Why do n't you ever take up for me? DWIGHT -LRB- to Caroline. -RRB- Why do n't you ever help me straighten that boy out? Caroline does n't even look up. She threads a needle and begins to sew. Whilst Dwight paces around the room. DWIGHT All he does is read or listen to records or sing. -LRB- he sings five seconds of a grotesque `` Blue Monday''. -RRB- I'm so sick of that shit! And when he is n't singing, he's watching T.V. -LRB- to Toby. -RRB- And do n't say you do n't'cause when I come home I always put my hand on top of it to see if it's warm, and it always is. This is the news, kid - I'm wise to you. TOBY Oh, big, big deal, who cares, and as long as we're passing out news here, I do n't want to do my paper route anymore. DWIGHT I bet you do n't - big lazy candy hog like you'd rather lay on his ass and read, would n't you? Let me tell you something : you're gon na deliver those papers if I have to walk behind you with a horsewhip ever' step of the way. TOBY Then give me the money I earn! DWIGHT Hell, no. I'm putting that in the bank for you for when you really need it - cuss me now, thank me later. TOBY Mom, wo n't you at least make him let me have the shoes for gym? How can I play basketball without gym shoes? I'm the only one who - Toby stops suddenly. He looks at Dwight for a beat or two, and then speaks in a different tone : TOBY It's not the shoes, is it? Or the candy. It's me, is n't it? You just ca n't stand the fact of me. Dwight glances at Caroline, who still looks at her sewing. DWIGHT I, well, no, it's not that - I just want you to be well - behaved. Your rich daddy ` Duke' does n't care anything about you, and so somebody's got to train you, and one of the things you've got ta be trained about is not to be a hog and eat everybody's candy like a - Dwight stops short as Caroline says one word. CAROLINE Oh. Dwight and Toby glance at each other nervously. What is this? CAROLINE -LRB- her eyes still on her sewing ; soft. -RRB- Oh. DWIGHT What's the matter, honey? CAROLINE -LRB- louder. -RRB- Oh. TOBY Are you sick, Mom? DWIGHT Do n't you feel good? CAROLINE OH - H - H - H! A furious Caroline raises her head, doubles up both fists, and yells. CAROLINE I. Will. Not. Referee. DWIGHT -LRB- taken aback. -RRB- Jack, I think you've made your mother nervous, so why do n't we just go on to Scouts and let her rest? -LRB- to Caroline. -RRB- You lay down and rest awhile. Dwight and Toby grab their caps and hotfoot it out the door.","INT. SCOUT MEETING - NIGHT Father and son photographs are being taken. Dwight is the only father who wears a complete uniform and cap. When Dwight and Toby's turn comes, Dwight puts on a big smile and throws an arm around Toby's shoulder. DWIGHT Check for the tongue tonight - you forgot it last week. Otherwise you wo n't get your life - saving badge. SAME SCENE - LATER Six boys are lying on the floor pretending unconscious - ness. Six other boys, Toby among them, are going through several life - saving steps such as turning the bodies over, checking for pulses, etc.. The BOY on whom Toby is working is a heavy, pimple - faced lout. Toby checks if the Boy's breathing is obstructed. Gingerly, he tugs on the Boy's chin, starting to open the Boy's mouth. Suddenly the Boy opens his mouth wide, exposing a half - chewed mass of cheese n' crackers. Toby gives the lout a knee in the ribs. TOBY Bastard. Swallow that. BOY -LRB- laughing. -RRB- Give my pud a big squeeze while you're at it, why do n't you? Toby and the life - savers on either side of him laugh a bit.","EXT. SCOUT HALL - NIGHT As Toby kneels down to tie his shoelace, a small black dog runs up to him. Toby pets it. Arthur Gayle, his black eye healed, stands ten feet away. ARTHUR You like my dog? TOBY Yeah, he's nice. ARTHUR Smart, too - he can talk. TOBY -LRB- smiles. -RRB- Sure - I just about believe you. ARTHUR Hey, Pepper - what's on a tree? As PEPPER BARKS TWICE : ARTHUR Bark! Way to go, Pepper - pretty smart. Oh, I was wondering, Pepper - I wanted to ask you something : how's the world treating you? As PEPPER BARKS ONCE : ARTHUR Rough! Yeah, I know what you mean. TOBY That's dumb. A little funny, though. How come your dad never comes to meetings with you? ARTHUR I do n't have a dad. Never did. I sprang full - blown from my mother's forehead. You want to walk home with me and Pepper? TOBY Sure - compared to a ride home with Dwight, it'll be like heaven on a June day.","EXT. RESIDENTIAL STREET - NIGHT Toby and Arthur are eating ice cream cones and smoking cigarettes at the same time. They walk slowly, desultorily. Though still effeminate, Arthur has dropped much of the flounciness that he uses in public. ARTHUR Tobias? Your real name is Tobias? Toby. Tobias. I like it - it's very elegant. My real parents would probably have given me an elegant name, too. I say ` real parents' because I suspect I'm a foundling. Somebody royal - or at least very, very beautiful had me and gave me to my poor but honest mother. -LRB- a beat. -RRB- Tell me more about you. TOBY -LRB- shrugs. -RRB- Every day of my life feels like a mile on the Bataan Death March. ARTHUR -LRB- laughs. -RRB- I knew I'd like you. TOBY Why'd you point at me that day? ARTHUR Because you're an alien. You do n't belong in Concrete any more than I do. This place would like to kill us because we're different. TOBY Oh, come on, Arthur. That's a little dramatic. ARTHUR Think so? You know what chickens do if one chicken's born with a little difference? With a few black feathers on its head, say? They peck at the black spot'til the chicken's dead - they ca n't stand the fact that it's different. Now we're both different. Your difference is something other than. -LRB- husky - voiced actress. -RRB-. my difference. -LRB- normal tone. -RRB- But we're both aliens here. TOBY I do n't exactly feel like an alien. I've got friends here. ARTHUR Yes, and they're fools. And you act like a fool when you're around them. A prediction : if you stay in Concrete, you'll wind up working at the A&P - either that or you'll go on a rampage with a hunting rifle. TOBY Yeah, and you'll wind up a recluse that everybody says likes to dress up in his mama's old clothes. ARTHUR -LRB- laughs. -RRB- Maybe, maybe, but no matter how many times I have to repeat : my primary goal's to get out of Concrete. TOBY Burma - Shave! Arthur and Toby laugh. As they walk on, though, Toby's face is thoughtful.","INT. SCHOOL GYMNASIUM - NIGHT Toby and ten other boys are practicing lay - ups. All the boys, Toby included, wear basketball uniforms. All the other boys wear gym shoes. Toby is barefooted. He is however, a smooth, skillful player.","EXT. EDGE OF TOWN - AFTERNOON Toby tosses his last newspaper into a yard, folds his sack, and stands wearily for a few beats.","INT. UTILITY PORCH - EARLY EVENING A large, ugly DOG next to the box of baseball bats and gloves GROWLS and snaps at Toby as he goes past.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - EARLY EVENING As Toby enters the room, Norma exits, wearing theatrical makeup and a gypsy costume. Behind her, drink in hand, sits Dwight, wearing a suit and tie, watching the TELEVISION NEWS with the SOUND VERY LOW. TOBY Whose dog is that on the porch? DWIGHT Yours. TOBY Mine? DWIGHT You said you wanted a dog. TOBY A collie, though. Not this one. DWIGHT Well, he's yours. You paid for him. Go get ready for Norma's play. TOBY What d'you mean I paid for him? But Dwight does n't answer. Toby waits, then shrugs and leaves the room.","INT. SKIPPER AND TOBY'S ROOM - AFTERNOON Toby gets out his book of Indian signs. He reaches up for his rifle, but it is gone.","INT. LIVING ROOM - AFTERNOON Toby walks in, Dwight is petting the dog. TOBY My Winchester's gone. DWIGHT -LRB- eyes never leaving the TV. -RRB- This dog is pure - bred Weimaraner. A champion. TOBY I do n't want it. DWIGHT -LRB- as above. -RRB- Well, you're purely out of luck, are n't you,'cause that rifle's on its way to Seattle. TOBY I want my rifle! DWIGHT Well, want in one hand and shit in the other - see which gets full first. TOBY But, Dwight, that Winchester was mine. DWIGHT And Champ's your dog. Jesus, I trade some old piece of crap for a valuable hunting dog, and all you can do is piss and moan. TOBY I'm not pissing and moaning. DWIGHT The hell you are n't. You can just make your own deals from now on.","EXT. HOUSE - AFTERNOON Toby sits on the front stoop. Caroline approaches carrying groceries. She notices Toby's expression. CAROLINE What's wrong? TOBY Dwight traded my rifle for a dog. He says the dog's for me, but it's some stupid dog he wanted. For a moment Caroline does n't respond. Then she nods her head. CAROLINE All right. Okay, Dwight. You stay here. Do n't come inside. Toby nods. Caroline heads inside, loaded for bear.","INT. KITCHEN - AFTERNOON Norma, dressed up for her play, and Pearl are setting the table. Dwight is fixing himself another drink. Caroline enters, puts down the groceries, and goes to the dish cabinet. Calmly, in total control, she takes a PLATE and SMASHES it against the countertop. CAROLINE -LRB- calm. -RRB- Get his rifle back. DWIGHT But that dog's a champion! Caroline calmly SMASHES another PLATE on the countertop. CAROLINE Get his rifle back. DWIGHT Am I supposed to go clear to Seattle just to get. Before he finishes the sentence, Caroline SMASHES a GLASS on the countertop. CAROLINE Get his rifle back. DWIGHT Jesus Christ, woman, I do n't even know the guy's last name. Caroline picks up a bowl. DWIGHT All right, all right. The guy's supposed to send the A.K.C. papers. When he sends'em, I'll know his name and address, and I'll go get the god - damn rifle back. Jesus. Caroline exits leaving Dwight, Norma, and Pearl with their mouths open.","EXT. HOUSE - EVENING Caroline walks to Toby, sits next to him on the stoop. CAROLINE Well, I did it - and the bride did n't even raise her voice : he says he'll get the rifle back as soon as the guy who sold him the dog sends the papers. Toby nods. Caroline looks up at the evening sky and then shrugs. CAROLINE ` Course, having seen that dog, I would n't suggest you hang by your thumbs'til those papers come. I mean, that dog is ugly. Toby gives her a dirty look, but Caroline's smile makes Toby grin. CAROLINE That's nice - I have n't seen a real smile out of you in a month. TOBY Oh, Mom, ca n't we leave here? I hate it so much. You do n't like it either - all you do is stick your head in a sewing machine night and day. Let's just leave and start over someplace else. CAROLINE ` Start over.' Do you know how many times I've started over, sweetheart? I do n't want to do it anymore. This is as far as I want to go. This place. I have to make this work somehow. We do. You're fourteen now - you have to help me. TOBY But if. CAROLINE But me no buts, honey. I told you : I've hit a wall. And besides, it's not so bad here, if you just try to - TOBY If you say ` look for the good stuff,' I'm gon na get Dwight's 30/30 and shoot myself! CAROLINE Seriously, though : give the place a chance. Give him a chance. TOBY Great. Just great. What a life : I got ta live with Dwight. I got a sissy for a new best friend. I got no rifle. I got no gym shoes. CAROLINE Well, look on the bright side. You got a dog. In spite of his disappointment over the rifle, in spite of all that Caroline had said about staying with Dwight, Toby is happy to see Caroline completely back to her old self again, joking with him. He grins and, with the palm of his hand, he gives her shoulder a gentle shove. She returns the gesture. And the two of them sit on the steps, staring into the twilight.","INT. ARTHUR GAYLE'S LIVING ROOM - DAY Arthur is playing the piano. He and Toby sing an old song called `` I Wandered Today To the Hill, Maggie.'' Both of them are enjoying it. As they finish the song, Arthur says a dry `` Will you be able to use your musical abilities at the A&P?'' Toby laughs and gives him a hard elbow in the ribs.","INT. TOBY'S ROOM - NIGHT Toby is using a nail clipper over a wastebasket when he hears : DWIGHT -LRB- O.S. -RRB- Heh Hotshot! He looks up just in time to see a flashlight fly through the air toward him. He catches it. Dwight stands in the doorway. DWIGHT If you can tear yourself away from your pedicure, I want you to fetch me some of that paint from the attic. Dwight switches the room light off. TOBY Yeah. DWIGHT Is now too soon. TOBY God!","INT. DWIGHT'S ATTIC Dwight and Toby are looking for something. They both shine flashlights around the dark attic, illuminating old magazines, dolls, etc.. Dwight says, `` I know I put'em up here somewhere.'' Then Toby's flashlight lands on the unusual tub with the four blue stars which had held the beaver. Forgotten all this time, the beaver has transmogrified into a weird, two - foot high pile of what looks like cotton candy. And, hideously enough, the cloud - like stuff is still in the shape of the beaver. Then Dwight says, `` Shit - the roof must've leaked on'em.'' Toby turns to where Dwight shines his flashlight on the ten boxes of chestnuts. Also forgotten, the chestnuts are covered with mold, too - but a different kind : this is wet, slick - looking stuff that rises off the chestnuts like dough in a breadpan. A spasm of rage crosses Toby's face, and he turns and bangs out of the attic.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT (LATER) A drink in one hand, idly fondling Champ's ears with the other, Dwight is watching the NEWS. On the TELEVISION we see a distraught Lana Turner and her daughter, Cheryl Crane, as the teenaged girl is led into a tall building. While we see this, and then a photograph of a stockily handsome Italian man, we hear : NEWSCASTER -LRB- V.O. -RRB- Cheryl Crane, daughter of Lana Turner, was held for questioning today in the stabbing death of Johnny Stompanato, Miss Turner's companion. A spokesman for Miss Turner said today that the stabbing was an accident, and that Miss Turner's daughter will not spend even one night in jail for what the spokesman called a ` tragic accident.' Suddenly aware of another presence in the room, Dwight turns and sees Toby, who is standing in the doorway, also listening to the NEWSCAST. Toby is not watching the television, though, he is staring fixedly at Dwight. Dwight reacts then glances back at the set, where the Stompanato murder story continues. He turns slowly back to Toby, whose eyes are still locked onto his face. The SOUND on the TV FADES.","INT. GYMNASIUM - NIGHT A WHISTLE FADES UP. Toby's basketball game against the Van Horn team is starting. Alone among all the other players, Toby wears his street shoes. Heavy squarish brogans, they CLOMP, and THUD as Toby runs up and down the court. The leather soles slip like skates on the highly - polished floor, and Toby falls repeatedly. At first the crowd is silent, collectively embarrassed at the boy wearing these strange shoes. Then Toby takes a particularly hard fall, and somebody laughs. The crowd in general takes it up, and soon there is GENERAL LAUGHTER whenever Toby's shoes SQUEAL particularly loudly, or whenever the shoes trip him up or cause another boy to stumble. Soon one WOMAN'S HIGH - PITCHED LAUGH DOMINATES the gymnasium. The laugh is hideous, shrill and mindless, like some ringer planted in the audience of a situation comedy. Toby sees Norma necking with some guy and is horrified. Toby slips and slides, falls and rises. All the while his expression is hard as stone : he will get through this or die. And, like a mantra, he mutters one phrase over and over : `` got ta get out, got ta get out, got ta get out, got ta get out.'' Finally he makes a basket. One VOICE from the audience YELLS out `` Okay, kid - way to go!'' and then two or three people APPLAUD. Instants later, Toby catches a rebound and makes another basket. The fickle crowd decides to love an underdog and APPLAUDS heartily for the boy in the funny shoes. But Toby's expression never changes.","INT. DWIGHT'S GARAGE - SAME NIGHT (VERY LATE) The Buick, rolls silently down the driveway pushed by a straining but cautious Toby. Champ runs into the street, Toby tries to shoo him away. The DOG BARKS ONCE, and Toby quickly opens the car door and lets him in, STARTING the ENGINE.","INT. BUICK - LATE NIGHT Toby drives fast leaving Concrete behind. He turns the RADIO ON, and a VOICE bawls out `` Oh, Maybelline,'' Toby turns the VOLUME UP, turns it UP AGAIN, so that the MUSIC is DISTORTED. Toby begins to accelerate. The needle creeps past ninety, and hovers close to one hundred. Trees flash past in the headlights, occasional cars are overtaken and passed in an instant. Toby starts laughing hysterically and sings loudly along with the THROBBING MUSIC. The Buick begins to shudder and wobble - Toby hits the brakes but the Buick spins and goes sideways into the ditch. SILENCE.","EXT. BUICK - LATE NIGHT The car is caught so that two of the wheels are off the ground, and can get no purchase. Toby starts walking back toward Concrete.","EXT. ROAD - LATE NIGHT Toby and Champ have been walking a long time. A truck comes from behind Toby, pulls over. DRIVER That your car in the ditch back there? -LRB- as Toby nods. -RRB- How'd you do that, anyway? TOBY It's hard to explain. DRIVER Get in.","EXT. BUICK - VERY LATE NIGHT The man is winching the Buick out of the ditch.","EXT. DWIGHT AND CAROLINE'S HOUSE - DAWN Toby silently closes the garage door, the Buick inside and heads for the house. SKIPPER AND TOBY'S ROOM - NOON The clock shows noon. Toby is in bed reading Boy's Life, holding a sandwich and trying to stay awake. Suddenly Dwight appears. Dwight puts his hands into his pockets, leans against the doorway. DWIGHT Your mother said you were sick. Feeling better? TOBY Yeah, I am. DWIGHT Good, good. Get some sleep, did you? TOBY Yeah, I slept about four hours. DWIGHT Must've needed it. A pause : DWIGHT Oh, by the way, you did n't happen to hear a funny pinging noise in the engine, did you? TOBY What engine? DWIGHT I was downtown with Champ a few minutes ago, and I met a guy who recognized him. Said he'd seen my dog this very morning. Told me an interesting story of how he and the dog happened to meet. What d'you think about that? TOBY I do n't know what you - Suddenly Dwight is across the floor and onto the bed. He straddles Toby and slaps him across the face with the left hand then the right, again and again. Toby holds a forearm protectively across his face. Dwight holds both Toby's hands with one of his and, slaps the boy's face again and again. Finally Toby manages to get his right hand loose. He slams his forearm across Dwight's throat. Dwight rears back, choking and gagging. Toby throws off the covers and tries to run. Still choking, Dwight grabs the back of Toby's hair and forces the boy's face down against the mattress. Then he doubles up his fist and slams it into the back of Toby's neck. Toby goes rigid with pain. Dwight stumbles up gasping for breath. DWIGHT Only me. On this whole earth, to straighten you out. And I will do it kill or cure. Now get your ass up - you're going to school.","EXT. HIGH SCHOOL - NOON A BELL RINGS as Dwight's BUICK SCREECHES to a stop and Toby gets out. As he heads toward the doors. Toby then turns to stare at Dwight's car. They lock eyes, then Dwight smirks and pulls away. Toby watches the car disappear, then spins around and walks into the school. FADE OUT. SAME SCENE - AFTERNOON The CAMERA is in the EXACT SAME SPOT. The school seems a bit seedier, and two newly - planted saplings established in the previous scene are both eight feet taller, with wide spreading branches. Students pour out the door. Among them Toby, taller and a bit heavier, he now wears black leather boots, and a pack of cigarettes rolled into the sleeve of his T - shirt. His hair is still pure Elvis. Toby comes back out the door with four very different friends. CHUCK BOLGER, the most reasonable - looking of Toby's companions, is the son of a minister. A second boy, known as PSYCHO, is a hulking boy with a tendency toward sadism. JERRY HUFF is handsome in a pouty, heavy - lidded way. His Elvis pompadour is even higher than Toby's. ARCH COOK is an amiable simpleton who sometimes talks to himself or laughs for no reason. Toby and his four friends pile into Chuck Bolger's'53 CHEVY, and they PEEL OUT.","INT. CHUCK BOLGER'S CAR - NOON As the car barrels through downtown Concrete, we see a movie marquee reading. The Apartment, and a five foot poster that says, `` ELECT JOHN KENNEDY, 1960.'' In the back seat, Psycho pours vodka into a half empty can of Hawaiian punch, then takes a huge swig. PSYCHO -LRB- screams it. -RRB- Ag - Hhh! Gorilla blood. JERRY Oh, Psycho, shut up. CHUCK -LRB- pointing. -RRB- Oh, look - there goes Carol Baumgarten. Ai n't she sweet? She's hot for Wolff. TOBY I wish. CHUCK Wo n't do her any good, though - Jack's saving himself for Rhea Clark. TOBY Knock it off. JERRY You know what he said about Rhea? Said even the inside of her arm turned him on. You slay me, Wolff. She is pretty though. ARCH -LRB- after a pause ; wistful. -RRB- I'd sure like to eat Rhea Clark's pussy. There is general laughter, mixed with groans. JERRY God, here we go again. PSYCHO Eatin' pussy is all that man knows. says. CHUCK Jesus, give it a rest, Arch. ARCH No, I mean it. I'd like to get down and really grovel on it. Spend about a week with my face right in it. There is a pause while all the boys dwell on this thought. It sounds good to them. PSYCHO Aghhh, pussy!","EXT. DWIGHT AND CAROLINE'S HOUSE - LATE AFTERNOON Chuck Bolger's CAR SCREECHES to a halt, and Toby exits, followed by an empty Hawaiian Punch can which someone tosses after him. Toby gives a wave, starts toward the house, and the CAR LAYS RUBBER, while OVER that we hear Psycho SCREAMING, `` AGH - H - H!''","INT. DWIGHT AND CAROLINE'S KITCHEN - LATE AFTERNOON Pearl is setting the table and singing the Everly Brothers hit, `` Bye, Bye, Love.'' The passage of two years has improved Pearl. Her bald spot has grown back in, and she has learned to fix her hair and use makeup. She smiles and nods to Toby, never stopping her singing for a moment. Toby stands next to her and sings harmony for a few notes. It is clear that their relationship has improved. Toby stops singing. TOBY Where's Mom? Still singing, Pearl points to the living room.","INT. LIVING ROOM - EARLY EVENING Caroline is watching a newscast of John Kennedy and Harry Truman at a press conference outside Truman's Missouri office. She hears Toby, turns to him. We see that the last two years have marked her. She's changed. Her expression is fixed, almost as if she were wearing a mask. Even the words are cheerful, but some of the old optimism is gone. CAROLINE Oh, honey, good news - Truman's going to campaign for him. -LRB- lowers her voice. -RRB- I gave twenty - five dollars to his campaign office today. I've been thinking I'd like to work. She is interrupted by Dwight's voice O.S. DWIGHT -LRB- O.S. -RRB- Here I am, you lucky people! Toby and Caroline exchange a glance. It speaks volumes.","INT. KITCHEN - NIGHT Dwight, Caroline, Toby and Pearl sit at the table, eat - ing. Champ sits by Dwight's chair - obviously his dog. Dwight seems unchanged by the two years. Just now, Dwight is in the middle of telling another of his `` Dwight Is The Best'' stories. From the bored faces around the table, this is another in a long series. DWIGHT So the S.O.B. had been on my back for a week at work, okay? Sayin' I stole his wrench, an' poured oil all over his tools, as if! Anyway, he went just one step too far with old Dwight, okay? Spat on the floor as I walked by. I turned around and walked back to him, acting so dainty and humble and scared, you know, all innocent - and the minute he took his eyes off me, BLAM, I dry gulched him! I shut his water off good! Never gave me another second's grief to this very day. There is a pause. One more story. Nobody has much of a reaction. CAROLINE I heard Kennedy on the news again tonight - I do n't know : I hate the Democrats and the Republicans, but then once in a while somebody comes along who does n't seem like. -LRB- she searches. -RRB-. a liar. DWIGHT Kennedy - the senator from Rome. CAROLINE He gives me hope. DWIGHT I know what he gives you, and it sure as hell is n't hope. CAROLINE -LRB- laughs. -RRB- It's true he is attractive! And it may just be those white teeth that I respond to. But I do n't think so. -LRB- a beat. -RRB- I'm going to work for his campaign. DWIGHT No. Too many Republicans in this town. They hear my wife's working for the Democrats, they'll take their cars someplace else to be fixed. Bad idea. No. There is a brief silence. Suddenly Caroline leans across the table and speaks to Dwight in a loud, exaggerated disappointed whine : CAROLINE Oh, Rickyyy! -LRB- louder ; same whine. -RRB- Oh, Ricky - y - y! Please let me come down and work at the club! DWIGHT What the hell are you doing? CAROLINE Well, you treat me like Lucy, I'll act like her. I'll be working for Kennedy's campaign.","INT. LIVING ROOM - SAME NIGHT (LATER) The four of them are watching `` The Untouchables.'' We watch as a frightened man speaks to Al Capone, who sits behind a large desk. FRIGHTENED MAN -LRB- V.O. -RRB- -LRB- on T.V. -RRB-. please, Mr. Capone, it'll never happen again, I swear it. It was an accident. I can promise you faithfully it wo n't be repeated. Finally Al Capone speaks. He leans across his desk, bugs out his eyes, and hisses : AL CAPONE -LRB- V.O. -RRB- -LRB- on T.V. -RRB- Why do n't you take a little ride with Frank? The man's eyes bulge with fear, and he cries, `` No! No!'' as two men escort him out the door. In the next shot we see a long black car parked on a country road, and we hear a SHOT.","INT. BATHROOM - SAME NIGHT (LATER) Toby is brushing his teeth when Dwight enters. TOBY I'll be through in a minute. Dwight looks around. DWIGHT You left the lid off the damn toothpaste again. TOBY -LRB- not looking at him. -RRB- Oh, Dwight, is that the best you can come up with? Angered, but keeping his voice low. He pushes Toby's shoulder. DWIGHT This is my bathroom, and I say about the toothpaste, got it? -LRB- pushes again. -RRB- Huh? Have you? Huh? Now if you lived with your daddy Duke and his rich wife, maybe things'd be different, but he's not here now, is he? -LRB- high, flutey voice. -RRB- Oh, Duke? Duke, are you here? Dukie? Oh, how sad - Duke's not here. Oh, boo hoo! -LRB- normal voice. -RRB- My bathroom. I get to say. Got that? Still Toby does n't respond - Dwight reaches out and pinches the skin on Toby's waist, hard. Toby still does n't respond, when Dwight begins to twist it. Toby spins around, eyes blazing. DWIGHT Come on. Oh, come on. Give me an excuse. Toby hesitates, then leaves the bathroom, humiliated.","INT. HALLWAY - NIGHT Toby exits the bathroom, then sees Caroline in a doorway. She's heard it all. They look intently at each other. Toby nods and walks on down the hall.","INT. TOBY'S ROOM - INSTANTS LATER Furious, Toby throws himself onto the bed, and snaps on a reading light. -LRB- Behind him, the wall is now completely papered with the front pages of the Scout magazine, so that we see the words BOY'S LIFE BOY'S LIFE BOY'S LIFE BOY'S LIFE repeated one hundred and twenty times. -RRB- Then Toby takes a slick brochure from under his pillow - it's a bro - chure of Princeton. Photographs of beautifully tended lawns, and students on their way to class. Toby stares at the photographs, smoothing the pages carefully, long - ing in his face.","INT. SCHOOL BUS - NEXT MORNING Toby bangs onto the bus, throws himself into a seat beside Arthur. He hands a grade card to Toby. ARTHUR You did n't pick this up yesterday - congratulations, you got nothing higher than a C. TOBY Shut up. He signs the grade card, saying, `` Presto.'' ARTHUR You're gon na get caught some day. -LRB- as Toby laughs a moronic laugh. -RRB- You act more like those morons you hang around with every day. Aghhh! I'm psycho! I'm retarded! It's a good imitation of Psycho, and Toby laughs. TOBY He hears you do that, you're dead. Hey, lem me copy your math homework. ARTHUR No, but I'll show you how to work the problems. TOBY I tell you I'm thirsty, you offer me a sandwich thank you and fuck you. ARTHUR Oh, Jack. TOBY Oh, Jaaack! ARTHUR I take it back you do n't act like Psycho, you act like Dwight. TOBY -LRB- new tone. -RRB- I know it. He's winning. I do act like him. I feel like him sometimes. I've got ta get out of this place or I'm a dead one. ARTHUR I know, but you've said that for two years. TOBY I mean it. I may go live with my brother Gregory in Princeton. ARTHUR You mean the brother Gregory in Princeton who never calls you? That brother Gregory? TOBY He wrote me. ARTHUR And he asked you to live with him? TOBY No. But I'm going. Or maybe I could go to a prep school like Gregory did. Like my dad did. ARTHUR What about your grades? And what would you use for money? TOBY I do n't know. Dwight owes me over twelve hundred bucks! If I had n't let him keep my paper route money, I'd be okay. ARTHUR If the dog had n't stopped to pee, he'd have caught the rabbit. Suddenly Toby is angry. He stands up, moves to another seat. TOBY I think Dwight was right about you I think you fight for the pink team. Toby falls into another seat, then, pulls his head back and bangs it against the window. Then does it again, harder.","EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON His mood even fouler, Toby toils at his paper route. He throws the papers against the houses with all his might. Suddenly Chuck Bolger's CAR SCREECHES to a stop next to Toby. We hear Psycho's `` Arghhh!'' and Toby climbs into the car.","EXT. DERELICT CRUSHER PLANT - NIGHT We see the Concrete silo dimly - lit in the distance. We can read `` Welcome To Concrete'' on it. Toby is leaning against a wall in a large derelict Concrete plant staring at the silo. Behind him is a small campfire where the other guys are slumped around talking. Toby takes a long, angry pull on a bottle of whiskey, then turns around and heads toward them. ARCH Nobody in your family ever even been in a Corvette, let alone owned one. CHUCK You wait and see if I do n't get one. I'm gon na move down to Seattle, get a job at Bendix and drive a ` Vette to work every day. JERRY My uncle can have any car he wants. He makes big bucks as an electrician. ARCH Yeah? How big? JERRY Hundred seventy - five a week, take home. PSYCHO Bullshitter! JERRY Fuck you, it's true. CHUCK Even the supervisors at Bendix do n't make that. JERRY So how are you ever gon na make enough to drive a ` Vette then, fuck - face? The others all laugh at Chuck. Toby has reached the group and stands on the lip of the large wooden platform that they are on and listens while leaning on a large hook. PSYCHO I'm gon na drive a T - bird, someday. CHUCK An' I'm gon na own a Corvette if I have to hold up the Bendix payroll to get it. JERRY Fuck you. ARCH Me. I want to eat a big red - haired pussy. The others all laugh at him. Toby regards them with a sneer. TOBY Losers. What a bunch of losers. CHUCK Who you calling a loser, fuck - face? TOBY All of you. -LRB- to Chuck. -RRB- You're gon na drive a Fairlane just like your daddy does. -LRB- to Psycho. -RRB- How you ever going to drive a Thunderbird when you're a janitor like the rest of your family? -LRB- to Jerry. -RRB- An' you can forget being an electrician, you ca n't even pass tenth grade math. JERRY Well fuck you. Who died an' made you King Shit? PSYCHO Yeah, you're no better than us. TOBY I know that, Psycho. That's my point : Ha, ha, ha. You guys are my buddies. You guys are my pals. And my dear old dad's called Dwight. -LRB- he spreads his arms wide. -RRB- Welcome to Concreeee. Toby topples over and falls down a bank of rubble. The other burst out laughing and hooting. The CAMERA MOVES off them and CRANES DOWN to a spread - eagled Toby's face. The LAUGHTER ECHOES around the building. Toby begins to laugh, but it soon turns to bitter tears.","INT. KENNEDY CAMPAIGN OFFICE - DAY Toby enters the small office where Caroline is running hundreds of flyers on a duplicating machine. Surprised she sees Toby's expression. CAROLINE What is it? TOBY I called Gregory at Princeton. -LRB- as Caroline reacts. -RRB- He's sending me applications for prep schools. I need you to take me to Seattle to take some entrance exams. CAROLINE Would a prep school take you with, uh, your school record? TOBY I've got to get out of here, Mom. I've got to. I've got to get away. CAROLINE When are the tests? TOBY Saturday. CAROLINE You'll be there. TOBY He wo n't let you have the Buick. CAROLINE You'll be there!","EXT. LAKESIDE SCHOOL IN SEATTLE - DAY Graceful buildings, green lawns, a CARILLON CHIMING. Toby walks toward a large building.","INT./EXT. TESTING ROOM - DAY Twenty - three boys and Toby stand waiting restlessly for the tests to begin. Toby looks very different from the other intelligent looking, well - bred boys in his Elvis hairdo. 103A. SAME SCENE - LATER All the boys are taking the test, working hard.","INT. DWIGHT'S BUICK - LATE AFTERNOON Caroline turns as Toby gets into the car. CAROLINE How was it? TOBY Hard. I think I did okay. I'll know Monday.","INT. DWIGHT AND CAROLINE'S KITCHEN - EVENING Dwight sits at the table, a drink in his hand. Caroline hurriedly prepares dinner. She tosses a milk carton into a brimming waste basket, then speaks to Toby, who enters the room. CAROLINE Take that trash out for me, honey. Toby grabs the trash and exits.","EXT. REAR OF DWIGHT AND CAROLINE'S HOUSE - EVENING Toby opens a metal trash can, dumps the trash, puts the lid back on, and then hesitates. He lifts the lid again and peers into the trash can, almost hidden, are the tips of four white envelopes made of heavy, expensive paper. He pulls them up and, though covered with tomato seeds, are undamaged.","INT. KITCHEN - EVENING Toby walks in, fans out the four envelopes, speaks to Caroline. TOBY My application forms must've come today, and he threw them away. DWIGHT Hey, I thought I was helping him - thought I'd save him some trouble'cause he's got no chance of getting into some fancy prep school. CAROLINE You've always got your nose pressed up against the bake shop window, do n't you, Dwight? DWIGHT What? CAROLINE You feel like everybody else is inside, and you're stuck on the outside. It turns you mean. It turns you ugly. And one day do you hear me, Dwight? One day all that ugliness is going to snap back and hit you in the face. DWIGHT Ooooooh, oh, I'm so scared. Oooh.","INT. TOBY'S BEDROOM - SAME NIGHT Toby has the applications open in front of him. We see the words `` Official Transcript Required'' on one application. On another we see spaces for the ap - plicant to list `` Community Services'' and `` Athletic Achievements'' and `` Foreign Travel'' and `` Languages.'' Toby looks despairingly at the forms.","INT. SCHOOL HALLWAY - MORNING Between classes, Toby and Arthur are at a row of lockers. ARTHUR I wo n't do it. TOBY But why? You work right in the office - nobody'll ever know. ARTHUR I'm surprised you'd want help from anybody who fights for the pink team. TOBY I'm asking you to help me, man. I got word yesterday that I did really well on those tests - but that's not enough. I've got to cheat and lie - but I do n't care : this is my one chance to get out of here! ARTHUR No. Why should you get to be the one? Why not me?","INT. SCHOOL WORKSHOP - DAY Toby is working with a table saw. Suddenly a two - inch - thick manilla envelope plops down beside him. He looks up to see Arthur standing beside him. Glancing around to see that he's unobserved, he checks the contents of the envelope : we see school stationery, blank transcript forms, and a stack of official envelopes. Toby closes his eyes. He's saved. TOBY You could leave too, you know. ARTHUR No, I've grown progressively fond of Concrete. I think I'll stay here all alone and dress up in my mama's old clothes sometimes - like you said. Arthur turns and swishes away. Toby pats the manilla envelope, turns back to the saw. Suddenly he jerks, looks down, and sees that the ring finger of his left hand is spurting blood. Toby says a mild, astonished `` Hey,'' and sinks to his knees.","INT. TYPING LAB - SAME DAY (AFTERNOON) With his hand bandaged Toby sits at a typewriter with a blank transcript. He carefully types `` TOBIAS WOLFF.'' Then, he begins to type the letter `` A'' in every slot for grades.","EXT. STREET - EVENING Toby mails five letters.","INT. TOBY'S BEDROOM - DAY Toby lies in bed reading the paper. He still holds his hand in the air -LRB- the white bandage is now dingy -RRB-. Caroline appears in the doorway. CAROLINE Come help me stuff envelopes. TOBY I'll do some this afternoon. CAROLINE No, I need to take them with me. TOBY I'll be in in a minute. Let me finish this article. CAROLINE Boy, you irritate me. -LRB- new tone. -RRB- I think maybe you ought to. Yeah - I think maybe you should just. -LRB- hisses. -RRB-. TAKE A LITTLE RIDE WITH DWIGHT. Toby laughs, and gets up to help her.","EXT. DWIGHT AND CAROLINE'S HOUSE - EARLY EVENING Toby starts up the sideway, Pearl exits the house with several letters in her hand. PEARL ` You got letters from those schools!' Toby grabs them as if they were the very stuff of life. Pearl stands expectantly. Toby notices her, then walks off holding the letters to his chest.","EXT. FIELD - EARLY EVENING Three letters lie crumpled on the ground. Toby sits with his back against a tree trunk. Slowly Toby opens the fourth letter. Another refusal. Toby tosses it onto the ground with the others, leans his head back against the tree trunk, and closes his eyes.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT Dwight, Caroline and Toby read the papers. Caroline notices Toby's sad face. CAROLINE Maybe that last school will come through. DWIGHT Yeah, or maybe he'll get a contract in the mail asking him to be a singing star on T.V. -LRB- on Caroline's look. -RRB- Well, he's got about as much chance of one as of the other. Toby gets up and leaves.","EXT. CONCRETE - SAME NIGHT A beauty shop with a tired sign. `` ARLENE'S GOLDEN COMB BEAUTY SALON,'' a beer joint, a pool hall, a woman's clothing store with headless mannequins. Toby surveys the scene, with an expression of despair. Toby catches his reflection in a store window. He stares at himself. TOBY A Concrete boy.","INT. A&P GROCERY STORE - EVENING Toby, wearing khakis, a shirt and a tie stands before the store manager. MANAGER We only take boys who really want to work hard. Is that you? -LRB- as Toby nods. -RRB- I'd want you to start evenings now, and I'd want you all summer - no vacations. -LRB- as Toby nods. -RRB- Food service work is n't easy. It's not something that comes to you in a year or two. So. You think you have what it takes to be an A&P management trainee? TOBY -LRB- straight. -RRB- That's exactly what I've got. SAME SCENE - LATER Toby now wears a regulation black bow tie and an apron. An employee is showing him how to price, stamp, and stack canned goods. Toby's face is expressionless.","INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON Dwight is listening to a PERRY COMO ALBUM. Caroline and Pearl work on a jigsaw puzzle. Toby enters the kitchen, coming from his paper route. He puts down his paper sack and immediately puts on his black bow tie, preparing to go to the A&P. PEARL I ca n't find where this green piece goes - it's got ta be grass. Dwight sighs with irritation at the interruption of his listening pleasure, and turns UP the VOLUME on the record. CAROLINE -LRB- to Toby. -RRB- Do n't go off without eating. TOBY I'll get a sandwich after work. Exasperated that conversation is continuing when he's trying to listen, Dwight reaches over, presses his hand down on the arm of the record player, then SCRAPES it back and forth on the record. It's a violent action, and it makes a GROTESQUE SOUND. The NEEDLE BOUNCES around on the scarred record. As the three of them stare at him, Dwight speaks calmly : DWIGHT I was trying to listen to a record. Dwight rises, walks outside into the back yard. Then the TELEPHONE RINGS. Pearl answers it, listens, then says, PEARL `` Yeah, he's here,'' She holds the receiver out to Toby, whispering, `` Are you Tobias?'' TOBY Hello? All right. Tomorrow, then. Goodbye. Toby hangs up, turns to Caroline, quietly : TOBY It's Hill School - the last one I applied to. They have n't accepted me, but they're sending somebody up to interview me. Caroline upsets the puzzle getting up to hug Toby.","INT. DRUGSTORE - AFTERNOON Toby is sitting in a booth with MR. HOWARD, a man in his late thirties. Toby has made a real attempt to look good. His hair is modified, and he wears a tie and a suit. TOBY Yeah, I enjoy my classes, especially the ones that are advanced, but I've been feeling a little restless lately. It's hard to explain. MR. HOWARD Well, you're probably bored. Not being challenged. Your application was very good, Toby, but we have many boys who want to go to Hill. Not everybody is comfortable at a prep school. TOBY I think I would be. My father and brother went to prep schools. MR. HOWARD Is that right? Where? TOBY Deerfield and Choate. Mr. Howard is impressed. MR. HOWARD I see. Well, maybe you'd like it. Hill was difficult for me, though - classes were hard, and the boys seemed cold - interested in money and social position. -LRB- laughs. -RRB- And I hated those snowy Pennsylvania winters! But then in my last year, something changed. The guys in my class grew close, so close that I still think of them as a second family. TOBY -LRB- honest. -RRB- I want that. I do, and - He stops talking as we hear, O.S., `` AG - H - H - H!'' Psycho and Arch have entered the drugstore. Toby's back is to the door, and he slouches deeper into the booth, praying that he wo n't be seen. Arch and Psycho buy cigarettes. ARCH so she said, ` No, I do n't want you to do that,' and I said ` Oh, baby, let me get down and grovel on it.' I mean, I ate her pussy'til my tongue was calloused, and then. Arch moves toward the back of the store toward the area where Toby sits. Toby inches down a bit farther into the booth. Arch stops at a sunglass rack five feet from Toby and tries on a couple of pairs. ARCH so anyway, she went off like a Roman candle - I mean that woman can scream. I said, ` You liked that, did n't you, baby?' I said, ` You liked the old Arch Cook special, did n't you?' Arch decides to let the sunglasses go. He and Psycho move toward the front of the store, he talks about pussy. Toby exhales. MR. HOWARD Toby, boys at Hill talk roughly sometimes too - you'd have to be ready for that. I can see you've had sort of a sheltered life. Toby nods his head.","EXT. DRUGSTORE - AFTERNOON Mr. Howard shakes Toby's hand. MR. HOWARD You seem like a fine boy, and I'll give you a good report tomorrow. But there are lots of boys applying, and we'll just have to wait and see whether - From O.S., we hear Dwight's voice, and Toby goes rigid. DWIGHT -LRB- O.S. -RRB- Ohh, it's the Hotshot Boy. Both Mr. Howard and Toby turn to see Dwight, wearing his coveralls, ten feet away. DWIGHT Yeah, it's the guy who thinks he knows everything. Thinks he's so smart, but fella, what you do n't know would fill a book. -LRB- glances at Mr. Howard's new Chevrolet ; offhand. -RRB- General Motors makes shit cars. Dwight turns and enters the drugstore. TOBY -LRB- weakly. -RRB- That's, uh, that's this guy. he's a mechanic. did some bad work on our car. It's not much of an explanation, but Mr. Howard seems to buy it. He says goodbye to Toby, gets into his car, drives away. Toby stares after him.","INT. A & P GROCERY STORE - NIGHT A few weeks have passed. Toby -LRB- his Elvis hairdo further modified -RRB- again prices and stacks food. His face is serious, his manner industrious.","INT. DWIGHT AND CAROLINE'S KITCHEN - AFTERNOON Toby walks in ; his Elvis hair disappearing. Pearl, who is boiling hot dogs, turns : PEARL I know something'll make you feel good : that man called - you got the scholarship. Toby grits his teeth and clenches both fists victoriously. He's won. PEARL He said they're gon na give you two thousand three hundred dollars a year and it costs two thousand five hundred dollars. so you got ta come up with the other two hundred. Great, huh? -LRB- sympathetic. -RRB- I'm making hot dogs - I'll make one for you. Can you put mustard on some bread for us? Toby gets a jar of mustard from a cupboard, but it's empty, so he tosses it on top of the trash can, gets a new jar and starts to open it. Dwight enters. PEARL What're you doing home so earl. Oh! Toby he got that scholarship - two thousand and three hundred dollars! Dwight makes himself a drink, takes two large swallows, then turns to Toby. DWIGHT Hey, leopard. I say, ` Hey, leopard.' I know you, leopard - I can see those spots you ca n't change. -LRB- laughs. -RRB- Thinks he can go to some fancy prep school and fool everybody. Not a chance. I know a thing or two about a thing or two. Toby wo n't rise to the bait, and Dwight falls silent, he, looks around and sees the jar of mustard on top of the trash. DWIGHT Who threw that away? TOBY I did. DWIGHT Why? TOBY Because it was empty. Dwight retrieves the bottle. There are a few streaks of mustard under the neck of the bottle. He holds it close to Toby's face. DWIGHT Empty? That look empty to you? PEARL It looks empty to me. TOBY It looks empty to me, too. Dwight pushes the jar against Toby's eye, leaving mustard stains on the boy's face. DWIGHT Look again, hotshot. Is it empty? Toby jerks his head away, not answering. Dwight slams down the jar of mustard, grabs Toby by the back of the hair and forces his face down against the mustard jar. PEARL Dad! DWIGHT -LRB- to Toby. -RRB- Now. Now, Mr. Big - Time Prep - School fucker, is it empty? Toby struggles, but Dwight has the strength of anger : trying always to protect his throbbing finger, Toby pulls free and jumps up from the table. Dwight is too quick for Toby, though : he grabs an even bigger handful of hair and forces Toby's face down onto the mustard jar again and again. And again. Each time he asks if the jar is empty. Finally, Toby gives up. TOBY -LRB- muffled. -RRB- No, it was n't empty. DWIGHT -LRB- lets him go. -RRB- All right - clean it out. His face smeared with mustard, Toby's expression is murderous. He picks up a knife and scrapes at the mus - tard, trying to get up under the neck. He manages to get a few brown and yellow smudges on the knife, which he transfers to the edge of a plate. Dwight watches. DWIGHT Now. Was it empty? Slowly he stands up and faces Dwight. TOBY Yes! Dwight slaps Toby across the mouth and the battle is on. As Pearl stands frozen, Toby lunges at Dwight, they grapple and stagger around the room. GLASS SHATTERS, the kitchen table CRASHES over, and their feet STAMP and SHUFFLE but Toby is a wild man. Even though he has only one good hand. He lands a blow between Dwight's eyes that bangs the man back against the wall. Dwight grabs the pan with the hot water from the hotdogs, flings it at Toby. Most of it misses. Again they grapple. Toby manages to throw Dwight down, then grabs a broom that has fallen to the floor, presses it against Dwight's throat, using his good hand and one knee. Dwight's mouth gapes wide, his eyes bulge, and he jerks himself frantically trying to dislodge Toby, but Toby hangs on like grim death. Desperate, Dwight grabs Toby's bandaged hand, bringing it close to his own face, and bites the stump of Toby's injured finger as hard as he can. Toby and Pearl scream simultaneously. Pearl in horror, Toby in pain. Pearl runs into her bedroom. Toby reels back in pain, holding his freshly - bleeding hand. Dwight takes his chance, grabs Toby by the throat, forces him down onto the floor and begins to choke the boy. Toby's eyelids begin to flutter. He's losing consciousness. WHAM! From out of nowhere a baseball bat hits Dwight flat across the shoulder blades, knocking the breath out of him, stunning him momentarily. As he looks up, we see Caroline, one of the baseball bats from the utility porch drawn back, aimed at Dwight's head, ready to strike again. CAROLINE -LRB- level. -RRB- Get away from him or I will kill you. Toby manages to stand up, Caroline speaks to both of them. CAROLINE What is this? TOBY I got the scholarship and he went nuts. He's crazy, and I'm leaving. -LRB- screams it. -RRB- I'm leaving! DWIGHT Great. Go! TOBY Give me my paper route money, and you'll never have to see my face again. DWIGHT -LRB- manages a smile. -RRB- That money is gone with the wind. -LRB- as Toby stares. -RRB- That's right. I spent it as you made it. It's gone. Poof. Toby starts for Dwight again. Caroline grabs him, saying, `` No. No. No,'' over and over, literally dragging Toby away from Dwight. Caroline looks at Dwight. CAROLINE It's not so much that you're disappointing - it's that you're consistently disappointing. DWIGHT Oh, fancy, fancy talk - fancy talk for a whore. I know a thing or two about a thing or two. I got friends in this town that tell me things, and I found out some man down at that campaign headquarters found you a job in Washington, D.C. Gon na run off with him, are n't you, Miss Whore? CAROLINE He's just a friend. DWIGHT Miss Liar. Miss Whore Liar. TOBY I'm leaving, Mom. You can leave, too. You do n't have to stay here. Caroline takes three full beats and then her face changes. She speaks wonderingly : CAROLINE I do n't, do I? TOBY No, you do n't. CAROLINE I could leave with you, could n't I? TOBY Yes, you could! DWIGHT What about me? CAROLINE I could just walk right out that door, could n't I? TOBY Yes, you could! Caroline takes a deep breath, a weight has been lifted. CAROLINE My God. the lightness. DWIGHT What about me? CAROLINE I'm leaving, too. DWIGHT No. CAROLINE Oh, Dwight, why do you want me to stay? You do n't even like me, not really. DWIGHT You're not leaving! CAROLINE -LRB- gentle. -RRB- Look again, Dwight - I'm already gone. Dwight makes a terrible noise of frustration and rage, doubles his fists, and starts toward Caroline. Immediately Toby grabs the baseball bat and holds it out, ready to strike, as the two begin to back toward the door. DWIGHT you two've always sided in against me, always thought you were better than me. I tried. I did the best I could. What about me? Am I supposed to just crawl off in a ditch someplace and die? I've always been the nigger. Everybody's nigger. Ever since I was little. Caroline and Toby are at the door, run across the yard and down the street. Dwight stands in the doorway, yelling : DWIGHT What about me? When is it ever Dwight's turn for some consideration? What about me? I'll tell you one thing - you'll remember me!","EXT. FIELD - MINUTES LATER Caroline and Toby slow to a walk after running, laughing, and catch their breaths. CAROLINE Man, oh man. TOBY Man, oh man, oh man. CAROLINE Well, we're out. TOBY Great, is n't it? CAROLINE Yes. It's great. And you got the scholarship! Congratulations, honey. TOBY Yeah, I'm out! I'm outta here! Maybe I'll crash and burn, but it's a chance, so I'm gone! I'm history, Histoire. Nobody's gon na tell me what to do now, nobody. I'm free as a bird. Sayonara nest. -LRB- yells it ; really bawls it out. -RRB- Heaven on a June day! Caroline's smile becomes fixed during Toby's speech and she begins to regard him oddly. CAROLINE -LRB- weakly. -RRB- Yeah, heaven on a June day. TOBY What'd he say about you having a job in D.C? CAROLINE Oh, Helen found me something in a real estate office, but. TOBY So now you can go! Oh. Oh! I am so damn glad to get out of this place! I'll be in ` fourth form.' Does n't that sound great? And if you get a two - bedroom place in D.C., I can come for vacations and summers. I'm out. I'm out! Caroline's eyes well up, and she lights a cigarette. TOBY -LRB- notices she's upset. -RRB- What? Oh, do n't cry - he's not worth it. As sad as she is, Caroline smiles. TOBY She holds Toby at arm's length and studies him. CAROLINE My you've grown, have n't you. Then clutches him to her fiercely. Smiling, the two walk on through the sunny afternoon, singing softly to each other.","EXT. BUS STATION - DAY Caroline and Toby stand next to a bus as the driver STARTS the ENGINE. She is close to tears. CAROLINE Are you sure you'll be all right? TOBY -LRB- nice. -RRB- Get on the bus. CAROLINE -LRB- stuffing bills into his pocket. -RRB- I borrowed money from everybody I know - it's the two hundred you need for the tuition, and an extra fifty. Buy yourself a blazer. Oh, God. I'll miss you. I'll write you. You sure your hand's okay? TOBY Get on the bus, Mom. Caroline puts her arms around Toby, kisses his cheek hard, then whispers something into his ear. When Toby speaks, his words are full of love : TOBY I know that, Mom. I've always known that. Caroline gets onto the bus, the DOORS CLOSE, WHOOSH and the bus pulls away. We see Caroline's face at a window. As the bus recedes, Toby turns and walks in another direction. His face is shining, incandescent with happiness. He breaks into a wide grin. FADE OUT. THE END"],"string":"[\n \"EXT. HIGHWAY - DAY It is 1957, and we are in the deserts of Utah. TONY BENNETT sings `` Rags to Riches'' on the SOUNDTRACK. Breath - taking scenery stretches out on either side of a highway. The CAMERA MOVES to reveal a Nash Ambassador as it labors up a hill. Twelve cars are caught behind the thirty - mile - per - hour pace. Two cars decide to ignore safety and cross the solid yellow line to pass the pokey car.\",\n \"INT. NASH AMBASSADOR - PARALLEL TIME Two people are in the straining car - a woman and her son. The woman is CAROLINE WOLFF. Somewhere in her 30s, she is a pretty woman who can look beautiful if she works at it. -LRB- Just now, though, her prettiness is marred by a fading bruise on her right cheekbone. -RRB- She is bright and energetic and lively. Even more important than these qualities, though, is her humor. And most important of all is a sensual quality she exudes. Her sensuality is effortless - as natural to her as the color of her eyes and hair. Men turn on the street to stare at her. The boy is TOBY WOLFF. A pleasant - faced boy with won - derful eyes, he is 13 - teetering on the brink of adolescence, so that one moment he seems like a self - assured teenager, and the very next like a ten - year - old kid. Just now the ten - year - old kid has the upper hand : bored and weary with the long trip, Toby has been arguing with Caroline, who is ignoring him. TOBY Well, I mean it. I'm serious - I do. You promise and promise, and then you change your mind, just like that. CAROLINE -LRB- totally oblivious. -RRB-. Uh - huh. TOBY You wait'til you ask me for something. Just wait. See if you get it. CAROLINE -LRB- as above. -RRB- Toby, hush. Let me just. So concentrated on her driving she does n't even finish her sentence, she nurses the car upward. Finally the car crests the hill and starts down. Caroline sighs with relief. She turns to Toby with a smile. CAROLINE What'd you say? TOBY I said - for the twentieth time - if a person promises somebody something, they ca n't just turn around and take it back. CAROLINE Oh, honey, Jesus. Do n't start with that again. TOBY Why not? CAROLINE Because I'm the mother, and I get to tell you what to do every minute of your life'til you're eighteen. Seriously, we've got no money. I ca n't buy you the moccasins. TOBY I bet if you'd promised Roy some moccasins he'd of got'em. CAROLINE No talk about Roy, okay? And ditto the moccasins. We, ca n't, afford, them. TOBY Yeah, but you did promise. CAROLINE Sue me. Take me to court. Oh, Toby, I know you're disappointed, but. TOBY Jack. Call me Jack. CAROLINE You're going to drive me to an early grave : I'm never going to make Salt Lake City. TOBY Seriously. If a person ca n't get a stinking miserable pair of moccasins, at least he ought to be able to choose his own name. -LRB- loud. -RRB-. and I wan na be called Jack! CAROLINE Fine. And you can call me. -LRB- she thinks. -RRB-. Jeanette. Jeanette Marie. TOBY Oh, you're so stupid sometimes, I. The BAWLING of an AIRHORN interrupts him. Both of them look through the back window and see a huge tractor - trailer truck, out of control, bearing down on them. Caroline brakes and steers a hard right, SKIDDING the NASH safely onto the side of the road. The truck, its HORN BLASTING steadily, shimmies and slides past them, and then, hideously, fails to make the next curve : it smashes through the guard rails and into empty space, its HORN still BLARING. Caroline and Toby look at each other, then scramble out of the car.\",\n \"EXT. BROKEN GUARD RAIL - DAY Other drivers have stopped to look : hundreds of feet below, the truck lies on its back among boulders. Caroline glances, then turns away. She pulls Toby away, one arm around his shoulder.\",\n \"EXT. NASH AMBASSADOR - MINUTES LATER Caroline fills the Nash's steaming radiator with a can of water. CAROLINE -LRB- not much heat. -RRB- Goddamn thing. She glances back to where a larger crowd of people stare avidly down at the truck. She bites her lip. CAROLINE Oh, that poor man. There is a pause. Then Toby speaks : TOBY I hope to hell this is n't some kind of omen. Caroline turns to Toby, her face worried. Then she sees the look in Toby's eyes - he's ragging her. She grins and gives his shoulder a light, affectionate shove.\",\n \"INT. NASH AMBASSADOR - NIGHT Toby -LRB- feet up on the dashboard wearing a brand - new pair of Indian moccasins -RRB- and Caroline sing `` Mood Indigo'' together. Toby holds a complicated - looking, black con - traption which looks something like an antique flashlight. TOBY How's this thing work, anyway? CAROLINE -LRB- not confident. -RRB- It makes a black light that, uh, causes uranium traces to glow. TOBY And we just walk along the street and find this glowing uranium? CAROLINE Well, it was everywhere in Moab, they say - just like gold in the gold - rush days. TOBY But we were too late in Moab, and that guy at the office said nobody'd found any uranium in Salt Lake City. CAROLINE Well, that means we'll have the place pretty much to ourselves, huh? Honey, this could be a big break for us. If this works out, oh, just think : we'll get us a house, get rid of this damn Nash Ambassador - no money worries. It'll be like heaven on a June day.\",\n \"INT. CAR - DAWN We hear `` MOOD INDIGO'' on the car RADIO and see that a weary Caroline has driven through the night and Toby is slumped against the passenger door. Toby stirs, then opens his eyes. CAROLINE Ask me how far we are from Salt Lake City. Toby is instantly awake, excited. Caroline points to a small highway sign and both she and Toby yell out. CAROLINE/TOBY Forty - seven miles to go! Both of them are laughing with excitement. Toby claps his hands together once, very hard, and Caroline yells -\",\n \"EXT. HIGHWAY - MORNING Well, hell. The Nash Ambassador sits by the side of the road, its hood up, its radiator steaming. Caroline and Toby sit in a patch of shade by the car. CAROLINE If I could have one wish right now - only one wish - you know what I'd like? I'd like to burn this damn Nash Ambassador to a crisp. -LRB- as Toby laughs. -RRB- I'm serious. I hate it. I hate the factory that produced it, and I hate the man who invented it. TOBY It almost makes me want to see Roy - he was the only one could make the thing stop overheating. -LRB- a beat. -RRB- My God, he was boring. Boring and mean : you sure got crappy taste in boyfriends. At the mention of Roy's name, Caroline lightly touches the bruise on her right cheekbone. Not enjoying the talk about Roy, she pours the water into the radiator, and speaks directly to the car. CAROLINE I'd like to burn you to the ground. -LRB- to Toby ; big smile. -RRB- Let's go get rich in Salt Lake City!\",\n \"EXT. SALT LAKE CITY (DOWNTOWN) - DAY Toby waits beside the Nash Ambassador, looking toward a three - story concrete building. He holds a portable RADIO, which PLAYS DEAN MARTIN singing `` Volare.''\",\n \"INT. BUILDING - PARALLEL TIME Caroline, holding the imitation Geiger counter, stands across the counter from a MAN who is looking at her very strangely. MAN You're pulling my leg, right? CAROLINE No, I came here to look for uranium. MAN My God, lady. If you're looking for uranium, why did n't you go to Moab? CAROLINE We went there, but everybody'd beaten us there. We were too late. MAN So you came here just on the chance you'd find uranium? Listen, you mind me saying something to you might sound rude? Lady, you got more courage than you got common sense.\",\n \"EXT. NASH AMBASSADOR - DAY Caroline exits the building, dumps the Geiger counter in a trash can and strides to the car. She gets in, and says two words : CAROLINE Do n't ask.\",\n \"INT. NASH AMBASSADOR - DAY Caroline turns the key in the ignition and gets only a maddening RER - RER - RER - RER noise from the ENGINE : wearily, she rests her forehead on the steering wheel.\",\n \"EXT. NASH AMBASSADOR - TWENTY MINUTES LATER Caroline and Toby have the hood up and are peering into the engine. TOBY That mechanic in Colorado said it needed points. CAROLINE I know. Do n't tell me what I already know. This thing's a bottomless pit. I do n't know what to do. No matter how much money I pour into it. Suddenly a WOMAN in pedal - pushers and a thin, inexpensive sweater stops. She's vaguely low - class, but friendly and sympathetic. WOMAN I'd rather be whipped with a belt than have car trouble. ` Course these days I do n't have to worry about that. My husband got laid off at the mill, and they repossessed the car, so wherever I wan na go, I just have to hoof it, you know? Caroline smiles, then her face changes. CAROLINE You do n't have a car? -LRB- as the Woman shakes her head. -RRB- You want this one? Shocked, the Woman says - WOMAN I. uh. I. TOBY You're gon na give our car away? CAROLINE -LRB- to the Woman. -RRB- Seriously. It needs points, and it overheats constantly, but you can have it if you want it, because my hand to God, I ca n't look at it one more minute. WOMAN Well, sure. CAROLINE Get the bags out. Get the owner's slip out of the glove compartment. We're rid of this son - of - a - bitch pink and white albatross. You do n't mind taking a car with a big dent in the passenger door? WOMAN Hell, no. -LRB- she looks. -RRB- There's no dent there. Caroline draws back her leg and delivers a terrific, flat - footed kick to the door, leaving a dent the size of a dish - pan. CAROLINE Oh, yes there is! Toby hands the Woman the owner's slip, Caroline gives her the keys. WOMAN you really just giving me this car? CAROLINE It's done. It's yours. You got yourself a Nash Ambassador! -LRB- to Toby. -RRB- Let's go! Both of them pick up two bags apiece - all they have in the world - and off they go, feeling good.\",\n \"EXT. CITY STREET - DAY (FEW MINUTES LATER) 1957 is all around us : gas is 29.9 cents a gallon ; bread is 19 cents a loaf ; cars are curved and heavily chromed ; people occasionally nod and smile at strangers ; children carry hula hoops. In all, a gentler time. Caroline and Toby stride along briskly, as if they knew where they were going. CAROLINE find ourselves a cheap room someplace, we'll get you into school, I'll brush up on my typing and get a job, and things'll start looking up. I feel it : the good times are coming. And at least we're rid of that damn Nash Ambassador! TOBY Yeah, and like Dad used to say, ` We may be broke, but we're never poor.' And later, if we get a house with a big yard, I could get a collie, you know? One like Lad or Grey Dawn. And someday maybe a palomino. And I'm going to try harder in school, too. The two of them walk on - a bit foolish, but, in an odd way, brave as hell.\",\n \"INT. VICE PRINCIPAL'S OFFICE - DAY A subdued Toby sits in front of the VICE PRINCIPAL. VICE PRINCIPAL like to give new boys the benefit of the doubt, but this is the second time in two weeks that you've been in front of me, and I do n't like that. -LRB- picks up a telephone. -RRB- Now I think you better just call your mother and tell her to come down here. TOBY She works. She's working. Silent, the man continues to hold out the telephone to Toby. Finally he takes it and dials.\",\n \"EXT. SCHOOL - AFTERNOON Caroline and Toby exit. Toby sullen ; Caroline angry. TOBY It was n't me broke their stupid windows. CAROLINE Liar. TOBY Gee, thanks a lot, Mom - believe them instead of me. CAROLINE If you care anything about me at all, you'll shut up. TOBY Yeah, well if you'd stayed married to Dad none of this would've ever happened. CAROLINE Look, do n't you put that on my back : I ca n't make your father call you. I ca n't make your brother write you. They dumped you. Yes. But it's not my fault.\",\n \"INT. CAROLINE AND TOBY'S ROOM - AFTERNOON The place is pretty bleak : a room and a half, Murphy beds, linoleum floors, and a bath down the hall. Caroline and Toby enter. She pulls down the Murphy bed and falls onto it fully dressed, saying : CAROLINE My head is killing me. Toby heads for his room. SAME SCENE - DUSK Caroline wakes up with a start, then sees Toby sitting in a chair, watching her. CAROLINE What time is it? TOBY Seven. Almost. CAROLINE Why did n't you wake me? TOBY I started dinner. The potatoes are frying, and I'm heating up the hot dogs. Caroline sees that he's trying to make it up to her, and pats the bed for him to sit down next to her. He moves to sit beside her. CAROLINE Hold your mother's hand. TOBY I'm sorry. CAROLINE I know you are, honey. Ah, well - it was n't fire, and nobody bled, so I guess we're okay. The TELEPHONE RINGS and she answers it. When she hears the VOICE on the other end she once again touches her right cheekbone with a finger - the spot where the bruise had been. She sags back against a wall. CAROLINE Yes. -LRB- listens. -RRB- Yes. -LRB- listens. -RRB- Yes, I know. -LRB- listens. -RRB- You're right. -LRB- listens. -RRB- All right, yes. in an hour, then. Caroline hangs up. TOBY Who was that? She closes her eyes. TOBY Who was that? Caroline laughs aloud, then slides down the wall until she's on the floor still laughing. CAROLINE We've got a guest for dinner : it's Roy. He tracked us down. Toby groans and falls full - length onto the sofa.\",\n \"INT. CAROLINE AND TOBY'S KITCHEN - ONE HOUR LATER Caroline, Toby and ROY are eating at the tiny table. Roy is good - looking in a meaty, hairy - chested sort of way. Though he is on his very best behavior just now, there is a mean streak in him. Toby, delighted, holds a Winchester.22 rifle across his lap - a peace - making gift from Roy. ROY I found me a room, but it's clear the hell and gone ` cross town. And I think I got a job lined up doin' tune - ups in a Texaco station. How you like it at Winstead's? CAROLINE How do you know where I work? ROY I been here almost a week. CAROLINE You followed me around? For a week? Watching? Roy does n't answer. He just wiggles his eyebrows like Groucho Marx. CAROLINE And how did you ever find me? Again, Roy does the Groucho Marx. He turns to Toby. ROY You like the rifle, Toby? ` Jack,' I mean. TOBY It's the best present I ever got. I just love it. -LRB- to Caroline. -RRB- I'm going to pretend I'm shooting. CAROLINE Do n't point that thing at anybody or I wo n't teach you to shoot. TOBY It's not loaded! CAROLINE You heard me : anybody or any thing. TOBY It's got no bullets, for God's sake. CAROLINE Do n't make me speak to you again. TOBY I'll point it at the sky, then. Caroline sighs. Toby opens a screenless window and points the gun up into the night sky, pretending to fire it over and over. Caroline starts to clear the table. Roy jumps up to help her.\",\n \"INT. LIVING ROOM - TWO HOURS LATER Caroline and Roy are kissing on the sofa, and he is all over her : his hands are on her breasts, her thighs, everywhere. Aroused in spite of herself, Caroline pulls away, indicating the light in the other room. CAROLINE Do n't. Toby's still up. Roy leans back, smiling, and eyes Caroline. ROY You are one sweet thing, baby : just the sight of you makes my dick hard. He pulls her to him, starting to kiss her. She fends him off, looking worriedly toward the room where Toby's light burns. ROY Aw, he wo n't hear anything. Again he pulls her toward him ; again she turns her head from the kiss. Then it happens. A spasm of anger passes across his face and he shoves Caroline away from him. It's a hard shove, but nothing that could really hurt her. Violence has happened before between these two, and they recognize it. Caroline is immediately on guard, and Roy is apologetic. ROY Shit, baby, I'm sorry. I did n't mean that. I'm just so glad to see you. He slides toward Caroline, kisses her. This time she accepts the kiss - feels she has no choice.\",\n \"INT. KITCHEN - PARALLEL TIME Dressed for bed, Toby stands by an open window. He can hear every WORD of ROY'S, who continues to apologize between kisses. The room is illuminated by a nearby streetlamp. The frosty air from the open window causes his breath to steam. He raises two fingers to his lips, pretends to take a drag on a cigarette and blows out the steam from his breath. The VOICES in the other room grow a bit LOUDER, almost to an argument, and then SUBSIDE again. Toby takes another drag from his pretend cig - arette. He looks very young.\",\n \"EXT. RESIDENTIAL STREET - AFTERNOON Toby wanders toward the rooming house. He stops to watch TWO fiftyish WOMEN who are working in a garden. One Woman looks up. WOMAN #1 Hi. TOBY Hello. The Woman stops to take a breather, lights a cigarette, pokes her companion. WOMAN #1 My Lord, look at the eyes on him - wo n't he be a heartbreaker in three, four years? WOMAN #2 Bedroom eyes. Toby smiles. WOMAN #1 You live in the neighborhood, sweetie? TOBY Over there. -LRB- a beat. -RRB- I wo n't be here long, though,'cause my dad's coming to get me. WOMAN #1 Oh, yes? TOBY Yeah. I'm gon na live on his ranch in Phoenix. The `` Lazy B,'' it's called. WOMAN #2 That sounds like fun. TOBY It is. I've got a palomino horse and a collie, and Dad lets us go on hunts all by ourselves. He gave me this Winchester.22, and last year I shot a mountain lion with it. And Lad - that's my dog - found a nest of rattlesnakes one time, and killed all twelve of them. The two Women exchange a glance. It's obvious the boy is lying. 21 INT. CAROLINE AND TOBY'S ROOMS - AFTERNOON -LRB- SAME DAY -RRB- 21 Toby enters. Four packed suitcases lie on the bed behind Caroline. TOBY What're you doing home so -. -LRB- as he sees suitcases. -RRB- We going someplace? CAROLINE We sure are. TOBY Where? CAROLINE I do n't know. Got any suggestions? TOBY Phoenix. CAROLINE Good. I was thinking of Phoenix or Seattle - lots of opportunities in both those places. TOBY What about your fabulous boyfriends? What about the fabulous, boring Roy? Is he coming, too? CAROLINE Not if I can help it. I looked out the window at work today, and he was parked across the street, watching. TOBY Roy's so uncool. So boring. CAROLINE You liked him well enough last night. -LRB- imitating Toby. -RRB- ` Oh, Roy, I just love my rifle so much! It's the bestest present ever!' TOBY Oh, shut up. But he's smiling, completely unbothered. Suddenly Caroline laughs, stands up, and begins to close the suitcases. Toby laughs, too. TOBY Now? We're going now? What about all the food? CAROLINE Leave it. TOBY Even the canned stuff? CAROLINE Leave it! They grab the four heavy suitcases and head out the door. Both of them are laughing.\",\n \"INT. BUS STATION - AFTERNOON Caroline and Toby stand at a ticket counter, disappointed. TOBY Well, ask him when the next one to Phoenix is. TICKET SELLER Tomorrow morning, eleven forty - five. Toby and Caroline groan, then Caroline brightens. CAROLINE What about Seattle? TICKET SELLER -LRB- consults a list. -RRB- Leaves in nine minutes. They look at each other.\",\n \"EXT. BOARDING AREA Toby and Caroline hurry onboard a Greyhound bus with Seattle as its destination. CAROLINE I've always had a good head for figures, and if I could get my C.P.A. license, I believe we could make a real go of it in Seattle. I'll advertise for roommates, and I bet we find us a real cute house to rent. TOBY If there's a big yard, can I get a collie? CAROLINE Sure. Oh, honey, I feel a wind at my back : I think this is going to work out good. TOBY -LRB- as they board bus. -RRB- Yeah - like heaven on a June day. The DOORS of the bus close. WHOOSH! The bus begins to move. Caroline and Toby's faces are at the window : Seattle or bust.\",\n \"EXT. TRACT HOUSE (SEATTLE, WASHINGTON) - AFTERNOON The house is a nasty little thing with peeling paint. From inside we hear : CAROLINE -LRB- O.S. -RRB- and if you cut school again I'll just wear you out - do you hear me? I'm tired of it! TOBY -LRB- O.S. -RRB- Yeah, yeah. Toby exits the house. But, Jesus, what a new Toby : he's turned cool. A few months have passed. He now wears T - shirts and jeans which ride way low on his hips. As he walks along, he combs his hair into a duck's ass in back, and forward into a curl at the center of his forehead. He's 1957 hip - or thinks he is. He strolls on, feeling cool.\",\n \"EXT. TRACT HOUSE/FURTHER DOWN STREET - AFTERNOON From one of the houses TERRY TAYLOR emerges, falling into step with Toby. He's Toby's age, and is almost an exact replica of him. TOBY Hey, Terry. TERRY TAYLOR Hey, Jack. What'd your mom say about skipping school today? TOBY Who listens? TERRY TAYLOR You go over to Wanda's house last night? -LRB- as Toby nods. -RRB- You make out good? -LRB- as Toby nods again. -RRB- How good? TOBY I fucked her'til her nose bled. TERRY TAYLOR Sure you did! Oh, Wolff, you're rich.\",\n \"INT. APARTMENT - AFTERNOON TERRY SILVER opens the door to admit Toby and Terry Taylor. Silver is a clone of both Toby and Terry Taylor.\",\n \"INT. LIVING ROOM - AFTERNOON As the three boys troop through the room, they pass Terry Silver's two SISTERS, who are sprawled sensually on a sofa. SISTER #1 Oh look - it's Elvis, Elvis, and Elvis. TERRY TAYLOR Excuse me, but does your face hurt?'Cause it's killing me. With that piece of high wit, they're out of the room.\",\n \"INT. TV ROOM - AFTERNOON The boys light up three cigarettes -LRB- opening a window so the smoke will disappear -RRB-, then throw themselves onto the floor in front of a black - and - white TV. Superman is ON. When Lois Lane comes on, Terry Taylor starts moaning as if sexually aroused ; Terry Silver jumps to his knees and licks the TV screen repeatedly, also moaning. Toby closes his eyes, also as if in sexual transport. TOBY Oh, Lois. Oh, baby, come here - I got six hot inches just waiting for you. TERRY TAYLOR Man, look at her! Look at that body - y - y - y. TERRY SILVER -LRB- continues licking screen. -RRB- Um - m - m - m. M - M - M. Oh, Annette, I want you. I want you so bad. TOBY Oh, babybabybabybabybaby. You make my dick hard! The three carry on for a few more seconds. THREE OF THEM Yum, yum, yum. Making wet kissing noises, or just rocking their heads back and forth as if tempted beyond endurance. Then, slowly, they shut up and lie back down. SAME SCENE - LATER And this is what they really wanted : absolutely silent, all three boys stare fixedly at the screen. They are totally absorbed, caught up in the sweetness and warmth of the show. Not one of these boys has ever touched a girl's breast ; all three are at least two years from their first shave ; all three are pre - pubescent, and their sexuality is all bravado - now we see them for what they are : three skinny - armed 13 - year - olds, fascinated by Superman.\",\n \"INT. TOBY AND CAROLINE'S KITCHEN - DUSK Caroline pirouettes for her two roommates, KATHY, a diffident, sweet - faced young woman, and MARIAN, a heavyset, loud, red - faced woman who eats compulsively from a package of oatmeal cookies. Both of the women ooh and aah over Caroline's dress. KATHY That belt just makes it. CAROLINE It does pick up the green, does n't it? MARIAN And you say he's getting serious already? CAROLINE Yes, I think. He keeps talking about marriage, keeps saying he wants to meet Toby. MARIAN Well, that's it - three dates and you got ` im good. CAROLINE I do n't know if I want him - She stops as Toby enters the kitchen. TOBY Do n't want who? KATHY -LRB- about Toby. -RRB- Little pitchers. MARIAN Well, it's the tough guy who ca n't be bothered to go to school. CAROLINE -LRB- to Toby. -RRB- Oh, it's nothing - we were talking about Dwight. I told you about Dwight. TOBY He the one drives down from the boondocks? The mechanic? Dwight. What a stupid name. -LRB- he draws the name out. -RRB- Dwiiiight. Duhhhhwight. Dwight - tah - h - h - h. Dwighttahhhhh. There is a KNOCK on the front door. Toby sticks his head around the door, looking into the living room. A man is outlined against the sunset, only his black silhouette is visible. It is our first glimpse of DWIGHT. Has the man heard him? Toby does n't know for sure. Caroline brings Dwight into the kitchen. He is older than her, an attractive - enough man. He is well - built, has a full head of brown hair, and very white teeth. Those are his good points. On the minus side : his over - eagerness to please, his nervous smiles and his clothes. He wears two - tone shoes, a hand - painted tie, and a monogrammed handkerchief, folded beyond perfection, in the pocket. Caroline introduces him to Marian and Kathy. Then she introduces Dwight to Toby. Dwight is all smiles. CAROLINE Would you like coffee before we go? Or a Coke? DWIGHT You know, I believe I could stand a cup of java. As Caroline pours the coffee, Dwight turns to Toby. DWIGHT So you're Toby. TOBY No. DWIGHT You're not Toby? TOBY No. CAROLINE Oh, he wants to be called ` Jack.' It's so silly. ever since he read Jack London. DWIGHT Well, I'll call him anything he wants. -LRB- to Toby, confidential. -RRB- I always say people can call me anything they want, long as they do n't call me late for supper! Kathy and Marian think it's pretty funny. They laugh. Caroline smiles. Toby just stares. DWIGHT So, Jack, you like school? TOBY No. MARIAN He might like it if he ever went there and tried it. TOBY Oh, have another cookie, Marian - keep your strength up. MARIAN I'd like to just yank that nasty tongue of yours out by the roots. CAROLINE -LRB- to Dwight, light. -RRB- My son's decided to try to drive me into an early grave. Truly. -LRB- to Toby ; not so light. -RRB- You straighten up and be polite, you hear me? Dwight takes a swallow of the coffee. His eyes widen. DWIGHT Who made this? CAROLINE I did. DWIGHT Well, well, well, all I can say is that you people are pretty lucky to live in a house where - oh. Marian puts a cigarette into her mouth. Dwight jumps up, pulls a velvet case from his pocket and extracts a mono - grammed Zippo. He snaps open the top of the lighter against his leg, and holds the flame in front of Marian's face. She lights her cigarette. Then Dwight perform the Zippo drama in reverse. What a conversation stopper. Finally, Kathy speaks to Toby. KATHY I hear you're invited up to Dwight's next week for Thanksgiving. DWIGHT Aw, you'll love it. Great air, great water. For scenery, all you have to do is step outside your front door and open your eyes. And there's a turkey shoot Thanksgiving Day. Your mom said you might like it, so I signed you up. Toby sits up, eager. TOBY Really? I can shoot my Winchester? Great! I bet I could be the one to get the turkey. CAROLINE Well, amazing : it can sit up and talk like a normal human being. -LRB- notices the time. -RRB- Dwight, we're going to be late. She grabs her coat -LRB- which Dwight jumps up to hold for her -RRB- and they exit. As Dwight leaves he kisses his hand, then throws the kiss toward Marian and Kathy. The instant the front door slams : TOBY What a geek. MARIAN I love a man knows how to dress. KATHY He's so appealing.\",\n \"EXT. RESIDENTIAL STREET - AFTERNOON We hear SCREAMING. Toby and Terry Taylor race BY the CAMERA on stolen tricycles, yelling as if they're attack - ing Indians. Behind them comes Terry Silver, on foot. Atop a small hill, both boys jump off, letting the TRICYCLES SMASH into a parked car. Then they run like hell with Terry Silver bringing up the rear.\",\n \"INT. CAROLINE AND TOBY'S LIVING ROOM - MORNING Caroline is dressed casually. Toby has on a shirt and sweater. He is pretending that he's buck - toothed. Caroline finishes packing a small suitcase. CAROLINE I want you to be polite to Dwight this weekend. TOBY -LRB- buck - toothed speech. -RRB- Okay. CAROLINE I mean it, now. TOBY -LRB- buck - toothed speech. -RRB- I said ` Okay,' did n't I? CAROLINE Hey, c'mon, maybe the weekend'll be fun. maybe Concrete will be pretty. TOBY -LRB- buck - toothed speech. -RRB- Oh, Concrete, my favorite town. Welcome to beautiful Concrete! CAROLINE And stop that. TOBY -LRB- buck - toothed speech. -RRB- Stop what? CAROLINE Sometimes I could kill you as free as I could eat a bite. TOBY -LRB- buck - toothed speech. -RRB- Ditto. A car stops and through a window, we see Dwight. Caroline turns to Toby. CAROLINE Please be nice. Toby stops the buck - toothed thing and speaks normally. TOBY All right.\",\n \"EXT. ROAD - MORNING We see Dwight driving his shiny Buick, Caroline and Toby beside him. As the CAMERA TRACKS the car with VARIOUS SHOTS, we hear : DWIGHT -LRB- V.O. -RRB- air like wine at my place, and I do n't mind saying I would n't live anywhere else, and that's the God's honest truth. There's good schools, honest people, and some of the best fishing in the world. Ted Williams - you like baseball, Toby? That is, Jack, I mean - you like baseball?'Cause Ted Williams, whom I believe is one of the all - time greats, is also a world - class angler. Many's the day he and I've talked over the best way to get a fish to say yes to a hook. -LRB- a beat. -RRB- Hunting, too : there's game everywhere you look. I do n't think I flatter myself by saying that I'm something of a whiz with a rifle, and Concrete gives me every opportunity to prove it.\",\n \"EXT. SMALL BRIDGE - DAY The three stand by the edge of the bridge, looking down into the water. They see salmon fighting the last few yards of their yearly battle to spawn. Against the rapid current, they leap again and again. Long strips of flesh hang from their bodies. DWIGHT They always show you salmon fighting to get upstream, but they never show you what they look like when they get there. Her face strained, Caroline leans over for a closer look. The salmon swim in slow, stunned circles, some with an eye missing or hanging by a membrane, a hideous sight. CAROLINE It's pitiful. Awful. DWIGHT They'll spawn, and then they'll die. They're dying now. As Toby and Caroline move to the passenger side of the car, Toby speaks so Dwight ca n't hear : TOBY I hope to hell it's not an omen. Caroline has to fight back a smile.\",\n \"EXT. CONCRETE SILO - DAY The Buick drives into town past an enormous disused Concrete silo where `` Welcome To Concrete'' is painted in huge faded letters. DWIGHT So here we go. Welcome to Concrete. Dwight's home sweet home. Finest people in the whole state of Washington, you ask me. Lots of churches, too. A neighbor of mine says, `` Looking for nice churches, come to Concrete. Looking for sin, go to hell.'' I think that's funny. Caroline and Toby are severely underimpressed with their first impression of Concrete.\",\n \"EXT. DWIGHT'S HOUSE - DAY Dwight's Buick pulls to a stop ; Dwight, Caroline, and Toby get out. The scenery is as beautiful as Dwight said it was. DWIGHT All the houses are converted Army barracks, made into duplexes - Three children exit the house. SKIPPER, a pleasant boy who is average in every way, is 17. NORMA is 18, slow - spoken and sensual, Toby can not take his eyes off her. The third is PEARL, two years younger than Toby. Pearl has a bald spot the size of a dollar, high on the side of her head. DWIGHT Well. Let's see here. Kids, this is my pretty friend, Caroline Wolff, and her boy To. -LRB- he catches himself. -RRB- Jack Wolff. These are my kids : Skipper, Norma and my baby, Pearl. Everybody says hello, shakes hands, then they all head into the house.\",\n \"INT. DWIGHT'S LIVING ROOM - DAY They enter and look around : well, it's not awful, but it sure as hell is n't wonderful. The room is dark, on the small side, and shows the lack of a woman's hand. Caroline looks a bit taken aback, but tries to hide it by saying the word `` nice'' over and over. The CAMERA FOLLOWS them FROM room TO room : DWIGHT Okay, so that was the living room ; over here is the kitchen - I plan on getting all new fixtures in here - and down that hall are the three bedrooms and the bath. He stops at an extra, no - particular - purpose, nondescript room furnished only by two easy chairs and a card table. DWIGHT This is sort of a lounging area. -LRB- as nobody says anything. -RRB- You know, just in case you want to. He searches, ca n't think of how to finish the sentence in any impressive way. He gives up, finishes weakly : DWIGHT lounge. Skipper snorts with laughter, but cuts it off when Dwight gives him a look. Toby, trying to be good, bites his lip to keep from laughing.\",\n \"EXT. BUSINESS STREET - DAY The business area is small and rather forlorn. The six of them walk in pairs - Dwight and Caroline, Skipper and Norma, and last, Toby and Pearl. -LRB- Toby's eyes are glued to the movement of Norma's body. -RRB- DWIGHT -LRB- about a gas station. -RRB- And over there's where I work. CAROLINE -LRB- to Skipper and Norma. -RRB- How about you guys? You like it here? They glance at each other. SKIPPER Fine. NORMA Yeah, it's fine. NORMA It's a little isolated, is all. DWIGHT Not that isolated. NORMA Well, maybe not that isolated. Pretty isolated, though. DWIGHT Aw, there's plenty to do in Concrete if you kids would take a little initiative. When I was growing up we did n't have T.V. - we used our imaginations. We read the classics. We played musical instruments. You show me a bored kid, I'll show you a lazy kid. CAROLINE I did n't know you played an instrument, Dwight. What do you play? DWIGHT -LRB- one - half second's hesitation. -RRB- Sax. Tenor sax. Skipper and Norma glance at each other, then look away. Caroline takes a cigarette from her purse. Again Dwight jumps to her service : we are once more treated to the mini - drama of Dwight unsheathing the Zippo from its velvet case, opening the top on his pants leg, etc.. CAROLINE -LRB- back to Skipper and Norma. -RRB- How's the school here? SKIPPER There is n't one. We go to Chinook. NORMA Chinook High. DWIGHT It's a few miles downriver. SKIPPER Forty miles. DWIGHT Come off it - it's not that far. SKIPPER Yeah, I clocked it : thirty - nine miles. In spite of the fact that he's eager for this day to go well, Dwight's bottom teeth begin to show. DWIGHT Ah, you'd bellyache if the goddam school was in your fugging back yard. Just shut your god - damn pie - hole. They all shut their pie - holes. The six walk in a tense, uncomfortable silence for five full beats. Then Pearl tries to help out : PEARL I'm in fifth grade. Nobody seems to care.\",\n \"INT. DWIGHT'S LIVING ROOM - HOUR LATER Dwight has recovered his good mood. Dressed in a marksman's coat with a padded shoulder, Dwight is laughing as he attempts to assemble Toby's Winchester.22. DWIGHT ` Turkey shoot' is just a figure of speech. TOBY There's no real turkey? DWIGHT No, it's just regulation paper targets. It's a test of skill. -LRB- a beat. -RRB- And, Jack, I just found out yesterday that they wo n't let kids shoot. TOBY But you said I could! DWIGHT I know, but they got it all screwed up somehow and told me wrong at first. Toby starts to argue, but Caroline touches his arm. CAROLINE Dwight, you did tell him. DWIGHT -LRB- an edge. -RRB- I do n't make the rules, Caroline. If I made the rules, I might make different ones, but I do n't make the rules.\",\n \"EXT. OPEN FIELD - DAY A sullen Toby stands with Pearl. Dwight is giving his name and the entry fee to a MAN. As the Man moves away, Caroline stops him and holds out some money. CAROLINE Wolff. Caroline Wolff. MAN You mean you want to enter? I think it's against the rules. CAROLINE Well, that sign says this is an N.R.A. club, and I'm a dues - paying N.R.A. member. That gives me the right to participate in the activities of other chapters. MAN You'll be the only woman shooting. Caroline just smiles. The Man shrugs, takes her money and writes down her name.\",\n \"EXT. SHOOTING RANGE - DAY The shooting match has begun. The contestants have ten turns to fire ten shots apiece at a large paper bull's - eye fifty yards away. The scores and rankings are on a portable scoreboard. A contestant finishes SHOOTING. There is a pause. Everyone watches as his score is raised from behind the concrete wall on which the bull's - eye hangs. The score comes : 84. There is a smattering of applause, and it's Dwight's turn. From his stance, Dwight looks as if he is a pretty good shot. He's nervous, though, because Caroline is going to shoot, and he squeezes off his TEN SHOTS in RAPID SUCCESSION, hardly pausing to breathe. A pause, and then his score is raised : 73. Dwight smiles an inappropriate smile and hands the Winchester to Caroline. There are a couple of whistles as Caroline takes her position, and someone in the crowd yells out, `` Oh, Mama, shake that thang!'' Caroline ignores it, taking her shooting stance, which is surprisingly graceful and professional - looking. She SHOOTS her TEN BULLETS, taking time to breathe once, deeply, between each shot. The pause, and her score is raised : 93. There is a moment of surprised silence, and then the crowd gives Caroline a sincere round of applause. SAME SCENE - LATER Dwight looks stunned, and Toby is almost equally surprised. On the scoreboard, we see that Caroline is in second place and by only two shots. As the next - to - last round finishes, Caroline is surrounded by a few people who are complimenting her shooting. Dwight's smile is even bigger : Oh, he wanted to be the one to win. The last round starts. A MAN, evidently the one in first place, heads to the shooting alley for his turn. As he passes Caroline, trying to rattle her, he speaks confidently. MAN That second - place trophy ai n't bad, honey. CAROLINE -LRB- big smile. -RRB- Then you wo n't feel too bad about carrying it home, will you? Several people laugh, and the Man, bested, turns away. Everyone turns quiet to watch the Man shoot. He is evidently the one who's nervous, though, for after he SHOOTS and waits, the score is raised : 95. There is an immediate stir - Caroline can win if she shoots a virtually perfect round. Dwight's name is called. He takes his position, but clowns around, SHOOTING first left - handed, then right - handed, then with both eyes closed. His score is raised : 24. There is scattered laughter, and Dwight leads it - hell, it's all a joke to him, his attitude says. Caroline takes her stance. Rock - steady, she SHOOTS her TEN SHOTS and waits. And then it comes : 98. She's won. The second - place Man wheels away angrily, but everyone else congratulates the laughing Caroline, as an official presents her with a small trophy of a gold rifle on a pedestal, and a huge ham. In the midst of the hubbub, Toby manages to get close enough to congratulate his mother. Caroline glances toward Dwight as she whispers to Toby : CAROLINE That was for you, honey. TOBY -LRB- impressed. -RRB- I did n't know you were a member of the N.R.A. CAROLINE I'm a little behind in my dues - Thirty - six years behind.\",\n \"INT. DWIGHT'S KITCHEN - DAY Caroline, Toby and Pearl enter. Norma is cooking Thanksgiving dinner. Dwight WALKS HEAVILY down the hall to his bedroom and SLAMS the DOOR. NORMA What gives? TOBY Mom won the turkey shoot. NORMA Oh, boy. Now we're in for it - he thinks he's some kind of big hunter. PEARL Well, he killed a deer once. NORMA That was with the car. They all laugh.\",\n \"INT. DINING ROOM - AFTERNOON Though there are some occasional sentences like `` Could I have the potatoes, please?'' or `` This dressing is really delicious,'' mostly there is just silence and the noise of SILVERWARE ON PLATES. Dwight is working hard on the wine. DWIGHT I got just one thing to say. -LRB- as everyone stiffens. -RRB- I'm sitting at the table with the best damn shot in the county! Everybody relaxes, and general conversation begins.\",\n \"INT. DWIGHT'S LIVING ROOM - NIGHT Norma plays `` Blue Monday'' on an upright piano whilst Toby sings it. After finishing the song, Norma launches into `` On Moonlight Bay.'' Everybody joins in. Toby and Caroline glance at each other and smile. SAME SCENE - MIDDLE OF NIGHT Caroline, who is sleeping on the sofa bed, returns from the bathroom. She sees that Toby's awake on his pallet on the floor. She sits on the floor beside him. -LRB- The whole conversation is conducted in whispers. -RRB- CAROLINE So what do you think? TOBY They're okay. What's that bald spot on Pearl's head? Ugh. CAROLINE Some sort of infection. TOBY Norma's nice. CAROLINE They're all nice, but Dwight keeps rushing me, keeps talking about marriage. And I do n't really want to get married - not now anyway. TOBY That's fine with me. -LRB- a beat ; new tone. -RRB- I wish you would've stayed married to Dad. CAROLINE Oh, do n't wish Duke back on me. God. TOBY That woman he married? Is she really rich? CAROLINE Like King Midas. Okay, look, we'll go back to Seattle and see how things go. I've been thinking about taking a course in stenotyping. A court reporter's pay is real high. Kathy got engaged, so either I find us another roommate or I've got to make some more money. And this stenotyping thing sounds just right. This could turn out good, honey.\",\n \"INT. BOYS' BATHROOM AT SCHOOL - DAY Toby, Terry Silver and Terry Taylor lounge against the wall, smoking. TOBY I mean I blew it off, man - I blew his fuckin' turkey's head off. Terry Silver takes a long slow drag on his cigarette. The other boys glance at each other : they do n't buy it. TERRY TAYLOR With a.22. TOBY Fuckin' A. Winchester.22. Pump. TERRY TAYLOR Wolff, you are so full of shit. TOBY Do n't believe me - see if I care. TERRY TAYLOR All a.22 bullet would do is make a hole in his head. Toby takes a drag on his cigarette. TOBY One bullet, maybe. TERRY TAYLOR Oh. Oh, I see - you hit the turkey more than once. While he was flying. In the head. Toby nods. Silver and Taylor howl with laughter. Furious, Toby says `` Fuck you'' over and over. He pulls out a rat - tail and scratches the words `` FUCK YOU'' onto the soft paint of the bathroom wall.\",\n \"EXT. RESIDENTIAL STREET - AFTERNOON Toby stands at the top of a small hill with Terry Silver and Terry Taylor. They are too casual, their faces too innocent : something's up. They wait until a middle - aged man raking leaves turns and disappears around a corner. Then the three of them open the door of a car, take off the emergency brake, and start it rolling down the hill. The car rolls silently down the hill. It CRASHES into another car at the bottom, making a LOUD NOISE. The three boys run like the wind out of sight.\",\n \"INT. CAROLINE AND TOBY'S KITCHEN - NIGHT Caroline, Toby, Marian and Kathy sit at the table eating dinner. KATHY exactly what I wanted for my dress. It's a Simplicity pattern, and I'm pretty sure I can make it myself. It's got big puff sleeves. Caroline takes out a cigarette. Then everybody jumps as Toby yells and jumps up knocking his chair over backwards. TOBY Oh! Toby grabs Caroline's lighter, and begins to imitate Dwight : saying, `` Oh!'' and `` Oh, yes!'' and Oh, my!'' and `` Here, let me!'' and `` I'll do that!'' It's a mean, accurate imitation of Dwight. All three women laugh in spite of themselves. Caroline keeps saying `` Jack, that's enough,'' and Marian says, `` Dwight's not that bad.'' But they ca n't help laughing. Toby offers the other two women a light, then offers a broom, the back door, and the refrigerator a light.\",\n \"INT. PRINCIPAL'S OFFICE - DAY The principal, MR. SHIPPY, sits behind his desk. Toby, looking scared, sits across from him. A secretary lets Caroline into the room. Mr. Shippy rises and introduces himself. Caroline does n't respond to the introduction. CAROLINE What did he do? MR. SHIPPY He violated the school property and flouted the law. CAROLINE Can you say that in English? MR. SHIPPY He wrote obscene words on the wall. CAROLINE -LRB- to Toby. -RRB- Did you do it? -LRB- as he shakes his head `` no''. -RRB- He did n't do it. MR. SHIPPY -LRB- strong. -RRB- He wrote obscene words on the wall. CAROLINE What obscene words? MR. SHIPPY -LRB- after a beat. -RRB- ` Fuck you.' CAROLINE That's one obscene word. Mr. Shippy looks stymied. There is a pause. MR. SHIPPY Look, Mrs. Wolff, Jack's teachers, like him but they think he's fallen in with the wrong kind of friends. -LRB- peers at Toby's hand. -RRB- Is that nicotine stain on your fingers? -LRB- as Toby shakes his head `` no''. -RRB- I hope not. Let me tell you a story : I started smoking in college. Two packs a day. I ate'em. -LRB- a beat. -RRB- One night I went to have a cigarette and lo and behold, the pack was empty. I went downstairs and started to rummage through the garbage cans. But as I reached down - I mean, right down into a garbage can - I suddenly thought, ` Whoa. Hold on right there, Buster.' I went back to my room and to this day I have n't smoked another cigarette. -LRB- a beat. -RRB- After that, every day I saved the exact amount of money I would've spent on cigarettes. In three years, I put it all together, and you know what I bought? I bought myself. -LRB- a dramatic pause ; big finish. -RRB-. a Nash Ambassador. Caroline gives a bark of laughter. She brings out a handkerchief and coughs, as if she has a cold. Mr. Shippy looks puzzled. MR. SHIPPY Well, back to the point : I think two weeks' suspension.\",\n \"INT. CAROLINE AND TOBY'S HOUSE - SAME DAY (LATER) Caroline and Toby enter the house. Caroline goes into the bedroom, shuts the door. Toby sits on the couch. SAME SCENE - NIGHT Late afternoon sun slants through the venetian blinds. Toby sits exactly as he sat before. Then Caroline comes out of the bedroom, ominously calm. She sits down. CAROLINE So what shall we do? TOBY What do you mean? CAROLINE Ever since Duke and I got divorced, you're a different boy. I know he never calls you and I could kill him for it - but that's how Duke is. And Gregory's in Princeton now, so I guess. -LRB- refocusing. -RRB- So what shall we do? Because this is n't working. -LRB- a beat. -RRB- We barely have enough money, Kathy's moving out, and on top of it all, you've gone wild. You lie. TOBY No I don'. CAROLINE Yes, you do. You steal from Marian's purse - I just ca n't handle you anymore, and it scares me. I do n't know what to do. So, you tell me what to do. TOBY -LRB- he means it. -RRB- I can be better. I will be. -LRB- it bursts out of him. -RRB- And I hate the way I am anymore! I do n't know why I do it! -LRB- a beat. -RRB- What about that stenotyping thing you were gon na do? With peculiar intensity, Caroline speaks in a soft, odd voice : CAROLINE It wo n't happen. It wo n't happen. It wo n't happen. Things are n't going to turn out well, things are n't going to start looking up, and it's never going to be like heaven on a June day. There is no uranium. There is no stenotyping. There is no C.P.A. license. There is n't. She stands for a few moments as if listening for a far - off sound. CAROLINE I talked to Dwight : after Christmas, he wants you to come up to Concrete and live with him for a few months - go to school there. TOBY What are you going to do, just give me away to him? CAROLINE If you two can get along, if it works out, then I guess he and I might get married. The two stare at each other. CAROLINE I ca n't think of anything else to do. But first I want your approval. Again the two stare at each other. TOBY All right. Caroline nods, turns away.\",\n \"INT. CAROLINE'S LIVING ROOM - DAY Christmas is over : a few scattered pieces of wrapping paper lie scattered on the floor, and a small Christmas tree with bubble - lights glows in a corner. Caroline shuts a suitcase and looks at Toby. CAROLINE I put in both your sweaters. You wear them now, the nights are so chilly up there. TOBY Okay. I will. CAROLINE You do n't have to go if you do n't want to, honey. TOBY No, it's okay. I'll go. O.S. we hear a KNOCKING and Dwight's cheery voice. DWIGHT -LRB- O.S. -RRB- Here I am, you lucky people!\",\n \"EXT. CAROLINE AND TOBY'S HOUSE - DUSK Dwights hustles the bags into the trunk, tells Toby to kiss his mother, and hops into the car, all smiles, all cheeriness. The Buick pulls away, leaving Caroline white - faced and miserable.\",\n \"INT. BUICK - NIGHT Dwight takes a pull from a pint bottle of whiskey and gives Toby a sneering, contemptuous look. Toby reaches over, SNAPS ON the RADIO. Immediately Dwight SNAPS IT off. Then, in the headlight's glare, Toby sees a dark shape. TOBY Hey, look : is that a raccoon or a beaver. Dwight swerves deliberately to hit the animal. There is a sickening THUMP, and Dwight stops. As he backs up : DWIGHT Go get it - the pelt's worth fifty bucks, minimum. TOBY That thing's probably got rabies. DWIGHT -LRB- low. -RRB- Get it!\",\n \"EXT. ROAD - NIGHT Toby moves to where the dead beaver lies on its back, its eyes open, in the red glow of the taillights. Toby picks the thing up and lugs it back toward Dwight, who has the trunk open.\",\n \"INT. BUICK - NIGHT Dwight is still drinking, between swallows, he gives Toby sneering glances. Dwight is driving very fast. The road begins a series of curves. Dwight does n't slow down, and the TIRES begin to SCREAM on the curves. The road runs along a steep gorge. Dwight increases the speed, and the car begins to fishtail. TOBY I'm a little sick to my stomach. DWIGHT Sick to your stomach? A hotshot like you? TOBY I'm not a hotshot. DWIGHT That's what I hear. I hear you're a real hotshot. Come and go where you please, do what you please. Is n't that right? Yeah, regular man about town. Performer, too. That right, Jack? You a performer? TOBY No, sir. DWIGHT That's a goddamned lie. Dwight keeps glancing from the road to Toby, and back again. DWIGHT If there's one thing I ca n't stomach, it's a liar. TOBY I'm not a liar. DWIGHT Sure you are. You or Marian. Is Marian a liar? She says you're quite the little performer. Is that a lie? You tell me that's a lie and we'll drive back to Seattle so you can call her a liar to her face. You want me to do that? TOBY No. DWIGHT Then you must be the one's a liar, right? -LRB- as Toby nods. -RRB- And you're a performer? TOBY I guess. DWIGHT You guess? You guess? Let's see your act. Go on. Do your act. -LRB- when Toby is silent. -RRB- I'm waiting. TOBY I ca n't. DWIGHT Sure you can. TOBY No, sir. DWIGHT Do me. I hear you do me. Again Toby shakes his head, and then gasps as the CAR SKIDS hideously close to the cliff's edge. Dwight is oblivious to the danger. DWIGHT Yeah, I hear you're good at doing me. Here. Do me with the lighter. Go on. Take it. Dwight holds out the velvet - covered Zippo, driving with one hand, and the car is all over the road. Dwight puts the lighter back into his pocket. The car slows a bit. DWIGHT Hotshot. You pull that hotshot stuff around me and I'll break every bone in your body. You understand me? -LRB- a beat. -RRB- You're in for a change, mister. You got that? Huh? You got that good? -LRB- so scary. -RRB- You're in for a whole ` nother ballgame.\",\n \"EXT. DWIGHT'S HOUSE - NIGHT Dwight's Buick pulls to a stop as Norma, Skipper and Pearl come out to meet them. Dwight is calmer now. DWIGHT Skipper, go get that washtub out back, and Pearl, bring the hose around and fill it up. Hotshot and me hit a beaver. We'll salt him down. Skipper and Pearl move out on the run. Dwight slits the beaver from throat to testicles, guts it, then pulls the skin off. DWIGHT I know you think you're better than me. Caroline told me all about your rich daddy and your prep - school brother, but your fancy days are over : you're a Concrete boy now. I'm gon na give you a big injection of Concrete. That's right - inoculate you. Oh, my, yes. You're gon na find out that in Concrete we have to be able to do more than sing Fats Domino songs, we work. Skipper and Pearl bring the tub with four blue stars painted on its side, Dwight plops the skinned beaver into the water. The hairless carcass stands in the tub, its chin on the edge. Pearl shudders and turns away.\",\n \"INT. DWIGHT'S KITCHEN - SAME NIGHT (LATER) Dwight, Toby, Norma, Skipper and Pearl are eating dinner at the kitchen table. Norma speaks to Toby. NORMA You'll be in Miss Graham's class? TOBY Yeah, is she nice? NORMA She's okay. She's pretty. TOBY I hate changing schools. DWIGHT Speaking of changing, I had a talk with Jack on the way up here, and he says he wants to be a better boy. And that's good,'cause things were n't going well for him in Seattle : the police actually came to his house to talk to Caroline about him. Uh - huh, the police. PEARL -LRB- very low ; to Toby. -RRB- Criminal. DWIGHT So here's what I think : I think idle hands are the devil's workshop, and so I found our Jack a little something to do. -LRB- to Toby. -RRB- I picked up two barrels of horse - chestnuts in the park. You can spend your evenings hulling'em. And I enrolled you in the Boy Scouts, and you've got a paper route, starting Monday, every afternoon from three to six - thirty - pays fifty - five bucks a month. What d'you say? Toby glances around the table, he is subdued. TOBY I'll do it. -LRB- means it. -RRB- I want to be. better. DWIGHT That's what I like to hear. Okay, you guys get these dishes cleaned up. Let's show Jack how we do it in Concrete.\",\n \"INT. SCHOOL ROOM - DAY MISS GRAHAM stands in front of the class. Toby is midway back in the room. MISS GRAHAM -LRB- reading. -RRB- ` Of course I prayed - and did God care? He cared as much as on the air a bird had stamped her foot and cried, `` Give me''.' Now. What is the tone of this short poem? GIRL Is it religious? MISS GRAHAM No - even though it talks about God, I would n't say it was religious. BOY It's sad. MISS GRAHAM Well, closer, maybe. But no. There is a pause. Finally, Toby raises his hand. MISS GRAHAM Jack? TOBY It's angry, sort of bitter. MISS GRAHAM Very good, Jack. Bull's - eye. From the front of the room, a tall, thin, effeminate boy, ARTHUR GAYLE, turns to look at Toby and holds the gaze for three full beats, then turns around and faces the front. What the hell does it mean?\",\n \"INT. SKIPPER AND TOBY'S BEDROOM - NIGHT The room is dark. Skipper is asleep. Toby lies in a cot. Dwight leans against the wall near the head of Toby's bed. He speaks in a low, reasonable voice : DWIGHT'cause I do n't believe that crap, you know? I believe there is such a thing as a bad boy - bad clear through. And it's gon na be my job to turn you around, to kill or cure. Kill. Or. Cure. Understand? And I'm up to the job, oh yes, believe me, hotshot, I am ready, willing and able to take you on - you and that jibagoo music you like to sing. I'm just the guy to knock that music out of your head and put in some respect and obedience. -LRB- a pause. -RRB- Now your mother has just about washed her hands of you - that's obvious,'cause she's shipped you off up here. I mean, she has had it with you. She told me : she said ` Dwight, I just ca n't handle him anymore.' So do n't go crying to Mama,'cause Mama wo n't listen. Mama is sick to death of her baby boy. -LRB- a beat. -RRB- And your rich Daddy Warbucks and your Princeton brother do n't give a shit about you,'cause Caroline told me they have n't even written in over two years. So it looks like I'm all you got now - it's just you and me. Feels sort of inevitable, does n't it, hotshot? It's like we were fated for each other, like I'm the one guy on Earth could set you straight. And do n't you ever think I wo n't enjoy doing it,'cause. SERIES OF SHORT SCENES TO INDICATE TIME PASSING A -RRB- -LRB- AFTERNOON -RRB- Toby delivers papers in a sack filled with papers slung over one shoulder which thuds against his hip with every step making him tilt to one side against the weight. B -RRB- -LRB- NIGHT -RRB- Toby sits in a utility porch. The floor around him is two feet deep in horse chestnuts. With a knife and a pair of pliers he husks the chestnuts. His hands are covered with scrapes and cuts and the chestnut hulls bleed a juice that has dyed them a bright yellow. CAROLINE -LRB- V.O. -RRB- Dear Toby, I sure do miss you, honey - the house is like a tomb since you left. So quiet. My only entertainment tonight was watching Marian eat a whole pint of ice cream. I hope you're liking it up in Concrete. I just know you'll try hard in school and be good and mind Dwight. I worry about you so much, and I hope this will be just what you need. C -RRB- -LRB- DAY -RRB- Toby rubs futilely at his yellow hands with a cloth and watches Norma, who is drying her hair in her bedroom. She bends over so her head is in a patch of sunlight. Toby is riveted by the girl and her hair gleaming in the sunlight. D -RRB- -LRB- AFTERNOON -RRB- Again see Toby delivering his papers. He sees Arthur Gayle coming toward him in the street. His hips sway as he walks, and his head tilts to one side. As he and Toby pass one another, he raises one arm and points at Toby. The he walks on. TOBY -LRB- V.O. -RRB- Dear Mom, Thanks for the birthday present. It fit fine. You do n't have to worry so much. I'm okay here. The weather is nice, and I like Scouts a lot. Dwight took us all to see Bridge on the River Kwai. I liked it. So things are all right with me, except for stupid Pearl, who I hate. Do n't worry all the time. E -RRB- -LRB- NIGHT -RRB- Dwight introduces Toby at a Scout meeting. All the other boys have on Scout uniforms. F -RRB- -LRB- DAY -RRB- Toby is on the utility porch husking the horse chestnuts. His hands are now orange. Pearl stands in the doorway watching him work. Norma appears beside Pearl. Norma's face turns sympathetic. NORMA You remind me of that boy in the fairy tale who had to spend twenty years sifting sand to find a golden needle. Remember that one? Toby does n't answer. The two girls move away. Toby sighs, and picks up another chestnut. G -RRB- -LRB- DAY -RRB- Toby, keeping an eye on the door to make sure he's unobserved, reaches under the mattress of Skipper's bed and pulls out several billfold - sized black and white pornographic photographs. The hair styles of the women in them are decades old. Toby takes the photographs into the bathroom, shutting the door behind him. CAROLINE -LRB- V.O. -RRB- Dear Toby, Just a note before going to bed. Dwight tells me that the two of you are getting along like a house afire. I'm so glad. I wanted this to work out for you. You left your sock cap here. Do you need it? H -RRB- -LRB- NIGHT -RRB- Skipper is asleep in his bed. Across the room, Toby lies with his portable RADIO against his head. We hear, very, very softly, ROSEMARY CLOONEY crooning `` Hey, There.'' He's tired. He's lonely. He's miserable.\",\n \"INT. DWIGHT'S LIVING ROOM - AFTERNOON Toby and Pearl are playing a card game called `` Slap - Jack.'' Toby slaps a card down hard, yelling `` I win again!'' and Pearl pouts. PEARL That's no fair. You make me sick. I do n't know why you have to live here, anyway. Daddy says we should think of it like you were a charity kid. Toby takes out his comb, combs his hair a bit, then holds it out to Pearl, an exaggerated look of innocence on his face. TOBY Wan na comb your hair, Pearl? Pearl covers her bald spot with one hand. TOBY Probably you do, since you've got such pretty hair. I know if I had hair as pretty as yours, Pearl, I'd comb it all the time. Pearl is on the verge of tears. There are THREE TREMEN - DOUSLY LOUD FLAT - FOOTED KICKS against the front door. DWIGHT -LRB- O.S. -RRB- Open the hell up! I got us a treat! Pearl opens the door revealing a beaming Dwight holding two dishpans piled high with snow. We see through the doorway that the sun is shining and there is n't snow anywhere. PEARL We're gon na have snowcream!\",\n \"INT. DWIGHT'S KITCHEN - LATER Dwight, Toby, Skipper, Norma, and Pearl are enjoying the snowcream. DWIGHT heard there was a fresh snow this morning, so I drove up to the mountains. I stopped in a field where it was all clean. I was finished packing it up high when somebody said. -LRB- prissy voice. -RRB- This's private property, in case you're interested. -LRB- normal voice. -RRB- I turned around and there was this woman. -LRB- he shudders. -RRB- Yechh! Ugliest woman I ever saw - ugly as a madman's ass she was. And frowning on top of it. Everybody laughs. NORMA Oh, Daddy! DWIGHT She was! TOBY -LRB- to Pearl ; soft ; happy. -RRB- You're ugly as a madman's ass. PEARL No, you are. SKIPPER What'd you say to the ugly woman? DWIGHT I did n't say nothin' - I ran. Everybody laughs again. They eat in silence for a beat. DWIGHT I'm gon na get you a Scout uniform, Jack. TOBY -LRB- surprised, pleased. -RRB- Really? PEARL Can I join the Girl Scouts? DWIGHT I'm getting one for me, too. Do n't believe in doing anything halfway. If you're serious about the Scouts. -LRB- as Toby nods. -RRB-. then I want you to do it right. We'll do it right together. Dwight takes out a magazine entitled Boy's Life. He hands it to Toby. DWIGHT I got you a subscription to this. I'll take the price out of your paper route money. TOBY Boy's Life? DWIGHT It's the official Scout magazine. Tells about what it means to be a Scout, what kind of boy you need to be, and, oh, about merit badges and stuff like that. Toby opens the book at random, reads from it. TOBY ` Suggested good turns a Scout can do : assist a foreign boy with some English grammar. Help put out a burning field. Give water to a crippled dog.' I could do those. DWIGHT Hell, yes, you could. You're a bright kid. I want this Scout thing done right, okay? Toby nods, enthusiastic, happy.\",\n \"INT. TOBY AND SKIPPER'S BEDROOM - AFTERNOON Toby stands in front of a full - length mirror wearing a huge Scout uniform that's been unsuccessfully cut down for him. The shirt - sleeves have been shortened but the shoulders extend two inches beyond the ends of his shoulders. The pants legs have been cut off and hemmed but the crotch of the trousers hangs down three inches too low, giving him a stumpy, dwarfish look. Toby yells to someone O.S. TOBY I'm not going. DWIGHT -LRB- O.S. -RRB- The hell you say. TOBY I'm not. Cut down Skipper's old stuff, and he's twice as big as me - I'm gon na stay home. DWIGHT -LRB- O.S. -RRB- You're gon na shit and fall back in it - that's all you're gon na do. Now get out here.\",\n \"INT. DWIGHT'S LIVING ROOM - AFTERNOON As Pearl watches Dwight also stands in front of a mirror, adjusting his hat. He is resplendent in a brand - new Scout uniform. Toby stalks into the room. Pearl laughs loudly. DWIGHT -LRB- to Pearl. -RRB- Shut your pie - hole. -LRB- to Toby. -RRB- You look fine. TOBY I look like an idiot. DWIGHT You act like an idiot, you look fine. TOBY You said you'd get me a new uniform. DWIGHT I said I'd try to get you a new uniform. Beside, this one is new - new to you. TOBY But look at the sleeves and how it hangs down between my legs! DWIGHT Oh piss and moan - all you can do is piss and moan. TOBY Yeah, piss and moan - I notice you're all jazzed up in new stuff. DWIGHT They did n't have second - hand uniforms in my size. TOBY Oh, yeah, pull the other leg, it's got bells on it! Toby throws himself down on the sofa. DWIGHT And what're you gon na tell Caroline this weekend? You gon na say you would n't join the Scouts because. him did n't wike his widdle uniform? Dwight picks up the copy of Boy's Life and thumbs through it, He reads : DWIGHT ` No boy given over to dissipation or negativity can stand the gaff. He quickly tires and gives up. He is the type who usually lacks courage at the crucial moment. He can not take punishment and come back smiling.' Dwight looks at Toby expectantly. Toby hesitates, then gives up. TOBY All right, but this stinks. Toby walks outside. Dwight follows. DWIGHT Hotshot, you do n't know it yet, but me and Concrete are in your blood. We're going to make a man of you yet - and in years to come you'll thank me. You'll remember me. Me and Concrete.\",\n \"EXT. CAROLINE'S HOUSE - DAY Dwight's Buick pulls up and Caroline bursts out the front door. She runs to the car and hugs Toby. CAROLINE Oh, I missed you! TOBY Me, too. CAROLINE You look good. How are you? TOBY I'm okay. I'm fine. Dwight comes around the car, kisses Caroline, and the three head into the house. CAROLINE I said to hell with the budget and bought a roast. I made dumplings - God, what's wrong with your hands? TOBY It's just juice from some chestnuts - it'll wear off. CAROLINE I hope so. My, your hair's short.\",\n \"INT. CAROLINE'S LIVING ROOM - DAY Dwight, Caroline and Marian are having a drink. Toby plays FATS DOMINO'S `` Blue Monday'' on the RADIO, the VOLUME LOW. MARIAN -LRB- to Dwight. -RRB- Well, it's done him a world of good to be up there with you. DWIGHT Oh, we have us some pretty good times. Do n't we, Jack? Have us some good times? Toby, not looking away from the radio, nods. DWIGHT We go to the Scouts together every week. He's got a good start already on merit badges. -LRB- to Toby. -RRB-. though he does concentrate too much on the easy ones, like the one for dental hygiene. -LRB- to Caroline. -RRB-. and we had snowcream one night, and, oh, just lots of stuff. Caroline glances at Toby, then at Dwight, then back again.\",\n \"EXT. CAROLINE'S HOUSE - AFTERNOON Toby and Caroline walk slowly, idly down the rail tracks. Toby avoids her eyes. CAROLINE How is it in Concrete? TOBY It's fine. CAROLINE School? TOBY School's school. My grades are okay. CAROLINE You have n't been in any trouble? -LRB- as he shakes his head. -RRB- Good. How're you and Dwight? TOBY He made us all snowcream, like he said. CAROLINE Stop that, honey. TOBY What? CAROLINE -LRB- stops walking. -RRB- Well, you've got your eyes out of focus. Look at me. Now, are things all right? TOBY I'm fine. CAROLINE You swear? You act odd. TOBY No, I'm fine. CAROLINE Well, good. I'd feel awful if it had n't worked out. A pause. CAROLINE I told Dwight I'd marry him. In two weeks. I do n't know what else to do. I mean, he's been helping me with the rent since Kathy left. And you need a father. I think it's the best thing all the way around - what d'you think? There is a pause as they look at each other. TOBY I think it's the best thing. CAROLINE I think it's the best thing, too. Caroline smiles, smooths his hair, then goes into the house. Toby continues to walk. Suddenly, he spins around and tears out toward the house. By God, he'll tell her just what's been going on. He bangs through the front door and up the stairs.\",\n \"INT. LIVING ROOM - DAY Toby stops dead as he sees Dwight and Caroline locked in a busy kiss. He stops dead and shrinks back into the hallway, defeated.\",\n \"INT. SKIPPER AND TOBY'S BEDROOM - NIGHT Toby is alone in the room in his Boy Scout shirt and hat in front of a mirror. A copy of Boy's Life magazine is open in front of him with drawings of Indians performing sign language. Watching himself in the mirror, Toby makes a sign. TOBY Hungry. He makes another sign. TOBY Food. He makes another sign. TOBY Want. He makes another sign. TOBY Great mystery. He makes another sign. TOBY Father. He stares silently at himself in the mirror.\",\n \"INT. DWIGHT'S LIVING ROOM - DAY Tarpaulins are everywhere. Toby stands surrounded by seven five - gallon cans of paint. Carrying paintbrushes, Dwight enters, dressed in old clothes singing `` In The Still Of The Night.'' DWIGHT Now that's a song. Not all this Elvis Presley shit. Elvis sings about like I do brain surgery. He imitates Elvis - moves his hips slightly and sings a few notes : DWIGHT. uh - huh - huh, my blue suede shoes.' Dwight gives Toby a flash of his teeth and Toby smiles back. DWIGHT Let's get this place ready for Caroline. They begin painting. After only a few strokes, though, Toby looks doubtful. TOBY It's so white. DWIGHT I got a good deal on this paint. -LRB- stands back ; appraises. -RRB- It'll darken up when it dries. SAME SCENE - LATER The walls and ceiling are almost finished, but the paint has not darkened. As he paints, he absentmindedly sings `` Blue Suede Shoes.'' Then he stops painting, as he notices Toby looking at the walls. DWIGHT What? I like it. It looks clean. TOBY Yeah, but it makes everything else look so dark. Dwight's face changes. He has an idea. MONTAGE A -RRB- SAME SCENE - LATER On the SOUNDTRACK, ELVIS BLASTS OUT `` Blue Suede Shoes.'' Dwight and Toby paint the coffee table and lamp base white. B -RRB- SAME SCENE - LATER Dwight and Toby, working faster, are painting the end tables white. C -RRB- INT. DINING ROOM - LATER The walls and ceiling are white, Dwight and Toby are painting the dining table white. E -RRB- INT. KITCHEN - LATE NIGHT Dwight and Toby are painting the cabinets and kitchen table white. F -RRB- INT. LIVING ROOM - NEXT MORNING Everywhere we look is white, the walls, ceiling, furniture - all of it. Only the old Baldwin upright piano has escaped painting. Dwight eyes it suspiciously. DWIGHT Sort of stands out, does n't it? TOBY Yeah, you could say that. G -RRB- SAME SCENE - LATER They paint the Baldwin white. Dwight hesitates, then starts to paint the foot pedals. H -RRB- SAME SCENE - LATER Dwight's face tells us that something still does n't suit him. He glances at Toby, Toby nods, and they converge on the piano. J -RRB- SAME SCENE - LATER Very carefully, Dwight and Toby finish painting the dark ivory keys to match the rest of the room. ELVIS SCREAMS OUT the last line, `` You can do anything, but stay off of my blue suede shoes!'' They stand up, look around - Arctic white is every - where. Dwight likes it. Toby is less sure. The MONTAGE ENDS.\",\n \"EXT. DWIGHT'S HOUSE - DAY Skipper and Norma are carrying Caroline's suitcases into the house from Dwight's Buick. From inside the house we hear a WOMAN'S LAUGHTER.\",\n \"INT. DWIGHT'S LIVING ROOM - PARALLEL TIME Caroline is trying to stifle her laughter, as she stares at the wilderness of white. Dwight and Toby, Skipper, Norma, and Pearl all stand watch. CAROLINE Oh! Oh, I'm so sorry. do n't know what's the matter with me. you're right. it does look clean. But she ca n't stop laughing. Her laughter has just a tinge of hysteria.\",\n \"INT. SMALL CHURCH - MORNING Dwight and Caroline are being married. Caroline wears a pale blue suit, and Dwight looks good in a navy single - breasted. Aside from Toby and Dwight's children, the only guests are Marian, Kathy, and three people we have n't seen before - friends of Dwight's.\",\n \"INT. DWIGHT AND CAROLINE'S BEDROOM - LATE NIGHT The bed is a rat's nest of twisted sheets as Dwight and Caroline make love. He takes his lips away from Caroline's breast and moves so that his head is at the bottom of the bed. Holding her foot up, he kisses the instep, then runs his tongue over the same spot and then down under the arch of her foot. A sexy scene. DWIGHT M - m - m. There's not a straight line on you - everything's curved. Caroline draws him up to her, and they kiss. Then Dwight turns Caroline on her side, away from him, pre - paring to enter her. Caroline makes a small sound of protest, turning back toward him. CAROLINE Oh, Dwight, not like that. Not this time - not tonight. DWIGHT It's good this way. CAROLINE But I want to see your face while we make love. DWIGHT -LRB- uncomfortable laugh. -RRB- Oh, no - I just do n't. uh. like that way. Dwight continues to stroke Caroline, his hands everywhere, but now she is unresponsive. CAROLINE You mean you do n't like to make love face to face? DWIGHT -LRB- same laugh. -RRB- No, I do n't like it. I ca n't handle it - I do n't like to see the face. CAROLINE You mean ever? Dwight murmurs an assent. Caroline is appalled. CAROLINE But that's grotesque. DWIGHT -LRB- stung ; flares up. -RRB- Look, you can get it doggie - style or you can get it laying on your side - those are your only choices. This is my house, and I get to say. Wherever McGinty sits is the head of the table, you know? Disgusted, Caroline turns back away from Dwight. He shifts down on the bed a few inches, again preparing to enter her.\",\n \"INT. KITCHEN - NEXT MORNING Toby is eating toast at the kitchen table. Norma has made a big breakfast, and she hurriedly pours the coffee when she hears Dwight and Caroline's bedroom DOOR OPEN. NORMA Happy Wedding Breakfast! Caroline's eyes are red and swollen. Dwight turns ON a RADIO, sips his coffee, and chats with Norma. Toby gives Norma's rear - end an appreciative glance, then comes up behind Caroline, speaking sotto voce : TOBY So how's the bride? CAROLINE Do n't. TOBY The bride does n't want to chat? CAROLINE Stop it. TOBY Well, the bride is sure snotty this morning. Smiling, Toby waits for some response to his teasing, but there is none. She turns away and sits at the table.\",\n \"EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON Toby, his news bag slung over his shoulder, stands talking idly with two boys from school, OSCAR BOOKER and JIMMY VOORHEES. One of them says, `` Uh - oh,'' and jerks his head to indicate where Toby and the other boy should look. They look in the direction indicated, and see Arthur Gayle coming down the road toward them, followed by a small black dog called Pepper. As the boys watch Arthur's approach : TOBY What's his name again? OSCAR Arthur Gayle. JIMMY What a homo. TOBY He sure walks like a girl. JIMMY And runs like one and talks like one and throws like one. Probably takes a pee like one too - just squats right down. TOBY He smarted off to me the other day - told me I was a bourgeois. JIMMY What the frig's a bourgeois? OSCAR -LRB- to Toby. -RRB- Call him a sissy. TOBY Why? OSCAR Just see what he says. JIMMY Yeah, do it. By this time Arthur is next to them. Smiling a superior smile, he stops and glances at all three of them as if they were just the oddest things he's ever seen. Then his eye falls on Toby's yellow hands. ARTHUR Oh, my, my - look at all that yellow : Did n't your mama teach you to wash your hands after you pee? TOBY Oh, shut up. ARTHUR -LRB- rolls his eyes ; heavily sarcastic. -RRB- Now that's what I like - an insult with some originality. Did you just make that up? Just now? So clever. TOBY Why do n't you take a long walk off a short pier? ARTHUR -LRB- though he's not nearly close enough to smell Toby's breath. -RRB- Excuse me, but has anyone ever told you your breath would gag a maggot? Both of Toby's friends laugh. TOBY Well, at least I'm not a great big sissy! Two things happen instantly : the superior smile vanishes from Arthur's face, and Toby's friends exchange a single expectant look : `` Here it comes.'' Without warning, Arthur swings a fist at Toby, catching him on the ear. Arthur's second blow hits him in the back of the head. The fight is on. Arthur throws punches sidearm, with lots of wrist action, but there are so many of them. Before Toby can react, Arthur has hit him four times, including one wild haymaker that puts Toby on his knees. While Toby's still on his knees, Arthur tries to kick him in the stomach. The kick is deadened by the papers in Toby's bag, Arthur bends over Toby, screaming as if he has lost his mind : ARTHUR GET UP! GET UP, YOU SON OF A BITCHING MAGGOT GAGGER! I'LL STOMP YOUR GUTS OUT! I'LL KILL YOU! Toby gets up, and again Arthur sails in with those wild roundhouse swings. Then Toby gets in a solid punch to Arthur's face that rocks the bigger boy back on his heels. Arthur grabs his head and roars like a wounded buffalo. Almost immediately Arthur's eye puffs and begins to swell shut. Snot streaming from both nostrils, still roaring, Arthur flies at Toby again. Toby closes with him, to hold those flailing arms still, and the two stagger around the street like drunken dancers. They separate, exchange a few blows, then grapple with each other again. Then Arthur hooks Toby's leg, trips him, and the two roll off the shoulder of the road and down an embankment. They hit the muddy bottom of the gully still hitting, flailing, kicking - first Toby is on top, then Arthur, then Toby, then Arthur. By now they are panting, each breath is a heave, a gasp. Then, suddenly, Arthur gives out completely - he falls on top of Toby, pressing him deeper into the mud. With his last bit of strength Toby throws the bigger boy off him and sits up, while PEPPER BARKS FURIOUSLY at him and threatens to nip his leg. Toby staggers to his feet and starts to climb the gully. He looks relieved - at least it's over. No, it's not. From behind him he hears three words. ARTHUR Take it back. Toby turns to see a bloody - faced, swollen - eyed Arthur clambering up the hill after him, like some monster that wo n't die. Both boys reach the top and stand facing one another. ARTHUR Take it back. Arthur's words are not angry anymore. Toby's worn out too. TOBY Okay. ARTHUR Say it. TOBY Okay. I take it back. ARTHUR No, say ` You're not a sissy.' Toby glances at Oscar and Jimmy. Their faces are gleeful but he does n't care what the hell they think. TOBY You're not a sissy. Arthur immediately turns and walks away, but Toby ignores them and walks away in the opposite direction, delivering his hated newspapers.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON Caroline is painting the white walls a soothing buff color. On the sofa lie half - finished curtains she's making. She is totally focused. She hears Toby, turns, sees his filthy clothes. Her shoulders sag. CAROLINE I wo n't do it, you know. I wo n't be a referee between the two of you. TOBY Who asked you? CAROLINE You both do. You do. Just by coming home like this you ask me to take your side when he raises hell. Well, the answer's ` No.' I'm going to make this marriage work. No fights. TOBY Oh, the bride is calm. Who the hell cares? Caroline refuses to argue. She picks up a piece of material and holds it up to the window to see if her choice of color was a good one. CAROLINE -LRB- to herself. -RRB-. seems like this place is so ugly. Seems like everywhere I look there's something. ugly.\",\n \"INT. SKIPPER AND TOBY'S ROOM - EVENING A worried Toby sits dreading Dwight's arrival. Behind him, on the wall, Toby has pinned the covers of fifteen copies of the Scout magazine : so that, above Toby's head are the words BOY'S LIFE fifteen times. There is a MURMUR of VOICES, and FOOTSTEPS COMING toward Toby. Toby expects the worst. But, surprisingly, Dwight is beaming. DWIGHT Who won? TOBY -LRB- surprised. -RRB- Uh, well, uh. he's the one ca n't see out of one eye. DWIGHT Hot damn! You actually gave little Lord Gayle a black eye? TOBY Well, it was n't black yet. DWIGHT But it was all puffed up? -LRB- as Toby nods. -RRB- Then it was a shiner. Dwight sits down next to Toby, eager for details. DWIGHT How'd it start? TOBY I called him a sissy. Dwight hoots with laughter and slaps his leg. DWIGHT Well, he sure's hell ca n't sue you for slander. That boy fights for the pink team. Did you make him cry? TOBY Well. he was just ready to. I called him a big - assed, squat - to - pee sissy. -LRB- as Dwight slaps his leg again. -RRB- I'd have won bigger except he hit me when I was n't looking. DWIGHT -LRB- suddenly serious. -RRB- He dry - gulched you. Now that's your fault. You got ta keep your guard up. There's no excuse for getting dry - gulched. I'll show you a couple moves after supper that'll leave Miss Arthur Gayle wondering what month it is.\",\n \"INT. DINING ROOM - EVENING Still excited, Dwight is holding forth for the whole family. -LRB- We hear THUNDER of an approaching storm -RRB- DWIGHT so he says, ` You and who else's army?' ` Just the three of us,' I say. ` Me, myself and I.'. -LRB- a beat. -RRB- Well, after school he's waiting for me and he yells something - I tell you, with people like that, you got to hurt'em, got ta inflict pain, or they'll never leave you alone. -LRB- a beat. -RRB- So it was real hot out, okay? And there were these horse turds laying all over the place. I picked one up and went up to him, but not acting tough, okay? Acting more like, ` Oh gee, I'm so scared, please do n't hurt me.' Sort of like this : Dwight slumps his shoulders, drops his chin, and looks up through his eyebrows, a simpering expression on his face. DWIGHT So I say, ` Excuse me, but what's the problem?' And he starts in on me again, blah, blah, blah, and I jam a horse turd right into that big mouth. Then I give him a sucker punch in the breadbasket, and he goes down like a. Dwight goes on, relishing the story.\",\n \"EXT. UTILITY PORCH - NIGHT A steady downpour falls outside the porch. Dwight and Toby, both stripped to the waist, are boxing. Dwight is totally serious about this, absolutely sincere. The sweat streaming off the two, Dwight patiently corrects Toby's movements, or catches the boy's fist to suggest better form. Their feet shuffle, squeak on the floor. DWIGHT No, no. From the shoulder. Straight. -LRB- demonstrates. -RRB- Like this. This. Otherwise you leave yourself wide open. -LRB- as Toby tries. -RRB- Yeah, better, better. and keep those feet moving, shuffle, shuffle, that's right. now try for my face. good.\",\n \"INT. LIVING ROOM - PARALLEL TIME Caroline is on the telephone, her voice low. -LRB- Behind her, through a doorway, we can see Dwight and Toby boxing. -RRB- CAROLINE not good, to tell you the truth not good at all. -LRB- listens. -RRB- No, he's not mean to me. -LRB- listens again. -RRB- No, he's good about that : comes home right after work every night. -LRB- listens again. -RRB- Oh, Marian, I do n't know - maybe I just got my hopes too high, although I do n't think so. All I want is a little. -LRB- searches. -RRB-. a little son - of - a - bitching sweetness. That's all. -LRB- listens ; laughs. -RRB- You think so, huh? You always did have an eye for Dwight, did n't you? -LRB- leans back ; watches Dwight and Toby. -RRB- The thing is, he's out on the porch teaching Jack to box right now. I keep thinking if I can hang on, things'll settle down. If I can just hang on long enough, it'll work out and my kid'll have a father. You know?\",\n \"EXT. UTILITY PORCH - LATER Both Dwight and Toby sweating heavily. They lean against a wall, resting. TOBY You said you'd show me how to dry - gulch somebody. DWIGHT Okay. Now you can always kick somebody in the balls, but I like this one better : What you do is hit'em in the throat with the side of your forearm. You wait'til - hah! Without warning, Dwight lunges at Toby and swings the side of his arm toward Toby's throat. Toby dodges wildly, falling backward over a box of sports equipment. DWIGHT Now that's dry - gulching. Hit'em in the throat, but do it before they're expecting it. Now you try. TOBY I'm afraid I'll hurt you. DWIGHT You wo n't. TOBY But I might. Finally Toby gives a half - hearted `` Hah!'' and swings the side of his forearm toward Dwight's throat. Dwight catches the arm easily. DWIGHT Come onnn. You're not trying. Again Toby hesitates, again he says `` Hah!'' and gives a lukewarm swing at Dwight's throat. DWIGHT Well, do n't go all shy and delicate on me - you're as sissy as little Miss Arthur Gayle. Yeah - I'll just call you ` Little Miss Jackie Wolff.' Ooh, my, yes - Hello, Jackie. Toby's eyes flare up, then he lowers his head, biting his lip, sniffling a bit. DWIGHT Aw, Jesus Christ, if you're gon na - Without warning, Toby lunges at Dwight, screaming `` HAH!'' trying for the man's throat. Caught off guard, Dwight stops the main force of Toby's arm, but is slammed onto the ground stunned. TOBY You just about got dry - gulched, my man. Dwight manages a grin, but he is not happy to have been bested.\",\n \"INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT Dwight and Caroline lie on the bed, kissing passionately. It is clear that Caroline is as excited as Dwight. CAROLINE I know you may think this is silly, Dwight, but it seems like. I do n't know, like an emblem or something. I want to be able to see your face when we make love. How else can we be cl - The rest of the word is jerked out of her as Dwight turns her onto her side, away from him, and proceeds to make love again in his favorite manner. DWIGHT You just do n't know what's good, Sugar. You're too tense. You just relax and Dwight'll take you on a little trip. Okay? You'll have a good time. Caroline closes her eyes. SAME SCENE - HOURS LATER Dwight leans back against the headboard of the bed. Caroline sits between his legs, her back against his chest. With one hand, Dwight strokes Caroline's hair. The other hand is curled around her throat. DWIGHT are the prettiest thing I've ever seen. I mean it. You are. The way your hair curls up right there. So pretty. I just love you so much. I do n't know what I'd do if you ever left me. I could n't take it. -LRB- smiles. -RRB- Guy I knew in the Navy had a saying : ` If you love her, here's what to do : Let her go visit places new. If she loves you, she'll come back to you. If she do n't come back. hunt the bitch down and kill her.'. -LRB- laughs. -RRB- That's awful, I guess. I do n't feel that way, but close. My pretty thing. We see that Caroline realizes the enormity of her mistake.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - MUCH LATER Smoking a cigarette and wearing a nightgown, Caroline walks to the front door. She opens the front door and stands looking out. Then she puts her finger on the door and slowly pushes it shut with one finger. She does this once more. Then she does it again. She turns, walks toward Toby's room.\",\n \"INT. SKIPPER AND TOBY'S BEDROOM - NIGHT Caroline enters and stands by Toby's bed. She bends over the boy and she starts to touch his hair, decides not to. She stares at Toby for a few beats.\",\n \"INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT Caroline enters, looks down at the sleeping Dwight. She gets back into the bed and Dwight throws a sleepy hand over her. Caroline hesitates, but forces herself to put a hand over Dwight's.\",\n \"INT. DWIGHT AND CAROLINE'S KITCHEN - MORNING THROUGH a window, Dwight, dressed in his coveralls, leaves for work. Caroline is sewing on a machine whilst Toby leans against the kitchen sink. TOBY but ask him again, why do n't you? I hate it so much. CAROLINE -LRB- never stops sewing. -RRB- I asked him a week ago, I asked him this morning - he wants you to keep the paper route. TOBY Then make him give me the money. It's mine, I earned it. It's $ 220.00 already. CAROLINE He wo n't. He says he'll keep it for when you really need it. TOBY That's not fair. I ought to be able to have my own money. -LRB- as Caroline shrugs. -RRB- But it's mine. CAROLINE You remind me of a baby bird - you know those frantic little things with their mouths wide open, wanting, wanting. TOBY Well, at least ask him about my gym shoes again. I can practice barefoot but for games I got ta have shoes. CAROLINE I'm not a referee. I wo n't do it. TOBY Oh, we know, we know : the bride wo n't argue. The bride wo n't raise her voice. CAROLINE Well, I'll tell you what the bride will do : the bride will get up and walk over there and slap hell out of the bride's son. Now does the bride's son want his face slapped? TOBY Oh, I hate it here! I wish we could just get up and go. CAROLINE I do n't have another ` get up and go' left in me! You understand? I'm telling you I've hit a god - damn wall. I ca n't run anymore. Now this whole thing is n't perfect for me, either. let me impress that on you real strong, okay? I do n't wake up singing every morning. But I'm going to make this marriage work - I wo n't join in any fights, you got that? I wo n't even raise my voice! Caroline points to the sink. CAROLINE See those two roses? He picked them for me on his way home last night. TOBY Big deal. CAROLINE I'm trying to concentrate on the good stuff. Norma appears in the kitchen door, wearing her cap and gown. She strikes a pose. NORMA What d'ya think? I think I look like a fool. -LRB- shrugs. -RRB- Who cares? Six weeks to graduation, and California, here I come! Norma snaps her fingers and goes back to her bedroom. CAROLINE -LRB- lamely. -RRB- Seriously : you have to concentrate on the good stuff. Caroline turns her attention back to the curtains.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - SAME NIGHT (LATER) `` The Lawrence Welk Show'' is ON the TELEVISION. Dwight, Caroline, Skipper, Norma and Pearl and Toby watch an Irish tenor sing a lugubrious ballad. Dwight stands in a corner of the room, his saxophone to his lips. He's playing along with the MUSIC, but silently. Occasionally he gets overcome and accidentally causes the saxophone to squawk. The Irish ballad ends, and Lawrence Welk's Champagne Orchestra strikes up a lively polka. Dwight takes a sip of his drink and grabs Caroline, pulls her to her feet, and begins to dance with her. A polka can be a decorous, contained dance. He dances Caroline vigorously around the living room, out into the kitchen, around the table, and then back again. Dwight is really good, and Caroline matches him every step of the way. Skipper turns the VOLUME UP and Dwight kicks the dance into an even higher, wilder gear : The kids clap on the beat, the two whirl and stamp and spin. Faster and faster - Caroline's heel catches an end table and sends it spinning and faster they go. Caroline's head is thrown back ; she's laughing with pleasure. As the MUSIC reaches its CLIMAX, Dwight spins Caroline back to the sofa, lets her go, and WHAM! she lands back where she was seated exactly on the last note of the song. Amid the general laughter and applause, Caroline smiles at Toby. CAROLINE -LRB- breathy. -RRB- Try to find the good stuff, honey.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - AFTERNOON Dwight and Toby face one another in the living room. Both wear their Scout uniforms. Dwight holds a box of chocolate - coated cherries in one hand. TOBY I'm telling you I did n't. DWIGHT And I know damn well you did. TOBY Well, you're wrong. DWIGHT About some things, yeah. Not about this. You're a goddam hog, and I proved it. TOBY How do you know Skipper did n't eat it? Or Norma? Or Pearl? DWIGHT I told all three of them to stay away from this candy for twenty - four hours. TOBY Well, how do you know I even ate any? DWIGHT -LRB- a triumphant smile. -RRB- I counted them. You hogged down eleven chocolate covered cherries since yesterday afternoon. TOBY So what? DWIGHT So that makes you a hog. I just wanted to establish that fact, and now I have. Caroline and Skipper enter, carrying throw pillows and materials. DWIGHT -LRB- to Caroline and Skipper. -RRB- Hey. Mr. Hotshot Hog and I've just been establishing some facts, and what we come up with is this : One, he's a pig who gobbles down everybody's candy ; two, he lies about it ; three, he lays around on his lazy ass day and night reading, reading ; and four, he's not getting any ten - dollar gym shoes. That's about what we've come up with so far. SKIPPER Oh, Dad. DWIGHT -LRB- a high, mincing voice. -RRB- Oh, Dad! Skipper leaves the room. Caroline sits down, begins to try various materials as coverings for the pillows. TOBY -LRB- to Caroline. -RRB- Why do n't you ever take up for me? DWIGHT -LRB- to Caroline. -RRB- Why do n't you ever help me straighten that boy out? Caroline does n't even look up. She threads a needle and begins to sew. Whilst Dwight paces around the room. DWIGHT All he does is read or listen to records or sing. -LRB- he sings five seconds of a grotesque `` Blue Monday''. -RRB- I'm so sick of that shit! And when he is n't singing, he's watching T.V. -LRB- to Toby. -RRB- And do n't say you do n't'cause when I come home I always put my hand on top of it to see if it's warm, and it always is. This is the news, kid - I'm wise to you. TOBY Oh, big, big deal, who cares, and as long as we're passing out news here, I do n't want to do my paper route anymore. DWIGHT I bet you do n't - big lazy candy hog like you'd rather lay on his ass and read, would n't you? Let me tell you something : you're gon na deliver those papers if I have to walk behind you with a horsewhip ever' step of the way. TOBY Then give me the money I earn! DWIGHT Hell, no. I'm putting that in the bank for you for when you really need it - cuss me now, thank me later. TOBY Mom, wo n't you at least make him let me have the shoes for gym? How can I play basketball without gym shoes? I'm the only one who - Toby stops suddenly. He looks at Dwight for a beat or two, and then speaks in a different tone : TOBY It's not the shoes, is it? Or the candy. It's me, is n't it? You just ca n't stand the fact of me. Dwight glances at Caroline, who still looks at her sewing. DWIGHT I, well, no, it's not that - I just want you to be well - behaved. Your rich daddy ` Duke' does n't care anything about you, and so somebody's got to train you, and one of the things you've got ta be trained about is not to be a hog and eat everybody's candy like a - Dwight stops short as Caroline says one word. CAROLINE Oh. Dwight and Toby glance at each other nervously. What is this? CAROLINE -LRB- her eyes still on her sewing ; soft. -RRB- Oh. DWIGHT What's the matter, honey? CAROLINE -LRB- louder. -RRB- Oh. TOBY Are you sick, Mom? DWIGHT Do n't you feel good? CAROLINE OH - H - H - H! A furious Caroline raises her head, doubles up both fists, and yells. CAROLINE I. Will. Not. Referee. DWIGHT -LRB- taken aback. -RRB- Jack, I think you've made your mother nervous, so why do n't we just go on to Scouts and let her rest? -LRB- to Caroline. -RRB- You lay down and rest awhile. Dwight and Toby grab their caps and hotfoot it out the door.\",\n \"INT. SCOUT MEETING - NIGHT Father and son photographs are being taken. Dwight is the only father who wears a complete uniform and cap. When Dwight and Toby's turn comes, Dwight puts on a big smile and throws an arm around Toby's shoulder. DWIGHT Check for the tongue tonight - you forgot it last week. Otherwise you wo n't get your life - saving badge. SAME SCENE - LATER Six boys are lying on the floor pretending unconscious - ness. Six other boys, Toby among them, are going through several life - saving steps such as turning the bodies over, checking for pulses, etc.. The BOY on whom Toby is working is a heavy, pimple - faced lout. Toby checks if the Boy's breathing is obstructed. Gingerly, he tugs on the Boy's chin, starting to open the Boy's mouth. Suddenly the Boy opens his mouth wide, exposing a half - chewed mass of cheese n' crackers. Toby gives the lout a knee in the ribs. TOBY Bastard. Swallow that. BOY -LRB- laughing. -RRB- Give my pud a big squeeze while you're at it, why do n't you? Toby and the life - savers on either side of him laugh a bit.\",\n \"EXT. SCOUT HALL - NIGHT As Toby kneels down to tie his shoelace, a small black dog runs up to him. Toby pets it. Arthur Gayle, his black eye healed, stands ten feet away. ARTHUR You like my dog? TOBY Yeah, he's nice. ARTHUR Smart, too - he can talk. TOBY -LRB- smiles. -RRB- Sure - I just about believe you. ARTHUR Hey, Pepper - what's on a tree? As PEPPER BARKS TWICE : ARTHUR Bark! Way to go, Pepper - pretty smart. Oh, I was wondering, Pepper - I wanted to ask you something : how's the world treating you? As PEPPER BARKS ONCE : ARTHUR Rough! Yeah, I know what you mean. TOBY That's dumb. A little funny, though. How come your dad never comes to meetings with you? ARTHUR I do n't have a dad. Never did. I sprang full - blown from my mother's forehead. You want to walk home with me and Pepper? TOBY Sure - compared to a ride home with Dwight, it'll be like heaven on a June day.\",\n \"EXT. RESIDENTIAL STREET - NIGHT Toby and Arthur are eating ice cream cones and smoking cigarettes at the same time. They walk slowly, desultorily. Though still effeminate, Arthur has dropped much of the flounciness that he uses in public. ARTHUR Tobias? Your real name is Tobias? Toby. Tobias. I like it - it's very elegant. My real parents would probably have given me an elegant name, too. I say ` real parents' because I suspect I'm a foundling. Somebody royal - or at least very, very beautiful had me and gave me to my poor but honest mother. -LRB- a beat. -RRB- Tell me more about you. TOBY -LRB- shrugs. -RRB- Every day of my life feels like a mile on the Bataan Death March. ARTHUR -LRB- laughs. -RRB- I knew I'd like you. TOBY Why'd you point at me that day? ARTHUR Because you're an alien. You do n't belong in Concrete any more than I do. This place would like to kill us because we're different. TOBY Oh, come on, Arthur. That's a little dramatic. ARTHUR Think so? You know what chickens do if one chicken's born with a little difference? With a few black feathers on its head, say? They peck at the black spot'til the chicken's dead - they ca n't stand the fact that it's different. Now we're both different. Your difference is something other than. -LRB- husky - voiced actress. -RRB-. my difference. -LRB- normal tone. -RRB- But we're both aliens here. TOBY I do n't exactly feel like an alien. I've got friends here. ARTHUR Yes, and they're fools. And you act like a fool when you're around them. A prediction : if you stay in Concrete, you'll wind up working at the A&P - either that or you'll go on a rampage with a hunting rifle. TOBY Yeah, and you'll wind up a recluse that everybody says likes to dress up in his mama's old clothes. ARTHUR -LRB- laughs. -RRB- Maybe, maybe, but no matter how many times I have to repeat : my primary goal's to get out of Concrete. TOBY Burma - Shave! Arthur and Toby laugh. As they walk on, though, Toby's face is thoughtful.\",\n \"INT. SCHOOL GYMNASIUM - NIGHT Toby and ten other boys are practicing lay - ups. All the boys, Toby included, wear basketball uniforms. All the other boys wear gym shoes. Toby is barefooted. He is however, a smooth, skillful player.\",\n \"EXT. EDGE OF TOWN - AFTERNOON Toby tosses his last newspaper into a yard, folds his sack, and stands wearily for a few beats.\",\n \"INT. UTILITY PORCH - EARLY EVENING A large, ugly DOG next to the box of baseball bats and gloves GROWLS and snaps at Toby as he goes past.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - EARLY EVENING As Toby enters the room, Norma exits, wearing theatrical makeup and a gypsy costume. Behind her, drink in hand, sits Dwight, wearing a suit and tie, watching the TELEVISION NEWS with the SOUND VERY LOW. TOBY Whose dog is that on the porch? DWIGHT Yours. TOBY Mine? DWIGHT You said you wanted a dog. TOBY A collie, though. Not this one. DWIGHT Well, he's yours. You paid for him. Go get ready for Norma's play. TOBY What d'you mean I paid for him? But Dwight does n't answer. Toby waits, then shrugs and leaves the room.\",\n \"INT. SKIPPER AND TOBY'S ROOM - AFTERNOON Toby gets out his book of Indian signs. He reaches up for his rifle, but it is gone.\",\n \"INT. LIVING ROOM - AFTERNOON Toby walks in, Dwight is petting the dog. TOBY My Winchester's gone. DWIGHT -LRB- eyes never leaving the TV. -RRB- This dog is pure - bred Weimaraner. A champion. TOBY I do n't want it. DWIGHT -LRB- as above. -RRB- Well, you're purely out of luck, are n't you,'cause that rifle's on its way to Seattle. TOBY I want my rifle! DWIGHT Well, want in one hand and shit in the other - see which gets full first. TOBY But, Dwight, that Winchester was mine. DWIGHT And Champ's your dog. Jesus, I trade some old piece of crap for a valuable hunting dog, and all you can do is piss and moan. TOBY I'm not pissing and moaning. DWIGHT The hell you are n't. You can just make your own deals from now on.\",\n \"EXT. HOUSE - AFTERNOON Toby sits on the front stoop. Caroline approaches carrying groceries. She notices Toby's expression. CAROLINE What's wrong? TOBY Dwight traded my rifle for a dog. He says the dog's for me, but it's some stupid dog he wanted. For a moment Caroline does n't respond. Then she nods her head. CAROLINE All right. Okay, Dwight. You stay here. Do n't come inside. Toby nods. Caroline heads inside, loaded for bear.\",\n \"INT. KITCHEN - AFTERNOON Norma, dressed up for her play, and Pearl are setting the table. Dwight is fixing himself another drink. Caroline enters, puts down the groceries, and goes to the dish cabinet. Calmly, in total control, she takes a PLATE and SMASHES it against the countertop. CAROLINE -LRB- calm. -RRB- Get his rifle back. DWIGHT But that dog's a champion! Caroline calmly SMASHES another PLATE on the countertop. CAROLINE Get his rifle back. DWIGHT Am I supposed to go clear to Seattle just to get. Before he finishes the sentence, Caroline SMASHES a GLASS on the countertop. CAROLINE Get his rifle back. DWIGHT Jesus Christ, woman, I do n't even know the guy's last name. Caroline picks up a bowl. DWIGHT All right, all right. The guy's supposed to send the A.K.C. papers. When he sends'em, I'll know his name and address, and I'll go get the god - damn rifle back. Jesus. Caroline exits leaving Dwight, Norma, and Pearl with their mouths open.\",\n \"EXT. HOUSE - EVENING Caroline walks to Toby, sits next to him on the stoop. CAROLINE Well, I did it - and the bride did n't even raise her voice : he says he'll get the rifle back as soon as the guy who sold him the dog sends the papers. Toby nods. Caroline looks up at the evening sky and then shrugs. CAROLINE ` Course, having seen that dog, I would n't suggest you hang by your thumbs'til those papers come. I mean, that dog is ugly. Toby gives her a dirty look, but Caroline's smile makes Toby grin. CAROLINE That's nice - I have n't seen a real smile out of you in a month. TOBY Oh, Mom, ca n't we leave here? I hate it so much. You do n't like it either - all you do is stick your head in a sewing machine night and day. Let's just leave and start over someplace else. CAROLINE ` Start over.' Do you know how many times I've started over, sweetheart? I do n't want to do it anymore. This is as far as I want to go. This place. I have to make this work somehow. We do. You're fourteen now - you have to help me. TOBY But if. CAROLINE But me no buts, honey. I told you : I've hit a wall. And besides, it's not so bad here, if you just try to - TOBY If you say ` look for the good stuff,' I'm gon na get Dwight's 30/30 and shoot myself! CAROLINE Seriously, though : give the place a chance. Give him a chance. TOBY Great. Just great. What a life : I got ta live with Dwight. I got a sissy for a new best friend. I got no rifle. I got no gym shoes. CAROLINE Well, look on the bright side. You got a dog. In spite of his disappointment over the rifle, in spite of all that Caroline had said about staying with Dwight, Toby is happy to see Caroline completely back to her old self again, joking with him. He grins and, with the palm of his hand, he gives her shoulder a gentle shove. She returns the gesture. And the two of them sit on the steps, staring into the twilight.\",\n \"INT. ARTHUR GAYLE'S LIVING ROOM - DAY Arthur is playing the piano. He and Toby sing an old song called `` I Wandered Today To the Hill, Maggie.'' Both of them are enjoying it. As they finish the song, Arthur says a dry `` Will you be able to use your musical abilities at the A&P?'' Toby laughs and gives him a hard elbow in the ribs.\",\n \"INT. TOBY'S ROOM - NIGHT Toby is using a nail clipper over a wastebasket when he hears : DWIGHT -LRB- O.S. -RRB- Heh Hotshot! He looks up just in time to see a flashlight fly through the air toward him. He catches it. Dwight stands in the doorway. DWIGHT If you can tear yourself away from your pedicure, I want you to fetch me some of that paint from the attic. Dwight switches the room light off. TOBY Yeah. DWIGHT Is now too soon. TOBY God!\",\n \"INT. DWIGHT'S ATTIC Dwight and Toby are looking for something. They both shine flashlights around the dark attic, illuminating old magazines, dolls, etc.. Dwight says, `` I know I put'em up here somewhere.'' Then Toby's flashlight lands on the unusual tub with the four blue stars which had held the beaver. Forgotten all this time, the beaver has transmogrified into a weird, two - foot high pile of what looks like cotton candy. And, hideously enough, the cloud - like stuff is still in the shape of the beaver. Then Dwight says, `` Shit - the roof must've leaked on'em.'' Toby turns to where Dwight shines his flashlight on the ten boxes of chestnuts. Also forgotten, the chestnuts are covered with mold, too - but a different kind : this is wet, slick - looking stuff that rises off the chestnuts like dough in a breadpan. A spasm of rage crosses Toby's face, and he turns and bangs out of the attic.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT (LATER) A drink in one hand, idly fondling Champ's ears with the other, Dwight is watching the NEWS. On the TELEVISION we see a distraught Lana Turner and her daughter, Cheryl Crane, as the teenaged girl is led into a tall building. While we see this, and then a photograph of a stockily handsome Italian man, we hear : NEWSCASTER -LRB- V.O. -RRB- Cheryl Crane, daughter of Lana Turner, was held for questioning today in the stabbing death of Johnny Stompanato, Miss Turner's companion. A spokesman for Miss Turner said today that the stabbing was an accident, and that Miss Turner's daughter will not spend even one night in jail for what the spokesman called a ` tragic accident.' Suddenly aware of another presence in the room, Dwight turns and sees Toby, who is standing in the doorway, also listening to the NEWSCAST. Toby is not watching the television, though, he is staring fixedly at Dwight. Dwight reacts then glances back at the set, where the Stompanato murder story continues. He turns slowly back to Toby, whose eyes are still locked onto his face. The SOUND on the TV FADES.\",\n \"INT. GYMNASIUM - NIGHT A WHISTLE FADES UP. Toby's basketball game against the Van Horn team is starting. Alone among all the other players, Toby wears his street shoes. Heavy squarish brogans, they CLOMP, and THUD as Toby runs up and down the court. The leather soles slip like skates on the highly - polished floor, and Toby falls repeatedly. At first the crowd is silent, collectively embarrassed at the boy wearing these strange shoes. Then Toby takes a particularly hard fall, and somebody laughs. The crowd in general takes it up, and soon there is GENERAL LAUGHTER whenever Toby's shoes SQUEAL particularly loudly, or whenever the shoes trip him up or cause another boy to stumble. Soon one WOMAN'S HIGH - PITCHED LAUGH DOMINATES the gymnasium. The laugh is hideous, shrill and mindless, like some ringer planted in the audience of a situation comedy. Toby sees Norma necking with some guy and is horrified. Toby slips and slides, falls and rises. All the while his expression is hard as stone : he will get through this or die. And, like a mantra, he mutters one phrase over and over : `` got ta get out, got ta get out, got ta get out, got ta get out.'' Finally he makes a basket. One VOICE from the audience YELLS out `` Okay, kid - way to go!'' and then two or three people APPLAUD. Instants later, Toby catches a rebound and makes another basket. The fickle crowd decides to love an underdog and APPLAUDS heartily for the boy in the funny shoes. But Toby's expression never changes.\",\n \"INT. DWIGHT'S GARAGE - SAME NIGHT (VERY LATE) The Buick, rolls silently down the driveway pushed by a straining but cautious Toby. Champ runs into the street, Toby tries to shoo him away. The DOG BARKS ONCE, and Toby quickly opens the car door and lets him in, STARTING the ENGINE.\",\n \"INT. BUICK - LATE NIGHT Toby drives fast leaving Concrete behind. He turns the RADIO ON, and a VOICE bawls out `` Oh, Maybelline,'' Toby turns the VOLUME UP, turns it UP AGAIN, so that the MUSIC is DISTORTED. Toby begins to accelerate. The needle creeps past ninety, and hovers close to one hundred. Trees flash past in the headlights, occasional cars are overtaken and passed in an instant. Toby starts laughing hysterically and sings loudly along with the THROBBING MUSIC. The Buick begins to shudder and wobble - Toby hits the brakes but the Buick spins and goes sideways into the ditch. SILENCE.\",\n \"EXT. BUICK - LATE NIGHT The car is caught so that two of the wheels are off the ground, and can get no purchase. Toby starts walking back toward Concrete.\",\n \"EXT. ROAD - LATE NIGHT Toby and Champ have been walking a long time. A truck comes from behind Toby, pulls over. DRIVER That your car in the ditch back there? -LRB- as Toby nods. -RRB- How'd you do that, anyway? TOBY It's hard to explain. DRIVER Get in.\",\n \"EXT. BUICK - VERY LATE NIGHT The man is winching the Buick out of the ditch.\",\n \"EXT. DWIGHT AND CAROLINE'S HOUSE - DAWN Toby silently closes the garage door, the Buick inside and heads for the house. SKIPPER AND TOBY'S ROOM - NOON The clock shows noon. Toby is in bed reading Boy's Life, holding a sandwich and trying to stay awake. Suddenly Dwight appears. Dwight puts his hands into his pockets, leans against the doorway. DWIGHT Your mother said you were sick. Feeling better? TOBY Yeah, I am. DWIGHT Good, good. Get some sleep, did you? TOBY Yeah, I slept about four hours. DWIGHT Must've needed it. A pause : DWIGHT Oh, by the way, you did n't happen to hear a funny pinging noise in the engine, did you? TOBY What engine? DWIGHT I was downtown with Champ a few minutes ago, and I met a guy who recognized him. Said he'd seen my dog this very morning. Told me an interesting story of how he and the dog happened to meet. What d'you think about that? TOBY I do n't know what you - Suddenly Dwight is across the floor and onto the bed. He straddles Toby and slaps him across the face with the left hand then the right, again and again. Toby holds a forearm protectively across his face. Dwight holds both Toby's hands with one of his and, slaps the boy's face again and again. Finally Toby manages to get his right hand loose. He slams his forearm across Dwight's throat. Dwight rears back, choking and gagging. Toby throws off the covers and tries to run. Still choking, Dwight grabs the back of Toby's hair and forces the boy's face down against the mattress. Then he doubles up his fist and slams it into the back of Toby's neck. Toby goes rigid with pain. Dwight stumbles up gasping for breath. DWIGHT Only me. On this whole earth, to straighten you out. And I will do it kill or cure. Now get your ass up - you're going to school.\",\n \"EXT. HIGH SCHOOL - NOON A BELL RINGS as Dwight's BUICK SCREECHES to a stop and Toby gets out. As he heads toward the doors. Toby then turns to stare at Dwight's car. They lock eyes, then Dwight smirks and pulls away. Toby watches the car disappear, then spins around and walks into the school. FADE OUT. SAME SCENE - AFTERNOON The CAMERA is in the EXACT SAME SPOT. The school seems a bit seedier, and two newly - planted saplings established in the previous scene are both eight feet taller, with wide spreading branches. Students pour out the door. Among them Toby, taller and a bit heavier, he now wears black leather boots, and a pack of cigarettes rolled into the sleeve of his T - shirt. His hair is still pure Elvis. Toby comes back out the door with four very different friends. CHUCK BOLGER, the most reasonable - looking of Toby's companions, is the son of a minister. A second boy, known as PSYCHO, is a hulking boy with a tendency toward sadism. JERRY HUFF is handsome in a pouty, heavy - lidded way. His Elvis pompadour is even higher than Toby's. ARCH COOK is an amiable simpleton who sometimes talks to himself or laughs for no reason. Toby and his four friends pile into Chuck Bolger's'53 CHEVY, and they PEEL OUT.\",\n \"INT. CHUCK BOLGER'S CAR - NOON As the car barrels through downtown Concrete, we see a movie marquee reading. The Apartment, and a five foot poster that says, `` ELECT JOHN KENNEDY, 1960.'' In the back seat, Psycho pours vodka into a half empty can of Hawaiian punch, then takes a huge swig. PSYCHO -LRB- screams it. -RRB- Ag - Hhh! Gorilla blood. JERRY Oh, Psycho, shut up. CHUCK -LRB- pointing. -RRB- Oh, look - there goes Carol Baumgarten. Ai n't she sweet? She's hot for Wolff. TOBY I wish. CHUCK Wo n't do her any good, though - Jack's saving himself for Rhea Clark. TOBY Knock it off. JERRY You know what he said about Rhea? Said even the inside of her arm turned him on. You slay me, Wolff. She is pretty though. ARCH -LRB- after a pause ; wistful. -RRB- I'd sure like to eat Rhea Clark's pussy. There is general laughter, mixed with groans. JERRY God, here we go again. PSYCHO Eatin' pussy is all that man knows. says. CHUCK Jesus, give it a rest, Arch. ARCH No, I mean it. I'd like to get down and really grovel on it. Spend about a week with my face right in it. There is a pause while all the boys dwell on this thought. It sounds good to them. PSYCHO Aghhh, pussy!\",\n \"EXT. DWIGHT AND CAROLINE'S HOUSE - LATE AFTERNOON Chuck Bolger's CAR SCREECHES to a halt, and Toby exits, followed by an empty Hawaiian Punch can which someone tosses after him. Toby gives a wave, starts toward the house, and the CAR LAYS RUBBER, while OVER that we hear Psycho SCREAMING, `` AGH - H - H!''\",\n \"INT. DWIGHT AND CAROLINE'S KITCHEN - LATE AFTERNOON Pearl is setting the table and singing the Everly Brothers hit, `` Bye, Bye, Love.'' The passage of two years has improved Pearl. Her bald spot has grown back in, and she has learned to fix her hair and use makeup. She smiles and nods to Toby, never stopping her singing for a moment. Toby stands next to her and sings harmony for a few notes. It is clear that their relationship has improved. Toby stops singing. TOBY Where's Mom? Still singing, Pearl points to the living room.\",\n \"INT. LIVING ROOM - EARLY EVENING Caroline is watching a newscast of John Kennedy and Harry Truman at a press conference outside Truman's Missouri office. She hears Toby, turns to him. We see that the last two years have marked her. She's changed. Her expression is fixed, almost as if she were wearing a mask. Even the words are cheerful, but some of the old optimism is gone. CAROLINE Oh, honey, good news - Truman's going to campaign for him. -LRB- lowers her voice. -RRB- I gave twenty - five dollars to his campaign office today. I've been thinking I'd like to work. She is interrupted by Dwight's voice O.S. DWIGHT -LRB- O.S. -RRB- Here I am, you lucky people! Toby and Caroline exchange a glance. It speaks volumes.\",\n \"INT. KITCHEN - NIGHT Dwight, Caroline, Toby and Pearl sit at the table, eat - ing. Champ sits by Dwight's chair - obviously his dog. Dwight seems unchanged by the two years. Just now, Dwight is in the middle of telling another of his `` Dwight Is The Best'' stories. From the bored faces around the table, this is another in a long series. DWIGHT So the S.O.B. had been on my back for a week at work, okay? Sayin' I stole his wrench, an' poured oil all over his tools, as if! Anyway, he went just one step too far with old Dwight, okay? Spat on the floor as I walked by. I turned around and walked back to him, acting so dainty and humble and scared, you know, all innocent - and the minute he took his eyes off me, BLAM, I dry gulched him! I shut his water off good! Never gave me another second's grief to this very day. There is a pause. One more story. Nobody has much of a reaction. CAROLINE I heard Kennedy on the news again tonight - I do n't know : I hate the Democrats and the Republicans, but then once in a while somebody comes along who does n't seem like. -LRB- she searches. -RRB-. a liar. DWIGHT Kennedy - the senator from Rome. CAROLINE He gives me hope. DWIGHT I know what he gives you, and it sure as hell is n't hope. CAROLINE -LRB- laughs. -RRB- It's true he is attractive! And it may just be those white teeth that I respond to. But I do n't think so. -LRB- a beat. -RRB- I'm going to work for his campaign. DWIGHT No. Too many Republicans in this town. They hear my wife's working for the Democrats, they'll take their cars someplace else to be fixed. Bad idea. No. There is a brief silence. Suddenly Caroline leans across the table and speaks to Dwight in a loud, exaggerated disappointed whine : CAROLINE Oh, Rickyyy! -LRB- louder ; same whine. -RRB- Oh, Ricky - y - y! Please let me come down and work at the club! DWIGHT What the hell are you doing? CAROLINE Well, you treat me like Lucy, I'll act like her. I'll be working for Kennedy's campaign.\",\n \"INT. LIVING ROOM - SAME NIGHT (LATER) The four of them are watching `` The Untouchables.'' We watch as a frightened man speaks to Al Capone, who sits behind a large desk. FRIGHTENED MAN -LRB- V.O. -RRB- -LRB- on T.V. -RRB-. please, Mr. Capone, it'll never happen again, I swear it. It was an accident. I can promise you faithfully it wo n't be repeated. Finally Al Capone speaks. He leans across his desk, bugs out his eyes, and hisses : AL CAPONE -LRB- V.O. -RRB- -LRB- on T.V. -RRB- Why do n't you take a little ride with Frank? The man's eyes bulge with fear, and he cries, `` No! No!'' as two men escort him out the door. In the next shot we see a long black car parked on a country road, and we hear a SHOT.\",\n \"INT. BATHROOM - SAME NIGHT (LATER) Toby is brushing his teeth when Dwight enters. TOBY I'll be through in a minute. Dwight looks around. DWIGHT You left the lid off the damn toothpaste again. TOBY -LRB- not looking at him. -RRB- Oh, Dwight, is that the best you can come up with? Angered, but keeping his voice low. He pushes Toby's shoulder. DWIGHT This is my bathroom, and I say about the toothpaste, got it? -LRB- pushes again. -RRB- Huh? Have you? Huh? Now if you lived with your daddy Duke and his rich wife, maybe things'd be different, but he's not here now, is he? -LRB- high, flutey voice. -RRB- Oh, Duke? Duke, are you here? Dukie? Oh, how sad - Duke's not here. Oh, boo hoo! -LRB- normal voice. -RRB- My bathroom. I get to say. Got that? Still Toby does n't respond - Dwight reaches out and pinches the skin on Toby's waist, hard. Toby still does n't respond, when Dwight begins to twist it. Toby spins around, eyes blazing. DWIGHT Come on. Oh, come on. Give me an excuse. Toby hesitates, then leaves the bathroom, humiliated.\",\n \"INT. HALLWAY - NIGHT Toby exits the bathroom, then sees Caroline in a doorway. She's heard it all. They look intently at each other. Toby nods and walks on down the hall.\",\n \"INT. TOBY'S ROOM - INSTANTS LATER Furious, Toby throws himself onto the bed, and snaps on a reading light. -LRB- Behind him, the wall is now completely papered with the front pages of the Scout magazine, so that we see the words BOY'S LIFE BOY'S LIFE BOY'S LIFE BOY'S LIFE repeated one hundred and twenty times. -RRB- Then Toby takes a slick brochure from under his pillow - it's a bro - chure of Princeton. Photographs of beautifully tended lawns, and students on their way to class. Toby stares at the photographs, smoothing the pages carefully, long - ing in his face.\",\n \"INT. SCHOOL BUS - NEXT MORNING Toby bangs onto the bus, throws himself into a seat beside Arthur. He hands a grade card to Toby. ARTHUR You did n't pick this up yesterday - congratulations, you got nothing higher than a C. TOBY Shut up. He signs the grade card, saying, `` Presto.'' ARTHUR You're gon na get caught some day. -LRB- as Toby laughs a moronic laugh. -RRB- You act more like those morons you hang around with every day. Aghhh! I'm psycho! I'm retarded! It's a good imitation of Psycho, and Toby laughs. TOBY He hears you do that, you're dead. Hey, lem me copy your math homework. ARTHUR No, but I'll show you how to work the problems. TOBY I tell you I'm thirsty, you offer me a sandwich thank you and fuck you. ARTHUR Oh, Jack. TOBY Oh, Jaaack! ARTHUR I take it back you do n't act like Psycho, you act like Dwight. TOBY -LRB- new tone. -RRB- I know it. He's winning. I do act like him. I feel like him sometimes. I've got ta get out of this place or I'm a dead one. ARTHUR I know, but you've said that for two years. TOBY I mean it. I may go live with my brother Gregory in Princeton. ARTHUR You mean the brother Gregory in Princeton who never calls you? That brother Gregory? TOBY He wrote me. ARTHUR And he asked you to live with him? TOBY No. But I'm going. Or maybe I could go to a prep school like Gregory did. Like my dad did. ARTHUR What about your grades? And what would you use for money? TOBY I do n't know. Dwight owes me over twelve hundred bucks! If I had n't let him keep my paper route money, I'd be okay. ARTHUR If the dog had n't stopped to pee, he'd have caught the rabbit. Suddenly Toby is angry. He stands up, moves to another seat. TOBY I think Dwight was right about you I think you fight for the pink team. Toby falls into another seat, then, pulls his head back and bangs it against the window. Then does it again, harder.\",\n \"EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON His mood even fouler, Toby toils at his paper route. He throws the papers against the houses with all his might. Suddenly Chuck Bolger's CAR SCREECHES to a stop next to Toby. We hear Psycho's `` Arghhh!'' and Toby climbs into the car.\",\n \"EXT. DERELICT CRUSHER PLANT - NIGHT We see the Concrete silo dimly - lit in the distance. We can read `` Welcome To Concrete'' on it. Toby is leaning against a wall in a large derelict Concrete plant staring at the silo. Behind him is a small campfire where the other guys are slumped around talking. Toby takes a long, angry pull on a bottle of whiskey, then turns around and heads toward them. ARCH Nobody in your family ever even been in a Corvette, let alone owned one. CHUCK You wait and see if I do n't get one. I'm gon na move down to Seattle, get a job at Bendix and drive a ` Vette to work every day. JERRY My uncle can have any car he wants. He makes big bucks as an electrician. ARCH Yeah? How big? JERRY Hundred seventy - five a week, take home. PSYCHO Bullshitter! JERRY Fuck you, it's true. CHUCK Even the supervisors at Bendix do n't make that. JERRY So how are you ever gon na make enough to drive a ` Vette then, fuck - face? The others all laugh at Chuck. Toby has reached the group and stands on the lip of the large wooden platform that they are on and listens while leaning on a large hook. PSYCHO I'm gon na drive a T - bird, someday. CHUCK An' I'm gon na own a Corvette if I have to hold up the Bendix payroll to get it. JERRY Fuck you. ARCH Me. I want to eat a big red - haired pussy. The others all laugh at him. Toby regards them with a sneer. TOBY Losers. What a bunch of losers. CHUCK Who you calling a loser, fuck - face? TOBY All of you. -LRB- to Chuck. -RRB- You're gon na drive a Fairlane just like your daddy does. -LRB- to Psycho. -RRB- How you ever going to drive a Thunderbird when you're a janitor like the rest of your family? -LRB- to Jerry. -RRB- An' you can forget being an electrician, you ca n't even pass tenth grade math. JERRY Well fuck you. Who died an' made you King Shit? PSYCHO Yeah, you're no better than us. TOBY I know that, Psycho. That's my point : Ha, ha, ha. You guys are my buddies. You guys are my pals. And my dear old dad's called Dwight. -LRB- he spreads his arms wide. -RRB- Welcome to Concreeee. Toby topples over and falls down a bank of rubble. The other burst out laughing and hooting. The CAMERA MOVES off them and CRANES DOWN to a spread - eagled Toby's face. The LAUGHTER ECHOES around the building. Toby begins to laugh, but it soon turns to bitter tears.\",\n \"INT. KENNEDY CAMPAIGN OFFICE - DAY Toby enters the small office where Caroline is running hundreds of flyers on a duplicating machine. Surprised she sees Toby's expression. CAROLINE What is it? TOBY I called Gregory at Princeton. -LRB- as Caroline reacts. -RRB- He's sending me applications for prep schools. I need you to take me to Seattle to take some entrance exams. CAROLINE Would a prep school take you with, uh, your school record? TOBY I've got to get out of here, Mom. I've got to. I've got to get away. CAROLINE When are the tests? TOBY Saturday. CAROLINE You'll be there. TOBY He wo n't let you have the Buick. CAROLINE You'll be there!\",\n \"EXT. LAKESIDE SCHOOL IN SEATTLE - DAY Graceful buildings, green lawns, a CARILLON CHIMING. Toby walks toward a large building.\",\n \"INT./EXT. TESTING ROOM - DAY Twenty - three boys and Toby stand waiting restlessly for the tests to begin. Toby looks very different from the other intelligent looking, well - bred boys in his Elvis hairdo. 103A. SAME SCENE - LATER All the boys are taking the test, working hard.\",\n \"INT. DWIGHT'S BUICK - LATE AFTERNOON Caroline turns as Toby gets into the car. CAROLINE How was it? TOBY Hard. I think I did okay. I'll know Monday.\",\n \"INT. DWIGHT AND CAROLINE'S KITCHEN - EVENING Dwight sits at the table, a drink in his hand. Caroline hurriedly prepares dinner. She tosses a milk carton into a brimming waste basket, then speaks to Toby, who enters the room. CAROLINE Take that trash out for me, honey. Toby grabs the trash and exits.\",\n \"EXT. REAR OF DWIGHT AND CAROLINE'S HOUSE - EVENING Toby opens a metal trash can, dumps the trash, puts the lid back on, and then hesitates. He lifts the lid again and peers into the trash can, almost hidden, are the tips of four white envelopes made of heavy, expensive paper. He pulls them up and, though covered with tomato seeds, are undamaged.\",\n \"INT. KITCHEN - EVENING Toby walks in, fans out the four envelopes, speaks to Caroline. TOBY My application forms must've come today, and he threw them away. DWIGHT Hey, I thought I was helping him - thought I'd save him some trouble'cause he's got no chance of getting into some fancy prep school. CAROLINE You've always got your nose pressed up against the bake shop window, do n't you, Dwight? DWIGHT What? CAROLINE You feel like everybody else is inside, and you're stuck on the outside. It turns you mean. It turns you ugly. And one day do you hear me, Dwight? One day all that ugliness is going to snap back and hit you in the face. DWIGHT Ooooooh, oh, I'm so scared. Oooh.\",\n \"INT. TOBY'S BEDROOM - SAME NIGHT Toby has the applications open in front of him. We see the words `` Official Transcript Required'' on one application. On another we see spaces for the ap - plicant to list `` Community Services'' and `` Athletic Achievements'' and `` Foreign Travel'' and `` Languages.'' Toby looks despairingly at the forms.\",\n \"INT. SCHOOL HALLWAY - MORNING Between classes, Toby and Arthur are at a row of lockers. ARTHUR I wo n't do it. TOBY But why? You work right in the office - nobody'll ever know. ARTHUR I'm surprised you'd want help from anybody who fights for the pink team. TOBY I'm asking you to help me, man. I got word yesterday that I did really well on those tests - but that's not enough. I've got to cheat and lie - but I do n't care : this is my one chance to get out of here! ARTHUR No. Why should you get to be the one? Why not me?\",\n \"INT. SCHOOL WORKSHOP - DAY Toby is working with a table saw. Suddenly a two - inch - thick manilla envelope plops down beside him. He looks up to see Arthur standing beside him. Glancing around to see that he's unobserved, he checks the contents of the envelope : we see school stationery, blank transcript forms, and a stack of official envelopes. Toby closes his eyes. He's saved. TOBY You could leave too, you know. ARTHUR No, I've grown progressively fond of Concrete. I think I'll stay here all alone and dress up in my mama's old clothes sometimes - like you said. Arthur turns and swishes away. Toby pats the manilla envelope, turns back to the saw. Suddenly he jerks, looks down, and sees that the ring finger of his left hand is spurting blood. Toby says a mild, astonished `` Hey,'' and sinks to his knees.\",\n \"INT. TYPING LAB - SAME DAY (AFTERNOON) With his hand bandaged Toby sits at a typewriter with a blank transcript. He carefully types `` TOBIAS WOLFF.'' Then, he begins to type the letter `` A'' in every slot for grades.\",\n \"EXT. STREET - EVENING Toby mails five letters.\",\n \"INT. TOBY'S BEDROOM - DAY Toby lies in bed reading the paper. He still holds his hand in the air -LRB- the white bandage is now dingy -RRB-. Caroline appears in the doorway. CAROLINE Come help me stuff envelopes. TOBY I'll do some this afternoon. CAROLINE No, I need to take them with me. TOBY I'll be in in a minute. Let me finish this article. CAROLINE Boy, you irritate me. -LRB- new tone. -RRB- I think maybe you ought to. Yeah - I think maybe you should just. -LRB- hisses. -RRB-. TAKE A LITTLE RIDE WITH DWIGHT. Toby laughs, and gets up to help her.\",\n \"EXT. DWIGHT AND CAROLINE'S HOUSE - EARLY EVENING Toby starts up the sideway, Pearl exits the house with several letters in her hand. PEARL ` You got letters from those schools!' Toby grabs them as if they were the very stuff of life. Pearl stands expectantly. Toby notices her, then walks off holding the letters to his chest.\",\n \"EXT. FIELD - EARLY EVENING Three letters lie crumpled on the ground. Toby sits with his back against a tree trunk. Slowly Toby opens the fourth letter. Another refusal. Toby tosses it onto the ground with the others, leans his head back against the tree trunk, and closes his eyes.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT Dwight, Caroline and Toby read the papers. Caroline notices Toby's sad face. CAROLINE Maybe that last school will come through. DWIGHT Yeah, or maybe he'll get a contract in the mail asking him to be a singing star on T.V. -LRB- on Caroline's look. -RRB- Well, he's got about as much chance of one as of the other. Toby gets up and leaves.\",\n \"EXT. CONCRETE - SAME NIGHT A beauty shop with a tired sign. `` ARLENE'S GOLDEN COMB BEAUTY SALON,'' a beer joint, a pool hall, a woman's clothing store with headless mannequins. Toby surveys the scene, with an expression of despair. Toby catches his reflection in a store window. He stares at himself. TOBY A Concrete boy.\",\n \"INT. A&P GROCERY STORE - EVENING Toby, wearing khakis, a shirt and a tie stands before the store manager. MANAGER We only take boys who really want to work hard. Is that you? -LRB- as Toby nods. -RRB- I'd want you to start evenings now, and I'd want you all summer - no vacations. -LRB- as Toby nods. -RRB- Food service work is n't easy. It's not something that comes to you in a year or two. So. You think you have what it takes to be an A&P management trainee? TOBY -LRB- straight. -RRB- That's exactly what I've got. SAME SCENE - LATER Toby now wears a regulation black bow tie and an apron. An employee is showing him how to price, stamp, and stack canned goods. Toby's face is expressionless.\",\n \"INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON Dwight is listening to a PERRY COMO ALBUM. Caroline and Pearl work on a jigsaw puzzle. Toby enters the kitchen, coming from his paper route. He puts down his paper sack and immediately puts on his black bow tie, preparing to go to the A&P. PEARL I ca n't find where this green piece goes - it's got ta be grass. Dwight sighs with irritation at the interruption of his listening pleasure, and turns UP the VOLUME on the record. CAROLINE -LRB- to Toby. -RRB- Do n't go off without eating. TOBY I'll get a sandwich after work. Exasperated that conversation is continuing when he's trying to listen, Dwight reaches over, presses his hand down on the arm of the record player, then SCRAPES it back and forth on the record. It's a violent action, and it makes a GROTESQUE SOUND. The NEEDLE BOUNCES around on the scarred record. As the three of them stare at him, Dwight speaks calmly : DWIGHT I was trying to listen to a record. Dwight rises, walks outside into the back yard. Then the TELEPHONE RINGS. Pearl answers it, listens, then says, PEARL `` Yeah, he's here,'' She holds the receiver out to Toby, whispering, `` Are you Tobias?'' TOBY Hello? All right. Tomorrow, then. Goodbye. Toby hangs up, turns to Caroline, quietly : TOBY It's Hill School - the last one I applied to. They have n't accepted me, but they're sending somebody up to interview me. Caroline upsets the puzzle getting up to hug Toby.\",\n \"INT. DRUGSTORE - AFTERNOON Toby is sitting in a booth with MR. HOWARD, a man in his late thirties. Toby has made a real attempt to look good. His hair is modified, and he wears a tie and a suit. TOBY Yeah, I enjoy my classes, especially the ones that are advanced, but I've been feeling a little restless lately. It's hard to explain. MR. HOWARD Well, you're probably bored. Not being challenged. Your application was very good, Toby, but we have many boys who want to go to Hill. Not everybody is comfortable at a prep school. TOBY I think I would be. My father and brother went to prep schools. MR. HOWARD Is that right? Where? TOBY Deerfield and Choate. Mr. Howard is impressed. MR. HOWARD I see. Well, maybe you'd like it. Hill was difficult for me, though - classes were hard, and the boys seemed cold - interested in money and social position. -LRB- laughs. -RRB- And I hated those snowy Pennsylvania winters! But then in my last year, something changed. The guys in my class grew close, so close that I still think of them as a second family. TOBY -LRB- honest. -RRB- I want that. I do, and - He stops talking as we hear, O.S., `` AG - H - H - H!'' Psycho and Arch have entered the drugstore. Toby's back is to the door, and he slouches deeper into the booth, praying that he wo n't be seen. Arch and Psycho buy cigarettes. ARCH so she said, ` No, I do n't want you to do that,' and I said ` Oh, baby, let me get down and grovel on it.' I mean, I ate her pussy'til my tongue was calloused, and then. Arch moves toward the back of the store toward the area where Toby sits. Toby inches down a bit farther into the booth. Arch stops at a sunglass rack five feet from Toby and tries on a couple of pairs. ARCH so anyway, she went off like a Roman candle - I mean that woman can scream. I said, ` You liked that, did n't you, baby?' I said, ` You liked the old Arch Cook special, did n't you?' Arch decides to let the sunglasses go. He and Psycho move toward the front of the store, he talks about pussy. Toby exhales. MR. HOWARD Toby, boys at Hill talk roughly sometimes too - you'd have to be ready for that. I can see you've had sort of a sheltered life. Toby nods his head.\",\n \"EXT. DRUGSTORE - AFTERNOON Mr. Howard shakes Toby's hand. MR. HOWARD You seem like a fine boy, and I'll give you a good report tomorrow. But there are lots of boys applying, and we'll just have to wait and see whether - From O.S., we hear Dwight's voice, and Toby goes rigid. DWIGHT -LRB- O.S. -RRB- Ohh, it's the Hotshot Boy. Both Mr. Howard and Toby turn to see Dwight, wearing his coveralls, ten feet away. DWIGHT Yeah, it's the guy who thinks he knows everything. Thinks he's so smart, but fella, what you do n't know would fill a book. -LRB- glances at Mr. Howard's new Chevrolet ; offhand. -RRB- General Motors makes shit cars. Dwight turns and enters the drugstore. TOBY -LRB- weakly. -RRB- That's, uh, that's this guy. he's a mechanic. did some bad work on our car. It's not much of an explanation, but Mr. Howard seems to buy it. He says goodbye to Toby, gets into his car, drives away. Toby stares after him.\",\n \"INT. A & P GROCERY STORE - NIGHT A few weeks have passed. Toby -LRB- his Elvis hairdo further modified -RRB- again prices and stacks food. His face is serious, his manner industrious.\",\n \"INT. DWIGHT AND CAROLINE'S KITCHEN - AFTERNOON Toby walks in ; his Elvis hair disappearing. Pearl, who is boiling hot dogs, turns : PEARL I know something'll make you feel good : that man called - you got the scholarship. Toby grits his teeth and clenches both fists victoriously. He's won. PEARL He said they're gon na give you two thousand three hundred dollars a year and it costs two thousand five hundred dollars. so you got ta come up with the other two hundred. Great, huh? -LRB- sympathetic. -RRB- I'm making hot dogs - I'll make one for you. Can you put mustard on some bread for us? Toby gets a jar of mustard from a cupboard, but it's empty, so he tosses it on top of the trash can, gets a new jar and starts to open it. Dwight enters. PEARL What're you doing home so earl. Oh! Toby he got that scholarship - two thousand and three hundred dollars! Dwight makes himself a drink, takes two large swallows, then turns to Toby. DWIGHT Hey, leopard. I say, ` Hey, leopard.' I know you, leopard - I can see those spots you ca n't change. -LRB- laughs. -RRB- Thinks he can go to some fancy prep school and fool everybody. Not a chance. I know a thing or two about a thing or two. Toby wo n't rise to the bait, and Dwight falls silent, he, looks around and sees the jar of mustard on top of the trash. DWIGHT Who threw that away? TOBY I did. DWIGHT Why? TOBY Because it was empty. Dwight retrieves the bottle. There are a few streaks of mustard under the neck of the bottle. He holds it close to Toby's face. DWIGHT Empty? That look empty to you? PEARL It looks empty to me. TOBY It looks empty to me, too. Dwight pushes the jar against Toby's eye, leaving mustard stains on the boy's face. DWIGHT Look again, hotshot. Is it empty? Toby jerks his head away, not answering. Dwight slams down the jar of mustard, grabs Toby by the back of the hair and forces his face down against the mustard jar. PEARL Dad! DWIGHT -LRB- to Toby. -RRB- Now. Now, Mr. Big - Time Prep - School fucker, is it empty? Toby struggles, but Dwight has the strength of anger : trying always to protect his throbbing finger, Toby pulls free and jumps up from the table. Dwight is too quick for Toby, though : he grabs an even bigger handful of hair and forces Toby's face down onto the mustard jar again and again. And again. Each time he asks if the jar is empty. Finally, Toby gives up. TOBY -LRB- muffled. -RRB- No, it was n't empty. DWIGHT -LRB- lets him go. -RRB- All right - clean it out. His face smeared with mustard, Toby's expression is murderous. He picks up a knife and scrapes at the mus - tard, trying to get up under the neck. He manages to get a few brown and yellow smudges on the knife, which he transfers to the edge of a plate. Dwight watches. DWIGHT Now. Was it empty? Slowly he stands up and faces Dwight. TOBY Yes! Dwight slaps Toby across the mouth and the battle is on. As Pearl stands frozen, Toby lunges at Dwight, they grapple and stagger around the room. GLASS SHATTERS, the kitchen table CRASHES over, and their feet STAMP and SHUFFLE but Toby is a wild man. Even though he has only one good hand. He lands a blow between Dwight's eyes that bangs the man back against the wall. Dwight grabs the pan with the hot water from the hotdogs, flings it at Toby. Most of it misses. Again they grapple. Toby manages to throw Dwight down, then grabs a broom that has fallen to the floor, presses it against Dwight's throat, using his good hand and one knee. Dwight's mouth gapes wide, his eyes bulge, and he jerks himself frantically trying to dislodge Toby, but Toby hangs on like grim death. Desperate, Dwight grabs Toby's bandaged hand, bringing it close to his own face, and bites the stump of Toby's injured finger as hard as he can. Toby and Pearl scream simultaneously. Pearl in horror, Toby in pain. Pearl runs into her bedroom. Toby reels back in pain, holding his freshly - bleeding hand. Dwight takes his chance, grabs Toby by the throat, forces him down onto the floor and begins to choke the boy. Toby's eyelids begin to flutter. He's losing consciousness. WHAM! From out of nowhere a baseball bat hits Dwight flat across the shoulder blades, knocking the breath out of him, stunning him momentarily. As he looks up, we see Caroline, one of the baseball bats from the utility porch drawn back, aimed at Dwight's head, ready to strike again. CAROLINE -LRB- level. -RRB- Get away from him or I will kill you. Toby manages to stand up, Caroline speaks to both of them. CAROLINE What is this? TOBY I got the scholarship and he went nuts. He's crazy, and I'm leaving. -LRB- screams it. -RRB- I'm leaving! DWIGHT Great. Go! TOBY Give me my paper route money, and you'll never have to see my face again. DWIGHT -LRB- manages a smile. -RRB- That money is gone with the wind. -LRB- as Toby stares. -RRB- That's right. I spent it as you made it. It's gone. Poof. Toby starts for Dwight again. Caroline grabs him, saying, `` No. No. No,'' over and over, literally dragging Toby away from Dwight. Caroline looks at Dwight. CAROLINE It's not so much that you're disappointing - it's that you're consistently disappointing. DWIGHT Oh, fancy, fancy talk - fancy talk for a whore. I know a thing or two about a thing or two. I got friends in this town that tell me things, and I found out some man down at that campaign headquarters found you a job in Washington, D.C. Gon na run off with him, are n't you, Miss Whore? CAROLINE He's just a friend. DWIGHT Miss Liar. Miss Whore Liar. TOBY I'm leaving, Mom. You can leave, too. You do n't have to stay here. Caroline takes three full beats and then her face changes. She speaks wonderingly : CAROLINE I do n't, do I? TOBY No, you do n't. CAROLINE I could leave with you, could n't I? TOBY Yes, you could! DWIGHT What about me? CAROLINE I could just walk right out that door, could n't I? TOBY Yes, you could! Caroline takes a deep breath, a weight has been lifted. CAROLINE My God. the lightness. DWIGHT What about me? CAROLINE I'm leaving, too. DWIGHT No. CAROLINE Oh, Dwight, why do you want me to stay? You do n't even like me, not really. DWIGHT You're not leaving! CAROLINE -LRB- gentle. -RRB- Look again, Dwight - I'm already gone. Dwight makes a terrible noise of frustration and rage, doubles his fists, and starts toward Caroline. Immediately Toby grabs the baseball bat and holds it out, ready to strike, as the two begin to back toward the door. DWIGHT you two've always sided in against me, always thought you were better than me. I tried. I did the best I could. What about me? Am I supposed to just crawl off in a ditch someplace and die? I've always been the nigger. Everybody's nigger. Ever since I was little. Caroline and Toby are at the door, run across the yard and down the street. Dwight stands in the doorway, yelling : DWIGHT What about me? When is it ever Dwight's turn for some consideration? What about me? I'll tell you one thing - you'll remember me!\",\n \"EXT. FIELD - MINUTES LATER Caroline and Toby slow to a walk after running, laughing, and catch their breaths. CAROLINE Man, oh man. TOBY Man, oh man, oh man. CAROLINE Well, we're out. TOBY Great, is n't it? CAROLINE Yes. It's great. And you got the scholarship! Congratulations, honey. TOBY Yeah, I'm out! I'm outta here! Maybe I'll crash and burn, but it's a chance, so I'm gone! I'm history, Histoire. Nobody's gon na tell me what to do now, nobody. I'm free as a bird. Sayonara nest. -LRB- yells it ; really bawls it out. -RRB- Heaven on a June day! Caroline's smile becomes fixed during Toby's speech and she begins to regard him oddly. CAROLINE -LRB- weakly. -RRB- Yeah, heaven on a June day. TOBY What'd he say about you having a job in D.C? CAROLINE Oh, Helen found me something in a real estate office, but. TOBY So now you can go! Oh. Oh! I am so damn glad to get out of this place! I'll be in ` fourth form.' Does n't that sound great? And if you get a two - bedroom place in D.C., I can come for vacations and summers. I'm out. I'm out! Caroline's eyes well up, and she lights a cigarette. TOBY -LRB- notices she's upset. -RRB- What? Oh, do n't cry - he's not worth it. As sad as she is, Caroline smiles. TOBY She holds Toby at arm's length and studies him. CAROLINE My you've grown, have n't you. Then clutches him to her fiercely. Smiling, the two walk on through the sunny afternoon, singing softly to each other.\",\n \"EXT. BUS STATION - DAY Caroline and Toby stand next to a bus as the driver STARTS the ENGINE. She is close to tears. CAROLINE Are you sure you'll be all right? TOBY -LRB- nice. -RRB- Get on the bus. CAROLINE -LRB- stuffing bills into his pocket. -RRB- I borrowed money from everybody I know - it's the two hundred you need for the tuition, and an extra fifty. Buy yourself a blazer. Oh, God. I'll miss you. I'll write you. You sure your hand's okay? TOBY Get on the bus, Mom. Caroline puts her arms around Toby, kisses his cheek hard, then whispers something into his ear. When Toby speaks, his words are full of love : TOBY I know that, Mom. I've always known that. Caroline gets onto the bus, the DOORS CLOSE, WHOOSH and the bus pulls away. We see Caroline's face at a window. As the bus recedes, Toby turns and walks in another direction. His face is shining, incandescent with happiness. He breaks into a wide grin. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"In the 1950s, nomadic and flaky Caroline Wolff wants to settle down and find a decent man to provide a better home for herself and her teen-aged son, Tobias \"Toby\" Wolff. She moves to Seattle, Washington and meets Dwight Hansen, a man who seemingly meets her goals. However, Dwight's true personality is soon revealed as being emotionally, verbally, and physically abusive to Toby while Caroline is away for a few weeks. The marriage proceeds, and Caroline and Toby move into Dwight's home in Concrete, a small town near the north Cascades Mountains. Dwight's domineering personality is soon apparent, but Caroline remains with him, enduring several years of a dysfunctional relationship. During this time, Toby befriends a classmate named Arthur Gayle, a misfit at school and ambiguously gay. Toby wants to leave Concrete and live with his older brother, Gregory, (who lives on the East Coast with their father). Toby plans to apply for scholarships at East Coast prep schools by submitting falsified school records. Meanwhile, Arthur and Toby's friendship becomes strained when Arthur accuses Toby of behaving more like Dwight. Arthur helps Toby to falsify his grade records. After numerous rejections, Toby is accepted by The Hill School in Pottstown, Pennsylvania near Philadelphia with a full scholarship. Later, Caroline defends Toby from Dwight during a physically violent argument; they both leave Dwight and the town of Concrete. (Note: The real Dwight died in 1992. Caroline (Rosemary Wolff) remarried and moved to Florida. Arthur Gayle left Concrete and became a successful businessman in Italy. Dwight's children all married and lived in Seattle. Toby and his brother Geoffrey both became noted writers.)"},"name":{"kind":"string","value":"This_Boys_Life_(film)"}}},{"rowIdx":152,"cells":{"scenes":{"kind":"list like","value":["EXT. PENNSYLVANIA STEEL MILL - LIGHT SNOW - DAY The plant is massive, grime - streaked, squatting in the valley under five massive stacks, each one trailing a black ribbon across the winter sky. Fires can be seen flickering through the windows and long flames weave and dance from the tops of guyed metal flues. Steam rises in clouds from vents and chimneys and the sound of it all - the hissing, the clanging, the rumbling, the shrieking - comes faintly, muted by the falling snow. In the foreground is a street - COLUMBINE STREET - which inhabits the bottom of a narrow ravine and plunges directly down the hillside, straight at the mill. Columbine is a sad looking street, a grim - looking street, a street hanging on by the skin of its teeth. Dilapidated stores hug the narrow sidewalks. Battered signs squeak in the wind. Sandwiched between the stores and scattered on twisting roads along the hillside are narrow Victorian houses. These houses, which run to three stories or more in height, all seem on the verge of toppling over, and undoubtedly would, except that they are all connected one to another by a mad arrangement of utility lines which cross and re - cross between them with occasional aid from a leaning pole. MUSIC COMES UP - dissonant, rather frightening music - as we watch a car come charging up through the slush on Columbine Street. As it nears CAMERA the car falters on the slippery grade and slides out of sight. A figure appears, huddled against the driving snow. The figure disappears AS CAMERA HOLDS ON THE STEEL MILL AT THE END OF THE EMPTY STREET. THE DEER HUNTER","INT. STEEL MILL - DAY A white - hot ingot shoots out of an ejecting mechanism and comes ripping down a track. Another ingot follows it, and another and another and another. The ingots are huge, trembling with heat, and they come on with a terrifying rumble. CREDITS ROLL UNDER CREDITS we see STEELWORKERS catching the ingots with tongs and deftly swinging them into troughs. The STEELWORKERS wear leather aprons and are stripped to the waist. Warped in heat waves and glistening with sweat they seem like figures in some hellish ballet. Since they all wear goggles it is hard to distinguish between them, but there are three, who are young, who seem to work with particular grace. These are NICK, SAL and MERLE. CREDITS END. CAMERA CLOSES ON NICK, SAL AND MERLE. The noise is deafening, the heat is unbelievable and the ingots come on with murderous speed. Taking advantage of a slight pause MERLE jabs NICK and they both make cuckold's horns at SAL. SAL blushes and waves them off with his hand. MERLE and NICK make the horns again and now SAL puts both hands on his hips, gives a thin smile and studies the corner of the shed. MERLE and NICK begin laughing. SAL ca n't hold out and he starts laughing too, but now the ingots begin roaring down the track again and they all grab their tongs.","INT. GREEK ORTHODOX CHURCH - ALTAR - DAY A very old PRIEST is making preparations for a wedding ceremony. SAL'S MOTHER hovers around him as he unlocks a cabinet and takes out white tapers and a golden crown which will be used in the service. The PRIEST moves with agonizing slowness and SAL's MOTHER is in the midst of a bad case of nerves. SAL'S MOTHER It's all ready? Everything's ready? PRIEST Yes. SAL'S MOTHER Are you sure everything's ready? Are you positive? PRIEST Everything. Yes. SAL'S MOTHER It would snow. Everything's going to slip. Everything's going to slide. All the cars are going to crash! SAL'S MOTHER puts her hand to her mouth and bursts into tears. SAL'S MOTHER -LRB- CONT'D. -RRB- I ca n't believe this. My own little boy. with a stranger! The PRIEST smiles. He takes SAL'S MOTHER in his arms and comforts her.","EXT. COLUMBINE STREET - DAY Another car lunges up the hill, gets about halfway and slides back. As the car disappears, the door to one of the houses bursts open and a group of giggling BRIDESMAIDS begin scampering across the street. They have all been working on their dresses, which are not completely finished, and they all carry ribbons and scissors and pieces of material. As they make their way to the other side of the street they all wave away the snowflakes and grab each other for support. One of the BRIDESMAIDS loses her dress entirely and with everyone laughing she rushes back to retrieve it in her slip. When the garment is repossessed a door comes open and the BRIDESMAIDS disappear inside. CAMERA HOLDS ON COLUMBINE STREET. The snow slants across the little stores and piles on the gables of the tipsy little houses. Another car appears, lunges at the hill and slides back. Suddenly the door to the bakery comes open and a group of OLDER WOMEN emerge carrying a huge wedding cake with a miniature bride and groom standing on the top. The WOMEN are all in their fifties and bundled in boots and dark overcoats. They begin moving slowly up the street, in the driving snow, with the great white cake held firmly between them.","INT. STEEL MILL - ENTRY AREA - DAY The time clocks are lined against both walls. As a whistle screams to mark the end of the shift thousands of men begin checking out. NICK, SAL and MERLE are right up in the front ranks and once they have clocked their cards they gather together along the wall. NICK Where's Vince? SAL There's Albert! -LRB- calls. -RRB- Hey, Albert! ALBERT - six and a half feet tall and built like an ox - changes course and plows across the river of homeward - bound STEELWORKERS. ALBERT How you feelin', Sal? SAL I feel okay. ALBERT Feeling hot? NICK -LRB- arm around SAL. -RRB- Humper's ready. Old humper's hotter'n damn hell! MERLE There's Vince! OTHERS -LRB- calling. -RRB- Vince! Over here! Vince! MERLE Get him, Albert. Get Vince! ALBERT I'll get him. ALBERT wades back into the stream of STEELWORKERS, grabs VINCE and they all push out together.","EXT. STEEL MILL - PARKING LOT - DAY The snow is still falling. It covers the ground. It covers the acres of parked cars. It swirls and tosses and blows. As the five friends come bursting out of a side exit they all stop dead in their tracks. VINCE Snow. Holy shit, snow! SAL gives a look at the others. Something is going on. VINCE is so excited he begins hopping around. VINCE -LRB- CONT'D. -RRB- Do you know what this means? Do you guys realize exactly what this means? They all know. They all know damn well. MERLE and NICK exchange looks. ALBERT chortles. SAL What are you guys? Are you guys going hunting? The others nod, shrug, shuffle their feet. They are all a little embarrassed. SAL -LRB- CONT'D. -RRB- Not tonight? You're not driving up tonight? NICK As soon as you're hitched, Sal. First we get you hitched. SAL -LRB- envious. -RRB- You guys are crazy. You know that? I mean you guys are really nuts. VINCE He's getting married. and we're nuts! NICK -LRB- puts his arm around SAL. -RRB- It's all right. Hey, it's all right. We'll be right here, right with you. A look at the others. NICK -LRB- CONT'D. -RRB- Wo n't we? Right? Am I right? MERLE Right. ALBERT Damn right! VINCE What do you think, Sal? Jesus, you think we'd miss this? Now SAL is embarrassed. He makes a gesture with his hand. NICK -LRB- with a laugh. -RRB- C'mon. C'mon you guys! They all start into the swirling snow. NICK with an arm around SAL. VINCE And we want you to know, Sal, that any help you might need - ALBERT Yeah, Sal - MERLE Willing fingers - ALBERT Extra feet!","INT. V.F.W. POST - DAY The place is large and drafty and rundown. A huge American flag hangs from the middle of the ceiling. Under it WOMEN are laying white table cloths on trestle tables. Off to one side a half dozen OLD MEN wearing VFW hats are Scotch - taping paper ribbons to the brick wall. Two OLD MEN are on stepladders, two more are bracing the ladders and the operation is under the direction of a pair of World War I VETS standing side by side. Their hands tremble. Their four eyes loom huge behind corrective lenses. VET 1 Up I would say. What would you say? VET 2 Up. VET 1 -LRB- signals. -RRB- Up ribbon! One end of the ribbon is moved up. The two VETS study it. VET 2 Down I would say. What would you say? VET 1 Down. VET 2 -LRB- signals. -RRB- Down ribbon! Suddenly there is a commotion. The WOMEN who are setting up the tables all rush to the door as the OLDER WOMEN come in with the wedding cake. The OLDER WOMEN look half - frozen and as they move toward a table the cake receives a great chorus of Uhh's and Ahh's. Suddenly one of the OLDER WOMEN collapses. Friends rush to her aid, seat her in a chair and give her wine. The WOMAN takes the glass, tosses it off in one swallow and grins. EVERYONE laughs.","EXT. COLUMBINE STREET - BOTTOM OF HILL - DAY A big, battered old shark - finned black Cadillac approaches, coming fast.","INT. CADILLAC - DAY NICK, SAL, MERLE, VINCE and ALBERT are all laughing. NICK is at the wheel. VINCE Hit it, Nick! OTHERS Go Nick! Hit it, baby!","EXT. COLUMBINE STREET - DAY The car bangs over potholes and slams into the grade. We watch as it reaches the half - way point, then the three quarter mark.","INT. CADILLAC - DAY NICK bends forward over the wheel, peering out through the slapping wipers. GUYS IN THE CAR -LRB- chanting. -RRB- Do it, Nick! Do it! Go Nick, Go! Do it! Do it, Nick! Go! The car fishtails, loses speed. to a creep. NICK Back! All hands to the rear! ALBERT and MERLE, who are sitting in front, immediately throw themselves into the back seat on top of SAL and VINCE. GUYS IN BACK SEAT Easy. ` At's it, easy! Easy, Nick. Easy!","EXT. COLUMBINE STREET - TOP OF HILL - DAY The Cadillac inches up the last ten feet, gains level ground and skids to a stop. From inside comes a MUTED CHEER.","INT. BRIDE'S HOUSE - BEDROOM - DAY ANGELA is dressed in her white bridal gown and veil. She is plump, pretty, with a solemn, round face and big brown eyes. ANGELA leans forward into a mirror. ANGELA -LRB- sincerely. -RRB- I do. A pause. ANGELA scowls and tries it again. ANGELA -LRB- CONT'D. -RRB- -LRB- heartfelt. -RRB- I do. ANGELA tries it a few more times. It sounds worse and worse. ANGELA -LRB- CONT'D. -RRB- I do, I do, I do! ANGELA stares at herself. Now she looks desperate and unrelievedly forlorn. Bursting into tears she throws herself on the bed. Someone has slipped a photograph under the pillow. The photograph is face down and as ANGELA pulls it out she sees that something is written on the back : ANGELA -LRB- CONT'D. -RRB- -LRB- reading, slow. -RRB- `` This is it - more or less. Love, Mom.'' ANGELA frowns, turns the photograph over. It is a picture of Michaelangelo's `` David''. ANGELA stares at the figure for a long, long moment. ANGELA -LRB- CONT'D. -RRB- Oh, wow.","INT. JOHN'S BAR - DAY The place is packed with boisterous STEELWORKERS drinking boilermakers. Deerheads are mounted in a long row over the bar, and hand - painted murals decorate the walls. The murals depict hunting scenes and display an eerie tone - at once comical and frightening - as if the animals held some secret from the hunters, some power beyond their own. JOHN bangs out from behind the bar with a tray of beer. At the same moment SAL comes in with NICK, MERLE, ALBERT and VINCE. JOHN, who is a great bear of a youth, puts down his tray, wraps his arms around SAL and begins jumping him around the floor, grinning ear to ear. The STEELWORKERS turn, desert their places and swarm around SAL, joking and shouting congratulations.","INT. LINDA'S HOUSE - KITCHEN - DAY LINDA is thin - a skinny slip of a thing with a hauntingly lovely face. Wearing her bridesmaid's dress she stands alone in the kitchen, staring at the ceiling. Thumping noises are coming from the room above. The thumping gets louder. There is a crash, then another crash, as if furniture were being thrown around. A MAN'S VOICE begins cursing and there is more thumping and crashing. Suddenly there is a thud. and then silence. LINDA bites her lip. She crosses to the stove, ladles stew into a bowl, butters bread, pours a cup of tea and puts it all on a tray.","INT. LINDA'S HOUSE - FATHER'S BEDROOM - DAY The room is a wreck of broken furniture. Chairs are turned over, lamps are smashed and the pictures hang cockeyed on the wall. In the middle of the room, face down on the floor, is LINDA'S FATHER. His coat is torn, one shoe is missing and he holds a half - empty bottle in his hand. Behind him, through the open window, snow is blowing in. LINDA comes in with the tray. She stands for a moment expressionless, looking down at her father. Then she sets the tray on the bureau and kneels beside him. LINDA Daddy? FATHER -LRB- mumbles. -RRB- Go. fucking hell! LINDA reaches down, takes her FATHER by the shoulder and rolls him over. It takes some effort and the face that comes up is gray, unshaven and implacably bitter. Saliva dribbles from his mouth, there is a cut with the stitches still in it seaming his forehead and as LINDA looks at him he begins cursing again. FATHER -LRB- CONT'D. -RRB- Fucking shit. all around, like a sea! Like an ocean! LINDA gets up and closes the window. She comes back, gets down on the floor beside her father and pushes him toward the bed. Then, hiking up her bridesmaid's dress, she takes him by the shoulders again and heaves him onto the coverlet. The effort is almost too much for her. Tears begin to burn in her eyes, but when he slips back she tries again. The father groans, begins to mumble, and then, when she almost has him on the bed, he suddenly lifts his hand, catches her full in the face and pushes her violently across the room. LINDA crashes backwards over a fallen chair and smashes into the wall. As she gets to her feet her father advances on her. FATHER -LRB- CONT'D. -RRB- Fucking bitch. All bitches! He swings, catches her in the face again, hard. LINDA Daddy! Daddy, it's me! FATHER Hate'em. Fucking bitches! LINDA'S FATHER swings at her again, loses his balance and falls on the floor. LINDA stands looking at him, holding her jaw. She is crying. Tears are streaming down her face.","EXT. COLUMBINE STREET - TOP OF HILL - DAY Seven MUSICIANS, carrying their instruments, file silently through the falling snow.","EXT. ALLEY BEHIND JOHN'S BAR - DAY The WOMEN are all gathered, some fifteen or twenty, ranging from grandmothers to young wives. About half of them wield rolling pins or heavy pans. As the last reinforcements arrive - TWO HEFTY LADIES WITH TRUNCHEONS - a roar of laughter comes from inside.","INT. JOHN'S BAR - DAY NICK, SAL, MERLE, VINCE, ALBERT and JOHN are dancing. The MUSIC is at top volume and the smoke is thick enough to cut with a knife. Suddenly, from the back, comes a CHORUS OF SCREECHES AND FEMALE RECRIMINATIONS. The door to the alley bursts open and the HEFTY LADIES WITH TRUNCHEONS appear. The STEELWORKERS take one look, gulp their drinks, grab their heads in their hands and rush for the front door.","EXT. JOHN'S BAR - FRONT ENTRANCE - DAY The STEELWORKERS stream into the snow with the WOMEN close behind. Several blows are delivered and the howls of complaint are met with angry commands to hurry and get dressed for Sal's wedding. CAMERA CLOSES ON SAL, who emerges with NICK and MERLE. The snow hits him a sobering blow and he comes to a stop. SAL Boy, this is it. This is really it. I mean. here I go. SAL'S MOTHER hurries out of the alley. She is crying. SAL'S MOTHER My beautiful boy! My angel. who is leaving his own mother. She throws herself in SAL's arms, sobbing. SAL Momma. SAL'S MOTHER So cold is your heart to leave your own mother? SAL Momma, I'll be right upstairs. SAL throws a look to NICK and MERLE. They gesture with sympathy and study the snow flakes. SAL'S MOTHER So cruel is your heart? Is your heart so uncaring? SAL -LRB- a litany now. -RRB- One flight, Momma. It's one flight.","EXT. NICK'S TRAILER - DAY The trailer is a dented two - tone pink and cream job which looks as if it had been purchased third - hand off a construction site. It stands on cinder blocks in a small lot which has been cut out of the side of the hill. A wrecked school bus decorates it to the right. On the left is a bare branched tree. NICK's black Cadillac is parked in front and a light shows from inside the trailer. CAMERA PICKS UP MERLE who is strolling toward the trailer whistling through his teeth. He is wearing his tuxedo and carries a knapsack and a deer rifle. He mounts the cinder block steps and pounds on the trailer door. NICK opens the door and waves him in.","INT. NICK'S TRAILER - DAY The place is cramped, littered with camping paraphernalia. A deer head is mounted above the sink and NICK, who is half into his tuxedo, is applying waterproofing to a pair of heavy boots. MERLE smiles, throws his kit on the stove and sits. MERLE -LRB- indicates the waterproofing. -RRB- You should have put that on last night. NICK I know. MERLE That way it sets. NICK Yeah. Pause. MERLE I just wait. You know? NICK Huh? MERLE I just wait. For this. It's what I wait for. I wait all year. NICK So do I. MERLE -LRB- sharp. -RRB- You do? NICK -LRB- nods. -RRB- Yeah. NICK grins, takes down his rifle and begins wiping the oil off it. MERLE You think about it? NICK Yeah. MERLE So do I. -LRB- watches Nick for a minute. -RRB- I want to be ready. You have to be ready. It has to be there, in your mind. NICK The shot? MERLE Fucking A. NICK I do n't think about the shot that much. MERLE -LRB- firmly. -RRB- You have to think about the shot. It's the shot. The shot's it. NICK -LRB- uncertain. -RRB- Yeah. I guess. MERLE -LRB- studies him. -RRB- What do you think about? NICK I do n't know. I guess I think about the deer. Being out, maybe. I do n't know. I think about it all. Hell, I like the trees, you know? I like the ways the trees are, all the different ways the trees are too. MERLE -LRB- with a glance to the window. -RRB- I'll tell you something, Nick. I would n't hunt with anyone but you. I wo n't hunt with a yo - yo. NICK -LRB- laughs. -RRB- Yo - yo! Who's a yo - yo? MERLE Who's a yo - yo? Who do you think's a yo - yo! They're all yo yo's. I mean they're all great guys, for Christ's sake, but. The point is, Nick, without you I'd hunt alone. Seriously. I would. That's what I'd do. NICK -LRB- laughs. -RRB- You're a fucking nut. You know that, Merle? You're a fucking maniac! MERLE Yeah. -LRB- he grins. -RRB- When it comes to hunting, that's true. Cursing and banging from outside. NICK opens the door. JOHN and ALBERT, both in tuxedoes and loaded down with gear, are pounding on the trunk of the Cadillac, trying to get it open. NICK and MERLE go out.","EXT. NICK'S TRAILER - DAY NICK Albert! For Christ's sake. John! Wait a minute, you guys! ALBERT It wo n't open. NICK You got ta hit it here. Here, Albert, not there. ALBERT Where should I hit it? Just show me where I should hit it. NICK Here. Hit it here. ALBERT hits the trunk in the indicated spot and the lid snaps open. ALBERT Hey, that's neat. NICK nods. ALBERT -LRB- CONT'D. -RRB- That's new, is n't it? NICK Couple of weeks. Listen - ALBERT I love this car. Some cars sit, you know? This car, a car like this. grows. I mean you never know, with a car like this, where this car has been. VINCE comes up, also in tuxedo, and dragging a totally disorganized clutter of hunting gear behind him. VINCE Hey, guys. JOHN Shhh! Albert's gon na hump the Coup de Ville. ALBERT looks around at his friends. He surveys the back end of the Cadillac with simian pride. Then he expands his chest, thumps on it with both fists and yodels out a magnificent, mile - carrying Tarzan call. As the echo of it comes back the church bell begins ringing down the street and a group of excited BRIDESMAIDS come, hurrying up. BRIDESMAID 1 Albert, what are you doing! BRIDESMAID 2 Hurry up, you guys! BRIDESMAID 3 Who's got their carnations? BRIDESMAID 4 Here. They're right here. BRIDESMAID 1 Look at you! You're all a mess! BRIDESMAID 3 Put on their carnations! BRIDESMAID 1 Who's got a pin? As the BRIDESMAIDS begin straightening ties and putting on carnations, NICK hears someone call his name. He turns to find LINDA standing beside the trailer where she ca n't be seen. She looks pale and very frightened and she holds a small suitcase in her hand. NICK -LRB- crosses. -RRB- Linda. LINDA Hi. -LRB- forces a smile. -RRB- Nick, your shoes are soaking. NICK Linda, what's the matter? LINDA -LRB- tries to toss it off. -RRB- Oh. You know. She fights against it but the tears begin to come. NICK looks around, pulls her inside the trailer.","INT. NICK'S TRAILER - DAY NICK clears a place on the couch. LINDA sits, holding her suitcase in her lap. LINDA -LRB- with great effort. -RRB- I was just wondering. Nick. You're going hunting. If I could use this place to stay, because. NICK Sure. Are you kidding? Sure. LINDA I'd want to pay you. and I was thinking - NICK -LRB- kneels in front of her. -RRB- Linda. Hey, Linda. LINDA I would want to pay you, Nick. and I was thinking - NICK Linda, Linda! LINDA -LRB- very small, looking into his eyes. -RRB- What? NICK Will you marry me? LINDA -LRB- after a long, long moment. -RRB- Okay. NICK Would you? LINDA nods - a solemn nod. NICK -LRB- CONT'D. -RRB- You would? LINDA's lip begins to tremble. Tears stand in her eyes and she gives a little toss of her head. LINDA Who else, dummy? NICK stares at her. He can still hardly believe it. NICK This is terrific! This is really terrific! LINDA nods. She is suddenly excited, suddenly radiantly happy. She takes the suitcase off her lap and throws herself in NICK's arms. NICK -LRB- CONT'D. -RRB- I do n't know what we've been waiting for! LINDA -LRB- eyes closed, loving him. -RRB- I do n't know! I do n't know either!","INT. GREEK ORTHODOX CHURCH - NIGHT SAL and ANGELA stand facing each other as the PRIEST reads the Holy Sacrament of Marriage. PRIEST `` Blessed be the Kingdom. now and forever unto Ages and Ages. As the PRIEST continues with the Holy Sacrament CAMERA PICKS UP FACES IN THE CONGREGATION. We see SAL'S FAMILY. We see ANGELA'S FAMILY. We see the VETS from the V.F.W. Post. We see the STEELWORKERS from the bar and the WIVES and MOTHERS who chased them home to change. They are hard faces - working class faces - but we sense a fortitude among the congregation, a community of both heart and spirit. CAMERA PICKS UP NICK, MERLE, VINCE, ALBERT and JOHN standing in a row opposite the BRIDESMAIDS. The guys all look slightly disheveled. Their tuxedos are all too small and their shoes are soaking wet from walking in the snow. NICK catches LINDA's eye and they hold each other across the intervening space like two children who are amazed. The PRIEST hands white tapers to the bride and groom. CAMERA CLOSES SLOWLY ON THE PRIEST. The man is impressive - gentle yet full of power. The PRIEST lights the tapers - first ANGELA's, then SAL's - and looks out across the assembled congregation. PRIEST `` For everyone that does evil hates the light, and does not come to the light, lest his deeds will be reproved.''","EXT. COLUMBINE STREET - TOP OF THE HILL - NIGHT Save for a lone figure trudging home, the street is deserted, left to the gently falling snow. In the background the massive silhouette of the steel mill is plainly visible, lit with fire.","INT. GREEK ORTHODOX CHURCH - NIGHT NICK, MERLE, VINCE, ALBERT and JOHN join with the BRIDESMAIDS to assist the PRIEST in the crowning of SAL and ANGELA. The PRIEST crowns SAL first. PRIEST `` The servant of God, Sal, is crowned for the servant of God Angela, in the Name of the Father and of the Son and of the Holy Ghost. Amen.'' Now ANGELA is crowned. PRIEST -LRB- CONT'D. -RRB- `` The servant of God, Angela, is crowned for the servant of God, Sal, in the Name of the Father and of the Son and of the Holy Ghost. Amen.'' Guiding the couple by their joined hands the PRIEST leads SAL and ANGELA around the analoy. The movement is very precise, very formal, a circling to represent eternity.","INT. V.F.W. POST - DANCE FLOOR - NIGHT The Band is going full blast and the whirling COUPLES, young and old, are laughing. We see SAL and ANGELA, NICK and LINDA, VINCE, ALBERT and JOHN. The only one of the group not dancing is MERLE. MERLE is drinking, standing alone on the side of the floor chugging beer in tense, rapid - fire gulps. We sense immediately that he feels out of place, at a loss to join spontaneously in the spirit of the party. MERLE finishes the beer, crumples the can and starts on another. As he picks up the second can he notices that a SAD - LOOKING GIRL is sitting against the wall behind him, waiting for someone to ask her to dance. The SAD LOOKING GIRL gives MERLE a smile. MERLE pretends not to see and moves behind a post.","INT. V.F.W. POST - TRESTLE TABLES - NIGHT The wedding cake that was carried in earlier has now been attacked from all sides, but the miniature bride and groom are still standing in the middle. Unnoticed by each other SAL'S MOTHER and ANGELA'S MOTHER eye the little figures. Both women are in rather teary condition and begin moving toward the cake. Suddenly, as the CROWD shifts, they encounter each other face to face. Smiles are exchanged - strained smiles, which get stretched and stretched and stretched. Then, in unison, they desert the smiling and remove their respective offspring from the cake. SAL'S MOTHER looks down at her sugar coated groom and ANGELA'S MOTHER looks down at her sugar coated bride. Then they eye each other, burst into tears and throw themselves in each other's arms, moaning and sobbing.","INT. V.F.W. POST - COAT ROOM - NIGHT Another COUPLE tries to enter the rack. It is pretty full. They finally find an empty place and squeeze in.","INT. V.F.W. POST - DANCE FLOOR - NIGHT NICK comes off the floor with LINDA and throws an arm around MERLE. NICK Sit with Linda, man, will ya? Give her a beer. -LRB- to Linda with great solicitude. -RRB- Would you like a beer? LINDA -LRB- puzzled. -RRB- Sure. NICK What kind of beer would you like? LINDA -LRB- laughing. -RRB- I do n't know. NICK -LRB- to Merle. -RRB- Give her Miller's. Miller's High Life. NICK takes off. LINDA sits down at a table and MERLE goes to the cooler to get a Miller's. He gropes around in the tub, finds one and pops the tab. Suddenly he notices that NICK has crossed to the SAD - LOOKING GIRL by the wall. He has stopped in front of her and is asking her something. The SAD - LOOKING GIRL gives a blush, gets out of her chair and NICK takes her in his arms and begins to dance. The SAD - LOOKING GIRL looks transformed. She begins chattering and laughing. MERLE crosses back to LINDA and gives her the beer. As he pulls up a chair to sit down beside her he stumbles and nearly loses his balance. He is very drunk. MERLE Sorry. LINDA -LRB- laughs. -RRB- It's okay, Merle. NICK swings by with the SAD - LOOKING GIRL and waves. MERLE -LRB- catching Linda's expression. -RRB- I guess you like Nick. LINDA -LRB- nods. -RRB- Yes. MERLE does n't say anything for a moment. He seems to be trying to contain a floodtide of emotion. MERLE Fuckin' Nick. -LRB- clears his throat. -RRB- Fuckin' Nick. gives. -LRB- he nods, bangs his fist on the table. -RRB- Gives. Fuckin' Nick gives.","INT. V.F.W. POST - COATROOM - NIGHT The rack is still jammed with COUPLES but the laughing and giggling has now given way to the sound of heavy breathing and low moans. What light there is comes from the colored glass ball revolving above the dance floor, where the MUSIC is now playing sweet and low. The front door comes open and a U.S. Army SERGEANT steps into the darkened hallway. The man wears his dress green uniform. On his chest is a row of battle ribbons and his shoes are brightly polished. SERGEANT Pow! The SERGEANT gives a beery chuckle and moves toward the dance floor.","INT. V.F.W. POST - TRESTLE TABLE AREA - NIGHT The SERGEANT passes between groups of celebrating GUESTS, plucks a beer from one of the coolers and sits down alone at the end of one of the white trestle tables.","INT. V.F.W. POST - DANCE FLOOR - NIGHT ALBERT gives his Tarzan cry, suddenly picks his GIRL off her feet and marches around holding her above his head. GIRL Albert, what are you doing. Albert!","INT. V.F.W. POST DANCE FLOOR - ANOTHER LOCATION - NIGHT VINCE and JOHN are standing together. VINCE is going bananas because his girl, MARSHA, is dancing too close to FRED. VINCE Look at that, see. Watch. Wait a minute, watch. There! D' j' u see that? D' j' u see the way he. You know what that guy is doing? That guy is squeezing her ass! JOHN Oh, well. VINCE Oh well! What do you mean Oh well?! The guy is actually. He did it again! That's what he's doing. He. He's reaching in, John, to her -! I'll kill him! I'm gon na kill him right now. VINCE marches up and taps FRED on the shoulder. FRED releases MARSHA. MARSHA waits, one hand on her hip, while the two of them exchange words. VINCE turns MARSHA, points to her ass. FRED turns MARSHA, pints to the small of her back. VINCE is hopping up and down now. So is FRED. MARSHA, who is getting bored, points to the door. VINCE and FRED bang out. As soon as they have gone MARSHA is taken by someone else who puts his hand right back where FRED had it.","INT. V.F.W. POST - TRESTLE TABLES - NIGHT NICK, SAL and MERLE are standing together, looking at the SERGEANT. MERLE Nick, he just came back. NICK From Nam? MERLE Fucking A. See that ribbon in the left. That's Quan Son. That fucking guy was at Quan Son! MERLE gestures with his head. NICK and SAL cross with him to the SERGEANT. MERLE -LRB- CONT'D. -RRB- We, ah. We're going too. The SERGEANT looks at them and delivers a big, blank smile. SERGEANT Pow! MERLE What? The SERGEANT keeps smiling. MERLE -LRB- CONT'D. -RRB- -LRB- to Nick. -RRB- What'd he say? NICK Pow. MERLE Pow? NICK Pow. MERLE Oh. MERLE nods. MERLE -LRB- CONT'D. -RRB- -LRB- clears his throat. -RRB- Uh. well, maybe you could tell us how it is over there? SERGEANT Pow! MERLE Pow? SERGEANT Pow! MERLE looks at NICK. NICK looks at SAL. They all begin scratching their heads, trying not to laugh. MERLE Well, thanks a lot. They turn away and then, when they are out of earshot, they all break up, howling. SAL Who the hell is he? MERLE Who the hell knows! NICK Is he from here? MERLE Hell no! NICK Well, where's he from? MERLE AND SAL -LRB- in unison. -RRB- Who the hell knows! MERLE -LRB- soberly. -RRB- Maybe he's lost. SAL AND NICK Lost? MERLE -LRB- throws up his hands. -RRB- Well, I do n't know!","INT. V.F.W. POST - NIGHT The GUESTS have formed in a long double line which extends from the dance floor right out into the street. Everyone is pretty drunk and they are all armed with streamers and bags of rice. As SAL and ANGELA appear from out of a back room there is a great rowdy CHEER. The MUSICIANS strike up a MARCH. Followed by the MUSICIANS, showered with streamers, rice, advice and encouragement, SAL and ANGELA walk the gauntlet toward the street, where a glossy, bright red Pontiac with headers and straight pipes is being revved in a series of ear - splitting crescendos.","EXT. V.F.W. POST - STREET - NIGHT JOHN, ALBERT, MERLE and VINCENT are standing by the door. Their tuxedos are stained and torn. Their carnations are squashed and their clip - on bow ties are either missing entirely or dangling from the open collars of their shirts. VINCE looks the worst, with a black eye and half his pant leg torn away, and they are all guzzling beer. VINCE Bullshit! That's bullshit! MERLE You wan na bet? VINCE I'll betcha! That's bullshit and I'll betcha! You're fulla shit! MERLE How much? How much do you wan na bet? OTHERS Bet him! Bet him, Vince! VINCE I'll betcha! I'll betcha. I'll betcha twenty dollars!","EXT. V.F.W. POST - PARKED PONTIAC - NIGHT SAL and ANGELA emerge to more CHEERS and a shower of streamers and rice. ANGELA is helped into the Pontiac on the right. NICK throws an arm around SAL and walks him around to the driver's seat. NICK Do n't worry what it says in the book. SAL Right. NICK Just forget that. Forget what it says in the book. SAL I'm gon na start slow. At the top. Then I'm gon na work down. NICK Great. That's great. SAL That's my plan. NICK gives SAL a hug. SAL gets in the car. NICK See you Monday. SAL See you Monday.","INT. PONTIAC - NIGHT SAL looks over at ANGELA. SAL All set, hon? ANGELA nods. SAL puts the car into gear and starts slowly off. Fists pound on the car. Rice and streamers shower down. Suddenly, through the front windshield, MERLE appears, stark naked, running in front of the car with colored paper streamers floating out from his upraised right hand. For a split second SAL can not believe what he is seeing. He throws a look at ANGELA. ANGELA covers her mouth in amazement and then quickly shifts the hand to cover her eyes.","EXT. STREET - NIGHT MERLE weaves down the street in front of the growling red Pontiac. MERLE is not just running. He is leaping and bounding, as if released from gravity and entered into a realm of pure ethereal space. NICK, ALBERT, VINCE and JOHN pound down the street behind the Pontiac, ALBERT carrying MERLE's clothes. GUYS Look at that! Fuckin' guy! Fuckin' Merle! Unbelievable!","EXT. STREET - NIGHT The road forks, one road going high to a parking area, the other descending to the valley below. MERLE swerves up the incline toward the parking area, while the Pontiac goes straight and disappears down the hill. ALBERT, VINCE and JOHN stagger to a stop, panting helplessly. NICK grabs MERLE's clothes from ALBERT and takes off up the hill.","EXT. HILLSIDE PARKING AREA - NIGHT MERLE stands motionless, looking out across the valley as NICK approaches. The night is brilliantly clear and the fires from the mill light up the sky with an eerie glow. NICK comes to a stop a few feet away. NICK Merle? MERLE turns. His face has a strange, distant look, and he gives NICK an almost feral grin. MERLE You think we'll ever come back? NICK -LRB- startled. -RRB- From Nam? MERLE Yeah. NICK moves up beside him. He does n't know what to say. MERLE -LRB- CONT'D. -RRB- I love this fuckin' place. That sounds crazy. I know that sounds crazy, but I love this fuckin' place. If anything happens, Nick, do n't leave me there. I mean it. Do n't leave me. You got ta promise, Nick. You got ta promise me that. NICK -LRB- half laughing. -RRB- Merle - MERLE Promise! You got ta promise! NICK You got it. MERLE lets out his breath. It is as if some great weight had been pressing on him. MERLE -LRB- with a laugh. -RRB- Let's go huntin'. I mean let's do it!","EXT. THRUWAY - NIGHT NICK'S battered old shark - finned Cadillac comes screaming past.","INT. CADILLAC - NIGHT NICK, MERLE, VINCE, ALBERT and JOHN, all of them still in tuxedos, are jammed in the car between knapsacks, sleeping bags, six packs of beer and deer rifles. GUYS -LRB- singing. -RRB- Let me be free! Let me be free! If. you. will let me be free. You'll. always be happy. with me - e - e - e! ALBERT -LRB- making a trumpet sound. -RRB- Wa - wa - wa! Waaaaa!","EXT. MOUNTAIN ROAD - NIGHT Tale Cadillac comes blasting by.","INT. CADILLAC - NIGHT NICK is hunched over the wheel, his eyes gone completely glassy. MERLE and VINCE are on the nod, while ALBERT and JOHN, both half asleep, are having a lead - voiced conversation. ALBERT She fucked you? JOHN She fucked me. ALBERT She fucked me too. JOHN She fucked you? ALBERT She fucked me too. There is a long pause. They both struggle to keep their eyes open. JOHN She fucked us both. ALBERT Yeah. JOHN Fucking women, man. ALBERT -LRB- shakes his head. -RRB- I know.","INT. CADILLAC NIGHT NICK'S head is sunk below the upper rim of the steering wheel. One eye is entirely shut and the open one seems close to death. Suddenly his head snaps up. He slams his foot down on the brake and the Cadillac fishtails, rubber screaming, to a jolting stop. EVERYONE in the car comes awake ten bleary eyes staring out through the windshield. There are deer in the road, fifteen or twenty of them standing in the headlights.","EXT. CADILLAC - NIGHT VINCE, ALBERT, NICK and JOHN pile out with their rifles. VINCE immediately slips and falls down. VINCE Get'em! For Christ sake, get'em! JOHN Who's got the ammo? ALBERT Ammo! Get the ammo! VINCE I'll get it! Where is it? JOHN It's in the trunk! It's in the trunk! I'm telling you, it's in the trunk! VINCE, ALBERT and JOHN rush around to the trunk. ALBERT begins pounding on it. VINCE There, Albert! Hit it there! Pushing and shoving each other, VINCE, ALBERT and JOHN rush around to the side of the car. As they pass along the embankment at the side of the road there is a soft sound, like a sigh, and all three of them simultaneously vanish. NICK, who has been watching, stares at the place where his three friends disappeared. He takes a few steps forward, realizes what has happened and doubles up in the middle of the road, helpless with laughter. VINCE -LRB- CONT'D. -RRB- -LRB- getting out of the car. -RRB- Man, let's go hunting! Where are they? NICK makes a gesture, a downward pointing of his finger. VINCE crosses to the side of the road.","EXT. RAVINE - NIGHT The slope is a good 45 plus. At the bottom, barely visible, three tiny figures flop in the snow.","EXT. CADILLAC - NIGHT VINCE looks down at the three hunters with an expression of absolute disgust. He looks at NICK - flat on his back, pounding his feet, howling - and then he looks at the deer. The deer are still watching. If anything they have edged closer and their massed expression of polite curiosity throws VINCE into a blind rage. VINCE Get out of here, damn you! Go home! Scat! Shoo! VINCE, whose rifle is fully loaded, slams a shell into the chamber and lets off a barrage of shots above the deer. VINCE -LRB- CONT'D. -RRB- Bastards! Assholes! Get lost!","EXT. MOUNTAIN PASS - DAWN The sky is cold - first light - with low, wind - driven clouds. CAMERA TILTS DOWN and we see NICK's Cadillac coming up a narrow road flanked by precipitous, heavily forested ridges on both sides.","EXT. MOUNTAIN ROAD - DAWN The Cadillac seems minuscule, overwhelmed by the massive, black slopes looming up from the road.","INT. CADILLAC - DAWN Everyone is eating cold hot dogs, ripping them out of a half dozen plastic packages, dipping them in a jar of mustard and stuffing them down. Hot dog juice has dripped over everything, potato chips are littered everywhere and both beer and milk are being passed around. ALBERT Fuel up. Need fuel. JOHN Those are mine! ALBERT You want'em? JOHN Damn right! ALBERT Gim me a Hostess Twinkie, Merle. MERLE Here's a Hershey. ALBERT tears off the wrapper, dips it in the mustard and glomps it down. JOHN That's mustard! ALBERT -LRB- mouth jammed full. -RRB- What? JOHN You just put mustard on your Hershey bar. ALBERT -LRB- nods. -RRB- Good. Pass the beer. VINCE -LRB- pointing to a location beside the road. -RRB- Here, here! This is it! MERLE -LRB- milk slopping over him. -RRB- Watch it, shithead! VINCE -LRB- pounds Nick on the shoulder. -RRB- Here! This is it! ALBERT It is not! VINCE It is too! Now you passed it! MERLE It's ahead, by the tree. NICK It's ahead, Vince. VINCE That is n't it! There's no way that's it. Unless they changed it. They might have changed it. NICK pulls to a stop on the shoulder. VINCE -LRB- CONT'D. -RRB- They changed it. That's what they did. This is it but they changed it.","EXT. ROADSIDE AREA - DAWN The sky is just turning grey. A cold wind is blowing, moaning in the trees and swirling a fine haze of snow across the open roadway. The guys all pile out in their wrecked tuxedos. VINCE This is it. Definitely. This is it, but they changed it. ALBERT You're full of shit. VINCE Who's full of shit? ALBERT You're full of shit! VINCE I'm telling you, they changed it! ALBERT They did not! VINCE They did too! ALBERT Jesus, it's freezing! NICK, MERLE and JOHN have the trunk open and are taking stuff out. MERLE strips down where he stands and begins putting on his hunting clothes. ALBERT and VINCE grab their things and follow the example of NICK and JOHN, who are changing on the corner of the seats. NICK Whee - uu! ALBERT Jesus! JOHN Holy shit! VINCE Merle, hey Merle, you got any socks? MERLE, who is crouched down studying the hillside, looks over. VINCE -LRB- CONT'D. -RRB- -LRB- rummaging around in the mess of things he has brought. -RRB- Never mind, Merle. Never mind, I got'em. Where the hell are my pants? Anyone see my pants? Who the hell took my pants! VINCE begins plunging around. OTHERS Fuckhead! Watch it! VINCE Somebody took my pants. I know I brought pants. VINCE tears into another pile of equipment, comes up with nothing and steps out of the car. VINCE -LRB- CONT'D. -RRB- All right. All right, you guys. Whoever took my pants, I want'em back!","EXT. ROADSIDE AREA - DAWN - LATER Shots are ringing out in the hills. NICK, ALBERT and JOHN stand by the roadside while VINCE and MERLE glare at each other. VINCE is still in his tuxedo pants, is still wearing his dress shoes and is draped in a gigantic red goose down vest that could only have come from ALBERT. MERLE's knapsack lies on the ground in front of him and we can see that it contains a pair of Vibram - soled mountain boots. MERLE Sure I got boots. I got boots right here. VINCE Then lem me have'em. MERLE No. VINCE -LRB- both hands in the air. -RRB- No!? MERLE No. VINCE What do you mean, no? MERLE That's it. No. No way. VINCE Some fuckin' friend. You're some fuckin' friend, Merle! MERLE You got ta learn, Vince! You come out here. You got no jacket, you got no pants, you got no knife and you got no boots. You think everyone's gon na take care of you! That's what you always think, but this time you're wrong. This time you're on your own! ALBERT Merle, give him the boots. MERLE No. No boots. No nothin'. VINCE You're one fuckin' bastard, Merle. You know that? You're one fucking bastard! MERLE -LRB- snapping it out, jabbing his finger at the ground. -RRB- This is this, Vince. This is n't something else. This is this! VINCE You know what I think? There's times I think you're a goddamn faggot! I fixed you up a million times, Merle! -LRB- to the others. -RRB- I fixed him up a million times! I do n't know how many times I fixed him up. and nothin' ever happens. Zilch! Zero! The trouble with you, Merle, no one knows what you're talking about! `` This is this''? What does that mean, `` this is this''? I mean is that some faggot bullshit, or is that some faggot bullshit! And if it is n't, what the hell is it? JOHN Vince. Hey, you guys - VINCE -LRB- hopping now. -RRB- Take last night! Last night he coulda had twenty fuckin' deer! More! He coulda had more! And look what he does! I mean look what he fuckin' does! JOHN Vince! JOHN throws up his hands in a comical way. JOHN -LRB- CONT'D. -RRB- I'll get the boots. ALBERT -LRB- in agreement. -RRB- Get the boots. JOHN -LRB- crossing to Merle's knapsack. -RRB- I mean let's get going before - MERLE - who has remained completely calm throughout VINCE's tirade - pumps a shell in the chamber of his rifle. JOHN freezes in his tracks and stares at him, his face gone white. MERLE I said no. JOHN looks at ALBERT, who is right behind him, and they both back away. VINCE, who is standing directly opposite MERLE, begins to tremble. His mouth comes open, closes and comes open again. Urine begins trickling out from the bottom of his pants leg, staining the snow. Suddenly, NICK steps forward. He looks at MERLE, crosses to the knapsack, takes out the boots, walks over to VINCE and throws them on the road. NICK -LRB- gently, to Merle. -RRB- Let's hunt.","INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT The place is about nine - by - twelve. The floor is rotted out, boards are missing from the walls and the entire structure is canted to the right. Hanging from the roof peak is a hissing Coleman lantern which sways in the wind. VINCE, ALBERT and JOHN are sacked out, sound asleep. Beer cans - some old, some new - litter the floor. Wet clothes, most of them bloody, hang from tie - boards and nails. Strung up on the end wall are two deer carcasses, one of them with a knife jammed in it where steaks have been cut out. Snow is blowing in - dry, crystal bright. It swirls over everything and settles on the sleeping figures on the floor. CAMERA DISCOVERS MERLE AND NICK. They are both in sleeping bags, lying on rusted bedsprings at either side of the broken door. The wind gusts and moans. The cabin shudders and then there is a sudden lull. MERLE Hey, Nick? NICK Huh? MERLE Tomorrow I go with Vince. NICK Hunt with Vince? MERLE Yeah. I mean so he knows. He does n't even know.","EXT. THRUWAY PITTSBURGH OFF-RAMP - TWILIGHT Traffic is heavy, an unending flow of cars, a river of headlights suspended on a curved concrete trestle which seems to float in thin air. Behind is the mill, belching steam and ablaze with fire. NICK's Cadillac appears, horn blaring, weaving through the traffic. The car sits low. Trussed to the hood, to the roof, to the trunk, are the carcasses of five deer. Rope - ends flutter and bang in the wind. The car shudders and thuds. Inside, grinning maniacally, NICK, MERLE, VINCE, ALBERT and JOHN are all shouting and guzzling beer.","EXT. COLUMBINE STREET - TWILIGHT The Caddy appears, swerving onto Columbine with tires screaming and NICK still leaning on the horn. The guys are all hanging out the windows, shouting to FRIENDS, whistling at GIRLS and banging a triumphant tatoo on the doors. ALBERT Maxie! Hey Maxie wha'd ` ya say! JOHN Hey Geraldine, let's eat! VINCE Nothin' to it, asshole! Piece o' fuckin' cake! As the car ascends the grade the mill appears behind it, seeming to loom upward under the pink - streaked twilight sky. CAMERA HOLDS AS THE CAR COMES TOWARD IT. The headlights blaze white, like huge hungry stars, and the eyes of the dead deer on the fenders glitter gold and green and red. ALBERT leans out the window and gives his Tarzan call. IT SEEMS TO ECHO, AS IF COMING FROM FAR AWAY, FREEZE FRAME.","EXT. CLOSE-UP OF JUNGLE LEAF - DAY The leaf is being eaten by an exotic - looking insect. After each bite, the insect lifts its head, produces an exceedingly thoughtful expression, and chews. WE HEAR THE BUZZ AND CREAK OF OTHER INSECTS, THEN A DULL, FLUTTERING DRONE. THE DRONE GROWS LOUDER.","EXT. HELICOPTER SQUADRON - SOUTH VIETNAM - DAY There are twenty of them, coming fast and low, just over the tops of the trees. Sunlight gleams on their paint and murderous - looking rockets are packed to their bellies in fat clusters, like eggs. Suddenly, in unison, they fire the rockets.","EXT. RANGE OF LOW HILLS - SOUTH VIETNAM - DAY As the rockets streak away the lightened choppers shoot upward, lost to sight. There is an eerie silence and then the hillside explodes, vanishes in a sheet of smoke and flame two miles wide.","EXT. DUSTY ROAD - DAY A platoon of AMERICANS have been ambushed on the road. The bodies lie helter - skelter - headless, armless, legless, guts spilled in the dirt. No one moves and there is absolute silence except for the low buzz of flies. A V.C. LIEUTENANT steps into sight. He gives a brusque command and V.C. SOLDIERS step out of the jungle. The LIEUTENANT bayonets a few of the fallen U.S. SOLDIERS - idly, without much interest - and then cracks a joke as he rubs his finger in the Americans' blood. The V.C. SOLDIERS laugh, spear a few AMERICANS themselves and repeat the joke. There is a slight sound. The V.C. LIEUTENANT spins and gives a low command. Fifty feet away there are three grass huts. He signals his SOLDIERS to spread out and then he starts toward them.","INT. GRASS HUT - DAY South Vietnamese VILLAGERS - women, children, and a few old men - sit huddled in the semi - darkness. The WOMEN hold their hands over their BABIES' mouths. Flies buzz and there is a look of stark terror in their faces.","EXT. DUSTY ROAD - DAY One of the fallen AMERICANS moves. CAMERA CLOSES ON THE SOLDIER. His face is in the dirt and flies are nuzzling at a gash in his temple. The face is unshaven, frighteningly gaunt, but we recognize that it is MERLE. A WOMAN'S SCREAM comes from the direction of the huts. A shot rings out. MERLE pulls himself to his hands and knees and stands there, on all fours, like a dog.","EXT. GRASS HUTS - DAY The V.C. roust the VILLAGERS from their huts, smashing them in the back with rifle butts. One of the SOLDIERS emerges from a hut carrying two small BABIES upside - down by their feet. One of the WOMEN cries out. The SOLDIER gives her a kick, swings one of her BABIES in the air and lets it go. The BABY turns over and over against the blue sky. As the BABY comes down ANOTHER SOLDIER catches it through the neck on the end of his bayonet.","EXT. DUSTY ROAD - DAY MERLE strips a B.A.R. from one of his dead companions, slams a fresh clip in it, jams two extras in his pants and starts for the grass huts. His movements are slow, almost dreamlike, and his face is expressionless, like someone risen from the dead.","EXT. GRASS HUTS DAY The VILLAGERS - about twenty of them - have been formed in a line. As the SOLDIERS look on the V.C. LIEUTENANT walks up and down trying to extract information. The SPEARED BABY lies in the dust between the two groups. The SECOND BABY tries to play with it. The SOLDIER who threw the dead baby in the air squats nearby and yawns.","EXT. GRASS HUTS - ANOTHER ANGLE - DAY MERLE approaches between the huts. He takes a quick look around the corner, finds the V.C. all bunched in a neat package and draws back. CAMERA CLOSES ON MERLE'S EYES. They are cold, dreaming things, glittering blankly.","EXT. GRASS HUTS - DAY MERLE spins out with the B.A.R. on full automatic. The V.C. SOLDIERS go down screaming, arms and necks thrown back, in a thin mist of spraying blood. ABOVE THE CHATTER OF MERLE'S B.A.R.. WE HEAR A GROWING ROAR.","EXT. APPROACHING AMERICAN HELICOPTERS - DAY There are five of them, coming in low under the tops of nearby trees.","EXT. GRASS HUTS - THE VILLAGERS - DAY The VILLAGERS stand motionless, staring at the helicopters and frozen with terror. They turn. They start to run. And then they disappear in a roaring wall of burning napalm.","EXT. GRASS HUTS AFTER NAPALM ATTACK - DAY MERLE stands alone with his B.A.R. surrounded by clouds of billowing black smoke. There is no sound but the rush of heated air and the faint crackle of flames. MERLE'S clothes are burning. Flames are licking up his trouser legs and a blob of napalm is burning fiercely on his helmet. In front of MERLE the SOLDIERS and the VILLAGERS lie in two charred heaps. The BABIES lie between them. Both are motionless now, like two roasted stones. An AMERICAN LIEUTENANT steps out from behind one of the burning huts. MERLE and the LIEUTENANT spin on each other and then the LIEUTENANT lowers his carbine. LIEUTENANT What the hell are you doing here? MERLE -LRB- numb. -RRB- Saving lives. MORE AMERICANS appear, some twenty of them, coming out of the trees in a long line. Among them are NICK and SAL. LIEUTENANT Move it out, girls! Move it out! The LIEUTENANT heads down the line. NICK stares at MERLE. NICK Merle? Jesus, Merle! MERLE turns and looks at NICK. There is no recognition. He seems to be looking right through him. SAL comes up behind NICK. SAL Hey! Hey, Merle! A shot rings out. The LIEUTENANT goes down and suddenly the whole line of AMERICANS is caught in a murderous cross - fire. Grenades rain out of the trees. MERLE, NICK and SAL dive for cover. Out of the smoke V.C. SOLDIERS begin to appear, more and more of them, swarming out of the jungle in scores.","EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY We are looking at the ground where three pits have been dug and fitted with bamboo gratings which are held down by stones. The ground is ankle - deep in running mud and the pits are filled with water to within a foot of the bamboo gratings. In each of the pits are about a half - dozen men - SOUTH VIETNAMESE and AMERICAN. Their hands grip the gratings and their eyes are hollow. Other than an occasional groan there is only the sound of the falling rain. A V.C. SOLDIER trudges out of the jungle. As he reaches the pits he notices the hands, curses and begins jumping up and down on the bamboo gratings. The hands disappear. As soon as one comes back, the SOLDIER stomps on it, shrieking with laughter. Then, almost as an afterthought, the SOLDIER pulls down his pants and squats above the center grating. CAMERA TILTS SLOWLY UPWARD. We see the clearing in its totality. It is a raw hole hacked out of the jungle and contains only two structures. One is a large bamboo `` tiger cage'' with a few leaves tied to its top. The other is a small hut with a thatched roof. The walls of the hut are open and we can see V.C. GUARDS moving about inside. A cry comes from the hut. There is the THUD of a rifle butt on flesh and the cry abruptly stops.","INT. THATCHED HUT - DAY In the middle of the hut is an American kitchen table with a rose - patterned plastic top. At opposite ends of the table are two chairs. A SOUTH VIETNAMESE PRISONER sits in one of the chairs. In the other chair, facing him, is MERLE. The SOUTH VIETNAMESE has a welt on his head and one of the half - dozen V.C. GUARDS in the hut is screaming at him. In the middle of the table, between the SOUTH VIETNAMESE and MERLE, is a single - action.45 caliber revolver with an American eagle carved on its ivory grip. MERLE sits quietly, waiting, but his eyes are working, taking in every detail of the scene. The V.C. GUARD gives the SOUTH VIETNAMESE a final cuff, takes up the revolver with a dramatic flourish and loads one cartridge into the chamber. Immediately the OTHER GUARDS begin placing bets. The GUARDS are a ragged bunch - wet, half - drunk on captured Budweiser, and it takes some time to straighten things out. MERLE looks off to his right :","INT. THATCHED HUT - REVERSE ANGLE - DAY We see more SOUTH VIETNAMESE and AMERICAN prisoners standing against the wall. Most of them have been badly beaten and all have their elbows tied behind their backs. In among them, standing beside one another, are NICK and SAL. NICK looks grey, like a skinny ghost. SAL is out of control, sobbing quietly.","INT. THATCHED HUT - ORIGINAL ANGLE - DAY The betting is now completed. The V.C. in charge waves the.45 around and calls for silence. Then, closing the cylinder containing the single bullet, he points the revolver at the ceiling and clicks through the empty chambers until the revolver goes off with a ROAR. Bits of thatch flutter down from the ceiling. The V.C. GUARDS shout enthusiastically and grin. MERLE sits motionless. The SOUTH VIETNAMESE across the table from him begins shaking uncontrollably. The V.C. in charge now reloads the revolver with one cartridge, snaps the cylinder shut, puts the gun on the table between MERLE and the SOUTH VIETNAMESE and gives it a good spin. The revolver slows and finally comes to a stop pointing at MERLE. MERLE stares at it for a long beat. Then he picks it up, spins the cylinder, cocks it, puts it to his temple and pulls the trigger. The hammer falls on an empty chamber with a loud CLICK. MERLE places the revolver back on the table and pushes it toward the SOUTH VIETNAMESE. The SOUTH VIETNAMESE begins to tremble again. Fumbling horribly he finally manages to get the gun in his hand. He spins the cylinder, cocks the hammer and puts the gun to his temple. The gun weaves around. The SOUTH VIETNAMESE closes his eyes and pulls the trigger. There is a loud CLICK. MERLE takes the revolver again. He spins it, cocks it - all in one smooth motion - puts it to his temple and pulls the trigger. There is another CLICK. MERLE pushes the gun back across the table. This time the SOUTH VIETNAMESE takes it up with sudden confidence. He spins the cylinder, cocks it, puts it to his temple and pulls on the trigger. THERE IS A ROAR. THE PISTOL IS FLYING IN THE AIR AND THEN THE MAN'S HEAD, HALF - EXPLODED, CRASHES OVER ONTO THE KITCHEN TABLE. MERLE does n't even blink. The GUARDS begin hooting and laughing, wiping pieces of brain from their clothes, and MERLE watches them, watches every gesture, every movement. like a cat.","EXT. THATCHED HUT - LATER DAY A pile of bodies lie by the steps in the pouring rain. The bodies are both SOUTH VIETNAMESE and AMERICAN. Their heads are all variously blown to pieces and SEVERAL HUGE RATS are already feeding on them.","INT. THATCHED HUT - TABLE AREA - DAY NICK is at the table now, opposite a SOUTH VIETNAMESE. He holds the pistol by his chin, spins the cylinder. His face is twitching, dripping sweat and both he and his opponent are holding onto each other's eyes as if they had been at it for a long time. NICK raises the pistol to his temple, CLICKS OUT. The GUARDS murmur. NICK pushes the pistol across the table.","INT. THATCHED HUT - PRISONER END - DAY There are no Americans left to play except SAL. The sobbing has stopped but SAL is shaking and trembling and his eyes wander around in their sockets as if they been cut loose. MERLE, who lies on the floor nearby, is trying to talk to SAL. As he does so we hear the CLICKS coming from across the room and the excited MURMURS of the GUARDS as their betting choice survives another round. MERLE You can do it, Sal. SAL No. No, no. MERLE Sal. listen to me, Sal! You have to do it. SAL I want to go home, Merle. MERLE You have to think about this, Sal. Listen to me, Sal! You have to think about this. SAL -LRB- tears again. -RRB- This is horrible! MERLE Listen to me, Sal. If you do n't do it they'll put you in the pit. If they put you in the pit, Sal, you're gon na die. Sal, do you understand? SAL -LRB- nods. -RRB- Merle, I wan na go home! There is an EXPLOSION from the other end of the room. SAL'S eyes go wide and he lets out a whimpering SCREAM. The GUARDS open a path and NICK appears. His knees wo n't support him and the GUARD who is holding him throws him on the floor. MERLE Listen to me, Sal. Do it! You have to do it! The GUARD who delivered NICK jerks SAL to his feet and drags him of f to the table.","INT. THATCHED HUT - TABLE AREA - DAY SAL is thrown in the chair. A SOUTH VIETNAMESE is placed opposite him. The SOUTH VIETNAMESE is a kid, even younger than SAL, and he is trembling with terror. SAL Hey, listen, you can do it. -LRB- Sal nods, smiles. -RRB- Believe me, you can do it. We can both do it. Then we go home, see? Then we go home! SAL looks down. The pistol is ending its spin and the muzzle comes up pointing at the SOUTH VIETNAMESE. The SOUTH VIETNAMESE stares at the gun and tears begin to fill his eyes. The GUARDS begin yelling at him, urging him on and then SAL gives him a SMILE OF SUCH UNWAVERING FAITH that the SOUTH VIETNAMESE picks up the gun, fumbles the cylinder around, cocks it and puts it to his temple. For a moment SAL and the SOUTH VIETNAMESE look at each other. THE SOUTH VIETNAMESE IS TAKING HIS FAITH STRAIGHT OUT OF SAL'S EYES AND NOW SAL GIVES HIM ANOTHER ENCOURAGING NOD. The SOUTH VIETNAMESE BOY squeezes the trigger. THERE IS AN EXPLOSION AND HIS HEAD DISINTEGRATES WITH A ROAR. SAL sits motionless, his jaw hanging open and his face formed in an expression of terrible puzzlement. Then his face begins to move, begins to twitch, as if the muscles were trying to discover a frown. SAL looks around. He looks back again at the place where his friend was sitting and he begins to cry.","INT. TIGER CAGE - HEAVY RAIN - FOLLOWING DAY A half - dozen SOUTH VIETNAMESE sit huddled together in the muck on the uphill side. A seventh lies sprawled on his back, DEAD. The rain pours through the few leaves placed on the roof and splashes in great cascades in the middle of the floor. On the downhill side are SAL, NICK and MERLE. SAL is in a fetal position, gripping his knees and rocking himself back and forth. His eyes are vacant and his face is fixed in an expression of horror, as if he were still watching the boy at the table blow himself away. Beside SAL is NICK. NICK sits slumped against the bamboo. One knee is raised and he is picking at the threads of his trousers where they have torn at the knee. MERLE IS STANDING, GRIPPING THE BAMBOO WALLS OF THE CAGE AND LOOKING OUT AT THE `` PITS''.","EXT. THE PITS - MERLE'S POV - HEAVY RAIN - DAY The pits are about twenty feet away. Running mud and water gurgle into them, coming out through shallow trenches on the downhill side. There are fewer hands than the day before, far fewer. The nearest pit only has one pair and as MERLE watches he sees that these hands are struggling to keep their grip. SUDDENLY ONE OF THE HANDS SLIPS AWAY. THE HAND COMES BACK FOR A MOMENT, THEN BOTH HANDS DISAPPEAR.","INT. TIGER CAGE - HEAVY RAIN - DAY MERLE turns away from the `` pits''. He looks down at SAL, then he looks at NICK. His expression is one of exasperation, as if he had been having a long argument. MERLE I'm telling you, Nick, no one's going to come. NICK What are you, God? MERLE Listen, asshole, it's up to us! NICK They bombed last night, right? Did n't they bomb? If they bombed last night, they could bomb tonight. They could be up there right now! MERLE What are you, hoping? NICK What else? MERLE I thought you might be praying. NICK I'm doing that too. MERLE I suppose you wish you were somewhere else? NICK What do you think? MERLE Nick, you're wasting your time. Listen to me! You're wasting your time! This is no fucking time for hoping or praying or wishing or any other shit! This is it. Here we are. And we got ta get out! NICK You're right. Okay, you're right. MERLE -LRB- grabs him. -RRB- Get off your ass, Nick. Get off your fucking ass and stand up! NICK -LRB- stands. -RRB- Okay, okay! -LRB- he straightens his shoulders. -RRB- Okay. Okay, you're right. What about Sal? MERLE Forget Sal. NICK What do you mean? MERLE I mean forget Sal. Sal ca n't take it, Nick. NICK Forget Sal? MERLE Forget Sal. Listen to me - forget Sal! I've been working on Sal since dawn, Nick. Sal's in a dream and he wo n't come out. LISTEN! From here on you got ta go for you. You hear me? For you! NICK Merle. MERLE LISTEN, NICK! GET IT THROUGH YOUR HEAD OR YOU AND ME ARE BOTH DEAD TOO! A shout comes from the thatched hut. The SOUTH VIETNAMESE whip around in fright. MERLE and NICK turn. Through the bars of the `` tiger cage'' we see the V.C. GUARDS coming down from the thatched hut. The GUARDS are all drinking beer again and the GUARD IN CHARGE is waving the pearl - handled revolver. NICK looks at MERLE. The sight has totally unnerved him. MERLE -LRB- CONT'D. -RRB- -LRB- calm. -RRB- We got ta play with more bullets. NICK We what? MERLE We got ta play with more bullets, Nick. It's the only way. NICK More bullets in the gun? MERLE -LRB- even. -RRB- More bullets in the gun. The trouble is that still leaves one of us with his hands tied up, so that means we got ta play each other. NICK -LRB- numb. -RRB- With more bullets? Against each other? Are you crazy! Are you fucking nuts! MERLE Nick. NICK! It's the only chance we've got! NICK stares at MERLE. Rain is pouring off them in rivulets and the VOICES of the approaching GUARDS are getting louder. NICK How many bullets? MERLE -LRB- watching him. -RRB- Three bullets - minimum. NICK -LRB- panic. -RRB- No way. No fucking way! MERLE -LRB- evenly, holding him with his eyes. -RRB- I'll pick the moment, Nick. The game goes on until I move. When I start shooting, go for the nearest guard and get his gun. NICK No. No way! MERLE When you get the AK, open up. You got me? Open up. NICK -LRB- screaming. -RRB- YOU'RE CRAZY! NO WAY! NOW YOU'RE CRAZY! YOU'RE COMPLETELY CRAZY! The GUARDS begin screaming orders from outside the cage and ONE OF THEM lets off a blast of automatic rifle fire which shreds the bamboo roof just above the PRISONERS' heads. NICK and MERLE grab SAL and drag him to the door.","EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY As the PRISONERS emerge from the `` tiger cage'' the GUARDS smash them with their rifle butts, screaming orders. In the melee SAL is separated from NICK and MERLE, both of whom are knocked to the ground by furious blows. When they get to their feet they see that SAL is wandering off alone in the direction of the `` pits''. One of the GUARDS spots SAL and clubs him down. SAL gets up and begins wandering off again. The GUARD clubs him down again, turns to the GUARD IN CHARGE and begins complaining. The GUARD IN CHARGE dispatches a SECOND GUARD to help the FIRST and the TWO GUARDS open the bamboo grating on one of the `` pits''. MERLE turns to NICK, who is standing beside him. MERLE It's up to you, Nick. Now it's up to you.","EXT. CLEARING IN THE JUNGLE - THE \"PITS\" - DAY SAL has absolutely no comprehension of what is about to happen to him. His eyes are dreamy, far away, as if he had mentally transported himself to some distant place. There are great gashes in his head from the blows he has received and as he stands waiting in the pouring rain he looks exactly like a very small child who has experienced some terrible confusion. Suddenly the GUARD standing beside SAL wrenches him around. We see the pit now, CLOSE UP. There are four bloated CORPSES floating in the muck. We SAL'S FACE, CLOSE UP. He gives a CRY and tries to turn away. We see the GUARDS pick SAL up, SCREAMING. We see the SPLASH as SAL hits the water and then we see him surface between the bloated CORPSES, STILL SCREAMING, paddling desperately and trying to find something solid to hod him up.","EXT. CLEARING IN THE JUNGLE - WAITING PRISONERS - DAY NICK stands motionless, stunned, listening to SAL'S SCREAMS. MERLE has his attention focused on the GUARD IN CHARGE and when he glances in their direction MERLE slugs NICK in the stomach and begins beating him furiously to the ground. NICK struggles to his feet. MERLE attacks him again and now, as the GUARD IN CHARGE comes over to see what's going on, MERLE begins hopping up and down, pointing at NICK, pointing at the revolver in the GUARD'S hand and screaming. MERLE Him and me! Him and me! The GUARDS look at each other, interested. MERLE -LRB- CONT'D. -RRB- Him and me, goddamn it! Him and me!","INT. THATCHED HUT - HEAVY RAIN - DAY MERLE and NICK sit facing one another across the rose patterned kitchen table. The GUARDS are all grinning and even the SOUTH VIETNAMESE are watching with grim fascination. NICK has the revolver. He is trembling visibly. Already MERLE has managed to draw the GUARDS in closer and as NICK spins the cylinder and cocks the hammer MERLE jumps up and begins pounding on the table. MERLE This is it, motherfuckers! Now he's going to do it! Watch! You watch! NICK almost loses what little control is left and his hand begins shaking violently. MERLE -LRB- CONT'D. -RRB- Look at him! See! This is it and he knows it! Side bets begin changing hands. MERLE -LRB- CONT'D. -RRB- Last chance to lose your money there, guys. Goodbye money! Hurry, hurry. Here he goes! NICK puts the revolver against his temple and pulls the trigger. There is a dull CLICK. NICK puts the revolver back on the table. His hand is shaking so badly it falls with a clunk. MERLE grabs it, spins it, sticks it to his temple and CLICKS OUT, talking all the time : MERLE -LRB- CONT'D. -RRB- This is stupid! You understand stupid? On and on! At this rate we'll still be here tomorrow! -LRB- throws the revolver on the table. -RRB- Wait a minute. I know! Hey, I got it. More! Put in more! You understand more? More! More bullets! -LRB- he mimes with his fingers. -RRB- Three bullets! You understand three? That way BLAM! BOOM! MERLE hops up and down, laughing maniacally. MERLE -LRB- CONT'D. -RRB- KA - POWIE! BA - ROOM!'Cause I want that bastard! Him I want boom! Him or me! The GUARD IN CHARGE looks at his COMPANIONS. They all begin shouting for him to go ahead. The GUARD IN CHARGE purses his lips, as if imitating a general coming to a decision, and then nods his assent. The GUARDS all howl. MERLE joins right in. MERLE -LRB- CONT'D. -RRB- He's terrific! Great fucking guy! The GUARD IN CHARGE takes the revolver, opens the cylinder and begins sticking in two more cartridges. MERLE -LRB- CONT'D. -RRB- KA - POW! BA - ROOMIE! MERLE hops up and down again, then screams at NICK, jabbing his finger at him, as if in fury. MERLE -LRB- CONT'D. -RRB- Both of us may have to pull on this, so get your shit in fuckin' shape! -LRB- to the GUARDS. -RRB- Him or me! Now we got it, him or me! -LRB- he rubs his hands and sits back down. -RRB- Place your bets, motherfuckers! Now we're going! Now we got a game! The GUARD IN CHARGE places the revolver on the table, spins it. MERLE -LRB- CONT'D. -RRB- Watch! Now watch! He's going to get it. And then KA - POW! BA - ROOMIE! The muzzle stops pointing at MERLE. MERLE scowls, looks over at the GUARD IN CHARGE. The GUARD IN CHARGE has lifted the barrel of his AK 47 and is watching him with caution. The OTHER GUARDS, who are totally caught up in the game, are yelling and shouting. MERLE You guys think I'm in trouble, right? MERLE picks up the revolver, spins the cylinder, cocks it. MERLE -LRB- CONT'D. -RRB- No way! Never! -LRB- he begins to chant. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC! - HA! MERLE LIVES LONG! Lem me hear it. Come on, motherfuckers, lem me hear it! MERLE starts it again. The GUARDS who are bett ing on him MERLE -LRB- CONT'D. -RRB- -LRB- with GUARDS. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC! - HA! MERLE LIVES LONG! MERLE takes a glance at the GUARD IN CHARGE again. The GUARD IN CHARGE is still eyeing him with caution. MERLE places the revolver to his temple. and CLICKS into an empty chamber. MERLE -LRB- CONT'D. -RRB- See! Nothing to it. He pushes the gun across to NICK. Then he stabs his finger at him, screaming again, as if in a fit of rage. MERLE -LRB- CONT'D. -RRB- You got an empty chamber and it's in your mind! Just put that empty chamber in the gun! NICK looks down at the revolver and picks it up. He stares at MERLE for a moment. Then he spins the cylinder, cocks the hammer, Puts it to his head. and CLICKS into an empty chamber. The GUARDS let out expressions of disbelief. Those betting on NICK begin taunting those betting on MERLE. MERLE sits motionless, as if stunned, as if utterly defeated, his brow furrowed in a mighty frown. NICK pushes the revolver across the table. His face is twitching but he gives the gesture a certain flair, as if throwing back a challenge. MERLE stares at the revolver - stares at it with an expression of utter gloom. Then he reaches out, takes the revolver in his hand and pulls it toward him, as if he no longer possessed the strength to pick it up. MERLE -LRB- CONT'D. -RRB- -LRB- gloom. -RRB- Who's for Merle? -LRB- he thumps his fist on the table. -RRB- Is anyone for Merle? MERLE roams a glowering eve over the watching GUARDS, as if suddenly discovering himself among traitors. Slowly, he pushes himself to his feet. The gun is still on the table, still in his right hand, and as he gets up he lets his body sag over it. MERLE -LRB- CONT'D. -RRB- Who here is for Merle? There is absolute silence now except for the drumming of the rain. It is as if the war had disappeared, vanished. The GUARDS stand motionless, hardly breathing, so captivated by MERLE'S performance that they suddenly resemble little children. MERLE -LRB- CONT'D. -RRB- Who. here. is for Merle? MERLE begins his chant again. His voice is low, very dramatic, and the GUARD IN CHARGE joins right in. MERLE -LRB- CONT'D. -RRB- -LRB- with GUARDS. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC - HA! MERLE snaps the revolver level in his hand and BLASTS the GUARD IN CHARGE, hitting him full in the face. At the same time NICK throws himself into the GUARD who is standing behind him, spins and slams the GUARD'S AK 47 into his chin. TWO MORE SHOTS BLAST OUT FROM MERLE'S.45 and we see TWO GUARDS crash over the kitchen table. NICK now opens up with AK 47, and as MERLE backs off beside him, also with an AK 47, they GUN the remaining GUARDS to the floor. It is over in an instant. The BODIES lie in a bloody, tangled mess under a pathetic paper lantern. The rain drones on - uninterrupted, undiminished, eternal.","EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY Barely visible against the dripping foliage - like a shadow is a startled V.C. SOLDIER. The man takes a half - step forward, unslings his rifle and OPENS FIRE.","INT. THATCHED HUT - DAY The SOUTH VIETNAMESE PRISONERS are hit where they stand. NICK spins, BADLY WOUNDED. MERLE throws himself on the floor and lets go with the AK 47.","EXT. BAMBOO GROVE - HEAVY RAIN - DAY MERLE appears carrying NICK on his back. NICK is unconscious and the effort that MERLE has expended to get him this far can be measured in MERLE'S eves, which burn like dead coals. As MERLE approaches, traversing the bamboo grove along the side of a steep hill, we suddenly see SAL, stumbling along behind and attached to MERLE by a short rope. MERLE comes to a stop, unshoulders NICK and lays him on the ground. As MERLE stands looking at NICK, gasping for breath, SAL hunches down and stares at the endless trunks of bamboo with an expression of pure terror. SAL Where are we going, Merle? Are we going home? There is a sound, so faint as to be almost imperceptible. MERLE throws himself on SAL, slamming one hand across his mouth and raising the other in case he has to silence NICK. For a moment there is nothing - silence. The rain drones on and we can hear NICK'S breath, which comes in short, shallow rasps. The sound comes again and suddenly a PLATOON OF V.C. SOLDIERS appear, coming down through the trees. Their passage is almost completely silent and they go by on both sides, moving down the hill. CAMERA CLOSES SLOWLY ON MERLE'S FACE. His gums are bleeding and his skin is drawn tight so that every bone stands out in his skull. His teeth are bared, his eyes are hollow and he looks within a hair's breadth of being completely mad.","EXT. CRATERED ROADSIDE - NIGHT A huge battle is taking place nearby. The earth trembles and shakes and gigantic explosions intermittently light the sky. MERLE staggers down a ravine with NICK, loses his footing and slides to the bottom where he lies in the mud, motionless, too tired to move. SAL comes down behind. He is hunched over, like a gnome. The rope which MERLE has tied around his neck drags in the mud and his eyes are huge with terror. SAL Merle? MERLE -LRB- a whisper. -RRB- Right here. SAL crouches down in the mud. SAL Where are we going, Merle? Are we going home? MERLE -LRB- barely moving his lips. -RRB- Right here. Another explosion lights the sky, this one much closer. In the flash we see that a red American car is stranded in the middle of the road. There is another explosion and another flash. The car is dusty, spattered with mud, but otherwise it appears miraculously unharmed. NICK'S breath rattles in his throat. MERLE, who lies beside NICK, holding him, has closed his eyes. SAL, who is the only one who has seen the car, stares at it hard, and for a long time, trying it out with one eye and then the other. SAL Merle? No answer. SAL -LRB- CONT'D. -RRB- Merle? Still no answer. SAL goes over to MERLE and shakes him. Getting no response he crosses fearfully toward the automobile. When he gets to within a foot of it, he reaches out and touches it. SAL -LRB- CONT'D. -RRB- Merle. Merle, a car! As the flashes continue to light up the sky, SAL peers at the tires and begins kicking them. SAL -LRB- CONT'D. -RRB- Hey! Hey, gee! SAL crosses to the window and looks in. There is no damage whatsoever, the keys are dangling from the ignition. SAL pulls open the door and climbs in. He pumps the accelerator, hits the starter. THERE IS A FLASH OF FIRE, THEN A HUGE EXPLOSION AND THE CAR GOES UP IN A FIREBALL OF FLAME.","EXT. CRATERED ROADSIDE - BURNING CAR - NIGHT MERLE has dragged SAL from the car and thrown him in the ditch below NICK. SAL is horribly burned and MERLE kneels over him - out of breath, tears streaming from his cavernous eyes - howling with helpless rage. MERLE Damn it! God damn it! MERLE looks down at SAL. SAL'S face in a mass of raw flesh but his eyes look up at MERLE with lunatic, unwavering trust. MERLE -LRB- CONT'D. -RRB- Sal! -LRB- more gently. -RRB- Sal. Goddamn it, Sal, do n't you know anything? SAL Where are we going, Merle? Are we going home? MERLE -LRB- nods. -RRB- Sure. Sure, Sal. We're going home.","EXT. CRATERED ROADSIDE - FOLLOWING DAY REFUGEES are streaming down the road in a desperate, frightened human torrent. There is every imaginable means of conveyance - from bullock carts to motorbikes - but the vast majority, carrying their meager belongings, are fleeing on foot. The burned - out car is still in the middle of the road and the great human tide streams around it, as if it were an island. In the distance comes the sound of machine gun fire and mortars are coming in nearby. MEDVAC helicopters clatter overhead with wounded strapped to baskets on the skids. Now and then an ARMY CONVOY comes through, blasting the REFUGEES into the ditch. MERLE sits alone on the embankment by the side of the road. NICK and SAL are gone and the area is littered with fresh bandage packages and throw - away medical supplies. Suddenly a jeep pulls up with a two - star GENERAL in it. GENERAL Where's your unit, soldier? MERLE stares at the GENERAL - blankly, without comprehension. Finally, after a long moment, he gives a slight shrug. GENERAL -LRB- to his DRIVER. -RRB- C'mon. We'll take him along. The GENERAL and the DRIVER get out and start up the embankment toward MERLE. GENERAL -LRB- CONT'D. -RRB- Little R and R and you'll be standing tall again, son. Damn, this is steep! DRIVER Uh - oh. Sir. The GENERAL looks up at MERLE. MERLE is holding the pearl handled revolver and he cocks the hammer with an audible click. GENERAL Uh - oh. The GENERAL and the DRIVER turn tail, scramble back down the embankment and pile in the jeep. GENERAL -LRB- CONT'D. -RRB- -LRB- as they take off. -RRB- Y' know, there's more fucking maniacs coming out of this conflict. MERLE watches them go without expression. On the road below the REFUGEES stream past - by the hundreds, by the thousands, by the tens of thousands. For a long moment MERLE watches, then he jams the gun in his pants and stands.","EXT. EVACUATION ROUTE - DAY MERLE is walking with the fleeing REFUGEES. CAMERA PANS, HOLDING ON MERLE as he grows smaller and smaller - to a speck in the vast human torrent.","INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - SAIGON - DAY The room is tiny, a cubicle furnished with a chair. NICK is alone, standing at the window looking out. He wears ill fitting civilian clothes whose colors are too bright for - the pallor of his skin. Around his neck is a piece of plastic on which is stapled a colored paper marker. Departing aircraft thunder overhead and there is the sound of some nearby hydraulic mechanism.","EXT. LOADING RAMP (NICK'S POV) - U.S. MILITARY HOSPITAL - DAY Black BODY BAGS are laid out in countless rows on the hot concrete TWO PFC's are stacking them on pallets and MORE PFC's, driving hydraulic LIFTERS, are loading the pallets into the cavernous hold of a huge JET TRANSPORT.","INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - DAY NICK turns away from the window and sits down in the chair. Suddenly the door bursts open and a harassed DOCTOR comes in. DOCTOR Is your name Solomon? NICK shakes his head. DOCTOR -LRB- CONT'D. -RRB- Are you sure? NICK nods. DOCTOR -LRB- CONT'D. -RRB- Lem me see this. The DOCTOR looks at the paper marker on NICK's neck. DOCTOR -LRB- CONT'D. -RRB- Is this yours? NICK nods. DOCTOR -LRB- CONT'D. -RRB- This is n't yours. This ca n't be yours! I'm going to take this one off and cut it up. -LRB- he extracts a pair of scissors and does so. -RRB- Shred it. so no one gets a hold of it. What I'm going to do now, I'm going to give you this one. -LRB- he staples a new marker around NICK's neck. -RRB- There. How's that? Does that feel better? NICK nods. The DOCTOR directs a finger at him. DOCTOR -LRB- CONT'D. -RRB- That one's yours. The DOCTOR slams back out the door. Another jet thunders overhead. The hydraulic LIFTERS on the loading ramp shriek and whine. NICK reaches for the new paper marker on his neck and peers down at it from the corner of his eye. It seems to remind him of something and he takes out his wallet. In his wallet is a PHOTOGRAPH of LINDA. NICK peers at the photograph intently, then closes his wallet and puts it away.","INT. U.S. ARMY TELEPHONE CENTER - SAIGON - DAY Banks of telephones line the wall. Stretching out from the telephones are long, ragged lines of SERVICEMEN waiting to call home. The room is huge, full of echoes. Re - enlistment posters are plastered everywhere and CANNED LATIN MUSIC is playing. NICK stands in one of the lines with only one person in front of him. He looks anxious. He takes out his wallet again, peers intently at LINDA'S PHOTOGRAPH, then puts it back. NICK takes a half - step forward - staring at the telephone - and then he stops, frozen with fear. GUM CHEWER BEHIND Go on, babe. Take it.'S all yours! NICK -LRB- mumbles. -RRB- You go ahead. CAMERA HOLDS ON NICK as he turns out of the line and heads for the exit under a long row of CLOCKS.","EXT. BUSY STREET - SAIGON - DAY NICK comes along the sidewalk in a CROWD OF PEDESTRIANS. He is drunk and he moves aimlessly, as if he had been drifting along for hours. As he comes to a stop, staring at a SOUTH VIETNAMESE who has lost both legs, he fumbles in his pocket for a pint of whiskey, empties the bottle and drops it in the gutter. Suddenly, across the street, something catches his eye. NICK -LRB- calling. -RRB- Sal! Sal! NICK throws himself into the traffic, headlong, without even looking. Vehicles swerve and screech to a stop. NICK dodges between them, gains the sidewalk on the other side and claps his hand on the back of a passing SOLDIER. The SOLDIER turns. It is not SAL at all and the resemblance is not even close. NICK -LRB- CONT'D. -RRB- Sorry. Thought you were someone else. The SOLDIER continues on his way. The CROWD streams on, a sea of bobbing, brilliant color. NICK gropes in his pocket and produces another pint bottle. He unscrews the cap and downs a long swallow.","INT. BAR - SAIGON - NIGHT The place is very dark. LOUD MUSIC is playing. Partially - clad BAR GIRLS are dancing with the CUSTOMERS, while above, on a kind of trapeze, NAKED GIRLS are performing obscene contortions. NICK sits at one of the tables. By now he is very drunk and a BAR GIRL is giving him her undivided attention. NICK I love Linda, see. I love Linda more than I can even say. BAR GIRL Everybody love Linda. NICK That's right. That's exactly what I mean! BAR GIRL I love Linda. Myself, I love Linda so much! NICK Only, good people love Linda, see. What Linda has, Linda - BAR GIRL -LRB- in his ear. -RRB- How you like to have nice fuck with Linda? You like that? Special, crazy fuck just like with Linda? NICK -LRB- stares at her. -RRB- You mean? BAR GIRL I show you. Come. You come. -LRB- pulls him to his feet. -RRB- Linda have special, crazy fuck. That right? NICK nods. He looks as if he might be about to cry. BAR GIRL -LRB- CONT'D. -RRB- I give you special, crazy fuck, just like Linda. Come. You come. Linda cry, make crazy moan? NICK nods. BAR GIRL -LRB- CONT'D. -RRB- I give you cry, crazy moan. Come. You come.","INT. CORRIDOR - BAR - NIGHT The BAR GIRL comes around the corner with NICK, guiding him to a flight of narrow stairs. She has one hand around his waist and the other down the front of his pants. BAR GIRL You like to call me Linda now? NICK Linda, yeah. BAR GIRL You call me Linda, just like home. Suddenly NICK draws to a stop, staring at a small window at the end of the corridor. He tears himself loose from the BAR GIRL and pushes up against the glass.","EXT. NARROW STREET (NICK'S POV) - NIGHT Seated on the sidewalk against the wall of the opposite building is an OLD MAN surrounded by a collection of white ceramic elephants. A truck roars by in front of him. Motorcycles sputter past and PEDESTRIANS hurry in both directions. The OLD MAN sits motionless, like the guardian of some timeless, silent kingdom.","INT. CORRIDOR - BAR - NIGHT NICK spins away from the window. NICK Hey. Hey, elephants! Look at those elephants! The BAR GIRL stares at him. NICK -LRB- CONT'D. -RRB- Linda loves elephants! Linda. she loves'em! NICK turns and charges back down the corridor with the BAR GIRL hot on his tail. BAR GIRL Wait! First I give you special fuck! NICK Elephants! Make way. I got ta get elephants!","EXT. NARROW STREET - NIGHT NICK paces up and down in front of the OLD MAN and his ceramic elephants. NICK Great. These are great. I wan na tell you these are great elephants! I'm going home, see. Stateside in a few days and my wife Linda, she loves elephants. She. she has a thing for elephants because elephants. Elephants go on. You know what I mean? They go right on. I do n't know if they cry. Maybe at night. I mean. What I mean is my two best buddies are dead, see, MIA, who knows, and they would have liked some elephants also because. How much are these elephants? I mean let's talk elephant. -LRB- notices a GROUP OF STREET URCHINS. -RRB- Hey you guys! Over here! Come over here and carry elephants! The STREET URCHINS come running. They are ragged, malnourished, ranging in age from about six to nine. They are covered with sores. One of them ~ as lost an eye and another has lost a hand. NICK -LRB- CONT'D. -RRB- Everyone take an elephant! -LRB- to the YOUNGEST URCHIN. -RRB- You know how to carry an elephant? -LRB- the URCHIN nods. -RRB- That's what I thought. Right off I figured you as that kind of guy. Hey, wait a minute, I got ta get change. Take an elephant! Everyone take an elephant and then form up. Right here. Over here, like this, in a nice long elephant line. Good. That's good. Man, look at all these elephants! One, two, three, four, five, six, seven, eight, nine, ten. eleven elephants! -LRB- surveys them. -RRB- Hey, but you got ta stand tall to carry elephants. -LRB- he illustrates. -RRB- Better. That's better. I mean. God damn, I mean that's elephants now! Wait. Now you wait while I get change. NICK dives into a nearby bar.","INT. NEARBY BAR - NIGHT The place is as dark as the one before. MUSIC BLASTS from a jukebox and two vaseline - covered GIRLS are dancing. As NICK crosses to the bar to get change there is a WHISTLING SCREAM and then the FRONT WALL OF THE BUILDING DISINTEGRATES IN A ROAR OF NOISE. NICK pulls himself out of the debris. There is absolute silence in the WRECKED BAR but rockets are coming in all over the city and the EXPLOSIONS rumble and roar.","EXT. NARROW STREET AFTER ROCKET EXPLOSION - NIGHT A nearby building is burning fiercely. The street is deserted except for the sprawled CORPSES of the STREET URCHINS which lie this way and that, like broken dolls. NICK walks out past the CORPSES. The street is littered with fragments of broken ceramic - gleaming, pure white, like chunks of snow.","EXT. DESERTED STREET - SAIGON - NIGHT The sky is alight with fires. Now and then HUGE EXPLOSIONS rock the night and SIRENS wail. A lone figure appears, walking down the middle of the street. As the figure approaches we see that it is NICK. NICK -LRB- toneless, over and over. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow. Hey, hey, the rain does rain. NICK swallows, as if to force back some overwhelming emotion. Then, squatting down under a lamp post, he begins again. NICK -LRB- CONT'D. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow. NICK takes out his wallet, opens it hurriedly to the PHOTOGRAPH OF LINDA and peers at it with a kind of ferocious determination, as if this link were the last, as if by staring at it hard he could make it hold. NICK -LRB- CONT'D. -RRB- -LRB- his voice thin, cracking. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow - There is the sharp report of a pistol SHOT and then, as NICK spins, staring at a shuttered building, there is the unmistakable sound of APPLAUSE. NICK stares at the building for a long moment, then he crosses toward it.","EXT. YARD BEHIND BUILDING - SAIGON - NIGHT A tiny light glows inside a paper lantern. Lying on the around are three CORPSES, all of them Asian, all of them expensively dressed and all of them with their heads blown off. As NICK stands looking at them a door comes open on the back of the building, and TWO BURLY MEN bring out another corpse. The body is that of a young American. Like the Asians he is expensively dressed and he is dead from a bullet in the right temple. MAN -LRB- V.O. -RRB- If you are brave and lucky I can make you rich. NICK turns. A MAN is standing in the shadows of a small grape arbor, eyeing him with a look of cold amusement. The MAN'S accent is French. Beside him, on a small white table, is a bottle of champagne and several glasses. MAN -LRB- CONT'D. -RRB- You have played? NICK stares at the MAN, nods. MAN -LRB- CONT'D. -RRB- Once you have played it is not so hard. Cigarette? NICK shakes his head. MAN -LRB- CONT'D. -RRB- You seem. disturbed. NICK I. No. You do this for money? MAN Mais certainment. A great deal of money. Naturally I do not do it myself. I myself do not possess the nerve. -LRB- smiles. -RRB- But I am always. how do you say. looking out for those who do. It is a thing quite rare. Champagne perhaps? Tch, tch. Do n't say no. When a man says no to champagne, he says no to life and that no man must ever do. -LRB- gives NICK a glass. -RRB- Where did you play? NICK Up north. MAN Ah yes. Of course. So few survive. -LRB- smiles. -RRB- La creme de la creme. How did you obtain release? NICK Playing. MAN -LRB- raises his eyebrows. -RRB- Playing? NICK We. Three bullets. MAN And then you. The MAN makes a clicking sound, three times, as if firing a pistol. NICK nods. MAN -LRB- CONT'D. -RRB- How extremely clever. That is really most extraordinaire. Allow me please to introduce myself. I am Armand. And you are? NICK Nick. ARMAND Nick. C'est extraordinaire! Do you know that I have a cousin who is called Nicholas and a nephew Nickolai. So you are, comme on dit, en famille. In the family. There is another SHOT from inside and another round of APPLAUSE. NICK I have to go. ARMAND But you must come in. NICK No, I - ARMAND But I insist. NICK I have to go. ARMAND You are frightened, no? NICK nods. ARMAND -LRB- CONT'D. -RRB- Of what is there to be afraid? The war? The war is no problem. It is a joke, a silly thing. I make one call and get you out. ARMAND refills NICK's glass. NICK looks at it. The glass is as thin as paper and the sparkling bubbles dance and hiss. NICK lifts the glass and empties in one swallow. NICK See, I'm going home. ARMAND Ah yes. Of course. -LRB- smiles. -RRB- To the girl who waits. NICK -LRB- gives him a look and sits. -RRB- Yeah. Do you mind if I sit? ARMAND But of course! Please make yourself comfortable. Perhaps you would enjoy some fresh caviar, or une petite glace, or -? NICK -LRB- weary, shaking his head. -RRB- No. None of that. ARMAND Unfortunately I must now go in, but I leave you my card. Naturellement I pay my players cash American. Just so you know. ARMAND disappears in the darkness. Then his VOICE comes again. ARMAND -LRB- V.O. ; CONT'D. -RRB- However, should you prefer German marks, or perhaps Swiss francs, this of course can be arranged. Everything can be arranged. ARMAND moves around the side of the building and the sound of his FOOTSTEPS fades away. The TWO BURLY MEN come lurching with another CORPSE. Laughter comes from inside the building and there is a glimpse of AN ELEGANTLY DRESSED WOMAN seated at a cafe table. The BURLY MEN return to the door and shut it tight. In the distance the sky goes up in a huge flash of fire and then the sound of the EXPLOSION rolls across the city like a great dead wind.","EXT. NICK'S TRAILER - WINTER - DUSK The trailer is all decked out with bunting and stuck, like a plum cake, with tiny American flags. Stretching from the trailer to the side of a house across the street is a huge, hand - lettered banner which says `` WELCOME HOME NICK!'' and it whips and it snaps in the cold winter wind. NICK's battered old shark - finned Cadillac is in the yard. Alongside it are a bunch of newer cars and PEOPLE are coming from all directions, spilling in and out of the trailer and congregating in excited, foot - stomping, half - frozen groups.","EXT. SERIES OF SHOTS - COLUMBINE AREA - DUSK We see the OLD PRIEST on his way from the church. We see the OLDER WOMEN, wrapped in shawls and carrying cakes and cookies, trudging up the hill. We see ALBERT, JOHN and a bunch of STEELWORKERS, all of them half - bombed, dragging two cases of beer on a child's sled. We see LINDA peering out the trailer window, pale and anxious - looking. We see VINCE, who is unofficial lookout, jumping up and down at the approach of every car and screaming, `` This is it! This is Nick!'' and then, when it is n't, saying, `` Not yet! Just hold your water, I'll tell you when!'' And we see an empty street into which SIX VETS from the VFW Post come tottering. The VETS are all in their old uniforms. While three of them attempt to make MUSIC on a BASS DRUM, a FIFE and an old Army BUGLE, the other three attempt to sing. VETS Three cheers for the red, white and blue! VET #1 This is hard. VET # 2 Christ Almighty, it's fifty years! VETS Three cheers for the red, white and blue.","INT. TAXICAB - DUSK NICK sits hunched forward in the back seat surrounded by unwrapped cartons containing electric appliances he has bought for LINDA. NICK looks nervous, VERY NERVOUS. Suddenly, as the cab comes over the crest of a hill, the trailer looms into sight, straight ahead, with VINCE hopping up and down in the snow and the OLD VETS all marking time under the flapping banner. CAB DRIVER Whadda welcome! Will you lookit. Whadda welcome! NICK stares at the approaching trailer. NICK That's not it. CAB DRIVER What're you, crazy? That's not it? You said a trailer. You said - NICK That's not it. Keep going. Go straight. CAB DRIVER Hey, now listen. Now you said - NICK I'm telling you that's not it! Now keep going! NICK throws himself down on the floor. NICK -LRB- CONT'D. -RRB- Just keep going! Just keep going straight!","EXT. NICK'S TRAILER - DUSK LINDA is outside, standing with VINCE and ALBERT. VINCE This is him. I'm telling you, this is Nick! The TAXICAB comes thudding by. LINDA, VINCE and ALBERT all watch as it disappears over a rise. ALBERT -LRB- to VINCE. -RRB- I thought that was it. VINCE So he's in the next one, Albert. I mean take it easy. I mean you're driving everybody nuts! VETS -LRB- V.O. -RRB- -LRB- singing raggedly. -RRB- Three cheers for the red, white and blue! VINCE -LRB- to LINDA. -RRB- You okay? LINDA gives a thin smile. VINCE -LRB- CONT'D. -RRB- It's gon na be the next one. Okay? LINDA nods. VINCE -LRB- CONT'D. -RRB- It's got ta be the next one. I mean it's got ta be! Right, Albert? ALBERT Fuckin' A. It's got ta! VINCE It's got ta!","EXT. MOTEL - DUSK A huge neon sign stands against the grey sky, buzzing angrily, as if it were full of bees. The TAXI DRIVER comes out of one of the units, gets back in his cab and pulls away.","INT. MOTEL - NICK'S UNIT - DUSK NICK stands in the doorway where the driver has left him. His duffle bag and the cartons of electric appliances are piled along the wall by his feet. His head is thrown back and he is draining a bottle of whiskey, gulping it down in great raw swallows. NICK lowers the bottle, catches his breath and goes at it again. This time, as he lowers the bottle, the stark panic is gone, but there is still fear - blind, nameless fear, like that of an animal run to the ground. NICK crosses to the window, grips the frame with both hands and looks out.","EXT. THE STEEL MILL FROM THE MOTEL (NICK'S POV) - DUSK The five great stacks trail ribbons of black smoke across the pale winter sky, Steam billows upward in huge, silver - edged clouds and there is the flash and gleam of fire.","INT. MOTEL - NICK'S UNIT - DUSK NICK turns back to the room. He stares at it blankly - stares at the bed, stares at the bureau, stares at the chair, then he picks up the bottle, closes his eyes and begins gulping down whiskey - gulping it hard, fast, as hard and fast as he can.","EXT. NICK'S TRAILER - NEW ANGLE - DAWN The banner stretching to the house across the street has been whipped to shreds by the wind. In the yard, parked beside NICK's black Cadillac, is another car of about the same vintage. There is a case of beer on its roof, the windows are entirely frosted over and the engine is running. After a moment TWO STEELWORKERS come down the street and knock on the trailer door. TWO OLDER WOMEN emerge, putting on their coats, and then LINDA comes to the door and tells the STEELWORKERS she has no news. The STEELWORKERS and the OLDER WOMEN start off, but now one of the WOMEN points to the frosted up car. The STEELWORKERS go back, pound on the roof of the frosted up car, pull open a few doors and go on their way. First thing out is a GIRL. Next thing out is a SECOND GIRL. Their dresses are rumpled and half - undone. Neither one has a coat and the SECOND GIRL is missing a shoe. The GIRLS both plunge back inside the car, where howling and cursing can now be heard. The GIRLS both retrieve their coats. The SECOND GIRL gets her missing shoe, plus a bra and a pair of panties. She returns the panties to the FIRST GIRL, puts on her shoe and they both take off at a fast trot. As the two GIRLS leave there is a cascade of empty beer cans and ALBERT, VINCE and JOHN all stagger out - bleary - eyed, hung - over, half undressed and freezing. LINDA comes out of the trailer with coffee, but just as she emerges the whistle at the mill goes off. ALBERT and VINCE begin yelling at each other, yelling at JOHN and yelling at LINDA. Then they throw themselves back in the car and start off. The case of beer on the roof crashes to the street. They stop, pile out, pick up the cans, heave them in the back seat and take off again. JOHN says something to LINDA and goes on his way. LINDA stands in the yard, alone, with the three cups of coffee.","EXT. ADJOINING OVERLOOK - DAWN NICK stands half - way down a rickety wooden stairway, watching.","EXT. NICK'S TRAILER - ORIGINAL ANGLE - DAWN LINDA turns and goes back inside the trailer.","EXT. ADJOINING OVERLOOK - DAWN NICK swallows and starts down the stairway toward the trailer. He hesitates, pulls the bottle from his pocket, drains the last of it and tucks it under the stairs. Straightening up, he claws at his hair, trying to comb it with his fingers. Then he starts down again.","INT. NICK'S TRAILER - DAWN Cakes, cookies, six - packs of beer and bottles of wine cover almost every inch of available space. LINDA sits on the little settee, wedged between two cases of Coca - Cola and hunched over a white sweater which she is attempting, with painful slowness, to knit. LINDA is trying not to cry. She is trying her God - damnedest. There is a knock at the door. LINDA freezes. Then, trying to be totally matter - of - fact, she puts down the sweater, crosses to the door and opens it. NICK Guess who. LINDA stares at him. NICK gives a little laugh and steps in. LINDA -LRB- throws herself in his arms. -RRB- Nick! Oh, Nick, you're back! She hugs him for a moment, as hard as she can, then they pull apart. LINDA -LRB- CONT'D. -RRB- I thought. Oh, Nick, I thought you were hurt, some accident. Maybe you fell or maybe some car. -LRB- back in his arms. -RRB- I thought someone stole you away! NICK No. LINDA Oh, Nick! Oh I missed you so! They pull apart. LINDA -LRB- CONT'D. -RRB- How are you? NICK Fine. I'm fine. How are you? LINDA Fine. I just go along, you know. Down at the market. Back here. I mean it just seems there's a million things to do! Are you sure you're all right? I mean, what about the wound? NICK -LRB- anger. -RRB- That was nothing. That was n't anything. LINDA But - NICK It was just the complications. I mean, you take a little thing over there and then you get complications. I mean all the guys had it. LINDA I made you a sweater. -LRB- she gets it. -RRB- Here. You have to take that off. NICK removes his coat. LINDA pulls the sweater over him LINDA -LRB- CONT'D. -RRB- I could n't remember your exact size. The sweater is huge, a great rumpled thing reaching almost to NICK's knees. LINDA -LRB- CONT'D. -RRB- -LRB- smoothly. -RRB- Oh, that's fine. Perfect. It is a little too big. -LRB- she pulls the sweater back off. -RRB-. but I can easily fix that. Easily. One thing about wool sweaters, they are such a cinch to fix. She crosses to a garbage pail out of NICK's line of sight and stuffs the sweater in it. NICK How's the trailer? LINDA Great. Fine. Once or twice it did fall off the blocks. I do n't know what that's from. NICK Frost. LINDA Is that what it is? I could n't figure out. NICK Did you get hurt? You did n't get hurt? LINDA Oh, no. It just kind of goes thump. Would you like a Coke? You do n't drink Coke. Or maybe you do. What about champagne? Let's have champagne! I do n't think we have champagne. Let's have this. See? Sparkling. I'll get you an opener. Oh, that's right. No opener. Let's just have beer. Do you want some cheese? Or maybe eggs? Maybe we should have coffee. She begins to sob. CAMERA CLOSES ON HER FACE : LINDA -LRB- CONT'D. -RRB- Nick? I'm so glad you're alive! I'm so happy! I. I just do n't know what to do!","EXT. COLUMBINE STREET - DAY NICK and LINDA are some distance away. NICK is shaking hands with an ENTHUSIASTIC MAN while LINDA stands to one side, watching his face, and so full of love that she seems about to burst. ANOTHER MAN comes over. LINDA takes the MAN's arm and presents him to NICK. WE CAN NOT HEAR WHAT IS BEING SAID. THE ONLY SOUND COMES FROM THE MILL WHICH LOOMS UP BEHIND THEM OUT THE FROZEN VALLEY BELOW.","INT. PIZZA PARLOR - TABLE BY WINDOW - DAY NICK and LINDA sit opposite one another. Across the street a coal train is rumbling slowly by and NICK is watching it. The cars are black, interchangable, and they roll on and on. Suddenly the last car appears. The car passes and there is silence. LINDA gives NICK a smile. NICK It was all for nothing. Do you know that? It was all for nothing. LINDA stares at him. She does n't know what to say, how to respond. NICK forces a grin, gestures with his hand and shrugs. He picks up the check, stands. LINDA Nick? I just want to say how sorry I am about Sal and about Merle. How. I know you loved them and I know it's not the same. I mean now. NICK Naw, it's. I mean. LINDA Maybe. I do n't know, if you want to talk - NICK Naw, it's. This guy wants his money.","INT. SUPERMARKET - BACK ROOM - DAY The place is full of crates and boxes. ONE CREW is unloading a tractor - trailer. ANOTHER CREW is stacking and unpacking. NICK stands with LINDA and a red - faced, cigar - chewing MANAGER who is pumping NICK's hand, slapping him on the back and shouting orders all at the same time. MANAGER You did a good job, kid. Pettrucio, here! You did a good job. Gim me a count on these pears! I think we got'em now, know what I mean? The pears, the pears! Ask me, we got'em right by the balls, know what I mean? Have a cigar. The pears, Pettrucio, the pears! He goes off. NICK -LRB- to Linda. -RRB- Does this. I mean, how does this job work out? LINDA Oh, it's great. Fine. NICK nods. A STOCK BOY comes by and whistles. STOCK BOY Hi you, hot lips. NICK What do they. bother you!? LINDA -LRB- takes his arm, laughs. -RRB- No - o - o! NICK I'll kill'em. Anybody bothers you, I'll kill'em! LINDA -LRB- gently. -RRB- Nick. It's okay. It's okay. -LRB- gives him a squeeze, kisses him. -RRB- I have to go now. NICK nods. LINDA -LRB- CONT'D. -RRB- Pick me up at eight. NICK nods again. LINDA hurries off. The MANAGER comes in from behind, clapping NICK on the shoulder and going for his ear MANAGER That's one sweet little piece of ass. I'm telling you, that's one sweet little piece of ass. Who's got these pears, God damn it! Who's got the count on these goddamn pears!","EXT. STEEL MILL PARKING LOT - DAY NICK stands by the entrance to the mill. It is cold and he looks as if he had been waiting for some time. Suddenly STEELWORKERS begin streaming out the doors, heading for their cars. NICK cranes his neck and then he catches sight of ALBERT and VINCE. NICK Hey, Albert! ALBERT turns. He grabs VINCE and pulls him through the departing STEELWORKERS. VINCE What the -! ALBERT It's Nick! VINCE Nick? -LRB- sees him. -RRB- Jesus, Nick! VINCE grabs NICK's hand, shakes it. Then ALBERT does the same. VINCE -LRB- CONT'D. -RRB- Where the hell were you? We were all set - beer, broads. Right? Am I right? ALBERT Yeah. NICK I got delayed. I - ALBERT -LRB- hugs him. -RRB- Hey, Nick! God damn! What've you been doin', I mean. VINCE Fuckin' guy's been shooting slants, Albert! I mean, what do you think? ALBERT I know, but. VINCE What do you think? You think he's been picking flowers? Fuckin' guy's been saving your ass, Albert. Everybody's ass! Even in Europe! ALBERT Yeah. Oh, boy, yeah. Jes', you must be tired. NICK I'm fine. Hey, I'm fine. THEY start for the cars. NICK -LRB- CONT'D. -RRB- How're you guys. I mean, how've you guys been? VINCE Same old thing. Hey, same like always. Nothing's changed. Albert is getting fat. ALBERT Look who's talkin'! Jes'! He got married! Vince got married! NICK Married? ALBERT Tell him, Vince. VINCE Yeah. I did. Yeah. What the hell. VINCE makes a gesture, shrugs. NICK -LRB- after a beat. -RRB- Well, who'd you get married to? VINCE Aw, it's a long story! ALBERT Tell him, Vince! VINCE Well. you remember Cynthia? NICK Cynthia! Sure. VINCE -LRB- nods. -RRB- That's who. NICK -LRB- fast recovery. -RRB- Cynthia! Hey, that's terrific. I mean. Great! That's really great! ALBERT Show him the gun. Hey, show him the gun, Vince. VINCE looks around. Cars are streaming out of the lot, horns blaring. VINCE pulls back his coat and shows a.38 Smith and Weston in a holster on his hip. NICK What the hell's that for? VINCE What's it for? ALBERT He's serious. Vince is fuckin' serious! NICK You mean? VINCE Hey, Nick, I mean. This here is for the guy that gets caught! ALBERT Vince thinks. you know. NICK -LRB- nods. -RRB- Hey. hey, let's drink!","INT. JOHN'S BAR - NIGHT NICK comes through the CROWD OF STEELWORKERS shaking hands. The STEELWORKERS treat him with immense respect. There are no cracks ; there are no jokes. They squeeze his shoulder, pat his back, reaching out for him, touching him. STEELWORKERS Nice going! Good going, Nick! You did good, boy ; you did fine! Let him through! Damn good, boy! Let him through! He's all right! Did his part and he did it good! Let him through! Let's make a little room! JOHN pushes out of the crowd. JOHN Nick! Hey, Nick! -LRB- gives him a big hug. -RRB- Boy! Boy oh boy! Are you okay? You're okay, huh? NICK Fine. Hey, I'm fine. JOHN Sit down. Here. Right here. -LRB- calls. -RRB- Albert! Vince! JOHN pushes them all into a booth. A tray arrives loaded with beer and shots of whiskey. JOHN -LRB- CONT'D. -RRB- Here. Here we go. -LRB- he raises a beer. -RRB- Here's to you, Nick! ALBERT Fuckin' A! VINCE -LRB- stands. -RRB- Here's to Nick, you guys. He did his part. He did. what hadda be done. and so he did it. and here he is!","INT. JOHN'S BAR - NIGHT - LATER NICK sits at the bar flanked by VINCE and ALBERT. Both VINCE and ALBERT are completely glassed out. Behind, in the booths, three or four STEELWORKERS are sleeping. JOHN moves around behind the counter wiping things off. JOHN Rough, huh? NICK Rough. -LRB- he nods. -RRB- We did n't have to do it, John. JOHN No? NICK No. How's Angela? How's she taking it? JOHN Not so good. NICK No? JOHN Worse since she talked to him. ALBERT -LRB- with a dull beery blink. -RRB- Fucking A. NICK Worse since she talked to who? JOHN Sal. NICK Talked to Sal? -LRB- stares at him. -RRB- Sal's alive? JOHN Kind of. You did n't know? NICK -LRB- pushes off the counter. -RRB- Sal's alive? JOHN, ALBERT and VINCE exchange glances, nod. ALBERT He's real bad, Nick. NICK -LRB- stares at them. -RRB- Well, where the hell is he! I mean what are we all sitting here for! -LRB- tears begin streaming down his face. -RRB- WHAT THE HELL IS THIS? ALBERT Nick. VINCE Hey, Nick. JOHN Nick, we do n't know where Sal is. Nick, Angela wo n't tell us. NICK Why? What do you mean? Why? JOHN Nick, she wo n't say why. NICK But Sal's mother! What about Sal's mother! JOHN She's out of her tree, Nick. She is straight out of her tree. NICK -LRB- stares at them. -RRB- Oh, Jesus. He walks in a circle and then stops, staring at them. NICK -LRB- CONT'D. -RRB- Oh, Jesus! NICK turns and goes out.","INT. SAL'S HOUSE - FRONT PARLOR - NIGHT The room is very dark. ANGELA sits at a lace - covered table by the window where a street lamp illuminates her in an eerie glow. ANGELA holds a portable radio in tier hand, a very tiny one, and she fiddles with the dial, going from one station to another. There is a sound from the hallway, then SAL'S MOTHER comes in with NICK. SAL'S MOTHER I know I know you. So familiar. Such a familiar face. Oh, I know now! The toaster man! I'll go and get it for you. SAL'S MOTHER goes out. ANGELA lights up a cigarette. ANGELA You're back. NICK Yeah. ANGELA I'm glad. Seriously. I'm very glad. NICK Angela, I just heard Sal was alive. ANGELA Sure. Why not. NICK Where? Where is he? ANGELA Nick, he's fine. He's in a hospital and they're fixing him up. NICK You talk to him? ANGELA Oh, sure. Twice a day. NICK What hospital is he in? Where? ANGELA Nick. Sal is very weak. He suffered a severe wound. and right now he does n't want a whole lot of people to get involved in a whole thing. NICK Hey, Angela, Sal and I go back a long way. ANGELA He does n't want people bugging him, Nick! ANGELA begins to tremble, jabs out her cigarette and stands up. She stares at NICK for a moment, goes to a telephone pad and writes down a number in a tiny, nearly illegible scrawl. NICK comes up behind her. ANGELA finishes, puts down the pen and stands with her back against the wall. NICK tears off the piece of paper, looks at it, puts it in his pocket. NICK Angela? ANGELA laughs and gives a strange, twisted smile, avoiding NICK's eyes. ANGELA Did you ever think life would turn out like this? NICK No. ANGELA You know what Sal's got now? Sal's got. one arm, Nick, and. that's it. The door to the kitchen bangs open and SAL'S MOTHER comes in with an electric toaster and a screwdriver. SAL'S MOTHER Here. This is it. What you do, you stick this in here. Pushes the toaster in NICK's arms. SAL'S MOTHER -LRB- CONT'D. -RRB- Then you jab it, see. Jab it good. Something's in it. Hear? Listen. Something's in it. What? What's there?","EXT. RUSSIAN ORTHODOX CHURCH - FRONT STEPS - NIGHT NICK sits on the steps with the toaster that Sal's mother gave him in his lap. It is snowing and from inside the church we hear the CHOIR SINGING. The sound is massive, deep and dark, like a great river rolling through the night. CAMERA CLOSES ON NICK. He is staring at something, tears glistening in his eyes.","EXT. ORTHODOX CHURCH - REVERSE ANGLE (NICK'S POV) - NIGHT We see a lone telephone booth at the curb. The door is half open and snow is blowing in.","EXT. ORTHODOX CHURCH - ORIGINAL ANGLE - NIGHT NICK closes his eyes, leans his head forward and takes it in his hands.","INT. MOTEL NICK'S UNIT - BATHROOM - NIGHT LINDA steps out of the shower and begins to dry herself. LINDA It just seems sort of strange coming to a motel. Like a honeymoon. Or some kind of parlez vous. Not parlez - vous! -LRB- she giggles. -RRB- What am I saying? That's those cocktails! Parlez - vous! What I mean is rendezvous. Some kind of rendezvous. LINDA pulls on a short and very sexy nightie, then looks at herself in the mirror. She is very excited, very nervous. She strikes a pose, pulling up the bottom of the nightie and poking a finger in her mouth. LINDA -LRB- CONT'D. -RRB- Do you know what I mean? Nick? NICK does n't answer. LINDA pulls the door full open, takes one last look at herself and goes out.","INT. MOTEL - NICK'S UNIT - BEDROOM - NIGHT As LINDA comes out of the bathroom her face falls and she stops dead in her tracks. NICK is lying on the bed - sprawled on his back, one shoe off and sound asleep. LINDA Nick? NICK does n't stir, does n't budge. LINDA crosses and looks at him - hungrily, top to bottom - then she gives his toe a wistful shake. LINDA -LRB- CONT'D. -RRB- Nick? Nick, it's me! But NICK is out, gone. LINDA lets out a little moan and sits down on the chair beside the bed. Then, almost immediately, she stands and begins taking off his clothes. She takes off his shoes, then both socks. As she goes to undo his belt, his shirt, which is unbuttoned, falls slightly open, revealing a fresh scar. LINDA stares at the scar for a moment, then she slowly exposes the whole of NICK's chest. NICK'S CHEST IS COVERED WITH A SERIES OF TERRIFYING FRESH SCARS. THE SCARS ARE RAISED ; THEY ARE INTER - CONNECTED AND STUDDED WITH ANGRY SUTURE MARKS, LIKE A TOPOGRAPHICAL MAP OF SOME UNKNOWN BATTLEGROUND. CAMERA HOLDS ON LINDA'S FACE.","INT. STEEL MILL - CASTING ROOM - DAY NICK stands at the handle of a long metal rod. At the other end of the rod ALBERT and VINCE are attaching metallic strips. When ALBERT and VINCE have secured the strips they signal to NICK and all three of them lower their goggles. CAMERA PULLS SLOWLY BACK. NICK is standing below a furnace which is seven stories high, towering above him into a maze of cat - walks and monstrous steel - hipped cranes. ALBERT and VINCE give a signal and the CRANE OPERATOR raises the door at the bottom of the furnace. NICK is now alone, standing like Don Quixote with his lance. As NICK advances toward the base of the furnace with his rod the surface of his asbestos suit begins to smoke and bits of lint which have stuck to it burst into flame. Within reach of the furnace now, NICK pauses. Then, lifting the metal rod, he jams it through the open doorway at the base of the furnace. There is a white flash as the metallic strips explode and then a geyser of molten steel erupts in a huge jet through the doorway, passing NICK at the level of his shoulders and showering him in a great cascade of white sparks.","INT. JOHN'S BAR - NIGHT NICK sits at the bar, silent, hunched over a beer, lost in thought. All around him STEELWORKERS are shouting, yelling, cracking jokes. After a moment VINCE pushes in, claps him on the back. VINCE How's it feel, huh? How's it feel to be back? NICK -LRB- forced enthusiasm. -RRB- Great. Feels great. Fuckin' A! VINCE I mean, I guess you still think about Nam. Right? I mean - NICK Naw. -LRB- shakes his head. -RRB- Uh - huh. VINCE Hey, Nick, you ever do it with one of those slants? NICK No. VINCE No! NICK Never one. VINCE Oh, Jesus! -LRB- looks around. -RRB- You're kiddin'! NICK One, Vince. you have to understand, doing it with one. would be. like nothing. They're small, see, so if you're smart you get about six or eight. I mean, if you want to have any fun. VINCE Six or eight. -LRB- nods. -RRB- And they go wild? NICK -LRB- lowers his voice. -RRB- They have these little sticks, Vince. They call them `` chomp chomps'', and when you get these girls going, you have to stick'em in their mouths. VINCE stares at NICK. His respiration is up, his mouth is bone dry and his eyes are as big as saucers. For a moment his belief is total, then a frown crosses his face. VINCE You're full of shit! NICK -LRB- nods. -RRB- Yeah. VINCE -LRB- pounding him on the head. -RRB- And I believed you! I oughta punch you out! I oughta! Hey. Hey, let's go huntin'! Albert! Hey, Albert! Let's go huntin'. What do you say? Nick? What do you say? NICK Sure. ALBERT Hey! Fuckin' A! Hey! He spots JOHN passing with a tray of beer. ALBERT -LRB- CONT'D. -RRB- Hey, John! ALBERT scoops JOHN into his arms where he holds him from behind. JOHN Yes, Albert? ALBERT -LRB- into his ear. -RRB- John, we're going huntin'. JOHN Who's going? ALBERT We're all going. JOHN Nick's going? ALBERT Nick, Vince, Albert and John. JOHN No women? OTHERS No! No women! Jesus! What are you, crazy? JOHN Take these beers. They all take a beer. JOHN raises his glass, solemnly. JOHN -LRB- CONT'D. -RRB- Here's to huntin'. ALBERT Hey! Fuckin' A! VINCE -LRB- hopping up and down. -RRB- Just like always! Just like it always was! Right, Nick? Am I right? NICK In the timeless words of Squire Albert. VINCE cracks up, howling. VINCE Squire Albert. VINCE collapses on the floor. NICK In the timeless words of Squire Albert. ALL -LRB- in a ragged chorus. -RRB- Hey! Fuckin' A!","INT. NICK'S TRAILER - NIGHT NICK sits on the bed in the back part of the trailer. His hunting gear is piled on the floor, the lights are out and he is staring at the telephone which is illuminated through the window by a street light on the corner. There is a sound outside, then the lights come on as LINDA enters with groceries. LINDA Nick? NICK Right here. LINDA crosses to the doorway. LINDA What are you doing? NICK Oh. Nothing. Sitting. LINDA You're going hunting? NICK -LRB- blankly. -RRB- What? LINDA I see you're going hunting. NICK looks at the equipment on the floor. NICK Yeah. All the guys, we're all going huntin'. Like we did. You know? Like we always used to. LINDA That's wonderful. I think you should. fresh air. NICK gets to his feet, suddenly. His face is twisted with pain and his voice is cracked with emotion. NICK You know how sometimes you're going along. You're going along. And that's all! One thing is right after another, like steps. And you step along. NICK can hardly breathe. It is as if he were choking. NICK -LRB- CONT'D. -RRB- I do n't know where that is. It's gone! That's gone! A car pulls up outside. The HORN begins blowing, then VINCE and ALBERT begin pounding on the wall of the trailer. VINCE -LRB- V.O. -RRB- Let's go! ALBERT -LRB- V.O. -RRB- Hey! Fuckin' A! Time to roll! NICK I got ta go. NICK swings his pack on his back, picks up his rifle and heads for the door. LINDA follows, still clutching her groceries, her emotions so pulverized she ca n't even speak. NICK -LRB- CONT'D. -RRB- I'll be. I do n't know. Couple of days. NICK IS GONE. LINDA STANDS MOTIONLESS, CLUTCHING HER GROCERIES, STARING AT THE TRAILER DOOR. IT IS DARK OUTSIDE. SNOW IS BLOWING IN. THE DOOR CLOSES SLOWLY, WITH A FAINT HISS, AND THEN CLICKS SHUT.","EXT. MOUNTAINS - MIXED HARDWOOD FOREST - DAY Snow is blowing, swirling past the trunks of stark, ice covered trees. There is no horizon. Sky and earth are bound in a moan of wind, in the faint creak of frozen limbs and the whispering, fitful, spinning flakes. NICK appears, suddenly, as a gust of wind shifts the slanting snow. NICK is moving easily, heading slightly uphill, following the contour of the slope. As he draws closer we see that he is following a SET OF FRESH TRACKS.","EXT. MOUNTAINS - MIXED HARDWOODS - ROCK LEDGE - DAY A magnificent SEVEN POINT BUCK stands by a grove of hemlocks, looking down the slope. NICK appears below, barely visible in the swirling snow. The BUCK watches NICK for a moment, then turns unhurriedly and vanishes into the trees.","EXT. RIDGE NEAR CAMP - DAY VINCE is out of breath, clawing his way up a steep slope on all fours. JOHN and ALBERT, who have reached a level area above VINCE, unsling their rifles. SHOTS are going off in every direction and the sound is so magnified by echoes that it sounds like a full scale war. VINCE What are you, kiddin'? Are you kiddin' me, Albert? Twenty times I coulda had her! She! One time she begged me, practically begged me. Listen, I had her tit, which was out, in one hand, and my other hand. You know that mole on the inside of her right leg? Well, I was past that mole, way past that mole, and I was - JOHN nudges ALBERT. FOUR DEER are coming down the slope, single file. JOHN and ALBERT raise their rifles and FIRE. TWO OF THE DEER FALL AND THE REMAINING TAKE OFF. VINCE, who is just getting to his feet, unslings his rifle, trips and falls down. JOHN and ALBERT drag VINCE to his feet and then rush over to the TWO DEAD DEER. VINCE -LRB- CONT'D. -RRB- -LRB- coming after them. -RRB- Nice shootin', you guys. Not bad. Not half bad. Leans his rifle on the horns of one of the fallen DEER. VINCE -LRB- CONT'D. -RRB- ` Course how could you miss, right? Twenty, maybe thirty feet. I mean, if I'd' a been where you guys were - JOHN Psst. Vince! JOHN signals with his head. VINCE turns. ANOTHER DEER has come out of the woods. The DEER is rattled by the gunfire and peers at VINCE uncertainly. VINCE spins and grabs his gun, which immediately goes off. He slams another shell in the chamber and scrambles to his feet but the rifle sling is hooked on the antlers of the DEAD DEER and another shot ricochets off a nearby rock. JOHN and ALBERT dive for cover. As they look up, they see the DEER trot down the slope and then VINCE, firing wildly, running after it.","EXT. MOUNTAINS - RIDGE TOP - DAY The wind is much stronger, moaning in the trees. NICK appears, moving fast, at a near trot. Suddenly he stops, listening. At the same moment there is a snort. NICK wheels. The BUCK is behind him, bounding away.","EXT. MOUNTAINS - RIDGE TOP - DAY The BUCK appears, trotting out of the swirling snow. Reaching a deadfall the BUCK pauses, looking back, and then turns sharp left and disappears. NICK comes out of the snow. He is winded but still going hard.","EXT. MOUNTAINS - DEADFALL - DAY NICK reaches the deadfall, hesitates, then rapidly springs over. As he touches down on the other side there is a growling sound. NICK grabs for the deadfall. The wind shifts and we see that he has stepped onto a boulder which is loosely planted at the top of a steep scree slope. As NICK watches, the boulder begins to roll, then to bound, dislodging other rocks and boulders, all of them bouncing and leaping and cracking. and then falling - soundless - over a sheer ledge to unknown depths below.","EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAY ALBERT and JOHN have dragged their TWO DEAD DEER to a log beside the shack. They sit side by side, drenched in sweat, guzzling beer out of both hands. JOHN Sweet! Oh, that is sweet! ALBERT Hey! Fuckin' A! Just. just like a hot shit. except cold. JOHN lowers his beer. ALBERT gives him a blank expression, then cracks up. SHOTS explode nearby. At first the shots are scattered but they quickly open into a FULL BARRAGE. ALBERT and JOHN stand up.","EXT. HIGHWAY EMBANKMENT - DAY The DEER that VINCE was chasing earlier comes hobbling out of the woods pursued by a GROUP OF HALF - DRUNK HUNTERS. VINCE comes barreling through the HUNTERS, shouting and screaming. VINCE's clothes are in tatters, the sole is gone from one shoe and the barrel of his rifle is jammed up with mud and perceptibly bent. VINCE I got this one! This one's mine! VINCE loses his footing and rolls down the embankment, head over heels.","EXT. DITCH - DAY VINCE comes up ten feet from the bewildered DEER. He raises his rifle, fires, and the BARREL SPLITS OPEN. SHOTS begin coming in, thudding in the mud and ricocheting off rocks. The DEER wheels out on the highway. VINCE heaves his rifle at the DEER, draws his pistol.","EXT. HIGHWAY - DAY Cars are parked on both sides of the road. HUNTERS are sitting in the cars, drinking, eating sandwiches and warming themselves at small fires. MORE HUNTERS are up on the embankment. VINCE I got this one! This one's mine! The panicked DEER bolts down the highway between the parked cars. The HUNTERS ON THE EMBANKMENT open fire. The HUNTERS IN THE CARS dive for cover. VINCE -LRB- CONT'D. -RRB- Hold your fire! I got this one! VINCE FIRES, FIRES AGAIN. SHOTS are ringing everywhere. HUNTERS are shouting, running, yelling. A car window goes out, a headlight goes out. The DEER is hit, falls and gets up. VINCE takes aim. A FLEEING HUNTER bowls him over. The DEER bolts for the woods, bullets smashing all around it. VINCE scrambles to his feet and plunges after it. VINCE -LRB- CONT'D. -RRB- I got it! I got this one!","EXT. WOODS - DAY The DEER staggers through the trees, blood pouring from its wounds. VINCE comes stumbling after it. HE FIRES, FIRES AGAIN.","EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAY ALBERT and JOHN stand with their beers, looking into the woods. A shot zings by, close, and they dive behind a log. The DEER comes out of the woods, barely able to keep moving. VINCE appears, reeling. He takes aim at the DEER and there is a DULL CLICK. VINCE jams his pistol back in his holster. VINCE Gun! Gim me gun! ALBERT indicates his rifle. VINCE stumbles over to it, rams a cartridge in the chamber. VINCE -LRB- CONT'D. -RRB- -LRB- looks around, bewildered. -RRB- Where's it gone? JOHN Inside, Vince. VINCE staggers to the cabin door. The DEER is lying on the floor, motionless, DEAD. VINCE I got it! Hey, you guys, I got it!","EXT. MOUNTAINS - FROZEN LAKE - DAY The wind is blowing in gusts, slanting the snow first one way and then the other. NICK appears in the distance, a black speck in the endless expanse of shifting white. As NICK draws closer we see that he is near exhaustion. His clothes are, caked with snow, his breath comes in a shallow gasp and his gait is uneven, favoring one leg. As NICK APPROACHES CAMERA HE FALTERS AND LIMPS TO A STOP. There are no tracks. There is nothing to go by and he hunkers down in the driving snow. The wind bangs in from one way, then it shifts and bangs in again from another way. Suddenly it stops entirely. In the silence there is a sound - the click of a hoof on rock. NICK turns. The BUCK is standing on the shoreline, not thirty feet away, looking down at him. NICK pushes himself to his feet, raises his rifle and sights down the barrel. WE SEE THE BUCK THROUGH NICK'S SIGHTS. IT IS A CLEAR SHOT. NICK'S FINGER IS ON THE TRIGGER. HE HAS ONLY TO SQUEEZE IT. NICK LOWERS HIS RIFLE. THE BUCK SNORTS, TOSSES HIS HORNS AND DISAPPEARS IN THE SLANTING SNOW. NICK STANDS MOTIONLESS, STARING AFTER IT, SO WONDER - STRUCK HE HAS FORGOTTEN TO BREATHE. NICK -LRB- grins. -RRB- Damn. God damn.","EXT. MOUNTAINS - OVERLOOK - DAY NICK sits on his haunches with his back against a sheer rock face. As he devours a Hostess Twinkie he looks out over a snow - shrouded landscape of such spectacular beauty that it might be something from a dream. NICK -LRB- shouts. -RRB- Hey! Hey. okay!","INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT The Coleman lantern hangs from the rafter, rocking in the wind. NICK is propped against the wall, dozing. JOHN is out cold. ALBERT and VINCE are both drunk and arguing bitterly. ALBERT You're full of shit, Vince! You're so full of shit you're going to float away! VINCE Who? Who is? ALBERT You, Vince! You! You are! You're a crock! You're a walking, talking crock! I mean, what do you know? VINCE I know! I fuckin' know! ALBERT You do n't! VINCE I do! ALBERT I'm tellin' you she does it, Vince! With twenty guys you know! VINCE She does not! ALBERT Then what's the gun for! What's this for? VINCE In case! The gun's in case! ALBERT In case?! In case of what? In case you stumble on her, suckin' cock in the front fucking hall?! VINCE She might! She might do it, Albert, but you ca n't fuckin' tell me that she does! ALBERT She does, Vince! That's what I'm telling you! She does! VINCE is sheet - white, trembling. He grabs up the pistol and cocks it. VINCE -LRB- shrieking. -RRB- Say that one more time! Say it! Go on, say it! NICK is half - way up the wall, still half - asleep, staring at the pistol in disbelief. Suddenly he springs, seizes the gun with one hand and slams VINCE to the floor. VINCE gets up. NICK slugs him in the face, knees him in the stomach and begins pounding his head against the wall. ALBERT lurches over, pulls NICK away. ALBERT Nick! Nick, you'll kill him! Easy. Nick, easy! Hey, hey. Vince goes back a long way. NICK -LRB- grimly. -RRB- Yeah. VINCE gets to his feet. Blood is streaming down his face. VINCE What the hell was that! -LRB- picks up the pistol. -RRB- What did you think? Did you think it was loaded! NICK You loaded it, Vince! I saw you! VINCE The fuck I did! NICK The fuck you did n't! Gim me that! NICK takes the pistol. VINCE What do you think? You think I do n't know! NICK looks at him, then he EMPTIES THE PISTOL INTO THE FLOOR. For a moment there is absolute silence. The wind moans in the trees, snow curls through the open door and JOHN, who is still soundly sleeping, finds a new note on which to snore. NICK looks down at the pistol, turns it over in his hands. NICK I'm going to throw this fuckin' thing away. NICK goes out.","EXT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT For a moment NICK stands in the light from the door, listening to the wind. He looks down at the pistol again, then he heaves it into the trees. The wind gusts. The snow swirls and hisses, slipping through the woods in great streaming wraiths. NICK watches it for a moment, then he turns and goes back in.","EXT. NICK'S TRAILER - DUSK The trailer is lonely looking, DARK and cold. VINCE pulls into the yard beside NICK's car and skips to a stop. NICK gets out, says a few words to VINCE and everyone laughs. NICK goes around to the trunk, removes his gear, slams the lid and pounds on the car. VINCE takes off, thudding over the curb with his load of THREE DEAD DEER. NICK crosses to the trailer and goes inside.","INT. V.A. HOSPITAL - RECREATION ROOM - NIGHT TWO DOZEN AMPUTEES in wheelchairs are watching a western.","INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHT In the foreground a NURSE holds a telephone. Beyond the NURSE we see a wizzened figure in a wheelchair coming slowly down the polished corridor. As the figure draws closer we realize it is SAL. SAL is dressed in a white hospital gown, the bottom of which hangs over the front of the wheelchair and trails limply on the floor. Both SAL's legs have been amputated and he has lost one arm. His face is terribly scarred and what expression he displays is centered in his eyes. SAL takes the telephone. THE SOUNDTRACK FROM THE MOVIE IN THE RECREATION ROOM IS VERY LOUD. SAL Hello?","INT. NICK'S TRAILER - NIGHT NICK sits in a little chair by the window, still in his hunting clothes, huddled anxiously over the receiver. NICK Sal? Sal, it's me, Nick. SAL Nick. Hey. How's things? NICK Oh. You know. How's it with you? SAL Same. Hey. Same old stuff. NICK -LRB- he can hardly hear. -RRB- What's that noise? SAL What? NICK What's that noise? SAL John Wayne. Listen, Nick - NICK Great. Hey. That's great. SAL Listen, Nick - NICK John Wayne's great. Listen, Sal. Jesus. When are you getting out? SAL I'm gon na stay here, Nick. NICK -LRB- hearing it. -RRB- What? SAL -LRB- with everything he has. -RRB- Place is great. Really. One great place. Basketball, bowling. You name it. Canasta. Hearts. Lots of guys are making salad bowls. What I'll do is make a salad bowl for you, unless you'd rather have a pencil holder. The pencil holder's neat, I mean - NICK Wait a minute. Sal. Hold it. John Wayne's making so much noise I can hardly - SAL I got ta get back, Nick. SAL looks around in desperation. SAL -LRB- CONT'D. -RRB- They're passing out popcorn now, so I'll be talking to you. maybe next year.","INT. NICK'S TRAILER - NIGHT NICK holds the receiver, staring into it. There is the SOUND OF WHOOPING, GRUNTING, THUNDERING HOOVES. NICK Sal? Sal?","INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHT SAL is wheeling himself rapidly down the polished corridor. At the doorway to the recreation room he pauses, looking back at the DANGLING RECEIVER. Then he turns and disappears into the flickering darkness, where BUGLES are sounding a cavalry charge.","INT. NICK'S TRAILER - NIGHT NICK listens to the SOUND OF THE BUGLES for a moment, then puts the receiver back on the telephone. He stands, walks around in a little circle - pained, terribly upset. His eye falls on the clock. It is nearly eight o'clock. He turns, hurries out the door.","EXT. SUPERMARKET PARKING LOT - NIGHT The lot is empty except for scores of abandoned shopping carts which a CLERK is banging together. NICK gets out of his car and goes in.","INT. SUPERMARKET - NIGHT Two or three CHECKERS are closing out the registers up front. CHECKER She's in back. NICK Thanks. CHECKER How was huntin'? NICK Oh. Fine. CHECKER Get anything? NICK No. CHECKER Too bad. NICK goes down a long aisle of bright packages. Coming out at the back he finds LINDA sitting in a green plastic chair, crying. NICK Linda. Honey, what's wrong? LINDA -LRB- helpless shrug. -RRB- I do n't know. NICK Hey. Look. There must be something. LINDA looks at him, tears streaming down her face. LINDA I'm just so lonely. NICK C'mon. I've got the car. LINDA -LRB- shakes her head. -RRB- I'll be out. Just leave me. I'll be out. I'm fine. Really. I'm fine. NICK walks back down the aisle between the bright packages.","INT. NICK'S CAR - SUPERMARKET PARKING LOT - NIGHT The CLERK is still collecting abandoned shopping carts. The carts crash and clank as the CLERK rams them together. NICK sits behind the wheel, watching the clerk. His hands begin shaking uncontrollably and he gets back out of the car.","EXT. SUPERMARKET PARKING LOT - NICK'S CAR - NIGHT NICK watches the lights go out in the market. LINDA comes out of the door and crosses towards him. NICK You okay? LINDA nods. NICK fumbles for the door. LINDA Let's make love, Nick. LINDA takes him in her arms and holds him tight. LINDA -LRB- CONT'D. -RRB- Let's make love forever!","INT. NICK'S TRAILER - NIGHT LINDA is asleep - lying on her back, arms flung out across the pillows, like a dancer leaping. NICK stands beside the bed, wrapped in a blanket, looking down at her. After a moment he draws the covers over her, fusses with her slippers until they are straight and then goes to the window.","EXT. STREET IN FRONT OF NICK'S TRAILER (NICK'S POV) - NIGHT The wind is blowing. Bits of trash skitter and swirl in the frozen ruts and a cat comes by, MEOWING. Suddenly a MAN appears walking slowly down the street. The MAN is elegantly dressed in Western attire, wearing a tailored suit with vest, polished boots and a Stetson hat. As the MAN draws under the light of a street lamp he pauses, looking at NICK's trailer. THE MAN IS MERLE, OR IF NOT MERLE IT IS A FACE SO STRIKINGLY SIMILAR THAT NICK ALMOST LETS OUT A CRY. THE MAN UNDER THE STREET LAMP PAUSES, JUST FOR AN INSTANT, THEN HE TURNS AND MOVES ON DOWN THE STREET.","INT. NICK'S TRAILER - NIGHT NICK backs away from the window. For a moment he stands motionless, hardly able to believe his eyes. He looks over at LINDA, he looks down at a chair, then he pushes his face to the window again.","EXT. STREET (NICK'S POV) - NIGHT The street is empty. The MAN is gone.","INT. NICK'S TRAILER - NIGHT NICK hesitates, then he sheds the blanket and pulls on pants, shirt, jacket and jams his sockless feet into a pair of slices.","EXT. NICK'S TRAILER - NIGHT NICK comes out into the street. There is no one in sight. NICK crosses to the intersection of Columbine.","EXT. INTERSECTION OF COLUMBINE - NIGHT No one. Nothing. A beer can rolling in the wind. NICK jams himself against a wall, zippers his jacket. He is irked with himself, a little frightened. Suddenly he hears a car door close and en engine start up. A black limousine pulls out of a nearby street and comes past him slowly. A CHAUFFEUR is at the wheel. The PASSENGER in back appears to be the MAN he saw, but the MAN is looking out the window on the other side and his face is not visible. As NICK watches, the limousine rapidly gathers speed. The tail lights grow small, then the car dips over a hill and disappears.","INT. V.A. HOSPITAL - RECREATION ROOM - DAY Sunlight streams through a window. The television is going. In a far corner SAL sits in his wheelchair, sleeping. CAMERA CLOSES SLOWLY ON SAL. His head has fallen to one side and his single arm sticks into the air - as if he had failed in his grasp of something, as if he were drowning. On a tray in front of him is an untouched breakfast of orange juice, milk and a little box of Wheaties.","INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAY Someone is descending the stairs. After a moment the feet appear, clad in expensive cowboy boots. We see expensive, tailor - made trousers, a belt buckle embossed with a six shooter. and then, suddenly, MERLE'S FACE. MERLE slows in his descent, stops, looking at something.","EXT. V.A. HOSPITAL ENTRANCE (MERLE'S POV) - DAY NICK is getting out of a cab. He pays the driver and starts toward the building.","INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAY MERLE watches NICK for a moment, his face utterly without expression, then MERLE continues down the stairs.","EXT. HOSPITAL GROUNDS - DAY NICK is pushing SAL down a walkway. NICK Sal, we need you. We need you. SAL Hey, Nick. How can you need me? NICK We do, Sal. We do. You're the heart. Turns SAL and sits on a bench. NICK -LRB- CONT'D. -RRB- Sal, you're gon na die! You're gon na sit in that corner watching soaps and you're gon na die! I'm not saying it's gon na be the same. It's not gon na be the same, but whatever it's gon na be we're all gon na do it, Sal. God damn it we are! We are gon na do it! SAL Nick. I'm so scared. I'm so fuckin' scared to go home. NICK -LRB- nods. -RRB- I know. It's like coming from the moon. Or Mars. SAL laughs. SAL Did you go hunting. NICK Yeah. SAL Did you get one? NICK No. SAL You did n't get a deer? NICK I tracked this one, a big buck. God, he was such a beauty -! What's this suitcase here? SAL Where? NICK Here. Behind you. NICK pulls a suitcase off the rack behind SAL's chair. SAL I do n't know. NICK sets the suitcase on a low wall and starts to undo the clasps. NICK Maybe Angela brought you stuff. I know she said - The suitcase slips over the back of the wall. NICK -LRB- CONT'D. -RRB- Shit! NICK swings up on the wall and then he freezes. The lid of the suitcase has popped open and bundles of money are scattered all down the slope of a steep embankment. SAL Mom keeps sending me socks, Nick. I mean, if it's socks or something just let'em go.","EXT. HOSPITAL GROUNDS - EMBANKMENT WITH MONEY - DAY NICK looks down at the money scattered at his feet. The bundles are made up of hundreds and they are everywhere. SAL -LRB- V.O. -RRB- Maybe you could use socks, Nick. Jesus, I mean, come to think of it socks are pretty expensive now. NICK It's not socks, Sal. NICK bends over the suitcase and begins going through looking for identification. There is nothing. As he straightens up he notices a wadded - up piece of paper lying beside one of the bundles of bills. The paper is about an inch square. The corners are tattered and it looks as if it had been carried in someone's pocket for a long time. NICK picks the paper up, realizes it is a calling card and unfolds it. THE CARD READS `` EXHIBITIONS''. IT CONTAINS A TELEPHONE NUMBER ON THE LOWER LEFT CORNER AND IS IDENTICAL TO THE CARD ARMAND GAVE TO NICK WHEN HE CAME UPON HIM IN THE GARDEN BEHIND HIS ROULETTE GAME IN SAIGON.","EXT. HOSPITAL GROUNDS - VALLEY OVERLOOK - DAY NICK leans on a railing watching the black, interchangeable cars of a coal train roll slowly by. SAL sits with the suitcase of money in his lap, utterly bewildered, crying. SAL Who is it, Nick? Who is it? I do n't understand. NICK looks at SAL. His head is spinning and he brings himself back with effort. NICK It's Merle, Sal. SAL Merle? Merle's alive? -LRB- NICK nods. -RRB- How do you know? NICK I saw him last night. I thought I was dreaming. I thought I was out of my mind. SAL Merle gave me this? NICK Yeah. SAL But, Nick. Hey, I mean, where would a guy like Merle get money like this? NICK is standing slightly behind SAL, looking down at the money. The reality of what MERLE is doing, has nearly overwhelmed him and it is only with tremendous effort that he maintains a casual tone. NICK Oh cards, maybe. Poker. It's getting cold, Sal. I'm going to take you in. -LRB- starts off. -RRB- We'll call Angela. The guys can help her bring you home. Did I tell you I was going on a trip? SAL -LRB- panicked. -RRB- Trip? What do you mean, Nick? You said you'd be - NICK It's okay. Hey, it's okay! Just a week. Just to see Phantom Mary. SAL Phantom Mary? NICK Did n't I ever tell you about Phantom Mary? SAL -LRB- laughs. -RRB- No. NICK -LRB- starts off again. -RRB- Well. Phantom Mary's on my mother's side. Naturally no one there admits it because Phantom Mary's pretty weird. You want to hear the whole story? SAL -LRB- enthusiastically. -RRB- Yeah! NICK Like I say, Phantom Mary's pretty weird. Lives alone, lives way out in the middle of nowhere with a cat called Pajamas and a cow called Fred. Well, last week I got a call from Phantom Mary, which in itself was very strange.","INT. TERMINAL BUILDING - U.S. ARMY AIRFIELD - TEXAS - DAY The place is a madhouse of activity. As jets scream overhead TROOPS embarking for Saigon are being counted and recounted. SERGEANTS are yelling off names. CLERKS are typing forms and papers. Forklift trucks weave in and out, DRIVERS cursing. NICK is back in uniform. He stands at a window watching a jet transport being prepared for loading. A CLERK comes by, arguing with a SERGEANT. The CLERK sets down his clipboard to consult the SERGEANT's papers. NICK picks up the clipboard and moves into the CROWD.","INT. TERMINAL BUILDING - ANOTHER LOCATION - DAY NICK spots a lone SECOND LIEUTENANT sitting on his gear. More OFFICERS are waiting nearby but the SECOND LIEUTENANT seems not to know them. NICK moves in close enough to read the SECOND LIEUTENANT's name tag. NICK -LRB- bawling. -RRB- Biederman! Where's Biederman! LIEUTENANT Here. NICK You Biederman? LIEUTENANT Biederman, yes. NICK I got you on this flight, Biederman. Is that right? BIEDERMAN Correct. NICK Follow me, please.","INT. TERMINAL BUILDING - WAREHOUSE AREA - DAY NICK walks along briskly with the LIEUTENANT at his side. NICK Right this way.","INT. TERMINAL BUILDING - WAREHOUSE AREA - DAY NICK comes to a door, opens it. NICK Through here.","INT. TERMINAL BUILDING - UTILITY CLOSET - DAY The LIEUTENANT walks into the closet and comes to a stop, looking puzzled. NICK comes in behind him, closes the door and picks up a length of pipe. NICK Take off the uniform. The LIEUTENANT stares at NICK, dumbfounded. NICK -LRB- CONT'D. -RRB- Take off the uniform, Lieutenant! The LIEUTENANT nods, begins taking off his uniform.","INT. TERMINAL BUILDING - UTILITY CLOSET - DAY NICK has changed into the LIEUTENANT's uniform and tied him to a chair. The LIEUTENANT is in tears. NICK is going through his orders. LIEUTENANT Please! Please mister, please! This is vital I go to Saigon. This is very important. Most important. NICK -LRB- exasperated. -RRB- Listen, Biederman, I'm going to club you into the floor unless you tell me what the fuck is so important. LIEUTENANT That I must not tell you. Top secret. You see there. Topmost secret. NICK Biederman! LIEUTENANT -LRB- stiffly. -RRB- I will not betray my country. No. Ne - ver! NICK throws down the pipe in disgust, whips a gag around the LIEUTENANT's mouth and ties it. NICK When I get to Saigon I'll tell'em where you are. Slams the door.","EXT. SAIGON AIRPORT - TERMINAL BUILDING - NIGHT Viet Cong SAPPERS have just attacked. A number of jet fighters are burning, bodies are strewn over the tarmac and jeeps with SOLDIERS are racing back and forth. Out beyond, the jet transport taxis into view, lumbering like a great silver monster out of the night.","INT. JET TRANSPORT - NIGHT NICK stands in the aisle next to a COLONEL who is peering out the window. COLONEL Jesus Christ, they hit the airport! NICK nods. COLONEL -LRB- CONT'D. -RRB- Those fuckin' niggers. This time I'm going to eat balls! You ever try'em? NICK Naw. COLONEL -LRB- leans close. -RRB- Not bad fresh, but they do n't keep worth a pig's fart. NICK nods. EVERYONE starts out. COLONEL -LRB- CONT'D. -RRB- Lotta guys do n't know that. -LRB- winks. -RRB- Assholes!","EXT. JET TRANSPORT - DEBARKATION RAMP - NIGHT A SIREN is screaming in the distance. NICK looks around nervously. The COLONEL is still right in beside him. COLONEL Tell you something else. Do n't eat'em in the damn Delta. Unless you like'em fishy. Some do. I do n't. I never did. The scream of the SIREN grows louder. Suddenly a Jeep careens around the corner followed by a huge black Cadillac flying American flags on the fenders. Both vehicles screech to a stop and an MP jumps out of the jeep with a loud hailer. MP -LRB- amplified. -RRB- Lieutenant Biederman! Lieutenant Biederman report to the ramp! COLONEL That's you. -LRB- grabs NICK's arm and waves. -RRB- Right here, Sergeant! He's right here! MP Right this way, Lieutenant. NICK is hurried to the limousine where a SECOND MP holds the door. SECOND MP Quick as you can, sir. We're in a rush. NICK gets in the limousine. The SECOND MP slams the door, jumps in the front and they take off with sirens wailing.","INT. LIMOUSINE - SAIGON - NIGHT There are jeeps with MP's ahead ; there are jeeps with MP's behind. Seated beside NICK is a gigantic MARINE CORPORAL who stares rigidly ahead.","EXT. CAVALCADE - SAIGON - NIGHT Pedestrians and bicyclists flee as the cavalcade comes screaming down a wide boulevard.","EXT. AMERICAN EMBASSY - SAIGON - NIGHT The jeeps peel off to the side. The gate swings open and the limousine enters the compound.","INT. AMERICAN EMBASSY - RECEPTION AREA - NIGHT A STRING QUARTET is playing. GUESTS in evening clothes are drinking champagne. NICK enters with the MARINE CORPORAL and is whisked rapidly down a hallway.","INT. AMERICAN EMBASSY - KITCHEN - NIGHT NICK stands in front of a huge range staring down at a table. On the table there is a basket of eggs, an omelette pan and a pile of mushrooms. Across from the table six SERVANTS with napkins on their arms stand waiting with plates. MARINE -LRB- V.O. -RRB- Sir? NICK turns. The MARINE CORPORAL is holding a chef's hat. NICK takes off his cap, puts on the chef's hat. Suddenly a door comes open and the AMERICAN AMBASSADOR and his WIFE come in. AMBASSADOR Henri! So good to see you. How are you? How are you? Darling, this is Henri. Henri, my wife Elizabeth. WIFE My pleasure. AMBASSADOR Henri, we are starved. Six omelettes, s ` il vous plait. WIFE -LRB- hissing. -RRB- Avec champignons. AMBASSADOR Avec champignons. -LRB- back to his WIFE. -RRB- Fines herbes? The WIFE shakes her head. The AMBASSADOR winks. AMBASSADOR -LRB- CONT'D. -RRB- Avec champignons. The AMBASSADOR and his WIFE hurry out. There is dead silence. NICK pulls the MARINE CORPORAL to one side, points to his crotch. NICK Pee - pee.","INT. AMERICAN EMBASSY - CORRIDOR OFF KITCHEN - NIGHT NICK comes down the corridor behind the MARINE CORPORAL. As he passes a straight - back chair standing against the wall he picks it up and swings it down on the MARINE CORPORAL'S head. The blow is ferocious. The chair splinters into pieces and the MARINE CORPORAL goes down with a dull thud. NICK stands for a moment, looking at him. Then he kneels, removes his pistol and jams it in his belt.","EXT. AMERICAN EMBASSY - WALKWAY TO PEDESTRIAN EXIT - NIGHT Three MARINE GUARDS are standing at parade rest by an open iron gate. As NICK appears in his white chef's hat the GUARDS snap to attention and he walks into the CROWD OF ASIANS streaming by outside.","EXT. TELEPHONE BOOTH - BUSY INTERSECTION - NIGHT NICK takes out his wallet, extracts the tattered calling card that he found with SAL'S money and dials the number. He lets it ring a long time but there is no answer.","EXT. DESERTED STREET WITH SHUTTERED BUILDING - NIGHT NICK is not sure where he is. Suddenly he stops, recognizing the yard with the little grape arbor where he met ARMAND.","EXT. YARD BEHIND SHUTTERED BUILDING - NIGHT The yard is grown over. As NICK goes in there comes a low buzz of flies. He trips over something, draws back. Seeing a candle on the little table under the grape arbor, he crosses and lights it. The yard is full of discarded champagne bottles, red velvet cushions and rotting CORPSES. NICK leans over one of the CORPSES. The skin is falling away and the eye sockets writhe with maggots. NICK straightens, looks around. NICK Merle! The back door to the building is open. NICK draws his pistol and goes in.","INT. SHUTTERED BUILDING - NIGHT NICK finds his way blocked by a door. He steps back, hurls himself against it. The door gives way with a crash and he staggers into the middle of a small stage hung with red velvet curtains and furnished with a table and two chairs. Out beyond the proscenium, huddled together in a litter of broken cafe tables, a FAMILY OF REFUGEES stare at him in terror from the other side of a small fire. NICK -LRB- waves pistol. -RRB- It's okay. The REFUGEES cower back even further. NICK -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- It's okay, God damn it! It's all right! POUNDING and BANGING come from the direction of the front door. NICK crosses.","INT. SHUTTERED BUILDING - FRONT DOOR - NIGHT NICK readies his pistol, cautiously unbolts the door and jerks it open. The COLONEL FROM THE AIRPLANE tumbles in and falls flat on his back. Standing in the doorway, lit by the headlights of two cars, is a party of U.S. OFFICERS, ARVN OFFICERS and WHORES. COLONEL -LRB- no attempt to get up. -RRB- Hey, good buddy, how you doin'? -LRB- gestures. -RRB- This is Biederman, you guys. Biederman, this is Son Loc, Tu Fon, Huckerbelly and Potts. What's the story here, Biederman? We're looking for. Wait a minute. He fishes a piece of paper out of his breast pocket. COLONEL -LRB- CONT'D. -RRB- Here it is. Chez Armand. WHORE Chez Armand not here! Chez Armand has gone to other spot! COLONEL -LRB- gets up. -RRB- Honey, c ` mere. Come right here. The COLONEL opens a brown paper bag he is carrying and presents her with a large red, white and blue dildo. COLONEL -LRB- CONT'D. -RRB- This is for bein' so smart. The WHORE shrieks with pleasure. EVERYONE laughs. COLONEL -LRB- CONT'D. -RRB- -LRB- arm around WHORE. -RRB- Let's go! Mount up! C'mon Biederman! The COLONEL throws an arm around NICK and they all start for the cars. COLONEL -LRB- CONT'D. -RRB- -LRB- to NICK. -RRB- Boy, do I love this conflict. Huh? What the hell were you doin' in there? NICK You know a guy named Merle? COLONEL Merle? That's who we're looking for. Merle. NICK Yeah? COLONEL Sure! I got eight hundred potatoes says he goes one more. He retired, you know. NICK Yeah? COLONEL Now he's back. Pulls NICK close so he can whisper in his ear. COLONEL -LRB- CONT'D. -RRB- He eats'em. Sure. He eats'em raw!","EXT. RUBBER PLANTATION - SAIGON OUTSKIRTS NIGHT An elegant house of French design is ablaze with lights. The house is encircled by a stone terrace on which tables have been set up. Over the terrace and strung out for a hundred yards into the surrounding trees are countless paper lanterns which bob and sway in the wind. GUESTS are everywhere - wandering in and out of the house, sitting at the tables and strolling under the trees. For the most part the GUESTS are AMERICANS and SOUTH VIETNAMESE. The majority of these are OFFICERS IN UNIFORM, but there are numerous CIVILIANS mixed among them and the CIVILIANS are attired in everything from sports shirts to white linen suits and tuxedos. As to nationality there are no limits. There are FRENCH, GERMANS, BELGIANS, SWISS, CHINESE, BRITISH and AUSTRALIANS. WHORES and MISTRESSES abound. WIVES are not greatly in evidence, except to dog the heels of heavily armed ARVN GUARDS who wander about, glass - eyed, drinking champagne.","EXT. RUBBER PLANTATION - PARKING AREA - NIGHT Jeeps, personnel carriers, trucks and light tanks are parked side by side with gleaming Mercedes limousines, staff cars from various government agencies and a blitz of civilian vehicles running from sedans to motor scooters. More vehicles arrive by the minute and exotic couples, like plumed birds, debark in the swirling dust.","EXT. RUBBER PLANTATION - CLEARING IN TREES - NIGHT A dozen ARVN helicopters have put down between the trees. One has crashed and lies on its side with a broken rotor. There is a mounting clatter in the distance and another helicopter comes out of the sky. As it sets down a dashingly handsome AIR FORCE OFFICER hops out and extends a hand to his WIFE. When his WIFE has descended the OFFICER opens a back compartment in the fusilage and carefully takes out their BABY. He hands the BABY to his WIFE and they stroll off toward the house.","INT. RUBBER PLANTATION - HOUSE - NIGHT Gambling tables are set up in all the rooms. The betting is heavy, champagne flows like water and the atmosphere is one of reckless abandon, as if money, like love, were good for an hour.","EXT. RUBBER PLANTATION - ROULETTE STAGE - NIGHT Low bleachers covered in red velvet are set in a semi - circle facing a small stage. The stage is lit with a single, blindingly bright spotlight and is furnished with a table and two velvet - covered chairs. Two CONTESTANTS, both of them VIETNAMESE, sit opposite one another. Between them, lying on the table, is a revolver. Both CONTESTANTS are dressed in tuxedos. Both wear red numbers on their downstage arm. Although the bleachers are not yet full, eager BETTORS jam the first three rows. Here CLERKS with change trays take the bets, signalling each transaction to a MARKER who chalks the shifting odds on a large board. CAMERA CLOSES ON NICK, standing in the aisle, staring in disbelief at the evolution of the game he once played. Now a REFEREE enters the stage carrying two strips of scarlet cloth. REFEREE -LRB- amplified. -RRB- Game number seven. Gentlemen will please wrap. The CONTESTANTS wrap their heads with the scarlet cloth. REFEREE -LRB- CONT'D. -RRB- -LRB- as he loads revolver. -RRB- One cartridge. Game to be played to completion. Forfeit automatic after delay of one minute. The REFEREE places the pistol back in the center of the table and spins a wheel whose - intervals are alternately marked L and R. The wheel clatters to a stop with the marker on L. REFEREE Gentleman on the left will now commence play. The REFEREE steps out of the light. A gong sounds. The CONTESTANT on the left picks up the pistol, spins the cylinder, cocks it and places it to his temple. He hesitates, pulls the trigger. and clicks out. NICK is unable to bear it. He turns, starts around toward the back of the stage. AS NICK MOVES THROUGH THE GUESTS WE HEAR THE SOUND OF THE CYLINDER CLICKING, AMPLIFIED OVER A P.A. SYSTEM. WE HEAR THE CLICK OF THE HAMMER BEING COCKED. NICK turns. The SECOND CONTESTANT has the pistol to his temple. He pulls the trigger. THE GUN GOES OFF WITH A DEAFENING ROAR and he topples on the floor. The FIRST CONTESTANT STEPS FORWARD AS THE SPOTLIGHT NARROWS TO CONTAIN HIM ALONE. HE BOWS, CLASPS HIS HANDS ABOVE HIS HEAD AND DANCES AROUND. NICK stares at the FIRST CONTESTANT celebrating his victory. He looks around him. BETTORS are screaming and yelling in five languages. NICK starts off again, hurrying.","EXT. RUBBER PLANTATION - BACKSTAGE AREA NIGHT NICK comes upon a pile of six naked CORPSES with their heads blown off. Opposite the CORPSES - sitting, standing, pacing, squatting in the dirt - are a GROUP OF WAITING CONTESTANTS. Some of these are AMERICAN. Most are SOUTH VIETNAMESE, several of whom have come with WIVES and FAMILIES. A few of the contestants are well dressed, most are in rags. THREE. OF THE WAITING CONTESTANTS ARE WEARING TUXEDOS. Suddenly a WOMAN WITH A BABY lets out a shriek. NICK spins. TWO BURLY MEN appear, bringing the CORPSE OF THE SECOND CONTESTANT. As the WOMAN WITH THE BABY begins sobbing and screaming with grief the BURLY MEN strip the tuxedo off the SECOND CONTESTANT and then, as each article is summarily removed, they begin dressing one of the WAITING CONTESTANTS in it. ARMAND -LRB- V.O. -RRB- If you are brave and lucky I can make you rich. NICK turns and finds ARMAND behind him. ARMAND studies him for a fraction of a second and then smiles. ARMAND -LRB- CONT'D. -RRB- C'est tres amusant. You have been promoted. And to a Jew. I am joking of course. Naturellement. Seriously, Nick, may I hope that you have come to play? NICK I came to see Merle. ARMAND Ah. Merle. And you know Merle? NICK Yeah. ARMAND -LRB- studies him. -RRB- You are his friend. NICK Where is he? ARMAND -LRB- faint smile. -RRB- Merle is under his tree. Beside the terrace. You ca n't miss him.","EXT. RUBBER PLANTATION - TREES BY TERRACE - NIGHT GUESTS are still coming in from the cars, strolling down through the trees in bright coveys and flocks, chattering like birds. Laughter comes from the terrace. Glass tinkles and the tiny lanterns bob and sway. NICK appears, hurrying down the steps. Suddenly he stops. MERLE is sitting at a table under a nearby tree. He is alone, dressed in a tuxedo, watching the arriving GUESTS with an expression of dreamy detachment, as if they were rain drops, or snow flakes, or falling stones. NICK -LRB- shouts. -RRB- Merle! MERLE turns, watching NICK as he crosses toward him. When NICK reaches the table, he stands. NICK -LRB- CONT'D. -RRB- Merle! Jesus! Hey, how are you? MERLE Nick! I thought you went home. NICK I did. I. This is stolen. I came back. MERLE Sit down. NICK sits. MERLE's self - possession has thrown him. He does n't know where to start. MERLE -LRB- CONT'D. -RRB- -LRB- breaking the silence. -RRB- How's Linda? NICK Fine. She's fine. Merle, what the hell are you doing? MERLE -LRB- eyes him. -RRB- I like it, Nick. NICK Merle. Hey, Merle, listen. -LRB- stares at him. -RRB- Why? For a moment MERLE does n't answer. His eyes are pale, like faded robin's eggs, and they seem to look through NICK, as if to some landscape far beyond. MERLE I like it because it's simple. A BEAUTIFUL VIETNAMESE GIRL steps up and whispers something in MERLE's ear. MERLE -LRB- CONT'D. -RRB- -LRB- stands. -RRB- I have to go, Nick. We'll have a drink. MERLE and the VIETNAMESE GIRL move into the CROWD. NICK Merle! Merle, wait! NICK starts after them. He can see them ahead, moving rapidly through a GROUP OF ARVN OFFICERS and WHORES. NICK -LRB- CONT'D. -RRB- Merle! NICK sees he can never overtake them directly. He cuts around to the terrace.","EXT. RUBBER PLANTATION - TERRACE - NIGHT NICK maneuvers his way down to the end of the terrace. NICK Excuse me. Sorry. Sorry. Pardon. NICK reaches the end of the terrace. MERLE and the BEAUTIFUL VIETNAMESE GIRL have disappeared.","EXT. RUBBER PLANTATION - TERRACE - NIGHT NICK sits at one of the tables. The terrace is deserted. REFEREE -LRB- V.O. -RRB- Gentleman on the right will now commence play.","EXT. RUBBER PLANTATION - HOUSE - NIGHT The gaming tables are utterly deserted. AS NICK WANDERS THROUGH THE EMPTY ROOMS THE SOUND OF THE GAME CONTINUES OVER THE P.A. SYSTEM - THE SOUND OF THE CYLINDER SPINNING, THE SOUND OF THE HAMMER BEING COCKED. AND CLICK AFTER CLICK INTO EMPTY CHAMBERS. Suddenly NICK can stand it no more. He turns and starts toward the entrance to the bleachers. A SHOT EXPLODES OVER THE P.A. SYSTEM. NICK freezes, then he runs.","EXT. RUBBER PLANTATION - ROULETTE THEATRE - NIGHT NICK appears at the back of the aisle between the bleachers. The CROWD is going wild, yelling and screaming. NICK pushes through a group of BETTORS and then stops. A look of stunned relief spreads over his features. On the stage a tall figure stands alone in the spotlight, head bowed in acknowledgement of the OVATION. NICK grins. He begins yelling and screaming along with everyone else. On the stage the tall figure raises his head, pumps his fists in the air and begins hooting maniacally. WE NOW SEE, AS DOES NICK, THAT THE TALL FIGURE IN THE SPOTLIGHT IS NOT MERLE AT ALL. IT IS MERLE'S OPPONENT.","INT. V.F.W. POST - BASEMENT - DAY Pipes crisscross the ceiling and there is the faint hiss of leaking steam. Seated on a bench and all dressed - up in their uniforms are FIVE OLD VETS. TWO VETS are on the nod. THE OTHER THREE - rheumy - eyed and ancient - give patient attention to the SIXTH VET who stands beside the boiler with a bugle, trying to play TAPS. VET 1 Up a little there. What would you say? VET 2 Up. The VET WITH THE BUGLE tries it again, flubs it, starts over.","INT. V.F.W. POST - MAIN HALL - DAY Three tables have been set up in the middle of the floor. The tables have been laid with white cloth and the OLDER WOMEN are setting out fresh flowers and laying the places for a funeral breakfast. They work in silence, fussing over the placement of each knife and fork. AS THE WOMEN WORK WE HEAR THE SOUND OF THE CHOIR SINGING AS THE SERVICE PROGRESSES IN THE CHURCH. AT FIRST THE SOUND IS BARELY AUDIBLE, EASILY MATCHED BY THE FAINT NOTES OF THE VET WITH THE BUGLE IN THE BASEMENT BELOW. BUT NOW THE SOUND OF THE CHOIR GROWS - A SOUND AS DEEP AS WATER, AS DARK AS NIGHT ; A SOUND LIKE STONE. Gradually, one by one, the OLDER WOMEN stop fussing with the table. They stand motionless, listening.","EXT. GREEK ORTHODOX CHURCH - FRONT STEPS - DAY A HEARSE waits at the curb. The day is windless, cold and grey Snow is drifting down and the gleaming vehicle emits a ghostly cloud of white exhaust. THE SOUND OF THE CHOIR IS MUCH LOUDER, ASCENDING IN DARK TRIUMPH TO A SUDDEN, FINAL NOTE. In the ringing silence of the MUSIC'S END the doors to the church swing open. NICK, VINCE, ALBERT and JOHN appear with MERLE's flag - draped COFFIN. Followed by MOURNERS, they bear the COFFIN slowly down the steps.","EXT. CEMETERY - DAY Snow drifts down from a leaden sky as the MOURNERS stand together on a steep hillside of tilted, weather - worn headstones. The mill looms behind them, breathing roiling clouds of steam and uttering a dull concordia of clanks and groans.","EXT. CEMETERY - GRAVE SITE - DAY The PRIEST completes his reading of the 23rd PSALM. The MOURNERS join in the LORD'S PRAYER. CAMERA CLOSES ON NICK, VINCE, ALBERT, JOHN and SAL. They help SAL to the side of the grave. It is awkward. The chair gets stuck and they have to carry it. THEY ALL pick up a handful of dirt and then, following NICK's lead, they throw it in. NICK steps back from the grave, nods to the VETS. The VETS come to attention. The VET WITH THE BUGLE steps forward and tremblingly, but perfectly, PLAYS TAPS.","INT. V.F.W. POST - MAIN HALL - DAY The meal is over. The WOMEN are drinking coffee, the MEN are smoking and putting down the beer. There is muted laughter and conversation. NICK sits at the head of one of the tables, flanked by LINDA and SAL. He looks stunned. His food is untouched, there are tears in his eyes and he hardly seems to know where he is. LINDA Eat something, Nick. Eat a piece of toast. NICK nods, picks up a piece of toast and then, forgetting all about it, lays it absently on his plate. VINCE comes up behind NICK, looking somewhat officious in a new blue suit. VINCE You want to say a few words, Nick? I think you should. Like that would wind things up. NICK nods. VINCE raps on a glass. VINCE -LRB- CONT'D. -RRB- Quiet! Quiet! Awright, everybody, Nick has a few words. NICK -LRB- very shaky. -RRB- I just. would like to say a few words. about Merle. I guess Merle always wanted something. I do n't know. better. That fucking guy, he saved my Life. He saved Sal's. What Merle liked, he liked things right. But then there was n't any place for that. that he could find. Tears are streaming down NICK's face and he sits down, looking miserable. VINCE -LRB- hisses. -RRB- John! Play something! JOHN goes to the piano, hurried along by VINCE. He sits down, casts a quick glance to the ceiling and begins playing `` America The Beautiful''. A FEW VOICES being SINGING. OTHERS join in. ALBERT stands up. Then EVERYONE stands up. THE END"],"string":"[\n \"EXT. PENNSYLVANIA STEEL MILL - LIGHT SNOW - DAY The plant is massive, grime - streaked, squatting in the valley under five massive stacks, each one trailing a black ribbon across the winter sky. Fires can be seen flickering through the windows and long flames weave and dance from the tops of guyed metal flues. Steam rises in clouds from vents and chimneys and the sound of it all - the hissing, the clanging, the rumbling, the shrieking - comes faintly, muted by the falling snow. In the foreground is a street - COLUMBINE STREET - which inhabits the bottom of a narrow ravine and plunges directly down the hillside, straight at the mill. Columbine is a sad looking street, a grim - looking street, a street hanging on by the skin of its teeth. Dilapidated stores hug the narrow sidewalks. Battered signs squeak in the wind. Sandwiched between the stores and scattered on twisting roads along the hillside are narrow Victorian houses. These houses, which run to three stories or more in height, all seem on the verge of toppling over, and undoubtedly would, except that they are all connected one to another by a mad arrangement of utility lines which cross and re - cross between them with occasional aid from a leaning pole. MUSIC COMES UP - dissonant, rather frightening music - as we watch a car come charging up through the slush on Columbine Street. As it nears CAMERA the car falters on the slippery grade and slides out of sight. A figure appears, huddled against the driving snow. The figure disappears AS CAMERA HOLDS ON THE STEEL MILL AT THE END OF THE EMPTY STREET. THE DEER HUNTER\",\n \"INT. STEEL MILL - DAY A white - hot ingot shoots out of an ejecting mechanism and comes ripping down a track. Another ingot follows it, and another and another and another. The ingots are huge, trembling with heat, and they come on with a terrifying rumble. CREDITS ROLL UNDER CREDITS we see STEELWORKERS catching the ingots with tongs and deftly swinging them into troughs. The STEELWORKERS wear leather aprons and are stripped to the waist. Warped in heat waves and glistening with sweat they seem like figures in some hellish ballet. Since they all wear goggles it is hard to distinguish between them, but there are three, who are young, who seem to work with particular grace. These are NICK, SAL and MERLE. CREDITS END. CAMERA CLOSES ON NICK, SAL AND MERLE. The noise is deafening, the heat is unbelievable and the ingots come on with murderous speed. Taking advantage of a slight pause MERLE jabs NICK and they both make cuckold's horns at SAL. SAL blushes and waves them off with his hand. MERLE and NICK make the horns again and now SAL puts both hands on his hips, gives a thin smile and studies the corner of the shed. MERLE and NICK begin laughing. SAL ca n't hold out and he starts laughing too, but now the ingots begin roaring down the track again and they all grab their tongs.\",\n \"INT. GREEK ORTHODOX CHURCH - ALTAR - DAY A very old PRIEST is making preparations for a wedding ceremony. SAL'S MOTHER hovers around him as he unlocks a cabinet and takes out white tapers and a golden crown which will be used in the service. The PRIEST moves with agonizing slowness and SAL's MOTHER is in the midst of a bad case of nerves. SAL'S MOTHER It's all ready? Everything's ready? PRIEST Yes. SAL'S MOTHER Are you sure everything's ready? Are you positive? PRIEST Everything. Yes. SAL'S MOTHER It would snow. Everything's going to slip. Everything's going to slide. All the cars are going to crash! SAL'S MOTHER puts her hand to her mouth and bursts into tears. SAL'S MOTHER -LRB- CONT'D. -RRB- I ca n't believe this. My own little boy. with a stranger! The PRIEST smiles. He takes SAL'S MOTHER in his arms and comforts her.\",\n \"EXT. COLUMBINE STREET - DAY Another car lunges up the hill, gets about halfway and slides back. As the car disappears, the door to one of the houses bursts open and a group of giggling BRIDESMAIDS begin scampering across the street. They have all been working on their dresses, which are not completely finished, and they all carry ribbons and scissors and pieces of material. As they make their way to the other side of the street they all wave away the snowflakes and grab each other for support. One of the BRIDESMAIDS loses her dress entirely and with everyone laughing she rushes back to retrieve it in her slip. When the garment is repossessed a door comes open and the BRIDESMAIDS disappear inside. CAMERA HOLDS ON COLUMBINE STREET. The snow slants across the little stores and piles on the gables of the tipsy little houses. Another car appears, lunges at the hill and slides back. Suddenly the door to the bakery comes open and a group of OLDER WOMEN emerge carrying a huge wedding cake with a miniature bride and groom standing on the top. The WOMEN are all in their fifties and bundled in boots and dark overcoats. They begin moving slowly up the street, in the driving snow, with the great white cake held firmly between them.\",\n \"INT. STEEL MILL - ENTRY AREA - DAY The time clocks are lined against both walls. As a whistle screams to mark the end of the shift thousands of men begin checking out. NICK, SAL and MERLE are right up in the front ranks and once they have clocked their cards they gather together along the wall. NICK Where's Vince? SAL There's Albert! -LRB- calls. -RRB- Hey, Albert! ALBERT - six and a half feet tall and built like an ox - changes course and plows across the river of homeward - bound STEELWORKERS. ALBERT How you feelin', Sal? SAL I feel okay. ALBERT Feeling hot? NICK -LRB- arm around SAL. -RRB- Humper's ready. Old humper's hotter'n damn hell! MERLE There's Vince! OTHERS -LRB- calling. -RRB- Vince! Over here! Vince! MERLE Get him, Albert. Get Vince! ALBERT I'll get him. ALBERT wades back into the stream of STEELWORKERS, grabs VINCE and they all push out together.\",\n \"EXT. STEEL MILL - PARKING LOT - DAY The snow is still falling. It covers the ground. It covers the acres of parked cars. It swirls and tosses and blows. As the five friends come bursting out of a side exit they all stop dead in their tracks. VINCE Snow. Holy shit, snow! SAL gives a look at the others. Something is going on. VINCE is so excited he begins hopping around. VINCE -LRB- CONT'D. -RRB- Do you know what this means? Do you guys realize exactly what this means? They all know. They all know damn well. MERLE and NICK exchange looks. ALBERT chortles. SAL What are you guys? Are you guys going hunting? The others nod, shrug, shuffle their feet. They are all a little embarrassed. SAL -LRB- CONT'D. -RRB- Not tonight? You're not driving up tonight? NICK As soon as you're hitched, Sal. First we get you hitched. SAL -LRB- envious. -RRB- You guys are crazy. You know that? I mean you guys are really nuts. VINCE He's getting married. and we're nuts! NICK -LRB- puts his arm around SAL. -RRB- It's all right. Hey, it's all right. We'll be right here, right with you. A look at the others. NICK -LRB- CONT'D. -RRB- Wo n't we? Right? Am I right? MERLE Right. ALBERT Damn right! VINCE What do you think, Sal? Jesus, you think we'd miss this? Now SAL is embarrassed. He makes a gesture with his hand. NICK -LRB- with a laugh. -RRB- C'mon. C'mon you guys! They all start into the swirling snow. NICK with an arm around SAL. VINCE And we want you to know, Sal, that any help you might need - ALBERT Yeah, Sal - MERLE Willing fingers - ALBERT Extra feet!\",\n \"INT. V.F.W. POST - DAY The place is large and drafty and rundown. A huge American flag hangs from the middle of the ceiling. Under it WOMEN are laying white table cloths on trestle tables. Off to one side a half dozen OLD MEN wearing VFW hats are Scotch - taping paper ribbons to the brick wall. Two OLD MEN are on stepladders, two more are bracing the ladders and the operation is under the direction of a pair of World War I VETS standing side by side. Their hands tremble. Their four eyes loom huge behind corrective lenses. VET 1 Up I would say. What would you say? VET 2 Up. VET 1 -LRB- signals. -RRB- Up ribbon! One end of the ribbon is moved up. The two VETS study it. VET 2 Down I would say. What would you say? VET 1 Down. VET 2 -LRB- signals. -RRB- Down ribbon! Suddenly there is a commotion. The WOMEN who are setting up the tables all rush to the door as the OLDER WOMEN come in with the wedding cake. The OLDER WOMEN look half - frozen and as they move toward a table the cake receives a great chorus of Uhh's and Ahh's. Suddenly one of the OLDER WOMEN collapses. Friends rush to her aid, seat her in a chair and give her wine. The WOMAN takes the glass, tosses it off in one swallow and grins. EVERYONE laughs.\",\n \"EXT. COLUMBINE STREET - BOTTOM OF HILL - DAY A big, battered old shark - finned black Cadillac approaches, coming fast.\",\n \"INT. CADILLAC - DAY NICK, SAL, MERLE, VINCE and ALBERT are all laughing. NICK is at the wheel. VINCE Hit it, Nick! OTHERS Go Nick! Hit it, baby!\",\n \"EXT. COLUMBINE STREET - DAY The car bangs over potholes and slams into the grade. We watch as it reaches the half - way point, then the three quarter mark.\",\n \"INT. CADILLAC - DAY NICK bends forward over the wheel, peering out through the slapping wipers. GUYS IN THE CAR -LRB- chanting. -RRB- Do it, Nick! Do it! Go Nick, Go! Do it! Do it, Nick! Go! The car fishtails, loses speed. to a creep. NICK Back! All hands to the rear! ALBERT and MERLE, who are sitting in front, immediately throw themselves into the back seat on top of SAL and VINCE. GUYS IN BACK SEAT Easy. ` At's it, easy! Easy, Nick. Easy!\",\n \"EXT. COLUMBINE STREET - TOP OF HILL - DAY The Cadillac inches up the last ten feet, gains level ground and skids to a stop. From inside comes a MUTED CHEER.\",\n \"INT. BRIDE'S HOUSE - BEDROOM - DAY ANGELA is dressed in her white bridal gown and veil. She is plump, pretty, with a solemn, round face and big brown eyes. ANGELA leans forward into a mirror. ANGELA -LRB- sincerely. -RRB- I do. A pause. ANGELA scowls and tries it again. ANGELA -LRB- CONT'D. -RRB- -LRB- heartfelt. -RRB- I do. ANGELA tries it a few more times. It sounds worse and worse. ANGELA -LRB- CONT'D. -RRB- I do, I do, I do! ANGELA stares at herself. Now she looks desperate and unrelievedly forlorn. Bursting into tears she throws herself on the bed. Someone has slipped a photograph under the pillow. The photograph is face down and as ANGELA pulls it out she sees that something is written on the back : ANGELA -LRB- CONT'D. -RRB- -LRB- reading, slow. -RRB- `` This is it - more or less. Love, Mom.'' ANGELA frowns, turns the photograph over. It is a picture of Michaelangelo's `` David''. ANGELA stares at the figure for a long, long moment. ANGELA -LRB- CONT'D. -RRB- Oh, wow.\",\n \"INT. JOHN'S BAR - DAY The place is packed with boisterous STEELWORKERS drinking boilermakers. Deerheads are mounted in a long row over the bar, and hand - painted murals decorate the walls. The murals depict hunting scenes and display an eerie tone - at once comical and frightening - as if the animals held some secret from the hunters, some power beyond their own. JOHN bangs out from behind the bar with a tray of beer. At the same moment SAL comes in with NICK, MERLE, ALBERT and VINCE. JOHN, who is a great bear of a youth, puts down his tray, wraps his arms around SAL and begins jumping him around the floor, grinning ear to ear. The STEELWORKERS turn, desert their places and swarm around SAL, joking and shouting congratulations.\",\n \"INT. LINDA'S HOUSE - KITCHEN - DAY LINDA is thin - a skinny slip of a thing with a hauntingly lovely face. Wearing her bridesmaid's dress she stands alone in the kitchen, staring at the ceiling. Thumping noises are coming from the room above. The thumping gets louder. There is a crash, then another crash, as if furniture were being thrown around. A MAN'S VOICE begins cursing and there is more thumping and crashing. Suddenly there is a thud. and then silence. LINDA bites her lip. She crosses to the stove, ladles stew into a bowl, butters bread, pours a cup of tea and puts it all on a tray.\",\n \"INT. LINDA'S HOUSE - FATHER'S BEDROOM - DAY The room is a wreck of broken furniture. Chairs are turned over, lamps are smashed and the pictures hang cockeyed on the wall. In the middle of the room, face down on the floor, is LINDA'S FATHER. His coat is torn, one shoe is missing and he holds a half - empty bottle in his hand. Behind him, through the open window, snow is blowing in. LINDA comes in with the tray. She stands for a moment expressionless, looking down at her father. Then she sets the tray on the bureau and kneels beside him. LINDA Daddy? FATHER -LRB- mumbles. -RRB- Go. fucking hell! LINDA reaches down, takes her FATHER by the shoulder and rolls him over. It takes some effort and the face that comes up is gray, unshaven and implacably bitter. Saliva dribbles from his mouth, there is a cut with the stitches still in it seaming his forehead and as LINDA looks at him he begins cursing again. FATHER -LRB- CONT'D. -RRB- Fucking shit. all around, like a sea! Like an ocean! LINDA gets up and closes the window. She comes back, gets down on the floor beside her father and pushes him toward the bed. Then, hiking up her bridesmaid's dress, she takes him by the shoulders again and heaves him onto the coverlet. The effort is almost too much for her. Tears begin to burn in her eyes, but when he slips back she tries again. The father groans, begins to mumble, and then, when she almost has him on the bed, he suddenly lifts his hand, catches her full in the face and pushes her violently across the room. LINDA crashes backwards over a fallen chair and smashes into the wall. As she gets to her feet her father advances on her. FATHER -LRB- CONT'D. -RRB- Fucking bitch. All bitches! He swings, catches her in the face again, hard. LINDA Daddy! Daddy, it's me! FATHER Hate'em. Fucking bitches! LINDA'S FATHER swings at her again, loses his balance and falls on the floor. LINDA stands looking at him, holding her jaw. She is crying. Tears are streaming down her face.\",\n \"EXT. COLUMBINE STREET - TOP OF HILL - DAY Seven MUSICIANS, carrying their instruments, file silently through the falling snow.\",\n \"EXT. ALLEY BEHIND JOHN'S BAR - DAY The WOMEN are all gathered, some fifteen or twenty, ranging from grandmothers to young wives. About half of them wield rolling pins or heavy pans. As the last reinforcements arrive - TWO HEFTY LADIES WITH TRUNCHEONS - a roar of laughter comes from inside.\",\n \"INT. JOHN'S BAR - DAY NICK, SAL, MERLE, VINCE, ALBERT and JOHN are dancing. The MUSIC is at top volume and the smoke is thick enough to cut with a knife. Suddenly, from the back, comes a CHORUS OF SCREECHES AND FEMALE RECRIMINATIONS. The door to the alley bursts open and the HEFTY LADIES WITH TRUNCHEONS appear. The STEELWORKERS take one look, gulp their drinks, grab their heads in their hands and rush for the front door.\",\n \"EXT. JOHN'S BAR - FRONT ENTRANCE - DAY The STEELWORKERS stream into the snow with the WOMEN close behind. Several blows are delivered and the howls of complaint are met with angry commands to hurry and get dressed for Sal's wedding. CAMERA CLOSES ON SAL, who emerges with NICK and MERLE. The snow hits him a sobering blow and he comes to a stop. SAL Boy, this is it. This is really it. I mean. here I go. SAL'S MOTHER hurries out of the alley. She is crying. SAL'S MOTHER My beautiful boy! My angel. who is leaving his own mother. She throws herself in SAL's arms, sobbing. SAL Momma. SAL'S MOTHER So cold is your heart to leave your own mother? SAL Momma, I'll be right upstairs. SAL throws a look to NICK and MERLE. They gesture with sympathy and study the snow flakes. SAL'S MOTHER So cruel is your heart? Is your heart so uncaring? SAL -LRB- a litany now. -RRB- One flight, Momma. It's one flight.\",\n \"EXT. NICK'S TRAILER - DAY The trailer is a dented two - tone pink and cream job which looks as if it had been purchased third - hand off a construction site. It stands on cinder blocks in a small lot which has been cut out of the side of the hill. A wrecked school bus decorates it to the right. On the left is a bare branched tree. NICK's black Cadillac is parked in front and a light shows from inside the trailer. CAMERA PICKS UP MERLE who is strolling toward the trailer whistling through his teeth. He is wearing his tuxedo and carries a knapsack and a deer rifle. He mounts the cinder block steps and pounds on the trailer door. NICK opens the door and waves him in.\",\n \"INT. NICK'S TRAILER - DAY The place is cramped, littered with camping paraphernalia. A deer head is mounted above the sink and NICK, who is half into his tuxedo, is applying waterproofing to a pair of heavy boots. MERLE smiles, throws his kit on the stove and sits. MERLE -LRB- indicates the waterproofing. -RRB- You should have put that on last night. NICK I know. MERLE That way it sets. NICK Yeah. Pause. MERLE I just wait. You know? NICK Huh? MERLE I just wait. For this. It's what I wait for. I wait all year. NICK So do I. MERLE -LRB- sharp. -RRB- You do? NICK -LRB- nods. -RRB- Yeah. NICK grins, takes down his rifle and begins wiping the oil off it. MERLE You think about it? NICK Yeah. MERLE So do I. -LRB- watches Nick for a minute. -RRB- I want to be ready. You have to be ready. It has to be there, in your mind. NICK The shot? MERLE Fucking A. NICK I do n't think about the shot that much. MERLE -LRB- firmly. -RRB- You have to think about the shot. It's the shot. The shot's it. NICK -LRB- uncertain. -RRB- Yeah. I guess. MERLE -LRB- studies him. -RRB- What do you think about? NICK I do n't know. I guess I think about the deer. Being out, maybe. I do n't know. I think about it all. Hell, I like the trees, you know? I like the ways the trees are, all the different ways the trees are too. MERLE -LRB- with a glance to the window. -RRB- I'll tell you something, Nick. I would n't hunt with anyone but you. I wo n't hunt with a yo - yo. NICK -LRB- laughs. -RRB- Yo - yo! Who's a yo - yo? MERLE Who's a yo - yo? Who do you think's a yo - yo! They're all yo yo's. I mean they're all great guys, for Christ's sake, but. The point is, Nick, without you I'd hunt alone. Seriously. I would. That's what I'd do. NICK -LRB- laughs. -RRB- You're a fucking nut. You know that, Merle? You're a fucking maniac! MERLE Yeah. -LRB- he grins. -RRB- When it comes to hunting, that's true. Cursing and banging from outside. NICK opens the door. JOHN and ALBERT, both in tuxedoes and loaded down with gear, are pounding on the trunk of the Cadillac, trying to get it open. NICK and MERLE go out.\",\n \"EXT. NICK'S TRAILER - DAY NICK Albert! For Christ's sake. John! Wait a minute, you guys! ALBERT It wo n't open. NICK You got ta hit it here. Here, Albert, not there. ALBERT Where should I hit it? Just show me where I should hit it. NICK Here. Hit it here. ALBERT hits the trunk in the indicated spot and the lid snaps open. ALBERT Hey, that's neat. NICK nods. ALBERT -LRB- CONT'D. -RRB- That's new, is n't it? NICK Couple of weeks. Listen - ALBERT I love this car. Some cars sit, you know? This car, a car like this. grows. I mean you never know, with a car like this, where this car has been. VINCE comes up, also in tuxedo, and dragging a totally disorganized clutter of hunting gear behind him. VINCE Hey, guys. JOHN Shhh! Albert's gon na hump the Coup de Ville. ALBERT looks around at his friends. He surveys the back end of the Cadillac with simian pride. Then he expands his chest, thumps on it with both fists and yodels out a magnificent, mile - carrying Tarzan call. As the echo of it comes back the church bell begins ringing down the street and a group of excited BRIDESMAIDS come, hurrying up. BRIDESMAID 1 Albert, what are you doing! BRIDESMAID 2 Hurry up, you guys! BRIDESMAID 3 Who's got their carnations? BRIDESMAID 4 Here. They're right here. BRIDESMAID 1 Look at you! You're all a mess! BRIDESMAID 3 Put on their carnations! BRIDESMAID 1 Who's got a pin? As the BRIDESMAIDS begin straightening ties and putting on carnations, NICK hears someone call his name. He turns to find LINDA standing beside the trailer where she ca n't be seen. She looks pale and very frightened and she holds a small suitcase in her hand. NICK -LRB- crosses. -RRB- Linda. LINDA Hi. -LRB- forces a smile. -RRB- Nick, your shoes are soaking. NICK Linda, what's the matter? LINDA -LRB- tries to toss it off. -RRB- Oh. You know. She fights against it but the tears begin to come. NICK looks around, pulls her inside the trailer.\",\n \"INT. NICK'S TRAILER - DAY NICK clears a place on the couch. LINDA sits, holding her suitcase in her lap. LINDA -LRB- with great effort. -RRB- I was just wondering. Nick. You're going hunting. If I could use this place to stay, because. NICK Sure. Are you kidding? Sure. LINDA I'd want to pay you. and I was thinking - NICK -LRB- kneels in front of her. -RRB- Linda. Hey, Linda. LINDA I would want to pay you, Nick. and I was thinking - NICK Linda, Linda! LINDA -LRB- very small, looking into his eyes. -RRB- What? NICK Will you marry me? LINDA -LRB- after a long, long moment. -RRB- Okay. NICK Would you? LINDA nods - a solemn nod. NICK -LRB- CONT'D. -RRB- You would? LINDA's lip begins to tremble. Tears stand in her eyes and she gives a little toss of her head. LINDA Who else, dummy? NICK stares at her. He can still hardly believe it. NICK This is terrific! This is really terrific! LINDA nods. She is suddenly excited, suddenly radiantly happy. She takes the suitcase off her lap and throws herself in NICK's arms. NICK -LRB- CONT'D. -RRB- I do n't know what we've been waiting for! LINDA -LRB- eyes closed, loving him. -RRB- I do n't know! I do n't know either!\",\n \"INT. GREEK ORTHODOX CHURCH - NIGHT SAL and ANGELA stand facing each other as the PRIEST reads the Holy Sacrament of Marriage. PRIEST `` Blessed be the Kingdom. now and forever unto Ages and Ages. As the PRIEST continues with the Holy Sacrament CAMERA PICKS UP FACES IN THE CONGREGATION. We see SAL'S FAMILY. We see ANGELA'S FAMILY. We see the VETS from the V.F.W. Post. We see the STEELWORKERS from the bar and the WIVES and MOTHERS who chased them home to change. They are hard faces - working class faces - but we sense a fortitude among the congregation, a community of both heart and spirit. CAMERA PICKS UP NICK, MERLE, VINCE, ALBERT and JOHN standing in a row opposite the BRIDESMAIDS. The guys all look slightly disheveled. Their tuxedos are all too small and their shoes are soaking wet from walking in the snow. NICK catches LINDA's eye and they hold each other across the intervening space like two children who are amazed. The PRIEST hands white tapers to the bride and groom. CAMERA CLOSES SLOWLY ON THE PRIEST. The man is impressive - gentle yet full of power. The PRIEST lights the tapers - first ANGELA's, then SAL's - and looks out across the assembled congregation. PRIEST `` For everyone that does evil hates the light, and does not come to the light, lest his deeds will be reproved.''\",\n \"EXT. COLUMBINE STREET - TOP OF THE HILL - NIGHT Save for a lone figure trudging home, the street is deserted, left to the gently falling snow. In the background the massive silhouette of the steel mill is plainly visible, lit with fire.\",\n \"INT. GREEK ORTHODOX CHURCH - NIGHT NICK, MERLE, VINCE, ALBERT and JOHN join with the BRIDESMAIDS to assist the PRIEST in the crowning of SAL and ANGELA. The PRIEST crowns SAL first. PRIEST `` The servant of God, Sal, is crowned for the servant of God Angela, in the Name of the Father and of the Son and of the Holy Ghost. Amen.'' Now ANGELA is crowned. PRIEST -LRB- CONT'D. -RRB- `` The servant of God, Angela, is crowned for the servant of God, Sal, in the Name of the Father and of the Son and of the Holy Ghost. Amen.'' Guiding the couple by their joined hands the PRIEST leads SAL and ANGELA around the analoy. The movement is very precise, very formal, a circling to represent eternity.\",\n \"INT. V.F.W. POST - DANCE FLOOR - NIGHT The Band is going full blast and the whirling COUPLES, young and old, are laughing. We see SAL and ANGELA, NICK and LINDA, VINCE, ALBERT and JOHN. The only one of the group not dancing is MERLE. MERLE is drinking, standing alone on the side of the floor chugging beer in tense, rapid - fire gulps. We sense immediately that he feels out of place, at a loss to join spontaneously in the spirit of the party. MERLE finishes the beer, crumples the can and starts on another. As he picks up the second can he notices that a SAD - LOOKING GIRL is sitting against the wall behind him, waiting for someone to ask her to dance. The SAD LOOKING GIRL gives MERLE a smile. MERLE pretends not to see and moves behind a post.\",\n \"INT. V.F.W. POST - TRESTLE TABLES - NIGHT The wedding cake that was carried in earlier has now been attacked from all sides, but the miniature bride and groom are still standing in the middle. Unnoticed by each other SAL'S MOTHER and ANGELA'S MOTHER eye the little figures. Both women are in rather teary condition and begin moving toward the cake. Suddenly, as the CROWD shifts, they encounter each other face to face. Smiles are exchanged - strained smiles, which get stretched and stretched and stretched. Then, in unison, they desert the smiling and remove their respective offspring from the cake. SAL'S MOTHER looks down at her sugar coated groom and ANGELA'S MOTHER looks down at her sugar coated bride. Then they eye each other, burst into tears and throw themselves in each other's arms, moaning and sobbing.\",\n \"INT. V.F.W. POST - COAT ROOM - NIGHT Another COUPLE tries to enter the rack. It is pretty full. They finally find an empty place and squeeze in.\",\n \"INT. V.F.W. POST - DANCE FLOOR - NIGHT NICK comes off the floor with LINDA and throws an arm around MERLE. NICK Sit with Linda, man, will ya? Give her a beer. -LRB- to Linda with great solicitude. -RRB- Would you like a beer? LINDA -LRB- puzzled. -RRB- Sure. NICK What kind of beer would you like? LINDA -LRB- laughing. -RRB- I do n't know. NICK -LRB- to Merle. -RRB- Give her Miller's. Miller's High Life. NICK takes off. LINDA sits down at a table and MERLE goes to the cooler to get a Miller's. He gropes around in the tub, finds one and pops the tab. Suddenly he notices that NICK has crossed to the SAD - LOOKING GIRL by the wall. He has stopped in front of her and is asking her something. The SAD - LOOKING GIRL gives a blush, gets out of her chair and NICK takes her in his arms and begins to dance. The SAD - LOOKING GIRL looks transformed. She begins chattering and laughing. MERLE crosses back to LINDA and gives her the beer. As he pulls up a chair to sit down beside her he stumbles and nearly loses his balance. He is very drunk. MERLE Sorry. LINDA -LRB- laughs. -RRB- It's okay, Merle. NICK swings by with the SAD - LOOKING GIRL and waves. MERLE -LRB- catching Linda's expression. -RRB- I guess you like Nick. LINDA -LRB- nods. -RRB- Yes. MERLE does n't say anything for a moment. He seems to be trying to contain a floodtide of emotion. MERLE Fuckin' Nick. -LRB- clears his throat. -RRB- Fuckin' Nick. gives. -LRB- he nods, bangs his fist on the table. -RRB- Gives. Fuckin' Nick gives.\",\n \"INT. V.F.W. POST - COATROOM - NIGHT The rack is still jammed with COUPLES but the laughing and giggling has now given way to the sound of heavy breathing and low moans. What light there is comes from the colored glass ball revolving above the dance floor, where the MUSIC is now playing sweet and low. The front door comes open and a U.S. Army SERGEANT steps into the darkened hallway. The man wears his dress green uniform. On his chest is a row of battle ribbons and his shoes are brightly polished. SERGEANT Pow! The SERGEANT gives a beery chuckle and moves toward the dance floor.\",\n \"INT. V.F.W. POST - TRESTLE TABLE AREA - NIGHT The SERGEANT passes between groups of celebrating GUESTS, plucks a beer from one of the coolers and sits down alone at the end of one of the white trestle tables.\",\n \"INT. V.F.W. POST - DANCE FLOOR - NIGHT ALBERT gives his Tarzan cry, suddenly picks his GIRL off her feet and marches around holding her above his head. GIRL Albert, what are you doing. Albert!\",\n \"INT. V.F.W. POST DANCE FLOOR - ANOTHER LOCATION - NIGHT VINCE and JOHN are standing together. VINCE is going bananas because his girl, MARSHA, is dancing too close to FRED. VINCE Look at that, see. Watch. Wait a minute, watch. There! D' j' u see that? D' j' u see the way he. You know what that guy is doing? That guy is squeezing her ass! JOHN Oh, well. VINCE Oh well! What do you mean Oh well?! The guy is actually. He did it again! That's what he's doing. He. He's reaching in, John, to her -! I'll kill him! I'm gon na kill him right now. VINCE marches up and taps FRED on the shoulder. FRED releases MARSHA. MARSHA waits, one hand on her hip, while the two of them exchange words. VINCE turns MARSHA, points to her ass. FRED turns MARSHA, pints to the small of her back. VINCE is hopping up and down now. So is FRED. MARSHA, who is getting bored, points to the door. VINCE and FRED bang out. As soon as they have gone MARSHA is taken by someone else who puts his hand right back where FRED had it.\",\n \"INT. V.F.W. POST - TRESTLE TABLES - NIGHT NICK, SAL and MERLE are standing together, looking at the SERGEANT. MERLE Nick, he just came back. NICK From Nam? MERLE Fucking A. See that ribbon in the left. That's Quan Son. That fucking guy was at Quan Son! MERLE gestures with his head. NICK and SAL cross with him to the SERGEANT. MERLE -LRB- CONT'D. -RRB- We, ah. We're going too. The SERGEANT looks at them and delivers a big, blank smile. SERGEANT Pow! MERLE What? The SERGEANT keeps smiling. MERLE -LRB- CONT'D. -RRB- -LRB- to Nick. -RRB- What'd he say? NICK Pow. MERLE Pow? NICK Pow. MERLE Oh. MERLE nods. MERLE -LRB- CONT'D. -RRB- -LRB- clears his throat. -RRB- Uh. well, maybe you could tell us how it is over there? SERGEANT Pow! MERLE Pow? SERGEANT Pow! MERLE looks at NICK. NICK looks at SAL. They all begin scratching their heads, trying not to laugh. MERLE Well, thanks a lot. They turn away and then, when they are out of earshot, they all break up, howling. SAL Who the hell is he? MERLE Who the hell knows! NICK Is he from here? MERLE Hell no! NICK Well, where's he from? MERLE AND SAL -LRB- in unison. -RRB- Who the hell knows! MERLE -LRB- soberly. -RRB- Maybe he's lost. SAL AND NICK Lost? MERLE -LRB- throws up his hands. -RRB- Well, I do n't know!\",\n \"INT. V.F.W. POST - NIGHT The GUESTS have formed in a long double line which extends from the dance floor right out into the street. Everyone is pretty drunk and they are all armed with streamers and bags of rice. As SAL and ANGELA appear from out of a back room there is a great rowdy CHEER. The MUSICIANS strike up a MARCH. Followed by the MUSICIANS, showered with streamers, rice, advice and encouragement, SAL and ANGELA walk the gauntlet toward the street, where a glossy, bright red Pontiac with headers and straight pipes is being revved in a series of ear - splitting crescendos.\",\n \"EXT. V.F.W. POST - STREET - NIGHT JOHN, ALBERT, MERLE and VINCENT are standing by the door. Their tuxedos are stained and torn. Their carnations are squashed and their clip - on bow ties are either missing entirely or dangling from the open collars of their shirts. VINCE looks the worst, with a black eye and half his pant leg torn away, and they are all guzzling beer. VINCE Bullshit! That's bullshit! MERLE You wan na bet? VINCE I'll betcha! That's bullshit and I'll betcha! You're fulla shit! MERLE How much? How much do you wan na bet? OTHERS Bet him! Bet him, Vince! VINCE I'll betcha! I'll betcha. I'll betcha twenty dollars!\",\n \"EXT. V.F.W. POST - PARKED PONTIAC - NIGHT SAL and ANGELA emerge to more CHEERS and a shower of streamers and rice. ANGELA is helped into the Pontiac on the right. NICK throws an arm around SAL and walks him around to the driver's seat. NICK Do n't worry what it says in the book. SAL Right. NICK Just forget that. Forget what it says in the book. SAL I'm gon na start slow. At the top. Then I'm gon na work down. NICK Great. That's great. SAL That's my plan. NICK gives SAL a hug. SAL gets in the car. NICK See you Monday. SAL See you Monday.\",\n \"INT. PONTIAC - NIGHT SAL looks over at ANGELA. SAL All set, hon? ANGELA nods. SAL puts the car into gear and starts slowly off. Fists pound on the car. Rice and streamers shower down. Suddenly, through the front windshield, MERLE appears, stark naked, running in front of the car with colored paper streamers floating out from his upraised right hand. For a split second SAL can not believe what he is seeing. He throws a look at ANGELA. ANGELA covers her mouth in amazement and then quickly shifts the hand to cover her eyes.\",\n \"EXT. STREET - NIGHT MERLE weaves down the street in front of the growling red Pontiac. MERLE is not just running. He is leaping and bounding, as if released from gravity and entered into a realm of pure ethereal space. NICK, ALBERT, VINCE and JOHN pound down the street behind the Pontiac, ALBERT carrying MERLE's clothes. GUYS Look at that! Fuckin' guy! Fuckin' Merle! Unbelievable!\",\n \"EXT. STREET - NIGHT The road forks, one road going high to a parking area, the other descending to the valley below. MERLE swerves up the incline toward the parking area, while the Pontiac goes straight and disappears down the hill. ALBERT, VINCE and JOHN stagger to a stop, panting helplessly. NICK grabs MERLE's clothes from ALBERT and takes off up the hill.\",\n \"EXT. HILLSIDE PARKING AREA - NIGHT MERLE stands motionless, looking out across the valley as NICK approaches. The night is brilliantly clear and the fires from the mill light up the sky with an eerie glow. NICK comes to a stop a few feet away. NICK Merle? MERLE turns. His face has a strange, distant look, and he gives NICK an almost feral grin. MERLE You think we'll ever come back? NICK -LRB- startled. -RRB- From Nam? MERLE Yeah. NICK moves up beside him. He does n't know what to say. MERLE -LRB- CONT'D. -RRB- I love this fuckin' place. That sounds crazy. I know that sounds crazy, but I love this fuckin' place. If anything happens, Nick, do n't leave me there. I mean it. Do n't leave me. You got ta promise, Nick. You got ta promise me that. NICK -LRB- half laughing. -RRB- Merle - MERLE Promise! You got ta promise! NICK You got it. MERLE lets out his breath. It is as if some great weight had been pressing on him. MERLE -LRB- with a laugh. -RRB- Let's go huntin'. I mean let's do it!\",\n \"EXT. THRUWAY - NIGHT NICK'S battered old shark - finned Cadillac comes screaming past.\",\n \"INT. CADILLAC - NIGHT NICK, MERLE, VINCE, ALBERT and JOHN, all of them still in tuxedos, are jammed in the car between knapsacks, sleeping bags, six packs of beer and deer rifles. GUYS -LRB- singing. -RRB- Let me be free! Let me be free! If. you. will let me be free. You'll. always be happy. with me - e - e - e! ALBERT -LRB- making a trumpet sound. -RRB- Wa - wa - wa! Waaaaa!\",\n \"EXT. MOUNTAIN ROAD - NIGHT Tale Cadillac comes blasting by.\",\n \"INT. CADILLAC - NIGHT NICK is hunched over the wheel, his eyes gone completely glassy. MERLE and VINCE are on the nod, while ALBERT and JOHN, both half asleep, are having a lead - voiced conversation. ALBERT She fucked you? JOHN She fucked me. ALBERT She fucked me too. JOHN She fucked you? ALBERT She fucked me too. There is a long pause. They both struggle to keep their eyes open. JOHN She fucked us both. ALBERT Yeah. JOHN Fucking women, man. ALBERT -LRB- shakes his head. -RRB- I know.\",\n \"INT. CADILLAC NIGHT NICK'S head is sunk below the upper rim of the steering wheel. One eye is entirely shut and the open one seems close to death. Suddenly his head snaps up. He slams his foot down on the brake and the Cadillac fishtails, rubber screaming, to a jolting stop. EVERYONE in the car comes awake ten bleary eyes staring out through the windshield. There are deer in the road, fifteen or twenty of them standing in the headlights.\",\n \"EXT. CADILLAC - NIGHT VINCE, ALBERT, NICK and JOHN pile out with their rifles. VINCE immediately slips and falls down. VINCE Get'em! For Christ sake, get'em! JOHN Who's got the ammo? ALBERT Ammo! Get the ammo! VINCE I'll get it! Where is it? JOHN It's in the trunk! It's in the trunk! I'm telling you, it's in the trunk! VINCE, ALBERT and JOHN rush around to the trunk. ALBERT begins pounding on it. VINCE There, Albert! Hit it there! Pushing and shoving each other, VINCE, ALBERT and JOHN rush around to the side of the car. As they pass along the embankment at the side of the road there is a soft sound, like a sigh, and all three of them simultaneously vanish. NICK, who has been watching, stares at the place where his three friends disappeared. He takes a few steps forward, realizes what has happened and doubles up in the middle of the road, helpless with laughter. VINCE -LRB- CONT'D. -RRB- -LRB- getting out of the car. -RRB- Man, let's go hunting! Where are they? NICK makes a gesture, a downward pointing of his finger. VINCE crosses to the side of the road.\",\n \"EXT. RAVINE - NIGHT The slope is a good 45 plus. At the bottom, barely visible, three tiny figures flop in the snow.\",\n \"EXT. CADILLAC - NIGHT VINCE looks down at the three hunters with an expression of absolute disgust. He looks at NICK - flat on his back, pounding his feet, howling - and then he looks at the deer. The deer are still watching. If anything they have edged closer and their massed expression of polite curiosity throws VINCE into a blind rage. VINCE Get out of here, damn you! Go home! Scat! Shoo! VINCE, whose rifle is fully loaded, slams a shell into the chamber and lets off a barrage of shots above the deer. VINCE -LRB- CONT'D. -RRB- Bastards! Assholes! Get lost!\",\n \"EXT. MOUNTAIN PASS - DAWN The sky is cold - first light - with low, wind - driven clouds. CAMERA TILTS DOWN and we see NICK's Cadillac coming up a narrow road flanked by precipitous, heavily forested ridges on both sides.\",\n \"EXT. MOUNTAIN ROAD - DAWN The Cadillac seems minuscule, overwhelmed by the massive, black slopes looming up from the road.\",\n \"INT. CADILLAC - DAWN Everyone is eating cold hot dogs, ripping them out of a half dozen plastic packages, dipping them in a jar of mustard and stuffing them down. Hot dog juice has dripped over everything, potato chips are littered everywhere and both beer and milk are being passed around. ALBERT Fuel up. Need fuel. JOHN Those are mine! ALBERT You want'em? JOHN Damn right! ALBERT Gim me a Hostess Twinkie, Merle. MERLE Here's a Hershey. ALBERT tears off the wrapper, dips it in the mustard and glomps it down. JOHN That's mustard! ALBERT -LRB- mouth jammed full. -RRB- What? JOHN You just put mustard on your Hershey bar. ALBERT -LRB- nods. -RRB- Good. Pass the beer. VINCE -LRB- pointing to a location beside the road. -RRB- Here, here! This is it! MERLE -LRB- milk slopping over him. -RRB- Watch it, shithead! VINCE -LRB- pounds Nick on the shoulder. -RRB- Here! This is it! ALBERT It is not! VINCE It is too! Now you passed it! MERLE It's ahead, by the tree. NICK It's ahead, Vince. VINCE That is n't it! There's no way that's it. Unless they changed it. They might have changed it. NICK pulls to a stop on the shoulder. VINCE -LRB- CONT'D. -RRB- They changed it. That's what they did. This is it but they changed it.\",\n \"EXT. ROADSIDE AREA - DAWN The sky is just turning grey. A cold wind is blowing, moaning in the trees and swirling a fine haze of snow across the open roadway. The guys all pile out in their wrecked tuxedos. VINCE This is it. Definitely. This is it, but they changed it. ALBERT You're full of shit. VINCE Who's full of shit? ALBERT You're full of shit! VINCE I'm telling you, they changed it! ALBERT They did not! VINCE They did too! ALBERT Jesus, it's freezing! NICK, MERLE and JOHN have the trunk open and are taking stuff out. MERLE strips down where he stands and begins putting on his hunting clothes. ALBERT and VINCE grab their things and follow the example of NICK and JOHN, who are changing on the corner of the seats. NICK Whee - uu! ALBERT Jesus! JOHN Holy shit! VINCE Merle, hey Merle, you got any socks? MERLE, who is crouched down studying the hillside, looks over. VINCE -LRB- CONT'D. -RRB- -LRB- rummaging around in the mess of things he has brought. -RRB- Never mind, Merle. Never mind, I got'em. Where the hell are my pants? Anyone see my pants? Who the hell took my pants! VINCE begins plunging around. OTHERS Fuckhead! Watch it! VINCE Somebody took my pants. I know I brought pants. VINCE tears into another pile of equipment, comes up with nothing and steps out of the car. VINCE -LRB- CONT'D. -RRB- All right. All right, you guys. Whoever took my pants, I want'em back!\",\n \"EXT. ROADSIDE AREA - DAWN - LATER Shots are ringing out in the hills. NICK, ALBERT and JOHN stand by the roadside while VINCE and MERLE glare at each other. VINCE is still in his tuxedo pants, is still wearing his dress shoes and is draped in a gigantic red goose down vest that could only have come from ALBERT. MERLE's knapsack lies on the ground in front of him and we can see that it contains a pair of Vibram - soled mountain boots. MERLE Sure I got boots. I got boots right here. VINCE Then lem me have'em. MERLE No. VINCE -LRB- both hands in the air. -RRB- No!? MERLE No. VINCE What do you mean, no? MERLE That's it. No. No way. VINCE Some fuckin' friend. You're some fuckin' friend, Merle! MERLE You got ta learn, Vince! You come out here. You got no jacket, you got no pants, you got no knife and you got no boots. You think everyone's gon na take care of you! That's what you always think, but this time you're wrong. This time you're on your own! ALBERT Merle, give him the boots. MERLE No. No boots. No nothin'. VINCE You're one fuckin' bastard, Merle. You know that? You're one fucking bastard! MERLE -LRB- snapping it out, jabbing his finger at the ground. -RRB- This is this, Vince. This is n't something else. This is this! VINCE You know what I think? There's times I think you're a goddamn faggot! I fixed you up a million times, Merle! -LRB- to the others. -RRB- I fixed him up a million times! I do n't know how many times I fixed him up. and nothin' ever happens. Zilch! Zero! The trouble with you, Merle, no one knows what you're talking about! `` This is this''? What does that mean, `` this is this''? I mean is that some faggot bullshit, or is that some faggot bullshit! And if it is n't, what the hell is it? JOHN Vince. Hey, you guys - VINCE -LRB- hopping now. -RRB- Take last night! Last night he coulda had twenty fuckin' deer! More! He coulda had more! And look what he does! I mean look what he fuckin' does! JOHN Vince! JOHN throws up his hands in a comical way. JOHN -LRB- CONT'D. -RRB- I'll get the boots. ALBERT -LRB- in agreement. -RRB- Get the boots. JOHN -LRB- crossing to Merle's knapsack. -RRB- I mean let's get going before - MERLE - who has remained completely calm throughout VINCE's tirade - pumps a shell in the chamber of his rifle. JOHN freezes in his tracks and stares at him, his face gone white. MERLE I said no. JOHN looks at ALBERT, who is right behind him, and they both back away. VINCE, who is standing directly opposite MERLE, begins to tremble. His mouth comes open, closes and comes open again. Urine begins trickling out from the bottom of his pants leg, staining the snow. Suddenly, NICK steps forward. He looks at MERLE, crosses to the knapsack, takes out the boots, walks over to VINCE and throws them on the road. NICK -LRB- gently, to Merle. -RRB- Let's hunt.\",\n \"INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT The place is about nine - by - twelve. The floor is rotted out, boards are missing from the walls and the entire structure is canted to the right. Hanging from the roof peak is a hissing Coleman lantern which sways in the wind. VINCE, ALBERT and JOHN are sacked out, sound asleep. Beer cans - some old, some new - litter the floor. Wet clothes, most of them bloody, hang from tie - boards and nails. Strung up on the end wall are two deer carcasses, one of them with a knife jammed in it where steaks have been cut out. Snow is blowing in - dry, crystal bright. It swirls over everything and settles on the sleeping figures on the floor. CAMERA DISCOVERS MERLE AND NICK. They are both in sleeping bags, lying on rusted bedsprings at either side of the broken door. The wind gusts and moans. The cabin shudders and then there is a sudden lull. MERLE Hey, Nick? NICK Huh? MERLE Tomorrow I go with Vince. NICK Hunt with Vince? MERLE Yeah. I mean so he knows. He does n't even know.\",\n \"EXT. THRUWAY PITTSBURGH OFF-RAMP - TWILIGHT Traffic is heavy, an unending flow of cars, a river of headlights suspended on a curved concrete trestle which seems to float in thin air. Behind is the mill, belching steam and ablaze with fire. NICK's Cadillac appears, horn blaring, weaving through the traffic. The car sits low. Trussed to the hood, to the roof, to the trunk, are the carcasses of five deer. Rope - ends flutter and bang in the wind. The car shudders and thuds. Inside, grinning maniacally, NICK, MERLE, VINCE, ALBERT and JOHN are all shouting and guzzling beer.\",\n \"EXT. COLUMBINE STREET - TWILIGHT The Caddy appears, swerving onto Columbine with tires screaming and NICK still leaning on the horn. The guys are all hanging out the windows, shouting to FRIENDS, whistling at GIRLS and banging a triumphant tatoo on the doors. ALBERT Maxie! Hey Maxie wha'd ` ya say! JOHN Hey Geraldine, let's eat! VINCE Nothin' to it, asshole! Piece o' fuckin' cake! As the car ascends the grade the mill appears behind it, seeming to loom upward under the pink - streaked twilight sky. CAMERA HOLDS AS THE CAR COMES TOWARD IT. The headlights blaze white, like huge hungry stars, and the eyes of the dead deer on the fenders glitter gold and green and red. ALBERT leans out the window and gives his Tarzan call. IT SEEMS TO ECHO, AS IF COMING FROM FAR AWAY, FREEZE FRAME.\",\n \"EXT. CLOSE-UP OF JUNGLE LEAF - DAY The leaf is being eaten by an exotic - looking insect. After each bite, the insect lifts its head, produces an exceedingly thoughtful expression, and chews. WE HEAR THE BUZZ AND CREAK OF OTHER INSECTS, THEN A DULL, FLUTTERING DRONE. THE DRONE GROWS LOUDER.\",\n \"EXT. HELICOPTER SQUADRON - SOUTH VIETNAM - DAY There are twenty of them, coming fast and low, just over the tops of the trees. Sunlight gleams on their paint and murderous - looking rockets are packed to their bellies in fat clusters, like eggs. Suddenly, in unison, they fire the rockets.\",\n \"EXT. RANGE OF LOW HILLS - SOUTH VIETNAM - DAY As the rockets streak away the lightened choppers shoot upward, lost to sight. There is an eerie silence and then the hillside explodes, vanishes in a sheet of smoke and flame two miles wide.\",\n \"EXT. DUSTY ROAD - DAY A platoon of AMERICANS have been ambushed on the road. The bodies lie helter - skelter - headless, armless, legless, guts spilled in the dirt. No one moves and there is absolute silence except for the low buzz of flies. A V.C. LIEUTENANT steps into sight. He gives a brusque command and V.C. SOLDIERS step out of the jungle. The LIEUTENANT bayonets a few of the fallen U.S. SOLDIERS - idly, without much interest - and then cracks a joke as he rubs his finger in the Americans' blood. The V.C. SOLDIERS laugh, spear a few AMERICANS themselves and repeat the joke. There is a slight sound. The V.C. LIEUTENANT spins and gives a low command. Fifty feet away there are three grass huts. He signals his SOLDIERS to spread out and then he starts toward them.\",\n \"INT. GRASS HUT - DAY South Vietnamese VILLAGERS - women, children, and a few old men - sit huddled in the semi - darkness. The WOMEN hold their hands over their BABIES' mouths. Flies buzz and there is a look of stark terror in their faces.\",\n \"EXT. DUSTY ROAD - DAY One of the fallen AMERICANS moves. CAMERA CLOSES ON THE SOLDIER. His face is in the dirt and flies are nuzzling at a gash in his temple. The face is unshaven, frighteningly gaunt, but we recognize that it is MERLE. A WOMAN'S SCREAM comes from the direction of the huts. A shot rings out. MERLE pulls himself to his hands and knees and stands there, on all fours, like a dog.\",\n \"EXT. GRASS HUTS - DAY The V.C. roust the VILLAGERS from their huts, smashing them in the back with rifle butts. One of the SOLDIERS emerges from a hut carrying two small BABIES upside - down by their feet. One of the WOMEN cries out. The SOLDIER gives her a kick, swings one of her BABIES in the air and lets it go. The BABY turns over and over against the blue sky. As the BABY comes down ANOTHER SOLDIER catches it through the neck on the end of his bayonet.\",\n \"EXT. DUSTY ROAD - DAY MERLE strips a B.A.R. from one of his dead companions, slams a fresh clip in it, jams two extras in his pants and starts for the grass huts. His movements are slow, almost dreamlike, and his face is expressionless, like someone risen from the dead.\",\n \"EXT. GRASS HUTS DAY The VILLAGERS - about twenty of them - have been formed in a line. As the SOLDIERS look on the V.C. LIEUTENANT walks up and down trying to extract information. The SPEARED BABY lies in the dust between the two groups. The SECOND BABY tries to play with it. The SOLDIER who threw the dead baby in the air squats nearby and yawns.\",\n \"EXT. GRASS HUTS - ANOTHER ANGLE - DAY MERLE approaches between the huts. He takes a quick look around the corner, finds the V.C. all bunched in a neat package and draws back. CAMERA CLOSES ON MERLE'S EYES. They are cold, dreaming things, glittering blankly.\",\n \"EXT. GRASS HUTS - DAY MERLE spins out with the B.A.R. on full automatic. The V.C. SOLDIERS go down screaming, arms and necks thrown back, in a thin mist of spraying blood. ABOVE THE CHATTER OF MERLE'S B.A.R.. WE HEAR A GROWING ROAR.\",\n \"EXT. APPROACHING AMERICAN HELICOPTERS - DAY There are five of them, coming in low under the tops of nearby trees.\",\n \"EXT. GRASS HUTS - THE VILLAGERS - DAY The VILLAGERS stand motionless, staring at the helicopters and frozen with terror. They turn. They start to run. And then they disappear in a roaring wall of burning napalm.\",\n \"EXT. GRASS HUTS AFTER NAPALM ATTACK - DAY MERLE stands alone with his B.A.R. surrounded by clouds of billowing black smoke. There is no sound but the rush of heated air and the faint crackle of flames. MERLE'S clothes are burning. Flames are licking up his trouser legs and a blob of napalm is burning fiercely on his helmet. In front of MERLE the SOLDIERS and the VILLAGERS lie in two charred heaps. The BABIES lie between them. Both are motionless now, like two roasted stones. An AMERICAN LIEUTENANT steps out from behind one of the burning huts. MERLE and the LIEUTENANT spin on each other and then the LIEUTENANT lowers his carbine. LIEUTENANT What the hell are you doing here? MERLE -LRB- numb. -RRB- Saving lives. MORE AMERICANS appear, some twenty of them, coming out of the trees in a long line. Among them are NICK and SAL. LIEUTENANT Move it out, girls! Move it out! The LIEUTENANT heads down the line. NICK stares at MERLE. NICK Merle? Jesus, Merle! MERLE turns and looks at NICK. There is no recognition. He seems to be looking right through him. SAL comes up behind NICK. SAL Hey! Hey, Merle! A shot rings out. The LIEUTENANT goes down and suddenly the whole line of AMERICANS is caught in a murderous cross - fire. Grenades rain out of the trees. MERLE, NICK and SAL dive for cover. Out of the smoke V.C. SOLDIERS begin to appear, more and more of them, swarming out of the jungle in scores.\",\n \"EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY We are looking at the ground where three pits have been dug and fitted with bamboo gratings which are held down by stones. The ground is ankle - deep in running mud and the pits are filled with water to within a foot of the bamboo gratings. In each of the pits are about a half - dozen men - SOUTH VIETNAMESE and AMERICAN. Their hands grip the gratings and their eyes are hollow. Other than an occasional groan there is only the sound of the falling rain. A V.C. SOLDIER trudges out of the jungle. As he reaches the pits he notices the hands, curses and begins jumping up and down on the bamboo gratings. The hands disappear. As soon as one comes back, the SOLDIER stomps on it, shrieking with laughter. Then, almost as an afterthought, the SOLDIER pulls down his pants and squats above the center grating. CAMERA TILTS SLOWLY UPWARD. We see the clearing in its totality. It is a raw hole hacked out of the jungle and contains only two structures. One is a large bamboo `` tiger cage'' with a few leaves tied to its top. The other is a small hut with a thatched roof. The walls of the hut are open and we can see V.C. GUARDS moving about inside. A cry comes from the hut. There is the THUD of a rifle butt on flesh and the cry abruptly stops.\",\n \"INT. THATCHED HUT - DAY In the middle of the hut is an American kitchen table with a rose - patterned plastic top. At opposite ends of the table are two chairs. A SOUTH VIETNAMESE PRISONER sits in one of the chairs. In the other chair, facing him, is MERLE. The SOUTH VIETNAMESE has a welt on his head and one of the half - dozen V.C. GUARDS in the hut is screaming at him. In the middle of the table, between the SOUTH VIETNAMESE and MERLE, is a single - action.45 caliber revolver with an American eagle carved on its ivory grip. MERLE sits quietly, waiting, but his eyes are working, taking in every detail of the scene. The V.C. GUARD gives the SOUTH VIETNAMESE a final cuff, takes up the revolver with a dramatic flourish and loads one cartridge into the chamber. Immediately the OTHER GUARDS begin placing bets. The GUARDS are a ragged bunch - wet, half - drunk on captured Budweiser, and it takes some time to straighten things out. MERLE looks off to his right :\",\n \"INT. THATCHED HUT - REVERSE ANGLE - DAY We see more SOUTH VIETNAMESE and AMERICAN prisoners standing against the wall. Most of them have been badly beaten and all have their elbows tied behind their backs. In among them, standing beside one another, are NICK and SAL. NICK looks grey, like a skinny ghost. SAL is out of control, sobbing quietly.\",\n \"INT. THATCHED HUT - ORIGINAL ANGLE - DAY The betting is now completed. The V.C. in charge waves the.45 around and calls for silence. Then, closing the cylinder containing the single bullet, he points the revolver at the ceiling and clicks through the empty chambers until the revolver goes off with a ROAR. Bits of thatch flutter down from the ceiling. The V.C. GUARDS shout enthusiastically and grin. MERLE sits motionless. The SOUTH VIETNAMESE across the table from him begins shaking uncontrollably. The V.C. in charge now reloads the revolver with one cartridge, snaps the cylinder shut, puts the gun on the table between MERLE and the SOUTH VIETNAMESE and gives it a good spin. The revolver slows and finally comes to a stop pointing at MERLE. MERLE stares at it for a long beat. Then he picks it up, spins the cylinder, cocks it, puts it to his temple and pulls the trigger. The hammer falls on an empty chamber with a loud CLICK. MERLE places the revolver back on the table and pushes it toward the SOUTH VIETNAMESE. The SOUTH VIETNAMESE begins to tremble again. Fumbling horribly he finally manages to get the gun in his hand. He spins the cylinder, cocks the hammer and puts the gun to his temple. The gun weaves around. The SOUTH VIETNAMESE closes his eyes and pulls the trigger. There is a loud CLICK. MERLE takes the revolver again. He spins it, cocks it - all in one smooth motion - puts it to his temple and pulls the trigger. There is another CLICK. MERLE pushes the gun back across the table. This time the SOUTH VIETNAMESE takes it up with sudden confidence. He spins the cylinder, cocks it, puts it to his temple and pulls on the trigger. THERE IS A ROAR. THE PISTOL IS FLYING IN THE AIR AND THEN THE MAN'S HEAD, HALF - EXPLODED, CRASHES OVER ONTO THE KITCHEN TABLE. MERLE does n't even blink. The GUARDS begin hooting and laughing, wiping pieces of brain from their clothes, and MERLE watches them, watches every gesture, every movement. like a cat.\",\n \"EXT. THATCHED HUT - LATER DAY A pile of bodies lie by the steps in the pouring rain. The bodies are both SOUTH VIETNAMESE and AMERICAN. Their heads are all variously blown to pieces and SEVERAL HUGE RATS are already feeding on them.\",\n \"INT. THATCHED HUT - TABLE AREA - DAY NICK is at the table now, opposite a SOUTH VIETNAMESE. He holds the pistol by his chin, spins the cylinder. His face is twitching, dripping sweat and both he and his opponent are holding onto each other's eyes as if they had been at it for a long time. NICK raises the pistol to his temple, CLICKS OUT. The GUARDS murmur. NICK pushes the pistol across the table.\",\n \"INT. THATCHED HUT - PRISONER END - DAY There are no Americans left to play except SAL. The sobbing has stopped but SAL is shaking and trembling and his eyes wander around in their sockets as if they been cut loose. MERLE, who lies on the floor nearby, is trying to talk to SAL. As he does so we hear the CLICKS coming from across the room and the excited MURMURS of the GUARDS as their betting choice survives another round. MERLE You can do it, Sal. SAL No. No, no. MERLE Sal. listen to me, Sal! You have to do it. SAL I want to go home, Merle. MERLE You have to think about this, Sal. Listen to me, Sal! You have to think about this. SAL -LRB- tears again. -RRB- This is horrible! MERLE Listen to me, Sal. If you do n't do it they'll put you in the pit. If they put you in the pit, Sal, you're gon na die. Sal, do you understand? SAL -LRB- nods. -RRB- Merle, I wan na go home! There is an EXPLOSION from the other end of the room. SAL'S eyes go wide and he lets out a whimpering SCREAM. The GUARDS open a path and NICK appears. His knees wo n't support him and the GUARD who is holding him throws him on the floor. MERLE Listen to me, Sal. Do it! You have to do it! The GUARD who delivered NICK jerks SAL to his feet and drags him of f to the table.\",\n \"INT. THATCHED HUT - TABLE AREA - DAY SAL is thrown in the chair. A SOUTH VIETNAMESE is placed opposite him. The SOUTH VIETNAMESE is a kid, even younger than SAL, and he is trembling with terror. SAL Hey, listen, you can do it. -LRB- Sal nods, smiles. -RRB- Believe me, you can do it. We can both do it. Then we go home, see? Then we go home! SAL looks down. The pistol is ending its spin and the muzzle comes up pointing at the SOUTH VIETNAMESE. The SOUTH VIETNAMESE stares at the gun and tears begin to fill his eyes. The GUARDS begin yelling at him, urging him on and then SAL gives him a SMILE OF SUCH UNWAVERING FAITH that the SOUTH VIETNAMESE picks up the gun, fumbles the cylinder around, cocks it and puts it to his temple. For a moment SAL and the SOUTH VIETNAMESE look at each other. THE SOUTH VIETNAMESE IS TAKING HIS FAITH STRAIGHT OUT OF SAL'S EYES AND NOW SAL GIVES HIM ANOTHER ENCOURAGING NOD. The SOUTH VIETNAMESE BOY squeezes the trigger. THERE IS AN EXPLOSION AND HIS HEAD DISINTEGRATES WITH A ROAR. SAL sits motionless, his jaw hanging open and his face formed in an expression of terrible puzzlement. Then his face begins to move, begins to twitch, as if the muscles were trying to discover a frown. SAL looks around. He looks back again at the place where his friend was sitting and he begins to cry.\",\n \"INT. TIGER CAGE - HEAVY RAIN - FOLLOWING DAY A half - dozen SOUTH VIETNAMESE sit huddled together in the muck on the uphill side. A seventh lies sprawled on his back, DEAD. The rain pours through the few leaves placed on the roof and splashes in great cascades in the middle of the floor. On the downhill side are SAL, NICK and MERLE. SAL is in a fetal position, gripping his knees and rocking himself back and forth. His eyes are vacant and his face is fixed in an expression of horror, as if he were still watching the boy at the table blow himself away. Beside SAL is NICK. NICK sits slumped against the bamboo. One knee is raised and he is picking at the threads of his trousers where they have torn at the knee. MERLE IS STANDING, GRIPPING THE BAMBOO WALLS OF THE CAGE AND LOOKING OUT AT THE `` PITS''.\",\n \"EXT. THE PITS - MERLE'S POV - HEAVY RAIN - DAY The pits are about twenty feet away. Running mud and water gurgle into them, coming out through shallow trenches on the downhill side. There are fewer hands than the day before, far fewer. The nearest pit only has one pair and as MERLE watches he sees that these hands are struggling to keep their grip. SUDDENLY ONE OF THE HANDS SLIPS AWAY. THE HAND COMES BACK FOR A MOMENT, THEN BOTH HANDS DISAPPEAR.\",\n \"INT. TIGER CAGE - HEAVY RAIN - DAY MERLE turns away from the `` pits''. He looks down at SAL, then he looks at NICK. His expression is one of exasperation, as if he had been having a long argument. MERLE I'm telling you, Nick, no one's going to come. NICK What are you, God? MERLE Listen, asshole, it's up to us! NICK They bombed last night, right? Did n't they bomb? If they bombed last night, they could bomb tonight. They could be up there right now! MERLE What are you, hoping? NICK What else? MERLE I thought you might be praying. NICK I'm doing that too. MERLE I suppose you wish you were somewhere else? NICK What do you think? MERLE Nick, you're wasting your time. Listen to me! You're wasting your time! This is no fucking time for hoping or praying or wishing or any other shit! This is it. Here we are. And we got ta get out! NICK You're right. Okay, you're right. MERLE -LRB- grabs him. -RRB- Get off your ass, Nick. Get off your fucking ass and stand up! NICK -LRB- stands. -RRB- Okay, okay! -LRB- he straightens his shoulders. -RRB- Okay. Okay, you're right. What about Sal? MERLE Forget Sal. NICK What do you mean? MERLE I mean forget Sal. Sal ca n't take it, Nick. NICK Forget Sal? MERLE Forget Sal. Listen to me - forget Sal! I've been working on Sal since dawn, Nick. Sal's in a dream and he wo n't come out. LISTEN! From here on you got ta go for you. You hear me? For you! NICK Merle. MERLE LISTEN, NICK! GET IT THROUGH YOUR HEAD OR YOU AND ME ARE BOTH DEAD TOO! A shout comes from the thatched hut. The SOUTH VIETNAMESE whip around in fright. MERLE and NICK turn. Through the bars of the `` tiger cage'' we see the V.C. GUARDS coming down from the thatched hut. The GUARDS are all drinking beer again and the GUARD IN CHARGE is waving the pearl - handled revolver. NICK looks at MERLE. The sight has totally unnerved him. MERLE -LRB- CONT'D. -RRB- -LRB- calm. -RRB- We got ta play with more bullets. NICK We what? MERLE We got ta play with more bullets, Nick. It's the only way. NICK More bullets in the gun? MERLE -LRB- even. -RRB- More bullets in the gun. The trouble is that still leaves one of us with his hands tied up, so that means we got ta play each other. NICK -LRB- numb. -RRB- With more bullets? Against each other? Are you crazy! Are you fucking nuts! MERLE Nick. NICK! It's the only chance we've got! NICK stares at MERLE. Rain is pouring off them in rivulets and the VOICES of the approaching GUARDS are getting louder. NICK How many bullets? MERLE -LRB- watching him. -RRB- Three bullets - minimum. NICK -LRB- panic. -RRB- No way. No fucking way! MERLE -LRB- evenly, holding him with his eyes. -RRB- I'll pick the moment, Nick. The game goes on until I move. When I start shooting, go for the nearest guard and get his gun. NICK No. No way! MERLE When you get the AK, open up. You got me? Open up. NICK -LRB- screaming. -RRB- YOU'RE CRAZY! NO WAY! NOW YOU'RE CRAZY! YOU'RE COMPLETELY CRAZY! The GUARDS begin screaming orders from outside the cage and ONE OF THEM lets off a blast of automatic rifle fire which shreds the bamboo roof just above the PRISONERS' heads. NICK and MERLE grab SAL and drag him to the door.\",\n \"EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY As the PRISONERS emerge from the `` tiger cage'' the GUARDS smash them with their rifle butts, screaming orders. In the melee SAL is separated from NICK and MERLE, both of whom are knocked to the ground by furious blows. When they get to their feet they see that SAL is wandering off alone in the direction of the `` pits''. One of the GUARDS spots SAL and clubs him down. SAL gets up and begins wandering off again. The GUARD clubs him down again, turns to the GUARD IN CHARGE and begins complaining. The GUARD IN CHARGE dispatches a SECOND GUARD to help the FIRST and the TWO GUARDS open the bamboo grating on one of the `` pits''. MERLE turns to NICK, who is standing beside him. MERLE It's up to you, Nick. Now it's up to you.\",\n \"EXT. CLEARING IN THE JUNGLE - THE \\\"PITS\\\" - DAY SAL has absolutely no comprehension of what is about to happen to him. His eyes are dreamy, far away, as if he had mentally transported himself to some distant place. There are great gashes in his head from the blows he has received and as he stands waiting in the pouring rain he looks exactly like a very small child who has experienced some terrible confusion. Suddenly the GUARD standing beside SAL wrenches him around. We see the pit now, CLOSE UP. There are four bloated CORPSES floating in the muck. We SAL'S FACE, CLOSE UP. He gives a CRY and tries to turn away. We see the GUARDS pick SAL up, SCREAMING. We see the SPLASH as SAL hits the water and then we see him surface between the bloated CORPSES, STILL SCREAMING, paddling desperately and trying to find something solid to hod him up.\",\n \"EXT. CLEARING IN THE JUNGLE - WAITING PRISONERS - DAY NICK stands motionless, stunned, listening to SAL'S SCREAMS. MERLE has his attention focused on the GUARD IN CHARGE and when he glances in their direction MERLE slugs NICK in the stomach and begins beating him furiously to the ground. NICK struggles to his feet. MERLE attacks him again and now, as the GUARD IN CHARGE comes over to see what's going on, MERLE begins hopping up and down, pointing at NICK, pointing at the revolver in the GUARD'S hand and screaming. MERLE Him and me! Him and me! The GUARDS look at each other, interested. MERLE -LRB- CONT'D. -RRB- Him and me, goddamn it! Him and me!\",\n \"INT. THATCHED HUT - HEAVY RAIN - DAY MERLE and NICK sit facing one another across the rose patterned kitchen table. The GUARDS are all grinning and even the SOUTH VIETNAMESE are watching with grim fascination. NICK has the revolver. He is trembling visibly. Already MERLE has managed to draw the GUARDS in closer and as NICK spins the cylinder and cocks the hammer MERLE jumps up and begins pounding on the table. MERLE This is it, motherfuckers! Now he's going to do it! Watch! You watch! NICK almost loses what little control is left and his hand begins shaking violently. MERLE -LRB- CONT'D. -RRB- Look at him! See! This is it and he knows it! Side bets begin changing hands. MERLE -LRB- CONT'D. -RRB- Last chance to lose your money there, guys. Goodbye money! Hurry, hurry. Here he goes! NICK puts the revolver against his temple and pulls the trigger. There is a dull CLICK. NICK puts the revolver back on the table. His hand is shaking so badly it falls with a clunk. MERLE grabs it, spins it, sticks it to his temple and CLICKS OUT, talking all the time : MERLE -LRB- CONT'D. -RRB- This is stupid! You understand stupid? On and on! At this rate we'll still be here tomorrow! -LRB- throws the revolver on the table. -RRB- Wait a minute. I know! Hey, I got it. More! Put in more! You understand more? More! More bullets! -LRB- he mimes with his fingers. -RRB- Three bullets! You understand three? That way BLAM! BOOM! MERLE hops up and down, laughing maniacally. MERLE -LRB- CONT'D. -RRB- KA - POWIE! BA - ROOM!'Cause I want that bastard! Him I want boom! Him or me! The GUARD IN CHARGE looks at his COMPANIONS. They all begin shouting for him to go ahead. The GUARD IN CHARGE purses his lips, as if imitating a general coming to a decision, and then nods his assent. The GUARDS all howl. MERLE joins right in. MERLE -LRB- CONT'D. -RRB- He's terrific! Great fucking guy! The GUARD IN CHARGE takes the revolver, opens the cylinder and begins sticking in two more cartridges. MERLE -LRB- CONT'D. -RRB- KA - POW! BA - ROOMIE! MERLE hops up and down again, then screams at NICK, jabbing his finger at him, as if in fury. MERLE -LRB- CONT'D. -RRB- Both of us may have to pull on this, so get your shit in fuckin' shape! -LRB- to the GUARDS. -RRB- Him or me! Now we got it, him or me! -LRB- he rubs his hands and sits back down. -RRB- Place your bets, motherfuckers! Now we're going! Now we got a game! The GUARD IN CHARGE places the revolver on the table, spins it. MERLE -LRB- CONT'D. -RRB- Watch! Now watch! He's going to get it. And then KA - POW! BA - ROOMIE! The muzzle stops pointing at MERLE. MERLE scowls, looks over at the GUARD IN CHARGE. The GUARD IN CHARGE has lifted the barrel of his AK 47 and is watching him with caution. The OTHER GUARDS, who are totally caught up in the game, are yelling and shouting. MERLE You guys think I'm in trouble, right? MERLE picks up the revolver, spins the cylinder, cocks it. MERLE -LRB- CONT'D. -RRB- No way! Never! -LRB- he begins to chant. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC! - HA! MERLE LIVES LONG! Lem me hear it. Come on, motherfuckers, lem me hear it! MERLE starts it again. The GUARDS who are bett ing on him MERLE -LRB- CONT'D. -RRB- -LRB- with GUARDS. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC! - HA! MERLE LIVES LONG! MERLE takes a glance at the GUARD IN CHARGE again. The GUARD IN CHARGE is still eyeing him with caution. MERLE places the revolver to his temple. and CLICKS into an empty chamber. MERLE -LRB- CONT'D. -RRB- See! Nothing to it. He pushes the gun across to NICK. Then he stabs his finger at him, screaming again, as if in a fit of rage. MERLE -LRB- CONT'D. -RRB- You got an empty chamber and it's in your mind! Just put that empty chamber in the gun! NICK looks down at the revolver and picks it up. He stares at MERLE for a moment. Then he spins the cylinder, cocks the hammer, Puts it to his head. and CLICKS into an empty chamber. The GUARDS let out expressions of disbelief. Those betting on NICK begin taunting those betting on MERLE. MERLE sits motionless, as if stunned, as if utterly defeated, his brow furrowed in a mighty frown. NICK pushes the revolver across the table. His face is twitching but he gives the gesture a certain flair, as if throwing back a challenge. MERLE stares at the revolver - stares at it with an expression of utter gloom. Then he reaches out, takes the revolver in his hand and pulls it toward him, as if he no longer possessed the strength to pick it up. MERLE -LRB- CONT'D. -RRB- -LRB- gloom. -RRB- Who's for Merle? -LRB- he thumps his fist on the table. -RRB- Is anyone for Merle? MERLE roams a glowering eve over the watching GUARDS, as if suddenly discovering himself among traitors. Slowly, he pushes himself to his feet. The gun is still on the table, still in his right hand, and as he gets up he lets his body sag over it. MERLE -LRB- CONT'D. -RRB- Who here is for Merle? There is absolute silence now except for the drumming of the rain. It is as if the war had disappeared, vanished. The GUARDS stand motionless, hardly breathing, so captivated by MERLE'S performance that they suddenly resemble little children. MERLE -LRB- CONT'D. -RRB- Who. here. is for Merle? MERLE begins his chant again. His voice is low, very dramatic, and the GUARD IN CHARGE joins right in. MERLE -LRB- CONT'D. -RRB- -LRB- with GUARDS. -RRB- MERLE IS MIGHTY! - HA! MERLE IS STRONG! - HA! MERLE IS MAGIC - HA! MERLE snaps the revolver level in his hand and BLASTS the GUARD IN CHARGE, hitting him full in the face. At the same time NICK throws himself into the GUARD who is standing behind him, spins and slams the GUARD'S AK 47 into his chin. TWO MORE SHOTS BLAST OUT FROM MERLE'S.45 and we see TWO GUARDS crash over the kitchen table. NICK now opens up with AK 47, and as MERLE backs off beside him, also with an AK 47, they GUN the remaining GUARDS to the floor. It is over in an instant. The BODIES lie in a bloody, tangled mess under a pathetic paper lantern. The rain drones on - uninterrupted, undiminished, eternal.\",\n \"EXT. CLEARING IN THE JUNGLE - HEAVY RAIN - DAY Barely visible against the dripping foliage - like a shadow is a startled V.C. SOLDIER. The man takes a half - step forward, unslings his rifle and OPENS FIRE.\",\n \"INT. THATCHED HUT - DAY The SOUTH VIETNAMESE PRISONERS are hit where they stand. NICK spins, BADLY WOUNDED. MERLE throws himself on the floor and lets go with the AK 47.\",\n \"EXT. BAMBOO GROVE - HEAVY RAIN - DAY MERLE appears carrying NICK on his back. NICK is unconscious and the effort that MERLE has expended to get him this far can be measured in MERLE'S eves, which burn like dead coals. As MERLE approaches, traversing the bamboo grove along the side of a steep hill, we suddenly see SAL, stumbling along behind and attached to MERLE by a short rope. MERLE comes to a stop, unshoulders NICK and lays him on the ground. As MERLE stands looking at NICK, gasping for breath, SAL hunches down and stares at the endless trunks of bamboo with an expression of pure terror. SAL Where are we going, Merle? Are we going home? There is a sound, so faint as to be almost imperceptible. MERLE throws himself on SAL, slamming one hand across his mouth and raising the other in case he has to silence NICK. For a moment there is nothing - silence. The rain drones on and we can hear NICK'S breath, which comes in short, shallow rasps. The sound comes again and suddenly a PLATOON OF V.C. SOLDIERS appear, coming down through the trees. Their passage is almost completely silent and they go by on both sides, moving down the hill. CAMERA CLOSES SLOWLY ON MERLE'S FACE. His gums are bleeding and his skin is drawn tight so that every bone stands out in his skull. His teeth are bared, his eyes are hollow and he looks within a hair's breadth of being completely mad.\",\n \"EXT. CRATERED ROADSIDE - NIGHT A huge battle is taking place nearby. The earth trembles and shakes and gigantic explosions intermittently light the sky. MERLE staggers down a ravine with NICK, loses his footing and slides to the bottom where he lies in the mud, motionless, too tired to move. SAL comes down behind. He is hunched over, like a gnome. The rope which MERLE has tied around his neck drags in the mud and his eyes are huge with terror. SAL Merle? MERLE -LRB- a whisper. -RRB- Right here. SAL crouches down in the mud. SAL Where are we going, Merle? Are we going home? MERLE -LRB- barely moving his lips. -RRB- Right here. Another explosion lights the sky, this one much closer. In the flash we see that a red American car is stranded in the middle of the road. There is another explosion and another flash. The car is dusty, spattered with mud, but otherwise it appears miraculously unharmed. NICK'S breath rattles in his throat. MERLE, who lies beside NICK, holding him, has closed his eyes. SAL, who is the only one who has seen the car, stares at it hard, and for a long time, trying it out with one eye and then the other. SAL Merle? No answer. SAL -LRB- CONT'D. -RRB- Merle? Still no answer. SAL goes over to MERLE and shakes him. Getting no response he crosses fearfully toward the automobile. When he gets to within a foot of it, he reaches out and touches it. SAL -LRB- CONT'D. -RRB- Merle. Merle, a car! As the flashes continue to light up the sky, SAL peers at the tires and begins kicking them. SAL -LRB- CONT'D. -RRB- Hey! Hey, gee! SAL crosses to the window and looks in. There is no damage whatsoever, the keys are dangling from the ignition. SAL pulls open the door and climbs in. He pumps the accelerator, hits the starter. THERE IS A FLASH OF FIRE, THEN A HUGE EXPLOSION AND THE CAR GOES UP IN A FIREBALL OF FLAME.\",\n \"EXT. CRATERED ROADSIDE - BURNING CAR - NIGHT MERLE has dragged SAL from the car and thrown him in the ditch below NICK. SAL is horribly burned and MERLE kneels over him - out of breath, tears streaming from his cavernous eyes - howling with helpless rage. MERLE Damn it! God damn it! MERLE looks down at SAL. SAL'S face in a mass of raw flesh but his eyes look up at MERLE with lunatic, unwavering trust. MERLE -LRB- CONT'D. -RRB- Sal! -LRB- more gently. -RRB- Sal. Goddamn it, Sal, do n't you know anything? SAL Where are we going, Merle? Are we going home? MERLE -LRB- nods. -RRB- Sure. Sure, Sal. We're going home.\",\n \"EXT. CRATERED ROADSIDE - FOLLOWING DAY REFUGEES are streaming down the road in a desperate, frightened human torrent. There is every imaginable means of conveyance - from bullock carts to motorbikes - but the vast majority, carrying their meager belongings, are fleeing on foot. The burned - out car is still in the middle of the road and the great human tide streams around it, as if it were an island. In the distance comes the sound of machine gun fire and mortars are coming in nearby. MEDVAC helicopters clatter overhead with wounded strapped to baskets on the skids. Now and then an ARMY CONVOY comes through, blasting the REFUGEES into the ditch. MERLE sits alone on the embankment by the side of the road. NICK and SAL are gone and the area is littered with fresh bandage packages and throw - away medical supplies. Suddenly a jeep pulls up with a two - star GENERAL in it. GENERAL Where's your unit, soldier? MERLE stares at the GENERAL - blankly, without comprehension. Finally, after a long moment, he gives a slight shrug. GENERAL -LRB- to his DRIVER. -RRB- C'mon. We'll take him along. The GENERAL and the DRIVER get out and start up the embankment toward MERLE. GENERAL -LRB- CONT'D. -RRB- Little R and R and you'll be standing tall again, son. Damn, this is steep! DRIVER Uh - oh. Sir. The GENERAL looks up at MERLE. MERLE is holding the pearl handled revolver and he cocks the hammer with an audible click. GENERAL Uh - oh. The GENERAL and the DRIVER turn tail, scramble back down the embankment and pile in the jeep. GENERAL -LRB- CONT'D. -RRB- -LRB- as they take off. -RRB- Y' know, there's more fucking maniacs coming out of this conflict. MERLE watches them go without expression. On the road below the REFUGEES stream past - by the hundreds, by the thousands, by the tens of thousands. For a long moment MERLE watches, then he jams the gun in his pants and stands.\",\n \"EXT. EVACUATION ROUTE - DAY MERLE is walking with the fleeing REFUGEES. CAMERA PANS, HOLDING ON MERLE as he grows smaller and smaller - to a speck in the vast human torrent.\",\n \"INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - SAIGON - DAY The room is tiny, a cubicle furnished with a chair. NICK is alone, standing at the window looking out. He wears ill fitting civilian clothes whose colors are too bright for - the pallor of his skin. Around his neck is a piece of plastic on which is stapled a colored paper marker. Departing aircraft thunder overhead and there is the sound of some nearby hydraulic mechanism.\",\n \"EXT. LOADING RAMP (NICK'S POV) - U.S. MILITARY HOSPITAL - DAY Black BODY BAGS are laid out in countless rows on the hot concrete TWO PFC's are stacking them on pallets and MORE PFC's, driving hydraulic LIFTERS, are loading the pallets into the cavernous hold of a huge JET TRANSPORT.\",\n \"INT. OUT-PATIENT ROOM - U.S. MILITARY HOSPITAL - DAY NICK turns away from the window and sits down in the chair. Suddenly the door bursts open and a harassed DOCTOR comes in. DOCTOR Is your name Solomon? NICK shakes his head. DOCTOR -LRB- CONT'D. -RRB- Are you sure? NICK nods. DOCTOR -LRB- CONT'D. -RRB- Lem me see this. The DOCTOR looks at the paper marker on NICK's neck. DOCTOR -LRB- CONT'D. -RRB- Is this yours? NICK nods. DOCTOR -LRB- CONT'D. -RRB- This is n't yours. This ca n't be yours! I'm going to take this one off and cut it up. -LRB- he extracts a pair of scissors and does so. -RRB- Shred it. so no one gets a hold of it. What I'm going to do now, I'm going to give you this one. -LRB- he staples a new marker around NICK's neck. -RRB- There. How's that? Does that feel better? NICK nods. The DOCTOR directs a finger at him. DOCTOR -LRB- CONT'D. -RRB- That one's yours. The DOCTOR slams back out the door. Another jet thunders overhead. The hydraulic LIFTERS on the loading ramp shriek and whine. NICK reaches for the new paper marker on his neck and peers down at it from the corner of his eye. It seems to remind him of something and he takes out his wallet. In his wallet is a PHOTOGRAPH of LINDA. NICK peers at the photograph intently, then closes his wallet and puts it away.\",\n \"INT. U.S. ARMY TELEPHONE CENTER - SAIGON - DAY Banks of telephones line the wall. Stretching out from the telephones are long, ragged lines of SERVICEMEN waiting to call home. The room is huge, full of echoes. Re - enlistment posters are plastered everywhere and CANNED LATIN MUSIC is playing. NICK stands in one of the lines with only one person in front of him. He looks anxious. He takes out his wallet again, peers intently at LINDA'S PHOTOGRAPH, then puts it back. NICK takes a half - step forward - staring at the telephone - and then he stops, frozen with fear. GUM CHEWER BEHIND Go on, babe. Take it.'S all yours! NICK -LRB- mumbles. -RRB- You go ahead. CAMERA HOLDS ON NICK as he turns out of the line and heads for the exit under a long row of CLOCKS.\",\n \"EXT. BUSY STREET - SAIGON - DAY NICK comes along the sidewalk in a CROWD OF PEDESTRIANS. He is drunk and he moves aimlessly, as if he had been drifting along for hours. As he comes to a stop, staring at a SOUTH VIETNAMESE who has lost both legs, he fumbles in his pocket for a pint of whiskey, empties the bottle and drops it in the gutter. Suddenly, across the street, something catches his eye. NICK -LRB- calling. -RRB- Sal! Sal! NICK throws himself into the traffic, headlong, without even looking. Vehicles swerve and screech to a stop. NICK dodges between them, gains the sidewalk on the other side and claps his hand on the back of a passing SOLDIER. The SOLDIER turns. It is not SAL at all and the resemblance is not even close. NICK -LRB- CONT'D. -RRB- Sorry. Thought you were someone else. The SOLDIER continues on his way. The CROWD streams on, a sea of bobbing, brilliant color. NICK gropes in his pocket and produces another pint bottle. He unscrews the cap and downs a long swallow.\",\n \"INT. BAR - SAIGON - NIGHT The place is very dark. LOUD MUSIC is playing. Partially - clad BAR GIRLS are dancing with the CUSTOMERS, while above, on a kind of trapeze, NAKED GIRLS are performing obscene contortions. NICK sits at one of the tables. By now he is very drunk and a BAR GIRL is giving him her undivided attention. NICK I love Linda, see. I love Linda more than I can even say. BAR GIRL Everybody love Linda. NICK That's right. That's exactly what I mean! BAR GIRL I love Linda. Myself, I love Linda so much! NICK Only, good people love Linda, see. What Linda has, Linda - BAR GIRL -LRB- in his ear. -RRB- How you like to have nice fuck with Linda? You like that? Special, crazy fuck just like with Linda? NICK -LRB- stares at her. -RRB- You mean? BAR GIRL I show you. Come. You come. -LRB- pulls him to his feet. -RRB- Linda have special, crazy fuck. That right? NICK nods. He looks as if he might be about to cry. BAR GIRL -LRB- CONT'D. -RRB- I give you special, crazy fuck, just like Linda. Come. You come. Linda cry, make crazy moan? NICK nods. BAR GIRL -LRB- CONT'D. -RRB- I give you cry, crazy moan. Come. You come.\",\n \"INT. CORRIDOR - BAR - NIGHT The BAR GIRL comes around the corner with NICK, guiding him to a flight of narrow stairs. She has one hand around his waist and the other down the front of his pants. BAR GIRL You like to call me Linda now? NICK Linda, yeah. BAR GIRL You call me Linda, just like home. Suddenly NICK draws to a stop, staring at a small window at the end of the corridor. He tears himself loose from the BAR GIRL and pushes up against the glass.\",\n \"EXT. NARROW STREET (NICK'S POV) - NIGHT Seated on the sidewalk against the wall of the opposite building is an OLD MAN surrounded by a collection of white ceramic elephants. A truck roars by in front of him. Motorcycles sputter past and PEDESTRIANS hurry in both directions. The OLD MAN sits motionless, like the guardian of some timeless, silent kingdom.\",\n \"INT. CORRIDOR - BAR - NIGHT NICK spins away from the window. NICK Hey. Hey, elephants! Look at those elephants! The BAR GIRL stares at him. NICK -LRB- CONT'D. -RRB- Linda loves elephants! Linda. she loves'em! NICK turns and charges back down the corridor with the BAR GIRL hot on his tail. BAR GIRL Wait! First I give you special fuck! NICK Elephants! Make way. I got ta get elephants!\",\n \"EXT. NARROW STREET - NIGHT NICK paces up and down in front of the OLD MAN and his ceramic elephants. NICK Great. These are great. I wan na tell you these are great elephants! I'm going home, see. Stateside in a few days and my wife Linda, she loves elephants. She. she has a thing for elephants because elephants. Elephants go on. You know what I mean? They go right on. I do n't know if they cry. Maybe at night. I mean. What I mean is my two best buddies are dead, see, MIA, who knows, and they would have liked some elephants also because. How much are these elephants? I mean let's talk elephant. -LRB- notices a GROUP OF STREET URCHINS. -RRB- Hey you guys! Over here! Come over here and carry elephants! The STREET URCHINS come running. They are ragged, malnourished, ranging in age from about six to nine. They are covered with sores. One of them ~ as lost an eye and another has lost a hand. NICK -LRB- CONT'D. -RRB- Everyone take an elephant! -LRB- to the YOUNGEST URCHIN. -RRB- You know how to carry an elephant? -LRB- the URCHIN nods. -RRB- That's what I thought. Right off I figured you as that kind of guy. Hey, wait a minute, I got ta get change. Take an elephant! Everyone take an elephant and then form up. Right here. Over here, like this, in a nice long elephant line. Good. That's good. Man, look at all these elephants! One, two, three, four, five, six, seven, eight, nine, ten. eleven elephants! -LRB- surveys them. -RRB- Hey, but you got ta stand tall to carry elephants. -LRB- he illustrates. -RRB- Better. That's better. I mean. God damn, I mean that's elephants now! Wait. Now you wait while I get change. NICK dives into a nearby bar.\",\n \"INT. NEARBY BAR - NIGHT The place is as dark as the one before. MUSIC BLASTS from a jukebox and two vaseline - covered GIRLS are dancing. As NICK crosses to the bar to get change there is a WHISTLING SCREAM and then the FRONT WALL OF THE BUILDING DISINTEGRATES IN A ROAR OF NOISE. NICK pulls himself out of the debris. There is absolute silence in the WRECKED BAR but rockets are coming in all over the city and the EXPLOSIONS rumble and roar.\",\n \"EXT. NARROW STREET AFTER ROCKET EXPLOSION - NIGHT A nearby building is burning fiercely. The street is deserted except for the sprawled CORPSES of the STREET URCHINS which lie this way and that, like broken dolls. NICK walks out past the CORPSES. The street is littered with fragments of broken ceramic - gleaming, pure white, like chunks of snow.\",\n \"EXT. DESERTED STREET - SAIGON - NIGHT The sky is alight with fires. Now and then HUGE EXPLOSIONS rock the night and SIRENS wail. A lone figure appears, walking down the middle of the street. As the figure approaches we see that it is NICK. NICK -LRB- toneless, over and over. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow. Hey, hey, the rain does rain. NICK swallows, as if to force back some overwhelming emotion. Then, squatting down under a lamp post, he begins again. NICK -LRB- CONT'D. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow. NICK takes out his wallet, opens it hurriedly to the PHOTOGRAPH OF LINDA and peers at it with a kind of ferocious determination, as if this link were the last, as if by staring at it hard he could make it hold. NICK -LRB- CONT'D. -RRB- -LRB- his voice thin, cracking. -RRB- Hey, hey, the wind does blow. Hey, hey, the snow does snow - There is the sharp report of a pistol SHOT and then, as NICK spins, staring at a shuttered building, there is the unmistakable sound of APPLAUSE. NICK stares at the building for a long moment, then he crosses toward it.\",\n \"EXT. YARD BEHIND BUILDING - SAIGON - NIGHT A tiny light glows inside a paper lantern. Lying on the around are three CORPSES, all of them Asian, all of them expensively dressed and all of them with their heads blown off. As NICK stands looking at them a door comes open on the back of the building, and TWO BURLY MEN bring out another corpse. The body is that of a young American. Like the Asians he is expensively dressed and he is dead from a bullet in the right temple. MAN -LRB- V.O. -RRB- If you are brave and lucky I can make you rich. NICK turns. A MAN is standing in the shadows of a small grape arbor, eyeing him with a look of cold amusement. The MAN'S accent is French. Beside him, on a small white table, is a bottle of champagne and several glasses. MAN -LRB- CONT'D. -RRB- You have played? NICK stares at the MAN, nods. MAN -LRB- CONT'D. -RRB- Once you have played it is not so hard. Cigarette? NICK shakes his head. MAN -LRB- CONT'D. -RRB- You seem. disturbed. NICK I. No. You do this for money? MAN Mais certainment. A great deal of money. Naturally I do not do it myself. I myself do not possess the nerve. -LRB- smiles. -RRB- But I am always. how do you say. looking out for those who do. It is a thing quite rare. Champagne perhaps? Tch, tch. Do n't say no. When a man says no to champagne, he says no to life and that no man must ever do. -LRB- gives NICK a glass. -RRB- Where did you play? NICK Up north. MAN Ah yes. Of course. So few survive. -LRB- smiles. -RRB- La creme de la creme. How did you obtain release? NICK Playing. MAN -LRB- raises his eyebrows. -RRB- Playing? NICK We. Three bullets. MAN And then you. The MAN makes a clicking sound, three times, as if firing a pistol. NICK nods. MAN -LRB- CONT'D. -RRB- How extremely clever. That is really most extraordinaire. Allow me please to introduce myself. I am Armand. And you are? NICK Nick. ARMAND Nick. C'est extraordinaire! Do you know that I have a cousin who is called Nicholas and a nephew Nickolai. So you are, comme on dit, en famille. In the family. There is another SHOT from inside and another round of APPLAUSE. NICK I have to go. ARMAND But you must come in. NICK No, I - ARMAND But I insist. NICK I have to go. ARMAND You are frightened, no? NICK nods. ARMAND -LRB- CONT'D. -RRB- Of what is there to be afraid? The war? The war is no problem. It is a joke, a silly thing. I make one call and get you out. ARMAND refills NICK's glass. NICK looks at it. The glass is as thin as paper and the sparkling bubbles dance and hiss. NICK lifts the glass and empties in one swallow. NICK See, I'm going home. ARMAND Ah yes. Of course. -LRB- smiles. -RRB- To the girl who waits. NICK -LRB- gives him a look and sits. -RRB- Yeah. Do you mind if I sit? ARMAND But of course! Please make yourself comfortable. Perhaps you would enjoy some fresh caviar, or une petite glace, or -? NICK -LRB- weary, shaking his head. -RRB- No. None of that. ARMAND Unfortunately I must now go in, but I leave you my card. Naturellement I pay my players cash American. Just so you know. ARMAND disappears in the darkness. Then his VOICE comes again. ARMAND -LRB- V.O. ; CONT'D. -RRB- However, should you prefer German marks, or perhaps Swiss francs, this of course can be arranged. Everything can be arranged. ARMAND moves around the side of the building and the sound of his FOOTSTEPS fades away. The TWO BURLY MEN come lurching with another CORPSE. Laughter comes from inside the building and there is a glimpse of AN ELEGANTLY DRESSED WOMAN seated at a cafe table. The BURLY MEN return to the door and shut it tight. In the distance the sky goes up in a huge flash of fire and then the sound of the EXPLOSION rolls across the city like a great dead wind.\",\n \"EXT. NICK'S TRAILER - WINTER - DUSK The trailer is all decked out with bunting and stuck, like a plum cake, with tiny American flags. Stretching from the trailer to the side of a house across the street is a huge, hand - lettered banner which says `` WELCOME HOME NICK!'' and it whips and it snaps in the cold winter wind. NICK's battered old shark - finned Cadillac is in the yard. Alongside it are a bunch of newer cars and PEOPLE are coming from all directions, spilling in and out of the trailer and congregating in excited, foot - stomping, half - frozen groups.\",\n \"EXT. SERIES OF SHOTS - COLUMBINE AREA - DUSK We see the OLD PRIEST on his way from the church. We see the OLDER WOMEN, wrapped in shawls and carrying cakes and cookies, trudging up the hill. We see ALBERT, JOHN and a bunch of STEELWORKERS, all of them half - bombed, dragging two cases of beer on a child's sled. We see LINDA peering out the trailer window, pale and anxious - looking. We see VINCE, who is unofficial lookout, jumping up and down at the approach of every car and screaming, `` This is it! This is Nick!'' and then, when it is n't, saying, `` Not yet! Just hold your water, I'll tell you when!'' And we see an empty street into which SIX VETS from the VFW Post come tottering. The VETS are all in their old uniforms. While three of them attempt to make MUSIC on a BASS DRUM, a FIFE and an old Army BUGLE, the other three attempt to sing. VETS Three cheers for the red, white and blue! VET #1 This is hard. VET # 2 Christ Almighty, it's fifty years! VETS Three cheers for the red, white and blue.\",\n \"INT. TAXICAB - DUSK NICK sits hunched forward in the back seat surrounded by unwrapped cartons containing electric appliances he has bought for LINDA. NICK looks nervous, VERY NERVOUS. Suddenly, as the cab comes over the crest of a hill, the trailer looms into sight, straight ahead, with VINCE hopping up and down in the snow and the OLD VETS all marking time under the flapping banner. CAB DRIVER Whadda welcome! Will you lookit. Whadda welcome! NICK stares at the approaching trailer. NICK That's not it. CAB DRIVER What're you, crazy? That's not it? You said a trailer. You said - NICK That's not it. Keep going. Go straight. CAB DRIVER Hey, now listen. Now you said - NICK I'm telling you that's not it! Now keep going! NICK throws himself down on the floor. NICK -LRB- CONT'D. -RRB- Just keep going! Just keep going straight!\",\n \"EXT. NICK'S TRAILER - DUSK LINDA is outside, standing with VINCE and ALBERT. VINCE This is him. I'm telling you, this is Nick! The TAXICAB comes thudding by. LINDA, VINCE and ALBERT all watch as it disappears over a rise. ALBERT -LRB- to VINCE. -RRB- I thought that was it. VINCE So he's in the next one, Albert. I mean take it easy. I mean you're driving everybody nuts! VETS -LRB- V.O. -RRB- -LRB- singing raggedly. -RRB- Three cheers for the red, white and blue! VINCE -LRB- to LINDA. -RRB- You okay? LINDA gives a thin smile. VINCE -LRB- CONT'D. -RRB- It's gon na be the next one. Okay? LINDA nods. VINCE -LRB- CONT'D. -RRB- It's got ta be the next one. I mean it's got ta be! Right, Albert? ALBERT Fuckin' A. It's got ta! VINCE It's got ta!\",\n \"EXT. MOTEL - DUSK A huge neon sign stands against the grey sky, buzzing angrily, as if it were full of bees. The TAXI DRIVER comes out of one of the units, gets back in his cab and pulls away.\",\n \"INT. MOTEL - NICK'S UNIT - DUSK NICK stands in the doorway where the driver has left him. His duffle bag and the cartons of electric appliances are piled along the wall by his feet. His head is thrown back and he is draining a bottle of whiskey, gulping it down in great raw swallows. NICK lowers the bottle, catches his breath and goes at it again. This time, as he lowers the bottle, the stark panic is gone, but there is still fear - blind, nameless fear, like that of an animal run to the ground. NICK crosses to the window, grips the frame with both hands and looks out.\",\n \"EXT. THE STEEL MILL FROM THE MOTEL (NICK'S POV) - DUSK The five great stacks trail ribbons of black smoke across the pale winter sky, Steam billows upward in huge, silver - edged clouds and there is the flash and gleam of fire.\",\n \"INT. MOTEL - NICK'S UNIT - DUSK NICK turns back to the room. He stares at it blankly - stares at the bed, stares at the bureau, stares at the chair, then he picks up the bottle, closes his eyes and begins gulping down whiskey - gulping it hard, fast, as hard and fast as he can.\",\n \"EXT. NICK'S TRAILER - NEW ANGLE - DAWN The banner stretching to the house across the street has been whipped to shreds by the wind. In the yard, parked beside NICK's black Cadillac, is another car of about the same vintage. There is a case of beer on its roof, the windows are entirely frosted over and the engine is running. After a moment TWO STEELWORKERS come down the street and knock on the trailer door. TWO OLDER WOMEN emerge, putting on their coats, and then LINDA comes to the door and tells the STEELWORKERS she has no news. The STEELWORKERS and the OLDER WOMEN start off, but now one of the WOMEN points to the frosted up car. The STEELWORKERS go back, pound on the roof of the frosted up car, pull open a few doors and go on their way. First thing out is a GIRL. Next thing out is a SECOND GIRL. Their dresses are rumpled and half - undone. Neither one has a coat and the SECOND GIRL is missing a shoe. The GIRLS both plunge back inside the car, where howling and cursing can now be heard. The GIRLS both retrieve their coats. The SECOND GIRL gets her missing shoe, plus a bra and a pair of panties. She returns the panties to the FIRST GIRL, puts on her shoe and they both take off at a fast trot. As the two GIRLS leave there is a cascade of empty beer cans and ALBERT, VINCE and JOHN all stagger out - bleary - eyed, hung - over, half undressed and freezing. LINDA comes out of the trailer with coffee, but just as she emerges the whistle at the mill goes off. ALBERT and VINCE begin yelling at each other, yelling at JOHN and yelling at LINDA. Then they throw themselves back in the car and start off. The case of beer on the roof crashes to the street. They stop, pile out, pick up the cans, heave them in the back seat and take off again. JOHN says something to LINDA and goes on his way. LINDA stands in the yard, alone, with the three cups of coffee.\",\n \"EXT. ADJOINING OVERLOOK - DAWN NICK stands half - way down a rickety wooden stairway, watching.\",\n \"EXT. NICK'S TRAILER - ORIGINAL ANGLE - DAWN LINDA turns and goes back inside the trailer.\",\n \"EXT. ADJOINING OVERLOOK - DAWN NICK swallows and starts down the stairway toward the trailer. He hesitates, pulls the bottle from his pocket, drains the last of it and tucks it under the stairs. Straightening up, he claws at his hair, trying to comb it with his fingers. Then he starts down again.\",\n \"INT. NICK'S TRAILER - DAWN Cakes, cookies, six - packs of beer and bottles of wine cover almost every inch of available space. LINDA sits on the little settee, wedged between two cases of Coca - Cola and hunched over a white sweater which she is attempting, with painful slowness, to knit. LINDA is trying not to cry. She is trying her God - damnedest. There is a knock at the door. LINDA freezes. Then, trying to be totally matter - of - fact, she puts down the sweater, crosses to the door and opens it. NICK Guess who. LINDA stares at him. NICK gives a little laugh and steps in. LINDA -LRB- throws herself in his arms. -RRB- Nick! Oh, Nick, you're back! She hugs him for a moment, as hard as she can, then they pull apart. LINDA -LRB- CONT'D. -RRB- I thought. Oh, Nick, I thought you were hurt, some accident. Maybe you fell or maybe some car. -LRB- back in his arms. -RRB- I thought someone stole you away! NICK No. LINDA Oh, Nick! Oh I missed you so! They pull apart. LINDA -LRB- CONT'D. -RRB- How are you? NICK Fine. I'm fine. How are you? LINDA Fine. I just go along, you know. Down at the market. Back here. I mean it just seems there's a million things to do! Are you sure you're all right? I mean, what about the wound? NICK -LRB- anger. -RRB- That was nothing. That was n't anything. LINDA But - NICK It was just the complications. I mean, you take a little thing over there and then you get complications. I mean all the guys had it. LINDA I made you a sweater. -LRB- she gets it. -RRB- Here. You have to take that off. NICK removes his coat. LINDA pulls the sweater over him LINDA -LRB- CONT'D. -RRB- I could n't remember your exact size. The sweater is huge, a great rumpled thing reaching almost to NICK's knees. LINDA -LRB- CONT'D. -RRB- -LRB- smoothly. -RRB- Oh, that's fine. Perfect. It is a little too big. -LRB- she pulls the sweater back off. -RRB-. but I can easily fix that. Easily. One thing about wool sweaters, they are such a cinch to fix. She crosses to a garbage pail out of NICK's line of sight and stuffs the sweater in it. NICK How's the trailer? LINDA Great. Fine. Once or twice it did fall off the blocks. I do n't know what that's from. NICK Frost. LINDA Is that what it is? I could n't figure out. NICK Did you get hurt? You did n't get hurt? LINDA Oh, no. It just kind of goes thump. Would you like a Coke? You do n't drink Coke. Or maybe you do. What about champagne? Let's have champagne! I do n't think we have champagne. Let's have this. See? Sparkling. I'll get you an opener. Oh, that's right. No opener. Let's just have beer. Do you want some cheese? Or maybe eggs? Maybe we should have coffee. She begins to sob. CAMERA CLOSES ON HER FACE : LINDA -LRB- CONT'D. -RRB- Nick? I'm so glad you're alive! I'm so happy! I. I just do n't know what to do!\",\n \"EXT. COLUMBINE STREET - DAY NICK and LINDA are some distance away. NICK is shaking hands with an ENTHUSIASTIC MAN while LINDA stands to one side, watching his face, and so full of love that she seems about to burst. ANOTHER MAN comes over. LINDA takes the MAN's arm and presents him to NICK. WE CAN NOT HEAR WHAT IS BEING SAID. THE ONLY SOUND COMES FROM THE MILL WHICH LOOMS UP BEHIND THEM OUT THE FROZEN VALLEY BELOW.\",\n \"INT. PIZZA PARLOR - TABLE BY WINDOW - DAY NICK and LINDA sit opposite one another. Across the street a coal train is rumbling slowly by and NICK is watching it. The cars are black, interchangable, and they roll on and on. Suddenly the last car appears. The car passes and there is silence. LINDA gives NICK a smile. NICK It was all for nothing. Do you know that? It was all for nothing. LINDA stares at him. She does n't know what to say, how to respond. NICK forces a grin, gestures with his hand and shrugs. He picks up the check, stands. LINDA Nick? I just want to say how sorry I am about Sal and about Merle. How. I know you loved them and I know it's not the same. I mean now. NICK Naw, it's. I mean. LINDA Maybe. I do n't know, if you want to talk - NICK Naw, it's. This guy wants his money.\",\n \"INT. SUPERMARKET - BACK ROOM - DAY The place is full of crates and boxes. ONE CREW is unloading a tractor - trailer. ANOTHER CREW is stacking and unpacking. NICK stands with LINDA and a red - faced, cigar - chewing MANAGER who is pumping NICK's hand, slapping him on the back and shouting orders all at the same time. MANAGER You did a good job, kid. Pettrucio, here! You did a good job. Gim me a count on these pears! I think we got'em now, know what I mean? The pears, the pears! Ask me, we got'em right by the balls, know what I mean? Have a cigar. The pears, Pettrucio, the pears! He goes off. NICK -LRB- to Linda. -RRB- Does this. I mean, how does this job work out? LINDA Oh, it's great. Fine. NICK nods. A STOCK BOY comes by and whistles. STOCK BOY Hi you, hot lips. NICK What do they. bother you!? LINDA -LRB- takes his arm, laughs. -RRB- No - o - o! NICK I'll kill'em. Anybody bothers you, I'll kill'em! LINDA -LRB- gently. -RRB- Nick. It's okay. It's okay. -LRB- gives him a squeeze, kisses him. -RRB- I have to go now. NICK nods. LINDA -LRB- CONT'D. -RRB- Pick me up at eight. NICK nods again. LINDA hurries off. The MANAGER comes in from behind, clapping NICK on the shoulder and going for his ear MANAGER That's one sweet little piece of ass. I'm telling you, that's one sweet little piece of ass. Who's got these pears, God damn it! Who's got the count on these goddamn pears!\",\n \"EXT. STEEL MILL PARKING LOT - DAY NICK stands by the entrance to the mill. It is cold and he looks as if he had been waiting for some time. Suddenly STEELWORKERS begin streaming out the doors, heading for their cars. NICK cranes his neck and then he catches sight of ALBERT and VINCE. NICK Hey, Albert! ALBERT turns. He grabs VINCE and pulls him through the departing STEELWORKERS. VINCE What the -! ALBERT It's Nick! VINCE Nick? -LRB- sees him. -RRB- Jesus, Nick! VINCE grabs NICK's hand, shakes it. Then ALBERT does the same. VINCE -LRB- CONT'D. -RRB- Where the hell were you? We were all set - beer, broads. Right? Am I right? ALBERT Yeah. NICK I got delayed. I - ALBERT -LRB- hugs him. -RRB- Hey, Nick! God damn! What've you been doin', I mean. VINCE Fuckin' guy's been shooting slants, Albert! I mean, what do you think? ALBERT I know, but. VINCE What do you think? You think he's been picking flowers? Fuckin' guy's been saving your ass, Albert. Everybody's ass! Even in Europe! ALBERT Yeah. Oh, boy, yeah. Jes', you must be tired. NICK I'm fine. Hey, I'm fine. THEY start for the cars. NICK -LRB- CONT'D. -RRB- How're you guys. I mean, how've you guys been? VINCE Same old thing. Hey, same like always. Nothing's changed. Albert is getting fat. ALBERT Look who's talkin'! Jes'! He got married! Vince got married! NICK Married? ALBERT Tell him, Vince. VINCE Yeah. I did. Yeah. What the hell. VINCE makes a gesture, shrugs. NICK -LRB- after a beat. -RRB- Well, who'd you get married to? VINCE Aw, it's a long story! ALBERT Tell him, Vince! VINCE Well. you remember Cynthia? NICK Cynthia! Sure. VINCE -LRB- nods. -RRB- That's who. NICK -LRB- fast recovery. -RRB- Cynthia! Hey, that's terrific. I mean. Great! That's really great! ALBERT Show him the gun. Hey, show him the gun, Vince. VINCE looks around. Cars are streaming out of the lot, horns blaring. VINCE pulls back his coat and shows a.38 Smith and Weston in a holster on his hip. NICK What the hell's that for? VINCE What's it for? ALBERT He's serious. Vince is fuckin' serious! NICK You mean? VINCE Hey, Nick, I mean. This here is for the guy that gets caught! ALBERT Vince thinks. you know. NICK -LRB- nods. -RRB- Hey. hey, let's drink!\",\n \"INT. JOHN'S BAR - NIGHT NICK comes through the CROWD OF STEELWORKERS shaking hands. The STEELWORKERS treat him with immense respect. There are no cracks ; there are no jokes. They squeeze his shoulder, pat his back, reaching out for him, touching him. STEELWORKERS Nice going! Good going, Nick! You did good, boy ; you did fine! Let him through! Damn good, boy! Let him through! He's all right! Did his part and he did it good! Let him through! Let's make a little room! JOHN pushes out of the crowd. JOHN Nick! Hey, Nick! -LRB- gives him a big hug. -RRB- Boy! Boy oh boy! Are you okay? You're okay, huh? NICK Fine. Hey, I'm fine. JOHN Sit down. Here. Right here. -LRB- calls. -RRB- Albert! Vince! JOHN pushes them all into a booth. A tray arrives loaded with beer and shots of whiskey. JOHN -LRB- CONT'D. -RRB- Here. Here we go. -LRB- he raises a beer. -RRB- Here's to you, Nick! ALBERT Fuckin' A! VINCE -LRB- stands. -RRB- Here's to Nick, you guys. He did his part. He did. what hadda be done. and so he did it. and here he is!\",\n \"INT. JOHN'S BAR - NIGHT - LATER NICK sits at the bar flanked by VINCE and ALBERT. Both VINCE and ALBERT are completely glassed out. Behind, in the booths, three or four STEELWORKERS are sleeping. JOHN moves around behind the counter wiping things off. JOHN Rough, huh? NICK Rough. -LRB- he nods. -RRB- We did n't have to do it, John. JOHN No? NICK No. How's Angela? How's she taking it? JOHN Not so good. NICK No? JOHN Worse since she talked to him. ALBERT -LRB- with a dull beery blink. -RRB- Fucking A. NICK Worse since she talked to who? JOHN Sal. NICK Talked to Sal? -LRB- stares at him. -RRB- Sal's alive? JOHN Kind of. You did n't know? NICK -LRB- pushes off the counter. -RRB- Sal's alive? JOHN, ALBERT and VINCE exchange glances, nod. ALBERT He's real bad, Nick. NICK -LRB- stares at them. -RRB- Well, where the hell is he! I mean what are we all sitting here for! -LRB- tears begin streaming down his face. -RRB- WHAT THE HELL IS THIS? ALBERT Nick. VINCE Hey, Nick. JOHN Nick, we do n't know where Sal is. Nick, Angela wo n't tell us. NICK Why? What do you mean? Why? JOHN Nick, she wo n't say why. NICK But Sal's mother! What about Sal's mother! JOHN She's out of her tree, Nick. She is straight out of her tree. NICK -LRB- stares at them. -RRB- Oh, Jesus. He walks in a circle and then stops, staring at them. NICK -LRB- CONT'D. -RRB- Oh, Jesus! NICK turns and goes out.\",\n \"INT. SAL'S HOUSE - FRONT PARLOR - NIGHT The room is very dark. ANGELA sits at a lace - covered table by the window where a street lamp illuminates her in an eerie glow. ANGELA holds a portable radio in tier hand, a very tiny one, and she fiddles with the dial, going from one station to another. There is a sound from the hallway, then SAL'S MOTHER comes in with NICK. SAL'S MOTHER I know I know you. So familiar. Such a familiar face. Oh, I know now! The toaster man! I'll go and get it for you. SAL'S MOTHER goes out. ANGELA lights up a cigarette. ANGELA You're back. NICK Yeah. ANGELA I'm glad. Seriously. I'm very glad. NICK Angela, I just heard Sal was alive. ANGELA Sure. Why not. NICK Where? Where is he? ANGELA Nick, he's fine. He's in a hospital and they're fixing him up. NICK You talk to him? ANGELA Oh, sure. Twice a day. NICK What hospital is he in? Where? ANGELA Nick. Sal is very weak. He suffered a severe wound. and right now he does n't want a whole lot of people to get involved in a whole thing. NICK Hey, Angela, Sal and I go back a long way. ANGELA He does n't want people bugging him, Nick! ANGELA begins to tremble, jabs out her cigarette and stands up. She stares at NICK for a moment, goes to a telephone pad and writes down a number in a tiny, nearly illegible scrawl. NICK comes up behind her. ANGELA finishes, puts down the pen and stands with her back against the wall. NICK tears off the piece of paper, looks at it, puts it in his pocket. NICK Angela? ANGELA laughs and gives a strange, twisted smile, avoiding NICK's eyes. ANGELA Did you ever think life would turn out like this? NICK No. ANGELA You know what Sal's got now? Sal's got. one arm, Nick, and. that's it. The door to the kitchen bangs open and SAL'S MOTHER comes in with an electric toaster and a screwdriver. SAL'S MOTHER Here. This is it. What you do, you stick this in here. Pushes the toaster in NICK's arms. SAL'S MOTHER -LRB- CONT'D. -RRB- Then you jab it, see. Jab it good. Something's in it. Hear? Listen. Something's in it. What? What's there?\",\n \"EXT. RUSSIAN ORTHODOX CHURCH - FRONT STEPS - NIGHT NICK sits on the steps with the toaster that Sal's mother gave him in his lap. It is snowing and from inside the church we hear the CHOIR SINGING. The sound is massive, deep and dark, like a great river rolling through the night. CAMERA CLOSES ON NICK. He is staring at something, tears glistening in his eyes.\",\n \"EXT. ORTHODOX CHURCH - REVERSE ANGLE (NICK'S POV) - NIGHT We see a lone telephone booth at the curb. The door is half open and snow is blowing in.\",\n \"EXT. ORTHODOX CHURCH - ORIGINAL ANGLE - NIGHT NICK closes his eyes, leans his head forward and takes it in his hands.\",\n \"INT. MOTEL NICK'S UNIT - BATHROOM - NIGHT LINDA steps out of the shower and begins to dry herself. LINDA It just seems sort of strange coming to a motel. Like a honeymoon. Or some kind of parlez vous. Not parlez - vous! -LRB- she giggles. -RRB- What am I saying? That's those cocktails! Parlez - vous! What I mean is rendezvous. Some kind of rendezvous. LINDA pulls on a short and very sexy nightie, then looks at herself in the mirror. She is very excited, very nervous. She strikes a pose, pulling up the bottom of the nightie and poking a finger in her mouth. LINDA -LRB- CONT'D. -RRB- Do you know what I mean? Nick? NICK does n't answer. LINDA pulls the door full open, takes one last look at herself and goes out.\",\n \"INT. MOTEL - NICK'S UNIT - BEDROOM - NIGHT As LINDA comes out of the bathroom her face falls and she stops dead in her tracks. NICK is lying on the bed - sprawled on his back, one shoe off and sound asleep. LINDA Nick? NICK does n't stir, does n't budge. LINDA crosses and looks at him - hungrily, top to bottom - then she gives his toe a wistful shake. LINDA -LRB- CONT'D. -RRB- Nick? Nick, it's me! But NICK is out, gone. LINDA lets out a little moan and sits down on the chair beside the bed. Then, almost immediately, she stands and begins taking off his clothes. She takes off his shoes, then both socks. As she goes to undo his belt, his shirt, which is unbuttoned, falls slightly open, revealing a fresh scar. LINDA stares at the scar for a moment, then she slowly exposes the whole of NICK's chest. NICK'S CHEST IS COVERED WITH A SERIES OF TERRIFYING FRESH SCARS. THE SCARS ARE RAISED ; THEY ARE INTER - CONNECTED AND STUDDED WITH ANGRY SUTURE MARKS, LIKE A TOPOGRAPHICAL MAP OF SOME UNKNOWN BATTLEGROUND. CAMERA HOLDS ON LINDA'S FACE.\",\n \"INT. STEEL MILL - CASTING ROOM - DAY NICK stands at the handle of a long metal rod. At the other end of the rod ALBERT and VINCE are attaching metallic strips. When ALBERT and VINCE have secured the strips they signal to NICK and all three of them lower their goggles. CAMERA PULLS SLOWLY BACK. NICK is standing below a furnace which is seven stories high, towering above him into a maze of cat - walks and monstrous steel - hipped cranes. ALBERT and VINCE give a signal and the CRANE OPERATOR raises the door at the bottom of the furnace. NICK is now alone, standing like Don Quixote with his lance. As NICK advances toward the base of the furnace with his rod the surface of his asbestos suit begins to smoke and bits of lint which have stuck to it burst into flame. Within reach of the furnace now, NICK pauses. Then, lifting the metal rod, he jams it through the open doorway at the base of the furnace. There is a white flash as the metallic strips explode and then a geyser of molten steel erupts in a huge jet through the doorway, passing NICK at the level of his shoulders and showering him in a great cascade of white sparks.\",\n \"INT. JOHN'S BAR - NIGHT NICK sits at the bar, silent, hunched over a beer, lost in thought. All around him STEELWORKERS are shouting, yelling, cracking jokes. After a moment VINCE pushes in, claps him on the back. VINCE How's it feel, huh? How's it feel to be back? NICK -LRB- forced enthusiasm. -RRB- Great. Feels great. Fuckin' A! VINCE I mean, I guess you still think about Nam. Right? I mean - NICK Naw. -LRB- shakes his head. -RRB- Uh - huh. VINCE Hey, Nick, you ever do it with one of those slants? NICK No. VINCE No! NICK Never one. VINCE Oh, Jesus! -LRB- looks around. -RRB- You're kiddin'! NICK One, Vince. you have to understand, doing it with one. would be. like nothing. They're small, see, so if you're smart you get about six or eight. I mean, if you want to have any fun. VINCE Six or eight. -LRB- nods. -RRB- And they go wild? NICK -LRB- lowers his voice. -RRB- They have these little sticks, Vince. They call them `` chomp chomps'', and when you get these girls going, you have to stick'em in their mouths. VINCE stares at NICK. His respiration is up, his mouth is bone dry and his eyes are as big as saucers. For a moment his belief is total, then a frown crosses his face. VINCE You're full of shit! NICK -LRB- nods. -RRB- Yeah. VINCE -LRB- pounding him on the head. -RRB- And I believed you! I oughta punch you out! I oughta! Hey. Hey, let's go huntin'! Albert! Hey, Albert! Let's go huntin'. What do you say? Nick? What do you say? NICK Sure. ALBERT Hey! Fuckin' A! Hey! He spots JOHN passing with a tray of beer. ALBERT -LRB- CONT'D. -RRB- Hey, John! ALBERT scoops JOHN into his arms where he holds him from behind. JOHN Yes, Albert? ALBERT -LRB- into his ear. -RRB- John, we're going huntin'. JOHN Who's going? ALBERT We're all going. JOHN Nick's going? ALBERT Nick, Vince, Albert and John. JOHN No women? OTHERS No! No women! Jesus! What are you, crazy? JOHN Take these beers. They all take a beer. JOHN raises his glass, solemnly. JOHN -LRB- CONT'D. -RRB- Here's to huntin'. ALBERT Hey! Fuckin' A! VINCE -LRB- hopping up and down. -RRB- Just like always! Just like it always was! Right, Nick? Am I right? NICK In the timeless words of Squire Albert. VINCE cracks up, howling. VINCE Squire Albert. VINCE collapses on the floor. NICK In the timeless words of Squire Albert. ALL -LRB- in a ragged chorus. -RRB- Hey! Fuckin' A!\",\n \"INT. NICK'S TRAILER - NIGHT NICK sits on the bed in the back part of the trailer. His hunting gear is piled on the floor, the lights are out and he is staring at the telephone which is illuminated through the window by a street light on the corner. There is a sound outside, then the lights come on as LINDA enters with groceries. LINDA Nick? NICK Right here. LINDA crosses to the doorway. LINDA What are you doing? NICK Oh. Nothing. Sitting. LINDA You're going hunting? NICK -LRB- blankly. -RRB- What? LINDA I see you're going hunting. NICK looks at the equipment on the floor. NICK Yeah. All the guys, we're all going huntin'. Like we did. You know? Like we always used to. LINDA That's wonderful. I think you should. fresh air. NICK gets to his feet, suddenly. His face is twisted with pain and his voice is cracked with emotion. NICK You know how sometimes you're going along. You're going along. And that's all! One thing is right after another, like steps. And you step along. NICK can hardly breathe. It is as if he were choking. NICK -LRB- CONT'D. -RRB- I do n't know where that is. It's gone! That's gone! A car pulls up outside. The HORN begins blowing, then VINCE and ALBERT begin pounding on the wall of the trailer. VINCE -LRB- V.O. -RRB- Let's go! ALBERT -LRB- V.O. -RRB- Hey! Fuckin' A! Time to roll! NICK I got ta go. NICK swings his pack on his back, picks up his rifle and heads for the door. LINDA follows, still clutching her groceries, her emotions so pulverized she ca n't even speak. NICK -LRB- CONT'D. -RRB- I'll be. I do n't know. Couple of days. NICK IS GONE. LINDA STANDS MOTIONLESS, CLUTCHING HER GROCERIES, STARING AT THE TRAILER DOOR. IT IS DARK OUTSIDE. SNOW IS BLOWING IN. THE DOOR CLOSES SLOWLY, WITH A FAINT HISS, AND THEN CLICKS SHUT.\",\n \"EXT. MOUNTAINS - MIXED HARDWOOD FOREST - DAY Snow is blowing, swirling past the trunks of stark, ice covered trees. There is no horizon. Sky and earth are bound in a moan of wind, in the faint creak of frozen limbs and the whispering, fitful, spinning flakes. NICK appears, suddenly, as a gust of wind shifts the slanting snow. NICK is moving easily, heading slightly uphill, following the contour of the slope. As he draws closer we see that he is following a SET OF FRESH TRACKS.\",\n \"EXT. MOUNTAINS - MIXED HARDWOODS - ROCK LEDGE - DAY A magnificent SEVEN POINT BUCK stands by a grove of hemlocks, looking down the slope. NICK appears below, barely visible in the swirling snow. The BUCK watches NICK for a moment, then turns unhurriedly and vanishes into the trees.\",\n \"EXT. RIDGE NEAR CAMP - DAY VINCE is out of breath, clawing his way up a steep slope on all fours. JOHN and ALBERT, who have reached a level area above VINCE, unsling their rifles. SHOTS are going off in every direction and the sound is so magnified by echoes that it sounds like a full scale war. VINCE What are you, kiddin'? Are you kiddin' me, Albert? Twenty times I coulda had her! She! One time she begged me, practically begged me. Listen, I had her tit, which was out, in one hand, and my other hand. You know that mole on the inside of her right leg? Well, I was past that mole, way past that mole, and I was - JOHN nudges ALBERT. FOUR DEER are coming down the slope, single file. JOHN and ALBERT raise their rifles and FIRE. TWO OF THE DEER FALL AND THE REMAINING TAKE OFF. VINCE, who is just getting to his feet, unslings his rifle, trips and falls down. JOHN and ALBERT drag VINCE to his feet and then rush over to the TWO DEAD DEER. VINCE -LRB- CONT'D. -RRB- -LRB- coming after them. -RRB- Nice shootin', you guys. Not bad. Not half bad. Leans his rifle on the horns of one of the fallen DEER. VINCE -LRB- CONT'D. -RRB- ` Course how could you miss, right? Twenty, maybe thirty feet. I mean, if I'd' a been where you guys were - JOHN Psst. Vince! JOHN signals with his head. VINCE turns. ANOTHER DEER has come out of the woods. The DEER is rattled by the gunfire and peers at VINCE uncertainly. VINCE spins and grabs his gun, which immediately goes off. He slams another shell in the chamber and scrambles to his feet but the rifle sling is hooked on the antlers of the DEAD DEER and another shot ricochets off a nearby rock. JOHN and ALBERT dive for cover. As they look up, they see the DEER trot down the slope and then VINCE, firing wildly, running after it.\",\n \"EXT. MOUNTAINS - RIDGE TOP - DAY The wind is much stronger, moaning in the trees. NICK appears, moving fast, at a near trot. Suddenly he stops, listening. At the same moment there is a snort. NICK wheels. The BUCK is behind him, bounding away.\",\n \"EXT. MOUNTAINS - RIDGE TOP - DAY The BUCK appears, trotting out of the swirling snow. Reaching a deadfall the BUCK pauses, looking back, and then turns sharp left and disappears. NICK comes out of the snow. He is winded but still going hard.\",\n \"EXT. MOUNTAINS - DEADFALL - DAY NICK reaches the deadfall, hesitates, then rapidly springs over. As he touches down on the other side there is a growling sound. NICK grabs for the deadfall. The wind shifts and we see that he has stepped onto a boulder which is loosely planted at the top of a steep scree slope. As NICK watches, the boulder begins to roll, then to bound, dislodging other rocks and boulders, all of them bouncing and leaping and cracking. and then falling - soundless - over a sheer ledge to unknown depths below.\",\n \"EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAY ALBERT and JOHN have dragged their TWO DEAD DEER to a log beside the shack. They sit side by side, drenched in sweat, guzzling beer out of both hands. JOHN Sweet! Oh, that is sweet! ALBERT Hey! Fuckin' A! Just. just like a hot shit. except cold. JOHN lowers his beer. ALBERT gives him a blank expression, then cracks up. SHOTS explode nearby. At first the shots are scattered but they quickly open into a FULL BARRAGE. ALBERT and JOHN stand up.\",\n \"EXT. HIGHWAY EMBANKMENT - DAY The DEER that VINCE was chasing earlier comes hobbling out of the woods pursued by a GROUP OF HALF - DRUNK HUNTERS. VINCE comes barreling through the HUNTERS, shouting and screaming. VINCE's clothes are in tatters, the sole is gone from one shoe and the barrel of his rifle is jammed up with mud and perceptibly bent. VINCE I got this one! This one's mine! VINCE loses his footing and rolls down the embankment, head over heels.\",\n \"EXT. DITCH - DAY VINCE comes up ten feet from the bewildered DEER. He raises his rifle, fires, and the BARREL SPLITS OPEN. SHOTS begin coming in, thudding in the mud and ricocheting off rocks. The DEER wheels out on the highway. VINCE heaves his rifle at the DEER, draws his pistol.\",\n \"EXT. HIGHWAY - DAY Cars are parked on both sides of the road. HUNTERS are sitting in the cars, drinking, eating sandwiches and warming themselves at small fires. MORE HUNTERS are up on the embankment. VINCE I got this one! This one's mine! The panicked DEER bolts down the highway between the parked cars. The HUNTERS ON THE EMBANKMENT open fire. The HUNTERS IN THE CARS dive for cover. VINCE -LRB- CONT'D. -RRB- Hold your fire! I got this one! VINCE FIRES, FIRES AGAIN. SHOTS are ringing everywhere. HUNTERS are shouting, running, yelling. A car window goes out, a headlight goes out. The DEER is hit, falls and gets up. VINCE takes aim. A FLEEING HUNTER bowls him over. The DEER bolts for the woods, bullets smashing all around it. VINCE scrambles to his feet and plunges after it. VINCE -LRB- CONT'D. -RRB- I got it! I got this one!\",\n \"EXT. WOODS - DAY The DEER staggers through the trees, blood pouring from its wounds. VINCE comes stumbling after it. HE FIRES, FIRES AGAIN.\",\n \"EXT. BUSTED-DOWN OLD LOGGERS SHACK - DAY ALBERT and JOHN stand with their beers, looking into the woods. A shot zings by, close, and they dive behind a log. The DEER comes out of the woods, barely able to keep moving. VINCE appears, reeling. He takes aim at the DEER and there is a DULL CLICK. VINCE jams his pistol back in his holster. VINCE Gun! Gim me gun! ALBERT indicates his rifle. VINCE stumbles over to it, rams a cartridge in the chamber. VINCE -LRB- CONT'D. -RRB- -LRB- looks around, bewildered. -RRB- Where's it gone? JOHN Inside, Vince. VINCE staggers to the cabin door. The DEER is lying on the floor, motionless, DEAD. VINCE I got it! Hey, you guys, I got it!\",\n \"EXT. MOUNTAINS - FROZEN LAKE - DAY The wind is blowing in gusts, slanting the snow first one way and then the other. NICK appears in the distance, a black speck in the endless expanse of shifting white. As NICK draws closer we see that he is near exhaustion. His clothes are, caked with snow, his breath comes in a shallow gasp and his gait is uneven, favoring one leg. As NICK APPROACHES CAMERA HE FALTERS AND LIMPS TO A STOP. There are no tracks. There is nothing to go by and he hunkers down in the driving snow. The wind bangs in from one way, then it shifts and bangs in again from another way. Suddenly it stops entirely. In the silence there is a sound - the click of a hoof on rock. NICK turns. The BUCK is standing on the shoreline, not thirty feet away, looking down at him. NICK pushes himself to his feet, raises his rifle and sights down the barrel. WE SEE THE BUCK THROUGH NICK'S SIGHTS. IT IS A CLEAR SHOT. NICK'S FINGER IS ON THE TRIGGER. HE HAS ONLY TO SQUEEZE IT. NICK LOWERS HIS RIFLE. THE BUCK SNORTS, TOSSES HIS HORNS AND DISAPPEARS IN THE SLANTING SNOW. NICK STANDS MOTIONLESS, STARING AFTER IT, SO WONDER - STRUCK HE HAS FORGOTTEN TO BREATHE. NICK -LRB- grins. -RRB- Damn. God damn.\",\n \"EXT. MOUNTAINS - OVERLOOK - DAY NICK sits on his haunches with his back against a sheer rock face. As he devours a Hostess Twinkie he looks out over a snow - shrouded landscape of such spectacular beauty that it might be something from a dream. NICK -LRB- shouts. -RRB- Hey! Hey. okay!\",\n \"INT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT The Coleman lantern hangs from the rafter, rocking in the wind. NICK is propped against the wall, dozing. JOHN is out cold. ALBERT and VINCE are both drunk and arguing bitterly. ALBERT You're full of shit, Vince! You're so full of shit you're going to float away! VINCE Who? Who is? ALBERT You, Vince! You! You are! You're a crock! You're a walking, talking crock! I mean, what do you know? VINCE I know! I fuckin' know! ALBERT You do n't! VINCE I do! ALBERT I'm tellin' you she does it, Vince! With twenty guys you know! VINCE She does not! ALBERT Then what's the gun for! What's this for? VINCE In case! The gun's in case! ALBERT In case?! In case of what? In case you stumble on her, suckin' cock in the front fucking hall?! VINCE She might! She might do it, Albert, but you ca n't fuckin' tell me that she does! ALBERT She does, Vince! That's what I'm telling you! She does! VINCE is sheet - white, trembling. He grabs up the pistol and cocks it. VINCE -LRB- shrieking. -RRB- Say that one more time! Say it! Go on, say it! NICK is half - way up the wall, still half - asleep, staring at the pistol in disbelief. Suddenly he springs, seizes the gun with one hand and slams VINCE to the floor. VINCE gets up. NICK slugs him in the face, knees him in the stomach and begins pounding his head against the wall. ALBERT lurches over, pulls NICK away. ALBERT Nick! Nick, you'll kill him! Easy. Nick, easy! Hey, hey. Vince goes back a long way. NICK -LRB- grimly. -RRB- Yeah. VINCE gets to his feet. Blood is streaming down his face. VINCE What the hell was that! -LRB- picks up the pistol. -RRB- What did you think? Did you think it was loaded! NICK You loaded it, Vince! I saw you! VINCE The fuck I did! NICK The fuck you did n't! Gim me that! NICK takes the pistol. VINCE What do you think? You think I do n't know! NICK looks at him, then he EMPTIES THE PISTOL INTO THE FLOOR. For a moment there is absolute silence. The wind moans in the trees, snow curls through the open door and JOHN, who is still soundly sleeping, finds a new note on which to snore. NICK looks down at the pistol, turns it over in his hands. NICK I'm going to throw this fuckin' thing away. NICK goes out.\",\n \"EXT. BUSTED-DOWN OLD LOGGERS SHACK - NIGHT For a moment NICK stands in the light from the door, listening to the wind. He looks down at the pistol again, then he heaves it into the trees. The wind gusts. The snow swirls and hisses, slipping through the woods in great streaming wraiths. NICK watches it for a moment, then he turns and goes back in.\",\n \"EXT. NICK'S TRAILER - DUSK The trailer is lonely looking, DARK and cold. VINCE pulls into the yard beside NICK's car and skips to a stop. NICK gets out, says a few words to VINCE and everyone laughs. NICK goes around to the trunk, removes his gear, slams the lid and pounds on the car. VINCE takes off, thudding over the curb with his load of THREE DEAD DEER. NICK crosses to the trailer and goes inside.\",\n \"INT. V.A. HOSPITAL - RECREATION ROOM - NIGHT TWO DOZEN AMPUTEES in wheelchairs are watching a western.\",\n \"INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHT In the foreground a NURSE holds a telephone. Beyond the NURSE we see a wizzened figure in a wheelchair coming slowly down the polished corridor. As the figure draws closer we realize it is SAL. SAL is dressed in a white hospital gown, the bottom of which hangs over the front of the wheelchair and trails limply on the floor. Both SAL's legs have been amputated and he has lost one arm. His face is terribly scarred and what expression he displays is centered in his eyes. SAL takes the telephone. THE SOUNDTRACK FROM THE MOVIE IN THE RECREATION ROOM IS VERY LOUD. SAL Hello?\",\n \"INT. NICK'S TRAILER - NIGHT NICK sits in a little chair by the window, still in his hunting clothes, huddled anxiously over the receiver. NICK Sal? Sal, it's me, Nick. SAL Nick. Hey. How's things? NICK Oh. You know. How's it with you? SAL Same. Hey. Same old stuff. NICK -LRB- he can hardly hear. -RRB- What's that noise? SAL What? NICK What's that noise? SAL John Wayne. Listen, Nick - NICK Great. Hey. That's great. SAL Listen, Nick - NICK John Wayne's great. Listen, Sal. Jesus. When are you getting out? SAL I'm gon na stay here, Nick. NICK -LRB- hearing it. -RRB- What? SAL -LRB- with everything he has. -RRB- Place is great. Really. One great place. Basketball, bowling. You name it. Canasta. Hearts. Lots of guys are making salad bowls. What I'll do is make a salad bowl for you, unless you'd rather have a pencil holder. The pencil holder's neat, I mean - NICK Wait a minute. Sal. Hold it. John Wayne's making so much noise I can hardly - SAL I got ta get back, Nick. SAL looks around in desperation. SAL -LRB- CONT'D. -RRB- They're passing out popcorn now, so I'll be talking to you. maybe next year.\",\n \"INT. NICK'S TRAILER - NIGHT NICK holds the receiver, staring into it. There is the SOUND OF WHOOPING, GRUNTING, THUNDERING HOOVES. NICK Sal? Sal?\",\n \"INT. V.A. HOSPITAL - CORRIDOR OFF RECREATION ROOM - NIGHT SAL is wheeling himself rapidly down the polished corridor. At the doorway to the recreation room he pauses, looking back at the DANGLING RECEIVER. Then he turns and disappears into the flickering darkness, where BUGLES are sounding a cavalry charge.\",\n \"INT. NICK'S TRAILER - NIGHT NICK listens to the SOUND OF THE BUGLES for a moment, then puts the receiver back on the telephone. He stands, walks around in a little circle - pained, terribly upset. His eye falls on the clock. It is nearly eight o'clock. He turns, hurries out the door.\",\n \"EXT. SUPERMARKET PARKING LOT - NIGHT The lot is empty except for scores of abandoned shopping carts which a CLERK is banging together. NICK gets out of his car and goes in.\",\n \"INT. SUPERMARKET - NIGHT Two or three CHECKERS are closing out the registers up front. CHECKER She's in back. NICK Thanks. CHECKER How was huntin'? NICK Oh. Fine. CHECKER Get anything? NICK No. CHECKER Too bad. NICK goes down a long aisle of bright packages. Coming out at the back he finds LINDA sitting in a green plastic chair, crying. NICK Linda. Honey, what's wrong? LINDA -LRB- helpless shrug. -RRB- I do n't know. NICK Hey. Look. There must be something. LINDA looks at him, tears streaming down her face. LINDA I'm just so lonely. NICK C'mon. I've got the car. LINDA -LRB- shakes her head. -RRB- I'll be out. Just leave me. I'll be out. I'm fine. Really. I'm fine. NICK walks back down the aisle between the bright packages.\",\n \"INT. NICK'S CAR - SUPERMARKET PARKING LOT - NIGHT The CLERK is still collecting abandoned shopping carts. The carts crash and clank as the CLERK rams them together. NICK sits behind the wheel, watching the clerk. His hands begin shaking uncontrollably and he gets back out of the car.\",\n \"EXT. SUPERMARKET PARKING LOT - NICK'S CAR - NIGHT NICK watches the lights go out in the market. LINDA comes out of the door and crosses towards him. NICK You okay? LINDA nods. NICK fumbles for the door. LINDA Let's make love, Nick. LINDA takes him in her arms and holds him tight. LINDA -LRB- CONT'D. -RRB- Let's make love forever!\",\n \"INT. NICK'S TRAILER - NIGHT LINDA is asleep - lying on her back, arms flung out across the pillows, like a dancer leaping. NICK stands beside the bed, wrapped in a blanket, looking down at her. After a moment he draws the covers over her, fusses with her slippers until they are straight and then goes to the window.\",\n \"EXT. STREET IN FRONT OF NICK'S TRAILER (NICK'S POV) - NIGHT The wind is blowing. Bits of trash skitter and swirl in the frozen ruts and a cat comes by, MEOWING. Suddenly a MAN appears walking slowly down the street. The MAN is elegantly dressed in Western attire, wearing a tailored suit with vest, polished boots and a Stetson hat. As the MAN draws under the light of a street lamp he pauses, looking at NICK's trailer. THE MAN IS MERLE, OR IF NOT MERLE IT IS A FACE SO STRIKINGLY SIMILAR THAT NICK ALMOST LETS OUT A CRY. THE MAN UNDER THE STREET LAMP PAUSES, JUST FOR AN INSTANT, THEN HE TURNS AND MOVES ON DOWN THE STREET.\",\n \"INT. NICK'S TRAILER - NIGHT NICK backs away from the window. For a moment he stands motionless, hardly able to believe his eyes. He looks over at LINDA, he looks down at a chair, then he pushes his face to the window again.\",\n \"EXT. STREET (NICK'S POV) - NIGHT The street is empty. The MAN is gone.\",\n \"INT. NICK'S TRAILER - NIGHT NICK hesitates, then he sheds the blanket and pulls on pants, shirt, jacket and jams his sockless feet into a pair of slices.\",\n \"EXT. NICK'S TRAILER - NIGHT NICK comes out into the street. There is no one in sight. NICK crosses to the intersection of Columbine.\",\n \"EXT. INTERSECTION OF COLUMBINE - NIGHT No one. Nothing. A beer can rolling in the wind. NICK jams himself against a wall, zippers his jacket. He is irked with himself, a little frightened. Suddenly he hears a car door close and en engine start up. A black limousine pulls out of a nearby street and comes past him slowly. A CHAUFFEUR is at the wheel. The PASSENGER in back appears to be the MAN he saw, but the MAN is looking out the window on the other side and his face is not visible. As NICK watches, the limousine rapidly gathers speed. The tail lights grow small, then the car dips over a hill and disappears.\",\n \"INT. V.A. HOSPITAL - RECREATION ROOM - DAY Sunlight streams through a window. The television is going. In a far corner SAL sits in his wheelchair, sleeping. CAMERA CLOSES SLOWLY ON SAL. His head has fallen to one side and his single arm sticks into the air - as if he had failed in his grasp of something, as if he were drowning. On a tray in front of him is an untouched breakfast of orange juice, milk and a little box of Wheaties.\",\n \"INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAY Someone is descending the stairs. After a moment the feet appear, clad in expensive cowboy boots. We see expensive, tailor - made trousers, a belt buckle embossed with a six shooter. and then, suddenly, MERLE'S FACE. MERLE slows in his descent, stops, looking at something.\",\n \"EXT. V.A. HOSPITAL ENTRANCE (MERLE'S POV) - DAY NICK is getting out of a cab. He pays the driver and starts toward the building.\",\n \"INT. V.A. HOSPITAL - EMERGENCY STAIRWAY - DAY MERLE watches NICK for a moment, his face utterly without expression, then MERLE continues down the stairs.\",\n \"EXT. HOSPITAL GROUNDS - DAY NICK is pushing SAL down a walkway. NICK Sal, we need you. We need you. SAL Hey, Nick. How can you need me? NICK We do, Sal. We do. You're the heart. Turns SAL and sits on a bench. NICK -LRB- CONT'D. -RRB- Sal, you're gon na die! You're gon na sit in that corner watching soaps and you're gon na die! I'm not saying it's gon na be the same. It's not gon na be the same, but whatever it's gon na be we're all gon na do it, Sal. God damn it we are! We are gon na do it! SAL Nick. I'm so scared. I'm so fuckin' scared to go home. NICK -LRB- nods. -RRB- I know. It's like coming from the moon. Or Mars. SAL laughs. SAL Did you go hunting. NICK Yeah. SAL Did you get one? NICK No. SAL You did n't get a deer? NICK I tracked this one, a big buck. God, he was such a beauty -! What's this suitcase here? SAL Where? NICK Here. Behind you. NICK pulls a suitcase off the rack behind SAL's chair. SAL I do n't know. NICK sets the suitcase on a low wall and starts to undo the clasps. NICK Maybe Angela brought you stuff. I know she said - The suitcase slips over the back of the wall. NICK -LRB- CONT'D. -RRB- Shit! NICK swings up on the wall and then he freezes. The lid of the suitcase has popped open and bundles of money are scattered all down the slope of a steep embankment. SAL Mom keeps sending me socks, Nick. I mean, if it's socks or something just let'em go.\",\n \"EXT. HOSPITAL GROUNDS - EMBANKMENT WITH MONEY - DAY NICK looks down at the money scattered at his feet. The bundles are made up of hundreds and they are everywhere. SAL -LRB- V.O. -RRB- Maybe you could use socks, Nick. Jesus, I mean, come to think of it socks are pretty expensive now. NICK It's not socks, Sal. NICK bends over the suitcase and begins going through looking for identification. There is nothing. As he straightens up he notices a wadded - up piece of paper lying beside one of the bundles of bills. The paper is about an inch square. The corners are tattered and it looks as if it had been carried in someone's pocket for a long time. NICK picks the paper up, realizes it is a calling card and unfolds it. THE CARD READS `` EXHIBITIONS''. IT CONTAINS A TELEPHONE NUMBER ON THE LOWER LEFT CORNER AND IS IDENTICAL TO THE CARD ARMAND GAVE TO NICK WHEN HE CAME UPON HIM IN THE GARDEN BEHIND HIS ROULETTE GAME IN SAIGON.\",\n \"EXT. HOSPITAL GROUNDS - VALLEY OVERLOOK - DAY NICK leans on a railing watching the black, interchangeable cars of a coal train roll slowly by. SAL sits with the suitcase of money in his lap, utterly bewildered, crying. SAL Who is it, Nick? Who is it? I do n't understand. NICK looks at SAL. His head is spinning and he brings himself back with effort. NICK It's Merle, Sal. SAL Merle? Merle's alive? -LRB- NICK nods. -RRB- How do you know? NICK I saw him last night. I thought I was dreaming. I thought I was out of my mind. SAL Merle gave me this? NICK Yeah. SAL But, Nick. Hey, I mean, where would a guy like Merle get money like this? NICK is standing slightly behind SAL, looking down at the money. The reality of what MERLE is doing, has nearly overwhelmed him and it is only with tremendous effort that he maintains a casual tone. NICK Oh cards, maybe. Poker. It's getting cold, Sal. I'm going to take you in. -LRB- starts off. -RRB- We'll call Angela. The guys can help her bring you home. Did I tell you I was going on a trip? SAL -LRB- panicked. -RRB- Trip? What do you mean, Nick? You said you'd be - NICK It's okay. Hey, it's okay! Just a week. Just to see Phantom Mary. SAL Phantom Mary? NICK Did n't I ever tell you about Phantom Mary? SAL -LRB- laughs. -RRB- No. NICK -LRB- starts off again. -RRB- Well. Phantom Mary's on my mother's side. Naturally no one there admits it because Phantom Mary's pretty weird. You want to hear the whole story? SAL -LRB- enthusiastically. -RRB- Yeah! NICK Like I say, Phantom Mary's pretty weird. Lives alone, lives way out in the middle of nowhere with a cat called Pajamas and a cow called Fred. Well, last week I got a call from Phantom Mary, which in itself was very strange.\",\n \"INT. TERMINAL BUILDING - U.S. ARMY AIRFIELD - TEXAS - DAY The place is a madhouse of activity. As jets scream overhead TROOPS embarking for Saigon are being counted and recounted. SERGEANTS are yelling off names. CLERKS are typing forms and papers. Forklift trucks weave in and out, DRIVERS cursing. NICK is back in uniform. He stands at a window watching a jet transport being prepared for loading. A CLERK comes by, arguing with a SERGEANT. The CLERK sets down his clipboard to consult the SERGEANT's papers. NICK picks up the clipboard and moves into the CROWD.\",\n \"INT. TERMINAL BUILDING - ANOTHER LOCATION - DAY NICK spots a lone SECOND LIEUTENANT sitting on his gear. More OFFICERS are waiting nearby but the SECOND LIEUTENANT seems not to know them. NICK moves in close enough to read the SECOND LIEUTENANT's name tag. NICK -LRB- bawling. -RRB- Biederman! Where's Biederman! LIEUTENANT Here. NICK You Biederman? LIEUTENANT Biederman, yes. NICK I got you on this flight, Biederman. Is that right? BIEDERMAN Correct. NICK Follow me, please.\",\n \"INT. TERMINAL BUILDING - WAREHOUSE AREA - DAY NICK walks along briskly with the LIEUTENANT at his side. NICK Right this way.\",\n \"INT. TERMINAL BUILDING - WAREHOUSE AREA - DAY NICK comes to a door, opens it. NICK Through here.\",\n \"INT. TERMINAL BUILDING - UTILITY CLOSET - DAY The LIEUTENANT walks into the closet and comes to a stop, looking puzzled. NICK comes in behind him, closes the door and picks up a length of pipe. NICK Take off the uniform. The LIEUTENANT stares at NICK, dumbfounded. NICK -LRB- CONT'D. -RRB- Take off the uniform, Lieutenant! The LIEUTENANT nods, begins taking off his uniform.\",\n \"INT. TERMINAL BUILDING - UTILITY CLOSET - DAY NICK has changed into the LIEUTENANT's uniform and tied him to a chair. The LIEUTENANT is in tears. NICK is going through his orders. LIEUTENANT Please! Please mister, please! This is vital I go to Saigon. This is very important. Most important. NICK -LRB- exasperated. -RRB- Listen, Biederman, I'm going to club you into the floor unless you tell me what the fuck is so important. LIEUTENANT That I must not tell you. Top secret. You see there. Topmost secret. NICK Biederman! LIEUTENANT -LRB- stiffly. -RRB- I will not betray my country. No. Ne - ver! NICK throws down the pipe in disgust, whips a gag around the LIEUTENANT's mouth and ties it. NICK When I get to Saigon I'll tell'em where you are. Slams the door.\",\n \"EXT. SAIGON AIRPORT - TERMINAL BUILDING - NIGHT Viet Cong SAPPERS have just attacked. A number of jet fighters are burning, bodies are strewn over the tarmac and jeeps with SOLDIERS are racing back and forth. Out beyond, the jet transport taxis into view, lumbering like a great silver monster out of the night.\",\n \"INT. JET TRANSPORT - NIGHT NICK stands in the aisle next to a COLONEL who is peering out the window. COLONEL Jesus Christ, they hit the airport! NICK nods. COLONEL -LRB- CONT'D. -RRB- Those fuckin' niggers. This time I'm going to eat balls! You ever try'em? NICK Naw. COLONEL -LRB- leans close. -RRB- Not bad fresh, but they do n't keep worth a pig's fart. NICK nods. EVERYONE starts out. COLONEL -LRB- CONT'D. -RRB- Lotta guys do n't know that. -LRB- winks. -RRB- Assholes!\",\n \"EXT. JET TRANSPORT - DEBARKATION RAMP - NIGHT A SIREN is screaming in the distance. NICK looks around nervously. The COLONEL is still right in beside him. COLONEL Tell you something else. Do n't eat'em in the damn Delta. Unless you like'em fishy. Some do. I do n't. I never did. The scream of the SIREN grows louder. Suddenly a Jeep careens around the corner followed by a huge black Cadillac flying American flags on the fenders. Both vehicles screech to a stop and an MP jumps out of the jeep with a loud hailer. MP -LRB- amplified. -RRB- Lieutenant Biederman! Lieutenant Biederman report to the ramp! COLONEL That's you. -LRB- grabs NICK's arm and waves. -RRB- Right here, Sergeant! He's right here! MP Right this way, Lieutenant. NICK is hurried to the limousine where a SECOND MP holds the door. SECOND MP Quick as you can, sir. We're in a rush. NICK gets in the limousine. The SECOND MP slams the door, jumps in the front and they take off with sirens wailing.\",\n \"INT. LIMOUSINE - SAIGON - NIGHT There are jeeps with MP's ahead ; there are jeeps with MP's behind. Seated beside NICK is a gigantic MARINE CORPORAL who stares rigidly ahead.\",\n \"EXT. CAVALCADE - SAIGON - NIGHT Pedestrians and bicyclists flee as the cavalcade comes screaming down a wide boulevard.\",\n \"EXT. AMERICAN EMBASSY - SAIGON - NIGHT The jeeps peel off to the side. The gate swings open and the limousine enters the compound.\",\n \"INT. AMERICAN EMBASSY - RECEPTION AREA - NIGHT A STRING QUARTET is playing. GUESTS in evening clothes are drinking champagne. NICK enters with the MARINE CORPORAL and is whisked rapidly down a hallway.\",\n \"INT. AMERICAN EMBASSY - KITCHEN - NIGHT NICK stands in front of a huge range staring down at a table. On the table there is a basket of eggs, an omelette pan and a pile of mushrooms. Across from the table six SERVANTS with napkins on their arms stand waiting with plates. MARINE -LRB- V.O. -RRB- Sir? NICK turns. The MARINE CORPORAL is holding a chef's hat. NICK takes off his cap, puts on the chef's hat. Suddenly a door comes open and the AMERICAN AMBASSADOR and his WIFE come in. AMBASSADOR Henri! So good to see you. How are you? How are you? Darling, this is Henri. Henri, my wife Elizabeth. WIFE My pleasure. AMBASSADOR Henri, we are starved. Six omelettes, s ` il vous plait. WIFE -LRB- hissing. -RRB- Avec champignons. AMBASSADOR Avec champignons. -LRB- back to his WIFE. -RRB- Fines herbes? The WIFE shakes her head. The AMBASSADOR winks. AMBASSADOR -LRB- CONT'D. -RRB- Avec champignons. The AMBASSADOR and his WIFE hurry out. There is dead silence. NICK pulls the MARINE CORPORAL to one side, points to his crotch. NICK Pee - pee.\",\n \"INT. AMERICAN EMBASSY - CORRIDOR OFF KITCHEN - NIGHT NICK comes down the corridor behind the MARINE CORPORAL. As he passes a straight - back chair standing against the wall he picks it up and swings it down on the MARINE CORPORAL'S head. The blow is ferocious. The chair splinters into pieces and the MARINE CORPORAL goes down with a dull thud. NICK stands for a moment, looking at him. Then he kneels, removes his pistol and jams it in his belt.\",\n \"EXT. AMERICAN EMBASSY - WALKWAY TO PEDESTRIAN EXIT - NIGHT Three MARINE GUARDS are standing at parade rest by an open iron gate. As NICK appears in his white chef's hat the GUARDS snap to attention and he walks into the CROWD OF ASIANS streaming by outside.\",\n \"EXT. TELEPHONE BOOTH - BUSY INTERSECTION - NIGHT NICK takes out his wallet, extracts the tattered calling card that he found with SAL'S money and dials the number. He lets it ring a long time but there is no answer.\",\n \"EXT. DESERTED STREET WITH SHUTTERED BUILDING - NIGHT NICK is not sure where he is. Suddenly he stops, recognizing the yard with the little grape arbor where he met ARMAND.\",\n \"EXT. YARD BEHIND SHUTTERED BUILDING - NIGHT The yard is grown over. As NICK goes in there comes a low buzz of flies. He trips over something, draws back. Seeing a candle on the little table under the grape arbor, he crosses and lights it. The yard is full of discarded champagne bottles, red velvet cushions and rotting CORPSES. NICK leans over one of the CORPSES. The skin is falling away and the eye sockets writhe with maggots. NICK straightens, looks around. NICK Merle! The back door to the building is open. NICK draws his pistol and goes in.\",\n \"INT. SHUTTERED BUILDING - NIGHT NICK finds his way blocked by a door. He steps back, hurls himself against it. The door gives way with a crash and he staggers into the middle of a small stage hung with red velvet curtains and furnished with a table and two chairs. Out beyond the proscenium, huddled together in a litter of broken cafe tables, a FAMILY OF REFUGEES stare at him in terror from the other side of a small fire. NICK -LRB- waves pistol. -RRB- It's okay. The REFUGEES cower back even further. NICK -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- It's okay, God damn it! It's all right! POUNDING and BANGING come from the direction of the front door. NICK crosses.\",\n \"INT. SHUTTERED BUILDING - FRONT DOOR - NIGHT NICK readies his pistol, cautiously unbolts the door and jerks it open. The COLONEL FROM THE AIRPLANE tumbles in and falls flat on his back. Standing in the doorway, lit by the headlights of two cars, is a party of U.S. OFFICERS, ARVN OFFICERS and WHORES. COLONEL -LRB- no attempt to get up. -RRB- Hey, good buddy, how you doin'? -LRB- gestures. -RRB- This is Biederman, you guys. Biederman, this is Son Loc, Tu Fon, Huckerbelly and Potts. What's the story here, Biederman? We're looking for. Wait a minute. He fishes a piece of paper out of his breast pocket. COLONEL -LRB- CONT'D. -RRB- Here it is. Chez Armand. WHORE Chez Armand not here! Chez Armand has gone to other spot! COLONEL -LRB- gets up. -RRB- Honey, c ` mere. Come right here. The COLONEL opens a brown paper bag he is carrying and presents her with a large red, white and blue dildo. COLONEL -LRB- CONT'D. -RRB- This is for bein' so smart. The WHORE shrieks with pleasure. EVERYONE laughs. COLONEL -LRB- CONT'D. -RRB- -LRB- arm around WHORE. -RRB- Let's go! Mount up! C'mon Biederman! The COLONEL throws an arm around NICK and they all start for the cars. COLONEL -LRB- CONT'D. -RRB- -LRB- to NICK. -RRB- Boy, do I love this conflict. Huh? What the hell were you doin' in there? NICK You know a guy named Merle? COLONEL Merle? That's who we're looking for. Merle. NICK Yeah? COLONEL Sure! I got eight hundred potatoes says he goes one more. He retired, you know. NICK Yeah? COLONEL Now he's back. Pulls NICK close so he can whisper in his ear. COLONEL -LRB- CONT'D. -RRB- He eats'em. Sure. He eats'em raw!\",\n \"EXT. RUBBER PLANTATION - SAIGON OUTSKIRTS NIGHT An elegant house of French design is ablaze with lights. The house is encircled by a stone terrace on which tables have been set up. Over the terrace and strung out for a hundred yards into the surrounding trees are countless paper lanterns which bob and sway in the wind. GUESTS are everywhere - wandering in and out of the house, sitting at the tables and strolling under the trees. For the most part the GUESTS are AMERICANS and SOUTH VIETNAMESE. The majority of these are OFFICERS IN UNIFORM, but there are numerous CIVILIANS mixed among them and the CIVILIANS are attired in everything from sports shirts to white linen suits and tuxedos. As to nationality there are no limits. There are FRENCH, GERMANS, BELGIANS, SWISS, CHINESE, BRITISH and AUSTRALIANS. WHORES and MISTRESSES abound. WIVES are not greatly in evidence, except to dog the heels of heavily armed ARVN GUARDS who wander about, glass - eyed, drinking champagne.\",\n \"EXT. RUBBER PLANTATION - PARKING AREA - NIGHT Jeeps, personnel carriers, trucks and light tanks are parked side by side with gleaming Mercedes limousines, staff cars from various government agencies and a blitz of civilian vehicles running from sedans to motor scooters. More vehicles arrive by the minute and exotic couples, like plumed birds, debark in the swirling dust.\",\n \"EXT. RUBBER PLANTATION - CLEARING IN TREES - NIGHT A dozen ARVN helicopters have put down between the trees. One has crashed and lies on its side with a broken rotor. There is a mounting clatter in the distance and another helicopter comes out of the sky. As it sets down a dashingly handsome AIR FORCE OFFICER hops out and extends a hand to his WIFE. When his WIFE has descended the OFFICER opens a back compartment in the fusilage and carefully takes out their BABY. He hands the BABY to his WIFE and they stroll off toward the house.\",\n \"INT. RUBBER PLANTATION - HOUSE - NIGHT Gambling tables are set up in all the rooms. The betting is heavy, champagne flows like water and the atmosphere is one of reckless abandon, as if money, like love, were good for an hour.\",\n \"EXT. RUBBER PLANTATION - ROULETTE STAGE - NIGHT Low bleachers covered in red velvet are set in a semi - circle facing a small stage. The stage is lit with a single, blindingly bright spotlight and is furnished with a table and two velvet - covered chairs. Two CONTESTANTS, both of them VIETNAMESE, sit opposite one another. Between them, lying on the table, is a revolver. Both CONTESTANTS are dressed in tuxedos. Both wear red numbers on their downstage arm. Although the bleachers are not yet full, eager BETTORS jam the first three rows. Here CLERKS with change trays take the bets, signalling each transaction to a MARKER who chalks the shifting odds on a large board. CAMERA CLOSES ON NICK, standing in the aisle, staring in disbelief at the evolution of the game he once played. Now a REFEREE enters the stage carrying two strips of scarlet cloth. REFEREE -LRB- amplified. -RRB- Game number seven. Gentlemen will please wrap. The CONTESTANTS wrap their heads with the scarlet cloth. REFEREE -LRB- CONT'D. -RRB- -LRB- as he loads revolver. -RRB- One cartridge. Game to be played to completion. Forfeit automatic after delay of one minute. The REFEREE places the pistol back in the center of the table and spins a wheel whose - intervals are alternately marked L and R. The wheel clatters to a stop with the marker on L. REFEREE Gentleman on the left will now commence play. The REFEREE steps out of the light. A gong sounds. The CONTESTANT on the left picks up the pistol, spins the cylinder, cocks it and places it to his temple. He hesitates, pulls the trigger. and clicks out. NICK is unable to bear it. He turns, starts around toward the back of the stage. AS NICK MOVES THROUGH THE GUESTS WE HEAR THE SOUND OF THE CYLINDER CLICKING, AMPLIFIED OVER A P.A. SYSTEM. WE HEAR THE CLICK OF THE HAMMER BEING COCKED. NICK turns. The SECOND CONTESTANT has the pistol to his temple. He pulls the trigger. THE GUN GOES OFF WITH A DEAFENING ROAR and he topples on the floor. The FIRST CONTESTANT STEPS FORWARD AS THE SPOTLIGHT NARROWS TO CONTAIN HIM ALONE. HE BOWS, CLASPS HIS HANDS ABOVE HIS HEAD AND DANCES AROUND. NICK stares at the FIRST CONTESTANT celebrating his victory. He looks around him. BETTORS are screaming and yelling in five languages. NICK starts off again, hurrying.\",\n \"EXT. RUBBER PLANTATION - BACKSTAGE AREA NIGHT NICK comes upon a pile of six naked CORPSES with their heads blown off. Opposite the CORPSES - sitting, standing, pacing, squatting in the dirt - are a GROUP OF WAITING CONTESTANTS. Some of these are AMERICAN. Most are SOUTH VIETNAMESE, several of whom have come with WIVES and FAMILIES. A few of the contestants are well dressed, most are in rags. THREE. OF THE WAITING CONTESTANTS ARE WEARING TUXEDOS. Suddenly a WOMAN WITH A BABY lets out a shriek. NICK spins. TWO BURLY MEN appear, bringing the CORPSE OF THE SECOND CONTESTANT. As the WOMAN WITH THE BABY begins sobbing and screaming with grief the BURLY MEN strip the tuxedo off the SECOND CONTESTANT and then, as each article is summarily removed, they begin dressing one of the WAITING CONTESTANTS in it. ARMAND -LRB- V.O. -RRB- If you are brave and lucky I can make you rich. NICK turns and finds ARMAND behind him. ARMAND studies him for a fraction of a second and then smiles. ARMAND -LRB- CONT'D. -RRB- C'est tres amusant. You have been promoted. And to a Jew. I am joking of course. Naturellement. Seriously, Nick, may I hope that you have come to play? NICK I came to see Merle. ARMAND Ah. Merle. And you know Merle? NICK Yeah. ARMAND -LRB- studies him. -RRB- You are his friend. NICK Where is he? ARMAND -LRB- faint smile. -RRB- Merle is under his tree. Beside the terrace. You ca n't miss him.\",\n \"EXT. RUBBER PLANTATION - TREES BY TERRACE - NIGHT GUESTS are still coming in from the cars, strolling down through the trees in bright coveys and flocks, chattering like birds. Laughter comes from the terrace. Glass tinkles and the tiny lanterns bob and sway. NICK appears, hurrying down the steps. Suddenly he stops. MERLE is sitting at a table under a nearby tree. He is alone, dressed in a tuxedo, watching the arriving GUESTS with an expression of dreamy detachment, as if they were rain drops, or snow flakes, or falling stones. NICK -LRB- shouts. -RRB- Merle! MERLE turns, watching NICK as he crosses toward him. When NICK reaches the table, he stands. NICK -LRB- CONT'D. -RRB- Merle! Jesus! Hey, how are you? MERLE Nick! I thought you went home. NICK I did. I. This is stolen. I came back. MERLE Sit down. NICK sits. MERLE's self - possession has thrown him. He does n't know where to start. MERLE -LRB- CONT'D. -RRB- -LRB- breaking the silence. -RRB- How's Linda? NICK Fine. She's fine. Merle, what the hell are you doing? MERLE -LRB- eyes him. -RRB- I like it, Nick. NICK Merle. Hey, Merle, listen. -LRB- stares at him. -RRB- Why? For a moment MERLE does n't answer. His eyes are pale, like faded robin's eggs, and they seem to look through NICK, as if to some landscape far beyond. MERLE I like it because it's simple. A BEAUTIFUL VIETNAMESE GIRL steps up and whispers something in MERLE's ear. MERLE -LRB- CONT'D. -RRB- -LRB- stands. -RRB- I have to go, Nick. We'll have a drink. MERLE and the VIETNAMESE GIRL move into the CROWD. NICK Merle! Merle, wait! NICK starts after them. He can see them ahead, moving rapidly through a GROUP OF ARVN OFFICERS and WHORES. NICK -LRB- CONT'D. -RRB- Merle! NICK sees he can never overtake them directly. He cuts around to the terrace.\",\n \"EXT. RUBBER PLANTATION - TERRACE - NIGHT NICK maneuvers his way down to the end of the terrace. NICK Excuse me. Sorry. Sorry. Pardon. NICK reaches the end of the terrace. MERLE and the BEAUTIFUL VIETNAMESE GIRL have disappeared.\",\n \"EXT. RUBBER PLANTATION - TERRACE - NIGHT NICK sits at one of the tables. The terrace is deserted. REFEREE -LRB- V.O. -RRB- Gentleman on the right will now commence play.\",\n \"EXT. RUBBER PLANTATION - HOUSE - NIGHT The gaming tables are utterly deserted. AS NICK WANDERS THROUGH THE EMPTY ROOMS THE SOUND OF THE GAME CONTINUES OVER THE P.A. SYSTEM - THE SOUND OF THE CYLINDER SPINNING, THE SOUND OF THE HAMMER BEING COCKED. AND CLICK AFTER CLICK INTO EMPTY CHAMBERS. Suddenly NICK can stand it no more. He turns and starts toward the entrance to the bleachers. A SHOT EXPLODES OVER THE P.A. SYSTEM. NICK freezes, then he runs.\",\n \"EXT. RUBBER PLANTATION - ROULETTE THEATRE - NIGHT NICK appears at the back of the aisle between the bleachers. The CROWD is going wild, yelling and screaming. NICK pushes through a group of BETTORS and then stops. A look of stunned relief spreads over his features. On the stage a tall figure stands alone in the spotlight, head bowed in acknowledgement of the OVATION. NICK grins. He begins yelling and screaming along with everyone else. On the stage the tall figure raises his head, pumps his fists in the air and begins hooting maniacally. WE NOW SEE, AS DOES NICK, THAT THE TALL FIGURE IN THE SPOTLIGHT IS NOT MERLE AT ALL. IT IS MERLE'S OPPONENT.\",\n \"INT. V.F.W. POST - BASEMENT - DAY Pipes crisscross the ceiling and there is the faint hiss of leaking steam. Seated on a bench and all dressed - up in their uniforms are FIVE OLD VETS. TWO VETS are on the nod. THE OTHER THREE - rheumy - eyed and ancient - give patient attention to the SIXTH VET who stands beside the boiler with a bugle, trying to play TAPS. VET 1 Up a little there. What would you say? VET 2 Up. The VET WITH THE BUGLE tries it again, flubs it, starts over.\",\n \"INT. V.F.W. POST - MAIN HALL - DAY Three tables have been set up in the middle of the floor. The tables have been laid with white cloth and the OLDER WOMEN are setting out fresh flowers and laying the places for a funeral breakfast. They work in silence, fussing over the placement of each knife and fork. AS THE WOMEN WORK WE HEAR THE SOUND OF THE CHOIR SINGING AS THE SERVICE PROGRESSES IN THE CHURCH. AT FIRST THE SOUND IS BARELY AUDIBLE, EASILY MATCHED BY THE FAINT NOTES OF THE VET WITH THE BUGLE IN THE BASEMENT BELOW. BUT NOW THE SOUND OF THE CHOIR GROWS - A SOUND AS DEEP AS WATER, AS DARK AS NIGHT ; A SOUND LIKE STONE. Gradually, one by one, the OLDER WOMEN stop fussing with the table. They stand motionless, listening.\",\n \"EXT. GREEK ORTHODOX CHURCH - FRONT STEPS - DAY A HEARSE waits at the curb. The day is windless, cold and grey Snow is drifting down and the gleaming vehicle emits a ghostly cloud of white exhaust. THE SOUND OF THE CHOIR IS MUCH LOUDER, ASCENDING IN DARK TRIUMPH TO A SUDDEN, FINAL NOTE. In the ringing silence of the MUSIC'S END the doors to the church swing open. NICK, VINCE, ALBERT and JOHN appear with MERLE's flag - draped COFFIN. Followed by MOURNERS, they bear the COFFIN slowly down the steps.\",\n \"EXT. CEMETERY - DAY Snow drifts down from a leaden sky as the MOURNERS stand together on a steep hillside of tilted, weather - worn headstones. The mill looms behind them, breathing roiling clouds of steam and uttering a dull concordia of clanks and groans.\",\n \"EXT. CEMETERY - GRAVE SITE - DAY The PRIEST completes his reading of the 23rd PSALM. The MOURNERS join in the LORD'S PRAYER. CAMERA CLOSES ON NICK, VINCE, ALBERT, JOHN and SAL. They help SAL to the side of the grave. It is awkward. The chair gets stuck and they have to carry it. THEY ALL pick up a handful of dirt and then, following NICK's lead, they throw it in. NICK steps back from the grave, nods to the VETS. The VETS come to attention. The VET WITH THE BUGLE steps forward and tremblingly, but perfectly, PLAYS TAPS.\",\n \"INT. V.F.W. POST - MAIN HALL - DAY The meal is over. The WOMEN are drinking coffee, the MEN are smoking and putting down the beer. There is muted laughter and conversation. NICK sits at the head of one of the tables, flanked by LINDA and SAL. He looks stunned. His food is untouched, there are tears in his eyes and he hardly seems to know where he is. LINDA Eat something, Nick. Eat a piece of toast. NICK nods, picks up a piece of toast and then, forgetting all about it, lays it absently on his plate. VINCE comes up behind NICK, looking somewhat officious in a new blue suit. VINCE You want to say a few words, Nick? I think you should. Like that would wind things up. NICK nods. VINCE raps on a glass. VINCE -LRB- CONT'D. -RRB- Quiet! Quiet! Awright, everybody, Nick has a few words. NICK -LRB- very shaky. -RRB- I just. would like to say a few words. about Merle. I guess Merle always wanted something. I do n't know. better. That fucking guy, he saved my Life. He saved Sal's. What Merle liked, he liked things right. But then there was n't any place for that. that he could find. Tears are streaming down NICK's face and he sits down, looking miserable. VINCE -LRB- hisses. -RRB- John! Play something! JOHN goes to the piano, hurried along by VINCE. He sits down, casts a quick glance to the ceiling and begins playing `` America The Beautiful''. A FEW VOICES being SINGING. OTHERS join in. ALBERT stands up. Then EVERYONE stands up. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,1,0,0,0,0],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Three friends from the community of Clairton, Pennsylvania, Mike Vronsky, Steven Pushkov, and Nick Chevotarevich, lead a peaceful existence between working in a steel mill and hunting for deer. They prepare to leave for military service in Vietnam, and the shy and clumsy Steve is engaged to Angela, who is secretly pregnant from another man. Mike and Nick both love Linda, who will be moving into Nick's home after they leave to escape from her abusive and alcoholic father. During Steven and Angela's wedding, Nick asks for Linda's hand, and she accepts. As the newly-wed couple drives away, Nick asks Mike to not abandon him in Vietnam under any circumstance. The next day, the social circle, minus Steven, engages in a final deer hunt. After some jokes and discussions, Mike kills a deer with a single shot; it is his custom to fire only once to give the deer a chance of survival. In Vietnam, the friends, along with other soldiers, are captured by the Viet Cong, and are forced to participate in a torturous game of Russian roulette while the jailers place bets. Steven yields to fear and exhaustion and fires his round at the ceiling. As punishment for breaking the rules, Steven is thrown into a cage that is immersed in a river filled with rats and dead bodies. Mike convinces Nick to attempt an escape by inserting three rounds into the revolver's cylinder; after convincing their tormentors with the increased risk, they kill the captors and escape. After Steven is freed, the three float along the river's current on a tree trunk. When they reach a suspension bridge, they are rescued by an American helicopter, but Steven cannot maintain his grip and falls into the water. Mike immediately throws himself in to save Steven, while Nick is detained by the aircraft crew. Steven's legs are broken in the fall, and Mike carries him until they meet a caravan of soldiers and refugees fleeing to Saigon. Mike rests Steven on the hood of a Jeep. Nick is admitted to a military hospital for physical and psychological trauma, and he ventures to Saigon after he is discharged. In his wandering, he hears gunshots emanating from a gambling den and attempts to leave, reminded of his previous torture experience. However, French businessman Julien Grinda persuades him to come inside and play for him. Mike is present in the den and recognizes Nick, but is unsuccessful in getting his attention. Mike is repatriated and he has difficulty reintegrating into civilian life. He fails to appear at a party organized by his friends. He meets Linda the next morning and learns that Nick has deserted. Mike then visits Angela, who is now the mother of a child, but has slipped into catatonia following the return of Steven, who has been rendered an invalid. Those within Mike's circle who stayed at home seem to understand nothing of war, and the following days further prove his disorientation; he is unable to shoot a deer during a hunting trip, and in another trip, he sees one hunting partner, Stan, jokingly threatening another partner with a gun. To make Stan understand the gravity of his gesture, Mike violently slips the gun out of Stan's hand, leaves only one round in the cylinder, points the gun at Stan's forehead and pulls the trigger on an empty chamber. Mike visits Steven at a veteran's facility; both of Steven's legs have been amputated, and he has lost the use of an arm. Steven has learned of Angela's infidelity and refuses to come home. He tells Mike that he has been regularly receiving large sums of money from Vietnam. Mike senses that Nick is the source of these payments, and after convincing Steven to return to Angela, he returns to Vietnam in search of Nick. Wandering around Saigon, now in a state of chaos, Mike finds Julien and persuades him to take him to the gambling den. Mike finds himself facing Nick, who has become a professional in the macabre game and fails to recognize Mike. Mike attempts to bring Nick back to reason, but Nick, blinded by his profound suffering, is indifferent. During a game of Russian roulette, Mike evokes memories of their hunting trips. Nick recalls Mike's \"one shot\" method and smiles before pulling the trigger and killing himself. Mike and his friends attend Nick's funeral, and the atmosphere at their local bar is dim and silent. Moved by emotion, the patrons sing \"God Bless America\" in honor of Nick."},"name":{"kind":"string","value":"The_Deer_Hunter"}}},{"rowIdx":153,"cells":{"scenes":{"kind":"list like","value":["MEAN STREETS Ah, get born, keep warm Short pants, romance, learn to dance Get dressed, get blessed Try to be a success Please her, please him, buy gifts Do n't steal, do n't lift Twenty years of schoolin' And they put you on the day shift - BOB DYLAN, Subterranean Homesick Blues. -LRB- SUPERED OVER BOTTOM OF SCREEN LIKE A TV NEWS BULLETIN -RRB- -LRB- THE FILM IS IN COLOR UNLESS OTHERWISE NOTED. -RRB- A darkened diffused image of a man lying on the ground. A tree is above him. The image is more diffused on the edges. It is black and white, and appears to be coming from a television. The body of the man is practically totally in shadow. ANNOUNCERS VOICE Ladies and gentlemen, on the new tonight, the first actual motion pictures of death. A small orange fire appears in the breast of the man. ANNOUNCERS VOICE Watch closely, at the moment of death. The small orange fire fades away. COLOR CHARLES CAPPA JR. -LRB- CHARLIE -RRB- is 25 of Sicilain origin. He was educated in Roman Catholic Parochial schools with one year and a half at a Jesuit college. CHARLIE was raised sternly in the Roman Catholic tradition but now has rejected many of the religion's tenets. He is very intelligent and has a sharp sense of humor. He is always well dressed. His favorite authors are Ernest Hemingway, Thomas Hardy, and Theodore Dreiser. He likes reading but enjoys films more. He is very fond of the New Testament and often exchanges quotes from it with his friend TONY.","INT. BEDROOM - NIGHT CHARLIE has been dreaming. The dream frightened him. A TITLE APPEARS on the bottom of the frame : CHARLIE. He gets up to look at his face in the mirror. His room is lit by moonlight. It is a small tenement bedroom with a fire - escape outside. He returns to bed and as his head hits the pillow, we hear the RONETTES singing `` BE MY BABY.'' An 8 - mm. projector whirring away.","INT. PARTY - HOME MOVIES - DAY Opening TITLES appear over 8mm. HOME MOVIES in which CHARLIE is shown along with his friends and family in a celebration. a sense of `` one big unending party.'' During this opening segment WE SEE some of the characters that will later appear in the story : JOHNNY BOY, MICHAEL, TONY, TERESA, CHARLIE'S UNCLE GIOVANNI, and others. They are all Sicilian and are members of the same Italian - American neighborhood in New York City. -LRB- WE SENSE, from these HOME MOVIES, that the neighborhood forces its people to be strongly tied together in a way of life - Family, Church, Friendship. -RRB- These HOME MOVIES were taken during some formal and casual gatherings in which CHARLIE participated.","INT. BATHROOM IN A NEIGHBORHOOD BAR A longhaired `` freak'' is about to shoot - up. Suddenly the door opens and TONY -LRB- ANTHONY DEVENZIANO -RRB- comes in. TONY is totally different in appearance and dress from the `` freak.'' He is 25, and a part time student studying liberal arts. His father is a very powerful racketeer in a different part of the city and owns several night club type discotheques and strip houses on the west side of town. One of these is operated by TONY - `` TONY'S PLACE.'' CHARLIE is one of his closest friends. TONY is well dressed, flippant and reckless. He is a big drinker, liquor, wine, and even cough medicine. TONY What the fuck. hey! TONY rushes over to the `` freak'', who is too strung out to defend himself, smashes the needle, and slaps him around. TONY Not in my fuckin' place. get out. get out!","INT. BAR AREA TONY pushes him out the door and into the bar area. There are a few people in the bar. mainly neighborhood guys like TONY. A few `` freaks'' are in the BG. TONY pushes him out the front door. TONY And keep the fuck out - a - here. I know your face. TONY crosses over to one of the neighborhood guys by the bar and slaps him in the back of the head knocking off his hat. TONY And you scumbag. what did I tell you ` bout passin' that shit in my PLACE. -LRB- HITS AGAIN. -RRB-. huh? BOY Hey I did n't do nothin'. cut it out. TONY pushes the BOY out of the bar also. TITLE APPEARS on the bottom of the frame : TONY","EXT. WEST SIDE DOCKS - LATE AFTERNOON The area is totally deserted except for two trucks parked side by side. Two men are tossing boxes from one truck to another and looking around furtively. MICHAEL stands nearby. MICHAEL LONGO is 26 years old. He lives in a different neighborhood but comes from the same type of background as CHARLIE and the others. He runs an illegitimate bar and dabbles in the yearly sale of firecrackers which he smuggles in from Maryland. He also deals in contraband cigarettes and runs a small - time `` loan shark'' business. He has a knack for business but he is otherwise unintelligent. Michael crosses over to a'58 black Oldsmobile. MICHAEL Hey, hurry up with that shit will ya. MICHAEL gets in the car. Another MAN is sitting in the back. He is also well dressed. MICHAEL takes a small lens out of his pocket and tosses it to the MAN. MAN What's this? More shit? MICHAEL Naw. that ai n't shit. that's a German lens. The MAN looks at it carefully. MICHAEL A good buy. good two shipments of them. MAN Ca n't use it. MICHAEL Why? That's a telescopic one. it's good. MAN First, it ai n't German. it's Japanese. and second, this ai n't no lens. it's like a. a. an adaptor. so you got two shipments of Jap adaptors with no lenses. -LRB- HE LAUGHS. -RRB- MAN hands adaptor back to MICHAEL. MICHAEL -LRB- DISAPPOINTED. -RRB- A Jap adaptor? TITLE APPEARS on bottom of screen : MICHAEL.","EXT. STREET - DAY A deserted warehouse area in lower Manhattan. Prominent in the frame is a brightly painted red white and blue mailbox, contrasting with the drab hues of the neighborhood. JOHNNY BOY walks down the street toward camera. JOHN CIVELLO -LRB- JOHNNY BOY -RRB- is 23 years old. He is an only child and lives with his mother, a divorcee. He is clean cut looking, yet slightly radical in dress. He was expelled from high school for vandalism and consequently spent several months in reform school. He is reckless, unambitious, nihilistic, and was classified a psychiatric 4 - F. He is first cousin of TERESA RONCHALI who lives next door to CHARLIE. He has adopted TERESA'S family as his own and spends more time with them than he does with his mother. JOHNNY is carrying a package wrapped in plain brown paper under his arm, and he is smiling. He drops the package into the mailbox and keeps walking. But he is moving a little faster now and smiling a little more. Suddenly the mailbox explodes. Dozens of red, white and blue fragments shower down on the street. The impact of the blast knocks JOHNNY down. TITLE APPEARS on bottom of frame : JOHNNY BOY. He is up in a moment. The CAMERA TRACKS with him as he starts running. WE SEE that he is grinning - quite literally - like crazy.","INT. CHURCH WE SEE CHARLIE full face. Behind him is a Confessional Booth. The church is very old, quiet, and dark. The CAMERA ZOOMS OUT to reveal rows of Holy Candles lit in the foreground. CHARLIE suddenly begins to speak softly and confidentially to an unseen entity that is OFF SCREEN. CHARLIE -LRB- CONFESSION. -RRB- A. As you know, I've just come out of Confession. And as a penance they gave me ten ` Hail Marys' and ten ` Our Fathers'. THE CAMERA BEGINS TO TRUCK OUT. IT MOVES AROUND CHARLIE AND AWAY FROM THE HOLY CANDLES REVEALING CHARLIE'S PROFILE. CHARLIE -LRB- CONTINUED. -RRB-. Now, between you and me. You know how I feel about such things. ` Hail Marys'. ` Our Fathers'. No imagination. THE CAMERA HAS NOW TRUCKED BEHIND CHARLIE AND WE SEE over his head he has been addressing a life sized statue of the crucified body of Christ, eyes closed reclining in his sepluchure. CHARLIE -LRB- CONTINUING. -RRB-. If I'm going to do penance at all, I'll do it the way I think it would be done. by me, that is. according to my own trespasses. You know what I mean. This conversation of Confession will occur from time to time in other parts of the story as CHARLIE will periodically try very casually to justify his thoughts and actions to his `` God.'' The images accompanying these monologues are to be of free association almost documentary in nature.","INT. TONY'S PLACE - NIGHT The club is dark and noisy and smokey when CHARLIE enters. He greets TONY who is sitting on a bar - stool. TONY directs CHARLIE to a corner of the club where the rest of the group is now getting boisterously drunk. CHARLIE joins in, immediately taking on the mood of the group. The rest of the club is filled with many different types of customers : teenagers, adults pretending to be teenagers, sailors, male and female gays, and `` the boys from the neighborhood.'' The music is loud and the lights are flashing but the strippers have not yet appeared. TONY is at the bar. He is approached by GEORGE one of the bouncers. He seems upset about the noise that CHARLIE and his friends are creating. TONY does n't take GEORGE very seriously. GEORGE It's ten o'clock and they're like this. And they're just starting? TONY smiles. GEORGE -LRB- CONTINUING. -RRB- Smile. What are you smiling at? This is a business night. TONY -LRB- INTERRUPTING. -RRB- George. did I ever tell you the story about the three chickens? GEORGE -LRB- GENUINELY. -RRB- No. TONY Too bad. CHARLIE's zany behavior as frenetically as it occurs. There is no particular logical sequence except that events are suited to the rythmic pattern of the music. 1. CHARLIE and his friends dance and sing along with the music. 2. CHARLIE picks up a billiard stick. He attempts to hit a filled shot glass towards TONY at the other end of the bar. He fails. 3. CHARLIE tries to pull a tablecloth off of a stranger's table without moving the glasses or bottles. This also fails. 4. A punch is thrown at someone. A lit cigarette in the puncher's fist creates a swift arc of light in the darkness. 5. The Strippers finally appear on stage. CHARLIE becomes obsessed with the Negro stripper DIANE. He shouts to her, tosses things, and calls her names. She tries, half amusedly to ignore him but she ca n't. 6. TONY drinks from a bottle of Southern Comfort, and as a chaser swigs down Aqua Velva. CHARLIE sitting at an empty table watching DIANE, the stripper, perform again. He stares glassy - eyed and then begins to speak softly, continuing his Confession. CHARLIE Y' know. she's really good - looking. really good - looking. I've got ta say that again. She's really good - looking. but she's black. You can see that real plain. -LRB- as an afterthought. -RRB- When you get down to it though. there's not much of a difference, is there? -LRB- He waits for an answer. -RRB- Well. is there? -LRB- He smiles and begins chewing on an ice cube from his half EMPTY GLASS. -RRB- Suddenly MICHAEL appears and sits down at CHARLIE's table. He hands CHARLIE two cartons of cigarettes. CHARLIE Oh great. hey - Winstons? MICHAEL For these prices do n't be particular. That's all they had - but next week we'll see. CHARLIE gives him the money. CHARLIE OK, ok. MICHAEL Sell'em if you ca n't smoke them. CHARLIE No. I'll be ok for a week. MICHAEL You seen Johnny Boy tonight? CHARLIE -LRB- DISINTERESTED. -RRB- Nope. MICHAEL Is n't he supposed to be here tonight. I mean. CHARLIE Look. I do n't know. What am I supposed to be, his keeper or something? Yeah, he's supposed to be here but who knows what goes on in his head. Right? MICHAEL I'd like to know Charlie, it looks like your little friend is trying to duck me. CHARLIE remains silent. MICHAEL -LRB- CONTINUING. -RRB-. Charlie, do n't you think you should be interested in Johnny's payments to me? I think you should be, you know that. CHARLIE -LRB- QUIETLY. -RRB- Michael, nobody's out to screw you, I guarrantee that. MICHAEL I know that Charlie but look at my side. You undersigned the loans. You vouched for him. What happens if this kid do n't pay me? I got ta collect from you? I do n't want to do that. I made a deal with him not you, right? CHARLIE -LRB- PATRONIZING. -RRB- You're right. You're right. Look, I'm not gon na wind up paying his debts. You know that. MICHAEL I do n't know that. That's what I'm telling you. CHARLIE Michael, believe me. You know the kid's a little crazy sometimes. I vouched for him and he'll come through. I promise. I'll talk to him and straighten him out. Do n't worry, OK? MICHAEL -LRB- SATISFIED. -RRB- OK. JOHNNY BOY enters the night club with two friends. He has been drinking. JOHNNY BOY'S face shows fresh cuts and bruises. His friends approach the hat check girl and give her their coats. JOHNNY BOY approaches her giving her his pants instead. His friends laugh hysterically. CHARLIE is now alone at the end of the bar. JOHNNY BOY now completely dressed enters the bar area. CHARLIE watches JOHNNY BOY approaching and continues his Confession. JOHNNY BOY greets people as he passes them, and as CHARLIE speaks, he appears to be moving in slow motion. CHARLIE What do you think? ` If a man have a hundred sheep, and one of them stray, will he not leave the ninety - nine in the mountains, and go in search of the one that has strayed? And if he happen to find it, amen I say to you, he rejoices over it more than over the ninety - nine that did not go astray. Even so, it is not the will of your Father in Heaven that a single one of these little ones should perish.'. Ok that's very nce but. TONY is now behind the bar near CHARLIE. JOHNNY BOY has reached them. JOHNNY BOY Drinks for everybody Tony. CHARLIE -LRB- INTERRUPTING. -RRB- Giovanino! Where have you been? JOHNNY BOY -LRB- CONTINUING. -RRB- and a double for you and Charlie here. -LRB- quietly to TONY. -RRB- And put it on my tab, willya? TONY Which one, the big tab or the little tab? JOHNNY BOY Put it on the little tab so that it balances with the big one. TONY -LRB- SARCASTICALLY. -RRB- Yeah, so things'll be even. CHARLIE and JOHNNY BOY grimace. MICHAEL appears. MICHAEL How about me? I do n't get a drink John? JOHNNY BOY -LRB- FEIGNING SURPRISE. -RRB- Of course! A double for Michael, Tony. TONY mumbles. JOHNNY BOY interrupts MICHAEL who is about to speak. JOHNNY BOY -LRB- CONTINUING. -RRB- I know what you're going to say but do n't say it. These drinks are all on the tab. I'm gon na see you this Tuesday payday, I promise. I give you my word. MICHAEL You what? The drinks arrive. They all smile and salute each other with their drinks. CHARLIE -LRB- SALUTING. -RRB- The queen! ALL -LRB- DRINKING. -RRB- The queen! CHARLIE and JOHNNY BOY are sitting alone at a table. CHARLIE -LRB- refering to JOHNNY BOY'S FACE. -RRB- What happened to you Flash? JOHNNY BOY Charlie, I swear on my mother, you're not going to believe this. CHARLIE I know but let's hear it anyway. JOHNNY BOY I swear to God Charlie, it's the truth. FLASHBACK","EXT. STREET - LATE AFTERNOON JOHNNY BOY is walking along the street. It is rush hour and the traffic is heavy. A shiny, late model car stops parallel to JOHNNY BOY. The young boy -LRB- SAL -RRB- signals him by blowing the horn. -LRB- Note that in the FLASHBACK, JOHNNY BOY'S face is not bruised. -RRB- SAL Hey Johnny, where're you goin'? JOHNNY BOY Sal! fourteen street. SAL Come on.","INT. INSIDE CAR - LATE AFTERNOON JOHNNY BOY This is some boat. Your father's? SAL Yeah. just had it delivered. JOHNNY BOY Hey. you got stereo. SAL Yeah, I think so. As JOHNNY BOY admires the gadgets in the car he notices that SAL is becoming very nervous. JOHNNY BOY You got a speaker back there? He turns to look for the speaker and sees a police car not far behind. JOHNNY BOY -LRB- CONTINUING. -RRB- Ah. there's a funny lookin' cab behind us. SAL -LRB- NERVOUSLY. -RRB- I know. I know. JOHNNY BOY What ` sa matter. forget your registration? SAL No. no. Nooo. it's just that I. I. uh. this ai n't my car. JOHNNY BOY Yeah, it's your father's. SAL Well. no. JOHNNY BOY You mean it's heisted. SAL You could say that. JOHNNY BOY -LRB- announcing it loudly. -RRB- This is a heisted car! SAL smiles sheepishly. JOHNNY BOY panics.","EXT. STREET - LATE AFTERNOON The police switch on their flashing red light and try to get closer to them but the traffic is too heavy. SAL manages to turn the next corner at about twenty miles per hour.","INT. INSIDE CAR - LATE AFTERNOON JOHNNY BOY frightened now, underestimates the speed of the car and quickly opens the door.","EXT. STREET - LATE AFTERNOON JOHNNY BOY tumbles from the car only to smack into a lamp - post. He has seriously banged his head and blood is running down his face. But because of the near proximity of the police car he is desperately trying to maintain an air of dignity as he calmly tries to walk down the street. END FLASHBACK","INT. TONY'S PLACE - NIGHT TONY has now joined the group sitting at the table. CHARLIE and TONY nod in disbelief. JOHNNY BOY It's the truth, I swear. CHARLIE All right, forget it. Tony, you got anything we can put on his face? TONY Yeah, in the back. They all get up. TONY -LRB- CONTINUING. -RRB- C'mon, I got something to show you anyway.","INT. TONY'S PLACE - BACK HALL - NIGHT They push their way through the crowd and enter a narrow dimly lit hallway on both sides.","INT. BACK ROOM - TONY'S PLACE - NIGHT A boy and girl are necking on a make - shift couch in the darkened room. GIRL -LRB- WHISPERING. -RRB- Jimmy, I tell you there's something in this room. JIMMY -LRB- MURMURS. -RRB- Ahhh come on baby. willya'. cut it out. Suddenly the light is turned on. TONY, CHARLIE, and JOHNNY BOY enter the room. The GIRL is startled and jumps up. JIMMY appears bewildered. TONY Excuse us Jimmy, we'll only be a moment. TONY S'alright Tony. The GIRL and JIMMY sit self - consciously as TONY goes to the medicine cabinet, takes out a few items and gives them to CHARLIE. TONY then crosses to the other side of the room where he removes the blanket which has been covering a large cage. He reveals a live, young beautiful PANTHER stalking to and fro. The GIRL screams. GIRL I told you there was something in this room. The GIRL runs out. Everyone else except TONY, is backed up against the wall, frightened. The BOYS laugh nervously. TONY Keep quiet about this. I do n't have any license for him yet. I've only had him a couple of days. Nobody can feed him except me. I'm the only one he trusts. Watch. CHARLIE Do n't go to any trouble. We believe you. We believe you. TONY begins to open the cage. The BOYS are now standing on top of the nearest pieces of furniture. TONY -LRB- ENTERING CAGE. -RRB- Really wanted to get a little tiger Charlie, y' know. a little William Blake and all that. CHARLIE Be careful. TONY ignores CHARLIE's warning as he crouches and allows the animal to wander onto his lap where upon he strokes the panther gently murmuring to him. The BOYS watch in silence.","INT. TONY'S PLACE - CORNER TABLE - NIGHT The Italian song `` Malafemina'' -LRB- a tango - like rythmn -RRB- is heard coming from the juke - box. It is near closing time and there are only a few customers left in the club, including MICHAEL and two gays, BENTON and SAMMY, who is getting very drunk. CHARLIE is at the corner table with TONY and JOHNNY BOY. CHARLIE is washing JOHNNY BOY'S face with cold water from a basin. Some of JOHNNY'S blood has mingled with the water. CHARLIE I'm surprised at you Tone. I mean you've had the place for over a year now. Nothing different. same old place. ordinary. flat. no imagination. TONY ignores CHARLIE's half - joking, drunken remarks. CHARLIE -LRB- CONTINUES. -RRB- For instance, the difference between me and you is this. you take that panther back there. I'd put him right up here above the bar. nice cage, you know? Nothing ordinary in my place. What good is it? You get robot customers. They come in, drink beer, go to the bathroom, and go home. No sir. One of the BOYS more casual acquaintances is lying on the bar, drunk. He begins to sing along with the Italian music - but very badly. CHARLIE See what I mean? -LRB- PAUSE. -RRB- A question please. ` Is this what you call living?' TONY -LRB- WEARILY. -RRB- ` Take a little tip from Mack the Knife.' JOHNNY BOY -LRB- INTERRUPTS. -RRB- Tony, break down and open another bottle willya'? A well dressed young boy enters the club. GEORGE, the bouncer, approaches him. GEORGE We're closed. BOY I'm just waiting for Joey. The BOY walks over to a bar stool and sits down. Nobody acknowledges his presence. Suddenly the DRUNK on the bar stops singing and sits up, dazed. His sudden silence causes CHARLIE and the others to look up at him. The DRUNK stares ahead for a minute. DRUNK -LRB- MUTTERS. -RRB- I. I got ta go to the bathroom. EVERYONE laughs. CHARLIE Well, go ahead, whaddaya want? Someone to hold it for you? More laughter. Even the BOY at the bar laughs. The DRUNK rises, still smiling and stumbles off to the mens room. The Big Bopper - `` Chantilly Lace'' in playing on the soundtrack. CHARLIE is playing with a deck of cards. CHARLIE -LRB- continuing previous conversation. -RRB- This place is dead. If I had a place. every night. lively. JOHNNY BOY is sipping his drink and ignoring the conversation. CHARLIE -LRB- CONTINUING. -RRB- And I would n't call it TONY'S PLACE or CHARLIE'S PLACE. -LRB- MORE CONFIDENTIALLY. -RRB- I'd call it something like SEASON OF THE WITCH. get it? TONY -LRB- QUIETLY. -RRB- You are with out a doubt the biggest, most pretentious bullshit thrower I know. Like to see what kind of business you'd do. CHARLIE Look who's talking. Pretentious bullshit. Who's the guy with William Blake and the tigers, eh? JOHNNY BOY Will you guys shut up with the witches and tigers. Tony, you gon na close the place, we get out of here, get something to eat, or what? TONY We'll close up as soon as everybody leaves. CHARLIE Do n't forget what's - his - name there in the bathroom. EVERYONE laughs. JIMMY is drawing on a table top. CHARLIE wanders over. JIMMY Wan na see your picture? CHARLIE leans over. OVERHEAD VIEW shows large crude swastika. JIMMY Waddaya think? CHARLIE Not quite. but keep trying. CHARLIE picks up the cards again. CHARLIE Let's have a game after we close. JOHNNY BOY Nah. CHARLIE C'mon Tony, waddaya say? TONY No. CHARLIE -LRB- ADDRESSING THE ENTIRE BAR. -RRB- Anybody wan na have a game? The people in the bar do not respond. CHARLIE shrugs. The BOY casually leaves the bar and walks to the men's room.","INT. MENS ROOM - TONY'S PLACE - NIGHT The BOY slowly swings the door open and stares at the DRUNK leaning over the urinal, half asleep. He takes out his pistol and calmly shoots the DRUNK three times in the back. To the BOY's surprise the DRUNK does not immediately fall dead. Instead, he turns and grabs the BOY by the throat. They struggle in the open doorway.","INT. BAR AREA - NIGHT The Italian music is still playing. Everyone in the bar has frozen in position as they watch the scene. In his astonishment CHARLIE allows the cards to fall from his hands. The YOUNG BOY breaks away from the DRUNK and runs towards the exit. The DRUNK, running only on sheet determination, stumbles along after the boy. The people in the bar, including CHARLIE, dash behind tables and jump behind the bar for cover.","INT. TONY'S PLACE - STAIRWAY EXIT The BOY reaches the exit and fires at the DRUNK from the top of the stairs. The DRUNK still follows.","EXT. STREET - NIGHT BLACK & WHITE The BOY runs down the street and disappears into the darkness. The DRUNK staggers out into hte cobblestone street. His mind is gone, it is now just a physical matter of the body being stopped by the presence of a stationary object. He staggers straight across the street at tremendous speed smashing directly into a parked car.","EXT. TONY'S PLACE - BACK ENTRANCE - NIGHT BLACK & WHITE Everyone -LRB- including the two GAYS at the bar -RRB- is running out the back way. TONY Do n't run. do n't run. Everyone split up.","EXT. STREET - NIGHT BLACK & WHITE MICHAEL and JIMMY turn the corner and calmly walk to his parked car. As they get into the car CHARLIE and JOHNNY BOY turn the corner. CHARLIE Michael, give us a lift. MICHAEL OK, get in. As they are getting into the car the two GAYS turn the corner. One of them, SAMMY, is very drunk and is crying hysterically. His companion BENTON is trying to calm him down when he notices MICHAEL. BENTON Michael. wait. It is obvious that MICHAEL does not want to take them but he is also afraid of attracting any attention so he quickly ushers them into the car. MICHAEL Get in, get in.","INT. MICHAEL'S CAR - NIGHT BLACK & WHITE CHARLIE and JOHNNY BOY are in the back seat. SAMMY crawls over CHARLIE into the back seat making apologies. BENTON is forced into the front seat with MICHAEL and JIMMY. They drive off, with SAMMY crying. CHARLIE Oh Jesus Christ. what's this. BENTON Sammy get control of yourself. JOHNNY BOY Yes, you're gettin' it all over my tie. CHARLIE Should I slap him? SAMMY -LRB- suddenly in control. -RRB- You would n't dare. BENTON I'm terribly sorry guys. It's just that he was terribly frightened. MICHAEL Just keep him quiet. JOHNNY BOY Friends of yours Michael. MICHAEL Shut up. BENTON -LRB- sensing the hostility. -RRB- Oh. ah. I'm Benton and this is Sammy. CHARLIE I ca n't get over the way he just kept going at him. JOHNNY BOY Must have been all the liquor in him. MICHAEL -LRB- IN ITALIAN. -RRB- Quiet please. He returns to English. MICHAEL Where should I drop you Charlie? SAMMY -LRB- interrupting the conversation. -RRB- Yes Charlie, your place or mine. BENTON Sammy. CHARLIE Away from the neighborhood. SAMMY Oh Benton. look! SAMMY leans over JOHNNY and CHARLIE to see out the window. He begins to shout at a young boy on the street. SAMMY -LRB- CONTINUING. -RRB- Hi beautiful! I love you. CHARLIE and JOHNNY BOY hide their faces. MICHAEL Hey, shut up. CHARLIE Get him in. JOHNNY BOY What. are you kidding. BENTON Sammy, get in here this minute. SAMMY I wo n't. I wo n't! They're all beautiful. -LRB- SHOUTING. -RRB- I'll suck them all. I'll suck them all! CHARLIE and JOHNNY BOY groan. They are still hiding their faces. CHARLIE Disgraceful. MICHAEL Ok. that's it. He pulls the car over to the nearest corner. MICHAEL Out! CHARLIE C'mon Johnny. MICHAEL You getting out too? CHARLIE Yeah, thanks, it's ok.","EXT. STREET - NIGHT BLACK & WHITE CHARLIE and JOHNNY BOY get out of the car first so that by the time BENTON and SAMMY are out they are already on their way down the street. MICHAEL drives away. SAMMY -LRB- SHOUTING. -RRB- Going our way? CHARLIE -LRB- to JOHNNY BOY. -RRB- Do n't answer. BENTON guides SAMMY the opposite way.","EXT. NEIGHBORHOOD STREET - DAWN CHARLIE and JOHNNY BOY are walking down the street on their way home. JOHNNY BOY I do n't think I should go home looking like this. You think I could stay at your place tonight? Your mother's not there is she? CHARLIE No, she is n't. FLASHBACK","INT. CHARLIE'S APARTMENT - DAY CHARLIE lives in a typical lower east side tenement apartment. Each room is painted a different pastel color. It is furnished in miscellaneous styles and from the pictures on the wall and various knick - knacks around the rooms it is evident that this is a family apartment rather than a bachelors pad. CHARLIE is helping his mother pack a suitcase. Through out the scene he is addressing her but she is never seen on CAMERA. The CAMERA PANS following his movements and CHARLIE directs his conversation always towards but above and beyond it. CHARLIE Listen, I'll be ok. it's the best thing. You're not going to be able to take care of Grandma out here and still get to work, you know that. -LRB- PAUSE. -RRB- Yes the place will be here, I'll take care of it. -LRB- PAUSE. -RRB- Yeah do n't worry about me, I'll take care of myself. -LRB- PAUSE. -RRB- He moves into the bedroom taking more items out of the drawers. The room is ver small. The paint if peeling. Over the double bed there is a large crucifix. CHARLIE -LRB- CONTINUED. -RRB- No. no parties. -LRB- PAUSE. -RRB- I'll eat. -LRB- PAUSE. -RRB- Mom, look, just do n't worry. ok? END FLASHBACK","INT. CHARLIE'S MOTHER'S BEDROOM - MORNING CHARLIE and JOHNNY BOY are lying on CHARLIE'S MOTHER'S bed in their underwear. CHARLIE You'd better make a move kid. He thinks you're trying to screw him. JOHNNY BOY Would n't bother me. CHARLIE Yeah, big man. get yourself in more trouble. You make a fool out of him, you're doing the same to me. I signed for you do n't forget. JOHNNY BOY Do n't worry. I can handle it. CHARLIE You could n't handle shit. You just better come through with some kind of payment on Tuesday. anything. Understand? Hold onto your pay - check this week. JOHNNY BOY -LRB- LAUGHS. -RRB- There wo n't be any this week. CHARLIE What do you mean? JOHNNY BOY Did n't show up. CHARLIE You sick or what? You forget what we had to do to get you on the trucks, stupid? JOHNNY BOY I do n't like loading crates. CHARLIE You're not supposed to like it. What gets me is your attitude. Listen. tomorrow you show up. JOHNNY BOY What about your attitude. Where's your job. eh? You talk and talk and I go to work. what do you do? CHARLIE I'll tell you what I do n't do. I do n't owe anybody 2,000 clams plus interest, stupid. Show up or I break both your arms, we understand each other? JOHNNY BOY Ok, ok. take it easy. I'll show. Tuesday I'll give Michael something. I promise. CHARLIE Do n't promise. just deliver. JOHNNY BOY Ok, now that that's over with. what are you gon na make me for breakfast? CHARLIE I wo n't wait until Tuesday. I'll break your arms right now. JOHNNY BOY -LRB- rising from bed. -RRB- Listen. I'm a guest here. CHARLIE reaches out to grab him. JOHNNY BOY OK. ok. I'm going.","INT. KITCHEN - CHARLIE'S APARTMENT JOHNNY is raiding the icebox. JOHNNY BOY Hey. you got nothing here. CHARLIE -LRB- from the other room. -RRB- I could have told you that. JOHNNY BOY We'll get some food from my aunt's. I'll get in through the fire escape. She's always got something. JOHNNY BOY leaves the kitchen and walks towards the bedroom.","INT. CHARLIE'S MOTHER'S BEDROOM - MORNING CHARLIE Do n't do that. You'll scare Teresa if you try to sneak in. JOHNNY BOY is now by the window looking out at the fire escape mischieviously. JOHNNY BOY Yeah. you're right. Maybe she'll have a seizure and we can watch. He laughs. CHARLIE hits JOHNNY BOY on the back of the head. CHARLIE That's not funny. You gon na be a jerk - off all your life. Grow up. You want something to eat from your aunt's house you go knock on her door, understand? JOHNNY BOY I'm not hungry anymore. I'm going to bed. JOHNNY BOY gets into bed. CHARLIE goes into the kitchen to get a glass of milk.","INT. KITCHEN - DAYBREAK CHARLIE takes a glass of milk from the icebox. He listens to the sounds of the neighborhood waking up and getting ready to go to work. He leaves the kitchen.","INT. BEDROOM - CHARLIE'S APARTMENT - DAYBREAK CHARLIE returns to the bedroom. JOHNNY BOY appears to be asleep. CHARLIE goes to the window and peers through the blinds. He sees in the window across the fire escape. A SERIES OF DISSOLVES. TERESA is going through the various stages of getting dressed. TERESA RONCHALI is 30 years, well built, attractive and intelligent. She is well read and quiet. The salary she makes as a secretary in a book publishing firm practically supports her family. She has epilepsy which has prevented her -LRB- in her own mind -RRB- from entering into any serious relationships with men. She has however, been having an affair with CHARLIE for the past year. It is a well kept secret from both families because the families regard each other as blood relations. CHARLIE is startled by JOHNNY BOY who is now awake and has begun to dial the telephone. JOHNNY BOY -LRB- pretending to be angry. -RRB- Hello. fifth precinct? Yeah. I want to report a disturbance. Yeah this man and woman next door are disturbing the peace. They're keeping me awake all night now. What the hell is this. What? Well. yelling, fighting, throwing things. Uh - huh. If they do n't kill each other soon I'm goin' over there and do the job myself. Yes - the address is 270 Mott street. I think it's apartment 2 - r. Yeah, right. thanks. Look, I demand immediate action. Never mind my name I do n't like getting involved in things like this. He hangs up roughly and returns to his position in bed. CHARLIE shakes his head with an exasperated smile as if this was a common occurance. CHARLIE turns back to look at TERESA but she is no longer in her room.","INT. TERESA'S BEDROOM CHARLIE is dreaming this sequence. He and TERESA are both nude. She is lying face down on the bed. He approached and ejaculates prematurely - However, he does n't ejaculate sperm - instead blood. They are shocked. The blood is on the bed, her legs, back, and his hands. Charlie cries out in pain.","INT. HOTEL ROOM - MID-DAY CHARLIE and TERESA are in the hotel room making love. The sounds of traffic can be heard from the street below. They are getting dressed. TERESA I'd like to eat something before I go back to work. CHARLIE Ok, we'll go for lunch. TERESA Do you have enough? CHARLIE checks his wallet. CHARLIE Well. with the hotel that's ten. fifteen. TERESA Here. She hands him a few bills. He hesitates. TERESA Please take it. CHARLIE Well. TERESA I do n't mind. She puts the money into his hand. CHARLIE Sure. it's not that. I mean. TERESA -LRB- touching his face. -RRB- It's all right. CHARLIE Well, if things go the way I hope they'll go, this money business will take care of itself. -LRB- ASIDE. -RRB- God willing. TERESA An apartment uptown? Downtown? CHARLIE Maybe, who knows. TERESA -LRB- SEARCHINGLY. -RRB- Charlie? CHARLIE Nobody knows anything, believe me. She kisses him gently. TERESA is putting on her stockings. A few minutes have passed. CHARLIE See if you can get your hands on some pamphlets on laws or by laws. or proprietorship. you know. at your place. TERESA Anything specific? CHARLIE You know. like restaurants, night clubs. TERESA -LRB- AFFECTIONATELY. -RRB- What is it now? CHARLIE Do n't ask. He gives her a quick kiss on the tip of her nose. TERESA Alright. Hey, did you hear any more about what happened last night? CHARLIE Did you? TERESA No. CHARLIE CHRIST, you should have seen it. Unbelievable. The kid would turn around and fire and he would just keep coming at him like Rasputin. That kid was scared. Not half as much as we were though. TERESA It does n't make any sense. He would n't shoot him just because he insulted a racket guy. not unless it was personal. CHARLIE You missed the point. The kid's a climber. not very bright. but if you get down to his level to look at it his way ; he kills a guy who insulted a big man - he gets a reputation. He thinks he's in good standing. TERESA It's still sick. CHARLIE Not sick. just stupid. Speaking of stupid, your cousin last night was feeling so good he decided to break into your mother's house. to get some food. TERESA laughs at this story but her mood changes suddenly. TERESA You're sure he does n't know. He takes her in his arms. CHARLIE Do n't worry.","INT. HOTEL - BATHROOM - MID-DAY CHARLIE enters the bathroom to clean - up. He stares at his image in the mirror for a moment, then makes a face. He checks the whiteness of his teeth, pulls back his hair, and checks his complexion. The mirror image begins to speak. The CAMERA PANS BACK to CHARLIE'S FACE. His mouth is not moving. CHARLIE -LRB- CONFESSION. -RRB- Do n't look at me like that, I can see this is not going to get us anywhere. She's a good kid, what am I supposed to do. In a way I'm doing her a favor. no? How many guys you know feel this way about an epileptic? Do n't get me wrong, I'm no saint. not yet. The image of CHARLIE in the bathroom intercuts with stills from Catholic School text books - vulgar color illustrations of parables - emphasis on Christ expelling the devils from the posessed women. CHARLIE -LRB- CONTINUING. -RRB- But I'm not like the Pharisee who said `` Oh God I thank thee that I am not like the rest of them.'' no. I like to think of myself as the Publican. He strikes his breast penitently as he delivers the next line. CHARLIE ` Oh God be merciful to me the sinner!' I'm not taking advantage of her. I swear to you that if she meets someone she'd like to marry. Back to CHARLIE in sync. CHARLIE -LRB- CONTINUED. -RRB-. I'll cut out. `` If Thy eye is an occasion of sin to thee. Stills of girls, sexy pornographic nude magazine spreads. CHARLIE pluck it out and cast it from thee.'' `` Woe to the man through whom scandal does come.'' I'm sure you'd agree this is no time to get tied down. Like the priesthood. Textbook illustration of vocations. CHARLIE they do n't get tied down do they? `` Have I not a right to do what I chose? Even so the last shall be first and the. CHARLIE in sync. CHARLIE first last. For many are called but few are chosen.''","INT. RESTAURANT - MID-DAY CHARLIE is sitting in a quiet corner of the restaurant. This restaurant was considered an above average business with quality and prices to match when it was first opened three years ago. The quality has diminished but the prices remain the same. As a result the place is dying. CHARLIE is scrutinizing the restaurant from his corner. He picks up a water goblet and critically examines the water spots on it. He calls a waitress to show her the dirt on the glass. She apologizes, cleans it with her apron, and places it back on the table. He takes a menu. A chubby, middle - aged man, OSCAR, approaches the table. He is half owner of the decaying restaurant. He is in his shirt sleeves which, along with the side of his face, are smeared with grease and dirt. He is tired and disgusted. OSCAR -LRB- with a slight Jewish accent. -RRB- Hey. you're here. They told me you're here. and you're here. How are you? CHARLIE Ok, how's everything going? OSCAR sits down next to CHARLIE. OSCAR Do n't ask. do you have any idea what I've been doing all morning. eh? CHARLIE No. OSCAR I was in the basement fixing the pipes. Would you believe that? CHARLIE -LRB- LAUGHING. -RRB- What pipes? OSCAR -LRB- MIMICKING. -RRB- What pipes. the ones from last year. those pipes. CHARLIE shakes his head in sympathy. OSCAR Look Charlie, you're a good boy. Will you just tell your uncle that I have nothing. There is nothing to give him. No envelopes with cash inside, no checks, nothing. CHARLIE That bad, huh? OSCAR I ca n't make this week's payment and if this keeps up not next week's either. CHARLIE Not next week's either. listen. you tell that to Giovanni, not me. OSCAR Listen, I should wrap up this place in a ribbon and hand it to him, you know that. I do n't need this aggravation. I'm getting old. CHARLIE He'd rather have the loan payed, you know that. OSCAR Your Uncle's a good man. I wo n't stick him. Either he gets the money or the place and right now he's getting the place. And tell me why should I care? I got a partner who's a bum, who does n't help out. who disappears and leaves me with all the problems. I should go back to Florida. I do n't need this. CHARLIE I do n't understand, where's Groppi? OSCAR I should know? His wife do n't even know. Probably off with one of his little girls. I do n't know. I tell you, if he do n't give a damn, then I do n't give a damn. Why should I kill myself? CHARLIE My uncle figured that this week was bad. but about next week. I dunno. Maybe you should speak to him yourself. OSCAR What can I say?","EXT. STREET - DAY CHARLIE is walking down the street on the lower east side. A noisy religious street festival is being held on the block.","INT. SMALL ITALIAN CAFE - DAY CHARLIE enters a small Italian cafe and nods greetings to some of the people as he makes his way to the back of the room. This cafe is a strange hybred of coffee house, candy store, luncheonette, and meeting place for CHARLIE'S uncle GIOVANNI and his associates. GIOVANNI De STEFANO is sixty. He is well respected and powerful both in and out of the neighborhood. He became a head figure not by being introduced formally as was the custom, but rather by fighting and killing his way into the organization. GIOVANNI is well dressed but not a stereotype of an old Mafioso, rather a kindly and intelligent old man. GIOVANNI converses intermittently in Italian. A man is putting new records into the jukebox which is in the corner of the room in the luncheonette area. CHARLIE -LRB- to repair man. -RRB- Is my uncle back there? CHARLIE points in the direction of a doorway. REPAIR MAN Yeah, but I think he's busy now. Hey Charlie play 463 today - for sure. CHARLIE Thanks! CHARLIE walks through the luncheonette area, past the dining room where his uncle is in conference, to the bathroom at the very back of the cafe. MARIO is seated with his uncle. MARIO is forty five years old. He is GIOVANNI'S closest associate, brought into the organization in the traditional manner, making his early reputation through hits -LRB- murders -RRB-. He is not very intelligent but has an undying loyalty to GIOVANNI, and is very fond of CHARLIE. MARIO and GIOVANNI are seated with a very old man. They are deep in their private conversation. CHARLIE passes by unnoticed and walks into the bathroom. CHARLIE begins to wash his hands but changes his mind. He shuts off the faucet in order to eavesdrop on the conversation.","INT. DINING ROOM - DAY GIOVANNI and MARIO are calmly sipping their coffee as they listen to the old man's nervous talk. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- What I'm telling you is that he did it for Mario's honor. MARIO But you do n't understand. I knew the kid. He was drunk. He made of fool of himself. not me. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- Giovanni - an insult to Mario is an insult to you. MARIO There was no insult. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- The boy only did what was right. GIOVANNI Your son only did what was stupid. We have enough down here without something like that. And what for? Nothing. no reason. Protect him? Why? I did n't tell him to do anything for me. He's going to Miami? Good. keep him in Miami for six months. a year. a good long time. After everything's forgotten then I see what I can do for him. Right now. keep him away.","INT. LUNCHEONETTE AREA - DAY CHARLIE is seated at a table. The waitress, MARIE, approaches and gives him his cup of coffee. The following scene is reminiscent of a TELEVISION COMMERCIAL. CHARLIE Marie, are there Columbian coffee beans in this coffee? MARIE I dunno. CHARLIE Just a second. Let me taste it. He pauses to sip the coffee, then shakes his head. CHARLIE Yes, I'd say there are some Columbian coffee beans in this coffee, but only about 39 %. MARIE is disinterested. CHARLIE continues. CHARLIE You see. You probably do n't notice this Marie, but Colombian coffee beans are rich coffee beans. Bursting with that good, deep coffee flavor. Picked when they are ripe to the point of perfection. The beans of course, are protected by the tall South American Guama trees. MARIE chews her gum for a moment and leaves the table. CHARLIE'S monologue continues and gradually he falls back into his CONFESSION. As he talks, the CAMERA PICKS UP DETAILS of the cafe and the people in it. CHARLIE Then the bean pickers come down and pick each bean by hand. Bean by bean, all heavy with flavor. And they load them into boxes, one box at a time, box by box. From time to time CHARLIE is casually glancing at MARIE who is busy with her work. BLACK & WHITE & COLOR The images now move out of the cafe and the CAMERA REVEALS aspects of the neighborhood - LIVE ACTION and STILLS : stores, people, streets, buildings, in short ; a concise vision of the neighborhood. All this is intercut with CHARLIE mentally stripping MARIE's clothes off with his eyes. CHARLIE -LRB- CONTINUED. -RRB- Like, looking at my uncle back there. One way is the obvious ;. man outside the law. On the other hand, instead of a breakdown of order there is a creation of order and instead of the breakdown of law, there is the creation of law. In this society which needs new law because ` What's a crowbar compared to a share of stock. What's the robbing of a bank compared to the founding of one and what's the murder of a man to the gainful employment of that man.' ` Do not think that I have come to destroy the Law or the Prophets. I have not come to destroy but to fulfill.'. Amen. The image culminate in aerial shots of downtown New York City. -LRB- STOCK FOOTAGE -RRB- CHARLIE now sees MARIE totally naked as she serves the customers.","INT. DINING ROOM - DAY GIOVANNI and CHARLIE are standing and talking. CHARLIE Uncle, how are you feeling? GIOVANNI Fine. Did you have a good time last night? CHARLIE -LRB- QUIETLY. -RRB- About that shooting last night. I was there and. GIOVANNI No you were n't. CHARLIE is struck silent for a moment. He listens. CHARLIE -LRB- EMBARRASSED. -RRB- You're right uncle. I must have gotten it confused with something else. GIOVANNI Yes, you did. CHARLIE and GIOVANNI are now sitting at a table. CHARLIE About Oscar. I think he put on this act. about the restaurant being in bad shape and all that. He ca n't make the payments. I do n't know what to make of it. He says Groppi's run off with a girl. I could help if you want. GIOVANNI No. his business is bad. But I'll decide what to do and you. and you just keep out of anything that might. might. er draw attention to you. CHARLIE Yes. I understand. I'll be careful.","EXT. BEACH - HAMPTONS - DAY CHARLIE and TERESA are sitting on the beach which is fairly deserted. There are rented cottages behind them. TERESA has a book and some papers from which she is supposed to write a term paper for CHARLIE'S English class. TERESA C'mon Charlie. one more day. I'll call in sick for work. CHARLIE No. we can come back in a couple of weeks. Besides, if we're both gone for three days it would n't look right. TERESA Ok. CHARLIE picks up a copy of Henry James' Portrait of a Lady and tries to read it. He tosses it aside. CHARLIE Bore. TERESA A paper on that one too? CHARLIE Yeah. but do n't worry about that now. The Hemmingway one is first. TERESA It was nothing. I'm almost finished. CHARLIE Take your time. I do n't care. TERESA I know you do n't. You've been very preoccupied lately. CHARLIE That's the word. preoccupied. CHARLIE turns towards TERESA and tries to kiss her. She playfully turns away. But CHARLIE quickly gets bored with that and does n't pursue her. She is confused by his actions. CHARLIE Let's go back inside. CHARLIE and TERESA already farther up the beach, walking. They notice a very beautiful house with limousines parked in front of it. CHARLIE See that. know who lives there? The name George Earhardt mean anything to you? TERESA Sure. He lives there? CHARLIE No. Of course he lives there. Would I point it out to you if he did n't? The house is seen from a great distance. CHARLIE'S VIEWPOINT. There is great activity. all with a very businesslike air. CHARLIE That W.A.S.P. bastard. TERESA You're intolerable today. CHARLIE Watch your language. They arrive at the cottage.","INT. HAMPTONS COTTAGE - DAY CHARLIE and TERESA are coming in, putting down the books and papers. TERESA I like it here. alone. She caresses CHARLIE. He is still preoccupied. TERESA I'm going to take that apartment uptown. CHARLIE Uhuh. probably a good idea. Why do n't you do it this time? TERESA You know why. with my parents. CHARLIE Well you ca n't blame them in a way. TERESA -LRB- pulling away from him. -RRB- I can take care of myself. You know that. CHARLIE I know. I know. They embrace. FLASHBACK","INT. HOSPITAL ROOM CHARLIE'S father is the patient in the bed. The visitors surrounding the bed are CHARLIE'S mother, TERESA, and TERESA'S mother. The CAMERA MOVES IN CLOSER AS WE HEAR the sounds of mechanical voices coming from the T.V. sets in the lobby. TERESA'S mother leans over and whispers into CHARLIE'S father's ear. TERESA'S MOTHER Turridu. that's your boy Charles. Do n't you know him. Is n't that Charles? There is no answer. CHARLIE is embarrassed. TERESA'S MOTHER asks again. TERESA'S MOTHER -LRB- CONTINUED. -RRB- Who is that? CHARLIE'S FATHER Che Guevara. CHARLIE does n't know how to react. TERESA'S MOTHER looks up with a half smile in disbelief. The other Visitors give off a small ripple of nervous laughter, repeating it. in whispers. CHARLIE looks about nervously. Through the door of the hospital room can be seen several of the older patients gathered around a T.V. in the hallway. They are watching the races, the announcer's voice is blaring almost incomprehensibly.","INT. HAMPTONS COTTAGE - DAY TERESA and CHARLIE make love. CHARLIE is getting dressed. TERESA is wrapped warmly in the sheets - still in bed. CHARLIE He must have heard the name from those T.V.'s in the hall that were blaring all the time. I remember GUEVARA was in town at the time. Must've heard it from there I guess. but that's funny, is n't it? TERESA Ummmmmmmmmmmmm. CHARLIE Of all people. Now say the truth. Do I look like Che Guevara. C'mon. They laugh. He crosses to TERESA and they kiss. TERESA I'm sleepy. CHARLIE You've been running round too much. Bet you've been forgetting your medicine. TERESA The green capsules in the top drawer. CHARLIE gets her the pills and heads out of the cottage for a walk.","EXT. ROADWAY - HAMPTONS - DAY CHARLIE is walking along the roadway and looking at the different cottages. He is carrying a notebook to which he periodically refers. He stops in front of a luxurious cottage and checks the address on the signpost with the one in his notebook beside which is listed the name GROPPI. He remains standing at a safe distance from the cottage staring at it. It looks deserted. FANTASY","EXT. ROADWAY IN FRONT OF COTTAGE - DAY CHARLIE walks directly to the front door of the cottage and rings the bell confidently. The door is opened immediately which startles him. From inside the house we see GROPPI'S back as he holds the door open. He is in a satin robe. We can see CHARLIE'S startled face through the partially opened door. GROPPI What do you want kid? At that moment a nude girl, her back to the CAMERA appears in the FOREGROUND. This startles CHARLIE even more. GROPPI What do you want? well? CHARLIE I. I'm selling encyclopedias. er a magazines. newspapers. I'm conducting a survey. I. GROPPI We do n't want no fuckin' books! GROPPI slams the door in CHARLIE'S face. REALITY","EXT. ROADWAY IN FRONT OF COTTAGE - DAY CHARLIE is still standing in front of the cottage. Suddenly a little boy of about nine appears. BOY There's nobody here mister. CHARLIE turns in surprise. CHARLIE Is n't this Jack Groppi's place? BOY Yeah. But he ai n't here now. CHARLIE Know where he is? BOY Follow me. The BOY leads him towards a heavily overgrown treed area. CHARLIE How much farther? CHARLIE repeats this question periodically as he follows the BOY. Finally CHARLIE finds himself alone in the middle of a dense forest with the BOY nowhere in sight. He calls out but there is no answer. He realizes he's been had. CHARLIE -LRB- CONFESSION. -RRB- Now, do n't get excited. CHARLIE is trying to find his way out of the forest. CHARLIE -LRB- CONTINUED. -RRB- ` The stone which the builders' reject will become the cornerstone'. I think.","INT. ITALIAN CAFE - DAY A loud brass band is playing `` Oh Johnny, Oh Johnny, How You Can Love'' inside the cafe. They are part of a religious festival and GIOVANNI has invited them in for drinks. In return they are playing for him. GIOVANNI has been drinking. The song ends. GIOVANNI Play it again! Everyone laughs and joins in. EVERYONE One more time. play it again. The band begins the song for the second time. CHARLIE enters the cafe and goes directly to his uncle who embraces him. GIOVANNI -LRB- SHOUTING BOISTEROUSLY over the music. -RRB- Take a drink! CHARLIE -LRB- SHOUTING. -RRB- Ok. CHARLIE sits next to his uncle and looks around at the crowd in the cafe which is now singing along with the band. GIOVANNI is smiling broadly. Loud applause follow the end of the song and the band tries clumsily to make its way through the crowd and out of the cafe. GIOVANNI Hey, where you been? CHARLIE -LRB- SMILING NERVOUSLY. -RRB- Oh. around. why? GIOVANNI -LRB- LEANING CLOSER. -RRB- You heard what happened to GROPPI, eh? CHARLIE gets very nervous at the mention of GROPPI'S name. CHARLIE -LRB- INNOCENTLY. -RRB- Who me? No, I do n't know, not me. all I know is. GIOVANNI -LRB- cuts CHARLIE off with a gesture of his forefinger. -RRB- Our friend, Groppi, went to his mother's house. And when he was there. at night. DARKENED ROOM - NIGHT An old woman is sitting in front of the television watching JOHNNY CARSON'S TONIGHT SHOW. GIOVANNI -LRB- continues in voice over. -RRB-. he walks into his mother's room where she's watching television. and he says to her. GROPPI has entered the room with his back to the camera. GIOVANNI that he's sorry. GROPPI leaves the frame. The old woman looks up from the television. OLD WOMAN It's all right. WE SEE GROPPI walking towards the bathroom. GIOVANNI -LRB- voice over continued. -RRB-. he goes in the next room. GROPPI TURNS ON the bathroom light. GIOVANNI -LRB- voice over continued. -RRB-. he takes a gun and puts it in his mouth and. GROPPI stands with the gun in his hand. He lifts it to his head. He puts the barrel into his mouth. He pulls the trigger. FAST FADE TO WHITE","INT. ITALIAN CAFE - DAY GIOVANNI -LRB- with an Italian hand gesture. -RRB-. so. CHARLIE is visibly shocked. GIOVANNI -LRB- SMILING. -RRB- How do you like that, eh? He was always a little crazy, y' know. Groppi. a little crazy. CHARLIE looks up to see MICHAEL, standing at the entrance of the cafe. He waves to CHARLIE in a friendly manner. CHARLIE waves back and GIOVANNI looks up, squinting to see who it is. MICHAEL does not approach the table. In respect to GIOVANNI he signals to CHARLIE that he would like to see him outside. CHARLIE -LRB- GRUDGINGLY. -RRB- Not now. in a few minutes. ok? MICHAEL is surprised at being spoken to in such a curt manner, especially in GIOVANNI'S presence because he feels he has lost status. CHARLIE and GIOVANNI continue their conversation.","EXT. STREET CORNER - NEAR CAFE - DAY MICHAEL I gave him all the breaks I can give. CHARLIE Oh Michael, look. MICHAEL Nevamind ` look'. This punk bastard. I call him at work. I say ` Johnny Boy there?'. He does n't even show up for work anymore. CHARLIE Look. I've talked to him and I've talked to him. what more can I do? Tonight at the party all three of us get together and we knock some sense into his head. ok? MICHAEL All right. but understand, I do n't like being taken advantage of. I mean you're in there talking with your uncle and all. This is embarassing. CHARLIE We'll settle it tonight. Two YOUNG BOYS about 15 years old walk up to CHARLIE. BOY #1 Hey, you sell firecrackers? CHARLIE Firecrackers! No. no. BOY #1 You know where we can get some? CHARLIE Sure, see that guy over there. He points to MICHAEL. CHARLIE -LRB- CONTINUING. -RRB-. him. He's got the best. The BOYS go over to MICHAEL. BOY #1 Hey - fella. you sell firecrackers? MICHAEL Sssh! Quiet. -LRB- He looks around. -RRB- Y' know that's illegal. BOY #2 Well the guy over there said. MICHAEL -LRB- INTERRUPTING. -RRB- Yeah, yeah, never mind. You got ta be careful. BOY #1 We went down to Chinatown but they do n't have any. MICHAEL Yeah, well, keep away from those Chinx. They do n't have shit. BOY #2 Well, we got $ 40, and we wan na buy. MICHAEL -LRB- INTERRUPTING. -RRB- All right! Quiet! For $ 40 I could give you. BOY #1 Well, I do n't know if we want to buy all $ 40 worth. MICHAEL Hey! You want good stuff, or you want shit? BOY #2 Well, we want good stuff. MICHAEL Well, my stuff comes from Maryland. you know what that means? BOY #1 No. MICHAEL That means it's good. BOY #1 You got sparklers? MICHAEL Yeah. BOY #2 And cherry bombs. ash cans. and rockets? MICHAEL Ok. For another $ 5.00 a special on the packs. BOY #1 No, all we got is $ 40. MICHAEL You sure? BOYS Yeah. MICHAEL Ok. Wait here. MICHAEL goes to TONY, who has been standing in front of the cafe with a group of boys. They talk for a minute, and go back to the waiting boys. MICHAEL -LRB- to the boys. -RRB- C'mon. Get in the car. The four of them get into TONY'S car. They drive to CHINATOWN.","EXT. CHINATOWN - DAY IN TONY'S CAR MICHAEL Ok, you guys get out, and wait here for me. BOYS Why? MICHAEL I got ta get the stuff. BOYS Ca n't we come with you? MICHAEL Nobody sees where I get the stuff. That's good business. I'll be back in thirty minutes. They start to get out. MICHAEL Hey hold it! Gimmie the cash. BOYS Uh. can we give you a check? MICHAEL A check? What the. hey, where you kids from? BOY #1 Riverdale. MICHAEL -LRB- CONTEMPTUOSLY. -RRB- Well, maybe they do that in Riverdale, but down here we take cash. Now, you got it or not? They give him the money. MICHAEL Ok. Now wait here. and keep your mouths shut! The car pulls away. TONY How much? MICHAEL Not bad. $ 20. Here, $ 5. TONY Can you spare it? MICHAEL Sure. TONY -LRB- SARCASTICALLY. -RRB- Thanks.","EXT. LOWER EAST SIDE - DAY The car pulls up at TONY'S PLACE. TONY yells to CHARLIE, who is standing outside. TONY Hey Charlie. Get in. CHARLIE gets in. CHARLIE What's a ` matter? MICHAEL Nothin'. Just stiffed those kids. Do n't want'em comin' back and findin' you. start asking you questions. CHARLIE How much? MICHAEL $ 20. CHARLIE Let's go to the movies. on you. TONY Yeah. MICHAEL Ok guys. have a heart. This is my business. BLACK & WHITE","EXT. NIGHT - IN FRONT OF MOVIE THEATER The boys are paying for their tickets.","INT. MOVIE THEATER - NIGHT DONOVAN'S REEF is showing. We see a brief scene from the film which has JOHN WAYNE fighting LEE MARVIN in a big bar - room brawl. The boys smile and watch.","EXT. CHINATOWN - NIGHT BLACK & WHITE The two boys from Riverdale are still watching on the corner, in the dark.","INT. CHARLIE'S APARTMENT - DAY CHARLIE is at home shaving. CHARLIE -LRB- CONFESSION. -RRB- You know damn well what's going to happen tonight. I'll probably get drunk at that party. it is n't every day you send one of your best friends off to war for God and country. got ta have a party. I mean, he's a nice kid. CHARLIE is gluing on a fake beard. CHARLIE -LRB- VOICE OVER. -RRB- I do n't know what You think of him but that's between You and him anyway. I ca n't help feeling sorry for him though. Has a talent but does n't use it. His brain. An ` Unprofitable servant who shall be cast forth into the darkness outside, where there will be. Television image of old women mourning their dead in India. The images are slow motion. The news continues with more trivial news images. -LRB- Washington investigations, demonstrations, etc. -RRB- CHARLIE -LRB- continued voice over. -RRB-. the weeping and the gnashing of teeth'. or something like that. My talent's my brain too but I use my talent. I'm not saying that I'm a genius. You'll probably be the first one to agree on that, but I can tell the difference between the intelligent and the stupid. Take the army for example. CHARLIE grabbing a white robe off his bed. We do n't see his face. CHARLIE -LRB- continued voice over. -RRB- That's there and I'm here and that's the way it's going to stay!","INT. WEST SIDE TENEMENT APARTMENT BATHROOM - NIGHT TONY enters the bathroom, turns on the light and locks the door. Party noises can be heard in the background TONY is wearing an overcoat and is dressed as a World War I `` dough boy''. Atop his head is a mask, the features of which ca n't be seen. He opens the coat to reveal twenty packets of red Jello. He turns on the hot water in the bathtub and slowly begins to empty each packet of Jello into the tub of steaming water. LIVING ROOM & KITCHENETTE - PARTY - NIGHT Most of the characters that were at the club the other night are present at the party. Many of them are dressed in semi - masquerade outfits. Some are wearing soldiers' uniforms. One wears a sheet made up to be a Roman Toga. The girls are in costumes also. All of the costumes are makeshift. MICHAEL is made up as Dracula, sporting a large cape, semi tuxedo - type suit, and a drop of blood on the corner of his mouth. His hair is slicked back to give him a `` Bela Lugosi'' look. He is showing a picture of a girl to one of the boys, proudly proclaiming that she is his latest conquest. TONY comes out of the bathroom and passes by. He takes the photo from MICHAEL. Group attention focuses on TONY now. He stares at the picture, holds it away from him, then closer to his face, then sideways and finally upside - down. TERESA Oh sure! I know her Michael. In fact, I saw her a few days ago under a bridge in Jersey, making out with a nigger. MICHAEL grimaces in shock. He spits. MICHAEL You sure? a nigger. Uh! and I kissed her. He wipes his lips with his cape. The guest of honor, the young soldier is very drunk. He is attempting to open his going away presents, one of which turns out to be a carefully folded American flag. He attempts to open it with one great flourish. He fails however, knocking over the glasses on the table. The group applauds. Suddenly, the doorbell rings and everyone looks up. The door opens and CHARLIE appears, arms outstretched, dressed as the ressurected Christ - with white robes, fake beard and hair, and artificial wounds. His arms stretch out wider. The initial shock wears off and TONY greets him. TONY -LRB- SMILING. -RRB- Hallelujah! CHARLIE enters in mock holiness. CHARLIE I have come to create order. Scotch and water please. They all laugh. The rock music blares as CHARLIE walks to and fro blessing all in the room. TONY is delighted with the scene. CHARLIE sits at the kitchen table, TONY opposite him, and the others gather around. The party is getting noisier. TONY gives CHARLIE a glass of ice cubes. CHARLIE plays the part of a priest, during the Mass when the chalice is filled with wine and water, TONY pours the scotch over his fingers first. CHARLIE lifts his hands to touch the bottle as a priest would. He signifies that there is enough in the glass. TONY then repeats the same ritual with a bottle of soda - water. CHARLIE May God be with you. TONY ` And with your spirit.' CHARLIE -LRB- gesturing with his drink. -RRB- Salute! Everyone drinks after repeating the toast. The crowd around them begins to break up as CHARLIE and TONY begin to have fun with each other. TONY pulls down his mask, revealing a skeleton death face which covers his own face except for his mouth. It completes the Dough - boy uniform quite well. TONY -LRB- taking on the guise of an interviewer. -RRB- ` Art thou the King of the Jews'? CHARLIE ` Dost thou say this of thyself, or have others told thee of me?' TONY ` Am I a Jew? Thy own people and the chief priests have delivered thee to me. What hast thou done?' MICHAEL and a few of the others gather around again as they continue. CHARLIE ` My kingdom is not of this world. If my kingdom were of this world my followers would have fought that I might not be delivered to the Jews. But, as it is my kingdom is not from here.' TONY ` Thou art then a king?' CHARLIE ` Thou sayest it ; I am a king. This is why I was born and why I have come into this world, to bear witness to the truth. Everyone who is of the truth hears my voice.' TONY leans over towards CHARLIE. TONY ` What is the truth?' The others around them give mock applause. TONY smiles and nods his head to them. CHARLIE laughs. They drink. Someone hits CHARLIE on the back of the head. CHARLIE startled, looks up. TONY Prophesy to us, oh Christ! Who is it that struck thee? CHARLIE I do n't know, but God help him if he does it again! They all laugh.","INT. SAME APARTMENT - NEXT ROOM - NIGHT CHARLIE is talking to MICHAEL. The conversation is serious. CHARLIE has not lost his sense of humor. CHARLIE He said he'd be here. MICHAEL Well, he is n't. Nice. real nice. CHARLIE He'll be here. Look, take this for now. He hands MICHAEL a twenty dollar bill from under his robe. MICHAEL You kiddin. The way it is now this is n't even interest for two hours. CHARLIE -LRB- putting the bill back into his pocket. -RRB- How much was the original loan again? MICHAEL $ 500. He borrowed that because he wanted to pay off his other loans. now, counting the interest. it's almost $ 3,000. CHARLIE $ 3,000. Shit! Can we hold it at $ 3,000? MICHAEL Charlie, this is business. CHARLIE -LRB- avoiding the issue. -RRB- ` But I say to you, love your enemies, do good to those who hate you, and pray for those who persecute.' MICHAEL I'll tell you who you can pray for. Next payday, I'll be at Tony's Place. Johnny better show or I find him and break his legs. and I mean it. CHARLIE -LRB- in the same manner. -RRB- ` But I say to you not to resist the evildoer ; on the contrary, if someone takes thy tunic, let him take thy cloak as well. to him who asks of thee, give ; and from him who would borrow of thee do not turn away! MICHAEL -LRB- EXASPERATED. -RRB- He could at least show some respect and show his face, even if he does n't have the money. CHARLIE -LRB- more serious now. -RRB- ` Amen I say to thee, thou wilt not come out from it until thou hast paid the last penny.' MICHAEL You said it. A loud scream is heard from the bathroom. APARTMENT - BATHROOM - NIGHT Someone shoved a nude girl into the bathtub which is now filled with congealed red jello. The boys are laughing and shoving each other about roughly. CHARLIE comes out of the next room and walks along in a Christ like manner through the madness, his arms outstretched. One boy kneels and kisses the hem of his robe and CHARLIE blesses him. There is a great deal of pushing and shoving going on inside the bathroom and near the doorway. CHARLIE promises to save the sinner as he pushes his way through. He helps the girl remove the jello from her body and helps her out of the bathtub. It is obvious that she is quite stoned. She caresses him and they find themselves kissing. The others storm into the bathroom and grab CHARLIE. EVERYONE Blasphemy! The anti - Christ! Crucify him! They drag CHARLIE into the next room where, amidst all the shouting and laughing, the other members of the party are placing firecrackers on model airplanes, simulating their own `` dog fight''. They are flying the planes out the open window. CHARLIE takes everything in stride trying to shout a few lines over their laughter. CHARLIE ` Father. forgive them. for they know not. what they do.' The doorbell rings and TONY answers it. It is TERESA and she looks very worried. TERESA Charlie? Charlie here? BLACK & WHITE","EXT. STREET - NIGHT CHARLIE and TERESA dash from a tenement doorway. CHARLIE is still in beard and wig but his robes are open so they give the effect of being a bulky overcoat. TERESA -LRB- FRANTICALLY. -RRB- The building on the corner. That one! He's been on the roof a half hour now! CHARLIE Now do n't get excited. Do n't get excited! It is very late and the streets are deserted. At the corner of the building in question, a few of JOHNNY BOY'S friends cling to the wall for safety. When they see CHARLIE and TERESA they call out. FRIENDS Charlie, stay there. He's crazy. He's got a 22. TERESA gets up against a wall. CHARLIE sends her down the block and she leaves reluctantly. CHARLIE Johnny it's me, Charlie. JOHNNY BOY can now be seen silhouetted against the moonlight on the tenement roof. He has a gun in his hand. JOHNNY BOY Do n't come any closer! CHARLIE Cut it out stupid. It's me. JOHNNY BOY fires a shot into the air. CHARLIE clings to the wall with the others. A moment later he makes a quick run for the doorway of the building across the street. He enters the building that leads to the roof. BLACK & WHITE","EXT. TENEMENT ROOF - NIGHT CHARLIE has reached the roof. JOHNNY BOY Charlie. pssst. Over here. He laughs with glee. CHARLIE What are you. crazy? He slaps JOHNNY BOY on the back of the head. JOHNNY BOY Hey. do n't do that. I'm only scaring them. CHARLIE Stupid bastard. you get your cousin half - sick over this. The boys below are still clinging to the walls of the building. JOHNNY is oblivious to CHARLIE'S statement. JOHNNY BOY Watch this. He takes out a home made firecracker consisting of glass cigar tubing filled with gunpowder and a waxed fuse stick through the top layer of cork. He lights it. CHARLIE What the fuck. JOHNNY BOY tosses it over the building and it blows up in mid - air. The boys below rush madly away. Lights go on in the tenements around them. The explosion was quite loud. CHARLIE Let's get out of here. JOHNNY BOY -LRB- LAUGHING. -RRB- Did you see them run! BLACK & WHITE","EXT. CEMETARY - NIGHT CHARLIE and JOHNNY BOY are sneaking over a fence in an old cemetary which is part of their neighborhood. It surrounds their church and dates back to the beginning of the 19th century. No one is buried there any longer. It is very quiet and dark. They sit and rest. CHARLIE is still in his makeup. JOHNNY BOY I swear to God Charlie. my arm still hurts from the car accident. that's why I did n't go to work. I swear it. CHARLIE -LRB- ANGRY. -RRB- That's not going to help. JOHNNY BOY I'm going to work this week. I mean it. CHARLIE It's impossible for you to catch up on the loan now. the interest is going up. $ 3,000. do you realize that, flash? JOHNNY BOY I'm sorry Charlie. I did n't mean it. CHARLIE Big deal. in the meantime, it's done. I'll still try to help you out. You know that. but you got ta show some effort. some respect. understand? JOHNNY BOY Charlie, you know the best way to take care of this whole mess. CHARLIE How? JOHNNY BOY -LRB- COAXING. -RRB- If you had a little talk with your uncle. if anybody can do it, he can. CHARLIE That'll help you out fine. That's the best way for you, not for me! I swear to God, I'll rip you open if my uncle ever hears a word about this. You understand? I do n't care what happens, he does n't find out. I do n't get involved with anything, you understand that? Nothing! I'm clean as far as you know. right? JOHNNY BOY Yeah, take it easy. Will you relax. CHARLIE That's what I get for getting involved. Look, on pay - day at least show up at Tony's Place to meet him, ok? This way he does n't think that you're trying to screw him. If you show good faith and save his face maybe we can talk and he'll take off the interest or make different payment arrangements or something. understand? I'm not asking I'm telling you! JOHNNY BOY I understand. JOHNNY BOY closes his eyes. CHARLIE looks at JOHNNY BOY and then looks at the cemetary in the moonlight. It seems totally apart from the city with the sirens and cars far in the distance. CHARLIE stands and unravels his robes, preparing to take them off. He projects the image of Christ delivering a sermon. Music and laughter in the distance catches his attention. The lights and the music are coming from the top floor of a tenement building where a Puerto Rican family is having a party. The sound echoes through the streets. Decorations are hanging and blowing away through the open windows. As CHARLIE watches a fight break out over one of the girls. Screams are heard. People run up and down the fire escape. CHARLIE has pulled off the robe. He now removes the beard and wig and has become himself again. He leans over to find JOHNNY BOY fast asleep on a tomb. CHARLIE ` Could you not, then, watch one hour with me?' He wakes JOHNNY BOY up. CHARLIE ` The spirit is willing but the flesh is weak.' They leave.","INT. OSCAR'S RESTAURANT - NIGHT CHARLIE is sitting in the corner. The restaurant is in the same condition that it was the last time he was there. While CHARLIE waits for his uncle in his semi - private corner, a handful of old Mafiosi, invited by GIOVANNI, sit at another table. GIOVANNI enters with MARIO. The old Mafiosi are greeted first. They rise and kiss GIOVANNI on the cheek. CHARLIE is very impressed at their respectful showing. The waitresses and everyone else in the club treat them all like royalty. OSCAR approaches the table where CHARLIE, GIOVANNI, and MARIO are seated and greets them warmly. OSCAR Put the menus away. I, personally do the cooking tonight. GIOVANNI Fine. that's why I'm here. MARIO Calamari? OSCAR Capozelle, Calamari. anything you want. GIOVANNI -LRB- POURING WINE. -RRB- Drink.","INT. OSCAR'S RESTAURANT - LATER IN THE MEAL OSCAR sits. OSCAR Giovanni. er. can I talk? Refering to CHARLIE. GIOVANNI nods his head yes. OSCAR About the place, Giovanni. GIOVANNI I know all about it. We'll discuss it later. OSCAR -LRB- CONTINUING. -RRB- Our arrangements about the place have n't changed, have they? I mean. GIOVANNI -LRB- GOOD - NATUREDLY. -RRB- No, no, not at all. look, we leave it the way it is for now, we talk later, understand? OSCAR -LRB- SOMEWHAT RELIEVED. -RRB- Sure, Giovanni. I understand. I'll bring the clams now.","INT. OSCAR'S RESTAURANT - DURING DINNER CHARLIE is visible awed by GIOVANNI and MARIO'S confidence and power. He is behaving as if he were at a job interview. very formally. CHARLIE had often had dinner with his uncle but this time the conversation is more pointed. Their conversation is mostly in ITALIAN WITH ENGLISH TITLES. They are discusssing GROPPI'S suicide. CHARLIE I really could n't believe it when you told me, you know that? GIOVANNI Well, he was always a little crazy. he puts a gun in his mouth. -LRB- HE SMILES. -RRB-. like your friend. comme si chiama. Henning? Heming? CHARLIE Hemmingway. Killed himself. I was more upset about that than about Groppi, that's for sure. GIOVANNI -LRB- laughing to MARIO. -RRB- You know, this boy over here, once, long time ago, tried to enrich my mind. so he gives me a book by this Hemin fella. to read, so I read it. CHARLIE Was n't a book. was a short story. MARIO What was it? CHARLIE -LRB- EMBARRASSED. -RRB- Nothing. MARIO No, c'mon. Y' know, I read. CHARLIE -LRB- MUTTERING. -RRB- `` Francis Macomber.'' MARIO Wha? THE CONVERSATION IS NOW ENGLISH. CHARLIE -LRB- SOFTLY. -RRB- `` Short Happy Life of Francis Macomber.'' MARIO Oh yeah. did n't read it but I saw the movie. Gregory Peck. pretty good. GIOVANNI Yeh, Mario over here, he reads a lot. IN ITALIAN. GIOVANNI Surprised? MARIO I like this Harold Robbins. CHARLIE -LRB- POLITELY. -RRB- Oh yes, he's pretty good. GIOVANNI What I do n't understand is why you have to go to college to read these books that you're gon na read anyway. CHARLIE It's only a couple of courses. just for the draft. MARIO Charlie, couple of courses is n't enough to get you student deferred. I mean if they wanted to draft you, you would've been drafted by now. CHARLIE feels that it would be better not to pursue the point. GIOVANNI What Mario's trying to tell you, Charlie, is that you're wasting your time with those `` couple of courses''. you do n't need them. There are a lot of things that can be taken care of. you know what I mean? They all laugh. They become aware of the T.V. set which is on in the rear of the back room where they are dining. The news is on. politics, society, and war. GIOVANNI These politicians. they talk nice. CHARLIE listen attentively, but obviously has heard GIOVANNI'S philosophy before. GIOVANNI -LRB- CONTINUING. -RRB-. but it's the same thing, all the same. they're in there by having something on somebody. and when that does n't work. they fight. Our life has honor. we have no show to put on because we do what we have to do. They know where to come when they need us. I realize this during the war. World War II. Vito Genovese. during WWII he worked with the government, taking care of the docks. CHARLIE What did he do? GIOVANNI What did he do? He was there. that's what he did. MARIO In the fifties when the communists started in with this country and they tried to clean them out, we offered to do it for them. but they did n't want us to. so we kept out of it. CHARLIE nods. GIOVANNI -LRB- TO CHARLIE. -RRB- I told this. the same thing to your father thirty years ago. I told him what to do. but he did n't listen.","INT. OSCAR'S RESTAURANT - COFFEE The conversation turns to more direct topics while they have their coffee and ainsette. GIOVANNI You're still around with that kid Johnny Boy. last night with that gun. Do n't get mixed up with them. This Johnny Boy, you know, he's named after me. -LRB- SARCASTIC. -RRB- nice, eh? This Johnny Boy is like your mister Groppi. a little crazy. It's nice you should help him out because of his family and our family but watch yourself. Do n't spoil anything. CHARLIE nods, feeling very uneasy. GIOVANNI -LRB- CONFIDENTIALLY. -RRB- His whole family has problems. his cousin, the girl who lives next door to you. CHARLIE Teresa. GIOVANNI The one who's sick, right? In the head. CHARLIE No, she's got epilepsy. GIOVANNI Yeah. That's what I said, sick in the head. CHARLIE nods. GIOVANNI Her mother and father come to me and ask advice. she wants to leave. get her own apartment. worries them sick. what am I gon na tell them? Lock her up? CHARLIE What do they expect you to say? GIOVANNI Who knows? It's not hard to figure out what she'll wind up like. When the respect for parents breaks down, that's bad. you know I'm `` cumpari'' with them. so I take an interest. You live next door, keep an eye open. but do n't get involved. CHARLIE All right. MARIO Why do n't you take a look around the place if you want? CHARLIE Oh, that's ok. I've been in and out of this place fifty times. GIOVANNI Well, maybe you missed something? CHARLIE -LRB- CATCHING ON. -RRB- Oh yeah, that's a possibility. CHARLIE heads for the kitchen. CHARLIE -LRB- CONFESSION. -RRB-. looks good. things look good, if I may say so myself. Do n't you agree? Unless there's something You know that I do n't know?","INT. OSCAR'S RESTAURANT KITCHEN - NIGHT CHARLIE is examining the kitchen closely. A black cook is working hard, taking a piece of meat off the grill. He carefully prepares a dish. COOK Hi Charlie. CHARLIE smiles and moves in closer to the grill. The cook is sweating and mopping his brow. COOK -LRB- CONTINUING. -RRB- Man, it's hot as Hell in here, every day like going through Hell in here. CHARLIE moves in closer and the COOK continues preparing the food. CHARLIE -LRB- SMILING. -RRB- Hot as hell. You're not the only one going through Hell kid. COOK Maybe so. but at this pay it ai n't worth it. that much I can tell you. CHARLIE has n't been listening to the COOK. He has become fascinated with the flames on the grill. They remind him of an old device from his Catholic School days. CHARLIE brings his hand forward and closer to the fire, testing the pain of the `` Fires of Hell.'' CHARLIE -LRB- CONFESSION. -RRB- ` If thy hand is an occasion of sin to thee, cut it off. It is better for thee to enter into life maimed than having two hands to go into hell, into the unquenchable fire. ` Where their worm dies not and the fire is not quenched.' CHARLIE'S hand touches the flame. He winces. Music in.","INT. TONY'S CAR (NEW CADILLAC CONVERTIBLE-TOP UP) - DAY CHARLIE, JOHNNY, TONY and JIMMY are driving along in TONY'S car. As they talk, a derelict takes advantage of a red light to wipe their windshield. TONY rolls up the window and rolls the car forward a bit to force the derelict out of the way. TONY Is it near Sullivan Street? JIMMY No - by Bedford. TONY Oh - you got ta show me. I always get lost in the village. CHARLIE Next time, bet with your own kind. JIMMY The number was 235 - I bet it combination. CHARLIE It'll be OK - I know those guys. They wo n't stiff you. JIMMY I bet 235. Because I dreamt of my grandfather - and when he died, the number of the funeral parlour was 235 - so when I dreamt. JOHNNY BOY Yeah, yeah - enough. They arrive at the bar. JOEY Hello Charlie, you canonized yet? CHARLIE No - not yet - just blessed. Boys are in mid - discussion. JIMMY On Friday, the 25th - I placed it WITH SALLY - JOEY -LRB- BEING DISTRACT. -RRB- I never heard of it. CHARLIE Oh Joey, really. we're all friends here - let's cut the bullshit. JOEY -LRB- begins to chuckle. -RRB-. Well. -LRB- TO JIMMY. -RRB- you got a good friend here - come to think of it, I do remember now. JOHNNY BOY -LRB- under his breath. -RRB- SCUMBAG - TONY -LRB- nudging JOHNNY BOY. -RRB- -LRB- under his breath. -RRB- Shut up. JOEY -LRB- MAKING EXCUSE. -RRB- Well, Friday's are busy - a mistake can be made y' know. Have another drink. CHARLIE Whatever, just lets settle this and it's all forgotten. JOHNNY BOY I do n't forget nothin. JOEY looks at JOHNNY BOY but decides to let it pass. CHARLIE gives JOHNNY BOY a dirty look. Music is playing on a juke box. Several girls stand nearby listening to both the music and the discussion. JOHNNY BOY looks over at them and then at JOEY. JOHNNY BOY Lower the fuckin music - I ca n't hear nothin. JOEY The girls like it loud. JOHNNY BOY Girls? You call those skanks girls?! JOEY, his friends, and the girls all look up. JOEY'S attitude changes. JOEY -LRB- TO CHARLIE. -RRB- What's the matter with this kid? JOHNNY BOY I feel fine - nothing wrong with me. CHARLIE Keep your mouth shut. JOHNNY BOY You tell me that in front of these creeps? JOEY We wo n't pay. JIMMY Why? We just said. JOHNNY BOY -LRB- INTERRUPTING. -RRB- We wo n't pay. because this guy. -LRB- pointing to JIMMY. -RRB- is a. mook. JIMMY But I did n't say nothin. The fellows look at each other bewildered. JOEY -LRB- TO JIMMY. -RRB- We do n't pay mooks! Nobody knows what a mook is. JIMMY'S attitude now changes. JIMMY -LRB- ANGRILY. -RRB- A mook. I'm a mook. -LRB- PAUSES. -RRB- What's a mook? CHARLIE can no longer control the situation as tempers rise. JIMMY You ca n't call me a mook! JIMMY swings at JOEY. A fight breaks out. JIMMY, CHARLIE, TONY and JOHNNY BOY are beaten. CHARLIE, not badly hurt manages to calm everything down. The police arrive to break up the fight. People look iin as the two cops walk into the bar. The boys stop fighting immediately as they see the cops. In fact, they treat CHARLIE and the others as friends - helping them up off the floor, dusting off the clothes, etc.. The police search everyone. When they ask who started it - what happened, etc. everybody including CHARLIE and the others cover for everyone else. `` It was a joke officer'' `` He's my cousin'' `` We were just kidding,'' etc.. The cops nod. `` Play nice now'' and leave. Everyone apologizes to each other. They drink again. JOHNNY BOY does n't say a word - just stares. JOEY We were gon na pay you Jimmy, we just do n't like being moved in on. CHARLIE C'mon - I'm movin' in on you? Let's have another drink and forget about it. They drink again. JOEY gives JIMMY the money, JIMMY goes to count it. JOEY Do n't count it. it's all there. JOHNNY BOY -LRB- SARCASTIC. -RRB- Count it. JOEY Hey, c'mon - no bullshit - friends. JOEY extends his hand. JIMMY and CHARLIE shake. JOEY extends his hand to JOHNNY. JOHNNY BOY Do n't fuckin' touch me - scumbag. CHARLIE and the others `` Oh no.'' CHARLIE Shut up stupid. He is interrupted by a flying fist. The fight breaks out anew. They barely make it to the door. JIMMY is out first, with his cash. They run down the street. The west side boys do n't chase them but stand by their bar shouting after them. JOHNNY is laughing as he runs. CHARLIE yells at him. CHARLIE You got some mouth! JIMMY Johnny, you're a real jerk - off. JOHNNY BOY -LRB- LAUGHING. -RRB- What're ya hollering? You got your money. They reach the car. TONY heads in first behind the wheel. TONY -LRB- about to take off. -RRB- Fuck youse all. The others jump in. CHARLIE You got no honor Tony. Charge! The car starts off. Garbage and garbage pails are tosses after them as the boys take off.","INT. TONY'S PLACE A LONG - HAIRED ROCK GROUP The lead guitarist holds his guitar out like a machine gun and strums frantically on it swinging it back and forth at the audience and then at the rest of the group. As he does so, the rest of the group falls `` dead'' over their instruments. The number is over and they all get up. The place is empty except for CHARLIE, TONY, and a few others, all of whom have been listening to the band. They applaude.","INT. TONY'S PLACE CHARLIE is talking to the leader of the group. CHARLIE No, really, I liked it. thought it was great. BOY Thanks. CHARLIE What are your plans? BOY Well, we're here for about two weeks, then whatever else comes along. we're still working on our album and. CHARLIE Great. great. listen, I'm very interested in you guys because I'll be opening a new club myself soon. uptown. and maybe we can work something out. BOY Sounds good. CHARLIE Of course, ` The Season of the Witch' wo n't be ready for a while yet but we have to keep in touch.","INT. TONY'S PLACE - PHONE BOOTH CHARLIE is calling TERESA. The rock group is taking a break before their evening performance and they can be heard breaking up the session in the background. TONY and the others are getting the tables ready. CHARLIE Teresa? Yeah, Charlie. Listen, I'm looking for your cousin. Yeah, well today's Tuesday, payday. I have n't seen him all day. no. well, have you got any idea where he is? I know it's early yet but I'm just getting worried that's all. TERESA Charlie. I've got to see you. I want to talk. CHARLIE Honey, I ca n't talk now. I've got ta run, bye. TERESA But. CHARLIE I'll see you later. He hangs up.","INT. TONY'S PLACE - DRESSING ROOM CHARLIE can see the Negro stripper, DIANE, down the hall, in her dressing room. She is putting on her makeup. CHARLIE is still very attracted to her. He enters her room. CHARLIE Diane, how are you feeling? DIANE -LRB- COLDLY. -RRB- Fine. As CHARLIE continues to talk to her she undresses and begins to get into her first costume. CHARLIE feels slightly uncomfortable. CHARLIE You know Diane. I've been wanting to talk to you for a while now. er. a. -LRB- she is undressing. -RRB- aside from all that joking around we do out there. when you're on. I. a. I really. think that you're a terrific performer. DIANE Fine. CHARLIE No, I'm serious. You're really good. DIANE I know. CHARLIE In a little while. I'm gon na have the opportunity of opening my own place. not here. much nicer than this. uptown. sort of nite - club and restaurant and everything. DIANE That's nice. CHARLIE I was thinking maybe you'd do very nicely for the place. DIANE Stripper? CHARLIE No. no stripping. as the hostess. DIANE Hostess? CHARLIE Yeah, you know. you greet the people. see them to their tables. well. it'll be different though. Listen. why do n't we get together and talk after your show tonight. DIANE Chinese food? CHARLIE Ok. Chinese. We'll meet on the corner of 6th Avenue and Waverly Place after you finish. DIANE Why not here. Ok nevermind. 6th Avenue and Waverly. CHARLIE Bye.","EXT. TONY'S PLACE - NEAR ENTRANCE CHARLIE bumps into MICHAEL and a friend as he is leaving. MICHAEL Be seeing you and Johnny tonight. here. right? CHARLIE We'll be here. MICHAEL is sarcastic. He points to the parked car in front of him. MICHAEL I tell you, Charlie. If that kid does n't show up tonight. MICHAEL'S plan is seen on the screen as he speaks. MICHAEL I'm gon na find him, drag him down here, tie one of his legs to that Ford bumper over here. JOHNNY BOY is dragged to the car and MICHAEL'S friend ties his leg to the car. MICHAEL and his other leg to that Chrysler over there. JOHNNY BOY'S other leg is tied to the Chrysler. MICHAEL and bam! We see a close - up of a foot slamming down on the gas pedal, twice. One car heads for the West Side - the other to the East Side. Tires screech and exhaust fumes fill the air. All three laugh. CHARLIE Look, Michael, I'll get him here. What do you want me to do, kill him? MICHAEL Whatever. CHARLIE leaves.","INT. CHARLIE'S APARTMENT CHARLIE is on the phone trying to locate JOHNNY BOY. TERESA is pacing back and forth nervously in the background. CHARLIE hangs up. CHARLIE Are you sure he did n't say anything to you about tonight? TERESA For God's Sakes. I told you before. nothing. -LRB- she moves closer. -RRB- Charlie, I ca n't stay in here too long at this hour. will you please listen to me? CHARLIE turns and smiles at her. He kisses her because he does n't feel like listening. TERESA is too preoccupied to respond. CHARLIE turns. CHARLIE -LRB- MUTTERING. -RRB-. that sonofabitch.","EXT. NIGHT - BLACK AND WHITE JOHNNY BOY walking through Greenwich Village looking around as if being chased.","INT. CHARLIE'S APARTMENT CHARLIE is kissing TERESA who is still very upset. TERESA But Charlie. it's uptown and it's perfect. It's big enough for two people. she's going to get out by the end of the month. If you do n't act right away, it'll go in no time. What do you think?","EXT. STREET - NIGHT - BLACK AND WHITE JOHNNY BOY is making his way back to the apartment by sneaking along the sides of the buildings in the darkened street.","INT. CHARLIE'S APARTMENT CHARLIE tries to make love to TERESA out of his nervous energy and impatience at waiting so long for JOHNNY BOY. TERESA is rejecting his attempts.","EXT. STREET - NIGHT - BLACK AND WHITE JOHNNY BOY imagines he is being followed and dashes into the door of a nearby building and up the stairs.","INT. CHARLIE'S APARTMENT CHARLIE is doubly frustrated by TERESA'S rejection of his attempts at lovemaking because of his concern for JOHNNY BOY. He becomes sarcastic and abrupt. TERESA Do n't you realize what that apartment means? CHARLIE does n't answer. TERESA continues. TERESA Do you? For both of us. Think. after a while you might even be able to move in yourself. CHARLIE laughs. TERESA is visibly shaken but CHARLIE can not be bothered. CHARLIE Are you serious? Me move in with you. You crazy?","EXT. ROOFTOP - NIGHT - BLACK AND WHITE JOHNNY BOY is silhouetted against the moonlight. He makes his way quietly over the roofs of the tenements and climbs down CHARLIE'S fire escape.","INT. CHARLIE'S APARTMENT CHARLIE -LRB- CONTINUES. -RRB- Teresa, get these ideas out of your head. I've got enough on my hands right now. with that bastard cousin of yours. You wan na move? Go ahead. By all means! But keep me out of it. I've got nothing to do with it. you understand. nothing. CHARLIE'S WINDOW JOHNNY BOY is at CHARLIE's window. Through it he can see TERESA lying on the bed in tears and CHARLIE pacing back and forth across the room. He is still talking loudly, JOHNNY BOY does n't seem to pay any attention to the fact that TERESA is in CHARLIE'S bedroom. He opens the window and jumps in, smiling sarcastically. TERESA and CHARLIE are startled. CHARLIE grabs JOHNNY BOY by his coat collar. CHARLIE Where were you? Answer me, you sonofabitch! Where were you? TERESA is frightened and rushes towards CHARLIE. JOHNNY BOY reacts to the scene with uncontrolled laughter. CHARLIE is outraged and slaps him across the face but JOHNNY continues to laugh. TERESA screams. CHARLIE -LRB- TO TERESA. -RRB- Shut up! JOHNNY BOY -LRB- TO TERESA. -RRB- Yeah, Teresa, shut up! We do n't wan na get Charlie here in trouble, do we? We love Charlie. CHARLIE flings JOHNNY BOY against a wardrobe, letting go of his collar. CHARLIE You had me going crazy! TERESA is crying. JOHNNY goes into the kitchen and CHARLIE follows. TERESA stays in the doorway.","INT. KITCHEN - CHARLIE'S APARTMENT JOHNNY BOY takes a drink of water from the sink as he talks. CHARLIE is calmer now ; calm enough to realize that JOHNNY has figured out his true relationship to TERESA. He tries to protect himself. CHARLIE Your cousin here was getting sick, worrying about you. We've been in here calling. JOHNNY BOY Oh, that's too bad, Teresa. CHARLIE is embarrassed and TERESA is afraid. JOHNNY BOY -LRB- CONTINUES. -RRB- Well kids. have the bans been announced yet? CHARLIE Do n't be smart. JOHNNY BOY I'm not smart. I'm stupid, remember. I'm so stupid that you have to look out for me, remember? TERESA is crying. JOHNNY BOY Do n't be upset Teresa. You have to understand Charlie, here. he gives of himself to help others. TERESA I'm going to go home. JOHNNY BOY No, you stay. CHARLIE Johnny, I swear to God, if you open your mouth about any of this. JOHNNY BOY -LRB- ANGRY. -RRB- Me? I would n't say a word to my aunt and uncle. or even your uncle, Charlie. TERESA makes it to the door and opens it quickly. JOHNNY BOY grabs her to keep her from leaving. CHARLIE rushes towards them and pulls JOHNNY BOY away. By now, they are halfway down the hall. JOHNNY BOY -LRB- SHOUTING. -RRB- Charlie. I always wondered about her. what happens when she comes? Does she get one of those fits? Eh? That would be something to see. JOHNNY BOY is interrupted by CHARLIE'S fist as it lands a solid punch on the right side of his hand. TERESA screams and rushes to separate them. JOHNNY BOY You rat bastard! Do n't hit me again! CHARLIE stops. JOHNNY BOY I think I will fuckin go see your uncle right now. he'd be interested. CHARLIE rushes JOHNNY BOY towards the stairs. They bump into TERESA, slamming her against the wall. CHARLIE Go ahead! Go on! And we'll see what happens to you without me. TERESA is terrified that JOHNNY BOY will really go to CHARLIE'S uncle. TERESA No. no. do n't. TERESA falls, hitting the stairs with a thud. She lies there moaning and tossing her head. CHARLIE and JOHNNY BOY go to help her. CHARLIE What do I do? You know anything about this? JOHNNY BOY steps over TERESA to go down the stairs. He turns. JOHNNY BOY I do n't know. she's your girl. I got ta go. CHARLIE is furious. JOHNNY BOY points to TERESA who is getting worse. JOHNNY BOY Hate to miss the floor show, though. CHARLIE lunges out at JOHNNY BOY shoving him halfway down the stairs. He has gotten hold of his coat so that JOHNNY BOY ca n't leave. Neighbors from downstairs open their doors and come up the stairs. CHARLIE, in complete panic, tries to put something into TERESA'S mouth while holding JOHNNY BOY at the same time. He shoves his hand into her mouth trying to pry it open but she bites into it. CHARLIE screams as the blood streams out. He lets go of JOHNNY BOY. The neighbors take over. One woman appears to know how to administer aid to TERESA.","INT. CHARLIE'S BUILDING - STAIRS JOHNNY BOY is halfway down the stairs by now. The neighbor takes care of TERESA. While CHARLIE dashes down the stairs, CHARLIE grabs JOHNNY in the ground floor hallway.","EXT. STREET - NIGHT - BLACK AND WHITE In the deserted factory section of Manhattan, JOHNNY BOY and CHARLIE stand next to a corregated metal garage door. CHARLIE smashes JOHNNY BOY against the door sending resounding echoes into the street. CHARLIE You crazy bastard! What are you trying to do, ruin me? JOHNNY BOY is not fighting back anymore. He is on the verge of tears. CHARLIE smashes him against the door again - again the crashing sound reverberates in the empty street. CHARLIE You. Again, JOHNNY BOY is thrown up against the door. CHARLIE You threaten me with my uncle? After what I'm doing for you? JOHNNY BOY What you're doing for me is n't worth it. believe me! CHARLIE slaps JOHNNY BOY and pushes him against the door again. CHARLIE Then do n't show up tonight and see what happens. CHARLIE stops. He digs his hands into JOHNNY'S pockets but he ca n't find anything. CHARLIE How much have you got for Michael tonight? JOHNNY BOY I only got eight bucks on me. CHARLIE stares at JOHNNY BOY for a moment then puts his hand into his own pocket and pulls out three ten dollar bills and three ones. CHARLIE Here, take twenty bucks. With your eight that makes twenty - eight bucks you give Michael. I keep the thirteen for the weekend. Maybe we'll eat some Chinese food later. JOHNNY BOY does n't take it. CHARLIE forces it into his hand. CHARLIE Take it. I'm doing it for you, stupid! JOHNNY BOY No you're not. CHARLIE, calmer now, is feeling ashamed. CHARLIE Oh, cut it out, will ya? JOHNNY BOY Charlie, twenty - eight bucks is nothing. The only way to do it is through your uncle. think about it will you? CHARLIE NO! What do you think I am, crazy? JOHNNY BOY No, I just want to help myself, that's all. CHARLIE Come on. He tugs JOHNNY BOY along.","INT. TONY'S PLACE - BAR TONY You're over an hour late. Michael said he'll be back later, though. CHARLIE takes a drink. JOHNNY BOY sits at the bar. The place is beginning to empty and the show is over. CHARLIE takes TONY aside. CHARLIE Watch this kid for me. I have to go someplace but I'll be back soon to get Michael and him together. Do n't even let him go to the bathroom. He turns to JOHNNY BOY. CHARLIE Do n't you move! JOHNNY BOY -LRB- SULKING. -RRB- I'll be here. Do n't worry. JOHNNY orders a drink.","INT. CAB - NIGHT - BLACK AND WHITE CHARLIE gets into the cab. CHARLIE 6th Avenue and Waverly Place, fast please. The cab takes off. They soon arrive at their destination. CAB DRIVER Where do you want me to stop? CHARLIE leans back into the seat and peeks out the window. CHARLIE No. do n't stop. just pass real slow, OK? CHARLIE looks out the window and sees DIANE, the negro stripper. She is standing on the corner waiting for him. CHARLIE nods his head for the driver to stop. CHARLIE Stop here. -LRB- HE HESITATES. -RRB- No. what am I. crazy? Take me back to where you picked me up. CAB DRIVER -LRB- SIGHING. -RRB- Ok. The car drives away, passing DIANE who is on the corner.","INT. TONY'S PLACE CHARLIE is back inside the club. JOHNNY BOY Back so soon. CHARLIE Mind your own business. TONY sets up drinks for them and pours them into shot glasses. CHARLIE strikes a match and lights each glass. little blue flames dance along the rims of the glasses. TERESA Hey, cut it out. Will ya? He blows out the flames. CHARLIE moves to the other and of the room with his drink. CHARLIE -LRB- CONFESSION. -RRB- You can see things are n't going too well for me at the moment. My willpower and powers of persuasion are not what they usually are today. My ability to control events and situations are wanting. I know. I know. what can I say. I offer this as part of my penance. A young couple, two of the few people left in the place, are having a hushed quarrel at the end of the bar. The boy leaves for the men's room. CHARLIE -LRB- TO TONY. -RRB- Who's the girl? TONY Jewish. CHARLIE How do you know? TONY Look at her. CHARLIE She do n't look Jewish. TONY Sure she is. She's always in here with some different guy. You know the way they are. CHARLIE approaches the girl. CHARLIE I love you. The girl looks at him, first embarrassed, then annoyed. CHARLIE -LRB- SMILING. -RRB- Ever since that first day I saw you at the convent with the nuns, playing volleyball, I could n't help myself. GIRL You Italian? CHARLIE Yeah why? GIRL You do n't look it. The girl laughs. Her boyfriend comes out of the men's room. He has her coat in his hand. GIRL -LRB- to the Boy. -RRB- Fuck off. BOY -LRB- STUNNED. -RRB- What do you mean? -LRB- he looks at CHARLIE. -RRB-. let's go. GIRL You go. I'm staying. BOY Let's go! CHARLIE reaches over and grabs the GIRL'S arm tightly. She looks up, startled, and the boy appears to be frightened. CHARLIE It's obvious that the girl does n't want to accompany you, is n't it? BOY Look fella. this is private. CHARLIE Nothing's private. The GIRL is really scared now. GIRL I'd like to leave. CHARLIE wo n't let go of her arm. She tries to pull away but his grip tightens. CHARLIE Whether she wants to or not. she's not going. BOY Let go of her. The GIRL is in tears. GIRL Stop it. you're hurting me. CHARLIE Take her away from me. I mean physically take her away from me. He is holding her so tightly that she is doubling over in pain. The BOY, although he is scared, lunges at CHARLIE. There is a brief scuffle which TONY breaks up.","EXT. TONY'S PLACE - BACK ALLEY - BLACK AND WHITE - NIGHT JOHNNY BOY is lifting the lid of a garbage pail. He takes out a brown paper bag and opens it. He takes a small.22 pistol from it and puts it inside his jacket, then replaces the bag in the garbage pail.","INT. TONY'S PLACE - BAR AREA MICHAEL has entered the club. The BOY and GIRL are gone. TONY is with CHARLIE and JOHNNY BOY, whose return went unnoticed. MICHAEL What's it gon na be? I was here tonight. you kept me waiting for over an hour. MICHAEL has two friends with him. JOHNNY BOY Hello, Michael. I've got something for you. not much. but. CHARLIE He has about twenty - eight bucks. it's all he has on him. MICHAEL Better than nothing. JOHNNY BOY takes out a ten dollar bill and hands it to him. MICHAEL Where's the rest? CHARLIE Yeah, where's the rest? JOHNNY BOY I bought a few rounds of drinks while waiting. CHARLIE is stunned. MICHAEL -LRB- ANGRY. -RRB- Twenty - eight bucks is enough of an insult. I was gon na take the twenty - eight bucks because of Charlie here. but ten bucks! MICHAEL takes the ten dollars, crumples it and flings it into JOHNNY BOY'S face. JOHNNY BOY picks it up and slowly smooths it out. He sets it on fire as he talks. JOHNNY BOY You make me laugh, Michael. you know that? I've borrowed money all over the neighborhood and never paid it back. so I could n't borrow anymore from them. so who's the only jerk off left that I can borrow from without paying back. YOU. Because that's what I think of you. Jerk off. I fuck you where you breathe! MICHAEL lashes out at JOHNNY BOY with the back of his hand. JOHNNY BOY tosses the flaming bill at MICHAEL and quickly pulls out his.22 pistol. Everyone is shocked. CHARLIE -LRB- MUTTERING. -RRB- You're really crazy. MICHAEL You're not going to use that gun, Johnny. JOHNNY BOY does n't answer but holds the gun straight at MICHAEL'S face. MICHAEL turns to go, defying JOHNNY BOY. His friends follow. When he reaches the doorway, he turns. MICHAEL You do n't have the guts to use that. be seeing you Charlie, Tony, and of course you John. be seeing you. They leave. JOHNNY BOY is still frozen with the gun in his hand, pointing it at mid - air. CHARLIE slams JOHNNY BOY across the face with his fist. TONY takes the gun from his hand. CHARLIE You stupid bastard! Never pull a gun unless you intend to use it. He hits JOHNNY BOY again. TONY -LRB- HOLDING GUN. -RRB-. No bullets in it. CHARLIE hits JOHNNY BOY again. TONY Get out of here before this really goes up. CHARLIE Hide the gun. Throw it away. Anything. Listen, I got ta borrow your car. I think we should take a ride. away from here for the night. you know what I mean? TONY -LRB- RELUCTANTLY. -RRB- Ok. but go to a movie first or something. not good to be driving around right away. You know you ca n't do much for him now. it's out of your hands. SCENE FROM `` TOMB OF LIGEIA'' A young girl is in her room with her maid. The maid is helping her dress. Eerie music creates a frightening atmosphere. CHARLIE and JOHNNY BOY watch nervously affected by the film's mood. The theatre is a 42nd street one with lots of sleeping drunks. Suddenly, the maid's face begins to contort as if she's seeing something horrible. The audience is on edge. The young girl sees the maid and shouts `` What is it?'' - but the maid only sneezes.","EXT. NIGHT - TONY'S CONVERTIBLE - BLACK AND WHITE CHARLIE is driving. JOHNNY BOY is beside him in the front seat. The top od the car is down and CHARLIE is driving with no particular destination in mind. JOHNNY BOY I think we should see your uncle. CHARLIE No. JOHNNY BOY This ca n't be settled any other way now. I'll take full blame. CHARLIE Forget it. JOHNNY BOY What are you going to do? Hide me? CHARLIE Good idea. JOHNNY BOY turns away and tunes in the radio to a loud rock song. CHARLIE -LRB- CONFESSION. -RRB- I guess you could safely say that this evening has been so far very unimpressive as far as my efforts are concerned. more unproductive. Now, I'd like to know what you do, for an encore, Lord? I know penance is penance but this is something else. JOHNNY BOY opens his eyes. JOHNNY BOY What are you talking to yourself? He turns up the radio. CHARLIE -LRB- SARCASTIC. -RRB- Go ahead! Play the radio. play music. you're going to a party. louder! Go ahead. Louder. A party. Lots of fun. A black sedan has been driving along parallel to CHARLIE'S car, unnoticed by CHARLIE. Otherwise the street is deserted. The car begins to drive CHARLIE off the road. CHARLIE Hey, what is this guy, crazy?","EXT. NIGHT - BLACK AND WHITE BLACK SEDAN - MICHAEL AND ANOTHER BOY. VOICE Now, now's the time! CHARLIE turns his head to look. JOHNNY BOY looks up. They fire the gun. FULL COLOR SHOTS A barage of bullets -LRB- 5 gunshots -RRB- hit CHARLIE'S car. CHARLIE is hit in the hand. JOHNNY BOY has been hit in the throat. He stands up and leans over the windshield of the car, spewing blood onto it and into the wind. He is screaming. The black sedan turns onto another street. TONY'S CONVERTIBLE CHARLIE is so shocked that the car is completely out of control. It goes screeching along the street, swerves, and slams into a fire hydrant, breaking it off and causing water to shoot out onto the sidewalk, car and street. CHARLIE has been thrown from the car. He kneels in the street holding his wrist. He is on the yellow letters `` FIRE LANE.'' JOHNNY BOY lies against the side of a building - still. CHARLIE goes to the curb and sits there holding his bleeding hand. The police arrive with their guns drawn.","EXT. NEIGHBORHOOD STREET Back in the neighborhood, the religious fiesta is ending. The singers on the bandstand are singing the last song of the evening, `` Vincino Amare.'' A crowd of elderly Italian - Americans stand below the bandstand and listen. There are four singers, their voices projected through a PA system. CONTINUES THROUGH ALL CUTS. TERESA'S ROOM TERESA is in bed, asleep. The music can be heard echoing in the background.","EXT. STREET CORNER CHARLIE is still sitting on the curb holding his injured wrist. The ambulance and the police are going about their business. A crowd has gathered. GIOVANNI'S LIVING ROOM GIOVANNI is watching the Late Late Show on T.V. -LRB- Car explosion scene from `` The Big Heat'' -RRB-. Aside from the light of the screen, the room is darkened. ALL NIGHT VILLAGE LUNCHEONETTE DIANE is alone, sipping coffee.","EXT. STREET CORNER The police are standing around CHARLIE with open notebooks, questioning him. He does n't answer. JOHNNY BOY'S body is being taken into the ambulance. TONY'S PLACE - MEN'S ROOM TONY is relieving himself. He washes his hands. NEIGHBORHOOD STREET The last song of the festival is ending now. As the singers come to a stirring climax they wave and shout in Italian. SINGERS Good night. Good night. thank you. good night! The band plays a few bars of `` Home Sweet Home.'' The singers throw kisses to the dispursing crowd. People who have been watching the festival pull down the blinds of shades and go in. MICHAEL'S CAR - PARKED MICHAEL'S car is parked in a deserted area on the docks. He has his head in his hands. The BOY with him says nothing. STREET CORNER CHARLIE is still in shock, sitting on the curb. The police are still walking around in a businesslike manner. CHARLIE stares down at his feet. The wrecked car is being pulled away. CHARLIE is being put into an ambulance. He is muttering to himself and seems shocked and bewildered.","INT. POLICE STATION - DAY Early morning. A door in the far corner of the room opens. CHARLIE is motioned through by a cop, who shuts the door immediately behind him. There is an unnaturally loud clanging sound that echoes in the room. CHARLIE looks around, still a little dazed, and spots MARIO standing over by the door. MARIO has made no move to greet him. He just stands there watching. CHARLIE walks over to him, sensing something a little ominous. CHARLIE My uncle did n't come? MARIO says nothing, just nods at him to step outside. CHARLIE goes out into the street. MARIO follows.","EXT. STREET - DAY There is practically no one on the street. The early morning light makes everything a clammy grey. CHARLIE waits at the bottom of the steps. MARIO -LRB- pauses for a moment. -RRB- Giovanni says now he done enough. He got you outta jail. Now. -LRB- reaching in pocket. -RRB- he wants you outta the way. MARIO hands CHARLIE an envelope containing an airline ticket. MARIO He says use it. Do n't sell it. He says he'll see you. Someday. Maybe. CHARLIE stares at the ticket in his hand. MARIO is obviously uncomfortable. MARIO -LRB- ABRUPTLY. -RRB- Things worked out rotten kid. Sorry.","INT. CAR - DAY TONY'S car. He is driving CHARLIE to the airport. A suitcase can be seen in the back seat. TONY Where to? CHARLIE -LRB- PREOCCUPIED. -RRB- Kennedy. TONY -LRB- trying to be jolly. -RRB- I know, I know, stupid. I mean where you goin'? CHARLIE It's an open ticket. I can go anywhere up to $ 350. TONY So? CHARLIE -LRB- EDGY. -RRB- So I'll send you a postcard from wherever. If I get there. TONY Nervous? CHARLIE Yeah. TONY You flew before? CHARLIE No. CHARLIE'S face - slightly upset. CHARLIE snapping seat belt in car. STOCK SHOT : airplane exploding BLACK AND WHITE -LRB- FANTASY -RRB- CHARLIE in car - more upset. CHARLIE -LRB- IRRITATED. -RRB- Hey, come on. TONY Take it easy. I only asked because maybe I could, you know, let you have a little something. CHARLIE Yeah, well thanks, but I got enough to hold me. My mother can send me some. I do n't know. TONY How about Teresa? I could talk. CHARLIE -LRB- trying not to be impatient. -RRB- Listen, I appreciate it, but I'll handle it myself. I'll write. TONY And say what? CHARLIE I'll say that I'm travelling.","EXT. AIRPORT - DAY The TWA terminal at Kennedy. TONY'S car pulls up to the curb, CHARLIE gets out, waves away help from an idle porter, and pulls his suitcases out of the back seat. TONY leans across the seat toward him. TONY Listen, try a place with some sun. Swimming pools. Palm trees. Girls in little French bathing suits. CHARLIE -LRB- SMILES. -RRB- Thanks for the ride. CHARLIE breaks away from the handshake and grabs TONY affectionately behind the neck. CHARLIE Take care of that tiger. TONY -LRB- CORRECTING HIM. -RRB- Panther. CHARLIE Panther! Same thing. TONY Hey. no more good times like before. Until you come back. CHARLIE Sure. And you're gon na take the vows next Tuesday, right. TONY -LRB- LAUGHS. -RRB- Yeah, I'm gon na worry about you, too. TONY gives CHARLIE'S hand a last slap, then gets back behind the wheel. TONY See you. CHARLIE nods and watches the car pull away. Then he picks up his bag from the sidewalk and walks into the terminal.","INT. TERMINAL - DAY The place is huge and there is a lot of bustle and excitement. CHARLIE is noticeable because he is the only member of the crowd who walks slowly, without any apparent mission or destination. He makes his way toward the large flight board that looms over the whole room. Loudspeakers announce planes to and from every part of the world. On the flight board, the origins and destinations of the days flight spin and change every moment. He passes the insurance machines and almost stops - more upset than before. A businessman calmly pays for insurance. -LRB- Muzak is heard -RRB- CHARLIE continues on past a novelty shop where some plastic crosses and St. Christopher medals hang alongside the stuffed toy dogs and flight bags. He looks at the cross. CHARLIE I do n't know what to say to you. The ticket desk is under the flight board. CHARLIE eventually works his way over to the desk, drops his bag on the floor and stands staring at the board. He sees the names of dozens of cities flashing before him. As he watches, a pretty ticket clerk speaks to him from behind the desk. CLERK May I help you? CHARLIE stares at the flight board in dismay and indecision. He apparently does not hear her. CLERK Sir, may I help you? CHARLIE hears her this time. He reaches into his jacket pocket and pulls out the ticket which he passes across to her. The clerk starts to open it to check the destination. CHARLIE -LRB- questioning, challenging. -RRB- Where can I go? The question is unusual. The clerk looks up. CHARLIE stare back at her with a quality that is almost defiance. QUICKLY TO BLACK - MUSIC IN"],"string":"[\n \"MEAN STREETS Ah, get born, keep warm Short pants, romance, learn to dance Get dressed, get blessed Try to be a success Please her, please him, buy gifts Do n't steal, do n't lift Twenty years of schoolin' And they put you on the day shift - BOB DYLAN, Subterranean Homesick Blues. -LRB- SUPERED OVER BOTTOM OF SCREEN LIKE A TV NEWS BULLETIN -RRB- -LRB- THE FILM IS IN COLOR UNLESS OTHERWISE NOTED. -RRB- A darkened diffused image of a man lying on the ground. A tree is above him. The image is more diffused on the edges. It is black and white, and appears to be coming from a television. The body of the man is practically totally in shadow. ANNOUNCERS VOICE Ladies and gentlemen, on the new tonight, the first actual motion pictures of death. A small orange fire appears in the breast of the man. ANNOUNCERS VOICE Watch closely, at the moment of death. The small orange fire fades away. COLOR CHARLES CAPPA JR. -LRB- CHARLIE -RRB- is 25 of Sicilain origin. He was educated in Roman Catholic Parochial schools with one year and a half at a Jesuit college. CHARLIE was raised sternly in the Roman Catholic tradition but now has rejected many of the religion's tenets. He is very intelligent and has a sharp sense of humor. He is always well dressed. His favorite authors are Ernest Hemingway, Thomas Hardy, and Theodore Dreiser. He likes reading but enjoys films more. He is very fond of the New Testament and often exchanges quotes from it with his friend TONY.\",\n \"INT. BEDROOM - NIGHT CHARLIE has been dreaming. The dream frightened him. A TITLE APPEARS on the bottom of the frame : CHARLIE. He gets up to look at his face in the mirror. His room is lit by moonlight. It is a small tenement bedroom with a fire - escape outside. He returns to bed and as his head hits the pillow, we hear the RONETTES singing `` BE MY BABY.'' An 8 - mm. projector whirring away.\",\n \"INT. PARTY - HOME MOVIES - DAY Opening TITLES appear over 8mm. HOME MOVIES in which CHARLIE is shown along with his friends and family in a celebration. a sense of `` one big unending party.'' During this opening segment WE SEE some of the characters that will later appear in the story : JOHNNY BOY, MICHAEL, TONY, TERESA, CHARLIE'S UNCLE GIOVANNI, and others. They are all Sicilian and are members of the same Italian - American neighborhood in New York City. -LRB- WE SENSE, from these HOME MOVIES, that the neighborhood forces its people to be strongly tied together in a way of life - Family, Church, Friendship. -RRB- These HOME MOVIES were taken during some formal and casual gatherings in which CHARLIE participated.\",\n \"INT. BATHROOM IN A NEIGHBORHOOD BAR A longhaired `` freak'' is about to shoot - up. Suddenly the door opens and TONY -LRB- ANTHONY DEVENZIANO -RRB- comes in. TONY is totally different in appearance and dress from the `` freak.'' He is 25, and a part time student studying liberal arts. His father is a very powerful racketeer in a different part of the city and owns several night club type discotheques and strip houses on the west side of town. One of these is operated by TONY - `` TONY'S PLACE.'' CHARLIE is one of his closest friends. TONY is well dressed, flippant and reckless. He is a big drinker, liquor, wine, and even cough medicine. TONY What the fuck. hey! TONY rushes over to the `` freak'', who is too strung out to defend himself, smashes the needle, and slaps him around. TONY Not in my fuckin' place. get out. get out!\",\n \"INT. BAR AREA TONY pushes him out the door and into the bar area. There are a few people in the bar. mainly neighborhood guys like TONY. A few `` freaks'' are in the BG. TONY pushes him out the front door. TONY And keep the fuck out - a - here. I know your face. TONY crosses over to one of the neighborhood guys by the bar and slaps him in the back of the head knocking off his hat. TONY And you scumbag. what did I tell you ` bout passin' that shit in my PLACE. -LRB- HITS AGAIN. -RRB-. huh? BOY Hey I did n't do nothin'. cut it out. TONY pushes the BOY out of the bar also. TITLE APPEARS on the bottom of the frame : TONY\",\n \"EXT. WEST SIDE DOCKS - LATE AFTERNOON The area is totally deserted except for two trucks parked side by side. Two men are tossing boxes from one truck to another and looking around furtively. MICHAEL stands nearby. MICHAEL LONGO is 26 years old. He lives in a different neighborhood but comes from the same type of background as CHARLIE and the others. He runs an illegitimate bar and dabbles in the yearly sale of firecrackers which he smuggles in from Maryland. He also deals in contraband cigarettes and runs a small - time `` loan shark'' business. He has a knack for business but he is otherwise unintelligent. Michael crosses over to a'58 black Oldsmobile. MICHAEL Hey, hurry up with that shit will ya. MICHAEL gets in the car. Another MAN is sitting in the back. He is also well dressed. MICHAEL takes a small lens out of his pocket and tosses it to the MAN. MAN What's this? More shit? MICHAEL Naw. that ai n't shit. that's a German lens. The MAN looks at it carefully. MICHAEL A good buy. good two shipments of them. MAN Ca n't use it. MICHAEL Why? That's a telescopic one. it's good. MAN First, it ai n't German. it's Japanese. and second, this ai n't no lens. it's like a. a. an adaptor. so you got two shipments of Jap adaptors with no lenses. -LRB- HE LAUGHS. -RRB- MAN hands adaptor back to MICHAEL. MICHAEL -LRB- DISAPPOINTED. -RRB- A Jap adaptor? TITLE APPEARS on bottom of screen : MICHAEL.\",\n \"EXT. STREET - DAY A deserted warehouse area in lower Manhattan. Prominent in the frame is a brightly painted red white and blue mailbox, contrasting with the drab hues of the neighborhood. JOHNNY BOY walks down the street toward camera. JOHN CIVELLO -LRB- JOHNNY BOY -RRB- is 23 years old. He is an only child and lives with his mother, a divorcee. He is clean cut looking, yet slightly radical in dress. He was expelled from high school for vandalism and consequently spent several months in reform school. He is reckless, unambitious, nihilistic, and was classified a psychiatric 4 - F. He is first cousin of TERESA RONCHALI who lives next door to CHARLIE. He has adopted TERESA'S family as his own and spends more time with them than he does with his mother. JOHNNY is carrying a package wrapped in plain brown paper under his arm, and he is smiling. He drops the package into the mailbox and keeps walking. But he is moving a little faster now and smiling a little more. Suddenly the mailbox explodes. Dozens of red, white and blue fragments shower down on the street. The impact of the blast knocks JOHNNY down. TITLE APPEARS on bottom of frame : JOHNNY BOY. He is up in a moment. The CAMERA TRACKS with him as he starts running. WE SEE that he is grinning - quite literally - like crazy.\",\n \"INT. CHURCH WE SEE CHARLIE full face. Behind him is a Confessional Booth. The church is very old, quiet, and dark. The CAMERA ZOOMS OUT to reveal rows of Holy Candles lit in the foreground. CHARLIE suddenly begins to speak softly and confidentially to an unseen entity that is OFF SCREEN. CHARLIE -LRB- CONFESSION. -RRB- A. As you know, I've just come out of Confession. And as a penance they gave me ten ` Hail Marys' and ten ` Our Fathers'. THE CAMERA BEGINS TO TRUCK OUT. IT MOVES AROUND CHARLIE AND AWAY FROM THE HOLY CANDLES REVEALING CHARLIE'S PROFILE. CHARLIE -LRB- CONTINUED. -RRB-. Now, between you and me. You know how I feel about such things. ` Hail Marys'. ` Our Fathers'. No imagination. THE CAMERA HAS NOW TRUCKED BEHIND CHARLIE AND WE SEE over his head he has been addressing a life sized statue of the crucified body of Christ, eyes closed reclining in his sepluchure. CHARLIE -LRB- CONTINUING. -RRB-. If I'm going to do penance at all, I'll do it the way I think it would be done. by me, that is. according to my own trespasses. You know what I mean. This conversation of Confession will occur from time to time in other parts of the story as CHARLIE will periodically try very casually to justify his thoughts and actions to his `` God.'' The images accompanying these monologues are to be of free association almost documentary in nature.\",\n \"INT. TONY'S PLACE - NIGHT The club is dark and noisy and smokey when CHARLIE enters. He greets TONY who is sitting on a bar - stool. TONY directs CHARLIE to a corner of the club where the rest of the group is now getting boisterously drunk. CHARLIE joins in, immediately taking on the mood of the group. The rest of the club is filled with many different types of customers : teenagers, adults pretending to be teenagers, sailors, male and female gays, and `` the boys from the neighborhood.'' The music is loud and the lights are flashing but the strippers have not yet appeared. TONY is at the bar. He is approached by GEORGE one of the bouncers. He seems upset about the noise that CHARLIE and his friends are creating. TONY does n't take GEORGE very seriously. GEORGE It's ten o'clock and they're like this. And they're just starting? TONY smiles. GEORGE -LRB- CONTINUING. -RRB- Smile. What are you smiling at? This is a business night. TONY -LRB- INTERRUPTING. -RRB- George. did I ever tell you the story about the three chickens? GEORGE -LRB- GENUINELY. -RRB- No. TONY Too bad. CHARLIE's zany behavior as frenetically as it occurs. There is no particular logical sequence except that events are suited to the rythmic pattern of the music. 1. CHARLIE and his friends dance and sing along with the music. 2. CHARLIE picks up a billiard stick. He attempts to hit a filled shot glass towards TONY at the other end of the bar. He fails. 3. CHARLIE tries to pull a tablecloth off of a stranger's table without moving the glasses or bottles. This also fails. 4. A punch is thrown at someone. A lit cigarette in the puncher's fist creates a swift arc of light in the darkness. 5. The Strippers finally appear on stage. CHARLIE becomes obsessed with the Negro stripper DIANE. He shouts to her, tosses things, and calls her names. She tries, half amusedly to ignore him but she ca n't. 6. TONY drinks from a bottle of Southern Comfort, and as a chaser swigs down Aqua Velva. CHARLIE sitting at an empty table watching DIANE, the stripper, perform again. He stares glassy - eyed and then begins to speak softly, continuing his Confession. CHARLIE Y' know. she's really good - looking. really good - looking. I've got ta say that again. She's really good - looking. but she's black. You can see that real plain. -LRB- as an afterthought. -RRB- When you get down to it though. there's not much of a difference, is there? -LRB- He waits for an answer. -RRB- Well. is there? -LRB- He smiles and begins chewing on an ice cube from his half EMPTY GLASS. -RRB- Suddenly MICHAEL appears and sits down at CHARLIE's table. He hands CHARLIE two cartons of cigarettes. CHARLIE Oh great. hey - Winstons? MICHAEL For these prices do n't be particular. That's all they had - but next week we'll see. CHARLIE gives him the money. CHARLIE OK, ok. MICHAEL Sell'em if you ca n't smoke them. CHARLIE No. I'll be ok for a week. MICHAEL You seen Johnny Boy tonight? CHARLIE -LRB- DISINTERESTED. -RRB- Nope. MICHAEL Is n't he supposed to be here tonight. I mean. CHARLIE Look. I do n't know. What am I supposed to be, his keeper or something? Yeah, he's supposed to be here but who knows what goes on in his head. Right? MICHAEL I'd like to know Charlie, it looks like your little friend is trying to duck me. CHARLIE remains silent. MICHAEL -LRB- CONTINUING. -RRB-. Charlie, do n't you think you should be interested in Johnny's payments to me? I think you should be, you know that. CHARLIE -LRB- QUIETLY. -RRB- Michael, nobody's out to screw you, I guarrantee that. MICHAEL I know that Charlie but look at my side. You undersigned the loans. You vouched for him. What happens if this kid do n't pay me? I got ta collect from you? I do n't want to do that. I made a deal with him not you, right? CHARLIE -LRB- PATRONIZING. -RRB- You're right. You're right. Look, I'm not gon na wind up paying his debts. You know that. MICHAEL I do n't know that. That's what I'm telling you. CHARLIE Michael, believe me. You know the kid's a little crazy sometimes. I vouched for him and he'll come through. I promise. I'll talk to him and straighten him out. Do n't worry, OK? MICHAEL -LRB- SATISFIED. -RRB- OK. JOHNNY BOY enters the night club with two friends. He has been drinking. JOHNNY BOY'S face shows fresh cuts and bruises. His friends approach the hat check girl and give her their coats. JOHNNY BOY approaches her giving her his pants instead. His friends laugh hysterically. CHARLIE is now alone at the end of the bar. JOHNNY BOY now completely dressed enters the bar area. CHARLIE watches JOHNNY BOY approaching and continues his Confession. JOHNNY BOY greets people as he passes them, and as CHARLIE speaks, he appears to be moving in slow motion. CHARLIE What do you think? ` If a man have a hundred sheep, and one of them stray, will he not leave the ninety - nine in the mountains, and go in search of the one that has strayed? And if he happen to find it, amen I say to you, he rejoices over it more than over the ninety - nine that did not go astray. Even so, it is not the will of your Father in Heaven that a single one of these little ones should perish.'. Ok that's very nce but. TONY is now behind the bar near CHARLIE. JOHNNY BOY has reached them. JOHNNY BOY Drinks for everybody Tony. CHARLIE -LRB- INTERRUPTING. -RRB- Giovanino! Where have you been? JOHNNY BOY -LRB- CONTINUING. -RRB- and a double for you and Charlie here. -LRB- quietly to TONY. -RRB- And put it on my tab, willya? TONY Which one, the big tab or the little tab? JOHNNY BOY Put it on the little tab so that it balances with the big one. TONY -LRB- SARCASTICALLY. -RRB- Yeah, so things'll be even. CHARLIE and JOHNNY BOY grimace. MICHAEL appears. MICHAEL How about me? I do n't get a drink John? JOHNNY BOY -LRB- FEIGNING SURPRISE. -RRB- Of course! A double for Michael, Tony. TONY mumbles. JOHNNY BOY interrupts MICHAEL who is about to speak. JOHNNY BOY -LRB- CONTINUING. -RRB- I know what you're going to say but do n't say it. These drinks are all on the tab. I'm gon na see you this Tuesday payday, I promise. I give you my word. MICHAEL You what? The drinks arrive. They all smile and salute each other with their drinks. CHARLIE -LRB- SALUTING. -RRB- The queen! ALL -LRB- DRINKING. -RRB- The queen! CHARLIE and JOHNNY BOY are sitting alone at a table. CHARLIE -LRB- refering to JOHNNY BOY'S FACE. -RRB- What happened to you Flash? JOHNNY BOY Charlie, I swear on my mother, you're not going to believe this. CHARLIE I know but let's hear it anyway. JOHNNY BOY I swear to God Charlie, it's the truth. FLASHBACK\",\n \"EXT. STREET - LATE AFTERNOON JOHNNY BOY is walking along the street. It is rush hour and the traffic is heavy. A shiny, late model car stops parallel to JOHNNY BOY. The young boy -LRB- SAL -RRB- signals him by blowing the horn. -LRB- Note that in the FLASHBACK, JOHNNY BOY'S face is not bruised. -RRB- SAL Hey Johnny, where're you goin'? JOHNNY BOY Sal! fourteen street. SAL Come on.\",\n \"INT. INSIDE CAR - LATE AFTERNOON JOHNNY BOY This is some boat. Your father's? SAL Yeah. just had it delivered. JOHNNY BOY Hey. you got stereo. SAL Yeah, I think so. As JOHNNY BOY admires the gadgets in the car he notices that SAL is becoming very nervous. JOHNNY BOY You got a speaker back there? He turns to look for the speaker and sees a police car not far behind. JOHNNY BOY -LRB- CONTINUING. -RRB- Ah. there's a funny lookin' cab behind us. SAL -LRB- NERVOUSLY. -RRB- I know. I know. JOHNNY BOY What ` sa matter. forget your registration? SAL No. no. Nooo. it's just that I. I. uh. this ai n't my car. JOHNNY BOY Yeah, it's your father's. SAL Well. no. JOHNNY BOY You mean it's heisted. SAL You could say that. JOHNNY BOY -LRB- announcing it loudly. -RRB- This is a heisted car! SAL smiles sheepishly. JOHNNY BOY panics.\",\n \"EXT. STREET - LATE AFTERNOON The police switch on their flashing red light and try to get closer to them but the traffic is too heavy. SAL manages to turn the next corner at about twenty miles per hour.\",\n \"INT. INSIDE CAR - LATE AFTERNOON JOHNNY BOY frightened now, underestimates the speed of the car and quickly opens the door.\",\n \"EXT. STREET - LATE AFTERNOON JOHNNY BOY tumbles from the car only to smack into a lamp - post. He has seriously banged his head and blood is running down his face. But because of the near proximity of the police car he is desperately trying to maintain an air of dignity as he calmly tries to walk down the street. END FLASHBACK\",\n \"INT. TONY'S PLACE - NIGHT TONY has now joined the group sitting at the table. CHARLIE and TONY nod in disbelief. JOHNNY BOY It's the truth, I swear. CHARLIE All right, forget it. Tony, you got anything we can put on his face? TONY Yeah, in the back. They all get up. TONY -LRB- CONTINUING. -RRB- C'mon, I got something to show you anyway.\",\n \"INT. TONY'S PLACE - BACK HALL - NIGHT They push their way through the crowd and enter a narrow dimly lit hallway on both sides.\",\n \"INT. BACK ROOM - TONY'S PLACE - NIGHT A boy and girl are necking on a make - shift couch in the darkened room. GIRL -LRB- WHISPERING. -RRB- Jimmy, I tell you there's something in this room. JIMMY -LRB- MURMURS. -RRB- Ahhh come on baby. willya'. cut it out. Suddenly the light is turned on. TONY, CHARLIE, and JOHNNY BOY enter the room. The GIRL is startled and jumps up. JIMMY appears bewildered. TONY Excuse us Jimmy, we'll only be a moment. TONY S'alright Tony. The GIRL and JIMMY sit self - consciously as TONY goes to the medicine cabinet, takes out a few items and gives them to CHARLIE. TONY then crosses to the other side of the room where he removes the blanket which has been covering a large cage. He reveals a live, young beautiful PANTHER stalking to and fro. The GIRL screams. GIRL I told you there was something in this room. The GIRL runs out. Everyone else except TONY, is backed up against the wall, frightened. The BOYS laugh nervously. TONY Keep quiet about this. I do n't have any license for him yet. I've only had him a couple of days. Nobody can feed him except me. I'm the only one he trusts. Watch. CHARLIE Do n't go to any trouble. We believe you. We believe you. TONY begins to open the cage. The BOYS are now standing on top of the nearest pieces of furniture. TONY -LRB- ENTERING CAGE. -RRB- Really wanted to get a little tiger Charlie, y' know. a little William Blake and all that. CHARLIE Be careful. TONY ignores CHARLIE's warning as he crouches and allows the animal to wander onto his lap where upon he strokes the panther gently murmuring to him. The BOYS watch in silence.\",\n \"INT. TONY'S PLACE - CORNER TABLE - NIGHT The Italian song `` Malafemina'' -LRB- a tango - like rythmn -RRB- is heard coming from the juke - box. It is near closing time and there are only a few customers left in the club, including MICHAEL and two gays, BENTON and SAMMY, who is getting very drunk. CHARLIE is at the corner table with TONY and JOHNNY BOY. CHARLIE is washing JOHNNY BOY'S face with cold water from a basin. Some of JOHNNY'S blood has mingled with the water. CHARLIE I'm surprised at you Tone. I mean you've had the place for over a year now. Nothing different. same old place. ordinary. flat. no imagination. TONY ignores CHARLIE's half - joking, drunken remarks. CHARLIE -LRB- CONTINUES. -RRB- For instance, the difference between me and you is this. you take that panther back there. I'd put him right up here above the bar. nice cage, you know? Nothing ordinary in my place. What good is it? You get robot customers. They come in, drink beer, go to the bathroom, and go home. No sir. One of the BOYS more casual acquaintances is lying on the bar, drunk. He begins to sing along with the Italian music - but very badly. CHARLIE See what I mean? -LRB- PAUSE. -RRB- A question please. ` Is this what you call living?' TONY -LRB- WEARILY. -RRB- ` Take a little tip from Mack the Knife.' JOHNNY BOY -LRB- INTERRUPTS. -RRB- Tony, break down and open another bottle willya'? A well dressed young boy enters the club. GEORGE, the bouncer, approaches him. GEORGE We're closed. BOY I'm just waiting for Joey. The BOY walks over to a bar stool and sits down. Nobody acknowledges his presence. Suddenly the DRUNK on the bar stops singing and sits up, dazed. His sudden silence causes CHARLIE and the others to look up at him. The DRUNK stares ahead for a minute. DRUNK -LRB- MUTTERS. -RRB- I. I got ta go to the bathroom. EVERYONE laughs. CHARLIE Well, go ahead, whaddaya want? Someone to hold it for you? More laughter. Even the BOY at the bar laughs. The DRUNK rises, still smiling and stumbles off to the mens room. The Big Bopper - `` Chantilly Lace'' in playing on the soundtrack. CHARLIE is playing with a deck of cards. CHARLIE -LRB- continuing previous conversation. -RRB- This place is dead. If I had a place. every night. lively. JOHNNY BOY is sipping his drink and ignoring the conversation. CHARLIE -LRB- CONTINUING. -RRB- And I would n't call it TONY'S PLACE or CHARLIE'S PLACE. -LRB- MORE CONFIDENTIALLY. -RRB- I'd call it something like SEASON OF THE WITCH. get it? TONY -LRB- QUIETLY. -RRB- You are with out a doubt the biggest, most pretentious bullshit thrower I know. Like to see what kind of business you'd do. CHARLIE Look who's talking. Pretentious bullshit. Who's the guy with William Blake and the tigers, eh? JOHNNY BOY Will you guys shut up with the witches and tigers. Tony, you gon na close the place, we get out of here, get something to eat, or what? TONY We'll close up as soon as everybody leaves. CHARLIE Do n't forget what's - his - name there in the bathroom. EVERYONE laughs. JIMMY is drawing on a table top. CHARLIE wanders over. JIMMY Wan na see your picture? CHARLIE leans over. OVERHEAD VIEW shows large crude swastika. JIMMY Waddaya think? CHARLIE Not quite. but keep trying. CHARLIE picks up the cards again. CHARLIE Let's have a game after we close. JOHNNY BOY Nah. CHARLIE C'mon Tony, waddaya say? TONY No. CHARLIE -LRB- ADDRESSING THE ENTIRE BAR. -RRB- Anybody wan na have a game? The people in the bar do not respond. CHARLIE shrugs. The BOY casually leaves the bar and walks to the men's room.\",\n \"INT. MENS ROOM - TONY'S PLACE - NIGHT The BOY slowly swings the door open and stares at the DRUNK leaning over the urinal, half asleep. He takes out his pistol and calmly shoots the DRUNK three times in the back. To the BOY's surprise the DRUNK does not immediately fall dead. Instead, he turns and grabs the BOY by the throat. They struggle in the open doorway.\",\n \"INT. BAR AREA - NIGHT The Italian music is still playing. Everyone in the bar has frozen in position as they watch the scene. In his astonishment CHARLIE allows the cards to fall from his hands. The YOUNG BOY breaks away from the DRUNK and runs towards the exit. The DRUNK, running only on sheet determination, stumbles along after the boy. The people in the bar, including CHARLIE, dash behind tables and jump behind the bar for cover.\",\n \"INT. TONY'S PLACE - STAIRWAY EXIT The BOY reaches the exit and fires at the DRUNK from the top of the stairs. The DRUNK still follows.\",\n \"EXT. STREET - NIGHT BLACK & WHITE The BOY runs down the street and disappears into the darkness. The DRUNK staggers out into hte cobblestone street. His mind is gone, it is now just a physical matter of the body being stopped by the presence of a stationary object. He staggers straight across the street at tremendous speed smashing directly into a parked car.\",\n \"EXT. TONY'S PLACE - BACK ENTRANCE - NIGHT BLACK & WHITE Everyone -LRB- including the two GAYS at the bar -RRB- is running out the back way. TONY Do n't run. do n't run. Everyone split up.\",\n \"EXT. STREET - NIGHT BLACK & WHITE MICHAEL and JIMMY turn the corner and calmly walk to his parked car. As they get into the car CHARLIE and JOHNNY BOY turn the corner. CHARLIE Michael, give us a lift. MICHAEL OK, get in. As they are getting into the car the two GAYS turn the corner. One of them, SAMMY, is very drunk and is crying hysterically. His companion BENTON is trying to calm him down when he notices MICHAEL. BENTON Michael. wait. It is obvious that MICHAEL does not want to take them but he is also afraid of attracting any attention so he quickly ushers them into the car. MICHAEL Get in, get in.\",\n \"INT. MICHAEL'S CAR - NIGHT BLACK & WHITE CHARLIE and JOHNNY BOY are in the back seat. SAMMY crawls over CHARLIE into the back seat making apologies. BENTON is forced into the front seat with MICHAEL and JIMMY. They drive off, with SAMMY crying. CHARLIE Oh Jesus Christ. what's this. BENTON Sammy get control of yourself. JOHNNY BOY Yes, you're gettin' it all over my tie. CHARLIE Should I slap him? SAMMY -LRB- suddenly in control. -RRB- You would n't dare. BENTON I'm terribly sorry guys. It's just that he was terribly frightened. MICHAEL Just keep him quiet. JOHNNY BOY Friends of yours Michael. MICHAEL Shut up. BENTON -LRB- sensing the hostility. -RRB- Oh. ah. I'm Benton and this is Sammy. CHARLIE I ca n't get over the way he just kept going at him. JOHNNY BOY Must have been all the liquor in him. MICHAEL -LRB- IN ITALIAN. -RRB- Quiet please. He returns to English. MICHAEL Where should I drop you Charlie? SAMMY -LRB- interrupting the conversation. -RRB- Yes Charlie, your place or mine. BENTON Sammy. CHARLIE Away from the neighborhood. SAMMY Oh Benton. look! SAMMY leans over JOHNNY and CHARLIE to see out the window. He begins to shout at a young boy on the street. SAMMY -LRB- CONTINUING. -RRB- Hi beautiful! I love you. CHARLIE and JOHNNY BOY hide their faces. MICHAEL Hey, shut up. CHARLIE Get him in. JOHNNY BOY What. are you kidding. BENTON Sammy, get in here this minute. SAMMY I wo n't. I wo n't! They're all beautiful. -LRB- SHOUTING. -RRB- I'll suck them all. I'll suck them all! CHARLIE and JOHNNY BOY groan. They are still hiding their faces. CHARLIE Disgraceful. MICHAEL Ok. that's it. He pulls the car over to the nearest corner. MICHAEL Out! CHARLIE C'mon Johnny. MICHAEL You getting out too? CHARLIE Yeah, thanks, it's ok.\",\n \"EXT. STREET - NIGHT BLACK & WHITE CHARLIE and JOHNNY BOY get out of the car first so that by the time BENTON and SAMMY are out they are already on their way down the street. MICHAEL drives away. SAMMY -LRB- SHOUTING. -RRB- Going our way? CHARLIE -LRB- to JOHNNY BOY. -RRB- Do n't answer. BENTON guides SAMMY the opposite way.\",\n \"EXT. NEIGHBORHOOD STREET - DAWN CHARLIE and JOHNNY BOY are walking down the street on their way home. JOHNNY BOY I do n't think I should go home looking like this. You think I could stay at your place tonight? Your mother's not there is she? CHARLIE No, she is n't. FLASHBACK\",\n \"INT. CHARLIE'S APARTMENT - DAY CHARLIE lives in a typical lower east side tenement apartment. Each room is painted a different pastel color. It is furnished in miscellaneous styles and from the pictures on the wall and various knick - knacks around the rooms it is evident that this is a family apartment rather than a bachelors pad. CHARLIE is helping his mother pack a suitcase. Through out the scene he is addressing her but she is never seen on CAMERA. The CAMERA PANS following his movements and CHARLIE directs his conversation always towards but above and beyond it. CHARLIE Listen, I'll be ok. it's the best thing. You're not going to be able to take care of Grandma out here and still get to work, you know that. -LRB- PAUSE. -RRB- Yes the place will be here, I'll take care of it. -LRB- PAUSE. -RRB- Yeah do n't worry about me, I'll take care of myself. -LRB- PAUSE. -RRB- He moves into the bedroom taking more items out of the drawers. The room is ver small. The paint if peeling. Over the double bed there is a large crucifix. CHARLIE -LRB- CONTINUED. -RRB- No. no parties. -LRB- PAUSE. -RRB- I'll eat. -LRB- PAUSE. -RRB- Mom, look, just do n't worry. ok? END FLASHBACK\",\n \"INT. CHARLIE'S MOTHER'S BEDROOM - MORNING CHARLIE and JOHNNY BOY are lying on CHARLIE'S MOTHER'S bed in their underwear. CHARLIE You'd better make a move kid. He thinks you're trying to screw him. JOHNNY BOY Would n't bother me. CHARLIE Yeah, big man. get yourself in more trouble. You make a fool out of him, you're doing the same to me. I signed for you do n't forget. JOHNNY BOY Do n't worry. I can handle it. CHARLIE You could n't handle shit. You just better come through with some kind of payment on Tuesday. anything. Understand? Hold onto your pay - check this week. JOHNNY BOY -LRB- LAUGHS. -RRB- There wo n't be any this week. CHARLIE What do you mean? JOHNNY BOY Did n't show up. CHARLIE You sick or what? You forget what we had to do to get you on the trucks, stupid? JOHNNY BOY I do n't like loading crates. CHARLIE You're not supposed to like it. What gets me is your attitude. Listen. tomorrow you show up. JOHNNY BOY What about your attitude. Where's your job. eh? You talk and talk and I go to work. what do you do? CHARLIE I'll tell you what I do n't do. I do n't owe anybody 2,000 clams plus interest, stupid. Show up or I break both your arms, we understand each other? JOHNNY BOY Ok, ok. take it easy. I'll show. Tuesday I'll give Michael something. I promise. CHARLIE Do n't promise. just deliver. JOHNNY BOY Ok, now that that's over with. what are you gon na make me for breakfast? CHARLIE I wo n't wait until Tuesday. I'll break your arms right now. JOHNNY BOY -LRB- rising from bed. -RRB- Listen. I'm a guest here. CHARLIE reaches out to grab him. JOHNNY BOY OK. ok. I'm going.\",\n \"INT. KITCHEN - CHARLIE'S APARTMENT JOHNNY is raiding the icebox. JOHNNY BOY Hey. you got nothing here. CHARLIE -LRB- from the other room. -RRB- I could have told you that. JOHNNY BOY We'll get some food from my aunt's. I'll get in through the fire escape. She's always got something. JOHNNY BOY leaves the kitchen and walks towards the bedroom.\",\n \"INT. CHARLIE'S MOTHER'S BEDROOM - MORNING CHARLIE Do n't do that. You'll scare Teresa if you try to sneak in. JOHNNY BOY is now by the window looking out at the fire escape mischieviously. JOHNNY BOY Yeah. you're right. Maybe she'll have a seizure and we can watch. He laughs. CHARLIE hits JOHNNY BOY on the back of the head. CHARLIE That's not funny. You gon na be a jerk - off all your life. Grow up. You want something to eat from your aunt's house you go knock on her door, understand? JOHNNY BOY I'm not hungry anymore. I'm going to bed. JOHNNY BOY gets into bed. CHARLIE goes into the kitchen to get a glass of milk.\",\n \"INT. KITCHEN - DAYBREAK CHARLIE takes a glass of milk from the icebox. He listens to the sounds of the neighborhood waking up and getting ready to go to work. He leaves the kitchen.\",\n \"INT. BEDROOM - CHARLIE'S APARTMENT - DAYBREAK CHARLIE returns to the bedroom. JOHNNY BOY appears to be asleep. CHARLIE goes to the window and peers through the blinds. He sees in the window across the fire escape. A SERIES OF DISSOLVES. TERESA is going through the various stages of getting dressed. TERESA RONCHALI is 30 years, well built, attractive and intelligent. She is well read and quiet. The salary she makes as a secretary in a book publishing firm practically supports her family. She has epilepsy which has prevented her -LRB- in her own mind -RRB- from entering into any serious relationships with men. She has however, been having an affair with CHARLIE for the past year. It is a well kept secret from both families because the families regard each other as blood relations. CHARLIE is startled by JOHNNY BOY who is now awake and has begun to dial the telephone. JOHNNY BOY -LRB- pretending to be angry. -RRB- Hello. fifth precinct? Yeah. I want to report a disturbance. Yeah this man and woman next door are disturbing the peace. They're keeping me awake all night now. What the hell is this. What? Well. yelling, fighting, throwing things. Uh - huh. If they do n't kill each other soon I'm goin' over there and do the job myself. Yes - the address is 270 Mott street. I think it's apartment 2 - r. Yeah, right. thanks. Look, I demand immediate action. Never mind my name I do n't like getting involved in things like this. He hangs up roughly and returns to his position in bed. CHARLIE shakes his head with an exasperated smile as if this was a common occurance. CHARLIE turns back to look at TERESA but she is no longer in her room.\",\n \"INT. TERESA'S BEDROOM CHARLIE is dreaming this sequence. He and TERESA are both nude. She is lying face down on the bed. He approached and ejaculates prematurely - However, he does n't ejaculate sperm - instead blood. They are shocked. The blood is on the bed, her legs, back, and his hands. Charlie cries out in pain.\",\n \"INT. HOTEL ROOM - MID-DAY CHARLIE and TERESA are in the hotel room making love. The sounds of traffic can be heard from the street below. They are getting dressed. TERESA I'd like to eat something before I go back to work. CHARLIE Ok, we'll go for lunch. TERESA Do you have enough? CHARLIE checks his wallet. CHARLIE Well. with the hotel that's ten. fifteen. TERESA Here. She hands him a few bills. He hesitates. TERESA Please take it. CHARLIE Well. TERESA I do n't mind. She puts the money into his hand. CHARLIE Sure. it's not that. I mean. TERESA -LRB- touching his face. -RRB- It's all right. CHARLIE Well, if things go the way I hope they'll go, this money business will take care of itself. -LRB- ASIDE. -RRB- God willing. TERESA An apartment uptown? Downtown? CHARLIE Maybe, who knows. TERESA -LRB- SEARCHINGLY. -RRB- Charlie? CHARLIE Nobody knows anything, believe me. She kisses him gently. TERESA is putting on her stockings. A few minutes have passed. CHARLIE See if you can get your hands on some pamphlets on laws or by laws. or proprietorship. you know. at your place. TERESA Anything specific? CHARLIE You know. like restaurants, night clubs. TERESA -LRB- AFFECTIONATELY. -RRB- What is it now? CHARLIE Do n't ask. He gives her a quick kiss on the tip of her nose. TERESA Alright. Hey, did you hear any more about what happened last night? CHARLIE Did you? TERESA No. CHARLIE CHRIST, you should have seen it. Unbelievable. The kid would turn around and fire and he would just keep coming at him like Rasputin. That kid was scared. Not half as much as we were though. TERESA It does n't make any sense. He would n't shoot him just because he insulted a racket guy. not unless it was personal. CHARLIE You missed the point. The kid's a climber. not very bright. but if you get down to his level to look at it his way ; he kills a guy who insulted a big man - he gets a reputation. He thinks he's in good standing. TERESA It's still sick. CHARLIE Not sick. just stupid. Speaking of stupid, your cousin last night was feeling so good he decided to break into your mother's house. to get some food. TERESA laughs at this story but her mood changes suddenly. TERESA You're sure he does n't know. He takes her in his arms. CHARLIE Do n't worry.\",\n \"INT. HOTEL - BATHROOM - MID-DAY CHARLIE enters the bathroom to clean - up. He stares at his image in the mirror for a moment, then makes a face. He checks the whiteness of his teeth, pulls back his hair, and checks his complexion. The mirror image begins to speak. The CAMERA PANS BACK to CHARLIE'S FACE. His mouth is not moving. CHARLIE -LRB- CONFESSION. -RRB- Do n't look at me like that, I can see this is not going to get us anywhere. She's a good kid, what am I supposed to do. In a way I'm doing her a favor. no? How many guys you know feel this way about an epileptic? Do n't get me wrong, I'm no saint. not yet. The image of CHARLIE in the bathroom intercuts with stills from Catholic School text books - vulgar color illustrations of parables - emphasis on Christ expelling the devils from the posessed women. CHARLIE -LRB- CONTINUING. -RRB- But I'm not like the Pharisee who said `` Oh God I thank thee that I am not like the rest of them.'' no. I like to think of myself as the Publican. He strikes his breast penitently as he delivers the next line. CHARLIE ` Oh God be merciful to me the sinner!' I'm not taking advantage of her. I swear to you that if she meets someone she'd like to marry. Back to CHARLIE in sync. CHARLIE -LRB- CONTINUED. -RRB-. I'll cut out. `` If Thy eye is an occasion of sin to thee. Stills of girls, sexy pornographic nude magazine spreads. CHARLIE pluck it out and cast it from thee.'' `` Woe to the man through whom scandal does come.'' I'm sure you'd agree this is no time to get tied down. Like the priesthood. Textbook illustration of vocations. CHARLIE they do n't get tied down do they? `` Have I not a right to do what I chose? Even so the last shall be first and the. CHARLIE in sync. CHARLIE first last. For many are called but few are chosen.''\",\n \"INT. RESTAURANT - MID-DAY CHARLIE is sitting in a quiet corner of the restaurant. This restaurant was considered an above average business with quality and prices to match when it was first opened three years ago. The quality has diminished but the prices remain the same. As a result the place is dying. CHARLIE is scrutinizing the restaurant from his corner. He picks up a water goblet and critically examines the water spots on it. He calls a waitress to show her the dirt on the glass. She apologizes, cleans it with her apron, and places it back on the table. He takes a menu. A chubby, middle - aged man, OSCAR, approaches the table. He is half owner of the decaying restaurant. He is in his shirt sleeves which, along with the side of his face, are smeared with grease and dirt. He is tired and disgusted. OSCAR -LRB- with a slight Jewish accent. -RRB- Hey. you're here. They told me you're here. and you're here. How are you? CHARLIE Ok, how's everything going? OSCAR sits down next to CHARLIE. OSCAR Do n't ask. do you have any idea what I've been doing all morning. eh? CHARLIE No. OSCAR I was in the basement fixing the pipes. Would you believe that? CHARLIE -LRB- LAUGHING. -RRB- What pipes? OSCAR -LRB- MIMICKING. -RRB- What pipes. the ones from last year. those pipes. CHARLIE shakes his head in sympathy. OSCAR Look Charlie, you're a good boy. Will you just tell your uncle that I have nothing. There is nothing to give him. No envelopes with cash inside, no checks, nothing. CHARLIE That bad, huh? OSCAR I ca n't make this week's payment and if this keeps up not next week's either. CHARLIE Not next week's either. listen. you tell that to Giovanni, not me. OSCAR Listen, I should wrap up this place in a ribbon and hand it to him, you know that. I do n't need this aggravation. I'm getting old. CHARLIE He'd rather have the loan payed, you know that. OSCAR Your Uncle's a good man. I wo n't stick him. Either he gets the money or the place and right now he's getting the place. And tell me why should I care? I got a partner who's a bum, who does n't help out. who disappears and leaves me with all the problems. I should go back to Florida. I do n't need this. CHARLIE I do n't understand, where's Groppi? OSCAR I should know? His wife do n't even know. Probably off with one of his little girls. I do n't know. I tell you, if he do n't give a damn, then I do n't give a damn. Why should I kill myself? CHARLIE My uncle figured that this week was bad. but about next week. I dunno. Maybe you should speak to him yourself. OSCAR What can I say?\",\n \"EXT. STREET - DAY CHARLIE is walking down the street on the lower east side. A noisy religious street festival is being held on the block.\",\n \"INT. SMALL ITALIAN CAFE - DAY CHARLIE enters a small Italian cafe and nods greetings to some of the people as he makes his way to the back of the room. This cafe is a strange hybred of coffee house, candy store, luncheonette, and meeting place for CHARLIE'S uncle GIOVANNI and his associates. GIOVANNI De STEFANO is sixty. He is well respected and powerful both in and out of the neighborhood. He became a head figure not by being introduced formally as was the custom, but rather by fighting and killing his way into the organization. GIOVANNI is well dressed but not a stereotype of an old Mafioso, rather a kindly and intelligent old man. GIOVANNI converses intermittently in Italian. A man is putting new records into the jukebox which is in the corner of the room in the luncheonette area. CHARLIE -LRB- to repair man. -RRB- Is my uncle back there? CHARLIE points in the direction of a doorway. REPAIR MAN Yeah, but I think he's busy now. Hey Charlie play 463 today - for sure. CHARLIE Thanks! CHARLIE walks through the luncheonette area, past the dining room where his uncle is in conference, to the bathroom at the very back of the cafe. MARIO is seated with his uncle. MARIO is forty five years old. He is GIOVANNI'S closest associate, brought into the organization in the traditional manner, making his early reputation through hits -LRB- murders -RRB-. He is not very intelligent but has an undying loyalty to GIOVANNI, and is very fond of CHARLIE. MARIO and GIOVANNI are seated with a very old man. They are deep in their private conversation. CHARLIE passes by unnoticed and walks into the bathroom. CHARLIE begins to wash his hands but changes his mind. He shuts off the faucet in order to eavesdrop on the conversation.\",\n \"INT. DINING ROOM - DAY GIOVANNI and MARIO are calmly sipping their coffee as they listen to the old man's nervous talk. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- What I'm telling you is that he did it for Mario's honor. MARIO But you do n't understand. I knew the kid. He was drunk. He made of fool of himself. not me. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- Giovanni - an insult to Mario is an insult to you. MARIO There was no insult. OLD MAN -LRB- in Italian with ENGLISH TITLES. -RRB- The boy only did what was right. GIOVANNI Your son only did what was stupid. We have enough down here without something like that. And what for? Nothing. no reason. Protect him? Why? I did n't tell him to do anything for me. He's going to Miami? Good. keep him in Miami for six months. a year. a good long time. After everything's forgotten then I see what I can do for him. Right now. keep him away.\",\n \"INT. LUNCHEONETTE AREA - DAY CHARLIE is seated at a table. The waitress, MARIE, approaches and gives him his cup of coffee. The following scene is reminiscent of a TELEVISION COMMERCIAL. CHARLIE Marie, are there Columbian coffee beans in this coffee? MARIE I dunno. CHARLIE Just a second. Let me taste it. He pauses to sip the coffee, then shakes his head. CHARLIE Yes, I'd say there are some Columbian coffee beans in this coffee, but only about 39 %. MARIE is disinterested. CHARLIE continues. CHARLIE You see. You probably do n't notice this Marie, but Colombian coffee beans are rich coffee beans. Bursting with that good, deep coffee flavor. Picked when they are ripe to the point of perfection. The beans of course, are protected by the tall South American Guama trees. MARIE chews her gum for a moment and leaves the table. CHARLIE'S monologue continues and gradually he falls back into his CONFESSION. As he talks, the CAMERA PICKS UP DETAILS of the cafe and the people in it. CHARLIE Then the bean pickers come down and pick each bean by hand. Bean by bean, all heavy with flavor. And they load them into boxes, one box at a time, box by box. From time to time CHARLIE is casually glancing at MARIE who is busy with her work. BLACK & WHITE & COLOR The images now move out of the cafe and the CAMERA REVEALS aspects of the neighborhood - LIVE ACTION and STILLS : stores, people, streets, buildings, in short ; a concise vision of the neighborhood. All this is intercut with CHARLIE mentally stripping MARIE's clothes off with his eyes. CHARLIE -LRB- CONTINUED. -RRB- Like, looking at my uncle back there. One way is the obvious ;. man outside the law. On the other hand, instead of a breakdown of order there is a creation of order and instead of the breakdown of law, there is the creation of law. In this society which needs new law because ` What's a crowbar compared to a share of stock. What's the robbing of a bank compared to the founding of one and what's the murder of a man to the gainful employment of that man.' ` Do not think that I have come to destroy the Law or the Prophets. I have not come to destroy but to fulfill.'. Amen. The image culminate in aerial shots of downtown New York City. -LRB- STOCK FOOTAGE -RRB- CHARLIE now sees MARIE totally naked as she serves the customers.\",\n \"INT. DINING ROOM - DAY GIOVANNI and CHARLIE are standing and talking. CHARLIE Uncle, how are you feeling? GIOVANNI Fine. Did you have a good time last night? CHARLIE -LRB- QUIETLY. -RRB- About that shooting last night. I was there and. GIOVANNI No you were n't. CHARLIE is struck silent for a moment. He listens. CHARLIE -LRB- EMBARRASSED. -RRB- You're right uncle. I must have gotten it confused with something else. GIOVANNI Yes, you did. CHARLIE and GIOVANNI are now sitting at a table. CHARLIE About Oscar. I think he put on this act. about the restaurant being in bad shape and all that. He ca n't make the payments. I do n't know what to make of it. He says Groppi's run off with a girl. I could help if you want. GIOVANNI No. his business is bad. But I'll decide what to do and you. and you just keep out of anything that might. might. er draw attention to you. CHARLIE Yes. I understand. I'll be careful.\",\n \"EXT. BEACH - HAMPTONS - DAY CHARLIE and TERESA are sitting on the beach which is fairly deserted. There are rented cottages behind them. TERESA has a book and some papers from which she is supposed to write a term paper for CHARLIE'S English class. TERESA C'mon Charlie. one more day. I'll call in sick for work. CHARLIE No. we can come back in a couple of weeks. Besides, if we're both gone for three days it would n't look right. TERESA Ok. CHARLIE picks up a copy of Henry James' Portrait of a Lady and tries to read it. He tosses it aside. CHARLIE Bore. TERESA A paper on that one too? CHARLIE Yeah. but do n't worry about that now. The Hemmingway one is first. TERESA It was nothing. I'm almost finished. CHARLIE Take your time. I do n't care. TERESA I know you do n't. You've been very preoccupied lately. CHARLIE That's the word. preoccupied. CHARLIE turns towards TERESA and tries to kiss her. She playfully turns away. But CHARLIE quickly gets bored with that and does n't pursue her. She is confused by his actions. CHARLIE Let's go back inside. CHARLIE and TERESA already farther up the beach, walking. They notice a very beautiful house with limousines parked in front of it. CHARLIE See that. know who lives there? The name George Earhardt mean anything to you? TERESA Sure. He lives there? CHARLIE No. Of course he lives there. Would I point it out to you if he did n't? The house is seen from a great distance. CHARLIE'S VIEWPOINT. There is great activity. all with a very businesslike air. CHARLIE That W.A.S.P. bastard. TERESA You're intolerable today. CHARLIE Watch your language. They arrive at the cottage.\",\n \"INT. HAMPTONS COTTAGE - DAY CHARLIE and TERESA are coming in, putting down the books and papers. TERESA I like it here. alone. She caresses CHARLIE. He is still preoccupied. TERESA I'm going to take that apartment uptown. CHARLIE Uhuh. probably a good idea. Why do n't you do it this time? TERESA You know why. with my parents. CHARLIE Well you ca n't blame them in a way. TERESA -LRB- pulling away from him. -RRB- I can take care of myself. You know that. CHARLIE I know. I know. They embrace. FLASHBACK\",\n \"INT. HOSPITAL ROOM CHARLIE'S father is the patient in the bed. The visitors surrounding the bed are CHARLIE'S mother, TERESA, and TERESA'S mother. The CAMERA MOVES IN CLOSER AS WE HEAR the sounds of mechanical voices coming from the T.V. sets in the lobby. TERESA'S mother leans over and whispers into CHARLIE'S father's ear. TERESA'S MOTHER Turridu. that's your boy Charles. Do n't you know him. Is n't that Charles? There is no answer. CHARLIE is embarrassed. TERESA'S MOTHER asks again. TERESA'S MOTHER -LRB- CONTINUED. -RRB- Who is that? CHARLIE'S FATHER Che Guevara. CHARLIE does n't know how to react. TERESA'S MOTHER looks up with a half smile in disbelief. The other Visitors give off a small ripple of nervous laughter, repeating it. in whispers. CHARLIE looks about nervously. Through the door of the hospital room can be seen several of the older patients gathered around a T.V. in the hallway. They are watching the races, the announcer's voice is blaring almost incomprehensibly.\",\n \"INT. HAMPTONS COTTAGE - DAY TERESA and CHARLIE make love. CHARLIE is getting dressed. TERESA is wrapped warmly in the sheets - still in bed. CHARLIE He must have heard the name from those T.V.'s in the hall that were blaring all the time. I remember GUEVARA was in town at the time. Must've heard it from there I guess. but that's funny, is n't it? TERESA Ummmmmmmmmmmmm. CHARLIE Of all people. Now say the truth. Do I look like Che Guevara. C'mon. They laugh. He crosses to TERESA and they kiss. TERESA I'm sleepy. CHARLIE You've been running round too much. Bet you've been forgetting your medicine. TERESA The green capsules in the top drawer. CHARLIE gets her the pills and heads out of the cottage for a walk.\",\n \"EXT. ROADWAY - HAMPTONS - DAY CHARLIE is walking along the roadway and looking at the different cottages. He is carrying a notebook to which he periodically refers. He stops in front of a luxurious cottage and checks the address on the signpost with the one in his notebook beside which is listed the name GROPPI. He remains standing at a safe distance from the cottage staring at it. It looks deserted. FANTASY\",\n \"EXT. ROADWAY IN FRONT OF COTTAGE - DAY CHARLIE walks directly to the front door of the cottage and rings the bell confidently. The door is opened immediately which startles him. From inside the house we see GROPPI'S back as he holds the door open. He is in a satin robe. We can see CHARLIE'S startled face through the partially opened door. GROPPI What do you want kid? At that moment a nude girl, her back to the CAMERA appears in the FOREGROUND. This startles CHARLIE even more. GROPPI What do you want? well? CHARLIE I. I'm selling encyclopedias. er a magazines. newspapers. I'm conducting a survey. I. GROPPI We do n't want no fuckin' books! GROPPI slams the door in CHARLIE'S face. REALITY\",\n \"EXT. ROADWAY IN FRONT OF COTTAGE - DAY CHARLIE is still standing in front of the cottage. Suddenly a little boy of about nine appears. BOY There's nobody here mister. CHARLIE turns in surprise. CHARLIE Is n't this Jack Groppi's place? BOY Yeah. But he ai n't here now. CHARLIE Know where he is? BOY Follow me. The BOY leads him towards a heavily overgrown treed area. CHARLIE How much farther? CHARLIE repeats this question periodically as he follows the BOY. Finally CHARLIE finds himself alone in the middle of a dense forest with the BOY nowhere in sight. He calls out but there is no answer. He realizes he's been had. CHARLIE -LRB- CONFESSION. -RRB- Now, do n't get excited. CHARLIE is trying to find his way out of the forest. CHARLIE -LRB- CONTINUED. -RRB- ` The stone which the builders' reject will become the cornerstone'. I think.\",\n \"INT. ITALIAN CAFE - DAY A loud brass band is playing `` Oh Johnny, Oh Johnny, How You Can Love'' inside the cafe. They are part of a religious festival and GIOVANNI has invited them in for drinks. In return they are playing for him. GIOVANNI has been drinking. The song ends. GIOVANNI Play it again! Everyone laughs and joins in. EVERYONE One more time. play it again. The band begins the song for the second time. CHARLIE enters the cafe and goes directly to his uncle who embraces him. GIOVANNI -LRB- SHOUTING BOISTEROUSLY over the music. -RRB- Take a drink! CHARLIE -LRB- SHOUTING. -RRB- Ok. CHARLIE sits next to his uncle and looks around at the crowd in the cafe which is now singing along with the band. GIOVANNI is smiling broadly. Loud applause follow the end of the song and the band tries clumsily to make its way through the crowd and out of the cafe. GIOVANNI Hey, where you been? CHARLIE -LRB- SMILING NERVOUSLY. -RRB- Oh. around. why? GIOVANNI -LRB- LEANING CLOSER. -RRB- You heard what happened to GROPPI, eh? CHARLIE gets very nervous at the mention of GROPPI'S name. CHARLIE -LRB- INNOCENTLY. -RRB- Who me? No, I do n't know, not me. all I know is. GIOVANNI -LRB- cuts CHARLIE off with a gesture of his forefinger. -RRB- Our friend, Groppi, went to his mother's house. And when he was there. at night. DARKENED ROOM - NIGHT An old woman is sitting in front of the television watching JOHNNY CARSON'S TONIGHT SHOW. GIOVANNI -LRB- continues in voice over. -RRB-. he walks into his mother's room where she's watching television. and he says to her. GROPPI has entered the room with his back to the camera. GIOVANNI that he's sorry. GROPPI leaves the frame. The old woman looks up from the television. OLD WOMAN It's all right. WE SEE GROPPI walking towards the bathroom. GIOVANNI -LRB- voice over continued. -RRB-. he goes in the next room. GROPPI TURNS ON the bathroom light. GIOVANNI -LRB- voice over continued. -RRB-. he takes a gun and puts it in his mouth and. GROPPI stands with the gun in his hand. He lifts it to his head. He puts the barrel into his mouth. He pulls the trigger. FAST FADE TO WHITE\",\n \"INT. ITALIAN CAFE - DAY GIOVANNI -LRB- with an Italian hand gesture. -RRB-. so. CHARLIE is visibly shocked. GIOVANNI -LRB- SMILING. -RRB- How do you like that, eh? He was always a little crazy, y' know. Groppi. a little crazy. CHARLIE looks up to see MICHAEL, standing at the entrance of the cafe. He waves to CHARLIE in a friendly manner. CHARLIE waves back and GIOVANNI looks up, squinting to see who it is. MICHAEL does not approach the table. In respect to GIOVANNI he signals to CHARLIE that he would like to see him outside. CHARLIE -LRB- GRUDGINGLY. -RRB- Not now. in a few minutes. ok? MICHAEL is surprised at being spoken to in such a curt manner, especially in GIOVANNI'S presence because he feels he has lost status. CHARLIE and GIOVANNI continue their conversation.\",\n \"EXT. STREET CORNER - NEAR CAFE - DAY MICHAEL I gave him all the breaks I can give. CHARLIE Oh Michael, look. MICHAEL Nevamind ` look'. This punk bastard. I call him at work. I say ` Johnny Boy there?'. He does n't even show up for work anymore. CHARLIE Look. I've talked to him and I've talked to him. what more can I do? Tonight at the party all three of us get together and we knock some sense into his head. ok? MICHAEL All right. but understand, I do n't like being taken advantage of. I mean you're in there talking with your uncle and all. This is embarassing. CHARLIE We'll settle it tonight. Two YOUNG BOYS about 15 years old walk up to CHARLIE. BOY #1 Hey, you sell firecrackers? CHARLIE Firecrackers! No. no. BOY #1 You know where we can get some? CHARLIE Sure, see that guy over there. He points to MICHAEL. CHARLIE -LRB- CONTINUING. -RRB-. him. He's got the best. The BOYS go over to MICHAEL. BOY #1 Hey - fella. you sell firecrackers? MICHAEL Sssh! Quiet. -LRB- He looks around. -RRB- Y' know that's illegal. BOY #2 Well the guy over there said. MICHAEL -LRB- INTERRUPTING. -RRB- Yeah, yeah, never mind. You got ta be careful. BOY #1 We went down to Chinatown but they do n't have any. MICHAEL Yeah, well, keep away from those Chinx. They do n't have shit. BOY #2 Well, we got $ 40, and we wan na buy. MICHAEL -LRB- INTERRUPTING. -RRB- All right! Quiet! For $ 40 I could give you. BOY #1 Well, I do n't know if we want to buy all $ 40 worth. MICHAEL Hey! You want good stuff, or you want shit? BOY #2 Well, we want good stuff. MICHAEL Well, my stuff comes from Maryland. you know what that means? BOY #1 No. MICHAEL That means it's good. BOY #1 You got sparklers? MICHAEL Yeah. BOY #2 And cherry bombs. ash cans. and rockets? MICHAEL Ok. For another $ 5.00 a special on the packs. BOY #1 No, all we got is $ 40. MICHAEL You sure? BOYS Yeah. MICHAEL Ok. Wait here. MICHAEL goes to TONY, who has been standing in front of the cafe with a group of boys. They talk for a minute, and go back to the waiting boys. MICHAEL -LRB- to the boys. -RRB- C'mon. Get in the car. The four of them get into TONY'S car. They drive to CHINATOWN.\",\n \"EXT. CHINATOWN - DAY IN TONY'S CAR MICHAEL Ok, you guys get out, and wait here for me. BOYS Why? MICHAEL I got ta get the stuff. BOYS Ca n't we come with you? MICHAEL Nobody sees where I get the stuff. That's good business. I'll be back in thirty minutes. They start to get out. MICHAEL Hey hold it! Gimmie the cash. BOYS Uh. can we give you a check? MICHAEL A check? What the. hey, where you kids from? BOY #1 Riverdale. MICHAEL -LRB- CONTEMPTUOSLY. -RRB- Well, maybe they do that in Riverdale, but down here we take cash. Now, you got it or not? They give him the money. MICHAEL Ok. Now wait here. and keep your mouths shut! The car pulls away. TONY How much? MICHAEL Not bad. $ 20. Here, $ 5. TONY Can you spare it? MICHAEL Sure. TONY -LRB- SARCASTICALLY. -RRB- Thanks.\",\n \"EXT. LOWER EAST SIDE - DAY The car pulls up at TONY'S PLACE. TONY yells to CHARLIE, who is standing outside. TONY Hey Charlie. Get in. CHARLIE gets in. CHARLIE What's a ` matter? MICHAEL Nothin'. Just stiffed those kids. Do n't want'em comin' back and findin' you. start asking you questions. CHARLIE How much? MICHAEL $ 20. CHARLIE Let's go to the movies. on you. TONY Yeah. MICHAEL Ok guys. have a heart. This is my business. BLACK & WHITE\",\n \"EXT. NIGHT - IN FRONT OF MOVIE THEATER The boys are paying for their tickets.\",\n \"INT. MOVIE THEATER - NIGHT DONOVAN'S REEF is showing. We see a brief scene from the film which has JOHN WAYNE fighting LEE MARVIN in a big bar - room brawl. The boys smile and watch.\",\n \"EXT. CHINATOWN - NIGHT BLACK & WHITE The two boys from Riverdale are still watching on the corner, in the dark.\",\n \"INT. CHARLIE'S APARTMENT - DAY CHARLIE is at home shaving. CHARLIE -LRB- CONFESSION. -RRB- You know damn well what's going to happen tonight. I'll probably get drunk at that party. it is n't every day you send one of your best friends off to war for God and country. got ta have a party. I mean, he's a nice kid. CHARLIE is gluing on a fake beard. CHARLIE -LRB- VOICE OVER. -RRB- I do n't know what You think of him but that's between You and him anyway. I ca n't help feeling sorry for him though. Has a talent but does n't use it. His brain. An ` Unprofitable servant who shall be cast forth into the darkness outside, where there will be. Television image of old women mourning their dead in India. The images are slow motion. The news continues with more trivial news images. -LRB- Washington investigations, demonstrations, etc. -RRB- CHARLIE -LRB- continued voice over. -RRB-. the weeping and the gnashing of teeth'. or something like that. My talent's my brain too but I use my talent. I'm not saying that I'm a genius. You'll probably be the first one to agree on that, but I can tell the difference between the intelligent and the stupid. Take the army for example. CHARLIE grabbing a white robe off his bed. We do n't see his face. CHARLIE -LRB- continued voice over. -RRB- That's there and I'm here and that's the way it's going to stay!\",\n \"INT. WEST SIDE TENEMENT APARTMENT BATHROOM - NIGHT TONY enters the bathroom, turns on the light and locks the door. Party noises can be heard in the background TONY is wearing an overcoat and is dressed as a World War I `` dough boy''. Atop his head is a mask, the features of which ca n't be seen. He opens the coat to reveal twenty packets of red Jello. He turns on the hot water in the bathtub and slowly begins to empty each packet of Jello into the tub of steaming water. LIVING ROOM & KITCHENETTE - PARTY - NIGHT Most of the characters that were at the club the other night are present at the party. Many of them are dressed in semi - masquerade outfits. Some are wearing soldiers' uniforms. One wears a sheet made up to be a Roman Toga. The girls are in costumes also. All of the costumes are makeshift. MICHAEL is made up as Dracula, sporting a large cape, semi tuxedo - type suit, and a drop of blood on the corner of his mouth. His hair is slicked back to give him a `` Bela Lugosi'' look. He is showing a picture of a girl to one of the boys, proudly proclaiming that she is his latest conquest. TONY comes out of the bathroom and passes by. He takes the photo from MICHAEL. Group attention focuses on TONY now. He stares at the picture, holds it away from him, then closer to his face, then sideways and finally upside - down. TERESA Oh sure! I know her Michael. In fact, I saw her a few days ago under a bridge in Jersey, making out with a nigger. MICHAEL grimaces in shock. He spits. MICHAEL You sure? a nigger. Uh! and I kissed her. He wipes his lips with his cape. The guest of honor, the young soldier is very drunk. He is attempting to open his going away presents, one of which turns out to be a carefully folded American flag. He attempts to open it with one great flourish. He fails however, knocking over the glasses on the table. The group applauds. Suddenly, the doorbell rings and everyone looks up. The door opens and CHARLIE appears, arms outstretched, dressed as the ressurected Christ - with white robes, fake beard and hair, and artificial wounds. His arms stretch out wider. The initial shock wears off and TONY greets him. TONY -LRB- SMILING. -RRB- Hallelujah! CHARLIE enters in mock holiness. CHARLIE I have come to create order. Scotch and water please. They all laugh. The rock music blares as CHARLIE walks to and fro blessing all in the room. TONY is delighted with the scene. CHARLIE sits at the kitchen table, TONY opposite him, and the others gather around. The party is getting noisier. TONY gives CHARLIE a glass of ice cubes. CHARLIE plays the part of a priest, during the Mass when the chalice is filled with wine and water, TONY pours the scotch over his fingers first. CHARLIE lifts his hands to touch the bottle as a priest would. He signifies that there is enough in the glass. TONY then repeats the same ritual with a bottle of soda - water. CHARLIE May God be with you. TONY ` And with your spirit.' CHARLIE -LRB- gesturing with his drink. -RRB- Salute! Everyone drinks after repeating the toast. The crowd around them begins to break up as CHARLIE and TONY begin to have fun with each other. TONY pulls down his mask, revealing a skeleton death face which covers his own face except for his mouth. It completes the Dough - boy uniform quite well. TONY -LRB- taking on the guise of an interviewer. -RRB- ` Art thou the King of the Jews'? CHARLIE ` Dost thou say this of thyself, or have others told thee of me?' TONY ` Am I a Jew? Thy own people and the chief priests have delivered thee to me. What hast thou done?' MICHAEL and a few of the others gather around again as they continue. CHARLIE ` My kingdom is not of this world. If my kingdom were of this world my followers would have fought that I might not be delivered to the Jews. But, as it is my kingdom is not from here.' TONY ` Thou art then a king?' CHARLIE ` Thou sayest it ; I am a king. This is why I was born and why I have come into this world, to bear witness to the truth. Everyone who is of the truth hears my voice.' TONY leans over towards CHARLIE. TONY ` What is the truth?' The others around them give mock applause. TONY smiles and nods his head to them. CHARLIE laughs. They drink. Someone hits CHARLIE on the back of the head. CHARLIE startled, looks up. TONY Prophesy to us, oh Christ! Who is it that struck thee? CHARLIE I do n't know, but God help him if he does it again! They all laugh.\",\n \"INT. SAME APARTMENT - NEXT ROOM - NIGHT CHARLIE is talking to MICHAEL. The conversation is serious. CHARLIE has not lost his sense of humor. CHARLIE He said he'd be here. MICHAEL Well, he is n't. Nice. real nice. CHARLIE He'll be here. Look, take this for now. He hands MICHAEL a twenty dollar bill from under his robe. MICHAEL You kiddin. The way it is now this is n't even interest for two hours. CHARLIE -LRB- putting the bill back into his pocket. -RRB- How much was the original loan again? MICHAEL $ 500. He borrowed that because he wanted to pay off his other loans. now, counting the interest. it's almost $ 3,000. CHARLIE $ 3,000. Shit! Can we hold it at $ 3,000? MICHAEL Charlie, this is business. CHARLIE -LRB- avoiding the issue. -RRB- ` But I say to you, love your enemies, do good to those who hate you, and pray for those who persecute.' MICHAEL I'll tell you who you can pray for. Next payday, I'll be at Tony's Place. Johnny better show or I find him and break his legs. and I mean it. CHARLIE -LRB- in the same manner. -RRB- ` But I say to you not to resist the evildoer ; on the contrary, if someone takes thy tunic, let him take thy cloak as well. to him who asks of thee, give ; and from him who would borrow of thee do not turn away! MICHAEL -LRB- EXASPERATED. -RRB- He could at least show some respect and show his face, even if he does n't have the money. CHARLIE -LRB- more serious now. -RRB- ` Amen I say to thee, thou wilt not come out from it until thou hast paid the last penny.' MICHAEL You said it. A loud scream is heard from the bathroom. APARTMENT - BATHROOM - NIGHT Someone shoved a nude girl into the bathtub which is now filled with congealed red jello. The boys are laughing and shoving each other about roughly. CHARLIE comes out of the next room and walks along in a Christ like manner through the madness, his arms outstretched. One boy kneels and kisses the hem of his robe and CHARLIE blesses him. There is a great deal of pushing and shoving going on inside the bathroom and near the doorway. CHARLIE promises to save the sinner as he pushes his way through. He helps the girl remove the jello from her body and helps her out of the bathtub. It is obvious that she is quite stoned. She caresses him and they find themselves kissing. The others storm into the bathroom and grab CHARLIE. EVERYONE Blasphemy! The anti - Christ! Crucify him! They drag CHARLIE into the next room where, amidst all the shouting and laughing, the other members of the party are placing firecrackers on model airplanes, simulating their own `` dog fight''. They are flying the planes out the open window. CHARLIE takes everything in stride trying to shout a few lines over their laughter. CHARLIE ` Father. forgive them. for they know not. what they do.' The doorbell rings and TONY answers it. It is TERESA and she looks very worried. TERESA Charlie? Charlie here? BLACK & WHITE\",\n \"EXT. STREET - NIGHT CHARLIE and TERESA dash from a tenement doorway. CHARLIE is still in beard and wig but his robes are open so they give the effect of being a bulky overcoat. TERESA -LRB- FRANTICALLY. -RRB- The building on the corner. That one! He's been on the roof a half hour now! CHARLIE Now do n't get excited. Do n't get excited! It is very late and the streets are deserted. At the corner of the building in question, a few of JOHNNY BOY'S friends cling to the wall for safety. When they see CHARLIE and TERESA they call out. FRIENDS Charlie, stay there. He's crazy. He's got a 22. TERESA gets up against a wall. CHARLIE sends her down the block and she leaves reluctantly. CHARLIE Johnny it's me, Charlie. JOHNNY BOY can now be seen silhouetted against the moonlight on the tenement roof. He has a gun in his hand. JOHNNY BOY Do n't come any closer! CHARLIE Cut it out stupid. It's me. JOHNNY BOY fires a shot into the air. CHARLIE clings to the wall with the others. A moment later he makes a quick run for the doorway of the building across the street. He enters the building that leads to the roof. BLACK & WHITE\",\n \"EXT. TENEMENT ROOF - NIGHT CHARLIE has reached the roof. JOHNNY BOY Charlie. pssst. Over here. He laughs with glee. CHARLIE What are you. crazy? He slaps JOHNNY BOY on the back of the head. JOHNNY BOY Hey. do n't do that. I'm only scaring them. CHARLIE Stupid bastard. you get your cousin half - sick over this. The boys below are still clinging to the walls of the building. JOHNNY is oblivious to CHARLIE'S statement. JOHNNY BOY Watch this. He takes out a home made firecracker consisting of glass cigar tubing filled with gunpowder and a waxed fuse stick through the top layer of cork. He lights it. CHARLIE What the fuck. JOHNNY BOY tosses it over the building and it blows up in mid - air. The boys below rush madly away. Lights go on in the tenements around them. The explosion was quite loud. CHARLIE Let's get out of here. JOHNNY BOY -LRB- LAUGHING. -RRB- Did you see them run! BLACK & WHITE\",\n \"EXT. CEMETARY - NIGHT CHARLIE and JOHNNY BOY are sneaking over a fence in an old cemetary which is part of their neighborhood. It surrounds their church and dates back to the beginning of the 19th century. No one is buried there any longer. It is very quiet and dark. They sit and rest. CHARLIE is still in his makeup. JOHNNY BOY I swear to God Charlie. my arm still hurts from the car accident. that's why I did n't go to work. I swear it. CHARLIE -LRB- ANGRY. -RRB- That's not going to help. JOHNNY BOY I'm going to work this week. I mean it. CHARLIE It's impossible for you to catch up on the loan now. the interest is going up. $ 3,000. do you realize that, flash? JOHNNY BOY I'm sorry Charlie. I did n't mean it. CHARLIE Big deal. in the meantime, it's done. I'll still try to help you out. You know that. but you got ta show some effort. some respect. understand? JOHNNY BOY Charlie, you know the best way to take care of this whole mess. CHARLIE How? JOHNNY BOY -LRB- COAXING. -RRB- If you had a little talk with your uncle. if anybody can do it, he can. CHARLIE That'll help you out fine. That's the best way for you, not for me! I swear to God, I'll rip you open if my uncle ever hears a word about this. You understand? I do n't care what happens, he does n't find out. I do n't get involved with anything, you understand that? Nothing! I'm clean as far as you know. right? JOHNNY BOY Yeah, take it easy. Will you relax. CHARLIE That's what I get for getting involved. Look, on pay - day at least show up at Tony's Place to meet him, ok? This way he does n't think that you're trying to screw him. If you show good faith and save his face maybe we can talk and he'll take off the interest or make different payment arrangements or something. understand? I'm not asking I'm telling you! JOHNNY BOY I understand. JOHNNY BOY closes his eyes. CHARLIE looks at JOHNNY BOY and then looks at the cemetary in the moonlight. It seems totally apart from the city with the sirens and cars far in the distance. CHARLIE stands and unravels his robes, preparing to take them off. He projects the image of Christ delivering a sermon. Music and laughter in the distance catches his attention. The lights and the music are coming from the top floor of a tenement building where a Puerto Rican family is having a party. The sound echoes through the streets. Decorations are hanging and blowing away through the open windows. As CHARLIE watches a fight break out over one of the girls. Screams are heard. People run up and down the fire escape. CHARLIE has pulled off the robe. He now removes the beard and wig and has become himself again. He leans over to find JOHNNY BOY fast asleep on a tomb. CHARLIE ` Could you not, then, watch one hour with me?' He wakes JOHNNY BOY up. CHARLIE ` The spirit is willing but the flesh is weak.' They leave.\",\n \"INT. OSCAR'S RESTAURANT - NIGHT CHARLIE is sitting in the corner. The restaurant is in the same condition that it was the last time he was there. While CHARLIE waits for his uncle in his semi - private corner, a handful of old Mafiosi, invited by GIOVANNI, sit at another table. GIOVANNI enters with MARIO. The old Mafiosi are greeted first. They rise and kiss GIOVANNI on the cheek. CHARLIE is very impressed at their respectful showing. The waitresses and everyone else in the club treat them all like royalty. OSCAR approaches the table where CHARLIE, GIOVANNI, and MARIO are seated and greets them warmly. OSCAR Put the menus away. I, personally do the cooking tonight. GIOVANNI Fine. that's why I'm here. MARIO Calamari? OSCAR Capozelle, Calamari. anything you want. GIOVANNI -LRB- POURING WINE. -RRB- Drink.\",\n \"INT. OSCAR'S RESTAURANT - LATER IN THE MEAL OSCAR sits. OSCAR Giovanni. er. can I talk? Refering to CHARLIE. GIOVANNI nods his head yes. OSCAR About the place, Giovanni. GIOVANNI I know all about it. We'll discuss it later. OSCAR -LRB- CONTINUING. -RRB- Our arrangements about the place have n't changed, have they? I mean. GIOVANNI -LRB- GOOD - NATUREDLY. -RRB- No, no, not at all. look, we leave it the way it is for now, we talk later, understand? OSCAR -LRB- SOMEWHAT RELIEVED. -RRB- Sure, Giovanni. I understand. I'll bring the clams now.\",\n \"INT. OSCAR'S RESTAURANT - DURING DINNER CHARLIE is visible awed by GIOVANNI and MARIO'S confidence and power. He is behaving as if he were at a job interview. very formally. CHARLIE had often had dinner with his uncle but this time the conversation is more pointed. Their conversation is mostly in ITALIAN WITH ENGLISH TITLES. They are discusssing GROPPI'S suicide. CHARLIE I really could n't believe it when you told me, you know that? GIOVANNI Well, he was always a little crazy. he puts a gun in his mouth. -LRB- HE SMILES. -RRB-. like your friend. comme si chiama. Henning? Heming? CHARLIE Hemmingway. Killed himself. I was more upset about that than about Groppi, that's for sure. GIOVANNI -LRB- laughing to MARIO. -RRB- You know, this boy over here, once, long time ago, tried to enrich my mind. so he gives me a book by this Hemin fella. to read, so I read it. CHARLIE Was n't a book. was a short story. MARIO What was it? CHARLIE -LRB- EMBARRASSED. -RRB- Nothing. MARIO No, c'mon. Y' know, I read. CHARLIE -LRB- MUTTERING. -RRB- `` Francis Macomber.'' MARIO Wha? THE CONVERSATION IS NOW ENGLISH. CHARLIE -LRB- SOFTLY. -RRB- `` Short Happy Life of Francis Macomber.'' MARIO Oh yeah. did n't read it but I saw the movie. Gregory Peck. pretty good. GIOVANNI Yeh, Mario over here, he reads a lot. IN ITALIAN. GIOVANNI Surprised? MARIO I like this Harold Robbins. CHARLIE -LRB- POLITELY. -RRB- Oh yes, he's pretty good. GIOVANNI What I do n't understand is why you have to go to college to read these books that you're gon na read anyway. CHARLIE It's only a couple of courses. just for the draft. MARIO Charlie, couple of courses is n't enough to get you student deferred. I mean if they wanted to draft you, you would've been drafted by now. CHARLIE feels that it would be better not to pursue the point. GIOVANNI What Mario's trying to tell you, Charlie, is that you're wasting your time with those `` couple of courses''. you do n't need them. There are a lot of things that can be taken care of. you know what I mean? They all laugh. They become aware of the T.V. set which is on in the rear of the back room where they are dining. The news is on. politics, society, and war. GIOVANNI These politicians. they talk nice. CHARLIE listen attentively, but obviously has heard GIOVANNI'S philosophy before. GIOVANNI -LRB- CONTINUING. -RRB-. but it's the same thing, all the same. they're in there by having something on somebody. and when that does n't work. they fight. Our life has honor. we have no show to put on because we do what we have to do. They know where to come when they need us. I realize this during the war. World War II. Vito Genovese. during WWII he worked with the government, taking care of the docks. CHARLIE What did he do? GIOVANNI What did he do? He was there. that's what he did. MARIO In the fifties when the communists started in with this country and they tried to clean them out, we offered to do it for them. but they did n't want us to. so we kept out of it. CHARLIE nods. GIOVANNI -LRB- TO CHARLIE. -RRB- I told this. the same thing to your father thirty years ago. I told him what to do. but he did n't listen.\",\n \"INT. OSCAR'S RESTAURANT - COFFEE The conversation turns to more direct topics while they have their coffee and ainsette. GIOVANNI You're still around with that kid Johnny Boy. last night with that gun. Do n't get mixed up with them. This Johnny Boy, you know, he's named after me. -LRB- SARCASTIC. -RRB- nice, eh? This Johnny Boy is like your mister Groppi. a little crazy. It's nice you should help him out because of his family and our family but watch yourself. Do n't spoil anything. CHARLIE nods, feeling very uneasy. GIOVANNI -LRB- CONFIDENTIALLY. -RRB- His whole family has problems. his cousin, the girl who lives next door to you. CHARLIE Teresa. GIOVANNI The one who's sick, right? In the head. CHARLIE No, she's got epilepsy. GIOVANNI Yeah. That's what I said, sick in the head. CHARLIE nods. GIOVANNI Her mother and father come to me and ask advice. she wants to leave. get her own apartment. worries them sick. what am I gon na tell them? Lock her up? CHARLIE What do they expect you to say? GIOVANNI Who knows? It's not hard to figure out what she'll wind up like. When the respect for parents breaks down, that's bad. you know I'm `` cumpari'' with them. so I take an interest. You live next door, keep an eye open. but do n't get involved. CHARLIE All right. MARIO Why do n't you take a look around the place if you want? CHARLIE Oh, that's ok. I've been in and out of this place fifty times. GIOVANNI Well, maybe you missed something? CHARLIE -LRB- CATCHING ON. -RRB- Oh yeah, that's a possibility. CHARLIE heads for the kitchen. CHARLIE -LRB- CONFESSION. -RRB-. looks good. things look good, if I may say so myself. Do n't you agree? Unless there's something You know that I do n't know?\",\n \"INT. OSCAR'S RESTAURANT KITCHEN - NIGHT CHARLIE is examining the kitchen closely. A black cook is working hard, taking a piece of meat off the grill. He carefully prepares a dish. COOK Hi Charlie. CHARLIE smiles and moves in closer to the grill. The cook is sweating and mopping his brow. COOK -LRB- CONTINUING. -RRB- Man, it's hot as Hell in here, every day like going through Hell in here. CHARLIE moves in closer and the COOK continues preparing the food. CHARLIE -LRB- SMILING. -RRB- Hot as hell. You're not the only one going through Hell kid. COOK Maybe so. but at this pay it ai n't worth it. that much I can tell you. CHARLIE has n't been listening to the COOK. He has become fascinated with the flames on the grill. They remind him of an old device from his Catholic School days. CHARLIE brings his hand forward and closer to the fire, testing the pain of the `` Fires of Hell.'' CHARLIE -LRB- CONFESSION. -RRB- ` If thy hand is an occasion of sin to thee, cut it off. It is better for thee to enter into life maimed than having two hands to go into hell, into the unquenchable fire. ` Where their worm dies not and the fire is not quenched.' CHARLIE'S hand touches the flame. He winces. Music in.\",\n \"INT. TONY'S CAR (NEW CADILLAC CONVERTIBLE-TOP UP) - DAY CHARLIE, JOHNNY, TONY and JIMMY are driving along in TONY'S car. As they talk, a derelict takes advantage of a red light to wipe their windshield. TONY rolls up the window and rolls the car forward a bit to force the derelict out of the way. TONY Is it near Sullivan Street? JIMMY No - by Bedford. TONY Oh - you got ta show me. I always get lost in the village. CHARLIE Next time, bet with your own kind. JIMMY The number was 235 - I bet it combination. CHARLIE It'll be OK - I know those guys. They wo n't stiff you. JIMMY I bet 235. Because I dreamt of my grandfather - and when he died, the number of the funeral parlour was 235 - so when I dreamt. JOHNNY BOY Yeah, yeah - enough. They arrive at the bar. JOEY Hello Charlie, you canonized yet? CHARLIE No - not yet - just blessed. Boys are in mid - discussion. JIMMY On Friday, the 25th - I placed it WITH SALLY - JOEY -LRB- BEING DISTRACT. -RRB- I never heard of it. CHARLIE Oh Joey, really. we're all friends here - let's cut the bullshit. JOEY -LRB- begins to chuckle. -RRB-. Well. -LRB- TO JIMMY. -RRB- you got a good friend here - come to think of it, I do remember now. JOHNNY BOY -LRB- under his breath. -RRB- SCUMBAG - TONY -LRB- nudging JOHNNY BOY. -RRB- -LRB- under his breath. -RRB- Shut up. JOEY -LRB- MAKING EXCUSE. -RRB- Well, Friday's are busy - a mistake can be made y' know. Have another drink. CHARLIE Whatever, just lets settle this and it's all forgotten. JOHNNY BOY I do n't forget nothin. JOEY looks at JOHNNY BOY but decides to let it pass. CHARLIE gives JOHNNY BOY a dirty look. Music is playing on a juke box. Several girls stand nearby listening to both the music and the discussion. JOHNNY BOY looks over at them and then at JOEY. JOHNNY BOY Lower the fuckin music - I ca n't hear nothin. JOEY The girls like it loud. JOHNNY BOY Girls? You call those skanks girls?! JOEY, his friends, and the girls all look up. JOEY'S attitude changes. JOEY -LRB- TO CHARLIE. -RRB- What's the matter with this kid? JOHNNY BOY I feel fine - nothing wrong with me. CHARLIE Keep your mouth shut. JOHNNY BOY You tell me that in front of these creeps? JOEY We wo n't pay. JIMMY Why? We just said. JOHNNY BOY -LRB- INTERRUPTING. -RRB- We wo n't pay. because this guy. -LRB- pointing to JIMMY. -RRB- is a. mook. JIMMY But I did n't say nothin. The fellows look at each other bewildered. JOEY -LRB- TO JIMMY. -RRB- We do n't pay mooks! Nobody knows what a mook is. JIMMY'S attitude now changes. JIMMY -LRB- ANGRILY. -RRB- A mook. I'm a mook. -LRB- PAUSES. -RRB- What's a mook? CHARLIE can no longer control the situation as tempers rise. JIMMY You ca n't call me a mook! JIMMY swings at JOEY. A fight breaks out. JIMMY, CHARLIE, TONY and JOHNNY BOY are beaten. CHARLIE, not badly hurt manages to calm everything down. The police arrive to break up the fight. People look iin as the two cops walk into the bar. The boys stop fighting immediately as they see the cops. In fact, they treat CHARLIE and the others as friends - helping them up off the floor, dusting off the clothes, etc.. The police search everyone. When they ask who started it - what happened, etc. everybody including CHARLIE and the others cover for everyone else. `` It was a joke officer'' `` He's my cousin'' `` We were just kidding,'' etc.. The cops nod. `` Play nice now'' and leave. Everyone apologizes to each other. They drink again. JOHNNY BOY does n't say a word - just stares. JOEY We were gon na pay you Jimmy, we just do n't like being moved in on. CHARLIE C'mon - I'm movin' in on you? Let's have another drink and forget about it. They drink again. JOEY gives JIMMY the money, JIMMY goes to count it. JOEY Do n't count it. it's all there. JOHNNY BOY -LRB- SARCASTIC. -RRB- Count it. JOEY Hey, c'mon - no bullshit - friends. JOEY extends his hand. JIMMY and CHARLIE shake. JOEY extends his hand to JOHNNY. JOHNNY BOY Do n't fuckin' touch me - scumbag. CHARLIE and the others `` Oh no.'' CHARLIE Shut up stupid. He is interrupted by a flying fist. The fight breaks out anew. They barely make it to the door. JIMMY is out first, with his cash. They run down the street. The west side boys do n't chase them but stand by their bar shouting after them. JOHNNY is laughing as he runs. CHARLIE yells at him. CHARLIE You got some mouth! JIMMY Johnny, you're a real jerk - off. JOHNNY BOY -LRB- LAUGHING. -RRB- What're ya hollering? You got your money. They reach the car. TONY heads in first behind the wheel. TONY -LRB- about to take off. -RRB- Fuck youse all. The others jump in. CHARLIE You got no honor Tony. Charge! The car starts off. Garbage and garbage pails are tosses after them as the boys take off.\",\n \"INT. TONY'S PLACE A LONG - HAIRED ROCK GROUP The lead guitarist holds his guitar out like a machine gun and strums frantically on it swinging it back and forth at the audience and then at the rest of the group. As he does so, the rest of the group falls `` dead'' over their instruments. The number is over and they all get up. The place is empty except for CHARLIE, TONY, and a few others, all of whom have been listening to the band. They applaude.\",\n \"INT. TONY'S PLACE CHARLIE is talking to the leader of the group. CHARLIE No, really, I liked it. thought it was great. BOY Thanks. CHARLIE What are your plans? BOY Well, we're here for about two weeks, then whatever else comes along. we're still working on our album and. CHARLIE Great. great. listen, I'm very interested in you guys because I'll be opening a new club myself soon. uptown. and maybe we can work something out. BOY Sounds good. CHARLIE Of course, ` The Season of the Witch' wo n't be ready for a while yet but we have to keep in touch.\",\n \"INT. TONY'S PLACE - PHONE BOOTH CHARLIE is calling TERESA. The rock group is taking a break before their evening performance and they can be heard breaking up the session in the background. TONY and the others are getting the tables ready. CHARLIE Teresa? Yeah, Charlie. Listen, I'm looking for your cousin. Yeah, well today's Tuesday, payday. I have n't seen him all day. no. well, have you got any idea where he is? I know it's early yet but I'm just getting worried that's all. TERESA Charlie. I've got to see you. I want to talk. CHARLIE Honey, I ca n't talk now. I've got ta run, bye. TERESA But. CHARLIE I'll see you later. He hangs up.\",\n \"INT. TONY'S PLACE - DRESSING ROOM CHARLIE can see the Negro stripper, DIANE, down the hall, in her dressing room. She is putting on her makeup. CHARLIE is still very attracted to her. He enters her room. CHARLIE Diane, how are you feeling? DIANE -LRB- COLDLY. -RRB- Fine. As CHARLIE continues to talk to her she undresses and begins to get into her first costume. CHARLIE feels slightly uncomfortable. CHARLIE You know Diane. I've been wanting to talk to you for a while now. er. a. -LRB- she is undressing. -RRB- aside from all that joking around we do out there. when you're on. I. a. I really. think that you're a terrific performer. DIANE Fine. CHARLIE No, I'm serious. You're really good. DIANE I know. CHARLIE In a little while. I'm gon na have the opportunity of opening my own place. not here. much nicer than this. uptown. sort of nite - club and restaurant and everything. DIANE That's nice. CHARLIE I was thinking maybe you'd do very nicely for the place. DIANE Stripper? CHARLIE No. no stripping. as the hostess. DIANE Hostess? CHARLIE Yeah, you know. you greet the people. see them to their tables. well. it'll be different though. Listen. why do n't we get together and talk after your show tonight. DIANE Chinese food? CHARLIE Ok. Chinese. We'll meet on the corner of 6th Avenue and Waverly Place after you finish. DIANE Why not here. Ok nevermind. 6th Avenue and Waverly. CHARLIE Bye.\",\n \"EXT. TONY'S PLACE - NEAR ENTRANCE CHARLIE bumps into MICHAEL and a friend as he is leaving. MICHAEL Be seeing you and Johnny tonight. here. right? CHARLIE We'll be here. MICHAEL is sarcastic. He points to the parked car in front of him. MICHAEL I tell you, Charlie. If that kid does n't show up tonight. MICHAEL'S plan is seen on the screen as he speaks. MICHAEL I'm gon na find him, drag him down here, tie one of his legs to that Ford bumper over here. JOHNNY BOY is dragged to the car and MICHAEL'S friend ties his leg to the car. MICHAEL and his other leg to that Chrysler over there. JOHNNY BOY'S other leg is tied to the Chrysler. MICHAEL and bam! We see a close - up of a foot slamming down on the gas pedal, twice. One car heads for the West Side - the other to the East Side. Tires screech and exhaust fumes fill the air. All three laugh. CHARLIE Look, Michael, I'll get him here. What do you want me to do, kill him? MICHAEL Whatever. CHARLIE leaves.\",\n \"INT. CHARLIE'S APARTMENT CHARLIE is on the phone trying to locate JOHNNY BOY. TERESA is pacing back and forth nervously in the background. CHARLIE hangs up. CHARLIE Are you sure he did n't say anything to you about tonight? TERESA For God's Sakes. I told you before. nothing. -LRB- she moves closer. -RRB- Charlie, I ca n't stay in here too long at this hour. will you please listen to me? CHARLIE turns and smiles at her. He kisses her because he does n't feel like listening. TERESA is too preoccupied to respond. CHARLIE turns. CHARLIE -LRB- MUTTERING. -RRB-. that sonofabitch.\",\n \"EXT. NIGHT - BLACK AND WHITE JOHNNY BOY walking through Greenwich Village looking around as if being chased.\",\n \"INT. CHARLIE'S APARTMENT CHARLIE is kissing TERESA who is still very upset. TERESA But Charlie. it's uptown and it's perfect. It's big enough for two people. she's going to get out by the end of the month. If you do n't act right away, it'll go in no time. What do you think?\",\n \"EXT. STREET - NIGHT - BLACK AND WHITE JOHNNY BOY is making his way back to the apartment by sneaking along the sides of the buildings in the darkened street.\",\n \"INT. CHARLIE'S APARTMENT CHARLIE tries to make love to TERESA out of his nervous energy and impatience at waiting so long for JOHNNY BOY. TERESA is rejecting his attempts.\",\n \"EXT. STREET - NIGHT - BLACK AND WHITE JOHNNY BOY imagines he is being followed and dashes into the door of a nearby building and up the stairs.\",\n \"INT. CHARLIE'S APARTMENT CHARLIE is doubly frustrated by TERESA'S rejection of his attempts at lovemaking because of his concern for JOHNNY BOY. He becomes sarcastic and abrupt. TERESA Do n't you realize what that apartment means? CHARLIE does n't answer. TERESA continues. TERESA Do you? For both of us. Think. after a while you might even be able to move in yourself. CHARLIE laughs. TERESA is visibly shaken but CHARLIE can not be bothered. CHARLIE Are you serious? Me move in with you. You crazy?\",\n \"EXT. ROOFTOP - NIGHT - BLACK AND WHITE JOHNNY BOY is silhouetted against the moonlight. He makes his way quietly over the roofs of the tenements and climbs down CHARLIE'S fire escape.\",\n \"INT. CHARLIE'S APARTMENT CHARLIE -LRB- CONTINUES. -RRB- Teresa, get these ideas out of your head. I've got enough on my hands right now. with that bastard cousin of yours. You wan na move? Go ahead. By all means! But keep me out of it. I've got nothing to do with it. you understand. nothing. CHARLIE'S WINDOW JOHNNY BOY is at CHARLIE's window. Through it he can see TERESA lying on the bed in tears and CHARLIE pacing back and forth across the room. He is still talking loudly, JOHNNY BOY does n't seem to pay any attention to the fact that TERESA is in CHARLIE'S bedroom. He opens the window and jumps in, smiling sarcastically. TERESA and CHARLIE are startled. CHARLIE grabs JOHNNY BOY by his coat collar. CHARLIE Where were you? Answer me, you sonofabitch! Where were you? TERESA is frightened and rushes towards CHARLIE. JOHNNY BOY reacts to the scene with uncontrolled laughter. CHARLIE is outraged and slaps him across the face but JOHNNY continues to laugh. TERESA screams. CHARLIE -LRB- TO TERESA. -RRB- Shut up! JOHNNY BOY -LRB- TO TERESA. -RRB- Yeah, Teresa, shut up! We do n't wan na get Charlie here in trouble, do we? We love Charlie. CHARLIE flings JOHNNY BOY against a wardrobe, letting go of his collar. CHARLIE You had me going crazy! TERESA is crying. JOHNNY goes into the kitchen and CHARLIE follows. TERESA stays in the doorway.\",\n \"INT. KITCHEN - CHARLIE'S APARTMENT JOHNNY BOY takes a drink of water from the sink as he talks. CHARLIE is calmer now ; calm enough to realize that JOHNNY has figured out his true relationship to TERESA. He tries to protect himself. CHARLIE Your cousin here was getting sick, worrying about you. We've been in here calling. JOHNNY BOY Oh, that's too bad, Teresa. CHARLIE is embarrassed and TERESA is afraid. JOHNNY BOY -LRB- CONTINUES. -RRB- Well kids. have the bans been announced yet? CHARLIE Do n't be smart. JOHNNY BOY I'm not smart. I'm stupid, remember. I'm so stupid that you have to look out for me, remember? TERESA is crying. JOHNNY BOY Do n't be upset Teresa. You have to understand Charlie, here. he gives of himself to help others. TERESA I'm going to go home. JOHNNY BOY No, you stay. CHARLIE Johnny, I swear to God, if you open your mouth about any of this. JOHNNY BOY -LRB- ANGRY. -RRB- Me? I would n't say a word to my aunt and uncle. or even your uncle, Charlie. TERESA makes it to the door and opens it quickly. JOHNNY BOY grabs her to keep her from leaving. CHARLIE rushes towards them and pulls JOHNNY BOY away. By now, they are halfway down the hall. JOHNNY BOY -LRB- SHOUTING. -RRB- Charlie. I always wondered about her. what happens when she comes? Does she get one of those fits? Eh? That would be something to see. JOHNNY BOY is interrupted by CHARLIE'S fist as it lands a solid punch on the right side of his hand. TERESA screams and rushes to separate them. JOHNNY BOY You rat bastard! Do n't hit me again! CHARLIE stops. JOHNNY BOY I think I will fuckin go see your uncle right now. he'd be interested. CHARLIE rushes JOHNNY BOY towards the stairs. They bump into TERESA, slamming her against the wall. CHARLIE Go ahead! Go on! And we'll see what happens to you without me. TERESA is terrified that JOHNNY BOY will really go to CHARLIE'S uncle. TERESA No. no. do n't. TERESA falls, hitting the stairs with a thud. She lies there moaning and tossing her head. CHARLIE and JOHNNY BOY go to help her. CHARLIE What do I do? You know anything about this? JOHNNY BOY steps over TERESA to go down the stairs. He turns. JOHNNY BOY I do n't know. she's your girl. I got ta go. CHARLIE is furious. JOHNNY BOY points to TERESA who is getting worse. JOHNNY BOY Hate to miss the floor show, though. CHARLIE lunges out at JOHNNY BOY shoving him halfway down the stairs. He has gotten hold of his coat so that JOHNNY BOY ca n't leave. Neighbors from downstairs open their doors and come up the stairs. CHARLIE, in complete panic, tries to put something into TERESA'S mouth while holding JOHNNY BOY at the same time. He shoves his hand into her mouth trying to pry it open but she bites into it. CHARLIE screams as the blood streams out. He lets go of JOHNNY BOY. The neighbors take over. One woman appears to know how to administer aid to TERESA.\",\n \"INT. CHARLIE'S BUILDING - STAIRS JOHNNY BOY is halfway down the stairs by now. The neighbor takes care of TERESA. While CHARLIE dashes down the stairs, CHARLIE grabs JOHNNY in the ground floor hallway.\",\n \"EXT. STREET - NIGHT - BLACK AND WHITE In the deserted factory section of Manhattan, JOHNNY BOY and CHARLIE stand next to a corregated metal garage door. CHARLIE smashes JOHNNY BOY against the door sending resounding echoes into the street. CHARLIE You crazy bastard! What are you trying to do, ruin me? JOHNNY BOY is not fighting back anymore. He is on the verge of tears. CHARLIE smashes him against the door again - again the crashing sound reverberates in the empty street. CHARLIE You. Again, JOHNNY BOY is thrown up against the door. CHARLIE You threaten me with my uncle? After what I'm doing for you? JOHNNY BOY What you're doing for me is n't worth it. believe me! CHARLIE slaps JOHNNY BOY and pushes him against the door again. CHARLIE Then do n't show up tonight and see what happens. CHARLIE stops. He digs his hands into JOHNNY'S pockets but he ca n't find anything. CHARLIE How much have you got for Michael tonight? JOHNNY BOY I only got eight bucks on me. CHARLIE stares at JOHNNY BOY for a moment then puts his hand into his own pocket and pulls out three ten dollar bills and three ones. CHARLIE Here, take twenty bucks. With your eight that makes twenty - eight bucks you give Michael. I keep the thirteen for the weekend. Maybe we'll eat some Chinese food later. JOHNNY BOY does n't take it. CHARLIE forces it into his hand. CHARLIE Take it. I'm doing it for you, stupid! JOHNNY BOY No you're not. CHARLIE, calmer now, is feeling ashamed. CHARLIE Oh, cut it out, will ya? JOHNNY BOY Charlie, twenty - eight bucks is nothing. The only way to do it is through your uncle. think about it will you? CHARLIE NO! What do you think I am, crazy? JOHNNY BOY No, I just want to help myself, that's all. CHARLIE Come on. He tugs JOHNNY BOY along.\",\n \"INT. TONY'S PLACE - BAR TONY You're over an hour late. Michael said he'll be back later, though. CHARLIE takes a drink. JOHNNY BOY sits at the bar. The place is beginning to empty and the show is over. CHARLIE takes TONY aside. CHARLIE Watch this kid for me. I have to go someplace but I'll be back soon to get Michael and him together. Do n't even let him go to the bathroom. He turns to JOHNNY BOY. CHARLIE Do n't you move! JOHNNY BOY -LRB- SULKING. -RRB- I'll be here. Do n't worry. JOHNNY orders a drink.\",\n \"INT. CAB - NIGHT - BLACK AND WHITE CHARLIE gets into the cab. CHARLIE 6th Avenue and Waverly Place, fast please. The cab takes off. They soon arrive at their destination. CAB DRIVER Where do you want me to stop? CHARLIE leans back into the seat and peeks out the window. CHARLIE No. do n't stop. just pass real slow, OK? CHARLIE looks out the window and sees DIANE, the negro stripper. She is standing on the corner waiting for him. CHARLIE nods his head for the driver to stop. CHARLIE Stop here. -LRB- HE HESITATES. -RRB- No. what am I. crazy? Take me back to where you picked me up. CAB DRIVER -LRB- SIGHING. -RRB- Ok. The car drives away, passing DIANE who is on the corner.\",\n \"INT. TONY'S PLACE CHARLIE is back inside the club. JOHNNY BOY Back so soon. CHARLIE Mind your own business. TONY sets up drinks for them and pours them into shot glasses. CHARLIE strikes a match and lights each glass. little blue flames dance along the rims of the glasses. TERESA Hey, cut it out. Will ya? He blows out the flames. CHARLIE moves to the other and of the room with his drink. CHARLIE -LRB- CONFESSION. -RRB- You can see things are n't going too well for me at the moment. My willpower and powers of persuasion are not what they usually are today. My ability to control events and situations are wanting. I know. I know. what can I say. I offer this as part of my penance. A young couple, two of the few people left in the place, are having a hushed quarrel at the end of the bar. The boy leaves for the men's room. CHARLIE -LRB- TO TONY. -RRB- Who's the girl? TONY Jewish. CHARLIE How do you know? TONY Look at her. CHARLIE She do n't look Jewish. TONY Sure she is. She's always in here with some different guy. You know the way they are. CHARLIE approaches the girl. CHARLIE I love you. The girl looks at him, first embarrassed, then annoyed. CHARLIE -LRB- SMILING. -RRB- Ever since that first day I saw you at the convent with the nuns, playing volleyball, I could n't help myself. GIRL You Italian? CHARLIE Yeah why? GIRL You do n't look it. The girl laughs. Her boyfriend comes out of the men's room. He has her coat in his hand. GIRL -LRB- to the Boy. -RRB- Fuck off. BOY -LRB- STUNNED. -RRB- What do you mean? -LRB- he looks at CHARLIE. -RRB-. let's go. GIRL You go. I'm staying. BOY Let's go! CHARLIE reaches over and grabs the GIRL'S arm tightly. She looks up, startled, and the boy appears to be frightened. CHARLIE It's obvious that the girl does n't want to accompany you, is n't it? BOY Look fella. this is private. CHARLIE Nothing's private. The GIRL is really scared now. GIRL I'd like to leave. CHARLIE wo n't let go of her arm. She tries to pull away but his grip tightens. CHARLIE Whether she wants to or not. she's not going. BOY Let go of her. The GIRL is in tears. GIRL Stop it. you're hurting me. CHARLIE Take her away from me. I mean physically take her away from me. He is holding her so tightly that she is doubling over in pain. The BOY, although he is scared, lunges at CHARLIE. There is a brief scuffle which TONY breaks up.\",\n \"EXT. TONY'S PLACE - BACK ALLEY - BLACK AND WHITE - NIGHT JOHNNY BOY is lifting the lid of a garbage pail. He takes out a brown paper bag and opens it. He takes a small.22 pistol from it and puts it inside his jacket, then replaces the bag in the garbage pail.\",\n \"INT. TONY'S PLACE - BAR AREA MICHAEL has entered the club. The BOY and GIRL are gone. TONY is with CHARLIE and JOHNNY BOY, whose return went unnoticed. MICHAEL What's it gon na be? I was here tonight. you kept me waiting for over an hour. MICHAEL has two friends with him. JOHNNY BOY Hello, Michael. I've got something for you. not much. but. CHARLIE He has about twenty - eight bucks. it's all he has on him. MICHAEL Better than nothing. JOHNNY BOY takes out a ten dollar bill and hands it to him. MICHAEL Where's the rest? CHARLIE Yeah, where's the rest? JOHNNY BOY I bought a few rounds of drinks while waiting. CHARLIE is stunned. MICHAEL -LRB- ANGRY. -RRB- Twenty - eight bucks is enough of an insult. I was gon na take the twenty - eight bucks because of Charlie here. but ten bucks! MICHAEL takes the ten dollars, crumples it and flings it into JOHNNY BOY'S face. JOHNNY BOY picks it up and slowly smooths it out. He sets it on fire as he talks. JOHNNY BOY You make me laugh, Michael. you know that? I've borrowed money all over the neighborhood and never paid it back. so I could n't borrow anymore from them. so who's the only jerk off left that I can borrow from without paying back. YOU. Because that's what I think of you. Jerk off. I fuck you where you breathe! MICHAEL lashes out at JOHNNY BOY with the back of his hand. JOHNNY BOY tosses the flaming bill at MICHAEL and quickly pulls out his.22 pistol. Everyone is shocked. CHARLIE -LRB- MUTTERING. -RRB- You're really crazy. MICHAEL You're not going to use that gun, Johnny. JOHNNY BOY does n't answer but holds the gun straight at MICHAEL'S face. MICHAEL turns to go, defying JOHNNY BOY. His friends follow. When he reaches the doorway, he turns. MICHAEL You do n't have the guts to use that. be seeing you Charlie, Tony, and of course you John. be seeing you. They leave. JOHNNY BOY is still frozen with the gun in his hand, pointing it at mid - air. CHARLIE slams JOHNNY BOY across the face with his fist. TONY takes the gun from his hand. CHARLIE You stupid bastard! Never pull a gun unless you intend to use it. He hits JOHNNY BOY again. TONY -LRB- HOLDING GUN. -RRB-. No bullets in it. CHARLIE hits JOHNNY BOY again. TONY Get out of here before this really goes up. CHARLIE Hide the gun. Throw it away. Anything. Listen, I got ta borrow your car. I think we should take a ride. away from here for the night. you know what I mean? TONY -LRB- RELUCTANTLY. -RRB- Ok. but go to a movie first or something. not good to be driving around right away. You know you ca n't do much for him now. it's out of your hands. SCENE FROM `` TOMB OF LIGEIA'' A young girl is in her room with her maid. The maid is helping her dress. Eerie music creates a frightening atmosphere. CHARLIE and JOHNNY BOY watch nervously affected by the film's mood. The theatre is a 42nd street one with lots of sleeping drunks. Suddenly, the maid's face begins to contort as if she's seeing something horrible. The audience is on edge. The young girl sees the maid and shouts `` What is it?'' - but the maid only sneezes.\",\n \"EXT. NIGHT - TONY'S CONVERTIBLE - BLACK AND WHITE CHARLIE is driving. JOHNNY BOY is beside him in the front seat. The top od the car is down and CHARLIE is driving with no particular destination in mind. JOHNNY BOY I think we should see your uncle. CHARLIE No. JOHNNY BOY This ca n't be settled any other way now. I'll take full blame. CHARLIE Forget it. JOHNNY BOY What are you going to do? Hide me? CHARLIE Good idea. JOHNNY BOY turns away and tunes in the radio to a loud rock song. CHARLIE -LRB- CONFESSION. -RRB- I guess you could safely say that this evening has been so far very unimpressive as far as my efforts are concerned. more unproductive. Now, I'd like to know what you do, for an encore, Lord? I know penance is penance but this is something else. JOHNNY BOY opens his eyes. JOHNNY BOY What are you talking to yourself? He turns up the radio. CHARLIE -LRB- SARCASTIC. -RRB- Go ahead! Play the radio. play music. you're going to a party. louder! Go ahead. Louder. A party. Lots of fun. A black sedan has been driving along parallel to CHARLIE'S car, unnoticed by CHARLIE. Otherwise the street is deserted. The car begins to drive CHARLIE off the road. CHARLIE Hey, what is this guy, crazy?\",\n \"EXT. NIGHT - BLACK AND WHITE BLACK SEDAN - MICHAEL AND ANOTHER BOY. VOICE Now, now's the time! CHARLIE turns his head to look. JOHNNY BOY looks up. They fire the gun. FULL COLOR SHOTS A barage of bullets -LRB- 5 gunshots -RRB- hit CHARLIE'S car. CHARLIE is hit in the hand. JOHNNY BOY has been hit in the throat. He stands up and leans over the windshield of the car, spewing blood onto it and into the wind. He is screaming. The black sedan turns onto another street. TONY'S CONVERTIBLE CHARLIE is so shocked that the car is completely out of control. It goes screeching along the street, swerves, and slams into a fire hydrant, breaking it off and causing water to shoot out onto the sidewalk, car and street. CHARLIE has been thrown from the car. He kneels in the street holding his wrist. He is on the yellow letters `` FIRE LANE.'' JOHNNY BOY lies against the side of a building - still. CHARLIE goes to the curb and sits there holding his bleeding hand. The police arrive with their guns drawn.\",\n \"EXT. NEIGHBORHOOD STREET Back in the neighborhood, the religious fiesta is ending. The singers on the bandstand are singing the last song of the evening, `` Vincino Amare.'' A crowd of elderly Italian - Americans stand below the bandstand and listen. There are four singers, their voices projected through a PA system. CONTINUES THROUGH ALL CUTS. TERESA'S ROOM TERESA is in bed, asleep. The music can be heard echoing in the background.\",\n \"EXT. STREET CORNER CHARLIE is still sitting on the curb holding his injured wrist. The ambulance and the police are going about their business. A crowd has gathered. GIOVANNI'S LIVING ROOM GIOVANNI is watching the Late Late Show on T.V. -LRB- Car explosion scene from `` The Big Heat'' -RRB-. Aside from the light of the screen, the room is darkened. ALL NIGHT VILLAGE LUNCHEONETTE DIANE is alone, sipping coffee.\",\n \"EXT. STREET CORNER The police are standing around CHARLIE with open notebooks, questioning him. He does n't answer. JOHNNY BOY'S body is being taken into the ambulance. TONY'S PLACE - MEN'S ROOM TONY is relieving himself. He washes his hands. NEIGHBORHOOD STREET The last song of the festival is ending now. As the singers come to a stirring climax they wave and shout in Italian. SINGERS Good night. Good night. thank you. good night! The band plays a few bars of `` Home Sweet Home.'' The singers throw kisses to the dispursing crowd. People who have been watching the festival pull down the blinds of shades and go in. MICHAEL'S CAR - PARKED MICHAEL'S car is parked in a deserted area on the docks. He has his head in his hands. The BOY with him says nothing. STREET CORNER CHARLIE is still in shock, sitting on the curb. The police are still walking around in a businesslike manner. CHARLIE stares down at his feet. The wrecked car is being pulled away. CHARLIE is being put into an ambulance. He is muttering to himself and seems shocked and bewildered.\",\n \"INT. POLICE STATION - DAY Early morning. A door in the far corner of the room opens. CHARLIE is motioned through by a cop, who shuts the door immediately behind him. There is an unnaturally loud clanging sound that echoes in the room. CHARLIE looks around, still a little dazed, and spots MARIO standing over by the door. MARIO has made no move to greet him. He just stands there watching. CHARLIE walks over to him, sensing something a little ominous. CHARLIE My uncle did n't come? MARIO says nothing, just nods at him to step outside. CHARLIE goes out into the street. MARIO follows.\",\n \"EXT. STREET - DAY There is practically no one on the street. The early morning light makes everything a clammy grey. CHARLIE waits at the bottom of the steps. MARIO -LRB- pauses for a moment. -RRB- Giovanni says now he done enough. He got you outta jail. Now. -LRB- reaching in pocket. -RRB- he wants you outta the way. MARIO hands CHARLIE an envelope containing an airline ticket. MARIO He says use it. Do n't sell it. He says he'll see you. Someday. Maybe. CHARLIE stares at the ticket in his hand. MARIO is obviously uncomfortable. MARIO -LRB- ABRUPTLY. -RRB- Things worked out rotten kid. Sorry.\",\n \"INT. CAR - DAY TONY'S car. He is driving CHARLIE to the airport. A suitcase can be seen in the back seat. TONY Where to? CHARLIE -LRB- PREOCCUPIED. -RRB- Kennedy. TONY -LRB- trying to be jolly. -RRB- I know, I know, stupid. I mean where you goin'? CHARLIE It's an open ticket. I can go anywhere up to $ 350. TONY So? CHARLIE -LRB- EDGY. -RRB- So I'll send you a postcard from wherever. If I get there. TONY Nervous? CHARLIE Yeah. TONY You flew before? CHARLIE No. CHARLIE'S face - slightly upset. CHARLIE snapping seat belt in car. STOCK SHOT : airplane exploding BLACK AND WHITE -LRB- FANTASY -RRB- CHARLIE in car - more upset. CHARLIE -LRB- IRRITATED. -RRB- Hey, come on. TONY Take it easy. I only asked because maybe I could, you know, let you have a little something. CHARLIE Yeah, well thanks, but I got enough to hold me. My mother can send me some. I do n't know. TONY How about Teresa? I could talk. CHARLIE -LRB- trying not to be impatient. -RRB- Listen, I appreciate it, but I'll handle it myself. I'll write. TONY And say what? CHARLIE I'll say that I'm travelling.\",\n \"EXT. AIRPORT - DAY The TWA terminal at Kennedy. TONY'S car pulls up to the curb, CHARLIE gets out, waves away help from an idle porter, and pulls his suitcases out of the back seat. TONY leans across the seat toward him. TONY Listen, try a place with some sun. Swimming pools. Palm trees. Girls in little French bathing suits. CHARLIE -LRB- SMILES. -RRB- Thanks for the ride. CHARLIE breaks away from the handshake and grabs TONY affectionately behind the neck. CHARLIE Take care of that tiger. TONY -LRB- CORRECTING HIM. -RRB- Panther. CHARLIE Panther! Same thing. TONY Hey. no more good times like before. Until you come back. CHARLIE Sure. And you're gon na take the vows next Tuesday, right. TONY -LRB- LAUGHS. -RRB- Yeah, I'm gon na worry about you, too. TONY gives CHARLIE'S hand a last slap, then gets back behind the wheel. TONY See you. CHARLIE nods and watches the car pull away. Then he picks up his bag from the sidewalk and walks into the terminal.\",\n \"INT. TERMINAL - DAY The place is huge and there is a lot of bustle and excitement. CHARLIE is noticeable because he is the only member of the crowd who walks slowly, without any apparent mission or destination. He makes his way toward the large flight board that looms over the whole room. Loudspeakers announce planes to and from every part of the world. On the flight board, the origins and destinations of the days flight spin and change every moment. He passes the insurance machines and almost stops - more upset than before. A businessman calmly pays for insurance. -LRB- Muzak is heard -RRB- CHARLIE continues on past a novelty shop where some plastic crosses and St. Christopher medals hang alongside the stuffed toy dogs and flight bags. He looks at the cross. CHARLIE I do n't know what to say to you. The ticket desk is under the flight board. CHARLIE eventually works his way over to the desk, drops his bag on the floor and stands staring at the board. He sees the names of dozens of cities flashing before him. As he watches, a pretty ticket clerk speaks to him from behind the desk. CLERK May I help you? CHARLIE stares at the flight board in dismay and indecision. He apparently does not hear her. CLERK Sir, may I help you? CHARLIE hears her this time. He reaches into his jacket pocket and pulls out the ticket which he passes across to her. The clerk starts to open it to check the destination. CHARLIE -LRB- questioning, challenging. -RRB- Where can I go? The question is unusual. The clerk looks up. CHARLIE stare back at her with a quality that is almost defiance. QUICKLY TO BLACK - MUSIC IN\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,0,0,0,0,0,0,1,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"Charlie is a young Italian-American man in Little Italy, New York City. He is hampered by his feeling of responsibility towards his reckless younger friend Johnny Boy, a small-time gambler, hoodlum, and ne'er-do-well who refuses to work and owes money to many loan sharks. Charlie works for his uncle Giovanni, a powerful mafioso, loan shark, and political fixer, mostly collecting debts. He is also having a secret affair with Johnny Boy's cousin Teresa, who has epilepsy and is ostracized because of her condition—especially by Charlie's uncle. Charlie's uncle also wants Charlie not to be such close friends with Johnny, saying \"Honorable men go with honorable men.\" Charlie is torn between his devout Catholicism and his illicit work for his mafioso uncle. Johnny becomes increasingly self-destructive and disrespectful of his creditors. Failing to receive redemption in the Church, Charlie seeks it through sacrificing himself on Johnny's behalf. At a bar, Michael, a small time loan shark, comes looking for Johnny to \"pay up\". To his surprise, Johnny insults him. Michael lunges at Johnny, who pulls a gun. After a tense standoff, Michael walks away, and Charlie convinces Johnny that they should leave town for a brief period. Teresa insists on coming with them. Charlie borrows a car and they drive off, leaving the neighborhood without incident. A car that has been following them suddenly pulls up, Michael at the wheel and his henchman, Jimmy Shorts, in the backseat. Jimmy fires several shots at Charlie's car, hitting Johnny in the neck and Charlie in the hand, causing Charlie to crash the car into a fire hydrant. Johnny is seen in an alleyway walking towards a white light which is revealed to be the police. Meanwhile, Charlie gets out of the crashed vehicle and kneels in the spurting water from the hydrant, dazed and bleeding. Paramedics take a surviving Teresa and Charlie away while the fate of Johnny remains unknown."},"name":{"kind":"string","value":"Mean_Streets"}}},{"rowIdx":154,"cells":{"scenes":{"kind":"list like","value":["SUPERMAN THE MOVIE","EXT. STREET - METROPOLIS - NIGHT CLOSE ON a crumpled piece of rubbish lying in the gutter. It is flattened by the wheel of a pushcart. CAMERA PULLS BACK : we SEE a street in a city neighborhood still fighting its way out of The Depression. KIDS play stickball, PEOPLE stand about, out - of - work MEN recline on tenement stoops. Over this SUPERIMPOSE : METROPOLIS 1938 CAMERA TRACKS UP past a boarded - up store window with a `` For Rent'' sign on it, PAST trash cans being investigated by foraging dogs, PAST the stoop of brownstone where some care has been taken to keep things clean, PAST the parlor floor where an undershirted MAN argues with a bathrobed WOMAN, PAST the second Floor windows where a YOUNG COUPLE bend over a crib, shaking a rattle and cooing at a new - born BABY wrapped in a pink blanket, UP PAST the roof of the brownstone, higher and higher, PAST the distant skyscrapers : the Chrysler Building, the Fuller building, the great - neon globe symbol atop the Daily Planet Building.","EXT. SKY - NIGHT - ANGLE on DAILY PLANET CAMERA LOOKS DOWN on the Daily Planet Globe. The only sound is the wind. CAMERA TILTS toward the star - filled sky and the full moon, then TAKES OFF.","EXT. SPACE CAMERA SPEEDS through the heavens past the moon, through the Universe, traveling on, gathering speed, further and further through the limitless void until it bursts through into another Galaxy.","EXT. SPACE NEAR KRYPTON A miniscule RED DOT appears, growing larger, spreading evenly into a BLAZING SUN, which fills the SCREEN. The fiery' red SUN now grows smaller as we fall through space and see beyond it - the planet Krypton. As CAMERA CONTINUES toward Krypton, we see satellites, spacecraft, and Krypton's two distinct hemispheres. CAMERA HOLDS, PEERS DOWN at the city of Kryptonopolis.","EXT. KRYPTONOPOLIS - DAY CAMERA PANS the white, prismatic crystalline mountains near the city. WE SEE a gleaming, quicksilver lake.","EXT. CITY OF KRYPTONOPOLIS - DAY Kryptonopolis is a magical city, constructed of pure white crystalline matter that encloses and protects it from the blazing red sun. CAMERA TRACKS across futuristic glass buildings, glass skyways, tunnels, and enclosed gardens, finally CLOSING IN on a specific domed structure silhouetted against the sky. A MAN'S VOICE is heard, gathering in volume and intensity. JOR-EL'S VOICE -LRB- V.O. -RRB- his is no fantasy. No careless product of a wild imagination. We are not dealing here with idle supposition. CAMERA CLOSES IN on the domed roof of the building, now Dl SSOLVES THROUGH :","INT. TRIAL CHAMBER - DAY An electric white aura fills the screen. The dim outline of JOR - EL'S head can be seen almost floating above it, facing away from CAMERA as he continues. JOR-EL no, gentlemen. The indictment I have brought you this day, the specific charges listed therein against these individuals, their acts of treason and ultimate aim of sedition. -LRB- swivels to FACE CAMERA. -RRB- These are matters of undeniable fact! The face of JOR - EL fills the SCREEN as he Points an accusing finger INTO CAMERA. A handsome, intelligent face with great intensity, bathed in the electric white aura which surrounds him, almost pulsating with energy. WIDE ANGLE - TRIAL CHAMBER JOR - EL stands on the dark edge of a circular white ring of light thrusting down from the ceiling of the chamber. The domed roof rises, cathedral - like above, imprinted with giant projections of the faces of the COUNCIL OF ELDERS -LRB- eleven, besides JOR - EL -RRB- Who watch the proceedings in judgement, presumably from some other location. Each ELDER is bathed in a specific aura similar to that of JOR - EL. Trapped inside the central dazzling white ring of light are THREE FIGURES. JOR - EL circles the edge of the ring. JOR-EL I ask you now to pronounce your judgement on those accused. CLOSE ON NON The monstrous face of NON peers through the light at JOR - EL. A man only to the extent that he is not an animal - a force of frightening destruction whose only sounds are terrifying guttural roars. JOR-EL'S VOICE On this mindless aberration whose only means of expression are wanton violence and destruction. NON lunges at JOR - EL with a roar, bounces back off the edge of the ring of light, which imprisons him. CAMERA PANS TO URSA : A tall woman with a strikingly beautiful and cruel face. Consumed by a total hatred. Consumed by a total hatred of the male sex, she stares back at JOR - EL with patronizing contempt. JOR-EL'S VOICE On the woman, URSA, whose perversions and unreasoning hatred of men have finally threatened even the male children on our planet. CAMERA PANS TO GENERAL ZOD : Glaring defiantly at JOR - El through the dazzling light with a staggeringly vicious face. Even trapped in the prison of light he seems to generate an evil force of his own. JOR-EL'S VOICE And finally on General Zod - Once trusted by this Council, charged with maintaining the defenses of the planet Krypton itself - the chief architect of this intended revolution, the author of this insidious plot to establish a new order among Us - with himself as absolute ruler. WIDE ANGLE - TRIAL CHAMBER The huge faces of the COUNCIL OF ELDERS peer down from the domed ceiling as JOR - EL finishes. JOR-EL You have listened to the evidence. The decision of the Council will now be heard. Silence. CAMERA PANS UP to the faces. The FIRST ELDER pauses momentarily. FIRST ELDER Guilty. The FIRST ELDER'S face instantly disappears from the domed ceiling. SECOND ELDER Guilty. The SECOND ELDER'S face disappears. One by one the remaining NINE ELDERS vote `` guilty''' in rapid succession until the ceiling has become a black void. CLOSE ON JOR - EL AND VILLANS JOR - EL faces GENERAL ZOD, his aura glowing as a separate island of light outside the circle. JOR-EL Do you have anything to say before the decision of the Council is pronounced? ZOD -LRB- cold stare. -RRB- The vote must be unanimous, Jor - El. It has therefore now become your decision. You alone will condemn us if you wish. And you alone will be held responsible by me. -LRB- JOR - EL stares blankly. -RRB- Join us. You have been known to disagree with the Council before. Yours could become an important voice in the New Order - second only to my own. I offer you a chance for greatness, Jor - El. Take it. Join us. JOR - EL hesitates briefly, then suddenly disappears - his electric white aura extinguishing itself. ZOD's face twists with rage. ZOD One day you will bow down before me, Jor - El","EXT. TRIAL CHAMBER IN SPACE - DAY The domed roof of the building cracks open, starts to swivel back. In the distance : a slate - gray atmospheric eminence -LRB- THE PHANTOM ZONE -RRB- travels rapidly through the sky, approaches the opening.","INT. TRIAL CHAMBER The VILLANS are alone in the trial chamber. ZOD rants : ZOD I swear it! No matter that it takes an eternity! You will bow down before me. The gray mass of the Phantom Zone has entered through the open dome, closes down on the VILLANS, erasing the ring of white light as it progresses. ZOD Both you, and then one day, your heirs! The Phantom Zone envelops the VILLANS, wiping them up in a linear, one - dimensional fashion, then sweeping them out toward space. ZOD is silenced.","EXT. CITY AND.SPACE The Phantom Zone travels quickly across the city, bearing the imprints of the THREE VILLANS, floats into space. CAMERA PANS OFF, DOWN at another specific building in the city, PUSHES IN, DISSOLVES THROUGH :","INT. COUNCIL - DAY A pristinely immaculate chamber that overlooks the city of Kryptonopolis. Austere, dominated by concentric circles around which the TWELVE ELDERS sit or stand. In the center of the inner circle revolved an intelligence source on which various information may be presented. JOR - EL enters the chamber, appearing almost through motivational volition than through physical propulsion. The ELDERS turn, look at him. JOR - EL is deeply concerned. FIRST ELDER An unpleasant duty has been masterfully performed, Jor - El. They have received the fate they deserved - isolation in the Phantom Zone - an eternal living death. JOR EL A. chance for life, nonetheless. As opposed to us. Consternation from the ELDERS. A suddenly angry JOR - EL gestures at the revolving intelligence source in the center - various unfathomable equations appear. JOR-EL You ca n't ignore these facts! It's suicide! Worse! Genocide! FIRST ELDER Jor - El, be warned. The Council has already evaluated this. outlandish theory of yours. JOR-EL My friends, you know me' to be neither rash nor impulsive. I am not given to wild, unsupported statements. I tell you we must evacuate this planet immediately! FIRST ELDER You are one of Krypton' s greatest scientists, Jor - El. SECOND ELDER But so is Vond - Ah. VOND- AH -LRB- rising. -RRB- Thank you. -LRB- to JOR - EL. -RRB- It is n't that I question your data. The facts are undeniable. VOND - AH gestures at the intelligence source. JOR - EL'S equations disappear, are immediately replaced by a new series. VOND - AH smiles thinly. VOND-AH It's your conclusions I find unsupportable. JOR-EL This planet will explode within thirty days! Sooner perhaps! VOND- AH I tell you Krypton is simply shifting its orbit! SECOND ELDER Jor - El, be reasonable. JOR-EL I have never been otherwise. The madness is yours! FIRST ELDER -LRB- snaps firmly. -RRB- This discussion is terminated! The decision of the council is final. -LRB- pause - to JOR - EL. -RRB- Any attempt by you to create A Climate of fear and panic among the populace must be deemed by us an act of. insurrection. JOR-EL You would accuse me of insurrection? Has it now become a crime to cherish life? FIRST ELDER -LRB- with reluctance. -RRB- You. would be banished to endless imprisonment in the Phantom Zone - the eternal void which you yourself discovered. Deadly silence. The FIRST ELDER locks eyes with JOR - EL. FIRST ELDER Will you abide by the Council's decision? JOR-EL -LRB- long pause. -RRB- I will remain silent. Neither my wife nor I will attempt to leave Krypton.","EXT. KRYP'IONOPOLIS CITY OUTSKIRTS - DAY/NIGHT JOR - EL'S house stands bathed in the strange glow of Kryptonian twilight.","INT. JOR-EL'S LABORATORY - NIGHT Massive brightly glowing energy columns encircle the lab. JOR - EL works in the centre, passes his hands over portions of a gleaming, spiny, silvery object -LRB- rocket ship -RRB- as he places crystals inside it which respond to him with throbbing lights. ANCLE ON LARA LARA -LRB- JOR - EL'S wife -RRB- enters lab. Carried in her arms : A BABY, swaddled in three blankets of' red, blue, and yellow. The sad look on LARA'S face deepens as she stops, watches JOR - EL who senses her presence, turns. LARA Have you. finished? JOR-EL Very nearly. LARA turns away, shuts her eyes. JOR - EL crosses to her. JOR-EL It's the only answer Lara. If he remains here he as will die as surely as. -LRB- she looks. -RRB- we will. LARA -LRB- pleading. -RRB- But why earth, Jor - El. They're primitives. Thousands of years behind us. JOR-EL He will need that advantage to survive. Their atmosphere will sustain him. LARA He win defy their gravity. JOR-EL He will look like one of them. LARA But he wo n't be one of them. JOR-EL His dense molecular structure will make him strong. Fast. Virtually invulnerable. LARA Isolated. Alone. JOR - EL looks at her with compassion, but with the strength to cut her off. JOR-EL He will not be alone. He will never. be alone.","INT. COUNCIL OF ELDERS - NIGHT The COUNCIL OF ELDERS, still in session, listen attentively to a MILITARY OFFICER standing before them. MILITARY OFFICER The energy input to Jor - El's quarters is now in excess. Our Data indicates the loss is due to a mis - use of energy. The FIRST ELDER exchanges a worried glance at the SECOND ELDER, then looks back at the OFFICER. FIRST ELDER Investigate. SECOND ELDER And if the Data proves correct? FIRST ELDER -LRB- pause. -RRB- He knew the penalty he faced. Even as a member of this Council. The law will be upheld.","INT. JOR-EL'S LABORATORY - NIGHT CAMERA CLOSE ON JOR - EL, LARA, and the BABY, their glowing auras spilling across the SCREEN as the parents stare down at their offspring. A loving, almost beatific family portrait. LARA'S eyes flutter. Tears run down her cheek. JOR-EL -LRB- sad whisper. -RRB- You will travel far, my little Kal - El. But I will never leave you. Even in the face of my death the richness of my life shall be yours. All that I have learned, everything I feel, all of this and more I have bequeathed to you my son. You shall carry me inside you all your days. You will make my strength your own, see my life through your eyes, as your. life will be seen through mine. The son becomes the father the father becomes the son. This is all that I can send with you, Kal - El. And not near so rich a gift as that your mother sends along. Her. love.","EXT. CITY - DAY/NIGHT Three MILITARY MEN descend an enclosed glass walkway to a frantically pulsating aura hovering above the ground. They enter the aura, take off quickly through the streets, past a tall structure. A tremor suddenly shakes the ground - a thin fissure appears on the side of the structure.","INT. JOR-EL' S LABORATORY - NICHT The massive energy columns throb with white light. The BABY has been fastened in a module, wrapped in his blankets. LARA reluctantly steps back as JOR - EL places the last crystals inside, including a green one, secures and seals all openings. The BABY vanishes from sight. The module automatically slides into a larger spacecraft and is sealed in.","EXT. CITY The military aura speeds along as giant crystal formations suddenly begin to erupt, bend and crack.","INT. JOR-EL'S LABORATORY A glass wall facing the capsule slides open. The launcher is raised. The ceiling above retracts, exposing the glow of Krypton night.","INT. MILITARY AURA Seen from within : the aura races through a glass tunnel.","INT. JOR-EL'S LABORATORY The room shakes in a violent tremor as JOR - EL tries to get the engines fired. The energy columns glare at fever pitch.","EXT. KRYPTON The proximity of Kryptonian sun has bathed the planet in a reddish glow. NOTE : All Scenes on Krypton both interior and exterior will from now on reflect this color.","EXT. KRYPTON The military aura nears JOR - EL' S house. Suddenly a huge tremor dislodges a mass of crystal which crashes down, obliterating the aura.","INT. JOR-EL'S LABORATORY The tremor continues in the lab. Tons of crystal crash down into the room as JOR - EL frantically tries to fire the rocket. With a last desperate effort he lunges forward throws the tumbling debris and hits the control which ignites it. With a deafening roar, the rocket starts to glide off into the night as the house begins to collapse, the energy columns shattering under the strain.","EXT. SP ACE - CLOSE ON MODULE The module races away from the disintegrating planet below toward the Phantom Zone.","INT. COUNCIL OF ELDERS The Council room is destroyed co1lapsing on some of the ELDERS.","INT/EXT KRYPTON Various scenes of destruction, to include exterior shots and the trial chamber.","INT. JOR-EL'S LABORATORY JOR - EL and LARA are buried beneath a cascading shower of debris, clinging together desperately in the moment of their death.","EXT. JOR-EL'S HOUSE The House collapses in ruins.","EXT. PHANTOM ZONE The THREE VILLANS, pressed against the linear Phantom Zone, watch the module hurtle past. VILLANS -LRB- muffled echoes. -RRB- Take us with you. The capsule heads out into the intergalactic void as the VILLANS turn their attention to the planet Krypton, now in total eruption. ANGLE ON KRYPTON - VILLANS POV The red sun eats its way into the core or the planet Krypton which suddenly explodes and implodes - leaving a vast black void.","EXT. SPACE - CLOSE ON MODULE The module speeds through space to the accompaniment of steady electronic pulsings.","INT. MODULE Lights flash on the complex instrument panel. A computer memory bank repeats recorded data while machines registers other space functions on graphs. The BABY is completely wired and fitted with instruments and tubes for his survival in space. The computer spews forth information. COMPUTER -LRB- JOR - EL'S VOICE. -RRB- Early concepts of matter appear in ancient Creek philosophy. In the fifth century Demoocritus defined a small unit as an atom, then thought to be indivisible.","EXT. SPACE - CLOSE ON MODULE The module voyages through space. A giant asteroid lost in the void, soars toward it at tremendous speed. The module and the asteroid nearly collide. The module sways on, away into the void.","INT. MODULE The control panels continue to flash. The BABY has grown. The survival tubes, instruments and belts have adapted to his increase in size as the years have passed. COMPUTER -LRB- JOR - EL'S voice. -RRB- Index 19, Sonnet 101 : `` 0 truant muse, what shall be thy amends for thy neglect of truth in beauty dy'd?","EXT. SPACE - CLOSE ON MODULE Traveling through space : A tiny yellow dot becomes larger as the module enters our Universe. The yellow dot grows rapidly into a flaming yellow sun.","INT. MODULE The control panel lights flash rapidly. An electronic bleep quickens its squeal. The BABY has grown older. COMPUTER -LRB- JOR - EL'S voice. -RRB-. which Einstein called his Theory of Relativity, mistakenly held to be correct until the year.","EXT. MODULE - EARTH'S ATMOSPHERE - DAY The module enters the earth's atmosphere. We SEE the familiar astronaut's POV of the revolving earth, growing larger and larger until we can make out the recognizable shapes of land masses on oceans. As the module gets closer, it seems as if it will surely land in the middle of the Soviet Union. But as the Earth continues to revolve, the rocket heads for the dead centre of the United States. NOTE : As the module speeds down through the atmosphere, the resistance gradually transforms its shape into a jewel - like geode form, burnished hot by the pressure.","EXT. KANSAS WHEAT FIELD - DAY Miles and miles of golden wheat wave under a cloudless sky. CAMERA PANS : A dilapidated farm pick - up truck comes chugging down a long flat dirt road.","INT. PICK-UP TRUCK - DAY Two PEOPLE are seated in the truck cab, dressed in their shiny, patched `` Sunday best'' clothes. The MAN is in his 50 `` s, the WOMAN in her 40' 5. `` Private'' people who mind their business, Christian folk whose morals are as basic as the soil they till : JONATHAN AND MARTHA KENT. Suddenly an ominous black shadow quickly crosses the road. Simultaneously : a loud whooshing sound -LRB- the space module coming to Earth -RRB-. JONATHAN is startled, darts a momentary look, in the direction of the noise. JONATHAN What in the.","EXT. WHEAT FIELD ROAD - DAY The `` bang'' of a tire blowout is heard. JONATHAN slams on the brakes. The truck lurches violently to the right, the front tire having burst. The truck swerves, narrowly missing the embankment, stops. CLOSE ON TRUCK JONATHAN steps out of the truck cab, looks sadly at the punctured tire. JONATHAN -LRB- muttering. -RRB- If a man did n't know better, he'd think Detroit made those things to blowout on purpose. Grumbling, he goes around the rear to unstrap the spare tire and haul out the jack. MARTHA gets out of the cab, stretches her legs, gazes across the wheat fields as JONATHA in B.G. places the jack under the car, then wedges a stone under it to hold the jack in place. CAMERA SUDDENLY ZOOMS IN ON MARTHA : Her face is frozen in astonishment at something she's seen in the wheatfield. MARTHA Jonathan! JONATHAN turns, looks, eyes widening, equally amazed. JONATHAN Great God Almighty! What is it? ANGLE ON MODULE - THEIR POV The space module has landed in the fields. The engines are silenced.","EXT. FIELD - CLOSE ON MODULE JONATHAN rushes to the strange, eerie metallic geode nesting in the charred wheat, MARTHA close behind him. MARTHA Careful, Jonathan. Suddenly : a wall of the module Opens. A capsule ejects a little BOY still fastened inside, cushioned by the three blankets. JONATHAN What in the Sam Hill He looks inside the module, leans over, touches the capsule burning his hand. MARTHA Jonathan! The little BOY, aged 3, suddenly springs out of the electronically controlled belts, half naked. MARTHA -LRB- stunned. -RRB- It's a. baby. JONATHAN stares, dumbfounded. MARTHA smiles softly at the baby, wraps him in the three blankets, picks him up. CLOSE ON JONATHAN AND MARTHA - TRACKING SHOT MARTHA carries the BABY back to the truck, looks at him with wonder. JONATHAN walks in front, shakes his head. JONATHAN Well - better change that tire if we're gon na get hone and see about contactin' that boy's proper kin. MARTHA -LRB- defensively. -RRB- He has n't got any - not for sure. Not around here anyways. You saw that magic contraption he came in, same as me. JONATHAN has arrived at the truck, starts jacking up the front end. JONATH.AN I did. But I ai n't gettin' hauled off to no booby hatch by tellin' other people I did - and neither is you. JONATHAN removes the lugs and the punctured tire. MARTHA You take things easy now, Jonathan. You mind what Doc Frye said about that heart of' yours. INSERT SHOT - JACK The jack begins to shimmy. The truck shakes. CLOSE ON JONATHAN JONATHAN struggles with the spare tire under the truck, wondering why it wo n't fit in. INSERT SHOT - JACK The jack continues to shimmy. Suddenly, the stone beneath it slips away. CLOSE ON MARTHA MARTHA screams, horrified. BACK TO JONATHAN JONATHAN under the truck, shoots a quick look at his wife, then - as her scream stops in a gasp - he looks behind him as CAMERA PANS : The' BABY is holding up the truck, two wheels off the ground. JONATHAN and MARTHA are poleaxed with disbelief.","INT. TRUCK CAB - DAY The BABY sits happily in MARTHA'S lap. The COUPLE look ahead, lost in thought, MARTHA in particular. MARTHA -LRB- carefully. -RRB- All these years, happy as we've been, how I prayed and prayed the Good Lord would see fit to give us a child. JONATHAN -LRB- looks - alarmed. -RRB- Martha, there is something downright strange about that boy. Where he come from, what he just did back there. Now surely you do n't mean to. MARTHA -LRB- firmly. -RRB- No one must ever know. JONATHAN But folks'll ask questions. MARTHA We'll say he's child to my cousin in North Dakota, and just now orphaned. Jonathan, he's a baby. -LRB- cuddles baby. -RRB- Poor thing. JONATHAN Well. -LRB- sigh. -RRB- Maybe we could give it a try for the time bein'. I'd better hitch the rig and come back to Get that. that thing he was settin' in. What do you make of that thing? Martha'? Martha Kent, you listenin' to me? MARTHA I was thinkin' what to call him. I was thinkin' I had an uncle who was a fine man, you recall him? The church sexton? JONATHAN Who? - Clark? I never cared two hoots for that fella.","EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY CAMERA LOOKS DOWN on a typical midwestern small town high school football field in the 1950's. A coach's whistle signals the end of the team's practice session. A group or GIRL CHEERLEADERS run through their routines nearby. Several PLAYERS practice `` extra points'' by kicking the ball through the goalposts from the 2 1/2 - yard line, now stop, congregate around the bench with the other PLAYERS as they turn in their equipment, prepare to go home. CLOSE ON BENCH - TRACKING SHOT CAMERA TRACKS along the bench as the PLAYERS drop their pads, towels. kicking tees, footballs, etc. on the bench. Picking them up, stacking them neatly and methodically is a bookish - looking TEENAGER of 15. With dark, unstylish hair, heavy - rimmed glasses, and an air of social unease, he is the perfect candidate for team manager - the young CLARK KENT. CLARK nears the end of the bench, looks off at the CHEERLEADERS : five or six wholesomely cute teenagers in their uniforms of sweater, tiny skirt, sneakers, and white socks. They have finished rehearsing their final routine now laugh, applaud themselves, drop their megaphones and run off to join several of the departing PLAYERS. One CHEERLEADER -LRB- SUSIE -RRB- with an attractive, sensitive face - pauses, sees the megaphones strewn around the ground, begins ` to collect them. CLOSE ON SUSIE SUSIE gathers up the megaphones. CLARK crosses to her. CLARK You do n't have to bother with those, Susie. I'll take them in for you with the other equipment. SUSIE Why, thank you, Clark. -LRB- rises - smiles. -RRB- You know something, Clark? I think you're just about the nicest boy in the whole school. CLARK blinks shyly, practically blushing. CLARK Well. ah. ah. it's sort of my job as team manager, anyway, and. SUSIE No, I mean it. I really do. Listen. A whole bunch of us are going over to Mary Ellen' s and play some records. Would you like to come? CLARK Well, gee. I'd. why, yes, Susie, I'd like that very. FOOTBALL PLAYER -LRB- 0.5. -RRB- Kent wo n't be able to make it. A large FOOTBALL PLAYER comes into frame, looks at SUSIE with what passes for `` macho'' at 15. FOOTBALL PLAYER Kent's still got a lot of work to do. CLARK -LRB- innocent - turning. -RRB- What do you mean? I've stacked all the. CAMERA PANS as CLARK turns : the mass of equipment he had neatly piled on the bench has been tossed all over the field. Water buckets overturned, etc.. In B.G. several other PLAYERS and CHEERLEADERS are crammed into an open, convertible car, snigger to themselves, pretend not to look. BACK TO SCENE CLARK'S face falls. He stares at the Grinning FOOTBALL PLAYER as we see a momentary flash of anger pass through his eyes. Will he? No. Regaining his former composure, CLARK smiles faintly. CLARK I'm. sorry, Susie. I guess I'd better clean it up. The FOOTBALL PLAYER puts a victorious arm around the reluctant SUSIE, prods her off toward the open convertible. They get in. The car roars off. CLOSE ON CLARK. CLARK is left totally alone on the football field, his face downcast with anger and hurt born of humiliation. He approaches a football sitting on the extra - point tee at the 2 1/2 yard line, is about to pick it up, suddenly gives it a frustrated kick. The ball takes off like a tiny rocket. ANGLE THROUGH OPPOSITE GOALPOSTS The ball whistles perfectly through the far goalposts. CLARK has kicked it over 100 yards. BACK TO CLARK CLARK turns, looks at the mess left by the players. He reaches down for the first towel, suddenly grits his teeth, accelerates into SUPER SPEED. His image is only a blur on the screen as towels, pads, buckets, etc. disappear from the field and miraculously reappear on the bench.","EXT. KANSAS ROAD - DA y CLARK trudges along a country road, heading for home. In B.G. the Open convertible appears, closing fast. He turns. It slows down, seems to be intending to pick him up. Then, at the last minute, the FOOTBALL PLAYER who is driving honks the horn loudly, roars past him, laughing, leaving CLARK in a swirl or dust. CLOSE ON CLARK. CLARK stares angrily, his rage growing. He takes off his glasses, puts them in his Pocket. Turning, he suddenly takes off, running cross - country.","EXT. KANSAS COUNTRYSJDE - DAY The blur which is the running CLARK zooms through a cornfield, makes a hair - pin turn across a meadow and up over a rise.","EXT. TRAIN TRACKS - DAY - TRAVELLING SHOT Clark runs parallel to some train tracks on the other side of the rise. A train looms up rapidly behind him, overtakes him by one or two cars. For a moment CLARK is content to keep pace with the train, then looks up at its windows. ANGLE ON TRAIN WINDOWS - CLARK'S POV A LITTLE GIRL of' six looks out one window, her nose pressed to the glass, her chin dropping in surprise. BACK To CLARK He notices. Embarrassed, he runs faster, pulling on ahead and passing the train.","INT. TRAIN COMPARTMENT - -DAY The GIRL'S PARENTS are the couple we saw in the opening shot of the movie, cooing over their baby. They are six years older now, as is she : LOIS LA.NE LOIS -LRB- turns - amazed. -RRB- Golly! I saw a boy out there, running fast as the train! Faster, even! MOTHER -LRB- affectionate sigh. -RRB- Lois Lane, you do have a writer's gift for invention. I'll say that for you. LOIS But. FATHER Read your book, dear.","EXT. KENT FARMHOUSE - DAY A small farm on a dirt road facing a wheatfield. A barn stands at one end of the front yard area. CLARK, running in a blur suddenly appears by the tree growing next to the front gate, stops. CAMERA PANS : coming down the road : the convertible with the FOOTBALL PLAYERS and CHEERLEADERS. CLARK leans nonchalantly against the tree as the car and its amazed occupants roll to a stop, stare with wonder. SUSIE Clark? FOOTBALL PLAYER How the hell did you. CLARK -LRB- deadpan. -RRB- I ran. FOOTBALL PLAYER -LRB- pause - to others. -RRB- Told you he was a weirdo. Let's get out of here. He guns the car, irritated, roars off. CLARK breaks into a thin, self - satisfied smile. JONATHAN'S VOICE Been showin' off a bit, have you, son? ANGLE ON JONATHAN JONATHAN KENT, much older now, stands with stooped shoulders, a scythe in one hand. He looks care - worn, but deeply concerned as CLARK joins him in the yard. CLARK I do n't mean. to show off, Dad. It's just that. JONATHAN -LRB- total understanding. -RRB- You got all these amazin' things you can do and sometimes you think you'll go bust if you do n't let other people know. CLARK -LRB- misty - eyed frustration. -RRB- I could score a touchdown every time I had the ball. Every time, Dad. Is it showing off for a person to do what he's capable of? Is a bird Showing off when it flies? -LRB- no reply. -RRB- I'm sorry, Dad. I know I made a promise, but I just do n't think I can handle it anymore. CLARK turns away. JONATHAN watches with compassion. JONATHAN Look, son. You've been nothin' but a blessing to your mother and me. In the beginning - when you first came - we thought they'd take you away from us if people found out about. the things you could do. But a man thinks different as he gets older, ` thinks. better. Wiser. Starts to see things clear. And I know now that as sure as we're gon na see the moon tonight there's a reason why you're here. Do n't ask me what reason, do n't ask me whose reason. But whoever, and whatever, there's one thing I do know. -LRB- soft smile. -RRB- It ai n't to score touchdowns. CLARK turns, nods, understanding. JONATHAN puts his arm around him. JONATHAN Now why do n't you see if you can finish up your chores before I finish up all that apple pie I smell comin' from your mother's kitchen window. CLARK smiles, heads off toward the barn, CAMERA TRACKS with him. Suddenly : a choked scream is heard 0. S. CAMERA WHIP PANS : JONATHAN, his hand clutching his heart, staggers on the front step of the farmhouse. CLARK -LRB- O.S. -RRB- Dad! MARTHA'S VOICE -LRB- from inside. -RRB- Jonathan? JONATHAN collapses, falling backwards as MARTHA opens the front door. MARTHA Jonathan!","EXT. KAN5AS CEMETERY - DAY CAMERA CLOSE on a tombstone reading : JONATHAN KENT, 1887 - 1943 R.I.P., PULLS BACK : CLARK stands by a freshly filled grave, holds the hand of the weeping MARTHA. Both are dressed in mourning. CLARK -LRB- quiet anguish. -RRB- All those things I can do, all those powers. and I still could n't save him.","EXT. KENT FARM - NIGHT' The barn stands silhouetted against the night sky. SLOWLY TRACKS TOWARD IT, passes through the door.","INT. BARN - NIGHT Pitch dark inside. A green light emanates somewhere from beneath a mound of hay the light seems to throb as it glows, as if calling out for something - or someone.","INT. CLARK'S BEDROOM - NIGHT CLARK KENT, now 18 years old, is asleep, suddenly his eyes open. Her sits up, looks around.","EXT. FARM - NIGHT The back door opens. CLARK, fully dressed, emerges from the house, crosses to the barn.","INT. BARN - NIGHT CLARK enters, crosses to the mound of hay which throbs with the green light. Digging and pushing the hay aside, he uncovers the geode - like module which brought him to earth. The module glows brightly, lit by something from within. CLARK stares hard at it - his eyes changing in colour and consistency. ANGLE ON GEODE - CLARK'S X - RAY POV Seen through CLARK'S X - RAY vision which cuts through the solid surface of the module : a green crystal throbs inside, resting on the red, yellow, and blue blankets. BACK TO SCENE CLARK kneels, opens the module, picks up the crystal, stares into it deeply, eyes widening in the eerie, pulsating light.","INT. KENT KITCHEN MARTHA stands over the kitchen stove in the early morning, bacon sizzling in the pan, a pot of hot coffee steaming nearby. She turns her head slightly, calls out. MARTHA Clark? Are you going to sleep all day? I've got. She stops, has noticed something out the kitchen window. CAMERA PANS, pushes in through window : In the distant wheatfield across the road stands the motionless figure of CLARK.","EXT. WHEATFIELD - DAY CLARK stands quietly, immobile, staring north as the late morning sun hits the side of his face. The look is trance - like as if some force were pulling at him. There is a rustle in the wheat behind him. He does not turn. CLARK I. have to leave. MARTHA enters frame, stops, looks at him thoughtfully, full of emotion. MARTHA I. knew this time would come. I knew it from the day I found you. CLARK turns now, faces her. He speaks flatly, trying to avoid breaking down. CLARK I'll bring in the crop before I leave. I. talked to Ben Hubbard yesterday. He'll be happy to help out from now on. MARTHA He's a good man, Ben is. Your father always said so. CLARK -LRB- emotionally. -RRB- Mother. MARTHA -LRB- helpless smile. -RRB- I know, son. I know.","EXT. WHEATFIELD - DAY The sun starts to set in the distance. CLARK approaches the vast wheatfield, his. father's scythe in his hand. He hesitates a moment, unobtrusively looks around, then bursts toward the wheat at SUPER SPEED, cutting an instant four - foot wide swath across the field.","INT. KITCHEN - DAY - ANGLE ON WHEATFIELD CAMERA looks through the kitchen window as the wheatfield practically disintegrates in neat rows before us, then PULLS BACK : MARTHA watches, her eyes filled with tears.","EXT. KENT F ARM - DAY The wind is blowing. Tall, neat stacks of baled wheat rise up near the barn. CAMAERA PANS : CLARK stands at the gate to the road in a windbreaker and slacks, has a rucksack at his side. MARTHA holds out a brown paper bag. MARTHA I made you. -LRB- fighting back tears. -RRB-. some sandwiches. CLARK smiles silently, closes his hand around the bag. He turns, opens the rucksack to place the bag inside. INSERT SHOT - RUCKSACK The rucksack interior glows with a green light, tucked inside the red, yellow, and blue blankets is the same one seen earlier, in thc barn. CLARK closes it. BACK TO SCENE They face each other for the final time, all emotion, both at a sudden loss for words. MARTHA Do you. know where you're headed? CLARK North. MARTHA'S eyes glaze over. She manages a brave smile. MARTHA Remember us. Always remember us. Unable to restrain themselves any longer, they reach out, collapse into a tight hug.","EXT. ALASKA HIGHWAY - DAY CLARK, in his light windbreaker, his rucksack on his back, walks by the side of the road. The wind howls, ruffling his hair, but he does n't seem to mind the cold. CAMERA PANS : from a distance, a truck appears. It pulls up next to him, stops. The DRIVER opens the door. TRUCK DRIVERS Get in Kid! Quick, before you freeze to death! CLARK -LRB- nice smile. -RRB- I'm okay, thanks. It was nice of you to stop, though. The DRIVER stares, amazed. CLARK really means it. DRIVER What the hell. You wan na make a popsicle outa yourself, none of my business. THE DRIVER slams the door. The truck roars off. CLARK watches it leave, then turns, walks off the side of the road cross - country, heading north.","EXT. ALASKA - DAY CAMERA PANS a vast snow - covered plain and an arctic lake with icebergs floating in it in the distance. A Polar bear trudges through the snow, stops, looks at something which has attracted his attention. CAMERA CONTINUES PAN : the tiny, dark figure of CLARK contrasts sharply with the dazzling white landscape as he makes his way still north, dressed only in his light windbreaker.","EXT. NEAR NORTH POLE - DAY A flat, desolate plain. off to one side is a huge out - cropping of rock jutting out of the barren, snow - covered landscape. A blizzard rages. CAMERA PANS to reveal CLARK, the rucksack on the ground beside him. The wind rips across the plain. CLARK looks around, seems to be in the process of selecting a specific area. He marks its perimeters with heat vision, burning deep lines into the snow and ice. Once the boundaries are drawn, CLARK concentrates on the area within. The entire mass of snow' begins to melt away as huge flames shoot around the gigantic excavation. EXT'. SAME AREA - LATER An enormous crater has been carved out of the rock and ice. CLARK stands in the center, reaches into his rucksack, places the green stone on the ground. Climbing back quickly to the edge, he focuses into the crater. As his heat vision hits the stone a crystalline foundation begins to solidify and expand. Green radiation glows all around the excavation site - a wall is formed. Another burst of energy intensifies and constructs a second side joined at a right angle. In the bright cone of green light, multi - colored molecules explode and expand into a third impregnable wall. Through the blaze of sparkling light this wall increases in size, spreads out to cover the fourth remaining side. CLOSE ON CLARK CLARK steps back to look with awe : The Fortress of Solitude is complete. It rises up in the northern landscape, its materials completely harmonious, the white opaque crystalline blending ingeniously into the surrounding countryside.","INT. FORTRESS OF SOLITUDE - DAY The tiny figure of' CLARK enters the Fortress, looks up at a multi - leveled white fantasy. Stabbing spurs of crystal cut across the levels at a severe angle. The decor is spartan, minimal. The central area with its complicated memory crystal energy banks where SUPERMAN will communicate with his dead father is overlooked by a series of different levels which lead off to hidden corridors, rooms, etc.. The entire dazzling interior is strongly reminiscent of what we have seen earlier on Krypton. CLOSE ON ENERGY BANK SECTION A crystal bench sits next to the energy bank which is lined with rows of smaller glowing crystals. CLARK approaches mesmerized, knowing what he must do but unsure of how and why. He reaches out for the first crystal, places it inside a mechanism in the energy bank, takes his seat on the bench, waits, suddenly : WIDE ANGLE The light in the Fortress changes dramatically. The walls and jagged planes of the structure seem to come alive with energy. The wall directly opposite vibrates with a special intensity : A giant face appears : It is JOR - EL. His head rises massively up and across the wall, burning with light, looking down, dwarfing the tiny figure of CLARK on the bench. JOR - EL'S eyes flash, focus on him. JOR - EL speaks. JOR-EL My son, you do not remember me. I am Jor - El. I am. your father. By now you will have reached your eighteenth year of time as it is measured on earth. By that same reckoning I will have been dead for many thousands of your years. The knowledge that I have of, matters physical and historic I have given to you fully on your voyage to your new home. These are important matters, to be, sure, but still matters of mere fact. There are questions to be asked and it is time for you to do so. Here in this Fortress of Solitude we shall try to find the answers together. How does a Good man live? What is virtue'? When does a man's obligation to those around him exceed his obligation to himself'? These are not simple questions - even on Krypton there is no precise science which provides us with the answers. I can only tell you what I myself believe. To this end, I have tried to anticipate your questions, and in - the order of their importance to you. -LRB- pause. -RRB- Speak. CLARK Who. am I? JOR-EL Your name is Kal - El. You are the only survivor of the planet Krypton. Even though you have been raised as a human being, you are not one of them. You have great powers, only some of which you have, as yet, discovered. CAMERA BEGINS A SLOW 360 - DEGREE PAN. The face and features of JOR - EL will appear and fade away in many dimensions and on virtually every area of the fortress in an intricate and continuous SERIES OF DISSOLVES : JOR-EL Your mother, Lara, has sent along three Blankets of red, yellow, and blue. United in United in a single garment, their. -LRB- last sentence missing from script. -RRB- At times there will be simultaneous representations JOR - EL : some merely features of the face in huge magnifications - eyes, mouth, profile, etc.. The DISSOLVES will indicate the passage of a long period of time. Never, until the final culmination of the 360 PAN do we see or hear anything but the face and thought of JOR - EL. JOR-EL You are superior to others. You can only become inferior by setting yourself above them. Lead by inspiration. Let your actions and ideals become a touchstone against which mankind may learn how to serve the common good. While it is forbidden for you to interfere with human history itself, your leadership can stir others to their own capacity for moral betterment. JOR-EL The virtuous spirit has no need for thanks or approval. Only the certain conviction that what has been done is right. Develop such conviction in yourself, Kal - El. The human heart on your planet is still subject to small jealousies, lies, and monstrous deceptions. Resist these temptations as you inevitably find them - and your ethical power will then properly outweigh your physical advantage over others. CAMERA BEGINS THIRD SERIES OF DISSOLVES, has almost completed its 360 PAN, now starts to RISE behind a giant representation of JOR - EL'S face. LOOKING DOWN from behind through the eyes we see a tiny blue, red, and yellow figure in the distance. CAMERA PUSHES IN SLOWLY through the eyes. JOR-EL Your education nears a kind of completion now, Kal - El, although no limit to understanding or knowledge has ever truly existed. Over the years you have asked important questions and I think together we have almost always found the answer to them. Now it is time for you to return to the world which I have chosen for you. When new questions arise, come back to me and I will try to be of help. The FIGURE is discernible now as CAMERA PUSHES IN with increasing speed. FOR THE FIRST TIME : SUPERMAN stands in his classic outfit, arms folded, gazing intently back up at the CAMERA which - represents JOR - EL. He is older now. A handsome, strong man, his intelligence, warmth, and compassion shining through his clear eyes as the final words of JOR - EL flow through him. JOR-EL Live as one of them, Kal - El, to discover where your strength and power are needed - but always hold in your heart the pride of your special heritage. Your being is both separate and your own, but I have caused your earthly presence and must share responsibility for your actions. They can be a great people, Kal - El. They wish to be. They only lack the light to show the way. For this reason above all - their capacity for good - I have sent them you. My only son. There is a handwritten notation to `` cut to scene 96''","EXT. METROPOLIS STREET - DAY -LRB- There is a handwritten notation `` 26/6/77 amended to page 56'' -RRB- CLARK KENT walks a crowded street in Metropolis, attaché case in hand, conservative suit, heavy - rimmed glasses, etc.. A brisk breeze blows. CLARK reaches the street corner, looks around, admires the skyline, fascinated by the big city. He starts across the street to a building marked DAILY PLANET, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection. ANOTHER ANGLE The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out. DRIVER Oh, my god, I could n't help. CLARK, still standing, simply turns, smiles nicely. CLARK Sorry. It's my fault. I should n't have crossed against the light. The DRIVER stops, dumbfounded, stares at the hood of his cab. INSERT SHOT - HOOD OF CAB The front of the cab has CLARK'S impression cut deeply into the hood, through the engine block to the windshield. BACK TO SCENE CLARK waves a cheery farewell to the non - plussed DRIVER, mouths another friendly `` sorry'', crosses the street, walks through the doors of The Daily Planet. CAMERA PANS UP the skyscraper to its tower -LRB- not the same building in the OPENING, but new, more modern quarters -RRB- where WE SEE the globe and the enormous electric sign : THE DAILY PLANET - Metropolis' Greatest Newspaper.","INT. PLANET CITY ROOM - DAY The city room of a large newspaper. Rows of desks. REPORTERS, EDITORS, COPY BOYS scurry back and forth. CAMERA PUSHES IN on a corner of the City Room where a few star reporter desks look a bit larger and widely spaced than the others. Behind them is a frosted glass door on which is painted : `` PERRY WHITE, MANAGING - DIRECTOR''. ANGLE ON DESKS Seated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. Physically she is a knockout : long brunette hair, smart clothes on a smart figure. Mentally, she's just as good : bright, talented, ambitious. A girl with a wry sense of humor, a snappy reporter with an instinct for a big story, the grown - up version of that little girl last seen at the train window as it sped through Smallville : This is LOIS LANE. LOIS -LRB- to anybody. -RRB- How do you spell `` massacre?'' ANGLE ON LOIS THROUGH REFLEX FINDER LOIS turns, looks into the crosshairs of a reflex camera viewfinder. She is perfectly centered. JIMMY'S VOICE R - E. The shutter clicks. BACK TO SCENE A few feet away, a fresh - faced young CUB REPORTER lowers his press reflex camera. A teen - age eager beaver who idolizes LOIS, this is JIMMY OLSEN. He grins, crosses to LOIS, tries to see what's in her typewriter. JIMMY What're you writing. Lois? LOIS -LRB- continues typing. -RRB- An Ode to Spring. One or two `` T's'' in bloodletting? JIMMY Two. LOIS types the finish, rips the page from her typewriter, reads with gusto. LOIS `` And the people on the street, the little man who runs the corner newsstand, the old lady sunning herself on the stoop, the kids playing stickball in the alley - none of them will ever forget that night of senseless blood - letting which turned a friendly block party into a cruel and unspeakable massacre.'' -LRB- triumphant. -RRB- LOIS rises, starts toward Perry White's office. JIMMY tags along at her heels as CAMERA TRACKS with them. JIMMY -LRB- lost in admiration. -RRB- Boy! How come you get all the great stories, Lois? LOIS A good reporter does n't get the great stories, Jimmy. A good reporter makes them great. JIMMY Oh, wow. LOIS flashes him a knowing grin, knocks on PERRY WHITE'S door, enters without waiting for a response.","INT. PERRY WHITE'S OFFICE - DAY The office of a working editor. Copy pinned up on bulletin boards, photos piled on the desk, wire service tear sheets, plaques, awards, signed photos on the walls, etc.. Behind the desk, rol1ed - up shirt sleeves, tie loosened, is PERRY WHITE, the no - nonsense, hard - working 50 ` ish editor of the paper. Beneath his gruffness is a nice guy who loves his grandchildren. PERRY struggles vainly with the screw - on top of a pop bottle as LOIS marches in, lays her story on his desk. LOIS -LRB- cocky. -RRB- Here's the story on that East 19th Street murder spree. Page one with a banner headline seems about right to me. PERRY So why should today be different. -LRB- gestures O.S. -RRB- Clark Kent, say hello to Lois Lane. LOIS turns, not realizing there was someone else in the room. CAMERA PANS : Seated against the wall by the entrance is CLARK KENT. He rises, polite and friendly, extends his hand. CLARK Hello, Lois. LOIS Hi there. LOIS looks back at PERRY as CLARK slowly lowers his hand. PERRY crosses, still struggling with the bottle top. LOIS Believe me, Chief, it's got everything. Sex., violence, the ethnic angle. PERRY So does a lady wrestler with a foreign accent. -LRB- turns. -RRB- Here, Kent. Open this, will you? PERRY hands CLARK the pop bottle as LOIS continues. CLARK struggles with it mightily, but to no avail. LOIS Chief, this could be the basis for a whole series of articles - `` Making sense of senseless killings'', you know? We get psychiatrists. LOIS takes the bottle away from the straining CLARK, raps it sharply twice on the arm of his chair hands it back to him. LOIS sociologists, interviews with the families. PERRY Lois, you're pushing a pile of rinky - dink tabloid crap. The Daily Planet has a tradition to. CLARK tries the bottle cap. It opens, suddenly fizzes out in a squirt from the agitation by LOIS. PERRY and LOIS turn, stare. CLARK winces shyly as the liquid dribbles down his pants leg. LOIS ca n't resist a smile, but sympathizes. LOIS I'm sorry. I did n't shake it up on purpose. CLARK -LRB- nicely. -RRB- Of course you did n't, Lois. Why would anyone want a total stranger look like a fool? CLARK smiles. LOIS looks back, unsure of how he meant that, as PERRY takes the bottle, from CLARK. PERRY Lois, take Kent out there and introduce him around. He's coming to work for the paper. I'm putting him on the city beat. LOIS -LRB- not happy. -RRB- My. beat? PERRY The competition'll do wonders for you. Listen. Not only does this guy show proper respect for his editor - in - chief. -LRB- baiting her. -RRB- not only does he have a snappy, punchy prose style, but I swear to you that after forty years in the business he is the fastest typist I have ever seen. LOIS stares warily at CLARK. His sincere expression never changes. CLARK I'm sure I can learn a lot from you, Lois. -LRB- turns. -RRB- Oh, Mister White, could you arrange for half my salary to be sent on a weekly basis to this address? CLARK hands PERRY a piece of pa per from his pocket. LOIS Your bookie? CLARK My what? LOIS -LRB- archly. -RRB- Do n't tell me. He sends a check every week to his dear grey - haired old mother. CI.ARK -LRB- total sincerity. -RRB- Actually, she's silver - haired. LOIS stares at him, stunned. He actually does send his mother money. CLARK manages a pleasant smile. LOIS Are there any more at home like you7 CLARK Not really, no.","EXT. METROPOLIS STREET - NIGHT - TRACKING SHOT -LRB- note - scenes 101 - 129 have had `` NIGHT'' marked out and `` DAY has been handwritten in. -RRB- It is late at night. The street is semi - deserted as CLARK and LOIS walk along on their way back from work. LOIS Well, Clark? So how did you enjoy your first day on the job? CLARK -LRB- checking his watch. -RRB- Frankly the hours were somewhat longer than I expected, Lois, but then. meeting you and Jimmy and Mr. White - on the whole I think it's swell. LOIS Swell. -LRB- pause. -RRB- You know, Clark, there are very few people left in the world these days who sound comfortable saying that word. `` swell''. CLARK Really? It just sort of comes naturally to me. As they pass an alleyway a VOICE is heard. VOICE All right. Freeze. The both of you. CAMERA STOPS, PANS : a rough - looking MUGGER stands just inside the darkened alleyway, a pistol leveled at them. MUGGER Get in here. CLARK and LOIS look around nervously for help. The street is deserted. CLARK Better do as he says, Lois.","INT. ALLEY - NIGHT (change to DAY) CLARK and LOIS are forced up against the wall. CLARK seems nervous, LOIS grimly determined. CLARK Listen, mister. I realize times are tough for some these days, but. -LRB- total sincerity. -RRB- This is n't the answer. You ca n't solve society's problems with a gun. The MUGGER blinks. LOIS looks at CLARK unbelievingly. MUGGER You know something, buddy? You're. right I'm turning over a new leaf. CLARK That's the spirit. MUGGER Right after I rip off this lady's purse. -LRB- to LOIS. -RRB- Now hand it over. LOIS stares hard at him. Disgusted, she lets the purse drop. The MUGGER reaches down to pick it up. LOIS suddenly kicks him viciously in the neck, sending him reeling backwards : The MUGGER hits the pavement bringing up his gun with a deadly glare. CLARK Do n't shoot! Do n't shoot! CLARK rushes forward with his arms outstretched pleadingly as the MUGGER fires. INSERT SHOT - CLARK'S HAND AT SUPER SPEED : The bullet hits CLARK harmlessly in the palm of his hand. He closes his fist around it. BACK TO SCENE CLARK'S eyes bulge. He drops to the ground with a look of agonized astonishment as LOIS screams. LOIS Clark! The frightened MUGGER scrambles to his feet, runs off down the alley as LOIS bends over CLARK. LOIS Clark. oh, Clark. are you. CLARK'S eyelids flutter, then open. with a sheepish smile. He looks up at LOIS CLARK Wow. I guess I must have fainted or something. LOIS -LRB- rising - disgusted. -RRB- Swell. CLARK gets to his feet, dusts himself off. CLARK Really, Lois. Supposing that man had shot you? Is it worth risking your life over ten dollars, two credit cards, a hairbrush, and a lipstick? I mean. LOIS -LRB- strange expression. -RRB- How did you know that? CLARK -LRB- suddenly nervous. -RRB- Know what? LOIS You just described the exact contents of my purse. CLARK -LRB- pause - smile. -RRB- Wild guess. CLARK turns self - consciously, strides out of the alley as LOIS watches him curiously. CLARK Taxi!","EXT. METROPOLIS STREET - NIGHT (DAY) CLARK and LOIS enter a cab, take off, CAMERA PANS to a newsstand on the corner. CLOSE ON NEWSSTAND - DAY -LRB- DAY -RRB- A large MAN -LRB- OTIS -RRB- in a slightly disheveled one - colour outfit which could pass for a uniform buys a newspaper. He checks the headlines and front page picture before paying, then starts off. CAMERA PANS : a police car is parked at a nearby corner directly in his path. lO7 INT. POLICE CAR - NIGHT -LRB- DAY -RRB- TWO OFFICERS watch as OTIS approaches, passing under a streetlight. Their eyes narrow suspiciously. OFFICER #1 That's him, all right. Lex Luthor's right - hand man. Let's get him. OFFICER #2 Wait. Maybe he'll lead us to the man himself. OFFICER #1 -LRB- too good to be true. -RRB- Lex Luthor. OFFICER #2 You got it, Charlie. We both make Captain by midnight. They look through the windshield. OTIS has spotted their car, now hesitates.","EXT. STREET - CLOSE ON OTIS (DAY) OTIS suddenly doubles back, rounds a corner. The police car pulls away from the curb, rolls after him.","EXT. STREET NEAR TRAIN STATION - NIGHT (DAY) OTIS has broken into a run. Still holding on to his newspaper, he heads for the entrance to a train station farther down the block. CAMERA PANS : the police car has picked up speed, continues to follow.","EXT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OTIS, now at a dead run, threads his way through arriving PASSENGERS and taxis, enters the station. In F.G. the police car pulls up. OFFICER # 2 jumps out, turns to OFFICER # 1. OFFICER #2 Call for a back - up. I'm going after him. -LRB- slaps walkie - talkie on belt. -RRB- I'll keep you posted.","INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OFFICER # 2 arrives at the top of the main staircase leading down into the busy central hall of the station, scans the CROWD. ANGLE ON OTIS - OFFICER # 2's POV OTIS hustles through a group of PASSENGERS, heads down a ramp marked : LOWER LEVEL. BACK TO OFFICER # 2 OFFICER # 2 has seen, speaks into his walkie - talkie, as he runs down the stairs. OFFICER #2 Lower level, Charlie. I'm right on his ass.","INT. STATION LOWER LEVEL OTIS hurries through the lower level, disappears into an entrance marked : TRACK 22. CAMERA PANS : OFFICER * 2 has seen, follows quickly. OFFICER #2 -LRB- into walkie - talkie. -RRB- Track 22, Charlie. OFFICER #1's VOICE -LRB- through walkie - talkie. -RRB- Back - up's here. We're right behind you.","INT. TRACK 22 - NIGHT (DAY) OTIS runs down the platform. On one side is a waiting train, steam belching from beneath the cars as the final PASSENGERS set on board. OTIS joins them. ANGLE ON OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 at the top of the platform starts after him, suddenly stops as he sees : ANGLE ON OTIS - OFFICER # 2's POV OTIS' emerges through the steam on the other side of the train. He looks down the opposite side of the platform along an empty track. A train approaches in the distance, its lights now visible, the noise of its wheels increasing rapidly in volume. OTIS looks : against the far tunnel wall are a series of concave man - sized indentations, meant for track workers to step back into in case of an oncoming train. Waiting until the last moment, OTIS suddenly, jumps down onto the track, crosses it, steps back into an. indentation as the train roars past in f.g. CLOSE ON OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 watches, mystified. ANGLAE ON TRAIN -LRB- DAY -RRB- The train rattles by quickly, its flashing windows obscuring OTIS from view. As the last car whistles by : OTIS has disappeared - the indentation is empty. BACK TO OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 grins confidently, speaks into his walkie - talkie. OFFICER #2 Make it Track 23, Charlie. I see how he does it.","INT. TRACK 23 - NIGHT (DAY) OFFICER # 2 runs down the platform, stops opposite the indentation OTIS used. He is about to jump onto the track, hesitates as he looks off : Another train is coming down the track, its lights now visible in the distance. OFFICER * 2 grits his teeth, jumps off onto the track.","INT. LUTHOR' S LAIR - NIGHT (DAY) CAMERA CLOSE on a TV monitor screen. OFFICER # 2 is seen on it, crossing the track. A disapproving, clucking sound is heard. A hand comes into frame holding a remote control device. A button on it is pushed. The TV image changes : We now see OTIS Walking nonchalantly down a narrow underground passageway lined with enormous steam pipes, still holding on to his newspaper. LUTHOR'S VOICE -LRB- O.S. -RRB- It's a miracle that brain can generate enough power to keep his legs moving. The remote control device switches back again : Seen on the monitor : OFFICER # 2 has crossed the track, looms large in monitor f.g. as he takes his place inside the indentation.","INT. TRACK 23 - CLOSE ON INDENTATION (DAY) OFFICER # 2 has stepped inside the indentation, now waits. The train roars down the track towards him. Suddenly - the rear wall of the indentation pushes forward, shoving him out in the direction of the track. He fights vainly for a moment, then catapults onto the track with a scream as the train rushes past. ANGLE ON TOP OF TRACK 23 PLATFORM -LRB- DAY -RRB- OFFICER # 1 has arrived with two other POLICEMEN. They scan the platform area as the train roars by. CAMERA PANS : ANGLE ON TRACK 23 - THEIR POV -LRB- DAY -RRB- The train has passed. All that remains on the track is a chewed - up policeman's hat and a dented walkie - talkie which sqawks pure static.","INT. LUTHOR'S LAIR - NIGHT - CLOSE ON TV MONITOR (DAY) Seen on the TV monitor : the POLICEMEN scratching their heads, puzzled, walking along the empty platform. The hand with the remote control device comes back into frame. A button is pushed. The screen goes dark.","INT. UNDERGROUND TUNNEL - NIGHT (DAY) OTIS proceeds down an even narrow tunnel. Water drips from the rock ceiling above. A couple of rats scamper past and through some rusted heating and electrical ducts which line the sides. CAMERA PANS with OTIS. He heads for a rusty, bolted metal door marked : DANGER - NO ENTRY - CONDEMED.","INT. LUTHOR'S LAIR - NIGHT - CLOSE ON MODEL (DAY) CAMERA. FOLLOWS another train -LRB- this one a model -RRB- as it snakes its way around mountains and through deserts in a made - to - scale U.S. western - type landscape. Emerging from a tunnel it heads out onto a bridge which is only half - completed, suddenly tumbles off, the falling cars demolishing a papier - mâché model of a hospital directly below. A low chuckle is heard O. S. CAMERA PANS UP : A few feet away, a beautiful YOUNG WOMAN -LRB- EVE TESCHMCHER -RRB- reclines with her feet up in a deep, luxurious sofa. working on a needlepoint pillow. A projected blue - sky backdrop shimmers on the wall behind her, looking quite real from this angle and distance. EVE is open, straightforward if slightly dim, with an unmistakable honest sexiness about her which matches her personality. She looks up INTO CAMERA, wide - eyed, disapproving. EVE That's sick, Lex. Really. WIDE ANGLE ON LEX LUTHOR AND LAIR - EVE'S POV -LRB- DAY -RRB- LEX LUTHOR sits behind a massive desk in his palatial underground lair, now seen for the first time as CAMERA PANS : At first glance - breathtaking, with its multi - level1ed areas, only some of which are immediately visible. The entire wall behind him which rises to a high ceiling is completely covered with full bookcases bulging with periodicals, papers, etc.. Another separate area has a complicated laboratory with viewing theater, banks of electronic gadgets which have been connected to underground electrical lines exposed in portions of the rock - faced walls. In the same manner we will discover exposed heating ducts and water mains. One higher level near the ceiling is completely blocked from view. Off to another side - a large and colourful aviary, stocked with live birds of prey : eagles, falcons, hawks, etc.. The walls and ceilings, as we will discover, are almost all canvas on which projections can and will be made, different ones servicing different specific parts of the lair. One other aspect of this underground kingdom will soon become apparent : whether through the architecture which strangely resembles that of Metropolis Station, or the row of bookcases which curiously look like old ticket windows, or the odd, faded track marker which signals the way off into one or another of the hidden corridors of the lair - it is clear we are in an abandoned railroad station, drastically remodeled, but nonetheless a fact. CAMERA PUSHES IN ON LEX LUTHOR : His face is a task of elegant demonic Genius, for this is a man with an infinite capacity for sadistic evil. Cutting, given to rapidly changing moods, but always thinking - the master criminal incarnate. He stares at EVE, the only person he allows to `` nag'' him, loving her in spite of all. LUTHOR shakes his head sadly disappointed. LUTHOR Sick. -LRB- pause. -RRB- Here we sit, Miss Teschmacher, mere days away from executing The Crime of the Century, and how do you choose to congratulate the greatest criminal mind or our age? Do you call me brilliant? A bit obvious, that, I grant you. Charismatic, then? -LRB- hopefully. -RRB- Fiendishly gifted? EVE Try twisted. EVE goes back to her needlepoint as LUTHOR glares. There is a metallic `` clank.'' O.S. OTIS has entered from a lower level, dutifully approaches the desk holding his newspaper, smiles, cheery. OTIS I'm back, Mr. Luthor. LUTHOR You were followed again, Otis. OTIS looks over his shoulder, deeply concerned. LUTHOR Yes. In spite of those cat - like reflexes. EVE -LRB- new thought. -RRB- See if you can just explain to me one thing. Why do millions of people have to die for this. Crime of the Century? Tell me that, Lex. Why do they all have to die? LUTHOR Why. -LRB- rising - philosophical. -RRB- Why does the phone always ring when you're sitting in the tub? Why do restaurants call animal intestines sweetbreads? Why would the most brilliantly diabolical leader of all time surround himself with total incompetents? -LRB- to Otis. -RRB- Why, in fact, does the chicken cross the road? OTIS -LRB- proudly. -RRB- To get to the other side. LUTHOR stares at him, OTIS hangs his head. OTIS I'm wrong again, are n't I, Mr. Luthor. LUTHOR No, Otis. As a matter of fact, I stuck that last one in especially for you. -LRB- pause. -RRB- Is that the newspaper I asked you to get me? OTIS Yes, sir. LUTHOR Then why am I not reading it? OTIS -LRB- knows when he's wrong. -RRB- Because I. have n't given it to you, Mr. Luthor. LUTHOR rips the paper from OTIS'S hands, swats him viciously in the side of the head with it. OTIS Thank you, Mr. Luthor. LUTHOR drops the paper on the desk, sits. INSERT SHOT - FRONT PACE The paper is The Daily Planet. Clearly visible on the front page : a large photo of two nuclear missiles on their launching pads and the headline : TWIN I.C.B.M TEST CONFIRMED - LIVE WARHEADS TO BE USED. BACK TO SCENE -LRB- DAY -RRB- LUTHOR beams, drops the paper, rises, ecstatic. LUTHOR At last it's official! Thanks to the generous help of our own government, we are finally going to realize the greatest real swindle in history! EVE You and your real estate. Why does it mean so much to you? All the time, `` land, land, land.'' LUTHOR When I was a mere prodigy, Miss Teschmacher, having passed through vandalism with flying colours at the age of six, my father said to me : `` Son, stocks will rise and fall. -LRB- gesturing around him. -RRB- Utilities and transportation systems may even collapse, and people are no damn good - but they'll always need land, and for that they'll pay, through the nose. Remember that,'' my father said. `` Land.'' LUTHOR presses a button. A brilliant desert vista appears on one wall. LUTHOR `` Land!'' Another button. Another vista. This one of the snow - capped Rockies. EVE -LRB- not looking up. -RRB- Then your father must have been sick too. LUTHOR -LRB- sad nod. -RRB- Arnold `` Buster'' Luthor. The most inept check forger of his day. A pity he did n't see how, from such humble beginnings, I created an empire. EVE An empire? This? LUTHOR Tell me, Miss Teschmacher. How many other girls are lucky enough to have a Park Avenue address? EVE It is n't a Park Avenue address, really. Two hundred feet below. LUTHOR Do you know what they're all paying per square foot up there? For a few miserable rooms of a common elevator? What more could anyone ask for? EVE Sunlight. Something that overlooks a window. LUTHOR, angry, turns to OTIS who shifts his feet. LUTHOR Otis, you want something. What can I throw at you? OTIS The. ah. paper, if you're through with it, sir. LUTHOR -LRB- incredulous. -RRB- A newspaper? Otis? You want to read the newspaper? Is there really life after death? Is water finally running uphill? OTIS I thought maybe. the funnies. LUTHOR hands him the paper, sighs. LUTHOR Here. Do n't forget to flush this time. EVE continues to needlepoint, but feels his gaze on her. EVE You know something, Lex? You're perverted. You're the most cruel and vicious human being I know. LUTHOR approaches her, glaring with genuine malice. EVE You'd cut a baby's throat with its own diaper pin. Steal the wafer from a nun's handbag. LUTHOR stands over menacingly, looks down. She glances up, smiles helplessly. EVE What's wrong with me, anyway? Why do I love you so much? LUTHOR grins, lies down on the sofa next to her, puts his arms around her, looks deeply into her eyes. LUTHOR Life is never boring with me. Admit it. EVE snuggles in, hopelessly cozy. EVE Never, Lex. You're the absolute pits. They kiss passionately. LUTHOR reaches into his pocket, pulls out a remote control device, presses a button. INSERT SHOT - LANDSCAPE MODEL CAMERA CLOSE on a high dam set into the landscape of the previously seen model. It cracks, then collapses : sending a rush of water down onto a schoolyard below, knocking over a toy school bus, sweeping away little figures of children standing in the playground.","INT. PLANET CITY ROOM - NIGHT Frantic activity : The wall clock indicates 8:00 P.M. CAMERA TRACKS through the chaos as PERRY WHITE exits his office, a sheaf of galleys in his hand. PERRY Olsen, take this Loch Ness update down to composing - tell them to use it as fill unless something comes in on that jewel robbery. JIMMY Right, Chief. PERRY And do n't call me Chief. JIMMY OLSEN disappears quickly with the galleys. PERRY crosses to a desk, picks up the phone. PERRY Harry? That's it. Put ` er to bed. PERRY hangs up, crosses to LOIS' desk. PERRY Lois, about that sex maniac profile. LOIS I know. Nine to five it's a Pulitzer Prize. PERRY I was going to say there's only one p in rapist. -LRB- turns to CLARK. -RRB- Nice job on the Teamster scandal, Kent. CLARK Thanks, Mr. White. PERRY leaves. CLARK rises, crosses to LOIS who rereads her article delightedly, puffs on a cigarette. CLARK clears his throat nervously. LOIS -LRB- looking up. -RRB- What? Oh, goodnight, Clark. CLARK Actually, Lois, I. ah, well. LOIS Yes? CLARK Would you, ah. be interested in a little dinner tonight? LOIS -LRB- nice smile. -RRB- Sorry, Clark. I'm booked. CLARK Oh. LOIS rises, grabs her notebook, starts off for the elevators. CLARK follows, CAMERA TRACKKING. LOIS Air Force One is landing at the airport tonight and this kid's going to be there to make sure you - know - who answers a few questions he'd rather duck. CLA.RK -LRB- admiration. -RRB- Do n't you ever let up? LOIS For what? Oh, I've seen how the other half lives. My sister, for instance. three kids, two cats, one mortgage. I'd go bananas after a week. -LRB- chain smokes. -RRB- I already am bananas, right? That's what you're thinking. CLARK No. I'm just thinking that you smoke too much, if you do n't mind my saying so. -LRB- she stares. -RRB- Lois, you should see what the inside of your lungs look like. LOIS I appreciate the advice, okay? I've got a story to do. CLARK Can I take you to the airport? LOIS Not unless you can fly. CONTIUNED They have reached the elevators. The door opens. LOIS enters, turns to CLARK, smiles. LOIS Good night, Clark. The elevator doors shut. A moment later another empty elevator stops, opens its doors. CLARK enters. CLARK Going Down?","EXT. ROOF OF DAILY PLANET - NICHT LOIS emerges through a rooftop exit, looks off past an illuminated helicopter pad with a small waiting room building on the far side. A fierce wind in howling. LOIS turns her face as she sees : ANGLE ON HELICOPTER - LOIS' POV A helicopter heads in for the roof, swaying slightly, fighting the tricky winds. It lands uncertainly on the edge of the pad. LOIS ducks her head, runs for the open door. INSERT SHOT - FLOODLICHT CABLES The rubber - encased cables connecting the helicopter pad floodlights dance wildly in the wind like black snakes. The helicopter struts are precariously near to them. - too precariously, as one cable inadvertently hooks itself around a strut. BACK TO SCENE LOIS has entered the helicopter. The PILOT takes off. The helicopter starts to rise through the strong winds, suddenly jerks back as the hooked cable takes hold, yanking out one of the floodlights. The helicopter lurches down violently to the PILOT'S' side, its spinning blades knifing through the waiting room window, spraying showers of glass. The helicopter, still hooked to the edge, one strut hanging over the side. INSERT SHOT - CABLE The cable holding the helicopter has split, short - circuits, spitting electric sparks.","INT. HELICOPTER The PILOT, on the roof side, has been knocked unconscious by the impact of hitting the waiting room. LOIS, on the street side, looks over at him, paralyzed with fear. Held In by her seatbelt, she looks down her side to the street, terrified. ANGLE ON STREET - LOIS' POV A shear drop to the street. A small CROWD has already started to form.","EXT. METROPOLIS STREET The CROWD grows rapidly in size, staring up, pointing excitedly. CLARK arrives on the scene, looks up as well, eyes widening in horror. ANGLE ON LOIS - CLARK'S POV The helicopter dangles half over the edge of the roof. BACK TO CROWD Determined, CLARK pushes his way through the crowd, looking for something. ANGLE ON PHONE BOOTH - CLARK'S P.OV A phone booth stands on the corner - but this is a modern booth - it covers only the top half of the body. BACK TO CLARK - WIDER ANGLE CLARK starts to cross an empty street to an alley, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection. ANOTHER ANGLE The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out. DRIVER Oh, my god, I could n't help. CLARK, still standing, simply turns, smiles nicely. CLARK Sorry, I did n't notice the light. The DRIVER stops, dumbfounded, stares at the hood of his cab. INSERT SHOT - HOOD OF CAB The front of the cab has CLARK'S impression cut deeply into the hood, through to the engine block to the windshield. BACK TO CLARK CLARK crosses to alley.","INT. HELICOPTER LOIS looks up past the unconscious PILOT to the edge of the roof. She has only one chance. She unbuckles her safety belt, tries to crawl over him. As she moves, the helicopter shifts position, swings out farther over the roof. INSERT SHOT - CABLE The cable jerks with the weight. Sparks fly. It holds together by a thread. BACK TO LOIS LOIS tumbles back with the movement, falls out the door grabbing her unbuckled seatbelt at the last minute on the way out.","EXT. STREET ANGLE ON LOIS - CROWD'S POV The CROWD scream. LOIS dangles from the roof, holding on to her seatbelt for dear life. TO PAGE 57","EXT. ALLEYWAY An incredibly garish BLACK PIMP exits an alley doorway, stoned, stops in awe as he, sees : SUPERMAN in full costume heading towards him, determined. PIMP Say, Jim! That is a bad outfit. SUPERMAN Excuse me. With a burst or energy SUPERMAN rises from the ground, flies up into the night sky. The PIMP watches in wonder. PIMP Wait a minute, Jim! Who's your tailor, baby? Who cuts your threads?","EXT. STREET - ANGLE ON LOIS - CROWD'S POV The hushed CROWD watches LOIS hanging from the roof as SUPERMAN appears, flying quickly towards her. FIRST VOICE Look! SECOND VOICE It's a bird! THIRD VOICE -LRB- woman. -RRB- No, it's some kind of plane! What the hell is it, Harvey? FOURTH VOICE Goddamned if I know, Margaret.","EXT. ROOF - ANGLE ON LOIS LOIS dangles from the helicopter, eyes closed. her mouth moving in some sort of silent prayer. The helicopter suddenly lurches. INSERT SHOT - CABLE The cable snaps. BACK to LOIS The helicopter falls. LOIS screams, eyes welded shut. Suddenly SUPERMAN'S mighty arm reaches out, grabs her around the waist. With his other hand, he takes the bottom strut of the helicopter. SUPERMAN Easy now, Miss.. I've got you. LOIS' eyes open tentatively, then flutter unbelievingly. LOIS You've got me? Who's got you? SUPERMAN smiles warmly as he lifts both LOIS and the helicopter back onto the roof.","EXT. ROOF SUPERMAN gently deposits the awestruck LOIS on the roof, then lowers the helicopter. SUPERMAN -LRB- smile - to LOIS. -RRB- I hope this little incident does n't put you off flying, Miss.. Statistically it's still the safest way to travel. LOIS, I. LOIS opens her mouth to speak, but SUPERMAN takes off again. She stares after him. gaping.","EXT. SKY - NIGHT SUPERMAN is in mid - air, exhilarated - literally high. He executes a cocky `` loop,'' feeling a kind of release, a genuine physical joy in flying.","EXT. STREET The CROWD has grow in size. A TV mobile unit has arrived. The PEOPLE `` ooh'' and `` aah'' in wonder. A TV CAMERAMAN points, looks over at his CREW. TV CAMERAMAN There he is! He tilts his camera up. CAMERA PANS with him to the sky.","EXT. SKY - NIGHT - CLOSE ON SUPERMAN SUPERMAN notices the attention, suddenly stops his aerobatics, embarrassedly self - conscious. He looks off :","EXT SIDE OF APARTMENT BUILDING - NIGHT A BURGLAR emerges from a high apartment house window, steps out onto a ledge. He drops a fistful of jewels into a bag tied to his waist, then positions suction cups attached to his hands and knees. Slowly, laboriously he ascends the side of the building. CLOSE ON BURGLAR Breathing hard, he continues. Looking up, his face suddenly registers shock. ANGLE ON SUPERMAN - BURGLAR' S POV SUPERMAN strolls down the side of the building towards him, defying all laws of gravity. He smiles at the BURGLAR. SUPERMAN Hi there. Something wrong with the elevator? BACK TO BURGLAR The terrified BURGLAR frantically tries to get away, his suction cups coming loose. He falls - SUPERMAN swoops down, catches him firmly.","EXT. METROPOLIS STREET - NIGHT PATROLMAN MOONEY quietly walks his beat on a deserted city street, looks up as he hears a `` whoosh!'' SUPERMAN lands next to him, deposits the terrified BURGLAR. SUPERMAN They say confession is Good for the soul, Officer. I'd listen to this man. The thunderstruck MOONEY gapes as SUPERMAN takes off again. The BURGLAR shrubs, extends his wrists to MOONEY for the handcuffs. BURGLAR What the hell. It's only a dream, anyway.","EXT. HIGHWAY UNDERPASS NEAR RIVER - NIGHT A police car. light flashing, sirens blaring, chases a sleek black Cadillac as they crisscross, screeching through the pillars of a river highway underpass. Both cars blaze away at each other with firearms. The Cadillac squeals into a l80 - turn, heads down a short pier to a waiting cabin cruiser. The police car tries to imitate the turn, smashes head - on into a stone pillar, one POLICEM.AN catapulting through the windshield onto the hood. TWO OTHER POLICEMEN pile out, guns drawn, open fire down the pier. ANGLE ON POLICE FROM PIER THREE HOODS empty out of the Cadillac near the cabin cruiser, the police bullets slamming into their car. They wheel, holding automatic weapons, cut down the TWO POLICEMEN, jump onto the cruiser, take off.","EXT. SKY - NIGHT - ANGLE ON CABIN CRUISER The cabin cruiser plows down the river at top speed. CAMERA ZOOM BACK, PANS : SUPERMAN watches from mid - air.","INT. CABIN CRUIER - NIGHT TWO of the HOODS are in the main cabin. ONE drives the boat while the OTHER makes three neat piles of money on a table, pulling it out of a black satchel. The FIRST HOOD grins at his PARTNER, then looks back through the windshield of the cabin, his jaw suddenly dropping. FIRST HOOD Holy sh. ANGLE THROUGH WINDSHIELD - HOOD'S POV SUPERMAN stands on the front deck, arms folded, staring sternly inside at them.","EXT. BOAT DECK - NIGHT The THIRD HOOD sneaks up behind SUPERMAN, a heavy barbed steel boat gaff in his hands. As SUPERMAN stares in through the windshield, the HOOD swings it down viciously straight into his head. The gaff recoils as if it had hit solid steel - the HOOD stands unbelievingly, his entire body shaking in spasms from the impact. SUPERMAN turns with a smile. SUPERMAN Bad vibrations?","INT. POLICE STATION - NIGHT A flustered MOONEY stands before his amused DESK SERGEANT. MOONEY Sergeant, I swear! Flying! With a big red cape! And bright red boots as well! Then, quick as a wink - he was gone! Flew up in the air again, he did. Like a big blue bird. SERGEANT -LRB- smile. -RRB- Like a big blue bird. with bright red boots. The SERGEANT gets down from behind his desk, walks MOONEY to the station door. CAMERA FOLLOWING SERGEANT Why do n't you take the rest of the night off now, Mooney. Go back to Murphy's bar and finish what you plainly started. I'll be off myself in a bit and join ya there. They have, reached the door, start out, suddenly stop, rooted to the spot.","EXT. STREET - ANGLE ON CRUISER - THEIR POV The cabin cruiser sits in the street, balanced on its keel. The THREE HOODS are wrapped in the anchor chain, the satchel of money hanging from one of their necks. BACK TO MOONEY AND SERGEANT SERGEANT Off we go, then, Mooney. The first bottle's on me.","EXT. SKY - NIGHT - ANGLE ON SUPERMAN SUPERMAN continues through the air as a bolt of lightening slashes by next to him. Then a clap of thunder. It starts to rain. He hears something, cocks his head.","EXT. RESIDENTIAL STREET - NICHT A LITTLE GIRL looks up plaintively through the rain at a tree in her back yard. We hear a miserable `` meow.'' CAMERA PANS UP : A wet cat sits stranded in the top branches of the tree. LITTLE GIRL -LRB- despair. -RRB- Frisky! Oh, Frisky, please come down. Suddenly - SUPERMAN soars into frame, scoops FRISKY out of the tree, glides down, gently deposits the cat in the LITTLE GIRL'S arms. LITTLE GIRL Gee, thanks Mister. -LRB- to cat. -RRB- You naughty thing. SUPERMAN Do n't be too hard on Frisky. We all get a little scared of heights now and then. SUPERMAN flies off. CAMERA PANS with the LITTLE GIRL as she runs up here house steps and inside. CAMERA HOLDS a moment Suddenly - the sound of a `` smack.'' MOTHER'S VOICE Have n't I told you to stop telling lies? Another bolt of lightening slashes through the night sky. The rain becomes noticably heavier.","EXT. SKY - NICHT - ANGLE ON AIR FORCE ONE Air Force One fights its way through the pounding storm ; heading for Metropolis airport. Suddenly a bolt of lightening cracks into the wing. Flames shoot up as the outboard engine on the PILOT'S side splits in two, drops off the wing. The plane starts into a dive.","INT. AIR FORCE ONE COCKPIT - NIGHT The PILOT and CO - PILOT fight the controls, try to level off. Suddenly : the plane's nose comes up. The aircraft seems to right itself to the astonishment of the PILOT who looks out the window, eyes now widening. ANGLE ON WING - PILOT'S POV SUPERMAN has grabbed hold or the wing in the cavity created by the fallen engine, now flies, stretched out in its place. He turns his head, smiles at the PILOT.","INT. AIR FORCE ONE COCKPIT - NIGHT The dumbfounded PILOT looks back as the CO - PILOT strains to look past him out ` the side. CO-PILOT What happened? We get our engine back? PILOT Fly. Do n't look. We. got something. -LRB- weak smile. -RRB- Trust me. Just. fly.","EXT. MEROPOLIS AIRPORT - NIGHT - ANGLE ON LOIS LOIS waits in the storm with a mob of excited REPORTERS. Emergency equipment stands by, lights flashing. Everyone turns, flabbergasted, as they see : ANGLE ON RUNWAY - THEIR POV Air Force One glides safely to a landing, taxis up in front of them. SUPERMAN does a backflip, stands on the wing, looks in at the pilot, gives him the ` high sign' then looks off at the PRESS. ANGLE ON PRESS The REPORTERS watch in stunned silence. LOIS elbows her way to the front, waving. LOIS Hey! It's me! Remember? Lois Lane! The girl from the roof? SUPERMAN spots her, grins, waves, then takes off again, disappearing into the night sky. The amazed REPORTERS crowd around LOIS. REPORTER Hey, Lois. You know that guy? LOIS -LRB- sly puss. -RRB- Oh, nothing. intimate. LOIS smiles privately, heads off, the mob of REPORTERS trailing behind her, yelling `` who is he?'' `` C'mon, Lois, what's the story?'' , etc.. CAMERA PANS to the doorway of Air Force One : the PRESIDENT'S ENTOURAGE appears to clear the way. No one notices - there is no longer a way to clear.","INT. FORTRESS OF SOLITUDE - DAY The SCREEN is filled by the giant head of JOR - EL. He looks down INTO CAMERA, his expression a blend of slight displeasure and parental understanding. JOR-EL You. enjoyed it. SUPERMAN I do n't know what to say. -LRB- awkwardly. -RRB- I guess I just got. carried away. JOR-EL I anticipated this, my son. I. SUPERMAN You could n't have! You could n't have Imagined. JOR-EL -LRB- gently. -RRB- How good it felt! SUPERMAN How good it felt. SUPERMAN falls silent again, ashamed. JOR - EL ca n't resist a small smile. JOR-EL You are revealed to the world. Very well. So be it. But still you must keep your secret identity. SUPERMAN Why? JOR-EL The reasons are two : First, even you can not serve humanity twenty - eight hours a day. SUPERMAN Twenty - four. JOR-EL Or twenty - four as it is in Earth time. Your help would be called for endlessly, even for those tasks which human beings could solve for themselves. It is their habit to abuse their resources in such a way. SUPERMAN And secondly? JOR-EL Second : Your enemies will discover their only way to hurt you - by hurting the people you care for. SUPERMAN Thank you, Father. JOR-EL Lastly - do not punish yourself for your feelings of vanity. Simply learn to control them. It is an affliction common to all, even here on Krypton. -LRB- expression changes. -RRB- Our destruction could have been avoided but for the vanity of some who considered us indestructible. Were it not for vanity. why. at this very moment. I could embrace you in my arms. -LRB- barely audible. -RRB-. my son.","EXT. METROPOLIS STREET- NIGHT - CLOSE ON STORE WINDOW The face of a TV NEWSCASTER looks INTO CAMERA through the window of a store which sells television sets NEWSCASTER Good evening. And what sort of night has it been so far? A night that has seen what many believe to be the most extraordinary phenomenon of our times. CAMERA PULLS BACK : the store window is filled with a myriad of TV sets, all three networks simultaneously broadcasting the same story, although only one NEWCASTER'S voice is audible. A CROWD has formed in front of the Window, hanging on to every word with a bemused expression on his face - CLARK KENT. NEWSCASTER Our newsfilm confirm eyewitness's reports of a caped figure, resembling a man, who appeared flying in the sky over Metropolis. Yes, I said flying. A CROWD MEMBER turns to CLARK. CROWD MEMBER That'll be the day, huh? CLARK You said it. NEWSCATER White House comments are guarded at present, although the F. B. I. is said to be investigating the matter. As further accounts pour in, speculation has arisen that this whole thing may be some sort of fantastic hoax. CLARK frowns. He had n't counted on this reaction. NEWSCASTER The Mayor of Chicago commented that it all seemed too be a publicity stunt designed to draw attention to Metropolis. CLARK turns, walks off CAMERA PANNING with him. NEWSCASTER a city that has been having its share of financial problems of late.","INT. LUTHOR'S LAIR - NIGHT The highest level of the underground complex is an improvised swimming pool area. The domed ceiling hangs low over what once was a massive staircase down into the station and now serves as the entrance steps to the pool. A projection of an idyllic Caribbean island setting and seascene shimmers against one wall. LUTHOR sits in the shallow end of the pool in a roped - off, bubbling Jacuzzi bath section. EVE, looking fetching in a bikini, lies on a mat nearby, black goggles over her eyes, absorbing rays from a sunlamp. OTIS sits in an armchair, watches the NEWSCASTER on a television in front of him. NEWSCASTER His question is everybody's : True or false? Miracle or fraud? CLOSE ON LUTHOR LUTHOR is deeply troubled. He glowers pensively as the NEWSCASTER finishes. LUTHOR Turn it off. NEWSCASTER The answer is up to you. Man or myth? OTIS switches off the set, turns. OTIS What's a myth? LUTHOR -LRB- mind elsewhere. -RRB- Something unreal. something. not quite human. Something like you, Otis OTIS beams, settles back in his chair. OTIS I'm a myth. LUTHOR frowns, his mind working double - time. EVE stares up at the sunlamp, her eyes still covered by goggles. EVE So what's the story, Lex? You think this guy's the genuine article? LUTHOR If he is - he's from another world. EVE Why? LUTHOR Because if any human being could have perpetrated such a fantastic hoax, it would have been for me and I would have thought of it by now. EVE Oh. LUTHOR snaps his fingers. OTIS rises, crosses to him with an elegant bathrobe. LUTHOR -LRB- musing - resigned. -RRB- It all fits somehow His coming here to Metropolis - and at this particular time. There's a kind of. cruel justice about it. I mean, to commit the Crime of the Century, a man would just naturally have to face - the Challenge of the Century. CAMERA PUSHES IN as LUTHOR rises, lost in the philosophical justification of it all. OTIS starts to wrap the bathrobe around him. EVE -LRB- O. S. -RRB- Maybe he'll leave you alone, Lex. Maybe he's just passing through. LUTHOR -LRB- bitter smile. -RRB- Just. passing through, Miss Teschmacher? Not on your life. something I would gladly sacrifice by the way - for the one chance to destroy everything he represents. -LRB- pause - blinks. -RRB- Oh, and Otis. OTIS Yes, Mr. Luthor? LUTHOR Next time, put the robe on after I get out of the pool. CAMERA PULLS BACK : the bottom section of LUTHOR'S robe is submerged below the waterline. OTIS I'm sorry, Mr. Luthor. LUTHOR I know that, Otis.","INT. LOIS LANE'S APARTMENT - DAY A lovely apartment in a high - rise building with a balcony - terrace off the living room. Books, modern art posters, desk with typewriter, etc.. CLARK sits at one end of the sofa. LOIS paces next to him. LOIS -LRB- outraged. -RRB- It was n't a trick! CLARK Oh sure. A man flies in the sky like a pigeon and it was n't a trick. It was probably done with wires. They must have rigged him up like Peter Pan. LOIS There were n't any wires. I looked. CLARK Mirrors, then. LOIS He grabbed me! He held me! How could that be done with mirrors? CLARK I do n't know, Lois, but I do know a fraud when I hear one. This thing goes against all natural laws. LOIS -LRB- pause. -RRB- You're just jealous. CLARK Jealous! Of what? LOIS Of this. Superman. CLARK frowns as he hears the name for the first time, then stifles a smile. CLARK -LRB- musing. -RRB- Super. man. Hmmm. LOIS I'm going to make some coffee. Want some? CLARK No thanks. LOIS crosses to open the kitchen door. LOIS You know something? I've only said three words to the man. but for the first time in a long time - I think I'm kind of. stuck on someone. SHE enters the kitchen. The door swings shut behind her. CLARK rises, listens, interested. LOIS -LRB- O.S. -RRB- Just. three little words, as they say. `` Help'' and `` Thank you.'' Not exactly the basis for a meaningful relationship, is it? I mean, for all I know, he's got a wife and kids on some other planet. But somehow I just ca n't stop. fantasizing about him, you know? CLARK has heard something. He cocks his head, looks off at the terrace. LOIS -LRB- CONTD. -RRB- So I called a guy who's married to this girl I went to college with. He's a shrink. I made an appointment and went to see him.","EXT. TERRACE - DAY CLARK comes out, listening intently. CAMERA ZOOMS to a rooftop across the street covered with TV aerials. CLARK'S super hearing picks up an announcement coming over the air waves. ANNOUNCER'S COICE tape recording left at station W.M.E.T. Police chief James Vitucci listened to it immediately, put the police on emergency alert, and warned citizens to remain in their homes in he downtown area. Here is the recording :","EXT. METROPOLIS SCHOOL - DAY Lines of SCHOOL CHILDREN file out the front doors and down the steps of a public school. being monitored by TEACHERS and POLICE who load then into busses. LUTHOR'S VOICE -LRB- over air waves. -RRB- This is the voice of Lex Luthor. I have a challenge for this. unidentified flying object. This bogus blue baffoon. There is an abandoned warehouse at the corner of Fifth and Main.","EXT. LOIS\" TERRACE - DAY CLARK listens, eyes widening. LUTHOR'S VOICE Somewhere inside that warehouse is a pellet filled with a propane lithium compound. At precisely twelve noon it will drop into a beaker of acid. CLARK checks his watch. INSERT SHOT - CLARK'S WATCH The time is 11:50 LUTHOR'S VOICE Within a matter of seconds a poison gas will be released that will annihilate everyone within a forty block radius.","EXT. METROPOLIS STREET - DAY - ANGLE OF TERRACE Looking up from the street : CLARK jumps off Lois' terrace. CAMERA PUSHES IN : as he falls, a gradual transformation to Superman takes place in blurred. overlapping stages. LUTHOR'S VOICE I would remind the tin - plated minions of law that this warehouse has been fitted with anti - personnel devices, which will render any police action totally ineffective. SUPERMAN hits the street, the transformation having completed. He shoots off into the sky.","EXT. METROPOLIS HOSPITAL - DAY Bed - ridden PATIENTS are being wheeled out of the Emergency Exit of a hospital by NURSES and ATTENDANTS, and loaded into waiting ambulances under POLICE supervision. LUTHOR'S VOICE Is this cape - flapping freak all that he seems or are we merely victims of mass hysteria? Thousands of innocent lives hang in the balance. I make this gesture as a public service, by the way - and without thanks. Thanks.","INT. LOIS' APARTMENT - DAY LOIS can still be heard talking from the kitchen. LOIS -LRB- O.S. -RRB- and then he said, `` maybe the guy's a father figure.'' So I said, `` look. My Pop's a terrific guy, but he does n't go flying around town in a red cape.'' LOIS enters the living room, looks around. LOIS Clark. Clark? -LRB- pause. -RRB- Nuts. Now I've gone and hurt his feelings.","EXT. WAREHOUSE - DAY - WIDE SHOT The warehouse is cordoned off. Fire trucks and police cars are drawn up. BOMB SQUAD PERSONNEL stand nearby strapping on their protective gear ; now look up as they suddenly hear a `` whooshing'' sound O. S. CLOSE ON WAREHOUSE DOOR SUPERMAN lands directly in front of the warehouse door, waves the POLICE back. He turns to face the warehouse. The massive metal doors are linked with a giant padlock.","INT. LUTHOR'S LAIR VIEWING THEATER - DAY LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater somewhere inside the underground complex. A bank of large TV screens faces them. One screen projects the live image of SUPERMAN. -LRB- NOTE : As the action progresses through the warehouse, different screens will be activated presumably from different cameras -RRB-. LUTHOR sips a tall drink, smugly adjusts several knobs on a large console next to him. EVE chews gum, stares curiously at SUPERMAN. OTIS munches a large candy bar, excited. LUTHOR Look at that overgrown Boy Scout, Miss Teschmacher, Tell me what you see. EVE -LRB- chewing. -RRB- Cuteness. Dimples. LUTHOR'S eyes flash. EVE smiles nervously. EVE Did I miss something, Lex? LUTHOR glowers at SUPETRMAN ominously. LUTHOR Confidence","EXT.WAREHOUSE - DAY SUPERMAN jerks the padlock backwards off the doors. They open with a huge explosion - the SCREEN is filled with smoke and flame. As the smoke clears : SUPERMAN stands in the doorway, unharmed. He tears apart what's left of the doors like tinfoil, steps inside. A bright row of arrows painted on the warehouse floor points the way for him.","INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR scowls, a bit unnerved. OTIS This guy handles himself pretty good, Mr. Luthor. LUTHOR All right, all right, so he's tough! We knew that. -LRB- TO EVE'. -RRB- So you like dimples, eh, Miss Teschmacher? I'll give him dimples.","INT. WAREHOUSE ROOM #1 - DAY SUPERMAN follows the painted arrows into a bare room. The door suddenly slams shut behind him. Instantly : wall panels slide open on all sides filled with machine gun barrels. They all open fire at once in a withering deafening, blinding barrage. SUPERMAN stands erect, arms folded, as thousands of bullets ricochet of him. The barrage finally ends. The floor of the room is totally covered with spent shells. Brushing them aside with his boot to find the painted arrows, SUPERMAN calmly proceeds on his way. LUTHOR' S VIEWING THEATER - DAY LUTHOR looks nervous, flustered even, as he fumbles with the controls on his panels. EVE Dimples. Would you settle for acne? LUTHOR Do n't worry, do n't worry, we'll find his weakness. OTIS Hey. Maybe he's got a glass jaw. -LRB- LUTHOR glares. -RRB- Then, on the other hand.","INT. WAREHOUSE ROOM #2 - DAY SUPERMAN enters the second room, has reached the center when : the walls and ceiling suddenly come alive with flaming gas jets. The room becomes a blinding inferno. SUPERMAN stands in the center serenely, waits until the holocaust dies down. Then, adjusting his cape, he nonchalantly starts off for the third room.","INT. LUTHOR' S VIEWING THEATER - DA Y LUTHOR holds his head in his hands. EVE and OTIS watch. LUTHOR But how can it be? That creep should have melted in there! EVE He does n't even look soft around the edges, Lex.","INT. WAREHOUSE ROOM #3 - DAY SUPERMAN enters room, suddenly disappears from view into the middle of an incredibly thick blizzard. The blinding snowstorm fills the SCREEN.","INT. LUTHOR'S VIEW/ING THEATER - DAY LUTHOR watches the smog - filled monitor. LUTHOR What's the temperature? EVE -LRB- checking a gauge. -RRB- Fifty below and falling. LUTHOR When it gets to a hundred - stabilize it.","INT. WAREHOUSE ROOM # 3 - DAY The blizzard stops. The air slowly clears. In the middle of the room : a large cone of ice - has formed. Suddenly, a thin crack appears, running down the center. The crack breaks open. SUPERMAN steps out, rubs his hands together briskly, then starts off.","INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR watches, his face twisted with rage. OTIS The guy probably never owned a sweater in his life. LUTHOR swivels, hurls his drink at OTIS, who ducks : it smashes into the wall behind him. OTIS He did?","INT. WAREHOUSE CIRCULAR ALCOVE - DAY SUPERMAN has exited the third room into a circular alcove with four lead doors leading off from it. Each is sealed by a huge tumbler lock similar to those on bank vaults. The painted arrows lead off to all four doors. SUPERMAN stops, stares hard at the doors, momentarily mystified.","INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR leans in toward the screen, fascinated for once by what he sees. EVE Do n't tell me he's suddenly got a problem. LUTHOR -LRB- eyes glued. -RRB- Ssshhh.","INT. WAREHOUSE ALCOVE - DAY If SUPERMAN did have a problem, he solves it quickly. He rips off all four lend doors in super - speed. They crash to the ground, twisted. Finding the doorway he wants, SUPERMAN enters.","INT. WAREHOUSE ACID ROOM - DAY The central area of the room has been blocked off by a ceiling - high thick wire mesh fence. Behind it : the propane lithium pellet hangs suspended by a thin cord over a beaker of acid. SUPERMAN glances O.S. INSERT SHOT - WALL CLOCK A timer clock on the wall indicates eight seconds left. BACK TO SCENE SUPERMAN approaches the fence. It starts to hum. His hands reach out, grab hold of the wire : Fierce electric sparks shoot out like lightening bolts, the current passing through him harmlessly. He rips through the fence as : the pellet suddenly drops. SUPERMAN dives at it with super - speed, catches it at the last second. Staring at it curiously he shrugs, pops it in his mouth, swallows it. He looks down at the beaker of acid, lifts it, swallows it. He looks down at the beaker of acid, lifts it, then quaffs it down as a chaser. Tapping his chest lightly with his fist, he lets out a discreet `` burp.''","INT. PERRY WHITE'S OFFICE - DAY CAMERA CLOSE on PERRY'S desk where lies an edition of The Daily Planet with the screaming headline : SUPERMAN SAVES THOUSANDS. WIDER ANGLE A dozen REPORTERS, including LOIS and CLARK, stand at attention as PERRY paces back and forth behind his desk, ranting. PERRY Now look! We' re sitting on top of the story of the century here! Our only problem is how to get it - exclusively! -LRB- waves paper. -RRB- I want the name Superman and the Daily Planet to go together like bacon and eggs! CLARK -LRB- pause. -RRB- Well, I should n't think he'd lend himself to any cheap promotion schemes. PERRY Who's talking cheap? I'll make him a goddamn partner if I have to! I want the inside dope on the real Superman! Who is he? Where's he from? What's his favorite ball team? -LRB- leans in. -RRB- And I'll tell you one thing, boys and girls - whichever one of you Gets it out of him will have the single most important interview since Moses talked to Cod.","INT. DAILY PLANET CITY ROOM - DAY The REPORTERS file out. LOIS has a look of grim determination on her face. CLARK notices, comes up. LOIS -LRB- totally preoccupied. -RRB- There must be a way. Maybe if I hung myself, off another building. lay down on some train tracks,. or something. CLARK A, Lois. about tonight. LOIS -LRB- snaps to. -RRB- Mmm? What about tonight, Clark? CLARK Our date. -LRB- Shy smile. -RRB- Well, our. dinner. Do n't you remember? LOIS Sorry, Clark. I must have forgot. CLARK Gee. I planned on it all week. LOIS -LRB- sigh. -RRB- All right, Clark. I'll go out with you. Might as well get it over with. CLARK You're wonderful, Lois. Where would you like to go? LOIS Oh, I do n't know. -LRB- in jest. -RRB- How about the Gold Room at the Park Towers? CLARK The Gold Room? But that's the most expensive place in town. JIMMY walks by, has heard, interrupts, full of admiration for CLARK. JIMMY The Gold Room? Golly Mr. Kent, are you really going to take Miss Lane to the Gold Room. CLARK is trapped. He shrugs, decides to play along with the image, gets very `` Mr. Terrific.'' CLARK Oh. I do n't know, Jimmy. Maybe. if she's a. -LRB- cocky wink. -RRB- good girl, that is. LOIS And if I'm not a good girl. -LRB- cocky wink. -RRB- Let's let Jimmy take the pictures : okay? CONTIUNUED CLARK blushes. LOIS leaves with a smirk. JIMMY Boy. What do you suppose she meant by that, Mr. Kent?","INT. LOIS' APARTMENT - NIGHT LOIS, looking absolutely gorgeous in her best evening gown, puts the finishing touches to her hair in front of a mirror near the open door to her terrace. She stares at herself critically for a moment, then smiles, nods. LOIS Not too bad, kid. As a matter of fact - just this side of sensational. -LRB- checks her watch. -RRB- Hmm. Clark is late. She smiles, crosses to a small bar, pour.' a glass of wine. LOIS Probably out in the hall getting up enough nerve to knock. LOIS takes her glass, wanders out onto the terrace.","EXT. LOIS' TERRACE - NICHT A beautiful night. The lights of the city are visible in the distance. LOIS sips her wine, stares wistfully up into the sky. LOIS -LRB- to herself. -RRB- You know something, Lois? You're too hard on Clark sometimes. He's a decent kind of guy and he has got this terrific crush on you. I mean it's not his fault he'll never be a. There is a loud `` whoosh.'' SUOERMAN lands on the top comer of her terrace ledge, looks down at the stunned LOIS. LOIS Superman. SUPERMAN Good evening. Miss Lane. -LRB- Notices her gown. -RRB- I'm sorry. Were you just about to go out? LOIS Ah. no. no! Whyever would you. -LRB- looks at gown. -RRB- Oh. This old thing. SUPERMAN It's no trouble for me to come back later. I mean I do n't have to park or anything. LOIS You just stay right where you are! Please! Do n't move! Or move, if you want, but do n't fly away. LOIS rushes inside. SUPERMAN smiles to himself, hops down onto the terrace, speaks in the direction of the open doorway. SUPERMAN Sorry to just. drop in on you like this, Miss Lane, hut I realize there must be many questions about me the world would like the answers to. LOIS emerges with reporter's pad and pencil, takes a seat at the terrace table. SUPERMAN So it's become important for me to have very close relations with the press. LOIS smiles, hiding her nervousness, lights a cigarette from a box on the table. SUPERMAN You really should n't smoke, you know. LOIS Do n't tell me. Lung cancer, right? INSERT SHOT - LOIS' LUNGS Seen through SUPERMAN'S X - RAY vision : A flashing medical X - Ray type shot of LOIS' lungs. BACK TO SCENE SUPERMAN Not yet, thank goodness. LOIS blinks, puts out her cigarette, picks up her pad. LOIS Let's. ah. start with your vital statistics, okay? Age? SUPERMAN. says. Thirty. LOIS Height? SUPERMAN Six - four LOIS Weight? SUPERMAN One ninety - five. LOIS And I take it the rest or your bodily functions are what we'd consider. normal? SUPERMAN I beg your pardon? LOIS Well - putting it delicately - do you eat? SUPERMAN When I'm hungry. LOIS Would you like a cookie? SUPERMAN What kind? LOIS Macaroons. SUPERMAN Thanks anyway. LOIS A glass of wine? SUPERMAN I never drink when I fly. LOIS blinks, realizes he's serious, returns to her pad. LOIS Is it true you can see through anything? SUPERMAN Pretty much. LOIS And you're totally impervious to pain? SUPERMAN So far. LOIS -LRB- not looking up. -RRB- What Color underwear am I wearing? ANGLE ON LOIS - SUPERMAN' S POV A quick flash of LOIS sitting in the chair, dressed only in her bra and panties. BACK TO SCENE SUPERMAN Pink. LOIS writes it down, all business in spite of her blush. LOIS Ah. do you have a first name? SUPERMAN You mean like Ralph, or something? LOIS I mean what's your background? Where do you hail from? SUPERMAN I was born on a planet in the Xeno Galaxy. A place called Krypton. LOIS -LRB- writing. -RRB- Uh - huh. And do you. -LRB- looks up. -RRB- Like pink? SUPERMAN -LRB- nice smile. -RRB- I like pink very much, Lois. LOIS puts down her pad, flustered in spite of herself. LOIS Look. Just why are you in the in first place? I mean, why are you here? There must be a reason. SUPERMAN I'm here to fight for truth justice, and the American way. LOIS You'll wind up fighting almost every elected official in this country. SUPERMAN I'm sure you do n't really mean that, Lois. LOIS Listen. With all these strange powers of yours. SUPERMAN -LRB- slightly hurt. -RRB- You find them. strange? LOIS Let's just say your average Joe ca n't deliver an airmail letter without putting a stamp on it. SUPERMAN I would n't do that. It's against the law. LOIS -LRB- to herself. -RRB- I do n't believe this. SUPERMAN I never lie. LOIS -LRB- blinks. -RRB- Ah. just how fast do you fly, by the way? SUPERMAN I do n't know really. I've never actually timed myself. Let's find together, okay? LOIS And just how would you propose we do that? SUPERMAN Take a ride with me. Now. -LRB- hopefully. -RRB- Would you like to? LOIS -LRB- unbelieving. -RRB- : A ride? You mean would I like to fly? SUPERMAN -LRB- modestly. -RRB- Well. I'll be handling the flying of course. LOIS This is utterly fantastic! If only Clark could see me now. SUPERMAN Clark? Is he your. boyfriend? LOIS Clark? Oh, he's sort of. nothing at all, really. Dull, mild - mannered, you know the type. SUPERMAN -LRB- a bit offended. -RRB- I'm sure he's actually very nice. LOIS heads quickly back inside. SUPERMAN Where are you going? LOIS To get a coat. Is n't it kind of cold up there? SUPERMAN You'll be warm enough. I'll wrap you in my cape. SUPERMAN crosses, smiles, covers her with his cape, his arm encircling her. He looks deeply into her eyes. LOIS looks back, trembling slightly, her hand inadvertently grazing his bicep. SUPERMAN Ready? LOIS Clark said you were only rigged with wires. Like Peter Pan. SUPERMAN Peter Pan flew with children, Lois. In a fairy tale. He tightens his grip, sweeps her off her feet. They shoot up into the night sky.","EXT. SKY - NICHT SUPERMAN flies through the night sky holding LOIS, his swirling cape covering them. They look off as CAMERA PANS DOWN : the gleaming lights of Metropolis grow smaller in the distance. FLYING MONTAGE A series of. aerial POVS INTERCUT with flying reaction shots of SUPERMAN and LOIS as the circle the world, passing through different time zones. A. EXT.. PARIS - NIGHT The illuminated Place D'Etoile at night. B. EXT'. VATICAN - NIGHT The illuminated St. Peter's Square and Cathedral. C. EXT.. GIZA - EGYPT - DAY The sun rises behind the Great pyramids D. EXT.. AGRA - INDIA - DAY A day view of the Taj Mahal in Agra, India. E. EXT.. CHINA - DUSK The sun sets behind the Great Wall of China. F. EXT.. METROPOLIS -LRB- NEW YORK -RRB- - NIGHT The glittering lights of Metropolis loom up again. G. EXT.. SKY - ANGLE DOWN ON LOIS' TERRACE - NIGHT CAMERA ZOOMS DOWN on LOIS' terrace from the sky.","EXT. LOIS' TERRACE - NIGHT SUPERMAN deposits LOIS Gently on the terrace once again. She is absolutely struck dumb with wonder, stares at him. SUPERMAN I figure it took about ninety seconds. How about you? LOIS Mmm? SUPERMAN Are you feeling all right? LOIS Mmm? Mmm. SUPERMAN Well, So long, then. SUPERMAN hops on the terrace ledge, shoots off into the night sky. CAMERA PUSHES IN on LOIS' face, almost drugged with contentment. LOIS I. wonderful. you. Suddenly - the doorbell rings from inside. Then, loud knocks on the apartment door. CLARK enters B. G., crosses quickly out onto the terrace, fussily angry. CLARK Lois, for goodness sake. Did n't you hear me knock? LOIS turns, smiles vapidly. LOIS Hi. CLARK looks at LOIS curiously, then spots the wine glass on the table, lifts it suspiciously. CLARK Lois, you're not. LOIS smiles, shakes her head. CLARK Well I should hope not. Let's push off then, okay? LOIS -LRB- secret smile. -RRB- Okay. CLARK You know something, Lois? I'll admit I was nervous at first, about but then, well, darn it - I decided I was going to show you the time of your life. LOIS -LRB- pause. -RRB- That's Clark, nice.","INT. LUJTHOR'S LAIR - DAY CAMERA CLOSE on the front of a newspaper held by EVE who reads it intently, OTIS peering over her shoulder. The banner headline is clearly visible : I SPENT THE NIGHT WITH SUPERMAN - an exclusive interview by Lois Lane. CAMERA PANS to the desk. LUTHOR sits behind a massive pile of books, notations, calculators, etc.. He works feverishly with a slide rule, his face aglow with demonic inspiration. LUTHOR Now then. given the location of the galaxy he mentions. -LRB- more slide rule. -RRB- And its proximity to our own solar system. amazing. -LRB- eyes lighting up. -RRB- Too good to be true! EVE -LRB- reading. -RRB- You said it. six - four, blue eyes, does n't drink, tells the truth. LUTHOR suddenly slams the slide rule down on the desk in a rage. It breaks in two, part of it whizzing across the room. EVE looks up, terrified. LUTHOR manages a patient smile, rises. LUTHOR Some people can read War and Peace and come away thinking it was a simple adventure story. Others can read the ingredients on a chewing gum wrapper and unlock the secret of the universe. EVE -LRB- insulted. -RRB- I read the article, Lex. LUTHOR Exactly, Miss Teschmacher. LUTHOR crosses to the massive wall of books behind him, climbs a large rolling wooden ladder attached to the shelves. He turns to OTIS. LUTHOR Onward to the letter N. Otis. Let's roll! OTIS crosses to the ladder. OTIS Was that `` M,'' Mr. Luthor? LUTHOR As in `` moron''? No, Otis, N, as in nitwit, nincompoop, Neanderthal. OTIS begins to push the rolling ladder along the wall. LUTHOR -LRB- rolling. -RRB- Now then. According to that interview the planet Krypton blew up on May 23, 1948.'' The rocket carrying the revolting little freak took three years to reach Earth. Ergo? OTIS He is thirty years old? The staircase stops. LUTHOR looks down. LUTHOR Do you know why the number 200 is so vitally descriptive of both of' us, Otis? It represents your weight - and my I.Q. -LRB- turns. -RRB- Think, people, think! Deductive reasoning, that's the name of the game! LUTHOR turns dramatically, pulls out a specific periodical, starts to leaf through it. LUTHOR Since. fragments of Krypton must have been shot out into space by the explosion, it's reasonable to assume some of the debris would have landed here on Earth. EVE You mean meteorites? LUTHOR Jawohl. He finds the page he was looking for, his face lighting up. EVE and OTIS pick it up eagerly, look. LUTHOR Et. voila! LUTHOR lets the periodical sail down to the floor. EVE and OTIS pick it - up eagerly, looks. INSERT SHOT - PERIODICAL PHOTO The photo shows an ETHOPIAN FARMER holding a wedge - shaped green rock about a foot long and five inches high. The FARMER grins at the camera. The caption beneath reads : Meteorite Lands near Addis Ababa, Ethiopia, June, 1951. BACK TO SCENE EVE and OTIS stare at the picture, mystified. EVE I know I'm going to get rapped in the mouth for saying this, but - so what? LUTHOR So - what? You mean to us it's just a meteorite? Fair enough. LUTHOR But because of its high level of specific radioactivity - to someone from the planet Krypton - this substance would be lethal! OTIS You mean bullets and. fire ca n't hurt him, but this kind of rock LUTHOR Will kill him! LUTHOR steps off the ladder, beams proudly at EVE. LUTHOR At times like these you must experience a certain shudder of ecstasy just being in the same room with me. EVE Not like the kind of shudder you're going to feel when you try and lay that rock on him. He can spot you coming miles away with those super - peepers of his. LUTHOR stares up at the ceiling dramatically. LUTHOR Lord, you gave them eyes, but they see not! -LRB- QUICKLY. -RRB- And neither can Superman - through lead. Four doors, Miss Teschmacher, lead doors, and he had to rip them all down to find that poisoned pellet. This bilious bluebird has two Achilles' heels! EVE -LRB- dawning on her. -RRB- You mean lead can hide things from him. LUTHOR And the Kryptonite - will destroy him! -LRB- quick smile. -RRB- Any more Questions? EVE -LRB- thoughtful pause. -RRB- I wonder what they're wearing in Addis Ababa.","EXT. SKY - DAY SUPERMAN flies easily over the ocean, scans the horizon for trouble. He looks down. ANGLE ON CONCORDE - SUPERMAN'S POV The super - sonic Concorde airliner streaks through the sky below and just ahead of him. CLOSER ON CONCORDE The PILOT is visible in the cockpit. He glances out the side, momentarily blinks in disbelief as SUPERMAN pulls up parallel to him. Suddenly realizing who it is, the PILOT grins, gives SUPERMAN a friendly salute which the Man of Steel returns. Then, accelerating, SUPERMAN passes the plane.","EXT. SKY NEAR U.S. COASTLINE - DAY SUPERMAN nears the eastern coast of America, looks down, suddenly concerned. ANGLE ON OIL RIG - SUPERMAN'S POV An offshore oil rig, seen from the air. WORKERS scramble about quickly in all directions as a black oil spill begins to appear around the rig, spreading rapidly.","EXT. OIL RIG - DAY The WORKERS run back and forth across the deck of the rig, looking over the side desperately. A loud alarm blares ominously. One WORKER yells up at another in the cab of the drilling rig. WORKER #1 Shut it down! Shut it down! WORKER #2 Too late! Pipe's jumped the bit! Ca n't control it! WORKER #3 -LRB- pointing off. -RRB- Hey, look! ANGLE ON SUPERMAN - THEIR POV A blue streak knifes into the water next to them. UNDERWATER SHOT - CLOSE ON SUPERMAN AND DRILLING PIPE SUPERMAN shoots through the water with the same ease as he does though the air. He reaches the disconnected drilling pipe, which dances wildly around the open bit to the drilling hole from which oil now spews forth. Grabbing the pipe, he straightens it, then forces it back into the bit hole, securing it. SUPERMAN checks his work, heads up quickly for the surface.","EXT. SKY NEAR RIG - LOOKING DOWN SUPERMAN breaks the waterline, wheels in mid - air, blows hard across the surface with his super - breath. He forces the mass of heavy oil across the water and away from the rig, circling it as he goes, compressing it. Rising higher into the air, he trains his x - ray vision on the gooey oil clot. It turns white - hot, explodes, then completely disappears. A cheer is heard O.S. from the WORKERS on the rig. CLOSE ON SUPERMAN He is about to start off again, then notices something wrong near the base of the rig.","EXT. BASE OF OIL RIG - DAY A sea eagle is perched forlornly on one of the lower cross - struts of the rig. Its feathers are heavily matted with oil. Its body trembles, unable to fly. SUPERMAN lands next to it, slowly reaches out, meticulously starts to clean the feathers by blowing warmth into his hands and melting the coated - on oil with them. The process completed, SUPERMAN takes the bird in his hands, tosses it gently upwards. The sea eagle takes off, heading higher into the sky.","EXT. SKY - TOP OF CLOUD BANK - DAY The eagle bursts through a white cloud bank up once more into the clean blue air. After a short moment SUPERMAN does likewise, trailing the bird. For a few moments we are privileged to witness this real beauty and poetry of flying as the eagle and SUPERMAN chase each other through the air doing banks, loops, and dives, swooping closely together like two beautiful fighter planes in tight formation. The unspoken ceremony over, they silently acknowledge each other, then head off in different directions.","EXT. COUNTRY ROAD - DAY A country landscape with a winding, undulating road. CAMERA PANS OFF a sign marked : DANFORTH MISSILE PROVING GROUNDS - 12 MILES to a rise in the road. Heading for it is a military convoy. Two jeeps of MP's are in front and one is behind - a huge bulldozer towing a flatbed truck bearing the enormous XK101 rocket. The large missile is covered by a thick, tied - down tarpaulin. The convoy rolls on, crossing the SCREEN from right to left.","EXT. OTHER PART OF ROAD - DAY A sleek car speeds quickly down another part of the road, heading across the SCREEN from left to right.","INT. SPEEDING CAR - DAY CAMERA LOOKS OUT the windshield of the speeding car from the rear. To our amazement there is no DRIVER in the vehicle - no one at all, in fact. The riderless car continues to roar down the road.","EXT. BOTTOM RISE IN ROAD - DAY CAMERA CLOSE on an electronic guidance box being held by OTIS who tries to manipulate the speeding car, which is presently out of sight. A complicated tool belt is strapped around his waist. LUTHOR stands next to him, curiously dressed in an all - white outfit, looks at the box, alarmed at the signals it is giving off. LUTHOR Do you 1ive.1 n England, Otis? OTIS I don' t think so, Mr. Luthor. LUTHOR Then why are you driving on the left! LUTHOR snatches the box away angrily, adjusts it. ANGLE ON SPEEDING CAR The drone car shifts over to the right of the road. BACK TO LUTHOR - ANOTHER ANGLE LUTHOR waits expectantly. From this ANGLE we can see EVE in the trees behind him. She is dressed in a hopelessly slinky and revealing outfit, adjust her makeup in a had mirror. LUTHOR turns to OTIS. LUTHOR Now, Otis! Go! OTIS runs off through the brush and trees to the right. LUTHOR checks the box, looks over his shoulder at EVE. LUTHOR Ten second, Miss Teschmacher. EVE -LRB- from trees. -RRB- Did you ever try to run in high heels? -LRB- no reply. -RRB- You probably did. LUTHOR looks up as the drone car speeds at him around a corner. He presses a button on the box. CLOSE ON DRONE CAR The drone car suddenly flips all by itself, rolls over and over, bursting into flames.","EXT. OTHER SIDE OF RISE - DAY The first jeep in the military convoy stops as the sound of the explosion echoes over the top of the rise. The alarmed OFFICER inside gestures the vehicle forward again. It reaches the top. The MP's look down. INSERT SHOT - COMPASS DIAL OTIS puts back his screwdriver, takes out a small wrench, starts to adjust various needles from one set position to another training a flashlight on his arm from time to time where a set of numbers is printed.","EXT. BOTTOM OF RISE The MP's now surround the fallen EVE who is completely obscured from view. Only her legs stick out, twitching as a result of the over - attention being paid her. EVE'SVOICE Thanks a lot. fine now. Hey! What did You have for lunch, Ace! Suddenly - a siren is heard. An ambulance roars around the corner, screeches to a stop. LUTHOR jumps out, crosses, begins peeling the MP' s off EVE. MAJOR That was fast. Damnit. LUTHOR -LRB- outraged. -RRB- Fast? When a woman's life is at stake? EVE'S VOICE -LRB- mumbling - surly. -RRB- And that's about all I got left to lose, believe me.","EXT. LOWER ROAD The ambulance with LUTHOR and EVE screams around a corner, turns off its siren, stops near the side of a hill. OTIS scrambles down through the brush, jumps into the back.","INT. AMBULANCE - DAY LUTHOR drives, EVE next to him. OTIS leans in from the rear section, excited. OTIS I did it, Mr. Luthor! Just like you told me to! LUTHOR It's not that I do n't trust you, Otis. -LRB- thinks about it. -RRB- Yes, it is. Tell me what you did. OTIS roll up his sleeve, reads the numbers off his arm. OTIS I reset the first vector heading to 38, the second one to 67, and the third one to 117. LUTHOR -LRB- sm1ling - nods. -RRB- And the fourth one? OTIS What fourth one? LUTHOR -LRB- overlapping. -RRB- The third to 117? OTIS -LRB- holds out arm. -RRB- See? I wrote it down. LUTHOR stares at the arm, in total disbelief. LUTHOR The third one goes to 11, Otis. And the fourth one to 7. OTIS -LRB- sadly. -RRB- Gee. 1 guess my arm was n't long enough to make a big space. LUTHOR -LRB- rage mounting. -RRB- Would you like to see an arm long enough to make a big space, Otis? -LRB- screams. -RRB- Do you want to see an arm long enough to Make a big space?","EXT. ROAD - HIGH SPOT LUTHOR'S legs stick out of the inner rear section of the ambulance where hi is pummeling OTIS as the ambulance careers back and forth wildly across the road. EVE frantically tries to control the vehicle from the passenger seat as it disappears around the bend.","EXT. ANOTHER COUNTRY ROAD - DAY Another missile convoy identical to the first one heads down another country road. The same arrangement : two jeeps of MP's in front of the rocket, one in back.","INT. TRUCK CAB - DAY CAMERA LOOKS THROUGH the front side window as LUTHOR and OTIS ride together in what seems to be the cab of a small truck. OTIS looks over apologetically at LUTHOR who drives, eyes forward. CAMERA PULLS BACK, PANS : the small cab vehicle is towing an entire house on a double - width flatbed truck. The huge structure takes up the full breadth of the narrow road.","EXT. BRIDGE CORNER - DAY The missile convoy rounds the corner of a small hill, starts to proceed onto a two - lane bridge, suddenly stops, the rocket itself only halfway on. ANGLE ON HOUSE TRAILER - CONVOY'S POV LUTHOR drives the house trailer across the other side of the bridge, rolls to a stop, blocking the passageway completely. WIDE ANGLE - BRIDGE The house trailer faces the convoy. The two lead jeeps full of angry MP's drive forward.","INT. TRUCK CAB - DAY The MP's pile out of their jeeps, approach the trailer cab, yelling. LUTHOR smiles thinly, Reaches down, Presses in the cigarette lighter on the dashboard. INSERT SHOT - REAR TRAILER TIRES Two of the rear tires on the trailer suddenly puncture. WIDE ANGLE The rear end of the house sags helplessly on the bridge.","EXT. CORNER OF HILL BEFORE BR1DGE The one remaining jeep behind the missile has been screened by the corner of the hill. The Frustrated MP OFFICER waves the DRIVER forward to see what's happened. CAMERA PANS to hillside : EVE scrambles down wearing the same tool belt OTIS had on earlier, Heads for the tarpaulin - covered rocket.","INT. PLANET CITY ROOM Several REPORTERS cluster around a portable TV on a desk in the corner. An ANNOUNCER'S VOICE can be heard. ANNOUNCER'S VOICE here at Danforth Proving Grounds for the launching of two XK1O1 rockets, the very latest weapon in our arsenal of defense. CMAERA PANS : CLARK enters, looks around, notices that LOIS' desk is empty, heads for the REPORTERS. ANNOUNCER'S VOICE. says. It is claimed that the XK101 can hit any target Completely undetected since it flies well below all radar systems yet designed. ONE REPORTER turns to CLARK. REPORTER Hey, Clark. Chief wants to see you. CLARK Thanks, Eddie CLARK crosses back to PERRY'S office. ANNOUNCER'S VOICE The ultra - modern, built - in sensory devices can detect any object in its path and automatic1y avoid it, either going over, under, or around.","INT. PERRY'S OFFICE - DUSK CLARK knocks. PERRY looks up from behind a stack of news dispatches. PERRY Come in, Kent. CLARK Hi, Mr. White. -LRB- gestures. -RRB- Is Lois is around today? PERRY She's out west looking into a land fraud deal. I sent young Olsen with her on his first photo assignment. Some unidentified joker's been buying up thousands of acres of worthless desert at incredible prices. CLARK Hmm. Does n't seem to make sense. PERRY The world does n't make sense, Kent. You should know that by now. -LRB- tosses dispatch. -RRB- Look at this dispatch from Addis Ababa. People break into a museum in the dead of night - kill two guards - and what do they take? Some worthless hunk of meteorite. How do you figure it. CLARK I've never been able to understand violence in any form, Mr. White. PERRY -LRB- sadly. -RRB- I know that, Kent. That's part of the reason I wanted to see you. PERRY rises ponderously, hands in pockets, strolls pensively toward his half - opened window, looks out. PERRY I've been in the news business man and boy for forty years. I got where I am with guts, compassion, and elbow grease - but most of all with one thing you sadly lack, my boy - aggression. Take charge, Kent : Confidence, that's the ticket! Why, when was. As CLARK listens, PERRY'S VOICE seems to fade away, is replaced by a high - pitched whine like that given off by a high frequency transmitter. CLARK winces, hearing it, his hand rising involuntarily to his ear. PERRY drones on at the window, apparently oblivious to it.","EXT. METROPOLIS ALLEY - DAY Several stray dogs rummage through turned - over garbage cans, suddenly stop as they hear The whine, begin to howl and bay excitedly. BACK TO PERRY'S OFFICE CLARK tries to focus his super - hearing on the sound as it weakens momentarily and PERRY' 5 VOICE fades back in again at the window. PERRY get Lois to introduce you to Superman. Start to hang out with the guy. Give me the man - to - man angle. More dog howling is heard from the streets through the partially opened window. CLOSE ON CLARK' S EAR PERRY' 5 VOICE and the dog howls fade away as CLARK'S super - hearing picks up the high - frequency message. LUTHOR'5 VOICE This is Lex Luthor. Only one thing alive with less than four legs can hear this frequency, Superman, and that's you. ANGLE ON CLARK CLARK listens, eyes widening as PERRY drones on silently out the window. LUTHOR'S VOICE In approximately five minutes a poisoned gas pellet containing a propane lithium compound will be released through thousands of air ducts in this city.","INT. CITY ROOM CLARK slips out of PERRY'S office, quickly crosses the city room ` where the REPORTERS cluster around the TV. LUTHOR'S VOICE -LRB- happy chuckle. -RRB- Effectively annihilating half the population of Metropolis.","EXT. SIDE OF DAILY PLANET - DAY Looking up from the street : CLARK jumps out a window high up on the Daily Planet building. As he falls, a gradual transformation to SUPERMAN takes place in blurred, overlapping stages. LUTHOR'S VOICE I know it all seems a bit much, but how else was I going to get to meet you, Superman? I knew you'd never accept an invitation to tea. SUPERMAN hits the street, the transformation having taken place. He stares up into the sky. ANGLE ON METRPOLIS SKYLINE - SUPERMAN' S POV Seen by SUPERMAN'S X - Ray vision : The pulsating, high frequency sound waves originating from somewhere behind the skyline. LUTHOR' S VOICE But a disaster - with people in danger - people who need help. BACK TO SUPERMAN SUPERMAN takes off in the direction of the sound waves, following them. LUTHOR'S VOICE I just knew you could n't resist the chance of sort of. pitch in. Know what I mean?","EXT. OVER METROPOLIS - LOOKING DOWN - DAY SUPERMAN looks down at a crowded city street from mid - air. The sound waves seams to Emanate through a particular section of the sidewalk. LUTHOR'S VOICE There's a strong streak of good in you, Superman. But then, nobody's perfect. Almost nobody.","EXT. METROPOLIS SIDEWALK - DAY SUPERMAN lands on the sidewalk. Happy PEDESTRIANS start forward with `` Hey, it's Superman,'' etc.. He waves them away. SUPERMAN Everybody back, please! Thank you. Arms folded, SUPERMAN suddenly begins to spin in place like a figure skater, around and around at a dizzying speed, boring a circular hole in the pavement as the startled PEDESTRIANS hold on to their hats.","EXT. BELOW METROPOLIS STREET. - DAY A CUTAWAY SHOT showing SUPERMAN boring through the ground with his spinning motion, heading down through layers of rock, underground city cables etc.. LUTHOR'S VOICE Unfortunately I'm not in the book, but a bright boy like you should be ab1e to find the address.","INT. TUNNEL - DAY The same tunnel we saw OTIS walk down in an earlier sequence. SUPERMAN bores through the ceiling, hits the floor directly opposite a high - powered radio transmitter. He looks down the length of the tunnel at the heavy metal door marked : DANGER - NO ENTY CONDEMEND. LUTHOR'S VOICE -LRB- now in tunnel. -RRB- See what I mean? And not a moment too soon.","INT. LUTHOR' S VIEWING THEATER - DAY LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater inside the underground complex. A bank of large TV screens faces them. TWO of the screens show the two Danforth missile silos. A third has the image of SUPERMAN staring directly INTO CAMERA from the tunnel. LUTHOR sips a tall drink, smugly adjusts several knobs on a large console next to him. EVE chews gum, stares curiously at SUPERMAN. OTIS munches on a large candy bar, excited. LUTHOR Look at that overgrown Boy Scout, Miss Teschmacher. Tell me what you see. EVE -LRB- chewing. -RRB- Cuteness. Dimples. LUTHOR'S eyes flash. EVE smiles nervously. LUTHOR You like dimples? I'll give him dimples LUTHOR reaches for a button on the console.","INT. TUNNEL - DAY SUPERMAN starts down the tunnel for the door. Suddenly panels open on both sides filled with machine gun barrels. They open fire simultaneously in a withering, deafening barrage. SUPERMAN walks forward calmly as thousands of bullets ricochet off' him.","EXT. DANFORTH MISSILLE BASE - DAY The great steel lids of' the two missile silos slowly begin to open.","INT. TUNNEL - DAY SUPERMAN continues. The walls and ceiling of the tunnel suddenly come alive with flaming gas jets. The tunnel becomes a blinding inferno, as SUPERMAN proceeds serenely through the holocaust.","EXT. DANFORTH MISSILE SILOS - DAY The launching rockets start to activate. Fire and exhaust surround the bottom of the missile.","INT. TUNNEL - DAY SUPERMAN continues, then disappears from view into the middle of an incredibly thick blizzard. A large cone of ice is instantly formed. The blizzard stops. Suddenly a thin crack appears, running down the center. SUPERMAN steps out, rubs his hands together briskly, approaches the door.","INT. LUTHOR'S LAIR - DAY LUTHOR sits behind his desk, a model of smug composure, calmly reading the newspaper with the headlines and picture announcing the dual missile test. A large, blank screen has been lowered on one wall next to him. In front of the screen, a black lead trunk forms the base or something which has been converted into a bench, covered with cushions. Some distance away, OTIS finishes setting up a slide projector. EVE watches nervously from the open entrance to the viewing theater. The heavy metal main door to the complex suddenly starts to tremble under SUPERMAN'S strength. LUTHOR looks up from his paper, calls out. LUTHOR It's open. SUPERMAN bashes the thick metal door to the ground like a stick of balsa wood, enters. LUTHOR winces, then rises pleasantly. LUTHOR Come in, Superman. My attorney will be in touch about the door. Otis, do n't just stand there, take the man's cape. OTIS starts forward with a tentative half - smile, is suddenly rooted to the spot by SUPERMAN'S stare. OTIS I. do n't think he wants me to, Mr. Luthor. SUPERMAN All right, Luthor, where's the gas pellet? LUTHOR -LRB- smiles. -RRB- Somewhere. in the back of my mind, actually. It's just a fun little project I've been toying with. SUPERMAN Is that how a warped brain like yours gets its kicks? By planning the death of innocent people? LUTHOR -LRB- quick smile. -RRB- No. By causing the death of innocent people.","EXT. DANFORTH MISSILE BASE - DAY The two XK101 rockets are launched simultaneously with a rush of flames and a mighty roar.","EXT. SKY - DAY - CLOSE ON MISSILE The two missiles quickly rise to less than a hundred feet, then suddenly stop, split, head off in different, skimming rapidly over the ground.","EXT. MISSILE CONTROL CENTER - DAY TWO MISSILE CONTROLERS sit in front of the complex bank of TV screens, computers, and control panels. Red lights flash everywhere. Alarms ring out. MIS5ILE CONTROLLER #1 Jesus Christ, they've gone berserk! CONTROLER #2 -LRB- madly flipping switches. -RRB- I ca n't control them! Red Alert! Red Alert! Get the Pentagon!","INT. PENTAGON OFFICE - DAY The CHAIRMAN OF THE JOINT CHIEFS OF STAFF sits behind his desk on the phone, red - faced, astonished, wild. CJCS That's impossible! It ca n't happen, damnit! It. He grabs his red phone, picks it up. CJCS Get me the President!","EXT. COLF COURSE - DAY A group or suit - clad SECRET SERVICE AGENTS stand around a golf' - cart near a bunker trap. A red phone inside the cart rings wildly. An AGENT picks it up, listens, thunderstruck, turns. Mr. President! Mr. President! A chunk of turf goes flying up over the top of the bunker from B.G. PRESIDENT'S VOICE Goddamnit! What now!","EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #1 The first stage of a lightning fast trip across American from the POV of the rockets at an altitude of less than twenty feet. The images whiz by like magic. ROCKET # 1 heads eastward, passing over the yellow wheat fields of Kansas.","EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2 Employing the same photographic process, ROCKET # 2 heads westward, passing barns and cattle ranches.","INT. LUTHOR' S LAIR - DAY SUPEPMAN has tolerantly taken a seat on the cushioned bench of lead. LUTHOR holds a professor's pointer in his hands, approaches the rolled - down blank screen. OTIS mans the slide projector. LUTHOR stops, turns dramatically to SUPERMAN. LUTHOR You see, Superman. -LRB- passionately. -RRB- I had a dream! SUPERMAN In your case it must have been a nightmare, Luthor. Get on with it! LUTHOR Right. Well. as you mayor may not know, Superman, I am, as they say, very heavy into real estate. In order to make money in that game you have to buy in for a little and sell for a lot. Right? Right. So. Problem : how to make that property valuable between the time you buy and the time you sell. Now then. LUTHOR snaps his fingers. OTIS flips on the slide projector. A brightly illuminated map hits the rolled - down screen. LUTHOR starts to speak, then looks at it curiously. LUTHOR Otis. This is France. OTIS Sorry, Mr. Luthor. OTIS flips up another slide. This time it is recognizable as the western half of America. LUTHOR points. LUTHOR And this - is California. The richest, most populace state in America. SUPERMAN I do n't need a geography lesson from you, Luthor. LUTHOR Sorry. You do get around, do n't you. -LRB- turns back. -RRB- Now then. Where was I? Ah, yes. CLOSER ON MAP CAMERA CLOSES on map. LUTHOR begins tracking the San Andreas Fault with the pointer. LUTHOR At the San Andreas Fault. Maybe you've heard of 1t. SUPERMAN Sure. It's the joining together of two land masses. The. fault line is unstable and shifting which is why you get earthquakes in California from time to time. LUTHOR Could n't have said it better myself. -LRB- back to map. -RRB- Now all this. -LRB- indicates. -RRB-. west of' the Fault is the most expensive real estate in the world. Los Angeles. San Diego. San Francisco. And on the other side. -LRB- indicates. -RRB- is just hundreds of miles of cheap desert land. Land that happens to be owned by Lex Luthor Enterprises. Well. -LRB- wistful smile. -RRB- call me a fool, but it did occur to me that if a 500 megaton bomb were to explode at exactly the proper stress point. SUPERMAN -LRB- horrified. -RRB- Most of California would be destroyed! Millions of people would be killed! The West Coast as we know it would. LUTHOR drop into the Sea! Bye - bye California! Hello new West Coast! My. West Coast. SUPERMAN You are a dreamer, Luthor. A sick - Twisted dreamer. It could n't possibly work. LUTHOR Oh, I'll admit there were problems. Adjusting the missile trajectory, finding the precise point of optimum stress on the Fault. LUTHOR smiles broadly, snaps his finger. CLOSE ON SCREEN A new, close section of the map is suddenly magnified hundreds of times. It is recognizable as desert land. Literally dozens or superimposed grid lines converge on a single point in the middle of the desolate wasteland. LUTHOR'S pointer rises to it. LUTHOR'S VOICE -LRB- tone chancing. -RRB- Which is. right here, by the way. -LRB- touches it. -RRB-. Target Zero. CAMERA PUSHES IN on the map, then DISSOLVES THROUGH to the actual piece of land.","EXT. DESERT NAD ROAD - DAY A car speeds quickly down the dusty desert road.","INT. LOIS' CAR - DAY LOIS drives the car, looks out across the bleak landscape. Sitting in the passengers seat : AN ELDERLY AMERICAN INDIAN CHIEF with classic features, nicely dressed. A tape recorder lies between them as LOIS is doing an interview. CHIEF no oil, no uranium, no coal, no precious minerals. hell, no water anymore. -LRB- gestures. -RRB- Not since the government dammed it all up. CONTIUNED LOIS My associate, Mr. Olsen, is taking pictures of that Dam right now, Chief. -LRB- pause. -RRB- But why sell out to some faceless person you've never met? You don'' even know his name. CHIEF At the stupid high price he offered for this worthless piece of desert. -LRB- smile. -RRB- I only hope it's Custer.","EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET # ROCKET # 1 now whizzes by over the green fields of Ohio and Indiana, heading east.","EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2 ROCKET # 2 speeds quickly across the painted desert of Arizona, heading for the Grand Canyon.","EXT. DESERT - DAY - AERIAL VIEW The car with LOIS and the Chief disappears across the arid land as CAMERA HOLDS, DISSOLVES BACK THROUGH to the map on the screen in LUTHOR'S lair.","INT. LUTHOR'S LAIR - DAY The screen becomes blank again. LUTHOR turns. LUTHOR Check the viewing room, Otis. -LRB- turns back. -RRB- Well, Superman? What do you think? Interesting? SUPERMAN Your theory's quite impressive, Luthor. But as for the rest - it's nothing but a sick fantasy. LUTHOR -LRB- thin smile. -RRB- Fantasy? -LRB- exploding. -RRB- History! It's happened, Superman! SUPERMAN rises quickly, eyes widening, as LUTHOR wheels maniacally to EVE standing in the doorway to the viewing room. LUTHOR Where's that rocket now? EVE -LRB- glances back. -RRB- Passing the Grand Canyon, Lex. Going like a bat. So's the other one. SUPERMAN -LRB- in disbelief. -RRB- The other one! There's two of them? LUTHOR That's right, Superman. Double jeopardy! And even you ca n't fly fast enough to stop both of them! -LRB- sly grin. -RRB- While I, on the other hand would merely have to press my detonating device and. SUPEMAN leaps at LUTHOR, grabs him by the neck. SUPERMAN Where is it, Luthor! Where's that detonator? SUPERMAN scans the room with his X - Ray vision, suddenly stops as he sees the lead Trunk he's been sitting on. SUPERMAN You diseased maniac! Did you really think you could hide it from me by encasing it in lead? SUPERMAN drops LUTHOR in a pile on the floor. He crosses quickly to the trunk, tosses the cushions aside. SUPERMAN -LRB- ripping it open. -RRB- I'll mold this box into your prison bars, you. SUPERMAN stops suddenly, recoils, stunned, a dim green light ref1ecting of his face. INSERT SHOT - KRYPTONITE The green Kryptonite rock glows inside the box. It is linked on both sides by a chain. BACK TO SCENE SUPERMAN is instantly immobilized, his strength waning, his knees getting wobbly. SUPERMAN That rock. I can - t. my strength. LUTHOR advances, bursting with glee. LUTHOR It's Kryptonite Superman! A little souvenir from your home town! You see I've spared no expense in making you feel right at home here! LUTHOR pulls the rock out of the box by the chain, dangles it in front of him. SUPERMAN desperately tries to raise his arm to shield himself from the rays. SUPERMAN Away. please. take it. LUTHOR loops the chain around SUPERMAN'S neck, pulls the staggering, helpless Man of Steel after him like a dog on a leash. LUTHOR You were great in your day, Superman. But When the time came to cash in your chips, Lex Luthor was just naturally your banker! Mind. LUTHOR stops, puts his two 1itte fingers on each of SUPERMAN'S shoulders, pushes him down to his knees. LUTHOR over muscle. LUTHOR checks his watch, looks down at the pitiful hulk below him, the life ebbing from SUPERMAN. LUTHOR I'm afraid I have to leave you now. Nothing personal, you understand. We all have our faults. It's just that mine is in Ca1ifornia. LUTHOR turns toward the viewing theater. SUPERMAN looks up at him, gasping for breath. SUPERMAN You do n't. even care. where the other missile. is headed, do you. LUTHOR On the contrary. I figured it out instantly. Hackensack, New Jersey. LUTHOR kicks out contemptuously with his foot, pushes SUPERMAN over the crumbled railing bordering the office portion of his complex. ANGLE FROM POOL SUPERMAN'S lifeless body splashes helplessly down into the pool below. BACK T0 SCENE LUTHOR crosses to the viewing theater where EVE stands at the entrance, stunned. LUTHOR -LRB- entering. -RRB- Hurry, Miss Teschmacher. EVE -LRB- stopping him. -RRB- But Lex. LUTHOR -LRB- impatient. -RRB- What? EVE My. mother lives in Hackensack. LUTHOR -LRB- pause. -RRB- Your mother used to live in Hackensack. LUTHOR enters the viewing theater. EVE stands at the doorway, glances at the pool, unsure. LUTHOR'S hand suddenly appears, yanks her back inside.","EXT. SKY LOOKING DOWN - DAY CLOSE ON ROCKET ROCKET # 1 whizzes eastward. Larger, more populous communities loom up ahead. INDIAN COMMUNITY - DAY LOIS has dropped off the CHIEF' by a cluster of' makeshift houses where other lNDIANS can be seen loading their belongings onto pickup trucks, etc.. LOIS waves goodbye, drives off.","EXT. SKY LOOKIN DOWN - DUSK - CLOSE ON ROCKET #2 ROCKET # 2 speeds across desert land matching the kind where we just saw LOIS.","EXT. TOP OF DAM - DUSK JIMMY OLSEN walks along the top of the giant dam, taking pictures of the surrounding towns and areas in the distance as well as the dam itself.","INT. LUTHOR'S VIEWING THEATER - DUSK - CLOSE ON EVE CAMERA CLOSE on two TV screens monitoring the progress of both rockets NOW PULLS BACK : OTIS mans the console as LUTHOR'S face twitches nervously in the exc1ted anticipation, glued ` to the screen. Curiously enough, EVE is missing.","INT. LUTHOR'S COMPLEX ABOVE POOL - DUSK EVE walks quiet1y to the top of the crumbled railing, looks down, deeply troubled. ANGLE ON SUPERMAN IN POOL - EVE'S POV SUPERMAN is dying, barely able to keep afloat. He makes one final, feeble gesture at trying to unhook the chain from his neck, then looks up, spots EVE. WIDER ANGLE - BOTH OF THEM SUPERMAN -LRB- gasping. -RRB- Miss. Teschmacher. please. you ca n't. stand by. and let millions of people. innocent people. die. EVE -LRB- hating herself. -RRB- Maybe. -LRB- pause. -RRB- If it was n't for. my mother. SUPERMAN -LRB- desperate. -RRB- Please. help me to save them. Please. EVE -LRB- wary. -RRB- If I help you. Will you save my mother first? SUPERMAN But Lois. and Jimmy. are. EVE My mother comes first, promise me. I know you would n't break a promise. SUPERMAN -LRB- he has no choice. -RRB- Pro. promise. EVE looks around, quickly makes up her mind, dives off the crumbling railing into the pool. ANGLE ON POOL EVE swims over to SUPERMAN who is just about to go under. She reaches out to unhook he chain from his neck, grabs hold of it, suddenly stops, looks deeply into SUPERMAN'S eyes. SUPERMAN What. EVE suddenly kisses him hard, breaks, then unhooks the chain. The Kryptonite sinks to the bottom of the pool. SUPERMAN actually seems to enlarge in the water, all his super - strength returning in a rush. He looks at EVE curiously, his power recharging itself. SUPERMAN Why did you kiss me first? EVE Cause you would n't have let me later. SUPERMAN -LRB- now at full strength. -RRB- Thank you, Miss Teschmacher. EVE You too. -LRB- almost misty eyed. -RRB- I. just ca n't get it on for the good guys, you know? SUPERMAN roars up out of ` the pool, heading for the roof of, the complex like a supersonic blue dart. METROPLIS STREET - DAY SUPERMAN bursts through the pavement on a busy midtown street, streaks up into the sky at top speed. SKY - DAY SUPERMAN flies for speed, straining himself to reach the maximum. He looks off and down. ANGLE ON MISSILE - SUPERMAN'S POV Far below - the missile. In the distance looms the city of Hackensack. BACK TO SUPERMAN He dives for the missile.","EXT. SKY - ANOTHER ANGLE SUPERMAN plants himself firmly in mid - air directly in the path of the oncoming missile, braces himself to grab it. As the missile flies straight at him, it suddenly changes course. SUPERMAN lunges for it but it veers off out of reach, then whizzes away into the distance. SUPERMAN flies off after the rocket, a look of grim determination on his face.","EXT. HACKENSACK - DAY - AERIAL VIEW The missile zooms on toward Hackensack.","EXT. SKY - ANOTHER ANGLE SUPERMAN catches up, now comes at the missile from the side. But the sensory device picks him up again - the missile dodges out of range, leaving him behind. CLOSE ON MISSILE The missile speeds on. SUPERMAN comes back into frame, catching up. He grabs it from Behind, gripping it tightly. With a mighty effort, he wrenches the rocket off its course. Steering it from behind he accelerates quickly, flying straight up into sky.","EXT. STRATOSPHERE SUPERMAN climbs higher and higher over the United States, gaining speed, suddenly flings the missile up into space like a javelin. It whistles off into the blackness as SUPERMAN wheels in mid - air, looks back down at the United States, freezes in horror. ANGLE ON WESTERN U.S.A. - SUPERMAN'S POV ROCKET # 2 hits the San Andreas Fault and explodes! A white - hot mushroom cloud starts to form. BACK TO SUPERMAN SUPERMAN streaks back down to Earth.","EXT. SKY - MUSHROOM CLOUD SUPERMAN circles the mushroom cloud at top speed, going faster and faster, not only stopping its expansion but actually compressing it. He then dives straight into the center of the holocaust.","INT/EXT. MUSHROOM CLOUD SUPERMAN swoops to the base of the cloud, blows up with his super - breath. ANGLE ON MUSHROOM CLOUD The entire cloud with its fallout and pollution is blown high up into the stratosphere, away from Earth. CLOSE ON SUPERMAN SUPERMAN stops in mid - air, looks, listens. A loud rumble begins, gathering in intensity. The earthquake has arrived.","EXT. CALIFORNIA COAST - DAY The land shakes on the Pacific Coast. Huge chunks of cliff begin to fall into the sea. ANGLE ON LANDSCAPE - SUPERMAN'S POV Great yawning cracks rip open across the land in all directions. ANGLE ON SUPERMAN SUPERMAN quickly dives down ; disappears into a crack in the earth. ANGLE - UNDERGROUND EARTH SUPERMAN bores through the underground, desperately trying to repair the crack. He pushes plates of land back together, dams up a flow of onrushing lava, redirecting it, suddenly looks off and up through the earth with his X - Ray vision.","EXT. TRAIN TRACKS AND TRAIN - DAY A long, sleek passenger train hurtles down the tracks, shuddering under the impact of the earthquake. INSERT SHOT - TRAIN TRACKS A crack in the earth shoots across the tracks ahead, splitting the rail ties. BACK TO TRAIN The train rushes on, unable too stop BACK TO CRACK SUPERMAN suddenly appears in the crack, coming up from underneath, now physically spans it with his body. WIDER ANGLE The long train rolls over SUPERMAN, continues on safely down the tracks.","EXT. HIGHWAY AND POWER CABLES - DAY A complex of enormous electric power cables stretches across a highway jammed with shaking automobiles and panicked MOTORISTS. Suddenly - one cable snaps : showers of sparks fly high into the air as the live cables drop down toward the metal cars below. CLOSER ANGLE SUPERMAN swoops down, grabs a cable end in either hand. For a moment he almost resembles a bright blue light bulb as the powerful current runs through him. Pressing the cables together with his super - strength he literally solders them, then once more safely strings them tight across the highway.","EXT. HOLLYWOOD - DAY The famous Hollywood Sign perched on the hill in Los Angeles trembles, then cracks apart in the center. It starts to fall. ANGLE ON GIRL SCOUT TROOP SUPERMAN lands in the middle of the broken sign, pulls on the two halves with either hand, pushing it back together to spell HOLLYWOOD again, solid once more.","EXT. SAN FRANCISCO - GOLDEN GATE BRIDGE - DAY The famous Golden Gate Bridge sways precariously, then sags, starts to break in the center. CLOSE ON BRIDGE Several cars and a school bus begin to topple off, their OCCUPANTS frozen, screaming in terror. WIDER ANGLE ON BRIDGE SUPERMAN flies under the bridge, pushes up, saving the vehicles and straightening the bridge. CLOSE ON SUPERMAN AND BRI DGE SUPERMAN holds the bridge up, quickly welds the cracks shut again using his X - Ray vision.","EXT. DESERT - DAY - CLOSE ON LOIS\\ LOIS speeds across the desert in her car which shakes from the impact of the quake.","EXT. SKY CLOSE ON SUPERMAN SUPERMAN, flying at top speed, looks down, spots LOIS. A crack in the earth erupts behind the car, almost seems to chase it, overtaking the car from behind. CLOSER ANGLE LOIS' car topples into the crack in the earth, falling down some fifteen feet. CLOSE ON LOIS LOIS is pinned inside her car by the double walls of earth. The crack now starts to close again, squashing the vehicle as the metal groans and LOIS screams. ANGLE FROM BELOW SUPERMAN shoots up from the earth below, pushes the car up and out, lifts it into the air. He looks down. ANGLE ON CRACK - SUPERMAN' S POV The crack slams shut with a sickening sound.","EXT. MOUNTAIN TOP SUPERMAN deposits the squashed car with LOIS inside on a mountain top, rips the door off, helps her out. SUPERMAN Sorry about the car. LOIS Forget it, it's a Hertz.","EXT. DAM - DAY JIMMY holds on to the top railing of the huge dam which shakes and strains under the force of the quake. He bravely tries to take pictures with his camera which dangles from his neck, suddenly hears something, looks down in horror. ANGLE ON DAM - JIMMY'S POV The dam begins to crack - little cracks at first, then growing larger and more numerous. WIDER ANGLE SUPERMAN suddenly appears - a tiny blue dot as compared to the size of the mighty dam. He pushes back against it. CLOSE ON SUPERMAN The cracks start to run in all directions, now grow wider. It's hopeless. SUPERMAN looks up in desperation as JIMMY yells down at him. JIMMY Superman! I'm up here, Superman! I'm. CLOSE ON JlMMY Before Jimmy can finish his sentence he is scooped up into air by SUPERMAN. ANGLE IN MID - AIR SUPERMAN wheels in mid - air holding JIMMY, looks down at the dam, then back at JIMMY again. SUPERMAN Want a picture on page one of every newspaper in the world? JIMMY -LRB- grinning. -RRB- You know it. SUPERMAN Ready? -LRB- looking down. -RRB- Now! ANGLE DOWN ON DAM - THEIR POV The enormous dam suddenly bursts. Huge jets of water spit through the crumbling structure on all sides.","EXT. MOUNTAIN TOP FLASH CUT : LOIS stands by her squashed car on the mountain top. A blur seems to cross the SCREEN, then instantaneously leave. JIMMY is standing next to her.","EXT. DAM The structure collapses. A gigantic wall of water cascades down toward the valley town below.","EXT. VALLEY TOWN STREET - DAY Screaming, panicked citizens react in terror as the raging torrent heads down directly at them. ANGLE LOOKING DOWN FROM SKY SUPERMAN dives to earth, carves a wide new river bed like a human bulldozer, channeling the water so it bypasses the town. The current rushes off down its new course into the desert lands beyond.","EXT. INDIAN VILLAGE - DAY The assembled INDIANS watch, thunderstruck, as the new river bed is carved through their land, irrigating it. They cheer wildly. SUPERMAN waves happily back at them, then flies off.","EXT. MOUNTAIN TOP - DAY SUPERMAN lands on the mountain top, joining LOIS and JIMMY. The rumbling has stopped. JIMMY notices. JIMMY It's over! You did it, Superman! SUPERMAN smiles modestly, turns to LOIS. SUPERMAN Sorry I left you waiting all the way up here, Lois, but I was kind of busy down there for a while. LOIS -LRB- totally in love. -RRB- Oh, I understand. -LRB- beaming. -RRB- Your work comes first. SUPERMAN -LRB- nodding grimly. -RRB- And there's one last piece of unfinished business left. -LRB- to JIMMY. -RRB- Take care of her, Jimmy. I'll be back in a minute. SUPERMAN zooms off into the air. LOIS watches him go, a hopefully wistful smile on her face. JIMMY Boy. Superman sure seems to care about you, Miss Lane. LOIS Superman cares about everyone, Jimmy. -LRB- a new thought - eyes narrowing. -RRB- But who knows?. Maybe one day. -LRB- cocky smile. -RRB- If he's lucky.","EXT.PRISON YARD - DAY The recreation yard of a large prison. CONVICTS mill about under the supervision of watch towers. Off to one side of the yard the WARDEN confers with two of his GUARDS. CLOSE ON WARDEN AND GUARDS The WARDEN looks up in astonishment as SUPERMAN whizzes down through the air holding LUTHOR and OTIS with either arm, lands directly in front of them. SUPERMAN Hello, Warden. I think these men should be safe here with you until they can get a fair trial. WARDEN Thanks, Superman. -LRB- sternly - to GUARDS. -RRB- Take'em away, boys. LUTHOR and OTIS are led away. The WARDEN turns admiringly to SUPERMAN. WARDEN This country is safe again, Superman - thanks to you. SUPERMAN -LRB- and he means it. -RRB- And you, Warden. And the fireman, the doctor, the teacher, the clergyman - the cop on the beat. -LRB- nice smile. -RRB- We're all on the same team. SUPERMAN flies higher into the NIGHT sky.","EXT. SKY - NIGHT to DAY As SUPERMAN flies higher into the atmosphere we SEE the other side of the EARTH as he FLIES into DAYLIGHT.","EXT. SKY - DAY SUPERMAN flies majestically through the sky, gaining altitude. He's done his job well. OR HAS HE? CAMERA PANS OFF HIM, ZOOMS UP INTO SPACE.","EXT. SPACE ROCKET # 1 which SUPERMAN hurled upward from earth continues traveling through space, unchecked by gravitational pull. It speeds through other solar systems, gradually approaching something which - to our horror - we recognize from earlier : The Phantom Zone containing the THREE GREAT VILLAINS : ZOD, URSA, and NON CLOSE 0N ROCKET The ROCKET nears the Phantom Zone, then suddenly explodes. The massive shock waves ripple furiously through space. CLOSE ON PHANTOM ZONE The intense waves caused by the nuclear explosion collide with the Phantom Zone. It cracks releasing the VILLAINS. They rush to the opened section and their unexpected freedom. NON lets out the horrible roar or an animal suddenly uncaged. ZOD Free! URSA Free! Their grotesque faces fill the SCREEN with howls of glee as they drift off into space. SELECTED SCENES FROM SUPERMAN II Selected film clips from SUPERMAN II with the exact content to be determined, but certainly establishing : A. LOIS and SUPERMAN making love. B. JOR - EL physically appearing before SUPERMAN to give him new life. C. CLARK KENT being beaten up and bloodied. D. ZOD, URSA and, NON destroying and conquering the world. INSERT SHOT - COMIC BOOK The tiny CHILD'S hand seen in the opening shot of the film comes back into frame, quietly turns over the final page of the SUPERMAN comic book. On the back cover is the enticing message DO N'T MISS THE FURTHER ADVENTURES OF SUPERMAN! COMING SOON! THE END"],"string":"[\n \"SUPERMAN THE MOVIE\",\n \"EXT. STREET - METROPOLIS - NIGHT CLOSE ON a crumpled piece of rubbish lying in the gutter. It is flattened by the wheel of a pushcart. CAMERA PULLS BACK : we SEE a street in a city neighborhood still fighting its way out of The Depression. KIDS play stickball, PEOPLE stand about, out - of - work MEN recline on tenement stoops. Over this SUPERIMPOSE : METROPOLIS 1938 CAMERA TRACKS UP past a boarded - up store window with a `` For Rent'' sign on it, PAST trash cans being investigated by foraging dogs, PAST the stoop of brownstone where some care has been taken to keep things clean, PAST the parlor floor where an undershirted MAN argues with a bathrobed WOMAN, PAST the second Floor windows where a YOUNG COUPLE bend over a crib, shaking a rattle and cooing at a new - born BABY wrapped in a pink blanket, UP PAST the roof of the brownstone, higher and higher, PAST the distant skyscrapers : the Chrysler Building, the Fuller building, the great - neon globe symbol atop the Daily Planet Building.\",\n \"EXT. SKY - NIGHT - ANGLE on DAILY PLANET CAMERA LOOKS DOWN on the Daily Planet Globe. The only sound is the wind. CAMERA TILTS toward the star - filled sky and the full moon, then TAKES OFF.\",\n \"EXT. SPACE CAMERA SPEEDS through the heavens past the moon, through the Universe, traveling on, gathering speed, further and further through the limitless void until it bursts through into another Galaxy.\",\n \"EXT. SPACE NEAR KRYPTON A miniscule RED DOT appears, growing larger, spreading evenly into a BLAZING SUN, which fills the SCREEN. The fiery' red SUN now grows smaller as we fall through space and see beyond it - the planet Krypton. As CAMERA CONTINUES toward Krypton, we see satellites, spacecraft, and Krypton's two distinct hemispheres. CAMERA HOLDS, PEERS DOWN at the city of Kryptonopolis.\",\n \"EXT. KRYPTONOPOLIS - DAY CAMERA PANS the white, prismatic crystalline mountains near the city. WE SEE a gleaming, quicksilver lake.\",\n \"EXT. CITY OF KRYPTONOPOLIS - DAY Kryptonopolis is a magical city, constructed of pure white crystalline matter that encloses and protects it from the blazing red sun. CAMERA TRACKS across futuristic glass buildings, glass skyways, tunnels, and enclosed gardens, finally CLOSING IN on a specific domed structure silhouetted against the sky. A MAN'S VOICE is heard, gathering in volume and intensity. JOR-EL'S VOICE -LRB- V.O. -RRB- his is no fantasy. No careless product of a wild imagination. We are not dealing here with idle supposition. CAMERA CLOSES IN on the domed roof of the building, now Dl SSOLVES THROUGH :\",\n \"INT. TRIAL CHAMBER - DAY An electric white aura fills the screen. The dim outline of JOR - EL'S head can be seen almost floating above it, facing away from CAMERA as he continues. JOR-EL no, gentlemen. The indictment I have brought you this day, the specific charges listed therein against these individuals, their acts of treason and ultimate aim of sedition. -LRB- swivels to FACE CAMERA. -RRB- These are matters of undeniable fact! The face of JOR - EL fills the SCREEN as he Points an accusing finger INTO CAMERA. A handsome, intelligent face with great intensity, bathed in the electric white aura which surrounds him, almost pulsating with energy. WIDE ANGLE - TRIAL CHAMBER JOR - EL stands on the dark edge of a circular white ring of light thrusting down from the ceiling of the chamber. The domed roof rises, cathedral - like above, imprinted with giant projections of the faces of the COUNCIL OF ELDERS -LRB- eleven, besides JOR - EL -RRB- Who watch the proceedings in judgement, presumably from some other location. Each ELDER is bathed in a specific aura similar to that of JOR - EL. Trapped inside the central dazzling white ring of light are THREE FIGURES. JOR - EL circles the edge of the ring. JOR-EL I ask you now to pronounce your judgement on those accused. CLOSE ON NON The monstrous face of NON peers through the light at JOR - EL. A man only to the extent that he is not an animal - a force of frightening destruction whose only sounds are terrifying guttural roars. JOR-EL'S VOICE On this mindless aberration whose only means of expression are wanton violence and destruction. NON lunges at JOR - EL with a roar, bounces back off the edge of the ring of light, which imprisons him. CAMERA PANS TO URSA : A tall woman with a strikingly beautiful and cruel face. Consumed by a total hatred. Consumed by a total hatred of the male sex, she stares back at JOR - EL with patronizing contempt. JOR-EL'S VOICE On the woman, URSA, whose perversions and unreasoning hatred of men have finally threatened even the male children on our planet. CAMERA PANS TO GENERAL ZOD : Glaring defiantly at JOR - El through the dazzling light with a staggeringly vicious face. Even trapped in the prison of light he seems to generate an evil force of his own. JOR-EL'S VOICE And finally on General Zod - Once trusted by this Council, charged with maintaining the defenses of the planet Krypton itself - the chief architect of this intended revolution, the author of this insidious plot to establish a new order among Us - with himself as absolute ruler. WIDE ANGLE - TRIAL CHAMBER The huge faces of the COUNCIL OF ELDERS peer down from the domed ceiling as JOR - EL finishes. JOR-EL You have listened to the evidence. The decision of the Council will now be heard. Silence. CAMERA PANS UP to the faces. The FIRST ELDER pauses momentarily. FIRST ELDER Guilty. The FIRST ELDER'S face instantly disappears from the domed ceiling. SECOND ELDER Guilty. The SECOND ELDER'S face disappears. One by one the remaining NINE ELDERS vote `` guilty''' in rapid succession until the ceiling has become a black void. CLOSE ON JOR - EL AND VILLANS JOR - EL faces GENERAL ZOD, his aura glowing as a separate island of light outside the circle. JOR-EL Do you have anything to say before the decision of the Council is pronounced? ZOD -LRB- cold stare. -RRB- The vote must be unanimous, Jor - El. It has therefore now become your decision. You alone will condemn us if you wish. And you alone will be held responsible by me. -LRB- JOR - EL stares blankly. -RRB- Join us. You have been known to disagree with the Council before. Yours could become an important voice in the New Order - second only to my own. I offer you a chance for greatness, Jor - El. Take it. Join us. JOR - EL hesitates briefly, then suddenly disappears - his electric white aura extinguishing itself. ZOD's face twists with rage. ZOD One day you will bow down before me, Jor - El\",\n \"EXT. TRIAL CHAMBER IN SPACE - DAY The domed roof of the building cracks open, starts to swivel back. In the distance : a slate - gray atmospheric eminence -LRB- THE PHANTOM ZONE -RRB- travels rapidly through the sky, approaches the opening.\",\n \"INT. TRIAL CHAMBER The VILLANS are alone in the trial chamber. ZOD rants : ZOD I swear it! No matter that it takes an eternity! You will bow down before me. The gray mass of the Phantom Zone has entered through the open dome, closes down on the VILLANS, erasing the ring of white light as it progresses. ZOD Both you, and then one day, your heirs! The Phantom Zone envelops the VILLANS, wiping them up in a linear, one - dimensional fashion, then sweeping them out toward space. ZOD is silenced.\",\n \"EXT. CITY AND.SPACE The Phantom Zone travels quickly across the city, bearing the imprints of the THREE VILLANS, floats into space. CAMERA PANS OFF, DOWN at another specific building in the city, PUSHES IN, DISSOLVES THROUGH :\",\n \"INT. COUNCIL - DAY A pristinely immaculate chamber that overlooks the city of Kryptonopolis. Austere, dominated by concentric circles around which the TWELVE ELDERS sit or stand. In the center of the inner circle revolved an intelligence source on which various information may be presented. JOR - EL enters the chamber, appearing almost through motivational volition than through physical propulsion. The ELDERS turn, look at him. JOR - EL is deeply concerned. FIRST ELDER An unpleasant duty has been masterfully performed, Jor - El. They have received the fate they deserved - isolation in the Phantom Zone - an eternal living death. JOR EL A. chance for life, nonetheless. As opposed to us. Consternation from the ELDERS. A suddenly angry JOR - EL gestures at the revolving intelligence source in the center - various unfathomable equations appear. JOR-EL You ca n't ignore these facts! It's suicide! Worse! Genocide! FIRST ELDER Jor - El, be warned. The Council has already evaluated this. outlandish theory of yours. JOR-EL My friends, you know me' to be neither rash nor impulsive. I am not given to wild, unsupported statements. I tell you we must evacuate this planet immediately! FIRST ELDER You are one of Krypton' s greatest scientists, Jor - El. SECOND ELDER But so is Vond - Ah. VOND- AH -LRB- rising. -RRB- Thank you. -LRB- to JOR - EL. -RRB- It is n't that I question your data. The facts are undeniable. VOND - AH gestures at the intelligence source. JOR - EL'S equations disappear, are immediately replaced by a new series. VOND - AH smiles thinly. VOND-AH It's your conclusions I find unsupportable. JOR-EL This planet will explode within thirty days! Sooner perhaps! VOND- AH I tell you Krypton is simply shifting its orbit! SECOND ELDER Jor - El, be reasonable. JOR-EL I have never been otherwise. The madness is yours! FIRST ELDER -LRB- snaps firmly. -RRB- This discussion is terminated! The decision of the council is final. -LRB- pause - to JOR - EL. -RRB- Any attempt by you to create A Climate of fear and panic among the populace must be deemed by us an act of. insurrection. JOR-EL You would accuse me of insurrection? Has it now become a crime to cherish life? FIRST ELDER -LRB- with reluctance. -RRB- You. would be banished to endless imprisonment in the Phantom Zone - the eternal void which you yourself discovered. Deadly silence. The FIRST ELDER locks eyes with JOR - EL. FIRST ELDER Will you abide by the Council's decision? JOR-EL -LRB- long pause. -RRB- I will remain silent. Neither my wife nor I will attempt to leave Krypton.\",\n \"EXT. KRYP'IONOPOLIS CITY OUTSKIRTS - DAY/NIGHT JOR - EL'S house stands bathed in the strange glow of Kryptonian twilight.\",\n \"INT. JOR-EL'S LABORATORY - NIGHT Massive brightly glowing energy columns encircle the lab. JOR - EL works in the centre, passes his hands over portions of a gleaming, spiny, silvery object -LRB- rocket ship -RRB- as he places crystals inside it which respond to him with throbbing lights. ANCLE ON LARA LARA -LRB- JOR - EL'S wife -RRB- enters lab. Carried in her arms : A BABY, swaddled in three blankets of' red, blue, and yellow. The sad look on LARA'S face deepens as she stops, watches JOR - EL who senses her presence, turns. LARA Have you. finished? JOR-EL Very nearly. LARA turns away, shuts her eyes. JOR - EL crosses to her. JOR-EL It's the only answer Lara. If he remains here he as will die as surely as. -LRB- she looks. -RRB- we will. LARA -LRB- pleading. -RRB- But why earth, Jor - El. They're primitives. Thousands of years behind us. JOR-EL He will need that advantage to survive. Their atmosphere will sustain him. LARA He win defy their gravity. JOR-EL He will look like one of them. LARA But he wo n't be one of them. JOR-EL His dense molecular structure will make him strong. Fast. Virtually invulnerable. LARA Isolated. Alone. JOR - EL looks at her with compassion, but with the strength to cut her off. JOR-EL He will not be alone. He will never. be alone.\",\n \"INT. COUNCIL OF ELDERS - NIGHT The COUNCIL OF ELDERS, still in session, listen attentively to a MILITARY OFFICER standing before them. MILITARY OFFICER The energy input to Jor - El's quarters is now in excess. Our Data indicates the loss is due to a mis - use of energy. The FIRST ELDER exchanges a worried glance at the SECOND ELDER, then looks back at the OFFICER. FIRST ELDER Investigate. SECOND ELDER And if the Data proves correct? FIRST ELDER -LRB- pause. -RRB- He knew the penalty he faced. Even as a member of this Council. The law will be upheld.\",\n \"INT. JOR-EL'S LABORATORY - NIGHT CAMERA CLOSE ON JOR - EL, LARA, and the BABY, their glowing auras spilling across the SCREEN as the parents stare down at their offspring. A loving, almost beatific family portrait. LARA'S eyes flutter. Tears run down her cheek. JOR-EL -LRB- sad whisper. -RRB- You will travel far, my little Kal - El. But I will never leave you. Even in the face of my death the richness of my life shall be yours. All that I have learned, everything I feel, all of this and more I have bequeathed to you my son. You shall carry me inside you all your days. You will make my strength your own, see my life through your eyes, as your. life will be seen through mine. The son becomes the father the father becomes the son. This is all that I can send with you, Kal - El. And not near so rich a gift as that your mother sends along. Her. love.\",\n \"EXT. CITY - DAY/NIGHT Three MILITARY MEN descend an enclosed glass walkway to a frantically pulsating aura hovering above the ground. They enter the aura, take off quickly through the streets, past a tall structure. A tremor suddenly shakes the ground - a thin fissure appears on the side of the structure.\",\n \"INT. JOR-EL' S LABORATORY - NICHT The massive energy columns throb with white light. The BABY has been fastened in a module, wrapped in his blankets. LARA reluctantly steps back as JOR - EL places the last crystals inside, including a green one, secures and seals all openings. The BABY vanishes from sight. The module automatically slides into a larger spacecraft and is sealed in.\",\n \"EXT. CITY The military aura speeds along as giant crystal formations suddenly begin to erupt, bend and crack.\",\n \"INT. JOR-EL'S LABORATORY A glass wall facing the capsule slides open. The launcher is raised. The ceiling above retracts, exposing the glow of Krypton night.\",\n \"INT. MILITARY AURA Seen from within : the aura races through a glass tunnel.\",\n \"INT. JOR-EL'S LABORATORY The room shakes in a violent tremor as JOR - EL tries to get the engines fired. The energy columns glare at fever pitch.\",\n \"EXT. KRYPTON The proximity of Kryptonian sun has bathed the planet in a reddish glow. NOTE : All Scenes on Krypton both interior and exterior will from now on reflect this color.\",\n \"EXT. KRYPTON The military aura nears JOR - EL' S house. Suddenly a huge tremor dislodges a mass of crystal which crashes down, obliterating the aura.\",\n \"INT. JOR-EL'S LABORATORY The tremor continues in the lab. Tons of crystal crash down into the room as JOR - EL frantically tries to fire the rocket. With a last desperate effort he lunges forward throws the tumbling debris and hits the control which ignites it. With a deafening roar, the rocket starts to glide off into the night as the house begins to collapse, the energy columns shattering under the strain.\",\n \"EXT. SP ACE - CLOSE ON MODULE The module races away from the disintegrating planet below toward the Phantom Zone.\",\n \"INT. COUNCIL OF ELDERS The Council room is destroyed co1lapsing on some of the ELDERS.\",\n \"INT/EXT KRYPTON Various scenes of destruction, to include exterior shots and the trial chamber.\",\n \"INT. JOR-EL'S LABORATORY JOR - EL and LARA are buried beneath a cascading shower of debris, clinging together desperately in the moment of their death.\",\n \"EXT. JOR-EL'S HOUSE The House collapses in ruins.\",\n \"EXT. PHANTOM ZONE The THREE VILLANS, pressed against the linear Phantom Zone, watch the module hurtle past. VILLANS -LRB- muffled echoes. -RRB- Take us with you. The capsule heads out into the intergalactic void as the VILLANS turn their attention to the planet Krypton, now in total eruption. ANGLE ON KRYPTON - VILLANS POV The red sun eats its way into the core or the planet Krypton which suddenly explodes and implodes - leaving a vast black void.\",\n \"EXT. SPACE - CLOSE ON MODULE The module speeds through space to the accompaniment of steady electronic pulsings.\",\n \"INT. MODULE Lights flash on the complex instrument panel. A computer memory bank repeats recorded data while machines registers other space functions on graphs. The BABY is completely wired and fitted with instruments and tubes for his survival in space. The computer spews forth information. COMPUTER -LRB- JOR - EL'S VOICE. -RRB- Early concepts of matter appear in ancient Creek philosophy. In the fifth century Demoocritus defined a small unit as an atom, then thought to be indivisible.\",\n \"EXT. SPACE - CLOSE ON MODULE The module voyages through space. A giant asteroid lost in the void, soars toward it at tremendous speed. The module and the asteroid nearly collide. The module sways on, away into the void.\",\n \"INT. MODULE The control panels continue to flash. The BABY has grown. The survival tubes, instruments and belts have adapted to his increase in size as the years have passed. COMPUTER -LRB- JOR - EL'S voice. -RRB- Index 19, Sonnet 101 : `` 0 truant muse, what shall be thy amends for thy neglect of truth in beauty dy'd?\",\n \"EXT. SPACE - CLOSE ON MODULE Traveling through space : A tiny yellow dot becomes larger as the module enters our Universe. The yellow dot grows rapidly into a flaming yellow sun.\",\n \"INT. MODULE The control panel lights flash rapidly. An electronic bleep quickens its squeal. The BABY has grown older. COMPUTER -LRB- JOR - EL'S voice. -RRB-. which Einstein called his Theory of Relativity, mistakenly held to be correct until the year.\",\n \"EXT. MODULE - EARTH'S ATMOSPHERE - DAY The module enters the earth's atmosphere. We SEE the familiar astronaut's POV of the revolving earth, growing larger and larger until we can make out the recognizable shapes of land masses on oceans. As the module gets closer, it seems as if it will surely land in the middle of the Soviet Union. But as the Earth continues to revolve, the rocket heads for the dead centre of the United States. NOTE : As the module speeds down through the atmosphere, the resistance gradually transforms its shape into a jewel - like geode form, burnished hot by the pressure.\",\n \"EXT. KANSAS WHEAT FIELD - DAY Miles and miles of golden wheat wave under a cloudless sky. CAMERA PANS : A dilapidated farm pick - up truck comes chugging down a long flat dirt road.\",\n \"INT. PICK-UP TRUCK - DAY Two PEOPLE are seated in the truck cab, dressed in their shiny, patched `` Sunday best'' clothes. The MAN is in his 50 `` s, the WOMAN in her 40' 5. `` Private'' people who mind their business, Christian folk whose morals are as basic as the soil they till : JONATHAN AND MARTHA KENT. Suddenly an ominous black shadow quickly crosses the road. Simultaneously : a loud whooshing sound -LRB- the space module coming to Earth -RRB-. JONATHAN is startled, darts a momentary look, in the direction of the noise. JONATHAN What in the.\",\n \"EXT. WHEAT FIELD ROAD - DAY The `` bang'' of a tire blowout is heard. JONATHAN slams on the brakes. The truck lurches violently to the right, the front tire having burst. The truck swerves, narrowly missing the embankment, stops. CLOSE ON TRUCK JONATHAN steps out of the truck cab, looks sadly at the punctured tire. JONATHAN -LRB- muttering. -RRB- If a man did n't know better, he'd think Detroit made those things to blowout on purpose. Grumbling, he goes around the rear to unstrap the spare tire and haul out the jack. MARTHA gets out of the cab, stretches her legs, gazes across the wheat fields as JONATHA in B.G. places the jack under the car, then wedges a stone under it to hold the jack in place. CAMERA SUDDENLY ZOOMS IN ON MARTHA : Her face is frozen in astonishment at something she's seen in the wheatfield. MARTHA Jonathan! JONATHAN turns, looks, eyes widening, equally amazed. JONATHAN Great God Almighty! What is it? ANGLE ON MODULE - THEIR POV The space module has landed in the fields. The engines are silenced.\",\n \"EXT. FIELD - CLOSE ON MODULE JONATHAN rushes to the strange, eerie metallic geode nesting in the charred wheat, MARTHA close behind him. MARTHA Careful, Jonathan. Suddenly : a wall of the module Opens. A capsule ejects a little BOY still fastened inside, cushioned by the three blankets. JONATHAN What in the Sam Hill He looks inside the module, leans over, touches the capsule burning his hand. MARTHA Jonathan! The little BOY, aged 3, suddenly springs out of the electronically controlled belts, half naked. MARTHA -LRB- stunned. -RRB- It's a. baby. JONATHAN stares, dumbfounded. MARTHA smiles softly at the baby, wraps him in the three blankets, picks him up. CLOSE ON JONATHAN AND MARTHA - TRACKING SHOT MARTHA carries the BABY back to the truck, looks at him with wonder. JONATHAN walks in front, shakes his head. JONATHAN Well - better change that tire if we're gon na get hone and see about contactin' that boy's proper kin. MARTHA -LRB- defensively. -RRB- He has n't got any - not for sure. Not around here anyways. You saw that magic contraption he came in, same as me. JONATHAN has arrived at the truck, starts jacking up the front end. JONATH.AN I did. But I ai n't gettin' hauled off to no booby hatch by tellin' other people I did - and neither is you. JONATHAN removes the lugs and the punctured tire. MARTHA You take things easy now, Jonathan. You mind what Doc Frye said about that heart of' yours. INSERT SHOT - JACK The jack begins to shimmy. The truck shakes. CLOSE ON JONATHAN JONATHAN struggles with the spare tire under the truck, wondering why it wo n't fit in. INSERT SHOT - JACK The jack continues to shimmy. Suddenly, the stone beneath it slips away. CLOSE ON MARTHA MARTHA screams, horrified. BACK TO JONATHAN JONATHAN under the truck, shoots a quick look at his wife, then - as her scream stops in a gasp - he looks behind him as CAMERA PANS : The' BABY is holding up the truck, two wheels off the ground. JONATHAN and MARTHA are poleaxed with disbelief.\",\n \"INT. TRUCK CAB - DAY The BABY sits happily in MARTHA'S lap. The COUPLE look ahead, lost in thought, MARTHA in particular. MARTHA -LRB- carefully. -RRB- All these years, happy as we've been, how I prayed and prayed the Good Lord would see fit to give us a child. JONATHAN -LRB- looks - alarmed. -RRB- Martha, there is something downright strange about that boy. Where he come from, what he just did back there. Now surely you do n't mean to. MARTHA -LRB- firmly. -RRB- No one must ever know. JONATHAN But folks'll ask questions. MARTHA We'll say he's child to my cousin in North Dakota, and just now orphaned. Jonathan, he's a baby. -LRB- cuddles baby. -RRB- Poor thing. JONATHAN Well. -LRB- sigh. -RRB- Maybe we could give it a try for the time bein'. I'd better hitch the rig and come back to Get that. that thing he was settin' in. What do you make of that thing? Martha'? Martha Kent, you listenin' to me? MARTHA I was thinkin' what to call him. I was thinkin' I had an uncle who was a fine man, you recall him? The church sexton? JONATHAN Who? - Clark? I never cared two hoots for that fella.\",\n \"EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY CAMERA LOOKS DOWN on a typical midwestern small town high school football field in the 1950's. A coach's whistle signals the end of the team's practice session. A group or GIRL CHEERLEADERS run through their routines nearby. Several PLAYERS practice `` extra points'' by kicking the ball through the goalposts from the 2 1/2 - yard line, now stop, congregate around the bench with the other PLAYERS as they turn in their equipment, prepare to go home. CLOSE ON BENCH - TRACKING SHOT CAMERA TRACKS along the bench as the PLAYERS drop their pads, towels. kicking tees, footballs, etc. on the bench. Picking them up, stacking them neatly and methodically is a bookish - looking TEENAGER of 15. With dark, unstylish hair, heavy - rimmed glasses, and an air of social unease, he is the perfect candidate for team manager - the young CLARK KENT. CLARK nears the end of the bench, looks off at the CHEERLEADERS : five or six wholesomely cute teenagers in their uniforms of sweater, tiny skirt, sneakers, and white socks. They have finished rehearsing their final routine now laugh, applaud themselves, drop their megaphones and run off to join several of the departing PLAYERS. One CHEERLEADER -LRB- SUSIE -RRB- with an attractive, sensitive face - pauses, sees the megaphones strewn around the ground, begins ` to collect them. CLOSE ON SUSIE SUSIE gathers up the megaphones. CLARK crosses to her. CLARK You do n't have to bother with those, Susie. I'll take them in for you with the other equipment. SUSIE Why, thank you, Clark. -LRB- rises - smiles. -RRB- You know something, Clark? I think you're just about the nicest boy in the whole school. CLARK blinks shyly, practically blushing. CLARK Well. ah. ah. it's sort of my job as team manager, anyway, and. SUSIE No, I mean it. I really do. Listen. A whole bunch of us are going over to Mary Ellen' s and play some records. Would you like to come? CLARK Well, gee. I'd. why, yes, Susie, I'd like that very. FOOTBALL PLAYER -LRB- 0.5. -RRB- Kent wo n't be able to make it. A large FOOTBALL PLAYER comes into frame, looks at SUSIE with what passes for `` macho'' at 15. FOOTBALL PLAYER Kent's still got a lot of work to do. CLARK -LRB- innocent - turning. -RRB- What do you mean? I've stacked all the. CAMERA PANS as CLARK turns : the mass of equipment he had neatly piled on the bench has been tossed all over the field. Water buckets overturned, etc.. In B.G. several other PLAYERS and CHEERLEADERS are crammed into an open, convertible car, snigger to themselves, pretend not to look. BACK TO SCENE CLARK'S face falls. He stares at the Grinning FOOTBALL PLAYER as we see a momentary flash of anger pass through his eyes. Will he? No. Regaining his former composure, CLARK smiles faintly. CLARK I'm. sorry, Susie. I guess I'd better clean it up. The FOOTBALL PLAYER puts a victorious arm around the reluctant SUSIE, prods her off toward the open convertible. They get in. The car roars off. CLOSE ON CLARK. CLARK is left totally alone on the football field, his face downcast with anger and hurt born of humiliation. He approaches a football sitting on the extra - point tee at the 2 1/2 yard line, is about to pick it up, suddenly gives it a frustrated kick. The ball takes off like a tiny rocket. ANGLE THROUGH OPPOSITE GOALPOSTS The ball whistles perfectly through the far goalposts. CLARK has kicked it over 100 yards. BACK TO CLARK CLARK turns, looks at the mess left by the players. He reaches down for the first towel, suddenly grits his teeth, accelerates into SUPER SPEED. His image is only a blur on the screen as towels, pads, buckets, etc. disappear from the field and miraculously reappear on the bench.\",\n \"EXT. KANSAS ROAD - DA y CLARK trudges along a country road, heading for home. In B.G. the Open convertible appears, closing fast. He turns. It slows down, seems to be intending to pick him up. Then, at the last minute, the FOOTBALL PLAYER who is driving honks the horn loudly, roars past him, laughing, leaving CLARK in a swirl or dust. CLOSE ON CLARK. CLARK stares angrily, his rage growing. He takes off his glasses, puts them in his Pocket. Turning, he suddenly takes off, running cross - country.\",\n \"EXT. KANSAS COUNTRYSJDE - DAY The blur which is the running CLARK zooms through a cornfield, makes a hair - pin turn across a meadow and up over a rise.\",\n \"EXT. TRAIN TRACKS - DAY - TRAVELLING SHOT Clark runs parallel to some train tracks on the other side of the rise. A train looms up rapidly behind him, overtakes him by one or two cars. For a moment CLARK is content to keep pace with the train, then looks up at its windows. ANGLE ON TRAIN WINDOWS - CLARK'S POV A LITTLE GIRL of' six looks out one window, her nose pressed to the glass, her chin dropping in surprise. BACK To CLARK He notices. Embarrassed, he runs faster, pulling on ahead and passing the train.\",\n \"INT. TRAIN COMPARTMENT - -DAY The GIRL'S PARENTS are the couple we saw in the opening shot of the movie, cooing over their baby. They are six years older now, as is she : LOIS LA.NE LOIS -LRB- turns - amazed. -RRB- Golly! I saw a boy out there, running fast as the train! Faster, even! MOTHER -LRB- affectionate sigh. -RRB- Lois Lane, you do have a writer's gift for invention. I'll say that for you. LOIS But. FATHER Read your book, dear.\",\n \"EXT. KENT FARMHOUSE - DAY A small farm on a dirt road facing a wheatfield. A barn stands at one end of the front yard area. CLARK, running in a blur suddenly appears by the tree growing next to the front gate, stops. CAMERA PANS : coming down the road : the convertible with the FOOTBALL PLAYERS and CHEERLEADERS. CLARK leans nonchalantly against the tree as the car and its amazed occupants roll to a stop, stare with wonder. SUSIE Clark? FOOTBALL PLAYER How the hell did you. CLARK -LRB- deadpan. -RRB- I ran. FOOTBALL PLAYER -LRB- pause - to others. -RRB- Told you he was a weirdo. Let's get out of here. He guns the car, irritated, roars off. CLARK breaks into a thin, self - satisfied smile. JONATHAN'S VOICE Been showin' off a bit, have you, son? ANGLE ON JONATHAN JONATHAN KENT, much older now, stands with stooped shoulders, a scythe in one hand. He looks care - worn, but deeply concerned as CLARK joins him in the yard. CLARK I do n't mean. to show off, Dad. It's just that. JONATHAN -LRB- total understanding. -RRB- You got all these amazin' things you can do and sometimes you think you'll go bust if you do n't let other people know. CLARK -LRB- misty - eyed frustration. -RRB- I could score a touchdown every time I had the ball. Every time, Dad. Is it showing off for a person to do what he's capable of? Is a bird Showing off when it flies? -LRB- no reply. -RRB- I'm sorry, Dad. I know I made a promise, but I just do n't think I can handle it anymore. CLARK turns away. JONATHAN watches with compassion. JONATHAN Look, son. You've been nothin' but a blessing to your mother and me. In the beginning - when you first came - we thought they'd take you away from us if people found out about. the things you could do. But a man thinks different as he gets older, ` thinks. better. Wiser. Starts to see things clear. And I know now that as sure as we're gon na see the moon tonight there's a reason why you're here. Do n't ask me what reason, do n't ask me whose reason. But whoever, and whatever, there's one thing I do know. -LRB- soft smile. -RRB- It ai n't to score touchdowns. CLARK turns, nods, understanding. JONATHAN puts his arm around him. JONATHAN Now why do n't you see if you can finish up your chores before I finish up all that apple pie I smell comin' from your mother's kitchen window. CLARK smiles, heads off toward the barn, CAMERA TRACKS with him. Suddenly : a choked scream is heard 0. S. CAMERA WHIP PANS : JONATHAN, his hand clutching his heart, staggers on the front step of the farmhouse. CLARK -LRB- O.S. -RRB- Dad! MARTHA'S VOICE -LRB- from inside. -RRB- Jonathan? JONATHAN collapses, falling backwards as MARTHA opens the front door. MARTHA Jonathan!\",\n \"EXT. KAN5AS CEMETERY - DAY CAMERA CLOSE on a tombstone reading : JONATHAN KENT, 1887 - 1943 R.I.P., PULLS BACK : CLARK stands by a freshly filled grave, holds the hand of the weeping MARTHA. Both are dressed in mourning. CLARK -LRB- quiet anguish. -RRB- All those things I can do, all those powers. and I still could n't save him.\",\n \"EXT. KENT FARM - NIGHT' The barn stands silhouetted against the night sky. SLOWLY TRACKS TOWARD IT, passes through the door.\",\n \"INT. BARN - NIGHT Pitch dark inside. A green light emanates somewhere from beneath a mound of hay the light seems to throb as it glows, as if calling out for something - or someone.\",\n \"INT. CLARK'S BEDROOM - NIGHT CLARK KENT, now 18 years old, is asleep, suddenly his eyes open. Her sits up, looks around.\",\n \"EXT. FARM - NIGHT The back door opens. CLARK, fully dressed, emerges from the house, crosses to the barn.\",\n \"INT. BARN - NIGHT CLARK enters, crosses to the mound of hay which throbs with the green light. Digging and pushing the hay aside, he uncovers the geode - like module which brought him to earth. The module glows brightly, lit by something from within. CLARK stares hard at it - his eyes changing in colour and consistency. ANGLE ON GEODE - CLARK'S X - RAY POV Seen through CLARK'S X - RAY vision which cuts through the solid surface of the module : a green crystal throbs inside, resting on the red, yellow, and blue blankets. BACK TO SCENE CLARK kneels, opens the module, picks up the crystal, stares into it deeply, eyes widening in the eerie, pulsating light.\",\n \"INT. KENT KITCHEN MARTHA stands over the kitchen stove in the early morning, bacon sizzling in the pan, a pot of hot coffee steaming nearby. She turns her head slightly, calls out. MARTHA Clark? Are you going to sleep all day? I've got. She stops, has noticed something out the kitchen window. CAMERA PANS, pushes in through window : In the distant wheatfield across the road stands the motionless figure of CLARK.\",\n \"EXT. WHEATFIELD - DAY CLARK stands quietly, immobile, staring north as the late morning sun hits the side of his face. The look is trance - like as if some force were pulling at him. There is a rustle in the wheat behind him. He does not turn. CLARK I. have to leave. MARTHA enters frame, stops, looks at him thoughtfully, full of emotion. MARTHA I. knew this time would come. I knew it from the day I found you. CLARK turns now, faces her. He speaks flatly, trying to avoid breaking down. CLARK I'll bring in the crop before I leave. I. talked to Ben Hubbard yesterday. He'll be happy to help out from now on. MARTHA He's a good man, Ben is. Your father always said so. CLARK -LRB- emotionally. -RRB- Mother. MARTHA -LRB- helpless smile. -RRB- I know, son. I know.\",\n \"EXT. WHEATFIELD - DAY The sun starts to set in the distance. CLARK approaches the vast wheatfield, his. father's scythe in his hand. He hesitates a moment, unobtrusively looks around, then bursts toward the wheat at SUPER SPEED, cutting an instant four - foot wide swath across the field.\",\n \"INT. KITCHEN - DAY - ANGLE ON WHEATFIELD CAMERA looks through the kitchen window as the wheatfield practically disintegrates in neat rows before us, then PULLS BACK : MARTHA watches, her eyes filled with tears.\",\n \"EXT. KENT F ARM - DAY The wind is blowing. Tall, neat stacks of baled wheat rise up near the barn. CAMAERA PANS : CLARK stands at the gate to the road in a windbreaker and slacks, has a rucksack at his side. MARTHA holds out a brown paper bag. MARTHA I made you. -LRB- fighting back tears. -RRB-. some sandwiches. CLARK smiles silently, closes his hand around the bag. He turns, opens the rucksack to place the bag inside. INSERT SHOT - RUCKSACK The rucksack interior glows with a green light, tucked inside the red, yellow, and blue blankets is the same one seen earlier, in thc barn. CLARK closes it. BACK TO SCENE They face each other for the final time, all emotion, both at a sudden loss for words. MARTHA Do you. know where you're headed? CLARK North. MARTHA'S eyes glaze over. She manages a brave smile. MARTHA Remember us. Always remember us. Unable to restrain themselves any longer, they reach out, collapse into a tight hug.\",\n \"EXT. ALASKA HIGHWAY - DAY CLARK, in his light windbreaker, his rucksack on his back, walks by the side of the road. The wind howls, ruffling his hair, but he does n't seem to mind the cold. CAMERA PANS : from a distance, a truck appears. It pulls up next to him, stops. The DRIVER opens the door. TRUCK DRIVERS Get in Kid! Quick, before you freeze to death! CLARK -LRB- nice smile. -RRB- I'm okay, thanks. It was nice of you to stop, though. The DRIVER stares, amazed. CLARK really means it. DRIVER What the hell. You wan na make a popsicle outa yourself, none of my business. THE DRIVER slams the door. The truck roars off. CLARK watches it leave, then turns, walks off the side of the road cross - country, heading north.\",\n \"EXT. ALASKA - DAY CAMERA PANS a vast snow - covered plain and an arctic lake with icebergs floating in it in the distance. A Polar bear trudges through the snow, stops, looks at something which has attracted his attention. CAMERA CONTINUES PAN : the tiny, dark figure of CLARK contrasts sharply with the dazzling white landscape as he makes his way still north, dressed only in his light windbreaker.\",\n \"EXT. NEAR NORTH POLE - DAY A flat, desolate plain. off to one side is a huge out - cropping of rock jutting out of the barren, snow - covered landscape. A blizzard rages. CAMERA PANS to reveal CLARK, the rucksack on the ground beside him. The wind rips across the plain. CLARK looks around, seems to be in the process of selecting a specific area. He marks its perimeters with heat vision, burning deep lines into the snow and ice. Once the boundaries are drawn, CLARK concentrates on the area within. The entire mass of snow' begins to melt away as huge flames shoot around the gigantic excavation. EXT'. SAME AREA - LATER An enormous crater has been carved out of the rock and ice. CLARK stands in the center, reaches into his rucksack, places the green stone on the ground. Climbing back quickly to the edge, he focuses into the crater. As his heat vision hits the stone a crystalline foundation begins to solidify and expand. Green radiation glows all around the excavation site - a wall is formed. Another burst of energy intensifies and constructs a second side joined at a right angle. In the bright cone of green light, multi - colored molecules explode and expand into a third impregnable wall. Through the blaze of sparkling light this wall increases in size, spreads out to cover the fourth remaining side. CLOSE ON CLARK CLARK steps back to look with awe : The Fortress of Solitude is complete. It rises up in the northern landscape, its materials completely harmonious, the white opaque crystalline blending ingeniously into the surrounding countryside.\",\n \"INT. FORTRESS OF SOLITUDE - DAY The tiny figure of' CLARK enters the Fortress, looks up at a multi - leveled white fantasy. Stabbing spurs of crystal cut across the levels at a severe angle. The decor is spartan, minimal. The central area with its complicated memory crystal energy banks where SUPERMAN will communicate with his dead father is overlooked by a series of different levels which lead off to hidden corridors, rooms, etc.. The entire dazzling interior is strongly reminiscent of what we have seen earlier on Krypton. CLOSE ON ENERGY BANK SECTION A crystal bench sits next to the energy bank which is lined with rows of smaller glowing crystals. CLARK approaches mesmerized, knowing what he must do but unsure of how and why. He reaches out for the first crystal, places it inside a mechanism in the energy bank, takes his seat on the bench, waits, suddenly : WIDE ANGLE The light in the Fortress changes dramatically. The walls and jagged planes of the structure seem to come alive with energy. The wall directly opposite vibrates with a special intensity : A giant face appears : It is JOR - EL. His head rises massively up and across the wall, burning with light, looking down, dwarfing the tiny figure of CLARK on the bench. JOR - EL'S eyes flash, focus on him. JOR - EL speaks. JOR-EL My son, you do not remember me. I am Jor - El. I am. your father. By now you will have reached your eighteenth year of time as it is measured on earth. By that same reckoning I will have been dead for many thousands of your years. The knowledge that I have of, matters physical and historic I have given to you fully on your voyage to your new home. These are important matters, to be, sure, but still matters of mere fact. There are questions to be asked and it is time for you to do so. Here in this Fortress of Solitude we shall try to find the answers together. How does a Good man live? What is virtue'? When does a man's obligation to those around him exceed his obligation to himself'? These are not simple questions - even on Krypton there is no precise science which provides us with the answers. I can only tell you what I myself believe. To this end, I have tried to anticipate your questions, and in - the order of their importance to you. -LRB- pause. -RRB- Speak. CLARK Who. am I? JOR-EL Your name is Kal - El. You are the only survivor of the planet Krypton. Even though you have been raised as a human being, you are not one of them. You have great powers, only some of which you have, as yet, discovered. CAMERA BEGINS A SLOW 360 - DEGREE PAN. The face and features of JOR - EL will appear and fade away in many dimensions and on virtually every area of the fortress in an intricate and continuous SERIES OF DISSOLVES : JOR-EL Your mother, Lara, has sent along three Blankets of red, yellow, and blue. United in United in a single garment, their. -LRB- last sentence missing from script. -RRB- At times there will be simultaneous representations JOR - EL : some merely features of the face in huge magnifications - eyes, mouth, profile, etc.. The DISSOLVES will indicate the passage of a long period of time. Never, until the final culmination of the 360 PAN do we see or hear anything but the face and thought of JOR - EL. JOR-EL You are superior to others. You can only become inferior by setting yourself above them. Lead by inspiration. Let your actions and ideals become a touchstone against which mankind may learn how to serve the common good. While it is forbidden for you to interfere with human history itself, your leadership can stir others to their own capacity for moral betterment. JOR-EL The virtuous spirit has no need for thanks or approval. Only the certain conviction that what has been done is right. Develop such conviction in yourself, Kal - El. The human heart on your planet is still subject to small jealousies, lies, and monstrous deceptions. Resist these temptations as you inevitably find them - and your ethical power will then properly outweigh your physical advantage over others. CAMERA BEGINS THIRD SERIES OF DISSOLVES, has almost completed its 360 PAN, now starts to RISE behind a giant representation of JOR - EL'S face. LOOKING DOWN from behind through the eyes we see a tiny blue, red, and yellow figure in the distance. CAMERA PUSHES IN SLOWLY through the eyes. JOR-EL Your education nears a kind of completion now, Kal - El, although no limit to understanding or knowledge has ever truly existed. Over the years you have asked important questions and I think together we have almost always found the answer to them. Now it is time for you to return to the world which I have chosen for you. When new questions arise, come back to me and I will try to be of help. The FIGURE is discernible now as CAMERA PUSHES IN with increasing speed. FOR THE FIRST TIME : SUPERMAN stands in his classic outfit, arms folded, gazing intently back up at the CAMERA which - represents JOR - EL. He is older now. A handsome, strong man, his intelligence, warmth, and compassion shining through his clear eyes as the final words of JOR - EL flow through him. JOR-EL Live as one of them, Kal - El, to discover where your strength and power are needed - but always hold in your heart the pride of your special heritage. Your being is both separate and your own, but I have caused your earthly presence and must share responsibility for your actions. They can be a great people, Kal - El. They wish to be. They only lack the light to show the way. For this reason above all - their capacity for good - I have sent them you. My only son. There is a handwritten notation to `` cut to scene 96''\",\n \"EXT. METROPOLIS STREET - DAY -LRB- There is a handwritten notation `` 26/6/77 amended to page 56'' -RRB- CLARK KENT walks a crowded street in Metropolis, attaché case in hand, conservative suit, heavy - rimmed glasses, etc.. A brisk breeze blows. CLARK reaches the street corner, looks around, admires the skyline, fascinated by the big city. He starts across the street to a building marked DAILY PLANET, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection. ANOTHER ANGLE The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out. DRIVER Oh, my god, I could n't help. CLARK, still standing, simply turns, smiles nicely. CLARK Sorry. It's my fault. I should n't have crossed against the light. The DRIVER stops, dumbfounded, stares at the hood of his cab. INSERT SHOT - HOOD OF CAB The front of the cab has CLARK'S impression cut deeply into the hood, through the engine block to the windshield. BACK TO SCENE CLARK waves a cheery farewell to the non - plussed DRIVER, mouths another friendly `` sorry'', crosses the street, walks through the doors of The Daily Planet. CAMERA PANS UP the skyscraper to its tower -LRB- not the same building in the OPENING, but new, more modern quarters -RRB- where WE SEE the globe and the enormous electric sign : THE DAILY PLANET - Metropolis' Greatest Newspaper.\",\n \"INT. PLANET CITY ROOM - DAY The city room of a large newspaper. Rows of desks. REPORTERS, EDITORS, COPY BOYS scurry back and forth. CAMERA PUSHES IN on a corner of the City Room where a few star reporter desks look a bit larger and widely spaced than the others. Behind them is a frosted glass door on which is painted : `` PERRY WHITE, MANAGING - DIRECTOR''. ANGLE ON DESKS Seated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. Physically she is a knockout : long brunette hair, smart clothes on a smart figure. Mentally, she's just as good : bright, talented, ambitious. A girl with a wry sense of humor, a snappy reporter with an instinct for a big story, the grown - up version of that little girl last seen at the train window as it sped through Smallville : This is LOIS LANE. LOIS -LRB- to anybody. -RRB- How do you spell `` massacre?'' ANGLE ON LOIS THROUGH REFLEX FINDER LOIS turns, looks into the crosshairs of a reflex camera viewfinder. She is perfectly centered. JIMMY'S VOICE R - E. The shutter clicks. BACK TO SCENE A few feet away, a fresh - faced young CUB REPORTER lowers his press reflex camera. A teen - age eager beaver who idolizes LOIS, this is JIMMY OLSEN. He grins, crosses to LOIS, tries to see what's in her typewriter. JIMMY What're you writing. Lois? LOIS -LRB- continues typing. -RRB- An Ode to Spring. One or two `` T's'' in bloodletting? JIMMY Two. LOIS types the finish, rips the page from her typewriter, reads with gusto. LOIS `` And the people on the street, the little man who runs the corner newsstand, the old lady sunning herself on the stoop, the kids playing stickball in the alley - none of them will ever forget that night of senseless blood - letting which turned a friendly block party into a cruel and unspeakable massacre.'' -LRB- triumphant. -RRB- LOIS rises, starts toward Perry White's office. JIMMY tags along at her heels as CAMERA TRACKS with them. JIMMY -LRB- lost in admiration. -RRB- Boy! How come you get all the great stories, Lois? LOIS A good reporter does n't get the great stories, Jimmy. A good reporter makes them great. JIMMY Oh, wow. LOIS flashes him a knowing grin, knocks on PERRY WHITE'S door, enters without waiting for a response.\",\n \"INT. PERRY WHITE'S OFFICE - DAY The office of a working editor. Copy pinned up on bulletin boards, photos piled on the desk, wire service tear sheets, plaques, awards, signed photos on the walls, etc.. Behind the desk, rol1ed - up shirt sleeves, tie loosened, is PERRY WHITE, the no - nonsense, hard - working 50 ` ish editor of the paper. Beneath his gruffness is a nice guy who loves his grandchildren. PERRY struggles vainly with the screw - on top of a pop bottle as LOIS marches in, lays her story on his desk. LOIS -LRB- cocky. -RRB- Here's the story on that East 19th Street murder spree. Page one with a banner headline seems about right to me. PERRY So why should today be different. -LRB- gestures O.S. -RRB- Clark Kent, say hello to Lois Lane. LOIS turns, not realizing there was someone else in the room. CAMERA PANS : Seated against the wall by the entrance is CLARK KENT. He rises, polite and friendly, extends his hand. CLARK Hello, Lois. LOIS Hi there. LOIS looks back at PERRY as CLARK slowly lowers his hand. PERRY crosses, still struggling with the bottle top. LOIS Believe me, Chief, it's got everything. Sex., violence, the ethnic angle. PERRY So does a lady wrestler with a foreign accent. -LRB- turns. -RRB- Here, Kent. Open this, will you? PERRY hands CLARK the pop bottle as LOIS continues. CLARK struggles with it mightily, but to no avail. LOIS Chief, this could be the basis for a whole series of articles - `` Making sense of senseless killings'', you know? We get psychiatrists. LOIS takes the bottle away from the straining CLARK, raps it sharply twice on the arm of his chair hands it back to him. LOIS sociologists, interviews with the families. PERRY Lois, you're pushing a pile of rinky - dink tabloid crap. The Daily Planet has a tradition to. CLARK tries the bottle cap. It opens, suddenly fizzes out in a squirt from the agitation by LOIS. PERRY and LOIS turn, stare. CLARK winces shyly as the liquid dribbles down his pants leg. LOIS ca n't resist a smile, but sympathizes. LOIS I'm sorry. I did n't shake it up on purpose. CLARK -LRB- nicely. -RRB- Of course you did n't, Lois. Why would anyone want a total stranger look like a fool? CLARK smiles. LOIS looks back, unsure of how he meant that, as PERRY takes the bottle, from CLARK. PERRY Lois, take Kent out there and introduce him around. He's coming to work for the paper. I'm putting him on the city beat. LOIS -LRB- not happy. -RRB- My. beat? PERRY The competition'll do wonders for you. Listen. Not only does this guy show proper respect for his editor - in - chief. -LRB- baiting her. -RRB- not only does he have a snappy, punchy prose style, but I swear to you that after forty years in the business he is the fastest typist I have ever seen. LOIS stares warily at CLARK. His sincere expression never changes. CLARK I'm sure I can learn a lot from you, Lois. -LRB- turns. -RRB- Oh, Mister White, could you arrange for half my salary to be sent on a weekly basis to this address? CLARK hands PERRY a piece of pa per from his pocket. LOIS Your bookie? CLARK My what? LOIS -LRB- archly. -RRB- Do n't tell me. He sends a check every week to his dear grey - haired old mother. CI.ARK -LRB- total sincerity. -RRB- Actually, she's silver - haired. LOIS stares at him, stunned. He actually does send his mother money. CLARK manages a pleasant smile. LOIS Are there any more at home like you7 CLARK Not really, no.\",\n \"EXT. METROPOLIS STREET - NIGHT - TRACKING SHOT -LRB- note - scenes 101 - 129 have had `` NIGHT'' marked out and `` DAY has been handwritten in. -RRB- It is late at night. The street is semi - deserted as CLARK and LOIS walk along on their way back from work. LOIS Well, Clark? So how did you enjoy your first day on the job? CLARK -LRB- checking his watch. -RRB- Frankly the hours were somewhat longer than I expected, Lois, but then. meeting you and Jimmy and Mr. White - on the whole I think it's swell. LOIS Swell. -LRB- pause. -RRB- You know, Clark, there are very few people left in the world these days who sound comfortable saying that word. `` swell''. CLARK Really? It just sort of comes naturally to me. As they pass an alleyway a VOICE is heard. VOICE All right. Freeze. The both of you. CAMERA STOPS, PANS : a rough - looking MUGGER stands just inside the darkened alleyway, a pistol leveled at them. MUGGER Get in here. CLARK and LOIS look around nervously for help. The street is deserted. CLARK Better do as he says, Lois.\",\n \"INT. ALLEY - NIGHT (change to DAY) CLARK and LOIS are forced up against the wall. CLARK seems nervous, LOIS grimly determined. CLARK Listen, mister. I realize times are tough for some these days, but. -LRB- total sincerity. -RRB- This is n't the answer. You ca n't solve society's problems with a gun. The MUGGER blinks. LOIS looks at CLARK unbelievingly. MUGGER You know something, buddy? You're. right I'm turning over a new leaf. CLARK That's the spirit. MUGGER Right after I rip off this lady's purse. -LRB- to LOIS. -RRB- Now hand it over. LOIS stares hard at him. Disgusted, she lets the purse drop. The MUGGER reaches down to pick it up. LOIS suddenly kicks him viciously in the neck, sending him reeling backwards : The MUGGER hits the pavement bringing up his gun with a deadly glare. CLARK Do n't shoot! Do n't shoot! CLARK rushes forward with his arms outstretched pleadingly as the MUGGER fires. INSERT SHOT - CLARK'S HAND AT SUPER SPEED : The bullet hits CLARK harmlessly in the palm of his hand. He closes his fist around it. BACK TO SCENE CLARK'S eyes bulge. He drops to the ground with a look of agonized astonishment as LOIS screams. LOIS Clark! The frightened MUGGER scrambles to his feet, runs off down the alley as LOIS bends over CLARK. LOIS Clark. oh, Clark. are you. CLARK'S eyelids flutter, then open. with a sheepish smile. He looks up at LOIS CLARK Wow. I guess I must have fainted or something. LOIS -LRB- rising - disgusted. -RRB- Swell. CLARK gets to his feet, dusts himself off. CLARK Really, Lois. Supposing that man had shot you? Is it worth risking your life over ten dollars, two credit cards, a hairbrush, and a lipstick? I mean. LOIS -LRB- strange expression. -RRB- How did you know that? CLARK -LRB- suddenly nervous. -RRB- Know what? LOIS You just described the exact contents of my purse. CLARK -LRB- pause - smile. -RRB- Wild guess. CLARK turns self - consciously, strides out of the alley as LOIS watches him curiously. CLARK Taxi!\",\n \"EXT. METROPOLIS STREET - NIGHT (DAY) CLARK and LOIS enter a cab, take off, CAMERA PANS to a newsstand on the corner. CLOSE ON NEWSSTAND - DAY -LRB- DAY -RRB- A large MAN -LRB- OTIS -RRB- in a slightly disheveled one - colour outfit which could pass for a uniform buys a newspaper. He checks the headlines and front page picture before paying, then starts off. CAMERA PANS : a police car is parked at a nearby corner directly in his path. lO7 INT. POLICE CAR - NIGHT -LRB- DAY -RRB- TWO OFFICERS watch as OTIS approaches, passing under a streetlight. Their eyes narrow suspiciously. OFFICER #1 That's him, all right. Lex Luthor's right - hand man. Let's get him. OFFICER #2 Wait. Maybe he'll lead us to the man himself. OFFICER #1 -LRB- too good to be true. -RRB- Lex Luthor. OFFICER #2 You got it, Charlie. We both make Captain by midnight. They look through the windshield. OTIS has spotted their car, now hesitates.\",\n \"EXT. STREET - CLOSE ON OTIS (DAY) OTIS suddenly doubles back, rounds a corner. The police car pulls away from the curb, rolls after him.\",\n \"EXT. STREET NEAR TRAIN STATION - NIGHT (DAY) OTIS has broken into a run. Still holding on to his newspaper, he heads for the entrance to a train station farther down the block. CAMERA PANS : the police car has picked up speed, continues to follow.\",\n \"EXT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OTIS, now at a dead run, threads his way through arriving PASSENGERS and taxis, enters the station. In F.G. the police car pulls up. OFFICER # 2 jumps out, turns to OFFICER # 1. OFFICER #2 Call for a back - up. I'm going after him. -LRB- slaps walkie - talkie on belt. -RRB- I'll keep you posted.\",\n \"INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OFFICER # 2 arrives at the top of the main staircase leading down into the busy central hall of the station, scans the CROWD. ANGLE ON OTIS - OFFICER # 2's POV OTIS hustles through a group of PASSENGERS, heads down a ramp marked : LOWER LEVEL. BACK TO OFFICER # 2 OFFICER # 2 has seen, speaks into his walkie - talkie, as he runs down the stairs. OFFICER #2 Lower level, Charlie. I'm right on his ass.\",\n \"INT. STATION LOWER LEVEL OTIS hurries through the lower level, disappears into an entrance marked : TRACK 22. CAMERA PANS : OFFICER * 2 has seen, follows quickly. OFFICER #2 -LRB- into walkie - talkie. -RRB- Track 22, Charlie. OFFICER #1's VOICE -LRB- through walkie - talkie. -RRB- Back - up's here. We're right behind you.\",\n \"INT. TRACK 22 - NIGHT (DAY) OTIS runs down the platform. On one side is a waiting train, steam belching from beneath the cars as the final PASSENGERS set on board. OTIS joins them. ANGLE ON OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 at the top of the platform starts after him, suddenly stops as he sees : ANGLE ON OTIS - OFFICER # 2's POV OTIS' emerges through the steam on the other side of the train. He looks down the opposite side of the platform along an empty track. A train approaches in the distance, its lights now visible, the noise of its wheels increasing rapidly in volume. OTIS looks : against the far tunnel wall are a series of concave man - sized indentations, meant for track workers to step back into in case of an oncoming train. Waiting until the last moment, OTIS suddenly, jumps down onto the track, crosses it, steps back into an. indentation as the train roars past in f.g. CLOSE ON OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 watches, mystified. ANGLAE ON TRAIN -LRB- DAY -RRB- The train rattles by quickly, its flashing windows obscuring OTIS from view. As the last car whistles by : OTIS has disappeared - the indentation is empty. BACK TO OFFICER # 2 -LRB- DAY -RRB- OFFICER # 2 grins confidently, speaks into his walkie - talkie. OFFICER #2 Make it Track 23, Charlie. I see how he does it.\",\n \"INT. TRACK 23 - NIGHT (DAY) OFFICER # 2 runs down the platform, stops opposite the indentation OTIS used. He is about to jump onto the track, hesitates as he looks off : Another train is coming down the track, its lights now visible in the distance. OFFICER * 2 grits his teeth, jumps off onto the track.\",\n \"INT. LUTHOR' S LAIR - NIGHT (DAY) CAMERA CLOSE on a TV monitor screen. OFFICER # 2 is seen on it, crossing the track. A disapproving, clucking sound is heard. A hand comes into frame holding a remote control device. A button on it is pushed. The TV image changes : We now see OTIS Walking nonchalantly down a narrow underground passageway lined with enormous steam pipes, still holding on to his newspaper. LUTHOR'S VOICE -LRB- O.S. -RRB- It's a miracle that brain can generate enough power to keep his legs moving. The remote control device switches back again : Seen on the monitor : OFFICER # 2 has crossed the track, looms large in monitor f.g. as he takes his place inside the indentation.\",\n \"INT. TRACK 23 - CLOSE ON INDENTATION (DAY) OFFICER # 2 has stepped inside the indentation, now waits. The train roars down the track towards him. Suddenly - the rear wall of the indentation pushes forward, shoving him out in the direction of the track. He fights vainly for a moment, then catapults onto the track with a scream as the train rushes past. ANGLE ON TOP OF TRACK 23 PLATFORM -LRB- DAY -RRB- OFFICER # 1 has arrived with two other POLICEMEN. They scan the platform area as the train roars by. CAMERA PANS : ANGLE ON TRACK 23 - THEIR POV -LRB- DAY -RRB- The train has passed. All that remains on the track is a chewed - up policeman's hat and a dented walkie - talkie which sqawks pure static.\",\n \"INT. LUTHOR'S LAIR - NIGHT - CLOSE ON TV MONITOR (DAY) Seen on the TV monitor : the POLICEMEN scratching their heads, puzzled, walking along the empty platform. The hand with the remote control device comes back into frame. A button is pushed. The screen goes dark.\",\n \"INT. UNDERGROUND TUNNEL - NIGHT (DAY) OTIS proceeds down an even narrow tunnel. Water drips from the rock ceiling above. A couple of rats scamper past and through some rusted heating and electrical ducts which line the sides. CAMERA PANS with OTIS. He heads for a rusty, bolted metal door marked : DANGER - NO ENTRY - CONDEMED.\",\n \"INT. LUTHOR'S LAIR - NIGHT - CLOSE ON MODEL (DAY) CAMERA. FOLLOWS another train -LRB- this one a model -RRB- as it snakes its way around mountains and through deserts in a made - to - scale U.S. western - type landscape. Emerging from a tunnel it heads out onto a bridge which is only half - completed, suddenly tumbles off, the falling cars demolishing a papier - mâché model of a hospital directly below. A low chuckle is heard O. S. CAMERA PANS UP : A few feet away, a beautiful YOUNG WOMAN -LRB- EVE TESCHMCHER -RRB- reclines with her feet up in a deep, luxurious sofa. working on a needlepoint pillow. A projected blue - sky backdrop shimmers on the wall behind her, looking quite real from this angle and distance. EVE is open, straightforward if slightly dim, with an unmistakable honest sexiness about her which matches her personality. She looks up INTO CAMERA, wide - eyed, disapproving. EVE That's sick, Lex. Really. WIDE ANGLE ON LEX LUTHOR AND LAIR - EVE'S POV -LRB- DAY -RRB- LEX LUTHOR sits behind a massive desk in his palatial underground lair, now seen for the first time as CAMERA PANS : At first glance - breathtaking, with its multi - level1ed areas, only some of which are immediately visible. The entire wall behind him which rises to a high ceiling is completely covered with full bookcases bulging with periodicals, papers, etc.. Another separate area has a complicated laboratory with viewing theater, banks of electronic gadgets which have been connected to underground electrical lines exposed in portions of the rock - faced walls. In the same manner we will discover exposed heating ducts and water mains. One higher level near the ceiling is completely blocked from view. Off to another side - a large and colourful aviary, stocked with live birds of prey : eagles, falcons, hawks, etc.. The walls and ceilings, as we will discover, are almost all canvas on which projections can and will be made, different ones servicing different specific parts of the lair. One other aspect of this underground kingdom will soon become apparent : whether through the architecture which strangely resembles that of Metropolis Station, or the row of bookcases which curiously look like old ticket windows, or the odd, faded track marker which signals the way off into one or another of the hidden corridors of the lair - it is clear we are in an abandoned railroad station, drastically remodeled, but nonetheless a fact. CAMERA PUSHES IN ON LEX LUTHOR : His face is a task of elegant demonic Genius, for this is a man with an infinite capacity for sadistic evil. Cutting, given to rapidly changing moods, but always thinking - the master criminal incarnate. He stares at EVE, the only person he allows to `` nag'' him, loving her in spite of all. LUTHOR shakes his head sadly disappointed. LUTHOR Sick. -LRB- pause. -RRB- Here we sit, Miss Teschmacher, mere days away from executing The Crime of the Century, and how do you choose to congratulate the greatest criminal mind or our age? Do you call me brilliant? A bit obvious, that, I grant you. Charismatic, then? -LRB- hopefully. -RRB- Fiendishly gifted? EVE Try twisted. EVE goes back to her needlepoint as LUTHOR glares. There is a metallic `` clank.'' O.S. OTIS has entered from a lower level, dutifully approaches the desk holding his newspaper, smiles, cheery. OTIS I'm back, Mr. Luthor. LUTHOR You were followed again, Otis. OTIS looks over his shoulder, deeply concerned. LUTHOR Yes. In spite of those cat - like reflexes. EVE -LRB- new thought. -RRB- See if you can just explain to me one thing. Why do millions of people have to die for this. Crime of the Century? Tell me that, Lex. Why do they all have to die? LUTHOR Why. -LRB- rising - philosophical. -RRB- Why does the phone always ring when you're sitting in the tub? Why do restaurants call animal intestines sweetbreads? Why would the most brilliantly diabolical leader of all time surround himself with total incompetents? -LRB- to Otis. -RRB- Why, in fact, does the chicken cross the road? OTIS -LRB- proudly. -RRB- To get to the other side. LUTHOR stares at him, OTIS hangs his head. OTIS I'm wrong again, are n't I, Mr. Luthor. LUTHOR No, Otis. As a matter of fact, I stuck that last one in especially for you. -LRB- pause. -RRB- Is that the newspaper I asked you to get me? OTIS Yes, sir. LUTHOR Then why am I not reading it? OTIS -LRB- knows when he's wrong. -RRB- Because I. have n't given it to you, Mr. Luthor. LUTHOR rips the paper from OTIS'S hands, swats him viciously in the side of the head with it. OTIS Thank you, Mr. Luthor. LUTHOR drops the paper on the desk, sits. INSERT SHOT - FRONT PACE The paper is The Daily Planet. Clearly visible on the front page : a large photo of two nuclear missiles on their launching pads and the headline : TWIN I.C.B.M TEST CONFIRMED - LIVE WARHEADS TO BE USED. BACK TO SCENE -LRB- DAY -RRB- LUTHOR beams, drops the paper, rises, ecstatic. LUTHOR At last it's official! Thanks to the generous help of our own government, we are finally going to realize the greatest real swindle in history! EVE You and your real estate. Why does it mean so much to you? All the time, `` land, land, land.'' LUTHOR When I was a mere prodigy, Miss Teschmacher, having passed through vandalism with flying colours at the age of six, my father said to me : `` Son, stocks will rise and fall. -LRB- gesturing around him. -RRB- Utilities and transportation systems may even collapse, and people are no damn good - but they'll always need land, and for that they'll pay, through the nose. Remember that,'' my father said. `` Land.'' LUTHOR presses a button. A brilliant desert vista appears on one wall. LUTHOR `` Land!'' Another button. Another vista. This one of the snow - capped Rockies. EVE -LRB- not looking up. -RRB- Then your father must have been sick too. LUTHOR -LRB- sad nod. -RRB- Arnold `` Buster'' Luthor. The most inept check forger of his day. A pity he did n't see how, from such humble beginnings, I created an empire. EVE An empire? This? LUTHOR Tell me, Miss Teschmacher. How many other girls are lucky enough to have a Park Avenue address? EVE It is n't a Park Avenue address, really. Two hundred feet below. LUTHOR Do you know what they're all paying per square foot up there? For a few miserable rooms of a common elevator? What more could anyone ask for? EVE Sunlight. Something that overlooks a window. LUTHOR, angry, turns to OTIS who shifts his feet. LUTHOR Otis, you want something. What can I throw at you? OTIS The. ah. paper, if you're through with it, sir. LUTHOR -LRB- incredulous. -RRB- A newspaper? Otis? You want to read the newspaper? Is there really life after death? Is water finally running uphill? OTIS I thought maybe. the funnies. LUTHOR hands him the paper, sighs. LUTHOR Here. Do n't forget to flush this time. EVE continues to needlepoint, but feels his gaze on her. EVE You know something, Lex? You're perverted. You're the most cruel and vicious human being I know. LUTHOR approaches her, glaring with genuine malice. EVE You'd cut a baby's throat with its own diaper pin. Steal the wafer from a nun's handbag. LUTHOR stands over menacingly, looks down. She glances up, smiles helplessly. EVE What's wrong with me, anyway? Why do I love you so much? LUTHOR grins, lies down on the sofa next to her, puts his arms around her, looks deeply into her eyes. LUTHOR Life is never boring with me. Admit it. EVE snuggles in, hopelessly cozy. EVE Never, Lex. You're the absolute pits. They kiss passionately. LUTHOR reaches into his pocket, pulls out a remote control device, presses a button. INSERT SHOT - LANDSCAPE MODEL CAMERA CLOSE on a high dam set into the landscape of the previously seen model. It cracks, then collapses : sending a rush of water down onto a schoolyard below, knocking over a toy school bus, sweeping away little figures of children standing in the playground.\",\n \"INT. PLANET CITY ROOM - NIGHT Frantic activity : The wall clock indicates 8:00 P.M. CAMERA TRACKS through the chaos as PERRY WHITE exits his office, a sheaf of galleys in his hand. PERRY Olsen, take this Loch Ness update down to composing - tell them to use it as fill unless something comes in on that jewel robbery. JIMMY Right, Chief. PERRY And do n't call me Chief. JIMMY OLSEN disappears quickly with the galleys. PERRY crosses to a desk, picks up the phone. PERRY Harry? That's it. Put ` er to bed. PERRY hangs up, crosses to LOIS' desk. PERRY Lois, about that sex maniac profile. LOIS I know. Nine to five it's a Pulitzer Prize. PERRY I was going to say there's only one p in rapist. -LRB- turns to CLARK. -RRB- Nice job on the Teamster scandal, Kent. CLARK Thanks, Mr. White. PERRY leaves. CLARK rises, crosses to LOIS who rereads her article delightedly, puffs on a cigarette. CLARK clears his throat nervously. LOIS -LRB- looking up. -RRB- What? Oh, goodnight, Clark. CLARK Actually, Lois, I. ah, well. LOIS Yes? CLARK Would you, ah. be interested in a little dinner tonight? LOIS -LRB- nice smile. -RRB- Sorry, Clark. I'm booked. CLARK Oh. LOIS rises, grabs her notebook, starts off for the elevators. CLARK follows, CAMERA TRACKKING. LOIS Air Force One is landing at the airport tonight and this kid's going to be there to make sure you - know - who answers a few questions he'd rather duck. CLA.RK -LRB- admiration. -RRB- Do n't you ever let up? LOIS For what? Oh, I've seen how the other half lives. My sister, for instance. three kids, two cats, one mortgage. I'd go bananas after a week. -LRB- chain smokes. -RRB- I already am bananas, right? That's what you're thinking. CLARK No. I'm just thinking that you smoke too much, if you do n't mind my saying so. -LRB- she stares. -RRB- Lois, you should see what the inside of your lungs look like. LOIS I appreciate the advice, okay? I've got a story to do. CLARK Can I take you to the airport? LOIS Not unless you can fly. CONTIUNED They have reached the elevators. The door opens. LOIS enters, turns to CLARK, smiles. LOIS Good night, Clark. The elevator doors shut. A moment later another empty elevator stops, opens its doors. CLARK enters. CLARK Going Down?\",\n \"EXT. ROOF OF DAILY PLANET - NICHT LOIS emerges through a rooftop exit, looks off past an illuminated helicopter pad with a small waiting room building on the far side. A fierce wind in howling. LOIS turns her face as she sees : ANGLE ON HELICOPTER - LOIS' POV A helicopter heads in for the roof, swaying slightly, fighting the tricky winds. It lands uncertainly on the edge of the pad. LOIS ducks her head, runs for the open door. INSERT SHOT - FLOODLICHT CABLES The rubber - encased cables connecting the helicopter pad floodlights dance wildly in the wind like black snakes. The helicopter struts are precariously near to them. - too precariously, as one cable inadvertently hooks itself around a strut. BACK TO SCENE LOIS has entered the helicopter. The PILOT takes off. The helicopter starts to rise through the strong winds, suddenly jerks back as the hooked cable takes hold, yanking out one of the floodlights. The helicopter lurches down violently to the PILOT'S' side, its spinning blades knifing through the waiting room window, spraying showers of glass. The helicopter, still hooked to the edge, one strut hanging over the side. INSERT SHOT - CABLE The cable holding the helicopter has split, short - circuits, spitting electric sparks.\",\n \"INT. HELICOPTER The PILOT, on the roof side, has been knocked unconscious by the impact of hitting the waiting room. LOIS, on the street side, looks over at him, paralyzed with fear. Held In by her seatbelt, she looks down her side to the street, terrified. ANGLE ON STREET - LOIS' POV A shear drop to the street. A small CROWD has already started to form.\",\n \"EXT. METROPOLIS STREET The CROWD grows rapidly in size, staring up, pointing excitedly. CLARK arrives on the scene, looks up as well, eyes widening in horror. ANGLE ON LOIS - CLARK'S POV The helicopter dangles half over the edge of the roof. BACK TO CROWD Determined, CLARK pushes his way through the crowd, looking for something. ANGLE ON PHONE BOOTH - CLARK'S P.OV A phone booth stands on the corner - but this is a modern booth - it covers only the top half of the body. BACK TO CLARK - WIDER ANGLE CLARK starts to cross an empty street to an alley, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection. ANOTHER ANGLE The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out. DRIVER Oh, my god, I could n't help. CLARK, still standing, simply turns, smiles nicely. CLARK Sorry, I did n't notice the light. The DRIVER stops, dumbfounded, stares at the hood of his cab. INSERT SHOT - HOOD OF CAB The front of the cab has CLARK'S impression cut deeply into the hood, through to the engine block to the windshield. BACK TO CLARK CLARK crosses to alley.\",\n \"INT. HELICOPTER LOIS looks up past the unconscious PILOT to the edge of the roof. She has only one chance. She unbuckles her safety belt, tries to crawl over him. As she moves, the helicopter shifts position, swings out farther over the roof. INSERT SHOT - CABLE The cable jerks with the weight. Sparks fly. It holds together by a thread. BACK TO LOIS LOIS tumbles back with the movement, falls out the door grabbing her unbuckled seatbelt at the last minute on the way out.\",\n \"EXT. STREET ANGLE ON LOIS - CROWD'S POV The CROWD scream. LOIS dangles from the roof, holding on to her seatbelt for dear life. TO PAGE 57\",\n \"EXT. ALLEYWAY An incredibly garish BLACK PIMP exits an alley doorway, stoned, stops in awe as he, sees : SUPERMAN in full costume heading towards him, determined. PIMP Say, Jim! That is a bad outfit. SUPERMAN Excuse me. With a burst or energy SUPERMAN rises from the ground, flies up into the night sky. The PIMP watches in wonder. PIMP Wait a minute, Jim! Who's your tailor, baby? Who cuts your threads?\",\n \"EXT. STREET - ANGLE ON LOIS - CROWD'S POV The hushed CROWD watches LOIS hanging from the roof as SUPERMAN appears, flying quickly towards her. FIRST VOICE Look! SECOND VOICE It's a bird! THIRD VOICE -LRB- woman. -RRB- No, it's some kind of plane! What the hell is it, Harvey? FOURTH VOICE Goddamned if I know, Margaret.\",\n \"EXT. ROOF - ANGLE ON LOIS LOIS dangles from the helicopter, eyes closed. her mouth moving in some sort of silent prayer. The helicopter suddenly lurches. INSERT SHOT - CABLE The cable snaps. BACK to LOIS The helicopter falls. LOIS screams, eyes welded shut. Suddenly SUPERMAN'S mighty arm reaches out, grabs her around the waist. With his other hand, he takes the bottom strut of the helicopter. SUPERMAN Easy now, Miss.. I've got you. LOIS' eyes open tentatively, then flutter unbelievingly. LOIS You've got me? Who's got you? SUPERMAN smiles warmly as he lifts both LOIS and the helicopter back onto the roof.\",\n \"EXT. ROOF SUPERMAN gently deposits the awestruck LOIS on the roof, then lowers the helicopter. SUPERMAN -LRB- smile - to LOIS. -RRB- I hope this little incident does n't put you off flying, Miss.. Statistically it's still the safest way to travel. LOIS, I. LOIS opens her mouth to speak, but SUPERMAN takes off again. She stares after him. gaping.\",\n \"EXT. SKY - NIGHT SUPERMAN is in mid - air, exhilarated - literally high. He executes a cocky `` loop,'' feeling a kind of release, a genuine physical joy in flying.\",\n \"EXT. STREET The CROWD has grow in size. A TV mobile unit has arrived. The PEOPLE `` ooh'' and `` aah'' in wonder. A TV CAMERAMAN points, looks over at his CREW. TV CAMERAMAN There he is! He tilts his camera up. CAMERA PANS with him to the sky.\",\n \"EXT. SKY - NIGHT - CLOSE ON SUPERMAN SUPERMAN notices the attention, suddenly stops his aerobatics, embarrassedly self - conscious. He looks off :\",\n \"EXT SIDE OF APARTMENT BUILDING - NIGHT A BURGLAR emerges from a high apartment house window, steps out onto a ledge. He drops a fistful of jewels into a bag tied to his waist, then positions suction cups attached to his hands and knees. Slowly, laboriously he ascends the side of the building. CLOSE ON BURGLAR Breathing hard, he continues. Looking up, his face suddenly registers shock. ANGLE ON SUPERMAN - BURGLAR' S POV SUPERMAN strolls down the side of the building towards him, defying all laws of gravity. He smiles at the BURGLAR. SUPERMAN Hi there. Something wrong with the elevator? BACK TO BURGLAR The terrified BURGLAR frantically tries to get away, his suction cups coming loose. He falls - SUPERMAN swoops down, catches him firmly.\",\n \"EXT. METROPOLIS STREET - NIGHT PATROLMAN MOONEY quietly walks his beat on a deserted city street, looks up as he hears a `` whoosh!'' SUPERMAN lands next to him, deposits the terrified BURGLAR. SUPERMAN They say confession is Good for the soul, Officer. I'd listen to this man. The thunderstruck MOONEY gapes as SUPERMAN takes off again. The BURGLAR shrubs, extends his wrists to MOONEY for the handcuffs. BURGLAR What the hell. It's only a dream, anyway.\",\n \"EXT. HIGHWAY UNDERPASS NEAR RIVER - NIGHT A police car. light flashing, sirens blaring, chases a sleek black Cadillac as they crisscross, screeching through the pillars of a river highway underpass. Both cars blaze away at each other with firearms. The Cadillac squeals into a l80 - turn, heads down a short pier to a waiting cabin cruiser. The police car tries to imitate the turn, smashes head - on into a stone pillar, one POLICEM.AN catapulting through the windshield onto the hood. TWO OTHER POLICEMEN pile out, guns drawn, open fire down the pier. ANGLE ON POLICE FROM PIER THREE HOODS empty out of the Cadillac near the cabin cruiser, the police bullets slamming into their car. They wheel, holding automatic weapons, cut down the TWO POLICEMEN, jump onto the cruiser, take off.\",\n \"EXT. SKY - NIGHT - ANGLE ON CABIN CRUISER The cabin cruiser plows down the river at top speed. CAMERA ZOOM BACK, PANS : SUPERMAN watches from mid - air.\",\n \"INT. CABIN CRUIER - NIGHT TWO of the HOODS are in the main cabin. ONE drives the boat while the OTHER makes three neat piles of money on a table, pulling it out of a black satchel. The FIRST HOOD grins at his PARTNER, then looks back through the windshield of the cabin, his jaw suddenly dropping. FIRST HOOD Holy sh. ANGLE THROUGH WINDSHIELD - HOOD'S POV SUPERMAN stands on the front deck, arms folded, staring sternly inside at them.\",\n \"EXT. BOAT DECK - NIGHT The THIRD HOOD sneaks up behind SUPERMAN, a heavy barbed steel boat gaff in his hands. As SUPERMAN stares in through the windshield, the HOOD swings it down viciously straight into his head. The gaff recoils as if it had hit solid steel - the HOOD stands unbelievingly, his entire body shaking in spasms from the impact. SUPERMAN turns with a smile. SUPERMAN Bad vibrations?\",\n \"INT. POLICE STATION - NIGHT A flustered MOONEY stands before his amused DESK SERGEANT. MOONEY Sergeant, I swear! Flying! With a big red cape! And bright red boots as well! Then, quick as a wink - he was gone! Flew up in the air again, he did. Like a big blue bird. SERGEANT -LRB- smile. -RRB- Like a big blue bird. with bright red boots. The SERGEANT gets down from behind his desk, walks MOONEY to the station door. CAMERA FOLLOWING SERGEANT Why do n't you take the rest of the night off now, Mooney. Go back to Murphy's bar and finish what you plainly started. I'll be off myself in a bit and join ya there. They have, reached the door, start out, suddenly stop, rooted to the spot.\",\n \"EXT. STREET - ANGLE ON CRUISER - THEIR POV The cabin cruiser sits in the street, balanced on its keel. The THREE HOODS are wrapped in the anchor chain, the satchel of money hanging from one of their necks. BACK TO MOONEY AND SERGEANT SERGEANT Off we go, then, Mooney. The first bottle's on me.\",\n \"EXT. SKY - NIGHT - ANGLE ON SUPERMAN SUPERMAN continues through the air as a bolt of lightening slashes by next to him. Then a clap of thunder. It starts to rain. He hears something, cocks his head.\",\n \"EXT. RESIDENTIAL STREET - NICHT A LITTLE GIRL looks up plaintively through the rain at a tree in her back yard. We hear a miserable `` meow.'' CAMERA PANS UP : A wet cat sits stranded in the top branches of the tree. LITTLE GIRL -LRB- despair. -RRB- Frisky! Oh, Frisky, please come down. Suddenly - SUPERMAN soars into frame, scoops FRISKY out of the tree, glides down, gently deposits the cat in the LITTLE GIRL'S arms. LITTLE GIRL Gee, thanks Mister. -LRB- to cat. -RRB- You naughty thing. SUPERMAN Do n't be too hard on Frisky. We all get a little scared of heights now and then. SUPERMAN flies off. CAMERA PANS with the LITTLE GIRL as she runs up here house steps and inside. CAMERA HOLDS a moment Suddenly - the sound of a `` smack.'' MOTHER'S VOICE Have n't I told you to stop telling lies? Another bolt of lightening slashes through the night sky. The rain becomes noticably heavier.\",\n \"EXT. SKY - NICHT - ANGLE ON AIR FORCE ONE Air Force One fights its way through the pounding storm ; heading for Metropolis airport. Suddenly a bolt of lightening cracks into the wing. Flames shoot up as the outboard engine on the PILOT'S side splits in two, drops off the wing. The plane starts into a dive.\",\n \"INT. AIR FORCE ONE COCKPIT - NIGHT The PILOT and CO - PILOT fight the controls, try to level off. Suddenly : the plane's nose comes up. The aircraft seems to right itself to the astonishment of the PILOT who looks out the window, eyes now widening. ANGLE ON WING - PILOT'S POV SUPERMAN has grabbed hold or the wing in the cavity created by the fallen engine, now flies, stretched out in its place. He turns his head, smiles at the PILOT.\",\n \"INT. AIR FORCE ONE COCKPIT - NIGHT The dumbfounded PILOT looks back as the CO - PILOT strains to look past him out ` the side. CO-PILOT What happened? We get our engine back? PILOT Fly. Do n't look. We. got something. -LRB- weak smile. -RRB- Trust me. Just. fly.\",\n \"EXT. MEROPOLIS AIRPORT - NIGHT - ANGLE ON LOIS LOIS waits in the storm with a mob of excited REPORTERS. Emergency equipment stands by, lights flashing. Everyone turns, flabbergasted, as they see : ANGLE ON RUNWAY - THEIR POV Air Force One glides safely to a landing, taxis up in front of them. SUPERMAN does a backflip, stands on the wing, looks in at the pilot, gives him the ` high sign' then looks off at the PRESS. ANGLE ON PRESS The REPORTERS watch in stunned silence. LOIS elbows her way to the front, waving. LOIS Hey! It's me! Remember? Lois Lane! The girl from the roof? SUPERMAN spots her, grins, waves, then takes off again, disappearing into the night sky. The amazed REPORTERS crowd around LOIS. REPORTER Hey, Lois. You know that guy? LOIS -LRB- sly puss. -RRB- Oh, nothing. intimate. LOIS smiles privately, heads off, the mob of REPORTERS trailing behind her, yelling `` who is he?'' `` C'mon, Lois, what's the story?'' , etc.. CAMERA PANS to the doorway of Air Force One : the PRESIDENT'S ENTOURAGE appears to clear the way. No one notices - there is no longer a way to clear.\",\n \"INT. FORTRESS OF SOLITUDE - DAY The SCREEN is filled by the giant head of JOR - EL. He looks down INTO CAMERA, his expression a blend of slight displeasure and parental understanding. JOR-EL You. enjoyed it. SUPERMAN I do n't know what to say. -LRB- awkwardly. -RRB- I guess I just got. carried away. JOR-EL I anticipated this, my son. I. SUPERMAN You could n't have! You could n't have Imagined. JOR-EL -LRB- gently. -RRB- How good it felt! SUPERMAN How good it felt. SUPERMAN falls silent again, ashamed. JOR - EL ca n't resist a small smile. JOR-EL You are revealed to the world. Very well. So be it. But still you must keep your secret identity. SUPERMAN Why? JOR-EL The reasons are two : First, even you can not serve humanity twenty - eight hours a day. SUPERMAN Twenty - four. JOR-EL Or twenty - four as it is in Earth time. Your help would be called for endlessly, even for those tasks which human beings could solve for themselves. It is their habit to abuse their resources in such a way. SUPERMAN And secondly? JOR-EL Second : Your enemies will discover their only way to hurt you - by hurting the people you care for. SUPERMAN Thank you, Father. JOR-EL Lastly - do not punish yourself for your feelings of vanity. Simply learn to control them. It is an affliction common to all, even here on Krypton. -LRB- expression changes. -RRB- Our destruction could have been avoided but for the vanity of some who considered us indestructible. Were it not for vanity. why. at this very moment. I could embrace you in my arms. -LRB- barely audible. -RRB-. my son.\",\n \"EXT. METROPOLIS STREET- NIGHT - CLOSE ON STORE WINDOW The face of a TV NEWSCASTER looks INTO CAMERA through the window of a store which sells television sets NEWSCASTER Good evening. And what sort of night has it been so far? A night that has seen what many believe to be the most extraordinary phenomenon of our times. CAMERA PULLS BACK : the store window is filled with a myriad of TV sets, all three networks simultaneously broadcasting the same story, although only one NEWCASTER'S voice is audible. A CROWD has formed in front of the Window, hanging on to every word with a bemused expression on his face - CLARK KENT. NEWSCASTER Our newsfilm confirm eyewitness's reports of a caped figure, resembling a man, who appeared flying in the sky over Metropolis. Yes, I said flying. A CROWD MEMBER turns to CLARK. CROWD MEMBER That'll be the day, huh? CLARK You said it. NEWSCATER White House comments are guarded at present, although the F. B. I. is said to be investigating the matter. As further accounts pour in, speculation has arisen that this whole thing may be some sort of fantastic hoax. CLARK frowns. He had n't counted on this reaction. NEWSCASTER The Mayor of Chicago commented that it all seemed too be a publicity stunt designed to draw attention to Metropolis. CLARK turns, walks off CAMERA PANNING with him. NEWSCASTER a city that has been having its share of financial problems of late.\",\n \"INT. LUTHOR'S LAIR - NIGHT The highest level of the underground complex is an improvised swimming pool area. The domed ceiling hangs low over what once was a massive staircase down into the station and now serves as the entrance steps to the pool. A projection of an idyllic Caribbean island setting and seascene shimmers against one wall. LUTHOR sits in the shallow end of the pool in a roped - off, bubbling Jacuzzi bath section. EVE, looking fetching in a bikini, lies on a mat nearby, black goggles over her eyes, absorbing rays from a sunlamp. OTIS sits in an armchair, watches the NEWSCASTER on a television in front of him. NEWSCASTER His question is everybody's : True or false? Miracle or fraud? CLOSE ON LUTHOR LUTHOR is deeply troubled. He glowers pensively as the NEWSCASTER finishes. LUTHOR Turn it off. NEWSCASTER The answer is up to you. Man or myth? OTIS switches off the set, turns. OTIS What's a myth? LUTHOR -LRB- mind elsewhere. -RRB- Something unreal. something. not quite human. Something like you, Otis OTIS beams, settles back in his chair. OTIS I'm a myth. LUTHOR frowns, his mind working double - time. EVE stares up at the sunlamp, her eyes still covered by goggles. EVE So what's the story, Lex? You think this guy's the genuine article? LUTHOR If he is - he's from another world. EVE Why? LUTHOR Because if any human being could have perpetrated such a fantastic hoax, it would have been for me and I would have thought of it by now. EVE Oh. LUTHOR snaps his fingers. OTIS rises, crosses to him with an elegant bathrobe. LUTHOR -LRB- musing - resigned. -RRB- It all fits somehow His coming here to Metropolis - and at this particular time. There's a kind of. cruel justice about it. I mean, to commit the Crime of the Century, a man would just naturally have to face - the Challenge of the Century. CAMERA PUSHES IN as LUTHOR rises, lost in the philosophical justification of it all. OTIS starts to wrap the bathrobe around him. EVE -LRB- O. S. -RRB- Maybe he'll leave you alone, Lex. Maybe he's just passing through. LUTHOR -LRB- bitter smile. -RRB- Just. passing through, Miss Teschmacher? Not on your life. something I would gladly sacrifice by the way - for the one chance to destroy everything he represents. -LRB- pause - blinks. -RRB- Oh, and Otis. OTIS Yes, Mr. Luthor? LUTHOR Next time, put the robe on after I get out of the pool. CAMERA PULLS BACK : the bottom section of LUTHOR'S robe is submerged below the waterline. OTIS I'm sorry, Mr. Luthor. LUTHOR I know that, Otis.\",\n \"INT. LOIS LANE'S APARTMENT - DAY A lovely apartment in a high - rise building with a balcony - terrace off the living room. Books, modern art posters, desk with typewriter, etc.. CLARK sits at one end of the sofa. LOIS paces next to him. LOIS -LRB- outraged. -RRB- It was n't a trick! CLARK Oh sure. A man flies in the sky like a pigeon and it was n't a trick. It was probably done with wires. They must have rigged him up like Peter Pan. LOIS There were n't any wires. I looked. CLARK Mirrors, then. LOIS He grabbed me! He held me! How could that be done with mirrors? CLARK I do n't know, Lois, but I do know a fraud when I hear one. This thing goes against all natural laws. LOIS -LRB- pause. -RRB- You're just jealous. CLARK Jealous! Of what? LOIS Of this. Superman. CLARK frowns as he hears the name for the first time, then stifles a smile. CLARK -LRB- musing. -RRB- Super. man. Hmmm. LOIS I'm going to make some coffee. Want some? CLARK No thanks. LOIS crosses to open the kitchen door. LOIS You know something? I've only said three words to the man. but for the first time in a long time - I think I'm kind of. stuck on someone. SHE enters the kitchen. The door swings shut behind her. CLARK rises, listens, interested. LOIS -LRB- O.S. -RRB- Just. three little words, as they say. `` Help'' and `` Thank you.'' Not exactly the basis for a meaningful relationship, is it? I mean, for all I know, he's got a wife and kids on some other planet. But somehow I just ca n't stop. fantasizing about him, you know? CLARK has heard something. He cocks his head, looks off at the terrace. LOIS -LRB- CONTD. -RRB- So I called a guy who's married to this girl I went to college with. He's a shrink. I made an appointment and went to see him.\",\n \"EXT. TERRACE - DAY CLARK comes out, listening intently. CAMERA ZOOMS to a rooftop across the street covered with TV aerials. CLARK'S super hearing picks up an announcement coming over the air waves. ANNOUNCER'S COICE tape recording left at station W.M.E.T. Police chief James Vitucci listened to it immediately, put the police on emergency alert, and warned citizens to remain in their homes in he downtown area. Here is the recording :\",\n \"EXT. METROPOLIS SCHOOL - DAY Lines of SCHOOL CHILDREN file out the front doors and down the steps of a public school. being monitored by TEACHERS and POLICE who load then into busses. LUTHOR'S VOICE -LRB- over air waves. -RRB- This is the voice of Lex Luthor. I have a challenge for this. unidentified flying object. This bogus blue baffoon. There is an abandoned warehouse at the corner of Fifth and Main.\",\n \"EXT. LOIS\\\" TERRACE - DAY CLARK listens, eyes widening. LUTHOR'S VOICE Somewhere inside that warehouse is a pellet filled with a propane lithium compound. At precisely twelve noon it will drop into a beaker of acid. CLARK checks his watch. INSERT SHOT - CLARK'S WATCH The time is 11:50 LUTHOR'S VOICE Within a matter of seconds a poison gas will be released that will annihilate everyone within a forty block radius.\",\n \"EXT. METROPOLIS STREET - DAY - ANGLE OF TERRACE Looking up from the street : CLARK jumps off Lois' terrace. CAMERA PUSHES IN : as he falls, a gradual transformation to Superman takes place in blurred. overlapping stages. LUTHOR'S VOICE I would remind the tin - plated minions of law that this warehouse has been fitted with anti - personnel devices, which will render any police action totally ineffective. SUPERMAN hits the street, the transformation having completed. He shoots off into the sky.\",\n \"EXT. METROPOLIS HOSPITAL - DAY Bed - ridden PATIENTS are being wheeled out of the Emergency Exit of a hospital by NURSES and ATTENDANTS, and loaded into waiting ambulances under POLICE supervision. LUTHOR'S VOICE Is this cape - flapping freak all that he seems or are we merely victims of mass hysteria? Thousands of innocent lives hang in the balance. I make this gesture as a public service, by the way - and without thanks. Thanks.\",\n \"INT. LOIS' APARTMENT - DAY LOIS can still be heard talking from the kitchen. LOIS -LRB- O.S. -RRB- and then he said, `` maybe the guy's a father figure.'' So I said, `` look. My Pop's a terrific guy, but he does n't go flying around town in a red cape.'' LOIS enters the living room, looks around. LOIS Clark. Clark? -LRB- pause. -RRB- Nuts. Now I've gone and hurt his feelings.\",\n \"EXT. WAREHOUSE - DAY - WIDE SHOT The warehouse is cordoned off. Fire trucks and police cars are drawn up. BOMB SQUAD PERSONNEL stand nearby strapping on their protective gear ; now look up as they suddenly hear a `` whooshing'' sound O. S. CLOSE ON WAREHOUSE DOOR SUPERMAN lands directly in front of the warehouse door, waves the POLICE back. He turns to face the warehouse. The massive metal doors are linked with a giant padlock.\",\n \"INT. LUTHOR'S LAIR VIEWING THEATER - DAY LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater somewhere inside the underground complex. A bank of large TV screens faces them. One screen projects the live image of SUPERMAN. -LRB- NOTE : As the action progresses through the warehouse, different screens will be activated presumably from different cameras -RRB-. LUTHOR sips a tall drink, smugly adjusts several knobs on a large console next to him. EVE chews gum, stares curiously at SUPERMAN. OTIS munches a large candy bar, excited. LUTHOR Look at that overgrown Boy Scout, Miss Teschmacher, Tell me what you see. EVE -LRB- chewing. -RRB- Cuteness. Dimples. LUTHOR'S eyes flash. EVE smiles nervously. EVE Did I miss something, Lex? LUTHOR glowers at SUPETRMAN ominously. LUTHOR Confidence\",\n \"EXT.WAREHOUSE - DAY SUPERMAN jerks the padlock backwards off the doors. They open with a huge explosion - the SCREEN is filled with smoke and flame. As the smoke clears : SUPERMAN stands in the doorway, unharmed. He tears apart what's left of the doors like tinfoil, steps inside. A bright row of arrows painted on the warehouse floor points the way for him.\",\n \"INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR scowls, a bit unnerved. OTIS This guy handles himself pretty good, Mr. Luthor. LUTHOR All right, all right, so he's tough! We knew that. -LRB- TO EVE'. -RRB- So you like dimples, eh, Miss Teschmacher? I'll give him dimples.\",\n \"INT. WAREHOUSE ROOM #1 - DAY SUPERMAN follows the painted arrows into a bare room. The door suddenly slams shut behind him. Instantly : wall panels slide open on all sides filled with machine gun barrels. They all open fire at once in a withering deafening, blinding barrage. SUPERMAN stands erect, arms folded, as thousands of bullets ricochet of him. The barrage finally ends. The floor of the room is totally covered with spent shells. Brushing them aside with his boot to find the painted arrows, SUPERMAN calmly proceeds on his way. LUTHOR' S VIEWING THEATER - DAY LUTHOR looks nervous, flustered even, as he fumbles with the controls on his panels. EVE Dimples. Would you settle for acne? LUTHOR Do n't worry, do n't worry, we'll find his weakness. OTIS Hey. Maybe he's got a glass jaw. -LRB- LUTHOR glares. -RRB- Then, on the other hand.\",\n \"INT. WAREHOUSE ROOM #2 - DAY SUPERMAN enters the second room, has reached the center when : the walls and ceiling suddenly come alive with flaming gas jets. The room becomes a blinding inferno. SUPERMAN stands in the center serenely, waits until the holocaust dies down. Then, adjusting his cape, he nonchalantly starts off for the third room.\",\n \"INT. LUTHOR' S VIEWING THEATER - DA Y LUTHOR holds his head in his hands. EVE and OTIS watch. LUTHOR But how can it be? That creep should have melted in there! EVE He does n't even look soft around the edges, Lex.\",\n \"INT. WAREHOUSE ROOM #3 - DAY SUPERMAN enters room, suddenly disappears from view into the middle of an incredibly thick blizzard. The blinding snowstorm fills the SCREEN.\",\n \"INT. LUTHOR'S VIEW/ING THEATER - DAY LUTHOR watches the smog - filled monitor. LUTHOR What's the temperature? EVE -LRB- checking a gauge. -RRB- Fifty below and falling. LUTHOR When it gets to a hundred - stabilize it.\",\n \"INT. WAREHOUSE ROOM # 3 - DAY The blizzard stops. The air slowly clears. In the middle of the room : a large cone of ice - has formed. Suddenly, a thin crack appears, running down the center. The crack breaks open. SUPERMAN steps out, rubs his hands together briskly, then starts off.\",\n \"INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR watches, his face twisted with rage. OTIS The guy probably never owned a sweater in his life. LUTHOR swivels, hurls his drink at OTIS, who ducks : it smashes into the wall behind him. OTIS He did?\",\n \"INT. WAREHOUSE CIRCULAR ALCOVE - DAY SUPERMAN has exited the third room into a circular alcove with four lead doors leading off from it. Each is sealed by a huge tumbler lock similar to those on bank vaults. The painted arrows lead off to all four doors. SUPERMAN stops, stares hard at the doors, momentarily mystified.\",\n \"INT. LUTHOR'S VIEWING THEATER - DAY LUTHOR leans in toward the screen, fascinated for once by what he sees. EVE Do n't tell me he's suddenly got a problem. LUTHOR -LRB- eyes glued. -RRB- Ssshhh.\",\n \"INT. WAREHOUSE ALCOVE - DAY If SUPERMAN did have a problem, he solves it quickly. He rips off all four lend doors in super - speed. They crash to the ground, twisted. Finding the doorway he wants, SUPERMAN enters.\",\n \"INT. WAREHOUSE ACID ROOM - DAY The central area of the room has been blocked off by a ceiling - high thick wire mesh fence. Behind it : the propane lithium pellet hangs suspended by a thin cord over a beaker of acid. SUPERMAN glances O.S. INSERT SHOT - WALL CLOCK A timer clock on the wall indicates eight seconds left. BACK TO SCENE SUPERMAN approaches the fence. It starts to hum. His hands reach out, grab hold of the wire : Fierce electric sparks shoot out like lightening bolts, the current passing through him harmlessly. He rips through the fence as : the pellet suddenly drops. SUPERMAN dives at it with super - speed, catches it at the last second. Staring at it curiously he shrugs, pops it in his mouth, swallows it. He looks down at the beaker of acid, lifts it, swallows it. He looks down at the beaker of acid, lifts it, then quaffs it down as a chaser. Tapping his chest lightly with his fist, he lets out a discreet `` burp.''\",\n \"INT. PERRY WHITE'S OFFICE - DAY CAMERA CLOSE on PERRY'S desk where lies an edition of The Daily Planet with the screaming headline : SUPERMAN SAVES THOUSANDS. WIDER ANGLE A dozen REPORTERS, including LOIS and CLARK, stand at attention as PERRY paces back and forth behind his desk, ranting. PERRY Now look! We' re sitting on top of the story of the century here! Our only problem is how to get it - exclusively! -LRB- waves paper. -RRB- I want the name Superman and the Daily Planet to go together like bacon and eggs! CLARK -LRB- pause. -RRB- Well, I should n't think he'd lend himself to any cheap promotion schemes. PERRY Who's talking cheap? I'll make him a goddamn partner if I have to! I want the inside dope on the real Superman! Who is he? Where's he from? What's his favorite ball team? -LRB- leans in. -RRB- And I'll tell you one thing, boys and girls - whichever one of you Gets it out of him will have the single most important interview since Moses talked to Cod.\",\n \"INT. DAILY PLANET CITY ROOM - DAY The REPORTERS file out. LOIS has a look of grim determination on her face. CLARK notices, comes up. LOIS -LRB- totally preoccupied. -RRB- There must be a way. Maybe if I hung myself, off another building. lay down on some train tracks,. or something. CLARK A, Lois. about tonight. LOIS -LRB- snaps to. -RRB- Mmm? What about tonight, Clark? CLARK Our date. -LRB- Shy smile. -RRB- Well, our. dinner. Do n't you remember? LOIS Sorry, Clark. I must have forgot. CLARK Gee. I planned on it all week. LOIS -LRB- sigh. -RRB- All right, Clark. I'll go out with you. Might as well get it over with. CLARK You're wonderful, Lois. Where would you like to go? LOIS Oh, I do n't know. -LRB- in jest. -RRB- How about the Gold Room at the Park Towers? CLARK The Gold Room? But that's the most expensive place in town. JIMMY walks by, has heard, interrupts, full of admiration for CLARK. JIMMY The Gold Room? Golly Mr. Kent, are you really going to take Miss Lane to the Gold Room. CLARK is trapped. He shrugs, decides to play along with the image, gets very `` Mr. Terrific.'' CLARK Oh. I do n't know, Jimmy. Maybe. if she's a. -LRB- cocky wink. -RRB- good girl, that is. LOIS And if I'm not a good girl. -LRB- cocky wink. -RRB- Let's let Jimmy take the pictures : okay? CONTIUNUED CLARK blushes. LOIS leaves with a smirk. JIMMY Boy. What do you suppose she meant by that, Mr. Kent?\",\n \"INT. LOIS' APARTMENT - NIGHT LOIS, looking absolutely gorgeous in her best evening gown, puts the finishing touches to her hair in front of a mirror near the open door to her terrace. She stares at herself critically for a moment, then smiles, nods. LOIS Not too bad, kid. As a matter of fact - just this side of sensational. -LRB- checks her watch. -RRB- Hmm. Clark is late. She smiles, crosses to a small bar, pour.' a glass of wine. LOIS Probably out in the hall getting up enough nerve to knock. LOIS takes her glass, wanders out onto the terrace.\",\n \"EXT. LOIS' TERRACE - NICHT A beautiful night. The lights of the city are visible in the distance. LOIS sips her wine, stares wistfully up into the sky. LOIS -LRB- to herself. -RRB- You know something, Lois? You're too hard on Clark sometimes. He's a decent kind of guy and he has got this terrific crush on you. I mean it's not his fault he'll never be a. There is a loud `` whoosh.'' SUOERMAN lands on the top comer of her terrace ledge, looks down at the stunned LOIS. LOIS Superman. SUPERMAN Good evening. Miss Lane. -LRB- Notices her gown. -RRB- I'm sorry. Were you just about to go out? LOIS Ah. no. no! Whyever would you. -LRB- looks at gown. -RRB- Oh. This old thing. SUPERMAN It's no trouble for me to come back later. I mean I do n't have to park or anything. LOIS You just stay right where you are! Please! Do n't move! Or move, if you want, but do n't fly away. LOIS rushes inside. SUPERMAN smiles to himself, hops down onto the terrace, speaks in the direction of the open doorway. SUPERMAN Sorry to just. drop in on you like this, Miss Lane, hut I realize there must be many questions about me the world would like the answers to. LOIS emerges with reporter's pad and pencil, takes a seat at the terrace table. SUPERMAN So it's become important for me to have very close relations with the press. LOIS smiles, hiding her nervousness, lights a cigarette from a box on the table. SUPERMAN You really should n't smoke, you know. LOIS Do n't tell me. Lung cancer, right? INSERT SHOT - LOIS' LUNGS Seen through SUPERMAN'S X - RAY vision : A flashing medical X - Ray type shot of LOIS' lungs. BACK TO SCENE SUPERMAN Not yet, thank goodness. LOIS blinks, puts out her cigarette, picks up her pad. LOIS Let's. ah. start with your vital statistics, okay? Age? SUPERMAN. says. Thirty. LOIS Height? SUPERMAN Six - four LOIS Weight? SUPERMAN One ninety - five. LOIS And I take it the rest or your bodily functions are what we'd consider. normal? SUPERMAN I beg your pardon? LOIS Well - putting it delicately - do you eat? SUPERMAN When I'm hungry. LOIS Would you like a cookie? SUPERMAN What kind? LOIS Macaroons. SUPERMAN Thanks anyway. LOIS A glass of wine? SUPERMAN I never drink when I fly. LOIS blinks, realizes he's serious, returns to her pad. LOIS Is it true you can see through anything? SUPERMAN Pretty much. LOIS And you're totally impervious to pain? SUPERMAN So far. LOIS -LRB- not looking up. -RRB- What Color underwear am I wearing? ANGLE ON LOIS - SUPERMAN' S POV A quick flash of LOIS sitting in the chair, dressed only in her bra and panties. BACK TO SCENE SUPERMAN Pink. LOIS writes it down, all business in spite of her blush. LOIS Ah. do you have a first name? SUPERMAN You mean like Ralph, or something? LOIS I mean what's your background? Where do you hail from? SUPERMAN I was born on a planet in the Xeno Galaxy. A place called Krypton. LOIS -LRB- writing. -RRB- Uh - huh. And do you. -LRB- looks up. -RRB- Like pink? SUPERMAN -LRB- nice smile. -RRB- I like pink very much, Lois. LOIS puts down her pad, flustered in spite of herself. LOIS Look. Just why are you in the in first place? I mean, why are you here? There must be a reason. SUPERMAN I'm here to fight for truth justice, and the American way. LOIS You'll wind up fighting almost every elected official in this country. SUPERMAN I'm sure you do n't really mean that, Lois. LOIS Listen. With all these strange powers of yours. SUPERMAN -LRB- slightly hurt. -RRB- You find them. strange? LOIS Let's just say your average Joe ca n't deliver an airmail letter without putting a stamp on it. SUPERMAN I would n't do that. It's against the law. LOIS -LRB- to herself. -RRB- I do n't believe this. SUPERMAN I never lie. LOIS -LRB- blinks. -RRB- Ah. just how fast do you fly, by the way? SUPERMAN I do n't know really. I've never actually timed myself. Let's find together, okay? LOIS And just how would you propose we do that? SUPERMAN Take a ride with me. Now. -LRB- hopefully. -RRB- Would you like to? LOIS -LRB- unbelieving. -RRB- : A ride? You mean would I like to fly? SUPERMAN -LRB- modestly. -RRB- Well. I'll be handling the flying of course. LOIS This is utterly fantastic! If only Clark could see me now. SUPERMAN Clark? Is he your. boyfriend? LOIS Clark? Oh, he's sort of. nothing at all, really. Dull, mild - mannered, you know the type. SUPERMAN -LRB- a bit offended. -RRB- I'm sure he's actually very nice. LOIS heads quickly back inside. SUPERMAN Where are you going? LOIS To get a coat. Is n't it kind of cold up there? SUPERMAN You'll be warm enough. I'll wrap you in my cape. SUPERMAN crosses, smiles, covers her with his cape, his arm encircling her. He looks deeply into her eyes. LOIS looks back, trembling slightly, her hand inadvertently grazing his bicep. SUPERMAN Ready? LOIS Clark said you were only rigged with wires. Like Peter Pan. SUPERMAN Peter Pan flew with children, Lois. In a fairy tale. He tightens his grip, sweeps her off her feet. They shoot up into the night sky.\",\n \"EXT. SKY - NICHT SUPERMAN flies through the night sky holding LOIS, his swirling cape covering them. They look off as CAMERA PANS DOWN : the gleaming lights of Metropolis grow smaller in the distance. FLYING MONTAGE A series of. aerial POVS INTERCUT with flying reaction shots of SUPERMAN and LOIS as the circle the world, passing through different time zones. A. EXT.. PARIS - NIGHT The illuminated Place D'Etoile at night. B. EXT'. VATICAN - NIGHT The illuminated St. Peter's Square and Cathedral. C. EXT.. GIZA - EGYPT - DAY The sun rises behind the Great pyramids D. EXT.. AGRA - INDIA - DAY A day view of the Taj Mahal in Agra, India. E. EXT.. CHINA - DUSK The sun sets behind the Great Wall of China. F. EXT.. METROPOLIS -LRB- NEW YORK -RRB- - NIGHT The glittering lights of Metropolis loom up again. G. EXT.. SKY - ANGLE DOWN ON LOIS' TERRACE - NIGHT CAMERA ZOOMS DOWN on LOIS' terrace from the sky.\",\n \"EXT. LOIS' TERRACE - NIGHT SUPERMAN deposits LOIS Gently on the terrace once again. She is absolutely struck dumb with wonder, stares at him. SUPERMAN I figure it took about ninety seconds. How about you? LOIS Mmm? SUPERMAN Are you feeling all right? LOIS Mmm? Mmm. SUPERMAN Well, So long, then. SUPERMAN hops on the terrace ledge, shoots off into the night sky. CAMERA PUSHES IN on LOIS' face, almost drugged with contentment. LOIS I. wonderful. you. Suddenly - the doorbell rings from inside. Then, loud knocks on the apartment door. CLARK enters B. G., crosses quickly out onto the terrace, fussily angry. CLARK Lois, for goodness sake. Did n't you hear me knock? LOIS turns, smiles vapidly. LOIS Hi. CLARK looks at LOIS curiously, then spots the wine glass on the table, lifts it suspiciously. CLARK Lois, you're not. LOIS smiles, shakes her head. CLARK Well I should hope not. Let's push off then, okay? LOIS -LRB- secret smile. -RRB- Okay. CLARK You know something, Lois? I'll admit I was nervous at first, about but then, well, darn it - I decided I was going to show you the time of your life. LOIS -LRB- pause. -RRB- That's Clark, nice.\",\n \"INT. LUJTHOR'S LAIR - DAY CAMERA CLOSE on the front of a newspaper held by EVE who reads it intently, OTIS peering over her shoulder. The banner headline is clearly visible : I SPENT THE NIGHT WITH SUPERMAN - an exclusive interview by Lois Lane. CAMERA PANS to the desk. LUTHOR sits behind a massive pile of books, notations, calculators, etc.. He works feverishly with a slide rule, his face aglow with demonic inspiration. LUTHOR Now then. given the location of the galaxy he mentions. -LRB- more slide rule. -RRB- And its proximity to our own solar system. amazing. -LRB- eyes lighting up. -RRB- Too good to be true! EVE -LRB- reading. -RRB- You said it. six - four, blue eyes, does n't drink, tells the truth. LUTHOR suddenly slams the slide rule down on the desk in a rage. It breaks in two, part of it whizzing across the room. EVE looks up, terrified. LUTHOR manages a patient smile, rises. LUTHOR Some people can read War and Peace and come away thinking it was a simple adventure story. Others can read the ingredients on a chewing gum wrapper and unlock the secret of the universe. EVE -LRB- insulted. -RRB- I read the article, Lex. LUTHOR Exactly, Miss Teschmacher. LUTHOR crosses to the massive wall of books behind him, climbs a large rolling wooden ladder attached to the shelves. He turns to OTIS. LUTHOR Onward to the letter N. Otis. Let's roll! OTIS crosses to the ladder. OTIS Was that `` M,'' Mr. Luthor? LUTHOR As in `` moron''? No, Otis, N, as in nitwit, nincompoop, Neanderthal. OTIS begins to push the rolling ladder along the wall. LUTHOR -LRB- rolling. -RRB- Now then. According to that interview the planet Krypton blew up on May 23, 1948.'' The rocket carrying the revolting little freak took three years to reach Earth. Ergo? OTIS He is thirty years old? The staircase stops. LUTHOR looks down. LUTHOR Do you know why the number 200 is so vitally descriptive of both of' us, Otis? It represents your weight - and my I.Q. -LRB- turns. -RRB- Think, people, think! Deductive reasoning, that's the name of the game! LUTHOR turns dramatically, pulls out a specific periodical, starts to leaf through it. LUTHOR Since. fragments of Krypton must have been shot out into space by the explosion, it's reasonable to assume some of the debris would have landed here on Earth. EVE You mean meteorites? LUTHOR Jawohl. He finds the page he was looking for, his face lighting up. EVE and OTIS pick it up eagerly, look. LUTHOR Et. voila! LUTHOR lets the periodical sail down to the floor. EVE and OTIS pick it - up eagerly, looks. INSERT SHOT - PERIODICAL PHOTO The photo shows an ETHOPIAN FARMER holding a wedge - shaped green rock about a foot long and five inches high. The FARMER grins at the camera. The caption beneath reads : Meteorite Lands near Addis Ababa, Ethiopia, June, 1951. BACK TO SCENE EVE and OTIS stare at the picture, mystified. EVE I know I'm going to get rapped in the mouth for saying this, but - so what? LUTHOR So - what? You mean to us it's just a meteorite? Fair enough. LUTHOR But because of its high level of specific radioactivity - to someone from the planet Krypton - this substance would be lethal! OTIS You mean bullets and. fire ca n't hurt him, but this kind of rock LUTHOR Will kill him! LUTHOR steps off the ladder, beams proudly at EVE. LUTHOR At times like these you must experience a certain shudder of ecstasy just being in the same room with me. EVE Not like the kind of shudder you're going to feel when you try and lay that rock on him. He can spot you coming miles away with those super - peepers of his. LUTHOR stares up at the ceiling dramatically. LUTHOR Lord, you gave them eyes, but they see not! -LRB- QUICKLY. -RRB- And neither can Superman - through lead. Four doors, Miss Teschmacher, lead doors, and he had to rip them all down to find that poisoned pellet. This bilious bluebird has two Achilles' heels! EVE -LRB- dawning on her. -RRB- You mean lead can hide things from him. LUTHOR And the Kryptonite - will destroy him! -LRB- quick smile. -RRB- Any more Questions? EVE -LRB- thoughtful pause. -RRB- I wonder what they're wearing in Addis Ababa.\",\n \"EXT. SKY - DAY SUPERMAN flies easily over the ocean, scans the horizon for trouble. He looks down. ANGLE ON CONCORDE - SUPERMAN'S POV The super - sonic Concorde airliner streaks through the sky below and just ahead of him. CLOSER ON CONCORDE The PILOT is visible in the cockpit. He glances out the side, momentarily blinks in disbelief as SUPERMAN pulls up parallel to him. Suddenly realizing who it is, the PILOT grins, gives SUPERMAN a friendly salute which the Man of Steel returns. Then, accelerating, SUPERMAN passes the plane.\",\n \"EXT. SKY NEAR U.S. COASTLINE - DAY SUPERMAN nears the eastern coast of America, looks down, suddenly concerned. ANGLE ON OIL RIG - SUPERMAN'S POV An offshore oil rig, seen from the air. WORKERS scramble about quickly in all directions as a black oil spill begins to appear around the rig, spreading rapidly.\",\n \"EXT. OIL RIG - DAY The WORKERS run back and forth across the deck of the rig, looking over the side desperately. A loud alarm blares ominously. One WORKER yells up at another in the cab of the drilling rig. WORKER #1 Shut it down! Shut it down! WORKER #2 Too late! Pipe's jumped the bit! Ca n't control it! WORKER #3 -LRB- pointing off. -RRB- Hey, look! ANGLE ON SUPERMAN - THEIR POV A blue streak knifes into the water next to them. UNDERWATER SHOT - CLOSE ON SUPERMAN AND DRILLING PIPE SUPERMAN shoots through the water with the same ease as he does though the air. He reaches the disconnected drilling pipe, which dances wildly around the open bit to the drilling hole from which oil now spews forth. Grabbing the pipe, he straightens it, then forces it back into the bit hole, securing it. SUPERMAN checks his work, heads up quickly for the surface.\",\n \"EXT. SKY NEAR RIG - LOOKING DOWN SUPERMAN breaks the waterline, wheels in mid - air, blows hard across the surface with his super - breath. He forces the mass of heavy oil across the water and away from the rig, circling it as he goes, compressing it. Rising higher into the air, he trains his x - ray vision on the gooey oil clot. It turns white - hot, explodes, then completely disappears. A cheer is heard O.S. from the WORKERS on the rig. CLOSE ON SUPERMAN He is about to start off again, then notices something wrong near the base of the rig.\",\n \"EXT. BASE OF OIL RIG - DAY A sea eagle is perched forlornly on one of the lower cross - struts of the rig. Its feathers are heavily matted with oil. Its body trembles, unable to fly. SUPERMAN lands next to it, slowly reaches out, meticulously starts to clean the feathers by blowing warmth into his hands and melting the coated - on oil with them. The process completed, SUPERMAN takes the bird in his hands, tosses it gently upwards. The sea eagle takes off, heading higher into the sky.\",\n \"EXT. SKY - TOP OF CLOUD BANK - DAY The eagle bursts through a white cloud bank up once more into the clean blue air. After a short moment SUPERMAN does likewise, trailing the bird. For a few moments we are privileged to witness this real beauty and poetry of flying as the eagle and SUPERMAN chase each other through the air doing banks, loops, and dives, swooping closely together like two beautiful fighter planes in tight formation. The unspoken ceremony over, they silently acknowledge each other, then head off in different directions.\",\n \"EXT. COUNTRY ROAD - DAY A country landscape with a winding, undulating road. CAMERA PANS OFF a sign marked : DANFORTH MISSILE PROVING GROUNDS - 12 MILES to a rise in the road. Heading for it is a military convoy. Two jeeps of MP's are in front and one is behind - a huge bulldozer towing a flatbed truck bearing the enormous XK101 rocket. The large missile is covered by a thick, tied - down tarpaulin. The convoy rolls on, crossing the SCREEN from right to left.\",\n \"EXT. OTHER PART OF ROAD - DAY A sleek car speeds quickly down another part of the road, heading across the SCREEN from left to right.\",\n \"INT. SPEEDING CAR - DAY CAMERA LOOKS OUT the windshield of the speeding car from the rear. To our amazement there is no DRIVER in the vehicle - no one at all, in fact. The riderless car continues to roar down the road.\",\n \"EXT. BOTTOM RISE IN ROAD - DAY CAMERA CLOSE on an electronic guidance box being held by OTIS who tries to manipulate the speeding car, which is presently out of sight. A complicated tool belt is strapped around his waist. LUTHOR stands next to him, curiously dressed in an all - white outfit, looks at the box, alarmed at the signals it is giving off. LUTHOR Do you 1ive.1 n England, Otis? OTIS I don' t think so, Mr. Luthor. LUTHOR Then why are you driving on the left! LUTHOR snatches the box away angrily, adjusts it. ANGLE ON SPEEDING CAR The drone car shifts over to the right of the road. BACK TO LUTHOR - ANOTHER ANGLE LUTHOR waits expectantly. From this ANGLE we can see EVE in the trees behind him. She is dressed in a hopelessly slinky and revealing outfit, adjust her makeup in a had mirror. LUTHOR turns to OTIS. LUTHOR Now, Otis! Go! OTIS runs off through the brush and trees to the right. LUTHOR checks the box, looks over his shoulder at EVE. LUTHOR Ten second, Miss Teschmacher. EVE -LRB- from trees. -RRB- Did you ever try to run in high heels? -LRB- no reply. -RRB- You probably did. LUTHOR looks up as the drone car speeds at him around a corner. He presses a button on the box. CLOSE ON DRONE CAR The drone car suddenly flips all by itself, rolls over and over, bursting into flames.\",\n \"EXT. OTHER SIDE OF RISE - DAY The first jeep in the military convoy stops as the sound of the explosion echoes over the top of the rise. The alarmed OFFICER inside gestures the vehicle forward again. It reaches the top. The MP's look down. INSERT SHOT - COMPASS DIAL OTIS puts back his screwdriver, takes out a small wrench, starts to adjust various needles from one set position to another training a flashlight on his arm from time to time where a set of numbers is printed.\",\n \"EXT. BOTTOM OF RISE The MP's now surround the fallen EVE who is completely obscured from view. Only her legs stick out, twitching as a result of the over - attention being paid her. EVE'SVOICE Thanks a lot. fine now. Hey! What did You have for lunch, Ace! Suddenly - a siren is heard. An ambulance roars around the corner, screeches to a stop. LUTHOR jumps out, crosses, begins peeling the MP' s off EVE. MAJOR That was fast. Damnit. LUTHOR -LRB- outraged. -RRB- Fast? When a woman's life is at stake? EVE'S VOICE -LRB- mumbling - surly. -RRB- And that's about all I got left to lose, believe me.\",\n \"EXT. LOWER ROAD The ambulance with LUTHOR and EVE screams around a corner, turns off its siren, stops near the side of a hill. OTIS scrambles down through the brush, jumps into the back.\",\n \"INT. AMBULANCE - DAY LUTHOR drives, EVE next to him. OTIS leans in from the rear section, excited. OTIS I did it, Mr. Luthor! Just like you told me to! LUTHOR It's not that I do n't trust you, Otis. -LRB- thinks about it. -RRB- Yes, it is. Tell me what you did. OTIS roll up his sleeve, reads the numbers off his arm. OTIS I reset the first vector heading to 38, the second one to 67, and the third one to 117. LUTHOR -LRB- sm1ling - nods. -RRB- And the fourth one? OTIS What fourth one? LUTHOR -LRB- overlapping. -RRB- The third to 117? OTIS -LRB- holds out arm. -RRB- See? I wrote it down. LUTHOR stares at the arm, in total disbelief. LUTHOR The third one goes to 11, Otis. And the fourth one to 7. OTIS -LRB- sadly. -RRB- Gee. 1 guess my arm was n't long enough to make a big space. LUTHOR -LRB- rage mounting. -RRB- Would you like to see an arm long enough to make a big space, Otis? -LRB- screams. -RRB- Do you want to see an arm long enough to Make a big space?\",\n \"EXT. ROAD - HIGH SPOT LUTHOR'S legs stick out of the inner rear section of the ambulance where hi is pummeling OTIS as the ambulance careers back and forth wildly across the road. EVE frantically tries to control the vehicle from the passenger seat as it disappears around the bend.\",\n \"EXT. ANOTHER COUNTRY ROAD - DAY Another missile convoy identical to the first one heads down another country road. The same arrangement : two jeeps of MP's in front of the rocket, one in back.\",\n \"INT. TRUCK CAB - DAY CAMERA LOOKS THROUGH the front side window as LUTHOR and OTIS ride together in what seems to be the cab of a small truck. OTIS looks over apologetically at LUTHOR who drives, eyes forward. CAMERA PULLS BACK, PANS : the small cab vehicle is towing an entire house on a double - width flatbed truck. The huge structure takes up the full breadth of the narrow road.\",\n \"EXT. BRIDGE CORNER - DAY The missile convoy rounds the corner of a small hill, starts to proceed onto a two - lane bridge, suddenly stops, the rocket itself only halfway on. ANGLE ON HOUSE TRAILER - CONVOY'S POV LUTHOR drives the house trailer across the other side of the bridge, rolls to a stop, blocking the passageway completely. WIDE ANGLE - BRIDGE The house trailer faces the convoy. The two lead jeeps full of angry MP's drive forward.\",\n \"INT. TRUCK CAB - DAY The MP's pile out of their jeeps, approach the trailer cab, yelling. LUTHOR smiles thinly, Reaches down, Presses in the cigarette lighter on the dashboard. INSERT SHOT - REAR TRAILER TIRES Two of the rear tires on the trailer suddenly puncture. WIDE ANGLE The rear end of the house sags helplessly on the bridge.\",\n \"EXT. CORNER OF HILL BEFORE BR1DGE The one remaining jeep behind the missile has been screened by the corner of the hill. The Frustrated MP OFFICER waves the DRIVER forward to see what's happened. CAMERA PANS to hillside : EVE scrambles down wearing the same tool belt OTIS had on earlier, Heads for the tarpaulin - covered rocket.\",\n \"INT. PLANET CITY ROOM Several REPORTERS cluster around a portable TV on a desk in the corner. An ANNOUNCER'S VOICE can be heard. ANNOUNCER'S VOICE here at Danforth Proving Grounds for the launching of two XK1O1 rockets, the very latest weapon in our arsenal of defense. CMAERA PANS : CLARK enters, looks around, notices that LOIS' desk is empty, heads for the REPORTERS. ANNOUNCER'S VOICE. says. It is claimed that the XK101 can hit any target Completely undetected since it flies well below all radar systems yet designed. ONE REPORTER turns to CLARK. REPORTER Hey, Clark. Chief wants to see you. CLARK Thanks, Eddie CLARK crosses back to PERRY'S office. ANNOUNCER'S VOICE The ultra - modern, built - in sensory devices can detect any object in its path and automatic1y avoid it, either going over, under, or around.\",\n \"INT. PERRY'S OFFICE - DUSK CLARK knocks. PERRY looks up from behind a stack of news dispatches. PERRY Come in, Kent. CLARK Hi, Mr. White. -LRB- gestures. -RRB- Is Lois is around today? PERRY She's out west looking into a land fraud deal. I sent young Olsen with her on his first photo assignment. Some unidentified joker's been buying up thousands of acres of worthless desert at incredible prices. CLARK Hmm. Does n't seem to make sense. PERRY The world does n't make sense, Kent. You should know that by now. -LRB- tosses dispatch. -RRB- Look at this dispatch from Addis Ababa. People break into a museum in the dead of night - kill two guards - and what do they take? Some worthless hunk of meteorite. How do you figure it. CLARK I've never been able to understand violence in any form, Mr. White. PERRY -LRB- sadly. -RRB- I know that, Kent. That's part of the reason I wanted to see you. PERRY rises ponderously, hands in pockets, strolls pensively toward his half - opened window, looks out. PERRY I've been in the news business man and boy for forty years. I got where I am with guts, compassion, and elbow grease - but most of all with one thing you sadly lack, my boy - aggression. Take charge, Kent : Confidence, that's the ticket! Why, when was. As CLARK listens, PERRY'S VOICE seems to fade away, is replaced by a high - pitched whine like that given off by a high frequency transmitter. CLARK winces, hearing it, his hand rising involuntarily to his ear. PERRY drones on at the window, apparently oblivious to it.\",\n \"EXT. METROPOLIS ALLEY - DAY Several stray dogs rummage through turned - over garbage cans, suddenly stop as they hear The whine, begin to howl and bay excitedly. BACK TO PERRY'S OFFICE CLARK tries to focus his super - hearing on the sound as it weakens momentarily and PERRY' 5 VOICE fades back in again at the window. PERRY get Lois to introduce you to Superman. Start to hang out with the guy. Give me the man - to - man angle. More dog howling is heard from the streets through the partially opened window. CLOSE ON CLARK' S EAR PERRY' 5 VOICE and the dog howls fade away as CLARK'S super - hearing picks up the high - frequency message. LUTHOR'5 VOICE This is Lex Luthor. Only one thing alive with less than four legs can hear this frequency, Superman, and that's you. ANGLE ON CLARK CLARK listens, eyes widening as PERRY drones on silently out the window. LUTHOR'S VOICE In approximately five minutes a poisoned gas pellet containing a propane lithium compound will be released through thousands of air ducts in this city.\",\n \"INT. CITY ROOM CLARK slips out of PERRY'S office, quickly crosses the city room ` where the REPORTERS cluster around the TV. LUTHOR'S VOICE -LRB- happy chuckle. -RRB- Effectively annihilating half the population of Metropolis.\",\n \"EXT. SIDE OF DAILY PLANET - DAY Looking up from the street : CLARK jumps out a window high up on the Daily Planet building. As he falls, a gradual transformation to SUPERMAN takes place in blurred, overlapping stages. LUTHOR'S VOICE I know it all seems a bit much, but how else was I going to get to meet you, Superman? I knew you'd never accept an invitation to tea. SUPERMAN hits the street, the transformation having taken place. He stares up into the sky. ANGLE ON METRPOLIS SKYLINE - SUPERMAN' S POV Seen by SUPERMAN'S X - Ray vision : The pulsating, high frequency sound waves originating from somewhere behind the skyline. LUTHOR' S VOICE But a disaster - with people in danger - people who need help. BACK TO SUPERMAN SUPERMAN takes off in the direction of the sound waves, following them. LUTHOR'S VOICE I just knew you could n't resist the chance of sort of. pitch in. Know what I mean?\",\n \"EXT. OVER METROPOLIS - LOOKING DOWN - DAY SUPERMAN looks down at a crowded city street from mid - air. The sound waves seams to Emanate through a particular section of the sidewalk. LUTHOR'S VOICE There's a strong streak of good in you, Superman. But then, nobody's perfect. Almost nobody.\",\n \"EXT. METROPOLIS SIDEWALK - DAY SUPERMAN lands on the sidewalk. Happy PEDESTRIANS start forward with `` Hey, it's Superman,'' etc.. He waves them away. SUPERMAN Everybody back, please! Thank you. Arms folded, SUPERMAN suddenly begins to spin in place like a figure skater, around and around at a dizzying speed, boring a circular hole in the pavement as the startled PEDESTRIANS hold on to their hats.\",\n \"EXT. BELOW METROPOLIS STREET. - DAY A CUTAWAY SHOT showing SUPERMAN boring through the ground with his spinning motion, heading down through layers of rock, underground city cables etc.. LUTHOR'S VOICE Unfortunately I'm not in the book, but a bright boy like you should be ab1e to find the address.\",\n \"INT. TUNNEL - DAY The same tunnel we saw OTIS walk down in an earlier sequence. SUPERMAN bores through the ceiling, hits the floor directly opposite a high - powered radio transmitter. He looks down the length of the tunnel at the heavy metal door marked : DANGER - NO ENTY CONDEMEND. LUTHOR'S VOICE -LRB- now in tunnel. -RRB- See what I mean? And not a moment too soon.\",\n \"INT. LUTHOR' S VIEWING THEATER - DAY LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater inside the underground complex. A bank of large TV screens faces them. TWO of the screens show the two Danforth missile silos. A third has the image of SUPERMAN staring directly INTO CAMERA from the tunnel. LUTHOR sips a tall drink, smugly adjusts several knobs on a large console next to him. EVE chews gum, stares curiously at SUPERMAN. OTIS munches on a large candy bar, excited. LUTHOR Look at that overgrown Boy Scout, Miss Teschmacher. Tell me what you see. EVE -LRB- chewing. -RRB- Cuteness. Dimples. LUTHOR'S eyes flash. EVE smiles nervously. LUTHOR You like dimples? I'll give him dimples LUTHOR reaches for a button on the console.\",\n \"INT. TUNNEL - DAY SUPERMAN starts down the tunnel for the door. Suddenly panels open on both sides filled with machine gun barrels. They open fire simultaneously in a withering, deafening barrage. SUPERMAN walks forward calmly as thousands of bullets ricochet off' him.\",\n \"EXT. DANFORTH MISSILLE BASE - DAY The great steel lids of' the two missile silos slowly begin to open.\",\n \"INT. TUNNEL - DAY SUPERMAN continues. The walls and ceiling of the tunnel suddenly come alive with flaming gas jets. The tunnel becomes a blinding inferno, as SUPERMAN proceeds serenely through the holocaust.\",\n \"EXT. DANFORTH MISSILE SILOS - DAY The launching rockets start to activate. Fire and exhaust surround the bottom of the missile.\",\n \"INT. TUNNEL - DAY SUPERMAN continues, then disappears from view into the middle of an incredibly thick blizzard. A large cone of ice is instantly formed. The blizzard stops. Suddenly a thin crack appears, running down the center. SUPERMAN steps out, rubs his hands together briskly, approaches the door.\",\n \"INT. LUTHOR'S LAIR - DAY LUTHOR sits behind his desk, a model of smug composure, calmly reading the newspaper with the headlines and picture announcing the dual missile test. A large, blank screen has been lowered on one wall next to him. In front of the screen, a black lead trunk forms the base or something which has been converted into a bench, covered with cushions. Some distance away, OTIS finishes setting up a slide projector. EVE watches nervously from the open entrance to the viewing theater. The heavy metal main door to the complex suddenly starts to tremble under SUPERMAN'S strength. LUTHOR looks up from his paper, calls out. LUTHOR It's open. SUPERMAN bashes the thick metal door to the ground like a stick of balsa wood, enters. LUTHOR winces, then rises pleasantly. LUTHOR Come in, Superman. My attorney will be in touch about the door. Otis, do n't just stand there, take the man's cape. OTIS starts forward with a tentative half - smile, is suddenly rooted to the spot by SUPERMAN'S stare. OTIS I. do n't think he wants me to, Mr. Luthor. SUPERMAN All right, Luthor, where's the gas pellet? LUTHOR -LRB- smiles. -RRB- Somewhere. in the back of my mind, actually. It's just a fun little project I've been toying with. SUPERMAN Is that how a warped brain like yours gets its kicks? By planning the death of innocent people? LUTHOR -LRB- quick smile. -RRB- No. By causing the death of innocent people.\",\n \"EXT. DANFORTH MISSILE BASE - DAY The two XK101 rockets are launched simultaneously with a rush of flames and a mighty roar.\",\n \"EXT. SKY - DAY - CLOSE ON MISSILE The two missiles quickly rise to less than a hundred feet, then suddenly stop, split, head off in different, skimming rapidly over the ground.\",\n \"EXT. MISSILE CONTROL CENTER - DAY TWO MISSILE CONTROLERS sit in front of the complex bank of TV screens, computers, and control panels. Red lights flash everywhere. Alarms ring out. MIS5ILE CONTROLLER #1 Jesus Christ, they've gone berserk! CONTROLER #2 -LRB- madly flipping switches. -RRB- I ca n't control them! Red Alert! Red Alert! Get the Pentagon!\",\n \"INT. PENTAGON OFFICE - DAY The CHAIRMAN OF THE JOINT CHIEFS OF STAFF sits behind his desk on the phone, red - faced, astonished, wild. CJCS That's impossible! It ca n't happen, damnit! It. He grabs his red phone, picks it up. CJCS Get me the President!\",\n \"EXT. COLF COURSE - DAY A group or suit - clad SECRET SERVICE AGENTS stand around a golf' - cart near a bunker trap. A red phone inside the cart rings wildly. An AGENT picks it up, listens, thunderstruck, turns. Mr. President! Mr. President! A chunk of turf goes flying up over the top of the bunker from B.G. PRESIDENT'S VOICE Goddamnit! What now!\",\n \"EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #1 The first stage of a lightning fast trip across American from the POV of the rockets at an altitude of less than twenty feet. The images whiz by like magic. ROCKET # 1 heads eastward, passing over the yellow wheat fields of Kansas.\",\n \"EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2 Employing the same photographic process, ROCKET # 2 heads westward, passing barns and cattle ranches.\",\n \"INT. LUTHOR' S LAIR - DAY SUPEPMAN has tolerantly taken a seat on the cushioned bench of lead. LUTHOR holds a professor's pointer in his hands, approaches the rolled - down blank screen. OTIS mans the slide projector. LUTHOR stops, turns dramatically to SUPERMAN. LUTHOR You see, Superman. -LRB- passionately. -RRB- I had a dream! SUPERMAN In your case it must have been a nightmare, Luthor. Get on with it! LUTHOR Right. Well. as you mayor may not know, Superman, I am, as they say, very heavy into real estate. In order to make money in that game you have to buy in for a little and sell for a lot. Right? Right. So. Problem : how to make that property valuable between the time you buy and the time you sell. Now then. LUTHOR snaps his fingers. OTIS flips on the slide projector. A brightly illuminated map hits the rolled - down screen. LUTHOR starts to speak, then looks at it curiously. LUTHOR Otis. This is France. OTIS Sorry, Mr. Luthor. OTIS flips up another slide. This time it is recognizable as the western half of America. LUTHOR points. LUTHOR And this - is California. The richest, most populace state in America. SUPERMAN I do n't need a geography lesson from you, Luthor. LUTHOR Sorry. You do get around, do n't you. -LRB- turns back. -RRB- Now then. Where was I? Ah, yes. CLOSER ON MAP CAMERA CLOSES on map. LUTHOR begins tracking the San Andreas Fault with the pointer. LUTHOR At the San Andreas Fault. Maybe you've heard of 1t. SUPERMAN Sure. It's the joining together of two land masses. The. fault line is unstable and shifting which is why you get earthquakes in California from time to time. LUTHOR Could n't have said it better myself. -LRB- back to map. -RRB- Now all this. -LRB- indicates. -RRB-. west of' the Fault is the most expensive real estate in the world. Los Angeles. San Diego. San Francisco. And on the other side. -LRB- indicates. -RRB- is just hundreds of miles of cheap desert land. Land that happens to be owned by Lex Luthor Enterprises. Well. -LRB- wistful smile. -RRB- call me a fool, but it did occur to me that if a 500 megaton bomb were to explode at exactly the proper stress point. SUPERMAN -LRB- horrified. -RRB- Most of California would be destroyed! Millions of people would be killed! The West Coast as we know it would. LUTHOR drop into the Sea! Bye - bye California! Hello new West Coast! My. West Coast. SUPERMAN You are a dreamer, Luthor. A sick - Twisted dreamer. It could n't possibly work. LUTHOR Oh, I'll admit there were problems. Adjusting the missile trajectory, finding the precise point of optimum stress on the Fault. LUTHOR smiles broadly, snaps his finger. CLOSE ON SCREEN A new, close section of the map is suddenly magnified hundreds of times. It is recognizable as desert land. Literally dozens or superimposed grid lines converge on a single point in the middle of the desolate wasteland. LUTHOR'S pointer rises to it. LUTHOR'S VOICE -LRB- tone chancing. -RRB- Which is. right here, by the way. -LRB- touches it. -RRB-. Target Zero. CAMERA PUSHES IN on the map, then DISSOLVES THROUGH to the actual piece of land.\",\n \"EXT. DESERT NAD ROAD - DAY A car speeds quickly down the dusty desert road.\",\n \"INT. LOIS' CAR - DAY LOIS drives the car, looks out across the bleak landscape. Sitting in the passengers seat : AN ELDERLY AMERICAN INDIAN CHIEF with classic features, nicely dressed. A tape recorder lies between them as LOIS is doing an interview. CHIEF no oil, no uranium, no coal, no precious minerals. hell, no water anymore. -LRB- gestures. -RRB- Not since the government dammed it all up. CONTIUNED LOIS My associate, Mr. Olsen, is taking pictures of that Dam right now, Chief. -LRB- pause. -RRB- But why sell out to some faceless person you've never met? You don'' even know his name. CHIEF At the stupid high price he offered for this worthless piece of desert. -LRB- smile. -RRB- I only hope it's Custer.\",\n \"EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET # ROCKET # 1 now whizzes by over the green fields of Ohio and Indiana, heading east.\",\n \"EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2 ROCKET # 2 speeds quickly across the painted desert of Arizona, heading for the Grand Canyon.\",\n \"EXT. DESERT - DAY - AERIAL VIEW The car with LOIS and the Chief disappears across the arid land as CAMERA HOLDS, DISSOLVES BACK THROUGH to the map on the screen in LUTHOR'S lair.\",\n \"INT. LUTHOR'S LAIR - DAY The screen becomes blank again. LUTHOR turns. LUTHOR Check the viewing room, Otis. -LRB- turns back. -RRB- Well, Superman? What do you think? Interesting? SUPERMAN Your theory's quite impressive, Luthor. But as for the rest - it's nothing but a sick fantasy. LUTHOR -LRB- thin smile. -RRB- Fantasy? -LRB- exploding. -RRB- History! It's happened, Superman! SUPERMAN rises quickly, eyes widening, as LUTHOR wheels maniacally to EVE standing in the doorway to the viewing room. LUTHOR Where's that rocket now? EVE -LRB- glances back. -RRB- Passing the Grand Canyon, Lex. Going like a bat. So's the other one. SUPERMAN -LRB- in disbelief. -RRB- The other one! There's two of them? LUTHOR That's right, Superman. Double jeopardy! And even you ca n't fly fast enough to stop both of them! -LRB- sly grin. -RRB- While I, on the other hand would merely have to press my detonating device and. SUPEMAN leaps at LUTHOR, grabs him by the neck. SUPERMAN Where is it, Luthor! Where's that detonator? SUPERMAN scans the room with his X - Ray vision, suddenly stops as he sees the lead Trunk he's been sitting on. SUPERMAN You diseased maniac! Did you really think you could hide it from me by encasing it in lead? SUPERMAN drops LUTHOR in a pile on the floor. He crosses quickly to the trunk, tosses the cushions aside. SUPERMAN -LRB- ripping it open. -RRB- I'll mold this box into your prison bars, you. SUPERMAN stops suddenly, recoils, stunned, a dim green light ref1ecting of his face. INSERT SHOT - KRYPTONITE The green Kryptonite rock glows inside the box. It is linked on both sides by a chain. BACK TO SCENE SUPERMAN is instantly immobilized, his strength waning, his knees getting wobbly. SUPERMAN That rock. I can - t. my strength. LUTHOR advances, bursting with glee. LUTHOR It's Kryptonite Superman! A little souvenir from your home town! You see I've spared no expense in making you feel right at home here! LUTHOR pulls the rock out of the box by the chain, dangles it in front of him. SUPERMAN desperately tries to raise his arm to shield himself from the rays. SUPERMAN Away. please. take it. LUTHOR loops the chain around SUPERMAN'S neck, pulls the staggering, helpless Man of Steel after him like a dog on a leash. LUTHOR You were great in your day, Superman. But When the time came to cash in your chips, Lex Luthor was just naturally your banker! Mind. LUTHOR stops, puts his two 1itte fingers on each of SUPERMAN'S shoulders, pushes him down to his knees. LUTHOR over muscle. LUTHOR checks his watch, looks down at the pitiful hulk below him, the life ebbing from SUPERMAN. LUTHOR I'm afraid I have to leave you now. Nothing personal, you understand. We all have our faults. It's just that mine is in Ca1ifornia. LUTHOR turns toward the viewing theater. SUPERMAN looks up at him, gasping for breath. SUPERMAN You do n't. even care. where the other missile. is headed, do you. LUTHOR On the contrary. I figured it out instantly. Hackensack, New Jersey. LUTHOR kicks out contemptuously with his foot, pushes SUPERMAN over the crumbled railing bordering the office portion of his complex. ANGLE FROM POOL SUPERMAN'S lifeless body splashes helplessly down into the pool below. BACK T0 SCENE LUTHOR crosses to the viewing theater where EVE stands at the entrance, stunned. LUTHOR -LRB- entering. -RRB- Hurry, Miss Teschmacher. EVE -LRB- stopping him. -RRB- But Lex. LUTHOR -LRB- impatient. -RRB- What? EVE My. mother lives in Hackensack. LUTHOR -LRB- pause. -RRB- Your mother used to live in Hackensack. LUTHOR enters the viewing theater. EVE stands at the doorway, glances at the pool, unsure. LUTHOR'S hand suddenly appears, yanks her back inside.\",\n \"EXT. SKY LOOKING DOWN - DAY CLOSE ON ROCKET ROCKET # 1 whizzes eastward. Larger, more populous communities loom up ahead. INDIAN COMMUNITY - DAY LOIS has dropped off the CHIEF' by a cluster of' makeshift houses where other lNDIANS can be seen loading their belongings onto pickup trucks, etc.. LOIS waves goodbye, drives off.\",\n \"EXT. SKY LOOKIN DOWN - DUSK - CLOSE ON ROCKET #2 ROCKET # 2 speeds across desert land matching the kind where we just saw LOIS.\",\n \"EXT. TOP OF DAM - DUSK JIMMY OLSEN walks along the top of the giant dam, taking pictures of the surrounding towns and areas in the distance as well as the dam itself.\",\n \"INT. LUTHOR'S VIEWING THEATER - DUSK - CLOSE ON EVE CAMERA CLOSE on two TV screens monitoring the progress of both rockets NOW PULLS BACK : OTIS mans the console as LUTHOR'S face twitches nervously in the exc1ted anticipation, glued ` to the screen. Curiously enough, EVE is missing.\",\n \"INT. LUTHOR'S COMPLEX ABOVE POOL - DUSK EVE walks quiet1y to the top of the crumbled railing, looks down, deeply troubled. ANGLE ON SUPERMAN IN POOL - EVE'S POV SUPERMAN is dying, barely able to keep afloat. He makes one final, feeble gesture at trying to unhook the chain from his neck, then looks up, spots EVE. WIDER ANGLE - BOTH OF THEM SUPERMAN -LRB- gasping. -RRB- Miss. Teschmacher. please. you ca n't. stand by. and let millions of people. innocent people. die. EVE -LRB- hating herself. -RRB- Maybe. -LRB- pause. -RRB- If it was n't for. my mother. SUPERMAN -LRB- desperate. -RRB- Please. help me to save them. Please. EVE -LRB- wary. -RRB- If I help you. Will you save my mother first? SUPERMAN But Lois. and Jimmy. are. EVE My mother comes first, promise me. I know you would n't break a promise. SUPERMAN -LRB- he has no choice. -RRB- Pro. promise. EVE looks around, quickly makes up her mind, dives off the crumbling railing into the pool. ANGLE ON POOL EVE swims over to SUPERMAN who is just about to go under. She reaches out to unhook he chain from his neck, grabs hold of it, suddenly stops, looks deeply into SUPERMAN'S eyes. SUPERMAN What. EVE suddenly kisses him hard, breaks, then unhooks the chain. The Kryptonite sinks to the bottom of the pool. SUPERMAN actually seems to enlarge in the water, all his super - strength returning in a rush. He looks at EVE curiously, his power recharging itself. SUPERMAN Why did you kiss me first? EVE Cause you would n't have let me later. SUPERMAN -LRB- now at full strength. -RRB- Thank you, Miss Teschmacher. EVE You too. -LRB- almost misty eyed. -RRB- I. just ca n't get it on for the good guys, you know? SUPERMAN roars up out of ` the pool, heading for the roof of, the complex like a supersonic blue dart. METROPLIS STREET - DAY SUPERMAN bursts through the pavement on a busy midtown street, streaks up into the sky at top speed. SKY - DAY SUPERMAN flies for speed, straining himself to reach the maximum. He looks off and down. ANGLE ON MISSILE - SUPERMAN'S POV Far below - the missile. In the distance looms the city of Hackensack. BACK TO SUPERMAN He dives for the missile.\",\n \"EXT. SKY - ANOTHER ANGLE SUPERMAN plants himself firmly in mid - air directly in the path of the oncoming missile, braces himself to grab it. As the missile flies straight at him, it suddenly changes course. SUPERMAN lunges for it but it veers off out of reach, then whizzes away into the distance. SUPERMAN flies off after the rocket, a look of grim determination on his face.\",\n \"EXT. HACKENSACK - DAY - AERIAL VIEW The missile zooms on toward Hackensack.\",\n \"EXT. SKY - ANOTHER ANGLE SUPERMAN catches up, now comes at the missile from the side. But the sensory device picks him up again - the missile dodges out of range, leaving him behind. CLOSE ON MISSILE The missile speeds on. SUPERMAN comes back into frame, catching up. He grabs it from Behind, gripping it tightly. With a mighty effort, he wrenches the rocket off its course. Steering it from behind he accelerates quickly, flying straight up into sky.\",\n \"EXT. STRATOSPHERE SUPERMAN climbs higher and higher over the United States, gaining speed, suddenly flings the missile up into space like a javelin. It whistles off into the blackness as SUPERMAN wheels in mid - air, looks back down at the United States, freezes in horror. ANGLE ON WESTERN U.S.A. - SUPERMAN'S POV ROCKET # 2 hits the San Andreas Fault and explodes! A white - hot mushroom cloud starts to form. BACK TO SUPERMAN SUPERMAN streaks back down to Earth.\",\n \"EXT. SKY - MUSHROOM CLOUD SUPERMAN circles the mushroom cloud at top speed, going faster and faster, not only stopping its expansion but actually compressing it. He then dives straight into the center of the holocaust.\",\n \"INT/EXT. MUSHROOM CLOUD SUPERMAN swoops to the base of the cloud, blows up with his super - breath. ANGLE ON MUSHROOM CLOUD The entire cloud with its fallout and pollution is blown high up into the stratosphere, away from Earth. CLOSE ON SUPERMAN SUPERMAN stops in mid - air, looks, listens. A loud rumble begins, gathering in intensity. The earthquake has arrived.\",\n \"EXT. CALIFORNIA COAST - DAY The land shakes on the Pacific Coast. Huge chunks of cliff begin to fall into the sea. ANGLE ON LANDSCAPE - SUPERMAN'S POV Great yawning cracks rip open across the land in all directions. ANGLE ON SUPERMAN SUPERMAN quickly dives down ; disappears into a crack in the earth. ANGLE - UNDERGROUND EARTH SUPERMAN bores through the underground, desperately trying to repair the crack. He pushes plates of land back together, dams up a flow of onrushing lava, redirecting it, suddenly looks off and up through the earth with his X - Ray vision.\",\n \"EXT. TRAIN TRACKS AND TRAIN - DAY A long, sleek passenger train hurtles down the tracks, shuddering under the impact of the earthquake. INSERT SHOT - TRAIN TRACKS A crack in the earth shoots across the tracks ahead, splitting the rail ties. BACK TO TRAIN The train rushes on, unable too stop BACK TO CRACK SUPERMAN suddenly appears in the crack, coming up from underneath, now physically spans it with his body. WIDER ANGLE The long train rolls over SUPERMAN, continues on safely down the tracks.\",\n \"EXT. HIGHWAY AND POWER CABLES - DAY A complex of enormous electric power cables stretches across a highway jammed with shaking automobiles and panicked MOTORISTS. Suddenly - one cable snaps : showers of sparks fly high into the air as the live cables drop down toward the metal cars below. CLOSER ANGLE SUPERMAN swoops down, grabs a cable end in either hand. For a moment he almost resembles a bright blue light bulb as the powerful current runs through him. Pressing the cables together with his super - strength he literally solders them, then once more safely strings them tight across the highway.\",\n \"EXT. HOLLYWOOD - DAY The famous Hollywood Sign perched on the hill in Los Angeles trembles, then cracks apart in the center. It starts to fall. ANGLE ON GIRL SCOUT TROOP SUPERMAN lands in the middle of the broken sign, pulls on the two halves with either hand, pushing it back together to spell HOLLYWOOD again, solid once more.\",\n \"EXT. SAN FRANCISCO - GOLDEN GATE BRIDGE - DAY The famous Golden Gate Bridge sways precariously, then sags, starts to break in the center. CLOSE ON BRIDGE Several cars and a school bus begin to topple off, their OCCUPANTS frozen, screaming in terror. WIDER ANGLE ON BRIDGE SUPERMAN flies under the bridge, pushes up, saving the vehicles and straightening the bridge. CLOSE ON SUPERMAN AND BRI DGE SUPERMAN holds the bridge up, quickly welds the cracks shut again using his X - Ray vision.\",\n \"EXT. DESERT - DAY - CLOSE ON LOIS\\\\ LOIS speeds across the desert in her car which shakes from the impact of the quake.\",\n \"EXT. SKY CLOSE ON SUPERMAN SUPERMAN, flying at top speed, looks down, spots LOIS. A crack in the earth erupts behind the car, almost seems to chase it, overtaking the car from behind. CLOSER ANGLE LOIS' car topples into the crack in the earth, falling down some fifteen feet. CLOSE ON LOIS LOIS is pinned inside her car by the double walls of earth. The crack now starts to close again, squashing the vehicle as the metal groans and LOIS screams. ANGLE FROM BELOW SUPERMAN shoots up from the earth below, pushes the car up and out, lifts it into the air. He looks down. ANGLE ON CRACK - SUPERMAN' S POV The crack slams shut with a sickening sound.\",\n \"EXT. MOUNTAIN TOP SUPERMAN deposits the squashed car with LOIS inside on a mountain top, rips the door off, helps her out. SUPERMAN Sorry about the car. LOIS Forget it, it's a Hertz.\",\n \"EXT. DAM - DAY JIMMY holds on to the top railing of the huge dam which shakes and strains under the force of the quake. He bravely tries to take pictures with his camera which dangles from his neck, suddenly hears something, looks down in horror. ANGLE ON DAM - JIMMY'S POV The dam begins to crack - little cracks at first, then growing larger and more numerous. WIDER ANGLE SUPERMAN suddenly appears - a tiny blue dot as compared to the size of the mighty dam. He pushes back against it. CLOSE ON SUPERMAN The cracks start to run in all directions, now grow wider. It's hopeless. SUPERMAN looks up in desperation as JIMMY yells down at him. JIMMY Superman! I'm up here, Superman! I'm. CLOSE ON JlMMY Before Jimmy can finish his sentence he is scooped up into air by SUPERMAN. ANGLE IN MID - AIR SUPERMAN wheels in mid - air holding JIMMY, looks down at the dam, then back at JIMMY again. SUPERMAN Want a picture on page one of every newspaper in the world? JIMMY -LRB- grinning. -RRB- You know it. SUPERMAN Ready? -LRB- looking down. -RRB- Now! ANGLE DOWN ON DAM - THEIR POV The enormous dam suddenly bursts. Huge jets of water spit through the crumbling structure on all sides.\",\n \"EXT. MOUNTAIN TOP FLASH CUT : LOIS stands by her squashed car on the mountain top. A blur seems to cross the SCREEN, then instantaneously leave. JIMMY is standing next to her.\",\n \"EXT. DAM The structure collapses. A gigantic wall of water cascades down toward the valley town below.\",\n \"EXT. VALLEY TOWN STREET - DAY Screaming, panicked citizens react in terror as the raging torrent heads down directly at them. ANGLE LOOKING DOWN FROM SKY SUPERMAN dives to earth, carves a wide new river bed like a human bulldozer, channeling the water so it bypasses the town. The current rushes off down its new course into the desert lands beyond.\",\n \"EXT. INDIAN VILLAGE - DAY The assembled INDIANS watch, thunderstruck, as the new river bed is carved through their land, irrigating it. They cheer wildly. SUPERMAN waves happily back at them, then flies off.\",\n \"EXT. MOUNTAIN TOP - DAY SUPERMAN lands on the mountain top, joining LOIS and JIMMY. The rumbling has stopped. JIMMY notices. JIMMY It's over! You did it, Superman! SUPERMAN smiles modestly, turns to LOIS. SUPERMAN Sorry I left you waiting all the way up here, Lois, but I was kind of busy down there for a while. LOIS -LRB- totally in love. -RRB- Oh, I understand. -LRB- beaming. -RRB- Your work comes first. SUPERMAN -LRB- nodding grimly. -RRB- And there's one last piece of unfinished business left. -LRB- to JIMMY. -RRB- Take care of her, Jimmy. I'll be back in a minute. SUPERMAN zooms off into the air. LOIS watches him go, a hopefully wistful smile on her face. JIMMY Boy. Superman sure seems to care about you, Miss Lane. LOIS Superman cares about everyone, Jimmy. -LRB- a new thought - eyes narrowing. -RRB- But who knows?. Maybe one day. -LRB- cocky smile. -RRB- If he's lucky.\",\n \"EXT.PRISON YARD - DAY The recreation yard of a large prison. CONVICTS mill about under the supervision of watch towers. Off to one side of the yard the WARDEN confers with two of his GUARDS. CLOSE ON WARDEN AND GUARDS The WARDEN looks up in astonishment as SUPERMAN whizzes down through the air holding LUTHOR and OTIS with either arm, lands directly in front of them. SUPERMAN Hello, Warden. I think these men should be safe here with you until they can get a fair trial. WARDEN Thanks, Superman. -LRB- sternly - to GUARDS. -RRB- Take'em away, boys. LUTHOR and OTIS are led away. The WARDEN turns admiringly to SUPERMAN. WARDEN This country is safe again, Superman - thanks to you. SUPERMAN -LRB- and he means it. -RRB- And you, Warden. And the fireman, the doctor, the teacher, the clergyman - the cop on the beat. -LRB- nice smile. -RRB- We're all on the same team. SUPERMAN flies higher into the NIGHT sky.\",\n \"EXT. SKY - NIGHT to DAY As SUPERMAN flies higher into the atmosphere we SEE the other side of the EARTH as he FLIES into DAYLIGHT.\",\n \"EXT. SKY - DAY SUPERMAN flies majestically through the sky, gaining altitude. He's done his job well. OR HAS HE? CAMERA PANS OFF HIM, ZOOMS UP INTO SPACE.\",\n \"EXT. SPACE ROCKET # 1 which SUPERMAN hurled upward from earth continues traveling through space, unchecked by gravitational pull. It speeds through other solar systems, gradually approaching something which - to our horror - we recognize from earlier : The Phantom Zone containing the THREE GREAT VILLAINS : ZOD, URSA, and NON CLOSE 0N ROCKET The ROCKET nears the Phantom Zone, then suddenly explodes. The massive shock waves ripple furiously through space. CLOSE ON PHANTOM ZONE The intense waves caused by the nuclear explosion collide with the Phantom Zone. It cracks releasing the VILLAINS. They rush to the opened section and their unexpected freedom. NON lets out the horrible roar or an animal suddenly uncaged. ZOD Free! URSA Free! Their grotesque faces fill the SCREEN with howls of glee as they drift off into space. SELECTED SCENES FROM SUPERMAN II Selected film clips from SUPERMAN II with the exact content to be determined, but certainly establishing : A. LOIS and SUPERMAN making love. B. JOR - EL physically appearing before SUPERMAN to give him new life. C. CLARK KENT being beaten up and bloodied. D. ZOD, URSA and, NON destroying and conquering the world. INSERT SHOT - COMIC BOOK The tiny CHILD'S hand seen in the opening shot of the film comes back into frame, quietly turns over the final page of the SUPERMAN comic book. On the back cover is the enticing message DO N'T MISS THE FURTHER ADVENTURES OF SUPERMAN! COMING SOON! THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,1,0,0,1,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,1,1,0,1,1,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,1,1,0,0,0,0,0,1,1,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"On the planet Krypton, Jor-El of the ruling High Council and scientist discovers Krypton will soon be destroyed when its red supergiant sun goes supernova. Despite his insistence, he fails to convince the other Council members and everyone in the planet to evacuate. To save his infant son, Kal-El, Jor-El plans to launch him in a spaceship to Earth, a planet with a suitable atmosphere where his dense molecular structure will give him superhuman strength and other powers. Shortly after the launch, Krypton's sun explodes, destroying the planet. The ship crash-lands on Earth near Smallville, Kansas. Kal-El, who is now three years old, is found by Jonathan and Martha Kent, who are astonished when he lifts their truck. Taking him back to their farm, they decide to raise him as their own, naming him Clark after Martha's maiden name. At 18, soon after Jonathan's death from a heart attack, Clark hears a psychic \"call\" and discovers a glowing green crystal in the remains of his spacecraft. It compels him to travel to the Arctic where it builds the Fortress of Solitude, resembling the architecture of Krypton. Inside, a hologram of Jor-El explains Clark's true origins, and after twelve further years of educating him on his reason for being sent to Earth and his powers, he leaves the Fortress wearing a blue and red suit with a red cape and the House of El family crest emblazoned on his chest and becomes a reporter at the Daily Planet in Metropolis. He meets and develops a romantic attraction to coworker Lois Lane. Lois becomes involved in a helicopter accident where conventional means of rescue are impossible. Clark uses his powers in public for the first time to save her, to the astonishment of the crowd gathered below. He then goes on to thwart a jewel thief attempting to scale a building, captures robbers fleeing police by depositing their boat outside a police station, and rescuing a girl's cat from a tree. He also saves Air Force One after a lightning strike destroys the port outboard engine, making the \"caped wonder\" an instant celebrity. Clark visits Lois at her penthouse apartment the next night and takes her for a flight over the East Coast of the United States, allowing her to interview him for an article in which she names him \"Superman\". Meanwhile, criminal genius Lex Luthor learns of a joint U.S. Army and U.S. Navy nuclear missile test. He then buys hundreds of acres of worthless desert land and reprograms one of the two 500 megaton missiles to detonate in the San Andreas Fault. The second missile was also supposed to hit the same target; but Otis mistakenly entered \"117\" in the program. This caused the second missile to go in the opposite direction, toward Hackensack, New Jersey. Knowing Superman could stop his plan, Lex deduces that a meteorite found in Addis Ababa is actually part of Krypton and is radioactive to Superman. After he and his accomplices Otis and Eve Teschmacher retrieve a piece of it, Luthor lures Superman to his underground lair and reveals his plan to cause everything west of the San Andreas Fault to sink into the Pacific Ocean, leaving Luthor's desert land as the new West Coast. Luthor then exposes him to the meteor piece's mineral, Kryptonite, that weakens Superman greatly. The programming error, committed earlier by Otis, turned out to be serendipitous for Luthor: \"Not even you, with your great speed, could stop both of them!\" Teschmacher is horrified, because her mother lives in Hackensack, New Jersey. Luthor does not care and leaves Superman to die a slow death. Knowing his reputation for keeping his word, Teschmacher promises Superman she will help him on the condition he will stop the eastbound missile first; Superman reluctantly agrees. After being freed, Superman diverts the eastbound missile into outer space, consequently preventing him from reaching the westbound missile before it explodes in the San Andreas Fault. Massive earthquakes erupt across California, damaging the Golden Gate Bridge and causing the Hollywood Sign to collapse and the Hoover Dam to breach, endangering lives. Superman mitigates the effects of the explosion by sealing the fault line, preventing Luthor's plan from reaching fruition. While Superman is busy saving others, Lois's car falls into a crevice from one of the aftershocks, trapping her as it fills with dirt and debris. Superman is unable to reach her in time, and she suffocates. Angered at being powerless to save her, Superman defies Jor-El's earlier warning not to manipulate human history, preferring to heed Jonathan's advice that he must be here for \"a reason\". He accelerates around Earth, traveling several minutes backward in time, to prevent Lois' death, while also reversing the damage caused by the missile and earthquake. After saving the West Coast, he brings Luthor and Otis to prison, and flies into the sunrise for further adventures."},"name":{"kind":"string","value":"Superman_(1978_film)"}}},{"rowIdx":155,"cells":{"scenes":{"kind":"list like","value":["Suspect Zero on a BLACK WAVE - vast, oceanic, and coming right at us. BEGIN TITLES. The wave is relentless, huge, menacing. We ca n't tell if this is daytime or night because it simply obscures everything - noisily. It sucks, it yawns, it roars. Then we realize. this massive wave of darkness is actually just a RUN - OFF of dirty black WATER alongside the edge of an Interstate. We PULL OUT OF IT now. to find concrete, and garbage, and weeds. END TITLES.","EXT. DITCH - OFF THE INTERSTATE - 4:30 A.M. Amongst the refuse is a discarded MILK CARTON, resting on its back. The carton asks `` Have You Seen Me?'' above a photographed face that's been obscured by grime. Yellowing newspaper, old Coke cans, Twinkie wrappers. in that bed of untended weeds. A hollow Texas wind blows through it all. We stay with the carton. Then that hollow wind gains speed. and a deep RUMBLE grows in the distance, becoming a ROAR. The yellowed newspaper lifts off and whips past us. as an 18 - WHEEL MACK TRUCK blows by, just a blur in the corner of our frame, doing 75 in the pre - dawn darkness. Then, the truck is gone, and the rush of air dissipates. The milk carton, the coke cans. they lie undisturbed. A LIGHT RAIN begins to fall. and some of the grime washes away from that milk carton, revealing a face. A child. `` Have You Seen Me?'' It's heartbreaking. TILT UP. to take in the vast flatness of Texas' I - 35 : concrete forever. In the distance, gray highway yields to black STORMCLOUDS gathering silently over endless prairie. A vertical vein of LIGHTNING streaks through one of them. a spoon, stirring a cup of coffee.","INT. \"THE ALL-AMERICAN DINER\" - GAINESVILLE TEXAS - CONTINUING (4:30 A.M.) HAROLD SPECK sits : mid 40's, pleasant face. A family man. Reads `` Rod and Reel'' magazine. Has a SALESMAN'S CASE by his side. Around him is a TRUCK - STOP in twilight : Truckers at the counter, Elvis on the wall, a `` Drink Bud!'' mirror. The WORLD SERIES can be heard on a RADIO. DOLLY -LRB- O.S. -RRB- Top that off for ya, Hon? That's DOLLY, a waitress, -LRB- 50, been here too long. -RRB- Speck looks up, smiles thinly, `` No.'' Dolly heads off. Speck returns to his article, underlining a particular passage. until a MAN seats himself, suddenly, in the seat opposite Speck's. Speck reacts, startled. SPECK Jesus. The MAN's name is O'RYAN. We only see PIECES of him : his eyes, his hands, a stain on his parka. O'RYAN What's in the case? SPECK I'm sorry? O'RYAN You're always lugging that case around. I'm curious. Speck looks around : there are plenty of empty tables in here. So why is this guy bothering me? O'RYAN -LRB- CONT'D. -RRB- What do you sell? SPECK I'm. in restaurant supplies. I did n't get your name? O'RYAN Must travel a lot, huh? Speck is looking for Dolly, a Manager, anyone. O'RYAN -LRB- CONT'D. -RRB- Whole country, or just hereabouts? SPECK I do n't mean to be rude but - O'RYAN How's your wife feel about it? That spun things a bit. Speck pauses. SPECK What? O'RYAN She must get lonely, with you gone all the time. Does she? SPECK Look, I. O'RYAN Do you get lonely? Speck's so thrown now he ca n't answer. O'RYAN -LRB- CONT'D. -RRB- Ya miss fucking her, Harold? SPECK Listen, I do n't know who you are but you ca n't - O'Ryan silences him. by holding up a piece of paper. On it is a DRAWING. The image faces away from us. But Speck can see it in rich detail. And his eyes go wide. We catch GLIMPSES : The color of flesh. A body - part. Looks like a rendering of a young, naked WOMAN. And, just like that, Speck finds himself STARING. Glued. O'RYAN -LRB- CONT'D. -RRB- Did it myself. It's sort of a hobby. -LRB- no reply. -RRB- I've got more. Would you like to see them? O'Ryan lowers it and slides a SECOND DRAWING over. Speck is speechless, transfixed. Ca n't look away. O'RYAN -LRB- CONT'D. -RRB- Tell me : those jokes about the traveling salesman and the farmer's daughter - are they true? -LRB- Speck remains silent. -RRB- Here. This one's my favorite. O'Ryan slides over DRAWING # 3. Again, we do n't get to see it. And we still have n't seen all of O'Ryan's face. But we can see Speck, and his reaction. Utter horror. In fact he recoils so violently that his coffee spills. O'RYAN -LRB- CONT'D. -RRB- Really says it all, would n't you agree? SPECK You're a. You're sick. O'RYAN That's a matter of opinion. SPECK You're sick! He rises, leaving the drawings behind. We STAY WITH HIM as he crosses the diner - deeply unsettled. He reaches the Manager, -LRB- MEL, balding, 50, in no mood -RRB- at the register. MEL Mmm - hmm? SPECK I'm having a problem - with another customer. I'd like you to ask him to leave, please. MEL What kind of problem? SPECK He's - He turns, to point out O'Ryan. but the booth, suddenly, is empty. The guy has simply disappeared, taking those drawings with him. Speck tightens. Mel eyes him, annoyed.","EXT. ALL-AMERICAN DINER - PARKING LOT - MOMENTS LATER Speck hurries out to his Buick, checking over his shoulder repeatedly. Gets to the car, fumbles with his keys. They fall to the asphalt. He grabs them, opens the door.","INT. SPECK'S CAR - DRIVING - MOMENTS LATER Speck guns the Buick. Interstate 35 flies by. The farther he gets away from that Diner, the happier he'll be. until a strange SOUND gets his attention : it's WIND, as if whistling through a ghost town. Hollow, varied - building then falling off again. Wind. Trouble is, the windows in this Buick are up. Yet there it is again : a thin, hollow GHOST - TOWN WIND, whistling over his shoulder. He's heard it before - in every Western he ever watched as a kid. But this wind is coming from his back - seat. The blood drains right out of Speck's face. Does n't know if he should jam on the brakes or drive faster. He looks in his rear - view, catches a glimpse of a LATEX GLOVE snapping onto a hand. Dear God : O'Ryan is back there, making that odd Ghost - Town wind sound. Whistling. SPECK -LRB- sheer terror. -RRB- What - do - you - want?! What - do - you - want - with - me?! No reply. Instead, another gift appears from the back : a FOURTH DRAWING, tossed from the darkness into Speck's lap. He looks down, registers the image. and SHRIEKS. O'RYAN -LRB- O.S. -RRB- There's a rest stop, next off - ramp. Pull into it. SPECK I have some money. It's not a lot but - O'RYAN Nobody wants your money, Harold. Just pull in. SPECK Why?! O'Ryan rises into frame now, like Nosferatu. O'RYAN Because I do n't wan na do this at 70 miles an hour. It could be dangerous. Speck finds the off - ramp. His breaths are shallow now. SPECK Please, Mister - what do you want from me? O'Ryan's face : a knowing grin fans across it. the face of VIRGIL RAY STARKEY, on a bulletin board.","INT. F.B.I. RESIDENT AGENCY - WICHITA FALLS - MORNING (SAME DAY) We're looking at the F.B.I.'s `` Ten Most - Wanted List.'' Starkey is # 7 on it. He's 40, white. His crime are listed as rape, murder, kidnapping. THOMAS MACKELWAY stares at Starkey's image. At the eyes. Mackelway is 34, bred for success - bred for stardom in fact, a whiz at everything he's ever attempted. So what the hell is he doing in Wichita Falls, Texas? EIGHT AGENTS, in cubicles, with a ring of outer offices. Quiet phones, lousy take - out options, hardly a dream gig. CHARLTON -LRB- O.S. -RRB- Got a spot set up for you, Tom. That's RICK CHARLTON : late 40's, thinning hair, friendly. Charlton heads around a corner. Mackelway follows. CHARLTON -LRB- CONT'D. -RRB- Ms. Potter's the nice girl you met at the desk. She puts a package together for all the new agents, things to know about the area, help with finding apartments and such. This one's yours : Charlton stops at a CUBICLE : Carpeted walls, formica desk. A corner of dull Hell. Mackelway eyes it, fighting dread. CHARLTON -LRB- CONT'D. -RRB- Not so different from Dallas, is it? MACKELWAY -LRB- fuck yes. -RRB- No, Sir. CHARLTON Good. An abandoned SPORTS PAGE tells us about that World Series, so we must be mid - October. Charlton heads out. Mackelway throws a briefcase on to the desk, setting up his world : A framed picture of himself and his BROTHER, ages 10 and 15, on a childhood camping trip. Address book, coffee - warmer, calendar, a baseball covered with autographs. He opens up a drawer, and casually tosses two bottles of BUFFERIN into the back of it. but first grabs four tablets from one of the bottles, and throws them down his throat, as : GRIEVES -LRB- O.S. -RRB- Ya like Frito Pies? Mackelway turns. BILL GRIEVES stands here, holding a white grease - stained paper - bag. Grieves is Mackelway's age, not quite as ambitious. But solid, decent. MACKELWAY I dunno. What are they? Grieves pulls out a greasy concoction that's wrapped up like a semi - burrito. Pure Texas. Tosses it to Mackelway : GRIEVES Welcome to the minors. Grieves passes by with a faint smile, handing out lunch to a few other agents. Mackelway eyes the still - wrapped Frito Pie. God, get me outta here.","INT. WICHITA FALLS F.B.I. OFFICE - LATER A BRIEF MONTAGE : Mackelway, in his cubicle, watching as THOSE OTHER AGENTS take calls, strap on guns, head out on assignment. Men in motion. But Mackelway's land - locked, writing up an Auto - Theft report. It's drudgery, but he's meticulous about it, deleting the word `` beige'' and replacing it with `` tan.'' His head is throbbing - not an unusual circumstance for him. But after lingering for a half - second on that `` Most - Wanted List'' again? Starkey? It's a wound.","INT. F.B.I. OFFICE - KITCHENETTE - MOMENTS LATER Mackelway struggles with a COFFEE MACHINE that's unfamiliar to him. Filter, water, grounds, etc.. KATIE -LRB- O.S. -RRB- Here. Lem me do that. He turns. This is KATIE POTTER. She's 25, friendly, under - challenged by her job. Been here two years. In two seconds she's got the thing percolating. Of course. KATIE -LRB- CONT'D. -RRB- It takes some experience. He shrugs, not feeling too smooth. KATIE -LRB- CONT'D. -RRB- You're Mackelway, right? MACKELWAY Mmm - hmm. KATIE Fax came in for you. It's the room next door. MACKELWAY Oh. Thanks. He rises, heads for the `` fax room''.","INT. \"FAX ROOM\" - CONTINUING A former closet, converted into useful space. FIVE FAX MACHINES sit on stands, sharing a surge protector. One fax machine is printing. Mackelway approaches it. Six pieces of paper await him. The first is a TOP - SHEET, written by hand : `` Attention : Agent Thomas Mackelway, FBI Resident Agency - Wichita Falls.'' No sender named. He looks beneath the top sheet - at Page One of the fax. A young BOY stares back at him, his face photostatically copied. Across the top, also - handwritten : `` HAVE YOU SEEN ME?'' At the bottom of the sheet, typed, we read : `` Jason Corey, Age 14. Ht. 5' 1'', Wt. 130, Eyes Brn, Hair Brn. Last Seen : Riverside, Ca. Date of Disappearance : 10 - 16 - 99.'' Mackelway eyes the face, then the vitals. No idea why this was sent to him. Then he looks at Page Two. A young WOMAN stares back at him this time. Another faxed photo. Another `` HAVE YOU SEEN ME?'' scrawled across the top of it. And, at the bottom of the sheet : `` Anna Casitas, Age 22. Ht. 5' 6'', Wt. 125, Eyes Brn, Hair Blk. Last Seen : Macon, Ga.. Date of Disappearance : 5 - 6 - 00.'' The other three faxes are more of the same : Pictures and vitals. Faces. Facts. `` HAVE YOU SEEN ME?'' He looks at the bottom of the transmissions, finds the fax number of the sender. Dials it. All he hears back is the loud grainy shriek of a dedicated fax line. He eyes the faxes again. It's not alarming, but it's odd. Then Charlton emerges from his office, shouting : CHARLTON Mackelway! You gon na sit on your ass all day, or do you wan na do something? Mackelway's out of this room in an instant.","EXT. REST STOP - OFF THE INTERSTATE - DAY Your standard roadside rest - stop : a parking lot with weeds poking through it and bathrooms you would n't go near. Those STORMCLOUDS we saw earlier are CLOSER now. POLICE CARS and HIGHWAY PATROL MOTORCYCLES fill this site. Charlton's FBI SEDAN pulls up. He and Mackelway get out. Two men approach : SHERIFF HARRY DYLAN, 50 ; and his deputy, BUD GRANGER, a gangly, baby - faced pup. DYLAN Afternoon, Rick. -LRB- Charlton nods. -RRB- Looks like a robbery/homicide. Body's over that way. He gestures toward a ravine, where a TOW TRUCK is currently lowering a winch toward an abandoned vehicle. It is Harold Speck's Buick, nose - down in the ravine, teetering on a rock, like the balanced scales of justice. MACKELWAY Ya run the plates? Charlton eyes Mackelway : `` Easy, Hot - shot.'' Mackelway nods, reminding himself to remember his new rank. Dylan hands a preliminary report to Charlton. DYLAN Fella's name is Harold Speck. Traveling salesman, from Abilene. Charlton eyes the report, then hands it to Mackelway. The hierarchy is being made clear. Very. Mackelway turns : this ravine runs right up against a SIGN that reads `` Welcome to Texas'' on one side and `` You are now leaving Oklahoma'' on the other. A vehicle, left right on the state - line. Odd. Then, a NOISE : that Tow - Truck WINCH, grinding badly. It's just about to yank the Buick out of this ditch. MACKELWAY -LRB- it blurts out. -RRB- Hey! Before Charlton can react, Mackelway is running across this weed - choked lot, zeroing in on the TOW - TRUCK DRIVER.","EXT. ATOP THE RAVINE - CONTINUING The Driver, JUMBO, is operating the winch from a hydraulic handle on the back of the truck. Mackelway barrels in : MACKELWAY -LRB- CONT'D. -RRB- What the fuck're you doing?! JUMBO What's it look like, Bud? Mackelway reaches past Jumbo and hits the `` Stop'' button himself. The winch shuts down. Mackelway turns. A handful of LOCAL COPS stand atop this ravine, watching. MACKELWAY -LRB- CONT'D. -RRB- You guys ever heard of evidentiary procedure? No one replies. Charlton approaches. Mackelway tightens, expecting a reprimand for overstepping his bounds. MACKWELWAY -LRB- CONT'D. -RRB- Sorry, Sir. There was n't time. Charlton eyes the car. Then Mackelway. CHARLTON Did the right thing, Agent Mackelway. Let's have a look. Charlton starts down the embankment. Mackelway does n't, hanging back as he eyes the TRACKS this Buick made before tumbling. Something about them. He pulls a small CAMERA from his pocket, a Minox. Snaps off a few photos of the scene - the Buick, the ravine, those tracks, some FOOTPRINTS alongside them. Then he heads down the 15 - foot embankment.","EXT. RAVINE - CONTINUING It's an ugly sight. Speck is inches from us, but his head is facing in the other direction, twisted unnaturally. Mackelway kneels beside the open window, pulls out some gloves, puts them on. He will not lean on the car, or even breathe on it, his caution around evidence obvious. CHARLTON -LRB- O.S. -RRB- What's that? Charlton is opposite him, outside the passenger - side window, pointing at the DRAWING that O'Ryan had tossed onto Speck's lap. It lies face down on the seat. But something's been FINGER - PAINTED on the back of it : A RED CIRCLE, with a SLASH through it. Charlton begins to reach for it, when : MACKELWAY -LRB- to stop him. -RRB- Sir? Charlton stops. Mackelway indicates : `` Gloves.'' Charlton eyes him. It's irritating being corrected by a guy you outrank, especially when he's right. MACKELWAY -LRB- CONT'D. -RRB- Sort of a. stickler for procedure. CHARLTON I imagine you would be. That was a jab, but we do n't know it yet. Charlton puts on his gloves. Mackelway snaps off a few more shots with that Minox, looking over the rest of this car, as : GRANGER -LRB- aloud. -RRB- Hey Jumbo. Toss me down a crowbar. Granger's by the trunk. Before Mackelway can comment, Jumbo has tossed a CROWBAR down from the top of the embankment : a ten - pound hunk of iron, flying right at us. Everybody ducks. as it CLANGS on the roof of the Buick. Jumbo shrugs. JUMBO You said toss it. Mackelway shakes his head. `` Shitkicker.'' Granger grabs the crowbar. He's just about to open the trunk as : MACKELWAY Hold it a second. Granger pauses. Mackelway crosses to the trunk, and snaps off a few shots with the Minox. Something catches his eye, along the line of the TRUNK. He kneels closer. An odd RESIDUE, crusty and hard, has formed a thin line on top of the paint in a single post. He takes out a VIAL, and scrapes some of the residue into it. Then he sniffs it. Pauses. MACKELWAY -LRB- CONT'D. -RRB- Smells like. clove. He looks to Granger : now you can open the trunk. DYLAN -LRB- re : Mackelway. -RRB- Where the hell'd you find this guy? CHARLTON Field Office. Dallas. DYLAN -LRB- impressed. -RRB- Well now. -LRB- Charlton shrugs. -RRB- So what the hell's he doin' here? That one is left unanswered. Granger opens the trunk. Mackelway and the others look inside. There, they find restaurant supplies : napkin dispensers, salt - shakers, ketchup dispensers, a short - order wheel. And a fishing reel, tackle - box, a kid's bicycle helmet. Mackelway eyes it all, but his instincts tell him there's nothing significant here. So he returns to Speck's body. He leans in, lifts Speck's head a few inches away from the steering wheel. Gently. which is when we learn that Speck's EYELIDS have been torn off. It's gruesome, but Mackelway notes it calmly. Charlton leans in, gets a look. CHARLTON Christ. Mackelway is expressionless. But something about these LIDLESS EYES draws him closer. He leans in, then BAM! We are rocketed into a series of dark, disjointed images :","EXT. A WHEAT FIELD - NIGHT Seems like we're standing in a field of TALL WHEAT ; we ca n't say for sure. Everything's wet, wind - whipped. A MUZZLE FLASH. Someone just fired a gun. We slump hard to the ground. Then we look up. Mackelway stands over us, his face wet with rain. Then, just as quickly, those IMAGES VANISH and we are :","INT. UNIDENTIFIED MOTEL ROOM - GRAHAM TEXAS - DAY We start on the EYES OF O'RYAN. Cross - Dissolve to a pad of paper, on a DESK. Scrawled on the pad is a WAVY LINE. He holds the tip of that pen upon it, for a few seconds, as if expecting to get some kind of pulse from it. Here come those IMAGES again : wet wheat, a muzzle flash, Mackelway. Choppy, disjointed, dark. Then they cease. and O'Ryan begins to DRAW, hurriedly. Only half of his face is visible to us, but we can tell that his concentration is total. His pen continues its furious work, a spasm of activity, as the SOUNDS of that vision bleed in : the gun - shot, the rain, the wind. They're all alive in O'Ryan's mind. And that DRAWING takes shape quickly : The wheat field, the gun, Mackelway. Then, the pen is set down. The drawing is complete. O'Ryan eyes it calmly, then checks his watch, jotting down the exact time and date on to the drawing. Then he slips it into a folder marked, `` MACKELWAY.''","EXT. SPECK'S HOME - ABILENE, TEXAS - ESTAB. DAY Picket fence, a swing on the porch, a lawn that needs mowing. A LINE OF PEOPLE file in, each bringing food. and tissues to cry into.","INT. SPECK'S HOME - LIVING ROOM - MOMENTS LATER (DAY) Shocked faces. Food on unmatching trays. Speck's wife - JAN, 40 and frayed - sits in a chair, immobile. FRIENDS and FAMILY mill about, tending to her. KIDS hover. Two of them, a 4 - YEAR - OLD BOY and an 8 - YEAR - OLD GIRL, sniff back tears as people offer condolences. But the focus here is Jan - her grief. She's shaking. O'RYAN -LRB- O.S. -RRB- Mrs. Speck? She looks up. O'Ryan crouches down, to eye - level, one of fifty faces in here. Jan half - nods. O'RYAN -LRB- CONT'D. -RRB- Just wanted to offer my condolences. -LRB- takes her hand. -RRB- I did n't know him well but. I think Harold was a much more complex man than people realized. Jan is so raw that anything about Speck touches her now. JAN -LRB- through tears. -RRB- He was, was n't he? O'RYAN I'm very sorry for your loss, ma'am. She sniffs back a tear, thanks him with a smile. O'Ryan extends his hand to her. She takes it. He moves off. Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and into the BLACK CREPE that is adorning the corner of the portrait's FRAME, and : BAM! We're rocketed back into a set of odd IMAGES again :","EXT. DARKNESS - UNIDENTIFIED TIME This time, everything before us is a blur of gray. We hear that wet wind. We hear our own heavy BREATHING, as if we were running somewhere. a VOICE, rising above the wind, seems to be saying : VOICE -LRB- O.S. -RRB- Please. The sound echoes oddly, as if bouncing off a satellite somewhere, or a distance of time and space. Then the sound and the soupy grayness VANISH. This vision just ended. When we pop back out of it, we're TIGHT on Mackelway.","INT. MACKELWAY'S YUKON - PARKING LOT - GAINESVILLE 10:30 P.M. Mackelway sits behind the wheel of his Chevy Yukon, parked between two big - rigs in the lot of the `` All - American Diner.'' Sky looks black tonight. It rumbles. And that soupy gray vision we just heard and saw. It was all his. He pulls four more Bufferins out of a bottle in his pocket. Slugs them down. This headache is a constant. Then he gets out of the Yukon.","INT. ALL-AMERICAN DINER GAINESVILLE - CONTINUING Mackelway enters, spots Charlton at a booth - sitting opposite a WOMAN, her back to us.","INT. BOOTH - CONTINUING Mackelway approaches. The Woman does n't turn. CHARLTON Agent Mackelway. I was ` bout to introduce you, but I understand that wo n't be necessary. Mackelway does n't get it. until the WOMAN turns. She is AGENT FRAN KULOK. 35, sharp, pretty when she allows herself to be. But with a guard that never comes down. Mackelway has some history with her, so he tries not to react. It takes some effort. CHARLTON -LRB- CONT'D. -RRB- Seems your former office has decided we might need some help on this one. So they sent out Agent Kulok. FRAN Tom. MACKELWAY Fran. That was terse, from both of them. Charlton takes note. CHARLTON I guess we're skipping the tearful reunion. Have a seat, Tom. Mackelway sits opposite Fran. She folds her hands. MACKELWAY How's things back at the ranch? FRAN Movin' right along. That might've been a dig ; Charlton ca n't tell. CHARLTON Okay. Whadda we know? FRAN Picked up a foot - print in the back seat of Speck's car, size - and - a - half bigger than Speck's. Just like that, Fran is piping up. Mackelway's unoffended. CHARLTON ` Kay. FRAN Wounds on Speck's throat indicate that he was strangled from behind. I think our guy waited for him in the backseat, sprung this on him once the car was moving. She slides that FOURTH DRAWING to Charlton - giving us our first look at it. a STEAMER - TRUNK, lined with plastic. Inside it are large ZIPLOC BAGS. Inside the bags are BODY PARTS. It's realized so accurately that it looks more like a photograph. No wonder it horrified Speck so deeply. THE BOOTH - RESUMING Charlton eyes it without reaction. FRAN -LRB- CONT'D. -RRB- Lab picked up talcum traces on the edges of the paper, consistent with powdered gloves. -LRB- Charlton nods. -RRB- So he gets the dropped in his lap, it spooks him, and the car winds up in the ravine. Plausible enough, until : MACKELWAY I do n't think so, no. I think it was pushed. FRAN How ya figure? MACKELWAY The look of the tracks. Foot - prints near the embankment. Without embellishing any further, he slides over the PHOTOGRAPHS that he took this morning with the Minox : tire - tracks, foot - prints. She eyes them. Then she eyes Mackelway. Charlton notes the tension. CHARLTON Okay. So our guy likes to draw pictures of body parts and then spring'em on people. What's that get us? -LRB- they're silent. -RRB- That's what I thought. There is plenty going unsaid here between Mackelway and Fran. Charlton has no time for it. CHARLTON Oh. ` Fore I forget. This came in for you : He tosses a 9 - by - 12 ENVELOPE at Mackelway, who opens it. Six sheets of paper slide out. First one we see is the TOP SHEET of a FAX : same hand - written inscription as the last one : `` Attention, Agent Thomas Mackelway, FBI Resident Agency, Wichita Falls.'' Okay. This is twice now. He knows what will be under this top sheet without even looking. But here's Page One : A photo of a middle - aged African - American WOMAN. Across the top of the photo, in hand - writing : `` HAVE YOU SEEN ME?'' And typed on the bottom : `` Tanya Green. Age 42. Ht. 5' 9'', Wt. 165, Eyes Blk, Hair Blk. Last Seen : Ames, Iowa. Date of Disappearance : 3 - 22 - 97.'' The following four sheets bring four more faces : men, women, young, old. Four more HAVE YOU SEEN ME's. But before he can think it through, he hears : MANAGER -LRB- O.S. -RRB- It's about time. They turn. That came from the NIGHT MANAGER : a humorless guy named LES. He's looking at the front door, through which Dolly has just entered. Pink cowboy boots tonight. DOLLY Do n't start in on me, Les. I could n't get the pickup started and Harlan took the Dodge. The Manager now throws a glance at the three feds in the booth. Dolly stops short, taken aback. DOLLY -LRB- CONT'D. -RRB- Holy Hell. My one shot at winding up on `` Cops'' and I'm in my weekday boots!","INT. DINER - BOOTH - LATER Dolly and Mel sit opposite Mackelway and Fran. DOLLY He was a quiet guy. Normal. Liked to read fishing magazines. Not much of a tipper. Is that a lousy thing to say? FRAN It's fine. Mel rolls his eyes. MACKELWAY What can you tell us about the other man? MEL Like I said, I never really saw him. Harold came up, complainin' about the guy - but time I turned, he was gone. FRAN -LRB- at Dolly :. -RRB- Could you de - MACK -LRB- at Dolly :. -RRB- Did you get a - They each stop short, waiting for the other to yield. Finally Mackelway nods, `` Go ahead.'' FRAN Can you describe him, Ma'am? DOLLY Sure. He was. Dolly pauses, her face scrunching a bit. Troubled. DOLLY -LRB- CONT'D. -RRB- That's weird. Guy was in here better part of an hour. We had a real pleasant chat. But I ca n't remember a thing about him. For the life of me. Could n't even tell you what color his eyes were. She shrugs apologetically. FRAN Happen to see what he was driving? DOLLY That one's easy. It's still in the lot. -LRB- they perk up. -RRB- The Bonneville out there with the awful paint job. She gestures to the lot, where an old PONTIAC BONNEVILLE sits, its paint stripped down to the primer. Bingo. Fran and Mackelway eye it, then one another.","EXT. DINER - PARKING LOT - MOMENTS LATER Fran and Mackelway emerge, heading for the Bonneville. MACKELWAY We ought to work out some kind of protocol. FRAN For what? MACKELWAY Interviews. Witnesses. Looks pretty silly, our talking over one another. FRAN Fine. I'll handle them from now on. He does n't argue. They come to a stop at that Bonneville, stripped down to its primer. Time to work. Two agents, all instinct. We see them study things, details, their minds always churning. Mackelway pulls out his Minox, snaps off a few more shots. Then : MACKELWAY Trunk's ajar. She turns. Sure enough, the Bonneville's trunk is ajar. Mackelway approaches, cautiously. He does n't have gloves on him, so he uses his jacket pocket to protect against prints. He opens the trunk. First thing he sees is that SYMBOL again : a circle - with - a - slash - through - it. staring right at him. But this time, it's been carved into somebody's back. Mackelway stares. So does Fran. Before them lies a body, stripped to the waist : a chunky middle - aged MAN. Dead. Mackelway sighs. Things just got tougher.","INT. ARCHER COUNTY MORGUE - DAY Harold Speck lies on a table. A BESPECTACLED CORONER examines him. Victim # 2, BARNEY FULCHER, lies on another, his ample frame yet to be examined. The lights are out, but that Coroner wears a FLUORESCENT HALO, with a MICROPHONE pinned to his gown. He speaks into it with a quiet monotone : anatomical terms, etc.. Mackelway and Fran are here. watching. Mackelway is particularly focused on Fulcher's face. His EYELIDS, we now see, have also been torn off. Hmmmm. FRAN Why eyelids? MACKELWAY Huh? FRAN No other signs of torture here. Why take somebody's eyelids off? MACKELWAY So they ca n't blink. She sighs, aloud : `` I know that already, Asshole.'' Coroner keeps his head down, speaking into that microphone. MACKELWAY -LRB- CONT'D. -RRB- It's a metaphor - to make certain the victim sees. or to make certain that we see something. -LRB- she's silent. -RRB- Or maybe it's just a fuck - you. Coroner continues his monotone narration. then crosses to the sink. That puts him out of earshot. So : MACKELWAY -LRB- CONT'D. -RRB- -LRB- to Fran, quietly. -RRB- I'm sorry about Don. FRAN -LRB- thrown. -RRB- Huh? MACKELWAY You're not wearing your ring anymore. That was an attempt at kindness. She knows that. Still, she eyes her left hand, self - consciously, while Mackelway loses himself in those lidless eyes of Fulcher's. Then there's a KNOCK AT THE GLASS WINDOW BEHIND THEM. They turn. Charlton stands on the other side of a GLASS WINDOW, in a VIEWING ROOM adjacent to this Morgue. He presses a piece of paper up against the glass. On it, in typed bold letters at the top, we read : `` MATCHES ONE OF ONE.'' Below that we see that Circle - with - the - slash - through - it. This is a FAX, which Charlton's just received. He points further down on the fax at what look like little squiggles at first, until we move in to discover it is a hand drawn street map. The ink bleeds a bit due to a poor fax transmission. Those scrawled lines take us to `` The Hope House,'' in Oklahoma City. At the bottom a scribbled name, `` David Dyson,'' and a contact number. Moving closer to the glass, Mackelway nods. He just got a break.","INT. GRAMMAR-SCHOOL AUDITORIUM - BOULDER, CO. - DAY A CHOIR of FIRST AND SECOND GRADERS stands before a school assembly. The rest of Boulder Elementary's student body fills the seats in here, along with FACULTY MEMBERS. Everybody's weeping. A framed picture of Barney Fulcher sits on a stand, with candles around it : SINGING FIRST AND SECOND GRADERS A - may - zing Grace, How sweet the sound - In the back, some of the TOWNSFOLK have gathered for this assembly, touched. O'Ryan stands among them. No expression on his face at all.","EXT. \"HOPE HOUSE\" - OKLAHOMA CITY - NIGHT A three - story Victorian residence in decay, next door to a CHURCH/SOUP KITCHEN in the middle of Oklahoma City's Skid Row. Rain falls. The street is still. Mackelway approaches this halfway - house. A few lights shine within, and the blue glow of a tv. Upstairs can be heard the strident, off - key voice of somebody singing.","EXT./INT. HOPE HOUSE - DOORWAY - CONTINUING The front door is open. Through a SCREEN DOOR, Mackelway can see an old - fashioned `` foyer.'' He knocks. Waits. Two sounds dominate : the buzz from that tv, and the strident singing, which we realize is an a capela version of `` La Vida Loca'' audible through an open bedroom window. But no one's coming to answer the door, and it's wide open anyway. So Mackelway enters. MACKELWAY Hello?","INT. HOPE HOUSE - ENTRY - CONTINUING TV room is to his left. There, a single 35 year - old DRUNK / TRANSIENT -LRB- we'll call him `` PIPER'' -RRB- sits, watching `` Behind the Music'' on VH1. Tonight's subject? Leif Garret. Piper does n't look up, or acknowledge Mackelway at all. Rather he INCREASES THE TV VOLUME to drown out the singing upstairs, which seems to be intentionally off - key. Torn couches, stained carpet, cracked window. Posters and fliers on the walls. 10 BEDROOMS upstairs. DYSON -LRB- O.S. -RRB- Agent Mackelway? Mackelway turns. Descending a creaking stairway is DAVID DYSON : 50, lean, with a friendly smile.","INT. HOPE HOUSE - BASEMENT - MOMENTS LATER We are staring at a BASEMENT WALL that has been covered, floor to ceiling, with 1,000 identical renderings of that same symbol : the CIRCLE - WITH - A - SLASH - THROUGH - IT. 1,000 of them, in bright red paint, against pitch black enamel. Only a machine could have achieved this kind of repetition. Or a maniac. This basement is leaky, drafty, poorly lit. But it's also quiet : the sound of that awful singing upstairs has been MUTED by the basement door and the rain itself. DYSON Benjamin spent hours down here. Mackelway takes it all in, every corner of this basement. He notes a row of standing GYM LOCKERS. MACKELWAY -LRB- re : lockers. -RRB- Did he have access to those? DYSON No. They're staff - only. MACKELWAY Would you mind opening them for me? Dyson shrugs ; he thinks it's a waste of time - but he'll do it. Mackelway follows him across the dank room. MACKELWAY -LRB- CONT'D. -RRB- He was here. seven years you said? DYSON Off and on. It's not uncommon for our guests to vanish for months at a time. Dyson works a combination lock on the first locker. MACKELWAY I ran the name through our database, just to be sure. There's never been an Agent Benjamin O'Ryan in the Bureau. DYSON No. but as elaborate fantasies go, it was one of my favorites. -LRB- fondly. -RRB- And he always seemed so sincere about it. Dyson half - chuckles ; he always liked the guy. He throws open the locker. Inside, nothing. Mackelway indicates the next locker. Dyson works the combination. MACKELWAY Is that what you called him? Benjamin? DYSON It's what he wished to be called. Locker # 2 is opened - also empty. Only one locker left. DYSON -LRB- CONT'D. -RRB- -LRB- re : locker # 3. -RRB- That one's mine. Mackelway shrugs : `` Sorry, it has to be opened.'' Dyson sighs, then works the combination. Mackelway waits. Locker # 3 is opened. Inside, nothing incriminating : a sweater, some old junk, two trophies. Dyson eyes him : `` See?'' Mackelway nods. Dyson shuts the locker. Mackelway looks to that wall : 1,000 copies of the circle - with - a - slash - through - it. No idea what they signify. DYSON -LRB- CONT'D. -RRB- He painted one of the walls in his room, too. MACKELWAY Can I see it? DYSON We've painted it over. MACKELWAY Still, might be helpful. Dyson heads for the stairs. They're wooden slats with more basement - junk stored below : old sporting equipment, an old vaccuum cleaner, broken chairs, rusted patio furniture. Mackelway follows. They climb. MACKELWAY -LRB- CONT'D. -RRB- Wait. They stop. Something just caught Mackelway's eye, visible beneath these stairs : a BOX, with a bucket of PAINT sticking out of it.","INT. BASEMENT - BENEATH THE STAIRS - CONTINUING Mackelway climbs under the stairs, crouching down, pushing aside all of the aforementioned junk. He grabs the box. Sure enough, that bucket once held red paint - same color O'Ryan used to cover that wall. There's also a bucket of BLACK PAINT here. And some used brushes. Mackelway brings the box into the meager light. We get a look INSIDE IT now. So does Dyson. Inside, beneath the paint - buckets, we see a few TV GUIDES, a yo - yo, a football. Then a BOOK on TRIBAL RITUAL AND TRANCE. Mackelway grabs it, eyes it. He flips through a few pages - odd images : a TRIBESMAN with eyes rolling back in his head, strange rites, etc.. Mackelway sets the book down. Then, amidst the other materials in this box, he spots a large folded MAP. He grabs it, begins to unfold it. We see that this map's been written on, in pen. Cities on it have been CIRCLED. But before we can get a good look at it, Mackelway spots something else, at the bottom of this box, a shocker : A photograph of himself. It takes him a second to realize what he's looking at. But there it is, a NEWSPAPER PHOTO, of Agent Thomas Mackelway. It is part of a FRONT - PAGE STORY, dated July of this year, concerning the trial and release. of Virgil Ray Starkey. # 7 on the F.B.I.'s Most - Wanted List. Dyson ca n't help but notice the picture of Mackelway. Mackelway stares. Suddenly we JUMP BACK IN TIME, NINE MONTHS, for a brief, choppy FLASHBACK. 29 29 EXT.. STREET - MATAMOROS - NIGHT - MACKELWAY'S FLASHBACK We're RUNNING, dashing between two buildings of chipped - adobe, hearing nothing but the sound of our own breathing and the thuds of our own heavy feet. This is Matamoros, Mexico, a shit - hole of a border town. Squalor and sin. We find a DRUNK MEXICAN TEEN. He nods : `` This is the place,'' and sticks out his palm.","INT. HOPE HOUSE - BASEMENT - RESUMING Mackelway stares at that newspaper : Starkey - rapist, murderer, whose case was just thrown out of court - a stunning failure for all involved. as we RESUME MACKELWAY'S FLASHBACK - Matamoros again.","INT. \"CLUB\" - BACKSTAGE - RESUMING FLASHBACK Bad - lighting, drunk patrons in a CIRCLE, and a DONKEY - SHOW taking place on a bare stage. Feels like we've stepped into some kind of evil carnival. It's dizzying. Among the crowd : Virgil Starkey, in an ugly drunken binge, the only guy in here who is n't cheering or laughing. Suddenly our GUN is pointed right at his head. Starkey freezes, caught. Some of the PATRONS around him find somewhere else to stand. But the show goes on.","INT. HOPE HOUSE - BASEMENT - RESUMING That ARTICLE gives us more detail now, the reason Starkey's case was thrown out of court. It is this : The F.B.I. Agent on the case had made a mistake in `` evidentiary procedure.'' Hence, Mackelway's picture. On his face, we GO BACK TO ANOTHER MEMORY : six months ago.","INT. COURTHOUSE - ANTEROOM - DAY - ANOTHER FLASHBACK Three months have passed since the arrest in Matamoros. Now Mackelway sits in this courthouse ANTEROOM, adjacent to a courtroom. Four sour PROSECUTORS surround him. PROSECUTOR #1 D'you understand how fucked we are? MACKELWAY Yes, Sir. PROSECUTOR #1 Leaving a tissue sample in the care of a Mexican lab? Are you fucking kidding me? MACKELWAY They assured me that they understood protocol. PROSECUTOR #1 Well guess what? They did n't. And this prick's gon na walk, ten murders or not. That registered.","INT. HOPE HOUSE - BASEMENT - RESUMING Beneath this newspaper article are OTHER ARTICLES, all concerning Starkey : his crimes, his capture, all of it. Mackelway's memory just got stoked again :","INT. COURTHOUSE - HALLWAY - RESUMING FLASHBACK Mackelway emerges from that courthouse anteroom, whipped. The hall's busy with MEDIA and other traffic. First face he sees is Fran, who sits on a bench, -LRB- wedding ring ON -RRB-. Her eyes say how lousy she feels for him. It almost helps.","INT. COURTHOUSE BATHROOM - CONTINUING FLASHBACK The door bursts open and Mackelway storms in. No need to look composed now ; he's alone in here. He crosses to a paper - towel dispenser, SLUGS IT. Stares in the mirror. He's livid, embarrassed, frustrated - can barely look at his own reflection. Then he hears LAUGHTER, behind him. He turns. Out of the darkness of a badly - lit STALL, Virgil Starkey emerges, coming into view under a single light. Beside him is a GRIM COP, his chaperone. Starkey passes by Mackelway, almost snickering. Then he's gone. Mackelway shuts his eyes tight. His head is pounding. END FLASHBACK.","INT. HOPE HOUSE - BASEMENT - RESUMING Mackelway stares. at a record of his deepest wound. But what the hell is it doing in the locker of a transient?","INT. HOPE HOUSE - \"O'RYAN'S ROOM\" - MOMENTS LATER Mackelway leans in, looking around. A bed. A small end - table. Bathroom. A window without bars. From down the hall we hear the sound of a PHONE RINGING, then a FAX transmission. An old fax machine begins to whine noisily, creaking. It's a distraction. But Mackelway's focus is in this room. The walls have been newly painted. But there's a hint of barely - perceptible color beneath one of them. Rain from a LEAKY ROOF is causing some of the new paint to peel a bit. A BUCKET collects drops in the center of the room. The feeling in here is damp, mildewy, creepy. Mackelway remains in the doorway. then backs out. DYSON -LRB- O.S. -RRB- I guess you fellas're never unaccounted for, huh?","INT. HALLWAY - CONTINUING Mackelway turns, a bit startled. Dyson is approaching, FAX in hand. MACKELWAY Huh? Dyson extends six pages. On the TOP - SHEET, written by hand, are the words : `` Agent Thomas Mackelway, C/O Mr. David Dyson, Hope House'' with a street address. And under that top sheet? Five more pages. Mackelway sighs, takes them from Dyson. Sure enough, he's staring at five more faces, five more fact sheets. Five more HAVE YOU SEEN ME's. But how would anyone know to send them here? DYSON Anything urgent? MACKELWAY -LRB- does n't look up. -RRB- No. Dyson is glad to hear it.","INT. HOPE HOUSE - FOYER - MOMENTS LATER Mackelway descends, having had quite enough of this place. Piper is where we left him, watching VH1 in the TV Room. Mackelway passes, eyeing those newly - faxed pages : five more HAVE YOU SEEN ME'S. He reaches the door. PIPER Ever seen a fifty - foot shark? Mackelway stops, turns. MACKELWAY I'm sorry? PIPER Fifty - foot shark. Ever seen one? MACKELWAY No. PIPER Does n't mean there are n't any. Great. Mackelway reaches for the front door again. Then he halts. Maybe this guy can be helpful. Mackelway turns : MACKELWAY Did you know him? -LRB- Piper's silent. -RRB- The guy who used to stay upstairs. `` O'Ryan.'' Did you know him? PIPER Why? Is he dead? MACKELWAY I do n't. PIPER You said `` Did.'' Is he dead? MACKELWAY Oh. I mis - spoke. No, he's not dead. -LRB- a beat. -RRB- You know him? Piper nods. Mackelway eyes him, then approaches, holding up a copy of that image : the circle - with - slash - through - it. MACKELWAY -LRB- CONT'D. -RRB- He ever talk about this? A circle with a slash through it? Piper rises, crosses to us. leaning in unnecessarily close. It's unsettling. PIPER That's not a circle. It's a zero. MACKELWAY Oh. How do you know? Piper does n't answer. Instead he simply starts whistling. But it's not a tune coming out of his mouth. It's that same sound that O'Ryan made : A WHISTLING WIND, blowing through a ghost town. Building, then falling again. Piper smiles, backing away, enjoying the theatricality of it, stifling a giggle. Then, suddenly, everything turns GRAINY, CHOPPY. We've jumped into a distorted, REMOTE POV of this same scene - as if watching it through a crystal ball, or a broken lens, or a distance of time and space. We see images, fragments : Piper, the tv, the sofa, Mackelway's face. Then all sound breaks up, and we are.","INT. MOTEL ROOM - SLEEPER, MISSOURI - CONTINUING Start on O'Ryan's EYES. Then a pad of paper. The spasm of a pen, scrawling a LIST on to it : `` Piper. TV. Whistling.'' We're in another non - descript MOTEL ROOM. $ 29 a night. He holds down the point of his pen on a wavy line beside that list of words, keeping it there for a few seconds, as if expecting to receive some kind of pulse from it. No more pulse. He has lost the `` connection'' that had somehow transported him. He notes his watch. Jots down the exact time. Slips the pad into that FOLDER : `` Mackelway.'' Then he starts to DRAW - a hurried but accurate sketch of Mackelway and Piper, just as they stood during that conversation. The geography is fairly accurate. O'Ryan continues to draw. We CRANE OUT of this motel room, to find, on the street below :","EXT. A BAR - SLEEPER, MISSOURI - CONTINUING A typical honky - tonk in a town called Sleeper, Missouri. Just across the street from O'Ryan's cheap motel.","INT. BAR - SLEEPER, MISSOURI - CONTINUING Low - lights, dust on the floor. Pool tables. LORETTA is a pretty 19 - year - old who stands at the jukebox, weighing her choices. She's got a thick curtain of hair, which she wrangles with a CHIP - CLIP. It's a habit. She chooses a country - rock tune, then heads for the bar, walking to the beat. It's fun being 19 and beautiful. AT THE BAR - CONTINUING The BARTENDER'S a stocky guy with a broad smile. LORETTA -LRB- re : song. -RRB- How's that? BARTENDER Little cute for my taste, but I can stand three minutes of it. LORETTA I'll have a seven and seven, please. BARTENDER Seven and seven. Got some i.d? She half - laughs, as if she has n't been carded in a decade, and throws that curtain of hair from one side to the other, re - fastening that chip - clip. It's her best move. LORETTA It's in the car. No one's asked me for it for a couple years now. BARTENDER If ya hurry, you'll still catch the end of the song. She eyes him : are you really carding me? He smiles : nothing personal, Sugar. So she heads for the door. on her way, she passes a booth. In it we find a familiar face - Virgil Ray Starkey. He remains still, as if he had n't noticed her. But behind his eyes, something primal just took place. He rises, heads for the door.","EXT. BAR - MOMENTS LATER Loretta walks to her VW Bug. Starkey exits the bar. She does n't notice. We TILT UP : the lights are off in O'Ryan's motel room.","EXT. AT LORETTA'S CAR - MOMENTS LATER It all happens pretty fast : That chip - clip hits the ground beside the open VW door. A battered PICK - UP speeds away, kicking up gravel. Loretta's eyes, wide with terror and dread.","INT. STARKEY'S PICK-UP - MINUTES LATER We're off - road. Missouri's woods can be seen through the windshield. And Starkey is staring at us. Pawing at us. LORETTA Please, Mister. Starkey's hand shoots out, banging Loretta's head against the window, hard. That makes things start to swim. Starkey tears at her clothes, lowers himself on to her. She whimpers. WE CARRY THE SOUND OF IT INTO :","INT. MACKELWAY'S APARTMENT - SAME This is where you go when you've just moved to Wichita Falls and money's tight : spotty shag carpet, chipped Formica kitchen table, scuffed blinds. and one sleepless agent, having one lousy night. Mackelway sits on the edge of his bed, almost able to hear Loretta's helpless cries. Some nights are like this. His head is POUNDING again. Down go four more Bufferin. Above him, covering the bedroom mirror, is the MAP he took from that Hope House basement. O'Ryan's map, UNFOLDED. It's HUGE : 6 - feet - wide, 4 - feet - tall, obscuring the mirror. As we glimpsed while still in that basement, this map his been written on, in pen. O'Ryan's notations cover it : Over a THUSAND CITIES on it have been CIRCLED, by hand, in RED. Each of those circled cities has a DATE written beside it, also in red : -LRB- `` 4/6,'' `` 5/19,'' `` 10 - 26,'' etc. -RRB- Mackelway studies it, his face working. Another of those WHIMPERS from Loretta seems to hang, suspended. Mackelway shakes it off, certain that he's imagining it. He wo n't sleep a wink tonight. We LEAVE HIM, returning to :","INT. STARKEY'S PICK-UP - RESUMING The attack continues, its terror unimaginable. Loretta sobs. It hurts. Starkey's too powerful to fight off. We stay on her face : dazed, her mind simply checking out. until a look of cognizance comes over her, brought on by a SHADOW that just passed by. Then the window behind Starkey simply EXPLODES. Glass flies everywhere, and TWO ARMS reach into the pick - up. They grab Starkey by the neck and yank him out of the pick - up, his back sliced open by shards. He screams. She ca n't resist coming to the window, where she sees :","EXT. WOODS - STARKEY'S PICK-UP - CONTINUING Starkey lies, face up. Shocked. Squirming. Bleeding. Standing over him, looming large as a Grizzly. is O'Ryan. A long HUNTING KNIFE extends from his hand. But his tone, to our great surprise, is conversational : O'RYAN Hey, listen, I'm sorta new in town. Ya know where I can find a good donkey show? Starkey has no idea how to respond to this maniac : STARKEY Huh? O'RYAN Oh. Forgot. Wrong country. In America animals have rights. -LRB- pointedly. -RRB- Do n't they, Virgil? STARKEY How the fuck should I know? O'Ryan half - smiles, then kicks Starkey right in the head. Loretta's eyes go wide. Another kick follows, to the ribs. Then one to the groin. Then : O'RYAN -LRB- at Loretta. -RRB- Turn around. He said that without looking at her. But he can tell that she has n't moved - too frightened. So he eyes her. O'RYAN -LRB- CONT'D. -RRB- -LRB- again. -RRB- Turn around! She turns away, lying face down on the seat, covering her head. No idea what kind of terror is to come next. We STAY WITH HER. able only to hear what follows : The sound is animal, awful - like a pig being gutted - a horrible SQUEAL, covering the GRUNTS coming from O'Ryan. In goes the knife again, prompting another agonized cry from Starkey. Loretta's crying too : from fear, shock. She keeps her face buried, shutting her eyes tight. The sounds of savagery fill the night. Then, one last gasp from Starkey. followed by an awful silence. and the assault is over. Loretta's too afraid to look up - certain that the maniac with the knife will be coming after her next. But then she hears FOOTSTEPS, trailing away. So she rises, peeking over the edge of the window. WE STAY ON HER FACE, as she sees what's become of her attacker. Her horrified SCREAM fills the woods.","INT. MACKELWAY'S APARTMENT - BEDROOM - RESUMING Mackelway STARES out the window ; seems like he just HEARD that scream. Of course, that'd be impossible. He looks to that map. His PHONE RINGS. He eyes it, unsurprised.","EXT. WOODS OUTSIDE SLEEPER, MO. - LATER Law enforcement VEHICLES surround the site. COPS, Grieves, CORONER'S GUYS taking pictures. Loretta is sitting on the back of an ambulance, being tended to. A COMPOSITE ARTIST sits beside her, trying. LORETTA I do n't think the eyes are right. COMPOSITE ARTIST Narrower? LORETTA No, they were. I do n't really know. Composite Artist keeps trying, but his attempt does n't look anything like the face of O'Ryan. Charlton, meanwhile, stands over the body, mind racing. A Missouri Highway Patrol car pulls up. Mackelway steps out of it. We follow him as he takes in the scene. A FLASHBULB illuminates Starkey's CHEST ; is got a zero - with - a - slash - through - it. But Mackelway has n't seen the guy's face yet. MACKELWAY Sir? -LRB- Charlton turns. -RRB- We got an i.d. yet? CHARLTON Mmm - hmm. -LRB- Mackelway waits. -RRB- Might wan na find yourself a fender. You're gon na need to sit down. -LRB- Mackelway's still waiting. -RRB- It's Virgil Ray Starkey. Mackelway pales. We stay on him for a moment as it registers. The man he caught, and then lost, has killed again. No. God, no. MACKELWAY -LRB- struggling for composure :. -RRB- Starkey did this? CHARLTON No. Starkey's the one on the ground. Mackelway pauses, thinks he must've heard wrong. But he turns toward the face, as ANOTHER FLASHBULB illuminates it, searing the image into the darkness. Starkey. Dead. His eyelids ripped away. Mackelway stares, stunned. Ca n't fucking believe it. MACKELWAY -LRB- breathless. -RRB- My God. It's like looking at a ghost - a spectre that's been haunting him, dead now. Mackelway pulls out his Minox, starts photographing, moving in on those LIDLESS EYES. GRIEVES Gon na make a wallet - size of that one? CHARLTON Give him a break, Grieves. Mackelway does n't comment. Just keeps snapping shots.","INT. FBI OFFICE - MACKELWAY'S CUBICLE - MORNING The number of HAVE YOU SEEN ME's has now grown, quite a bit. 45 PAGES sit stacked on Mackelway's desk. 45 victims. He grabs the stack, rises. Heading for the Conference Room, he nearly bumps into Katie, the Receptionist, rounding a corner. MACKELWAY ` Scuse me. She smiles. He carries the HAVE YOU SEEN ME's into :","INT. FBI OFFICE - CONFERENCE ROOM - CONTINUING A room has been dedicated solely to those three murders. On an erasure board are the words : The `` O'Ryan'' Room. On one wall is the MAP Mackelway took from Hope House : over a thousand CITIES circled by O'Ryan himself. Mackelway puts down the stack of HAVE YOU SEEN ME's. Picks up a box of YELLOW STICK - PINS, affixing them to the map - one for every faxed face. Here's `` Jason Corey, Age 14.'' Last seen in `` Riverside, Ca.'' on `` 10 - 16 - 99.'' Sure enough, O'Ryan had circled `` Riverside, Ca.'' on this map. Next to it he'd written `` 10 - 16.'' Mackelway sticks a yellow pin in Riverside. Next, the fax concerning `` Anna Casitas, Age 22.'' Last Seen? `` Macon, Ga.'' on `` 5 - 6 - 00.'' Of course, O'Ryan had circled `` Macon'' too. Beside it he'd written `` 5 - 6.'' So Macon gets a yellow pin. Mackelway continues, as : FRAN -LRB- O.S. -RRB- Got nothing on the last fax. Mackelway turns. In comes Fran. FRAN -LRB- CONT'D. -RRB- Came from a business center at a Mariott in Dallas. Nobody saw who sent it. Mackelway nods. Then they both turn. Charlton enters the room. CHARLTON Whadda we know about the map? MACKELWAY It matches the faxes, Sir. Almost perfectly. Charlton approaches the map : 1,242 cities, circled in red. Mackelway continues with the yellow pins : one for every HAVE YOU SEEN ME? -LRB- 45 of them so far. -RRB- Charlton eyes the stack. 45 HAVE YOU SEEN ME's. Then the map : 1,242 cities. Each with a DATE beside it. CHARLTON Why's Greenville in blue? -LRB- Mackelway has put a yellow pin beside a dozen cities. but tiny Greenville, Texas has a BLUE PIN beside it. -RRB- MACKELWAY Only city where the date on the fax and the date on the map did n't correspond. He pulls out a fax from the stack : a Korean boy named `` Steven Kim. Age 16. Last Seen : Greenville, Tx. Date of Disappearance : 8 - 7 - 98.'' MACKELWAY -LRB- CONT'D. -RRB- Fax lists the date of disappearance as August 7. On the map he's written `` 10 - 26.'' The DATE on O'Ryan's map reads `` 10 - 26'' beside Greenville, Tx. So Greenville gets the only blue pin on this map. Charlton notes today's date : October 17. CHARLTON Any of these bodies been recovered? MACKELWAY Two so far. Female, disappeared from Dayton, Ohio on April 12. And a male, Trenton, New Jersey, January 5th. On the MAP, Dayton's got `` 4/12'' written beside it. Trenton has `` 1/5.'' Both have yellow pins in them. MACKELWAY -LRB- CONT'D. -RRB- But both bodies were found over a thousand miles from where they'd last been seen. One in Montana, the other in Oregon. Got autopsy reports on both. Charlton looks to the table, where AUTOPSY REPORTS and AUTOPSY PHOTOS sit - two victims we've never seen before. We see the VICTIMS photographed face up, face down, waist and above, waist and below. Charlton gives the photos a cursory glance, nothing more. But we notice something, on one of the bodies : the male from Trenton - an odd BURN MARK on his lower left calf. Looks almost symmetrical, horizontal across the calf. CHARLTON Either of the bodies have the zero on them? MACKELWAY No, Sir. Charlton, frustrated, SHOVES THOSE AUTOPSY PHOTOS ASIDE. We look to that MAP, a handful of yellow pins in it. that same map, over a HUNDRED YELLOW PINS in it now.","INT. FBI OFFICE - \"O'RYAN ROOM\" - NIGHT It's 8:30 at night. Mackelway is alone in here - staring at the map. He's been doing a lot of that lately. The stack of HAVE YOU SEEN ME's has grown as well. Every one of them corresponds to a yellow pin on the map. -LRB- Some of the HAVE YOU SEEN ME's have arrived via U.S. MAIL. We see a stack of ENVELOPES in a box, each sealed in PLASTIC, each stamped and addressed to Mackelway. -RRB- Mackelway eyes the map, puzzling. Fran's right beside him. Assorted papers and leads fill this room, including photos he took himself with that Minox. FRAN Why you? MACKELWAY Huh? FRAN He could be sending these to any agent in any office in the country. But he's sending them to you. Why? Mackelway's been asking himself that same question lately. MACKELWAY I do n't know. PHONE RINGS. She grabs it. FRAN -LRB- INTO PHONE. -RRB- This is Agent Kulok. -LRB- a beat. -RRB- Who's calling? She hears the answer, then covers the phone. FRAN -LRB- CONT'D. -RRB- -LRB- to Mackelway :. -RRB- Do you know a professor named Daitz? Says he's from Tulane. MACKELWAY -LRB- eagerly. -RRB- Yeah. Criminal Psych. I've been trading e - mails with him. FRAN -LRB- INTO PHONE. -RRB- One moment, please. She hands him the phone.","EXT. TULANE UNIVERSITY - ESTABLISHING - NIGHT A beautiful campus, quiet tonight. In its center lies a vast, expensive structure - the Behavioral Sciences Building. The place goes on forever.","INT. TULANE - BEHAVIORAL SCIENCES BUILDING - SAME Mackelway exits an elevator on the `` B - 1 Level.'' Corridors octopus their way from these elevators, confusing us.","INT. BUILDING CORRIDOR - MOMENTS LATER Every door looks the same. Mackelway follows the numbers - ca n't believe how long these hallways are. Turns a corner. Air can be heard, moving through the corridor. But he has found the right number, at last. A tiny CARD fastened to a wall reads, `` Dr. Emile Daitz, Professor Emeritus, Criminal Psychology.'' It also lists his office hours. Mackelway knocks at a door. MACKELWAY Professor Daitz? O'RYAN -LRB- O.S. -RRB- Yes? Mackelway opens the door. Looks inside. Here sits O'Ryan, looking as much like a tweedy professor as he can look. He rises, smiles warmly. O'RYAN -LRB- CONT'D. -RRB- Agent Mackelway. Come in.","INT. DAITZ' OFFICE - LATER NIGHT A tiny, cramped hovel. Books, papers, and all of it jammed to overflowing. Mackelway sits across from O'Ryan. O'RYAN -LRB- as `` Daitz :''. -RRB-. The name of this theory was `` Suspect Zero.'' -LRB- Mackelway nods. -RRB- The idea of Suspect Zero posits that if a serial killer were diabolical enough, he could traverse the country without ever being caught, killing randomly. There's a COLLECTION here in a glass case : ANCIENT WEAPONS - crude knives, swords, blow - darts. Mackelway notes them. O'RYAN -LRB- CONT'D. -RRB- Tell me, what makes a killer catchable? MACKELWAY Patterns, repetition of behavior. O'RYAN Now imagine a killer with no patterns, no tell - tale fetishes, no rituals, no hidden desire to be caught. A perfect vessel of evil, killing without ever leaving a single meaningful clue in his wake. He'd be immune to capture, would n't he? Your task forces, your forensics teams - they'd be helpless. Mackelway looks over Daitz' bookshelf : volume after volume about evil, the devil, the minds of sociopaths, the history of serial - killers, ritual killers, tribal rites. MACKELWAY Is that something you believe in, Professor? Evil? O'RYAN As a citizen of the world, it's hard not to. Would n't you say? -LRB- Mackelway ca n't argue. -RRB- Evil is all around us, I think - a part of the natural order of things. Like gravity. Like wind. A vast black wave, corrupting everything it touches. A virus invades a cell, causing it to dysfunction. Perfectly logical. But did it ever occur to you that something may have invaded that virus, something capable of using it to mutate so powerfully? Mackelway pauses, considering that. O'RYAN -LRB- CONT'D. -RRB- Just because something's invisible to us does n't mean it does n't exist. Mackelway is silent : Something's off here. But he ca n't say for sure just yet what it is. O'RYAN -LRB- CONT'D. -RRB- Have you ever seen a fifty - foot shark? That was n't just the echo of a question he's heard before ; it was a red flag. A big one. Mackelway tightens. MACKELWAY I'm sorry? O'RYAN A shark, as we know, will only attack humans if he runs out of food. But biologists have theorized that for a shark of fifty feet the ocean would be an endless buffet. He'd never run out of food, so he'd have no need to come to the surface. Consequently, we would never see him. Do you follow? -LRB- Mackelway does n't. -RRB- We'll never see one. But that does n't mean they do n't exist. Hence Suspect Zero. Mackelway eyes those books on evil, then those ancient weapons. Casually, almost imperceptibly, he reaches for his sidearm, as O'Ryan continues : O'RYAN -LRB- CONT'D. -RRB- Some of my colleagues think I'm fascinated with evil. I think the truth is just the opposite : evil is fascinated with us. What better vehicle could there be for creating havoc in the world - what better instrument - than Man? We're vain, we're stubborn, we're deceitful, we have an imagination that is limitless in its perversions. Of course Evil keeps trying to harness us. Would n't you? The more he talks, the closer Mackelway comes to extracting that gun. Then, disturbing the silence, a KNOCK at the door. O'RYAN -LRB- CONT'D. -RRB- Excuse me. O'Ryan rises, goes to the door. as Mackelway unholsters his gun. O'Ryan opens the door. Standing here is a COED, with a backpack. She looks confused. COED Oh. I'm sorry. I was looking for Professor - Just like that, O'Ryan has bolted past the Coed, literally tossing her onto Mackelway, exploding into the hall. She screams. Mackelway grabs her, moves her aside as gently as time allows, then blows out of the room.","INT. BUILDING - BASEMENT CORRIDOR - CONTINUING O'Ryan turns a corner, vanishing. Mackelway follows.","INT. BUILDING - CORRIDOR CORNER - CONTINUING Mackelway finds himself facing another endless corridor : One door after another, for what seems like a mile. But no O'Ryan. Then Mackelway spots an EXIT SIGN. A stairwell.","INT. STAIRWELL - CONTINUING Mackelway enters. The stairs go six stories UP from here. and one story DOWN. A sub - basement. It's a guess. He descends, gun drawn.","INT. SUB-BASEMENT - CONTINUING Mackelway emerges. `` B - 2'' looks a lot like B - 1 : long and endless. We hear air moving around us, pipes carrying water, the wheezing of an old generator. And, on all sides of us, DOOES, a mile of them : maintenance offices, supply rooms, labs. He opens one - a janitor's supply. No one in here. Tries another door. Locked. A second. Locked. A third. Locked. Air sucks through a corridor around us. He thinks he hears footsteps around a corner. Runs at them.","INT. SUB-BASEMENT - CORNER - CONTINUING Nothing. No one. Just another vast corridor. More doors. Then, a sound. GLASS, shattering on the floor. He runs down the corridor, passing a long metal CAGE that houses this building's FIVE FURNACES. They're old and wheezy. It's dark behind them, shadowy. Not a bad place to hide. Farther down the corridor is another door - made of frosted glass. A sign on it reads `` Neuropsychiatric Lab.'' That's where the sound came from. he thinks.","INT. SUB-BASEMENT - LAB - CONTINUING Mackelway enters. The lab is dark. He throws on every light switch within reach. and finds himself standing over the shards of what used to be a GLASS BEAKER. So he's in the right place. He scans it : five rows of work - stations, ten microscopes per row, each with a sink beside it. Lining the walls are wide CABINETS. But there's also a MINI - LIBRARY down here : Four rows of BOOKSHELVES, housing medical journals. These are the `` stacks'' - perfect for hiding behind. He plunges in. Row # 1. Does n't see anyone. Then Row # 2, Row # 3, Row # 4. Okay, the stacks check out. He walks along the rows of work - stations, scanning, crouching, nudging open cabinets. One has been opened : Bottles of SOLUTIONS sit inside it. And a JAR that's been unsealed : It's got GAUZE PADS in it. In the back of the room, an INSTRUCTOR'S DESK awaits. It's tall enough to hide beneath. Mackelway slinks around it. Kneels down, looking into darkness. Then, a NOISE. The FRONT DOOR of this lab just swung open. And O'Ryan just bolted out. Fuck.","INT. SUB-BASEMENT - CORRIDOR - CONTINUING Mackelway emerges from the lab. Those furnaces whine beside him on the other side of that cage. But a GATE on that cage has been left ajar.","INT. \"FURNACE ROOM\" - CONTINUING Five furnaces, separated from the sub - basement corridor by steel mesh. Mackelway enters. A few meager BULBS burn. He moves amidst shadow and noise : the chugging of engines, the humming, the wheezing, a slight vibration to the floor beneath us. He walks along the edge of Furnace # 1. and is assaulted, from above. O'Ryan falls on him, knocking Mackelway hard into the sharp CORNER of that furnace, then down to the ground. Mackelway's gun skids across the floor. And his mouth, suddenly, has been covered with gauze. He wants to fight back. but suddenly he finds that his head is swimming. Something's on that gauze. The room is getting fuzzy. We see the belly of a furnace - flames, heat. Then our own BLOOD. -LRB- Mackelway's CHEST was torn open by the corner of that furnace. -RRB- Wait. Did we just see the glint of a KNIFE? O'Ryan is leaning over us, in utter control. Then O'Ryan's head turns, abruptly - at the sound of FOOTSTEPS. And we hear : MALE VOICE -LRB- O.S. -RRB- Hey! You! What're you doing down here! We turn, groggily. TWO JANITORS rush toward us, keys jangling. It's all foggy, wavy, distorted. We see O'Ryan RISE. Then everything goes black.","INT. A HOSPITAL ROOM - MORNING Mackelway's head is ringing. Feels like he can hear electricity in the walls around him. Slowly, he awakens. Above him are fluorescent lights. Monitors blink. Fran is here. So's Charlton. Mackelway tries to sit up. The shock of pain from his chest stops him. FRAN How ya doin'? Mackelway half - nods. His chest is bandaged. CHARLTON We're gon na need everything you can remember about this guy, Tom. Physical description, any kind of distinguishing characteristics. That was terse. Charlton looks pretty pissed - off. MACKELWAY -LRB- scratchy. -RRB- Where is he? CHARLTON The suspect fled. Couple janitors walked in on it. -LRB- before Mack can ask :. -RRB- They're fine. But the description they gave of him was n't worth a damn. Mackelway nods. CHARLTON -LRB- CONT'D. -RRB- Case you're curious the real Professor Daitz is on sabbatical, out of the country. We ca n't find him. -LRB- Mackelway nods. -RRB- Whose idea was it to meet there? MACKELWAY His, Sir. CHARLTON Uh - huh. Did he ask you to come alone? MACKELWAY No, Sir. CHARLTON But you figured you'd get a bigger pat on the head if you wrapped this whole thing up without any help - is that it? The truth? Charlton has him pegged. But : FRAN Sir, I'm the one who took the call. Agent Mackelway was acting under the assumption that I'd already checked the guy out. We're both to blame. Hold it. That was a major exaggeration, if not an outright lie. Mackelway eyes her, thrown. She's poker - faced. Charlton, however, seems unmoved. CHARLTON Did Agent Mackelway attend the interview unaccompanied? FRAN -LRB- reluctantly. -RRB- Yes, Sir. CHARLTON Then whose fuck - up is it? Mackelway eyes her : `` Thanks for trying.'' She nods. MACKELWAY -LRB- at Charlton. -RRB- It was. poor judgment, Sir. CHARLTON You wan na work alone, start your own agency. Mackelway can do nothing but nod. Then, bailing him out, another COMPOSITE ARTIST enters, tools in hand. Charlton sighs, frustrated. CHARLTON -LRB- CONT'D. -RRB- -LRB- re : Composite Artist. -RRB- Let's get you two started. Composite Artist is ready to begin.","INT. BAPTIST CHURCH - DAY A lively Sunday Service. Lots of Baptists, singing a rousing spiritual. Music and praise filling the room. We move along the pews, until we came to the very back row. There, one man sits. Alone. Quiet. O'Ryan. Odd expression on his face - it's as if he ca n't hear this rousing music, or feel the power of this place. People in the next row are stomping their feet. Music soars. But O'Ryan just drops his head, slowly. and begins to WEEP in the middle of this boisterous congregation. Outside, an 18 - WHEEL TRUCK can be heard, rumbling by with great force. No one else in here seems to hear it. But O'Ryan shuts his eyes tight, grieving, sobbing.","EXT. STREET - OUTSIDE THE CHURCH - CONTINUING That TRUCK has just thundered by, leaving a swirl of debris in its wake. We TILT UP from it. to find that those STORMCLOUDS once in the distance are upon us now. And they are pulsing with menace. Rain, wind, lightning, thunder. Like a black wave, about to descend. INTERCUT WITH/INT. FBI OFFICE - `` FAX ROOM'' - SAME One of those five FAX MACHINES begins to ring. Then it begins to PRINT. It's a Sunday. No one's here. but we get a look at what's coming in. Same TOP - SHEET again : `` Attention Agent Thomas Mackelway'' etc.. CONTINUE INTERCUT : this incoming fax, set against a few tableaus of Americana. Innocence.","EXT. HIGH SCHOOL FOOTBALL STADIUM - SAME A high school MARCHING BAND is out here, practicing. Cheerleaders work on their routines nearby. Then a LOUD WHISTLE SOUNDS. It's the BAND - LEADER, who is taking note of the weather gathering overhead. The music from the band ceases. BAND-LEADER Everybody into the gym! The band - members start to move. LIGHTNING erupts overhead.","EXT. UNIDENTIFIED HOME - BACKYARD - SAME An unnamed MOTHER emerges onto her back - porch, where her FIVE - YEAR OLD DAUGHTER is having a playdate with a FRIEND. This house borders a wooded area. That wind is starting to make the trees swirl. MOTHER Girls, I want you to come in now. Startin' to rain. The girls sigh, disappointed, deciding instead to hide themselves inside the TENT they've erected out here. They giggle. The mother does n't. CONTINUE INTERCUT :","INT. FBI OFFICE - \"FAX ROOM\" - RESUMING That fax is now printing page after page. Photos with HAVE YOU SEEN ME? across the top and vitals across the bottom. But this time the transmission is n't stopping at five. There are at least TEN sitting in the tray. Maybe twenty. Faces. Eyes. Stats. Locations. Innocence violated.","EXT. PARK - SAME A SOCCER GAME's been called in the middle of the Second Half. PARENTS and their uniformed 12 YEAR - OLDS scatter. RAIN is pouring down now, blown sideways by that wind.","INT. THE 18-WHEELER - SAME That massive, gleaming beast that rumbled past the church now rolls right by this park - as all of those kids and their parents scramble for the shelter of their cars. The windshield wipers on this truck push water away, giving us a clear look at the wet suburban chaos.","INT. BAPTIST CHURCH - RESUMING The faithful in here keep singing, their voices full with praise - despite the heavy weather outside. They feel safe in here. We move along the PEWS. until we find O'Ryan's. He's not here anymore.","EXT. BAPTIST CHURCH - SAME O'Ryan leans against the door of the church, pelted by that heavy rain. BAM! Here comes those IMAGES AGAIN :","EXT. WHEAT FIELD - NIGHT - RESUMING Tall wheat, whipped by wind and rain. A muzzle - flash. The sound of a body slumping hard to the ground. and Mackelway, looking over us. Then :","EXT. BAPTIST CHURCH - RESUMING We're back with O'Ryan. He leans against the door, his torment constant. He walks away from the church, into that heavy rain.","INT. FBI OFFICE - \"FAX ROOM\" - RESUMING The fax tray has overflown onto the floor - 200 more photos, 200 more HAVE YOU SEEN ME's. Forgotten victims. We hear a last rumble from that 18 - WHEELER. END INTERCUT.","INT. FBI OFFICE - \"O'RYAN ROOM\" - LATE NIGHT Now there are 800 YELLOW PINS stuck in this map - one for every single FAX or LETTER that's been received in the past weeks. 800 faces. 800 HAVE YOU SEEN ME's, represented by 800 pins in 800 cities. It's like a national plague. Mackelway sits, examining it soberly. His chest - wound is killing him. -LRB- We see a thick bandage beneath his shirt. -RRB- In his pocket now is a bottle of PRESCRIPTION PILLS. Percodan. He slugs one down without water, his eyes never straying from that map. Beside it is a COMPOSITE DRAWING from O'Ryan, taken from Mackelway's description. It's dead - on.","EXT. LONGHORN DINER WICHITA FALLS - NIGHT - ESTABLISHING This is the lone source of light on an otherwise dark stretch of road. Mackelway's Yukon pulls up.","INT. LONGHORN DINER WICHITA FALLS - MOMENTS LATER Hardly a sound in here. Mackelway stands at the register, paying for his TAKE - OUT. Another night with nothing but his thoughts for company. Great. Then : A YOUNG WOMAN'S VOICE -LRB- O.S. -RRB- Agent Mackelway? It's Katie, the receptionist from his office - sitting by herself in a nearby booth. Mackelway smiles. KATIE -LRB- CONT'D. -RRB- Hi.","INT. KATIE'S APARTMENT - BEDROOM - LATER NIGHT Inexpensive, but furnished with all the touches that Mackelway's apartment lacks : flea - market stuff, lace, antique books, photos from other eras. Character. And candles. Lots of candles. They throw SHADOWS of Mackelway and Katie all over the walls. An odd MUSIC fills the room, coming from a BOOM - BOX on the floor. It's a rhythmic Navajo CHANT, with Native - American drums providing the pulse. It's eery, tuneless, but awfully authentic. and it fits the intensity of the moment : Mackelway and Katie, coupling madly, their eyes locked. She's breathless. First time we've seen him shirtless since his injury in that furnace room. A FAT BANDAGE covers a quarter of his chest. Dried blood can be seen beneath it. There's an intensity in his eyes. The chanting, the candles, Katie's body, his wound. they've conspired to bring an intensity into his eyes. It's dark, primal. And he's been expressing it for an hour without relent. which is why Katie gasps one last gasp, then rolls to the edge of the bed, exhausted. She reaches for that boom - box, lowers the volume. The chanting dies down into silence. She catches her breath. KATIE -LRB- softly. -RRB- I ca n't anymore. Mackelway eyes her, then reaches past her, and turns the VOLUME on that boom - box back UP. The chanting fills the room again. And just like that, he has pulled her back onto him, urgently. That primal side has n't been sated yet.","INT. KATIE'S APT. - BATHROOM - LATER NIGHT Mackelway stands at the mirror, changing the dressing on that wound across his chest. He unwraps the gauze over that fat bandage soaked through with blood. He pulls the bandage off, giving us a better look at the deep gash. Dried blood, torn skin, bruising. Looks like hell. But Mackelway eyes it calmly. He slugs down some beer from a nearby bottle, then cleans the wound with some Hydrogen Peroxide. as Katie appears in the doorway. She eyes him. KATIE Ca n't sleep? He shrugs, turns. MACKELWAY What was that music? KATIE It's Navajo. A song for dead warriors. I never played it for anybody before. -LRB- a beat. -RRB- Just had a feeling you'd like it. MACKELWAY How? KATIE I dunno. The way you stare when you think nobody's looking. She shrugs. Silence hovers.","INT. KATIE'S APT. - BEDROOM - PRE-DAWN 4:30 a.m. Rain pounds the window and roof, a real storm out there. The boom box is still. The candles are down to their nubs. Katie continues to sleep. Mackelway too. Then his eyes SNAP OPEN. Something just hit him, something huge. One of those 4:30 - in - the - morning ideas that has to be expressed. Now.","INT. HOTEL HALLWAY - 5 A.M. Mackelway stands outside Room 217 at a Mariott. He's just knocked on the door. Fran opens it, in a robe. Very confused. He looks manic. FRAN What're you - MACKELWAY I ca n't get a read on this guy. Two minutes ago, she was sound asleep. FRAN Huh? MACKELWAY Why is he sending us all this shit? I've got 800 pins in that map, 800 missing people. What's he telling us? She gets it now : he's on a combination of painkillers and lack of sleep. Or maybe she can sense where he's been. MACKELWAY -LRB- CONT'D. -RRB- -LRB- rapid - fire. -RRB- He kills a travelling salesman, then a school - teacher. Then Starkey? It does n't connect. FRAN You're a mess. MACKELWAY I'm fine. I'm clear. I just did n't think this could wait. Fran, this guy is trying to point us at something. Starkey's part of it. But the other two do n't connect. FRAN Did you drive here? MACKELWAY I'm fine! I just need somebody to think this through with me! He wanted to meet me. It's like he was interviewing me somehow. What is that? Then he kills Starkey. So what was he doing with Speck and Fulcher? FRAN You wan na come in? MACKELWAY No. No. You come out. Get dressed. FRAN Out where? MACKELWAY I dunno. Somewhere. We're right on the edge of this thing. She studies him. A long beat. FRAN I'm going back to bed. You're welcome to the couch if you want. I think you could do with some sleep. He sags a bit. She reaches for his hand. FRAN -LRB- CONT'D. -RRB- -LRB- gently. -RRB- Mack. Just like that, there is contact. Their hands. It surprises them both. He appreciates it, but now's not the time. So he smiles thinly, turns, and goes. She watches him vanish around a corner.","EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. We've been to this house before. Suburbia. Mackelway sits in his car, at the curb, studying the place. Rain falls in sheets, wind blows. And there he is, all alone, six in the morning, staring at a house. That idea - the thought that snapped his eyes open - it's still working on him. Beside him is the DRAWING that was found in Speck's car : The rendering of a steamer - trunk, lined with plastic, containing body parts in plastic bags. Mackelway seems to be fixated on it now.","EXT. SPECK'S HOUSE - 9:15 A.M. A hand knocks on the front door. Jan Speck opens up. JAN -LRB- hoping for good news :. -RRB- Agent Mackelway? Mackelway stands in the doorway, rain falling behind him. MACKELWAY -LRB- all business. -RRB- Mrs. Speck. Just had a few more questions.","INT. SPECK'S HOUSE - LIVING ROOM - MOMENTS LATER Mackelway sits at the WINDOW, looking over the backyard. Nothing special out here : some trees, a swing, a storm - cellar door. But he's staring at it, intently. We're not sure why. Behind him, Jan re - enters, purse over her shoulder, umbrella in hand. She grabs his cup of coffee and saucer from the coffee table. JAN I'm sorry I do n't have more time, Agent Mackelway. It's my PTA Day. MACKELWAY It's fine. I should've called. She smiles tightly : `` I have to go now'' and heads for the kitchen. Once she's there, Mackelway turns to the BACK DOOR and UNLOCKS IT, eyeing that storm - cellar outside. She leaves the cup in the sink. He enters the kitchen. JAN I hope I was of some help. MACKELWAY You were. Thanks. JAN A friend of mine said I'll feel like this one month for every year we were together. Sort of a grieving rule - of - thumb. Have you ever heard that? MACKELWAY -LRB- gently. -RRB- No. Sorry. She half - smiles. He turns to the door. Turns back. MACKELWAY -LRB- CONT'D. -RRB- Oh. There was one other thing : Did he keep any kind of chemicals around the house? Acids, that sort of thing? JAN No. Why? He shrugs, dismissing it : MACKELWAY It's nothing. Trace elements we found on his trunk. Any interest in chemistry? Maybe as a hobby? Jan pauses for a moment, as if recovering a faint memory. Then she shakes it off. He lets it go. MACKELWAY -LRB- CONT'D. -RRB- Anyway, thank you. And thanks for the coffee. Next time I'll call first, I promise. JAN No trouble at all.","EXT. SPECK'S HOUSE - MOMENTS LATER Mackelway sits in his car. Through his windshield we see Jan as she backs out of the driveway. She pulls past us, giving Mackelway as friendly a wave as a grieving widow can give. He waves back. Then she's gone, disappearing around a corner. Mackelway pauses a beat, checking his rear - view mirror to be sure. Then he gets out of his car.","EXT. SPECK'S HOUSE - SIDE GATE - MOMENTS LATER Mackelway sneaks around the side of the house, pulling on a lever to unlatch the side - gate.","EXT. SPECK'S HOUSE - BACKYARD - CONTINUING He emerges into the tiny backyard, making a bee - line for that storm cellar door. He knows he should n't be doing this. It's beyond risky. But here he is, without a warrant. There's no lock on the cellar door. He reaches for it. Then he stops himself. Just noticed something : A NEIGHBOR - LADY, visible just over Speck's backyard fence, is looking right at him through her bedroom window. Fuck it. He enters the storm cellar.","INT. SPECK'S STORM CELLAR - CONTINUING Seven steps, leading to a dusty cement floor. Mackelway looks around. Facing him are the things a meticulous man would store in case of disaster : Cans of food, sternos, sleeping mats, drums of potable water. And long FOOT - LOCKERS. Two of them. That's where Mackelway's eyes go, instantly. He hurries to them. Throws one open. Nothing but sheets and blankets inside. He paws through it. finding nothing else. He throws the other trunk open. Inside? Pillows. Fuck. He slams it shut, looks to those cans of food, stacked on shelves. He approaches the shelves, jostling cans from their rows, making more noise than he ought to. But he finds nothing behind them. except more cans. He approaches those two huge drums of water, lugs them aside. Behind them is a tall CUPBOARD, locked. He pulls at the cupboard door, hard. It splinters. Inside, a rifle and some boxes of ammo. same as you'd find in every other storm - cellar in Texas. He pauses : Am I crazy?","EXT. SPECK'S BACKYARD - MOMENTS LATER He emerges from the storm - cellar, confused. Shuts the storm - cellar door. Then he turns. Something else just caught his eye : Above Speck's bedroom window is another window, a tiny one. An attic. He heads for that UNLOCKED BACK DOOR, and enters.","INT. SPECK'S HOUSE - LIVING ROOM - CONTINUING He hurries toward the stairs, reaches them. then spots something through the Entry Hall window : On the street outside, pulling up to the curb. is a POLICE CAR. Sirens off. That Neighbor - Lady must've placed the call. And here's Mackelway, without a warrant. Shit. Two ABILENE COPS get out, approaching the house. Mackelway climbs the stairs.","INT. SPECK'S HOUSE - STAIRS - CONTINUING If he stays quiet, he might just pull this off.","INT. SPECK'S HOUSE - SECOND STORY - CONTINUING A tiny hallway, with four doors. Up ahead, dangling from the ceiling, is a tiny rope which promises a set of hidden fold - out stairs. and an attic. Mackelway tugs on the rope. The fold - out stairs drop down out of the ceiling. Then he hears : NEIGHBOR LADY -LRB- O.S. -RRB- He's inside! He's inside! Went in through the back! which means he has mere seconds before this all blows to hell. So he climbs up those fold - out stairs. The two ABILENE COPS now circle the house, entering through the back - porch door, just as Mackelway did. He pulls up the folding stairs. Maybe the guys'll do a half - assed search and then leave.","INT. SPECK'S HOUSE - ATTIC_- CONTINUING Mackelway looks around : lots of dusty junk around here - old clothes, mementoes. and one more trunk. A steamer - trunk. Huge. And locked. Looks just like the one in that DRAWING rendered by O'Ryan. Mackelway races for it. Takes out his gun, uses the butt - end to bust the lock off. Throws it open. as we hear the sound of those fold - out steps, being tugged down from the second - floor hallway. And : ABILENE COP #1 -LRB- O.S. -RRB- Freeze, Asshole! The COP is just ten feet away, most of him still concealed by those steps - gun trained right on us. But Mackelway seems utterly untroubled. MACKELWAY -LRB- calmly. -RRB- It's okay, Fellas. FBI. ABILENE COP #1 I'll bet. Mackelway drops his gun, kicks it toward the cop, who does n't quite know what to make of that. Also confusing him is the odd smile playing its way across Mackelway's face. But we understand it now : The inside of that steamer - trunk is filled with BODY PARTS : bagged, stacked, and sealed in Ziplocs. Powdered LIME is sprinkled on them. Mackelway stares, at once satisfied and sickened. COP # 1 can be heard, approaching across the attic floor. His gun is drawn. until he too sees what's in there. ABILENE COP #1 -LRB- CONT'D. -RRB- Oh Jesus Christ. a Grammar - School CLASS PICTURE : of Barney Fulcher and his 2nd Graders, sitting on a mantle. We are.","INT. FULCHER'S HOME - LIVING ROOM - BOULDER - DAY That picture sits beside other photos, awards, plaques - all celebrating Fulcher's career in Colorado education. We turn away from that mantle, blowing through this modest Living Room, finding an open door - leading down to :","INT. FULCHER'S HOME - BASEMENT - CONTINUING Down the steps we go, until we hear the HUM of an old FREEZER. We turn toward the sound. The freezer is open. A team of FORENSICS GUYS study it. Inside this freezer, frozen into a block of ice. are six female HANDS. No arms, no heads. Just six slender hands, each with a wedding band on the ring finger. Mackelway stands in the back of this basement, taking it all in. He looks to Charlton, who is expressionless.","EXT. FULCHER'S HOUSE - DUSK Close on Mackelway as he returns to his Yukon satisfied. He is pleased with himself. Out of nowhere, a firm hand grasps his right shoulder stopping him. Mackelway turns abruptly, finding himself sandwiched between his Yukon and Charlton, who is now in his face. CHARLTON Listen to me Cowboy. You have any idea the kind of favors I had to pull with the Abilene cops to cover your ass?! MACKELWAY Sir. CHARLTON -LRB- not allowing him to talk. -RRB- Breaking and ENTERING the Speck house without a shred of evidence and NO WARRANT?! MACKELWAY -LRB- not going down without a fight. -RRB- The sample I took from Speck's bumper. It's crystallized sulfuric acid mixed with oil of Clove, the clove neutralizes the odor of the acid. Charlton shakes his head, he is not getting through. MACKELWAY -LRB- CONT'D. -RRB- It was SPECK not his killer who was hiding something. CHARLTON Ever ask yourself why a big shot agent from Dallas gets sent down to the Wichita Falls Field Office? I'll give you TWO WORDS. Hell I'll even write it down for ya. Charlton leans in to emphasize his point. He pulls out a pad and pencil from his breast pocket and writes what he says using Mackelway's chest as support. It's humiliating. CHARLTON -LRB- CONT'D. -RRB- `` EVIDENTIARY PROCEDURE.'' Do n't talk about it. Learn it. Those words just hang there, haunting Mackelway. Charlton tears off the sheet with those two words and stuffs them into Mackelway's hand. CHARLTON -LRB- CONT'D. -RRB- Turns out you were right about this guy. You were right about both of them. But that does n't change the fact that you went about your business like a rookie. Got it? Charlton turns, the buzz of a street lamp breaks the silence throwing a circle of light around the Yukon. Mackelway watches as Charlton puts on his headlights and drives away. A sudden gust of wind tears that piece of paper out of Mackelway's hand, he stares at it, as it disappears into darkness.","INT. FBI OFFICE - THE O'RYAN ROOM - EVENING Everything yet known about the murders of Speck, Fulcher, and Starkey fills the wall space in here : We see O'Ryan's MAP : All those yellow pins. and the one blue one, -LRB- Greenville, Tx. -RRB- Also, that DRAWING : of the ghastly Ziploc bags inside a steamer trunk. Damn thing seems prescient now. Agents mill about, awaiting a conference. GRIEVES -LRB- passing by. -RRB- Nice job, Mack. MACKELWAY Thanks. A few OTHER AGENTS also pat him on the back. Fran's proud of him too - we can see it. In fact everyone in here seems to be giving Mackelway his due. It all feels good. Charlton enters. CHARLTON Seated please. The agents find seats around the table. Charlton takes his place at the head of it. CHARLTON -LRB- CONT'D. -RRB- -LRB- to the assembled :. -RRB- Okay. We've got a serial killer of serial killers. Fran scribbles something on a piece of paper : `` What a genius!'' Slides it over. Mackelway conceals the note, as : CHARLTON -LRB- CONT'D. -RRB- -LRB- still grand - standing. -RRB- He's a transient with a history of mental illness. He also happens to think he's a former agent of this Bureau. And he is pursuing something that he calls `` Suspect Zero.'' Anybody got anything intelligent to say? Nobody's volunteering. There's just silence. CHARLTON -LRB- CONT'D. -RRB- -LRB- familiar refrain. -RRB- That's what I thought.","EXT. WICHITA FALLS FBI OFFICE - PARKING LOT - NIGHT Mackelway exits the office, heading for his Yukon. Then he stops. because Katie is waiting out here, leaning against her Toyota Camry. MACKELWAY -LRB- fondly. -RRB- Hey. KATIE Somethin', huh? Guy with a wife and kids keepin' bodies in his attic? He nods. but what is she doing out here? MACKELWAY Yeah. -LRB- a beat. -RRB- You okay? KATIE Yeah. Just. Wondered if you could do me a favor. Mackelway waits. as Katie hands over a manila envelope. Mackelway opens it. Inside, a photo of a heartbreakingly - sweet 22 year - old girl named KAREN SUMPTER, with an attached sheet listing her vitals : height, weight, age, etc.. Another face. Another disappearance. KATIE -LRB- CONT'D. -RRB- Her name's Karen Sumpter. We were friends. -LRB- almost reluctantly. -RRB- She disappeared last year. Nobody knows where. She was a little wild, but not like that. Her sadness is obvious. Mackelway nods. KATIE -LRB- CONT'D. -RRB- Anyway, I know you're gon na be in on the autopsies - of the girls they found over at Speck's. Figured you might see if one of'em was. Her voice trails off. This is hard. KATIE -LRB- CONT'D. -RRB- If it is, I'd like to be the one to notify her folks. Out families've been friends for years. MACKELWAY -LRB- gently. -RRB- Sure. Of course. KATIE Thanks. ` Night. Mackelway puts the envelope under his arm. She starts up the Camry. The sky rumbles. He eyes her. For some reason, she has n't pulled away yet.","INT. KATIE'S BEDROOM - NIGHT Candles. Shadows on the wall. and Mackelway and Katie, at it again, with the sounds of that eery Navajo CHANTING coming from the boom - box. Mackelway is studying her, staring into her eyes, her breathing. She's beginning to climax now. and those eyes go wider. We MOVE INTO THEM, and : We are abruptly SLAMMED, again, INTO ANOTHER SET OF THOSE ODD, DISJOINTED IMAGES from that unidentified place :","EXT. DARKNESS - UNIDENTIFIED TIME - NIGHT Wet wind in a blur of gray. The sound of our own heavy breathing. A voice rising above the wind, pleading : VOICE -LRB- O.S. -RRB- Please.","INT. KATIE'S BEDROOM - RESUMING She is utterly lost now. And that CHANTING seems to have gotten louder somehow. IMAGES FLICK at us now : culled from that BOOK on TRIBAL RITUAL AND TRANCE, found at the halfway house : a TRIBESMAN with eyes rolling back in his head, foaming at the mouth. Mackelway tries to shake it off, tries to keep his focus on Katie. He buries his head into her neck, as :","EXT. WHEAT FIELD - NIGHT Tall wheat, wet wind. Then a MUZZLE FLASH, and a body slumping to the ground. And suddenly we are in :","INT. ANOTHER UNIDENTIFIED MOTEL ROOM - DENTON, TEXAS - NIGHT O'Ryan, at a desk. He has just `` remote viewed'' these images somehow. And they've left him rattled. It's time to get out of this room. Quickly.","EXT. ROAD - DENTON, TEXAS - SAME (NIGHT) A stolen, non - descript CHEVY pulls out of a motel room parking lot, on to the street.","INT. STOLEN CAR - DRIVING - CONTINUING O'Ryan is behind the wheel, driving.","INT. STOLEN CAR - DRIVING - MOMENTS LATER (DUSK) The radio is BLASTING - anything to shake those images out of his head. Driving, unsettled. which may be why he does n't notice that there's a SIREN wailing behind him. He looks in the rear - view. A TEXAS STATE TROOPER is on his tail. Shit. O'Ryan tightens, pulling over.","INT./EXT. STOLEN CAR - ROADSIDE - CONTINUING The TROOPER approaches, noting the condition of the vehicle. He stands before O'Ryan's window. O'Ryan's face reveals no evidence at all of anxiety. TROOPER Evening. O'RYAN Evening, Officer. TROOPER See your license, Sir? O'RYAN ` Course. Is there a problem? O'Ryan reaches into his back pocket, produces an I.D. Hands it over. Trooper eyes it. According to this i.d., we are now staring at `` James Garvey'' from Littleton, Colorado. But the Trooper does n't seem too convinced. TROOPER See your registration, please? O'RYAN Sure. O'Ryan opens up the glove compartment, starts searching through it. But it's a stall, that's obvious. TROOPER Mind stepping out of the car, please? O'Ryan pauses. There is no way in hell he's going to let himself get deterred by a State Trooper. But he gets out.","EXT. ROADSIDE - CONTINUING Trooper eyes him with caution. O'Ryan holds his hands in front of his chest, keeping them visible to the guy. O'RYAN Officer, I am carrying something that could be construed as a weapon. I'd like to hand it over, voluntarily, so you wo n't think I'm trying to conceal anything. Would that be all right? TROOPER What kind of weapon, Sir? O'RYAN It's a hunting knife, right here on my hip. Trooper notes the shape of that large, sheathed KNIFE - the one O'Ryan butchered Starkey with - visible beneath O'Ryan's shirt. O'RYAN -LRB- CONT'D. -RRB- I was on my way to the woods. My gear's in the trunk. -LRB- Trooper doubts it. -RRB- Would you like me to hand it to you? I do n't know what the procedure is for something like this. TROOPER Take the weapon off your hip, place it on the ground, and kick it toward me. O'RYAN Happy to. O'Ryan takes the knife off his hip. The size of it gets some attention from the Trooper. TROOPER What exactly were you planning on hunting, Sir? O'RYAN A fifty - foot shark. No reply. O'Ryan drops the menacing knife to the ground and kicks it toward the Trooper. Trooper, slowly, kneels down to get it - never taking his eyes off O'Ryan. O'RYAN -LRB- CONT'D. -RRB- Ya know, I used to be in law enforcement too. TROOPER -LRB- kneeling. -RRB- That right? O'RYAN Mmm - hmmm. FBI. ` Course this was some years ago. Trooper grabs the knife, straightens. Examines it. O'RYAN -LRB- CONT'D. -RRB- Psy Ops. Classified. TROOPER Had anything to drink tonight, Sir? Under medication of any kind? An 18 - WHEEL TRUCK rumbles by, distracting O'Ryan. rendering him immobile for a moment. TROOPER -LRB- CONT'D. -RRB- Sir? O'RYAN Oh. Sorry. Just found myself wondering what was inside that truck. TROOPER Sir, I'm going to ask you to hand me the keys to your vehicle, please. O'RYAN Of course. O'Ryan opens the car door. We steal a look INSIDE. he's got a GUN under the front seat. In a flash, that gun is in his hands and pointing right at the forehead of that Trooper. Trooper knows he's been had. And he knows that he's about to die.","EXT. MACKELWAY'S APARTMENT - DOORWAY - EVENING Mackelway approaches, carrying a greasy bag : another Frito Pie and a soda. Fumbles with his keys. Then he notices something, waiting on his doorstep. It's a thick FILE, roughly 150 pages, in a FOLDER. The word `` MACKELWAY'' is written across the front. He leans down, opens the folder. The light is spotty out here. but it's just strong enough to show us the expression on his face : a look of pure awe.","INT. MACKELWAY'S APARTMENT - ENTRY - CONTINUING The door bursts open. The greasy bag and the soda fall to the floor. Mackelway hurries to a phone, clutching that file. He dials hurriedly. INTERCUT WITH/INT. FRAN'S CAR - SAME We're in a PARKING LOT outside a WAL - MART. Fran's just thrown a bag into her Ford Taurus. Her CEL - PHONE RINGS. She grabs it. FRAN -LRB- INTO CEL. -RRB- Kulok. MACKELWAY -LRB- INTO PHONE. -RRB- He really was FBI. FRAN Huh? MACKELWAY O'Ryan. He left his file on my doorstep. Fran, he was FBI. He can barely believe it himself, but we get a look at what was in that file now ; PAGES are splayed across Mackelway's coffee table : A copy of an FBI I.D. BADGE, xeroxed memoes, test scores, citations, evaluations, reports. The entire career of Special Agent Benjamin O'Ryan. in black and white. FRAN That's impossible. MACKELWAY I'm look at his whole history! Citations, letters of commendation, even his fucking test scores from Quantico. The guy was an agent. FRAN I do n't believe it. MACKELWAY Listen to me - Then we hear a BEEP. Call - Waiting. Great. MACKELWAY -LRB- CONT'D. -RRB- Shit! Hold on. That irritated her. Mackelway clicks over. MACKELWAY -LRB- CONT'D. -RRB- Yes? O'RYAN -LRB- THRU PHONE. -RRB- Read anything interesting lately? Mackelway's eyes go wide. MACKELWAY Where are you? CLICK. O'Ryan's just hung up. MACKELWAY -LRB- CONT'D. -RRB- Shit! He stares at the phone, then clicks over again, re - connecting to Fran. MACKELWAY -LRB- CONT'D. -RRB- That was him. FRAN He called you at home? MACKELWAY Yes. BEEP. Call - Waiting again. FRAN Jesus. Call me back. Mackelway clicks over again without saying goodbye. MACKELWAY -LRB- INTO PHONE. -RRB- O'Ryan? O'RYAN -LRB- THRU PHONE. -RRB- I've found him, you know. MACKELWAY Who? O'RYAN Zero. MACKELWAY Zero's a myth. You made him up. O'RYAN Myths do n't kidnap little boys. Do they? MACKELWAY Do you? Sounds like O'Ryan just laughed. Then, another curve : O'RYAN Was she pretty? MACKELWAY Huh? O'RYAN I could hear her moaning, right under the Navajo chanting. Whole thing was downright tribal. What's she look like? That was unsettling. Very. Mackelway looks around feeling violated, feeling `` watched.'' He draws the blinds. Double bolts the front door. Runs his hand under the window frame for any kind of wire tapping. But Mackelway wo n't allow himself to over - react. Not now, with O'Ryan on the phone. MACKELWAY -LRB- calmly. -RRB- You tell me. O'Ryan laughs. He liked that. O'RYAN Fair enough. We'll stick to business : How'd ya like my old room? MACKELWAY Huh? O'RYAN `` Hope House.'' You were there. How the hell did he know that? It's unsettling. O'RYAN -LRB- CONT'D. -RRB- Dyson re - paint it? -LRB- no reply. -RRB- My room. Did he re - paint it? MACKELWAY Yeah. White. O'RYAN But you saw what was underneath, of course. MACKELWAY No. Tell me about it. O'RYAN No. You tell me. CLICK. O'Ryan just hung up. Mackelway stares at the phone.","INT. HOPE HOUSE - FOYER - NIGHT (9 P.M.) More rain falls outside. Lightning too. Mackelway waits here. Piper's in his usual spot in front of the TV. Dyson descends the stairs, a bit testy tonight. DYSON Welcome back. That had some edge. Mackelway does n't reply.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM/HALLWAY - NIGHT Mackelway stands in the center of this room, Dyson in the doorway. That SINGER down the hall is at it again, off - key as ever. Tonight it's the `` Gilligan's Island'' theme - song. DYSON I'll be in my office. Dyson backs away, leaving the door ajar. Now Mackelway is alone - eyeing the tiny bed, sink, window, the leaky ceiling, the bucket, the peeling paint. This room is heaving with energy. He sits on the bed, checks his watch. 9:05 p.m. Opposite this bed is that WALL, re - painted in industrial white, with the hint of a shape underneath. It's what Mackelway's come here to investigate. INTERCUT WITH.","INT. MOTEL ROOM - DENTON, TEXAS - SAME O'Ryan sits at a desk : eyes closed, writing pad at his wrist. On it, more of those unidentifiable lines become visible to us. They're called IDEOGRAMS. He holds the point of his pen down upon one of them, as if receiving information from it, and we jump back into :","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway. Sitting. Staring. Outside this room we hear that awful, toneless singing as it fills the hallway. Mackelway rises, approaching that re - painted wall. He pulls out his keys. Checks to see that no one's watching.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, his pen on that pad, his concentration total.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING We hear the singing, the TV, the rain, that bucket collecting drips. Semi - darkness. until MORE LIGHTNING throws a burst of white light against that wall. A faint shape becomes visible, just beneath the white paint. Then it vanishes again. Using his keys, he begins to scratch away at the white paint. It's an irrational thing to do - but in the context of the last few days it makes an odd kind of sense. Instantly, a hint of BLACK can be seen underneath.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, at that desk. Outside, he can hear an 18 - WHEEL TRUCK rumble by. He does n't allow it to distract him.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway scratches more of the white paint off of that wall. More BLACKNESS appears beneath it. Then, a SOUND behind him. He turns. The door to this room just SHUT ; someone outside must've pushed it. He keeps scratching at the paint. LIGHTNING rages outside. We PULL BACK, away from that wall, which gives us the opportunity to see something that Mackelway is too close to the wall to see for himself : There is indeed an image beneath that thin coat of white paint. It is the shape of a vast, black WAVE. A hand - painted image as large as this wall itself. Mackelway seems tiny by comparison, and the mere inch of black that he has uncovered so far seems infinitesimal. In fact, it almost look as if the wave is poised to swallow him whole. and he ca n't even see it. But we can. Must've taken O'Ryan days to paint something this large. A vast, black wave. Evil itself. And Mackelway, without meaning to, is about to unleash it.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, somehow, seems to be sensing what is going on in that room. Or maybe he's just feeling the power of that wave, from memory. Or maybe he's just plain crazy. But he and Mackelway, on some unspoken psychic level, are feeding one another.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway chips away at that white paint, moving rapidly, revealing more of the blackness underneath. We PUSH IN on it, moving past Mackelway and his frantic scraping. Then we're beneath that thin coat of white, and :","INT. INSIDE THE BLACK WAVE - UNDETERMINED TIME Somehow, we've submerged into the wave itself. A black, tidal force of nature. And it is MOVING. Alive. We hear the SOUNDS of it : a sucking, a yawning, as if a tide were drawing back just before exploding forward. The sounds blend in with the wind, the rain, the drops in that bucket. Evil itself, on the move, gathering might. And we're along for the ride. The wave begins to roll forward now as if shot from a cannon. It is massive, powerful, dark. And we're right on its forward edge, as if surfing it somehow.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan reacts. Something just changed :","INT. INSIDE THE BLACK WAVE - RESUMING The wave is rushing us forward with this speed and power of a tsunami. which is when we hear the laughter of a LITTLE BOY.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan just heard it too. Then new images come at him - but they are, at first, GRAINY, CHOPPY.","EXT. UNIDENTIFIED PLAY AREA - SAME The sounds of that wave become fainter, receding to the background, giving way to that sound of laughter, and the squeaking of a PLAY - SET SWING. Like an old tv slowly gaining reception, the image takes a moment to crystallize before us. But then it sharpens : We're in the PLAY AREA of a TRUCK - STOP DINER, but it feels like we're looking at it through a broken lens. The images appear SPHERICAL to us, surrounded by darkness. Before us a 5 - year old plays on a swing. Call him CHARLIE.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway has scraped away more of the white paint now - enough to see the outline of the front edge of the black wave, its lip. He continues.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan tightens. We ca n't tell if he experiencing something from the past, the present, the future.","EXT. PLAY-AREA - RESUMING We WHIP AROUND quickly, getting a look into the diner itself. There, through a window, we see a WOMAN, presumably Charlie's mother. Her name's KATHLEEN, 40. Kathleen has her back turned to us, because she's busy diapering her nine month - old BABY at a table.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, at his desk, seems to be getting all of this. And it is agitating him. There's perspiration on his forehead.","EXT. PLAY AREA - RESUMING The sound of that wave is still a presence. Charlie looks up at us as he swings. His smile is pure, genuine. We whip around for another look at Kathleen. She's still busy with that diaper. Then we look back to Charlie.","INT. MOTEL ROOM - RESUMING O'Ryan keeps his eyes shut, his focus total. but every part of him is becoming tense.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway is beginning to perspire from the effort. More of that wave is visible to him. But he does n't step back to take that in.","EXT. PLAY AREA - RESUMING That swing is now EMPTY, dangling gently. And we're running we know not where.","INT. MOTEL ROOM - RESUMING O'Ryan's foot starts to tap : anxiousness, discomfort.","EXT. PLAY AREA - RESUMING We run. toward a PARKING LOT. But we do so smoothly, without effort, as if being carried by that relentless black wave. Then, ANOTHER SOUND bleeds in. The BANGING of the Diner's back door, which leads on to that Play Area. And we hear a horrified yell : KATHLEEN -LRB- O.S. -RRB- Charlie?! Charlie, where are you, Honey?! -LRB- fainter. -RRB- Charlie?! Honey, are you out here?! The sound begins to break up as if on a bad radio, being taken over by the sounds of that awful WAVE.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway suddenly stops. as if some electric charge had just shot through him, short - circuiting him into stillness. He begins to step away from the wall.","INT. MOTEL ROOM - RESUMING O'Ryan has lost the `` pulse'' - the connection that had allowed him inside what we just witnessed. He rises, hurrying into a tiny bathroom. We STAY ON THAT WRITING PAD, trying to decipher these lines and squiggles - the ideograms - as we hear the sounds of O'Ryan, retching.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway sits on the bed, looking at what he's just uncovered. An awesome sight. His head is pounding worse than ever. so he reaches for the Vicoden.","EXT. PLAY-AREA - RESUMING We've stepped out of that SUBJECTIVE POV now. Kathleen grabs her infant, distraught, as another massive 18 - WHEEL TRUCK blows by us in the distance.","INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan washes his face, eyes his reflection in the mirror, scrutinizing himself.","INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING On the wall opposite Mackelway, that huge black wave is now entirely visible to him. Bits of chipped white paint litter the floor. A vast black wave. It fills the whole wall. Mackelway eyes his watch. It's one o'clock in the morning. He's been in here for four hours. That seems impossible. a box, slamming down hard on a desk. We are :","INT. FBI OFFICE - O'RYAN ROOM - LATE NIGHT 2:30 a.m. Mackelway is in here by himself, angry. He reaches into that box. Inside? More pins. BLACK ONES. He crosses to the map. CLOSE - UP : MACKELWAY He starts pulling out the YELLOW PINS we've grown accustomed to seeing on this map, replacing them with the BLACK ONES, tossing the discards onto the floor. A SERIES OF DISSOLVES. as Mackelway replaces pin after pin. Mackelway's face, as he backs away from that huge map.","INT. FBI OFFICE - O'RYAN ROOM - LATER NIGHT Ten minutes have passed, but Mackelway has seen a revelation. We can read it on his face. He eyes the map. which has now been stuck with over 1,000 BLACK PINS, one for each city with a HAVE YOU SEEN ME to its credit. And those black pins, seen from a distance, form a pattern we were n't expecting - something that never quite took shape when the pins were yellow. Looks like a big black WAVE. And that's just what it is. 1,000 black dots conspiring to form the same exact shape that O'Ryan had painted onto the wall of his room - a massive wave of darkness, gathering strength. But this black wave is consuming America. Mackelway stares at it : awed, even a bit frightened. The thing seems vast, unstoppable. A black wave - pure malevolence, covering the states like a fog. One blue dot lies in its center : that blue pin, in the heart of Greenville, Texas. Then, piercing the silence : CHARLTON -LRB- O.S. -RRB- Got one of those pins in Denton yet? Mackelway turns. Charlton leans in the doorway. CHARLTON -LRB- CONT'D. -RRB- O'Ryan was spotted there tonight. Took a squad - car and a side - arm from a State Trooper. ` Bout an hour later a five - year old boy was abducted, roughly a mile up the Interstate. It's 3 a.m. What's this guy doing here? CHARLTON -LRB- CONT'D. -RRB- The vehicle was found in an abandoned lot. We're establishing a perimeter around the city now. MACKELWAY -LRB- knows already. -RRB- But the Trooper was n't hurt. CHARLTON What makes you so sure? MACKELWAY Professional courtesy. Charlton's at a loss. until Mackelway gestures to the table, where he has laid out O'Ryan's entire FBI File. Every memo, citation, letter, i.d. picture. 150 pages. Charlton eyes it, calmly. He's not going to let his jaw drop, not with Mackelway watching. So he just nods. MACKELWAY -LRB- CONT'D. -RRB- Is that. possible, Sir? An agent can just be deleted? CHARLTON Looks like it. Mackelway pauses. It's a depressing reality. MACKELWAY I could n't understand it before - pushing Speck's car onto the state line. Makes sense now. He wanted to make the case Federal. He's drawing us in. CHARLTON Why would he do that? MACKELWAY So we'd be paying attention when he found Suspect Zero. CHARLTON Ya know what? I'm getting extremely tired of hearing that word. In fact, that's gon na be policy from now on. No Zero. MACKELWAY Sir, profile the guy. He's straight outta Quantico. All he's doing is working a case, like we would. He's not kidnapping little kids - he's chasing the guy who's doing the kidnapping! Look at the map! CHARLTON What're you saying - that all these abductions are the work of one guy? Do you know how fucking insane that is?! -LRB- over Mackelway. -RRB- Not let's try something that actually makes sense : He sends in these faxes, picks off three scumbags. For what?! So we'll think exactly what you're thinking right now - that we've got a friend out there, somebody willing to take out the garbage for the rest of us. And it's all horse - shit! MACKELWAY What if it is n't? What if there really is a Zero out there and O'Ryan's the one guy who's got a shot at him? CHARLTON -LRB- just blew his top. -RRB- Fuck's sake, Mackelway - when did you start buying into this guy?! A beat. Mackelway lets the silence hover. MACKELWAY -LRB- quietly. -RRB- He's smarter than we are. CHARLTON Speak for yourself. Charlton heads for the door. MACKELWAY Sir? What if I told you I knew how to catch him? Charlton stops. Turns. CHARLTON Do you? MACKELWAY And what if I told you that the way I'd catch him involved sitting in a dark room, with nothing in front of me but a pad of paper. until I'd tapped into some kind of. energy out there. The collective unconscious. Something. If I told you I thought I could target and locate him, without ever leaving this building, what would you say? CHARLTON I'd say you'd watched too many `` X - Files.'' MACKELWAY Y' ever heard of a project called `` Icarus,'' Sir? CHARLTON No. Mackelway tosses over a few pages from O'Ryan's file. MACKELWAY Agents, trained to `` see'' distant locations using nothing but the mind. They called it Remote Viewing. Charlton eyes the pages without comment. MACKELWAY -LRB- CONT'D. -RRB- Army stole it from the Soviets. The Bureau stole it from the Army - used it to track serial killers. -LRB- a beat. -RRB- Experimental program. O'Ryan was the first agent they recruited. CHARLTON Good for him. MACKELWAY Voodoo, right? Pure Bullshit. -LRB- Charlton's waiting. -RRB-. except, it worked. It's how he drew this : Mackelway's referring to that DRAWING : a steamer - trunk, filled with ghastly Ziploc bags : MACKELWAY -LRB- CONT'D. -RRB- He'd never been in that house before. He just saw what was in there - the Bureau taught him how. same one that deleted him. Same one that's trying to catch him now. Does anything about all this strike you as odd? Charlton studies him, a long beat, measuring him. Then : CHARLTON I'm going to Denton at Oh - Six - Hundred. You can take the day off. With that, he's gone - leaving Mackelway alone in here. Nothing to look at but that black wave. He hears Charlton, leaving the building. He slams another Vicoden, then hears a PHONE RING. Fuck it. He's not moving. Let Voice Mail get it. until he hears the sound of a FAX coming in. He rises. Follow him :","INT. FBI OFFICE - CUBICLES - CONTINUING Mackelway hurries through the office, as the sound of that fax grows louder.","INT. \"FAX ROOM\" - CONTINUING He enters. The fax has spun out a single sheet. No top - sheet. That's odd. But here's another face, another victim, with the customary HAVE YOU SEEN ME? across the top. A young African - American boy : `` Lloyd Simms, Age 9. Ht. 4' 10'', Wt. 67 lbs. Last Seen : Greenville, Texas. Date of Disappearance : 10 - 26 - 99.'' That's it. One face. The transmission ends. Mackelway eyes those vitals. They mean something. Greenville.","INT. FBI OFFICE - O'RYAN'S ROOM - RESUMING He re - enters, and approaches that huge MAP. There's that wave of black pins, with the one BLUE PIN in its center ; Greenville, with a `` 10 - 26'' written beside it. Mackelway pulls out the lone blue pin, replaces it with a black one. Now the wave is complete. All black.","INT. 18-WHEELER - CAB - MOVING - NIGHT We've seen this truck before - several times in fact. It rumbles along the highway. We do n't see who's driving, but we do see who's in the passenger seat : It's Charlie, five years - old, whose abduction we just witnessed. He sleeps fitfully. A MAN'S HAND can be seen, edging into frame - the DRIVER. He picks up a CASSETE, shoves it into the tape deck. And out comes the sound of `` Barney the Dinosaur.'' BARNEY -LRB- THRU DASHBOARD STEREO. -RRB- Oh silly songs get sillier/When you hear them once again/And maybe you're hearing an echo/Or maybe it's only a friend! The truck continues to rumble along.","INT. FBI OFFICE - OUTSIDE THE O'RYAN ROOM - MORNING 6 a.m. Fran pauses outside the O'Ryan Room. where Mackelway sleeps on a chair. Poor guy was here all night. She regards him. then her eyes find that MAP, and the gaping black wave across it. A horrible image. She studies Mackelway again, almost tenderly, until : CHARLTON -LRB- O.S. -RRB- Does he listen to you? She turns, startled. Here's Charlton, right behind her. And she's been caught. watching Mackelway sleep. FRAN I'm sorry? CHARLTON It's not a strength of his. I'm noticing that lately. Truth is, she does n't like Charlton. Or trust him. FRAN He's fine. CHARLTON I'm not so sure. -LRB- a beat. -RRB- You oughtta sit him down, remind him how a chain - of - command works. FRAN He's fine, Sir. CHARLTON Talk to him. With that, he's gone. Fran watches as he heads for the Front Door. and exits. She looks back to Mackelway. He awakens with a start. Thinking no one's watching, he pops another Vicoden.","INT. O'RYAN ROOM - CONTINUING Fran enters, feeling slightly dirty from that exchange. Mackelway checks his watch as a few AGENTS exit the suite. MACKELWAY They going to Denton? FRAN Mmm - hmm. MACKELWAY But not you? FRAN Sitting in on two autopsies. MACKELWAY Oh. He rises. Heads for the door, stiff. She looks at those O'Ryan FBI DOCUMENTS NOW - her first time seeing them. FRAN You okay? MACKELWAY Yeah. Why? FRAN Nothing. She leaves it at that. He's about to exit, when : MACKELWAY Are they male or female? FRAN Huh? MACKELWAY The autopsies. FRAN Females - Logan, Utah ; and Decatur, Alabama. -LRB- Neither city is represented with black pins on that map. -RRB- She slides over a packet of PHOTOS : two FEMALE VICTIMS, photographed in separate morgues - face up, face down, waist and above, waist and below, etc.. Mackelway eyes them, then leaves the room. We STAY WITH FRAN. taking in that O'Ryan FBI file. It troubles her. Mackelway returns, carrying the 9 - by - 12 envelope that Katie gave to him. FRAN -LRB- CONT'D. -RRB- -LRB- re : O'Ryan's file. -RRB- So is this what happens when an agent spins out? He gets deleted? MACKELWAY Sometimes. The lucky ones get sent to Wichita Falls. She breathes out an ironic laugh. He hands over the envelope, opens it. Inside : that photo of Karen Sumpter. Mackelway did n't pay much attention to it before. Fran eyes the photo, then the vitals. MACKELWAY -LRB- CONT'D. -RRB- Friend of the Receptionist, missing for about a year now. I told her I'd let her know if the body ever turned up. Fran does n't look up from the photo. FRAN The Receptionist. MACKELWAY Her name's Katie. She half - smiles : `` You mean the one you've been fucking?'' He shrugs, confirming nothing - wishing Fran were n't quite so smart. She puts the photo back into the envelope. FRAN I see you got the blue pin out of Greenville. MACKELWAY Yeah. Last night. Kid named Simms. That confused her. FRAN -LRB- re : Sumpter. -RRB- No. I meant her. The girl. That confused him. MACKELWAY What're you talking about? FRAN Did ya look at her vitals? She hands him the material on Karen Sumpter. FRAN -LRB- CONT'D. -RRB- Greenville, Texas. October 26. He grabs the material, looks at it for the first time : `` Karen Sumpter, Age 25. Ht. 5' 6'', Wt. 110. Eyes Blu, Hair Blnd. Last Seen : Greenville, Tx. Date of Disappearance : 10 - 26 - 00.'' Mackelway looks to the Conference Table - that huge stack of faxes, all those helpless faces. The one on top is the one that came in last night : Lloyd Simms, Age 9. Ht. 4' 10'', Wt. 67 lbs. Last Seen : Greenville, Texas. Date of Disappearance : 10 - 26 - 99. At last, a pattern. A break. Mackelway grabs the Simms fax, hurries out of the room. Nearest Agent is Grieves. Mackelway hands him the fax. MACKELWAY Need an address on this fax line. Grieves has done this on fifty different faxes now ; it never yields their suspect, but : GRIEVES ` Kay. Mackelway leans back in to the O'Ryan Room. MACKELWAY O'Ryan's in Greenville. FRAN What makes you think so? MACKELWAY That's where Zero is. -LRB- Fran's a blank. -RRB- Lloyd Simms - October 26,' 99. Karen Sumpter - October 26, 2000. Both disappeared from Greenville. -LRB- still no reply. -RRB- Zero comes back to the same spot, once a year. Today's the 25th. FRAN Wait. When did we establish that Zero was real? MACKELWAY O'Ryan thinks so. FRAN Do you? That's the million - dollar question, and it hangs there. Mackelway's about to answer. when he stops himself. Just noticing something. That MORGUE PHOTO from Logan, Utah : There's a BURN MARK on the lower left calf of the victim. We've seen such a mark before, on another autopsy photo. MACKELWAY I've seen this before. FRAN Huh? He does n't answer, just hurries to a thick BOX OF OTHER AUTOPSY FILES AND PHOTOS. Starts rifling through them. until he finds the one we've seen before. The body from Trenton. He extracts it. Eyes it. A confirmation. He lays the two PHOTOS side by side. Looks to Fran. MACKELWAY Same burn - mark. -LRB- she leans in. -RRB- I saw it before but it did n't register. Fran eyes the photos. No doubt about it - they both have the same burn mark on the lower left calf : a symmetrical, almost horizontal stripe across the flesh. FRAN He burns them? MACKELWAY I dunno. Almost looks too symmetrical to be a burn. -LRB- re : Logan victim. -RRB- They're autopsying her this morning? FRAN Yeah. She gets the idea : `` Find out where the hell this mark on the leg came from.'' Grieves enters. GRIEVES Fax number traces back to a Copy Center on I - 30. Greenville. -LRB- Mackelway eyes his watch. -RRB- I called. They do n't open for another hour. Mackelway looks to Fran. She's not entirely sold yet. but she's getting there.","INT. MACKELWAY'S YUKON - DRIVING - EARLY MORNING Mackelway plows along I - 30. Ahead of him, one hell of an ugly STORM - FRONT seems to be waiting. Thick, black clouds. Mackelway's driving right into the teeth of them.","EXT. \"FAST-COPY\" - ESTABLISHING - DAY A copy - place, right off I - 30. Mackelway's Yukon is parked in front.","INT. \"FAST-COPY\" - COUNTER - DAY Mackelway stands opposite a DAY - MANAGER : 30, harried, eyeing a copy of the composite drawing of O'Ryan. DAY-MANAGER -LRB- re : O'Ryan. -RRB- Naah. I never saw that guy in here. MACKELWAY He sent a fax from this location ` bout seven o'clock this morning. DAY-MANAGER We're closed at seven. MACKELWAY Are your faxes programmable? Could he have paid last night to have it sent this morning? DAY-MANAGER Sure. But that costs extra. MACKELWAY Were you here last night? DAY-MANAGER Nope. Have n't done nights since I got promoted. Mackelway eyes the guy. then hears a CEL - PHONE ring. MACKELWAY ` Scuse me. Mackelway grabs his cel, backing away from the counter. MACKELWAY -LRB- CONT'D. -RRB- -LRB- into cel. -RRB- Mackelway. INTERCUT WITH/INT. MORGUE - SAME Fran is at a phone, in the Morgue. The Logan Utah BODY lies on the table. FRAN It's not a burn. It's a freezer - burn. MACKELWAY You're sure. FRAN There's crystallization in the blood stream. The blood never clotted in the wound. It's a freezer burn. I'm having the other body shipped out - the guy from Trenton. We'll see if he's got the same thing. Mackelway pauses, thinking. MACKELWAY So. he keeps the bodies in a freezer, then buries them? That was a question. He ca n't do any better. FRAN I dunno. If he kept them in a freezer they'd have marks like this all over. Would n't they? Mackelway nods - that made sense. Shit. The noise of the Interstate does n't make things any easier. A huge TRUCK rumbles by. 18 wheels. Mackelway eyes it, absently. Then a bolt hits him : On the side of the truck is a trademark : `` EVER - FROST.'' This truck is hauling ice cream. Things just began to click. MACKELWAY Thanks, Fran. He has hit `` End'' before she can reply. Heads to his Yukon. Fran eyes the phone : that was odd.","EXT. TRUCK STOP - GREENVILLE, TX. - ESTABLISHING - NOON A huge lay - out, with a diner, rest - stop, and gas station.","INT. DINER - GREENVILLE - SAME Mackelway sits at a table by a window. Watching. FIFTY MASSIVE TRUCKS in this lot - some refrigerated, most not. This Diner is big enough to seat 200 : truckers, a few families, and folks who just like the buffet, -LRB- gravy covers just about every entree. -RRB- Mackelway's been here for hours. A WAITRESS comes by. WAITRESS You want some more breakfast, Honey, or are we just rollin' right on into lunch? MACKELWAY Just some coffee, thanks. Might hit the buffet in a bit. WAITRESS Meatloaf's lookin' good today. He smiles, thanks. She turns away. That leaves him alone again, scanning - not even sure he's in the right place. CEL - PHONE RINGS. He grabs it. MACKELWAY -LRB- INTO PHONE. -RRB- Mackelway. INTERCUT WITH/INT. FRAN'S CAR - DRIVING - SAME She's driving, talking into the cel. FRAN -LRB- INTO PHONE. -RRB- What're you doing? MACKELWAY Surveilling. What're you doing? FRAN Driving to Greenville. MACKELWAY -LRB- knows already. -RRB- Why would you be doing that? FRAN I think agents are safer when they have some company. I can send along Katie if you'd rather. Mackelway laughs. He appreciates a good jab. MACKELWAY I'm at the truck - stop we traced. Off the I - 30. FRAN I'm ` bout a half hour out. MACKELWAY I'll order some lunch for you. Hear the meatloaf's good today. She half - smiles. She likes him, despite herself. DINER - MACKELWAY - RESUMING He half - smiles, puts the cel - phone away. He likes her, despite himself. Then a MAN passes by him, a trucker. Let's call him VIC. All we see as he passes is the TATTOO on his forearm : a cobra. Keys jingle on his belt - hook. He wears a sleeveless down vest and a `` God Bless America'' cap. Mackelway turns, but Vic's already past us. Something about him attracts Mackelway's attention. The walk, the attitude. Something. So Mackelway is watching - without really knowing why - as Vic crosses the parking lot, heading for his rig. It's a beast. Vic climbs in, unaware that he's being watched. Mackelway looks away, chiding himself for allowing the guy to distract him. That WAITRESS comes by with more coffee. Mackelway smiles, looking absently out the window again. And sees a LITTLE BOY of 5, in the cab of Vic's rig. But this little boy is SCREAMING, struggling to get out of his car - seat, until Vic grabs the kid by the shoulders, roughly. all of this visible through the windshield. Mackelway locks in on the kid. Holy shit. Vic's rig pulls out. The kid pounds on his window. Looks like he's saying `` Lem me out of here! I want my Mommy!'' He might be little Charlie - we ca n't tell from here. But we can see that Vic is yelling at him : `` Shut up!'' And we can see that Vic's truck is refrigerated. He's hauling dairy products. On a normal day, Mackelway might shrug this off as coincidence. He might not be so vigilant. This is n't a normal day. He races for the door.","EXT. TRUCK-STOP - PARKING LOT - MOMENTS LATER Mackelway backs out in the Yukon, trying to keep a visual on Vic's truck. ANOTHER 18 - WHEELER pulls in front of him, blocking his view entirely. MACKELWAY Dammit! He honks - loud - pulls around that other 18 - wheeler, heading for the exit of the lot. Just spotted Vic's rig again.","EXT. ROAD/INT. MACKELWAY'S YUKON - CONTINUING He follows Vic's rig out of the lot and onto a road approaching I - 30. But there are three cars between them - Mackelway ca n't get a clean look at Vic's license plate. Vic approaches the Interstate. So do the three cars between them. Vic passes the Interstate on - ramp. The three cars turn on to it. putting Mackelway right on Vic's tail. He grabs his cel, dials. This truck has license plates from ten states. MACKELWAY -LRB- INTO CEL. -RRB- This is Mackelway. I need a run down on a plate. Texas : Delta - 142 - Romeo - Victor - Alpha. Got that? He puts the cel down, but does n't hang up. Vic just made a turn onto a VAST DIRT LOT. A huge BANNER overhead reads, `` FOUNDERS DAY CARNIVAL!''","EXT. CARNIVAL - PARKING LOT - CONTINUING There are several BIG - RIGS parked here, but the vast majority of the vehicles we see are garden - variety cars and SUV's. A few pick - ups. There are RIDES at this carnival : Pony rides, a ferris wheel, and a huge ring of Barbeques, each fired up and cooking. Must be a thousand people in attendance today. Vic parks his rig. Mackelway hangs back, watching : Vic gets out of the rig. From here we can see that that 5 - year - old BOY is still stick in his car seat, and he is still screaming and flailing. Vic points a stern finger at the kid as if to say, `` Behave or else.'' Then Vic disappears into the crowded carnival.","EXT. MACKELWAY - AT HIS CAR - RESUMING He gets out of the Yukon, approaching Vic's truck. We CROSS THE LOT WITH HIM. He reaches Vic's truck, looks in the passenger window. There's the five year - old kid, tears streaming down his face. -LRB- We still ca n't tell if it's Charlie. -RRB- Mackelway reaches for the passenger - side door. It's locked. Of course. And he ca n't shoot his way in. He looks to the kid inside : MACKELWAY You okay? -LRB- Kid's a blank. -RRB- Kid? You okay in there? The Kid does n't respond - just seems spooked. Shit. Mackelway looks into the heart of that crowd. Vic's still visible to us, but he wo n't be for long. MACKELWAY -LRB- CONT'D. -RRB- -LRB- at the Kid. -RRB- I'll be back. Do n't worry. Mackelway heads into the carnival.","EXT. CARNIVAL - CONTINUING He begins running now, past the table where ladies are selling TICKETS for the rides and games, past the Cotton - Candy Guy. Running. because we just lost sight of Vic. Mackelway hurries through that ring of barbeques, upsetting a tray or two. Then he stops. There's the ferris wheel. Was that Vic on the other side of it? Mackelway takes off.","EXT. FERRIS WHEEL - CONTINUING No Vic. But Mackelway thinks he sees the guy. heading back in the direction of the parking lot. He runs past the Pony rides, past a funhouse, past a popcorn machine, past those ladies selling tickets.","EXT. PARKING LOT - RESUMING He hits a bottleneck of people at the entrance. But he bursts through, runs into the dirt parking lot, around cars and big - rigs, then turns a corner and :. runs smack into Benjamin O'Ryan. The shock is so total it takes each of them a moment to recover from it. But here he is. O'Ryan, five feet away. Mackelway's speechless, still trying to recalibrate himself. A second ago he was chasing a possible Zero. Now he's face to face with O'Ryan. And O'Ryan is n't running. In fact, he almost seems amused. O'RYAN Well, well. Must be quite a moment for you. Congratulations. Mackelway still has n't spoken, until : MACKELWAY What're you doing here? O'RYAN Waiting for you. which is when Mackelway realizes that he is standing right in front of Vic's rig. But he was n't expecting what comes next : Vic has returned to the rig, with a WOMAN beside him. Turns out, she's his WIFE. Vic opens the passenger - side door, unclasps that five year - old kid from his seat. FIVE YEAR-OLD Mommy! The kid dives into the Woman's arms. WOMAN Morning, Baby! VIC I told you she'd be here. -LRB- to Woman. -RRB- He's been a brat all morning. Mother hugs son. which means that Mackelway has misread things, badly. And O'Ryan is a witness to it - hence the grin. MACKELWAY -LRB- at O'Ryan. -RRB- Hands up. O'Ryan raises his hands. Mackelway reaches for his cuffs.","EXT. CARNIVAL - PARKING LOT - MOMENTS LATER O'Ryan's hands are cuffed in front of him. Mackelway leads him to the Yukon, opens a door for him, and puts him into the backseat. A few LOOKIE - LOU'S strain for a peek.","INT. MACKELWAY'S YUKON - CONTINUING Mackelway gets in, hits the ignition. Reaches for his cel - phone. Starts to dial. O'RYAN -LRB- disappointed. -RRB- Awfully conventional - do n't ya think? Mackelway pauses. MACKELWAY Huh? O'RYAN Apprehend the fugitive, then call it in for your pat on the head. MACKELWAY Sorry to disappoint you. Mackelway continues to dial. O'RYAN I'll get over it. -LRB- flat. -RRB- But I'm not too sure that little boy will. Bang. That just stopped Mackelway, mid - dial. MACKELWAY -LRB- minor test. -RRB- What little boy? O'RYAN The one from the Diner, in Denton. MACKELWAY You know where he is? O'RYAN I can find him. MACKELWAY How? O'RYAN Same way I found Starkey, and Speck, and Fulcher. and you. That rang a bell. O'RYAN -LRB- CONT'D. -RRB- I need someplace quiet - someplace I can concentrate. And your assurance that once he's located, we go get him together. MACKELWAY I ca n't do that. O'RYAN Then I ca n't help you. Mackelway, disgusted, pulls out of the lot.","INT. MACKELWAY'S YUKON - DRIVING - MOMENTS LATER Through sparse traffic, heading for an Interstate on - ramp. O'RYAN -LRB- CONT'D. -RRB- I'm talking about uncompromised justice. No trials. No lawyers. No hiccups in a chain of evidence that can set a monster free. You of all people should be able to appreciate the value of that. MACKELWAY Where's the boy? O'RYAN I wo n't be doing this much longer. Actually, this is the end of it. I've come to accept that. But there is one last thing to - MACKELWAY -LRB- anger rising. -RRB- Where's the boy, O'Ryan? O'RYAN Do we have an understanding? Mackelway pulls the car over, under an I - 30 overpass. and out comes his gun, pointed right at O'Ryan's forehead. MACKELWAY -LRB- CONT'D. -RRB- Enough of this shit. Where's the boy? O'Ryan ca n't help it. He's pleased. O'RYAN Good. This is good. Sort of thing you'd never find in a procedural manual. It tells me I was right about you. MACKELWAY -LRB- cocking the hammer. -RRB- I will kill you, O'Ryan. O'RYAN I know. But we have work to do first. MACKELWAY Where's the Goddamn kid?!?! Silence. Then that CEL - PHONE rings. Must be Fran. O'RYAN Do n't pick that up. Mackelway eyes him : are you kidding? It rings again. O'RYAN -LRB- CONT'D. -RRB- -LRB- a panicked offer. -RRB- This is the guy who put all those pins in that map of yours! And I can take you to him! Ring # 3. Mackelway grabs the phone. MACKELWAY Fine. Where is he? -LRB- silence. -RRB- Where is he?!?! Silence, punctuated by Ring # 4. Then O'Ryan smiles. and points to his own forehead. O'RYAN Right here. Mackelway lets out a disgusted sigh. MACKELWAY Fuck you. He punches the `` Talk'' button, taking his eyes off O'Ryan for a split second. What follows is a blur : O'Ryan lunges forward like an animal, throwing his cuffed wrists over Mackelway's head, yanking Mackelway out of his seat with a violent tug. The gun falls. We POP OUTSIDE THE YUKON, pulling back. obscuring our view of what's going on inside that truck. That cel - phone continues to ring. We keep pulling back, under this sparsely - trafficked overpass, rain falling. The cel - phone stops ringing. CONTINUE PULLING BACK, taking in the expanse of highway - cars rolling by without a hint of the peril beneath them.","INT. TRUCK-STOP - DINER - GREENVILLE - SAME (DAY) Fran has just arrived. She scans the place. Does n't see Mackelway. Great. She reaches for that cel - phone again.","INT. A THIRD UNIDENTIFIED MOTEL ROOM - NIGHT Mackelway awakens. The room feels like it's swimming. His arms and legs are bound. His mouth has been GAGGED. And he is staring into his own REFLECTION. He lies on his side. A MIRROR has been propped on the floor, just inches from his face - leaving him with nothing to look at but himself. He strains against the ropes, but there's no give to them. He's helpless, powerless. And that mirror is forcing him to watch it all with perfect clarity. A few feet away, O'Ryan sits in a chair, calmly peeling the skin off of an apple with that huge HUNTING KNIFE of his. A CANDLE flickers on the floor by his feet. O'RYAN Are you afraid? There was a delight to that question - we can see it on O'Ryan's face. Mackelway, of course, ca n't reply due to the gag. But the answer's obvious. O'RYAN -LRB- CONT'D. -RRB- -LRB- quoting himself, as Daitz :. -RRB- `` Imagine a killer with no patterns, no tell - tale fetishes, no rituals of any kind. No hidden desire to be caught. A perfect vessel of evil.'' All Mackelway can see is his own reflection - the fear in his eyes - bouncing off a mirror that's only inches away. O'RYAN -LRB- CONT'D. -RRB- And the name we give that killer. is Zero. -LRB- again :. -RRB- Are you afraid? Slowly, he lowers the knife into the flame of that candle on the floor. It GLOWS. Good God. O'RYAN -LRB- CONT'D. -RRB- It'd be customary at this point to start praying. I hear a lot of that. Have n't seen too many answers though. I would n't hold my breath waiting for another janitor to break in here and save you, either. You're alone. Mackelway tries to speak. It's impossible. O'Ryan pulls the GAG from his mouth, just long enough for Mackelway to say : MACKELWAY Where's the boy? O'Ryan jams the gag back into his mouth, angrily. O'RYAN -LRB- re : the mirror. -RRB- My, my. Must be extremely satisfying to watch yourself say something so heroic. I'm almost envious. -LRB- casually. -RRB- The boy's under the bed. In pieces. Are you afraid? Mackelway absorbs that - watches himself absorb it - then looks to that bed. Ca n't quite see what's under it. O'Ryan eyes the flames as they dance over the blade. O'RYAN -LRB- CONT'D. -RRB- I know what you're thinking : `` There is pain coming. Am I going to take it like a man?'' Let me put you at ease : You wo n't. None of them do. Men, women, children. They all weep, they all beg. They pass out, they piss themselves. They attempt negotiation : You would n't believe how many men have lain right where you're lying right now - grown men, with wives and children back home - offering all kinds of sexual gratification in exchange for a five minute reprieve. It's pathetic. Are you afraid? -LRB- of course, no reply. -RRB- Then there's that moment when they realize there's nothing left to be negotiated. They're just mine. And they're helpless. And the look in their eyes, the level of surrender. well, it's almost pornographic. I put this mirror here because I do n't want you to miss it. Are you afraid? With that, he lifts that hunting knife out of the flame. It is RED - HOT. Even looking at it is painful. But Mackelway ca n't look at anything else. O'RYAN -LRB- CONT'D. -RRB- How about now? Just like that, that red - hot knife is an inch from Mackelway's face. The heat alone makes his head jerk back. Wisps of smoke rise from its edge. And Mackelway is forced to watch his own reaction to it. He struggles against these ropes, to no use. A guttural sound comes out of him. O'RYAN -LRB- CONT'D. -RRB- Are you afraid? O'Ryan's hand lashes out a bit, leaving the sizzling knife just under Mackelway's chin. The anticipation of pain is unbearable. And Mackelway is reading it in his own eyes. O'RYAN -LRB- CONT'D. -RRB- Hmmm? Agent Mackelway? Are you? Two things hit at once : 1 -RRB- This monster is about to torture me to death. 2 -RRB- Please, God, do n't let me give him the satisfaction of seeing me cry. O'Ryan moves the blade again, this time an eighth of an inch above Mackelway's right arm. The heat from it is so incendiary that Mackelway's shirt begins to smoke. O'RYAN -LRB- CONT'D. -RRB- Are you? Mackelway's shirt is officially on fire now. The pain is awful. He stares at his own reflection. as tears begin to flow from his eyes. He ca n't stop them. O'RYAN -LRB- CONT'D. -RRB- -LRB- top of his lungs. -RRB- Are you afraid?! That bounces off the walls. Mackelway shuts his eyes tight - ca n't watch this anymore. O'RYAN -LRB- CONT'D. -RRB- -LRB- infuriated. -RRB- Open your eyes! Open your eyes Goddammit or I'll cut the fucking lids off! Mackelway opens his eyes, forced to watch himself break. Deep sobs shudder through him, as. O'Ryan digs that red - hot blade into Mackelway's arm : O'RYAN -LRB- CONT'D. -RRB- ARE YOU AFRAID?!?! Mackelway sees the answer in his own reflection : Yes, I am terrified. He SHRIEKS, the sound muffled by that gag. With his body able to do no more than spasm, he jerks his head forward, smashing it into that mirror. THE MIRROR SHATTERS, obliterating the image. and everything goes black. Then, MORE IMAGES SWARM AT US. We're helpless to beat them back :","EXT. DARKNESS - UNIDENTIFIED TIME Out of a soupy darkness, a dreamlike spin on a location we've visited before : It is the wheat field that O'Ryan has Remote Viewed countless times. Only this time we see it through Mackelway's fever, or nightmare. We see the tall wheat, the wet wind - familiar images to us. All to the pounding Chant of the Navaho. But then OTHER IMAGES enter this world. They're jarring : - That TRIBESMAN, eyes rolling back, foaming the mouth, dancing around a fire in a frenzy. Then a curtain of wheat obscures him, revealing : - Fran, and Katie, giggling, crooking fingers as if inviting us. Looks like they're naked. But as we approach them, they seem to get farther away. Then that curtain of wheat that separates us from them reveals : - Charlton, extending a hand to us, warmly, congratulating us for something, a job well done, when : Mackelway himself is hunting through the wet wheat, gun drawn. He FIRES. Then looks to see who he's just shot. A body. He turns it over. and is staring at himself, lying dead on the ground in the mud and pouring rain. It is a moment of shock and horror, giving way as we. FADE UP AGAIN. on O'Ryan - at a desk, sitting upright, making notes on a pad. Calm. Businesslike. His back turned to us.","INT. THAT UNIDENTIFIED MOTEL ROOM - LATER NIGHT Time has passed. We do n't know how much. Or maybe we're dead, or dreaming. It's hard to say. But there's O'Ryan, at a desk. Writing. Mackelway's eyes are open. His FOREHEAD has a bright red raspberry on it from smashing into that mirror. But the brain is functioning. It starts running through a check - list : I'm in the same motel room. I'm on a bed. I'm alive. There's O'Ryan. Everything hurts. No, it's just my right arm. But it is searing. The check - list continues : my mouth is sore, but that GAG has been removed. And MY ARMS ARE UNBOUND. Legs too. Maybe I am dead. Mackelway tries to move his hand. It takes some effort. Everything's foggy. But he puts it before his face. Turns it. Flexes it. Squeezes it. His hand. He stares at it. Then he notices his SHOULDER. A fat BANDAGE has been wrapped around it - covering up the source of that searing pain. Looks as though a nurse had tended to it. But this sure as hell is n't a hospital. Then, O'Ryan turns, facing us. Mackelway recoils without meaning to. But O'Ryan's demeanor has changed. That look of possessed malevolence - it's gone now. We ca n't imagine why. O'RYAN -LRB- softly. -RRB- Stand up. Mackelway pauses, rewinding that one. O'RYAN -LRB- CONT'D. -RRB- It's over now. Can you stand? Mackelway is still bracing for torture, or at least combat. So he's a step behind. O'RYAN -LRB- CONT'D. -RRB- We really do have to go. O'Ryan rises, crossing toward us. Even unbound, Mackelway is expecting another onslaught. But all O'Ryan does is drop a piece of paper onto Mackelway's lap. It's another DRAWING : of a RANCH - HOUSE, with a windmill in the background. Crude, but just specific enough. Mackelway's still too unwound to speak. O'RYAN -LRB- CONT'D. -RRB- This is where he'll be. With the boy. -LRB- a beat. -RRB- Zero. He's coming home today. We're going to be there. Mackelway's starting to understand now. This was an act. An initiation. That stuns him. O'RYAN -LRB- CONT'D. -RRB- You're ready to come with me now. You've been in the pit. Stand up. Mackelway eyes him - utter disbelief. O'Ryan smiles warmly - like a Drill Sergeant at the end of Basic : Sorry I was so hard on you but it had to be done. Can we shake on it? Instead, Mackelway simply EXPLODES : It is a blur, faster than a blur, but Mackelway rises with an animal roar, knocking O'Ryan flat on his back. Then Mackelway is upon him. All the helplessness, all the horror, the images of watching himself in that mirror, the sounds of his own uncontrollable sobbing. they ERUPT now into violence. It is an overwhelming force. O'Ryan ca n't begin to fight it off. Mackelway has one hand on O'Ryan's throat. The other hand comes down like a sledgehammer. One blow. Then another. The sounds coming out of Mackelway are savage, barely human. He's out of control. O'Ryan's eyes roll back. Mackelway now puts both hands around this fucker's throat. He's going to kill him - right here. He's going to squeeze the life from him. This is a Mackelway we've never met before. His eyes are wild, hateful - even as the last gasps of breath rasp their way out of O'Ryan's throat. Then Mackelway is distracted, for just a second. No. Less than a second. by a glimpse of that SHATTERED MIRROR - his own twisted image. He looks away from it, refusing to be distracted, determined to kill this guy. then those eyes drift back to the mirror again. and he sees his reflection : a hardened, crazed stranger. An animal. His hands, without warning, release their grip. O'Ryan gasps for air. His face has been bloodied. Mackelway rises, disgusted, removing a great weight from O'Ryan's chest. That makes breathing a little easier. Mackelway crosses to a tiny, cheap BATHROOM.","INT. MOTEL ROOM - BATHROOM - CONTINUING Mackelway enters. There's a mirror in here too. That fat BANDAGE on his shoulder stares back at him. He tugs at it - does n't unravel it, just yanks it off his arm - revealing a hideous wound. It's a ZERO, WITH A SLASH THROUGH IT. Now everything clicks : O'Ryan was branding him. Initiating him with that red - hot knife. Mackelway stares at the wound, his eyes lifeless. He splashes some water on his face, his mind still reeling. Then O'Ryan appears in the doorway. He too looks like hell - face bloodied, throat red, eyes watering. A long beat. Mackelway eyes him, incredulous. O'Ryan nods, then places that DRAWING of the Ranch - House on the sink. Mackelway eyes it. Then O'Ryan stuns him. by laying Mackelway's GUN atop the drawing, without a word. Mackelway eyes the gun, then grabs it and points it right at O'Ryan's face, just inches away. We're TIGHT on Mackelway's hand. It trembles with rage. But O'Ryan, looking right down the barrel, seems unafraid. In fact he smiles, utterly confident. Then : O'RYAN -LRB- re : gun. -RRB- Soon. I promise. But not yet. He eases Mackelway's hand down, thus lowering the gun. Then O'Ryan turns, grabs Mackelway's car keys, and heads for the front door. Mackelway stands, rigid. He raises the gun. Maybe I'll just shoot this fucker in the back. Then those IMAGES come at us again, out of nowhere :","EXT. WHEAT FIELD - NIGHT Out of a gray, soupy swirl - coming slightly into focus : Wet wind, tall wheat, our own heavy BREATHING as we run. And that non - descript voice we heard echoing earlier becomes the sound of O'Ryan's voice, static - filled, wobbling : O'RYAN -LRB- O.S. -RRB- Please. I'm begging you. That was clear enough. A gun rises. We seem to be holding it. Then those images vanish, and we are jolted back to :","INT. MOTEL ROOM - BATHROOM - RESUMING Mackelway tightens. O'Ryan's out the door. This VISION that keeps getting clearer and clearer. What the hell does this it mean? Down go two more Vicodens.","INT. MACKELWAY'S YUKON - DRIVING - NIGHT A huge STORM devours scenery on both sides of us. O'Ryan drives. Mackelway sits, no expression at all on his face, still recovering from what happened in that room. Silence. Then : MACKELWAY Tell me about Icarus. O'RYAN Why? MACKELWAY Just. wan na know. O'Ryan eyes him. The sky is black. O'RYAN There were five of us. In the program. Mackelway's all ears. O'RYAN -LRB- CONT'D. -RRB- We'd come in in the morning, have a cup of coffee, talk about the Yankees. Then you'd go to your room, with your pen and your pad of paper, always alone, and you'd try to lock in. Son of Sam. John Wayne Gacy. Ted Bundy. He might be driving his car, or having a beer or brushing his teeth. or cutting someone's eyes out. That was said flatly, matter - of - factly. It's chilling. O'RYAN -LRB- CONT'D. -RRB- If you did it right, you got all of it : The way it sounded. The way it smelled. Those people were looking up at you, begging you for mercy. It was like being God. -LRB- a beat. -RRB-. except you're not. Because you ca n't do a thing for them. Ca n't make it stop. You're just watching, helpless. He pauses. O'RYAN -LRB- CONT'D. -RRB- They wired us into this current, the five of us : darkness, the pit itself. We were plugged right into it. But nobody taught us how to shut it off. -LRB- thinking back. -RRB- We were just men. And we saw things men should n't see. Agony, torture, evil - and it never shut off. Even now, it's still there. MACKELWAY They all wind up like you? The other agents? O'RYAN No. They're dead now. Oh. Mackelway does n't reply. O'RYAN -LRB- CONT'D. -RRB- They broke down. Then they opted out. -LRB- Mackelway's a blank. -RRB- Killed themselves. After a while, those conversations about the Yankees became impossible. Ya see? Mackelway lets that sink in, as he stares at passing head - lights. Then : MACKELWAY I'm sorry. O'Ryan shrugs. He appreciates it. The windshield wipers beat back rain.","INT. MACKELWAY'S YUKON - DRIVING - LATER NIGHT O'Ryan continues to drive. Silence hangs. Then : O'RYAN We're here. Mackelway sits up. O'Ryan pulls over at :","EXT. RANCH-HOUSE - GREENVILLE, TEXAS - CONTINUING We've seen this place before. That is, we've seen it in O'Ryan's DRAWING, which lies on the dashboard before us : A ranch - style house with a WINDMILL in the backyard. O'Ryan pulls over. Rain pounds on the roof and hood. Wind blows. Mackelway studies the house. Then his eyes shift briefly to the drawing. MACKELWAY Ca n't bring you in with me. You know that. O'Ryan shrugs, then raises his hands : `` Cuff me.'' The CUFFS are lying on the floor in the back seat. Mackelway reaches back, to grab them. a golden opportunity for O'Ryan to club the guy. But O'Ryan remains still. Mackelway grabs them. Then he stops. Simply has to ask : MACKELWAY -LRB- CONT'D. -RRB- Those faxes, the Have - You - Seen - Me's. How many of'em is he actually responsible for? O'Ryan lays it right out : O'RYAN All of'em. Mackelway nods, sobered. Cuffs O'Ryan to the steering wheel and approaches the house.","EXT. RANCH HOUSE - WALKWAY - CONTINUING The place is in some disrepair : untended lawn, chipping paint, etc.. Mackelway looks through the kitchen window. No one's visible. He walks around the side of the house.","INT. MACKELWAY'S YUKON - RESUMING O'Ryan watches as Mackelway vanishes. This is a moment of opportunity. With his free hand, he reaches into his pocket, grabbing a lighter.","EXT. RANCH HOUSE - SIDE - CONTINUING Mackelway moves cautiously, being pelted by rain. But now he can see inside the Living Room of this home : It's a bit of a time warp : plastic on the furniture, an old radiator, pictures on the mantle in antique frames. And an OLD LADY, leaning over a record player. Tough to hear what's playing - we're outside, and that storm is pounding - but it sounds like Glenn Miller. There's also an old tv in here : `` Wizard of Oz'' is on it. The lady is 70, frail, thin. She also happens to be BLIND. Cataracts on her eyes. Her name's DELIA. Mackelway watches her. as she exits the room, heading for the kitchen. He moves to another window.","INT. MACKELWAY'S YUKON - RESUMING O'Ryan, keeping his eyes on that house, now lights the lighter. and holds the flame up to the CHAIN connecting his hand - cuff to the one on the steering wheel. The chain begins to heat up.","EXT. SIDE OF THE HOUSE - RESUMING Mackelway watches as Delia makes her way into the kitchen. It, too, is from another era : the dishwasher stands in the center of the floor, connected to the sink with a long hose. The refrigerator, the table, the toaster - all old. The oven is an antique too. Delia crosses to it, grabs a towel, opens it. and pulls a CAKE from it. She brings the cake to the kitchen table, moving well for a lady who ca n't see. On the table is an old - fashioned baker's frosting tube. She grabs it, using her hands to orient herself. and begins to write on the cake, in frosting. Slowly. Mackelway ca n't see the top of that cake, but we can. The first letters, in beautiful cursive, read : `` Happy Bir.'' It's a work in progress.","INT. MACKELWAY'S YUKON - RESUMING O'Ryan has that handcuff chain GLOWING now. We do n't know if he'll have time to break the thing. until : The passenger - side door is opened, abruptly. MACKELWAY It's his birthday, is n't it? O'Ryan turns. Here's Mackelway, who now gets an eyeful of what O'Ryan's doing with that lighter. O'Ryan pockets it, a bit sheepishly. Mackelway decides to ignore the whole thing. MACKELWAY -LRB- CONT'D. -RRB- He comes home on his birthday. O'Ryan nods. Then Delia's front door swings open. DELIA -LRB- O.S. -RRB- -LRB- aloud, delighted. -RRB- Darling?! That you?!","EXT. RANCH HOUSE - ENTRY - CONTINUING Delia stands in the open doorway : an old blind lady, talking to the dark rainy street. That confuses them. until we hear the rumble of an 18 - WHEEL TRUCK. It turns a corner onto this street. Mackelway turns now. We've seen this truck before. A monstrous, rolling beast. And Mackelway straightens, reaching for his sidearm. Behind him, Delia smiles excitedly, almost dancing. But that smile soon leaps from her face. as she hears the sound of that 18 - wheeler, BRAKING ABRUPTLY, its tires locking - up on the wet road. Mackelway gets a look at the DRIVER now - a wiry, sinewy man of 35. Let's call him ZERO. Their eyes lock - until Zero throws his rig into gear again and begins to rumble down the street. DELIA -LRB- CONT'D. -RRB- -LRB- confused. -RRB- Daryl? Honey? No answer. That truck is rumbling away. Mackelway turns, racing for the Yukon, leaving Delia at the door.","INT. MACKELWAY'S YUKON - CONTINUING Mackelway jumps in to the Yukon, unlocking those cuffs. MACKELWAY Drive. He accidentally burns himself on the super - heated chain. MACKELWAY -LRB- CONT'D. -RRB- -LRB- re : burn. -RRB- Fuck! Cuffs are unlocked now. O'Ryan starts up the Yukon.","EXT. GREENVILLE STREETS - DRIVING - CONTINUING O'Ryan drives, pursuing the big - rig. Mackelway gets on his cel - phone, dials. Rain falls in SHEETS all around them. MACKELWAY -LRB- INTO CEL - PHONE. -RRB- -LRB- urgently. -RRB- This is Mackelway! I'm travelling north on. Grove Road, approaching I - 30 in Greenville. Request immediate back - up. Pursuing a suspect in a refrigerated truck, Texas license plate Alpha - The Yukon swerves hard to the right, narrowly avoiding the tail end of Zero's rig as he swings it into our path. Mackelway drops the phone. Grabs it again. MACKELWAY -LRB- PHONE, CONT'D. -RRB- Alpha - 4 - 5 - 2 - Tango - Foxtrot - Alpha. Zero does it again - swinging the rear of his rig across the road, forcing O'Ryan to swerve hard. The Yukon gets shoved on to a curb, then clunks down to the street again. Then Zero jams on the brakes. Mackelway's eyes go wide. MACKELWAY -LRB- CONT'D. -RRB- -LRB- at O'Ryan. -RRB- Brakes! O'Ryan jumps on the brakes. The Yukon screeches to a stop, throwing itself into a sideways slide. It bangs, passenger side first, into the rear of the truck, breaking a window. Mackelway ducks out of the way of breaking glass. Then the rig pulls away again. O'Ryan follows. THE CHASE - CONTINUING Zero's rig turns hard onto a SERVICE ROAD, running parallel to the Interstate. Mackelway is locked in on that truck. MACKELWAY -LRB- CONT'D. -RRB- -LRB- into cel - phone again. -RRB- Travelling due west now. Do n't see a name. It's a service road, running parallel to the - Then Mackelway freezes, mid - word. He just saw something that made his jaw drop : On the other side of this road is a field of TALL WHEAT. Time seems to stop. His blood feels like it just congealed. Tall wheat in a wet wind. He has been here before. He has seen it before. And so has O'Ryan. Mackelway just stares, slack - jawed, as that wheat whips past them. The feeling is so unsettling that for a moment he forgets about Zero, and the rig, and the kid. Everything has just crystallized in a horrible way. He knows that he is going to wind up in that wheat field, somehow, with O'Ryan. And O'Ryan will be begging him for mercy. `` Please.'' O'Ryan guns the Yukon, attempting to cut in front of the rig. Zero swings wide, sending the Yukon into a curb this time. That shreds their front tire. which means that in one minute this car is going to be undriveable. So if they do n't stop Zero from hitting that Interstate - now - Zero will be gone. MACKELWAY -LRB- CONT'D. -RRB- -LRB- absently. -RRB- What're you. O'RYAN Ca n't let him hit the Interstate. Mackelway braces himself, as O'Ryan guns his car up the left side of the rig, shredded tire and all. Then : He pulls right in front of the rig. At about 60 m.p.h. And he jams on the brakes. Zero swerves, out of instinct. It throws the rig into a vicious JACK - KNIFE. The van whips around in front of the cab, swatting the Yukon away like a fly. We're inside the Yukon as it rolls, Mackelway and O'Ryan look like tinker toys. The torque pulls Zero's rig onto its side, sliding hard. Metal hits concrete, sending up a shower of SPARKS. The Yukon winds up in a ditch alongside the service road, upside down. Mackelway, alive and awake, strains to look out the busted windshield. What he sees is hard to discern - but it looks like Zero's rig is lying flat on its side. And, of course, he is mere yards from that wheat field.","EXT. SERVICE ROAD - CONTINUING The rig's cab lies driver's - side down. But the passenger - side door pops open. And Zero pokes through it, his eyes immediately scanning that TALL WHEAT. Rain pours. Mackelway's watching. O'Ryan, who blacked out for a second now opens his eyes, getting the picture in a hurry. Zero leaps to the ground, rolls, and rises. Only thing in his hand is a TIRE IRON. Carrying it, he sprints into the wheat field - vanishing. Mackelway bursts out of the Yukon, in pursuit. O'Ryan's door is stuck. Mackelway does n't stop to help him - just barrels across the street. Just then - a STATE RANGER CAR arrives. MACKELWAY -LRB- over his shoulder, running. -RRB- Get the van open! He's got a kid in the van! STATE RANGER hurries out of his squad car. Mackelway sprints into the tall wheat. O'Ryan, with a grunt, gets his door open. Now he too disappears into that Wheat Field.","EXT. WHEAT FIELD - CONTINUING Tall wheat in a stiff wet wind, and not a drop of moonlight to guide us. Mackelway plunges in, gun drawn. No idea where he's going. except he's been here before. He's seen it. And there is a feeling of inevitability to all this ; it's haunting. He's practically blind in here. Ca n't see five feet in front of him. Nothing but the sound of his own breathing. That, too, was presaged. Those visions.","EXT. ZERO'S TOPPLED RIG - CONTINUING It's locked. Ranger pulls out his handgun and blows the lock away.","EXT. WHEAT FIELD - RESUMING Mackelway keeps running, deaf and blind. O'Ryan is running nearby, but they ca n't see or hear one another.","INT. THE TOPPLED RIG - REFRIGERATED VAN - RESUMING 200 sides of beef lie on their sides. Ranger plunges in. Then the Ranger spots, in the back of the van, a FALSE - WALL that used to hide a secret compartment. The crash has collapsed part of the false - wall. Frozen air blows out in wisps. He climbs over those carcasses, fast as he can.","EXT. WHEAT FIELD - RESUMING Mackelway keeps going, running blind. Then, another sound, up ahead. Sounds like the noise of someone stumbling. Mackelway stops. Listens. Silence. The sound does not repeat itself. He continues along, step by cautious step now.","INT. TOPPLED RIG - REFRIGERATED VAN - RESUMING Ranger gets over the last of the carcasses, pulling himself up to the now - open compartment. First thing we see is a REFRIGERATION ROD, the one that was responsible for those freezer burns. Then we see Charlie, bound. He's trembling with cold, but he's alive. His leg presses up against the rod.","EXT. WHEAT FIELD - RESUMING Mackelway, inching along, heart pounding. He hears a noise to his left. Whips around, gun poised. But it's nothing. He sighs. The wheat almost sounds like it's laughing at him. Then that TIRE IRON lashes out, from the right. It catches Mackelway with horrific force, shattering his wrist and sending that gun flying into the wheat. Before Mackelway can react, Zero is upon him.","EXT. THE TOPPLED RIG - RESUMING Fran's Ford skids to a stop outside the van. just as the Ranger brings Charlie out of the rig. The kid is shaking, traumatized. He begins to cry. Fran gets the idea. She hurries over.","EXT. WHEAT FIELD - RESUMING Mackelway and Zero wrestle, surrounded and obscured by all of that wheat. Zero is a monster, and he's got that tire iron. Mackelway has a busted wrist. Hardly a fair fight. But Mackelway is battling : kicking, clawing, getting in as many shots as he can. His shirt rips away from his body, exposing that brand - mark. They roll back and forth. Until : O'RYAN -LRB- O.S. -RRB- -LRB- calmly, firmly. -RRB- Up. Zero freezes. Mackelway too. They turn to find : O'Ryan. who stands here, Mackelway's gun in hand. O'RYAN -LRB- CONT'D. -RRB- Up. Mackelway's relief is total. He pushes Zero away, rising. Zero pulls himself off the ground, chagrinned. ZERO -LRB- re : Mackelway. -RRB- Glad you're here, Man. Guy was about to kill me. O'Ryan, without ceremony, puts a bullet through Zero's left palm. That got Mackelway's attention. Zero howls with pain, his palm gushing. The TIRE - IRON falls to the ground. Mackelway approaches O'Ryan. MACKELWAY I'll take it from here. He extends his good hand to O'Ryan : `` The gun.'' O'Ryan pauses. Then. O'RYAN Are you going to shoot him? MACKELWAY Give me the gun, O'Ryan. ZERO Hey, I just surrendered. O'RYAN Shut up. ZERO I surrendered! That's it! O'RYAN SHUT UP! O'Ryan wheels around, aiming the gun right at Zero's face. That shuts the guy up in a hurry. From that service road now, we hear a line of SIRENS, approaching from a distance. Unit after unit. O'RYAN -LRB- CONT'D. -RRB- -LRB- quietly now. -RRB- Look at him, Mack. He's not human anymore. Go dig up that old lady's backyard - you'll find bodies there. Maybe hundreds of them. Of course, ya got ta get a warrant first, chain of custody's got ta be followed. One breach, and he walks. -LRB- no reply. -RRB- My way, he's eliminated ; the world is rid of him. It's a lot closer to justice than having some Prosecutor tell you you've left a tissue sample in the wrong lab. Is n't it? MACKELWAY -LRB- that stung. -RRB- Give me the fucking gun! O'Ryan turns, studies him. and hands him the gun. Just like that. Mackelway eyes it. O'Ryan does n't say a word, just crosses back to Zero, and grabs that TIRE - IRON off the ground. O'Ryan's now standing right behind Zero, as : O'RYAN -LRB- at Mackelway. -RRB- You have to understand : none of this was arbitrary. We were chosen, you and I. WHAP! O'Ryan just swung that tire - iron into Zero's rib cage. We hear bones crack, and air rushing from the guy's lungs. He drops to his knees, gasping. O'RYAN -LRB- CONT'D. -RRB- I saw us here. You did too. THUMP! Another violent swing of that tire - iron, busting up the other side of Zero's torso. Now both sides of his rib - cage have shattered. Breathing is almost impossible. Mackelway tightens. His head just began to throb. MACKELWAY Okay. You made your point. O'RYAN Bullshit! If I'd made my fucking point you would've shot him yourself by now! Another swing of that tire - iron, across the back of Zero's neck. He crumbles, face down. Fuck it. Mackelway crosses to O'Ryan and puts that gun right up against the back of O'Ryan's head. MACKELWAY Enough! Then, an odd thing. O'Ryan simply smiles. Something about having that gun pointed right at him - it's a relief. MACKELWAY -LRB- CONT'D. -RRB- Drop it. O'RYAN Or what? MACKELWAY Just drop it. O'RYAN Would you shoot me? That's something Mackelway does n't want to consider. MACKELWAY Put it down. O'RYAN -LRB- calmly. -RRB- I want you to think for a second. About your destiny. Who you are. You're cursed, like I am - except you keep running from it. -LRB- Mackelway's silent. -RRB- You hear things. You see things. That's why you ca n't sleep, why your head always aches. He turns. They are face to face. Nothing but that gun between them. O'RYAN -LRB- CONT'D. -RRB- and it's why you are going to let me kill this animal. And then you're going to kill me. That threw Mackelway badly. O'Ryan seizes the moment - wheeling around. He takes one last swing at Zero, like a lumberjack. The tire - iron impacts Zero's skull with a dull THUD, cracking it. He is dead. Mackelway's eyes go wide. Whole thing has been a blur. O'Ryan releases the tire - iron. and drops to his knees like a man awaiting execution, his back to Mackelway. Mackelway is silent. Stunned. The blood from Zero's caved - in skull finds its way to O'Ryan's knees. But O'Ryan remains peaceful. Calm. Ready. MACKELWAY Get up. O'RYAN I ca n't do that, Mack. I've seen all this already. For months now. MACKELWAY Get up. O'RYAN Every time, we're in this field : same wind, same rain. And you. He puts a finger to his head, pretending it's a gun. Then he pretends to pull the trigger. Mackelway gets the idea. O'RYAN -LRB- CONT'D. -RRB- It's okay. I want you to. I'm begging you to. Mackelway does n't know what to do. Then, making matters worse : FRAN -LRB- O.S. -RRB- -LRB- aloud. -RRB- Mack? She's about a hundred yards away. but she'll be here soon enough. That puts some heat under O'Ryan : O'RYAN I'm tired, Mack. FRAN -LRB- O.S. -RRB- Can you hear me? She's 90 yards out now. O'RYAN Pull the trigger. -LRB- no reply. -RRB- I'm not going to jail. Now pull the fucking trigger! Mackelway's frozen. O'Ryan knows it. O'RYAN -LRB- CONT'D. -RRB- Fucking coward. O'Ryan rises now, facing Mackelway. O'RYAN -LRB- CONT'D. -RRB- Some things are not up to us to decide. They just exist. They're inevitable. This field. This rain. This moment. It has all already happened. You know that. You've seen it too. He shoves Mackelway in the chest. FRAN -LRB- O.S. -RRB- Mack? She's 70 yards out now. O'RYAN Shut it off for me. MACKELWAY I'm not going to kill you, O'Ryan. O'RYAN Of course you will. I've seen it. MACKELWAY You saw wrong! O'RYAN -LRB- incredulous. -RRB- That's impossible. FRAN -LRB- O.S. -RRB- Mack? Can you hear me? 50 yards out now. Maybe close enough to hear O'Ryan's voice. O'RYAN -LRB- rambling, unraveling. -RRB- You do n't understand. Those fucking faces on that map. They call to me. I see their eyes in the dark - they're staring at me : `` How did you let this happen to me?'' But that's the thing about them - they're like pictures. They never blink. They just. stare, and always at me. That's my destiny, do you see? I did n't help them when they needed me and this is my penance. Fine. I ACCEPT IT. But I'm opting out now, ya get it? I ca n't stand this anymore! I wan na close my eyes for once and see something other than torture. -LRB- Mackelway's expressionless. -RRB- It's not a bad start, Mack. We've made the world a little safer now. Speck, Fulcher, Starkey, now Zero. We've made justice. But I get some too. You have to end all this for me. That's why you're here. It's your destiny. MACKELWAY Stop telling me about my fucking destiny! O'RYAN -LRB- again. -RRB- But I've seen it! MACKELWAY Open your eyes, O'Ryan! Here I am, standing here. I'm not shooting you. Does n't that fucking tell you something? You're a guy with a skill. Period. They taught you more than they should've. I'm sorry about that. But you're not God. You ca n't see everything. O'RYAN Yes I can! And you can too! That's why I chose you! FRAN -LRB- O.S. -RRB- Mack? Mackelway's not budging. O'Ryan can see that. O'RYAN -LRB- re : tire - iron. -RRB- Fine. I'll make it easy for you : O'Ryan picks up that tire - iron. Mackelway sees what's coming. O'Ryan swings the tire - iron as Mackelway backs out of its range. MACKELWAY Put the fucking thing down, O'Ryan. O'Ryan keeps pursuing. Another swing. Mackelway keeps backing up. The swing misses. O'RYAN Look. It's perfect. Wo n't even need a hearing this way. You apprehended the suspect in the commission of a murder. Then he turned on you and you fired in self - defense. O'Ryan is n't letting up. And Mackelway ca n't quite fire. O'RYAN -LRB- CONT'D. -RRB- These things are bigger than you - have n't you seen that yet? Destiny. Justice. Mercy. They're vast. We're just puppets! MACKELWAY I'm not going to kill you! O'RYAN You do n't get to decide that! MACKELWAY Yes I do! O'Ryan takes one more swing, as : FRAN -LRB- O.S. -RRB- FREEZE! Silence. Mackelway turns. So does O'Ryan. There's Fran, emerging from the tall wheat, gun trained right on O'Ryan. His shock is total. FRAN -LRB- CONT'D. -RRB- Drop it. O'Ryan does n't move at first. Then, slowly, an ironic smile snakes its way across his lips. O'RYAN -LRB- at Mackelway, surprised. -RRB- It's funny. I never saw anyone else out here. Did you? Mackelway does n't answer. He ca n't. O'Ryan eyes him. O'RYAN -LRB- CONT'D. -RRB- Do it, Mack. Please. -LRB- Mackelway's silent. -RRB- Please. I'm begging you. There it was : the very thing Mackelway's been hearing all this time, the exact words. Unsettling as hell. and we begin to INTERCUT : images of this moment with images from those `` VISIONS'' that have been hinting at this very wheatfield since Page One. INTERCUT WITH/EXT. WHEATFIELD `` FANTASY'' - SAME Tall wheat, wet wind, O'Ryan's voice : `` I'm begging you.'' . Mackelway snaps himself out of the vision. MACKELWAY I ca n't. That was almost an attempt to make those images stop, to deny its awful, inevitable conclusion. MACKELWAY -LRB- CONT'D. -RRB- I'm not you. O'RYAN Yet. Two men, neither of them flinching. until O'Ryan nods - as if to say `` Good - bye.'' more of that vision interrupts now : a gun, rising. O'Ryan rears back and swings that tire - iron right at Mackelway's head. Fran has no choice. She fires. O'Ryan is hit right between the shoulder blades. The tire - iron hits Mackelway in the shoulder. O'Ryan crumbles to the ground, landing face up. a body slumping to the ground. O'Ryan. Mackelway stands over him. Now, real - life again, Mackelway stands over O'Ryan, just as O'Ryan had always envisioned it. That makes him smile, even as he's dying. O'RYAN -LRB- CONT'D. -RRB- -LRB- weak. -RRB- Thank you. Then he dies, eyes open. Mackelway looks to Fran.","EXT. SERVICE ROAD - DAWN Hours have passed. Dozens of LAW ENFORCEMENT VEHICLES have arrived. Sherrifs, Feds. Zero's rig remains on its side. Mackelway sits nearby on a CURB, his shattered wrist is in a SLING. Up above, the CLOUDS have parted. Morning sun streaks through. No more rain. Fran sits beside him. At their feet, in the gutter of this service road, lies a discarded MILK CARTON, covered with dust. The face under the `` Have You Seen Me?'' is unknown to us. Kathleen is nearby, holding Charlie tight. Cops surround them. An UNMARKED SEDAN arrives. Charlton hurries out of it, making a bee - line for Mackelway. CHARLTON Nice work. -LRB- Mackelway half - nods. -RRB- Where is he? MACKELWAY Sir? CHARLTON O'Ryan. Where is he? Mackelway rises, studies Charlton. There's nothing to say. So he extends a hand to Fran. She takes it, rising to her feet. They leave Charlton behind. We PULL AWAY from them, craning up, taking in this expanse of tall wheat, TILTING UP to that morning sun. an AFTERNOON SUN now - blazing white hot. TILT DOWN.","EXT. DELIA'S RANCH-HOUSE - DAY We're some distance away. HEAT RISES off parched Earth, lending a vaporous screen to everything. But we can make out the shapes of men in HAZ - MAT SUITS. Delia's backyard is being torn up by a BACK - HOE. Looks like a war - zone : BODIES, wrapped in cloth, being exhumed from the ground. Dozens of them. But there's plenty of soil yet to be turned. Might be HUNDREDS unearthed by the time these guys are through. We. FADE OUT."],"string":"[\n \"Suspect Zero on a BLACK WAVE - vast, oceanic, and coming right at us. BEGIN TITLES. The wave is relentless, huge, menacing. We ca n't tell if this is daytime or night because it simply obscures everything - noisily. It sucks, it yawns, it roars. Then we realize. this massive wave of darkness is actually just a RUN - OFF of dirty black WATER alongside the edge of an Interstate. We PULL OUT OF IT now. to find concrete, and garbage, and weeds. END TITLES.\",\n \"EXT. DITCH - OFF THE INTERSTATE - 4:30 A.M. Amongst the refuse is a discarded MILK CARTON, resting on its back. The carton asks `` Have You Seen Me?'' above a photographed face that's been obscured by grime. Yellowing newspaper, old Coke cans, Twinkie wrappers. in that bed of untended weeds. A hollow Texas wind blows through it all. We stay with the carton. Then that hollow wind gains speed. and a deep RUMBLE grows in the distance, becoming a ROAR. The yellowed newspaper lifts off and whips past us. as an 18 - WHEEL MACK TRUCK blows by, just a blur in the corner of our frame, doing 75 in the pre - dawn darkness. Then, the truck is gone, and the rush of air dissipates. The milk carton, the coke cans. they lie undisturbed. A LIGHT RAIN begins to fall. and some of the grime washes away from that milk carton, revealing a face. A child. `` Have You Seen Me?'' It's heartbreaking. TILT UP. to take in the vast flatness of Texas' I - 35 : concrete forever. In the distance, gray highway yields to black STORMCLOUDS gathering silently over endless prairie. A vertical vein of LIGHTNING streaks through one of them. a spoon, stirring a cup of coffee.\",\n \"INT. \\\"THE ALL-AMERICAN DINER\\\" - GAINESVILLE TEXAS - CONTINUING (4:30 A.M.) HAROLD SPECK sits : mid 40's, pleasant face. A family man. Reads `` Rod and Reel'' magazine. Has a SALESMAN'S CASE by his side. Around him is a TRUCK - STOP in twilight : Truckers at the counter, Elvis on the wall, a `` Drink Bud!'' mirror. The WORLD SERIES can be heard on a RADIO. DOLLY -LRB- O.S. -RRB- Top that off for ya, Hon? That's DOLLY, a waitress, -LRB- 50, been here too long. -RRB- Speck looks up, smiles thinly, `` No.'' Dolly heads off. Speck returns to his article, underlining a particular passage. until a MAN seats himself, suddenly, in the seat opposite Speck's. Speck reacts, startled. SPECK Jesus. The MAN's name is O'RYAN. We only see PIECES of him : his eyes, his hands, a stain on his parka. O'RYAN What's in the case? SPECK I'm sorry? O'RYAN You're always lugging that case around. I'm curious. Speck looks around : there are plenty of empty tables in here. So why is this guy bothering me? O'RYAN -LRB- CONT'D. -RRB- What do you sell? SPECK I'm. in restaurant supplies. I did n't get your name? O'RYAN Must travel a lot, huh? Speck is looking for Dolly, a Manager, anyone. O'RYAN -LRB- CONT'D. -RRB- Whole country, or just hereabouts? SPECK I do n't mean to be rude but - O'RYAN How's your wife feel about it? That spun things a bit. Speck pauses. SPECK What? O'RYAN She must get lonely, with you gone all the time. Does she? SPECK Look, I. O'RYAN Do you get lonely? Speck's so thrown now he ca n't answer. O'RYAN -LRB- CONT'D. -RRB- Ya miss fucking her, Harold? SPECK Listen, I do n't know who you are but you ca n't - O'Ryan silences him. by holding up a piece of paper. On it is a DRAWING. The image faces away from us. But Speck can see it in rich detail. And his eyes go wide. We catch GLIMPSES : The color of flesh. A body - part. Looks like a rendering of a young, naked WOMAN. And, just like that, Speck finds himself STARING. Glued. O'RYAN -LRB- CONT'D. -RRB- Did it myself. It's sort of a hobby. -LRB- no reply. -RRB- I've got more. Would you like to see them? O'Ryan lowers it and slides a SECOND DRAWING over. Speck is speechless, transfixed. Ca n't look away. O'RYAN -LRB- CONT'D. -RRB- Tell me : those jokes about the traveling salesman and the farmer's daughter - are they true? -LRB- Speck remains silent. -RRB- Here. This one's my favorite. O'Ryan slides over DRAWING # 3. Again, we do n't get to see it. And we still have n't seen all of O'Ryan's face. But we can see Speck, and his reaction. Utter horror. In fact he recoils so violently that his coffee spills. O'RYAN -LRB- CONT'D. -RRB- Really says it all, would n't you agree? SPECK You're a. You're sick. O'RYAN That's a matter of opinion. SPECK You're sick! He rises, leaving the drawings behind. We STAY WITH HIM as he crosses the diner - deeply unsettled. He reaches the Manager, -LRB- MEL, balding, 50, in no mood -RRB- at the register. MEL Mmm - hmm? SPECK I'm having a problem - with another customer. I'd like you to ask him to leave, please. MEL What kind of problem? SPECK He's - He turns, to point out O'Ryan. but the booth, suddenly, is empty. The guy has simply disappeared, taking those drawings with him. Speck tightens. Mel eyes him, annoyed.\",\n \"EXT. ALL-AMERICAN DINER - PARKING LOT - MOMENTS LATER Speck hurries out to his Buick, checking over his shoulder repeatedly. Gets to the car, fumbles with his keys. They fall to the asphalt. He grabs them, opens the door.\",\n \"INT. SPECK'S CAR - DRIVING - MOMENTS LATER Speck guns the Buick. Interstate 35 flies by. The farther he gets away from that Diner, the happier he'll be. until a strange SOUND gets his attention : it's WIND, as if whistling through a ghost town. Hollow, varied - building then falling off again. Wind. Trouble is, the windows in this Buick are up. Yet there it is again : a thin, hollow GHOST - TOWN WIND, whistling over his shoulder. He's heard it before - in every Western he ever watched as a kid. But this wind is coming from his back - seat. The blood drains right out of Speck's face. Does n't know if he should jam on the brakes or drive faster. He looks in his rear - view, catches a glimpse of a LATEX GLOVE snapping onto a hand. Dear God : O'Ryan is back there, making that odd Ghost - Town wind sound. Whistling. SPECK -LRB- sheer terror. -RRB- What - do - you - want?! What - do - you - want - with - me?! No reply. Instead, another gift appears from the back : a FOURTH DRAWING, tossed from the darkness into Speck's lap. He looks down, registers the image. and SHRIEKS. O'RYAN -LRB- O.S. -RRB- There's a rest stop, next off - ramp. Pull into it. SPECK I have some money. It's not a lot but - O'RYAN Nobody wants your money, Harold. Just pull in. SPECK Why?! O'Ryan rises into frame now, like Nosferatu. O'RYAN Because I do n't wan na do this at 70 miles an hour. It could be dangerous. Speck finds the off - ramp. His breaths are shallow now. SPECK Please, Mister - what do you want from me? O'Ryan's face : a knowing grin fans across it. the face of VIRGIL RAY STARKEY, on a bulletin board.\",\n \"INT. F.B.I. RESIDENT AGENCY - WICHITA FALLS - MORNING (SAME DAY) We're looking at the F.B.I.'s `` Ten Most - Wanted List.'' Starkey is # 7 on it. He's 40, white. His crime are listed as rape, murder, kidnapping. THOMAS MACKELWAY stares at Starkey's image. At the eyes. Mackelway is 34, bred for success - bred for stardom in fact, a whiz at everything he's ever attempted. So what the hell is he doing in Wichita Falls, Texas? EIGHT AGENTS, in cubicles, with a ring of outer offices. Quiet phones, lousy take - out options, hardly a dream gig. CHARLTON -LRB- O.S. -RRB- Got a spot set up for you, Tom. That's RICK CHARLTON : late 40's, thinning hair, friendly. Charlton heads around a corner. Mackelway follows. CHARLTON -LRB- CONT'D. -RRB- Ms. Potter's the nice girl you met at the desk. She puts a package together for all the new agents, things to know about the area, help with finding apartments and such. This one's yours : Charlton stops at a CUBICLE : Carpeted walls, formica desk. A corner of dull Hell. Mackelway eyes it, fighting dread. CHARLTON -LRB- CONT'D. -RRB- Not so different from Dallas, is it? MACKELWAY -LRB- fuck yes. -RRB- No, Sir. CHARLTON Good. An abandoned SPORTS PAGE tells us about that World Series, so we must be mid - October. Charlton heads out. Mackelway throws a briefcase on to the desk, setting up his world : A framed picture of himself and his BROTHER, ages 10 and 15, on a childhood camping trip. Address book, coffee - warmer, calendar, a baseball covered with autographs. He opens up a drawer, and casually tosses two bottles of BUFFERIN into the back of it. but first grabs four tablets from one of the bottles, and throws them down his throat, as : GRIEVES -LRB- O.S. -RRB- Ya like Frito Pies? Mackelway turns. BILL GRIEVES stands here, holding a white grease - stained paper - bag. Grieves is Mackelway's age, not quite as ambitious. But solid, decent. MACKELWAY I dunno. What are they? Grieves pulls out a greasy concoction that's wrapped up like a semi - burrito. Pure Texas. Tosses it to Mackelway : GRIEVES Welcome to the minors. Grieves passes by with a faint smile, handing out lunch to a few other agents. Mackelway eyes the still - wrapped Frito Pie. God, get me outta here.\",\n \"INT. WICHITA FALLS F.B.I. OFFICE - LATER A BRIEF MONTAGE : Mackelway, in his cubicle, watching as THOSE OTHER AGENTS take calls, strap on guns, head out on assignment. Men in motion. But Mackelway's land - locked, writing up an Auto - Theft report. It's drudgery, but he's meticulous about it, deleting the word `` beige'' and replacing it with `` tan.'' His head is throbbing - not an unusual circumstance for him. But after lingering for a half - second on that `` Most - Wanted List'' again? Starkey? It's a wound.\",\n \"INT. F.B.I. OFFICE - KITCHENETTE - MOMENTS LATER Mackelway struggles with a COFFEE MACHINE that's unfamiliar to him. Filter, water, grounds, etc.. KATIE -LRB- O.S. -RRB- Here. Lem me do that. He turns. This is KATIE POTTER. She's 25, friendly, under - challenged by her job. Been here two years. In two seconds she's got the thing percolating. Of course. KATIE -LRB- CONT'D. -RRB- It takes some experience. He shrugs, not feeling too smooth. KATIE -LRB- CONT'D. -RRB- You're Mackelway, right? MACKELWAY Mmm - hmm. KATIE Fax came in for you. It's the room next door. MACKELWAY Oh. Thanks. He rises, heads for the `` fax room''.\",\n \"INT. \\\"FAX ROOM\\\" - CONTINUING A former closet, converted into useful space. FIVE FAX MACHINES sit on stands, sharing a surge protector. One fax machine is printing. Mackelway approaches it. Six pieces of paper await him. The first is a TOP - SHEET, written by hand : `` Attention : Agent Thomas Mackelway, FBI Resident Agency - Wichita Falls.'' No sender named. He looks beneath the top sheet - at Page One of the fax. A young BOY stares back at him, his face photostatically copied. Across the top, also - handwritten : `` HAVE YOU SEEN ME?'' At the bottom of the sheet, typed, we read : `` Jason Corey, Age 14. Ht. 5' 1'', Wt. 130, Eyes Brn, Hair Brn. Last Seen : Riverside, Ca. Date of Disappearance : 10 - 16 - 99.'' Mackelway eyes the face, then the vitals. No idea why this was sent to him. Then he looks at Page Two. A young WOMAN stares back at him this time. Another faxed photo. Another `` HAVE YOU SEEN ME?'' scrawled across the top of it. And, at the bottom of the sheet : `` Anna Casitas, Age 22. Ht. 5' 6'', Wt. 125, Eyes Brn, Hair Blk. Last Seen : Macon, Ga.. Date of Disappearance : 5 - 6 - 00.'' The other three faxes are more of the same : Pictures and vitals. Faces. Facts. `` HAVE YOU SEEN ME?'' He looks at the bottom of the transmissions, finds the fax number of the sender. Dials it. All he hears back is the loud grainy shriek of a dedicated fax line. He eyes the faxes again. It's not alarming, but it's odd. Then Charlton emerges from his office, shouting : CHARLTON Mackelway! You gon na sit on your ass all day, or do you wan na do something? Mackelway's out of this room in an instant.\",\n \"EXT. REST STOP - OFF THE INTERSTATE - DAY Your standard roadside rest - stop : a parking lot with weeds poking through it and bathrooms you would n't go near. Those STORMCLOUDS we saw earlier are CLOSER now. POLICE CARS and HIGHWAY PATROL MOTORCYCLES fill this site. Charlton's FBI SEDAN pulls up. He and Mackelway get out. Two men approach : SHERIFF HARRY DYLAN, 50 ; and his deputy, BUD GRANGER, a gangly, baby - faced pup. DYLAN Afternoon, Rick. -LRB- Charlton nods. -RRB- Looks like a robbery/homicide. Body's over that way. He gestures toward a ravine, where a TOW TRUCK is currently lowering a winch toward an abandoned vehicle. It is Harold Speck's Buick, nose - down in the ravine, teetering on a rock, like the balanced scales of justice. MACKELWAY Ya run the plates? Charlton eyes Mackelway : `` Easy, Hot - shot.'' Mackelway nods, reminding himself to remember his new rank. Dylan hands a preliminary report to Charlton. DYLAN Fella's name is Harold Speck. Traveling salesman, from Abilene. Charlton eyes the report, then hands it to Mackelway. The hierarchy is being made clear. Very. Mackelway turns : this ravine runs right up against a SIGN that reads `` Welcome to Texas'' on one side and `` You are now leaving Oklahoma'' on the other. A vehicle, left right on the state - line. Odd. Then, a NOISE : that Tow - Truck WINCH, grinding badly. It's just about to yank the Buick out of this ditch. MACKELWAY -LRB- it blurts out. -RRB- Hey! Before Charlton can react, Mackelway is running across this weed - choked lot, zeroing in on the TOW - TRUCK DRIVER.\",\n \"EXT. ATOP THE RAVINE - CONTINUING The Driver, JUMBO, is operating the winch from a hydraulic handle on the back of the truck. Mackelway barrels in : MACKELWAY -LRB- CONT'D. -RRB- What the fuck're you doing?! JUMBO What's it look like, Bud? Mackelway reaches past Jumbo and hits the `` Stop'' button himself. The winch shuts down. Mackelway turns. A handful of LOCAL COPS stand atop this ravine, watching. MACKELWAY -LRB- CONT'D. -RRB- You guys ever heard of evidentiary procedure? No one replies. Charlton approaches. Mackelway tightens, expecting a reprimand for overstepping his bounds. MACKWELWAY -LRB- CONT'D. -RRB- Sorry, Sir. There was n't time. Charlton eyes the car. Then Mackelway. CHARLTON Did the right thing, Agent Mackelway. Let's have a look. Charlton starts down the embankment. Mackelway does n't, hanging back as he eyes the TRACKS this Buick made before tumbling. Something about them. He pulls a small CAMERA from his pocket, a Minox. Snaps off a few photos of the scene - the Buick, the ravine, those tracks, some FOOTPRINTS alongside them. Then he heads down the 15 - foot embankment.\",\n \"EXT. RAVINE - CONTINUING It's an ugly sight. Speck is inches from us, but his head is facing in the other direction, twisted unnaturally. Mackelway kneels beside the open window, pulls out some gloves, puts them on. He will not lean on the car, or even breathe on it, his caution around evidence obvious. CHARLTON -LRB- O.S. -RRB- What's that? Charlton is opposite him, outside the passenger - side window, pointing at the DRAWING that O'Ryan had tossed onto Speck's lap. It lies face down on the seat. But something's been FINGER - PAINTED on the back of it : A RED CIRCLE, with a SLASH through it. Charlton begins to reach for it, when : MACKELWAY -LRB- to stop him. -RRB- Sir? Charlton stops. Mackelway indicates : `` Gloves.'' Charlton eyes him. It's irritating being corrected by a guy you outrank, especially when he's right. MACKELWAY -LRB- CONT'D. -RRB- Sort of a. stickler for procedure. CHARLTON I imagine you would be. That was a jab, but we do n't know it yet. Charlton puts on his gloves. Mackelway snaps off a few more shots with that Minox, looking over the rest of this car, as : GRANGER -LRB- aloud. -RRB- Hey Jumbo. Toss me down a crowbar. Granger's by the trunk. Before Mackelway can comment, Jumbo has tossed a CROWBAR down from the top of the embankment : a ten - pound hunk of iron, flying right at us. Everybody ducks. as it CLANGS on the roof of the Buick. Jumbo shrugs. JUMBO You said toss it. Mackelway shakes his head. `` Shitkicker.'' Granger grabs the crowbar. He's just about to open the trunk as : MACKELWAY Hold it a second. Granger pauses. Mackelway crosses to the trunk, and snaps off a few shots with the Minox. Something catches his eye, along the line of the TRUNK. He kneels closer. An odd RESIDUE, crusty and hard, has formed a thin line on top of the paint in a single post. He takes out a VIAL, and scrapes some of the residue into it. Then he sniffs it. Pauses. MACKELWAY -LRB- CONT'D. -RRB- Smells like. clove. He looks to Granger : now you can open the trunk. DYLAN -LRB- re : Mackelway. -RRB- Where the hell'd you find this guy? CHARLTON Field Office. Dallas. DYLAN -LRB- impressed. -RRB- Well now. -LRB- Charlton shrugs. -RRB- So what the hell's he doin' here? That one is left unanswered. Granger opens the trunk. Mackelway and the others look inside. There, they find restaurant supplies : napkin dispensers, salt - shakers, ketchup dispensers, a short - order wheel. And a fishing reel, tackle - box, a kid's bicycle helmet. Mackelway eyes it all, but his instincts tell him there's nothing significant here. So he returns to Speck's body. He leans in, lifts Speck's head a few inches away from the steering wheel. Gently. which is when we learn that Speck's EYELIDS have been torn off. It's gruesome, but Mackelway notes it calmly. Charlton leans in, gets a look. CHARLTON Christ. Mackelway is expressionless. But something about these LIDLESS EYES draws him closer. He leans in, then BAM! We are rocketed into a series of dark, disjointed images :\",\n \"EXT. A WHEAT FIELD - NIGHT Seems like we're standing in a field of TALL WHEAT ; we ca n't say for sure. Everything's wet, wind - whipped. A MUZZLE FLASH. Someone just fired a gun. We slump hard to the ground. Then we look up. Mackelway stands over us, his face wet with rain. Then, just as quickly, those IMAGES VANISH and we are :\",\n \"INT. UNIDENTIFIED MOTEL ROOM - GRAHAM TEXAS - DAY We start on the EYES OF O'RYAN. Cross - Dissolve to a pad of paper, on a DESK. Scrawled on the pad is a WAVY LINE. He holds the tip of that pen upon it, for a few seconds, as if expecting to get some kind of pulse from it. Here come those IMAGES again : wet wheat, a muzzle flash, Mackelway. Choppy, disjointed, dark. Then they cease. and O'Ryan begins to DRAW, hurriedly. Only half of his face is visible to us, but we can tell that his concentration is total. His pen continues its furious work, a spasm of activity, as the SOUNDS of that vision bleed in : the gun - shot, the rain, the wind. They're all alive in O'Ryan's mind. And that DRAWING takes shape quickly : The wheat field, the gun, Mackelway. Then, the pen is set down. The drawing is complete. O'Ryan eyes it calmly, then checks his watch, jotting down the exact time and date on to the drawing. Then he slips it into a folder marked, `` MACKELWAY.''\",\n \"EXT. SPECK'S HOME - ABILENE, TEXAS - ESTAB. DAY Picket fence, a swing on the porch, a lawn that needs mowing. A LINE OF PEOPLE file in, each bringing food. and tissues to cry into.\",\n \"INT. SPECK'S HOME - LIVING ROOM - MOMENTS LATER (DAY) Shocked faces. Food on unmatching trays. Speck's wife - JAN, 40 and frayed - sits in a chair, immobile. FRIENDS and FAMILY mill about, tending to her. KIDS hover. Two of them, a 4 - YEAR - OLD BOY and an 8 - YEAR - OLD GIRL, sniff back tears as people offer condolences. But the focus here is Jan - her grief. She's shaking. O'RYAN -LRB- O.S. -RRB- Mrs. Speck? She looks up. O'Ryan crouches down, to eye - level, one of fifty faces in here. Jan half - nods. O'RYAN -LRB- CONT'D. -RRB- Just wanted to offer my condolences. -LRB- takes her hand. -RRB- I did n't know him well but. I think Harold was a much more complex man than people realized. Jan is so raw that anything about Speck touches her now. JAN -LRB- through tears. -RRB- He was, was n't he? O'RYAN I'm very sorry for your loss, ma'am. She sniffs back a tear, thanks him with a smile. O'Ryan extends his hand to her. She takes it. He moves off. Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and into the BLACK CREPE that is adorning the corner of the portrait's FRAME, and : BAM! We're rocketed back into a set of odd IMAGES again :\",\n \"EXT. DARKNESS - UNIDENTIFIED TIME This time, everything before us is a blur of gray. We hear that wet wind. We hear our own heavy BREATHING, as if we were running somewhere. a VOICE, rising above the wind, seems to be saying : VOICE -LRB- O.S. -RRB- Please. The sound echoes oddly, as if bouncing off a satellite somewhere, or a distance of time and space. Then the sound and the soupy grayness VANISH. This vision just ended. When we pop back out of it, we're TIGHT on Mackelway.\",\n \"INT. MACKELWAY'S YUKON - PARKING LOT - GAINESVILLE 10:30 P.M. Mackelway sits behind the wheel of his Chevy Yukon, parked between two big - rigs in the lot of the `` All - American Diner.'' Sky looks black tonight. It rumbles. And that soupy gray vision we just heard and saw. It was all his. He pulls four more Bufferins out of a bottle in his pocket. Slugs them down. This headache is a constant. Then he gets out of the Yukon.\",\n \"INT. ALL-AMERICAN DINER GAINESVILLE - CONTINUING Mackelway enters, spots Charlton at a booth - sitting opposite a WOMAN, her back to us.\",\n \"INT. BOOTH - CONTINUING Mackelway approaches. The Woman does n't turn. CHARLTON Agent Mackelway. I was ` bout to introduce you, but I understand that wo n't be necessary. Mackelway does n't get it. until the WOMAN turns. She is AGENT FRAN KULOK. 35, sharp, pretty when she allows herself to be. But with a guard that never comes down. Mackelway has some history with her, so he tries not to react. It takes some effort. CHARLTON -LRB- CONT'D. -RRB- Seems your former office has decided we might need some help on this one. So they sent out Agent Kulok. FRAN Tom. MACKELWAY Fran. That was terse, from both of them. Charlton takes note. CHARLTON I guess we're skipping the tearful reunion. Have a seat, Tom. Mackelway sits opposite Fran. She folds her hands. MACKELWAY How's things back at the ranch? FRAN Movin' right along. That might've been a dig ; Charlton ca n't tell. CHARLTON Okay. Whadda we know? FRAN Picked up a foot - print in the back seat of Speck's car, size - and - a - half bigger than Speck's. Just like that, Fran is piping up. Mackelway's unoffended. CHARLTON ` Kay. FRAN Wounds on Speck's throat indicate that he was strangled from behind. I think our guy waited for him in the backseat, sprung this on him once the car was moving. She slides that FOURTH DRAWING to Charlton - giving us our first look at it. a STEAMER - TRUNK, lined with plastic. Inside it are large ZIPLOC BAGS. Inside the bags are BODY PARTS. It's realized so accurately that it looks more like a photograph. No wonder it horrified Speck so deeply. THE BOOTH - RESUMING Charlton eyes it without reaction. FRAN -LRB- CONT'D. -RRB- Lab picked up talcum traces on the edges of the paper, consistent with powdered gloves. -LRB- Charlton nods. -RRB- So he gets the dropped in his lap, it spooks him, and the car winds up in the ravine. Plausible enough, until : MACKELWAY I do n't think so, no. I think it was pushed. FRAN How ya figure? MACKELWAY The look of the tracks. Foot - prints near the embankment. Without embellishing any further, he slides over the PHOTOGRAPHS that he took this morning with the Minox : tire - tracks, foot - prints. She eyes them. Then she eyes Mackelway. Charlton notes the tension. CHARLTON Okay. So our guy likes to draw pictures of body parts and then spring'em on people. What's that get us? -LRB- they're silent. -RRB- That's what I thought. There is plenty going unsaid here between Mackelway and Fran. Charlton has no time for it. CHARLTON Oh. ` Fore I forget. This came in for you : He tosses a 9 - by - 12 ENVELOPE at Mackelway, who opens it. Six sheets of paper slide out. First one we see is the TOP SHEET of a FAX : same hand - written inscription as the last one : `` Attention, Agent Thomas Mackelway, FBI Resident Agency, Wichita Falls.'' Okay. This is twice now. He knows what will be under this top sheet without even looking. But here's Page One : A photo of a middle - aged African - American WOMAN. Across the top of the photo, in hand - writing : `` HAVE YOU SEEN ME?'' And typed on the bottom : `` Tanya Green. Age 42. Ht. 5' 9'', Wt. 165, Eyes Blk, Hair Blk. Last Seen : Ames, Iowa. Date of Disappearance : 3 - 22 - 97.'' The following four sheets bring four more faces : men, women, young, old. Four more HAVE YOU SEEN ME's. But before he can think it through, he hears : MANAGER -LRB- O.S. -RRB- It's about time. They turn. That came from the NIGHT MANAGER : a humorless guy named LES. He's looking at the front door, through which Dolly has just entered. Pink cowboy boots tonight. DOLLY Do n't start in on me, Les. I could n't get the pickup started and Harlan took the Dodge. The Manager now throws a glance at the three feds in the booth. Dolly stops short, taken aback. DOLLY -LRB- CONT'D. -RRB- Holy Hell. My one shot at winding up on `` Cops'' and I'm in my weekday boots!\",\n \"INT. DINER - BOOTH - LATER Dolly and Mel sit opposite Mackelway and Fran. DOLLY He was a quiet guy. Normal. Liked to read fishing magazines. Not much of a tipper. Is that a lousy thing to say? FRAN It's fine. Mel rolls his eyes. MACKELWAY What can you tell us about the other man? MEL Like I said, I never really saw him. Harold came up, complainin' about the guy - but time I turned, he was gone. FRAN -LRB- at Dolly :. -RRB- Could you de - MACK -LRB- at Dolly :. -RRB- Did you get a - They each stop short, waiting for the other to yield. Finally Mackelway nods, `` Go ahead.'' FRAN Can you describe him, Ma'am? DOLLY Sure. He was. Dolly pauses, her face scrunching a bit. Troubled. DOLLY -LRB- CONT'D. -RRB- That's weird. Guy was in here better part of an hour. We had a real pleasant chat. But I ca n't remember a thing about him. For the life of me. Could n't even tell you what color his eyes were. She shrugs apologetically. FRAN Happen to see what he was driving? DOLLY That one's easy. It's still in the lot. -LRB- they perk up. -RRB- The Bonneville out there with the awful paint job. She gestures to the lot, where an old PONTIAC BONNEVILLE sits, its paint stripped down to the primer. Bingo. Fran and Mackelway eye it, then one another.\",\n \"EXT. DINER - PARKING LOT - MOMENTS LATER Fran and Mackelway emerge, heading for the Bonneville. MACKELWAY We ought to work out some kind of protocol. FRAN For what? MACKELWAY Interviews. Witnesses. Looks pretty silly, our talking over one another. FRAN Fine. I'll handle them from now on. He does n't argue. They come to a stop at that Bonneville, stripped down to its primer. Time to work. Two agents, all instinct. We see them study things, details, their minds always churning. Mackelway pulls out his Minox, snaps off a few more shots. Then : MACKELWAY Trunk's ajar. She turns. Sure enough, the Bonneville's trunk is ajar. Mackelway approaches, cautiously. He does n't have gloves on him, so he uses his jacket pocket to protect against prints. He opens the trunk. First thing he sees is that SYMBOL again : a circle - with - a - slash - through - it. staring right at him. But this time, it's been carved into somebody's back. Mackelway stares. So does Fran. Before them lies a body, stripped to the waist : a chunky middle - aged MAN. Dead. Mackelway sighs. Things just got tougher.\",\n \"INT. ARCHER COUNTY MORGUE - DAY Harold Speck lies on a table. A BESPECTACLED CORONER examines him. Victim # 2, BARNEY FULCHER, lies on another, his ample frame yet to be examined. The lights are out, but that Coroner wears a FLUORESCENT HALO, with a MICROPHONE pinned to his gown. He speaks into it with a quiet monotone : anatomical terms, etc.. Mackelway and Fran are here. watching. Mackelway is particularly focused on Fulcher's face. His EYELIDS, we now see, have also been torn off. Hmmmm. FRAN Why eyelids? MACKELWAY Huh? FRAN No other signs of torture here. Why take somebody's eyelids off? MACKELWAY So they ca n't blink. She sighs, aloud : `` I know that already, Asshole.'' Coroner keeps his head down, speaking into that microphone. MACKELWAY -LRB- CONT'D. -RRB- It's a metaphor - to make certain the victim sees. or to make certain that we see something. -LRB- she's silent. -RRB- Or maybe it's just a fuck - you. Coroner continues his monotone narration. then crosses to the sink. That puts him out of earshot. So : MACKELWAY -LRB- CONT'D. -RRB- -LRB- to Fran, quietly. -RRB- I'm sorry about Don. FRAN -LRB- thrown. -RRB- Huh? MACKELWAY You're not wearing your ring anymore. That was an attempt at kindness. She knows that. Still, she eyes her left hand, self - consciously, while Mackelway loses himself in those lidless eyes of Fulcher's. Then there's a KNOCK AT THE GLASS WINDOW BEHIND THEM. They turn. Charlton stands on the other side of a GLASS WINDOW, in a VIEWING ROOM adjacent to this Morgue. He presses a piece of paper up against the glass. On it, in typed bold letters at the top, we read : `` MATCHES ONE OF ONE.'' Below that we see that Circle - with - the - slash - through - it. This is a FAX, which Charlton's just received. He points further down on the fax at what look like little squiggles at first, until we move in to discover it is a hand drawn street map. The ink bleeds a bit due to a poor fax transmission. Those scrawled lines take us to `` The Hope House,'' in Oklahoma City. At the bottom a scribbled name, `` David Dyson,'' and a contact number. Moving closer to the glass, Mackelway nods. He just got a break.\",\n \"INT. GRAMMAR-SCHOOL AUDITORIUM - BOULDER, CO. - DAY A CHOIR of FIRST AND SECOND GRADERS stands before a school assembly. The rest of Boulder Elementary's student body fills the seats in here, along with FACULTY MEMBERS. Everybody's weeping. A framed picture of Barney Fulcher sits on a stand, with candles around it : SINGING FIRST AND SECOND GRADERS A - may - zing Grace, How sweet the sound - In the back, some of the TOWNSFOLK have gathered for this assembly, touched. O'Ryan stands among them. No expression on his face at all.\",\n \"EXT. \\\"HOPE HOUSE\\\" - OKLAHOMA CITY - NIGHT A three - story Victorian residence in decay, next door to a CHURCH/SOUP KITCHEN in the middle of Oklahoma City's Skid Row. Rain falls. The street is still. Mackelway approaches this halfway - house. A few lights shine within, and the blue glow of a tv. Upstairs can be heard the strident, off - key voice of somebody singing.\",\n \"EXT./INT. HOPE HOUSE - DOORWAY - CONTINUING The front door is open. Through a SCREEN DOOR, Mackelway can see an old - fashioned `` foyer.'' He knocks. Waits. Two sounds dominate : the buzz from that tv, and the strident singing, which we realize is an a capela version of `` La Vida Loca'' audible through an open bedroom window. But no one's coming to answer the door, and it's wide open anyway. So Mackelway enters. MACKELWAY Hello?\",\n \"INT. HOPE HOUSE - ENTRY - CONTINUING TV room is to his left. There, a single 35 year - old DRUNK / TRANSIENT -LRB- we'll call him `` PIPER'' -RRB- sits, watching `` Behind the Music'' on VH1. Tonight's subject? Leif Garret. Piper does n't look up, or acknowledge Mackelway at all. Rather he INCREASES THE TV VOLUME to drown out the singing upstairs, which seems to be intentionally off - key. Torn couches, stained carpet, cracked window. Posters and fliers on the walls. 10 BEDROOMS upstairs. DYSON -LRB- O.S. -RRB- Agent Mackelway? Mackelway turns. Descending a creaking stairway is DAVID DYSON : 50, lean, with a friendly smile.\",\n \"INT. HOPE HOUSE - BASEMENT - MOMENTS LATER We are staring at a BASEMENT WALL that has been covered, floor to ceiling, with 1,000 identical renderings of that same symbol : the CIRCLE - WITH - A - SLASH - THROUGH - IT. 1,000 of them, in bright red paint, against pitch black enamel. Only a machine could have achieved this kind of repetition. Or a maniac. This basement is leaky, drafty, poorly lit. But it's also quiet : the sound of that awful singing upstairs has been MUTED by the basement door and the rain itself. DYSON Benjamin spent hours down here. Mackelway takes it all in, every corner of this basement. He notes a row of standing GYM LOCKERS. MACKELWAY -LRB- re : lockers. -RRB- Did he have access to those? DYSON No. They're staff - only. MACKELWAY Would you mind opening them for me? Dyson shrugs ; he thinks it's a waste of time - but he'll do it. Mackelway follows him across the dank room. MACKELWAY -LRB- CONT'D. -RRB- He was here. seven years you said? DYSON Off and on. It's not uncommon for our guests to vanish for months at a time. Dyson works a combination lock on the first locker. MACKELWAY I ran the name through our database, just to be sure. There's never been an Agent Benjamin O'Ryan in the Bureau. DYSON No. but as elaborate fantasies go, it was one of my favorites. -LRB- fondly. -RRB- And he always seemed so sincere about it. Dyson half - chuckles ; he always liked the guy. He throws open the locker. Inside, nothing. Mackelway indicates the next locker. Dyson works the combination. MACKELWAY Is that what you called him? Benjamin? DYSON It's what he wished to be called. Locker # 2 is opened - also empty. Only one locker left. DYSON -LRB- CONT'D. -RRB- -LRB- re : locker # 3. -RRB- That one's mine. Mackelway shrugs : `` Sorry, it has to be opened.'' Dyson sighs, then works the combination. Mackelway waits. Locker # 3 is opened. Inside, nothing incriminating : a sweater, some old junk, two trophies. Dyson eyes him : `` See?'' Mackelway nods. Dyson shuts the locker. Mackelway looks to that wall : 1,000 copies of the circle - with - a - slash - through - it. No idea what they signify. DYSON -LRB- CONT'D. -RRB- He painted one of the walls in his room, too. MACKELWAY Can I see it? DYSON We've painted it over. MACKELWAY Still, might be helpful. Dyson heads for the stairs. They're wooden slats with more basement - junk stored below : old sporting equipment, an old vaccuum cleaner, broken chairs, rusted patio furniture. Mackelway follows. They climb. MACKELWAY -LRB- CONT'D. -RRB- Wait. They stop. Something just caught Mackelway's eye, visible beneath these stairs : a BOX, with a bucket of PAINT sticking out of it.\",\n \"INT. BASEMENT - BENEATH THE STAIRS - CONTINUING Mackelway climbs under the stairs, crouching down, pushing aside all of the aforementioned junk. He grabs the box. Sure enough, that bucket once held red paint - same color O'Ryan used to cover that wall. There's also a bucket of BLACK PAINT here. And some used brushes. Mackelway brings the box into the meager light. We get a look INSIDE IT now. So does Dyson. Inside, beneath the paint - buckets, we see a few TV GUIDES, a yo - yo, a football. Then a BOOK on TRIBAL RITUAL AND TRANCE. Mackelway grabs it, eyes it. He flips through a few pages - odd images : a TRIBESMAN with eyes rolling back in his head, strange rites, etc.. Mackelway sets the book down. Then, amidst the other materials in this box, he spots a large folded MAP. He grabs it, begins to unfold it. We see that this map's been written on, in pen. Cities on it have been CIRCLED. But before we can get a good look at it, Mackelway spots something else, at the bottom of this box, a shocker : A photograph of himself. It takes him a second to realize what he's looking at. But there it is, a NEWSPAPER PHOTO, of Agent Thomas Mackelway. It is part of a FRONT - PAGE STORY, dated July of this year, concerning the trial and release. of Virgil Ray Starkey. # 7 on the F.B.I.'s Most - Wanted List. Dyson ca n't help but notice the picture of Mackelway. Mackelway stares. Suddenly we JUMP BACK IN TIME, NINE MONTHS, for a brief, choppy FLASHBACK. 29 29 EXT.. STREET - MATAMOROS - NIGHT - MACKELWAY'S FLASHBACK We're RUNNING, dashing between two buildings of chipped - adobe, hearing nothing but the sound of our own breathing and the thuds of our own heavy feet. This is Matamoros, Mexico, a shit - hole of a border town. Squalor and sin. We find a DRUNK MEXICAN TEEN. He nods : `` This is the place,'' and sticks out his palm.\",\n \"INT. HOPE HOUSE - BASEMENT - RESUMING Mackelway stares at that newspaper : Starkey - rapist, murderer, whose case was just thrown out of court - a stunning failure for all involved. as we RESUME MACKELWAY'S FLASHBACK - Matamoros again.\",\n \"INT. \\\"CLUB\\\" - BACKSTAGE - RESUMING FLASHBACK Bad - lighting, drunk patrons in a CIRCLE, and a DONKEY - SHOW taking place on a bare stage. Feels like we've stepped into some kind of evil carnival. It's dizzying. Among the crowd : Virgil Starkey, in an ugly drunken binge, the only guy in here who is n't cheering or laughing. Suddenly our GUN is pointed right at his head. Starkey freezes, caught. Some of the PATRONS around him find somewhere else to stand. But the show goes on.\",\n \"INT. HOPE HOUSE - BASEMENT - RESUMING That ARTICLE gives us more detail now, the reason Starkey's case was thrown out of court. It is this : The F.B.I. Agent on the case had made a mistake in `` evidentiary procedure.'' Hence, Mackelway's picture. On his face, we GO BACK TO ANOTHER MEMORY : six months ago.\",\n \"INT. COURTHOUSE - ANTEROOM - DAY - ANOTHER FLASHBACK Three months have passed since the arrest in Matamoros. Now Mackelway sits in this courthouse ANTEROOM, adjacent to a courtroom. Four sour PROSECUTORS surround him. PROSECUTOR #1 D'you understand how fucked we are? MACKELWAY Yes, Sir. PROSECUTOR #1 Leaving a tissue sample in the care of a Mexican lab? Are you fucking kidding me? MACKELWAY They assured me that they understood protocol. PROSECUTOR #1 Well guess what? They did n't. And this prick's gon na walk, ten murders or not. That registered.\",\n \"INT. HOPE HOUSE - BASEMENT - RESUMING Beneath this newspaper article are OTHER ARTICLES, all concerning Starkey : his crimes, his capture, all of it. Mackelway's memory just got stoked again :\",\n \"INT. COURTHOUSE - HALLWAY - RESUMING FLASHBACK Mackelway emerges from that courthouse anteroom, whipped. The hall's busy with MEDIA and other traffic. First face he sees is Fran, who sits on a bench, -LRB- wedding ring ON -RRB-. Her eyes say how lousy she feels for him. It almost helps.\",\n \"INT. COURTHOUSE BATHROOM - CONTINUING FLASHBACK The door bursts open and Mackelway storms in. No need to look composed now ; he's alone in here. He crosses to a paper - towel dispenser, SLUGS IT. Stares in the mirror. He's livid, embarrassed, frustrated - can barely look at his own reflection. Then he hears LAUGHTER, behind him. He turns. Out of the darkness of a badly - lit STALL, Virgil Starkey emerges, coming into view under a single light. Beside him is a GRIM COP, his chaperone. Starkey passes by Mackelway, almost snickering. Then he's gone. Mackelway shuts his eyes tight. His head is pounding. END FLASHBACK.\",\n \"INT. HOPE HOUSE - BASEMENT - RESUMING Mackelway stares. at a record of his deepest wound. But what the hell is it doing in the locker of a transient?\",\n \"INT. HOPE HOUSE - \\\"O'RYAN'S ROOM\\\" - MOMENTS LATER Mackelway leans in, looking around. A bed. A small end - table. Bathroom. A window without bars. From down the hall we hear the sound of a PHONE RINGING, then a FAX transmission. An old fax machine begins to whine noisily, creaking. It's a distraction. But Mackelway's focus is in this room. The walls have been newly painted. But there's a hint of barely - perceptible color beneath one of them. Rain from a LEAKY ROOF is causing some of the new paint to peel a bit. A BUCKET collects drops in the center of the room. The feeling in here is damp, mildewy, creepy. Mackelway remains in the doorway. then backs out. DYSON -LRB- O.S. -RRB- I guess you fellas're never unaccounted for, huh?\",\n \"INT. HALLWAY - CONTINUING Mackelway turns, a bit startled. Dyson is approaching, FAX in hand. MACKELWAY Huh? Dyson extends six pages. On the TOP - SHEET, written by hand, are the words : `` Agent Thomas Mackelway, C/O Mr. David Dyson, Hope House'' with a street address. And under that top sheet? Five more pages. Mackelway sighs, takes them from Dyson. Sure enough, he's staring at five more faces, five more fact sheets. Five more HAVE YOU SEEN ME's. But how would anyone know to send them here? DYSON Anything urgent? MACKELWAY -LRB- does n't look up. -RRB- No. Dyson is glad to hear it.\",\n \"INT. HOPE HOUSE - FOYER - MOMENTS LATER Mackelway descends, having had quite enough of this place. Piper is where we left him, watching VH1 in the TV Room. Mackelway passes, eyeing those newly - faxed pages : five more HAVE YOU SEEN ME'S. He reaches the door. PIPER Ever seen a fifty - foot shark? Mackelway stops, turns. MACKELWAY I'm sorry? PIPER Fifty - foot shark. Ever seen one? MACKELWAY No. PIPER Does n't mean there are n't any. Great. Mackelway reaches for the front door again. Then he halts. Maybe this guy can be helpful. Mackelway turns : MACKELWAY Did you know him? -LRB- Piper's silent. -RRB- The guy who used to stay upstairs. `` O'Ryan.'' Did you know him? PIPER Why? Is he dead? MACKELWAY I do n't. PIPER You said `` Did.'' Is he dead? MACKELWAY Oh. I mis - spoke. No, he's not dead. -LRB- a beat. -RRB- You know him? Piper nods. Mackelway eyes him, then approaches, holding up a copy of that image : the circle - with - slash - through - it. MACKELWAY -LRB- CONT'D. -RRB- He ever talk about this? A circle with a slash through it? Piper rises, crosses to us. leaning in unnecessarily close. It's unsettling. PIPER That's not a circle. It's a zero. MACKELWAY Oh. How do you know? Piper does n't answer. Instead he simply starts whistling. But it's not a tune coming out of his mouth. It's that same sound that O'Ryan made : A WHISTLING WIND, blowing through a ghost town. Building, then falling again. Piper smiles, backing away, enjoying the theatricality of it, stifling a giggle. Then, suddenly, everything turns GRAINY, CHOPPY. We've jumped into a distorted, REMOTE POV of this same scene - as if watching it through a crystal ball, or a broken lens, or a distance of time and space. We see images, fragments : Piper, the tv, the sofa, Mackelway's face. Then all sound breaks up, and we are.\",\n \"INT. MOTEL ROOM - SLEEPER, MISSOURI - CONTINUING Start on O'Ryan's EYES. Then a pad of paper. The spasm of a pen, scrawling a LIST on to it : `` Piper. TV. Whistling.'' We're in another non - descript MOTEL ROOM. $ 29 a night. He holds down the point of his pen on a wavy line beside that list of words, keeping it there for a few seconds, as if expecting to receive some kind of pulse from it. No more pulse. He has lost the `` connection'' that had somehow transported him. He notes his watch. Jots down the exact time. Slips the pad into that FOLDER : `` Mackelway.'' Then he starts to DRAW - a hurried but accurate sketch of Mackelway and Piper, just as they stood during that conversation. The geography is fairly accurate. O'Ryan continues to draw. We CRANE OUT of this motel room, to find, on the street below :\",\n \"EXT. A BAR - SLEEPER, MISSOURI - CONTINUING A typical honky - tonk in a town called Sleeper, Missouri. Just across the street from O'Ryan's cheap motel.\",\n \"INT. BAR - SLEEPER, MISSOURI - CONTINUING Low - lights, dust on the floor. Pool tables. LORETTA is a pretty 19 - year - old who stands at the jukebox, weighing her choices. She's got a thick curtain of hair, which she wrangles with a CHIP - CLIP. It's a habit. She chooses a country - rock tune, then heads for the bar, walking to the beat. It's fun being 19 and beautiful. AT THE BAR - CONTINUING The BARTENDER'S a stocky guy with a broad smile. LORETTA -LRB- re : song. -RRB- How's that? BARTENDER Little cute for my taste, but I can stand three minutes of it. LORETTA I'll have a seven and seven, please. BARTENDER Seven and seven. Got some i.d? She half - laughs, as if she has n't been carded in a decade, and throws that curtain of hair from one side to the other, re - fastening that chip - clip. It's her best move. LORETTA It's in the car. No one's asked me for it for a couple years now. BARTENDER If ya hurry, you'll still catch the end of the song. She eyes him : are you really carding me? He smiles : nothing personal, Sugar. So she heads for the door. on her way, she passes a booth. In it we find a familiar face - Virgil Ray Starkey. He remains still, as if he had n't noticed her. But behind his eyes, something primal just took place. He rises, heads for the door.\",\n \"EXT. BAR - MOMENTS LATER Loretta walks to her VW Bug. Starkey exits the bar. She does n't notice. We TILT UP : the lights are off in O'Ryan's motel room.\",\n \"EXT. AT LORETTA'S CAR - MOMENTS LATER It all happens pretty fast : That chip - clip hits the ground beside the open VW door. A battered PICK - UP speeds away, kicking up gravel. Loretta's eyes, wide with terror and dread.\",\n \"INT. STARKEY'S PICK-UP - MINUTES LATER We're off - road. Missouri's woods can be seen through the windshield. And Starkey is staring at us. Pawing at us. LORETTA Please, Mister. Starkey's hand shoots out, banging Loretta's head against the window, hard. That makes things start to swim. Starkey tears at her clothes, lowers himself on to her. She whimpers. WE CARRY THE SOUND OF IT INTO :\",\n \"INT. MACKELWAY'S APARTMENT - SAME This is where you go when you've just moved to Wichita Falls and money's tight : spotty shag carpet, chipped Formica kitchen table, scuffed blinds. and one sleepless agent, having one lousy night. Mackelway sits on the edge of his bed, almost able to hear Loretta's helpless cries. Some nights are like this. His head is POUNDING again. Down go four more Bufferin. Above him, covering the bedroom mirror, is the MAP he took from that Hope House basement. O'Ryan's map, UNFOLDED. It's HUGE : 6 - feet - wide, 4 - feet - tall, obscuring the mirror. As we glimpsed while still in that basement, this map his been written on, in pen. O'Ryan's notations cover it : Over a THUSAND CITIES on it have been CIRCLED, by hand, in RED. Each of those circled cities has a DATE written beside it, also in red : -LRB- `` 4/6,'' `` 5/19,'' `` 10 - 26,'' etc. -RRB- Mackelway studies it, his face working. Another of those WHIMPERS from Loretta seems to hang, suspended. Mackelway shakes it off, certain that he's imagining it. He wo n't sleep a wink tonight. We LEAVE HIM, returning to :\",\n \"INT. STARKEY'S PICK-UP - RESUMING The attack continues, its terror unimaginable. Loretta sobs. It hurts. Starkey's too powerful to fight off. We stay on her face : dazed, her mind simply checking out. until a look of cognizance comes over her, brought on by a SHADOW that just passed by. Then the window behind Starkey simply EXPLODES. Glass flies everywhere, and TWO ARMS reach into the pick - up. They grab Starkey by the neck and yank him out of the pick - up, his back sliced open by shards. He screams. She ca n't resist coming to the window, where she sees :\",\n \"EXT. WOODS - STARKEY'S PICK-UP - CONTINUING Starkey lies, face up. Shocked. Squirming. Bleeding. Standing over him, looming large as a Grizzly. is O'Ryan. A long HUNTING KNIFE extends from his hand. But his tone, to our great surprise, is conversational : O'RYAN Hey, listen, I'm sorta new in town. Ya know where I can find a good donkey show? Starkey has no idea how to respond to this maniac : STARKEY Huh? O'RYAN Oh. Forgot. Wrong country. In America animals have rights. -LRB- pointedly. -RRB- Do n't they, Virgil? STARKEY How the fuck should I know? O'Ryan half - smiles, then kicks Starkey right in the head. Loretta's eyes go wide. Another kick follows, to the ribs. Then one to the groin. Then : O'RYAN -LRB- at Loretta. -RRB- Turn around. He said that without looking at her. But he can tell that she has n't moved - too frightened. So he eyes her. O'RYAN -LRB- CONT'D. -RRB- -LRB- again. -RRB- Turn around! She turns away, lying face down on the seat, covering her head. No idea what kind of terror is to come next. We STAY WITH HER. able only to hear what follows : The sound is animal, awful - like a pig being gutted - a horrible SQUEAL, covering the GRUNTS coming from O'Ryan. In goes the knife again, prompting another agonized cry from Starkey. Loretta's crying too : from fear, shock. She keeps her face buried, shutting her eyes tight. The sounds of savagery fill the night. Then, one last gasp from Starkey. followed by an awful silence. and the assault is over. Loretta's too afraid to look up - certain that the maniac with the knife will be coming after her next. But then she hears FOOTSTEPS, trailing away. So she rises, peeking over the edge of the window. WE STAY ON HER FACE, as she sees what's become of her attacker. Her horrified SCREAM fills the woods.\",\n \"INT. MACKELWAY'S APARTMENT - BEDROOM - RESUMING Mackelway STARES out the window ; seems like he just HEARD that scream. Of course, that'd be impossible. He looks to that map. His PHONE RINGS. He eyes it, unsurprised.\",\n \"EXT. WOODS OUTSIDE SLEEPER, MO. - LATER Law enforcement VEHICLES surround the site. COPS, Grieves, CORONER'S GUYS taking pictures. Loretta is sitting on the back of an ambulance, being tended to. A COMPOSITE ARTIST sits beside her, trying. LORETTA I do n't think the eyes are right. COMPOSITE ARTIST Narrower? LORETTA No, they were. I do n't really know. Composite Artist keeps trying, but his attempt does n't look anything like the face of O'Ryan. Charlton, meanwhile, stands over the body, mind racing. A Missouri Highway Patrol car pulls up. Mackelway steps out of it. We follow him as he takes in the scene. A FLASHBULB illuminates Starkey's CHEST ; is got a zero - with - a - slash - through - it. But Mackelway has n't seen the guy's face yet. MACKELWAY Sir? -LRB- Charlton turns. -RRB- We got an i.d. yet? CHARLTON Mmm - hmm. -LRB- Mackelway waits. -RRB- Might wan na find yourself a fender. You're gon na need to sit down. -LRB- Mackelway's still waiting. -RRB- It's Virgil Ray Starkey. Mackelway pales. We stay on him for a moment as it registers. The man he caught, and then lost, has killed again. No. God, no. MACKELWAY -LRB- struggling for composure :. -RRB- Starkey did this? CHARLTON No. Starkey's the one on the ground. Mackelway pauses, thinks he must've heard wrong. But he turns toward the face, as ANOTHER FLASHBULB illuminates it, searing the image into the darkness. Starkey. Dead. His eyelids ripped away. Mackelway stares, stunned. Ca n't fucking believe it. MACKELWAY -LRB- breathless. -RRB- My God. It's like looking at a ghost - a spectre that's been haunting him, dead now. Mackelway pulls out his Minox, starts photographing, moving in on those LIDLESS EYES. GRIEVES Gon na make a wallet - size of that one? CHARLTON Give him a break, Grieves. Mackelway does n't comment. Just keeps snapping shots.\",\n \"INT. FBI OFFICE - MACKELWAY'S CUBICLE - MORNING The number of HAVE YOU SEEN ME's has now grown, quite a bit. 45 PAGES sit stacked on Mackelway's desk. 45 victims. He grabs the stack, rises. Heading for the Conference Room, he nearly bumps into Katie, the Receptionist, rounding a corner. MACKELWAY ` Scuse me. She smiles. He carries the HAVE YOU SEEN ME's into :\",\n \"INT. FBI OFFICE - CONFERENCE ROOM - CONTINUING A room has been dedicated solely to those three murders. On an erasure board are the words : The `` O'Ryan'' Room. On one wall is the MAP Mackelway took from Hope House : over a thousand CITIES circled by O'Ryan himself. Mackelway puts down the stack of HAVE YOU SEEN ME's. Picks up a box of YELLOW STICK - PINS, affixing them to the map - one for every faxed face. Here's `` Jason Corey, Age 14.'' Last seen in `` Riverside, Ca.'' on `` 10 - 16 - 99.'' Sure enough, O'Ryan had circled `` Riverside, Ca.'' on this map. Next to it he'd written `` 10 - 16.'' Mackelway sticks a yellow pin in Riverside. Next, the fax concerning `` Anna Casitas, Age 22.'' Last Seen? `` Macon, Ga.'' on `` 5 - 6 - 00.'' Of course, O'Ryan had circled `` Macon'' too. Beside it he'd written `` 5 - 6.'' So Macon gets a yellow pin. Mackelway continues, as : FRAN -LRB- O.S. -RRB- Got nothing on the last fax. Mackelway turns. In comes Fran. FRAN -LRB- CONT'D. -RRB- Came from a business center at a Mariott in Dallas. Nobody saw who sent it. Mackelway nods. Then they both turn. Charlton enters the room. CHARLTON Whadda we know about the map? MACKELWAY It matches the faxes, Sir. Almost perfectly. Charlton approaches the map : 1,242 cities, circled in red. Mackelway continues with the yellow pins : one for every HAVE YOU SEEN ME? -LRB- 45 of them so far. -RRB- Charlton eyes the stack. 45 HAVE YOU SEEN ME's. Then the map : 1,242 cities. Each with a DATE beside it. CHARLTON Why's Greenville in blue? -LRB- Mackelway has put a yellow pin beside a dozen cities. but tiny Greenville, Texas has a BLUE PIN beside it. -RRB- MACKELWAY Only city where the date on the fax and the date on the map did n't correspond. He pulls out a fax from the stack : a Korean boy named `` Steven Kim. Age 16. Last Seen : Greenville, Tx. Date of Disappearance : 8 - 7 - 98.'' MACKELWAY -LRB- CONT'D. -RRB- Fax lists the date of disappearance as August 7. On the map he's written `` 10 - 26.'' The DATE on O'Ryan's map reads `` 10 - 26'' beside Greenville, Tx. So Greenville gets the only blue pin on this map. Charlton notes today's date : October 17. CHARLTON Any of these bodies been recovered? MACKELWAY Two so far. Female, disappeared from Dayton, Ohio on April 12. And a male, Trenton, New Jersey, January 5th. On the MAP, Dayton's got `` 4/12'' written beside it. Trenton has `` 1/5.'' Both have yellow pins in them. MACKELWAY -LRB- CONT'D. -RRB- But both bodies were found over a thousand miles from where they'd last been seen. One in Montana, the other in Oregon. Got autopsy reports on both. Charlton looks to the table, where AUTOPSY REPORTS and AUTOPSY PHOTOS sit - two victims we've never seen before. We see the VICTIMS photographed face up, face down, waist and above, waist and below. Charlton gives the photos a cursory glance, nothing more. But we notice something, on one of the bodies : the male from Trenton - an odd BURN MARK on his lower left calf. Looks almost symmetrical, horizontal across the calf. CHARLTON Either of the bodies have the zero on them? MACKELWAY No, Sir. Charlton, frustrated, SHOVES THOSE AUTOPSY PHOTOS ASIDE. We look to that MAP, a handful of yellow pins in it. that same map, over a HUNDRED YELLOW PINS in it now.\",\n \"INT. FBI OFFICE - \\\"O'RYAN ROOM\\\" - NIGHT It's 8:30 at night. Mackelway is alone in here - staring at the map. He's been doing a lot of that lately. The stack of HAVE YOU SEEN ME's has grown as well. Every one of them corresponds to a yellow pin on the map. -LRB- Some of the HAVE YOU SEEN ME's have arrived via U.S. MAIL. We see a stack of ENVELOPES in a box, each sealed in PLASTIC, each stamped and addressed to Mackelway. -RRB- Mackelway eyes the map, puzzling. Fran's right beside him. Assorted papers and leads fill this room, including photos he took himself with that Minox. FRAN Why you? MACKELWAY Huh? FRAN He could be sending these to any agent in any office in the country. But he's sending them to you. Why? Mackelway's been asking himself that same question lately. MACKELWAY I do n't know. PHONE RINGS. She grabs it. FRAN -LRB- INTO PHONE. -RRB- This is Agent Kulok. -LRB- a beat. -RRB- Who's calling? She hears the answer, then covers the phone. FRAN -LRB- CONT'D. -RRB- -LRB- to Mackelway :. -RRB- Do you know a professor named Daitz? Says he's from Tulane. MACKELWAY -LRB- eagerly. -RRB- Yeah. Criminal Psych. I've been trading e - mails with him. FRAN -LRB- INTO PHONE. -RRB- One moment, please. She hands him the phone.\",\n \"EXT. TULANE UNIVERSITY - ESTABLISHING - NIGHT A beautiful campus, quiet tonight. In its center lies a vast, expensive structure - the Behavioral Sciences Building. The place goes on forever.\",\n \"INT. TULANE - BEHAVIORAL SCIENCES BUILDING - SAME Mackelway exits an elevator on the `` B - 1 Level.'' Corridors octopus their way from these elevators, confusing us.\",\n \"INT. BUILDING CORRIDOR - MOMENTS LATER Every door looks the same. Mackelway follows the numbers - ca n't believe how long these hallways are. Turns a corner. Air can be heard, moving through the corridor. But he has found the right number, at last. A tiny CARD fastened to a wall reads, `` Dr. Emile Daitz, Professor Emeritus, Criminal Psychology.'' It also lists his office hours. Mackelway knocks at a door. MACKELWAY Professor Daitz? O'RYAN -LRB- O.S. -RRB- Yes? Mackelway opens the door. Looks inside. Here sits O'Ryan, looking as much like a tweedy professor as he can look. He rises, smiles warmly. O'RYAN -LRB- CONT'D. -RRB- Agent Mackelway. Come in.\",\n \"INT. DAITZ' OFFICE - LATER NIGHT A tiny, cramped hovel. Books, papers, and all of it jammed to overflowing. Mackelway sits across from O'Ryan. O'RYAN -LRB- as `` Daitz :''. -RRB-. The name of this theory was `` Suspect Zero.'' -LRB- Mackelway nods. -RRB- The idea of Suspect Zero posits that if a serial killer were diabolical enough, he could traverse the country without ever being caught, killing randomly. There's a COLLECTION here in a glass case : ANCIENT WEAPONS - crude knives, swords, blow - darts. Mackelway notes them. O'RYAN -LRB- CONT'D. -RRB- Tell me, what makes a killer catchable? MACKELWAY Patterns, repetition of behavior. O'RYAN Now imagine a killer with no patterns, no tell - tale fetishes, no rituals, no hidden desire to be caught. A perfect vessel of evil, killing without ever leaving a single meaningful clue in his wake. He'd be immune to capture, would n't he? Your task forces, your forensics teams - they'd be helpless. Mackelway looks over Daitz' bookshelf : volume after volume about evil, the devil, the minds of sociopaths, the history of serial - killers, ritual killers, tribal rites. MACKELWAY Is that something you believe in, Professor? Evil? O'RYAN As a citizen of the world, it's hard not to. Would n't you say? -LRB- Mackelway ca n't argue. -RRB- Evil is all around us, I think - a part of the natural order of things. Like gravity. Like wind. A vast black wave, corrupting everything it touches. A virus invades a cell, causing it to dysfunction. Perfectly logical. But did it ever occur to you that something may have invaded that virus, something capable of using it to mutate so powerfully? Mackelway pauses, considering that. O'RYAN -LRB- CONT'D. -RRB- Just because something's invisible to us does n't mean it does n't exist. Mackelway is silent : Something's off here. But he ca n't say for sure just yet what it is. O'RYAN -LRB- CONT'D. -RRB- Have you ever seen a fifty - foot shark? That was n't just the echo of a question he's heard before ; it was a red flag. A big one. Mackelway tightens. MACKELWAY I'm sorry? O'RYAN A shark, as we know, will only attack humans if he runs out of food. But biologists have theorized that for a shark of fifty feet the ocean would be an endless buffet. He'd never run out of food, so he'd have no need to come to the surface. Consequently, we would never see him. Do you follow? -LRB- Mackelway does n't. -RRB- We'll never see one. But that does n't mean they do n't exist. Hence Suspect Zero. Mackelway eyes those books on evil, then those ancient weapons. Casually, almost imperceptibly, he reaches for his sidearm, as O'Ryan continues : O'RYAN -LRB- CONT'D. -RRB- Some of my colleagues think I'm fascinated with evil. I think the truth is just the opposite : evil is fascinated with us. What better vehicle could there be for creating havoc in the world - what better instrument - than Man? We're vain, we're stubborn, we're deceitful, we have an imagination that is limitless in its perversions. Of course Evil keeps trying to harness us. Would n't you? The more he talks, the closer Mackelway comes to extracting that gun. Then, disturbing the silence, a KNOCK at the door. O'RYAN -LRB- CONT'D. -RRB- Excuse me. O'Ryan rises, goes to the door. as Mackelway unholsters his gun. O'Ryan opens the door. Standing here is a COED, with a backpack. She looks confused. COED Oh. I'm sorry. I was looking for Professor - Just like that, O'Ryan has bolted past the Coed, literally tossing her onto Mackelway, exploding into the hall. She screams. Mackelway grabs her, moves her aside as gently as time allows, then blows out of the room.\",\n \"INT. BUILDING - BASEMENT CORRIDOR - CONTINUING O'Ryan turns a corner, vanishing. Mackelway follows.\",\n \"INT. BUILDING - CORRIDOR CORNER - CONTINUING Mackelway finds himself facing another endless corridor : One door after another, for what seems like a mile. But no O'Ryan. Then Mackelway spots an EXIT SIGN. A stairwell.\",\n \"INT. STAIRWELL - CONTINUING Mackelway enters. The stairs go six stories UP from here. and one story DOWN. A sub - basement. It's a guess. He descends, gun drawn.\",\n \"INT. SUB-BASEMENT - CONTINUING Mackelway emerges. `` B - 2'' looks a lot like B - 1 : long and endless. We hear air moving around us, pipes carrying water, the wheezing of an old generator. And, on all sides of us, DOOES, a mile of them : maintenance offices, supply rooms, labs. He opens one - a janitor's supply. No one in here. Tries another door. Locked. A second. Locked. A third. Locked. Air sucks through a corridor around us. He thinks he hears footsteps around a corner. Runs at them.\",\n \"INT. SUB-BASEMENT - CORNER - CONTINUING Nothing. No one. Just another vast corridor. More doors. Then, a sound. GLASS, shattering on the floor. He runs down the corridor, passing a long metal CAGE that houses this building's FIVE FURNACES. They're old and wheezy. It's dark behind them, shadowy. Not a bad place to hide. Farther down the corridor is another door - made of frosted glass. A sign on it reads `` Neuropsychiatric Lab.'' That's where the sound came from. he thinks.\",\n \"INT. SUB-BASEMENT - LAB - CONTINUING Mackelway enters. The lab is dark. He throws on every light switch within reach. and finds himself standing over the shards of what used to be a GLASS BEAKER. So he's in the right place. He scans it : five rows of work - stations, ten microscopes per row, each with a sink beside it. Lining the walls are wide CABINETS. But there's also a MINI - LIBRARY down here : Four rows of BOOKSHELVES, housing medical journals. These are the `` stacks'' - perfect for hiding behind. He plunges in. Row # 1. Does n't see anyone. Then Row # 2, Row # 3, Row # 4. Okay, the stacks check out. He walks along the rows of work - stations, scanning, crouching, nudging open cabinets. One has been opened : Bottles of SOLUTIONS sit inside it. And a JAR that's been unsealed : It's got GAUZE PADS in it. In the back of the room, an INSTRUCTOR'S DESK awaits. It's tall enough to hide beneath. Mackelway slinks around it. Kneels down, looking into darkness. Then, a NOISE. The FRONT DOOR of this lab just swung open. And O'Ryan just bolted out. Fuck.\",\n \"INT. SUB-BASEMENT - CORRIDOR - CONTINUING Mackelway emerges from the lab. Those furnaces whine beside him on the other side of that cage. But a GATE on that cage has been left ajar.\",\n \"INT. \\\"FURNACE ROOM\\\" - CONTINUING Five furnaces, separated from the sub - basement corridor by steel mesh. Mackelway enters. A few meager BULBS burn. He moves amidst shadow and noise : the chugging of engines, the humming, the wheezing, a slight vibration to the floor beneath us. He walks along the edge of Furnace # 1. and is assaulted, from above. O'Ryan falls on him, knocking Mackelway hard into the sharp CORNER of that furnace, then down to the ground. Mackelway's gun skids across the floor. And his mouth, suddenly, has been covered with gauze. He wants to fight back. but suddenly he finds that his head is swimming. Something's on that gauze. The room is getting fuzzy. We see the belly of a furnace - flames, heat. Then our own BLOOD. -LRB- Mackelway's CHEST was torn open by the corner of that furnace. -RRB- Wait. Did we just see the glint of a KNIFE? O'Ryan is leaning over us, in utter control. Then O'Ryan's head turns, abruptly - at the sound of FOOTSTEPS. And we hear : MALE VOICE -LRB- O.S. -RRB- Hey! You! What're you doing down here! We turn, groggily. TWO JANITORS rush toward us, keys jangling. It's all foggy, wavy, distorted. We see O'Ryan RISE. Then everything goes black.\",\n \"INT. A HOSPITAL ROOM - MORNING Mackelway's head is ringing. Feels like he can hear electricity in the walls around him. Slowly, he awakens. Above him are fluorescent lights. Monitors blink. Fran is here. So's Charlton. Mackelway tries to sit up. The shock of pain from his chest stops him. FRAN How ya doin'? Mackelway half - nods. His chest is bandaged. CHARLTON We're gon na need everything you can remember about this guy, Tom. Physical description, any kind of distinguishing characteristics. That was terse. Charlton looks pretty pissed - off. MACKELWAY -LRB- scratchy. -RRB- Where is he? CHARLTON The suspect fled. Couple janitors walked in on it. -LRB- before Mack can ask :. -RRB- They're fine. But the description they gave of him was n't worth a damn. Mackelway nods. CHARLTON -LRB- CONT'D. -RRB- Case you're curious the real Professor Daitz is on sabbatical, out of the country. We ca n't find him. -LRB- Mackelway nods. -RRB- Whose idea was it to meet there? MACKELWAY His, Sir. CHARLTON Uh - huh. Did he ask you to come alone? MACKELWAY No, Sir. CHARLTON But you figured you'd get a bigger pat on the head if you wrapped this whole thing up without any help - is that it? The truth? Charlton has him pegged. But : FRAN Sir, I'm the one who took the call. Agent Mackelway was acting under the assumption that I'd already checked the guy out. We're both to blame. Hold it. That was a major exaggeration, if not an outright lie. Mackelway eyes her, thrown. She's poker - faced. Charlton, however, seems unmoved. CHARLTON Did Agent Mackelway attend the interview unaccompanied? FRAN -LRB- reluctantly. -RRB- Yes, Sir. CHARLTON Then whose fuck - up is it? Mackelway eyes her : `` Thanks for trying.'' She nods. MACKELWAY -LRB- at Charlton. -RRB- It was. poor judgment, Sir. CHARLTON You wan na work alone, start your own agency. Mackelway can do nothing but nod. Then, bailing him out, another COMPOSITE ARTIST enters, tools in hand. Charlton sighs, frustrated. CHARLTON -LRB- CONT'D. -RRB- -LRB- re : Composite Artist. -RRB- Let's get you two started. Composite Artist is ready to begin.\",\n \"INT. BAPTIST CHURCH - DAY A lively Sunday Service. Lots of Baptists, singing a rousing spiritual. Music and praise filling the room. We move along the pews, until we came to the very back row. There, one man sits. Alone. Quiet. O'Ryan. Odd expression on his face - it's as if he ca n't hear this rousing music, or feel the power of this place. People in the next row are stomping their feet. Music soars. But O'Ryan just drops his head, slowly. and begins to WEEP in the middle of this boisterous congregation. Outside, an 18 - WHEEL TRUCK can be heard, rumbling by with great force. No one else in here seems to hear it. But O'Ryan shuts his eyes tight, grieving, sobbing.\",\n \"EXT. STREET - OUTSIDE THE CHURCH - CONTINUING That TRUCK has just thundered by, leaving a swirl of debris in its wake. We TILT UP from it. to find that those STORMCLOUDS once in the distance are upon us now. And they are pulsing with menace. Rain, wind, lightning, thunder. Like a black wave, about to descend. INTERCUT WITH/INT. FBI OFFICE - `` FAX ROOM'' - SAME One of those five FAX MACHINES begins to ring. Then it begins to PRINT. It's a Sunday. No one's here. but we get a look at what's coming in. Same TOP - SHEET again : `` Attention Agent Thomas Mackelway'' etc.. CONTINUE INTERCUT : this incoming fax, set against a few tableaus of Americana. Innocence.\",\n \"EXT. HIGH SCHOOL FOOTBALL STADIUM - SAME A high school MARCHING BAND is out here, practicing. Cheerleaders work on their routines nearby. Then a LOUD WHISTLE SOUNDS. It's the BAND - LEADER, who is taking note of the weather gathering overhead. The music from the band ceases. BAND-LEADER Everybody into the gym! The band - members start to move. LIGHTNING erupts overhead.\",\n \"EXT. UNIDENTIFIED HOME - BACKYARD - SAME An unnamed MOTHER emerges onto her back - porch, where her FIVE - YEAR OLD DAUGHTER is having a playdate with a FRIEND. This house borders a wooded area. That wind is starting to make the trees swirl. MOTHER Girls, I want you to come in now. Startin' to rain. The girls sigh, disappointed, deciding instead to hide themselves inside the TENT they've erected out here. They giggle. The mother does n't. CONTINUE INTERCUT :\",\n \"INT. FBI OFFICE - \\\"FAX ROOM\\\" - RESUMING That fax is now printing page after page. Photos with HAVE YOU SEEN ME? across the top and vitals across the bottom. But this time the transmission is n't stopping at five. There are at least TEN sitting in the tray. Maybe twenty. Faces. Eyes. Stats. Locations. Innocence violated.\",\n \"EXT. PARK - SAME A SOCCER GAME's been called in the middle of the Second Half. PARENTS and their uniformed 12 YEAR - OLDS scatter. RAIN is pouring down now, blown sideways by that wind.\",\n \"INT. THE 18-WHEELER - SAME That massive, gleaming beast that rumbled past the church now rolls right by this park - as all of those kids and their parents scramble for the shelter of their cars. The windshield wipers on this truck push water away, giving us a clear look at the wet suburban chaos.\",\n \"INT. BAPTIST CHURCH - RESUMING The faithful in here keep singing, their voices full with praise - despite the heavy weather outside. They feel safe in here. We move along the PEWS. until we find O'Ryan's. He's not here anymore.\",\n \"EXT. BAPTIST CHURCH - SAME O'Ryan leans against the door of the church, pelted by that heavy rain. BAM! Here comes those IMAGES AGAIN :\",\n \"EXT. WHEAT FIELD - NIGHT - RESUMING Tall wheat, whipped by wind and rain. A muzzle - flash. The sound of a body slumping hard to the ground. and Mackelway, looking over us. Then :\",\n \"EXT. BAPTIST CHURCH - RESUMING We're back with O'Ryan. He leans against the door, his torment constant. He walks away from the church, into that heavy rain.\",\n \"INT. FBI OFFICE - \\\"FAX ROOM\\\" - RESUMING The fax tray has overflown onto the floor - 200 more photos, 200 more HAVE YOU SEEN ME's. Forgotten victims. We hear a last rumble from that 18 - WHEELER. END INTERCUT.\",\n \"INT. FBI OFFICE - \\\"O'RYAN ROOM\\\" - LATE NIGHT Now there are 800 YELLOW PINS stuck in this map - one for every single FAX or LETTER that's been received in the past weeks. 800 faces. 800 HAVE YOU SEEN ME's, represented by 800 pins in 800 cities. It's like a national plague. Mackelway sits, examining it soberly. His chest - wound is killing him. -LRB- We see a thick bandage beneath his shirt. -RRB- In his pocket now is a bottle of PRESCRIPTION PILLS. Percodan. He slugs one down without water, his eyes never straying from that map. Beside it is a COMPOSITE DRAWING from O'Ryan, taken from Mackelway's description. It's dead - on.\",\n \"EXT. LONGHORN DINER WICHITA FALLS - NIGHT - ESTABLISHING This is the lone source of light on an otherwise dark stretch of road. Mackelway's Yukon pulls up.\",\n \"INT. LONGHORN DINER WICHITA FALLS - MOMENTS LATER Hardly a sound in here. Mackelway stands at the register, paying for his TAKE - OUT. Another night with nothing but his thoughts for company. Great. Then : A YOUNG WOMAN'S VOICE -LRB- O.S. -RRB- Agent Mackelway? It's Katie, the receptionist from his office - sitting by herself in a nearby booth. Mackelway smiles. KATIE -LRB- CONT'D. -RRB- Hi.\",\n \"INT. KATIE'S APARTMENT - BEDROOM - LATER NIGHT Inexpensive, but furnished with all the touches that Mackelway's apartment lacks : flea - market stuff, lace, antique books, photos from other eras. Character. And candles. Lots of candles. They throw SHADOWS of Mackelway and Katie all over the walls. An odd MUSIC fills the room, coming from a BOOM - BOX on the floor. It's a rhythmic Navajo CHANT, with Native - American drums providing the pulse. It's eery, tuneless, but awfully authentic. and it fits the intensity of the moment : Mackelway and Katie, coupling madly, their eyes locked. She's breathless. First time we've seen him shirtless since his injury in that furnace room. A FAT BANDAGE covers a quarter of his chest. Dried blood can be seen beneath it. There's an intensity in his eyes. The chanting, the candles, Katie's body, his wound. they've conspired to bring an intensity into his eyes. It's dark, primal. And he's been expressing it for an hour without relent. which is why Katie gasps one last gasp, then rolls to the edge of the bed, exhausted. She reaches for that boom - box, lowers the volume. The chanting dies down into silence. She catches her breath. KATIE -LRB- softly. -RRB- I ca n't anymore. Mackelway eyes her, then reaches past her, and turns the VOLUME on that boom - box back UP. The chanting fills the room again. And just like that, he has pulled her back onto him, urgently. That primal side has n't been sated yet.\",\n \"INT. KATIE'S APT. - BATHROOM - LATER NIGHT Mackelway stands at the mirror, changing the dressing on that wound across his chest. He unwraps the gauze over that fat bandage soaked through with blood. He pulls the bandage off, giving us a better look at the deep gash. Dried blood, torn skin, bruising. Looks like hell. But Mackelway eyes it calmly. He slugs down some beer from a nearby bottle, then cleans the wound with some Hydrogen Peroxide. as Katie appears in the doorway. She eyes him. KATIE Ca n't sleep? He shrugs, turns. MACKELWAY What was that music? KATIE It's Navajo. A song for dead warriors. I never played it for anybody before. -LRB- a beat. -RRB- Just had a feeling you'd like it. MACKELWAY How? KATIE I dunno. The way you stare when you think nobody's looking. She shrugs. Silence hovers.\",\n \"INT. KATIE'S APT. - BEDROOM - PRE-DAWN 4:30 a.m. Rain pounds the window and roof, a real storm out there. The boom box is still. The candles are down to their nubs. Katie continues to sleep. Mackelway too. Then his eyes SNAP OPEN. Something just hit him, something huge. One of those 4:30 - in - the - morning ideas that has to be expressed. Now.\",\n \"INT. HOTEL HALLWAY - 5 A.M. Mackelway stands outside Room 217 at a Mariott. He's just knocked on the door. Fran opens it, in a robe. Very confused. He looks manic. FRAN What're you - MACKELWAY I ca n't get a read on this guy. Two minutes ago, she was sound asleep. FRAN Huh? MACKELWAY Why is he sending us all this shit? I've got 800 pins in that map, 800 missing people. What's he telling us? She gets it now : he's on a combination of painkillers and lack of sleep. Or maybe she can sense where he's been. MACKELWAY -LRB- CONT'D. -RRB- -LRB- rapid - fire. -RRB- He kills a travelling salesman, then a school - teacher. Then Starkey? It does n't connect. FRAN You're a mess. MACKELWAY I'm fine. I'm clear. I just did n't think this could wait. Fran, this guy is trying to point us at something. Starkey's part of it. But the other two do n't connect. FRAN Did you drive here? MACKELWAY I'm fine! I just need somebody to think this through with me! He wanted to meet me. It's like he was interviewing me somehow. What is that? Then he kills Starkey. So what was he doing with Speck and Fulcher? FRAN You wan na come in? MACKELWAY No. No. You come out. Get dressed. FRAN Out where? MACKELWAY I dunno. Somewhere. We're right on the edge of this thing. She studies him. A long beat. FRAN I'm going back to bed. You're welcome to the couch if you want. I think you could do with some sleep. He sags a bit. She reaches for his hand. FRAN -LRB- CONT'D. -RRB- -LRB- gently. -RRB- Mack. Just like that, there is contact. Their hands. It surprises them both. He appreciates it, but now's not the time. So he smiles thinly, turns, and goes. She watches him vanish around a corner.\",\n \"EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. We've been to this house before. Suburbia. Mackelway sits in his car, at the curb, studying the place. Rain falls in sheets, wind blows. And there he is, all alone, six in the morning, staring at a house. That idea - the thought that snapped his eyes open - it's still working on him. Beside him is the DRAWING that was found in Speck's car : The rendering of a steamer - trunk, lined with plastic, containing body parts in plastic bags. Mackelway seems to be fixated on it now.\",\n \"EXT. SPECK'S HOUSE - 9:15 A.M. A hand knocks on the front door. Jan Speck opens up. JAN -LRB- hoping for good news :. -RRB- Agent Mackelway? Mackelway stands in the doorway, rain falling behind him. MACKELWAY -LRB- all business. -RRB- Mrs. Speck. Just had a few more questions.\",\n \"INT. SPECK'S HOUSE - LIVING ROOM - MOMENTS LATER Mackelway sits at the WINDOW, looking over the backyard. Nothing special out here : some trees, a swing, a storm - cellar door. But he's staring at it, intently. We're not sure why. Behind him, Jan re - enters, purse over her shoulder, umbrella in hand. She grabs his cup of coffee and saucer from the coffee table. JAN I'm sorry I do n't have more time, Agent Mackelway. It's my PTA Day. MACKELWAY It's fine. I should've called. She smiles tightly : `` I have to go now'' and heads for the kitchen. Once she's there, Mackelway turns to the BACK DOOR and UNLOCKS IT, eyeing that storm - cellar outside. She leaves the cup in the sink. He enters the kitchen. JAN I hope I was of some help. MACKELWAY You were. Thanks. JAN A friend of mine said I'll feel like this one month for every year we were together. Sort of a grieving rule - of - thumb. Have you ever heard that? MACKELWAY -LRB- gently. -RRB- No. Sorry. She half - smiles. He turns to the door. Turns back. MACKELWAY -LRB- CONT'D. -RRB- Oh. There was one other thing : Did he keep any kind of chemicals around the house? Acids, that sort of thing? JAN No. Why? He shrugs, dismissing it : MACKELWAY It's nothing. Trace elements we found on his trunk. Any interest in chemistry? Maybe as a hobby? Jan pauses for a moment, as if recovering a faint memory. Then she shakes it off. He lets it go. MACKELWAY -LRB- CONT'D. -RRB- Anyway, thank you. And thanks for the coffee. Next time I'll call first, I promise. JAN No trouble at all.\",\n \"EXT. SPECK'S HOUSE - MOMENTS LATER Mackelway sits in his car. Through his windshield we see Jan as she backs out of the driveway. She pulls past us, giving Mackelway as friendly a wave as a grieving widow can give. He waves back. Then she's gone, disappearing around a corner. Mackelway pauses a beat, checking his rear - view mirror to be sure. Then he gets out of his car.\",\n \"EXT. SPECK'S HOUSE - SIDE GATE - MOMENTS LATER Mackelway sneaks around the side of the house, pulling on a lever to unlatch the side - gate.\",\n \"EXT. SPECK'S HOUSE - BACKYARD - CONTINUING He emerges into the tiny backyard, making a bee - line for that storm cellar door. He knows he should n't be doing this. It's beyond risky. But here he is, without a warrant. There's no lock on the cellar door. He reaches for it. Then he stops himself. Just noticed something : A NEIGHBOR - LADY, visible just over Speck's backyard fence, is looking right at him through her bedroom window. Fuck it. He enters the storm cellar.\",\n \"INT. SPECK'S STORM CELLAR - CONTINUING Seven steps, leading to a dusty cement floor. Mackelway looks around. Facing him are the things a meticulous man would store in case of disaster : Cans of food, sternos, sleeping mats, drums of potable water. And long FOOT - LOCKERS. Two of them. That's where Mackelway's eyes go, instantly. He hurries to them. Throws one open. Nothing but sheets and blankets inside. He paws through it. finding nothing else. He throws the other trunk open. Inside? Pillows. Fuck. He slams it shut, looks to those cans of food, stacked on shelves. He approaches the shelves, jostling cans from their rows, making more noise than he ought to. But he finds nothing behind them. except more cans. He approaches those two huge drums of water, lugs them aside. Behind them is a tall CUPBOARD, locked. He pulls at the cupboard door, hard. It splinters. Inside, a rifle and some boxes of ammo. same as you'd find in every other storm - cellar in Texas. He pauses : Am I crazy?\",\n \"EXT. SPECK'S BACKYARD - MOMENTS LATER He emerges from the storm - cellar, confused. Shuts the storm - cellar door. Then he turns. Something else just caught his eye : Above Speck's bedroom window is another window, a tiny one. An attic. He heads for that UNLOCKED BACK DOOR, and enters.\",\n \"INT. SPECK'S HOUSE - LIVING ROOM - CONTINUING He hurries toward the stairs, reaches them. then spots something through the Entry Hall window : On the street outside, pulling up to the curb. is a POLICE CAR. Sirens off. That Neighbor - Lady must've placed the call. And here's Mackelway, without a warrant. Shit. Two ABILENE COPS get out, approaching the house. Mackelway climbs the stairs.\",\n \"INT. SPECK'S HOUSE - STAIRS - CONTINUING If he stays quiet, he might just pull this off.\",\n \"INT. SPECK'S HOUSE - SECOND STORY - CONTINUING A tiny hallway, with four doors. Up ahead, dangling from the ceiling, is a tiny rope which promises a set of hidden fold - out stairs. and an attic. Mackelway tugs on the rope. The fold - out stairs drop down out of the ceiling. Then he hears : NEIGHBOR LADY -LRB- O.S. -RRB- He's inside! He's inside! Went in through the back! which means he has mere seconds before this all blows to hell. So he climbs up those fold - out stairs. The two ABILENE COPS now circle the house, entering through the back - porch door, just as Mackelway did. He pulls up the folding stairs. Maybe the guys'll do a half - assed search and then leave.\",\n \"INT. SPECK'S HOUSE - ATTIC_- CONTINUING Mackelway looks around : lots of dusty junk around here - old clothes, mementoes. and one more trunk. A steamer - trunk. Huge. And locked. Looks just like the one in that DRAWING rendered by O'Ryan. Mackelway races for it. Takes out his gun, uses the butt - end to bust the lock off. Throws it open. as we hear the sound of those fold - out steps, being tugged down from the second - floor hallway. And : ABILENE COP #1 -LRB- O.S. -RRB- Freeze, Asshole! The COP is just ten feet away, most of him still concealed by those steps - gun trained right on us. But Mackelway seems utterly untroubled. MACKELWAY -LRB- calmly. -RRB- It's okay, Fellas. FBI. ABILENE COP #1 I'll bet. Mackelway drops his gun, kicks it toward the cop, who does n't quite know what to make of that. Also confusing him is the odd smile playing its way across Mackelway's face. But we understand it now : The inside of that steamer - trunk is filled with BODY PARTS : bagged, stacked, and sealed in Ziplocs. Powdered LIME is sprinkled on them. Mackelway stares, at once satisfied and sickened. COP # 1 can be heard, approaching across the attic floor. His gun is drawn. until he too sees what's in there. ABILENE COP #1 -LRB- CONT'D. -RRB- Oh Jesus Christ. a Grammar - School CLASS PICTURE : of Barney Fulcher and his 2nd Graders, sitting on a mantle. We are.\",\n \"INT. FULCHER'S HOME - LIVING ROOM - BOULDER - DAY That picture sits beside other photos, awards, plaques - all celebrating Fulcher's career in Colorado education. We turn away from that mantle, blowing through this modest Living Room, finding an open door - leading down to :\",\n \"INT. FULCHER'S HOME - BASEMENT - CONTINUING Down the steps we go, until we hear the HUM of an old FREEZER. We turn toward the sound. The freezer is open. A team of FORENSICS GUYS study it. Inside this freezer, frozen into a block of ice. are six female HANDS. No arms, no heads. Just six slender hands, each with a wedding band on the ring finger. Mackelway stands in the back of this basement, taking it all in. He looks to Charlton, who is expressionless.\",\n \"EXT. FULCHER'S HOUSE - DUSK Close on Mackelway as he returns to his Yukon satisfied. He is pleased with himself. Out of nowhere, a firm hand grasps his right shoulder stopping him. Mackelway turns abruptly, finding himself sandwiched between his Yukon and Charlton, who is now in his face. CHARLTON Listen to me Cowboy. You have any idea the kind of favors I had to pull with the Abilene cops to cover your ass?! MACKELWAY Sir. CHARLTON -LRB- not allowing him to talk. -RRB- Breaking and ENTERING the Speck house without a shred of evidence and NO WARRANT?! MACKELWAY -LRB- not going down without a fight. -RRB- The sample I took from Speck's bumper. It's crystallized sulfuric acid mixed with oil of Clove, the clove neutralizes the odor of the acid. Charlton shakes his head, he is not getting through. MACKELWAY -LRB- CONT'D. -RRB- It was SPECK not his killer who was hiding something. CHARLTON Ever ask yourself why a big shot agent from Dallas gets sent down to the Wichita Falls Field Office? I'll give you TWO WORDS. Hell I'll even write it down for ya. Charlton leans in to emphasize his point. He pulls out a pad and pencil from his breast pocket and writes what he says using Mackelway's chest as support. It's humiliating. CHARLTON -LRB- CONT'D. -RRB- `` EVIDENTIARY PROCEDURE.'' Do n't talk about it. Learn it. Those words just hang there, haunting Mackelway. Charlton tears off the sheet with those two words and stuffs them into Mackelway's hand. CHARLTON -LRB- CONT'D. -RRB- Turns out you were right about this guy. You were right about both of them. But that does n't change the fact that you went about your business like a rookie. Got it? Charlton turns, the buzz of a street lamp breaks the silence throwing a circle of light around the Yukon. Mackelway watches as Charlton puts on his headlights and drives away. A sudden gust of wind tears that piece of paper out of Mackelway's hand, he stares at it, as it disappears into darkness.\",\n \"INT. FBI OFFICE - THE O'RYAN ROOM - EVENING Everything yet known about the murders of Speck, Fulcher, and Starkey fills the wall space in here : We see O'Ryan's MAP : All those yellow pins. and the one blue one, -LRB- Greenville, Tx. -RRB- Also, that DRAWING : of the ghastly Ziploc bags inside a steamer trunk. Damn thing seems prescient now. Agents mill about, awaiting a conference. GRIEVES -LRB- passing by. -RRB- Nice job, Mack. MACKELWAY Thanks. A few OTHER AGENTS also pat him on the back. Fran's proud of him too - we can see it. In fact everyone in here seems to be giving Mackelway his due. It all feels good. Charlton enters. CHARLTON Seated please. The agents find seats around the table. Charlton takes his place at the head of it. CHARLTON -LRB- CONT'D. -RRB- -LRB- to the assembled :. -RRB- Okay. We've got a serial killer of serial killers. Fran scribbles something on a piece of paper : `` What a genius!'' Slides it over. Mackelway conceals the note, as : CHARLTON -LRB- CONT'D. -RRB- -LRB- still grand - standing. -RRB- He's a transient with a history of mental illness. He also happens to think he's a former agent of this Bureau. And he is pursuing something that he calls `` Suspect Zero.'' Anybody got anything intelligent to say? Nobody's volunteering. There's just silence. CHARLTON -LRB- CONT'D. -RRB- -LRB- familiar refrain. -RRB- That's what I thought.\",\n \"EXT. WICHITA FALLS FBI OFFICE - PARKING LOT - NIGHT Mackelway exits the office, heading for his Yukon. Then he stops. because Katie is waiting out here, leaning against her Toyota Camry. MACKELWAY -LRB- fondly. -RRB- Hey. KATIE Somethin', huh? Guy with a wife and kids keepin' bodies in his attic? He nods. but what is she doing out here? MACKELWAY Yeah. -LRB- a beat. -RRB- You okay? KATIE Yeah. Just. Wondered if you could do me a favor. Mackelway waits. as Katie hands over a manila envelope. Mackelway opens it. Inside, a photo of a heartbreakingly - sweet 22 year - old girl named KAREN SUMPTER, with an attached sheet listing her vitals : height, weight, age, etc.. Another face. Another disappearance. KATIE -LRB- CONT'D. -RRB- Her name's Karen Sumpter. We were friends. -LRB- almost reluctantly. -RRB- She disappeared last year. Nobody knows where. She was a little wild, but not like that. Her sadness is obvious. Mackelway nods. KATIE -LRB- CONT'D. -RRB- Anyway, I know you're gon na be in on the autopsies - of the girls they found over at Speck's. Figured you might see if one of'em was. Her voice trails off. This is hard. KATIE -LRB- CONT'D. -RRB- If it is, I'd like to be the one to notify her folks. Out families've been friends for years. MACKELWAY -LRB- gently. -RRB- Sure. Of course. KATIE Thanks. ` Night. Mackelway puts the envelope under his arm. She starts up the Camry. The sky rumbles. He eyes her. For some reason, she has n't pulled away yet.\",\n \"INT. KATIE'S BEDROOM - NIGHT Candles. Shadows on the wall. and Mackelway and Katie, at it again, with the sounds of that eery Navajo CHANTING coming from the boom - box. Mackelway is studying her, staring into her eyes, her breathing. She's beginning to climax now. and those eyes go wider. We MOVE INTO THEM, and : We are abruptly SLAMMED, again, INTO ANOTHER SET OF THOSE ODD, DISJOINTED IMAGES from that unidentified place :\",\n \"EXT. DARKNESS - UNIDENTIFIED TIME - NIGHT Wet wind in a blur of gray. The sound of our own heavy breathing. A voice rising above the wind, pleading : VOICE -LRB- O.S. -RRB- Please.\",\n \"INT. KATIE'S BEDROOM - RESUMING She is utterly lost now. And that CHANTING seems to have gotten louder somehow. IMAGES FLICK at us now : culled from that BOOK on TRIBAL RITUAL AND TRANCE, found at the halfway house : a TRIBESMAN with eyes rolling back in his head, foaming at the mouth. Mackelway tries to shake it off, tries to keep his focus on Katie. He buries his head into her neck, as :\",\n \"EXT. WHEAT FIELD - NIGHT Tall wheat, wet wind. Then a MUZZLE FLASH, and a body slumping to the ground. And suddenly we are in :\",\n \"INT. ANOTHER UNIDENTIFIED MOTEL ROOM - DENTON, TEXAS - NIGHT O'Ryan, at a desk. He has just `` remote viewed'' these images somehow. And they've left him rattled. It's time to get out of this room. Quickly.\",\n \"EXT. ROAD - DENTON, TEXAS - SAME (NIGHT) A stolen, non - descript CHEVY pulls out of a motel room parking lot, on to the street.\",\n \"INT. STOLEN CAR - DRIVING - CONTINUING O'Ryan is behind the wheel, driving.\",\n \"INT. STOLEN CAR - DRIVING - MOMENTS LATER (DUSK) The radio is BLASTING - anything to shake those images out of his head. Driving, unsettled. which may be why he does n't notice that there's a SIREN wailing behind him. He looks in the rear - view. A TEXAS STATE TROOPER is on his tail. Shit. O'Ryan tightens, pulling over.\",\n \"INT./EXT. STOLEN CAR - ROADSIDE - CONTINUING The TROOPER approaches, noting the condition of the vehicle. He stands before O'Ryan's window. O'Ryan's face reveals no evidence at all of anxiety. TROOPER Evening. O'RYAN Evening, Officer. TROOPER See your license, Sir? O'RYAN ` Course. Is there a problem? O'Ryan reaches into his back pocket, produces an I.D. Hands it over. Trooper eyes it. According to this i.d., we are now staring at `` James Garvey'' from Littleton, Colorado. But the Trooper does n't seem too convinced. TROOPER See your registration, please? O'RYAN Sure. O'Ryan opens up the glove compartment, starts searching through it. But it's a stall, that's obvious. TROOPER Mind stepping out of the car, please? O'Ryan pauses. There is no way in hell he's going to let himself get deterred by a State Trooper. But he gets out.\",\n \"EXT. ROADSIDE - CONTINUING Trooper eyes him with caution. O'Ryan holds his hands in front of his chest, keeping them visible to the guy. O'RYAN Officer, I am carrying something that could be construed as a weapon. I'd like to hand it over, voluntarily, so you wo n't think I'm trying to conceal anything. Would that be all right? TROOPER What kind of weapon, Sir? O'RYAN It's a hunting knife, right here on my hip. Trooper notes the shape of that large, sheathed KNIFE - the one O'Ryan butchered Starkey with - visible beneath O'Ryan's shirt. O'RYAN -LRB- CONT'D. -RRB- I was on my way to the woods. My gear's in the trunk. -LRB- Trooper doubts it. -RRB- Would you like me to hand it to you? I do n't know what the procedure is for something like this. TROOPER Take the weapon off your hip, place it on the ground, and kick it toward me. O'RYAN Happy to. O'Ryan takes the knife off his hip. The size of it gets some attention from the Trooper. TROOPER What exactly were you planning on hunting, Sir? O'RYAN A fifty - foot shark. No reply. O'Ryan drops the menacing knife to the ground and kicks it toward the Trooper. Trooper, slowly, kneels down to get it - never taking his eyes off O'Ryan. O'RYAN -LRB- CONT'D. -RRB- Ya know, I used to be in law enforcement too. TROOPER -LRB- kneeling. -RRB- That right? O'RYAN Mmm - hmmm. FBI. ` Course this was some years ago. Trooper grabs the knife, straightens. Examines it. O'RYAN -LRB- CONT'D. -RRB- Psy Ops. Classified. TROOPER Had anything to drink tonight, Sir? Under medication of any kind? An 18 - WHEEL TRUCK rumbles by, distracting O'Ryan. rendering him immobile for a moment. TROOPER -LRB- CONT'D. -RRB- Sir? O'RYAN Oh. Sorry. Just found myself wondering what was inside that truck. TROOPER Sir, I'm going to ask you to hand me the keys to your vehicle, please. O'RYAN Of course. O'Ryan opens the car door. We steal a look INSIDE. he's got a GUN under the front seat. In a flash, that gun is in his hands and pointing right at the forehead of that Trooper. Trooper knows he's been had. And he knows that he's about to die.\",\n \"EXT. MACKELWAY'S APARTMENT - DOORWAY - EVENING Mackelway approaches, carrying a greasy bag : another Frito Pie and a soda. Fumbles with his keys. Then he notices something, waiting on his doorstep. It's a thick FILE, roughly 150 pages, in a FOLDER. The word `` MACKELWAY'' is written across the front. He leans down, opens the folder. The light is spotty out here. but it's just strong enough to show us the expression on his face : a look of pure awe.\",\n \"INT. MACKELWAY'S APARTMENT - ENTRY - CONTINUING The door bursts open. The greasy bag and the soda fall to the floor. Mackelway hurries to a phone, clutching that file. He dials hurriedly. INTERCUT WITH/INT. FRAN'S CAR - SAME We're in a PARKING LOT outside a WAL - MART. Fran's just thrown a bag into her Ford Taurus. Her CEL - PHONE RINGS. She grabs it. FRAN -LRB- INTO CEL. -RRB- Kulok. MACKELWAY -LRB- INTO PHONE. -RRB- He really was FBI. FRAN Huh? MACKELWAY O'Ryan. He left his file on my doorstep. Fran, he was FBI. He can barely believe it himself, but we get a look at what was in that file now ; PAGES are splayed across Mackelway's coffee table : A copy of an FBI I.D. BADGE, xeroxed memoes, test scores, citations, evaluations, reports. The entire career of Special Agent Benjamin O'Ryan. in black and white. FRAN That's impossible. MACKELWAY I'm look at his whole history! Citations, letters of commendation, even his fucking test scores from Quantico. The guy was an agent. FRAN I do n't believe it. MACKELWAY Listen to me - Then we hear a BEEP. Call - Waiting. Great. MACKELWAY -LRB- CONT'D. -RRB- Shit! Hold on. That irritated her. Mackelway clicks over. MACKELWAY -LRB- CONT'D. -RRB- Yes? O'RYAN -LRB- THRU PHONE. -RRB- Read anything interesting lately? Mackelway's eyes go wide. MACKELWAY Where are you? CLICK. O'Ryan's just hung up. MACKELWAY -LRB- CONT'D. -RRB- Shit! He stares at the phone, then clicks over again, re - connecting to Fran. MACKELWAY -LRB- CONT'D. -RRB- That was him. FRAN He called you at home? MACKELWAY Yes. BEEP. Call - Waiting again. FRAN Jesus. Call me back. Mackelway clicks over again without saying goodbye. MACKELWAY -LRB- INTO PHONE. -RRB- O'Ryan? O'RYAN -LRB- THRU PHONE. -RRB- I've found him, you know. MACKELWAY Who? O'RYAN Zero. MACKELWAY Zero's a myth. You made him up. O'RYAN Myths do n't kidnap little boys. Do they? MACKELWAY Do you? Sounds like O'Ryan just laughed. Then, another curve : O'RYAN Was she pretty? MACKELWAY Huh? O'RYAN I could hear her moaning, right under the Navajo chanting. Whole thing was downright tribal. What's she look like? That was unsettling. Very. Mackelway looks around feeling violated, feeling `` watched.'' He draws the blinds. Double bolts the front door. Runs his hand under the window frame for any kind of wire tapping. But Mackelway wo n't allow himself to over - react. Not now, with O'Ryan on the phone. MACKELWAY -LRB- calmly. -RRB- You tell me. O'Ryan laughs. He liked that. O'RYAN Fair enough. We'll stick to business : How'd ya like my old room? MACKELWAY Huh? O'RYAN `` Hope House.'' You were there. How the hell did he know that? It's unsettling. O'RYAN -LRB- CONT'D. -RRB- Dyson re - paint it? -LRB- no reply. -RRB- My room. Did he re - paint it? MACKELWAY Yeah. White. O'RYAN But you saw what was underneath, of course. MACKELWAY No. Tell me about it. O'RYAN No. You tell me. CLICK. O'Ryan just hung up. Mackelway stares at the phone.\",\n \"INT. HOPE HOUSE - FOYER - NIGHT (9 P.M.) More rain falls outside. Lightning too. Mackelway waits here. Piper's in his usual spot in front of the TV. Dyson descends the stairs, a bit testy tonight. DYSON Welcome back. That had some edge. Mackelway does n't reply.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM/HALLWAY - NIGHT Mackelway stands in the center of this room, Dyson in the doorway. That SINGER down the hall is at it again, off - key as ever. Tonight it's the `` Gilligan's Island'' theme - song. DYSON I'll be in my office. Dyson backs away, leaving the door ajar. Now Mackelway is alone - eyeing the tiny bed, sink, window, the leaky ceiling, the bucket, the peeling paint. This room is heaving with energy. He sits on the bed, checks his watch. 9:05 p.m. Opposite this bed is that WALL, re - painted in industrial white, with the hint of a shape underneath. It's what Mackelway's come here to investigate. INTERCUT WITH.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - SAME O'Ryan sits at a desk : eyes closed, writing pad at his wrist. On it, more of those unidentifiable lines become visible to us. They're called IDEOGRAMS. He holds the point of his pen down upon one of them, as if receiving information from it, and we jump back into :\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway. Sitting. Staring. Outside this room we hear that awful, toneless singing as it fills the hallway. Mackelway rises, approaching that re - painted wall. He pulls out his keys. Checks to see that no one's watching.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, his pen on that pad, his concentration total.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING We hear the singing, the TV, the rain, that bucket collecting drips. Semi - darkness. until MORE LIGHTNING throws a burst of white light against that wall. A faint shape becomes visible, just beneath the white paint. Then it vanishes again. Using his keys, he begins to scratch away at the white paint. It's an irrational thing to do - but in the context of the last few days it makes an odd kind of sense. Instantly, a hint of BLACK can be seen underneath.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, at that desk. Outside, he can hear an 18 - WHEEL TRUCK rumble by. He does n't allow it to distract him.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway scratches more of the white paint off of that wall. More BLACKNESS appears beneath it. Then, a SOUND behind him. He turns. The door to this room just SHUT ; someone outside must've pushed it. He keeps scratching at the paint. LIGHTNING rages outside. We PULL BACK, away from that wall, which gives us the opportunity to see something that Mackelway is too close to the wall to see for himself : There is indeed an image beneath that thin coat of white paint. It is the shape of a vast, black WAVE. A hand - painted image as large as this wall itself. Mackelway seems tiny by comparison, and the mere inch of black that he has uncovered so far seems infinitesimal. In fact, it almost look as if the wave is poised to swallow him whole. and he ca n't even see it. But we can. Must've taken O'Ryan days to paint something this large. A vast, black wave. Evil itself. And Mackelway, without meaning to, is about to unleash it.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, somehow, seems to be sensing what is going on in that room. Or maybe he's just feeling the power of that wave, from memory. Or maybe he's just plain crazy. But he and Mackelway, on some unspoken psychic level, are feeding one another.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway chips away at that white paint, moving rapidly, revealing more of the blackness underneath. We PUSH IN on it, moving past Mackelway and his frantic scraping. Then we're beneath that thin coat of white, and :\",\n \"INT. INSIDE THE BLACK WAVE - UNDETERMINED TIME Somehow, we've submerged into the wave itself. A black, tidal force of nature. And it is MOVING. Alive. We hear the SOUNDS of it : a sucking, a yawning, as if a tide were drawing back just before exploding forward. The sounds blend in with the wind, the rain, the drops in that bucket. Evil itself, on the move, gathering might. And we're along for the ride. The wave begins to roll forward now as if shot from a cannon. It is massive, powerful, dark. And we're right on its forward edge, as if surfing it somehow.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan reacts. Something just changed :\",\n \"INT. INSIDE THE BLACK WAVE - RESUMING The wave is rushing us forward with this speed and power of a tsunami. which is when we hear the laughter of a LITTLE BOY.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan just heard it too. Then new images come at him - but they are, at first, GRAINY, CHOPPY.\",\n \"EXT. UNIDENTIFIED PLAY AREA - SAME The sounds of that wave become fainter, receding to the background, giving way to that sound of laughter, and the squeaking of a PLAY - SET SWING. Like an old tv slowly gaining reception, the image takes a moment to crystallize before us. But then it sharpens : We're in the PLAY AREA of a TRUCK - STOP DINER, but it feels like we're looking at it through a broken lens. The images appear SPHERICAL to us, surrounded by darkness. Before us a 5 - year old plays on a swing. Call him CHARLIE.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway has scraped away more of the white paint now - enough to see the outline of the front edge of the black wave, its lip. He continues.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan tightens. We ca n't tell if he experiencing something from the past, the present, the future.\",\n \"EXT. PLAY-AREA - RESUMING We WHIP AROUND quickly, getting a look into the diner itself. There, through a window, we see a WOMAN, presumably Charlie's mother. Her name's KATHLEEN, 40. Kathleen has her back turned to us, because she's busy diapering her nine month - old BABY at a table.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan, at his desk, seems to be getting all of this. And it is agitating him. There's perspiration on his forehead.\",\n \"EXT. PLAY AREA - RESUMING The sound of that wave is still a presence. Charlie looks up at us as he swings. His smile is pure, genuine. We whip around for another look at Kathleen. She's still busy with that diaper. Then we look back to Charlie.\",\n \"INT. MOTEL ROOM - RESUMING O'Ryan keeps his eyes shut, his focus total. but every part of him is becoming tense.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway is beginning to perspire from the effort. More of that wave is visible to him. But he does n't step back to take that in.\",\n \"EXT. PLAY AREA - RESUMING That swing is now EMPTY, dangling gently. And we're running we know not where.\",\n \"INT. MOTEL ROOM - RESUMING O'Ryan's foot starts to tap : anxiousness, discomfort.\",\n \"EXT. PLAY AREA - RESUMING We run. toward a PARKING LOT. But we do so smoothly, without effort, as if being carried by that relentless black wave. Then, ANOTHER SOUND bleeds in. The BANGING of the Diner's back door, which leads on to that Play Area. And we hear a horrified yell : KATHLEEN -LRB- O.S. -RRB- Charlie?! Charlie, where are you, Honey?! -LRB- fainter. -RRB- Charlie?! Honey, are you out here?! The sound begins to break up as if on a bad radio, being taken over by the sounds of that awful WAVE.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway suddenly stops. as if some electric charge had just shot through him, short - circuiting him into stillness. He begins to step away from the wall.\",\n \"INT. MOTEL ROOM - RESUMING O'Ryan has lost the `` pulse'' - the connection that had allowed him inside what we just witnessed. He rises, hurrying into a tiny bathroom. We STAY ON THAT WRITING PAD, trying to decipher these lines and squiggles - the ideograms - as we hear the sounds of O'Ryan, retching.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING Mackelway sits on the bed, looking at what he's just uncovered. An awesome sight. His head is pounding worse than ever. so he reaches for the Vicoden.\",\n \"EXT. PLAY-AREA - RESUMING We've stepped out of that SUBJECTIVE POV now. Kathleen grabs her infant, distraught, as another massive 18 - WHEEL TRUCK blows by us in the distance.\",\n \"INT. MOTEL ROOM - DENTON, TEXAS - RESUMING O'Ryan washes his face, eyes his reflection in the mirror, scrutinizing himself.\",\n \"INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING On the wall opposite Mackelway, that huge black wave is now entirely visible to him. Bits of chipped white paint litter the floor. A vast black wave. It fills the whole wall. Mackelway eyes his watch. It's one o'clock in the morning. He's been in here for four hours. That seems impossible. a box, slamming down hard on a desk. We are :\",\n \"INT. FBI OFFICE - O'RYAN ROOM - LATE NIGHT 2:30 a.m. Mackelway is in here by himself, angry. He reaches into that box. Inside? More pins. BLACK ONES. He crosses to the map. CLOSE - UP : MACKELWAY He starts pulling out the YELLOW PINS we've grown accustomed to seeing on this map, replacing them with the BLACK ONES, tossing the discards onto the floor. A SERIES OF DISSOLVES. as Mackelway replaces pin after pin. Mackelway's face, as he backs away from that huge map.\",\n \"INT. FBI OFFICE - O'RYAN ROOM - LATER NIGHT Ten minutes have passed, but Mackelway has seen a revelation. We can read it on his face. He eyes the map. which has now been stuck with over 1,000 BLACK PINS, one for each city with a HAVE YOU SEEN ME to its credit. And those black pins, seen from a distance, form a pattern we were n't expecting - something that never quite took shape when the pins were yellow. Looks like a big black WAVE. And that's just what it is. 1,000 black dots conspiring to form the same exact shape that O'Ryan had painted onto the wall of his room - a massive wave of darkness, gathering strength. But this black wave is consuming America. Mackelway stares at it : awed, even a bit frightened. The thing seems vast, unstoppable. A black wave - pure malevolence, covering the states like a fog. One blue dot lies in its center : that blue pin, in the heart of Greenville, Texas. Then, piercing the silence : CHARLTON -LRB- O.S. -RRB- Got one of those pins in Denton yet? Mackelway turns. Charlton leans in the doorway. CHARLTON -LRB- CONT'D. -RRB- O'Ryan was spotted there tonight. Took a squad - car and a side - arm from a State Trooper. ` Bout an hour later a five - year old boy was abducted, roughly a mile up the Interstate. It's 3 a.m. What's this guy doing here? CHARLTON -LRB- CONT'D. -RRB- The vehicle was found in an abandoned lot. We're establishing a perimeter around the city now. MACKELWAY -LRB- knows already. -RRB- But the Trooper was n't hurt. CHARLTON What makes you so sure? MACKELWAY Professional courtesy. Charlton's at a loss. until Mackelway gestures to the table, where he has laid out O'Ryan's entire FBI File. Every memo, citation, letter, i.d. picture. 150 pages. Charlton eyes it, calmly. He's not going to let his jaw drop, not with Mackelway watching. So he just nods. MACKELWAY -LRB- CONT'D. -RRB- Is that. possible, Sir? An agent can just be deleted? CHARLTON Looks like it. Mackelway pauses. It's a depressing reality. MACKELWAY I could n't understand it before - pushing Speck's car onto the state line. Makes sense now. He wanted to make the case Federal. He's drawing us in. CHARLTON Why would he do that? MACKELWAY So we'd be paying attention when he found Suspect Zero. CHARLTON Ya know what? I'm getting extremely tired of hearing that word. In fact, that's gon na be policy from now on. No Zero. MACKELWAY Sir, profile the guy. He's straight outta Quantico. All he's doing is working a case, like we would. He's not kidnapping little kids - he's chasing the guy who's doing the kidnapping! Look at the map! CHARLTON What're you saying - that all these abductions are the work of one guy? Do you know how fucking insane that is?! -LRB- over Mackelway. -RRB- Not let's try something that actually makes sense : He sends in these faxes, picks off three scumbags. For what?! So we'll think exactly what you're thinking right now - that we've got a friend out there, somebody willing to take out the garbage for the rest of us. And it's all horse - shit! MACKELWAY What if it is n't? What if there really is a Zero out there and O'Ryan's the one guy who's got a shot at him? CHARLTON -LRB- just blew his top. -RRB- Fuck's sake, Mackelway - when did you start buying into this guy?! A beat. Mackelway lets the silence hover. MACKELWAY -LRB- quietly. -RRB- He's smarter than we are. CHARLTON Speak for yourself. Charlton heads for the door. MACKELWAY Sir? What if I told you I knew how to catch him? Charlton stops. Turns. CHARLTON Do you? MACKELWAY And what if I told you that the way I'd catch him involved sitting in a dark room, with nothing in front of me but a pad of paper. until I'd tapped into some kind of. energy out there. The collective unconscious. Something. If I told you I thought I could target and locate him, without ever leaving this building, what would you say? CHARLTON I'd say you'd watched too many `` X - Files.'' MACKELWAY Y' ever heard of a project called `` Icarus,'' Sir? CHARLTON No. Mackelway tosses over a few pages from O'Ryan's file. MACKELWAY Agents, trained to `` see'' distant locations using nothing but the mind. They called it Remote Viewing. Charlton eyes the pages without comment. MACKELWAY -LRB- CONT'D. -RRB- Army stole it from the Soviets. The Bureau stole it from the Army - used it to track serial killers. -LRB- a beat. -RRB- Experimental program. O'Ryan was the first agent they recruited. CHARLTON Good for him. MACKELWAY Voodoo, right? Pure Bullshit. -LRB- Charlton's waiting. -RRB-. except, it worked. It's how he drew this : Mackelway's referring to that DRAWING : a steamer - trunk, filled with ghastly Ziploc bags : MACKELWAY -LRB- CONT'D. -RRB- He'd never been in that house before. He just saw what was in there - the Bureau taught him how. same one that deleted him. Same one that's trying to catch him now. Does anything about all this strike you as odd? Charlton studies him, a long beat, measuring him. Then : CHARLTON I'm going to Denton at Oh - Six - Hundred. You can take the day off. With that, he's gone - leaving Mackelway alone in here. Nothing to look at but that black wave. He hears Charlton, leaving the building. He slams another Vicoden, then hears a PHONE RING. Fuck it. He's not moving. Let Voice Mail get it. until he hears the sound of a FAX coming in. He rises. Follow him :\",\n \"INT. FBI OFFICE - CUBICLES - CONTINUING Mackelway hurries through the office, as the sound of that fax grows louder.\",\n \"INT. \\\"FAX ROOM\\\" - CONTINUING He enters. The fax has spun out a single sheet. No top - sheet. That's odd. But here's another face, another victim, with the customary HAVE YOU SEEN ME? across the top. A young African - American boy : `` Lloyd Simms, Age 9. Ht. 4' 10'', Wt. 67 lbs. Last Seen : Greenville, Texas. Date of Disappearance : 10 - 26 - 99.'' That's it. One face. The transmission ends. Mackelway eyes those vitals. They mean something. Greenville.\",\n \"INT. FBI OFFICE - O'RYAN'S ROOM - RESUMING He re - enters, and approaches that huge MAP. There's that wave of black pins, with the one BLUE PIN in its center ; Greenville, with a `` 10 - 26'' written beside it. Mackelway pulls out the lone blue pin, replaces it with a black one. Now the wave is complete. All black.\",\n \"INT. 18-WHEELER - CAB - MOVING - NIGHT We've seen this truck before - several times in fact. It rumbles along the highway. We do n't see who's driving, but we do see who's in the passenger seat : It's Charlie, five years - old, whose abduction we just witnessed. He sleeps fitfully. A MAN'S HAND can be seen, edging into frame - the DRIVER. He picks up a CASSETE, shoves it into the tape deck. And out comes the sound of `` Barney the Dinosaur.'' BARNEY -LRB- THRU DASHBOARD STEREO. -RRB- Oh silly songs get sillier/When you hear them once again/And maybe you're hearing an echo/Or maybe it's only a friend! The truck continues to rumble along.\",\n \"INT. FBI OFFICE - OUTSIDE THE O'RYAN ROOM - MORNING 6 a.m. Fran pauses outside the O'Ryan Room. where Mackelway sleeps on a chair. Poor guy was here all night. She regards him. then her eyes find that MAP, and the gaping black wave across it. A horrible image. She studies Mackelway again, almost tenderly, until : CHARLTON -LRB- O.S. -RRB- Does he listen to you? She turns, startled. Here's Charlton, right behind her. And she's been caught. watching Mackelway sleep. FRAN I'm sorry? CHARLTON It's not a strength of his. I'm noticing that lately. Truth is, she does n't like Charlton. Or trust him. FRAN He's fine. CHARLTON I'm not so sure. -LRB- a beat. -RRB- You oughtta sit him down, remind him how a chain - of - command works. FRAN He's fine, Sir. CHARLTON Talk to him. With that, he's gone. Fran watches as he heads for the Front Door. and exits. She looks back to Mackelway. He awakens with a start. Thinking no one's watching, he pops another Vicoden.\",\n \"INT. O'RYAN ROOM - CONTINUING Fran enters, feeling slightly dirty from that exchange. Mackelway checks his watch as a few AGENTS exit the suite. MACKELWAY They going to Denton? FRAN Mmm - hmm. MACKELWAY But not you? FRAN Sitting in on two autopsies. MACKELWAY Oh. He rises. Heads for the door, stiff. She looks at those O'Ryan FBI DOCUMENTS NOW - her first time seeing them. FRAN You okay? MACKELWAY Yeah. Why? FRAN Nothing. She leaves it at that. He's about to exit, when : MACKELWAY Are they male or female? FRAN Huh? MACKELWAY The autopsies. FRAN Females - Logan, Utah ; and Decatur, Alabama. -LRB- Neither city is represented with black pins on that map. -RRB- She slides over a packet of PHOTOS : two FEMALE VICTIMS, photographed in separate morgues - face up, face down, waist and above, waist and below, etc.. Mackelway eyes them, then leaves the room. We STAY WITH FRAN. taking in that O'Ryan FBI file. It troubles her. Mackelway returns, carrying the 9 - by - 12 envelope that Katie gave to him. FRAN -LRB- CONT'D. -RRB- -LRB- re : O'Ryan's file. -RRB- So is this what happens when an agent spins out? He gets deleted? MACKELWAY Sometimes. The lucky ones get sent to Wichita Falls. She breathes out an ironic laugh. He hands over the envelope, opens it. Inside : that photo of Karen Sumpter. Mackelway did n't pay much attention to it before. Fran eyes the photo, then the vitals. MACKELWAY -LRB- CONT'D. -RRB- Friend of the Receptionist, missing for about a year now. I told her I'd let her know if the body ever turned up. Fran does n't look up from the photo. FRAN The Receptionist. MACKELWAY Her name's Katie. She half - smiles : `` You mean the one you've been fucking?'' He shrugs, confirming nothing - wishing Fran were n't quite so smart. She puts the photo back into the envelope. FRAN I see you got the blue pin out of Greenville. MACKELWAY Yeah. Last night. Kid named Simms. That confused her. FRAN -LRB- re : Sumpter. -RRB- No. I meant her. The girl. That confused him. MACKELWAY What're you talking about? FRAN Did ya look at her vitals? She hands him the material on Karen Sumpter. FRAN -LRB- CONT'D. -RRB- Greenville, Texas. October 26. He grabs the material, looks at it for the first time : `` Karen Sumpter, Age 25. Ht. 5' 6'', Wt. 110. Eyes Blu, Hair Blnd. Last Seen : Greenville, Tx. Date of Disappearance : 10 - 26 - 00.'' Mackelway looks to the Conference Table - that huge stack of faxes, all those helpless faces. The one on top is the one that came in last night : Lloyd Simms, Age 9. Ht. 4' 10'', Wt. 67 lbs. Last Seen : Greenville, Texas. Date of Disappearance : 10 - 26 - 99. At last, a pattern. A break. Mackelway grabs the Simms fax, hurries out of the room. Nearest Agent is Grieves. Mackelway hands him the fax. MACKELWAY Need an address on this fax line. Grieves has done this on fifty different faxes now ; it never yields their suspect, but : GRIEVES ` Kay. Mackelway leans back in to the O'Ryan Room. MACKELWAY O'Ryan's in Greenville. FRAN What makes you think so? MACKELWAY That's where Zero is. -LRB- Fran's a blank. -RRB- Lloyd Simms - October 26,' 99. Karen Sumpter - October 26, 2000. Both disappeared from Greenville. -LRB- still no reply. -RRB- Zero comes back to the same spot, once a year. Today's the 25th. FRAN Wait. When did we establish that Zero was real? MACKELWAY O'Ryan thinks so. FRAN Do you? That's the million - dollar question, and it hangs there. Mackelway's about to answer. when he stops himself. Just noticing something. That MORGUE PHOTO from Logan, Utah : There's a BURN MARK on the lower left calf of the victim. We've seen such a mark before, on another autopsy photo. MACKELWAY I've seen this before. FRAN Huh? He does n't answer, just hurries to a thick BOX OF OTHER AUTOPSY FILES AND PHOTOS. Starts rifling through them. until he finds the one we've seen before. The body from Trenton. He extracts it. Eyes it. A confirmation. He lays the two PHOTOS side by side. Looks to Fran. MACKELWAY Same burn - mark. -LRB- she leans in. -RRB- I saw it before but it did n't register. Fran eyes the photos. No doubt about it - they both have the same burn mark on the lower left calf : a symmetrical, almost horizontal stripe across the flesh. FRAN He burns them? MACKELWAY I dunno. Almost looks too symmetrical to be a burn. -LRB- re : Logan victim. -RRB- They're autopsying her this morning? FRAN Yeah. She gets the idea : `` Find out where the hell this mark on the leg came from.'' Grieves enters. GRIEVES Fax number traces back to a Copy Center on I - 30. Greenville. -LRB- Mackelway eyes his watch. -RRB- I called. They do n't open for another hour. Mackelway looks to Fran. She's not entirely sold yet. but she's getting there.\",\n \"INT. MACKELWAY'S YUKON - DRIVING - EARLY MORNING Mackelway plows along I - 30. Ahead of him, one hell of an ugly STORM - FRONT seems to be waiting. Thick, black clouds. Mackelway's driving right into the teeth of them.\",\n \"EXT. \\\"FAST-COPY\\\" - ESTABLISHING - DAY A copy - place, right off I - 30. Mackelway's Yukon is parked in front.\",\n \"INT. \\\"FAST-COPY\\\" - COUNTER - DAY Mackelway stands opposite a DAY - MANAGER : 30, harried, eyeing a copy of the composite drawing of O'Ryan. DAY-MANAGER -LRB- re : O'Ryan. -RRB- Naah. I never saw that guy in here. MACKELWAY He sent a fax from this location ` bout seven o'clock this morning. DAY-MANAGER We're closed at seven. MACKELWAY Are your faxes programmable? Could he have paid last night to have it sent this morning? DAY-MANAGER Sure. But that costs extra. MACKELWAY Were you here last night? DAY-MANAGER Nope. Have n't done nights since I got promoted. Mackelway eyes the guy. then hears a CEL - PHONE ring. MACKELWAY ` Scuse me. Mackelway grabs his cel, backing away from the counter. MACKELWAY -LRB- CONT'D. -RRB- -LRB- into cel. -RRB- Mackelway. INTERCUT WITH/INT. MORGUE - SAME Fran is at a phone, in the Morgue. The Logan Utah BODY lies on the table. FRAN It's not a burn. It's a freezer - burn. MACKELWAY You're sure. FRAN There's crystallization in the blood stream. The blood never clotted in the wound. It's a freezer burn. I'm having the other body shipped out - the guy from Trenton. We'll see if he's got the same thing. Mackelway pauses, thinking. MACKELWAY So. he keeps the bodies in a freezer, then buries them? That was a question. He ca n't do any better. FRAN I dunno. If he kept them in a freezer they'd have marks like this all over. Would n't they? Mackelway nods - that made sense. Shit. The noise of the Interstate does n't make things any easier. A huge TRUCK rumbles by. 18 wheels. Mackelway eyes it, absently. Then a bolt hits him : On the side of the truck is a trademark : `` EVER - FROST.'' This truck is hauling ice cream. Things just began to click. MACKELWAY Thanks, Fran. He has hit `` End'' before she can reply. Heads to his Yukon. Fran eyes the phone : that was odd.\",\n \"EXT. TRUCK STOP - GREENVILLE, TX. - ESTABLISHING - NOON A huge lay - out, with a diner, rest - stop, and gas station.\",\n \"INT. DINER - GREENVILLE - SAME Mackelway sits at a table by a window. Watching. FIFTY MASSIVE TRUCKS in this lot - some refrigerated, most not. This Diner is big enough to seat 200 : truckers, a few families, and folks who just like the buffet, -LRB- gravy covers just about every entree. -RRB- Mackelway's been here for hours. A WAITRESS comes by. WAITRESS You want some more breakfast, Honey, or are we just rollin' right on into lunch? MACKELWAY Just some coffee, thanks. Might hit the buffet in a bit. WAITRESS Meatloaf's lookin' good today. He smiles, thanks. She turns away. That leaves him alone again, scanning - not even sure he's in the right place. CEL - PHONE RINGS. He grabs it. MACKELWAY -LRB- INTO PHONE. -RRB- Mackelway. INTERCUT WITH/INT. FRAN'S CAR - DRIVING - SAME She's driving, talking into the cel. FRAN -LRB- INTO PHONE. -RRB- What're you doing? MACKELWAY Surveilling. What're you doing? FRAN Driving to Greenville. MACKELWAY -LRB- knows already. -RRB- Why would you be doing that? FRAN I think agents are safer when they have some company. I can send along Katie if you'd rather. Mackelway laughs. He appreciates a good jab. MACKELWAY I'm at the truck - stop we traced. Off the I - 30. FRAN I'm ` bout a half hour out. MACKELWAY I'll order some lunch for you. Hear the meatloaf's good today. She half - smiles. She likes him, despite herself. DINER - MACKELWAY - RESUMING He half - smiles, puts the cel - phone away. He likes her, despite himself. Then a MAN passes by him, a trucker. Let's call him VIC. All we see as he passes is the TATTOO on his forearm : a cobra. Keys jingle on his belt - hook. He wears a sleeveless down vest and a `` God Bless America'' cap. Mackelway turns, but Vic's already past us. Something about him attracts Mackelway's attention. The walk, the attitude. Something. So Mackelway is watching - without really knowing why - as Vic crosses the parking lot, heading for his rig. It's a beast. Vic climbs in, unaware that he's being watched. Mackelway looks away, chiding himself for allowing the guy to distract him. That WAITRESS comes by with more coffee. Mackelway smiles, looking absently out the window again. And sees a LITTLE BOY of 5, in the cab of Vic's rig. But this little boy is SCREAMING, struggling to get out of his car - seat, until Vic grabs the kid by the shoulders, roughly. all of this visible through the windshield. Mackelway locks in on the kid. Holy shit. Vic's rig pulls out. The kid pounds on his window. Looks like he's saying `` Lem me out of here! I want my Mommy!'' He might be little Charlie - we ca n't tell from here. But we can see that Vic is yelling at him : `` Shut up!'' And we can see that Vic's truck is refrigerated. He's hauling dairy products. On a normal day, Mackelway might shrug this off as coincidence. He might not be so vigilant. This is n't a normal day. He races for the door.\",\n \"EXT. TRUCK-STOP - PARKING LOT - MOMENTS LATER Mackelway backs out in the Yukon, trying to keep a visual on Vic's truck. ANOTHER 18 - WHEELER pulls in front of him, blocking his view entirely. MACKELWAY Dammit! He honks - loud - pulls around that other 18 - wheeler, heading for the exit of the lot. Just spotted Vic's rig again.\",\n \"EXT. ROAD/INT. MACKELWAY'S YUKON - CONTINUING He follows Vic's rig out of the lot and onto a road approaching I - 30. But there are three cars between them - Mackelway ca n't get a clean look at Vic's license plate. Vic approaches the Interstate. So do the three cars between them. Vic passes the Interstate on - ramp. The three cars turn on to it. putting Mackelway right on Vic's tail. He grabs his cel, dials. This truck has license plates from ten states. MACKELWAY -LRB- INTO CEL. -RRB- This is Mackelway. I need a run down on a plate. Texas : Delta - 142 - Romeo - Victor - Alpha. Got that? He puts the cel down, but does n't hang up. Vic just made a turn onto a VAST DIRT LOT. A huge BANNER overhead reads, `` FOUNDERS DAY CARNIVAL!''\",\n \"EXT. CARNIVAL - PARKING LOT - CONTINUING There are several BIG - RIGS parked here, but the vast majority of the vehicles we see are garden - variety cars and SUV's. A few pick - ups. There are RIDES at this carnival : Pony rides, a ferris wheel, and a huge ring of Barbeques, each fired up and cooking. Must be a thousand people in attendance today. Vic parks his rig. Mackelway hangs back, watching : Vic gets out of the rig. From here we can see that that 5 - year - old BOY is still stick in his car seat, and he is still screaming and flailing. Vic points a stern finger at the kid as if to say, `` Behave or else.'' Then Vic disappears into the crowded carnival.\",\n \"EXT. MACKELWAY - AT HIS CAR - RESUMING He gets out of the Yukon, approaching Vic's truck. We CROSS THE LOT WITH HIM. He reaches Vic's truck, looks in the passenger window. There's the five year - old kid, tears streaming down his face. -LRB- We still ca n't tell if it's Charlie. -RRB- Mackelway reaches for the passenger - side door. It's locked. Of course. And he ca n't shoot his way in. He looks to the kid inside : MACKELWAY You okay? -LRB- Kid's a blank. -RRB- Kid? You okay in there? The Kid does n't respond - just seems spooked. Shit. Mackelway looks into the heart of that crowd. Vic's still visible to us, but he wo n't be for long. MACKELWAY -LRB- CONT'D. -RRB- -LRB- at the Kid. -RRB- I'll be back. Do n't worry. Mackelway heads into the carnival.\",\n \"EXT. CARNIVAL - CONTINUING He begins running now, past the table where ladies are selling TICKETS for the rides and games, past the Cotton - Candy Guy. Running. because we just lost sight of Vic. Mackelway hurries through that ring of barbeques, upsetting a tray or two. Then he stops. There's the ferris wheel. Was that Vic on the other side of it? Mackelway takes off.\",\n \"EXT. FERRIS WHEEL - CONTINUING No Vic. But Mackelway thinks he sees the guy. heading back in the direction of the parking lot. He runs past the Pony rides, past a funhouse, past a popcorn machine, past those ladies selling tickets.\",\n \"EXT. PARKING LOT - RESUMING He hits a bottleneck of people at the entrance. But he bursts through, runs into the dirt parking lot, around cars and big - rigs, then turns a corner and :. runs smack into Benjamin O'Ryan. The shock is so total it takes each of them a moment to recover from it. But here he is. O'Ryan, five feet away. Mackelway's speechless, still trying to recalibrate himself. A second ago he was chasing a possible Zero. Now he's face to face with O'Ryan. And O'Ryan is n't running. In fact, he almost seems amused. O'RYAN Well, well. Must be quite a moment for you. Congratulations. Mackelway still has n't spoken, until : MACKELWAY What're you doing here? O'RYAN Waiting for you. which is when Mackelway realizes that he is standing right in front of Vic's rig. But he was n't expecting what comes next : Vic has returned to the rig, with a WOMAN beside him. Turns out, she's his WIFE. Vic opens the passenger - side door, unclasps that five year - old kid from his seat. FIVE YEAR-OLD Mommy! The kid dives into the Woman's arms. WOMAN Morning, Baby! VIC I told you she'd be here. -LRB- to Woman. -RRB- He's been a brat all morning. Mother hugs son. which means that Mackelway has misread things, badly. And O'Ryan is a witness to it - hence the grin. MACKELWAY -LRB- at O'Ryan. -RRB- Hands up. O'Ryan raises his hands. Mackelway reaches for his cuffs.\",\n \"EXT. CARNIVAL - PARKING LOT - MOMENTS LATER O'Ryan's hands are cuffed in front of him. Mackelway leads him to the Yukon, opens a door for him, and puts him into the backseat. A few LOOKIE - LOU'S strain for a peek.\",\n \"INT. MACKELWAY'S YUKON - CONTINUING Mackelway gets in, hits the ignition. Reaches for his cel - phone. Starts to dial. O'RYAN -LRB- disappointed. -RRB- Awfully conventional - do n't ya think? Mackelway pauses. MACKELWAY Huh? O'RYAN Apprehend the fugitive, then call it in for your pat on the head. MACKELWAY Sorry to disappoint you. Mackelway continues to dial. O'RYAN I'll get over it. -LRB- flat. -RRB- But I'm not too sure that little boy will. Bang. That just stopped Mackelway, mid - dial. MACKELWAY -LRB- minor test. -RRB- What little boy? O'RYAN The one from the Diner, in Denton. MACKELWAY You know where he is? O'RYAN I can find him. MACKELWAY How? O'RYAN Same way I found Starkey, and Speck, and Fulcher. and you. That rang a bell. O'RYAN -LRB- CONT'D. -RRB- I need someplace quiet - someplace I can concentrate. And your assurance that once he's located, we go get him together. MACKELWAY I ca n't do that. O'RYAN Then I ca n't help you. Mackelway, disgusted, pulls out of the lot.\",\n \"INT. MACKELWAY'S YUKON - DRIVING - MOMENTS LATER Through sparse traffic, heading for an Interstate on - ramp. O'RYAN -LRB- CONT'D. -RRB- I'm talking about uncompromised justice. No trials. No lawyers. No hiccups in a chain of evidence that can set a monster free. You of all people should be able to appreciate the value of that. MACKELWAY Where's the boy? O'RYAN I wo n't be doing this much longer. Actually, this is the end of it. I've come to accept that. But there is one last thing to - MACKELWAY -LRB- anger rising. -RRB- Where's the boy, O'Ryan? O'RYAN Do we have an understanding? Mackelway pulls the car over, under an I - 30 overpass. and out comes his gun, pointed right at O'Ryan's forehead. MACKELWAY -LRB- CONT'D. -RRB- Enough of this shit. Where's the boy? O'Ryan ca n't help it. He's pleased. O'RYAN Good. This is good. Sort of thing you'd never find in a procedural manual. It tells me I was right about you. MACKELWAY -LRB- cocking the hammer. -RRB- I will kill you, O'Ryan. O'RYAN I know. But we have work to do first. MACKELWAY Where's the Goddamn kid?!?! Silence. Then that CEL - PHONE rings. Must be Fran. O'RYAN Do n't pick that up. Mackelway eyes him : are you kidding? It rings again. O'RYAN -LRB- CONT'D. -RRB- -LRB- a panicked offer. -RRB- This is the guy who put all those pins in that map of yours! And I can take you to him! Ring # 3. Mackelway grabs the phone. MACKELWAY Fine. Where is he? -LRB- silence. -RRB- Where is he?!?! Silence, punctuated by Ring # 4. Then O'Ryan smiles. and points to his own forehead. O'RYAN Right here. Mackelway lets out a disgusted sigh. MACKELWAY Fuck you. He punches the `` Talk'' button, taking his eyes off O'Ryan for a split second. What follows is a blur : O'Ryan lunges forward like an animal, throwing his cuffed wrists over Mackelway's head, yanking Mackelway out of his seat with a violent tug. The gun falls. We POP OUTSIDE THE YUKON, pulling back. obscuring our view of what's going on inside that truck. That cel - phone continues to ring. We keep pulling back, under this sparsely - trafficked overpass, rain falling. The cel - phone stops ringing. CONTINUE PULLING BACK, taking in the expanse of highway - cars rolling by without a hint of the peril beneath them.\",\n \"INT. TRUCK-STOP - DINER - GREENVILLE - SAME (DAY) Fran has just arrived. She scans the place. Does n't see Mackelway. Great. She reaches for that cel - phone again.\",\n \"INT. A THIRD UNIDENTIFIED MOTEL ROOM - NIGHT Mackelway awakens. The room feels like it's swimming. His arms and legs are bound. His mouth has been GAGGED. And he is staring into his own REFLECTION. He lies on his side. A MIRROR has been propped on the floor, just inches from his face - leaving him with nothing to look at but himself. He strains against the ropes, but there's no give to them. He's helpless, powerless. And that mirror is forcing him to watch it all with perfect clarity. A few feet away, O'Ryan sits in a chair, calmly peeling the skin off of an apple with that huge HUNTING KNIFE of his. A CANDLE flickers on the floor by his feet. O'RYAN Are you afraid? There was a delight to that question - we can see it on O'Ryan's face. Mackelway, of course, ca n't reply due to the gag. But the answer's obvious. O'RYAN -LRB- CONT'D. -RRB- -LRB- quoting himself, as Daitz :. -RRB- `` Imagine a killer with no patterns, no tell - tale fetishes, no rituals of any kind. No hidden desire to be caught. A perfect vessel of evil.'' All Mackelway can see is his own reflection - the fear in his eyes - bouncing off a mirror that's only inches away. O'RYAN -LRB- CONT'D. -RRB- And the name we give that killer. is Zero. -LRB- again :. -RRB- Are you afraid? Slowly, he lowers the knife into the flame of that candle on the floor. It GLOWS. Good God. O'RYAN -LRB- CONT'D. -RRB- It'd be customary at this point to start praying. I hear a lot of that. Have n't seen too many answers though. I would n't hold my breath waiting for another janitor to break in here and save you, either. You're alone. Mackelway tries to speak. It's impossible. O'Ryan pulls the GAG from his mouth, just long enough for Mackelway to say : MACKELWAY Where's the boy? O'Ryan jams the gag back into his mouth, angrily. O'RYAN -LRB- re : the mirror. -RRB- My, my. Must be extremely satisfying to watch yourself say something so heroic. I'm almost envious. -LRB- casually. -RRB- The boy's under the bed. In pieces. Are you afraid? Mackelway absorbs that - watches himself absorb it - then looks to that bed. Ca n't quite see what's under it. O'Ryan eyes the flames as they dance over the blade. O'RYAN -LRB- CONT'D. -RRB- I know what you're thinking : `` There is pain coming. Am I going to take it like a man?'' Let me put you at ease : You wo n't. None of them do. Men, women, children. They all weep, they all beg. They pass out, they piss themselves. They attempt negotiation : You would n't believe how many men have lain right where you're lying right now - grown men, with wives and children back home - offering all kinds of sexual gratification in exchange for a five minute reprieve. It's pathetic. Are you afraid? -LRB- of course, no reply. -RRB- Then there's that moment when they realize there's nothing left to be negotiated. They're just mine. And they're helpless. And the look in their eyes, the level of surrender. well, it's almost pornographic. I put this mirror here because I do n't want you to miss it. Are you afraid? With that, he lifts that hunting knife out of the flame. It is RED - HOT. Even looking at it is painful. But Mackelway ca n't look at anything else. O'RYAN -LRB- CONT'D. -RRB- How about now? Just like that, that red - hot knife is an inch from Mackelway's face. The heat alone makes his head jerk back. Wisps of smoke rise from its edge. And Mackelway is forced to watch his own reaction to it. He struggles against these ropes, to no use. A guttural sound comes out of him. O'RYAN -LRB- CONT'D. -RRB- Are you afraid? O'Ryan's hand lashes out a bit, leaving the sizzling knife just under Mackelway's chin. The anticipation of pain is unbearable. And Mackelway is reading it in his own eyes. O'RYAN -LRB- CONT'D. -RRB- Hmmm? Agent Mackelway? Are you? Two things hit at once : 1 -RRB- This monster is about to torture me to death. 2 -RRB- Please, God, do n't let me give him the satisfaction of seeing me cry. O'Ryan moves the blade again, this time an eighth of an inch above Mackelway's right arm. The heat from it is so incendiary that Mackelway's shirt begins to smoke. O'RYAN -LRB- CONT'D. -RRB- Are you? Mackelway's shirt is officially on fire now. The pain is awful. He stares at his own reflection. as tears begin to flow from his eyes. He ca n't stop them. O'RYAN -LRB- CONT'D. -RRB- -LRB- top of his lungs. -RRB- Are you afraid?! That bounces off the walls. Mackelway shuts his eyes tight - ca n't watch this anymore. O'RYAN -LRB- CONT'D. -RRB- -LRB- infuriated. -RRB- Open your eyes! Open your eyes Goddammit or I'll cut the fucking lids off! Mackelway opens his eyes, forced to watch himself break. Deep sobs shudder through him, as. O'Ryan digs that red - hot blade into Mackelway's arm : O'RYAN -LRB- CONT'D. -RRB- ARE YOU AFRAID?!?! Mackelway sees the answer in his own reflection : Yes, I am terrified. He SHRIEKS, the sound muffled by that gag. With his body able to do no more than spasm, he jerks his head forward, smashing it into that mirror. THE MIRROR SHATTERS, obliterating the image. and everything goes black. Then, MORE IMAGES SWARM AT US. We're helpless to beat them back :\",\n \"EXT. DARKNESS - UNIDENTIFIED TIME Out of a soupy darkness, a dreamlike spin on a location we've visited before : It is the wheat field that O'Ryan has Remote Viewed countless times. Only this time we see it through Mackelway's fever, or nightmare. We see the tall wheat, the wet wind - familiar images to us. All to the pounding Chant of the Navaho. But then OTHER IMAGES enter this world. They're jarring : - That TRIBESMAN, eyes rolling back, foaming the mouth, dancing around a fire in a frenzy. Then a curtain of wheat obscures him, revealing : - Fran, and Katie, giggling, crooking fingers as if inviting us. Looks like they're naked. But as we approach them, they seem to get farther away. Then that curtain of wheat that separates us from them reveals : - Charlton, extending a hand to us, warmly, congratulating us for something, a job well done, when : Mackelway himself is hunting through the wet wheat, gun drawn. He FIRES. Then looks to see who he's just shot. A body. He turns it over. and is staring at himself, lying dead on the ground in the mud and pouring rain. It is a moment of shock and horror, giving way as we. FADE UP AGAIN. on O'Ryan - at a desk, sitting upright, making notes on a pad. Calm. Businesslike. His back turned to us.\",\n \"INT. THAT UNIDENTIFIED MOTEL ROOM - LATER NIGHT Time has passed. We do n't know how much. Or maybe we're dead, or dreaming. It's hard to say. But there's O'Ryan, at a desk. Writing. Mackelway's eyes are open. His FOREHEAD has a bright red raspberry on it from smashing into that mirror. But the brain is functioning. It starts running through a check - list : I'm in the same motel room. I'm on a bed. I'm alive. There's O'Ryan. Everything hurts. No, it's just my right arm. But it is searing. The check - list continues : my mouth is sore, but that GAG has been removed. And MY ARMS ARE UNBOUND. Legs too. Maybe I am dead. Mackelway tries to move his hand. It takes some effort. Everything's foggy. But he puts it before his face. Turns it. Flexes it. Squeezes it. His hand. He stares at it. Then he notices his SHOULDER. A fat BANDAGE has been wrapped around it - covering up the source of that searing pain. Looks as though a nurse had tended to it. But this sure as hell is n't a hospital. Then, O'Ryan turns, facing us. Mackelway recoils without meaning to. But O'Ryan's demeanor has changed. That look of possessed malevolence - it's gone now. We ca n't imagine why. O'RYAN -LRB- softly. -RRB- Stand up. Mackelway pauses, rewinding that one. O'RYAN -LRB- CONT'D. -RRB- It's over now. Can you stand? Mackelway is still bracing for torture, or at least combat. So he's a step behind. O'RYAN -LRB- CONT'D. -RRB- We really do have to go. O'Ryan rises, crossing toward us. Even unbound, Mackelway is expecting another onslaught. But all O'Ryan does is drop a piece of paper onto Mackelway's lap. It's another DRAWING : of a RANCH - HOUSE, with a windmill in the background. Crude, but just specific enough. Mackelway's still too unwound to speak. O'RYAN -LRB- CONT'D. -RRB- This is where he'll be. With the boy. -LRB- a beat. -RRB- Zero. He's coming home today. We're going to be there. Mackelway's starting to understand now. This was an act. An initiation. That stuns him. O'RYAN -LRB- CONT'D. -RRB- You're ready to come with me now. You've been in the pit. Stand up. Mackelway eyes him - utter disbelief. O'Ryan smiles warmly - like a Drill Sergeant at the end of Basic : Sorry I was so hard on you but it had to be done. Can we shake on it? Instead, Mackelway simply EXPLODES : It is a blur, faster than a blur, but Mackelway rises with an animal roar, knocking O'Ryan flat on his back. Then Mackelway is upon him. All the helplessness, all the horror, the images of watching himself in that mirror, the sounds of his own uncontrollable sobbing. they ERUPT now into violence. It is an overwhelming force. O'Ryan ca n't begin to fight it off. Mackelway has one hand on O'Ryan's throat. The other hand comes down like a sledgehammer. One blow. Then another. The sounds coming out of Mackelway are savage, barely human. He's out of control. O'Ryan's eyes roll back. Mackelway now puts both hands around this fucker's throat. He's going to kill him - right here. He's going to squeeze the life from him. This is a Mackelway we've never met before. His eyes are wild, hateful - even as the last gasps of breath rasp their way out of O'Ryan's throat. Then Mackelway is distracted, for just a second. No. Less than a second. by a glimpse of that SHATTERED MIRROR - his own twisted image. He looks away from it, refusing to be distracted, determined to kill this guy. then those eyes drift back to the mirror again. and he sees his reflection : a hardened, crazed stranger. An animal. His hands, without warning, release their grip. O'Ryan gasps for air. His face has been bloodied. Mackelway rises, disgusted, removing a great weight from O'Ryan's chest. That makes breathing a little easier. Mackelway crosses to a tiny, cheap BATHROOM.\",\n \"INT. MOTEL ROOM - BATHROOM - CONTINUING Mackelway enters. There's a mirror in here too. That fat BANDAGE on his shoulder stares back at him. He tugs at it - does n't unravel it, just yanks it off his arm - revealing a hideous wound. It's a ZERO, WITH A SLASH THROUGH IT. Now everything clicks : O'Ryan was branding him. Initiating him with that red - hot knife. Mackelway stares at the wound, his eyes lifeless. He splashes some water on his face, his mind still reeling. Then O'Ryan appears in the doorway. He too looks like hell - face bloodied, throat red, eyes watering. A long beat. Mackelway eyes him, incredulous. O'Ryan nods, then places that DRAWING of the Ranch - House on the sink. Mackelway eyes it. Then O'Ryan stuns him. by laying Mackelway's GUN atop the drawing, without a word. Mackelway eyes the gun, then grabs it and points it right at O'Ryan's face, just inches away. We're TIGHT on Mackelway's hand. It trembles with rage. But O'Ryan, looking right down the barrel, seems unafraid. In fact he smiles, utterly confident. Then : O'RYAN -LRB- re : gun. -RRB- Soon. I promise. But not yet. He eases Mackelway's hand down, thus lowering the gun. Then O'Ryan turns, grabs Mackelway's car keys, and heads for the front door. Mackelway stands, rigid. He raises the gun. Maybe I'll just shoot this fucker in the back. Then those IMAGES come at us again, out of nowhere :\",\n \"EXT. WHEAT FIELD - NIGHT Out of a gray, soupy swirl - coming slightly into focus : Wet wind, tall wheat, our own heavy BREATHING as we run. And that non - descript voice we heard echoing earlier becomes the sound of O'Ryan's voice, static - filled, wobbling : O'RYAN -LRB- O.S. -RRB- Please. I'm begging you. That was clear enough. A gun rises. We seem to be holding it. Then those images vanish, and we are jolted back to :\",\n \"INT. MOTEL ROOM - BATHROOM - RESUMING Mackelway tightens. O'Ryan's out the door. This VISION that keeps getting clearer and clearer. What the hell does this it mean? Down go two more Vicodens.\",\n \"INT. MACKELWAY'S YUKON - DRIVING - NIGHT A huge STORM devours scenery on both sides of us. O'Ryan drives. Mackelway sits, no expression at all on his face, still recovering from what happened in that room. Silence. Then : MACKELWAY Tell me about Icarus. O'RYAN Why? MACKELWAY Just. wan na know. O'Ryan eyes him. The sky is black. O'RYAN There were five of us. In the program. Mackelway's all ears. O'RYAN -LRB- CONT'D. -RRB- We'd come in in the morning, have a cup of coffee, talk about the Yankees. Then you'd go to your room, with your pen and your pad of paper, always alone, and you'd try to lock in. Son of Sam. John Wayne Gacy. Ted Bundy. He might be driving his car, or having a beer or brushing his teeth. or cutting someone's eyes out. That was said flatly, matter - of - factly. It's chilling. O'RYAN -LRB- CONT'D. -RRB- If you did it right, you got all of it : The way it sounded. The way it smelled. Those people were looking up at you, begging you for mercy. It was like being God. -LRB- a beat. -RRB-. except you're not. Because you ca n't do a thing for them. Ca n't make it stop. You're just watching, helpless. He pauses. O'RYAN -LRB- CONT'D. -RRB- They wired us into this current, the five of us : darkness, the pit itself. We were plugged right into it. But nobody taught us how to shut it off. -LRB- thinking back. -RRB- We were just men. And we saw things men should n't see. Agony, torture, evil - and it never shut off. Even now, it's still there. MACKELWAY They all wind up like you? The other agents? O'RYAN No. They're dead now. Oh. Mackelway does n't reply. O'RYAN -LRB- CONT'D. -RRB- They broke down. Then they opted out. -LRB- Mackelway's a blank. -RRB- Killed themselves. After a while, those conversations about the Yankees became impossible. Ya see? Mackelway lets that sink in, as he stares at passing head - lights. Then : MACKELWAY I'm sorry. O'Ryan shrugs. He appreciates it. The windshield wipers beat back rain.\",\n \"INT. MACKELWAY'S YUKON - DRIVING - LATER NIGHT O'Ryan continues to drive. Silence hangs. Then : O'RYAN We're here. Mackelway sits up. O'Ryan pulls over at :\",\n \"EXT. RANCH-HOUSE - GREENVILLE, TEXAS - CONTINUING We've seen this place before. That is, we've seen it in O'Ryan's DRAWING, which lies on the dashboard before us : A ranch - style house with a WINDMILL in the backyard. O'Ryan pulls over. Rain pounds on the roof and hood. Wind blows. Mackelway studies the house. Then his eyes shift briefly to the drawing. MACKELWAY Ca n't bring you in with me. You know that. O'Ryan shrugs, then raises his hands : `` Cuff me.'' The CUFFS are lying on the floor in the back seat. Mackelway reaches back, to grab them. a golden opportunity for O'Ryan to club the guy. But O'Ryan remains still. Mackelway grabs them. Then he stops. Simply has to ask : MACKELWAY -LRB- CONT'D. -RRB- Those faxes, the Have - You - Seen - Me's. How many of'em is he actually responsible for? O'Ryan lays it right out : O'RYAN All of'em. Mackelway nods, sobered. Cuffs O'Ryan to the steering wheel and approaches the house.\",\n \"EXT. RANCH HOUSE - WALKWAY - CONTINUING The place is in some disrepair : untended lawn, chipping paint, etc.. Mackelway looks through the kitchen window. No one's visible. He walks around the side of the house.\",\n \"INT. MACKELWAY'S YUKON - RESUMING O'Ryan watches as Mackelway vanishes. This is a moment of opportunity. With his free hand, he reaches into his pocket, grabbing a lighter.\",\n \"EXT. RANCH HOUSE - SIDE - CONTINUING Mackelway moves cautiously, being pelted by rain. But now he can see inside the Living Room of this home : It's a bit of a time warp : plastic on the furniture, an old radiator, pictures on the mantle in antique frames. And an OLD LADY, leaning over a record player. Tough to hear what's playing - we're outside, and that storm is pounding - but it sounds like Glenn Miller. There's also an old tv in here : `` Wizard of Oz'' is on it. The lady is 70, frail, thin. She also happens to be BLIND. Cataracts on her eyes. Her name's DELIA. Mackelway watches her. as she exits the room, heading for the kitchen. He moves to another window.\",\n \"INT. MACKELWAY'S YUKON - RESUMING O'Ryan, keeping his eyes on that house, now lights the lighter. and holds the flame up to the CHAIN connecting his hand - cuff to the one on the steering wheel. The chain begins to heat up.\",\n \"EXT. SIDE OF THE HOUSE - RESUMING Mackelway watches as Delia makes her way into the kitchen. It, too, is from another era : the dishwasher stands in the center of the floor, connected to the sink with a long hose. The refrigerator, the table, the toaster - all old. The oven is an antique too. Delia crosses to it, grabs a towel, opens it. and pulls a CAKE from it. She brings the cake to the kitchen table, moving well for a lady who ca n't see. On the table is an old - fashioned baker's frosting tube. She grabs it, using her hands to orient herself. and begins to write on the cake, in frosting. Slowly. Mackelway ca n't see the top of that cake, but we can. The first letters, in beautiful cursive, read : `` Happy Bir.'' It's a work in progress.\",\n \"INT. MACKELWAY'S YUKON - RESUMING O'Ryan has that handcuff chain GLOWING now. We do n't know if he'll have time to break the thing. until : The passenger - side door is opened, abruptly. MACKELWAY It's his birthday, is n't it? O'Ryan turns. Here's Mackelway, who now gets an eyeful of what O'Ryan's doing with that lighter. O'Ryan pockets it, a bit sheepishly. Mackelway decides to ignore the whole thing. MACKELWAY -LRB- CONT'D. -RRB- He comes home on his birthday. O'Ryan nods. Then Delia's front door swings open. DELIA -LRB- O.S. -RRB- -LRB- aloud, delighted. -RRB- Darling?! That you?!\",\n \"EXT. RANCH HOUSE - ENTRY - CONTINUING Delia stands in the open doorway : an old blind lady, talking to the dark rainy street. That confuses them. until we hear the rumble of an 18 - WHEEL TRUCK. It turns a corner onto this street. Mackelway turns now. We've seen this truck before. A monstrous, rolling beast. And Mackelway straightens, reaching for his sidearm. Behind him, Delia smiles excitedly, almost dancing. But that smile soon leaps from her face. as she hears the sound of that 18 - wheeler, BRAKING ABRUPTLY, its tires locking - up on the wet road. Mackelway gets a look at the DRIVER now - a wiry, sinewy man of 35. Let's call him ZERO. Their eyes lock - until Zero throws his rig into gear again and begins to rumble down the street. DELIA -LRB- CONT'D. -RRB- -LRB- confused. -RRB- Daryl? Honey? No answer. That truck is rumbling away. Mackelway turns, racing for the Yukon, leaving Delia at the door.\",\n \"INT. MACKELWAY'S YUKON - CONTINUING Mackelway jumps in to the Yukon, unlocking those cuffs. MACKELWAY Drive. He accidentally burns himself on the super - heated chain. MACKELWAY -LRB- CONT'D. -RRB- -LRB- re : burn. -RRB- Fuck! Cuffs are unlocked now. O'Ryan starts up the Yukon.\",\n \"EXT. GREENVILLE STREETS - DRIVING - CONTINUING O'Ryan drives, pursuing the big - rig. Mackelway gets on his cel - phone, dials. Rain falls in SHEETS all around them. MACKELWAY -LRB- INTO CEL - PHONE. -RRB- -LRB- urgently. -RRB- This is Mackelway! I'm travelling north on. Grove Road, approaching I - 30 in Greenville. Request immediate back - up. Pursuing a suspect in a refrigerated truck, Texas license plate Alpha - The Yukon swerves hard to the right, narrowly avoiding the tail end of Zero's rig as he swings it into our path. Mackelway drops the phone. Grabs it again. MACKELWAY -LRB- PHONE, CONT'D. -RRB- Alpha - 4 - 5 - 2 - Tango - Foxtrot - Alpha. Zero does it again - swinging the rear of his rig across the road, forcing O'Ryan to swerve hard. The Yukon gets shoved on to a curb, then clunks down to the street again. Then Zero jams on the brakes. Mackelway's eyes go wide. MACKELWAY -LRB- CONT'D. -RRB- -LRB- at O'Ryan. -RRB- Brakes! O'Ryan jumps on the brakes. The Yukon screeches to a stop, throwing itself into a sideways slide. It bangs, passenger side first, into the rear of the truck, breaking a window. Mackelway ducks out of the way of breaking glass. Then the rig pulls away again. O'Ryan follows. THE CHASE - CONTINUING Zero's rig turns hard onto a SERVICE ROAD, running parallel to the Interstate. Mackelway is locked in on that truck. MACKELWAY -LRB- CONT'D. -RRB- -LRB- into cel - phone again. -RRB- Travelling due west now. Do n't see a name. It's a service road, running parallel to the - Then Mackelway freezes, mid - word. He just saw something that made his jaw drop : On the other side of this road is a field of TALL WHEAT. Time seems to stop. His blood feels like it just congealed. Tall wheat in a wet wind. He has been here before. He has seen it before. And so has O'Ryan. Mackelway just stares, slack - jawed, as that wheat whips past them. The feeling is so unsettling that for a moment he forgets about Zero, and the rig, and the kid. Everything has just crystallized in a horrible way. He knows that he is going to wind up in that wheat field, somehow, with O'Ryan. And O'Ryan will be begging him for mercy. `` Please.'' O'Ryan guns the Yukon, attempting to cut in front of the rig. Zero swings wide, sending the Yukon into a curb this time. That shreds their front tire. which means that in one minute this car is going to be undriveable. So if they do n't stop Zero from hitting that Interstate - now - Zero will be gone. MACKELWAY -LRB- CONT'D. -RRB- -LRB- absently. -RRB- What're you. O'RYAN Ca n't let him hit the Interstate. Mackelway braces himself, as O'Ryan guns his car up the left side of the rig, shredded tire and all. Then : He pulls right in front of the rig. At about 60 m.p.h. And he jams on the brakes. Zero swerves, out of instinct. It throws the rig into a vicious JACK - KNIFE. The van whips around in front of the cab, swatting the Yukon away like a fly. We're inside the Yukon as it rolls, Mackelway and O'Ryan look like tinker toys. The torque pulls Zero's rig onto its side, sliding hard. Metal hits concrete, sending up a shower of SPARKS. The Yukon winds up in a ditch alongside the service road, upside down. Mackelway, alive and awake, strains to look out the busted windshield. What he sees is hard to discern - but it looks like Zero's rig is lying flat on its side. And, of course, he is mere yards from that wheat field.\",\n \"EXT. SERVICE ROAD - CONTINUING The rig's cab lies driver's - side down. But the passenger - side door pops open. And Zero pokes through it, his eyes immediately scanning that TALL WHEAT. Rain pours. Mackelway's watching. O'Ryan, who blacked out for a second now opens his eyes, getting the picture in a hurry. Zero leaps to the ground, rolls, and rises. Only thing in his hand is a TIRE IRON. Carrying it, he sprints into the wheat field - vanishing. Mackelway bursts out of the Yukon, in pursuit. O'Ryan's door is stuck. Mackelway does n't stop to help him - just barrels across the street. Just then - a STATE RANGER CAR arrives. MACKELWAY -LRB- over his shoulder, running. -RRB- Get the van open! He's got a kid in the van! STATE RANGER hurries out of his squad car. Mackelway sprints into the tall wheat. O'Ryan, with a grunt, gets his door open. Now he too disappears into that Wheat Field.\",\n \"EXT. WHEAT FIELD - CONTINUING Tall wheat in a stiff wet wind, and not a drop of moonlight to guide us. Mackelway plunges in, gun drawn. No idea where he's going. except he's been here before. He's seen it. And there is a feeling of inevitability to all this ; it's haunting. He's practically blind in here. Ca n't see five feet in front of him. Nothing but the sound of his own breathing. That, too, was presaged. Those visions.\",\n \"EXT. ZERO'S TOPPLED RIG - CONTINUING It's locked. Ranger pulls out his handgun and blows the lock away.\",\n \"EXT. WHEAT FIELD - RESUMING Mackelway keeps running, deaf and blind. O'Ryan is running nearby, but they ca n't see or hear one another.\",\n \"INT. THE TOPPLED RIG - REFRIGERATED VAN - RESUMING 200 sides of beef lie on their sides. Ranger plunges in. Then the Ranger spots, in the back of the van, a FALSE - WALL that used to hide a secret compartment. The crash has collapsed part of the false - wall. Frozen air blows out in wisps. He climbs over those carcasses, fast as he can.\",\n \"EXT. WHEAT FIELD - RESUMING Mackelway keeps going, running blind. Then, another sound, up ahead. Sounds like the noise of someone stumbling. Mackelway stops. Listens. Silence. The sound does not repeat itself. He continues along, step by cautious step now.\",\n \"INT. TOPPLED RIG - REFRIGERATED VAN - RESUMING Ranger gets over the last of the carcasses, pulling himself up to the now - open compartment. First thing we see is a REFRIGERATION ROD, the one that was responsible for those freezer burns. Then we see Charlie, bound. He's trembling with cold, but he's alive. His leg presses up against the rod.\",\n \"EXT. WHEAT FIELD - RESUMING Mackelway, inching along, heart pounding. He hears a noise to his left. Whips around, gun poised. But it's nothing. He sighs. The wheat almost sounds like it's laughing at him. Then that TIRE IRON lashes out, from the right. It catches Mackelway with horrific force, shattering his wrist and sending that gun flying into the wheat. Before Mackelway can react, Zero is upon him.\",\n \"EXT. THE TOPPLED RIG - RESUMING Fran's Ford skids to a stop outside the van. just as the Ranger brings Charlie out of the rig. The kid is shaking, traumatized. He begins to cry. Fran gets the idea. She hurries over.\",\n \"EXT. WHEAT FIELD - RESUMING Mackelway and Zero wrestle, surrounded and obscured by all of that wheat. Zero is a monster, and he's got that tire iron. Mackelway has a busted wrist. Hardly a fair fight. But Mackelway is battling : kicking, clawing, getting in as many shots as he can. His shirt rips away from his body, exposing that brand - mark. They roll back and forth. Until : O'RYAN -LRB- O.S. -RRB- -LRB- calmly, firmly. -RRB- Up. Zero freezes. Mackelway too. They turn to find : O'Ryan. who stands here, Mackelway's gun in hand. O'RYAN -LRB- CONT'D. -RRB- Up. Mackelway's relief is total. He pushes Zero away, rising. Zero pulls himself off the ground, chagrinned. ZERO -LRB- re : Mackelway. -RRB- Glad you're here, Man. Guy was about to kill me. O'Ryan, without ceremony, puts a bullet through Zero's left palm. That got Mackelway's attention. Zero howls with pain, his palm gushing. The TIRE - IRON falls to the ground. Mackelway approaches O'Ryan. MACKELWAY I'll take it from here. He extends his good hand to O'Ryan : `` The gun.'' O'Ryan pauses. Then. O'RYAN Are you going to shoot him? MACKELWAY Give me the gun, O'Ryan. ZERO Hey, I just surrendered. O'RYAN Shut up. ZERO I surrendered! That's it! O'RYAN SHUT UP! O'Ryan wheels around, aiming the gun right at Zero's face. That shuts the guy up in a hurry. From that service road now, we hear a line of SIRENS, approaching from a distance. Unit after unit. O'RYAN -LRB- CONT'D. -RRB- -LRB- quietly now. -RRB- Look at him, Mack. He's not human anymore. Go dig up that old lady's backyard - you'll find bodies there. Maybe hundreds of them. Of course, ya got ta get a warrant first, chain of custody's got ta be followed. One breach, and he walks. -LRB- no reply. -RRB- My way, he's eliminated ; the world is rid of him. It's a lot closer to justice than having some Prosecutor tell you you've left a tissue sample in the wrong lab. Is n't it? MACKELWAY -LRB- that stung. -RRB- Give me the fucking gun! O'Ryan turns, studies him. and hands him the gun. Just like that. Mackelway eyes it. O'Ryan does n't say a word, just crosses back to Zero, and grabs that TIRE - IRON off the ground. O'Ryan's now standing right behind Zero, as : O'RYAN -LRB- at Mackelway. -RRB- You have to understand : none of this was arbitrary. We were chosen, you and I. WHAP! O'Ryan just swung that tire - iron into Zero's rib cage. We hear bones crack, and air rushing from the guy's lungs. He drops to his knees, gasping. O'RYAN -LRB- CONT'D. -RRB- I saw us here. You did too. THUMP! Another violent swing of that tire - iron, busting up the other side of Zero's torso. Now both sides of his rib - cage have shattered. Breathing is almost impossible. Mackelway tightens. His head just began to throb. MACKELWAY Okay. You made your point. O'RYAN Bullshit! If I'd made my fucking point you would've shot him yourself by now! Another swing of that tire - iron, across the back of Zero's neck. He crumbles, face down. Fuck it. Mackelway crosses to O'Ryan and puts that gun right up against the back of O'Ryan's head. MACKELWAY Enough! Then, an odd thing. O'Ryan simply smiles. Something about having that gun pointed right at him - it's a relief. MACKELWAY -LRB- CONT'D. -RRB- Drop it. O'RYAN Or what? MACKELWAY Just drop it. O'RYAN Would you shoot me? That's something Mackelway does n't want to consider. MACKELWAY Put it down. O'RYAN -LRB- calmly. -RRB- I want you to think for a second. About your destiny. Who you are. You're cursed, like I am - except you keep running from it. -LRB- Mackelway's silent. -RRB- You hear things. You see things. That's why you ca n't sleep, why your head always aches. He turns. They are face to face. Nothing but that gun between them. O'RYAN -LRB- CONT'D. -RRB- and it's why you are going to let me kill this animal. And then you're going to kill me. That threw Mackelway badly. O'Ryan seizes the moment - wheeling around. He takes one last swing at Zero, like a lumberjack. The tire - iron impacts Zero's skull with a dull THUD, cracking it. He is dead. Mackelway's eyes go wide. Whole thing has been a blur. O'Ryan releases the tire - iron. and drops to his knees like a man awaiting execution, his back to Mackelway. Mackelway is silent. Stunned. The blood from Zero's caved - in skull finds its way to O'Ryan's knees. But O'Ryan remains peaceful. Calm. Ready. MACKELWAY Get up. O'RYAN I ca n't do that, Mack. I've seen all this already. For months now. MACKELWAY Get up. O'RYAN Every time, we're in this field : same wind, same rain. And you. He puts a finger to his head, pretending it's a gun. Then he pretends to pull the trigger. Mackelway gets the idea. O'RYAN -LRB- CONT'D. -RRB- It's okay. I want you to. I'm begging you to. Mackelway does n't know what to do. Then, making matters worse : FRAN -LRB- O.S. -RRB- -LRB- aloud. -RRB- Mack? She's about a hundred yards away. but she'll be here soon enough. That puts some heat under O'Ryan : O'RYAN I'm tired, Mack. FRAN -LRB- O.S. -RRB- Can you hear me? She's 90 yards out now. O'RYAN Pull the trigger. -LRB- no reply. -RRB- I'm not going to jail. Now pull the fucking trigger! Mackelway's frozen. O'Ryan knows it. O'RYAN -LRB- CONT'D. -RRB- Fucking coward. O'Ryan rises now, facing Mackelway. O'RYAN -LRB- CONT'D. -RRB- Some things are not up to us to decide. They just exist. They're inevitable. This field. This rain. This moment. It has all already happened. You know that. You've seen it too. He shoves Mackelway in the chest. FRAN -LRB- O.S. -RRB- Mack? She's 70 yards out now. O'RYAN Shut it off for me. MACKELWAY I'm not going to kill you, O'Ryan. O'RYAN Of course you will. I've seen it. MACKELWAY You saw wrong! O'RYAN -LRB- incredulous. -RRB- That's impossible. FRAN -LRB- O.S. -RRB- Mack? Can you hear me? 50 yards out now. Maybe close enough to hear O'Ryan's voice. O'RYAN -LRB- rambling, unraveling. -RRB- You do n't understand. Those fucking faces on that map. They call to me. I see their eyes in the dark - they're staring at me : `` How did you let this happen to me?'' But that's the thing about them - they're like pictures. They never blink. They just. stare, and always at me. That's my destiny, do you see? I did n't help them when they needed me and this is my penance. Fine. I ACCEPT IT. But I'm opting out now, ya get it? I ca n't stand this anymore! I wan na close my eyes for once and see something other than torture. -LRB- Mackelway's expressionless. -RRB- It's not a bad start, Mack. We've made the world a little safer now. Speck, Fulcher, Starkey, now Zero. We've made justice. But I get some too. You have to end all this for me. That's why you're here. It's your destiny. MACKELWAY Stop telling me about my fucking destiny! O'RYAN -LRB- again. -RRB- But I've seen it! MACKELWAY Open your eyes, O'Ryan! Here I am, standing here. I'm not shooting you. Does n't that fucking tell you something? You're a guy with a skill. Period. They taught you more than they should've. I'm sorry about that. But you're not God. You ca n't see everything. O'RYAN Yes I can! And you can too! That's why I chose you! FRAN -LRB- O.S. -RRB- Mack? Mackelway's not budging. O'Ryan can see that. O'RYAN -LRB- re : tire - iron. -RRB- Fine. I'll make it easy for you : O'Ryan picks up that tire - iron. Mackelway sees what's coming. O'Ryan swings the tire - iron as Mackelway backs out of its range. MACKELWAY Put the fucking thing down, O'Ryan. O'Ryan keeps pursuing. Another swing. Mackelway keeps backing up. The swing misses. O'RYAN Look. It's perfect. Wo n't even need a hearing this way. You apprehended the suspect in the commission of a murder. Then he turned on you and you fired in self - defense. O'Ryan is n't letting up. And Mackelway ca n't quite fire. O'RYAN -LRB- CONT'D. -RRB- These things are bigger than you - have n't you seen that yet? Destiny. Justice. Mercy. They're vast. We're just puppets! MACKELWAY I'm not going to kill you! O'RYAN You do n't get to decide that! MACKELWAY Yes I do! O'Ryan takes one more swing, as : FRAN -LRB- O.S. -RRB- FREEZE! Silence. Mackelway turns. So does O'Ryan. There's Fran, emerging from the tall wheat, gun trained right on O'Ryan. His shock is total. FRAN -LRB- CONT'D. -RRB- Drop it. O'Ryan does n't move at first. Then, slowly, an ironic smile snakes its way across his lips. O'RYAN -LRB- at Mackelway, surprised. -RRB- It's funny. I never saw anyone else out here. Did you? Mackelway does n't answer. He ca n't. O'Ryan eyes him. O'RYAN -LRB- CONT'D. -RRB- Do it, Mack. Please. -LRB- Mackelway's silent. -RRB- Please. I'm begging you. There it was : the very thing Mackelway's been hearing all this time, the exact words. Unsettling as hell. and we begin to INTERCUT : images of this moment with images from those `` VISIONS'' that have been hinting at this very wheatfield since Page One. INTERCUT WITH/EXT. WHEATFIELD `` FANTASY'' - SAME Tall wheat, wet wind, O'Ryan's voice : `` I'm begging you.'' . Mackelway snaps himself out of the vision. MACKELWAY I ca n't. That was almost an attempt to make those images stop, to deny its awful, inevitable conclusion. MACKELWAY -LRB- CONT'D. -RRB- I'm not you. O'RYAN Yet. Two men, neither of them flinching. until O'Ryan nods - as if to say `` Good - bye.'' more of that vision interrupts now : a gun, rising. O'Ryan rears back and swings that tire - iron right at Mackelway's head. Fran has no choice. She fires. O'Ryan is hit right between the shoulder blades. The tire - iron hits Mackelway in the shoulder. O'Ryan crumbles to the ground, landing face up. a body slumping to the ground. O'Ryan. Mackelway stands over him. Now, real - life again, Mackelway stands over O'Ryan, just as O'Ryan had always envisioned it. That makes him smile, even as he's dying. O'RYAN -LRB- CONT'D. -RRB- -LRB- weak. -RRB- Thank you. Then he dies, eyes open. Mackelway looks to Fran.\",\n \"EXT. SERVICE ROAD - DAWN Hours have passed. Dozens of LAW ENFORCEMENT VEHICLES have arrived. Sherrifs, Feds. Zero's rig remains on its side. Mackelway sits nearby on a CURB, his shattered wrist is in a SLING. Up above, the CLOUDS have parted. Morning sun streaks through. No more rain. Fran sits beside him. At their feet, in the gutter of this service road, lies a discarded MILK CARTON, covered with dust. The face under the `` Have You Seen Me?'' is unknown to us. Kathleen is nearby, holding Charlie tight. Cops surround them. An UNMARKED SEDAN arrives. Charlton hurries out of it, making a bee - line for Mackelway. CHARLTON Nice work. -LRB- Mackelway half - nods. -RRB- Where is he? MACKELWAY Sir? CHARLTON O'Ryan. Where is he? Mackelway rises, studies Charlton. There's nothing to say. So he extends a hand to Fran. She takes it, rising to her feet. They leave Charlton behind. We PULL AWAY from them, craning up, taking in this expanse of tall wheat, TILTING UP to that morning sun. an AFTERNOON SUN now - blazing white hot. TILT DOWN.\",\n \"EXT. DELIA'S RANCH-HOUSE - DAY We're some distance away. HEAT RISES off parched Earth, lending a vaporous screen to everything. But we can make out the shapes of men in HAZ - MAT SUITS. Delia's backyard is being torn up by a BACK - HOE. Looks like a war - zone : BODIES, wrapped in cloth, being exhumed from the ground. Dozens of them. But there's plenty of soil yet to be turned. Might be HUNDREDS unearthed by the time these guys are through. We. FADE OUT.\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,1,0,0,1,0,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Traveling salesman Harold Speck is approached by a man in a diner who asks him an uncomfortable question. After leaving the diner, Harold is found dead with his eyelids cut off and clutching a symbol consisting of a circle with a line through it. The murder is investigated by FBI Agent Thomas Mackelway (Aaron Eckhart), who was recently suspended for beating suspected serial killer Raymond Starkey. Mackelway receives a series of taunting faxes from someone who may be Speck's killer. As the investigation proceeds, Mackelway and his partner, Fran Kulok (Carrie-Anne Moss), become aware of the possible existence of Suspect Zero, a \"super serial killer\" responsible for hundreds of deaths who leaves no evidence behind to link his crimes together. Another body is found in the trunk of a car bearing an M.O. similar to Speck's murder. The ownership of the car is traced to a room in a halfway house occupied by Benjamin O'Ryan. The agents discover that the room is filled with obsessive-compulsive sketches of the crossed-circle symbol, a Bible which contains sketches of missing persons, and a book on ritual. Questioning the other occupants of the halfway house, Mackelway is told by one of them the symbol represents a zero, not a circle. Information sent by the killer leads Mackelway to O'Ryan (Ben Kingsley), who believes himself to be a former member of the FBI. The agents must decide if O'Ryan is the key to catching Suspect Zero, or if he is Suspect Zero himself. Outside a bar, O'Ryan kills a man who attempts to kidnap and rape a young girl. When Mackelway and Kulok arrive, they find that the body belongs to Starkey, who had been released from prison. Evidence reveals that O'Ryan was part of Project Icarus, a secret government project attempting to cultivate telepathic abilities in individuals for military purposes. The experiments gave O'Ryan the ability to see the actions of serial killers, driving him to hunt them down. O'Ryan demonstrates that Mackelway shares his abilities to some degree. Neither Kulok or Mackelway's superiors are convinced by his theories that O'Ryan is chasing the killer rather than being the killer. Suspect Zero is revealed to be a man who drives cross-country in a refrigerated truck. He targets children, whom he abducts and transports to his ranch, where he kills them. Mackelway links these crimes by recognizing that victims had signs of freezer burns while being transported. Mackelway chases one truck driver to a carnival, only to find that the child he saw in his vision as \"captured\" is free. O'Ryan suddenly appears and captures Mackelway. After refusing to be frightened, O'Ryan spares Mackelway. Eventually, the two men track Suspect Zero to his ranch and find numerous shallow graves. Chasing him, both vehicles crash off the road. Kulok manages to free a child while Mackelway kills Suspect Zero. O'Ryan then tries to convince Mackelway to end his suffering by killing him. When Mackelway refuses, O'Ryan pretends to attack him, prompting Kulok to shoot him to defend her partner."},"name":{"kind":"string","value":"Suspect_Zero"}}},{"rowIdx":156,"cells":{"scenes":{"kind":"list like","value":["PEEPING TOM The screen remains dark for a moment. In the darkness WE HEAR the film's THEME MUSIC - a gentle whirring purring noise. Nothing to be alarmed about. It might be a small contented motor.","EXT. A DESERTED STREET - NIGHT LONG SHOT of the solitary figure of a WOMAN standing professionally alone at the end of the street. It is a bright, still night. We can HEAR the Woman whistling ` Stardust' merrily to herself. CAMERA TRACKS around her. A Man's footsteps are overlaid. We HEAR the Man start to whistle ` Stardust' under his breath - haltingly at first, then in time with the Woman. As we approach, she glances at us over her shoulder - then turns round for a better look. Her whistling stops - so, at the same moment, does the man's. CLOSE SHOT of DORA - a plump, attractive brunette - still young enough to need two glances at the customers. She smiles at us - and is pleased with the reception. She hesitates for a long moment, weighing us up carefully. and then - half defiantly, half expecting to be laughed at. DORA It'll be two quid. Evidently we have two quid. She beams with relief - throws her fur over her shoulders, jerks her head towards the right - and sets off. CAMERA TRACKS after her. Overlaid is the sound of the man's footsteps. Dora resumes her whistling. So, under his breath, does the man who is following her.","EXT. A DESERTED STREET - NIGHT A wider street than the last - but just as empty. Dora sways her way towards a small house. CAMERA FOLLOWS at a respectful distance. CAMERA PANS from Dora's hips to an overflowing dustbin. CLOSE SHOT of a man's hand throwing something into the dustbin. It is an empty packet marked Kodak Film. CAMERA PANS to Dora's house. It stands next to a chemist shop. Dora climbs the few steps which lead to her front door - glances round at us encouragingly - then unlocks the door.","INT. HALLWAY OF DORA'S HOUSE - NIGHT She switches on a light - and hurries up a flight of stairs. CAMERA TRACKS after her. She changes her tune to ` Goodnight Sweetheart'. and so - under his breath - does the Man who is following her. A woman with hair like a two - toned car comes down the stairs, winks at Dora - looks at us for a moment with great curiosity. winks. then passes out of camera. Dora reaches the landing - we are close behind her.","INT. LANDING OF DORA'S HOUSE - NIGHT Dora unlocks the door of her room - and goes inside.","INT. DORA'S ROOM - NIGHT She switches on the light, throws her fur onto a chair, lights the gas fire then turns round. CLOSE SHOT of Dora. She holds out her hand - smiling. And suddenly. There is a gentle whirring purring sound. CAMERA HOLDS ON Dora - she is staring at something with great curiosity. It turns quickly to bewilderment - and the bewilderment to fear. She steps back from CAMERA - but CAMERA wo n't have it. Dora is now staring at something in horror - she opens her mouth to scream - a shadow falls across her face. The sound purrs on. BLACK AND WHITE FILM SEQUENCE The solitary figure of Dora standing professionally alone at the end of a street. WE SEE her turn towards CAMERA - and smile at us. We are watching her on a 16mm screen - projected in BLACK AND WHITE. CAMERA PULLS BACK to show the surround in natural colour.","INT. MARK'S ROOM - NIGHT A darkened room in natural COLOUR. The movie screen images are in BLACK AND WHITE. We can SEE the back of a Man's head as he bends intently over a projector. He is watching Dora on the screen. He is breathing quickly. We see Dora's hips waggling their way home. The Man raises his head, so that we can not see the screen. When he lowers it again, we see the Woman with the two - toned hair winking at Dora. then we see Dora throwing her fur onto a chair - and turning towards us. WE SEE her staring at something in bewilderment. then backing away from CAMERA in fear. WE HEAR the Man breathing as if at the end of a very long race. As Dora opens her mouth to scream, and a shadow falls across her face - the title : PEEPING TOM. Blots out what is happening to her. OTHER CREDITS FOLLOW. behind them we can see Dora's hands pushing something away. Before the DIRECTOR'S CREDIT :","EXT. A PARK - NIGHT It is very dark. CLOSE SHOT of a stack of deck chairs. Two forms behind it - a MAN'S and a WOMAN'S. They are intertwined and motionless. suddenly a brilliant shaft of light is trained onto them. Overlaid is a gentle, whirring sound. CAMERA PANS quickly to a nearby tree. CLOSE SHOT of the lens of a cine - camera - the motor purring. a blinding spotlight. CAMERA PANS to the couple - the whirring of the camera is overlaid. The Man leaps up - shielding his eyes against the light. He advances towards the tree. MAN Hey, you peeping. The spotlight goes out. There is the sound of footsteps running away -- and the night is at peace again. And now WE SEE who DIRECTED the picture. LONG SHOT. AMBULANCE - DAY It is standing in the roadway outside Dora's house. WE SEE it through the finder of a small cine - camera.","EXT. STREETS BY DORA'S HOUSE - DAY A crowd has gathered outside the house - and we are watching them from a corner of the street -LRB- ALWAYS THROUGH THE FINDER - MATTE -RRB-. WE SEE several Policemen holding back the crowd as two Ambulance Men hurry into the house, carrying an empty stretcher. Gentle, whirring sound is overlaid. WE SEE children staring curiously into the empty ambulance - and a group of Women talking excitedly to a Reporter. CLOSE SHOT of a SMALL MAN looking at us curiously as he approaches -LRB- FILLING THE SCREEN WITHIN THE MATTE -RRB-. SMALL MAN What paper are you from? The finder is lowered. CLOSE SHOT of a Young Man -LRB- MARK -RRB- sighting a cine - camera. He lowers the camera - and turns politely to his interrogator. He seems to have slight difficulty informing his words. MARK I beg your pardon? SMALL MAN What paper are you from? Mark smiles at him pleasantly. MARK The Observer. The Ambulance Men come out of the house carrying the stretcher. there is a body on it covered by a sheet. Mark raises his cine - camera and photographs them. He photographs the ambulance as it drives off. He photographs the Policemen dispersing the crowd. He photographs his Interrogator, who gladly poses for him. Then he slings his camera over his shoulder, and strolls away. CLOSE SHOT of Dora, smiling happily. Her photograph is on the front page of a newspaper. Above it is a caption : BRUTALLY MURDERED. CAMERA PULLS BACK - to show sexy magazines alongside the newspaper.","EXT. A NEWSAGENT'S SHOP - DAY Mark is staring at a newspaper in the window of a small newsagent's shop. He glances distastefully at an array of film magazines - showing actresses showing everything - then hurries into the shop.","INT. NEWSAGENT'S SHOP - DAY A plump, bald - headed Man stares at Mark. MR. PETERS You're late! MARK Sorry, sir. He turns towards a small door at the end of the shop. MR. PETERS -LRB- quietly. -RRB- Hold on, Mark. Mark turns round. Mr. Peters hesitates, drumming his fingers on the counter. CLOSE SHOT of Mark. He starts to drum his fingers on a shelf. MR. PETERS Mark. I've a question for you. He stops drumming his fingers. So, at that moment, does Mark. MR. PETERS Which magazines sell the most copies? MARK Those with girls on the front covers - and no front covers on the girls. MR. PETERS Exactly! And it's just the same with the work you do for me. Overlaid is the sound of the door opening. MR. PETERS Look busy. Mark busies himself sorting some newspapers. A whole row of Doras smile up at him. CAMERA PANS to doorway of the shop. An ELDERLY GENTLEMAN is standing there. ELDERLY GENTLEMAN The Times, please. MR. PETERS Certainly, sir. ELDERLY GENTLEMAN And The Telegraph. MR. PETERS Certainly, sir - anything else? The Elderly Gentleman hesitates - glancing at Mark's back. Then : ELDERLY GENTLEMAN I. er. have been told by a friend that you. er. have some views for sale? MR. PETERS What sort of views, sir? ELDERLY GENTLEMAN Well, er. MR. PETERS This sort, sir? From under the counter he produces a thick book. Mark turns round. From his POV WE SEE the Elderly Gentleman open the book. He - er - seems - er - more than a little interested. ELDERLY GENTLEMAN I, er. how much each? MR. PETERS Five shillings, sir. ELDERLY GENTLEMAN I'll take this one. and, er. this one. and, er. how much would the lot be? MR. PETERS To you - five pounds, sir. The Elderly Gentleman hesitates. Mr. Peters turns over a page. and the Elderly Gentleman almost turns over with it. MR. PETERS Tell you what, sir. Four pounds ten - and I'll throw in The Times and Telegraph. how's that? ELDERLY GENTLEMAN Well, er. thank you very much. MR. PETERS Let me wrap it for you, sir. He puts it in a wrapper which says ` Educational Books'. MR. PETERS Shall I put you on our mailing list? ELDERLY GENTLEMAN Oh no! But I'll look in again. MR. PETERS By all means, sir. He holds open the door for the Elderly Gentleman, and watches him leave. MR. PETERS He wo n't be doing the crossword tonight! He turns triumphantly to Mark. MR. PETERS -LRB- counting out money from wallet. -RRB- Those pictures he chose. were all yours! -LRB- handing notes. -RRB- This is yours! Mark pockets them without counting them. CLOSE SHOT of Mark. MR. PETERS -LRB- in a very different tone. -RRB- And this is yours too. He picks up a postcard - holds it towards Mark. MR. PETERS And that's what I want to talk to you about. It's a clever picture - because you're a clever lad. but, Mark. -LRB- pathetically. -RRB- It's all face. Mark looks at the postcard in silence. MR. PETERS I do n't want to hurt your feelings, son - but if people want the Mona Lisa they go to the National Gallery. MARK The Louvre. MR. PETERS Well, wherever they go, they do n't come here. so no more of this fancy stuff. He pats Mark's arm. MR. PETERS now get upstairs - the girls are waiting. and so is a bonus if you give me what I want. MARK Thank you, sir. MR. PETERS -LRB- amused. -RRB- What do you do with all your money? MARK Buy cameras. He opens a door at the far end of the room. We catch a glimpse of a winding staircase. He starts to climb it.","INT. REAR OF NEWSAGENT'S SHOP - DAY At the top of the staircase is a door. Mark and his camera trudge towards it. The door opens suddenly. A vivacious young redhead - Milly - pokes her head round. She has a towel round her shoulders. MILLY Well look who's here! Cecil Beaton! From REVERSE ANGLE WE SEE Mark venture a shy smile at Milly. Milly opens the door impatiently. MILLY Come on, sonny. make us famous. Through the half - open door we catch a glimpse of a second Girl -LRB- LORRAINE -RRB-. She is staring out of a window, her back to camera. She is naked except for a shawl draped round her shoulders. Mark enters the room. the door begins to close. CAMERA TRACKS towards the door. On the threshold of the room, a hood is thrown over our faces. THE SCREEN BLACKS OUT. In the darkness WE HEAR Milly's voice. MILLY -LRB- O.S. -RRB- Did you read about that girl who was murdered last night?","INT. STUDIO ABOVE NEWSAGENT'S - DAY We are with Mark under the hood of an antiquated camera. Through the ground - glass of the camera WE SEE a SMALL INVERTED IMAGE of Milly. MILLY -LRB- O.S. -RRB- The same thing nearly happened to me! We hear Lorraine's voice - muffled, and very far away. LORRAINE -LRB- O.S. -RRB- When? MILLY -LRB- O.S. -RRB- Last night! I went out with my boyfriend. We're getting married next month. trouble was my fiance saw us. The SMALL INVERTED IMAGE of Milly peers anxiously into the camera. MILLY can you fix it so the bruises do n't show? The ground - glass camera begins travelling slowly down Milly's back. CLOSE SHOT of Milly. She is on a couch, lying on her stomach at a slightly oblique angle. All that WE CAN SEE are her face and naked shoulders. From Milly's POV WE SEE Mark under the hood of an antiquated camera. MILLY Well, can you? Mark's voice is MUFFLED under the hood. MARK think so, Milly. MILLY Then be quick about it, sonny! I'm freezing. CLOSE SHOT of her naked toes. They start to wriggle. CLOSE SHOT of Mark's toes - in sandals, next to the tripod of the camera. They start to wriggle. CLOSE SHOT of Lorraine. We watch her in profile as she stares out of the window - clutching her shawl. She has outstandingly beautiful features. CLOSE SHOT of Mark. He is standing by the side of the camera, studying us thoughtfully. He is holding a remote - control switch panel in his hand. He clicks off several lights and then switches several others on. then he ducks back under the hood. MILLY There he goes again! What have you got under there? A girlfriend? We join Mark under the hood. WE SEE a small INVERTED IMAGE of Milly on the ground - glass. Her shoulders are now white and glistening, her spine caressed by shadows. She is staring into the camera. MILLY I suppose you have a girlfriend? He adjusts the focus. We can see more clearly the contempt on Milly's face. MARK No, Milly. MILLY Hear that, Lorraine? He's available. From Milly's POV WE SEE Mark come round to the front of the camera, and insert a dark slide. MARK Raise your head, please - and look at the sea. MILLY -LRB- O.S. -RRB- What sea? Mark presses a rubber bulb - the shutter clicks. MILLY What sea? Mark inserts another dark slide. MARK I just wanted that puzzled look. MILLY -LRB- O.S. -RRB- Oh, did you? Well if you want it again, I'll think of you! CAMERA PULLS BACK from Milly's viewpoint, WE SEE Mark holding the rubber bulb. cine - camera is on a ledge behind him. MILLY You're a puzzle and a half. Mark presses the rubber bulb - the shutters click. MILLY This is a spare time job for you, is n't it? MARK Yes, Milly. He inserts another slide. MILLY Well, what do you do for a living? MARK Take pictures. He presses the bulb - the shutters click. MILLY This sort? MARK No, Milly. He inserts another slide. MILLY Do n't you like this sort? MARK No, Milly. He presses the bulb - the shutters click. MILLY Well what sort do you like? Mark looks at her thoughtfully for a long moment. MARK I may show you - one day. MILLY That'll be a treat, I'm sure. Mark smiles at her shyly. MARK That's all, Milly. MILLY Oh no, sonny! Now take one I can show my mother. Mark inserts another slide. MARK Think of her then. There is a gentle KNOCK at the door, and Mr. Peters enters. He carries a tray of coffee. He keeps his eyes modestly lowered. MR. PETERS On the house. He lays the tray on a table, still keeping his eyes lowered, and goes out. MILLY Some house! Hope it falls on his ruddy earhole! She glances over her shoulder. MILLY It's your turn now, love. CLOSE SHOT of Lorraine staring out of the window. She stiffens. Milly's voice is overlaid. MILLY -LRB- O.S. -RRB- -LRB- in a whisper. -RRB-. it's her first time. Lorraine clutches her shawl tightly. MILLY Come on, love. Do n't be shy. Lorraine turns round. The left side of her face is classical in its beauty. She has a hare lip, which twists and distorts the whole of the right side. Her eyes are large - and beautiful - and defiant. CLOSE SHOT of Mark looking at her. CLOSE SHOT of Lorraine. LORRAINE He said. you need n't photograph my face! CLOSE SHOT of Mark. MARK I want to. CLOSE SHOT of Lorraine. Beautiful in profile. LORRAINE I suppose you'll fix my bruises too? MARK I want to. MILLY What about the customers? CLOSE SHOT of the shawl round Lorraine's shoulders. CLOSE SHOT of Mark. MARK You need n't be shy. of me. it's my first time too. CLOSE SHOT of Lorraine's eyes - puzzled. LORRAINE Yours? MARK In front of eyes. like. He tries to go on - but words are a foreign language to him. MARK eyes. as full of. In a sudden rush : MARK Lorraine - let my camera tell you. CLOSE SHOT of Lorraine standing very still -- looking at him in silence. Milly shrugs and reaches for the coffee pot. Overlaid is the gentle purring of a cine - camera. CAMERA LINGERS on the dark liquid being poured into a cup. Whisky being poured into a glass. CAMERA PULLS BACK","INT. HELEN'S SITTING ROOM - EVENING - TOWARDS SUNSET The hand filling the glass is a woman's -LRB- MRS. STEPHENS -RRB-. She is sitting in a high - backed chair, and we can not see her face. Over her shoulder we watch a party in progress. A group of Young people have surrounded someone to whom they are singing : YOUNG PEOPLE -LRB- singing. -RRB- Happy birthday to you, Happy birthday to you, CAMERA TRACKS towards them. CLOSE SHOT of TONY HUNTER, a well - built youngster in his middle twenties. TONY Happy birthday. dear Helen He obviously means it. TONY happy birthday to you. CLOSE SHOT of ` dear HELEN'. A sensitive, intelligent, and extremely attractive girl, who -- as the encircling youngsters now inform us in song - is : YOUNG PEOPLE Twenty - one today, She's twenty - one today, She's got the key of the door, She's never been twenty - one before. CLOSE SHOT of the glass by Mrs. Stephens' side. It is half empty. An elderly lady leans across to her. She is Mrs. Partridge, slightly high on a glass of sherry. MRS. PARTRIDGE You must be very proud of your daughter, Mrs. Stephens. Mrs. Stephens grunts. Someone switches on a gramophone and the young couples start dancing at once. Tony hurries up to Helen. TONY May I? Helen goes towards him. A YOUNG MAN calls out sharply : YOUNG MAN Look! He is pointing at something out of camera. All heads - except Mrs. Stephens' - follow the direction of his gaze. Mrs. Stephens continues to sit motionless in the high - backed chair. CAMERA PANS to the window. Mark is standing there. CLOSE SHOT of Helen looking at Mark. We watch him over her shoulder - Tony's arm encircling it. TONY -LRB- O.S. -RRB- It's that chap from upstairs.","EXT. MARK'S HOUSE - EVENING - LOW SUN The chap from upstairs presses his face to the window. From his POV WE SEE Helen's eyes looking at him - the key of the door in them - looking at him, not staring. Suddenly the rest comes into focus - Tony's arm around Helen's shoulder. the high - backed chair in the foreground with the back of that motionless head. a young couple giggling as they stare at him. Mark steps away, and the CAMERA PULLS BACK with him. We catch a glimpse of the house - large, sprawling, but with a touch of quality about it, in a quiet, unpretentious street. Mark hurries towards a side entrance.","INT. HELEN'S SITTING ROOM - EVENING CLOSE SHOT of Helen looking at the empty window. HELEN I'll ask him in. CLOSE SHOT of Tony - frowning. CAMERA PANS to Mrs. Stephens' glass. the hand which refills it has begun to tremble.","INT. REAR OF HOUSE - NIGHT The lights are on. WE FOLLOW Mark -LRB- and his camera -RRB- along a small passage which leads to the hall. The sound of a dance record can be heard. Mark starts to whistle it under his breath.","INT. HALL - NIGHT Over his shoulder we see a staircase, and beyond it the door of Helen's sitting room. The sound of Helen's party fills the hall. Mark reaches the staircase. There is the sound of a door opening. Helen's voice is overlaid : HELEN -LRB- O.S. -RRB- Excuse me! Mark hesitates, then turns round. CLOSE SHOT of Helen - smiling at him. HELEN I do n't know how many times we've passed each other on the stairs? Mark looks at her as if he does. HELEN but tonight I'm determined at least to say hello to you! So hello! Her directness is natural, consistent and very hard to resist. CLOSE SHOT of Mark - smiling. HELEN I'm Helen Stephens. She glances with unconcealed interest at the camera over his shoulder. HELEN I'm having a party - and the other tenants are there. And a few friends. We'd like you to join us. MARK Mark. HELEN Pardon? MARK I'm Mark. HELEN Hallo, Mark. She holds out her hand. he takes it gently. HELEN Please come in. you'll meet the others who live here, and. MARK Thank you, but. work. HELEN Oh. She glances again at his camera. HELEN Well, I hope to keep it going for hours yet. so when you've finished why not look in? She realizes that this is not the happiest of phrases. HELEN Mark? He hesitates. CAMERA PANS to Helen's door. Tony stands there. TONY Darling, your cake - everyone's waiting. CLOSE SHOT of Mark - looking at her. MARK Thank you. He turns away. MARK Happy Birthday. He hurries up the stairs. CLOSE SHOT of Helen. She stares after him for a moment. Then returns thoughtfully to her party. The screen remains dark for a moment. We are with Mark in a darkened room. He is giving a film show - and we are the screen.","INT. MARK'S DARK-ROOM - NIGHT His cine - projector points straight at us. A flickering light shines in our eyes. We can see him crouching behind the projector. Mark leans forward, watching the screen intently. Perspiration trickles down his forehead. He is breathing very quickly. The sounds of the party seep up from downstairs - music, laughter, and a Girl's yelp. There is a knock on the door. Mark does not hear it. CAMERA PANS to the door of the room. It is blacked - out like a photographic dark - room. The knock is repeated. CLOSE SHOT of Mark. He switches off the projector instantly. CAMERA PANS to an open cupboard in the corner. CLOSE SHOT of the shelves. They are stacked with spools of film. CAMERA travels slowly over these spools. WE SEE Mark's hand add two more to the collection ; his Voice is overlaid. MARK -LRB- O.S. -RRB- minute. He closes the cupboard door.","INT. MARK'S SITTING ROOM - NIGHT Mark comes out of the dark - room behind him - the light is kept out by a baffle and a curtain. He has a pleasant, normally untidy bedsitting room. He wipes his handkerchief across his forehead - then hurries to the door. He opens it - Helen is standing there. HELEN I hope I'm not disturbing you? CLOSE SHOT of Mark - shaking his head, smiling shyly. CLOSE SHOT of Helen. HELEN I knew you would n't come down. so I've brought you this. She holds out a plate on which is a piece of birthday cake. MARK Thank you. He takes the plate. MARK very much. HELEN I must n't keep you from your work She turns to go. MARK I'd like to offer you a drink. She turns round. HELEN Thank you, Mark. MARK I have n't one. HELEN I'd adore some water. She smiles. HELEN a hostess ca n't drink water at her own party, it looks like a hint to the guests. MARK Will you. would you. like to come in? HELEN Yes, Mark. She steps over the threshold. The door closes behind her.","INT. MARK'S SITTING ROOM - NIGHT CLOSE SHOT of Helen looking round the room. Mark's voice is overlaid. MARK -LRB- O.S. -RRB- There's milk. if you'd like some? HELEN Very much. if you can spare it? MARK -LRB- O.S. -RRB- Yes. Helen glances towards the inner room. He holds out a glass of milk to her. HELEN Thank you, Mark. She drinks it with relish. He watches her in silence. HELEN This is a pleasant room. and you've another inside? MARK Yes. HELEN How long have you lived here? MARK All my life. She looks at him in surprise. MARK I was born in this house Oh? CLOSE SHOT of Mark. MARK It's my father's. HELEN Do you mean I've at last found out who our landlord is? Your father? MARK Well - no. he's dead! He hesitates. MARK I'm the landlord. She looks at him in astonishment. HELEN YOU? MARK Yes. HELEN But you walk about as if you have n't paid the rent. MARK I have n't. HELEN I meant. MARK I know. CLOSE SHOT of Mark. MARK It's his house - and I'll never sell it. but I ca n't afford the upkeep, so I let rooms. He looks at her anxiously. MARK if I charge too much, tell me and I'll tell the agents. HELEN The rent's very reasonable, but do n't say anything to the others or you'll have no peace. MARK Peace? CLOSE SHOT of Helen. HELEN Mark, what do you do? MARK -LRB- slowly. -RRB- Most of the time, I work in a film studio. HELEN On the photographic side, I'll bet. MARK I hope to be a film director. very soon. HELEN How exciting. MARK I have some spare time jobs. as well. HELEN To do with photography? MARK More milk? HELEN No thank you. to do with photography? MARK Yes. to do with photography. HELEN When I came in were you looking at some films? MARK Yes. HELEN Of yours? MARK Yes. HELEN I'd like to see them. He looks at her in silence. HELEN Know I'm being rude. but I really would like to see them. -LRB- she smiles. -RRB-. it would be a birthday present. from you to me. MARK Would it? HELEN Yes, Mark. MARK Oh. HELEN But I suppose you're too busy? She puts down the glass, turns to the door. MARK Will you. would you. like to see them now? She turns round. He is standing by the entrance to the inner room. HELEN Thank you. MARK I'll. go first. He leads the way - she follows. For a moment the screen is in darkness. A dark - room darkness.","INT. THE INNER ROOM - NIGHT We can HEAR - faintly -- the dance music from downstairs. There is a click - and the walls are suddenly bathed in diffused light, throwing the room into delicate shadow. CLOSE SHOT of Helen looking round in amazement. As certain events of possible interest are to take place in this room, here, in detail, is what amazes Helen. The room is the product of three rooms which have been knocked into one. It is very large and extremely well constructed -LRB- as we are soon to learn, it was originally a laboratory -RRB-. One half of the room is used for processing, and the other half for filming - and for trade shows. The two halves are lined by long shelves upon which are perched all shapes and sizes of cameras, their spectacles glinting in the light. In the processing half two benches -LRB- a ` dry' bench and a ` wet' bench -RRB- face each other against opposite walls. There are three sinks above the ` wet' bench and an outburst of equipment above the ` dry'. This part of the room is lit by two dark - room lamps frowning in the ceiling above the benches. The other part of the room has a window at the far end of it. Heavy drapes are putted across it. Mark's projector rests on a small table in front of the 16mm screen. Two banks of floods and a variety of spots light this part of the room. There is a small control panel on the wall. Some of the equipment is ancient - but none of it is old. All of it glistens with the affection of its owner. There is absolutely nothing in the room to alarm anyone except an adult. the kind who starts to wonder who paid for it all. CLOSE SHOT of Mark. He stands by the lighting panel, watching Helen. From his POV WE SEE her brushing the hair out of her eyes as she looks slowly round. He brushes the hair out of his. For a moment she turns her back to him. He presses a switch on the wall. A gentle light ripples through the back of Helen's hair. SHOT of Helen. She turns to him. She is very nearly at a loss for words. HELEN This is so. well - so many things. but above all - it's so. She takes a final look round. HELEN completely unexpected! She looks at him searchingly. HELEN Is all of it yours? MARK Yes. HELEN I mean. is it designed by you? Furnished by you? Tell me about this room. CLOSE SHOT of Mark. MARK It belonged to my father HELEN What was he? MARK Scientist. HELEN Then this equipment was his? MARK No. He hesitates. MARK Sold his to buy it. HELEN But it seems to be so. technical. She looks at him with renewed interest. HELEN If this is where you work, I ca n't wait to see what you work at. CLOSE SHOT of Mark - in difficulties. MARK Do n't know what to show you? HELEN Well. what were you looking at when I interrupted you? He looks at her thoughtfully. MARK All right! He crosses to the corner cupboard - opens the door. CLOSE SHOT of the cupboard. WE SEE Mark's hand reach for a spool of film. then hesitate, poised above another spool. CLOSE SHOT of Helen - watching with interest. REVERSE ANGLE SHOT of Mark. He closes the cupboard, and turns round. there is a spool of film in his hand. He walks slowly towards his projector. he seems -- for the moment -- to have forgotten she is there. CLOSE SHOT of Helen - watching him thread the film into the projector. MARK This is the first. twenty - first birthday present. I'll ever have given. HELEN It's the first I've ever asked for. He places a chair a few feet away from the screen - and, with an oddly courteous bow, beckons her into it. She sits down. CLOSE SHOT of Mark. He looks at her intently for a moment - then turns off the lights. Over Helen's shoulder We can just make out the empty screen. Mark switches on the projector. CLOSE SHOT of Helen - the light flickering on her face. CLOSE SHOT of Mark staring at Helen's face. CLOSE SHOT of Helen. WE SEE her expression of surprise. Over Mark's shoulder WE SEE the surprise growing. Over Helen's shoulder we see the screen. We are looking at a small boy. He is lying in his bed asleep. Although the print is old, we can see that he is a remarkably handsome boy. HELEN Mark, what a beautiful child. The boy turns restlessly in his sleep. one of his pillows falls to the floor. HELEN Who is he? MARK Me HELEN Of course it is! Then who took this film? MARK -LRB- quietly. -RRB- My Father. A light - as if from a small torch -- starts to shine on the child's eyes. He moves restlessly. HELEN What a wonderful idea. The light plays on the child's left eye, then on his right. It is growing brighter. HELEN You'll be able to show it to your own chi. The child wakes up suddenly. He stares at something. then starts to scream. HELEN You must have had a bad dream. CLOSE SHOT of Mark watching her in silence. HELEN but what was that light? The camera, I suppose? Mark does not answer. The small screen is filled with the face of the screaming, terrified child. -LRB- Mark's father now tries a not altogether successful dissolve :-RRB- WE NOW SEE the little boy standing in front of a garden wall. He tries hard to climb to the top of the wall, but falls over. Helen laughs. Mark watches her in silence. Small Mark tries again - and again - to scale the wall. At last he succeeds. HELEN Whatever are you after? WE SEE the little boy lying flat on the wall staring at something. rapt, motionless. The cine - camera which is taking this picture now tracks rather clumsily towards the wall. HIGH ANGLE SHOT over the wall of what is fascinating young Mark - A man and woman are lying on the ground, kissing. The CINE - CAMERA PANS - again rather clumsily - to young Mark. staring intently. HELEN Naughty boy I hope you were spanked! CLOSE SHOT of Helen. It suddenly occurs to her. HELEN but, Mark. what a strange thing for your father to photograph. MARK Switch off? HELEN No. She stares again at that lonely figure perched on the wall. HELEN No. The small screen begins to dissolve. so does the large one.","INT. HELEN'S SITTING ROOM - NIGHT Over Mrs. Stephens' shoulder WE SEE the party in progress. The glass by her side is full again. Tony is dancing with an attractive blonde. MRS. STEPHENS Tony! He turns round. TONY Me, Mrs. Stephens? The head nods. Tony advances reluctantly towards her. REVERSE ANGLE SHOT of Mrs. Stephens. Over Tony's shoulder WE SEE a powerfully built and once lovely woman. She is so perpetually drunk as almost to be sober. The few movements she makes are slow - deliberate - and give nothing away. The voice articulates so carefully that the slur scarcely shows. The fact that she is blind almost helps to conceal the fact that she is drunk. Her sightless eyes stare out the camera as Tony reaches her. MRS. STEPHENS I want a word with you. CLOSE SHOT of Helen's eyes. The light from the projector flickering into them. HELEN I hate people who chatter in films - but there's so much I want to ask. CAMERA PULLS BACK","INT. THE INNER ROOM - NIGHT She is leaning forward, her face cupped in her hand, watching the small screen intently. CLOSE SHOT of Mark. His face is cupped in his hand as he watches her intently. Over Helen's shoulder WE SEE Mark in the making. The child is again asleep. this time he is being photographed from the head of the bed - the CAMERA POINTING STRAIGHT DOWN AT HIS FACE. A beam of light starts to shine onto his eyes, first onto the left, then onto the right. HELEN -LRB- in a whisper. -RRB- Again? Mark looks at her in silence. The boy moves restlessly, then turns over onto his face, pulling the bedclothes round him. His right hand is limp on the pillow. The light shines for a moment on this hand, then goes out. Helen half turns towards Mark. HELEN Mark, this is n't some kind of jo. Her attention is suddenly riveted on the screen. MARK -LRB- in a whisper. -RRB- No, Helen. Over Helen's shoulder WE SEE something drop onto the child's bed. something which stays quite still for a moment, then starts crawling towards the counterpane. It is a small lizard. HELEN Mark, whatever is that? Her voice trails away. She stares - repelled and fascinated - at the screen. WE SEE Mark reach for his cine - camera. Over Helen's shoulder WE SEE the lizard reach the counterpane. It stretches itself out on the floral design - its body is pointed towards the child's hand. WE HEAR a click - and suddenly a spotlight falls onto Helen's face. OVERLAID is the GENTLE PURRING of Mark's cine - camera. She wheels towards him - blotting out the small screen. HELEN What are you. MARK wanted to photograph you. watching. HELEN No, Mark! The camera purrs on. HELEN No! He switches off the spot. the purring of the camera dies away. She turns towards the small screen. HELEN help me to understand this. this nightmare. The small boy is sitting upright. screaming with terror. there is no sign of the lizard. A handkerchief is thrown onto the boy's bed. He continues crying - looking up into someone's face. CLOSE SHOT of Mark watching the screen. We hear a man's deep voice overlaid. MAN'S DEEP VOICE -LRB- O.S. -RRB- That'll do Mark. dry your eyes and stop being silly. Small Mark reaches for the handkerchief and wipes his eyes. his hands are trembling. The small screen trembles with them into a clumsy dissolve. Helen turns to Mark. HELEN All right. now look. Mark - what was all that about? He looks at her helplessly. HELEN that was a lizard, was n't it? Or a. MARK Liz. HELEN Well how did it get there? How did it get there Mark? Was it a pet? MARK Not mine. HELEN Wo n't you try to explain? CLOSE SHOT of Mark staring at the screen. MARK You'd better go! HELEN I like to understand what I'm shown! She turns to the screen. HELEN What was your father trying to do? Photographing you at nigh. Her voice trails away. MARK better go. From Helen's POV WE SEE the screen. Small Mark is wearing a dark suit and a black tie. He is standing at the foot of a four - poster bed, staring at something in horror and disbelief. his hands clasp the bedrail tightly. Slowly - very slowly - he walks towards the head of the bed, staring. His lips begin to quiver. He bends forward over the bed. WE CAN SEE the back of his bowed head. HELEN Mark. what is this? MARK I am saying. goodbye. my mother. We catch a glimpse of a woman's hands folded in front of her. CLOSE SHOT of Helen. HELEN -LRB- in a whisper. -RRB- He. photographed. that? CLOSE SHOT of Mark. MARK Yes. Suddenly - and healthily - his temper snaps. MARK and this! He pushes a lever on his projector as far forward as it will go. The film is now shown at tremendous speed - We catch a glimpse of a long line of cars. MARK her funeral! It speeds by. MARK and this! A confused picture of earth and flowers. MARK her burial! The briefest glimpse of a little boy with a spade. MARK and this! WE SEE a girl in a bikini by sand - dunes. Mark offers no comment. HELEN Mark, who is that? MARK Her successor. CLOSE SHOT of Helen. HELEN Suc -? MARK He married her. six weeks after. the previous sequence. He pulls back the lever of his projector. the film returns to its normal speed. WE SEE the same attractive young woman standing in a garden. She is holding a bewildered and defiant Mark by the hand. Suddenly the girl runs towards camera - leaving Mark standing alone. MARK She filmed. what comes now. CLOSE SHOT of Helen watching intently. It's out of focus! From Helen's POV WE SEE a tall man in a black coat walking away from camera. He hurries towards small Mark - who watches him anxiously. HELEN Is that your father? MARK The morning that he left for his honeymoon. The back of Mark's father suddenly obscures our view of small Mark. all we can see is that tall figure looking downwards standing very still. Camera wobbles - as if the person holding it is laughing. HELEN What is he doing? MARK Giving me a present. HELEN What was it? Mark stares at the blurred screen, perspiration trickling down his forehead. MARK Ca n't you guess? The small screen comes back into focus - and suddenly our camera rushes towards it. WE SEE a CLOSE SHOT of a CLOSE SHOT - and at the moment we see it, Mark's Voice is overlaid. A whisper which echoes round the room. MARK -LRB- O.S. -RRB- A camera. We are looking at a close shot of a camera in a small boy's hands. There is a single shrill chord of music on the sound track. CLOSE SHOT of the shelf which encircles Mark's room. We are looking at the very same camera which the small boy is holding. CLOSE SHOT of the camera in small Mark's hands. His father's finger points lo the view - finder. Small Mark stares into it. Small Mark begins to smile. CLOSE SHOT of Mark watching himself being born. CLOSE SHOT of Helen watching Mark. HELEN Switch it off! He continues to stare at the screen. HELEN Switch it off, Mark! She turns to the projector - touches the wrong switch. Small Mark and his father go rapidly backwards. Mark turns off the projector abruptly. The room is in darkness. WE CAN HEAR both of them breathing quickly. The light goes on. Mark is standing by the exit - he keeps his face averted. Helen walks slowly towards the exit. She glances round once, over her shoulder, then goes into the other room. Mark stares after her.","INT. MARK'S SITTING ROOM - NIGHT She walks towards the door. turns round suddenly - almost in anger. HELEN So he was a scientist? He keeps his face averted. HELEN What kind of scientist, Mark? MARK Biologist. HELEN What was he trying to do to you? He does n't answer. HELEN Mark! He turns round slowly. From his POV WE SEE the willingness to understand on her face. HELEN What was he trying to do to you? MARK Watch me. grow up. She walks towards him. takes his handkerchief from his jacket pocket and wipes his forehead. MARK He wanted a record of a growing child. complete in every detail - if such a thing were possible - and he tried to make it possible by training a camera on me. at all times. CLOSE SHOT of Mark. MARK I never knew. the whole of my childhood. one moment's privacy. HELEN And those lights in your eyes? and that - thing? MARK He was interested. in the reactions of the nervous system. to fear. Fear? HELEN Fear? MARK Fear. CLOSE SHOT of the word ` fear'. CAMERA PULLS BACK We are looking at the spine of a book on Mark's shelf. The full title reads : The Physiology of Fear by Professor A. N. Lewis. MARK'S VOICE IS OVERLAID : MARK -LRB- O.S. -RRB- Especially fear in children - and how they react to it. CLOSE SHOT of the word ` fear' on the next book. CAMERA PULLS BACK The full title reads : FEAR AND THE NERVOUS SYSTEM, PART I. PROFESSOR A. N. LEWIS. There is a row of such books all by Professor Lewis. CLOSE SHOT of Mark. MARK I think he learned a lot. from me. I'd wake up. screaming. sometimes. and he'd be there. taking notes. and pictures. and I'm sure good came of it. for some people. He was brilliant. HELEN A scientist drops a lizard onto a child's bed - and good comes of it? MARK I do n't know. if he did. but if he did. he'll have learned something of value. HELEN If only about lizards! Mark - it sounds to me as if your father was. MARK He founded clinics. HELEN He sounds completely. MARK He was famous! Professor A. N. Lewis. three clinics. HELEN Why do you still live in his house. and watch his films? MARK They helped make me. what I am. HELEN A photographer? It's no wonder, is it? But you still have n't shown me anything you've photographed! He looks at her in silence. HELEN Will you? There is a knock on the door. MARK One day. He hurries to the door, and opens it. Tony is standing there. TONY Excuse me, but. From Tony's POV WE SEE Helen looking at the door of the dark room. TONY Oh, there you are, Helen. She turns towards him. TONY The party looks like breaking up, and we were wondering if. HELEN I'm coming. She turns to Mark. HELEN I wish you'd join us. Mark shakes his head. MARK Thanks. work. HELEN I hope that you. She is suddenly aware of Tony watching her. She glances at the birthday cake on the table. HELEN have a sweet tooth! She smiles at him. HELEN Thank you. for my present. She goes into the passage. TONY Good night, old boy. He puts his arm round Helen, and closes the door. Mark stares after them, motionless. The CAMERA LINGERS on the birthday cake. As the light fades, a voice yells : Cut!","INT. FILM STUDIO - DAY HIGH ANGLE SHOT of a set showing part of a large West End store. A blonde is lying unconscious in front of a lift - and a crowd of extras surround her. As the word ` cut' dies away, the extras relax - and the blonde -LRB- DIANE ASHLEY -RRB- props herself onto her elbow, looking towards the Director. CLOSE SHOT of the Director -LRB- ARTHUR BADEN -RRB- standing beside the camera. BADEN OK. Print that one! He glances at the CHIEF CAMERAMAN -LRB- PHILIP TALE -RRB-, who nods his head in agreement. CLOSE SHOT of Mark standing at the back of the camera crew. He shakes his head in disagreement. The Chief Cameraman spots Mark's small mutiny and wags his finger at him. As the Chief Cameraman turns away, Mark's finger automatically wags back. CLOSE SHOT of Baden looking at his watch. He sighs, then nods to the Assistant Director who stands beside him. ASSISTANT DIRECTOR All right, everyone! Back at two! Baden walks out without a word to anyone. A hubbub of chatter breaks out. The unit downs tools and begins to disperse. CLOSE SHOT of one of the extras -LRB- VIVIAN -RRB- - a small, vivacious, brunette with delicate, attractive features. She edges towards the camera crew. CLOSE SHOT of Mark watching her. Over his shoulder WE SEE Vivian glance towards him. He nods almost imperceptibly. Vivian hurries towards the exit. Mark turns to a shelf behind him - picks up his cine - camera and a little full string bag containing his lunch.","EXT. STUDIO GROUNDS - DAY CLOSE SHOT of Vivian munching a sandwich. CAMERA PULLS BACK She is leaning against a wall in a corner of an exterior set - a Chinese temple or a medieval castle -LRB- or a combination of each like a Pinewood drawing - room -RRB-. Beside her she has a small tape - recorder, or record - player. We hear music - modem rhythms. There are several people strolling about - but no one in the immediate vicinity. No one. except Mark. CLOSE SHOT of Mark - settling down on the other side of the wall -LRB- where they can talk without being seen together -RRB-. VIVIAN Mark? MARK Hallo. VIVIAN Were you spotted? MARK Do n't think so. VIVIAN -LRB- switches off music. -RRB- Is it tonight? CLOSE SHOT of Mark. MARK Yes. CLOSE SHOT of Vivian. VIVIAN Mark. MARK Yes? VIVIAN You're sure we wo n't be caught? MARK Not if you do as I tell you. VIVIAN I will, I promise. MARK You have n't. said anything. to anyone? VIVIAN Of course not. MARK Good. like some cake? VIVIAN Thank you. We see him break off a piece of birthday cake, and pass it over to her. VIVIAN Mark. I want to be quite clear about this. CLOSE SHOT of Mark staring at his cake. VIVIAN Tonight, when the studio's empty. I'm to come back - and you're going to give me a film test. right? MARK Right. VIVIAN You'll then print the film - so I can show it to my agent and anyone else who matters - right? MARK Right. VIVIAN Mark. She hesitates. VIVIAN I've been offered film tests before. but I have n't liked the terms. MARK There are n't any. VIVIAN Then why are you doing this? Risking your job and. MARK Not just for you. Viv. I have an agent too - and I want to show him what I can do. I want to direct. VIVIAN -LRB- switching on music again. -RRB- There's someone coming. Mark lies motionless behind the wall. A young male EXTRA comes towards Vivian. EXTRA Hallo - lousy morning's work, was n't it? VIVIAN Yes. EXTRA Thought I saw you talking to somebody. VIVIAN I was learning my lines. EXTRA Did n't know you had any. He glances at his watch. EXTRA Want a drink? Dutch? VIVIAN Later. perhaps. EXTRA Be seeing you He wanders off. VIVIAN Mark. MARK Yes? VIVIAN -LRB- switching off music again. -RRB- You did n't mind me asking? MARK No, more cake? VIVIAN No. you want to direct. more badly than anything do n't you? Mark is silent, staring at the sky. VIVIAN Do n't you, Mark? MARK I want. to photograph. the impossible. VIVIAN What is impossible? MARK Something. that has never been photographed before. VIVIAN What? MARK You really want to know? VIVIAN Very much, especially if there's a part for me. MARK I want. to photograph a murder. while it's being committed. VIVIAN No part for me then. MARK But that. is n't enough. VIVIAN Is this a new script? MARK I want. to frighten. someone. to death. and photograph. their expression of fear. VIVIAN Mark! What's this story called? MARK That is something. he never photographed. VIVIAN Who? Mark is silent. VIVIAN Who is he, Mark? MARK Anyone. VIVIAN No one could. they'd be caught! MARK I would n't care. if I had my picture. VIVIAN Besides, how would you frighten anyone to death? MARK There's a way. VIVIAN Well, what? MARK There's a way. VIVIAN You'd better not tell me! I'll be scared to death tonight as it is! A hooter. VIVIAN Back on the set - shall I go first? MARK Please. She rises to her feet. From behind the wall comes a gentle whirring purring sound. VIVIAN What are you doing? MARK Getting into practice. She smiles down at him. VIVIAN See you tonight! MARK See you tonight! She walks away. And the gentle purring continues. CAMERA PANS to the sun beating down on the lot. An arc lamp beating down on the set.","INT. STUDIO - DAY Baden bears down on the Assistant Director. BADEN Would you enquire if our leading lady is ready to start leading. A cry goes up, ASSISTANT -LRB- O.S. -RRB- Miss Diane Ashley, please! Miss Diane Ashley, please! CLOSE SHOT of Baden turning towards the entrance. CLOSE SHOT of Mark turning towards the entrance. CLOSE SHOT of entrance.","INT. STUDIO - DAY Miss.. DIANE ASHLEY appears. among the many qualities she radiates is goodwill - especially towards Miss Diane Ashley. DIANE How are you, Sparks? Chippy? Bob? VOICES Hallo, Diane. DIANE How are you, Tom? Roger? VOICES Hallo, Diane. And so on, until : DIANE How are you, Phil? Mark? CLOSE SHOT of Mark. MARK Hallo, Miss Ashley. DIANE -LRB- to a figure high in the scaffolding. -RRB- How are you, Pete? VOICE Hi, Di! She reaches Baden - and completely ignores him. BADEN Darling, you've only been playing this part for three weeks, so in case you have n't yet had a chance to read the script. She ignores this. BADEN may I remind you that you're a girl with an irresistible impulse! She looks at him - then at her hand - and nods. BADEN a kleptomaniac! Who can not help stealing. Get inside her, Diane! What - in all the world - do you most want to steal? DIANE The limelight! Baden sighs. BADEN We'll run the scene where you catch sight of the store detective and faint. Where's the girl who plays the bystander? Vivian steps forward. BADEN How are you? VIVIAN Hallo, Diane. 1ST ASSISTANT Positions, everyone! CLOSE SHOT of Vivian taking her position in front of the lift. She glances at her watch. CLOSE SHOT of Mark standing by the side of the studio camera. He glances at his watch. CAMERA TRACKS towards the lift. From Mark's POV WE SEE Diane catch sight of the Store Detective - and crumple in a faint. BADEN Hit that floor with a thud! CLOSE SHOT of door marked : DON JARVIS - MANAGING DIRECTOR. BADEN -LRB- O.S. -RRB- D.J. insists on realism! A timid knock is overlaid before we dare enter.","INT. EXECUTIVE OFFICE - AFTERNOON CLOSE SHOT of a pile of scripts on a great man's desk. CAMERA PULLS BACK MR. JARVIS is immersed in reading a script. his eyes race across the page. Over his shoulder WE SEE what he is reading. a sheet of figures attached to the script. At the same time Mr. Jarvis is holding a telephone receiver to his ear - and we hear an enthusiastic VOICE FILTERED THROUGH IT : VOICE -LRB- OFF - SCREEN -RRB- VOICE -LRB- O.S. FILTERED. -RRB- it's a wonderful subject, D.J. Paramount wants it, M.G.M. wants it, Columbia wants it. JARVIS But is it commercial? VOICE -LRB- O.S. FILTERED. -RRB- Danny Angel wants it! Still reading the script, Mr. Jarvis lays the receiver on his desk and picks up another. JARVIS Are those budgets ready? Well bring'em in. He replaces this receiver and picks up the original. The voice is still talking - something about' a wonderful part for Kenny or Alec'. VOICE -LRB- O.S. FILTERED. -RRB- Send me a memo - we'll discuss it next week. He replaces the receiver. MISS SIMPSON enters. She hands him some folders. her smile curtsies. CLOSE SHOT of Mr. Jarvis opening a folder. Over his shoulder WE SEE a page covered with row upon row of figures. The great man's finger skims along the figures like a tailor feeling cloth. JARVIS There's an error! The total should be a hundred and fifty thousand pounds fourteen shillings and sixpence - not thirteen and ninepence. That could mean the difference between profit and loss on a first feature! MISS SIMPSON Sorry, D.J. He glowers at her - but his day is made. JARVIS Any units working late tonight? MISS SIMPSON Only one, sir. Night exteriors on the lot. The Elephant with two. JARVIS That animal needs a stick of dynamite! CLOSE SHOT of Jarvis. JARVIS Remind me to pay them a visit tonight. MISS SIMPSON Yes, D.J. She makes a note in her little book. JARVIS Now, Miss Simpson. take a memo to all department heads. Over his shoulder WE SEE an open window. CAMERA TRACKS towards it. JARVIS -LRB- O.S. -RRB- In light of the new economy drive. CLOSE SHOT of Clapper Boy's board. It reads : Take 49. THE CAMERA PULLS BACK","INT. STUDIO - LATE AFTERNOON BADEN Again, please. and, darling. He turns to Diane, who is wearily picking herself up off the floor. BADEN just this once. will you please make an effort to forget that you're stunning, and try to look as if you're stunned? DIANE Say one kind word - and I would be! ASSISTANT -LRB- hastily. -RRB- Positions, everyone! Camera crew on a tracking shot. Mark is operating the Selsen motor. Baden - shaking his head. Diane - picking herself up off the floor. Clapper Boy's board -- reading : Take 57. Vivian - glancing at her watch. Mark - glancing at his. Diane - picking herself up off the floor. DIANE If I have to faint once more I shall faint! CLOSE SHOT of Baden - triumphant at last. BADEN Cut! How was that? -LRB- thumbs up all round - with one exception. -RRB- Mark? Mark nods perfunctorily. BADEN Print it! He glances at his watch - then nods to the Assistant Director. ASSISTANT That's it, boys and girls. wrap it up! Night - night everyone! Baden puts his arm round Diane's shoulder. BADEN How are you, darling? She makes a hobbling exit. CLOSE SHOT of Vivian hurrying towards the exit carrying her little recorder. In a burst of chatter, the unit starts to disperse. CLOSE SHOT of Mark picking up his cine - camera and his lunch bag. The CLAPPER BOY comes up to him. CLAPPER BOY Catching the bus? MARK Not tonight. meeting someone. for a drink. CLAPPER BOY Wanted to discuss the film at the Everyman. Tomorrow then? MARK I hope so. CLAPPER BOY Good night, Mark. MARK Good night. CLOSE SHOT of Vivian. She is sitting at a dressing - room table. making - up with care.","INT. DRESSING ROOM - LATE AFTERNOON Three other girls share the dressing room with her. There is a knock at the door - and the Young Extra who spoke to Vivian in the grounds pokes his head round. EXTRA Greetings. lousy afternoon's work, was n't it? Who wants a lift to town? 1ST GIRL In what? EXTRA colleague's car. there's room for two on my lap - three at a pinch. 1ST GIRL Which is what we'd get. 2ND GIRL You, Viv? VIVIAN No, thanks. I've a date. at the Local. 1ST GIRL Us two then? 2ND GIRL I'm game. might as well get pinched in a car as squeezed in a tube.","EXT. THE CAR PARK - LATE AFTERNOON The cars are streaming towards the gate. CLOSE SHOT of Baden driving a small new car. CLOSE SHOT of the Chief Cameraman driving a large old one.","INT. DON JARVIS' OFFICE - LATE AFTERNOON He is still immersed in his figures. Miss Simpson is walking to the door. She glances at her little book. MISS SIMPSON I'm to remind you to pay a surprise visit tonight to The Elephant with. He grunts. MISS SIMPSON Good night, D.J. Jarvis goes on reading. CLOSE SHOT of Vivian.","INT. DRESSING ROOM Music playing. Vivian moves about nervously in front of a mirror in the deserted dressing room. She wears slacks and a shirt. She glances at her watch - her hands are trembling - looks at watch, hears the fireman coming, then switches off the music and hides in the big cupboard -","INT. CORRIDOR Fireman making his rounds, turning off lights.","EXT. THE CAR PARK - EARLY EVENING Only a few cars now remain. It is beginning to grow dark.","INT. STUDIO CORRIDORS - EARLY EVENING The long corridors are dim and deserted.","INT. PASSAGE - EARLY EVENING The fireman is making his rounds.","INT. DRESSING ROOM - EARLY EVENING Vivian is standing in the cupboard - the lights are on.","INT. CORRIDOR - EARLY EVENING Fireman opening the dressing - room doors - and glancing inside.","INT. POWER HOUSE - EARLY EVENING Two electricians are smoking.","INT. CORRIDOR - EARLY EVENING Fireman opens the door of Vivian's dressing room.","INT. DRESSING ROOM - EARLY EVENING From Vivian's POV WE SEE the lights go out. WE HEAR the sound of the door closing - and the Fireman's footsteps disappearing down the corridor.","INT. DON JARVIS' OFFICE - EARLY EVENING The great man closing up his folder. glancing at his watch. turning out the light.","INT. CORRIDOR - EARLY EVENING Vivian is hurrying along a deserted corridor. and the little recorder. She pauses - and glances out of a door. She carries her case Over her shoulder WE SEE the studio lot - in a blaze of light we can see a crowd of people hanging about in solar topees and tropical kit. REVERSE SHOT of Vivian watching anxiously. She turns away - and hurries down the corridor.","EXT. THE COURTYARD. EARLY EVENING Don Jarvis strides across the courtyard. We can almost hear - and perhaps we do - a cash register ringing up. One of the white - clad figures lounging indolently in the doorway glances round, sees the Inquisition approaching and freezes. His degree of terror might satisfy Mark. The great man strides on.","INT. ENTRANCE TO STAGE E. - EARLY EVENING Vivian pauses in front of the entrance to the set. Above the note is a notice : ` NO ADMITTANCE WHILE RED LIGHT IS ON'. The light is out. Vivian looks round - there is no one in sight. Vivian slips in quietly, and closes the door behind her.","INT. STUDIO - EARLY EVENING The set is in darkness. CLOSE SHOT of Vivian looking round. VIVIAN -LRB- in a whisper. -RRB- Mark? No reply. Vivian hesitates. then edges slowly forward. Ahead of her are shadowy counters full of merchandise. Beyond them is the door of the lift. CLOSE SHOT of the studio camera and the Director's empty chair beside it. CLOSE SHOT of Vivian edging forward. VIVIAN Mark? She reaches one of the counters - and leans against it, looking around. REVERSE ANGLE shot of Vivian. She is leaning against the counter of the trunk department. Trunks and suitcases at ` greatly reduced prices' are piled behind her. CLOSE SHOT of Vivian. She starts whistling nervously under her breath. Very faintly overlaid is the sound of Mark whistling under his. Vivian stops whistling - and so does Mark. She listens intently for a moment - then peers at her watch. CLOSE SHOT of the watch on Mark's wrist. CLOSE SHOT of Vivian. She shivers suddenly. then looks at her watch again. She hesitates. then turns towards the exit, and starts to edge back. She trips over a cable and almost falls. Suddenly she is bathed in light. She wheels round. One of the big spots is beating down on her. VIVIAN Mark? No sign of him. Overlaid is a gentle purring sound. Where are another light comes on, shining through her hair. VIVIAN Mark! The sound of his steps is overlaid. VIVIAN Listen. we must. His footsteps stop. she looks round. VIVIAN Where are you? His voice is quietly overlaid. MARK -LRB- O.S. -RRB- Here, Viv. She wheels round. CLOSE SHOT of Mark sitting in the Director's chair. He is holding in his lap his cine - camera, and a black bag. CLOSE SHOT of Vivian breathing quickly. VIVIAN You frightened me! He looks at her in silence. VIVIAN Now listen. they're working late on the lot. MARK I know. They're branched off this stage - I'm using their juice. He nods, staring at her intently. VIVIAN We must call it off. someone's bound to see us. MARK They might. -LRB- rising slowly. -RRB-. but they wo n't interrupt us while we're filming. I've put the red light on.","INT. ENTRANCE TO SET - EARLY EVENING CLOSE SHOT of the red light - burning. CLOSE SHOT of Vivian.","INT. STUDIO - EARLY EVENING VIVIAN You've what? MARK Put the. VIVIAN Then they'll know someone's here. MARK They wo n't come in. VIVIAN They'll wait outside. what's the difference? MARK The difference is. a perfect film. Over his shoulder WE SEE the studio camera. MARK have waited. a long time. for this. and so have you. no one. must interrupt it. She glances round at the brazenly burning lights ; shakes her head despairingly. VIVIAN We'll be caught. MARK What does that matter? VIVIAN Matter! MARK You stand to lose. a job as an extra. I stand to lose. nothing. She looks at him in silence. MARK the results must be so perfect. that the risks do n't count. CLOSE SHOT of Mark. MARK So perfect. that even he. -LRB- he hesitates. -RRB-. even he. would say. VIVIAN Who Don Jarvis!? He looks at her, then nods. VIVIAN Oh! He'd say :. -LRB- imitating the great man's voice. -RRB- Sign on the dotted line, kiddies! You can use my pen, but bring your own ink! -LRB- her excitement is growing. -RRB- Mark. if you're sure it's worth it? MARK It's time to find out, Viv. He walks slowly towards the studio camera. She prepares for the test by switching on music and warming up with dance movements. VIVIAN Come on! Get hot! -LRB- she accents the rhythm. -RRB- Mark puts the cine - camera and the black cloth bag on the dolly, slowly mounts the platform, closes the blimp - and swings the camera. We watch him from the top of the studio, from the door of the studio, from the Director's chair. And finally WE WATCH HIM from Vivian's POV. She stops dancing but the music continues. MARK You belong there. He stares ahead of him, his mind far, far away. then bends and looks into the finder. There is a single harsh chord of music - and the screen goes dark. It remains dark for a moment. Suddenly the darkness parts like curtains - and in the centre WE SEE Vivian's face in the finder of the studio camera. -LRB- Unlike the ground - glass of the newsagent's camera, we see everything the right way up and in perfect perspective. -RRB- Mark hooks a filler - light below the camera and switches it on. He adjusts the finder until he has made of Vivian's delicate features a radiant miniature. The miniature smiles shyly at him. She has stopped dancing and is looking directly at the camera. Music continues. VIVIAN I do feel alone in front of it. -LRB- she hesitates. -RRB- I suppose stars never do? MARK They feel alone without it. -LRB- he looks in the eyepiece. -RRB- Through the film, we can see only her eyes - large and wistful. MARK and the great ones. feel alone. all the time. She becomes the uninhibited Vivian again. VIVIAN Then I'm great, boy! What is it you want me to act? -LRB- she strikes an attitude a, la Rabbins. -RRB- He looks up from the camera ; she smiles and starts keeping time to the rhythm again. VIVIAN Being frightened to death? MARK You remembered? VIVIAN Yes - and I'll have a go! We hear his quick breathing. VIVIAN I've been wondering all the afternoon how you'd do it! I'll bet you've thought of a wonderful twist! -LRB- she does a wonderful twist. -RRB- CLOSE SHOT of Mark. He looks down - a little sadly - and peers into the finder. -LRB- The camera dolly is on tracks - he tracks forward. -RRB- Music continues - piano. In the finder WE SEE a large trunk - ` at greatly reduced prices' -- on the shelf behind Vivian. From Vivian's POV WE SEE Mark leave the studio camera -- and hurry towards the trunks. She watches him wide - eyed. VIVIAN What are you doing? MARK Building us a set. He reaches for the largest trunk. VIVIAN Why not pull the studio down while you're about it? They can only hang you once. MARK Exactly. He carries the trunk towards the studio camera, and lays it carefully on the floor. Music continues. Vivian peers into the front - glass of the studio camera -- as if it were a mirror. The rhythm of the music changes. VIVIAN If only Don Jarvis could see me now! She jumps onto the trunk and taps. VIVIAN If only I could see Don Jarvis now! She giggles again. VIVIAN I warn you, Mark - I'm hysterical. I'd rather act dying of laughter, if it's all the same to you. She jumps off the trunk onto the floor. He opens the trunk. she jumps into it. Her laughter echoes round the deserted studio.","INT. POWER HOUSE - EARLY EVENING The two electricians are roaring with laughter. One of them is making tea. 1ST ELECTRICIAN So he did it again! Now you tell one. CAMERA PANS to a dial on the wall. one of the needles flickers slightly. 2ND ELECTRICIAN Half a mo. 1ST ELECTRICIAN -LRB- O.S. -RRB- One lump or two? 2ND ELECTRICIAN As the starlet said to the casting director. He turns away from the dials, and grasps at the outstretched mug. CLOSE SHOT of Vivian recording - her little recorder is twittering back at great speed. VIVIAN -LRB- to Mark, over her shoulder. -RRB- What are you doing? She restarts music.","INT. STUDIO - EARLY EVENING She is watching Mark curiously as he arranges the lighting. MARK Be patient, Viv. it's going to be worth it. CLOSE SHOT of the studio camera. In front of it - fixed on a small hook - is a tape measure. Mark reaches for it. then carefully measures the distance between the trunk and the camera. then he takes apiece of chalk from his pocket and makes a small cross on the floor. The music continues. VIVIAN Oh well! I've stood alone in front of a studio camera! That's more than most have. MARK Ever stood. behind one? He glances at a nearby dial - only a few feet away from the one which is flickering. VIVIAN No. MARK Help yourself. She goes around the camera out of sight - and he is out of hers. He glances into the trunk - it is deep, and very empty. VIVIAN -LRB- accenting the rhythm. -RRB- I can see you, Mark. perfectly! MARK Good. VIVIAN Yes, sir! I'll bet I'm the best camerawoman in the business! -LRB- beating time with her feet. -RRB- Mark hurries to the side of the studio camera and picks up his cine - camera. VIVIAN -LRB- O.S. -RRB- I've lost you! MARK I'll be back. Suddenly Mark's face appears in the finder. VIVIAN Welcome, stranger! We see Mark raise his cine - camera. He seems to be pointing it straight at us. We hear a gentle purring. VIVIAN What are you doing? MARK Photographing you photographing me. High angle shot of Mark standing in front of the studio camera - photographing her photographing him. VIVIAN -LRB- in mock awe. -RRB- Mark, you're brilliant. He walks slowly towards her, holding his cine - camera to his eyes. In the finder of Mark's cine - camera WE SEE Vivian at the studio camera. She comes closer and closer. VIVIAN Lost you again! MARK -LRB- O.S. -RRB- Never mind. We see him standing almost on top of her - his cine - camera trained on her. MARK I'm ready now, Viv. She looks up slowly - and a little hesitantly. Music, all drums. MARK Go and stand on that cross, will you? VIVIAN -LRB- solemnly. -RRB- Yes, sir, Mr. Director, sir. He watches her in silence as she walks to the front of the studio camera and takes up her position. while the drum - beat continues.","EXT. COURTYARD - EARLY EVENING Don Jarvis is leaving the unit working on the lot. It is now bustling with activity. A girl comes up to him. She raises her cigarette for a light - and looks into his eyes. He hands her a box of matches. and walks away. Over his shoulder we see the other stages - apparently empty. Don Jarvis hesitates, then strides towards one.","INT. POWER HOUSE - EARLY EVENING CLOSE SHOT of a dial - the needle flickering slightly. Overlaid is the voice of the 1st Electrician. 1ST ELECTRICIAN -LRB- O.S. -RRB- and here's one of the wife and nipper.","INT. STUDIO - EARLY EVENING CLOSE SHOT of Vivian staring at the trunk on the floor behind her. The recorded rhythm continues. VIVIAN Am I supposed to imagine someone is going to put me in there? Mark is watching her over the top of the studio camera. MARK Yes, Viv. He peers into the viewfinder. In the finder we see Vivian looking rather pathetically into camera. VIVIAN Mark - I hope I wo n't let you down. I know you're trying to create atmosphere for me - but. I just do n't feel frightened! Would n't it be better if I just did my number? MARK -LRB- shaking head. -RRB- Later. VIVIAN Oh all right! I could do anything - I feel so relaxed - and that's due to you. You're so at home with that camera you make me feel at home too. you have it in you, boy! From her POV WE SEE see him raise his head slightly. MARK Ready, Viv? MARK VIVIAN -LRB- great effort. -RRB- Well - I'll try - In the finder we see her wrinkling her brow. MARK VIVIAN But what. would. frighten me to death? -LRB- looking appealingly into camera. -RRB- Set the mood for me, Mark. MARK Well. He goes and switches off the recorder. The sudden silence is startling. MARK Imagine someone. coming towards you. who's going to kill you - regardless of consequences. VIVIAN A madman? MARK Yes - but he knows it. and you do n't. and just to kill you. is n't enough for him. VIVIAN But how would he frighten me to? She stares into focusing screen - intrigued, but not frightened, not even by the silence and shadowy vastness around her. MARK Stay there, Viv. you're. just right. She stands motionless - staring into camera.","INT. CORRIDOR IN STUDIO - EARLY EVENING CLOSE SHOT of Don Jarvis. He is standing motionless, staring down a corridor. What he is staring at is out of camera - and it is puzzling the great man. He walks quietly along the corridor. CLOSE SHOT of Vivian. VIVIAN I ca n't imagine what you've thought of!","INT. STUDIO - EARLY EVENING CLOSE SHOT of Mark. He raises his head slowly - and locks the studio camera off. Then he walks slowly towards her. HIGH ANGLE SHOT of Mark walking towards Vivian. CAMERA ZOOMS DOWN to the trunk behind her. Mark's voice is overlaid : MARK -LRB- O.S. -RRB- Suppose this. were one of his weapons. CLOSE SHOT of Don Jarvis.","INT. CORRIDOR - EARLY EVENING The great man is poised for the kill. He is moving forward stealthily. and suddenly breaks into a run. CAMERA PANS - and WE SEE the object of his attentions. A wisp of smoke is coming from behind an alcove. CLOSE SHOT of a Fireman - smoking a cigarette. CLOSE SHOT of Don Jarvis - smoking! CLOSE SHOT of the Fireman's terror as he sees Don Jarvis. JARVIS Smoking on duty! The Fireman opens his mouth to explain -- and smoke exudes. JARVIS Come with me! The Fireman follows him meekly. CAMERA PANS. So near - yet a lifetime away - a red light is burning above a closed door. CLOSE SHOT of Vivian - puzzled. VIVIAN That?","INT. STUDIO E. - EARLY EVENING CLOSE SHOT of Mark. He is holding his cine - camera ; fixed to it is a collapsible tripod. Suddenly he pulls one leg of the tripod out. WE SEE that a very sharp spike protrudes from the end of it. From Mark's POV WE SEE Vivian looking at the spike. He raises it towards her - until the spike is only inches from her throat. VIVIAN Yes. that would be frightening! MARK But. there's something else. We can hear his heart pounding as if it will burst - and gradually Vivian, too, becomes aware of it. VIVIAN Well? What is it? Just for a moment Mark's arm moves. His back hides what he is doing. Suddenly WE SEE Vivian turn her head sharply - she is looking at something out of camera. VIVIAN -LRB- in a whisper. -RRB- That? The spike is very close to her throat - but Vivian ignores it, staring out of camera. Over Mark's shoulder we concentrate on Vivian's face. VIVIAN -LRB- in a whisper. -RRB- Mark. take it. The fear on her face is rapidly growing. VIVIAN away! She tries to move back - but the trunk prevents her. VIVIAN MARK - YOU! It is almost a scream. We can hear Mark breathing quickly. Vivian raises her hands to push something away from her. Suddenly the screen is filled with her eyes. WE SEE them dilating with terror. There is a sudden crash as the big power switches go out in the roof. The lights go out. There is a scream in the darkness. Then silence. The darkness acquires a grey, opaque quality as if one is seeing the world through a curtain - it is the world of Mrs. Stephens. A bright light is felt, rather than seen, beating against our eyelids. It looms closer and stronger. HELEN'S VOICE -LRB- O.S. -RRB- And that, darling, is the end of the news! Unless you want the football results? CLOSE SHOT of Mrs. Stephens, a large glass of whisky - and the bottle - beside her. It is night. MRS. STEPHENS No thank you. CLOSE SHOT of Helen. ` She's Got the Key of the Door' is overlaid. HELEN What else can I read you? MRS. STEPHENS The label on this whisky bottle! Are you sure it says seventy per cent proof? HELEN Certain. MRS. STEPHENS They're bigger liars than the press! From Helen's POV WE SEE her reach for her glass with a steady hand. HELEN Is that your last tonight? MRS. STEPHENS I doubt it. HELEN Your last but one? MRS. STEPHENS Do n't haggle. HELEN -LRB- producing a coin. -RRB- Toss me double or nothing? MRS. STEPHENS Done! Helen spins the coin on the table Mrs. Stephens listens intently. the coin stops spinning. MRS. STEPHENS Heads. Her fingers shoot out and feel the surface of the coin. HELEN Bad luck, darling. MRS. STEPHENS Huh. She turns the coin over and carefully feels the other side. Helen watches her with a smile - then looks thoughtfully at the ceiling. MRS. STEPHENS What are you looking at? HELEN The ceiling! MRS. STEPHENS Wondering if that young man is home? HELEN Yes. MRS. STEPHENS Well he is. I heard him come in. four paragraphs ago. From Helen's POV WE SEE the sightless eyes staring at her. MRS. STEPHENS Do you like him? CLOSE SHOT of Helen. HELEN Yes, darling. MRS. STEPHENS Why? HELEN He has a quality. MRS. STEPHENS -LRB- sipping her glass. -RRB- Wish this had. HELEN and I think he could help me. MRS. STEPHENS With your photographs? HELEN Yes. CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Helen. HELEN Yes? Mrs. Stephens hesitates - which is rare. MRS. STEPHENS -LRB- abruptly. -RRB- It does n't matter. HELEN -LRB- quickly. -RRB- Mummy, what's worrying you? MRS. STEPHENS The price of whisky. HELEN What else? MRS. STEPHENS What else matters? HELEN Do n't you like Mark? MRS. STEPHENS Have n't met him. HELEN You do n't like him! Now why not? CLOSE SHOT of Mrs. Stephens. Again she hesitates. MRS. STEPHENS I distrust a man who walks quietly. HELEN He's shy! MRS. STEPHENS His footsteps are n't! They're stealthy. HELEN Now darling. MRS. STEPHENS Are you going up to him? HELEN May I? MRS. STEPHENS We both have the key of the door. Mine needs oiling - and yours needs exercise. Off you go. HELEN Thank you. She kisses her - and glances at the whisky glass. HELEN remember that you lost the toss. She walks to the door. MRS. STEPHENS Helen. HELEN Yes, darling? MRS. STEPHENS If you're back in five minutes. I wo n't even finish this. HELEN Done! She hurries out. Mrs. Stephens instantly refills her glass. CLOSE SHOT of her hand. It has begun to tremble. MARK'S DARK - ROOM CLOSE SHOT of Mark's hands, in the green light of the dark - room. He is busy unloading and winding film onto a developing rack. He puts the rack of exposed film into the tank and starts the time clock. CLOSE SHOT of the time clock ticking. A knock is heard off. Mark looks up. MARK Who is it? HELEN -LRB- O.S. -RRB- Helen. CLOSE SHOT of Mark. Faintly overlaid is ` She's Got the Key of the Door'. He looks down at the clock. MARK -LRB- calling. -RRB- Come in, Helen!","INT. PASSAGE - EVENING Helen opens the door of Mark's sitting room. We hear Mark call out from the inner room : MARK -LRB- O.S. -RRB- Would you. please. wait in there? Developing. Helen goes in, closing the door behind her.","INT. MARK'S SITTING ROOM - EVENING Helen enters. She speaks loudly to be heard in the dark - room. HELEN Mother heard you come in - so I guessed you would n't be in bed. No reply from the inner room. HELEN Are you sure this is conven. MARK -LRB- O.S. -RRB- Wo n't be long! Helen glances at her watch. then looks curiously round the room. CLOSE SHOT of Vivian's recorder, placed on a chair. CLOSE SHOT of Helen. She picks it up and looks at it, curiously, fingering the stops. MARK -LRB- O.S. -RRB- Hallo. Helen turns round. Mark is standing on the threshold of the dark - room. HELEN Hallo, Mark. He walks towards her. he stops suddenly. He is staring at the recorder in her hand. HELEN I hope you do n't mind - is it a tape - recorder? MARK Yes. Gently he takes it from her - as if it is a cup with which she has finished - and replaces it on the shelf. CLOSE SHOT of Helen. HELEN I'm sure I'm being a nuisance. but, Mark, I very much want to. Her voice trails away. CLOSE SHOT of Mark. He is holding out a small package. MARK Happy birthday. HELEN Mark! That's very sweet of you - but really. MARK It is n't much. I do n't know anything about. presents for twenty - one. but I saw it this morning. so. please. HELEN -LRB- gently. -RRB- Thank you. She takes the package, and unwraps it. Inside is a slender brooch HELEN It's beautiful. MARK I like the design. More milk? HELEN More? No, thank you, Mark. and I really appreciate this. I'm going to put it on now. He watches her hold it against her dress. HELEN There? Or there? MARK The first place. HELEN I think so too! CLOSE SHOT of Helen pinning it on. CLOSE SHOT of Mark touching his lapel. CLOSE SHOT of Helen glancing at her watch. CLOSE SHOT of Mark glancing at his. He thinks of the ticking clock in the dark - room. Helen looks up, and sees him. HELEN I am keeping you. MARK No. I promise. HELEN Mark, I'm here for some advice. MARK From me? Please. He looks as if he has just been voted the best cameraman of the year -LRB- unanimously -RRB- - and the two films he directed have both won Oscars -LRB- though Don Jarvis understood them -RRB-. His delighted astonishment is such that she has to smile. HELEN I work in a public library - in the children's section. I'm telling you that to postpone admitting what always embarrasses me. She takes a deep breath. HELEN In my spare time. I write. MARK What's embar. HELEN I write stories for children. but so did Grimm. Hans Andersen. Lewis Carroll. MARK Had any published? HELEN Some short stories. MARK I'd like to read. HELEN I learned today. that my first book. has been accepted! For publication in the spring. MARK But that's wonderful. what's it about? HELEN A magic camera - and what it photographs. CLOSE SHOT of Mark. MARK Whatever made you. think of that? HELEN I'll tell you one day - I promise. MARK Well what does it photograph? HELEN I'll tell you that too - but, Mark. this is the problem. The children who read the book will want to see the pictures the camera takes - but the publishers say they're impossible to photograph, and suggest drawings. but I do n't agree. MARK No - nothing's impossible. HELEN was hoping you'd say that! There must be photographs - however difficult to take - and I was wondering, Mark - if you'd. MARK Oh yes. HELEN discuss it with me. MARK take them. HELEN Mark - I ca n't ask you to do that. They have cancelled his Oscar. HELEN I mean. the publisher's might n't agree. MARK I'd take them. for you. HELEN Yes but. the money. MARK There are some things. which I photograph. for nothing. HELEN I did n't mean to offend you. MARK Offend? CLOSE SHOT of Mark. MARK Helen. if you knew what it meant. for something to happen to me. that I do n't have to make happen. it's like. you've given me a twenty - first birthday. CLOSE SHOT of Helen looking at him. MARK What does your camera photograph? HELEN Mark - I must go. I just wanted to know. if you'd talk it over with me. MARK When please? HELEN That's up to you. MARK Helen. I do n't know much about. dinner out. but would you come with me? HELEN Thank you. MARK Thank you. HELEN When? MARK Oh. HELEN What's the matter? MARK It had better be soon. HELEN Are you going away? MARK Almost for certain! HELEN Oh. well you suggest when. MARK Are you free. tomorrow night? HELEN Yes. MARK I hope I am! HELEN I'll understand if you're not. MARK I'll try to be - I'll try my hardest to be. HELEN Thank you for listening. and for my present. MARK and for mine. They look at each other in silence. HELEN Good night, Mark. -LRB- turning to the door. -RRB- MARK Good night. Helen. He watches her leave, standing very still. Offstage, the time clock explodes. CLOSE SHOT - the excited clock. Mark's hand silences it.","INT. DARK-ROOM - GREEN LIGHT Mark opens the developing tank, lifts out the rack of film, drops it into the fixing bath. He switches light from green to red. CLOSE SHOT - green to red dark - room lamp. Mark lifts the rack of glistening film out of the fixing bath and scans the image. CLOSE SHOT - Mark's face and the tell - tale black and white images. CLOSE SHOT - the film. A pile of trunks. In the darkness we hear a man enquire softly : MAN'S VOICE Looking for a trunk? CLOSE SHOT of a Tall Man with a severe face. He is standing in front of a familiar pile of trunks marked at ` Specially Reduced Prices'. CAMERA PULLS BACK SLOWLY - and WE SEE whom he is addressing. It is Diane. CAMERA PULLS FURTHER BACK and WE SEE that we are in a small theatre watching rushes.","INT. THEATRE IN STUDIO - DAY CAMERA PANS across Baden's disgruntled face. the Chief Cameraman's bored face. the Script Girl's puzzled face. to Diane's expression of rapture as she watches herself on the screen. DIANE -LRB- O.S. -RRB- I'd like to see that one. From Diane's POV WE WATCH the screen. We see the Tall Man -LRB- SHOP ASSISTANT -RRB- reaching for a trunk and laying it on the counter. He opens it with a flourish. Vivian passes across the screen - glances casually at the trunk - and wanders off. BADEN No - no - no - we must get some comedy into this! The Assistant Director nods. BADEN We'll retake it this morning. CAMERA LINGERS for a moment on the screen as Diane -LRB- on - screen -RRB- smiles at the Assistant. DIANE -LRB- she pockets a small item. -RRB- I'll take it. The Assistant bows and closes the trunk. We dissolve to the set itself -","INT. STUDIO - DAY The Assistant is leaning over the counter, listening intently. Diane stands in front of the counter, receiving the attentions of the Make - up Man. Baden's voice is overlaid : BADEN I want some comedy in this scene. CAMERA PULLS BACK The unit is busy preparing for a retake. The studio camera -LRB- and its crew -RRB- are off camera, and we concentrate on Baden briefing his artistes. He is clutching a script as if afraid that opening it might be indecent exposure. BADEN Instead of taking the first trunk you see, I want you, darling. to ask for a blue trunk - and when he brings it to you, to ask for a red one - and when he brings that, to ask for a white one. -LRB- turns to the Assistant. -RRB- And you, Michael. get the trunks one by one - growing more and more fed up - and we'll end on a gag which I'll think of in a minute - all right? DIANE I do n't feel it! BADEN Do n't feel it! Do it! ASSISTANT DIRECTOR -LRB- hastily. -RRB- Positions, everyone! Over Mark's shoulder - behind the camera - WE WATCH the Unit taking up positions. ASSISTANT DIRECTOR Anyone seen Vivian? BADEN Who? ASSISTANT DIRECTOR The red - headed bystander - Viv. BADEN -LRB- impatiently. -RRB- Never mind - I'm cutting her out of this scene. Let's run it. ASSISTANT DIRECTOR -LRB- shouting. -RRB- Quiet, everyone! From Mark's POV WE WATCH the scene being rehearsed. Diane approaches the trunk counter and the Assistant smiles at her. ASSISTANT Can I interest you in a trunk? DIANE Thank you. -LRB- pointing. -RRB- I'd like to see that one. ASSISTANT Certainly, madam. He turns away. She pockets a small item from the counter. He heaves a trunk forward. ASSISTANT DIRECTOR It's beautifully fitted -. -LRB- he opens it. -RRB- She takes a perfunctory glance - DIANE I'd like to see one in red. ASSISTANT Certainly, madam. She pockets another item. He turns and wrestles with another trunk. brings it forward and opens it DIANE do you have one in white? ASSISTANT Certainly, madam. Mark walks away quietly from the back of the Camera Crew. He hurries to the shelf where he keeps his cine - camera and a lunch basket. He reaches for his camera. Diane's voice is overlaid. DIANE -LRB- O.S. -RRB- Do you have one in blue? ASSISTANT -LRB- O.S. -RRB- Certainly, madam. Mark turns towards the rehearsal and raises his cine - camera. WE SEE the Assistant try to lift a blue trunk - and half collapse with the weight of it. CLOSE SHOT of Baden - beaming. The Assistant manages to drag the trunk forward. He leans over it - exhausted - then starts to open it. Mark moves round until Diane's face is in the finder. As the lid of the trunk is opened we can see only her eyes above the rim of the lid. WE HEAR her scream. CLOSE SHOT of Baden - freezing. There is the sound of a body falling to the ground. BADEN The silly bitch! She's fainted in the wrong scene. In the darkness WE HEAR a telephone ringing. and then another. and then another. then they all merge into one big blast. CAMERA TRACKS quickly towards a door marked PUBLICITY DEPARTMENT.","INT. PUBLICITY DEPARTMENT - DAY The Head of publicity has a receiver to his ear. HEAD OF PUBLICITY is this a gag? A girl in a trunk! Who is she? Well, which unit? The walls are closing in? What a break for them! I mean what a heartbreak! -LRB- he is already speaking into another telephone. -RRB- call a press conference. -LRB- he turns to the original telephone. -RRB- I'm on my way down!","EXT. LONDON - DAY A police car. There are two men seated at the back.","INT. POLICE CAR - DAY CHIEF INSPECTOR GREGG is reading a file. A plain - clothes SERGEANT -LRB- MILLER -RRB- is seated next to him. The Sergeant glances at his Chief apprehensively. SERGEANT MILLER Excuse me, Chief. CHIEF INSPECTOR Mm? SERGEANT MILLER We pass my house when we reach the bypass. Would you mind if I drop off for a minute? CHIEF INSPECTOR -LRB- without raising his eyes. -RRB- To collect your kid's autograph book? SERGEANT MILLER Yes, Chief! If the nipper hears where I've been. CHIEF INSPECTOR -LRB- turns to the driver. -RRB- All right, Dawson - anything to help the Sergeant. -LRB- stares down at the folder. -RRB-. and it's about time the Sergeant helped me - we're getting nowhere with this. Over his shoulder WE SEE what he is looking at - it is a photograph of Dora in her furs and finery. SERGEANT What about that man the landlady passed? CHIEF INSPECTOR She could n't describe him - except to say that he was carrying something that she could n't see. SERGEANT That's a help. CLOSE SHOT of the Inspector staring at the folder. CHIEF INSPECTOR Sergeant, I've been on the force thirty odd years. and I have never seen such fear on anyone's face as on this girl's. -LRB- almost to himself. -RRB- What was it she saw? SERGEANT Surely, Chief. a man coming at her - with a sharp weapon. CHIEF INSPECTOR I'm familiar with that kind of terror. This is something new to me. but what? The Sergeant glances at Dora's photograph. CHIEF INSPECTOR now take a look at how we found her. He starts to turn the page A door with a sign on it : CANTEEN CLOSED TODAY. CAMERA TRACKS TOWARDS it.","INT. CANTEEN - DAY Mark is sitting by an open window at the far end of the canteen. His cine - camera and lunch basket are by his side. From Mark's POV WE SEE that the unit -LRB- with the exception of Diane and Baden -RRB- is crowded into the canteen. They have formed themselves into small groups and are talking in whispers. The Assistant Director is standing with his back to the door. A GIRL calls out : GIRL -LRB- O.S. -RRB- How much longer must we wait in here? ASSISTANT DIRECTOR Till the police arrive. D.J.'s orders. Mark glances at a group in the comer. The Trunk Assistant is encircled by eager listeners. ASSISTANT and when she opened that trunk. and I saw what was inside. my dears - I nearly fainted with her -. -LRB- he runs a delicate hand across a delicate forehead. -RRB- and do you know what horrified me most? ASSISTANT DIRECTOR D.J. says not to discuss it. ASSISTANT Any more sauce from D.J. and I shall refuse to sign for seven years! My dears. that poor girl's expression. Mark glances out of the window. From his POV WE SEE a police car driving across the courtyard. Mark watches with great interest - then reaches for his cine - camera. He photographs the police, then puts his cine - camera on to the table and sits back. waiting. CAMERA LINGERS for a moment on the folded tripod.","INT. SET - DAY The set is completely deserted. It is lit by a single lamp. A solitary trunk stands on the counter, its lid closed. WE SEE Don Jarvis enter, followed by the two Policemen. Baden and the Publicity man bring up the rear. Don Jarvis points towards the trunks department. The Chief Inspector nods, then he and the Sergeant approach the counter. Carefully the Inspector raises the lid of the trunk - he looks inside. CLOSE SHOT of the Inspector - over the top of the lid. His expression is mainly one of surprise. CLOSE SHOT of the Sergeant staring into the trunk. He is also surprised - but there is nausea in his face. They look up at almost the same moment. their eyes meet. SERGEANT -LRB- in a whisper. -RRB- Chief, it's exactly the. INSPECTOR I know. -LRB- he closes the trunk quickly. Quietly. -RRB-. do n't say anything. -LRB- he faces Don Jarvis. -RRB- Well, sir. we shall probably have to interview everyone at the studio, so we'd better plan a campaign that wo n't interfere too much with your productions. JARVIS -LRB- warming to him at once. -RRB- Thank you, Chief Inspector. if you knew what even a single day's delay could cost. INSPECTOR Oh, we do sir. -LRB- his eyes are on the trunk. -RRB- CLOSE SHOT of Mark.","INT. CANTEEN - DAY He is looking out of the window - his camera at the ready. Overlaid is the sound of a door opening. the buzz of conversation dies away. We hear Don Jarvis' voice. JARVIS -LRB- O.S. -RRB- If I may have your attention, please. A hand tugs at Mark's elbow. He turns round. The Clapper Boy looks at him waringly. From Mark's POV WE SEE Don Jarvis standing in the doorway - facing a suddenly hushed room. The great man's hands are folded in front of him - JARVIS The police wish to interview each of you individually. after which you will be at liberty to leave. From D.J.'s POV WE SEE the upturned faces - the light from the window falls upon Mark, listening to him with rapt attention. Mark's hands are folded in front of him. JARVIS There will, of course, be no shooting today. but work will be resumed, as usual, tomorrow. with, I hope, all of you present. CLOSE SHOT of Don Jarvis. JARVIS I look to you to give the police your fullest cooperation. -LRB- he turns abruptly and leaves'. -RRB- Sergeant Miller enters with a smile. SERGEANT MILLER Well now. let's get ourselves organized. -LRB- taking a piece of paper from his pocket. -RRB- We do n't want to keep you cooped up in here, so we've worked out a timetable. We'll talk to the artists first, then the technicians in this order. Mark reaches for his cine - camera. A SERIES OF BRIEF SHOTS of the unit being interviewed by the police.","EXT. STUDIO GROUNDS - DAY The Young Extra who spoke to Vivian in the exterior set points excitedly to the wall where Vivian and Mark lay. The Inspector and Sergeant carefully examine both sides of the wall. The Inspector stoops, picks up something with a pair of tweezers and puts it in an envelope. CAMERA PANS. A few passers - by look on from a distance. One of them is watching through his cine - camera.","INT. SMALL OFFICE - DAY The Young Extra who shared Vivian's dressing room is talking to the Chief Inspector and Sergeant. EXTRA she said she did n't want a lift - because she had a call to make locally. CHIEF INSPECTOR Did she say where? EXTRA No, sir. and when I left, she was still in the dressing room. CHIEF INSPECTOR I see. let's have a look at this dressing room, shall we? EXTRA Yes, sir.","INT. PASSAGE IN STUDIO - DAY The Policemen and the Extra are walking away from camera down a passage. A few members of other units pass them by without a glance. One of these -LRB- A GIRL -RRB- smiles into camera. GIRL Hallo, Mark. MARK -LRB- O.S. -RRB- Hallo. The girl walks out of picture. THE CAMERA -LRB- and Mark -RRB- TRACK after the Policemen.","INT. ENTRANCE TO DRESSING ROOM - DAY As the Inspector opens the door of the dressing room, Mark hurries past. He raises his cine - camera and photographs the Sergeant. The Sergeant turns to close the door. He sees Mark. straightens his tie and looks as severe as he can. SERGEANT Hey, I do n't think you ought to do that! MARK Sorry, sir. He hurries down the passage. INSPECTOR -LRB- turning round. -RRB- Do what? SERGEANT Make me famous. Some chap was giving me a screen test The Extra's voice is overlaid - a hint of hysteria in it. EXTRA -LRB- O.S. -RRB- That's where she sat. Inspector. The Inspector turns away, and the Sergeant closes the door.","INT. SMALL OFFICE - DAY The door of the small office opens - and the Chief Cameraman comes out. CAMERA PANS - On a bench at the end of the passage Mark, the Clapper Boy, and a member of the camera - crew are waiting. VOICE And whoever did it must be. CHIEF CAMERAMAN You're next. The Crew - member hurries into the office, and closes the door. The Chief Cameraman wanders off thoughtfully. Mark and the Clapper Boy are left sitting side by side. CLAPPER BOY I've been watching you. MARK Oh? CLAPPER BOY Have you been filming those policemen? MARK Yes, I've a few quite interesting shots of them - it's a chance I never expected! CLAPPER BOY A chance for what? MARK To photograph. an investigation. or as much of it as I can. CLAPPER BOY What on earth for? MARK It will complete a documentary I'm making. CLAPPER BOY documentary? Mark nods. CLAPPER BOY What's it about? MARK I'd rather not tell you till it's finished. And it soon will be. CLAPPER BOY But suppose they catch you? MARK Oh they will - they look very efficient. CLAPPER BOY Do n't you mind? MARK No. CLAPPER BOY But they might confiscate your camera. MARK I'm afraid they will! But by then. I'll have finished with it. CLAPPER BOY I do n't. The door of the small room opens, and the Crew - member comes out. CREW-MEMBER You, Mark? MARK Thanks. He rises slowly. the cine - camera is over his shoulder. CLAPPER BOY Mark, had n't you better leave that with me? MARK No, John. CLAPPER BOY I'd look after it. MARK I'm sure of that - but I'd like to photograph them while they're questioning me. The Clapper Boy looks at him in amazement. MARK I do n't suppose they'll let me. CLAPPER BOY Mark, are you potty? MARK Yes, do you think they'll notice? The Clapper Boy laughs. CLAPPER BOY Do n't get into any trouble for heaven's sake -- I want to discuss that film at the Everyman. MARK Yes. I'd like that. He walks slowly towards the door. The Clapper Boy takes out a copy of Sight and Sound and starts to read it.","INT. SMALL OFFICE - DAY The Inspector is seated at a desk, reading some notes. The Sergeant is seated by the side of the desk, a pile of papers in front of him. There is a gentle knock on the door. The Sergeant glances at a list. SERGEANT Mark Lewis - focus - puller. Whatever that may be? The Inspector nods. SERGEANT Come in. He puts a tick on the list. There is the sound of a door opening. The Inspector looks up. From his POV WE SEE a young man with a camera over his shoulder advancing shyly towards him. INSPECTOR Mr. Lewis? MARK Yes, sir. INSPECTOR I'm Chief Inspector Gregg and this is Sergeant Miller. Grab a chair. The Sergeant glances up. SERGEANT Ah! My photographer. MARK I've brought the camera in case you want to take the film away. He holds out his camera. The Sergeant glances enquiringly at the Inspector. INSPECTOR That's all right, Mr. Lewis - as long as we do n't appear at the Odeon next week in place of the cartoon. Mark smiles. MARK Thank you, sir. INSPECTOR Well now ; have you anything to tell us? MARK Do n't think so, sir. INSPECTOR Did you know the girl? MARK Yes, sir. INSPECTOR How well? MARK Mainly by sight. INSPECTOR When did you see her last? He picks up a pencil -- taps it idly on the desk. MARK Yesterday afternoon - when we broke. INSPECTOR Speak to her? MARK Called out good night - do n't know if she heard? CLOSE SHOT of Mark's fingers. tapping on his knee in time to the pencil. INSPECTOR What did you do then? MARK Took sqme shots, sir - for a film I'm making. INSPECTOR Oh. where? MARK All over the place, sir. it's a documentary. INSPECTOR Anyone with you? MARK No, sir. Just my camera. INSPECTOR What time did you arrive home, Mr. Lewis? MARK About ten. ten - thirty. INSPECTOR Anyone see you? MARK Yes. the people downstairs. INSPECTOR I see. The telephone rings. The Sergeant promptly answers it. SERGEANT Sergeant Miller - Right, I'll tell him. He replaces the receiver, turns to the Inspector. SERGEANT The doctor's finished his examin. The Inspector rises at once. SERGEANT wants to see you - INSPECTOR Right. -LRB- he glances at Mark. -RRB- That'll be all for the moment, Mr. Lewis - thank you. MARK -LRB- he turns to the door. -RRB- Thank you, sir. INSPECTOR Wait a minute. Mark stands very still. INSPECTOR direct me to that set of yours, will you? I'd probably end on location. MARK I'll take you there, sir. -LRB- he opens the door. -RRB- INSPECTOR Thanks. -LRB- he glances at the Sergeant. -RRB- Carry on with the interviews, Sergeant. SERGEANT Yes, sir. From the Sergeant's POV WE SEE Mark turn to go into the passage. The Sergeant stares at the camera on his shoulder. then the door closes. The Sergeant makes a note on a piece of paper.","INT. PASSAGE - DAY The Inspector and Mark walk side by side along the passage. The Clapper Boy comes into view - still reading Sight and Sound. The Clapper Boy glances up - just in time to see the Inspector and Mark walk side by side to the end of the corridor. CLAPPER BOY -LRB- staring after them. -RRB- I warned him to be careful!","INT. ENTRANCE TO SET - DAY A Constable is standing outside the entrance to the set. From his POV WE SEE the Inspector and Mark approach. The Constable stiffens. From Mark's POV WE SEE the Constable barring the entrance. INSPECTOR I think I can find my way now. Mark smiles. INSPECTOR thanks for the escort The Inspector hurries towards the door of the set. The Constable opens it - and the Inspector goes inside. The Constable closes the door - and stands in front of it. Mark turns away quickly.","EXT. COURTYARD - DAY The carpark is jammed with cars - but there is hardly anyone in sight. Mark hurries towards the large sliding doors of Stage E - they are a few feet apart. He looks round carefully, then slips inside.","INT. STAGE E. - DAY Facing Mark is the darkened set of an hotel bedroom. Beyond this is another set - also in darkness - and beyond this yet another. Only in the far comer of the studio - in the furthermost set - is there a light burning. Voices can faintly be heard coming from this set. Mark walks quietly towards a long ladder which leads up to the gantry. Carefully - rung by rung - he starts to climb the ladder. At the top of the ladder is a gallery. Mark moves along the maze of bridges until he is nearly above the Policemen. Mark raises his head cautiously - and looks down. Far below WE CAN SEE the Inspector standing next to the Doctor - a tall, silver haired man - who is peering into an open trunk. Detectives are photographing the set. Mark raises his cine - camera. its gentle purring seems to echo round the studio. CLOSE SHOT of Mark's jacket pocket. A row of pencils is sticking out. As he leans forward the pencils tilt. Through the finder - matte of Mark's camera WE SEE the Inspector - very far away - peering into the trunk and nodding. A faint echo of conversation is overlaid. DOCTOR -LRB- O.S. -RRB- No doubt at all. wounds were caused by the same instrument. Mark changes lens -LRB- and alters the finder to a 75mm lens -RRB-. The Doctor's face - thin and impersonal - appears in the finder over the lid of the trunk. DOCTOR -LRB- O.S. -RRB- both women. subjected to the most violent shock. INSPECTOR -LRB- O.S. -RRB- What sort of shock? DOCTOR still can not determine - but look! He points to something in the trunk - out of the camera's eye - line. CLOSE SHOT of Mark. He balances carefully - then raises the camera above his head. As he leans forward, the pencils fall. WE SEE them shooting like small torpedoes into the darkness below. They make three separate landings. CLOSE SHOT of the Inspector. Looking up. From his POV WE SEE tiers of scaffolding deep in shadow. INSPECTOR Quiet, everyone. Please. The Detectives make as much noise to become quiet as the normal occupants of the studio - and then there is complete silence. Complete, except for the Doctor's asthmatic breathing. And then - so gently that it might almost be in our own minds - WE HEAR a purring sound from the shadows above. The Inspector listens intently. DETECTIVE I thought I heard a putty cat! There is a burst of laughter - the Inspector frowns. INSPECTOR I do n't want to spoil anyone's fun, but we do have a maniac on our hands, and if we do n't get him quickly there'll be a third unsolved murder to report to the Commissioner. So let's hurry things up, shall we? DETECTIVE Sorry, Chief! The ` putty cat' Detective raises his flashlamp towards the trunk counter. In the brilliant flash of light that ensues, we glimpse a shadowy figure moving towards a ladder high in the scaffolding. But then we are looking for it - no one else is. The flashlight dies away. The scene fades with it. CLOSE SHOT of a knitting - needle held upwards. Another knitting - needle scales down it like a fireman descending a ladder. CAMERA PULLS BACK","INT. HELEN S SITTING ROOM - DAY Mrs. Stephens is doing her knitting. The inevitable glass stands on the table beside her. Helen is seated opposite, reading from a newspaper. HELEN she was appearing in Arthur Baden's new film The Walls Are Closing In, starring Diane Ashley. CLOSE SHOT of Mrs. Stephens listening intently. HELEN a spokesman at the studio said that her performance in the film showed such promise, that her role was to have been built up. All work at the studio ceased today as a tribute to her memory! Mrs. Stephens sips from her glass. The Prime Minister to visit Athens. MRS. STEPHENS Mark is in films, is n't he? HELEN Yes, darling. It is reliably. MRS. STEPHENS I wonder if he knew her? CLOSE SHOT of Helen looking up. HELEN I'll ask him tonight. MRS. STEPHENS Is he taking you out? HELEN If he's free. MRS. STEPHENS That's very chivalrous of him. Where's he taking you? HELEN I've no idea - and I do n't suppose he has. MRS. STEPHENS Which studio does he work at? HELEN I'll ask him. MRS. STEPHENS If he's free. Behind her back we see that her fingers are crossed. HELEN I'll bring him in and introduce you if. MRS. STEPHENS I feel I know him. HELEN Now how can you? Mrs. Stephens stiffens suddenly. MRS. STEPHENS He's here. CLOSE SHOT of the window. Mark is standing outside - looking in. MRS. STEPHENS Why do n't we make him a present of the window? He practically lives there! Helen beckons to Mark to come in. We see him nod eagerly - and leave the window. HELEN How did you know where he was standing? MRS. STEPHENS The back of my neck told me. the part that I talk out of! Helen hurries to the door of the sitting room.","INT. HALL - DAY Mark closes the front door behind him. From his POV WE SEE the door of Helen's sitting room open - and she stands on the threshold. HELEN Hallo. MARK Free? HELEN Yes. MARK Good! So am I. HELEN I'd like you to come in for a moment - and meet my mother. MARK Yes, please. She holds open the door. He goes inside. The screen suddenly greys out into the veiled images of Mrs. Stephens' world. We hear Helen's voice. HELEN -LRB- O.S. -RRB- Darling, this is Mark. Mark, my mother. WE HEAR the sound of footsteps shuffling shyly forward - and then Mark's voice, every intake of breath magnified. MARK -LRB- O.S. -RRB- How do you do. Mrs. Stephens. WE HEAR the pounding of someone's heart - and then Mrs. Stephens' voice. MRS. STEPHENS -LRB- O.S. -RRB- Hallo, Mark. As her voice dies away.","INT. HELEN'S SITTING ROOM CLOSE SHOT of Mark's hand clasping Mrs. Stephens'. CLOSE SHOT of Mark looking at her, fascinated. From Mark's POV WE SEE the sightless eyes turned towards his. Mrs. Stephens' other hand gently feels the surface of his. MRS. STEPHENS Have you been running, young man? MARK Yes. -LRB- he hesitates. -RRB-. did n't want to be late for Helen. HELEN Thank you, Mark - You deserve a drink for that! What would you like? MARK Nothing - thank you. very much. Mrs. Stephens grunts, and reaches for her glass. HELEN Darling, I've left your supper in the. MRS. STEPHENS Tell me young man. Which studio do you work at? The screen greys out. WE HEAR Mark's tiny intake of breath. MARK -LRB- O.S. -RRB- Chipperfield Studio. MRS. STEPHENS And that poor girl. where did she work? Someone's heart is pounding fast. HELEN -LRB- O.S. -RRB- At Brookwood. MRS. STEPHENS We were wondering if you knew her? MARK No - No, I did n't. MRS. STEPHENS A pity. I do like first - hand information. We hear Mark's small attempt at a laugh. MRS. STEPHENS Oh, well - I must n't keep you gossiping after you've run all the way from - Where? Again that little intake of breath. MARK The station. Mrs. Stephens and Mark are staring at each other as if she has sight and he has n't. From Helen's POV WE CAN SEE only Mark's back and her mother's upturned face. HELEN Darling, may I tell you about your supper? MRS. STEPHENS No. go and be told about yours! -LRB- she takes Mark's hand. -RRB- Goodbye, Mark. I expect we shall meet again. MARK I hope so - Goodbye. -LRB- He turns to the door. -RRB- CLOSE SHOT of Helen kissing her mother and whispering into her ear. HELEN Darling, we forgot to toss. Mrs. Stephens grunts. HELEN Supper's laid out in the kitchen. MRS. STEPHENS If you're not back early, you'll find me laid out with it! HELEN We'll be early! Good night, darling. MRS. STEPHENS Good night. Mark holds the door open for Helen and she goes into the passage. Mark turns and takes a long look at Mrs. Stephens. She is in the middle of raising her glass. She stops suddenly, the glass poised mid - air. He goes out - closing the door. She finishes her drink as if it is her last.","INT. PASSAGE - DAY Helen is waiting by the door. From her POV WE SEE Mark coming eagerly towards her, his camera over his shoulder. HELEN Mark. MARK Yes, Helen? HELEN I want to ask you something rather personal. He looks at her anxiously. HELEN How long is it since you've gone out without that? MARK Without what? HELEN Your camera. MARK Oh. CLOSE SHOT of Mark. MARK I. do n't think I know? HELEN Exactly. I've never seen you without it. but are you going to need it tonight? He looks at her in silence. HELEN Well are you? And if so. shall I bring some work with me too? MARK I'm not going to need it tonight! HELEN Good - then give it to me! She holds out her hand. He looks at her, appalled. HELEN It'll be quite safe - I'll put it away for you. MARK -LRB- in a whisper. -RRB- No! HELEN Then take it upstairs - if you ca n't trust me with it. CLOSE SHOT of Mark. MARK I trust you. HELEN Then look. She opens the door of her bedroom - and turns on the light. HELEN let's put it in here.","INT. HELEN'S BEDROOM She crosses to a cupboard and unlocks it, then turns round. He is standing hesitantly on the threshold. HELEN Come in - and see for yourself. He looks slowly round the room, stares for a moment at the bed in the comer, but he wo n't cross the threshold. He stays outside. HELEN We'll put it in here - and lock it. MARK This. was my mother's room. HELEN Was it, Mark? Again he stares at the bed. HELEN I am being tactless, are n't I? It's just that. I thought it was growing into an extra limb, and - but you bring it with you if you want to. He takes off his camera - and holds it out to her. HELEN Thank you. She takes it from him, puts it into the cupboard, and locks it. Then offers him the key. MARK You. HELEN Thank you. CLOSE SHOT of Mark. MARK I feel. HELEN Yes? MARK Ca n't describe it! Could only photograph it - She laughs. HELEN Shall I tell you what I feel? MARK Yes. HELEN Famished! MARK Good! They hurry towards the door.","EXT. MARK'S HOUSE - DAY They walk down the steps of the house. MARK There's a small place round the corner. It's awfully good on Christmas Day. HELEN Is it? MARK Yes. there are n't too many open then. HELEN No - it sounds fun. MARK This way. CLOSE SHOT of Mark and Helen walking along by the side of the house. HELEN I adore new restaurants. Suddenly Mark stands motionless. He is staring at something off camera. Especially when - Her voice trails away. she is staring at Mark staring at something. In the shadows, at the mouth of an alley, a young couple are kissing. Mark stands motionless, staring at them. Automatically his hand reaches for his camera. Helen starts to speak - then looks at him in silence. The man glances round. Mark hurries away and Helen stares after him. CLOSE SHOT of Mark. He turns back - waiting for Helen. From his POV WE SEE Helen come slowly towards him. She looks at him searchingly for a long moment. He manages - but only just - to meet her eyes. HELEN Where is this restaurant? MARK Round the corner. MRS. STEPHENS Know much about films? HELEN Come on then. CLOSE SHOT of Mark. MARK Thank you. They walk slowly down the street. CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Sorry, young man, Helen's out. CAMERA PULLS BACK","INT. SITTING ROOM - EVENING Tony is standing unhappily opposite Mrs. Stephens. TONY Oh! MRS. STEPHENS With Mark - from upstairs. TONY Oh! MRS. STEPHENS You can stay and talk to me - if you like? TONY Well I. MRS. STEPHENS Know much about films? TONY Well. MRS. STEPHENS Or film studios? TONY No, I. MRS. STEPHENS Where's Chipperfield Studios? TONY Chipperfield, I suppose. MRS. STEPHENS There's a phone book outside. Look up the number, will you? And see if you can get it. TONY Certainly. and then I must go to my room. MRS. STEPHENS Granted. She lifts her glass, and sits, waiting as he crosses the room.","INT. RESTAURANT - NIGHT A small and very pleasant restaurant, almost full. Helen and Mark have a corner table. They are dining by candlelight, and there is a bottle of wine in the middle of the table. As CAMERA TRACKS TOWARDS them, Helen is laughing. HELEN I like this place! And this dinner! CLOSE SHOT of Mark. He has again won the Academy Award. HELEN thank you, Mark. MARK Are you ready to talk about your book? HELEN I'm ready to talk about you. His face falls. HELEN It wo n't take a second - and it's best to have it said. Mark looks. HELEN Carrying a camera is only one of your habits, is n't it, Mark? He looks at her in silence. CLOSE SHOT of Helen. HELEN when you stared at that couple, you were like the little boy on that film you showed me. looking over the wall at something he should n't see. But Mark - you're strong enough now to lift that child off the wall. are n't you? He hesitates. HELEN are n't you? MARK I'll try to be. HELEN Will you, Mark? Will you really? MARK Yes. HELEN Lecture finished. A pause. MARK When your book's published - will you go on working in a library? HELEN Yes, Mark. in case, one day, a child comes in and asks for it! MARK I'll come in. HELEN I'm not popular with my customers! They ask me for horror comics - and I take their sticky hands and drag them to where there are books! CLOSE SHOT of Helen. HELEN and do you know, Mark, waiting for them to come in next time and ask for books. is as exciting. as a horror comic. MARK What does your magic camera photograph? HELEN People. MARK Yes? HELEN It's owned by a little boy who is terrified of grown - ups. but when he looks in his magic camera he sees grown - ups as they were when they were children. and he is n't frightened any longer. CLOSE SHOT of Mark listening, engrossed. HELEN and one day he gives his camera away to a little boy who is even more frightened of grown - ups than he was - and do you know what he finds? The little boy opposite her shakes his head. HELEN that when he looks at grown - ups without his camera he can still see them as they were when they were children! And that means that he's grown up himself. A moment's pause. She drinks her wine - shy, awaiting his reaction. MARK What made you think of this story? HELEN You did! CLOSE SHOT of Mark. HELEN I looked out of my window - and saw you going off to work carrying that camera like a little boy with a satchel. and an idea came. so thank you. MARK I'd like to think. I was responsible. in some way. HELEN Now what do I do about the photographs? MARK Take'em! He slams the table so violently that a lady nearby looks around. then reaches for his camera. MARK Oh! Helen smiles. MARK There is n't a single face that does n't look like a child's - not a single one - if you catch it at the right moment. He turns around excitedly and sees her watching him. MARK It would be a challenge! Unlike anything I've photographed! HELEN What have you photographed, Mark? MARK Everything. But nothing I'd want children to see. She looks at him curiously. MARK But this would belong to them - and they'd know if it was n't right. Oh, Helen. I would like to find those faces for you. with you. HELEN Very well! Let's try! He laughs excitedly. She looks regretfully at her watch. At once he looks at his. MARK You made a promise to your mother - HELEN -LRB- gently. -RRB- Yes, Mark. MARK You'd better keep it. HELEN Thank you. He signals to the head waiter. and pays his first bill for two.","EXT.STREET - NIGHT They walk along the street very close together, but not quite touching. Above them a light is shining on a blind revealing a shadow of a woman undressing. Mark glances at the blind - then looks away quickly. He stares ahead of him. and continues to stare ahead of him. Suddenly Helen tucks her arm through his, and smiles up at him. they walk on in silence.","INT. HALL OF MARK'S HOUSE - NIGHT Helen and Mark come in quietly, and close the door. She glances round the dimly lit hall. There is no light under any of the doors, except one at the end of the passage. HELEN Mother must have gone to bed. -LRB- she turns to find him looking at her. -RRB- Mark, it was a wonderful evening. MARK That's what I was going to say. a wonderful evening. HELEN -LRB- gently. -RRB- And you made it wonderful. without your camera. A shadow passes over his face. HELEN -LRB- gently. -RRB- I'll get it for you. He stands motionless as she goes into her room. From his POV WE SEE the half - opened door - and the bed in the comer. CLOSE SHOT of Mark forcing himself to look away. Helen reappears on the threshold - the camera in her hand. He looks down at it - then slowly stretches out his hand. HELEN wonder how this sees grown - ups? -LRB- she turns the camera round. -RRB-. me, for instance. now that I am one. -LRB- she looks at herself in the lens. -RRB- MARK Not you! -LRB- he takes the camera from her. -RRB- HELEN Mark. MARK It never will. see you! HELEN Why not? He hesitates. MARK Whatever I photograph - HELEN Yes? MARK I always - lose. HELEN I do n't understand. The door at the end of the passage opens and Tony emerges in his dressing - gown, carrying a towel. He avoids looking at them - goes into the bathroom opposite, and slams the door. HELEN He'll wake Mother! There is the sound of running water. HELEN thank you, again, for my evening. -LRB- she is standing very close to him, smiling up into his face. -RRB- Will you go to bed now - and not stop up watching those films? MARK Well. I've a little work to do. then I'll go to bed. and think of how to find faces for you. He looks down at the face which he has found for himself. She raises her head slowly. MARK faces which - are faces which. She kisses him very gently on the mouth. The bathroom begins to sound like a small waterfall. HELEN Good night, Mark. He watches her as she goes into the room, and doses the door. A light goes on beneath the door. He stands very still for a moment. then turns the camera round and points the lens towards his lips. Then he turns abruptly, and hurries up the stairs. The waterfall cascades on. The screen grows dark - and the dark - room grows out of it.","INT. DARK-ROOM - NIGHT The big drying drum is turning, feeding the dry print into a box. A small motor drives it. CLOSE SHOT of the box. Mark is spooling up the film as it comes off the drier. Once or twice he ca n't help glancing at an image. CLOSE UP of Vivian's face, in the image. Mark stops the motor and the drum, loosens the end of the film, spools up with a snap, slides the spool off and hurries out with it. Mark hurries to his projector, threads the film and starts the projector. He flicks it on, as if it were a gramophone, then looks eagerly at the 16mm screen. Behind him something moves in the shadows REVERSE SHOT of Mark. Over the shoulder of someone who is standing deep in the shadows WE SEE Mark. His head obscures what he is watching on the screen. HE TURNS ROUND SUDDENLY - From Mark's POV WE SEE the processing sinks deep in shadow. He starts to move towards them, then suddenly stares at the shadows at the back of the room. Silence - except for the whirring of the 16mm projector. CLOSE SHOT of Mark's hand - switching on the light. Mark turns round. he is as astonished at what he sees as he can be. CAMERA PANS in its own good time to the back of the room. Mrs. Stephens is standing in the shadows. a heavy hand rests on a heavy stick. the sightless eyes stare unerringly towards the light switch. MRS. STEPHENS Good evening, Mark. MARK how did you? MRS. STEPHENS The young man bathing himself brought me to your door. I managed the rest of the adventure alone. He stands motionless, staring at her standing motionless. Above her head an ancient, half - blind camera also stares at her. The only movement in the room is her smile. MRS. STEPHENS This is one room I expected to find locked. MARK I was never allowed a key., ca n't get used to them. Mrs. Stephens' sightless eyes stare at him. MARK I brought her home early. CLOSE SHOT of her hand - tightening on the heavy stick. MRS. STEPHENS Thank you. MARK Is there something you. MRS. STEPHENS a talk. MARK Next door would be more. MRS. STEPHENS I'm at home here. I visit this room every night. MARK Visit? MRS. STEPHENS The blind always live in the rooms they live under. Mark nods. MRS. STEPHENS Every night you pace for hours above my head! Why? MARK I've no one to talk to. in the rooms I live over. Mrs. Stephens nods. Her hand touches the black cloth loading bag, lying on the table. MRS. STEPHENS I'm told that you stare too much. so do I. CLOSE SHOT of her hand - touching the black cloth bag. CLOSE SHOT of Mark - walking slowly towards her. At once she raises the heavy stick - pointing it towards him. CLOSE SHOT of the stick. It is a shooting stick - with a sharp spike on the end of it, similar to the tripod on Mark's camera. Mark stares at the stick, fascinated. CLOSE SHOT of Mrs. Stephens - exploring the inside of the black cloth bag with her free hand. MRS. STEPHENS Cloth. with something hard inside it. MARK It's a changing bag. we put films in it - so that the light wo n't spoil them. MRS. STEPHENS How odd - that the light can spoil anything. The screen greys out. In Mrs. Stephens' own dark - room we hear the hum of Mark's projector - and the pounding of Mark's heart - and, very faintly, the sounds of Tony bathing himself. MRS. STEPHENS Every night you switch on that film machine. We hear his tiny intake of breath. MRS. STEPHENS What are these films you ca n't wait to look at? The sound of his footsteps softly approaching. Like a chair? MARK -LRB- O.S. -RRB- Like a chair? MRS. STEPHENS -LRB- O.S. -RRB- What is the film you're showing now? Very faintly we hear Tony singing in his bath. The singing dies away, and the sound returns to normal. Over Mark's shoulder WE SEE Mrs. Stephens holding her stick in front of her. MRS. STEPHENS Why do n't you lie to me? I'd never know. MARK You'd know at once - Mrs. Stephens smiles - then turns her head towards the 16mm screen. MRS. STEPHENS Take me to your cinema. MARK Yes. He takes her arm gently and guides her towards us. Both of them stare at the 16mm screen. She leans forward - her face only inches from the screen - the light from the projector flickering on to her. REVERSE ANGLE SHOT of Mrs. Stephens. Slowly she stretches out her hands and touches the screen. MRS. STEPHENS What am I seeing, Mark? Her head and shoulders blot out most of the screen - but between her outspread fingers WE CATCH A GLIMPSE of a girl's terrified eyes. MRS. STEPHENS Why do n't you answer? CLOSE SHOT of Mark and Mrs. Stephens. MARK -LRB- staring at the screen. -RRB- It's no good - I was afraid it would n't be. MRS. STEPHENS What? MARK The lights failed too soon. MRS. STEPHENS -LRB- pause. -RRB- They always do. MARK I'll have to try again. He hurries to his cine - camera. MRS. STEPHENS I've yet to meet an artist who could judge his own work. Mark slips a new spool of film into his cine - camera. MRS. STEPHENS What do you think you've spoiled? MARK An opportunity. now I must find another. He looks at her thoughtfully, then presses a light switch. A spotlight falls blindingly on to her eyes. He presses another switch, and then another, until the whole of her face is shining with light. MRS. STEPHENS Why are you putting those lights on my face? He walks towards her. She starts to back away. The shadow of Mark's head appears on the 16mm screen. WE SEE him raise his camera - then pull down the tripod. Black out into the grey darkness of Mrs. Stephens' world. WE HEAR the purring of Mark's camera - more clearly than we have yet heard it. -LRB- There is the faint rasp of a cog which needs oiling. -RRB- The sound of footsteps approaching. the purring changes direction. MRS. STEPHENS -LRB- O.S. -RRB- Mark. MARK -LRB- O.S. -RRB- It's almost over. The purring is on top of her. There is a sudden thud. Mrs. Stephens is leaning against the wall. she has dropped her heavy stick. It lies on the floor a few feet away from her. Mark is kneeling in front of her - the tripod firmly on the floor. The cine - camera is pointing upwards into her face. He peers excitedly into the viewfinder. MARK Please let me finish! It's for Helen! She edges towards her stick. He hurries forward and picks it up. He looks at the spike on the end of it - then carefully gives it to her by the handle. She grasps it tightly. MRS. STEPHENS What do you mean? It's for Helen? MARK She wants to see something I've photographed! He returns excitedly to his camera. MRS. STEPHENS My daughter sees enough of my face without photographs. On Mark's focusing screen WE SEE the fear on her face. Her hand trembles as she wipes away the perspiration. MARK -LRB- O.S. -RRB- Please. do n't be frightened. MRS. STEPHENS Not frightened! Hot! But it is fear that we are looking at. MRS. STEPHENS So put that camera away. On the focusing screen we see her moisten her lips nervously. MARK Yes! He switches off the camera abruptly, and folds up the tripod. He turns away without looking at her - and hurries to the door. CLOSE SHOT of Mrs. Stephens listening to his movements - puzzled. MRS. STEPHENS In rather a hurry, are n't you? He glances towards her. From his POV WE SEE the fear in her eyes. He looks away at once, staring into the darkened room. MARK It's late. From her POV -LRB- shooting over her shoulder with a large CLOSE SHOT of her ear in the foreground -RRB- WE SEE Mark standing in the doorway - and hear, very clearly, his quick, uneasy breathing. MARK You must be tired. MRS. STEPHENS You're anxious to get rid of me all of a sudden. We hear his quick intake of breath. MRS. STEPHENS I wo n't be selfish. You can take some more pictures - if you want to. MARK No. thank you. MRS. STEPHENS -LRB- quietly. -RRB- Why not, Mark? MARK Run out of film. MRS. STEPHENS Ca n't you find some - to please Helen? He glances towards her - then hurries into the next room. MRS. STEPHENS You do n't trust yourself to take any more, do you?","INT. MARK'S SITTING ROOM - NIGHT The tapping of her stick is overlaid. Mark hurries to the door and opens it - staring into the dimly lit passage. Over his shoulder WE SEE her tapping her way towards him from the dark - room. MRS. STEPHENS Instinct's a wonderful thing, is n't it Mark? A pity it ca n't be photographed. Over her shoulder we follow the stick towards him. MRS. STEPHENS if I'd listened to it years ago, I might have kept my sight. -LRB- she approaches the door. -RRB- I would n't have let a man operate I had no faith in. so I'm listening to it now. -LRB- she puts her face close to him. -RRB- It says all this filming is n't healthy - and that you need help. His face is averted. his eyes are closed. MRS. STEPHENS get it, Mark. get it quickly. and until you've got it. I do n't want you and Helen to see each. MARK I'll never photograph her. I promise you that. MRS. STEPHENS I'd rather you do n't have the chance. He turns towards her - a small boy who suddenly understands what contagious means. MRS. STEPHENS I mean it, Mark. And if you do n't listen to me. one of us will move from this house - which would be a pity, because we'd never find a cheaper. MARK You'll never have to move. because of me. I promise you. MRS. STEPHENS Good boy. -LRB- she takes his hand. -RRB- The stairs are the difficult part. They go into the passage.","INT. PASSAGE - NIGHT He guides her gently down the stairs. Over their shoulders WE CAN SEE the door of Helen's room. MRS. STEPHENS Far enough, Mark. He stares at Helen's room - then looks quickly away. Suddenly she raises her hands - and runs them gently over his face. MARK taking my picture? MRS. STEPHENS Yes. We can see his eyes through her outstretched fingers. MARK It's been a long time. since anyone did. MRS. STEPHENS Mark. what's troubling you? MARK Good night, Mrs. Stephens. He turns away abruptly and hurries up the stairs. MRS. STEPHENS you'll have to! She looks towards Helen's room - then turns slowly towards her own. HIGH ANGLE SHOT of Mrs. Stephens opening the door of her room - and Mark opening the door of his. CLOSE SHOT of a bottle of whisky standing by a bedside.","INT. MRS. STEPHENS' BEDROOM - NIGHT She is lying in bed, staring at the ceiling. WE HEAR footsteps moving overhead. CAMERA PANS to the window. It is dark. CLOSE SHOT of the same bottle of whisky - now almost empty. Mrs. Stephens' heavy breathing is overlaid. CAMERA PANS to the window. It is daybreak. The footsteps are still moving about above ; things are being dragged across the floor. CLOSE SHOT of Helen in a dressing - gown looking out of a window.","INT. HELEN'S ROOM - MORNING From Helen's POV WE SEE Mark hurrying down the street, his camera over his shoulder. CLOSE SHOT of the Inspector looking out of a window.","INT. DON JARVIS' OFFICE. MORNING From his POV WE SEE Mark hurrying along the studio quadrangle, his camera over his shoulder. He is one of a crowd of people scurrying towards their jobs. Camera pulls back - Don Jarvis is seated at his desk. Arthur Baden and the Chief Publicity Man are seated in front of him. The Sergeant stands by the door. JARVIS Have you any suspicions, Chief Inspector? INSPECTOR It could be any of them. SERGEANT That's the trouble with film people - they're all peculiar. -LRB- hastily. -RRB-. present company excepted. He catches a glare from the great man. PUBLICITY MAN Speaking of peculiar people. The Inspector turns round. PUBLICITY MAN We've a psychiatrist coming down today. Dr Rosen - INSPECTOR I know him. PUBLICITY MAN It's pure publicity - and I promise he wo n't do any work. INSPECTOR What will he do? PUBLICITY MAN Get himself photographed. We're telling the press he's here to help the case - and to see if he can spot the murderer. SERGEANT And the best of luck! JARVIS Do you object. Chief Inspector? INSPECTOR No. The Publicity Man sighs with relief. INSPECTOR I'll be frank. I'd welcome anyone's help. I do n't know how this maniac kills - or why he kills - or who he'll kill next, but if he is n't caught quickly. -LRB- he shrugs'. -RRB- BADEN Inspector, have you convinced yourself he's a member of my unit? INSPECTOR No, sir. but a few things seem to point to it. No one outside your unit admits to knowing the girl. There was a trunk all ready for her. and with the risks he was running, I think he'd have to use surroundings he was familiar with. Where is your unit now? BADEN Waiting for me on the set. INSPECTOR I'd like to watch them at their jobs, sir. It may tell me more than a hundred interviews. BADEN But, Inspector, the strain on them is already. JARVIS Come now, Arthur, if that's what the Inspector wants. INSPECTOR I'm afraid it is, sir. now where could I get the best view? BADEN -LRB- sulkily. -RRB- On the dolly. the camera. You can watch everyone and everything from there. including me! INSPECTOR Very well, sir. I'll become a member of your camera crew. BADEN -LRB- to Don Jarvis. -RRB-. if the unions do n't object!","INT. STAGE A member of the camera crew places his cine - camera and lunch bag on a shelf. Snatches of whispered conversations are overlaid. VOICE 1 I hear they're making an arrest today. VOICE 2 hope it's D.J. It's about time they caught up with him! Mark turns round and walks towards the small group of people assembled round the studio camera - CLOSE SHOT of a book entitled The Art of Fly Fishing.","INT. CAR - DAY Through the windscreen WE SEE the entrance to the studio. The driver glances round at his passenger whose face is completely obscured by the book. All WE CAN SEE is a shock of white hair protruding above DRIVER We're there, Doctor. DOCTOR -LRB- to Sergeant on gate. -RRB- Dr Rosen! What a pity. He continues reading. The car enters the studio.","INT. STAGE E. - DAY The -LRB- studio -RRB- camera is ready for a tracking shot. The set is redressed as the Hat Department of the store. The Inspector stands on the dolly, looking round with interest. The Doctor is sitting in a chair watching everything like an excited schoolboy. The Sergeant has positioned himself near the sound crew. Baden walks on to the set, his arm round Diane's shoulder. He is talking to her softly. She keeps her eyes on the floor ; he leads her to the front of the studio camera. BADEN Try it, darling. We'll all be with you. He pats her arm reassuringly. The Chief Cameraman nods to Mark. From the Inspector's POV WE SEE Mark pull a tape measure from the front of the camera and hold it to Diane's forehead. From Mark's POV WE SEE the Inspector watching him over the top of the studio camera. A man with a shock of white hair is also watching him. and the Sergeant stares at him from the other side of the set. The tape measure in Mark's hand remains steady. From the Inspector's POV WE SEE Mark replace the tape measure and take up his position on a small stool by the side of the camera. ASSISTANT DIRECTOR -LRB- shouting. -RRB- Quiet, everyone. Let's run it! The Doctor sneezes violently - and all heads turn towards him. DOCTOR Terribly sorry. In the nervous laughter that follows, the Assistant Cameraman whispers to the Chief Cameraman. ASSISTANT CAMERAMAN That sneezer geezer's a psychiatrist! Heard it on the grapevine. CLOSE SHOT of Mark turning round to look at the Doctor - a hint of hope in his face. CLOSE SHOT of the Inspector following Mark's glance. ASSISTANT DIRECTOR -LRB- shouting. -RRB- All right, everyone - let's run it. Over the Inspector's shoulder WE TRACK towards the rehearsal. WE SEE Mark swing out into space on his stool, turning the handle of the focus - puller. Diane approaches the hat counter. The Assistant smiles at her. DIANE I'd like to see. that one. The Assistant hands her a hat. Diane tries it on. DIANE have you it. in red? ASSISTANT Certainly, madam. DIANE in. red. -LRB- suddenly she covers her face in her hands'. -RRB- I ca n't! I ca n't, Arthur! She bursts into tears and runs off the set. From the Inspector's POV WE SEE Baden whisper to the Assistant Director - then hurry after Diane. ASSISTANT DIRECTOR Ten minutes break, everyone! The unit dissolves into small, chattering groups. The Assistant Director hurries up to the Doctor. ASSISTANT DIRECTOR Can you suggest anything, Doctor? DOCTOR No. It looked jolly interesting to me. ASSISTANT DIRECTOR I mean to help her psychologically. DOCTOR Yes. Give the girl a proper rest. Ten minutes is useless! ASSISTANT DIRECTOR -LRB- hastily. -RRB- Thank you, Doctor. He bustles off and the Doctor is left alone. He glances round thoughtfully. From the Doctor's POV WE SEE the small, chattering groups. Then we see Mark standing a few yards away, watching him. The Doctor smiles at him pleasantly. DOCTOR What's your job? MARK I'm a focus - puller. DOCTOR Oh. so am I, in a way. MARK I was wondering if you knew my father - Professor Lewis. DOCTOR Professor. but of course I knew him. He lectured to me. He looks at Mark with renewed interest. So does the Inspector. From his POV WE SEE Mark and the Doctor talking. The Doctor is fidgeting with his watch chain. Mark fidgets with his jacket button. The Inspector then glances towards the Hat Salesman, who is holding court in the comer. We return to Mark and the Doctor. DOCTOR He was an extraordinary man - quite brilliant! MARK You know what he was interested in before he died? DOCTOR No? Tell me. Mark puts his hands behind his back. MARK I do n't remember what he called it. It was something to do with what causes people to be. peeping Toms. DOCTOR Scoptophilia! That would interest him! A most fertile mind. MARK Scopto? DOCTOR philia. The morbid urge to gaze. Coined since his day. Have you any manuscripts of his which I could? MARK He thought. it could be cured. DOCTOR Usually. Now about his manuscripts - MARK Quickly? DOCTOR The cure? Very quick. A couple of years analysis - three times a week - an hour a time - and it's soon up - rooted. CLOSE SHOT of Mark - his last hope gone. DOCTOR if you've any of his papers on the subject? MARK Yes, Doctor. DOCTOR I'd like to see them - I'll give you my address, young man. From the Sergeant's POV WE SEE the Doctor hand Mark a card, and pat him jovially on the shoulder. The Sergeant edges up to the Inspector. SERGEANT Wonder what all that's about? INSPECTOR We'll find out afterwards. Now, listen. I want you to watch who brings their own lunches. Someone ate homemade cakes and sandwiches by the side of those bushes - and we may get a lead. SERGEANT Right, sir. CAMERA PANS to a shelf in the comer. A lunch basket stands next to a cine - camera. WE HEAR the Assistant Director call out : ASSISTANT DIRECTOR We're stopping at four today - so have a quick lunch, everyone! Back at two sharp! FADE IN on the lunch basket. Overlaid is the noise of the unit dispersing. Mark picks up his camera - then reaches for the lunch basket. An urgent voice whispers behind him. VOICE Hey, Mark! He turns round. The Clapper Boy is standing there. The Clapper Boy glances round carefully. The Inspector and Sergeant are wandering casually towards the door. CLAPPER BOY Ca n't wait to show you this! -LRB- bringing out a small postcard. -RRB- I ought to charge you! He winks at Mark, gives him the postcard. CLOSE SHOT of the postcard. We see Milly's face and naked shoulders framed between Mark's hands. CLAPPER BOY -LRB- O.S. -RRB- You do n't get that in Sight and Sound - Is n't she terrific? Got some more - if you're interested? Mark hands it back. MARK You've given me. an idea. CLAPPER BOY I'll bet I have! Mark turns towards the exit. CLAPPER BOY Hey! Where are you going? MARK Phone - may be my last chance - and. thanks. CLAPPER BOY But your lunch? MARK You have it! He hurries excitedly towards the exit. CLOSE SHOT of the Clapper Boy staring at his photograph. CLAPPER BOY some photograph! Well lit too! He reaches for the lunch basket, then walks towards the exit where the Sergeant is waiting casually.","INT. CAMERA ROOM Mark is talking at a coin - box telephone. MARK Ca n't manage Saturday, sir, but they're letting us off early today! This afternoon - after work - may be my last chance! While Mark is talking he is scribbling on a form. He has some more pennies ready for the coin - box.","INT. NEWSAGENT'S SHOP - DAY MR. PETERS be here at six o'clock. Milly'll be waiting. MARK Six o'clock. MR. PETERS On the dot, Mark, or she'll go. MARK I'll be there, sir. MR. PETERS You'd better be!","INT. CAMERA ROOM Mark rings off. He is smiling. He puts in another 4d -LRB- Four Pence -RRB- and dials a number. His pen is poised over the form he is filling in. MARK Hallo? Is that the Public Library? You have a Miss Helen Stephens employed there? Yes. can you tell me if her name is spelt with a V or a PH, I want to send her a tic - PH? Thank you. We see the form is a last will and testament. I, Mark Lewis, etc., etc., leave, etc., etc., to Miss Helen Ste - ens all my worldly goods, etc.. He fills in PH.","INT. CAMERA ROOM The door bursts open and the Clapper Boy appears. CLAPPER BOY They're waiting! THE SET - DAY CLOSE SHOT of Dr. Rosen smiling. DOCTOR ROSEN He asked if I knew his father. which I did. a brilliant man!","EXT. GROUNDS OF STUDIO - DAY The Inspector and Doctor are standing by the bushes where Mark and Vivian met. INSPECTOR Is that all he wanted? DOCTOR think so. we had a little chat about scoptophilia - and he's going to show me. INSPECTOR About what? DOCTOR Voyeurism. INSPECTOR Eh? DOCTOR What makes people into Peeping Toms, one of his father's subjects, apparently. INSPECTOR -LRB- slowly. -RRB- Peeping Toms. DOCTOR An interesting boy. he has his father's eyes. you do n't suspect him, do you? INSPECTOR I suspect'em all - what about you? DOCTOR I'm interested in that chap with the bald head and hatchet face. there's something on his mind! INSPECTOR No wonder. he's the director! He turns away thoughtfully. CLOSE SHOT of Mark glancing impatiently at his watch.","INT. STUDIO - DAY CLOSE SHOT of Baden glancing at his watch. He whispers to the Assistant Director. ASSISTANT DIRECTOR All right, everyone. This is the last shot. Make it a good one! CAMERA PANS to a comer of the studio. The Inspector and Sergeant stand in the shadows. INSPECTOR -LRB- quietly. -RRB- Got your list, Sergeant? SERGEANT -LRB- he produces if. -RRB- YES, SIR. INSPECTOR I want to see how some of them spend their spare time. SERGEANT Which ones, sir? INSPECTOR Exactly, Sergeant. -LRB- he looks round thoughtfully. -RRB-. which ones? CLOSE SHOT of sign : PUBLIC LIBRARY.","EXT. PUBLIC LIBRARY - DAY LONG SHOT of very modern, glass - walled building. Helen comes out with a manuscript in a parcel under her arm.","EXT. PUBLIC LIBRARY - DAY Mark watches her. Beyond him stands an insignificant - looking man in a raincoat.","EXT. LIBRARY Helen looks at her watch.","EXT. LIBRARY Mark looks at his. INSERT : 5.45.","EXT. LIBRARY Helen hurries homeward.","EXT. LIBRARY Mark slowly turns his back and walks away, gradually gathering speed. The man in the raincoat follows him.","EXT. NEWSAGENT'S SHOP. LATE AFTERNOON Mark hurries towards the shop. ahead of him a street clock stands at just on six. Mark unslings his cine - camera and photographs this clock. then he hurries into the shop. The man in the raincoat walks into camera. He looks at the clock, puzzled, then glances at the newsagent's window. He gazes with interest at Mark's photograph of Milly, then walks thoughtfully down the street. All the clocks in the kingdom chime the hour of six.","INT. NEWSAGENT'S SHOP - LATE AFTERNOON Mr. Peters is behind the counter. MR. PETERS Do n't make a habit of this! MARK I wo n't, sir. MR. PETERS Milly's upstairs. MARK Right, sir. He turns to the door. MR. PETERS I've got to go out. If you finish before I'm back, lock up and put this through the letter - box. -LRB- he holds out a key. -RRB- CLOSE SHOT of Mark staring at the key. MR. PETERS What's the matter? Have n't you ever seen a key before? Mark takes the key. He starts to smile. MR. PETERS The till will be empty - if that's what you're smiling about. Mark turns to the door. MR. PETERS You know what I want now! No fancy stuff. Mark goes into the inner room ; he is still smiling.","EXT. NEWSAGENT'S SHOP - LATE AFTERNOON From the opposite side of the street, we see Mr. Peters locking the door of the shop, and hurrying down the road. The man in the raincoat watches him, puzzled. CLOSE SHOT of Milly - very angry, in a dressing - gown. MILLY You've spoiled my whole evening, you have!","INT. NEWSAGENT'S STUDIO - LATE AFTERNOON Mark closes the door behind him. MARK Sorry, Milly. MILLY What's the idea? MARK I sha n't be here tomorrow. -LRB- he hurries to the window. -RRB- MILLY Why? Going on manoeuvres with the boy scouts? He starts to draw the curtains - and stops suddenly. Over his shoulder WE SEE the man in the raincoat standing on the opposite side of the street. MARK I thought so! Mark raises his cine - camera and carefully photographs the Detective through a chink in the curtains. MILLY Have you gone absolutely. MARK I'm just. completing a documentary. MILLY You're a document and a half, you are. Is it safe to be alone with you? He draws the curtains - and turns round. MILLY might be more fun if it was n't. He turns round and walks slowly - and a little sadly - towards her BLACK OUT : The screen remains dark for a moment. AN HOUR LATER - EARLY EVENING From the Detective's POV, WE SEE the chink of light between the curtains of a window above the newsagent's shop go out. CAMERA TRACKS TOWARDS the door of the shop. Mark comes out, his cine - camera over his shoulder. He has a key in his hand. He closes the door of the shop. then looks at the key. He fits it into the lock - then slips it through the letter - box. He turns and hails a taxi. CLOSE SHOT of the Detective. He looks at the shop, hesitates, decides to follow Mark - hails another cab.","EXT.STREET Mark gets into his taxi. As the driver pulls down the flag. Mrs. Stephens' head falling on to her chest.","INT. MRS. STEPHENS' BEDROOM - EARLY EVENING She is lying in bed - completely drunk - snoring lustily. A hand smooths her forehead. CAMERA PULLS BACK Helen is leaning over the bed. She has her coat on. HELEN Darling. She shakes her mother's shoulders. Mrs. Stephens snores on. HELEN Darling. She shakes her again -- but it is hopeless. Helen pulls the bedclothes round her mother, then turns away. She picks up a large envelope and her handbag, and hurries to the door.","INT. PASSAGE. MARK'S HOUSE - EARLY EVENING Helen walks towards the stairs. The door of Tony's room opens, and he pokes his head round. TONY Hallo. HELEN Hallo, Tony. TONY Where are you going? HELEN To leave something for Mark. TONY You have n't much time for me these days. HELEN Tony. TONY It's all right - I'll be here - if you want me. -LRB- he turns to his room. -RRB-. by the way. your mother was yelling out something before you came in. about Mark photographing her. HELEN Photographing Mother? You must be mistaken! TONY Of course. See you sometime. He goes into his room, closing the door. She stares after him for a moment, then hurries up the stairs.","INT. PASSAGE BY MARK'S ROOM - DAY Helen knocks on the door. HELEN Mark? No answer. She knocks again, then opens the door and goes inside.","INT. MARK'S SITTING ROOM - EARLY EVENING Helen enters and glances towards the door of the dark - room. HELEN Mark? No answer. She looks thoughtfully at the envelope in her hand - then goes in to the dark - room.","INT. MARK'S DARK-ROOM Helen fumbles for a switch. she finds one and presses it. A spotlight falls on Mark's projector, throwing its shadow on to the dazzling white screen. Helen smiles, and walks towards the projector.","EXT. HOUSE - DAY Taxi arrives and Mark gets out.","INT. POLICE PHONE BOOTH - EARLY EVENING DETECTIVE do n't know what to make of it, sir. He went to a library, a solicitor's office, and a newsagent's shop - private photography there, if you ask me. Shall I hang around outside the house, sir? Do n't think so, either. All right, sir, I'll give you the details when I get back. Bye, sir. -LRB- he replaces the receiver. -RRB- CLOSE SHOT of Helen. She is standing by the projector, holding her envelope thoughtfully.","INT. MARK'S DARK-ROOM She smiles suddenly and opens her envelope. She takes out a bound manuscript. We see a label on the manuscript : The Magic Camera by Helen Stephens. She takes a pencil from her pocket, and opens the manuscript. Then she sits at Mark's table and writes a note on the flyleaf. The projector is at her elbow. A telephone by a man's elbow. It rings.","INT. SCOTLAND YARD - EVENING The Chief Inspector snatches up the telephone. CHIEF INSPECTOR Chief Inspector Gregg! What? Put him on the line. Mr. Peters - looking very sick - on the telephone. MR. PETERS went up to look around - found her. CLOSE SHOT of the Chief Inspector. CHIEF INSPECTOR Yes, yes. What's the address? Newsagent's shop? Did you say news? He slams down the receiver, and jumps to his feet.","EXT. ROAD - EVENING An empty taxi cruising down the street. It passes the Detective in the raincoat walking away from Mark's house. CLOSE SHOT of a note on a flyleaf which reads ` From one Magic Camera - which needs the help of Another'.","INT. MARK'S DARK-ROOM - NIGHT Helen closes the manuscript and lays it carefully by the side of the projector. She turns to leave - then looks curiously at the projector. CLOSE SHOT of Helen - hesitating. Like a small girl in front of her mother's make - up box, she touches the projector tentatively, hesitates again, then presses a switch. A beam of light shoots out. We watch Helen's face as she looks at the screen. Nothing seems wrong for a few seconds - then something starts to happen to the comers of her mouth. and then her eyes become locked. and can not stop watching. Some kind of sound comes from the back of her throat. Her hands dig into the table and she tries to stand up. She can not manage it the first time - and keeps on watching, then, like a child waking from a nightmare, she jerks herself away from the table, and stumbles towards the door. CLOSE SHOT of Mark standing there - watching her. CLOSE SHOT of Helen staring at him. again we hear that sound from the back of her throat. He looks away from her at once. MARK Do n't let me see you. frightened. -LRB- he pushes the door wide open. -RRB- Leave! -LRB- he looks at her - then looks quickly away. -RRB- Hurry, Helen! HELEN Not. MARK Leave! HELEN Not. -LRB- she turns away from him and forces the words out. -RRB-. till I know. MARK Now! She stands with her back to him. From REVERSE ANGLE we see her struggling for breath. Over her shoulder WE SEE him staring at the 16mm screen. HELEN That film. Over her shoulder we see him hurry towards the projector. HELEN That film. The sound of him switching it off. HELEN is. just a film. She wheels round towards him. HELEN is n't it? From REVERSE ANGLE we see her looking at him. HELEN horrible. horrible. but. just a film. is n't it? CLOSE SHOT of Mark. MARK No. -LRB- he walks towards the door. -RRB- I killed them. -LRB- he locks the door with a hint of sadness. -RRB- And now that you know. I want you with me. a while. CLOSE SHOT of Helen -- not enough breath to scream. hardly enough to breathe. MARK You'll be safe - as long as I ca n't see you frightened - so stand in the shadows, Helen. please. She stands motionless. MARK please. From her POV WE SEE him standing in front of the door, looking ahead of him. She backs slowly away into the shadows at the back of the room. HELEN She's right. your mother. must tell someone everything. sorry. has to be you! CLOSE SHOT of Helen standing in the shadows where her mother stood. HELEN This was his laboratory. and you know some of what he did. but not all. The room is suddenly filled with the terrified screaming of a small boy. Helen wheels round. The screaming seems to be coming from the walls. Mark's hand is on a switch - one of a number on a panel. MARK aged five. He presses another switch. There is a click, and the screaming stops, to be replaced by a low sobbing. MARK aged seven. He presses another switch. There is a moment's silence. MARK All the rooms were wired for sound. and. still are. WE SUDDENLY HEAR the ticking of a clock. MARK Your room. CLOSE SHOT of Helen - listening. MARK Your mother's. The click of a switch - and we hear a loud snoring. MARK Tony's. The click of a switch - and we hear Tony's voice. TONY -LRB- O.S. -RRB- No one will come in. honestly, darling. GIRL'S VOICE -LRB- O.S. -RRB- I do n't care! TONY But darling. GIRL'S VOICE -LRB- O.S. -RRB- Stop it, Tony! Mark listens with interest. HELEN -LRB- quietly. -RRB- Turn it off! He does so - at once. She walks towards him. He turns away from her. HELEN Look at me, Mark! MARK Not if you're frightened. HELEN Look at me! Slowly he faces her. HELEN What did you do. to those girls? MARK No. HELEN What did you do, Mark? He tries to turn away - but she follows him. HELEN If you want to torment me. for the rest of my life. then make me imagine! CLOSE SHOT of Mark - his eyes closed. HELEN What did you do. to those girls? MARK Ca n't. HELEN Show me, Mark. MARK But if you're frightened. HELEN Show me - or I'll remain frightened. for the rest of my life. Show me! He turns to his cine - camera, and picks it up. He releases the tripod. CAMERA HOLDS on Helen. She stands very still against the wall. Mark's voice is overlaid. MARK -LRB- O.S. -RRB- Do you know. what the most frightening thing in the world is? She is looking at something, puzzled. MARK It's fear. The sound of his footsteps approaching. MARK So I did something. very simple. WE SEE a look of fear spring into her eyes. MARK Very simple. WE SEE the spike approaching her throat. but she is looking at something else. MARK When they felt the spike. touching their throats. and knew I was going to kill them. The spike is touching her throat. MARK I made them - watch their own deaths! CLOSE SHOT of Helen's face several times its natural size. She is looking at herself in a large circular magnifying mirror which has been fitted over the camera's face. The mirror entirely obscures both Mark and the camera. There is a small hole in the mirror through which the lens of the camera winks. As Helen looks at her terrified distorted face this small hole gives her an extra eye in the middle of her forehead. MARK Made them see their own terror as the spike went in. and if death has a face, they saw that too! CLOSE SHOT of Mark - crouching behind the mirror, sweat pouring down his forehead. his finger on the trigger of the camera. MARK Not you! Not you! I'll never photograph you! I promised - I promised - Not you! Helen's eyes are closed. The spike is still touching her throat. CLOSE SHOT of Mark -- his face turned away from the viewfinder. HELEN frightened. for you. There's the sound of a car pulling up. He hurries to the other room.","EXT. HOUSE - NIGHT The Police arrive : three cars. Mark appears at an upstairs window with his camera. SERGEANT Look out! He thinks Mark has a gun. They all duck. Mark raises his camera and photographs them. The Police recover and charge for the house. Mark disappears.","INT. DARK-ROOM - NIGHT Mark hurries back into the room carrying his camera. He knows exactly what he has to do. HELEN Mark! Mark! Give yourself up! MARK I've been ready for this. for such a long time. Rapidly he fixes his camera on to a hook on the wall. Then he adjusts the tripod so that the spikes protrude towards him. HELEN What are you. MARK It'll be all right. He makes chalk marks on the floor in front of the camera, then switches on all the floodlights. WE CAN HEAR the Policemen pounding on the door. MARK I can beat that! He crosses to a switch - presses it. The room is filled with a small boy's screaming. HELEN Give yourself up. Mark! He stands next to her, and looks at his long array of cameras. WE SEE that each one of them has been fitted with a small metal disc -LRB- a delayed release -RRB-, and that some of the older cameras have flashlights attached. MARK Watch them, Helen. Watch them say goodbye - one by one -. -LRB- he presses a master switch on the wait. -RRB- I've timed this. so often. Slowly he walks past his cameras. As he does, the metallic disc on each one explodes with a little plop - and the eye of each camera winks once as if in salute. Some go off with flashlights on either side of the room. The sound of footsteps hurrying up the stairs. Ahead of Mark - coming steadily closer -- are the spikes of the tripod. The mirror on the cine - camera reflects the approach - and Helen's terrified face. HELEN No - No! The child's screaming reaches its peak as Mark approaches the spikes. Ahead of him, on the small table where his projector stands, is Helen's book The Magic Camera. MARK I wish. I could have found your faces for you. The Policemen are now rattling on the dark - room door. MARK Helen - I'm afraid! We see his face, terrified, in the magnifying mirror. The spikes are against his throat. The eye of the camera is winking rapidly. MARK I'm glad I'm afraid! Heavy shoulders are pressing against the dark - room door. as it breaks in, Mark lunges forward against the spikes. The cine - camera is wrenched away from the wall as he falls back. He crashes against the small table, which falls over. He is not parted from his camera - it is fixed to him by the tripod, and falls back with him, covering his face like a canopy. WE SEE his face in the lens of the cine - camera. and WE SEE his hand - lying limp on the cover of The Magic Camera. The Policemen hurry into the room. They stare motionless at what they see. CLOSE SHOT of Helen - her face buried in her hands. The child's screaming stops suddenly. and in the absolute silence which follows WE HEAR the voice of Mark's father : FATHER'S VOICE -LRB- O.S. -RRB- Do n't be a silly boy. there's nothing to be afraid of. And a small voice answers. CHILD'S VOICE -LRB- O.S. -RRB- Good night, Daddy. The spotlights begin to dim. The dazzling white of the 16mm screen fades slowly into greyness. The room is filled with the gentle breathing of a small child. THE END"],"string":"[\n \"PEEPING TOM The screen remains dark for a moment. In the darkness WE HEAR the film's THEME MUSIC - a gentle whirring purring noise. Nothing to be alarmed about. It might be a small contented motor.\",\n \"EXT. A DESERTED STREET - NIGHT LONG SHOT of the solitary figure of a WOMAN standing professionally alone at the end of the street. It is a bright, still night. We can HEAR the Woman whistling ` Stardust' merrily to herself. CAMERA TRACKS around her. A Man's footsteps are overlaid. We HEAR the Man start to whistle ` Stardust' under his breath - haltingly at first, then in time with the Woman. As we approach, she glances at us over her shoulder - then turns round for a better look. Her whistling stops - so, at the same moment, does the man's. CLOSE SHOT of DORA - a plump, attractive brunette - still young enough to need two glances at the customers. She smiles at us - and is pleased with the reception. She hesitates for a long moment, weighing us up carefully. and then - half defiantly, half expecting to be laughed at. DORA It'll be two quid. Evidently we have two quid. She beams with relief - throws her fur over her shoulders, jerks her head towards the right - and sets off. CAMERA TRACKS after her. Overlaid is the sound of the man's footsteps. Dora resumes her whistling. So, under his breath, does the man who is following her.\",\n \"EXT. A DESERTED STREET - NIGHT A wider street than the last - but just as empty. Dora sways her way towards a small house. CAMERA FOLLOWS at a respectful distance. CAMERA PANS from Dora's hips to an overflowing dustbin. CLOSE SHOT of a man's hand throwing something into the dustbin. It is an empty packet marked Kodak Film. CAMERA PANS to Dora's house. It stands next to a chemist shop. Dora climbs the few steps which lead to her front door - glances round at us encouragingly - then unlocks the door.\",\n \"INT. HALLWAY OF DORA'S HOUSE - NIGHT She switches on a light - and hurries up a flight of stairs. CAMERA TRACKS after her. She changes her tune to ` Goodnight Sweetheart'. and so - under his breath - does the Man who is following her. A woman with hair like a two - toned car comes down the stairs, winks at Dora - looks at us for a moment with great curiosity. winks. then passes out of camera. Dora reaches the landing - we are close behind her.\",\n \"INT. LANDING OF DORA'S HOUSE - NIGHT Dora unlocks the door of her room - and goes inside.\",\n \"INT. DORA'S ROOM - NIGHT She switches on the light, throws her fur onto a chair, lights the gas fire then turns round. CLOSE SHOT of Dora. She holds out her hand - smiling. And suddenly. There is a gentle whirring purring sound. CAMERA HOLDS ON Dora - she is staring at something with great curiosity. It turns quickly to bewilderment - and the bewilderment to fear. She steps back from CAMERA - but CAMERA wo n't have it. Dora is now staring at something in horror - she opens her mouth to scream - a shadow falls across her face. The sound purrs on. BLACK AND WHITE FILM SEQUENCE The solitary figure of Dora standing professionally alone at the end of a street. WE SEE her turn towards CAMERA - and smile at us. We are watching her on a 16mm screen - projected in BLACK AND WHITE. CAMERA PULLS BACK to show the surround in natural colour.\",\n \"INT. MARK'S ROOM - NIGHT A darkened room in natural COLOUR. The movie screen images are in BLACK AND WHITE. We can SEE the back of a Man's head as he bends intently over a projector. He is watching Dora on the screen. He is breathing quickly. We see Dora's hips waggling their way home. The Man raises his head, so that we can not see the screen. When he lowers it again, we see the Woman with the two - toned hair winking at Dora. then we see Dora throwing her fur onto a chair - and turning towards us. WE SEE her staring at something in bewilderment. then backing away from CAMERA in fear. WE HEAR the Man breathing as if at the end of a very long race. As Dora opens her mouth to scream, and a shadow falls across her face - the title : PEEPING TOM. Blots out what is happening to her. OTHER CREDITS FOLLOW. behind them we can see Dora's hands pushing something away. Before the DIRECTOR'S CREDIT :\",\n \"EXT. A PARK - NIGHT It is very dark. CLOSE SHOT of a stack of deck chairs. Two forms behind it - a MAN'S and a WOMAN'S. They are intertwined and motionless. suddenly a brilliant shaft of light is trained onto them. Overlaid is a gentle, whirring sound. CAMERA PANS quickly to a nearby tree. CLOSE SHOT of the lens of a cine - camera - the motor purring. a blinding spotlight. CAMERA PANS to the couple - the whirring of the camera is overlaid. The Man leaps up - shielding his eyes against the light. He advances towards the tree. MAN Hey, you peeping. The spotlight goes out. There is the sound of footsteps running away -- and the night is at peace again. And now WE SEE who DIRECTED the picture. LONG SHOT. AMBULANCE - DAY It is standing in the roadway outside Dora's house. WE SEE it through the finder of a small cine - camera.\",\n \"EXT. STREETS BY DORA'S HOUSE - DAY A crowd has gathered outside the house - and we are watching them from a corner of the street -LRB- ALWAYS THROUGH THE FINDER - MATTE -RRB-. WE SEE several Policemen holding back the crowd as two Ambulance Men hurry into the house, carrying an empty stretcher. Gentle, whirring sound is overlaid. WE SEE children staring curiously into the empty ambulance - and a group of Women talking excitedly to a Reporter. CLOSE SHOT of a SMALL MAN looking at us curiously as he approaches -LRB- FILLING THE SCREEN WITHIN THE MATTE -RRB-. SMALL MAN What paper are you from? The finder is lowered. CLOSE SHOT of a Young Man -LRB- MARK -RRB- sighting a cine - camera. He lowers the camera - and turns politely to his interrogator. He seems to have slight difficulty informing his words. MARK I beg your pardon? SMALL MAN What paper are you from? Mark smiles at him pleasantly. MARK The Observer. The Ambulance Men come out of the house carrying the stretcher. there is a body on it covered by a sheet. Mark raises his cine - camera and photographs them. He photographs the ambulance as it drives off. He photographs the Policemen dispersing the crowd. He photographs his Interrogator, who gladly poses for him. Then he slings his camera over his shoulder, and strolls away. CLOSE SHOT of Dora, smiling happily. Her photograph is on the front page of a newspaper. Above it is a caption : BRUTALLY MURDERED. CAMERA PULLS BACK - to show sexy magazines alongside the newspaper.\",\n \"EXT. A NEWSAGENT'S SHOP - DAY Mark is staring at a newspaper in the window of a small newsagent's shop. He glances distastefully at an array of film magazines - showing actresses showing everything - then hurries into the shop.\",\n \"INT. NEWSAGENT'S SHOP - DAY A plump, bald - headed Man stares at Mark. MR. PETERS You're late! MARK Sorry, sir. He turns towards a small door at the end of the shop. MR. PETERS -LRB- quietly. -RRB- Hold on, Mark. Mark turns round. Mr. Peters hesitates, drumming his fingers on the counter. CLOSE SHOT of Mark. He starts to drum his fingers on a shelf. MR. PETERS Mark. I've a question for you. He stops drumming his fingers. So, at that moment, does Mark. MR. PETERS Which magazines sell the most copies? MARK Those with girls on the front covers - and no front covers on the girls. MR. PETERS Exactly! And it's just the same with the work you do for me. Overlaid is the sound of the door opening. MR. PETERS Look busy. Mark busies himself sorting some newspapers. A whole row of Doras smile up at him. CAMERA PANS to doorway of the shop. An ELDERLY GENTLEMAN is standing there. ELDERLY GENTLEMAN The Times, please. MR. PETERS Certainly, sir. ELDERLY GENTLEMAN And The Telegraph. MR. PETERS Certainly, sir - anything else? The Elderly Gentleman hesitates - glancing at Mark's back. Then : ELDERLY GENTLEMAN I. er. have been told by a friend that you. er. have some views for sale? MR. PETERS What sort of views, sir? ELDERLY GENTLEMAN Well, er. MR. PETERS This sort, sir? From under the counter he produces a thick book. Mark turns round. From his POV WE SEE the Elderly Gentleman open the book. He - er - seems - er - more than a little interested. ELDERLY GENTLEMAN I, er. how much each? MR. PETERS Five shillings, sir. ELDERLY GENTLEMAN I'll take this one. and, er. this one. and, er. how much would the lot be? MR. PETERS To you - five pounds, sir. The Elderly Gentleman hesitates. Mr. Peters turns over a page. and the Elderly Gentleman almost turns over with it. MR. PETERS Tell you what, sir. Four pounds ten - and I'll throw in The Times and Telegraph. how's that? ELDERLY GENTLEMAN Well, er. thank you very much. MR. PETERS Let me wrap it for you, sir. He puts it in a wrapper which says ` Educational Books'. MR. PETERS Shall I put you on our mailing list? ELDERLY GENTLEMAN Oh no! But I'll look in again. MR. PETERS By all means, sir. He holds open the door for the Elderly Gentleman, and watches him leave. MR. PETERS He wo n't be doing the crossword tonight! He turns triumphantly to Mark. MR. PETERS -LRB- counting out money from wallet. -RRB- Those pictures he chose. were all yours! -LRB- handing notes. -RRB- This is yours! Mark pockets them without counting them. CLOSE SHOT of Mark. MR. PETERS -LRB- in a very different tone. -RRB- And this is yours too. He picks up a postcard - holds it towards Mark. MR. PETERS And that's what I want to talk to you about. It's a clever picture - because you're a clever lad. but, Mark. -LRB- pathetically. -RRB- It's all face. Mark looks at the postcard in silence. MR. PETERS I do n't want to hurt your feelings, son - but if people want the Mona Lisa they go to the National Gallery. MARK The Louvre. MR. PETERS Well, wherever they go, they do n't come here. so no more of this fancy stuff. He pats Mark's arm. MR. PETERS now get upstairs - the girls are waiting. and so is a bonus if you give me what I want. MARK Thank you, sir. MR. PETERS -LRB- amused. -RRB- What do you do with all your money? MARK Buy cameras. He opens a door at the far end of the room. We catch a glimpse of a winding staircase. He starts to climb it.\",\n \"INT. REAR OF NEWSAGENT'S SHOP - DAY At the top of the staircase is a door. Mark and his camera trudge towards it. The door opens suddenly. A vivacious young redhead - Milly - pokes her head round. She has a towel round her shoulders. MILLY Well look who's here! Cecil Beaton! From REVERSE ANGLE WE SEE Mark venture a shy smile at Milly. Milly opens the door impatiently. MILLY Come on, sonny. make us famous. Through the half - open door we catch a glimpse of a second Girl -LRB- LORRAINE -RRB-. She is staring out of a window, her back to camera. She is naked except for a shawl draped round her shoulders. Mark enters the room. the door begins to close. CAMERA TRACKS towards the door. On the threshold of the room, a hood is thrown over our faces. THE SCREEN BLACKS OUT. In the darkness WE HEAR Milly's voice. MILLY -LRB- O.S. -RRB- Did you read about that girl who was murdered last night?\",\n \"INT. STUDIO ABOVE NEWSAGENT'S - DAY We are with Mark under the hood of an antiquated camera. Through the ground - glass of the camera WE SEE a SMALL INVERTED IMAGE of Milly. MILLY -LRB- O.S. -RRB- The same thing nearly happened to me! We hear Lorraine's voice - muffled, and very far away. LORRAINE -LRB- O.S. -RRB- When? MILLY -LRB- O.S. -RRB- Last night! I went out with my boyfriend. We're getting married next month. trouble was my fiance saw us. The SMALL INVERTED IMAGE of Milly peers anxiously into the camera. MILLY can you fix it so the bruises do n't show? The ground - glass camera begins travelling slowly down Milly's back. CLOSE SHOT of Milly. She is on a couch, lying on her stomach at a slightly oblique angle. All that WE CAN SEE are her face and naked shoulders. From Milly's POV WE SEE Mark under the hood of an antiquated camera. MILLY Well, can you? Mark's voice is MUFFLED under the hood. MARK think so, Milly. MILLY Then be quick about it, sonny! I'm freezing. CLOSE SHOT of her naked toes. They start to wriggle. CLOSE SHOT of Mark's toes - in sandals, next to the tripod of the camera. They start to wriggle. CLOSE SHOT of Lorraine. We watch her in profile as she stares out of the window - clutching her shawl. She has outstandingly beautiful features. CLOSE SHOT of Mark. He is standing by the side of the camera, studying us thoughtfully. He is holding a remote - control switch panel in his hand. He clicks off several lights and then switches several others on. then he ducks back under the hood. MILLY There he goes again! What have you got under there? A girlfriend? We join Mark under the hood. WE SEE a small INVERTED IMAGE of Milly on the ground - glass. Her shoulders are now white and glistening, her spine caressed by shadows. She is staring into the camera. MILLY I suppose you have a girlfriend? He adjusts the focus. We can see more clearly the contempt on Milly's face. MARK No, Milly. MILLY Hear that, Lorraine? He's available. From Milly's POV WE SEE Mark come round to the front of the camera, and insert a dark slide. MARK Raise your head, please - and look at the sea. MILLY -LRB- O.S. -RRB- What sea? Mark presses a rubber bulb - the shutter clicks. MILLY What sea? Mark inserts another dark slide. MARK I just wanted that puzzled look. MILLY -LRB- O.S. -RRB- Oh, did you? Well if you want it again, I'll think of you! CAMERA PULLS BACK from Milly's viewpoint, WE SEE Mark holding the rubber bulb. cine - camera is on a ledge behind him. MILLY You're a puzzle and a half. Mark presses the rubber bulb - the shutters click. MILLY This is a spare time job for you, is n't it? MARK Yes, Milly. He inserts another slide. MILLY Well, what do you do for a living? MARK Take pictures. He presses the bulb - the shutters click. MILLY This sort? MARK No, Milly. He inserts another slide. MILLY Do n't you like this sort? MARK No, Milly. He presses the bulb - the shutters click. MILLY Well what sort do you like? Mark looks at her thoughtfully for a long moment. MARK I may show you - one day. MILLY That'll be a treat, I'm sure. Mark smiles at her shyly. MARK That's all, Milly. MILLY Oh no, sonny! Now take one I can show my mother. Mark inserts another slide. MARK Think of her then. There is a gentle KNOCK at the door, and Mr. Peters enters. He carries a tray of coffee. He keeps his eyes modestly lowered. MR. PETERS On the house. He lays the tray on a table, still keeping his eyes lowered, and goes out. MILLY Some house! Hope it falls on his ruddy earhole! She glances over her shoulder. MILLY It's your turn now, love. CLOSE SHOT of Lorraine staring out of the window. She stiffens. Milly's voice is overlaid. MILLY -LRB- O.S. -RRB- -LRB- in a whisper. -RRB-. it's her first time. Lorraine clutches her shawl tightly. MILLY Come on, love. Do n't be shy. Lorraine turns round. The left side of her face is classical in its beauty. She has a hare lip, which twists and distorts the whole of the right side. Her eyes are large - and beautiful - and defiant. CLOSE SHOT of Mark looking at her. CLOSE SHOT of Lorraine. LORRAINE He said. you need n't photograph my face! CLOSE SHOT of Mark. MARK I want to. CLOSE SHOT of Lorraine. Beautiful in profile. LORRAINE I suppose you'll fix my bruises too? MARK I want to. MILLY What about the customers? CLOSE SHOT of the shawl round Lorraine's shoulders. CLOSE SHOT of Mark. MARK You need n't be shy. of me. it's my first time too. CLOSE SHOT of Lorraine's eyes - puzzled. LORRAINE Yours? MARK In front of eyes. like. He tries to go on - but words are a foreign language to him. MARK eyes. as full of. In a sudden rush : MARK Lorraine - let my camera tell you. CLOSE SHOT of Lorraine standing very still -- looking at him in silence. Milly shrugs and reaches for the coffee pot. Overlaid is the gentle purring of a cine - camera. CAMERA LINGERS on the dark liquid being poured into a cup. Whisky being poured into a glass. CAMERA PULLS BACK\",\n \"INT. HELEN'S SITTING ROOM - EVENING - TOWARDS SUNSET The hand filling the glass is a woman's -LRB- MRS. STEPHENS -RRB-. She is sitting in a high - backed chair, and we can not see her face. Over her shoulder we watch a party in progress. A group of Young people have surrounded someone to whom they are singing : YOUNG PEOPLE -LRB- singing. -RRB- Happy birthday to you, Happy birthday to you, CAMERA TRACKS towards them. CLOSE SHOT of TONY HUNTER, a well - built youngster in his middle twenties. TONY Happy birthday. dear Helen He obviously means it. TONY happy birthday to you. CLOSE SHOT of ` dear HELEN'. A sensitive, intelligent, and extremely attractive girl, who -- as the encircling youngsters now inform us in song - is : YOUNG PEOPLE Twenty - one today, She's twenty - one today, She's got the key of the door, She's never been twenty - one before. CLOSE SHOT of the glass by Mrs. Stephens' side. It is half empty. An elderly lady leans across to her. She is Mrs. Partridge, slightly high on a glass of sherry. MRS. PARTRIDGE You must be very proud of your daughter, Mrs. Stephens. Mrs. Stephens grunts. Someone switches on a gramophone and the young couples start dancing at once. Tony hurries up to Helen. TONY May I? Helen goes towards him. A YOUNG MAN calls out sharply : YOUNG MAN Look! He is pointing at something out of camera. All heads - except Mrs. Stephens' - follow the direction of his gaze. Mrs. Stephens continues to sit motionless in the high - backed chair. CAMERA PANS to the window. Mark is standing there. CLOSE SHOT of Helen looking at Mark. We watch him over her shoulder - Tony's arm encircling it. TONY -LRB- O.S. -RRB- It's that chap from upstairs.\",\n \"EXT. MARK'S HOUSE - EVENING - LOW SUN The chap from upstairs presses his face to the window. From his POV WE SEE Helen's eyes looking at him - the key of the door in them - looking at him, not staring. Suddenly the rest comes into focus - Tony's arm around Helen's shoulder. the high - backed chair in the foreground with the back of that motionless head. a young couple giggling as they stare at him. Mark steps away, and the CAMERA PULLS BACK with him. We catch a glimpse of the house - large, sprawling, but with a touch of quality about it, in a quiet, unpretentious street. Mark hurries towards a side entrance.\",\n \"INT. HELEN'S SITTING ROOM - EVENING CLOSE SHOT of Helen looking at the empty window. HELEN I'll ask him in. CLOSE SHOT of Tony - frowning. CAMERA PANS to Mrs. Stephens' glass. the hand which refills it has begun to tremble.\",\n \"INT. REAR OF HOUSE - NIGHT The lights are on. WE FOLLOW Mark -LRB- and his camera -RRB- along a small passage which leads to the hall. The sound of a dance record can be heard. Mark starts to whistle it under his breath.\",\n \"INT. HALL - NIGHT Over his shoulder we see a staircase, and beyond it the door of Helen's sitting room. The sound of Helen's party fills the hall. Mark reaches the staircase. There is the sound of a door opening. Helen's voice is overlaid : HELEN -LRB- O.S. -RRB- Excuse me! Mark hesitates, then turns round. CLOSE SHOT of Helen - smiling at him. HELEN I do n't know how many times we've passed each other on the stairs? Mark looks at her as if he does. HELEN but tonight I'm determined at least to say hello to you! So hello! Her directness is natural, consistent and very hard to resist. CLOSE SHOT of Mark - smiling. HELEN I'm Helen Stephens. She glances with unconcealed interest at the camera over his shoulder. HELEN I'm having a party - and the other tenants are there. And a few friends. We'd like you to join us. MARK Mark. HELEN Pardon? MARK I'm Mark. HELEN Hallo, Mark. She holds out her hand. he takes it gently. HELEN Please come in. you'll meet the others who live here, and. MARK Thank you, but. work. HELEN Oh. She glances again at his camera. HELEN Well, I hope to keep it going for hours yet. so when you've finished why not look in? She realizes that this is not the happiest of phrases. HELEN Mark? He hesitates. CAMERA PANS to Helen's door. Tony stands there. TONY Darling, your cake - everyone's waiting. CLOSE SHOT of Mark - looking at her. MARK Thank you. He turns away. MARK Happy Birthday. He hurries up the stairs. CLOSE SHOT of Helen. She stares after him for a moment. Then returns thoughtfully to her party. The screen remains dark for a moment. We are with Mark in a darkened room. He is giving a film show - and we are the screen.\",\n \"INT. MARK'S DARK-ROOM - NIGHT His cine - projector points straight at us. A flickering light shines in our eyes. We can see him crouching behind the projector. Mark leans forward, watching the screen intently. Perspiration trickles down his forehead. He is breathing very quickly. The sounds of the party seep up from downstairs - music, laughter, and a Girl's yelp. There is a knock on the door. Mark does not hear it. CAMERA PANS to the door of the room. It is blacked - out like a photographic dark - room. The knock is repeated. CLOSE SHOT of Mark. He switches off the projector instantly. CAMERA PANS to an open cupboard in the corner. CLOSE SHOT of the shelves. They are stacked with spools of film. CAMERA travels slowly over these spools. WE SEE Mark's hand add two more to the collection ; his Voice is overlaid. MARK -LRB- O.S. -RRB- minute. He closes the cupboard door.\",\n \"INT. MARK'S SITTING ROOM - NIGHT Mark comes out of the dark - room behind him - the light is kept out by a baffle and a curtain. He has a pleasant, normally untidy bedsitting room. He wipes his handkerchief across his forehead - then hurries to the door. He opens it - Helen is standing there. HELEN I hope I'm not disturbing you? CLOSE SHOT of Mark - shaking his head, smiling shyly. CLOSE SHOT of Helen. HELEN I knew you would n't come down. so I've brought you this. She holds out a plate on which is a piece of birthday cake. MARK Thank you. He takes the plate. MARK very much. HELEN I must n't keep you from your work She turns to go. MARK I'd like to offer you a drink. She turns round. HELEN Thank you, Mark. MARK I have n't one. HELEN I'd adore some water. She smiles. HELEN a hostess ca n't drink water at her own party, it looks like a hint to the guests. MARK Will you. would you. like to come in? HELEN Yes, Mark. She steps over the threshold. The door closes behind her.\",\n \"INT. MARK'S SITTING ROOM - NIGHT CLOSE SHOT of Helen looking round the room. Mark's voice is overlaid. MARK -LRB- O.S. -RRB- There's milk. if you'd like some? HELEN Very much. if you can spare it? MARK -LRB- O.S. -RRB- Yes. Helen glances towards the inner room. He holds out a glass of milk to her. HELEN Thank you, Mark. She drinks it with relish. He watches her in silence. HELEN This is a pleasant room. and you've another inside? MARK Yes. HELEN How long have you lived here? MARK All my life. She looks at him in surprise. MARK I was born in this house Oh? CLOSE SHOT of Mark. MARK It's my father's. HELEN Do you mean I've at last found out who our landlord is? Your father? MARK Well - no. he's dead! He hesitates. MARK I'm the landlord. She looks at him in astonishment. HELEN YOU? MARK Yes. HELEN But you walk about as if you have n't paid the rent. MARK I have n't. HELEN I meant. MARK I know. CLOSE SHOT of Mark. MARK It's his house - and I'll never sell it. but I ca n't afford the upkeep, so I let rooms. He looks at her anxiously. MARK if I charge too much, tell me and I'll tell the agents. HELEN The rent's very reasonable, but do n't say anything to the others or you'll have no peace. MARK Peace? CLOSE SHOT of Helen. HELEN Mark, what do you do? MARK -LRB- slowly. -RRB- Most of the time, I work in a film studio. HELEN On the photographic side, I'll bet. MARK I hope to be a film director. very soon. HELEN How exciting. MARK I have some spare time jobs. as well. HELEN To do with photography? MARK More milk? HELEN No thank you. to do with photography? MARK Yes. to do with photography. HELEN When I came in were you looking at some films? MARK Yes. HELEN Of yours? MARK Yes. HELEN I'd like to see them. He looks at her in silence. HELEN Know I'm being rude. but I really would like to see them. -LRB- she smiles. -RRB-. it would be a birthday present. from you to me. MARK Would it? HELEN Yes, Mark. MARK Oh. HELEN But I suppose you're too busy? She puts down the glass, turns to the door. MARK Will you. would you. like to see them now? She turns round. He is standing by the entrance to the inner room. HELEN Thank you. MARK I'll. go first. He leads the way - she follows. For a moment the screen is in darkness. A dark - room darkness.\",\n \"INT. THE INNER ROOM - NIGHT We can HEAR - faintly -- the dance music from downstairs. There is a click - and the walls are suddenly bathed in diffused light, throwing the room into delicate shadow. CLOSE SHOT of Helen looking round in amazement. As certain events of possible interest are to take place in this room, here, in detail, is what amazes Helen. The room is the product of three rooms which have been knocked into one. It is very large and extremely well constructed -LRB- as we are soon to learn, it was originally a laboratory -RRB-. One half of the room is used for processing, and the other half for filming - and for trade shows. The two halves are lined by long shelves upon which are perched all shapes and sizes of cameras, their spectacles glinting in the light. In the processing half two benches -LRB- a ` dry' bench and a ` wet' bench -RRB- face each other against opposite walls. There are three sinks above the ` wet' bench and an outburst of equipment above the ` dry'. This part of the room is lit by two dark - room lamps frowning in the ceiling above the benches. The other part of the room has a window at the far end of it. Heavy drapes are putted across it. Mark's projector rests on a small table in front of the 16mm screen. Two banks of floods and a variety of spots light this part of the room. There is a small control panel on the wall. Some of the equipment is ancient - but none of it is old. All of it glistens with the affection of its owner. There is absolutely nothing in the room to alarm anyone except an adult. the kind who starts to wonder who paid for it all. CLOSE SHOT of Mark. He stands by the lighting panel, watching Helen. From his POV WE SEE her brushing the hair out of her eyes as she looks slowly round. He brushes the hair out of his. For a moment she turns her back to him. He presses a switch on the wall. A gentle light ripples through the back of Helen's hair. SHOT of Helen. She turns to him. She is very nearly at a loss for words. HELEN This is so. well - so many things. but above all - it's so. She takes a final look round. HELEN completely unexpected! She looks at him searchingly. HELEN Is all of it yours? MARK Yes. HELEN I mean. is it designed by you? Furnished by you? Tell me about this room. CLOSE SHOT of Mark. MARK It belonged to my father HELEN What was he? MARK Scientist. HELEN Then this equipment was his? MARK No. He hesitates. MARK Sold his to buy it. HELEN But it seems to be so. technical. She looks at him with renewed interest. HELEN If this is where you work, I ca n't wait to see what you work at. CLOSE SHOT of Mark - in difficulties. MARK Do n't know what to show you? HELEN Well. what were you looking at when I interrupted you? He looks at her thoughtfully. MARK All right! He crosses to the corner cupboard - opens the door. CLOSE SHOT of the cupboard. WE SEE Mark's hand reach for a spool of film. then hesitate, poised above another spool. CLOSE SHOT of Helen - watching with interest. REVERSE ANGLE SHOT of Mark. He closes the cupboard, and turns round. there is a spool of film in his hand. He walks slowly towards his projector. he seems -- for the moment -- to have forgotten she is there. CLOSE SHOT of Helen - watching him thread the film into the projector. MARK This is the first. twenty - first birthday present. I'll ever have given. HELEN It's the first I've ever asked for. He places a chair a few feet away from the screen - and, with an oddly courteous bow, beckons her into it. She sits down. CLOSE SHOT of Mark. He looks at her intently for a moment - then turns off the lights. Over Helen's shoulder We can just make out the empty screen. Mark switches on the projector. CLOSE SHOT of Helen - the light flickering on her face. CLOSE SHOT of Mark staring at Helen's face. CLOSE SHOT of Helen. WE SEE her expression of surprise. Over Mark's shoulder WE SEE the surprise growing. Over Helen's shoulder we see the screen. We are looking at a small boy. He is lying in his bed asleep. Although the print is old, we can see that he is a remarkably handsome boy. HELEN Mark, what a beautiful child. The boy turns restlessly in his sleep. one of his pillows falls to the floor. HELEN Who is he? MARK Me HELEN Of course it is! Then who took this film? MARK -LRB- quietly. -RRB- My Father. A light - as if from a small torch -- starts to shine on the child's eyes. He moves restlessly. HELEN What a wonderful idea. The light plays on the child's left eye, then on his right. It is growing brighter. HELEN You'll be able to show it to your own chi. The child wakes up suddenly. He stares at something. then starts to scream. HELEN You must have had a bad dream. CLOSE SHOT of Mark watching her in silence. HELEN but what was that light? The camera, I suppose? Mark does not answer. The small screen is filled with the face of the screaming, terrified child. -LRB- Mark's father now tries a not altogether successful dissolve :-RRB- WE NOW SEE the little boy standing in front of a garden wall. He tries hard to climb to the top of the wall, but falls over. Helen laughs. Mark watches her in silence. Small Mark tries again - and again - to scale the wall. At last he succeeds. HELEN Whatever are you after? WE SEE the little boy lying flat on the wall staring at something. rapt, motionless. The cine - camera which is taking this picture now tracks rather clumsily towards the wall. HIGH ANGLE SHOT over the wall of what is fascinating young Mark - A man and woman are lying on the ground, kissing. The CINE - CAMERA PANS - again rather clumsily - to young Mark. staring intently. HELEN Naughty boy I hope you were spanked! CLOSE SHOT of Helen. It suddenly occurs to her. HELEN but, Mark. what a strange thing for your father to photograph. MARK Switch off? HELEN No. She stares again at that lonely figure perched on the wall. HELEN No. The small screen begins to dissolve. so does the large one.\",\n \"INT. HELEN'S SITTING ROOM - NIGHT Over Mrs. Stephens' shoulder WE SEE the party in progress. The glass by her side is full again. Tony is dancing with an attractive blonde. MRS. STEPHENS Tony! He turns round. TONY Me, Mrs. Stephens? The head nods. Tony advances reluctantly towards her. REVERSE ANGLE SHOT of Mrs. Stephens. Over Tony's shoulder WE SEE a powerfully built and once lovely woman. She is so perpetually drunk as almost to be sober. The few movements she makes are slow - deliberate - and give nothing away. The voice articulates so carefully that the slur scarcely shows. The fact that she is blind almost helps to conceal the fact that she is drunk. Her sightless eyes stare out the camera as Tony reaches her. MRS. STEPHENS I want a word with you. CLOSE SHOT of Helen's eyes. The light from the projector flickering into them. HELEN I hate people who chatter in films - but there's so much I want to ask. CAMERA PULLS BACK\",\n \"INT. THE INNER ROOM - NIGHT She is leaning forward, her face cupped in her hand, watching the small screen intently. CLOSE SHOT of Mark. His face is cupped in his hand as he watches her intently. Over Helen's shoulder WE SEE Mark in the making. The child is again asleep. this time he is being photographed from the head of the bed - the CAMERA POINTING STRAIGHT DOWN AT HIS FACE. A beam of light starts to shine onto his eyes, first onto the left, then onto the right. HELEN -LRB- in a whisper. -RRB- Again? Mark looks at her in silence. The boy moves restlessly, then turns over onto his face, pulling the bedclothes round him. His right hand is limp on the pillow. The light shines for a moment on this hand, then goes out. Helen half turns towards Mark. HELEN Mark, this is n't some kind of jo. Her attention is suddenly riveted on the screen. MARK -LRB- in a whisper. -RRB- No, Helen. Over Helen's shoulder WE SEE something drop onto the child's bed. something which stays quite still for a moment, then starts crawling towards the counterpane. It is a small lizard. HELEN Mark, whatever is that? Her voice trails away. She stares - repelled and fascinated - at the screen. WE SEE Mark reach for his cine - camera. Over Helen's shoulder WE SEE the lizard reach the counterpane. It stretches itself out on the floral design - its body is pointed towards the child's hand. WE HEAR a click - and suddenly a spotlight falls onto Helen's face. OVERLAID is the GENTLE PURRING of Mark's cine - camera. She wheels towards him - blotting out the small screen. HELEN What are you. MARK wanted to photograph you. watching. HELEN No, Mark! The camera purrs on. HELEN No! He switches off the spot. the purring of the camera dies away. She turns towards the small screen. HELEN help me to understand this. this nightmare. The small boy is sitting upright. screaming with terror. there is no sign of the lizard. A handkerchief is thrown onto the boy's bed. He continues crying - looking up into someone's face. CLOSE SHOT of Mark watching the screen. We hear a man's deep voice overlaid. MAN'S DEEP VOICE -LRB- O.S. -RRB- That'll do Mark. dry your eyes and stop being silly. Small Mark reaches for the handkerchief and wipes his eyes. his hands are trembling. The small screen trembles with them into a clumsy dissolve. Helen turns to Mark. HELEN All right. now look. Mark - what was all that about? He looks at her helplessly. HELEN that was a lizard, was n't it? Or a. MARK Liz. HELEN Well how did it get there? How did it get there Mark? Was it a pet? MARK Not mine. HELEN Wo n't you try to explain? CLOSE SHOT of Mark staring at the screen. MARK You'd better go! HELEN I like to understand what I'm shown! She turns to the screen. HELEN What was your father trying to do? Photographing you at nigh. Her voice trails away. MARK better go. From Helen's POV WE SEE the screen. Small Mark is wearing a dark suit and a black tie. He is standing at the foot of a four - poster bed, staring at something in horror and disbelief. his hands clasp the bedrail tightly. Slowly - very slowly - he walks towards the head of the bed, staring. His lips begin to quiver. He bends forward over the bed. WE CAN SEE the back of his bowed head. HELEN Mark. what is this? MARK I am saying. goodbye. my mother. We catch a glimpse of a woman's hands folded in front of her. CLOSE SHOT of Helen. HELEN -LRB- in a whisper. -RRB- He. photographed. that? CLOSE SHOT of Mark. MARK Yes. Suddenly - and healthily - his temper snaps. MARK and this! He pushes a lever on his projector as far forward as it will go. The film is now shown at tremendous speed - We catch a glimpse of a long line of cars. MARK her funeral! It speeds by. MARK and this! A confused picture of earth and flowers. MARK her burial! The briefest glimpse of a little boy with a spade. MARK and this! WE SEE a girl in a bikini by sand - dunes. Mark offers no comment. HELEN Mark, who is that? MARK Her successor. CLOSE SHOT of Helen. HELEN Suc -? MARK He married her. six weeks after. the previous sequence. He pulls back the lever of his projector. the film returns to its normal speed. WE SEE the same attractive young woman standing in a garden. She is holding a bewildered and defiant Mark by the hand. Suddenly the girl runs towards camera - leaving Mark standing alone. MARK She filmed. what comes now. CLOSE SHOT of Helen watching intently. It's out of focus! From Helen's POV WE SEE a tall man in a black coat walking away from camera. He hurries towards small Mark - who watches him anxiously. HELEN Is that your father? MARK The morning that he left for his honeymoon. The back of Mark's father suddenly obscures our view of small Mark. all we can see is that tall figure looking downwards standing very still. Camera wobbles - as if the person holding it is laughing. HELEN What is he doing? MARK Giving me a present. HELEN What was it? Mark stares at the blurred screen, perspiration trickling down his forehead. MARK Ca n't you guess? The small screen comes back into focus - and suddenly our camera rushes towards it. WE SEE a CLOSE SHOT of a CLOSE SHOT - and at the moment we see it, Mark's Voice is overlaid. A whisper which echoes round the room. MARK -LRB- O.S. -RRB- A camera. We are looking at a close shot of a camera in a small boy's hands. There is a single shrill chord of music on the sound track. CLOSE SHOT of the shelf which encircles Mark's room. We are looking at the very same camera which the small boy is holding. CLOSE SHOT of the camera in small Mark's hands. His father's finger points lo the view - finder. Small Mark stares into it. Small Mark begins to smile. CLOSE SHOT of Mark watching himself being born. CLOSE SHOT of Helen watching Mark. HELEN Switch it off! He continues to stare at the screen. HELEN Switch it off, Mark! She turns to the projector - touches the wrong switch. Small Mark and his father go rapidly backwards. Mark turns off the projector abruptly. The room is in darkness. WE CAN HEAR both of them breathing quickly. The light goes on. Mark is standing by the exit - he keeps his face averted. Helen walks slowly towards the exit. She glances round once, over her shoulder, then goes into the other room. Mark stares after her.\",\n \"INT. MARK'S SITTING ROOM - NIGHT She walks towards the door. turns round suddenly - almost in anger. HELEN So he was a scientist? He keeps his face averted. HELEN What kind of scientist, Mark? MARK Biologist. HELEN What was he trying to do to you? He does n't answer. HELEN Mark! He turns round slowly. From his POV WE SEE the willingness to understand on her face. HELEN What was he trying to do to you? MARK Watch me. grow up. She walks towards him. takes his handkerchief from his jacket pocket and wipes his forehead. MARK He wanted a record of a growing child. complete in every detail - if such a thing were possible - and he tried to make it possible by training a camera on me. at all times. CLOSE SHOT of Mark. MARK I never knew. the whole of my childhood. one moment's privacy. HELEN And those lights in your eyes? and that - thing? MARK He was interested. in the reactions of the nervous system. to fear. Fear? HELEN Fear? MARK Fear. CLOSE SHOT of the word ` fear'. CAMERA PULLS BACK We are looking at the spine of a book on Mark's shelf. The full title reads : The Physiology of Fear by Professor A. N. Lewis. MARK'S VOICE IS OVERLAID : MARK -LRB- O.S. -RRB- Especially fear in children - and how they react to it. CLOSE SHOT of the word ` fear' on the next book. CAMERA PULLS BACK The full title reads : FEAR AND THE NERVOUS SYSTEM, PART I. PROFESSOR A. N. LEWIS. There is a row of such books all by Professor Lewis. CLOSE SHOT of Mark. MARK I think he learned a lot. from me. I'd wake up. screaming. sometimes. and he'd be there. taking notes. and pictures. and I'm sure good came of it. for some people. He was brilliant. HELEN A scientist drops a lizard onto a child's bed - and good comes of it? MARK I do n't know. if he did. but if he did. he'll have learned something of value. HELEN If only about lizards! Mark - it sounds to me as if your father was. MARK He founded clinics. HELEN He sounds completely. MARK He was famous! Professor A. N. Lewis. three clinics. HELEN Why do you still live in his house. and watch his films? MARK They helped make me. what I am. HELEN A photographer? It's no wonder, is it? But you still have n't shown me anything you've photographed! He looks at her in silence. HELEN Will you? There is a knock on the door. MARK One day. He hurries to the door, and opens it. Tony is standing there. TONY Excuse me, but. From Tony's POV WE SEE Helen looking at the door of the dark room. TONY Oh, there you are, Helen. She turns towards him. TONY The party looks like breaking up, and we were wondering if. HELEN I'm coming. She turns to Mark. HELEN I wish you'd join us. Mark shakes his head. MARK Thanks. work. HELEN I hope that you. She is suddenly aware of Tony watching her. She glances at the birthday cake on the table. HELEN have a sweet tooth! She smiles at him. HELEN Thank you. for my present. She goes into the passage. TONY Good night, old boy. He puts his arm round Helen, and closes the door. Mark stares after them, motionless. The CAMERA LINGERS on the birthday cake. As the light fades, a voice yells : Cut!\",\n \"INT. FILM STUDIO - DAY HIGH ANGLE SHOT of a set showing part of a large West End store. A blonde is lying unconscious in front of a lift - and a crowd of extras surround her. As the word ` cut' dies away, the extras relax - and the blonde -LRB- DIANE ASHLEY -RRB- props herself onto her elbow, looking towards the Director. CLOSE SHOT of the Director -LRB- ARTHUR BADEN -RRB- standing beside the camera. BADEN OK. Print that one! He glances at the CHIEF CAMERAMAN -LRB- PHILIP TALE -RRB-, who nods his head in agreement. CLOSE SHOT of Mark standing at the back of the camera crew. He shakes his head in disagreement. The Chief Cameraman spots Mark's small mutiny and wags his finger at him. As the Chief Cameraman turns away, Mark's finger automatically wags back. CLOSE SHOT of Baden looking at his watch. He sighs, then nods to the Assistant Director who stands beside him. ASSISTANT DIRECTOR All right, everyone! Back at two! Baden walks out without a word to anyone. A hubbub of chatter breaks out. The unit downs tools and begins to disperse. CLOSE SHOT of one of the extras -LRB- VIVIAN -RRB- - a small, vivacious, brunette with delicate, attractive features. She edges towards the camera crew. CLOSE SHOT of Mark watching her. Over his shoulder WE SEE Vivian glance towards him. He nods almost imperceptibly. Vivian hurries towards the exit. Mark turns to a shelf behind him - picks up his cine - camera and a little full string bag containing his lunch.\",\n \"EXT. STUDIO GROUNDS - DAY CLOSE SHOT of Vivian munching a sandwich. CAMERA PULLS BACK She is leaning against a wall in a corner of an exterior set - a Chinese temple or a medieval castle -LRB- or a combination of each like a Pinewood drawing - room -RRB-. Beside her she has a small tape - recorder, or record - player. We hear music - modem rhythms. There are several people strolling about - but no one in the immediate vicinity. No one. except Mark. CLOSE SHOT of Mark - settling down on the other side of the wall -LRB- where they can talk without being seen together -RRB-. VIVIAN Mark? MARK Hallo. VIVIAN Were you spotted? MARK Do n't think so. VIVIAN -LRB- switches off music. -RRB- Is it tonight? CLOSE SHOT of Mark. MARK Yes. CLOSE SHOT of Vivian. VIVIAN Mark. MARK Yes? VIVIAN You're sure we wo n't be caught? MARK Not if you do as I tell you. VIVIAN I will, I promise. MARK You have n't. said anything. to anyone? VIVIAN Of course not. MARK Good. like some cake? VIVIAN Thank you. We see him break off a piece of birthday cake, and pass it over to her. VIVIAN Mark. I want to be quite clear about this. CLOSE SHOT of Mark staring at his cake. VIVIAN Tonight, when the studio's empty. I'm to come back - and you're going to give me a film test. right? MARK Right. VIVIAN You'll then print the film - so I can show it to my agent and anyone else who matters - right? MARK Right. VIVIAN Mark. She hesitates. VIVIAN I've been offered film tests before. but I have n't liked the terms. MARK There are n't any. VIVIAN Then why are you doing this? Risking your job and. MARK Not just for you. Viv. I have an agent too - and I want to show him what I can do. I want to direct. VIVIAN -LRB- switching on music again. -RRB- There's someone coming. Mark lies motionless behind the wall. A young male EXTRA comes towards Vivian. EXTRA Hallo - lousy morning's work, was n't it? VIVIAN Yes. EXTRA Thought I saw you talking to somebody. VIVIAN I was learning my lines. EXTRA Did n't know you had any. He glances at his watch. EXTRA Want a drink? Dutch? VIVIAN Later. perhaps. EXTRA Be seeing you He wanders off. VIVIAN Mark. MARK Yes? VIVIAN -LRB- switching off music again. -RRB- You did n't mind me asking? MARK No, more cake? VIVIAN No. you want to direct. more badly than anything do n't you? Mark is silent, staring at the sky. VIVIAN Do n't you, Mark? MARK I want. to photograph. the impossible. VIVIAN What is impossible? MARK Something. that has never been photographed before. VIVIAN What? MARK You really want to know? VIVIAN Very much, especially if there's a part for me. MARK I want. to photograph a murder. while it's being committed. VIVIAN No part for me then. MARK But that. is n't enough. VIVIAN Is this a new script? MARK I want. to frighten. someone. to death. and photograph. their expression of fear. VIVIAN Mark! What's this story called? MARK That is something. he never photographed. VIVIAN Who? Mark is silent. VIVIAN Who is he, Mark? MARK Anyone. VIVIAN No one could. they'd be caught! MARK I would n't care. if I had my picture. VIVIAN Besides, how would you frighten anyone to death? MARK There's a way. VIVIAN Well, what? MARK There's a way. VIVIAN You'd better not tell me! I'll be scared to death tonight as it is! A hooter. VIVIAN Back on the set - shall I go first? MARK Please. She rises to her feet. From behind the wall comes a gentle whirring purring sound. VIVIAN What are you doing? MARK Getting into practice. She smiles down at him. VIVIAN See you tonight! MARK See you tonight! She walks away. And the gentle purring continues. CAMERA PANS to the sun beating down on the lot. An arc lamp beating down on the set.\",\n \"INT. STUDIO - DAY Baden bears down on the Assistant Director. BADEN Would you enquire if our leading lady is ready to start leading. A cry goes up, ASSISTANT -LRB- O.S. -RRB- Miss Diane Ashley, please! Miss Diane Ashley, please! CLOSE SHOT of Baden turning towards the entrance. CLOSE SHOT of Mark turning towards the entrance. CLOSE SHOT of entrance.\",\n \"INT. STUDIO - DAY Miss.. DIANE ASHLEY appears. among the many qualities she radiates is goodwill - especially towards Miss Diane Ashley. DIANE How are you, Sparks? Chippy? Bob? VOICES Hallo, Diane. DIANE How are you, Tom? Roger? VOICES Hallo, Diane. And so on, until : DIANE How are you, Phil? Mark? CLOSE SHOT of Mark. MARK Hallo, Miss Ashley. DIANE -LRB- to a figure high in the scaffolding. -RRB- How are you, Pete? VOICE Hi, Di! She reaches Baden - and completely ignores him. BADEN Darling, you've only been playing this part for three weeks, so in case you have n't yet had a chance to read the script. She ignores this. BADEN may I remind you that you're a girl with an irresistible impulse! She looks at him - then at her hand - and nods. BADEN a kleptomaniac! Who can not help stealing. Get inside her, Diane! What - in all the world - do you most want to steal? DIANE The limelight! Baden sighs. BADEN We'll run the scene where you catch sight of the store detective and faint. Where's the girl who plays the bystander? Vivian steps forward. BADEN How are you? VIVIAN Hallo, Diane. 1ST ASSISTANT Positions, everyone! CLOSE SHOT of Vivian taking her position in front of the lift. She glances at her watch. CLOSE SHOT of Mark standing by the side of the studio camera. He glances at his watch. CAMERA TRACKS towards the lift. From Mark's POV WE SEE Diane catch sight of the Store Detective - and crumple in a faint. BADEN Hit that floor with a thud! CLOSE SHOT of door marked : DON JARVIS - MANAGING DIRECTOR. BADEN -LRB- O.S. -RRB- D.J. insists on realism! A timid knock is overlaid before we dare enter.\",\n \"INT. EXECUTIVE OFFICE - AFTERNOON CLOSE SHOT of a pile of scripts on a great man's desk. CAMERA PULLS BACK MR. JARVIS is immersed in reading a script. his eyes race across the page. Over his shoulder WE SEE what he is reading. a sheet of figures attached to the script. At the same time Mr. Jarvis is holding a telephone receiver to his ear - and we hear an enthusiastic VOICE FILTERED THROUGH IT : VOICE -LRB- OFF - SCREEN -RRB- VOICE -LRB- O.S. FILTERED. -RRB- it's a wonderful subject, D.J. Paramount wants it, M.G.M. wants it, Columbia wants it. JARVIS But is it commercial? VOICE -LRB- O.S. FILTERED. -RRB- Danny Angel wants it! Still reading the script, Mr. Jarvis lays the receiver on his desk and picks up another. JARVIS Are those budgets ready? Well bring'em in. He replaces this receiver and picks up the original. The voice is still talking - something about' a wonderful part for Kenny or Alec'. VOICE -LRB- O.S. FILTERED. -RRB- Send me a memo - we'll discuss it next week. He replaces the receiver. MISS SIMPSON enters. She hands him some folders. her smile curtsies. CLOSE SHOT of Mr. Jarvis opening a folder. Over his shoulder WE SEE a page covered with row upon row of figures. The great man's finger skims along the figures like a tailor feeling cloth. JARVIS There's an error! The total should be a hundred and fifty thousand pounds fourteen shillings and sixpence - not thirteen and ninepence. That could mean the difference between profit and loss on a first feature! MISS SIMPSON Sorry, D.J. He glowers at her - but his day is made. JARVIS Any units working late tonight? MISS SIMPSON Only one, sir. Night exteriors on the lot. The Elephant with two. JARVIS That animal needs a stick of dynamite! CLOSE SHOT of Jarvis. JARVIS Remind me to pay them a visit tonight. MISS SIMPSON Yes, D.J. She makes a note in her little book. JARVIS Now, Miss Simpson. take a memo to all department heads. Over his shoulder WE SEE an open window. CAMERA TRACKS towards it. JARVIS -LRB- O.S. -RRB- In light of the new economy drive. CLOSE SHOT of Clapper Boy's board. It reads : Take 49. THE CAMERA PULLS BACK\",\n \"INT. STUDIO - LATE AFTERNOON BADEN Again, please. and, darling. He turns to Diane, who is wearily picking herself up off the floor. BADEN just this once. will you please make an effort to forget that you're stunning, and try to look as if you're stunned? DIANE Say one kind word - and I would be! ASSISTANT -LRB- hastily. -RRB- Positions, everyone! Camera crew on a tracking shot. Mark is operating the Selsen motor. Baden - shaking his head. Diane - picking herself up off the floor. Clapper Boy's board -- reading : Take 57. Vivian - glancing at her watch. Mark - glancing at his. Diane - picking herself up off the floor. DIANE If I have to faint once more I shall faint! CLOSE SHOT of Baden - triumphant at last. BADEN Cut! How was that? -LRB- thumbs up all round - with one exception. -RRB- Mark? Mark nods perfunctorily. BADEN Print it! He glances at his watch - then nods to the Assistant Director. ASSISTANT That's it, boys and girls. wrap it up! Night - night everyone! Baden puts his arm round Diane's shoulder. BADEN How are you, darling? She makes a hobbling exit. CLOSE SHOT of Vivian hurrying towards the exit carrying her little recorder. In a burst of chatter, the unit starts to disperse. CLOSE SHOT of Mark picking up his cine - camera and his lunch bag. The CLAPPER BOY comes up to him. CLAPPER BOY Catching the bus? MARK Not tonight. meeting someone. for a drink. CLAPPER BOY Wanted to discuss the film at the Everyman. Tomorrow then? MARK I hope so. CLAPPER BOY Good night, Mark. MARK Good night. CLOSE SHOT of Vivian. She is sitting at a dressing - room table. making - up with care.\",\n \"INT. DRESSING ROOM - LATE AFTERNOON Three other girls share the dressing room with her. There is a knock at the door - and the Young Extra who spoke to Vivian in the grounds pokes his head round. EXTRA Greetings. lousy afternoon's work, was n't it? Who wants a lift to town? 1ST GIRL In what? EXTRA colleague's car. there's room for two on my lap - three at a pinch. 1ST GIRL Which is what we'd get. 2ND GIRL You, Viv? VIVIAN No, thanks. I've a date. at the Local. 1ST GIRL Us two then? 2ND GIRL I'm game. might as well get pinched in a car as squeezed in a tube.\",\n \"EXT. THE CAR PARK - LATE AFTERNOON The cars are streaming towards the gate. CLOSE SHOT of Baden driving a small new car. CLOSE SHOT of the Chief Cameraman driving a large old one.\",\n \"INT. DON JARVIS' OFFICE - LATE AFTERNOON He is still immersed in his figures. Miss Simpson is walking to the door. She glances at her little book. MISS SIMPSON I'm to remind you to pay a surprise visit tonight to The Elephant with. He grunts. MISS SIMPSON Good night, D.J. Jarvis goes on reading. CLOSE SHOT of Vivian.\",\n \"INT. DRESSING ROOM Music playing. Vivian moves about nervously in front of a mirror in the deserted dressing room. She wears slacks and a shirt. She glances at her watch - her hands are trembling - looks at watch, hears the fireman coming, then switches off the music and hides in the big cupboard -\",\n \"INT. CORRIDOR Fireman making his rounds, turning off lights.\",\n \"EXT. THE CAR PARK - EARLY EVENING Only a few cars now remain. It is beginning to grow dark.\",\n \"INT. STUDIO CORRIDORS - EARLY EVENING The long corridors are dim and deserted.\",\n \"INT. PASSAGE - EARLY EVENING The fireman is making his rounds.\",\n \"INT. DRESSING ROOM - EARLY EVENING Vivian is standing in the cupboard - the lights are on.\",\n \"INT. CORRIDOR - EARLY EVENING Fireman opening the dressing - room doors - and glancing inside.\",\n \"INT. POWER HOUSE - EARLY EVENING Two electricians are smoking.\",\n \"INT. CORRIDOR - EARLY EVENING Fireman opens the door of Vivian's dressing room.\",\n \"INT. DRESSING ROOM - EARLY EVENING From Vivian's POV WE SEE the lights go out. WE HEAR the sound of the door closing - and the Fireman's footsteps disappearing down the corridor.\",\n \"INT. DON JARVIS' OFFICE - EARLY EVENING The great man closing up his folder. glancing at his watch. turning out the light.\",\n \"INT. CORRIDOR - EARLY EVENING Vivian is hurrying along a deserted corridor. and the little recorder. She pauses - and glances out of a door. She carries her case Over her shoulder WE SEE the studio lot - in a blaze of light we can see a crowd of people hanging about in solar topees and tropical kit. REVERSE SHOT of Vivian watching anxiously. She turns away - and hurries down the corridor.\",\n \"EXT. THE COURTYARD. EARLY EVENING Don Jarvis strides across the courtyard. We can almost hear - and perhaps we do - a cash register ringing up. One of the white - clad figures lounging indolently in the doorway glances round, sees the Inquisition approaching and freezes. His degree of terror might satisfy Mark. The great man strides on.\",\n \"INT. ENTRANCE TO STAGE E. - EARLY EVENING Vivian pauses in front of the entrance to the set. Above the note is a notice : ` NO ADMITTANCE WHILE RED LIGHT IS ON'. The light is out. Vivian looks round - there is no one in sight. Vivian slips in quietly, and closes the door behind her.\",\n \"INT. STUDIO - EARLY EVENING The set is in darkness. CLOSE SHOT of Vivian looking round. VIVIAN -LRB- in a whisper. -RRB- Mark? No reply. Vivian hesitates. then edges slowly forward. Ahead of her are shadowy counters full of merchandise. Beyond them is the door of the lift. CLOSE SHOT of the studio camera and the Director's empty chair beside it. CLOSE SHOT of Vivian edging forward. VIVIAN Mark? She reaches one of the counters - and leans against it, looking around. REVERSE ANGLE shot of Vivian. She is leaning against the counter of the trunk department. Trunks and suitcases at ` greatly reduced prices' are piled behind her. CLOSE SHOT of Vivian. She starts whistling nervously under her breath. Very faintly overlaid is the sound of Mark whistling under his. Vivian stops whistling - and so does Mark. She listens intently for a moment - then peers at her watch. CLOSE SHOT of the watch on Mark's wrist. CLOSE SHOT of Vivian. She shivers suddenly. then looks at her watch again. She hesitates. then turns towards the exit, and starts to edge back. She trips over a cable and almost falls. Suddenly she is bathed in light. She wheels round. One of the big spots is beating down on her. VIVIAN Mark? No sign of him. Overlaid is a gentle purring sound. Where are another light comes on, shining through her hair. VIVIAN Mark! The sound of his steps is overlaid. VIVIAN Listen. we must. His footsteps stop. she looks round. VIVIAN Where are you? His voice is quietly overlaid. MARK -LRB- O.S. -RRB- Here, Viv. She wheels round. CLOSE SHOT of Mark sitting in the Director's chair. He is holding in his lap his cine - camera, and a black bag. CLOSE SHOT of Vivian breathing quickly. VIVIAN You frightened me! He looks at her in silence. VIVIAN Now listen. they're working late on the lot. MARK I know. They're branched off this stage - I'm using their juice. He nods, staring at her intently. VIVIAN We must call it off. someone's bound to see us. MARK They might. -LRB- rising slowly. -RRB-. but they wo n't interrupt us while we're filming. I've put the red light on.\",\n \"INT. ENTRANCE TO SET - EARLY EVENING CLOSE SHOT of the red light - burning. CLOSE SHOT of Vivian.\",\n \"INT. STUDIO - EARLY EVENING VIVIAN You've what? MARK Put the. VIVIAN Then they'll know someone's here. MARK They wo n't come in. VIVIAN They'll wait outside. what's the difference? MARK The difference is. a perfect film. Over his shoulder WE SEE the studio camera. MARK have waited. a long time. for this. and so have you. no one. must interrupt it. She glances round at the brazenly burning lights ; shakes her head despairingly. VIVIAN We'll be caught. MARK What does that matter? VIVIAN Matter! MARK You stand to lose. a job as an extra. I stand to lose. nothing. She looks at him in silence. MARK the results must be so perfect. that the risks do n't count. CLOSE SHOT of Mark. MARK So perfect. that even he. -LRB- he hesitates. -RRB-. even he. would say. VIVIAN Who Don Jarvis!? He looks at her, then nods. VIVIAN Oh! He'd say :. -LRB- imitating the great man's voice. -RRB- Sign on the dotted line, kiddies! You can use my pen, but bring your own ink! -LRB- her excitement is growing. -RRB- Mark. if you're sure it's worth it? MARK It's time to find out, Viv. He walks slowly towards the studio camera. She prepares for the test by switching on music and warming up with dance movements. VIVIAN Come on! Get hot! -LRB- she accents the rhythm. -RRB- Mark puts the cine - camera and the black cloth bag on the dolly, slowly mounts the platform, closes the blimp - and swings the camera. We watch him from the top of the studio, from the door of the studio, from the Director's chair. And finally WE WATCH HIM from Vivian's POV. She stops dancing but the music continues. MARK You belong there. He stares ahead of him, his mind far, far away. then bends and looks into the finder. There is a single harsh chord of music - and the screen goes dark. It remains dark for a moment. Suddenly the darkness parts like curtains - and in the centre WE SEE Vivian's face in the finder of the studio camera. -LRB- Unlike the ground - glass of the newsagent's camera, we see everything the right way up and in perfect perspective. -RRB- Mark hooks a filler - light below the camera and switches it on. He adjusts the finder until he has made of Vivian's delicate features a radiant miniature. The miniature smiles shyly at him. She has stopped dancing and is looking directly at the camera. Music continues. VIVIAN I do feel alone in front of it. -LRB- she hesitates. -RRB- I suppose stars never do? MARK They feel alone without it. -LRB- he looks in the eyepiece. -RRB- Through the film, we can see only her eyes - large and wistful. MARK and the great ones. feel alone. all the time. She becomes the uninhibited Vivian again. VIVIAN Then I'm great, boy! What is it you want me to act? -LRB- she strikes an attitude a, la Rabbins. -RRB- He looks up from the camera ; she smiles and starts keeping time to the rhythm again. VIVIAN Being frightened to death? MARK You remembered? VIVIAN Yes - and I'll have a go! We hear his quick breathing. VIVIAN I've been wondering all the afternoon how you'd do it! I'll bet you've thought of a wonderful twist! -LRB- she does a wonderful twist. -RRB- CLOSE SHOT of Mark. He looks down - a little sadly - and peers into the finder. -LRB- The camera dolly is on tracks - he tracks forward. -RRB- Music continues - piano. In the finder WE SEE a large trunk - ` at greatly reduced prices' -- on the shelf behind Vivian. From Vivian's POV WE SEE Mark leave the studio camera -- and hurry towards the trunks. She watches him wide - eyed. VIVIAN What are you doing? MARK Building us a set. He reaches for the largest trunk. VIVIAN Why not pull the studio down while you're about it? They can only hang you once. MARK Exactly. He carries the trunk towards the studio camera, and lays it carefully on the floor. Music continues. Vivian peers into the front - glass of the studio camera -- as if it were a mirror. The rhythm of the music changes. VIVIAN If only Don Jarvis could see me now! She jumps onto the trunk and taps. VIVIAN If only I could see Don Jarvis now! She giggles again. VIVIAN I warn you, Mark - I'm hysterical. I'd rather act dying of laughter, if it's all the same to you. She jumps off the trunk onto the floor. He opens the trunk. she jumps into it. Her laughter echoes round the deserted studio.\",\n \"INT. POWER HOUSE - EARLY EVENING The two electricians are roaring with laughter. One of them is making tea. 1ST ELECTRICIAN So he did it again! Now you tell one. CAMERA PANS to a dial on the wall. one of the needles flickers slightly. 2ND ELECTRICIAN Half a mo. 1ST ELECTRICIAN -LRB- O.S. -RRB- One lump or two? 2ND ELECTRICIAN As the starlet said to the casting director. He turns away from the dials, and grasps at the outstretched mug. CLOSE SHOT of Vivian recording - her little recorder is twittering back at great speed. VIVIAN -LRB- to Mark, over her shoulder. -RRB- What are you doing? She restarts music.\",\n \"INT. STUDIO - EARLY EVENING She is watching Mark curiously as he arranges the lighting. MARK Be patient, Viv. it's going to be worth it. CLOSE SHOT of the studio camera. In front of it - fixed on a small hook - is a tape measure. Mark reaches for it. then carefully measures the distance between the trunk and the camera. then he takes apiece of chalk from his pocket and makes a small cross on the floor. The music continues. VIVIAN Oh well! I've stood alone in front of a studio camera! That's more than most have. MARK Ever stood. behind one? He glances at a nearby dial - only a few feet away from the one which is flickering. VIVIAN No. MARK Help yourself. She goes around the camera out of sight - and he is out of hers. He glances into the trunk - it is deep, and very empty. VIVIAN -LRB- accenting the rhythm. -RRB- I can see you, Mark. perfectly! MARK Good. VIVIAN Yes, sir! I'll bet I'm the best camerawoman in the business! -LRB- beating time with her feet. -RRB- Mark hurries to the side of the studio camera and picks up his cine - camera. VIVIAN -LRB- O.S. -RRB- I've lost you! MARK I'll be back. Suddenly Mark's face appears in the finder. VIVIAN Welcome, stranger! We see Mark raise his cine - camera. He seems to be pointing it straight at us. We hear a gentle purring. VIVIAN What are you doing? MARK Photographing you photographing me. High angle shot of Mark standing in front of the studio camera - photographing her photographing him. VIVIAN -LRB- in mock awe. -RRB- Mark, you're brilliant. He walks slowly towards her, holding his cine - camera to his eyes. In the finder of Mark's cine - camera WE SEE Vivian at the studio camera. She comes closer and closer. VIVIAN Lost you again! MARK -LRB- O.S. -RRB- Never mind. We see him standing almost on top of her - his cine - camera trained on her. MARK I'm ready now, Viv. She looks up slowly - and a little hesitantly. Music, all drums. MARK Go and stand on that cross, will you? VIVIAN -LRB- solemnly. -RRB- Yes, sir, Mr. Director, sir. He watches her in silence as she walks to the front of the studio camera and takes up her position. while the drum - beat continues.\",\n \"EXT. COURTYARD - EARLY EVENING Don Jarvis is leaving the unit working on the lot. It is now bustling with activity. A girl comes up to him. She raises her cigarette for a light - and looks into his eyes. He hands her a box of matches. and walks away. Over his shoulder we see the other stages - apparently empty. Don Jarvis hesitates, then strides towards one.\",\n \"INT. POWER HOUSE - EARLY EVENING CLOSE SHOT of a dial - the needle flickering slightly. Overlaid is the voice of the 1st Electrician. 1ST ELECTRICIAN -LRB- O.S. -RRB- and here's one of the wife and nipper.\",\n \"INT. STUDIO - EARLY EVENING CLOSE SHOT of Vivian staring at the trunk on the floor behind her. The recorded rhythm continues. VIVIAN Am I supposed to imagine someone is going to put me in there? Mark is watching her over the top of the studio camera. MARK Yes, Viv. He peers into the viewfinder. In the finder we see Vivian looking rather pathetically into camera. VIVIAN Mark - I hope I wo n't let you down. I know you're trying to create atmosphere for me - but. I just do n't feel frightened! Would n't it be better if I just did my number? MARK -LRB- shaking head. -RRB- Later. VIVIAN Oh all right! I could do anything - I feel so relaxed - and that's due to you. You're so at home with that camera you make me feel at home too. you have it in you, boy! From her POV WE SEE see him raise his head slightly. MARK Ready, Viv? MARK VIVIAN -LRB- great effort. -RRB- Well - I'll try - In the finder we see her wrinkling her brow. MARK VIVIAN But what. would. frighten me to death? -LRB- looking appealingly into camera. -RRB- Set the mood for me, Mark. MARK Well. He goes and switches off the recorder. The sudden silence is startling. MARK Imagine someone. coming towards you. who's going to kill you - regardless of consequences. VIVIAN A madman? MARK Yes - but he knows it. and you do n't. and just to kill you. is n't enough for him. VIVIAN But how would he frighten me to? She stares into focusing screen - intrigued, but not frightened, not even by the silence and shadowy vastness around her. MARK Stay there, Viv. you're. just right. She stands motionless - staring into camera.\",\n \"INT. CORRIDOR IN STUDIO - EARLY EVENING CLOSE SHOT of Don Jarvis. He is standing motionless, staring down a corridor. What he is staring at is out of camera - and it is puzzling the great man. He walks quietly along the corridor. CLOSE SHOT of Vivian. VIVIAN I ca n't imagine what you've thought of!\",\n \"INT. STUDIO - EARLY EVENING CLOSE SHOT of Mark. He raises his head slowly - and locks the studio camera off. Then he walks slowly towards her. HIGH ANGLE SHOT of Mark walking towards Vivian. CAMERA ZOOMS DOWN to the trunk behind her. Mark's voice is overlaid : MARK -LRB- O.S. -RRB- Suppose this. were one of his weapons. CLOSE SHOT of Don Jarvis.\",\n \"INT. CORRIDOR - EARLY EVENING The great man is poised for the kill. He is moving forward stealthily. and suddenly breaks into a run. CAMERA PANS - and WE SEE the object of his attentions. A wisp of smoke is coming from behind an alcove. CLOSE SHOT of a Fireman - smoking a cigarette. CLOSE SHOT of Don Jarvis - smoking! CLOSE SHOT of the Fireman's terror as he sees Don Jarvis. JARVIS Smoking on duty! The Fireman opens his mouth to explain -- and smoke exudes. JARVIS Come with me! The Fireman follows him meekly. CAMERA PANS. So near - yet a lifetime away - a red light is burning above a closed door. CLOSE SHOT of Vivian - puzzled. VIVIAN That?\",\n \"INT. STUDIO E. - EARLY EVENING CLOSE SHOT of Mark. He is holding his cine - camera ; fixed to it is a collapsible tripod. Suddenly he pulls one leg of the tripod out. WE SEE that a very sharp spike protrudes from the end of it. From Mark's POV WE SEE Vivian looking at the spike. He raises it towards her - until the spike is only inches from her throat. VIVIAN Yes. that would be frightening! MARK But. there's something else. We can hear his heart pounding as if it will burst - and gradually Vivian, too, becomes aware of it. VIVIAN Well? What is it? Just for a moment Mark's arm moves. His back hides what he is doing. Suddenly WE SEE Vivian turn her head sharply - she is looking at something out of camera. VIVIAN -LRB- in a whisper. -RRB- That? The spike is very close to her throat - but Vivian ignores it, staring out of camera. Over Mark's shoulder we concentrate on Vivian's face. VIVIAN -LRB- in a whisper. -RRB- Mark. take it. The fear on her face is rapidly growing. VIVIAN away! She tries to move back - but the trunk prevents her. VIVIAN MARK - YOU! It is almost a scream. We can hear Mark breathing quickly. Vivian raises her hands to push something away from her. Suddenly the screen is filled with her eyes. WE SEE them dilating with terror. There is a sudden crash as the big power switches go out in the roof. The lights go out. There is a scream in the darkness. Then silence. The darkness acquires a grey, opaque quality as if one is seeing the world through a curtain - it is the world of Mrs. Stephens. A bright light is felt, rather than seen, beating against our eyelids. It looms closer and stronger. HELEN'S VOICE -LRB- O.S. -RRB- And that, darling, is the end of the news! Unless you want the football results? CLOSE SHOT of Mrs. Stephens, a large glass of whisky - and the bottle - beside her. It is night. MRS. STEPHENS No thank you. CLOSE SHOT of Helen. ` She's Got the Key of the Door' is overlaid. HELEN What else can I read you? MRS. STEPHENS The label on this whisky bottle! Are you sure it says seventy per cent proof? HELEN Certain. MRS. STEPHENS They're bigger liars than the press! From Helen's POV WE SEE her reach for her glass with a steady hand. HELEN Is that your last tonight? MRS. STEPHENS I doubt it. HELEN Your last but one? MRS. STEPHENS Do n't haggle. HELEN -LRB- producing a coin. -RRB- Toss me double or nothing? MRS. STEPHENS Done! Helen spins the coin on the table Mrs. Stephens listens intently. the coin stops spinning. MRS. STEPHENS Heads. Her fingers shoot out and feel the surface of the coin. HELEN Bad luck, darling. MRS. STEPHENS Huh. She turns the coin over and carefully feels the other side. Helen watches her with a smile - then looks thoughtfully at the ceiling. MRS. STEPHENS What are you looking at? HELEN The ceiling! MRS. STEPHENS Wondering if that young man is home? HELEN Yes. MRS. STEPHENS Well he is. I heard him come in. four paragraphs ago. From Helen's POV WE SEE the sightless eyes staring at her. MRS. STEPHENS Do you like him? CLOSE SHOT of Helen. HELEN Yes, darling. MRS. STEPHENS Why? HELEN He has a quality. MRS. STEPHENS -LRB- sipping her glass. -RRB- Wish this had. HELEN and I think he could help me. MRS. STEPHENS With your photographs? HELEN Yes. CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Helen. HELEN Yes? Mrs. Stephens hesitates - which is rare. MRS. STEPHENS -LRB- abruptly. -RRB- It does n't matter. HELEN -LRB- quickly. -RRB- Mummy, what's worrying you? MRS. STEPHENS The price of whisky. HELEN What else? MRS. STEPHENS What else matters? HELEN Do n't you like Mark? MRS. STEPHENS Have n't met him. HELEN You do n't like him! Now why not? CLOSE SHOT of Mrs. Stephens. Again she hesitates. MRS. STEPHENS I distrust a man who walks quietly. HELEN He's shy! MRS. STEPHENS His footsteps are n't! They're stealthy. HELEN Now darling. MRS. STEPHENS Are you going up to him? HELEN May I? MRS. STEPHENS We both have the key of the door. Mine needs oiling - and yours needs exercise. Off you go. HELEN Thank you. She kisses her - and glances at the whisky glass. HELEN remember that you lost the toss. She walks to the door. MRS. STEPHENS Helen. HELEN Yes, darling? MRS. STEPHENS If you're back in five minutes. I wo n't even finish this. HELEN Done! She hurries out. Mrs. Stephens instantly refills her glass. CLOSE SHOT of her hand. It has begun to tremble. MARK'S DARK - ROOM CLOSE SHOT of Mark's hands, in the green light of the dark - room. He is busy unloading and winding film onto a developing rack. He puts the rack of exposed film into the tank and starts the time clock. CLOSE SHOT of the time clock ticking. A knock is heard off. Mark looks up. MARK Who is it? HELEN -LRB- O.S. -RRB- Helen. CLOSE SHOT of Mark. Faintly overlaid is ` She's Got the Key of the Door'. He looks down at the clock. MARK -LRB- calling. -RRB- Come in, Helen!\",\n \"INT. PASSAGE - EVENING Helen opens the door of Mark's sitting room. We hear Mark call out from the inner room : MARK -LRB- O.S. -RRB- Would you. please. wait in there? Developing. Helen goes in, closing the door behind her.\",\n \"INT. MARK'S SITTING ROOM - EVENING Helen enters. She speaks loudly to be heard in the dark - room. HELEN Mother heard you come in - so I guessed you would n't be in bed. No reply from the inner room. HELEN Are you sure this is conven. MARK -LRB- O.S. -RRB- Wo n't be long! Helen glances at her watch. then looks curiously round the room. CLOSE SHOT of Vivian's recorder, placed on a chair. CLOSE SHOT of Helen. She picks it up and looks at it, curiously, fingering the stops. MARK -LRB- O.S. -RRB- Hallo. Helen turns round. Mark is standing on the threshold of the dark - room. HELEN Hallo, Mark. He walks towards her. he stops suddenly. He is staring at the recorder in her hand. HELEN I hope you do n't mind - is it a tape - recorder? MARK Yes. Gently he takes it from her - as if it is a cup with which she has finished - and replaces it on the shelf. CLOSE SHOT of Helen. HELEN I'm sure I'm being a nuisance. but, Mark, I very much want to. Her voice trails away. CLOSE SHOT of Mark. He is holding out a small package. MARK Happy birthday. HELEN Mark! That's very sweet of you - but really. MARK It is n't much. I do n't know anything about. presents for twenty - one. but I saw it this morning. so. please. HELEN -LRB- gently. -RRB- Thank you. She takes the package, and unwraps it. Inside is a slender brooch HELEN It's beautiful. MARK I like the design. More milk? HELEN More? No, thank you, Mark. and I really appreciate this. I'm going to put it on now. He watches her hold it against her dress. HELEN There? Or there? MARK The first place. HELEN I think so too! CLOSE SHOT of Helen pinning it on. CLOSE SHOT of Mark touching his lapel. CLOSE SHOT of Helen glancing at her watch. CLOSE SHOT of Mark glancing at his. He thinks of the ticking clock in the dark - room. Helen looks up, and sees him. HELEN I am keeping you. MARK No. I promise. HELEN Mark, I'm here for some advice. MARK From me? Please. He looks as if he has just been voted the best cameraman of the year -LRB- unanimously -RRB- - and the two films he directed have both won Oscars -LRB- though Don Jarvis understood them -RRB-. His delighted astonishment is such that she has to smile. HELEN I work in a public library - in the children's section. I'm telling you that to postpone admitting what always embarrasses me. She takes a deep breath. HELEN In my spare time. I write. MARK What's embar. HELEN I write stories for children. but so did Grimm. Hans Andersen. Lewis Carroll. MARK Had any published? HELEN Some short stories. MARK I'd like to read. HELEN I learned today. that my first book. has been accepted! For publication in the spring. MARK But that's wonderful. what's it about? HELEN A magic camera - and what it photographs. CLOSE SHOT of Mark. MARK Whatever made you. think of that? HELEN I'll tell you one day - I promise. MARK Well what does it photograph? HELEN I'll tell you that too - but, Mark. this is the problem. The children who read the book will want to see the pictures the camera takes - but the publishers say they're impossible to photograph, and suggest drawings. but I do n't agree. MARK No - nothing's impossible. HELEN was hoping you'd say that! There must be photographs - however difficult to take - and I was wondering, Mark - if you'd. MARK Oh yes. HELEN discuss it with me. MARK take them. HELEN Mark - I ca n't ask you to do that. They have cancelled his Oscar. HELEN I mean. the publisher's might n't agree. MARK I'd take them. for you. HELEN Yes but. the money. MARK There are some things. which I photograph. for nothing. HELEN I did n't mean to offend you. MARK Offend? CLOSE SHOT of Mark. MARK Helen. if you knew what it meant. for something to happen to me. that I do n't have to make happen. it's like. you've given me a twenty - first birthday. CLOSE SHOT of Helen looking at him. MARK What does your camera photograph? HELEN Mark - I must go. I just wanted to know. if you'd talk it over with me. MARK When please? HELEN That's up to you. MARK Helen. I do n't know much about. dinner out. but would you come with me? HELEN Thank you. MARK Thank you. HELEN When? MARK Oh. HELEN What's the matter? MARK It had better be soon. HELEN Are you going away? MARK Almost for certain! HELEN Oh. well you suggest when. MARK Are you free. tomorrow night? HELEN Yes. MARK I hope I am! HELEN I'll understand if you're not. MARK I'll try to be - I'll try my hardest to be. HELEN Thank you for listening. and for my present. MARK and for mine. They look at each other in silence. HELEN Good night, Mark. -LRB- turning to the door. -RRB- MARK Good night. Helen. He watches her leave, standing very still. Offstage, the time clock explodes. CLOSE SHOT - the excited clock. Mark's hand silences it.\",\n \"INT. DARK-ROOM - GREEN LIGHT Mark opens the developing tank, lifts out the rack of film, drops it into the fixing bath. He switches light from green to red. CLOSE SHOT - green to red dark - room lamp. Mark lifts the rack of glistening film out of the fixing bath and scans the image. CLOSE SHOT - Mark's face and the tell - tale black and white images. CLOSE SHOT - the film. A pile of trunks. In the darkness we hear a man enquire softly : MAN'S VOICE Looking for a trunk? CLOSE SHOT of a Tall Man with a severe face. He is standing in front of a familiar pile of trunks marked at ` Specially Reduced Prices'. CAMERA PULLS BACK SLOWLY - and WE SEE whom he is addressing. It is Diane. CAMERA PULLS FURTHER BACK and WE SEE that we are in a small theatre watching rushes.\",\n \"INT. THEATRE IN STUDIO - DAY CAMERA PANS across Baden's disgruntled face. the Chief Cameraman's bored face. the Script Girl's puzzled face. to Diane's expression of rapture as she watches herself on the screen. DIANE -LRB- O.S. -RRB- I'd like to see that one. From Diane's POV WE WATCH the screen. We see the Tall Man -LRB- SHOP ASSISTANT -RRB- reaching for a trunk and laying it on the counter. He opens it with a flourish. Vivian passes across the screen - glances casually at the trunk - and wanders off. BADEN No - no - no - we must get some comedy into this! The Assistant Director nods. BADEN We'll retake it this morning. CAMERA LINGERS for a moment on the screen as Diane -LRB- on - screen -RRB- smiles at the Assistant. DIANE -LRB- she pockets a small item. -RRB- I'll take it. The Assistant bows and closes the trunk. We dissolve to the set itself -\",\n \"INT. STUDIO - DAY The Assistant is leaning over the counter, listening intently. Diane stands in front of the counter, receiving the attentions of the Make - up Man. Baden's voice is overlaid : BADEN I want some comedy in this scene. CAMERA PULLS BACK The unit is busy preparing for a retake. The studio camera -LRB- and its crew -RRB- are off camera, and we concentrate on Baden briefing his artistes. He is clutching a script as if afraid that opening it might be indecent exposure. BADEN Instead of taking the first trunk you see, I want you, darling. to ask for a blue trunk - and when he brings it to you, to ask for a red one - and when he brings that, to ask for a white one. -LRB- turns to the Assistant. -RRB- And you, Michael. get the trunks one by one - growing more and more fed up - and we'll end on a gag which I'll think of in a minute - all right? DIANE I do n't feel it! BADEN Do n't feel it! Do it! ASSISTANT DIRECTOR -LRB- hastily. -RRB- Positions, everyone! Over Mark's shoulder - behind the camera - WE WATCH the Unit taking up positions. ASSISTANT DIRECTOR Anyone seen Vivian? BADEN Who? ASSISTANT DIRECTOR The red - headed bystander - Viv. BADEN -LRB- impatiently. -RRB- Never mind - I'm cutting her out of this scene. Let's run it. ASSISTANT DIRECTOR -LRB- shouting. -RRB- Quiet, everyone! From Mark's POV WE WATCH the scene being rehearsed. Diane approaches the trunk counter and the Assistant smiles at her. ASSISTANT Can I interest you in a trunk? DIANE Thank you. -LRB- pointing. -RRB- I'd like to see that one. ASSISTANT Certainly, madam. He turns away. She pockets a small item from the counter. He heaves a trunk forward. ASSISTANT DIRECTOR It's beautifully fitted -. -LRB- he opens it. -RRB- She takes a perfunctory glance - DIANE I'd like to see one in red. ASSISTANT Certainly, madam. She pockets another item. He turns and wrestles with another trunk. brings it forward and opens it DIANE do you have one in white? ASSISTANT Certainly, madam. Mark walks away quietly from the back of the Camera Crew. He hurries to the shelf where he keeps his cine - camera and a lunch basket. He reaches for his camera. Diane's voice is overlaid. DIANE -LRB- O.S. -RRB- Do you have one in blue? ASSISTANT -LRB- O.S. -RRB- Certainly, madam. Mark turns towards the rehearsal and raises his cine - camera. WE SEE the Assistant try to lift a blue trunk - and half collapse with the weight of it. CLOSE SHOT of Baden - beaming. The Assistant manages to drag the trunk forward. He leans over it - exhausted - then starts to open it. Mark moves round until Diane's face is in the finder. As the lid of the trunk is opened we can see only her eyes above the rim of the lid. WE HEAR her scream. CLOSE SHOT of Baden - freezing. There is the sound of a body falling to the ground. BADEN The silly bitch! She's fainted in the wrong scene. In the darkness WE HEAR a telephone ringing. and then another. and then another. then they all merge into one big blast. CAMERA TRACKS quickly towards a door marked PUBLICITY DEPARTMENT.\",\n \"INT. PUBLICITY DEPARTMENT - DAY The Head of publicity has a receiver to his ear. HEAD OF PUBLICITY is this a gag? A girl in a trunk! Who is she? Well, which unit? The walls are closing in? What a break for them! I mean what a heartbreak! -LRB- he is already speaking into another telephone. -RRB- call a press conference. -LRB- he turns to the original telephone. -RRB- I'm on my way down!\",\n \"EXT. LONDON - DAY A police car. There are two men seated at the back.\",\n \"INT. POLICE CAR - DAY CHIEF INSPECTOR GREGG is reading a file. A plain - clothes SERGEANT -LRB- MILLER -RRB- is seated next to him. The Sergeant glances at his Chief apprehensively. SERGEANT MILLER Excuse me, Chief. CHIEF INSPECTOR Mm? SERGEANT MILLER We pass my house when we reach the bypass. Would you mind if I drop off for a minute? CHIEF INSPECTOR -LRB- without raising his eyes. -RRB- To collect your kid's autograph book? SERGEANT MILLER Yes, Chief! If the nipper hears where I've been. CHIEF INSPECTOR -LRB- turns to the driver. -RRB- All right, Dawson - anything to help the Sergeant. -LRB- stares down at the folder. -RRB-. and it's about time the Sergeant helped me - we're getting nowhere with this. Over his shoulder WE SEE what he is looking at - it is a photograph of Dora in her furs and finery. SERGEANT What about that man the landlady passed? CHIEF INSPECTOR She could n't describe him - except to say that he was carrying something that she could n't see. SERGEANT That's a help. CLOSE SHOT of the Inspector staring at the folder. CHIEF INSPECTOR Sergeant, I've been on the force thirty odd years. and I have never seen such fear on anyone's face as on this girl's. -LRB- almost to himself. -RRB- What was it she saw? SERGEANT Surely, Chief. a man coming at her - with a sharp weapon. CHIEF INSPECTOR I'm familiar with that kind of terror. This is something new to me. but what? The Sergeant glances at Dora's photograph. CHIEF INSPECTOR now take a look at how we found her. He starts to turn the page A door with a sign on it : CANTEEN CLOSED TODAY. CAMERA TRACKS TOWARDS it.\",\n \"INT. CANTEEN - DAY Mark is sitting by an open window at the far end of the canteen. His cine - camera and lunch basket are by his side. From Mark's POV WE SEE that the unit -LRB- with the exception of Diane and Baden -RRB- is crowded into the canteen. They have formed themselves into small groups and are talking in whispers. The Assistant Director is standing with his back to the door. A GIRL calls out : GIRL -LRB- O.S. -RRB- How much longer must we wait in here? ASSISTANT DIRECTOR Till the police arrive. D.J.'s orders. Mark glances at a group in the comer. The Trunk Assistant is encircled by eager listeners. ASSISTANT and when she opened that trunk. and I saw what was inside. my dears - I nearly fainted with her -. -LRB- he runs a delicate hand across a delicate forehead. -RRB- and do you know what horrified me most? ASSISTANT DIRECTOR D.J. says not to discuss it. ASSISTANT Any more sauce from D.J. and I shall refuse to sign for seven years! My dears. that poor girl's expression. Mark glances out of the window. From his POV WE SEE a police car driving across the courtyard. Mark watches with great interest - then reaches for his cine - camera. He photographs the police, then puts his cine - camera on to the table and sits back. waiting. CAMERA LINGERS for a moment on the folded tripod.\",\n \"INT. SET - DAY The set is completely deserted. It is lit by a single lamp. A solitary trunk stands on the counter, its lid closed. WE SEE Don Jarvis enter, followed by the two Policemen. Baden and the Publicity man bring up the rear. Don Jarvis points towards the trunks department. The Chief Inspector nods, then he and the Sergeant approach the counter. Carefully the Inspector raises the lid of the trunk - he looks inside. CLOSE SHOT of the Inspector - over the top of the lid. His expression is mainly one of surprise. CLOSE SHOT of the Sergeant staring into the trunk. He is also surprised - but there is nausea in his face. They look up at almost the same moment. their eyes meet. SERGEANT -LRB- in a whisper. -RRB- Chief, it's exactly the. INSPECTOR I know. -LRB- he closes the trunk quickly. Quietly. -RRB-. do n't say anything. -LRB- he faces Don Jarvis. -RRB- Well, sir. we shall probably have to interview everyone at the studio, so we'd better plan a campaign that wo n't interfere too much with your productions. JARVIS -LRB- warming to him at once. -RRB- Thank you, Chief Inspector. if you knew what even a single day's delay could cost. INSPECTOR Oh, we do sir. -LRB- his eyes are on the trunk. -RRB- CLOSE SHOT of Mark.\",\n \"INT. CANTEEN - DAY He is looking out of the window - his camera at the ready. Overlaid is the sound of a door opening. the buzz of conversation dies away. We hear Don Jarvis' voice. JARVIS -LRB- O.S. -RRB- If I may have your attention, please. A hand tugs at Mark's elbow. He turns round. The Clapper Boy looks at him waringly. From Mark's POV WE SEE Don Jarvis standing in the doorway - facing a suddenly hushed room. The great man's hands are folded in front of him - JARVIS The police wish to interview each of you individually. after which you will be at liberty to leave. From D.J.'s POV WE SEE the upturned faces - the light from the window falls upon Mark, listening to him with rapt attention. Mark's hands are folded in front of him. JARVIS There will, of course, be no shooting today. but work will be resumed, as usual, tomorrow. with, I hope, all of you present. CLOSE SHOT of Don Jarvis. JARVIS I look to you to give the police your fullest cooperation. -LRB- he turns abruptly and leaves'. -RRB- Sergeant Miller enters with a smile. SERGEANT MILLER Well now. let's get ourselves organized. -LRB- taking a piece of paper from his pocket. -RRB- We do n't want to keep you cooped up in here, so we've worked out a timetable. We'll talk to the artists first, then the technicians in this order. Mark reaches for his cine - camera. A SERIES OF BRIEF SHOTS of the unit being interviewed by the police.\",\n \"EXT. STUDIO GROUNDS - DAY The Young Extra who spoke to Vivian in the exterior set points excitedly to the wall where Vivian and Mark lay. The Inspector and Sergeant carefully examine both sides of the wall. The Inspector stoops, picks up something with a pair of tweezers and puts it in an envelope. CAMERA PANS. A few passers - by look on from a distance. One of them is watching through his cine - camera.\",\n \"INT. SMALL OFFICE - DAY The Young Extra who shared Vivian's dressing room is talking to the Chief Inspector and Sergeant. EXTRA she said she did n't want a lift - because she had a call to make locally. CHIEF INSPECTOR Did she say where? EXTRA No, sir. and when I left, she was still in the dressing room. CHIEF INSPECTOR I see. let's have a look at this dressing room, shall we? EXTRA Yes, sir.\",\n \"INT. PASSAGE IN STUDIO - DAY The Policemen and the Extra are walking away from camera down a passage. A few members of other units pass them by without a glance. One of these -LRB- A GIRL -RRB- smiles into camera. GIRL Hallo, Mark. MARK -LRB- O.S. -RRB- Hallo. The girl walks out of picture. THE CAMERA -LRB- and Mark -RRB- TRACK after the Policemen.\",\n \"INT. ENTRANCE TO DRESSING ROOM - DAY As the Inspector opens the door of the dressing room, Mark hurries past. He raises his cine - camera and photographs the Sergeant. The Sergeant turns to close the door. He sees Mark. straightens his tie and looks as severe as he can. SERGEANT Hey, I do n't think you ought to do that! MARK Sorry, sir. He hurries down the passage. INSPECTOR -LRB- turning round. -RRB- Do what? SERGEANT Make me famous. Some chap was giving me a screen test The Extra's voice is overlaid - a hint of hysteria in it. EXTRA -LRB- O.S. -RRB- That's where she sat. Inspector. The Inspector turns away, and the Sergeant closes the door.\",\n \"INT. SMALL OFFICE - DAY The door of the small office opens - and the Chief Cameraman comes out. CAMERA PANS - On a bench at the end of the passage Mark, the Clapper Boy, and a member of the camera - crew are waiting. VOICE And whoever did it must be. CHIEF CAMERAMAN You're next. The Crew - member hurries into the office, and closes the door. The Chief Cameraman wanders off thoughtfully. Mark and the Clapper Boy are left sitting side by side. CLAPPER BOY I've been watching you. MARK Oh? CLAPPER BOY Have you been filming those policemen? MARK Yes, I've a few quite interesting shots of them - it's a chance I never expected! CLAPPER BOY A chance for what? MARK To photograph. an investigation. or as much of it as I can. CLAPPER BOY What on earth for? MARK It will complete a documentary I'm making. CLAPPER BOY documentary? Mark nods. CLAPPER BOY What's it about? MARK I'd rather not tell you till it's finished. And it soon will be. CLAPPER BOY But suppose they catch you? MARK Oh they will - they look very efficient. CLAPPER BOY Do n't you mind? MARK No. CLAPPER BOY But they might confiscate your camera. MARK I'm afraid they will! But by then. I'll have finished with it. CLAPPER BOY I do n't. The door of the small room opens, and the Crew - member comes out. CREW-MEMBER You, Mark? MARK Thanks. He rises slowly. the cine - camera is over his shoulder. CLAPPER BOY Mark, had n't you better leave that with me? MARK No, John. CLAPPER BOY I'd look after it. MARK I'm sure of that - but I'd like to photograph them while they're questioning me. The Clapper Boy looks at him in amazement. MARK I do n't suppose they'll let me. CLAPPER BOY Mark, are you potty? MARK Yes, do you think they'll notice? The Clapper Boy laughs. CLAPPER BOY Do n't get into any trouble for heaven's sake -- I want to discuss that film at the Everyman. MARK Yes. I'd like that. He walks slowly towards the door. The Clapper Boy takes out a copy of Sight and Sound and starts to read it.\",\n \"INT. SMALL OFFICE - DAY The Inspector is seated at a desk, reading some notes. The Sergeant is seated by the side of the desk, a pile of papers in front of him. There is a gentle knock on the door. The Sergeant glances at a list. SERGEANT Mark Lewis - focus - puller. Whatever that may be? The Inspector nods. SERGEANT Come in. He puts a tick on the list. There is the sound of a door opening. The Inspector looks up. From his POV WE SEE a young man with a camera over his shoulder advancing shyly towards him. INSPECTOR Mr. Lewis? MARK Yes, sir. INSPECTOR I'm Chief Inspector Gregg and this is Sergeant Miller. Grab a chair. The Sergeant glances up. SERGEANT Ah! My photographer. MARK I've brought the camera in case you want to take the film away. He holds out his camera. The Sergeant glances enquiringly at the Inspector. INSPECTOR That's all right, Mr. Lewis - as long as we do n't appear at the Odeon next week in place of the cartoon. Mark smiles. MARK Thank you, sir. INSPECTOR Well now ; have you anything to tell us? MARK Do n't think so, sir. INSPECTOR Did you know the girl? MARK Yes, sir. INSPECTOR How well? MARK Mainly by sight. INSPECTOR When did you see her last? He picks up a pencil -- taps it idly on the desk. MARK Yesterday afternoon - when we broke. INSPECTOR Speak to her? MARK Called out good night - do n't know if she heard? CLOSE SHOT of Mark's fingers. tapping on his knee in time to the pencil. INSPECTOR What did you do then? MARK Took sqme shots, sir - for a film I'm making. INSPECTOR Oh. where? MARK All over the place, sir. it's a documentary. INSPECTOR Anyone with you? MARK No, sir. Just my camera. INSPECTOR What time did you arrive home, Mr. Lewis? MARK About ten. ten - thirty. INSPECTOR Anyone see you? MARK Yes. the people downstairs. INSPECTOR I see. The telephone rings. The Sergeant promptly answers it. SERGEANT Sergeant Miller - Right, I'll tell him. He replaces the receiver, turns to the Inspector. SERGEANT The doctor's finished his examin. The Inspector rises at once. SERGEANT wants to see you - INSPECTOR Right. -LRB- he glances at Mark. -RRB- That'll be all for the moment, Mr. Lewis - thank you. MARK -LRB- he turns to the door. -RRB- Thank you, sir. INSPECTOR Wait a minute. Mark stands very still. INSPECTOR direct me to that set of yours, will you? I'd probably end on location. MARK I'll take you there, sir. -LRB- he opens the door. -RRB- INSPECTOR Thanks. -LRB- he glances at the Sergeant. -RRB- Carry on with the interviews, Sergeant. SERGEANT Yes, sir. From the Sergeant's POV WE SEE Mark turn to go into the passage. The Sergeant stares at the camera on his shoulder. then the door closes. The Sergeant makes a note on a piece of paper.\",\n \"INT. PASSAGE - DAY The Inspector and Mark walk side by side along the passage. The Clapper Boy comes into view - still reading Sight and Sound. The Clapper Boy glances up - just in time to see the Inspector and Mark walk side by side to the end of the corridor. CLAPPER BOY -LRB- staring after them. -RRB- I warned him to be careful!\",\n \"INT. ENTRANCE TO SET - DAY A Constable is standing outside the entrance to the set. From his POV WE SEE the Inspector and Mark approach. The Constable stiffens. From Mark's POV WE SEE the Constable barring the entrance. INSPECTOR I think I can find my way now. Mark smiles. INSPECTOR thanks for the escort The Inspector hurries towards the door of the set. The Constable opens it - and the Inspector goes inside. The Constable closes the door - and stands in front of it. Mark turns away quickly.\",\n \"EXT. COURTYARD - DAY The carpark is jammed with cars - but there is hardly anyone in sight. Mark hurries towards the large sliding doors of Stage E - they are a few feet apart. He looks round carefully, then slips inside.\",\n \"INT. STAGE E. - DAY Facing Mark is the darkened set of an hotel bedroom. Beyond this is another set - also in darkness - and beyond this yet another. Only in the far comer of the studio - in the furthermost set - is there a light burning. Voices can faintly be heard coming from this set. Mark walks quietly towards a long ladder which leads up to the gantry. Carefully - rung by rung - he starts to climb the ladder. At the top of the ladder is a gallery. Mark moves along the maze of bridges until he is nearly above the Policemen. Mark raises his head cautiously - and looks down. Far below WE CAN SEE the Inspector standing next to the Doctor - a tall, silver haired man - who is peering into an open trunk. Detectives are photographing the set. Mark raises his cine - camera. its gentle purring seems to echo round the studio. CLOSE SHOT of Mark's jacket pocket. A row of pencils is sticking out. As he leans forward the pencils tilt. Through the finder - matte of Mark's camera WE SEE the Inspector - very far away - peering into the trunk and nodding. A faint echo of conversation is overlaid. DOCTOR -LRB- O.S. -RRB- No doubt at all. wounds were caused by the same instrument. Mark changes lens -LRB- and alters the finder to a 75mm lens -RRB-. The Doctor's face - thin and impersonal - appears in the finder over the lid of the trunk. DOCTOR -LRB- O.S. -RRB- both women. subjected to the most violent shock. INSPECTOR -LRB- O.S. -RRB- What sort of shock? DOCTOR still can not determine - but look! He points to something in the trunk - out of the camera's eye - line. CLOSE SHOT of Mark. He balances carefully - then raises the camera above his head. As he leans forward, the pencils fall. WE SEE them shooting like small torpedoes into the darkness below. They make three separate landings. CLOSE SHOT of the Inspector. Looking up. From his POV WE SEE tiers of scaffolding deep in shadow. INSPECTOR Quiet, everyone. Please. The Detectives make as much noise to become quiet as the normal occupants of the studio - and then there is complete silence. Complete, except for the Doctor's asthmatic breathing. And then - so gently that it might almost be in our own minds - WE HEAR a purring sound from the shadows above. The Inspector listens intently. DETECTIVE I thought I heard a putty cat! There is a burst of laughter - the Inspector frowns. INSPECTOR I do n't want to spoil anyone's fun, but we do have a maniac on our hands, and if we do n't get him quickly there'll be a third unsolved murder to report to the Commissioner. So let's hurry things up, shall we? DETECTIVE Sorry, Chief! The ` putty cat' Detective raises his flashlamp towards the trunk counter. In the brilliant flash of light that ensues, we glimpse a shadowy figure moving towards a ladder high in the scaffolding. But then we are looking for it - no one else is. The flashlight dies away. The scene fades with it. CLOSE SHOT of a knitting - needle held upwards. Another knitting - needle scales down it like a fireman descending a ladder. CAMERA PULLS BACK\",\n \"INT. HELEN S SITTING ROOM - DAY Mrs. Stephens is doing her knitting. The inevitable glass stands on the table beside her. Helen is seated opposite, reading from a newspaper. HELEN she was appearing in Arthur Baden's new film The Walls Are Closing In, starring Diane Ashley. CLOSE SHOT of Mrs. Stephens listening intently. HELEN a spokesman at the studio said that her performance in the film showed such promise, that her role was to have been built up. All work at the studio ceased today as a tribute to her memory! Mrs. Stephens sips from her glass. The Prime Minister to visit Athens. MRS. STEPHENS Mark is in films, is n't he? HELEN Yes, darling. It is reliably. MRS. STEPHENS I wonder if he knew her? CLOSE SHOT of Helen looking up. HELEN I'll ask him tonight. MRS. STEPHENS Is he taking you out? HELEN If he's free. MRS. STEPHENS That's very chivalrous of him. Where's he taking you? HELEN I've no idea - and I do n't suppose he has. MRS. STEPHENS Which studio does he work at? HELEN I'll ask him. MRS. STEPHENS If he's free. Behind her back we see that her fingers are crossed. HELEN I'll bring him in and introduce you if. MRS. STEPHENS I feel I know him. HELEN Now how can you? Mrs. Stephens stiffens suddenly. MRS. STEPHENS He's here. CLOSE SHOT of the window. Mark is standing outside - looking in. MRS. STEPHENS Why do n't we make him a present of the window? He practically lives there! Helen beckons to Mark to come in. We see him nod eagerly - and leave the window. HELEN How did you know where he was standing? MRS. STEPHENS The back of my neck told me. the part that I talk out of! Helen hurries to the door of the sitting room.\",\n \"INT. HALL - DAY Mark closes the front door behind him. From his POV WE SEE the door of Helen's sitting room open - and she stands on the threshold. HELEN Hallo. MARK Free? HELEN Yes. MARK Good! So am I. HELEN I'd like you to come in for a moment - and meet my mother. MARK Yes, please. She holds open the door. He goes inside. The screen suddenly greys out into the veiled images of Mrs. Stephens' world. We hear Helen's voice. HELEN -LRB- O.S. -RRB- Darling, this is Mark. Mark, my mother. WE HEAR the sound of footsteps shuffling shyly forward - and then Mark's voice, every intake of breath magnified. MARK -LRB- O.S. -RRB- How do you do. Mrs. Stephens. WE HEAR the pounding of someone's heart - and then Mrs. Stephens' voice. MRS. STEPHENS -LRB- O.S. -RRB- Hallo, Mark. As her voice dies away.\",\n \"INT. HELEN'S SITTING ROOM CLOSE SHOT of Mark's hand clasping Mrs. Stephens'. CLOSE SHOT of Mark looking at her, fascinated. From Mark's POV WE SEE the sightless eyes turned towards his. Mrs. Stephens' other hand gently feels the surface of his. MRS. STEPHENS Have you been running, young man? MARK Yes. -LRB- he hesitates. -RRB-. did n't want to be late for Helen. HELEN Thank you, Mark - You deserve a drink for that! What would you like? MARK Nothing - thank you. very much. Mrs. Stephens grunts, and reaches for her glass. HELEN Darling, I've left your supper in the. MRS. STEPHENS Tell me young man. Which studio do you work at? The screen greys out. WE HEAR Mark's tiny intake of breath. MARK -LRB- O.S. -RRB- Chipperfield Studio. MRS. STEPHENS And that poor girl. where did she work? Someone's heart is pounding fast. HELEN -LRB- O.S. -RRB- At Brookwood. MRS. STEPHENS We were wondering if you knew her? MARK No - No, I did n't. MRS. STEPHENS A pity. I do like first - hand information. We hear Mark's small attempt at a laugh. MRS. STEPHENS Oh, well - I must n't keep you gossiping after you've run all the way from - Where? Again that little intake of breath. MARK The station. Mrs. Stephens and Mark are staring at each other as if she has sight and he has n't. From Helen's POV WE CAN SEE only Mark's back and her mother's upturned face. HELEN Darling, may I tell you about your supper? MRS. STEPHENS No. go and be told about yours! -LRB- she takes Mark's hand. -RRB- Goodbye, Mark. I expect we shall meet again. MARK I hope so - Goodbye. -LRB- He turns to the door. -RRB- CLOSE SHOT of Helen kissing her mother and whispering into her ear. HELEN Darling, we forgot to toss. Mrs. Stephens grunts. HELEN Supper's laid out in the kitchen. MRS. STEPHENS If you're not back early, you'll find me laid out with it! HELEN We'll be early! Good night, darling. MRS. STEPHENS Good night. Mark holds the door open for Helen and she goes into the passage. Mark turns and takes a long look at Mrs. Stephens. She is in the middle of raising her glass. She stops suddenly, the glass poised mid - air. He goes out - closing the door. She finishes her drink as if it is her last.\",\n \"INT. PASSAGE - DAY Helen is waiting by the door. From her POV WE SEE Mark coming eagerly towards her, his camera over his shoulder. HELEN Mark. MARK Yes, Helen? HELEN I want to ask you something rather personal. He looks at her anxiously. HELEN How long is it since you've gone out without that? MARK Without what? HELEN Your camera. MARK Oh. CLOSE SHOT of Mark. MARK I. do n't think I know? HELEN Exactly. I've never seen you without it. but are you going to need it tonight? He looks at her in silence. HELEN Well are you? And if so. shall I bring some work with me too? MARK I'm not going to need it tonight! HELEN Good - then give it to me! She holds out her hand. He looks at her, appalled. HELEN It'll be quite safe - I'll put it away for you. MARK -LRB- in a whisper. -RRB- No! HELEN Then take it upstairs - if you ca n't trust me with it. CLOSE SHOT of Mark. MARK I trust you. HELEN Then look. She opens the door of her bedroom - and turns on the light. HELEN let's put it in here.\",\n \"INT. HELEN'S BEDROOM She crosses to a cupboard and unlocks it, then turns round. He is standing hesitantly on the threshold. HELEN Come in - and see for yourself. He looks slowly round the room, stares for a moment at the bed in the comer, but he wo n't cross the threshold. He stays outside. HELEN We'll put it in here - and lock it. MARK This. was my mother's room. HELEN Was it, Mark? Again he stares at the bed. HELEN I am being tactless, are n't I? It's just that. I thought it was growing into an extra limb, and - but you bring it with you if you want to. He takes off his camera - and holds it out to her. HELEN Thank you. She takes it from him, puts it into the cupboard, and locks it. Then offers him the key. MARK You. HELEN Thank you. CLOSE SHOT of Mark. MARK I feel. HELEN Yes? MARK Ca n't describe it! Could only photograph it - She laughs. HELEN Shall I tell you what I feel? MARK Yes. HELEN Famished! MARK Good! They hurry towards the door.\",\n \"EXT. MARK'S HOUSE - DAY They walk down the steps of the house. MARK There's a small place round the corner. It's awfully good on Christmas Day. HELEN Is it? MARK Yes. there are n't too many open then. HELEN No - it sounds fun. MARK This way. CLOSE SHOT of Mark and Helen walking along by the side of the house. HELEN I adore new restaurants. Suddenly Mark stands motionless. He is staring at something off camera. Especially when - Her voice trails away. she is staring at Mark staring at something. In the shadows, at the mouth of an alley, a young couple are kissing. Mark stands motionless, staring at them. Automatically his hand reaches for his camera. Helen starts to speak - then looks at him in silence. The man glances round. Mark hurries away and Helen stares after him. CLOSE SHOT of Mark. He turns back - waiting for Helen. From his POV WE SEE Helen come slowly towards him. She looks at him searchingly for a long moment. He manages - but only just - to meet her eyes. HELEN Where is this restaurant? MARK Round the corner. MRS. STEPHENS Know much about films? HELEN Come on then. CLOSE SHOT of Mark. MARK Thank you. They walk slowly down the street. CLOSE SHOT of Mrs. Stephens. MRS. STEPHENS Sorry, young man, Helen's out. CAMERA PULLS BACK\",\n \"INT. SITTING ROOM - EVENING Tony is standing unhappily opposite Mrs. Stephens. TONY Oh! MRS. STEPHENS With Mark - from upstairs. TONY Oh! MRS. STEPHENS You can stay and talk to me - if you like? TONY Well I. MRS. STEPHENS Know much about films? TONY Well. MRS. STEPHENS Or film studios? TONY No, I. MRS. STEPHENS Where's Chipperfield Studios? TONY Chipperfield, I suppose. MRS. STEPHENS There's a phone book outside. Look up the number, will you? And see if you can get it. TONY Certainly. and then I must go to my room. MRS. STEPHENS Granted. She lifts her glass, and sits, waiting as he crosses the room.\",\n \"INT. RESTAURANT - NIGHT A small and very pleasant restaurant, almost full. Helen and Mark have a corner table. They are dining by candlelight, and there is a bottle of wine in the middle of the table. As CAMERA TRACKS TOWARDS them, Helen is laughing. HELEN I like this place! And this dinner! CLOSE SHOT of Mark. He has again won the Academy Award. HELEN thank you, Mark. MARK Are you ready to talk about your book? HELEN I'm ready to talk about you. His face falls. HELEN It wo n't take a second - and it's best to have it said. Mark looks. HELEN Carrying a camera is only one of your habits, is n't it, Mark? He looks at her in silence. CLOSE SHOT of Helen. HELEN when you stared at that couple, you were like the little boy on that film you showed me. looking over the wall at something he should n't see. But Mark - you're strong enough now to lift that child off the wall. are n't you? He hesitates. HELEN are n't you? MARK I'll try to be. HELEN Will you, Mark? Will you really? MARK Yes. HELEN Lecture finished. A pause. MARK When your book's published - will you go on working in a library? HELEN Yes, Mark. in case, one day, a child comes in and asks for it! MARK I'll come in. HELEN I'm not popular with my customers! They ask me for horror comics - and I take their sticky hands and drag them to where there are books! CLOSE SHOT of Helen. HELEN and do you know, Mark, waiting for them to come in next time and ask for books. is as exciting. as a horror comic. MARK What does your magic camera photograph? HELEN People. MARK Yes? HELEN It's owned by a little boy who is terrified of grown - ups. but when he looks in his magic camera he sees grown - ups as they were when they were children. and he is n't frightened any longer. CLOSE SHOT of Mark listening, engrossed. HELEN and one day he gives his camera away to a little boy who is even more frightened of grown - ups than he was - and do you know what he finds? The little boy opposite her shakes his head. HELEN that when he looks at grown - ups without his camera he can still see them as they were when they were children! And that means that he's grown up himself. A moment's pause. She drinks her wine - shy, awaiting his reaction. MARK What made you think of this story? HELEN You did! CLOSE SHOT of Mark. HELEN I looked out of my window - and saw you going off to work carrying that camera like a little boy with a satchel. and an idea came. so thank you. MARK I'd like to think. I was responsible. in some way. HELEN Now what do I do about the photographs? MARK Take'em! He slams the table so violently that a lady nearby looks around. then reaches for his camera. MARK Oh! Helen smiles. MARK There is n't a single face that does n't look like a child's - not a single one - if you catch it at the right moment. He turns around excitedly and sees her watching him. MARK It would be a challenge! Unlike anything I've photographed! HELEN What have you photographed, Mark? MARK Everything. But nothing I'd want children to see. She looks at him curiously. MARK But this would belong to them - and they'd know if it was n't right. Oh, Helen. I would like to find those faces for you. with you. HELEN Very well! Let's try! He laughs excitedly. She looks regretfully at her watch. At once he looks at his. MARK You made a promise to your mother - HELEN -LRB- gently. -RRB- Yes, Mark. MARK You'd better keep it. HELEN Thank you. He signals to the head waiter. and pays his first bill for two.\",\n \"EXT.STREET - NIGHT They walk along the street very close together, but not quite touching. Above them a light is shining on a blind revealing a shadow of a woman undressing. Mark glances at the blind - then looks away quickly. He stares ahead of him. and continues to stare ahead of him. Suddenly Helen tucks her arm through his, and smiles up at him. they walk on in silence.\",\n \"INT. HALL OF MARK'S HOUSE - NIGHT Helen and Mark come in quietly, and close the door. She glances round the dimly lit hall. There is no light under any of the doors, except one at the end of the passage. HELEN Mother must have gone to bed. -LRB- she turns to find him looking at her. -RRB- Mark, it was a wonderful evening. MARK That's what I was going to say. a wonderful evening. HELEN -LRB- gently. -RRB- And you made it wonderful. without your camera. A shadow passes over his face. HELEN -LRB- gently. -RRB- I'll get it for you. He stands motionless as she goes into her room. From his POV WE SEE the half - opened door - and the bed in the comer. CLOSE SHOT of Mark forcing himself to look away. Helen reappears on the threshold - the camera in her hand. He looks down at it - then slowly stretches out his hand. HELEN wonder how this sees grown - ups? -LRB- she turns the camera round. -RRB-. me, for instance. now that I am one. -LRB- she looks at herself in the lens. -RRB- MARK Not you! -LRB- he takes the camera from her. -RRB- HELEN Mark. MARK It never will. see you! HELEN Why not? He hesitates. MARK Whatever I photograph - HELEN Yes? MARK I always - lose. HELEN I do n't understand. The door at the end of the passage opens and Tony emerges in his dressing - gown, carrying a towel. He avoids looking at them - goes into the bathroom opposite, and slams the door. HELEN He'll wake Mother! There is the sound of running water. HELEN thank you, again, for my evening. -LRB- she is standing very close to him, smiling up into his face. -RRB- Will you go to bed now - and not stop up watching those films? MARK Well. I've a little work to do. then I'll go to bed. and think of how to find faces for you. He looks down at the face which he has found for himself. She raises her head slowly. MARK faces which - are faces which. She kisses him very gently on the mouth. The bathroom begins to sound like a small waterfall. HELEN Good night, Mark. He watches her as she goes into the room, and doses the door. A light goes on beneath the door. He stands very still for a moment. then turns the camera round and points the lens towards his lips. Then he turns abruptly, and hurries up the stairs. The waterfall cascades on. The screen grows dark - and the dark - room grows out of it.\",\n \"INT. DARK-ROOM - NIGHT The big drying drum is turning, feeding the dry print into a box. A small motor drives it. CLOSE SHOT of the box. Mark is spooling up the film as it comes off the drier. Once or twice he ca n't help glancing at an image. CLOSE UP of Vivian's face, in the image. Mark stops the motor and the drum, loosens the end of the film, spools up with a snap, slides the spool off and hurries out with it. Mark hurries to his projector, threads the film and starts the projector. He flicks it on, as if it were a gramophone, then looks eagerly at the 16mm screen. Behind him something moves in the shadows REVERSE SHOT of Mark. Over the shoulder of someone who is standing deep in the shadows WE SEE Mark. His head obscures what he is watching on the screen. HE TURNS ROUND SUDDENLY - From Mark's POV WE SEE the processing sinks deep in shadow. He starts to move towards them, then suddenly stares at the shadows at the back of the room. Silence - except for the whirring of the 16mm projector. CLOSE SHOT of Mark's hand - switching on the light. Mark turns round. he is as astonished at what he sees as he can be. CAMERA PANS in its own good time to the back of the room. Mrs. Stephens is standing in the shadows. a heavy hand rests on a heavy stick. the sightless eyes stare unerringly towards the light switch. MRS. STEPHENS Good evening, Mark. MARK how did you? MRS. STEPHENS The young man bathing himself brought me to your door. I managed the rest of the adventure alone. He stands motionless, staring at her standing motionless. Above her head an ancient, half - blind camera also stares at her. The only movement in the room is her smile. MRS. STEPHENS This is one room I expected to find locked. MARK I was never allowed a key., ca n't get used to them. Mrs. Stephens' sightless eyes stare at him. MARK I brought her home early. CLOSE SHOT of her hand - tightening on the heavy stick. MRS. STEPHENS Thank you. MARK Is there something you. MRS. STEPHENS a talk. MARK Next door would be more. MRS. STEPHENS I'm at home here. I visit this room every night. MARK Visit? MRS. STEPHENS The blind always live in the rooms they live under. Mark nods. MRS. STEPHENS Every night you pace for hours above my head! Why? MARK I've no one to talk to. in the rooms I live over. Mrs. Stephens nods. Her hand touches the black cloth loading bag, lying on the table. MRS. STEPHENS I'm told that you stare too much. so do I. CLOSE SHOT of her hand - touching the black cloth bag. CLOSE SHOT of Mark - walking slowly towards her. At once she raises the heavy stick - pointing it towards him. CLOSE SHOT of the stick. It is a shooting stick - with a sharp spike on the end of it, similar to the tripod on Mark's camera. Mark stares at the stick, fascinated. CLOSE SHOT of Mrs. Stephens - exploring the inside of the black cloth bag with her free hand. MRS. STEPHENS Cloth. with something hard inside it. MARK It's a changing bag. we put films in it - so that the light wo n't spoil them. MRS. STEPHENS How odd - that the light can spoil anything. The screen greys out. In Mrs. Stephens' own dark - room we hear the hum of Mark's projector - and the pounding of Mark's heart - and, very faintly, the sounds of Tony bathing himself. MRS. STEPHENS Every night you switch on that film machine. We hear his tiny intake of breath. MRS. STEPHENS What are these films you ca n't wait to look at? The sound of his footsteps softly approaching. Like a chair? MARK -LRB- O.S. -RRB- Like a chair? MRS. STEPHENS -LRB- O.S. -RRB- What is the film you're showing now? Very faintly we hear Tony singing in his bath. The singing dies away, and the sound returns to normal. Over Mark's shoulder WE SEE Mrs. Stephens holding her stick in front of her. MRS. STEPHENS Why do n't you lie to me? I'd never know. MARK You'd know at once - Mrs. Stephens smiles - then turns her head towards the 16mm screen. MRS. STEPHENS Take me to your cinema. MARK Yes. He takes her arm gently and guides her towards us. Both of them stare at the 16mm screen. She leans forward - her face only inches from the screen - the light from the projector flickering on to her. REVERSE ANGLE SHOT of Mrs. Stephens. Slowly she stretches out her hands and touches the screen. MRS. STEPHENS What am I seeing, Mark? Her head and shoulders blot out most of the screen - but between her outspread fingers WE CATCH A GLIMPSE of a girl's terrified eyes. MRS. STEPHENS Why do n't you answer? CLOSE SHOT of Mark and Mrs. Stephens. MARK -LRB- staring at the screen. -RRB- It's no good - I was afraid it would n't be. MRS. STEPHENS What? MARK The lights failed too soon. MRS. STEPHENS -LRB- pause. -RRB- They always do. MARK I'll have to try again. He hurries to his cine - camera. MRS. STEPHENS I've yet to meet an artist who could judge his own work. Mark slips a new spool of film into his cine - camera. MRS. STEPHENS What do you think you've spoiled? MARK An opportunity. now I must find another. He looks at her thoughtfully, then presses a light switch. A spotlight falls blindingly on to her eyes. He presses another switch, and then another, until the whole of her face is shining with light. MRS. STEPHENS Why are you putting those lights on my face? He walks towards her. She starts to back away. The shadow of Mark's head appears on the 16mm screen. WE SEE him raise his camera - then pull down the tripod. Black out into the grey darkness of Mrs. Stephens' world. WE HEAR the purring of Mark's camera - more clearly than we have yet heard it. -LRB- There is the faint rasp of a cog which needs oiling. -RRB- The sound of footsteps approaching. the purring changes direction. MRS. STEPHENS -LRB- O.S. -RRB- Mark. MARK -LRB- O.S. -RRB- It's almost over. The purring is on top of her. There is a sudden thud. Mrs. Stephens is leaning against the wall. she has dropped her heavy stick. It lies on the floor a few feet away from her. Mark is kneeling in front of her - the tripod firmly on the floor. The cine - camera is pointing upwards into her face. He peers excitedly into the viewfinder. MARK Please let me finish! It's for Helen! She edges towards her stick. He hurries forward and picks it up. He looks at the spike on the end of it - then carefully gives it to her by the handle. She grasps it tightly. MRS. STEPHENS What do you mean? It's for Helen? MARK She wants to see something I've photographed! He returns excitedly to his camera. MRS. STEPHENS My daughter sees enough of my face without photographs. On Mark's focusing screen WE SEE the fear on her face. Her hand trembles as she wipes away the perspiration. MARK -LRB- O.S. -RRB- Please. do n't be frightened. MRS. STEPHENS Not frightened! Hot! But it is fear that we are looking at. MRS. STEPHENS So put that camera away. On the focusing screen we see her moisten her lips nervously. MARK Yes! He switches off the camera abruptly, and folds up the tripod. He turns away without looking at her - and hurries to the door. CLOSE SHOT of Mrs. Stephens listening to his movements - puzzled. MRS. STEPHENS In rather a hurry, are n't you? He glances towards her. From his POV WE SEE the fear in her eyes. He looks away at once, staring into the darkened room. MARK It's late. From her POV -LRB- shooting over her shoulder with a large CLOSE SHOT of her ear in the foreground -RRB- WE SEE Mark standing in the doorway - and hear, very clearly, his quick, uneasy breathing. MARK You must be tired. MRS. STEPHENS You're anxious to get rid of me all of a sudden. We hear his quick intake of breath. MRS. STEPHENS I wo n't be selfish. You can take some more pictures - if you want to. MARK No. thank you. MRS. STEPHENS -LRB- quietly. -RRB- Why not, Mark? MARK Run out of film. MRS. STEPHENS Ca n't you find some - to please Helen? He glances towards her - then hurries into the next room. MRS. STEPHENS You do n't trust yourself to take any more, do you?\",\n \"INT. MARK'S SITTING ROOM - NIGHT The tapping of her stick is overlaid. Mark hurries to the door and opens it - staring into the dimly lit passage. Over his shoulder WE SEE her tapping her way towards him from the dark - room. MRS. STEPHENS Instinct's a wonderful thing, is n't it Mark? A pity it ca n't be photographed. Over her shoulder we follow the stick towards him. MRS. STEPHENS if I'd listened to it years ago, I might have kept my sight. -LRB- she approaches the door. -RRB- I would n't have let a man operate I had no faith in. so I'm listening to it now. -LRB- she puts her face close to him. -RRB- It says all this filming is n't healthy - and that you need help. His face is averted. his eyes are closed. MRS. STEPHENS get it, Mark. get it quickly. and until you've got it. I do n't want you and Helen to see each. MARK I'll never photograph her. I promise you that. MRS. STEPHENS I'd rather you do n't have the chance. He turns towards her - a small boy who suddenly understands what contagious means. MRS. STEPHENS I mean it, Mark. And if you do n't listen to me. one of us will move from this house - which would be a pity, because we'd never find a cheaper. MARK You'll never have to move. because of me. I promise you. MRS. STEPHENS Good boy. -LRB- she takes his hand. -RRB- The stairs are the difficult part. They go into the passage.\",\n \"INT. PASSAGE - NIGHT He guides her gently down the stairs. Over their shoulders WE CAN SEE the door of Helen's room. MRS. STEPHENS Far enough, Mark. He stares at Helen's room - then looks quickly away. Suddenly she raises her hands - and runs them gently over his face. MARK taking my picture? MRS. STEPHENS Yes. We can see his eyes through her outstretched fingers. MARK It's been a long time. since anyone did. MRS. STEPHENS Mark. what's troubling you? MARK Good night, Mrs. Stephens. He turns away abruptly and hurries up the stairs. MRS. STEPHENS you'll have to! She looks towards Helen's room - then turns slowly towards her own. HIGH ANGLE SHOT of Mrs. Stephens opening the door of her room - and Mark opening the door of his. CLOSE SHOT of a bottle of whisky standing by a bedside.\",\n \"INT. MRS. STEPHENS' BEDROOM - NIGHT She is lying in bed, staring at the ceiling. WE HEAR footsteps moving overhead. CAMERA PANS to the window. It is dark. CLOSE SHOT of the same bottle of whisky - now almost empty. Mrs. Stephens' heavy breathing is overlaid. CAMERA PANS to the window. It is daybreak. The footsteps are still moving about above ; things are being dragged across the floor. CLOSE SHOT of Helen in a dressing - gown looking out of a window.\",\n \"INT. HELEN'S ROOM - MORNING From Helen's POV WE SEE Mark hurrying down the street, his camera over his shoulder. CLOSE SHOT of the Inspector looking out of a window.\",\n \"INT. DON JARVIS' OFFICE. MORNING From his POV WE SEE Mark hurrying along the studio quadrangle, his camera over his shoulder. He is one of a crowd of people scurrying towards their jobs. Camera pulls back - Don Jarvis is seated at his desk. Arthur Baden and the Chief Publicity Man are seated in front of him. The Sergeant stands by the door. JARVIS Have you any suspicions, Chief Inspector? INSPECTOR It could be any of them. SERGEANT That's the trouble with film people - they're all peculiar. -LRB- hastily. -RRB-. present company excepted. He catches a glare from the great man. PUBLICITY MAN Speaking of peculiar people. The Inspector turns round. PUBLICITY MAN We've a psychiatrist coming down today. Dr Rosen - INSPECTOR I know him. PUBLICITY MAN It's pure publicity - and I promise he wo n't do any work. INSPECTOR What will he do? PUBLICITY MAN Get himself photographed. We're telling the press he's here to help the case - and to see if he can spot the murderer. SERGEANT And the best of luck! JARVIS Do you object. Chief Inspector? INSPECTOR No. The Publicity Man sighs with relief. INSPECTOR I'll be frank. I'd welcome anyone's help. I do n't know how this maniac kills - or why he kills - or who he'll kill next, but if he is n't caught quickly. -LRB- he shrugs'. -RRB- BADEN Inspector, have you convinced yourself he's a member of my unit? INSPECTOR No, sir. but a few things seem to point to it. No one outside your unit admits to knowing the girl. There was a trunk all ready for her. and with the risks he was running, I think he'd have to use surroundings he was familiar with. Where is your unit now? BADEN Waiting for me on the set. INSPECTOR I'd like to watch them at their jobs, sir. It may tell me more than a hundred interviews. BADEN But, Inspector, the strain on them is already. JARVIS Come now, Arthur, if that's what the Inspector wants. INSPECTOR I'm afraid it is, sir. now where could I get the best view? BADEN -LRB- sulkily. -RRB- On the dolly. the camera. You can watch everyone and everything from there. including me! INSPECTOR Very well, sir. I'll become a member of your camera crew. BADEN -LRB- to Don Jarvis. -RRB-. if the unions do n't object!\",\n \"INT. STAGE A member of the camera crew places his cine - camera and lunch bag on a shelf. Snatches of whispered conversations are overlaid. VOICE 1 I hear they're making an arrest today. VOICE 2 hope it's D.J. It's about time they caught up with him! Mark turns round and walks towards the small group of people assembled round the studio camera - CLOSE SHOT of a book entitled The Art of Fly Fishing.\",\n \"INT. CAR - DAY Through the windscreen WE SEE the entrance to the studio. The driver glances round at his passenger whose face is completely obscured by the book. All WE CAN SEE is a shock of white hair protruding above DRIVER We're there, Doctor. DOCTOR -LRB- to Sergeant on gate. -RRB- Dr Rosen! What a pity. He continues reading. The car enters the studio.\",\n \"INT. STAGE E. - DAY The -LRB- studio -RRB- camera is ready for a tracking shot. The set is redressed as the Hat Department of the store. The Inspector stands on the dolly, looking round with interest. The Doctor is sitting in a chair watching everything like an excited schoolboy. The Sergeant has positioned himself near the sound crew. Baden walks on to the set, his arm round Diane's shoulder. He is talking to her softly. She keeps her eyes on the floor ; he leads her to the front of the studio camera. BADEN Try it, darling. We'll all be with you. He pats her arm reassuringly. The Chief Cameraman nods to Mark. From the Inspector's POV WE SEE Mark pull a tape measure from the front of the camera and hold it to Diane's forehead. From Mark's POV WE SEE the Inspector watching him over the top of the studio camera. A man with a shock of white hair is also watching him. and the Sergeant stares at him from the other side of the set. The tape measure in Mark's hand remains steady. From the Inspector's POV WE SEE Mark replace the tape measure and take up his position on a small stool by the side of the camera. ASSISTANT DIRECTOR -LRB- shouting. -RRB- Quiet, everyone. Let's run it! The Doctor sneezes violently - and all heads turn towards him. DOCTOR Terribly sorry. In the nervous laughter that follows, the Assistant Cameraman whispers to the Chief Cameraman. ASSISTANT CAMERAMAN That sneezer geezer's a psychiatrist! Heard it on the grapevine. CLOSE SHOT of Mark turning round to look at the Doctor - a hint of hope in his face. CLOSE SHOT of the Inspector following Mark's glance. ASSISTANT DIRECTOR -LRB- shouting. -RRB- All right, everyone - let's run it. Over the Inspector's shoulder WE TRACK towards the rehearsal. WE SEE Mark swing out into space on his stool, turning the handle of the focus - puller. Diane approaches the hat counter. The Assistant smiles at her. DIANE I'd like to see. that one. The Assistant hands her a hat. Diane tries it on. DIANE have you it. in red? ASSISTANT Certainly, madam. DIANE in. red. -LRB- suddenly she covers her face in her hands'. -RRB- I ca n't! I ca n't, Arthur! She bursts into tears and runs off the set. From the Inspector's POV WE SEE Baden whisper to the Assistant Director - then hurry after Diane. ASSISTANT DIRECTOR Ten minutes break, everyone! The unit dissolves into small, chattering groups. The Assistant Director hurries up to the Doctor. ASSISTANT DIRECTOR Can you suggest anything, Doctor? DOCTOR No. It looked jolly interesting to me. ASSISTANT DIRECTOR I mean to help her psychologically. DOCTOR Yes. Give the girl a proper rest. Ten minutes is useless! ASSISTANT DIRECTOR -LRB- hastily. -RRB- Thank you, Doctor. He bustles off and the Doctor is left alone. He glances round thoughtfully. From the Doctor's POV WE SEE the small, chattering groups. Then we see Mark standing a few yards away, watching him. The Doctor smiles at him pleasantly. DOCTOR What's your job? MARK I'm a focus - puller. DOCTOR Oh. so am I, in a way. MARK I was wondering if you knew my father - Professor Lewis. DOCTOR Professor. but of course I knew him. He lectured to me. He looks at Mark with renewed interest. So does the Inspector. From his POV WE SEE Mark and the Doctor talking. The Doctor is fidgeting with his watch chain. Mark fidgets with his jacket button. The Inspector then glances towards the Hat Salesman, who is holding court in the comer. We return to Mark and the Doctor. DOCTOR He was an extraordinary man - quite brilliant! MARK You know what he was interested in before he died? DOCTOR No? Tell me. Mark puts his hands behind his back. MARK I do n't remember what he called it. It was something to do with what causes people to be. peeping Toms. DOCTOR Scoptophilia! That would interest him! A most fertile mind. MARK Scopto? DOCTOR philia. The morbid urge to gaze. Coined since his day. Have you any manuscripts of his which I could? MARK He thought. it could be cured. DOCTOR Usually. Now about his manuscripts - MARK Quickly? DOCTOR The cure? Very quick. A couple of years analysis - three times a week - an hour a time - and it's soon up - rooted. CLOSE SHOT of Mark - his last hope gone. DOCTOR if you've any of his papers on the subject? MARK Yes, Doctor. DOCTOR I'd like to see them - I'll give you my address, young man. From the Sergeant's POV WE SEE the Doctor hand Mark a card, and pat him jovially on the shoulder. The Sergeant edges up to the Inspector. SERGEANT Wonder what all that's about? INSPECTOR We'll find out afterwards. Now, listen. I want you to watch who brings their own lunches. Someone ate homemade cakes and sandwiches by the side of those bushes - and we may get a lead. SERGEANT Right, sir. CAMERA PANS to a shelf in the comer. A lunch basket stands next to a cine - camera. WE HEAR the Assistant Director call out : ASSISTANT DIRECTOR We're stopping at four today - so have a quick lunch, everyone! Back at two sharp! FADE IN on the lunch basket. Overlaid is the noise of the unit dispersing. Mark picks up his camera - then reaches for the lunch basket. An urgent voice whispers behind him. VOICE Hey, Mark! He turns round. The Clapper Boy is standing there. The Clapper Boy glances round carefully. The Inspector and Sergeant are wandering casually towards the door. CLAPPER BOY Ca n't wait to show you this! -LRB- bringing out a small postcard. -RRB- I ought to charge you! He winks at Mark, gives him the postcard. CLOSE SHOT of the postcard. We see Milly's face and naked shoulders framed between Mark's hands. CLAPPER BOY -LRB- O.S. -RRB- You do n't get that in Sight and Sound - Is n't she terrific? Got some more - if you're interested? Mark hands it back. MARK You've given me. an idea. CLAPPER BOY I'll bet I have! Mark turns towards the exit. CLAPPER BOY Hey! Where are you going? MARK Phone - may be my last chance - and. thanks. CLAPPER BOY But your lunch? MARK You have it! He hurries excitedly towards the exit. CLOSE SHOT of the Clapper Boy staring at his photograph. CLAPPER BOY some photograph! Well lit too! He reaches for the lunch basket, then walks towards the exit where the Sergeant is waiting casually.\",\n \"INT. CAMERA ROOM Mark is talking at a coin - box telephone. MARK Ca n't manage Saturday, sir, but they're letting us off early today! This afternoon - after work - may be my last chance! While Mark is talking he is scribbling on a form. He has some more pennies ready for the coin - box.\",\n \"INT. NEWSAGENT'S SHOP - DAY MR. PETERS be here at six o'clock. Milly'll be waiting. MARK Six o'clock. MR. PETERS On the dot, Mark, or she'll go. MARK I'll be there, sir. MR. PETERS You'd better be!\",\n \"INT. CAMERA ROOM Mark rings off. He is smiling. He puts in another 4d -LRB- Four Pence -RRB- and dials a number. His pen is poised over the form he is filling in. MARK Hallo? Is that the Public Library? You have a Miss Helen Stephens employed there? Yes. can you tell me if her name is spelt with a V or a PH, I want to send her a tic - PH? Thank you. We see the form is a last will and testament. I, Mark Lewis, etc., etc., leave, etc., etc., to Miss Helen Ste - ens all my worldly goods, etc.. He fills in PH.\",\n \"INT. CAMERA ROOM The door bursts open and the Clapper Boy appears. CLAPPER BOY They're waiting! THE SET - DAY CLOSE SHOT of Dr. Rosen smiling. DOCTOR ROSEN He asked if I knew his father. which I did. a brilliant man!\",\n \"EXT. GROUNDS OF STUDIO - DAY The Inspector and Doctor are standing by the bushes where Mark and Vivian met. INSPECTOR Is that all he wanted? DOCTOR think so. we had a little chat about scoptophilia - and he's going to show me. INSPECTOR About what? DOCTOR Voyeurism. INSPECTOR Eh? DOCTOR What makes people into Peeping Toms, one of his father's subjects, apparently. INSPECTOR -LRB- slowly. -RRB- Peeping Toms. DOCTOR An interesting boy. he has his father's eyes. you do n't suspect him, do you? INSPECTOR I suspect'em all - what about you? DOCTOR I'm interested in that chap with the bald head and hatchet face. there's something on his mind! INSPECTOR No wonder. he's the director! He turns away thoughtfully. CLOSE SHOT of Mark glancing impatiently at his watch.\",\n \"INT. STUDIO - DAY CLOSE SHOT of Baden glancing at his watch. He whispers to the Assistant Director. ASSISTANT DIRECTOR All right, everyone. This is the last shot. Make it a good one! CAMERA PANS to a comer of the studio. The Inspector and Sergeant stand in the shadows. INSPECTOR -LRB- quietly. -RRB- Got your list, Sergeant? SERGEANT -LRB- he produces if. -RRB- YES, SIR. INSPECTOR I want to see how some of them spend their spare time. SERGEANT Which ones, sir? INSPECTOR Exactly, Sergeant. -LRB- he looks round thoughtfully. -RRB-. which ones? CLOSE SHOT of sign : PUBLIC LIBRARY.\",\n \"EXT. PUBLIC LIBRARY - DAY LONG SHOT of very modern, glass - walled building. Helen comes out with a manuscript in a parcel under her arm.\",\n \"EXT. PUBLIC LIBRARY - DAY Mark watches her. Beyond him stands an insignificant - looking man in a raincoat.\",\n \"EXT. LIBRARY Helen looks at her watch.\",\n \"EXT. LIBRARY Mark looks at his. INSERT : 5.45.\",\n \"EXT. LIBRARY Helen hurries homeward.\",\n \"EXT. LIBRARY Mark slowly turns his back and walks away, gradually gathering speed. The man in the raincoat follows him.\",\n \"EXT. NEWSAGENT'S SHOP. LATE AFTERNOON Mark hurries towards the shop. ahead of him a street clock stands at just on six. Mark unslings his cine - camera and photographs this clock. then he hurries into the shop. The man in the raincoat walks into camera. He looks at the clock, puzzled, then glances at the newsagent's window. He gazes with interest at Mark's photograph of Milly, then walks thoughtfully down the street. All the clocks in the kingdom chime the hour of six.\",\n \"INT. NEWSAGENT'S SHOP - LATE AFTERNOON Mr. Peters is behind the counter. MR. PETERS Do n't make a habit of this! MARK I wo n't, sir. MR. PETERS Milly's upstairs. MARK Right, sir. He turns to the door. MR. PETERS I've got to go out. If you finish before I'm back, lock up and put this through the letter - box. -LRB- he holds out a key. -RRB- CLOSE SHOT of Mark staring at the key. MR. PETERS What's the matter? Have n't you ever seen a key before? Mark takes the key. He starts to smile. MR. PETERS The till will be empty - if that's what you're smiling about. Mark turns to the door. MR. PETERS You know what I want now! No fancy stuff. Mark goes into the inner room ; he is still smiling.\",\n \"EXT. NEWSAGENT'S SHOP - LATE AFTERNOON From the opposite side of the street, we see Mr. Peters locking the door of the shop, and hurrying down the road. The man in the raincoat watches him, puzzled. CLOSE SHOT of Milly - very angry, in a dressing - gown. MILLY You've spoiled my whole evening, you have!\",\n \"INT. NEWSAGENT'S STUDIO - LATE AFTERNOON Mark closes the door behind him. MARK Sorry, Milly. MILLY What's the idea? MARK I sha n't be here tomorrow. -LRB- he hurries to the window. -RRB- MILLY Why? Going on manoeuvres with the boy scouts? He starts to draw the curtains - and stops suddenly. Over his shoulder WE SEE the man in the raincoat standing on the opposite side of the street. MARK I thought so! Mark raises his cine - camera and carefully photographs the Detective through a chink in the curtains. MILLY Have you gone absolutely. MARK I'm just. completing a documentary. MILLY You're a document and a half, you are. Is it safe to be alone with you? He draws the curtains - and turns round. MILLY might be more fun if it was n't. He turns round and walks slowly - and a little sadly - towards her BLACK OUT : The screen remains dark for a moment. AN HOUR LATER - EARLY EVENING From the Detective's POV, WE SEE the chink of light between the curtains of a window above the newsagent's shop go out. CAMERA TRACKS TOWARDS the door of the shop. Mark comes out, his cine - camera over his shoulder. He has a key in his hand. He closes the door of the shop. then looks at the key. He fits it into the lock - then slips it through the letter - box. He turns and hails a taxi. CLOSE SHOT of the Detective. He looks at the shop, hesitates, decides to follow Mark - hails another cab.\",\n \"EXT.STREET Mark gets into his taxi. As the driver pulls down the flag. Mrs. Stephens' head falling on to her chest.\",\n \"INT. MRS. STEPHENS' BEDROOM - EARLY EVENING She is lying in bed - completely drunk - snoring lustily. A hand smooths her forehead. CAMERA PULLS BACK Helen is leaning over the bed. She has her coat on. HELEN Darling. She shakes her mother's shoulders. Mrs. Stephens snores on. HELEN Darling. She shakes her again -- but it is hopeless. Helen pulls the bedclothes round her mother, then turns away. She picks up a large envelope and her handbag, and hurries to the door.\",\n \"INT. PASSAGE. MARK'S HOUSE - EARLY EVENING Helen walks towards the stairs. The door of Tony's room opens, and he pokes his head round. TONY Hallo. HELEN Hallo, Tony. TONY Where are you going? HELEN To leave something for Mark. TONY You have n't much time for me these days. HELEN Tony. TONY It's all right - I'll be here - if you want me. -LRB- he turns to his room. -RRB-. by the way. your mother was yelling out something before you came in. about Mark photographing her. HELEN Photographing Mother? You must be mistaken! TONY Of course. See you sometime. He goes into his room, closing the door. She stares after him for a moment, then hurries up the stairs.\",\n \"INT. PASSAGE BY MARK'S ROOM - DAY Helen knocks on the door. HELEN Mark? No answer. She knocks again, then opens the door and goes inside.\",\n \"INT. MARK'S SITTING ROOM - EARLY EVENING Helen enters and glances towards the door of the dark - room. HELEN Mark? No answer. She looks thoughtfully at the envelope in her hand - then goes in to the dark - room.\",\n \"INT. MARK'S DARK-ROOM Helen fumbles for a switch. she finds one and presses it. A spotlight falls on Mark's projector, throwing its shadow on to the dazzling white screen. Helen smiles, and walks towards the projector.\",\n \"EXT. HOUSE - DAY Taxi arrives and Mark gets out.\",\n \"INT. POLICE PHONE BOOTH - EARLY EVENING DETECTIVE do n't know what to make of it, sir. He went to a library, a solicitor's office, and a newsagent's shop - private photography there, if you ask me. Shall I hang around outside the house, sir? Do n't think so, either. All right, sir, I'll give you the details when I get back. Bye, sir. -LRB- he replaces the receiver. -RRB- CLOSE SHOT of Helen. She is standing by the projector, holding her envelope thoughtfully.\",\n \"INT. MARK'S DARK-ROOM She smiles suddenly and opens her envelope. She takes out a bound manuscript. We see a label on the manuscript : The Magic Camera by Helen Stephens. She takes a pencil from her pocket, and opens the manuscript. Then she sits at Mark's table and writes a note on the flyleaf. The projector is at her elbow. A telephone by a man's elbow. It rings.\",\n \"INT. SCOTLAND YARD - EVENING The Chief Inspector snatches up the telephone. CHIEF INSPECTOR Chief Inspector Gregg! What? Put him on the line. Mr. Peters - looking very sick - on the telephone. MR. PETERS went up to look around - found her. CLOSE SHOT of the Chief Inspector. CHIEF INSPECTOR Yes, yes. What's the address? Newsagent's shop? Did you say news? He slams down the receiver, and jumps to his feet.\",\n \"EXT. ROAD - EVENING An empty taxi cruising down the street. It passes the Detective in the raincoat walking away from Mark's house. CLOSE SHOT of a note on a flyleaf which reads ` From one Magic Camera - which needs the help of Another'.\",\n \"INT. MARK'S DARK-ROOM - NIGHT Helen closes the manuscript and lays it carefully by the side of the projector. She turns to leave - then looks curiously at the projector. CLOSE SHOT of Helen - hesitating. Like a small girl in front of her mother's make - up box, she touches the projector tentatively, hesitates again, then presses a switch. A beam of light shoots out. We watch Helen's face as she looks at the screen. Nothing seems wrong for a few seconds - then something starts to happen to the comers of her mouth. and then her eyes become locked. and can not stop watching. Some kind of sound comes from the back of her throat. Her hands dig into the table and she tries to stand up. She can not manage it the first time - and keeps on watching, then, like a child waking from a nightmare, she jerks herself away from the table, and stumbles towards the door. CLOSE SHOT of Mark standing there - watching her. CLOSE SHOT of Helen staring at him. again we hear that sound from the back of her throat. He looks away from her at once. MARK Do n't let me see you. frightened. -LRB- he pushes the door wide open. -RRB- Leave! -LRB- he looks at her - then looks quickly away. -RRB- Hurry, Helen! HELEN Not. MARK Leave! HELEN Not. -LRB- she turns away from him and forces the words out. -RRB-. till I know. MARK Now! She stands with her back to him. From REVERSE ANGLE we see her struggling for breath. Over her shoulder WE SEE him staring at the 16mm screen. HELEN That film. Over her shoulder we see him hurry towards the projector. HELEN That film. The sound of him switching it off. HELEN is. just a film. She wheels round towards him. HELEN is n't it? From REVERSE ANGLE we see her looking at him. HELEN horrible. horrible. but. just a film. is n't it? CLOSE SHOT of Mark. MARK No. -LRB- he walks towards the door. -RRB- I killed them. -LRB- he locks the door with a hint of sadness. -RRB- And now that you know. I want you with me. a while. CLOSE SHOT of Helen -- not enough breath to scream. hardly enough to breathe. MARK You'll be safe - as long as I ca n't see you frightened - so stand in the shadows, Helen. please. She stands motionless. MARK please. From her POV WE SEE him standing in front of the door, looking ahead of him. She backs slowly away into the shadows at the back of the room. HELEN She's right. your mother. must tell someone everything. sorry. has to be you! CLOSE SHOT of Helen standing in the shadows where her mother stood. HELEN This was his laboratory. and you know some of what he did. but not all. The room is suddenly filled with the terrified screaming of a small boy. Helen wheels round. The screaming seems to be coming from the walls. Mark's hand is on a switch - one of a number on a panel. MARK aged five. He presses another switch. There is a click, and the screaming stops, to be replaced by a low sobbing. MARK aged seven. He presses another switch. There is a moment's silence. MARK All the rooms were wired for sound. and. still are. WE SUDDENLY HEAR the ticking of a clock. MARK Your room. CLOSE SHOT of Helen - listening. MARK Your mother's. The click of a switch - and we hear a loud snoring. MARK Tony's. The click of a switch - and we hear Tony's voice. TONY -LRB- O.S. -RRB- No one will come in. honestly, darling. GIRL'S VOICE -LRB- O.S. -RRB- I do n't care! TONY But darling. GIRL'S VOICE -LRB- O.S. -RRB- Stop it, Tony! Mark listens with interest. HELEN -LRB- quietly. -RRB- Turn it off! He does so - at once. She walks towards him. He turns away from her. HELEN Look at me, Mark! MARK Not if you're frightened. HELEN Look at me! Slowly he faces her. HELEN What did you do. to those girls? MARK No. HELEN What did you do, Mark? He tries to turn away - but she follows him. HELEN If you want to torment me. for the rest of my life. then make me imagine! CLOSE SHOT of Mark - his eyes closed. HELEN What did you do. to those girls? MARK Ca n't. HELEN Show me, Mark. MARK But if you're frightened. HELEN Show me - or I'll remain frightened. for the rest of my life. Show me! He turns to his cine - camera, and picks it up. He releases the tripod. CAMERA HOLDS on Helen. She stands very still against the wall. Mark's voice is overlaid. MARK -LRB- O.S. -RRB- Do you know. what the most frightening thing in the world is? She is looking at something, puzzled. MARK It's fear. The sound of his footsteps approaching. MARK So I did something. very simple. WE SEE a look of fear spring into her eyes. MARK Very simple. WE SEE the spike approaching her throat. but she is looking at something else. MARK When they felt the spike. touching their throats. and knew I was going to kill them. The spike is touching her throat. MARK I made them - watch their own deaths! CLOSE SHOT of Helen's face several times its natural size. She is looking at herself in a large circular magnifying mirror which has been fitted over the camera's face. The mirror entirely obscures both Mark and the camera. There is a small hole in the mirror through which the lens of the camera winks. As Helen looks at her terrified distorted face this small hole gives her an extra eye in the middle of her forehead. MARK Made them see their own terror as the spike went in. and if death has a face, they saw that too! CLOSE SHOT of Mark - crouching behind the mirror, sweat pouring down his forehead. his finger on the trigger of the camera. MARK Not you! Not you! I'll never photograph you! I promised - I promised - Not you! Helen's eyes are closed. The spike is still touching her throat. CLOSE SHOT of Mark -- his face turned away from the viewfinder. HELEN frightened. for you. There's the sound of a car pulling up. He hurries to the other room.\",\n \"EXT. HOUSE - NIGHT The Police arrive : three cars. Mark appears at an upstairs window with his camera. SERGEANT Look out! He thinks Mark has a gun. They all duck. Mark raises his camera and photographs them. The Police recover and charge for the house. Mark disappears.\",\n \"INT. DARK-ROOM - NIGHT Mark hurries back into the room carrying his camera. He knows exactly what he has to do. HELEN Mark! Mark! Give yourself up! MARK I've been ready for this. for such a long time. Rapidly he fixes his camera on to a hook on the wall. Then he adjusts the tripod so that the spikes protrude towards him. HELEN What are you. MARK It'll be all right. He makes chalk marks on the floor in front of the camera, then switches on all the floodlights. WE CAN HEAR the Policemen pounding on the door. MARK I can beat that! He crosses to a switch - presses it. The room is filled with a small boy's screaming. HELEN Give yourself up. Mark! He stands next to her, and looks at his long array of cameras. WE SEE that each one of them has been fitted with a small metal disc -LRB- a delayed release -RRB-, and that some of the older cameras have flashlights attached. MARK Watch them, Helen. Watch them say goodbye - one by one -. -LRB- he presses a master switch on the wait. -RRB- I've timed this. so often. Slowly he walks past his cameras. As he does, the metallic disc on each one explodes with a little plop - and the eye of each camera winks once as if in salute. Some go off with flashlights on either side of the room. The sound of footsteps hurrying up the stairs. Ahead of Mark - coming steadily closer -- are the spikes of the tripod. The mirror on the cine - camera reflects the approach - and Helen's terrified face. HELEN No - No! The child's screaming reaches its peak as Mark approaches the spikes. Ahead of him, on the small table where his projector stands, is Helen's book The Magic Camera. MARK I wish. I could have found your faces for you. The Policemen are now rattling on the dark - room door. MARK Helen - I'm afraid! We see his face, terrified, in the magnifying mirror. The spikes are against his throat. The eye of the camera is winking rapidly. MARK I'm glad I'm afraid! Heavy shoulders are pressing against the dark - room door. as it breaks in, Mark lunges forward against the spikes. The cine - camera is wrenched away from the wall as he falls back. He crashes against the small table, which falls over. He is not parted from his camera - it is fixed to him by the tripod, and falls back with him, covering his face like a canopy. WE SEE his face in the lens of the cine - camera. and WE SEE his hand - lying limp on the cover of The Magic Camera. The Policemen hurry into the room. They stare motionless at what they see. CLOSE SHOT of Helen - her face buried in her hands. The child's screaming stops suddenly. and in the absolute silence which follows WE HEAR the voice of Mark's father : FATHER'S VOICE -LRB- O.S. -RRB- Do n't be a silly boy. there's nothing to be afraid of. And a small voice answers. CHILD'S VOICE -LRB- O.S. -RRB- Good night, Daddy. The spotlights begin to dim. The dazzling white of the 16mm screen fades slowly into greyness. The room is filled with the gentle breathing of a small child. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,1,1,0,0,1,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,1,1,1,1,1,0,0,0,0,0,0,1,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In London, Mark Lewis (Carl Boehm) meets Dora (Brenda Bruce), a prostitute, covertly filming her with a camera hidden under his coat. Shown from the point of view of the camera viewfinder, he follows the woman into her flat, murders her, and later watches the film in his den. The following morning, Lewis films the police's removal of Dora's corpse from her home, posing as a reporter. Lewis is a member of a film crew who aspires to become a filmmaker himself. He also works part-time photographing soft-porn pin-up pictures of women, sold under the counter. He is a shy, reclusive young man who hardly socializes outside of his workplace. He lives in the house of his late father, renting most of it via an agent while posing as a tenant himself. Helen Stephens (Anna Massey), a sweet-natured young woman who lives with her blind mother in the flat below his, befriends him out of curiosity after he has been discovered spying on her on her 21st birthday party. Mark reveals to Helen through home films taken by his father that, as a child, he was used as a guinea pig for his father's psychological experiments on fear and the nervous system. Mark's father would study his son's reaction to various stimuli, such as lizards he put on his bed and would film the boy in all sorts of situations, even going as far as recording his son's reactions as he sat with his mother on her deathbed. He kept his son under constant watch and even wired all the rooms so that he could spy on him. Mark's father's studies enhanced his reputation as a renowned psychologist. Mark arranges with Vivian (Moira Shearer), a stand-in at the studio, to make a film after the set is closed; he then kills her and stuffs her into a prop trunk. The body is discovered later during shooting by Diane, a female cast member who has already antagonized the director by fainting for real at points which are not in the script. The police link the two murders and notice that each victim died with a look of utter terror on her face. They interview everyone on the set, including Mark, who always keeps his camera running, claiming that he is making a documentary. Helen goes out to dinner with Mark, even persuading him to leave his camera behind for once, and briefly kisses him once they return. Her blind mother, Mrs. Stephens, finds his behavior peculiar, aware, despite her blindness, how often Mark looks through Helen's window. Mrs. Stephens is waiting inside Mark's flat after his evening out with her daughter. Unable to wait until she leaves due to his compulsion, he begins screening his latest snuff film with her still in the room. She senses how emotionally disturbed he is and threatens to move, but Mark reassures her that he will never photograph or film Helen. A psychiatrist is called to the set to console Diane, the upset star of the film. He chats with Mark and is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Mark has \"his father's eyes.\" Mark is tailed by the police who follow him to the newsagents where he takes photographs of the pin-up model Milly (two versions of this scene were shot; the more risqué version is credited as being the first female nude scene in a major British feature, although even on the racier version, Milly only exposes one breast for a few seconds). Slightly later, it emerges that Mark must have killed Milly before returning home. Helen, who is curious about Mark's films, finally runs one of them. She becomes visibly upset and then frightened when he catches her. Mark reveals that he makes the films so that he can capture the fear of his victims. He has mounted a round mirror atop his camera so that he can capture the reactions of his victims as they see their impending deaths. He points the tripod's knife towards Helen's throat but refuses to kill her. The police arrive and Mark realizes he is cornered. As he had planned from the very beginning, he impales himself on the knife with the camera running, providing the finale for his documentary. The last shot shows Helen crying over Mark's dead body as the police enter the room."},"name":{"kind":"string","value":"Peeping_Tom_(film)"}}},{"rowIdx":157,"cells":{"scenes":{"kind":"list like","value":["LES MISERABLES BLACK SCREEN The year is 1815. The French revolution is a distant memory. Napoleon has been defeated. France is ruled by a King again.","EXT. TOULON PORT - DAY RISE UP out of the iron - grey surface of the ocean, seething in the wind, towards the shore. Winter rain slices the air. Ahead, the port of Toulon, home of the French navy. A forest of tall masted warships. The great ships heave at anchor, the wind whipping their rigging. Through the sea spray we see the great ribs of warships under construction, and warships being refitted. Toulon, Home port of the French navy.","EXT. TOULON DOCK - DAY Storm - lashed sea and driving rain. A great wave rises up and hammers down. As it recedes we see the figures of men heaving on great ropes, the sea water streaming down over their faces. The harsh storm light catches glints of metal : these men are CONVICTS, chained by manacles, heads shaved, wearing red shirts with prison numbers crudely stitched onto them. Now we see that the ropes run up to a ship that is being hauled ashore - a storm - damaged man - of - war, its masts broken, rising and falling on the surge. As yet another great wave rolls over the convicts, we follow the straining ropes down into the base of the slipway, and find the convict JEAN VALJEAN, up to his waist in water, chained by two sets of manacles, as the rain and spray and wind scream round him. A great brute of a man, he seems to feel nothing. The convicts sing in time with the rhythmic pulls on the rope - CONVICTS Ha - Ha - CONVICT 3 Ha - Ha - Look down, look down Do n't look them in the eye CONVICTS Look down, look down You're here until you die. CONVICT 4 No God above And Hell alone below CONVICTS Look down, look down There's twenty years to go. The camera RISES UP to find JAVERT, the officer in charge of the convict workforce, looking on, his face rain - lashed and expressionless. He stands above the men on the top of the dock, as lines of convicts labour beneath him on the steep steps of the dock wall. Behind Javert, through the storm rain we glimpse a forest of half - built ships, their ribbed frames like great skeletons in the mist. FOREGROUND convicts are at work on another ship that is almost completed, labouring in the crashing spray. CONVICT 2 I've done no wrong Sweet Jesus, hear my prayer! CONVICTS Look down, look down Sweet Jesus does n't care. CONVICT 5 I know she'll wait I know that she'll be true - CONVICTS Look down, look down They've all forgotten you. CONVICT 1 When I get free You wo n't see me Here for dust! CONVICTS Look down, look down Do n't look'em in the eye. CONVICT 3 How long, O Lord Before you let me die? CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave. With a last great heave the lines of convicts haul the damaged ship onto the slipway. CRACK! The stern flagpole of the ship snaps in a vicious gust of wind and crashes down into the shallow water near Valjean. Javert sees and points his stick at Valjean in silent command. Valjean stares back for a beat, defying him. Then he drops down into the seething water and re - emerges with the great mast in his hands, held over his head. His head breaks water with his bitter gaze still on Javert, as he throws the mast ashore in a deliberate display of strength. Javert nods to the guards, and they begin to form the chained men into lines to return to their prison. The storm is passing now, blown by the driving wind. Javert approaches Jean Valjean. JAVERT Now Prisoner 24601. Your time is up And your parole's begun. You know what that means? VALJEAN Yes. It means I'm free. JAVERT No! It means you get Your yellow ticket - of - leave. He hands Valjean a folded yellow paper. JAVERT This badge of shame You'll show it everywhere. It warns you're a dangerous man. VALJEAN I stole a loaf of bread My sister's child was close to death And we were starving. JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those nineteen years A slave of the law! JAVERT Five years for what you did, The rest because you tried to run. Yes, 24601! VALJEAN My name is Jean Valjean! JAVERT And I'm Javert! Do not forget my name. Do not forget me - 24601! He strides away to command the lines of convicts as they're marched away. Valjean walks away, hardly able to take in that he is free at last. The convicts sing as he goes. CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave.","EXT. ROAD OUT OF TOULON - DAWN Valjean makes his way up a rising track, a worn knapsack on his back. He comes to a stop at the top of the hill, and there before him, lit by the rising sun, spreads a wide vista of fields and towns and villages, stretching into the distance, with the snow capped Alps beyond. Behind and below him lies Toulon at the sea's edge. As we hear the musical theme -LRB- ` Freedom is Mine' -RRB-, we see for the first time the darkness in his face give way to a new hope. VALJEAN Freedom at last - How strange the taste! Never forget the years - the waste, Nor forgive them for what they've done. They are the guilty - Everyone! The day begins. And now lets see What this new world Will do for me! SCENE OMITTED","EXT. COUNTRY ROAD - DAY Valjean strides down the long rising road, pulling his thin coat close round him against the cold winter wind. He passes a long line of labourers working. He approaches the OVERSEER. VALJEAN Monsieur can I help? A day's work? The overseer notices shaved hair showing under his cap. OVERSEER Take your hat off. Valjean takes his hat off, revealing his shaved and scarred head. OVERSEER Passport. The overseer scans the yellow paper, and hands it back. OVERSEER No work here. SCENE OMITTED","EXT. MOUNTAIN ROAD - END OF DAY Valjean slogs on up the rising track into the mountains. Snow on the ground here, and darkness falling. He looks up and sees ahead a village built on a rock cliff, its lights twinkling, the snowy mountains rising behind. The tower of its handsome church rises up like a promise of refuge. This is Digne.","EXT. DIGNE - DUSK Valjean enters Digne. As he drinks from the fountain, he sees a guard standing outside the Mairie.","INT. MAIRIE, DIGNE - DUSK Valjean stands waiting. The officer fastidiously writes down the name of Valjean in his huge ledger and the name of the town in his passport. The officer signs and stamps the passport. OFFICER Valjean. The officer hands back the passport. Valjean leaves.","EXT. DIGNE - DUSK Valjean walks down the high street, spies the warm glow of an inn and enters.","INT. COUNTRY INN, DIGNE - DUSK Valjean sits in the corner, his hat low over his head. He eyes hungrily a group of cart drivers tucking into a roast meal by a roaring fire place. The innkeeper serves him a beer. As he reaches for it his coat sleeve rides up to reveal his wrist, calloused and scarred by manacles. The innkeeper eyes him warily. He discusses Valjean with two other men, then asks for his paper. Sees the phrase `` Extremely Dangerous''. VALJEAN'S POV - From the yellow paper in the innkeeper's hands up to the innkeeper's face. A blank stare, a shrug of refusal. INNKEEPER My inn is full.","EXT. DIGNE - NIGHT Valjean moves off wearily through the village. As he passes down the narrow street, faces peer at him from doorways, but the doors close when he goes by. A shadowy figure follows him. Word has spread that he's a ` dangerous man'. Passing the uncurtained window of a cottage, he comes to a stop. Through the window he sees a scene that breaks his heart : a father at a table by lamplight, his young wife before him, his children on either side. Nothing special, and yet everything he's never had.","EXT. PRISON, DIGNE - NIGHT He stops at the local jail. An iron chain attached to a bell hangs from the prison door. He rings. A grate slides open. VALJEAN Jailer. Would you let me stay here for tonight? JAILER This is a prison, not an inn. Get yourself arrested. Then we will open up for you. The grate slides shut. As Jean Valjean walks away, some children who have been following begin throwing stones at him. He threatens them with his stick and they scatter.","EXT. DIGNE - NIGHT He sees over a garden wall a low doorway in a stone turret. Valjean stoops through the doorway and lies down on some straw. He hears a ferocious growl and sees the head of an enormous mastiff. It is a dog kennel.","EXT. DIGNE - NIGHT Snow falling as Valjean makes his way down the road, hungry, weary, moving slowly, his trousers ripped and bloody from where the dog has bitten him. At the end of a road, the snow - covered church ; beside it, a dark churchyard.","EXT. CHURCH YARD, DIGNE - NIGHT Snow - covered gravestones in moonlight. Exhausted, Valjean collapses to the ground and huddles himself into the shelter of a doorway. A lantern glows in the dark. The lantern approaches, throwing shadows. Its little circle of light comes to rest on the crumpled figure of Valjean. He stirs and opens his eyes. VALJEAN'S POV - The glow of the lantern in the darkness. Beyond it, the half - seen features of a kind old man. The BISHOP. BISHOP Come in, sir, for you are weary And the night is cold out here. Though our lives are very humble What we have we have to share. Bewildered, fearful, suspicious, Valjean gets up and goes with the Bishop into the house by the church.","INT. BISHOP'S HOUSE - NIGHT A simple table on which is laid out bread and wine, with silver cutlery. Two silver candlesticks light the room, illuminating walls painted with religious scenes. The Bishop ushers the bewildered Valjean into the room. The bishop's sister Madame Baptistine stands. Valjean hesitates. BISHOP There is wine here to revive you. There is bread to make you strong. There's a bed to rest till morning - Rest from pain, and rest from wrong. BISHOP Sit, my brother. The Bishop gestures to the housekeeper Madame Magloire. BISHOP Madame, set one more place. -LRB- to Valjean. -RRB- Please sit. The Bishop gently takes his arm and draws him into a chair. Valjean sits, and the Housekeeper lays food before him. Famished, Valjean eats like an animal. The Bishop says a short grace. BISHOP May the Lord bless the food we eat today. Bless our dear sister and our honoured guest. -LRB- To Valjean. -RRB- Please, eat. Where are you travelling to my brother? VALJEAN Pontarlier. BISHOP Is that where your family is? VALJEAN No. The destination is compulsory. That is where the Law sends me. I have no home. BISHOP Then let this be your home, for as long as you need it.","INT. BEDROOM, BISHOP'S HOUSE - NIGHT The Bishop leads Valjean to a bedroom where the walls are also painted with religious imagery. Across the passage, Valjean sees the open door to the Bishop's own bedroom. There the Housekeeper is putting the table silver away in a cupboard. He turns to see a bed made up with clean white linen waiting for him. He has n't slept in such a bed ever in his life. But the Bishop is smiling, offering it to him. BISHOP Sleep well. Tomorrow morning before you leave you will have a cup of milk from our cows, nice and hot. The Bishop turns away to go to sleep. VALJEAN You let me sleep here next to you? How do you know I'm not a murderer? Valjean laughs a strange laugh. BISHOP God will take care of that. LATER THAT NIGHT - Valjean lies on the bed, fully dressed, deeply asleep. Outside a dog barks. Valjean's eyes snap open. The first thing he sees by the light of the moon is an image of God the Father gazing down on him from the painted ceiling. In panic, fearing judgement, he sits bolt upright. Then he looks round, and remembers. He gets out of bed, and opens the door. There, across the narrow passage, the door stands open to the Bishop's bedroom. In the moonlight, he sees the Bishop lying asleep. Above his bed, the cupboard where the silver is kept. Valjean moves silently into the Bishop's room, holding a metal miner's spike which he pulls from his bag. The floor boards creak. He looks down at the old man, holding his breath, but the bishop is peacefully and innocently asleep. He reaches up to the cupboard. It is unlocked. The cupboard door opens with a sharp cracking sound. The Bishop, disturbed in his sleep, moves a little. At once Valjean is over him, like a wild animal, spike raised to strike should he wake. The Bishop sleeps on. The moon comes out and lights up his beautific, smiling face. Valjean is thrown. He turns back and opens the cupboard door fully : there is the silver. Carefully he picks it out, fearful of every clink. One last look at the sleeping old man, and he makes a run for the door.","EXT. CHURCHYARD - NIGHT Valjean rushes out of the back door of the house. He crosses the graveyard, scrambles over a back wall, and he's gone.","INT. BISHOP'S HOUSE - DAY The Bishop is coming in from morning Mass in his vestments when the door bursts open and two policemen drag Valjean before him. Valjean hangs his head, unable to meet the Bishop's eyes. CONSTABLE Monsignor, we caught the thief red - handed! He has the nerve to say you gave him all this! He upends Valjean's kitbag, and the silver tumbles out. The Bishop looks from the silver to Valjean. BISHOP That is right. Amazed, Valjean looks up. BISHOP But my friend, you left so early, You forgot I gave these also. Would you leave the best behind? The old Bishop is holding out the two silver candlesticks. BISHOP -LRB- to policemen. -RRB- Messieurs, release him. For this man has spoken true. I commend you for your duty Now God's blessing go with you. Silenced by the Bishop's gentle tones, the policemen turn and leave. Valjean, utterly bewildered, takes the silver candlesticks. BISHOP But remember this, my brother - See in this some higher plan. You must use this precious silver To become an honest man. By the witness of the martyrs, By the passion and the blood, God has raised you out of darkness - I have bought your soul for God.","INT. CHURCH, DIGNE - DAY Valjean kneels in the church. He takes out his yellow passport and stares at it. He turns towards the altar, and the crucifix above it. VALJEAN What have I done? Sweet Jesus, what have I done? Become a thief in the night Become a dog on the run! And have I fallen so far And is the hour so late That nothing remains but the cry of my hate? The cries in the dark that nobody hears Here where I stand at the turning of the years. If there's another way to go I missed it twenty long years ago. My life was a war that could never be won. They gave me a number and murdered Valjean When they chained me and left me for dead Just for stealing a mouthful of bread! Yet why did I allow this man To touch my soul and teach me love? He treated me like any other He gave me his trust He called me brother. My life he claims for God above. Can such things be? For I had come to hate the world - This world that always hated me! Take an eye for an eye! Turn your heart into stone! This is all I have lived for! This is all I have known! One word from him and I'd be back Beneath the lash, upon the rack. Instead he offers me my freedom! I feel my shame inside me like a knife. He told me that I have a soul. How does he know? What spirit comes to move my life? Is there another way to go? Slowly, he examines the yellow passport and raises it high, as if to the altar. VALJEAN I am reaching, but I fall And the night is closing in. As I stare into the void - To the whirlpool of my sin. Valjean stands and turns, walking fast to the door of the church. VALJEAN I'll escape now from that world - From the world of Jean Valjean. Jean Valjean is nothing now!","EXT. CHURCH, DIGNE - DAY Valjean comes out of the church into the graveyard and reaches a bell set on the edge of a promontory. Below lies the steep drop down the mountainside to the dark valley below. VALJEAN Another story must begin! He rips the yellow paper into pieces and throws the pieces out over the valley. The scraps flutter in the wind. FOLLOW the scraps of yellow paper as they dance in the wind then fall away into the void below. One scrap of paper dances upwards in the sunlight. We follow this and accelerate upwards leaving Valjean and the town of Digne far below, towards the sun gloriously breaking through the heavens with the alps beyond. The camera then starts to tumble back down through mist and cloud below - through time and space - down to discover -","EXT. ROAD TO MONTREUIL - DAY The camera hurtling towards three horses riding down a long muddy road on a flat plain towards the walled town of Montreuil - sur - Mer. Montreuil sits on an estuary leading out to the sea. We see ships sitting in low tide on the mud of the estuary along the dockside of the town, and red brick factory buildings. Eight years later Montreuil - sur - Mer, 1823. The camera closes in to ground level to reveal the horseriders : Javert, flanked by two policemen.","EXT. GATES TO MONTREUIL - DAY As the riders enter the walled town we see the poor clustered around the gates - destitute and sick people clammering to get in. BEGGARS' CHORUS At the end of the day you're another day older And that's all you can say for the life of the poor. It's a struggle! It's a war! And there's nothing that anyone's giving. One more day standing about - What is it for? One day less to be living. Javert sees the destitution of the people. Expressionless as ever. BEGGARS' CHORUS At the end of the day you're another day colder And the shirt on your back does n't keep out the chill. And the righteous hurry past They do n't hear the little ones crying And the plague is coming on fast Ready to kill - One day nearer to dying! TRACK PAST a plague victim, wrapped in a shroud, being thrown onto a cart. The police enter the harbour.","EXT. HARBOUR - MONTREUIL - DAY The beggars are pushed back as the gates open and close for the police. BEGGARS' CHORUS At the end of the day there's another day dawning And the sun in the morning is waiting to rise Like the waves crash on the sand Like a storm that'll break any second There's a hunger in the land There's a reckoning still to be reckoned And there's gon na be hell to pay At the end of the day! Javert looks round at the factory buildings, the boats in the harbour, the poor clamouring behind him, and rides on. SCENE OMITTED","EXT. FACTORY YARD, MONTREUIL - DAY Heavy carts wait to be loaded with wooden crates of goods. Workmen carry the crates out of the factory as the FOREMAN strides in through the doors, gesturing to a cart driver, FAUCHELEVENT, who's taking a quick rest on a crate.","INT. FACTORY, MONTREUIL - MEN'S SECTION - DAY The foreman passes men packing boxes on tables and loading boxes onto crates. He passes through a door under a first floor office.","INT. FACTORY, MONTREUIL - WOMEN'S SECTION - DAY The long work space is full of tables at which conservatively dressed women are working, making jewelry out of shellac, a black resin which looks like jet. An impressive sight : obviously a very successful business. A wooden staircase climbs one wall to a glass - windowed business office. The figure of a man within. FOREMAN -LRB- flirtatiously, to women. -RRB- At the end of the day you get nothing for nothing! Sitting flat on your bum does n't buy any bread! FACTORY WOMAN 4 There are children back at home - FACTORY WOMAN 2 And the children have got to be fed. FACTORY WOMAN 7 And you're lucky to be in a job - The Foreman has stopped beside FANTINE, a pretty young woman. As he leans over to whisper in her ear Fantine, surprised, pricks her finger with her needle. FOREMAN -LRB- quietly, to Fantine. -RRB- And in a bed! FACTORY WOMAN 8 -LRB- to Fantine, as a warning. -RRB- And we're counting our blessings! The Foreman continues his rounds, encouraging the women to speed up their work. FOREMAN At the end of the day just be glad to be working For a master who cares for the lives of the poor. FACTORY WOMAN 7 He's a riddle. FACTORY WOMAN 4 He's no fool. FACTORY WOMAN 6 He's the answer to anyone's prayer FACTORY WOMAN 8 And he paid for the brand new school FACTORY WOMAN 4 It's no wonder they made him the mayor! FACTORY WOMEN Bless the man who leads the way! At the end of the day! They get on with their tasks, all glancing up at the boss in the office above. The Foreman returns to Fantine, trying to help her. MAIN FACTORY WOMAN Have you seen how the foreman is fuming today With his terrible breath and his wandering hands? FACTORY WOMAN 3 It's because little Fantine wo n't give him his way. FACTORY WOMAN 5 Take a look at his trousers, you'll see where he stands! FACTORY WOMAN 2 And the boss, he never knows That the foreman is always on heat. MAIN FACTORY WOMAN If Fantine does n't look out, Watch how she goes, She'll be out on the street! The Foreman rings a bell, announcing the end of the work day. The women start to take off their overalls and pack up their tools for the day. FACTORY WOMEN/FOREMAN At the end of the day its another day over With enough in your pocket to last for a week Pay the landlord, pay the shop Keep on working as long as you're able Keep on working till you drop Or it's back to the crumbs off the table Well, you've got to pay your way At the end of the day! The women queue up to be paid by the Foreman at the door. Fantine has taken out a letter. The main factory woman snatches the letter away from Fantine. MAIN FACTORY WOMAN And what have we here, little innocent sister? The letter is passed surreptitiously down the line of women workers. MAIN FACTORY WOMAN Come on, Fantine, let's have all the news. -LRB- reading. -RRB- ` Dear Fantine, you must send us more money, Your child needs a doctor, There's no time to lose.' FANTINE Give that letter to me It is none of your business. With a husband at home And a bit on the side! Is there anyone here Who can swear before God She has nothing to fear? She has nothing to hide? The main factory woman starts to take Fantine's letter over to the Foreman. Fantine tries to get the letter back. The women scuffle. The owner enters the factory floor. We see him only from behind : a well - dressed prosperous man. VALJEAN What is this fighting all about? Will someone tear these two apart? This is a factory, not a circus. As he sings, the CAMERA MOVES ROUND to discover him. Clean - shaven, well - fed, transformed : it's Valjean. VALJEAN Now come on, ladies, settle down. I run a business of repute. Suddenly Valjean sees Javert appear on the first floor balcony of his office. His world drops away. VALJEAN -LRB- to the foreman. -RRB- Deal with this, Foreman. Be as patient as you can. He walks back to the stairs up to his office. On the factory floor - FOREMAN Now someone say how this began! The factory women all turn on Fantine. FANTINE/FACTORY WOMAN 5 At the end of the day she's the one who began it! MAIN FACTORY WOMAN There's a kid that she's hiding in some little town. FACTORY WOMAN 5 There's a man she has to pay MAIN FACTORY WOMAN You can guess how she picks up the extra - You can bet she's earning her keep Sleeping around! And the boss would n't like it. FANTINE Yes, it's true there's a child And the child is my daughter And her father abandoned us, Leaving us flat. Now she lives with an innkeeper man and his wife And I pay for the child. What's the matter with that? Fantine continues to defend herself to the Foreman, as the women sing - FACTORY WOMEN At the end of the day she'll be nothing but trouble And there's trouble for all when there's trouble for one! While we're earning our daily bread She's the one with her hands in the butter - You must send the slut away Or we're all going to end in the gutter And it's us who'll have to pay At the end of the day! The Foreman pulls Fantine away. FOREMAN I might have known the bitch could bite! I might have known the cat had claws! I might have guessed your little secret! Ah yes, the virtuous Fantine Who keeps herself so pure and clean - You'd be the cause, I had no doubt Of any trouble hereabout. You play a virgin in the light But need no urging in the night! MAIN FACTORY WOMAN She's been laughing at you While she's having her men! FACTORY WOMEN She'll be nothing but trouble again and again! FACTORY WOMAN 5 You must sack her today! FACTORY WOMEN Sack the girl today! FOREMAN Right, my girl! On your way! Below, Fantine turns and calls to Valjean in his office above with a pitiful cry. FANTINE M'sieur Mayor, help me! I have a child! Valjean hears the cry, but he has other concerns. He turns round to face Javert. Javert stares at him. On the factory floor below, the Foreman hustles Fantine out, as she struggles against him.","INT. FACTORY OFFICE - DAY Javert bows. JAVERT I introduce myself, Inspector of Police. I've come to take the watch I'm here to keep the peace. Please know me as Javert. I'm here at your command With honour due to each. With justice in our hands No man's beyond our reach. Let all beware. VALJEAN Welcome, sir Come guard our laws I'm sure we're here In common cause. Javert turns to look through the high window onto the men's factory floor below. The last men are leaving for the day. JAVERT You've done the city proud, You've raised their banner high. You manufacture gems That anyone can buy Your people thrive. Valjean shows some demonstration samples of their work. VALJEAN The dignity of toil To stay alive. Javert is puzzled. He's sure he recognises Valjean, but from where? JAVERT It seems to me We may have met. Valjean throws him a sharp glance. VALJEAN Your face is not a face I would forget. A CRASH from outside in the yard - shouts -","EXT. TRACK LEADING TO FACTORY, MONTREUIL - DAY Valjean and Javert hurry out across the factory yard and down the muddy track beyond to discover - A heavily laden cart has toppled onto the cart driver - Fauchelevent, the worker seen before taking a rest on a crate. The cart driver and the Foreman are trying to lift the cart off the crushed man, but it's too heavy, and the ground is too soft. Fauchelevent screams as the cart slowly sinks in the mud. Valjean, Javert and Javert's assistant all hurry to help, but they ca n't get a proper purchase in the spongy ground. All the time the cart is sinking further, pushing Fauchelevent deeper into the mud that will soon bury him. Then Valjean sees a way. At one end the wheels of the cart have stopped sinking - the ground is harder here. He throws himself under the cart at this higher end, and braces himself to lift it from beneath. VALJEAN Get back! It may fall! FOREMAN No, Monsieur le Mayor! CROWD It'll kill you as well! Javert stands back and looks on. As he looks, we see a memory stirring in him. JAVERT'S POV - Valjean's posture beneath the cart is exactly the same as the convict beneath the fallen mast. The same crouching power. The same almost - suicidal determination. Valjean sees Javert looking at him, and knows exactly what he's thinking. For a moment he hesitates. Then he hears Fauchelevent's choking scream as the mud gags his mouth. Valjean strains every muscle, and slowly one end of the cart begins to rise. As soon as it clears the crushed and gasping man, the others pull him clear. Valjean lets the cart down again, and climbs out. As he brushes himself down he finds Javert staring at him. JAVERT Can this be true? I do n't believe what I see! A man your age To be as strong as you are! A memory stirs. You make me think of a man From years ago A man who broke his parole. He disappeared. He shakes his head, realising how absurd his suspicions are. JAVERT Forgive me, sir. I would not dare - VALJEAN Say what you must. Do n't leave it there. Valjean holds Javert's gaze, challenging him to say more. Javert is not yet confident enough to continue. Valjean goes to help Fauchelevent. VALJEAN Let me help you up. Fauchelevent groans as he rises. FAUCHELEVENT Monsieur le Mayor, you come from God! You are a saint! VALJEAN No more cart driving for you! Javert stares. He ca n't rid himself of his suspicion. JAVERT Monsieur le Mayor. He draws himself up and gives a bow. As he walks away, he discusses something with his assistant.","EXT. HARBOUR, MONTREUIL - NIGHT Fantine makes her way to the harbour wall. Beggars shelter in the tunnels under the red brick buildings.","EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT Fantine makes her way down wet slimy steps. This leads to an alleyway that runs down to the harbour and three ships lying on the mud at low tide. At the far end, the largest is the rotting hulk of a vast old warship. A single whore sits in a doorway. FANTINE Excuse me, is this where the Pawnbrokers is? WHORE 1 -LRB- pointing. -RRB- It's just there. FANTINE Thank you. Drunken sailors spill out into the alleyway below. The first sailor is trying to find the whorehouse. SAILOR 1 I smell women! Smell'em in the air! Think I'll drop my anchor In that harbour over there! They spot Fantine, mistaking her for a whore. Fantine presses on down the steps, trying to ignore the sailors. SAILOR 2 Lovely ladies! Love ` em till your broke! Seven months at sea can make you Hungry for a poke! The sailors then see whores start to appear from the shadows of warehouse doorways. SAILOR 3 Even stokers need a little stoke! A man with no legs, reacting to the sailors, cranks up an organ - grinder and from doorways and overhead windows harbour whores appear and tout for business. A man selling dentures stands by his cart and we hear fragments of his sales pitch. WHORES Lovely ladies Waiting for a bite! Waiting for the customers Who only come at night. Lovely ladies Ready for the call, Standing up or lying down Or any way at all - Bargain prices up against the wall! TOOTH MAN Lovely dentures Guaranteed to bite They clean up real easy You can take them out at night Sell your teeth here make a pretty sum Best Tooth Man in the harbour Guaranteed no painful gums Bargain prices up against the wall! During the above chorus, Fantine sells a locket containing a cutting of Cosette's hair to the pawnbroker. PAWNBROKER Hello sweetheart, I'll give you four francs. FANTINE It's worth at least ten. The pawnbroker goes back in his shop and Fantine watches the whores. FANTINE Alright, five. The pawnbroker takes the locket in exchange for the money. An old woman leers at Fantine from the shadows, beckoning. She approaches Fantine, reaching out to stroke her hair. HAIR CRONE What pretty hair! What pretty locks you've got there! What luck you got. It's worth a centime, my dear! I'll take the lot! FANTINE Do n't touch me! Leave me alone! HAIR CRONE Let's make a price. I'll give you all of ten francs. Just think of that! FANTINE It pays a debt. HAIR CRONE Just think of that. FANTINE What can I do? It pays a debt. Ten francs may save my poor Cosette. The hair crone leads Fantine down to her shop at the base of the stairs. Fantine is sat on a low stool. She bows her head before the hair crone, who at once whips out a razor blade and cuts off her hair at the roots.","EXT. RED LIGHT DISTRICT MONTREUIL - END OF DAY Fantine walks down the steps with short hair, mocked by the voices of the whores on either side. A PIMP and the HEAD WHORE watch her progress as the organ - grinder grinds out the music. Whores sing from the warehouse doorways, from on top of the spars of the ships, writhing around figureheads and from the rotting ship. The few men in the street choose their whores and disappear by the end of the chorus. WHORES Lovely ladies Waiting in the dark. Ready for a thick one Or a quick one in the park. TOOTH MAN Lovely dentures guaranteed to bite They clean up real easy You can take them out at night HEAD WHORE Long time, short time Anytime my dear! Cost a little extra If you want to take all year TOOTH MAN Lovely teeth dear shining like the stars I'll whip em out quite quickly And I wo n't leave any scars. WHORES Quick and cheap is underneath the pier Fantine reaches the hair crone. FANTINE Please, you would n't have any work for me would you? Please, I sold you my hair. I could do anything. The hair crone points at the head whore and the tooth man. HAIR CRONE Go and see them. Fantine looks towards the tooth man and the head whore. HEAD WHORE Come here my dear. TOOTH MAN Come over here, I'll pay well for your youth. I pay ten francs for a tooth. Fantine heads to the tooth man. TOOTH MAN You have, my dear, The clear advantage of youth. HEAD WHORE -LRB- whispers. -RRB- Just the back ones. TOOTH MAN The pain wo n't last, You'll still be able to bite. She grabs Fantine's cheeks and forces open her mouth to inspect her teeth. TOOTH MAN I do it fast, I know my business all right. It's worth a go. The pimp pushes her down. FANTINE You'll pay me first What I am due. TOOTH MAN You'll get twice If I take two! She opens her mouth, and the pincers go in, as everyone gathers round to watch. Fantine screams as the first tooth is removed.","EXT. RED LIGHT DISTRICT MONTREUIL - NIGHT The pimp is passing among the whores, checking that they're all fit for business. WHORES God, we're weary, Sick enough to drop! LOVELY LADY 1 Belly burns like fire, Will the bleeding ever stop! PIMP Cheer up, deary! Show a happy face! Plenty more like you here If you ca n't keep up the pace. LOVELY LADY 1 Only joking! Deary knows her place! The pimp gestures at Fantine, now slumped in a doorway, her cropped head in her hands. A shy captain watches Fantine. The pimp notices. PIMP Gim me the dirt - Who's that bit over there? WHORE 1 A bit of skirt, She's the one sold her hair. HEAD WHORE She's got a kid, Sends her all that she can. PIMP I might've known There is always some man. He moves in on Fantine. PIMP Lovely lady, come along and join us! Lovely lady! Fantine looks up, a trickle of blood in one corner of her mouth. The whores cluster round her, hands reaching out to draw her in to their world. On the rotting warship, more whores appear out of the gaps of the hull to sing the chorus. WHORE 1 Come on, dearie, why all the fuss? WHORES why all the fuss. WHORE 2 You're no grander than the rest of us. WHORES than the rest of us. WHORE 3 Life has dropped you at the bottom of the heap. WHORES at the bottom of the heap. Whore 3 bites her fingertip and applies her blood to rouge Fantine's cheeks. HEAD WHORE Join your sisters - WHORE 1 Make money in your sleep! WHORES make money in your sleep. WHORE 2 That's right, dearie, Show him what you've got! WHORES show him what you've got. WHORE 3 That's right, dearie, Let him have the lot! WHORES let him have the lot. The whores perform for the benefit of Fantine on the orders of the head whore, as the head whore leads her towards the hulk. WHORES Old men, young men, take'em as they come! Harbour rats and alley cats And every kind of scum! Poor men, rich men, leaders of the land - See them with their trousers off, They're never quite as grand! All it takes is money in your hand! The pimp leads the captain down the middle of the whores to Fantine who wears a filthy white dress. The pimp joins the captain and Fantine's hands as the head whore officiates - like a twisted wedding ceremony. WHORES Lovely ladies Going for a song, Got a lot of callers But they never stay for long. Fantine puts on a show of courage as she leads the captain into the ship's hulk, which is a brothel. FANTINE Come on, Captain, you can wear your shoes. Do n't it make a change to have a girl who ca n't refuse?","INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT Fantine, pale and frail, her bodice loosened, leads the captain down to the damp dregs of the ship. We see the rotting straw mattress within as they enter, then Fantine lays down. FANTINE Easy money lying on a bed. Just as well they never see The hate that's in your head! Do n't they know they're making love To one already dead?","INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT CLOSE ON a man's hand leaving money. We hear him exit. MOVE TO FIND Fantine lying alone on the mattress. She pulls herself into a sitting position against the head of the mattress. She draws her legs up and wraps her arms round her knees, huddling against the misery of the world. FANTINE There was a time when men were kind, When their voices were soft And their words inviting. There was a time when love was blind And the world was a song And the song was exciting. There was a time. Then it all went wrong. I dreamed a dream in time gone by, When hope was high And life worth living. I dreamed that love would never die. I dreamed that God would be forgiving. Then I was young and unafraid And dreams were made and used and wasted. There was no ransom to be paid, No song unsung, no wine untasted. But the tigers come at night With their voices soft as thunder As they tear your hope apart As they turn your dream to shame. He slept a summer by my side, He filled my days with endless wonder. He took my childhood in his stride But he was gone when autumn came. And still I dream he'll come to me! That we will live the years together. But there are dreams that can not be And there are storms we can not weather. I had a dream my life would be So different from this hell I'm living - So different now from what it seemed! Now life has killed the dream I dreamed. As she ends her song, her next customer is waiting. The head whore beyond.","EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT Fantine is out on the snow and ice - covered quayside, shivering, waiting for trade. She looks pale and sickly, but still attempts an alluring smile. She moves past the anchored ships, beneath the bowsprits, trying pathetically to attract custom. Then she comes to a stop, staring. She has seen and recognised Valjean, some way off. He's out in the harbour district. He is talking to a beggar. Before he moves on, he hands over some money. As Fantine watches Valjean on his mission of mercy, a well - dressed young man, BAMATABOIS, comes up to her. He arrives with two friends and a valet. BAMATABOIS Here's something new. I think I'll give it a try. Come closer, you! I like to see what I buy. The usual price For just one slice of your pie. FANTINE I do n't want you! No! No, M'sieur! Let me go! BAMATABOIS Is this a trick? I wo n't pay more! FANTINE No, not at all! BAMATABOIS You've got some nerve, you little slut! You've got some gall! It's the same with a tart as it is with a grocer The customer sees what he gets in advance It's not for the whore to say `` yes sir'' or `` no sir'' It's not for the harlot to pick and to choose or to lead me a dance! He pulls her clothing open and laughingly stuffs snow down her cleavage. Fantine reacts with fury. They fall over in the snow and Bamatabois laughs. FANTINE I'll kill you, you bastard! Try any of that! Even a whore who has gone to the bad Wo n't be had by a rat! Fantine scratches Bamatabois across the face. Bamatabois touches his face and sees the blood on his fingers. His friends drag Fantine against the harbour wall. BAMATABOIS -LRB- furious but aroused. -RRB- By Christ you'll pay for what you've done! This rat will make you bleed, you'll see! I guarantee I'll make you suffer! For this disturbance of the peace For this insult to life and property! Bamatabois suddenly sees that police have arrived. FANTINE I beg you, do n't report me, sir. I'll do whatever you may want. BAMATABOIS Make your excuse to the police! Bamatabois' friend drags Fantine towards the police. It's Javert. JAVERT Tell me quickly what's the story. Who saw what and why and where? Let him give a full description, Let him answer to Javert! In this nest of whores and vipers Let one speak who saw it all. Who laid hands on this good man here? What's the substance of this brawl? BAMATABOIS Javert, would you believe it? I was walking, it was dark When this prostitute attacked me You can see she's left her mark! He shows the blood. Javert turns to Fantine. JAVERT She will answer for her actions When you make a full report. You may rest assured, M'sieur, That she will answer to the court. Fantine is almost fainting with fear, still racked with occasional spasms of coughing. Unseen by her, Valjean is approaching from behind. Javert's assistants pick Fantine up. Javert covers his mouth with a handkerchief as he approaches Fantine. FANTINE There's a child who sorely needs me, Please, m ` sieur, she's but that high. Holy God, is there no mercy? If I go to jail she'll die. JAVERT I have heard such protestations Every day for twenty years. Let's have no more explanations, Save your breath and save your tears. Javert indicates to the two policemen to drag Fantine away. Valjean steps out of the shadows. VALJEAN A moment of your time, Javert. I do believe this woman's tale. JAVERT Monsieur le Mayor! VALJEAN You've done your duty. Let her be. She needs a doctor, not a jail. JAVERT Monsieur le Mayor! Javert looks on, containing his anger, as Valjean reaches out a hand to Fantine. To Fantine, it's as if he's come to her in a dream - FANTINE Can this be? VALJEAN Where will she end - This child without a friend? He holds Fantine's hands, looking into her face. VALJEAN I've seen your face before. Show me some way to help you. How have you come to grief In such a place as this? FANTINE M'sieur, do n't mock me now, I pray It's hard enough I've lost my pride. You let your foreman send me away. Yes, you were there And turned aside. I never did no wrong. VALJEAN Is it true what I've done - FANTINE My daughter's close to dying. VALJEAN - to an innocent soul? FANTINE If there's a God above - VALJEAN Had I only known then! FANTINE He'd let me die instead. VALJEAN In His name my task has just begun. I will her to the hospital. Valjean picks Fantine up in his arms. Javert is quietly coldly furious. JAVERT Monsieur le Mayor! FANTINE Bring Cosette back to me. VALJEAN Where is she? FANTINE At an inn in Montfermeil. JAVERT Monsieur le Mayor! VALJEAN I will see it done! I will send for her immediately! As Valjean and Fantine move away, Javert stares after them, then turns and quietly instructs his assistant to follow after them.","EXT. POLICE STATION, MONTREUIL - DAY As Javert walks up the steps to his police station his assistant stops him with an urgent letter. JAVERT'S ASSISTANT From Paris, Monsieur. Javert seizes it, opens it, and reads. As he reads, his expression changes. Appalled, he realizes he's made a terrible mistake.","INT. FACTORY, MONTREUIL - NIGHT Valjean is at his desk in his office, going through his papers once everyone else has gone, when Javert enters and stands before him. He looks up. JAVERT Monsieur le Mayor I have a crime to declare! I have disgraced The uniform that I wear. I've done you wrong, Let no forgiveness be shown. I've been as hard On every rogue I have known. I'll bear the blame, I must be treated Just the same. VALJEAN I do n't understand. What is this crime, Javert? JAVERT I mistook you for a convict, I have made a false report. Now I learn they've caught the culprit - He's about to face the court. Valjean conceals his shock. JAVERT And of course the thief denies it, You'd expect that from a con. But he could n't run for ever, No, not even Jean Valjean. VALJEAN You say this man denies it all, And gives no sign of understanding or repentance? You say this man is going to trial, And that he's sure to be returned to serve his sentence? JAVERT He will pay, and so must I. Press charges against me, sir! VALJEAN You have only done your duty It's a minor sin at most. All of us have been mistaken You'll return, sir, to your post. JAVERT Must I do as you say? VALJEAN It's your duty to obey! Javert is about to protest again, but Valjean raises one commanding hand, to indicate his decision is made. Javert gives an abrupt bow, and departs. Left alone, Valjean paces his office, deeply disturbed. VALJEAN They think that man is me - Without a second glance. This stranger they have found - This man could be my chance! Why should I save his hide? Why should I right this wrong? When I have come so far And struggled for so long? If I speak I am condemned. If I stay silent, I am damned! He goes out onto the balcony that looks down on the empty factory. VALJEAN I am the master of hundreds of workers - They all look to me. Can I abandon them? How would they live If I am not free? If I speak they are condemned. If I stay silent, I am damned!","INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT Valjean is sitting staring at the Bishop's candlesticks. VALJEAN Who am I? Can I condemn this man to slavery? Pretend I do not feel his agony? This innocent who bears my face, Who goes to judgement in my place. Who am I?","INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT Valjean is furiously packing stuff up. VALJEAN Can I conceal myself for ever more? Pretend I'm not the man I was before? And must my name until I die Be no more than an alibi?","EXT. COUNTRY ROAD - NIGHT. Close on two horses panting. A stopped carriage in a wide night landscape. The driver is Valjean, hesitating. VALJEAN Must I lie? How can I ever face my fellow men? How can I ever face myself again?","INT/EXT. COURTROOM - NIGHT Valjean hesitates outside the courtroom and in the lobby of the courtroom, pacing back and forth. VALJEAN My soul belongs to God, I know, I made that bargain long ago. He gave me hope when hope was gone! He gave me strength to journey on! Who am I? Who am I? I'm Jean Valjean! Valjean pushes through the crowds at the back of the courtroom.","INT. COURTROOM - NIGHT The man accused of being Jean Valjean, a wretched down - and - out, stands before the JUDGE. He looks uncannily like the real Valjean. Before the judge has a chance to speak, the doors open and Valjean bursts in. Sensation in the court. VALJEAN And so, your honour, you see it's true That man bears no more guilt than you! Who am I? 24601! The judge is too stunned to respond. The others in the court ca n't believe what they've just heard. The Mayor of Montreuil - sur - Mer, a convict! VALJEAN If you do n't believe me ask Inspector Javert. He knows where to find me. The judge goes over to Valjean and gently leads him out. JUDGE Monsieur le Mayor, you are not well, you must come with me, do you have a carriage outside? Monsieur le Mayor, we must get you home to bed immediately!","INT. HOSPITAL, MONTREUIL - NIGHT The hospital is in the long attic of Valjean's factory. Valjean hurries into the hospital, breathless. He sees a nursing sister outside Fantine's room. VALJEAN Is her daughter with her? NURSE No, monsieur. Her guardian sent this. She gives Valjean a note. He reads it with mounting anger. VALJEAN ` Money not enough. Send more. Thenardier.' What sort of man is this?","INT. HOSPITAL, MONTREUIL - NIGHT Fantine lies in bed, delirious. She is dressed in pure white. Her eyes are closed. FANTINE Cosette, it's turned so cold! Cosette, it's past your bedtime! You've played the day away And soon it will be night. Fantine's eyes open and she sees Cosette, playing in the room. She looks healthy and is dressed prettily. FANTINE Come to me, Cosette, the light is fading. Do n't you see, the evening star appearing? Come to me, and rest against my shoulder, How fast the minutes fly away and every minute colder? Valjean enters, and sees at once that Fantine is close to the end. He drops to his knees by her bed. VALJEAN Dear Fantine, Cosette will be here soon! Dear Fantine, she will be by your side FANTINE -LRB- trying to get out of bed. -RRB- Come Cosette, the night has grown so cold! VALJEAN -LRB- putting her back in bed. -RRB- Be at peace! Be at peace ever more. FANTINE My Cosette - VALJEAN - shall live in my protection. FANTINE Take her now! She pushes into his hand a scrap of paper on which she's written her wishes. VALJEAN Your child will want for nothing. FANTINE Good m ` sieur, you come from God in heaven. VALJEAN And none shall ever harm Cosette as long as I am living. Fantine has stopped looking towards the window. All her fading strength is now directed towards Valjean. She tries to reach up to him. FANTINE Take my hand. The night grows ever colder. VALJEAN Then I will keep you warm. He wraps her in his arms. FANTINE Take my child I give her to your keeping. VALJEAN Take shelter from the storm. FANTINE For God's sake, please stay till I am sleeping. And tell Cosette I love her And I'll see her when I wake. Fantine starts to spasm. She sees something over Valjean's shoulder. Valjean does n't realise. Her eyes go glassy as she passes away. Valjean then hears the unforgettable voice of Javert behind him. JAVERT Valjean, at last We see each other plain! ` M'sieur le Mayor' You'll wear a different chain! Valjean stands to face Javert. VALJEAN Before you say another word, Javert, Before you chain me up like a slave again, Listen to me! There is something I must do. This woman leaves behind a suffering child. There is none but me who can intercede - In mercy's name, three days are all I need, Then I'll return, I pledge my word! Then I'll return. Javert draws his sword and aims it at Valjean. JAVERT You must think me mad! I've hunted you across the years. Men like you can never change - A man such as you! Valjean breaks a section of timber beam from the roof. The men start to circle each other. They sing at the same time, duelling in song. VALJEAN Believe of me what you will There is a duty that I'm sworn to do. You know nothing of my life - All I did was steal some bread. You know nothing of the world - You would sooner see me dead. But not before I see this justice done! JAVERT Men like me can never change. Men like you can never change. No, 24601! My duty is to the law. You have no rights. Come with me, 24601! The two men fight. VALJEAN I am warning you, Javert, I'm a stronger man by far! There is power in me yet! My race is not yet run! JAVERT Now the wheel has turned around - Jean Valjean is nothing now. Dare you talk to me of crime And the price you had to pay. Every man is born in sin Every man must choose his way. Javert disarms Valjean and drives him backwards towards an attic door. JAVERT You know nothing of Javert! I was born inside a jail. I was born with scum like you. I am from the gutter too. Valjean is pushed through the doors out onto a wooden loading platform beneath a hoist. Below, the walls of the factory lead straight down to the black sea at high tide. Javert is triumphant. Valjean glances down and pushes back, dropping into the darkness of the ocean. Javert goes to jump after him and can not bring himself to do it. Javert stares into the black sea - there is no sign of Valjean.","EXT. HARBOUR, MONTREUIL - NIGHT Javert and various police search the harbourside with lanterns. Valjean, dripping wet, watches from a tunnel under a factory, as Fantine's body wrapped in a shroud is dumped on a cart. They sing to themselves, continuing their duet without knowing. VALJEAN And this I swear to you tonight - JAVERT There is no place for you to hide. VALJEAN Your child will live within my care - JAVERT Wherever you may hide away - VALJEAN And I will raise her to the light. JAVERT/VALJEAN I swear to you, I will be there!","EXT. MONTFERMEIL - DUSK The village street is bright with booths set up for a Frost Fair. Families and visitors are out buying baubles, or laughing at the antics of travelling players. Small girls cluster round a stall that displays prettily - dressed dolls. Amongst them is a prettily - dressed girl of 8 or 9 years : EPONINE. Across the road from this stall stands a shabby inn. A sign lashed to an old cart swinging in the wind reveals the inn to be ` The Sergeant of Waterloo'. The inn is still closed despite the small crowd at the fair. MOVE IN on the frosted window of the inn, through which we see a little girl, COSETTE, gazing out at the display of dolls.","INT. INN, MONTFERMEIL - END OF DAY Cosette is in the process of sweeping the floor. She's come to a stop, gazing out of the window, mesmerized by the sight of the most beautiful doll in the display, and jealous that Eponine can see it and touch it up close. COSETTE There is a castle on a cloud I like to go there in my sleep. Are n't any floors for me to sweep, Not in my castle on a cloud. Cosette gets out from a hiding place in the wall a knotted grimy rag - this is her `` doll'', the knot is the doll's head. COSETTE There is a lady all in white Holds me and sings a lullaby. She's nice to see and she's soft to touch. -LRB- holding doll to her ear and whispering. -RRB- She says, Cosette, I love you very much. I know a place where no one's lost I know a place where no one cries. Crying at all is not allowed, Not in my castle on a cloud. Madame Thenardier comes bustling down the stairs in a bad mood. She glowers at little Cosette and changes the closed sign from `` closed'' to `` open''. MADAME THENARDIER Now look who's here! The little madam herself, Pretending once again She's been so awfully good! Better not let me catch you slacking! Better not catch my eye! Ten rotten francs your mother sends me - What is that going to buy? Now take that pail, My little Mademoiselle, And go and draw some water from the well. We should never have taken you in In the first place - How stupid the things that we do! Like mother, like daughter, the scum of the street. Cosette goes to put the broom away. Eponine comes in from outside. MADAME THENARDIER Eponine, come my dear. Eponine, let me see you. You look very well in that little blue hat! There's some little girls who know how to behave And they know what to wear And I'm saying thank heaven for that! Madame Thenardier sees that Cosette far from going is hiding behind the far wall. We see Cosette's frightened eyes peering out from a tiny gap in this wall. MADAME THENARDIER Still there, Cosette? Your tears will do you no good! I told you to fetch some water from the well in the wood. COSETTE -LRB- singing through the gap. -RRB- Please do not send me out alone. Not in the darkness on my own. Madame Thenardier imitates Cosette as she sings. MADAME THENARDIER -LRB- singing through the gap. -RRB- Enough of that, or I'll forget to be nice! You heard me ask for something, And I never ask twice! The innkeeper's gang posing as customers who have been loitering outside come in, explaining to a fifth man who is a newer recruit a story from Monsieur Thenardier's past. Madame Thenardier goes outside to open up the rather pathetic frost fair stall on the porch of the inn. CUSTOMER 1 Mine host Thenardier He was there, so they say, At the field of Waterloo. CUSTOMER 2 Got there, it's true, When the fight was all through But he knew just what to do. CUSTOMER 3 Crawling through the mud, So I've heard it said, Picking through the pockets of the English dead. CUSTOMER 4 He made a tidy score from the spoils of war. We suddenly hear the voice of the landlord, Thenardier. He has been there all the time, asleep on a bench. He wakes from his drunken slumbers and roars out : THENARDIER My band of soaks, My den of dissolutes, My dirty jokes, my always pissed as newts, My sons of whores, Spend their lives in my inn! Homing pigeons homing in - They fly through my doors, And their money's as good as yours!","EXT. INN, MONTFERMEIL - DUSK Madame Thenardier is trying to sell something unappealing from her stall to a portly looking man when slushy snow from the stall's roof falls on the man's head. Madame Thenardier ushers him inside.","INT. INN, MONTFERMEIL - DUSK THENARDIER Welcome, m ` sieur! Sit yourself down And meet the best Innkeeper in town! Madame Thenardier pretends to accidentally drop a comb from her hair and the customer helpfully picks it up, allowing Madame Thenardier to pick his wallet from a back pocket as he stands up. Monsieur Thenardier takes his coat which allows the couple to see the customer transfer a pocket watch from coat to jacket pocket. THENARDIER As for the rest - All of them crooks Rooking the guests And cooking the books. Seldom do you see Honest men like me A gent of good intent Who's content to be - He pours a strong drink for the new customer - THENARDIER Master of the house! Doling out the charm Ready with a handshake And an open palm Thenardier has thieved the pocket watch using his handshake as a distraction. He passes this off to Madame Thenardier. THENARDIER Tells a saucy tale Makes a little stir Customers appreciate a bon - viveur Glad to do a friend a favour Does n't cost me to be nice But nothing gets you nothing Everything has got a little price! THENARDIER Master of the house! Keeper of the zoo! Ready to relieve'em Of a sou or two -. -LRB- serving wine. -RRB- Watering the wine","INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY Thenardier is pissing into the very wine bottle he's using to serve the customer.","INT. INN, MONTFERMEIL - DUSK THENARDIER Making up the weight Picking up their knick - knacks When they ca n't see straight Everybody loves a landlord Everybody's bosom friend! I do whatever pleases - Jesus! Wo n't I bleed'em in the end!","EXT. INN, MONTFERMEIL - DUSK At Madame Thenardier's stall, a frost fair customer is covered by snow, only this time we realise Madame Thenardier is responsible for pushing the snow off the awning with a stick. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye Never wants a passer - by To pass him by! Madame Thenardier ushers the customer inside.","INT. INN, MONTFERMEIL - DUSK Again Madame Thenardier drops her comb in front of the new customer but this time the thieving is foiled by little Cosette who helpfully picks it up. Over the chorus she shouts at little Cosette to get out. THENARDIER/CUSTOMERS Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Everybody's chaperone - THENARDIER But lock up your valises - Jesus! Wo n't I skin you to the bone! A FAMILY enters the inn. Thenardier fusses over them. THENARDIER Enter, messieurs! Lay down yer load Unlace yer boots And rest from the road. This weighs a ton Travel's a curse But here we strive To lighten your purse. He's got the father's purse out, and is removing notes. THENARDIER Here the goose is cooked Here the fat is fried And nothing's overlooked Till I'm satisfied - Food beyond compare Food beyond belief","INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY Thenardier shows off the secrets of the squalid kitchen - every possible animal being used to make mince meat. THENARDIER V/O Mix it in a mincer And pretend it's beef Kidney of a horse Liver of a cat Filling up the sausages With this and that!","INT. INN, MONTFERMEIL - DUSK Thenardier serves the disgusting food that we've seen him create in the flashback to the family. THENARDIER Residents are more than welcome Bridal suite is occupied","INT. BRIDAL SUITE - FLASHBACK - NIGHT A groom and bride consummate their union. Thenardier is going through the groom's trousers. THENARDIER V/O Reasonable charges Plus some little extras on the side.","INT. INN, MONTFERMEIL - NIGHT THENARDIER Charge'em for the lice Extra for the mice Two percent for looking in the mirror twice. Here a little slice There a little cut Three percent for sleeping with the window shut. When it comes to fixing prices There are lots of tricks he knows How it all increases All those bits and pieces - Jesus! It's amazing how it grows.","EXT. INN, MONTFERMEIL - NIGHT Thenardier comes out of the inn, backed by a posse of his gang of loyal customers, and takes control of a brass band to sing to the Frost Fair. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye Never wants a passer - by To pass him by! Further down the street, carrying her empty buckets, Cosette turns to look sadly back at the cheery sight. THENARDIER Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Gives'em everything he's got - The Portly Customer has discovered he's been robbed. He comes out to protest, holding out his emptied wallet. At once two of Thenardier's thugs grab him and hustle him off. THENARDIER Dirty bunch of geezers Jesus! What a sorry little lot!","INT. INN, MONTFERMEIL - NIGHT Madame Thenardier approaches a handsome soldier who is drinking at a table by the fire in the inn. She sits on his lap and gets him to look back at Thenardier, so allowing her to see inside his coat and spot his wallet. MADAME THENARDIER I used to dream That I would meet a prince But God almighty Have you seen what's happened since? ` Master of the house' Is n't worth my spit! Comforter, philosopher And lifelong shit! Cunning little brain Regular Voltaire Thinks he's quite a lover But there's not much there. As Madame Thenardier reaches for the man's groin, she lifts his wallet skillfully and hands it off to Monsieur Thenardier. THENARDIER What a cruel trick of nature Landed me with such a louse. God knows how I've lasted Living with this bastard in the house! She pulls the young man into a dance, enabling her to steal everything else of value he has. Father Christmas has also been lured from the frost fair and the Thenardiers slit his presents sack and exchange it for a sack containing snow. THENARDIER/CUSTOMERS Master of the house! MADAME THENARDIER Master and a half! THENARDIER/CUSTOMERS Comforter, philosopher - MADAME THENARDIER Do n't make me laugh! THENARDIER/CUSTOMERS Servant to the poor Butler to the great - MADAME THENARDIER Hypocrite and toady And inebriate! THENARDIER/CUSTOMERS Everybody bless the landlord! Everybody bless his spouse! THENARDIER Everybody raise a glass! MADAME THENARDIER Raise it up the master's arse! THENARDIER/CUSTOMERS Everybody raise a glass to the master of the house!","EXT. WOOD BY THE INN - NIGHT Cosette has filled her buckets at the well in the wood, and is now heading back. Through the dark trees ahead we glimpse the cheerful lights of the Frost Fair and the distant inn. She goes slowly, because the buckets are heavy. She hums to herself to keep her spirits up, a wordless verse of ` Castle on a Cloud'. After a few steps she pauses to rest the weight of the buckets. Strong arms reach for the buckets and lift them out of her hands. She looks up, amazed. There's Valjean. VALJEAN Hush now, do not be afraid of me. Do n't cry. Show me where you live. Tell me, my child, what is your name? COSETTE I'm called Cosette. VALJEAN Cosette? She gazes up at him. Hardly knowing why, the little girl trusts this stranger. Valjean picks up the heavy buckets, and they head back towards the inn. As they go, they hum ` Castle on a Cloud' together.","INT. INN, MONTFERMEIL - NIGHT Valjean enters with Cosette. Madame Thenardier hurries over. Madame and Monsieur Thenardier try to thieve from Valjean using the same tricks established earlier, but he evades every attempt. Eponine watches silently from a corner. VALJEAN I found her wandering in the wood This little child, I found her trembling in the shadows. And I am here to help Cosette, And I will settle any debt you may think proper. I will pay what I must pay To take Cosette away. This is a duty I must heed. There is a promise I have made. For I was blind to one in need, I did not see what stood before me. Now your mother is with God. Her suffering is over, And I speak here with her voice, And I stand here in her place, and from this day, and ever more - MADAME THENARDIER Let me take your coat, m ` sieur! VALJEAN Cosette shall live in my protection. THENARDIER You are very welcome here! VALJEAN I will not forget my vow. THENARDIER Take a glass! MADAME THENARDIER Take a chair! VALJEAN Cosette shall have a father now. Thenardier turns to his wife. THENARDIER What to do? What to say Shall you carry our treasure away? What a gem! What a pearl! Beyond rubies is our little girl! How can we speak of debt? Let's not haggle for darling Colette! MADAME THENARDIER Cosette! THENARDIER Cosette - Dear Fantine - gone to rest - Have we done for her child what is best? Shared our bread - shared each bone - Treated her like she's one of our own! Like our own, m ` sieur! VALJEAN Your feelings do you credit, sir. And I will ease the parting blow. Let us not talk of bargains and bones and greed. He gives Thenardier money. VALJEAN Now may I say we are agreed? MADAME THENARDIER That would quite fit the bill If she had n't so often been ill. Little dear, cost us dear! Medicines are expensive, m ` sieur. Not that we begrudged a sou - It's no more than we Christians must do. Valjean gives more money. THENARDIERS One thing more! One small doubt! There are treacherous people about! No offence! Please reflect! Your intentions may not be correct! Valjean hands over more money. VALJEAN No more! Here's your price! Fifteen hundred for your sacrifice. Come, Cosette, say goodbye. Let's seek out some friendlier sky. Thank you both for Cosette - It wo n't take you too long to forget. He leads Cosette to the door.","EXT. INN, MONTFERMEIL - NIGHT Valjean lifts Cosette into the waiting cab. VALJEAN Where I go, you will be. COSETTE Will you be like a Papa to me? VALJEAN Yes, Cosette! This is true! I'll be father and mother to you! The cab sets off down the road.","INT. INN, MONTFERMEIL - NIGHT Madame Thenardier takes the bunch of notes from her husband's hand and inspects them. THENARDIER Not bad! MADAME THENARDIER Not enough! Through the open door Thenardier sees a man on horseback rattling up to the inn. MADAME THENARDIER There's a copper at the door! What the devil have you done? Javert strides into the inn. JAVERT Where's the child Cosette? MADAME THENARDIER She's gone with a gent, Did n't tell us where they went, Did n't leave his home address. JAVERT Did you catch the fellow's name? Both Thenardiers shake their heads. Javert stares once, contemptuously, round the seedy inn, and departs without a further word. Thenardier goes to the doorway to watch him leave. MADAME THENARDIER You're a bloody fool Look at what we got. THENARDIER Should have struck the iron, Struck it while it's hot. THENARDIER/MADAME THENARDIER Next time round we'll be here And we're gon na get the lot.","EXT. OUTSKIRTS OF PARIS - NIGHT Valjean's cab, moving fast, passes down the road into the city. IN CAB - Valjean has one arm round Cosette to protect her from the jolting of the cab. He gazes at her as she slips into a fitful sleep. VALJEAN Suddenly I see Suddenly it starts When two anxious hearts Beat as one. Yesterday I was alone Today you walk beside me Something still unclear Something not yet here Has begun. Suddenly the world Seems a different place Somehow full of grace And delight. How was I to know That so much love Was held inside me? Something fresh and young Something still unsung Fills the night. How was I to know at last That happiness can come so fast? Trusting me the way you do I'm so afraid of failing you Just a child who can not know That danger follows where I go There are shadows everywhere And memories I can not share Nevermore alone Nevermore apart You have warmed my heart Like the sun. You have brought the gift of life And love so long denied me. Suddenly I see What I could not see Something suddenly Has begun. He brushes the hair from her face, and satisfies himself that she's comfortable. Then he puts his head out of the window. At the gate into Paris, soldiers are checking documents of occupants of carriages. Valjean slips out of the carriage with Cosette and makes his way along the wall, away from the gate.","EXT. PARIS BROKEN WALL - NIGHT Valjean finds a section of tumble down wall and climbs over.","EXT. PARIS SLUM STREET - NIGHT Valjean and Cosette make their way down a darkened street.","EXT. PARIS - RIVER SEINE - NIGHT Valjean and Cosette turn down a narrow street, no longer hurrying. The narrow street turns, and opens out onto the river. Valjean stops. There, on the other side of the river, in the light of a lamp, stands Javert. SCENE OMITTED","EXT. MAZE OF OLD STREETS - NIGHT Now Valjean and Cosette are running - down narrow alleys, into small dark courtyards, not knowing which way to turn. Whenever Valjean thinks they've thrown their pursuer, there he is, not far behind. And he's no longer alone. With him are a detachment of soldiers. Javert and his team never seem to run. But he's always there.","EXT. DEAD END - NIGHT Valjean and Cosette turn into a street that is walled in by high windowless houses. They follow it round a corner to find - a dead end. A high wall before them. They're trapped. Valjean looks round. No way out. Then he sees a nearby lamp bracket. Hanging from it is the rope that is used to lower the oil lamp for lighting. He tears off the rope and ties one end round Cosette, beneath her armpits. Then holding the other end, he scales the wall, using the corner to brace himself as he rises. Once on the top, he hauls Cosette up by the rope. Only then does he turn to look down onto the other side. A cloister. A building in the middle, windows glowing. Grave stones black against the white snow. The sound of women's voices, singing a psalm. NUNS Te lucis ante terminum Rerum Creator poscimus Ut pro tua clementia Sis praesul et custodia. Valjean lowers Cosette down into the garden, and drops down after her. Javert and his men enter the dead end to find them gone.","INT. CONVENT CLOISTER - NIGHT Valjean crouched low, with Cosette in his arms, holding her still and quiet until Javert is gone. Then he straightens up and looks round. He takes in the sound of singing. NUNS Procul recedant somnia Et noctium phantasmata Hostemque nostrum comprime Ne polluantur corpora. He goes closer to the windows of the building. Through the blurry glass he can make out a chapel, and a line of nuns singing. Valjean continues and sees a man filling in a new grave. The man starts as he sees Valjean. FAUCHELEVENT Who's that? Valjean jumps, takes Cosette protectively into his arms. Turns to answer. FAUCHELEVENT Why, it's Monsieur Mayor! It's Fauchelevent, now a gardener, still limping from his injury. VALJEAN Who are you? FAUCHELEVENT Do n't you remember? The cart fell on me! VALJEAN Monsieur Fauchelevent! FAUCHELEVENT You saved my life! You got me this job as a gardener! Valjean gazes at him, and remembers. VALJEAN Now you can do the same for me. We need a place of sanctuary. This child and I, we need to disappear. FAUCHELEVENT In this place of Holy Orders You are brought to God's domain May the sisters grant you shelter May their prayers ease your pain. Valjean and Cosette follow him to the convent. VALJEAN We'll give thanks for what is granted What the sisters may ordain Here we pray for new beginnings - Here our lives can start again. Valjean looks to the heavens. The camera soars into the air and heads east as dawn breaks over Paris. We rush low over Paris as the sun comes up, towards the Place de la Bastille.","EXT. PLACE DE LA BASTILLE, PARIS - DAY Nine years later. The dawn light glows on a massive ELEPHANT. The monument, made of wood and plaster, now ruined and crumbling, stands on a plinth on one side of the wide open square. On the far side, the remains of the great fortress that was the Bastille. In the middle, scaffolding surrounds a half - built triumphal column, which is being erected to celebrate the new regime. Paris, 1832. The streets that run from the square lead in one direction to the Paris of power and wealth ; in the other direction into the slums. The camera sweeps in and down to meet the elephant. A head pops out of one of the elephant's many holes - GAVROCHE, a street urchin. He gives a shrill whistle. At once a dozen more street urchins show themselves, from every crack in the monument's skin. Agile as a monkey, Gavroche drops to the ground, followed by his band.","EXT. PARIS BOULEVARD - DAY FOLLOW GAVROCHE in as he races down a grand boulevard, dodging the crowds of strolling bourgeoisie and beggars, weaving in and out of the lines of carriages attempting to make their way in either direction. These are the conveyances of the rich, fine gilded coaches with matched horses and footmen on the back. Virtually at a standstill, they lend Gavroche a platform as he leaps from coach to coach, a street urchin dancing on the heads of the elite. As he goes, the poor on the pavements sing to the stony - faced rich in their golden high - sprung glory - BEGGARS CHORUS Look down and see the beggars at your feet! Look down and show some mercy if you can! Look down and see the sweepings of the street! Look down, look down, Upon your fellow man! The fine ladies and grand gentlemen in the carriages avert their eyes, or raise the blinds of their carriage windows to shut out the sight of the losers of their world. Gavroche, bounding over their heads, evading the swipes of liveried footmen, lands on the running board of one particularly grand carriage and begs/taunts the RICH OCCUPANT. GAVROCHE ` Ow do you do? My name's Gavroche! These are my people, here's my patch. Not much to look at - nothing posh! Nothing that you'd call up to scratch. This is my school, my high society! Here in the slums of St Michel. We live on crumbs of humble piety Tough on the teeth - but what the hell! Think you're poor? Think you're free? Follow me! Follow me! BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man! STILL RUNNING WITH Gavroche as he hops onto the back of another very grand carriage, the traffic now moving at last, hitching a ride on the back - one or two of his gang hop on back of carriage with him, the others run panting after to hear his political lecture. GAVROCHE There was a time we killed the King We tried to change the world too fast. Now we have got another King, He is no better than the last. This is the land that fought for liberty - Now when we fight we fight for bread! Here is the thing about equality - Everyone's equal when they're dead. Take your place! Take your chance! Vive la France! Vive la France!","EXT. LAMARQUE'S HOUSE, PARIS - DAY The carriage has reached an arch into a courtyard where a crowd of a couple of hundred is gathered outside a house of sickness. The carriage stops as its occupant wants to watch what is going on. The street is padded with straw. Many eyes gaze up at the draped windows. People cross themselves. A priest is seen hurrying into the house, accompanied by two altar boys. Gavroche jumps off as the carriage stops and joins the crowd. The crowd is made up of citizens of Paris, student revolutionaries, the poor and beggars. The students hand out printed leaflets and try to excite the crowd. STUDENTS/BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man! COURFEYRAC When's it gon na end? BEGGAR 1 When we gon na live? JOLY Something's got ta happen now! BEGGAR 2 Something's got ta give! STUDENTS AND BEGGARS It'll come, it'll come, it'll come. It'll come, it'll come, it'll come. A student, ENJOLRAS, stands on a raised step, making an impassioned speech with fellow student MARIUS. The occupant of the stopped carriage is MONSIEUR GILLENORMAND, Marius' Grandfather. He is clearly deeply unhappy to see his grandson engaged in such an activity. In the crowd a young street girl, EPONINE, has her eyes fixed longingly on the handsome Marius. ENJOLRAS Where are the leaders of the land? Where are the swells who run this show? MARIUS Only one man, General Lamarque Speaks for the people here below! Marius looks towards Lamarque's house behind him. ENJOLRAS Lamarque is ill and fading fast - Wo n't last a week out, so they say. MARIUS With all the anger in the land, How long before the Judgement Day? ENJOLRAS Before we cut the fat ones down to size? STUDENTS Before the barricades arise? Mounted Police ride in to break up the crowd. POLICE Look down, look down, do n't look us in the eye! Look down, look down, stay here and you die! The crowd breaks up. The students shout to the crowd : ENJOLRAS Tomorrow we will return! MARIUS Tell everyone you know COURFEYRAC We will show them! COMBEFERRE Lamarque is the only leader on our side! COURFEYRAC We have a right to pray for Lamarque! JOLY We need more people, then the police will not dare ride against us! MARIUS Vive le General Lamarque! Marius turns to see his Grandfather staring him down, furious. GILLENORMAND Do you have any idea of the shame you bring on your family! You're behaving like a child. Gillenormand spies a gun poking out of his jacket. Gillenormand turns to get back in his carriage.","INT. GORBEAU TENEMENT Through a crack in a door, we see Marius sitting on a tatty mattress in a tiny hovel of a room. He is taking out a hunting rifle from under the mattress, wrapped in a rag. His eye is caught by the ring on his finger. CLOSE ON a signet ring, a family crest. Marius stares at the ring then takes it off his finger. We reveal EPONINE staring at him through the door. EPONINE Hey there Monsieur what's new with you? Have n't seen much of you of late. Planning no doubt to change the world? Plotting to overthrow the state? Still living here in this old sewer Might as well doss down in a ditch You still pretending to be poor Everyone knows your Grandpa's rich Marius rushes down the stairs of the slum, Eponine following. We see glimpses of misery off the stairwell. MARIUS How did you? EPONINE There's lots of things I know MARIUS Wo n't take a franc that I've not earned All of those bridges have been burned. EPONINE I like the way you talk Monsieur! MARIUS I like the way you always tease. Eponine comes to a stop, looking wistfully after Marius. EPONINE Little he knows - Little he sees.","EXT. RUE DE LA CHANVRERIE - END OF DAY Marius is stopped as he exits the front door of the Gorbeau Tenement by a passing carriage. Once it passes Marius sees two people in the street outside. One is an old gentleman, Valjean. The other is a beautiful young girl, Cosette. The two are giving alms to beggars as they walk back from evening church service. Marius ca n't take his eyes off Cosette. He's never seen anyone so lovely in his life. We hear the instrumental foreshadowing of ` A Heart Full of Love'. As if drawn by Marius's gaze, Cosette looks up and meets his eyes. She too is amazed : he's looking at her as if he already knows her. A second carriage breaks their held gaze. Marius continues on down the street and when he looks back, at that precise moment Cosette looks at him again. Valjean instinctively puts his arm round her, guarding her jealously from this distant boy's gaze. We cut further down the street to an alleyway where the Thenardiers, heavily disguised, are waiting for Valjean's approach with their gang of crooks, Babet, Brujon, Clacquesous, Montparnasse. THENARDIER Everyone here, you know your place - Brujon, Babet, Clacquesous - You, Montparnasse, watch for the law - With Eponine - take care. -LRB- Montparnasse hurries over to the doorway where Eponine was watching Marius. -RRB- You turn on the tears! -LRB- to Madame Thenardier who is holding a baby. -RRB- No mistakes, my dears! Thenardier approaches Valjean and lures him into the mouth of the alleyway where Madame Thenardier is sat on the ground holding the crying infant. Cosette is a few steps behind, still entranced by the sight of Marius. THENARDIER Please, M'sieur, come this way. Here's a child that ai n't eaten today. Save a life, spare a sou! God rewards all the good that you do. As Valjean bends down to look at Madame Thenardier she recognizes him. MADAME THENARDIER Wait a bit! Know that face! -LRB- to Monsieur Thenardier. -RRB- Ai n't the world a remarkable place! THENARDIER Men like me do n't forget - You're the bastard who borrowed Cosette! VALJEAN What is this? Are you mad? No, Monsieur, you do n't know what you say! Thenardier pulls off his disguise. Valjean recognises him. THENARDIER You know me! I know you! And you'll pay what I'm due. He signals to his gang. A door opens in the alleyway revealing the huge Brujon. The gang move in on Valjean menacingly. EPONINE -LRB- shouts from up the street. -RRB- It's the police! Disappear! Run for it! It's Javert! The gang spill out into the street to find themselves confronted by Javert now with his men. Marius watches, as does Gavroche, drawn by the rumpus. JAVERT Another brawl in the square! Another stink in the air! Was there a witness to this? Well, let him speak to Javert! He sees man with his arm protectively round a girl but does not recognize Valjean as Valjean has averted his face. JAVERT Monsieur, these streets are not safe. But let these vermin beware, We'll see that justice is done! He turns back on the Thenardier gang in the passage. JAVERT Look upon this fine collection Crawled from underneath a stone. This swarm of worms and maggots Could have picked you to the bone! I know this man over here, I know his name and his trade. And on your witness, m ` sieur, I'll see him suitably paid. He turns back to find Valjean and Cosette gone. JAVERT But where's the gentlemen gone? And why on earth did he run? THENARDIER You will have a job to find him! He's not all he seems to be - And that girl he trails behind him She's the child he stole from me! Marius, equally baffled, goes off in search of them. JAVERT Could it be he's that old jailbird That the tide now washes in? Heard my name and started running. All the omens point to him. Thenardier, listening, hears this all with great interest. So Valjean is a crook like him. JAVERT And the girl who stood beside him, When I turned they both had gone. Could he be the man I've hunted? Could it be he's Jean Valjean? THENARDIER In the absence of a victim, Dear Inspector, may I go? And remember when you've nicked him It was me what told you so. JAVERT -LRB- to himself. -RRB- Let the old man keep on running I will run him off his feet! -LRB- to the crowd. -RRB- Everyone about your business! -LRB- to Gavroche. -RRB- Clear this garbage off the street! Gavroche is sitting on a horse trough and falls back into it when Javert surprises him. He is furious. He sings to Javert's departing back, and to Marius who is close by. GAVROCHE That inspector thinks he's something But it's me who runs this town! And my theatre never closes And the curtain's never down! Trust Gavroche! Have no fear! You can always find me here! EPONINE Cosette! Now I remember. Cosette! How can it be? We were children together. Look what's become of me. She turns back to find Marius gazing down the street. MARIUS Eponine! Who was that girl? EPONINE That bourgeois two - a - penny thing! MARIUS Eponine, find her for me! EPONINE What will you give me? MARIUS Anything! EPONINE Got you all excited now, But God knows what you see in her. Are n't you all delighted now? No, I do n't want your money, sir. MARIUS Eponine, do this for me, Discover where she lives. But careful how you go - Do n't let your father know. Eponine! I'm lost until she's found. EPONINE You see? I told you so! There's lots of things I know! Eponine, she knows her way around.","EXT. PARIS POLICE HQ - NIGHT WIDE of the Police Headquarters on the Isle de la Cite : a huge bureaucracy. The camera finds Javert standing inside looking out of a door leading onto the roof. As he sings he walks out onto the roof and stands by the symbol of the HQ, a monumental stone eagle. He looks down at the lights reflected in the river below. Then up at the great city. Javert too has a God, and this is his prayer. JAVERT There, out in the darkness A fugitive running Running from God Fallen from grace - God be my witness I never shall yield Till we come face to face - Till we come face to face. He knows his way in the dark Mine is the way of the Lord Those who follow the path of the righteous Shall have their reward And if they fall As Lucifer fell - The flame! The sword! Stars in your multitudes! Scarce to be counted Filling the darkness With order and light - You are the sentinels Silent and sure Keeping watch in the night - Keeping watch in the night. You know your place in the sky You hold your course And your aim And each in your season Returns and returns And is always the same And if you fall As Lucifer fell You fall In flame! And so it must be, and so it is written On the doorway to paradise That those who falter And those who fall Must pay the price! Lord, let me find him That I may see him Safe behind bars! I will never rest till then! This I swear This I swear by the stars! Javert stands silhouetted against the stars, his arms raised up to the night sky.","EXT. RUE DE LA CHANVRERIE - NIGHT Marius comes down the street, his mind full of thoughts of Cosette.","INT. CAFÉ MUSAIN - NIGHT Marius arrives at the first floor front room. Here a group of students are cleaning rifles and sharing their excitement at the coming revolution : ENJOLRAS, COMBEFERRE, COURFEYRAC, JOLY, GRANTAIRE, FEUILLY, PROUVAIRE and others. ENJOLRAS Well, Courfeyrac! Do we have all the guns? Joly, Prouvaire! Our time is running short! COURFEYRAC Students, workers, everyone! There's a river on the run! Like the flowing of the tide, Paris is coming to our side! COMBEFERRE Enjolras! At Notre Dame The sections are prepared! FEUILLY At Rue du Bac They're straining at the leash! ENJOLRAS Grantaire, put the bottle down! Did we get the guns we need? GRANTAIRE Give me brandy on my breath And I'll breathe them all to death! ENJOLRAS The time is near. So near it's stirring the blood in their veins. And yet beware! Do n't let the wine go to your brains. For the army we fight is a dangerous foe With the men and the arms that we never can match. It is easy to sit here and swat them like flies But the National Guard will be harder to catch. We need a sign To rally the people To call them to arms To bring them in line! Joly turns goes over to Marius at the back, a faraway look on his face. JOLY Marius, wake up! What's wrong today? You look as if you've seen a ghost. GRANTAIRE Some wine, and say what's going on! They sit. MARIUS A ghost, you say? A ghost maybe! She was like a ghost to me - One minute there - then she was gone! GRANTAIRE I am agog! I am aghast! Is Marius in love at last? I've never heard him Ooh and Aah. You talk of battles to be won And here he comes like Don Juan! It is better than an opera! They burst into laughter. But Enjolras is n't smiling. ENJOLRAS It is time for us all To decide who we are. Do we fight for the right To a night at the opera now? Have you asked yourselves What's the price you might pay? Is this simply a game For rich young boys to play? The colours of the world Are changing day by day - Red - the blood of angry men! Black - the dark of ages past! Red - a world about to dawn! Black - the night that ends at last! MARIUS Had you seen her today You might know how it feels To be struck to the bone By a moment of breathless delight! Had you been there today You might also have known How the world may be changed In just one burst of light And what was right seems wrong And what was wrong seems right! GRANTAIRE Red! MARIUS I feel my soul on fire! GRANTAIRE Black! MARIUS My world if she's not there! STUDENTS Red! MARIUS The colour of desire! STUDENTS Black! MARIUS The colour of despair! ENJOLRAS Marius, you're no longer a child - I do not doubt you mean it well But now there is a higher call! Who cares about your lonely soul? We strive towards a larger goal - Our little lives do n't count at all! ENJOLRAS Red! STUDENTS The blood of angry men! ENJOLRAS Black! STUDENTS The dark of ages past! Red - a world about to dawn! Black - the night that ends at last! A scuffle at the door - Gavroche struggling with the barman. Courfeyrac lets him through. GAVROCHE Listen! Listen to me! COURFEYRAC Listen, everybody! GAVROCHE General Lamarque is dead! Enjolras turns to his companions. ENJOLRAS Lamarque is dead. Lamarque. His death is the hour of fate. The people's man. His death is the sign we await! On his funeral day they will honour his name With the light of rebellion ablaze in their eyes. From their candles of grief we will kindle our flame. On the tomb of Lamarque shall our barricades rise! The time is here! Let us welcome it gladly with courage and cheer! STUDENT Let us take to the street with no doubt in our hearts COURFEYRAC But a jubilant shout! LESGLES They will come one and all! STUDENTS They will come when we call! As the students sing, Eponine enters wanting to talk to Marius. Marius sees her.","INT. VALJEAN'S HOUSE, RUE PLUMET - NIGHT Cosette is pacing in her bedroom. It's a pretty room, the best room in this small summer house. Her shutters are open, giving a view of a wild unkempt garden. She looks at herself in a mirror, aware of her looks perhaps for the first time. COSETTE How strange - This feeling that my life's begun at last! This change - Can people really fall in love so fast? What's the matter with you, Cosette? Have you been too much on your own? So many things unclear - So many things unknown. In my life There are so many questions and answers That somehow seem wrong. In my life There are times when I catch in the silence The sigh of a faraway song And it sings Of a world that I long to see - Out of reach Just a whisper away Waiting for me! Does he know I'm alive? Do I know if he's real? Does he see what I see? Does he feel what I feel? In my life I'm no longer alone - Now the love in my life Is so near. Find me now! Find me here! Valjean knocks and opens her door. He closes her shutters. VALJEAN Dear Cosette, You're such a lonely child. How pensive, how sad you seem to me. Believe me, were it within my power I'd fill each passing hour. How quiet it must be, I can see, With only me for company. COSETTE There's so little I know That I'm longing to know Of the man that you were In a time long ago. There's so little you say Of the life you have known, Why you keep to yourself, Why we're always alone. So dark! So dark and deep, The secrets that you keep! In my life Please forgive what I say You are loving and gentle and good. But papa, dear papa, In your eyes I am still like that child Who was lost in a wood. VALJEAN No more words - No more words. It's a time that is dead. There are words That are better unheard, Better unsaid. COSETTE In my life I'm no longer a child and I yearn For the truth that you know Of the years. Years ago! Valjean leaves and goes into his own bedroom. A simple wooden shack at the back of the summerhouse, Valjean himself lives with spartan simplicity - he has given the best room to Cosette. Cosette follows. Valjean sits on his bed, his back to Cosette. VALJEAN You will learn. Truth is given by God To us all in our time, In our turn.","EXT. RUE PLUMET - NIGHT Marius rushes down the street, Eponine following. At the far end is the walled garden behind which lies Valjean's house. MARIUS In my life She has burst like the music of angels The light of the sun! And my life seems to stop As if something is over And something has scarcely begun! Eponine, you're the friend Who has brought me here. Thanks to you I am one with the Gods And heaven is near! And I soar through a world that is new, That is free! EPONINE Every word that he says Is a dagger in me! In my life There's been no one like him anywhere, Anywhere, where he is If he asked. I'd be his! MARIUS/EPONINE In my life There is someone who touches my life - MARIUS -LRB- sees Cosette in the garden. -RRB- Waiting near! EPONINE Waiting here! MARIUS A heart full of love! Cosette sees Marius. She comes up the garden path towards him. She sees Eponine by Marius's side. MARIUS A heart full of song! I'm doing everything all wrong - Oh God, for shame - I do not even know your name. Dear Mad ` moiselle, Wo n't you say? Will you tell? Cosette holds the wrought - ironwork of the gate with both hands, eyes on Marius. Eponine looks on and suffers. Marius wraps his hands round Cosette's. COSETTE A heart full of love! No fear, no regret! MARIUS My name is Marius Pontmercy. COSETTE And mine's Cosette. MARIUS Cosette. I do n't know what to say - COSETTE Then make no sound. MARIUS I am lost - COSETTE I am found! MARIUS A heart full of light - COSETTE/MARIUS A night bright as day - MARIUS And you must never go away, Cosette - Cosette! COSETTE This is a chain we'll never break. MARIUS Do I dream? COSETTE I'm awake. MARIUS A heart full of love - EPONINE He was never mine to lose Why regret What could not be? COSETTE A heart full of you - EPONINE These are words he'll never say Not to me, not to me Not for me! MARIUS A single look and then I knew! COSETTE I knew it too! EPONINE His heart full of love. MARIUS From today - EPONINE He will never feel this way. COSETTE Every day. MARIUS/COSETTE For it is n't a dream - Not a dream After all! Valjean comes to the door. VALJEAN Cosette! Cosette! Cosette turns and runs in to the house. Valjean walks down the overgrown garden path to the gate. Marius moves quickly away, instinctively nervous of discovery, and hides behind the wall. Valjean peers into the shadows. He senses that perhaps Cosette has been talking to someone. He looks pensive. Valjean returns inside. Cosette has dropped a keepsake through the gate. Marius picks it up. Marius makes his way back down the street, filled with thoughts of his love. Completely forgetting Eponine is there. Shadows move up the street from the other direction. It's Thenardier and his gang. They gather at the wrought - iron gate. MONTPARNASSE This is his lair! I've seen the old fox around. BABET He keeps himself to himself He's staying close to the ground. THENARDIER I smell profit here! Ten years ago He came and paid for Cosette. I let her go for a song. It's time we settled the debt. This'll cost him dear. BRUJON What do I care Who you should rob? Gim me my share! Finish the job! THENARDIER You shut your mouth! You'll get what's yours! Brujon starts working on the gate lock. He finds Eponine lurking in the shadows. BRUJON What have we here? THENARDIER Who is this hussy? BABET It's your brat Eponine! Do n't you know your own kid? Why's she hanging about here? THENARDIER Eponine, get on home! You're not needed in this. We're enough here without you. EPONINE I know this house, I tell you! There's nothing here for you! Just the old man and the girl. They live ordinary lives. THENARDIER Do n't interfere! You've got some gall! Take care, young miss, You've got a lot to say! BRUJON She's going soft! CLACQUESOUS Happens to all! MONTPARNASSE Go home, Eponine! Go home, you're in the way! They huddle round the garden gate, which is now broken open. EPONINE I'm gon na scream! I'm gon na warn them here! THENARDIER One little scream and you'll regret it for a year! He goes to the gate and opens it. Eponine screams. SCENE OMITTED","INT. RUE PLUMET, PARIS - NIGHT Valjean, now in his own bedroom, hears the scream and turns to the window.","EXT. RUE PLUMET - NIGHT Thenardier and his gang shrink into the shadows, as Eponine's scream ends at last. THENARDIER Make for the sewers! Get underground! Leave her to me, Do n't wait around! He turns on Eponine and slaps her hard across the face. THENARDIER You wait, my girl! You'll rue this night! I'll make you scream! You'll scream all right! His men have levered up a grating, and now Thenardier and the gang disappear down into the sewers.","INT. VALJEAN'S HOUSE - RUE PLUMET, PARIS - NIGHT Valjean comes running into Cosette's room. Valjean takes her in his arms. VALJEAN My God, Cosette! I heard a cry in the dark. I heard the shout of angry voices in the street. COSETTE Three men I saw beyond the wall. Three men in shadow moving fast! VALJEAN This is a warning to us all! These are the shadows of the past! He moves away to his own bedroom. VALJEAN Must be Javert. He's found my cover at last. I've got to get Cosette away Before he returns. He comes back to Cosette. VALJEAN We must get away from shadows That will never let us be. Tonight we leave Cosette! COSETTE To where? VALJEAN Rue de L'Homme Armee. COSETTE No! No! VALJEAN And then a ship across the sea. VALJEAN Hurry, Cosette! Prepare to leave, And say no more. Tonight we'll away! COSETTE -LRB- overlapping. -RRB- No! Please no! We ca n't go! VALJEAN Hurry, Cosette! It's time to close another door And live another day! Valjean leaves to start packing. Feverishly, Cosette scribbles a letter. SCENE OMITTED","EXT. GARDEN, RUE PLUMET - NIGHT Cosette hurries down the garden to the gate, and goes to put the folded letter in the grill where her and Marius' hands entwined. Then she sees Eponine. Eponine steps forward. She thrusts her letter into her hand. COSETTE Please give this to Marius! He must know where to find me. She runs back inside.","EXT. RUE PLUMET/BRIDGE/RUE DE LA CHANVRERIE - NIGHT Eponine crumples up the letter. She walks sadly away down the street. Rain is just starting to fall. EPONINE And now I'm all alone again - Nowhere to turn, no one to go to. Without a home, without a friend, Without a face to say hello to. The city goes to bed And I can live inside my head. On my own Pretending he's beside me All alone I walk with him till morning Without him I feel his arms around me And when I lose my way I close my eyes And he has found me. She crosses a bridge over the river. EPONINE In the rain The pavement shines like silver All the lights Are misty in the river In the darkness the trees are full of starlight And all I see is him and me forever and forever! And I know it's only in my mind - That I'm talking to myself and not to him. And although I know that he is blind, Still I say there's a way for us. I love him But when the night is over He is gone - the river's just a river. Without him the world around me changes - The trees are bare and everywhere The streets are full of strangers. I love him But every day I'm learning All my life I've only been pretending. Without me, his world will go on turning A world that's full of happiness That I have never know. I love him I love him I love him But only on my own. Her solitary journey has brought her to the Gorbeau slum. She goes inside.","INT. GORBEAU TENEMENT - NIGHT Eponine stands outside Marius' door. She opens the letter, reads it, then hides it in her pocket. She pushes open Marius' door. Marius looks up. EPONINE I came to tell you she's gone. MARIUS Gone? What do you mean? EPONINE She's gone to England. Marius sets off at a run towards the Rue Plumet.","EXT. RUE PLUMET - NIGHT Marius finds the gate broken open, sees the house beyond dark and deserted. He pushes in to the garden, up to the house windows, sees the rooms empty within. He stands staring, in shock. Eponine has followed him, and watches him in silence. SCENE OMITTED","INT. CARRIAGE - NIGHT. Valjean and Cosette sit on either side of the carriage, apart, staring out of their respective windows. A stark contrast to the carriage scene when Valjean sang to Cosette as a little girl. VALJEAN One day more! Another day, another destiny. This never - ending road to Calvary. These men who seem to know my crime Will surely come a second time - One day more!","EXT. RUE PLUMET - NIGHT Marius by the empty house. MARIUS I did not live until today - How can I live when we are parted?","INT. CARRIAGE - NIGHT VALJEAN One day more! COSETTE Tomorrow you'll be worlds away And yet with you my world has started!","EXT/INT. RUE PLUMET/CARRIAGE - NIGHT INTERCUT between Eponine at the gate, Cosette and Valjean in the carriage, and Marius in the dark garden. EPONINE One more day all on my own. MARIUS/COSETTE Will we ever meet again? EPONINE One more day with him not caring. MARIUS/COSETTE I was born to be with you! EPONINE What a life I might have known. MARIUS/COSETTE And I swear I will be true! EPONINE But he never saw me there.","INT. CAFÉ MUSAIN GROUND & 1ST FLOOR/EXT. RUE DE LA CHANVRERIE - NIGHT Enjolras and the students have a production line under way for making bullets. The rifles are now stacked and ready for the uprising. Grantaire is downstairs flirting with a BARMAID. MADAME HUCHELOUP the proprietress of the Cafe Musain is sewing a red revolutionary flag to help the students. ENJOLRAS One more day before the storm! INTERCUT WITH Marius walking back sadly through the Rue de la Chanvrerie. Eponine follows him at a distance. MARIUS Do I follow where she goes? ENJOLRAS At the barricades of freedom! MARIUS Shall I join my brothers there? ENJOLRAS When our ranks begin to form - MARIUS Do I stay and do I dare? ENJOLRAS -LRB- from top of stairs, for Grantaire's benefit. -RRB- Will you take your place with me? Grantaire rather reluctantly goes upstairs. ALL The time is now! The day is here! One day more!","INT. PARIS POLICE HQ - NIGHT Javert is briefing a hundred uniformed police about the coming day in a grand ornate old room at Police Headquarters. JAVERT One day more to revolution. We will nip it in the bud. We'll be ready for these schoolboys. They will wet themselves with blood!","INT. CARRIAGE - NIGHT VALJEAN One day more!","INT. CAFÉ MUSAIN - GROUND & 1ST FLOOR - NIGHT Monsieur and Madame Thenardier are in the ground - floor bar, slyly watching a student smuggling some rifles up the stairs disguised in a piece of cloth. Joly takes a tray and collects empty tankards. As he ascends the stairs, Madame Hucheloup tries to get him to give the tankards back. THENARDIERS Watch'em run amuck! Catch'em as they fall! Never know your luck When there's a free - for - all. Here a little dip, There a little touch - Most of them are goners So they wo n't miss much! The drinkers in the bar raise their glasses to the students with their rifles. The students appeal to them. Grantaire is drunk already. Joly starts to melt the tankards in a pot to make more bullets. Marius enters the ground floor and takes the red flag from Madame Hucheloup that she has just finished. The citizens on the ground floor join the students. STUDENTS/CROWD One day to a new beginning! Raise the flag of freedom high! Every man will be a king! Every man will be a king! There's a new world for the winning! There's a new world to be won! Do you hear the people sing? Marius enters the first floor to join them at last. MARIUS My place is here! I fight with you!","INT/EXT. RUE DE L'HOMME ARMEE/RUE DE LA CHANVRERIE/CAFÉ MUSAIN GROUND & 1ST FLOOR/POLICE STATION - NIGHT Valjean and Cosette arrive at their new hideout - Marius ties the red flag onto a flagpole - VALJEAN One day more! COSETTE/MARIUS I did not live until today How can I live when we are parted? Eponine outside the café, gazing longingly towards Marius - EPONINE One more day on my own. Javert in the police station to his men - JAVERT I will join these people's heroes I will follow where they go. I will learn their little secrets, I will know the things they know. VALJEAN/JAVERT One day more! MARIUS/COSETTE Tomorrow you'll be worlds away And yet with you my world has started. JAVERT One more day to revolution We will nip it in the bud We'll be ready for these schoolboys - THENARDIERS Watch'em run amuck Catch'em as they fall Never know your luck When there's a free - for - all! VALJEAN Tomorrow we'll be far away. VALJEAN/JAVERT Tomorrow is the judgement day. ALL Tomorrow we'll discover What our God in heaven has in store - One more dawn! One more day! One day more! We pull back from Enjolras and Marius holding their flag at the first floor window with the students beyond them to see that citizens have spilled out of the Cafe Musain into the street and have all joined in the final chorus.","EXT. PARIS STREETS - DAY All is still. Then comes the soft beating of draped drums. The tramp of feet. All down the streets, waiting, the silent faces of the poor. Among them we see Enjolras, Marius, and the radical students. Police and national guardsmen control the growing crowds. Now into view come the leaders of a great FUNERAL PROCESSION. An entire battalion of infantry, marching with weapons reversed. A column of black - suited dignitaries carrying branches of laurel. A division of Cavalry rides in front, behind a section of military drummers who drum a military tatoo. INTO FRAME comes a team of black horses stepping slowly, black plumes nodding, drawing behind them a gun carriage draped in the tricolour flag. On the carriage stands a COFFIN. Softly, in time with the drums, the watching people begin to sing. CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! The police and guardsmen look round to see who is singing so subversively, but they ca n't be sure where it's coming from. The singing grows stronger. CROWD When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! The dignitaries become aware of the singing, and glance uneasily from side to side. CROWD Will you join in our crusade? Who will be strong and stand with me? Beyond the barricade Is there a world you long to see? As the coffin on its carriage draws level with the students, Enjolras suddenly steps out in front of the horses drawing the carriage and waves the red flag, stopping the horses and the procession. ENJOLRAS Then join in the fight That will give you the right To be free! The students break the ranks of the crowd and surround the coffin carriage. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Enjolras, Marius and Courfeyrac and other students climb onto the top of the carriage as the horses and led by Combeferre. ENJOLRAS Will you give all you can give So that our banner may advance? COURFEYRAC Some will fall and some will live Will you stand up and take your chance? ENJOLRAS/MARIUS/COURFEYRAC The blood of the martyrs Will water the meadows of France! The crowd supports them and surround the coffin carriage, blocking the attempts of the police to intervene, singing with passion. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Enjolras, the students, and the impassioned crowd have now become the procession. They turn off the main street away from the expected course of the funeral procession. Gavroche's elephant looms over this side street. Gavroche and his gang jump down from the elephant to join in. As the procession turns off, the calvary division gallop ahead and disappear round a corner. STUDENTS/CROWD Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? Say, do you hear the distant drums? It is the future that we bring When tomorrow comes! The students and crowd come face to face with the calvary. On one side, muskets of the infantry poke through the broken down fence surrounding the elephant. Other infantry have taken up position in a cafe opposite, upending tables to provide cover. There is a tense, prolonged silence. Then suddenly one nervous SOLDIER lets off a round. It hits a middle aged kindly looking WOMAN CITIZEN in the crowd around the coffin carriage. The crowd is furious. Students charge the soldier, grab his musket and knock him down with the hilt of the gun. More shots ring out. The cavalry charges. The funeral explodes into a riot. The people of Paris turn on the dragoons, the National Guards, the police. More squadrons of dragoons charge into the crowd, sabres unsheathed. Women run screaming in terror. ENJOLRAS To the barricades! STUDENTS/CROWD To the barricades! To arms! To arms! Some students fire weapons into the air, some into the cavalry and at the infantry. Enjolras knocks a calvary officer off his horse and Marius jumps on the horse. The students break away and race off through the cafe into a side street where citizens begin to erect a barricade. A cavalry rider gives chase and is shot by one of the students and falls through the window of an upended carriage. The students, with Marius on horseback, race to the slums.","EXT. RUE DE LA CHANVRERIE/INT. CAFE MUSAIN - DAY FOLLOW the students as they burst into their home street. They have been joined by a motley collection of citizens including burghers and an old eccentric man FATHER MABEUF who works as hard as anyone. They raid a fencing shop and a gun shop for weapons, they force wives to give up their husbands' muskets and chalk up the debt to the revolution on their front doors, they encourage homeowners to contribute furniture sometimes appearing at high windows to help overcome any reluctance. Soon the street is raining tables, chairs, mattresses, sofas. They smash streetlamps. They set to work to build their barricade. Students commandeer an omnibus which is overturned to form the barricade's heart. Three students arrive in the street hauling an uprooted tree. They pull up paving stones, rip boards, timbers and front doors from house and shop - fronts, pull down buttresses, and raid the Cafe Musain, systematically stripping it of every item of furniture despite the lamentations and protestations of Madame Hucheloup and her barmaid. As the barricade rises they bring down from the first floor of the cafe the rifles and ammunition they've gathered, to prepare to defend their chosen ground. A student stands on a stone post distributing weapons. They line the first and second floor front rooms with paving stones to create protected shooting positions. The inside of the barricade is built neatly with steps up made from paving stones. The outside is a crazy knarled mess. ENJOLRAS Here upon these stones We will build our barricade. In the heart of the city We claim as our own Each man to his duty And do n't be afraid. A man in worker's clothing is helping build the growing barricade,. He wears the insignia of the rebels, and keeps his head down. ENJOLRAS Wait! I will need a report On the strength of the foe. The man who's just arrived looks up. It's Javert. JAVERT I can find out the truth! I know their ways, Fought their wars, Served my time In the days Of my youth. He slips away through the barricade, which is still rising. PROUVAIRE See! The people unite! GRANTAIRE Pray your right COMBEFERRE Dogs will bark! GAVROCHE Fleas will bite! LESGLES They will do what is right.","EXT. BARRICADE - DUSK The barricade is now complete : an impressive wall up to twelve feet high, with one heavily guarded section that can be wheeled open to allow access. Two smaller barricades protect the left and right side of the cafe. Enjolras climbs halfway up the main barricade and turns to his little army. Grantaire prises the final piece of Madame Hucheloup's furniture from her arms - her favourite sewing armchair - and adds it to the barricade. As the men sing she steals it back defiantly. ENJOLRAS Red, the blood of angry men! ALL Black, the dark of ages past! Red, a world about to dawn! Black, the night that ends at last!","EXT. BARRICADE - NIGHT It is night. The students have been waiting for hours. A single flaming torch atop the barricade caged in by cobbles underlights a fluttering red flag. There is no sign yet of any opposition. A boy climbs down from sentry duty on the barricade. Marius realizes its Eponine. She sits down with her back to him. MARIUS Hey, little boy, what's this I see? God Eponine the things you do! EPONINE I know this is no place for me, Still I would rather be with you! MARIUS Get out before the trouble starts! Get out, ` Ponine, you might get shot! EPONINE I've got you worried now, I have! That shows you like me quite a lot. MARIUS Get Out! Joly, sentry on the main barricade, sees a figure approach. JOLY He's back! Javert, still in his disguise as a rebel, is let back through the guarded ` gate' into the barricaded street. JAVERT Listen, my friends, I have done as I said. I have been to their lines, I have counted each man. I will tell what I can. Better be warned They have armies to spare And our danger is real - We will need all our cunning To bring them to heel. ENJOLRAS Have faith! If you know what their movements are We'll spoil their game. There are ways that a people can fight - We shall overcome their power! JAVERT I have overheard their plans. There will be no attack tonight. They intend to starve you out Before they start a proper fight - Concentrate their force, Hit us when it's light - GAVROCHE Liar! They all look up. There's Gavroche, on the top of the barricade. GAVROCHE Good evening, dear Inspector. Lovely evening, my dear! I know this man, my friends. His name's Inspector Javert! So do n't believe a word he says Cause none of it's true. This only goes to show What little people can do. Guns swing round to aim at Javert. He stares back in defiance. Gavroche comes dancing down the barricade to Courfeyrac's delighted embrace. COURFEYRAC Bravo, little Gavroche! You're the top of the class! Gavroche grabs Grantaire's red cap and puts it on his own head, mimicking the students. PROUVAIRE So what are we going to do With this snake in the grass? Enjolras faces Javert. ENJOLRAS Tie this man and take him To the tavern in there! The people will decide your fate, Inspector Javert! JAVERT Shoot me now or shoot me later - Every schoolboy to his sport! Death to each and every traitor! I renounce your people's court! ENJOLRAS Take this man. Bring him through. There is work we have to do. Javert is led into the cafe. As they pass through the front door only one student is holding Javert. Seizing his opportunity, Javert breaks free and the students have to subdue him by force. Javert is on his knees and is being tied to the staircase. ENJOLRAS When are they coming!? Silence. Suddenly, out of the darkness, the students and citizens at the barricade here an ominous distant sound. The sound of marching feet, hundreds of men, marching in unison. First soft, then building louder and louder, closer and closer. Boots on cobbles. The sound comes right into the end of the street. Enjolras and all the students man the main barricade. Silence. They peer over the barricade. In the pitch blackness, all they can make out is hundreds of gossamer thin slivers. These are bayonets and musket barrels dimly lit by the reflection from the torch. A voice shouts out from the darkness. ARMY OFFICER Who's there? At the same time we hear the clatter of guns being levelled. ENJOLRAS French Revolution. ARMY OFFICER Fire! A flash turns all the facades of the street bright crimson as though the door of a furnace has suddenly open and shut. A dreadful explosion bursts over the barricade. The red flag falls, the pole sliced through. Bullets richochet off the cornices of the houses, bore into the barricade and wound several men. ENJOLRAS -LRB- as students return fire. -RRB- Comrades, do not fire back! Do not waste powder! In the darkness, the clang of ramrods in muskets - the troop reloading weapons. Enjolras picks up the fallen flag and is about to take it up when the old man Father Mabeuf who has seen many insurrections before this takes the flag and runs up onto the top of the barricade. ARMY OFFICER Who's there? Get down! MABEUF Vive la France! ARMY OFFICER Fire! A second volley. Father Mabeuf falls down dead. While everyone is reacting to the dead old man and the wounded, the men are distracted from noticing that some French soldiers have used the cover of darkness to creep down the street. All at once the FIRST FULL ATTACK begins. Shouts and the rattle of gunfire as SOLDIERS throw themselves up and over the barricade. The students run for their guns and return fire. They are taken by surprise. All could be lost in the first instant. Some soldiers make it up to the top of the barricade, where they're driven back by the fierce resistance of the defenders. Eponine sees one soldier aiming his rifle at Marius - she throws herself in front of Marius just as the rifle fires - and Marius is safe. They are being overrun. Panic ensues. The gun battle is fierce. Marius in a flash of inspiration realises all is lost unless they do something. He drags a barrel of gunpowder to the top of the barricade, grabs the torch and with a face of deadly resolve he tips the torch towards the barrel. MARIUS Clear out or I'll blow up the barricade! Everyone freezes. ARMY OFFICER Blow it up then and take yourself with it! MARIUS And myself with it! Marius brings the torch closer to the powder keg. But already the soldiers have cleared out. Marius comes down from the barricade. FEUILLY -LRB- to Marius. -RRB- Thank you! LESGLES What were you thinking! As everyone surrounds Marius in amazement he spots Eponine lying propped against the barricade. MARIUS Eponine! What have you done? He kneels by her side. Eponine is dying. EPONINE Here. It's from Cosette. I kept it from you. With a struggle she pulls the letter out of her pocket, and pushes it into his hand. EPONINE Do n't be too hard on me. Marius is shocked to find blood pouring from her wound. MARIUS Eponine, you're hurt! You need some help! Rain begins to fall. EPONINE Do n't you fret, M'sieur Marius - I do n't feel any pain. A little fall of rain Can hardly hurt me now. You're here - that's all I need to know And you will keep me safe And you will keep me close And rain will make the flowers grow. MARIUS But you will live, Eponine - Dear God above! If I could close your wounds with words of love - EPONINE Just hold me now, and let it be. Shelter me. Comfort me. MARIUS You will live a hundred years If I could show you how. I wo n't desert you now. EPONINE The rain ca n't hurt me now. This rain will wash away what's past And you will keep me safe And you will keep me close I'll sleep in your embrace at last. Marius tries to comfort Eponine in his arms. MARIUS Hush - a - bye, dear Eponine You wo n't feel any pain A little fall of rain Can hardly hurt you now I'm here. EPONINE So do n't you fret, M'sieur Marius I do n't feel any pain A little fall of rain Can hardly hurt me now. MARIUS I will stay with you Till you are sleeping. EPONINE That's all I need to know And you will keep me safe And you will keep me close And rain. Will make the flowers. Grow. Eponine dies in Marius's arms. Marius looks up at the others, his eyes full of tears. ENJOLRAS They were the first to fall. The first to fall upon this barricade. MARIUS Her name was Eponine! Her life was cold and dark, yet she was unafraid! COMBEFERRE We fight here in her name. PROUVAIRE She will not die in vain. LESGLES She will not be betrayed. They pick up Eponine's body and carry her into the tavern. COURFEYRAC -LRB- to Gavroche. -RRB- Are you alright? GAVROCHE That was my sister.","EXT. BARRICADE - NIGHT Marius reads the letter Eponine has given him. He takes out pencil and paper and writes a note. Looking round, he sees Gavroche. MARIUS Gavroche! Do you know the Rue de l'Homme Armé? GAVROCHE Course I do! MARIUS Will you take this for me? He holds out his note.","INT. INN, RUE DE L'HOMME ARMEE, PARIS - NIGHT The LANDLADY climbs the stairs, followed by Gavroche. The landlady indicates the door, and Gavroche knocks boldly. The door opens a crack to reveal a cautious Valjean. GAVROCHE Letter for Cosette. VALJEAN I'll take it. Gavroche holds out the letter with one hand, not quite giving it, the other hand open for a tip. Valjean gives him a coin, which he pockets as he hands over the letter. GAVROCHE Something for you, something for me. Who needs charity?","INT. VALJEAN'S ROOM, LODGING HOUSE - NIGHT ON VALJEAN - As he reads the note. VALJEAN ` Dearest Cosette, you have entered my soul And soon you will be gone. Can it be only a day since we met And the world was reborn? If I should fall in the battle to come Let this be my goodbye. Now that I know you love me as well It is harder to die. I pray that God will bring me home To be with you. Pray for your Marius. He prays for you.' He looks up, deeply distressed. He ca n't bear the thought of losing Cosette. VALJEAN They have n't got a chance, these boys They almost certainly will die She'll be alone And she will need me all the more And we will go on as before When he is gone I dare not think like this I must find this boy","EXT. PARIS STREETS - NIGHT Valjean walks the streets, not caring where he goes, struggling with his tormented thoughts. He sees a barricade being dismantled. And bodies. Suddenly he knows what he's going to do. He sees a dead soldier. He takes his jacket and swiftly pulls it on. He continues on his way in the dark. Looking up he sees that he's been walking all the time towards the very barricade where Marius waits. Now looking like a soldier, he passes unchallenged through their lines, and into the shadows. As he passes, he notices two soldiers climbing up onto the rooftops.","EXT. BARRICADE - NIGHT Glimpses through the barricade of a lone figure approaching from the far end of the narrow street. The figure comes into lamp light. It's Valjean, in the soldier's jacket. The student sentries level their guns. Gavroche jumps up. VALJEAN Do n't shoot! JOLY Here comes a man in uniform! What brings you to this place? VALJEAN I come here as a volunteer. JOLY Approach and show your face! PROUVAIRE You wear an army uniform. VALJEAN That's why they let me through. The student sentries open the slot in the barricade to let Valjean enter. JOLY You've got some years behind you, sir. VALJEAN There's much that I can do. JOLY You see that prisoner over there? He points to Javert, in a dark corner, his hands tied. GRANTAIRE A volunteer like you! COMBEFERRE A spy who calls himself Javert! GRANTAIRE He's going to get it too! Javert looks up and meets Valjean's eyes. A steady shared look. GAVROCHE Do n't shoot! I know him! He's no soldier! Suddenly Valjean spots a couple of snipers creeping over the roofs to gain an angle of attack on them. They are aiming at Enjolras. Swiftly Valjean grabs a gun and shoots up at them sending them scattering. Quickly other students join in and the snipers are driven back. There is a burst of gunfire from both ends of the street as a brief fire fight ensues. The snipers have disappeared. Enjolras turns to Valjean. ENJOLRAS For your presence of mind, For the deed you have done, I will thank you, M'sieur, When our battle is won. MARIUS Thank you, M'sieur. VALJEAN Give me no thanks, M'sieur. There's something you can do. ENJOLRAS If it is in my power. VALJEAN Give me the spy Javert! Let me take care of him. Javert hears this with grim satisfaction. JAVERT The law is inside out. The world is upside down. ENJOLRAS Do what you have to do - The man belongs to you. He turns to his little army. ENJOLRAS The enemy may be regrouping! Hold yourselves in readiness! Come, my friends, back to your positions! The dawn is breaking fast. Valjean takes Javert out the back of the Cafe Musain. He carries a knife. VALJEAN We meet again. JAVERT You've hungered for this all your life. Take your revenge. How right you should kill with a knife. Valjean uses the knife to cut Javert free. VALJEAN You talk too much. Your life is safe in my hands. JAVERT Do n't understand. VALJEAN Get out of here. JAVERT Valjean, take care! I'm warning you. VALJEAN Clear out of here! JAVERT Once a thief, forever a thief. What you want, you always steal. You would trade your life for mine. Yes, Valjean, you want a deal! Shoot me now for all I care - If you let me go, beware! You'll still answer to Javert! VALJEAN You are wrong, and always have been wrong. I'm a man no worse than any man. You are free, and there are no conditions - No bargains or petitions. There's nothing that I blame you for. You've done your duty, nothing more. No doubt our paths will cross again. He raises his gun and points it at Javert. VALJEAN Go! As Javert goes, he raises the gun barrel and fires a single shot into the air. ENJOLRAS Courfeyrac, you take the watch - They may attack before it's light. Everybody keep the faith, For certain as our banner flies, We are not alone - The people too must rise! Marius is manically working to raise the height of one of the smaller barricades. ENJOLRAS Marius, rest. Grantaire drunkenly starts singing a drinking song and it is taken up more seriously by Feuilly. Bottles are passed round. GRANTAIRE Drink with me to days gone by! FEUILLY Sing with me the songs we knew! PROUVAIRE Here's to pretty girls Who went to our heads! JOLY Here's to witty girls Who went to our beds! STUDENTS Here's to them -. -LRB- Marius sings to Valjean. -RRB- And here's to you! GRANTAIRE Drink with me to days gone by! Can it be you fear to die? Will the world remember you when you fall? Can it be your death Means nothing at all? Is your life just one more lie? Grantaire glares at Enjolras and enters the cafe. ALL Drink with me To days gone by! To the life That used to be! At the shrine of friendship Never say die. Let the wine of friendship Never run dry! Here's to you And here's to me! Valjean is moving through the cafe when he hears Marius through a window. He moves to the window. Marius sits beneath it. MARIUS Do I care if I should die Now she goes across the sea? Life without Cosette Means nothing at all. Please do n't weep, Cosette, Should Marius fall. Will you weep, Cosette, For me? Valjean listens to Marius's song, and he's moved.","EXT. BARRICADE/ INT. CAFE MUSAIN - NIGHT Look - outs keep watch at either end of the barricaded street. Many of the rest of the rebels are sleeping. Valjean paces, unable to sleep, inside the cafe. Dead bodies are lined up on the ground floor. He comes to a stop, and gazes on Marius as he sleeps through the window. VALJEAN God on high Hear my prayer In my need You have always been there. He is young He's afraid Let him rest Heaven blessed. Bring him home Bring him home Bring him home! He's like the son I might have known If God had granted me a son. The summers die One by one How soon they fly On and on And I am old And will be gone. Bring him peace Bring him joy He is young He is only a boy. You can take You can give Let him be Let him live, If I die, let me die Let him live Bring him home Bring him home Bring him home! Valjean is now kneeling next to the sleeping Marius. CRANE UP AND UP - Seeing the little world of the barricaded street now surrounded by waiting soldiers - and the streets round them packed with soldiers in their thousands, so many that we know the little band can never win. CRANE UP AND UP until the barricade and the army that entraps it has become a small pool of darkness in the centre of the bright lights of Paris.","EXT. PARIS - DAWN The sun still below the rooftops. Every house is tightly shuttered.","INT. CAFE MUSAIN - DAWN Grantaire is fast asleep in the upstairs room, dead drunk.","EXT. BARRICADE - DAWN Enjolras re - enters the barricade through the secret gate. He has been on a reconnaissance. He looks at the street. No one is stirring, but for a single shutter which opens a crack - a face peeps - and it closes again. Below him the students are up and getting ready. ENJOLRAS The people have not stirred. COURFEYRAC Yet we will not abandon those Who still live in fear. ENJOLRAS The people have not heard, Yet we will not abandon those who can not hear. Let us not waste lives! Let all who wish to Go from here! There is silence. Uncertainty. Yet no one moves to go. GAVROCHE -LRB- from top of barricade. -RRB- Do you hear the people sing GAVROCHE/COURFEYRAC Singing the song of angry men STUDENTS/CITIZENS -LRB- joining. -RRB- It is the music of the people Who will not be slaves again When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Under this : FEUILLY Enjolras! Ammunition's short. MARIUS I will go into the streets. There are bodies all around. Ammunition to be had. Lots of bullets to be found. ENJOLRAS I ca n't let you go. VALJEAN Let me go! He's no more than a boy. I am old. I have nothing to fear. Gavroche is already climbing the barricade under cover of the smoke. GAVROCHE I volunteer! COURFEYRAC Come back, Gavroche! Do n't you dare! JOLY Someone pull him down right now! GAVROCHE Look at me, I'm almost there! GAVROCHE Little people know When little people fight We may look easy pickings But we've got some bite! So never kick a dog When he's just a pup - We'll fight like twenty armies And we wo n't give up! The rays of the rising sun break through, lighting up Gavroche. GAVROCHE So you'd better run for cover When the pup grows - Crack! A musket shot. Gavroche falls face down onto the barricade. COURFEYRAC No - o! He runs up the barricade, seizes Gavroche's body in his arms, convulsed with grief, and brings it back through the gate in the barricade. At the other end of the street Javert has appeared. He sees this gate. And talks to the Army Officer. As the smoke from the muskets clears horses are revealed drawing field artillery into position. The Army Officer is lining up the big guns carefully. ARMY OFFICER You at the barricades listen to this! The people of Paris sleep in their beds! You have no chance, No chance at all! Why throw your lives away? Enjolras gazes on his pitifully small group. ENJOLRAS Let us die facing our foes! Make them bleed while we can! COMBEFERRE Make'em pay through the nose! COURFEYRAC Make'em pay for every man! ENJOLRAS Let others rise to take our place Until the earth is free! The sun now appears above the rooftops of the city. And the big guns fire - BOOM! BOOM! BOOM! The bombardment hits the barricade, rocking it. In its wake a massive barrage of musket fire. The big gun has been lined up with the gate and has burst right through in the first hit. Bullets fly, and every few moments another cannon ball smashes into the piled debris. Javert is glimpsed among the attackers. Enjolras and the students throw themselves onto the barricades, firing at the attackers, handing their rifles down to others to be re - loaded, firing again. Valjean moves among them, tending to the wounded, lifting down the dead, regardless of his own safety. Marius takes a bullet, and crumples and falls. Valjean runs towards him - CRASH! The latest cannonade bursts a hole in the barricade and now the soldiers are storming through. The hard core of student fighters retreat, firing as they go, into the Café Musain.","INT. CAFÉ MUSAIN - DAY Students and soldiers fight in the café, on the stairs, up the stairs to the upper room. Students driving back the pursuing soldiers hack away at the staircase, smashing it to fragments - the soldiers below fire up at them - students fall, their bodies caught on the jagged remnants of the stairs. Grantaire is still unconscious from drink.","EXT. BARRICADE - DAY Valjean has Marius in his arms and is hiding him from the onrush of the soldiers -","INT. CAFÉ MUSAIN - DAY The students' ammunition has run out, they're hurling sticks and bottles - but the soldiers have found a way to clamber up, shooting as they come, and one by one the students are falling.","EXT. STREET OUTSIDE CAFÉ MUSAIN - DAY Valjean carries Marius away from the carnage. A soldier challenges him. One violent blow from Valjean sends the soldier flying -","INT. CAFÉ MUSAIN - DAY The soldiers break through at last to the upper room, to find there's only Enjolras still alive. He stands by the window, knowing he will die now, proud and unafraid. Seeing him the soldiers hesitate. The sudden silence wakes Grantaire from his drunken slumber. GRANTAIRE Long live the republic! He sees Enjolras with the muskets raised against him. Grantaire goes and joins him. Enjolras smiles, and raises his now - ragged red flag. The rifles blaze. Grantaire drops back to the ground. Enjolras falls back -","EXT. BARRICADE - DAY Enjolras falling backwards out of the window, until he hangs upside down, the red flag still in his hands, streaming like blood down the wall. PULL BACK to see the street littered with corpses, and the remains of the barricade, and soldiers scouring the rubble for any last pockets of resistance. BACK AND BACK to come to a stop looking at the wide scene. INTO FRAME walks Javert, grimly surveying the victory of law over rebellion.","EXT. BACK ALLEY - DAY Valjean carries Marius down a long narrow alley that runs between the backs of tall houses. The alley turns a corner - and there ahead is a dead end. Behind him, the stamp of soldiers' boots. Ahead, no way out. Then his searching gaze falls on an iron grating in the ground. A storm drain. ON THE SOLDIERS - As they come round the corner into the end of the alley. They look round. It's empty. SOLDIER Nothing here! The soldiers depart. A moment of silence. Then into the alley's end steps Javert. Not so easily fooled. He walks all the way to the end, and looks round. He sees the drain at his feet. He sees the signs that the grating has been lifted. He stoops, and tries to lift it. It's far too heavy for him. He straightens up and looks round, calculating. Where does the drain lead?","INT. PARIS SEWERS - DAY Valjean is pulling Marius after him down a tight sloping pipe, where dark water races. Suddenly they start to slide, then drop through a vent into a wide sewage tunnel. Faint light reflecting off the slime of curving tunnel walls. The skitter of rats. Sodden forms floating by : dead bodies. Valjean carries Marius down the tunnel, moving as fast as he can, losing strength all the time. He reaches an intersection where four sewers meet. Light falls through distant gratings. One of the four sewers is dry. Here he lets his burden down, and himself sinks to the slimy ground to rest. He lets his eyes close. A voice echoes in the shadows. THENARDIER Here's a hint of gold Stuck into a tooth - Pardon me, m ` sieur, You wo n't be needing it no more. Should n't be too hard to sell. A figure coming closer. A sewer thief, robbing corpses. No sign of life in either Valjean or Marius. THENARDIER Well, someone's got to clean'em up, my friends, Before the little harvest Disappears into the mud. Someone's got to collect their odds and ends When the gutters run with blood. Now we see the thief is Thenardier. He finds a ring on Marius's finger and pulls it off. THENARDIER Here's a tasty ring Pretty little thing Heart's no longer going And he's lived his little time, But his watch is ticking yet. It's a world where the dog eats the dog. Where they kill for the bones in the street. And God in his heaven, He do n't interfere Cos he's dead as the stiff at my feet! I raise my eyes to see the heavens And only the moon looks down. The harvest moon shines down! Valjean wakes, rears up, seizes Thenardier by the arm, slams him against the sewer wall. VALJEAN How do I get out of here? THENARDIER There! That way! Valjean drops him, picks Marius up once more, and sets off. Thenardier stares after them, grinning. He's sent then the wrong way. LATER - Valjean in the sewers, Marius on his back, and they're sinking ever deeper into the slimy water. As he feels himself sink, Valjean holds Marius up in his arms and forges on, chest deep, lifting the younger man above his head. Still he sinks, until his face is half - submerged and he's gagging in the filth. He stumbles, and suddenly he's sunk beneath the surface, and Marius is dropping - Then up he bursts again, face black with slime, eyes burning with his refusal to be beaten. LATER - Valjean staggers down the endless sewers, Marius on his back. But all the time he can hear, closer now, the rushing sound of the river. Round a bend and at last - moonlight ahead. He drags himself on through the shallow running water towards the moonlight. He reaches the exit at last. Before him the river.","EXT. RIVER EMBANKMENT, PARIS - NIGHT Valjean, crusted with slime, heaves Marius out of the sewer onto the embankment that runs beside the river. He looks up. There, staring at him, is Javert. Valjean rises slowly. Heaves Marius up onto his back once more. The strain of the night is showing. He's a man near the end of his strength. VALJEAN It's you, Javert! I knew you would n't wait too long. The faithful servant at his post once more. This man's done no wrong. And he needs his family's care. JAVERT I warned you I would not give in! I wo n't be swayed! VALJEAN Another hour yet And then I'm yours And all our debts are paid. JAVERT The man of mercy comes again And talks of justice! VALJEAN Come, time is running short - Look down, Javert! He's standing in his grave! He starts to move past Javert. Javert draws his pistol and holds it to Valjean's head. JAVERT One more step and you die. Valjean meets his eyes. That old battle of will against will. VALJEAN Then I die. He starts walking past Javert. Javert's hand trembles as it holds the pistol. Valjean keeps walking. Javert wills himself to shoot, but he just ca n't do it. Frustrated, enraged with himself, he lowers the gun. JAVERT Take him, Valjean, Before I change my mind! I will be waiting. 24601! He turns away, trembling now all up and down his body. He stares into the river. Valjean is gone now. He's alone. JAVERT Who is this man? What sort of devil is he? To have caught me in a trap And choose to let me go free? It was his hour at last To put a seal on my fate Wipe out the past And wash me clean off the slate! All it would take Was a flick of his knife Vengeance was his And he gave me back my life! He begins to move away along the embankment, up steps, towards a bridge. He's unaware of everything except the turmoil in his brain. JAVERT Damned if I live in the debt of a thief! Damned if I yield at the end of the chase! I am the law and the law is not mocked! I'll spit his pity right back in his face! There is nothing on earth that we share! It is either Valjean or Javert! How can I allow this man To hold dominion over me? This desperate man that I have hunted. He gave me my life! He gave me freedom! I should have perished by his hand It was his right. It was my right to die as well. Instead I live. But live in hell! He moves up from the embankment onto the bridge. Here he stands, looking down at the dark water of the night river. The Seine forms a whirlpool here, where violent currents swirl round the piles of the bridge. JAVERT And my thoughts fly apart Can this man be believed? Shall his sins be forgiven? Shall his crimes be reprieved? And must I now begin to doubt Who never doubted all those years? My heart is stone and still it trembles. The world I have known is lost in shadow Is he from heaven or from hell? And does he know That granting me my life today This man has killed me even so? He climbs up onto the parapet, reaching his arms up to the night sky. JAVERT I am reaching but I fall And the stars are black and cold As I stare into the void Of a world that can not hold. I'll escape now from that world From the world of Jean Valjean This is nowhere I can turn. There is no way to go on. He reaches higher, turning his body, twisting, as if he wants some angel from on high to save him - and so, turning, he falls into the river. The swirling eddies close over him. And he's lost.","EXT. STREET OUTSIDE CAFÉ MUSAIN - DAY Soldiers are dismantling the last of the barricade. Women move about the street, seeking their dead loved ones among the bodies that still litter the barricade. These are both the middle - class mothers of the students - Enjolras's mother, Grantaire's sister - and the working women of the slums for whom they died, united now in their grief. WOMAN 1 Did you see them Going off to fight? WOMAN 2 Children of the barricade Who did n't last the night. WOMAN 3 Did you see them Lying where they died? Someone used to cradle them And kiss them when they cried. WOMAN 4 Did you see them lying side by side? WOMAN 5 Who will wake them? WOMAN 6 No one ever will. WOMAN 2 No one ever told them that A summer day can kill. WOMAN 7 They were schoolboys Never held a gun Fighting for a new world that Would rise up like the sun. WOMAN 3 Where's that new world Now the fighting's done? The women move off to go about their day's business.","INT. MARIUS'S FAMILY HOUSE, PARIS - DAY CLOSE ON MARIUS - He's waking from the nightmare, finding himself in a fine bed, with clean linen. He looks round : a handsome room. GILLENORMAND Marius! You've come back to us! Marius recognises the old man anxiously watching him : his grandfather, Monsieur GILLENORMAND. MARIUS Grandfather. He struggles to rise, but he lacks the strength. His grandfather's face shows only love and concern. GILLENORMAND Rest, Marius. No more harsh words between us. I just thank God you're alive. Timidly the old man comes closer to the bed. Tears form in Marius's eyes. Encouraged, the old man takes Marius's hand in his. GILLENORMAND You've come home. To all of us. The distant voices of the mourning women - WOMEN -LRB- O.S. -RRB- Round and round And back where you began.","INT. CAFÉ MUSAIN - DAY Marius makes his way slowly up the stairs to the upper room. He's still weak from his wounds. He enters the room where his friends died, and looks round. He sinks into a chair. MARIUS There's a grief that ca n't be spoken There's a pain goes on and on Empty chairs at empty tables Now my friends are dead and gone. He sees the bloodstain on the wall beneath the window sill. The blood of Enjolras. MARIUS Here they talked of revolution Here it was they lit the flame Here they sang about tomorrow And tomorrow never came. From the table in the corner They could see a world reborn And they rose with voices ringing And I can hear them now! The very words that they had sung Became their last communion On the lonely barricade at dawn. He looks out of the window at what's left of the barricade. He seems to see again the brave doomed defence, the smoke and the gunfire, the young men falling. MARIUS Oh my friends, my friends, forgive me That I live and you are gone There's a grief that ca n't be spoken There's a pain goes on and on. Phantom faces at the window Phantom shadows on the floor Empty chairs at empty tables Where my friends will meet no more. Oh my friends, my friends, do n't ask me What your sacrifice was for Empty chairs at empty tables Where my friends will sing no more. Slowly he rises from the chair and turns to the doorway. There stands Cosette, waiting for him.","INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Cosette holds Marius, supporting him, as he enters the house. COSETTE Every day You walk with stronger step, You walk with longer step. The worst is over. MARIUS Every day I wonder every day Who it was brought me here From the barricade. Cosette leads him into the room where Valjean and Gillenormand wait. COSETTE Do n't think about it, Marius! With all the years ahead of us! I will never go away And we will be together Every day. Every day We'll remember that night And the vow that we made. As Valjean and Gillenormand look on, Marius and Cosette sing their love to each other. COSETTE A heart full of love A night full of you The words are old But always true. VALJEAN She was never mine to keep She is youthful, she is free. MARIUS Cosette, Cosette! COSETTE I saw you waiting and I knew - GILLENORMAND Thank God, thank God you are here! Thank God, thank God you are home! MARIUS Waiting for you! At your feet! COSETTE At your call! VALJEAN/GILLENORMAND Love is the garden of the young Let it be Let it be! A heart full of love This I give you this day. MARIUS/COSETTE And it was n't a dream Not a dream after all.","INT. PARLOUR, MARIUS'S FAMILY HOUSE - DAY Marius stands before Valjean, alone in this more private room. MARIUS M'sieur, this is a day I never can forget. Is gratitude enough For giving me Cosette? Your home shall be with us And not a day shall pass But we will prove our love To you, whom we shall call A father to us both, A father to us all. VALJEAN Not another word, my son. There's something now that must be done. He's prepared himself to make this confession, but it's still hard. VALJEAN There lived a man whose name was Jean Valjean. He stole some bread to save his sister's son For nineteen winters served his time In sweat he washed away his crime. Marius hears this with shock. VALJEAN Years ago, He broke parole and lived a life apart. How could he tell Cosette and break her heart? It's for Cosette this must be faced : If he is caught, she is disgraced. The time has come to journey on, And from this day he must be gone! Who am I? Who am I? MARIUS You're Jean Valjean! Marius ca n't conceal that he's disturbed by this revelation. MARIUS Monsieur, you can not leave! Whatever I tell my beloved Cosette She will never believe me. VALJEAN Make her believe I have gone on a journey A long way away. Tell her my heart was too full for farewells - It is better this way. Promise me, Monsieur, Cosette will never know. MARIUS I give my word. VALJEAN What I have spoken, why I must go. MARIUS For the sake of Cosette, it must be so.","EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY A waiting cab. Valjean comes out of the modest lodging house and gets in. The cab rattles away down the street. IN THE CAB - Valjean sits gazing far away at nothing. Then his weary eyes close.","INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Cosette gazes at Marius, bewildered by what she has just learned. COSETTE Where's he gone without a word That would n't be his way to go MARIUS All he asked for me to say He's on a journey, far away. Dear Cosette, he loves you so Perhaps he will return some day. Cosette comes into Marius's arms, tears in her eyes. COSETTE He ca n't leave us now What's our wedding day Without him giving me away?","EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY Marius and Cosette, newly married, are walking towards Marius' house through an aisle created by wedding guests. Carriages line the street. WEDDING GUESTS Ring out the bells Upon this day of days! May all the angels Of the Lord above In jubilation Sing their songs of praise! And crown this blessed time With peace and love! SCENE OMITTED","INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Waltz music plays as Marius and Cosette lead the dancing at the wedding reception. As the dance proceeds, two extraordinary figures enter, and start helping themselves to the drink and the food. They are Thenardier and his wife, dressed up for high society. MAJORDOMO The Baron and Baroness du Thenard They look round as the dance continues, highly satisfied with themselves and see Marius. Thenardier makes a mock - formal bow. THENARDIER I forget where we met. Was it not at the Chateau Lafarge Where the Duke did that Puke Down the Duchess's decolletage? MARIUS No, ` Baron du Thenard', The circles I move in are humbler by far. Go away, Thenardier! Do you think I do n't know who you are? MADAME THENARDIER He's not fooled! Told you so! Show M'Sieur what you've come here to show. Tell the boy what you know! THENARDIER Pity to disturb you at a feast like this But 500 francs surely would n't come amiss. MARIUS In God's name say what you have to say. MADAME THENARDIER -LRB- to Thenardier. -RRB- He speaks. -LRB- to Marius. -RRB- You pay! THENARDIER What I saw, clear as light, Jean Valjean in the sewers that night, Had this corpse on his back Some boy he'd killed in a viscious attack. I was there, never fear! Even found me this fine souvenir! He shows off his ring. Marius stares in astonishment. MARIUS I know this! This was mine! This is surely some heavenly sign! Thenardier steals the ring back. THENARDIER And there's more! Mark this well - It was the night that the barricades fell. MARIUS Then it's true! Then I'm right! Jean Valjean was my saviour that night! Thenardier looks past Marius to where Cosette stands among their friends. He lowers his voice. THENARDIER Jean Valjean - the old con. You pay up and I'll say where he's gone. He takes out money and reluctantly presses it into Thenardier's hands. Madame Thenardier takes the money before Thenardier has safely pocketed it. MARIUS Not so loud! Here's for you. God forgive us the things that we do. MADAME THENARDIER How's about some extra On a day so glad Our little orphan girl She has n't done so bad. Raised in a convent Cash to spare - We want our share. Marius hands over yet more money to Madame Thenardier. THENARDIER Quite the little nun, ai n't she! CRACK! Thenardier sinks to the ground, felled by a powerful blow from an angered Marius. The band stops playing. MARIUS Where is he? THENARDIER -LRB- cowardly voice. -RRB- The convent. Marius rushes to Cosette and we see him telling her where Valjean is. They hurry away. Thenardier clambers to his feet, helped by his wife. He gestures to the band to continue. They stand by the tiered wedding cake. As Thenardier recovers his composure, Madame Thenardier steals one then two pillars from the cake so it collapses on the floor. She then pushes it under the table with her foot. THENARDIER Ai n't it a laugh? Ai n't it a treat? Hob - nobbin' here Among the elite? Here comes a prince There goes a Jew This one's a queer But what can you do? -LRB- pulling Madame Thenardier onto the dance floor. -RRB- Paris at my feet! Paris in the dust! And here's me breaking bread With the upper crust - As he pivots Madame Thenardier, stolen silver drops out from Madame Thenardier's dress. The music stops dead in the clatter. The Thenardiers look up, as if implying that the silver dropped from the ceiling. The dance continues. Monsieur Gillenormand motions to the Majordomo to remove these unwanted guests. THENARDIER Beggar at the feast! Master of the dance! Life is easy pickings If you grab your chance! MADAME THENARDIER Everywhere you go Law - abiding folk Doing what is decent THENARDIER But they're mostly broke! MADAME THENARDIER Singing to the Lord on Sundays THENARDIER Praying for the gifts he'll send - THENARDIER/MADAME THENARDIER But we're the ones who take it - We're the ones who make it in the end! The Thenardiers are carried off, singing as they go. THENARDIER Watch the buggers dance MADAME THENARDIER Watch'em till they drop! THENARDIER/MADAME THENARDIER Keep your wits about you And you stand on top! THENARDIER Masters of the land MADAME THENARDIER Always get our share THENARDIER/MADAME THENARDIER Clear away the barricades And we're still there! We know where the wind is blowing Money is the stuff we smell - And when we're rich as Croesus, Jesus! Wo n't we see you all in hell! As they are thrown out, the Thenardiers steal a tiara and a candlestick.","EXT. CONVENT, PARIS - NIGHT IN ON A WINDOW - Where two candle burn.","INT. CONVENT CHAPEL, PARIS - NIGHT Valjean prays in the chapel, on his knees. He's very weak. Next to the crucifix on the altar are Valjean's two silver candlesticks, in which two candles burn. VALJEAN Alone I wait in the shadows I count the hours till I can sleep. I dreamed a dream Cosette stood by It made her weep To know I die. Alone at the end of the day Upon this wedding night I pray Take these children, my Lord, to thy embrace And show them grace. God on high Hear my prayer Take me now To thy care Where you are Let me be Take me now Take me there Bring me home Bring me home! VALJEAN is joined by the ghost of Fantine. She takes his hand as he prays. FANTINE M'sieur I bless your name. VALJEAN I am ready, Fantine. FANTINE M'sieur lay down your burden. VALJEAN At the end of my days. FANTINE You raised my child in love, VALJEAN She's the best of my life. FANTINE And you will be with God.","EXT. CONVENT CLOISTERS - NIGHT Cosette and Marius rush round the cloisters and enter the chapel in the middle of the cloisters.","INT. CONVENT CHAPEL - NIGHT The sound of the door opening. Valjean looks round. It's Cosette entering, followed by Marius. VALJEAN Cosette? Tears form in his eyes. Cosette goes to him, kneels before him, takes him in her arms. COSETTE Papa, papa, I do not understand - Are you all right? Why did you go away? VALJEAN Cosette, my child! Am I forgiven now? Thank God, thank God, I've lived to see this day! Marius comes to him. MARIUS It's you who must forgive a thoughtless fool! It's you who must forgive a thankless man! It's thanks to you that I am living, And again I lay down my life at your feet. Cosette, your father is a saint! When they wounded me He took me from the barricade, Carried like a babe, And brought me home to you! VALJEAN Now you are here Again beside me Now I can die in peace For now my life is blessed. COSETTE You will live, papa You're going to live It's too soon Too soon to say goodbye. VALJEAN Yes, Cosette, forbid me now to die! I'll obey I will try. He holds out a letter for her. VALJEAN On this page I write my last confession. Read it well When I at last am sleeping. It's the story Of one who turned from hating A man who only learned to love When you were in his keeping. Cosette takes the letter and kisses it. COSETTE I know it, papa. Valjean turns back, face shining, towards the table where the candles burn in the silver candlesticks. There he sees three ghosts waiting for him. The ghost of the Bishop. The ghost of Fantine. And beyond her, watching Marius with love, the ghost of Eponine. Fantine comes towards him, reaching out her hands. VALJEAN I'm ready now, Fantine. FANTINE Come with me Where chains will never bind you All your grief At last, at last behind you Lord in heaven Look down on him in mercy - VALJEAN Forgive me all my trespasses And take me to your glory! Cosette embraces Valjean, weeping. Valjean reaches up his hands, and lets the ghost of Fantine take them. FANTINE/EPONINE Take my hand I'll lead you to salvation Take my love For love is everlasting. VALJEAN/FANTINE/EPONINE/BISHOP And remember The truth that once was spoken : To love another person Is to see the face of God. Led by Fantine, Valjean walks out of the Chapel towards the cloister. What remains is Cosette, her head cradled in the lap of the man who has just died. The walls of the cloisters are covered in votive candles. The Bishop of Digne waits in front of the candles. Now Valjean's strong and young again. Before they reach the wall of candles, all three are gone. As they disappear we CRANE UP, high over the cloister, high over the walls of the Convent and we see the Paris streets outside. Fires are burning and debris is scattered in the streets. Dawn is breaking. From far away, the sound of an approaching crowd -","EXT. PLACE DE LA BASTILLE - DAY THE CAMERA MOVES over the cobbles as the light of the rising sun reveals the devastation left by a bitter street battle. Past the remains of a barricade. The distant sound of an approaching march. Sixteen years later. Paris, 1848. From far off, the swelling sounds of the approaching march become the words of a song. MARCHERS Do you hear the people sing Lost in the valley of the night? It is the music of a people Who are climbing to the light For the wretched of the earth There is a flame that never dies Even the darkest night will end And the sun will rise. As THE CAMERA RISES we see we're in the Place de la Bastille. The triumphal column has long been completed, but the great elephant is sadly dilapidated and has become incorporated into an immense barricade - three stories high, seven hundred feet long. Down all the streets that converge on the square we now see the multiple victory marches approaching. They cheer and beat drums as they climb up to the top of the barricade. The people of Paris have risen in their tens of thousands. The King has fled. A new Republic is born. There in the forefront of one column march Marius and Cosette. MARCHERS They will live again in freedom In the garden of the Lord They will walk behind the plough - share They will put away the sword The chain will be broken And all men will have their reward! As the marchers come nearer we begin to realise how many there are : thousand upon thousand. And there marching among them we see ghosts from the past - Enjolras and the students who died - and Fantine - and Eponine - And out of the crumbling elephant peers another ghost : the grinning face of Gavroche. He climbs out to dance on the elephant, as the crowd fill the square. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? As the marchers converge, there watching them are Thenardier and his wife. Thenardier gives the marchers a wave of greeting. Survivors to the last. MARCHERS Do you hear the people sing? Say, do you hear the distant drums? It is the future that they bring When tomorrow comes! Now among the marchers we see the ghost of Valjean, singing with the rest atop the barricade, amongst the waving red flags. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? Say, do you hear the distant drums? It is the future that they bring When tomorrow comes. Tomorrow comes! END CREDITS"],"string":"[\n \"LES MISERABLES BLACK SCREEN The year is 1815. The French revolution is a distant memory. Napoleon has been defeated. France is ruled by a King again.\",\n \"EXT. TOULON PORT - DAY RISE UP out of the iron - grey surface of the ocean, seething in the wind, towards the shore. Winter rain slices the air. Ahead, the port of Toulon, home of the French navy. A forest of tall masted warships. The great ships heave at anchor, the wind whipping their rigging. Through the sea spray we see the great ribs of warships under construction, and warships being refitted. Toulon, Home port of the French navy.\",\n \"EXT. TOULON DOCK - DAY Storm - lashed sea and driving rain. A great wave rises up and hammers down. As it recedes we see the figures of men heaving on great ropes, the sea water streaming down over their faces. The harsh storm light catches glints of metal : these men are CONVICTS, chained by manacles, heads shaved, wearing red shirts with prison numbers crudely stitched onto them. Now we see that the ropes run up to a ship that is being hauled ashore - a storm - damaged man - of - war, its masts broken, rising and falling on the surge. As yet another great wave rolls over the convicts, we follow the straining ropes down into the base of the slipway, and find the convict JEAN VALJEAN, up to his waist in water, chained by two sets of manacles, as the rain and spray and wind scream round him. A great brute of a man, he seems to feel nothing. The convicts sing in time with the rhythmic pulls on the rope - CONVICTS Ha - Ha - CONVICT 3 Ha - Ha - Look down, look down Do n't look them in the eye CONVICTS Look down, look down You're here until you die. CONVICT 4 No God above And Hell alone below CONVICTS Look down, look down There's twenty years to go. The camera RISES UP to find JAVERT, the officer in charge of the convict workforce, looking on, his face rain - lashed and expressionless. He stands above the men on the top of the dock, as lines of convicts labour beneath him on the steep steps of the dock wall. Behind Javert, through the storm rain we glimpse a forest of half - built ships, their ribbed frames like great skeletons in the mist. FOREGROUND convicts are at work on another ship that is almost completed, labouring in the crashing spray. CONVICT 2 I've done no wrong Sweet Jesus, hear my prayer! CONVICTS Look down, look down Sweet Jesus does n't care. CONVICT 5 I know she'll wait I know that she'll be true - CONVICTS Look down, look down They've all forgotten you. CONVICT 1 When I get free You wo n't see me Here for dust! CONVICTS Look down, look down Do n't look'em in the eye. CONVICT 3 How long, O Lord Before you let me die? CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave. With a last great heave the lines of convicts haul the damaged ship onto the slipway. CRACK! The stern flagpole of the ship snaps in a vicious gust of wind and crashes down into the shallow water near Valjean. Javert sees and points his stick at Valjean in silent command. Valjean stares back for a beat, defying him. Then he drops down into the seething water and re - emerges with the great mast in his hands, held over his head. His head breaks water with his bitter gaze still on Javert, as he throws the mast ashore in a deliberate display of strength. Javert nods to the guards, and they begin to form the chained men into lines to return to their prison. The storm is passing now, blown by the driving wind. Javert approaches Jean Valjean. JAVERT Now Prisoner 24601. Your time is up And your parole's begun. You know what that means? VALJEAN Yes. It means I'm free. JAVERT No! It means you get Your yellow ticket - of - leave. He hands Valjean a folded yellow paper. JAVERT This badge of shame You'll show it everywhere. It warns you're a dangerous man. VALJEAN I stole a loaf of bread My sister's child was close to death And we were starving. JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those nineteen years A slave of the law! JAVERT Five years for what you did, The rest because you tried to run. Yes, 24601! VALJEAN My name is Jean Valjean! JAVERT And I'm Javert! Do not forget my name. Do not forget me - 24601! He strides away to command the lines of convicts as they're marched away. Valjean walks away, hardly able to take in that he is free at last. The convicts sing as he goes. CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave.\",\n \"EXT. ROAD OUT OF TOULON - DAWN Valjean makes his way up a rising track, a worn knapsack on his back. He comes to a stop at the top of the hill, and there before him, lit by the rising sun, spreads a wide vista of fields and towns and villages, stretching into the distance, with the snow capped Alps beyond. Behind and below him lies Toulon at the sea's edge. As we hear the musical theme -LRB- ` Freedom is Mine' -RRB-, we see for the first time the darkness in his face give way to a new hope. VALJEAN Freedom at last - How strange the taste! Never forget the years - the waste, Nor forgive them for what they've done. They are the guilty - Everyone! The day begins. And now lets see What this new world Will do for me! SCENE OMITTED\",\n \"EXT. COUNTRY ROAD - DAY Valjean strides down the long rising road, pulling his thin coat close round him against the cold winter wind. He passes a long line of labourers working. He approaches the OVERSEER. VALJEAN Monsieur can I help? A day's work? The overseer notices shaved hair showing under his cap. OVERSEER Take your hat off. Valjean takes his hat off, revealing his shaved and scarred head. OVERSEER Passport. The overseer scans the yellow paper, and hands it back. OVERSEER No work here. SCENE OMITTED\",\n \"EXT. MOUNTAIN ROAD - END OF DAY Valjean slogs on up the rising track into the mountains. Snow on the ground here, and darkness falling. He looks up and sees ahead a village built on a rock cliff, its lights twinkling, the snowy mountains rising behind. The tower of its handsome church rises up like a promise of refuge. This is Digne.\",\n \"EXT. DIGNE - DUSK Valjean enters Digne. As he drinks from the fountain, he sees a guard standing outside the Mairie.\",\n \"INT. MAIRIE, DIGNE - DUSK Valjean stands waiting. The officer fastidiously writes down the name of Valjean in his huge ledger and the name of the town in his passport. The officer signs and stamps the passport. OFFICER Valjean. The officer hands back the passport. Valjean leaves.\",\n \"EXT. DIGNE - DUSK Valjean walks down the high street, spies the warm glow of an inn and enters.\",\n \"INT. COUNTRY INN, DIGNE - DUSK Valjean sits in the corner, his hat low over his head. He eyes hungrily a group of cart drivers tucking into a roast meal by a roaring fire place. The innkeeper serves him a beer. As he reaches for it his coat sleeve rides up to reveal his wrist, calloused and scarred by manacles. The innkeeper eyes him warily. He discusses Valjean with two other men, then asks for his paper. Sees the phrase `` Extremely Dangerous''. VALJEAN'S POV - From the yellow paper in the innkeeper's hands up to the innkeeper's face. A blank stare, a shrug of refusal. INNKEEPER My inn is full.\",\n \"EXT. DIGNE - NIGHT Valjean moves off wearily through the village. As he passes down the narrow street, faces peer at him from doorways, but the doors close when he goes by. A shadowy figure follows him. Word has spread that he's a ` dangerous man'. Passing the uncurtained window of a cottage, he comes to a stop. Through the window he sees a scene that breaks his heart : a father at a table by lamplight, his young wife before him, his children on either side. Nothing special, and yet everything he's never had.\",\n \"EXT. PRISON, DIGNE - NIGHT He stops at the local jail. An iron chain attached to a bell hangs from the prison door. He rings. A grate slides open. VALJEAN Jailer. Would you let me stay here for tonight? JAILER This is a prison, not an inn. Get yourself arrested. Then we will open up for you. The grate slides shut. As Jean Valjean walks away, some children who have been following begin throwing stones at him. He threatens them with his stick and they scatter.\",\n \"EXT. DIGNE - NIGHT He sees over a garden wall a low doorway in a stone turret. Valjean stoops through the doorway and lies down on some straw. He hears a ferocious growl and sees the head of an enormous mastiff. It is a dog kennel.\",\n \"EXT. DIGNE - NIGHT Snow falling as Valjean makes his way down the road, hungry, weary, moving slowly, his trousers ripped and bloody from where the dog has bitten him. At the end of a road, the snow - covered church ; beside it, a dark churchyard.\",\n \"EXT. CHURCH YARD, DIGNE - NIGHT Snow - covered gravestones in moonlight. Exhausted, Valjean collapses to the ground and huddles himself into the shelter of a doorway. A lantern glows in the dark. The lantern approaches, throwing shadows. Its little circle of light comes to rest on the crumpled figure of Valjean. He stirs and opens his eyes. VALJEAN'S POV - The glow of the lantern in the darkness. Beyond it, the half - seen features of a kind old man. The BISHOP. BISHOP Come in, sir, for you are weary And the night is cold out here. Though our lives are very humble What we have we have to share. Bewildered, fearful, suspicious, Valjean gets up and goes with the Bishop into the house by the church.\",\n \"INT. BISHOP'S HOUSE - NIGHT A simple table on which is laid out bread and wine, with silver cutlery. Two silver candlesticks light the room, illuminating walls painted with religious scenes. The Bishop ushers the bewildered Valjean into the room. The bishop's sister Madame Baptistine stands. Valjean hesitates. BISHOP There is wine here to revive you. There is bread to make you strong. There's a bed to rest till morning - Rest from pain, and rest from wrong. BISHOP Sit, my brother. The Bishop gestures to the housekeeper Madame Magloire. BISHOP Madame, set one more place. -LRB- to Valjean. -RRB- Please sit. The Bishop gently takes his arm and draws him into a chair. Valjean sits, and the Housekeeper lays food before him. Famished, Valjean eats like an animal. The Bishop says a short grace. BISHOP May the Lord bless the food we eat today. Bless our dear sister and our honoured guest. -LRB- To Valjean. -RRB- Please, eat. Where are you travelling to my brother? VALJEAN Pontarlier. BISHOP Is that where your family is? VALJEAN No. The destination is compulsory. That is where the Law sends me. I have no home. BISHOP Then let this be your home, for as long as you need it.\",\n \"INT. BEDROOM, BISHOP'S HOUSE - NIGHT The Bishop leads Valjean to a bedroom where the walls are also painted with religious imagery. Across the passage, Valjean sees the open door to the Bishop's own bedroom. There the Housekeeper is putting the table silver away in a cupboard. He turns to see a bed made up with clean white linen waiting for him. He has n't slept in such a bed ever in his life. But the Bishop is smiling, offering it to him. BISHOP Sleep well. Tomorrow morning before you leave you will have a cup of milk from our cows, nice and hot. The Bishop turns away to go to sleep. VALJEAN You let me sleep here next to you? How do you know I'm not a murderer? Valjean laughs a strange laugh. BISHOP God will take care of that. LATER THAT NIGHT - Valjean lies on the bed, fully dressed, deeply asleep. Outside a dog barks. Valjean's eyes snap open. The first thing he sees by the light of the moon is an image of God the Father gazing down on him from the painted ceiling. In panic, fearing judgement, he sits bolt upright. Then he looks round, and remembers. He gets out of bed, and opens the door. There, across the narrow passage, the door stands open to the Bishop's bedroom. In the moonlight, he sees the Bishop lying asleep. Above his bed, the cupboard where the silver is kept. Valjean moves silently into the Bishop's room, holding a metal miner's spike which he pulls from his bag. The floor boards creak. He looks down at the old man, holding his breath, but the bishop is peacefully and innocently asleep. He reaches up to the cupboard. It is unlocked. The cupboard door opens with a sharp cracking sound. The Bishop, disturbed in his sleep, moves a little. At once Valjean is over him, like a wild animal, spike raised to strike should he wake. The Bishop sleeps on. The moon comes out and lights up his beautific, smiling face. Valjean is thrown. He turns back and opens the cupboard door fully : there is the silver. Carefully he picks it out, fearful of every clink. One last look at the sleeping old man, and he makes a run for the door.\",\n \"EXT. CHURCHYARD - NIGHT Valjean rushes out of the back door of the house. He crosses the graveyard, scrambles over a back wall, and he's gone.\",\n \"INT. BISHOP'S HOUSE - DAY The Bishop is coming in from morning Mass in his vestments when the door bursts open and two policemen drag Valjean before him. Valjean hangs his head, unable to meet the Bishop's eyes. CONSTABLE Monsignor, we caught the thief red - handed! He has the nerve to say you gave him all this! He upends Valjean's kitbag, and the silver tumbles out. The Bishop looks from the silver to Valjean. BISHOP That is right. Amazed, Valjean looks up. BISHOP But my friend, you left so early, You forgot I gave these also. Would you leave the best behind? The old Bishop is holding out the two silver candlesticks. BISHOP -LRB- to policemen. -RRB- Messieurs, release him. For this man has spoken true. I commend you for your duty Now God's blessing go with you. Silenced by the Bishop's gentle tones, the policemen turn and leave. Valjean, utterly bewildered, takes the silver candlesticks. BISHOP But remember this, my brother - See in this some higher plan. You must use this precious silver To become an honest man. By the witness of the martyrs, By the passion and the blood, God has raised you out of darkness - I have bought your soul for God.\",\n \"INT. CHURCH, DIGNE - DAY Valjean kneels in the church. He takes out his yellow passport and stares at it. He turns towards the altar, and the crucifix above it. VALJEAN What have I done? Sweet Jesus, what have I done? Become a thief in the night Become a dog on the run! And have I fallen so far And is the hour so late That nothing remains but the cry of my hate? The cries in the dark that nobody hears Here where I stand at the turning of the years. If there's another way to go I missed it twenty long years ago. My life was a war that could never be won. They gave me a number and murdered Valjean When they chained me and left me for dead Just for stealing a mouthful of bread! Yet why did I allow this man To touch my soul and teach me love? He treated me like any other He gave me his trust He called me brother. My life he claims for God above. Can such things be? For I had come to hate the world - This world that always hated me! Take an eye for an eye! Turn your heart into stone! This is all I have lived for! This is all I have known! One word from him and I'd be back Beneath the lash, upon the rack. Instead he offers me my freedom! I feel my shame inside me like a knife. He told me that I have a soul. How does he know? What spirit comes to move my life? Is there another way to go? Slowly, he examines the yellow passport and raises it high, as if to the altar. VALJEAN I am reaching, but I fall And the night is closing in. As I stare into the void - To the whirlpool of my sin. Valjean stands and turns, walking fast to the door of the church. VALJEAN I'll escape now from that world - From the world of Jean Valjean. Jean Valjean is nothing now!\",\n \"EXT. CHURCH, DIGNE - DAY Valjean comes out of the church into the graveyard and reaches a bell set on the edge of a promontory. Below lies the steep drop down the mountainside to the dark valley below. VALJEAN Another story must begin! He rips the yellow paper into pieces and throws the pieces out over the valley. The scraps flutter in the wind. FOLLOW the scraps of yellow paper as they dance in the wind then fall away into the void below. One scrap of paper dances upwards in the sunlight. We follow this and accelerate upwards leaving Valjean and the town of Digne far below, towards the sun gloriously breaking through the heavens with the alps beyond. The camera then starts to tumble back down through mist and cloud below - through time and space - down to discover -\",\n \"EXT. ROAD TO MONTREUIL - DAY The camera hurtling towards three horses riding down a long muddy road on a flat plain towards the walled town of Montreuil - sur - Mer. Montreuil sits on an estuary leading out to the sea. We see ships sitting in low tide on the mud of the estuary along the dockside of the town, and red brick factory buildings. Eight years later Montreuil - sur - Mer, 1823. The camera closes in to ground level to reveal the horseriders : Javert, flanked by two policemen.\",\n \"EXT. GATES TO MONTREUIL - DAY As the riders enter the walled town we see the poor clustered around the gates - destitute and sick people clammering to get in. BEGGARS' CHORUS At the end of the day you're another day older And that's all you can say for the life of the poor. It's a struggle! It's a war! And there's nothing that anyone's giving. One more day standing about - What is it for? One day less to be living. Javert sees the destitution of the people. Expressionless as ever. BEGGARS' CHORUS At the end of the day you're another day colder And the shirt on your back does n't keep out the chill. And the righteous hurry past They do n't hear the little ones crying And the plague is coming on fast Ready to kill - One day nearer to dying! TRACK PAST a plague victim, wrapped in a shroud, being thrown onto a cart. The police enter the harbour.\",\n \"EXT. HARBOUR - MONTREUIL - DAY The beggars are pushed back as the gates open and close for the police. BEGGARS' CHORUS At the end of the day there's another day dawning And the sun in the morning is waiting to rise Like the waves crash on the sand Like a storm that'll break any second There's a hunger in the land There's a reckoning still to be reckoned And there's gon na be hell to pay At the end of the day! Javert looks round at the factory buildings, the boats in the harbour, the poor clamouring behind him, and rides on. SCENE OMITTED\",\n \"EXT. FACTORY YARD, MONTREUIL - DAY Heavy carts wait to be loaded with wooden crates of goods. Workmen carry the crates out of the factory as the FOREMAN strides in through the doors, gesturing to a cart driver, FAUCHELEVENT, who's taking a quick rest on a crate.\",\n \"INT. FACTORY, MONTREUIL - MEN'S SECTION - DAY The foreman passes men packing boxes on tables and loading boxes onto crates. He passes through a door under a first floor office.\",\n \"INT. FACTORY, MONTREUIL - WOMEN'S SECTION - DAY The long work space is full of tables at which conservatively dressed women are working, making jewelry out of shellac, a black resin which looks like jet. An impressive sight : obviously a very successful business. A wooden staircase climbs one wall to a glass - windowed business office. The figure of a man within. FOREMAN -LRB- flirtatiously, to women. -RRB- At the end of the day you get nothing for nothing! Sitting flat on your bum does n't buy any bread! FACTORY WOMAN 4 There are children back at home - FACTORY WOMAN 2 And the children have got to be fed. FACTORY WOMAN 7 And you're lucky to be in a job - The Foreman has stopped beside FANTINE, a pretty young woman. As he leans over to whisper in her ear Fantine, surprised, pricks her finger with her needle. FOREMAN -LRB- quietly, to Fantine. -RRB- And in a bed! FACTORY WOMAN 8 -LRB- to Fantine, as a warning. -RRB- And we're counting our blessings! The Foreman continues his rounds, encouraging the women to speed up their work. FOREMAN At the end of the day just be glad to be working For a master who cares for the lives of the poor. FACTORY WOMAN 7 He's a riddle. FACTORY WOMAN 4 He's no fool. FACTORY WOMAN 6 He's the answer to anyone's prayer FACTORY WOMAN 8 And he paid for the brand new school FACTORY WOMAN 4 It's no wonder they made him the mayor! FACTORY WOMEN Bless the man who leads the way! At the end of the day! They get on with their tasks, all glancing up at the boss in the office above. The Foreman returns to Fantine, trying to help her. MAIN FACTORY WOMAN Have you seen how the foreman is fuming today With his terrible breath and his wandering hands? FACTORY WOMAN 3 It's because little Fantine wo n't give him his way. FACTORY WOMAN 5 Take a look at his trousers, you'll see where he stands! FACTORY WOMAN 2 And the boss, he never knows That the foreman is always on heat. MAIN FACTORY WOMAN If Fantine does n't look out, Watch how she goes, She'll be out on the street! The Foreman rings a bell, announcing the end of the work day. The women start to take off their overalls and pack up their tools for the day. FACTORY WOMEN/FOREMAN At the end of the day its another day over With enough in your pocket to last for a week Pay the landlord, pay the shop Keep on working as long as you're able Keep on working till you drop Or it's back to the crumbs off the table Well, you've got to pay your way At the end of the day! The women queue up to be paid by the Foreman at the door. Fantine has taken out a letter. The main factory woman snatches the letter away from Fantine. MAIN FACTORY WOMAN And what have we here, little innocent sister? The letter is passed surreptitiously down the line of women workers. MAIN FACTORY WOMAN Come on, Fantine, let's have all the news. -LRB- reading. -RRB- ` Dear Fantine, you must send us more money, Your child needs a doctor, There's no time to lose.' FANTINE Give that letter to me It is none of your business. With a husband at home And a bit on the side! Is there anyone here Who can swear before God She has nothing to fear? She has nothing to hide? The main factory woman starts to take Fantine's letter over to the Foreman. Fantine tries to get the letter back. The women scuffle. The owner enters the factory floor. We see him only from behind : a well - dressed prosperous man. VALJEAN What is this fighting all about? Will someone tear these two apart? This is a factory, not a circus. As he sings, the CAMERA MOVES ROUND to discover him. Clean - shaven, well - fed, transformed : it's Valjean. VALJEAN Now come on, ladies, settle down. I run a business of repute. Suddenly Valjean sees Javert appear on the first floor balcony of his office. His world drops away. VALJEAN -LRB- to the foreman. -RRB- Deal with this, Foreman. Be as patient as you can. He walks back to the stairs up to his office. On the factory floor - FOREMAN Now someone say how this began! The factory women all turn on Fantine. FANTINE/FACTORY WOMAN 5 At the end of the day she's the one who began it! MAIN FACTORY WOMAN There's a kid that she's hiding in some little town. FACTORY WOMAN 5 There's a man she has to pay MAIN FACTORY WOMAN You can guess how she picks up the extra - You can bet she's earning her keep Sleeping around! And the boss would n't like it. FANTINE Yes, it's true there's a child And the child is my daughter And her father abandoned us, Leaving us flat. Now she lives with an innkeeper man and his wife And I pay for the child. What's the matter with that? Fantine continues to defend herself to the Foreman, as the women sing - FACTORY WOMEN At the end of the day she'll be nothing but trouble And there's trouble for all when there's trouble for one! While we're earning our daily bread She's the one with her hands in the butter - You must send the slut away Or we're all going to end in the gutter And it's us who'll have to pay At the end of the day! The Foreman pulls Fantine away. FOREMAN I might have known the bitch could bite! I might have known the cat had claws! I might have guessed your little secret! Ah yes, the virtuous Fantine Who keeps herself so pure and clean - You'd be the cause, I had no doubt Of any trouble hereabout. You play a virgin in the light But need no urging in the night! MAIN FACTORY WOMAN She's been laughing at you While she's having her men! FACTORY WOMEN She'll be nothing but trouble again and again! FACTORY WOMAN 5 You must sack her today! FACTORY WOMEN Sack the girl today! FOREMAN Right, my girl! On your way! Below, Fantine turns and calls to Valjean in his office above with a pitiful cry. FANTINE M'sieur Mayor, help me! I have a child! Valjean hears the cry, but he has other concerns. He turns round to face Javert. Javert stares at him. On the factory floor below, the Foreman hustles Fantine out, as she struggles against him.\",\n \"INT. FACTORY OFFICE - DAY Javert bows. JAVERT I introduce myself, Inspector of Police. I've come to take the watch I'm here to keep the peace. Please know me as Javert. I'm here at your command With honour due to each. With justice in our hands No man's beyond our reach. Let all beware. VALJEAN Welcome, sir Come guard our laws I'm sure we're here In common cause. Javert turns to look through the high window onto the men's factory floor below. The last men are leaving for the day. JAVERT You've done the city proud, You've raised their banner high. You manufacture gems That anyone can buy Your people thrive. Valjean shows some demonstration samples of their work. VALJEAN The dignity of toil To stay alive. Javert is puzzled. He's sure he recognises Valjean, but from where? JAVERT It seems to me We may have met. Valjean throws him a sharp glance. VALJEAN Your face is not a face I would forget. A CRASH from outside in the yard - shouts -\",\n \"EXT. TRACK LEADING TO FACTORY, MONTREUIL - DAY Valjean and Javert hurry out across the factory yard and down the muddy track beyond to discover - A heavily laden cart has toppled onto the cart driver - Fauchelevent, the worker seen before taking a rest on a crate. The cart driver and the Foreman are trying to lift the cart off the crushed man, but it's too heavy, and the ground is too soft. Fauchelevent screams as the cart slowly sinks in the mud. Valjean, Javert and Javert's assistant all hurry to help, but they ca n't get a proper purchase in the spongy ground. All the time the cart is sinking further, pushing Fauchelevent deeper into the mud that will soon bury him. Then Valjean sees a way. At one end the wheels of the cart have stopped sinking - the ground is harder here. He throws himself under the cart at this higher end, and braces himself to lift it from beneath. VALJEAN Get back! It may fall! FOREMAN No, Monsieur le Mayor! CROWD It'll kill you as well! Javert stands back and looks on. As he looks, we see a memory stirring in him. JAVERT'S POV - Valjean's posture beneath the cart is exactly the same as the convict beneath the fallen mast. The same crouching power. The same almost - suicidal determination. Valjean sees Javert looking at him, and knows exactly what he's thinking. For a moment he hesitates. Then he hears Fauchelevent's choking scream as the mud gags his mouth. Valjean strains every muscle, and slowly one end of the cart begins to rise. As soon as it clears the crushed and gasping man, the others pull him clear. Valjean lets the cart down again, and climbs out. As he brushes himself down he finds Javert staring at him. JAVERT Can this be true? I do n't believe what I see! A man your age To be as strong as you are! A memory stirs. You make me think of a man From years ago A man who broke his parole. He disappeared. He shakes his head, realising how absurd his suspicions are. JAVERT Forgive me, sir. I would not dare - VALJEAN Say what you must. Do n't leave it there. Valjean holds Javert's gaze, challenging him to say more. Javert is not yet confident enough to continue. Valjean goes to help Fauchelevent. VALJEAN Let me help you up. Fauchelevent groans as he rises. FAUCHELEVENT Monsieur le Mayor, you come from God! You are a saint! VALJEAN No more cart driving for you! Javert stares. He ca n't rid himself of his suspicion. JAVERT Monsieur le Mayor. He draws himself up and gives a bow. As he walks away, he discusses something with his assistant.\",\n \"EXT. HARBOUR, MONTREUIL - NIGHT Fantine makes her way to the harbour wall. Beggars shelter in the tunnels under the red brick buildings.\",\n \"EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT Fantine makes her way down wet slimy steps. This leads to an alleyway that runs down to the harbour and three ships lying on the mud at low tide. At the far end, the largest is the rotting hulk of a vast old warship. A single whore sits in a doorway. FANTINE Excuse me, is this where the Pawnbrokers is? WHORE 1 -LRB- pointing. -RRB- It's just there. FANTINE Thank you. Drunken sailors spill out into the alleyway below. The first sailor is trying to find the whorehouse. SAILOR 1 I smell women! Smell'em in the air! Think I'll drop my anchor In that harbour over there! They spot Fantine, mistaking her for a whore. Fantine presses on down the steps, trying to ignore the sailors. SAILOR 2 Lovely ladies! Love ` em till your broke! Seven months at sea can make you Hungry for a poke! The sailors then see whores start to appear from the shadows of warehouse doorways. SAILOR 3 Even stokers need a little stoke! A man with no legs, reacting to the sailors, cranks up an organ - grinder and from doorways and overhead windows harbour whores appear and tout for business. A man selling dentures stands by his cart and we hear fragments of his sales pitch. WHORES Lovely ladies Waiting for a bite! Waiting for the customers Who only come at night. Lovely ladies Ready for the call, Standing up or lying down Or any way at all - Bargain prices up against the wall! TOOTH MAN Lovely dentures Guaranteed to bite They clean up real easy You can take them out at night Sell your teeth here make a pretty sum Best Tooth Man in the harbour Guaranteed no painful gums Bargain prices up against the wall! During the above chorus, Fantine sells a locket containing a cutting of Cosette's hair to the pawnbroker. PAWNBROKER Hello sweetheart, I'll give you four francs. FANTINE It's worth at least ten. The pawnbroker goes back in his shop and Fantine watches the whores. FANTINE Alright, five. The pawnbroker takes the locket in exchange for the money. An old woman leers at Fantine from the shadows, beckoning. She approaches Fantine, reaching out to stroke her hair. HAIR CRONE What pretty hair! What pretty locks you've got there! What luck you got. It's worth a centime, my dear! I'll take the lot! FANTINE Do n't touch me! Leave me alone! HAIR CRONE Let's make a price. I'll give you all of ten francs. Just think of that! FANTINE It pays a debt. HAIR CRONE Just think of that. FANTINE What can I do? It pays a debt. Ten francs may save my poor Cosette. The hair crone leads Fantine down to her shop at the base of the stairs. Fantine is sat on a low stool. She bows her head before the hair crone, who at once whips out a razor blade and cuts off her hair at the roots.\",\n \"EXT. RED LIGHT DISTRICT MONTREUIL - END OF DAY Fantine walks down the steps with short hair, mocked by the voices of the whores on either side. A PIMP and the HEAD WHORE watch her progress as the organ - grinder grinds out the music. Whores sing from the warehouse doorways, from on top of the spars of the ships, writhing around figureheads and from the rotting ship. The few men in the street choose their whores and disappear by the end of the chorus. WHORES Lovely ladies Waiting in the dark. Ready for a thick one Or a quick one in the park. TOOTH MAN Lovely dentures guaranteed to bite They clean up real easy You can take them out at night HEAD WHORE Long time, short time Anytime my dear! Cost a little extra If you want to take all year TOOTH MAN Lovely teeth dear shining like the stars I'll whip em out quite quickly And I wo n't leave any scars. WHORES Quick and cheap is underneath the pier Fantine reaches the hair crone. FANTINE Please, you would n't have any work for me would you? Please, I sold you my hair. I could do anything. The hair crone points at the head whore and the tooth man. HAIR CRONE Go and see them. Fantine looks towards the tooth man and the head whore. HEAD WHORE Come here my dear. TOOTH MAN Come over here, I'll pay well for your youth. I pay ten francs for a tooth. Fantine heads to the tooth man. TOOTH MAN You have, my dear, The clear advantage of youth. HEAD WHORE -LRB- whispers. -RRB- Just the back ones. TOOTH MAN The pain wo n't last, You'll still be able to bite. She grabs Fantine's cheeks and forces open her mouth to inspect her teeth. TOOTH MAN I do it fast, I know my business all right. It's worth a go. The pimp pushes her down. FANTINE You'll pay me first What I am due. TOOTH MAN You'll get twice If I take two! She opens her mouth, and the pincers go in, as everyone gathers round to watch. Fantine screams as the first tooth is removed.\",\n \"EXT. RED LIGHT DISTRICT MONTREUIL - NIGHT The pimp is passing among the whores, checking that they're all fit for business. WHORES God, we're weary, Sick enough to drop! LOVELY LADY 1 Belly burns like fire, Will the bleeding ever stop! PIMP Cheer up, deary! Show a happy face! Plenty more like you here If you ca n't keep up the pace. LOVELY LADY 1 Only joking! Deary knows her place! The pimp gestures at Fantine, now slumped in a doorway, her cropped head in her hands. A shy captain watches Fantine. The pimp notices. PIMP Gim me the dirt - Who's that bit over there? WHORE 1 A bit of skirt, She's the one sold her hair. HEAD WHORE She's got a kid, Sends her all that she can. PIMP I might've known There is always some man. He moves in on Fantine. PIMP Lovely lady, come along and join us! Lovely lady! Fantine looks up, a trickle of blood in one corner of her mouth. The whores cluster round her, hands reaching out to draw her in to their world. On the rotting warship, more whores appear out of the gaps of the hull to sing the chorus. WHORE 1 Come on, dearie, why all the fuss? WHORES why all the fuss. WHORE 2 You're no grander than the rest of us. WHORES than the rest of us. WHORE 3 Life has dropped you at the bottom of the heap. WHORES at the bottom of the heap. Whore 3 bites her fingertip and applies her blood to rouge Fantine's cheeks. HEAD WHORE Join your sisters - WHORE 1 Make money in your sleep! WHORES make money in your sleep. WHORE 2 That's right, dearie, Show him what you've got! WHORES show him what you've got. WHORE 3 That's right, dearie, Let him have the lot! WHORES let him have the lot. The whores perform for the benefit of Fantine on the orders of the head whore, as the head whore leads her towards the hulk. WHORES Old men, young men, take'em as they come! Harbour rats and alley cats And every kind of scum! Poor men, rich men, leaders of the land - See them with their trousers off, They're never quite as grand! All it takes is money in your hand! The pimp leads the captain down the middle of the whores to Fantine who wears a filthy white dress. The pimp joins the captain and Fantine's hands as the head whore officiates - like a twisted wedding ceremony. WHORES Lovely ladies Going for a song, Got a lot of callers But they never stay for long. Fantine puts on a show of courage as she leads the captain into the ship's hulk, which is a brothel. FANTINE Come on, Captain, you can wear your shoes. Do n't it make a change to have a girl who ca n't refuse?\",\n \"INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT Fantine, pale and frail, her bodice loosened, leads the captain down to the damp dregs of the ship. We see the rotting straw mattress within as they enter, then Fantine lays down. FANTINE Easy money lying on a bed. Just as well they never see The hate that's in your head! Do n't they know they're making love To one already dead?\",\n \"INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT CLOSE ON a man's hand leaving money. We hear him exit. MOVE TO FIND Fantine lying alone on the mattress. She pulls herself into a sitting position against the head of the mattress. She draws her legs up and wraps her arms round her knees, huddling against the misery of the world. FANTINE There was a time when men were kind, When their voices were soft And their words inviting. There was a time when love was blind And the world was a song And the song was exciting. There was a time. Then it all went wrong. I dreamed a dream in time gone by, When hope was high And life worth living. I dreamed that love would never die. I dreamed that God would be forgiving. Then I was young and unafraid And dreams were made and used and wasted. There was no ransom to be paid, No song unsung, no wine untasted. But the tigers come at night With their voices soft as thunder As they tear your hope apart As they turn your dream to shame. He slept a summer by my side, He filled my days with endless wonder. He took my childhood in his stride But he was gone when autumn came. And still I dream he'll come to me! That we will live the years together. But there are dreams that can not be And there are storms we can not weather. I had a dream my life would be So different from this hell I'm living - So different now from what it seemed! Now life has killed the dream I dreamed. As she ends her song, her next customer is waiting. The head whore beyond.\",\n \"EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT Fantine is out on the snow and ice - covered quayside, shivering, waiting for trade. She looks pale and sickly, but still attempts an alluring smile. She moves past the anchored ships, beneath the bowsprits, trying pathetically to attract custom. Then she comes to a stop, staring. She has seen and recognised Valjean, some way off. He's out in the harbour district. He is talking to a beggar. Before he moves on, he hands over some money. As Fantine watches Valjean on his mission of mercy, a well - dressed young man, BAMATABOIS, comes up to her. He arrives with two friends and a valet. BAMATABOIS Here's something new. I think I'll give it a try. Come closer, you! I like to see what I buy. The usual price For just one slice of your pie. FANTINE I do n't want you! No! No, M'sieur! Let me go! BAMATABOIS Is this a trick? I wo n't pay more! FANTINE No, not at all! BAMATABOIS You've got some nerve, you little slut! You've got some gall! It's the same with a tart as it is with a grocer The customer sees what he gets in advance It's not for the whore to say `` yes sir'' or `` no sir'' It's not for the harlot to pick and to choose or to lead me a dance! He pulls her clothing open and laughingly stuffs snow down her cleavage. Fantine reacts with fury. They fall over in the snow and Bamatabois laughs. FANTINE I'll kill you, you bastard! Try any of that! Even a whore who has gone to the bad Wo n't be had by a rat! Fantine scratches Bamatabois across the face. Bamatabois touches his face and sees the blood on his fingers. His friends drag Fantine against the harbour wall. BAMATABOIS -LRB- furious but aroused. -RRB- By Christ you'll pay for what you've done! This rat will make you bleed, you'll see! I guarantee I'll make you suffer! For this disturbance of the peace For this insult to life and property! Bamatabois suddenly sees that police have arrived. FANTINE I beg you, do n't report me, sir. I'll do whatever you may want. BAMATABOIS Make your excuse to the police! Bamatabois' friend drags Fantine towards the police. It's Javert. JAVERT Tell me quickly what's the story. Who saw what and why and where? Let him give a full description, Let him answer to Javert! In this nest of whores and vipers Let one speak who saw it all. Who laid hands on this good man here? What's the substance of this brawl? BAMATABOIS Javert, would you believe it? I was walking, it was dark When this prostitute attacked me You can see she's left her mark! He shows the blood. Javert turns to Fantine. JAVERT She will answer for her actions When you make a full report. You may rest assured, M'sieur, That she will answer to the court. Fantine is almost fainting with fear, still racked with occasional spasms of coughing. Unseen by her, Valjean is approaching from behind. Javert's assistants pick Fantine up. Javert covers his mouth with a handkerchief as he approaches Fantine. FANTINE There's a child who sorely needs me, Please, m ` sieur, she's but that high. Holy God, is there no mercy? If I go to jail she'll die. JAVERT I have heard such protestations Every day for twenty years. Let's have no more explanations, Save your breath and save your tears. Javert indicates to the two policemen to drag Fantine away. Valjean steps out of the shadows. VALJEAN A moment of your time, Javert. I do believe this woman's tale. JAVERT Monsieur le Mayor! VALJEAN You've done your duty. Let her be. She needs a doctor, not a jail. JAVERT Monsieur le Mayor! Javert looks on, containing his anger, as Valjean reaches out a hand to Fantine. To Fantine, it's as if he's come to her in a dream - FANTINE Can this be? VALJEAN Where will she end - This child without a friend? He holds Fantine's hands, looking into her face. VALJEAN I've seen your face before. Show me some way to help you. How have you come to grief In such a place as this? FANTINE M'sieur, do n't mock me now, I pray It's hard enough I've lost my pride. You let your foreman send me away. Yes, you were there And turned aside. I never did no wrong. VALJEAN Is it true what I've done - FANTINE My daughter's close to dying. VALJEAN - to an innocent soul? FANTINE If there's a God above - VALJEAN Had I only known then! FANTINE He'd let me die instead. VALJEAN In His name my task has just begun. I will her to the hospital. Valjean picks Fantine up in his arms. Javert is quietly coldly furious. JAVERT Monsieur le Mayor! FANTINE Bring Cosette back to me. VALJEAN Where is she? FANTINE At an inn in Montfermeil. JAVERT Monsieur le Mayor! VALJEAN I will see it done! I will send for her immediately! As Valjean and Fantine move away, Javert stares after them, then turns and quietly instructs his assistant to follow after them.\",\n \"EXT. POLICE STATION, MONTREUIL - DAY As Javert walks up the steps to his police station his assistant stops him with an urgent letter. JAVERT'S ASSISTANT From Paris, Monsieur. Javert seizes it, opens it, and reads. As he reads, his expression changes. Appalled, he realizes he's made a terrible mistake.\",\n \"INT. FACTORY, MONTREUIL - NIGHT Valjean is at his desk in his office, going through his papers once everyone else has gone, when Javert enters and stands before him. He looks up. JAVERT Monsieur le Mayor I have a crime to declare! I have disgraced The uniform that I wear. I've done you wrong, Let no forgiveness be shown. I've been as hard On every rogue I have known. I'll bear the blame, I must be treated Just the same. VALJEAN I do n't understand. What is this crime, Javert? JAVERT I mistook you for a convict, I have made a false report. Now I learn they've caught the culprit - He's about to face the court. Valjean conceals his shock. JAVERT And of course the thief denies it, You'd expect that from a con. But he could n't run for ever, No, not even Jean Valjean. VALJEAN You say this man denies it all, And gives no sign of understanding or repentance? You say this man is going to trial, And that he's sure to be returned to serve his sentence? JAVERT He will pay, and so must I. Press charges against me, sir! VALJEAN You have only done your duty It's a minor sin at most. All of us have been mistaken You'll return, sir, to your post. JAVERT Must I do as you say? VALJEAN It's your duty to obey! Javert is about to protest again, but Valjean raises one commanding hand, to indicate his decision is made. Javert gives an abrupt bow, and departs. Left alone, Valjean paces his office, deeply disturbed. VALJEAN They think that man is me - Without a second glance. This stranger they have found - This man could be my chance! Why should I save his hide? Why should I right this wrong? When I have come so far And struggled for so long? If I speak I am condemned. If I stay silent, I am damned! He goes out onto the balcony that looks down on the empty factory. VALJEAN I am the master of hundreds of workers - They all look to me. Can I abandon them? How would they live If I am not free? If I speak they are condemned. If I stay silent, I am damned!\",\n \"INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT Valjean is sitting staring at the Bishop's candlesticks. VALJEAN Who am I? Can I condemn this man to slavery? Pretend I do not feel his agony? This innocent who bears my face, Who goes to judgement in my place. Who am I?\",\n \"INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT Valjean is furiously packing stuff up. VALJEAN Can I conceal myself for ever more? Pretend I'm not the man I was before? And must my name until I die Be no more than an alibi?\",\n \"EXT. COUNTRY ROAD - NIGHT. Close on two horses panting. A stopped carriage in a wide night landscape. The driver is Valjean, hesitating. VALJEAN Must I lie? How can I ever face my fellow men? How can I ever face myself again?\",\n \"INT/EXT. COURTROOM - NIGHT Valjean hesitates outside the courtroom and in the lobby of the courtroom, pacing back and forth. VALJEAN My soul belongs to God, I know, I made that bargain long ago. He gave me hope when hope was gone! He gave me strength to journey on! Who am I? Who am I? I'm Jean Valjean! Valjean pushes through the crowds at the back of the courtroom.\",\n \"INT. COURTROOM - NIGHT The man accused of being Jean Valjean, a wretched down - and - out, stands before the JUDGE. He looks uncannily like the real Valjean. Before the judge has a chance to speak, the doors open and Valjean bursts in. Sensation in the court. VALJEAN And so, your honour, you see it's true That man bears no more guilt than you! Who am I? 24601! The judge is too stunned to respond. The others in the court ca n't believe what they've just heard. The Mayor of Montreuil - sur - Mer, a convict! VALJEAN If you do n't believe me ask Inspector Javert. He knows where to find me. The judge goes over to Valjean and gently leads him out. JUDGE Monsieur le Mayor, you are not well, you must come with me, do you have a carriage outside? Monsieur le Mayor, we must get you home to bed immediately!\",\n \"INT. HOSPITAL, MONTREUIL - NIGHT The hospital is in the long attic of Valjean's factory. Valjean hurries into the hospital, breathless. He sees a nursing sister outside Fantine's room. VALJEAN Is her daughter with her? NURSE No, monsieur. Her guardian sent this. She gives Valjean a note. He reads it with mounting anger. VALJEAN ` Money not enough. Send more. Thenardier.' What sort of man is this?\",\n \"INT. HOSPITAL, MONTREUIL - NIGHT Fantine lies in bed, delirious. She is dressed in pure white. Her eyes are closed. FANTINE Cosette, it's turned so cold! Cosette, it's past your bedtime! You've played the day away And soon it will be night. Fantine's eyes open and she sees Cosette, playing in the room. She looks healthy and is dressed prettily. FANTINE Come to me, Cosette, the light is fading. Do n't you see, the evening star appearing? Come to me, and rest against my shoulder, How fast the minutes fly away and every minute colder? Valjean enters, and sees at once that Fantine is close to the end. He drops to his knees by her bed. VALJEAN Dear Fantine, Cosette will be here soon! Dear Fantine, she will be by your side FANTINE -LRB- trying to get out of bed. -RRB- Come Cosette, the night has grown so cold! VALJEAN -LRB- putting her back in bed. -RRB- Be at peace! Be at peace ever more. FANTINE My Cosette - VALJEAN - shall live in my protection. FANTINE Take her now! She pushes into his hand a scrap of paper on which she's written her wishes. VALJEAN Your child will want for nothing. FANTINE Good m ` sieur, you come from God in heaven. VALJEAN And none shall ever harm Cosette as long as I am living. Fantine has stopped looking towards the window. All her fading strength is now directed towards Valjean. She tries to reach up to him. FANTINE Take my hand. The night grows ever colder. VALJEAN Then I will keep you warm. He wraps her in his arms. FANTINE Take my child I give her to your keeping. VALJEAN Take shelter from the storm. FANTINE For God's sake, please stay till I am sleeping. And tell Cosette I love her And I'll see her when I wake. Fantine starts to spasm. She sees something over Valjean's shoulder. Valjean does n't realise. Her eyes go glassy as she passes away. Valjean then hears the unforgettable voice of Javert behind him. JAVERT Valjean, at last We see each other plain! ` M'sieur le Mayor' You'll wear a different chain! Valjean stands to face Javert. VALJEAN Before you say another word, Javert, Before you chain me up like a slave again, Listen to me! There is something I must do. This woman leaves behind a suffering child. There is none but me who can intercede - In mercy's name, three days are all I need, Then I'll return, I pledge my word! Then I'll return. Javert draws his sword and aims it at Valjean. JAVERT You must think me mad! I've hunted you across the years. Men like you can never change - A man such as you! Valjean breaks a section of timber beam from the roof. The men start to circle each other. They sing at the same time, duelling in song. VALJEAN Believe of me what you will There is a duty that I'm sworn to do. You know nothing of my life - All I did was steal some bread. You know nothing of the world - You would sooner see me dead. But not before I see this justice done! JAVERT Men like me can never change. Men like you can never change. No, 24601! My duty is to the law. You have no rights. Come with me, 24601! The two men fight. VALJEAN I am warning you, Javert, I'm a stronger man by far! There is power in me yet! My race is not yet run! JAVERT Now the wheel has turned around - Jean Valjean is nothing now. Dare you talk to me of crime And the price you had to pay. Every man is born in sin Every man must choose his way. Javert disarms Valjean and drives him backwards towards an attic door. JAVERT You know nothing of Javert! I was born inside a jail. I was born with scum like you. I am from the gutter too. Valjean is pushed through the doors out onto a wooden loading platform beneath a hoist. Below, the walls of the factory lead straight down to the black sea at high tide. Javert is triumphant. Valjean glances down and pushes back, dropping into the darkness of the ocean. Javert goes to jump after him and can not bring himself to do it. Javert stares into the black sea - there is no sign of Valjean.\",\n \"EXT. HARBOUR, MONTREUIL - NIGHT Javert and various police search the harbourside with lanterns. Valjean, dripping wet, watches from a tunnel under a factory, as Fantine's body wrapped in a shroud is dumped on a cart. They sing to themselves, continuing their duet without knowing. VALJEAN And this I swear to you tonight - JAVERT There is no place for you to hide. VALJEAN Your child will live within my care - JAVERT Wherever you may hide away - VALJEAN And I will raise her to the light. JAVERT/VALJEAN I swear to you, I will be there!\",\n \"EXT. MONTFERMEIL - DUSK The village street is bright with booths set up for a Frost Fair. Families and visitors are out buying baubles, or laughing at the antics of travelling players. Small girls cluster round a stall that displays prettily - dressed dolls. Amongst them is a prettily - dressed girl of 8 or 9 years : EPONINE. Across the road from this stall stands a shabby inn. A sign lashed to an old cart swinging in the wind reveals the inn to be ` The Sergeant of Waterloo'. The inn is still closed despite the small crowd at the fair. MOVE IN on the frosted window of the inn, through which we see a little girl, COSETTE, gazing out at the display of dolls.\",\n \"INT. INN, MONTFERMEIL - END OF DAY Cosette is in the process of sweeping the floor. She's come to a stop, gazing out of the window, mesmerized by the sight of the most beautiful doll in the display, and jealous that Eponine can see it and touch it up close. COSETTE There is a castle on a cloud I like to go there in my sleep. Are n't any floors for me to sweep, Not in my castle on a cloud. Cosette gets out from a hiding place in the wall a knotted grimy rag - this is her `` doll'', the knot is the doll's head. COSETTE There is a lady all in white Holds me and sings a lullaby. She's nice to see and she's soft to touch. -LRB- holding doll to her ear and whispering. -RRB- She says, Cosette, I love you very much. I know a place where no one's lost I know a place where no one cries. Crying at all is not allowed, Not in my castle on a cloud. Madame Thenardier comes bustling down the stairs in a bad mood. She glowers at little Cosette and changes the closed sign from `` closed'' to `` open''. MADAME THENARDIER Now look who's here! The little madam herself, Pretending once again She's been so awfully good! Better not let me catch you slacking! Better not catch my eye! Ten rotten francs your mother sends me - What is that going to buy? Now take that pail, My little Mademoiselle, And go and draw some water from the well. We should never have taken you in In the first place - How stupid the things that we do! Like mother, like daughter, the scum of the street. Cosette goes to put the broom away. Eponine comes in from outside. MADAME THENARDIER Eponine, come my dear. Eponine, let me see you. You look very well in that little blue hat! There's some little girls who know how to behave And they know what to wear And I'm saying thank heaven for that! Madame Thenardier sees that Cosette far from going is hiding behind the far wall. We see Cosette's frightened eyes peering out from a tiny gap in this wall. MADAME THENARDIER Still there, Cosette? Your tears will do you no good! I told you to fetch some water from the well in the wood. COSETTE -LRB- singing through the gap. -RRB- Please do not send me out alone. Not in the darkness on my own. Madame Thenardier imitates Cosette as she sings. MADAME THENARDIER -LRB- singing through the gap. -RRB- Enough of that, or I'll forget to be nice! You heard me ask for something, And I never ask twice! The innkeeper's gang posing as customers who have been loitering outside come in, explaining to a fifth man who is a newer recruit a story from Monsieur Thenardier's past. Madame Thenardier goes outside to open up the rather pathetic frost fair stall on the porch of the inn. CUSTOMER 1 Mine host Thenardier He was there, so they say, At the field of Waterloo. CUSTOMER 2 Got there, it's true, When the fight was all through But he knew just what to do. CUSTOMER 3 Crawling through the mud, So I've heard it said, Picking through the pockets of the English dead. CUSTOMER 4 He made a tidy score from the spoils of war. We suddenly hear the voice of the landlord, Thenardier. He has been there all the time, asleep on a bench. He wakes from his drunken slumbers and roars out : THENARDIER My band of soaks, My den of dissolutes, My dirty jokes, my always pissed as newts, My sons of whores, Spend their lives in my inn! Homing pigeons homing in - They fly through my doors, And their money's as good as yours!\",\n \"EXT. INN, MONTFERMEIL - DUSK Madame Thenardier is trying to sell something unappealing from her stall to a portly looking man when slushy snow from the stall's roof falls on the man's head. Madame Thenardier ushers him inside.\",\n \"INT. INN, MONTFERMEIL - DUSK THENARDIER Welcome, m ` sieur! Sit yourself down And meet the best Innkeeper in town! Madame Thenardier pretends to accidentally drop a comb from her hair and the customer helpfully picks it up, allowing Madame Thenardier to pick his wallet from a back pocket as he stands up. Monsieur Thenardier takes his coat which allows the couple to see the customer transfer a pocket watch from coat to jacket pocket. THENARDIER As for the rest - All of them crooks Rooking the guests And cooking the books. Seldom do you see Honest men like me A gent of good intent Who's content to be - He pours a strong drink for the new customer - THENARDIER Master of the house! Doling out the charm Ready with a handshake And an open palm Thenardier has thieved the pocket watch using his handshake as a distraction. He passes this off to Madame Thenardier. THENARDIER Tells a saucy tale Makes a little stir Customers appreciate a bon - viveur Glad to do a friend a favour Does n't cost me to be nice But nothing gets you nothing Everything has got a little price! THENARDIER Master of the house! Keeper of the zoo! Ready to relieve'em Of a sou or two -. -LRB- serving wine. -RRB- Watering the wine\",\n \"INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY Thenardier is pissing into the very wine bottle he's using to serve the customer.\",\n \"INT. INN, MONTFERMEIL - DUSK THENARDIER Making up the weight Picking up their knick - knacks When they ca n't see straight Everybody loves a landlord Everybody's bosom friend! I do whatever pleases - Jesus! Wo n't I bleed'em in the end!\",\n \"EXT. INN, MONTFERMEIL - DUSK At Madame Thenardier's stall, a frost fair customer is covered by snow, only this time we realise Madame Thenardier is responsible for pushing the snow off the awning with a stick. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye Never wants a passer - by To pass him by! Madame Thenardier ushers the customer inside.\",\n \"INT. INN, MONTFERMEIL - DUSK Again Madame Thenardier drops her comb in front of the new customer but this time the thieving is foiled by little Cosette who helpfully picks it up. Over the chorus she shouts at little Cosette to get out. THENARDIER/CUSTOMERS Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Everybody's chaperone - THENARDIER But lock up your valises - Jesus! Wo n't I skin you to the bone! A FAMILY enters the inn. Thenardier fusses over them. THENARDIER Enter, messieurs! Lay down yer load Unlace yer boots And rest from the road. This weighs a ton Travel's a curse But here we strive To lighten your purse. He's got the father's purse out, and is removing notes. THENARDIER Here the goose is cooked Here the fat is fried And nothing's overlooked Till I'm satisfied - Food beyond compare Food beyond belief\",\n \"INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY Thenardier shows off the secrets of the squalid kitchen - every possible animal being used to make mince meat. THENARDIER V/O Mix it in a mincer And pretend it's beef Kidney of a horse Liver of a cat Filling up the sausages With this and that!\",\n \"INT. INN, MONTFERMEIL - DUSK Thenardier serves the disgusting food that we've seen him create in the flashback to the family. THENARDIER Residents are more than welcome Bridal suite is occupied\",\n \"INT. BRIDAL SUITE - FLASHBACK - NIGHT A groom and bride consummate their union. Thenardier is going through the groom's trousers. THENARDIER V/O Reasonable charges Plus some little extras on the side.\",\n \"INT. INN, MONTFERMEIL - NIGHT THENARDIER Charge'em for the lice Extra for the mice Two percent for looking in the mirror twice. Here a little slice There a little cut Three percent for sleeping with the window shut. When it comes to fixing prices There are lots of tricks he knows How it all increases All those bits and pieces - Jesus! It's amazing how it grows.\",\n \"EXT. INN, MONTFERMEIL - NIGHT Thenardier comes out of the inn, backed by a posse of his gang of loyal customers, and takes control of a brass band to sing to the Frost Fair. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye Never wants a passer - by To pass him by! Further down the street, carrying her empty buckets, Cosette turns to look sadly back at the cheery sight. THENARDIER Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Gives'em everything he's got - The Portly Customer has discovered he's been robbed. He comes out to protest, holding out his emptied wallet. At once two of Thenardier's thugs grab him and hustle him off. THENARDIER Dirty bunch of geezers Jesus! What a sorry little lot!\",\n \"INT. INN, MONTFERMEIL - NIGHT Madame Thenardier approaches a handsome soldier who is drinking at a table by the fire in the inn. She sits on his lap and gets him to look back at Thenardier, so allowing her to see inside his coat and spot his wallet. MADAME THENARDIER I used to dream That I would meet a prince But God almighty Have you seen what's happened since? ` Master of the house' Is n't worth my spit! Comforter, philosopher And lifelong shit! Cunning little brain Regular Voltaire Thinks he's quite a lover But there's not much there. As Madame Thenardier reaches for the man's groin, she lifts his wallet skillfully and hands it off to Monsieur Thenardier. THENARDIER What a cruel trick of nature Landed me with such a louse. God knows how I've lasted Living with this bastard in the house! She pulls the young man into a dance, enabling her to steal everything else of value he has. Father Christmas has also been lured from the frost fair and the Thenardiers slit his presents sack and exchange it for a sack containing snow. THENARDIER/CUSTOMERS Master of the house! MADAME THENARDIER Master and a half! THENARDIER/CUSTOMERS Comforter, philosopher - MADAME THENARDIER Do n't make me laugh! THENARDIER/CUSTOMERS Servant to the poor Butler to the great - MADAME THENARDIER Hypocrite and toady And inebriate! THENARDIER/CUSTOMERS Everybody bless the landlord! Everybody bless his spouse! THENARDIER Everybody raise a glass! MADAME THENARDIER Raise it up the master's arse! THENARDIER/CUSTOMERS Everybody raise a glass to the master of the house!\",\n \"EXT. WOOD BY THE INN - NIGHT Cosette has filled her buckets at the well in the wood, and is now heading back. Through the dark trees ahead we glimpse the cheerful lights of the Frost Fair and the distant inn. She goes slowly, because the buckets are heavy. She hums to herself to keep her spirits up, a wordless verse of ` Castle on a Cloud'. After a few steps she pauses to rest the weight of the buckets. Strong arms reach for the buckets and lift them out of her hands. She looks up, amazed. There's Valjean. VALJEAN Hush now, do not be afraid of me. Do n't cry. Show me where you live. Tell me, my child, what is your name? COSETTE I'm called Cosette. VALJEAN Cosette? She gazes up at him. Hardly knowing why, the little girl trusts this stranger. Valjean picks up the heavy buckets, and they head back towards the inn. As they go, they hum ` Castle on a Cloud' together.\",\n \"INT. INN, MONTFERMEIL - NIGHT Valjean enters with Cosette. Madame Thenardier hurries over. Madame and Monsieur Thenardier try to thieve from Valjean using the same tricks established earlier, but he evades every attempt. Eponine watches silently from a corner. VALJEAN I found her wandering in the wood This little child, I found her trembling in the shadows. And I am here to help Cosette, And I will settle any debt you may think proper. I will pay what I must pay To take Cosette away. This is a duty I must heed. There is a promise I have made. For I was blind to one in need, I did not see what stood before me. Now your mother is with God. Her suffering is over, And I speak here with her voice, And I stand here in her place, and from this day, and ever more - MADAME THENARDIER Let me take your coat, m ` sieur! VALJEAN Cosette shall live in my protection. THENARDIER You are very welcome here! VALJEAN I will not forget my vow. THENARDIER Take a glass! MADAME THENARDIER Take a chair! VALJEAN Cosette shall have a father now. Thenardier turns to his wife. THENARDIER What to do? What to say Shall you carry our treasure away? What a gem! What a pearl! Beyond rubies is our little girl! How can we speak of debt? Let's not haggle for darling Colette! MADAME THENARDIER Cosette! THENARDIER Cosette - Dear Fantine - gone to rest - Have we done for her child what is best? Shared our bread - shared each bone - Treated her like she's one of our own! Like our own, m ` sieur! VALJEAN Your feelings do you credit, sir. And I will ease the parting blow. Let us not talk of bargains and bones and greed. He gives Thenardier money. VALJEAN Now may I say we are agreed? MADAME THENARDIER That would quite fit the bill If she had n't so often been ill. Little dear, cost us dear! Medicines are expensive, m ` sieur. Not that we begrudged a sou - It's no more than we Christians must do. Valjean gives more money. THENARDIERS One thing more! One small doubt! There are treacherous people about! No offence! Please reflect! Your intentions may not be correct! Valjean hands over more money. VALJEAN No more! Here's your price! Fifteen hundred for your sacrifice. Come, Cosette, say goodbye. Let's seek out some friendlier sky. Thank you both for Cosette - It wo n't take you too long to forget. He leads Cosette to the door.\",\n \"EXT. INN, MONTFERMEIL - NIGHT Valjean lifts Cosette into the waiting cab. VALJEAN Where I go, you will be. COSETTE Will you be like a Papa to me? VALJEAN Yes, Cosette! This is true! I'll be father and mother to you! The cab sets off down the road.\",\n \"INT. INN, MONTFERMEIL - NIGHT Madame Thenardier takes the bunch of notes from her husband's hand and inspects them. THENARDIER Not bad! MADAME THENARDIER Not enough! Through the open door Thenardier sees a man on horseback rattling up to the inn. MADAME THENARDIER There's a copper at the door! What the devil have you done? Javert strides into the inn. JAVERT Where's the child Cosette? MADAME THENARDIER She's gone with a gent, Did n't tell us where they went, Did n't leave his home address. JAVERT Did you catch the fellow's name? Both Thenardiers shake their heads. Javert stares once, contemptuously, round the seedy inn, and departs without a further word. Thenardier goes to the doorway to watch him leave. MADAME THENARDIER You're a bloody fool Look at what we got. THENARDIER Should have struck the iron, Struck it while it's hot. THENARDIER/MADAME THENARDIER Next time round we'll be here And we're gon na get the lot.\",\n \"EXT. OUTSKIRTS OF PARIS - NIGHT Valjean's cab, moving fast, passes down the road into the city. IN CAB - Valjean has one arm round Cosette to protect her from the jolting of the cab. He gazes at her as she slips into a fitful sleep. VALJEAN Suddenly I see Suddenly it starts When two anxious hearts Beat as one. Yesterday I was alone Today you walk beside me Something still unclear Something not yet here Has begun. Suddenly the world Seems a different place Somehow full of grace And delight. How was I to know That so much love Was held inside me? Something fresh and young Something still unsung Fills the night. How was I to know at last That happiness can come so fast? Trusting me the way you do I'm so afraid of failing you Just a child who can not know That danger follows where I go There are shadows everywhere And memories I can not share Nevermore alone Nevermore apart You have warmed my heart Like the sun. You have brought the gift of life And love so long denied me. Suddenly I see What I could not see Something suddenly Has begun. He brushes the hair from her face, and satisfies himself that she's comfortable. Then he puts his head out of the window. At the gate into Paris, soldiers are checking documents of occupants of carriages. Valjean slips out of the carriage with Cosette and makes his way along the wall, away from the gate.\",\n \"EXT. PARIS BROKEN WALL - NIGHT Valjean finds a section of tumble down wall and climbs over.\",\n \"EXT. PARIS SLUM STREET - NIGHT Valjean and Cosette make their way down a darkened street.\",\n \"EXT. PARIS - RIVER SEINE - NIGHT Valjean and Cosette turn down a narrow street, no longer hurrying. The narrow street turns, and opens out onto the river. Valjean stops. There, on the other side of the river, in the light of a lamp, stands Javert. SCENE OMITTED\",\n \"EXT. MAZE OF OLD STREETS - NIGHT Now Valjean and Cosette are running - down narrow alleys, into small dark courtyards, not knowing which way to turn. Whenever Valjean thinks they've thrown their pursuer, there he is, not far behind. And he's no longer alone. With him are a detachment of soldiers. Javert and his team never seem to run. But he's always there.\",\n \"EXT. DEAD END - NIGHT Valjean and Cosette turn into a street that is walled in by high windowless houses. They follow it round a corner to find - a dead end. A high wall before them. They're trapped. Valjean looks round. No way out. Then he sees a nearby lamp bracket. Hanging from it is the rope that is used to lower the oil lamp for lighting. He tears off the rope and ties one end round Cosette, beneath her armpits. Then holding the other end, he scales the wall, using the corner to brace himself as he rises. Once on the top, he hauls Cosette up by the rope. Only then does he turn to look down onto the other side. A cloister. A building in the middle, windows glowing. Grave stones black against the white snow. The sound of women's voices, singing a psalm. NUNS Te lucis ante terminum Rerum Creator poscimus Ut pro tua clementia Sis praesul et custodia. Valjean lowers Cosette down into the garden, and drops down after her. Javert and his men enter the dead end to find them gone.\",\n \"INT. CONVENT CLOISTER - NIGHT Valjean crouched low, with Cosette in his arms, holding her still and quiet until Javert is gone. Then he straightens up and looks round. He takes in the sound of singing. NUNS Procul recedant somnia Et noctium phantasmata Hostemque nostrum comprime Ne polluantur corpora. He goes closer to the windows of the building. Through the blurry glass he can make out a chapel, and a line of nuns singing. Valjean continues and sees a man filling in a new grave. The man starts as he sees Valjean. FAUCHELEVENT Who's that? Valjean jumps, takes Cosette protectively into his arms. Turns to answer. FAUCHELEVENT Why, it's Monsieur Mayor! It's Fauchelevent, now a gardener, still limping from his injury. VALJEAN Who are you? FAUCHELEVENT Do n't you remember? The cart fell on me! VALJEAN Monsieur Fauchelevent! FAUCHELEVENT You saved my life! You got me this job as a gardener! Valjean gazes at him, and remembers. VALJEAN Now you can do the same for me. We need a place of sanctuary. This child and I, we need to disappear. FAUCHELEVENT In this place of Holy Orders You are brought to God's domain May the sisters grant you shelter May their prayers ease your pain. Valjean and Cosette follow him to the convent. VALJEAN We'll give thanks for what is granted What the sisters may ordain Here we pray for new beginnings - Here our lives can start again. Valjean looks to the heavens. The camera soars into the air and heads east as dawn breaks over Paris. We rush low over Paris as the sun comes up, towards the Place de la Bastille.\",\n \"EXT. PLACE DE LA BASTILLE, PARIS - DAY Nine years later. The dawn light glows on a massive ELEPHANT. The monument, made of wood and plaster, now ruined and crumbling, stands on a plinth on one side of the wide open square. On the far side, the remains of the great fortress that was the Bastille. In the middle, scaffolding surrounds a half - built triumphal column, which is being erected to celebrate the new regime. Paris, 1832. The streets that run from the square lead in one direction to the Paris of power and wealth ; in the other direction into the slums. The camera sweeps in and down to meet the elephant. A head pops out of one of the elephant's many holes - GAVROCHE, a street urchin. He gives a shrill whistle. At once a dozen more street urchins show themselves, from every crack in the monument's skin. Agile as a monkey, Gavroche drops to the ground, followed by his band.\",\n \"EXT. PARIS BOULEVARD - DAY FOLLOW GAVROCHE in as he races down a grand boulevard, dodging the crowds of strolling bourgeoisie and beggars, weaving in and out of the lines of carriages attempting to make their way in either direction. These are the conveyances of the rich, fine gilded coaches with matched horses and footmen on the back. Virtually at a standstill, they lend Gavroche a platform as he leaps from coach to coach, a street urchin dancing on the heads of the elite. As he goes, the poor on the pavements sing to the stony - faced rich in their golden high - sprung glory - BEGGARS CHORUS Look down and see the beggars at your feet! Look down and show some mercy if you can! Look down and see the sweepings of the street! Look down, look down, Upon your fellow man! The fine ladies and grand gentlemen in the carriages avert their eyes, or raise the blinds of their carriage windows to shut out the sight of the losers of their world. Gavroche, bounding over their heads, evading the swipes of liveried footmen, lands on the running board of one particularly grand carriage and begs/taunts the RICH OCCUPANT. GAVROCHE ` Ow do you do? My name's Gavroche! These are my people, here's my patch. Not much to look at - nothing posh! Nothing that you'd call up to scratch. This is my school, my high society! Here in the slums of St Michel. We live on crumbs of humble piety Tough on the teeth - but what the hell! Think you're poor? Think you're free? Follow me! Follow me! BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man! STILL RUNNING WITH Gavroche as he hops onto the back of another very grand carriage, the traffic now moving at last, hitching a ride on the back - one or two of his gang hop on back of carriage with him, the others run panting after to hear his political lecture. GAVROCHE There was a time we killed the King We tried to change the world too fast. Now we have got another King, He is no better than the last. This is the land that fought for liberty - Now when we fight we fight for bread! Here is the thing about equality - Everyone's equal when they're dead. Take your place! Take your chance! Vive la France! Vive la France!\",\n \"EXT. LAMARQUE'S HOUSE, PARIS - DAY The carriage has reached an arch into a courtyard where a crowd of a couple of hundred is gathered outside a house of sickness. The carriage stops as its occupant wants to watch what is going on. The street is padded with straw. Many eyes gaze up at the draped windows. People cross themselves. A priest is seen hurrying into the house, accompanied by two altar boys. Gavroche jumps off as the carriage stops and joins the crowd. The crowd is made up of citizens of Paris, student revolutionaries, the poor and beggars. The students hand out printed leaflets and try to excite the crowd. STUDENTS/BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man! COURFEYRAC When's it gon na end? BEGGAR 1 When we gon na live? JOLY Something's got ta happen now! BEGGAR 2 Something's got ta give! STUDENTS AND BEGGARS It'll come, it'll come, it'll come. It'll come, it'll come, it'll come. A student, ENJOLRAS, stands on a raised step, making an impassioned speech with fellow student MARIUS. The occupant of the stopped carriage is MONSIEUR GILLENORMAND, Marius' Grandfather. He is clearly deeply unhappy to see his grandson engaged in such an activity. In the crowd a young street girl, EPONINE, has her eyes fixed longingly on the handsome Marius. ENJOLRAS Where are the leaders of the land? Where are the swells who run this show? MARIUS Only one man, General Lamarque Speaks for the people here below! Marius looks towards Lamarque's house behind him. ENJOLRAS Lamarque is ill and fading fast - Wo n't last a week out, so they say. MARIUS With all the anger in the land, How long before the Judgement Day? ENJOLRAS Before we cut the fat ones down to size? STUDENTS Before the barricades arise? Mounted Police ride in to break up the crowd. POLICE Look down, look down, do n't look us in the eye! Look down, look down, stay here and you die! The crowd breaks up. The students shout to the crowd : ENJOLRAS Tomorrow we will return! MARIUS Tell everyone you know COURFEYRAC We will show them! COMBEFERRE Lamarque is the only leader on our side! COURFEYRAC We have a right to pray for Lamarque! JOLY We need more people, then the police will not dare ride against us! MARIUS Vive le General Lamarque! Marius turns to see his Grandfather staring him down, furious. GILLENORMAND Do you have any idea of the shame you bring on your family! You're behaving like a child. Gillenormand spies a gun poking out of his jacket. Gillenormand turns to get back in his carriage.\",\n \"INT. GORBEAU TENEMENT Through a crack in a door, we see Marius sitting on a tatty mattress in a tiny hovel of a room. He is taking out a hunting rifle from under the mattress, wrapped in a rag. His eye is caught by the ring on his finger. CLOSE ON a signet ring, a family crest. Marius stares at the ring then takes it off his finger. We reveal EPONINE staring at him through the door. EPONINE Hey there Monsieur what's new with you? Have n't seen much of you of late. Planning no doubt to change the world? Plotting to overthrow the state? Still living here in this old sewer Might as well doss down in a ditch You still pretending to be poor Everyone knows your Grandpa's rich Marius rushes down the stairs of the slum, Eponine following. We see glimpses of misery off the stairwell. MARIUS How did you? EPONINE There's lots of things I know MARIUS Wo n't take a franc that I've not earned All of those bridges have been burned. EPONINE I like the way you talk Monsieur! MARIUS I like the way you always tease. Eponine comes to a stop, looking wistfully after Marius. EPONINE Little he knows - Little he sees.\",\n \"EXT. RUE DE LA CHANVRERIE - END OF DAY Marius is stopped as he exits the front door of the Gorbeau Tenement by a passing carriage. Once it passes Marius sees two people in the street outside. One is an old gentleman, Valjean. The other is a beautiful young girl, Cosette. The two are giving alms to beggars as they walk back from evening church service. Marius ca n't take his eyes off Cosette. He's never seen anyone so lovely in his life. We hear the instrumental foreshadowing of ` A Heart Full of Love'. As if drawn by Marius's gaze, Cosette looks up and meets his eyes. She too is amazed : he's looking at her as if he already knows her. A second carriage breaks their held gaze. Marius continues on down the street and when he looks back, at that precise moment Cosette looks at him again. Valjean instinctively puts his arm round her, guarding her jealously from this distant boy's gaze. We cut further down the street to an alleyway where the Thenardiers, heavily disguised, are waiting for Valjean's approach with their gang of crooks, Babet, Brujon, Clacquesous, Montparnasse. THENARDIER Everyone here, you know your place - Brujon, Babet, Clacquesous - You, Montparnasse, watch for the law - With Eponine - take care. -LRB- Montparnasse hurries over to the doorway where Eponine was watching Marius. -RRB- You turn on the tears! -LRB- to Madame Thenardier who is holding a baby. -RRB- No mistakes, my dears! Thenardier approaches Valjean and lures him into the mouth of the alleyway where Madame Thenardier is sat on the ground holding the crying infant. Cosette is a few steps behind, still entranced by the sight of Marius. THENARDIER Please, M'sieur, come this way. Here's a child that ai n't eaten today. Save a life, spare a sou! God rewards all the good that you do. As Valjean bends down to look at Madame Thenardier she recognizes him. MADAME THENARDIER Wait a bit! Know that face! -LRB- to Monsieur Thenardier. -RRB- Ai n't the world a remarkable place! THENARDIER Men like me do n't forget - You're the bastard who borrowed Cosette! VALJEAN What is this? Are you mad? No, Monsieur, you do n't know what you say! Thenardier pulls off his disguise. Valjean recognises him. THENARDIER You know me! I know you! And you'll pay what I'm due. He signals to his gang. A door opens in the alleyway revealing the huge Brujon. The gang move in on Valjean menacingly. EPONINE -LRB- shouts from up the street. -RRB- It's the police! Disappear! Run for it! It's Javert! The gang spill out into the street to find themselves confronted by Javert now with his men. Marius watches, as does Gavroche, drawn by the rumpus. JAVERT Another brawl in the square! Another stink in the air! Was there a witness to this? Well, let him speak to Javert! He sees man with his arm protectively round a girl but does not recognize Valjean as Valjean has averted his face. JAVERT Monsieur, these streets are not safe. But let these vermin beware, We'll see that justice is done! He turns back on the Thenardier gang in the passage. JAVERT Look upon this fine collection Crawled from underneath a stone. This swarm of worms and maggots Could have picked you to the bone! I know this man over here, I know his name and his trade. And on your witness, m ` sieur, I'll see him suitably paid. He turns back to find Valjean and Cosette gone. JAVERT But where's the gentlemen gone? And why on earth did he run? THENARDIER You will have a job to find him! He's not all he seems to be - And that girl he trails behind him She's the child he stole from me! Marius, equally baffled, goes off in search of them. JAVERT Could it be he's that old jailbird That the tide now washes in? Heard my name and started running. All the omens point to him. Thenardier, listening, hears this all with great interest. So Valjean is a crook like him. JAVERT And the girl who stood beside him, When I turned they both had gone. Could he be the man I've hunted? Could it be he's Jean Valjean? THENARDIER In the absence of a victim, Dear Inspector, may I go? And remember when you've nicked him It was me what told you so. JAVERT -LRB- to himself. -RRB- Let the old man keep on running I will run him off his feet! -LRB- to the crowd. -RRB- Everyone about your business! -LRB- to Gavroche. -RRB- Clear this garbage off the street! Gavroche is sitting on a horse trough and falls back into it when Javert surprises him. He is furious. He sings to Javert's departing back, and to Marius who is close by. GAVROCHE That inspector thinks he's something But it's me who runs this town! And my theatre never closes And the curtain's never down! Trust Gavroche! Have no fear! You can always find me here! EPONINE Cosette! Now I remember. Cosette! How can it be? We were children together. Look what's become of me. She turns back to find Marius gazing down the street. MARIUS Eponine! Who was that girl? EPONINE That bourgeois two - a - penny thing! MARIUS Eponine, find her for me! EPONINE What will you give me? MARIUS Anything! EPONINE Got you all excited now, But God knows what you see in her. Are n't you all delighted now? No, I do n't want your money, sir. MARIUS Eponine, do this for me, Discover where she lives. But careful how you go - Do n't let your father know. Eponine! I'm lost until she's found. EPONINE You see? I told you so! There's lots of things I know! Eponine, she knows her way around.\",\n \"EXT. PARIS POLICE HQ - NIGHT WIDE of the Police Headquarters on the Isle de la Cite : a huge bureaucracy. The camera finds Javert standing inside looking out of a door leading onto the roof. As he sings he walks out onto the roof and stands by the symbol of the HQ, a monumental stone eagle. He looks down at the lights reflected in the river below. Then up at the great city. Javert too has a God, and this is his prayer. JAVERT There, out in the darkness A fugitive running Running from God Fallen from grace - God be my witness I never shall yield Till we come face to face - Till we come face to face. He knows his way in the dark Mine is the way of the Lord Those who follow the path of the righteous Shall have their reward And if they fall As Lucifer fell - The flame! The sword! Stars in your multitudes! Scarce to be counted Filling the darkness With order and light - You are the sentinels Silent and sure Keeping watch in the night - Keeping watch in the night. You know your place in the sky You hold your course And your aim And each in your season Returns and returns And is always the same And if you fall As Lucifer fell You fall In flame! And so it must be, and so it is written On the doorway to paradise That those who falter And those who fall Must pay the price! Lord, let me find him That I may see him Safe behind bars! I will never rest till then! This I swear This I swear by the stars! Javert stands silhouetted against the stars, his arms raised up to the night sky.\",\n \"EXT. RUE DE LA CHANVRERIE - NIGHT Marius comes down the street, his mind full of thoughts of Cosette.\",\n \"INT. CAFÉ MUSAIN - NIGHT Marius arrives at the first floor front room. Here a group of students are cleaning rifles and sharing their excitement at the coming revolution : ENJOLRAS, COMBEFERRE, COURFEYRAC, JOLY, GRANTAIRE, FEUILLY, PROUVAIRE and others. ENJOLRAS Well, Courfeyrac! Do we have all the guns? Joly, Prouvaire! Our time is running short! COURFEYRAC Students, workers, everyone! There's a river on the run! Like the flowing of the tide, Paris is coming to our side! COMBEFERRE Enjolras! At Notre Dame The sections are prepared! FEUILLY At Rue du Bac They're straining at the leash! ENJOLRAS Grantaire, put the bottle down! Did we get the guns we need? GRANTAIRE Give me brandy on my breath And I'll breathe them all to death! ENJOLRAS The time is near. So near it's stirring the blood in their veins. And yet beware! Do n't let the wine go to your brains. For the army we fight is a dangerous foe With the men and the arms that we never can match. It is easy to sit here and swat them like flies But the National Guard will be harder to catch. We need a sign To rally the people To call them to arms To bring them in line! Joly turns goes over to Marius at the back, a faraway look on his face. JOLY Marius, wake up! What's wrong today? You look as if you've seen a ghost. GRANTAIRE Some wine, and say what's going on! They sit. MARIUS A ghost, you say? A ghost maybe! She was like a ghost to me - One minute there - then she was gone! GRANTAIRE I am agog! I am aghast! Is Marius in love at last? I've never heard him Ooh and Aah. You talk of battles to be won And here he comes like Don Juan! It is better than an opera! They burst into laughter. But Enjolras is n't smiling. ENJOLRAS It is time for us all To decide who we are. Do we fight for the right To a night at the opera now? Have you asked yourselves What's the price you might pay? Is this simply a game For rich young boys to play? The colours of the world Are changing day by day - Red - the blood of angry men! Black - the dark of ages past! Red - a world about to dawn! Black - the night that ends at last! MARIUS Had you seen her today You might know how it feels To be struck to the bone By a moment of breathless delight! Had you been there today You might also have known How the world may be changed In just one burst of light And what was right seems wrong And what was wrong seems right! GRANTAIRE Red! MARIUS I feel my soul on fire! GRANTAIRE Black! MARIUS My world if she's not there! STUDENTS Red! MARIUS The colour of desire! STUDENTS Black! MARIUS The colour of despair! ENJOLRAS Marius, you're no longer a child - I do not doubt you mean it well But now there is a higher call! Who cares about your lonely soul? We strive towards a larger goal - Our little lives do n't count at all! ENJOLRAS Red! STUDENTS The blood of angry men! ENJOLRAS Black! STUDENTS The dark of ages past! Red - a world about to dawn! Black - the night that ends at last! A scuffle at the door - Gavroche struggling with the barman. Courfeyrac lets him through. GAVROCHE Listen! Listen to me! COURFEYRAC Listen, everybody! GAVROCHE General Lamarque is dead! Enjolras turns to his companions. ENJOLRAS Lamarque is dead. Lamarque. His death is the hour of fate. The people's man. His death is the sign we await! On his funeral day they will honour his name With the light of rebellion ablaze in their eyes. From their candles of grief we will kindle our flame. On the tomb of Lamarque shall our barricades rise! The time is here! Let us welcome it gladly with courage and cheer! STUDENT Let us take to the street with no doubt in our hearts COURFEYRAC But a jubilant shout! LESGLES They will come one and all! STUDENTS They will come when we call! As the students sing, Eponine enters wanting to talk to Marius. Marius sees her.\",\n \"INT. VALJEAN'S HOUSE, RUE PLUMET - NIGHT Cosette is pacing in her bedroom. It's a pretty room, the best room in this small summer house. Her shutters are open, giving a view of a wild unkempt garden. She looks at herself in a mirror, aware of her looks perhaps for the first time. COSETTE How strange - This feeling that my life's begun at last! This change - Can people really fall in love so fast? What's the matter with you, Cosette? Have you been too much on your own? So many things unclear - So many things unknown. In my life There are so many questions and answers That somehow seem wrong. In my life There are times when I catch in the silence The sigh of a faraway song And it sings Of a world that I long to see - Out of reach Just a whisper away Waiting for me! Does he know I'm alive? Do I know if he's real? Does he see what I see? Does he feel what I feel? In my life I'm no longer alone - Now the love in my life Is so near. Find me now! Find me here! Valjean knocks and opens her door. He closes her shutters. VALJEAN Dear Cosette, You're such a lonely child. How pensive, how sad you seem to me. Believe me, were it within my power I'd fill each passing hour. How quiet it must be, I can see, With only me for company. COSETTE There's so little I know That I'm longing to know Of the man that you were In a time long ago. There's so little you say Of the life you have known, Why you keep to yourself, Why we're always alone. So dark! So dark and deep, The secrets that you keep! In my life Please forgive what I say You are loving and gentle and good. But papa, dear papa, In your eyes I am still like that child Who was lost in a wood. VALJEAN No more words - No more words. It's a time that is dead. There are words That are better unheard, Better unsaid. COSETTE In my life I'm no longer a child and I yearn For the truth that you know Of the years. Years ago! Valjean leaves and goes into his own bedroom. A simple wooden shack at the back of the summerhouse, Valjean himself lives with spartan simplicity - he has given the best room to Cosette. Cosette follows. Valjean sits on his bed, his back to Cosette. VALJEAN You will learn. Truth is given by God To us all in our time, In our turn.\",\n \"EXT. RUE PLUMET - NIGHT Marius rushes down the street, Eponine following. At the far end is the walled garden behind which lies Valjean's house. MARIUS In my life She has burst like the music of angels The light of the sun! And my life seems to stop As if something is over And something has scarcely begun! Eponine, you're the friend Who has brought me here. Thanks to you I am one with the Gods And heaven is near! And I soar through a world that is new, That is free! EPONINE Every word that he says Is a dagger in me! In my life There's been no one like him anywhere, Anywhere, where he is If he asked. I'd be his! MARIUS/EPONINE In my life There is someone who touches my life - MARIUS -LRB- sees Cosette in the garden. -RRB- Waiting near! EPONINE Waiting here! MARIUS A heart full of love! Cosette sees Marius. She comes up the garden path towards him. She sees Eponine by Marius's side. MARIUS A heart full of song! I'm doing everything all wrong - Oh God, for shame - I do not even know your name. Dear Mad ` moiselle, Wo n't you say? Will you tell? Cosette holds the wrought - ironwork of the gate with both hands, eyes on Marius. Eponine looks on and suffers. Marius wraps his hands round Cosette's. COSETTE A heart full of love! No fear, no regret! MARIUS My name is Marius Pontmercy. COSETTE And mine's Cosette. MARIUS Cosette. I do n't know what to say - COSETTE Then make no sound. MARIUS I am lost - COSETTE I am found! MARIUS A heart full of light - COSETTE/MARIUS A night bright as day - MARIUS And you must never go away, Cosette - Cosette! COSETTE This is a chain we'll never break. MARIUS Do I dream? COSETTE I'm awake. MARIUS A heart full of love - EPONINE He was never mine to lose Why regret What could not be? COSETTE A heart full of you - EPONINE These are words he'll never say Not to me, not to me Not for me! MARIUS A single look and then I knew! COSETTE I knew it too! EPONINE His heart full of love. MARIUS From today - EPONINE He will never feel this way. COSETTE Every day. MARIUS/COSETTE For it is n't a dream - Not a dream After all! Valjean comes to the door. VALJEAN Cosette! Cosette! Cosette turns and runs in to the house. Valjean walks down the overgrown garden path to the gate. Marius moves quickly away, instinctively nervous of discovery, and hides behind the wall. Valjean peers into the shadows. He senses that perhaps Cosette has been talking to someone. He looks pensive. Valjean returns inside. Cosette has dropped a keepsake through the gate. Marius picks it up. Marius makes his way back down the street, filled with thoughts of his love. Completely forgetting Eponine is there. Shadows move up the street from the other direction. It's Thenardier and his gang. They gather at the wrought - iron gate. MONTPARNASSE This is his lair! I've seen the old fox around. BABET He keeps himself to himself He's staying close to the ground. THENARDIER I smell profit here! Ten years ago He came and paid for Cosette. I let her go for a song. It's time we settled the debt. This'll cost him dear. BRUJON What do I care Who you should rob? Gim me my share! Finish the job! THENARDIER You shut your mouth! You'll get what's yours! Brujon starts working on the gate lock. He finds Eponine lurking in the shadows. BRUJON What have we here? THENARDIER Who is this hussy? BABET It's your brat Eponine! Do n't you know your own kid? Why's she hanging about here? THENARDIER Eponine, get on home! You're not needed in this. We're enough here without you. EPONINE I know this house, I tell you! There's nothing here for you! Just the old man and the girl. They live ordinary lives. THENARDIER Do n't interfere! You've got some gall! Take care, young miss, You've got a lot to say! BRUJON She's going soft! CLACQUESOUS Happens to all! MONTPARNASSE Go home, Eponine! Go home, you're in the way! They huddle round the garden gate, which is now broken open. EPONINE I'm gon na scream! I'm gon na warn them here! THENARDIER One little scream and you'll regret it for a year! He goes to the gate and opens it. Eponine screams. SCENE OMITTED\",\n \"INT. RUE PLUMET, PARIS - NIGHT Valjean, now in his own bedroom, hears the scream and turns to the window.\",\n \"EXT. RUE PLUMET - NIGHT Thenardier and his gang shrink into the shadows, as Eponine's scream ends at last. THENARDIER Make for the sewers! Get underground! Leave her to me, Do n't wait around! He turns on Eponine and slaps her hard across the face. THENARDIER You wait, my girl! You'll rue this night! I'll make you scream! You'll scream all right! His men have levered up a grating, and now Thenardier and the gang disappear down into the sewers.\",\n \"INT. VALJEAN'S HOUSE - RUE PLUMET, PARIS - NIGHT Valjean comes running into Cosette's room. Valjean takes her in his arms. VALJEAN My God, Cosette! I heard a cry in the dark. I heard the shout of angry voices in the street. COSETTE Three men I saw beyond the wall. Three men in shadow moving fast! VALJEAN This is a warning to us all! These are the shadows of the past! He moves away to his own bedroom. VALJEAN Must be Javert. He's found my cover at last. I've got to get Cosette away Before he returns. He comes back to Cosette. VALJEAN We must get away from shadows That will never let us be. Tonight we leave Cosette! COSETTE To where? VALJEAN Rue de L'Homme Armee. COSETTE No! No! VALJEAN And then a ship across the sea. VALJEAN Hurry, Cosette! Prepare to leave, And say no more. Tonight we'll away! COSETTE -LRB- overlapping. -RRB- No! Please no! We ca n't go! VALJEAN Hurry, Cosette! It's time to close another door And live another day! Valjean leaves to start packing. Feverishly, Cosette scribbles a letter. SCENE OMITTED\",\n \"EXT. GARDEN, RUE PLUMET - NIGHT Cosette hurries down the garden to the gate, and goes to put the folded letter in the grill where her and Marius' hands entwined. Then she sees Eponine. Eponine steps forward. She thrusts her letter into her hand. COSETTE Please give this to Marius! He must know where to find me. She runs back inside.\",\n \"EXT. RUE PLUMET/BRIDGE/RUE DE LA CHANVRERIE - NIGHT Eponine crumples up the letter. She walks sadly away down the street. Rain is just starting to fall. EPONINE And now I'm all alone again - Nowhere to turn, no one to go to. Without a home, without a friend, Without a face to say hello to. The city goes to bed And I can live inside my head. On my own Pretending he's beside me All alone I walk with him till morning Without him I feel his arms around me And when I lose my way I close my eyes And he has found me. She crosses a bridge over the river. EPONINE In the rain The pavement shines like silver All the lights Are misty in the river In the darkness the trees are full of starlight And all I see is him and me forever and forever! And I know it's only in my mind - That I'm talking to myself and not to him. And although I know that he is blind, Still I say there's a way for us. I love him But when the night is over He is gone - the river's just a river. Without him the world around me changes - The trees are bare and everywhere The streets are full of strangers. I love him But every day I'm learning All my life I've only been pretending. Without me, his world will go on turning A world that's full of happiness That I have never know. I love him I love him I love him But only on my own. Her solitary journey has brought her to the Gorbeau slum. She goes inside.\",\n \"INT. GORBEAU TENEMENT - NIGHT Eponine stands outside Marius' door. She opens the letter, reads it, then hides it in her pocket. She pushes open Marius' door. Marius looks up. EPONINE I came to tell you she's gone. MARIUS Gone? What do you mean? EPONINE She's gone to England. Marius sets off at a run towards the Rue Plumet.\",\n \"EXT. RUE PLUMET - NIGHT Marius finds the gate broken open, sees the house beyond dark and deserted. He pushes in to the garden, up to the house windows, sees the rooms empty within. He stands staring, in shock. Eponine has followed him, and watches him in silence. SCENE OMITTED\",\n \"INT. CARRIAGE - NIGHT. Valjean and Cosette sit on either side of the carriage, apart, staring out of their respective windows. A stark contrast to the carriage scene when Valjean sang to Cosette as a little girl. VALJEAN One day more! Another day, another destiny. This never - ending road to Calvary. These men who seem to know my crime Will surely come a second time - One day more!\",\n \"EXT. RUE PLUMET - NIGHT Marius by the empty house. MARIUS I did not live until today - How can I live when we are parted?\",\n \"INT. CARRIAGE - NIGHT VALJEAN One day more! COSETTE Tomorrow you'll be worlds away And yet with you my world has started!\",\n \"EXT/INT. RUE PLUMET/CARRIAGE - NIGHT INTERCUT between Eponine at the gate, Cosette and Valjean in the carriage, and Marius in the dark garden. EPONINE One more day all on my own. MARIUS/COSETTE Will we ever meet again? EPONINE One more day with him not caring. MARIUS/COSETTE I was born to be with you! EPONINE What a life I might have known. MARIUS/COSETTE And I swear I will be true! EPONINE But he never saw me there.\",\n \"INT. CAFÉ MUSAIN GROUND & 1ST FLOOR/EXT. RUE DE LA CHANVRERIE - NIGHT Enjolras and the students have a production line under way for making bullets. The rifles are now stacked and ready for the uprising. Grantaire is downstairs flirting with a BARMAID. MADAME HUCHELOUP the proprietress of the Cafe Musain is sewing a red revolutionary flag to help the students. ENJOLRAS One more day before the storm! INTERCUT WITH Marius walking back sadly through the Rue de la Chanvrerie. Eponine follows him at a distance. MARIUS Do I follow where she goes? ENJOLRAS At the barricades of freedom! MARIUS Shall I join my brothers there? ENJOLRAS When our ranks begin to form - MARIUS Do I stay and do I dare? ENJOLRAS -LRB- from top of stairs, for Grantaire's benefit. -RRB- Will you take your place with me? Grantaire rather reluctantly goes upstairs. ALL The time is now! The day is here! One day more!\",\n \"INT. PARIS POLICE HQ - NIGHT Javert is briefing a hundred uniformed police about the coming day in a grand ornate old room at Police Headquarters. JAVERT One day more to revolution. We will nip it in the bud. We'll be ready for these schoolboys. They will wet themselves with blood!\",\n \"INT. CARRIAGE - NIGHT VALJEAN One day more!\",\n \"INT. CAFÉ MUSAIN - GROUND & 1ST FLOOR - NIGHT Monsieur and Madame Thenardier are in the ground - floor bar, slyly watching a student smuggling some rifles up the stairs disguised in a piece of cloth. Joly takes a tray and collects empty tankards. As he ascends the stairs, Madame Hucheloup tries to get him to give the tankards back. THENARDIERS Watch'em run amuck! Catch'em as they fall! Never know your luck When there's a free - for - all. Here a little dip, There a little touch - Most of them are goners So they wo n't miss much! The drinkers in the bar raise their glasses to the students with their rifles. The students appeal to them. Grantaire is drunk already. Joly starts to melt the tankards in a pot to make more bullets. Marius enters the ground floor and takes the red flag from Madame Hucheloup that she has just finished. The citizens on the ground floor join the students. STUDENTS/CROWD One day to a new beginning! Raise the flag of freedom high! Every man will be a king! Every man will be a king! There's a new world for the winning! There's a new world to be won! Do you hear the people sing? Marius enters the first floor to join them at last. MARIUS My place is here! I fight with you!\",\n \"INT/EXT. RUE DE L'HOMME ARMEE/RUE DE LA CHANVRERIE/CAFÉ MUSAIN GROUND & 1ST FLOOR/POLICE STATION - NIGHT Valjean and Cosette arrive at their new hideout - Marius ties the red flag onto a flagpole - VALJEAN One day more! COSETTE/MARIUS I did not live until today How can I live when we are parted? Eponine outside the café, gazing longingly towards Marius - EPONINE One more day on my own. Javert in the police station to his men - JAVERT I will join these people's heroes I will follow where they go. I will learn their little secrets, I will know the things they know. VALJEAN/JAVERT One day more! MARIUS/COSETTE Tomorrow you'll be worlds away And yet with you my world has started. JAVERT One more day to revolution We will nip it in the bud We'll be ready for these schoolboys - THENARDIERS Watch'em run amuck Catch'em as they fall Never know your luck When there's a free - for - all! VALJEAN Tomorrow we'll be far away. VALJEAN/JAVERT Tomorrow is the judgement day. ALL Tomorrow we'll discover What our God in heaven has in store - One more dawn! One more day! One day more! We pull back from Enjolras and Marius holding their flag at the first floor window with the students beyond them to see that citizens have spilled out of the Cafe Musain into the street and have all joined in the final chorus.\",\n \"EXT. PARIS STREETS - DAY All is still. Then comes the soft beating of draped drums. The tramp of feet. All down the streets, waiting, the silent faces of the poor. Among them we see Enjolras, Marius, and the radical students. Police and national guardsmen control the growing crowds. Now into view come the leaders of a great FUNERAL PROCESSION. An entire battalion of infantry, marching with weapons reversed. A column of black - suited dignitaries carrying branches of laurel. A division of Cavalry rides in front, behind a section of military drummers who drum a military tatoo. INTO FRAME comes a team of black horses stepping slowly, black plumes nodding, drawing behind them a gun carriage draped in the tricolour flag. On the carriage stands a COFFIN. Softly, in time with the drums, the watching people begin to sing. CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! The police and guardsmen look round to see who is singing so subversively, but they ca n't be sure where it's coming from. The singing grows stronger. CROWD When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! The dignitaries become aware of the singing, and glance uneasily from side to side. CROWD Will you join in our crusade? Who will be strong and stand with me? Beyond the barricade Is there a world you long to see? As the coffin on its carriage draws level with the students, Enjolras suddenly steps out in front of the horses drawing the carriage and waves the red flag, stopping the horses and the procession. ENJOLRAS Then join in the fight That will give you the right To be free! The students break the ranks of the crowd and surround the coffin carriage. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Enjolras, Marius and Courfeyrac and other students climb onto the top of the carriage as the horses and led by Combeferre. ENJOLRAS Will you give all you can give So that our banner may advance? COURFEYRAC Some will fall and some will live Will you stand up and take your chance? ENJOLRAS/MARIUS/COURFEYRAC The blood of the martyrs Will water the meadows of France! The crowd supports them and surround the coffin carriage, blocking the attempts of the police to intervene, singing with passion. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Enjolras, the students, and the impassioned crowd have now become the procession. They turn off the main street away from the expected course of the funeral procession. Gavroche's elephant looms over this side street. Gavroche and his gang jump down from the elephant to join in. As the procession turns off, the calvary division gallop ahead and disappear round a corner. STUDENTS/CROWD Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? Say, do you hear the distant drums? It is the future that we bring When tomorrow comes! The students and crowd come face to face with the calvary. On one side, muskets of the infantry poke through the broken down fence surrounding the elephant. Other infantry have taken up position in a cafe opposite, upending tables to provide cover. There is a tense, prolonged silence. Then suddenly one nervous SOLDIER lets off a round. It hits a middle aged kindly looking WOMAN CITIZEN in the crowd around the coffin carriage. The crowd is furious. Students charge the soldier, grab his musket and knock him down with the hilt of the gun. More shots ring out. The cavalry charges. The funeral explodes into a riot. The people of Paris turn on the dragoons, the National Guards, the police. More squadrons of dragoons charge into the crowd, sabres unsheathed. Women run screaming in terror. ENJOLRAS To the barricades! STUDENTS/CROWD To the barricades! To arms! To arms! Some students fire weapons into the air, some into the cavalry and at the infantry. Enjolras knocks a calvary officer off his horse and Marius jumps on the horse. The students break away and race off through the cafe into a side street where citizens begin to erect a barricade. A cavalry rider gives chase and is shot by one of the students and falls through the window of an upended carriage. The students, with Marius on horseback, race to the slums.\",\n \"EXT. RUE DE LA CHANVRERIE/INT. CAFE MUSAIN - DAY FOLLOW the students as they burst into their home street. They have been joined by a motley collection of citizens including burghers and an old eccentric man FATHER MABEUF who works as hard as anyone. They raid a fencing shop and a gun shop for weapons, they force wives to give up their husbands' muskets and chalk up the debt to the revolution on their front doors, they encourage homeowners to contribute furniture sometimes appearing at high windows to help overcome any reluctance. Soon the street is raining tables, chairs, mattresses, sofas. They smash streetlamps. They set to work to build their barricade. Students commandeer an omnibus which is overturned to form the barricade's heart. Three students arrive in the street hauling an uprooted tree. They pull up paving stones, rip boards, timbers and front doors from house and shop - fronts, pull down buttresses, and raid the Cafe Musain, systematically stripping it of every item of furniture despite the lamentations and protestations of Madame Hucheloup and her barmaid. As the barricade rises they bring down from the first floor of the cafe the rifles and ammunition they've gathered, to prepare to defend their chosen ground. A student stands on a stone post distributing weapons. They line the first and second floor front rooms with paving stones to create protected shooting positions. The inside of the barricade is built neatly with steps up made from paving stones. The outside is a crazy knarled mess. ENJOLRAS Here upon these stones We will build our barricade. In the heart of the city We claim as our own Each man to his duty And do n't be afraid. A man in worker's clothing is helping build the growing barricade,. He wears the insignia of the rebels, and keeps his head down. ENJOLRAS Wait! I will need a report On the strength of the foe. The man who's just arrived looks up. It's Javert. JAVERT I can find out the truth! I know their ways, Fought their wars, Served my time In the days Of my youth. He slips away through the barricade, which is still rising. PROUVAIRE See! The people unite! GRANTAIRE Pray your right COMBEFERRE Dogs will bark! GAVROCHE Fleas will bite! LESGLES They will do what is right.\",\n \"EXT. BARRICADE - DUSK The barricade is now complete : an impressive wall up to twelve feet high, with one heavily guarded section that can be wheeled open to allow access. Two smaller barricades protect the left and right side of the cafe. Enjolras climbs halfway up the main barricade and turns to his little army. Grantaire prises the final piece of Madame Hucheloup's furniture from her arms - her favourite sewing armchair - and adds it to the barricade. As the men sing she steals it back defiantly. ENJOLRAS Red, the blood of angry men! ALL Black, the dark of ages past! Red, a world about to dawn! Black, the night that ends at last!\",\n \"EXT. BARRICADE - NIGHT It is night. The students have been waiting for hours. A single flaming torch atop the barricade caged in by cobbles underlights a fluttering red flag. There is no sign yet of any opposition. A boy climbs down from sentry duty on the barricade. Marius realizes its Eponine. She sits down with her back to him. MARIUS Hey, little boy, what's this I see? God Eponine the things you do! EPONINE I know this is no place for me, Still I would rather be with you! MARIUS Get out before the trouble starts! Get out, ` Ponine, you might get shot! EPONINE I've got you worried now, I have! That shows you like me quite a lot. MARIUS Get Out! Joly, sentry on the main barricade, sees a figure approach. JOLY He's back! Javert, still in his disguise as a rebel, is let back through the guarded ` gate' into the barricaded street. JAVERT Listen, my friends, I have done as I said. I have been to their lines, I have counted each man. I will tell what I can. Better be warned They have armies to spare And our danger is real - We will need all our cunning To bring them to heel. ENJOLRAS Have faith! If you know what their movements are We'll spoil their game. There are ways that a people can fight - We shall overcome their power! JAVERT I have overheard their plans. There will be no attack tonight. They intend to starve you out Before they start a proper fight - Concentrate their force, Hit us when it's light - GAVROCHE Liar! They all look up. There's Gavroche, on the top of the barricade. GAVROCHE Good evening, dear Inspector. Lovely evening, my dear! I know this man, my friends. His name's Inspector Javert! So do n't believe a word he says Cause none of it's true. This only goes to show What little people can do. Guns swing round to aim at Javert. He stares back in defiance. Gavroche comes dancing down the barricade to Courfeyrac's delighted embrace. COURFEYRAC Bravo, little Gavroche! You're the top of the class! Gavroche grabs Grantaire's red cap and puts it on his own head, mimicking the students. PROUVAIRE So what are we going to do With this snake in the grass? Enjolras faces Javert. ENJOLRAS Tie this man and take him To the tavern in there! The people will decide your fate, Inspector Javert! JAVERT Shoot me now or shoot me later - Every schoolboy to his sport! Death to each and every traitor! I renounce your people's court! ENJOLRAS Take this man. Bring him through. There is work we have to do. Javert is led into the cafe. As they pass through the front door only one student is holding Javert. Seizing his opportunity, Javert breaks free and the students have to subdue him by force. Javert is on his knees and is being tied to the staircase. ENJOLRAS When are they coming!? Silence. Suddenly, out of the darkness, the students and citizens at the barricade here an ominous distant sound. The sound of marching feet, hundreds of men, marching in unison. First soft, then building louder and louder, closer and closer. Boots on cobbles. The sound comes right into the end of the street. Enjolras and all the students man the main barricade. Silence. They peer over the barricade. In the pitch blackness, all they can make out is hundreds of gossamer thin slivers. These are bayonets and musket barrels dimly lit by the reflection from the torch. A voice shouts out from the darkness. ARMY OFFICER Who's there? At the same time we hear the clatter of guns being levelled. ENJOLRAS French Revolution. ARMY OFFICER Fire! A flash turns all the facades of the street bright crimson as though the door of a furnace has suddenly open and shut. A dreadful explosion bursts over the barricade. The red flag falls, the pole sliced through. Bullets richochet off the cornices of the houses, bore into the barricade and wound several men. ENJOLRAS -LRB- as students return fire. -RRB- Comrades, do not fire back! Do not waste powder! In the darkness, the clang of ramrods in muskets - the troop reloading weapons. Enjolras picks up the fallen flag and is about to take it up when the old man Father Mabeuf who has seen many insurrections before this takes the flag and runs up onto the top of the barricade. ARMY OFFICER Who's there? Get down! MABEUF Vive la France! ARMY OFFICER Fire! A second volley. Father Mabeuf falls down dead. While everyone is reacting to the dead old man and the wounded, the men are distracted from noticing that some French soldiers have used the cover of darkness to creep down the street. All at once the FIRST FULL ATTACK begins. Shouts and the rattle of gunfire as SOLDIERS throw themselves up and over the barricade. The students run for their guns and return fire. They are taken by surprise. All could be lost in the first instant. Some soldiers make it up to the top of the barricade, where they're driven back by the fierce resistance of the defenders. Eponine sees one soldier aiming his rifle at Marius - she throws herself in front of Marius just as the rifle fires - and Marius is safe. They are being overrun. Panic ensues. The gun battle is fierce. Marius in a flash of inspiration realises all is lost unless they do something. He drags a barrel of gunpowder to the top of the barricade, grabs the torch and with a face of deadly resolve he tips the torch towards the barrel. MARIUS Clear out or I'll blow up the barricade! Everyone freezes. ARMY OFFICER Blow it up then and take yourself with it! MARIUS And myself with it! Marius brings the torch closer to the powder keg. But already the soldiers have cleared out. Marius comes down from the barricade. FEUILLY -LRB- to Marius. -RRB- Thank you! LESGLES What were you thinking! As everyone surrounds Marius in amazement he spots Eponine lying propped against the barricade. MARIUS Eponine! What have you done? He kneels by her side. Eponine is dying. EPONINE Here. It's from Cosette. I kept it from you. With a struggle she pulls the letter out of her pocket, and pushes it into his hand. EPONINE Do n't be too hard on me. Marius is shocked to find blood pouring from her wound. MARIUS Eponine, you're hurt! You need some help! Rain begins to fall. EPONINE Do n't you fret, M'sieur Marius - I do n't feel any pain. A little fall of rain Can hardly hurt me now. You're here - that's all I need to know And you will keep me safe And you will keep me close And rain will make the flowers grow. MARIUS But you will live, Eponine - Dear God above! If I could close your wounds with words of love - EPONINE Just hold me now, and let it be. Shelter me. Comfort me. MARIUS You will live a hundred years If I could show you how. I wo n't desert you now. EPONINE The rain ca n't hurt me now. This rain will wash away what's past And you will keep me safe And you will keep me close I'll sleep in your embrace at last. Marius tries to comfort Eponine in his arms. MARIUS Hush - a - bye, dear Eponine You wo n't feel any pain A little fall of rain Can hardly hurt you now I'm here. EPONINE So do n't you fret, M'sieur Marius I do n't feel any pain A little fall of rain Can hardly hurt me now. MARIUS I will stay with you Till you are sleeping. EPONINE That's all I need to know And you will keep me safe And you will keep me close And rain. Will make the flowers. Grow. Eponine dies in Marius's arms. Marius looks up at the others, his eyes full of tears. ENJOLRAS They were the first to fall. The first to fall upon this barricade. MARIUS Her name was Eponine! Her life was cold and dark, yet she was unafraid! COMBEFERRE We fight here in her name. PROUVAIRE She will not die in vain. LESGLES She will not be betrayed. They pick up Eponine's body and carry her into the tavern. COURFEYRAC -LRB- to Gavroche. -RRB- Are you alright? GAVROCHE That was my sister.\",\n \"EXT. BARRICADE - NIGHT Marius reads the letter Eponine has given him. He takes out pencil and paper and writes a note. Looking round, he sees Gavroche. MARIUS Gavroche! Do you know the Rue de l'Homme Armé? GAVROCHE Course I do! MARIUS Will you take this for me? He holds out his note.\",\n \"INT. INN, RUE DE L'HOMME ARMEE, PARIS - NIGHT The LANDLADY climbs the stairs, followed by Gavroche. The landlady indicates the door, and Gavroche knocks boldly. The door opens a crack to reveal a cautious Valjean. GAVROCHE Letter for Cosette. VALJEAN I'll take it. Gavroche holds out the letter with one hand, not quite giving it, the other hand open for a tip. Valjean gives him a coin, which he pockets as he hands over the letter. GAVROCHE Something for you, something for me. Who needs charity?\",\n \"INT. VALJEAN'S ROOM, LODGING HOUSE - NIGHT ON VALJEAN - As he reads the note. VALJEAN ` Dearest Cosette, you have entered my soul And soon you will be gone. Can it be only a day since we met And the world was reborn? If I should fall in the battle to come Let this be my goodbye. Now that I know you love me as well It is harder to die. I pray that God will bring me home To be with you. Pray for your Marius. He prays for you.' He looks up, deeply distressed. He ca n't bear the thought of losing Cosette. VALJEAN They have n't got a chance, these boys They almost certainly will die She'll be alone And she will need me all the more And we will go on as before When he is gone I dare not think like this I must find this boy\",\n \"EXT. PARIS STREETS - NIGHT Valjean walks the streets, not caring where he goes, struggling with his tormented thoughts. He sees a barricade being dismantled. And bodies. Suddenly he knows what he's going to do. He sees a dead soldier. He takes his jacket and swiftly pulls it on. He continues on his way in the dark. Looking up he sees that he's been walking all the time towards the very barricade where Marius waits. Now looking like a soldier, he passes unchallenged through their lines, and into the shadows. As he passes, he notices two soldiers climbing up onto the rooftops.\",\n \"EXT. BARRICADE - NIGHT Glimpses through the barricade of a lone figure approaching from the far end of the narrow street. The figure comes into lamp light. It's Valjean, in the soldier's jacket. The student sentries level their guns. Gavroche jumps up. VALJEAN Do n't shoot! JOLY Here comes a man in uniform! What brings you to this place? VALJEAN I come here as a volunteer. JOLY Approach and show your face! PROUVAIRE You wear an army uniform. VALJEAN That's why they let me through. The student sentries open the slot in the barricade to let Valjean enter. JOLY You've got some years behind you, sir. VALJEAN There's much that I can do. JOLY You see that prisoner over there? He points to Javert, in a dark corner, his hands tied. GRANTAIRE A volunteer like you! COMBEFERRE A spy who calls himself Javert! GRANTAIRE He's going to get it too! Javert looks up and meets Valjean's eyes. A steady shared look. GAVROCHE Do n't shoot! I know him! He's no soldier! Suddenly Valjean spots a couple of snipers creeping over the roofs to gain an angle of attack on them. They are aiming at Enjolras. Swiftly Valjean grabs a gun and shoots up at them sending them scattering. Quickly other students join in and the snipers are driven back. There is a burst of gunfire from both ends of the street as a brief fire fight ensues. The snipers have disappeared. Enjolras turns to Valjean. ENJOLRAS For your presence of mind, For the deed you have done, I will thank you, M'sieur, When our battle is won. MARIUS Thank you, M'sieur. VALJEAN Give me no thanks, M'sieur. There's something you can do. ENJOLRAS If it is in my power. VALJEAN Give me the spy Javert! Let me take care of him. Javert hears this with grim satisfaction. JAVERT The law is inside out. The world is upside down. ENJOLRAS Do what you have to do - The man belongs to you. He turns to his little army. ENJOLRAS The enemy may be regrouping! Hold yourselves in readiness! Come, my friends, back to your positions! The dawn is breaking fast. Valjean takes Javert out the back of the Cafe Musain. He carries a knife. VALJEAN We meet again. JAVERT You've hungered for this all your life. Take your revenge. How right you should kill with a knife. Valjean uses the knife to cut Javert free. VALJEAN You talk too much. Your life is safe in my hands. JAVERT Do n't understand. VALJEAN Get out of here. JAVERT Valjean, take care! I'm warning you. VALJEAN Clear out of here! JAVERT Once a thief, forever a thief. What you want, you always steal. You would trade your life for mine. Yes, Valjean, you want a deal! Shoot me now for all I care - If you let me go, beware! You'll still answer to Javert! VALJEAN You are wrong, and always have been wrong. I'm a man no worse than any man. You are free, and there are no conditions - No bargains or petitions. There's nothing that I blame you for. You've done your duty, nothing more. No doubt our paths will cross again. He raises his gun and points it at Javert. VALJEAN Go! As Javert goes, he raises the gun barrel and fires a single shot into the air. ENJOLRAS Courfeyrac, you take the watch - They may attack before it's light. Everybody keep the faith, For certain as our banner flies, We are not alone - The people too must rise! Marius is manically working to raise the height of one of the smaller barricades. ENJOLRAS Marius, rest. Grantaire drunkenly starts singing a drinking song and it is taken up more seriously by Feuilly. Bottles are passed round. GRANTAIRE Drink with me to days gone by! FEUILLY Sing with me the songs we knew! PROUVAIRE Here's to pretty girls Who went to our heads! JOLY Here's to witty girls Who went to our beds! STUDENTS Here's to them -. -LRB- Marius sings to Valjean. -RRB- And here's to you! GRANTAIRE Drink with me to days gone by! Can it be you fear to die? Will the world remember you when you fall? Can it be your death Means nothing at all? Is your life just one more lie? Grantaire glares at Enjolras and enters the cafe. ALL Drink with me To days gone by! To the life That used to be! At the shrine of friendship Never say die. Let the wine of friendship Never run dry! Here's to you And here's to me! Valjean is moving through the cafe when he hears Marius through a window. He moves to the window. Marius sits beneath it. MARIUS Do I care if I should die Now she goes across the sea? Life without Cosette Means nothing at all. Please do n't weep, Cosette, Should Marius fall. Will you weep, Cosette, For me? Valjean listens to Marius's song, and he's moved.\",\n \"EXT. BARRICADE/ INT. CAFE MUSAIN - NIGHT Look - outs keep watch at either end of the barricaded street. Many of the rest of the rebels are sleeping. Valjean paces, unable to sleep, inside the cafe. Dead bodies are lined up on the ground floor. He comes to a stop, and gazes on Marius as he sleeps through the window. VALJEAN God on high Hear my prayer In my need You have always been there. He is young He's afraid Let him rest Heaven blessed. Bring him home Bring him home Bring him home! He's like the son I might have known If God had granted me a son. The summers die One by one How soon they fly On and on And I am old And will be gone. Bring him peace Bring him joy He is young He is only a boy. You can take You can give Let him be Let him live, If I die, let me die Let him live Bring him home Bring him home Bring him home! Valjean is now kneeling next to the sleeping Marius. CRANE UP AND UP - Seeing the little world of the barricaded street now surrounded by waiting soldiers - and the streets round them packed with soldiers in their thousands, so many that we know the little band can never win. CRANE UP AND UP until the barricade and the army that entraps it has become a small pool of darkness in the centre of the bright lights of Paris.\",\n \"EXT. PARIS - DAWN The sun still below the rooftops. Every house is tightly shuttered.\",\n \"INT. CAFE MUSAIN - DAWN Grantaire is fast asleep in the upstairs room, dead drunk.\",\n \"EXT. BARRICADE - DAWN Enjolras re - enters the barricade through the secret gate. He has been on a reconnaissance. He looks at the street. No one is stirring, but for a single shutter which opens a crack - a face peeps - and it closes again. Below him the students are up and getting ready. ENJOLRAS The people have not stirred. COURFEYRAC Yet we will not abandon those Who still live in fear. ENJOLRAS The people have not heard, Yet we will not abandon those who can not hear. Let us not waste lives! Let all who wish to Go from here! There is silence. Uncertainty. Yet no one moves to go. GAVROCHE -LRB- from top of barricade. -RRB- Do you hear the people sing GAVROCHE/COURFEYRAC Singing the song of angry men STUDENTS/CITIZENS -LRB- joining. -RRB- It is the music of the people Who will not be slaves again When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Under this : FEUILLY Enjolras! Ammunition's short. MARIUS I will go into the streets. There are bodies all around. Ammunition to be had. Lots of bullets to be found. ENJOLRAS I ca n't let you go. VALJEAN Let me go! He's no more than a boy. I am old. I have nothing to fear. Gavroche is already climbing the barricade under cover of the smoke. GAVROCHE I volunteer! COURFEYRAC Come back, Gavroche! Do n't you dare! JOLY Someone pull him down right now! GAVROCHE Look at me, I'm almost there! GAVROCHE Little people know When little people fight We may look easy pickings But we've got some bite! So never kick a dog When he's just a pup - We'll fight like twenty armies And we wo n't give up! The rays of the rising sun break through, lighting up Gavroche. GAVROCHE So you'd better run for cover When the pup grows - Crack! A musket shot. Gavroche falls face down onto the barricade. COURFEYRAC No - o! He runs up the barricade, seizes Gavroche's body in his arms, convulsed with grief, and brings it back through the gate in the barricade. At the other end of the street Javert has appeared. He sees this gate. And talks to the Army Officer. As the smoke from the muskets clears horses are revealed drawing field artillery into position. The Army Officer is lining up the big guns carefully. ARMY OFFICER You at the barricades listen to this! The people of Paris sleep in their beds! You have no chance, No chance at all! Why throw your lives away? Enjolras gazes on his pitifully small group. ENJOLRAS Let us die facing our foes! Make them bleed while we can! COMBEFERRE Make'em pay through the nose! COURFEYRAC Make'em pay for every man! ENJOLRAS Let others rise to take our place Until the earth is free! The sun now appears above the rooftops of the city. And the big guns fire - BOOM! BOOM! BOOM! The bombardment hits the barricade, rocking it. In its wake a massive barrage of musket fire. The big gun has been lined up with the gate and has burst right through in the first hit. Bullets fly, and every few moments another cannon ball smashes into the piled debris. Javert is glimpsed among the attackers. Enjolras and the students throw themselves onto the barricades, firing at the attackers, handing their rifles down to others to be re - loaded, firing again. Valjean moves among them, tending to the wounded, lifting down the dead, regardless of his own safety. Marius takes a bullet, and crumples and falls. Valjean runs towards him - CRASH! The latest cannonade bursts a hole in the barricade and now the soldiers are storming through. The hard core of student fighters retreat, firing as they go, into the Café Musain.\",\n \"INT. CAFÉ MUSAIN - DAY Students and soldiers fight in the café, on the stairs, up the stairs to the upper room. Students driving back the pursuing soldiers hack away at the staircase, smashing it to fragments - the soldiers below fire up at them - students fall, their bodies caught on the jagged remnants of the stairs. Grantaire is still unconscious from drink.\",\n \"EXT. BARRICADE - DAY Valjean has Marius in his arms and is hiding him from the onrush of the soldiers -\",\n \"INT. CAFÉ MUSAIN - DAY The students' ammunition has run out, they're hurling sticks and bottles - but the soldiers have found a way to clamber up, shooting as they come, and one by one the students are falling.\",\n \"EXT. STREET OUTSIDE CAFÉ MUSAIN - DAY Valjean carries Marius away from the carnage. A soldier challenges him. One violent blow from Valjean sends the soldier flying -\",\n \"INT. CAFÉ MUSAIN - DAY The soldiers break through at last to the upper room, to find there's only Enjolras still alive. He stands by the window, knowing he will die now, proud and unafraid. Seeing him the soldiers hesitate. The sudden silence wakes Grantaire from his drunken slumber. GRANTAIRE Long live the republic! He sees Enjolras with the muskets raised against him. Grantaire goes and joins him. Enjolras smiles, and raises his now - ragged red flag. The rifles blaze. Grantaire drops back to the ground. Enjolras falls back -\",\n \"EXT. BARRICADE - DAY Enjolras falling backwards out of the window, until he hangs upside down, the red flag still in his hands, streaming like blood down the wall. PULL BACK to see the street littered with corpses, and the remains of the barricade, and soldiers scouring the rubble for any last pockets of resistance. BACK AND BACK to come to a stop looking at the wide scene. INTO FRAME walks Javert, grimly surveying the victory of law over rebellion.\",\n \"EXT. BACK ALLEY - DAY Valjean carries Marius down a long narrow alley that runs between the backs of tall houses. The alley turns a corner - and there ahead is a dead end. Behind him, the stamp of soldiers' boots. Ahead, no way out. Then his searching gaze falls on an iron grating in the ground. A storm drain. ON THE SOLDIERS - As they come round the corner into the end of the alley. They look round. It's empty. SOLDIER Nothing here! The soldiers depart. A moment of silence. Then into the alley's end steps Javert. Not so easily fooled. He walks all the way to the end, and looks round. He sees the drain at his feet. He sees the signs that the grating has been lifted. He stoops, and tries to lift it. It's far too heavy for him. He straightens up and looks round, calculating. Where does the drain lead?\",\n \"INT. PARIS SEWERS - DAY Valjean is pulling Marius after him down a tight sloping pipe, where dark water races. Suddenly they start to slide, then drop through a vent into a wide sewage tunnel. Faint light reflecting off the slime of curving tunnel walls. The skitter of rats. Sodden forms floating by : dead bodies. Valjean carries Marius down the tunnel, moving as fast as he can, losing strength all the time. He reaches an intersection where four sewers meet. Light falls through distant gratings. One of the four sewers is dry. Here he lets his burden down, and himself sinks to the slimy ground to rest. He lets his eyes close. A voice echoes in the shadows. THENARDIER Here's a hint of gold Stuck into a tooth - Pardon me, m ` sieur, You wo n't be needing it no more. Should n't be too hard to sell. A figure coming closer. A sewer thief, robbing corpses. No sign of life in either Valjean or Marius. THENARDIER Well, someone's got to clean'em up, my friends, Before the little harvest Disappears into the mud. Someone's got to collect their odds and ends When the gutters run with blood. Now we see the thief is Thenardier. He finds a ring on Marius's finger and pulls it off. THENARDIER Here's a tasty ring Pretty little thing Heart's no longer going And he's lived his little time, But his watch is ticking yet. It's a world where the dog eats the dog. Where they kill for the bones in the street. And God in his heaven, He do n't interfere Cos he's dead as the stiff at my feet! I raise my eyes to see the heavens And only the moon looks down. The harvest moon shines down! Valjean wakes, rears up, seizes Thenardier by the arm, slams him against the sewer wall. VALJEAN How do I get out of here? THENARDIER There! That way! Valjean drops him, picks Marius up once more, and sets off. Thenardier stares after them, grinning. He's sent then the wrong way. LATER - Valjean in the sewers, Marius on his back, and they're sinking ever deeper into the slimy water. As he feels himself sink, Valjean holds Marius up in his arms and forges on, chest deep, lifting the younger man above his head. Still he sinks, until his face is half - submerged and he's gagging in the filth. He stumbles, and suddenly he's sunk beneath the surface, and Marius is dropping - Then up he bursts again, face black with slime, eyes burning with his refusal to be beaten. LATER - Valjean staggers down the endless sewers, Marius on his back. But all the time he can hear, closer now, the rushing sound of the river. Round a bend and at last - moonlight ahead. He drags himself on through the shallow running water towards the moonlight. He reaches the exit at last. Before him the river.\",\n \"EXT. RIVER EMBANKMENT, PARIS - NIGHT Valjean, crusted with slime, heaves Marius out of the sewer onto the embankment that runs beside the river. He looks up. There, staring at him, is Javert. Valjean rises slowly. Heaves Marius up onto his back once more. The strain of the night is showing. He's a man near the end of his strength. VALJEAN It's you, Javert! I knew you would n't wait too long. The faithful servant at his post once more. This man's done no wrong. And he needs his family's care. JAVERT I warned you I would not give in! I wo n't be swayed! VALJEAN Another hour yet And then I'm yours And all our debts are paid. JAVERT The man of mercy comes again And talks of justice! VALJEAN Come, time is running short - Look down, Javert! He's standing in his grave! He starts to move past Javert. Javert draws his pistol and holds it to Valjean's head. JAVERT One more step and you die. Valjean meets his eyes. That old battle of will against will. VALJEAN Then I die. He starts walking past Javert. Javert's hand trembles as it holds the pistol. Valjean keeps walking. Javert wills himself to shoot, but he just ca n't do it. Frustrated, enraged with himself, he lowers the gun. JAVERT Take him, Valjean, Before I change my mind! I will be waiting. 24601! He turns away, trembling now all up and down his body. He stares into the river. Valjean is gone now. He's alone. JAVERT Who is this man? What sort of devil is he? To have caught me in a trap And choose to let me go free? It was his hour at last To put a seal on my fate Wipe out the past And wash me clean off the slate! All it would take Was a flick of his knife Vengeance was his And he gave me back my life! He begins to move away along the embankment, up steps, towards a bridge. He's unaware of everything except the turmoil in his brain. JAVERT Damned if I live in the debt of a thief! Damned if I yield at the end of the chase! I am the law and the law is not mocked! I'll spit his pity right back in his face! There is nothing on earth that we share! It is either Valjean or Javert! How can I allow this man To hold dominion over me? This desperate man that I have hunted. He gave me my life! He gave me freedom! I should have perished by his hand It was his right. It was my right to die as well. Instead I live. But live in hell! He moves up from the embankment onto the bridge. Here he stands, looking down at the dark water of the night river. The Seine forms a whirlpool here, where violent currents swirl round the piles of the bridge. JAVERT And my thoughts fly apart Can this man be believed? Shall his sins be forgiven? Shall his crimes be reprieved? And must I now begin to doubt Who never doubted all those years? My heart is stone and still it trembles. The world I have known is lost in shadow Is he from heaven or from hell? And does he know That granting me my life today This man has killed me even so? He climbs up onto the parapet, reaching his arms up to the night sky. JAVERT I am reaching but I fall And the stars are black and cold As I stare into the void Of a world that can not hold. I'll escape now from that world From the world of Jean Valjean This is nowhere I can turn. There is no way to go on. He reaches higher, turning his body, twisting, as if he wants some angel from on high to save him - and so, turning, he falls into the river. The swirling eddies close over him. And he's lost.\",\n \"EXT. STREET OUTSIDE CAFÉ MUSAIN - DAY Soldiers are dismantling the last of the barricade. Women move about the street, seeking their dead loved ones among the bodies that still litter the barricade. These are both the middle - class mothers of the students - Enjolras's mother, Grantaire's sister - and the working women of the slums for whom they died, united now in their grief. WOMAN 1 Did you see them Going off to fight? WOMAN 2 Children of the barricade Who did n't last the night. WOMAN 3 Did you see them Lying where they died? Someone used to cradle them And kiss them when they cried. WOMAN 4 Did you see them lying side by side? WOMAN 5 Who will wake them? WOMAN 6 No one ever will. WOMAN 2 No one ever told them that A summer day can kill. WOMAN 7 They were schoolboys Never held a gun Fighting for a new world that Would rise up like the sun. WOMAN 3 Where's that new world Now the fighting's done? The women move off to go about their day's business.\",\n \"INT. MARIUS'S FAMILY HOUSE, PARIS - DAY CLOSE ON MARIUS - He's waking from the nightmare, finding himself in a fine bed, with clean linen. He looks round : a handsome room. GILLENORMAND Marius! You've come back to us! Marius recognises the old man anxiously watching him : his grandfather, Monsieur GILLENORMAND. MARIUS Grandfather. He struggles to rise, but he lacks the strength. His grandfather's face shows only love and concern. GILLENORMAND Rest, Marius. No more harsh words between us. I just thank God you're alive. Timidly the old man comes closer to the bed. Tears form in Marius's eyes. Encouraged, the old man takes Marius's hand in his. GILLENORMAND You've come home. To all of us. The distant voices of the mourning women - WOMEN -LRB- O.S. -RRB- Round and round And back where you began.\",\n \"INT. CAFÉ MUSAIN - DAY Marius makes his way slowly up the stairs to the upper room. He's still weak from his wounds. He enters the room where his friends died, and looks round. He sinks into a chair. MARIUS There's a grief that ca n't be spoken There's a pain goes on and on Empty chairs at empty tables Now my friends are dead and gone. He sees the bloodstain on the wall beneath the window sill. The blood of Enjolras. MARIUS Here they talked of revolution Here it was they lit the flame Here they sang about tomorrow And tomorrow never came. From the table in the corner They could see a world reborn And they rose with voices ringing And I can hear them now! The very words that they had sung Became their last communion On the lonely barricade at dawn. He looks out of the window at what's left of the barricade. He seems to see again the brave doomed defence, the smoke and the gunfire, the young men falling. MARIUS Oh my friends, my friends, forgive me That I live and you are gone There's a grief that ca n't be spoken There's a pain goes on and on. Phantom faces at the window Phantom shadows on the floor Empty chairs at empty tables Where my friends will meet no more. Oh my friends, my friends, do n't ask me What your sacrifice was for Empty chairs at empty tables Where my friends will sing no more. Slowly he rises from the chair and turns to the doorway. There stands Cosette, waiting for him.\",\n \"INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Cosette holds Marius, supporting him, as he enters the house. COSETTE Every day You walk with stronger step, You walk with longer step. The worst is over. MARIUS Every day I wonder every day Who it was brought me here From the barricade. Cosette leads him into the room where Valjean and Gillenormand wait. COSETTE Do n't think about it, Marius! With all the years ahead of us! I will never go away And we will be together Every day. Every day We'll remember that night And the vow that we made. As Valjean and Gillenormand look on, Marius and Cosette sing their love to each other. COSETTE A heart full of love A night full of you The words are old But always true. VALJEAN She was never mine to keep She is youthful, she is free. MARIUS Cosette, Cosette! COSETTE I saw you waiting and I knew - GILLENORMAND Thank God, thank God you are here! Thank God, thank God you are home! MARIUS Waiting for you! At your feet! COSETTE At your call! VALJEAN/GILLENORMAND Love is the garden of the young Let it be Let it be! A heart full of love This I give you this day. MARIUS/COSETTE And it was n't a dream Not a dream after all.\",\n \"INT. PARLOUR, MARIUS'S FAMILY HOUSE - DAY Marius stands before Valjean, alone in this more private room. MARIUS M'sieur, this is a day I never can forget. Is gratitude enough For giving me Cosette? Your home shall be with us And not a day shall pass But we will prove our love To you, whom we shall call A father to us both, A father to us all. VALJEAN Not another word, my son. There's something now that must be done. He's prepared himself to make this confession, but it's still hard. VALJEAN There lived a man whose name was Jean Valjean. He stole some bread to save his sister's son For nineteen winters served his time In sweat he washed away his crime. Marius hears this with shock. VALJEAN Years ago, He broke parole and lived a life apart. How could he tell Cosette and break her heart? It's for Cosette this must be faced : If he is caught, she is disgraced. The time has come to journey on, And from this day he must be gone! Who am I? Who am I? MARIUS You're Jean Valjean! Marius ca n't conceal that he's disturbed by this revelation. MARIUS Monsieur, you can not leave! Whatever I tell my beloved Cosette She will never believe me. VALJEAN Make her believe I have gone on a journey A long way away. Tell her my heart was too full for farewells - It is better this way. Promise me, Monsieur, Cosette will never know. MARIUS I give my word. VALJEAN What I have spoken, why I must go. MARIUS For the sake of Cosette, it must be so.\",\n \"EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY A waiting cab. Valjean comes out of the modest lodging house and gets in. The cab rattles away down the street. IN THE CAB - Valjean sits gazing far away at nothing. Then his weary eyes close.\",\n \"INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Cosette gazes at Marius, bewildered by what she has just learned. COSETTE Where's he gone without a word That would n't be his way to go MARIUS All he asked for me to say He's on a journey, far away. Dear Cosette, he loves you so Perhaps he will return some day. Cosette comes into Marius's arms, tears in her eyes. COSETTE He ca n't leave us now What's our wedding day Without him giving me away?\",\n \"EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY Marius and Cosette, newly married, are walking towards Marius' house through an aisle created by wedding guests. Carriages line the street. WEDDING GUESTS Ring out the bells Upon this day of days! May all the angels Of the Lord above In jubilation Sing their songs of praise! And crown this blessed time With peace and love! SCENE OMITTED\",\n \"INT. MARIUS'S FAMILY HOUSE, PARIS - DAY Waltz music plays as Marius and Cosette lead the dancing at the wedding reception. As the dance proceeds, two extraordinary figures enter, and start helping themselves to the drink and the food. They are Thenardier and his wife, dressed up for high society. MAJORDOMO The Baron and Baroness du Thenard They look round as the dance continues, highly satisfied with themselves and see Marius. Thenardier makes a mock - formal bow. THENARDIER I forget where we met. Was it not at the Chateau Lafarge Where the Duke did that Puke Down the Duchess's decolletage? MARIUS No, ` Baron du Thenard', The circles I move in are humbler by far. Go away, Thenardier! Do you think I do n't know who you are? MADAME THENARDIER He's not fooled! Told you so! Show M'Sieur what you've come here to show. Tell the boy what you know! THENARDIER Pity to disturb you at a feast like this But 500 francs surely would n't come amiss. MARIUS In God's name say what you have to say. MADAME THENARDIER -LRB- to Thenardier. -RRB- He speaks. -LRB- to Marius. -RRB- You pay! THENARDIER What I saw, clear as light, Jean Valjean in the sewers that night, Had this corpse on his back Some boy he'd killed in a viscious attack. I was there, never fear! Even found me this fine souvenir! He shows off his ring. Marius stares in astonishment. MARIUS I know this! This was mine! This is surely some heavenly sign! Thenardier steals the ring back. THENARDIER And there's more! Mark this well - It was the night that the barricades fell. MARIUS Then it's true! Then I'm right! Jean Valjean was my saviour that night! Thenardier looks past Marius to where Cosette stands among their friends. He lowers his voice. THENARDIER Jean Valjean - the old con. You pay up and I'll say where he's gone. He takes out money and reluctantly presses it into Thenardier's hands. Madame Thenardier takes the money before Thenardier has safely pocketed it. MARIUS Not so loud! Here's for you. God forgive us the things that we do. MADAME THENARDIER How's about some extra On a day so glad Our little orphan girl She has n't done so bad. Raised in a convent Cash to spare - We want our share. Marius hands over yet more money to Madame Thenardier. THENARDIER Quite the little nun, ai n't she! CRACK! Thenardier sinks to the ground, felled by a powerful blow from an angered Marius. The band stops playing. MARIUS Where is he? THENARDIER -LRB- cowardly voice. -RRB- The convent. Marius rushes to Cosette and we see him telling her where Valjean is. They hurry away. Thenardier clambers to his feet, helped by his wife. He gestures to the band to continue. They stand by the tiered wedding cake. As Thenardier recovers his composure, Madame Thenardier steals one then two pillars from the cake so it collapses on the floor. She then pushes it under the table with her foot. THENARDIER Ai n't it a laugh? Ai n't it a treat? Hob - nobbin' here Among the elite? Here comes a prince There goes a Jew This one's a queer But what can you do? -LRB- pulling Madame Thenardier onto the dance floor. -RRB- Paris at my feet! Paris in the dust! And here's me breaking bread With the upper crust - As he pivots Madame Thenardier, stolen silver drops out from Madame Thenardier's dress. The music stops dead in the clatter. The Thenardiers look up, as if implying that the silver dropped from the ceiling. The dance continues. Monsieur Gillenormand motions to the Majordomo to remove these unwanted guests. THENARDIER Beggar at the feast! Master of the dance! Life is easy pickings If you grab your chance! MADAME THENARDIER Everywhere you go Law - abiding folk Doing what is decent THENARDIER But they're mostly broke! MADAME THENARDIER Singing to the Lord on Sundays THENARDIER Praying for the gifts he'll send - THENARDIER/MADAME THENARDIER But we're the ones who take it - We're the ones who make it in the end! The Thenardiers are carried off, singing as they go. THENARDIER Watch the buggers dance MADAME THENARDIER Watch'em till they drop! THENARDIER/MADAME THENARDIER Keep your wits about you And you stand on top! THENARDIER Masters of the land MADAME THENARDIER Always get our share THENARDIER/MADAME THENARDIER Clear away the barricades And we're still there! We know where the wind is blowing Money is the stuff we smell - And when we're rich as Croesus, Jesus! Wo n't we see you all in hell! As they are thrown out, the Thenardiers steal a tiara and a candlestick.\",\n \"EXT. CONVENT, PARIS - NIGHT IN ON A WINDOW - Where two candle burn.\",\n \"INT. CONVENT CHAPEL, PARIS - NIGHT Valjean prays in the chapel, on his knees. He's very weak. Next to the crucifix on the altar are Valjean's two silver candlesticks, in which two candles burn. VALJEAN Alone I wait in the shadows I count the hours till I can sleep. I dreamed a dream Cosette stood by It made her weep To know I die. Alone at the end of the day Upon this wedding night I pray Take these children, my Lord, to thy embrace And show them grace. God on high Hear my prayer Take me now To thy care Where you are Let me be Take me now Take me there Bring me home Bring me home! VALJEAN is joined by the ghost of Fantine. She takes his hand as he prays. FANTINE M'sieur I bless your name. VALJEAN I am ready, Fantine. FANTINE M'sieur lay down your burden. VALJEAN At the end of my days. FANTINE You raised my child in love, VALJEAN She's the best of my life. FANTINE And you will be with God.\",\n \"EXT. CONVENT CLOISTERS - NIGHT Cosette and Marius rush round the cloisters and enter the chapel in the middle of the cloisters.\",\n \"INT. CONVENT CHAPEL - NIGHT The sound of the door opening. Valjean looks round. It's Cosette entering, followed by Marius. VALJEAN Cosette? Tears form in his eyes. Cosette goes to him, kneels before him, takes him in her arms. COSETTE Papa, papa, I do not understand - Are you all right? Why did you go away? VALJEAN Cosette, my child! Am I forgiven now? Thank God, thank God, I've lived to see this day! Marius comes to him. MARIUS It's you who must forgive a thoughtless fool! It's you who must forgive a thankless man! It's thanks to you that I am living, And again I lay down my life at your feet. Cosette, your father is a saint! When they wounded me He took me from the barricade, Carried like a babe, And brought me home to you! VALJEAN Now you are here Again beside me Now I can die in peace For now my life is blessed. COSETTE You will live, papa You're going to live It's too soon Too soon to say goodbye. VALJEAN Yes, Cosette, forbid me now to die! I'll obey I will try. He holds out a letter for her. VALJEAN On this page I write my last confession. Read it well When I at last am sleeping. It's the story Of one who turned from hating A man who only learned to love When you were in his keeping. Cosette takes the letter and kisses it. COSETTE I know it, papa. Valjean turns back, face shining, towards the table where the candles burn in the silver candlesticks. There he sees three ghosts waiting for him. The ghost of the Bishop. The ghost of Fantine. And beyond her, watching Marius with love, the ghost of Eponine. Fantine comes towards him, reaching out her hands. VALJEAN I'm ready now, Fantine. FANTINE Come with me Where chains will never bind you All your grief At last, at last behind you Lord in heaven Look down on him in mercy - VALJEAN Forgive me all my trespasses And take me to your glory! Cosette embraces Valjean, weeping. Valjean reaches up his hands, and lets the ghost of Fantine take them. FANTINE/EPONINE Take my hand I'll lead you to salvation Take my love For love is everlasting. VALJEAN/FANTINE/EPONINE/BISHOP And remember The truth that once was spoken : To love another person Is to see the face of God. Led by Fantine, Valjean walks out of the Chapel towards the cloister. What remains is Cosette, her head cradled in the lap of the man who has just died. The walls of the cloisters are covered in votive candles. The Bishop of Digne waits in front of the candles. Now Valjean's strong and young again. Before they reach the wall of candles, all three are gone. As they disappear we CRANE UP, high over the cloister, high over the walls of the Convent and we see the Paris streets outside. Fires are burning and debris is scattered in the streets. Dawn is breaking. From far away, the sound of an approaching crowd -\",\n \"EXT. PLACE DE LA BASTILLE - DAY THE CAMERA MOVES over the cobbles as the light of the rising sun reveals the devastation left by a bitter street battle. Past the remains of a barricade. The distant sound of an approaching march. Sixteen years later. Paris, 1848. From far off, the swelling sounds of the approaching march become the words of a song. MARCHERS Do you hear the people sing Lost in the valley of the night? It is the music of a people Who are climbing to the light For the wretched of the earth There is a flame that never dies Even the darkest night will end And the sun will rise. As THE CAMERA RISES we see we're in the Place de la Bastille. The triumphal column has long been completed, but the great elephant is sadly dilapidated and has become incorporated into an immense barricade - three stories high, seven hundred feet long. Down all the streets that converge on the square we now see the multiple victory marches approaching. They cheer and beat drums as they climb up to the top of the barricade. The people of Paris have risen in their tens of thousands. The King has fled. A new Republic is born. There in the forefront of one column march Marius and Cosette. MARCHERS They will live again in freedom In the garden of the Lord They will walk behind the plough - share They will put away the sword The chain will be broken And all men will have their reward! As the marchers come nearer we begin to realise how many there are : thousand upon thousand. And there marching among them we see ghosts from the past - Enjolras and the students who died - and Fantine - and Eponine - And out of the crumbling elephant peers another ghost : the grinning face of Gavroche. He climbs out to dance on the elephant, as the crowd fill the square. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? As the marchers converge, there watching them are Thenardier and his wife. Thenardier gives the marchers a wave of greeting. Survivors to the last. MARCHERS Do you hear the people sing? Say, do you hear the distant drums? It is the future that they bring When tomorrow comes! Now among the marchers we see the ghost of Valjean, singing with the rest atop the barricade, amongst the waving red flags. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? Say, do you hear the distant drums? It is the future that they bring When tomorrow comes. Tomorrow comes! END CREDITS\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,1,0,0,0,1,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,1,0,0,0,1,1,0,0,0,1,0,0,1,1,0,0,1,0,1,0,1,0,1,0,0,1,1,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"In 1815, French prisoner Jean Valjean is released on parole from the Bagne of Toulon after serving nineteen years for stealing a loaf of bread for his sister’s daughter and trying to escape multiple times. On the outside, Valjean's anger rises as his paroled status prevents him from getting work or accommodation. He is offered shelter by the kindly Bishop of Digne, but Valjean steals his silverware. Captured by police and taken to the Bishop, Valjean is shocked when the Bishop answers he offered him the silver, telling him to use it to do something worthwhile with his life. Moved by the Bishop's words, Valjean decides to break his parole and start a new life. Eight years later in 1823, Valjean is now a respected factory owner and mayor of Montreuil, Pas-de-Calais. He is shocked when Javert, formerly a Toulon prison guard, arrives as his new chief of police. Javert suspects Valjean's real identity when he rescues an injured worker trapped under a heavy cart. One of Valjean's workers, Fantine, is dismissed by the factory foreman upon learning she has an illegitimate daughter Cosette, whom she left to live with the greedy innkeepers, the Thénardiers, and to whom she sends all her earnings. To support her daughter, Fantine sells her hair, her teeth, becomes a prostitute and is arrested by Javert when she attacks an abusive customer. Valjean, learning who she is, rescues her and takes her to the hospital. Valjean later learns that a man has been wrongly identified as him, and decides to reveal his true identity to the court - before returning to the dying Fantine, promising to care for Cosette. Javert arrives to arrest Valjean but he escapes, finds Cosette and pays Fantine's debts to the Thénardiers. Valjean and Cosette flee from Javert, hiding in a convent, aided by the worker Valjean rescued before. Nine years later, Valjean has become a philanthropist and helps the poor in Paris. General Lamarque, the only government official sympathetic to the poor, dies, and a group of revolutionists called the Friends of the ABC plot to rebel against the monarchy. Marius Pontmercy, a member of the Friends, encounters Cosette and they fall in love. He asks Éponine, the Thénardiers' daughter, to help find her. They finally meet and confess their love, leaving Éponine sad as she's also in love with Marius. Thénardier plans on robbing Valjean's house, but they are stopped by Éponine. Valjean, afraid Javert could be near, makes plans to flee to England with Cosette. Cosette leaves a letter for Marius, but Éponine finds it and hides it from him. During Lamarque's funeral procession, the revolt begins and barricades are built across Paris. Javert pretends to be an ally to spy on the rebels but the street urchin Gavroche exposes him as a policeman. During the first skirmish against the soldiers, Éponine takes a bullet for Marius and dies in his arms, giving him Cosette's letter and confessing her love. Marius' answer to Cosette is intercepted by Valjean, who joins the revolution to guard Marius. Valjean offers to execute Javert but actually releases him, faking his death. By dawn, the soldiers are close to ending the revolution, storming the students' barricade and executing everyone save Marius and Valjean, who escape into the sewers. Enjolras, the leader of the revolutionaries, is the last to be shot, alongside Grantaire, a cynic who joins the fight due to his devotion to Enjolras rather than hope for a better France. Thénardier comes across Valjean and the unconscious Marius, stealing the latter's ring, before pointing a way out. Valjean finds Javert waiting for him, ignoring his nemesis's threats. Javert, morally confused by the mercy of Valjean, commits suicide by throwing himself in the Seine. Marius recovers but is traumatised by the death of his friends. Marius and Cosette are reunited but Valjean, concerned his presence would threaten their happiness, makes plans to leave and reveals his story to Marius, who promises to remain silent. Cosette and Marius marry, but the Thénardiers crash the wedding reception to try to blackmail Marius, with Thénardier saying that he witnessed Valjean carrying a murdered corpse and shows the stolen ring. Marius recognises it as his own and understands that Valjean saved him that night. Marius forces Thénardier to reveal where Valjean is before leaving with Cosette, with the Thénardiers thrown out of the wedding afterwards. Cosette and Marius reunite with the dying Valjean at the convent. Valjean gives them letters of confession before dying peacefully, and his spirit is guided away by the spirits of Fantine and the Bishop to join the spirits of Eponine, Gavroche and the Friends of the ABC in the afterlife."},"name":{"kind":"string","value":"Les_Miserables_(2012_film)"}}},{"rowIdx":158,"cells":{"scenes":{"kind":"list like","value":["INT. PUBLISHING HOUSE RECEPTION AREA - DAY It's grand and modern. Random House - Knopf - Taschen is etched on the wall in large gold letters. An old woman enters carrying a tattered manuscript, maybe a thousand pages. She seems haunted, hollow - eyed, sickly. The young receptionist, dressed in a shiny, stretchy one - piece pantsuit, looks up. RECEPTIONIST Oh, hi. OLD WOMAN -LRB- apologetically. -RRB- Hi, I was in the neighborhood and thought I'd see - RECEPTIONIST I think he's in a conference. Unfortunately. I'm really sorry. OLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. RECEPTIONIST Of course. Please have a seat. The old woman smiles and sits, the bulky manuscript on her lap. She stares politely straight ahead. RECEPTIONIST -LRB- CONT'D. -RRB- -LRB- quietly into headset. -RRB- It's her - I know, but could n't you just - Yes, I know, but - I know, but she's old and it would be a nice - Yes, sorry. -LRB- to old woman. -RRB- I'm sorry, ma'am, he's not in right now. It's a crazy time of year for us. The receptionist gestures toward a Christmas tree in the corner. Its ornaments are holograms. OLD WOMAN This book - It's essential that people read it because -. -LRB- gravely, patting the manuscript. -RRB- - It's the truth. And only I know it. RECEPTIONIST -LRB- nodding sympathetically. -RRB- Maybe after the holidays then.","INT. TILED HALLWAY - DAY The old woman carries her manuscript haltingly down a subway hall. She stops to catch her breath, then continues and passes several archway with letters printed above them. When she arrives at one topped by an LL, she slips a card in a slot. A plastic molded chair drops into the archway. She sits in the chair ; it rises.","INT. TUBE -DAY The woman is still in the chair as it slips gracefully into a line of chairs shooting through a glass tube. The other chairs are peopled with commuters. We stay with the woman as she and the others travel over New York City in the tube. There are hundreds of these commuter tubes crisscrossing the skyline. The woman glances at the manuscript in her lap. It's called : Eternal Sunshine of the Spotless Mind This serves as the movie's opening title. The other credits follow, as the old woman studies commuters in passing tubes. Their faces are variously harsh and sad and lonely and blank.","INT. WAITING ROOM - DAY SUBTITLED : FIFTY YEARS EARLIER Every doctor's office waiting room : chairs against the wall, magazines on end tables, a sad - looking potted plant, generic seascape paintings on the walls. The receptionist, Mary, 25, can be seen typing in the reception area. Behind her are shelves and shelves of medical files. The door opens and Clementine enters. She's in her early thirties, zaftig in a faux fur winter coat over an orange hooded sweatshirt. She's decidedly funky and has blue hair. Mary looks up. MARY May I help you? CLEMENTINE -LRB- approaching reception area. -RRB- Yeah, hi, I have a one o'clock with Dr. Mierzwiak. Clementine Kruczynski. MARY Yes, please have a seat. He'll be right with you. Clementine sits. She looks tired, maybe hungover. She picks up a magazine at random and thumbs without interest.","INT. INNER OFFICE AREA - CONTINUOUS Mary pads down the hallway. She knocks on a closed door. MIERZWIAK -LRB- O.S. -RRB- Yes? Mary opens the door, peeks in. Howard Mierzwiak, 40's, professional, dry, sits behind his desk studying some papers. MARY Howard, your one o'clock. MIERZWIAK -LRB- not looking up. -RRB- Thanks, Mary. You can bring her in. She smiles and nods. It's clear she's in love. It's equally clear that Mierzwiak does n't have a clue. Mary turns to leave. MIERZWIAK -LRB- CONT'D. -RRB- -LRB- looking up. -RRB- Mary. MARY -LRB- turning back. -RRB- Yes? MIERZWIAK Order me a pastrami for after? MARY Cole slaw, ice tea? MIERZWIAK -LRB- nodding. -RRB- Thanks. MARY Welcome, Howard. She smiles and heads down the hall. Stan, 30's, tall, spindly, and earnest in a lab coat pops out of a doorway. STAN Boo. MARY Hi. She glances back nervously at Mierzwiak's open door. STAN Barely seen you all morning, kiddo. He leans in to kiss her. She cranes her neck to keep him off. MARY -LRB- reprimanding whisper. -RRB- Stan. c'mon. STAN Sorry. I just - MARY -LRB- somewhat guiltilly. -RRB- It's just. y' know. I mean. STAN I know. Anyway - MARY Anyway, I've got to do my tap dance here. She indicates the door to the reception area. Stan nods. STAN See you later, alligator. MARY ` kay. STAN Hey, if you're ordering lunch for Mierzwiak, would you - MARY I better do this, Stan. Stan nods again and Mary opens the door to the waiting room. MARY -LRB- CONT'D. -RRB- Ms. Kruczynski? CLEMENTINE -LRB- O.S. -RRB- Hi. After a moment, Clementine appears in the doorway. Mary leads her down the hall, not looking back. MARY -LRB- professionally courteous. -RRB- How are you today? CLEMENTINE Okay, I guess. MARY -LRB- at Mierzwiak's office. -RRB- Here we are. Mierzwiak steps out from behind his desk. MIERZWIAK Ms. Kruczynski, please come in. Clementine enters the office. Mary smiles at Mierzwiak and closes the door, leaving them alone.","INT. OFFICE - CONTINUOUS Mierzwiak directs Clementine to a chair next to a coffee table and a conspicuously placed box of tissues. Mierzwiak sits across from her. He smiles. MIERZWIAK How are you today? CLEMENTINE Okay, I guess. MIERZWIAK -LRB- nodding sympathetically. -RRB- Well, why do n't you tell me what's going on? Do you mind if I turn this on? He indicates a tape recorder. CLEMENTINE I do n't care. He turns it on, smiles at her, gestures for her to begin. CLEMENTINE -LRB- CONT'D. -RRB- Well, I've been having a bad time of it with um, my boyfriend, I guess. MIERZWIAK You guess he's your boyfriend? Or you guess you're having a bad time with hm? CLEMENTINE What? No. I do n't like the term boyfriend. It's so gay. Mierzwiak nods. He's attentive, pleasant, and neutral throughout. CLEMENTINE -LRB- CONT'D. -RRB- Maybe gay is n't the right word. But, anyway, it's been rough with him. whatever the fuck he is. Heheh. My significant other. heh heh. And I guess on a certain level, I want to break it off, but I feel. y' know. it's like this constant questioning and re questioning. Do I end it? Should I give it more time? I'm not happy, but what do I expect? Relationships require work. You know the drill. The thing that I keep coming back to is, I'm not getting any younger, I want to have a baby. at some point. maybe. right? So then I think I should settle - which is not necessarily the best word - I mean, he's a good guy. It's not really settling. Then I think maybe I'm just a victim of movies, y' know? That I have some completely unrealistic notion of what a relationship can be. But then I think, no, this is what I really want, so I should allow myself the freedom to go out and fucking find it. You know? Agreed? But then I think he is a good guy and. It's complicated. Y' know? MIERZWIAK I think I know. I think we can help. Why do n't you start by telling me about your relationship. Everything you can think of. Everything about him. Everything about you. And we'll take it from there. She nods, thinks. CLEMENTINE Um, well, he's a fucking tidy one -","EXT. COMMUTER TRAIN STATION SUBTITLE : TWO WEEKS LATER The platform is crowded with business commuters. Joel is among them. He is in his 30's, gaunt, and holding a briefcase. The platform across the tracks from him is empty. Suddenly he turns and makes his way through the crowd. He climbs the stairs, crosses the overpass to the empty platform. Soon an almost empty train pulls up to that platform. Joel gets on and watches the business commuters through the dirty window as his train pulls out of the station.","EXT. MONTAUK TRAIN STATION - LATER Joel talks on a phone. The wind howls around him. He tries to shield the mouthpiece as he talks. JOEL Hi, Cindy. Joel. Listen, I'm not feeling well this morning. No. Food poisoning, I think. Sorry it took me so long to call in, but I've been vomiting.","EXT. BEACH - DAY Joel wanders the windy, empty beach, with his briefcase. He passes an old man with a metal detector. They nod at each other. Later : Joel looks out at the ocean. Later : Joel sits on a rock and pulls out a notebook. He opens it and writes with a gloved hand. JOEL January 13th, 2006. Today I skipped work and took the train out to Montauk. -LRB- thinks. -RRB- It's cold. -LRB- thinks some more. -RRB- The sky is gray. -LRB- thinks some more. -RRB- I do n't know what else to say. Nothing happens. Nothing changes. I saw Naomi last night. We had sex. It was weird to fall into our old familiar sex life so easily. Like no time has passed. After two years apart suddenly we're talking about getting together again. I guess that's good. He has no other thoughts. He glances up, spots a female figure in the distance, walking in his direction. She stands out against the gray in a fluorescent orange hooded sweatshirt. It's Clementine. He watches her for a bit, then as she nears, he goes back to his writing, or at least pretends to. Once she passed, he watches her walk away. She stops and stares out at the ocean. Joel writes. JOEL -LRB- V.O. ; CONT'D. -RRB- If I'm constitutionally incapable of making eye - contact with a woman I do n't know. I guess I'd better get back to Naomi. Later : Joel walks up near the beach houses closed for the season. He peeks cautiously in a dark window. Later : Joel digs into the sand with a stick.","INT. DINER - DAY It's a local tourist place, but off - season empty. Joel sits in a booth and eats a grilled cheese sandwich and a bowl of tomato soup. An elderly couple drink coffee at the counter. Clementine enters, looks around, takes off her hood. Joel glances at her bright blue hair. She picks an empty booth and sits. Joel studies her discreetly. The waitress approaches her with a coffee pot. WAITRESS Coffee? CLEMENTINE God, yes. You've saved my life! The waitress pours the coffee. WAITRESS You know what you want yet? CLEMENTINE -LRB- laughing. -RRB- Ai n't that the question of the century. The waitress is not amused. CLEMENTINE -LRB- CONT'D. -RRB- You got grilled cheese and tomato soup? WAITRESS Yeah. We're having a run on it. The waitress heads to the grill. Clementine fishes in her bag, brings the coffee cup under the table for a moment, pours something in, then brings the cup back up. CLEMENTINE -LRB- calling. -RRB- And some cream, please. Clementine looks around the place. Her eyes meet Joel's before he is able to look away. She smiles vaguely. He looks embarrassed, then down at his journal. Clementine pulls a book from her purse and starts to read. Joel glances up, tries to see the cover. It's blue. He ca n't read the title.","EXT. BEACH - DAY Joel stares out at the ocean. Far down the beach Clementine stares at it, too. Joel glances sideways at her then back at the ocean.","EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON Joel sits on the bench waiting for a train. Clementine enters the platform, sees Joel, the only other person there. She waves, sort of goofily enthusiastic, playing as if they're old friends. He waves back, embarrassed. She takes a seat on a bench far down the platform. Joel stares at his hands, pulls out his journal and tries to write in order to conceal his awkwardness.","INT. TRAIN - A BIT LATER Joel sits at the far end of the empty car and watches the slowly passing desolate terrain. After a moment the door between cars opens and Clementine enters. Joel looks up. Clementine is not looking at him ; she busies herself deciding where to sit. She settles on a seat at the opposite end of the car. Joel looks out the window. He feels her watching him. The train is picking up speed. Finally : CLEMENTINE -LRB- calling over the rumble. -RRB- Hi! Joel looks over. JOEL I'm sorry. CLEMENTINE Why? JOEL Why what? CLEMENTINE Why are you sorry? I just said hi. JOEL No, I did n't know if you were talking to me, so. She looks around the empty car. CLEMENTINE Really? JOEL -LRB- embarrassed. -RRB- Well, I did n't want to assume. CLEMENTINE Aw, c'mon, live dangerously. Take the leap and assume someone is talking to you in an otherwise empty car. JOEL Anyway. Sorry. Hi. Clementine makes her way down the aisle towards Joel. CLEMENTINE It's okay if I sit closer? So I do n't have to scream. Not that I do n't need to scream sometimes, believe me. -LRB- pause. -RRB- But I do n't want to bug you if you're trying to write or something. JOEL No, I mean, I do n't know. I ca n't really think of much to say probably. CLEMENTINE Oh. So. She hesitates in the middle of the car, looks back where she came from. JOEL I mean, it's okay if you want to sit down here. I did n't mean to - CLEMENTINE No, I do n't want to bug you if you're trying to - JOEL It's okay, really. CLEMENTINE Just, you know, to chat a little, maybe. I have a long trip ahead of me. -LRB- sits across aisle from Joel. -RRB- How far are you going? On the train, I mean, of course. JOEL Rockville Center. CLEMENTINE Get out! Me too! What are the odds? JOEL The weirder part is I think actually I recognize you. I thought that earlier in the diner. That's why I was looking at you. You work at Borders, right? CLEMENTINE Ucch, really? You're kidding. God. Bizarre small world, huh? Yeah, that's me : book slave there for, like, five years now. JOEL Really? Because - CLEMENTINE Jesus, is it five years? I got ta quit right now. JOEL - because I go there all the time. I do n't think I ever saw you before. CLEMENTINE Well, I'm there. I hide in the back as much as is humanly possible. You have a cell phone? I need to quit right this minute. I'll call in dead. JOEL I do n't have one. CLEMENTINE I'll go on the dole. Like my daddy before me. JOEL I noticed your hair. I guess it made an impression on me, that's why I was pretty sure I recognized you. CLEMENTINE Ah, the hair. -LRB- pulls a strand in front of her eyes, studies it. -RRB- Blue, right? It's called Blue Ruin. The color. Snappy name, huh? JOEL I like it. CLEMENTINE Blue ruin is cheap gin in case you were wondering. JOEL Yeah. Tom Waits says it in - CLEMENTINE Exactly! Tom Waits. Which song? JOEL I ca n't remember. CLEMENTINE Anyway, this company makes a whole line of colors with equally snappy names. Red Menace, Yellow Fever, Green Revolution. That'd be a job, coming up with those names. How do you get a job like that? That's what I'll do. Fuck the dole. JOEL I do n't really know how - CLEMENTINE Purple Haze, Pink Eraser. JOEL You think that could possibly be a full time job? How many hair colors could there be? CLEMENTINE -LRB- pissy. -RRB- Someone's got that job. -LRB- excited. -RRB- Agent Orange! I came up with that one. Anyway, there are endless color possibilities and I'd be great at it. JOEL I'm sure you would. CLEMENTINE My writing career! Your hair written by Clementine Kruczynski. -LRB- thought. -RRB- The Tom Waits album is Rain Dogs. JOEL You sure? That does n't sound - CLEMENTINE I think. Anyway, I've tried all their colors. More than once. I'm getting too old for this. But it keeps me from having to develop an actual personality. I apply my personality in a paste. You? JOEL Oh, I doubt that's the case. CLEMENTINE Well, you do n't know me, so. you do n't know, do you? JOEL Sorry. I was just trying to be nice. CLEMENTINE Yeah, I got it. There's a silence. CLEMENTINE -LRB- CONT'D. -RRB- My name's Clementine, by the way. JOEL I'm Joel. CLEMENTINE No jokes about my name? Oh, you would n't do that ; you're trying to be nice. JOEL I do n't know any jokes about your name. CLEMENTINE Huckleberry Hound? JOEL I do n't know what that means. CLEMENTINE Huckleberry Hound! What, are you nuts? JOEL I'm nut nuts. CLEMENTINE -LRB- singing. -RRB- Oh my darlin', oh my darlin', oh my darlin' Clementine? No? JOEL Sorry. It's a pretty name, though. It means `` merciful'', right? CLEMENTINE -LRB- impressed. -RRB- Yeah. Although it hardly fits. I'm a vindictive little bitch, truth be told. JOEL See, I would n't think that about you. CLEMENTINE -LRB- pissy. -RRB- Why would n't you think that about me? JOEL Oh. I do n't know. I was just. I do n't know. I was. You seemed nice, so - CLEMENTINE Now I'm nice? Do n't you know any other adjectives? There's careless and snotty and overbearing and argumentative. mumpish. JOEL Well, anyway. Sorry. They sit in silence for a while. CLEMENTINE I just do n't think `` nice'' is a particularly interesting thing to be. The conductor enters the car. CONDUCTOR Tickets. Joel hands the conductor his ticket. The conductor punches it and hands it back. CLEMENTINE What is nice, anyway? I mean, besides an adjective? I guess it can be an adverb, sort of. The conductor turns to Clementine. She fishes in her bag. CLEMENTINE -LRB- CONT'D. -RRB- It does n't reveal anything. Nice is pandering. Cowardly. CLEMENTINE -LRB- CONT'D. -RRB- And life is more interesting than that. Or should be. Jesus God, I hope it is. someday. -LRB- to conductor. -RRB- I know it's here. The conductor and Joel watch as she gets more agitated. CLEMENTINE -LRB- CONT'D. -RRB- I do n't need nice. I do n't need myself to be it and I do n't need anyone else to be it at me. JOEL Okay. CLEMENTINE Shit. Shit. I know it's here. Hold on. She dumps the contents of the bag onto the seat and sifts frantically through. Joel sees the book she was reading in the diner. It's The Play by Stephen Dixon. CLEMENTINE -LRB- CONT'D. -RRB- Damn it. DAMN IT! -LRB- there it is. -RRB- Oh. Here. She hands the conductor the tickets, smiles sweetly. He punches it, hands it back to her, and walks away. CONDUCTOR Next stop Southampton. The conductor heads into the next car. Clementine shoves stuff back into her purse. Her hands are a little shaky. She pulls a airline - sized bottle of alcohol from her pocket, opens it, and downs it. Joel is watching all of this but pretending not to. She looks out the window for a while. The train pulls into the station. The doors open. Nobody gets on. The doors close. The train pulls out. CLEMENTINE Joel? It's Joel, right? JOEL Yes? CLEMENTINE I'm sorry I. yelled at you. Was it yelling? I ca n't really tell. Whatever, I'm a little out of sorts today. JOEL That's okay. CLEMENTINE -LRB- stares out window. -RRB- My embarrassing admission is I really like that you're nice. Right now, anyway. I ca n't tell from one moment to the next what I'm going to like. But right now I'm glad you said, `` that's okay'' to me. That was nice of you. JOEL It's no problem. Anyway, I have some stuff I need to - CLEMENTINE Oh, okay. Well, sure, I'll just. -LRB- stands, throws bag over shoulder. -RRB- Take care, then. JOEL -LRB- pulling journal from briefcase. -RRB- Probably see you at the book store. CLEMENTINE -LRB- heading toward other end of car. -RRB- Unless I get that hair - color - naming job. Clementine sits and stares out the window.","INT. TRAIN - LATER There are a few more people in the car now. Clementine has inched a few seats closer to Joel. She watches him. His head is immersed in his journal.","INT. TRAIN - LATER It's dark out. The train is pretty crowded. Joel stares out the window. Clementine sits closer still to Joel, eyes him.","EXT. TRAIN STATION - EVENING The doors open and Joel emerges along with others. He heads to the parking lot, arrives at the car. There's a big dented scrape along the driver's side. He gets in.","INT. CAR - MOMENTS LATER Joel drives. He passes Clementine walking. She looks cold. He considers, slows, rolls down his window. JOEL Hi. I could give you a ride if you need. CLEMENTINE No, that's okay. Thanks, though. JOEL You're sure? It's cold. CLEMENTINE I do n't want to take you out of your way. JOEL It's okay. CLEMENTINE Yeah? He pulls over. She climbs in. They drive. JOEL Where do you live? CLEMENTINE You're not a stalker or anything, right? JOEL Well, I probably would n't say if I were, but no. CLEMENTINE You ca n't be too careful. I've been stalked. I've been told I'm highly stalkable. I do n't need that. JOEL I'm not a stalker. CLEMENTINE -LRB- beat. -RRB- You know Wilmont? JOEL Yeah. CLEMENTINE Wilmont. Near the high school. Joel turns. They drive in silence. CLEMENTINE -LRB- CONT'D. -RRB- Look, I'm very sorry I came off sort of nutso. I'm not really. JOEL It's okay. I did n't think you were. There's a silence. CLEMENTINE So you like bookstores, huh? JOEL I like to read. CLEMENTINE Me too. It is Rain Dogs, by the way. JOEL Yeah? I ca n't remember that album very well. I remember liking it. But - CLEMENTINE The song's 9th and Hennepin. I spent most of the train ride trying to remember. `` Till you're full of rag water and bitters and blue ruin/And you spill out/Over the side to anyone who'll listen.'' Remember? JOEL Sort of, um. CLEMENTINE Remember? `` And you take on the dreams of the ones who have slept there/And I'm lost in the window/I hide on the stairway/I hang in the curtain/I sleep in your hat.''. -LRB- starts to cry. -RRB- Oh, shit. I'm so stupid. Sorry. JOEL What? CLEMENTINE I'm just a bit of a wreck. `` I sleep in your hat'' makes me cry. -LRB- pointing to a house. -RRB- Me. Joel pulls over. CLEMENTINE -LRB- CONT'D. -RRB- Thanks very much. That was very nice of you. JOEL Well, I would n't want to be - CLEMENTINE Oh, geez, I'm full of shit. I already told you that. -LRB- pause. -RRB- Anyway. See Ya. Clementine opens the car door. JOEL Take care. CLEMENTINE -LRB- turning back. -RRB- Hey, do you want to have a drink? I have lots of drinks. And I could - JOEL Um - CLEMENTINE Never mind. Sorry, that was stupid. I'm embarrassed. Good night, Joel.","INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER Joel stands in the living room, somewhat nervously. He tries to calm himself by focusing on the surroundings. He looks at the books on her shelves. Clementine is in the kitchen. We see her as she passes by the doorway several times, preparing drinks and chatting. CLEMENTINE Thanks. I like it, too. Been here about four years. It's really cheap. My downstairs neighbor is old so she's quiet, which is great. And the landlord's sweet, which is bizarre, but great, and I have a little porch in the back, which is great, because I can read there, and listen to my crickets and. Clementine is in the living room now with two gin and tonics. CLEMENTINE -LRB- CONT'D. -RRB- Two blue ruins. Joel is looking at a framed black and white photograph of crows flying. CLEMENTINE -LRB- CONT'D. -RRB- You like that? JOEL Very much. CLEMENTINE This. someone gave that to me, just like, recently. I like it, too. I like crows. I think I used to be a crow. She caws and hands Joel a drink. JOEL Thanks. That was good, that crow sound. CLEMENTINE Do you believe in that stuff? Reincarnation? JOEL I do n't know. CLEMENTINE Me neither. Oh, there's an inscription on the back. -LRB- takes it off the wall, reads :. -RRB- The way a crow/Shook down on me/The dust of snow/From a hemlock tree/Has given my heart/A change of mood/And saved some part/Of a day I rued. JOEL Frost? CLEMENTINE -LRB- impressed. -RRB- Yeah. I'm not, like, a Robert Frost lover by any stretch. His stuff seems strictly grade school to me. But this made me cry for some reason. Maybe because it is grade school. Y' know? JOEL It's pretty. CLEMENTINE I miss grade school. I do n't know why I'm calling it grade school all of a sudden. When I went we called it elementary school. But I like grade school better. Sounds like something someone from the forties would call it. I'd like to be from then. Everyone wore hats. Anyway, cheers! JOEL Cheers. They click glasses. Clementine giggles and takes a big gulp of her drink. Joel sips. She plops down on the couch and pulls her boots off. CLEMENTINE God, that feels so fucking good. Take yours off. JOEL I'm fine. CLEMENTINE Yeah? Well, have a seat, anyway. Joel sits in a chair across the room. Clementine finishes her drink. CLEMENTINE -LRB- CONT'D. -RRB- Ready for another? JOEL No, I'm okay for now. She heads toward the kitchen with her glass. CLEMENTINE Well, I'm ready. Put some music on. Joel crosses to the CD's and studies them. JOEL What do you want to hear? CLEMENTINE -LRB- O.S. -RRB- You pick it. JOEL You just say. I'm not really - CLEMENTINE -LRB- O.S. -RRB- I do n't know! I ca n't see them from here, Joel! Just pick something good. Joel studies the unfamiliar CD's. He picks up Bang On a Can performing Brian Eno's Music for Airports to look at. Clementine reenters with her drink. CLEMENTINE -LRB- CONT'D. -RRB- Oh, excellent choice. She grabs it and sticks it in the CD player. The music is dreamy and haunting and slow. Clementine falls back onto the couch, closes her eyes and sips her drink. CLEMENTINE -LRB- CONT'D. -RRB- Mmmmmmm. Way to go, Joel. You pick good. Joel sits down in his chair and drinks. There's a silence, which seems fine to Clementine but makes Joel anxious. JOEL Well, I should probably get going. CLEMENTINE No, stay. Just for a little while. -LRB- opens her eyes, brightly. -RRB- Refill? JOEL No. I - CLEMENTINE I know a man who needs a refill. She grabs Joel's drink from his hand, takes it into the kitchen. CLEMENTINE -LRB- CONT'D ;O. S. ; CONT'D. -RRB- God bless alcohol, is what I say. Where would I be without it. Oh, Jesus, Mary, and Joseph, maybe I do n't want to think about that. She giggles. Joel looks around the room again. There are several potatoes dressed as women in beautiful handmade costumes : a nurse potato, a stripper potato, a schoolteacher potato, a housewife potato. Clementine returns with Joel's drink and a refill for herself. JOEL Thanks. CLEMENTINE Drink up, young man. It'll make the whole seduction part less repugnant. Joel looks a little alarmed. CLEMENTINE -LRB- CONT'D. -RRB- I'm just kidding. C'mon. She sits back on the couch, closes her eyes. Joel watches her, looks at her breasts. She opens her eyes, smiles drunkenly at him. CLEMENTINE -LRB- CONT'D. -RRB- Y' know, I'm sort of psychic. JOEL Yeah? CLEMENTINE Well, I go to a psychic and she's always telling me I'm psychic. She should know. Do you believe in that stuff? JOEL I do n't know. CLEMENTINE Me neither. But sometimes I have premonitions, so, I do n't know. Maybe that's just coincidence. Right? Y' know, you think something and then it happens, or you think a word and then someone says it? Y' know? JOEL Yeah, I do n't know. It's hard to know. CLEMENTINE Exactly. Exactly! That's exactly my feeling about it. It's hard to know. Like, okay, but how many times do I think something and it does n't happen? That's what you're saying, right? You forget about those times. Right? JOEL Yeah, I guess. CLEMENTINE -LRB- dreamy beat. -RRB- But I think I am. I like to think I am. CLEMENTINE -LRB- CONT'D. -RRB- It's helpful to think there's some order to things. You're kind of closed mouthed, are n't you? JOEL Sorry. My life is n't that interesting. I go to work. I go home. I do n't know what to say. CLEMENTINE Oh. -LRB- considers this. -RRB- Does that make you sad? Or anxious? I'm always anxious thinking I'm not living my life to the fullest, y' know? Taking advantage of every possibility? Just making sure that I'm not wasting one second of the little time I have. JOEL I think about that. She looks at him really hard for a long moment. Joel tries to hold her gaze, but ca n't. He looks down at his drink. Clementine starts to cry again. CLEMENTINE You're really nice. I'm sorry I yelled at you before about it. God, I'm an idiot. JOEL I do have a tendency to use that word too much. CLEMENTINE I like you. That's the thing about my psychic thing. I think that's my greatest psychic power, that I get a sense about people. My problem is I never trust it. But I get it. And with you I get that you're a really good guy. JOEL Thanks. CLEMENTINE And, anyway, you sell yourself short. I can tell. There's a lot of stuff going on in your brain. I can tell. My goal. can I tell you my goal? JOEL Yeah. CLEMENTINE -LRB- ala Paul Simon. -RRB- What's the goal, Joel? -LRB- laughs. -RRB- My goal, Joel, is to just let it flow through me? Do you know what I mean? It's like, there's all these emotions and ideas and they come quick and they change and they leave and they come back in a different form and I think we're all taught we should be consistent. Y' know? You love someone - that's it. Forever. You choose to do something with your life - that's it, that's what you do. It's a sign of maturity to stick with that and see things through. And my feeling is that's how you die, because you stop listening to what is true, and what is true is constantly changing. You know? JOEL Yeah. I think so. It's hard to - CLEMENTINE Like I wanted to talk to you. I did n't need any more reason to do it. Who knows what bigger cosmic reason might exist? JOEL Yeah. CLEMENTINE You're very nice. God, I have to stop saying that. You're nervous around me, huh? JOEL No. CLEMENTINE I'm nervous. You do n't need to be nervous around me, though. I like you. Do you think I'm repulsively fat? JOEL No, not at all. CLEMENTINE I do n't either. I used to. But I'm through with that. Y' know, if I do n't love my body, then I'm just lost. You know? CLEMENTINE -LRB- CONT'D. -RRB- With all the wrinkles and scars and the general falling apart that's coming ` round the bend. -LRB- beat. -RRB- So, I've been seeing this guy. Joel looks slightly crestfallen. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- off his reaction. -RRB- Well, for the last week, anyway! He's kind of a kid. Kind of a goofball, but he's really stuck on me, which is flattering. Who would n't like that? And he's, like, a dope, but he says these smart and moving things sometimes, out of nowhere, that just break my heart. He's the one who gave me that crow photograph. JOEL Oh, yeah. CLEMENTINE That made me cry. But, anyway, we went up to Boston, because I had this urge to lie on my back on the Charles River. It gets frozen this time of year. JOEL That's scary sounding. CLEMENTINE Exactly! I used to do it in college and I had this urge to go do it again, so I got Patrick and we drove all night to get there and he was sweet and said nice things to me, but I was really disappointment to be there with him. Y' know? And that's where psychic stuff comes in. Like, it just is n't right with him. Y' know? JOEL I think so. CLEMENTINE I do n't believe in that soulmate crap anymore, but. he says so many great things. We like the same writers. This writer Stephen Dixon he turned me on to. And he's cute. It's fucked up. Joel, you should come up to the Charles with me sometime. JOEL Okay. CLEMENTINE Yeah? Oh, great! She sits closer to him. CLEMENTINE -LRB- CONT'D. -RRB- I'll pack a picnic - a night picnic - night picnics are different - and - JOEL -LRB- shy. -RRB- Sounds good. But right now I should go. CLEMENTINE -LRB- pause. -RRB- You should stay. JOEL I have to get up early in the morning tomorrow, so. CLEMENTINE -LRB- beat. -RRB- Okay. Joel puts on his overcoat. Clementine heads to the phone table, pulls out a notepad. CLEMENTINE -LRB- CONT'D. -RRB- I would like you to call me. Would you do that? I would like that. JOEL Yes. She scribbles her phone number, hands it to him. He puts it in his pocket. He stands there uncomfortably for a moment, then forces himself to speak. JOEL -LRB- CONT'D. -RRB- I do n't think your personality comes out of a tube. I think the hair is just. a pretty topping. She tears up, swallows, and kisses him on the cheek. He's surprised and pleased and nervous. JOEL -LRB- CONT'D. -RRB- -LRB- shyly formal. -RRB- So, I enjoyed meeting you. CLEMENTINE You'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines and all. JOEL Okay. We stay with Clementine as she watches Joel tromping through the snow and getting in his car.","INT. JOEL'S CAR - NIGHT Joel speeds through the suburban Rockville Center neighborhood. There is no snow on the ground. He seems different, somehow foggy and disoriented. SUBTITLE : THREE DAYS EARLIER He arrives at his apartment building and parks.","EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS Joel gets out of his car, spots a van parked across the street. There are two dark figures inside. VOICE-OVER Them. He hurries inside the building.","INT. JOEL'S APARTMENT - NIGHT Joel enters, dumps his overcoat on a chair, turns off the lights, crosses to look furtively out the window. It's snowing in large flakes which seem to fall only in the beam of a streetlight. JOEL It was snowing. VOICE-OVER There are two of them. Could n't make them out. The orange glow of a cigarette. Joel squints to see inside the van. Two dark figures talk. One sucks on a cigarette and s dim orange light momentarily illuminates the interior. The figure in the driver seat rolls down his window and gives a cheery wave to Joel. JOEL The driver waved. So casual, friendly. VOICE-OVER I'm like a joke to them. Joel pulls away from the window, his face blanched. VOICE-OVER I guess they figure they can act like they want. They do n't have to worry about me remembering. He paces, mulling things over. As he does, the scene starts to change, almost as if it is drying out. JOEL I might be making a mistake. VOICE-OVER Maybe I'm making a mistake. Maybe I just need to learn to live with this. First of all, I'll get over it. Secondly, it happened. Those who do not remember history are condemned to repeat it. Who said that? Churchill? I'm not sure. But I do n't care. She did it to me. I have to rid myself of this. Fuck her. JOEL Fuck you, Clementine. The colors bleach, the surroundings become slightly vague. Even Joel's persona and voice - over seem to alter, his emotional intensity becoming diffused. Joel does not seem aware of this. He stops pacing, takes a small vial from his pocket, dumps the lone pill onto his palm. He looks at it. It's pink. There's some illegible initials stamped on it. JOEL -LRB- CONT'D. -RRB- Pink. -LRB- beat. -RRB- There was a number on it. I remember. AL 1718? -LRB- beat. -RRB- I have to follow through with this. I have no choice. VOICE-OVER The pill was pink, I remember. It had some letters and numbers on it. What were they? AL 1718? AL something. Four digits. I do n't like taking pills when I do n't know what they are. I have no choice. He swallows it, peeks out the window again, takes off his clothes, slips into a pair of pajamas fresh from the store packaging. He sits on the edge of the bed, dials the phone. JOEL -LRB- CONT'D. -RRB- We're sorry, the number you have dialed. -LRB- beat. -RRB- Screw you, Clementine, for doing this. RECORDED VOICE We're sorry, the number you have dialed is no longer in service. If you think you have reached this recording in error - JOEL -LRB- CONT'D. -RRB- Bye. Joel hangs up and lies on his back on the bed. By now the scene is lifeless, almost a husk. He hears the apartment building door open. He hears footsteps. JOEL -LRB- CONT'D. -RRB- It's them. VOICE-OVER It's too late. His eyelids are getting heavy. He closes his eyes. BLACK. He hears a key in his apartment door. JOEL -LRB- CONT'D. -RRB- Fuck.","INT. BOOKSTORE - NIGHT Joel sits in the bookstore coffee shop. It's a jarring transition, visually and emotionally. Joel is in the midst of some traumatic state of mind. He fingers the vial with the pink pill in it as he watches Clementine stack books on shelves. Her hair is bright orange now. JOEL I should maybe talk to you. VOICE-OVER Clementine. I should just maybe talk to her. Joel rises and heads toward Clementine. JOEL I love you and if you knew that. if I told you what happened. I'll explain everything, what we meant to each other. I'll tell you everything about our time together. You'll know everything again and. VOICE-OVER Maybe if I just explain what happened, I would n't have to go through this and I could tell you everything and it would be like you knew and we could rebuild and we could be happy again and. Right before Joel gets there, Patrick, a skinny young man approaches Clementine. Joel stops, watches. The young man seems out of breath. He glances over at Joel, then taps Clementine on the shoulder. She turns, annoyed, sees who it is and her face lights up. JOEL Clementine. VOICE-OVER That's your look for me. Clementine giggles, stands and pokes Patrick playfully in the ribs. PATRICK I just thought I'd say hi. I was in the neighborhood. CLEMENTINE You were not. PATRICK I was not. Joel is mesmerized by their familiarity. As he stands there, the scene starts to dry out. Clementine and Patrick continue their flirtation but it's turning lifeless, as if they are just reciting lines. The bookstore start to lose its color and immediacy. CLEMENTINE Come over after I'm done here? PATRICK I ca n't. I want to, but I have to study. CLEMENTINE You rat. PATRICK I really want to, but tonight's important. Test tomorrow. JOEL How could she have done this to me? How could anyone do this to anyone? CLEMENTINE -LRB- to Patrick. -RRB- You did n't say anything about my hair. PATRICK It's so cool. You're by far the most sensational person in the room. CLEMENTINE In the room? PATRICK In the world. Joel seems dazed, in some sort of dream confusion, as he realizes the world around him is looking increasingly odd. JOEL What's happening here? -LRB- looks at watch ; it's 9:30. -RRB- Oh, God! I have to go home. They'll be there soon. Joel turns to leave.","INT. JOEL'S CAR - NIGHT Joel drives fast, recklessly. The intensity is back. He's weeping as he drives. JOEL Got ta get home. How could she do this to me? How could she not care about what we meant to each other. What a fuck! What a fucking monster she is! VOICE-OVER Oh, God. I miss her. I ca n't believe she's with that guy now! I'm never going to see her again. I love her so much. What a fucking monster she is! The scene is faded as he parks in front of his apartment building, and gets out of the car. Joel spots the parked van. We've seen this before, but it's dried out now. JOEL Them.","EXT. NEW YORK STREET - DAY Joel trudges along carrying two big trash bags full of stuff. He's been crying. He looks behind him and finds himself looking out the window of his apartment at the dark van on the snowy street. He turns back to the New York Street and spots the address he was looking for : 610 11th Avenue.","INT. WAITING ROOM - DAY Joel sits in the small room with his bags. A woman across from him cradles a box full of belongings in her lap. Her eyes are red from crying. Mary, the receptionist, pokes her head through her window into the waiting room. MARY Hello again, Mr. Barish. Good, you've got your stuff.","INT. HALLWAY - DAY Joel walks with his bags behind Mary. MARY -LRB- not looking back. -RRB- How are you today? -LRB- at lab. -RRB- Here we are.","INT. LABORATORY - DAY Joel enters. Mierzwiak stands there with Stan in his lab coat. MIERZWIAK Ah, Mr. Barish. This is Stan. He'll be in charge of your procedure tonight. Stan nods professionally. STAN Mr. Barish. JOEL How exactly is this going to work tonight? As Mierzwiak talks, the room colors start to fade, Mierzwiak's tone of voice is also affected ; it becomes dry and monotonous. MIERZWIAK We'll start with your most recent memories and go backwards - There is an emotional core to each of our memories - As we eradicate this core, it starts its degradation process - By the time you wake up in the morning, all memories we've targeted will have withered and disappeared. Like a dream upon waking. JOEL Is there any sort of risk of brain damage? MIERZWIAK Well, technically, the procedure itself is brain damage, but on a par with a night of heavy drinking. Nothing you'll miss. Joel looks quizzically at the eroding environment. Suddenly he gets it. JOEL It's happening now! I'm already in my brain. Mierzwiak looks at the fading room. MIERZWIAK Yes, I suppose you are. -LRB- back in his faded memory persona. -RRB- So, let's get started - If we want the procedure underway tonight, we have some work to do. Joel is sitting in a chair. Electrodes connect him to some electronic machinery monitored by Stan. Mierzwiak watches from the corner. STAN We use the articles you brought to create a map of Clementine in your brain. Tonight while you sleep we'll be able to trace the map and erase. JOEL But you're tracing and erasing now. It's already started. I'm home in my bed. Stan pulls a snow globe from one of Joel's bags, shows it to Joel. The equipment registers Joel's reaction. STAN Very good. Stan pulls out a potato dressed as a Vegas showgirl. Joel studies it. The machines register his response. MIERZWIAK We'll dispose of these mementos when we're done here. That way you wo n't be confused later by their unexplainable presence in your home. Stan pulls out a coffee mug with a photo of Clementine printed on it. Joel looks at the cup. The machines record his reaction. STAN Good. We're getting healthy read - outs. The room, Stan, and Mierzwiak are now vague and wispy. STAN'S VOICE Patrick, do me a favor - Joel is watching Stan. Stan is not speaking, yet his voice continues. STAN'S VOICE -LRB- CONT'D. -RRB- - and check the voltage levels, I'm not wiping as clean as I would like here. Joel looks up. Stan's voice seems to be coming from above.","INT. JOEL'S APARTMENT - NIGHT Joel lies on his back in fresh pajamas. His eyes are closed and electrodes connect his head to several machines. The machines are operated by Stan, now in grubby street clothes and in need of a shave, and by Patrick, dressed similarly. The monitor on one of the machines traces a myriad of light blips running like streams through an image of Joel's brain. Stan presses buttons and operates a joystick, aiming for the lines. Patrick -LRB- who we saw earlier with Clementine at the bookstore -RRB- studies a meter on one of the machines. PATRICK The voltage looks fine. STAN Then check the connections. Patrick fiddles with some jacks. PATRICK Does that help? STAN Yeah, that looks better. Thanks.","INT. LAB ROOM - DAY The memory is becoming vague, characters' affects flat. Stan pulls out a pile of loose - leaf pages. Mierzwiak smiles. MIERZWIAK Ah, your journal. This will be invaluable. STAN -LRB- reading. -RRB- December 15th, 2004. I met someone tonight. Oh, Christ : I do n't know what to do. Her name is Clementine and she's amazing. So alive and spontaneous and passionate and sensitive. Things with Naomi and I have been stagnant for so long. The scene is just a shell of itself as Stan rattles on. STAN'S VOICE I think we got this one. Let's push on. Joel looks up at the ceiling.","INT. JOEL'S APARTMENT - DAY Joel, snapped into a new memory, cries as he fills two large plastic garbage bags with mementos of his relationship with Clementine. There are funny little gifts, wind - up toys, some potatoes dressed as women, some clothing Clementine has left there, some CD's. He pulls a big clump of pages out of his loose - leaf journal and dumps them in the bag. He gets some clean loose - leaf paper and writes : December 15, 2004 Nothing much happened today. I stayed home. Naomi worked on her dissertation. The scene is fading as he continues to write.","INT. HALLWAY - DAY Joel looks for an office number. He finds it. The plaque on the door reads Lacuna Ltd.. Joel enters.","INT. WAITING ROOM - DAY Joel enters the Lacuna waiting room. Mary sits in the reception area. MARY May I help you? JOEL My name is Joel Barish. I have an appointment. MARY Please have a seat. Dr. Mierzwiak will be right with you.","INT. OFFICE HALL - DAY Mary leads Joel down the hall. MARY -LRB- without turning. -RRB- How are you today? JOEL Not great. MARY -LRB- at Mierzwiak's office. -RRB- Here we are. Joel glimpses Mary smiling coquettishly at Mierzwiak.","INT. MIERZWIAK'S OFFICE - DAY Joel and Mierzwiak are in the sitting area. Joel looks at the tape recorder. MIERZWIAK I'm sorry you saw one of our notification cards. You never should have. JOEL Well. I did. MIERZWIAK We can help you through this. Why do n't you start now by telling me everything you can remember about your relationship with Clementine. JOEL -LRB- thinks, then :. -RRB- It was a mess. I do n't know how it got this way. PATRICK'S VOICE It's kind of a dump, do n't you think? Joel looks up, trying to locate the voice.","INT. JOEL'S APARTMENT - NIGHT Patrick is checking out the apartment. Stan monitors the equipment. STAN -LRB- uninterested. -RRB- It's an apartment. PATRICK Not a dump, then, but kind of plain. Uninspired. And there's a stale smell. Sort of stuffy. I do n't know. Stuffy. STAN Patrick, let's just get through this. We have a long night ahead of us. PATRICK Yeah. Patrick returns to the bedside, focuses on the machines for a moment. He glances at the unconscious Joel. PATRICK -LRB- CONT'D. -RRB- So who do you think is better - looking, me or this guy? Stan glances sideways at Patrick.","INT. MIERZWIAK'S OFFICE - DAY Mierzwiak sits with Joel in the sitting area. MIERZWIAK So we'll need you to go home and bring in everything you ever received from Clementine and anything that might remind you of her. The scene is faded and disappearing fast. It's gone.","INT. JOEL'S OFFICE - DAY Joel gets off the elevator and approaches the receptionist. JOEL So then she just stops calling. VOICE-OVER I was n't going to call her. Not after the way she was. JOEL Any messages, Carmen? Carmen the receptionist shakes her head. Next day : Joel approaches the receptionist. JOEL -LRB- CONT'D. -RRB- Any messages for me, Carmen. CARMEN Nothing, Joel. VOICE-OVER It's bullshit. She's punishing me for being honest with her. Joel is at his office desk on the phone. PHONE MACHINE VOICE You have no messages.","INT. JOEL'S APARTMENT - NIGHT Joel enters, checks his phone machine : zero messages.","INT. JOEL'S OFFICE - DAY Joel gets off the elevator, approaches Carmen, who is in conversation with someone else. JOEL Sorry, Carmen. Any messages? Carmen shakes her head `` no'', goes back to her conversation.","INT. JOEL'S APARTMENT - NIGHT Joel checks his machine : zero messages. VOICE-OVER That's it. I'm just gon na - Without a moment's hesitation, he dials the phone. VOICE-OVER -LRB- CONT'D. -RRB- I'm gon na tell her I'm through playing games and - RECORDED VOICE The number you have dialed has been disconnected. Joel's eyes bug.","INT. ROB AND CARRIE'S LIVING ROOM - NIGHT Joel sits across Rob and Carrie, mid - 40's. JOEL Why would she do that? VAGUE RECORDED VOICE - If you think you have reached this recording in error, please check your number and dial again. CARRIE I do n't know, honey. It's horrible. JOEL She's punishing me for being honest. I should just go to her house. ROB I do n't think you should go there, Joel. JOEL Yeah, I do n't want to seem desperate. CARRIE Maybe you need to look at this as a sign to move on. Just make a clean break. JOEL I do n't know. I'm so. I ca n't believe she'd be so goddamn immature! ROB Joel, look, the thing is - CARRIE -LRB- agitated, interrupting. -RRB- Joel, honey. We have to feed the dog. Would you just wait here? Just a second. Joel nods, confused, as Rob and Carrie leave the room and close the door behind them. Joel hears a hushed argument ensue in the hall. He notices the dog asleep on the floor. He grabs a magazine off the coffee table, flips through it distractedly as he paces, puts it down, picks up another. A subscription card falls to the floor. He picks it up and is about to shove it back in the magazine when he sees it is not a subscription card at all. It reads : Clementine Kruczynski has had Joel Barish erased from her memory. Please never mention their relationship to her again. Thank you. Lacuna Ltd. 610 11th Avenue, NY, NY. Joel stares at the card, incredulous. Later : Rob and Carrie are now back in the room. CARRIE -LRB- CONT'D. -RRB- You were n't supposed to see that. JOEL They ca n't erase memories. It's a joke. It's a nasty Clementine hoax. CARRIE Sweetie, we called the company. Joel just stands there. Close - up of a vague dictionary page. VOICE-OVER Lacuna : Noun. A blank, a missing portion, especially in a manuscript.","INT. JOEL'S APARTMENT - NIGHT Joel is on the phone pacing. CARRIE'S VOICE You ca n't tell her, Joel. They explained that. Like waking a sleepwalker. It might have a devastating effect.","INT. JOEL'S CAR - NIGHT Joel drives past vague local landmark. CARRIE'S VOICE Think about it : to be told you lived an existence of which you have no recollection. JOEL'S VOICE But what am I supposed to do? CARRIE'S VOICE Move on, sweetie. JOEL'S VOICE How can I? How can I move on when I know I'm the only one to carry this love we had? How do I do that?","INT. CAR - NIGHT Joel in his parked car next to a fence surrounding a drive - in movie closed for the season. He weeps. The windows fog up until the outside is completely obscured.","EXT. NEW YORK STREET - DAY Joel looks for an address.","INT. ELEVATOR - DAY Joel gets off on the sixth floor. He searches for a room number. As he turns the corner, he sees that the hallway is faded, vague and mostly erased. He keeps walking, comes to the door marked Lacuna and opens it. Inside he can see vague, erased version of Mary the receptionist. MARY -LRB- dead monotone. -RRB- Hi, May I help you? These degraded, faded memories allow Joel to detach himself and hear what's going on in his bedroom. STAN'S VOICE So, Mary's coming over tonight. Joel looks up.","INT. JOEL'S APARTMENT - NIGHT Stan works the joystick. Patrick sits on the bed with Joel. PATRICK Yeah? STAN Just wanted to let you know. PATRICK I like Mary. I like when she comes to visit. I just do n't think she likes me. STAN She likes you okay. PATRICK I wonder if I should invite my girlfriend over, too. I have a girlfriend now. STAN You can if you want. PATRICK Did I tell you I have a new girlfriend? STAN -LRB- re : memory on monitor. -RRB- This one's history. Moving on. PATRICK The thing is. my situation is a little weird. My girlfriend situation. STAN Patrick, we need to focus. Stan aims the joystick.","INT. JOEL'S APARTMENT - NIGHT Joel distractedly reads a book, checks the clock, goes back to the book. The door opens. He looks up. Clementine is staggering in, drunk. CLEMENTINE Yo ho ho! JOEL It's three. VOICE-OVER Shit. The last time I saw you. CLEMENTINE -LRB- CONT'D. -RRB- Anyhoo, sweetie, I done a bad thing. I kinda sorta wrecked your car. JOEL I ca n't believe you wrecked my car. JOEL You're driving drunk. It's pathetic. CLEMENTINE a little. I was a little tipsy. Do n't call me pathetic. JOEL Well it is pathetic. And fucking irresponsible. You could've killed somebody. The scene is starting to degrade. The acting becomes anemic. JOEL -LRB- CONT'D. -RRB- I do n't know, maybe you did kill somebody. CLEMENTINE Oh Christ I did n't kill anybody. It's just a fucking dent. You're like some old lady or something. VOICE-OVER Right! She called me an old lady here, too! And I remember, I said. JOEL -LRB- CONT'D. -RRB- And what are you like? A wino? CLEMENTINE A wino? Jesus, Are you from the fifties? A wino! -LRB- laughs. -RRB- Face it, Joel. You're freaked out because I was out late without you, and in your little wormy brain, you're trying to figure out, did she fuck someone tonight? JOEL No, see, Clem, I assume you fucked someone tonight. Is n't that how you get people to like you? This shuts Clementine up. She is stung and she starts gathering up her belongings, which are strewn about the apartment. Joel is immediately sorry he said this. He follows her around. JOEL -LRB- CONT'D. -RRB- I'm sorry. Okay. I did n't mean that. I just. I was just. pissed, I guess. Clementine is out the door. Joel follows.","EXT. STREET - NIGHT Joel looks at his dented car, looks at Clementine clomping off in the distance.","INT. JOEL'S CAR - CONTINUOUS Joel drives to catch up with Clementine. He rolls down his window to talk to her. JOEL Let me drive you home. CLEMENTINE -LRB- without turning. -RRB- Fuck you, Joel. Faggot. JOEL Look at it out here. It's falling apart. I'm erasing you. And I'm happy. She keeps clomping. JOEL -LRB- CONT'D. -RRB- You did it to me. I ca n't believe you did this to me. By morning you'll be gone. Ha! He stops the car, gets out.","EXT. STREET - CONTINUOUS It's a street you might see in a dream, more an impression of a quiet street than an actual one, with what little detail there is obscured in darkness. Joel wanders it. In the distance Clementine walks off, but as in an animated loop, she does n't get any farther away. It's lonely. PATRICK'S VOICE See, remember that girl? The one we did last week? The one with the potatoes? Joel looks up, startled. STAN'S VOICE Yeah, that's this guy's girlfriend. Was.","INT. JOEL'S APARTMENT - NIGHT Stan watches the screen. Patrick paces, fidgets, looks at the unconscious Joel. PATRICK I got ta tell you something. I kind of fell in love with her last night. STAN She was unconscious, Patrick. PATRICK She was beautiful. So sweet and funky and voluptuous. I kind of stole a pair of her panties, is what. STAN Jesus, Patrick!","EXT. STREET - NIGHT On the vague street Joel listens to Patrick and Stan. PATRICK'S VOICE I know. It's not like. I mean, they were clean and all. STAN'S VOICE Look, just do n't tell me this stuff. I do n't want to know this shit. PATRICK'S VOICE Yeah, okay. STAN'S VOICE We have work to do. There's a click and Joel finds himself in -","INT. JOEL'S APARTMENT - NIGHT Joel and Clementine sit and eat dinner in front of the TV. It's hard to make out what they're watching. They sit on opposite ends of the couch. They look bored. The scene quickly degenerates. The room fades. PATRICK'S VOICE Okay, but there's more. Joel listens. PATRICK'S VOICE -LRB- CONT'D. -RRB- After we did her, I went to where she worked and I asked her out. Joel looks over at the faded Clementine across the couch. She stares straight ahead at the TV. STAN'S VOICE Patrick. do you know how unethical. JOEL That must be the guy I saw you with. VOICE-OVER In the bookstore that night. The skinny guy. There's a click and Joel finds himself in -","INT. JOEL'S APARTMENT - NIGHT Joel watches TV. Clementine walks by in her underwear, looks at the TV. She slips into a skirt. CLEMENTINE How can you watch this crap? JOEL Where are you going? CLEMENTINE I'm fucking crawling out of my skin. The scene starts to fade. Clementine puts on her shoes and heads out the door.","EXT. ZOO - DAY Joel and Clementine walk around unhappily. They barely look at the animals. Clementine watches parents with babies. JOEL Oh shit. I remember this. -LRB- to Clementine. -RRB- Want to go? CLEMENTINE -LRB- pissy. -RRB- I want to have a baby. JOEL Let's talk about it later. CLEMENTINE No. I want to have a baby. I have to have a baby. JOEL I do n't think we're ready. CLEMENTINE You're not ready. JOEL Clementine, do you really think you could take care of a kid? She turns violently toward him, glaring. CLEMENTINE What?! JOEL -LRB- mumbly. -RRB- I do n't want to talk about this here. CLEMENTINE Joel, We're fucking gon na talk about it! Joel looks around. People are watching. CLEMENTINE -LRB- CONT'D. -RRB- You ca n't fucking say something like that and say you do n't want to talk about it! JOEL Clem, I'm sorry. I should n't have - CLEMENTINE -LRB- screaming now. -RRB- I'd make a fucking good mother! I love children! I'm creative and smart and I'd make a fucking good mother! The scene starts to fade. Clementine's rant continues but becomes attenuated and vague. JOEL Oh, thank God. It's going. CLEMENTINE It's you! It's you who ca n't commit to anything! You have no idea how lucky you are I'm interested in you! I do n't even know why I am! I should just end it right here, Joel. Leave you in the zoo. Maybe you could find a nice sloth to hang out with! She's crying now, but it's almost animatronic, no real emotion in it. The scene is a husk. JOEL It's going, Clementine. All the crap and hurt and disappointment. It's all being wiped away. She looks up at him. CLEMENTINE I'm glad. Their eyes lock. She is fading before his eyes. JOEL Me, too.","INT. BAR - NIGHT It's noisy and crowded. Joel and Clementine sit at a small table. She is drunk and staring off, blankly. JOEL So, um - CLEMENTINE -LRB- swiveling head toward him. -RRB- Would you get me another, Joely? Joel sighs, stands, and heads to the crowded bar. CLEMENTINE -LRB- CONT'D. -RRB- Thanky! Thanky! Joel is at the bar, trying to get the bartender's attention. Joel is paying the bartender. He turns with the drink to head back to the table. He sees Clementine flirting with a man in Joel's seat. Joel is at the table. Clementine looks from her conversation. CLEMENTINE -LRB- CONT'D. -RRB- Joel, this is Mark. He likes my boobs. He came over special to tell me that. Is n't that nice. He does n't think I'm fat. The scene starts to fade. Mark rises. MARK I did n't know she was with someone, man. CLEMENTINE S'okay, Mark. Joel does n't like my boobs. -LRB- stage whisper. -RRB- I do n't think he likes girls. The bar gets quiet and vague. JOEL You're drunk. CLEMENTINE You're a whiz kid. So perceptive, so - Clementine keeps talking but there are no more intelligible words, just a whisper - like a breeze. A doorbell buzzes. Joel looks up.","INT. JOEL'S APARTMENT - NIGHT Patrick opens the door. Mary stands there in a winter coat, carrying a backpack. MARY -LRB- coolly. -RRB- Oh, hey, Patrick. PATRICK Hi, Mary. How's it going? She walks past him. STAN Hey, you. Stan and Mary kiss. She looks down at Joel as she takes off her coat. MARY It's freezing out. STAN You found us okay? MARY Yeah. -LRB- re : Joel. -RRB- Poor guy. -LRB- looking around. -RRB- Have anything to drink? STAN We have n't checked. MARY Well, allow me to do the honors. It's fucking freezing and I need something. She heads into the kitchen. Stan turns back to monitor the slivers of light. PATRICK Mary hates me. I've never been popular with the ladies. STAN Maybe if you stopped stealing their panties. PATRICK -LRB- guilty beat. -RRB- Okay, There's more, Stan - Stan looks over at Patrick. Mary returns with a bottle of scotch and two glasses. MARY Hey, hey. She pours the whiskey. MARY -LRB- CONT'D. -RRB- Oh, Patrick, you did n't want any, did you? PATRICK Nah, I do n't know. Mary hands a glass to Stan. She holds hers up in a toast. MARY Blessed are the forgetful, for they get the better even of their blunders. Mary and Stan click glasses. MARY -LRB- CONT'D. -RRB- Nietzsche. Beyond Good and Evil. Found it my Bartletts. STAN That's a good one. MARY Yeah, I ca n't wait to tell Howard! It seems really appropriate. STAN -LRB- a little sulky. -RRB- It's a good one all right. PATRICK What's your bartlett's? STAN It's a quote book. MARY I love quotes. So did Winston Churchill. He actually has a quotation in Bartlett's about Bartlett's. Is n't that trippy? PATRICK -LRB- trying to engage. -RRB- Yeah. Cool. MARY `` The quotations when engraved upon the memory give you good thoughts.'' PATRICK Very cool. Trippy. MARY I like to read what smart people say. So many beautiful, important things. STAN Yup. MARY Do n't you think Howard's like that? Smart? Important? STAN -LRB- beat. -RRB- Yup. PATRICK Definitely! MARY I think he'll be in Bartlett's one day. Stan focuses on the monitor. Mary pours herself another drink. PATRICK Definitely.","INT. JOEL'S BEDROOM - NIGHT It's dark. Joel and Clementine are in bed. The memory is already in the midst of being erased. Clementine is talking in a monotonous, robotic manner. CLEMENTINE You do n't tell me things, Joel. I'm an open book. I tell you everything. Every damn embarrassing thing. You do n't trust me. JOEL No, it is n't that. CLEMENTINE I want to know you. JOEL I just do n't have anything very interesting about my life. CLEMENTINE Joel, you're a liar. The scene is faded completely now and Joel just lies there for a moment, registering Clementine's statement.","INT. CHINESE RESTAURANT - NIGHT Joel and Clementine eat dinner in silence. Joel looks around at other couples in the restaurant. Some seem happy and engaged. Others seem bored with each other. He turns back to his food. JOEL How's the chicken? VOICE-OVER Is that like us? Are we just bored with each other? CLEMENTINE Good. He watches her as she downs her wine and pours herself another glass. She holds the wine bottle up to Joel. CLEMENTINE -LRB- CONT'D. -RRB- More? JOEL No. Thanks. There's a silence. CLEMENTINE How's the fish? The scene is fading. JOEL It's good. They continue to eat in silence as the scene dissolves. PATRICK'S VOICE Hi, Clementine! - Why, what's wrong? - Oh, I'm sorry. - Well, I'm not sure, I kind of have to study for my test -","INT. JOEL'S APARTMENT - NIGHT Patrick is on the phone next to Joel's bed. Stan watches the lights on the computer screen. PATRICK Hold on. Let me ask my friend. -LRB- covering mouthpiece. -RRB- Stan, can I leave for a little while? My girlfriend is very - STAN Patrick, we're in the middle of - PATRICK She's right in the neighborhood. She's upset. Mary is in the kitchen. She pokes her head out. She's got some pie on a plate. MARY Let him go, Stan. I can help. STAN -LRB- sighing, to Patrick. -RRB- Go. PATRICK -LRB- quietly. -RRB- Mary hates me. -LRB- into phone. -RRB- I'll be right over, Tangerine.","INT. CLEMENTINE'S APARTMENT - NIGHT Candles are lit. Joel and Clementine are under a blanket on the living room rug listening to music. CLEMENTINE Joely. JOEL Yeah, Tangerine? CLEMENTINE Do you know The Velveteen Rabbit? JOEL No. CLEMENTINE It's my favorite book. Since I was a kid. It's about these toys. There's this part where the skin Horse tells the rabbit what it means to be real. -LRB- crying. -RRB- I ca n't believe I'm crying already. He says, `` It takes a long time. That's why it does n't often happen to people who break easily or have sharp edges, or who have to be carefully kept. Generally by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things do n't matter at all, because once you are Real you ca n't be ugly, except to people who do n't understand.'' She's weeping. Joel is stroking her hair. They kiss and begin to make love under the blanket. It's sweet and gentle and then it starts to fade. JOEL -LRB- screaming. -RRB- No! Jesus, No! He looks down and Clementine's tear - streaked face is fading. She continues as if she's still being made love to, even though Joel is completely beside himself. He jumps up naked and yells at the ceiling. JOEL -LRB- CONT'D. -RRB- Please! Please! I've changed my mind! -LRB- looks down at fading Clementine, then at ceiling. -RRB- I do n't want this. Wake me up! Stop the procedure! Plea -","INT. JOEL'S APARTMENT - NIGHT Joel is unconscious on the bed, completely still. Mary and Stan watch the monitor and smoke a joint. After a silence : MARY It's amazing, is n't it? Such a gift Howard gave the world. STAN -LRB- a sigh. -RRB- Yeah. MARY To let people begin again. It's beautiful. You look at a baby and it's so fresh, so clean, so free. And adults. they're like this messy tangle of anger and phobias and sadness. hopelessness. And Howard just makes it go away. STAN You love him, do n't you? Mary seems surprised, taken aback, caught. She is silent for a long moment. MARY No. -LRB- beat. -RRB- Besides, Howard's married, Stan. He's a very serious and ethical man. I'm not going to tempt him to betray all he believes in. Stan takes another drag on the joint, passes it to Mary.","EXT. STREET - NIGHT Patrick, bundled up and carrying a full backpack, trudges through the snow.","INT. CLEMENTINE'S APARTMENT - CONTINUOUS Clementine watches out the window as Patrick nears. She's crying. He makes his way up her front stairs. She swings open the door and hugs him. PATRICK Oh, baby, what's going on? CLEMENTINE I do n't know. I'm lost. I'm scared. I feel like I'm disappearing. I'm getting old and nothing makes any sense to me. PATRICK Oh, Tangerine. CLEMENTINE Nothing makes any sense. Nothing makes any sense. She pushes herself out of the embrace and looks at Patrick. CLEMENTINE -LRB- CONT'D. -RRB- Come up to Boston with me? PATRICK Sure. We'll go next weekend and - CLEMENTINE Now. Now! I have to go now. I have to see the frozen Charles! Now! Tonight! PATRICK Um, okay. I'll call my study partner. CLEMENTINE Yay! It'll be great! I'll get my shit. She runs into the bedroom. Patrick is at the phone and realizes he does n't know Joel's number. After a moment's thought, he * 69's. The phone rings. JOEL'S VOICE Hi, it's Joel. Please leave a message after the beep. Beep. PATRICK -LRB- whisper. -RRB- Stan, it's Patrick. Pick up. STAN'S VOICE Hey, where are you? PATRICK I got into a situation with the old lady. Can you handle things tonight alone? I'm really sorry, man.","INT. JOEL'S APARTMENT - CONTINUOUS Stan is on the phone. He's really stoned and watches Mary, stoned herself, dancing in a sexy trance to something soft and low on the stereo. STAN I can handle it. He's pretty much on auto - pilot anyway.","INT. CLEMENTINE'S APARTMENT - CONTINUOUS PATRICK Thanks, Stan. I owe you. Patrick hangs up, rifles quickly through his backpack. He pulls out a silver bracelet, puts it in his pocket, then pulls out a journal, flips through it, keeping an eye on the bedroom door. The handwriting is a woman's. He finds what he's looking for. He reads : CLEMENTINE'S VOICE I took Joel to walk on Charles River with me last night. It was so beautiful and charming. Joel was nervous about stepping onto the ice, but he wanted to please me so much - he's so sweet - that he came out after me. We lay down right in the center and watched the stars. He took my hand and said `` I could.","EXT. CHARLES RIVER - NIGHT Joel and Clementine lie together holding hands on the frozen river. They look up at the stars. JOEL die right now, Clem. I'm just. happy. I've never felt that before. I'm just exactly where I want to be. Clementine looks over at him. Her eyes are filled with love and tears. Then they get vague. The scene is being erased. Joel is panicked. JOEL -LRB- CONT'D. -RRB- Clem, no! This ca n't keep happening. Please! Oh, fuck! Please! Crazily, Joel runs off, passing through a series of decayed scenes : He and Clementine arguing in a car, having sex on the beach, laughing and holding hands at a movie, eating grilled cheese and tomato soup together in bed, Joel watching her sleep, them drinking at a bar. He arrives at a decayed version of his first meeting with Mierzwiak. MIERZWIAK We can help you through this. Why do n't you start now by telling me everything you can remember about - JOEL You have to stop this! MIERZWIAK What? What do you mean? JOEL I'm trapped in my head and everything I love is being erased! Stop it now! MIERZWIAK Yes, but. I'm just something you're imagining. What can I do? I'm in your head, too.","INT. CLEMENTINE'S APARTMENT - NIGHT Patrick reads the journal. CLEMENTINE'S VOICE and we made love right on the ice. It was absolutely freezing on my ass! It was wonderful. Clementine enters, dressed for the cold. Patrick puts the notebook away. CLEMENTINE I'm so excited. Yay! PATRICK I'm excited, too. Oh, and I wanted to give you this. It's a little. thing. Patrick pulls the bracelet from his pocket, hands it to her. PATRICK -LRB- CONT'D. -RRB- I did n't have a chance to wrap it. CLEMENTINE It's gorgeous. -LRB- slipping it on. -RRB- Just my taste. I've never gone out with a guy who brought me a piece of jewelry I liked. -LRB- kisses him. -RRB- Thanks. So let's get going. Long drive.","INT. JOEL'S APARTMENT - NIGHT Stan and Mary have sex on the floor next to Joel's bed.","EXT. FOREST - DAY Joel and Clementine are hiking, Clementine in front. CLEMENTINE Such a beautiful view. JOEL -LRB- looking at her. -RRB- Yes indeed. -LRB- snapping out of memory. -RRB- Fuck! They're erasing you, Clem! CLEMENTINE Oh? JOEL I hired them to. We're in my brain. But I want it to stop, before I wake up and do n't know you anymore. CLEMENTINE Wow. Um, well. ca n't you just force yourself awake? JOEL I do n't know. He concentrates. Nothing happens. JOEL -LRB- CONT'D. -RRB- Aaargh! It's horrible! I'm trapped! He starts to have a fit, banging against trees, stomping his feet, screaming. But even while he's doing this the memory and Clementine are fading around him.","INT. JOEL'S APARTMENT - DAY It's raining out. Joel is reading, slouched in a chair. He looks over at Clementine, stretched out on her belly in her underwear. She's reading, too. VOICE-OVER She's so sexy. JOEL I loved you on this day. I love this memory. The rain. Us just hanging. Clementine looks over at him, smiles. Her brow furrows in thought. CLEMENTINE What if you hide me? JOEL What do you mean? CLEMENTINE -LRB- formulating. -RRB- Well. if they're looking for me in memories I'm in, what if you take me to a memory I'm not in? -LRB- proud. -RRB- And we can hide there till morning. Joel ponders this. The scene and Clementine are beginning to dissolve. Joel grabs Clementine's hand. She giggles with glee. He pulls her out of the scene as it degrades. JOEL Where? Where? Where? He drags her through the landscape of already decayed memories and turns off into :","INT. KITCHEN - DAY The kitchen is dated and vague. Joel and Clementine are in an oversized playpen ; they're adults but small. Joel wears footsie pajamas with some vague little animals on them. He holds a a red furry huckleberry hound doll. Clementine is still in her panties and bra. An oversized woman in high heels, seen from a low angle, hurries back and forth preparing dinner. CLEMENTINE Jesus. What's this? Joel looks around at the kitchen, at his doll, at the woman. JOEL I must be about two. -LRB- oddly. -RRB- I want my mommy. She's busy. She's not looking at me. -LRB- back to himself, re : doll. -RRB- Look, my Huckleberry Hound doll! I told you about this! -LRB- beat. -RRB- I want my mommy! He starts to cry. Clementine tries to comfort him. She hugs him. JOEL -LRB- CONT'D. -RRB- -LRB- crying still. -RRB- I want my mommy. -LRB- adult, to Clementine. -RRB- I do n't want to lose you, Clem. CLEMENTINE I'm right here. JOEL I'm scared. I want my mommy. I do n't want to lose you. I do n't want to lose. CLEMENTINE Joel, Joely, look. it's not fading. The memory. I think we're hidden. Joel sucks in some snot. His mother scurries back and forth clanging pots. The room is not decaying. Joel smiles.","INT. JOEL'S BEDROOM - NIGHT Stan and Mary lie on the floor, their stoned minds wandering after sex. Stan suddenly perks up. He looks at the monitor. STAN It's stopped. MARY What? STAN Listen, it's not erasing. He makes his way, naked, to the computer screen. STAN -LRB- CONT'D. -RRB- It's not erasing. He's off the screen. MARY Where? STAN I do n't know. He's not on the map. Stan tries to break through his marijuana haze. He fiddles nervously with the equipment. STAN -LRB- CONT'D. -RRB- I do n't know what to do! I do n't know what to do! Crap. Crap. MARY Well, what should we do? STAN I do n't know! I just said that! MARY Sor - ry. -LRB- beat. -RRB- We have to do something. He ca n't wake up half done. STAN Shit! He jerks the joystick spastically. Mary, also naked, gets up and looks over his shoulder at the screen. MARY -LRB- definitely. -RRB- We should call Howard. Stan turns and looks at her. He's stoned and trying to understand her motivation. STAN No way. I can handle this. MARY This guy's only half cooked. There's no time to fuck around, Stan. Stan tries to think. He paces. Mary watches him. Finally : STAN -LRB- without making eye contact. -RRB- Okay. He dials the phone, waits. STAN -LRB- CONT'D. -RRB- Hello, Howard?","INT. MIERZWIAK'S BEDROOM - CONTINUOUS The room is dark. A groggy Mierzwiak is in bed on the phone. His wife lies beside him, eyes open, listening. MIERZWIAK Stan? What's going on? STAN'S VOICE The guy we're doing? He's disappeared from the map. I ca n't find him anywhere. MIERZWIAK Okay, what happened right before he disappeared? STAN'S VOICE I was away from the monitor for a second. I had it on automatic. I had to go pee. MIERZWIAK Well, where was Patrick? STAN'S VOICE He went home sick. MIERZWIAK Jesus. All right, what's the address. STAN'S VOICE 1062 Sherman Drive. Apartment 1E, Rockville Center. Mierzwiak writes it down on a bedside not pad. He hangs up.","INT. JOEL'S APARTMENT - NIGHT Stan hangs up the phone, looks at Mary. MARY He's coming? STAN You better go. MARY Hell no. She starts getting dressed. MARY -LRB- CONT'D. -RRB- Shit, I'm so stoned. I do n't want him to see me stoned. Stop being stoned, Mary! She hurries into the bathroom with her bag. MARY -LRB- CONT'D ;O. S. ; CONT'D. -RRB- God, I look like shit! God! Mary slams the bathroom door. Stan puts his head in his hands.","INT. KITCHEN - DAY Joel and Clementine are in the playpen. Joel's oversized mother reaches down as she hurries by and pats Joel on the head. MOTHER How's my baby boy? She's gone. JOEL I really want her to pick me up. It's weird how strong that desire is. Clementine holds his hand. He looks over at her. CLEMENTINE You know, we're okay. They're not finding us. You'll remember me in the morning. And you'll come to me and tell me about us and we'll start over. JOEL I loved you so much this day. On my bed in your panties. I remember I thought, how impossibly lucky am I to have you on my bed in your panties. She kisses him. CLEMENTINE You remember what happened next? JOEL I came over to the bed and you smelled so good, like you just woke up, slightly sweaty. And I climbed on the bed with you and you said something like - CLEMENTINE - another rainy day. Whatever shall we do? He laughs. She unbuttons his pajamas. They begin to make love. Joel's mother hurries around the kitchen. Joel stops, looks at Clementine. JOEL There's this guy! CLEMENTINE What? JOEL There's this guy. I heard him talking in my apartment. He's one of the eraser guys. And he fell for you when they were erasing you, so he introduced himself the next day as if he were a stranger and now you're dating him. CLEMENTINE Really? Is he cute? JOEL He stole a pair of your panties while you were being erased! CLEMENTINE Gross! You must remember to tell me this in the morning. I'm, like, so freaked out now.","INT. CLEMENTINE'S CAR - NIGHT It's a rust bucket. Clementine drives through the snow. She's crying and holding Patrick's hand. CLEMENTINE What's wrong with me? PATRICK Nothing is wrong with you. You're the most wonderful person I've ever met. She glances gratefully over at him then starts to cry even harder.","INT. JOEL'S BEDROOM - NIGHT Stan works on trying to get the signal back. His hair is combed and he's dressed neatly, looking professional but still stoned. Mary is pacing nervously to and from the window, looking out into the night. She's dressed also, and she's wearing more make - up now. Her hair is pulled up into some sort of style. Suddenly she freezes at the window. MARY There he is. Oh my God. Oh my God. Do I look okay? She does n't say anything. MARY -LRB- CONT'D. -RRB- I'm still stoned. Are you? Crap. She looks in the mirror. MARY -LRB- CONT'D. -RRB- -LRB- to Joel. -RRB- Your Visine did n't do shit, fella. The doorbell buzzes. Mary lunges for the door, then calms herself before opening it. Mierzwiak, holding an equipment bag, looks surprised. MIERZWIAK Mary. What are you doing here? STAN She came to help, Howard. MARY I wanted to learn as much about the procedure as possible, Howard. I think it's important for my job. to help comfort the clientele. You know. Mierzwiak looks from Mary to Stan, nods, and enters. Mary closes the door. Mierzwiak crosses to the equipment. MIERZWIAK Let's get to the bottom of this. Shall we? He sits down in front of the computer and does some fiddling. MIERZWIAK -LRB- CONT'D. -RRB- Odd. He fiddles some more. Mary looks on, fascinated. STAN I tried that already. MIERZWIAK Did you try going through C - Gate? STAN Yeah. Of course. Mierzwiak ponders. He unzips his equipment bag, pulls out another laptop computer and plugs it in to the system. MIERZWIAK I'm going to do a Spectrum search throughout his memory, see if anything comes up. Mierzwiak presses some more buttons. The program starts up. A much more complex and detailed human brain appears on this screen. It rotates. Eventually Mierzwiak sees a small distant light in the brain. He zeroes in on it. MIERZWIAK -LRB- CONT'D. -RRB- Okay, here it is. I do n't know why it's off the map like that, but -","INT. KITCHEN - DAY Joel is being bathed in the oversized sink by his oversized mother. Clementine sits in the water with him, laughing. The mother does n't seem to see her. MOTHER Little baby getting awwwl cleean. Awl clean. JOEL -LRB- to Clementine. -RRB- I love getting bathed in the sink. It's such a feeling of security. CLEMENTINE -LRB- giggling. -RRB- I've never seen you happier. The elements of the scene flash explosively away : Joel's mother, his Huckleberry Hound doll, the details of the kitchen, Clementine. Joel is thrown into :","INT. CAR - NIGHT He sits with Clementine in the parked car, outside a drive - in movie theater. The movie on the giant screen is partially obscured by a fence. Joel and Clementine drink wine.","INT. JOEL'S BEDROOM - NIGHT Mierzwiak looks up from the computer screen. MIERZWIAK Okay, we're back in. MARY That was beautiful to watch, Howard. Like a surgeon or a concert pianist. MIERZWIAK Well, thank you, Mary. STAN -LRB- sighing. -RRB- You get some sleep, Howard. I'll take it from here. MIERZWIAK Yeah, probably a good idea.","INT. CAR - NIGHT Clementine and Joel laugh as they try to give voice to what the characters on the screen are saying. CLEMENTINE But ca n't you see. I love you, Antoine. JOEL Do n't call me Antoine. My name is Wally. CLEMENTINE Yes, but I ca n't love a man named Wally. She starts to fade. The scene starts to fade. Joel remembers their previous plan. JOEL They found us before. The plan did n't work. I do n't know what to do now. CLEMENTINE -LRB- mouthing to woman on screen. -RRB- Hide me somewhere deeper? Somewhere buried? Joel grabs her. They run off just as the scene decays into a husk behind them.","INT. JOEL'S BEDROOM - NIGHT Stan is back at the controls. Mierzwiak's at the door with Mary. STAN Howard, they've disappeared again. MIERZWIAK Oh dear. MARY I'm so sorry, Howard, you must be tired. He nods, distractedly. She smiles to herself as he heads back to the equipment.","EXT. SCHOOLYARD - AFTERNOON Joel, now the size of a junior high school kid and dressed accordingly, is peering around the corner of the school building toward the bike rack. Clementine is with him, dressed as she was in the parked car. CLEMENTINE Look at you, cutey! What are we doing? JOEL This kid, Joe Early, is going to beat the shit out of me. VOICE-OVER I'm terrified. I thought if I hung around the art room long enough, he'd go home and I could get my bike. They head toward the bike rack. Joel's is the only bike remaining. CLEMENTINE -LRB- CONT'D. -RRB- Poor Joel. They're at the bike rack and a bunch of kids, including giant, fat Joe Early come around the corner. JOE EARLY Hi, Jill. JOEL He calls me Jill. Everyone calls me Jill after this. The other kids laughs. JOEL Just shut up, Joe. I'm going home. JOE EARLY I do n't think so. We're fighting. JOEL I do n't want to fight you. The kids start chanting, `` fight, fight, fight.'' Joe Early throws a wild punch that hits Joel in the side. joel falls and stays down, covering himself. JOE EARLY C'mon, Jill. Get up, faggot. C'mon. Joel does n't say anything. He peeks humiliated at Clementine. She's watching him. She's got a tear in her eye. She kneels down beside him, puts her arm around him. JOEL I'm too scared to even throw a punch. When I tell people this story I leave that part out. The scene flashes violently to white and is gone.","INT. JOEL'S APARTMENT - NIGHT Mierzwiak is at the machine. MIERZWIAK We got him back. Stan, I think I'm just going to have to get through this manually. We're running late.","EXT. BEACH - DAY It's cold. Joel and Clementine walk, all bundled up. She points at a house up the beach. CLEMENTINE Our house! Our house! She runs ahead, laughing. The scene is decaying. Joel chases after her. JOEL Clem, c'mon, we've got to hide you. Remember? He grabs her arm and yanks and they are in :","INT. BOY'S BEDROOM - NIGHT It's dark. Joel, junior high school size, is in bed masturbating. Clementine is in there, too, in her winter coat, still laughing from before. She realizes what's going on. CLEMENTINE -LRB- mock offended. -RRB- Joel! JOEL -LRB- continuing to masturbate. -RRB- I do n't like it either, but I'm just trying to find horrible secret place to - Joel's mother pops her head in the door. MOTHER Joel, I was just -. -LRB- sees what's going on. -RRB- Oh. Um. I'll ask you in the morning, honey. Have a good night. The mother backs out, closes the door. Joel cringes. Clementine laughs, still in the mode of the memory she was swiped from. Flash! It's all gone.","INT. RESTAURANT - NIGHT Joel and Clementine are laughing as she blows out the candle on a slice of cheesecake in front of her. Joel hands her a small wrapped box. JOEL Happy Birthday. CLEMENTINE -LRB- unwrapping the gift. -RRB- Thanks, Joely. A present! Oh boy! She pulls out the bracelet. It's the same bracelet Patrick gave her. CLEMENTINE -LRB- CONT'D. -RRB- Oh, Joel. It's beautiful! -LRB- slip it on. -RRB- I mean, you're the first guy who ever bought me a piece of jewelry I could honestly say that about. He notices she's starting to fade. JOEL I scoured the city for it. CLEMENTINE I love it! She leans across the table to kiss him. He grabs her and runs through the decaying scene and into the vague night.","EXT. SUBURBAN STREET - DAY Joel is one of a group of five year olds. He holds a hammer and is poised to hit a dead bird in a red wagon. The other boys are goading him. BOYS C'mon, Joel, you have to. Do it already. Joel does n't want to. Clementine watches. JOEL I ca n't. I have to go home. I'll do it later. VOICE-OVER I did n't want to do this. But I had to or they would've called me a girl. Joel miserably smashes the bird repeatedly with the hammer. Red jelly guts cover the hammer and the wagon bottom. The kids hoot. VOICE-OVER I ca n't believe I did that. I'm so ashamed. A live bird watches from a tree. Clementine, still dressed for her birthday dinner -LRB- wearing her new bracelet -RRB-, pulls Joel away from the other boys. The two of them walk down Joel's suburban street. CLEMENTINE It's okay. You were a little kid. -LRB- beat. -RRB- This is a great birthday present. Getting to see you as a boy. She kisses him and they walk holding hands. JOEL -LRB- pointing. -RRB- That's where I live. Lived. Joel looks down at her hand. It's fading. The bracelet is gone. Clementine is gone. His childhood house is gone.","INT. JOEL'S BEDROOM - NIGHT Mierzwiak works the equipment. He has located a small area of light in the brain imaging and eradicates them. MIERZWIAK I'm getting the hang of it. I still understand it. But I'm finding him quickly enough. I'm hopeful there wo n't be too much peripheral eradication. Mary sits on the bed. MARY -LRB- a little giggly. -RRB- I like watching you work. Stan sighs, grabs his coat. STAN I'll go out for a smoke. If no one minds. MIERZWIAK -LRB- not looking up. -RRB- That's fine, Stan. Mary does n't say anything. Stan huffs and is out the door. Mierzwiak continues to find and erase points of light. Mary gets up her courage to speak. MARY Do you like quotes, Howard? MIERZWIAK How do you mean? MARY Oh, um, like famous quotes. I find reading them inspirational to me. And in my reading I've come across some I thought you might like, too. MIERZWIAK Oh. Well, I'd love to hear some. Mary is thrilled, beside herself. She tries to calm down. MARY Okay, um, there's one that goes `` Blessed are the forgetful, for they get the better even of their blunders.'' MIERZWIAK Is that Nietzsche? MARY Yeah, yeah it is, Howard. And here I was thinking I could tell you something you did n't know. MIERZWIAK It's a good quote, Mary. I'm glad we both know it. He smiles at her. She's flustered, flattered. MARY -LRB- sputtering. -RRB- There's another one I like, I read. It's by Pope Alexander. MIERZWIAK Alexander Pope? MARY Yes, shit. Oops, sorry! -LRB- puts hand over mouth. -RRB- Sorry. It's just I told myself I was n't going to say Pope Alexander and sound like a dope and then I go ahead and do it. Like I psyched myself out. MIERZWIAK It's no big deal. MARY You are such a sweetheart. There's an embarrassed moment as that line hangs in the air. Then Mary plunges ahead to bury it. MARY -LRB- CONT'D. -RRB- Anyway, the quote goes `` How happy is the blameless Vestal's lot! The world forgetting, by the world forgot : Eternal sunshine of the spotless mind! Each prayer accepted, and each wish resign'd''. She smiles, proud and embarrassed. MIERZWIAK That's lovely. MARY Really? I thought it was appropriate maybe. That's all. -LRB- beat, then quickly. -RRB- I really admire the work that you do. I know it's not proper to be so familiar but I guess since we're outside the workplace I feel a certain liberty to - MIERZWIAK It's fine, Mary. I'm happy to hear it. MARY Okay. Good. Great. Thanks. -LRB- blurting. -RRB- I like you, Howard. an awful lot. Is that terrible? Mierzwiak seems momentarily taken aback, then returns to his unflappable self. MIERZWIAK You're a wonderful girl, Mary. She leans over and kisses him, then pulls away quickly. MARY I've loved you for a very long time. I'm sorry! I should n't have said that. MIERZWIAK I've got a wife, Mary. Kids. You know that. MARY -LRB- suddenly weepy. -RRB- I wish I was your wife. I wish I had your kids. Mierzwiak comforts her with a hug. It turns into kiss. He pulls away. MIERZWIAK We ca n't do this. MARY No you're right. Once again. You're a decent man, Howard. He smiles sadly at her. She smiles courageously at him. MIERZWIAK I want you to know it's not because I'm not interested. If that means anything. They look at each other a long while, then Howard goes back to locating and eradicating blips of lights.","EXT. JOEL'S APARTMENT BUILDING - NIGHT Stan sits in the van and smokes a cigarette. He has an unobstructed view into Joel's bedroom window. He watches Mierzwiak and Mary. They're talking as Howard works. It appears to be a very serious discussion. A car pulls up outside. Stan turns to see. A middle - aged woman gets out, checks the address on Joel's building, approaches the only lit window, watches Mierzwiak and Mary inside. Mierzwiak's resolve has apparently weakened and he and Mary kiss again. This time it leads to groping, partial undressing, and falling onto the bed alongside the unconscious Joel. The woman in the window is transfixed. As Mierzwiak fumbles to unzip his pants, he catches sight of the woman in the window. He practically shrieks and jumps up.","EXT. COUNTRY ROAD - DAY Joel and Clementine walking, hand - in - hand, look up simultaneously.","INT. JOEL'S BEDROOM - CONTINUOUS Mary looks confusedly at Howard. MARY What? She follows his eyes and sees the woman in the window, who turns and walks off in a huff. MARY -LRB- CONT'D. -RRB- Oh my God! Mierzwiak is already in his coat. He's out the door.","EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS The woman is at her car. Stan watches from the van. Mierzwiak is hurrying to the woman. MIERZWIAK Hollis! Hollis! HOLLIS -LRB- THE MIDDLE - AGED WOMAN. -RRB- I knew it, Howard. I do n't even know why I bothered to copy the damn address. MIERZWIAK It did n't start out to be this. I came here to work. It's a one - time mistake. Mary is right behind Mierzwiak now. Hollis is in her car. MARY -LRB- heroically. -RRB- Mrs. Mierzwiak, it's true. And it's not Mr. Mierzwiak's fault. I'm a stupid little girl with a stupid little crush. I basically forced him into it. I swear. Hollis turns, looks at Mary and then at Mierzwiak. HOLLIS Do n't be a monster, Howard. Tell the girl. Stan is out of the van now, listening. Mary shivers in the cold, hugs herself. There's a long silence. Then : MARY Tell me what? Hollis and Mierzwiak have locked eyes. Mary looks back and forth between them. Hollis starts her car. HOLLIS Poor kid. You can have him. You did. She drives off. Mary watches Howard with increased foreboding. MARY What, Howard? MIERZWIAK We. have a history. I'm sorry. You wanted the procedure. You wanted it done. to get past. I have to finish in there. It's almost morning. We'll talk later. He shuffles inside. Mary stands there, unable to digest this, struggling in vain to remember. Stan watches. STAN Let me take you home. Mary shakes her head `` no.'' She walks off, dazed.","EXT. CHARLES RIVER - NIGHT Clementine and Patrick lie on their backs on the frozen river and look up at the night sky. PATRICK I could die right now, Clem. I'm just happy. I've never felt that before. I'm just exactly where I want to be. Clementine looks over at him. Their eyes meet. She sobs. CLEMENTINE I want to go home. She hurries toward the shore, slips on the ice, gets up, and continues, now running.","INT. COMMUTER TRAIN - NIGHT Mary, in shock, sits in the empty fluorescent car. She tries to look out the window but can only see her own reflection.","INT. JOEL'S BEDROOM - NIGHT It's deathly silent as Mierzwiak and Stan work on completing the job. Mierzwiak locates a light hidden very deep in the map of Joel's brain. He targets it.","EXT. ROWBOAT - DAY Joel, the size of a ten year old, sits fishing with his oversized father. Clementine is naked and in the boat, too. She's reading The Play by Stephen Dixon. CLEMENTINE I love this book, Joel. Thank you so much for telling me about it. Joel is his father. The father is drunk and sullen. He faces away from Joel, looks out at the lake. FATHER Do n't be like me, son. Do n't waste your life. You'll come to a point someday where it'll be too late. You'll be sewn into your fate. JOEL It was horrifying, seeing my father like that. There was no hope for me if his life was such a failure. And he saw failure in me, too, written in my future. Clementine watches the frightened, confused Joel. CLEMENTINE -LRB- CONT'D. -RRB- Joel, you're not sewn in. He's wrong. FATHER and there'll be nowhere to go except where you're headed, like a train on a track. Inevitable, unalterable. The scene poops out of existence with a flash of light.","INT. CHINESE RESTAURANT - NIGHT Joel finds himself eating Chinese food and sitting across from Clementine. He is ragged and jarred. JOEL I'm done, Clem. I'm just going to ride it out. Hiding is clearly not working. CLEMENTINE Yeah. JOEL I want to enjoy my little time left with you. CLEMENTINE This is our first `` date'' date. JOEL Do you remember what we talked about? CLEMENTINE Naomi, I guess. JOEL Yeah. CLEMENTINE What was I wearing? JOEL God, I should know. Your hair was red. I remember it matched the wallpaper. CLEMENTINE Egad, were you horrified? JOEL No! I think you were wearing that black dress, y' know, with the buttons. She is wearing the black dress. CLEMENTINE No, you were with me when I bought that. At that place on East 6th. It was later.","INT. DRESS SHOP - SHOP The scene has already been erased. It's just a decayed husk. A vague Joel watches a vague Clementine model a black dress.","INT. RESTAURANT - NIGHT Clementine wears a generic black dress now. JOEL Right. Something black though. CLEMENTINE I'll buy that. Black's always good. JOEL We did talk about Naomi. CLEMENTINE I said : Are you sure? You seem unsure. JOEL I'm sure, I said. CLEMENTINE But you were n't. I could tell. JOEL I was so nervous. I remember I could n't think of anything to say. There were long silences. There is a long silence. JOEL -LRB- CONT'D. -RRB- I thought I was foolish. I thought I'd mistaken infatuation for love. You said : CLEMENTINE So what. Infatuation is good, too. JOEL And I did n't have an argument.","INT. CAR - NIGHT Joel and Clementine pull up to Clementine's house. JOEL I dropped you off after. You said - CLEMENTINE -LRB- Mae West. -RRB- Come up and see me. now. JOEL It's very late. CLEMENTINE Yes, exactly. Exactly my point.","INT. CLEMENTINE'S APARTMENT - NIGHT Joel and Clementine are in the midst of awkward shy sex. JOEL This was our first time. The scene starts to fade. Joel watches Clementine disappear.","INT. LACUNA RECEPTION AREA - NIGHT Mary enters the dark room, frazzled. She flips on the fluorescent lights and searches the file folders, finds one with her name on it. Her jaw drops. With a shaky hand, she puts the tape into the player on her desk and presses `` play.'' MIERZWIAK VOICE Okay, so just tell me what you remember. And we'll take it from there. MARY'S VOICE -LRB- shaky. -RRB- Um, I liked you immediately. At the job interview. You seemed so. important and mature. And I loved that you were helping all these people. You did n't come on to me at all. I liked that. I was tongue - tied around you at first. I wanted you to think I was smart. You were so nice. I loved the way you smelled. I could n't wait to come to work. I had these fantasies of us being married and having kids and just. -LRB- starts to cry. -RRB-. and so. then. when. that one day, when I thought you looked at me back. like. Oh, Howie, I ca n't do this? How can I do this? MIERZWIAK VOICE It's what's best, Mary. You know that. Mary slumps to the floor. We move into her eyes. MARY'S VOICE Yeah, I know. Oh, God. Okay, well, I was so excited. A SERIES OF MURKY IMAGES. NO DETAIL. A flirtatious look from Mierzwiak. MARY'S VOICE -LRB- CONT'D. -RRB- Remember you bought me that little wind - up frog? A vague shot of a wind - up frog. MARY'S VOICE -LRB- CONT'D. -RRB- And you said. A vague shot of Mierzwiak mouthing to Mary's voice. MARY'S VOICE -LRB- CONT'D. -RRB- `` This is for your desk. Just a little token'' Back to Mary sitting on the floor, listening to the tape. MARY'S VOICE -LRB- CONT'D. -RRB- I knew then. I knew something was going to happen. something wonderful.","INT. JOEL'S APARTMENT - NIGHT Joel sits in the quiet living room. The scene is fading. JOEL Naomi. VOICE-OVER On the couch. Dark. Quiet. I wondered if I had made a terrible mistake. I almost reached for the phone about a thousand times. I thought I could take it back, erase it, explain I had momentarily lost my mind. Then I told myself we were n't happy. That was the truth. That what we were was safe. It was unfair to you and to me to stay in a relationship for that reason. I thought about Clementine and the spark when I was with her, but then I thought what you and I had was real and adult and therefore significant even if it was n't much fun. But I wanted fun. I saw other people having fun and I wanted it. Then I thought fun is a lie, that no one is really having fun ; I'm being suckered by advertising and movie bullshit. then I thought maybe not, maybe not. And then I thought, as I always do at this point in my argument, about dying.","INT. ROOM - DAY An elderly man sits. VOICE-OVER I projected myself to the end of my life in some vague rendition of my old man self. I imagined looking back with a tremendous hole of regret in my heart.","INT. JOEL'S APARTMENT - NIGHT Joel sits. VOICE-OVER I did n't pick up the phone to call you, Naomi. I did n't pick up the phone. The scene dissolves.","INT. JOEL'S APARTMENT - DAY Namoi is red - eyed from crying. She is packing things in boxes. Joel paces, steals glances at her, does n't know what to say. She holds up a book. The scene starts to fade. NAOMI Yours? JOEL You take it. I do n't know. She tosses it in a box. JOEL -LRB- CONT'D. -RRB- Naomi, I really value our relationship. I hope it's possible for us to stay in touch. NAOMI Do n't do this to me now, Joel. Really.","INT. JOEL'S BEDROOM - DAY Joel watches out the window as Naomi stuffs a final box in the trunk of a car. There's another woman down there with her. They get into the car and drive off.","INT. BORDER'S BOOKSTORE - NIGHT Joel talks to Clementine. The scene is fogging over. JOEL I told her today I need to end it. CLEMENTINE Is that what you want? JOEL I did it. I guess that means something. Clementine shrugs. The scene fades.","EXT. PARK - DAY Joel walks with Naomi. NAOMI So what's going on, Joel? JOEL I do n't know, I've just been thinking, maybe we're not happy with each other. NAOMI What? JOEL Y' know, we've been, I do n't know, sort of, unhappy with each other and - NAOMI Do n't say `` we'' when you mean `` you.'' JOEL I think maybe, we're both so used to operating at this level that - How can one person be unhappy? If one person is unhappy, both have to be. by definition. NAOMI Bullshit. Who is it? You met someone. JOEL No. I just need some space, maybe. NAOMI The thing is, Joel, whatever it is you think you have with this chick, once the thrill wears off, you're just going to be Joel with the same fucking problems. JOEL It's not somebody else. VOICE-OVER I hate myself. Naomi walks off. Joel watches her. The scene fades.","INT. BORDER'S BOOKSTORE - NIGHT Joel enters, looks around. There's no sign of Clementine. Joel approaches a male employee. JOEL Is there a Clementine who works here? MALE EMPLOYEE #1 -LRB- calling to another male employee. -RRB- Mark, is Clem on tonight? MALE EMPLOYEE #2 On my dick, bro. -LRB- turns, sese Joel, embarrassed. -RRB- Oh, hey. Yeah, I think she's upstairs in Philosophy. Joel climbs stairs, searches the aisle, spots Clementine. JOEL Hi. She turns. CLEMENTINE I did n't think you'd show your face around me again. I figured you were humiliated. You did run away, after all. JOEL Sorry to track you down like this. I'm not a stalker. But I needed to see you. CLEMENTINE -LRB- seemingly uninterested. -RRB- Yeah? JOEL I'd like to. take you out or something. CLEMENTINE Well, you're married. JOEL Not yet. Not married. CLEMENTINE Look, man, I'm telling you right off the bat, I'm high maintenance. So I'm not going to tiptoe around your marriage or whatever it is you got going there. If you want to be with me, you're with me. JOEL Okay. CLEMENTINE So make your domestic decisions and maybe we'll talk again. She goes back to stacking. Joel stands there helplessly. JOEL I just think that you have some kind of. quality that seems really important to me. The scene is disintegrating. Clementine's speech is delivered without passion. CLEMENTINE Joel, I'm not a concept. I want you to just keep that in your head. Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked - up girl who is looking for my own peace of mind. Do n't assign me yours. JOEL I remember that speech really well. CLEMENTINE -LRB- smiling. -RRB- I had you pegged, did n't I? JOEL You had the whole human race pegged. CLEMENTINE Probably. JOEL I still thought you were going to save me. Even after that. CLEMENTINE I know. JOEL It would be different, if we could just give it another go around. CLEMENTINE Remember me. Try your best. Maybe we can. The scene is gone.","INT. ROB AND CARRIE'S CAR - NIGHT Joel sits forlornly in the back seat. Rob drives and Carrie sits in the front passenger seat. The car stops in front of Joel's apartment building. JOEL Thanks, guys. CARRIE I hope you feel better, sweetie. JOEL Yeah. CARRIE Say hi to Naomi. The car door closes.","INT. BUILDING STAIRWAY - NIGHT Joel climbs the stairs. VOICE-OVER I hope she's not up. I need to think.","INT. JOEL'S BEDROOM - NIGHT The lights are off. Joel sits on a chair near the window, writing in his journal. The streetlight illuminates the paper. Naomi sleeps in the bed. VOICE-OVER I met someone tonight at a party on the beach. Her name is Clementine. There is something alive about her. Naomi turns over in bed, sees Joel. NAOMI -LRB- full of sleep. -RRB- Hi. JOEL Hi. NAOMI How was it? JOEL You did n't miss much. Rob Carrie say hello. NAOMI Hi, Rob and Carrie. JOEL Go back to sleep. The room is starting to decompose. NAOMI Yeah. Come to bed. I'm cold. JOEL In a minute. Naomi turns over. Joel goes back to his writing. VOICE-OVER -LRB- more and more emotionless. -RRB- I do n't know what to do about this. I've been feeling so alienated and numb lately. Forever. The thought of not acknowledging my feelings again seems self - destructive. How can I continue on this path toward a living death, a life filled with obligation and guilt and responsibility but joyless, hopeless? I need to speak with Clementine. The scene has turned to a husk.","INT. JOEL'S APARTMENT - AFTERNOON Joel is at his closet, putting on a sweater. Naomi is at the dining room table, papers spread out before her, writing. Joel turns and watches her for a moment. JOEL So you do n't mind? NAOMI I've got to finish this chapter anyway. The scene is fading. JOEL Okay. I wish you could come. VOICE-OVER This is it. The night we met. My God, it's over. NAOMI -LRB- CONT'D. -RRB- Me, too. He approaches Naomi, kisses her on the top of the head. She continues to write. NAOMI -LRB- CONT'D. -RRB- Say hi to Rob and Carrie. Have some fun! JOEL I hope you get your work done. NAOMI -LRB- sighing. -RRB- Yeah.","INT. ROB AND CARRIE'S CAR - NIGHT Rob drives. Carrie fiddles with the radio dial in the front passenger seat. Joel sits in the back. CARRIE I'm sorry Naomi could n't make it. You okay? You seem quiet. JOEL Just a little overworked, maybe. VOICE-OVER The trip to the party where I met Clementine. My first memory of her is now my last memory of her. Joel looks out the window. Carrie turns around and says something to Joel. She is backlit, her hair a halo of frizz. JOEL I remember you turned around. Your face was dark and your hair was backlit - I could see a halo of frizz - you asked me if things were okay between Naomi and me. CARRIE I did. You said, things were fine. JOEL I remember. CARRIE This is the night you met Clementine, Joel. I remember watching you walk down the beach with her and I thought, oh shit. JOEL Yeah, you told me that later. CARRIE I told you that later. Joel looks out he window. He sees the husk of a memory on the darkened roadside. It's Joel and Carrie in :","INT. ROB AND CARRIE'S KITCHEN - DAY Faded. Carrie and Joel sit at the table with coffee. CARRIE Who was the girl you walked off with? JOEL No one.","EXT. BEACH PARKING LOT - NIGHT Rob, Carrie, and Joel emerge from the car, parked amidst a small cluster of cars in an otherwise empty parking lot.","EXT. BEACH - NIGHT Joel watches his shoes in the sand as he trudges along. CARRIE Is this the right way?","EXT. BEACH - MOMENTS LATER Joel, Rob, and Carrie step out of the brush and see a bonfire down the beach. People and music can be heard.","EXT. BEACH - LATER Joel sits on a log, a paper plate of chicken and corn on his lap. People warm themselves at the fire. Joel watches couples talking, kissing, Rob sharing a joint with a guy. JOEL You were down by the surf. I could just make you out in the dark. Joel looks down to the water. There's Clementine, in her orange hooded sweatshirt, looking out to sea. JOEL -LRB- CONT'D. -RRB- Your back to me. In that orange sweatshirt I would come to know so well and even hate eventually. At the time I thought, how cool, an orange sweatshirt. VOICE-OVER I remember being drawn to you even then. I thought, I love this woman because she's alone down there looking out at the black ocean. JOEL -LRB- CONT'D. -RRB- But I went back to my food. The next thing I remember, I felt someone sitting next to me and I saw the orange sleeve out of the corner of my eye. A shot of the orange sleeve. Joel looks up. CLEMENTINE Hi there. JOEL Hi. VOICE-OVER I was so nervous. What were you doing there, I wondered. Your hair was lime green. Green revolution. A shot of her green hair. JOEL You said. CLEMENTINE I saw you sitting over here. By yourself. I thought, thank God, someone normal, who does n't know how interact at these things either. JOEL Yeah. I do n't ever know what to say. CLEMENTINE I ca n't tell you how happy I am to hear that. I mean, I do n't mean I'm happy you're uncomfortable, but, yknow. I'm such a loser. Every time I come to a party I tell myself I'm going to be different and it's always exactly the same and then I hate myself after for being such a clod. JOEL Even then I did n't believe you entirely. I thought how could you be talking to me if you could n't talk to people? VOICE-OVER But I thought, I do n't know, I thought it was cool that you were sensitive enough to know what I was feeling and that you were attracted to it. CLEMENTINE But, I do n't know, maybe we're the normal ones, y' know? I mean, what kind of people do well at this stuff? VOICE-OVER And I just liked you so much. CLEMENTINE -LRB- CONT'D. -RRB- You did? You liked me? JOEL You know what I did. CLEMENTINE Yeah, I know. I'm fishing. JOEL You said - She picks a drumstick off of Joel's plate. CLEMENTINE I'm Clementine. Can I borrow a piece of your chicken? JOEL And you picked it out of my plate before I could answer and it felt so intimate like we were already lovers. JOEL -LRB- CONT'D. -RRB- I remember - VOICE-OVER The grease on your chin in the bonfire light. Shot of a smudge of chicken grease on Clementine's chin. CLEMENTINE Oh God, how horrid. JOEL I'm Joel. VOICE-OVER No, it was lovely. CLEMENTINE -LRB- CONT'D. -RRB- Hi, Joel. So no jokes about my name? JOEL You mean, like. -LRB- singing. -RRB- Oh, my darlin', oh, my darlin', oh, my darlin', Clementine? Huckleberry Hound? That sort of thing? CLEMENTINE Yeah, like that. JOEL Nope. No jokes. My favorite thing when I was a kid was my Huckleberry Hound doll. I think your name is magic. She smiles. CLEMENTINE -LRB- eyes welling. -RRB- This is it, Joel. It's gon na be gone soon. JOEL I know. CLEMENTINE What do we do? JOEL Enjoy it. Say good - bye. She nods. Joel and Clementine are walking near the surf. JOEL -LRB- CONT'D. -RRB- So you're still on the Zoloft? VOICE-OVER Next thing I remember we were walking down near the surf. CLEMENTINE No, I stopped. I did n't want to feel like I was being artificially modulated. JOEL I know what you mean. That's why I stopped. CLEMENTINE But my sleeping is really fucked up. JOEL I do n't think I've slept in a year. CLEMENTINE You should try Xanax. I mean, it's a chemical and all, but it works. and it works just having it around, knowing that it's there. Like insurance. JOEL yeah? CLEMENTINE I'll give you a couple. See what you think. JOEL Okay. CLEMENTINE Have you ever read any Anna Akhmatova? JOEL I love her. CLEMENTINE Really? Me, too! I do n't meet people who even know who she is and I work in a book store. JOEL I think she's great. CLEMENTINE Me too. There's this poem - JOEL Did this conversation come before or after we saw the house? CLEMENTINE I think, before. JOEL Seems too coincidental that way. CLEMENTINE Yeah, maybe. Joel and Clementine wander near some beach houses closed for the winter. CLEMENTINE -LRB- CONT'D. -RRB- Do you know her poem that starts `` Seaside gusts of wind, / And a house in which we do n't live. JOEL Yeah, yeah. It goes `` Perhaps there is someone in this world to whom I could send all these lines''? CLEMENTINE Yes! I love that poem. It breaks my heart. I'm so excited you know it. -LRB- pointing to houses. -RRB- Look, houses in which we do n't live. Joel chuckles appreciatively. CLEMENTINE -LRB- CONT'D. -RRB- I wish we did. You married? JOEL Um, no. CLEMENTINE Let's move into this neighborhood. Clementine tries one of the doors on a darkened house. Joel is nervous. JOEL I do sort of live with somebody though. CLEMENTINE Oh. She walks to the next house, tries the door. CLEMENTINE -LRB- CONT'D. -RRB- Male or female? JOEL Female. CLEMENTINE At least I have n't been barking up the wrong tree. She finds a window that's unlatched. She lifts it. CLEMENTINE -LRB- CONT'D. -RRB- Cool. JOEL What are you doing? CLEMENTINE It's freezing out here. She scrambles in the window. Joel looks around, panicked. JOEL -LRB- whisper. -RRB- Clementine. VOICE-OVER I could n't believe you did that. I was paralyzed with fear. The front door opens and Clementine stands there beckoning. CLEMENTINE -LRB- CONT'D. -RRB- C'mon, man. The water's fine. Nobody's coming here tonight, believe me. This place is closed up. Electricity's off. JOEL I hesitated for what seemed like forever. CLEMENTINE I could see you wanted to come in, Joel. He walks cautiously toward the door. CLEMENTINE -LRB- CONT'D. -RRB- As soon as you walked in. I knew I had you. You knew I knew that, right?","INT. HOUSE - CONTINUOUS Joel enters the darkened and Clementine closes the door behind him. JOEL I knew. CLEMENTINE I knew by your nervousness that Naomi was n't the kind of girl who forced you to criminally trespass. JOEL It's dark. CLEMENTINE Yeah. What's your girlfriend's name? JOEL Naomi. She's searching through drawers for something. She pulls out a flashlight, shines it in Joel's face. CLEMENTINE Ah - ha! Now I can look for candles, matches, and the liquor cabinet. JOEL I think we should go. CLEMENTINE No, it's our house! Just tonight -. -LRB- looking at envelope on counter. -RRB- - we're David and Ruth Laskin. Which one do you want to be? I prefer to be Ruth but I'm flexible. -LRB- opens cabinet. -RRB- Alcohol! You make drinks. I'm going find the bedroom and slip into something more Ruth. I'm ruthless at the moment. She runs upstairs, giggling. The room is drying out, turning into a husk. JOEL -LRB- calling after her. -RRB- I really should go. I really need to catch my ride. VOICE-OVER I did n't want to go. I was too nervous. I thought, maybe you were a nut. But you were exciting. You called from upstairs. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- flat. -RRB- So go. JOEL I did. I walked out the door. I felt like I was a scared little kid. I thought you knew that about me. I ran back to the bonfire, trying to outrun my humiliation. You said, `` so go'' with such disdain. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- poking her head downstairs. -RRB- What if you stay this time? JOEL I walked out the door. There's no more memory. CLEMENTINE Come back and make up a good - bye at least. Let's pretend we had one. Clementine comes downstairs, vague and robotic, making her way through the decaying environment. CLEMENTINE -LRB- CONT'D. -RRB- Bye, Joel. JOEL I love you. She smiles. They kiss. It fades. CLEMENTINE I -","EXT. BEACH - NIGHT Joel finds himself hurrying back to the bonfire. This scene, too, is disintegrating. It dries up and Joel is just standing there on a faded beach at night, the bonfire frozen in the distance like a photograph.","INT. CAR - NIGHT Joel sits in the back seat, Rob and Carrie are in the front. CARRIE Did you have fun? Joel nods glumly. Carrie continues to talk, but her voice goes under as Joel studies the faded husks of memories, piled like refuse outside the moving car window. He sees dried - out version of previous interactions with Clementine playing out in loops. He looks back and sees the memory of his ride home from the beach with Rob and Carrie. It, too, is decaying. Soon all has crumbled into dust. Everything goes black.","INT. JOEL'S BEDROOM - EARLY MORNING Howard watches the monitor. The last specks of light are fading. It grows dark. He is tired, his eyes are hollow. He turns to Stan, who is staring out the window at the dawn. HOWARD Okay. Stan turns and wordlessly begins the clean - up. He pulls the electrodes off of Joel's scalp, coils cable, packs bags. Howard dials the bedside phone. He waits as it rings. HOLLIS'S VOICE Hi, you've reached the Mierzwiaks. We ca n't come to - Howard hangs up.","EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING Stan and Howard load the last of the equipment into the back of the van. He and Howard look at each other. STAN So, I've got to drop the van off. MIERZWIAK Thanks, Stan. Thanks.","INT. PATRICK'S CAR - EARLY MORNING Patrick and Mary are heading home from Boston. Mary is silent and depressed. Patrick tries to break the silence. PATRICK You want to stop for coffee or something? Mary shakes her head `` no.'' Long silence. PATRICK -LRB- CONT'D. -RRB- Well, it was sure beautiful on that river. Thanks for sharing it with me. Mary does n't say anything. Silence. PATRICK -LRB- CONT'D. -RRB- Well do it again soon.","EXT. PARKING STRUCTURE - EARLY MORNING Stan pulls the van into space marked `` Lacuna.'' He gets out, crosses to his car. Mary is sitting on the hood. STAN Hey. MARY -LRB- beat. -RRB- Do you swear you did n't know? STAN I swear. MARY And you never even suspected? Never saw us behaving in any unusual way together? STAN Once, maybe. She watches him closely, waiting for him to continue. STAN -LRB- CONT'D. -RRB- It was here. At his car. I was coming back from a job and spotted you together. You seemed caught. I waved. You giggled. MARY How did I look? STAN -LRB- beat. -RRB- Happy. Happy with a secret. Mary starts to cry. MARY And after that? STAN I never saw you together like that again. So I figured I was imagining things. Mary says nothing. STAN -LRB- CONT'D. -RRB- I really like you, Mary. You know that. MARY Do you remember anything else? What I was wearing? Was I standing close to him? Was I leaning against his car like I owned it? How did he look at me when I giggled? Tell me everything. STAN -LRB- thinking. -RRB- You were in red. That red sweater with the little flowers, I think. You were leaning against his car. -LRB- thinking. -RRB- He looked a little like a kid. Kind of goofy and wide - eyed. I'd never seen him look like that before. Happy. You looked beautiful. You looked in love. MARY -LRB- heading toward the levator. -RRB- Thanks, Stan. She stops but does n't turn to face him. MARY -LRB- CONT'D. -RRB- You're nice. -LRB- beat. -RRB- But I love him. I knew I loved him. Now I know. He nods. She waves, heads to the elevator.","INT. JOEL'S BEDROOM - MORNING Joel awakens. The apartment is neat, like when he went to sleep. He gets out of bed and heads into the bathroom.","EXT. COMMUTER TRAIN STATION - MORNING Joel waits on the crowded platform. The platform across the tracks is empty. Joel's train arrives. It's packed. He squeezes on with all the other commuters.","INT. OFFICE - DAY Joel works in his cubicle over the light table. He seems distracted. He dials his phone. He's nervous. JOEL Hi. Naomi? Yeah, hi! How are you? I know, I know. It's been a long time. Not too much. You? Oh, that's great! Congratulations! Maybe I could buy you dinner to celebrate? Tonight? I'm free. Okay, good!","INT. LACUNA RECEPTION AREA - DAY Mary does paperwork at her desk. She looks through her reception window at the sad people waiting in the lobby with their bags of stuff.","INT. MIERZWIAK'S OFICE - CONTINUOUS Mierzwiak dials his phone and waits. He hangs up. Mary enters with the papers. MARY I need this signed, Howard. He takes it, unable to make eye contact. He signs it, hands it back. MARY -LRB- CONT'D. -RRB- Thanks. -LRB- beat. -RRB- So. do we talk about this. or what? MIERZWIAK I do n't know what I'm supposed say, Mary. I want to do the right thing here. MARY Do you love me? Did you love me? Something. I listened to my tape. I ca n't believe I've been sitting right in front of it for a year. It's like listening to someone else's story. I mean, I hear myself talking about having sex with you and I ca n't even imagine you naked. I ca n't even say `` naked'' to you! MIERZWIAK I have a family, Mary. MARY You made me have an abortion. MIERZWIAK It was a mutual decision. MARY You made me have you erased! I loved you. I love you! How could you - MIERZWIAK I did n't make you. You thought it best. -LRB- off her stare. -RRB- But, look, I take full responsibility. She looks at him for a long while. Then, out of frustration, she screams.","INT. RESTAURANT - NIGHT Joel sits across from Naomi. NAOMI -LRB- oddly cautious. -RRB- So. you have n't been involved with anyone in all this time? JOEL It's been a pretty lonely couple of years. NAOMI I'm sorry. JOEL Well, it was my fault - the break - up. I'm sorry. NAOMI Oh, sweetie. It really does cut both ways. We were taking each other for granted and - JOEL I miss you. NAOMI Miss you, too. -LRB- awkward pause. -RRB- I have been seeing someone for a little while. JOEL -LRB- trying for enthusiasm. -RRB- Oh! Great. That's great! NAOMI A religion instructor at Columbia. A good guy. He's a good guy. JOEL I'm sorry. I really should n't have - NAOMI I'm glad you called.","INT. JOEL'S BEDROOM - NIGHT Joel and Naomi are in bed having sex. There are certain sexual routines, habits, they have fallen back into almost immediately. She sticks her tongue in his ear in a way that's trying to be sexual but just feels embarrassing to him. They finish and lie there. JOEL So you think the dissertation will get published? NAOMI I don ; t know. I'm not sure there's a big public demand for books on Calvinism and Misogyny.","INT. CLEMENTINE'S APARTMENT - NIGHT Clementine lies in bed with Patrick.","EXT. COMMUTER TRAIN STATION - MORNING The platform is crowded with business commuters. Joel is among them. The platform across the tracks from them is empty. Suddenly, Joel turns and makes his way through the crowd. He climbs the stairs, crosses the overpass and makes his way to the empty platform. An almost empty train pulls into that platform. Joel gets on the train and watches the business commuters through the dirty window as his train pulls out of the station.","INT. MARY'S APARTMENT - MORNING Mary gets out of bed. She has been crying all night. She's a wreck. She puts on some coffee then crosses into the living room area. Sitting there are piles of the files from work. She pulls the top one out, copies the name and address onto an envelope stuffs the file and tape cassette in. She pulls another file out. This one has Joel's name on it. She copies it onto an envelope.","INT. CLEMENTINE'S APARTMENT - NIGHT Joel says goodbye to Clementine. CLEMENTINE So you'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines. JOEL Yeah. Joel exits. We stay on Clementine as she watches Joel head to his car, tromping through the snow.","INT. JOEL'S APARTMENT - NIGHT Joel enters, drops his overcoat on a chair, dials the phone. JOEL Hi, Naomi, it's Joel. NAOMI'S VOICE Hi. JOEL How's it going? NAOMI'S VOICE Good. I called you at work today. They said you were home sick. JOEL I know. I had to take the day to think. NAOMI'S VOICE Yeah, I tried you at home. Did you get my message? JOEL I just got in. NAOMI'S VOICE Long day thinking. Joel flips on messages with volume down. JOEL Yeah, I suppose so. NAOMI ON MACHINE -LRB- cheerful. -RRB- Hi. They told me you were sick! So. Where are you?! I had a really nice time last night. Just wanted to say hi, so. hi. Call me. I'm home. Call me! NAOMI'S VOICE That's me. JOEL There you are. -LRB- pause. -RRB- Naomi, it's just. I'm afraid if we fall back into this fast without considering the problems we had. NAOMI Okay, Joel. I suppose you're right. JOEL I had a good time last night. I really did. NAOMI So I'm going to get some sleep. I'm glad you're okay. JOEL We'll speak soon. NAOMI ` Night. She hangs up and Joel stands there for a minute feeling creepy, then he dials the number on a piece of paper. CLEMENTINE'S VOICE What took you so long? JOEL I just walked in. CLEMENTINE'S VOICE Hmmm. Do you miss me? JOEL Oddly enough, I do. CLEMENTINE'S VOICE Ha Ha! You said, I do. I guess that means we're married. JOEL I guess so. CLEMENTINE'S VOICE Tomorrow night. honeymoon on ice.","EXT. CHARLES RIVER - NIGHT Clementine steps out onto it. Joel follows nervously. CLEMENTINE Do n't worry. It's really solid this time of year. JOEL I do n't know. She takes his hand and he is suddenly imbued with confidence. JOEL -LRB- CONT'D. -RRB- This is so beautiful. She squeezes his hand. CLEMENTINE Is n't it? She runs and slides on the ice. Joel is by himself now. JOEL I do n't know. What if it breaks? CLEMENTINE What if? Clementine lies on her back and stares up at the stars. Joel is paralyzed. He looks back at the shore. JOEL I think I should go back. CLEMENTINE Joel, come here. Please. He hesitates then gingerly makes his way over to her. She reaches for his hand and gently pulls him down. He lies on his back beside her, their bodies touching. He wants to turn to her, but out of shyness, does n't. She holds his hand. They look up at the stars. She smiles, does n't say anything and snuggles closer to him. JOEL Listen, did you want to make love? CLEMENTINE Make love? JOEL Have sex. Y' know - CLEMENTINE Oh, um. JOEL Because I just am not drunk enough or stoned enough to make that happen right now. CLEMENTINE That's okay. I - JOEL I'm sorry. I just wanted to say that. This seems like the perfect romantic exotic place to do it and - CLEMENTINE Hey, Joel - JOEL - and I'm just too nervous around you right now. CLEMENTINE I'm nervous, too. JOEL Yeah? I would n't have thought that. CLEMENTINE Well, you obviously do n't know me. JOEL I'm nervous because I have and enormous crush on you. She smiles up at the sky. CLEMENTINE Show me which constellations you know. MONTAGE We see people going to their mailboxes, finding manila envelopes. One by one they open the envelopes and pull out tapes. We see stunned, confused, disbelieving reactions as people listen to their tapes.","EXT. CLEMENTINE'S APARTMENT - DAY Joel drops Clementine off. She kisses him.","INT. JOEL'S APARTMENT - A FEW MINUTES LATER Joel enters with his mail. He opens a manila envelope, reads the enclosed file, sticks the cassette tape in his stereo, listens. Joel dials the phone. CLEMENTINE'S VOICE Yeah? JOEL Did you send this? Is it a joke? CLEMENTINE'S VOICE I probably got the same thing as you. JOEL I mean, I have n't even told anyone I've met you. Who would even know to do this? CLEMENTINE'S VOICE -LRB- matter of fact. -RRB- Maybe it's true then. It's my voice on the tape. JOEL That's what you have to say? How could it be true? I never even heard of any procedure like this. It's a joke. CLEMENTINE Maybe. Call someone who'd know. MONTAGE We see the people we saw opening envelopes, now on the phone. We hear over and over : `` Is this true?'' , `` Did this really happen?'' , `` Do I know you?'' , `` Is it true?''","INT. ROB AND CARRIE'S KITCHEN - DAY Carrie is on the phone. She pauses nervously, then speaks : CARRIE Yes, Joel. It is true. We were n't supposed to say anything. They say it's like waking a sleepwalker.","INT. JOEL'S APARTMENT - CONTINUOUS Joel hangs up. He dials the phone. JOEL It's true. CLEMENTINE'S VOICE I know. I spoke to my friend Magda. Joel is immersed in the several page document. JOEL Look, I have to go. I have to think. CLEMENTINE'S VOICE Joel, we've fucked. We've made love. Like a million times. And we were so sweet and shy and inept with each other last night. Is n't that lovely? Joel does n't know what to say as this registers. He just stands there dumbly. CLEMENTINE'S VOICE -LRB- CONT'D. -RRB- Come over here, sweetheart. Please.","INT. CLEMENTINE'S APARTMENT - LATER Joel and Clementine review their separate Lacuna packages together. CLEMENTINE Says you were closed off, non communicative, never told me what you were feeling. JOEL Says you were a bully. CLEMENTINE -LRB- laughing. -RRB- A bully? Moi? JOEL That's what it says. You drank too much, you picked on me for being passive and timid. CLEMENTINE Well, sounds like me. Sorry, man. -LRB- reading. -RRB- Says you were jealous and suspicious. JOEL Says you would sometimes disappear all night, then brag to me about your sexual conquests. CLEMENTINE Did I use the term `` sexual conquests'' or is that your way of putting it. JOEL I do n't know. CLEMENTINE Does n't sound like me. JOEL Says you were a slob, leaving trails of panties and dirty socks in your wake. CLEMENTINE Says you were constantly calling me a slob. -LRB- laughs. -RRB- It's sexy that we were like a married couple, griping and overly - familiar and bored. Do n't you think? JOEL -LRB- considering. -RRB- I sort of do. But I only see it as a fantasy version of reality. Cleaned up enough to be erotic. CLEMENTINE We should have sex. It's old hat for us. She smiles at nervous Joel. CLEMENTINE -LRB- CONT'D. -RRB- You know my body like the back of your hand. She unbuttons her blouse. CLEMENTINE -LRB- CONT'D. -RRB- Every curve, every freckle. She takes off her shirt. He stares at her. He has clearly never seen this body before. JOEL You're so beautiful. She approaches him, kisses him, his arms wrap around her waist for the first time.","INT. LACUNA LTD. WAITING ROOM - MORNING Stan enters the waiting room, now crowded with people holding their files, a stunned - looking lot. There is a new woman in the reception window. The file cases behind her are bare. RECEPTIONIST May I help you? STAN I work here. I used to work here. Stan. Please just tell Howard I'm here to clean out my desk. RECEPTIONIST -LRB- into phone. -RRB- Mr. Mierzwiak, Stan is here to - Yes sir. -LRB- to Stan. -RRB- He says he needs to see you.","INT. MIERZWIAK'S OFFICE - MOMENTS LATER Stan enters. Mierzwiak is pale and pacing. MIERZWIAK She should not have done this, Stan. As mad as she was. as justifiably - STAN I do n't know what you're talking about, Howard. MIERZWIAK Mary has stolen our files and is sending them back to people. STAN Jesus. Mierzwiak turns up the volume on a small video monitor looking in on the lab, where Patrick has clearly taken over Stan's position. He is in the process of interviewing a sad young woman. YOUNG WOMAN so I called everybody I know and asked them to tell me everything. Now I know my entire history with him, but it's in the form of a story, I'm losing my mind. MIERZWIAK This is why people must never be told. It's like waking a - YOUNG WOMAN I do n't know what to do. Before I thought I was depressed for no reason. Now it's like I've been assigned a reason. PATRICK This never should've happened, ma'am. We'll take care of it. MIERZWIAK I know you do n't like me much, Stan, but please talk to Mary. She of all people should know this is a dangerous thing she's doing.","INT. OFFICE - DAY Joel works over his light box. His phone rings. JOEL Hi, it's Joel. CLEMENTINE'S VOICE Hey, lover. Whatcha doing? JOEL I'm just, y' know, passing the time best I can till I can see you. CLEMENTINE'S VOICE God, I ca n't believe I ever hated you. JOEL You must have been crazy. CLEMENTINE'S VOICE Guess what I'm wearing. JOEL I do n't know. Panties and - CLEMENTINE'S VOICE Your dried cum. JOEL Jesus. CLEMENTINE You're still excited by my irreverence. You have n't yet started to think of it as my `` gratuitous need to shock.'' JOEL I ca n't stop thinking about you. CLEMENTINE Yay. Meet me after work by the old mill. JOEL What old mill? Is that somewhere we - CLEMENTINE I just wanted to say that. Come by my house.","INT. MARY'S APARTMENT - DAY Mary opens the door. Stan stands there with two cups of take out coffee. MARY Oh. STAN Hi. MARY What do you want, Stan? STAN Can I. I brought some - She steps aside for Stan to enter. He does, looks around, sees the tapes and the stuffed envelopes on the floor. STAN -LRB- CONT'D. -RRB- What's this? MARY Nothing. STAN I know what it is. MARY Then why did you ask me? STAN I do n't know. I just - there are a lot of really confused people showing up at the office. MARY They have a right to know. Howard is a thief. He steals the truth. -LRB- suddenly weeping. -RRB- I ca n't remember my baby! I ca n't remember my baby. It existed and I ca n't even remember. Do you understand that? Stan does n't know what to say. He stands there dumbly. Mary slumps into a ball on a chair. STAN Mary, people come to him voluntarily. MARY I wo n't allow it. Those who can not remember the past are condemned to repeat it. What do you think of that? That's from my quote book. STAN The office is filled with people who want their memories re - erased. MARY -LRB- hysterically. -RRB- Remember the Alamo! Remember the Alamo! STAN Mary. please. This is hurting people. Long pause, then : MARY -LRB- small. -RRB- I do n't want to hurt people. -LRB- breaking down. -RRB- But these things happened! All these little sadnesses, the big ones. What if no one remembers? What does that do to the world? -LRB- beat, quietly. -RRB- Someone has to remember, Stan. They look at each other.","EXT. PARK - AFTERNOON Vague elliptical images of a young girl on a swig. SAD WOMAN'S VOICE I was by myself in the park because my friend Davia was sick that day. I was on a swing. There was this smiling man walking a little bushy dog - Vague shots of a man smiling, a scruffy dog on a leash. SAD WOMAN'S VOICE -LRB- CONT'D. -RRB- The man said something like, `` He's friendly -'' Vague shot of the man, his voice overlapping with the woman's. SAD WOMAN'S VOICE -LRB- CONT'D. -RRB-'' - he wo n't bite.'' MAN He wo n't bite. You can pet him if you want. Shot of the girl petting the dog. MAN Do you want to give him a biscuit? The girl nods. MAN -LRB- CONT'D. -RRB- They're in my car. Why do n't you - DISTRAUGHT WOMAN'S VOICE Excuse me? Hello?","INT. LACUNA RECEPTION AREA - DAY Mary, with a headset on, looks up, startled. She switches off the tape. She has been crying. There's a pile of tapes next to her. The distraught woman is standing there. MARY May I help you? DISTRAUGHT WOMAN I'm here for Dr. Mierzwiak. My name is Helene Kernfeld. MARY Yes, please have a seat. The doctor will be with you momentarily. The woman sits. Mary presses an intercom button. MARY -LRB- CONT'D. -RRB- Howard, your 10:30. She switches the tape back on. SAD WOMAN'S VOICE He took me to his car and. Vague shot of the girl being raped.","INT. COMMUTER TUBE - DAY The old woman is staring off blankly, her giant manuscript in her lap, as she travels over the New York skyline. We move into her eyes.","INT. VAGUE SPACE Vague reenactments of memories intermingle in this undefined space : The young girl being raped by the man in the car. A soldier on a battlefield looking at his slaughtered friends. A couple fighting, from the woman's point of view. MAN I. I. I. find you physically repulsive! I ca n't even look at you! They look at each other in silence. A little boy being called `` faggot'' by an endless succession of boys. The aftermath of a car accident from the driver's POV. Mary having an abortion.","INT. COMMUTER TUBE - DAY The old woman and her chair lift out of the line of commuters.","INT. WAITING ROOM - DAY It's modern and well - appointed. The old woman enters, sits behind the reception desk, drops her manuscript into the drawer. She takes some pills with water. An old man enters. OLD MAN How are you today, Mary? OLD WOMAN -LRB- MARY. -RRB- Let's see. Still dying, Howard. OLD MAN -LRB- HOWARD. -RRB- You do n't have to jump down my throat. I was trying to be nice. OLD WOMAN -LRB- MARY. -RRB- Well, do n't try. It's unbecoming on you. Old Howard mutters something and disappears into the back. Old Mary pulls out a file from behind, removes a small disc, places it in a machine on her desk, slips on earphones and listens, somewhat wearily but attentively. We watch the color drain from her face, but do n't hear the recording. Another old woman enters the office. Old Mary looks up, seems a bit startled, conceals it, turns off the tape. OLD WOMAN -LRB- MARY ; CONT'D. -RRB- May I help you? SECOND OLD WOMAN I'd like to make an appointment. OLD WOMAN -LRB- MARY. -RRB- I think the doctor is free this morning. He can probably take you right away for an initial consultation. The second old woman smiles gratefully.","INT. OLD MAN'S OFFICE - A FEW MINUTES LATER Old Howard works at his desk. Old Mary enters with the second old woman. OLD WOMAN -LRB- MARY. -RRB- Dr. Mierzwiak, this is Clementine Kruczynski. She'd like to talk to you. Old Howard and the old Mary eye each other. OLD MAN -LRB- HOWARD. -RRB- Hello, Ms. Kruczynski. Nice to meet you. Please have a seat. He indicates a sitting area. She sits. He joins her. OLD MAN -LRB- HOWARD ; CONT'D. -RRB- Would you mind if I tape our discussion? She shakes her hear. He punches a couple of buttons on his computer console. A tape recorder starts up and his computer screen lights up so only he can see it. On it we see a whole file on Clementine Kruczynski : a list of fifteen dates of previous erasures stretching back fifty years, all of them involving Joel Barish. OLD MAN -LRB- HOWARD ; CONT'D. -RRB- So, why do n't you begin by telling me why you've come here. SECOND OLD WOMAN -LRB- CLEMENTINE. -RRB- Well, I met this man, Joel, three years ago at a senior dance. We'd both been alone for so long and.","INT. TUBE - NIGHT The old woman -LRB- Mary -RRB- travels in the commuter tube over Manhattan. It's late, the tube is mostly empty. She has earphones on. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- I remember Joel and I were having breakfast -","INT. VAGUE SPACE An old man and the second old woman eat breakfast. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- - I said something like we should go upstate and see the leaves change. The old man looks up from his cereal and stares blankly. The woman smiles, but there is no response. just a dead stare. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- -LRB- CONT'D. -RRB- He just stared at me as if I did n't exist. As if I had never existed.","INT. TUBE - CONTINUOUS The second old woman's -LRB- Clementine -RRB- voice drones tinnily on in the distance. The old woman with the earphones is dead, her eyes glassy and unseeing. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- - his eyes used to be so filled with love. But it was gone. How can I go back to being alone after seeing love? I was alone for so long. What had I done with my life? I was alone so long.","INT. SECOND OLD WOMAN'S APARTMENT - NIGHT The old Clementine is unconscious on her bed, hooked up to modern versions of the erasing machines. Two young technicians monitor the equipment. The woman's bedside phone rings. Her machine picks up. After a moment : OLD MAN'S VOICE Hi, it's Joel. What's going on, Clem? Why wo n't you call me back? Please call me. We need to speak. The machine clicks off. One of the technicians reaches over and presses the `` erase'' button on the machine. BLACK. THE END"],"string":"[\n \"INT. PUBLISHING HOUSE RECEPTION AREA - DAY It's grand and modern. Random House - Knopf - Taschen is etched on the wall in large gold letters. An old woman enters carrying a tattered manuscript, maybe a thousand pages. She seems haunted, hollow - eyed, sickly. The young receptionist, dressed in a shiny, stretchy one - piece pantsuit, looks up. RECEPTIONIST Oh, hi. OLD WOMAN -LRB- apologetically. -RRB- Hi, I was in the neighborhood and thought I'd see - RECEPTIONIST I think he's in a conference. Unfortunately. I'm really sorry. OLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. RECEPTIONIST Of course. Please have a seat. The old woman smiles and sits, the bulky manuscript on her lap. She stares politely straight ahead. RECEPTIONIST -LRB- CONT'D. -RRB- -LRB- quietly into headset. -RRB- It's her - I know, but could n't you just - Yes, I know, but - I know, but she's old and it would be a nice - Yes, sorry. -LRB- to old woman. -RRB- I'm sorry, ma'am, he's not in right now. It's a crazy time of year for us. The receptionist gestures toward a Christmas tree in the corner. Its ornaments are holograms. OLD WOMAN This book - It's essential that people read it because -. -LRB- gravely, patting the manuscript. -RRB- - It's the truth. And only I know it. RECEPTIONIST -LRB- nodding sympathetically. -RRB- Maybe after the holidays then.\",\n \"INT. TILED HALLWAY - DAY The old woman carries her manuscript haltingly down a subway hall. She stops to catch her breath, then continues and passes several archway with letters printed above them. When she arrives at one topped by an LL, she slips a card in a slot. A plastic molded chair drops into the archway. She sits in the chair ; it rises.\",\n \"INT. TUBE -DAY The woman is still in the chair as it slips gracefully into a line of chairs shooting through a glass tube. The other chairs are peopled with commuters. We stay with the woman as she and the others travel over New York City in the tube. There are hundreds of these commuter tubes crisscrossing the skyline. The woman glances at the manuscript in her lap. It's called : Eternal Sunshine of the Spotless Mind This serves as the movie's opening title. The other credits follow, as the old woman studies commuters in passing tubes. Their faces are variously harsh and sad and lonely and blank.\",\n \"INT. WAITING ROOM - DAY SUBTITLED : FIFTY YEARS EARLIER Every doctor's office waiting room : chairs against the wall, magazines on end tables, a sad - looking potted plant, generic seascape paintings on the walls. The receptionist, Mary, 25, can be seen typing in the reception area. Behind her are shelves and shelves of medical files. The door opens and Clementine enters. She's in her early thirties, zaftig in a faux fur winter coat over an orange hooded sweatshirt. She's decidedly funky and has blue hair. Mary looks up. MARY May I help you? CLEMENTINE -LRB- approaching reception area. -RRB- Yeah, hi, I have a one o'clock with Dr. Mierzwiak. Clementine Kruczynski. MARY Yes, please have a seat. He'll be right with you. Clementine sits. She looks tired, maybe hungover. She picks up a magazine at random and thumbs without interest.\",\n \"INT. INNER OFFICE AREA - CONTINUOUS Mary pads down the hallway. She knocks on a closed door. MIERZWIAK -LRB- O.S. -RRB- Yes? Mary opens the door, peeks in. Howard Mierzwiak, 40's, professional, dry, sits behind his desk studying some papers. MARY Howard, your one o'clock. MIERZWIAK -LRB- not looking up. -RRB- Thanks, Mary. You can bring her in. She smiles and nods. It's clear she's in love. It's equally clear that Mierzwiak does n't have a clue. Mary turns to leave. MIERZWIAK -LRB- CONT'D. -RRB- -LRB- looking up. -RRB- Mary. MARY -LRB- turning back. -RRB- Yes? MIERZWIAK Order me a pastrami for after? MARY Cole slaw, ice tea? MIERZWIAK -LRB- nodding. -RRB- Thanks. MARY Welcome, Howard. She smiles and heads down the hall. Stan, 30's, tall, spindly, and earnest in a lab coat pops out of a doorway. STAN Boo. MARY Hi. She glances back nervously at Mierzwiak's open door. STAN Barely seen you all morning, kiddo. He leans in to kiss her. She cranes her neck to keep him off. MARY -LRB- reprimanding whisper. -RRB- Stan. c'mon. STAN Sorry. I just - MARY -LRB- somewhat guiltilly. -RRB- It's just. y' know. I mean. STAN I know. Anyway - MARY Anyway, I've got to do my tap dance here. She indicates the door to the reception area. Stan nods. STAN See you later, alligator. MARY ` kay. STAN Hey, if you're ordering lunch for Mierzwiak, would you - MARY I better do this, Stan. Stan nods again and Mary opens the door to the waiting room. MARY -LRB- CONT'D. -RRB- Ms. Kruczynski? CLEMENTINE -LRB- O.S. -RRB- Hi. After a moment, Clementine appears in the doorway. Mary leads her down the hall, not looking back. MARY -LRB- professionally courteous. -RRB- How are you today? CLEMENTINE Okay, I guess. MARY -LRB- at Mierzwiak's office. -RRB- Here we are. Mierzwiak steps out from behind his desk. MIERZWIAK Ms. Kruczynski, please come in. Clementine enters the office. Mary smiles at Mierzwiak and closes the door, leaving them alone.\",\n \"INT. OFFICE - CONTINUOUS Mierzwiak directs Clementine to a chair next to a coffee table and a conspicuously placed box of tissues. Mierzwiak sits across from her. He smiles. MIERZWIAK How are you today? CLEMENTINE Okay, I guess. MIERZWIAK -LRB- nodding sympathetically. -RRB- Well, why do n't you tell me what's going on? Do you mind if I turn this on? He indicates a tape recorder. CLEMENTINE I do n't care. He turns it on, smiles at her, gestures for her to begin. CLEMENTINE -LRB- CONT'D. -RRB- Well, I've been having a bad time of it with um, my boyfriend, I guess. MIERZWIAK You guess he's your boyfriend? Or you guess you're having a bad time with hm? CLEMENTINE What? No. I do n't like the term boyfriend. It's so gay. Mierzwiak nods. He's attentive, pleasant, and neutral throughout. CLEMENTINE -LRB- CONT'D. -RRB- Maybe gay is n't the right word. But, anyway, it's been rough with him. whatever the fuck he is. Heheh. My significant other. heh heh. And I guess on a certain level, I want to break it off, but I feel. y' know. it's like this constant questioning and re questioning. Do I end it? Should I give it more time? I'm not happy, but what do I expect? Relationships require work. You know the drill. The thing that I keep coming back to is, I'm not getting any younger, I want to have a baby. at some point. maybe. right? So then I think I should settle - which is not necessarily the best word - I mean, he's a good guy. It's not really settling. Then I think maybe I'm just a victim of movies, y' know? That I have some completely unrealistic notion of what a relationship can be. But then I think, no, this is what I really want, so I should allow myself the freedom to go out and fucking find it. You know? Agreed? But then I think he is a good guy and. It's complicated. Y' know? MIERZWIAK I think I know. I think we can help. Why do n't you start by telling me about your relationship. Everything you can think of. Everything about him. Everything about you. And we'll take it from there. She nods, thinks. CLEMENTINE Um, well, he's a fucking tidy one -\",\n \"EXT. COMMUTER TRAIN STATION SUBTITLE : TWO WEEKS LATER The platform is crowded with business commuters. Joel is among them. He is in his 30's, gaunt, and holding a briefcase. The platform across the tracks from him is empty. Suddenly he turns and makes his way through the crowd. He climbs the stairs, crosses the overpass to the empty platform. Soon an almost empty train pulls up to that platform. Joel gets on and watches the business commuters through the dirty window as his train pulls out of the station.\",\n \"EXT. MONTAUK TRAIN STATION - LATER Joel talks on a phone. The wind howls around him. He tries to shield the mouthpiece as he talks. JOEL Hi, Cindy. Joel. Listen, I'm not feeling well this morning. No. Food poisoning, I think. Sorry it took me so long to call in, but I've been vomiting.\",\n \"EXT. BEACH - DAY Joel wanders the windy, empty beach, with his briefcase. He passes an old man with a metal detector. They nod at each other. Later : Joel looks out at the ocean. Later : Joel sits on a rock and pulls out a notebook. He opens it and writes with a gloved hand. JOEL January 13th, 2006. Today I skipped work and took the train out to Montauk. -LRB- thinks. -RRB- It's cold. -LRB- thinks some more. -RRB- The sky is gray. -LRB- thinks some more. -RRB- I do n't know what else to say. Nothing happens. Nothing changes. I saw Naomi last night. We had sex. It was weird to fall into our old familiar sex life so easily. Like no time has passed. After two years apart suddenly we're talking about getting together again. I guess that's good. He has no other thoughts. He glances up, spots a female figure in the distance, walking in his direction. She stands out against the gray in a fluorescent orange hooded sweatshirt. It's Clementine. He watches her for a bit, then as she nears, he goes back to his writing, or at least pretends to. Once she passed, he watches her walk away. She stops and stares out at the ocean. Joel writes. JOEL -LRB- V.O. ; CONT'D. -RRB- If I'm constitutionally incapable of making eye - contact with a woman I do n't know. I guess I'd better get back to Naomi. Later : Joel walks up near the beach houses closed for the season. He peeks cautiously in a dark window. Later : Joel digs into the sand with a stick.\",\n \"INT. DINER - DAY It's a local tourist place, but off - season empty. Joel sits in a booth and eats a grilled cheese sandwich and a bowl of tomato soup. An elderly couple drink coffee at the counter. Clementine enters, looks around, takes off her hood. Joel glances at her bright blue hair. She picks an empty booth and sits. Joel studies her discreetly. The waitress approaches her with a coffee pot. WAITRESS Coffee? CLEMENTINE God, yes. You've saved my life! The waitress pours the coffee. WAITRESS You know what you want yet? CLEMENTINE -LRB- laughing. -RRB- Ai n't that the question of the century. The waitress is not amused. CLEMENTINE -LRB- CONT'D. -RRB- You got grilled cheese and tomato soup? WAITRESS Yeah. We're having a run on it. The waitress heads to the grill. Clementine fishes in her bag, brings the coffee cup under the table for a moment, pours something in, then brings the cup back up. CLEMENTINE -LRB- calling. -RRB- And some cream, please. Clementine looks around the place. Her eyes meet Joel's before he is able to look away. She smiles vaguely. He looks embarrassed, then down at his journal. Clementine pulls a book from her purse and starts to read. Joel glances up, tries to see the cover. It's blue. He ca n't read the title.\",\n \"EXT. BEACH - DAY Joel stares out at the ocean. Far down the beach Clementine stares at it, too. Joel glances sideways at her then back at the ocean.\",\n \"EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON Joel sits on the bench waiting for a train. Clementine enters the platform, sees Joel, the only other person there. She waves, sort of goofily enthusiastic, playing as if they're old friends. He waves back, embarrassed. She takes a seat on a bench far down the platform. Joel stares at his hands, pulls out his journal and tries to write in order to conceal his awkwardness.\",\n \"INT. TRAIN - A BIT LATER Joel sits at the far end of the empty car and watches the slowly passing desolate terrain. After a moment the door between cars opens and Clementine enters. Joel looks up. Clementine is not looking at him ; she busies herself deciding where to sit. She settles on a seat at the opposite end of the car. Joel looks out the window. He feels her watching him. The train is picking up speed. Finally : CLEMENTINE -LRB- calling over the rumble. -RRB- Hi! Joel looks over. JOEL I'm sorry. CLEMENTINE Why? JOEL Why what? CLEMENTINE Why are you sorry? I just said hi. JOEL No, I did n't know if you were talking to me, so. She looks around the empty car. CLEMENTINE Really? JOEL -LRB- embarrassed. -RRB- Well, I did n't want to assume. CLEMENTINE Aw, c'mon, live dangerously. Take the leap and assume someone is talking to you in an otherwise empty car. JOEL Anyway. Sorry. Hi. Clementine makes her way down the aisle towards Joel. CLEMENTINE It's okay if I sit closer? So I do n't have to scream. Not that I do n't need to scream sometimes, believe me. -LRB- pause. -RRB- But I do n't want to bug you if you're trying to write or something. JOEL No, I mean, I do n't know. I ca n't really think of much to say probably. CLEMENTINE Oh. So. She hesitates in the middle of the car, looks back where she came from. JOEL I mean, it's okay if you want to sit down here. I did n't mean to - CLEMENTINE No, I do n't want to bug you if you're trying to - JOEL It's okay, really. CLEMENTINE Just, you know, to chat a little, maybe. I have a long trip ahead of me. -LRB- sits across aisle from Joel. -RRB- How far are you going? On the train, I mean, of course. JOEL Rockville Center. CLEMENTINE Get out! Me too! What are the odds? JOEL The weirder part is I think actually I recognize you. I thought that earlier in the diner. That's why I was looking at you. You work at Borders, right? CLEMENTINE Ucch, really? You're kidding. God. Bizarre small world, huh? Yeah, that's me : book slave there for, like, five years now. JOEL Really? Because - CLEMENTINE Jesus, is it five years? I got ta quit right now. JOEL - because I go there all the time. I do n't think I ever saw you before. CLEMENTINE Well, I'm there. I hide in the back as much as is humanly possible. You have a cell phone? I need to quit right this minute. I'll call in dead. JOEL I do n't have one. CLEMENTINE I'll go on the dole. Like my daddy before me. JOEL I noticed your hair. I guess it made an impression on me, that's why I was pretty sure I recognized you. CLEMENTINE Ah, the hair. -LRB- pulls a strand in front of her eyes, studies it. -RRB- Blue, right? It's called Blue Ruin. The color. Snappy name, huh? JOEL I like it. CLEMENTINE Blue ruin is cheap gin in case you were wondering. JOEL Yeah. Tom Waits says it in - CLEMENTINE Exactly! Tom Waits. Which song? JOEL I ca n't remember. CLEMENTINE Anyway, this company makes a whole line of colors with equally snappy names. Red Menace, Yellow Fever, Green Revolution. That'd be a job, coming up with those names. How do you get a job like that? That's what I'll do. Fuck the dole. JOEL I do n't really know how - CLEMENTINE Purple Haze, Pink Eraser. JOEL You think that could possibly be a full time job? How many hair colors could there be? CLEMENTINE -LRB- pissy. -RRB- Someone's got that job. -LRB- excited. -RRB- Agent Orange! I came up with that one. Anyway, there are endless color possibilities and I'd be great at it. JOEL I'm sure you would. CLEMENTINE My writing career! Your hair written by Clementine Kruczynski. -LRB- thought. -RRB- The Tom Waits album is Rain Dogs. JOEL You sure? That does n't sound - CLEMENTINE I think. Anyway, I've tried all their colors. More than once. I'm getting too old for this. But it keeps me from having to develop an actual personality. I apply my personality in a paste. You? JOEL Oh, I doubt that's the case. CLEMENTINE Well, you do n't know me, so. you do n't know, do you? JOEL Sorry. I was just trying to be nice. CLEMENTINE Yeah, I got it. There's a silence. CLEMENTINE -LRB- CONT'D. -RRB- My name's Clementine, by the way. JOEL I'm Joel. CLEMENTINE No jokes about my name? Oh, you would n't do that ; you're trying to be nice. JOEL I do n't know any jokes about your name. CLEMENTINE Huckleberry Hound? JOEL I do n't know what that means. CLEMENTINE Huckleberry Hound! What, are you nuts? JOEL I'm nut nuts. CLEMENTINE -LRB- singing. -RRB- Oh my darlin', oh my darlin', oh my darlin' Clementine? No? JOEL Sorry. It's a pretty name, though. It means `` merciful'', right? CLEMENTINE -LRB- impressed. -RRB- Yeah. Although it hardly fits. I'm a vindictive little bitch, truth be told. JOEL See, I would n't think that about you. CLEMENTINE -LRB- pissy. -RRB- Why would n't you think that about me? JOEL Oh. I do n't know. I was just. I do n't know. I was. You seemed nice, so - CLEMENTINE Now I'm nice? Do n't you know any other adjectives? There's careless and snotty and overbearing and argumentative. mumpish. JOEL Well, anyway. Sorry. They sit in silence for a while. CLEMENTINE I just do n't think `` nice'' is a particularly interesting thing to be. The conductor enters the car. CONDUCTOR Tickets. Joel hands the conductor his ticket. The conductor punches it and hands it back. CLEMENTINE What is nice, anyway? I mean, besides an adjective? I guess it can be an adverb, sort of. The conductor turns to Clementine. She fishes in her bag. CLEMENTINE -LRB- CONT'D. -RRB- It does n't reveal anything. Nice is pandering. Cowardly. CLEMENTINE -LRB- CONT'D. -RRB- And life is more interesting than that. Or should be. Jesus God, I hope it is. someday. -LRB- to conductor. -RRB- I know it's here. The conductor and Joel watch as she gets more agitated. CLEMENTINE -LRB- CONT'D. -RRB- I do n't need nice. I do n't need myself to be it and I do n't need anyone else to be it at me. JOEL Okay. CLEMENTINE Shit. Shit. I know it's here. Hold on. She dumps the contents of the bag onto the seat and sifts frantically through. Joel sees the book she was reading in the diner. It's The Play by Stephen Dixon. CLEMENTINE -LRB- CONT'D. -RRB- Damn it. DAMN IT! -LRB- there it is. -RRB- Oh. Here. She hands the conductor the tickets, smiles sweetly. He punches it, hands it back to her, and walks away. CONDUCTOR Next stop Southampton. The conductor heads into the next car. Clementine shoves stuff back into her purse. Her hands are a little shaky. She pulls a airline - sized bottle of alcohol from her pocket, opens it, and downs it. Joel is watching all of this but pretending not to. She looks out the window for a while. The train pulls into the station. The doors open. Nobody gets on. The doors close. The train pulls out. CLEMENTINE Joel? It's Joel, right? JOEL Yes? CLEMENTINE I'm sorry I. yelled at you. Was it yelling? I ca n't really tell. Whatever, I'm a little out of sorts today. JOEL That's okay. CLEMENTINE -LRB- stares out window. -RRB- My embarrassing admission is I really like that you're nice. Right now, anyway. I ca n't tell from one moment to the next what I'm going to like. But right now I'm glad you said, `` that's okay'' to me. That was nice of you. JOEL It's no problem. Anyway, I have some stuff I need to - CLEMENTINE Oh, okay. Well, sure, I'll just. -LRB- stands, throws bag over shoulder. -RRB- Take care, then. JOEL -LRB- pulling journal from briefcase. -RRB- Probably see you at the book store. CLEMENTINE -LRB- heading toward other end of car. -RRB- Unless I get that hair - color - naming job. Clementine sits and stares out the window.\",\n \"INT. TRAIN - LATER There are a few more people in the car now. Clementine has inched a few seats closer to Joel. She watches him. His head is immersed in his journal.\",\n \"INT. TRAIN - LATER It's dark out. The train is pretty crowded. Joel stares out the window. Clementine sits closer still to Joel, eyes him.\",\n \"EXT. TRAIN STATION - EVENING The doors open and Joel emerges along with others. He heads to the parking lot, arrives at the car. There's a big dented scrape along the driver's side. He gets in.\",\n \"INT. CAR - MOMENTS LATER Joel drives. He passes Clementine walking. She looks cold. He considers, slows, rolls down his window. JOEL Hi. I could give you a ride if you need. CLEMENTINE No, that's okay. Thanks, though. JOEL You're sure? It's cold. CLEMENTINE I do n't want to take you out of your way. JOEL It's okay. CLEMENTINE Yeah? He pulls over. She climbs in. They drive. JOEL Where do you live? CLEMENTINE You're not a stalker or anything, right? JOEL Well, I probably would n't say if I were, but no. CLEMENTINE You ca n't be too careful. I've been stalked. I've been told I'm highly stalkable. I do n't need that. JOEL I'm not a stalker. CLEMENTINE -LRB- beat. -RRB- You know Wilmont? JOEL Yeah. CLEMENTINE Wilmont. Near the high school. Joel turns. They drive in silence. CLEMENTINE -LRB- CONT'D. -RRB- Look, I'm very sorry I came off sort of nutso. I'm not really. JOEL It's okay. I did n't think you were. There's a silence. CLEMENTINE So you like bookstores, huh? JOEL I like to read. CLEMENTINE Me too. It is Rain Dogs, by the way. JOEL Yeah? I ca n't remember that album very well. I remember liking it. But - CLEMENTINE The song's 9th and Hennepin. I spent most of the train ride trying to remember. `` Till you're full of rag water and bitters and blue ruin/And you spill out/Over the side to anyone who'll listen.'' Remember? JOEL Sort of, um. CLEMENTINE Remember? `` And you take on the dreams of the ones who have slept there/And I'm lost in the window/I hide on the stairway/I hang in the curtain/I sleep in your hat.''. -LRB- starts to cry. -RRB- Oh, shit. I'm so stupid. Sorry. JOEL What? CLEMENTINE I'm just a bit of a wreck. `` I sleep in your hat'' makes me cry. -LRB- pointing to a house. -RRB- Me. Joel pulls over. CLEMENTINE -LRB- CONT'D. -RRB- Thanks very much. That was very nice of you. JOEL Well, I would n't want to be - CLEMENTINE Oh, geez, I'm full of shit. I already told you that. -LRB- pause. -RRB- Anyway. See Ya. Clementine opens the car door. JOEL Take care. CLEMENTINE -LRB- turning back. -RRB- Hey, do you want to have a drink? I have lots of drinks. And I could - JOEL Um - CLEMENTINE Never mind. Sorry, that was stupid. I'm embarrassed. Good night, Joel.\",\n \"INT. CLEMENTINE'S APARTMENT - A FEW MINUTES LATER Joel stands in the living room, somewhat nervously. He tries to calm himself by focusing on the surroundings. He looks at the books on her shelves. Clementine is in the kitchen. We see her as she passes by the doorway several times, preparing drinks and chatting. CLEMENTINE Thanks. I like it, too. Been here about four years. It's really cheap. My downstairs neighbor is old so she's quiet, which is great. And the landlord's sweet, which is bizarre, but great, and I have a little porch in the back, which is great, because I can read there, and listen to my crickets and. Clementine is in the living room now with two gin and tonics. CLEMENTINE -LRB- CONT'D. -RRB- Two blue ruins. Joel is looking at a framed black and white photograph of crows flying. CLEMENTINE -LRB- CONT'D. -RRB- You like that? JOEL Very much. CLEMENTINE This. someone gave that to me, just like, recently. I like it, too. I like crows. I think I used to be a crow. She caws and hands Joel a drink. JOEL Thanks. That was good, that crow sound. CLEMENTINE Do you believe in that stuff? Reincarnation? JOEL I do n't know. CLEMENTINE Me neither. Oh, there's an inscription on the back. -LRB- takes it off the wall, reads :. -RRB- The way a crow/Shook down on me/The dust of snow/From a hemlock tree/Has given my heart/A change of mood/And saved some part/Of a day I rued. JOEL Frost? CLEMENTINE -LRB- impressed. -RRB- Yeah. I'm not, like, a Robert Frost lover by any stretch. His stuff seems strictly grade school to me. But this made me cry for some reason. Maybe because it is grade school. Y' know? JOEL It's pretty. CLEMENTINE I miss grade school. I do n't know why I'm calling it grade school all of a sudden. When I went we called it elementary school. But I like grade school better. Sounds like something someone from the forties would call it. I'd like to be from then. Everyone wore hats. Anyway, cheers! JOEL Cheers. They click glasses. Clementine giggles and takes a big gulp of her drink. Joel sips. She plops down on the couch and pulls her boots off. CLEMENTINE God, that feels so fucking good. Take yours off. JOEL I'm fine. CLEMENTINE Yeah? Well, have a seat, anyway. Joel sits in a chair across the room. Clementine finishes her drink. CLEMENTINE -LRB- CONT'D. -RRB- Ready for another? JOEL No, I'm okay for now. She heads toward the kitchen with her glass. CLEMENTINE Well, I'm ready. Put some music on. Joel crosses to the CD's and studies them. JOEL What do you want to hear? CLEMENTINE -LRB- O.S. -RRB- You pick it. JOEL You just say. I'm not really - CLEMENTINE -LRB- O.S. -RRB- I do n't know! I ca n't see them from here, Joel! Just pick something good. Joel studies the unfamiliar CD's. He picks up Bang On a Can performing Brian Eno's Music for Airports to look at. Clementine reenters with her drink. CLEMENTINE -LRB- CONT'D. -RRB- Oh, excellent choice. She grabs it and sticks it in the CD player. The music is dreamy and haunting and slow. Clementine falls back onto the couch, closes her eyes and sips her drink. CLEMENTINE -LRB- CONT'D. -RRB- Mmmmmmm. Way to go, Joel. You pick good. Joel sits down in his chair and drinks. There's a silence, which seems fine to Clementine but makes Joel anxious. JOEL Well, I should probably get going. CLEMENTINE No, stay. Just for a little while. -LRB- opens her eyes, brightly. -RRB- Refill? JOEL No. I - CLEMENTINE I know a man who needs a refill. She grabs Joel's drink from his hand, takes it into the kitchen. CLEMENTINE -LRB- CONT'D ;O. S. ; CONT'D. -RRB- God bless alcohol, is what I say. Where would I be without it. Oh, Jesus, Mary, and Joseph, maybe I do n't want to think about that. She giggles. Joel looks around the room again. There are several potatoes dressed as women in beautiful handmade costumes : a nurse potato, a stripper potato, a schoolteacher potato, a housewife potato. Clementine returns with Joel's drink and a refill for herself. JOEL Thanks. CLEMENTINE Drink up, young man. It'll make the whole seduction part less repugnant. Joel looks a little alarmed. CLEMENTINE -LRB- CONT'D. -RRB- I'm just kidding. C'mon. She sits back on the couch, closes her eyes. Joel watches her, looks at her breasts. She opens her eyes, smiles drunkenly at him. CLEMENTINE -LRB- CONT'D. -RRB- Y' know, I'm sort of psychic. JOEL Yeah? CLEMENTINE Well, I go to a psychic and she's always telling me I'm psychic. She should know. Do you believe in that stuff? JOEL I do n't know. CLEMENTINE Me neither. But sometimes I have premonitions, so, I do n't know. Maybe that's just coincidence. Right? Y' know, you think something and then it happens, or you think a word and then someone says it? Y' know? JOEL Yeah, I do n't know. It's hard to know. CLEMENTINE Exactly. Exactly! That's exactly my feeling about it. It's hard to know. Like, okay, but how many times do I think something and it does n't happen? That's what you're saying, right? You forget about those times. Right? JOEL Yeah, I guess. CLEMENTINE -LRB- dreamy beat. -RRB- But I think I am. I like to think I am. CLEMENTINE -LRB- CONT'D. -RRB- It's helpful to think there's some order to things. You're kind of closed mouthed, are n't you? JOEL Sorry. My life is n't that interesting. I go to work. I go home. I do n't know what to say. CLEMENTINE Oh. -LRB- considers this. -RRB- Does that make you sad? Or anxious? I'm always anxious thinking I'm not living my life to the fullest, y' know? Taking advantage of every possibility? Just making sure that I'm not wasting one second of the little time I have. JOEL I think about that. She looks at him really hard for a long moment. Joel tries to hold her gaze, but ca n't. He looks down at his drink. Clementine starts to cry again. CLEMENTINE You're really nice. I'm sorry I yelled at you before about it. God, I'm an idiot. JOEL I do have a tendency to use that word too much. CLEMENTINE I like you. That's the thing about my psychic thing. I think that's my greatest psychic power, that I get a sense about people. My problem is I never trust it. But I get it. And with you I get that you're a really good guy. JOEL Thanks. CLEMENTINE And, anyway, you sell yourself short. I can tell. There's a lot of stuff going on in your brain. I can tell. My goal. can I tell you my goal? JOEL Yeah. CLEMENTINE -LRB- ala Paul Simon. -RRB- What's the goal, Joel? -LRB- laughs. -RRB- My goal, Joel, is to just let it flow through me? Do you know what I mean? It's like, there's all these emotions and ideas and they come quick and they change and they leave and they come back in a different form and I think we're all taught we should be consistent. Y' know? You love someone - that's it. Forever. You choose to do something with your life - that's it, that's what you do. It's a sign of maturity to stick with that and see things through. And my feeling is that's how you die, because you stop listening to what is true, and what is true is constantly changing. You know? JOEL Yeah. I think so. It's hard to - CLEMENTINE Like I wanted to talk to you. I did n't need any more reason to do it. Who knows what bigger cosmic reason might exist? JOEL Yeah. CLEMENTINE You're very nice. God, I have to stop saying that. You're nervous around me, huh? JOEL No. CLEMENTINE I'm nervous. You do n't need to be nervous around me, though. I like you. Do you think I'm repulsively fat? JOEL No, not at all. CLEMENTINE I do n't either. I used to. But I'm through with that. Y' know, if I do n't love my body, then I'm just lost. You know? CLEMENTINE -LRB- CONT'D. -RRB- With all the wrinkles and scars and the general falling apart that's coming ` round the bend. -LRB- beat. -RRB- So, I've been seeing this guy. Joel looks slightly crestfallen. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- off his reaction. -RRB- Well, for the last week, anyway! He's kind of a kid. Kind of a goofball, but he's really stuck on me, which is flattering. Who would n't like that? And he's, like, a dope, but he says these smart and moving things sometimes, out of nowhere, that just break my heart. He's the one who gave me that crow photograph. JOEL Oh, yeah. CLEMENTINE That made me cry. But, anyway, we went up to Boston, because I had this urge to lie on my back on the Charles River. It gets frozen this time of year. JOEL That's scary sounding. CLEMENTINE Exactly! I used to do it in college and I had this urge to go do it again, so I got Patrick and we drove all night to get there and he was sweet and said nice things to me, but I was really disappointment to be there with him. Y' know? And that's where psychic stuff comes in. Like, it just is n't right with him. Y' know? JOEL I think so. CLEMENTINE I do n't believe in that soulmate crap anymore, but. he says so many great things. We like the same writers. This writer Stephen Dixon he turned me on to. And he's cute. It's fucked up. Joel, you should come up to the Charles with me sometime. JOEL Okay. CLEMENTINE Yeah? Oh, great! She sits closer to him. CLEMENTINE -LRB- CONT'D. -RRB- I'll pack a picnic - a night picnic - night picnics are different - and - JOEL -LRB- shy. -RRB- Sounds good. But right now I should go. CLEMENTINE -LRB- pause. -RRB- You should stay. JOEL I have to get up early in the morning tomorrow, so. CLEMENTINE -LRB- beat. -RRB- Okay. Joel puts on his overcoat. Clementine heads to the phone table, pulls out a notepad. CLEMENTINE -LRB- CONT'D. -RRB- I would like you to call me. Would you do that? I would like that. JOEL Yes. She scribbles her phone number, hands it to him. He puts it in his pocket. He stands there uncomfortably for a moment, then forces himself to speak. JOEL -LRB- CONT'D. -RRB- I do n't think your personality comes out of a tube. I think the hair is just. a pretty topping. She tears up, swallows, and kisses him on the cheek. He's surprised and pleased and nervous. JOEL -LRB- CONT'D. -RRB- -LRB- shyly formal. -RRB- So, I enjoyed meeting you. CLEMENTINE You'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines and all. JOEL Okay. We stay with Clementine as she watches Joel tromping through the snow and getting in his car.\",\n \"INT. JOEL'S CAR - NIGHT Joel speeds through the suburban Rockville Center neighborhood. There is no snow on the ground. He seems different, somehow foggy and disoriented. SUBTITLE : THREE DAYS EARLIER He arrives at his apartment building and parks.\",\n \"EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS Joel gets out of his car, spots a van parked across the street. There are two dark figures inside. VOICE-OVER Them. He hurries inside the building.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel enters, dumps his overcoat on a chair, turns off the lights, crosses to look furtively out the window. It's snowing in large flakes which seem to fall only in the beam of a streetlight. JOEL It was snowing. VOICE-OVER There are two of them. Could n't make them out. The orange glow of a cigarette. Joel squints to see inside the van. Two dark figures talk. One sucks on a cigarette and s dim orange light momentarily illuminates the interior. The figure in the driver seat rolls down his window and gives a cheery wave to Joel. JOEL The driver waved. So casual, friendly. VOICE-OVER I'm like a joke to them. Joel pulls away from the window, his face blanched. VOICE-OVER I guess they figure they can act like they want. They do n't have to worry about me remembering. He paces, mulling things over. As he does, the scene starts to change, almost as if it is drying out. JOEL I might be making a mistake. VOICE-OVER Maybe I'm making a mistake. Maybe I just need to learn to live with this. First of all, I'll get over it. Secondly, it happened. Those who do not remember history are condemned to repeat it. Who said that? Churchill? I'm not sure. But I do n't care. She did it to me. I have to rid myself of this. Fuck her. JOEL Fuck you, Clementine. The colors bleach, the surroundings become slightly vague. Even Joel's persona and voice - over seem to alter, his emotional intensity becoming diffused. Joel does not seem aware of this. He stops pacing, takes a small vial from his pocket, dumps the lone pill onto his palm. He looks at it. It's pink. There's some illegible initials stamped on it. JOEL -LRB- CONT'D. -RRB- Pink. -LRB- beat. -RRB- There was a number on it. I remember. AL 1718? -LRB- beat. -RRB- I have to follow through with this. I have no choice. VOICE-OVER The pill was pink, I remember. It had some letters and numbers on it. What were they? AL 1718? AL something. Four digits. I do n't like taking pills when I do n't know what they are. I have no choice. He swallows it, peeks out the window again, takes off his clothes, slips into a pair of pajamas fresh from the store packaging. He sits on the edge of the bed, dials the phone. JOEL -LRB- CONT'D. -RRB- We're sorry, the number you have dialed. -LRB- beat. -RRB- Screw you, Clementine, for doing this. RECORDED VOICE We're sorry, the number you have dialed is no longer in service. If you think you have reached this recording in error - JOEL -LRB- CONT'D. -RRB- Bye. Joel hangs up and lies on his back on the bed. By now the scene is lifeless, almost a husk. He hears the apartment building door open. He hears footsteps. JOEL -LRB- CONT'D. -RRB- It's them. VOICE-OVER It's too late. His eyelids are getting heavy. He closes his eyes. BLACK. He hears a key in his apartment door. JOEL -LRB- CONT'D. -RRB- Fuck.\",\n \"INT. BOOKSTORE - NIGHT Joel sits in the bookstore coffee shop. It's a jarring transition, visually and emotionally. Joel is in the midst of some traumatic state of mind. He fingers the vial with the pink pill in it as he watches Clementine stack books on shelves. Her hair is bright orange now. JOEL I should maybe talk to you. VOICE-OVER Clementine. I should just maybe talk to her. Joel rises and heads toward Clementine. JOEL I love you and if you knew that. if I told you what happened. I'll explain everything, what we meant to each other. I'll tell you everything about our time together. You'll know everything again and. VOICE-OVER Maybe if I just explain what happened, I would n't have to go through this and I could tell you everything and it would be like you knew and we could rebuild and we could be happy again and. Right before Joel gets there, Patrick, a skinny young man approaches Clementine. Joel stops, watches. The young man seems out of breath. He glances over at Joel, then taps Clementine on the shoulder. She turns, annoyed, sees who it is and her face lights up. JOEL Clementine. VOICE-OVER That's your look for me. Clementine giggles, stands and pokes Patrick playfully in the ribs. PATRICK I just thought I'd say hi. I was in the neighborhood. CLEMENTINE You were not. PATRICK I was not. Joel is mesmerized by their familiarity. As he stands there, the scene starts to dry out. Clementine and Patrick continue their flirtation but it's turning lifeless, as if they are just reciting lines. The bookstore start to lose its color and immediacy. CLEMENTINE Come over after I'm done here? PATRICK I ca n't. I want to, but I have to study. CLEMENTINE You rat. PATRICK I really want to, but tonight's important. Test tomorrow. JOEL How could she have done this to me? How could anyone do this to anyone? CLEMENTINE -LRB- to Patrick. -RRB- You did n't say anything about my hair. PATRICK It's so cool. You're by far the most sensational person in the room. CLEMENTINE In the room? PATRICK In the world. Joel seems dazed, in some sort of dream confusion, as he realizes the world around him is looking increasingly odd. JOEL What's happening here? -LRB- looks at watch ; it's 9:30. -RRB- Oh, God! I have to go home. They'll be there soon. Joel turns to leave.\",\n \"INT. JOEL'S CAR - NIGHT Joel drives fast, recklessly. The intensity is back. He's weeping as he drives. JOEL Got ta get home. How could she do this to me? How could she not care about what we meant to each other. What a fuck! What a fucking monster she is! VOICE-OVER Oh, God. I miss her. I ca n't believe she's with that guy now! I'm never going to see her again. I love her so much. What a fucking monster she is! The scene is faded as he parks in front of his apartment building, and gets out of the car. Joel spots the parked van. We've seen this before, but it's dried out now. JOEL Them.\",\n \"EXT. NEW YORK STREET - DAY Joel trudges along carrying two big trash bags full of stuff. He's been crying. He looks behind him and finds himself looking out the window of his apartment at the dark van on the snowy street. He turns back to the New York Street and spots the address he was looking for : 610 11th Avenue.\",\n \"INT. WAITING ROOM - DAY Joel sits in the small room with his bags. A woman across from him cradles a box full of belongings in her lap. Her eyes are red from crying. Mary, the receptionist, pokes her head through her window into the waiting room. MARY Hello again, Mr. Barish. Good, you've got your stuff.\",\n \"INT. HALLWAY - DAY Joel walks with his bags behind Mary. MARY -LRB- not looking back. -RRB- How are you today? -LRB- at lab. -RRB- Here we are.\",\n \"INT. LABORATORY - DAY Joel enters. Mierzwiak stands there with Stan in his lab coat. MIERZWIAK Ah, Mr. Barish. This is Stan. He'll be in charge of your procedure tonight. Stan nods professionally. STAN Mr. Barish. JOEL How exactly is this going to work tonight? As Mierzwiak talks, the room colors start to fade, Mierzwiak's tone of voice is also affected ; it becomes dry and monotonous. MIERZWIAK We'll start with your most recent memories and go backwards - There is an emotional core to each of our memories - As we eradicate this core, it starts its degradation process - By the time you wake up in the morning, all memories we've targeted will have withered and disappeared. Like a dream upon waking. JOEL Is there any sort of risk of brain damage? MIERZWIAK Well, technically, the procedure itself is brain damage, but on a par with a night of heavy drinking. Nothing you'll miss. Joel looks quizzically at the eroding environment. Suddenly he gets it. JOEL It's happening now! I'm already in my brain. Mierzwiak looks at the fading room. MIERZWIAK Yes, I suppose you are. -LRB- back in his faded memory persona. -RRB- So, let's get started - If we want the procedure underway tonight, we have some work to do. Joel is sitting in a chair. Electrodes connect him to some electronic machinery monitored by Stan. Mierzwiak watches from the corner. STAN We use the articles you brought to create a map of Clementine in your brain. Tonight while you sleep we'll be able to trace the map and erase. JOEL But you're tracing and erasing now. It's already started. I'm home in my bed. Stan pulls a snow globe from one of Joel's bags, shows it to Joel. The equipment registers Joel's reaction. STAN Very good. Stan pulls out a potato dressed as a Vegas showgirl. Joel studies it. The machines register his response. MIERZWIAK We'll dispose of these mementos when we're done here. That way you wo n't be confused later by their unexplainable presence in your home. Stan pulls out a coffee mug with a photo of Clementine printed on it. Joel looks at the cup. The machines record his reaction. STAN Good. We're getting healthy read - outs. The room, Stan, and Mierzwiak are now vague and wispy. STAN'S VOICE Patrick, do me a favor - Joel is watching Stan. Stan is not speaking, yet his voice continues. STAN'S VOICE -LRB- CONT'D. -RRB- - and check the voltage levels, I'm not wiping as clean as I would like here. Joel looks up. Stan's voice seems to be coming from above.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel lies on his back in fresh pajamas. His eyes are closed and electrodes connect his head to several machines. The machines are operated by Stan, now in grubby street clothes and in need of a shave, and by Patrick, dressed similarly. The monitor on one of the machines traces a myriad of light blips running like streams through an image of Joel's brain. Stan presses buttons and operates a joystick, aiming for the lines. Patrick -LRB- who we saw earlier with Clementine at the bookstore -RRB- studies a meter on one of the machines. PATRICK The voltage looks fine. STAN Then check the connections. Patrick fiddles with some jacks. PATRICK Does that help? STAN Yeah, that looks better. Thanks.\",\n \"INT. LAB ROOM - DAY The memory is becoming vague, characters' affects flat. Stan pulls out a pile of loose - leaf pages. Mierzwiak smiles. MIERZWIAK Ah, your journal. This will be invaluable. STAN -LRB- reading. -RRB- December 15th, 2004. I met someone tonight. Oh, Christ : I do n't know what to do. Her name is Clementine and she's amazing. So alive and spontaneous and passionate and sensitive. Things with Naomi and I have been stagnant for so long. The scene is just a shell of itself as Stan rattles on. STAN'S VOICE I think we got this one. Let's push on. Joel looks up at the ceiling.\",\n \"INT. JOEL'S APARTMENT - DAY Joel, snapped into a new memory, cries as he fills two large plastic garbage bags with mementos of his relationship with Clementine. There are funny little gifts, wind - up toys, some potatoes dressed as women, some clothing Clementine has left there, some CD's. He pulls a big clump of pages out of his loose - leaf journal and dumps them in the bag. He gets some clean loose - leaf paper and writes : December 15, 2004 Nothing much happened today. I stayed home. Naomi worked on her dissertation. The scene is fading as he continues to write.\",\n \"INT. HALLWAY - DAY Joel looks for an office number. He finds it. The plaque on the door reads Lacuna Ltd.. Joel enters.\",\n \"INT. WAITING ROOM - DAY Joel enters the Lacuna waiting room. Mary sits in the reception area. MARY May I help you? JOEL My name is Joel Barish. I have an appointment. MARY Please have a seat. Dr. Mierzwiak will be right with you.\",\n \"INT. OFFICE HALL - DAY Mary leads Joel down the hall. MARY -LRB- without turning. -RRB- How are you today? JOEL Not great. MARY -LRB- at Mierzwiak's office. -RRB- Here we are. Joel glimpses Mary smiling coquettishly at Mierzwiak.\",\n \"INT. MIERZWIAK'S OFFICE - DAY Joel and Mierzwiak are in the sitting area. Joel looks at the tape recorder. MIERZWIAK I'm sorry you saw one of our notification cards. You never should have. JOEL Well. I did. MIERZWIAK We can help you through this. Why do n't you start now by telling me everything you can remember about your relationship with Clementine. JOEL -LRB- thinks, then :. -RRB- It was a mess. I do n't know how it got this way. PATRICK'S VOICE It's kind of a dump, do n't you think? Joel looks up, trying to locate the voice.\",\n \"INT. JOEL'S APARTMENT - NIGHT Patrick is checking out the apartment. Stan monitors the equipment. STAN -LRB- uninterested. -RRB- It's an apartment. PATRICK Not a dump, then, but kind of plain. Uninspired. And there's a stale smell. Sort of stuffy. I do n't know. Stuffy. STAN Patrick, let's just get through this. We have a long night ahead of us. PATRICK Yeah. Patrick returns to the bedside, focuses on the machines for a moment. He glances at the unconscious Joel. PATRICK -LRB- CONT'D. -RRB- So who do you think is better - looking, me or this guy? Stan glances sideways at Patrick.\",\n \"INT. MIERZWIAK'S OFFICE - DAY Mierzwiak sits with Joel in the sitting area. MIERZWIAK So we'll need you to go home and bring in everything you ever received from Clementine and anything that might remind you of her. The scene is faded and disappearing fast. It's gone.\",\n \"INT. JOEL'S OFFICE - DAY Joel gets off the elevator and approaches the receptionist. JOEL So then she just stops calling. VOICE-OVER I was n't going to call her. Not after the way she was. JOEL Any messages, Carmen? Carmen the receptionist shakes her head. Next day : Joel approaches the receptionist. JOEL -LRB- CONT'D. -RRB- Any messages for me, Carmen. CARMEN Nothing, Joel. VOICE-OVER It's bullshit. She's punishing me for being honest with her. Joel is at his office desk on the phone. PHONE MACHINE VOICE You have no messages.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel enters, checks his phone machine : zero messages.\",\n \"INT. JOEL'S OFFICE - DAY Joel gets off the elevator, approaches Carmen, who is in conversation with someone else. JOEL Sorry, Carmen. Any messages? Carmen shakes her head `` no'', goes back to her conversation.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel checks his machine : zero messages. VOICE-OVER That's it. I'm just gon na - Without a moment's hesitation, he dials the phone. VOICE-OVER -LRB- CONT'D. -RRB- I'm gon na tell her I'm through playing games and - RECORDED VOICE The number you have dialed has been disconnected. Joel's eyes bug.\",\n \"INT. ROB AND CARRIE'S LIVING ROOM - NIGHT Joel sits across Rob and Carrie, mid - 40's. JOEL Why would she do that? VAGUE RECORDED VOICE - If you think you have reached this recording in error, please check your number and dial again. CARRIE I do n't know, honey. It's horrible. JOEL She's punishing me for being honest. I should just go to her house. ROB I do n't think you should go there, Joel. JOEL Yeah, I do n't want to seem desperate. CARRIE Maybe you need to look at this as a sign to move on. Just make a clean break. JOEL I do n't know. I'm so. I ca n't believe she'd be so goddamn immature! ROB Joel, look, the thing is - CARRIE -LRB- agitated, interrupting. -RRB- Joel, honey. We have to feed the dog. Would you just wait here? Just a second. Joel nods, confused, as Rob and Carrie leave the room and close the door behind them. Joel hears a hushed argument ensue in the hall. He notices the dog asleep on the floor. He grabs a magazine off the coffee table, flips through it distractedly as he paces, puts it down, picks up another. A subscription card falls to the floor. He picks it up and is about to shove it back in the magazine when he sees it is not a subscription card at all. It reads : Clementine Kruczynski has had Joel Barish erased from her memory. Please never mention their relationship to her again. Thank you. Lacuna Ltd. 610 11th Avenue, NY, NY. Joel stares at the card, incredulous. Later : Rob and Carrie are now back in the room. CARRIE -LRB- CONT'D. -RRB- You were n't supposed to see that. JOEL They ca n't erase memories. It's a joke. It's a nasty Clementine hoax. CARRIE Sweetie, we called the company. Joel just stands there. Close - up of a vague dictionary page. VOICE-OVER Lacuna : Noun. A blank, a missing portion, especially in a manuscript.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel is on the phone pacing. CARRIE'S VOICE You ca n't tell her, Joel. They explained that. Like waking a sleepwalker. It might have a devastating effect.\",\n \"INT. JOEL'S CAR - NIGHT Joel drives past vague local landmark. CARRIE'S VOICE Think about it : to be told you lived an existence of which you have no recollection. JOEL'S VOICE But what am I supposed to do? CARRIE'S VOICE Move on, sweetie. JOEL'S VOICE How can I? How can I move on when I know I'm the only one to carry this love we had? How do I do that?\",\n \"INT. CAR - NIGHT Joel in his parked car next to a fence surrounding a drive - in movie closed for the season. He weeps. The windows fog up until the outside is completely obscured.\",\n \"EXT. NEW YORK STREET - DAY Joel looks for an address.\",\n \"INT. ELEVATOR - DAY Joel gets off on the sixth floor. He searches for a room number. As he turns the corner, he sees that the hallway is faded, vague and mostly erased. He keeps walking, comes to the door marked Lacuna and opens it. Inside he can see vague, erased version of Mary the receptionist. MARY -LRB- dead monotone. -RRB- Hi, May I help you? These degraded, faded memories allow Joel to detach himself and hear what's going on in his bedroom. STAN'S VOICE So, Mary's coming over tonight. Joel looks up.\",\n \"INT. JOEL'S APARTMENT - NIGHT Stan works the joystick. Patrick sits on the bed with Joel. PATRICK Yeah? STAN Just wanted to let you know. PATRICK I like Mary. I like when she comes to visit. I just do n't think she likes me. STAN She likes you okay. PATRICK I wonder if I should invite my girlfriend over, too. I have a girlfriend now. STAN You can if you want. PATRICK Did I tell you I have a new girlfriend? STAN -LRB- re : memory on monitor. -RRB- This one's history. Moving on. PATRICK The thing is. my situation is a little weird. My girlfriend situation. STAN Patrick, we need to focus. Stan aims the joystick.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel distractedly reads a book, checks the clock, goes back to the book. The door opens. He looks up. Clementine is staggering in, drunk. CLEMENTINE Yo ho ho! JOEL It's three. VOICE-OVER Shit. The last time I saw you. CLEMENTINE -LRB- CONT'D. -RRB- Anyhoo, sweetie, I done a bad thing. I kinda sorta wrecked your car. JOEL I ca n't believe you wrecked my car. JOEL You're driving drunk. It's pathetic. CLEMENTINE a little. I was a little tipsy. Do n't call me pathetic. JOEL Well it is pathetic. And fucking irresponsible. You could've killed somebody. The scene is starting to degrade. The acting becomes anemic. JOEL -LRB- CONT'D. -RRB- I do n't know, maybe you did kill somebody. CLEMENTINE Oh Christ I did n't kill anybody. It's just a fucking dent. You're like some old lady or something. VOICE-OVER Right! She called me an old lady here, too! And I remember, I said. JOEL -LRB- CONT'D. -RRB- And what are you like? A wino? CLEMENTINE A wino? Jesus, Are you from the fifties? A wino! -LRB- laughs. -RRB- Face it, Joel. You're freaked out because I was out late without you, and in your little wormy brain, you're trying to figure out, did she fuck someone tonight? JOEL No, see, Clem, I assume you fucked someone tonight. Is n't that how you get people to like you? This shuts Clementine up. She is stung and she starts gathering up her belongings, which are strewn about the apartment. Joel is immediately sorry he said this. He follows her around. JOEL -LRB- CONT'D. -RRB- I'm sorry. Okay. I did n't mean that. I just. I was just. pissed, I guess. Clementine is out the door. Joel follows.\",\n \"EXT. STREET - NIGHT Joel looks at his dented car, looks at Clementine clomping off in the distance.\",\n \"INT. JOEL'S CAR - CONTINUOUS Joel drives to catch up with Clementine. He rolls down his window to talk to her. JOEL Let me drive you home. CLEMENTINE -LRB- without turning. -RRB- Fuck you, Joel. Faggot. JOEL Look at it out here. It's falling apart. I'm erasing you. And I'm happy. She keeps clomping. JOEL -LRB- CONT'D. -RRB- You did it to me. I ca n't believe you did this to me. By morning you'll be gone. Ha! He stops the car, gets out.\",\n \"EXT. STREET - CONTINUOUS It's a street you might see in a dream, more an impression of a quiet street than an actual one, with what little detail there is obscured in darkness. Joel wanders it. In the distance Clementine walks off, but as in an animated loop, she does n't get any farther away. It's lonely. PATRICK'S VOICE See, remember that girl? The one we did last week? The one with the potatoes? Joel looks up, startled. STAN'S VOICE Yeah, that's this guy's girlfriend. Was.\",\n \"INT. JOEL'S APARTMENT - NIGHT Stan watches the screen. Patrick paces, fidgets, looks at the unconscious Joel. PATRICK I got ta tell you something. I kind of fell in love with her last night. STAN She was unconscious, Patrick. PATRICK She was beautiful. So sweet and funky and voluptuous. I kind of stole a pair of her panties, is what. STAN Jesus, Patrick!\",\n \"EXT. STREET - NIGHT On the vague street Joel listens to Patrick and Stan. PATRICK'S VOICE I know. It's not like. I mean, they were clean and all. STAN'S VOICE Look, just do n't tell me this stuff. I do n't want to know this shit. PATRICK'S VOICE Yeah, okay. STAN'S VOICE We have work to do. There's a click and Joel finds himself in -\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel and Clementine sit and eat dinner in front of the TV. It's hard to make out what they're watching. They sit on opposite ends of the couch. They look bored. The scene quickly degenerates. The room fades. PATRICK'S VOICE Okay, but there's more. Joel listens. PATRICK'S VOICE -LRB- CONT'D. -RRB- After we did her, I went to where she worked and I asked her out. Joel looks over at the faded Clementine across the couch. She stares straight ahead at the TV. STAN'S VOICE Patrick. do you know how unethical. JOEL That must be the guy I saw you with. VOICE-OVER In the bookstore that night. The skinny guy. There's a click and Joel finds himself in -\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel watches TV. Clementine walks by in her underwear, looks at the TV. She slips into a skirt. CLEMENTINE How can you watch this crap? JOEL Where are you going? CLEMENTINE I'm fucking crawling out of my skin. The scene starts to fade. Clementine puts on her shoes and heads out the door.\",\n \"EXT. ZOO - DAY Joel and Clementine walk around unhappily. They barely look at the animals. Clementine watches parents with babies. JOEL Oh shit. I remember this. -LRB- to Clementine. -RRB- Want to go? CLEMENTINE -LRB- pissy. -RRB- I want to have a baby. JOEL Let's talk about it later. CLEMENTINE No. I want to have a baby. I have to have a baby. JOEL I do n't think we're ready. CLEMENTINE You're not ready. JOEL Clementine, do you really think you could take care of a kid? She turns violently toward him, glaring. CLEMENTINE What?! JOEL -LRB- mumbly. -RRB- I do n't want to talk about this here. CLEMENTINE Joel, We're fucking gon na talk about it! Joel looks around. People are watching. CLEMENTINE -LRB- CONT'D. -RRB- You ca n't fucking say something like that and say you do n't want to talk about it! JOEL Clem, I'm sorry. I should n't have - CLEMENTINE -LRB- screaming now. -RRB- I'd make a fucking good mother! I love children! I'm creative and smart and I'd make a fucking good mother! The scene starts to fade. Clementine's rant continues but becomes attenuated and vague. JOEL Oh, thank God. It's going. CLEMENTINE It's you! It's you who ca n't commit to anything! You have no idea how lucky you are I'm interested in you! I do n't even know why I am! I should just end it right here, Joel. Leave you in the zoo. Maybe you could find a nice sloth to hang out with! She's crying now, but it's almost animatronic, no real emotion in it. The scene is a husk. JOEL It's going, Clementine. All the crap and hurt and disappointment. It's all being wiped away. She looks up at him. CLEMENTINE I'm glad. Their eyes lock. She is fading before his eyes. JOEL Me, too.\",\n \"INT. BAR - NIGHT It's noisy and crowded. Joel and Clementine sit at a small table. She is drunk and staring off, blankly. JOEL So, um - CLEMENTINE -LRB- swiveling head toward him. -RRB- Would you get me another, Joely? Joel sighs, stands, and heads to the crowded bar. CLEMENTINE -LRB- CONT'D. -RRB- Thanky! Thanky! Joel is at the bar, trying to get the bartender's attention. Joel is paying the bartender. He turns with the drink to head back to the table. He sees Clementine flirting with a man in Joel's seat. Joel is at the table. Clementine looks from her conversation. CLEMENTINE -LRB- CONT'D. -RRB- Joel, this is Mark. He likes my boobs. He came over special to tell me that. Is n't that nice. He does n't think I'm fat. The scene starts to fade. Mark rises. MARK I did n't know she was with someone, man. CLEMENTINE S'okay, Mark. Joel does n't like my boobs. -LRB- stage whisper. -RRB- I do n't think he likes girls. The bar gets quiet and vague. JOEL You're drunk. CLEMENTINE You're a whiz kid. So perceptive, so - Clementine keeps talking but there are no more intelligible words, just a whisper - like a breeze. A doorbell buzzes. Joel looks up.\",\n \"INT. JOEL'S APARTMENT - NIGHT Patrick opens the door. Mary stands there in a winter coat, carrying a backpack. MARY -LRB- coolly. -RRB- Oh, hey, Patrick. PATRICK Hi, Mary. How's it going? She walks past him. STAN Hey, you. Stan and Mary kiss. She looks down at Joel as she takes off her coat. MARY It's freezing out. STAN You found us okay? MARY Yeah. -LRB- re : Joel. -RRB- Poor guy. -LRB- looking around. -RRB- Have anything to drink? STAN We have n't checked. MARY Well, allow me to do the honors. It's fucking freezing and I need something. She heads into the kitchen. Stan turns back to monitor the slivers of light. PATRICK Mary hates me. I've never been popular with the ladies. STAN Maybe if you stopped stealing their panties. PATRICK -LRB- guilty beat. -RRB- Okay, There's more, Stan - Stan looks over at Patrick. Mary returns with a bottle of scotch and two glasses. MARY Hey, hey. She pours the whiskey. MARY -LRB- CONT'D. -RRB- Oh, Patrick, you did n't want any, did you? PATRICK Nah, I do n't know. Mary hands a glass to Stan. She holds hers up in a toast. MARY Blessed are the forgetful, for they get the better even of their blunders. Mary and Stan click glasses. MARY -LRB- CONT'D. -RRB- Nietzsche. Beyond Good and Evil. Found it my Bartletts. STAN That's a good one. MARY Yeah, I ca n't wait to tell Howard! It seems really appropriate. STAN -LRB- a little sulky. -RRB- It's a good one all right. PATRICK What's your bartlett's? STAN It's a quote book. MARY I love quotes. So did Winston Churchill. He actually has a quotation in Bartlett's about Bartlett's. Is n't that trippy? PATRICK -LRB- trying to engage. -RRB- Yeah. Cool. MARY `` The quotations when engraved upon the memory give you good thoughts.'' PATRICK Very cool. Trippy. MARY I like to read what smart people say. So many beautiful, important things. STAN Yup. MARY Do n't you think Howard's like that? Smart? Important? STAN -LRB- beat. -RRB- Yup. PATRICK Definitely! MARY I think he'll be in Bartlett's one day. Stan focuses on the monitor. Mary pours herself another drink. PATRICK Definitely.\",\n \"INT. JOEL'S BEDROOM - NIGHT It's dark. Joel and Clementine are in bed. The memory is already in the midst of being erased. Clementine is talking in a monotonous, robotic manner. CLEMENTINE You do n't tell me things, Joel. I'm an open book. I tell you everything. Every damn embarrassing thing. You do n't trust me. JOEL No, it is n't that. CLEMENTINE I want to know you. JOEL I just do n't have anything very interesting about my life. CLEMENTINE Joel, you're a liar. The scene is faded completely now and Joel just lies there for a moment, registering Clementine's statement.\",\n \"INT. CHINESE RESTAURANT - NIGHT Joel and Clementine eat dinner in silence. Joel looks around at other couples in the restaurant. Some seem happy and engaged. Others seem bored with each other. He turns back to his food. JOEL How's the chicken? VOICE-OVER Is that like us? Are we just bored with each other? CLEMENTINE Good. He watches her as she downs her wine and pours herself another glass. She holds the wine bottle up to Joel. CLEMENTINE -LRB- CONT'D. -RRB- More? JOEL No. Thanks. There's a silence. CLEMENTINE How's the fish? The scene is fading. JOEL It's good. They continue to eat in silence as the scene dissolves. PATRICK'S VOICE Hi, Clementine! - Why, what's wrong? - Oh, I'm sorry. - Well, I'm not sure, I kind of have to study for my test -\",\n \"INT. JOEL'S APARTMENT - NIGHT Patrick is on the phone next to Joel's bed. Stan watches the lights on the computer screen. PATRICK Hold on. Let me ask my friend. -LRB- covering mouthpiece. -RRB- Stan, can I leave for a little while? My girlfriend is very - STAN Patrick, we're in the middle of - PATRICK She's right in the neighborhood. She's upset. Mary is in the kitchen. She pokes her head out. She's got some pie on a plate. MARY Let him go, Stan. I can help. STAN -LRB- sighing, to Patrick. -RRB- Go. PATRICK -LRB- quietly. -RRB- Mary hates me. -LRB- into phone. -RRB- I'll be right over, Tangerine.\",\n \"INT. CLEMENTINE'S APARTMENT - NIGHT Candles are lit. Joel and Clementine are under a blanket on the living room rug listening to music. CLEMENTINE Joely. JOEL Yeah, Tangerine? CLEMENTINE Do you know The Velveteen Rabbit? JOEL No. CLEMENTINE It's my favorite book. Since I was a kid. It's about these toys. There's this part where the skin Horse tells the rabbit what it means to be real. -LRB- crying. -RRB- I ca n't believe I'm crying already. He says, `` It takes a long time. That's why it does n't often happen to people who break easily or have sharp edges, or who have to be carefully kept. Generally by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things do n't matter at all, because once you are Real you ca n't be ugly, except to people who do n't understand.'' She's weeping. Joel is stroking her hair. They kiss and begin to make love under the blanket. It's sweet and gentle and then it starts to fade. JOEL -LRB- screaming. -RRB- No! Jesus, No! He looks down and Clementine's tear - streaked face is fading. She continues as if she's still being made love to, even though Joel is completely beside himself. He jumps up naked and yells at the ceiling. JOEL -LRB- CONT'D. -RRB- Please! Please! I've changed my mind! -LRB- looks down at fading Clementine, then at ceiling. -RRB- I do n't want this. Wake me up! Stop the procedure! Plea -\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel is unconscious on the bed, completely still. Mary and Stan watch the monitor and smoke a joint. After a silence : MARY It's amazing, is n't it? Such a gift Howard gave the world. STAN -LRB- a sigh. -RRB- Yeah. MARY To let people begin again. It's beautiful. You look at a baby and it's so fresh, so clean, so free. And adults. they're like this messy tangle of anger and phobias and sadness. hopelessness. And Howard just makes it go away. STAN You love him, do n't you? Mary seems surprised, taken aback, caught. She is silent for a long moment. MARY No. -LRB- beat. -RRB- Besides, Howard's married, Stan. He's a very serious and ethical man. I'm not going to tempt him to betray all he believes in. Stan takes another drag on the joint, passes it to Mary.\",\n \"EXT. STREET - NIGHT Patrick, bundled up and carrying a full backpack, trudges through the snow.\",\n \"INT. CLEMENTINE'S APARTMENT - CONTINUOUS Clementine watches out the window as Patrick nears. She's crying. He makes his way up her front stairs. She swings open the door and hugs him. PATRICK Oh, baby, what's going on? CLEMENTINE I do n't know. I'm lost. I'm scared. I feel like I'm disappearing. I'm getting old and nothing makes any sense to me. PATRICK Oh, Tangerine. CLEMENTINE Nothing makes any sense. Nothing makes any sense. She pushes herself out of the embrace and looks at Patrick. CLEMENTINE -LRB- CONT'D. -RRB- Come up to Boston with me? PATRICK Sure. We'll go next weekend and - CLEMENTINE Now. Now! I have to go now. I have to see the frozen Charles! Now! Tonight! PATRICK Um, okay. I'll call my study partner. CLEMENTINE Yay! It'll be great! I'll get my shit. She runs into the bedroom. Patrick is at the phone and realizes he does n't know Joel's number. After a moment's thought, he * 69's. The phone rings. JOEL'S VOICE Hi, it's Joel. Please leave a message after the beep. Beep. PATRICK -LRB- whisper. -RRB- Stan, it's Patrick. Pick up. STAN'S VOICE Hey, where are you? PATRICK I got into a situation with the old lady. Can you handle things tonight alone? I'm really sorry, man.\",\n \"INT. JOEL'S APARTMENT - CONTINUOUS Stan is on the phone. He's really stoned and watches Mary, stoned herself, dancing in a sexy trance to something soft and low on the stereo. STAN I can handle it. He's pretty much on auto - pilot anyway.\",\n \"INT. CLEMENTINE'S APARTMENT - CONTINUOUS PATRICK Thanks, Stan. I owe you. Patrick hangs up, rifles quickly through his backpack. He pulls out a silver bracelet, puts it in his pocket, then pulls out a journal, flips through it, keeping an eye on the bedroom door. The handwriting is a woman's. He finds what he's looking for. He reads : CLEMENTINE'S VOICE I took Joel to walk on Charles River with me last night. It was so beautiful and charming. Joel was nervous about stepping onto the ice, but he wanted to please me so much - he's so sweet - that he came out after me. We lay down right in the center and watched the stars. He took my hand and said `` I could.\",\n \"EXT. CHARLES RIVER - NIGHT Joel and Clementine lie together holding hands on the frozen river. They look up at the stars. JOEL die right now, Clem. I'm just. happy. I've never felt that before. I'm just exactly where I want to be. Clementine looks over at him. Her eyes are filled with love and tears. Then they get vague. The scene is being erased. Joel is panicked. JOEL -LRB- CONT'D. -RRB- Clem, no! This ca n't keep happening. Please! Oh, fuck! Please! Crazily, Joel runs off, passing through a series of decayed scenes : He and Clementine arguing in a car, having sex on the beach, laughing and holding hands at a movie, eating grilled cheese and tomato soup together in bed, Joel watching her sleep, them drinking at a bar. He arrives at a decayed version of his first meeting with Mierzwiak. MIERZWIAK We can help you through this. Why do n't you start now by telling me everything you can remember about - JOEL You have to stop this! MIERZWIAK What? What do you mean? JOEL I'm trapped in my head and everything I love is being erased! Stop it now! MIERZWIAK Yes, but. I'm just something you're imagining. What can I do? I'm in your head, too.\",\n \"INT. CLEMENTINE'S APARTMENT - NIGHT Patrick reads the journal. CLEMENTINE'S VOICE and we made love right on the ice. It was absolutely freezing on my ass! It was wonderful. Clementine enters, dressed for the cold. Patrick puts the notebook away. CLEMENTINE I'm so excited. Yay! PATRICK I'm excited, too. Oh, and I wanted to give you this. It's a little. thing. Patrick pulls the bracelet from his pocket, hands it to her. PATRICK -LRB- CONT'D. -RRB- I did n't have a chance to wrap it. CLEMENTINE It's gorgeous. -LRB- slipping it on. -RRB- Just my taste. I've never gone out with a guy who brought me a piece of jewelry I liked. -LRB- kisses him. -RRB- Thanks. So let's get going. Long drive.\",\n \"INT. JOEL'S APARTMENT - NIGHT Stan and Mary have sex on the floor next to Joel's bed.\",\n \"EXT. FOREST - DAY Joel and Clementine are hiking, Clementine in front. CLEMENTINE Such a beautiful view. JOEL -LRB- looking at her. -RRB- Yes indeed. -LRB- snapping out of memory. -RRB- Fuck! They're erasing you, Clem! CLEMENTINE Oh? JOEL I hired them to. We're in my brain. But I want it to stop, before I wake up and do n't know you anymore. CLEMENTINE Wow. Um, well. ca n't you just force yourself awake? JOEL I do n't know. He concentrates. Nothing happens. JOEL -LRB- CONT'D. -RRB- Aaargh! It's horrible! I'm trapped! He starts to have a fit, banging against trees, stomping his feet, screaming. But even while he's doing this the memory and Clementine are fading around him.\",\n \"INT. JOEL'S APARTMENT - DAY It's raining out. Joel is reading, slouched in a chair. He looks over at Clementine, stretched out on her belly in her underwear. She's reading, too. VOICE-OVER She's so sexy. JOEL I loved you on this day. I love this memory. The rain. Us just hanging. Clementine looks over at him, smiles. Her brow furrows in thought. CLEMENTINE What if you hide me? JOEL What do you mean? CLEMENTINE -LRB- formulating. -RRB- Well. if they're looking for me in memories I'm in, what if you take me to a memory I'm not in? -LRB- proud. -RRB- And we can hide there till morning. Joel ponders this. The scene and Clementine are beginning to dissolve. Joel grabs Clementine's hand. She giggles with glee. He pulls her out of the scene as it degrades. JOEL Where? Where? Where? He drags her through the landscape of already decayed memories and turns off into :\",\n \"INT. KITCHEN - DAY The kitchen is dated and vague. Joel and Clementine are in an oversized playpen ; they're adults but small. Joel wears footsie pajamas with some vague little animals on them. He holds a a red furry huckleberry hound doll. Clementine is still in her panties and bra. An oversized woman in high heels, seen from a low angle, hurries back and forth preparing dinner. CLEMENTINE Jesus. What's this? Joel looks around at the kitchen, at his doll, at the woman. JOEL I must be about two. -LRB- oddly. -RRB- I want my mommy. She's busy. She's not looking at me. -LRB- back to himself, re : doll. -RRB- Look, my Huckleberry Hound doll! I told you about this! -LRB- beat. -RRB- I want my mommy! He starts to cry. Clementine tries to comfort him. She hugs him. JOEL -LRB- CONT'D. -RRB- -LRB- crying still. -RRB- I want my mommy. -LRB- adult, to Clementine. -RRB- I do n't want to lose you, Clem. CLEMENTINE I'm right here. JOEL I'm scared. I want my mommy. I do n't want to lose you. I do n't want to lose. CLEMENTINE Joel, Joely, look. it's not fading. The memory. I think we're hidden. Joel sucks in some snot. His mother scurries back and forth clanging pots. The room is not decaying. Joel smiles.\",\n \"INT. JOEL'S BEDROOM - NIGHT Stan and Mary lie on the floor, their stoned minds wandering after sex. Stan suddenly perks up. He looks at the monitor. STAN It's stopped. MARY What? STAN Listen, it's not erasing. He makes his way, naked, to the computer screen. STAN -LRB- CONT'D. -RRB- It's not erasing. He's off the screen. MARY Where? STAN I do n't know. He's not on the map. Stan tries to break through his marijuana haze. He fiddles nervously with the equipment. STAN -LRB- CONT'D. -RRB- I do n't know what to do! I do n't know what to do! Crap. Crap. MARY Well, what should we do? STAN I do n't know! I just said that! MARY Sor - ry. -LRB- beat. -RRB- We have to do something. He ca n't wake up half done. STAN Shit! He jerks the joystick spastically. Mary, also naked, gets up and looks over his shoulder at the screen. MARY -LRB- definitely. -RRB- We should call Howard. Stan turns and looks at her. He's stoned and trying to understand her motivation. STAN No way. I can handle this. MARY This guy's only half cooked. There's no time to fuck around, Stan. Stan tries to think. He paces. Mary watches him. Finally : STAN -LRB- without making eye contact. -RRB- Okay. He dials the phone, waits. STAN -LRB- CONT'D. -RRB- Hello, Howard?\",\n \"INT. MIERZWIAK'S BEDROOM - CONTINUOUS The room is dark. A groggy Mierzwiak is in bed on the phone. His wife lies beside him, eyes open, listening. MIERZWIAK Stan? What's going on? STAN'S VOICE The guy we're doing? He's disappeared from the map. I ca n't find him anywhere. MIERZWIAK Okay, what happened right before he disappeared? STAN'S VOICE I was away from the monitor for a second. I had it on automatic. I had to go pee. MIERZWIAK Well, where was Patrick? STAN'S VOICE He went home sick. MIERZWIAK Jesus. All right, what's the address. STAN'S VOICE 1062 Sherman Drive. Apartment 1E, Rockville Center. Mierzwiak writes it down on a bedside not pad. He hangs up.\",\n \"INT. JOEL'S APARTMENT - NIGHT Stan hangs up the phone, looks at Mary. MARY He's coming? STAN You better go. MARY Hell no. She starts getting dressed. MARY -LRB- CONT'D. -RRB- Shit, I'm so stoned. I do n't want him to see me stoned. Stop being stoned, Mary! She hurries into the bathroom with her bag. MARY -LRB- CONT'D ;O. S. ; CONT'D. -RRB- God, I look like shit! God! Mary slams the bathroom door. Stan puts his head in his hands.\",\n \"INT. KITCHEN - DAY Joel and Clementine are in the playpen. Joel's oversized mother reaches down as she hurries by and pats Joel on the head. MOTHER How's my baby boy? She's gone. JOEL I really want her to pick me up. It's weird how strong that desire is. Clementine holds his hand. He looks over at her. CLEMENTINE You know, we're okay. They're not finding us. You'll remember me in the morning. And you'll come to me and tell me about us and we'll start over. JOEL I loved you so much this day. On my bed in your panties. I remember I thought, how impossibly lucky am I to have you on my bed in your panties. She kisses him. CLEMENTINE You remember what happened next? JOEL I came over to the bed and you smelled so good, like you just woke up, slightly sweaty. And I climbed on the bed with you and you said something like - CLEMENTINE - another rainy day. Whatever shall we do? He laughs. She unbuttons his pajamas. They begin to make love. Joel's mother hurries around the kitchen. Joel stops, looks at Clementine. JOEL There's this guy! CLEMENTINE What? JOEL There's this guy. I heard him talking in my apartment. He's one of the eraser guys. And he fell for you when they were erasing you, so he introduced himself the next day as if he were a stranger and now you're dating him. CLEMENTINE Really? Is he cute? JOEL He stole a pair of your panties while you were being erased! CLEMENTINE Gross! You must remember to tell me this in the morning. I'm, like, so freaked out now.\",\n \"INT. CLEMENTINE'S CAR - NIGHT It's a rust bucket. Clementine drives through the snow. She's crying and holding Patrick's hand. CLEMENTINE What's wrong with me? PATRICK Nothing is wrong with you. You're the most wonderful person I've ever met. She glances gratefully over at him then starts to cry even harder.\",\n \"INT. JOEL'S BEDROOM - NIGHT Stan works on trying to get the signal back. His hair is combed and he's dressed neatly, looking professional but still stoned. Mary is pacing nervously to and from the window, looking out into the night. She's dressed also, and she's wearing more make - up now. Her hair is pulled up into some sort of style. Suddenly she freezes at the window. MARY There he is. Oh my God. Oh my God. Do I look okay? She does n't say anything. MARY -LRB- CONT'D. -RRB- I'm still stoned. Are you? Crap. She looks in the mirror. MARY -LRB- CONT'D. -RRB- -LRB- to Joel. -RRB- Your Visine did n't do shit, fella. The doorbell buzzes. Mary lunges for the door, then calms herself before opening it. Mierzwiak, holding an equipment bag, looks surprised. MIERZWIAK Mary. What are you doing here? STAN She came to help, Howard. MARY I wanted to learn as much about the procedure as possible, Howard. I think it's important for my job. to help comfort the clientele. You know. Mierzwiak looks from Mary to Stan, nods, and enters. Mary closes the door. Mierzwiak crosses to the equipment. MIERZWIAK Let's get to the bottom of this. Shall we? He sits down in front of the computer and does some fiddling. MIERZWIAK -LRB- CONT'D. -RRB- Odd. He fiddles some more. Mary looks on, fascinated. STAN I tried that already. MIERZWIAK Did you try going through C - Gate? STAN Yeah. Of course. Mierzwiak ponders. He unzips his equipment bag, pulls out another laptop computer and plugs it in to the system. MIERZWIAK I'm going to do a Spectrum search throughout his memory, see if anything comes up. Mierzwiak presses some more buttons. The program starts up. A much more complex and detailed human brain appears on this screen. It rotates. Eventually Mierzwiak sees a small distant light in the brain. He zeroes in on it. MIERZWIAK -LRB- CONT'D. -RRB- Okay, here it is. I do n't know why it's off the map like that, but -\",\n \"INT. KITCHEN - DAY Joel is being bathed in the oversized sink by his oversized mother. Clementine sits in the water with him, laughing. The mother does n't seem to see her. MOTHER Little baby getting awwwl cleean. Awl clean. JOEL -LRB- to Clementine. -RRB- I love getting bathed in the sink. It's such a feeling of security. CLEMENTINE -LRB- giggling. -RRB- I've never seen you happier. The elements of the scene flash explosively away : Joel's mother, his Huckleberry Hound doll, the details of the kitchen, Clementine. Joel is thrown into :\",\n \"INT. CAR - NIGHT He sits with Clementine in the parked car, outside a drive - in movie theater. The movie on the giant screen is partially obscured by a fence. Joel and Clementine drink wine.\",\n \"INT. JOEL'S BEDROOM - NIGHT Mierzwiak looks up from the computer screen. MIERZWIAK Okay, we're back in. MARY That was beautiful to watch, Howard. Like a surgeon or a concert pianist. MIERZWIAK Well, thank you, Mary. STAN -LRB- sighing. -RRB- You get some sleep, Howard. I'll take it from here. MIERZWIAK Yeah, probably a good idea.\",\n \"INT. CAR - NIGHT Clementine and Joel laugh as they try to give voice to what the characters on the screen are saying. CLEMENTINE But ca n't you see. I love you, Antoine. JOEL Do n't call me Antoine. My name is Wally. CLEMENTINE Yes, but I ca n't love a man named Wally. She starts to fade. The scene starts to fade. Joel remembers their previous plan. JOEL They found us before. The plan did n't work. I do n't know what to do now. CLEMENTINE -LRB- mouthing to woman on screen. -RRB- Hide me somewhere deeper? Somewhere buried? Joel grabs her. They run off just as the scene decays into a husk behind them.\",\n \"INT. JOEL'S BEDROOM - NIGHT Stan is back at the controls. Mierzwiak's at the door with Mary. STAN Howard, they've disappeared again. MIERZWIAK Oh dear. MARY I'm so sorry, Howard, you must be tired. He nods, distractedly. She smiles to herself as he heads back to the equipment.\",\n \"EXT. SCHOOLYARD - AFTERNOON Joel, now the size of a junior high school kid and dressed accordingly, is peering around the corner of the school building toward the bike rack. Clementine is with him, dressed as she was in the parked car. CLEMENTINE Look at you, cutey! What are we doing? JOEL This kid, Joe Early, is going to beat the shit out of me. VOICE-OVER I'm terrified. I thought if I hung around the art room long enough, he'd go home and I could get my bike. They head toward the bike rack. Joel's is the only bike remaining. CLEMENTINE -LRB- CONT'D. -RRB- Poor Joel. They're at the bike rack and a bunch of kids, including giant, fat Joe Early come around the corner. JOE EARLY Hi, Jill. JOEL He calls me Jill. Everyone calls me Jill after this. The other kids laughs. JOEL Just shut up, Joe. I'm going home. JOE EARLY I do n't think so. We're fighting. JOEL I do n't want to fight you. The kids start chanting, `` fight, fight, fight.'' Joe Early throws a wild punch that hits Joel in the side. joel falls and stays down, covering himself. JOE EARLY C'mon, Jill. Get up, faggot. C'mon. Joel does n't say anything. He peeks humiliated at Clementine. She's watching him. She's got a tear in her eye. She kneels down beside him, puts her arm around him. JOEL I'm too scared to even throw a punch. When I tell people this story I leave that part out. The scene flashes violently to white and is gone.\",\n \"INT. JOEL'S APARTMENT - NIGHT Mierzwiak is at the machine. MIERZWIAK We got him back. Stan, I think I'm just going to have to get through this manually. We're running late.\",\n \"EXT. BEACH - DAY It's cold. Joel and Clementine walk, all bundled up. She points at a house up the beach. CLEMENTINE Our house! Our house! She runs ahead, laughing. The scene is decaying. Joel chases after her. JOEL Clem, c'mon, we've got to hide you. Remember? He grabs her arm and yanks and they are in :\",\n \"INT. BOY'S BEDROOM - NIGHT It's dark. Joel, junior high school size, is in bed masturbating. Clementine is in there, too, in her winter coat, still laughing from before. She realizes what's going on. CLEMENTINE -LRB- mock offended. -RRB- Joel! JOEL -LRB- continuing to masturbate. -RRB- I do n't like it either, but I'm just trying to find horrible secret place to - Joel's mother pops her head in the door. MOTHER Joel, I was just -. -LRB- sees what's going on. -RRB- Oh. Um. I'll ask you in the morning, honey. Have a good night. The mother backs out, closes the door. Joel cringes. Clementine laughs, still in the mode of the memory she was swiped from. Flash! It's all gone.\",\n \"INT. RESTAURANT - NIGHT Joel and Clementine are laughing as she blows out the candle on a slice of cheesecake in front of her. Joel hands her a small wrapped box. JOEL Happy Birthday. CLEMENTINE -LRB- unwrapping the gift. -RRB- Thanks, Joely. A present! Oh boy! She pulls out the bracelet. It's the same bracelet Patrick gave her. CLEMENTINE -LRB- CONT'D. -RRB- Oh, Joel. It's beautiful! -LRB- slip it on. -RRB- I mean, you're the first guy who ever bought me a piece of jewelry I could honestly say that about. He notices she's starting to fade. JOEL I scoured the city for it. CLEMENTINE I love it! She leans across the table to kiss him. He grabs her and runs through the decaying scene and into the vague night.\",\n \"EXT. SUBURBAN STREET - DAY Joel is one of a group of five year olds. He holds a hammer and is poised to hit a dead bird in a red wagon. The other boys are goading him. BOYS C'mon, Joel, you have to. Do it already. Joel does n't want to. Clementine watches. JOEL I ca n't. I have to go home. I'll do it later. VOICE-OVER I did n't want to do this. But I had to or they would've called me a girl. Joel miserably smashes the bird repeatedly with the hammer. Red jelly guts cover the hammer and the wagon bottom. The kids hoot. VOICE-OVER I ca n't believe I did that. I'm so ashamed. A live bird watches from a tree. Clementine, still dressed for her birthday dinner -LRB- wearing her new bracelet -RRB-, pulls Joel away from the other boys. The two of them walk down Joel's suburban street. CLEMENTINE It's okay. You were a little kid. -LRB- beat. -RRB- This is a great birthday present. Getting to see you as a boy. She kisses him and they walk holding hands. JOEL -LRB- pointing. -RRB- That's where I live. Lived. Joel looks down at her hand. It's fading. The bracelet is gone. Clementine is gone. His childhood house is gone.\",\n \"INT. JOEL'S BEDROOM - NIGHT Mierzwiak works the equipment. He has located a small area of light in the brain imaging and eradicates them. MIERZWIAK I'm getting the hang of it. I still understand it. But I'm finding him quickly enough. I'm hopeful there wo n't be too much peripheral eradication. Mary sits on the bed. MARY -LRB- a little giggly. -RRB- I like watching you work. Stan sighs, grabs his coat. STAN I'll go out for a smoke. If no one minds. MIERZWIAK -LRB- not looking up. -RRB- That's fine, Stan. Mary does n't say anything. Stan huffs and is out the door. Mierzwiak continues to find and erase points of light. Mary gets up her courage to speak. MARY Do you like quotes, Howard? MIERZWIAK How do you mean? MARY Oh, um, like famous quotes. I find reading them inspirational to me. And in my reading I've come across some I thought you might like, too. MIERZWIAK Oh. Well, I'd love to hear some. Mary is thrilled, beside herself. She tries to calm down. MARY Okay, um, there's one that goes `` Blessed are the forgetful, for they get the better even of their blunders.'' MIERZWIAK Is that Nietzsche? MARY Yeah, yeah it is, Howard. And here I was thinking I could tell you something you did n't know. MIERZWIAK It's a good quote, Mary. I'm glad we both know it. He smiles at her. She's flustered, flattered. MARY -LRB- sputtering. -RRB- There's another one I like, I read. It's by Pope Alexander. MIERZWIAK Alexander Pope? MARY Yes, shit. Oops, sorry! -LRB- puts hand over mouth. -RRB- Sorry. It's just I told myself I was n't going to say Pope Alexander and sound like a dope and then I go ahead and do it. Like I psyched myself out. MIERZWIAK It's no big deal. MARY You are such a sweetheart. There's an embarrassed moment as that line hangs in the air. Then Mary plunges ahead to bury it. MARY -LRB- CONT'D. -RRB- Anyway, the quote goes `` How happy is the blameless Vestal's lot! The world forgetting, by the world forgot : Eternal sunshine of the spotless mind! Each prayer accepted, and each wish resign'd''. She smiles, proud and embarrassed. MIERZWIAK That's lovely. MARY Really? I thought it was appropriate maybe. That's all. -LRB- beat, then quickly. -RRB- I really admire the work that you do. I know it's not proper to be so familiar but I guess since we're outside the workplace I feel a certain liberty to - MIERZWIAK It's fine, Mary. I'm happy to hear it. MARY Okay. Good. Great. Thanks. -LRB- blurting. -RRB- I like you, Howard. an awful lot. Is that terrible? Mierzwiak seems momentarily taken aback, then returns to his unflappable self. MIERZWIAK You're a wonderful girl, Mary. She leans over and kisses him, then pulls away quickly. MARY I've loved you for a very long time. I'm sorry! I should n't have said that. MIERZWIAK I've got a wife, Mary. Kids. You know that. MARY -LRB- suddenly weepy. -RRB- I wish I was your wife. I wish I had your kids. Mierzwiak comforts her with a hug. It turns into kiss. He pulls away. MIERZWIAK We ca n't do this. MARY No you're right. Once again. You're a decent man, Howard. He smiles sadly at her. She smiles courageously at him. MIERZWIAK I want you to know it's not because I'm not interested. If that means anything. They look at each other a long while, then Howard goes back to locating and eradicating blips of lights.\",\n \"EXT. JOEL'S APARTMENT BUILDING - NIGHT Stan sits in the van and smokes a cigarette. He has an unobstructed view into Joel's bedroom window. He watches Mierzwiak and Mary. They're talking as Howard works. It appears to be a very serious discussion. A car pulls up outside. Stan turns to see. A middle - aged woman gets out, checks the address on Joel's building, approaches the only lit window, watches Mierzwiak and Mary inside. Mierzwiak's resolve has apparently weakened and he and Mary kiss again. This time it leads to groping, partial undressing, and falling onto the bed alongside the unconscious Joel. The woman in the window is transfixed. As Mierzwiak fumbles to unzip his pants, he catches sight of the woman in the window. He practically shrieks and jumps up.\",\n \"EXT. COUNTRY ROAD - DAY Joel and Clementine walking, hand - in - hand, look up simultaneously.\",\n \"INT. JOEL'S BEDROOM - CONTINUOUS Mary looks confusedly at Howard. MARY What? She follows his eyes and sees the woman in the window, who turns and walks off in a huff. MARY -LRB- CONT'D. -RRB- Oh my God! Mierzwiak is already in his coat. He's out the door.\",\n \"EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS The woman is at her car. Stan watches from the van. Mierzwiak is hurrying to the woman. MIERZWIAK Hollis! Hollis! HOLLIS -LRB- THE MIDDLE - AGED WOMAN. -RRB- I knew it, Howard. I do n't even know why I bothered to copy the damn address. MIERZWIAK It did n't start out to be this. I came here to work. It's a one - time mistake. Mary is right behind Mierzwiak now. Hollis is in her car. MARY -LRB- heroically. -RRB- Mrs. Mierzwiak, it's true. And it's not Mr. Mierzwiak's fault. I'm a stupid little girl with a stupid little crush. I basically forced him into it. I swear. Hollis turns, looks at Mary and then at Mierzwiak. HOLLIS Do n't be a monster, Howard. Tell the girl. Stan is out of the van now, listening. Mary shivers in the cold, hugs herself. There's a long silence. Then : MARY Tell me what? Hollis and Mierzwiak have locked eyes. Mary looks back and forth between them. Hollis starts her car. HOLLIS Poor kid. You can have him. You did. She drives off. Mary watches Howard with increased foreboding. MARY What, Howard? MIERZWIAK We. have a history. I'm sorry. You wanted the procedure. You wanted it done. to get past. I have to finish in there. It's almost morning. We'll talk later. He shuffles inside. Mary stands there, unable to digest this, struggling in vain to remember. Stan watches. STAN Let me take you home. Mary shakes her head `` no.'' She walks off, dazed.\",\n \"EXT. CHARLES RIVER - NIGHT Clementine and Patrick lie on their backs on the frozen river and look up at the night sky. PATRICK I could die right now, Clem. I'm just happy. I've never felt that before. I'm just exactly where I want to be. Clementine looks over at him. Their eyes meet. She sobs. CLEMENTINE I want to go home. She hurries toward the shore, slips on the ice, gets up, and continues, now running.\",\n \"INT. COMMUTER TRAIN - NIGHT Mary, in shock, sits in the empty fluorescent car. She tries to look out the window but can only see her own reflection.\",\n \"INT. JOEL'S BEDROOM - NIGHT It's deathly silent as Mierzwiak and Stan work on completing the job. Mierzwiak locates a light hidden very deep in the map of Joel's brain. He targets it.\",\n \"EXT. ROWBOAT - DAY Joel, the size of a ten year old, sits fishing with his oversized father. Clementine is naked and in the boat, too. She's reading The Play by Stephen Dixon. CLEMENTINE I love this book, Joel. Thank you so much for telling me about it. Joel is his father. The father is drunk and sullen. He faces away from Joel, looks out at the lake. FATHER Do n't be like me, son. Do n't waste your life. You'll come to a point someday where it'll be too late. You'll be sewn into your fate. JOEL It was horrifying, seeing my father like that. There was no hope for me if his life was such a failure. And he saw failure in me, too, written in my future. Clementine watches the frightened, confused Joel. CLEMENTINE -LRB- CONT'D. -RRB- Joel, you're not sewn in. He's wrong. FATHER and there'll be nowhere to go except where you're headed, like a train on a track. Inevitable, unalterable. The scene poops out of existence with a flash of light.\",\n \"INT. CHINESE RESTAURANT - NIGHT Joel finds himself eating Chinese food and sitting across from Clementine. He is ragged and jarred. JOEL I'm done, Clem. I'm just going to ride it out. Hiding is clearly not working. CLEMENTINE Yeah. JOEL I want to enjoy my little time left with you. CLEMENTINE This is our first `` date'' date. JOEL Do you remember what we talked about? CLEMENTINE Naomi, I guess. JOEL Yeah. CLEMENTINE What was I wearing? JOEL God, I should know. Your hair was red. I remember it matched the wallpaper. CLEMENTINE Egad, were you horrified? JOEL No! I think you were wearing that black dress, y' know, with the buttons. She is wearing the black dress. CLEMENTINE No, you were with me when I bought that. At that place on East 6th. It was later.\",\n \"INT. DRESS SHOP - SHOP The scene has already been erased. It's just a decayed husk. A vague Joel watches a vague Clementine model a black dress.\",\n \"INT. RESTAURANT - NIGHT Clementine wears a generic black dress now. JOEL Right. Something black though. CLEMENTINE I'll buy that. Black's always good. JOEL We did talk about Naomi. CLEMENTINE I said : Are you sure? You seem unsure. JOEL I'm sure, I said. CLEMENTINE But you were n't. I could tell. JOEL I was so nervous. I remember I could n't think of anything to say. There were long silences. There is a long silence. JOEL -LRB- CONT'D. -RRB- I thought I was foolish. I thought I'd mistaken infatuation for love. You said : CLEMENTINE So what. Infatuation is good, too. JOEL And I did n't have an argument.\",\n \"INT. CAR - NIGHT Joel and Clementine pull up to Clementine's house. JOEL I dropped you off after. You said - CLEMENTINE -LRB- Mae West. -RRB- Come up and see me. now. JOEL It's very late. CLEMENTINE Yes, exactly. Exactly my point.\",\n \"INT. CLEMENTINE'S APARTMENT - NIGHT Joel and Clementine are in the midst of awkward shy sex. JOEL This was our first time. The scene starts to fade. Joel watches Clementine disappear.\",\n \"INT. LACUNA RECEPTION AREA - NIGHT Mary enters the dark room, frazzled. She flips on the fluorescent lights and searches the file folders, finds one with her name on it. Her jaw drops. With a shaky hand, she puts the tape into the player on her desk and presses `` play.'' MIERZWIAK VOICE Okay, so just tell me what you remember. And we'll take it from there. MARY'S VOICE -LRB- shaky. -RRB- Um, I liked you immediately. At the job interview. You seemed so. important and mature. And I loved that you were helping all these people. You did n't come on to me at all. I liked that. I was tongue - tied around you at first. I wanted you to think I was smart. You were so nice. I loved the way you smelled. I could n't wait to come to work. I had these fantasies of us being married and having kids and just. -LRB- starts to cry. -RRB-. and so. then. when. that one day, when I thought you looked at me back. like. Oh, Howie, I ca n't do this? How can I do this? MIERZWIAK VOICE It's what's best, Mary. You know that. Mary slumps to the floor. We move into her eyes. MARY'S VOICE Yeah, I know. Oh, God. Okay, well, I was so excited. A SERIES OF MURKY IMAGES. NO DETAIL. A flirtatious look from Mierzwiak. MARY'S VOICE -LRB- CONT'D. -RRB- Remember you bought me that little wind - up frog? A vague shot of a wind - up frog. MARY'S VOICE -LRB- CONT'D. -RRB- And you said. A vague shot of Mierzwiak mouthing to Mary's voice. MARY'S VOICE -LRB- CONT'D. -RRB- `` This is for your desk. Just a little token'' Back to Mary sitting on the floor, listening to the tape. MARY'S VOICE -LRB- CONT'D. -RRB- I knew then. I knew something was going to happen. something wonderful.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel sits in the quiet living room. The scene is fading. JOEL Naomi. VOICE-OVER On the couch. Dark. Quiet. I wondered if I had made a terrible mistake. I almost reached for the phone about a thousand times. I thought I could take it back, erase it, explain I had momentarily lost my mind. Then I told myself we were n't happy. That was the truth. That what we were was safe. It was unfair to you and to me to stay in a relationship for that reason. I thought about Clementine and the spark when I was with her, but then I thought what you and I had was real and adult and therefore significant even if it was n't much fun. But I wanted fun. I saw other people having fun and I wanted it. Then I thought fun is a lie, that no one is really having fun ; I'm being suckered by advertising and movie bullshit. then I thought maybe not, maybe not. And then I thought, as I always do at this point in my argument, about dying.\",\n \"INT. ROOM - DAY An elderly man sits. VOICE-OVER I projected myself to the end of my life in some vague rendition of my old man self. I imagined looking back with a tremendous hole of regret in my heart.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel sits. VOICE-OVER I did n't pick up the phone to call you, Naomi. I did n't pick up the phone. The scene dissolves.\",\n \"INT. JOEL'S APARTMENT - DAY Namoi is red - eyed from crying. She is packing things in boxes. Joel paces, steals glances at her, does n't know what to say. She holds up a book. The scene starts to fade. NAOMI Yours? JOEL You take it. I do n't know. She tosses it in a box. JOEL -LRB- CONT'D. -RRB- Naomi, I really value our relationship. I hope it's possible for us to stay in touch. NAOMI Do n't do this to me now, Joel. Really.\",\n \"INT. JOEL'S BEDROOM - DAY Joel watches out the window as Naomi stuffs a final box in the trunk of a car. There's another woman down there with her. They get into the car and drive off.\",\n \"INT. BORDER'S BOOKSTORE - NIGHT Joel talks to Clementine. The scene is fogging over. JOEL I told her today I need to end it. CLEMENTINE Is that what you want? JOEL I did it. I guess that means something. Clementine shrugs. The scene fades.\",\n \"EXT. PARK - DAY Joel walks with Naomi. NAOMI So what's going on, Joel? JOEL I do n't know, I've just been thinking, maybe we're not happy with each other. NAOMI What? JOEL Y' know, we've been, I do n't know, sort of, unhappy with each other and - NAOMI Do n't say `` we'' when you mean `` you.'' JOEL I think maybe, we're both so used to operating at this level that - How can one person be unhappy? If one person is unhappy, both have to be. by definition. NAOMI Bullshit. Who is it? You met someone. JOEL No. I just need some space, maybe. NAOMI The thing is, Joel, whatever it is you think you have with this chick, once the thrill wears off, you're just going to be Joel with the same fucking problems. JOEL It's not somebody else. VOICE-OVER I hate myself. Naomi walks off. Joel watches her. The scene fades.\",\n \"INT. BORDER'S BOOKSTORE - NIGHT Joel enters, looks around. There's no sign of Clementine. Joel approaches a male employee. JOEL Is there a Clementine who works here? MALE EMPLOYEE #1 -LRB- calling to another male employee. -RRB- Mark, is Clem on tonight? MALE EMPLOYEE #2 On my dick, bro. -LRB- turns, sese Joel, embarrassed. -RRB- Oh, hey. Yeah, I think she's upstairs in Philosophy. Joel climbs stairs, searches the aisle, spots Clementine. JOEL Hi. She turns. CLEMENTINE I did n't think you'd show your face around me again. I figured you were humiliated. You did run away, after all. JOEL Sorry to track you down like this. I'm not a stalker. But I needed to see you. CLEMENTINE -LRB- seemingly uninterested. -RRB- Yeah? JOEL I'd like to. take you out or something. CLEMENTINE Well, you're married. JOEL Not yet. Not married. CLEMENTINE Look, man, I'm telling you right off the bat, I'm high maintenance. So I'm not going to tiptoe around your marriage or whatever it is you got going there. If you want to be with me, you're with me. JOEL Okay. CLEMENTINE So make your domestic decisions and maybe we'll talk again. She goes back to stacking. Joel stands there helplessly. JOEL I just think that you have some kind of. quality that seems really important to me. The scene is disintegrating. Clementine's speech is delivered without passion. CLEMENTINE Joel, I'm not a concept. I want you to just keep that in your head. Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked - up girl who is looking for my own peace of mind. Do n't assign me yours. JOEL I remember that speech really well. CLEMENTINE -LRB- smiling. -RRB- I had you pegged, did n't I? JOEL You had the whole human race pegged. CLEMENTINE Probably. JOEL I still thought you were going to save me. Even after that. CLEMENTINE I know. JOEL It would be different, if we could just give it another go around. CLEMENTINE Remember me. Try your best. Maybe we can. The scene is gone.\",\n \"INT. ROB AND CARRIE'S CAR - NIGHT Joel sits forlornly in the back seat. Rob drives and Carrie sits in the front passenger seat. The car stops in front of Joel's apartment building. JOEL Thanks, guys. CARRIE I hope you feel better, sweetie. JOEL Yeah. CARRIE Say hi to Naomi. The car door closes.\",\n \"INT. BUILDING STAIRWAY - NIGHT Joel climbs the stairs. VOICE-OVER I hope she's not up. I need to think.\",\n \"INT. JOEL'S BEDROOM - NIGHT The lights are off. Joel sits on a chair near the window, writing in his journal. The streetlight illuminates the paper. Naomi sleeps in the bed. VOICE-OVER I met someone tonight at a party on the beach. Her name is Clementine. There is something alive about her. Naomi turns over in bed, sees Joel. NAOMI -LRB- full of sleep. -RRB- Hi. JOEL Hi. NAOMI How was it? JOEL You did n't miss much. Rob Carrie say hello. NAOMI Hi, Rob and Carrie. JOEL Go back to sleep. The room is starting to decompose. NAOMI Yeah. Come to bed. I'm cold. JOEL In a minute. Naomi turns over. Joel goes back to his writing. VOICE-OVER -LRB- more and more emotionless. -RRB- I do n't know what to do about this. I've been feeling so alienated and numb lately. Forever. The thought of not acknowledging my feelings again seems self - destructive. How can I continue on this path toward a living death, a life filled with obligation and guilt and responsibility but joyless, hopeless? I need to speak with Clementine. The scene has turned to a husk.\",\n \"INT. JOEL'S APARTMENT - AFTERNOON Joel is at his closet, putting on a sweater. Naomi is at the dining room table, papers spread out before her, writing. Joel turns and watches her for a moment. JOEL So you do n't mind? NAOMI I've got to finish this chapter anyway. The scene is fading. JOEL Okay. I wish you could come. VOICE-OVER This is it. The night we met. My God, it's over. NAOMI -LRB- CONT'D. -RRB- Me, too. He approaches Naomi, kisses her on the top of the head. She continues to write. NAOMI -LRB- CONT'D. -RRB- Say hi to Rob and Carrie. Have some fun! JOEL I hope you get your work done. NAOMI -LRB- sighing. -RRB- Yeah.\",\n \"INT. ROB AND CARRIE'S CAR - NIGHT Rob drives. Carrie fiddles with the radio dial in the front passenger seat. Joel sits in the back. CARRIE I'm sorry Naomi could n't make it. You okay? You seem quiet. JOEL Just a little overworked, maybe. VOICE-OVER The trip to the party where I met Clementine. My first memory of her is now my last memory of her. Joel looks out the window. Carrie turns around and says something to Joel. She is backlit, her hair a halo of frizz. JOEL I remember you turned around. Your face was dark and your hair was backlit - I could see a halo of frizz - you asked me if things were okay between Naomi and me. CARRIE I did. You said, things were fine. JOEL I remember. CARRIE This is the night you met Clementine, Joel. I remember watching you walk down the beach with her and I thought, oh shit. JOEL Yeah, you told me that later. CARRIE I told you that later. Joel looks out he window. He sees the husk of a memory on the darkened roadside. It's Joel and Carrie in :\",\n \"INT. ROB AND CARRIE'S KITCHEN - DAY Faded. Carrie and Joel sit at the table with coffee. CARRIE Who was the girl you walked off with? JOEL No one.\",\n \"EXT. BEACH PARKING LOT - NIGHT Rob, Carrie, and Joel emerge from the car, parked amidst a small cluster of cars in an otherwise empty parking lot.\",\n \"EXT. BEACH - NIGHT Joel watches his shoes in the sand as he trudges along. CARRIE Is this the right way?\",\n \"EXT. BEACH - MOMENTS LATER Joel, Rob, and Carrie step out of the brush and see a bonfire down the beach. People and music can be heard.\",\n \"EXT. BEACH - LATER Joel sits on a log, a paper plate of chicken and corn on his lap. People warm themselves at the fire. Joel watches couples talking, kissing, Rob sharing a joint with a guy. JOEL You were down by the surf. I could just make you out in the dark. Joel looks down to the water. There's Clementine, in her orange hooded sweatshirt, looking out to sea. JOEL -LRB- CONT'D. -RRB- Your back to me. In that orange sweatshirt I would come to know so well and even hate eventually. At the time I thought, how cool, an orange sweatshirt. VOICE-OVER I remember being drawn to you even then. I thought, I love this woman because she's alone down there looking out at the black ocean. JOEL -LRB- CONT'D. -RRB- But I went back to my food. The next thing I remember, I felt someone sitting next to me and I saw the orange sleeve out of the corner of my eye. A shot of the orange sleeve. Joel looks up. CLEMENTINE Hi there. JOEL Hi. VOICE-OVER I was so nervous. What were you doing there, I wondered. Your hair was lime green. Green revolution. A shot of her green hair. JOEL You said. CLEMENTINE I saw you sitting over here. By yourself. I thought, thank God, someone normal, who does n't know how interact at these things either. JOEL Yeah. I do n't ever know what to say. CLEMENTINE I ca n't tell you how happy I am to hear that. I mean, I do n't mean I'm happy you're uncomfortable, but, yknow. I'm such a loser. Every time I come to a party I tell myself I'm going to be different and it's always exactly the same and then I hate myself after for being such a clod. JOEL Even then I did n't believe you entirely. I thought how could you be talking to me if you could n't talk to people? VOICE-OVER But I thought, I do n't know, I thought it was cool that you were sensitive enough to know what I was feeling and that you were attracted to it. CLEMENTINE But, I do n't know, maybe we're the normal ones, y' know? I mean, what kind of people do well at this stuff? VOICE-OVER And I just liked you so much. CLEMENTINE -LRB- CONT'D. -RRB- You did? You liked me? JOEL You know what I did. CLEMENTINE Yeah, I know. I'm fishing. JOEL You said - She picks a drumstick off of Joel's plate. CLEMENTINE I'm Clementine. Can I borrow a piece of your chicken? JOEL And you picked it out of my plate before I could answer and it felt so intimate like we were already lovers. JOEL -LRB- CONT'D. -RRB- I remember - VOICE-OVER The grease on your chin in the bonfire light. Shot of a smudge of chicken grease on Clementine's chin. CLEMENTINE Oh God, how horrid. JOEL I'm Joel. VOICE-OVER No, it was lovely. CLEMENTINE -LRB- CONT'D. -RRB- Hi, Joel. So no jokes about my name? JOEL You mean, like. -LRB- singing. -RRB- Oh, my darlin', oh, my darlin', oh, my darlin', Clementine? Huckleberry Hound? That sort of thing? CLEMENTINE Yeah, like that. JOEL Nope. No jokes. My favorite thing when I was a kid was my Huckleberry Hound doll. I think your name is magic. She smiles. CLEMENTINE -LRB- eyes welling. -RRB- This is it, Joel. It's gon na be gone soon. JOEL I know. CLEMENTINE What do we do? JOEL Enjoy it. Say good - bye. She nods. Joel and Clementine are walking near the surf. JOEL -LRB- CONT'D. -RRB- So you're still on the Zoloft? VOICE-OVER Next thing I remember we were walking down near the surf. CLEMENTINE No, I stopped. I did n't want to feel like I was being artificially modulated. JOEL I know what you mean. That's why I stopped. CLEMENTINE But my sleeping is really fucked up. JOEL I do n't think I've slept in a year. CLEMENTINE You should try Xanax. I mean, it's a chemical and all, but it works. and it works just having it around, knowing that it's there. Like insurance. JOEL yeah? CLEMENTINE I'll give you a couple. See what you think. JOEL Okay. CLEMENTINE Have you ever read any Anna Akhmatova? JOEL I love her. CLEMENTINE Really? Me, too! I do n't meet people who even know who she is and I work in a book store. JOEL I think she's great. CLEMENTINE Me too. There's this poem - JOEL Did this conversation come before or after we saw the house? CLEMENTINE I think, before. JOEL Seems too coincidental that way. CLEMENTINE Yeah, maybe. Joel and Clementine wander near some beach houses closed for the winter. CLEMENTINE -LRB- CONT'D. -RRB- Do you know her poem that starts `` Seaside gusts of wind, / And a house in which we do n't live. JOEL Yeah, yeah. It goes `` Perhaps there is someone in this world to whom I could send all these lines''? CLEMENTINE Yes! I love that poem. It breaks my heart. I'm so excited you know it. -LRB- pointing to houses. -RRB- Look, houses in which we do n't live. Joel chuckles appreciatively. CLEMENTINE -LRB- CONT'D. -RRB- I wish we did. You married? JOEL Um, no. CLEMENTINE Let's move into this neighborhood. Clementine tries one of the doors on a darkened house. Joel is nervous. JOEL I do sort of live with somebody though. CLEMENTINE Oh. She walks to the next house, tries the door. CLEMENTINE -LRB- CONT'D. -RRB- Male or female? JOEL Female. CLEMENTINE At least I have n't been barking up the wrong tree. She finds a window that's unlatched. She lifts it. CLEMENTINE -LRB- CONT'D. -RRB- Cool. JOEL What are you doing? CLEMENTINE It's freezing out here. She scrambles in the window. Joel looks around, panicked. JOEL -LRB- whisper. -RRB- Clementine. VOICE-OVER I could n't believe you did that. I was paralyzed with fear. The front door opens and Clementine stands there beckoning. CLEMENTINE -LRB- CONT'D. -RRB- C'mon, man. The water's fine. Nobody's coming here tonight, believe me. This place is closed up. Electricity's off. JOEL I hesitated for what seemed like forever. CLEMENTINE I could see you wanted to come in, Joel. He walks cautiously toward the door. CLEMENTINE -LRB- CONT'D. -RRB- As soon as you walked in. I knew I had you. You knew I knew that, right?\",\n \"INT. HOUSE - CONTINUOUS Joel enters the darkened and Clementine closes the door behind him. JOEL I knew. CLEMENTINE I knew by your nervousness that Naomi was n't the kind of girl who forced you to criminally trespass. JOEL It's dark. CLEMENTINE Yeah. What's your girlfriend's name? JOEL Naomi. She's searching through drawers for something. She pulls out a flashlight, shines it in Joel's face. CLEMENTINE Ah - ha! Now I can look for candles, matches, and the liquor cabinet. JOEL I think we should go. CLEMENTINE No, it's our house! Just tonight -. -LRB- looking at envelope on counter. -RRB- - we're David and Ruth Laskin. Which one do you want to be? I prefer to be Ruth but I'm flexible. -LRB- opens cabinet. -RRB- Alcohol! You make drinks. I'm going find the bedroom and slip into something more Ruth. I'm ruthless at the moment. She runs upstairs, giggling. The room is drying out, turning into a husk. JOEL -LRB- calling after her. -RRB- I really should go. I really need to catch my ride. VOICE-OVER I did n't want to go. I was too nervous. I thought, maybe you were a nut. But you were exciting. You called from upstairs. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- flat. -RRB- So go. JOEL I did. I walked out the door. I felt like I was a scared little kid. I thought you knew that about me. I ran back to the bonfire, trying to outrun my humiliation. You said, `` so go'' with such disdain. CLEMENTINE -LRB- CONT'D. -RRB- -LRB- poking her head downstairs. -RRB- What if you stay this time? JOEL I walked out the door. There's no more memory. CLEMENTINE Come back and make up a good - bye at least. Let's pretend we had one. Clementine comes downstairs, vague and robotic, making her way through the decaying environment. CLEMENTINE -LRB- CONT'D. -RRB- Bye, Joel. JOEL I love you. She smiles. They kiss. It fades. CLEMENTINE I -\",\n \"EXT. BEACH - NIGHT Joel finds himself hurrying back to the bonfire. This scene, too, is disintegrating. It dries up and Joel is just standing there on a faded beach at night, the bonfire frozen in the distance like a photograph.\",\n \"INT. CAR - NIGHT Joel sits in the back seat, Rob and Carrie are in the front. CARRIE Did you have fun? Joel nods glumly. Carrie continues to talk, but her voice goes under as Joel studies the faded husks of memories, piled like refuse outside the moving car window. He sees dried - out version of previous interactions with Clementine playing out in loops. He looks back and sees the memory of his ride home from the beach with Rob and Carrie. It, too, is decaying. Soon all has crumbled into dust. Everything goes black.\",\n \"INT. JOEL'S BEDROOM - EARLY MORNING Howard watches the monitor. The last specks of light are fading. It grows dark. He is tired, his eyes are hollow. He turns to Stan, who is staring out the window at the dawn. HOWARD Okay. Stan turns and wordlessly begins the clean - up. He pulls the electrodes off of Joel's scalp, coils cable, packs bags. Howard dials the bedside phone. He waits as it rings. HOLLIS'S VOICE Hi, you've reached the Mierzwiaks. We ca n't come to - Howard hangs up.\",\n \"EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING Stan and Howard load the last of the equipment into the back of the van. He and Howard look at each other. STAN So, I've got to drop the van off. MIERZWIAK Thanks, Stan. Thanks.\",\n \"INT. PATRICK'S CAR - EARLY MORNING Patrick and Mary are heading home from Boston. Mary is silent and depressed. Patrick tries to break the silence. PATRICK You want to stop for coffee or something? Mary shakes her head `` no.'' Long silence. PATRICK -LRB- CONT'D. -RRB- Well, it was sure beautiful on that river. Thanks for sharing it with me. Mary does n't say anything. Silence. PATRICK -LRB- CONT'D. -RRB- Well do it again soon.\",\n \"EXT. PARKING STRUCTURE - EARLY MORNING Stan pulls the van into space marked `` Lacuna.'' He gets out, crosses to his car. Mary is sitting on the hood. STAN Hey. MARY -LRB- beat. -RRB- Do you swear you did n't know? STAN I swear. MARY And you never even suspected? Never saw us behaving in any unusual way together? STAN Once, maybe. She watches him closely, waiting for him to continue. STAN -LRB- CONT'D. -RRB- It was here. At his car. I was coming back from a job and spotted you together. You seemed caught. I waved. You giggled. MARY How did I look? STAN -LRB- beat. -RRB- Happy. Happy with a secret. Mary starts to cry. MARY And after that? STAN I never saw you together like that again. So I figured I was imagining things. Mary says nothing. STAN -LRB- CONT'D. -RRB- I really like you, Mary. You know that. MARY Do you remember anything else? What I was wearing? Was I standing close to him? Was I leaning against his car like I owned it? How did he look at me when I giggled? Tell me everything. STAN -LRB- thinking. -RRB- You were in red. That red sweater with the little flowers, I think. You were leaning against his car. -LRB- thinking. -RRB- He looked a little like a kid. Kind of goofy and wide - eyed. I'd never seen him look like that before. Happy. You looked beautiful. You looked in love. MARY -LRB- heading toward the levator. -RRB- Thanks, Stan. She stops but does n't turn to face him. MARY -LRB- CONT'D. -RRB- You're nice. -LRB- beat. -RRB- But I love him. I knew I loved him. Now I know. He nods. She waves, heads to the elevator.\",\n \"INT. JOEL'S BEDROOM - MORNING Joel awakens. The apartment is neat, like when he went to sleep. He gets out of bed and heads into the bathroom.\",\n \"EXT. COMMUTER TRAIN STATION - MORNING Joel waits on the crowded platform. The platform across the tracks is empty. Joel's train arrives. It's packed. He squeezes on with all the other commuters.\",\n \"INT. OFFICE - DAY Joel works in his cubicle over the light table. He seems distracted. He dials his phone. He's nervous. JOEL Hi. Naomi? Yeah, hi! How are you? I know, I know. It's been a long time. Not too much. You? Oh, that's great! Congratulations! Maybe I could buy you dinner to celebrate? Tonight? I'm free. Okay, good!\",\n \"INT. LACUNA RECEPTION AREA - DAY Mary does paperwork at her desk. She looks through her reception window at the sad people waiting in the lobby with their bags of stuff.\",\n \"INT. MIERZWIAK'S OFICE - CONTINUOUS Mierzwiak dials his phone and waits. He hangs up. Mary enters with the papers. MARY I need this signed, Howard. He takes it, unable to make eye contact. He signs it, hands it back. MARY -LRB- CONT'D. -RRB- Thanks. -LRB- beat. -RRB- So. do we talk about this. or what? MIERZWIAK I do n't know what I'm supposed say, Mary. I want to do the right thing here. MARY Do you love me? Did you love me? Something. I listened to my tape. I ca n't believe I've been sitting right in front of it for a year. It's like listening to someone else's story. I mean, I hear myself talking about having sex with you and I ca n't even imagine you naked. I ca n't even say `` naked'' to you! MIERZWIAK I have a family, Mary. MARY You made me have an abortion. MIERZWIAK It was a mutual decision. MARY You made me have you erased! I loved you. I love you! How could you - MIERZWIAK I did n't make you. You thought it best. -LRB- off her stare. -RRB- But, look, I take full responsibility. She looks at him for a long while. Then, out of frustration, she screams.\",\n \"INT. RESTAURANT - NIGHT Joel sits across from Naomi. NAOMI -LRB- oddly cautious. -RRB- So. you have n't been involved with anyone in all this time? JOEL It's been a pretty lonely couple of years. NAOMI I'm sorry. JOEL Well, it was my fault - the break - up. I'm sorry. NAOMI Oh, sweetie. It really does cut both ways. We were taking each other for granted and - JOEL I miss you. NAOMI Miss you, too. -LRB- awkward pause. -RRB- I have been seeing someone for a little while. JOEL -LRB- trying for enthusiasm. -RRB- Oh! Great. That's great! NAOMI A religion instructor at Columbia. A good guy. He's a good guy. JOEL I'm sorry. I really should n't have - NAOMI I'm glad you called.\",\n \"INT. JOEL'S BEDROOM - NIGHT Joel and Naomi are in bed having sex. There are certain sexual routines, habits, they have fallen back into almost immediately. She sticks her tongue in his ear in a way that's trying to be sexual but just feels embarrassing to him. They finish and lie there. JOEL So you think the dissertation will get published? NAOMI I don ; t know. I'm not sure there's a big public demand for books on Calvinism and Misogyny.\",\n \"INT. CLEMENTINE'S APARTMENT - NIGHT Clementine lies in bed with Patrick.\",\n \"EXT. COMMUTER TRAIN STATION - MORNING The platform is crowded with business commuters. Joel is among them. The platform across the tracks from them is empty. Suddenly, Joel turns and makes his way through the crowd. He climbs the stairs, crosses the overpass and makes his way to the empty platform. An almost empty train pulls into that platform. Joel gets on the train and watches the business commuters through the dirty window as his train pulls out of the station.\",\n \"INT. MARY'S APARTMENT - MORNING Mary gets out of bed. She has been crying all night. She's a wreck. She puts on some coffee then crosses into the living room area. Sitting there are piles of the files from work. She pulls the top one out, copies the name and address onto an envelope stuffs the file and tape cassette in. She pulls another file out. This one has Joel's name on it. She copies it onto an envelope.\",\n \"INT. CLEMENTINE'S APARTMENT - NIGHT Joel says goodbye to Clementine. CLEMENTINE So you'll call me, right? JOEL Yeah. CLEMENTINE When? JOEL Tomorrow? CLEMENTINE Tonight. Just to test out the phone lines. JOEL Yeah. Joel exits. We stay on Clementine as she watches Joel head to his car, tromping through the snow.\",\n \"INT. JOEL'S APARTMENT - NIGHT Joel enters, drops his overcoat on a chair, dials the phone. JOEL Hi, Naomi, it's Joel. NAOMI'S VOICE Hi. JOEL How's it going? NAOMI'S VOICE Good. I called you at work today. They said you were home sick. JOEL I know. I had to take the day to think. NAOMI'S VOICE Yeah, I tried you at home. Did you get my message? JOEL I just got in. NAOMI'S VOICE Long day thinking. Joel flips on messages with volume down. JOEL Yeah, I suppose so. NAOMI ON MACHINE -LRB- cheerful. -RRB- Hi. They told me you were sick! So. Where are you?! I had a really nice time last night. Just wanted to say hi, so. hi. Call me. I'm home. Call me! NAOMI'S VOICE That's me. JOEL There you are. -LRB- pause. -RRB- Naomi, it's just. I'm afraid if we fall back into this fast without considering the problems we had. NAOMI Okay, Joel. I suppose you're right. JOEL I had a good time last night. I really did. NAOMI So I'm going to get some sleep. I'm glad you're okay. JOEL We'll speak soon. NAOMI ` Night. She hangs up and Joel stands there for a minute feeling creepy, then he dials the number on a piece of paper. CLEMENTINE'S VOICE What took you so long? JOEL I just walked in. CLEMENTINE'S VOICE Hmmm. Do you miss me? JOEL Oddly enough, I do. CLEMENTINE'S VOICE Ha Ha! You said, I do. I guess that means we're married. JOEL I guess so. CLEMENTINE'S VOICE Tomorrow night. honeymoon on ice.\",\n \"EXT. CHARLES RIVER - NIGHT Clementine steps out onto it. Joel follows nervously. CLEMENTINE Do n't worry. It's really solid this time of year. JOEL I do n't know. She takes his hand and he is suddenly imbued with confidence. JOEL -LRB- CONT'D. -RRB- This is so beautiful. She squeezes his hand. CLEMENTINE Is n't it? She runs and slides on the ice. Joel is by himself now. JOEL I do n't know. What if it breaks? CLEMENTINE What if? Clementine lies on her back and stares up at the stars. Joel is paralyzed. He looks back at the shore. JOEL I think I should go back. CLEMENTINE Joel, come here. Please. He hesitates then gingerly makes his way over to her. She reaches for his hand and gently pulls him down. He lies on his back beside her, their bodies touching. He wants to turn to her, but out of shyness, does n't. She holds his hand. They look up at the stars. She smiles, does n't say anything and snuggles closer to him. JOEL Listen, did you want to make love? CLEMENTINE Make love? JOEL Have sex. Y' know - CLEMENTINE Oh, um. JOEL Because I just am not drunk enough or stoned enough to make that happen right now. CLEMENTINE That's okay. I - JOEL I'm sorry. I just wanted to say that. This seems like the perfect romantic exotic place to do it and - CLEMENTINE Hey, Joel - JOEL - and I'm just too nervous around you right now. CLEMENTINE I'm nervous, too. JOEL Yeah? I would n't have thought that. CLEMENTINE Well, you obviously do n't know me. JOEL I'm nervous because I have and enormous crush on you. She smiles up at the sky. CLEMENTINE Show me which constellations you know. MONTAGE We see people going to their mailboxes, finding manila envelopes. One by one they open the envelopes and pull out tapes. We see stunned, confused, disbelieving reactions as people listen to their tapes.\",\n \"EXT. CLEMENTINE'S APARTMENT - DAY Joel drops Clementine off. She kisses him.\",\n \"INT. JOEL'S APARTMENT - A FEW MINUTES LATER Joel enters with his mail. He opens a manila envelope, reads the enclosed file, sticks the cassette tape in his stereo, listens. Joel dials the phone. CLEMENTINE'S VOICE Yeah? JOEL Did you send this? Is it a joke? CLEMENTINE'S VOICE I probably got the same thing as you. JOEL I mean, I have n't even told anyone I've met you. Who would even know to do this? CLEMENTINE'S VOICE -LRB- matter of fact. -RRB- Maybe it's true then. It's my voice on the tape. JOEL That's what you have to say? How could it be true? I never even heard of any procedure like this. It's a joke. CLEMENTINE Maybe. Call someone who'd know. MONTAGE We see the people we saw opening envelopes, now on the phone. We hear over and over : `` Is this true?'' , `` Did this really happen?'' , `` Do I know you?'' , `` Is it true?''\",\n \"INT. ROB AND CARRIE'S KITCHEN - DAY Carrie is on the phone. She pauses nervously, then speaks : CARRIE Yes, Joel. It is true. We were n't supposed to say anything. They say it's like waking a sleepwalker.\",\n \"INT. JOEL'S APARTMENT - CONTINUOUS Joel hangs up. He dials the phone. JOEL It's true. CLEMENTINE'S VOICE I know. I spoke to my friend Magda. Joel is immersed in the several page document. JOEL Look, I have to go. I have to think. CLEMENTINE'S VOICE Joel, we've fucked. We've made love. Like a million times. And we were so sweet and shy and inept with each other last night. Is n't that lovely? Joel does n't know what to say as this registers. He just stands there dumbly. CLEMENTINE'S VOICE -LRB- CONT'D. -RRB- Come over here, sweetheart. Please.\",\n \"INT. CLEMENTINE'S APARTMENT - LATER Joel and Clementine review their separate Lacuna packages together. CLEMENTINE Says you were closed off, non communicative, never told me what you were feeling. JOEL Says you were a bully. CLEMENTINE -LRB- laughing. -RRB- A bully? Moi? JOEL That's what it says. You drank too much, you picked on me for being passive and timid. CLEMENTINE Well, sounds like me. Sorry, man. -LRB- reading. -RRB- Says you were jealous and suspicious. JOEL Says you would sometimes disappear all night, then brag to me about your sexual conquests. CLEMENTINE Did I use the term `` sexual conquests'' or is that your way of putting it. JOEL I do n't know. CLEMENTINE Does n't sound like me. JOEL Says you were a slob, leaving trails of panties and dirty socks in your wake. CLEMENTINE Says you were constantly calling me a slob. -LRB- laughs. -RRB- It's sexy that we were like a married couple, griping and overly - familiar and bored. Do n't you think? JOEL -LRB- considering. -RRB- I sort of do. But I only see it as a fantasy version of reality. Cleaned up enough to be erotic. CLEMENTINE We should have sex. It's old hat for us. She smiles at nervous Joel. CLEMENTINE -LRB- CONT'D. -RRB- You know my body like the back of your hand. She unbuttons her blouse. CLEMENTINE -LRB- CONT'D. -RRB- Every curve, every freckle. She takes off her shirt. He stares at her. He has clearly never seen this body before. JOEL You're so beautiful. She approaches him, kisses him, his arms wrap around her waist for the first time.\",\n \"INT. LACUNA LTD. WAITING ROOM - MORNING Stan enters the waiting room, now crowded with people holding their files, a stunned - looking lot. There is a new woman in the reception window. The file cases behind her are bare. RECEPTIONIST May I help you? STAN I work here. I used to work here. Stan. Please just tell Howard I'm here to clean out my desk. RECEPTIONIST -LRB- into phone. -RRB- Mr. Mierzwiak, Stan is here to - Yes sir. -LRB- to Stan. -RRB- He says he needs to see you.\",\n \"INT. MIERZWIAK'S OFFICE - MOMENTS LATER Stan enters. Mierzwiak is pale and pacing. MIERZWIAK She should not have done this, Stan. As mad as she was. as justifiably - STAN I do n't know what you're talking about, Howard. MIERZWIAK Mary has stolen our files and is sending them back to people. STAN Jesus. Mierzwiak turns up the volume on a small video monitor looking in on the lab, where Patrick has clearly taken over Stan's position. He is in the process of interviewing a sad young woman. YOUNG WOMAN so I called everybody I know and asked them to tell me everything. Now I know my entire history with him, but it's in the form of a story, I'm losing my mind. MIERZWIAK This is why people must never be told. It's like waking a - YOUNG WOMAN I do n't know what to do. Before I thought I was depressed for no reason. Now it's like I've been assigned a reason. PATRICK This never should've happened, ma'am. We'll take care of it. MIERZWIAK I know you do n't like me much, Stan, but please talk to Mary. She of all people should know this is a dangerous thing she's doing.\",\n \"INT. OFFICE - DAY Joel works over his light box. His phone rings. JOEL Hi, it's Joel. CLEMENTINE'S VOICE Hey, lover. Whatcha doing? JOEL I'm just, y' know, passing the time best I can till I can see you. CLEMENTINE'S VOICE God, I ca n't believe I ever hated you. JOEL You must have been crazy. CLEMENTINE'S VOICE Guess what I'm wearing. JOEL I do n't know. Panties and - CLEMENTINE'S VOICE Your dried cum. JOEL Jesus. CLEMENTINE You're still excited by my irreverence. You have n't yet started to think of it as my `` gratuitous need to shock.'' JOEL I ca n't stop thinking about you. CLEMENTINE Yay. Meet me after work by the old mill. JOEL What old mill? Is that somewhere we - CLEMENTINE I just wanted to say that. Come by my house.\",\n \"INT. MARY'S APARTMENT - DAY Mary opens the door. Stan stands there with two cups of take out coffee. MARY Oh. STAN Hi. MARY What do you want, Stan? STAN Can I. I brought some - She steps aside for Stan to enter. He does, looks around, sees the tapes and the stuffed envelopes on the floor. STAN -LRB- CONT'D. -RRB- What's this? MARY Nothing. STAN I know what it is. MARY Then why did you ask me? STAN I do n't know. I just - there are a lot of really confused people showing up at the office. MARY They have a right to know. Howard is a thief. He steals the truth. -LRB- suddenly weeping. -RRB- I ca n't remember my baby! I ca n't remember my baby. It existed and I ca n't even remember. Do you understand that? Stan does n't know what to say. He stands there dumbly. Mary slumps into a ball on a chair. STAN Mary, people come to him voluntarily. MARY I wo n't allow it. Those who can not remember the past are condemned to repeat it. What do you think of that? That's from my quote book. STAN The office is filled with people who want their memories re - erased. MARY -LRB- hysterically. -RRB- Remember the Alamo! Remember the Alamo! STAN Mary. please. This is hurting people. Long pause, then : MARY -LRB- small. -RRB- I do n't want to hurt people. -LRB- breaking down. -RRB- But these things happened! All these little sadnesses, the big ones. What if no one remembers? What does that do to the world? -LRB- beat, quietly. -RRB- Someone has to remember, Stan. They look at each other.\",\n \"EXT. PARK - AFTERNOON Vague elliptical images of a young girl on a swig. SAD WOMAN'S VOICE I was by myself in the park because my friend Davia was sick that day. I was on a swing. There was this smiling man walking a little bushy dog - Vague shots of a man smiling, a scruffy dog on a leash. SAD WOMAN'S VOICE -LRB- CONT'D. -RRB- The man said something like, `` He's friendly -'' Vague shot of the man, his voice overlapping with the woman's. SAD WOMAN'S VOICE -LRB- CONT'D. -RRB-'' - he wo n't bite.'' MAN He wo n't bite. You can pet him if you want. Shot of the girl petting the dog. MAN Do you want to give him a biscuit? The girl nods. MAN -LRB- CONT'D. -RRB- They're in my car. Why do n't you - DISTRAUGHT WOMAN'S VOICE Excuse me? Hello?\",\n \"INT. LACUNA RECEPTION AREA - DAY Mary, with a headset on, looks up, startled. She switches off the tape. She has been crying. There's a pile of tapes next to her. The distraught woman is standing there. MARY May I help you? DISTRAUGHT WOMAN I'm here for Dr. Mierzwiak. My name is Helene Kernfeld. MARY Yes, please have a seat. The doctor will be with you momentarily. The woman sits. Mary presses an intercom button. MARY -LRB- CONT'D. -RRB- Howard, your 10:30. She switches the tape back on. SAD WOMAN'S VOICE He took me to his car and. Vague shot of the girl being raped.\",\n \"INT. COMMUTER TUBE - DAY The old woman is staring off blankly, her giant manuscript in her lap, as she travels over the New York skyline. We move into her eyes.\",\n \"INT. VAGUE SPACE Vague reenactments of memories intermingle in this undefined space : The young girl being raped by the man in the car. A soldier on a battlefield looking at his slaughtered friends. A couple fighting, from the woman's point of view. MAN I. I. I. find you physically repulsive! I ca n't even look at you! They look at each other in silence. A little boy being called `` faggot'' by an endless succession of boys. The aftermath of a car accident from the driver's POV. Mary having an abortion.\",\n \"INT. COMMUTER TUBE - DAY The old woman and her chair lift out of the line of commuters.\",\n \"INT. WAITING ROOM - DAY It's modern and well - appointed. The old woman enters, sits behind the reception desk, drops her manuscript into the drawer. She takes some pills with water. An old man enters. OLD MAN How are you today, Mary? OLD WOMAN -LRB- MARY. -RRB- Let's see. Still dying, Howard. OLD MAN -LRB- HOWARD. -RRB- You do n't have to jump down my throat. I was trying to be nice. OLD WOMAN -LRB- MARY. -RRB- Well, do n't try. It's unbecoming on you. Old Howard mutters something and disappears into the back. Old Mary pulls out a file from behind, removes a small disc, places it in a machine on her desk, slips on earphones and listens, somewhat wearily but attentively. We watch the color drain from her face, but do n't hear the recording. Another old woman enters the office. Old Mary looks up, seems a bit startled, conceals it, turns off the tape. OLD WOMAN -LRB- MARY ; CONT'D. -RRB- May I help you? SECOND OLD WOMAN I'd like to make an appointment. OLD WOMAN -LRB- MARY. -RRB- I think the doctor is free this morning. He can probably take you right away for an initial consultation. The second old woman smiles gratefully.\",\n \"INT. OLD MAN'S OFFICE - A FEW MINUTES LATER Old Howard works at his desk. Old Mary enters with the second old woman. OLD WOMAN -LRB- MARY. -RRB- Dr. Mierzwiak, this is Clementine Kruczynski. She'd like to talk to you. Old Howard and the old Mary eye each other. OLD MAN -LRB- HOWARD. -RRB- Hello, Ms. Kruczynski. Nice to meet you. Please have a seat. He indicates a sitting area. She sits. He joins her. OLD MAN -LRB- HOWARD ; CONT'D. -RRB- Would you mind if I tape our discussion? She shakes her hear. He punches a couple of buttons on his computer console. A tape recorder starts up and his computer screen lights up so only he can see it. On it we see a whole file on Clementine Kruczynski : a list of fifteen dates of previous erasures stretching back fifty years, all of them involving Joel Barish. OLD MAN -LRB- HOWARD ; CONT'D. -RRB- So, why do n't you begin by telling me why you've come here. SECOND OLD WOMAN -LRB- CLEMENTINE. -RRB- Well, I met this man, Joel, three years ago at a senior dance. We'd both been alone for so long and.\",\n \"INT. TUBE - NIGHT The old woman -LRB- Mary -RRB- travels in the commuter tube over Manhattan. It's late, the tube is mostly empty. She has earphones on. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- I remember Joel and I were having breakfast -\",\n \"INT. VAGUE SPACE An old man and the second old woman eat breakfast. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- - I said something like we should go upstate and see the leaves change. The old man looks up from his cereal and stares blankly. The woman smiles, but there is no response. just a dead stare. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- -LRB- CONT'D. -RRB- He just stared at me as if I did n't exist. As if I had never existed.\",\n \"INT. TUBE - CONTINUOUS The second old woman's -LRB- Clementine -RRB- voice drones tinnily on in the distance. The old woman with the earphones is dead, her eyes glassy and unseeing. SECOND OLD WOMAN -LRB- CLEMENTINE ; V.O. -RRB- - his eyes used to be so filled with love. But it was gone. How can I go back to being alone after seeing love? I was alone for so long. What had I done with my life? I was alone so long.\",\n \"INT. SECOND OLD WOMAN'S APARTMENT - NIGHT The old Clementine is unconscious on her bed, hooked up to modern versions of the erasing machines. Two young technicians monitor the equipment. The woman's bedside phone rings. Her machine picks up. After a moment : OLD MAN'S VOICE Hi, it's Joel. What's going on, Clem? Why wo n't you call me back? Please call me. We need to speak. The machine clicks off. One of the technicians reaches over and presses the `` erase'' button on the machine. BLACK. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Shy, soft-spoken Joel Barish and unrestrained free spirit Clementine Kruczynski meet on a Long Island Rail Road train from Montauk to Rockville Centre. Both had felt the need to travel to Montauk that day, and they almost immediately connect, feeling drawn to each other despite their contrasting personalities. Although Joel and Clementine do not realize it, they are former lovers, now separated after having dated for two years. After a fight, Clementine had hired the New York City firm Lacuna, Inc. to erase all of her memories of their relationship. Upon discovering this from his friends Rob and Carrie, Joel had been angered and saddened, deciding to undergo the procedure himself, a process that took place while he slept. The narrative subsequently takes place in Joel's mind during this memory erasure procedure. Joel finds himself revisiting his memories of Clementine in reverse and experiencing their erasure, starting from the downfall of their relationship. As he comes across happier memories of Clementine early in their relationship, he attempts to preserve at least some memory of her and his love for her, trying to evade the procedure by taking his idealized memory of Clementine into memories not linked to her and attempting to wake up and stop the process. Despite his efforts, the technicians successfully erase his memories. Joel comes to the last remaining memory of Clementine, the day he had first met her at a beach house in Montauk. As the memory disintegrates around them, she tells him to meet her in Montauk. This leads to both Joel and Clementine traveling to Montauk without understanding why they feel the need to, where they subsequently meet on the train. A separate story arc occurs during Joel's memory erasure, revolving around Lacuna's employees. Patrick, one of the Lacuna technicians performing the erasure, uses Joel's memories and his mementos of Clementine to seduce and date her in the present. Mary, the Lacuna receptionist, is dating another technician, Stan, but has feelings for the head of Lacuna, Dr. Howard Mierzwiak, who is married. During Joel's memory wipe, Mary discovers she had previously had an affair with Dr. Mierzwiak and agreed to have the affair erased from her memory after Dr. Mierzwiak's wife found out. Devastated by this discovery and by the power of the procedure, Mary quits her job and steals the company's records, mailing all of Lacuna's clients the tapes of each client recounting their memories to be erased. In the present, Joel and Clementine meet at the Montauk train station and are eager to begin what appears to be a new and exciting relationship. When they both find their Lacuna records mailed to them by Mary, they are shocked and disturbed by the bitter memories they have of each other. Clementine attempts to leave, saying that the relationship could end up going the same way it did in the tapes, but Joel pleads with her, sensing their deep connection. They realize that flaws in their relationship are inevitable but decide that they are meant to be together nonetheless."},"name":{"kind":"string","value":"Eternal_Sunshine_of_the_Spotless_Mind"}}},{"rowIdx":159,"cells":{"scenes":{"kind":"list like","value":["INT. MIDWIVES OFFICE DAY. FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED TO A BULLETIN BOARD. `` COMMON SENSE FOR NURSING MOTHERS,'' ET CETERA. A LOWER - CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW, OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS HER BROW AS SHE WALKS TO THE REGISTRATION DESK. MOTHER It's hotter inside than it is outside. with the air conditioning. REGISTRAR Would you sign in here, please? You know, we're closing in half an. MOTHER I just came to drop off my payment. SHE DROPS AN ENVELPE ON THE DESK. AS SHE LEAVES WE SEE THE DOOR OPEN, AND THE DREARY SUBURBAN SPRAWL PARKING LOT BEHIND. CAMERA PANS HER PAST CLARICE STARLING, WHO IS SITTING, VERY HOT AND PREGNANT, ON A BENCH. THE MOTHER EXITS, AND EVELDA DRUMGO, A VERY BEAUTIFUL AFRICAN AMERICAN WOMAN, HOLDING A NEWBORN, ENTERS. SHE LOOKS AROUND, GOES TO THE REGISTRAR, AND SIGNS IN. REGISTRAR that'll just be a minute. DRUMGO SITS, SHE AND STARLING EXCHANGE A LOOK. BEAT. STARLING S'hotter inside than it is outside. even with the air conditioning. -LRB- SHE LOOKS AT HER WATCH, THEN UP AT THE WALLCLOCK. -RRB- DRUMGO You nervous? STARLING Evone tells me : I shoulda been in, fi, six, months ago. thizz my first checkup. DRUMGO Gon na be fine. You ask your momma. STARLING MUTTERS. DRUMGO -LRB- cont'd. -RRB- what? STARLING I did n't realize I said it out loud. DRUMGO Said what? STARLING I'm an orphan. DRUMGO Well, then, you're a lucky girl, cause that baby's gone to be your family. -LRB- TO THE RECEPTIONIST. -RRB-. I've got an appointment. THE RECEPTIONIST IS GONE, DRUMGO GOES TO PEER OVER THE RECEPTION DESK. ANGLE ON STARLING STARLING That is a lovely thing to say. DRUMGO Waal. STARLING It gets, um. it gets so lonely sometime. DRUMGO -LRB- SITS. COMFORTS THE CHILD. -RRB- What'd you say, hon? STARLING I said sometime it gets so. DRUMGO Well, do n't you worry, cause that baby's gone take care of that. SHE BRUSHES BACK THE HAIR FROM THE SIDE OF HER FACE. ANGLE INS. ON A BARRETTE IN HER HAIR. WHICH WE SEE BEARS A SMALL MICROPHONE. ANGLE ON STARLING, AS SHE HITCHES HERSELF UP IN HER SEAT, AS IF TO FIND A COMFORTABLE POSITION. ANGLE INSERT. ON THE BACK OF HER DRESS. WHERE WE SEE THE PRINT OF A SQUARE BOX, AS STARLING'S HAND MANIPULATE A SMALL KNOT THROUGH THE DRESS. NEXT TO IT WE SEE THE PRINT OF A PISTOL UNDER THE DRESS. ANGLE ON STARLING AND DRUMGO. STARLING, AS SHE FIDDLES WITH THE BARRETTE ONCE AGAIN. STARLING -LRB- cont'd. -RRB- I wonder if you could just, sit down, talk with me a moment. ANGLE XCU ON STARLING, HOLDING THE BARRETTE, AS SHE SPEAKS TO DRUMGO. STARLING -LRB- cont'd. -RRB- Cause, you know, I'm sitting here all alone. Do you know what I mean? -LRB- PAUSE. -RRB- Cause I feel it's getting late for me. do you know? That I've Waited Too Long. ANGLE ON DRUMGO, AS SHE STANDS IN THE EMPTY RECEPTION AREA, AND LOOKS AT IT AND THEN BACK TO STARLING. DRUMGO -LRB- PAUSE. -RRB- Waited too long, hon? -LRB- PAUSE. -RRB- -LRB- SHE LOOKS AT STARLING. -RRB- STARLING How's your child? STARLING STANDS, AND MOVES TO LOOK OUT OF THE WINDOW. ANGLE XCU ON DRUMGO, AS SHE LOOKS AT STARLING. ANGLE, HER POV THE DRESS, STUCK BY SWEAT, TO STARLING'S BACK, REVEALS THE PISTOL AND TRANSMITTER. ANGLE ON STARLING, AS SHE SITS DOWN AGAIN. DRUMGO what? STARLING I said how's your baby? DRUMGO You want to hold him? STARLING Waal. DRUMGO ` bout time you learned. SHE HANDS THE BABY TO STARLING. SHE GOES INTO THE CHILD'S DIAPERBAG AND TAKES OUT A PISTOL, AND LEVELS IT AT STARLING, AS SHE MOVES TO LOOK OUT THE WINDOW. DRUMGO -LRB- cont'd. -RRB- where's your friends? SHE MOVES TO STARLING, AND FRISKS HER, AND REMOVES HER PISTOL, AND THE TRANSMITTER FROM THE BELT AT HER BACK. DRUMGO -LRB- cont'd. -RRB- you're here all by yourself, honey. STARLING Give it up, Evelda. DRUMGO Well, you know my name, honey, but I do n't know yours. STARLING Give it up. DRUMGO Hey, you know, I never thought of that. SHE STARTS GETTING INTO THE NURSES GARB. DRUMGO -LRB- cont'd. -RRB- Ai n't this a picture, though, cause you know you ai n't the first girl, ever got lef, in a position, waiting at the doctor's. You ca n't trust men, child, do n't you know that. old as you are? SHE WALKS BACK TOWARD STARLING, SCOOPS UP HER CHILD, PEEKS OUT THE WINDOW, AND STARTS FOR THE DOOR. DRUMGO -LRB- cont'd. -RRB- Cause, see, they'll always let you down. Terrible thing, to do to an orphan. SHE LEANS BACK TOWARD STARLING, GRABS HER HAIR, AND PULLS HER BACK AND KISSES HER ON THE LIPS, AND RETIRES AND EXITS. ANGLE ON STARLING, AS SHE LOOKS OUT OF THE WINDOW. AT A CAR, WHICH IS IN THE FAR END OF THE PARKING LOT, IT ACCELERATES, AND SCREECHES UP TO THE DOOR, AND EVELDA, CARRYING HER CHILD, GETS IN TO THE STILL MOVING CAR, WHICH STARTS TO TAKE OFF. ANGLE EXT THE MIDWIVES CENTER. STARLING, CROUCHING AT THE DOOR, RETRIEVES A BACKUP WEAPON FROM HER ANKLE HOLSTER. SHE EMERGES FROM THE DOORWAY. ANGLE IN THE PARKING LOT, DRUMGO AND CHILD, GETTING HAULED INTO THE CAR. A FIGURE IN THE BACKSEAT OF THE CAR, SHOOTING OVER THE ROOF, APACHE STYLE, FIRES AT STARLING, AS THE CAR PEALS OUT OF THE PARKINGLOT. STARLING TAKES COVER. BEAT. STARLING, ALONE, WALKS INTO THE NOW EMPTY PARKINGLOT. SHE SITS ON A LOW CONCRETE DIVIDER. HOLD. A VAN PULLS IN. FOLLOWED BY ANOTHER CAR, AND TEN SWAT CLAD COPS PILE OUT, AND APPROACH STARLING. STARLING SLOWLY LOOKS UP. STARLING where were you? -LRB- SHE LOOKS AT HER WATCH. -RRB- SWAT OFFICER -LRB- AS SEVERAL OTHER OFFICERS MOVE INTO THE MIDWIVES CENTER. -RRB-. we, we did n't hear the go - ahead. STARLING -LRB- AS SHE HANDS HIM THE SMALL RADIO TRANSMITTER. -RRB- Yeah, well, you did n't get it cause your radio went dead. The backup plan was, 17.45, you guys are the Cavalry. SHE GETS UP AND WALKS AWAY FROM THE DOORSTEP, TO A SEDAN, WHICH IS PULLING UP. AS SHE GOES, SHE TAKES OFF THE FAKE BELLY SHE HAS BEEN WEARING. ANOTHER SWAT AGENT TAKES THE RADIO AND LOOKS AT IT. SECOND SWAT OFFICER what'd you do, sweat it out, short out the leads? Got a little hot in there? SHE FLINGS THE FAKE STOMACH AT HIM. SECOND SWAT OFFICER -LRB- cont'd. -RRB- what happened to Right to Life? -LRB- HE LAUGHS. -RRB- STARLING ROUNDS ON HIM, HITS HIM SEVERAL TIMES, AND THROWS HIM TO THE GROUND. STARLING What happened to Right to Life? What happened to right to my life? I'm in there, carrying the mail for all you drugstore cowboys, si'in in a van playin with each other's Velcro. -LRB- THE OFFICER STARTS TO GET UP. -RRB- You wan na get up, you wan na get up? Here I am. TWO FBI TYPES GET OUT OF THE NEWLY ARRIVED SEDAN. FBI TYPE What happened to the girl? STARLING -LRB- AS SHE GETS INTO THE SEDAN. -RRB- Get me out of here.","INT. CONFERENCE ROOM FBI HEADQUARTERS DAY. STARLING IS NOW DRESSED IN A T - SHIRT AND JEANS. SHE HAS CLEANED HERSELF UP. KRENDLER, A CLEAN - CUT STUDENT COUNCIL TYPE AROUND FORTY IS HOLDING FORTH. AROUND THE CONFERENCE TABLE ARE THE FATHERLY JACK CRAWFORD, AND VARIOUS OTHER POLITICOS. KRENDLER GESTURES AT THE TABLE, WHICH HOLDS THE BURNT OUT RECEIVER, THE FAKE `` PREGNANT'' STOMACH WORN BY STARLING, AND A PHOTO, HE HOLDS THE PHOTO. WE SEE IT IS DRUMGO, A SURVEILLANCE PHOTO. KRENDLER And you let her get away. STARLING Sir, with all due respect. CRAWFORD Just a moment. Starling did n't. KRENDLER Well, well, well, well, well, she went in there, to apprehend a Dangerous Felon. Went in there with her gun, Came out, without the Felon, without the gun. STARLING STARTS TO SPEAK, AND CRAWFORD STILLS HER. CRAWFORD I had. one moment, I had an agent in there, waiting for backup from. KRENDLER she could n't act on her own? Where is the FBI's vaunted Initiative, where? STARLING Sir : CRAWFORD Shut up, Starling. STARLING I could have acted on my own. I was told. CRAWFORD Starling, I've ordered you to shut. STARLING I was instructed that this was a Joint Task Force, the FBI, BATF, and the Mayor's Special. KRENDLER You find something objectionable to working in partnership with. STARLING Sir, I'm in Law Enforcement, I was out there, dealing with an armed and dangerous. KRENDLER You were given backup. STARLING THEN WHERE WAS IT? I'm sent out there. I'm told that the arrest must be a joint. KRENDLER I'm saying :. and what's wrong with that. STARLING And I'm telling you : You wan na throw a Birthday Party : Every kid gets a Chance to Play, that's fine, but. KRENDLER No, I do n't get you. STARLING Due respect, you do n't, sir, your precious Joint Operation. FBI, ATF, DC SWAT, it's alphabet soup, we do n't have the same Radio Freqs, we do n't. KRENDLER Oh, is this your political position, you're opposed to Joint. STARLING I'm opposed to being part, Your Rainbow Coalition. Evelda Drumgo? I could of took her down in a snap of the fingers - But - I'm out there, and my Rules of Engagement. MAYOR'S REP The Rainbow Coalition, what is that, excuse me. KRENDLER And what are you, our Token Woman? STARLING I do n't mind being the token woman, what I'm suggesting, send me out there with a token man. who are these Warriors, ¥ our cobbled together Strike Force? I'm in the room with a fugitive felon. CRAWFORD Starling? STARLING One moment, and they're at the Seven - Eleven. They botched the fallback plan, they. KRENDLER And, fine, alright, and fine. what are youdoing, this whole time? STARLING Sir, I was, as instructed, waiting for the Arrival of the Strike Force. -LRB- PAUSE. -RRB- CRAWFORD I think that's. -LRB- HE STARTS TO RISE, AND THE MEETING BEGINS TO BREAK UP. -RRB- Starling, I'm sure these gentlemen. KRENDLER And how did she get close enough to disarm you? ANGLE TIGHT ON STARLING, AS SHE BEGINS TO EXIT, MUTTERING. STARLING spend some time on the streets. Ask me then. KRENDLER Thank you, that's not responsive. How did our Miss Drumgo get. ANGLE EXT THE CONFERENCE ROOM. A CORRIDOR AT FBI HQ. VARIOUS MEMORABILIA IN GLASS CASES, GLASS CASES HOLDING FIREARMS. STARLING AND CRAWFORD EXIT. AS THEY DO, A GROUP OF TWENTY MEN AND WOMEN WEARING NAMETAGS WALKS BY, ESCORTED BY A GUIDE. ONE GOOD - LOOKING MEDITERRANEAN TYPE -LRB- PAZZI -RRB- TRIES TO LOOK AT STARLING AS THE GROUP GOES PAST. ANGLE CU ON PAZZI. WE SEE HIM, AND READ THE NAMETAG. -LRB- C. PAZZI. INTERNATIONAL POLICE ACADEMY. ITALY -RRB-. GUIDE -LRB- VO. -RRB-. a compendium of the Bureau's most celebrated cases. Which you have in your Course Study Guide. Now ; This afternoon. ANGLE, ON THE GROUP AS THEY OPEN THEIR BLUE COURSE STUDY GUIDE. STARLING AND CRAWFORD TURN A CORNER. PAZZI LOOKING AFTER THEM, HE THEN, RELUCTANTLY, TURNS AWAY, BACK TO THE GROUP HE IS PART OF. ANGLE ON STARLING AND CRAWFORD, AS THEY DRAW AWAY FROM THE CONFERENCE ROOM GROUP. CRAWFORD -LRB- SOTTO. -RRB-. how'd you let her get that close to you? IN THE B.G.. WE SEE AN AIDE COME UP TO KRENDLER, AND HAND HIM A FILE. STARLING WAVES OFF CRAWFORD'S QUESTION. CRAWFORD -LRB- cont' d. -RRB- how'd she get next to you? STARLING -LRB- AS IF TEARING OFF THE BANDAID. -RRB-. she gave me her baby. KRENDLER, AND THE AID WALK TOWARD CRAWFORD. THE AIDE WHISPERS SOMETHING TO KRENDLER. KRENDLER -LRB- TO CRAWFORD. -RRB- She threw a punch at a man on the team. CRAWFORD Well, you know, that happens, on the street. KRENDLER What is that supposed to mean? CRAWFORD I think its meaning is clear. KRENDLER What, you're saying she was overwrought. CRAWFORD That could be. KRENDLER Because that's understandable, because. She blew the raid. CRAWFORD She was there, alone, sir, she was in a burning building, waiting for your folks to come through the wall. And. STARLING STARTS AWAY, IN DISGUST. KRENDLER One moment, I'm not done with you. -LRB- TO CRAWFORD, AS KRENDLER MOTIONS HIS AIDE TO HAND HIM A FILE. -RRB- Give him the file. AIDE I thought it was going to go down the line, to. KRENDLER No, no, no, I want the girl to do it. THEY GO INTO A HUDDLE, AND STARLING MOVES AWAY, WAITING. SHE LOOKS AROUND, AND SHE AND WE DISCOVER SHE IS STANDING IN FRONT OF THE `` LECHTERIANA'' SECTION OF THE FBI DISPLAY. THE GUIDE IS ADDRESSING THE VISITING FOREIGN COPS. GUIDE Of the apprehension of Hannibal Lechter. Here we have a WANTED poster. AS THE GUIDE SPEAKS WE CUT BETWEEN STARLING, HOPING TO HEAR HER FATE, AND THE MEN TALKING ABOUT HER. GUIDE -LRB- cont'd. -RRB- -LRB- VO. -RRB- Offered by an Unnamed Source, Three million Dollars for information leading to the apprehension of Hannibal Lechter. It is, of course, a bounty poster, the only one of its kind, it was never distributed, the contact number was disconnected, and the trail of the person offering the reward was covered so skillfully, that. PAZZI -LRB- VO. -RRB- -LRB- IN A CULTURED ATTRACTIVE ITALIAN ACCENT. -RRB-. would you be so kind? STARLING TURNS TO PAZZI, HOLDING A CAMERA. SHE HESITATES, THEN REALIZES HE WANTS HER TO TAKE HIS PHOTO IN FRONT OF THE POSTER. STARLING Yeah, sure. PAZZI MOVES IN FRONT OF THE POSTER. WE SEE THE REFLECTION IN THE GLASS FRONTING THE POSTER, AND STARLING MOVES TO ELIMINATE IT. GUIDE -LRB- VO. -RRB-. Of the Hannibal Lechter Case. Lechter is, as you know, still at large. Here we see the implements used in his escape from Prison. If you will turn to your course syllabus, Page. ANGLE ON STARLING, AND THE GUIDE, BEYOND HER, AS THE STUDENTS AGAIN TAKE UP THEIR BLUE BOOKS, AND TURN TO THE PAGE INDICATED BY THE GUIDE. PAZZI COMES BACK TO STARLING. SHE HANDS HIM THE CAMERA. PAZZI a lovely perfume. STARLING Glad you like it. GUIDE -LRB- HE TAKES US TO A DISPLAY OF A PHOTOGRAPH OF LECHTER'S HAND, WHICH SHOWS SIX FINGERS, AND AN X - RAY, WHICH, SIMILARLY SHOWS SIX FINGERS. -RRB-. of Dr. Lechter's left hand. His left hand, which had a sixth, vestigial, fully formed sixth finger. You would think that a man with a mark so easily identifiable, would. THE GUIDE SPOTS STARLING. GUIDE -LRB- cont'd. -RRB- and, speaking of the Lechter Case. THE GUIDE MOVES, AS IF TO INCLUDE STARLING IN THE TOUR. ANGLE ON STARLING WHO GIVES THE GUIDE THE WAVE OFF. STARLING RETREATS AS THE GUIDE CHANGES GEARS. GUIDE -LRB- cont'd. -RRB- And, speaking of the Lechter case, I would like to complete our tour of the gallery with three other instances of Criminals Still At Large. To complete our tour, and. -LRB- HE CHECKS HIS NOTES. -RRB- Oh, and to complete your Course of. Study, by. WE SEE THE GROUP OF KRENDLER, CRAWFORD, ET ALL, BREAK UP, AND BEGIN TO MOVE TOWARD STARLING. SHE APPROACHES THEM, TO HEAR THEIR NEWS. KRENDLER -LRB- TO CRAWFORD. -RRB- Your girl's a menace. Here, givver this. Getter off the street and teach her some humility. -LRB- OF THE FILE. -RRB- CRAWFORD -LRB- LOOKING AT THE FILE. -RRB- I do n't think so. KRENDLER Well, then, you have insufficient information. I'm grateful for this opportunity to set you straight. HE LEAVES CRAWFORD LOOKING AT THE FILE, AND WALKS OFF, TOWARD STARLING, WHO LOOKS HIM IN THE EYE, AS HE PASSES. HOLD. KRENDLER -LRB- cont'd. -RRB- -LRB- TO STARLING, IN PASSING. -RRB- Yeah, get on to your sea - daddy, Starling. Old as you are. ai n't you ashamed, still lookin' for your Pappy? STARLING WALKS UP TO CRAWFORD, WHO IS LOOKING AT THE FILE. CRAWFORD what has he got against you? STARLING Why would you say that? Because he sent me in there to be killed? -LRB- OF FILE. -RRB- What is this? CRAWFORD what's he got against you? STARLING -LRB- AS SHE TAKES THE FILE. -RRB- -LRB- ABSENTLY. -RRB- He once made me an improper suggestion.","INT. GYMNASIUM DAY JOHN BRIGHAM, A BUFF AND ROUGH AND TOUGH MARINE TYPE, IS LECTURING TO A GROUP OF RECRUITS. BRIGHAM Big man, little man. Fair fight, the good Big Man's gon na win. But we do n't mean to send you out there to fight fair. BRIGHAM LOOKS UP. ANGLE HIS POV. A DOOR IN THE BACK OF A SMALL RAISED BLEACHER SECTION OPENS, AND STARLING COMES IN, HOLDING THE FILE, SHE LOOKS DOWN TOWARD BRIGHAM. ANGLE ON BRIGHAM, AS HE NODS AT STARLING, AND THEN RETURNS TO ADDRESS HIS GROUP OF STUDENTS. BRIGHAM -LRB- cont'd. -RRB- And, in a gunfight, what just happened to the Big Man? He's at a disadvantage. Inney? HE MOVES TO THE GROUP OF STUDENTS, AND APPROACHES A RATHER LARGE YOUNG MAN. BRIGHAM -LRB- cont'd. -RRB- Stand up. -LRB- THE MAN DOES SO, AND TAKES HIS PLACE ON THE MAT, IN FRONT OF BRIGHAM. -RRB- Big man, now, he's just a bigger target. Let's turn it around. Pull your sidearm. -LRB- THE YOUNG RECRUIT TAKES OUT A BRIGHT YELLOW, OBVIOUSLY RUBBER PISTOL FROM HIS HOLSTER. -RRB- ANGLE ON STARLING, AS SHE PERUSES THE FILE. SHE SHAKES HER HEAD IN DISGUST. SHE LOOKS DOWN AT BRIGHAM AND MOUTHS, `` I NEED TO SEE YOU.'' ANGLE, ON BRIGHAM, ON THE MAT, ADDRESSING THE PUPIL, HE NODS BACK, AT STARLING, AND TOUCHES HIS WATCH, AND MIMES, `` LATER, FOR DRINKS.'' BRIGHAM -LRB- cont'd. -RRB- -LRB- TO THE STUDENT. -RRB- Now, an arrest? You aim to shoot me, or you just playing show and tell. You do n't want to shoot me, you just deprived yourself of one of your hands. You fool, I got two hands, you got one. So : what's the gun good for? Force? No. It's good for control. You can control through force, but you can also control through. ANGLE, ON STARLING, AS SHE EXITS, THROUGH THE BACK OF THE GYM. ANGLE. HOLD ON BRIGHAM, ADDRESSING THE STUDENT, WHO LOOKS OVER HIS SHOULDER TOWARD THE DIRECTION OF BRIGHAM'S GAZE. BRIGHAM -LRB- cont'd. -RRB- Misdirection. -LRB- HE MOVES TO THE STUDENT AND THROWS HIM TO THE GROUND. -RRB- Misdirection, My Friend. You're pointing a gun at me, looking in the oth ` direction, WHO THE HELL DO YOU THINK YOU ARE? ANGLE, ON STARLING, BACK IN THE CORRIDOR, AS SHE OPENS THE FILE, AND LOOKS AT IT AGAIN, AND SHAKES HER HEAD.","INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A MIDDLE AGED WOMAN. WOMAN -LRB- PSYCHIATRIST. -RRB-. that you went into police work to control your rage. STARLING STARTS TO LAUGH. STARLING Well, that would be a poor choice, would n't it. PSYCHIATRIST Tell me why? STARLING -LRB- SHAKES HER HEAD, STILL LAUGHING. -RRB- I'm sorry, I do n't mean to be impolite. Because, you know, you ca n't understand. PSYCHIATRIST Then tell me. STARLING Well, you know, you know, you know, the point is : I ca n't tell you. Cause you have n't been there. You have n't done it. And that's all there is. PSYCHIATRIST -LRB- PAUSE. SHE CHECKS HER NOTES. -RRB-. and to have done it, means, can mean to accept, not only danger, but betrayal? STARLING that's right. PSYCHIATRIST and humiliation? What is this new job they've? STARLING No. That's right. That's all part of it. PSYCHIATRIST Then, that being so, why is today special? Why have you come back to see me? Is it that new file they gave you? STARLING I do n't think so. PSYCHIATRIST Then what brings you back? STARLING I do n't know. Do you know? PSYCHIATRIST Yes. I think I do. -LRB- PAUSE. STARLING LOOKS AT HER, AS IF TO SAY, THEN, PLEASE, REVEAL IT. -RRB- I think it is a phrase you used with that woman. You told her you were an orphan. -LRB- STARLING STARTS SHAKING HER HEAD. -RRB- You used, to your mind, your most private fears. STARLING no. PSYCHIATRIST you called up memories of your father to. STARLING no. PSYCHIATRIST barter with her. To appeal to her, and you feel that. STARLING No, I do n't think so. PSYCHIATRIST It is you who have betrayed. STARLING no. PSYCHIATRIST Your father. It is not they, who. STARLING Well, no. -LRB- SHE LOOKS AT HER WATCH. -RRB- That's. I appreciate your help, but. -LRB- SHE RISES. -RRB-","INT. COPBAR NIGHT. STARLING IS DRINKING WITH ARDELIA MAPP, A CONTEMPORARY, AND ARDELIA'S BOYFRIEND, JIM. THERE ARE VARIOUS EMPTY BOTTLES IN FRONT OF THEM. STARLING IS LOOKING DOWN AT THE FILE WE SAW EARLIER, AND SCOWLING. MAPP AND JIM LOOK ON. A WAITRESS COMES BY. MAPP You want another drink, honey? STARLING I want the same drink. Cause it did me good. but I already drunk it, so, barring that, yes, I would like another. THE WAITRESS EXITS. STARLING -LRB- cont'd. -RRB- B'cause it's one of the few things, in the world, which are effective an ` predictable. MAPP What's that, Baby? STARLING Alcohol. Where both its life - enhancing And its life destroying qualities. -LRB- SOUND OF CHEERING, THEY LOOK TO THE SIDE. -RRB-. not unlike some Hindu God. MAPP PICKS UP THE FILE, AND LOOKS AT IT. MAPP I guess the only thing is Suck it Up. STARLING Well. Excellent. I'm. THERE IS A SOUND OF RENEWED CHEERING, AND HEADS TURN. ANGLE THEIR POV. A TABLE OF THE `` INTERNATIONAL POLICE SCHOOL'' STUDENTS, DRINKING, AND WEARING `` GIM ME CAPS,'' WHICH ARE PASSED OUT BY AN ARRIVING JOHN BRIGHAM. ANGLE. BRIGHAM, BEING CONGRATULATED AND THANKED BY THE VARIOUS FOREIGN COPS. BRIGHAM PASSES OUT CAPS WHICH ARE BLAZONED `` FBI ACADEMY, QUANTICO, VIRGINIA.'' WE SEE BRIGHAM NOTICE STARLING, ET AL, AND EXCUSE HIMSELF. ONE OF THE FOREIGN COPS CALLS AFTER HIM. FOREIGN COP Semper Fi. BRIGHAM truer words were never spoken. CAMERA TAKES HIM TO THE STARLING TABLE, WHERE STARLING, DRUNK, IS LOOKING THROUGH THE FILE. STARLING Our Mister Frendler to, to, to humiliate me, though. MAPP What else's he goin to do with his day, he ca n't work, and he wo n't steal. BRIGHAM SITS, AND KISSES STARLING. STARLING Oh baby, oh baby. BRIGHAM Bad beat today. STARLING Hey, I'm fine. Whaddizit, you, how's your day, our gallant International Neighbors? MAPP Look what they put her on. SHE TAKES THE FILE FROM STARLING AND HANDS IT TO BRIGHAM. STARLING No, that is code - word material, that's what that is. ANGLE ON BRIGHAM AS HE PICKS UP THE FILE. IT CONTAINS A CATALOGUE FROM AN AUCTION HOUSE, AND WE READ : FROM A COLLECTOR : DRAWINGS AND SKETCHES BY HANNIBAL LECHTER : THESE NEVER - BEFORE OFFERED ITEMS WERE ORIGINALLY IN THE HIGH - SECURITY CELL OF THE MASS KILLER. -LRB- ETC. -RRB- AND, BELOW, WE SEE VARIOUS ARCHITECTURAL SKETCHES. ANGLE ON STARLING, BRIGHAM, AND SO FORTH. MAPP They got her cleaning out the privvies. BRIGHAM -LRB- OF THE AUCTION CATALOGUE. -RRB- What does this mean? MAPP Slap her wrist, they got her, chasing down the auction houses, drawings of Mr.Lechter, come up for sale. BRIGHAM Why's she chasing'em down? MAPP Find out : is he selling'em, he needs the money, o ` r ` izzey buying them, f ` Old Times sake. BRIGHAM That's weak. The man's long gone, he's not coming back, buy up a drawing. STARLING No, but that is the Will of the Institution. To instill a proper Probity, Humility, deference, in the prideful Individual. COULD I, DOES ANYONE THINK, HAVE ANOTHER BEER? JIM This Jackal Krendler, trine a shame her, cause they botched the raid. BRIGHAM Evelda Drumgo. STARLING COULD I GET A DRINK. -LRB- TO BRIGHAM. -RRB- N' I do n't care, you see, what all they got me doin, for I'd rather be doin' makework, than be doin' pub ` l'relations with THE DIRTY DOZEN, one Hispanic, one Librarian, one Jew, and One from Column A, and One from Column. -LRB- A DRINK IS SET BEFORE HER, SHE REACHES FOR IT. SHE LOOKS UP. -RRB- Thank you. PAZZI IS BRINGING HER A BEER. PAZZI An Honor. Carlo Pazzi. STARLING No, y' know, I never doubted it. PAZZI You were kind enough, today, to take my photograph. STARLING Well, that's you see, what I am, kind and feeling. MAPP You should get Married. STARLING That's what I should do. Tell me why? MAPP Because, baby, you're looking to find love in an institution, that's your only chance. STARLING Yeah, but who would marry friendless me. -LRB- TO PAZZI. -RRB- Howabout you, Romeo? PAZZI -LRB- SHOWS HIS WEDDING RING. -RRB-. sadly. STARLING Hey, lost again. PAZZI But perhaps, there is some, some less radical solution. STARLING I'm sure there is, but my young Friend here, would kill you. -LRB- SHE GESTURES AT BRIGHAM. -RRB- PAZZI His feelings do him honor. And I have come, simply, to pay my respects to the great Clarice Starling. -LRB- HE BENDS OVER TO KISS HER HAND. -RRB- STARLING The great and beautiful. PAZZI Is it necessary to say of the sea that it is salt, that the stars are far, that. STARLING No, I get it, this is my Cavalier. This gents my Italian Knight. Take this. -LRB- SHE REMOVES A SCARF FROM HER NECK AND HANDS IT TO HIM. -RRB- For this shall be my gage, and you can take it into battle. PAZZI Thank you. STARLING Or clear your windshield with it. PAZZI -LRB- SMELLS THE NECKERCHIEF. -RRB-. what a lovely perfume. STARLING Waal, you c'n only get it in one shop in Alexandria Virginia, n'that's where I'm going, cause I'm goin home, f' i can get n ` y' one, Of That Nature, to take her there. BRIGHAM C'mon, pal. STARLING All y' got to do is ask. -LRB- SHE REACHES FOR HER PURSE, AND KNOCKS THE FILE OFF OF THE TABLE. -RRB- ANGLE INS. IT FALLS TO THE FLOOR, WE SEE VARIOUS AUCTION CATALOGUES, AND AN X - RAY OF A HUMAN HAND. PAZZI STOOPS AND GATHERS THE FILE UP. BRIGHAM TAKES THE FILE, AND STARLING TAKES IT FROM HIM. ANGLE IN. WE SEE A DRAWING OF WHAT APPEARS TO BE A STATUARY. A LION'S HEAD, THE LION HOLDING A BIRD IN ITS MOUTH. ANGLE ON STARLING AS SHE HOLDS THE DRAWING. STARLING this one is my favorite. It has not title. They should call it `` fetch,'' whaddaya think? PAZZI I know it well. STARLING Do you. What does that mean? PAZZI It is a gravestone in the cemetery of ______ in my native Florence. MAPP LOOKS AT THE PICTURES IN THE CATALOGUE. MAPP Yeah, we got all sort of `` funeray Sculpture,'' here, I guess they mean statues in Graveyards. Brazil, the Tomb of Karl Marx, London, Here's one in Scandinavia. PAZZI Florence, as you may not know, is famed for. STARLING Yeah, I'm sure it's famed for lotsa things, and you're one'a ` them. PAZZI but : this particular statue. STARLING DOWNS A BEER, AS BRIGHAM BEARS HER AWAY. STARLING Waal, you hold fast to that thought, as I'm sure, that's a `` clue''. PAZZI this is perhaps an inappropriate time. but, I would like to say, it is an honor to meet the Woman who solved the celebrated Hannibal Lechter. STARLING I di n't solve it, I did n't ` solve it'. I just sat a dance out with him. Facts, facts, facts. Facts, close the case, cavalier. PAZZI a case, so, so fascinating, so. STARLING SURREPTITIOUSLY SIGNALS BRIGHAM THAT HE MAY REMOVE PAZZI. BRIGHAM It was all of that, SON. PAZZI what makes a man. what makes him. Eat Human Flesh? STARLING Yeah, well, they solved that : turns out, he'uz a cannibal. MAPP Show'm the FBI Handshake. STARLING I am no going to show you the secret handshake! -LRB- SHE STARTS TO STAND. -RRB- BRIGHAM -LRB- AS HE LEADS PAZZI OFF. -RRB- C'mon, pal, I'm gone to buy you a drink. HE WALKS PAZZI OFF, STUFFING SOME MONEY IN PAZZI'S JACKET POCKET. HE LEAVES PAZZI AMONG HIS FOREIGN COHORTS. ANGLE ON MAPP, STARLING, AND JIM, AT THEIR TABLE. MAPP Yeah, well, it's a raw wound, innit, you're gon na bump it, every time you turn around. but you know what the trick is? STARLING not to turn around. BRIGHAM RETURNS, AND STARTS TO LEAD STARLING, THROUGH THE KNOT OF DRUNKEN COPS. IN THE BG WE SEE PAZZI, AT HIS TABLE, POINTING OUT STARLING, THEY TURN TO LOOK AT HER, WE SEE ONE OF THE FOREIGN COPS, LEAN OVER TO ASK MORE INFORMATION OF PAZZI, AND, THEN, TURN BACK, TO DO A DOUBLETAKE AT THE RETREATING STARLING. ANGLE ON BRIGHAM, HELPING STARLING. BRIGHAM You want to get married? STARLING You tol me you wuunt ask me again til I'm ready. BRIGHAM You're ready now. STARLING I'm not. BRIGHAM That's what you think.","EXT. STARLING'S APARTMENT BUILDING NIGHT. BRIGHAM AND STARLING WALKING UP, STARLING SWAYING A LITTLE, HE HOLDS OUT HIS HAND FOR THE KEY, AND SHE GIVES IT TO HIM. STARLING mos kind. WE HEAR A CAR COMING UP THE STREET BEHIND THEM. BRIGHAM OPENS THE DOOR. THERE IS A FLASH OF LIGHT FROM INSIDE THE HOUSE. AS STARLING IS ABOUT TO ENTER. SHE PUSHES BRIGHAM OFF TO THE SIDE OF THE DOOR, AND UNHOLSTERS HER PISTOL. BEAT. STARLING LOOKS AT BRIGHAM WHO LOOK UNCOMPREHENDING. ANOTHER CAR IS HEARD COMING UP THE ROAD, AND WE SEE ITS HEADLIGHT SHINE ON AND REFLECT FROM A MIRROR INSIDE STARLING'S DOOR. BRIGHAM LEADS STARLING INTO THE HOUSE. HE CLOSES THE DOOR, AND TAKES HER TO THE SOFA. SHE SITS, AND PICKS UP A PHOTOGRAPH IN AN EASELFRAME FROM THE COFFEETABLE. STARLING -LRB- cont'd. -RRB- Hey, now, what was I afraid of. I'm shooting at shadows. BRIGHAM Is that what you're afraid of? ANGLE INS ON THE PHOTOGRAPH, SHOWS A TALL HANDSOME MAN IN WESTERN HAT, WEARING A BADGE, HIS HAND ON THE SHOULDER OF A YOUNG BLONDE GIRL. ANGLE ON STARLING, AS SHE PUTS THE PHOTO DOWN. STARLING Then you tell me, then. BRIGHAM You want me to solve all your problems tonight? STARLING I feel. -LRB- SHE STARTS TO LAUGH. -RRB- I feel they're Out to Get Me. BRIGHAM And who is `` they?'' STARLING they're sending me. Out to get Shot. Hounding me. they're. -LRB- PAUSE. -RRB- BRIGHAM the whole world's out to get you. STARLING How crazy is that. BRIGHAM Well, you wan na shoot back, it give you a big target. STARLING -LRB- SLEEPILY. -RRB- How crazy is that. ANGLE, INS. ON THE LECHTER FILE, AND THE PHOTO OF HANNIBAL LECHTER. WE SEE BRIGHAM PUT IT DOWN ON THE TABLE NEXT TO THE PHOTO. HOLD, LIGHTS GO OFF. BEAT. STARLING'S HAND COMES INTO THE FRAME, SWEEPS THE LECHTER PHOTO AND FILE ONTO THE FLOOR, AND REPLACES IT WITH THE PHOTO OF THE WESTERN GARBED MAN AND THE LITTLE BLONDE GIRL. BEAT. THE LIGHT GOES ON AGAIN. WE SEE STARLING SWING TO A SITTING POSITION ON THE COUCH. SHE SIGHS. SHE SHAKES HER HEAD TO CLEAR IT, AND SHE PULLS THE HANNIBAL FILE TO HER. SHE PICKS UP A PENCIL, AND A PAIR OF READING GLASSES FROM THE TABLE, AND BEGINS MAKING NOTES ON THE FILE. ANGLE INS. THE AUCTION CATALOGUE, AN FBI FILE, READING, `` SALE OF STOLEN HANNIBAL LECHTER MATERIAL.''","EXT. VIRGINIA HIGHWAY DAY. STARLING'S FBI SEDAN SPEEDING PAST, ON AN EMPTY COUNTRY ROAD. THE CAR PULLS OVER ONTO THE SHOULDER. ANGLE INT THE CAR. STARLING, TAKING OUT A MAP. SHE LOOKS AT THE MAP. LOOKS AROUND. SHE THROWS THE CAR INTO REVERSE, AND REVERSES SEVERAL HUNDRED YARDS QUICKLY. ANGLE INT THE CAR. STARLING LOOKS FROM THE MAP ACROSS THE ROAD. ANGLE HER POV. A BARELY DISCERNIBLE BREAK IN THE FOLIAGE, BEAT, THEN STARLING' S CAR PULLS ACROSS THE ROAD, AND INTO THE POV AND ENTERS THE BREAK. ANGLE EXT THE CAR. EMERGING FROM A THICK WOODS, THE CAR IS HINGED BY THE CAMERA ONTO THE PARK OF A COUNTRY ESTATE, THE CAR DISAPPEARS INTO A SMALL DIP IN THE LANDSCAPE. ANGLE EXT THE CAR, AT A GATEHOUSE, PREVIOUSLY HIDDEN BY THE CONTOUR OF THE LAND. WE SEE A SMALL DECREPIT GATEHOUSE IN STONE, AND, BEYOND IT, A FLIMSY AND ANCIENT BARRICADE, AN OLD GAMEKEEPER TYPE IN TWEEDS COMES OUT OF THE GUARDHOUSE. HE IS CARRYING A MUG OF COFFEE AND HAS A NAPKIN TUCKED INTO HIS COLLAR. HE REMOVES THE NAPKIN AND APPROACHES THE CAR. STARLING FLASHES HER CREDENTIALS TO THE OLD MAN, WHO HOLDS A CLIPBOARD. STARLING Special Agent Clarice Starling, to see Mason Verger. THE MAN AMBLES BACK INTO THE GATEHOUSE. ANGLE INT THE GATEHOUSE, THE OLD MAN ENTERS, AND CAMERA PULLS BACK TO SHOW, IN A ROOM OFF THE MAIN ROOM, THE FIT BODYGUARD TYPES, WATCHING STARLING ON A TV MONITOR. THERE IS A RAFT OF ELECTRONIC EQUIPMENT IN THE ROOM, AND A RACK WITH SEVERAL ASSAULT RIFLES ON IT. ONE OF THE GUARDS IS TYPING ONTO A COMPUTER TERMINAL. HE LOOKS AT THE RESULT, AND GLANCES UP AT STARLING, ON THE SCREEN, AND NODS `` OKAY'' TO THE OLD MAN. THE OLD MAN AMBLES OUT TO THE BARRIER, HAVING PICKED UP AN OLD CLIPBOARD AT WHICH HE SQUINTS. THEN, SATISFIED, HE RAISES THE BARRIER, AND STARLING'S CAR GOES THROUGH.","EXT. A MAGNIFICENT COUNTRY ESTATE HOUSE. A POTATOCHIP VAN IS PARKED TO ONE SIDE IN THE WIDE DRIVE. AN OLD RETAINER HOLDS OPEN THE DOOR FOR STARLING, AS SHE EXITS FROM HER SEDAN, AND HE SHOWS HER INTO A LARGE OPEN MORNING ROOM, IN WHICH WE FIND TWENTY YOUNG CHILDREN OF VARIOUS RACES, ROMPING ON A SELECTION OF NEW TOYS. CAMERA TAKES STARLING THROUGH A MODERN KITCHEN, WHERE SEVERAL WHITE UNIFORMED COOKS ARE WORKING HAPPILY, ONE IS OPENING A VAST TIN OF POTATOCHIPS. ONE OF THEM IS REMOVING A TRAY OF COOKIES FROM THE OVEN, SEVERAL TYKES WAIT HAPPILY NEARBY. THE COOK WITH THE TRAY OF COOKIES GIVES STARLING A WIDE GRIN. THE RETAINER TAKES STARLING PAST THE KITCHEN, TO A DOUBLE DOOR, WHICH HE OPENS TO REVEAL A CORRIDOR BEYOND, AND A LARGE FIT MAN IN HIS THIRTIES, WEARING AN ORDERLY'S WHITES, COMING TOWARD THE CAMERA. CORDELL Agent Starling, would you come with me? CORDELL BOWS TO THE OLD RETAINER, WHO RETIRES. CORDELL AND STARLING WALK DOWN THE CORRIDOR. STARLING The children? CORDELL they're from Baltimore. STARLING I've never heard that he. CORDELL It's not something he wants to publicize, Ma'am. It's just something he does. BEAT. STARLING I wo n't take much of his time. CORDELL He's glad to help. it's just a question of his physical condition. You Understand. CAMERA TAKES STARLING DOWN A CORRIDOR LINED WITH HUNTINGPRINTS. AT THE END OF THE CORRIDOR AN OLD WOMAN SITS IN A WOODEN CHAIR, KNITTING. THEY HAVE STOPPED. WAITING FOR THE WOMAN TO LOOK UP. STARLING'S GAZE IS DRAWN BY AN OLD, CREWEL - WORK `` SAMPLER'' FRAMED ON THE WALL BY THE OLD WOMAN'S CHAIR. AND OBVIOUS ANTIQUE. IT READS : `` DO NOT GIVE INTO ADVERSITY. DO NOT TRUST TO PROSPERITY.'' ANGLE ON CORDELL AND STARLING, AS STARLING LOOKS AT THE SAMPLER, AND THE OLD WOMAN LOOKS UP FROM HER KNITTING. SHE SITS IN FRONT OF A HALF - OPENED DOOR, WHICH WE SEE IS THE DOOR TO A LINEN CLOSET. CORDELL -LRB- cont'd. -RRB- y' get enough breakfast, Rosie? BEAT. XCU ON THE OLD WOMAN, AS SHE LOOKS AT STARLING, AND THEN NODS TO CORDELL, AS IF TO SAY, `` THAT IS THE CORRECT CODE.'' ANGLE INS. HER HAND DROPS TO THE BACK OF THE WOODEN CHAIR, AND PRESSES A BUTTON CONCEALED IN THE LEG. ANGLE THE GROUP IN THE CORRIDOR, THE `` LINEN CLOSET,'' OPENS, TO REVEAL, BEYOND IT, WHAT APPEARS TO BE A SURGICAL FACILITY, OR HIGH - TECH HOSPITAL ROOM.","INT. THE HIGHTECH ROOM. THERE IS A NURSE, SITTING AT A STATION, MONITORING VARIOUS LIFESIGN DISPLAYS. SHE LOOKS UP BRIEFLY, AS CORDELL AND STARLING ENTER. NURSE -LRB- TO CORDELL. -RRB- Five minutes. CORDELL NODS, AND TAKES STARLING DEEPER INTO THE ROOM. WE BEGIN TO HEAR THE SUSURRUS OF A MECHANICAL BREATHING APPARATUS. CAMERA GOES WITH STARLING INTO THE ROOM, WHERE WE SEE A HOSPITAL BED, WITH A SCREEN IN FRONT OF IT, AND VARIOUS TELEVISION DISPLAYS ABOVE IT, ANGLED TO BE SEEN FROM THE BED. STARLING APPROACHES THE BED, AND LOOKS DOWN AT THE FIGURE IN IT. WE SEE HER FACE, BUT THE FIGURE IS SCREENED. THE FIGURE, VERGER, SPEAKS BREATH BY BREATH, WITH AN OBVIOUS ELECTRONIC ENHANCEMENT. VERGER Are n't they beautiful, Miss Starling. STARLING LOOKS UP AT THE CHILDREN PLAYING. ANGLE HER POV. ONE OF THE CHILDREN FALLS OFF A SMALL PLASTIC SLIDE, AND CRIES, A NURSE RUNS TO HIM. VERGER -LRB- cont'd. -RRB- Well, now, you see, one of them's hurt. And what will make it better? Love. Is n't that odd. -LRB- PAUSE. -RRB- He think's he's hurt his knee - but the assurance, the assurance, the assurance that someone cares. -LRB- WHEEZE WHEEZE. -RRB- Suggests the hurt was elsewhere. STARLING Mr. Verger, thank you for your time. VERGER For the worst hurt, of course, that which will not heal, is the conviction no one cares. STARLING I've come to see you, sir, about an Auction. SHE HOLDS UP THE CATALOGUE TO HIM. ANGLE INS `` DRAWINGS AND MEMORABILIA RELATING TO THE SERIAL KILLER, HANNIBAL LECHTER.'' ANGLE ON CORDELL, AS HE COMES CLOSE, DONNING SURGICAL GLOVES, AND TAKES THE CATALOGUE, AND HOLDS IT TOWARD VERGER. VERGER Ah, yes, ah yes. Our Doctor Lechter. And have they sent you, once again to capture him? How terrible for you. STARLING No, sir, it's not my job to capt. why do you say how terrible? VERGER Because we must leave the past in the past. -LRB- WHEEZE WHEEZE. -RRB- -LRB- CORDELL TURNS A PAGE. -RRB- Ah. And here we have artifacts of, yes, my own encounter with him. CORDELL TURNS THE PAGE QUICKLY. VERGER -LRB- cont'd. -RRB- No, no. That's alright. Yes. Lechter's drawings of me. Before. and, of course, after. Now : you are not sent to pursue him. Then your visit baffles me. STARLING Sir, various drawings, done by Dr. Lechter, while in prison, stolen from the prison after his escape, have surfaced and are being sold at auction. Several large reserve bids have been placed on them. I have to ask if you've placed those bids. VERGER Because? STARLING Because if it was not you, then, perhaps it was Dr. Lechter, trying to reclaim his own property. VERGER And why would you suspect me, of this ghoulishness? STARLING Because, sir, you are the only one of his victims who lived. And because you have large resources. VERGER Large resources, Starling, which I prefer to devote elsewhere. STARLING LOOKS UP, AS WE SEE THE IMAGE ON THE TELEVISION CHANGE TO THE CHILDREN EATING THE COOKIES, AND THE IMAGE CHANGES AGAIN TO SHOW A SMALL DISPENSARY, AND THE KNEE OF THE CHILD WHO FELL BEING BANDAIDED BY A NURSE. STARLING Due respect, sir. SHE PRODUCES A COPY OF THE WANTED : HANNIBAL LECHTER POSTER WE SAW AT THE FBI. STARLING -LRB- cont'd. -RRB- Due respect, after your, after your. VERGER My encounter. STARLING Someone offered three million dollars bounty on Dr. Lechter's head. -LRB- PAUSE. -RRB- CORDELL The identity of the person offering the bounty was never established. VERGER Yes, but we know who it was, and I will tell you, Agent Starling, what you know to be true. I offered the bounty. It was illegal, and, worse, it was wrong. And I thank God every day that I did not compound my sinful life by the stain of a murder. Do you. -LRB- WHEEZE. -RRB- Agent Starling : do you know God? -LRB- PAUSE. -RRB- STARLING sir? VERGER Is n't it funny? You can look on my face. -LRB- WHEEZE WHEEZE. -RRB- which you would grant me, is the most hideous sight you will see in what I hope is a long life. You can look at me. Which shows. -LRB- WHEEZE. -RRB- a Strength which must come from strong. -LRB- WHEEZE. -RRB- strong convictions. -LRB- WHEEZE. -RRB- But you shy when I say the name of God. THE NURSE COMES UP, HOLDING THE TAPE OF A LIFESIGNS MACHINE, SHE NODS TO CORDELL AND INDICATES THE MONITORS. NURSE -LRB- TO STARLING. -RRB-. I'm sorry. -LRB- MEANING, YOU MUST GO. -RRB- STARLING Yes, then, you're saying that you have n't bid upon these drawings. VERGER I have not, I would not. For life. -LRB- WHEEZE. -RRB- life goes on Starling. And, wait, wait, I wish to talk to you. I'm. -LRB- WHEEZE. -RRB- -LRB- TO THE NURSE, WHO IS TAKING STARLING'S ARM. -RRB- One moment. I was afflicted, do you see, but my affliction was not in my meeting with your Dr. Lechter. I was afflicted before. Before. Do you see? In my arrogance. Do not. -LRB- WHEEZE. -RRB- Do not curse God when you are humiliated. Listen to me : embrace it, and you embrace life. Listen, and you hear the word of God. STARLING IS LED AWAY BY THE CONCERNED NURSE. CORDELL LINGERS BEHIND, AT AN UNSEEN BEHEST OF VERGER. THE NURSE STARTS PREPARING A HYPO AT HER STATION. STARLING will he be alright? THE NURSE, DISTRACTED, NODS, AND RETREATS TOWARD VERGER WITH THE HYPO. CORDELL COMES OUT TO STARLING.","INT. CORRIDOR, COUNTRY HOUSE, DAY. STARLING AND CORDELL ARE WALKING, BEYOND THEM, WE SEE VARIOUS CHILDREN PLAYING UNDER ADULT SUPERVISION. A CARETAKER TYPE IS HOLDING A SMALL GOAT, WHICH THE CHILDREN ARE PLAYING WITH. CORDELL OPENS THE GLASS DOOR, AND HE WALKS STARLING THROUGH THE SCENE OF THE CHILDREN AND THE GOAT. CORDELL Mr. Verger wanted me to give you this. -LRB- HE HANDS HER A SMALL PRINTED CARD. -RRB- ANGLE ON STARLING, AS SHE GLANCES AT THE CARD. `` DO NOT GIVE INTO ADVERSITY.'' SHE GLANCES AT IT, AND, DISMISSIVELY, PUTS IT IN A POCKET. CORDELL -LRB- cont'd. -RRB- And he has asked me to ask you something. STARLING What would that be? CORDELL -LRB- PAUSE. -RRB- He. would consider it a favor if he could make a donation. To a charitable institution of your choice. -LRB- PAUSE. -RRB- STARLING Now, why in the world would he do that? CORDELL I. think. he was. he was touched, by your reaction. To his appearance. STARLING What reaction? CORDELL Exactly. STARLING -LRB- AS SHE HANDS HIM A CARD. -RRB- Please, I do not. I do n't want to trouble him. But if you or he have any notlon, who would be buying Dr. Lechter's. CORDELL Do you know the seller? STARLING We've subpoenaed the Auction House's records. CORDELL Try Barney Clark. STARLING -LRB- TAKING OUT A NOTEBOOK. -RRB- He is? CORDELL He was the orderly, during Dr. Lechter's stay in Prison. STARLING And how would you know that? CORDELL Before `` The Change,'' Mr. Verger was. he made quite a study. -LRB- PAUSE. STARLING MAKES A NOTE. SHE LOOKS AROUND. -RRB- STARLING You should get the kids a dog. CORDELL I hardly think so. after `` The Incident''. STARLING No, no, of course not. SHE STARTS TO GET INTO HER CAR. CORDELL Mr. Verger would be pleased to make a contribution, to the charitable. STARLING Tell him to give it to an orphanage. STARLING CLOSES THE CAR DOOR. HOLD. ON STARLING, WATCHING THE CHILDREN FOR A MOMENT. THEN SHE TAKES THE CARD FROM HER POCKET AND GLANCES AT IT. `` DO NOT GIVE INTO ADVERSITY, DO NOT TRUST TO PROSPERITY. BE AWARE OF FORTUNE'S HABIT - SHE WILL DO JUST AS SHE PLEASES. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND. ANGLE ON STARLING, AS SHE STARTS TO PUT THE CAR IN GEAR, PUTTING DOWN THE NOTE. THEN SHE HESITATES, AND BEGINS TO CRY. LOWERING HER HEAD, BEYOND HER WE SEE THE POTATOCHIP VAN, PARKED IN THE DRIVEWAY, AND THE CHILDREN ROMPING WITH THE GOAT.","INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST. PSYCHIATRIST that you could ~ go beyond the institution.'' STARLING Yes. PSYCHIATRIST What does that mean? STARLING -LRB- PAUSE. -RRB- I saw a man today, a man so hideously deformed who'll spend his life in a hospital bbb. PSYCHIATRIST Yes, so you said. But what does that mean : to go beyond The Institution. STARLING -LRB- TAKES A TISSUE FROM A BOX ON THE DESK. -RRB- If he could overcome. his need for. for self - ratification. PSYCHIATRIST would you use a small word? STARLING For approval. PSYCHIATRIST What's wrong with approval? -LRB- PAUSE. -RRB- You admired that man. STARLING Yes. PSYCHIATRIST How do you think that made him feel? -LRB- AFTER A PAUSE. SHE CHECKS HER NOTES. -RRB- What does that mean, `` to go beyond the institution?''. -LRB- PAUSE. -RRB- STARLING I told that woman I'm an orphan. PSYCHIATRIST you are an orphan. STARLING But. but. but. you're right. I used it. To bargain. For her sympathy. I used it - to `` whore myself out'' -. -LRB- PAUSE. -RRB- PSYCHIATRIST Welcome to the human race. -LRB- STARLING SHAKES HER HEAD IN NEGATION. PAUSE. -RRB- Do you know, there are people who admire you? Reasonable people. -LRB- PAUSE. -RRB- Why do n't you find them? PAUSE. STARLING LOOKS UP, AT THE NEW CONCEPT.","INT. FBI HEADQUARTERS DAY. STARLING, WALKING DOWN A CORRIDOR. CAMERA HINGES HER TO `` BEHAVIORAL SCIENCE.'' SHE STICKS HER HEAD IN, AND ASKS, STARLING Y ` see John Brigham? AIDE I. CRAWFORD STICKS HIS HEAD OUT OF HIS OFFICE, HE PUTS HIS PIPE ASIDE, AND CALLS TO STARLING. SHE COMES IN, AND HE HOLDS UP AN X - RAY. CRAWFORD Look at this : STARLING You seen John Brigham? CRAWFORD This just came in, over the transom. Fella, works for a Plastic Surgeon, Argentina. Look here : STARLING what'm I looking at? CRAWFORD A fellow with five fingers. STARLING standard issue. CRAWFORD Not for our Doctor Lechter. This. -LRB- HE GLANCES AT NOTES. -RRB- Purports to be an x - ray of the hand of a. white male. mmmm. mmmm., after the removal of a vestigial sixth digit. Left Hand. It purports to be the x - ray of Dr. L. STARLING Am I on that case, sir? -LRB- PAUSE. -RRB- CRAWFORD No. -LRB- PAUSE. -RRB- STARLING Well, then - I would n't want to be taken for a hobbyist. THE AIDE COMES IN, HOLDING A PHONE. AIDE Agent Brigham is in the Library. STARLING -LRB- TO CRAWFORD. -RRB- Excuse me. -LRB- THE AIDE AND CRAWFORD EXCHANGE A SURPRISED LOOK. -RRB- SHE EXITS","INT. LIBRARY DAY BRIGHAM, IN THE LIBRARY, BENT OVER A LAWBOOK. A NOTE IS SLIPPED OVER THE BOOK. IT READS, `` YES, I WILL MARRY YOU.'' ANGLE ON BRIGHAM, AS HE READS THE NOTE. BRIGHAM This is n't signed. STARLING -LRB- VO. -RRB- Hard up as you are, at your age? Whadda you care? Surrender. BRIGHAM ~ Do n't shoot, G - Men.'' STARLING SITS DOWN NEXT TO HIM. BEAMING. BRIGHAM -LRB- cont'd. -RRB- Why? STARLING SMILES AND STARTS TO MAKE A PERT ANSWER. SHE GETS A BIT TEARY, AND BRIGHAM LEADS HER OUT OF THE LIBRARY. ANGLE, A BALCONY OFF THE LIBRARY. STARLING HANDS BRIGHAM THE CARD SHE GOT FROM VERGER. STARLING -LRB- AS BRIGHAM READS. -RRB- You know what, he's right. Fella : had his life taken from him, by a maniac. Fella. He's laying there, he'll never get off that bed. He ca n't move, a Monster. -LRB- SHE SHAKES HER HEAD, AND LEANS INTO BRIGHAM. TIGHT TWO SHOT. -RRB-. a monster fed his face to the dogs. -LRB- BEAT. -RRB- N'he said that it saved his life. -LRB- SHE STARTS TO LAUGH. -RRB- He's spend'n his life helping Children. How corny is that? But, you know what : I give up. Let's get married and spoil a buncha Kids. -LRB- THEY EMBRACE. -RRB- ANGLE INT THE LIBRARY BRIGHAM AND STARLING ENTER, AS HE GOES TO GATHER UP HIS MATERIALS. AN AGENT HURRIES THROUGH. AGENT Starling : They got a x - ray. They think, they might have a lead on Lechter. STARLING Wherever he is, that's fine with me. AGENT They. STARLING Yeah, I know. THE AGENT LOOKS AT HER WONDERINGLY, AND, THEN, AS IF SHE HAS NOT UNDERSTOOD. AGENT -LRB- AS HE PRODUCES A XEROX OF AN X - RAY. -RRB- They got a Radiologist Assistant, Buenos Aires, guy, amputation of a Sixth Finger. and it seems to've left a scar, uh oh. STARLING That ai n't my case. They assigned me, go do some legwork, Theft of Government Property. Tha's what I'm gon na do, and then go home and burn the roast. How the hell about that - I'm gon na swim with the current, and I do n't care where he is. AS BRIGHAM IS GATHERING HIS STUFF, HE DROPS THE CARD STARLING GAVE HIM, ON THE FILE WHICH WAS STARLING'S. WE READ : `` NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND.'' AND, AS BRIGHAM'S HANDS COME INTO THE FRAME TO GATHER THE MATERIAL UP, WE SEE THE AUCTION HOUSE CATALOGUE, AND THE PHOTO OF THE DRAWING, AND STARLING'S NOTES : LION AND BIRD, MARBLE SCULPTURE __________ CEMETERY, FLORENCE, ITALY.","INT. ALITALIA AIRLINER DAY. ANGLE INS. AN ITALIAN PASSPORT, A DEBARKATION CARD, SEVERAL SNAPSHOTS, SHUFFLED INTO THE GROUP, BY A MAN'S HANDS. WE SEE THE SNAPSHOT OF PAZZI IN FRONT OF THE MASON VERGER WANTED POSTER. SNAPS OF PAZZI, IN SWAT GEAR, ON THE RANGE AT QUANTICO, WEARING A FBI `` GIM ME'' HAT, A POSTCARD OF THE LINCOLN MONUMENT, V.O.. AN ITALIAN VOICE URGING ALL PASSENGERS TO REMAIN SEATED UNTIL ET CETERA. ANGLE INT THE CABIN OF THE AIRLINER. THE ITALIAN STEWARDESS IS USHERING FOLKS OFF THE PLANE. WE SEE PAZZI PUTTING ALL HIS PAPERS TOGETHER, AND HE REACHES DOWN A FLIGHTBAG FROM THE OVERHEAD, AND JOINS THE LINE OF EXITING PASSENGERS. ANGLE IN THE JETWAY, AN ARMED SOLDIER, HIS SMG SLUNG IN FRONT OF HIM, IS READING AN ITALIAN NEWSPAPER. AS THE JETWAY PULLS UP TO SNUGGLE WITH THE JET, THE SOLDIER DROPS THE PAPER ONTO THE STOOL BEFORE HIM, AND COMES TO ATTENTION. ANGLE IN THE PLANE, THE STEWARDESS OPENS THE DOOR, THE PASSENGERS EXIT, SHE AND PAZZI EXCHANGE A BRIEF, WHISPERED FLIRTATION AS HE PASSES. AS HE MOVES PAST HER, SHE GIVES A SMALL WHOOP IN RESPONSE TO SOME CLANDESTINE CARESS OF HIS. A WHISPERED CONFERENCE BETWEEN THE TWO. STEWARDESS is that the way for a Public Official to act? PAZZI -LRB- SHRUGS. -RRB- You represent Italy. Call it an inspection. STEWARDESS Should n't that be carried out in Depth? PAZZI I have to get back to my wife. HE SHRUGS SADLY, AND MOVES PAST HER. CAMERA TAKES PAZZI INTO THE JETWAY, WHERE WE NOW SEE TWO PLAINCLOTHES COP TYPES, WAITING, AS PAZZI COMES THROUGH THEY NOD TO HIM, AND THE GROUP STARTS TO EXIT OUT OF THE SIDE WALKWAY OF THE JETWAY. PAZZI -LRB- cont'd. -RRB- what's up? ONE OF THE MEN REACHES FOR THE PAPER, WHICH THE SOLDIER HAS DROPPED, AND TAKES IT WITH HIM. ANGLE EXT THE JETWAY. THE GROUP OF THREE DESCENDS ONTO THE TARMAC UNDER THE JETWAY, WHERE THERE IS A CAR WITH A BLUELIGHT ON IT, WAITING. THEY GET INTO THE CAR, AND ONE OF THE COPS HANDS THE PAPER TO PAZZI. ANGLE INT THE CAR, AS IT PROCEEDS THROUGH THE AIRPORT. PAZZI TURNS TO THE PAGE INDICATED. COP ONE How was America? PAZZI -LRB- LOOKING AT THE PAPER. -RRB- Bad coffee, and women with excessive ankles. COP ONE nightmare. PAZZI What's up? COP ONE -LRB- POINTING TO PAPER. -RRB- Doctore Carlo Fanelli, curator of the Pallazo Capponi, 2 months missing. PAZZI Yeah, so where is he? COP ONE Somewhere where his family are offering a thirty grand reward for Information, so on. PAZZI They got that kind of money? COP ONE Their family owns. HE SPEAKS, BUT THE NOISE OF A JET RUNNING UP WASHES OUT HIS INFO. PAZZI'S EYES, HOWEVER, GROW WIDE. PAZZI Well, let's find him. COP ONE buya lot of pasta for your wife. COP TWO She do n't eat pasta, that's how come she's so slim. COP ONE Heresa file onnaguy, you got a meeting, the Palazzo Capponi, at four thirty. PAZZI I ca n't even go home and change? COP TWO What'd you bring me? THE CAR IS STOPPED AT A BARRIER. A GUARD COMES OUT, AND THE COP DRIVING FLASHES OFFICIAL LOOKING INFO AT HIM.","INT. THE CAR. PAZZI DISTRIBUTES TWO FBI ACADEMY HATS, TO THE TWO COPS. THE CAR PASSES THROUGH THE BARRIER. CAMERA TRACKS WITH IT THROUGH THE `` ARRIVALS'' ROUNDABOUT. AND WE SEE TWO BILLBOARDS, THE FIRST ANNOUNCES, THE FLORENCE BALLET, WITH APPROPRIATE DATES AND INDUCEMENTS. THE SECOND, SHOWS A GUILLOTINE, AND ANNOUNCES : INSTRUMENTS OF ATROCIOUS TORTURE. NOW THROUGH OCTOBER, ET CETERA.","INT. THE CAR. PAZZI What else did I miss? ONE OF THE MEN GESTURES AT THE `` TORTURE'' POSTER. COP ONE Atrocious Torture. Hit of the Season, you want, I know a guy can get you a ticket. PAZZI are they hard to get? COP ONE Impossible. PAZZI -LRB- SHAKING HIS HEAD SADLY. -RRB-. what a world.","INT. PAZZI'S APARTMENT DAY. A NICE MODERN SMALL APARTMENT. ANNA PAZZI, A VERY BEAUTIFUL WOMAN OF AROUND THIRTY IS STANDING IN THE HALL, AS PAZZI ENTERS. HE BEGINS KISSING HER, AND CAMERA MOVES THEM INTO THE BEDROOM. ANNA What's the rush? What's the rush? PAZZI Are n't you glad to see me? ANNA Tell me about your trip. what did you bring me? HE STOPS, AND RUMMAGES IN HIS CASE, AND BRINGS OUT A BOTTLE OF PERFUME. HE GIVES IT TO HER. SHE LOOKS DISAPPOINTED. ANNA -LRB- cont'd. -RRB- and? PAZZI I brought you my passion and my wish that this afternoon will be for you an experience of ecstasy. SHE FENDS HIM OFF. PAZZI -LRB- cont'd. -RRB- what? ANNA I ca n't think. PAZZI you do n't have to think. ANNA We have to talk about money. PAZZI I'm on the track of a reward, which. ANNA A reward. PAZZI I'm going to tell you later. ANNA A reward for what? PAZZI Some museum director disappeared. ANNA And? PAZZI They're offering. -LRB- AS HE MOVES HER TOWARD THE BED. -RRB- ANNA you have n't found him yet. PAZZI What is this, a whorehouse, or are you my wife? ANNA You've gone off to America, on your Vacation. PAZZI I was working. ANNA please. PAZZI I swear to you. ANNA and I want to talk to you about your promotion. PAZZI Yes? My promotion? ANNA I want to talk to you about your salary. Because I ca n't. HE TAKES OFF HIS JACKET, HE TAKES THE PERFUME BOX FROM HER, AND THROWS IT INTO THE OPENED SUITCASE. HE MOVES HER TOWARD THE BED. ANGLE ON THE SUITCASE, WHERE WE SEE THE PERFUME HAS LANDED IN THE VERY SCARF WHICH STARLING GAVE TO PAZZI EARLIER, ALSO IN THE STILL - LIFE IS PAZZI'S PASSPORT CASE, OUT OF THE TOP OF WHICH WE SEE PEEKING A BIT OF THE PHOTOGRAPH SHOWING THE WANTED POSTER `` THREE MILLION DOLLARS REWARD FOR THE WHEREABOUTS OF THE MONSTER, HANNIBAL LECHTER.'' THEY CONTINUE TO TALK, AS THE AUDIENCE READS THE INFORMATION IN THE INSERT. PAZZI -LRB- cont'd. -RRB- -LRB- VO. -RRB- -LRB- CONCLUDING. -RRB- I need you, y' understand, I need you. ANNA -LRB- VO. -RRB-. everybody needs something. WE SEE THE LIGHT GO OUT IN THE ROOM -LRB- I. E. ON THE INSERT SHOT -RRB- PUTTING THE ROOM INTO SEMI - DARKNESS.","EXT. PALLAZZO VECCHIO DAY. THE SEDAN WITH PAZZI AND COP ONE COMES TO A HALT. COP ONE THROWS A POLICE PASS ON THE DASHBOARD, AND THEY GET OUT, COP ONE HURRYING. PAZZI -LRB- FOLLOWING, AS HE TIES HIS TIE. -RRB- Hold up a minute. COP ONE You spend the afternoon in Bed? PAZZI First things first. COP ONE You take this much time over everything? PAZZI That's why my wife adores me.","INT. PALAZZO VECCHIO, VARIOUS RECONSTRUCTION AND RENOVATION GOING ON. PAZZI AND COP ONE MOUNT THE STAIRS. COP ONE Carlo Fanelli, Dottore, missing two months. He was the Director of the Museum. Which, since his absence. THEY HAVE ARRIVED ON A LANDING. VARIOUS RESTORATION CREWS ARE AT WORK. PROFESSOR RICCI, A CONTEMPORARY OF PAZZIS, COMES UP TO HIM. RICCI Ah, Pazzi. How was America? THEY TURN THEIR HEADS. AT THE SOUND OF SHOUTING. ANGLE THEIR POV. A LARGE SALON, ITS DOUBLE DOOR OPEN, AND TEN CHAIR ARRANGED AROUND A TABLE, ALL FULL OF SEATED OLDER MEN, OF WHOM SEVERAL ARE EXPOSTULATING WITH ANOTHER FIGURE, UNSEEN. ANGLE ON RICCI, PAZZI, ET AL.. RICCI -LRB- cont'd. -RRB- We may need you to stop bloodshed. PAZZI What're they on about? RICCI They're grilling the applicant for the Vacant Post. PAZZI Speaking of the Vacant Post. RICCI Dottore Fanelli. COP He has n't, by any chance, wandered back in? AS COP ONE TALKS WITH RICCI, CAMERA GOES OVER THE SHOULDER OF PAZZI, WHO, GINGERLY ENTERS THE SALON, TO THE SIGHT AND SOUND OF THE OLD MEN ARGUING WITH EACH OTHER. ANGLE, HIS POV. THE OLD MEN AT THE TABLE. SOGLIATO, A FELLOW IN HIS SEVENTIES, IS HOLDING THE FLOOR. SOGLIATO Now : our applicant holds in his hand, in his Non - Italian - Hand, a note, from Dante Aligheri himself. Would he recognize it, I think not. ANOTHER OLD MAN You want the job for your nephew. SOGLIATO Indeed I do. Because he is my Nephew? No. Because he. A THIRD OLD MAN Let him read the note. SOGLIATO Yes, fine, of course he can read the note. His Italian is admirable, for a straniero. But is he familiar with. ANGLE ON THE MAN, PREVIOUSLY UNSEEN OF WHOM THEY ARE TALKING. THE MOVEMENT OF THE POV REVEALS HIM, STANDING ALONE, BACK TO CAMERA, BEFORE A HALF CLOTH - COVERED TAPESTRY, DRESSED IN A MAGNIFICENT SUIT, USING HALF - GLASSES TO LOOK DOWN AT A NOTE IN HIS HAND. SOGLIATO -LRB- cont'd. -RRB- -LRB- VO. -RRB- The personalities of pre - Renaissance Florence? I think not. THE MAN -LRB- HANNIBAL LECHTER/DR. FELL -RRB- STILL SEEN FROM THE REAR - STILL LOOKING AT THE NOTE - NODS TO INDICATE HE HAS HEARD. ANGLE HIS POV THE TABLE OF OLD MEN, AND BEYOND THEM, PAZZI. RICCI APPEARS AT PAZZI'S SIDE, AND SPEAKS IN WHISPERS. RICCI -LRB- SOTTO. -RRB-. a Dr. Fell. A Brazilian, I think. Applying for Fanelli's post. PAZZI -LRB- VACANTLY. -RRB- Brazilian. -LRB- RICCI HANDS SOME FORMS TO PAZZI. -RRB- RICCI It would seem. SOGLIATO -LRB- VO. -RRB- What if he came upon a note in, the Capponi Library, this great Italian Institution, which he now graces us with his bid to Direct, a note from Guido de Cavalcanti. Would he recognize it, I think not. ANGLE ON DR. FELL, STILL SEEN FROM THE REAR, AS HE TAKES A SILK SQUARE FROM HIS BREAST POCKET, AND CLEANS HIS HALF - GLASSES, THEN FOLDS THEM AND PUTS THEM AND THE SQUARE BACK IN HIS POCKET. SOGLIATO -LRB- cont'd. -RRB- -LRB- VO. -RRB- Would you care to address that, Dr. Fell? BEAT. DR. FELL TURNS TO CAMERA, STILL HOLDING THE NOTE. HE TAKES SEVERAL PACES, TO LOOK AT THE NOTE IN A SHAFT OF SUNLIGHT. HE IS STANDING BESIDE THE STATUE OF JUDITH AND HOLOFERNES. HE NODS AT THE NOTE, AS IF CONFIRMING SOMETHING. THEN HE LOOKS UP. DR. FELL Cavalcanti replied publicly to Dante's first sonnet. Do you know it, Professor Sogliato? I believe it's worth your time : Listen to the way he makes an instrument of the Italian vernacular, which he called the vulgari eloquentia - the eloquent voice of the people : Allegro me sembrava amor tenedo/Meo core in mano, e ne la braccia avea/Madonna involta in un drappa dormedo/Poi la svegliava a d'esto ardeno/Lei paventosa umilmente pascea/Appreso gir lo ne vedea paingendo. If Dante had written to a Cavalcanti, it would, of course, have been to Andrea, the most literary of his brothers. SOGLIATO why do you want this job? DR. FELL In the hope, that someday, I should come across such a note. I thank you gentleman for your kind attention, and hope you will consider. THE MEETING IS ABOUT TO BREAK UP, THE OLD MEN ARE RISING, FELL HANDS BACK THE NOTE, WHICH IS ENCASED IN A PROTECTOR, RICCI COMES FORWARD WITH PAZZI, AND BEGINS INTRODUCING HIM TO THE COMMITTEE. RICCI investigating the disappearance of Dottore Fanelli. PAZZI Who, can you think, who would want to harm Dr. Fanelli, did he have any enemies, that. COMMITTEE MEMBER I have never met a man who was so well beloved. PAZZI he was wealthy. COMMITTEE MEMBER He had nothing. He lived in a garret. His work was his life, he. PAZZI his family has offered a large reward. ANGLE ON FELL, WHO GOES TO THE PEDIMENT OF THE STATUE OF JUDITH AND HOLOFERNES, AND PICKS UP A SMALL SKETCH BOOK, WHICH IS OPENED AT A SKETCH OF THE STATUE, HE PUTS THE BOOK UNDER HIS ARM. ANGLE ON PAZZI AND THE COMMITTEE MEMBER. COMMITTEE MEMBER His older brother offers the reward, Fanelli had nothing, he. ANGLE. PAZZI HALF TURNS HIS HEAD, TO SEE SEVERAL COMMITTEE MEMBERS CONGRATULATING DR. FELL, WHO IS PUTTING ON HIS COAT. COMMITTEE MEMBER -LRB- cont'd. -RRB- will have, of course to be examined by the Studiolo, to confirm the appointment, but I think I can assure you, that the Committee. DR. FELL you are most kind. ANGLE, ON PAZZI, WHO IS STILL BEING TALKED AT BY THE COMMITTEE MEMBER. COMMITTEE MEMBER who would benefit from his disappearance? No one. No one has but lost by it. ANGLE PAZZI STARTS TOWARD DR. FELL. PAZZI -LRB- TO THE COMMITTEE MEMBER. -RRB-. would you excuse me? ANGLE EXT THE SALON, ON THE LANDING, FELL IS BEING ADDRESSED BY RICCI. RICCI will have to face the Studiolo, in their meeting next week. And I, for one, wish you the best. FELL SHAKES HIS HAND, AND STARTS DOWN THE STAIRCASE. CAMERA GOES WITH HIM, WE HEAR PAZZI VO. PAZZI Dottore. FELL TURNS, AND PAZZI COMES TO CATCH UP WITH HIM. PAZZI -LRB- cont'd. -RRB- Pazzi, Rinaldo, Commendatore, Prefatura. FELL Of course, Commendatore. CAMERA TAKES THEM DOWN THE STAIRS, AS THEY TALK. PAZZI Could you tell me : did you ever meet your predecessor, Dottore Fanelli? FELL I never met him. I knew him only from his writings. PAZZI I know that the officers who first investigated his disappearance searched for a note, a farewell note, a suicide note. FELL yes. PAZZI You have taken over his offices, is that not so? FELL It is only temporary, until my confirmation by. PAZZI Of course, in his offices, if you come across anything, any personal papers of his, anything, however trivial, would you contact me, please. Are his personal effects still at the Palazzo? FELL Yes. Packed and with an inventory. -LRB- HE HESITATES, AND LOOKS AT PAZZI. -RRB- PAZZI AND FELL WALK OUT OF THE MUSEUM. ANGLE EXT THE MUSEUM. PAZZI I'll have them picked up. PAZZI GESTURES TO HIS COLLEAGUE. PAZZI -LRB- cont'd. -RRB- May we drop you? FELL Thank you, I am most happy to walk in this most magnificent of cities. FELL STARTS PULLING ON HIS GLOVES, HE HANDS HIS SKETCHBOOK TO PAZZI FOR A MOMENT. PAZZI LOOKS DOWN. ANGLE PAZZI'S POV FELL'S LEFT HAND, HAS A SCAR ON THE BACK IN THE SHAPE OF A 3. PAZZI May I ask you a personal question, Dr. Fell? FELL If your duty requires it. PAZZI You have a recent scar on the back of your hand. FELL And you have a new wedding ring on yours? La Vita Nuova? -. -LRB- HE SMILES. -RRB- PAZZI You looked oddly at me, back on the landing. FELL Yes, it must be hard to be a policeman. Is it hard? Must one, then, be constantly suspicious? PAZZI Why did you look at me that way? FELL -LRB- SMILES. -RRB- I saw a man in disheveled clothing, but clean. Just dressed - in the middle of the. FELL SHAKES HIS HEAD, ASKING TO HAVE THE QUESTION WITHDRAWN. PAZZI please. FELL -LRB- SHRUGS, SMILES. -RRB- I saw a man, somewhat fatigued. Quickly dressed, a bit dishevelled. In the middle of the day. -LRB- SMILES. -RRB- An old story. And then I saw the clothing was fresh - therefore : a man who dressed at home. And then I remarked the new wedding ring. And so : the story gave me pause. A lovely story. A new, and a beloved wife. I wish you joy. -LRB- FELL STARTS TO EXIT. -RRB- PAZZI WALKS WITH HIM. PAZZI You assemble this, on the instant, from these few observations? FELL -LRB- SHRUGS. -RRB- I'm a historian. It is our task to assemble the seemingly unconnected into the obvious. PAZZI your scar? FELL My scar is a war - wound. PAZZI How so? FELL Carpal - tunnel syndrome. From a life of typing. Commendatore. History, a hazardous profession. FELL AND THEN PAZZI STOP. FELL -LRB- cont'd. -RRB- You are a Pazzi of the Pazzim are you not? PAZZI Yes. How did you know? FELL You resemble a figure from the Della Robia Rondels, in your family's chapel at Santa Croce. PAZZI It was Adresa de Pazzi, depicted as John the Baptist. You have seen the chapel? FELL I have had the honor. -LRB- HE BOWS AND STARTS OFF. PAZZI GOES AFTER HIM. -RRB- FELL TURNS TO HIM. FELL -LRB- cont'd. -RRB- I wondered that an officer of your exalted rank should come, so late, into the case. PAZZI And? Then? FELL I wonder no longer. You were out of the country. PAZZI How could you know? FELL I sense. -LRB- HE TOUCHES HIS NOSE. -RRB- The faintest whiff of a perfume, whose base, whose base, whose base is `` Hamamelis''. it is witch - hazel - such a clean scent. No, not a European scent. I would say it is a scent of the New World. I would say, you have been in America. Have I struck home? PAZZI You know America? FELL you have brought this perfume. brought this perfume. Back. Back from America. To your New Wife. -LRB- HE PICKS UP HIS HAND, AND GLANCES DOWN AT PAZZI'S WEDDING RING. -RRB- You have given it to her, and some of. -LRB- HE SMILES. -RRB- Some of ` her perfume' has found its way back onto you. Lucky man. Lucky man, indeed. HE BOWS, AND STARTS TO TAKE HIS LEAVE, FROM THE STARTLED PAZZI. PAZZI COMES TO HIS SENSES, AND HANDS A CARD TO FELL. PAZZI Should you come across anything which. FELL You will be the first I call. FELL TURNS TO LEAVE, TURNS BACK, AND TAKES HIS HAND AND, GENTLY RUBS IT ON THE LAPEL OF PAZZI'S SUITJACKET, HE THEN, DELICATELY, HOLDS THE HAND UNDER HIS NOSE, AND NODS, AS IF IN AGREEMENT WITH HIMSELF. HE NODS, AND WALKS OFF INTO A PARK. ANGLE ON PAZZI, WHO LOOKS AFTER FELL. HE WALKS BACK TOWARD THE CAR. HE TURNS, TO LOOK AFTER FELL, AND WE SEE HE IS STANDING BY A LINE OF PEOPLE, A QUEUE, UNDER A BANNER WHICH PROCLAIMS, `` ATROCIOUS INSTRUMENTS OF TORTURE.'' PAZZI SHAKES HIS HEAD, AS IF TO CLEAR IT, AND STARTS TOWARD HIS CAR, WHERE COP ONE OPENS THE OOOR FOR HIM. ANGLE ON FELL, AS CAMERA TAKES HIM INTO THE PARK, WHICH, WE SEE, IS A CEMETERY. HE SITS ON A BENCH, AND TAKES OUT HIS SKETCHBOOK, AND BEGINS TO DRAW. ANGLE HIS POV. A PIECE OF FUNERAY STATUARY, THE LION, HOLDING THE BIRD IN HIS MOUTH. ANGLE ON DR. FELL, SKETCHING. TIGHT. HE SKETCHES, HE RAISES HIS HAND TO HIS NOSE AND INHALES, AND NODS AGAIN. ANGLE, FROM THE SIDE, WE NOW SEE THE STATUE AND FELL'S DRAWING. HE IS DRAWING, NOT THE STATUE, BUT A SKETCH OF CLARICE STARLING.","EXT. MARYLAND MISERICORDIA HOSPITAL DAY. VARIOUS UNFORTUNATE PEOPLE, ENTERING THE HOSPITAL ; LEAVING THE HOSPITAL, A VAST GIANT OF A MAN, SHRUGGING HIMSELF INTO AN ARMY FATIGUE JACKET OVER ORDERLY'S WHITES. -LRB- BARNEY -RRB- ANGLE STARLING, STANDING AT A BUSSTOP, READING A PAPER. ANGLE INS. IN THE PAPER IS SECRETED A PHOTO OF BARNEY, ON FBI XEROX FORM, WITH HIS NAME, AND DESCRIPTION. ANGLE STARLING WAITS AT THE BUSSTOP. BARNEY PASSES IN FRONT OF HER, AND CONTINUES WALKING. STARLING FOLDS THE PAPER AND GOES AFTER HIM. ANGLE RUNDOWN RESIDENTIAL NEIGHBORHOOD, DAY. BARNEY, NOW HOLDING A SMALL BAG OF GROCERIES, CROSSES THE STREET. WE SEE STARLING IN THE BG. BARNEY STOPS, IN THE MIDDLE OF THE ROAD. WE SEE HE IS LOOKING UP OVERHEAD. ANGLE INS HIS POV. A DOVE, CIRCLING IN THE SKY. ANGLE XCU. BARNEY LOOKING UP, PUZZLED, AND THEN HE LOOKS DOWN. ANGLE HIS POV. IN THE ROAD AHEAD, A DEAD DOVE. BARNEY WALKS INTO THE POV, PICKS UP THE DOVE, AND WALKS TO A SMALL RATTY VERGE OF PARK. HE PUTS THE DOVE DOWN, LOVINGLY IN THE GRASS, AND WE WATCH, AS THE OTHER DOVE LANDS ON A FENCE, NEARBY. BARNEY STARTS TO WALK TOWARD THE LIVE BIRD. ANGLE OVER THE BIRD, ONTO BARNEY, WITH STARLING WALKING UP BEHIND HIM. BARNEY HESITATES, HIS BACK STILL TO STARLING. BARNEY Are you attracted by Death? -LRB- PAUSE. -RRB- It is the one great mystery, is it not? Anyone who would say otherwise must be a hypocrite. Do n't you think? HE TURNS FOR THE FIRST TIME AND LOOKS AT HER. BARNEY -LRB- cont'd. -RRB- or are you only attracted by power. -LRB- HE CHANGES HIS TACK AND TONE. -RRB- How are you, Agent Starling? STARLING Ah, Barney : you've got a good mernory. BARNEY You know why that is? Because there are so few things I need to forget. Would you agree, for the record, that I have not been read my rights? STARLING I have not read you your rights. BARNEY Would you mind saying that into your bag? STARLING STARTS TO OPEN HER BAG, AND SPEAKS INTO IT. STARLING I hereby acknowledge that. BARNEY And now I have `` dociled'' you, have I not? By forcing your obedience. STARLING -LRB- SMILING. -RRB- Then why did you chose to inform me of it? BARNEY To show. -LRB- PAUSE. -RRB- in my ability to squander. What one might deem an advantage. that my strength is greater than yours. STARLING Oh yeah? Wan na arm wrestle? BARNEY If you'll come down the street I will make you a cup of coffee.","INT. BARNEY'S APARTMENT DAY. AS THEY ENTER, THE APARTMENT WITH MANY DEADBOLTS. STARLING ENTERS WARILY AND TAKES A SEAT WITH HER BACK TO THE WALL, IN THE SMALL STUDIO. AS BARNEY BEGINS MAKING COFFEE. BARNEY You almost took down Evelda Drumgo. STARLING Well. Word gets around. BARNEY what hindered you? STARLING It was n't my day. BARNEY Perhaps you did not have the support you required. STARLING It's a poor workman who blames his tools. BARNEY Or, perhaps. STARLING how are things at the Hospital? BARNEY It's a growth business. STARLING What have they got you doing? BARNEY Orderly. STARLING I would have figured you an R.N. by now, or, maybe Med School. BARNEY I prefer to stay in the Less Frivolous professions. STARLING -LRB- TAKES OUT A NOTEBOOK. -RRB- You lasted eight years, as Orderly, in Dr. Lechter's prison ward. BARNEY Yes, I presumed it was about him. STARLING you. BARNEY I'm struck by your phraseology. I did not last with him. I was privileged to enjoy his company during that time. STARLING -LRB- GETTING DOWN TO BUSINESS, AS SHE TAKES OUT A PENCIL. -RRB- I'm looking for. BARNEY He said, and these were his words, he valued our time together, because I was civil. STARLING Did you ever think, did you think, after he escaped, he would come after you? BARNEY He told me, he preferred to Eat the Rude. Or : `` natural composting.'' Do you think he'd come after you? STARLING LOOKS OUT THE WINDOW. ANGLE HER POV OUT THE WINDOW, SE SEE THE DOVE CIRCLING THE DEAD DOVE ON THE RATTY PIECE OF GRASS. STARLING -LRB- TURNING BACK. -RRB- What? BARNEY I asked you how you like your coffee? We have black and bitter. As the Soul of Man. Or light and sweet, as the world - view of the self - delusive. STARLING We got a bunch of materials, coming up at auction. Materials which disappeared from Dr. Lechter's cell, drawings he made, his books. BARNEY Yes? STARLING And I'd like your help, determining who's bidding for their purchase. BARNEY Why me? STARLING Waal, because your selling'em. Two years ago, his annotated Dictionary of Cuisine, by Alexander Dumas, went for sixteen thousand dollars. Seller's affidavit of ownership, signed Cary Panz. P.A.N.Z. Sounds to me like an Orderly. Whadja clear on the book? Ten, twelve grand? BARNEY very good. STARLING Here's what they want you to do : we want the rest of the stuff you stole from his cell. BARNEY why? STARLING Let's just say they got a passion for collectibles. BARNEY You said `` here's what they want you to do.'' Why? STARLING Now, why n't you help us? BARNEY That would adversely impact my income. STARLING Not as much as being jailed for theft of Government Property, or for failure to pay income tax, on undisclosed income. BARNEY We could skip the Gavotte. STARLING Say it in English. BARNEY Lechter's not buying up his Memorabilia. He keeps it all in his `` mind,'' do you see? STARLING Then who's buying it? BARNEY -LRB- SHRUGS. -RRB- There's one or two freaks, and, for a `` Pass,'' I'll rat them out to you. -LRB- HE TAKES A PENCIL, AND PUTS A COUPLE OF NAMES IN HER BOOK, LEANING OVER HER. -RRB- STARLING That's the spirit. ANGLE, BARNEY AS HE LEANS OVER, LOOMING OVER STARLING. BARNEY are n't you afraid of me? STARLING You want me to be? BARNEY I'd prefer it. -LRB- HE FINISHES WRITING. -RRB- But it's just a vacant exercise. HE AND STARLING FINISH THEIR COFFEE. HE BEGINS TO WALK HER OUT. ANGLE EXT BARNEY'S APARTMENT, AS THEY EXIT. STARLING A vacant exercise, why? BARNEY You said `` here's what they want you to do.'' Are n't you part of them anymore? Are n't you part of the FBI? ` No Girl's Allowed,' or what? Have you transgressed? STARLING Let's keep it to business, shall we? BARNEY why have they stuck you on this silly little roust? STARLING they did it for a lark. BARNEY Oh, Good. The ornithological leitmotif. HE TAKES HER OVER TO THE DEAD BIRD. HE PICKS UP THE DEAD BIRD, AND SMOOTHS ITS FEATHERS. HE ADDRESSES THE CIRCLING DOVE. BARNEY -LRB- cont'd. -RRB- Off you go. You've grieved enough. Anything more would be self - indulgence. STARLING -LRB- AS SHE LOOKS AT HER BOOK OF NAMES. -RRB- Who are these guys? BARNEY Rich, comic book freaks. STARLING And why is it a vacant exercise? BARNEY Because we both know who's buying the Lechteriana. STARLING Who would that be. BARNEY -LRB- AS IF STATING THE MOST OBVIOUS FACT. -RRB- Mason Verger. For he can not be free. Dr. Lechter refashioned his body so it mirrors his soul, what an impossible injustice. Can you be free? STARLING No, you're wrong about Verger. BARNEY Oh, yes. He's found Peace. STARLING Well, if he has n't, I'm vastly mistaken. BARNEY -LRB- PAUSES, AND LOOKS AT HER INTENTLY. -RRB- And have you found Peace? -LRB- PAUSE. -RRB- ANGLE, ON BARNEY, AS HE STARTS PUTTING THE DEAD BIRD IN HIS POCKET. STARLING What'll you do with the bird? BARNEY Pluck it, and eat it. It was so good to see you. BARNEY GOES BACK INTO HIS APARTMENT BUILDING.","INT. FBI HEADQUARTERS DAY. STARLING IS COMING INTO THE READYROOM AREA, AND PASSES JOHN BRIGHAM. BRIGHAM How you doin? STARLING M' I gon na see you tonight? BRIGHAM That's right. STARLING Then I'm doing fine. BRIGHAM What's new onna street? STARLING All Quiet Along the Potomac. A TECHNICIAN WALKS BY AND STARLING RIPS A PAGE OUT OF HER NOTEBOOK AND HANDS IT TO HIM. STARLING -LRB- cont'd. -RRB- Can we run this guy down? TECHNICIAN Who is he? STARLING His job description? He's a comic book freak. TECHNICIAN Whadda we want him for? STARLING Insufficient Animation. Just get me his vital signs, will you? -LRB- TO BRIGHAM. -RRB- Catcha later. -LRB- SHE WALKS ON. -RRB- ANGLE INS. THE X - RAY MARKED HANNIBAL LECHTER. NEXT TO IT, A SKETCH OF THE BACK OF THE HAND, WITH A SCAR, IN THE SHAPE OF A NUMERAL 3 ON IT. A TECHNICIAN IS DISCUSSING THE MATERIALS WITH CRAWFORD. TECHNICIAN Which would, of necessity, have left this scar in the shape of the number `` 3.'' CRAWFORD Why a Three? TECHNICIAN It requires two flaps to close the area between the. STARLING PASSES. CRAWFORD Starling : come look at this : did you see this? STARLING Yes sir, I saw it. -LRB- HE HANDS HER A COPY OF THE X - RAY. -RRB- CRAWFORD -LRB- NODS. -RRB- We have a memo here, from your friend Mr. Krendler at the Justice Department. STARLING I am all attention. CRAWFORD He requests your presence, once again, as part of. HE HANDS HER THE MEMO.","INT. FBI CAFETERIA DAY. STARLING COMES DOWN THE STEAMTABLE LINE WITH A TRAY. CAMERA TAKES HER TO MAPP, WHO IS EATING LUNCH, STARLING SITS. STARLING Just the person I'm looking for. MAPP And why would that be? STARLING SITS AND STARTS TO EAT. MAPP PICKS UP THE MEMO FROM THE SMALL FOLDER ON STARLING'S TRAY. STARLING Because you're going to help me plan a party. MAPP You're going to do that? STARLING I'm going to do it, and you're going to catch the bouquet. MAPP READS THE MEMO. MAPP The Multi - Jurisdiction Task Force : read alphabet soup, for the continued pursuit, and in preparation for the apprehension of the fugitive, Evelda Drumgo. The man's hazing you. STARLING My daddy would say : accept with glee the things you can not change. MAPP PICKS UP THE X - RAY. MAPP I'll tell you what : I should go in there, volunteer to fill up his Female Quota. -LRB- OF THE X - RAY. SHE HOLDS IT UP, SEEKING INFORMATION. -RRB- STARLING Mr. Crawford asked my opinion. Here we've got a purported x - ray, Dr. Lechter's surgery. Do we keep it secret, or broadcast it? MAPP Saying what, `` Look out for a guy with ten fingers?'' STARLING Yeah, that's too Hip for the Room. MAPP -LRB- OF THE NOTE. -RRB- You stay offa this Alphabet Soup Detail, all this half - baked, cowboy stuff, till after you get your mind cleared. you do n't wan na go out there a half - step slow. STARLING I do n't wan na go out there at all. MAPP What do you want to do? You want to jam up that sonofabitch Krendler. STARLING No. I want to buy a dog. -LRB- PAUSE. -RRB- MAPP What broke you free, Girl? STARLING I met a man, and His Troubles Were Greater Than Mine. SHE EXTRACTS THE SMALL CARD VERGER HAS GIVEN HER. AND WE SEE IT, AS SHE LOOKS AT IT. `` DO NOT GIVE IN TO ADVERSITY. DO NOT TRUST TO PROPERTY. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND.''","INT. VERGER'S MANSION--PLAYROOM--DAY. HAPPY SMALL CHILDREN PLAYING. ONE SMALL BOY, SMILING, IS APPROACHED BY A LOVELY YOUNG NURSE, DRESSED IN WHITE. SHE WHISPERS TO HIM AND HE SMILES AND NODS, AND TAKES HER HAND, AS THEY WALK OFF. ANGLE INT VERGER'S MEDICAL FACILITY. WE SEE THE YOUNG CHILD, FRANKLIN, BEING LED OFF ON A TV SCREEN. WE SEE HIS PROGRESS ONTO ANOTHER SCREEN SHOWING THE HALL, AND THE OLD WOMAN, ROSIE, KNITTING. ANGLE CORDELL, STANDING BY VERGER'S BED. CORDELL HOLDS A FOLDER MARKED `` DEPARTMENT OF CHILD WELFARE. CITY OF BALTIMORE.'' HE IS FINISHED READING IT. CORDELL. and age - appropriate large and small motor skills. His unfortunate home situation has made it necessary for Franklin to form immediate attachments with adults, which we understand to have contributed to many instances of his abuse.'' SOUND OF A `` WHOOSH,'' AS A DOOR OPENS, CORDELL CLOSES THE FOLDER. HE LOOKS TOWARD THE DOOR. ANGLE IN THE BED, VERGER, HIS FACE OBSCURED BY A TELEVISION MONITOR. WE HEAR THE WHIR OF A TV CAMERA. WE SEE THE CAMERA, ABOVE VERGER'S BED, MOVING. ANGLE ON A TV SCREEN, WE SEE THE CAMERA TRACK, AND TAKE THE FRIGHTENED FRANKLIN, AND THE NURSE STANDING NEXT TO HIM, THE NURSE MOTIONS FRANKLIN FORWARD. ANGLE, ON CORDELL, LOOKING DOWN AT VERGER. -LRB- NB THROUGHOUT, VERGER SHOULD NEVER BE SEEN. HE IS INFERRED THROUGH THE REACTIONS OF THOSE AROUND HIM. AND HE, AND IN PARTICULAR, HIS FACE SHOULD ALWAYS BE OBSCURED - A TEASE - BY THIS OR THAT INTERVENING OBJECT. -RRB- CORDELL NODS, AS IF IN RESPONSE TO A SIGN FROM VERGER. HE LAYS THE HOSPITAL FOLDER ON A SORT OF XEROX MACHINE. ANGLE ON VERGER'S ELECTRONIC DISPLAY. THE VARIOUS TV SCREENS, THE HOSPITAL FOLDER, NOW COMING INTO VIEW ON A SCREEN ON WHICH WE READ THE LOGO OF THE BALTIMORE CHILD WELFARE, AND `` JAMES, FRANKLIN, BORN JUNE 5, 1991,'' AND A PHOTO OF HIM. ON THE ADJACENT SCREEN WE SEE THE YOUNG BOY COMING FORWARD AT THE URGING OF HIS NURSE. HIS EYES GROWING WIDE WITH FEAR. ANGLE FROM BEHIND FRANKLIN, AS HIS BODY OBSCURES OUR VIEW OF VERGER, AND WE HEAR THE ELECTRONICALLY ENHANCED VOICE OF VERGER CONVERSING WITH HIM. VERGER Are you Franklin? FRANKLIN Franklin. VERGER Where do you live? FRANKLIN With Mama and Shirley and Stringbean. ANGLE SHIFT TO OVER VERGER, ONTO THE FRIGHTENED BOY. IN THE BG WE SEE THE NURSE BEATING A STRATEGIC RETREAT TO THE DOOR, AND AFTER HER EXIT, WE SEE HER APPEAR ON THE SCREEN WHICH SHOWS THE CORRIDOR, TAKING A CHAIR ACROSS FROM `` ROSIE,'' WE SEE HER SIT AND TAKE OUT A BOOK AND READ. AS VERGER TALKS WITH FRANKLIN, WE SEE THE INFORMATION ON THE `` TEXT'' SCREEN SCROLL, WHICH NEW INFO WE SEE REFLECTED IN VERGER'S QUESTIONS. FRANKLIN -LRB- cont'd. -RRB- But Stringbean, he in and out. VERGER In and out. Yes. And Mama. and Mama, is not your real Mama, is she Franklin? FRANKLIN She my foster. VERGER She's not the first foster that you've had. Is she? FRANKLIN No. -LRB- THE CHILD LOOKS AROUND, AND, FINDING NO SUPPORT, LOOKS BACK AT VERGER. -RRB- VERGER Do you like it at your home, Franklin? FRANKLIN -LRB- FRIGHTENING. -RRB- We got KittyKat. VERGER Yes. yes. FRANKLIN and Shirly, let me sleep with her sometime. VERGER Yes. Franklin, you ca n't live there anymore. With Mama and Shirly and Kittykat. You have to go away. FRANKLIN who say? VERGER The government says. Mama has lost her job, so she ca n't be your foster mother. The police found a marijuana cigarette in your home. You ca n't see Mama anymore. Or Shirley. Or Kitty Cat. That's what the Government says. ANGLE XCU ON FRANKLIN. VERGER -LRB- cont'd. -RRB- or perhaps they just do n't want you anymore. Could that be? And, do you know what will happen to Kitty Cat? When you go away. The police will take her, and they'll give her a shot. With a shiny needle. They'll give Kitty Cat a shot. And it will hurt her. And then she will die. FRANKLIN TAKES THE TAIL OF HIS SHIRT FROM HIS PANTS AND HOLDS IT TO HIS EYES. ANGLE ON VERGER'S BED, AND ON CORDELL BEHIND HIM, GLANCING THROUGH A FILE. CORDELL LOOKS UP AT THE WAILING OF FRANKLIN. VERGER -LRB- cont'd. -RRB- Come here. -LRB- BEAT. FRANKLIN COMES FORWARD, HIS FACE SCREWING UP IN TERROR AS THE DETAIL OF VERGER BECOME MORE APPARENT. HE STOPS MOVING FORWARD. -RRB- Do you know how you keep kittycat from getting a shot? Franklin? No? Do you know. Then come here. FRANKLIN COMES FORWARD. VERGER -LRB- cont'd. -RRB- You can keep Kitty Cat from getting a shot if. ANGLE ON CORDELL, WHO REACTS TO SOME SIGN FROM VERGER, AND NODS, AND TAKES A SMALL PACKAGE FROM A POCKET IN HIS COAT. ANGLE ON CORDELL, WHO GIVES THE PACKAGE TO FRANKLIN. VERGER -LRB- cont'd. -RRB- If you give him this. ANGLE ON FRANKLIN, AS HE LOOKS DOWN AT THE PACKAGE IN HIS HANDS. IT IS A PACKAGE OF RAT POISON. ANGLE ON FRANKLIN, HOLDING THE POISON, HE LOOKS UP AS VERGER TALKS. VERGER -LRB- cont'd. -RRB- You can keep her from getting the shot, if you give her that rat poison yourself. ANGLE, HOLD ON FRANKLIN, WHO BEGINS TO WEEP COPIOUSLY. ANGLE, ON THE VIDEO SCREEN SHOWING FRANKLIN, AS WE HEAR A SERVO MOTOR, AND THE SCREEN ZOOMS IN TO SHOW A TEAR. ANGLE ON CORDELL, WHO IS NOW AT A SMALL WETBAR, MIXING VODKA AND VERMOUTH AND POURING THEM INTO A MARTINI SHAKER. HE GLANCES OVER, AND NODS. ANGLE ON CORDELL, AS HE PUSHES A BUTTON ON A CONSOLE. ON THE SCREEN OVER VERGER'S BED WE SEE THE NURSE IN THE HALL REACT. SHE PUTS HER PAPERBACK BOOK INTO HER POCKET, AND RISES, AND WE SEE HER ENTER VERGER'S ROOM, AND STAND BY THE DOOR. VERGER -LRB- cont'd. -RRB- Goodbye, Franklin. CORDELL WALKS FRANKLIN TO THE DOOR. VERGER -LRB- cont'd. -RRB- remember what we talked about. WE HEAR VERGER'S ELECTRONICALLY AMPLIFIED BREATHING BECOME EXCITED, AND ON THE LIFESIGNS SCREENS, WE SEE HIS VITAL SIGNS BECOME MORE AGITATED, AND THE NURSE, AND CORDELL START TOWARD THE BED. VERGER -LRB- cont'd. -RRB- -LRB- AS HIS BREATHING QUIETS. -RRB- No, I'm fine. WE SEE CORDELL START BACK INTO THE ROOM, AND THEN, AT THE SOUND OF VERGER'S VOICE TURN AWAY AGAIN. ANGLE, AT THE DOOR, CORDELL SIGNS TO THE NURSE, AND STOOPS TO THE CRYING FRANKLIN. CORDELL TAKES A STERILE PLASTIC BAG FROM HIS POCKET, HE REMOVES FROM IT A CLAMP, IN THE JAWS OF WHICH ARE A SMALL SQUARE OF COTTON GAUZE. HE STOOPS TO FRANKLIN, AND CAREFULLY TAKES ONE OF FRANKLIN'S TEARS ONTO THE GAUZE. HE NODS TO THE NURSE, WHO EXITS WITH FRANKLIN. HE DISAPPEARS FROM THE SHOT. ANGLE ON VERGER. VERGER -LRB- cont'd. -RRB-. what have we heard from our friend at the FBI? ANGLE ON CORDELL, AS HE TAKES AN ENVELOPE, AND EXTRACTS A XEROX OF AN X - RAY AND PUTS IT ON THE SCREEN, WE SEE IT IS THE `` BRAZILIAN'' X - RAY OF LECHTER'S HAND. WE SEE AN IMPRINT AT THE TOP OF THE X - RAY - THE PATIENTS NAME AND THE LAB NAME RIPPED AWAY - ALL THAT REMAINS ARE THE WORDS''. DO BRAZIL.'' CORDELL Most current information shows the result of an operation for the removal of a sixth digit, the left hand of a man. VERGER Can we identify it as Dr. Lechter? CORDELL Not with any certainty we. VERGER'S BREATHING AGAIN BECOMES EXCITABLE. VERGER Why did he come back? CORDELL Our operatives in Brazil have been empowered to offer a reward of. VERGER WHY DID HE COME BACK? WHY DID THE BOY TURN BACK? CORDELL are you alright, sir? VERGER HE TURNED BACK INTO THE ROOM. Where have we Seen it Before. CORDELL Seen what, sir? VERGER The puppy comes back. If you lie on the ground. The Puppy with return. Why? Do you know why? TO KILL YOU. IT THINKS YOU HAVE FALLEN AND ARE POWERLESS. IT COMES BACK TO TEAR YOUR THROAT. THAT'S WHY THE CHILD TURNED BACK. As Lechter will return back. You see? To the sight of his oppressor wounded. He will return to savage our beloved Miss Starling. Bring me a drink. CORDELL TURNS, BACK TO THE CONSOLE. WE SEE CORDELL TURN, AND APPROACH THE BED, HOLDING THE MARTINI ON A TRAY. HE PUTS THE TRAY DOWN ON THE BEDTABLE. ANGLE INS. WE SEE, ON THE SMALL METAL HOSPITAL TRAY, THE MARTINI SHAKER, THE MARTINI GLASS, AND A SMALL BEAKER, IN WHICH IS THE CLAMP WHICH BEARS THE GAUZE PAD WHICH BEARS FRANKLIN'S TEARS. CORDELL SHAKES THE SHAKER, POURS IT INTO THE GLASS, AND DROPS THE GAUZE PAD INTO IT, AND HANDS IT TO VERGER. CORDELL Your drink, sir. VERGER It's time to step up the pressure on our Sweet Miss Starling. call our friend at the F.B.I. And, instead of finding Lechter, let's help Him find us. ANGLE ON ONE OF THE VIDEO SCREENS, WE SEE A SHEET LABELLED `` CONFIDENTIAL FBI NOT FOR DISTRIBUTION.'' AND WE SEE, IN VARIOUS SQUARES BELOW, THE DRAWINGS BY LECHTER, THE VARIOUS FUNERAY SKETCHES. CAMERA COMES IN ON ONE OF THE MIDDLE, LEFT, WHICH SHOWS THE LION WITH A BIRD IN ITS MOUTH.","EXT. FLORENCE PARK NIGHT. THE STATUE OF THE LION HOLDING THE BIRD. A COUPLE WALKING PAST. PAZZI the purpose of the exercise. is it because they are expensive. MRS. PAZZI They are n't expensive, you got them through your connections. speaking of which : PAZZI Fine, thank you, but MRS. PAZZI Speaking of which, I want you also to get us tickets for the Opera. PAZZI whatever is within my power. MRS. PAZZI and that is what you need to expand. PAZZI I do n't understand. MRS. PAZZI -LRB- SHE STOPS AND ADDRESSES HIM. -RRB- We are here on sufferance. I am here. PAZZI why are we here in the first place? MRS. PAZZI Because it is exclusive. because everyone will be here. CAMERA TAKES THEM PAST A SIGN ANNOUNCING `` EXHIBITION INSTRUMENTS OF ATROCIOUS TORTURE,'' AND A VELVET ROPE, AND VARIOUS WELL DRESSED PEOPLE WAITING TO GET IN. PAZZI WALKS TO THE HEAD OF THE LINE, AND SHOWS HIS TICKETS, AND IS ADMITTED. ANGLE INT. THE EXHIBIT HALL. AN IRON MAIDEN. A COFFIN SHOWING SPIKES ON ONE SIDE, THE OTHER SIDE EMPTY, IS AN IMPROVISED ENTRY TO THE EXHIBIT. PAZZI AND HIS WIFE ENTER, SHE STOPS TO GOSSIP WITH A WELL DRESSED COUPLE. MRS. PAZZI -LRB- cont'd. -RRB- Mrs. Demetrio, how good to see you. ANGLE ON PAZZI, AS HE DRIFTS AWAY. WE SEE HIM STARING AT VARIOUS THUMBSCREWS, A RACK, A GUILLOTINE. HE STOOPS TO READ A PLACARD. HIS WIFE COMES UP BEHIND HIM. MRS. PAZZI -LRB- cont'd. -RRB- You see, that is my point. PAZZI my love. MRS. PAZZI they asked us to dinner. How can we accept if we can not return the. PAZZI I am on the track of. MRS. PAZZI Yes, yes, yes, your thirty thousand dollars reward, which you would have to split with your team, which, if you get it, will not buy me a new watch. -LRB- SHE STOPS TO GREET ANOTHER COUPLE. -RRB- PAZZI what do you expect me to. HE STOPS, AND TURNS AWAY, WHEN HE SEES THAT SHE IS ENGROSSED. HE IS NOW LOOKING AT A TORTURE WHEEL. HE STOPS AND LOOKS INTENTLY INTO THE GLOOM OF THE ROPED OFF EXHIBIT. ANGLE HIS POV INSIDE THE EXHIBIT, IN A DARK CORNER, THE FIGURE OF A MAN. SKETCHING. ANGLE XCU ON FELL, LECHTER, IN THE GLOOM, SKETCHING. WE SEE A GOOD SKETCH OF THE WHEEL, ON WHICH HE HAS ADDED ARCHITECTURAL NOTES ON ANGLES AND DISTANCES. HE TURNS, FEELING SOMEONE LOOKING AT HIM. ANGLE HIS POV. PAZZI, BEYOND THE VELVET ROPE. PEERING INTENTLY, RETURNING FELL'S GLANCE. DOUBLECUTTING : WE RETURN TO PAZZI, STARING, WE SEE HIM MAKE A QUICK ADDENDUM TO THE SKETCH OF THE TORTURE WHEEL. AND THEN RETURN TO PAZZI, LEANING OVER TO PEER MORE CLOSELY INTO THE GLOOM. MRS. PAZZI So, the question : as always, Rinaldo, the question is one of mmm. ANGLE ON MRS. PAZZI, AS FELL APPEARS AT THEIR SIDE, SHE TURNS TO HIM. FELL Commendatore would you do me the honor of introducing me. PAZZI Darling, Dr. Fell. My wife Madame Pazzi. FELL -LRB- HE BENDS TO KISS HER HAND. -RRB- Enchante. GUIDE The exhibit is closing. The exhibit is closing in Ten Minutes. please make your way to the. MRS. PAZZI Dr. Fell. You are not Italian. FELL Sadly, no. And I find that birth is one of the few things in life which study and a pleasant attitude can not amend. What do you think? MRS. PAZZI And how do we account for the interest of such a charming man, an interest in Torture? PAZZI Dr. Fell is studying for his examination by the Studiolo. FELL Indeed I am. And the connection, between Dante, and, in fact, between your illustrious forebears. if you'd come with me, I could show you. HE HOLDS UP THE ROPE, AS TO LEAD THEM BACK INTO THE EXHIBIT. PAZZI But the exhibit is closing. FELL How unfortunate. PAZZI STARTS TO HELP HIS WIFE ON WITH HER WRAP. FELL -LRB- cont'd. -RRB- May I? HE TAKES THE WRAP, AND BEGINS TO DRAPE IT AROUND HER SHOULDERS. ANGLE EXT THE EXHIBIT. ON THE STREET, THE CURIOUS ARE EXITING. FELL CONCLUDES PUTTING THE WRAP ON MRS. PAZZI. FELL -LRB- cont'd. -RRB- What a lovely perfume. I believe I recognize it, do I not? MRS. PAZZI My husband brought it to me from America. FELL A wonderful country. AN OLDER MAN CALLS PAZZI AWAY. MRS. PAZZI You know it? FELL I have had many excellent meals there. MRS. PAZZI And yet, they are not know for their cuisine. FELL -LRB- SMILES. -RRB-. should love to correct your error. -LRB- PAUSE. -RRB- MRS. PAZZI Well, perhaps sometime we. PAZZI REJOINS THE GROUP. PAZZI Darling. FELL Well, if you will excuse me. Madame. What a pleasure. HE MOVES AWAY. PAZZI The commissioner is going round the Cafe. MRS. PAZZI did he invlte us? PAZZI No. Invite us? No, he simply. MRS. PAZZI Then we can not go. PAZZI Because? MRS. PAZZI Because we can not pay. HE LEADS HER OFF, THE TWO OBVIOUSLY HAVING A FIGHT. ANGLE IN THE GLOOM, LECHTER - FELL, LOOKING AT THEM APPRAISINGLY.","INT. PAZZI'S APARTMENT NIGHT. PAZZI SITTING IN SHIRTSLEEVES, HIS TIE UNDONE, A HALF FULL GLASS OF WHISKY IN FRONT OF HIM, AT HIS DESK. HIS DESK FULL OF PAPERS. HIS WIFE IN A HOUSEDRESS. RANTING. MRS. PAZZI -LRB- cont'd. -RRB- constant humiliation. And why? PAZZI `` Because we do n't have any money.'' MRS. PAZZI because we do n't have any mmm. PAZZI HOLDS UP A FOLDER. PAZZI The Case that I am working on. MRS. PAZZI TAKES THE FOLDER AND FLINGS IT DOWN. MRS. PAZZI It's a joke. You're a joke. You're a joke. You do n't know what money is - your idea of money. -LRB- SHE PICKS UP ANOTHER FILE ON THE DESK, AND TAKES OUT THE SCARF GIVEN TO PAZZI BY STARLING. -RRB-. spend it on a whore on your ` business trip.' That is the fine limit of your ambitions. ANGLE ON PAZZI, REARRANGING THE FILE. WE SEE, IN AN INSERT, THE SCARF, THE `` MAN WANTED'' POSTER, AND FBI CASE STUDY ON HANNIBAL LECHTER, AND WE HOLD ON THE `` THREE MILLION DOLLARS REWARD.'' ANGLE ON THE TWO, HIS WIFE STORMING OUT. MRS. PAZZI -LRB- cont'd. -RRB- And if you do not find some money. Soon. I'm leaving you. -LRB- BEAT. -RRB- And I want tickets to the Opera. SHE CLOSES THE DOOR OF HIS STUDY.","INT. FELL'S STUDY NIGHT. FELL, IN A SMALL ELEGANT CHAMBER OF A PALAZZO. PLAYING A CLAVIER. HE STOPS TO ADJUST A PAGE ON THE MUSIC STAND IN FRONT OF HIM. HE RESUMES PLAYING. ANGLE HIS POV THE MUSIC STAND. IT HOLDS NOT MUSIC, BUT THE SKETCH WE SAW HIM DO EARLIER OF STARLING. WE SEE HIS HAND ADJUST THE PAGES ONCE AGAIN, AND THE SKETCH OF STARLING IS HALF - OBSCURED BY THE SKETCH WE SAW FELL MAKE OF THE TORTURE WHEEL. AT THE TOP OF THE SKETCH WE SEE THE ADDED FACES OF PAZZI AND MME PAZZI, SKETCHED BY FELL AT THE EXHIBIT. ANGLE FRONTAL ON FELL, AS HE STOPS PLAYING. HE PICKS UP A GLASS OF WINE WHICH HAS BEEN RESTING ON THE CLAVIER, AND TAKES ONE OF THE SKETCHES AND GAZES INTENTLY AT IT. HE SHIVERS SLIGHTLY, AND TURNS UP THE COLLAR OF HIS JACKET. ANGLE, AS HIS POV. SNOW BLOWING ACROSS A SMALL WINDOW, THE WINDOW RATTLING. THE SNOW BLOWS THE SHADE. INSIDE THE WINDOW WE SEE BEARDED SOLDIERS, COOKING OVER A SMALL FIRE MADE ON THE FLOOR OF THE DISHEVELLED HOME. ANGLE ON A SMALL DARK BOY, DRESSED IN RAGS, IN THE BLOWING SNOW, LOOKING INTO THE WINDOW. ANGLE HIS POV. WE SEE THE SOLDIER COME TOWARD THE WINDOW AND FASTEN IT AGAINST THE WIND. ANGLE THE BOY, BACKING ACROSS A SMALL COURTYARD INTO THE OPEN DOOR OF A SMALL FACTORY BUILDING.","INT. DARK FACTORY BUILDING NIGHT. STARLING IS MOVING THROUGH THE BUILDING, AGAINST THE WALL, HUGGING THE WALL. SHE HEARS A SOUND, AND TURNS. SHE LOOKS DOWN. ANGLE HER POV - A SMALL BADGE WITH A BULLETHOLE IN IT, LYING ON THE FLOOR. SHE LOOKS UP TO THE SOUND OF RUNNING, AND SEES A FIGURE FLITTING ACROSS AN OPENING. ANGLE STARLING RAISES HER PISTOL AND PULLS THE TRIGGER. NOTHING HAPPENS. SHE LOOKS AT THE PISTOL. IT IS JAMMED, SHE TRIES TO CLEAR IT QUICKLY, WE SEE A HAND ON HER SHOULDER, SHE TURNS. ANGLE HER POV IT IS THE FACE OF LECHTER. STARLING RAISES THE PISTOL AND FIRES. WE SEE THE PISTOL EXPLODE. WE HEAR SCREAMING. ANGLE INT STARLING'S BEDROOM. STARLING, SITTING UP IN BED, SCREAMING. MAPP BURST IN TO THE ROOM. FOLLOWED BY HER BOYFRIEND, JIM, WHO CARRIES A GUN, AND SWEEPS THE ROOM. MAPP SITS BY STARLING. SHE QUIETS STARLING. MAPP What was it. -LRB- STARLING SHAKES HER HEAD. -RRB- What was it, honey? ANGLE XCU ON STARLING, WHO MUTTERS. STARLING something about my father? MAPP what? STARLING -LRB- AS SHE SHAKES HER HEAD TO CLEAR IT, AND RISES. -RRB- Do you think you could make a cup of coffee, cause I'm going to work. ANGLE ON JIM. HE LOOKS OUT THE WINDOW, AT THE DAWN. HE LOOKS AT HIS WATCH, AND AT MAPP. HE SHRUGS.","INT. VERGER'S ROOM, NIGHT. VERGER'S VARIOUS VIDEO SCREENS, SHOWING HALF - SEEN PICTURES OF CHILDREN PLAYING. VERGER -LRB- TO CORDELL. -RRB- Show me the pigs. CORDELL COMES AND STANDS BY THE BED. HE PICKS UP A TELEPHONE, AND TOUCHES SOME BUTTONS ON THE CONSOLE. WE SEE ONE OF THE VIDEO SCREENS COME TO LIFE, AND WE SEE A BARN, AND A COUPLE OF RATTY LOOKING GENTLEMEN WITH COFFEECUPS. VERGER -LRB- cont'd. -RRB- Good morning, Gentlemen. THEY TUG THEIR FORELOCKS. CORDELL may we see it, please? GENTLEMAN -LRB- WITH A THICK MIDEUROPEAN ACCENT. -RRB- We have them trained the two things : to come on the whistle, and to attack the figurine. WE SEE THE OTHER GENTLEMEN BRING FORWARD A SCARECROW. GENTLEMAN -LRB- cont'd. -RRB- can you see the pig? WE SEE THE CAMERA SCAN, AND WE SEE TWO LARGE WILD BOARS IN A PEN. WE SEE THE ONE MAN PUT THE SCARECROW OVER A FENCE. GENTLEMAN -LRB- cont'd. -RRB- We stuff the figure with mean scraps, at first, of course, the pigs is. VERGER Do it. CORDELL Let's see the pigs, please. THE GENTLEMAN BLOWS HIS WHISTLE. THE PIGS RUN AT THE FIGURINE AND STOP. WE HEAR THE SOUND OF HUMAN SCREAMS. GENTLEMAN We tape the screams, to get them used to the. -LRB- HE MUMBLES, LOOKS TO HIS FRIEND FOR HELP. -RRB- SECOND GENTLEMAN distraction. GENTLEMAN as you recommend. -LRB- SHRUGS. -RRB- I think they like it. They will eventually. VERGER Make them eat the figurine. GENTLEMAN They will, sir. We train them, to the figurine, eventually, they consume a man, say, 80 kilos, say, in. VERGER -LRB- TO CORDELL. -RRB-. tell them. CORDELL We do n't want the man consumed. No. We want to put the man's feet through the bars, and have the pigs. and have the pigs eat his feet. GENTLEMAN -LRB- NODS. -RRB-. they eat his feet. VERGER Yes. It's all a question of bait - is n't it? ON THE TV SCREEN WE SEE THE PIGS NOSING THE DUMMY. VERGER -LRB- cont'd. -RRB- make them eat the dummy. GENTLEMAN they eat the dummy, sir, they eat the man. I keep them hungry. When. when do we think this man arrives. VERGER Is it necessary to know? GENTLEMAN Well, I do n't want to starve them too long. They die. VERGER Oh, no, no. It wo n't be that long. THE CAMERA ZOOMS IN ON THE PIGS. IN AN UPPER SCREEN WE SEE A CHICKEN WANDERING OUTSIDE THE PEN. THE CHICKEN WANDERS INTO THE PEN. ON THE FIRST SCREEN WE SEE ONE OF THE PIGS TURN, AND RUN BLINDINGLY QUICKLY ACROSS THE ENCLOSURE, AND IN A CU WE SEE THE FEW FEATHERS THAT ARE THE REMAINDER OF THE CHICKEN. ANGLE ON VERGER AND CORDELL. VERGER -LRB- cont'd. -RRB- No, I do n't think it will be too very long at all. -LRB- TO CORDELL. -RRB- Please call our friend at the FBI. SOUND OF A PHONE HIGH SPEED DIALLED. VERGER -LRB- cont'd. -RRB- -LRB- TO PHONE. -RRB- Hello. Do you know who this is? I think it's time to finish the preparation of our friend. Miss Starling. I'm fine, how are you?","INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST. ANGLE INS STARLING HOLDS THE CARD READING, `` BE KIND, BE HAPPY.'' STARLING to, to. to be in control of my. my emotions. PSYCHIATRIST Yes, but no one is in control of their emotions. -LRB- PAUSE. -RRB- that's all we have time for today. -LRB- SHE STARTS TO RISE. -RRB- STARLING -LRB- PAUSE. -RRB- I do n't understand. PSYCHIATRIST You said : that you have `` decided.'' That your. your feelings of persecution, as you put it are a `` self - indulgence,'' and you are going to put them aside. And get on with your job. STARLING That's right. PSYCHIATRIST And you have decided to accept. to accept this `` emotion,'' as you put it, to the. the `` sweepings. of the Lechter case. STARLING Yes. PSYCHIATRIST And you've decided to get married. -LRB- PAUSE. -RRB- You've decided a lot of things. -LRB- PAUSE. -RRB- But, in spite of your decisions - you are still `` nagged'' by feelings of : despair, of failure of. you still have the nightmare, you. STARLING What is your point? PSYCHIATRIST That if decision were a useful tool, you would n't be here. -LRB- PAUSE. -RRB- Why are you here? STARLING I. PSYCHIATRIST yes? STARLING -LRB- AS SHE RISES. -RRB- I want to do something positive. PSYCHIATRIST You want some advice. STARLING Yes. PSYCHIATRIST Your life has been defined by institutions. The Orphanage where you were raised, the FBI Academy, the Bureau. If the Institution is your life, accept it. Ask to be reinstated on the `` Drumgo'' task force. Play their game. STARLING why? PSYCHIATRIST Because it's the game you've chosen. That's really all we have time for.","INT. ITALIAN POLICE DETECTIVE SQUAD HQ FLORENCE. A HATRACK WITH THE `` GIM ME'' CAP FROM THE FBI INTERNATIONAL POLICE ACADEMY ON IT. PAZZI ENTERS, AND HANGS HIS HAT ON THE HATRACK, HE IS SPEAKING WITH HIS SUPERIOR. PAZZI a liaison position. SUPERIOR And what does that mean? PAZZI I feel that. SUPERIOR `` A liaison position with the Opera.'' -LRB- PAUSE. -RRB- THE SUPERIOR TAKES PAZZI INTO A SMALL OFFICE AND CLOSES THE DOOR. SUPERIOR -LRB- cont'd. -RRB- Rinaldo, what happened to you? -LRB- PAUSE. -RRB- You want me to reach out for tickets to the Opera. Say so. What is that young girl doing to you? PAZZI Could you get me tickets to the Opera. SUPERIOR She must be something special After Dark. PAZZI I ca n't remember. -LRB- PAUSE. THE SUPERIOR NODS SAGELY. -RRB- I've got to make some money. SUPERIOR -LRB- PICKS UP A FILE. -RRB- Thirty thousand dollars reward. In the whereabouts of Il Dottore Fanelli, or the apprehension of his. PAZZI yes, yes, yes. HE SIGHS, HE TAKES THE FILE, AND LEAVES THE OFFICE. PAZZI -LRB- cont'd. -RRB- Could you help me with tickets to. SUPERIOR The short term problem is the tickets - The long - term problem is your wife. PAZZI SHAKES HIS HEAD. ANGLE PAZZI AT HIS DESK. WE SEE THE FILE LABELLED : DISAPPEARANCE OF DOTTORE ENNIO FANELLI. ANGLE PAZZI AT HIS DESK. A COLLEAGUE COMES BY. COLLEAGUE Naldo, you want Opera Tickets? PAZZI Can you help me? COLLEAGUE No, but I'm going. If you like, I'll tell you what you missed. THE COLLEAGUE LEAVES. THE SUPERIOR RETURNS. SUPERIOR And the related problem is your job. Aha. And here it all comes together. To get a promotion you must keep your job. To keep your job you must solve this case. Solve the case, and the reward may help you keep your wife. In short, the solution to all your problems lies in This File : The Disappearance of Il Dottore Fanelli. THE SUPERIOR POINTS TO A FILE ON PAZZI'S DESK. PAZZI NODS, AND PICKS UP THE REPORT. ANGLE INS. THE REPORT :. identified by the following : acute anesthesia or a hper - acute sense of smell. Capable of distinguishing quantities of substance by smell. ANGLE ON PAZZI, AS HE LEAFS THROUGH THE REPORT, WONDERINGLY. ANGLE INS, THE REPORT. phenomenal capacity for languages. Known perfect fluency in Russian, German, Spanish, French, and Italian. In addition. ANGLE ON PAZZI, AS HE LEAVES THROUGH THE REPORT AGAIN. ANGLE THE REPORT. notable in all scenes of abduction : 1 -RRB- The condiments were missing from the Kitchen Area. 2 -RRB-. ANGLE THE REPORT. of indeterminate sexuality. But remarkably attractive to women. This `` Hyper - charm'' ** Sudonis, et al : PSYCHOPATHOLOGY of the serial killer, is most pronounced in. THE PAGES RIFLE, AND WE READ :. knowledge of the Italian Renaissance, with a particular emphasis on Architecture -LRB- see : LECHTER, THE ARTIST -RRB- and Literature. During his first recorded incarceration, he confounded the Prison Psychiatrist By Quoting Dante on. ANGLE ON PAZZI. AS HE LOOKS AT THE REPORT. ANGLE HIS POV : THE REPORT ON THE DISAPPEARANCE OF FANELLI, STILL LYING ON THE DESK. ANGLE, ON THE REPORT HE IS HOLDING, HE TURNS TO THE COVER, WE READ IT IS : FBI INTERNATIONAL POLICE ACADEMY. CASE BOOK. THE PSYCHOPATHIC KILLER. # 3 : HANNIBAL LECHTER. ANGLE ON PAZZI, AT HIS DESK. HE PUTS DOWN THE FBI REPORT, AND PICKS UP THE FANELLI REPORT, AND LEAFS THROUGH IT. ANGLE INS : HIS POV. THE REPORT, WE READ :. apartment was untouched, showing no signs of his departure, hurried or otherwise. Note : his housekeeper did testify that `` all the condiments had been removed from the kitchen,'' but this was discounted as fanciful and. ANGLE ON PAZZI, AS HE PUTS DOWN THE REPORT. HE LOOKS AT THE TWO REPORTS SIDE BY SIDE, A COLLEAGUE COMES UP BEHIND HIM. COLLEAGUE Commendatore, if you're looking for Opera Tickets. PAZZI WAVES HIM AWAY, HE OPENS HIS DESK, AND TAKES OUT AN ENVELOPE OF SNAPSHOTS. HE LEAFS THROUGH THEM AND WE SEE PAZZI ON THE RANGE AT QUANTICO, IN A CLASSROOM, IN FRONT OF THE LINCOLN MEMORIAL, AND IN FRONT OF THE WANTED POSTER, FOR LECHTER. ANGLE XCU, THE NUMBER ADVERTISING A THREE MILLION DOLLAR REWARD. ANGLE, ON PAZZI AS HE STARTS TO PICK UP THE PHONE, THEN HESITATES. HE RISES, AND GOES TO THE HATSTAND TO TAKE HIS HAT.","EXT. FLORENCE STREET. ANGLE INS. THE SNAPSHOT, THE WANTED POSTER, SOUND OF A PHONE BEING DIALED. ANGLE PAZZI IN THE PHONEBOOTH. WE HEAR A RECORDED ANNOUNCEMENT : WE'RE SORRY, THIS NUMBER IS NO LONGER IN SERVICE. IF YOU FEEL YOU HAVE DIALED IN ERROR. PAZZI HANDS UP THE PHONE. HE STARTS TO WALK AWAY. AS HE DOES SO, THE PHONE RINGS, HE GOES BACK TO THE TELEPHONE. PAZZI -LRB- ON HIS PHONE. -RRB- Hello? VOICE ON PHONE what did you want? -LRB- PAUSE. -RRB- PAZZI I know where he is. VOICE ON PHONE I'm sure I do n't know who you mean. PAZZI I know where he is. VOICE ON PHONE And why should we believe you? PAZZI I know something no one knows. -LRB- PAUSE. -RRB- He has had his finger removed. On his left hand. -LRB- PAUSE. -RRB- It left a scar. -LRB- PAUSE. -RRB- VOICE ON PHONE What shape is the scar? PAZZI I want the money. VOICE ON PHONE What shape is the scar? PAZZI The shape of a Three.","INT. VERGER'S ROOM. CORDELL IS ON THE PHONE. CORDELL -LRB- ON PHONE. -RRB-. on positive identification. And the remainder of the Reward, upon his apprehension by the appropriate Legal Authorities. -LRB- HE HANGS UP. -RRB- ANGLE ON THE VIDEOS ABOVE VERGER'S BED. THEY SHOW THE PIGS BEING FED. VERGER Where was the call from. CORDELL Somewhere in Italy. VERGER Make plans for Lechter's abduction. CORDELL STARTS AWAY, THEN TURNS BACK. CORDELL then we wo n't need to tether Miss Starling as our lure. VERGER That operation has begun. Are we God, that we would Meddle with it? No, on the other hand.","INT. OPERA HOUSE NIGHT. STARLING, DRESSED IN FINERY. SHE IS WATCHING A WESTERN BALLET A LA AGNES DE MILLE, THE DANCERS ARE DRESSED IN COWBOY GARB. NEXT TO HER WE SEE A VERY FAT WOMAN ASLEEP. BEHIND THE OLD WONAN TWO OPERAGOERS ARE WHISPERING THEIR DISPLEASURE. STARLING EXCHANGES A LOOK WITH HER DATE. WE DO NOT SEE HIM, ONLY HER ACROSS HIS SHOULDER. SHE LOOKS DOWN. ANGLE HER POV ON THE FLOOR WE SEE HER FEET AND HIS FEET IN COWBOY BOOTS. STARLING BENDS DOWN AND RETRIEVES A BADGE CASE, SHE OPENS IT IN THE INSERT AND REVEALS IT IS A WATCHMAN'S BADGE WITH A HOLE IN IT, SHE HANDS THE BADGE TO THE MAN, WE SEE HE HOLDS, ON HIS LAP, A WESTERN HAT, WITH A BULLETHOLE IN THE CROWN. OPERAGOER How can she sleep at a time like this? How can she.","INT. SWAT VAN WE SEE THE SWAT COPS WE SAW IN THE FIRST SEQUENCE. THEY ARE STUFFEO INTO A VAN IN FULL ASSAULT GEAR. ONE OF THE COPS IS TALKING ABOUT SOMETHNG JUST OUT OF SHOT. TAPED TO THE WALL OF THE VAN IS A LARGE GRAINY BLOWUP OF EVELDA DRUMGO. COP sleep at a time like this? BRIGHAM -LRB- ALSO IN ASSAULT GEAR. -RRB- She's resting. She's conserving her strength, perhaps you should do the same. WE SEE HE IS TALKING ABOUT STARLING WHO IS, INDEED, ASLEEP, SITTING IN THE VAN. TEAM LEADER Stand by. BRIGHAM NUDGES STARLING, WHO WAKES UP. ANGLE EXT THE VAN. IT IS PULLING UP OUTSIDE A FISH MARKET, ALONGSIOE THE RIVER. VRRIOUS WORKERS ARE HOSING DOWN THE FISH ON ICE. WE SEE THE VAN, A US POSTAL SERVICE VAN, COMING AROUND THE CORNER. ANGLE INT THE VAN. TEAM LEADER -LRB- cont'd. -RRB- Starling. HE DEFERS TO HER, SHE MOVES TO THE CENTER OF THE CROWDED VAN AND PEEKS THROUGH THE PERISCOPE. ANGLE HER POV THE SCENE JUST SEEN FROM OUTSIDE THE VAN. A LOWRIDER CAR PULLING UP. STARLING Yeah, it looks clear outside the. wait a moment. we got. it's a gunship. BRIGHAM NUDGES HER ASIDE AND LOOKS THROUGH THE EYEPIECE OF THE PERISCOPE. HE HOLDS A SHORT CONVERSATION WITH A WALKIE TALKIE. BRIGHAM Brigham. Go. -LRB- PAUSE. -RRB- Affirmative. -LRB- PAUSE. -RRB- Okay, Happiness is a Green Light. We've got Evelda in the kitchen, cooking. The dope's D.E.A. -LRB- HE NODS TO ONE OF THE MEN IN THE VAN. -RRB- We want her on Interstate Transportation of some firecrackers. Starling : you've got Drumgo, you know her from before. STARLING I know her by the Back. BRIGHAM these guy'll back you up. OFFICER We're gon na be your Couch Potatoes. STARLING Pray that it may be so. She will fight. Last time, she had a nine mil, three magazines, mace in her purse, a Razor round her neck, and a shank in her hair. She will walk over you, you give her a chance. I'm gon na asker to give it up, she balks, I want some real help. Nevermind Watching my Back, I want some weight on her. OFFICER You got it. TECHNICIAN We've got some action, coming out of the building. STARLING I do n't want you Huskies stand'n around, watching us Mud Wrestling. Drurngo is HIV positive, and I do n't wan na be in there, swap spit with her. ANGLE. ON THE RIVER. A BOAT, CRUISING. A SWAT OFFICER IS TALKING ON A WALKIE. SWAT OFFICER I've got you, three hundred yards from the Factory. We're going in the back door. HE LOOKS OUT. ANGLE, HIS POV. VARIOUS SMALL FISH FACTORY SHEDS, AND WE SEE THE PHONE VAN, MOVING SLOWLY, BETWEEN THEM. ANGLE IN THE VAN. STARLING MOVES TO THE BACK. SHE IS OBSERVING THE STREETSCENE THROUGH THE SMOKED GLASS IN THE REAR OF THE VAN. SWAT OFFICER -LRB- cont'd. -RRB- how we looking back there? ANGLE, STARLING'S POV THE FISH STALL, A WORKER, HOSING DOWN THE ICED FISH. WE SEE A SMALL METAL DOOR, IN THE SIDE OF THE BUILDING OPEN, AND A HEAVYSET MAN COMES OUT, CARRYING A BASKET IN HIS ARMS. STARLING Heads up! ANGLE, STARLING'S POV. HE IS FOLLOWED BY ANOTHER MAN, CARRYING A RAINCOAT, AND WE SEE A GLIMPSE OF A WOMAN BEHIND THEM. BRIGHAM -LRB- ON THE RADIO. -RRB- Strike one to all units ; Evelda Drumgo's coming out behind two shooters. Showdown Showdown Showdown. Put em on the ground, as quietly as we can. Boat's due in thirty seconds, let's do it. ANGLE EXT THE VAN. THE SWAT TEAM COMES OUT, LED BY STARLING. EVELDA STEPS FROM BETWEEN THE TWO MEN. ANGLE, ON STARLING, AS SHE ADVANCES. WE SEE BRIGHAM BEHIND HER. BRIGHAM -LRB- cont'd. -RRB- make sure you. STARLING MOVES AWAY FROM BRIGHAM, TOWARD EVELDA AND HER GOONS AS STARLING ADVANCES WE SEE EVELDA BEYOND HER, AND THAT SHE CARRIES A BABY IN A SLING, IN HER ARMS. STARLING -LRB- TO THE MEN BEHIND HER. -RRB- Wait Wait Wait! STARLING CAREFULLY HOLSTERS HER PISTOL AND RAISES HER HANDS. STARLING -LRB- cont'd. -RRB- Evelda! Give it up! Come to me, Baby! -LRB- OUT OF THE SIDE OF HER MOUTH, TO THE MEN BEHIND HER. -RRB-. give her a place to go. give her a place to go. Come on Evelda. Nothing to it. I swear to god. WE HEAR A SQUEAL OF TIRES. ANGLE XCU ON STARLING, AS HER FACE SCREWS UP, AND HER HEAD TURNS FRACTIONALLY TOWARD THE DIRECTION OF THE SOUND. STARLING -LRB- cont'd. -RRB- Ev. STARLING'S EYES GROW VERY WIDE. ANGLE HER POV. EVELDA HAS PRODUCED A SMALL SMG FROM BEHIND HER BABYSLING, AND IS SPRAYING THE STREET. ANGLE, ON STARLING, AS SHE LOOKS AROUND. BRIGHAM FALL, HIT, BY HER SIDE. AND SEVERAL OTHER SWAT MEMBERS BEGIN RUNNING FOR COVER. THE MAN WITH THE RAINCOAT DROPS IT, TO REVEAL A SAWED OFF SHOTGUN. HE FIRES AT STARLING. SHE GOES DOWN IN THE STREET. ANGLE ON STARLING IN THE STREET. AS SHE PICKS HERSELF UP FROM THE PAVEMENT, AND CRAWLS TOWARD THE SAFETY OF A PARKED CAR. A CADILLAC SEDAN IS COMING DOWN THE STREET, THE SAME APACHE STYLE SHOOTER WE SAW PREVIOUSLY IS SHOOTING OVER THE ROOF, AT THE POLICE. THE CAR SCREECHES INTO A FISHTAIL, AND EVELDA, STILL SHOOTING, GET INTO THE BACKSEAT. THE CAR BURNS RUBBER, TRYING TO ACCELERATE. STARLING EMERGES FROM HER COVER AND FIRES AT THE CAR. THE WINDSHIELD SPATTERS, AND A TIRE BLOWS OUT. THE CAR CRASHES INTO A FISH STALL. SOUND OF A HELICOPTER. TWO SHOOTERS TRY TO SLITHER OUT OF THE CRUSHED CAR. STARLING, ADVANCING TOWARD THEM, SHOOTS THEM BOTH. ANGLE, HER POV. EVELDA, AND THE BABY, IN THE BACKSEAT. THE BABY CRYING. STARLING ADVANCES ON THEM. STARLING -LRB- cont'd. -RRB- -LRB- TO THE COPS. -RRB- SECURITY SECURITY! WATCH THE FISH HOUSE DOOR BEHIND ME. GET MY BACK. Evelda. Evelda. Put your hands out of the window. ANGLE ON BRIGHAM, ON THE GROUND. TWITCHING. HE IS SHAKING HIS HEAD, DAZED. STARLING -LRB- cont'd. -RRB- Evelda. Show me your hands. Come on. Please. Show me your hands. ANGLE, ON EVELDA. EVELDA Well, it's you, chile. It's my friend the orphan. STARLING Give it up, Evelda. EVELDA You said you din' have no friends - but I'm your friend - I understand you. STARLING Think about the baby. show me your hands. Evelda? Show me your hands. EVELDA F'that's the thing to do. SHE WITHDRAWS A HAND FROM THE BABYSLING, SHOWING A SMALL PISTOL, WHICH SHE LEVELS AT STARLING. ANGLE ON STARLING AS SHE FIRES AT EVELDA. SHE RUNS FORWARD, AND TAKES THE SCREAMING BABY FROM EVELDA'S ARMS. THE BABY IS COVERED IN BLOOD. STARLING RUNS TO THE STILL RUNNING HOSE WHICH THE FISH WORKER DROPPED, AND SLUICES DOWN THE BABY. SOUND OF HELICOPTER. ANGLE ON STARLING, AS SHE LOOKS UP. ANGLE HER POV. THE HELICOPTER SHOWS A CAMERAMAN HANGING OUT OF THE DOOR ON A SLING, AND THE LOGO WCTU, TV 10. ANGLE A TELEVISION SCREEN, SHOWING THE SHOT FROM THE HELICOPTER. SCREEN BEARS THE SMALL LOGO, SUPERED IN THE LOWER RIGHT TV 10, NEWS LIVE. WE SEE, FROM ABOVE, STARLING, HOSING DOWN THE BABY, AND WALKING INTO THE MIDDLE OF THE STREET. WE HEAR THE SOUND OF AN AMBULANCE, AND THE HELO SHOT SHIFTS TO AN AMBULANCE SCREAMING AROUND THE CORNER. ANGLE BACK ON THE STREET. STARLING, HOLDING THE BABY, IS WALKING THROUGH THE SCENE OF THE CARNAGE. SHE SEES BRIGHAM, RAISING HIMSELF TO AN ELBOW, AND HE MOUTHS, `` I'M ALRIGHT.'' STARLING WALKS ON, PAST THE CAR, WITH THE DEAD BODIES. PARAMEDICS COME OUT OF THE STOPPED AMBULANCE, AND ONE OF THEM TAKES THE INFANT FROM THE DAZED STARLING. STARLING HELPS BRIGHAM TO HIS FEET. HE STANDS WOOZILY, HE BEGINS TO UNBUCKLE THE KEVLAR PROTECTIVE VEST HE WEARS. BRIGHAM I. STARLING What, What, I ca n't hear you. BRIGHAM Are you alright? THEY ARE SCREAMING OVER THE SOUND OF THE HELICOPTER. STARLING I almost shot the baby. BRIGHAM Who called the TV CREWS? ANGLE ON STARLING, STANDING IN THE MIDDLE OF THE STREET. BRIGHAM CALLS ANOTHER COP OVER. BRIGHAM -LRB- cont'd. -RRB- Sergeant. AN OFFICER, FOLLOWED BY ANOTHER, COMES UP TO BRIGHAM. THE THREE ADVANCE TOWARD THE SCENE AT THE PARKED CAR. STARLING TURNS TOWARD THEM. STARLING Security! WE SEE THE SECOND OFFICER PICK UP THE SHOTGUN FROM THE ARMS OF THE `` RAINCOAT'' MAN. BRIGHAM -LRB- TURNING BACK, TO RESPOND TO STARLING, HE DRAWS HIS HAND ACROSS HIS THROAT. -RRB- They're dead. standdown, it's alr. ANGLE ON THE OFFICER PICKING UP THE SHOTGUN. IT DISCHARGES. ANGLE ON BRIGHAM, AS HE FALLS, FELLED BY THE SHOTGUN BLAST. ANGLE ON STARLING, AS SHE TURNS, TO LOOK AT THE SCENE, OF THE DYING BRIGHAM. SHE STARTS TO TAKE A STEP TOWARD HIM, AND STOPS. SHE LOOKS UP AT THE HELICOPTER. ANGLE THE TV IMAGE, WITH THE LOGO ON IT, WE SEE IT ZOOM IN ON STARLING LOOKING UP, SHE THEN WALKS, DAZEDLY, TOWARD THE OBVIOUSLY DEAD BRIGMAN, AND SITS, SEVERAL FEET FROM HIM. WE SEE SEVERAL OFFICERS COMING FORWARD TOWARD HER. VERGER -LRB- VO. -RRB-. you forgot to cancel the plan. ANGLE WE SEE THE TELEVISION IS IN VERGER'S ROOM, AND WE ARE SHOOTING OVER VERGER'S FORM, WE SEE THE BACK OF HIS HEAD, AND, BEYOND HIM, CORDELL. CORDELL sir? VERGER Waal, Nobody's Perfect. What do we hear from our songbird in Switzerland?","INT. SWISS LAWYER'S OFFICE DAY. A JOLLY FAT SWISS BANKER, SMILING, A LOVELY HEIDI - ESQUE MOUNTAIN SCENE VISIBLE IN THE WINDOW BEHIND HIM. ANGLE ON PAZZI, STANDING IN FRONT OF A VAULT. THE VAULT IS FULL OF CURRENCY. A SMALL CLERKTYPE, IS FINISHING FILLING UP A SMALL VALISE WITH CURRENCY. HE GLANCES AT THE FAT BANKER, AND NODS. THE FAT BANKER COMES FORWARD, AND MOTIONS AT THE BAG. BANKER One hundred thousand dollars, Signori. The remainder of the three million. -LRB- HE MOTIONS TO THE VAULT. -RRB- Upon the person - in - question's apprehension. Would you prefer a cheque? ANGLE, ON PAZZI, GRINNING AT THE MONEY. PAZZI No, no thank you, I. PAZZI GLANCES BACK TOWARD THE DOOR, CLOSING ON THE VAULT. PAZZI -LRB- cont'd. -RRB- and the Remainder, you said? BANKER After you have, in the words of our friends, the Americans, Put him On the Spot. PAZZI But is that necessary. BANKER -LRB- SHRUGS. -RRB- It is necessary, if you wish the remainder of the money. -LRB- HE NODS TO HIS CLERK, WHO CLOSES THE DOOR ON THE VAULT. -RRB- Shall we drive you to the airport? PAZZI -LRB- STILL LOOKING AT THE CLOSING VAULT, SHYLY. -RRB- I. I thought I'd do some shopping.","INT. FLORENCE OPERAHOUSE NIGHT. APPLAUSE IS DYING OUT, THE CURTAIN IS FALLING, SPECTATORS ARE STANDING TO LEAVE. IN THE HOUSE, HEADS TURN AT THE SIGHT OF A VERY BEAUTIFUL WOMAN. IT IS MME PAZZI IN A COUTURE DRESS, AND JEWELS BACKING. SHE IS ACCOMPANIED BY PAZZI, WHO IS DRAPING HER SHOULDERS IN A FURCOAT. PAZZI BOWS THIS WAY AND THAT, TO ADMIRING COUPLES, AS THEY MAKE THEIR WAY UP THE AISLE. MRS. PAZZI -LRB- TO PAZZI. -RRB-. how can I thank you? PAZZI Ask me when we get home. MRS. PAZZI Oh, my program. PAZZI TURNS BACK, HE IS WALKING AGAINST THE PRESS OF EXITING OPERAGOERS, AND IS HAVING DIFFICULTY. ANGLE ON DR. FELL, WHO IS WALKING TOWARD HIM. FELL Ah, Commendatore. you, too, admire Mozart. PAZZI -LRB- PAUSE. -RRB- Who does not? FELL If such there breathe, I'm sure you could unearth him. -LRB- PAUSE. -RRB- Your reputation does you honor. -LRB- PAUSE. -RRB- PAZZI I've left my program. FELL Take mine. -LRB- HE HANDS HIS PROGRAM TO PAZZI, AND THEY START UP THE AISLE. -RRB- Ah. And is that your wife. -LRB- THEY GAIN THE SIDE OF MME. PAZZI. -RRB- Signora. -LRB- HE BENDS TO KISS HER HAND. -RRB- Can it be that you are lovelier, even, than at our last encounter? MRS. PAZZI My mother told me to ignore the blandishments of charming men. FELL Then, she, herself, possessed some knowledge of the Greater World. How pleased am I to see you looking so well. PAZZI IS CALLED AWAY, BY AN EXITING OPERAGOER, AND HE LEAVES RELUCTANTLY, LOOKING BACK, WITH APPREHENSION, AT FELL AND HIS WIFE. THE TWO, CHATTING, JOIN HIM. FELL -LRB- cont'd. -RRB- Commendatore, your wife tells me you are taking her away on Vacation. PAZZI long overdue. FELL -LRB- AS THEY EXIT, ONTO THE STREET IN FRONT OF THE OPERA, AND MANY CARS AND LIMOS, PULLING UP TO RECEIVE THE EXITING, ET CETERA. -RRB- Back to America? -LRB- PAUSE. -RRB- -LRB- WHILE PAZZI LOOKS ON WITH CONSTERNATION. -RRB- When first we met you'd just returned from America. MRS. PAZZI How wonderful of you, to hold that information in your busy mind. FELL how so? MRS. PAZZI you told me you were studying for your examination by the Studiolo. FELL And how good of you to remember it. Then, this trip, then, is not a return to America. MRS. PAZZI No, this is pleasure. FELL And what was the trip before? MRS. PAZZI That, that was business. PAZZI TRIES TO MANEUVER HIS WIFE AWAY FROM FELL. CAMERA TAKES THEM AROUND A CORNER, TO A `` NO PARKING, LOADING ZONE,'' SIGN, IN WHICH WE SEE A POLICE SEDAN, AND ONE OF PAZZI'S MEN. HE IS WEARING THE GIM ME HAT PAZZI BROUGHT BACK FROM THE STATES. ANGLE ON FELL, AS HE LOOKS OVER AT THE DRIVER. ANGLE HIS POV. THE HAT, `` FBI INTERNATIONAL POLICE ACADEMY, QUANTICO VIRGINIA.'' THE DRIER TAKES OFF THE HAT, AND OPENS THE DOOR TO THE SEDAN FOR THE PAZZIS. ANGLE, ON FELL, AS HE TAKES HIS LEAVE. FELL Business. Yes. How much better. To travel for the Pure Enjoyment of the thing, of the variety of the world. yes. -LRB- PAUSE. -RRB- Just to Get Away. -LRB- PAUSE. -RRB- I'm surprised they can spare you, in the midst of your investigation. -LRB- PAUSE, PAZZI LOOKS BACK. -RRB- of the disappearance of my predecessor. ANGLE, AS MRS. PAZZI PULLS PAZZI INTO THE CAR. MRS. PAZZI -LRB- WHISPERING TO HIM. -RRB- Take me home and make love to me. ANGLE, ON FELL, AS PAZZI WAVES TO HIM, THROUGH THE CAR WINDOW GLASS, AND THE CAR PULLS AWAY, LEAVING FELL STANDING IN THE ALLEYWAY. BEAT. HE NODS, AS IF CONFIRMING SOMETHING TO HIMSELF. HE STARTS BACK OUT OF THE ALLEYWAY, INTO THE PRESS OF HUMANITY. MAN'S VOICE -LRB- VO. -RRB- Time to get something to eat. ANGLE XCU ON FELL, AS HE LOOKS AFTER THE DEPARTING CAR. FELL -LRB- TO HIMSELF. -RRB- Yes, quite. ANGLE, THE MAN SPEAKING TURNS, AND IS STARTLED TO SEE FELL. MAN I beg your pardon. FELL You suggested it was time to get something good to eat. MAN I thought that you were. -LRB- HE SEES ANOTHER MAN APPROACHING HIM. -RRB- Ah! Where shall we eat? -LRB- THE TWO WALK OFF. -RRB- FELL -LRB- TO HIMSELF. -RRB-. where shall we eat. And what shall we eat.","INT. PAZZI'S APARTMENT. HALF SEEN, THROUGH A PANNING SHOT OF A HALFOPEN DOOR, PAZZI AND HIS WIFE MAKING LOVE. WE HEAR PAZZI CALLING : PAZZI Laura. Laura. Laura. ANGLE ON FELL, IN THE SHADOWS, AS HE CLOSES THE FRONT DOOR SOUNDLESSLY BEHIND HIM. HE STANDS FOR A MOMENT, LOOKING, CAMERA THEN TAKES HIM INTO THE APARTMENT WHERE HE FINDS THE KITCHEN.","INT. THE KITCHEN, FELL TAKES A KNIFE FROM A MAPLE BLOCK, TRIES ITS EDGE, REPLACES IT, TAKES OUT A CLEAVER, AND NODS. HE LOOKS ABOVE, AND TAKES DOWN A COPPER SAUCEPAN FROM THE POT RACK. HE OPENS THE REFRIGERATOR, GLANCES BRIEFLY INSIDE, AND NODS, IN SATISFACTION, AND CLOSES IT. HE PICKS UP A DISHTOWEL, TRIES IT BETWEEN HIS HANDS, TESTING ITS STRENGTH. HE PUTS IT DOWN, DISSATISFIED. HE BEGINS TO PROWL THROUGH THE APARTMENT, HE PASSES ANOTHER HALF OPEN DOOR, AND WE SEE PAZZI AND HIS WIFE, HALF GLIMPSED, BEYOND, FELL MOVES INTO A SMALL STUDY. ANGLE THE BACK OF THE DESK CHAIR, HOLDS A MAN'S SPORTCOAT, AND A TIE. FELL MOVES TOWARD THE CHAIR, PUTS HIS CLEAVER DOWN ON THE DESK, AND TRIES THE TIE BETWEEN HIS HANDS, TESTING HIS STRENGTH. HE NODS, SATISFIED, AND PICKS UP THE CLEANER. ANGLE INS THE CLEANER, WHICH IS LAYING ON TOP OF THE FILE REGARDING THE DISAPPEARANCE OF DOTTORE FANELLI, BENEATH IT, HALF COVERED, IS THE FBI LOGO. WE SEE FELL'S HAND RAISE THE FIRST FILE, TO LOOK AT THE SECOND, AND WE READ : `` FBI REPORT, THE PSYCHOPATHOLOGY, ETC, OF HANNIBAL LECHTER.'' ANGLE CU. ON FELL, AS HE NODS TO HIMSELF, HE THEN LOOKS DOWN AT SOMETHING ELSE. ANGLE HIS POV. A SCARF, PEEPING OUT OF THE HALF - OPEN DESK DRAWER. ANGLE INS. FELL'S HAND DRAWS OUT THE SCARF. NESTLED IN THE SCARF IS THE PHOTO OF PAZZI IN FRONT OF THE WANTED POSTER. ANGLE ON FELL, AS HE LOOKS AT THE PICTURE. HE THEN BEGINS TO PEER VERY CLOSELY AT IT. HE PICKS UP THE MAGNIFYING GLASS FROM THE DESK, AND WE SEE, IN A HUGE INSERT, THAT HE IS MOVING THE MAGNIFYING GLASS TO ATTEMPT TO MAKE OUT THE FIGURE REFLECTED IN THE GLASS COVERING THE WANTED POSTER, ID, THE FIGURE OF THE PHOTOGRAPHER, IS STARLING. ANGLE XCU INS THE JUST SEEN OUTLINE OF STARLING, HOLDING THE CAMERA. ANGLE FELL, LOOKING AT THE PHOTO. HE THEN GLANCES AT THE SCARF, PICKS IS UP, AND, QUESTIONINGLY, SNIFFS IT ONCE, AND THEN AGAIN. HE HOLDS THE SCARF TO HIS FACE. HE RUBS IT BETWEEN HIS HANDS, AND SMELLS HIS HANDS. ANGLE PAZZI BEDROOM. MRS. PAZZI and then, we're going to Greece. PAZZI Yes, but the important thing, as I've said. MRS. PAZZI get me a cigarette. PAZZI GETS UP FROM THE BED, AND WRAPS HIMSELF IN A SHEET, AND PROCEEDS INTO THE STUDY. PAZZI The essential thing. The essential thing, is that we must be absolutely quiet about. HE PULLS OPEN THE DESK DRAWER, AND TAKES OUT A PACK OF CIGARETTES. HE LOOKS WONDERINGLY, AT THE DRAWER, BEAT. HE SHRUGS, HE IS ABOUT TO START BACK INTO THE BEDROOM, HE GLANCES AT THE CURTAINS, BLOWING IN THE OPEN WINDOW, HESITATES. MRS. PAZZI what is it? HE LOOKS INTO THE DESK, SHAKES HIS HEAD. BEAT. AND THEN RETURNS INTO THE BEDROOM. MRS. PAZZI -LRB- cont'd. -RRB- you've forgotten the cigarettes. PAZZI TURNS, AND LOOKS BACK TOWARD THE OPEN WINDOW, AND THE BLOWING SHADES.","EXT. FLORENTINE PARK NIGHT. A YOUNG WOMAN WALKS PAST THE CAMERA. SHE TAKES US TO FELL, WHO IS SITTING ACROSS FROM THE STATUE OF THE LION AND THE BIRD, HE IS PICKING HIS TEETH, AND, VERY DELICATELY, TAKES OUT A SCARF, AND WIPES HIS MOUTH. WE SEE IT IS THE SCARF WHICH HE STOLE FROM PAZZI, HE TAKES OUT THE PHOTOGRAPH OF THE WANTED POSTER, AND LOOKS AT IT, AS HE WALKS THROUGH THE PARK. CAMERA TAKES HIM OUT OF THE PARK, PAST THE YOUNG WOMAN, WHO, WE SEE, HAS RETURNED TO A STROLLER, WHICH IS EMPTY, SHE IS TALKING TO A UNIFORMED POLICEMAN, AND GESTURING, `` ABOUT THIS HIGH.'' SHOWING THE HEIGHT OF HER CHILD. HE AND THE WOMAN START LOOKING IN THE BUSHES. ANGLE ON FELL, LEAVING THE PARK, HE WALKS PAST AN APPLIANCE STORE, IN THE WINDOW OF WHICH WE SEE, TEN SILENT TV SCREENS, AND A TALKING HEAD ANNOUNCER. THE SCENE SHIFTS TO THE HELICOPTER FOOTAGE OF STARLING. WE SEE PHOTOS DISPLAYED OF STARLING, NEXT TO THE PEOPLE SHE SHOT IN THE SHOOTOUT, AND A VISBO PROCLAIMS, `` KILLER OF FIVE, THE DEATH ANGEL : CLARICE STARLING.''","EXT. STARLING'S HOUSE, DAY. STARLING, MAPP, AND JIM, MAPP'S BOYFRIEND, ARE COMING OUT OF THE HOUSE WITH CRAWFORD, ESCORTED TOWARD SEVERAL CARS OF WHAT IS OBVIOUSLY A FUNERAL CORTEGE. A SEDAN PULLS UP, AND KRENDLER GETS OUT. KRENDLER I came to pay my. STARLING get outta my way, you sonofabitch. KRENDLER I realize, you're under a lot of. STARLING You put my friend in the ground, with your mickeymouse TaskForce. Izsat the kind of Headlines that Preserve and Promote, you, sir? SHE STARTS PUSHING HIM, AND CAMERA PANS, TO A GROUP OF NEWSVANS, CORDONED OFF, AROUND THE CORNER, AND HELD IN BAY BY VARIOUS POLICE. STARLING IS BEING SUBDUED BY CRAWFORD ET AL.. STARLING -LRB- cont'd. -RRB- -LRB- AS SHE PUSHES AT KRENDLER. -RRB- Izzat the kind of publicity will aid Our Run for Congress? You swine, you. KRENDLER -LRB- SHRIEKING AT HER. -RRB- You're out she's out. SHE IS BEING DOCILED, AND LED AWAY. KRENDLER -LRB- cont'd. -RRB- -LRB- SHOUTING AFTER HER. -RRB- You country Cornpone BITCH - hey, you Trailer Trash BITCH, you still looking for your Daddy, Beat you up, to show he Loves you? ANGLE. ON STARLING, STANDING BY THE LINE OF CARS. SHE SEES SOMETHING, AND TURNS. ANGLE XCU STARLING AS SHE LOOKS. KRENDLER CONTINUES HIS HARANGUE. ANGLE HER POV. ON THE REAR DECK OF A CAR, A STETSON HAT, WITH A BULLET THROUGH IT, AND AN OLD SQUARE POLICEBADGE, WITH A BULLETHOLE THROUGH IT. KRENDLER -LRB- cont'd. -RRB- -LRB- VO. -RRB- Looking for your Daddy, fuck you and mark you up, an. ANGLE ON STARLING, AS SHE BLINKS, AND SHAKES HER HEAD TO CLEAR IT. THE SEDAN DRIVES OFF, AS SHE STRAINS TO LOOK AFTER IT. KRENDLER -LRB- cont'd. -RRB- Well, here I am, you. STARLING SHAKES HER HEAD AGAIN, FINDS HERSELF FACING KRENDLER, AND PUNCHES HIM IN THE STOMACH. KRENDLER GOES DOWN. STARLING IS SUBDUED BY HER COMFORTERS. SHE STRAINS TO LOOK AFTER THE DEPARTING CAR.","INT. VERGER'S ROOM. ON THE TV STARLING, BEING PULLED OFF OF KRENDLER. ANGLE, OVER VERGER, ONTO CORDELL. VERGER Quod videt monumentum, circumspice. Need I translate? CORDELL If you would see him monument, look around you. VERGER Show me the Pigs. THE VIDEOSCREEN CHANGES, TO SHOW THE PIGS, ATTACKING THE DUMMY MAN. CORDELL Telephone call. From Switzerland, sir. VERGER CONVERSES IN GERMAN, WITH THE SWISS. HE IS TOLD THAT THEY CAN HAVE A DATE, AND THAT A PACKAGE WILL BE COMING HIS WAY SOON. ANGLE. ON VERGER, LOOKING AT THE PIGS.","EXT. FLORENTINE PALAZZO. NIGHT. PAZZI, WALKING DOWN THE STREET. NERVOUSLY ADJUSTS HIS SCARF. ANGLE A BRIGAND, LOUNGING BY A VAN, NODS IMPERCEPTIBLY, AT PAZZI, WHO CONTINUES WALKING. THE BRIGAND GOES INTO THE BACK OF THE VAN. ANGLE INT THE VAN. THERE IS ANOTHER BRIGAND INSIDE. THERE ARE SEVERAL FIREARMS IN A RACK, AND A HOSPITAL GURNEY WITH HEAVY RESTRAINTS. THE SECOND BRIGAND IS LOADING AN ODD LOOKING SHOULDER WEAPON. SECOND BRIGAND I hit him with the beanbag gun, you stand by : he's still flopping. THE FIRST BRIGAND NODS, AND TAKES A CAPPED HYPODERMIC SYRINGE FROM THE SECOND MAN. SECOND BRIGAND -LRB- cont'd. -RRB- Just make sure he's alive, because I've already spent the bonus. THE FRUIT MAN NODS TO THE SECOND, AND WE SEE PAZZI PROCEEDING UP THE STAIRS INTO THE PALAZZO.","INT. A SALON AT THE PALAZZO, NIGHT. A WORKER IS MOVING A FLOOR POLISHER ACROSS THE MARBLE FLOOR OF THE SALON, IN AN ANTEROOM BEYOND WE HEAR FELL LECTURING. THE WORKER NODS DIFFERENTIALLY, AT SOMEONE OFF SCREEN. WE SEE HE HAS NODDED AT PAZZI, WHO TAKES US TO THE DOOR OF THE SALON. HE WIPES HIS HANDS NERVOUSLY, HE MOPS HIS BROW, HE LOOKS AT HIS WATCH. HE LOOKS INTO THE SALON. ANGLE HIS POV FELL, IN FRONT OF A LECTERN. A SLIDE MACHINE IS SHOWING A PAINTING OF A HANGED FIGURE ON A HUGE DRIPCLOTH AT THE BACK OF THE SALON. ANGLE, ON PAZZI, AS HE MOVES TO THE SIDE, IE, OUT OF THE DOORWAY TO THE SALON, HE GLANCES OVER HIS SHOULDER, TO MAKE SURE HE IS OUT OF THE SIGHT OF THE WORKMAN WITH THE FLOOR POLISHER. HE SEES THE WORKMAN TURN THE POLISHER OFF AND BEGIN COILING THE LONG ELECTRIC CORD. PAZZI TAKES A SMALL FLAT AUTOMATIC FROM A HIP HOLSTER. CHECKS THE CHAMBER, AND SLIPS IT INTO HIS JACKET POCKET. HE PROCEEDS BACK TO THE DOORWAY, WHERE WE AND HE SEE FELL, BEYOND, LECTURING TO A COMPANY OF SIX MEN, IN THE SALON. FELL -LRB- LECTURING. -RRB- Della vigna was disgraced and blinded for his betrayal of his emperor's trust - through avarice. Avarice and hanging. -LRB- HE GESTURES TO THE PAINTING. -RRB- are linked in the ancient and the madeadeval mind. ANGLE ON PAZZI, AS HANNIBAL -LRB- FELL -RRB- SPEAKS, HE MOVES TO A WINDOW, AND WIPES HIS HAND AGAIN, AND WE SEE HIM LOOK DOWN AT THE VAN IN THE STREET, AND WIPE HIS HANDS, MUCH OF THIS SPEECH PLAYS AS VOICE - OVER AS HE DOES SO. FELL -LRB- cont'd. -RRB- Judas and Pier Della Vigna are linked in Dante by the avarice he saw in them, and their subsequent deaths by hanging. Ah Commendatore Pazzi. ANGLE ON FELL, AS HE SPEAKS TO PAZZI, HALF - SEEN IN THE DOORWAY. FELL -LRB- cont'd. -RRB- You are welcome. Since you are closest to the door, would you close the door, to improve the quality of the image. -LRB- PAZZI DOES SO. -RRB- You will be interested in this, Commandatore, as there are two Pazzi's already in Dante's inferno. ANGLE ON FELL, AS HE WALKS FORWARD, BETWEEN THE CHAIRS OF THE SIX OLD MEN -LRB- THE STUDIOLO -RRB- WHO SIT LISTENING TO HIS LECTURE. A FEW TAKE NOTES. FELL -LRB- cont'd. -RRB- -LRB- TO THE OLD MEN. -RRB- Camicion de Pazzi, as you know, murdered a kinsman, and rests in hell awaiting the arrival of a Second Pazzi. But it's not you : it's Carlino, who will rest forever in hell for the crime of Treachery. ANGLE XCU, ON FELL, LOOKING AT PAZZI. ANGLE ON PAZZI, UNDER THE WITHERING STARE. BEAT. FELL -LRB- cont'd. -RRB- -LRB- AS HE CONTINUES BACK TO HIS LECTERN. -RRB- Avarice, and Hanging, then. -LRB- HE GESTURES TO THE PHOTOGRAPH OF THE PAINTING. -RRB- On the next occasion, you might like to discuss the matter of Chewing. Chewing in Dante : Count Ugolino, chewing the back of the archbishop's head - Satan, with his three Faces, chewing Judas, Brutus, and Cassius. all three traitors. Is it not? Thank you all for your kind attention. THE SCHOLARS APPLAUD HIM, TWO STAND, AND TAKE HIM BY THE HAND. ANGLE ON PAZZI AT THE DOOR. HE OPENS THE DOOR, AND THE OLD MEN OF THE STUDIOLO EXIT, CHATTERING HAPPILY ABOUT THE LECTURE. FELL COMES OUT, THE LAST OF THE SALON. FELL -LRB- cont'd. -RRB- Would you say that I've preserved my job, Commendatore? PAZZI I'm not a scholar, Dottore. But it seemed as if they, as if they. FELL Yes, I think I amused them. To what do I owe? PAZZI I require. FELL yes, yes, yes. HE FOLLOWS FELL BACK INTO THE ROOM, WHERE FELL BEGINS PUTTING AWAY HIS MATERIAL IN THE D1RTY SALON. FELL -LRB- cont'd. -RRB- the effects of my predecessor. PAZZI I'd like to walk home with you, and. FELL Yes, of course, and we'll collect them. I wo n't be a minute. ANGLE ON PAZZI AS HE WALKS UP TOWARD FELL. HE PUTS HIS HAND IN THE JACKET POCKET. ANGLE INS THE HAND, SEEN THROUGH THE CLOTH, GRIPPING THE AUTOMATIC PISTOL. ANGLE ON FELL, AS HE BEGINS TO PACK UP THE SLIDE PROJECTOR, AND THEN HESITATES. FELL -LRB- cont'd. -RRB- Ah, no. I should have shown them this one. -LRB- HE TAKES OUT A SLIDE AND PUTS IT IN THE PROJECTOR. -RRB- This one will interest you : let me see if I can improve the focus. WE SEE THE IMAGE OF A HANGED MAN APPEAR ON THE DROPCLOTH. THERE IS A PLAQUE DRAPED AROUND THE NECK OF THE HANGED MAN. FELL -LRB- CONT'D. -RRB- Can you make it out, can you make out the name on the plaque? FELL WALKS UP TO THE IMAGE DISPLAYED ON THE DROPCLOTH, PAZZI WALKS BEHIND HIM. FELL -LRB- cont'd. -RRB- -LRB- LOOKING AT THE IMAGE. -RRB- It says Pazzi. Pazzi. And a rude, a very rude poem, this is your ancestor. Francesco, hanging outside the Palazzio Vecchio. Outside These Very Windows. HE TURNS AND FIXES PAZZI WITH HIS GAZE. ANGLE, FELL, HIS FACE SEEN IN THE DARK, IN THE BEAM OF THE SLIDE PROJECTOR. HOLD. FELL -LRB- cont'd. -RRB- On a related subject Signor Pazzi, I must confess to you : I'm giving serious thought to eating your wife. FELL JERKS THE DROP CLOTH DOWN OVER THE TWO OF THEM. ANGLE XCU, ON PAZZI'S FACE AS HE SEES THE CLOTH COMING DOWN. ANGLE INS HIS HAND, GOING INTO HIS POCKET, AS HE TRIES TO BRING OUT THE PISTOL. ANGLE ON THE FACE OF FELL, AS HE ADVANCES, UNDER THE CLOTH, ON PAZZI, FELL TAKES A SMALL SPONGE AND A BOTTLE FROM HIS POCKET, AND DUMPS LIQUID FROM THE BOTTLE ONTO THE SPONGE, AND GRABS PAZZI BY THE HAIR, PUTS HIM INTO A CHOKEHOLD, AND HOLDS THE SPONGE TO PAZZI'S FACE. ANGLE EXT, THE DROP CLOTH, AS WE SEE THE EFFECTS OF THE STRUGGLE, AND HEAR THE SMALL PISTOL GOING OFF. ANGLE EXT THE PALAZZO. THE LAST MEMBER OF THE STUDIOLO, COMING OUT, A WORKMAN FOLLOWS HIM, AND BEGINS LOCKING THE DOOR. ANGLE ON THE BRIGANDS, AT THEIR VAN, THEY LOOK AT EACH OTHER, ONE CHECKS HIS WATCH. ANGLE INT THE SALON. THE FLOOR POLISHER. MOVING, AS IF OF ITS OWN VOLITION, ACROSS THE FLOOR. ANGLE ON PAZZI, TIED TO THE PODIUM, HIS MOUTH GAGGED. ANGLE ON LECHTER, AS HE COILS UP THE LONG ORANGE CORD OF THE FLOOR POLISHER, DRAWING IT TOWARD HIM. FELL -LRB- cont'd. -RRB- Yes. Your Wife. Laura. L'Orange, which is the topnote of her skin, would n't you say? Or do I grow too personal? but that is what I think of, when I think of her. And how could I but think of her? I have n't had a bit all day. The kidney and the liver would be su1table for a dinner tonight. But the rest of the meat should hang for a week, in these cool conditions. Would n't you say? Nod once for yes. -LRB- PAUSE. -RRB- If you tell me what I need to know, then it would be convenient for me to leave without my meal. And Mrs. Pazzi will remain unscathed. I'll out the questions to you, and we'll see : I saw at the theatre you had betrayed me. And, when the police did n't come, it was clear you had sold me out. Was it to Mason Verger? Blink one for yes. ANGLE ON PAZZI. BEAT. THEN HE BLINKS ONCE. FELL -LRB- cont'd. -RRB- Thank you. And now : Are his hit men waiting outside? -LRB- PAZZI BLINKS ONCE. -RRB- Was that a single blink? Yes. Thank you. FELL FINISHES HIS COILING OF THE ROPE, AND WE SEE HE HAS FASHIONED A HANGMAN'S NOOSE. FELL TAKES OUT A STILETTO, AND IT OPENS. HE ADVANCES TOWARD PAZZI, WHO TRIES TO RECOIL. FELL -LRB- cont'd. -RRB- No, no. I'm going to take the tape off. Please do not scream. Do you think you can keep from screaming? -LRB- HE TAKES THE TAPE OFF. -RRB-. would it help if I were to cut your BOWELS OUT? WE SEE HIM MAKE A SWIPE AND HEAR PAZZI START TO SCREAM. FROM OUTSIDE THE WINDOW OF THE SALON, WE SEE PAZZI, TAPED TO THE PODIUM, BEING IMPELLED, SCREAMING, TOWARD THE WINDOW. ANGLE ON THE LIGHTED PIAZZA OF THE PALAZZO, TOURISTS LOOK UP AT THE SCREAMING. BEAT. ANGLE XCU, ON THE CONTORTED FACE OF PAZZI, LOOKING DOWN, AN ORANGE NOOSE AROUND HIS NECK, AS THE PODIUM TILTS THROUGH THE OPEN WINDOW. ANGLE THE TWO BRIGANDS AT THE VAN. REACTION TO THE SOUND OF THE SCREAMING, RUN AROUND THE CORNER. THEY LOOK UP TO SEE PAZZI, STILL TAPES TO THE PODIUM, HANGING BY THE ORANGE CORD. ANGLE, ON THE VILLAINS, STANDING UNDERNEATH, AS GOUTS OF BLOOD FALL ON THEM. BRIGAND ONE cover the backdoor. If he comes out, Kill him. BRIGAND TWO the bonus was for. BRIGAND ONE Kill him, and cut him. HE RUNS TO THE FRONT OF THE PALAZZO, HOLDING HIS SHOULDER ARM DOWN ALONGSIDE HIS SIDE. HE RUNS PAST THE LOCKED FRONT DOOR, AND TOWARD AN ALLEYWAY. WE HEAR THE SIRENS OF POLICE CARS. BRIGAND ONE SLOWS HIS WALK, AND PROCEEDS INTO THE ALLEYWAY. HE SEES A SMALL DOOR, IN THE SIDE OF THE PALAZZO, AND A LIGHT BEYOND. ANGLE INT THE DOOR. A SMALL STAIRCASE. THE BRIGAND ENTERS, HE LOOKS UP. WE HEAR THE SOUND OF RAPIDLY DESCENDING FOOTSTEPS. THE BRIGAND MOUNTS THE STEPS, HOLDING HIS RIFLE BEFORE HIM. THE SOUND OF THE FOOTSTEPS CONTINUES. ON THE SECOND FLOOR, THE BRIGAND SHELTERS HIMSELF IN A ROOM, OFF THE LANDING. THE SOUND OF THE DESCENDING FOOTSTEPS CONTINUES. ANGLE ON THE BRIGAND, HIDING BEHIND THE DOOR. THEN HE TURNS HIS HEAD. ANGLE, HIS POV. WE ARE IN A LAUNDRY ROOM. THE SOUND OF THE FOOTSTEPS IS, IN FACT, A CLOTHESDRYER. IN ITS GLASS DOOR IN THE SIDE, WE SEE A MAN'S SHOE GOING AROUND. ANGLE THE BRIGAND, AS HE LOOKS, THEN TO THE SIDE. ANGLE, HIS POV, IN THE SIDE OF THE ROOM, THE LEGS OF A DEAD MAN PROTRUDE FROM A CLOTHES HAMPER, HE WEARS ONLY ONE SHOE. ANGLE XCU ON THE BRIGAND, AS HE TURNS. ANGLE OVER HIM WE SEE HANNIBAL, SMILING, AS HE ADVANCES. ANGLE ON THE STILETTO, AS IT ENTERS THE BRIGAND'S BELLY. ANGLE EXT THE PALAZZO. SEVERAL COP CARS PULLING UP, AN AMBULANCE, A NEWSTRUCK. A BOY ON A MOTO. HANNIBAL Young man. THE BOY TURNS. HANNIBAL IS STANDING NEXT TO HIM. HANNIBAL -LRB- cont'd. -RRB- Young man, I am desperate. If I am not at the Piazza Bellosguardo in ten minutes, it is the end of marriage. -LRB- HE HANDS A BUNDLE OF NOTES TOWARD THE BOY. -RRB- Do you think you could help me? ANGLE IN THE PIAZZA, THE BODY OF PAZZI IS BEING LOWERED, IN THE BG WE SEE HANNIBAL, RIDING ON THE BACK OF THE MOTO, AND AWAY.","INT. VERGER'S ROOM, NIGHT. A SMALL CHILD IS EATING POPCORN OUT OF A CROCKERY BOWL. WE SEE HIS FACE, SMILING, IN THE GLOW OF A TELEVISION. ANGLE OVER VERGER AND THE CHILD. VERGER how do you like it? CHILD It's real funny. CORDELL COMES UP HOLDING A PHONE. BEAT. VERGER Tell me the good news. CORDELL He escaped. VERGER Have the child taken to bed. CHILD I wan na see more. CORDELL PUSHES A BUTTON ON HIS CONSOLE, AND WE SEE, ON THE VIDEO, MONITORS, A NURSE LEAVING THE HALLWAY AND ENTERING VERGER'S ROOM. AS CORDELL TAKES THE CHILD TO HER WE SEE THAT VERGER AND THE CHILD HAVE BEEN WATCHING THE PIGS ATTACK THE MAN - SIZED DUMMY, WHICH THEY NOW DO WITH ALACRITY. CORDELL What do you want me to do? VERGER Follow Starling, stake out Starling. Increase the pressure on Starling. He will come to her.","INT. STARLING'S HOME DAY. STARLING IS SITTING, AFFECTLESS, IN FRONT OF A FULL CUP OF COFFEE AT HER KITCHEN TABLE. CRAWFORD SITS OPPOSITE HER. CRAWFORD And I brought this for you. STARLING What is it? HE PRODUCES A SHOEBOX, SHE OPENS IT, IT CONTAINS VARIOUS MEMORABILIA OF BRIGHAM. A PHOTO OF HIM IN THE ARMY, TWO SERVICE PISTOLS, HIS BADGE. CRAWFORD Out of John Brigharn's Locker. SHE NODS. CRAWFORD -LRB- cont'd. -RRB- Waal. STARLING I know you did what you could. HE SHRUGS. SHE STARTS TO WALK HER OUT. CRAWFORD I'm going to work for your reinstatement. STARLING Reinstatement to what? There ai n't nobody there. HE OPENS THE DOOR, AND THEY ARE ASSAULTED BY FLASHBULBS, AND A SCAD OF NEWSPEOPLE, WHO HAVE BROKEN THE BONDS, AND ARE PUSHING HER UP TO THE FRONT DOOR. NEWSIE Starling, Agent Starling : what do you have to say to the New Accusations? STARLING New? NEWSIE You've been accused of. ANGLE, TELEVISION SET, TRAVEL OFFICE DAY. IT SHOWS STARLING, BEING HOUNDED BY THE NEWSIES. NEWSIE -LRB- cont'd. -RRB- leaking information to the Press, which resulted in the botched. ANGLE, THE STRICKEN FACE OF STARLING. SECOND NEWSIE Agent Starling : what was your reaction to your indictment? BRIGHAM indictment? SECOND NEWSIE The district attorney today. STARLING AND CRAWFORD LOOK AT EACH OTHER. HE SHEPHERDS HER BACK INTO THE HOUSE. ANGLE A DISGUISED HANNIBAL LECHTER, GOT UP AS A RETIREE, IS SITTING IN AN ENGLISH TRAVEL AGENT'S OFFICE. POSTERS OF TOURS ON THE WALL, A SIGN READING ` BRITTOURS.' AN OLD TRAVEL AGENT IS FILLING OUT FORMS. TRAVEL AGENT Majorca, Greece. oh, Aaand Turkey. Mr. Bates, you're treating yourself to a Holiday you'll remember for. SHE LOOKS UP, TO SEE HANNIBAL, LOOKING AT THE TELEVISION. ANGLE HIS POV THE STRICKEN FACE OF STARLING, AS SHE IS SHEPHEARDED BACK INTO HER HOUSE. A TALKING HEAD COMES ON AND SPEAKS WITH A BRITISH ACCENT. TALKING HEAD Of the American FBI agent, Clarice Starling, shown here, in her dramatic gun battle, last week, with. THE FOOTAGE COMES ON OF THE GUN BATTLE. TRAVEL AGENT Mr. Bates? Mr. Bates? TALKING HEAD Dismissed from the FBI, she, it seems, is under criminal indictment for. ANGLE ON HANNIBAL, AS HE TURNS BACK. HANNIBAL Could I, do you believe, change my Destination? TRAVEL AGENT Well. well. what did you have in mind?","INT. FBI HEADQUARTERS DAY. CRAWFORD AND KRENDLER BOTH LOOKING AT CNN. CNN NEWSIE -LRB- AS WE SEE ANOTHER REPLAY OF THE SHOOTOUT. -RRB-. criminal indictment. in quite a surprising move, against agent, that is, Former Agent. ANGLE ON CRAWFORD, AS HE LOOKS AT KRENDLER, SNORTS IN DISGUST, AND WALKS AWAY.","INT. VERGER'S ROOM, DAY. SOUND OF A RINGING PHONE. CORDELL COMES OVER AND HOOKS IT UP FOR VERGER CORDELL it's the F.B.I. VERGER Yes. Good. No. He will come. He will come. Do not let up on our Angel Starling. No. Now you must keep a constant watch on her. Use your toys - A transmitter in her car, a. keep her in your sight. Do not let up, and he will come back for the wounded bird. -LRB- PAUSE. -RRB- He will find a way. ANGLE. HIS POV. THE TELEVISION SET. A WILD BOAR THRASHING HIMSELF AGAINST HIS BARS. ANGLE, ON ANOTHER SCREEN, THE SCENE FROM A WIDER ANGLE, WE SEE HIS KEEPER, HOLDING A SLAB OF RAW MEAT, AND WAVING IT AT THE BOAR, JUST BEYOND THE BARS. THE BOAR THROWS HIMSELF AGAINST THE BARS, AND THE MAN RECOILS, AND RETIRES WITH THE MEAT.","INT. JETLINER TOURIST SECTION NIGHT. A FAT MAN WEARING A BRITTOURS BUTTON, COMES DOWN THE AISLE, HOLDING A PLASTIC CUP FULL OF BEER. HE MOVES SLOWLY THROUGH THE FULL AISLE, SOME PASSENGERS STANDING, CHATTING THE OTHERS UP. THE STEWARDESS, DISTRIBUTING MINUTE PLASTIC CONTAINERS OF FOODS. HOLD ON HIS BUTTON, WHICH HE WALKS INTO CLOSE UP. IT READS : BRITTOURS, CANADA, US, MEXICO, PERU! HI. MY NAME IS PHIL! ANGLE ON A YOUNG WOMAN ASLEEP, A BABY AT HER BREAST. THE STEWARDESS COMES BY OFFERING THE SANDWICHES, SHE IS SHHHSHED BY THE OLD MAN SITTING NEXT TO THE YOUNG MOTHER, HE INDICATES `` SHE IS SLEEPING,'' SHE OFFERS THE SANDWICHES TO THE MAN -LRB- DR. LECHTER -RRB- AND HE DECLINES. THE DISTRACTED STEWARDESS PASSES HIM ONE IN ANY CASE. HE TAKES IT, AND PUTS IT NEXT TO A MAGAZINE HE IS READING. HE SIGHS, HE TURNS OUT HIS LIGHT, AND PULLS DOWN THE SHADE. LEANING OVER THE SLEEPING FORM OF A YOUNG BOY WHO HAS THE WINDOW SEAT. HANNIBAL REACHES OUT HIS TRAVEL BAG FROM UNDER HIS SEAT, AND REMOVES A HALF - BOTTLE OF WINE, AND A TIN OF PATE. HE LOOKS AROUND TO SEE HE IS UNOBSERVED. HE LOOKS BACK. ANGLE INS. THE YOUNG BOY HAS SHIFTED, AND HIS ARM LIES ACROSS THE TIN OF PATE. HANNIBAL'S HAND PICKS UP THE YOUNG BOY'S ARM. ANGLE XCU. HANNIBAL LOOKING AT THE ARM. ANGLE HIS POV. HIS HAND, CIRCLING THE SKINNY ARM.","INT. BOMBED OUT BUILDING DAY--SEEN THROUGH A SNOWY WINDOW. A YOUNG TATTERED GIRL, HER ARM HELD BY A VAST SOVIET SOLDIER, IN A FILTHY UNIFORM. HE NODS TO A GROUP OF FIVE OF THE COMRADES, WHO ARE STANDING AROUND A FIRE, MADE IN THE CORNER OF THE BUILDING. ONE MAN ENTERS BEARING WOOD, AND STACKS IT NEXT TO THE FIRE, HE SMILES OVER AT THE GIRL AND LICKS HIS LIPS. THE MAN HOLDING THE GIRL EXTRACTS A VERY WORN AND SHINY BAYONET FROM HIS BELT SCABBARD, AND STARTS DRAGGING THE GIRL AWAY. SOUND OF SCREAMS. ANGLE EXT THE BURNTOUT BUILDING. A YOUNG BOY, IN THE SHADOWS, SHIVERING, WATCHING THE SCENE. ANGLE HIS POV. THE SOLDIER, LEADING THE YOUNG GIRL OFF, SOUNDS OF SCREAMS. YOUNG GIRL Let go, let go, let go. ANGLE ON HANNIBAL IN THE PLANE. THE WOMAN NEXT TO HIM IS HISSING : YOUNG MOTHER What are you doing to my son? Let him go! THE STEWARDESS COMES UP. YOUNG MOTHER He's. what is he doing to my SON? HANNIBAL I beg your pardon, Madame, I was replacing his. HE MOVES TO PUT THE BOYS ARM BACK, AND HIS EYES MEET THE BOY'S. ANGLE, THE BOY, CU STARING AT HANNIBAL. ANGLE CU. HANNIBAL, STARING AT THE BOY. HANNIBAL -LRB- cont'd. -RRB- -LRB- TO THE TWO WOMEN. -RRB- I was trying. STEWARDESS he was trying not to wake him. HANNIBAL I beg your pardon, if I caused you any Consternation. THE WOMAN GIVES HIM A `` DO N'T DO IT AGAIN,'' LOOK, AND TURNS BACK TO HER NOW BAWLING INFANT. HANNIBAL TURNS BACK TO LOOK AT THE SOMBER BOY. BEAT. OF HIS DELICACIES. HANNIBAL -LRB- cont'd. -RRB- would you like some? HE STARTS TO OPEN THE TIN. ANGLE ON THE BOY, WHO LOOKS AT THE TIN, AND THEN OVER AT HIS MOTHER. HANNIBAL -LRB- cont'd. -RRB- -LRB- AS HE INTERPRETS THE BOY'S LOOK. -RRB- Your mother would disapprove. Of your taking food from a stranger. -LRB- PAUSE. THE BOY NODS. -RRB- Ah. But she's asleep. -LRB- THE BOY SEES THE LOGIC OF THE ARGUMENT, AND SMILES. HANNIBAL BEGINS TO OPEN THE TIN. -RRB- -LRB- AS HE LEANS IN TOWARD THE BOY, CONSPIRATORIALLY. -RRB- And it's important, as I'm sure she's said, to Eat New Things! XCU ON HANNIBAL SMILING AT THE CHILD HANNIBAL -LRB- cont'd. -RRB- -LRB- TO HIMSELF. -RRB- so important.","EXT. FARM AREA. VERGER ESTATE. DAY. THE ROMPING KIDS, PLAYING WITH THE GOAT. CAMERA GOES WITH CORDELL, WHO WAVES AT THE CHILDREN AND THE NURSES. ANGLE, A GARAGE. A POTATOCHIP VAN. AS CORDELL APPROACHES, TWO MEN IN POTATOCHIP DELIVERY UNIFORMS DESCEND FROM THE VAN. CORDELL APPROACHES THEM, AND HANDS THEM EACH A COUPLE OF SHEETS OF PAPER. HE CONVERSES WITH THEM, WHILE THE NURSE AND THE KIDS AND THE GOATS FROLIC IN THE FOREGROUND. ANGLE INT THE VAN. THE TWO MEN, AS THEY CLOSE THE DOORS, AND START OFF. WE SEE THEM AS THEY PULL OUT, WE SEE CORDELL WALKING THROUGH THE STABLE AREA. WE SEE THE VAN SLIDE THROUGH THE VERGER ESTATE TOWARD THE OLD GATEHOUSE. ON THE DASHBOARD, ONE HAS SPREAD ONE OF THE SHEETS OF PAPER, AND WE SEE IT IS OF STARLING, THE NEXT SHEET IN AN OLD PHOTO OF HANNIBAL. MAN ONE be easier if we just kill him. MAN TWO Be easier on everyone but us. THE OTHER MAN NODS HIS AGREEMENT.","EXT. PIG AREA DAY. TWO BOARS GO INSANE AT THE ADVENT OF CORDELL. WE SEE HIM THROUGH THE STOUT BARS OF THEIR ENCLOSURE. CAMERA TAKES HIM INTO THE PIGBARN, WHERE THE GENTLEMAN, THEIR TRAINER, IS SEEN CONSTRUCTING A NEW ENEMY. GENTLEMAN -LRB- LOOKING UP AT CORDELL. -RRB- It's going to be long? CORDELL SHRUGS GENTLEMAN -LRB- cont'd. -RRB- Is going to be much longer, we should feed them. CORDELL Mmm. Is it going to work? THE GENTLEMAN MOVES TO A TAPE PLAYER, AND TURNS IT ON, AND WE HEAR A SCREAM. HE NODS AND TURNS IT OFF. GENTLEMAN The problem, if it is : the tape is not the true scream, an' the dummy, of course, is not the true man. BUT. Yes, yes, I think, is close enough. CORDELL So : the two problems are : they should be fed, and they should practice on a real. THE GENTLEMAN TURNS HIS BACK ON CORDELL AND IS MOVING THE TAPE MACHINE. ANGLE ON THE GENTLEMAN, WITH CORDELL BEHIND HIM. GENTLEMAN Yes. You could say, that the two, the two prob. ANGLE XCU ON THE GENTLEMAN, AS HE TURNS TO CAMERA, LOOKING AT CORDELL, HE OPENS HIS MOUTH TO SCREAM. ANGLE EXT PLAY AREA. THE CHILDREN WITH THE GOAT, PLAYING, WE HEAR A BRIEF, FAR OFF SCREAM. TWO CHILDREN LOOK AT EACH OTHER, PAUSE, SHRUG, AND GO BACK TO THEIR GAME.","INT. STARLING' S BEDROOM DAY. STARLING, DISHEVELLED, SITTING ON HER BED. IN THE DARK ROOM. SHE IS LOOKING AT A PHOTO OF THE TEXAN AND THE LITTLE GIRL. ANGLE, THE SHOEBOX, HOLDING BRIGHAM'S MEMORABILIA, STARLING'S HAND DRAGS IT ACROSS THE BED. ANGLE ON STARLING, AS SHE TAKES OUT BRIGHAM'S CREDENTIALS AND BADGE HOLDER. SHE LOOKS AT HIS PHOTO ON THE CREDENTIALS. LOOKS AT HIS PHOTO IN THE MARINES, LOOKS AT THE PHOTO OF THE TEXAN AND THE LITTLE GIRL. SHE TAKES BRIGHAM'S USMC HATBADGE, THE EAGLE AND FOULED ANCHOR, AND LOOKS AT IT, AND PUTS IT IN HER POCKET. SHE TAKES OUT BRIGHAM'S SERVICE PISTOL, DROPS THE MAG, CHECKS THE CHAMBER. MAPP -LRB- VO. -RRB- Sad day. STARLING what? MAPP N'not that sad. ANGLE ON STARLING, LOOKING AT MAPP, WHO HAS JUST ENTERED THE ROOM. MAPP -LRB- cont'd. -RRB- Problem with suicide, y' know what they say? STARLING No. MAPP Every suicide kills two. STARLING Yeah. Well. They're a talkative buncha commentators. MAPP You got a lot of people love you, Starling. STARLING Trouble is, they all seem to die. MAPP Y' want to gim me Brigham's pistol? STARLING What would you guess, Ardelia? MAPP You goin to shoot yourself? -LRB- PAUSE. -RRB- MAPP SHRUGS, GETS UP, GOES TO THE DOOR, TURNS BACK. MAPP Do n't shoot yourself. STARLING Why? MAPP Cause I'm tired, cleaning up after you. -LRB- STARLING GIVES A WAN GRIN. -RRB- Why dontcha gim me the gun? STARLING SHAKES HER HEAD. MAPP -LRB- cont'd. -RRB- Gim me the rounds. STARLING THINKS, HANDS HER THE MAGAZINE AND THE SPARE ROUND. MAPP -LRB- cont'd. -RRB- Why n'tcha go see that Headshrinker nobody knows you're seeing? N'you make her earn her keep. STARLING SIGHS, AND RISES FROM THE BED. MAPP -LRB- cont'd. -RRB- -LRB- EXITING. -RRB-. you brush your hair first.","EXT. STARLING'S APARTMENT BUILDING DAY STARLING EXITS, THE STREET IS QUIET, ACROSS THE STREET. AN OLD MAN IS FINISHING LOADING HIS OLD PUSH - MOWER ONTO THE BACK OF A TRUCK. STARLING WALKS TO HER CAR, AND GETS IN. ANGLE INT THE POTATOCHIP VAN. THE TWO MEN IN FRONT. ONE NODS TO THE OTHER, THEY TAKE OFF, MOVING PAST THE OLD LAWNCARE MAN AND HIS TRUCK.","INT. PSYCHIATRIST'S OFFICE DAY. THE BOX OF TISSUES. A HAND TAKES A TISSUE. ANGLE STARLING, HAVING TAKEN THE TISSUE, SITTING ACROSS FROM THE KINDLY OLD PSYCHIATRIST. PSYCHIATRIST -LRB- CHECKING HER NOTES. -RRB-. the dream of your Father. STARLING DABS HER EYES WITH THE TISSUE. SHAKES HER HEAD. PSYCHIATRIST -LRB- cont'd. -RRB- Well, you're a courageous woman. Have courage, and tell me. STARLING He was shot. he was shot. On his rounds. And. and. PSYCHIATRIST That's when you went to the Orphanage.","EXT. PSYCHIATRIST'S OFFICE. PARKING LOT DAY. STARLING'S CAR. THE LAWNMOWER MAN'S TRUCK PULLS UP NEXT TO IT. WE SEE THE OLD MAN HOBBLE OUT, AND PROCEED TO STARLING'S TRAVERSED DOOR, HE TAKES OUT A PICK AND PICKS THE LOCK. ANGLE INT THE CAR. WE SEE THAT IT IS LECHTER. HE PUTS HIS FACE ON THE LEATHER - COVERED STEERINGWHEEL, AND SMELLS THE AROMA. HE SMILES. HE TAKES A SMALL PACKAGE FROM THE BOSOM OF HIS OVERALLS. WE SEE IT IS A BUNCH OF VIOLETS. HE TAKES THE SCARF OFF HIS NECK, AND WRAPS THEM AROUND THE VIOLETS, AND PLACES THE BOUQUET ON THE DASHBOARD. HE SITS IN THE CAR. HE GETS OUT, AND WE SEE HIM GO TO THE TAILBED OF HIS TRUCK AND BEGIN TO REMOVE THE LAWNMOWER.","INT. PSYCHIATRIST'S OFFICE DAY. STARLING, A TISSUE TO HER FACE. STARLING And all he left us : the Country brought back his hat, and his badge. both with a bullethole in them. An' that's what he left us. That's what I said. PSYCHIATRIST And you have been dreaming. dreaming about this Hat, and. STARLING -LRB- WAVES HER OFF, AS IF THIS IS NOT THE IMPORTANT POINT. -RRB- And. I always said, he was a P'lice officer. PSYCHIATRIST yes? STARLING But. He was a night watchman. That's what he was. N'They brought back, his hat, his badge, an his timeclock. -LRB- SHE LAUGHS. -RRB- N'then they took me off. -LRB- THE PSYCHIATRIST MAKES A NOTE. -RRB- I saw. I saw. Clear as day, do you, do they call it a delusion? His hat an his badge. Clear as day, bulletholes and all. PSYCHIATRIST When? STARLING But they were not there. Yesterday. Is that called a Delusion? SHE STARTS TO CRY. THE PHONE RINGS. THE PSYCHIATRIST PICKS IT UP. STARLING -LRB- cont'd. -RRB- B'cause, you know, whatever it is, I ca n't take it anymore. PSYCHIATRIST -LRB- COVERING THE PHONE. -RRB- I'm sorry. I'll have to take this in the other room. THE PSYCHIATRIST EXITS, HOLDING THE PHONE. STARLING SITS FOR A MOMENT CRYING. SHE GOES TO THE TISSUEBOX ON THE PSYCHIATRIST'S DESK. SHE FINDS IT EMPTY, SHE SEES THE EDGE OF A NEW BOX IN THE DESKDRAWER. SHE OPENS THE DRAWER. ANGLE IN THE DRAWER. A FILE ON STARLING : MARKED ` TALKING POINTS,' AND A PHOTOCOPY OF HER FATHER'S BADGE WITH THE HOLE THROUGH IT. ANGLE ON STARLING, AS SHE LOOKS FROM THE FILE, AND THEN PROCEEDS TO THE DOOR TO THE NEXT ROOM, WHICH SHE OPENS QUIETLY. ANGLE HER POV THE PSYCHIATRIST ON THE PHONE. TALKING SOFTLY. PSYCHIATRIST -LRB- cont'd. -RRB- Not too far from a complete breakdown. Well, several things would - you've done the Badge, I suggest. THE PSYCHIATRIST, SENSING A PRESENCE, TURNS. SHE SEES STARLING, AND STARTS TO RUN OUT AN EXIT DOOR. ANGLE, IN THE HALL, STARLING PURSUING THE PSYCHIATRIST. ANGLE EXT THE PARKINGLOT. HANNIBAL IS MOWING THE GRASS, LOOKING AT THE ENTRANCE TO THE PSYCHIATRIST'S BUILDING, SOME HUNDRED YARDS AWAY. ANGLE INT THE POTATOCHIP VAN. ONE OF THE MEN IS TALKING ON A WALKIE. MAN got her staked out. Yeah, she's still in with the. WE HEAR THE BUZZ OF THE LAWNMOWER. MAN -LRB- cont'd. -RRB- I said : she's still in with the. HIS SPEECH IS DROWNED OUT BY THE LAWNMOWER. HE TURNS TO ROLL UP HIS WINDOW, AND SIGHS, AND GLARES IN THE DIRECTION OF THE LAWNMOWER MAN. ANGLE HIS POV. LECHTER, AS HE TAKES OFF HIS HAT TO WIPE THE SWEAT FROM HIS EYES. ANGLE INT THE VAN. THE POTATOCHIP MAN, STARING AT LECHTER, AND THEN PICKING UP THE PHOTO OF LECHTER WHICH IS ON HIS DASHBOARD. MAN -LRB- cont'd. -RRB- -LRB- INTO WALKIE. -RRB- One moment. ANGLE, EXT THE PSYCHIATRIST BUILDING DAY. STARLING CATCHES UP WITH THE PSYCHIATRIST, SHE STARTS TO SHAKE HER. STARLING who paid you. who. ANGLE ON LECHTER, AS HE IS WATCHING THE TWO. HE SENSES SOMETHING, AND BEGINS TO TURN. ANGLE ONE OF THE POTATOCHIP ABDUCTORS, SINKS TO ONE KNEE, AND RAISES AN ODD LOOKING RIFLE, AND FIRES. ANGLE CU LECHTER, AS HE PUSS A SMALL RED DART FROM HIS NECK, AND BEGINS TO SLUMP. ANGLE ON STARLING, AND THE PSYCHIATRIST, AS STARLING SPOTS SOMETHING OVER THE OLDER WOMAN'S SHOULDER. ANGLE HER POV. TWO MEN, MANHANDLING THE FALLEN LAWNMOWER MAN INTO THE POTATOCHIP VAN. ANGLE ON STARLING, AS SHE RELEASES THE PSYCHIATRIST, WHO FALLS, STARLING ADVANCES TOWARD THE VAN. ANGLE AT THE BACK OF THE VAN, LECHTER STARTS TO COME TO LIFE. HE KICKS OUT, AS HE IS BEING PUT INTO THE VAN, AND DISLODGES A SMALL OBJECT ON THE FLOOR. ANGLE ON ONE OF THE MEN, AS HE PULLS LECHTER OFF THE FLOOR OF THE VAN, AND ADMINISTERS ANOTHER SHOT. ANGLE ON LECHTER'S FEET, AS THEY CLEAR THE BACK OF THE FLOOR OF THE VAN, AND THE BACK GATE COMES DOWN ON THE VAN. A PACKAGE OF POTATOCHIPS FALLS, DISLODGED BY LECHTER. ANGLE ON STARLING, AS SHE RUNS TOWARD THE DEPARTING VAN, WHICH PEELS OUT OF THE PARKINGLOT. SHE IS NOW STANDING BY HER CAR. SHE LOOKS INTO THE CAR. ANGLE, INT THE CAR. STARLING'S HAND, REMOVES THE BOUQUET, SHE REMOVES HER SCARF. CAMERA TAKES HER TO THE SPOT WHERE THE VAN STOOD. SHE LOOKS DOWN AT THE ASPHALT. ANGLE HER POV. THE BAG OF POTATOCHIPS. ANGLE. ON STARLING, AS SHE BENDS DOWN TO RETRIEVE THE BAG OF CHIPS. ANGLE INT CONVENIENCE STORE DAY. THE STORE FRONTS ON THE PARKINGLOT, WE SEE STARLING, HER CAR BEYOND HER, RUNNING INTO THE STORE. STARLING -LRB- cont'd. -RRB- FBI where's your phone? SHE GOES BEHIND THE COUNTER, PICKS UP THE PHONE AND DIALS. STARLING -LRB- cont'd. -RRB- -LRB- INTO PHONE. -RRB- Mapp. Get me Ardelia Mapp. Well. Get in touch with her. Tell her. CONVENIENCE STORE OPERATOR could I see some I.D? STARLING Tell her that. CONVENIENCE STORE OPERATOR you're really going to need to show me some identification. WE SEE THE CONVENIENCE STORE OPERATOR MOVE TOWARD A CORNER OF HIS COUNTER AND THE BUTT OF A BARELY CONCEALED PISTOL. ANGLE, ON STARLING. STARLING this is Clarice Starling. -LRB- PAUSE. -RRB-. this is not a personal message. I. -LRB- PAUSE. -RRB- I. SHE HANGS UP THE PHONE. ANGLE INT STARLING'S ROOM. DAY. INSERT, ONTO THE BED, WE SEE THE BOX OF MEMORABILIA. WE SEE STARLING PRODUCE THE PISTOL, RUMMAGE IN THE BOTTOM OF THE BOX, COME UP WITH A SPARE MAGAZINE, AND SEAT IT IN THE GUN. ANGLE, INT. THE KITCHEN OF STARLING AND MAPP'S APARTMENT, WE SEE THE DOOR CLOSING BEHIND STARLING, AND A NOTE TAPED TO THE DOOR. THE NOTE READS : MAPP. MASON VERGER SNATCHED LECHTER. I'VE GONE AFTER THEM. WE HEAR THE SOUND OF THE CAR ENGINE STARTING UP OUTSIDE.","INT. VERGER'S ROOM NIGHT. THE CHILD WE SAW EARLIER, STILL ASLEEP ON THE SOFA, HIS BACK TO CAMERA. VERGER -LRB- VO. -RRB- Yaaasss. RACK FOCUS TO A PREVIOUSLY OUT OF FOCUS TV SCREEN IN THE FOREGROUND, WHERE WE SEE, ANGLE INS A TV PICTURE OF A MEDICAL TEXTBOOK, SHOWING A MULTICOLORED PLATE, THE ANATOMY OF THE FEET. VERGER -LRB- cont'd. -RRB- Yaas. Turn the page, please? ANGLE IN THE ROOM, WE SEE A MECHANICAL CONTRIVANCE TURN THE PAGE. VERGER IS IN HIS BED. ON ANOTHER SCREEN WE SEE THE PIGS, AND CORDELL WALKING PAST THEM, AND INTO THE BARN. ANGLE INT THE BARN. CORDELL WALKS PAST A CAMERA, AND NODS TO IT. ANGLE INT THE ROOM. THE SAME SEEN ON THE TV SCREEN. VERGER -LRB- cont'd. -RRB-. and how is our prize? ANGLE LECHTER, SHACKLED TO A BEAM OF WOOD, TWO FEET OFF THE GROUND. EYES CLOSED. CORDELL COMES UP TO HIM. HE NODS TO THE TWO POTATOCHIP MEN, WHO RETIRE. CORDELL thank you. -LRB- TO LECHTER. -RRB- And how are you this evening, Doctor? No, we know that you're awake. VERGER -LRB- VO. -RRB- Good evening, Dr. Lechter. Thank you for coming. I am sorry that we could not meet under more pleasant circumstances. ANGLE XCU ON LECHTER, AS HE LOOKS UP. ANGLE HIS POV, A SMALL TV CAMERA SET NEAR THE CEILING, ITS RED LIGHT ON. VERGER -LRB- cont'd. -RRB- -LRB- VO. -RRB- But you will recall what the last time we met, you drugged me, and induced me, in that state, to scrape my face off and FEED IT TO THE DOGS. DID THAT DIVERT YOU? TELL HIM WHAT WE ARE GOING TO DO TO RECIPROCATE! CORDELL the bad news is : we're going to stick your feet through those bars tomorrow, and feed them to our pigs. VERGER -LRB- VO. -RRB- Thank you, Cordell. LECHTER -LRB- SPEAKING GROGGILY. -RRB-. but will that satisfy you? VERGER Why should you care? LECHTER It is not that I care for you - but that I posses an enquiring mind. What will you do when I am gone? When you have nothing to occupy your thoughts, save the memory of your own folly, and, more to the point, stupidity. VERGER ARE YOU DONE? LECHTER -LRB- PAUSES TO THINK, THEN, AS IF SURPRISED. -RRB- Yes. VERGER You do n't wish to beg? LECHTER Would that add to your mirth? VERGER Explain in depth the plan we have for him. Until tomorrow. ANGLE ON LECHTER, AS HE LOOKS UP AT THE TV CAMERA. AS CORDELL SPEAKS, HE REMOVES A KNIFE, AND BEGINS CUTTING AWAY THE LEGS OF LECHTER'S PANTS, REMOVING HIS SOCKS AND SHOES ET CETERA. ANGLE HIS POV THE LIGHT IN THE CAMERA FLIPS OFF. ANGLE ON LECHTER AND CORDELL. LECHTER One would have thought he'd keep me under observation. To savor his triumph. CORDELL No, I think he proffers to spend his happy hours with his playmates. LECHTER young boys, still? CORDELL here's to child abuse! LECHTER Mmm. CORDELL and then, he'll be coming down. LECHTER You said the bad news. CORDELL Yes, I did. LECHTER I believe that your tone implied that there was some good news. and, do you know. there might be good news for you. CORDELL Oh, yes, what? You'd bribe me, to, to, to, `` release'' you? LECHTER I can make you rich. CORDELL And I expect you to. -LRB- HE LEANS CLOSER TO HANNIBAL. -RRB- Let's talk like two medical men. -LRB- HE PRODUCES A SMALL CASE, WHICH HOLDS TWO HYPODERMICS. -RRB- LECHTER'S HEAD STARTS TO SWAY. CORDELL Come on, stay with us. Look here : I could get behind you, and give you a spinal, tomorrow, you wuunt feel anything down there, a l'il pulling is all. N ` I'll tell you what, after he's got his jollies, ten, f ` teen minutes, I'll come down here, give you a shotta this. -LRB- HE TAKES A VIAL FROM HIS POCKET. -RRB- stop your heart, an that's you done, an there's an end to it. What do you say? -LRB- CORDELL REMOVES A CELLPHONE FROM HIS POCKET. -RRB- I know you got lotsa money, evabody says so. I know how that stuff works, take it out, move it around. -LRB- LECHER'S HEAD BEGINS TO DROOL. -RRB-. stay with me now, fuss with it. Whatsay we call your banker now, tell him a code. move that money to me, he confirms it, and I fix you up Right Now. -LRB- HE HOLDS UP THE SYRINGE AND SQUIRTS IT. -RRB- Whatsay? LECHTER -LRB- MUMBLING. -RRB-. suitcase. locker. CORDELL Come on, Doctor, then you can sleep. LECHTER -LRB- MUMBLING. -RRB-. unmarked hundreds. CORDELL what? -LRB- HE LEANS FORWARD. FROM THE BACK WE SEE LECHTER'S HEAD COME UP AND MOVE TO BIT CORDELL. -RRB- ANGLE EXT THE BARN. A SOUND OF SCREAMING, THE TWO POTATOCHIP MEN RUN IN GUNS DRAWN, TO SEE CORDELL. HOLDING HIS HAND TO HIS BLOODY FACE. MAN ONE you wan me to shoot im? CORDELL That's the last think I want. -LRB- TO LECHTER. -RRB- Our other option is to beat you for a while, with this axe handle, here. I suppose this is what it feels like. ANGLE ONE OF THE ABDUCTORS -LRB- THE POTATOCHIP MEN -RRB- GOES TO A CONSOLE AND TURNS ON THE SOUND OF RECORDED SCREAMING. HE LOOKS DOWN AT THE PIGS WHO, HEARING THE SCREAMING, COME TO THE SIDE OF THE PEN. HE LOOKS BACK TOWARD THE DIRECTION OF CORDELL, AND LECHTER, AND WINCES. HE RAISES THE AXE HANDLE AND PREPARES TO STRIKE.","INT. VERGER'S ROOM. THE SHAPE OF VERGER ON THE BED. VERGER IS SEEN IN THE FLICKER OF THE TV SCREEN. VERGER Oh yes. Oh, yes, come here. Come here. Up Lad, When the Journey's Over, they'll be time enough for Sleep. WE SEE THE FORM RISE FROM THE BED, AND RISE AND WALK TOWARD VERGER. VERGER -LRB- cont'd -RCB-. -RRB- Yes. Come here. For what good is Television, Educational as it may be, if it is not also entertaining. come - have some popcorn. WE HEAR THE SOUND OF THE AXE HANDLE HITTING SOMETHING. VERGER -LRB- cont'd. -RRB- -LRB- TO THE TV. -RRB- Make it last, make it last, for godsake, make it last. do n't `` hurt'' him! ANGLE EXT.. COUNTRY ROAD, NIGHT. STARLING'S CAR, COASTING DOWN THE HILL. THE OLD GATEHOUSE TO VERGER'S PROPERTY, SEEN IN THE MOONLIGHT. ANGLE STARLING, MOVING THROUGH THE MOONLIT NIGHT, THROUGH THE WOODS. WE SEE THE MUSTANG, BEHIND HER, COVERED WITH BOUGHS, IN THE WOODS, AND BEYOND THAT, BELOW HER, THE GUARDHOUSE. CAMERA TAKES HER UP TO A BARBEDWIRE FENCE, CAMOUFLAGED, WITH BRUSH WOVEN INTO IT. A LARGE TREE STANDS NEXT TO THE FENCE, WITH A BOUGH RUNNING FROM THE NEAR SIDE TO THE FAR SIDE. ANGLE, STARLING LOOKS AT IT, AND SMILES. SHE WALKS FORWARD, LOOKING INTENTLY AT THE GROUND. ANGLE, HER POV. A SMALL TRIPWIRE, SUSPENDED SIX INCHES OFF THE GROUND, COVERS THE AREA IN FRONT OF THE SO - ATTRACTIVE TREE. STARLING FOLLOWS THE TRIPWIRE DOWN, PARALLEL TO THE FENCE. SHE STEPS OVER THE TRIPWIRE AND PROCEEDS DOWN, WATCHING THE FENCE, LOOKING INTENTLY. SHE GOES INTO A GULLY WHERE WE SEE THAT A RUNOFF OF A STREAM IS ERODING A HOLE UNDERNEATH THE BARBEDWIRE FENCE. ANGLE, ON STARLING, AS SHE GETS DOWN ON THE GROUND, TAKES A STICK AND PROBES IN THE FLOW OF WATER UNDERNEATH THE FENCE. SHE NODS, SATISFIED, AND BEGINS TO USE THE STICK TO ENLARGE THE OPENING UNDER THE FENCE.","INT. VERGER' S ROOM. NIGHT. CORDELL -LRB- cont'd. -RRB- Mr. Verger? VERGER I'm awake. Oh. Is it Time! CORDELL STARTS TO PUSH THE GURNEYBED OUT OF THE ROOM. VERGER -LRB- cont'd. -RRB- Oh, yes, one waits so long, and then, and then. ALMOST BY MAGIC. Yes, proceed. Please. proceed. CORDELL STARTS TO EXIT. CAMERA SEES THE GURNEY BED, WITH VERGER ON IT, A SMALL COUCH, ON WHICH IS A YOUNG BOY, ASLEEP, IN FRONT OF A SILENT TELEVISION, A BOWL OF POPCORN BY HIM.","EXT. THE PIGBARN. DAWN. ANGLE ON STARLING, ADVANCING FROM THE WOODS, PISTOL IN HAND. SHE HEARS SCREAMING. SHE HESITATES, THEN MOVES CLOSER. ANGLE, HER POV. ONE OF THE ABDUCTORS, TEASING THE PIGS, PUSHES A PAIR OF STUFFED DUNGAREES THROUGH THE ENCLOSURE. ANGLE ON STARLING, WHO TURNS HER HEAD. AT THE MAIN HOUSE, BY THE POTATOCHIP VAN, THE GURNEY EMERGES, WHEELED BY CORDELL. IT MOVES TOWARD A FORKLIFT TRUCK. ANGLE AT THE GURNEY. CORDELL It wo n't be long now, sir. VERGER OHFORGODSAKE, get ON with it. CORDELL MOVES TO THE FORKLIFT, STARTS IT, AND IT MOVES TOWARD THE GURNEY. ANGLE ON STARLING, AS SHE WATCHES THE FORKLIFT GENTLY PICK UP VERGER IN THE GURNEYBED. THE SOUND OF SCREAMING STOPS. SHE SEES THE ABDUCTOR TURN OFF THE MUSIC, AND RETREAT INTO THE BARN. ANGLE STARLING, MOVING ALONGSIDE THE PIG'S ENCLOSURE. SHE MOVES TO A WALL OF THE BARN. ANGLE HER POV IN THE BARN. LECHTER, MANACLED AND BOUND TO A BEAM. SHE SEES AN ABDUCTOR MOVING TOWARD HIM. LOWERING HIS BEAM TO THE GROUND, AND THEN MOVING OFF, INTO THE TACKROOM, OFF. ANGLE IN THE BARN. STARLING BURSTS INTO THE TACKROOM. STARLING -LRB- TO THE ABDUCTOR. -RRB- On the ground, on the ground. SHE MOVES TO HIM, AS HE COMPLIES, AND REMOVES HANDCUFFS, AND CUFFS THE MAN AROUND A POLE. HE STARTS TO REMONSTRATE, AND SHE HITS HIM ON THE HEAD WITH HER GUNBUTT. SHE EXITS THE TACKROOM, AND ENTERS THE BARN AND ADVANCES ON THE MAULED AND BEATEN FORM OF LECHTER. LECHTER Good morning, Clarice. STARLING Can you walk? Are your legs working? LECHTER Perhaps. shall we see? STARLING I'm going to cut you loose. With all due respect, Doctor, if you fuck with me, I'll shoot you dead, do you understand? Do right and you'll live through this. LECHTER Spoken like a Protestant. STARLING TAKES OUT A KNIFE, AND BEGINS TO CUT THE DOCTOR LOOSE. LECHTER -LRB- cont'd. -RRB- I'll do the rest, if you give me the knife. SHE LOOKS OVER HIS SHOULDER, AT THE FORKLIFT COMING DOWN THE HILL. STARLING No, I do n't think so. LECHTER HAS FREED HIMSELF, AND IS CHAFING HIS LIMBS TO RESTORE CIRCULATION. STARLING -LRB- cont'd. -RRB- -LRB- AS SHE POINTS TO THE FORKLIFT. -RRB- I'm going to subdue our friends, coming down the hill, and I want you to cuff em, and to put em inside with the other fella. My car is. -LRB- SHE GESTURES BACK AT THE WOODS. -RRB- LECHTER Other fellow? There should have been two of them? ANGLE ON THE SECOND ABDUCTOR, IN THE LOFT OF THE BARN, HOLDING HIS DARTGUN. HE FIRES. ANGLE CU ON STARLING, WHO EXTRACTS A DART FROM HER BICEP. SHE LOOKS AROUND, AND FALLS, DAZILY. HER PISTOL FALLS THROUGH THE BARS INTO THE PIGPEN. ANGLE ON THE MAN IN THE LOFT, AS HE RELOADS, AND SIGHTS ON LECHTER, WHO IS KNEELING BY STARLING. WE SEE LECHTER PICK UP HER PISTOL, AND FIRE AT THE MAN IN THE LOFT. ANGLE. THE MAN IN THE LOFT, HE FALLS AGAINST A RAILING, HE DROPS HIS DARTRIFLE. IT DROPS INTO THE PIG'S PEN. HE DROPS, DEAD, INTO THE PIG'S PEN. ANGLE. ON THE PIGS, AS THEY GO WILD, TRYING TO EAT THE RIFLE. ANGLE ON THE FORKLIFT AND THE GURNEY, AS IT ENTERS THE BARN. ANGLE ON CORDELL DRIVING THE FORKLIFT. VERGER What's happening, would you please? ANGLE ON LECHTER, AS HE MOVES TO STARLING, AND PULLS HER AWAY FROM THE PIGPEN, HE TRIES TO REACH THROUGH THE BARS FOR HER PISTOL, BUT IT IS JUST OUT OF REACH. HE LOOKS UP. ANGLE ON VERGER AND CORDELL, APPROACHING LECHTER. CORDELL Stop there, would you, please, Doctor? LECHTER The girl could use some help. VERGER You're free. LECHTER which of us is free? VERGER Yes, to cease to Hope is the Greatest Crime. The Greatest crime. Perhaps the only crime. I never ceased to hope! LECHTER The girl needs help. VERGER And what would be of Greater Help, than to release her, from the bonds of this sordid earthly existence. DO N'T YOU THINK? IN WHICH THE INNOCENT ARE TORTURED IN WAYS WHICH WOULD MAKE THE ANGUISH OF THE DAMNED SEEM TAME AND UNIMAGINATIVE, DO N'T YOU THINK? BLIND HIM AGAIN, AND PREPARE HIM AND HER FOR THE PIGS! -LRB- CORDELL, HOLDING A GUN, ADVANCES ON LECHTER. -RRB- LECHTER might I make a suggestion? VERGER after you' re dead. AND WHEN I GIVE THE WORD, do you understand. when I give the word. ANGLE ON LECHTER, BEING BOUND, AND HOISTED UP, AGAIN, ON THE BEAM. CORDELL fraid, that's about it, Doctor. LECHTER Let the girl go. CORDELL Why? LECHTER For a consideration. CORDELL ` fraid it's too late. VERGER when I. -LRB- PAUSE. -RRB- CORDELL CONTINUES THE FINAL PREPARATIONS OF LECHTER. LECHTER what has she done to harm you? CORDELL Yes, do you know, you're right. -LRB- HE PAUSES. -RRB-. Mr. Verger? -LRB- PAUSE. -RRB- Mr. Verger, Sir? He's ready. -LRB- PAUSE. -RRB- ANGLE ON CORDELL, AS HE LEAVES THE TRUSSED LECHTER, STEPPING OVER STARLING, AND PROCEEDS BACK TOWARD THE GURNEY, WHICH IS HALF HIDDEN BY THE PIGPEN. ANGLE HIS POV. AS HE COMES AROUND THE CORNER, THE CHILD FRANKLIN HAS THE BOWL OF POPCORN, AND IS SEEN FEEDING POPCORN TO VERGER. ANGLE CORDELL'S POV. THE LIFESIGNS DISPLAY OF VERGER. A SINGLE BLIP, A LONG PAUSE, ANOTHER IRREGULAR BLIP. A LONG PAUSE. ANGLE CORDELL, AS HE ADVANCES ON THE CHILD. CORDELL -LRB- cont'd. -RRB- Hey, Franklin. Hey. Tell you what, if you'd just stop doing that, I'm going to give you something nice. FRANKLIN He do n't like popcorn. CORDELL No. And. FRANKLIN I like Popcorn. CORDELL yes, if you'll, just step away. FRANKLIN You give me whatever I want? CORDELL Yes. You know I will. That's right. FRANKLIN Awright. FRANKLIN STEPS AWAY. AND CORDELL RUNS UP TO VERGER AND TRIES TO REVIVE HIM. ANGLE ON FRANKLIN, AS HE MOVES AROUND THE PEN, AND PULLS A LEVER WHICH OPENS THE GATE. ANGLE ON THE PIGS, AS THEY START TO MOVE INTO THE AREA OCCUPIED BY CORDELL AND VERGER. ANGLE ON FRANKLIN. FRANKLIN -LRB- cont'd. -RRB- You know what I want? ANGLE ON CORDELL, BENT OVER VERGER, AS HE LOOKS BACK. ANGLE ON FRANKLIN. FRANKLIN -LRB- cont'd. -RRB- I WANT KITTYKAT! ANGLE ON CORDELL, AS HE SEES THE PIGS APPROACHING, HE STARTS TO SCREAM. ANGLE ON FRANKLIN, AS HE CLIMBS UP TO THE AREA WHERE WE SEE LECHTER. LECHTER Let me down, son, let me down. FRANKLIN What'll you do for me? LECHTER I'll take you home. FRANKLIN Ai n't got no home. LECHTER Then what would you like? FRANKLIN COMES OVER AND WHISPERS TO HIM. ANGLE ON HANNIBAL, AS HE RECOILS. BEAT. THE SOUND OF SCREAMING STOPS. PAUSE HANNIBAL -LRB- PAUSE. -RRB- Yes. You shall have it. FRANKLIN Then you goin to hell. HANNIBAL that's right. FRANKLIN LOOSES THE ROPE WHICH HOLDS LECHTER, AND LECHTER ENTERS THE PIGPEN. WE SEE THE PIGS, AT THE FAR END, SAVAGING WHAT WE ASSUME TO BE THE FORMS OF VERGER AND CORDELL. ANGLE ON HANNIBAL, AS HE STOOPS TO THE FORM OF STARLING, AND GATHERS HER UP. THE PIGS ADVANCE ON HIM, AND THEN STOP. HE STEPS THROUGH THEM, AND OUT OF THE BARN. ANGLE EXT THE BARN. STARLING, PUT DOWN IN THE GRASS. BEAT. SHE STIRS. SHE HALF - OPENS HER EYES. ANGLE, HER POV LECHTER, WALKING TOWARD HER, BEHIND HIM THE VERGER ESTATE BURSTING INTO ROARING FLAMES. ANGLE ON FRANKLIN, STANDING BY THE FLAMES, LOOKING AT LECHTER, AS HE WALKS UP TOWARD STARLING. ANGLE ON LECHTER, AS HE PICKS UP STARLING, WE SEE A SECURITY CAR COMING DOWN THE DRIVE, AS LECHTER AND STARLING FADE INTO THE WOODS.","INT. SUMPTUOUS, ELEGANT DININGROOM. STARLING, IN A DECOLLETE EVENING GOWN, STANDING IN FRONT OF A PERFECT PRESENTATION OF BACCARAT AND LIMOGES. ANGLE HER POV. LECHTER, IN A TUXEDO, STANDING AGAINST THE BALCONY OF THE ROOM, WHICH LOOKS OUT ON THE SEA. HE SMILES AT HER. LECHTER You look lovely. STARLING Thank you. -LRB- SHE MOVES TO SIT, AND LECHTER COMES UP AND HOLDS HER CHAIR FOR HER. -RRB- No, I know you'd prefer `` I'm glad you find me so.'' LECHTER I'd prefer you to say what you feel. STARLING What is that that smells so wonderful. LECHTER I hope you'll find it so. -LRB- HE POURS HER A GLASS OF WINE. -RRB- Yes. It's good to see you regaining your strength. STARLING Thanks to you. WE SEE LECHTER EXCUSE HIMSELF, AND RETIRE INTO THE KITCHEN. WE SEE HIM TAKING DOWN SAUCEPANS, AND MIXING WHAT APPEARS TO BE A MARINADE. LECHTER Now, what were we last speaking of? STARLING We were speaking of my father. LECHTER POURS THE MARINADE INTO A PAN, LIGHTS THE FLAME IN THE STOVE, WIPES HIS HANDS, AND RETURNS TO THE DININGROOM. LECHTER I'm sorry? STARLING we were speaking of my father. LECHTER Indeed we were. STARLING and my need for The Institution. LECHTER Freud, do you know? Freud psychoanalyzed patients in One Afternoon. STARLING And how did he do that? LECHTER He saw the truth, and spoke it. STARLING I'm afraid, this wine is making me woozy. LECHTER you have to eat. LECHTER RETURNS TO THE KITCHEN, INDICATING `` ONE MOMENT.'' LECHTER -LRB- cont'd. -RRB- -LRB- AS THE CAMERA TAKES HIM TO THE KITCHEN, AND WE HALF - SEE THE TORSO OF A MAN SITTING IN A KITCHEN CHAIR. -RRB- You've sought out The Institution all your life, as you with it to replace your Father. This is obvious. Less obvious is this : that you require the institution not to support you, but to FAIL. FOR THIS KEEPS YOUR FATHER ALIVE. ANGLE ON STARLING, SITTING, NODDING, AS SHE DRINKS HER WINE. SHE PUTS THE GLASS DOWN, A TRIFLE WOOZY. LECHTER -LRB- cont'd. -RRB- as this keeps your father alive. The truth is two - fold, and the truth is one : THE WIND FROM THE OCEAN BLOWS A STRAND OF HAIR ACROSS HER EYES, SHE BRUSHES IT BACK. LECHTER -LRB- cont'd. -RRB- -LRB- VO. -RRB- That every man is fallible, that every institution, being made of men, can not but be corrupt. ANGLE ON STARLING, LOOKING DOWN AT HER HAND. ANGLE HER POV. THE HAND IS COVERED WITH MUD AND BLOOD. ANGLE, STARLING, LOOKING PERPLEXED, AT THE KITCHEN WHERE WE SEE THE FORM OF LECHTER, MOVING ACROSS THE KITCHEN. ANGLE ON LECHTER. AS WE SEE, HE CARRIES A SCALPEL, HE MOVES TOWARD THE HALF - SEEN FORM OF THE MAN IN THE CHAIR. HE BENDS DOWN OVER THE MAN, AND WE SEE THAT HE CARRIES A SCALPEL AND A SMALL MEDICAL SAW. LECHTER -LRB- cont'd. -RRB- the only art in this dish, of course, is that it must be fresh. ANGLE ON STARLING, IN THE ROOM, AS SHE PICKS UP A SMALL ROSEBUD FROM THE CUT CRYSTAL BUDVASE IN FRONT OF HER. SHE LOOKS AT IT WOOZILY, AND IT FALLS FROM HER FINGERS. SHE BENDS DOWN. ANGLE, HER POV, THE FLOOR. THE ROSEBUD, ON A FILTHY, TORN LINOLEUM FLOOR, HER LEGS ENCASED IN THE MUDDY PANTS WE SAW HER IN AT VERGER'S FARM. ANGLE ON STARLING, AS SHE STRAIGHTENS, HOLDING THE ROSE. WE SEE A LOOK OF CONSTERNATION ON HER FACE. HER FACE IS BLOODY, AND COVERED IN MUD, WE SEE SHE IS NOT IN A SUMPTUOUS DININGROOM, BUT IN A SLUM. ANGLE HER POV LECHTER, IN THE KITCHEN, IN TUXEDO, MOVING PAST THE DOORWAY. ANGLE INT THE KITCHEN. LECHTER, AS WE NOW SEE, IN THE FILTHY KITCHEN OF A SLUM. COOKING ON A HOTPLATE. DRESSED IN WORKCLOTHES, CAMERA TAKES HIM, FROM BEHIND, TO THE SLUMPED FORM OF THE MAN, CAMERA CUTS OFF AT THE MAN'S SHOULDERS, WE SEE LECHTER, FROM THE BACK, LIFTING SOMETHING FROM THE DIRECTION OF THE MAN'S HEAD, AND CARRYING IT BACK TO THE FILTHY TABLETOP, WHERE, AS HE SPEAKS, HE BEGINS KNEADING IT WITH FLOUR, WE SEE THE PAN SIZZLING ON THE HOTPLATE. ANGLE IN THE SLUM ROOM. STARLING, DAZED, AND LECHTER, REENTERING. LECHTER -LRB- cont'd. -RRB- That the institution can not but be corrupt, and, therefore, it can not be but an act of complicity to seek to appease it. HE MOVES BACK INTO THE KITCHEN, PUTS THE BREADED PIECES OF CUTLET INTO THE PAN, THE FIRE SHOOTS UP. LECHTER -LRB- cont'd. -RRB- So many civilizations eat their slain enemies. what do you think? How much better to devour a person physically, than to devour his spirit. Which is, of course, the purpose of the institution. HE REMOVES THE MEAT FROM THE PAN, AND FORKS IT ONTO A TIN PLATE. LECHTER -LRB- cont'd. -RRB- -LRB- REENTERING THE DININGROOM. -RRB- : and that is the especial surprise, I've prepared for You! STARLING I feel weak. LECHTER -LRB- NODDING. -RRB-. you must eat. SHE LOOKS DOWN AT THE TABLE. SHE PICKS UP HER FORK. ANGLE HER POV THE LOVELY LINEN TABLE, THE STEAMING MEAT ON THE LIMOGES PLATE. A HUGE COCKROACH, SCURRYING ACROSS THE TABLECLOTH. ANGLE ON STARLING, AS SHE RISES, UNSTEADILY, IN HER MUDDY CLOTHES. STARLING 1 do n't understand. SHE WALKS TOWARD THE BALCONY WINDOW, LOOKING OUT AT THE OCEAN. ANGLE HER POV. OUT THE WINDOW, A SQUALID CITY STREET, SEEN FROM THE THIRD FLOOR. A COUPLE OF CARS STOPPING AT THE END OF THE STREET. ANGLE, ON STARLING, AS SHE TURNS BACK TOWARD LECHTER. LECHTER -LRB- IN THE KITCHEN. -RRB- The gift, of course is not the meal - but the identification - which of us does not need help? The identity, of your true enemy? for you always sought to befriend, to wish the love of those who wished you ill. ANGLE, ON LECHTER, STANDING BEFORE THE FIGURE TIED TO THE CHAIR. LECHTER -LRB- cont'd. -RRB- Come here - he is in no pain, there are no nerves in the brain, come here. ANGLE, LECHTER'S POV THE FIGURE OF CRAWFORD TIED TO THE CHAIR. LECHTER MOVES TO HIM AND EXTRACTS FROM HIS UPPER POCKET, A XEROX OF THE PHOTO OF THE BADGE WITH THE HOLE IN IT. LECHTER -LRB- CONT'D. -RRB- Come here, I'm going to cure you. ANGLE HIS POV. STARLING, IN THE SLUMROOM, LOOKING OUT OF THE WINDOW. ANGLE STARLING, DAZED, LOOKING OUT OF THE WINDOW, LECHTER COMES UP BEHIND HER, AND LOOKS OUT. ANGLE HIS POV. THE SLUM STREET, A VAN NOW PULLING UP, A SQUAD OF SWAT OFFICERS APPROACHING A PARKED CAR. ANGLE ON LECHTER AND CLARICE. LECHTER APPROACHES HER. ANGLE HIS POV, STARLING, IN THE BEAUTIFUL GOWN, HE MOVES AS IF TO CARESS HER BREAST. ANGLE ON STARLING, AS SHE LOOKS DOWN. WE SEE SHE IS NOW CLOTHED IN HER FILTHY CLOTHES, AND LECHTER IS FRISKING HER. ANGLE LECHTER, FRISKING THE FILTHY STARLING, TAKES OUT THE MARINECORP HATBADGE, WHICH WE SAW EARLIER, HE BREAKS IT OPEN, AND REVEALS A MICROTRANSMITTER. LECHTER -LRB- cont'd. -RRB- Oh, no. Oh, NO. They've put a beeper on you. How careless of me. How finally careless, Do you think? Have I erred on Purpose? Eh? Or am I just unlucky? Could one not say that's the essential question of Philosophy? ANGLE ON STARLING, DAZED, LOOKING ON. STARLING Might I have some more of the wine? ANGLE ON LECHTER, AS HE MOVES TO A BACK WINDOW. STARLING, AS SHE RISES, AGAIN, IN HER BALLGOWN. STARLING -LRB- cont'd. -RRB- Because, I find I like the effects. You may say that it's inebriation, but it seems. -LRB- SHE SMILES. -RRB- This lovely evening, in particular. it seems to reward me with clarity. -LRB- SHE LAUGHS. -RRB- THERE IS A SOUND BEHIND HER. THE BEAUTIFUL FRENCHDOORS OPEN AND ADMIT A HAPPY COTERIE OF GOWNED WOMEN AND FORMAL DRESSED MEN, THEY ARE ALL CHATTERING THEIR JOY AT SEEING HER. STARLING -LRB- cont'd. -RRB-. or perhaps, it is just the heat. I was just saying to the Doctor. -LRB- SHE GESTURES. -RRB- ANGLE HER POV THE OPEN WINDOW, THE SHADES BLOWING. CAMERA COMES BACK TO STARLING, WHO IS IN HER RAGS, WITH THE SWAT TEAM ENTERING THE ROOM. STARLING -LRB- cont'd. -RRB- But, do you know, do you know, I'm not feeling altogether. SHE SWOONS. A SWAT MAN CATCHES HER. SWAT MAN I've got her. ANGLE IN THE SLUMROOM, WE SEE THAT A SWAT TEAM HAS ENTERED. ONE OF THEM HAS CAUGHT THE FAINTING STARLING IN HIS ARMS. THE SEVERAL MEN PROCEED TOWARD THE BACK OF THE KITCHEN. STARLING -LRB- AS WE SEE SHE IS IN KRENDLER'S ARMS. -RRB-. may be the heat. KRENDLER Let's get her out of here. SWAT OFFICER, FROM THE KITCHEN. AS HE GAZES IN THE DIRECTION OF CRAWFORD. STARLING But as my father used to say. SWAT OFFICER -LRB- IN KITCHEN. -RRB-. ohmiGod.","EXT. TEXAS GRAVEYARD DAY. A NEW MARBLE HEADSTONE BEING LOWERED ONTO A GRAVE. IT IS ORNATE AND SOLID, AND READS : JAMES RANDALL STARLING, HUSBAND AND FATHER. DIED 1975. ANGLE STARLING STANDING BY THE GRAVE, HOLDING FLOWERS, BEHIND HER STAND MAPP AND HER BOYFRIEND. BEHIND THEM STAND AN OFFICIAL LOOKING MAN, WHO HOLDS HIS STETSON, REVERENTLY, IN FRONT OF HIM. IN THE BG WE SEE A TRUCK MOVING SLOWLY DOWN THE DUSTY CEMETERY ROAD. ANGLE ON STARLING, AS SHE KNEELS, AS THE STONE IS PLACED, PUTTING A SMALL BOUQUET OF FLOWERS NEXT TO IT. AS SHE KNEELS, AND CAMERA CRANES DOWN, WE READ THE BOTTOM OF THE INSCRIPTION : `` DIED 1975. HE WILL NEVER KNOW HOW HE WAS MISSED.'' ANGLE ON STARLING, AS SHE STANDS, AND MAPP COMES, AND PUTS HER ARM AROUND HER. MAPP That's why it's a stone, you know, It means Do n't Come Back. STARLING NODS, AND THEY TURN AWAY, AND WALK AWAY FROM THE GRAVE. IN THE BG WE SEE ANOTHER GROUP OF MOURNERS, WEARING WESTERN GARB. STARLING AND HER GROUP CROSS A SERVICE ROAD, IN FRONT OF THE OLD TRUCK. STARLING Well. No. He ca n't come back. MAPP Baby, that's the beginning of wisdom. MAPP PUTS HER ARM AROUND STARLING, AS THEY WALK OFF. STARLING NODS, THAT SHE UNDERSTANDS, AND LAYS HER HEAD ON MAPP'S SHOULDER. WE SEE SEVERAL GRAVEDIGGERS SITTING ON THE BACK. THE MAN IN THE PASSENGER SEAT, WEARING A STRAW WESTERN HAT, TURNS, TO LOOK AT STARLING AND THE GROUP. IT LOOKS LIKE LECHTER. ANGLE ON STARLING, AND HER GROUP, AS THE MAN IN THE TRUCK MOMENTARILY CATCHES HER EYE. ANGLE ON STARLING, AS SHE WALKS THROUGH THE GRAVEYARD. A GLINT OF LIGHT PLAYS ACROSS HER FACE, AND SHE SQUINTS. ANGLE HER POV. THE LIGHT HITTING THE SHOVEL OF THE GRAVEDIGGER IN THE STRAW HAT. THE GRAVEDIGGER IS HALF HIDDEN BY THE GROUP HE WALKS WITH. ANGLE OVER MAPP, WHO IS TALKING, AND ONTO STARLING, AS SHE STARES AT THE GRAVEDIGGER, WHO IS APPROACHING HER. ANGLE ON HER BODY, AS SHE REACHES TO HER BELT FOR A SIDEARM. ANGLE TIGHT ON THE TWO WOMEN, AS STARLING LEANS IN. STARLING -LRB- SOTTO. -RRB- Give me your gun. ANGLE ON MAPP, AS SHE LOOKS AT STARLING. MAPP what? ANGLE ON STARLING, AS SHE LOOKS AT THE APPROACHING FIGURE. ANGLE HER POV THE GRAVEDIGGER, AS HE EMERGES FROM THE GROUP. WE SEE HE IS A NONDESCRIPT LABORER. ANGLE ON STARLING AND MAPP. MAPP -LRB- cont'd. -RRB- what, what did you say? ANGLE ON STARLING, AS SHE SHAKES HER HEAD. ANGLE ON THE LABORER, AS HE PASSES BY AN ARRIVING, OLDER LIMOUSINE, STARLING AND MAPP IN THE BACKGROUND. ANGLE ON STARLING AND MAPP, AS MAPP AND JIM TAKE THEIR LEAVE FROM STARLING, WHO IS INDICATING, `` I JUST WANT TO BE ALONE FOR A WHILE.'' WE SEE MAPP NOD, AS SHE AND JIM GET INTO THEIR CAR. ANGLE ON STARLING, AS SHE WALKS BACK TOWARD HER FATHER'S GRAVE PAST A SMALL BLACK CLAD FAMILY, WHO ARE EMERGING FROM THE LIMO. ANGLE XCU ON STARLING, AS SHE LOOKS AT THE OFFENDING FIGURE. ANGLE HER POV. THE MAN TURNS MORE TO CAMERA, AND WE SEE HE IS A NONDESCRIPT LABORER. ANGLE ON STARLING, AS SHE TAKES HER LEAVE OF MAPP AND MAPP'S FRIEND, WE SEE THEM PASS BY ANOTHER SMALL FUNERAL, SEVERAL BLACK CLAD MOURNERS AND AN OLD LIMOUSINE, AT THE GRAVESIDE. STARLING CHATS WITH MAPP FOR A MOMENT, OBVIOUSLY SAYING SHE, STARLING, WANTS TO STAY ON AT THE GRAVE. MAPP NODS, AND SHE AND HER FRIEND GET INTO THEIR CAR AND DRIVE AWAY. ANGLE ON STARLING, AS SHE PASSES BY THE OTHER FUNERAL, BACK TOWARD HER FATHER'S GRAVE. ANGLE INT THE LIMO. WE SEE, THROUGH ITS WINDSHIELD, STARLING CROSS, AND MOVE OUT OF FRAME. WE SEE THE BLACK COATED ARM OF THE LIMO DRIVER MOVE. HIS HAND COMES UP TO THE REARVIEW MIRROR, AND WE SEE STARLING IN THE REARVIEW MIRROR, AND WE SEE THE DRIVER'S HAND HAS THE SMALL SCAR IN THE SHAPE OF THE NUMERAL THREE. FADE OUT."],"string":"[\n \"INT. MIDWIVES OFFICE DAY. FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED TO A BULLETIN BOARD. `` COMMON SENSE FOR NURSING MOTHERS,'' ET CETERA. A LOWER - CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW, OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS HER BROW AS SHE WALKS TO THE REGISTRATION DESK. MOTHER It's hotter inside than it is outside. with the air conditioning. REGISTRAR Would you sign in here, please? You know, we're closing in half an. MOTHER I just came to drop off my payment. SHE DROPS AN ENVELPE ON THE DESK. AS SHE LEAVES WE SEE THE DOOR OPEN, AND THE DREARY SUBURBAN SPRAWL PARKING LOT BEHIND. CAMERA PANS HER PAST CLARICE STARLING, WHO IS SITTING, VERY HOT AND PREGNANT, ON A BENCH. THE MOTHER EXITS, AND EVELDA DRUMGO, A VERY BEAUTIFUL AFRICAN AMERICAN WOMAN, HOLDING A NEWBORN, ENTERS. SHE LOOKS AROUND, GOES TO THE REGISTRAR, AND SIGNS IN. REGISTRAR that'll just be a minute. DRUMGO SITS, SHE AND STARLING EXCHANGE A LOOK. BEAT. STARLING S'hotter inside than it is outside. even with the air conditioning. -LRB- SHE LOOKS AT HER WATCH, THEN UP AT THE WALLCLOCK. -RRB- DRUMGO You nervous? STARLING Evone tells me : I shoulda been in, fi, six, months ago. thizz my first checkup. DRUMGO Gon na be fine. You ask your momma. STARLING MUTTERS. DRUMGO -LRB- cont'd. -RRB- what? STARLING I did n't realize I said it out loud. DRUMGO Said what? STARLING I'm an orphan. DRUMGO Well, then, you're a lucky girl, cause that baby's gone to be your family. -LRB- TO THE RECEPTIONIST. -RRB-. I've got an appointment. THE RECEPTIONIST IS GONE, DRUMGO GOES TO PEER OVER THE RECEPTION DESK. ANGLE ON STARLING STARLING That is a lovely thing to say. DRUMGO Waal. STARLING It gets, um. it gets so lonely sometime. DRUMGO -LRB- SITS. COMFORTS THE CHILD. -RRB- What'd you say, hon? STARLING I said sometime it gets so. DRUMGO Well, do n't you worry, cause that baby's gone take care of that. SHE BRUSHES BACK THE HAIR FROM THE SIDE OF HER FACE. ANGLE INS. ON A BARRETTE IN HER HAIR. WHICH WE SEE BEARS A SMALL MICROPHONE. ANGLE ON STARLING, AS SHE HITCHES HERSELF UP IN HER SEAT, AS IF TO FIND A COMFORTABLE POSITION. ANGLE INSERT. ON THE BACK OF HER DRESS. WHERE WE SEE THE PRINT OF A SQUARE BOX, AS STARLING'S HAND MANIPULATE A SMALL KNOT THROUGH THE DRESS. NEXT TO IT WE SEE THE PRINT OF A PISTOL UNDER THE DRESS. ANGLE ON STARLING AND DRUMGO. STARLING, AS SHE FIDDLES WITH THE BARRETTE ONCE AGAIN. STARLING -LRB- cont'd. -RRB- I wonder if you could just, sit down, talk with me a moment. ANGLE XCU ON STARLING, HOLDING THE BARRETTE, AS SHE SPEAKS TO DRUMGO. STARLING -LRB- cont'd. -RRB- Cause, you know, I'm sitting here all alone. Do you know what I mean? -LRB- PAUSE. -RRB- Cause I feel it's getting late for me. do you know? That I've Waited Too Long. ANGLE ON DRUMGO, AS SHE STANDS IN THE EMPTY RECEPTION AREA, AND LOOKS AT IT AND THEN BACK TO STARLING. DRUMGO -LRB- PAUSE. -RRB- Waited too long, hon? -LRB- PAUSE. -RRB- -LRB- SHE LOOKS AT STARLING. -RRB- STARLING How's your child? STARLING STANDS, AND MOVES TO LOOK OUT OF THE WINDOW. ANGLE XCU ON DRUMGO, AS SHE LOOKS AT STARLING. ANGLE, HER POV THE DRESS, STUCK BY SWEAT, TO STARLING'S BACK, REVEALS THE PISTOL AND TRANSMITTER. ANGLE ON STARLING, AS SHE SITS DOWN AGAIN. DRUMGO what? STARLING I said how's your baby? DRUMGO You want to hold him? STARLING Waal. DRUMGO ` bout time you learned. SHE HANDS THE BABY TO STARLING. SHE GOES INTO THE CHILD'S DIAPERBAG AND TAKES OUT A PISTOL, AND LEVELS IT AT STARLING, AS SHE MOVES TO LOOK OUT THE WINDOW. DRUMGO -LRB- cont'd. -RRB- where's your friends? SHE MOVES TO STARLING, AND FRISKS HER, AND REMOVES HER PISTOL, AND THE TRANSMITTER FROM THE BELT AT HER BACK. DRUMGO -LRB- cont'd. -RRB- you're here all by yourself, honey. STARLING Give it up, Evelda. DRUMGO Well, you know my name, honey, but I do n't know yours. STARLING Give it up. DRUMGO Hey, you know, I never thought of that. SHE STARTS GETTING INTO THE NURSES GARB. DRUMGO -LRB- cont'd. -RRB- Ai n't this a picture, though, cause you know you ai n't the first girl, ever got lef, in a position, waiting at the doctor's. You ca n't trust men, child, do n't you know that. old as you are? SHE WALKS BACK TOWARD STARLING, SCOOPS UP HER CHILD, PEEKS OUT THE WINDOW, AND STARTS FOR THE DOOR. DRUMGO -LRB- cont'd. -RRB- Cause, see, they'll always let you down. Terrible thing, to do to an orphan. SHE LEANS BACK TOWARD STARLING, GRABS HER HAIR, AND PULLS HER BACK AND KISSES HER ON THE LIPS, AND RETIRES AND EXITS. ANGLE ON STARLING, AS SHE LOOKS OUT OF THE WINDOW. AT A CAR, WHICH IS IN THE FAR END OF THE PARKING LOT, IT ACCELERATES, AND SCREECHES UP TO THE DOOR, AND EVELDA, CARRYING HER CHILD, GETS IN TO THE STILL MOVING CAR, WHICH STARTS TO TAKE OFF. ANGLE EXT THE MIDWIVES CENTER. STARLING, CROUCHING AT THE DOOR, RETRIEVES A BACKUP WEAPON FROM HER ANKLE HOLSTER. SHE EMERGES FROM THE DOORWAY. ANGLE IN THE PARKING LOT, DRUMGO AND CHILD, GETTING HAULED INTO THE CAR. A FIGURE IN THE BACKSEAT OF THE CAR, SHOOTING OVER THE ROOF, APACHE STYLE, FIRES AT STARLING, AS THE CAR PEALS OUT OF THE PARKINGLOT. STARLING TAKES COVER. BEAT. STARLING, ALONE, WALKS INTO THE NOW EMPTY PARKINGLOT. SHE SITS ON A LOW CONCRETE DIVIDER. HOLD. A VAN PULLS IN. FOLLOWED BY ANOTHER CAR, AND TEN SWAT CLAD COPS PILE OUT, AND APPROACH STARLING. STARLING SLOWLY LOOKS UP. STARLING where were you? -LRB- SHE LOOKS AT HER WATCH. -RRB- SWAT OFFICER -LRB- AS SEVERAL OTHER OFFICERS MOVE INTO THE MIDWIVES CENTER. -RRB-. we, we did n't hear the go - ahead. STARLING -LRB- AS SHE HANDS HIM THE SMALL RADIO TRANSMITTER. -RRB- Yeah, well, you did n't get it cause your radio went dead. The backup plan was, 17.45, you guys are the Cavalry. SHE GETS UP AND WALKS AWAY FROM THE DOORSTEP, TO A SEDAN, WHICH IS PULLING UP. AS SHE GOES, SHE TAKES OFF THE FAKE BELLY SHE HAS BEEN WEARING. ANOTHER SWAT AGENT TAKES THE RADIO AND LOOKS AT IT. SECOND SWAT OFFICER what'd you do, sweat it out, short out the leads? Got a little hot in there? SHE FLINGS THE FAKE STOMACH AT HIM. SECOND SWAT OFFICER -LRB- cont'd. -RRB- what happened to Right to Life? -LRB- HE LAUGHS. -RRB- STARLING ROUNDS ON HIM, HITS HIM SEVERAL TIMES, AND THROWS HIM TO THE GROUND. STARLING What happened to Right to Life? What happened to right to my life? I'm in there, carrying the mail for all you drugstore cowboys, si'in in a van playin with each other's Velcro. -LRB- THE OFFICER STARTS TO GET UP. -RRB- You wan na get up, you wan na get up? Here I am. TWO FBI TYPES GET OUT OF THE NEWLY ARRIVED SEDAN. FBI TYPE What happened to the girl? STARLING -LRB- AS SHE GETS INTO THE SEDAN. -RRB- Get me out of here.\",\n \"INT. CONFERENCE ROOM FBI HEADQUARTERS DAY. STARLING IS NOW DRESSED IN A T - SHIRT AND JEANS. SHE HAS CLEANED HERSELF UP. KRENDLER, A CLEAN - CUT STUDENT COUNCIL TYPE AROUND FORTY IS HOLDING FORTH. AROUND THE CONFERENCE TABLE ARE THE FATHERLY JACK CRAWFORD, AND VARIOUS OTHER POLITICOS. KRENDLER GESTURES AT THE TABLE, WHICH HOLDS THE BURNT OUT RECEIVER, THE FAKE `` PREGNANT'' STOMACH WORN BY STARLING, AND A PHOTO, HE HOLDS THE PHOTO. WE SEE IT IS DRUMGO, A SURVEILLANCE PHOTO. KRENDLER And you let her get away. STARLING Sir, with all due respect. CRAWFORD Just a moment. Starling did n't. KRENDLER Well, well, well, well, well, she went in there, to apprehend a Dangerous Felon. Went in there with her gun, Came out, without the Felon, without the gun. STARLING STARTS TO SPEAK, AND CRAWFORD STILLS HER. CRAWFORD I had. one moment, I had an agent in there, waiting for backup from. KRENDLER she could n't act on her own? Where is the FBI's vaunted Initiative, where? STARLING Sir : CRAWFORD Shut up, Starling. STARLING I could have acted on my own. I was told. CRAWFORD Starling, I've ordered you to shut. STARLING I was instructed that this was a Joint Task Force, the FBI, BATF, and the Mayor's Special. KRENDLER You find something objectionable to working in partnership with. STARLING Sir, I'm in Law Enforcement, I was out there, dealing with an armed and dangerous. KRENDLER You were given backup. STARLING THEN WHERE WAS IT? I'm sent out there. I'm told that the arrest must be a joint. KRENDLER I'm saying :. and what's wrong with that. STARLING And I'm telling you : You wan na throw a Birthday Party : Every kid gets a Chance to Play, that's fine, but. KRENDLER No, I do n't get you. STARLING Due respect, you do n't, sir, your precious Joint Operation. FBI, ATF, DC SWAT, it's alphabet soup, we do n't have the same Radio Freqs, we do n't. KRENDLER Oh, is this your political position, you're opposed to Joint. STARLING I'm opposed to being part, Your Rainbow Coalition. Evelda Drumgo? I could of took her down in a snap of the fingers - But - I'm out there, and my Rules of Engagement. MAYOR'S REP The Rainbow Coalition, what is that, excuse me. KRENDLER And what are you, our Token Woman? STARLING I do n't mind being the token woman, what I'm suggesting, send me out there with a token man. who are these Warriors, ¥ our cobbled together Strike Force? I'm in the room with a fugitive felon. CRAWFORD Starling? STARLING One moment, and they're at the Seven - Eleven. They botched the fallback plan, they. KRENDLER And, fine, alright, and fine. what are youdoing, this whole time? STARLING Sir, I was, as instructed, waiting for the Arrival of the Strike Force. -LRB- PAUSE. -RRB- CRAWFORD I think that's. -LRB- HE STARTS TO RISE, AND THE MEETING BEGINS TO BREAK UP. -RRB- Starling, I'm sure these gentlemen. KRENDLER And how did she get close enough to disarm you? ANGLE TIGHT ON STARLING, AS SHE BEGINS TO EXIT, MUTTERING. STARLING spend some time on the streets. Ask me then. KRENDLER Thank you, that's not responsive. How did our Miss Drumgo get. ANGLE EXT THE CONFERENCE ROOM. A CORRIDOR AT FBI HQ. VARIOUS MEMORABILIA IN GLASS CASES, GLASS CASES HOLDING FIREARMS. STARLING AND CRAWFORD EXIT. AS THEY DO, A GROUP OF TWENTY MEN AND WOMEN WEARING NAMETAGS WALKS BY, ESCORTED BY A GUIDE. ONE GOOD - LOOKING MEDITERRANEAN TYPE -LRB- PAZZI -RRB- TRIES TO LOOK AT STARLING AS THE GROUP GOES PAST. ANGLE CU ON PAZZI. WE SEE HIM, AND READ THE NAMETAG. -LRB- C. PAZZI. INTERNATIONAL POLICE ACADEMY. ITALY -RRB-. GUIDE -LRB- VO. -RRB-. a compendium of the Bureau's most celebrated cases. Which you have in your Course Study Guide. Now ; This afternoon. ANGLE, ON THE GROUP AS THEY OPEN THEIR BLUE COURSE STUDY GUIDE. STARLING AND CRAWFORD TURN A CORNER. PAZZI LOOKING AFTER THEM, HE THEN, RELUCTANTLY, TURNS AWAY, BACK TO THE GROUP HE IS PART OF. ANGLE ON STARLING AND CRAWFORD, AS THEY DRAW AWAY FROM THE CONFERENCE ROOM GROUP. CRAWFORD -LRB- SOTTO. -RRB-. how'd you let her get that close to you? IN THE B.G.. WE SEE AN AIDE COME UP TO KRENDLER, AND HAND HIM A FILE. STARLING WAVES OFF CRAWFORD'S QUESTION. CRAWFORD -LRB- cont' d. -RRB- how'd she get next to you? STARLING -LRB- AS IF TEARING OFF THE BANDAID. -RRB-. she gave me her baby. KRENDLER, AND THE AID WALK TOWARD CRAWFORD. THE AIDE WHISPERS SOMETHING TO KRENDLER. KRENDLER -LRB- TO CRAWFORD. -RRB- She threw a punch at a man on the team. CRAWFORD Well, you know, that happens, on the street. KRENDLER What is that supposed to mean? CRAWFORD I think its meaning is clear. KRENDLER What, you're saying she was overwrought. CRAWFORD That could be. KRENDLER Because that's understandable, because. She blew the raid. CRAWFORD She was there, alone, sir, she was in a burning building, waiting for your folks to come through the wall. And. STARLING STARTS AWAY, IN DISGUST. KRENDLER One moment, I'm not done with you. -LRB- TO CRAWFORD, AS KRENDLER MOTIONS HIS AIDE TO HAND HIM A FILE. -RRB- Give him the file. AIDE I thought it was going to go down the line, to. KRENDLER No, no, no, I want the girl to do it. THEY GO INTO A HUDDLE, AND STARLING MOVES AWAY, WAITING. SHE LOOKS AROUND, AND SHE AND WE DISCOVER SHE IS STANDING IN FRONT OF THE `` LECHTERIANA'' SECTION OF THE FBI DISPLAY. THE GUIDE IS ADDRESSING THE VISITING FOREIGN COPS. GUIDE Of the apprehension of Hannibal Lechter. Here we have a WANTED poster. AS THE GUIDE SPEAKS WE CUT BETWEEN STARLING, HOPING TO HEAR HER FATE, AND THE MEN TALKING ABOUT HER. GUIDE -LRB- cont'd. -RRB- -LRB- VO. -RRB- Offered by an Unnamed Source, Three million Dollars for information leading to the apprehension of Hannibal Lechter. It is, of course, a bounty poster, the only one of its kind, it was never distributed, the contact number was disconnected, and the trail of the person offering the reward was covered so skillfully, that. PAZZI -LRB- VO. -RRB- -LRB- IN A CULTURED ATTRACTIVE ITALIAN ACCENT. -RRB-. would you be so kind? STARLING TURNS TO PAZZI, HOLDING A CAMERA. SHE HESITATES, THEN REALIZES HE WANTS HER TO TAKE HIS PHOTO IN FRONT OF THE POSTER. STARLING Yeah, sure. PAZZI MOVES IN FRONT OF THE POSTER. WE SEE THE REFLECTION IN THE GLASS FRONTING THE POSTER, AND STARLING MOVES TO ELIMINATE IT. GUIDE -LRB- VO. -RRB-. Of the Hannibal Lechter Case. Lechter is, as you know, still at large. Here we see the implements used in his escape from Prison. If you will turn to your course syllabus, Page. ANGLE ON STARLING, AND THE GUIDE, BEYOND HER, AS THE STUDENTS AGAIN TAKE UP THEIR BLUE BOOKS, AND TURN TO THE PAGE INDICATED BY THE GUIDE. PAZZI COMES BACK TO STARLING. SHE HANDS HIM THE CAMERA. PAZZI a lovely perfume. STARLING Glad you like it. GUIDE -LRB- HE TAKES US TO A DISPLAY OF A PHOTOGRAPH OF LECHTER'S HAND, WHICH SHOWS SIX FINGERS, AND AN X - RAY, WHICH, SIMILARLY SHOWS SIX FINGERS. -RRB-. of Dr. Lechter's left hand. His left hand, which had a sixth, vestigial, fully formed sixth finger. You would think that a man with a mark so easily identifiable, would. THE GUIDE SPOTS STARLING. GUIDE -LRB- cont'd. -RRB- and, speaking of the Lechter Case. THE GUIDE MOVES, AS IF TO INCLUDE STARLING IN THE TOUR. ANGLE ON STARLING WHO GIVES THE GUIDE THE WAVE OFF. STARLING RETREATS AS THE GUIDE CHANGES GEARS. GUIDE -LRB- cont'd. -RRB- And, speaking of the Lechter case, I would like to complete our tour of the gallery with three other instances of Criminals Still At Large. To complete our tour, and. -LRB- HE CHECKS HIS NOTES. -RRB- Oh, and to complete your Course of. Study, by. WE SEE THE GROUP OF KRENDLER, CRAWFORD, ET ALL, BREAK UP, AND BEGIN TO MOVE TOWARD STARLING. SHE APPROACHES THEM, TO HEAR THEIR NEWS. KRENDLER -LRB- TO CRAWFORD. -RRB- Your girl's a menace. Here, givver this. Getter off the street and teach her some humility. -LRB- OF THE FILE. -RRB- CRAWFORD -LRB- LOOKING AT THE FILE. -RRB- I do n't think so. KRENDLER Well, then, you have insufficient information. I'm grateful for this opportunity to set you straight. HE LEAVES CRAWFORD LOOKING AT THE FILE, AND WALKS OFF, TOWARD STARLING, WHO LOOKS HIM IN THE EYE, AS HE PASSES. HOLD. KRENDLER -LRB- cont'd. -RRB- -LRB- TO STARLING, IN PASSING. -RRB- Yeah, get on to your sea - daddy, Starling. Old as you are. ai n't you ashamed, still lookin' for your Pappy? STARLING WALKS UP TO CRAWFORD, WHO IS LOOKING AT THE FILE. CRAWFORD what has he got against you? STARLING Why would you say that? Because he sent me in there to be killed? -LRB- OF FILE. -RRB- What is this? CRAWFORD what's he got against you? STARLING -LRB- AS SHE TAKES THE FILE. -RRB- -LRB- ABSENTLY. -RRB- He once made me an improper suggestion.\",\n \"INT. GYMNASIUM DAY JOHN BRIGHAM, A BUFF AND ROUGH AND TOUGH MARINE TYPE, IS LECTURING TO A GROUP OF RECRUITS. BRIGHAM Big man, little man. Fair fight, the good Big Man's gon na win. But we do n't mean to send you out there to fight fair. BRIGHAM LOOKS UP. ANGLE HIS POV. A DOOR IN THE BACK OF A SMALL RAISED BLEACHER SECTION OPENS, AND STARLING COMES IN, HOLDING THE FILE, SHE LOOKS DOWN TOWARD BRIGHAM. ANGLE ON BRIGHAM, AS HE NODS AT STARLING, AND THEN RETURNS TO ADDRESS HIS GROUP OF STUDENTS. BRIGHAM -LRB- cont'd. -RRB- And, in a gunfight, what just happened to the Big Man? He's at a disadvantage. Inney? HE MOVES TO THE GROUP OF STUDENTS, AND APPROACHES A RATHER LARGE YOUNG MAN. BRIGHAM -LRB- cont'd. -RRB- Stand up. -LRB- THE MAN DOES SO, AND TAKES HIS PLACE ON THE MAT, IN FRONT OF BRIGHAM. -RRB- Big man, now, he's just a bigger target. Let's turn it around. Pull your sidearm. -LRB- THE YOUNG RECRUIT TAKES OUT A BRIGHT YELLOW, OBVIOUSLY RUBBER PISTOL FROM HIS HOLSTER. -RRB- ANGLE ON STARLING, AS SHE PERUSES THE FILE. SHE SHAKES HER HEAD IN DISGUST. SHE LOOKS DOWN AT BRIGHAM AND MOUTHS, `` I NEED TO SEE YOU.'' ANGLE, ON BRIGHAM, ON THE MAT, ADDRESSING THE PUPIL, HE NODS BACK, AT STARLING, AND TOUCHES HIS WATCH, AND MIMES, `` LATER, FOR DRINKS.'' BRIGHAM -LRB- cont'd. -RRB- -LRB- TO THE STUDENT. -RRB- Now, an arrest? You aim to shoot me, or you just playing show and tell. You do n't want to shoot me, you just deprived yourself of one of your hands. You fool, I got two hands, you got one. So : what's the gun good for? Force? No. It's good for control. You can control through force, but you can also control through. ANGLE, ON STARLING, AS SHE EXITS, THROUGH THE BACK OF THE GYM. ANGLE. HOLD ON BRIGHAM, ADDRESSING THE STUDENT, WHO LOOKS OVER HIS SHOULDER TOWARD THE DIRECTION OF BRIGHAM'S GAZE. BRIGHAM -LRB- cont'd. -RRB- Misdirection. -LRB- HE MOVES TO THE STUDENT AND THROWS HIM TO THE GROUND. -RRB- Misdirection, My Friend. You're pointing a gun at me, looking in the oth ` direction, WHO THE HELL DO YOU THINK YOU ARE? ANGLE, ON STARLING, BACK IN THE CORRIDOR, AS SHE OPENS THE FILE, AND LOOKS AT IT AGAIN, AND SHAKES HER HEAD.\",\n \"INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A MIDDLE AGED WOMAN. WOMAN -LRB- PSYCHIATRIST. -RRB-. that you went into police work to control your rage. STARLING STARTS TO LAUGH. STARLING Well, that would be a poor choice, would n't it. PSYCHIATRIST Tell me why? STARLING -LRB- SHAKES HER HEAD, STILL LAUGHING. -RRB- I'm sorry, I do n't mean to be impolite. Because, you know, you ca n't understand. PSYCHIATRIST Then tell me. STARLING Well, you know, you know, you know, the point is : I ca n't tell you. Cause you have n't been there. You have n't done it. And that's all there is. PSYCHIATRIST -LRB- PAUSE. SHE CHECKS HER NOTES. -RRB-. and to have done it, means, can mean to accept, not only danger, but betrayal? STARLING that's right. PSYCHIATRIST and humiliation? What is this new job they've? STARLING No. That's right. That's all part of it. PSYCHIATRIST Then, that being so, why is today special? Why have you come back to see me? Is it that new file they gave you? STARLING I do n't think so. PSYCHIATRIST Then what brings you back? STARLING I do n't know. Do you know? PSYCHIATRIST Yes. I think I do. -LRB- PAUSE. STARLING LOOKS AT HER, AS IF TO SAY, THEN, PLEASE, REVEAL IT. -RRB- I think it is a phrase you used with that woman. You told her you were an orphan. -LRB- STARLING STARTS SHAKING HER HEAD. -RRB- You used, to your mind, your most private fears. STARLING no. PSYCHIATRIST you called up memories of your father to. STARLING no. PSYCHIATRIST barter with her. To appeal to her, and you feel that. STARLING No, I do n't think so. PSYCHIATRIST It is you who have betrayed. STARLING no. PSYCHIATRIST Your father. It is not they, who. STARLING Well, no. -LRB- SHE LOOKS AT HER WATCH. -RRB- That's. I appreciate your help, but. -LRB- SHE RISES. -RRB-\",\n \"INT. COPBAR NIGHT. STARLING IS DRINKING WITH ARDELIA MAPP, A CONTEMPORARY, AND ARDELIA'S BOYFRIEND, JIM. THERE ARE VARIOUS EMPTY BOTTLES IN FRONT OF THEM. STARLING IS LOOKING DOWN AT THE FILE WE SAW EARLIER, AND SCOWLING. MAPP AND JIM LOOK ON. A WAITRESS COMES BY. MAPP You want another drink, honey? STARLING I want the same drink. Cause it did me good. but I already drunk it, so, barring that, yes, I would like another. THE WAITRESS EXITS. STARLING -LRB- cont'd. -RRB- B'cause it's one of the few things, in the world, which are effective an ` predictable. MAPP What's that, Baby? STARLING Alcohol. Where both its life - enhancing And its life destroying qualities. -LRB- SOUND OF CHEERING, THEY LOOK TO THE SIDE. -RRB-. not unlike some Hindu God. MAPP PICKS UP THE FILE, AND LOOKS AT IT. MAPP I guess the only thing is Suck it Up. STARLING Well. Excellent. I'm. THERE IS A SOUND OF RENEWED CHEERING, AND HEADS TURN. ANGLE THEIR POV. A TABLE OF THE `` INTERNATIONAL POLICE SCHOOL'' STUDENTS, DRINKING, AND WEARING `` GIM ME CAPS,'' WHICH ARE PASSED OUT BY AN ARRIVING JOHN BRIGHAM. ANGLE. BRIGHAM, BEING CONGRATULATED AND THANKED BY THE VARIOUS FOREIGN COPS. BRIGHAM PASSES OUT CAPS WHICH ARE BLAZONED `` FBI ACADEMY, QUANTICO, VIRGINIA.'' WE SEE BRIGHAM NOTICE STARLING, ET AL, AND EXCUSE HIMSELF. ONE OF THE FOREIGN COPS CALLS AFTER HIM. FOREIGN COP Semper Fi. BRIGHAM truer words were never spoken. CAMERA TAKES HIM TO THE STARLING TABLE, WHERE STARLING, DRUNK, IS LOOKING THROUGH THE FILE. STARLING Our Mister Frendler to, to, to humiliate me, though. MAPP What else's he goin to do with his day, he ca n't work, and he wo n't steal. BRIGHAM SITS, AND KISSES STARLING. STARLING Oh baby, oh baby. BRIGHAM Bad beat today. STARLING Hey, I'm fine. Whaddizit, you, how's your day, our gallant International Neighbors? MAPP Look what they put her on. SHE TAKES THE FILE FROM STARLING AND HANDS IT TO BRIGHAM. STARLING No, that is code - word material, that's what that is. ANGLE ON BRIGHAM AS HE PICKS UP THE FILE. IT CONTAINS A CATALOGUE FROM AN AUCTION HOUSE, AND WE READ : FROM A COLLECTOR : DRAWINGS AND SKETCHES BY HANNIBAL LECHTER : THESE NEVER - BEFORE OFFERED ITEMS WERE ORIGINALLY IN THE HIGH - SECURITY CELL OF THE MASS KILLER. -LRB- ETC. -RRB- AND, BELOW, WE SEE VARIOUS ARCHITECTURAL SKETCHES. ANGLE ON STARLING, BRIGHAM, AND SO FORTH. MAPP They got her cleaning out the privvies. BRIGHAM -LRB- OF THE AUCTION CATALOGUE. -RRB- What does this mean? MAPP Slap her wrist, they got her, chasing down the auction houses, drawings of Mr.Lechter, come up for sale. BRIGHAM Why's she chasing'em down? MAPP Find out : is he selling'em, he needs the money, o ` r ` izzey buying them, f ` Old Times sake. BRIGHAM That's weak. The man's long gone, he's not coming back, buy up a drawing. STARLING No, but that is the Will of the Institution. To instill a proper Probity, Humility, deference, in the prideful Individual. COULD I, DOES ANYONE THINK, HAVE ANOTHER BEER? JIM This Jackal Krendler, trine a shame her, cause they botched the raid. BRIGHAM Evelda Drumgo. STARLING COULD I GET A DRINK. -LRB- TO BRIGHAM. -RRB- N' I do n't care, you see, what all they got me doin, for I'd rather be doin' makework, than be doin' pub ` l'relations with THE DIRTY DOZEN, one Hispanic, one Librarian, one Jew, and One from Column A, and One from Column. -LRB- A DRINK IS SET BEFORE HER, SHE REACHES FOR IT. SHE LOOKS UP. -RRB- Thank you. PAZZI IS BRINGING HER A BEER. PAZZI An Honor. Carlo Pazzi. STARLING No, y' know, I never doubted it. PAZZI You were kind enough, today, to take my photograph. STARLING Well, that's you see, what I am, kind and feeling. MAPP You should get Married. STARLING That's what I should do. Tell me why? MAPP Because, baby, you're looking to find love in an institution, that's your only chance. STARLING Yeah, but who would marry friendless me. -LRB- TO PAZZI. -RRB- Howabout you, Romeo? PAZZI -LRB- SHOWS HIS WEDDING RING. -RRB-. sadly. STARLING Hey, lost again. PAZZI But perhaps, there is some, some less radical solution. STARLING I'm sure there is, but my young Friend here, would kill you. -LRB- SHE GESTURES AT BRIGHAM. -RRB- PAZZI His feelings do him honor. And I have come, simply, to pay my respects to the great Clarice Starling. -LRB- HE BENDS OVER TO KISS HER HAND. -RRB- STARLING The great and beautiful. PAZZI Is it necessary to say of the sea that it is salt, that the stars are far, that. STARLING No, I get it, this is my Cavalier. This gents my Italian Knight. Take this. -LRB- SHE REMOVES A SCARF FROM HER NECK AND HANDS IT TO HIM. -RRB- For this shall be my gage, and you can take it into battle. PAZZI Thank you. STARLING Or clear your windshield with it. PAZZI -LRB- SMELLS THE NECKERCHIEF. -RRB-. what a lovely perfume. STARLING Waal, you c'n only get it in one shop in Alexandria Virginia, n'that's where I'm going, cause I'm goin home, f' i can get n ` y' one, Of That Nature, to take her there. BRIGHAM C'mon, pal. STARLING All y' got to do is ask. -LRB- SHE REACHES FOR HER PURSE, AND KNOCKS THE FILE OFF OF THE TABLE. -RRB- ANGLE INS. IT FALLS TO THE FLOOR, WE SEE VARIOUS AUCTION CATALOGUES, AND AN X - RAY OF A HUMAN HAND. PAZZI STOOPS AND GATHERS THE FILE UP. BRIGHAM TAKES THE FILE, AND STARLING TAKES IT FROM HIM. ANGLE IN. WE SEE A DRAWING OF WHAT APPEARS TO BE A STATUARY. A LION'S HEAD, THE LION HOLDING A BIRD IN ITS MOUTH. ANGLE ON STARLING AS SHE HOLDS THE DRAWING. STARLING this one is my favorite. It has not title. They should call it `` fetch,'' whaddaya think? PAZZI I know it well. STARLING Do you. What does that mean? PAZZI It is a gravestone in the cemetery of ______ in my native Florence. MAPP LOOKS AT THE PICTURES IN THE CATALOGUE. MAPP Yeah, we got all sort of `` funeray Sculpture,'' here, I guess they mean statues in Graveyards. Brazil, the Tomb of Karl Marx, London, Here's one in Scandinavia. PAZZI Florence, as you may not know, is famed for. STARLING Yeah, I'm sure it's famed for lotsa things, and you're one'a ` them. PAZZI but : this particular statue. STARLING DOWNS A BEER, AS BRIGHAM BEARS HER AWAY. STARLING Waal, you hold fast to that thought, as I'm sure, that's a `` clue''. PAZZI this is perhaps an inappropriate time. but, I would like to say, it is an honor to meet the Woman who solved the celebrated Hannibal Lechter. STARLING I di n't solve it, I did n't ` solve it'. I just sat a dance out with him. Facts, facts, facts. Facts, close the case, cavalier. PAZZI a case, so, so fascinating, so. STARLING SURREPTITIOUSLY SIGNALS BRIGHAM THAT HE MAY REMOVE PAZZI. BRIGHAM It was all of that, SON. PAZZI what makes a man. what makes him. Eat Human Flesh? STARLING Yeah, well, they solved that : turns out, he'uz a cannibal. MAPP Show'm the FBI Handshake. STARLING I am no going to show you the secret handshake! -LRB- SHE STARTS TO STAND. -RRB- BRIGHAM -LRB- AS HE LEADS PAZZI OFF. -RRB- C'mon, pal, I'm gone to buy you a drink. HE WALKS PAZZI OFF, STUFFING SOME MONEY IN PAZZI'S JACKET POCKET. HE LEAVES PAZZI AMONG HIS FOREIGN COHORTS. ANGLE ON MAPP, STARLING, AND JIM, AT THEIR TABLE. MAPP Yeah, well, it's a raw wound, innit, you're gon na bump it, every time you turn around. but you know what the trick is? STARLING not to turn around. BRIGHAM RETURNS, AND STARTS TO LEAD STARLING, THROUGH THE KNOT OF DRUNKEN COPS. IN THE BG WE SEE PAZZI, AT HIS TABLE, POINTING OUT STARLING, THEY TURN TO LOOK AT HER, WE SEE ONE OF THE FOREIGN COPS, LEAN OVER TO ASK MORE INFORMATION OF PAZZI, AND, THEN, TURN BACK, TO DO A DOUBLETAKE AT THE RETREATING STARLING. ANGLE ON BRIGHAM, HELPING STARLING. BRIGHAM You want to get married? STARLING You tol me you wuunt ask me again til I'm ready. BRIGHAM You're ready now. STARLING I'm not. BRIGHAM That's what you think.\",\n \"EXT. STARLING'S APARTMENT BUILDING NIGHT. BRIGHAM AND STARLING WALKING UP, STARLING SWAYING A LITTLE, HE HOLDS OUT HIS HAND FOR THE KEY, AND SHE GIVES IT TO HIM. STARLING mos kind. WE HEAR A CAR COMING UP THE STREET BEHIND THEM. BRIGHAM OPENS THE DOOR. THERE IS A FLASH OF LIGHT FROM INSIDE THE HOUSE. AS STARLING IS ABOUT TO ENTER. SHE PUSHES BRIGHAM OFF TO THE SIDE OF THE DOOR, AND UNHOLSTERS HER PISTOL. BEAT. STARLING LOOKS AT BRIGHAM WHO LOOK UNCOMPREHENDING. ANOTHER CAR IS HEARD COMING UP THE ROAD, AND WE SEE ITS HEADLIGHT SHINE ON AND REFLECT FROM A MIRROR INSIDE STARLING'S DOOR. BRIGHAM LEADS STARLING INTO THE HOUSE. HE CLOSES THE DOOR, AND TAKES HER TO THE SOFA. SHE SITS, AND PICKS UP A PHOTOGRAPH IN AN EASELFRAME FROM THE COFFEETABLE. STARLING -LRB- cont'd. -RRB- Hey, now, what was I afraid of. I'm shooting at shadows. BRIGHAM Is that what you're afraid of? ANGLE INS ON THE PHOTOGRAPH, SHOWS A TALL HANDSOME MAN IN WESTERN HAT, WEARING A BADGE, HIS HAND ON THE SHOULDER OF A YOUNG BLONDE GIRL. ANGLE ON STARLING, AS SHE PUTS THE PHOTO DOWN. STARLING Then you tell me, then. BRIGHAM You want me to solve all your problems tonight? STARLING I feel. -LRB- SHE STARTS TO LAUGH. -RRB- I feel they're Out to Get Me. BRIGHAM And who is `` they?'' STARLING they're sending me. Out to get Shot. Hounding me. they're. -LRB- PAUSE. -RRB- BRIGHAM the whole world's out to get you. STARLING How crazy is that. BRIGHAM Well, you wan na shoot back, it give you a big target. STARLING -LRB- SLEEPILY. -RRB- How crazy is that. ANGLE, INS. ON THE LECHTER FILE, AND THE PHOTO OF HANNIBAL LECHTER. WE SEE BRIGHAM PUT IT DOWN ON THE TABLE NEXT TO THE PHOTO. HOLD, LIGHTS GO OFF. BEAT. STARLING'S HAND COMES INTO THE FRAME, SWEEPS THE LECHTER PHOTO AND FILE ONTO THE FLOOR, AND REPLACES IT WITH THE PHOTO OF THE WESTERN GARBED MAN AND THE LITTLE BLONDE GIRL. BEAT. THE LIGHT GOES ON AGAIN. WE SEE STARLING SWING TO A SITTING POSITION ON THE COUCH. SHE SIGHS. SHE SHAKES HER HEAD TO CLEAR IT, AND SHE PULLS THE HANNIBAL FILE TO HER. SHE PICKS UP A PENCIL, AND A PAIR OF READING GLASSES FROM THE TABLE, AND BEGINS MAKING NOTES ON THE FILE. ANGLE INS. THE AUCTION CATALOGUE, AN FBI FILE, READING, `` SALE OF STOLEN HANNIBAL LECHTER MATERIAL.''\",\n \"EXT. VIRGINIA HIGHWAY DAY. STARLING'S FBI SEDAN SPEEDING PAST, ON AN EMPTY COUNTRY ROAD. THE CAR PULLS OVER ONTO THE SHOULDER. ANGLE INT THE CAR. STARLING, TAKING OUT A MAP. SHE LOOKS AT THE MAP. LOOKS AROUND. SHE THROWS THE CAR INTO REVERSE, AND REVERSES SEVERAL HUNDRED YARDS QUICKLY. ANGLE INT THE CAR. STARLING LOOKS FROM THE MAP ACROSS THE ROAD. ANGLE HER POV. A BARELY DISCERNIBLE BREAK IN THE FOLIAGE, BEAT, THEN STARLING' S CAR PULLS ACROSS THE ROAD, AND INTO THE POV AND ENTERS THE BREAK. ANGLE EXT THE CAR. EMERGING FROM A THICK WOODS, THE CAR IS HINGED BY THE CAMERA ONTO THE PARK OF A COUNTRY ESTATE, THE CAR DISAPPEARS INTO A SMALL DIP IN THE LANDSCAPE. ANGLE EXT THE CAR, AT A GATEHOUSE, PREVIOUSLY HIDDEN BY THE CONTOUR OF THE LAND. WE SEE A SMALL DECREPIT GATEHOUSE IN STONE, AND, BEYOND IT, A FLIMSY AND ANCIENT BARRICADE, AN OLD GAMEKEEPER TYPE IN TWEEDS COMES OUT OF THE GUARDHOUSE. HE IS CARRYING A MUG OF COFFEE AND HAS A NAPKIN TUCKED INTO HIS COLLAR. HE REMOVES THE NAPKIN AND APPROACHES THE CAR. STARLING FLASHES HER CREDENTIALS TO THE OLD MAN, WHO HOLDS A CLIPBOARD. STARLING Special Agent Clarice Starling, to see Mason Verger. THE MAN AMBLES BACK INTO THE GATEHOUSE. ANGLE INT THE GATEHOUSE, THE OLD MAN ENTERS, AND CAMERA PULLS BACK TO SHOW, IN A ROOM OFF THE MAIN ROOM, THE FIT BODYGUARD TYPES, WATCHING STARLING ON A TV MONITOR. THERE IS A RAFT OF ELECTRONIC EQUIPMENT IN THE ROOM, AND A RACK WITH SEVERAL ASSAULT RIFLES ON IT. ONE OF THE GUARDS IS TYPING ONTO A COMPUTER TERMINAL. HE LOOKS AT THE RESULT, AND GLANCES UP AT STARLING, ON THE SCREEN, AND NODS `` OKAY'' TO THE OLD MAN. THE OLD MAN AMBLES OUT TO THE BARRIER, HAVING PICKED UP AN OLD CLIPBOARD AT WHICH HE SQUINTS. THEN, SATISFIED, HE RAISES THE BARRIER, AND STARLING'S CAR GOES THROUGH.\",\n \"EXT. A MAGNIFICENT COUNTRY ESTATE HOUSE. A POTATOCHIP VAN IS PARKED TO ONE SIDE IN THE WIDE DRIVE. AN OLD RETAINER HOLDS OPEN THE DOOR FOR STARLING, AS SHE EXITS FROM HER SEDAN, AND HE SHOWS HER INTO A LARGE OPEN MORNING ROOM, IN WHICH WE FIND TWENTY YOUNG CHILDREN OF VARIOUS RACES, ROMPING ON A SELECTION OF NEW TOYS. CAMERA TAKES STARLING THROUGH A MODERN KITCHEN, WHERE SEVERAL WHITE UNIFORMED COOKS ARE WORKING HAPPILY, ONE IS OPENING A VAST TIN OF POTATOCHIPS. ONE OF THEM IS REMOVING A TRAY OF COOKIES FROM THE OVEN, SEVERAL TYKES WAIT HAPPILY NEARBY. THE COOK WITH THE TRAY OF COOKIES GIVES STARLING A WIDE GRIN. THE RETAINER TAKES STARLING PAST THE KITCHEN, TO A DOUBLE DOOR, WHICH HE OPENS TO REVEAL A CORRIDOR BEYOND, AND A LARGE FIT MAN IN HIS THIRTIES, WEARING AN ORDERLY'S WHITES, COMING TOWARD THE CAMERA. CORDELL Agent Starling, would you come with me? CORDELL BOWS TO THE OLD RETAINER, WHO RETIRES. CORDELL AND STARLING WALK DOWN THE CORRIDOR. STARLING The children? CORDELL they're from Baltimore. STARLING I've never heard that he. CORDELL It's not something he wants to publicize, Ma'am. It's just something he does. BEAT. STARLING I wo n't take much of his time. CORDELL He's glad to help. it's just a question of his physical condition. You Understand. CAMERA TAKES STARLING DOWN A CORRIDOR LINED WITH HUNTINGPRINTS. AT THE END OF THE CORRIDOR AN OLD WOMAN SITS IN A WOODEN CHAIR, KNITTING. THEY HAVE STOPPED. WAITING FOR THE WOMAN TO LOOK UP. STARLING'S GAZE IS DRAWN BY AN OLD, CREWEL - WORK `` SAMPLER'' FRAMED ON THE WALL BY THE OLD WOMAN'S CHAIR. AND OBVIOUS ANTIQUE. IT READS : `` DO NOT GIVE INTO ADVERSITY. DO NOT TRUST TO PROSPERITY.'' ANGLE ON CORDELL AND STARLING, AS STARLING LOOKS AT THE SAMPLER, AND THE OLD WOMAN LOOKS UP FROM HER KNITTING. SHE SITS IN FRONT OF A HALF - OPENED DOOR, WHICH WE SEE IS THE DOOR TO A LINEN CLOSET. CORDELL -LRB- cont'd. -RRB- y' get enough breakfast, Rosie? BEAT. XCU ON THE OLD WOMAN, AS SHE LOOKS AT STARLING, AND THEN NODS TO CORDELL, AS IF TO SAY, `` THAT IS THE CORRECT CODE.'' ANGLE INS. HER HAND DROPS TO THE BACK OF THE WOODEN CHAIR, AND PRESSES A BUTTON CONCEALED IN THE LEG. ANGLE THE GROUP IN THE CORRIDOR, THE `` LINEN CLOSET,'' OPENS, TO REVEAL, BEYOND IT, WHAT APPEARS TO BE A SURGICAL FACILITY, OR HIGH - TECH HOSPITAL ROOM.\",\n \"INT. THE HIGHTECH ROOM. THERE IS A NURSE, SITTING AT A STATION, MONITORING VARIOUS LIFESIGN DISPLAYS. SHE LOOKS UP BRIEFLY, AS CORDELL AND STARLING ENTER. NURSE -LRB- TO CORDELL. -RRB- Five minutes. CORDELL NODS, AND TAKES STARLING DEEPER INTO THE ROOM. WE BEGIN TO HEAR THE SUSURRUS OF A MECHANICAL BREATHING APPARATUS. CAMERA GOES WITH STARLING INTO THE ROOM, WHERE WE SEE A HOSPITAL BED, WITH A SCREEN IN FRONT OF IT, AND VARIOUS TELEVISION DISPLAYS ABOVE IT, ANGLED TO BE SEEN FROM THE BED. STARLING APPROACHES THE BED, AND LOOKS DOWN AT THE FIGURE IN IT. WE SEE HER FACE, BUT THE FIGURE IS SCREENED. THE FIGURE, VERGER, SPEAKS BREATH BY BREATH, WITH AN OBVIOUS ELECTRONIC ENHANCEMENT. VERGER Are n't they beautiful, Miss Starling. STARLING LOOKS UP AT THE CHILDREN PLAYING. ANGLE HER POV. ONE OF THE CHILDREN FALLS OFF A SMALL PLASTIC SLIDE, AND CRIES, A NURSE RUNS TO HIM. VERGER -LRB- cont'd. -RRB- Well, now, you see, one of them's hurt. And what will make it better? Love. Is n't that odd. -LRB- PAUSE. -RRB- He think's he's hurt his knee - but the assurance, the assurance, the assurance that someone cares. -LRB- WHEEZE WHEEZE. -RRB- Suggests the hurt was elsewhere. STARLING Mr. Verger, thank you for your time. VERGER For the worst hurt, of course, that which will not heal, is the conviction no one cares. STARLING I've come to see you, sir, about an Auction. SHE HOLDS UP THE CATALOGUE TO HIM. ANGLE INS `` DRAWINGS AND MEMORABILIA RELATING TO THE SERIAL KILLER, HANNIBAL LECHTER.'' ANGLE ON CORDELL, AS HE COMES CLOSE, DONNING SURGICAL GLOVES, AND TAKES THE CATALOGUE, AND HOLDS IT TOWARD VERGER. VERGER Ah, yes, ah yes. Our Doctor Lechter. And have they sent you, once again to capture him? How terrible for you. STARLING No, sir, it's not my job to capt. why do you say how terrible? VERGER Because we must leave the past in the past. -LRB- WHEEZE WHEEZE. -RRB- -LRB- CORDELL TURNS A PAGE. -RRB- Ah. And here we have artifacts of, yes, my own encounter with him. CORDELL TURNS THE PAGE QUICKLY. VERGER -LRB- cont'd. -RRB- No, no. That's alright. Yes. Lechter's drawings of me. Before. and, of course, after. Now : you are not sent to pursue him. Then your visit baffles me. STARLING Sir, various drawings, done by Dr. Lechter, while in prison, stolen from the prison after his escape, have surfaced and are being sold at auction. Several large reserve bids have been placed on them. I have to ask if you've placed those bids. VERGER Because? STARLING Because if it was not you, then, perhaps it was Dr. Lechter, trying to reclaim his own property. VERGER And why would you suspect me, of this ghoulishness? STARLING Because, sir, you are the only one of his victims who lived. And because you have large resources. VERGER Large resources, Starling, which I prefer to devote elsewhere. STARLING LOOKS UP, AS WE SEE THE IMAGE ON THE TELEVISION CHANGE TO THE CHILDREN EATING THE COOKIES, AND THE IMAGE CHANGES AGAIN TO SHOW A SMALL DISPENSARY, AND THE KNEE OF THE CHILD WHO FELL BEING BANDAIDED BY A NURSE. STARLING Due respect, sir. SHE PRODUCES A COPY OF THE WANTED : HANNIBAL LECHTER POSTER WE SAW AT THE FBI. STARLING -LRB- cont'd. -RRB- Due respect, after your, after your. VERGER My encounter. STARLING Someone offered three million dollars bounty on Dr. Lechter's head. -LRB- PAUSE. -RRB- CORDELL The identity of the person offering the bounty was never established. VERGER Yes, but we know who it was, and I will tell you, Agent Starling, what you know to be true. I offered the bounty. It was illegal, and, worse, it was wrong. And I thank God every day that I did not compound my sinful life by the stain of a murder. Do you. -LRB- WHEEZE. -RRB- Agent Starling : do you know God? -LRB- PAUSE. -RRB- STARLING sir? VERGER Is n't it funny? You can look on my face. -LRB- WHEEZE WHEEZE. -RRB- which you would grant me, is the most hideous sight you will see in what I hope is a long life. You can look at me. Which shows. -LRB- WHEEZE. -RRB- a Strength which must come from strong. -LRB- WHEEZE. -RRB- strong convictions. -LRB- WHEEZE. -RRB- But you shy when I say the name of God. THE NURSE COMES UP, HOLDING THE TAPE OF A LIFESIGNS MACHINE, SHE NODS TO CORDELL AND INDICATES THE MONITORS. NURSE -LRB- TO STARLING. -RRB-. I'm sorry. -LRB- MEANING, YOU MUST GO. -RRB- STARLING Yes, then, you're saying that you have n't bid upon these drawings. VERGER I have not, I would not. For life. -LRB- WHEEZE. -RRB- life goes on Starling. And, wait, wait, I wish to talk to you. I'm. -LRB- WHEEZE. -RRB- -LRB- TO THE NURSE, WHO IS TAKING STARLING'S ARM. -RRB- One moment. I was afflicted, do you see, but my affliction was not in my meeting with your Dr. Lechter. I was afflicted before. Before. Do you see? In my arrogance. Do not. -LRB- WHEEZE. -RRB- Do not curse God when you are humiliated. Listen to me : embrace it, and you embrace life. Listen, and you hear the word of God. STARLING IS LED AWAY BY THE CONCERNED NURSE. CORDELL LINGERS BEHIND, AT AN UNSEEN BEHEST OF VERGER. THE NURSE STARTS PREPARING A HYPO AT HER STATION. STARLING will he be alright? THE NURSE, DISTRACTED, NODS, AND RETREATS TOWARD VERGER WITH THE HYPO. CORDELL COMES OUT TO STARLING.\",\n \"INT. CORRIDOR, COUNTRY HOUSE, DAY. STARLING AND CORDELL ARE WALKING, BEYOND THEM, WE SEE VARIOUS CHILDREN PLAYING UNDER ADULT SUPERVISION. A CARETAKER TYPE IS HOLDING A SMALL GOAT, WHICH THE CHILDREN ARE PLAYING WITH. CORDELL OPENS THE GLASS DOOR, AND HE WALKS STARLING THROUGH THE SCENE OF THE CHILDREN AND THE GOAT. CORDELL Mr. Verger wanted me to give you this. -LRB- HE HANDS HER A SMALL PRINTED CARD. -RRB- ANGLE ON STARLING, AS SHE GLANCES AT THE CARD. `` DO NOT GIVE INTO ADVERSITY.'' SHE GLANCES AT IT, AND, DISMISSIVELY, PUTS IT IN A POCKET. CORDELL -LRB- cont'd. -RRB- And he has asked me to ask you something. STARLING What would that be? CORDELL -LRB- PAUSE. -RRB- He. would consider it a favor if he could make a donation. To a charitable institution of your choice. -LRB- PAUSE. -RRB- STARLING Now, why in the world would he do that? CORDELL I. think. he was. he was touched, by your reaction. To his appearance. STARLING What reaction? CORDELL Exactly. STARLING -LRB- AS SHE HANDS HIM A CARD. -RRB- Please, I do not. I do n't want to trouble him. But if you or he have any notlon, who would be buying Dr. Lechter's. CORDELL Do you know the seller? STARLING We've subpoenaed the Auction House's records. CORDELL Try Barney Clark. STARLING -LRB- TAKING OUT A NOTEBOOK. -RRB- He is? CORDELL He was the orderly, during Dr. Lechter's stay in Prison. STARLING And how would you know that? CORDELL Before `` The Change,'' Mr. Verger was. he made quite a study. -LRB- PAUSE. STARLING MAKES A NOTE. SHE LOOKS AROUND. -RRB- STARLING You should get the kids a dog. CORDELL I hardly think so. after `` The Incident''. STARLING No, no, of course not. SHE STARTS TO GET INTO HER CAR. CORDELL Mr. Verger would be pleased to make a contribution, to the charitable. STARLING Tell him to give it to an orphanage. STARLING CLOSES THE CAR DOOR. HOLD. ON STARLING, WATCHING THE CHILDREN FOR A MOMENT. THEN SHE TAKES THE CARD FROM HER POCKET AND GLANCES AT IT. `` DO NOT GIVE INTO ADVERSITY, DO NOT TRUST TO PROSPERITY. BE AWARE OF FORTUNE'S HABIT - SHE WILL DO JUST AS SHE PLEASES. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND. ANGLE ON STARLING, AS SHE STARTS TO PUT THE CAR IN GEAR, PUTTING DOWN THE NOTE. THEN SHE HESITATES, AND BEGINS TO CRY. LOWERING HER HEAD, BEYOND HER WE SEE THE POTATOCHIP VAN, PARKED IN THE DRIVEWAY, AND THE CHILDREN ROMPING WITH THE GOAT.\",\n \"INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST. PSYCHIATRIST that you could ~ go beyond the institution.'' STARLING Yes. PSYCHIATRIST What does that mean? STARLING -LRB- PAUSE. -RRB- I saw a man today, a man so hideously deformed who'll spend his life in a hospital bbb. PSYCHIATRIST Yes, so you said. But what does that mean : to go beyond The Institution. STARLING -LRB- TAKES A TISSUE FROM A BOX ON THE DESK. -RRB- If he could overcome. his need for. for self - ratification. PSYCHIATRIST would you use a small word? STARLING For approval. PSYCHIATRIST What's wrong with approval? -LRB- PAUSE. -RRB- You admired that man. STARLING Yes. PSYCHIATRIST How do you think that made him feel? -LRB- AFTER A PAUSE. SHE CHECKS HER NOTES. -RRB- What does that mean, `` to go beyond the institution?''. -LRB- PAUSE. -RRB- STARLING I told that woman I'm an orphan. PSYCHIATRIST you are an orphan. STARLING But. but. but. you're right. I used it. To bargain. For her sympathy. I used it - to `` whore myself out'' -. -LRB- PAUSE. -RRB- PSYCHIATRIST Welcome to the human race. -LRB- STARLING SHAKES HER HEAD IN NEGATION. PAUSE. -RRB- Do you know, there are people who admire you? Reasonable people. -LRB- PAUSE. -RRB- Why do n't you find them? PAUSE. STARLING LOOKS UP, AT THE NEW CONCEPT.\",\n \"INT. FBI HEADQUARTERS DAY. STARLING, WALKING DOWN A CORRIDOR. CAMERA HINGES HER TO `` BEHAVIORAL SCIENCE.'' SHE STICKS HER HEAD IN, AND ASKS, STARLING Y ` see John Brigham? AIDE I. CRAWFORD STICKS HIS HEAD OUT OF HIS OFFICE, HE PUTS HIS PIPE ASIDE, AND CALLS TO STARLING. SHE COMES IN, AND HE HOLDS UP AN X - RAY. CRAWFORD Look at this : STARLING You seen John Brigham? CRAWFORD This just came in, over the transom. Fella, works for a Plastic Surgeon, Argentina. Look here : STARLING what'm I looking at? CRAWFORD A fellow with five fingers. STARLING standard issue. CRAWFORD Not for our Doctor Lechter. This. -LRB- HE GLANCES AT NOTES. -RRB- Purports to be an x - ray of the hand of a. white male. mmmm. mmmm., after the removal of a vestigial sixth digit. Left Hand. It purports to be the x - ray of Dr. L. STARLING Am I on that case, sir? -LRB- PAUSE. -RRB- CRAWFORD No. -LRB- PAUSE. -RRB- STARLING Well, then - I would n't want to be taken for a hobbyist. THE AIDE COMES IN, HOLDING A PHONE. AIDE Agent Brigham is in the Library. STARLING -LRB- TO CRAWFORD. -RRB- Excuse me. -LRB- THE AIDE AND CRAWFORD EXCHANGE A SURPRISED LOOK. -RRB- SHE EXITS\",\n \"INT. LIBRARY DAY BRIGHAM, IN THE LIBRARY, BENT OVER A LAWBOOK. A NOTE IS SLIPPED OVER THE BOOK. IT READS, `` YES, I WILL MARRY YOU.'' ANGLE ON BRIGHAM, AS HE READS THE NOTE. BRIGHAM This is n't signed. STARLING -LRB- VO. -RRB- Hard up as you are, at your age? Whadda you care? Surrender. BRIGHAM ~ Do n't shoot, G - Men.'' STARLING SITS DOWN NEXT TO HIM. BEAMING. BRIGHAM -LRB- cont'd. -RRB- Why? STARLING SMILES AND STARTS TO MAKE A PERT ANSWER. SHE GETS A BIT TEARY, AND BRIGHAM LEADS HER OUT OF THE LIBRARY. ANGLE, A BALCONY OFF THE LIBRARY. STARLING HANDS BRIGHAM THE CARD SHE GOT FROM VERGER. STARLING -LRB- AS BRIGHAM READS. -RRB- You know what, he's right. Fella : had his life taken from him, by a maniac. Fella. He's laying there, he'll never get off that bed. He ca n't move, a Monster. -LRB- SHE SHAKES HER HEAD, AND LEANS INTO BRIGHAM. TIGHT TWO SHOT. -RRB-. a monster fed his face to the dogs. -LRB- BEAT. -RRB- N'he said that it saved his life. -LRB- SHE STARTS TO LAUGH. -RRB- He's spend'n his life helping Children. How corny is that? But, you know what : I give up. Let's get married and spoil a buncha Kids. -LRB- THEY EMBRACE. -RRB- ANGLE INT THE LIBRARY BRIGHAM AND STARLING ENTER, AS HE GOES TO GATHER UP HIS MATERIALS. AN AGENT HURRIES THROUGH. AGENT Starling : They got a x - ray. They think, they might have a lead on Lechter. STARLING Wherever he is, that's fine with me. AGENT They. STARLING Yeah, I know. THE AGENT LOOKS AT HER WONDERINGLY, AND, THEN, AS IF SHE HAS NOT UNDERSTOOD. AGENT -LRB- AS HE PRODUCES A XEROX OF AN X - RAY. -RRB- They got a Radiologist Assistant, Buenos Aires, guy, amputation of a Sixth Finger. and it seems to've left a scar, uh oh. STARLING That ai n't my case. They assigned me, go do some legwork, Theft of Government Property. Tha's what I'm gon na do, and then go home and burn the roast. How the hell about that - I'm gon na swim with the current, and I do n't care where he is. AS BRIGHAM IS GATHERING HIS STUFF, HE DROPS THE CARD STARLING GAVE HIM, ON THE FILE WHICH WAS STARLING'S. WE READ : `` NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND.'' AND, AS BRIGHAM'S HANDS COME INTO THE FRAME TO GATHER THE MATERIAL UP, WE SEE THE AUCTION HOUSE CATALOGUE, AND THE PHOTO OF THE DRAWING, AND STARLING'S NOTES : LION AND BIRD, MARBLE SCULPTURE __________ CEMETERY, FLORENCE, ITALY.\",\n \"INT. ALITALIA AIRLINER DAY. ANGLE INS. AN ITALIAN PASSPORT, A DEBARKATION CARD, SEVERAL SNAPSHOTS, SHUFFLED INTO THE GROUP, BY A MAN'S HANDS. WE SEE THE SNAPSHOT OF PAZZI IN FRONT OF THE MASON VERGER WANTED POSTER. SNAPS OF PAZZI, IN SWAT GEAR, ON THE RANGE AT QUANTICO, WEARING A FBI `` GIM ME'' HAT, A POSTCARD OF THE LINCOLN MONUMENT, V.O.. AN ITALIAN VOICE URGING ALL PASSENGERS TO REMAIN SEATED UNTIL ET CETERA. ANGLE INT THE CABIN OF THE AIRLINER. THE ITALIAN STEWARDESS IS USHERING FOLKS OFF THE PLANE. WE SEE PAZZI PUTTING ALL HIS PAPERS TOGETHER, AND HE REACHES DOWN A FLIGHTBAG FROM THE OVERHEAD, AND JOINS THE LINE OF EXITING PASSENGERS. ANGLE IN THE JETWAY, AN ARMED SOLDIER, HIS SMG SLUNG IN FRONT OF HIM, IS READING AN ITALIAN NEWSPAPER. AS THE JETWAY PULLS UP TO SNUGGLE WITH THE JET, THE SOLDIER DROPS THE PAPER ONTO THE STOOL BEFORE HIM, AND COMES TO ATTENTION. ANGLE IN THE PLANE, THE STEWARDESS OPENS THE DOOR, THE PASSENGERS EXIT, SHE AND PAZZI EXCHANGE A BRIEF, WHISPERED FLIRTATION AS HE PASSES. AS HE MOVES PAST HER, SHE GIVES A SMALL WHOOP IN RESPONSE TO SOME CLANDESTINE CARESS OF HIS. A WHISPERED CONFERENCE BETWEEN THE TWO. STEWARDESS is that the way for a Public Official to act? PAZZI -LRB- SHRUGS. -RRB- You represent Italy. Call it an inspection. STEWARDESS Should n't that be carried out in Depth? PAZZI I have to get back to my wife. HE SHRUGS SADLY, AND MOVES PAST HER. CAMERA TAKES PAZZI INTO THE JETWAY, WHERE WE NOW SEE TWO PLAINCLOTHES COP TYPES, WAITING, AS PAZZI COMES THROUGH THEY NOD TO HIM, AND THE GROUP STARTS TO EXIT OUT OF THE SIDE WALKWAY OF THE JETWAY. PAZZI -LRB- cont'd. -RRB- what's up? ONE OF THE MEN REACHES FOR THE PAPER, WHICH THE SOLDIER HAS DROPPED, AND TAKES IT WITH HIM. ANGLE EXT THE JETWAY. THE GROUP OF THREE DESCENDS ONTO THE TARMAC UNDER THE JETWAY, WHERE THERE IS A CAR WITH A BLUELIGHT ON IT, WAITING. THEY GET INTO THE CAR, AND ONE OF THE COPS HANDS THE PAPER TO PAZZI. ANGLE INT THE CAR, AS IT PROCEEDS THROUGH THE AIRPORT. PAZZI TURNS TO THE PAGE INDICATED. COP ONE How was America? PAZZI -LRB- LOOKING AT THE PAPER. -RRB- Bad coffee, and women with excessive ankles. COP ONE nightmare. PAZZI What's up? COP ONE -LRB- POINTING TO PAPER. -RRB- Doctore Carlo Fanelli, curator of the Pallazo Capponi, 2 months missing. PAZZI Yeah, so where is he? COP ONE Somewhere where his family are offering a thirty grand reward for Information, so on. PAZZI They got that kind of money? COP ONE Their family owns. HE SPEAKS, BUT THE NOISE OF A JET RUNNING UP WASHES OUT HIS INFO. PAZZI'S EYES, HOWEVER, GROW WIDE. PAZZI Well, let's find him. COP ONE buya lot of pasta for your wife. COP TWO She do n't eat pasta, that's how come she's so slim. COP ONE Heresa file onnaguy, you got a meeting, the Palazzo Capponi, at four thirty. PAZZI I ca n't even go home and change? COP TWO What'd you bring me? THE CAR IS STOPPED AT A BARRIER. A GUARD COMES OUT, AND THE COP DRIVING FLASHES OFFICIAL LOOKING INFO AT HIM.\",\n \"INT. THE CAR. PAZZI DISTRIBUTES TWO FBI ACADEMY HATS, TO THE TWO COPS. THE CAR PASSES THROUGH THE BARRIER. CAMERA TRACKS WITH IT THROUGH THE `` ARRIVALS'' ROUNDABOUT. AND WE SEE TWO BILLBOARDS, THE FIRST ANNOUNCES, THE FLORENCE BALLET, WITH APPROPRIATE DATES AND INDUCEMENTS. THE SECOND, SHOWS A GUILLOTINE, AND ANNOUNCES : INSTRUMENTS OF ATROCIOUS TORTURE. NOW THROUGH OCTOBER, ET CETERA.\",\n \"INT. THE CAR. PAZZI What else did I miss? ONE OF THE MEN GESTURES AT THE `` TORTURE'' POSTER. COP ONE Atrocious Torture. Hit of the Season, you want, I know a guy can get you a ticket. PAZZI are they hard to get? COP ONE Impossible. PAZZI -LRB- SHAKING HIS HEAD SADLY. -RRB-. what a world.\",\n \"INT. PAZZI'S APARTMENT DAY. A NICE MODERN SMALL APARTMENT. ANNA PAZZI, A VERY BEAUTIFUL WOMAN OF AROUND THIRTY IS STANDING IN THE HALL, AS PAZZI ENTERS. HE BEGINS KISSING HER, AND CAMERA MOVES THEM INTO THE BEDROOM. ANNA What's the rush? What's the rush? PAZZI Are n't you glad to see me? ANNA Tell me about your trip. what did you bring me? HE STOPS, AND RUMMAGES IN HIS CASE, AND BRINGS OUT A BOTTLE OF PERFUME. HE GIVES IT TO HER. SHE LOOKS DISAPPOINTED. ANNA -LRB- cont'd. -RRB- and? PAZZI I brought you my passion and my wish that this afternoon will be for you an experience of ecstasy. SHE FENDS HIM OFF. PAZZI -LRB- cont'd. -RRB- what? ANNA I ca n't think. PAZZI you do n't have to think. ANNA We have to talk about money. PAZZI I'm on the track of a reward, which. ANNA A reward. PAZZI I'm going to tell you later. ANNA A reward for what? PAZZI Some museum director disappeared. ANNA And? PAZZI They're offering. -LRB- AS HE MOVES HER TOWARD THE BED. -RRB- ANNA you have n't found him yet. PAZZI What is this, a whorehouse, or are you my wife? ANNA You've gone off to America, on your Vacation. PAZZI I was working. ANNA please. PAZZI I swear to you. ANNA and I want to talk to you about your promotion. PAZZI Yes? My promotion? ANNA I want to talk to you about your salary. Because I ca n't. HE TAKES OFF HIS JACKET, HE TAKES THE PERFUME BOX FROM HER, AND THROWS IT INTO THE OPENED SUITCASE. HE MOVES HER TOWARD THE BED. ANGLE ON THE SUITCASE, WHERE WE SEE THE PERFUME HAS LANDED IN THE VERY SCARF WHICH STARLING GAVE TO PAZZI EARLIER, ALSO IN THE STILL - LIFE IS PAZZI'S PASSPORT CASE, OUT OF THE TOP OF WHICH WE SEE PEEKING A BIT OF THE PHOTOGRAPH SHOWING THE WANTED POSTER `` THREE MILLION DOLLARS REWARD FOR THE WHEREABOUTS OF THE MONSTER, HANNIBAL LECHTER.'' THEY CONTINUE TO TALK, AS THE AUDIENCE READS THE INFORMATION IN THE INSERT. PAZZI -LRB- cont'd. -RRB- -LRB- VO. -RRB- -LRB- CONCLUDING. -RRB- I need you, y' understand, I need you. ANNA -LRB- VO. -RRB-. everybody needs something. WE SEE THE LIGHT GO OUT IN THE ROOM -LRB- I. E. ON THE INSERT SHOT -RRB- PUTTING THE ROOM INTO SEMI - DARKNESS.\",\n \"EXT. PALLAZZO VECCHIO DAY. THE SEDAN WITH PAZZI AND COP ONE COMES TO A HALT. COP ONE THROWS A POLICE PASS ON THE DASHBOARD, AND THEY GET OUT, COP ONE HURRYING. PAZZI -LRB- FOLLOWING, AS HE TIES HIS TIE. -RRB- Hold up a minute. COP ONE You spend the afternoon in Bed? PAZZI First things first. COP ONE You take this much time over everything? PAZZI That's why my wife adores me.\",\n \"INT. PALAZZO VECCHIO, VARIOUS RECONSTRUCTION AND RENOVATION GOING ON. PAZZI AND COP ONE MOUNT THE STAIRS. COP ONE Carlo Fanelli, Dottore, missing two months. He was the Director of the Museum. Which, since his absence. THEY HAVE ARRIVED ON A LANDING. VARIOUS RESTORATION CREWS ARE AT WORK. PROFESSOR RICCI, A CONTEMPORARY OF PAZZIS, COMES UP TO HIM. RICCI Ah, Pazzi. How was America? THEY TURN THEIR HEADS. AT THE SOUND OF SHOUTING. ANGLE THEIR POV. A LARGE SALON, ITS DOUBLE DOOR OPEN, AND TEN CHAIR ARRANGED AROUND A TABLE, ALL FULL OF SEATED OLDER MEN, OF WHOM SEVERAL ARE EXPOSTULATING WITH ANOTHER FIGURE, UNSEEN. ANGLE ON RICCI, PAZZI, ET AL.. RICCI -LRB- cont'd. -RRB- We may need you to stop bloodshed. PAZZI What're they on about? RICCI They're grilling the applicant for the Vacant Post. PAZZI Speaking of the Vacant Post. RICCI Dottore Fanelli. COP He has n't, by any chance, wandered back in? AS COP ONE TALKS WITH RICCI, CAMERA GOES OVER THE SHOULDER OF PAZZI, WHO, GINGERLY ENTERS THE SALON, TO THE SIGHT AND SOUND OF THE OLD MEN ARGUING WITH EACH OTHER. ANGLE, HIS POV. THE OLD MEN AT THE TABLE. SOGLIATO, A FELLOW IN HIS SEVENTIES, IS HOLDING THE FLOOR. SOGLIATO Now : our applicant holds in his hand, in his Non - Italian - Hand, a note, from Dante Aligheri himself. Would he recognize it, I think not. ANOTHER OLD MAN You want the job for your nephew. SOGLIATO Indeed I do. Because he is my Nephew? No. Because he. A THIRD OLD MAN Let him read the note. SOGLIATO Yes, fine, of course he can read the note. His Italian is admirable, for a straniero. But is he familiar with. ANGLE ON THE MAN, PREVIOUSLY UNSEEN OF WHOM THEY ARE TALKING. THE MOVEMENT OF THE POV REVEALS HIM, STANDING ALONE, BACK TO CAMERA, BEFORE A HALF CLOTH - COVERED TAPESTRY, DRESSED IN A MAGNIFICENT SUIT, USING HALF - GLASSES TO LOOK DOWN AT A NOTE IN HIS HAND. SOGLIATO -LRB- cont'd. -RRB- -LRB- VO. -RRB- The personalities of pre - Renaissance Florence? I think not. THE MAN -LRB- HANNIBAL LECHTER/DR. FELL -RRB- STILL SEEN FROM THE REAR - STILL LOOKING AT THE NOTE - NODS TO INDICATE HE HAS HEARD. ANGLE HIS POV THE TABLE OF OLD MEN, AND BEYOND THEM, PAZZI. RICCI APPEARS AT PAZZI'S SIDE, AND SPEAKS IN WHISPERS. RICCI -LRB- SOTTO. -RRB-. a Dr. Fell. A Brazilian, I think. Applying for Fanelli's post. PAZZI -LRB- VACANTLY. -RRB- Brazilian. -LRB- RICCI HANDS SOME FORMS TO PAZZI. -RRB- RICCI It would seem. SOGLIATO -LRB- VO. -RRB- What if he came upon a note in, the Capponi Library, this great Italian Institution, which he now graces us with his bid to Direct, a note from Guido de Cavalcanti. Would he recognize it, I think not. ANGLE ON DR. FELL, STILL SEEN FROM THE REAR, AS HE TAKES A SILK SQUARE FROM HIS BREAST POCKET, AND CLEANS HIS HALF - GLASSES, THEN FOLDS THEM AND PUTS THEM AND THE SQUARE BACK IN HIS POCKET. SOGLIATO -LRB- cont'd. -RRB- -LRB- VO. -RRB- Would you care to address that, Dr. Fell? BEAT. DR. FELL TURNS TO CAMERA, STILL HOLDING THE NOTE. HE TAKES SEVERAL PACES, TO LOOK AT THE NOTE IN A SHAFT OF SUNLIGHT. HE IS STANDING BESIDE THE STATUE OF JUDITH AND HOLOFERNES. HE NODS AT THE NOTE, AS IF CONFIRMING SOMETHING. THEN HE LOOKS UP. DR. FELL Cavalcanti replied publicly to Dante's first sonnet. Do you know it, Professor Sogliato? I believe it's worth your time : Listen to the way he makes an instrument of the Italian vernacular, which he called the vulgari eloquentia - the eloquent voice of the people : Allegro me sembrava amor tenedo/Meo core in mano, e ne la braccia avea/Madonna involta in un drappa dormedo/Poi la svegliava a d'esto ardeno/Lei paventosa umilmente pascea/Appreso gir lo ne vedea paingendo. If Dante had written to a Cavalcanti, it would, of course, have been to Andrea, the most literary of his brothers. SOGLIATO why do you want this job? DR. FELL In the hope, that someday, I should come across such a note. I thank you gentleman for your kind attention, and hope you will consider. THE MEETING IS ABOUT TO BREAK UP, THE OLD MEN ARE RISING, FELL HANDS BACK THE NOTE, WHICH IS ENCASED IN A PROTECTOR, RICCI COMES FORWARD WITH PAZZI, AND BEGINS INTRODUCING HIM TO THE COMMITTEE. RICCI investigating the disappearance of Dottore Fanelli. PAZZI Who, can you think, who would want to harm Dr. Fanelli, did he have any enemies, that. COMMITTEE MEMBER I have never met a man who was so well beloved. PAZZI he was wealthy. COMMITTEE MEMBER He had nothing. He lived in a garret. His work was his life, he. PAZZI his family has offered a large reward. ANGLE ON FELL, WHO GOES TO THE PEDIMENT OF THE STATUE OF JUDITH AND HOLOFERNES, AND PICKS UP A SMALL SKETCH BOOK, WHICH IS OPENED AT A SKETCH OF THE STATUE, HE PUTS THE BOOK UNDER HIS ARM. ANGLE ON PAZZI AND THE COMMITTEE MEMBER. COMMITTEE MEMBER His older brother offers the reward, Fanelli had nothing, he. ANGLE. PAZZI HALF TURNS HIS HEAD, TO SEE SEVERAL COMMITTEE MEMBERS CONGRATULATING DR. FELL, WHO IS PUTTING ON HIS COAT. COMMITTEE MEMBER -LRB- cont'd. -RRB- will have, of course to be examined by the Studiolo, to confirm the appointment, but I think I can assure you, that the Committee. DR. FELL you are most kind. ANGLE, ON PAZZI, WHO IS STILL BEING TALKED AT BY THE COMMITTEE MEMBER. COMMITTEE MEMBER who would benefit from his disappearance? No one. No one has but lost by it. ANGLE PAZZI STARTS TOWARD DR. FELL. PAZZI -LRB- TO THE COMMITTEE MEMBER. -RRB-. would you excuse me? ANGLE EXT THE SALON, ON THE LANDING, FELL IS BEING ADDRESSED BY RICCI. RICCI will have to face the Studiolo, in their meeting next week. And I, for one, wish you the best. FELL SHAKES HIS HAND, AND STARTS DOWN THE STAIRCASE. CAMERA GOES WITH HIM, WE HEAR PAZZI VO. PAZZI Dottore. FELL TURNS, AND PAZZI COMES TO CATCH UP WITH HIM. PAZZI -LRB- cont'd. -RRB- Pazzi, Rinaldo, Commendatore, Prefatura. FELL Of course, Commendatore. CAMERA TAKES THEM DOWN THE STAIRS, AS THEY TALK. PAZZI Could you tell me : did you ever meet your predecessor, Dottore Fanelli? FELL I never met him. I knew him only from his writings. PAZZI I know that the officers who first investigated his disappearance searched for a note, a farewell note, a suicide note. FELL yes. PAZZI You have taken over his offices, is that not so? FELL It is only temporary, until my confirmation by. PAZZI Of course, in his offices, if you come across anything, any personal papers of his, anything, however trivial, would you contact me, please. Are his personal effects still at the Palazzo? FELL Yes. Packed and with an inventory. -LRB- HE HESITATES, AND LOOKS AT PAZZI. -RRB- PAZZI AND FELL WALK OUT OF THE MUSEUM. ANGLE EXT THE MUSEUM. PAZZI I'll have them picked up. PAZZI GESTURES TO HIS COLLEAGUE. PAZZI -LRB- cont'd. -RRB- May we drop you? FELL Thank you, I am most happy to walk in this most magnificent of cities. FELL STARTS PULLING ON HIS GLOVES, HE HANDS HIS SKETCHBOOK TO PAZZI FOR A MOMENT. PAZZI LOOKS DOWN. ANGLE PAZZI'S POV FELL'S LEFT HAND, HAS A SCAR ON THE BACK IN THE SHAPE OF A 3. PAZZI May I ask you a personal question, Dr. Fell? FELL If your duty requires it. PAZZI You have a recent scar on the back of your hand. FELL And you have a new wedding ring on yours? La Vita Nuova? -. -LRB- HE SMILES. -RRB- PAZZI You looked oddly at me, back on the landing. FELL Yes, it must be hard to be a policeman. Is it hard? Must one, then, be constantly suspicious? PAZZI Why did you look at me that way? FELL -LRB- SMILES. -RRB- I saw a man in disheveled clothing, but clean. Just dressed - in the middle of the. FELL SHAKES HIS HEAD, ASKING TO HAVE THE QUESTION WITHDRAWN. PAZZI please. FELL -LRB- SHRUGS, SMILES. -RRB- I saw a man, somewhat fatigued. Quickly dressed, a bit dishevelled. In the middle of the day. -LRB- SMILES. -RRB- An old story. And then I saw the clothing was fresh - therefore : a man who dressed at home. And then I remarked the new wedding ring. And so : the story gave me pause. A lovely story. A new, and a beloved wife. I wish you joy. -LRB- FELL STARTS TO EXIT. -RRB- PAZZI WALKS WITH HIM. PAZZI You assemble this, on the instant, from these few observations? FELL -LRB- SHRUGS. -RRB- I'm a historian. It is our task to assemble the seemingly unconnected into the obvious. PAZZI your scar? FELL My scar is a war - wound. PAZZI How so? FELL Carpal - tunnel syndrome. From a life of typing. Commendatore. History, a hazardous profession. FELL AND THEN PAZZI STOP. FELL -LRB- cont'd. -RRB- You are a Pazzi of the Pazzim are you not? PAZZI Yes. How did you know? FELL You resemble a figure from the Della Robia Rondels, in your family's chapel at Santa Croce. PAZZI It was Adresa de Pazzi, depicted as John the Baptist. You have seen the chapel? FELL I have had the honor. -LRB- HE BOWS AND STARTS OFF. PAZZI GOES AFTER HIM. -RRB- FELL TURNS TO HIM. FELL -LRB- cont'd. -RRB- I wondered that an officer of your exalted rank should come, so late, into the case. PAZZI And? Then? FELL I wonder no longer. You were out of the country. PAZZI How could you know? FELL I sense. -LRB- HE TOUCHES HIS NOSE. -RRB- The faintest whiff of a perfume, whose base, whose base, whose base is `` Hamamelis''. it is witch - hazel - such a clean scent. No, not a European scent. I would say it is a scent of the New World. I would say, you have been in America. Have I struck home? PAZZI You know America? FELL you have brought this perfume. brought this perfume. Back. Back from America. To your New Wife. -LRB- HE PICKS UP HIS HAND, AND GLANCES DOWN AT PAZZI'S WEDDING RING. -RRB- You have given it to her, and some of. -LRB- HE SMILES. -RRB- Some of ` her perfume' has found its way back onto you. Lucky man. Lucky man, indeed. HE BOWS, AND STARTS TO TAKE HIS LEAVE, FROM THE STARTLED PAZZI. PAZZI COMES TO HIS SENSES, AND HANDS A CARD TO FELL. PAZZI Should you come across anything which. FELL You will be the first I call. FELL TURNS TO LEAVE, TURNS BACK, AND TAKES HIS HAND AND, GENTLY RUBS IT ON THE LAPEL OF PAZZI'S SUITJACKET, HE THEN, DELICATELY, HOLDS THE HAND UNDER HIS NOSE, AND NODS, AS IF IN AGREEMENT WITH HIMSELF. HE NODS, AND WALKS OFF INTO A PARK. ANGLE ON PAZZI, WHO LOOKS AFTER FELL. HE WALKS BACK TOWARD THE CAR. HE TURNS, TO LOOK AFTER FELL, AND WE SEE HE IS STANDING BY A LINE OF PEOPLE, A QUEUE, UNDER A BANNER WHICH PROCLAIMS, `` ATROCIOUS INSTRUMENTS OF TORTURE.'' PAZZI SHAKES HIS HEAD, AS IF TO CLEAR IT, AND STARTS TOWARD HIS CAR, WHERE COP ONE OPENS THE OOOR FOR HIM. ANGLE ON FELL, AS CAMERA TAKES HIM INTO THE PARK, WHICH, WE SEE, IS A CEMETERY. HE SITS ON A BENCH, AND TAKES OUT HIS SKETCHBOOK, AND BEGINS TO DRAW. ANGLE HIS POV. A PIECE OF FUNERAY STATUARY, THE LION, HOLDING THE BIRD IN HIS MOUTH. ANGLE ON DR. FELL, SKETCHING. TIGHT. HE SKETCHES, HE RAISES HIS HAND TO HIS NOSE AND INHALES, AND NODS AGAIN. ANGLE, FROM THE SIDE, WE NOW SEE THE STATUE AND FELL'S DRAWING. HE IS DRAWING, NOT THE STATUE, BUT A SKETCH OF CLARICE STARLING.\",\n \"EXT. MARYLAND MISERICORDIA HOSPITAL DAY. VARIOUS UNFORTUNATE PEOPLE, ENTERING THE HOSPITAL ; LEAVING THE HOSPITAL, A VAST GIANT OF A MAN, SHRUGGING HIMSELF INTO AN ARMY FATIGUE JACKET OVER ORDERLY'S WHITES. -LRB- BARNEY -RRB- ANGLE STARLING, STANDING AT A BUSSTOP, READING A PAPER. ANGLE INS. IN THE PAPER IS SECRETED A PHOTO OF BARNEY, ON FBI XEROX FORM, WITH HIS NAME, AND DESCRIPTION. ANGLE STARLING WAITS AT THE BUSSTOP. BARNEY PASSES IN FRONT OF HER, AND CONTINUES WALKING. STARLING FOLDS THE PAPER AND GOES AFTER HIM. ANGLE RUNDOWN RESIDENTIAL NEIGHBORHOOD, DAY. BARNEY, NOW HOLDING A SMALL BAG OF GROCERIES, CROSSES THE STREET. WE SEE STARLING IN THE BG. BARNEY STOPS, IN THE MIDDLE OF THE ROAD. WE SEE HE IS LOOKING UP OVERHEAD. ANGLE INS HIS POV. A DOVE, CIRCLING IN THE SKY. ANGLE XCU. BARNEY LOOKING UP, PUZZLED, AND THEN HE LOOKS DOWN. ANGLE HIS POV. IN THE ROAD AHEAD, A DEAD DOVE. BARNEY WALKS INTO THE POV, PICKS UP THE DOVE, AND WALKS TO A SMALL RATTY VERGE OF PARK. HE PUTS THE DOVE DOWN, LOVINGLY IN THE GRASS, AND WE WATCH, AS THE OTHER DOVE LANDS ON A FENCE, NEARBY. BARNEY STARTS TO WALK TOWARD THE LIVE BIRD. ANGLE OVER THE BIRD, ONTO BARNEY, WITH STARLING WALKING UP BEHIND HIM. BARNEY HESITATES, HIS BACK STILL TO STARLING. BARNEY Are you attracted by Death? -LRB- PAUSE. -RRB- It is the one great mystery, is it not? Anyone who would say otherwise must be a hypocrite. Do n't you think? HE TURNS FOR THE FIRST TIME AND LOOKS AT HER. BARNEY -LRB- cont'd. -RRB- or are you only attracted by power. -LRB- HE CHANGES HIS TACK AND TONE. -RRB- How are you, Agent Starling? STARLING Ah, Barney : you've got a good mernory. BARNEY You know why that is? Because there are so few things I need to forget. Would you agree, for the record, that I have not been read my rights? STARLING I have not read you your rights. BARNEY Would you mind saying that into your bag? STARLING STARTS TO OPEN HER BAG, AND SPEAKS INTO IT. STARLING I hereby acknowledge that. BARNEY And now I have `` dociled'' you, have I not? By forcing your obedience. STARLING -LRB- SMILING. -RRB- Then why did you chose to inform me of it? BARNEY To show. -LRB- PAUSE. -RRB- in my ability to squander. What one might deem an advantage. that my strength is greater than yours. STARLING Oh yeah? Wan na arm wrestle? BARNEY If you'll come down the street I will make you a cup of coffee.\",\n \"INT. BARNEY'S APARTMENT DAY. AS THEY ENTER, THE APARTMENT WITH MANY DEADBOLTS. STARLING ENTERS WARILY AND TAKES A SEAT WITH HER BACK TO THE WALL, IN THE SMALL STUDIO. AS BARNEY BEGINS MAKING COFFEE. BARNEY You almost took down Evelda Drumgo. STARLING Well. Word gets around. BARNEY what hindered you? STARLING It was n't my day. BARNEY Perhaps you did not have the support you required. STARLING It's a poor workman who blames his tools. BARNEY Or, perhaps. STARLING how are things at the Hospital? BARNEY It's a growth business. STARLING What have they got you doing? BARNEY Orderly. STARLING I would have figured you an R.N. by now, or, maybe Med School. BARNEY I prefer to stay in the Less Frivolous professions. STARLING -LRB- TAKES OUT A NOTEBOOK. -RRB- You lasted eight years, as Orderly, in Dr. Lechter's prison ward. BARNEY Yes, I presumed it was about him. STARLING you. BARNEY I'm struck by your phraseology. I did not last with him. I was privileged to enjoy his company during that time. STARLING -LRB- GETTING DOWN TO BUSINESS, AS SHE TAKES OUT A PENCIL. -RRB- I'm looking for. BARNEY He said, and these were his words, he valued our time together, because I was civil. STARLING Did you ever think, did you think, after he escaped, he would come after you? BARNEY He told me, he preferred to Eat the Rude. Or : `` natural composting.'' Do you think he'd come after you? STARLING LOOKS OUT THE WINDOW. ANGLE HER POV OUT THE WINDOW, SE SEE THE DOVE CIRCLING THE DEAD DOVE ON THE RATTY PIECE OF GRASS. STARLING -LRB- TURNING BACK. -RRB- What? BARNEY I asked you how you like your coffee? We have black and bitter. As the Soul of Man. Or light and sweet, as the world - view of the self - delusive. STARLING We got a bunch of materials, coming up at auction. Materials which disappeared from Dr. Lechter's cell, drawings he made, his books. BARNEY Yes? STARLING And I'd like your help, determining who's bidding for their purchase. BARNEY Why me? STARLING Waal, because your selling'em. Two years ago, his annotated Dictionary of Cuisine, by Alexander Dumas, went for sixteen thousand dollars. Seller's affidavit of ownership, signed Cary Panz. P.A.N.Z. Sounds to me like an Orderly. Whadja clear on the book? Ten, twelve grand? BARNEY very good. STARLING Here's what they want you to do : we want the rest of the stuff you stole from his cell. BARNEY why? STARLING Let's just say they got a passion for collectibles. BARNEY You said `` here's what they want you to do.'' Why? STARLING Now, why n't you help us? BARNEY That would adversely impact my income. STARLING Not as much as being jailed for theft of Government Property, or for failure to pay income tax, on undisclosed income. BARNEY We could skip the Gavotte. STARLING Say it in English. BARNEY Lechter's not buying up his Memorabilia. He keeps it all in his `` mind,'' do you see? STARLING Then who's buying it? BARNEY -LRB- SHRUGS. -RRB- There's one or two freaks, and, for a `` Pass,'' I'll rat them out to you. -LRB- HE TAKES A PENCIL, AND PUTS A COUPLE OF NAMES IN HER BOOK, LEANING OVER HER. -RRB- STARLING That's the spirit. ANGLE, BARNEY AS HE LEANS OVER, LOOMING OVER STARLING. BARNEY are n't you afraid of me? STARLING You want me to be? BARNEY I'd prefer it. -LRB- HE FINISHES WRITING. -RRB- But it's just a vacant exercise. HE AND STARLING FINISH THEIR COFFEE. HE BEGINS TO WALK HER OUT. ANGLE EXT BARNEY'S APARTMENT, AS THEY EXIT. STARLING A vacant exercise, why? BARNEY You said `` here's what they want you to do.'' Are n't you part of them anymore? Are n't you part of the FBI? ` No Girl's Allowed,' or what? Have you transgressed? STARLING Let's keep it to business, shall we? BARNEY why have they stuck you on this silly little roust? STARLING they did it for a lark. BARNEY Oh, Good. The ornithological leitmotif. HE TAKES HER OVER TO THE DEAD BIRD. HE PICKS UP THE DEAD BIRD, AND SMOOTHS ITS FEATHERS. HE ADDRESSES THE CIRCLING DOVE. BARNEY -LRB- cont'd. -RRB- Off you go. You've grieved enough. Anything more would be self - indulgence. STARLING -LRB- AS SHE LOOKS AT HER BOOK OF NAMES. -RRB- Who are these guys? BARNEY Rich, comic book freaks. STARLING And why is it a vacant exercise? BARNEY Because we both know who's buying the Lechteriana. STARLING Who would that be. BARNEY -LRB- AS IF STATING THE MOST OBVIOUS FACT. -RRB- Mason Verger. For he can not be free. Dr. Lechter refashioned his body so it mirrors his soul, what an impossible injustice. Can you be free? STARLING No, you're wrong about Verger. BARNEY Oh, yes. He's found Peace. STARLING Well, if he has n't, I'm vastly mistaken. BARNEY -LRB- PAUSES, AND LOOKS AT HER INTENTLY. -RRB- And have you found Peace? -LRB- PAUSE. -RRB- ANGLE, ON BARNEY, AS HE STARTS PUTTING THE DEAD BIRD IN HIS POCKET. STARLING What'll you do with the bird? BARNEY Pluck it, and eat it. It was so good to see you. BARNEY GOES BACK INTO HIS APARTMENT BUILDING.\",\n \"INT. FBI HEADQUARTERS DAY. STARLING IS COMING INTO THE READYROOM AREA, AND PASSES JOHN BRIGHAM. BRIGHAM How you doin? STARLING M' I gon na see you tonight? BRIGHAM That's right. STARLING Then I'm doing fine. BRIGHAM What's new onna street? STARLING All Quiet Along the Potomac. A TECHNICIAN WALKS BY AND STARLING RIPS A PAGE OUT OF HER NOTEBOOK AND HANDS IT TO HIM. STARLING -LRB- cont'd. -RRB- Can we run this guy down? TECHNICIAN Who is he? STARLING His job description? He's a comic book freak. TECHNICIAN Whadda we want him for? STARLING Insufficient Animation. Just get me his vital signs, will you? -LRB- TO BRIGHAM. -RRB- Catcha later. -LRB- SHE WALKS ON. -RRB- ANGLE INS. THE X - RAY MARKED HANNIBAL LECHTER. NEXT TO IT, A SKETCH OF THE BACK OF THE HAND, WITH A SCAR, IN THE SHAPE OF A NUMERAL 3 ON IT. A TECHNICIAN IS DISCUSSING THE MATERIALS WITH CRAWFORD. TECHNICIAN Which would, of necessity, have left this scar in the shape of the number `` 3.'' CRAWFORD Why a Three? TECHNICIAN It requires two flaps to close the area between the. STARLING PASSES. CRAWFORD Starling : come look at this : did you see this? STARLING Yes sir, I saw it. -LRB- HE HANDS HER A COPY OF THE X - RAY. -RRB- CRAWFORD -LRB- NODS. -RRB- We have a memo here, from your friend Mr. Krendler at the Justice Department. STARLING I am all attention. CRAWFORD He requests your presence, once again, as part of. HE HANDS HER THE MEMO.\",\n \"INT. FBI CAFETERIA DAY. STARLING COMES DOWN THE STEAMTABLE LINE WITH A TRAY. CAMERA TAKES HER TO MAPP, WHO IS EATING LUNCH, STARLING SITS. STARLING Just the person I'm looking for. MAPP And why would that be? STARLING SITS AND STARTS TO EAT. MAPP PICKS UP THE MEMO FROM THE SMALL FOLDER ON STARLING'S TRAY. STARLING Because you're going to help me plan a party. MAPP You're going to do that? STARLING I'm going to do it, and you're going to catch the bouquet. MAPP READS THE MEMO. MAPP The Multi - Jurisdiction Task Force : read alphabet soup, for the continued pursuit, and in preparation for the apprehension of the fugitive, Evelda Drumgo. The man's hazing you. STARLING My daddy would say : accept with glee the things you can not change. MAPP PICKS UP THE X - RAY. MAPP I'll tell you what : I should go in there, volunteer to fill up his Female Quota. -LRB- OF THE X - RAY. SHE HOLDS IT UP, SEEKING INFORMATION. -RRB- STARLING Mr. Crawford asked my opinion. Here we've got a purported x - ray, Dr. Lechter's surgery. Do we keep it secret, or broadcast it? MAPP Saying what, `` Look out for a guy with ten fingers?'' STARLING Yeah, that's too Hip for the Room. MAPP -LRB- OF THE NOTE. -RRB- You stay offa this Alphabet Soup Detail, all this half - baked, cowboy stuff, till after you get your mind cleared. you do n't wan na go out there a half - step slow. STARLING I do n't wan na go out there at all. MAPP What do you want to do? You want to jam up that sonofabitch Krendler. STARLING No. I want to buy a dog. -LRB- PAUSE. -RRB- MAPP What broke you free, Girl? STARLING I met a man, and His Troubles Were Greater Than Mine. SHE EXTRACTS THE SMALL CARD VERGER HAS GIVEN HER. AND WE SEE IT, AS SHE LOOKS AT IT. `` DO NOT GIVE IN TO ADVERSITY. DO NOT TRUST TO PROPERTY. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND.''\",\n \"INT. VERGER'S MANSION--PLAYROOM--DAY. HAPPY SMALL CHILDREN PLAYING. ONE SMALL BOY, SMILING, IS APPROACHED BY A LOVELY YOUNG NURSE, DRESSED IN WHITE. SHE WHISPERS TO HIM AND HE SMILES AND NODS, AND TAKES HER HAND, AS THEY WALK OFF. ANGLE INT VERGER'S MEDICAL FACILITY. WE SEE THE YOUNG CHILD, FRANKLIN, BEING LED OFF ON A TV SCREEN. WE SEE HIS PROGRESS ONTO ANOTHER SCREEN SHOWING THE HALL, AND THE OLD WOMAN, ROSIE, KNITTING. ANGLE CORDELL, STANDING BY VERGER'S BED. CORDELL HOLDS A FOLDER MARKED `` DEPARTMENT OF CHILD WELFARE. CITY OF BALTIMORE.'' HE IS FINISHED READING IT. CORDELL. and age - appropriate large and small motor skills. His unfortunate home situation has made it necessary for Franklin to form immediate attachments with adults, which we understand to have contributed to many instances of his abuse.'' SOUND OF A `` WHOOSH,'' AS A DOOR OPENS, CORDELL CLOSES THE FOLDER. HE LOOKS TOWARD THE DOOR. ANGLE IN THE BED, VERGER, HIS FACE OBSCURED BY A TELEVISION MONITOR. WE HEAR THE WHIR OF A TV CAMERA. WE SEE THE CAMERA, ABOVE VERGER'S BED, MOVING. ANGLE ON A TV SCREEN, WE SEE THE CAMERA TRACK, AND TAKE THE FRIGHTENED FRANKLIN, AND THE NURSE STANDING NEXT TO HIM, THE NURSE MOTIONS FRANKLIN FORWARD. ANGLE, ON CORDELL, LOOKING DOWN AT VERGER. -LRB- NB THROUGHOUT, VERGER SHOULD NEVER BE SEEN. HE IS INFERRED THROUGH THE REACTIONS OF THOSE AROUND HIM. AND HE, AND IN PARTICULAR, HIS FACE SHOULD ALWAYS BE OBSCURED - A TEASE - BY THIS OR THAT INTERVENING OBJECT. -RRB- CORDELL NODS, AS IF IN RESPONSE TO A SIGN FROM VERGER. HE LAYS THE HOSPITAL FOLDER ON A SORT OF XEROX MACHINE. ANGLE ON VERGER'S ELECTRONIC DISPLAY. THE VARIOUS TV SCREENS, THE HOSPITAL FOLDER, NOW COMING INTO VIEW ON A SCREEN ON WHICH WE READ THE LOGO OF THE BALTIMORE CHILD WELFARE, AND `` JAMES, FRANKLIN, BORN JUNE 5, 1991,'' AND A PHOTO OF HIM. ON THE ADJACENT SCREEN WE SEE THE YOUNG BOY COMING FORWARD AT THE URGING OF HIS NURSE. HIS EYES GROWING WIDE WITH FEAR. ANGLE FROM BEHIND FRANKLIN, AS HIS BODY OBSCURES OUR VIEW OF VERGER, AND WE HEAR THE ELECTRONICALLY ENHANCED VOICE OF VERGER CONVERSING WITH HIM. VERGER Are you Franklin? FRANKLIN Franklin. VERGER Where do you live? FRANKLIN With Mama and Shirley and Stringbean. ANGLE SHIFT TO OVER VERGER, ONTO THE FRIGHTENED BOY. IN THE BG WE SEE THE NURSE BEATING A STRATEGIC RETREAT TO THE DOOR, AND AFTER HER EXIT, WE SEE HER APPEAR ON THE SCREEN WHICH SHOWS THE CORRIDOR, TAKING A CHAIR ACROSS FROM `` ROSIE,'' WE SEE HER SIT AND TAKE OUT A BOOK AND READ. AS VERGER TALKS WITH FRANKLIN, WE SEE THE INFORMATION ON THE `` TEXT'' SCREEN SCROLL, WHICH NEW INFO WE SEE REFLECTED IN VERGER'S QUESTIONS. FRANKLIN -LRB- cont'd. -RRB- But Stringbean, he in and out. VERGER In and out. Yes. And Mama. and Mama, is not your real Mama, is she Franklin? FRANKLIN She my foster. VERGER She's not the first foster that you've had. Is she? FRANKLIN No. -LRB- THE CHILD LOOKS AROUND, AND, FINDING NO SUPPORT, LOOKS BACK AT VERGER. -RRB- VERGER Do you like it at your home, Franklin? FRANKLIN -LRB- FRIGHTENING. -RRB- We got KittyKat. VERGER Yes. yes. FRANKLIN and Shirly, let me sleep with her sometime. VERGER Yes. Franklin, you ca n't live there anymore. With Mama and Shirly and Kittykat. You have to go away. FRANKLIN who say? VERGER The government says. Mama has lost her job, so she ca n't be your foster mother. The police found a marijuana cigarette in your home. You ca n't see Mama anymore. Or Shirley. Or Kitty Cat. That's what the Government says. ANGLE XCU ON FRANKLIN. VERGER -LRB- cont'd. -RRB- or perhaps they just do n't want you anymore. Could that be? And, do you know what will happen to Kitty Cat? When you go away. The police will take her, and they'll give her a shot. With a shiny needle. They'll give Kitty Cat a shot. And it will hurt her. And then she will die. FRANKLIN TAKES THE TAIL OF HIS SHIRT FROM HIS PANTS AND HOLDS IT TO HIS EYES. ANGLE ON VERGER'S BED, AND ON CORDELL BEHIND HIM, GLANCING THROUGH A FILE. CORDELL LOOKS UP AT THE WAILING OF FRANKLIN. VERGER -LRB- cont'd. -RRB- Come here. -LRB- BEAT. FRANKLIN COMES FORWARD, HIS FACE SCREWING UP IN TERROR AS THE DETAIL OF VERGER BECOME MORE APPARENT. HE STOPS MOVING FORWARD. -RRB- Do you know how you keep kittycat from getting a shot? Franklin? No? Do you know. Then come here. FRANKLIN COMES FORWARD. VERGER -LRB- cont'd. -RRB- You can keep Kitty Cat from getting a shot if. ANGLE ON CORDELL, WHO REACTS TO SOME SIGN FROM VERGER, AND NODS, AND TAKES A SMALL PACKAGE FROM A POCKET IN HIS COAT. ANGLE ON CORDELL, WHO GIVES THE PACKAGE TO FRANKLIN. VERGER -LRB- cont'd. -RRB- If you give him this. ANGLE ON FRANKLIN, AS HE LOOKS DOWN AT THE PACKAGE IN HIS HANDS. IT IS A PACKAGE OF RAT POISON. ANGLE ON FRANKLIN, HOLDING THE POISON, HE LOOKS UP AS VERGER TALKS. VERGER -LRB- cont'd. -RRB- You can keep her from getting the shot, if you give her that rat poison yourself. ANGLE, HOLD ON FRANKLIN, WHO BEGINS TO WEEP COPIOUSLY. ANGLE, ON THE VIDEO SCREEN SHOWING FRANKLIN, AS WE HEAR A SERVO MOTOR, AND THE SCREEN ZOOMS IN TO SHOW A TEAR. ANGLE ON CORDELL, WHO IS NOW AT A SMALL WETBAR, MIXING VODKA AND VERMOUTH AND POURING THEM INTO A MARTINI SHAKER. HE GLANCES OVER, AND NODS. ANGLE ON CORDELL, AS HE PUSHES A BUTTON ON A CONSOLE. ON THE SCREEN OVER VERGER'S BED WE SEE THE NURSE IN THE HALL REACT. SHE PUTS HER PAPERBACK BOOK INTO HER POCKET, AND RISES, AND WE SEE HER ENTER VERGER'S ROOM, AND STAND BY THE DOOR. VERGER -LRB- cont'd. -RRB- Goodbye, Franklin. CORDELL WALKS FRANKLIN TO THE DOOR. VERGER -LRB- cont'd. -RRB- remember what we talked about. WE HEAR VERGER'S ELECTRONICALLY AMPLIFIED BREATHING BECOME EXCITED, AND ON THE LIFESIGNS SCREENS, WE SEE HIS VITAL SIGNS BECOME MORE AGITATED, AND THE NURSE, AND CORDELL START TOWARD THE BED. VERGER -LRB- cont'd. -RRB- -LRB- AS HIS BREATHING QUIETS. -RRB- No, I'm fine. WE SEE CORDELL START BACK INTO THE ROOM, AND THEN, AT THE SOUND OF VERGER'S VOICE TURN AWAY AGAIN. ANGLE, AT THE DOOR, CORDELL SIGNS TO THE NURSE, AND STOOPS TO THE CRYING FRANKLIN. CORDELL TAKES A STERILE PLASTIC BAG FROM HIS POCKET, HE REMOVES FROM IT A CLAMP, IN THE JAWS OF WHICH ARE A SMALL SQUARE OF COTTON GAUZE. HE STOOPS TO FRANKLIN, AND CAREFULLY TAKES ONE OF FRANKLIN'S TEARS ONTO THE GAUZE. HE NODS TO THE NURSE, WHO EXITS WITH FRANKLIN. HE DISAPPEARS FROM THE SHOT. ANGLE ON VERGER. VERGER -LRB- cont'd. -RRB-. what have we heard from our friend at the FBI? ANGLE ON CORDELL, AS HE TAKES AN ENVELOPE, AND EXTRACTS A XEROX OF AN X - RAY AND PUTS IT ON THE SCREEN, WE SEE IT IS THE `` BRAZILIAN'' X - RAY OF LECHTER'S HAND. WE SEE AN IMPRINT AT THE TOP OF THE X - RAY - THE PATIENTS NAME AND THE LAB NAME RIPPED AWAY - ALL THAT REMAINS ARE THE WORDS''. DO BRAZIL.'' CORDELL Most current information shows the result of an operation for the removal of a sixth digit, the left hand of a man. VERGER Can we identify it as Dr. Lechter? CORDELL Not with any certainty we. VERGER'S BREATHING AGAIN BECOMES EXCITABLE. VERGER Why did he come back? CORDELL Our operatives in Brazil have been empowered to offer a reward of. VERGER WHY DID HE COME BACK? WHY DID THE BOY TURN BACK? CORDELL are you alright, sir? VERGER HE TURNED BACK INTO THE ROOM. Where have we Seen it Before. CORDELL Seen what, sir? VERGER The puppy comes back. If you lie on the ground. The Puppy with return. Why? Do you know why? TO KILL YOU. IT THINKS YOU HAVE FALLEN AND ARE POWERLESS. IT COMES BACK TO TEAR YOUR THROAT. THAT'S WHY THE CHILD TURNED BACK. As Lechter will return back. You see? To the sight of his oppressor wounded. He will return to savage our beloved Miss Starling. Bring me a drink. CORDELL TURNS, BACK TO THE CONSOLE. WE SEE CORDELL TURN, AND APPROACH THE BED, HOLDING THE MARTINI ON A TRAY. HE PUTS THE TRAY DOWN ON THE BEDTABLE. ANGLE INS. WE SEE, ON THE SMALL METAL HOSPITAL TRAY, THE MARTINI SHAKER, THE MARTINI GLASS, AND A SMALL BEAKER, IN WHICH IS THE CLAMP WHICH BEARS THE GAUZE PAD WHICH BEARS FRANKLIN'S TEARS. CORDELL SHAKES THE SHAKER, POURS IT INTO THE GLASS, AND DROPS THE GAUZE PAD INTO IT, AND HANDS IT TO VERGER. CORDELL Your drink, sir. VERGER It's time to step up the pressure on our Sweet Miss Starling. call our friend at the F.B.I. And, instead of finding Lechter, let's help Him find us. ANGLE ON ONE OF THE VIDEO SCREENS, WE SEE A SHEET LABELLED `` CONFIDENTIAL FBI NOT FOR DISTRIBUTION.'' AND WE SEE, IN VARIOUS SQUARES BELOW, THE DRAWINGS BY LECHTER, THE VARIOUS FUNERAY SKETCHES. CAMERA COMES IN ON ONE OF THE MIDDLE, LEFT, WHICH SHOWS THE LION WITH A BIRD IN ITS MOUTH.\",\n \"EXT. FLORENCE PARK NIGHT. THE STATUE OF THE LION HOLDING THE BIRD. A COUPLE WALKING PAST. PAZZI the purpose of the exercise. is it because they are expensive. MRS. PAZZI They are n't expensive, you got them through your connections. speaking of which : PAZZI Fine, thank you, but MRS. PAZZI Speaking of which, I want you also to get us tickets for the Opera. PAZZI whatever is within my power. MRS. PAZZI and that is what you need to expand. PAZZI I do n't understand. MRS. PAZZI -LRB- SHE STOPS AND ADDRESSES HIM. -RRB- We are here on sufferance. I am here. PAZZI why are we here in the first place? MRS. PAZZI Because it is exclusive. because everyone will be here. CAMERA TAKES THEM PAST A SIGN ANNOUNCING `` EXHIBITION INSTRUMENTS OF ATROCIOUS TORTURE,'' AND A VELVET ROPE, AND VARIOUS WELL DRESSED PEOPLE WAITING TO GET IN. PAZZI WALKS TO THE HEAD OF THE LINE, AND SHOWS HIS TICKETS, AND IS ADMITTED. ANGLE INT. THE EXHIBIT HALL. AN IRON MAIDEN. A COFFIN SHOWING SPIKES ON ONE SIDE, THE OTHER SIDE EMPTY, IS AN IMPROVISED ENTRY TO THE EXHIBIT. PAZZI AND HIS WIFE ENTER, SHE STOPS TO GOSSIP WITH A WELL DRESSED COUPLE. MRS. PAZZI -LRB- cont'd. -RRB- Mrs. Demetrio, how good to see you. ANGLE ON PAZZI, AS HE DRIFTS AWAY. WE SEE HIM STARING AT VARIOUS THUMBSCREWS, A RACK, A GUILLOTINE. HE STOOPS TO READ A PLACARD. HIS WIFE COMES UP BEHIND HIM. MRS. PAZZI -LRB- cont'd. -RRB- You see, that is my point. PAZZI my love. MRS. PAZZI they asked us to dinner. How can we accept if we can not return the. PAZZI I am on the track of. MRS. PAZZI Yes, yes, yes, your thirty thousand dollars reward, which you would have to split with your team, which, if you get it, will not buy me a new watch. -LRB- SHE STOPS TO GREET ANOTHER COUPLE. -RRB- PAZZI what do you expect me to. HE STOPS, AND TURNS AWAY, WHEN HE SEES THAT SHE IS ENGROSSED. HE IS NOW LOOKING AT A TORTURE WHEEL. HE STOPS AND LOOKS INTENTLY INTO THE GLOOM OF THE ROPED OFF EXHIBIT. ANGLE HIS POV INSIDE THE EXHIBIT, IN A DARK CORNER, THE FIGURE OF A MAN. SKETCHING. ANGLE XCU ON FELL, LECHTER, IN THE GLOOM, SKETCHING. WE SEE A GOOD SKETCH OF THE WHEEL, ON WHICH HE HAS ADDED ARCHITECTURAL NOTES ON ANGLES AND DISTANCES. HE TURNS, FEELING SOMEONE LOOKING AT HIM. ANGLE HIS POV. PAZZI, BEYOND THE VELVET ROPE. PEERING INTENTLY, RETURNING FELL'S GLANCE. DOUBLECUTTING : WE RETURN TO PAZZI, STARING, WE SEE HIM MAKE A QUICK ADDENDUM TO THE SKETCH OF THE TORTURE WHEEL. AND THEN RETURN TO PAZZI, LEANING OVER TO PEER MORE CLOSELY INTO THE GLOOM. MRS. PAZZI So, the question : as always, Rinaldo, the question is one of mmm. ANGLE ON MRS. PAZZI, AS FELL APPEARS AT THEIR SIDE, SHE TURNS TO HIM. FELL Commendatore would you do me the honor of introducing me. PAZZI Darling, Dr. Fell. My wife Madame Pazzi. FELL -LRB- HE BENDS TO KISS HER HAND. -RRB- Enchante. GUIDE The exhibit is closing. The exhibit is closing in Ten Minutes. please make your way to the. MRS. PAZZI Dr. Fell. You are not Italian. FELL Sadly, no. And I find that birth is one of the few things in life which study and a pleasant attitude can not amend. What do you think? MRS. PAZZI And how do we account for the interest of such a charming man, an interest in Torture? PAZZI Dr. Fell is studying for his examination by the Studiolo. FELL Indeed I am. And the connection, between Dante, and, in fact, between your illustrious forebears. if you'd come with me, I could show you. HE HOLDS UP THE ROPE, AS TO LEAD THEM BACK INTO THE EXHIBIT. PAZZI But the exhibit is closing. FELL How unfortunate. PAZZI STARTS TO HELP HIS WIFE ON WITH HER WRAP. FELL -LRB- cont'd. -RRB- May I? HE TAKES THE WRAP, AND BEGINS TO DRAPE IT AROUND HER SHOULDERS. ANGLE EXT THE EXHIBIT. ON THE STREET, THE CURIOUS ARE EXITING. FELL CONCLUDES PUTTING THE WRAP ON MRS. PAZZI. FELL -LRB- cont'd. -RRB- What a lovely perfume. I believe I recognize it, do I not? MRS. PAZZI My husband brought it to me from America. FELL A wonderful country. AN OLDER MAN CALLS PAZZI AWAY. MRS. PAZZI You know it? FELL I have had many excellent meals there. MRS. PAZZI And yet, they are not know for their cuisine. FELL -LRB- SMILES. -RRB-. should love to correct your error. -LRB- PAUSE. -RRB- MRS. PAZZI Well, perhaps sometime we. PAZZI REJOINS THE GROUP. PAZZI Darling. FELL Well, if you will excuse me. Madame. What a pleasure. HE MOVES AWAY. PAZZI The commissioner is going round the Cafe. MRS. PAZZI did he invlte us? PAZZI No. Invite us? No, he simply. MRS. PAZZI Then we can not go. PAZZI Because? MRS. PAZZI Because we can not pay. HE LEADS HER OFF, THE TWO OBVIOUSLY HAVING A FIGHT. ANGLE IN THE GLOOM, LECHTER - FELL, LOOKING AT THEM APPRAISINGLY.\",\n \"INT. PAZZI'S APARTMENT NIGHT. PAZZI SITTING IN SHIRTSLEEVES, HIS TIE UNDONE, A HALF FULL GLASS OF WHISKY IN FRONT OF HIM, AT HIS DESK. HIS DESK FULL OF PAPERS. HIS WIFE IN A HOUSEDRESS. RANTING. MRS. PAZZI -LRB- cont'd. -RRB- constant humiliation. And why? PAZZI `` Because we do n't have any money.'' MRS. PAZZI because we do n't have any mmm. PAZZI HOLDS UP A FOLDER. PAZZI The Case that I am working on. MRS. PAZZI TAKES THE FOLDER AND FLINGS IT DOWN. MRS. PAZZI It's a joke. You're a joke. You're a joke. You do n't know what money is - your idea of money. -LRB- SHE PICKS UP ANOTHER FILE ON THE DESK, AND TAKES OUT THE SCARF GIVEN TO PAZZI BY STARLING. -RRB-. spend it on a whore on your ` business trip.' That is the fine limit of your ambitions. ANGLE ON PAZZI, REARRANGING THE FILE. WE SEE, IN AN INSERT, THE SCARF, THE `` MAN WANTED'' POSTER, AND FBI CASE STUDY ON HANNIBAL LECHTER, AND WE HOLD ON THE `` THREE MILLION DOLLARS REWARD.'' ANGLE ON THE TWO, HIS WIFE STORMING OUT. MRS. PAZZI -LRB- cont'd. -RRB- And if you do not find some money. Soon. I'm leaving you. -LRB- BEAT. -RRB- And I want tickets to the Opera. SHE CLOSES THE DOOR OF HIS STUDY.\",\n \"INT. FELL'S STUDY NIGHT. FELL, IN A SMALL ELEGANT CHAMBER OF A PALAZZO. PLAYING A CLAVIER. HE STOPS TO ADJUST A PAGE ON THE MUSIC STAND IN FRONT OF HIM. HE RESUMES PLAYING. ANGLE HIS POV THE MUSIC STAND. IT HOLDS NOT MUSIC, BUT THE SKETCH WE SAW HIM DO EARLIER OF STARLING. WE SEE HIS HAND ADJUST THE PAGES ONCE AGAIN, AND THE SKETCH OF STARLING IS HALF - OBSCURED BY THE SKETCH WE SAW FELL MAKE OF THE TORTURE WHEEL. AT THE TOP OF THE SKETCH WE SEE THE ADDED FACES OF PAZZI AND MME PAZZI, SKETCHED BY FELL AT THE EXHIBIT. ANGLE FRONTAL ON FELL, AS HE STOPS PLAYING. HE PICKS UP A GLASS OF WINE WHICH HAS BEEN RESTING ON THE CLAVIER, AND TAKES ONE OF THE SKETCHES AND GAZES INTENTLY AT IT. HE SHIVERS SLIGHTLY, AND TURNS UP THE COLLAR OF HIS JACKET. ANGLE, AS HIS POV. SNOW BLOWING ACROSS A SMALL WINDOW, THE WINDOW RATTLING. THE SNOW BLOWS THE SHADE. INSIDE THE WINDOW WE SEE BEARDED SOLDIERS, COOKING OVER A SMALL FIRE MADE ON THE FLOOR OF THE DISHEVELLED HOME. ANGLE ON A SMALL DARK BOY, DRESSED IN RAGS, IN THE BLOWING SNOW, LOOKING INTO THE WINDOW. ANGLE HIS POV. WE SEE THE SOLDIER COME TOWARD THE WINDOW AND FASTEN IT AGAINST THE WIND. ANGLE THE BOY, BACKING ACROSS A SMALL COURTYARD INTO THE OPEN DOOR OF A SMALL FACTORY BUILDING.\",\n \"INT. DARK FACTORY BUILDING NIGHT. STARLING IS MOVING THROUGH THE BUILDING, AGAINST THE WALL, HUGGING THE WALL. SHE HEARS A SOUND, AND TURNS. SHE LOOKS DOWN. ANGLE HER POV - A SMALL BADGE WITH A BULLETHOLE IN IT, LYING ON THE FLOOR. SHE LOOKS UP TO THE SOUND OF RUNNING, AND SEES A FIGURE FLITTING ACROSS AN OPENING. ANGLE STARLING RAISES HER PISTOL AND PULLS THE TRIGGER. NOTHING HAPPENS. SHE LOOKS AT THE PISTOL. IT IS JAMMED, SHE TRIES TO CLEAR IT QUICKLY, WE SEE A HAND ON HER SHOULDER, SHE TURNS. ANGLE HER POV IT IS THE FACE OF LECHTER. STARLING RAISES THE PISTOL AND FIRES. WE SEE THE PISTOL EXPLODE. WE HEAR SCREAMING. ANGLE INT STARLING'S BEDROOM. STARLING, SITTING UP IN BED, SCREAMING. MAPP BURST IN TO THE ROOM. FOLLOWED BY HER BOYFRIEND, JIM, WHO CARRIES A GUN, AND SWEEPS THE ROOM. MAPP SITS BY STARLING. SHE QUIETS STARLING. MAPP What was it. -LRB- STARLING SHAKES HER HEAD. -RRB- What was it, honey? ANGLE XCU ON STARLING, WHO MUTTERS. STARLING something about my father? MAPP what? STARLING -LRB- AS SHE SHAKES HER HEAD TO CLEAR IT, AND RISES. -RRB- Do you think you could make a cup of coffee, cause I'm going to work. ANGLE ON JIM. HE LOOKS OUT THE WINDOW, AT THE DAWN. HE LOOKS AT HIS WATCH, AND AT MAPP. HE SHRUGS.\",\n \"INT. VERGER'S ROOM, NIGHT. VERGER'S VARIOUS VIDEO SCREENS, SHOWING HALF - SEEN PICTURES OF CHILDREN PLAYING. VERGER -LRB- TO CORDELL. -RRB- Show me the pigs. CORDELL COMES AND STANDS BY THE BED. HE PICKS UP A TELEPHONE, AND TOUCHES SOME BUTTONS ON THE CONSOLE. WE SEE ONE OF THE VIDEO SCREENS COME TO LIFE, AND WE SEE A BARN, AND A COUPLE OF RATTY LOOKING GENTLEMEN WITH COFFEECUPS. VERGER -LRB- cont'd. -RRB- Good morning, Gentlemen. THEY TUG THEIR FORELOCKS. CORDELL may we see it, please? GENTLEMAN -LRB- WITH A THICK MIDEUROPEAN ACCENT. -RRB- We have them trained the two things : to come on the whistle, and to attack the figurine. WE SEE THE OTHER GENTLEMEN BRING FORWARD A SCARECROW. GENTLEMAN -LRB- cont'd. -RRB- can you see the pig? WE SEE THE CAMERA SCAN, AND WE SEE TWO LARGE WILD BOARS IN A PEN. WE SEE THE ONE MAN PUT THE SCARECROW OVER A FENCE. GENTLEMAN -LRB- cont'd. -RRB- We stuff the figure with mean scraps, at first, of course, the pigs is. VERGER Do it. CORDELL Let's see the pigs, please. THE GENTLEMAN BLOWS HIS WHISTLE. THE PIGS RUN AT THE FIGURINE AND STOP. WE HEAR THE SOUND OF HUMAN SCREAMS. GENTLEMAN We tape the screams, to get them used to the. -LRB- HE MUMBLES, LOOKS TO HIS FRIEND FOR HELP. -RRB- SECOND GENTLEMAN distraction. GENTLEMAN as you recommend. -LRB- SHRUGS. -RRB- I think they like it. They will eventually. VERGER Make them eat the figurine. GENTLEMAN They will, sir. We train them, to the figurine, eventually, they consume a man, say, 80 kilos, say, in. VERGER -LRB- TO CORDELL. -RRB-. tell them. CORDELL We do n't want the man consumed. No. We want to put the man's feet through the bars, and have the pigs. and have the pigs eat his feet. GENTLEMAN -LRB- NODS. -RRB-. they eat his feet. VERGER Yes. It's all a question of bait - is n't it? ON THE TV SCREEN WE SEE THE PIGS NOSING THE DUMMY. VERGER -LRB- cont'd. -RRB- make them eat the dummy. GENTLEMAN they eat the dummy, sir, they eat the man. I keep them hungry. When. when do we think this man arrives. VERGER Is it necessary to know? GENTLEMAN Well, I do n't want to starve them too long. They die. VERGER Oh, no, no. It wo n't be that long. THE CAMERA ZOOMS IN ON THE PIGS. IN AN UPPER SCREEN WE SEE A CHICKEN WANDERING OUTSIDE THE PEN. THE CHICKEN WANDERS INTO THE PEN. ON THE FIRST SCREEN WE SEE ONE OF THE PIGS TURN, AND RUN BLINDINGLY QUICKLY ACROSS THE ENCLOSURE, AND IN A CU WE SEE THE FEW FEATHERS THAT ARE THE REMAINDER OF THE CHICKEN. ANGLE ON VERGER AND CORDELL. VERGER -LRB- cont'd. -RRB- No, I do n't think it will be too very long at all. -LRB- TO CORDELL. -RRB- Please call our friend at the FBI. SOUND OF A PHONE HIGH SPEED DIALLED. VERGER -LRB- cont'd. -RRB- -LRB- TO PHONE. -RRB- Hello. Do you know who this is? I think it's time to finish the preparation of our friend. Miss Starling. I'm fine, how are you?\",\n \"INT. PSYCHIATRIST'S OFFICE DAY. STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST. ANGLE INS STARLING HOLDS THE CARD READING, `` BE KIND, BE HAPPY.'' STARLING to, to. to be in control of my. my emotions. PSYCHIATRIST Yes, but no one is in control of their emotions. -LRB- PAUSE. -RRB- that's all we have time for today. -LRB- SHE STARTS TO RISE. -RRB- STARLING -LRB- PAUSE. -RRB- I do n't understand. PSYCHIATRIST You said : that you have `` decided.'' That your. your feelings of persecution, as you put it are a `` self - indulgence,'' and you are going to put them aside. And get on with your job. STARLING That's right. PSYCHIATRIST And you have decided to accept. to accept this `` emotion,'' as you put it, to the. the `` sweepings. of the Lechter case. STARLING Yes. PSYCHIATRIST And you've decided to get married. -LRB- PAUSE. -RRB- You've decided a lot of things. -LRB- PAUSE. -RRB- But, in spite of your decisions - you are still `` nagged'' by feelings of : despair, of failure of. you still have the nightmare, you. STARLING What is your point? PSYCHIATRIST That if decision were a useful tool, you would n't be here. -LRB- PAUSE. -RRB- Why are you here? STARLING I. PSYCHIATRIST yes? STARLING -LRB- AS SHE RISES. -RRB- I want to do something positive. PSYCHIATRIST You want some advice. STARLING Yes. PSYCHIATRIST Your life has been defined by institutions. The Orphanage where you were raised, the FBI Academy, the Bureau. If the Institution is your life, accept it. Ask to be reinstated on the `` Drumgo'' task force. Play their game. STARLING why? PSYCHIATRIST Because it's the game you've chosen. That's really all we have time for.\",\n \"INT. ITALIAN POLICE DETECTIVE SQUAD HQ FLORENCE. A HATRACK WITH THE `` GIM ME'' CAP FROM THE FBI INTERNATIONAL POLICE ACADEMY ON IT. PAZZI ENTERS, AND HANGS HIS HAT ON THE HATRACK, HE IS SPEAKING WITH HIS SUPERIOR. PAZZI a liaison position. SUPERIOR And what does that mean? PAZZI I feel that. SUPERIOR `` A liaison position with the Opera.'' -LRB- PAUSE. -RRB- THE SUPERIOR TAKES PAZZI INTO A SMALL OFFICE AND CLOSES THE DOOR. SUPERIOR -LRB- cont'd. -RRB- Rinaldo, what happened to you? -LRB- PAUSE. -RRB- You want me to reach out for tickets to the Opera. Say so. What is that young girl doing to you? PAZZI Could you get me tickets to the Opera. SUPERIOR She must be something special After Dark. PAZZI I ca n't remember. -LRB- PAUSE. THE SUPERIOR NODS SAGELY. -RRB- I've got to make some money. SUPERIOR -LRB- PICKS UP A FILE. -RRB- Thirty thousand dollars reward. In the whereabouts of Il Dottore Fanelli, or the apprehension of his. PAZZI yes, yes, yes. HE SIGHS, HE TAKES THE FILE, AND LEAVES THE OFFICE. PAZZI -LRB- cont'd. -RRB- Could you help me with tickets to. SUPERIOR The short term problem is the tickets - The long - term problem is your wife. PAZZI SHAKES HIS HEAD. ANGLE PAZZI AT HIS DESK. WE SEE THE FILE LABELLED : DISAPPEARANCE OF DOTTORE ENNIO FANELLI. ANGLE PAZZI AT HIS DESK. A COLLEAGUE COMES BY. COLLEAGUE Naldo, you want Opera Tickets? PAZZI Can you help me? COLLEAGUE No, but I'm going. If you like, I'll tell you what you missed. THE COLLEAGUE LEAVES. THE SUPERIOR RETURNS. SUPERIOR And the related problem is your job. Aha. And here it all comes together. To get a promotion you must keep your job. To keep your job you must solve this case. Solve the case, and the reward may help you keep your wife. In short, the solution to all your problems lies in This File : The Disappearance of Il Dottore Fanelli. THE SUPERIOR POINTS TO A FILE ON PAZZI'S DESK. PAZZI NODS, AND PICKS UP THE REPORT. ANGLE INS. THE REPORT :. identified by the following : acute anesthesia or a hper - acute sense of smell. Capable of distinguishing quantities of substance by smell. ANGLE ON PAZZI, AS HE LEAFS THROUGH THE REPORT, WONDERINGLY. ANGLE INS, THE REPORT. phenomenal capacity for languages. Known perfect fluency in Russian, German, Spanish, French, and Italian. In addition. ANGLE ON PAZZI, AS HE LEAVES THROUGH THE REPORT AGAIN. ANGLE THE REPORT. notable in all scenes of abduction : 1 -RRB- The condiments were missing from the Kitchen Area. 2 -RRB-. ANGLE THE REPORT. of indeterminate sexuality. But remarkably attractive to women. This `` Hyper - charm'' ** Sudonis, et al : PSYCHOPATHOLOGY of the serial killer, is most pronounced in. THE PAGES RIFLE, AND WE READ :. knowledge of the Italian Renaissance, with a particular emphasis on Architecture -LRB- see : LECHTER, THE ARTIST -RRB- and Literature. During his first recorded incarceration, he confounded the Prison Psychiatrist By Quoting Dante on. ANGLE ON PAZZI. AS HE LOOKS AT THE REPORT. ANGLE HIS POV : THE REPORT ON THE DISAPPEARANCE OF FANELLI, STILL LYING ON THE DESK. ANGLE, ON THE REPORT HE IS HOLDING, HE TURNS TO THE COVER, WE READ IT IS : FBI INTERNATIONAL POLICE ACADEMY. CASE BOOK. THE PSYCHOPATHIC KILLER. # 3 : HANNIBAL LECHTER. ANGLE ON PAZZI, AT HIS DESK. HE PUTS DOWN THE FBI REPORT, AND PICKS UP THE FANELLI REPORT, AND LEAFS THROUGH IT. ANGLE INS : HIS POV. THE REPORT, WE READ :. apartment was untouched, showing no signs of his departure, hurried or otherwise. Note : his housekeeper did testify that `` all the condiments had been removed from the kitchen,'' but this was discounted as fanciful and. ANGLE ON PAZZI, AS HE PUTS DOWN THE REPORT. HE LOOKS AT THE TWO REPORTS SIDE BY SIDE, A COLLEAGUE COMES UP BEHIND HIM. COLLEAGUE Commendatore, if you're looking for Opera Tickets. PAZZI WAVES HIM AWAY, HE OPENS HIS DESK, AND TAKES OUT AN ENVELOPE OF SNAPSHOTS. HE LEAFS THROUGH THEM AND WE SEE PAZZI ON THE RANGE AT QUANTICO, IN A CLASSROOM, IN FRONT OF THE LINCOLN MEMORIAL, AND IN FRONT OF THE WANTED POSTER, FOR LECHTER. ANGLE XCU, THE NUMBER ADVERTISING A THREE MILLION DOLLAR REWARD. ANGLE, ON PAZZI AS HE STARTS TO PICK UP THE PHONE, THEN HESITATES. HE RISES, AND GOES TO THE HATSTAND TO TAKE HIS HAT.\",\n \"EXT. FLORENCE STREET. ANGLE INS. THE SNAPSHOT, THE WANTED POSTER, SOUND OF A PHONE BEING DIALED. ANGLE PAZZI IN THE PHONEBOOTH. WE HEAR A RECORDED ANNOUNCEMENT : WE'RE SORRY, THIS NUMBER IS NO LONGER IN SERVICE. IF YOU FEEL YOU HAVE DIALED IN ERROR. PAZZI HANDS UP THE PHONE. HE STARTS TO WALK AWAY. AS HE DOES SO, THE PHONE RINGS, HE GOES BACK TO THE TELEPHONE. PAZZI -LRB- ON HIS PHONE. -RRB- Hello? VOICE ON PHONE what did you want? -LRB- PAUSE. -RRB- PAZZI I know where he is. VOICE ON PHONE I'm sure I do n't know who you mean. PAZZI I know where he is. VOICE ON PHONE And why should we believe you? PAZZI I know something no one knows. -LRB- PAUSE. -RRB- He has had his finger removed. On his left hand. -LRB- PAUSE. -RRB- It left a scar. -LRB- PAUSE. -RRB- VOICE ON PHONE What shape is the scar? PAZZI I want the money. VOICE ON PHONE What shape is the scar? PAZZI The shape of a Three.\",\n \"INT. VERGER'S ROOM. CORDELL IS ON THE PHONE. CORDELL -LRB- ON PHONE. -RRB-. on positive identification. And the remainder of the Reward, upon his apprehension by the appropriate Legal Authorities. -LRB- HE HANGS UP. -RRB- ANGLE ON THE VIDEOS ABOVE VERGER'S BED. THEY SHOW THE PIGS BEING FED. VERGER Where was the call from. CORDELL Somewhere in Italy. VERGER Make plans for Lechter's abduction. CORDELL STARTS AWAY, THEN TURNS BACK. CORDELL then we wo n't need to tether Miss Starling as our lure. VERGER That operation has begun. Are we God, that we would Meddle with it? No, on the other hand.\",\n \"INT. OPERA HOUSE NIGHT. STARLING, DRESSED IN FINERY. SHE IS WATCHING A WESTERN BALLET A LA AGNES DE MILLE, THE DANCERS ARE DRESSED IN COWBOY GARB. NEXT TO HER WE SEE A VERY FAT WOMAN ASLEEP. BEHIND THE OLD WONAN TWO OPERAGOERS ARE WHISPERING THEIR DISPLEASURE. STARLING EXCHANGES A LOOK WITH HER DATE. WE DO NOT SEE HIM, ONLY HER ACROSS HIS SHOULDER. SHE LOOKS DOWN. ANGLE HER POV ON THE FLOOR WE SEE HER FEET AND HIS FEET IN COWBOY BOOTS. STARLING BENDS DOWN AND RETRIEVES A BADGE CASE, SHE OPENS IT IN THE INSERT AND REVEALS IT IS A WATCHMAN'S BADGE WITH A HOLE IN IT, SHE HANDS THE BADGE TO THE MAN, WE SEE HE HOLDS, ON HIS LAP, A WESTERN HAT, WITH A BULLETHOLE IN THE CROWN. OPERAGOER How can she sleep at a time like this? How can she.\",\n \"INT. SWAT VAN WE SEE THE SWAT COPS WE SAW IN THE FIRST SEQUENCE. THEY ARE STUFFEO INTO A VAN IN FULL ASSAULT GEAR. ONE OF THE COPS IS TALKING ABOUT SOMETHNG JUST OUT OF SHOT. TAPED TO THE WALL OF THE VAN IS A LARGE GRAINY BLOWUP OF EVELDA DRUMGO. COP sleep at a time like this? BRIGHAM -LRB- ALSO IN ASSAULT GEAR. -RRB- She's resting. She's conserving her strength, perhaps you should do the same. WE SEE HE IS TALKING ABOUT STARLING WHO IS, INDEED, ASLEEP, SITTING IN THE VAN. TEAM LEADER Stand by. BRIGHAM NUDGES STARLING, WHO WAKES UP. ANGLE EXT THE VAN. IT IS PULLING UP OUTSIDE A FISH MARKET, ALONGSIOE THE RIVER. VRRIOUS WORKERS ARE HOSING DOWN THE FISH ON ICE. WE SEE THE VAN, A US POSTAL SERVICE VAN, COMING AROUND THE CORNER. ANGLE INT THE VAN. TEAM LEADER -LRB- cont'd. -RRB- Starling. HE DEFERS TO HER, SHE MOVES TO THE CENTER OF THE CROWDED VAN AND PEEKS THROUGH THE PERISCOPE. ANGLE HER POV THE SCENE JUST SEEN FROM OUTSIDE THE VAN. A LOWRIDER CAR PULLING UP. STARLING Yeah, it looks clear outside the. wait a moment. we got. it's a gunship. BRIGHAM NUDGES HER ASIDE AND LOOKS THROUGH THE EYEPIECE OF THE PERISCOPE. HE HOLDS A SHORT CONVERSATION WITH A WALKIE TALKIE. BRIGHAM Brigham. Go. -LRB- PAUSE. -RRB- Affirmative. -LRB- PAUSE. -RRB- Okay, Happiness is a Green Light. We've got Evelda in the kitchen, cooking. The dope's D.E.A. -LRB- HE NODS TO ONE OF THE MEN IN THE VAN. -RRB- We want her on Interstate Transportation of some firecrackers. Starling : you've got Drumgo, you know her from before. STARLING I know her by the Back. BRIGHAM these guy'll back you up. OFFICER We're gon na be your Couch Potatoes. STARLING Pray that it may be so. She will fight. Last time, she had a nine mil, three magazines, mace in her purse, a Razor round her neck, and a shank in her hair. She will walk over you, you give her a chance. I'm gon na asker to give it up, she balks, I want some real help. Nevermind Watching my Back, I want some weight on her. OFFICER You got it. TECHNICIAN We've got some action, coming out of the building. STARLING I do n't want you Huskies stand'n around, watching us Mud Wrestling. Drurngo is HIV positive, and I do n't wan na be in there, swap spit with her. ANGLE. ON THE RIVER. A BOAT, CRUISING. A SWAT OFFICER IS TALKING ON A WALKIE. SWAT OFFICER I've got you, three hundred yards from the Factory. We're going in the back door. HE LOOKS OUT. ANGLE, HIS POV. VARIOUS SMALL FISH FACTORY SHEDS, AND WE SEE THE PHONE VAN, MOVING SLOWLY, BETWEEN THEM. ANGLE IN THE VAN. STARLING MOVES TO THE BACK. SHE IS OBSERVING THE STREETSCENE THROUGH THE SMOKED GLASS IN THE REAR OF THE VAN. SWAT OFFICER -LRB- cont'd. -RRB- how we looking back there? ANGLE, STARLING'S POV THE FISH STALL, A WORKER, HOSING DOWN THE ICED FISH. WE SEE A SMALL METAL DOOR, IN THE SIDE OF THE BUILDING OPEN, AND A HEAVYSET MAN COMES OUT, CARRYING A BASKET IN HIS ARMS. STARLING Heads up! ANGLE, STARLING'S POV. HE IS FOLLOWED BY ANOTHER MAN, CARRYING A RAINCOAT, AND WE SEE A GLIMPSE OF A WOMAN BEHIND THEM. BRIGHAM -LRB- ON THE RADIO. -RRB- Strike one to all units ; Evelda Drumgo's coming out behind two shooters. Showdown Showdown Showdown. Put em on the ground, as quietly as we can. Boat's due in thirty seconds, let's do it. ANGLE EXT THE VAN. THE SWAT TEAM COMES OUT, LED BY STARLING. EVELDA STEPS FROM BETWEEN THE TWO MEN. ANGLE, ON STARLING, AS SHE ADVANCES. WE SEE BRIGHAM BEHIND HER. BRIGHAM -LRB- cont'd. -RRB- make sure you. STARLING MOVES AWAY FROM BRIGHAM, TOWARD EVELDA AND HER GOONS AS STARLING ADVANCES WE SEE EVELDA BEYOND HER, AND THAT SHE CARRIES A BABY IN A SLING, IN HER ARMS. STARLING -LRB- TO THE MEN BEHIND HER. -RRB- Wait Wait Wait! STARLING CAREFULLY HOLSTERS HER PISTOL AND RAISES HER HANDS. STARLING -LRB- cont'd. -RRB- Evelda! Give it up! Come to me, Baby! -LRB- OUT OF THE SIDE OF HER MOUTH, TO THE MEN BEHIND HER. -RRB-. give her a place to go. give her a place to go. Come on Evelda. Nothing to it. I swear to god. WE HEAR A SQUEAL OF TIRES. ANGLE XCU ON STARLING, AS HER FACE SCREWS UP, AND HER HEAD TURNS FRACTIONALLY TOWARD THE DIRECTION OF THE SOUND. STARLING -LRB- cont'd. -RRB- Ev. STARLING'S EYES GROW VERY WIDE. ANGLE HER POV. EVELDA HAS PRODUCED A SMALL SMG FROM BEHIND HER BABYSLING, AND IS SPRAYING THE STREET. ANGLE, ON STARLING, AS SHE LOOKS AROUND. BRIGHAM FALL, HIT, BY HER SIDE. AND SEVERAL OTHER SWAT MEMBERS BEGIN RUNNING FOR COVER. THE MAN WITH THE RAINCOAT DROPS IT, TO REVEAL A SAWED OFF SHOTGUN. HE FIRES AT STARLING. SHE GOES DOWN IN THE STREET. ANGLE ON STARLING IN THE STREET. AS SHE PICKS HERSELF UP FROM THE PAVEMENT, AND CRAWLS TOWARD THE SAFETY OF A PARKED CAR. A CADILLAC SEDAN IS COMING DOWN THE STREET, THE SAME APACHE STYLE SHOOTER WE SAW PREVIOUSLY IS SHOOTING OVER THE ROOF, AT THE POLICE. THE CAR SCREECHES INTO A FISHTAIL, AND EVELDA, STILL SHOOTING, GET INTO THE BACKSEAT. THE CAR BURNS RUBBER, TRYING TO ACCELERATE. STARLING EMERGES FROM HER COVER AND FIRES AT THE CAR. THE WINDSHIELD SPATTERS, AND A TIRE BLOWS OUT. THE CAR CRASHES INTO A FISH STALL. SOUND OF A HELICOPTER. TWO SHOOTERS TRY TO SLITHER OUT OF THE CRUSHED CAR. STARLING, ADVANCING TOWARD THEM, SHOOTS THEM BOTH. ANGLE, HER POV. EVELDA, AND THE BABY, IN THE BACKSEAT. THE BABY CRYING. STARLING ADVANCES ON THEM. STARLING -LRB- cont'd. -RRB- -LRB- TO THE COPS. -RRB- SECURITY SECURITY! WATCH THE FISH HOUSE DOOR BEHIND ME. GET MY BACK. Evelda. Evelda. Put your hands out of the window. ANGLE ON BRIGHAM, ON THE GROUND. TWITCHING. HE IS SHAKING HIS HEAD, DAZED. STARLING -LRB- cont'd. -RRB- Evelda. Show me your hands. Come on. Please. Show me your hands. ANGLE, ON EVELDA. EVELDA Well, it's you, chile. It's my friend the orphan. STARLING Give it up, Evelda. EVELDA You said you din' have no friends - but I'm your friend - I understand you. STARLING Think about the baby. show me your hands. Evelda? Show me your hands. EVELDA F'that's the thing to do. SHE WITHDRAWS A HAND FROM THE BABYSLING, SHOWING A SMALL PISTOL, WHICH SHE LEVELS AT STARLING. ANGLE ON STARLING AS SHE FIRES AT EVELDA. SHE RUNS FORWARD, AND TAKES THE SCREAMING BABY FROM EVELDA'S ARMS. THE BABY IS COVERED IN BLOOD. STARLING RUNS TO THE STILL RUNNING HOSE WHICH THE FISH WORKER DROPPED, AND SLUICES DOWN THE BABY. SOUND OF HELICOPTER. ANGLE ON STARLING, AS SHE LOOKS UP. ANGLE HER POV. THE HELICOPTER SHOWS A CAMERAMAN HANGING OUT OF THE DOOR ON A SLING, AND THE LOGO WCTU, TV 10. ANGLE A TELEVISION SCREEN, SHOWING THE SHOT FROM THE HELICOPTER. SCREEN BEARS THE SMALL LOGO, SUPERED IN THE LOWER RIGHT TV 10, NEWS LIVE. WE SEE, FROM ABOVE, STARLING, HOSING DOWN THE BABY, AND WALKING INTO THE MIDDLE OF THE STREET. WE HEAR THE SOUND OF AN AMBULANCE, AND THE HELO SHOT SHIFTS TO AN AMBULANCE SCREAMING AROUND THE CORNER. ANGLE BACK ON THE STREET. STARLING, HOLDING THE BABY, IS WALKING THROUGH THE SCENE OF THE CARNAGE. SHE SEES BRIGHAM, RAISING HIMSELF TO AN ELBOW, AND HE MOUTHS, `` I'M ALRIGHT.'' STARLING WALKS ON, PAST THE CAR, WITH THE DEAD BODIES. PARAMEDICS COME OUT OF THE STOPPED AMBULANCE, AND ONE OF THEM TAKES THE INFANT FROM THE DAZED STARLING. STARLING HELPS BRIGHAM TO HIS FEET. HE STANDS WOOZILY, HE BEGINS TO UNBUCKLE THE KEVLAR PROTECTIVE VEST HE WEARS. BRIGHAM I. STARLING What, What, I ca n't hear you. BRIGHAM Are you alright? THEY ARE SCREAMING OVER THE SOUND OF THE HELICOPTER. STARLING I almost shot the baby. BRIGHAM Who called the TV CREWS? ANGLE ON STARLING, STANDING IN THE MIDDLE OF THE STREET. BRIGHAM CALLS ANOTHER COP OVER. BRIGHAM -LRB- cont'd. -RRB- Sergeant. AN OFFICER, FOLLOWED BY ANOTHER, COMES UP TO BRIGHAM. THE THREE ADVANCE TOWARD THE SCENE AT THE PARKED CAR. STARLING TURNS TOWARD THEM. STARLING Security! WE SEE THE SECOND OFFICER PICK UP THE SHOTGUN FROM THE ARMS OF THE `` RAINCOAT'' MAN. BRIGHAM -LRB- TURNING BACK, TO RESPOND TO STARLING, HE DRAWS HIS HAND ACROSS HIS THROAT. -RRB- They're dead. standdown, it's alr. ANGLE ON THE OFFICER PICKING UP THE SHOTGUN. IT DISCHARGES. ANGLE ON BRIGHAM, AS HE FALLS, FELLED BY THE SHOTGUN BLAST. ANGLE ON STARLING, AS SHE TURNS, TO LOOK AT THE SCENE, OF THE DYING BRIGHAM. SHE STARTS TO TAKE A STEP TOWARD HIM, AND STOPS. SHE LOOKS UP AT THE HELICOPTER. ANGLE THE TV IMAGE, WITH THE LOGO ON IT, WE SEE IT ZOOM IN ON STARLING LOOKING UP, SHE THEN WALKS, DAZEDLY, TOWARD THE OBVIOUSLY DEAD BRIGMAN, AND SITS, SEVERAL FEET FROM HIM. WE SEE SEVERAL OFFICERS COMING FORWARD TOWARD HER. VERGER -LRB- VO. -RRB-. you forgot to cancel the plan. ANGLE WE SEE THE TELEVISION IS IN VERGER'S ROOM, AND WE ARE SHOOTING OVER VERGER'S FORM, WE SEE THE BACK OF HIS HEAD, AND, BEYOND HIM, CORDELL. CORDELL sir? VERGER Waal, Nobody's Perfect. What do we hear from our songbird in Switzerland?\",\n \"INT. SWISS LAWYER'S OFFICE DAY. A JOLLY FAT SWISS BANKER, SMILING, A LOVELY HEIDI - ESQUE MOUNTAIN SCENE VISIBLE IN THE WINDOW BEHIND HIM. ANGLE ON PAZZI, STANDING IN FRONT OF A VAULT. THE VAULT IS FULL OF CURRENCY. A SMALL CLERKTYPE, IS FINISHING FILLING UP A SMALL VALISE WITH CURRENCY. HE GLANCES AT THE FAT BANKER, AND NODS. THE FAT BANKER COMES FORWARD, AND MOTIONS AT THE BAG. BANKER One hundred thousand dollars, Signori. The remainder of the three million. -LRB- HE MOTIONS TO THE VAULT. -RRB- Upon the person - in - question's apprehension. Would you prefer a cheque? ANGLE, ON PAZZI, GRINNING AT THE MONEY. PAZZI No, no thank you, I. PAZZI GLANCES BACK TOWARD THE DOOR, CLOSING ON THE VAULT. PAZZI -LRB- cont'd. -RRB- and the Remainder, you said? BANKER After you have, in the words of our friends, the Americans, Put him On the Spot. PAZZI But is that necessary. BANKER -LRB- SHRUGS. -RRB- It is necessary, if you wish the remainder of the money. -LRB- HE NODS TO HIS CLERK, WHO CLOSES THE DOOR ON THE VAULT. -RRB- Shall we drive you to the airport? PAZZI -LRB- STILL LOOKING AT THE CLOSING VAULT, SHYLY. -RRB- I. I thought I'd do some shopping.\",\n \"INT. FLORENCE OPERAHOUSE NIGHT. APPLAUSE IS DYING OUT, THE CURTAIN IS FALLING, SPECTATORS ARE STANDING TO LEAVE. IN THE HOUSE, HEADS TURN AT THE SIGHT OF A VERY BEAUTIFUL WOMAN. IT IS MME PAZZI IN A COUTURE DRESS, AND JEWELS BACKING. SHE IS ACCOMPANIED BY PAZZI, WHO IS DRAPING HER SHOULDERS IN A FURCOAT. PAZZI BOWS THIS WAY AND THAT, TO ADMIRING COUPLES, AS THEY MAKE THEIR WAY UP THE AISLE. MRS. PAZZI -LRB- TO PAZZI. -RRB-. how can I thank you? PAZZI Ask me when we get home. MRS. PAZZI Oh, my program. PAZZI TURNS BACK, HE IS WALKING AGAINST THE PRESS OF EXITING OPERAGOERS, AND IS HAVING DIFFICULTY. ANGLE ON DR. FELL, WHO IS WALKING TOWARD HIM. FELL Ah, Commendatore. you, too, admire Mozart. PAZZI -LRB- PAUSE. -RRB- Who does not? FELL If such there breathe, I'm sure you could unearth him. -LRB- PAUSE. -RRB- Your reputation does you honor. -LRB- PAUSE. -RRB- PAZZI I've left my program. FELL Take mine. -LRB- HE HANDS HIS PROGRAM TO PAZZI, AND THEY START UP THE AISLE. -RRB- Ah. And is that your wife. -LRB- THEY GAIN THE SIDE OF MME. PAZZI. -RRB- Signora. -LRB- HE BENDS TO KISS HER HAND. -RRB- Can it be that you are lovelier, even, than at our last encounter? MRS. PAZZI My mother told me to ignore the blandishments of charming men. FELL Then, she, herself, possessed some knowledge of the Greater World. How pleased am I to see you looking so well. PAZZI IS CALLED AWAY, BY AN EXITING OPERAGOER, AND HE LEAVES RELUCTANTLY, LOOKING BACK, WITH APPREHENSION, AT FELL AND HIS WIFE. THE TWO, CHATTING, JOIN HIM. FELL -LRB- cont'd. -RRB- Commendatore, your wife tells me you are taking her away on Vacation. PAZZI long overdue. FELL -LRB- AS THEY EXIT, ONTO THE STREET IN FRONT OF THE OPERA, AND MANY CARS AND LIMOS, PULLING UP TO RECEIVE THE EXITING, ET CETERA. -RRB- Back to America? -LRB- PAUSE. -RRB- -LRB- WHILE PAZZI LOOKS ON WITH CONSTERNATION. -RRB- When first we met you'd just returned from America. MRS. PAZZI How wonderful of you, to hold that information in your busy mind. FELL how so? MRS. PAZZI you told me you were studying for your examination by the Studiolo. FELL And how good of you to remember it. Then, this trip, then, is not a return to America. MRS. PAZZI No, this is pleasure. FELL And what was the trip before? MRS. PAZZI That, that was business. PAZZI TRIES TO MANEUVER HIS WIFE AWAY FROM FELL. CAMERA TAKES THEM AROUND A CORNER, TO A `` NO PARKING, LOADING ZONE,'' SIGN, IN WHICH WE SEE A POLICE SEDAN, AND ONE OF PAZZI'S MEN. HE IS WEARING THE GIM ME HAT PAZZI BROUGHT BACK FROM THE STATES. ANGLE ON FELL, AS HE LOOKS OVER AT THE DRIVER. ANGLE HIS POV. THE HAT, `` FBI INTERNATIONAL POLICE ACADEMY, QUANTICO VIRGINIA.'' THE DRIER TAKES OFF THE HAT, AND OPENS THE DOOR TO THE SEDAN FOR THE PAZZIS. ANGLE, ON FELL, AS HE TAKES HIS LEAVE. FELL Business. Yes. How much better. To travel for the Pure Enjoyment of the thing, of the variety of the world. yes. -LRB- PAUSE. -RRB- Just to Get Away. -LRB- PAUSE. -RRB- I'm surprised they can spare you, in the midst of your investigation. -LRB- PAUSE, PAZZI LOOKS BACK. -RRB- of the disappearance of my predecessor. ANGLE, AS MRS. PAZZI PULLS PAZZI INTO THE CAR. MRS. PAZZI -LRB- WHISPERING TO HIM. -RRB- Take me home and make love to me. ANGLE, ON FELL, AS PAZZI WAVES TO HIM, THROUGH THE CAR WINDOW GLASS, AND THE CAR PULLS AWAY, LEAVING FELL STANDING IN THE ALLEYWAY. BEAT. HE NODS, AS IF CONFIRMING SOMETHING TO HIMSELF. HE STARTS BACK OUT OF THE ALLEYWAY, INTO THE PRESS OF HUMANITY. MAN'S VOICE -LRB- VO. -RRB- Time to get something to eat. ANGLE XCU ON FELL, AS HE LOOKS AFTER THE DEPARTING CAR. FELL -LRB- TO HIMSELF. -RRB- Yes, quite. ANGLE, THE MAN SPEAKING TURNS, AND IS STARTLED TO SEE FELL. MAN I beg your pardon. FELL You suggested it was time to get something good to eat. MAN I thought that you were. -LRB- HE SEES ANOTHER MAN APPROACHING HIM. -RRB- Ah! Where shall we eat? -LRB- THE TWO WALK OFF. -RRB- FELL -LRB- TO HIMSELF. -RRB-. where shall we eat. And what shall we eat.\",\n \"INT. PAZZI'S APARTMENT. HALF SEEN, THROUGH A PANNING SHOT OF A HALFOPEN DOOR, PAZZI AND HIS WIFE MAKING LOVE. WE HEAR PAZZI CALLING : PAZZI Laura. Laura. Laura. ANGLE ON FELL, IN THE SHADOWS, AS HE CLOSES THE FRONT DOOR SOUNDLESSLY BEHIND HIM. HE STANDS FOR A MOMENT, LOOKING, CAMERA THEN TAKES HIM INTO THE APARTMENT WHERE HE FINDS THE KITCHEN.\",\n \"INT. THE KITCHEN, FELL TAKES A KNIFE FROM A MAPLE BLOCK, TRIES ITS EDGE, REPLACES IT, TAKES OUT A CLEAVER, AND NODS. HE LOOKS ABOVE, AND TAKES DOWN A COPPER SAUCEPAN FROM THE POT RACK. HE OPENS THE REFRIGERATOR, GLANCES BRIEFLY INSIDE, AND NODS, IN SATISFACTION, AND CLOSES IT. HE PICKS UP A DISHTOWEL, TRIES IT BETWEEN HIS HANDS, TESTING ITS STRENGTH. HE PUTS IT DOWN, DISSATISFIED. HE BEGINS TO PROWL THROUGH THE APARTMENT, HE PASSES ANOTHER HALF OPEN DOOR, AND WE SEE PAZZI AND HIS WIFE, HALF GLIMPSED, BEYOND, FELL MOVES INTO A SMALL STUDY. ANGLE THE BACK OF THE DESK CHAIR, HOLDS A MAN'S SPORTCOAT, AND A TIE. FELL MOVES TOWARD THE CHAIR, PUTS HIS CLEAVER DOWN ON THE DESK, AND TRIES THE TIE BETWEEN HIS HANDS, TESTING HIS STRENGTH. HE NODS, SATISFIED, AND PICKS UP THE CLEANER. ANGLE INS THE CLEANER, WHICH IS LAYING ON TOP OF THE FILE REGARDING THE DISAPPEARANCE OF DOTTORE FANELLI, BENEATH IT, HALF COVERED, IS THE FBI LOGO. WE SEE FELL'S HAND RAISE THE FIRST FILE, TO LOOK AT THE SECOND, AND WE READ : `` FBI REPORT, THE PSYCHOPATHOLOGY, ETC, OF HANNIBAL LECHTER.'' ANGLE CU. ON FELL, AS HE NODS TO HIMSELF, HE THEN LOOKS DOWN AT SOMETHING ELSE. ANGLE HIS POV. A SCARF, PEEPING OUT OF THE HALF - OPEN DESK DRAWER. ANGLE INS. FELL'S HAND DRAWS OUT THE SCARF. NESTLED IN THE SCARF IS THE PHOTO OF PAZZI IN FRONT OF THE WANTED POSTER. ANGLE ON FELL, AS HE LOOKS AT THE PICTURE. HE THEN BEGINS TO PEER VERY CLOSELY AT IT. HE PICKS UP THE MAGNIFYING GLASS FROM THE DESK, AND WE SEE, IN A HUGE INSERT, THAT HE IS MOVING THE MAGNIFYING GLASS TO ATTEMPT TO MAKE OUT THE FIGURE REFLECTED IN THE GLASS COVERING THE WANTED POSTER, ID, THE FIGURE OF THE PHOTOGRAPHER, IS STARLING. ANGLE XCU INS THE JUST SEEN OUTLINE OF STARLING, HOLDING THE CAMERA. ANGLE FELL, LOOKING AT THE PHOTO. HE THEN GLANCES AT THE SCARF, PICKS IS UP, AND, QUESTIONINGLY, SNIFFS IT ONCE, AND THEN AGAIN. HE HOLDS THE SCARF TO HIS FACE. HE RUBS IT BETWEEN HIS HANDS, AND SMELLS HIS HANDS. ANGLE PAZZI BEDROOM. MRS. PAZZI and then, we're going to Greece. PAZZI Yes, but the important thing, as I've said. MRS. PAZZI get me a cigarette. PAZZI GETS UP FROM THE BED, AND WRAPS HIMSELF IN A SHEET, AND PROCEEDS INTO THE STUDY. PAZZI The essential thing. The essential thing, is that we must be absolutely quiet about. HE PULLS OPEN THE DESK DRAWER, AND TAKES OUT A PACK OF CIGARETTES. HE LOOKS WONDERINGLY, AT THE DRAWER, BEAT. HE SHRUGS, HE IS ABOUT TO START BACK INTO THE BEDROOM, HE GLANCES AT THE CURTAINS, BLOWING IN THE OPEN WINDOW, HESITATES. MRS. PAZZI what is it? HE LOOKS INTO THE DESK, SHAKES HIS HEAD. BEAT. AND THEN RETURNS INTO THE BEDROOM. MRS. PAZZI -LRB- cont'd. -RRB- you've forgotten the cigarettes. PAZZI TURNS, AND LOOKS BACK TOWARD THE OPEN WINDOW, AND THE BLOWING SHADES.\",\n \"EXT. FLORENTINE PARK NIGHT. A YOUNG WOMAN WALKS PAST THE CAMERA. SHE TAKES US TO FELL, WHO IS SITTING ACROSS FROM THE STATUE OF THE LION AND THE BIRD, HE IS PICKING HIS TEETH, AND, VERY DELICATELY, TAKES OUT A SCARF, AND WIPES HIS MOUTH. WE SEE IT IS THE SCARF WHICH HE STOLE FROM PAZZI, HE TAKES OUT THE PHOTOGRAPH OF THE WANTED POSTER, AND LOOKS AT IT, AS HE WALKS THROUGH THE PARK. CAMERA TAKES HIM OUT OF THE PARK, PAST THE YOUNG WOMAN, WHO, WE SEE, HAS RETURNED TO A STROLLER, WHICH IS EMPTY, SHE IS TALKING TO A UNIFORMED POLICEMAN, AND GESTURING, `` ABOUT THIS HIGH.'' SHOWING THE HEIGHT OF HER CHILD. HE AND THE WOMAN START LOOKING IN THE BUSHES. ANGLE ON FELL, LEAVING THE PARK, HE WALKS PAST AN APPLIANCE STORE, IN THE WINDOW OF WHICH WE SEE, TEN SILENT TV SCREENS, AND A TALKING HEAD ANNOUNCER. THE SCENE SHIFTS TO THE HELICOPTER FOOTAGE OF STARLING. WE SEE PHOTOS DISPLAYED OF STARLING, NEXT TO THE PEOPLE SHE SHOT IN THE SHOOTOUT, AND A VISBO PROCLAIMS, `` KILLER OF FIVE, THE DEATH ANGEL : CLARICE STARLING.''\",\n \"EXT. STARLING'S HOUSE, DAY. STARLING, MAPP, AND JIM, MAPP'S BOYFRIEND, ARE COMING OUT OF THE HOUSE WITH CRAWFORD, ESCORTED TOWARD SEVERAL CARS OF WHAT IS OBVIOUSLY A FUNERAL CORTEGE. A SEDAN PULLS UP, AND KRENDLER GETS OUT. KRENDLER I came to pay my. STARLING get outta my way, you sonofabitch. KRENDLER I realize, you're under a lot of. STARLING You put my friend in the ground, with your mickeymouse TaskForce. Izsat the kind of Headlines that Preserve and Promote, you, sir? SHE STARTS PUSHING HIM, AND CAMERA PANS, TO A GROUP OF NEWSVANS, CORDONED OFF, AROUND THE CORNER, AND HELD IN BAY BY VARIOUS POLICE. STARLING IS BEING SUBDUED BY CRAWFORD ET AL.. STARLING -LRB- cont'd. -RRB- -LRB- AS SHE PUSHES AT KRENDLER. -RRB- Izzat the kind of publicity will aid Our Run for Congress? You swine, you. KRENDLER -LRB- SHRIEKING AT HER. -RRB- You're out she's out. SHE IS BEING DOCILED, AND LED AWAY. KRENDLER -LRB- cont'd. -RRB- -LRB- SHOUTING AFTER HER. -RRB- You country Cornpone BITCH - hey, you Trailer Trash BITCH, you still looking for your Daddy, Beat you up, to show he Loves you? ANGLE. ON STARLING, STANDING BY THE LINE OF CARS. SHE SEES SOMETHING, AND TURNS. ANGLE XCU STARLING AS SHE LOOKS. KRENDLER CONTINUES HIS HARANGUE. ANGLE HER POV. ON THE REAR DECK OF A CAR, A STETSON HAT, WITH A BULLET THROUGH IT, AND AN OLD SQUARE POLICEBADGE, WITH A BULLETHOLE THROUGH IT. KRENDLER -LRB- cont'd. -RRB- -LRB- VO. -RRB- Looking for your Daddy, fuck you and mark you up, an. ANGLE ON STARLING, AS SHE BLINKS, AND SHAKES HER HEAD TO CLEAR IT. THE SEDAN DRIVES OFF, AS SHE STRAINS TO LOOK AFTER IT. KRENDLER -LRB- cont'd. -RRB- Well, here I am, you. STARLING SHAKES HER HEAD AGAIN, FINDS HERSELF FACING KRENDLER, AND PUNCHES HIM IN THE STOMACH. KRENDLER GOES DOWN. STARLING IS SUBDUED BY HER COMFORTERS. SHE STRAINS TO LOOK AFTER THE DEPARTING CAR.\",\n \"INT. VERGER'S ROOM. ON THE TV STARLING, BEING PULLED OFF OF KRENDLER. ANGLE, OVER VERGER, ONTO CORDELL. VERGER Quod videt monumentum, circumspice. Need I translate? CORDELL If you would see him monument, look around you. VERGER Show me the Pigs. THE VIDEOSCREEN CHANGES, TO SHOW THE PIGS, ATTACKING THE DUMMY MAN. CORDELL Telephone call. From Switzerland, sir. VERGER CONVERSES IN GERMAN, WITH THE SWISS. HE IS TOLD THAT THEY CAN HAVE A DATE, AND THAT A PACKAGE WILL BE COMING HIS WAY SOON. ANGLE. ON VERGER, LOOKING AT THE PIGS.\",\n \"EXT. FLORENTINE PALAZZO. NIGHT. PAZZI, WALKING DOWN THE STREET. NERVOUSLY ADJUSTS HIS SCARF. ANGLE A BRIGAND, LOUNGING BY A VAN, NODS IMPERCEPTIBLY, AT PAZZI, WHO CONTINUES WALKING. THE BRIGAND GOES INTO THE BACK OF THE VAN. ANGLE INT THE VAN. THERE IS ANOTHER BRIGAND INSIDE. THERE ARE SEVERAL FIREARMS IN A RACK, AND A HOSPITAL GURNEY WITH HEAVY RESTRAINTS. THE SECOND BRIGAND IS LOADING AN ODD LOOKING SHOULDER WEAPON. SECOND BRIGAND I hit him with the beanbag gun, you stand by : he's still flopping. THE FIRST BRIGAND NODS, AND TAKES A CAPPED HYPODERMIC SYRINGE FROM THE SECOND MAN. SECOND BRIGAND -LRB- cont'd. -RRB- Just make sure he's alive, because I've already spent the bonus. THE FRUIT MAN NODS TO THE SECOND, AND WE SEE PAZZI PROCEEDING UP THE STAIRS INTO THE PALAZZO.\",\n \"INT. A SALON AT THE PALAZZO, NIGHT. A WORKER IS MOVING A FLOOR POLISHER ACROSS THE MARBLE FLOOR OF THE SALON, IN AN ANTEROOM BEYOND WE HEAR FELL LECTURING. THE WORKER NODS DIFFERENTIALLY, AT SOMEONE OFF SCREEN. WE SEE HE HAS NODDED AT PAZZI, WHO TAKES US TO THE DOOR OF THE SALON. HE WIPES HIS HANDS NERVOUSLY, HE MOPS HIS BROW, HE LOOKS AT HIS WATCH. HE LOOKS INTO THE SALON. ANGLE HIS POV FELL, IN FRONT OF A LECTERN. A SLIDE MACHINE IS SHOWING A PAINTING OF A HANGED FIGURE ON A HUGE DRIPCLOTH AT THE BACK OF THE SALON. ANGLE, ON PAZZI, AS HE MOVES TO THE SIDE, IE, OUT OF THE DOORWAY TO THE SALON, HE GLANCES OVER HIS SHOULDER, TO MAKE SURE HE IS OUT OF THE SIGHT OF THE WORKMAN WITH THE FLOOR POLISHER. HE SEES THE WORKMAN TURN THE POLISHER OFF AND BEGIN COILING THE LONG ELECTRIC CORD. PAZZI TAKES A SMALL FLAT AUTOMATIC FROM A HIP HOLSTER. CHECKS THE CHAMBER, AND SLIPS IT INTO HIS JACKET POCKET. HE PROCEEDS BACK TO THE DOORWAY, WHERE WE AND HE SEE FELL, BEYOND, LECTURING TO A COMPANY OF SIX MEN, IN THE SALON. FELL -LRB- LECTURING. -RRB- Della vigna was disgraced and blinded for his betrayal of his emperor's trust - through avarice. Avarice and hanging. -LRB- HE GESTURES TO THE PAINTING. -RRB- are linked in the ancient and the madeadeval mind. ANGLE ON PAZZI, AS HANNIBAL -LRB- FELL -RRB- SPEAKS, HE MOVES TO A WINDOW, AND WIPES HIS HAND AGAIN, AND WE SEE HIM LOOK DOWN AT THE VAN IN THE STREET, AND WIPE HIS HANDS, MUCH OF THIS SPEECH PLAYS AS VOICE - OVER AS HE DOES SO. FELL -LRB- cont'd. -RRB- Judas and Pier Della Vigna are linked in Dante by the avarice he saw in them, and their subsequent deaths by hanging. Ah Commendatore Pazzi. ANGLE ON FELL, AS HE SPEAKS TO PAZZI, HALF - SEEN IN THE DOORWAY. FELL -LRB- cont'd. -RRB- You are welcome. Since you are closest to the door, would you close the door, to improve the quality of the image. -LRB- PAZZI DOES SO. -RRB- You will be interested in this, Commandatore, as there are two Pazzi's already in Dante's inferno. ANGLE ON FELL, AS HE WALKS FORWARD, BETWEEN THE CHAIRS OF THE SIX OLD MEN -LRB- THE STUDIOLO -RRB- WHO SIT LISTENING TO HIS LECTURE. A FEW TAKE NOTES. FELL -LRB- cont'd. -RRB- -LRB- TO THE OLD MEN. -RRB- Camicion de Pazzi, as you know, murdered a kinsman, and rests in hell awaiting the arrival of a Second Pazzi. But it's not you : it's Carlino, who will rest forever in hell for the crime of Treachery. ANGLE XCU, ON FELL, LOOKING AT PAZZI. ANGLE ON PAZZI, UNDER THE WITHERING STARE. BEAT. FELL -LRB- cont'd. -RRB- -LRB- AS HE CONTINUES BACK TO HIS LECTERN. -RRB- Avarice, and Hanging, then. -LRB- HE GESTURES TO THE PHOTOGRAPH OF THE PAINTING. -RRB- On the next occasion, you might like to discuss the matter of Chewing. Chewing in Dante : Count Ugolino, chewing the back of the archbishop's head - Satan, with his three Faces, chewing Judas, Brutus, and Cassius. all three traitors. Is it not? Thank you all for your kind attention. THE SCHOLARS APPLAUD HIM, TWO STAND, AND TAKE HIM BY THE HAND. ANGLE ON PAZZI AT THE DOOR. HE OPENS THE DOOR, AND THE OLD MEN OF THE STUDIOLO EXIT, CHATTERING HAPPILY ABOUT THE LECTURE. FELL COMES OUT, THE LAST OF THE SALON. FELL -LRB- cont'd. -RRB- Would you say that I've preserved my job, Commendatore? PAZZI I'm not a scholar, Dottore. But it seemed as if they, as if they. FELL Yes, I think I amused them. To what do I owe? PAZZI I require. FELL yes, yes, yes. HE FOLLOWS FELL BACK INTO THE ROOM, WHERE FELL BEGINS PUTTING AWAY HIS MATERIAL IN THE D1RTY SALON. FELL -LRB- cont'd. -RRB- the effects of my predecessor. PAZZI I'd like to walk home with you, and. FELL Yes, of course, and we'll collect them. I wo n't be a minute. ANGLE ON PAZZI AS HE WALKS UP TOWARD FELL. HE PUTS HIS HAND IN THE JACKET POCKET. ANGLE INS THE HAND, SEEN THROUGH THE CLOTH, GRIPPING THE AUTOMATIC PISTOL. ANGLE ON FELL, AS HE BEGINS TO PACK UP THE SLIDE PROJECTOR, AND THEN HESITATES. FELL -LRB- cont'd. -RRB- Ah, no. I should have shown them this one. -LRB- HE TAKES OUT A SLIDE AND PUTS IT IN THE PROJECTOR. -RRB- This one will interest you : let me see if I can improve the focus. WE SEE THE IMAGE OF A HANGED MAN APPEAR ON THE DROPCLOTH. THERE IS A PLAQUE DRAPED AROUND THE NECK OF THE HANGED MAN. FELL -LRB- CONT'D. -RRB- Can you make it out, can you make out the name on the plaque? FELL WALKS UP TO THE IMAGE DISPLAYED ON THE DROPCLOTH, PAZZI WALKS BEHIND HIM. FELL -LRB- cont'd. -RRB- -LRB- LOOKING AT THE IMAGE. -RRB- It says Pazzi. Pazzi. And a rude, a very rude poem, this is your ancestor. Francesco, hanging outside the Palazzio Vecchio. Outside These Very Windows. HE TURNS AND FIXES PAZZI WITH HIS GAZE. ANGLE, FELL, HIS FACE SEEN IN THE DARK, IN THE BEAM OF THE SLIDE PROJECTOR. HOLD. FELL -LRB- cont'd. -RRB- On a related subject Signor Pazzi, I must confess to you : I'm giving serious thought to eating your wife. FELL JERKS THE DROP CLOTH DOWN OVER THE TWO OF THEM. ANGLE XCU, ON PAZZI'S FACE AS HE SEES THE CLOTH COMING DOWN. ANGLE INS HIS HAND, GOING INTO HIS POCKET, AS HE TRIES TO BRING OUT THE PISTOL. ANGLE ON THE FACE OF FELL, AS HE ADVANCES, UNDER THE CLOTH, ON PAZZI, FELL TAKES A SMALL SPONGE AND A BOTTLE FROM HIS POCKET, AND DUMPS LIQUID FROM THE BOTTLE ONTO THE SPONGE, AND GRABS PAZZI BY THE HAIR, PUTS HIM INTO A CHOKEHOLD, AND HOLDS THE SPONGE TO PAZZI'S FACE. ANGLE EXT, THE DROP CLOTH, AS WE SEE THE EFFECTS OF THE STRUGGLE, AND HEAR THE SMALL PISTOL GOING OFF. ANGLE EXT THE PALAZZO. THE LAST MEMBER OF THE STUDIOLO, COMING OUT, A WORKMAN FOLLOWS HIM, AND BEGINS LOCKING THE DOOR. ANGLE ON THE BRIGANDS, AT THEIR VAN, THEY LOOK AT EACH OTHER, ONE CHECKS HIS WATCH. ANGLE INT THE SALON. THE FLOOR POLISHER. MOVING, AS IF OF ITS OWN VOLITION, ACROSS THE FLOOR. ANGLE ON PAZZI, TIED TO THE PODIUM, HIS MOUTH GAGGED. ANGLE ON LECHTER, AS HE COILS UP THE LONG ORANGE CORD OF THE FLOOR POLISHER, DRAWING IT TOWARD HIM. FELL -LRB- cont'd. -RRB- Yes. Your Wife. Laura. L'Orange, which is the topnote of her skin, would n't you say? Or do I grow too personal? but that is what I think of, when I think of her. And how could I but think of her? I have n't had a bit all day. The kidney and the liver would be su1table for a dinner tonight. But the rest of the meat should hang for a week, in these cool conditions. Would n't you say? Nod once for yes. -LRB- PAUSE. -RRB- If you tell me what I need to know, then it would be convenient for me to leave without my meal. And Mrs. Pazzi will remain unscathed. I'll out the questions to you, and we'll see : I saw at the theatre you had betrayed me. And, when the police did n't come, it was clear you had sold me out. Was it to Mason Verger? Blink one for yes. ANGLE ON PAZZI. BEAT. THEN HE BLINKS ONCE. FELL -LRB- cont'd. -RRB- Thank you. And now : Are his hit men waiting outside? -LRB- PAZZI BLINKS ONCE. -RRB- Was that a single blink? Yes. Thank you. FELL FINISHES HIS COILING OF THE ROPE, AND WE SEE HE HAS FASHIONED A HANGMAN'S NOOSE. FELL TAKES OUT A STILETTO, AND IT OPENS. HE ADVANCES TOWARD PAZZI, WHO TRIES TO RECOIL. FELL -LRB- cont'd. -RRB- No, no. I'm going to take the tape off. Please do not scream. Do you think you can keep from screaming? -LRB- HE TAKES THE TAPE OFF. -RRB-. would it help if I were to cut your BOWELS OUT? WE SEE HIM MAKE A SWIPE AND HEAR PAZZI START TO SCREAM. FROM OUTSIDE THE WINDOW OF THE SALON, WE SEE PAZZI, TAPED TO THE PODIUM, BEING IMPELLED, SCREAMING, TOWARD THE WINDOW. ANGLE ON THE LIGHTED PIAZZA OF THE PALAZZO, TOURISTS LOOK UP AT THE SCREAMING. BEAT. ANGLE XCU, ON THE CONTORTED FACE OF PAZZI, LOOKING DOWN, AN ORANGE NOOSE AROUND HIS NECK, AS THE PODIUM TILTS THROUGH THE OPEN WINDOW. ANGLE THE TWO BRIGANDS AT THE VAN. REACTION TO THE SOUND OF THE SCREAMING, RUN AROUND THE CORNER. THEY LOOK UP TO SEE PAZZI, STILL TAPES TO THE PODIUM, HANGING BY THE ORANGE CORD. ANGLE, ON THE VILLAINS, STANDING UNDERNEATH, AS GOUTS OF BLOOD FALL ON THEM. BRIGAND ONE cover the backdoor. If he comes out, Kill him. BRIGAND TWO the bonus was for. BRIGAND ONE Kill him, and cut him. HE RUNS TO THE FRONT OF THE PALAZZO, HOLDING HIS SHOULDER ARM DOWN ALONGSIDE HIS SIDE. HE RUNS PAST THE LOCKED FRONT DOOR, AND TOWARD AN ALLEYWAY. WE HEAR THE SIRENS OF POLICE CARS. BRIGAND ONE SLOWS HIS WALK, AND PROCEEDS INTO THE ALLEYWAY. HE SEES A SMALL DOOR, IN THE SIDE OF THE PALAZZO, AND A LIGHT BEYOND. ANGLE INT THE DOOR. A SMALL STAIRCASE. THE BRIGAND ENTERS, HE LOOKS UP. WE HEAR THE SOUND OF RAPIDLY DESCENDING FOOTSTEPS. THE BRIGAND MOUNTS THE STEPS, HOLDING HIS RIFLE BEFORE HIM. THE SOUND OF THE FOOTSTEPS CONTINUES. ON THE SECOND FLOOR, THE BRIGAND SHELTERS HIMSELF IN A ROOM, OFF THE LANDING. THE SOUND OF THE DESCENDING FOOTSTEPS CONTINUES. ANGLE ON THE BRIGAND, HIDING BEHIND THE DOOR. THEN HE TURNS HIS HEAD. ANGLE, HIS POV. WE ARE IN A LAUNDRY ROOM. THE SOUND OF THE FOOTSTEPS IS, IN FACT, A CLOTHESDRYER. IN ITS GLASS DOOR IN THE SIDE, WE SEE A MAN'S SHOE GOING AROUND. ANGLE THE BRIGAND, AS HE LOOKS, THEN TO THE SIDE. ANGLE, HIS POV, IN THE SIDE OF THE ROOM, THE LEGS OF A DEAD MAN PROTRUDE FROM A CLOTHES HAMPER, HE WEARS ONLY ONE SHOE. ANGLE XCU ON THE BRIGAND, AS HE TURNS. ANGLE OVER HIM WE SEE HANNIBAL, SMILING, AS HE ADVANCES. ANGLE ON THE STILETTO, AS IT ENTERS THE BRIGAND'S BELLY. ANGLE EXT THE PALAZZO. SEVERAL COP CARS PULLING UP, AN AMBULANCE, A NEWSTRUCK. A BOY ON A MOTO. HANNIBAL Young man. THE BOY TURNS. HANNIBAL IS STANDING NEXT TO HIM. HANNIBAL -LRB- cont'd. -RRB- Young man, I am desperate. If I am not at the Piazza Bellosguardo in ten minutes, it is the end of marriage. -LRB- HE HANDS A BUNDLE OF NOTES TOWARD THE BOY. -RRB- Do you think you could help me? ANGLE IN THE PIAZZA, THE BODY OF PAZZI IS BEING LOWERED, IN THE BG WE SEE HANNIBAL, RIDING ON THE BACK OF THE MOTO, AND AWAY.\",\n \"INT. VERGER'S ROOM, NIGHT. A SMALL CHILD IS EATING POPCORN OUT OF A CROCKERY BOWL. WE SEE HIS FACE, SMILING, IN THE GLOW OF A TELEVISION. ANGLE OVER VERGER AND THE CHILD. VERGER how do you like it? CHILD It's real funny. CORDELL COMES UP HOLDING A PHONE. BEAT. VERGER Tell me the good news. CORDELL He escaped. VERGER Have the child taken to bed. CHILD I wan na see more. CORDELL PUSHES A BUTTON ON HIS CONSOLE, AND WE SEE, ON THE VIDEO, MONITORS, A NURSE LEAVING THE HALLWAY AND ENTERING VERGER'S ROOM. AS CORDELL TAKES THE CHILD TO HER WE SEE THAT VERGER AND THE CHILD HAVE BEEN WATCHING THE PIGS ATTACK THE MAN - SIZED DUMMY, WHICH THEY NOW DO WITH ALACRITY. CORDELL What do you want me to do? VERGER Follow Starling, stake out Starling. Increase the pressure on Starling. He will come to her.\",\n \"INT. STARLING'S HOME DAY. STARLING IS SITTING, AFFECTLESS, IN FRONT OF A FULL CUP OF COFFEE AT HER KITCHEN TABLE. CRAWFORD SITS OPPOSITE HER. CRAWFORD And I brought this for you. STARLING What is it? HE PRODUCES A SHOEBOX, SHE OPENS IT, IT CONTAINS VARIOUS MEMORABILIA OF BRIGHAM. A PHOTO OF HIM IN THE ARMY, TWO SERVICE PISTOLS, HIS BADGE. CRAWFORD Out of John Brigharn's Locker. SHE NODS. CRAWFORD -LRB- cont'd. -RRB- Waal. STARLING I know you did what you could. HE SHRUGS. SHE STARTS TO WALK HER OUT. CRAWFORD I'm going to work for your reinstatement. STARLING Reinstatement to what? There ai n't nobody there. HE OPENS THE DOOR, AND THEY ARE ASSAULTED BY FLASHBULBS, AND A SCAD OF NEWSPEOPLE, WHO HAVE BROKEN THE BONDS, AND ARE PUSHING HER UP TO THE FRONT DOOR. NEWSIE Starling, Agent Starling : what do you have to say to the New Accusations? STARLING New? NEWSIE You've been accused of. ANGLE, TELEVISION SET, TRAVEL OFFICE DAY. IT SHOWS STARLING, BEING HOUNDED BY THE NEWSIES. NEWSIE -LRB- cont'd. -RRB- leaking information to the Press, which resulted in the botched. ANGLE, THE STRICKEN FACE OF STARLING. SECOND NEWSIE Agent Starling : what was your reaction to your indictment? BRIGHAM indictment? SECOND NEWSIE The district attorney today. STARLING AND CRAWFORD LOOK AT EACH OTHER. HE SHEPHERDS HER BACK INTO THE HOUSE. ANGLE A DISGUISED HANNIBAL LECHTER, GOT UP AS A RETIREE, IS SITTING IN AN ENGLISH TRAVEL AGENT'S OFFICE. POSTERS OF TOURS ON THE WALL, A SIGN READING ` BRITTOURS.' AN OLD TRAVEL AGENT IS FILLING OUT FORMS. TRAVEL AGENT Majorca, Greece. oh, Aaand Turkey. Mr. Bates, you're treating yourself to a Holiday you'll remember for. SHE LOOKS UP, TO SEE HANNIBAL, LOOKING AT THE TELEVISION. ANGLE HIS POV THE STRICKEN FACE OF STARLING, AS SHE IS SHEPHEARDED BACK INTO HER HOUSE. A TALKING HEAD COMES ON AND SPEAKS WITH A BRITISH ACCENT. TALKING HEAD Of the American FBI agent, Clarice Starling, shown here, in her dramatic gun battle, last week, with. THE FOOTAGE COMES ON OF THE GUN BATTLE. TRAVEL AGENT Mr. Bates? Mr. Bates? TALKING HEAD Dismissed from the FBI, she, it seems, is under criminal indictment for. ANGLE ON HANNIBAL, AS HE TURNS BACK. HANNIBAL Could I, do you believe, change my Destination? TRAVEL AGENT Well. well. what did you have in mind?\",\n \"INT. FBI HEADQUARTERS DAY. CRAWFORD AND KRENDLER BOTH LOOKING AT CNN. CNN NEWSIE -LRB- AS WE SEE ANOTHER REPLAY OF THE SHOOTOUT. -RRB-. criminal indictment. in quite a surprising move, against agent, that is, Former Agent. ANGLE ON CRAWFORD, AS HE LOOKS AT KRENDLER, SNORTS IN DISGUST, AND WALKS AWAY.\",\n \"INT. VERGER'S ROOM, DAY. SOUND OF A RINGING PHONE. CORDELL COMES OVER AND HOOKS IT UP FOR VERGER CORDELL it's the F.B.I. VERGER Yes. Good. No. He will come. He will come. Do not let up on our Angel Starling. No. Now you must keep a constant watch on her. Use your toys - A transmitter in her car, a. keep her in your sight. Do not let up, and he will come back for the wounded bird. -LRB- PAUSE. -RRB- He will find a way. ANGLE. HIS POV. THE TELEVISION SET. A WILD BOAR THRASHING HIMSELF AGAINST HIS BARS. ANGLE, ON ANOTHER SCREEN, THE SCENE FROM A WIDER ANGLE, WE SEE HIS KEEPER, HOLDING A SLAB OF RAW MEAT, AND WAVING IT AT THE BOAR, JUST BEYOND THE BARS. THE BOAR THROWS HIMSELF AGAINST THE BARS, AND THE MAN RECOILS, AND RETIRES WITH THE MEAT.\",\n \"INT. JETLINER TOURIST SECTION NIGHT. A FAT MAN WEARING A BRITTOURS BUTTON, COMES DOWN THE AISLE, HOLDING A PLASTIC CUP FULL OF BEER. HE MOVES SLOWLY THROUGH THE FULL AISLE, SOME PASSENGERS STANDING, CHATTING THE OTHERS UP. THE STEWARDESS, DISTRIBUTING MINUTE PLASTIC CONTAINERS OF FOODS. HOLD ON HIS BUTTON, WHICH HE WALKS INTO CLOSE UP. IT READS : BRITTOURS, CANADA, US, MEXICO, PERU! HI. MY NAME IS PHIL! ANGLE ON A YOUNG WOMAN ASLEEP, A BABY AT HER BREAST. THE STEWARDESS COMES BY OFFERING THE SANDWICHES, SHE IS SHHHSHED BY THE OLD MAN SITTING NEXT TO THE YOUNG MOTHER, HE INDICATES `` SHE IS SLEEPING,'' SHE OFFERS THE SANDWICHES TO THE MAN -LRB- DR. LECHTER -RRB- AND HE DECLINES. THE DISTRACTED STEWARDESS PASSES HIM ONE IN ANY CASE. HE TAKES IT, AND PUTS IT NEXT TO A MAGAZINE HE IS READING. HE SIGHS, HE TURNS OUT HIS LIGHT, AND PULLS DOWN THE SHADE. LEANING OVER THE SLEEPING FORM OF A YOUNG BOY WHO HAS THE WINDOW SEAT. HANNIBAL REACHES OUT HIS TRAVEL BAG FROM UNDER HIS SEAT, AND REMOVES A HALF - BOTTLE OF WINE, AND A TIN OF PATE. HE LOOKS AROUND TO SEE HE IS UNOBSERVED. HE LOOKS BACK. ANGLE INS. THE YOUNG BOY HAS SHIFTED, AND HIS ARM LIES ACROSS THE TIN OF PATE. HANNIBAL'S HAND PICKS UP THE YOUNG BOY'S ARM. ANGLE XCU. HANNIBAL LOOKING AT THE ARM. ANGLE HIS POV. HIS HAND, CIRCLING THE SKINNY ARM.\",\n \"INT. BOMBED OUT BUILDING DAY--SEEN THROUGH A SNOWY WINDOW. A YOUNG TATTERED GIRL, HER ARM HELD BY A VAST SOVIET SOLDIER, IN A FILTHY UNIFORM. HE NODS TO A GROUP OF FIVE OF THE COMRADES, WHO ARE STANDING AROUND A FIRE, MADE IN THE CORNER OF THE BUILDING. ONE MAN ENTERS BEARING WOOD, AND STACKS IT NEXT TO THE FIRE, HE SMILES OVER AT THE GIRL AND LICKS HIS LIPS. THE MAN HOLDING THE GIRL EXTRACTS A VERY WORN AND SHINY BAYONET FROM HIS BELT SCABBARD, AND STARTS DRAGGING THE GIRL AWAY. SOUND OF SCREAMS. ANGLE EXT THE BURNTOUT BUILDING. A YOUNG BOY, IN THE SHADOWS, SHIVERING, WATCHING THE SCENE. ANGLE HIS POV. THE SOLDIER, LEADING THE YOUNG GIRL OFF, SOUNDS OF SCREAMS. YOUNG GIRL Let go, let go, let go. ANGLE ON HANNIBAL IN THE PLANE. THE WOMAN NEXT TO HIM IS HISSING : YOUNG MOTHER What are you doing to my son? Let him go! THE STEWARDESS COMES UP. YOUNG MOTHER He's. what is he doing to my SON? HANNIBAL I beg your pardon, Madame, I was replacing his. HE MOVES TO PUT THE BOYS ARM BACK, AND HIS EYES MEET THE BOY'S. ANGLE, THE BOY, CU STARING AT HANNIBAL. ANGLE CU. HANNIBAL, STARING AT THE BOY. HANNIBAL -LRB- cont'd. -RRB- -LRB- TO THE TWO WOMEN. -RRB- I was trying. STEWARDESS he was trying not to wake him. HANNIBAL I beg your pardon, if I caused you any Consternation. THE WOMAN GIVES HIM A `` DO N'T DO IT AGAIN,'' LOOK, AND TURNS BACK TO HER NOW BAWLING INFANT. HANNIBAL TURNS BACK TO LOOK AT THE SOMBER BOY. BEAT. OF HIS DELICACIES. HANNIBAL -LRB- cont'd. -RRB- would you like some? HE STARTS TO OPEN THE TIN. ANGLE ON THE BOY, WHO LOOKS AT THE TIN, AND THEN OVER AT HIS MOTHER. HANNIBAL -LRB- cont'd. -RRB- -LRB- AS HE INTERPRETS THE BOY'S LOOK. -RRB- Your mother would disapprove. Of your taking food from a stranger. -LRB- PAUSE. THE BOY NODS. -RRB- Ah. But she's asleep. -LRB- THE BOY SEES THE LOGIC OF THE ARGUMENT, AND SMILES. HANNIBAL BEGINS TO OPEN THE TIN. -RRB- -LRB- AS HE LEANS IN TOWARD THE BOY, CONSPIRATORIALLY. -RRB- And it's important, as I'm sure she's said, to Eat New Things! XCU ON HANNIBAL SMILING AT THE CHILD HANNIBAL -LRB- cont'd. -RRB- -LRB- TO HIMSELF. -RRB- so important.\",\n \"EXT. FARM AREA. VERGER ESTATE. DAY. THE ROMPING KIDS, PLAYING WITH THE GOAT. CAMERA GOES WITH CORDELL, WHO WAVES AT THE CHILDREN AND THE NURSES. ANGLE, A GARAGE. A POTATOCHIP VAN. AS CORDELL APPROACHES, TWO MEN IN POTATOCHIP DELIVERY UNIFORMS DESCEND FROM THE VAN. CORDELL APPROACHES THEM, AND HANDS THEM EACH A COUPLE OF SHEETS OF PAPER. HE CONVERSES WITH THEM, WHILE THE NURSE AND THE KIDS AND THE GOATS FROLIC IN THE FOREGROUND. ANGLE INT THE VAN. THE TWO MEN, AS THEY CLOSE THE DOORS, AND START OFF. WE SEE THEM AS THEY PULL OUT, WE SEE CORDELL WALKING THROUGH THE STABLE AREA. WE SEE THE VAN SLIDE THROUGH THE VERGER ESTATE TOWARD THE OLD GATEHOUSE. ON THE DASHBOARD, ONE HAS SPREAD ONE OF THE SHEETS OF PAPER, AND WE SEE IT IS OF STARLING, THE NEXT SHEET IN AN OLD PHOTO OF HANNIBAL. MAN ONE be easier if we just kill him. MAN TWO Be easier on everyone but us. THE OTHER MAN NODS HIS AGREEMENT.\",\n \"EXT. PIG AREA DAY. TWO BOARS GO INSANE AT THE ADVENT OF CORDELL. WE SEE HIM THROUGH THE STOUT BARS OF THEIR ENCLOSURE. CAMERA TAKES HIM INTO THE PIGBARN, WHERE THE GENTLEMAN, THEIR TRAINER, IS SEEN CONSTRUCTING A NEW ENEMY. GENTLEMAN -LRB- LOOKING UP AT CORDELL. -RRB- It's going to be long? CORDELL SHRUGS GENTLEMAN -LRB- cont'd. -RRB- Is going to be much longer, we should feed them. CORDELL Mmm. Is it going to work? THE GENTLEMAN MOVES TO A TAPE PLAYER, AND TURNS IT ON, AND WE HEAR A SCREAM. HE NODS AND TURNS IT OFF. GENTLEMAN The problem, if it is : the tape is not the true scream, an' the dummy, of course, is not the true man. BUT. Yes, yes, I think, is close enough. CORDELL So : the two problems are : they should be fed, and they should practice on a real. THE GENTLEMAN TURNS HIS BACK ON CORDELL AND IS MOVING THE TAPE MACHINE. ANGLE ON THE GENTLEMAN, WITH CORDELL BEHIND HIM. GENTLEMAN Yes. You could say, that the two, the two prob. ANGLE XCU ON THE GENTLEMAN, AS HE TURNS TO CAMERA, LOOKING AT CORDELL, HE OPENS HIS MOUTH TO SCREAM. ANGLE EXT PLAY AREA. THE CHILDREN WITH THE GOAT, PLAYING, WE HEAR A BRIEF, FAR OFF SCREAM. TWO CHILDREN LOOK AT EACH OTHER, PAUSE, SHRUG, AND GO BACK TO THEIR GAME.\",\n \"INT. STARLING' S BEDROOM DAY. STARLING, DISHEVELLED, SITTING ON HER BED. IN THE DARK ROOM. SHE IS LOOKING AT A PHOTO OF THE TEXAN AND THE LITTLE GIRL. ANGLE, THE SHOEBOX, HOLDING BRIGHAM'S MEMORABILIA, STARLING'S HAND DRAGS IT ACROSS THE BED. ANGLE ON STARLING, AS SHE TAKES OUT BRIGHAM'S CREDENTIALS AND BADGE HOLDER. SHE LOOKS AT HIS PHOTO ON THE CREDENTIALS. LOOKS AT HIS PHOTO IN THE MARINES, LOOKS AT THE PHOTO OF THE TEXAN AND THE LITTLE GIRL. SHE TAKES BRIGHAM'S USMC HATBADGE, THE EAGLE AND FOULED ANCHOR, AND LOOKS AT IT, AND PUTS IT IN HER POCKET. SHE TAKES OUT BRIGHAM'S SERVICE PISTOL, DROPS THE MAG, CHECKS THE CHAMBER. MAPP -LRB- VO. -RRB- Sad day. STARLING what? MAPP N'not that sad. ANGLE ON STARLING, LOOKING AT MAPP, WHO HAS JUST ENTERED THE ROOM. MAPP -LRB- cont'd. -RRB- Problem with suicide, y' know what they say? STARLING No. MAPP Every suicide kills two. STARLING Yeah. Well. They're a talkative buncha commentators. MAPP You got a lot of people love you, Starling. STARLING Trouble is, they all seem to die. MAPP Y' want to gim me Brigham's pistol? STARLING What would you guess, Ardelia? MAPP You goin to shoot yourself? -LRB- PAUSE. -RRB- MAPP SHRUGS, GETS UP, GOES TO THE DOOR, TURNS BACK. MAPP Do n't shoot yourself. STARLING Why? MAPP Cause I'm tired, cleaning up after you. -LRB- STARLING GIVES A WAN GRIN. -RRB- Why dontcha gim me the gun? STARLING SHAKES HER HEAD. MAPP -LRB- cont'd. -RRB- Gim me the rounds. STARLING THINKS, HANDS HER THE MAGAZINE AND THE SPARE ROUND. MAPP -LRB- cont'd. -RRB- Why n'tcha go see that Headshrinker nobody knows you're seeing? N'you make her earn her keep. STARLING SIGHS, AND RISES FROM THE BED. MAPP -LRB- cont'd. -RRB- -LRB- EXITING. -RRB-. you brush your hair first.\",\n \"EXT. STARLING'S APARTMENT BUILDING DAY STARLING EXITS, THE STREET IS QUIET, ACROSS THE STREET. AN OLD MAN IS FINISHING LOADING HIS OLD PUSH - MOWER ONTO THE BACK OF A TRUCK. STARLING WALKS TO HER CAR, AND GETS IN. ANGLE INT THE POTATOCHIP VAN. THE TWO MEN IN FRONT. ONE NODS TO THE OTHER, THEY TAKE OFF, MOVING PAST THE OLD LAWNCARE MAN AND HIS TRUCK.\",\n \"INT. PSYCHIATRIST'S OFFICE DAY. THE BOX OF TISSUES. A HAND TAKES A TISSUE. ANGLE STARLING, HAVING TAKEN THE TISSUE, SITTING ACROSS FROM THE KINDLY OLD PSYCHIATRIST. PSYCHIATRIST -LRB- CHECKING HER NOTES. -RRB-. the dream of your Father. STARLING DABS HER EYES WITH THE TISSUE. SHAKES HER HEAD. PSYCHIATRIST -LRB- cont'd. -RRB- Well, you're a courageous woman. Have courage, and tell me. STARLING He was shot. he was shot. On his rounds. And. and. PSYCHIATRIST That's when you went to the Orphanage.\",\n \"EXT. PSYCHIATRIST'S OFFICE. PARKING LOT DAY. STARLING'S CAR. THE LAWNMOWER MAN'S TRUCK PULLS UP NEXT TO IT. WE SEE THE OLD MAN HOBBLE OUT, AND PROCEED TO STARLING'S TRAVERSED DOOR, HE TAKES OUT A PICK AND PICKS THE LOCK. ANGLE INT THE CAR. WE SEE THAT IT IS LECHTER. HE PUTS HIS FACE ON THE LEATHER - COVERED STEERINGWHEEL, AND SMELLS THE AROMA. HE SMILES. HE TAKES A SMALL PACKAGE FROM THE BOSOM OF HIS OVERALLS. WE SEE IT IS A BUNCH OF VIOLETS. HE TAKES THE SCARF OFF HIS NECK, AND WRAPS THEM AROUND THE VIOLETS, AND PLACES THE BOUQUET ON THE DASHBOARD. HE SITS IN THE CAR. HE GETS OUT, AND WE SEE HIM GO TO THE TAILBED OF HIS TRUCK AND BEGIN TO REMOVE THE LAWNMOWER.\",\n \"INT. PSYCHIATRIST'S OFFICE DAY. STARLING, A TISSUE TO HER FACE. STARLING And all he left us : the Country brought back his hat, and his badge. both with a bullethole in them. An' that's what he left us. That's what I said. PSYCHIATRIST And you have been dreaming. dreaming about this Hat, and. STARLING -LRB- WAVES HER OFF, AS IF THIS IS NOT THE IMPORTANT POINT. -RRB- And. I always said, he was a P'lice officer. PSYCHIATRIST yes? STARLING But. He was a night watchman. That's what he was. N'They brought back, his hat, his badge, an his timeclock. -LRB- SHE LAUGHS. -RRB- N'then they took me off. -LRB- THE PSYCHIATRIST MAKES A NOTE. -RRB- I saw. I saw. Clear as day, do you, do they call it a delusion? His hat an his badge. Clear as day, bulletholes and all. PSYCHIATRIST When? STARLING But they were not there. Yesterday. Is that called a Delusion? SHE STARTS TO CRY. THE PHONE RINGS. THE PSYCHIATRIST PICKS IT UP. STARLING -LRB- cont'd. -RRB- B'cause, you know, whatever it is, I ca n't take it anymore. PSYCHIATRIST -LRB- COVERING THE PHONE. -RRB- I'm sorry. I'll have to take this in the other room. THE PSYCHIATRIST EXITS, HOLDING THE PHONE. STARLING SITS FOR A MOMENT CRYING. SHE GOES TO THE TISSUEBOX ON THE PSYCHIATRIST'S DESK. SHE FINDS IT EMPTY, SHE SEES THE EDGE OF A NEW BOX IN THE DESKDRAWER. SHE OPENS THE DRAWER. ANGLE IN THE DRAWER. A FILE ON STARLING : MARKED ` TALKING POINTS,' AND A PHOTOCOPY OF HER FATHER'S BADGE WITH THE HOLE THROUGH IT. ANGLE ON STARLING, AS SHE LOOKS FROM THE FILE, AND THEN PROCEEDS TO THE DOOR TO THE NEXT ROOM, WHICH SHE OPENS QUIETLY. ANGLE HER POV THE PSYCHIATRIST ON THE PHONE. TALKING SOFTLY. PSYCHIATRIST -LRB- cont'd. -RRB- Not too far from a complete breakdown. Well, several things would - you've done the Badge, I suggest. THE PSYCHIATRIST, SENSING A PRESENCE, TURNS. SHE SEES STARLING, AND STARTS TO RUN OUT AN EXIT DOOR. ANGLE, IN THE HALL, STARLING PURSUING THE PSYCHIATRIST. ANGLE EXT THE PARKINGLOT. HANNIBAL IS MOWING THE GRASS, LOOKING AT THE ENTRANCE TO THE PSYCHIATRIST'S BUILDING, SOME HUNDRED YARDS AWAY. ANGLE INT THE POTATOCHIP VAN. ONE OF THE MEN IS TALKING ON A WALKIE. MAN got her staked out. Yeah, she's still in with the. WE HEAR THE BUZZ OF THE LAWNMOWER. MAN -LRB- cont'd. -RRB- I said : she's still in with the. HIS SPEECH IS DROWNED OUT BY THE LAWNMOWER. HE TURNS TO ROLL UP HIS WINDOW, AND SIGHS, AND GLARES IN THE DIRECTION OF THE LAWNMOWER MAN. ANGLE HIS POV. LECHTER, AS HE TAKES OFF HIS HAT TO WIPE THE SWEAT FROM HIS EYES. ANGLE INT THE VAN. THE POTATOCHIP MAN, STARING AT LECHTER, AND THEN PICKING UP THE PHOTO OF LECHTER WHICH IS ON HIS DASHBOARD. MAN -LRB- cont'd. -RRB- -LRB- INTO WALKIE. -RRB- One moment. ANGLE, EXT THE PSYCHIATRIST BUILDING DAY. STARLING CATCHES UP WITH THE PSYCHIATRIST, SHE STARTS TO SHAKE HER. STARLING who paid you. who. ANGLE ON LECHTER, AS HE IS WATCHING THE TWO. HE SENSES SOMETHING, AND BEGINS TO TURN. ANGLE ONE OF THE POTATOCHIP ABDUCTORS, SINKS TO ONE KNEE, AND RAISES AN ODD LOOKING RIFLE, AND FIRES. ANGLE CU LECHTER, AS HE PUSS A SMALL RED DART FROM HIS NECK, AND BEGINS TO SLUMP. ANGLE ON STARLING, AND THE PSYCHIATRIST, AS STARLING SPOTS SOMETHING OVER THE OLDER WOMAN'S SHOULDER. ANGLE HER POV. TWO MEN, MANHANDLING THE FALLEN LAWNMOWER MAN INTO THE POTATOCHIP VAN. ANGLE ON STARLING, AS SHE RELEASES THE PSYCHIATRIST, WHO FALLS, STARLING ADVANCES TOWARD THE VAN. ANGLE AT THE BACK OF THE VAN, LECHTER STARTS TO COME TO LIFE. HE KICKS OUT, AS HE IS BEING PUT INTO THE VAN, AND DISLODGES A SMALL OBJECT ON THE FLOOR. ANGLE ON ONE OF THE MEN, AS HE PULLS LECHTER OFF THE FLOOR OF THE VAN, AND ADMINISTERS ANOTHER SHOT. ANGLE ON LECHTER'S FEET, AS THEY CLEAR THE BACK OF THE FLOOR OF THE VAN, AND THE BACK GATE COMES DOWN ON THE VAN. A PACKAGE OF POTATOCHIPS FALLS, DISLODGED BY LECHTER. ANGLE ON STARLING, AS SHE RUNS TOWARD THE DEPARTING VAN, WHICH PEELS OUT OF THE PARKINGLOT. SHE IS NOW STANDING BY HER CAR. SHE LOOKS INTO THE CAR. ANGLE, INT THE CAR. STARLING'S HAND, REMOVES THE BOUQUET, SHE REMOVES HER SCARF. CAMERA TAKES HER TO THE SPOT WHERE THE VAN STOOD. SHE LOOKS DOWN AT THE ASPHALT. ANGLE HER POV. THE BAG OF POTATOCHIPS. ANGLE. ON STARLING, AS SHE BENDS DOWN TO RETRIEVE THE BAG OF CHIPS. ANGLE INT CONVENIENCE STORE DAY. THE STORE FRONTS ON THE PARKINGLOT, WE SEE STARLING, HER CAR BEYOND HER, RUNNING INTO THE STORE. STARLING -LRB- cont'd. -RRB- FBI where's your phone? SHE GOES BEHIND THE COUNTER, PICKS UP THE PHONE AND DIALS. STARLING -LRB- cont'd. -RRB- -LRB- INTO PHONE. -RRB- Mapp. Get me Ardelia Mapp. Well. Get in touch with her. Tell her. CONVENIENCE STORE OPERATOR could I see some I.D? STARLING Tell her that. CONVENIENCE STORE OPERATOR you're really going to need to show me some identification. WE SEE THE CONVENIENCE STORE OPERATOR MOVE TOWARD A CORNER OF HIS COUNTER AND THE BUTT OF A BARELY CONCEALED PISTOL. ANGLE, ON STARLING. STARLING this is Clarice Starling. -LRB- PAUSE. -RRB-. this is not a personal message. I. -LRB- PAUSE. -RRB- I. SHE HANGS UP THE PHONE. ANGLE INT STARLING'S ROOM. DAY. INSERT, ONTO THE BED, WE SEE THE BOX OF MEMORABILIA. WE SEE STARLING PRODUCE THE PISTOL, RUMMAGE IN THE BOTTOM OF THE BOX, COME UP WITH A SPARE MAGAZINE, AND SEAT IT IN THE GUN. ANGLE, INT. THE KITCHEN OF STARLING AND MAPP'S APARTMENT, WE SEE THE DOOR CLOSING BEHIND STARLING, AND A NOTE TAPED TO THE DOOR. THE NOTE READS : MAPP. MASON VERGER SNATCHED LECHTER. I'VE GONE AFTER THEM. WE HEAR THE SOUND OF THE CAR ENGINE STARTING UP OUTSIDE.\",\n \"INT. VERGER'S ROOM NIGHT. THE CHILD WE SAW EARLIER, STILL ASLEEP ON THE SOFA, HIS BACK TO CAMERA. VERGER -LRB- VO. -RRB- Yaaasss. RACK FOCUS TO A PREVIOUSLY OUT OF FOCUS TV SCREEN IN THE FOREGROUND, WHERE WE SEE, ANGLE INS A TV PICTURE OF A MEDICAL TEXTBOOK, SHOWING A MULTICOLORED PLATE, THE ANATOMY OF THE FEET. VERGER -LRB- cont'd. -RRB- Yaas. Turn the page, please? ANGLE IN THE ROOM, WE SEE A MECHANICAL CONTRIVANCE TURN THE PAGE. VERGER IS IN HIS BED. ON ANOTHER SCREEN WE SEE THE PIGS, AND CORDELL WALKING PAST THEM, AND INTO THE BARN. ANGLE INT THE BARN. CORDELL WALKS PAST A CAMERA, AND NODS TO IT. ANGLE INT THE ROOM. THE SAME SEEN ON THE TV SCREEN. VERGER -LRB- cont'd. -RRB-. and how is our prize? ANGLE LECHTER, SHACKLED TO A BEAM OF WOOD, TWO FEET OFF THE GROUND. EYES CLOSED. CORDELL COMES UP TO HIM. HE NODS TO THE TWO POTATOCHIP MEN, WHO RETIRE. CORDELL thank you. -LRB- TO LECHTER. -RRB- And how are you this evening, Doctor? No, we know that you're awake. VERGER -LRB- VO. -RRB- Good evening, Dr. Lechter. Thank you for coming. I am sorry that we could not meet under more pleasant circumstances. ANGLE XCU ON LECHTER, AS HE LOOKS UP. ANGLE HIS POV, A SMALL TV CAMERA SET NEAR THE CEILING, ITS RED LIGHT ON. VERGER -LRB- cont'd. -RRB- -LRB- VO. -RRB- But you will recall what the last time we met, you drugged me, and induced me, in that state, to scrape my face off and FEED IT TO THE DOGS. DID THAT DIVERT YOU? TELL HIM WHAT WE ARE GOING TO DO TO RECIPROCATE! CORDELL the bad news is : we're going to stick your feet through those bars tomorrow, and feed them to our pigs. VERGER -LRB- VO. -RRB- Thank you, Cordell. LECHTER -LRB- SPEAKING GROGGILY. -RRB-. but will that satisfy you? VERGER Why should you care? LECHTER It is not that I care for you - but that I posses an enquiring mind. What will you do when I am gone? When you have nothing to occupy your thoughts, save the memory of your own folly, and, more to the point, stupidity. VERGER ARE YOU DONE? LECHTER -LRB- PAUSES TO THINK, THEN, AS IF SURPRISED. -RRB- Yes. VERGER You do n't wish to beg? LECHTER Would that add to your mirth? VERGER Explain in depth the plan we have for him. Until tomorrow. ANGLE ON LECHTER, AS HE LOOKS UP AT THE TV CAMERA. AS CORDELL SPEAKS, HE REMOVES A KNIFE, AND BEGINS CUTTING AWAY THE LEGS OF LECHTER'S PANTS, REMOVING HIS SOCKS AND SHOES ET CETERA. ANGLE HIS POV THE LIGHT IN THE CAMERA FLIPS OFF. ANGLE ON LECHTER AND CORDELL. LECHTER One would have thought he'd keep me under observation. To savor his triumph. CORDELL No, I think he proffers to spend his happy hours with his playmates. LECHTER young boys, still? CORDELL here's to child abuse! LECHTER Mmm. CORDELL and then, he'll be coming down. LECHTER You said the bad news. CORDELL Yes, I did. LECHTER I believe that your tone implied that there was some good news. and, do you know. there might be good news for you. CORDELL Oh, yes, what? You'd bribe me, to, to, to, `` release'' you? LECHTER I can make you rich. CORDELL And I expect you to. -LRB- HE LEANS CLOSER TO HANNIBAL. -RRB- Let's talk like two medical men. -LRB- HE PRODUCES A SMALL CASE, WHICH HOLDS TWO HYPODERMICS. -RRB- LECHTER'S HEAD STARTS TO SWAY. CORDELL Come on, stay with us. Look here : I could get behind you, and give you a spinal, tomorrow, you wuunt feel anything down there, a l'il pulling is all. N ` I'll tell you what, after he's got his jollies, ten, f ` teen minutes, I'll come down here, give you a shotta this. -LRB- HE TAKES A VIAL FROM HIS POCKET. -RRB- stop your heart, an that's you done, an there's an end to it. What do you say? -LRB- CORDELL REMOVES A CELLPHONE FROM HIS POCKET. -RRB- I know you got lotsa money, evabody says so. I know how that stuff works, take it out, move it around. -LRB- LECHER'S HEAD BEGINS TO DROOL. -RRB-. stay with me now, fuss with it. Whatsay we call your banker now, tell him a code. move that money to me, he confirms it, and I fix you up Right Now. -LRB- HE HOLDS UP THE SYRINGE AND SQUIRTS IT. -RRB- Whatsay? LECHTER -LRB- MUMBLING. -RRB-. suitcase. locker. CORDELL Come on, Doctor, then you can sleep. LECHTER -LRB- MUMBLING. -RRB-. unmarked hundreds. CORDELL what? -LRB- HE LEANS FORWARD. FROM THE BACK WE SEE LECHTER'S HEAD COME UP AND MOVE TO BIT CORDELL. -RRB- ANGLE EXT THE BARN. A SOUND OF SCREAMING, THE TWO POTATOCHIP MEN RUN IN GUNS DRAWN, TO SEE CORDELL. HOLDING HIS HAND TO HIS BLOODY FACE. MAN ONE you wan me to shoot im? CORDELL That's the last think I want. -LRB- TO LECHTER. -RRB- Our other option is to beat you for a while, with this axe handle, here. I suppose this is what it feels like. ANGLE ONE OF THE ABDUCTORS -LRB- THE POTATOCHIP MEN -RRB- GOES TO A CONSOLE AND TURNS ON THE SOUND OF RECORDED SCREAMING. HE LOOKS DOWN AT THE PIGS WHO, HEARING THE SCREAMING, COME TO THE SIDE OF THE PEN. HE LOOKS BACK TOWARD THE DIRECTION OF CORDELL, AND LECHTER, AND WINCES. HE RAISES THE AXE HANDLE AND PREPARES TO STRIKE.\",\n \"INT. VERGER'S ROOM. THE SHAPE OF VERGER ON THE BED. VERGER IS SEEN IN THE FLICKER OF THE TV SCREEN. VERGER Oh yes. Oh, yes, come here. Come here. Up Lad, When the Journey's Over, they'll be time enough for Sleep. WE SEE THE FORM RISE FROM THE BED, AND RISE AND WALK TOWARD VERGER. VERGER -LRB- cont'd -RCB-. -RRB- Yes. Come here. For what good is Television, Educational as it may be, if it is not also entertaining. come - have some popcorn. WE HEAR THE SOUND OF THE AXE HANDLE HITTING SOMETHING. VERGER -LRB- cont'd. -RRB- -LRB- TO THE TV. -RRB- Make it last, make it last, for godsake, make it last. do n't `` hurt'' him! ANGLE EXT.. COUNTRY ROAD, NIGHT. STARLING'S CAR, COASTING DOWN THE HILL. THE OLD GATEHOUSE TO VERGER'S PROPERTY, SEEN IN THE MOONLIGHT. ANGLE STARLING, MOVING THROUGH THE MOONLIT NIGHT, THROUGH THE WOODS. WE SEE THE MUSTANG, BEHIND HER, COVERED WITH BOUGHS, IN THE WOODS, AND BEYOND THAT, BELOW HER, THE GUARDHOUSE. CAMERA TAKES HER UP TO A BARBEDWIRE FENCE, CAMOUFLAGED, WITH BRUSH WOVEN INTO IT. A LARGE TREE STANDS NEXT TO THE FENCE, WITH A BOUGH RUNNING FROM THE NEAR SIDE TO THE FAR SIDE. ANGLE, STARLING LOOKS AT IT, AND SMILES. SHE WALKS FORWARD, LOOKING INTENTLY AT THE GROUND. ANGLE, HER POV. A SMALL TRIPWIRE, SUSPENDED SIX INCHES OFF THE GROUND, COVERS THE AREA IN FRONT OF THE SO - ATTRACTIVE TREE. STARLING FOLLOWS THE TRIPWIRE DOWN, PARALLEL TO THE FENCE. SHE STEPS OVER THE TRIPWIRE AND PROCEEDS DOWN, WATCHING THE FENCE, LOOKING INTENTLY. SHE GOES INTO A GULLY WHERE WE SEE THAT A RUNOFF OF A STREAM IS ERODING A HOLE UNDERNEATH THE BARBEDWIRE FENCE. ANGLE, ON STARLING, AS SHE GETS DOWN ON THE GROUND, TAKES A STICK AND PROBES IN THE FLOW OF WATER UNDERNEATH THE FENCE. SHE NODS, SATISFIED, AND BEGINS TO USE THE STICK TO ENLARGE THE OPENING UNDER THE FENCE.\",\n \"INT. VERGER' S ROOM. NIGHT. CORDELL -LRB- cont'd. -RRB- Mr. Verger? VERGER I'm awake. Oh. Is it Time! CORDELL STARTS TO PUSH THE GURNEYBED OUT OF THE ROOM. VERGER -LRB- cont'd. -RRB- Oh, yes, one waits so long, and then, and then. ALMOST BY MAGIC. Yes, proceed. Please. proceed. CORDELL STARTS TO EXIT. CAMERA SEES THE GURNEY BED, WITH VERGER ON IT, A SMALL COUCH, ON WHICH IS A YOUNG BOY, ASLEEP, IN FRONT OF A SILENT TELEVISION, A BOWL OF POPCORN BY HIM.\",\n \"EXT. THE PIGBARN. DAWN. ANGLE ON STARLING, ADVANCING FROM THE WOODS, PISTOL IN HAND. SHE HEARS SCREAMING. SHE HESITATES, THEN MOVES CLOSER. ANGLE, HER POV. ONE OF THE ABDUCTORS, TEASING THE PIGS, PUSHES A PAIR OF STUFFED DUNGAREES THROUGH THE ENCLOSURE. ANGLE ON STARLING, WHO TURNS HER HEAD. AT THE MAIN HOUSE, BY THE POTATOCHIP VAN, THE GURNEY EMERGES, WHEELED BY CORDELL. IT MOVES TOWARD A FORKLIFT TRUCK. ANGLE AT THE GURNEY. CORDELL It wo n't be long now, sir. VERGER OHFORGODSAKE, get ON with it. CORDELL MOVES TO THE FORKLIFT, STARTS IT, AND IT MOVES TOWARD THE GURNEY. ANGLE ON STARLING, AS SHE WATCHES THE FORKLIFT GENTLY PICK UP VERGER IN THE GURNEYBED. THE SOUND OF SCREAMING STOPS. SHE SEES THE ABDUCTOR TURN OFF THE MUSIC, AND RETREAT INTO THE BARN. ANGLE STARLING, MOVING ALONGSIDE THE PIG'S ENCLOSURE. SHE MOVES TO A WALL OF THE BARN. ANGLE HER POV IN THE BARN. LECHTER, MANACLED AND BOUND TO A BEAM. SHE SEES AN ABDUCTOR MOVING TOWARD HIM. LOWERING HIS BEAM TO THE GROUND, AND THEN MOVING OFF, INTO THE TACKROOM, OFF. ANGLE IN THE BARN. STARLING BURSTS INTO THE TACKROOM. STARLING -LRB- TO THE ABDUCTOR. -RRB- On the ground, on the ground. SHE MOVES TO HIM, AS HE COMPLIES, AND REMOVES HANDCUFFS, AND CUFFS THE MAN AROUND A POLE. HE STARTS TO REMONSTRATE, AND SHE HITS HIM ON THE HEAD WITH HER GUNBUTT. SHE EXITS THE TACKROOM, AND ENTERS THE BARN AND ADVANCES ON THE MAULED AND BEATEN FORM OF LECHTER. LECHTER Good morning, Clarice. STARLING Can you walk? Are your legs working? LECHTER Perhaps. shall we see? STARLING I'm going to cut you loose. With all due respect, Doctor, if you fuck with me, I'll shoot you dead, do you understand? Do right and you'll live through this. LECHTER Spoken like a Protestant. STARLING TAKES OUT A KNIFE, AND BEGINS TO CUT THE DOCTOR LOOSE. LECHTER -LRB- cont'd. -RRB- I'll do the rest, if you give me the knife. SHE LOOKS OVER HIS SHOULDER, AT THE FORKLIFT COMING DOWN THE HILL. STARLING No, I do n't think so. LECHTER HAS FREED HIMSELF, AND IS CHAFING HIS LIMBS TO RESTORE CIRCULATION. STARLING -LRB- cont'd. -RRB- -LRB- AS SHE POINTS TO THE FORKLIFT. -RRB- I'm going to subdue our friends, coming down the hill, and I want you to cuff em, and to put em inside with the other fella. My car is. -LRB- SHE GESTURES BACK AT THE WOODS. -RRB- LECHTER Other fellow? There should have been two of them? ANGLE ON THE SECOND ABDUCTOR, IN THE LOFT OF THE BARN, HOLDING HIS DARTGUN. HE FIRES. ANGLE CU ON STARLING, WHO EXTRACTS A DART FROM HER BICEP. SHE LOOKS AROUND, AND FALLS, DAZILY. HER PISTOL FALLS THROUGH THE BARS INTO THE PIGPEN. ANGLE ON THE MAN IN THE LOFT, AS HE RELOADS, AND SIGHTS ON LECHTER, WHO IS KNEELING BY STARLING. WE SEE LECHTER PICK UP HER PISTOL, AND FIRE AT THE MAN IN THE LOFT. ANGLE. THE MAN IN THE LOFT, HE FALLS AGAINST A RAILING, HE DROPS HIS DARTRIFLE. IT DROPS INTO THE PIG'S PEN. HE DROPS, DEAD, INTO THE PIG'S PEN. ANGLE. ON THE PIGS, AS THEY GO WILD, TRYING TO EAT THE RIFLE. ANGLE ON THE FORKLIFT AND THE GURNEY, AS IT ENTERS THE BARN. ANGLE ON CORDELL DRIVING THE FORKLIFT. VERGER What's happening, would you please? ANGLE ON LECHTER, AS HE MOVES TO STARLING, AND PULLS HER AWAY FROM THE PIGPEN, HE TRIES TO REACH THROUGH THE BARS FOR HER PISTOL, BUT IT IS JUST OUT OF REACH. HE LOOKS UP. ANGLE ON VERGER AND CORDELL, APPROACHING LECHTER. CORDELL Stop there, would you, please, Doctor? LECHTER The girl could use some help. VERGER You're free. LECHTER which of us is free? VERGER Yes, to cease to Hope is the Greatest Crime. The Greatest crime. Perhaps the only crime. I never ceased to hope! LECHTER The girl needs help. VERGER And what would be of Greater Help, than to release her, from the bonds of this sordid earthly existence. DO N'T YOU THINK? IN WHICH THE INNOCENT ARE TORTURED IN WAYS WHICH WOULD MAKE THE ANGUISH OF THE DAMNED SEEM TAME AND UNIMAGINATIVE, DO N'T YOU THINK? BLIND HIM AGAIN, AND PREPARE HIM AND HER FOR THE PIGS! -LRB- CORDELL, HOLDING A GUN, ADVANCES ON LECHTER. -RRB- LECHTER might I make a suggestion? VERGER after you' re dead. AND WHEN I GIVE THE WORD, do you understand. when I give the word. ANGLE ON LECHTER, BEING BOUND, AND HOISTED UP, AGAIN, ON THE BEAM. CORDELL fraid, that's about it, Doctor. LECHTER Let the girl go. CORDELL Why? LECHTER For a consideration. CORDELL ` fraid it's too late. VERGER when I. -LRB- PAUSE. -RRB- CORDELL CONTINUES THE FINAL PREPARATIONS OF LECHTER. LECHTER what has she done to harm you? CORDELL Yes, do you know, you're right. -LRB- HE PAUSES. -RRB-. Mr. Verger? -LRB- PAUSE. -RRB- Mr. Verger, Sir? He's ready. -LRB- PAUSE. -RRB- ANGLE ON CORDELL, AS HE LEAVES THE TRUSSED LECHTER, STEPPING OVER STARLING, AND PROCEEDS BACK TOWARD THE GURNEY, WHICH IS HALF HIDDEN BY THE PIGPEN. ANGLE HIS POV. AS HE COMES AROUND THE CORNER, THE CHILD FRANKLIN HAS THE BOWL OF POPCORN, AND IS SEEN FEEDING POPCORN TO VERGER. ANGLE CORDELL'S POV. THE LIFESIGNS DISPLAY OF VERGER. A SINGLE BLIP, A LONG PAUSE, ANOTHER IRREGULAR BLIP. A LONG PAUSE. ANGLE CORDELL, AS HE ADVANCES ON THE CHILD. CORDELL -LRB- cont'd. -RRB- Hey, Franklin. Hey. Tell you what, if you'd just stop doing that, I'm going to give you something nice. FRANKLIN He do n't like popcorn. CORDELL No. And. FRANKLIN I like Popcorn. CORDELL yes, if you'll, just step away. FRANKLIN You give me whatever I want? CORDELL Yes. You know I will. That's right. FRANKLIN Awright. FRANKLIN STEPS AWAY. AND CORDELL RUNS UP TO VERGER AND TRIES TO REVIVE HIM. ANGLE ON FRANKLIN, AS HE MOVES AROUND THE PEN, AND PULLS A LEVER WHICH OPENS THE GATE. ANGLE ON THE PIGS, AS THEY START TO MOVE INTO THE AREA OCCUPIED BY CORDELL AND VERGER. ANGLE ON FRANKLIN. FRANKLIN -LRB- cont'd. -RRB- You know what I want? ANGLE ON CORDELL, BENT OVER VERGER, AS HE LOOKS BACK. ANGLE ON FRANKLIN. FRANKLIN -LRB- cont'd. -RRB- I WANT KITTYKAT! ANGLE ON CORDELL, AS HE SEES THE PIGS APPROACHING, HE STARTS TO SCREAM. ANGLE ON FRANKLIN, AS HE CLIMBS UP TO THE AREA WHERE WE SEE LECHTER. LECHTER Let me down, son, let me down. FRANKLIN What'll you do for me? LECHTER I'll take you home. FRANKLIN Ai n't got no home. LECHTER Then what would you like? FRANKLIN COMES OVER AND WHISPERS TO HIM. ANGLE ON HANNIBAL, AS HE RECOILS. BEAT. THE SOUND OF SCREAMING STOPS. PAUSE HANNIBAL -LRB- PAUSE. -RRB- Yes. You shall have it. FRANKLIN Then you goin to hell. HANNIBAL that's right. FRANKLIN LOOSES THE ROPE WHICH HOLDS LECHTER, AND LECHTER ENTERS THE PIGPEN. WE SEE THE PIGS, AT THE FAR END, SAVAGING WHAT WE ASSUME TO BE THE FORMS OF VERGER AND CORDELL. ANGLE ON HANNIBAL, AS HE STOOPS TO THE FORM OF STARLING, AND GATHERS HER UP. THE PIGS ADVANCE ON HIM, AND THEN STOP. HE STEPS THROUGH THEM, AND OUT OF THE BARN. ANGLE EXT THE BARN. STARLING, PUT DOWN IN THE GRASS. BEAT. SHE STIRS. SHE HALF - OPENS HER EYES. ANGLE, HER POV LECHTER, WALKING TOWARD HER, BEHIND HIM THE VERGER ESTATE BURSTING INTO ROARING FLAMES. ANGLE ON FRANKLIN, STANDING BY THE FLAMES, LOOKING AT LECHTER, AS HE WALKS UP TOWARD STARLING. ANGLE ON LECHTER, AS HE PICKS UP STARLING, WE SEE A SECURITY CAR COMING DOWN THE DRIVE, AS LECHTER AND STARLING FADE INTO THE WOODS.\",\n \"INT. SUMPTUOUS, ELEGANT DININGROOM. STARLING, IN A DECOLLETE EVENING GOWN, STANDING IN FRONT OF A PERFECT PRESENTATION OF BACCARAT AND LIMOGES. ANGLE HER POV. LECHTER, IN A TUXEDO, STANDING AGAINST THE BALCONY OF THE ROOM, WHICH LOOKS OUT ON THE SEA. HE SMILES AT HER. LECHTER You look lovely. STARLING Thank you. -LRB- SHE MOVES TO SIT, AND LECHTER COMES UP AND HOLDS HER CHAIR FOR HER. -RRB- No, I know you'd prefer `` I'm glad you find me so.'' LECHTER I'd prefer you to say what you feel. STARLING What is that that smells so wonderful. LECHTER I hope you'll find it so. -LRB- HE POURS HER A GLASS OF WINE. -RRB- Yes. It's good to see you regaining your strength. STARLING Thanks to you. WE SEE LECHTER EXCUSE HIMSELF, AND RETIRE INTO THE KITCHEN. WE SEE HIM TAKING DOWN SAUCEPANS, AND MIXING WHAT APPEARS TO BE A MARINADE. LECHTER Now, what were we last speaking of? STARLING We were speaking of my father. LECHTER POURS THE MARINADE INTO A PAN, LIGHTS THE FLAME IN THE STOVE, WIPES HIS HANDS, AND RETURNS TO THE DININGROOM. LECHTER I'm sorry? STARLING we were speaking of my father. LECHTER Indeed we were. STARLING and my need for The Institution. LECHTER Freud, do you know? Freud psychoanalyzed patients in One Afternoon. STARLING And how did he do that? LECHTER He saw the truth, and spoke it. STARLING I'm afraid, this wine is making me woozy. LECHTER you have to eat. LECHTER RETURNS TO THE KITCHEN, INDICATING `` ONE MOMENT.'' LECHTER -LRB- cont'd. -RRB- -LRB- AS THE CAMERA TAKES HIM TO THE KITCHEN, AND WE HALF - SEE THE TORSO OF A MAN SITTING IN A KITCHEN CHAIR. -RRB- You've sought out The Institution all your life, as you with it to replace your Father. This is obvious. Less obvious is this : that you require the institution not to support you, but to FAIL. FOR THIS KEEPS YOUR FATHER ALIVE. ANGLE ON STARLING, SITTING, NODDING, AS SHE DRINKS HER WINE. SHE PUTS THE GLASS DOWN, A TRIFLE WOOZY. LECHTER -LRB- cont'd. -RRB- as this keeps your father alive. The truth is two - fold, and the truth is one : THE WIND FROM THE OCEAN BLOWS A STRAND OF HAIR ACROSS HER EYES, SHE BRUSHES IT BACK. LECHTER -LRB- cont'd. -RRB- -LRB- VO. -RRB- That every man is fallible, that every institution, being made of men, can not but be corrupt. ANGLE ON STARLING, LOOKING DOWN AT HER HAND. ANGLE HER POV. THE HAND IS COVERED WITH MUD AND BLOOD. ANGLE, STARLING, LOOKING PERPLEXED, AT THE KITCHEN WHERE WE SEE THE FORM OF LECHTER, MOVING ACROSS THE KITCHEN. ANGLE ON LECHTER. AS WE SEE, HE CARRIES A SCALPEL, HE MOVES TOWARD THE HALF - SEEN FORM OF THE MAN IN THE CHAIR. HE BENDS DOWN OVER THE MAN, AND WE SEE THAT HE CARRIES A SCALPEL AND A SMALL MEDICAL SAW. LECHTER -LRB- cont'd. -RRB- the only art in this dish, of course, is that it must be fresh. ANGLE ON STARLING, IN THE ROOM, AS SHE PICKS UP A SMALL ROSEBUD FROM THE CUT CRYSTAL BUDVASE IN FRONT OF HER. SHE LOOKS AT IT WOOZILY, AND IT FALLS FROM HER FINGERS. SHE BENDS DOWN. ANGLE, HER POV, THE FLOOR. THE ROSEBUD, ON A FILTHY, TORN LINOLEUM FLOOR, HER LEGS ENCASED IN THE MUDDY PANTS WE SAW HER IN AT VERGER'S FARM. ANGLE ON STARLING, AS SHE STRAIGHTENS, HOLDING THE ROSE. WE SEE A LOOK OF CONSTERNATION ON HER FACE. HER FACE IS BLOODY, AND COVERED IN MUD, WE SEE SHE IS NOT IN A SUMPTUOUS DININGROOM, BUT IN A SLUM. ANGLE HER POV LECHTER, IN THE KITCHEN, IN TUXEDO, MOVING PAST THE DOORWAY. ANGLE INT THE KITCHEN. LECHTER, AS WE NOW SEE, IN THE FILTHY KITCHEN OF A SLUM. COOKING ON A HOTPLATE. DRESSED IN WORKCLOTHES, CAMERA TAKES HIM, FROM BEHIND, TO THE SLUMPED FORM OF THE MAN, CAMERA CUTS OFF AT THE MAN'S SHOULDERS, WE SEE LECHTER, FROM THE BACK, LIFTING SOMETHING FROM THE DIRECTION OF THE MAN'S HEAD, AND CARRYING IT BACK TO THE FILTHY TABLETOP, WHERE, AS HE SPEAKS, HE BEGINS KNEADING IT WITH FLOUR, WE SEE THE PAN SIZZLING ON THE HOTPLATE. ANGLE IN THE SLUM ROOM. STARLING, DAZED, AND LECHTER, REENTERING. LECHTER -LRB- cont'd. -RRB- That the institution can not but be corrupt, and, therefore, it can not be but an act of complicity to seek to appease it. HE MOVES BACK INTO THE KITCHEN, PUTS THE BREADED PIECES OF CUTLET INTO THE PAN, THE FIRE SHOOTS UP. LECHTER -LRB- cont'd. -RRB- So many civilizations eat their slain enemies. what do you think? How much better to devour a person physically, than to devour his spirit. Which is, of course, the purpose of the institution. HE REMOVES THE MEAT FROM THE PAN, AND FORKS IT ONTO A TIN PLATE. LECHTER -LRB- cont'd. -RRB- -LRB- REENTERING THE DININGROOM. -RRB- : and that is the especial surprise, I've prepared for You! STARLING I feel weak. LECHTER -LRB- NODDING. -RRB-. you must eat. SHE LOOKS DOWN AT THE TABLE. SHE PICKS UP HER FORK. ANGLE HER POV THE LOVELY LINEN TABLE, THE STEAMING MEAT ON THE LIMOGES PLATE. A HUGE COCKROACH, SCURRYING ACROSS THE TABLECLOTH. ANGLE ON STARLING, AS SHE RISES, UNSTEADILY, IN HER MUDDY CLOTHES. STARLING 1 do n't understand. SHE WALKS TOWARD THE BALCONY WINDOW, LOOKING OUT AT THE OCEAN. ANGLE HER POV. OUT THE WINDOW, A SQUALID CITY STREET, SEEN FROM THE THIRD FLOOR. A COUPLE OF CARS STOPPING AT THE END OF THE STREET. ANGLE, ON STARLING, AS SHE TURNS BACK TOWARD LECHTER. LECHTER -LRB- IN THE KITCHEN. -RRB- The gift, of course is not the meal - but the identification - which of us does not need help? The identity, of your true enemy? for you always sought to befriend, to wish the love of those who wished you ill. ANGLE, ON LECHTER, STANDING BEFORE THE FIGURE TIED TO THE CHAIR. LECHTER -LRB- cont'd. -RRB- Come here - he is in no pain, there are no nerves in the brain, come here. ANGLE, LECHTER'S POV THE FIGURE OF CRAWFORD TIED TO THE CHAIR. LECHTER MOVES TO HIM AND EXTRACTS FROM HIS UPPER POCKET, A XEROX OF THE PHOTO OF THE BADGE WITH THE HOLE IN IT. LECHTER -LRB- CONT'D. -RRB- Come here, I'm going to cure you. ANGLE HIS POV. STARLING, IN THE SLUMROOM, LOOKING OUT OF THE WINDOW. ANGLE STARLING, DAZED, LOOKING OUT OF THE WINDOW, LECHTER COMES UP BEHIND HER, AND LOOKS OUT. ANGLE HIS POV. THE SLUM STREET, A VAN NOW PULLING UP, A SQUAD OF SWAT OFFICERS APPROACHING A PARKED CAR. ANGLE ON LECHTER AND CLARICE. LECHTER APPROACHES HER. ANGLE HIS POV, STARLING, IN THE BEAUTIFUL GOWN, HE MOVES AS IF TO CARESS HER BREAST. ANGLE ON STARLING, AS SHE LOOKS DOWN. WE SEE SHE IS NOW CLOTHED IN HER FILTHY CLOTHES, AND LECHTER IS FRISKING HER. ANGLE LECHTER, FRISKING THE FILTHY STARLING, TAKES OUT THE MARINECORP HATBADGE, WHICH WE SAW EARLIER, HE BREAKS IT OPEN, AND REVEALS A MICROTRANSMITTER. LECHTER -LRB- cont'd. -RRB- Oh, no. Oh, NO. They've put a beeper on you. How careless of me. How finally careless, Do you think? Have I erred on Purpose? Eh? Or am I just unlucky? Could one not say that's the essential question of Philosophy? ANGLE ON STARLING, DAZED, LOOKING ON. STARLING Might I have some more of the wine? ANGLE ON LECHTER, AS HE MOVES TO A BACK WINDOW. STARLING, AS SHE RISES, AGAIN, IN HER BALLGOWN. STARLING -LRB- cont'd. -RRB- Because, I find I like the effects. You may say that it's inebriation, but it seems. -LRB- SHE SMILES. -RRB- This lovely evening, in particular. it seems to reward me with clarity. -LRB- SHE LAUGHS. -RRB- THERE IS A SOUND BEHIND HER. THE BEAUTIFUL FRENCHDOORS OPEN AND ADMIT A HAPPY COTERIE OF GOWNED WOMEN AND FORMAL DRESSED MEN, THEY ARE ALL CHATTERING THEIR JOY AT SEEING HER. STARLING -LRB- cont'd. -RRB-. or perhaps, it is just the heat. I was just saying to the Doctor. -LRB- SHE GESTURES. -RRB- ANGLE HER POV THE OPEN WINDOW, THE SHADES BLOWING. CAMERA COMES BACK TO STARLING, WHO IS IN HER RAGS, WITH THE SWAT TEAM ENTERING THE ROOM. STARLING -LRB- cont'd. -RRB- But, do you know, do you know, I'm not feeling altogether. SHE SWOONS. A SWAT MAN CATCHES HER. SWAT MAN I've got her. ANGLE IN THE SLUMROOM, WE SEE THAT A SWAT TEAM HAS ENTERED. ONE OF THEM HAS CAUGHT THE FAINTING STARLING IN HIS ARMS. THE SEVERAL MEN PROCEED TOWARD THE BACK OF THE KITCHEN. STARLING -LRB- AS WE SEE SHE IS IN KRENDLER'S ARMS. -RRB-. may be the heat. KRENDLER Let's get her out of here. SWAT OFFICER, FROM THE KITCHEN. AS HE GAZES IN THE DIRECTION OF CRAWFORD. STARLING But as my father used to say. SWAT OFFICER -LRB- IN KITCHEN. -RRB-. ohmiGod.\",\n \"EXT. TEXAS GRAVEYARD DAY. A NEW MARBLE HEADSTONE BEING LOWERED ONTO A GRAVE. IT IS ORNATE AND SOLID, AND READS : JAMES RANDALL STARLING, HUSBAND AND FATHER. DIED 1975. ANGLE STARLING STANDING BY THE GRAVE, HOLDING FLOWERS, BEHIND HER STAND MAPP AND HER BOYFRIEND. BEHIND THEM STAND AN OFFICIAL LOOKING MAN, WHO HOLDS HIS STETSON, REVERENTLY, IN FRONT OF HIM. IN THE BG WE SEE A TRUCK MOVING SLOWLY DOWN THE DUSTY CEMETERY ROAD. ANGLE ON STARLING, AS SHE KNEELS, AS THE STONE IS PLACED, PUTTING A SMALL BOUQUET OF FLOWERS NEXT TO IT. AS SHE KNEELS, AND CAMERA CRANES DOWN, WE READ THE BOTTOM OF THE INSCRIPTION : `` DIED 1975. HE WILL NEVER KNOW HOW HE WAS MISSED.'' ANGLE ON STARLING, AS SHE STANDS, AND MAPP COMES, AND PUTS HER ARM AROUND HER. MAPP That's why it's a stone, you know, It means Do n't Come Back. STARLING NODS, AND THEY TURN AWAY, AND WALK AWAY FROM THE GRAVE. IN THE BG WE SEE ANOTHER GROUP OF MOURNERS, WEARING WESTERN GARB. STARLING AND HER GROUP CROSS A SERVICE ROAD, IN FRONT OF THE OLD TRUCK. STARLING Well. No. He ca n't come back. MAPP Baby, that's the beginning of wisdom. MAPP PUTS HER ARM AROUND STARLING, AS THEY WALK OFF. STARLING NODS, THAT SHE UNDERSTANDS, AND LAYS HER HEAD ON MAPP'S SHOULDER. WE SEE SEVERAL GRAVEDIGGERS SITTING ON THE BACK. THE MAN IN THE PASSENGER SEAT, WEARING A STRAW WESTERN HAT, TURNS, TO LOOK AT STARLING AND THE GROUP. IT LOOKS LIKE LECHTER. ANGLE ON STARLING, AND HER GROUP, AS THE MAN IN THE TRUCK MOMENTARILY CATCHES HER EYE. ANGLE ON STARLING, AS SHE WALKS THROUGH THE GRAVEYARD. A GLINT OF LIGHT PLAYS ACROSS HER FACE, AND SHE SQUINTS. ANGLE HER POV. THE LIGHT HITTING THE SHOVEL OF THE GRAVEDIGGER IN THE STRAW HAT. THE GRAVEDIGGER IS HALF HIDDEN BY THE GROUP HE WALKS WITH. ANGLE OVER MAPP, WHO IS TALKING, AND ONTO STARLING, AS SHE STARES AT THE GRAVEDIGGER, WHO IS APPROACHING HER. ANGLE ON HER BODY, AS SHE REACHES TO HER BELT FOR A SIDEARM. ANGLE TIGHT ON THE TWO WOMEN, AS STARLING LEANS IN. STARLING -LRB- SOTTO. -RRB- Give me your gun. ANGLE ON MAPP, AS SHE LOOKS AT STARLING. MAPP what? ANGLE ON STARLING, AS SHE LOOKS AT THE APPROACHING FIGURE. ANGLE HER POV THE GRAVEDIGGER, AS HE EMERGES FROM THE GROUP. WE SEE HE IS A NONDESCRIPT LABORER. ANGLE ON STARLING AND MAPP. MAPP -LRB- cont'd. -RRB- what, what did you say? ANGLE ON STARLING, AS SHE SHAKES HER HEAD. ANGLE ON THE LABORER, AS HE PASSES BY AN ARRIVING, OLDER LIMOUSINE, STARLING AND MAPP IN THE BACKGROUND. ANGLE ON STARLING AND MAPP, AS MAPP AND JIM TAKE THEIR LEAVE FROM STARLING, WHO IS INDICATING, `` I JUST WANT TO BE ALONE FOR A WHILE.'' WE SEE MAPP NOD, AS SHE AND JIM GET INTO THEIR CAR. ANGLE ON STARLING, AS SHE WALKS BACK TOWARD HER FATHER'S GRAVE PAST A SMALL BLACK CLAD FAMILY, WHO ARE EMERGING FROM THE LIMO. ANGLE XCU ON STARLING, AS SHE LOOKS AT THE OFFENDING FIGURE. ANGLE HER POV. THE MAN TURNS MORE TO CAMERA, AND WE SEE HE IS A NONDESCRIPT LABORER. ANGLE ON STARLING, AS SHE TAKES HER LEAVE OF MAPP AND MAPP'S FRIEND, WE SEE THEM PASS BY ANOTHER SMALL FUNERAL, SEVERAL BLACK CLAD MOURNERS AND AN OLD LIMOUSINE, AT THE GRAVESIDE. STARLING CHATS WITH MAPP FOR A MOMENT, OBVIOUSLY SAYING SHE, STARLING, WANTS TO STAY ON AT THE GRAVE. MAPP NODS, AND SHE AND HER FRIEND GET INTO THEIR CAR AND DRIVE AWAY. ANGLE ON STARLING, AS SHE PASSES BY THE OTHER FUNERAL, BACK TOWARD HER FATHER'S GRAVE. ANGLE INT THE LIMO. WE SEE, THROUGH ITS WINDSHIELD, STARLING CROSS, AND MOVE OUT OF FRAME. WE SEE THE BLACK COATED ARM OF THE LIMO DRIVER MOVE. HIS HAND COMES UP TO THE REARVIEW MIRROR, AND WE SEE STARLING IN THE REARVIEW MIRROR, AND WE SEE THE DRIVER'S HAND HAS THE SMALL SCAR IN THE SHAPE OF THE NUMERAL THREE. FADE OUT.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,1,0,0,0,1,0,0,0,0,1,0,0,1,1,0,0,0,1,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,1,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Ten years after tracking down serial killer Jame Gumb, FBI Special Agent Clarice Starling is unjustly blamed for a botched drug raid. She is later contacted by Mason Verger, the only surviving victim of the serial killer Hannibal Lecter. A wealthy child molester, Verger was paralyzed and brutally disfigured by Lecter during a therapy session. He has been pursuing an elaborate scheme to capture, torture, and kill Lecter ever since. Using his wealth and political influence, Verger has Starling reassigned to Lecter's case, hoping her involvement will draw Lecter out. After learning of Starling's public disgrace, Lecter sends her a taunting letter. Starling detects a fragrance from the letter. A perfume expert later identifies a skin cream with ingredients that are only available to a few shops in the world. She contacts the police departments of the cities where the shops are located, requesting surveillance tapes. In Florence, one of those cities, Chief Inspector Rinaldo Pazzi is investigating the disappearance of a library curator. Pazzi questions Lecter, who is masquerading as Dr. Fell, the assistant curator and caretaker. Upon recognizing Dr. Fell in the surveillance tape, Pazzi accesses the Violent Criminal Apprehension Program database of wanted fugitives. He then learns of Verger's US$3 million personal bounty on Lecter. Blinded by greed, Pazzi ignores Starling's warnings and attempts to capture Lecter alone. He recruits a pickpocket to obtain Lecter's fingerprint to show Verger as proof. The pickpocket, mortally wounded by Lecter, manages to get the print and gives it to Pazzi. Lecter baits Pazzi into an isolated room of the Palazzo Vecchio, ties him up, then disembowels and hangs him from the balcony. Lecter then returns to the United States. Verger bribes Justice Department official Paul Krendler to accuse Starling of withholding a note from Lecter, leading to her suspension. Lecter lures Starling to Union Station. Verger's men, having trailed Starling, capture and bring Lecter to Verger. Verger intends to feed Lecter alive to a herd of wild boars bred specifically for this purpose. After her superiors refuse to act, Starling infiltrates Verger's estate. After neutralizing the two guards and freeing Lecter, she is shot by a third guard who was in hiding. Lecter picks up an unconscious Starling just before the boars break through the doors. Verger orders his physician Cordell Doemling to shoot Lecter, but, with Lecter's suggestion, Cordell shoves his hated boss into the pen. Lecter carries Starling away and the boars eat Verger alive. Lecter takes Starling to Krendler's secluded lake house and treats her wounds. When Krendler arrives for the Fourth of July, Lecter subdues and drugs him. Starling, disoriented by morphine and dressed in a black velvet cocktail dress, awakens to find Krendler seated at the table set for an elegant dinner. Weakened by the drugs, she looks on in horror as Lecter removes part of Krendler's prefrontal cortex, sautés it, and feeds it to him. After the meal, Starling tries to attack Lecter, but he overpowers her. She handcuffs his wrist to hers. Hearing the police and ambulance closing in, Lecter is just about to sever her cuffed hand to escape when he hesitates. She is soon seen to have both hands intact when she escapes. The paramedics take Krendler to hospital. His fate is not explained. Lecter is later shown on a flight with his own boxed lunch, his bandaged arm in a sling. As he prepares to eat his meal, including what is assumed to be part of a cooked brain, a young boy seated next to him asks to try some of his food. Lecter shares the brain with the boy, saying it is important \"always to try new things.\""},"name":{"kind":"string","value":"Hannibal_(film)"}}},{"rowIdx":160,"cells":{"scenes":{"kind":"list like","value":["WHITEOUT Antarctica. Six million square miles of ice. The coldest place on earth. Forty - six countries have competing claims and maintain outposts. The Antarctic Treaty holds these claims in check. There is no regular law enforcement. A single U.S. Marshal is assigned to the territory. END SCROLL","EXT. ANTARCTICA - DAY Snow - covered hills thrust up out of a barren, white wasteland. No buildings, no animals. nothing. CLOSER : The hills are more defined. Rows of jagged peaks and a crazed pattern of crevasses. A fine ` mist' of wind - blown snow whips about this jumble of glinting ice. STILL CLOSER : We track down through valleys, skirt crevasses, climb peaks and finally pause on a flat stretch of ice. HOLD on this scene of timeless, savage beauty, then. THUD! A FACE, hooded and goggled in ECW -LRB- extreme cold weather gear -RRB- drops into frame, smashing down on the icy surface with such brutal impact, the shattered goggle shield pops out - - EYES STARE BLANKLY into camera - locked in death. It's a man. Camera slowly starts to PULL BACK to see his limbs have snapped at unnatural angles, the head grotesquely twisted - bright red arterial blood seeps from the corpse and spreads out down tiny cracks in the ice until, with startling speed, it turns dark and freezes. We PULL BACK further and look down on the body, a bizarre shape in a spider's web of frozen blood. And SLOWLY WE PULL BACK. further and further. until all is dazzling white. TITLE : WHITEOUT The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby. - CU on WOMAN'S TOES digging up soft, white sand. The shadow of a palm tree cascading over top. Widen slightly - a pair of feminine hands, donning an ANTIQUE SILVER ring on the left middle finger, are slowly applying coconut tanning lotion onto firm, athletic calves. Deep. Soothing. Then - O.C. KNOCK KNOCK on a door. The hands stop. Another KNOCK KNOCK. The lapping surf and seagull sounds come to an abrupt halt. WOMAN -LRB- O.C. -RRB- -LRB- slightly annoyed. -RRB-. Yeah? Widen to meet CARRIE STETKO, late 20's. Cargo pants - rolled up, and an exercise top. She's kicking back, but she's not at the beach. In fact, she's in an office, sitting on a chair. A NEWLY OPEN BAG OF KITTY LITTER sits next to a plastic tub she's got her feet in. Two FLOOR LAMPS stand like sentinels above her, blasting her with warm wattage. A fake palm tree casts the shadow across her body. She's pulled the earplugs out of her iPod - back to the real world. The door opens. Leaning into the room is JAMIE CLARK -LRB- 20's -RRB-, African - American. She's dressed in a flannel shirt, jeans. Carrie does n't look entirely happy at the intrusion. JAMIE Sorry, a Professor Sapperstein needs to see you in biology. Said it's urgent. CARRIE Alright - Jamie leaves. As Carrie gets to her feet, camera moves away from her, panning around the small office. Half - packed up boxes lay strewn about the floor. A CALENDER hangs crookedly before a desk. Each day has been marked off with a large X. THREE DAYS REMAIN unmarked. Last space reads : WINTER - OVER, and in the space next to it, there's a cut out picture of a tropical beach. A dart board is next to it with A PHOTOGRAPH pulverized with dart holes over the Bullseye. It's of a candy - striped pole topped with a silver ball, surrounded by international flags - the South Pole. Carrie is standing next to the pole, smiling at the camera, arm - in - arm with SAM MURPHY -LRB- 30's -RRB-. Looks like he's handsome, but his face is a little more obliterated than the rest of him.","EXT. MCMURDO STATION - ANTARCTICA - DAY An ugly sprawl of prefab buildings, power - lines and above ground sewage pipes. It looks more like a Siberian work camp than Antarctica's largest research base and logistics hub. In the background, smoke rises from Mt. Erebus. SUPER : MCMURDO STATION. -LRB- USA -RRB- POP : 2137 TEMP : - 22 ° An icy wind HOWLS, but the base swarms with PARKA - CLAD FIGURES shuttling supplies and packing up equipment for winter. We PICK UP CARRIE AND FOLLOW her as she strides down the icy, unmade street. Her hood is pulled up and she's not enjoying the cold. She reaches a row of buildings and checks the names - GEOLOGY LAB # 2. ASTROPHYSICS - BERKLEY. until she reaches BIOLOGY BUILDING # 7 and pushes through the double doors into.","INT. BIOLOGY BUILDING #7 - DAY LONG BENCHES are covered with ANTARCTIC FLORA - MOSSES, LICHENS and LIVERWORTS. They are being nurtured and studied by SCIENTISTS who look like homeless people - unkempt beards, bloodshot eyes and sun - damaged skin. Carrie throws back her hood and unzips her jacket. Approaches one of the scientists with familiarity, who is in the process of EXTRACTING an ICE - CORE SAMPLE from a stainless steel cylinder. CARRIE -LRB- SARCASTIC. -RRB- Hey Fred, unlock any secrets of the Universe - discover we're Alien life forms? FRED Workin' on it. CARRIE Which one's Sapperstein? SCIENTIST Deschampsia Antarctica. He indicates with a nod to a bench covered with tall grass samples across the room. PROFESSOR SAPPERSTEIN, young, thin and bearded, is studying them. CARRIE Okay, thanks. She crosses to him - CARRIE -LRB- cont'd. -RRB- Sapperstein? He looks at her - SAPPERSTEIN Yeah. CARRIE Wanted to see me? His face tenses - this is serious. SAPPERSTEIN - Follow me. He leads her to a bench in the corner on which stands a GLASS HERBARIUM containing only STALKS and a few HEAT LAMPS. One of the GLASS PANELS has been smashed. SAPPERSTEIN -LRB- cont'd. -RRB- They took it all. CARRIE All what? SAPPERSTEIN Cannabis Sativa. She looks at him - SAPPERSTEIN -LRB- cont'd. -RRB- My weed, man. I've been growing it all summer and they took it. -LRB- BEAT. -RRB- It was just budding, too. He sends an evil glare across the room to four glassy - eyed scientists sitting around a desk, munching on potato chips, candy bars, and drinking beer. Stifling laughter. SAPPERSTEIN -LRB- cont'd. -RRB- -LRB- GLARING. -RRB- It's not funny! Carrie looks back to him - can barely stifle a laugh. CARRIE Professor Sapperstein, I'd like you to read something for me. She pulls out a small LEATHER FOLD chained around her neck. Opens it up. Puts it in front of his face. CARRIE -LRB- cont'd. -RRB- What's this say? He's not sure what she's getting at - CARRIE -LRB- cont'd. -RRB- C'mon, go ahead, read it. SAPPERSTEIN Carrie Stetko. CARRIE Keep reading. SAPPERSTEIN United States Marshal. She closes the fold, lets it drop around her neck. CARRIE Very good. -LRB- BEAT. -RRB- Now are you still sure you want to report the theft of an illegal narcotic? He actually ponders the question for a moment. Carrie puts an arm around his bony shoulder and steers him away from the others. CARRIE -LRB- cont'd. -RRB- Professor. are you planning on doing the winter - over? SAPPERSTEIN Not this year, no. CARRIE Good. And how are you feeling right now? SAPPERSTEIN You think I'm crazy? Is that what you're saying? CARRIE -LRB- PACIFYING. -RRB- No, no, not crazy. But this time of year, down here, we're all going a little toasty are n't we? How about you plant a little Cannabis when you get home? She pats him on the back.","INT. MARSHAL'S OFFICE - MCMURDO - DAY Carrie enters. Walks by a mirror. Takes a glance. Is about to fix her hair, then stares at the reflection - what's the point? We notice a slight scar on her right temple. She steps around the moving boxes to her desk, which is bare except for a thick BINDER labelled, ` DAILY REPORTS'. She takes a seat, opens a binder and flips past dozens of empty pages reading `` INCIDENT : None. ACTION TAKEN : None.'' On today's page she fills in the blanks with `` Theft of botany sample.'' And `` None.'' A pencil falls down onto the desk before her. Bounces. Then rolls off. She does n't even flinch, or look up. Just stares unhappily at the binder. Camera tilts up - several pencils are stuck into the cardboard tiles. She closes the binder and puts it on the shelf beside a row of framed photos : Carrie in a Marshal's uniform graduation day ; crisp, clean uniform. She and two other girlfriends, all smiles, at a bar - she's got a birthday cake in front of her. Carrie on a beach somewhere, sitting in a chair, feet in the sand - shaded by a palm. As she lifts the frames and moves to pack them in a nearby box - MURPHY -LRB- O.C. -RRB- You busy? She turns to see SAM MURPHY, base commander, the guy on the DART BOARD. There's an awkward beat. CARRIE What do you think? -LRB- BEAT. -RRB- I know you were n't in the area. What's up? He sees the photo on the dart board - saunters over to it. MURPHY I got a pilot at ASB who thinks he spotted a popsicle out on the ice. CARRIE What flavor? MURPHY Do n't know. CARRIE And we were doing so well. -LRB- BEAT. -RRB- Where? MURPHY McClain Valley. This throws her. CARRIE McClain Valley? What was he doing out there? That's no man's land. He takes a closer look at the photo - almost seems amused. MURPHY I've got a plane heading to ASB in an hour with some supplies for Winter - over. -LRB- BEAT. -RRB- Ca n't get you back until tomorrow. He looks at her with a smile - MURPHY -LRB- cont'd. -RRB- You leaving the dart board? CARRIE No - just the picture.","EXT. AMUNDSEN-SCOTT STATION (ASB) - DAY - ESTABLISHING The red and white striped ceremonial south `` pole'' stands surrounded by international flags. SUPER TITLE : South Pole / Amundsen - Scott Station -LRB- USA -RRB- Population : 183. Temperature : - 55 °. Ice as far as the eye can see. In the background is the base. It's much smaller than McMurdo - a few dozen specialist buildings surrounding four circular buildings raised on hydraulic stands, interconnected by tubular shaped walkways. Off in the distance - A SNOWCAT mounted with a plow, pushes small drifts of snow off the runway onto a LARGE BERM. It's been busy - SEVERAL OTHER BERMS flank both sides of the runway. Camera pans to Carrie with a gear bag in tow, as she deplanes a LC - 130. A HALF - DOMED HANGAR rises up on the other side of the plane. The main ASB complex is before her. Across the top of the entrance is a huge poster : 3 DAYS TO WINTER - OVER EVAC. Piles of packed equipment are everywhere. Half a dozen NAKED MEN wearing only boots and face masks blow out the front door screaming and yelling, run around the South Pole, right past her, and back into ASB. Carrie heads in - CARRIE Bottom of the frickin' planet.","INT. ASB - CORRIDOR - DAY Music cranks. Carrie knows her way. People come and go as she strides along a corridor decorated with PARTY BALLOONS and signs that read : ` DO N'T FORGET THE EVE OF EVAC PARTY' - comes to an office door with a small plaque on it that reads : MARSHAL. Pushes it open.","INT. MARSHAL'S OFFICE - ASB - CONTINUOUS Carrie enters. It's smaller than her McMurdo office with a HOLDING ROOM that has a viewing window in the door. A fine layer of dust blankets a little desk with a computer and lamp on top. A map of Antarctica is spread across a wall with sub - station positions marked in block letters. A window gives view to the South Pole.","INT. SMALL ROOM - RIGHT AFTER Carrie opens the door. Single bed. Tiny dresser. No frills. She tosses her gear bag onto the bed. Closes the door.","INT. MEDICAL CLINIC - ASB - DAY Carrie pokes her head in. An examination table, cabinets with drugs and first aid equipment. A couple of hospital beds. Moving boxes are packed up. CARRIE Doc? Another door in the back of the room is open, but the light is off. Carrie turns to leave and -","INT. MAIN CORRIDOR - ASB - CONTINUOUS - almost bumps right into one of the runners from outside, Aussie RUSSELL KELLER -LRB- late 20's -RRB- coming down the corridor. He's naked, except for a towel wrapped around his waste. Sports a goatee. Couple tats. Flashes a cocky smile. KELLER Well, hello Marshal. CARRIE Keller. She leaves. He falls into stride with her. CARRIE -LRB- cont'd. -RRB- You seen Doc? KELLER Out back. What are you doing here? CARRIE Checking the freezer for a popsicle. KELLER No shit? CARRIE It got called in this morning. KELLER Who spotted it? CARRIE Delfy, one of the pilots here. Keller half smiles. KELLER It's his first year down here. You know how that goes. My bet it was just debris, an old tent or something. CARRIE Yeah - probably. KELLER Here's an idea - why do n't you stay here with me and we'll party, just the two of us. Put those cuffs of yours to work. CARRIE Were you the second guy from the front? KELLER Yeah. CARRIE Not interested. They come to the end of the hall. Keller stops. Carrie goes right.","INT. OPERATIONS CENTER - ASB A large room by base standards. Several windows. A giant map of ANTARCTICA dominates one wall with the International stations and research outposts flagged with pins that have their countries flags on them. A grid of EVAC TIMES of each STATION and OUTPOST is next to it. A Tech is changing a few. Another TECH sits as a console, lined with comm equipment and computers. Others hustle about. Talking into a headset is the Station Manager, RHONDA STEWART -LRB- 30's -RRB-. Silky white skin. Irish. Long red hair tied back. Perfunctory. RHONDA I'll have them boomerang back and pick up the load - just have it ready. The Tech at the console turns to her - TECH Guys got the science lab all shut down. RHONDA Good, have them check all the pressure levels on the hydraulics, then clear the exterior storage bins. Make sure we're not leaving anything out there. Rhonda sees Carrie coming in the doorway. There's a flash of awkward tension that both mask with professional demeanor. RHONDA -LRB- CONT'D. -RRB- Sam told me you'd be coming up - how's the sleigh ride? CARRIE Fine. I need a plane and that pilot who saw the popsicle. RHONDA I'll have him meet you in the hangar. A moment of silence lingers as neither have anything else to say. CARRIE Yeah, good. Carrie leaves.","EXT. BACK OF ASB - DAY Selecting a putter from a bag of golf clubs is DOC FURY, 60. Looks seasoned. Bearded. Wears the only non - red parka we've seen : it's royal blue, trimmed with black fur and emblazoned with dozens of emblems and patches from years of Antarctic service. DOC In less than three days we begin Winter - over. The sky will go completely black and stay that way for six months. Camera pulls back to REVEAL five NEWBIES -LRB- first - timers -RRB- ; an Asian, French, Brazilian, Danish and an American. All are standing on their jackets, shivering uncontrollably in the wind. DOC -LRB- cont'd. -RRB- The sane ninety percent of the population will be leaving the ice. Extreme weather conditions make it impossible for planes from the outside world to land. You have chosen, for your own misguided reasons, to stay. And it is my responsibility to teach you beakers how not to die. Doc lines up on a hot pink golf ball and putts. The ball rolls across the glacier in an impossible, wind - driven arc, approaches a flag, and sinks. DOC -LRB- cont'd. -RRB- Time? The Asian holds a stopwatch. He stares at it stupidly. ASIAN T. T. Three minutes. DOC Your core body temperatures have fallen to approximately 97 degrees. You are shivering uncontrollably - losing basic motor skills. You're having trouble focusing on even the simplest tasks. In short, you are well on your way to dying, and it has only been two - hundred seconds. -LRB- BEAT. -RRB- Put your coats on. The class struggles into their jackets. Doc assists those who, in their diminished capacity, are having trouble figuring out how to put them on. DOC -LRB- cont'd. -RRB- Your life is dependent on your awareness of the weather. So be aware. There is a condition that arises around here known as a whiteout. Do n't get caught in it. Winds kick up snow that's lain on the ice for thousands of years - ca n't see six inches in front of your nose. Temperature plummets to triple digits. We found bodies less than a foot from safety and warmth. Carrie walks up. Doc's eyes brighten. DOC -LRB- cont'd. -RRB- Class, here we have another of the many hazards found on Antarctica. Say hello to Marshal Stetko. Through a disjointed, chattering chorus - CLASS Hello Marshal Stetko. DOC Always a pleasure to see you. Unlike most of the beaker - heads down here. -LRB- BEAT. -RRB- Social visit? CARRIE I wish - We got a job. I need you to take a ride with me. -LRB- BEAT. -RRB- Might be a body out on the ice. DOC Why's this crap always happen at the end of the season? Carrie pulls a Driver from Doc's golf bag. Lines up another pink ball. DOC -LRB- cont'd. -RRB- Too cold for driving. Carrie swings - WHACK! The ball shatters and pink bits rain down around them. CARRIE So it is.","INT. ASB - HANGAR - DAY Carrie and Doc cross the interior, which houses Three double prop Twin Otters, two Snowcats, and six snowmobiles. Keller and two other employees are busy working on one of the Otters. DOC What's your gut say about this body? CARRIE My gut and I do n't talk anymore. They continue, after a beat - CARRIE -LRB- cont'd. -RRB- I saw your boxes packed up. What was all that BS last month about, `` I'm never going back - I'll die here. Scatter my ashes over the pole''? He takes a beat - DOC People change, Carrie. CARRIE Not you. Beat. DOC I got a card from my Granddaughter inviting me to her fifth birthday party. You know, I've never even met her. CARRIE Or mentioned her. A grandchild? Doc, that's great. DOC It got me thinking - I need to be a better Grandfather, than I was a father. It's time I deal with my life. I've been down here a lot longer than I probably should have. They arrive at one of the Otters. BYRON DELFY, a baby - faced, African American pilot leans out the plane's door. CARRIE You Delfy? DELFY Yes, ma'am. DOC Where the hell they get these thumb - suckers? Delfy smiles graciously. DELFY Brooklyn. And unless your wrinkled ass has a heart attack on my plane, I think we'll be all right. Delfy disappears back into the plane. Doc looks to Carrie. DOC - I want Keller. He's my pilot. -LRB- BARKS. -RRB- Keller, get over here! CARRIE Delfy's taking us, Doc. He's the one who saw the body. C'mon, you'll be fine. I'll even hold your hand if you want. She ushers him in.","INT. TWIN OTTER - AIRBORNE - SAME The plane soars through a cloudless sky, the sun sparkling brilliantly on the endless ice sheet below. Carrie's in the copilot's seat, wrapped up tight in her ECW, just trying to stay warm. Delfy's at the controls. Doc's in the back. CARRIE What were you doing out there? DELFY I went to evac a camp. Had to fly off route to get around a storm. Got down low to avoid some turbulence, and there it was. Carrie notices a picture of a young boy, around seven, wearing a Yankees cap dangling from the instrument panel. It's framed in popsicle sticks with I LOVE YOU DADDY written around the perimeter. CARRIE That your son? He lights up. DELFY Yeah, name's Nathan. CARRIE He's cute. Has your eyes. DELFY Lucky he got his momma's brain. Kid's smart. CARRIE So why are n't you with him? DELFY The bonus pay. Trying to buy a house. Give my boy a yard. His own room. Stuff I never had. He looks at Carrie, all bundled up. DELFY -LRB- cont'd. -RRB- Do n't like the cold, huh? CARRIE Hate it. DELFY Then why are you down here? Carrie's eyes drift out the window - CARRIE We all make stupid mistakes. Delfy tips the nose of the plane down. The ice below is broken by jagged hills and yawning crevasses. DELFY It's right up here. He spirals down among the icy hills, visibility is poor. Heavy turbulence suddenly jars the plane sideways - Delfy laughs at Doc's nervous reaction. DELFY -LRB- cont'd. -RRB- I do n't carry extra panties Doc, so keep it tight. -LRB- BEAT. -RRB- There it is. He banks the plane and slips down into a valley. DELFY -LRB- cont'd. -RRB- Three o'clock. CARRIE Yeah. Got it. It's a popsicle alright. Down below is the body sprawled on the icy ground next to the crevice. CARRIE -LRB- cont'd. -RRB- Red jacket. He's American.","EXT. ICE FIELD - LATER The Twin Otter is in the distant background. Carrie, Doc and Delfy, who has a gear bag slung over his shoulder, weave their way around huge ice boulders - skirt small crevasses. Mid - conversation. DOC It's always different when they freeze. Some curl up. Some stretch out. Some tear their clothes off. They get delirious. What was that guy's name? CARRIE Linger. DOC Yeah. He's lost in a storm. We ca n't find him, but we hear him on the radio going on and on about the Serengeti heat and his wife, Janet. Next day, we find him frozen solid, wearing nothing but his bunny boots. Delfy stops. Grimaces. Drops the gear bag. DELFY Jesus. The CORPSE is just ahead - a frozen display of death. They all stare at it - the body in unnatural angles, the spiderweb of frozen blood. Delfy looks nauseous. DOC Never seen a dead guy? Delfy slowly shakes his head, no. Carrie moves up to it. Takes a look down the deep crevice four feet away. Ca n't see the bottom. She walks around to get a look at the face. Blanches slightly. DOC -LRB- cont'd. -RRB- You know him - CARRIE So do you. Think his name's Weiss. We Wintered - over last year with him. Played cards a couple of times. DOC The guy who cheated? CARRIE Yeah. Geologist, I think. Doc takes a look. DOC Damn - Carrie pulls out a DIGITAL CAMERA from a pocket. Shoots a couple of pics. Doc takes a look up behind them. The ice steepens sharply to a vast plateau, scattered with jagged boulders of ice. DOC -LRB- cont'd. -RRB- Looks like he fell from up there. Carrie pauses with her camera, looks up - does n't seem as convinced. CARRIE Then where's his crampons - his gear? Doc looks around - she's right. DOC Maybe down the crevasse? CARRIE Yeah, maybe - Carrie glances to Delfy. CARRIE -LRB- cont'd. -RRB- What's the closest camp? DELFY Brits - about eighty miles west. CARRIE -LRB- looking at body - Soto. -RRB- What the hell where you doing all the way out here? Doc reaches down and tries to move the body - does n't budge - frozen solid into the ice. DOC Ah Christ - he's a sticker. Carrie unzips the gear bag. Digs out ice two axes. TIME CUT TO LATER A pile of chopped ice is off to the side of corpse. Delfy, who looks very uneasy about all this, grabs the feet as Carrie and Doc each grab an arm. CARRIE You going to be alright? DELFY No - this is the kind of stuff that scars you for life. They all strain to lift the body from the frozen ground. DOC Gon na give myself a Goddamn hernia. They keep pulling and - SNAP! The arm Doc is holding BREAKS OFF at the elbow. Lands on his ass. Delfy turns away and pukes. CARRIE Oh yeah - I'm really going to miss this place. A SUBJECTIVE POV - THROUGH HIGH POWERED BINOCULARS is peering down at them from the top of an ice cliff. Widen to see A MAN wearing a white camouflage parka. Lowers the binoculars. Goggles shield his eyes. He moves on.","INT. MAIN CORRIDOR - ASB - DAY LOUD MUSIC. A party is in progress. People are mingling, some have drinks, others dance. The VOLUME of the music dies, replaced by a repetitive SQUEAKING NOISE emanating through the silence. People stop what they're doing, and focus on where the noise is coming from, which is - - Doc and Carrie ushering a pushcart with Weiss' contorted, frozen body through the middle of the party. His dismembered arm rests across his chest. The festive mood evaporates quickly as all eyes stay glued to the horrific state of Weiss' body. Just as they pass OPERATIONS, Rhonda steps out with the Brazilian and French Newbies at her side to see what's going on. Her eyes immediately go to Weiss, then shift to meet Carrie's. Before she can say anything - CARRIE Who manages the Post Stations? RHONDA Dinkle. Howard Dinkle. Doc and Carrie keep moving. Everyone else just keeps silent and watching. Squeaky wheel fades.","INT. MEDICAL CLINIC - ASB - DAY CARRIE -LRB- O.C. -RRB- One - two - three. THUMP! Carrie and Doc set Weiss' body onto the examination table. CARRIE -LRB- cont'd. -RRB- How long to thaw him out? DOC Carrie, let's just bag him and put him on a plane to McMurdo. She moves over to a sink and gets a cup of steaming hot water from a tap. CARRIE It bothers me no one's reported him missing yet. DOC Because maybe no one thinks he is. CARRIE How'd he get out there? There were no tracks. DOC Sounds to me like you and your gut are talking again. Carrie returns with the water. Goes to pour it on the zipper, but Doc gently puts his hand on hers, stopping her. DOC -LRB- cont'd. -RRB- Let's ask ourselves if we really need to do this. They share a moment, Carrie understanding, but - CARRIE Nobody wants to get out of here more than I do, trust me, but right now - we're all this guy has. She slides her hand away from his - starts pouring the water on the zipper. CU ON CARRIE'S HAND TUGGING ON THE ZIPPER Little by little, it starts to move - then finally, ZIIIIIIIIIIP. The jacket opens up, barely - like sliced skin. Doc watches as she tries to pry it open further, but ca n't. CARRIE Grab that side. She takes one half, he the other, and begin to pull. The jacket opens up, like bending metal - slowly revealing a frozen, but extremely bloodsoaked chest area surrounding A DEEP PUNCTURE WOUND through the shirt. Doc's face sags. Carrie stares at the wound. CARRIE'S MEMORY HIT : The well defined chest of a man wearing a tight T - shirt. A BULLET HOLE dead center. BACK TO SCENE Doc looks at Carrie with deep concern - he's tuned in. DOC Stirring up a few things? CARRIE I'll be alright. Both take a moment looking at the body. DOC You know, this means a Federal Investigation, and we're witnesses. We may get stuck here. CARRIE I know. Doc looks to Carrie, gentle, like a dad would his daughter. DOC We both want to do the right thing Carrie - but we also need to get off the ice. Right now we do n't have to say a word. When they find something later - hey, we did n't know. We were leaving, the body was frozen, we did n't have time to examine it. No one gets murdered in Antarctica. Think about it. Dead is dead. He eyes her pleadingly. CARRIE Exactly, this is the first murder in Antarctica, Doc - and I ca n't just pretend it did n't happen. -LRB- BEAT. -RRB- I'm sorry. DOC Why did I know you were going to say that?","INT. CORRIDOR - SOON AFTER Carrie steps out into the hallway. Takes a moment, leaning against the wall, this whole thing wearing on her more than she's revealed. She tilts her head back. The second it hits the wall - THE SOUND OF A GUNSHOT RINGS OUT!","INT. HOTEL ROOM - NIGHT (CARRIE'S MEMORY HIT) Carrie's beat to shit, soul weary. She's on her knees, full of blood. A man is on the floor between two beds before her. She holds her gun at her side. He's dead. BACK TO SCENE Carrie refocuses. Pulls away from the wall. Leaves the memory behind.","INT. CORRIDOR - ASB - LATER Carrie has a NEXTEL phone/walkie to her ear, making her way up the corridor. Moves past a couple of guys loading a dolly with boxes from an adjacent room. MURPHY -LRB- V.O. -RRB- What camp was he with? CARRIE I'm on my way to find out. MURPHY -LRB- V.O. -RRB- This is all I need right now. CARRIE I'm sure his family's thinking the same thing. MURPHY -LRB- V.O. -RRB- That's not what I meant. -LRB- BEAT. -RRB- I'll contact the FBI - see how they want to handle this. She hangs up. Approaches a closed door. Name plate on it reads Dinkle - SUB - STATIONS MANAGER. O.C. MOANING and GROANING - great sex. Carrie rolls her eyes. Knocks on the door. No one answers. Moaning continues. She does n't have time for this. Opens the door to see - - a large TV playing a locker - room porno where a quarterback with no pants is giving it to a cheerleader with no top. Half a dozen guys, oblivious to Carrie standing there, CHEER the action. CARRIE I hate interrupting educational programming, but - The CHEERING dies as everyone turns to see Carrie standing behind them. Only fake PORNO MOANING remains. CARRIE -LRB- cont'd. -RRB- I need to talk to Dinkle. Everyone gets up, thrilled for an excuse to leave. One of them nods to Carrie on the way out. LAST GUY Marshal. CARRIE Chaplain. Carrie flips a nearby wall switch. Lights kick on. Small room. English flag. There's a Beckham poster and an 8x10 framed photo, turned backwards, hanging on one wall. A large map of Antarctica on another. A proud assortment of tea bags are uniformly lined up along a shelf. One guy remains. HOWARD DINKLE. Thirties. English. Bearded. On the heavy side. DINKLE Am I in some kind of trouble? As he crosses to her, he flips the 8x10 framed photo back around - it's of THE QUEEN MOTHER.","INT. DINKLE'S OFFICE - SOON AFTER A FILE FOLDER drops into frame onto a desktop, which is a map of Antarctica, under glass. File reads : DELTA ONE ONE. Widen. Carrie opens it. Three photos are stapled inside. One is of Weiss, the other two have names written under them - RUBIN and MOONEY. Mooney is a runty looking guy with a mop of blond hair. Rubin is a skinny, thin faced young guy with a beard that has n't filled in yet. CARRIE What are they doing out there? DINKLE Collecting meteorites. -LRB- BEAT. -RRB- One One has an extremely old surface with low sediment deposition. CARRIE English, please. DINKLE Means it's a good place to look for meteorites. -LRB- BEAT. -RRB- It's right here. Dinkle points to a location on the map. Delta One One is labeled. Boasts an American Flag. CARRIE I do n't get it - Weiss was no where near Delta One One. She looks at Dinkle. CARRIE -LRB- cont'd. -RRB- When are they scheduled for evac? DINKLE One sec - He refers to a RADIO LOG SHEET hanging off the corner of his desk. Gets uneasy - ca n't find what he's looking for. Finally - DINKLE -LRB- cont'd. -RRB- They have n't arranged a pickup yet. CARRIE Is n't that a little unusual this close to Winter - over? He hates to say it, but - DINKLE Yes, it is. Really unusual, actually. -LRB- SCRAMBLING. -RRB- I guess I should've contacted them, but - CARRIE - You've been a little busy. Yeah, I can see that. She moves over to a LONG RANGE RADIO CONSOLE tucked up against a wall. CARRIE -LRB- cont'd. -RRB- What's their frequency? DINKLE Seventeen. Carrie spins a dial to 17. Keys the microphone, drawing it to her face. CARRIE -LRB- into microphone. -RRB- Delta One One, this is United States Marshall Carrie Stetko, come back, over. Static crackles. CARRIE -LRB- cont'd. -RRB- Delta One One, I repeat, this is United States Marshal Stetko, come in, over. The dull constant static never wavers. She puts down the mic. Thinks for a moment. Suddenly, Carrie's NEXTEL RINGS - takes it off her belt. CARRIE -LRB- cont'd. -RRB- Stetko. JAMIE -LRB- V.O. -RRB- Marshal, it's Jamie. I've got some guy holding from Vostok who wo n't give his name, says he has to talk to you. CARRIE Vostok? -LRB- BEAT. -RRB- Patch it through. JAMIE -LRB- V.O. -RRB- You're on now. CARRIE This is Marshal Stetko, who's this? MOONEY -LRB- V.O. -RRB- John Mooney. She's thrown. CARRIE Mooney? MOONEY -LRB- V.O. -RRB- You know who I am? Carrie's eyes shift to his picture on the desk. CARRIE What happened out there, Mooney? MOONEY -LRB- V.O. -RRB- You come to Vostok and we'll talk. Only you. CARRIE Where's Rubin? MOONEY -LRB- V.O. -RRB- Come to Vostok. CLICK.","INT. CORRIDOR - RIGHT AFTER Carrie is moving at a quick pace. Passes the open door to the clinic. Sees Doc looking through some boxes, a glass of Scotch in hand. She stops. Backs up. CARRIE Getting drunk already? DOC Just gearing my liver up in case I have to stay the next six months. CARRIE Murphy's contacting the Feds. He looks over to her. Raises his glass in a somber toast. DOC You're making my day. CARRIE I'll do everything I can to get you off this ice, promise. DOC I know you will. -LRB- BEAT. -RRB- What's the hurry? CARRIE Going to Vostok. He raises a curious brow - CARRIE -LRB- cont'd. -RRB- One of the guys from Weiss' team called. Wants to talk. DOC What's he doing in Russia?","INT. OPERATIONS CENTER - DAY Carrie walks in. Rhonda has a phone to one ear, another in her hand. Looks stressed. She's hovering over one of the Techs who is sitting before a computer screen displaying Satellite Weather Imagery - think Doppler. His focus is on a VAST STORM SYSTEM that is heading toward ASB, which is marked in RED NEON. Other stations are marked as well. RHONDA We're tracking it now. CARRIE I need a plane to Vostok. Rhonda raises her finger - putting her on hold. Carrie does n't like it. RHONDA -LRB- into phone. -RRB- I do n't control the weather - you want to stay the winter, then do n't be ready for your evac. She looks to Carrie - RHONDA -LRB- cont'd. -RRB- Sorry, ca n't. All the planes are committed. CARRIE I'm not asking. RHONDA What am I supposed to tell the deep drill ice core team getting picked up in four and a half? CARRIE Tell them I took their plane. Carrie spins. Leaves.","EXT. VOSTOK - DAY - ESTABLISHING Squat Soviet - ugly buildings, some collapsing, others with boarded up windows, are barely visible through the driving ice. STORM LINES of different colors interconnect all the buildings. Carrie and Delfy, wearing full ECW gear, lean hard into the wind, making their way towards the compound. She's carrying a duffle bag. Can barely see the Twin Otter behind them. SUPER : Vostok Station -LRB- Russian Federation -RRB- Population : 46 Temperature : - 73 °","INT. VOSTOK - HALLWAY - DAY Carrie leads the way up a decrepit, dimly - lit hall strung with exposed pipes and wiring. Gaunt, malnourished faces look up from the rooms they pass. All stare. Silently. Looks more like death row. DELFY -LRB- WHISPER. -RRB- What's with this place? CARRIE The Russians barely supply Vostok anymore. They have to barter with other bases for supplies. Some of these guys have been rotting here for years.","INT. VOSTOK - OPERATIONS ROOM - DAY Carrie enters a grungy operations room that never made it out of the 70's : ancient computers and steel - cased radios fill one wall. One man welds equipment off to the side. Four more Russians sit at a table playing cards and drinking Vodka. They all take their time looking her over. CARRIE Who's in charge? YURI, a big bear of a man in his forties, gets up from the table. Huge arms. Scruffy face. Bloodshot eyes. YURI -LRB- heavy accent. -RRB- Who's asking? CARRIE Stetko, US Marshal. I'm here to talk to an American named Mooney. Yuri smiles. YURI So many people come through Vostok. Is hard to remember. CARRIE I figured. Carrie hoists her duffel bag on the table and unzips it. Yuri pulls it open. It's packed with steaks. The Russians react with smiles and the mood lightens. Yuri's grin widens further. Takes out a porno - there's a Cheerleader on the cover. YURI Mister Mooney, yes. I remember now. He offers pay us to fly him off Antarctica on our transport. We give him very good price - because plane leaves a week ago! The Russians laugh. CARRIE Where is he? YURI Red storm line.","INT. VOSTOK - COAT ROOM - DAY Carrie is suiting up in her ECW gear, rope harness and crampons. Her jacket's open. Delfy has a steaming cup of coffee in his hand. He looks to her gear belt ; cuffs, pepper spray, baton. DELFY You do n't carry a gun? CARRIE Against the law - Antarctica's the only place in the world you ca n't have one. Part of the Treaty. DELFY Does n't that make you feel kind of naked? CARRIE All this crap on - I prefer naked. She zips up her jacket. He glances to a temp readout by the door. DELFY Gettin' worse. Minus eighty - one. Wind at a hundred and ten knots. He takes a sip from his hot coffee. CARRIE Do you have to do that in front of me? He sees that one of her leg straps on her harness needs to be fastened. DELFY Give you a hand? CARRIE Sure. Sets down his coffee on a nearby shelf. As he fastens it, Carrie pulls on her goggles and a face mask. They finish at the same time. DELFY Ever been on a rope - line in a whiteout? CARRIE Nope. Thoughts? DELFY Yeah, hold on tight. Delfy leaves as Carrie cranks the submarine - type wheel - lock in the center of the door. WHAM! The door is suddenly yanked from her grasp, slamming open against the building. Wind knocks her back. The storm sings in an even DULL ROAR. A solid white wall of wind - driven ice blows past. The light is oddly dim. CRACK! The coffee mug Delfy left on the shelf, breaks in half, exposing a cylinder of frozen coffee. It rolls across the shelf, falls, and shatters on the floor. Carrie struggles back to the door and clips a three - foot tether from her harnesses to a RED STORM LINE attached to the side of the building. She steps into the storm.","EXT. WHITEOUT - THE LINE - CONTINUOUS Carrie leans into the door, pushing it closed and locking the wheel. Two steps into the storm, the building behind her is gone. Step after step, there's nothing but the guide line and the ROAR of the storm. A gust of wind lifts her off the ground. She's caught by her tether and smacked down on the ice. Slowly regaining her stance, she pushes onward. Finally Carrie runs into something. It takes her a moment to realize she's at a building. She grabs the wheel - lock and turns, breaking ice, opening the door.","INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS Unclipping from the line, she closes the door on the HOWLING behind her. Pulls off her mask. Teeth are chattering. She spins the wheel - lock of the door going out of the ready room into the building.","INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER Carrie hits the lights : nothing. No power. Just a sliver of light stabbing in through a window. CARRIE -LRB- calling out. -RRB- Mooney? Hello? Only silence responds. The hallway is long and dark, leading away from her in both directions. She draws a flashlight from her pocket. Thumbs the switch, sending a beam out through the dark. Something does n't feel right. Slides her baton out from her belt. She decides to go left. Walking the hall, she tries door after door. Finally one gives. CARRIE -LRB- cont'd. -RRB- Mooney? She cautiously pushes it open : four stripped bunks in an empty room. Moves on down the corridor - hears COUGHING, like someone trying to clear their throat. Looks ahead, and determines it's coming from behind a closed door at the end of the hall. It's confirmed when she hears it again. Stops at the door. She slowly opens it - Now she can hear HEAVY, LABORED BREATHING - - Sweeps the inside with her light. It's a large lounge type room : scattered chairs, tables, and an overturned sofa on the other side - where the heavy breathing's coming from. Another cough. She enters the room. INSIDE THE LOUNGE - CONTINUOUS Inching forward, she gets to the sofa. Looks over it to see A BODY - it's Mooney, lying in a pool of blood. Struggling to breathe through a puncture wound to his esophagus. CARRIE My God. She goes to him. As she kneels, he grabs her, GASPING for air, trying to tell her something. Carrie catches a REFLECTION OF MOMENT behind her in his eyes - someone's coming at her. - She instinctively rolls back over Mooney just as - WHAM! An ICE AXE swings down at her. Just misses her head by an inch, but the shaft nails her arm holding the baton that goes clattering across the floor. The killer, wearing ECW gear with hood and goggles, takes another swing. She lunges to the side. Axe misses her, but sinks into Mooney. Game over for him. Carrie slices the floor with her light, looking for the baton, but ca n't see it. The killer yanks his axe free of Mooney as Carrie bolts around the sofa, heading back out the door.","INT. OUTLYING BUILDING - HALLWAY - CONTINUOUS Carrie blows back into the hallway at a full tilt run, retracing her steps. Her light zigzags. The killer emerges a few beats later on a run. It's going to be close. Halfway down the hall, she hangs a hard right toward the Ready Room. Throws a glance over her shoulder - he's right behind. She targets the ready room door - the orb of her light getting smaller and smaller as she nears. Gets there. Does n't even want to look back - it's all or nothing. She pulls open the door -","INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS - Leaping in, she spins the wheel - lock closed. SMACK! The killer HITS THE DOOR from the other side. She SPINS OPEN the outside door wheel - lock, as the lock on the INNER DOOR behind her starts SPINNING OPEN at the same time. It's a race. CARRIE'S door slams open first and the wind hits her hard. She pulls on her mask and goggles just as the door behind her bursts open.","EXT. WHITEOUT - CONTINUOUS Carrie jumps into the whiteout, catching the red storm line and clipping in as she staggers forward. Glancing back, she sees the killer in the doorway, then loses sight of him as she's swallowed in the whiteout. She struggles down the line, buffeted by the storm, but HER HAND ON THE LINE moves erratically - He's on. She swivels a nervous whirl to see - the Killer materializing out of the whiteout right behind her. He's clipped into Carrie's line. He raises the axe. He swings. She jumps back, losing her footing. Hits the ice hard - face first. The killer towers over her, raising the axe again. Carrie drives her heel into his knee, knocking him off balance. He drops next to her. He reaches for Carrie, grabbing her mask, pulling it off. She cries out as the FREEZING WIND catches her face. The killer gets to his feet and delivers a rib - cracking kick, flipping Carrie onto her back. SOUND FADES from Carrie's world. There is nothing but her strained BREATHING. The killer draws back the axe, shiny with frozen blood. He swings. Carrie UNCLIPS her harness from the tether. THE WIND grabs her, and Carrie SLIDES AWAY - the killer disappearing from view behind the swirling wall of white. Sliding across the ice, Carrie SLAMS into a pole. Grabs on.","EXT. WHITEOUT - POLE - CONTINUOUS Cinching her hood down, she searches the storm with no idea which way to go. Carrie glances up the post. Barely visible through the blowing ice are signs pointing different directions : `` Moscow 17,030 Tokyo 13,329 Fiji 7,877 Los Angeles 15,641'' She pulls herself up and heads out, leaning into the wind. Carrie staggers blindly, trying to protect her face. Falling, she gets up, and struggles on. Her drunken gait increases as she continues to lose heat. A rope catches her in the neck. It's another storm line.","EXT. WHITEOUT - SECOND LINE - CONTINUOUS Carrie lurches forward, holding the line with one arm. Finally, she bumps into something. It moves. It turns to face her. IT'S THE KILLER AGAIN. He swings. She deflects the blow with her free arm, and manages to grab the axe head. The killer tears the axe free, taking Carrie's glove with it. He swings again, but Carrie pulls hard on the rope, throwing him off balance. The axe cuts through the line. The killer hits the ground, and is immediately ushered away in the wind, as Carrie, clinging to the rope, slides over the ice like a pendulum. The line goes tight ; she's jerked to a stop. It takes everything she's got to get to her feet. She slowly struggles up the line.","EXT/INT. STORAGE SHED - CONTINUOUS More dead than alive, Carrie stumbles against the door and grabs the wheel - lock with both hands. Unable to bend the frozen fingers of her left hand around the wheel, she struggles to turn it. Finally it gives. The door swings wide and she stumbles in. But she's caught ; her bare hand frozen to the metal. Ripping it free, her SCREAM is lost to the wind. Carrie falls, collapsing against the door. Blackout SMASH CUT TO","INT. MOTEL 6 - BATHROOM - NIGHT (CARRIE'S MEMORY HIT) A single bulb above casts a cone of light down onto Carrie, who's leaning against a sink, staring at herself in a mirror. She looks stressed. Her Marshal's badge dangles around her neck. Wears a shoulder harness. The bathroom door behind her is open. She catches a REFLECTION of a shadow moving across the room behind her. Body tenses. As she turns - CARRIE Jack? No answer. She withdraws a 9mm from her harness - eases toward the door. Gun ready, she rolls her back around the jam - WHAM! Carrie's blindsided by a fist that drives her into the other door jam. Before she can recover - a guy, dark eyes, unshaven, grabs her by the hair and runs her head first into the bathroom mirror. SMASH. It's brutal. Shards fall into the sink, as Carrie's RIGHT TEMPLE goes bloody. She drops to the floor - CARRIE'S POV - A BLURRY FIGURE stands over top of her. She's still got some fight in her - hands lash out in a frenzy, like a cat in water. CARRIE -LRB- cont'd. -RRB- Jack! DELFY O.C. Wo wo wo. It's okay, it's okay. The figure materializes around her. It's Delfy, holding her down. Carrie slowly settles, then she's out again.","INT. OPERATIONS ROOM - VOSTOK - LATER She's lying on a table, wrapped in blankets. An old, WRINKLED FACED RUSSIAN MAN slowly lowers her wounded hand - pale white and missing some skin, back into a tray of water next to her. Her silver ring glistens under the florescent lights. A HUGE BRUISE runs across her arm. CARRIE What happened? DELFY When you did n't come back - we went looking for you. Found a dead guy in the other building - that Mooney? CARRIE Yeah. Someone got to him before I did. Then went after me. -LRB- BEAT. -RRB- How long was I out? DELFY A couple hours. Carrie's eyes drift to the old man next to her. DELFY -LRB- cont'd. -RRB- He's been looking after you. He flashes a smile of crooked, yellow teeth. CARRIE Thanks. As she starts to sit up, he protests, saying something in Russian. She ignores him. He walks away, mumbling something else. She sits up. Lifts her hand out of the water - fingers are slow moving. CARRIE -LRB- cont'd. -RRB- I need to get back in there.","INT. OUTLYING BUILDING - HALLWAY - DAY Delfy and Carrie, with her hand bandaged, both slice the dark with flashlights. She's starting to get her bearings back. DELFY Whoever it was, could have flown out after the storm broke. They walk a few silent beats, then - DELFY -LRB- cont'd. -RRB- Who's Jack? It's a moment before she responds - CARRIE Let it go, Delfy. He lets it go. THEY ENTER THE LOUNGE Same as before. Carrie goes to the over - turned sofa. Moves her light around - searching. Passes over the blood on the floor. DELFY Until I met you, I had n't seen any dead people. Now I'm at two. Carrie gets on her knees - looks under the sofa. Low angles her light. Something reflects. Reaches in. Retrieves her baton -","INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER Just as Carrie and Delfy leave the lounge, her perifocal vision picks up a wisp of light from a flashlight, which bled out from a door's threshold halfway down the hall. Delfy's eyes go wide - Carrie's finger goes to her mouth - Shhhhh. She instinctively pulls her baton with her left hand, but it hurts. She shifts it to the other. She turns off her light. Delphy does the same. Motions for him to stay put. She heads to the source, keeping her baton ready and her back tight to the wall. Gets to the edge of the door. It's open just slightly - looks in. Sees a man in an ECW jacket with his back to her, holding a flashlight in one hand and digging through a duffle bag with his other. Items are strewn. Another bag has been completely turned inside out. She enters. Baton cocked. CARRIE Unless you want your head cracked, I would n't move. His body tenses. MAN Take it easy. CARRIE - Let me see your hands. He slowly raises them. CARRIE -LRB- cont'd. -RRB- Now turn around. He does. He's a guy in his 30's. Although he's clean shaven, there's a rugged edge about him. CARRIE -LRB- cont'd. -RRB- Who are you? Delfy comes up behind her. MAN Robert Pryce. I'm a United Nations observer for the Oceanic and Antarctic section. If you relax, I've got my ID. CARRIE Let's see it - slowly. As he reaches into his liner - PRYCE You must be Stetko - This throws her. PRYCE -LRB- cont'd. -RRB- I was heading to ASB to talk to you about Weiss when I was told you had come up here. He holds out his ID for her. As she reads - CARRIE How do you know about Weiss? PRYCE FBI notified us. Your base commander called it in. Carrie lowers her baton. He stands. PRYCE -LRB- cont'd. -RRB- I thought I might find answers in his gear, but there's nothing here but clothes. CARRIE This is part of a crime scene. PRYCE I realize that, but considering the time constraints we're up against, let's be honest, taping and bagging everything is n't going to be an option. CARRIE I'll be sure to let the U.N. know if I find out anything. She starts to walk away - he follows, he's not done at all. Delfy brings up the rear. PRYCE You heading out to Delta One One? CARRIE Maybe. PRYCE I'll grab my bag. She stops. CARRIE Do n't take this personally, but I do n't need your help. PRYCE If they've been digging out there, that's a direct violation of the United Nations treaty. We think they were digging. That makes it my business. This stops her - digging? CARRIE You do n't dig for meteorites. PRYCE And you do n't get killed for them either. This is now a U.N. matter. I am within my rights to commandeer your pilot and plane if I have to. DELFY He can, you know. She knows and her patience is running thin. CARRIE Fine. But this is my investigation, understand? If you obstruct it in any way, I will have you detained. She continues with Pryce next to her. PRYCE Fine. -LRB- BEAT. -RRB- Mind if I ask you a personal question? CARRIE No, but I have the feeling you're going to anyway. PRYCE Why do you smell like suntan lotion?","INT. VOSTOK - CORRIDOR - DAY Carrie and Delfy are heading toward the Ready Room. She has her phone to her ear. Two Russians trail behind with Mooney in a bodybag. CARRIE Murphy, listen to me, it's got to be Rubin who tried to kill me. You have to shut down flights leaving ASB and McMurdo - search for him. MURPHY -LRB- V.O. -RRB- That's not possible. We're still bringing people in and resupplying other bases for Winter - over. She thinks about it - CARRIE Sam, I think these guys found something out there at the camp. I'm going to check it out. Until I find Rubin, no one leaves the ice. Not yet. She clicks off. Carrie opens the door to the ready room to find Pryce standing there with a gear bag - typing into a PDA -LRB- Treo type -RRB-. PRYCE We ready? CARRIE Guess so. He finishes entering his text into the PDA. Sends. Puts it away.","EXT. OTTER - DAY Delphy flies the plane over a labyrinth of deep, blue crevices.","EXT. CAMP DELTA ONE ONE - DAY Delfy's Twin Otter has landed beside the camp. There are TWO BIG TENTS and some scattered equipment - a SNOWCAT, a CHEST of TOOLS, DRUMS of GASOLINE. The sky is dark with clouds and the wind MOANS. A haze of wind - driven snow whips by. Carrie, Pryce and Delfy climb out from the plane and make their way toward the tents. Place looks deserted. CARRIE What time is it? Pryce glances to a watch strapped to the outside of his jacket. PRYCE Two thirty. CARRIE A.M. or P.M? PRYCE A.M. CARRIE Wonderful. -LRB- re : tent. -RRB- I'll take this one. She moves toward tent one, Pryce the other.","EXT. FIRST TENT - DELTA ONE ONE - CONTINUOUS Carrie peers in. It's too dark to see anything. She goes to pull out her flashlight with her left hand - stops herself. Reaches in with her right, extracts it from her pocket. Turns it on.","INT. FIRST WORK TENT - DELTA ONE ONE - CONTINUOUS Her FLASHLIGHT BEAM plays over a litter of personal effects, then picks up a TRAIL OF BLOOD leading to a cot between two others. Someone is huddled in a yellow sleeping bag on it. Her body tightens. CARRIE Rubin? She steps into the tent. Moves to the cot. There's a pool of blood underneath. Her heart pounds. She uses her flashlight, touches the sleeping bag. It does n't move. She pulls at it. and discovers A PAIR OF ECW PANTS - the LEFT LEG is soaked in blood. No corpse. She steadies her breathing. She pulls out a small baggie from her pocket. Uses the end of the flashlight to chip away a frozen blood sample from the pant leg. Puts it in the baggie. Takes out her camera next. Starts snapping. Flash goes off.","INT. SECOND WORK TENT - DELTA ONE ONE - RIGHT AFTER Carrie enters with Delfy. Place is lit by a single dim bulb. This is a work space ; two tables, instruments on top. Sample containers piled everywhere. Numerous photos of meteorites are stuck to a board. She finds Pryce reading the crew's DAILY LOG. PRYCE Anything? CARRIE Someone's left leg took a hit, lost a lot of blood. What do you got? PRYCE Their daily work log. Delfy's drawn to a BIZARRE LOOKING PIECE OF EQUIPMENT ; it's a red box on wheels with a handle like a lawn mower. A circular antennae sprouts from the front of the box. DELFY Looks like my dad's old lawn mower. PRYCE It's ground penetrating radar. Carrie moves over to a table with a MAP SPREAD OUT ON TOP. The ice field is marked off into sections. CARRIE Looks like they were surveying sections at a time. PRYCE Areas labeled? CARRIE Yeah - He's flipping back and forth through the pages - PRYCE At Sections 101 and 102, they spent one day. Carrie finds them on the map. PRYCE -LRB- cont'd. -RRB- 103 two days. Carrie finds it. PRYCE -LRB- cont'd. -RRB- 104 - seven days. That was a month ago. They look at each other. Carrie finds it on the map as Pryce moves up next to her. CARRIE Looks like they hit some really big meteors. PRYCE How far? CARRIE About four miles. PRYCE Let's go see what they found. CARRIE I want to check something out first.","INT. TWIN OTTER - SIDE CARGO DOOR - DAY Carrie has Mooney's bodybag unzipped and is examining his left leg. No cuts. No blood. She thinks on this non - discovery for a moment, then zips it back up.","INT. SNOWCAT - DAY - RIGHT AFTER The CAT'S tracks CLANK and CRUNCH as it powers across the featureless ice - the loneliest place on earth. Pryce is in the backseat, Delfy is driving. Carrie is next to him with the map and her GPS in hand. She stares at a tiny blinking red light on the GPS -","EXT. HOTEL 6 - LOBBY - NIGHT (CARRIE'S MEMORY HIT) FLASHING POLICE REDS reflect off the glass of the front doors of a hotel. Several squad cars are nosed up to the entrance. Patrons and bystanders are perched in various locations, watching as A HANDCUFFED Carrie is escorted outside by two uniformed officers. Her eyes are full of tears. She's put into the backseat of one of the cars. As the door closes, she stares out the window where Coroners are loading a body under a sheet into the back of their truck. BACK TO SCENE","INT. SNOWCAT - DAY Delfy's looking at Carrie like he's waiting for an answer. DELFY I said `` which way?'' She glances to the GPS. CARRIE North. Pryce sees Carrie pause for a moment, massaging her gloved left hand. PRYCE Hurt? CARRIE Yeah, a little. He can see it aches more than she's letting on. PRYCE How long have you been down here, Marshal? CARRIE Almost two years. PRYCE What brought you to the ice? She pauses, humored. CARRIE -LRB- SARCASTIC. -RRB- The excitement, mostly. PRYCE Everyone down here is running away from something. CARRIE Some shrink tell you that? PRYCE Yeah, and that I should call my mother more often CARRIE And do you? PRYCE Every Sunday. CARRIE Where do you plant your boots? PRYCE They got me working out of Christchurch, New Zealand. Beautiful country. But this - crazy place to make a living. She takes a moment, gazing out the window to the endless landscape of white. CARRIE I came down to fill in for a Marshal for six weeks before Winter - over. I met someone, decided to stay. PRYCE He give you that ring I saw? Tell you he was going to marry you? CARRIE No - just gave me a headache. -LRB- BEAT. -RRB- I did n't see a ring on your finger. PRYCE Flattered that you even looked. A faint beeping noise emanates from her GPS. CARRIE This is it. All eyes go ahead as they drive on. Looking. Nothing but an icy plateau. After a couple of beats - CARRIE -LRB- cont'd. -RRB- Stop. DELFY There's nothing here. CARRIE Just stop. Delfy pulls to a stop. They exit the cat.","EXT. ICE FIELD - DAY All three get cold - cocked by an invisible wind. Carrie steps away from the Cat. Pryce does too. Her eyes scan the ice with cool appraisal. It's completely flat. Desert like. PRYCE You sure this is right? CARRIE Section 104. These are the coordinates. DELFY Maybe you wrote them down wrong. Carrie ignores him. Walks further away from the cat. Ice CRUNCHES UNDER HER FEET as she keeps looking - then, she stops. Something's not right. Looks DOWN. Kneels to the ice. Scoops some up. Checks it out. Perplexed. Pryce approaches from behind. CARRIE This is shaved ice. She gets to her feet. Walks further - her eyes now paying close attention to the texture of the ice. After a dozen steps, texture changes. Ice is now smooth - like it's supposed to be. She turns around. Tries to get the bigger picture. Looks at the ground all around her. Realizes a large area has been blanketed with shaved pieces of ice a few inches thick - CARRIE -LRB- cont'd. -RRB- They were digging, Pryce. And they tries to spread the ice to hide it. She heads back across the area. Scans the horizon. Takes another step forward. WHOOSH! In an instant, Carrie's gone! DISAPPEARS below the ice. Only a four foot wide hole remains, that was covered up with a white, iced - over tarp. Pryce and Delfy move toward her - each hesitating slightly, unsure of their own footing. Pryce gets to the hole. Looks down. Carrie is precariously dangling in an ICE SHAFT that slopes at a slight angle. She's managed to grasp a protruding piece of ice, but she's fighting the pain in her left hand to hold on. It slips off. Below her - nothing but darkness. CARRIE -LRB- cont'd. -RRB- Grab me! Pryce lays flat. Reaches his hand down - six inches too short. Delfy appears from behind. PRYCE -LRB- to Delfy. -RRB- Hold my legs! Delfy does. Pryce inches closer. CARRIE I'm slipping! PRYCE Almost got you. CARRIE I'm losing my grip. He gets closer. Closer. Moves to within an inch from hers - - She SLIPS. Falls away. Things become silent. PRYCE Carrie? Can you hear me? Delfy peers over Pryce's shoulder into the abyss. DELFY -LRB- YELLING. -RRB- Marshal? CARRIE -LRB- O.C. -RRB- I'm okay. DELFY Saw a rope in the Cat. Delfy springs to his feet.","INT. ICE SHAFT - SAME Darkness. A flashlight clicks on. Reflects off a wall of ice with a frozen blood trail leading up. Carrie gets to her feet. Sees that she's in a small dug out area. As she slowly turns to get her bearings, her light falls on an ESCAPE HATCH of some kind, maybe three feet high. Carrie shines the light to her feet. The ground beneath her is metal.","INT. ICE SHAFT - RIGHT AFTER Pryce, with a flashlight in hand, lowers himself down a rope to the bottom of the shaft where Carrie waits. Delfy follows. Both take in the discovery. Carrie moves over to the hatch. Pulls on it. Opens easily. She and Pryce hit the interior with their lights. Find themselves staring into. AN AIRPLANE!","INT. CARGO BAY - CONTINUOUS Off their lights - every surface scintillates with ice crystals from the frozen atmosphere, undisturbed except for recent tracks of footprints filing in and out - they go forward and aft, disappearing into darkness. Place is tomb silent. Twisted, and strewn with large containers scattered at odd angles - victims of an intense IMPACT. The plane is pitched up at the nose, making their footing precarious. CARRIE Cargo plane, but I do n't recognize it. DELFY It's an Antanov - 74. Russian made - late fifties. No one's put these in the air for forty years. Carrie shuffles her way forward into the darkness, heading for the cockpit. Something BRUSHES her leg. She spins. Shines her light - which illuminates a HAND, fingers in a clawed position - as if in excruciating pain. She whips her light past the hand, up the arm - captures the FACE of a man staring at her! It takes a moment to realize - he's dead, pinned between two large metal crates. Delfy stands still. Staring. Carrie throws a look back over her shoulder - CARRIE Guess that makes three. She continues on with Delfy staying close. Her light targets the cockpit door. It's closed.","INT. COCKPIT - RIGHT AFTER Carrie pushes the door open. The beam of her light reveals frozen blood SPLATTERED across a SHATTERED WINDSHIELD - chunks of ice protruding through it. Continues over three dead men in flight suits still strapped into seats, their broken bodies and ghastly expressions perfectly preserved. Each have a sidearm holstered around their waist. DELFY This is n't funny - She looks back to Delfy - gets confused. CARRIE Where's Pryce?","INT. CARGO BAY - RIGHT AFTER Trailing her beam of light, Carrie and Delfy climb through a thick wall of nylon webbing. Enter a cluttered cargo area. Ransacked Antarctic gear is strewn everywhere in a tangle of ropes and crampons, old ECW gear, and boxes of supplies. Dipping into a case of bottles, Delfy pulls one free, sniffs, and drinks. CARRIE What is that? Delfy grins. DELFY Vodka. Carrie continues through the hold. Her FLASHLIGHT BEAM flickers over more chaos of the crash. HUGE STEEL TANKS TAKE UP MOST OF THE MID - SECTION. Spots Pryce's flashlight holding on something just ahead. Moves to it. CARRIE -LRB- SUSPICIOUS. -RRB- Find what you're looking for? Her light hits Pryce, who is focused on a HEAVY STEEL CAGE WELDED INTO THE AIRFRAME. Incredibly strong. And inside it is a STEEL SAFE. Door is open. Pryce takes a beat - turns to she and Delfy. PRYCE Just answers. -LRB- BEAT. -RRB- Those are fuel tanks behind you. This plane was outfitted for long range capabilities. CARRIE And by the looks of that safe, must've been transporting something pretty important. Carrie moves in closer. Sees that the cage has been breached. Part of it has been damaged by the crash and this weakness has been ruthlessly attacked by the previous intruders until they forced an opening. Discarded tools litter the floor. PRYCE They put some serious work into this. There's a pool of frozen blood near the opening - where one of the torn, jagged bars of the steel cage is covered in blood - CARRIE Whoever got hurt, they dragged him out of here. There's blood all over the tunnel. She uses her light to examine the interior of the safe more closely - the frost on the shelves exposes SIX ROUND RUST RINGS where containers have been removed. Each one roughly measuring a foot tall, four inches wide. The PLANE SUDDENLY TREMBLES. CARRIE -LRB- cont'd. -RRB- What is that? The muffled ROAR of a diesel. DELFY It's the Cat! CRASH! - the unmistakable sound of FALLING ICE. CARRIE Go! CRASHCRASHCRASH! More ICE. They scramble back through the darkness, the flashlight beams swinging wildly about the hold. MORE ICE FALLS. It's getting louder as they're getting closer to the source. Carrie targets ahead with her light - illuminates the hatch as A LOAD OF ICE DROPS IN covering it completely. Light fades. DELFY Sonofabitch! The continual sound of falling ice grows MUFFLED and DISTANT. Carrie and Pryce both pull out their phones. CARRIE No signal, you? Shakes his head no. CARRIE -LRB- cont'd. -RRB- Someone followed us.","INT. PLANE - AT THE HATCH - LATER CHIPCHIPCHIP! Ice is flying. Things are desperate as a single flashlight beam propped up on a crate, illuminates Carrie, Delfy and Pryce hard at it - frantically chopping away at the ice filled hatch with pieces of scrap metal from the plane. Efforts are big - but the progress minimal. PRYCE This is n't going to work, it's like digging through concrete with a spoon. -LRB- BEAT. -RRB- We're going to suffocate before we get out here. CARRIE How long do you figure we've got? PRYCE Three of us down here - 12, 15 hours at the most. Delfy looks at him with the intensity of a trapped animal. DELFY No way. I'm not going out like this. No way. The light from the flashlight slowly begins to fade. Carrie goes over to the crate, slaps it against her leg, trying to get more juice going. Still fading. Light goes out - - Screen goes black. Ca n't see a thing. A second later, ANOTHER LIGHT KICKS ON - Pryce is holding it. Hands it over to Carrie - DELFY -LRB- cont'd. -RRB- And when that one goes - we're screwed. Carries mind whirls with her lack of options, then - CARRIE What about the Vodka - we could make some torches, maybe melt the ice? PRYCE Fire will burn the O2 quicker. CARRIE What choice do we have? Pryce knows she's right. Delfy looks to them both. Desperate. DELFY Do n't need my vote. Pryce heads to the back, his body becoming barely visible in the dissipating range of light. Carrie takes a six - inch, pearl handled Buck knife from a pocket, unfolds it - starts cutting the liner of her coat. Delfy moves to a nearby wooden crate. Goes to lift it, but it's frozen to the floor. Stomps on it. It breaks. Pulls pieces from the siding for torch sticks. Pryce comes back with a couple bottles. Stops dead in his tracks. Carrie looks over to see him staring at two LIFE JACKETS attached to the wall near the hatch. He's thinking. He moves to Carrie - PRYCE Hold these. He exchanges the bottles for her flashlight. He shines the light to the ceiling as he heads toward the back, leaving Carrie and Delfy getting swallowed in the dark. CARRIE What're you doing? PRYCE All these planes used to have bail - out hatches. CARRIE We came in through it. Pryce goes back into the cargo area. PRYCE -LRB- O.C. -RRB- Has to be more than one. DELFY It'd be on the ceiling in case of an ocean landing. Carrie watches Pryce's flashlight moving about in the cargo area of the aircraft. PRYCE Found it! Carrie and Delfy get to Pryce. They follow his beam straight up to expose an ESCAPE HATCH in the roof of the fuselage. PRYCE -LRB- cont'd. -RRB- With the angle of the plane, I do n't think we're that far from the surface. Give me a hand. Pryce moves to a large crate - starts to push it over. They join, sliding it over below the hatch. He jumps up onto it - examines the hatch area. PRYCE -LRB- cont'd. -RRB- These are explosive bolts. If we blow the hatch, maybe it'll smash a hole up through the ice. CARRIE Or, if the ice is too thick the blast will come right back at us. PRYCE We can be blown up, suffocate or freeze to death. Take your pick. Pryce hands Carrie the flashlight. She targets the hatch area as he opens an electrical panel beside it ; a crisscrossing maze of wires. As he reaches up to examine the wiring, Carrie catches a GLIMPSE of a SHOULDER HARNESS under his liner. PRYCE -LRB- cont'd. -RRB- This could work - give me the battery from your phone. As he looks down, Carrie masks her discovery. Hands over her phone. He extracts the BATTERY. PRYCE -LRB- cont'd. -RRB- When I connect these two wires, hopefully there's going to be a big bang. May want to take some cover. Pryce is nervous himself as he places one selected wire onto the battery, and prepares for another. He looks to Carrie and Pryce who have backed up against the fuselage. PRYCE -LRB- cont'd. -RRB- You guys ready? Delfy nods. Carrie is still running that shoulder holster through her head. Pryce touches the last wire to the battery. Nothing happens. Hope freezes. Pryce tries again - - KA - BOOM! The hatch EXPLODES INWARD, ricocheting around the inside of the cargo hold like a giant bullet coming in and out of their light. SLAM, SLAM, SLAM, until. WHAM, it buries itself edge - on, halfway into the fuselage, missing Carrie by a hair's width. They stand there, deafened and stunned, then a shower of ice rains into the plane where the hatch used to be and a THIN SHAFT OF LIGHT DROPS into the cargo bay like a gift from God. DELFY Hallelujah - Pryce drops down. Moves to another crate. PRYCE Delfy, help me with this. We'll need to get up higher. Delfy moves forward to help. The two of them push it over. It's a strenuous lift to get it on top of the other. Just as they finish, Pryce turns to find himself facing Carrie holding one of the RUSSIAN'S GUNS TO HIS FACE. CARRIE Do n't move. Pryce stares at her in disbelief. PRYCE What's going on? DELFY Yeah - what're you doing? CARRIE Our friend here is n't who he says he is. She reaches into Pryce's liner, pulls out his sidearm from the shoulder holster. Switches it with the one in her hand. Puts the Russian gun in her coat pocket. CARRIE -LRB- cont'd. -RRB- Did n't you know it's a direct treaty violation to carry a firearm down here? PRYCE I've been authorized because of what's happened. CARRIE Stop lying to me - She takes out her handcuffs. CARRIE -LRB- cont'd. -RRB- Delfy, cuff him to the wall. She holds out the cuffs. PRYCE Do n't do this. DELFY Man, the guy just saved our lives. CARRIE He was saving his own. Do it. Delfy takes the cuffs from her. Cuffs Pryce to some exposed piping. Carrie lowers her gun. CARRIE -LRB- cont'd. -RRB- You know what was in that safe. -LRB- BEAT. -RRB- Now, who are you? She sees a moment of contemplation on Pryce's face - CARRIE -LRB- cont'd. -RRB- I swear I'll leave you here to die. Beat. PRYCE CIA. CARRIE Have you got an ID for that too? PRYCE Listen to me - Forty eight hours ago, we picked up chatter between someone down here and Tahir Soufian, a black market trader in New York. It was all about setting up a buy for cannisters found in an old Russian transport buried in the ice. DELFY Damn, I knew that government eavesdropping was true. PRYCE There's been rumors for years that the Russians had a second base - a secret weapons research facility under the ice that supposedly blew up in the late sixties - nothing was ever confirmed. The fact is, before the treaty in ` 72 they were strip mining all over the place down here - we believe for uranium and other specialized minerals for weapon's use. It was the Cold War. No one knows half the things the Russian's were up to. This plane could be the link between rumor and truth. And if it is true, what's in those cannisters could be a prelude to another terrorist attack. CARRIE Why did you lie to me? PRYCE Look, the U.N. carries a lot of weight down here. Think about it - if I had told you I was C.I.A., you would have been on the horn back to Washington in no time. This is a very sensitive matter. News travels fast down here, I do n't have to tell you that. -LRB- BEAT. -RRB- Besides, I did n't know if I could trust you. Carrie wrestles with her emotions. She looks back towards the open safe, the blood staining the airplane floor. Makes a decision.","EXT. SURFACE - DAY Delfy wriggles out from the hole. He reaches back. Helps Carrie to the surface. Pryce follows. They look around. The weather has deteriorated - the sky is dark with fast moving clouds. The wind is HOWLING. The Snowcat is parked over the hole, blade lowered. Delfy runs over, jumps onto the CAT. Looks inside the cab. DELFY Keys are still in it! Carrie notices a single set of an airplane's ski tracks in the distance. CARRIE Plane could've gone anywhere. There's forty - six countries here all counting down to Winter - over. Rubin could just disappear in the mayhem. Delfy starts up the Cat. Carrie pulls out her Nextel as Pryce takes out his PDA. She depresses the walkie button - makes her way to the Cat. CARRIE -LRB- cont'd. -RRB- Rhonda? Walkie crackles. RHONDA -LRB- V.O. -RRB- -LRB- PISSED. -RRB- Where the hell are you? CARRIE Heading back. How many fly - ins to McMurdo in the last four hours? RHONDA -LRB- V.O. -RRB- You expect me to - CARRIE -LRB- SNAPS. -RRB- - How many? RHONDA -LRB- V.O. -RRB- Fifteen. CARRIE I need a list of names. Carrie clicks off. DELFY You think Rubin might try to leave out of McMurdo? CARRIE He knows I'm on his ass, so he might. Anything's possible. I want to eliminate his options. She massages her gloved hand. Looks to Pryce who's talking on his PDA as he heads toward the Cat. PRYCE -LRB- INTO PHONE. -RRB- Six cannisters, maybe four inches in diameter, about a foot high - find out exactly what the Russians transported in something that size. He looks to Carrie - PRYCE -LRB- cont'd. -RRB- You have a photo of Rubin anywhere? CARRIE Back at ASB - PRYCE -LRB- to Delfy. -RRB- How long to get there? DELFY When we get back to the plane, I'll get ya there in forty minutes. As Pryce climbs into the cat -","INT. SNOWCAT - CONTINUOUS And slides into the back - PRYCE -LRB- into phone. -RRB- I'll scan a picture of him and get it to you. Meanwhile, contact every non - American base down here and put them on watch. He's got some plan to get these off the ice. He hangs up. Carrie climbs in - looks back at the plane's ski tracks. CARRIE I know why Weiss was so far from Delta One One. Pryce and Delfy wait for the answer. CARRIE -LRB- cont'd. -RRB- He was dumped from a plane. She closes the door to the Cat.","INT. CORRIDOR - ASB - DAY Carrie strides along the corridor with Pryce. They pass a window where we see that an LC - 13O EVAC PLANE is parked out front - it's tail section open like the mouth of a massive beast. Move past several people, balloons and ` Eve of Evac' signs. Pryce sees Carrie really cradling her left hand, now. PRYCE You need to get that looked at. CARRIE I'll have the Doc take a peek when we're done. Dinkle's pulling a DUFFLE BAG toward them. Sees Carrie and Pryce about to head up some stairs. DINKLE Murphy's looking for you. Carrie stops. CARRIE Murphy? What the hell is he doing HERE DINKLE Came in on the evac. She pulls Dinkle's two - way off his hip. Hands it to Pryce. DINKLE -LRB- cont'd. -RRB- Hey - I do n't turn that in, I have to pay for it. Carrie ignores him. CARRIE I'm on 30 if you need me. Rubin's picture is in a file on my desk. Dinkle shoots Pryce the stink eye as he walks away - DINKLE Make sure I get that back. PRYCE Of course. Pryce heads up as Carrie continues on down the main corridor.","INT. OPERATION CENTER - ASB - DAY Murphy and Rhonda are standing next to the COMMS TECH, who is sitting in front of his COMPUTER. The screen revealing the SATELLITE IMAGERY of the storm It's grown and moving closer to ASB. TECH It's packing winds of a hundred thirty knots. Murphy looks stressed. MURPHY Shit - we've got to move up the evac. RHONDA How much? MURPHY Six hours at least. RHONDA Jesus, I got crew that's still not in. MURPHY Then get them in! Rhonda is thrown off by his tone - CARRIE -LRB- O.C. -RRB- You wanted to see me? Murphy looks over. Sees Carrie coming in through the door. MURPHY Where the hell have you been? She does n't like his tone - CARRIE Buried under 2 tons of ice. You? MURPHY Do me a favor, you find any more bodies, mind not parading them down the main corridor. I've got Newbies afraid to winterover, for Chirstsake. They want out on seats I do n't have. And next time you want to take a Goddamn plane anywhere, you ask me. CARRIE Sure thing, Chief. MURPHY We do n't have enough supplies for all of us to Winter - over if we get stuck down here. -LRB- BEAT. -RRB- And you wonder why it did n't work out between us. CARRIE It did n't work, Sam, because you could n't keep your hands off every new woman who stepped foot on the ice down here. I was stupid enough to be one of them. Now if you could cut through your red tape for just one second, you would realize that someone's out there with six cannisters, possibly full of Uranium, and he wants to get it into the hands of some very bad people. And I'm trying to stop it - so fuck asking you for shit, Sam. MURPHY This is ridic - THE SOUND OF A LARGE BOOK dropping onto the floor, sends a harsh reverb across the room. DOC -LRB- O.C. -RRB- Enough! Everyone's attention goes to Doc standing at the door. He's really pissed. Glares at Murphy. DOC -LRB- cont'd. -RRB- What the hell's wrong with you, Murph? I've got bodies piling up in my lab, and she's the only one doing anything about it. -LRB- BEAT. -RRB- Why do n't you try helping her for a change? Murphy looks at Doc. Not giving in. Carrie calms down - she's had enough. CARRIE You know what Doc, it's alright. Carrie looks to Rhonda - CARRIE -LRB- cont'd. -RRB- You got my list? Rhonda pulls it from her clipboard. Hands it to her. Carrie walks out with Doc.","INT. MAIN CORRIDOR - ASB - CONTINUOUS A SUBJECTIVE POV - watching Carrie and Doc from behind the crack of a door as they walk down the main corridor and right by.","INT. MEDICAL CLINIC - ASB - LATER Carrie's sitting on the edge of an examination table as Doc slowly unwraps her bandaged hand. She winces from the pain. DOC I'm worried about you. Is it going to take another attempt on your life to get you to finally slow down? She looks at him warmly - CARRIE You worry too much - but it's what I like about you. Doc smiles, continues to unravel the gauze - CARRIE -LRB- cont'd. -RRB- Doc, did you notice if Weiss had a wound on his left leg? DOC I striped him down to put him in a bodybag. There's only the puncture from the axe. No way, I would have noticed it. Why? CARRIE Then it's got ta be Rubin. -LRB- BEAT. -RRB- I do n't know. DOC Any word from the FBI? CARRIE There's no way they're gon na make it. Not with that storm coming in over the peninsula. The gauze finally comes off, revealing her middle TWO FINGERS have turned COMPLETELY BLACK along with part of the flesh of her palm. Her ring looks strangely out of place. CARRIE -LRB- cont'd. -RRB- Oh God. Doc reaches over to a nearby drawer - takes out a sterilized syringe packet. DOC Jesus, Carrie, how long did you let this go? He opens up the packet. CARRIE When did I go to Vostok? Doc puts the tip of the needle onto her blackened flesh. DOC Feel that? He pushes hard - penetrates the skin. We see the worry begin to elevate further on Carrie's face. CARRIE No. Doc tries the needle in another location. DOC Now? Slowly shakes her head. He holds her gaze evenly. DOC -LRB- cont'd. -RRB- I have to amputate your middle two fingers. CARRIE -LRB- STUNNED. -RRB- No way. Do n't tell me that. DOC The fingers are dead, Carrie. If I do n't do it now, gangrene will set in. You'll lose your hand. Carrie is sickened. DOC -LRB- cont'd. -RRB- I'm sorry.","INT. MEDICAL CLINIC - LATER Carrie sits in sullen silence, the room dark around her. The only light bounces in from a sterile, draped area where Doc works on her hand. She ca n't watch as his CURVED SUTURE and thread, rises and falls with every stitch he makes. Carrie has her attention on BLOODY GAUZE piled up in a tray - SMASH CUT TO CARRIE'S MEMORY HIT : AN IMAGE SHE SAW EARLIER : The well defined chest of a man wearing a T - shirt. A BULLET HOLE oozes dead center. This time we stay there a little longer, watching the T - shirt absorb the blood around the wound. As the stain widens, so does the camera. slowly. bringing into picture THE MAN Carrie shot. He's wearing a MARSHAL'S BADGE around his neck. DOC -LRB- O.C. -RRB- There, finished. BACK TO SCENE Carrie looks at him, sullen, afraid to look down. Then slowly lets her eyes drift to her hand. DOC -LRB- cont'd. -RRB- It's going to be an adjustment. He rises. Goes to a medicine cabinet. Selects a pill bottle. Shakes it. Only a couple inside. He returns with the pill bottle. DOC -LRB- cont'd. -RRB- Should ease the pain. I'll look around, dig some more up for you. She stares at the vacant spot where her fingers used to be.","INT. CARRIE'S BEDROOM - ASB - DAY Carrie's bag is open on the bed with the Russian's gun next to it. She's trying to put on a clean flannel over a T - shirt, but ca n't button it up with only one hand. Her frustration mounts as she fights back every bit of emotion that's trying to get out. She finally gives up - kicks over a nearby chair that sweeps the stuff off her bed. Bag and gun go flying. Carrie slumps to the floor. Silent tears. After a beat - she notices Pryce standing in the doorway with some PAPERS in his hand. He's looking at her compassionately. PRYCE I stopped by the clinic. Doc told me. Carrie nods, pulling herself together, swallowing her emotion. CARRIE Pretty tough Marshal, huh? He enters. Holds out her ring for her. CARRIE -LRB- cont'd. -RRB- -LRB- holds up hand with missing ring FINGER. -RRB- If you came to propose, now's not really a good time. He joins her. Hands over her ring. Takes a seat next to her. CARRIE -LRB- cont'd. -RRB- Anything? PRYCE Got Rubin's face all over Antarctica, but nobody's seen him yet. They sit in silence together for a moment. Carrie sees the Russian pistol that's ended up on the floor close by. Picks it up. Examines it like a relic. CARRIE You ever kill anyone? PRYCE Unfortunately. CARRIE Anyone you ever trusted? PRYCE No. Beat. CARRIE I had n't held a gun in my hand for over two years. -LRB- LAUGHING. -RRB- Was n't supposed to need one down here. She looks at him - CARRIE -LRB- cont'd. -RRB- You asked what I was running away from. I came down here to forget my partner, Jack. Thought it would be better than any therapy. PRYCE What happened? CARRIE We were on a stakeout at a Holiday Inn in Miami, waiting for this buy to go down. I was excited, we'd been after this trafficker for a long time. Thought this bust would be my big chance to impress the brass. Anyway, guy's a no show. One hour went by, then two - nothing. Then Jack starting acting strange. Next thing I knew my face was being rammed into a mirror. My own partner was trying to kill me. Turns out the whole bust was a set up from the start. Jack was dirty, working with the guy we were after. Beat. CARRIE -LRB- cont'd. -RRB- Four years together. I knew things about him that his wife did n't even know. -LRB- BEAT. -RRB- But he was my partner and I killed him that night. There's no changing that. Pryce takes it all in. Not the story he expected. CARRIE -LRB- cont'd. -RRB- Marshall service cleared me - ruled it self - defense, but I had a real hard time getting over the betrayal - how little my life meant to a guy I was willing to take a bullet for. Carrie shifts in her chair. Leans forward. CARRIE -LRB- cont'd. -RRB- Know what the kicker is - Jack thought I was close to figuring him out. Thought this hotel room was the best place to get rid of me - make it look like a bust gone bad. Truth is, I had no idea. -LRB- ANGRY. -RRB- God, I was young and stupid, and in way over my head. She stands. Pryce joins her. CARRIE -LRB- cont'd. -RRB- You asked me why I smell like suntan lotion - Jack wore Aramis, this cheap after - shave his wife gave him. Some of the guys down here wear it - suntan lotion is the only thing that keeps me from smelling it. She notices the papers he's holding ; faxed photos of THREE DIFFERENT TYPES OF CANNISTERS WITH RUSSIAN WRITING ON THEM. CARRIE -LRB- cont'd. -RRB- What do ya got there? He shows them to her. One - by - one. PRYCE It's what the Russians used to transport weapons grade materials in. They match the dimensions inside the safe. We're looking for six of these. As Carrie studies them - PRYCE -LRB- cont'd. -RRB- Langley's thinking it might be Hexafluoride, which is a derivative of Uranium. It's a component for nuclear detonation. CARRIE These beakers where really in over their heads. The RADIO on Pryce's hip - crackles. RHONDA -LRB- V.O. -RRB- Dinkle, it's Rhonda - Pryce smirks. PRYCE I better get this back to him. And we have to find Rubin. CARRIE Think you can you help me with these buttons, first? PRYCE Sure. He moves closer. Starts to button her up. PRYCE -LRB- cont'd. -RRB- For what it's worth - I think you're pretty tough, Marshall.","INT. MARSHAL'S OFFICE - ASB - RIGHT AFTER Carrie enters. Light streaming in through the window hits her tired face. She reaches for the light switch on the nearby wall - - A HAND GRABS HERS - - AGGRESSIVELY YANKS her away from the open door. It's kicked closed as she's drawn backwards into a man's embrace. A knife's brought to her neck. MAN -LRB- raspy, deep. -RRB-. You Stetko? Carrie nods - slides her hand toward her pocket. MAN -LRB- cont'd. -RRB- Do n't. She stops. CARRIE Who are you? He slowly turns her around to face him. - it's Rubin, but he looks beat to shit. Deep cracks slice across his bloody, chapped lips. Peeling skin flakes on his face. Desperate, despondent eyes. Shaky, frostbitten fingers. He's having a hard time holding it together as he can barely get the words out. RUBIN - Did Mooney talk to you? I did n't hear from him - he was supposed to call me after you talked. Carrie's confused. CARRIE Mooney's dead. His eyes well. RUBIN No. CARRIE And so's Weiss. He nods - he knew. RUBIN And I'm next, I know it. CARRIE It's okay, you're safe, just put the knife down. His shaking hands slowly lowers it - she breathes a little easier. He sets it down on an empty book shelf next to him. CARRIE -LRB- cont'd. -RRB- Who's after you? Where are the cannisters? He stares off blankly - RUBIN Weiss did n't want to go through with it. Oh God. How did we let this happen? CARRIE Rubin - I need you to focus for me. He tries. Looks at her through tired, pinched eyes - he's trying. O.C. KNOCK. KNOCK on her door. Rubin is spooked. Glares at her - scared. Like a caged animal. DOC -LRB- O.C. -RRB- Carrie, it's Doc - got those painkillers. CARRIE It's okay, he's a doctor, he can help you. It falls on deaf ears - he goes for the knife. She tries to stop him. Rubin shoves her aside, throwing her against a chair. She topples backwards. He whips open the door, driving an unexpected shoulder into Doc, who gets nailed so hard, he goes stumbling back up against the wall behind him. Takes the wind right out of him. Pills all over the floor. Rubin dashes off down the hallway - it's an effort. Carrie appears at the door. Catches a glimpse of Rubin disappearing down a set of side stairs. CARRIE -LRB- cont'd. -RRB- You alright? Doc nods. She takes off after him, pulling her phone off her hip. AT THE STAIRS She takes two at a time - keys the two - way. CARRIE -LRB- cont'd. -RRB- Pryce - PRYCE -LRB- V.O. -RRB- Yeah? CARRIE Rubin's here! He's on the run. Level one. White T - shirt. Jeans. BOTTOM OF STAIRS - LEVEL ONE As Carrie comes off the stairs - looks left - there's three guys carrying boxes out of a room. Snaps a look to the right - - Rubin's at the far end, slipping through a doorway that leads into an INTERCONNECTING TUNNEL to another part of ASB. CARRIE -LRB- cont'd. -RRB- -LRB- into walkie. -RRB- He's heading for the Science Lab. Carrie kicks it into high -","EXT. ASB - OUTSIDE CONNECTING TUNNEL - SAME A SUBJECTIVE POV - catches interval glimpses of Rubin through the small windows that run along the side of the tunnel as he dashes through.","INT. CONNECTING TUNNEL - SAME Rubin is moving through to a door at the far end as Carrie enters. It's lined with several free standing, empty bookcases. CARRIE Rubin, wait!","INT. SCIENCE BUILDING - RIGHT AFTER Carrie enters through the connecting tunnel's doorway. Not a lot of light. Slows her pace. It's quiet. Dormant. Vacant lab stations. Room's been shut down for the winter. Eyes scan. Fall upon - - A DOOR ACROSS THE ROOM. A sign above reads : READY ROOM. She takes off again, slaloming her way around the lab stations to get to the door. OTHER SIDE OF ROOM Carrie gets to the door. Pulls on the handle. Wo n't open. Rattles. Looks in through a viewing window - sees - - a panicked Rubin inside, grabbing ECW gear off a rack mounted to the wall. A DIGITAL READOUT ABOVE THE EXIT DOOR READS : - 60. He and Carrie exchange glances. CARRIE Rubin - I can help you! He shakes his head. She tugs harder on the doors. Stuck. Looks through the window to see he's tied them together with some climbing rope. In that same instant a shaft of brilliant daylight floods half the room as the outside door is whipped open. A MAN in full ECW - stands in the doorway. He's wearing a FACE MASK and GOGGLES. Holds an ICE AXE poised, ready to strike - it's the same guy who attacked her. Rubin bolts back toward the door separating he and Carrie, but - - SWOOOSH! THE ICE AXE is buried into his shoulder, gaffing him like a fish. The pain's excruciating for Rubin, who spins on his attacker like a wild man. BULLDOZES into him, driving him back out the door. Both TUMBLE down a steep set of stairs - the exposed end of the ice axe gets stuck in a step's steel meshing on the way down - rips out of Rubin's shoulder.","EXT. READY ROOM - BASE OF STAIRS - CONTINUOUS Rubin eats the pain as he gets to his feet. Takes off. Runs blindly with panting intensity verging on hysteria. Disappears around the contour of ASB before the other guy can get to his feet. His assailant rises. Goes back up a couple steps to retrieve his embedded ice axe, but finds it wedged so tight, it wo n't budge. Abandons it.","INT. SCIENCE BUILDING - SAME Carrie shoulders the door, but still does n't budge. Hears FOOTSTEPS BEHIND HER. Turns to see it's Pryce. CARRIE Door's jammed - Pryce latches on to a heavy SUPPLY CART filled with beakers, micro - scopes and other gear, that's tucked against one of the lab stations. CARRIE -LRB- cont'd. -RRB- Pryce, it's not Rubin - Off his confused look - CARRIE -LRB- cont'd. -RRB- Someone's trying to kill him. Pryce picks up speed as he targets the door. Hits it like a freight train, busting it open! Cart goes crashing. Contents scatter like buckshot.","INT. READY ROOM - CONTINUOUS The two of them are hit with icy cold coming in through the open exit door. Carrie throws a look outside - bottom of stairs are vacant. Ice axe is still there. CARRIE Shit, Rubin does n't have any gear on. Carrie immediately closes the outside door. Pryce goes for the ECW wear. Scrambles to get a coat on. Carrie joins. Same thing. PRYCE How long's he been out there? CARRIE Thirty seconds.","EXT. ASB - RIGHT AFTER Rubin staggers as he follows a line of storage bins tucked against the base of the main building. The blood from his wound already frozen on his shirt. The cold - it's killing him. Body's shaking. The sun's reflection off the ice is blinding. RUBIN'S POV - His vision begins to cloud as the corneas are literally being burned by the intense light. He tries to shield them - has little effect. He looks over his shoulder - gets a BLURRED IMAGE of his attacker not far behind. Rubin trips. Hands go to the icy ground to protect his fall. Still hits hard. Starts to get up, but his palms are frozen to the surface. Does n't have time to care - pulls hard, tearing the skin right off. Stands. Spins around in a panicked whirl - he's lost ground. Continues to the end of the storage bins. Moves under ASB, using the enormous HYDRAULIC LIFT COLUMNS to conceal his movement.","EXT. UNDERNEATH ASB - CONTINUOUS Up ahead - forty yards away - hope. He continues toward some storage containers and the SNOW MELTER on the other side, where TWO PEOPLE, CLAD IN ECW are finishing filling an insulated container with water from an insulated hose mounted to the Melter. A snowmobile is parked next to them. He tries to scream, but only a dull, raspy, muffled voice escapes. RUBIN Help me. The guys - oblivious.","EXT. READY ROOM - STAIRS - DAY Carrie and Pryce, now bundled up in ECW, exit the room and head down the stairs. Split up - go opposite directions around the complex.","EXT. UNDERNEATH ASB - SAME Rubin's pace is slowing - he's exerting himself to get to the people as they climb into snowmobile with the container. Frostbite is chewing up his lungs. He's too slow, they take off. He coughs up blood. RUBIN W. wa. wait. He turns around to check on his pursuer. Twenty feet away and closing. Rubin's eyes desperately search for some kind of weapon - anything. Sees the insulated hose on the SNOW MELTER. Heads for it.","EXT. ASB - OTHER SIDE - SAME Carrie passes a gap between storage containers where several snow shovels are stuck into a mound of snow - through their vertical slats, SHE CATCHES A GLIMPSE OF RUBIN at the Snow Melter across on the other side of the main building. Sees the ECW guy closing in.","EXT. ASB - UNDERNEATH - SAME Pryce is moving under ASB. Passes a hydraulic support leg. Spots Carrie on the other side moving toward Rubin. Also sees the ECW guy in pursuit. Heads toward them.","EXT. ASB - SNOW MELTER - SAME Rubin's frostbitten hand reaches for the hose. Grabs it, but he does n't have the strength to turn it on. Throws a defeated glance over his shoulder to see - - THE VILLAIN in ECW gear right on him! Shoves Rubin against the tank. Grabs the hose from him. Turns it on - SPRAYING him head to toe. Rubin's clothes turn to ice. One eye freezes shut. Lips go cobalt blue. He tries to escape, but several stiff steps away, he slows and finally stops : a prisoner in his ice - locked clothing. The man moves to Rubin. Grabs his head, and - SNAP - breaks his neck. Rubin's body topples stiffly to the ground.","INT. OPERATIONS ROOM - ASB - SAME Rhonda crosses the busy room. Reaches for a clipboard hanging next to the window. Something outside catches her attention. RHONDA Sam! She looks to Murphy, who is on the phone. Murphy and the others join her at the window. They see Rubin on the ground, but the Snow Melter blocks any view of the killer.","EXT. ASB - SNOW MELTER - SAME The Killer turns to leave the crime scene and - - WHACK! He's blindsided by a SHOVEL to his head. Goggles shatter. He drops. Carrie pulls his parka hood away from his head - snaps the goggle from his face. It's KELLER! Blood trickles from the fresh wound to his head. The shovel's courtesy of Carrie, who stands over top of him. Holds the shovel to his neck like a guillotine blade. Pryce approaches. Glances to Rubin's frozen body - neck askew. Carrie is wound up. Keller's still recovering from the impact - KELLER I sh. sh. shoulda killed you at Vostok. CARRIE Where are the cannisters? KELLER Go to hell. PRYCE Wrong answer. CARRIE Help me drag him over here. They each take his jacket by the shoulder - pull him back over to the Snow Melter. CARRIE -LRB- cont'd. -RRB- Keep him still. She hands the shovel to Pryce, who puts it to Keller's neck. Carrie pulls her Buck knife from her back pocket, then whips off Keller's gloves. Tosses them aside. The cold makes him more coherent. Sees Pryce at this throat. PRYCE Who's Tahir selling it to - what's the intended target? Keller shifts his attention to Carrie, who's using her knife to SLICE open his ECW jacket and pants, exposing bare arms and legs. KELLER What're you doing, you crazy bitch? Keller instantly starts to shake. CARRIE Why did you kill those scientists, Keller? Was a four - way split too much for you? KELLER Fuck you. Carrie grabs the hose from the Snow Melter. She brutally stomps on Keller's exposed arm, douses him with water from the hose, welding his arm to the ground as it freezes instantly. CARRIE Where is the uranium? KELLER -LRB- almost smug. -RRB- You have no idea what's going on here, do you? Keller begins to shiver violently. PRYCE Hit the sonofabitch again! Carrie releases more water, freezing more of the arm. He screams. Pain is too much. He caves. KELLER The plane, they're in the fucking plane. Carrie's suddenly grabbed from behind. It's Murphy. Furious. Two other guys at his side. MURPHY Have you completely lost your mind? CARRIE Let go of me. She twists free of his grasp. Gets in Keller's face. CARRIE -LRB- cont'd. -RRB- Where in the plane? KELLER Find them yourself. MURPHY What the hell's going on? She glares at him. CARRIE The cannisters are on the plane. She looks to the guys that came out with Murphy. CARRIE -LRB- cont'd. -RRB- Throw him in the holding cell. The two guys go to Keller, but his arm is stuck to the ground. Carrie kicks it free. It's painful. Keller screams. The guys lift him to his feet. Haul him away. Murphy looks to Pryce - MURPHY Who the hell are you? Carrie looks at Pryce. PRYCE Name's Pryce. Pryce looks at Carrie. CARRIE He's with the UN. We have to search that plane now! Murphy looks to Carrie with an intense glare - MURPHY We do n't have time. We'll just search it in Christchurch when it lands. Pryce steps in - PRYCE It's a twelve hour flight to Christchurch. Anything can happen in that time. Keller is here, so we know it's still on the ground. Once that plane is in the air, we've as good as lost it. Just give us 10 minutes. Murphy looks to Carrie, softens slightly - CARRIE Sam, do what is right here. Come on. MURPHY Do what you have to, but that plane takes off in one hour. CARRIE We'll need some help. MURPHY I'll send what I can. He leaves.","INT. LC-130 - DAY Carrie is near the cockpit, searching under a row of seats. Pryce approaches. A handful of ASB employees tear through every inch of the fuselage and cargo. PRYCE It's clean. Carrie gets to her feet. Pissed off. PRYCE -LRB- cont'd. -RRB- You check the cockpit? CARRIE Nothing. That bastard. What the hell are you up to, Keller? PRYCE I do n't get it, why lie to us - we have him either way. He's stuck here. Carrie's suddenly chilled with the ominous reality that - CARRIE He's buying time. Carrie races off the plane. Pryce tries to keep pace.","INT. CORRIDOR - RIGHT AFTER Carrie is slaloming her way through the corridor, which is packed with ASB employees carrying their bags for the evac. Pryce is close behind. CARRIE Out of the way!","INT. ASB - MARSHAL'S OFFICE - RIGHT AFTER Carrie enters. Pryce at her side. Her face goes white. The door to the holding room is wide open. Keller's GONE. CARRIE Shit! PRYCE He's got nowhere to go, nowhere to hide. Then it hits her - CARRIE He wo n't try. He's a goddamn pilot. As the two of them take off for the door -","INT. ASB - HANGAR - DAY Delfy walks across the floor. Hangar is minimally lit. Still. Silent. Void of personnel. The Otters are lined up. The Snowcats and snowmobiles on the other side. He heads toward an Otter.","INT. TWIN OTTER - HANGAR - DAY Delfy reaches in and gets his son's picture, which is still hanging on the console. Then, something catches his attention through the windshield of his plane. He sees a FUEL HOSE running to another plane - and it's pumping. Curious, he gets out of the Otter. Eyes dart about the hangar. Does n't see anyone. Heads to the other plane. Discovers that a door is open on the other side. Takes a another look around. Does n't see anyone. Moves closer. Gets to the plane. Takes a look inside, and - THUD! He's nailed with a giant Crescent wrench to the head. Stumbles back. Keller leaps out, grabbing hold of a staggering Delfy. Ruthlessly runs him head first into a standing tool chest. Delfy collapses to the ground in a heap. Unconscious.","EXT. ASB - HEADING TOWARD THE HANGAR - RIGHT AFTER Carrie and Pryce, dressed in ECW are making their way toward the hangar.","INT. LC-130 - SAME Employees are trudging up through the back entrance into the plane. Get checked off a list by the LOAD MASTER. Toss their gear into a netted cargo area. Find a seat. Plane is nearly full.","INT. TWIN OTTER - HANGER Keller has the engine going. It's loud. Preps the console for flight, flipping switches - suddenly sees Carrie and Pryce enter the hangar. Guns drawn. CARRIE AND PRYCE Shift their attention to the plane. Blades turning. They stalk forward. Slowly. Carefully. Eyeing for any betrayal of movement. Then, with a nod from Carrie, they move in. Fast. Ready. Look into the plane. It's empty, except for a duffle bag in the back. Carrie nods to Pryce. Motions for him to go one way, she'll go another. INTERCUT CARRIE AND PRYCE Carrie eyeballs a Snowcat. It's door is slightly open. She heads for it. Gun poised. Pryce moves to check the next plane. Eyes dart to every dark corner. Carrie gets to the Cat. Springs toward the door. Inside's empty. Pryce walks under THE WING of the next plane. Spots Delfy just ahead on the ground by the tool chest. Looks like he's stirring into consciousness. Then - SWOOSH! An ICE AXE swings down from above, embedding in his Pryce's chest. Deep. It sticks. Gun goes flying. Keller drops down from the wing above. Pryce staggers. Keller kicks him hard. Pryce goes down. Keller grabs the gun. Points it right at Pryce - before he can shoot - BANG! BANG! Bullets zip by Keller, who rolls for cover behind SOME EQUIPMENT. Another rips into his shoulder. Keller spots Carrie over by the Cat. She fires continually, forcing him to stay behind cover. The shots go wide - she's not yet used to firing with the right hand. Keller blindly reaches his gun around the chest - shoots back, which - - Gives Pryce enough time to painfully crawl for cover beneath the plane. He's losing blood quick. Carrie keeps shooting. Bullets PING OFF THE TOOL CHEST. They stop. Carrie has to reload. Keller makes his move. Fires at Carrie and sprints for his plane. Runs right by pole with a large red button attached to it. Slams it. HANGAR DOORS BEGIN TO RUMBLE OPEN The TEMPERATURE immediately begins to PLUMMET as winter is let inside. Keller keeps shooting. Runs out of bullets. Leaps into the idling Otter. Carrie makes her move. Dashes toward him, firing away. Bullets PLANT in the WINDSHIELD, but ca n't penetrate - glass is too thick - protection from the cold. Keller throttles. Begins to move the Otter forward toward the opening doors. Carrie dashes to Pryce. Sees Delfy get to his feet. Face bloody. He moves to Pryce. She gets over to the guys quickly, giving Delfy a visual once over. He'll be fine, but things look bad for Pryce. He's bleeding profusely. She kneels beside him - pulls the tip of the axe out of his chest. Delfy looks to the hangar doors, which are nearly open. PRYCE I did n't see him. His eyes flutter shut. Carrie slaps his face - CARRIE No! You stay awake! Puts her hand directly on the wound. Applies pressure. Blood continues to ooze. She looks over to Keller just as his plane exits the hangar. Looks back to Pryce's wound - wo n't stop bleeding. CARRIE -LRB- cont'd. -RRB- Damn it! -LRB- to Delfy. -RRB- Come on. We're getting him up. They lift him to his feet. Haul ass to the front of the hangar the best they can. Go outside.","EXT. HANGAR - CONTINUOUS The two of them place the now unconscious Pryce to the ground. Carrie grabs Delfy's hands. Puts them directly on the bloody wound. Surprisingly, he stays focused. CARRIE Press here. Hard. Hard or he will die! DELFY It wo n't stop! Looks Delfy right in the eye. CARRIE He's not going to be number four! Pryce moans. Carrie rips open Pryce's jacket and liner. Scoops up an armful of wind - blown ice. Starts packing it around him. Keeps repeating the motion. She keeps shooting looks to Keller's departing plane moving toward the runway. The cold hits Pryce, shocking him awake. PRYCE -LRB- GASPING. -RRB- What are you doing? Get Keller. She holds him down. CARRIE You're bleeding out. Freezing drops your pulse. We have to slow it down. -LRB- BEAT. -RRB- You hold on. Carrie snags the two - way off her hip like it's a quick draw. Keys it. CARRIE -LRB- cont'd. -RRB- Sam - is Doc on the plane yet? Beat. MURPHY -LRB- V.O. -RRB- No - what's going - CARRIE Keller got out. He hurt Pryce - he's bleeding bad. Where's Doc? MURPHY -LRB- V.O. -RRB- In the clinic. About to bring the bodies out. What's - CARRIE Tell him to stay put, and I need your help getting Pryce there. We're at the hangar. I've got to stop Keller, he's got the cannisters. Carrie does n't wait for an answer. Gives Delfy the two - way. CARRIE -LRB- cont'd. -RRB- Do n't let him die. Carrie stands. Determined. Sprints back into the hangar.","INT. HANGAR - CONTINUOUS On a full sprint, Carrie dashes over to the Snowmobiles. Coughs. Spits blood. Does n't stop her. She jumps on one. Fires it up. Uses her left palm to steer - blood starts to seep through the gauze. She quickly bundles up, then guns it. Rubber treads grip. Smoke rises. She races it across the cement floor and out the hangar.","EXT. HANGAR - CONTINUOUS Off in the distance, Keller's heading for the front of the runway - has to turn around to take off into the wind. Carrie veers off, targeting the tunnel to ASB. Hits her light as she races in.","INT. TUNNEL - CONTINUOUS Carrie's light silhouettes Murphy and a couple of his guys as they head toward her. She does n't even slow down as she blows right by them.","INT. KELLER'S PLANE - SAME Desperation clings to his face as he turns the plane onto the runway. His wound oozes blood - eats the pain as he gives it full throttle. Starts to pick up speed. Heads down his strip of freedom.","EXT. SIDE OF RUNWAY - OPPOSITE END - SAME A funnel of bumpy light spreads across the ice before Carrie on the snowmobile. She holds tight as she burns a big U - TURN around one of the berms and onto the runway. Heads straight for the lights of Keller's plane. INSIDE KELLER'S PLANE He sees Carrie. KELLER Crazy bitch. She targets him like a Japanese zero. Hundred yards and closing. He's pushing to get airborne. Seventy - five yards between them. Gap narrows fast. Fifty yards. Stay on Carrie. Looks like suicide. She suddenly swerves a hard left, disappearing behind a berm - INSIDE WITH KELLER He bears a momentary sense of triumph, starts to get airborne - until - LAUNCHING UP OFF THE BERM is Carrie's snowmobile! She bails, letting it continue right toward him like a heat seeking missile as she tumbles down the berm. Keller's pov - a THOUSAND POUNDS of snowmobile comes at him fast - obliterates the cockpit. SMASH CUT TO CARRIE'S POV - AS THE IMPACT Cripples the plane, pitching it sideways. A wing catches the runway, CATAPULTING the entire plane into a cartwheel of disaster as it veers off the runway and - - EXPLODES INTO A FIERY ERUPTION OF FLAME AND DEBRIS! Resume - Carrie slowly gets to her feet. The flames reflecting off her goggles. She heads to the wreckage. The cold and blowing snow extinguishing the flames quickly. AT THE WRECKAGE Carrie approaches. Only a sputtering of flame remains on the front of the twisted remnants of the Otter's cockpit. The aft seems relatively intact. Carrie looks in. Sees the charred and already frozen remains of Keller. In the back - the charred duffle bag. She moves closer. Reaches in through a broken window. Pulls it out to the runway. Unzips it. Is confused. No cannisters. Only survival gear.","INT. MEDICAL CLINIC - SOON AFTER Delfy, along with Murphy and his two guys, carry Pryce in. Doc's in the back room with two others, loading the BODYBAGS onto a cart. MURPHY Doc! Doc quickly moves into the front room. The other two follow. Curious. Doc springs into action, pulling on gloves. Pryce's face, ashen. DOC Get him on the table! They usher him onto one. He looks to Delfy who still has his hand on Pryce's wound. DOC -LRB- cont'd. -RRB- Do n't move that hand. DELFY I know, I know, he'll die! Doc shifts his attention to one of Murphy's guys - DOC You, four units O - pos in the warmer. Second shelf, fridge. The guy heads for it. Carrie enters. She's still in her ECW gear. Heart sinks when she sees Pryce. Doc leans over Pryce's pale form. Examines. As Doc gets an IV going, he looks to Carrie - DOC -LRB- cont'd. -RRB- What happened? CARRIE Keller hit him with an ice axe. MURPHY He get away? CARRIE No. Murphy's walkie on his hip CRACKLES to life.","INT. LC-130 - SAME Rhonda's standing up front with the pilot and Copilot, watching the horizon where dark storm clouds are coming at them like a tidal wave. Brings a walkie to her lips. RHONDA Sam, it's Rhonda - we got ta go. Now. MURPHY -LRB- V.O. -RRB- I know. I know.","INT. MEDICAL CLINIC - ASB - SAME Murphy looks to Doc. MURPHY Can you do this on the plane? It's your call, but I need to know now. Doc, who's wrestling with deep contemplation, looks to Carrie - she sees the answer's no. CARRIE I'll stay with you - MURPHY -LRB- to his guys. -RRB- Grab the bodies and get them on the plane. The guys head for the back - As Doc looks at Pryce - knowing he needs him. DOC Leave the bodies - you do n't have time. Dead is dead. -LRB- BEAT. -RRB- Pick them up in six months. Go. Doc looks to Carrie, who's thankful - CARRIE I'm sorry. The guys after the bodies look to Murphy for a decision. MURPHY Leave'm. Let's go. Murphy and Carrie exchange a quick look - closure. CARRIE Thanks. MURPHY Take care of yourself. He takes off with the others.","EXT. LC - 130 - RIGHT AFTER The wind is hurricane fierce as Murphy and his two men are just about to board the plane. Murphy looks to the storm - a forboding darkness getting closer by the second. He realizes they might not make it.","EXT. RUNWAY - ASB - RIGHT AFTER The LC - 130's jet engines roars as he gains speed down the runway - faster and faster, then it suddenly gets swallowed in the storm - like an avalanche covering a skier. Camera stays on the fast moving storm, the plane, nowhere in sight, until - The LC - 130 finally pushes out the front of it - AIRBORNE. Takes off into the horizon, where we see that the sun is just about to set.","INT. MEDICAL CLINIC - ASB - LATER Carrie is standing next to Pryce on the examination table. He's been bandaged up. Eyes closed. Looks thrashed. An IV drip hangs from a stand on wheels. She's looking at him with soft, caring eyes - been through a lot. He slowly opens his. Tries to smile, not easy. PRYCE Hey - CARRIE Hey back. PRYCE You get him? CARRIE Um - hm. PRYCE -LRB- EXCITED. -RRB- The cannisters? She shakes her head - CARRIE Nope. They both think on it for a moment. PRYCE What did we miss? Think Keller cut and run without the stuff? CARRIE After all this, no way. Keller did n't have it on the plane because he's got it hidden somewhere. -LRB- BEAT. -RRB- Where would he hide something for six months. Somewhere he could be sure no one would ever look. PRYCE If he had made it out, he would n't have been crazy enough to come back for it. CARRIE True - what the hell was his plan. Pryce thinks hard - he's got nothing. PRYCE We've got six months to figure it out. A SQUEAKY NOISE in the back of the room draws their attention. It's Doc coming through with the cart - a bodybag on top. DOC Eyes open - that's always a good sign. He continues pushing the gurney toward them - PRYCE Hey, Doc - thanks. DOC Thank her - if she had n't slowed your bleeding. Doc rolls the gurney behind her - DOC -LRB- cont'd. -RRB- I'm going to hunt me down a bottle of scotch - Carrie turns, looks at Doc as he wheels the gurney by. CARRIE Need any help? DOC I'm good. She sees it's Weiss' name on the tag, but something disturbing catches Carrie's eye - it's Weiss' LEFT LEG pressing against the bag. Although the plastic is clouded, she'd swear his LEFT CALF has a LONG LINE OF STITCHES running down the side. DOC -LRB- cont'd. -RRB- You okay? His voice pulls her focus. She masks her startle. CARRIE -LRB- COVERING. -RRB- Just thinking where it all began. DOC Yeah, it's a damn shame, is n't it. Doc continues on out the door. Pryce sees that she's bothered - PRYCE What is it? CARRIE Nothing - I'll be right back. She heads out the door.","INT. CONNECTING TUNNEL TO SCIENCE BUILDING - LATER Carrie slips in. We've been here before - this is where she chased Rubin. Darkness creeps in, phantom like, as the remaining daylight FADES OUT through the row of windows that run along the side. Carrie's plunged into inky black. WINTER HAS SET IN. She HEARS the Science Lab door open before her - peers through the dark blanket to see Doc walking toward her. Carrie slips in between two bookcases, trying to stay tight against the wall. Doc walks right by and out the door. She rises to her feet. Hurries down to the end. Disappears into the science building.","INT. SCIENCE LAB - CONTINUOUS Carrie enters. Turns on the light. Illuminates the lab stations, and the busted open doors of the Ready Room. Heads for the freezer.","INT. WALK-IN FREEZER - SCIENCE LAB - CONTINUOUS Carrie opens the door. Illuminates the interior with her light. Storage racks of frozen science samples line the three walls. Lying on the floor are the bodies of Mooney, Rubin, Weiss and Keller. Carry goes to Weiss' body. Kneels next to him. Goes to unzip the bodybag, but sees that it's been locked with a plastic cinch. Pulls out her knife. Holds the light steady in her mouth as she cuts the cinch. Unzips the bag. Her light travels down his body to his left leg. She rolls it slightly for a better look. The truth hits her like a sledge hammer. There it is, like standing center stage in her light, the ROW OF STITCHES holding a deep gash tight together. She's about to stand and walk out, but she stops herself. Thinks about that leg, those stitches. The fact that Doc lied to her. Pans her light over at the other bodies on the floor. Her light pans back, explores the rest of Weiss' upper body - sees a dried river of blood that's run out from under his armpit. CARRIE -LRB- to herself. -RRB- Someplace no one would ever think to look. She raises Weiss' arm. More stitches. She cuts through them. Skin splits to reveal the BOTTOM OF A CANNISTER that's been stuffed inside his chest. She reaches in and pulls it out. Even has rust on the bottom. Carrie's confused - IT'S NOT LIKE ANY OF THE CANNISTERS PRYCE SHOWED HER PHOTOS OF. It look more like THE ICE CORE CONTAINER SHE SAW AT MCMURDO. She contemplates opening it for a moment, then places her hand on the top. Begins to twist. It loosens easily. Pulls the lid off. Looks at it. Whatever it is, it's frozen. Tilts the can slightly, and out slides a FOOT LONG ICE CORE SAMPLE. Ca n't quite figure it out, until she shines her light on it - The freezer DANCES WITH GLISTENING LIGHT. The core sample is PACKED FULL OF DIAMONDS. She looks to the other two bodies. She opens Mooney's bag. Sees his chest is uneven - more cylinders inside. Repeats the action with Rubin. Same thing. Carrie slowly stands - the betrayal almost too much. DOC -LRB- O.C. -RRB- If they had just gone along with it. She turns - Doc is standing right BEHIND HER. DOC -LRB- cont'd. -RRB- Those fools found a plane - had no idea what they stumbled onto. Turns out the Russians had discovered a diamond field while drilling for core samples in the sixties. CARRIE And we thought it was nukes the whole time. DOC Keller said he knew someone in the states who could move the diamonds for us. It was a hell of a lot of money. CARRIE How did you get wrapped up in thing, Doc? DOC Weiss got hurt on the plane. They were afraid to move him, so Mooney called me. Keller and I flew out. But they could n't get the safe open - Keller found a way. CARRIE Then Weiss got cold feet. It got ugly, did n't it - and Keller killed him at Delta One One. Everything went to hell after that, did n't it, Doc. DOC Keller thought he could kill his way out of this whole thing. -LRB- ANGRY. -RRB- If those idiots had n't panicked, none of this would have happened. He turns and walks out of the freezer.","INT. SCIENCE LAB - CONTINUOUS Carrie carefully follows. Sees he's heading for KELLER'S ICE AXE in the ready room, that someone's removed from being wedged outside, onto the now uprighted LAB CART Pryce used to bust open the door. CARRIE Doc - stop. He does. Turns back to her. But there has been a subtle shift inside him - something illogical. DOC I'll cut you in, Carrie. There's at least 5 million in diamonds in there. That can buy both of us a nice life back in the world. How many times have we both talked about having a fresh start. Well, this is it. Those beakers finding that plane was a sign. A sign telling me it was time to go back. Now I have something to go back for. She has a realization. CARRIE There is no granddaughter, is there? This was about greed, plain and simple. DOC No one will ever know. It's just me and you. We can take care of Pryce. His callus disregard for human life rocks her. CARRIE Dead is dead, right? DOC Yes, yes, now you're getting it. CARRIE What's happened to you? There are four people dead! Four! People we knew. Doc looks at her. She's not sure if it's registering. CARRIE -LRB- cont'd. -RRB- Where you going to stuff my body too? Huh? Was I going to be five? He turns back to the ice axe and starts walking towards it. She pulls the gun out from inside her liner, her mind a whirl of limited options and grim solutions. He nears the ice axe on the cart - Carrie cocks back the trigger - CARRIE -LRB- cont'd. -RRB- I wo n't go through it again. Do n't make me shoot you, please. Her knuckle on her trigger finger goes white as she wrestles with her emotions. DOC It's either ignore all of this or kill me - and you and I, we're too good of friends for me to force you to make that choice. With that. he walks right past the ICE AXE and into the READY ROOM. She's confused. CARRIE Doc, your not thinking straight. But he's not listening. DOC Ya know, it's really warm. I'm gon na take a walk - try and cool off. The TEMPERATURE GAUGE on the wall reads : - 82. He looks at her. CARRIE Doc, please. Carrie crosses the room as he grabs onto the outside door's latch. He musters a smile - DOC Remember, Carrie - freedom's just a sunrise away. Using both hands on the latch, he pulls. THE DOOR BLASTS OPEN, filling the space between Carrie and Doc with violent winds and blowing snow. Doc's throws one last look to Carrie, then takes two steps out the door. Disappears into the blanket of white. Wind and cold storm into the room against Carrie, who remains standing still like a statue. Emotionally drained. Numb. Freezing to death - tears frozen to her cheeks. A shadow passes by her - it's Pryce. He's hunkered over in pain, but forcing himself against the driving force of the wind into the Ready Room. Latches onto the door. It takes everything he's got, but he manages to get it closed. Instant silence. Cold to the bone, he grabs a jacket off the racket. Approaches Carrie, who remains staring at the closed door. The effects of the chill and Doc's decision apparent. Pryce wraps the coat around her shoulders. Gently leads her away. Super : THREE MONTHS LATER","INT. CARRIE'S OFFICE - ASB The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby as we - CU on sand with a shadow of a palm tree casting over top of two pairs of feet - intertwined. Slowly widen - to see Carrie and Pryce, kicking back on lawn chairs, side - by - side. Two heat lamps pouring out bright, warm light. A cut out piece of paper in the shape of a palm leaf is taped to one of the lamps - throwing the shadow. Pryce has a small bandage over his shoulder. Carrie lies back, rests, eyes closed. PRYCE How's the weather where you are? CARRIE Hot. But there's a gentle breeze. Fiji's beautiful this time of year. PRYCE Yeah, St. Barts ai n't bad either. They lie there quietly, relishing the moment. PRYCE -LRB- cont'd. -RRB- Six months. Six long months. Carrie turns over on her stomach - lets the heat warm her back. CARRIE Nah. Freedom's just a sunrise away. There's a new calender on the wall, where the days of Winter - over have been marked off - long way to go.","EXT. ASB BASE - ESTABLISHING - NIGHT Pull away from the building, which fades into the icy darkness and howling wind of the Antarctic winter. THE END"],"string":"[\n \"WHITEOUT Antarctica. Six million square miles of ice. The coldest place on earth. Forty - six countries have competing claims and maintain outposts. The Antarctic Treaty holds these claims in check. There is no regular law enforcement. A single U.S. Marshal is assigned to the territory. END SCROLL\",\n \"EXT. ANTARCTICA - DAY Snow - covered hills thrust up out of a barren, white wasteland. No buildings, no animals. nothing. CLOSER : The hills are more defined. Rows of jagged peaks and a crazed pattern of crevasses. A fine ` mist' of wind - blown snow whips about this jumble of glinting ice. STILL CLOSER : We track down through valleys, skirt crevasses, climb peaks and finally pause on a flat stretch of ice. HOLD on this scene of timeless, savage beauty, then. THUD! A FACE, hooded and goggled in ECW -LRB- extreme cold weather gear -RRB- drops into frame, smashing down on the icy surface with such brutal impact, the shattered goggle shield pops out - - EYES STARE BLANKLY into camera - locked in death. It's a man. Camera slowly starts to PULL BACK to see his limbs have snapped at unnatural angles, the head grotesquely twisted - bright red arterial blood seeps from the corpse and spreads out down tiny cracks in the ice until, with startling speed, it turns dark and freezes. We PULL BACK further and look down on the body, a bizarre shape in a spider's web of frozen blood. And SLOWLY WE PULL BACK. further and further. until all is dazzling white. TITLE : WHITEOUT The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby. - CU on WOMAN'S TOES digging up soft, white sand. The shadow of a palm tree cascading over top. Widen slightly - a pair of feminine hands, donning an ANTIQUE SILVER ring on the left middle finger, are slowly applying coconut tanning lotion onto firm, athletic calves. Deep. Soothing. Then - O.C. KNOCK KNOCK on a door. The hands stop. Another KNOCK KNOCK. The lapping surf and seagull sounds come to an abrupt halt. WOMAN -LRB- O.C. -RRB- -LRB- slightly annoyed. -RRB-. Yeah? Widen to meet CARRIE STETKO, late 20's. Cargo pants - rolled up, and an exercise top. She's kicking back, but she's not at the beach. In fact, she's in an office, sitting on a chair. A NEWLY OPEN BAG OF KITTY LITTER sits next to a plastic tub she's got her feet in. Two FLOOR LAMPS stand like sentinels above her, blasting her with warm wattage. A fake palm tree casts the shadow across her body. She's pulled the earplugs out of her iPod - back to the real world. The door opens. Leaning into the room is JAMIE CLARK -LRB- 20's -RRB-, African - American. She's dressed in a flannel shirt, jeans. Carrie does n't look entirely happy at the intrusion. JAMIE Sorry, a Professor Sapperstein needs to see you in biology. Said it's urgent. CARRIE Alright - Jamie leaves. As Carrie gets to her feet, camera moves away from her, panning around the small office. Half - packed up boxes lay strewn about the floor. A CALENDER hangs crookedly before a desk. Each day has been marked off with a large X. THREE DAYS REMAIN unmarked. Last space reads : WINTER - OVER, and in the space next to it, there's a cut out picture of a tropical beach. A dart board is next to it with A PHOTOGRAPH pulverized with dart holes over the Bullseye. It's of a candy - striped pole topped with a silver ball, surrounded by international flags - the South Pole. Carrie is standing next to the pole, smiling at the camera, arm - in - arm with SAM MURPHY -LRB- 30's -RRB-. Looks like he's handsome, but his face is a little more obliterated than the rest of him.\",\n \"EXT. MCMURDO STATION - ANTARCTICA - DAY An ugly sprawl of prefab buildings, power - lines and above ground sewage pipes. It looks more like a Siberian work camp than Antarctica's largest research base and logistics hub. In the background, smoke rises from Mt. Erebus. SUPER : MCMURDO STATION. -LRB- USA -RRB- POP : 2137 TEMP : - 22 ° An icy wind HOWLS, but the base swarms with PARKA - CLAD FIGURES shuttling supplies and packing up equipment for winter. We PICK UP CARRIE AND FOLLOW her as she strides down the icy, unmade street. Her hood is pulled up and she's not enjoying the cold. She reaches a row of buildings and checks the names - GEOLOGY LAB # 2. ASTROPHYSICS - BERKLEY. until she reaches BIOLOGY BUILDING # 7 and pushes through the double doors into.\",\n \"INT. BIOLOGY BUILDING #7 - DAY LONG BENCHES are covered with ANTARCTIC FLORA - MOSSES, LICHENS and LIVERWORTS. They are being nurtured and studied by SCIENTISTS who look like homeless people - unkempt beards, bloodshot eyes and sun - damaged skin. Carrie throws back her hood and unzips her jacket. Approaches one of the scientists with familiarity, who is in the process of EXTRACTING an ICE - CORE SAMPLE from a stainless steel cylinder. CARRIE -LRB- SARCASTIC. -RRB- Hey Fred, unlock any secrets of the Universe - discover we're Alien life forms? FRED Workin' on it. CARRIE Which one's Sapperstein? SCIENTIST Deschampsia Antarctica. He indicates with a nod to a bench covered with tall grass samples across the room. PROFESSOR SAPPERSTEIN, young, thin and bearded, is studying them. CARRIE Okay, thanks. She crosses to him - CARRIE -LRB- cont'd. -RRB- Sapperstein? He looks at her - SAPPERSTEIN Yeah. CARRIE Wanted to see me? His face tenses - this is serious. SAPPERSTEIN - Follow me. He leads her to a bench in the corner on which stands a GLASS HERBARIUM containing only STALKS and a few HEAT LAMPS. One of the GLASS PANELS has been smashed. SAPPERSTEIN -LRB- cont'd. -RRB- They took it all. CARRIE All what? SAPPERSTEIN Cannabis Sativa. She looks at him - SAPPERSTEIN -LRB- cont'd. -RRB- My weed, man. I've been growing it all summer and they took it. -LRB- BEAT. -RRB- It was just budding, too. He sends an evil glare across the room to four glassy - eyed scientists sitting around a desk, munching on potato chips, candy bars, and drinking beer. Stifling laughter. SAPPERSTEIN -LRB- cont'd. -RRB- -LRB- GLARING. -RRB- It's not funny! Carrie looks back to him - can barely stifle a laugh. CARRIE Professor Sapperstein, I'd like you to read something for me. She pulls out a small LEATHER FOLD chained around her neck. Opens it up. Puts it in front of his face. CARRIE -LRB- cont'd. -RRB- What's this say? He's not sure what she's getting at - CARRIE -LRB- cont'd. -RRB- C'mon, go ahead, read it. SAPPERSTEIN Carrie Stetko. CARRIE Keep reading. SAPPERSTEIN United States Marshal. She closes the fold, lets it drop around her neck. CARRIE Very good. -LRB- BEAT. -RRB- Now are you still sure you want to report the theft of an illegal narcotic? He actually ponders the question for a moment. Carrie puts an arm around his bony shoulder and steers him away from the others. CARRIE -LRB- cont'd. -RRB- Professor. are you planning on doing the winter - over? SAPPERSTEIN Not this year, no. CARRIE Good. And how are you feeling right now? SAPPERSTEIN You think I'm crazy? Is that what you're saying? CARRIE -LRB- PACIFYING. -RRB- No, no, not crazy. But this time of year, down here, we're all going a little toasty are n't we? How about you plant a little Cannabis when you get home? She pats him on the back.\",\n \"INT. MARSHAL'S OFFICE - MCMURDO - DAY Carrie enters. Walks by a mirror. Takes a glance. Is about to fix her hair, then stares at the reflection - what's the point? We notice a slight scar on her right temple. She steps around the moving boxes to her desk, which is bare except for a thick BINDER labelled, ` DAILY REPORTS'. She takes a seat, opens a binder and flips past dozens of empty pages reading `` INCIDENT : None. ACTION TAKEN : None.'' On today's page she fills in the blanks with `` Theft of botany sample.'' And `` None.'' A pencil falls down onto the desk before her. Bounces. Then rolls off. She does n't even flinch, or look up. Just stares unhappily at the binder. Camera tilts up - several pencils are stuck into the cardboard tiles. She closes the binder and puts it on the shelf beside a row of framed photos : Carrie in a Marshal's uniform graduation day ; crisp, clean uniform. She and two other girlfriends, all smiles, at a bar - she's got a birthday cake in front of her. Carrie on a beach somewhere, sitting in a chair, feet in the sand - shaded by a palm. As she lifts the frames and moves to pack them in a nearby box - MURPHY -LRB- O.C. -RRB- You busy? She turns to see SAM MURPHY, base commander, the guy on the DART BOARD. There's an awkward beat. CARRIE What do you think? -LRB- BEAT. -RRB- I know you were n't in the area. What's up? He sees the photo on the dart board - saunters over to it. MURPHY I got a pilot at ASB who thinks he spotted a popsicle out on the ice. CARRIE What flavor? MURPHY Do n't know. CARRIE And we were doing so well. -LRB- BEAT. -RRB- Where? MURPHY McClain Valley. This throws her. CARRIE McClain Valley? What was he doing out there? That's no man's land. He takes a closer look at the photo - almost seems amused. MURPHY I've got a plane heading to ASB in an hour with some supplies for Winter - over. -LRB- BEAT. -RRB- Ca n't get you back until tomorrow. He looks at her with a smile - MURPHY -LRB- cont'd. -RRB- You leaving the dart board? CARRIE No - just the picture.\",\n \"EXT. AMUNDSEN-SCOTT STATION (ASB) - DAY - ESTABLISHING The red and white striped ceremonial south `` pole'' stands surrounded by international flags. SUPER TITLE : South Pole / Amundsen - Scott Station -LRB- USA -RRB- Population : 183. Temperature : - 55 °. Ice as far as the eye can see. In the background is the base. It's much smaller than McMurdo - a few dozen specialist buildings surrounding four circular buildings raised on hydraulic stands, interconnected by tubular shaped walkways. Off in the distance - A SNOWCAT mounted with a plow, pushes small drifts of snow off the runway onto a LARGE BERM. It's been busy - SEVERAL OTHER BERMS flank both sides of the runway. Camera pans to Carrie with a gear bag in tow, as she deplanes a LC - 130. A HALF - DOMED HANGAR rises up on the other side of the plane. The main ASB complex is before her. Across the top of the entrance is a huge poster : 3 DAYS TO WINTER - OVER EVAC. Piles of packed equipment are everywhere. Half a dozen NAKED MEN wearing only boots and face masks blow out the front door screaming and yelling, run around the South Pole, right past her, and back into ASB. Carrie heads in - CARRIE Bottom of the frickin' planet.\",\n \"INT. ASB - CORRIDOR - DAY Music cranks. Carrie knows her way. People come and go as she strides along a corridor decorated with PARTY BALLOONS and signs that read : ` DO N'T FORGET THE EVE OF EVAC PARTY' - comes to an office door with a small plaque on it that reads : MARSHAL. Pushes it open.\",\n \"INT. MARSHAL'S OFFICE - ASB - CONTINUOUS Carrie enters. It's smaller than her McMurdo office with a HOLDING ROOM that has a viewing window in the door. A fine layer of dust blankets a little desk with a computer and lamp on top. A map of Antarctica is spread across a wall with sub - station positions marked in block letters. A window gives view to the South Pole.\",\n \"INT. SMALL ROOM - RIGHT AFTER Carrie opens the door. Single bed. Tiny dresser. No frills. She tosses her gear bag onto the bed. Closes the door.\",\n \"INT. MEDICAL CLINIC - ASB - DAY Carrie pokes her head in. An examination table, cabinets with drugs and first aid equipment. A couple of hospital beds. Moving boxes are packed up. CARRIE Doc? Another door in the back of the room is open, but the light is off. Carrie turns to leave and -\",\n \"INT. MAIN CORRIDOR - ASB - CONTINUOUS - almost bumps right into one of the runners from outside, Aussie RUSSELL KELLER -LRB- late 20's -RRB- coming down the corridor. He's naked, except for a towel wrapped around his waste. Sports a goatee. Couple tats. Flashes a cocky smile. KELLER Well, hello Marshal. CARRIE Keller. She leaves. He falls into stride with her. CARRIE -LRB- cont'd. -RRB- You seen Doc? KELLER Out back. What are you doing here? CARRIE Checking the freezer for a popsicle. KELLER No shit? CARRIE It got called in this morning. KELLER Who spotted it? CARRIE Delfy, one of the pilots here. Keller half smiles. KELLER It's his first year down here. You know how that goes. My bet it was just debris, an old tent or something. CARRIE Yeah - probably. KELLER Here's an idea - why do n't you stay here with me and we'll party, just the two of us. Put those cuffs of yours to work. CARRIE Were you the second guy from the front? KELLER Yeah. CARRIE Not interested. They come to the end of the hall. Keller stops. Carrie goes right.\",\n \"INT. OPERATIONS CENTER - ASB A large room by base standards. Several windows. A giant map of ANTARCTICA dominates one wall with the International stations and research outposts flagged with pins that have their countries flags on them. A grid of EVAC TIMES of each STATION and OUTPOST is next to it. A Tech is changing a few. Another TECH sits as a console, lined with comm equipment and computers. Others hustle about. Talking into a headset is the Station Manager, RHONDA STEWART -LRB- 30's -RRB-. Silky white skin. Irish. Long red hair tied back. Perfunctory. RHONDA I'll have them boomerang back and pick up the load - just have it ready. The Tech at the console turns to her - TECH Guys got the science lab all shut down. RHONDA Good, have them check all the pressure levels on the hydraulics, then clear the exterior storage bins. Make sure we're not leaving anything out there. Rhonda sees Carrie coming in the doorway. There's a flash of awkward tension that both mask with professional demeanor. RHONDA -LRB- CONT'D. -RRB- Sam told me you'd be coming up - how's the sleigh ride? CARRIE Fine. I need a plane and that pilot who saw the popsicle. RHONDA I'll have him meet you in the hangar. A moment of silence lingers as neither have anything else to say. CARRIE Yeah, good. Carrie leaves.\",\n \"EXT. BACK OF ASB - DAY Selecting a putter from a bag of golf clubs is DOC FURY, 60. Looks seasoned. Bearded. Wears the only non - red parka we've seen : it's royal blue, trimmed with black fur and emblazoned with dozens of emblems and patches from years of Antarctic service. DOC In less than three days we begin Winter - over. The sky will go completely black and stay that way for six months. Camera pulls back to REVEAL five NEWBIES -LRB- first - timers -RRB- ; an Asian, French, Brazilian, Danish and an American. All are standing on their jackets, shivering uncontrollably in the wind. DOC -LRB- cont'd. -RRB- The sane ninety percent of the population will be leaving the ice. Extreme weather conditions make it impossible for planes from the outside world to land. You have chosen, for your own misguided reasons, to stay. And it is my responsibility to teach you beakers how not to die. Doc lines up on a hot pink golf ball and putts. The ball rolls across the glacier in an impossible, wind - driven arc, approaches a flag, and sinks. DOC -LRB- cont'd. -RRB- Time? The Asian holds a stopwatch. He stares at it stupidly. ASIAN T. T. Three minutes. DOC Your core body temperatures have fallen to approximately 97 degrees. You are shivering uncontrollably - losing basic motor skills. You're having trouble focusing on even the simplest tasks. In short, you are well on your way to dying, and it has only been two - hundred seconds. -LRB- BEAT. -RRB- Put your coats on. The class struggles into their jackets. Doc assists those who, in their diminished capacity, are having trouble figuring out how to put them on. DOC -LRB- cont'd. -RRB- Your life is dependent on your awareness of the weather. So be aware. There is a condition that arises around here known as a whiteout. Do n't get caught in it. Winds kick up snow that's lain on the ice for thousands of years - ca n't see six inches in front of your nose. Temperature plummets to triple digits. We found bodies less than a foot from safety and warmth. Carrie walks up. Doc's eyes brighten. DOC -LRB- cont'd. -RRB- Class, here we have another of the many hazards found on Antarctica. Say hello to Marshal Stetko. Through a disjointed, chattering chorus - CLASS Hello Marshal Stetko. DOC Always a pleasure to see you. Unlike most of the beaker - heads down here. -LRB- BEAT. -RRB- Social visit? CARRIE I wish - We got a job. I need you to take a ride with me. -LRB- BEAT. -RRB- Might be a body out on the ice. DOC Why's this crap always happen at the end of the season? Carrie pulls a Driver from Doc's golf bag. Lines up another pink ball. DOC -LRB- cont'd. -RRB- Too cold for driving. Carrie swings - WHACK! The ball shatters and pink bits rain down around them. CARRIE So it is.\",\n \"INT. ASB - HANGAR - DAY Carrie and Doc cross the interior, which houses Three double prop Twin Otters, two Snowcats, and six snowmobiles. Keller and two other employees are busy working on one of the Otters. DOC What's your gut say about this body? CARRIE My gut and I do n't talk anymore. They continue, after a beat - CARRIE -LRB- cont'd. -RRB- I saw your boxes packed up. What was all that BS last month about, `` I'm never going back - I'll die here. Scatter my ashes over the pole''? He takes a beat - DOC People change, Carrie. CARRIE Not you. Beat. DOC I got a card from my Granddaughter inviting me to her fifth birthday party. You know, I've never even met her. CARRIE Or mentioned her. A grandchild? Doc, that's great. DOC It got me thinking - I need to be a better Grandfather, than I was a father. It's time I deal with my life. I've been down here a lot longer than I probably should have. They arrive at one of the Otters. BYRON DELFY, a baby - faced, African American pilot leans out the plane's door. CARRIE You Delfy? DELFY Yes, ma'am. DOC Where the hell they get these thumb - suckers? Delfy smiles graciously. DELFY Brooklyn. And unless your wrinkled ass has a heart attack on my plane, I think we'll be all right. Delfy disappears back into the plane. Doc looks to Carrie. DOC - I want Keller. He's my pilot. -LRB- BARKS. -RRB- Keller, get over here! CARRIE Delfy's taking us, Doc. He's the one who saw the body. C'mon, you'll be fine. I'll even hold your hand if you want. She ushers him in.\",\n \"INT. TWIN OTTER - AIRBORNE - SAME The plane soars through a cloudless sky, the sun sparkling brilliantly on the endless ice sheet below. Carrie's in the copilot's seat, wrapped up tight in her ECW, just trying to stay warm. Delfy's at the controls. Doc's in the back. CARRIE What were you doing out there? DELFY I went to evac a camp. Had to fly off route to get around a storm. Got down low to avoid some turbulence, and there it was. Carrie notices a picture of a young boy, around seven, wearing a Yankees cap dangling from the instrument panel. It's framed in popsicle sticks with I LOVE YOU DADDY written around the perimeter. CARRIE That your son? He lights up. DELFY Yeah, name's Nathan. CARRIE He's cute. Has your eyes. DELFY Lucky he got his momma's brain. Kid's smart. CARRIE So why are n't you with him? DELFY The bonus pay. Trying to buy a house. Give my boy a yard. His own room. Stuff I never had. He looks at Carrie, all bundled up. DELFY -LRB- cont'd. -RRB- Do n't like the cold, huh? CARRIE Hate it. DELFY Then why are you down here? Carrie's eyes drift out the window - CARRIE We all make stupid mistakes. Delfy tips the nose of the plane down. The ice below is broken by jagged hills and yawning crevasses. DELFY It's right up here. He spirals down among the icy hills, visibility is poor. Heavy turbulence suddenly jars the plane sideways - Delfy laughs at Doc's nervous reaction. DELFY -LRB- cont'd. -RRB- I do n't carry extra panties Doc, so keep it tight. -LRB- BEAT. -RRB- There it is. He banks the plane and slips down into a valley. DELFY -LRB- cont'd. -RRB- Three o'clock. CARRIE Yeah. Got it. It's a popsicle alright. Down below is the body sprawled on the icy ground next to the crevice. CARRIE -LRB- cont'd. -RRB- Red jacket. He's American.\",\n \"EXT. ICE FIELD - LATER The Twin Otter is in the distant background. Carrie, Doc and Delfy, who has a gear bag slung over his shoulder, weave their way around huge ice boulders - skirt small crevasses. Mid - conversation. DOC It's always different when they freeze. Some curl up. Some stretch out. Some tear their clothes off. They get delirious. What was that guy's name? CARRIE Linger. DOC Yeah. He's lost in a storm. We ca n't find him, but we hear him on the radio going on and on about the Serengeti heat and his wife, Janet. Next day, we find him frozen solid, wearing nothing but his bunny boots. Delfy stops. Grimaces. Drops the gear bag. DELFY Jesus. The CORPSE is just ahead - a frozen display of death. They all stare at it - the body in unnatural angles, the spiderweb of frozen blood. Delfy looks nauseous. DOC Never seen a dead guy? Delfy slowly shakes his head, no. Carrie moves up to it. Takes a look down the deep crevice four feet away. Ca n't see the bottom. She walks around to get a look at the face. Blanches slightly. DOC -LRB- cont'd. -RRB- You know him - CARRIE So do you. Think his name's Weiss. We Wintered - over last year with him. Played cards a couple of times. DOC The guy who cheated? CARRIE Yeah. Geologist, I think. Doc takes a look. DOC Damn - Carrie pulls out a DIGITAL CAMERA from a pocket. Shoots a couple of pics. Doc takes a look up behind them. The ice steepens sharply to a vast plateau, scattered with jagged boulders of ice. DOC -LRB- cont'd. -RRB- Looks like he fell from up there. Carrie pauses with her camera, looks up - does n't seem as convinced. CARRIE Then where's his crampons - his gear? Doc looks around - she's right. DOC Maybe down the crevasse? CARRIE Yeah, maybe - Carrie glances to Delfy. CARRIE -LRB- cont'd. -RRB- What's the closest camp? DELFY Brits - about eighty miles west. CARRIE -LRB- looking at body - Soto. -RRB- What the hell where you doing all the way out here? Doc reaches down and tries to move the body - does n't budge - frozen solid into the ice. DOC Ah Christ - he's a sticker. Carrie unzips the gear bag. Digs out ice two axes. TIME CUT TO LATER A pile of chopped ice is off to the side of corpse. Delfy, who looks very uneasy about all this, grabs the feet as Carrie and Doc each grab an arm. CARRIE You going to be alright? DELFY No - this is the kind of stuff that scars you for life. They all strain to lift the body from the frozen ground. DOC Gon na give myself a Goddamn hernia. They keep pulling and - SNAP! The arm Doc is holding BREAKS OFF at the elbow. Lands on his ass. Delfy turns away and pukes. CARRIE Oh yeah - I'm really going to miss this place. A SUBJECTIVE POV - THROUGH HIGH POWERED BINOCULARS is peering down at them from the top of an ice cliff. Widen to see A MAN wearing a white camouflage parka. Lowers the binoculars. Goggles shield his eyes. He moves on.\",\n \"INT. MAIN CORRIDOR - ASB - DAY LOUD MUSIC. A party is in progress. People are mingling, some have drinks, others dance. The VOLUME of the music dies, replaced by a repetitive SQUEAKING NOISE emanating through the silence. People stop what they're doing, and focus on where the noise is coming from, which is - - Doc and Carrie ushering a pushcart with Weiss' contorted, frozen body through the middle of the party. His dismembered arm rests across his chest. The festive mood evaporates quickly as all eyes stay glued to the horrific state of Weiss' body. Just as they pass OPERATIONS, Rhonda steps out with the Brazilian and French Newbies at her side to see what's going on. Her eyes immediately go to Weiss, then shift to meet Carrie's. Before she can say anything - CARRIE Who manages the Post Stations? RHONDA Dinkle. Howard Dinkle. Doc and Carrie keep moving. Everyone else just keeps silent and watching. Squeaky wheel fades.\",\n \"INT. MEDICAL CLINIC - ASB - DAY CARRIE -LRB- O.C. -RRB- One - two - three. THUMP! Carrie and Doc set Weiss' body onto the examination table. CARRIE -LRB- cont'd. -RRB- How long to thaw him out? DOC Carrie, let's just bag him and put him on a plane to McMurdo. She moves over to a sink and gets a cup of steaming hot water from a tap. CARRIE It bothers me no one's reported him missing yet. DOC Because maybe no one thinks he is. CARRIE How'd he get out there? There were no tracks. DOC Sounds to me like you and your gut are talking again. Carrie returns with the water. Goes to pour it on the zipper, but Doc gently puts his hand on hers, stopping her. DOC -LRB- cont'd. -RRB- Let's ask ourselves if we really need to do this. They share a moment, Carrie understanding, but - CARRIE Nobody wants to get out of here more than I do, trust me, but right now - we're all this guy has. She slides her hand away from his - starts pouring the water on the zipper. CU ON CARRIE'S HAND TUGGING ON THE ZIPPER Little by little, it starts to move - then finally, ZIIIIIIIIIIP. The jacket opens up, barely - like sliced skin. Doc watches as she tries to pry it open further, but ca n't. CARRIE Grab that side. She takes one half, he the other, and begin to pull. The jacket opens up, like bending metal - slowly revealing a frozen, but extremely bloodsoaked chest area surrounding A DEEP PUNCTURE WOUND through the shirt. Doc's face sags. Carrie stares at the wound. CARRIE'S MEMORY HIT : The well defined chest of a man wearing a tight T - shirt. A BULLET HOLE dead center. BACK TO SCENE Doc looks at Carrie with deep concern - he's tuned in. DOC Stirring up a few things? CARRIE I'll be alright. Both take a moment looking at the body. DOC You know, this means a Federal Investigation, and we're witnesses. We may get stuck here. CARRIE I know. Doc looks to Carrie, gentle, like a dad would his daughter. DOC We both want to do the right thing Carrie - but we also need to get off the ice. Right now we do n't have to say a word. When they find something later - hey, we did n't know. We were leaving, the body was frozen, we did n't have time to examine it. No one gets murdered in Antarctica. Think about it. Dead is dead. He eyes her pleadingly. CARRIE Exactly, this is the first murder in Antarctica, Doc - and I ca n't just pretend it did n't happen. -LRB- BEAT. -RRB- I'm sorry. DOC Why did I know you were going to say that?\",\n \"INT. CORRIDOR - SOON AFTER Carrie steps out into the hallway. Takes a moment, leaning against the wall, this whole thing wearing on her more than she's revealed. She tilts her head back. The second it hits the wall - THE SOUND OF A GUNSHOT RINGS OUT!\",\n \"INT. HOTEL ROOM - NIGHT (CARRIE'S MEMORY HIT) Carrie's beat to shit, soul weary. She's on her knees, full of blood. A man is on the floor between two beds before her. She holds her gun at her side. He's dead. BACK TO SCENE Carrie refocuses. Pulls away from the wall. Leaves the memory behind.\",\n \"INT. CORRIDOR - ASB - LATER Carrie has a NEXTEL phone/walkie to her ear, making her way up the corridor. Moves past a couple of guys loading a dolly with boxes from an adjacent room. MURPHY -LRB- V.O. -RRB- What camp was he with? CARRIE I'm on my way to find out. MURPHY -LRB- V.O. -RRB- This is all I need right now. CARRIE I'm sure his family's thinking the same thing. MURPHY -LRB- V.O. -RRB- That's not what I meant. -LRB- BEAT. -RRB- I'll contact the FBI - see how they want to handle this. She hangs up. Approaches a closed door. Name plate on it reads Dinkle - SUB - STATIONS MANAGER. O.C. MOANING and GROANING - great sex. Carrie rolls her eyes. Knocks on the door. No one answers. Moaning continues. She does n't have time for this. Opens the door to see - - a large TV playing a locker - room porno where a quarterback with no pants is giving it to a cheerleader with no top. Half a dozen guys, oblivious to Carrie standing there, CHEER the action. CARRIE I hate interrupting educational programming, but - The CHEERING dies as everyone turns to see Carrie standing behind them. Only fake PORNO MOANING remains. CARRIE -LRB- cont'd. -RRB- I need to talk to Dinkle. Everyone gets up, thrilled for an excuse to leave. One of them nods to Carrie on the way out. LAST GUY Marshal. CARRIE Chaplain. Carrie flips a nearby wall switch. Lights kick on. Small room. English flag. There's a Beckham poster and an 8x10 framed photo, turned backwards, hanging on one wall. A large map of Antarctica on another. A proud assortment of tea bags are uniformly lined up along a shelf. One guy remains. HOWARD DINKLE. Thirties. English. Bearded. On the heavy side. DINKLE Am I in some kind of trouble? As he crosses to her, he flips the 8x10 framed photo back around - it's of THE QUEEN MOTHER.\",\n \"INT. DINKLE'S OFFICE - SOON AFTER A FILE FOLDER drops into frame onto a desktop, which is a map of Antarctica, under glass. File reads : DELTA ONE ONE. Widen. Carrie opens it. Three photos are stapled inside. One is of Weiss, the other two have names written under them - RUBIN and MOONEY. Mooney is a runty looking guy with a mop of blond hair. Rubin is a skinny, thin faced young guy with a beard that has n't filled in yet. CARRIE What are they doing out there? DINKLE Collecting meteorites. -LRB- BEAT. -RRB- One One has an extremely old surface with low sediment deposition. CARRIE English, please. DINKLE Means it's a good place to look for meteorites. -LRB- BEAT. -RRB- It's right here. Dinkle points to a location on the map. Delta One One is labeled. Boasts an American Flag. CARRIE I do n't get it - Weiss was no where near Delta One One. She looks at Dinkle. CARRIE -LRB- cont'd. -RRB- When are they scheduled for evac? DINKLE One sec - He refers to a RADIO LOG SHEET hanging off the corner of his desk. Gets uneasy - ca n't find what he's looking for. Finally - DINKLE -LRB- cont'd. -RRB- They have n't arranged a pickup yet. CARRIE Is n't that a little unusual this close to Winter - over? He hates to say it, but - DINKLE Yes, it is. Really unusual, actually. -LRB- SCRAMBLING. -RRB- I guess I should've contacted them, but - CARRIE - You've been a little busy. Yeah, I can see that. She moves over to a LONG RANGE RADIO CONSOLE tucked up against a wall. CARRIE -LRB- cont'd. -RRB- What's their frequency? DINKLE Seventeen. Carrie spins a dial to 17. Keys the microphone, drawing it to her face. CARRIE -LRB- into microphone. -RRB- Delta One One, this is United States Marshall Carrie Stetko, come back, over. Static crackles. CARRIE -LRB- cont'd. -RRB- Delta One One, I repeat, this is United States Marshal Stetko, come in, over. The dull constant static never wavers. She puts down the mic. Thinks for a moment. Suddenly, Carrie's NEXTEL RINGS - takes it off her belt. CARRIE -LRB- cont'd. -RRB- Stetko. JAMIE -LRB- V.O. -RRB- Marshal, it's Jamie. I've got some guy holding from Vostok who wo n't give his name, says he has to talk to you. CARRIE Vostok? -LRB- BEAT. -RRB- Patch it through. JAMIE -LRB- V.O. -RRB- You're on now. CARRIE This is Marshal Stetko, who's this? MOONEY -LRB- V.O. -RRB- John Mooney. She's thrown. CARRIE Mooney? MOONEY -LRB- V.O. -RRB- You know who I am? Carrie's eyes shift to his picture on the desk. CARRIE What happened out there, Mooney? MOONEY -LRB- V.O. -RRB- You come to Vostok and we'll talk. Only you. CARRIE Where's Rubin? MOONEY -LRB- V.O. -RRB- Come to Vostok. CLICK.\",\n \"INT. CORRIDOR - RIGHT AFTER Carrie is moving at a quick pace. Passes the open door to the clinic. Sees Doc looking through some boxes, a glass of Scotch in hand. She stops. Backs up. CARRIE Getting drunk already? DOC Just gearing my liver up in case I have to stay the next six months. CARRIE Murphy's contacting the Feds. He looks over to her. Raises his glass in a somber toast. DOC You're making my day. CARRIE I'll do everything I can to get you off this ice, promise. DOC I know you will. -LRB- BEAT. -RRB- What's the hurry? CARRIE Going to Vostok. He raises a curious brow - CARRIE -LRB- cont'd. -RRB- One of the guys from Weiss' team called. Wants to talk. DOC What's he doing in Russia?\",\n \"INT. OPERATIONS CENTER - DAY Carrie walks in. Rhonda has a phone to one ear, another in her hand. Looks stressed. She's hovering over one of the Techs who is sitting before a computer screen displaying Satellite Weather Imagery - think Doppler. His focus is on a VAST STORM SYSTEM that is heading toward ASB, which is marked in RED NEON. Other stations are marked as well. RHONDA We're tracking it now. CARRIE I need a plane to Vostok. Rhonda raises her finger - putting her on hold. Carrie does n't like it. RHONDA -LRB- into phone. -RRB- I do n't control the weather - you want to stay the winter, then do n't be ready for your evac. She looks to Carrie - RHONDA -LRB- cont'd. -RRB- Sorry, ca n't. All the planes are committed. CARRIE I'm not asking. RHONDA What am I supposed to tell the deep drill ice core team getting picked up in four and a half? CARRIE Tell them I took their plane. Carrie spins. Leaves.\",\n \"EXT. VOSTOK - DAY - ESTABLISHING Squat Soviet - ugly buildings, some collapsing, others with boarded up windows, are barely visible through the driving ice. STORM LINES of different colors interconnect all the buildings. Carrie and Delfy, wearing full ECW gear, lean hard into the wind, making their way towards the compound. She's carrying a duffle bag. Can barely see the Twin Otter behind them. SUPER : Vostok Station -LRB- Russian Federation -RRB- Population : 46 Temperature : - 73 °\",\n \"INT. VOSTOK - HALLWAY - DAY Carrie leads the way up a decrepit, dimly - lit hall strung with exposed pipes and wiring. Gaunt, malnourished faces look up from the rooms they pass. All stare. Silently. Looks more like death row. DELFY -LRB- WHISPER. -RRB- What's with this place? CARRIE The Russians barely supply Vostok anymore. They have to barter with other bases for supplies. Some of these guys have been rotting here for years.\",\n \"INT. VOSTOK - OPERATIONS ROOM - DAY Carrie enters a grungy operations room that never made it out of the 70's : ancient computers and steel - cased radios fill one wall. One man welds equipment off to the side. Four more Russians sit at a table playing cards and drinking Vodka. They all take their time looking her over. CARRIE Who's in charge? YURI, a big bear of a man in his forties, gets up from the table. Huge arms. Scruffy face. Bloodshot eyes. YURI -LRB- heavy accent. -RRB- Who's asking? CARRIE Stetko, US Marshal. I'm here to talk to an American named Mooney. Yuri smiles. YURI So many people come through Vostok. Is hard to remember. CARRIE I figured. Carrie hoists her duffel bag on the table and unzips it. Yuri pulls it open. It's packed with steaks. The Russians react with smiles and the mood lightens. Yuri's grin widens further. Takes out a porno - there's a Cheerleader on the cover. YURI Mister Mooney, yes. I remember now. He offers pay us to fly him off Antarctica on our transport. We give him very good price - because plane leaves a week ago! The Russians laugh. CARRIE Where is he? YURI Red storm line.\",\n \"INT. VOSTOK - COAT ROOM - DAY Carrie is suiting up in her ECW gear, rope harness and crampons. Her jacket's open. Delfy has a steaming cup of coffee in his hand. He looks to her gear belt ; cuffs, pepper spray, baton. DELFY You do n't carry a gun? CARRIE Against the law - Antarctica's the only place in the world you ca n't have one. Part of the Treaty. DELFY Does n't that make you feel kind of naked? CARRIE All this crap on - I prefer naked. She zips up her jacket. He glances to a temp readout by the door. DELFY Gettin' worse. Minus eighty - one. Wind at a hundred and ten knots. He takes a sip from his hot coffee. CARRIE Do you have to do that in front of me? He sees that one of her leg straps on her harness needs to be fastened. DELFY Give you a hand? CARRIE Sure. Sets down his coffee on a nearby shelf. As he fastens it, Carrie pulls on her goggles and a face mask. They finish at the same time. DELFY Ever been on a rope - line in a whiteout? CARRIE Nope. Thoughts? DELFY Yeah, hold on tight. Delfy leaves as Carrie cranks the submarine - type wheel - lock in the center of the door. WHAM! The door is suddenly yanked from her grasp, slamming open against the building. Wind knocks her back. The storm sings in an even DULL ROAR. A solid white wall of wind - driven ice blows past. The light is oddly dim. CRACK! The coffee mug Delfy left on the shelf, breaks in half, exposing a cylinder of frozen coffee. It rolls across the shelf, falls, and shatters on the floor. Carrie struggles back to the door and clips a three - foot tether from her harnesses to a RED STORM LINE attached to the side of the building. She steps into the storm.\",\n \"EXT. WHITEOUT - THE LINE - CONTINUOUS Carrie leans into the door, pushing it closed and locking the wheel. Two steps into the storm, the building behind her is gone. Step after step, there's nothing but the guide line and the ROAR of the storm. A gust of wind lifts her off the ground. She's caught by her tether and smacked down on the ice. Slowly regaining her stance, she pushes onward. Finally Carrie runs into something. It takes her a moment to realize she's at a building. She grabs the wheel - lock and turns, breaking ice, opening the door.\",\n \"INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS Unclipping from the line, she closes the door on the HOWLING behind her. Pulls off her mask. Teeth are chattering. She spins the wheel - lock of the door going out of the ready room into the building.\",\n \"INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER Carrie hits the lights : nothing. No power. Just a sliver of light stabbing in through a window. CARRIE -LRB- calling out. -RRB- Mooney? Hello? Only silence responds. The hallway is long and dark, leading away from her in both directions. She draws a flashlight from her pocket. Thumbs the switch, sending a beam out through the dark. Something does n't feel right. Slides her baton out from her belt. She decides to go left. Walking the hall, she tries door after door. Finally one gives. CARRIE -LRB- cont'd. -RRB- Mooney? She cautiously pushes it open : four stripped bunks in an empty room. Moves on down the corridor - hears COUGHING, like someone trying to clear their throat. Looks ahead, and determines it's coming from behind a closed door at the end of the hall. It's confirmed when she hears it again. Stops at the door. She slowly opens it - Now she can hear HEAVY, LABORED BREATHING - - Sweeps the inside with her light. It's a large lounge type room : scattered chairs, tables, and an overturned sofa on the other side - where the heavy breathing's coming from. Another cough. She enters the room. INSIDE THE LOUNGE - CONTINUOUS Inching forward, she gets to the sofa. Looks over it to see A BODY - it's Mooney, lying in a pool of blood. Struggling to breathe through a puncture wound to his esophagus. CARRIE My God. She goes to him. As she kneels, he grabs her, GASPING for air, trying to tell her something. Carrie catches a REFLECTION OF MOMENT behind her in his eyes - someone's coming at her. - She instinctively rolls back over Mooney just as - WHAM! An ICE AXE swings down at her. Just misses her head by an inch, but the shaft nails her arm holding the baton that goes clattering across the floor. The killer, wearing ECW gear with hood and goggles, takes another swing. She lunges to the side. Axe misses her, but sinks into Mooney. Game over for him. Carrie slices the floor with her light, looking for the baton, but ca n't see it. The killer yanks his axe free of Mooney as Carrie bolts around the sofa, heading back out the door.\",\n \"INT. OUTLYING BUILDING - HALLWAY - CONTINUOUS Carrie blows back into the hallway at a full tilt run, retracing her steps. Her light zigzags. The killer emerges a few beats later on a run. It's going to be close. Halfway down the hall, she hangs a hard right toward the Ready Room. Throws a glance over her shoulder - he's right behind. She targets the ready room door - the orb of her light getting smaller and smaller as she nears. Gets there. Does n't even want to look back - it's all or nothing. She pulls open the door -\",\n \"INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS - Leaping in, she spins the wheel - lock closed. SMACK! The killer HITS THE DOOR from the other side. She SPINS OPEN the outside door wheel - lock, as the lock on the INNER DOOR behind her starts SPINNING OPEN at the same time. It's a race. CARRIE'S door slams open first and the wind hits her hard. She pulls on her mask and goggles just as the door behind her bursts open.\",\n \"EXT. WHITEOUT - CONTINUOUS Carrie jumps into the whiteout, catching the red storm line and clipping in as she staggers forward. Glancing back, she sees the killer in the doorway, then loses sight of him as she's swallowed in the whiteout. She struggles down the line, buffeted by the storm, but HER HAND ON THE LINE moves erratically - He's on. She swivels a nervous whirl to see - the Killer materializing out of the whiteout right behind her. He's clipped into Carrie's line. He raises the axe. He swings. She jumps back, losing her footing. Hits the ice hard - face first. The killer towers over her, raising the axe again. Carrie drives her heel into his knee, knocking him off balance. He drops next to her. He reaches for Carrie, grabbing her mask, pulling it off. She cries out as the FREEZING WIND catches her face. The killer gets to his feet and delivers a rib - cracking kick, flipping Carrie onto her back. SOUND FADES from Carrie's world. There is nothing but her strained BREATHING. The killer draws back the axe, shiny with frozen blood. He swings. Carrie UNCLIPS her harness from the tether. THE WIND grabs her, and Carrie SLIDES AWAY - the killer disappearing from view behind the swirling wall of white. Sliding across the ice, Carrie SLAMS into a pole. Grabs on.\",\n \"EXT. WHITEOUT - POLE - CONTINUOUS Cinching her hood down, she searches the storm with no idea which way to go. Carrie glances up the post. Barely visible through the blowing ice are signs pointing different directions : `` Moscow 17,030 Tokyo 13,329 Fiji 7,877 Los Angeles 15,641'' She pulls herself up and heads out, leaning into the wind. Carrie staggers blindly, trying to protect her face. Falling, she gets up, and struggles on. Her drunken gait increases as she continues to lose heat. A rope catches her in the neck. It's another storm line.\",\n \"EXT. WHITEOUT - SECOND LINE - CONTINUOUS Carrie lurches forward, holding the line with one arm. Finally, she bumps into something. It moves. It turns to face her. IT'S THE KILLER AGAIN. He swings. She deflects the blow with her free arm, and manages to grab the axe head. The killer tears the axe free, taking Carrie's glove with it. He swings again, but Carrie pulls hard on the rope, throwing him off balance. The axe cuts through the line. The killer hits the ground, and is immediately ushered away in the wind, as Carrie, clinging to the rope, slides over the ice like a pendulum. The line goes tight ; she's jerked to a stop. It takes everything she's got to get to her feet. She slowly struggles up the line.\",\n \"EXT/INT. STORAGE SHED - CONTINUOUS More dead than alive, Carrie stumbles against the door and grabs the wheel - lock with both hands. Unable to bend the frozen fingers of her left hand around the wheel, she struggles to turn it. Finally it gives. The door swings wide and she stumbles in. But she's caught ; her bare hand frozen to the metal. Ripping it free, her SCREAM is lost to the wind. Carrie falls, collapsing against the door. Blackout SMASH CUT TO\",\n \"INT. MOTEL 6 - BATHROOM - NIGHT (CARRIE'S MEMORY HIT) A single bulb above casts a cone of light down onto Carrie, who's leaning against a sink, staring at herself in a mirror. She looks stressed. Her Marshal's badge dangles around her neck. Wears a shoulder harness. The bathroom door behind her is open. She catches a REFLECTION of a shadow moving across the room behind her. Body tenses. As she turns - CARRIE Jack? No answer. She withdraws a 9mm from her harness - eases toward the door. Gun ready, she rolls her back around the jam - WHAM! Carrie's blindsided by a fist that drives her into the other door jam. Before she can recover - a guy, dark eyes, unshaven, grabs her by the hair and runs her head first into the bathroom mirror. SMASH. It's brutal. Shards fall into the sink, as Carrie's RIGHT TEMPLE goes bloody. She drops to the floor - CARRIE'S POV - A BLURRY FIGURE stands over top of her. She's still got some fight in her - hands lash out in a frenzy, like a cat in water. CARRIE -LRB- cont'd. -RRB- Jack! DELFY O.C. Wo wo wo. It's okay, it's okay. The figure materializes around her. It's Delfy, holding her down. Carrie slowly settles, then she's out again.\",\n \"INT. OPERATIONS ROOM - VOSTOK - LATER She's lying on a table, wrapped in blankets. An old, WRINKLED FACED RUSSIAN MAN slowly lowers her wounded hand - pale white and missing some skin, back into a tray of water next to her. Her silver ring glistens under the florescent lights. A HUGE BRUISE runs across her arm. CARRIE What happened? DELFY When you did n't come back - we went looking for you. Found a dead guy in the other building - that Mooney? CARRIE Yeah. Someone got to him before I did. Then went after me. -LRB- BEAT. -RRB- How long was I out? DELFY A couple hours. Carrie's eyes drift to the old man next to her. DELFY -LRB- cont'd. -RRB- He's been looking after you. He flashes a smile of crooked, yellow teeth. CARRIE Thanks. As she starts to sit up, he protests, saying something in Russian. She ignores him. He walks away, mumbling something else. She sits up. Lifts her hand out of the water - fingers are slow moving. CARRIE -LRB- cont'd. -RRB- I need to get back in there.\",\n \"INT. OUTLYING BUILDING - HALLWAY - DAY Delfy and Carrie, with her hand bandaged, both slice the dark with flashlights. She's starting to get her bearings back. DELFY Whoever it was, could have flown out after the storm broke. They walk a few silent beats, then - DELFY -LRB- cont'd. -RRB- Who's Jack? It's a moment before she responds - CARRIE Let it go, Delfy. He lets it go. THEY ENTER THE LOUNGE Same as before. Carrie goes to the over - turned sofa. Moves her light around - searching. Passes over the blood on the floor. DELFY Until I met you, I had n't seen any dead people. Now I'm at two. Carrie gets on her knees - looks under the sofa. Low angles her light. Something reflects. Reaches in. Retrieves her baton -\",\n \"INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER Just as Carrie and Delfy leave the lounge, her perifocal vision picks up a wisp of light from a flashlight, which bled out from a door's threshold halfway down the hall. Delfy's eyes go wide - Carrie's finger goes to her mouth - Shhhhh. She instinctively pulls her baton with her left hand, but it hurts. She shifts it to the other. She turns off her light. Delphy does the same. Motions for him to stay put. She heads to the source, keeping her baton ready and her back tight to the wall. Gets to the edge of the door. It's open just slightly - looks in. Sees a man in an ECW jacket with his back to her, holding a flashlight in one hand and digging through a duffle bag with his other. Items are strewn. Another bag has been completely turned inside out. She enters. Baton cocked. CARRIE Unless you want your head cracked, I would n't move. His body tenses. MAN Take it easy. CARRIE - Let me see your hands. He slowly raises them. CARRIE -LRB- cont'd. -RRB- Now turn around. He does. He's a guy in his 30's. Although he's clean shaven, there's a rugged edge about him. CARRIE -LRB- cont'd. -RRB- Who are you? Delfy comes up behind her. MAN Robert Pryce. I'm a United Nations observer for the Oceanic and Antarctic section. If you relax, I've got my ID. CARRIE Let's see it - slowly. As he reaches into his liner - PRYCE You must be Stetko - This throws her. PRYCE -LRB- cont'd. -RRB- I was heading to ASB to talk to you about Weiss when I was told you had come up here. He holds out his ID for her. As she reads - CARRIE How do you know about Weiss? PRYCE FBI notified us. Your base commander called it in. Carrie lowers her baton. He stands. PRYCE -LRB- cont'd. -RRB- I thought I might find answers in his gear, but there's nothing here but clothes. CARRIE This is part of a crime scene. PRYCE I realize that, but considering the time constraints we're up against, let's be honest, taping and bagging everything is n't going to be an option. CARRIE I'll be sure to let the U.N. know if I find out anything. She starts to walk away - he follows, he's not done at all. Delfy brings up the rear. PRYCE You heading out to Delta One One? CARRIE Maybe. PRYCE I'll grab my bag. She stops. CARRIE Do n't take this personally, but I do n't need your help. PRYCE If they've been digging out there, that's a direct violation of the United Nations treaty. We think they were digging. That makes it my business. This stops her - digging? CARRIE You do n't dig for meteorites. PRYCE And you do n't get killed for them either. This is now a U.N. matter. I am within my rights to commandeer your pilot and plane if I have to. DELFY He can, you know. She knows and her patience is running thin. CARRIE Fine. But this is my investigation, understand? If you obstruct it in any way, I will have you detained. She continues with Pryce next to her. PRYCE Fine. -LRB- BEAT. -RRB- Mind if I ask you a personal question? CARRIE No, but I have the feeling you're going to anyway. PRYCE Why do you smell like suntan lotion?\",\n \"INT. VOSTOK - CORRIDOR - DAY Carrie and Delfy are heading toward the Ready Room. She has her phone to her ear. Two Russians trail behind with Mooney in a bodybag. CARRIE Murphy, listen to me, it's got to be Rubin who tried to kill me. You have to shut down flights leaving ASB and McMurdo - search for him. MURPHY -LRB- V.O. -RRB- That's not possible. We're still bringing people in and resupplying other bases for Winter - over. She thinks about it - CARRIE Sam, I think these guys found something out there at the camp. I'm going to check it out. Until I find Rubin, no one leaves the ice. Not yet. She clicks off. Carrie opens the door to the ready room to find Pryce standing there with a gear bag - typing into a PDA -LRB- Treo type -RRB-. PRYCE We ready? CARRIE Guess so. He finishes entering his text into the PDA. Sends. Puts it away.\",\n \"EXT. OTTER - DAY Delphy flies the plane over a labyrinth of deep, blue crevices.\",\n \"EXT. CAMP DELTA ONE ONE - DAY Delfy's Twin Otter has landed beside the camp. There are TWO BIG TENTS and some scattered equipment - a SNOWCAT, a CHEST of TOOLS, DRUMS of GASOLINE. The sky is dark with clouds and the wind MOANS. A haze of wind - driven snow whips by. Carrie, Pryce and Delfy climb out from the plane and make their way toward the tents. Place looks deserted. CARRIE What time is it? Pryce glances to a watch strapped to the outside of his jacket. PRYCE Two thirty. CARRIE A.M. or P.M? PRYCE A.M. CARRIE Wonderful. -LRB- re : tent. -RRB- I'll take this one. She moves toward tent one, Pryce the other.\",\n \"EXT. FIRST TENT - DELTA ONE ONE - CONTINUOUS Carrie peers in. It's too dark to see anything. She goes to pull out her flashlight with her left hand - stops herself. Reaches in with her right, extracts it from her pocket. Turns it on.\",\n \"INT. FIRST WORK TENT - DELTA ONE ONE - CONTINUOUS Her FLASHLIGHT BEAM plays over a litter of personal effects, then picks up a TRAIL OF BLOOD leading to a cot between two others. Someone is huddled in a yellow sleeping bag on it. Her body tightens. CARRIE Rubin? She steps into the tent. Moves to the cot. There's a pool of blood underneath. Her heart pounds. She uses her flashlight, touches the sleeping bag. It does n't move. She pulls at it. and discovers A PAIR OF ECW PANTS - the LEFT LEG is soaked in blood. No corpse. She steadies her breathing. She pulls out a small baggie from her pocket. Uses the end of the flashlight to chip away a frozen blood sample from the pant leg. Puts it in the baggie. Takes out her camera next. Starts snapping. Flash goes off.\",\n \"INT. SECOND WORK TENT - DELTA ONE ONE - RIGHT AFTER Carrie enters with Delfy. Place is lit by a single dim bulb. This is a work space ; two tables, instruments on top. Sample containers piled everywhere. Numerous photos of meteorites are stuck to a board. She finds Pryce reading the crew's DAILY LOG. PRYCE Anything? CARRIE Someone's left leg took a hit, lost a lot of blood. What do you got? PRYCE Their daily work log. Delfy's drawn to a BIZARRE LOOKING PIECE OF EQUIPMENT ; it's a red box on wheels with a handle like a lawn mower. A circular antennae sprouts from the front of the box. DELFY Looks like my dad's old lawn mower. PRYCE It's ground penetrating radar. Carrie moves over to a table with a MAP SPREAD OUT ON TOP. The ice field is marked off into sections. CARRIE Looks like they were surveying sections at a time. PRYCE Areas labeled? CARRIE Yeah - He's flipping back and forth through the pages - PRYCE At Sections 101 and 102, they spent one day. Carrie finds them on the map. PRYCE -LRB- cont'd. -RRB- 103 two days. Carrie finds it. PRYCE -LRB- cont'd. -RRB- 104 - seven days. That was a month ago. They look at each other. Carrie finds it on the map as Pryce moves up next to her. CARRIE Looks like they hit some really big meteors. PRYCE How far? CARRIE About four miles. PRYCE Let's go see what they found. CARRIE I want to check something out first.\",\n \"INT. TWIN OTTER - SIDE CARGO DOOR - DAY Carrie has Mooney's bodybag unzipped and is examining his left leg. No cuts. No blood. She thinks on this non - discovery for a moment, then zips it back up.\",\n \"INT. SNOWCAT - DAY - RIGHT AFTER The CAT'S tracks CLANK and CRUNCH as it powers across the featureless ice - the loneliest place on earth. Pryce is in the backseat, Delfy is driving. Carrie is next to him with the map and her GPS in hand. She stares at a tiny blinking red light on the GPS -\",\n \"EXT. HOTEL 6 - LOBBY - NIGHT (CARRIE'S MEMORY HIT) FLASHING POLICE REDS reflect off the glass of the front doors of a hotel. Several squad cars are nosed up to the entrance. Patrons and bystanders are perched in various locations, watching as A HANDCUFFED Carrie is escorted outside by two uniformed officers. Her eyes are full of tears. She's put into the backseat of one of the cars. As the door closes, she stares out the window where Coroners are loading a body under a sheet into the back of their truck. BACK TO SCENE\",\n \"INT. SNOWCAT - DAY Delfy's looking at Carrie like he's waiting for an answer. DELFY I said `` which way?'' She glances to the GPS. CARRIE North. Pryce sees Carrie pause for a moment, massaging her gloved left hand. PRYCE Hurt? CARRIE Yeah, a little. He can see it aches more than she's letting on. PRYCE How long have you been down here, Marshal? CARRIE Almost two years. PRYCE What brought you to the ice? She pauses, humored. CARRIE -LRB- SARCASTIC. -RRB- The excitement, mostly. PRYCE Everyone down here is running away from something. CARRIE Some shrink tell you that? PRYCE Yeah, and that I should call my mother more often CARRIE And do you? PRYCE Every Sunday. CARRIE Where do you plant your boots? PRYCE They got me working out of Christchurch, New Zealand. Beautiful country. But this - crazy place to make a living. She takes a moment, gazing out the window to the endless landscape of white. CARRIE I came down to fill in for a Marshal for six weeks before Winter - over. I met someone, decided to stay. PRYCE He give you that ring I saw? Tell you he was going to marry you? CARRIE No - just gave me a headache. -LRB- BEAT. -RRB- I did n't see a ring on your finger. PRYCE Flattered that you even looked. A faint beeping noise emanates from her GPS. CARRIE This is it. All eyes go ahead as they drive on. Looking. Nothing but an icy plateau. After a couple of beats - CARRIE -LRB- cont'd. -RRB- Stop. DELFY There's nothing here. CARRIE Just stop. Delfy pulls to a stop. They exit the cat.\",\n \"EXT. ICE FIELD - DAY All three get cold - cocked by an invisible wind. Carrie steps away from the Cat. Pryce does too. Her eyes scan the ice with cool appraisal. It's completely flat. Desert like. PRYCE You sure this is right? CARRIE Section 104. These are the coordinates. DELFY Maybe you wrote them down wrong. Carrie ignores him. Walks further away from the cat. Ice CRUNCHES UNDER HER FEET as she keeps looking - then, she stops. Something's not right. Looks DOWN. Kneels to the ice. Scoops some up. Checks it out. Perplexed. Pryce approaches from behind. CARRIE This is shaved ice. She gets to her feet. Walks further - her eyes now paying close attention to the texture of the ice. After a dozen steps, texture changes. Ice is now smooth - like it's supposed to be. She turns around. Tries to get the bigger picture. Looks at the ground all around her. Realizes a large area has been blanketed with shaved pieces of ice a few inches thick - CARRIE -LRB- cont'd. -RRB- They were digging, Pryce. And they tries to spread the ice to hide it. She heads back across the area. Scans the horizon. Takes another step forward. WHOOSH! In an instant, Carrie's gone! DISAPPEARS below the ice. Only a four foot wide hole remains, that was covered up with a white, iced - over tarp. Pryce and Delfy move toward her - each hesitating slightly, unsure of their own footing. Pryce gets to the hole. Looks down. Carrie is precariously dangling in an ICE SHAFT that slopes at a slight angle. She's managed to grasp a protruding piece of ice, but she's fighting the pain in her left hand to hold on. It slips off. Below her - nothing but darkness. CARRIE -LRB- cont'd. -RRB- Grab me! Pryce lays flat. Reaches his hand down - six inches too short. Delfy appears from behind. PRYCE -LRB- to Delfy. -RRB- Hold my legs! Delfy does. Pryce inches closer. CARRIE I'm slipping! PRYCE Almost got you. CARRIE I'm losing my grip. He gets closer. Closer. Moves to within an inch from hers - - She SLIPS. Falls away. Things become silent. PRYCE Carrie? Can you hear me? Delfy peers over Pryce's shoulder into the abyss. DELFY -LRB- YELLING. -RRB- Marshal? CARRIE -LRB- O.C. -RRB- I'm okay. DELFY Saw a rope in the Cat. Delfy springs to his feet.\",\n \"INT. ICE SHAFT - SAME Darkness. A flashlight clicks on. Reflects off a wall of ice with a frozen blood trail leading up. Carrie gets to her feet. Sees that she's in a small dug out area. As she slowly turns to get her bearings, her light falls on an ESCAPE HATCH of some kind, maybe three feet high. Carrie shines the light to her feet. The ground beneath her is metal.\",\n \"INT. ICE SHAFT - RIGHT AFTER Pryce, with a flashlight in hand, lowers himself down a rope to the bottom of the shaft where Carrie waits. Delfy follows. Both take in the discovery. Carrie moves over to the hatch. Pulls on it. Opens easily. She and Pryce hit the interior with their lights. Find themselves staring into. AN AIRPLANE!\",\n \"INT. CARGO BAY - CONTINUOUS Off their lights - every surface scintillates with ice crystals from the frozen atmosphere, undisturbed except for recent tracks of footprints filing in and out - they go forward and aft, disappearing into darkness. Place is tomb silent. Twisted, and strewn with large containers scattered at odd angles - victims of an intense IMPACT. The plane is pitched up at the nose, making their footing precarious. CARRIE Cargo plane, but I do n't recognize it. DELFY It's an Antanov - 74. Russian made - late fifties. No one's put these in the air for forty years. Carrie shuffles her way forward into the darkness, heading for the cockpit. Something BRUSHES her leg. She spins. Shines her light - which illuminates a HAND, fingers in a clawed position - as if in excruciating pain. She whips her light past the hand, up the arm - captures the FACE of a man staring at her! It takes a moment to realize - he's dead, pinned between two large metal crates. Delfy stands still. Staring. Carrie throws a look back over her shoulder - CARRIE Guess that makes three. She continues on with Delfy staying close. Her light targets the cockpit door. It's closed.\",\n \"INT. COCKPIT - RIGHT AFTER Carrie pushes the door open. The beam of her light reveals frozen blood SPLATTERED across a SHATTERED WINDSHIELD - chunks of ice protruding through it. Continues over three dead men in flight suits still strapped into seats, their broken bodies and ghastly expressions perfectly preserved. Each have a sidearm holstered around their waist. DELFY This is n't funny - She looks back to Delfy - gets confused. CARRIE Where's Pryce?\",\n \"INT. CARGO BAY - RIGHT AFTER Trailing her beam of light, Carrie and Delfy climb through a thick wall of nylon webbing. Enter a cluttered cargo area. Ransacked Antarctic gear is strewn everywhere in a tangle of ropes and crampons, old ECW gear, and boxes of supplies. Dipping into a case of bottles, Delfy pulls one free, sniffs, and drinks. CARRIE What is that? Delfy grins. DELFY Vodka. Carrie continues through the hold. Her FLASHLIGHT BEAM flickers over more chaos of the crash. HUGE STEEL TANKS TAKE UP MOST OF THE MID - SECTION. Spots Pryce's flashlight holding on something just ahead. Moves to it. CARRIE -LRB- SUSPICIOUS. -RRB- Find what you're looking for? Her light hits Pryce, who is focused on a HEAVY STEEL CAGE WELDED INTO THE AIRFRAME. Incredibly strong. And inside it is a STEEL SAFE. Door is open. Pryce takes a beat - turns to she and Delfy. PRYCE Just answers. -LRB- BEAT. -RRB- Those are fuel tanks behind you. This plane was outfitted for long range capabilities. CARRIE And by the looks of that safe, must've been transporting something pretty important. Carrie moves in closer. Sees that the cage has been breached. Part of it has been damaged by the crash and this weakness has been ruthlessly attacked by the previous intruders until they forced an opening. Discarded tools litter the floor. PRYCE They put some serious work into this. There's a pool of frozen blood near the opening - where one of the torn, jagged bars of the steel cage is covered in blood - CARRIE Whoever got hurt, they dragged him out of here. There's blood all over the tunnel. She uses her light to examine the interior of the safe more closely - the frost on the shelves exposes SIX ROUND RUST RINGS where containers have been removed. Each one roughly measuring a foot tall, four inches wide. The PLANE SUDDENLY TREMBLES. CARRIE -LRB- cont'd. -RRB- What is that? The muffled ROAR of a diesel. DELFY It's the Cat! CRASH! - the unmistakable sound of FALLING ICE. CARRIE Go! CRASHCRASHCRASH! More ICE. They scramble back through the darkness, the flashlight beams swinging wildly about the hold. MORE ICE FALLS. It's getting louder as they're getting closer to the source. Carrie targets ahead with her light - illuminates the hatch as A LOAD OF ICE DROPS IN covering it completely. Light fades. DELFY Sonofabitch! The continual sound of falling ice grows MUFFLED and DISTANT. Carrie and Pryce both pull out their phones. CARRIE No signal, you? Shakes his head no. CARRIE -LRB- cont'd. -RRB- Someone followed us.\",\n \"INT. PLANE - AT THE HATCH - LATER CHIPCHIPCHIP! Ice is flying. Things are desperate as a single flashlight beam propped up on a crate, illuminates Carrie, Delfy and Pryce hard at it - frantically chopping away at the ice filled hatch with pieces of scrap metal from the plane. Efforts are big - but the progress minimal. PRYCE This is n't going to work, it's like digging through concrete with a spoon. -LRB- BEAT. -RRB- We're going to suffocate before we get out here. CARRIE How long do you figure we've got? PRYCE Three of us down here - 12, 15 hours at the most. Delfy looks at him with the intensity of a trapped animal. DELFY No way. I'm not going out like this. No way. The light from the flashlight slowly begins to fade. Carrie goes over to the crate, slaps it against her leg, trying to get more juice going. Still fading. Light goes out - - Screen goes black. Ca n't see a thing. A second later, ANOTHER LIGHT KICKS ON - Pryce is holding it. Hands it over to Carrie - DELFY -LRB- cont'd. -RRB- And when that one goes - we're screwed. Carries mind whirls with her lack of options, then - CARRIE What about the Vodka - we could make some torches, maybe melt the ice? PRYCE Fire will burn the O2 quicker. CARRIE What choice do we have? Pryce knows she's right. Delfy looks to them both. Desperate. DELFY Do n't need my vote. Pryce heads to the back, his body becoming barely visible in the dissipating range of light. Carrie takes a six - inch, pearl handled Buck knife from a pocket, unfolds it - starts cutting the liner of her coat. Delfy moves to a nearby wooden crate. Goes to lift it, but it's frozen to the floor. Stomps on it. It breaks. Pulls pieces from the siding for torch sticks. Pryce comes back with a couple bottles. Stops dead in his tracks. Carrie looks over to see him staring at two LIFE JACKETS attached to the wall near the hatch. He's thinking. He moves to Carrie - PRYCE Hold these. He exchanges the bottles for her flashlight. He shines the light to the ceiling as he heads toward the back, leaving Carrie and Delfy getting swallowed in the dark. CARRIE What're you doing? PRYCE All these planes used to have bail - out hatches. CARRIE We came in through it. Pryce goes back into the cargo area. PRYCE -LRB- O.C. -RRB- Has to be more than one. DELFY It'd be on the ceiling in case of an ocean landing. Carrie watches Pryce's flashlight moving about in the cargo area of the aircraft. PRYCE Found it! Carrie and Delfy get to Pryce. They follow his beam straight up to expose an ESCAPE HATCH in the roof of the fuselage. PRYCE -LRB- cont'd. -RRB- With the angle of the plane, I do n't think we're that far from the surface. Give me a hand. Pryce moves to a large crate - starts to push it over. They join, sliding it over below the hatch. He jumps up onto it - examines the hatch area. PRYCE -LRB- cont'd. -RRB- These are explosive bolts. If we blow the hatch, maybe it'll smash a hole up through the ice. CARRIE Or, if the ice is too thick the blast will come right back at us. PRYCE We can be blown up, suffocate or freeze to death. Take your pick. Pryce hands Carrie the flashlight. She targets the hatch area as he opens an electrical panel beside it ; a crisscrossing maze of wires. As he reaches up to examine the wiring, Carrie catches a GLIMPSE of a SHOULDER HARNESS under his liner. PRYCE -LRB- cont'd. -RRB- This could work - give me the battery from your phone. As he looks down, Carrie masks her discovery. Hands over her phone. He extracts the BATTERY. PRYCE -LRB- cont'd. -RRB- When I connect these two wires, hopefully there's going to be a big bang. May want to take some cover. Pryce is nervous himself as he places one selected wire onto the battery, and prepares for another. He looks to Carrie and Pryce who have backed up against the fuselage. PRYCE -LRB- cont'd. -RRB- You guys ready? Delfy nods. Carrie is still running that shoulder holster through her head. Pryce touches the last wire to the battery. Nothing happens. Hope freezes. Pryce tries again - - KA - BOOM! The hatch EXPLODES INWARD, ricocheting around the inside of the cargo hold like a giant bullet coming in and out of their light. SLAM, SLAM, SLAM, until. WHAM, it buries itself edge - on, halfway into the fuselage, missing Carrie by a hair's width. They stand there, deafened and stunned, then a shower of ice rains into the plane where the hatch used to be and a THIN SHAFT OF LIGHT DROPS into the cargo bay like a gift from God. DELFY Hallelujah - Pryce drops down. Moves to another crate. PRYCE Delfy, help me with this. We'll need to get up higher. Delfy moves forward to help. The two of them push it over. It's a strenuous lift to get it on top of the other. Just as they finish, Pryce turns to find himself facing Carrie holding one of the RUSSIAN'S GUNS TO HIS FACE. CARRIE Do n't move. Pryce stares at her in disbelief. PRYCE What's going on? DELFY Yeah - what're you doing? CARRIE Our friend here is n't who he says he is. She reaches into Pryce's liner, pulls out his sidearm from the shoulder holster. Switches it with the one in her hand. Puts the Russian gun in her coat pocket. CARRIE -LRB- cont'd. -RRB- Did n't you know it's a direct treaty violation to carry a firearm down here? PRYCE I've been authorized because of what's happened. CARRIE Stop lying to me - She takes out her handcuffs. CARRIE -LRB- cont'd. -RRB- Delfy, cuff him to the wall. She holds out the cuffs. PRYCE Do n't do this. DELFY Man, the guy just saved our lives. CARRIE He was saving his own. Do it. Delfy takes the cuffs from her. Cuffs Pryce to some exposed piping. Carrie lowers her gun. CARRIE -LRB- cont'd. -RRB- You know what was in that safe. -LRB- BEAT. -RRB- Now, who are you? She sees a moment of contemplation on Pryce's face - CARRIE -LRB- cont'd. -RRB- I swear I'll leave you here to die. Beat. PRYCE CIA. CARRIE Have you got an ID for that too? PRYCE Listen to me - Forty eight hours ago, we picked up chatter between someone down here and Tahir Soufian, a black market trader in New York. It was all about setting up a buy for cannisters found in an old Russian transport buried in the ice. DELFY Damn, I knew that government eavesdropping was true. PRYCE There's been rumors for years that the Russians had a second base - a secret weapons research facility under the ice that supposedly blew up in the late sixties - nothing was ever confirmed. The fact is, before the treaty in ` 72 they were strip mining all over the place down here - we believe for uranium and other specialized minerals for weapon's use. It was the Cold War. No one knows half the things the Russian's were up to. This plane could be the link between rumor and truth. And if it is true, what's in those cannisters could be a prelude to another terrorist attack. CARRIE Why did you lie to me? PRYCE Look, the U.N. carries a lot of weight down here. Think about it - if I had told you I was C.I.A., you would have been on the horn back to Washington in no time. This is a very sensitive matter. News travels fast down here, I do n't have to tell you that. -LRB- BEAT. -RRB- Besides, I did n't know if I could trust you. Carrie wrestles with her emotions. She looks back towards the open safe, the blood staining the airplane floor. Makes a decision.\",\n \"EXT. SURFACE - DAY Delfy wriggles out from the hole. He reaches back. Helps Carrie to the surface. Pryce follows. They look around. The weather has deteriorated - the sky is dark with fast moving clouds. The wind is HOWLING. The Snowcat is parked over the hole, blade lowered. Delfy runs over, jumps onto the CAT. Looks inside the cab. DELFY Keys are still in it! Carrie notices a single set of an airplane's ski tracks in the distance. CARRIE Plane could've gone anywhere. There's forty - six countries here all counting down to Winter - over. Rubin could just disappear in the mayhem. Delfy starts up the Cat. Carrie pulls out her Nextel as Pryce takes out his PDA. She depresses the walkie button - makes her way to the Cat. CARRIE -LRB- cont'd. -RRB- Rhonda? Walkie crackles. RHONDA -LRB- V.O. -RRB- -LRB- PISSED. -RRB- Where the hell are you? CARRIE Heading back. How many fly - ins to McMurdo in the last four hours? RHONDA -LRB- V.O. -RRB- You expect me to - CARRIE -LRB- SNAPS. -RRB- - How many? RHONDA -LRB- V.O. -RRB- Fifteen. CARRIE I need a list of names. Carrie clicks off. DELFY You think Rubin might try to leave out of McMurdo? CARRIE He knows I'm on his ass, so he might. Anything's possible. I want to eliminate his options. She massages her gloved hand. Looks to Pryce who's talking on his PDA as he heads toward the Cat. PRYCE -LRB- INTO PHONE. -RRB- Six cannisters, maybe four inches in diameter, about a foot high - find out exactly what the Russians transported in something that size. He looks to Carrie - PRYCE -LRB- cont'd. -RRB- You have a photo of Rubin anywhere? CARRIE Back at ASB - PRYCE -LRB- to Delfy. -RRB- How long to get there? DELFY When we get back to the plane, I'll get ya there in forty minutes. As Pryce climbs into the cat -\",\n \"INT. SNOWCAT - CONTINUOUS And slides into the back - PRYCE -LRB- into phone. -RRB- I'll scan a picture of him and get it to you. Meanwhile, contact every non - American base down here and put them on watch. He's got some plan to get these off the ice. He hangs up. Carrie climbs in - looks back at the plane's ski tracks. CARRIE I know why Weiss was so far from Delta One One. Pryce and Delfy wait for the answer. CARRIE -LRB- cont'd. -RRB- He was dumped from a plane. She closes the door to the Cat.\",\n \"INT. CORRIDOR - ASB - DAY Carrie strides along the corridor with Pryce. They pass a window where we see that an LC - 13O EVAC PLANE is parked out front - it's tail section open like the mouth of a massive beast. Move past several people, balloons and ` Eve of Evac' signs. Pryce sees Carrie really cradling her left hand, now. PRYCE You need to get that looked at. CARRIE I'll have the Doc take a peek when we're done. Dinkle's pulling a DUFFLE BAG toward them. Sees Carrie and Pryce about to head up some stairs. DINKLE Murphy's looking for you. Carrie stops. CARRIE Murphy? What the hell is he doing HERE DINKLE Came in on the evac. She pulls Dinkle's two - way off his hip. Hands it to Pryce. DINKLE -LRB- cont'd. -RRB- Hey - I do n't turn that in, I have to pay for it. Carrie ignores him. CARRIE I'm on 30 if you need me. Rubin's picture is in a file on my desk. Dinkle shoots Pryce the stink eye as he walks away - DINKLE Make sure I get that back. PRYCE Of course. Pryce heads up as Carrie continues on down the main corridor.\",\n \"INT. OPERATION CENTER - ASB - DAY Murphy and Rhonda are standing next to the COMMS TECH, who is sitting in front of his COMPUTER. The screen revealing the SATELLITE IMAGERY of the storm It's grown and moving closer to ASB. TECH It's packing winds of a hundred thirty knots. Murphy looks stressed. MURPHY Shit - we've got to move up the evac. RHONDA How much? MURPHY Six hours at least. RHONDA Jesus, I got crew that's still not in. MURPHY Then get them in! Rhonda is thrown off by his tone - CARRIE -LRB- O.C. -RRB- You wanted to see me? Murphy looks over. Sees Carrie coming in through the door. MURPHY Where the hell have you been? She does n't like his tone - CARRIE Buried under 2 tons of ice. You? MURPHY Do me a favor, you find any more bodies, mind not parading them down the main corridor. I've got Newbies afraid to winterover, for Chirstsake. They want out on seats I do n't have. And next time you want to take a Goddamn plane anywhere, you ask me. CARRIE Sure thing, Chief. MURPHY We do n't have enough supplies for all of us to Winter - over if we get stuck down here. -LRB- BEAT. -RRB- And you wonder why it did n't work out between us. CARRIE It did n't work, Sam, because you could n't keep your hands off every new woman who stepped foot on the ice down here. I was stupid enough to be one of them. Now if you could cut through your red tape for just one second, you would realize that someone's out there with six cannisters, possibly full of Uranium, and he wants to get it into the hands of some very bad people. And I'm trying to stop it - so fuck asking you for shit, Sam. MURPHY This is ridic - THE SOUND OF A LARGE BOOK dropping onto the floor, sends a harsh reverb across the room. DOC -LRB- O.C. -RRB- Enough! Everyone's attention goes to Doc standing at the door. He's really pissed. Glares at Murphy. DOC -LRB- cont'd. -RRB- What the hell's wrong with you, Murph? I've got bodies piling up in my lab, and she's the only one doing anything about it. -LRB- BEAT. -RRB- Why do n't you try helping her for a change? Murphy looks at Doc. Not giving in. Carrie calms down - she's had enough. CARRIE You know what Doc, it's alright. Carrie looks to Rhonda - CARRIE -LRB- cont'd. -RRB- You got my list? Rhonda pulls it from her clipboard. Hands it to her. Carrie walks out with Doc.\",\n \"INT. MAIN CORRIDOR - ASB - CONTINUOUS A SUBJECTIVE POV - watching Carrie and Doc from behind the crack of a door as they walk down the main corridor and right by.\",\n \"INT. MEDICAL CLINIC - ASB - LATER Carrie's sitting on the edge of an examination table as Doc slowly unwraps her bandaged hand. She winces from the pain. DOC I'm worried about you. Is it going to take another attempt on your life to get you to finally slow down? She looks at him warmly - CARRIE You worry too much - but it's what I like about you. Doc smiles, continues to unravel the gauze - CARRIE -LRB- cont'd. -RRB- Doc, did you notice if Weiss had a wound on his left leg? DOC I striped him down to put him in a bodybag. There's only the puncture from the axe. No way, I would have noticed it. Why? CARRIE Then it's got ta be Rubin. -LRB- BEAT. -RRB- I do n't know. DOC Any word from the FBI? CARRIE There's no way they're gon na make it. Not with that storm coming in over the peninsula. The gauze finally comes off, revealing her middle TWO FINGERS have turned COMPLETELY BLACK along with part of the flesh of her palm. Her ring looks strangely out of place. CARRIE -LRB- cont'd. -RRB- Oh God. Doc reaches over to a nearby drawer - takes out a sterilized syringe packet. DOC Jesus, Carrie, how long did you let this go? He opens up the packet. CARRIE When did I go to Vostok? Doc puts the tip of the needle onto her blackened flesh. DOC Feel that? He pushes hard - penetrates the skin. We see the worry begin to elevate further on Carrie's face. CARRIE No. Doc tries the needle in another location. DOC Now? Slowly shakes her head. He holds her gaze evenly. DOC -LRB- cont'd. -RRB- I have to amputate your middle two fingers. CARRIE -LRB- STUNNED. -RRB- No way. Do n't tell me that. DOC The fingers are dead, Carrie. If I do n't do it now, gangrene will set in. You'll lose your hand. Carrie is sickened. DOC -LRB- cont'd. -RRB- I'm sorry.\",\n \"INT. MEDICAL CLINIC - LATER Carrie sits in sullen silence, the room dark around her. The only light bounces in from a sterile, draped area where Doc works on her hand. She ca n't watch as his CURVED SUTURE and thread, rises and falls with every stitch he makes. Carrie has her attention on BLOODY GAUZE piled up in a tray - SMASH CUT TO CARRIE'S MEMORY HIT : AN IMAGE SHE SAW EARLIER : The well defined chest of a man wearing a T - shirt. A BULLET HOLE oozes dead center. This time we stay there a little longer, watching the T - shirt absorb the blood around the wound. As the stain widens, so does the camera. slowly. bringing into picture THE MAN Carrie shot. He's wearing a MARSHAL'S BADGE around his neck. DOC -LRB- O.C. -RRB- There, finished. BACK TO SCENE Carrie looks at him, sullen, afraid to look down. Then slowly lets her eyes drift to her hand. DOC -LRB- cont'd. -RRB- It's going to be an adjustment. He rises. Goes to a medicine cabinet. Selects a pill bottle. Shakes it. Only a couple inside. He returns with the pill bottle. DOC -LRB- cont'd. -RRB- Should ease the pain. I'll look around, dig some more up for you. She stares at the vacant spot where her fingers used to be.\",\n \"INT. CARRIE'S BEDROOM - ASB - DAY Carrie's bag is open on the bed with the Russian's gun next to it. She's trying to put on a clean flannel over a T - shirt, but ca n't button it up with only one hand. Her frustration mounts as she fights back every bit of emotion that's trying to get out. She finally gives up - kicks over a nearby chair that sweeps the stuff off her bed. Bag and gun go flying. Carrie slumps to the floor. Silent tears. After a beat - she notices Pryce standing in the doorway with some PAPERS in his hand. He's looking at her compassionately. PRYCE I stopped by the clinic. Doc told me. Carrie nods, pulling herself together, swallowing her emotion. CARRIE Pretty tough Marshal, huh? He enters. Holds out her ring for her. CARRIE -LRB- cont'd. -RRB- -LRB- holds up hand with missing ring FINGER. -RRB- If you came to propose, now's not really a good time. He joins her. Hands over her ring. Takes a seat next to her. CARRIE -LRB- cont'd. -RRB- Anything? PRYCE Got Rubin's face all over Antarctica, but nobody's seen him yet. They sit in silence together for a moment. Carrie sees the Russian pistol that's ended up on the floor close by. Picks it up. Examines it like a relic. CARRIE You ever kill anyone? PRYCE Unfortunately. CARRIE Anyone you ever trusted? PRYCE No. Beat. CARRIE I had n't held a gun in my hand for over two years. -LRB- LAUGHING. -RRB- Was n't supposed to need one down here. She looks at him - CARRIE -LRB- cont'd. -RRB- You asked what I was running away from. I came down here to forget my partner, Jack. Thought it would be better than any therapy. PRYCE What happened? CARRIE We were on a stakeout at a Holiday Inn in Miami, waiting for this buy to go down. I was excited, we'd been after this trafficker for a long time. Thought this bust would be my big chance to impress the brass. Anyway, guy's a no show. One hour went by, then two - nothing. Then Jack starting acting strange. Next thing I knew my face was being rammed into a mirror. My own partner was trying to kill me. Turns out the whole bust was a set up from the start. Jack was dirty, working with the guy we were after. Beat. CARRIE -LRB- cont'd. -RRB- Four years together. I knew things about him that his wife did n't even know. -LRB- BEAT. -RRB- But he was my partner and I killed him that night. There's no changing that. Pryce takes it all in. Not the story he expected. CARRIE -LRB- cont'd. -RRB- Marshall service cleared me - ruled it self - defense, but I had a real hard time getting over the betrayal - how little my life meant to a guy I was willing to take a bullet for. Carrie shifts in her chair. Leans forward. CARRIE -LRB- cont'd. -RRB- Know what the kicker is - Jack thought I was close to figuring him out. Thought this hotel room was the best place to get rid of me - make it look like a bust gone bad. Truth is, I had no idea. -LRB- ANGRY. -RRB- God, I was young and stupid, and in way over my head. She stands. Pryce joins her. CARRIE -LRB- cont'd. -RRB- You asked me why I smell like suntan lotion - Jack wore Aramis, this cheap after - shave his wife gave him. Some of the guys down here wear it - suntan lotion is the only thing that keeps me from smelling it. She notices the papers he's holding ; faxed photos of THREE DIFFERENT TYPES OF CANNISTERS WITH RUSSIAN WRITING ON THEM. CARRIE -LRB- cont'd. -RRB- What do ya got there? He shows them to her. One - by - one. PRYCE It's what the Russians used to transport weapons grade materials in. They match the dimensions inside the safe. We're looking for six of these. As Carrie studies them - PRYCE -LRB- cont'd. -RRB- Langley's thinking it might be Hexafluoride, which is a derivative of Uranium. It's a component for nuclear detonation. CARRIE These beakers where really in over their heads. The RADIO on Pryce's hip - crackles. RHONDA -LRB- V.O. -RRB- Dinkle, it's Rhonda - Pryce smirks. PRYCE I better get this back to him. And we have to find Rubin. CARRIE Think you can you help me with these buttons, first? PRYCE Sure. He moves closer. Starts to button her up. PRYCE -LRB- cont'd. -RRB- For what it's worth - I think you're pretty tough, Marshall.\",\n \"INT. MARSHAL'S OFFICE - ASB - RIGHT AFTER Carrie enters. Light streaming in through the window hits her tired face. She reaches for the light switch on the nearby wall - - A HAND GRABS HERS - - AGGRESSIVELY YANKS her away from the open door. It's kicked closed as she's drawn backwards into a man's embrace. A knife's brought to her neck. MAN -LRB- raspy, deep. -RRB-. You Stetko? Carrie nods - slides her hand toward her pocket. MAN -LRB- cont'd. -RRB- Do n't. She stops. CARRIE Who are you? He slowly turns her around to face him. - it's Rubin, but he looks beat to shit. Deep cracks slice across his bloody, chapped lips. Peeling skin flakes on his face. Desperate, despondent eyes. Shaky, frostbitten fingers. He's having a hard time holding it together as he can barely get the words out. RUBIN - Did Mooney talk to you? I did n't hear from him - he was supposed to call me after you talked. Carrie's confused. CARRIE Mooney's dead. His eyes well. RUBIN No. CARRIE And so's Weiss. He nods - he knew. RUBIN And I'm next, I know it. CARRIE It's okay, you're safe, just put the knife down. His shaking hands slowly lowers it - she breathes a little easier. He sets it down on an empty book shelf next to him. CARRIE -LRB- cont'd. -RRB- Who's after you? Where are the cannisters? He stares off blankly - RUBIN Weiss did n't want to go through with it. Oh God. How did we let this happen? CARRIE Rubin - I need you to focus for me. He tries. Looks at her through tired, pinched eyes - he's trying. O.C. KNOCK. KNOCK on her door. Rubin is spooked. Glares at her - scared. Like a caged animal. DOC -LRB- O.C. -RRB- Carrie, it's Doc - got those painkillers. CARRIE It's okay, he's a doctor, he can help you. It falls on deaf ears - he goes for the knife. She tries to stop him. Rubin shoves her aside, throwing her against a chair. She topples backwards. He whips open the door, driving an unexpected shoulder into Doc, who gets nailed so hard, he goes stumbling back up against the wall behind him. Takes the wind right out of him. Pills all over the floor. Rubin dashes off down the hallway - it's an effort. Carrie appears at the door. Catches a glimpse of Rubin disappearing down a set of side stairs. CARRIE -LRB- cont'd. -RRB- You alright? Doc nods. She takes off after him, pulling her phone off her hip. AT THE STAIRS She takes two at a time - keys the two - way. CARRIE -LRB- cont'd. -RRB- Pryce - PRYCE -LRB- V.O. -RRB- Yeah? CARRIE Rubin's here! He's on the run. Level one. White T - shirt. Jeans. BOTTOM OF STAIRS - LEVEL ONE As Carrie comes off the stairs - looks left - there's three guys carrying boxes out of a room. Snaps a look to the right - - Rubin's at the far end, slipping through a doorway that leads into an INTERCONNECTING TUNNEL to another part of ASB. CARRIE -LRB- cont'd. -RRB- -LRB- into walkie. -RRB- He's heading for the Science Lab. Carrie kicks it into high -\",\n \"EXT. ASB - OUTSIDE CONNECTING TUNNEL - SAME A SUBJECTIVE POV - catches interval glimpses of Rubin through the small windows that run along the side of the tunnel as he dashes through.\",\n \"INT. CONNECTING TUNNEL - SAME Rubin is moving through to a door at the far end as Carrie enters. It's lined with several free standing, empty bookcases. CARRIE Rubin, wait!\",\n \"INT. SCIENCE BUILDING - RIGHT AFTER Carrie enters through the connecting tunnel's doorway. Not a lot of light. Slows her pace. It's quiet. Dormant. Vacant lab stations. Room's been shut down for the winter. Eyes scan. Fall upon - - A DOOR ACROSS THE ROOM. A sign above reads : READY ROOM. She takes off again, slaloming her way around the lab stations to get to the door. OTHER SIDE OF ROOM Carrie gets to the door. Pulls on the handle. Wo n't open. Rattles. Looks in through a viewing window - sees - - a panicked Rubin inside, grabbing ECW gear off a rack mounted to the wall. A DIGITAL READOUT ABOVE THE EXIT DOOR READS : - 60. He and Carrie exchange glances. CARRIE Rubin - I can help you! He shakes his head. She tugs harder on the doors. Stuck. Looks through the window to see he's tied them together with some climbing rope. In that same instant a shaft of brilliant daylight floods half the room as the outside door is whipped open. A MAN in full ECW - stands in the doorway. He's wearing a FACE MASK and GOGGLES. Holds an ICE AXE poised, ready to strike - it's the same guy who attacked her. Rubin bolts back toward the door separating he and Carrie, but - - SWOOOSH! THE ICE AXE is buried into his shoulder, gaffing him like a fish. The pain's excruciating for Rubin, who spins on his attacker like a wild man. BULLDOZES into him, driving him back out the door. Both TUMBLE down a steep set of stairs - the exposed end of the ice axe gets stuck in a step's steel meshing on the way down - rips out of Rubin's shoulder.\",\n \"EXT. READY ROOM - BASE OF STAIRS - CONTINUOUS Rubin eats the pain as he gets to his feet. Takes off. Runs blindly with panting intensity verging on hysteria. Disappears around the contour of ASB before the other guy can get to his feet. His assailant rises. Goes back up a couple steps to retrieve his embedded ice axe, but finds it wedged so tight, it wo n't budge. Abandons it.\",\n \"INT. SCIENCE BUILDING - SAME Carrie shoulders the door, but still does n't budge. Hears FOOTSTEPS BEHIND HER. Turns to see it's Pryce. CARRIE Door's jammed - Pryce latches on to a heavy SUPPLY CART filled with beakers, micro - scopes and other gear, that's tucked against one of the lab stations. CARRIE -LRB- cont'd. -RRB- Pryce, it's not Rubin - Off his confused look - CARRIE -LRB- cont'd. -RRB- Someone's trying to kill him. Pryce picks up speed as he targets the door. Hits it like a freight train, busting it open! Cart goes crashing. Contents scatter like buckshot.\",\n \"INT. READY ROOM - CONTINUOUS The two of them are hit with icy cold coming in through the open exit door. Carrie throws a look outside - bottom of stairs are vacant. Ice axe is still there. CARRIE Shit, Rubin does n't have any gear on. Carrie immediately closes the outside door. Pryce goes for the ECW wear. Scrambles to get a coat on. Carrie joins. Same thing. PRYCE How long's he been out there? CARRIE Thirty seconds.\",\n \"EXT. ASB - RIGHT AFTER Rubin staggers as he follows a line of storage bins tucked against the base of the main building. The blood from his wound already frozen on his shirt. The cold - it's killing him. Body's shaking. The sun's reflection off the ice is blinding. RUBIN'S POV - His vision begins to cloud as the corneas are literally being burned by the intense light. He tries to shield them - has little effect. He looks over his shoulder - gets a BLURRED IMAGE of his attacker not far behind. Rubin trips. Hands go to the icy ground to protect his fall. Still hits hard. Starts to get up, but his palms are frozen to the surface. Does n't have time to care - pulls hard, tearing the skin right off. Stands. Spins around in a panicked whirl - he's lost ground. Continues to the end of the storage bins. Moves under ASB, using the enormous HYDRAULIC LIFT COLUMNS to conceal his movement.\",\n \"EXT. UNDERNEATH ASB - CONTINUOUS Up ahead - forty yards away - hope. He continues toward some storage containers and the SNOW MELTER on the other side, where TWO PEOPLE, CLAD IN ECW are finishing filling an insulated container with water from an insulated hose mounted to the Melter. A snowmobile is parked next to them. He tries to scream, but only a dull, raspy, muffled voice escapes. RUBIN Help me. The guys - oblivious.\",\n \"EXT. READY ROOM - STAIRS - DAY Carrie and Pryce, now bundled up in ECW, exit the room and head down the stairs. Split up - go opposite directions around the complex.\",\n \"EXT. UNDERNEATH ASB - SAME Rubin's pace is slowing - he's exerting himself to get to the people as they climb into snowmobile with the container. Frostbite is chewing up his lungs. He's too slow, they take off. He coughs up blood. RUBIN W. wa. wait. He turns around to check on his pursuer. Twenty feet away and closing. Rubin's eyes desperately search for some kind of weapon - anything. Sees the insulated hose on the SNOW MELTER. Heads for it.\",\n \"EXT. ASB - OTHER SIDE - SAME Carrie passes a gap between storage containers where several snow shovels are stuck into a mound of snow - through their vertical slats, SHE CATCHES A GLIMPSE OF RUBIN at the Snow Melter across on the other side of the main building. Sees the ECW guy closing in.\",\n \"EXT. ASB - UNDERNEATH - SAME Pryce is moving under ASB. Passes a hydraulic support leg. Spots Carrie on the other side moving toward Rubin. Also sees the ECW guy in pursuit. Heads toward them.\",\n \"EXT. ASB - SNOW MELTER - SAME Rubin's frostbitten hand reaches for the hose. Grabs it, but he does n't have the strength to turn it on. Throws a defeated glance over his shoulder to see - - THE VILLAIN in ECW gear right on him! Shoves Rubin against the tank. Grabs the hose from him. Turns it on - SPRAYING him head to toe. Rubin's clothes turn to ice. One eye freezes shut. Lips go cobalt blue. He tries to escape, but several stiff steps away, he slows and finally stops : a prisoner in his ice - locked clothing. The man moves to Rubin. Grabs his head, and - SNAP - breaks his neck. Rubin's body topples stiffly to the ground.\",\n \"INT. OPERATIONS ROOM - ASB - SAME Rhonda crosses the busy room. Reaches for a clipboard hanging next to the window. Something outside catches her attention. RHONDA Sam! She looks to Murphy, who is on the phone. Murphy and the others join her at the window. They see Rubin on the ground, but the Snow Melter blocks any view of the killer.\",\n \"EXT. ASB - SNOW MELTER - SAME The Killer turns to leave the crime scene and - - WHACK! He's blindsided by a SHOVEL to his head. Goggles shatter. He drops. Carrie pulls his parka hood away from his head - snaps the goggle from his face. It's KELLER! Blood trickles from the fresh wound to his head. The shovel's courtesy of Carrie, who stands over top of him. Holds the shovel to his neck like a guillotine blade. Pryce approaches. Glances to Rubin's frozen body - neck askew. Carrie is wound up. Keller's still recovering from the impact - KELLER I sh. sh. shoulda killed you at Vostok. CARRIE Where are the cannisters? KELLER Go to hell. PRYCE Wrong answer. CARRIE Help me drag him over here. They each take his jacket by the shoulder - pull him back over to the Snow Melter. CARRIE -LRB- cont'd. -RRB- Keep him still. She hands the shovel to Pryce, who puts it to Keller's neck. Carrie pulls her Buck knife from her back pocket, then whips off Keller's gloves. Tosses them aside. The cold makes him more coherent. Sees Pryce at this throat. PRYCE Who's Tahir selling it to - what's the intended target? Keller shifts his attention to Carrie, who's using her knife to SLICE open his ECW jacket and pants, exposing bare arms and legs. KELLER What're you doing, you crazy bitch? Keller instantly starts to shake. CARRIE Why did you kill those scientists, Keller? Was a four - way split too much for you? KELLER Fuck you. Carrie grabs the hose from the Snow Melter. She brutally stomps on Keller's exposed arm, douses him with water from the hose, welding his arm to the ground as it freezes instantly. CARRIE Where is the uranium? KELLER -LRB- almost smug. -RRB- You have no idea what's going on here, do you? Keller begins to shiver violently. PRYCE Hit the sonofabitch again! Carrie releases more water, freezing more of the arm. He screams. Pain is too much. He caves. KELLER The plane, they're in the fucking plane. Carrie's suddenly grabbed from behind. It's Murphy. Furious. Two other guys at his side. MURPHY Have you completely lost your mind? CARRIE Let go of me. She twists free of his grasp. Gets in Keller's face. CARRIE -LRB- cont'd. -RRB- Where in the plane? KELLER Find them yourself. MURPHY What the hell's going on? She glares at him. CARRIE The cannisters are on the plane. She looks to the guys that came out with Murphy. CARRIE -LRB- cont'd. -RRB- Throw him in the holding cell. The two guys go to Keller, but his arm is stuck to the ground. Carrie kicks it free. It's painful. Keller screams. The guys lift him to his feet. Haul him away. Murphy looks to Pryce - MURPHY Who the hell are you? Carrie looks at Pryce. PRYCE Name's Pryce. Pryce looks at Carrie. CARRIE He's with the UN. We have to search that plane now! Murphy looks to Carrie with an intense glare - MURPHY We do n't have time. We'll just search it in Christchurch when it lands. Pryce steps in - PRYCE It's a twelve hour flight to Christchurch. Anything can happen in that time. Keller is here, so we know it's still on the ground. Once that plane is in the air, we've as good as lost it. Just give us 10 minutes. Murphy looks to Carrie, softens slightly - CARRIE Sam, do what is right here. Come on. MURPHY Do what you have to, but that plane takes off in one hour. CARRIE We'll need some help. MURPHY I'll send what I can. He leaves.\",\n \"INT. LC-130 - DAY Carrie is near the cockpit, searching under a row of seats. Pryce approaches. A handful of ASB employees tear through every inch of the fuselage and cargo. PRYCE It's clean. Carrie gets to her feet. Pissed off. PRYCE -LRB- cont'd. -RRB- You check the cockpit? CARRIE Nothing. That bastard. What the hell are you up to, Keller? PRYCE I do n't get it, why lie to us - we have him either way. He's stuck here. Carrie's suddenly chilled with the ominous reality that - CARRIE He's buying time. Carrie races off the plane. Pryce tries to keep pace.\",\n \"INT. CORRIDOR - RIGHT AFTER Carrie is slaloming her way through the corridor, which is packed with ASB employees carrying their bags for the evac. Pryce is close behind. CARRIE Out of the way!\",\n \"INT. ASB - MARSHAL'S OFFICE - RIGHT AFTER Carrie enters. Pryce at her side. Her face goes white. The door to the holding room is wide open. Keller's GONE. CARRIE Shit! PRYCE He's got nowhere to go, nowhere to hide. Then it hits her - CARRIE He wo n't try. He's a goddamn pilot. As the two of them take off for the door -\",\n \"INT. ASB - HANGAR - DAY Delfy walks across the floor. Hangar is minimally lit. Still. Silent. Void of personnel. The Otters are lined up. The Snowcats and snowmobiles on the other side. He heads toward an Otter.\",\n \"INT. TWIN OTTER - HANGAR - DAY Delfy reaches in and gets his son's picture, which is still hanging on the console. Then, something catches his attention through the windshield of his plane. He sees a FUEL HOSE running to another plane - and it's pumping. Curious, he gets out of the Otter. Eyes dart about the hangar. Does n't see anyone. Heads to the other plane. Discovers that a door is open on the other side. Takes a another look around. Does n't see anyone. Moves closer. Gets to the plane. Takes a look inside, and - THUD! He's nailed with a giant Crescent wrench to the head. Stumbles back. Keller leaps out, grabbing hold of a staggering Delfy. Ruthlessly runs him head first into a standing tool chest. Delfy collapses to the ground in a heap. Unconscious.\",\n \"EXT. ASB - HEADING TOWARD THE HANGAR - RIGHT AFTER Carrie and Pryce, dressed in ECW are making their way toward the hangar.\",\n \"INT. LC-130 - SAME Employees are trudging up through the back entrance into the plane. Get checked off a list by the LOAD MASTER. Toss their gear into a netted cargo area. Find a seat. Plane is nearly full.\",\n \"INT. TWIN OTTER - HANGER Keller has the engine going. It's loud. Preps the console for flight, flipping switches - suddenly sees Carrie and Pryce enter the hangar. Guns drawn. CARRIE AND PRYCE Shift their attention to the plane. Blades turning. They stalk forward. Slowly. Carefully. Eyeing for any betrayal of movement. Then, with a nod from Carrie, they move in. Fast. Ready. Look into the plane. It's empty, except for a duffle bag in the back. Carrie nods to Pryce. Motions for him to go one way, she'll go another. INTERCUT CARRIE AND PRYCE Carrie eyeballs a Snowcat. It's door is slightly open. She heads for it. Gun poised. Pryce moves to check the next plane. Eyes dart to every dark corner. Carrie gets to the Cat. Springs toward the door. Inside's empty. Pryce walks under THE WING of the next plane. Spots Delfy just ahead on the ground by the tool chest. Looks like he's stirring into consciousness. Then - SWOOSH! An ICE AXE swings down from above, embedding in his Pryce's chest. Deep. It sticks. Gun goes flying. Keller drops down from the wing above. Pryce staggers. Keller kicks him hard. Pryce goes down. Keller grabs the gun. Points it right at Pryce - before he can shoot - BANG! BANG! Bullets zip by Keller, who rolls for cover behind SOME EQUIPMENT. Another rips into his shoulder. Keller spots Carrie over by the Cat. She fires continually, forcing him to stay behind cover. The shots go wide - she's not yet used to firing with the right hand. Keller blindly reaches his gun around the chest - shoots back, which - - Gives Pryce enough time to painfully crawl for cover beneath the plane. He's losing blood quick. Carrie keeps shooting. Bullets PING OFF THE TOOL CHEST. They stop. Carrie has to reload. Keller makes his move. Fires at Carrie and sprints for his plane. Runs right by pole with a large red button attached to it. Slams it. HANGAR DOORS BEGIN TO RUMBLE OPEN The TEMPERATURE immediately begins to PLUMMET as winter is let inside. Keller keeps shooting. Runs out of bullets. Leaps into the idling Otter. Carrie makes her move. Dashes toward him, firing away. Bullets PLANT in the WINDSHIELD, but ca n't penetrate - glass is too thick - protection from the cold. Keller throttles. Begins to move the Otter forward toward the opening doors. Carrie dashes to Pryce. Sees Delfy get to his feet. Face bloody. He moves to Pryce. She gets over to the guys quickly, giving Delfy a visual once over. He'll be fine, but things look bad for Pryce. He's bleeding profusely. She kneels beside him - pulls the tip of the axe out of his chest. Delfy looks to the hangar doors, which are nearly open. PRYCE I did n't see him. His eyes flutter shut. Carrie slaps his face - CARRIE No! You stay awake! Puts her hand directly on the wound. Applies pressure. Blood continues to ooze. She looks over to Keller just as his plane exits the hangar. Looks back to Pryce's wound - wo n't stop bleeding. CARRIE -LRB- cont'd. -RRB- Damn it! -LRB- to Delfy. -RRB- Come on. We're getting him up. They lift him to his feet. Haul ass to the front of the hangar the best they can. Go outside.\",\n \"EXT. HANGAR - CONTINUOUS The two of them place the now unconscious Pryce to the ground. Carrie grabs Delfy's hands. Puts them directly on the bloody wound. Surprisingly, he stays focused. CARRIE Press here. Hard. Hard or he will die! DELFY It wo n't stop! Looks Delfy right in the eye. CARRIE He's not going to be number four! Pryce moans. Carrie rips open Pryce's jacket and liner. Scoops up an armful of wind - blown ice. Starts packing it around him. Keeps repeating the motion. She keeps shooting looks to Keller's departing plane moving toward the runway. The cold hits Pryce, shocking him awake. PRYCE -LRB- GASPING. -RRB- What are you doing? Get Keller. She holds him down. CARRIE You're bleeding out. Freezing drops your pulse. We have to slow it down. -LRB- BEAT. -RRB- You hold on. Carrie snags the two - way off her hip like it's a quick draw. Keys it. CARRIE -LRB- cont'd. -RRB- Sam - is Doc on the plane yet? Beat. MURPHY -LRB- V.O. -RRB- No - what's going - CARRIE Keller got out. He hurt Pryce - he's bleeding bad. Where's Doc? MURPHY -LRB- V.O. -RRB- In the clinic. About to bring the bodies out. What's - CARRIE Tell him to stay put, and I need your help getting Pryce there. We're at the hangar. I've got to stop Keller, he's got the cannisters. Carrie does n't wait for an answer. Gives Delfy the two - way. CARRIE -LRB- cont'd. -RRB- Do n't let him die. Carrie stands. Determined. Sprints back into the hangar.\",\n \"INT. HANGAR - CONTINUOUS On a full sprint, Carrie dashes over to the Snowmobiles. Coughs. Spits blood. Does n't stop her. She jumps on one. Fires it up. Uses her left palm to steer - blood starts to seep through the gauze. She quickly bundles up, then guns it. Rubber treads grip. Smoke rises. She races it across the cement floor and out the hangar.\",\n \"EXT. HANGAR - CONTINUOUS Off in the distance, Keller's heading for the front of the runway - has to turn around to take off into the wind. Carrie veers off, targeting the tunnel to ASB. Hits her light as she races in.\",\n \"INT. TUNNEL - CONTINUOUS Carrie's light silhouettes Murphy and a couple of his guys as they head toward her. She does n't even slow down as she blows right by them.\",\n \"INT. KELLER'S PLANE - SAME Desperation clings to his face as he turns the plane onto the runway. His wound oozes blood - eats the pain as he gives it full throttle. Starts to pick up speed. Heads down his strip of freedom.\",\n \"EXT. SIDE OF RUNWAY - OPPOSITE END - SAME A funnel of bumpy light spreads across the ice before Carrie on the snowmobile. She holds tight as she burns a big U - TURN around one of the berms and onto the runway. Heads straight for the lights of Keller's plane. INSIDE KELLER'S PLANE He sees Carrie. KELLER Crazy bitch. She targets him like a Japanese zero. Hundred yards and closing. He's pushing to get airborne. Seventy - five yards between them. Gap narrows fast. Fifty yards. Stay on Carrie. Looks like suicide. She suddenly swerves a hard left, disappearing behind a berm - INSIDE WITH KELLER He bears a momentary sense of triumph, starts to get airborne - until - LAUNCHING UP OFF THE BERM is Carrie's snowmobile! She bails, letting it continue right toward him like a heat seeking missile as she tumbles down the berm. Keller's pov - a THOUSAND POUNDS of snowmobile comes at him fast - obliterates the cockpit. SMASH CUT TO CARRIE'S POV - AS THE IMPACT Cripples the plane, pitching it sideways. A wing catches the runway, CATAPULTING the entire plane into a cartwheel of disaster as it veers off the runway and - - EXPLODES INTO A FIERY ERUPTION OF FLAME AND DEBRIS! Resume - Carrie slowly gets to her feet. The flames reflecting off her goggles. She heads to the wreckage. The cold and blowing snow extinguishing the flames quickly. AT THE WRECKAGE Carrie approaches. Only a sputtering of flame remains on the front of the twisted remnants of the Otter's cockpit. The aft seems relatively intact. Carrie looks in. Sees the charred and already frozen remains of Keller. In the back - the charred duffle bag. She moves closer. Reaches in through a broken window. Pulls it out to the runway. Unzips it. Is confused. No cannisters. Only survival gear.\",\n \"INT. MEDICAL CLINIC - SOON AFTER Delfy, along with Murphy and his two guys, carry Pryce in. Doc's in the back room with two others, loading the BODYBAGS onto a cart. MURPHY Doc! Doc quickly moves into the front room. The other two follow. Curious. Doc springs into action, pulling on gloves. Pryce's face, ashen. DOC Get him on the table! They usher him onto one. He looks to Delfy who still has his hand on Pryce's wound. DOC -LRB- cont'd. -RRB- Do n't move that hand. DELFY I know, I know, he'll die! Doc shifts his attention to one of Murphy's guys - DOC You, four units O - pos in the warmer. Second shelf, fridge. The guy heads for it. Carrie enters. She's still in her ECW gear. Heart sinks when she sees Pryce. Doc leans over Pryce's pale form. Examines. As Doc gets an IV going, he looks to Carrie - DOC -LRB- cont'd. -RRB- What happened? CARRIE Keller hit him with an ice axe. MURPHY He get away? CARRIE No. Murphy's walkie on his hip CRACKLES to life.\",\n \"INT. LC-130 - SAME Rhonda's standing up front with the pilot and Copilot, watching the horizon where dark storm clouds are coming at them like a tidal wave. Brings a walkie to her lips. RHONDA Sam, it's Rhonda - we got ta go. Now. MURPHY -LRB- V.O. -RRB- I know. I know.\",\n \"INT. MEDICAL CLINIC - ASB - SAME Murphy looks to Doc. MURPHY Can you do this on the plane? It's your call, but I need to know now. Doc, who's wrestling with deep contemplation, looks to Carrie - she sees the answer's no. CARRIE I'll stay with you - MURPHY -LRB- to his guys. -RRB- Grab the bodies and get them on the plane. The guys head for the back - As Doc looks at Pryce - knowing he needs him. DOC Leave the bodies - you do n't have time. Dead is dead. -LRB- BEAT. -RRB- Pick them up in six months. Go. Doc looks to Carrie, who's thankful - CARRIE I'm sorry. The guys after the bodies look to Murphy for a decision. MURPHY Leave'm. Let's go. Murphy and Carrie exchange a quick look - closure. CARRIE Thanks. MURPHY Take care of yourself. He takes off with the others.\",\n \"EXT. LC - 130 - RIGHT AFTER The wind is hurricane fierce as Murphy and his two men are just about to board the plane. Murphy looks to the storm - a forboding darkness getting closer by the second. He realizes they might not make it.\",\n \"EXT. RUNWAY - ASB - RIGHT AFTER The LC - 130's jet engines roars as he gains speed down the runway - faster and faster, then it suddenly gets swallowed in the storm - like an avalanche covering a skier. Camera stays on the fast moving storm, the plane, nowhere in sight, until - The LC - 130 finally pushes out the front of it - AIRBORNE. Takes off into the horizon, where we see that the sun is just about to set.\",\n \"INT. MEDICAL CLINIC - ASB - LATER Carrie is standing next to Pryce on the examination table. He's been bandaged up. Eyes closed. Looks thrashed. An IV drip hangs from a stand on wheels. She's looking at him with soft, caring eyes - been through a lot. He slowly opens his. Tries to smile, not easy. PRYCE Hey - CARRIE Hey back. PRYCE You get him? CARRIE Um - hm. PRYCE -LRB- EXCITED. -RRB- The cannisters? She shakes her head - CARRIE Nope. They both think on it for a moment. PRYCE What did we miss? Think Keller cut and run without the stuff? CARRIE After all this, no way. Keller did n't have it on the plane because he's got it hidden somewhere. -LRB- BEAT. -RRB- Where would he hide something for six months. Somewhere he could be sure no one would ever look. PRYCE If he had made it out, he would n't have been crazy enough to come back for it. CARRIE True - what the hell was his plan. Pryce thinks hard - he's got nothing. PRYCE We've got six months to figure it out. A SQUEAKY NOISE in the back of the room draws their attention. It's Doc coming through with the cart - a bodybag on top. DOC Eyes open - that's always a good sign. He continues pushing the gurney toward them - PRYCE Hey, Doc - thanks. DOC Thank her - if she had n't slowed your bleeding. Doc rolls the gurney behind her - DOC -LRB- cont'd. -RRB- I'm going to hunt me down a bottle of scotch - Carrie turns, looks at Doc as he wheels the gurney by. CARRIE Need any help? DOC I'm good. She sees it's Weiss' name on the tag, but something disturbing catches Carrie's eye - it's Weiss' LEFT LEG pressing against the bag. Although the plastic is clouded, she'd swear his LEFT CALF has a LONG LINE OF STITCHES running down the side. DOC -LRB- cont'd. -RRB- You okay? His voice pulls her focus. She masks her startle. CARRIE -LRB- COVERING. -RRB- Just thinking where it all began. DOC Yeah, it's a damn shame, is n't it. Doc continues on out the door. Pryce sees that she's bothered - PRYCE What is it? CARRIE Nothing - I'll be right back. She heads out the door.\",\n \"INT. CONNECTING TUNNEL TO SCIENCE BUILDING - LATER Carrie slips in. We've been here before - this is where she chased Rubin. Darkness creeps in, phantom like, as the remaining daylight FADES OUT through the row of windows that run along the side. Carrie's plunged into inky black. WINTER HAS SET IN. She HEARS the Science Lab door open before her - peers through the dark blanket to see Doc walking toward her. Carrie slips in between two bookcases, trying to stay tight against the wall. Doc walks right by and out the door. She rises to her feet. Hurries down to the end. Disappears into the science building.\",\n \"INT. SCIENCE LAB - CONTINUOUS Carrie enters. Turns on the light. Illuminates the lab stations, and the busted open doors of the Ready Room. Heads for the freezer.\",\n \"INT. WALK-IN FREEZER - SCIENCE LAB - CONTINUOUS Carrie opens the door. Illuminates the interior with her light. Storage racks of frozen science samples line the three walls. Lying on the floor are the bodies of Mooney, Rubin, Weiss and Keller. Carry goes to Weiss' body. Kneels next to him. Goes to unzip the bodybag, but sees that it's been locked with a plastic cinch. Pulls out her knife. Holds the light steady in her mouth as she cuts the cinch. Unzips the bag. Her light travels down his body to his left leg. She rolls it slightly for a better look. The truth hits her like a sledge hammer. There it is, like standing center stage in her light, the ROW OF STITCHES holding a deep gash tight together. She's about to stand and walk out, but she stops herself. Thinks about that leg, those stitches. The fact that Doc lied to her. Pans her light over at the other bodies on the floor. Her light pans back, explores the rest of Weiss' upper body - sees a dried river of blood that's run out from under his armpit. CARRIE -LRB- to herself. -RRB- Someplace no one would ever think to look. She raises Weiss' arm. More stitches. She cuts through them. Skin splits to reveal the BOTTOM OF A CANNISTER that's been stuffed inside his chest. She reaches in and pulls it out. Even has rust on the bottom. Carrie's confused - IT'S NOT LIKE ANY OF THE CANNISTERS PRYCE SHOWED HER PHOTOS OF. It look more like THE ICE CORE CONTAINER SHE SAW AT MCMURDO. She contemplates opening it for a moment, then places her hand on the top. Begins to twist. It loosens easily. Pulls the lid off. Looks at it. Whatever it is, it's frozen. Tilts the can slightly, and out slides a FOOT LONG ICE CORE SAMPLE. Ca n't quite figure it out, until she shines her light on it - The freezer DANCES WITH GLISTENING LIGHT. The core sample is PACKED FULL OF DIAMONDS. She looks to the other two bodies. She opens Mooney's bag. Sees his chest is uneven - more cylinders inside. Repeats the action with Rubin. Same thing. Carrie slowly stands - the betrayal almost too much. DOC -LRB- O.C. -RRB- If they had just gone along with it. She turns - Doc is standing right BEHIND HER. DOC -LRB- cont'd. -RRB- Those fools found a plane - had no idea what they stumbled onto. Turns out the Russians had discovered a diamond field while drilling for core samples in the sixties. CARRIE And we thought it was nukes the whole time. DOC Keller said he knew someone in the states who could move the diamonds for us. It was a hell of a lot of money. CARRIE How did you get wrapped up in thing, Doc? DOC Weiss got hurt on the plane. They were afraid to move him, so Mooney called me. Keller and I flew out. But they could n't get the safe open - Keller found a way. CARRIE Then Weiss got cold feet. It got ugly, did n't it - and Keller killed him at Delta One One. Everything went to hell after that, did n't it, Doc. DOC Keller thought he could kill his way out of this whole thing. -LRB- ANGRY. -RRB- If those idiots had n't panicked, none of this would have happened. He turns and walks out of the freezer.\",\n \"INT. SCIENCE LAB - CONTINUOUS Carrie carefully follows. Sees he's heading for KELLER'S ICE AXE in the ready room, that someone's removed from being wedged outside, onto the now uprighted LAB CART Pryce used to bust open the door. CARRIE Doc - stop. He does. Turns back to her. But there has been a subtle shift inside him - something illogical. DOC I'll cut you in, Carrie. There's at least 5 million in diamonds in there. That can buy both of us a nice life back in the world. How many times have we both talked about having a fresh start. Well, this is it. Those beakers finding that plane was a sign. A sign telling me it was time to go back. Now I have something to go back for. She has a realization. CARRIE There is no granddaughter, is there? This was about greed, plain and simple. DOC No one will ever know. It's just me and you. We can take care of Pryce. His callus disregard for human life rocks her. CARRIE Dead is dead, right? DOC Yes, yes, now you're getting it. CARRIE What's happened to you? There are four people dead! Four! People we knew. Doc looks at her. She's not sure if it's registering. CARRIE -LRB- cont'd. -RRB- Where you going to stuff my body too? Huh? Was I going to be five? He turns back to the ice axe and starts walking towards it. She pulls the gun out from inside her liner, her mind a whirl of limited options and grim solutions. He nears the ice axe on the cart - Carrie cocks back the trigger - CARRIE -LRB- cont'd. -RRB- I wo n't go through it again. Do n't make me shoot you, please. Her knuckle on her trigger finger goes white as she wrestles with her emotions. DOC It's either ignore all of this or kill me - and you and I, we're too good of friends for me to force you to make that choice. With that. he walks right past the ICE AXE and into the READY ROOM. She's confused. CARRIE Doc, your not thinking straight. But he's not listening. DOC Ya know, it's really warm. I'm gon na take a walk - try and cool off. The TEMPERATURE GAUGE on the wall reads : - 82. He looks at her. CARRIE Doc, please. Carrie crosses the room as he grabs onto the outside door's latch. He musters a smile - DOC Remember, Carrie - freedom's just a sunrise away. Using both hands on the latch, he pulls. THE DOOR BLASTS OPEN, filling the space between Carrie and Doc with violent winds and blowing snow. Doc's throws one last look to Carrie, then takes two steps out the door. Disappears into the blanket of white. Wind and cold storm into the room against Carrie, who remains standing still like a statue. Emotionally drained. Numb. Freezing to death - tears frozen to her cheeks. A shadow passes by her - it's Pryce. He's hunkered over in pain, but forcing himself against the driving force of the wind into the Ready Room. Latches onto the door. It takes everything he's got, but he manages to get it closed. Instant silence. Cold to the bone, he grabs a jacket off the racket. Approaches Carrie, who remains staring at the closed door. The effects of the chill and Doc's decision apparent. Pryce wraps the coat around her shoulders. Gently leads her away. Super : THREE MONTHS LATER\",\n \"INT. CARRIE'S OFFICE - ASB The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby as we - CU on sand with a shadow of a palm tree casting over top of two pairs of feet - intertwined. Slowly widen - to see Carrie and Pryce, kicking back on lawn chairs, side - by - side. Two heat lamps pouring out bright, warm light. A cut out piece of paper in the shape of a palm leaf is taped to one of the lamps - throwing the shadow. Pryce has a small bandage over his shoulder. Carrie lies back, rests, eyes closed. PRYCE How's the weather where you are? CARRIE Hot. But there's a gentle breeze. Fiji's beautiful this time of year. PRYCE Yeah, St. Barts ai n't bad either. They lie there quietly, relishing the moment. PRYCE -LRB- cont'd. -RRB- Six months. Six long months. Carrie turns over on her stomach - lets the heat warm her back. CARRIE Nah. Freedom's just a sunrise away. There's a new calender on the wall, where the days of Winter - over have been marked off - long way to go.\",\n \"EXT. ASB BASE - ESTABLISHING - NIGHT Pull away from the building, which fades into the icy darkness and howling wind of the Antarctic winter. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,0,0,1,1,0,0,0,0,0,0,1,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,1,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1,1,0],"string":"[\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"In 1957 a Russian cargo plane is flying above Antarctica. In the cargo hold, three Russians sit with a padlocked box. The co-pilot leaves his seat and goes into the cargo hold, then begins to shoot the other men, who return fire. The chaos caused by the gunfight leads to a crash which kills all aboard. In modern times, newcomers arrive at the United States' Amundsen–Scott South Pole Station in Antarctica, while others who are scheduled to leave are preparing to do so early because of a storm. They must depart before the onset of winter or remain for six months. Special Deputy U.S. Marshal Carrie Stetko (Kate Beckinsale) has been working in Antarctica for two years, since a betrayal by her partner in Miami that killed him and nearly killed her. She plans to resign after returning to the United States in two days. Stetko, her friend Doc (Tom Skerritt), and pilot Delfy (Columbus Short) fly to the remote Haworth Mesa to retrieve a discovered body. The dead man is Anton Weiss (Marc James Beauchamp), one of a group of three scientists looking for meteorites. An autopsy finds evidence of murder by ax. A murder requires a federal investigation; Stetko considers sending the body to McMurdo Station to avoid spending another winter in Antarctica, but decides to continue the investigation. When Stetko goes to speak to one of the others at Vostok Station, she finds him dying from a neck wound and is herself attacked by a black-clad man with an ax. Stetko injures her hands in escaping, losing the wet skin of her fingers on the metal handle of a door. Later, she finds Robert Pryce (Gabriel Macht), a United Nations security agent, examining the body of the second scientist. They conclude that the third, who is missing, must be the killer and set out to explore the group's most recent search site. There, Stetko falls through the ice to find the old Russian cargo plane. Pryce and Delfy join her to investigate, and they realize that the locked box had been opened and six cylinders removed. Pryce reveals that it is possible that nuclear fuel of interest to arms traffickers may be in the cylinders. After nearly being trapped by a cave-in at the plane, Stetko must have her badly frostbitten fingers amputated by Doc. She then finds the missing scientist hiding in her office. He tells her that he and his two companions found the plane and took the canisters, but the killer has them now. Before Stetko can protect him he is killed, but Stetko captures his killer, who is revealed to be Australian biologist Russell Haden (Alex O'Loughlin). The base commander orders everyone to evacuate because of the murders. With Haden locked in the brig and the winter storm near, Stetko and Pryce search for the canisters. However, Haden manages to escape and starts pursuing Stetko and Pryce. The three end up outside the base while the winter storm happens, and just when Haden corners, and is about to kill, Stetko, Pryce arrives and cuts Haden's safety rope and he is dragged onto the base's wall as a result of the storm's heavy winds, fatally smashing his head in the process. Stetko checks the last departing plane's cargo manifest and learns that the bodies of the dead scientists were not aboard. She searches their body bags and notices that the stitching on Weiss's old wound matches the distinctive pattern on her amputated fingers. Stetko explores the body and finds several bags of large, uncut diamonds. Doc confesses that he was part of a diamond smuggling ring with the others before Haden killed the rest. He had hoped that the diamonds would make him wealthy outside Antarctica. When Doc tells Stetko he wants to see the aurora australis one last time, she allows him to walk outside to his death. Six months later, Stetko, Pryce, and Delfy have wintered at the facility. She transmits an email to her superior, rescinding her previous resignation and asking for a warmer location for her assignment."},"name":{"kind":"string","value":"Whiteout_(2009_film)"}}},{"rowIdx":161,"cells":{"scenes":{"kind":"list like","value":["EXT. PROLOGUE ON BLACK - NIGHT The screen is black, music evoking religion and danger begins. LILLY For three hundred years the great plagues have swept the earth. Diseases created from the experiments of the Alchemists. We see death tolls appear through this graphically. The plague - 5 million souls. Virulent Small Pox - 10 million. Mutated Influenza 30 Million Souls. LILLY Thinking they had discovered Gods secret code for life, the Alchemists experimented with genetic science. They had no idea what they had unleashed. We begin to see a strange medallion sweeping through smoke, slowly revealing itself. LILLY -LRB- CONT'D. -RRB- -LRB- continuing. -RRB-. but there was also a miracle. One of these plagues helped nature create a new kind of being. At first they were called Nosferatu, or Vampire and were feared. But they were not supernatural monsters, just a better version of ourselves. They were the Brothers, and their religion and science helped sustain us against the plagues and influenzas that have ravaged Europe and the rest of the colonies. For 300 years our two races have lived in harmony. Until now.","INT. DOCTORS SURGERY - DAY We are very close on a bespectacled eye. It stares at us and then looks down. GENETIC DOCTOR -LRB- off. -RRB- See here. This is what you need to look for. Cut to the object in the Genetic Doctors hand ; it is like an x - ray, yet the image looks remarkably like a DNA profile. GENETIC DOCTOR -LRB- continuing ; off. -RRB- A genetic mutation, we all carry it. But we now know a virus activates it. We reveal the genetic Doctor, sitting at his desk, smoking a cigarette. The surgery and the clothes suggest the year, yet there are small things that are different, not what you'd expect to be around at this time. Standing next to him in the dusty haze of the room is a younger doctor ; an apprentice who looks attentive. GENETIC DOCTOR -LRB- continuing. -RRB- This Virus plays some unknown role in the birth the Brothers. Of course the mutation occurs very rarely these days. And only in males. The apprentice nods and then looks up. There is someone else in the room. A woman - who we now see is pregnant. There is something about her that suggests more a prisoner or psychiatric patient than a normal pregnant mother. GENETIC DOCTOR -LRB- continuing. -RRB- Strange is n't? APPRENTICE DOCTOR Strange? GENETIC DOCTOR That God would choose such humble vehicle for a miracle. The mothers invariably come from the slums, we do n't know why. -LRB- to the woman. -RRB- This is your 7th is n't it? We see the woman ; she's like a hollow person, hardly aware of where she is. The Doctor shuffles papers. Finds what he wants. GENETIC DOCTOR -LRB- continuing. -RRB- Yes, her first was successful, a Brother was born. Thereafter variously malformed offspring. We can only hope this one will be different. -LRB- to woman. -RRB- You'll have to try harder this time. The woman now looks up. And tentatively speaks. WOMAN IN THE SURGURY Please. GENETIC DOCTOR What is it? WOMAN IN THE SURGURY Please. I want to keep my baby. They always take my babies away. GENETIC DOCTOR Do n't be stupid woman! The woman drops her eyes. We see the Apprentice Doctor, almost pitying the poor woman. APPRENTICE DOCTOR -LRB- to woman. -RRB- You wo n't have to worry. The Brotherhood will take him. We are closer on the woman now. Tears begin to glisten in her eyes as we drift closer to her. APPRENTICE DOCTOR -LRB- continuing ; off. -RRB-. raise him in the church, teach him. He's special. You should be proud. It's a blessing really, he'll want for nothing. Not like the rest of us? We track in closer, closer, to the woman, then continue, right into her eye, through the fluid, to see the room reflected upside down at the back of the retina. This dissolves to an upside view of.","INT. HOSPITAL, OPERATION ROOM - DAY POV, baby's view, in an operating theatre. Cut to The woman we saw earlier with the Genetic Doctor ; she has just given birth. The baby is placed on linen blankets and cleaned by a nurse. A man now enters the operating theatre ; we can tell the Doctor is uneasy. The man is dressed in a perfectly cut suit. He does not wear a surgical mask. His eyes are a piercingly clear light gray. He enters with two other men who look similar to him. By his side there is also a pristine boy ; perhaps 8 years old, the same piercing eyes. They both approach the baby. The man stares serenely at the baby, all bloody, lying on blankets. AUGUSTUS This is your brother Silus. You will teach him. The little boy then shares a glance with the woman who has just given birth. She seems to recognize the boy. SILUS AS A BOY Is that my mother? AUGUSTUS No, not any more. Augustus then leans forward and gently opens the baby's mouth. We see the baby close. In the otherwise baby - like mouth we see something strange. There are two tiny fangs protruding from the otherwise smooth gums. We see Augustus smile. In his mouth too, we see two perfectly pointed teeth. AUGUSTUS -LRB- continuing. -RRB- Welcome to the world little Brother. Cut to We end close on the baby ; its piercing eyes. PRODUCTION TITLE : ON BLACK. Perfect Creature / The title fades. Then another title appears. Queen's Imperial Winter Residence, The Pacific Colony, 100 years later.","EXT. CITYSCAPE - NIGHT We see a city, seething with smoke from coal fires, steam from engines, alien distorted Victorian spires are silhouetted against the moody, moonlit sky which is literally filled with dirigibles and strange flying machines that seem Victorian, of the industrial revolution, but that are also strangely futuristic. It is 1969, but not our 1969.","EXT. STREET - NIGHT A street. The look - of the film and the night - is silver, almost metallic moonlit skies. A hazy mist hangs in the air. Wet, steel pools of water on the dark footpath where a man stands. He stares up at a zeppelin passing overhead, its shadow obscuring him briefly until it passes away. Then we see him. The man is handsome, in a perfectly cut long wool jacket ; dark gray. He wears perfectly shiny black shoes and we can see the surrounding street reflected in them ; Victorian, Gothic buildings. This man is Silus. He surveys the street. While the houses are beautiful, they're run down. Silus - his eyes are the purest light gray you have ever seen - takes a long long inhale through his nose, his eyes closing briefly as if trying to sense/smell something. He stops the breath and opens his eyes. They are clear, full of purpose. He bends down to the footpath, runs his hand along its surface, almost caressing it. He closes his eyes. The camera moves in, to end close on Silus' ear. As this happens the soundtrack - all the noises in the night - become amplified. We see Silus' face, see him concentrating intently. We hear several individual noises. First a very quiet pitter patter. Cut to A cat, stealthily moving between some thorny rose bushes. Cut to Silus again ; concentrating even more. Now the distant sound of trickling water. Cut to A drain pipe, leaking. Cut to Silus once more. This time we can hear `` plop, plop, plop.'' Cut to A pool of water. Then `` plop'' as a drop hits it. The drop is not water. The drop is a red liquid, thick, now dispersing in the water. And another drop, `` plop.'' High speed CRANE UP from this pool, up up the side of a building to end on a FACE in the shadows. We can see reflective, gleaming eyes. And a mouth, with blood dripping from it. Cut to Silus again. His eyes flicking open ; we see the footpath reflected in those perfect light gray eyes. Music - brooding, ancient - begins to hum as Silus slowly rises, as if his limbs have the power to make him float, so perfect and powerful are they. A small smile has appeared on his lips ; it is the smile of a man who knows that something very dark, something very dangerous, is close by. Slowly his hand slips into his jacket. He holds it there, watching, surveying the street immediately ahead of him for the slightest movement. He sees it. On the wall of an old Georgian Mansion across the road, a shape on the side of the wall, almost imperceptible, hidden in the shadows and brickwork. A CREATURE on the side of the wall. Silus begins to move forward now, everything in perfect shining silver slow motion. As he moves forward he pulls a gun from his jacket - it is silver, organic and glass, art nouveaux styling - and points it ahead of him as he glides forward. The creature on the wall senses the movement coming towards it, moves a little and then, like a spider, scrambles along the side of the wall, heading away from us. Silus fires. A bullet of silver explodes from the gun, seems almost to hang in the air for a moment, reflecting the moon above, before hurtling at high speed towards its target. The shell explodes the wall next to the creature, who stops suddenly in the light so that we can see it. A man. With reflective animal eyes and blood on his purple lips. And teeth ; the teeth of a vampire. This creature immediately dives from the wall to the ground, just avoiding another two bullets that crash into the wall. LA as the man falls directly towards the camera. Silus now rushes forward, holding his gun out in front of him ; he moves forward gracefully. He can see the man skillfully climbing up an adjacent derelict building. Silus tries to follow but his way is blocked by wire and fencing. He raises his gun towards the man once more, but he is gone. Close on Silus' enigmatic face. Those eyes. And in his mouth, two perfectly pointed fangs. Cut to","EXT. CAFE - NIGHT We are outside a cafe ; the cafe is a warm glow against the cold night. We see past the fine falling rain - through the large glass window that has swirling silver art nouveaux designs lacing across it - to a table inside, by the window, where two pristinely dressed men sit. Cut to","INT. CAFE - NIGHT We are inside. Closer on the two men. One is SILUS. The other man is AUGUSTUS ; the man we saw in the operation theatre before. Augustus has hardly aged at all. AUGUSTUS The girl? We see Silus. He remembers. Cut to","INT. ROOM, FLASHBACK - NIGHT Flashback from Silus' memory ; a dead girl on a bed, blood splattered across her pillow. Cut to","INT. CAFE - NIGHT Silus' face. Pull out to reveal we're back in the café. SILUS It is taken care of. AUGUSTUS This is good. SILUS Augustus. We failed this girl. We asked her to help us catch him, and then we failed her. AUGUSTUS Yes. But her death served a greater good. Every trap needs bait. Augustus lifts a beautifully designed glass and silver pipe from the onyx table at which they sit, then settles back into a fine hardwood chair. The chair's swirling, delicate back creeks as he takes a puff on the pipe. AUGUSTUS -LRB- continuing. -RRB- Are you sure you wo n't join me? Silus shakes his head, no. The opium in the pipe crackles. SILUS Perhaps this is beyond us. Perhaps we should inform the authorities. The human beings. Augustus places the pipe down, blows a smoke ring as a Chinese woman, dressed in a sarong, brings over two finely cut crystal glasses and sets them before the men, then leaves. Silus now lifts the glass and we see what it contains. Blood ; dark and red and viscous. Silus takes a sip, then looks over to the bar. There is a young woman there, sitting at the bar, being treated with great care by several of the elegantly dressed patrons ; the young woman laughs, enjoying the attention. Tubes run from the young woman's arms. These tubes carry her blood into a conch shaped glass bowl. We see the Chinese waitress fill another glass from the bowl. Silus watches, blood slightly present on his ashen lips. And we see two perfectly pointed fangs hanging in his mouth. AUGUSTUS For now the Brothers feel we should deal with this ourselves. SILUS If they find out we are covering up these deaths. AUGUSTUS Which is why you must find him. Silus. Silus now turns to Augustus, still looking unconvinced. AUGUSTUS -LRB- continuing. -RRB- For centuries we Brothers have served mankind and them us. The great union. But remember your history. 300 years ago when our kind were first born into this world they burnt our children as monsters. They had no notion of evolution. In another world we might all have been slaughtered, only to be remembered in myth, monsters to frighten the young or a puzzle for anthropologists. We must refuse to let one aberrant individual destroy the balance between the two races. The old prejudices are still there. Human beings are paranoid creatures by nature. SILUS Perhaps they have good reason. AUGUSTUS Silus. Simply concern yourself with finding Edgar. Find your Brother so that we can help him. Before he kills again. Cut to","EXT. JAMESTOWN SLUM, STREET - DAY Close up of a NEWSPAPER. On it we see a banner headline. `` Influenza Vaccine Shortages lead to Black Market Trade.'' We pull out to reveal the paper is lying on a foot path. Wind blows the newspaper out of shot and we tilt up to the street. The street is wet, glistening. The rain, rain rain rain. The Edwardian and Victorian buildings of the street might seem beautiful, but they are not. They are largely derelict. We see a woman standing in a doorway out of the rain. She is wrapped in a black plastic jacket that she pulls about her. A man approaches her. JONES Everyone's ready Lilly. LILLY About time. They both move to one of the tall buildings ; a four story, ancient tenement that looks empty, almost derelict. They quietly move up the steps of the place and then pause. There is the bleep from a strange looking valve powered Walkie Talkie ; hereafter called an RT.. LILLY -LRB- continuing. -RRB- On three gents. One, two.","INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - DAY CRASH CUT to the door of the building swinging open wildly, a hand held camera on the shoulder of Lilly and Jones. A large, grubby looking woman stands in a long, grim hallway, mop in hand. At the far end of the hall another door disconnects from its hinges and collapses inwards, two men appearing out of the rain. JONES -LRB- to the woman. -RRB- Do n't you move! We see a gun in Jones' hand as he moves towards the woman, who has her hands up and is getting down on her knees. The camera then pans wildly, left and right. Then Lilly's foot kicks in a door to our right, revealing a dank office and a man, half naked, reaching for a gun. A woman is lying on a cot and she's screaming. She is instantly recognizable as a prostitute. LILLY -LRB- to the slum landlord. -RRB- Do n't you dare. From this POV we see Lilly's hand pointing a gun at the SLUM LANDLORD, who is now slowly easing back into the scummy office. LILLY -LRB- continuing. -RRB- Jones! We now finally cut to see Lilly. She is around 25 ; an intelligent, handsome 25. The man Jones appears at her shoulder, leering. Jones is the type of guy you just know will go to seed at 40. But that's still 10 years away. Jones stares at the Slum Landlord who is trying to cover himself. JONES God help us. What an appalling sight.","INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - LATER The hallway again. The other two men we saw entering at the beginning are talking to the woman with the mop. One of the men is taking notes. We pan to the office, to see Lilly and Jones standing before the Slum Landlord, who is now wrapped in a towel and sitting in a chair. SLUM LANDLORD do n't know nothing about it. give'em out. Make sure everyone gets'em. JONES That's a lie! We know you've been trading influenza vaccine in the workhouses! Another man now approaches Lilly. FRANK Lil'. I think you should see this.","INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - CONTINUING Halfway down the hall there is a door, Frank opens it displaying a set of stairs leading down. FRANK I'd use the mask if I were you. Lilly pulls a dark surgical - type mask over her face, then slowly moves down the steps into the oblivion below.","INT. JAMESTOWN SLUM, TENEMENT BASEMENT - CONTINUING Cut between Lilly's POV and her face, her eyes glimmering in the sub - light as she moves down the stairs very carefully. And finally the horror is revealed. In this basement there are 10 or 12 people, lying on the floor. Most of them are silent, but a couple moan. One, a woman, pleads to Lilly. WOMAN IN THE BASEMENT Help me. Please help. The woman extends her arm. It is covered in sweat ; grimy. The glands at the side of the woman's neck are distended and swollen, her eyes bloodshot. WOMAN IN THE BASEMENT -LRB- continuing. -RRB- Please. I'm sick. Please. The room is a version of hell. Lilly's eyes glisten. Cut to","INT. JAMESTOWN SLUM, TENEMENT OFFICE - CONTINUING Jones has the Slum Landlord by the throat. JONES You're a fucking liar! SLUM LANDLORD No, no, I swear it, I gave'em their boosters, both of'em. I'm a responsible landlord, I swear to god. There must've been something wrong with them vaccines. Lilly stares at the Slum Landlord ; shock in her face, and anger. JONES This is a civil health violation! You're going to the hell house for this. You can forget lovely Doris here where you're going. We see the woman who was screaming before, the prostitute ; she makes an obscene gesture at Jones. As this is going on Frank and the other man we've seen are tearing the place apart, looking for something. They do n't find it and Frank's look tells Lilly so. Lilly's face is a mask. She is watching the Slum Landlord very carefully. He keeps looking down ; strangely, nervously. SLUM LANDLORD I do n't know what you're on about. I've done nothing, I swear to god, I've done nothing. Lilly lets her eyes drift down, all the way down to the chair legs, which rock unevenly on the floor. Lilly is staring at the scratched, worn floor boards which MOVE. Cut to Frank, prizing back the floor boards. Jones restrains the Slum Landlord. Lilly watches. Frank pulls the floor boards away easily. We see that hidden in the floor cavity are packets of something. Frank pulls them out. Rips one of the plastic bags open. In it are packets with the words `` Jamestown Borough - Civilian Influenza Vaccination.'' Frank holds it up for Lilly to see. The Slum Landlord is now looking three ways at once. Lilly slowly begins to approach the Slum Landlord. LILLY It is my pleasure to inform you that you are under arrest for trafficking influenza vaccine. SLUM LANDLORD I want my lawyer. LILLY This is a violation of the 12/10 health act, whereby you have withheld borough sponsored vaccines from your tenants. SLUM LANDLORD I want a lawyer! LILLY Anything you say will be held against you as evidence and, by endangering the public good, you are not entitled to a lawyer. The Slum Landlord just stares at her. SLUM LANDLORD Fuck you then. Lilly smiles grimly. LILLY There's only one other thing. Lilly gives the Slum Landlord one almighty slap across the face that stuns him. Then Jones grabs the Slum Landlord and drags him off, but we stay on Lilly. Her face. She stoops and lifts something from the landlords desk. A public health flier saying `` Fight Influenza. Ask your landlord for your free vaccine now.'' Then from the corner of the room, the prostitute pipes up, impatiently waving a cigarette at Lilly. PROSTITUTE Oi! How about me? He promised me some of that. I earned it. Cut to OMITTED","INT. POLICE CAR - TWILIGHT Jones is in front, Frank is driving. The car has come to a lurching halt. Some kind of cart is blocking the road. FRANK -LRB- hitting the horn. -RRB- Come one! Jones is eating some kind of pie that is an affront to culinary art. JONES Lil', you want some? Ensconced in the back Lilly shakes her head, no. LILLY Smells terrible. She is watching the patterns of street lights that play and flow over the wet windows of the car. Jones shrugs. JONES I'm not letting that scum put me off my food. That'd be like a moral victory. LILLY I'll get out here. FRANK You sure? We see Lilly get out. Frank and Jones share a look. FRANK -LRB- continuing. -RRB- What's up with her? Jones watches Lilly move off ; something like compassion crosses his features. FRANK -LRB- continuing. -RRB- Jones? Is she alright? JONES Yeah. Lilly's kid. It died of the influenza, did n't it. FRANK She's never said anything about a kid. JONES No. She never says anything. Jones stares after Lilly, then starts chomping into his food.","EXT. SUBWAY STATION - CONTINUING The police car pulls out leaving Lilly outside the subway station. Lilly looks exhausted, breathes in deeply. Above, power lines blow in the wind and rain and make a clacking sound. She moves off and we crane up to see the seething smoky city beyond. OMITTED","INT. LILLY'S APARTMENT - NIGHT Lilly enters her apartment. It's nice ; not opulent, but a haven of sorts. She stands for a moment in the empty hallway. We see a hall, several doors run off it.","INT. LILLY'S APARTMENT, CHILDS BEDROOM - CONTINUING Lilly approaches a room and we see inside it. It is empty apart from a stripped bed and some boxes. Lilly flips the lid on one of the boxes. She picks up a toy ; a pink fairy princess with wings, the paint on its face worn. Lilly winds a key and the wings of the doll flutter, accompanied by the whining sound of the internal mechanics. We see Lilly's face as she stares at the doll. Emotion fights to claw its way out from under her skin, but she does n't let it. Then in the distance we hear a child's cries. It almost sounds like memories wafting through the air, but the stamping of feet from the apartment above makes it plain that the noises come from there ; the sound of children playing. Cut to","INT. LILLY'S APARTMENT, BEDROOM - NIGHT Lilly enters her bedroom. The place is a mess. She sits on the bed. She picks up a framed photo which sits on a sideboard next to the bed. It shows Lilly, a man - Lilly's age - and a child of 5 years who looks a lot like Lilly. She stares at the child. We hear the sound of rain pounding against the window of the bedroom.","EXT. LILLY'S APARTMENT, BEDROOM - NIGHT Pull out to reveal the exterior window. We can see through the window into Lilly's apartment again, see Lilly lying down, hugging the photo. The rain has become a light mist.","EXT. JAMESTOWN SLUM, STREET - NIGHT We are close on a poster. It shows a perfect face, serenely beaming out ; it could be Silus or Augustus, except this man is dressed in religious regalia, like a priest. The poster says `` The Brotherhood loves you. You are divine.'' We begin to crane off the poster which is revealed to be stuck on a lamp post. The street is seething, the slums of Jamestown. A young boy, perhaps seven ; spiked up hair, face covered in grime, grime from dragging himself up in this hellish place. He carries a bag filled with the detritus he's picked from the rubbish bins of the rich. He wears a distinctive red t - shirt that is several sizes too big. He moves along the street, avoiding a disinterested passersby. As he passes an alley he hears something. An animal - like growl. He stops. Down the alley he can see two figures. One is a male. He is clutching another clothed figure ; female. KID Hey?! Hey! At that instant the man turns to the boy. There, half seen in the slick shadows, the most piercing eyes, a bloody mouth, with fangs, hissing. The creature drops the woman and scales the sheer wall of the alleyway ; clutching various handholds, up four flights, then gone. The kid, frightened, now makes to run off but bangs into a passerby. The man grabs the kid roughly. MAN IN THE STREET Where are you going in such a hurry my little ruffian? Pilfering by the look of you? The kid struggles and the Man now sees the shape of the woman in the alleyway, slumped to the ground. MAN IN THE STREET -LRB- continuing. -RRB- What's going on here? What'd you do to her? KID Do n't, I did n't do nothing. It was a Brother. It was a Brother did it. The man moves forward, dragging the kid. And he sees the woman there, deathly white in the alley. Dead eyes staring. MAN IN THE STREET Oh dear god. Cut to","INT. NATURAL HISTORY MUSEUM - DAY We track past a sign that says `` Museum of Spiritual Selection and Alchemistry.'' In the distance we can see a group of people in the hazy light. Cut to Augustus - the man we saw with Silus earlier - sitting on a chair surrounded by various objects. At his feet are a gaggle of school children, aged around ten ; affluent looking, human. Augustus points to a strange, ancient looking glass apparatus. AUGUSTUS 300 years ago, with these simple instruments, the alchemist Guiseppi De Angelo discovered what we today call genetic science. AUGUSTUS -LRB- continuing. -RRB- He deciphered that the Brothers were a new race of beings, sent by god, to serve and protect you. We see the faces of the children, rapt. AUGUSTUS -LRB- continuing. -RRB- De Angelo formed the church of the Brotherhood. He was a great great man, but there were others, bad men, who took what De Angelo had discovered and experimented without concern for the results. The science of genetics and all its power has been banned ever since. Who can tell me what came from these bad experiments? One child puts his hand up. Behind the child, in the distance, Augustus now sees Silus approaching ; Silus obviously wants to talk to Augustus. Augustus points to the child while looking at Silus. AUGUSTUS -LRB- continuing. -RRB- Yes. CHILD All the bad things. Like bad germs and flu. Augustus nods, watching Silus' ominous expression. AUGUSTUS Yes. That's right. Augustus looks at the child and tries to smile. AUGUSTUS -LRB- continuing. -RRB- All the bad things.","EXT. SLUM, STREET - DAY The streets are wet. High above several large Zeppelins plod across the sky. We crane down to street level to find a police car pulling up through the steam. Lilly gets out, Jones beside her, wolfing down another bun. There are cops everywhere. An alleyway is cordoned off. The dwellers of the slum have floated up and are baying like wolves, hassling the cops ; some yell obscenities, generally along the lines of `` where's the police when you need them?'' Jones stares at the people. JONES Someone should flatten this cesspool and start again. Lilly and Jones move towards the police cordon. Immediately a reporter accosts them. STREET REPORTER Marm? The Tribune. Do you have any comments on the death? LILLY No. STREET REPORTER They're saying it was a Brother, is that true? Lilly stares at the reporter, pauses for thought. She whistles to one of the cops nearby, who then approaches. LILLY Arrest her. Jones and Lilly push past as the reporter protests at being manhandled. LILLY -LRB- continuing ; to Jones. -RRB- Find any witnesses and shut them up. Jones nods and moves over to a policeman guarding the alley. Lilly ducks under the crime scene tape, moving into the alley.","INT. JAMESTOWN SLUM, ALLEYWAY - DAY The alleyway is full of forensics personnel. Lilly moves deeper into the alleyway. We see her POV moving forward, finally revealing the body of the young woman who is surrounded by various forensics staff. Lilly talks to one. LILLY Can I step in? FORENSIC GUY With the traffic. What's it matter. Lilly moves forward. She can now see the woman more clearly. The woman is obviously dead ; her pale white skin like wet shining alabaster in the dark alley. Flashes from photographic machines light the scene, almost blinding Lilly and briefly revealing the true horror of the scene. Lilly kneels and carefully begins to examine the body. Another man now walks up and kneels next to Lilly ; young, good looking, obviously takes pride in himself. DOMINIC Lil'. LILLY Hello Dominic. DOMINIC Have you seen it? Dominic bends down and moves the dead woman's head, displaying the side of her neck. A bite has torn the skin on the side of her neck. The wound extends down, the carotid artery sliced in two. DOMINIC -LRB- continuing. -RRB- It's a bite. If you know what I mean? Lilly nods, then looks down at the woman's dead, cockeyed stare. Lilly closes the woman's eyes. LILLY Any identification? She is passed a bloody ID. Lilly stares at it. LILLY -LRB- continuing. -RRB- Tanya Garfield. Jones now arrives. JONES -LRB- to forensics team. -RRB- Where do you get a cup of tea around here? No one answers. Jones shrugs. JONES -LRB- continuing. -RRB- There's a kid who saw it, down there. Lilly sees the red shirted street urchin in the distance being talked to by two uniformed policemen. JONES -LRB- continuing. -RRB- Says it was a Brother. And they've got another fellow, that's all who saw it. Lilly nods. LILLY Alright, we'll close this down gents. None of you are to say a word, not even to your old mother. All the police officers stare at her ; they know what she means alright. LILLY -LRB- continuing. -RRB- Jones. Make sure. Jones shrugs and nods. Lilly gets up and moves towards the street kid who is being talked to by two burly, grumpy policemen. The boy is shaking. LILLY -LRB- continuing. -RRB- He saw what happened? POLICEMAN 1 Now he wont talk. Did n't see anything. Lilly looks at the boy. So young. LILLY What's your name? The kid does n't answer and gets a whack around the ears from one of the policemen. LILLY -LRB- continuing ; to the policeman. -RRB- Stop that. Lilly stares at the kid, as if the way he looks has keyed a memory in her. She squats and looks him straight in the eye. LILLY -LRB- continuing. -RRB- What's your name then? KID -LRB- nervous. -RRB- Albert. LILLY You live around here? The kid looks nervous. Lilly moves some of the bedraggled hair out of the kid's eyes. LILLY -LRB- continuing. -RRB- I grew up 3 streets from here. Matheson Lane. The Skrummers Workhouse. KID -LRB- surprised. -RRB- You did? LILLY Or should I say, I crawled out of here. The kid smiles. Lilly focuses on him now. LILLY -LRB- continuing. -RRB- No one else will do anything about this, you know? They just think this is a slum. No one really cares what happens to the people here. Except for you. And me. The kid stares at her ; she's a magician and he's a believer. LILLY -LRB- continuing. -RRB- What did you see? KID A man. LILLY What kind of man? KID A Brother. LILLY You're sure it was a Brother? KID He had teeth and everything. LILLY Where did he go? The kid turns and points to the shear wall of the alley. KID He went straight up there. Lilly stares at the wall. LILLY Alright, you go with these men, they'll look after you. I promise. She rises. LILLY -LRB- continuing ; to the Policemen. -RRB- Get him to describe it all. And keep him away from everyone. The Policemen grunt and begin to lead the kid off. LILLY -LRB- continuing ; to the Policemen. -RRB- And get him some food. Jones, now standing next to Lilly, moans. JONES Now they'll all want feeding. Lilly looks at Jones's callous face ; she's not amused. Cut to","EXT. JAMESTOWN SLUM, BUILDING ABOVE ALLEYWAY - CONTINUING High angle POV of Lilly and Jones moving off. Someone is watching them from the roof above. The POV belongs to Silus, who stares down at them. In particular he watches Lilly. We see Lilly pause and then look up as if feeling she's watched. We see Lilly's POV of the building above. There is no one there. HA of Lilly looking up. Cut to","INT. POLICE STATION, HOWARD ANDERSON'S OFFICE - LATER A device flies toward the camera, sharp needles eject from it slamming into skin. Seated at the desk is a harassed, balding man -LRB- ANDERSON -RRB- of about 55. He's just finished vaccinating himself, wincing at the needle jabs on the soft skin of his arm. There are many other needle marks on his skin. LILLY -LRB- off. -RRB- I've quarantined the neighborhood. Lilly stands before the man's large desk, which is lit by only a desk lamp. LILLY -LRB- continuing. -RRB- As far as anyone knows we have a new influenza outbreak. ANDERSON What about the telephonic companies? LILLY They're cooperating, closing all phone lines in and out except directly to us. Anderson nods. ANDERSON Sit, sit. She does. ANDERSON -LRB- continuing. -RRB- You've done well Lilly. The reporter is more of a problem. We have 2 days by law before we have to release her. Then it's out. Anderson lays down the medi kit and stares at it as he motions for her to sit. She does. ANDERSON -LRB- continuing. -RRB- I hate these things. I'm like a pin cushion. LILLY It's better than the alternative, sir. Anderson stares at her ; a moment of tension. ANDERSON I need you to stay with this, Lilly. You know Jamestown better than anyone, how to handle the people. Lilly acknowledges the compliment. ANDERSON -LRB- continuing. -RRB- The Brothers have requested to be involved with the investigation. LILLY That's nice for them. ANDERSON You have a problem with it? LILLY Not particularly. ANDERSON Good. I think they can help. And I do n't want someone working on this whose got something against the Church. LILLY How do you know I do n't? ANDERSON Lilly, you're the least prejudiced person I know. In fact, you're the only one I know. That's important. The church is powerful, but more than that, people's faith in the Brotherhood is about all they've got these days. And the government knows it. Even the Queen herself is involved. This is political. Cut to","INT. POLICE STATION, COMMUNAL OFFICE - DAY Lilly enters, drinking a coffee. She begins to top it up from the coffee stand when Jones comes up to her. JONES Lil'. He's here. Lilly's expression becomes taut. She peers towards her office. She can clearly see an exceptionally well dressed man in her office with his back to us. It is Silus. A young female cop - Steph - is in there and we can see her kissing a ring on Silus' hand and Silus placing his hand on her head as if blessing her. Steph then exits the office and approaches Lilly and Jones ; her face is flushed with excitement. STEPH Do you know who he is? That's Brother Silus. They say one day he will lead the Brotherhood. He's a great man. JONES I think I hear choir music. Steph flashes Jones a resentful look. STEPH Do you respect anything? JONES Hey. My old mum goes to church four times a week and gives blood. She's happy as a lark. Just do n't expect me to kiss him, that's all I'm telling you. Cut to","INT. POLICE STATION, LILLY'S OFFICE - CONTINUOUS Close on the enigmatic ring on Silus' finger. We see Lilly is seated on one side of her desk, Silus on the other. Lilly is staring at the ring, then she studies a Photostat in front of her. There is a picture of a man, a rather perfect looking man. LILLY Senior Brother Edgar. How long have you known about this? Silus opposite Lilly, his perfect, serene appearance an anathema in the grunge of the Jamestown police station. He watches her very carefully, listens to the way her finger taps the sheet in front of her, the sound of her chair swiveling, all the sounds very acute to him ; she has a physical ease about her. SILUS A matter of weeks. Lilly smiles. SILUS -LRB- continuing. -RRB- Is there something wrong? Lilly stops smiling. For the first time she is still. LILLY Yes. Withholding evidence. Covering up two murders. And no one's worried. If me or one of the people in Jamestown did that they'd be in the hell house with the key thrown away. It seems the church is able to do whatever it wants. Silus nods. SILUS You're right to not like it. It is political. Lilly becomes more interested at this ; at the bald honesty of the statement. SILUS -LRB- continuing. -RRB- We thought we could find Brother Edgar ourselves. We were wrong. But now any debate is pointless. Lilly stares at him. There is already something between them even though they stand on opposite sides of a huge gulf. She nods, accepting his point. SILUS -LRB- continuing. -RRB- The greatest danger is if this were to become public knowledge. LILLY Would n't want anyone criticizing the church I suppose. SILUS It's more than that Captain. This is about prejudice, or rather the nature of it. As a female surely you would understand. LILLY Really. SILUS How many other Captains in this borough are female? LILLY None? SILUS How are your actions judged, the same or differently from the men. Lilly stares at Silus ; he is an incredible being. LILLY Differently. SILUS Exactly. If a white man kills, then he is just a killer. If a black man kills, then all black men are suspect. That is the nature of prejudice. Those who are different are grouped together. If only one Brother does a bad thing then all Brothers are suspect, because we are different. And then what would this world be like, if there was no hope? Lilly nods, acknowledging the truth of it. LILLY Alright then. So what do you suggest? SILUS First, there is something you should hear. Cut to","INT. POLICE STATION, BRIEFING ROOM - LATER Scummy, large briefing room. There are seven cops in here, perched on desks and chairs. Jones, Dominic, Frank plus four others. Lilly is also there. So is Silus, sitting, perfectly still, calm. Several of the cops look at him suspiciously. LILLY Ok, ok, quiet down. Everyone nods and shuts up as Lilly stands in front of the men. LILLY -LRB- continuing. -RRB- Gentlemen, there's no other way to put it. We have only 2 days to find the suspect. There are guffaws from most of the policemen. JONES There's no chance. Not a hope in hell. FRANK He's right. We do n't even know where to begin. LILLY Quiet! Lilly is angry. There is silence in the room. Lilly seems more angry than she should be. LILLY -LRB- continuing. -RRB- What you are about to hear will not leave this room. Everyone understand? Jones? Jones shrugs. LILLY -LRB- continuing. -RRB- I would suggest anyone with a weak stomach leave now. No one moves. They all stare at Lilly. LILLY -LRB- continuing. -RRB- This is Brother Silus. She motions to Silus, who rises, watching the glares from the cops who eye him like a suspect. SILUS Thank you Captain. Could we have the plate? An old slide projector heats up as the main lights are turned off. The projector sprays an image up on the wall. The face of a killer, before he became one, the serene gaze of a Brother. SILUS -LRB- continuing. -RRB- Senior Brother Edgar. Until 3 weeks ago, he was a trusted and talented theologian and scientist. DOMINIC What'd he do? SILUS He was personally responsible for developing the most recent influenza antivirals. It is because of him that most of you are alive today. His behavior appeared normal. Next. 3 photos come up. The victims. SILUS -LRB- continuing. -RRB- The victims. John Anderson. Julie Danes. Tanya Garfield. All in their early 20's, but beyond that no obvious connection. Next. A Map. SILUS -LRB- continuing. -RRB- There is no precedent for Brother Edgar's behavior. No Brother has ever taken a human life, not in the 300 years since we began. Not one. Our role has been to preserve and maintain the human life. Not take it. JONES Next he'll be wanting an fucking medal. Silus stares directly at Jones now. Their eyes lock. Silus continues, perfectly calm. SILUS What I am saying to you is that Brother Edgar's behavior is aberrant. We SILUS -LRB- cont. -RRB- do n't understand it. And therefore it's difficult to predict. The only thing we know is where he will strike next. DOMINIC How do you know? Silus moves to the desk next to him. He passes something to another cop who now sits at the desk. We see Lilly now. The look on her face tells us that she knows what is coming and she's not looking forward to it. We see what Silus gave the cop. An audio tape. The cop places the tape in a tape deck. He then switches it on. He then turns the volume knob on an amplifier which now directs static hiss to two big speakers. We see the faces of the cops, all listening in the dim light coming from the slide projector. Above the level of the hissing tape there is another noise. It is a wet sound. Like a cat would make if it were lapping up milk. An another sound. Like an animal, moaning with pleasure. We see the cops ; some of them are beginning to twig. And there is another noise. It is a man ; moaning. MAN ON THE TAPE -LRB- off. -RRB- Please. Please do n't hurt me. We see Jones and Dominic. Their glares say it all. And then another voice. EDGAR -LRB- off, like to a lover. -RRB- Quiet. MAN ON THE TAPE -LRB- off. -RRB- Please. EDGAR -LRB- off. -RRB- I said shut up! Then we hear a punch and then noises which can only be described as sounding like a dog killing something. Jones springs out of his seat. JONES Fuck! LILLY Jones, sit down. JONES Why are we listening to this?! LILLY Quiet! Jones stands there enraged. Dominic pulls him down back into his chair. All the cops are appalled by what they have heard. And then a voice. EDGAR -LRB- off. -RRB- Good. Now you're quiet. We can hear Edgar moving around. EDGAR -LRB- continuing ; off. -RRB- Did you hear that Silus? I hope so. We see Silus, listening as intently as everyone else. EDGAR -LRB- continuing ; off. -RRB- The next one will be tomorrow. There is a square, Bridge Square it's called. I will take the next one from there. You should try harder this time. Please try harder. More moving around, then the sound on the tape cuts out. We are left with only tape hiss. Everyone stares at Silus. FRANK He sent this to you. Specifically. SILUS We share the same mother. There is a bond. The cops all stare at Silus' emotionless response. LILLY There will be two teams. Frank, I want you and Abernathy up in the buildings around Bridge Square. Frank nods. LILLY -LRB- continuing. -RRB- I'll lead the other team with Dominic, Jones and Queen's Imperial Guard in support. No guns, batons only. JONES What? LILLY You heard me. He's to be taken alive.","EXT. JAMESTOWN, BRIDGE SQUARE - NIGHT It has rained. The small square is dimly lit. At it's center is a small park with distorted trees. And a rundown playground. A rusty swing creaks. We see a figure there. It is Lilly. She watches the rusty swing creak. Then she looks up to the surrounding buildings. We tilt up to one of the buildings which is perhaps eight stories high ; like the others around the square it is an apartment building. There is movement at the very top. Cut to","EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT POV from the top of the building, observing Lilly below enter a black, unmarked van. Then there is buzz from an RT.. We reveal POV belongs to Silus. SILUS Yes.","INT. POLICE VAN - NIGHT Lilly is in a police van. Jones and Dominic are there with her ; both of them trying to come to grips with the strange stun weapons they've been given. And there are three huge, dark eyed soldiers there, dressed in the ominous black uniform of the Queen's Imperial Guard, cocking their electric batons ; which fizz in the half light. LILLY Anything? We cut between Lilly in the van and Silus on the roof. SILUS No. Silus surveys the scene. He can see an Imperial Guard sniper over the square on the roof of a building. Below, in the street, we can see the silhouettes of several Brothers ; unmoving, watchful sentinels. LILLY It's getting late. SILUS He will come. LILLY Ok. We'll sit tight. Lilly closes the com. Jones is staring at her. JONES This is a dud. Lilly ignores Jones and talks into the RT again. LILLY Frank? Cut to","INT. APARTMENT BUILDING, BRIDGE SQUARE - NIGHT Frank is inspecting a stairwell of the building. He has Abernathy with him. He talks into his RT.. FRANK Yeah Lil'. LILLY -LRB- off. -RRB- Anything? FRANK Not a thing. LILLY -LRB- off. -RRB- Check each floor again. Frank motions to Abernathy, who is already sighing. FRANK You heard her. Once more for the empire. Low Angle from the floor of the two men beginning to climb the stairs, their guns out. The shot stays where it is. We can see the stairs and the wall. We pause. The soundtrack is almost dead quiet, apart from the buzzing flouro above us. And then the CAMERA begins to advance, like a POV, heading for the wall ahead. It reaches the corner and then advances along cables running up to the roof. As it climbs we can see a ventilation shaft in the corner with no grill. The camera approaches it and moves into the shaft, continuous.","INT. APARTMENT BUILDING, VENTILATION SHAFT - CONTINUOUS The shot continues to track through the man - sized shaft. As we move through the shaft - turning corners, going up floors - we pass grills. Some of them show light coming from the apartments within. We can hear an argument in one room. A crying child in the next. A TV blaring in another -LRB- playing porno -RRB-. But mostly the rooms are dark. And as we move up and along, there is a scuttling NOISE, growing louder, as if we are approaching it. Then the NOISE stops. The camera halts, stares down the long ventilation shaft. Silence. Dead silence. The camera starts to move again and then turns a corner to run into the leering face of Edgar, the vampire, his teeth bared, his eyes reflecting in the half light. Then he smiles. EDGAR Shoo. Cut to A rat, staring back at Edgar. The rat turns and streaks off back whence it came. A slight smile appears on Edgar's face ; a smile that can chill the blood in your veins. Then he begins to move forward. We hear his breathing ; low, but excited. He moves with the precision and strength of an insect. His eyes glisten and reflect light like an animal's. His skin is flesh white and milky in the metal shaft. Cut to His POV approaching a grill. A subdued light comes through it. The POV approaches and sees into the apartment below.","INT. ROOM, SAME BUILDING - NIGHT A woman, around 20, attractive, brushing her hair. She has just had a shower. She sits. Cut to The shaft. We see Edgar's hand enter shot. His hand grips the bottom of the grill and tries to open it. It does n't budge. Cut to Inside the room, the woman turns and looks up at the grill. She thinks she's heard something. She stares ; waits. She gets up and moves towards the grill high above on the wall. She places a chair under it, then gets up on it, standing on tip toes, trying to see if there's anything behind the grill. Her hand reaches out and tries the grill, to see if it's secure. Then she leans closer to it. Her face pressed right up against it. Closer. Closer. Cut to Edgar's white face, lurching into shot. Staring, staring. Cut to His POV. He is now looking through a different grill. This time there is a young man inside an apartment. Doing exercises. Edgar watches. And again that chilling smile. We see the man again, who gets up and preens himself in front of a mirror. Close on Edgar's eyes, devouring the sight of this pumped up flesh. The young man exits the room, going into a bathroom. We see Edgar's hand trying to open the grill. It moves. Cut to","INT. APARTMENT BUILDING, HALL - NIGHT Frank and Abernathy are on fifth floor, finishing a sweep of it. As they move they hear a CRASH. They stop. Then another crash, coming from the floor up. Then a SCREAM. They look at each other, then begin to run to the stairwell, as Frank talks into his RT.. FRANK Lil'! Lil'! Cut to","INT. POLICE VAN - CONTINUING LILLY Frank. FRANK -LRB- off. -RRB- He's on the sixth floor! He's on the sixth floor! LILLY Let's go. Everyone fires into action and begins to exit the van.","EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT Silus watches from his vantage point. He can see Lilly and her team below rushing into the building adjacent to him. And then he sees, through one of the windows on the sixth floor, the flashes of gunfire. Cut to","INT. APARTMENT BUILDING, STAIR WELL - NIGHT Handheld camera with Lilly and her crew rushing up the stairwell ; up up. Cut to OMITTED","INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT Lilly and her crew entering the hall. They are confronted with a view of the long hall. Halfway down there is a door with blood smeared on it. We can see Abernathy, lying in a pool of blood outside the door. The cops stop. A door opens close to them. A large greasy man pokes his head out the door and gets the cops guns on him immediately. Lilly motions with her hand. LILLY -LRB- whispering. -RRB- Police. Get back inside. Get back. The man returns and closes the door. The Imperial Guards now swing into action. They move forward towards the room, to the closed door. Lilly and her crew follow. The Imperial Guards get ready outside the door batons ready. One of them motions for Lilly and her crew to wait. Jones is nearest them. He goes down on one knee. Dominic moves past them and positions himself on the other side. Lilly kneels where she is. Beat. Then the Imperial Guards kick open the door and enter. Lilly waits, watching. There's no sound. Dominic begins to move forward, then enter the door to the apartment, his baton raised. Jones now moves forward, keeping his eyes on the door. There is no sound coming from the room. Cut to Lilly, kneeling in the hall. Also staring at the door. Too late to realize the door next to her is opening. Before she can react, she's staring into the face of Edgar ; the eyes, the bloody mouth. Edgar is on her in an instant, moving with ferocious speed, whipping her like a rag doll into the room. Meanwhile Jones is edging towards the room Dominic entered. Cut to","INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT Lilly, trapped, held by Edgar, who stares at her. Then, in one swift movement, he lurches down, tearing her neck with his teeth. She cries out.","INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT In the hall, Jones is looking into the room Dominic went into. The lights come on. The room is empty. Just the cops and Frank's bloody corpse on the floor. JONES Lil'. Jones turns to see Lilly, but she's not there. The hallway is empty. He sees the door Lilly was pulled through. Then looks down. Blood is seeping from under the door. JONES -LRB- continuing. -RRB- Fuck! Cut to","INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT Lilly being embraced by Edgar, she ca n't do anything. Then a loud crash on the door, as if someone is trying to break in. Edgar stops feeding, stares at Lilly. Beat. EDGAR You're so strong. Then another crash on the door. Edgar drops Lilly. He propels himself towards a ventilation grill on the wall. Cut to Jones and the cops kicking the door in. It swings open to show Lilly on the floor. Jones stoops down. JONES Lilly! Jones gets close to Lilly, starts squeezing the side of her neck, trying to stop the arterial blood from squirting her life away. JONES -LRB- continuing. -RRB- Oh shit shit. Dominic enters and sees the scene. He yells into his RT.. DOMINIC Lilly's hurt. She's hurt! The other cops are now scanning the room. Meanwhile Dominic has found the ventilation shaft, blood smeared around the opening. DOMINIC -LRB- continuing. -RRB- He's in the ventilation shaft! Jones then stares down at Lilly pressing one hand against the wound. Close on Lilly, going into shock. She's shivering. JONES She's dying! She's fucking dying! At that moment SILUS appears at the door. Silus stares at Lilly, bleeding to death in Jones' arms. Silus immediately bends to her. With his free hand Jones pulls out a vicious knife which he points at Silus. JONES -LRB- continuing. -RRB- Get away from her! But Silus ignores the knife and moves closer to Lilly. JONES -LRB- continuing. -RRB- Get away or I'll stick you! SILUS Do you want me to save her? Jones wavers. SILUS -LRB- continuing. -RRB- She is dying. Jones backs the knife away. Silus whips his hand to the blade of the knife, slashing his wrist, blood immediately issuing from the wound. He presses his bleeding wrist to Lilly's mouth. At first resistant, Lilly begins to suck at the wrist. Jones is appalled. Silus then leans close to Lilly and whispers in her ear. All the other noises in the soundtrack drop out. SILUS -LRB- continuing. -RRB- Lilly. Stop fighting now. Fall back, fall back. Slowly she does. Silus removes his wrist from Lilly's mouth. She is silent, comatose. A medical team now scramble through the door, pushing past Silus and the bloody Jones and begin to work on Lilly. For a moment Silus and Jones stare at each other. Then Silus turns to the ventilation shaft in the corner. He closes his eyes. Listens. DOMINIC He's getting away! SILUS Quiet. The cops are silent. Stare at Silus who opens his eyes. SILUS -LRB- continuing. -RRB- He's going up. We move in on Silus' ear. Closer, closer. Into his ear.","INT. APARTMENT BUILDING, VENTILATION SHAFT - NIGHT The long shaft and in the distance Edgar approaching, his eyes reflective, moving with the speed of an insect through the shaft, his bloody mouth. Cut to Silus, now also in the shaft, his gun out, moving forward. He turns a corner. The shaft is empty. He waits, watching, listening. He hears a scuffling. Cut to Edgar, the same, turning a corner to see Silus approaching him. Silus raises his gun. A puff emits from the end of his gun. The projectile hurtles towards Edgar, who just ducks out of the way in time. Edgar turns. There is a grill next to him. He smashes it with his foot. Cut to Silus approaching the junction, turning the corner, just in time to see Edgar's legs pass through the hole.","INT. APARTMENT BUILDING, HALL - CONTINUING We see Jones move into the hall, looking at the roof, searching. Then he looks at Lilly's blood which covers his hands. He pockets his stun weapon and pulls out his own dangerous looking gun. Cut to","INT. APARTMENT BUILDING, DIFFERENT FLOOR - NIGHT A door bursts open. Edgar - in slow motion - crashes through the door and into the hall. The sound track is a huge driving slab of choral orchestral music. The camera tracks back as he starts to mount the wall, his momentum carrying him diving towards the camera. Cut to Silus enters the empty hall. No Edgar. Then he sees in the roof, a manhole cover, slightly ajar. Cut to","INT. APARTMENT BUILDING, CEILING CAVITY - NIGHT Silus' POV as he climbs into the crawl space, its ceiling following the pitch of the roof. It is dark and extends for a long way. Silus squats in the sub light like a beautifully dressed animal. What he ca n't see are two blinking eyes above him in the rafters of the dark roof. It is Edgar. Edgar drops, Silus turns too late as the weight of Edgar drives into him, sending both of them through the floor of the ceiling cavity and down.","INT. APARTMENT BUILDING, ANOTHER HALL - NIGHT to fall, a dead weight, crashing down onto the floor of the hall in a hail of debris. Edgar is on top of Silus and strangling him, and then he stops and turns. He moves just in time to avoid a bullet from Jones' gun which glances Edgar's cheek, sending off a wisp of burnt colored smoke. Cut to Jones. Gun smoking, standing at the other end of the hall. Edgar screams the scream of something from the animal kingdom. Then turns and runs. Cut to Silus rising, pulling out his gun. Jones points his gun, but Silus is obscuring his view. Cut to Edgar runs away down the hall. Then on Silus. Very still, very silent. Close on his finger pressing the trigger. The camera zooms right into the interior of the gun to see the projectile entering the gun's chamber and the hammer igniting it. The projectile explodes out the end of the gun. High Angle of the projectile flying towards its target, the ceiling lights above streaking past on its reflective surface, cruel mechanical claws suddenly slide out from the side of the capsule. Then Edgar, camera tracking back at high speed. Slow move in on Silus' cool gray eyes. Then whack! The projectile stabs into Edgar's back, the claws springing forward to hook onto Edgar's flesh, we see the fluid within the transparent projectile flow into Edgar, see Edgar's eyes widen, see his POV of the approaching window then. Crash. Edgar's head implants itself in the wall below the window, the dust and debris from the wall board drifting over Edgar's numb stare. In the background Silus stands. Motionless. We see Jones walking forward, gun still pointing, heading towards Edgar. Silus turns and steps in front of him. JONES Get out of my way. SILUS No. Jones stares at Silus and contemplates firing. JONES He killed Lilly. Silus does n't move. He stares calmly at Jones. Jones points the gun in Silus' face. Beat. JONES -LRB- continuing. -RRB- Bang. Jones lowers his gun. We end close on Silus' serene face. SLOW DISSOLVE OMITTED","INT. SFX - CONTINUING Black. Voices in the dark, quiet at first, then growing more frightening ; then the hint of a face, in negative - Edgar - then screams, like the screams of an animal on the hunt. And another face, alternating with Edgar's. Silus.","INT. HOSPITAL, LILLY'S WARD - DAY High Angle of Lilly asleep, lying on a hospital bed. We drift down. Again there is rain, pounding against the window. Her body flinches ; she is in a dream, a nightmare. As we drift closer to her, her eyes open, staring straight up and then to the left. Then grim recognition. Cut to Low Angle on Silus standing above her, examining the tube that runs a clear fluid into her in a slow drip. LILLY Antibiotics. They say it's like an animal bite. Silus nods. He slowly sits on the bed. LILLY -LRB- continuing. -RRB- I want to thank you. SILUS We all caught Edgar. LILLY I do n't mean that. The blood, they say it saved my life. Is it true that people who go to church are given your blood? SILUS Sometimes the rituals call for it. Some say they have visions from it. That it restores their health. Silus regards her and she him. She reaches out and touches his hand, almost retracts at the smooth texture of the skin. LILLY So smooth. She turns over his hand to reveal the wrist ; the scars are almost gone from where Silus cut himself. LILLY -LRB- continuing. -RRB- Healed already. SILUS In some ways my body is like a human embryo. The cells regenerate quickly. It is why we live so long. Will someone come for you? Your family? She releases his hand. LILLY I do n't have one. Not any more. SILUS I see. LILLY Influenza. My husband was quick. But my daughter, Mary, her little body fought it for a long time. So I just waited. Hoped. But then you realize how cruel hope is. And you just want it to end. Not to stop her suffering, but to stop my own. SILUS I am sorry. LILLY Do we seem pathetic to you? SILUS No. Fragile. Worn down by nature. But you fight back. LILLY Yes. We're good at that. Lilly stares up into Silus' serene face. Silus smiles. Then stands. SILUS I think yours will be a good life to watch, Lilly. Goodbye. Lilly tries to smile as Silus turns and walks off down the ward. Close on Lilly who looks grim. Then she turns to the window. Rain again, blowing hard against the pane.","INT. HOSPITAL,LILLY'S WARD - CONTINUOUS As Silus leaves the ward he passes Jones, who's been standing there as if he's been watching them. A beat. Then Jones shoves a newspaper into Silus' hands. JONES Nicely done. You're more human than I thought. Jones unceremoniously pushes past Silus and moves into Lilly's room. Silus reads the newspaper. The story tells of the recent deaths in Jamestown, explaining that it was an insane man who thought he was a Brother. The man's picture is shown ; it is actually one of the victims. Through the window in the doorway Silus watches Jones approach Lilly. We are close on his enigmatic face.","EXT. BROTHERHOOD BUILDING, FOYER - DAY- Establisher We tilt down a grand building.","INT. BROTHERHOOD BUILDING, FOYER - DAY A huge foyer, shinning marble floors. All done in perfect taste. We see Silus cross the foyer and enter an elevator. The elevator doors close.","INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - DAY Silus enters the room. There are several technicians at work at a console ; again the organic nouveaux stylings of the Brothers. Augustus is also there. Next to him, someone who is obviously human. His lack of perfection stands out ; the balding hair, dark rings under his eyes. Silus joins them. AUGUSTUS Silus. You know Professor Liepsky. Silus shakes the Professor's hand. We see the hands touching, then slide apart with a wisping sound that makes the Professor wince a little. SILUS How is he? PROFESSOR LIEPSKY See for yourself. He taps one of the men at the console on the shoulder. The man hits a button and we see that in front of the console there is a huge glass window and beyond it a room which is now lit. Edgar is in there. And Edgar is not pleased. Even from here his glowering stare penetrates everyone in the room. From this distance we ca n't make out much, beyond the fact that Edgar is seated in a chair, in an otherwise plain white room. Around his chair is a strange `` brace'' of sorts, that seems to be holding Edgar in place. SILUS Is the brace necessary? AUGUSTUS He decapitated a guard as they brought him in. Even though he was sedated. He said he will drink us all dry. SILUS Insane then. PROFESSOR LIEPSKY Not quite. Silus now turns to the Professor. PROFESSOR LIEPSKY -LRB- continuing. -RRB- He's become infected. SILUS With what? The Professor looks to Augustus, as if worried he's said to much. AUGUSTUS Go on, Brother Silus will soon be part of the inner circle of the Brotherhood. He should know this. Cut to","INT. BROTHERHOOD BUILDING, LABS - CONTINUING POV approaching a curved, glass and metal door. On the door we see the words `` Biological Containment Area.''","INT. BROTHERHOOD BUILDING, BIO CONTAINMENT WARD DAY - Establisher POV continues. There are 3 beds in here. In them, strapped down, 3 young woman. They are all insane, monstrous ; the whites of their eyes are blood red. We see Silus observe them, but there is no horror in his eyes, just compassion. He moves to one of the woman and slowly grasps her hand. She lurches towards him. PROFESSOR LIEPSKY If she was n't restrained she would try to kill you. Do n't worry, it's only transmissible through their blood. We designed it that way. Silus quietly turns to the Professor. SILUS Designed? PROFESSOR LIEPSKY Genetically designed. Edgar was experimenting with the virus that created you. It was sanctioned by the government. SILUS Since when do they sanction such things? PROFESSOR LIEPSKY Since not one Brother has been born in 70 years. And never a female of your kind from which we could breed. And we need to breed more Brothers. You give the world hope. To the people you're like gods walking the earth. AUGUSTUS This is what Edgar was doing Silus. Trying to genetically control the birth of Brothers. Silus is now turns back to the poor creature on the bed. PROFESSOR LIEPSKY And Edgar was successful. Each of these women carried a Brother, for a time. But, the virus. changed. Most of them have died and these will die soon. Silus places his hand on the poor creature's head, blessing her. PROFESSOR LIEPSKY -LRB- continuing. -RRB- And Edgar may be the first Brother to ever die. PROFESSOR LIEPSKY -LRB- continuing. -RRB- Before that, his brain will wither like these women. Containment will be the issue. Cut to","INT. BROTHERHOOD BUILDING, CELL ANTEROOM - CONTINUING A door slamming behind Silus, he is in a strangely, eerily lit cubicle. SILUS -LRB- off. -RRB- The police officer. Lilly. Did he infect her with this? PROFESSOR LIEPSKY -LRB- off. -RRB- No. She was lucky. But it is in Edgar's blood. It always will be. and another door in front of Silus clicks, then slides open to reveal.","INT. BROTHERHOOD BUILDING, CELL - CONTINUING Edgar, sitting in the chair. He immediately turns to the door, his eyes burrowing straight into Silus. Silus moves forward. We track, Silus' POV, toward Edgar and the reality of his predicament is revealed. There are metal rods extending from the cage around him. Two at the sides. Two from the front. They strategically pointed at Edgar's chest and sides. If he was to try to get up, they would pierce him. SILUS Hello my Brother. We can now see Edgar for the first time in something approaching a normal state. He looks similar to Silus, perhaps not quite so perfect. He radiates confident primeval power ; less a man captured than an animal waiting. Edgar is smiles. He shifts a little, we see the rods piercing his flesh. EDGAR Do you like what they've done for me Silus? He moves again, as if enjoying it. SILUS You are sick. We will help you if we can. EDGAR Help me? I am being what I was meant to be. How can you help me from that? Or do you want to tame me? Brainwash me? Animal or vegetable, are those the two choices, Silus? Edgar leans closer to Silus. EDGAR -LRB- continuing. -RRB- I want to share the feeling with you. To feel their blood flow until every last drop is yours, until that weak, pointless little pump finally stops. They are staring at each other very intently now. Edgar smiles gently. EDGAR -LRB- continuing. -RRB- The one I had, the police woman. She was so strong. I found it hard to leave her. Edgar moves. EDGAR -LRB- continuing. -RRB- Is she dead? SILUS She survived. EDGAR Good. I will have her again. For perhaps the first time, we see a real hint of anger on Silus' face. SILUS You wo n't touch her. Edgar looks at his brother for a moment. Edgar's features are a paradox ; almost sympathy for Silus followed by understanding. Then he smiles. EDGAR You've chosen to watch over her. You want her do n't you? I can see it in your eyes. You are like me. Silus' control has returned now. SILUS I will pray for your cure, Brother. Silus then turns and leaves. EDGAR I wont be able to forgive you for this you know? Not ever. In fact, when I get out of here. He moves violently, blood seeping from his wounds now. EDGAR -LRB- continuing. -RRB- I will make you see. I will show you the way. I will see you drink your little police woman right through. By now frightening music has hummed into existence. Silus has paused at the door to the cell. Without looking back he passes through the door, leaving Edgar to his prison. Edgar, slowly turns back to the window in front of him. He sees himself reflected in it. The Camera moves into Edgar's eyes. The lights go out. All we are left with are his strange reflective eyes. Waiting. Waiting. OMITTED","INT. BROTHERHOOD BUILDING, CELL - NIGHT A smooth, white walled cell. Flash edits of Edgar. Standing, posing, balancing literally on his fingertips, doing sensuous, slow gymnastic yoga. His hair has changed so we know time has passed. Finally he stands there ; poised tensile steel. He slowly draws his finger nails against the shining floor of the cell, it almost looks like he's sharpening them. A tube comes from his arm for taking blood samples. Then Edgar begins to run directly at the glass window of the console room and then dives for it, smashing his head against it ; blood and saliva left smeared there. Behind the glass window the console operators jump.","INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUI60A CONSOLE OPERATOR 1 I do n't like it when he does that. CONSOLE OPERATOR 2 -LRB- scolding Edgar ; into microphone. -RRB- You stop that or we'll use the gas!","INT. BROTHERHOOD BUILDING, CELL - CONTINUING We see Edgar, slowly pulling himself up, blood and bruising apparent on his face. He smiles. We zoom in close to the glass, see Edgar's infected blood run down it until it congeals a little, caught in a tiny, almost imperceptible, hairline fracture.","EXT. JAMESTOWN CLUBLAND, STREET - NIGHT Rain on the streets. A man, covered in tattoos - an affluent hood, is in a doorway snorting snuff Dominic, Jones and several other cops emerge from hiding places, pointing their guns at the man who puts his hands up. Hand held cameras follow several other cops and Lilly as they move into the building, again catching various hoods unaware. Lilly moves forward quickly, down a hallway and finds what she is looking for. In a room she discovers a harem of prostitutes, none of them older than ten years old. She stares at their doll - like faces, then lowers her gun. We see Lilly, the scars from Edgar's attack now healed but still apparent on her neck. Her hair is shorter ; she seems more worn down. Jones appears on her shoulder. LILLY Take them away from here. Jones nods as Lilly walks off. JONES You do n't feel like a drink? But Lilly does n't respond, she just walks off. Jones watches her leave. Then he stares at the round faces of the children in front of him, something approaching compassion there. JONES -LRB- continuing. -RRB- Now my girls, anyone hungry?","EXT. JAMESTOWN CLUBLAND, STREET - CONTINUING Lilly exits the building into the rain, wrapping herself up against it. Then she stops, feels she's being watched. She looks up at the surrounding buildings. But there's nothing there. She pulls out an amulet with the symbol of the Brotherhood on it from under her jacket, and then after a beat, kisses it, a little smile comes to warms her lips against the cold. She leaves. Cut to","EXT. JAMESTOWN CLUBLAND, BUILDING ROOFTOP - CONTINUING POV looking down on Lilly as she walks away. It's Silus, watching her quietly from the shadows, his eyes reflective orbs in the night. OMITTED OMITTED","INT. BROTHERHOOD BUILDING, CELL - CONTINUING Edgar's cell is very dimly lit. Edgar is in front of the glass window to the console room. He is repeatedly banging is head against it. And his fingernails slide across the shiny surface ; has he simply gone insane? A voice comes over the Tannoy. CONSOLE OPERATOR -LRB- off. -RRB- If you do n't stop that we'll use the gas. You hear me? Edgar just continues to bang his forehead against the glass, it drums eerily. Cut to","INT. LILLY'S APARTMENT - DAY We track through Lilly's apartment, silently. We enter the lounge to see Lilly sitting on a couch watching a strange looking valve powered globular Television - like device. We track ominously up behind her. Then stop. JONES -LRB- off. -RRB- I knocked. Lilly turns to Jones. LILLY You nearly gave me a heart attack. Steph now emerges from the kitchen, dressed in a t - shirt and shorts and carrying some food. Jones looks at her coldly. JONES What's this then? Lilly and Steph smile at the inference Jones is beginning to draw. STEPH My apartment was condemned, keep your hair on, what's left of it. Meanwhile Lilly shushes them and turns back to the murky gray images emitting from the television. TV PRESENTER the ascension through the ranks of the Church has been fast for Brother Silus. He will now be the highest ranking cardinal outside the ruling council of the Brotherhood. This is largely seen as a reward for his handling of the last influenza pandemic. Jones and Lilly watch as Silus is seen on the television in an interview. Steph stares at the screen with awe, she involuntarily kisses the symbol that hangs from a chain around her neck ; it resembles a Brother's ring. STEPH Is n't he amazing? Jones sneers under his breath. JONES A saint. LILLY Quiet. We move over their shoulders to track closer to the black and white TV screen. TV PRESENTER You have been an opponent of those who want an easing in the ban on genetic research. SILUS Yes. TV PRESENTER They would say you're denying legitimate research into a science that would change the world. SILUS The church does not deny the potential. Only the motivations of those who want to exploit it. And the fact that we understand so little of its power. TV PRESENTER With the elimination of influenza, are we approaching a new era where disease might be a thing of the past? As she is saying this we are now close on the TV's speaker. We then begin tracking out. We reveal the speaker is not part of the TV, but the speaker in Edgar's cell. Edgar, smiling coldly as he listens. As he listens he is gently gliding his finger nails against a sharp edge of the chair ; sharpening them. SILUS Disease is part of nature, it will always be a part of our lives. Close on Edgar. EDGAR How true. TV PRESENTER -LRB- off. -RRB- Brother Silus' confirmation ceremony will be held today in the sacred Chapel of St. Augustine where all the Brotherhood will gather. Edgar listens, smiles.","INT. CEREMONIAL CHAPEL - DAY An ornate door ; ancient, with strange, beautiful dark symbols carved into the old wood, like something out of a castle in Prague. The doors open and we see a large chapel. And within the large dark interior, lit by great long candles, the Brotherhood have gathered. They all stare at the camera, which we reveal is Silus' POV. We see SILUS. Unchanged, still the perfect creature he has always been. But for now the suit has gone and instead he stands draped in fine ropes, robes that carry his life on them ; achievements, his rank, which is now high. In the distance, at an alter, stands AUGUSTUS. He is also in his gowns. A gong sounds and the Brothers, in unison with the music, begin to chant ; it is eerie, it sounds like Tibetan monks.","INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM CONTINUING Professor Liepsky, looking more aged, worn, enters the control room. Alarms are sounding. At the console is a human male who looks terrified. CONSOLE OPERATOR I turned off the lights to try and calm him. Liepsky hits a button and it floods Edgar's cell with light. Edgar is right there, staring at them, his hands plastered over the glass window. He is covered in blood. In the background a bloody corpse on the floor. Edgar bangs his head against the glass, making Liepsky flinch. On Edgar's forehead we see scars from this kind of repeated banging. CONSOLE OPERATOR -LRB- continuing. -RRB- We gassed him as usual. We waited 10 minutes. He must have held his breath. The look on Liepsky's face says it all. We see Edgar. We had thought he was looking at the Professor. But he's not, his gaze is focused past the Professor to the dimly seen back wall of the control room. On it is a schematic, showing this room, other rooms on the level, the elevator shaft. Edgar is talking it all in.","INT. CEREMONIAL CHAPEL - DAY Silus, on one knee before Augustus. Augustus now places a ceremonial sword at the back of Silus' neck, then draws it gently across the skin. Below, a Brother holds out a bowl to catch the drops of Silus' blood. AUGUSTUS The blood flows, through them, to us and we preserve them, preserve the blood we are bound to protect. Silus raises his head. We see his face. He takes the bowl, drinks and then stands, holding it up to the other Brothers. SILUS Let the blood be one and the two races join, as the Perfect Creature. Cut to","INT. BROTHERHOOD BUILDING, CELL - DAY Close on Edgar, smiling. Calm. EDGAR Today my brother enters the history books, Professor. PROFESSOR LIEPSKY -LRB- over the tannoy. -RRB- Move back! After a moment, Edgar slowly walks backward in perfectly smooth movements. EDGAR Tonight all the Brothers will be with him. A perfect day for me to celebrate. From the far wall Edgar begins to glide forward, first in slow motion then ramping up to full speed, launching himself at the glass window. He bounces off it, leaving blood and saliva there. The Professor and the console operator share an unsettled glance. Edgar slowly stands. He stares very intently at the glass window in front of him. We zoom in on the glass. The small hair line fracture we saw previously now begins to lengthen before our eyes. Edgar's face. A smile. Then he is forward at high velocity before anything else can happen, smashing once more into the glass window, this time shattering it into a thousand tiny pieces.","INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUOUS Horrified the console operator begins to make an escape. But Edgar is on him before they're a few paces towards the door. Edgar's long fingers sink into his neck like the flesh and bone were clay. He screams. The Professor makes it to the door, pulls himself through and shuts it, but on Edgar's hand. Edgar does n't flinch, but kicks the door open.","INT. BROTHERHOOD BUILDING, HALL - DAY The Professor is now scrambling, half falling in slow motion as Edgar advances. As normal motion returns he kicks Liepsky in the head ; the sound of impact has a nasty fatality to it. Cut to Edgar. A door further down the hall is being unbolted. Edgar immediately runs towards it, then launches himself at it, his fingers extended like knives which enter the eyes of a guard who's coming through the doorway. The guard falls back on another two guards behind him. A round from a shotgun goes off, taking a small chunk from Edgar's side, but it's nothing more than a bee sting to him. His speed and precision is that of a creature who knows he only has one chance. He kicks the second guard under the chin, instantly snapping his neck, while flicking the third in the eyes with his sharpened fingernails. This guard falls, his eyes leaking orbs. Beat. Edgar crouches like a dark god of destruction, a siren sounding, the lights all going off, then flicking to red emergency lights. Edgar's eyes reflect in the half - light. Then he bares his teeth. At the end of the hallway he can hear the elevator arriving on this floor. Edgar smiles. Cut to","INT. BROTHERHOOD BUILDING, FOYER - DAY The gleaming surfaces of the ground floor of the Brotherhood building. We hear the elevator begin to arrive. We pan off this to a desk where a receptionist sits. Cut to The Receptionist ; she's trying desperately to place a call. We see the shadow from a figure cast over her and she turns and looks up, fear making her shake now. Cut to Edgar, staring down at her. EDGAR You wo n't be taking any more calls today. Cut to","INT. BROTHERHOOD BUILDING, HALL - LATER Slow steadicam along the underground halls. We see the bodies of Edgar's victims being cleaned up by personnel. We stop. In the distance we see the door to Edgar's cell open. Cut to Silus, observing the scene. The lighting is intermittent, flickering. Augustus is standing next to Silus, the weird light of the hallway reflecting in his eyes. AUGUSTUS Now he carries this thing out into the world. Can you imagine what will happen if he infects others? Or if the experiments were known. We are left with Silus' beautiful, reflective eyes. SILUS The question becomes what will he do next? He said he would kill us all. But especially the police officer. Lilly. Cut to","INT. JAMESTOWN SUBWAY - SUNSET Flashing lights of subway trains screaming through subway tunnels, wheels screeching as metal grinds on metal.","INT. JAMESTOWN SUBWAY EXIT - CONTINUING The streets are flooding like Bangkok in the monsoon ; rain pouring off awnings that hang out over the street. The streets are full ; prostitutes, drug peddlers, apothecary shops, the industrial revolution low down and dirty. There is a fight breaking out between two men who are dressed like punk rockers. Several people are alighting from a subway exit ; the exit has `` Jamestown/Brougham'' on a nouveaux styled sign that might remind you of a Paris or Barcelona metro, only dirtier. We see Lilly in the distance, in her dark jacket, emerge from the subway. She begins the short walk to her apartment. The streets are crowded and there are plenty of Maori people in this area, so there's plenty of food stalls ; the air is filled with the sound of evening prayers. Lilly stops at one of the food stalls and starts picking up vegetables. A Maori man comes out and smiles and they start talking in the local dialect. She buys a live eel. Cut to Across the street, in a doorway, we see a very weedy, sick looking guy - this is Freddy. Standing next to him is a Prostitute, swaying from the effects of laudanum. PROSTITUTE Come on governor, you going to pay me or not? FREDDY Soon enough my cherub. I've not finished with you yet. He sucks on something that looks like a ventaline inhaler, then pockets it, licks his lips and begins heading off down the street, the drunk Prostitute dragged along. Cut to Again, Lilly from a distance, walking along the street which is more deserted, now carrying a bag full of groceries. As she walks we begin to hear voices ; violent, arguing. Lilly approaches an alleyway, the raised voices becoming louder. She slowly places her bag on the ground and then pulls out a revolver. She edges into the alleyway.","EXT. JAMESTOWN SLUM, ALLEYWAY - CONTINUING Lilly's POV down the alleyway. It seems empty. The POV moves in a little and there in an offshoot of the alleyway we can see Freddy. He is standing over a woman who cowers ; she's plainly a prostitute. Freddy points a gun at her head. FREDDY You've been ripping me off! I should blow your dirty little brains out! STEPH -LRB- off. -RRB- Police! Put the gun down now! And now we see, it's not Lilly we've been watching, but Steph. She points her gun at Freddy. Freddy turns to Steph. He slowly raises his arms. FREDDY It's ok. I'm complying officer, see. STEPH Put the gun on the ground and step away! FREDDY I'm doing it. Freddy puts the gun down. The Prostitute on the ground now scrambles to her feet and heads towards Steph. PROSTITUTE He's crazy! Fucking crazy! She gives Freddy the finger then heads off. STEPH -LRB- to the prostitute. -RRB- Wait! -LRB- to Freddy. -RRB- Down! Right now, down on the ground! Freddy gets down. FREDDY I'm getting wet now. Low Angle on Steph approaching. Behind her a FIGURE is descending the wall behind him. STEPH Shut up! Steph is over Freddy now. He's staring up at her. He can see that a shape has appeared behind Steph. EDGAR, his eyes gleaming. Steph pulls out some handcuffs. STEPH -LRB- continuing. -RRB- Put your hands behind your back. FREDDY Sure. Anything you say. But before Steph can move forward, Edgar has her gun hand in a vice - like grip. She cries out in pain as her wrist disintegrates. As a reflex she stamps on Edgar's foot and kicks him in the groin with her other. He does not flinch. He smashes Steph into a down pipe on the wall of the alley so that wet grit is ground into her face. We then see Edgar's face at her shoulder. EDGAR Nice to meet you again. Edgar pulls back the jacket at Steph's neck to find no scars. He pulls Steph's face towards him brutally, staring at her profile. He then smashes her head against the pipe so that she falls unconscious to the ground. FREDDY What's wrong? EDGAR You brought me the wrong one. FREDDY Does it matter, one's as good as the next? Edgar's stare makes Freddy shut up and avert his eyes. Edgar then turns on the tube on his arm so that blood drips into the unconscious Steph's mouth ; making her gag. FREDDY -LRB- continuing. -RRB- You promised me some of that. Freddy's licking his lips. Edgar studies Freddy, then raises his arm. Freddy just stares. We see the tube on Edgar's arm that connects to his veins. And in a moment Freddy has latched onto it and is sucking like some kind of human leech. EDGAR What do you see Freddy. Visions? Can you see your future? For a moment Edgar strokes Freddy's hair, then rips the tube away. FREDDY Hey! Freddy moves forward, but is pushed back by Edgar. EDGAR Do n't be a greedy little pig Freddy. You have to earn more. Close on Edgar, his repellent features under the hood. He looks up. Far above, through the falling rain, past the high - rise slum around them ; we see the moon hanging like a pearly crescent in the sky. The moon is slowly obscured by clouds. EDGAR -LRB- continuing. -RRB- We have more to do. Cut to","EXT. JAMESTOWN CLUBLAND, STREET - NIGHT We see a figure exiting the subway. This time it is Lilly, following the same path that Steph took. Making her way through the crowded street. The rain has given way to a fine mist. Then, as Lilly moves forward she senses something ; that feeling again, that she is being watched. She stands for a moment as people push past, looks up at the gothic Victorian buildings that loom out of the drifting mist. But there is nothing. Lilly begins to make her way through the drifting mist, casting glances at the odd passerby. Then, ahead of her, there is one pedestrian in particular, taller than the rest, wearing a great hooded jacket, who stands out. He is immediately suspicious to Lilly. He is slowly moving through the crowd towards her. From under the hooded jacket we see the glint of the approaching figure's eyes ; an intense stare hidden in the shadows. The man now puts his hand in his pocket as if he's reaching for something. Lilly now slowly slips her hand into her jacket, her gun a cold hard presence in her hand. She stares ahead at the approaching figure, who has now stopped, after bumping into a pedestrian. Lilly continues forward, closer, closer. From under the hooded jacket the glistening eyes of the man ahead catches hers for a moment. The man now begins to approach her, his hand pulling something from his jacket, going for something. A gun. Lilly immediately pulls her gun. The mist beads on the shining barrel of her gun. The man is raising his hand towards her. LILLY Police. Put your hands where I can see them! The man now lurches forward, his hand rising towards Lilly, her finger begins to caress the trigger of her gun, as the man looms closer. And then he is gone. Cut to The man slamming against the wet wall of a building, grasping at the hands that now threaten to throttle him. And we see Silus, his hands on the man's throat, and for only the second time, we see anger in Silus' eyes. People in the street scatter as more Brothers emerge with guns pointed. And Lilly, shaking, pointing her gun at the man Silus is holding. On the ground, next to the man, she sees what he had in his hand. A pamphlet. Asking people to come to church service ; a picture of a Brother priest serenely beaming out from it. Meanwhile the man that Silus has is gagging on the ground, Silus' hand still on his throat. He's begging. PARISHONER Holy brother, please. Lilly grabs Silus' shoulder. LILLY Let him go. She shows Silus the pamphlet. LILLY -LRB- continuing. -RRB- He's harmless. Let him go. The man now pulls back his hood. He is black, his large, watery eyes stare up in awe at Silus. He grabs Silus' hand which now relaxes and draws Silus' ring to his lips, kissing it, in tears. PARISHONER Forgive me. I've offended you. We see Silus' dark stare. A beat. Then Silus reaches out and places his hand on the man's head. SILUS No. You are divine. It is the world that offends me. Silus rises, the Parishioner just lays there in awe. Silus now turns to Lilly who is on his shoulder. And now Lilly realizes for the first time that it is Silus. LILLY Brother Silus. What's going on? We then hear a police siren and a car pulls up through the rain. The door opens and Jones emerges, taking in both Lilly and Silus. A grim smile of realization comes to Jones' face. He pulls something from his jacket. Cut to","INT. LILLY'S APARTMENT, LOUNGE - NIGHT Steph's ID is tossed down on a table. JONES -LRB- off. -RRB- A shopkeeper heard yelling. Went to see, found this. One witness. A prostitute. Jones tosses down a photo. It is Freddy, looking suitably scummy in a police identikit photo. JONES -LRB- continuing. -RRB- She identified this lovely citizen. We thought maybe he had a grudge or was crazy. I guess we were wrong. Silus stands by the window ; lights make patterns on his face. SILUS It is Edgar. LILLY And now he's got Steph. Why does he want her? SILUS She is not what he was after. We see Lilly slowly getting it. LILLY Steph was staying with me. She was wearing my coat. It was me he was after. Was n't it? Silus now turns, slowly moves towards her, coming out of the shadows. Lilly finds it hard to return his gaze, involuntarily touches her neck where it is scarred from Edgar's attack. Jones is watching all this very carefully. SILUS Yes. He will come for you Lilly. JONES Right, then we put you somewhere safe and set up this place. Shooters on the roofs. And when he comes we blow his fucking brains out. SILUS He will know. He will see and hear it. Lilly is staring at Steph's ID. LILLY It has to be me. That's what he wants. It's the only chance Steph's got. JONES What are you talking about, she's probably dead already. LILLY Jones! And we ca n't make it too hard. He has to be able to get in. He ca n't suspect anything. Jones is shaking his head. Silus just stares at Lilly. LILLY -LRB- continuing. -RRB- That's the way it will be. I'm the bait. Close on Silus.","INT. JAMESTOWN SLUM, HIDEOUT - SUNSET We are in a large, derelict warehouse ; detritus and stacked and smashed wooden crates. Music is playing somewhere in the distance from a phonograph. We track through the space. Daylight comes through cracks in the blacked out windows high above, creating tiny shafts of laser light that flicker from the dust. We pass through the stacks of crates that are like a high walled maze. Music emits from a stereo, loud. We continue to move down a hall. Through the detritus, towards a door. A hand opens the door.","INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING In the corner of the room, huddled, chained to the floor, is Steph. She does not look good. In fact she looks very sick. There are tubes coming off her arm. Freddy stoops down and begins to check the tubes running from her arm. There are small taps on the tubes. He turns them on. Blood begins to flow from her into a cup that is already stained red. As he turns it off Steph shivers, her eyes open. The whites of her eyes are blood red ; she is sick. She speaks, weakly. STEPH Help me. Please, I'm sick. Help me. She reaches for Freddy, but he pulls away. Freddy's not looking too hot either. FREDDY Do n't fucking touch me. He picks up the half filled cup and leaves. Steph stares after him. Tears welling in her eyes, beginning to shake now, moving against the chains that bind her. But they stay fast.","INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Freddy moves into the large warehouse space, the music still echoing. Freddy looks around, searching for Edgar. FREDDY Hey! His voice echoes through the empty space. FREDDY -LRB- continuing. -RRB- Where've you gone now?","EXT. LILLY'S APARTMENT - NIGHT A POV, wavering slightly, the hint of a whispering breath. We see Lilly's apartment. The shot zooms in at high velocity, searching the windows, zooming in here to check the lock on this window, then on that. Then the shot wildly pans and twists to the street below. Again it zooms in, to the entrance of the building, to a couple walking past in the night, as if searching for any sign of something out of the ordinary. We can hear the couples voices, talking about inane things. Cut to Edgar's face in the shadows. His eyes reflective, his whole being readied and concentrating. He closes his eyes. We move around to end close on his ear, the soundtrack becoming stark as the sounds of the night become eerily separated and distinct. One sound in particular, a kind of metal sound, scratching slightly, growing louder. Edgar's eyes open. Cut to A zoom speeding towards Lilly's bedroom window, then swooping at the last minute to end on an apartment one floor down. And there, gently moving in the night air, a partially open window, the latch grinding in the breeze. Cut to","INT. LILLY'S APARTMENT - CONTINUING A whiz pan POV, ending on the lounge of Lilly's apartment ; as if we just caught the last part of someone turning their head, as if alerted. All the lights are out. We slowly begin to move forward, dipping and gliding silently, into the hallway. Slowly we approach a doorway and creep into.","INT. LILLY'S APARTMENT, BEDROOM - CONTINUING We can see Lilly lying on the bed, her skin alabaster in the moonlight that comes through the window blinds. Closer closer until we halt above her. Cut closer to see Lilly asleep ; her hand grips her service revolver which protrudes from under her pillow. We see Silus standing above her, his eyes glisten in the sub light. As he watches, Lilly moves, as if she's having a dream, her hand grips the gun beneath her pillow. Silus slowly bends down, close to her. Watching. Then he reaches out, as if to gently wake her, then stops as Lilly stirs. She turns, curling up into the fetal position. Silus is confronted with the old scars from Edgar's attack. For a moment Silus stares at her. Stares. Then very quietly, smoothly, he moves his head down, very close to her arm. He sniffs it, as you would something very delicate, very complex. Then he closes his eyes. We see Lilly, her arm. Silus slowly enters frame, moves his face close to Lilly, moves along her arm as if taking in her scent. Slowly her arm raises, as his face moves up her body to her neck, her hand now embracing Silus' head. Closer as his face is near hers and still with eyes closed her face turns towards him, his dark lips and hers are close. Cut to Silus, back where he was, smelling her arm. His eyes open and he moves back a little, as if shocked by the daydream he has just indulged in. We see Lilly, as she was before, curled up in the fetal position. Then a sound. Silus immediately pivots, his gun immediately pointed at the figure who stands silhouetted in the doorway. Jones. JONES What are you doing? The camera immediately drops, through the floor of Lilly's apartment to the apartment below to find.","INT. APARTMENT BELOW LILLY'S - CONTINUING Edgar, standing in the apartment below, immediately freezing. We zoom into his ear as he listens. Flash cuts of sound and image ; a large man turning in his bed and groaning, a tap drips in an apartment, a fluorescent colored mosquito catcher vaporizing a mosquito with a zing, then a woman's lips ; whispering. LILLY What is it? Jones? Cut to","INT. LILLY'S APARTMENT, BEDROOM - CONTINUING Silus above Lilly, his hand up to silence her, Jones stock still in the doorway. Waiting, waiting. Bang, Silus rushes to the window of the apartment, ripping it open, pointing his gun below. But there is no one there. Then Silus spots it. On the floor below the window is open, a curtain gently wafts out of the window in the breeze. Silus turns to Jones and Lilly. SILUS Stay here. Silus immediately drops out of the window. Cut to Lilly rushes to the window and looks out expecting to see Silus dead on the pavement below, but the street is empty. And then she sees it ; the window below her apartment is open.","INT. LILLY'S APARTMENT, HALLWAY - CONTINUING Lilly, gun extended, moving forward towards her apartment door, Jones behind her, trying to grab her. JONES Get back here, Lilly! But Lilly shoves him off, opens the door and moves into the hall and waits. She hears more smashing from the other side of the building. She turns to Jones. LILLY Cover me. And she's off, smashing the apartment door in front of her with her foot and moving into the apartment, towards the window beyond. Jones can only curse, lift his gun and move after her.","INT. APARTMENT ADJACENT TO LILLY'S - CONTINUING Lilly's POV crashing through the apartment and reaching the window, pulling it open to see.","EXT. LILLY'S APARTMENT, REAR - CONTINUING Lilly's POV of the city below. We see her search with her eyes, and then she sees it. Cut to Lilly's POV, closer, looking down on Edgar running over a roof. Cut to Edgar running towards us as we track back, then he launches himself. Cut to Low angle, Edgar jumping from above us, to land almost on the camera, stopping himself by grabbing iron piping protruding from the side of the building. Edgar turns, smiles, thinking he's escaped ; then shock comes across his face. Cut to Edgar's POV as Silus flies through the air and crashes straight into the camera. Silus' hands go straight for Edgar's throat, stopping Edgar from falling. The two Brothers eyes lock. EDGAR You saved me. Then Edgar's smile. He pushes off the wall with his legs, sending both of them tumbling over the railing. We see them fall, Silus hitting a railing which sends him spinning out of control, whilst Edgar manages to clasp onto it. Cut to Silus' POV, tumbling wildly out of control, heading for the ground, finally coming to a jarring stop, the view of the alleyway upside down. We now reveal Silus, only just conscious, caught in wire netting, hanging upside down in the alleyway. And there, landing, is Edgar, poised, watching. Edgar slowly approaches so that he is near. He bends down to Silus. EDGAR -LRB- continuing. -RRB- When will you admit it. You're just like me. Edgar's nose is bleeding. He dabs some on his fingers, then raises his hand to Silus. EDGAR -LRB- continuing. -RRB- Maybe you need some encouragement. He brings the dripping blood closer to Silus, closer. Then an explosion ; the sound of bullets whistling through the air. Then Edgar is gone. Cut to Lilly and Jones entering the alleyway to find Silus still hanging from the railing. LILLY -LRB- to Jones. -RRB- Get him down. Lilly then moves into the adjacent alleyway to search for Edgar. JONES Lilly, wait! Damn you. Lilly! She turns and gives him a final quick look. LILLY If he escapes then Steph is dead. Just follow me when you can, hurry! Cut to Lilly moving through a slick wet alleyway ; water plops and dribbles from leaking pipes. She swings her gun towards movement ; water crashing out of a pipe. Lilly's shaking, terrified, but she keeps on going. And then another sound and she swings her gun to find Edgar, standing in the shadows, waiting. EDGAR The little policewoman. LILLY Do n't move! Edgar purposely raises his hand so that she fires ; the bullet going through the flesh of Edgar's arm ; his arm now smoking. LILLY -LRB- continuing. -RRB- I said do n't move. Where is she, where's the girl? Edgar can only smile. EDGAR Oh, I've killed her already. Essentially. Then he moves, she fires, but he's too fast, spinning, diving, in an instant he has the gun, twisting it and Lilly's arm behind her back. She fires, once, twice, the bullets and smoke rising up from Edgar's side. He twists harder, the gun then falling to the ground. Edgar is now behind her. He moves his face close to hers. EDGAR -LRB- continuing. -RRB- Has he tasted you yet, little policewoman? Lilly tries to twist out of his grasp. EDGAR -LRB- continuing. -RRB- He's just the same as me, you know it, you can feel it too. LILLY He's nothing like you. Edgar's face twists into a smile. EDGAR We will see. You will be my tool. A cat, hissing, screeching. Cut to Silus and Jones entering the alleyway, the cat tearing away from them in fright. Jones moves forward and we tilt down to see Lilly's gun lying on the wet cobblestones, smoke wisping from the barrel. Jones stoops down and picks up the gun, then turns to Silus. After a beat, Jones throws the gun at Silus' head. Silus dodges it easily and it clacks onto the cobblestones. JONES You happy now? Cut to","INT. JAMESTOWN SLUM, HIDEOUT, TOILET - DAY Close on Freddy's face, looking at himself in a mirror. He's pulling back his eyelid ; his eyes are bloodshot and he's sweating. Freddy then pushes the mirror shut and we see Edgar, silhouetted in the bathroom doorway. FREDDY You scared the shit out of me. Hey, the police woman. She's real sick. To tell the truth I do n't feel so hot myself. Edgar approaches, still silhouetted. EDGAR I want you to take her and put her where they'll find her. FREDDY But I'm sick. She's given me something. Edgar moves incredibly fast, we ca n't quite see what he has done but we suspect he has just buried his hand in Freddy's chest. We see Freddy's face, stunned, deathly white. EDGAR What have I said to you? Freddy falls, leaving Edgar's hand in mid air ; we ca n't see clearly, but it likes frighteningly like he has one of Freddy's internal organs in his hand. EDGAR -LRB- continuing. -RRB- I hate arguments. Cut to","EXT. JAMESTOWN SLUM, ALLEYWAY - DAY Close on a pendant ; the symbol of the Brothers. We pull out to reveal Steph, very sick now. Edgar is has her wrapped in a sheet and is half carrying her along a decrepit alley. Ahead of him is a street ; we can see several passersby. Edgar sits Steph up against the wall of the alley, propped up. She really is sick. She coughs. Edgar looks at her for a moment. Then after consideration, takes her hands and crosses them, and places an envelope in her limp hands. Happy with the composition he moves off. Cut to A close High Angle on Steph looking up, her bloodshot, dazed eyes staring blankly. We drift up and away from her. Already the rats are beginning to come out and sniff her.","INT. HOSPITAL, HALLWAY - DAY There are several nurses running towards us, they turn and move down a hallway. We reveal Jones and Dominic. They move to the nurses station and Jones flashes his ID. JONES Stephanie Richards, you just brought her in. And then a scream. Blood curdling ; the sound of someone insane, screaming their lungs out, hurling abuse. We see the faces of the cops and the terrified nurse in front of them who points down the hall where the noise is coming from. The Cops move off. The nurse then sees someone else arrive. She raises the pendant that hangs around her neck and kisses it. NURSE Thank god you're here. We see who has entered. It is Silus. Near him there are several people sick. They look sick ; like Steph and Freddy looked. Cut to","INT. HOSPITAL, ISOLATION WARD - CONTINUING Jones and the Dominic move through an anteroom. Nursing staff and doctors are madly running about. The screaming we heard before punctuates the noisy clutter of medical procedures. Jones approaches a door ; it has the words `` level 4 isolation unit'' on it. A large Guard blocks his way. Jones shows his ID. A figure brushes past them and enters the door ; the figure is fully decked out in something like a spacesuit. Jones and Dominic are ushered sideways, to another room. This room has a glass viewing window which looks into the adjacent room. A middle aged Doctor stands there, his thumb nail in his mouth, looking thoughtful. When he turns towards Jones, we can see there is fear in his eyes. Jones shows his ID. Screaming from within the adjacent room draws his attention and that of Jones.","INT. HOSPITAL, STEPH'S ROOM - CONTINUING In the adjacent room two nurses are trying to put in a line to Steph's arms which are restrained by straps. Steph lies on a bed. She looks truly sick ; her hair matted, her skin blotchy. Her eyes are also blood red, the tiny blood vessels hemorrhaging. And she is screaming abuse at the nurses and Doctors who work on her. Close of Jones, staring at the scene. Silus now enters the room. Almost immediately Steph stops screaming. She is staring directly at Silus ; even this deranged, she is still in complete awe. JONES Will she recover? The Doctor turns to Jones ; the Doctor looks puzzled. DOCTOR No. Containment is the issue now. She is. insane. And we've had more cases, 10 in the last hour. The Doctor leaves. Jones turns to Silus. JONES What is this? What is it? SILUS It comes from Edgar. He has shared his blood with them. JONES You're telling me that he's out there spreading this around? Jones gets close to Silus, intimidating. JONES -LRB- continuing. -RRB- He'll give it to Lilly! Dominic gets in between. DOMINIC Jones! Back off. Dominic pushes Jones back and then stares at Silus. DOMINIC -LRB- continuing. -RRB- This is spreading. Silus does n't speak, just stares at Steph. DOMINIC -LRB- continuing. -RRB- Brother Silus? JONES That's it, Lilly's dead. SILUS No. He will keep her alive. DOMINIC Why? SILUS So that I will come for him. That's what he wants. Dominic pulls an envelope from his jacket and passes it to Silus, who opens it to discover a beautifully handwritten letter. DOMINIC It says, `` Everything flows from me. My blood will change the world.'' What does that mean? Silus stares at the two men. Then turns to Steph, her eyes, creepy, still locked on Silus.","EXT. JAMESTOWN SLUM BUILDING, ROOF - NIGHT Jamestown, from above. We drift down so that we see the buildings, see fires breaking out, hear screams echoing through the night. We continue down towards the rooftop of one building in particular. We see one of the infected citizens of Jamestown standing on the roof, screaming out into the night like some crazed animal. We continue past the creature, then travel through a ventilation shaft on the roof. We hurtle down this, down, down to the depths of the building and out the shaft into a subterranean basement. We drift through a doorway in the wet stone wall, down a tunnel, to finally enter a room. And we see Lilly. She is covered in grime, her hands bound above her head with chains to an ancient, ornate pipes that twist through the place. She looks up at us. Cut to","INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Edgar, now standing above Lilly. He bends down, checking the chains that bind her. His face moves close to her so that he can smell her. Hear her heart pounding. See the scars from his previous attack. Then a noise, echoing through the tunnels. The sound of the mad infected denizens of the containment zone, screaming out into the night. Edgar smiles. EDGAR It almost sounds like children playing, do n't you think? LILLY No. EDGAR I looked at your body. You have borne a child. Lilly's features tense. EDGAR -LRB- continuing. -RRB- Did you abandon it? Your kind are good at that. Even though her position is impossible, Lilly wo n't show Edgar fear. LILLY Why do n't you just kill me? Edgar just smiles. Lilly spits in his face and screams at him. LILLY -LRB- continuing. -RRB- Kill me! Edgar grabs her by the throat, for a moment anger boils out of Edgar, but he restrains himself. EDGAR can see why he likes you. But have a better use for you. To save you, Silus will take my blood. Join me. LILLY You're insane. EDGAR The world is insane. I am better than you. But they force me to serve you. Does that happen in a sane world? Forced to watch you waste the most precious thing you have. Life. Then Edgar's face changes ; he stares at her with pity, for a moment we see a hint of the noble creature he used to be. EDGAR -LRB- continuing. -RRB- Do you know what they do to us when we are born? They take us from our mothers. Force us into a life of loneliness, and denial. Can you imagine a life like that? Lilly senses an opening. LILLY You do n't have to do this. You can change things. Edgar places his head in his hands, he seems to be weeping. EDGAR You have reminded me of something. When he looks back up at her, he is terrifying to behold. EDGAR -LRB- continuing. -RRB- I must search out my mother, if she still lives. And kill her for what she did. Edgar smiles quietly, rises and exits. We are left with Lilly bound to the rusty pipes. She strains, tries to pull her hands from the chains, but they wo n't move. Above her on the pipe there is a old rusty bracket. Lilly blinks through the sweat running into her eyes. She moves the chains that bind her hands closer to the bracket and begins rubbing the chains against the bracket in the vain hope that she may be able to cut her way through the chains. She strains harder and harder, fighting back the tears, the fear, she just grinds at the chain repetitively. Cut to","INT. HOSPITAL, STEPH'S ROOM - DAY Steph, in the hospital bed, her eyes staring up, hollow. A bed sheet is drawn over her dead face. Cut to","INT. HOSPITAL, VARIOUS - CONTINUING We see Silus. Staring through a window into an office. In there we can see Jones. Jones is talking in a very animated manner to someone who is obviously a reporter. The reporter stares, like Jones, through the window towards Silus. Jones turns away, looking guilty. Cut to Bedlam in the hospital corridors. People screaming, being restrained. What is clear is that the virus Steph had has now broken out into a plague of biblical proportions. We see a DOCTOR standing in the middle of the hospital corridor, blood over his smock, in a state of pure shock. And we see Silus there. A perfect creature observing the chaos. As he stands there he can see a small child ; a girl, maybe around five. Silus stares at the child. The girl is holding her mother's hand. Her mother lies on a cot, strapped down ; there are many other cots filling the crowded hallway. Her mother is dead. The girl's dirty face is stained with tears. For a moment Silus wavers. Then he moves over to the girl. She stares up at him with her tear stained grimy face. Silus goes to place his hand on her forehead as blessing, but the child cringes, then jumps up and escapes down the hallway. Silus can only stare at the horror of it all. Cut to","INT. ROOM - DAY On a dirty, stained valve radio. We slowly track in on the speaker, hearing an interview coming from it. REPORTER -LRB- off. -RRB- Some say this plague is the result of genetic experimentation, by the Brothers. Do you have a comment? Cut to DELETED","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT We move past road blocks. HEALTH OFFICIAL -LRB- off. -RRB- We're asking everyone to stay in their homes in the sections of Jamestown now under quarantine. Armed, gas masked guards stand with their guns at the ready. Beyond the blockade is Jamestown. Fires burn, bodies lie on the streets. REPORTER -LRB- off. -RRB- There are reports of residents being shot trying to escape the quarantine zone. Is that true? They say the Queen has left the city. Is this martial law? A figure is stumbling towards us. One of the guards fires and the figure drops. Cut to Two soldiers, wearing crude Victorian containment suits, surveying a map. SOLDIER We've blocked off this section, and here, containing the Jamestown slums. We see the soldier outlining the Quarantine zone, marked in red.","INT. BROTHERHOOD BUILDING, FOYER - DAY There is an angry mob, banging on the locked doors of the brotherhood building. Their placards tell the tale. `` Brothers have brought the plague.'' `` No to Genetic experimentation.'' EDGAR -LRB- off. -RRB- Do you like the world I am making for us, Silus? I have n't had your little policewoman yet. But I will soon. You'll just have to find me. You know where I am. Everything flows from me. Remember that. Human police stand ready with guns. It's a disaster. Silus is there. He watches the faces of the mob, baying for blood. He sees them burning the emblems of the brotherhood.","INT. BROTHERHOOD BUILDING, AUGUSTUS' OFFICE - CONTINUING We are in a beautifully ornate office. It is like a private chapel. We see Silus enter. He is grim. Augustus is kneeling in prayer. He senses Silus. AUGUSTUS The infection is spreading. Each day he shares his blood with more of them. Even though they are locked in their homes. SILUS He is somewhere in the quarantine zone. I will find him. Augustus turns to Silus. Augustus moves closer to him, stares into Silus' strange, pale eyes. AUGUSTUS Clear. So very clear your eyes. The way they were when you were born. There will be no search. Augustus moves off to his desk. Silus is shocked. SILUS No search? AUGUSTUS The Queen has instructed the government to evacuate the city around the quarantine zone. In another day they will take action. SILUS What kind of action? AUGUSTUS Eradication. Of everything within the area. They will burn it all. Including Edgar. SILUS And the innocents there, who are not infected? AUGUSTUS It is a necessary step. We can not let this escape. SILUS No! Augustus looks up at Silus ; this is perhaps the first time Silus has refused anything that Augustus has decreed. AUGUSTUS Is it the policewoman? Is this affecting your thinking? There is no love for our kind Silus. Only service. SILUS We have done this. Released this thing into the world. We have betrayed their trust in us, more than once. I wo n't do it again. AUGUSTUS There is no debate. They will be sacrificed, so the rest will be pure. Silus shakes his head. AUGUSTUS -LRB- continuing. -RRB- This policeman, Jones. He talked to the press. Told them this came from Edgar. Silus watches Augustus very carefully. AUGUSTUS -LRB- continuing. -RRB- There are members of the inner circle who question the way you have handled this. Blame you for this man's actions. I have made it clear that you will fix this. That you will silence him. Augustus moves close to Silus now. Gently touches his face. AUGUSTUS -LRB- continuing. -RRB- These are hard things we do. But you must think of the greater good. And of your own future. Cut to A light bulb flickering.","INT. JONES APARTMENT, HALL - NIGHT Jones exits an elevator. The light above him flickers and dies. He stands in the dark. JONES Great. Jones begins to stomp down the hall, towards the part of the hall that is lit. Then pop, that light goes out as well. Jones stops. He pulls out his big gun from his armpit holster. He checks over his shoulder, and then with the gun extended he moves slowly forward. He approaches an area that opens up a little. He pauses, then under his breath. JONES -LRB- continuing. -RRB- Come on then. He launches himself around the corner and fires his gun. He's lucky that his misses his target. A small, dirty, cowering boy with his fingers on the bank of light switches. The wall next to the boy's head has exploded ; dust and wall board now drift down like snow. Jones can only stare at the quivering child whose dirty face blank with fright. Then Jones turns. He can make out a figure in the dark hall. A patient, quiet sentinel.","INT. JONES APARTMENT - NIGHT Jones opens the door to his apartment and enters. Silus follows. The place is a dump. Lounge and kitchen all one area, bedroom off to one side, dishes in the sink, clothes everywhere. Jones heads into the kitchen and turns on a coffee machine, then grabs a dirty glass, pours a drink. Silus watches him. Jones comes into the lounge. He still has his gun in his hand. He stares at Silus, whose perfect outline makes Jones' life seem even more abysmal. JONES What do you want? SILUS I want to help you. They know you talked to the press. JONES They can fuck off. For that matter, so can you. Jones takes a slurp on his drink. JONES -LRB- continuing. -RRB- You'd be the last person I'd trust. SILUS Why? JONES I saw you. Remember. Watching Lilly, when she was asleep. Silus does n't answer now. Jones moves forward. JONES -LRB- continuing. -RRB- Maybe you're just like your Brother. Maybe you're helping him. Now there's a thought. Jones prods Silus' shoulder with the gun. JONES -LRB- continuing. -RRB- Do you know where she is? Jones prods again and finds Silus' elegant steel fingers around his wrist. The two men face off. JONES -LRB- continuing. -RRB- You've changed. Not the outside. But inside. I know you. You know what, I can see myself? Jones tries to wrench his wrist free, but Silus holds it tight. Jones swings his free arm and smashes Silus on the side of the face. For a moment Silus does n't move, then his hand is around Jones' throat. Squeezing. Squeezing. His other hand wrenching the gun from Jones' hand. There is silence in the room, apart from Jones' choking gags. Then Silus pushes Jones back so that he flies into a chair. Jones stares up at Silus now, fear in his eyes. Silus watches him. Then a sound attracts his attention. Cut to Water hisses from Jones' coffee machine in the kitchen. JONES -LRB- continuing ; sneering. -RRB- Coffee's ready. Cut to Silus, turning, listening, focusing on the water dripping from the coffee machine. Silus is concentrating. Realization comes into his eyes. We zoom close to Silus' ear. The soundtrack becomes enhanced. Cut to The tap in Jones' festering sink, dripping ; plop plop plop. We see the water in the bottom of the sink reflecting the room. We see Silus approaching ; reflected there. His hand enters frame and touches the water. And we hear Edgar's voice, the words we heard him say in Augustus' office. EDGAR -LRB- off. -RRB- You know where I am. Everything flows from me. We see Silus staring at the water. We see a giant drop of water hanging from the tap, hanging, hanging, then falling. Cut to","INT. JAMESTOWN SLUM, HIDEOUT - NIGHT We are under water, liquid drops down into the water ; red liquid, blood. We can see a figure distorted in the water ; the figure is bleeding himself into the water. It is Edgar. Cut to We see a subterranean water system. We see Edgar at the edge of a pool, bleeding himself into the water supply. Edgar looks up. His eyes reflect at us, blinking like an animal's. Cut to Lilly in her cell, still grinding away at the chains that bind her hands. She stops, as if she's heard something, expecting Edgar to walk through the doorway. He does n't. She begins desperately grinding away at the chains once more. Cut to","INT. JONES APARTMENT - CONTINUING Back on Silus who now turns to Jones. SILUS Do you have a map? Cut to Jones laying out a map of the city on his kitchen table ; empty booze bottles roll out of the way. Jones has a pen and he's marking off an area. JONES There's the quarantine zone. It's a pit. Slums. SILUS The water supply. Where is it? Jones searches and then pin points an area in the center of the quarantine zone. JONES There, all the old suburbs are supplied by their own artesian wells. Mineral springs. That's why it has n't broken out of Jamestown, it's the water. Jamestown's water. The two men stare at each other, both reaching the same conclusion. SILUS He is there, with Lilly. We see the Map.","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT Cut to a crane down to reveal Silus and Jones observing the guards at the blockade. JONES You'll never get in, they've circled the whole borough. Silus turns to Jones. SILUS I will get in. You must go to the press. Tell them about the water. Tell them what the government will do. JONES You're dead after this. You know that? Whatever happens. Silus smiles. SILUS Watch for me, Officer Jones. Silus exits. Jones watches him leave, then Jones leaves too.","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS We see Silus, close. It's as if he is meditating. We pull out to reveal he is kneeling on the roof of a building ; he looks as if he's preparing himself for something. He then rises, all fluid concentration, and runs towards us and then the camera is on his shoulder as he jumps off the roof. Cut to Silus' POV falling down down, falling towards a window then smashing through it.","EXT. OMITTED - CONTINUING","INT. APARTMENT BUILDING, QUARANTINE ZONE - CONTINUOUS Silus exploding onto the floor of the apartment. For a moment there is silence, just glass tinkling, Silus poised. Then Silus turns and is gone. Cut to","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS The slums are wrapped in smoke and haze from fires that burn there ; an eerie dead zone, made all the stranger by the gothic spires that climb out of the haze. Then Silus hears something. It is the wailing of a new born child. Silus moves towards the cries, then up ahead he sees a figure, kneeling on the ground. As Silus moves through the haze he sees what it is. It is a Brother Priest, kneeling beside someone. The Brother is holding the hand of the person on the ground who is in the last throws of death. When Silus is next to him the Priest looks up at him. Tears wet his cheeks. For a moment they just stare at each other. PRIEST 2 Who has done this, Brother? SILUS We have. To our shame. The Silus hears the babies cries again. Closer now. The Priest stares at the dying creature on the ground in front of him. Drops the limp hand he was holding. Then rises and turns squarely to Silus. PRIEST 2 I have something to show you. The Priest moves off towards a building and Silus follows. Cut to","INT. JAMESTOWN SLUM, QUARANTINE ZONE, HOVEL - CONTINUING We see Silus and the Priest enter. The Priest leads Silus into the dark place. As he moves forward Silus can hear a strange gurgling sound ; not of the sick or dying, this is a more innocent sound. The sounds of a newborn. We See Silus approach a filthy, roughly made crib. In it is a baby ; it's eyes stare up at Silus with wisdom beyond their years. PRIEST 2 It is a miracle my Brother. She is a female, the first of our kind. Silus watches the baby carefully. SILUS She must be protected. He then turns to the Priest. SILUS -LRB- continuing. -RRB- I would ask for your help Brother. The Church can no longer be trusted.","EXT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Edgar, atop the roof of the building that sits above the water treatment plant. He is watching his handiwork ; the screams in the night, the burning fires, the haze rising up, cloaking the city. Then down below, he sees a figure approaching. He knows who it is. Silus is coming to him. Cut to","INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly, in her cell. She is working the chains that bind her hands against the pipe. She's rubbing them desperately, harder, harder. Then she stops. She can hear someone approaching. Edgar appears in the doorway ; still and poised. Then he turns, listening. A creaking echoes through the tunnels as if an iron door, somewhere above, has been opened. EDGAR He's coming little one. He's coming for you. Edgar takes one more blinking look at Lilly and then leaves, slamming the large iron door behind him. Lilly pulls at the chains, hoping against hope that they'll break. They do n't. LILLY No. She now looks above. The pipe her chains are connected to runs up towards the roof, then takes a bend to disappear into the wall near the door. She bangs on the pipe. There is a little movement where it goes into the wall. Just enough to give her some hope. Lilly struggles now to her feet. She slides the chains up. To get the chains over the bend she'll have to jump. She does, sliding the chain over the bend. Now she hangs from the pipe, the chains cutting into her wrists viciously, making her groan. She then gets her hands on the pipe and begins sliding along the pipe until she is near the door. She then reaches up with her feet and kicks at the wall, pushing, trying to dislodge the pipe. It moves, water leaks from it. But it does not give way. A desperate beat. Then she reaches down to the door with her foot. She tries to force down the door handle, her foot wet and slippery. Finally she gets the handle down, opens the door so that it clangs against the wall. LILLY -LRB- continuing. -RRB- Hello! I'm down here. Silus. Her hands slip from the pipe and again the chains bite into her wrist. She cries out in pain. Cut to","INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Above we see Silus, stopping. Lilly's cries echo through the place. It is a wet maze of grease and rust, ornate twisting pipes built long ago and now decrepit. Silus waits, listens. Then something. Cut to Feet, moving fast, splashing in a pool of black water. Silus turns, just catching a movement, a flash of someone moving off through the distorted piping. He moves to where he saw the figure, to catch sight of a person moving to an open iron doorway. SILUS Lilly? But when the woman turns it is not Lilly. It is one of the infected ; the red eyes, mad and staring at him. And both he and the creature hear it. Cries, of someone in pain. Lilly. Cut to","INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING Lilly's cries echo up the stairwell, up towards the surface. Cut to","INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly twisting on the chains that bind her to the pipe, crying out in pain. Cut to","INT. JAMESTOWN SLUM, HIDEOUT The creature moving through the doorway towards the sounds of Lilly's cries. Silus now moves forward to get to the creature, flying towards the doorway. We see him approaching the doorway and then from nowhere Edgar slams into Silus, sending them both careening over a railing.","INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING Low Angle looking directly up at the two Brothers fall, bouncing and crashing off the rails on the way down.","INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING They both hit the wet stone floor. They are in the pipe room where subterranean mineral springs rise up from deep in the earth and where the boroughs water supply is sterilized. Silus is stunned, rises, blood issuing from his mouth. Silus pulls his gun from his coat, but Edgar's kick is too fast, whipping the gun away so that the glass instrument smashes against some dripping pipes. Edgar then squares off against Silus. EDGAR It is a maze down here. But given time, that thing will find her. Do things to her. I'll show you where she is, if you take some. Edgar stalks forward. He holds up his arm to Silus. Silus stares at the tube coming from Edgar's arm. Edgar moves towards Silus, twisting on the tube so that his infected blood drips onto the ground. EDGAR -LRB- continuing. -RRB- You're almost there anyway. And then Silus' face, intense, a dark smile, his hand now gripping Edgar's hand ; surprise in Edgar's eyes. He pulls Edgar toward him with all his might, his hand clamping onto Edgar's throat - the power of the entwined bodies immense - then Edgar whipping his body, breaking Silus' grip, smashing Silus on the side of the head, but then only to get a kick from Silus directly in the stomach that sends him smashing into several protruding pipes, ripping into his back. Edgar screams.","INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly. Half conscious now, hanging from the pipe above her, twisting. The sound of Edgar's screams makes her groan, awaken a little, dazed. Then there is a loud clang. She cranes her head to see down the tunnel that leads to her cell. She catches sight of a shadow, movement in the tunnel. LILLY Silus. Then the figure moves into the tunnel, shuffling, the legs not completely following the brains instructions, but doing enough to propel the person forward, then a stumble. And in a shaft of light Lilly can see a hand slapping at the wet wall. But it is less a hand than a claw. And the face that follows the hand ; the red, reflective eyes of one of the half mad, the infected. The thing catches sight of Lilly, then propels itself towards her. We see it's POV, approaching faster, faster. And Lilly reaching out with her foot, to the door, struggling to hook it with her foot, trying to close it, almost catching the door handle, but her foot is so slippery and the thing is almost on her. Then she stretches out with her foot, just catching the door and slams it in the face of the thing that is about to attack her. The thing on the other side of the door is now screaming wildly and the door handle is jerking down as the creature tries to activate it and Lilly has her feet on it, trying desperately to keep the door shut, but her feet keep slipping. And then she realizes that the pipe from which she hangs is beginning to wobble - water is now coursing from the hole in the wall, beginning to flow faster and faster. Her feet slip more and more on the door. Lilly tries to keep the door closed, but her feet are too slippery and the thing is pushing through the door. In the dark space only its eyes and slavering mouth are clear, hands grasping for Lilly legs, scratching at them, Lilly twisting, the creature's nails searching for purchase on her legs. Lilly hauls herself up, wrapping her legs around the pipe she's attached to. The thing below her is groaning incoherently, reaching up, its hands grabbing at her, Lilly pulling herself just out of reach, then seeing the eyes below her, wanting her. Lilly tries to pull herself higher. And then she feels it. The pipe she's attached to is shifting, where it joins the wall. Water is now flooding from it, the pipe jerks down, some of the old wall giving way. The creature's fingers are now able to grasp Lilly's t - shirt, drag at it, pull at her, screaming, the pipe grinding, water flowing and then the whole thing comes down, the pipe bursting out of the wall. Lilly and the pipe falls, right on top of the creature. For a moment neither of them move, then the creature is grabbing at Lilly's hair, pulling her head back. In a flash Lilly pulls the pipe to which she is attached right into the face of the creature. This gives her time to stagger upright. She's still chained around the pipe ; she can see the end of the pipe near the door. She begins to slide the chains back as the creature begins to rise and advance towards her. Lilly desperately slides the chain along the pipe. It catches on a protrusion, while the creature advances. Lilly frees it just in time, falling backwards as the creature jumps at her, Lilly lifting the chain up to hold the creature back. The creature strains to get at Lilly. Lilly now has the chain at the creature's neck. She begins to tighten it around the creature's neck, her only hope now. The creature changes now, from frightening to pitiful as it realizes it ca n't breath, it's fingers desperately moving over Lilly's face, almost pleading. Tears form in Lilly's eyes as she tightens the stranglehold ; there is no anger there, just desperation, and behind that, pity. The creature breathes it's last breath then collapses onto Lilly.","INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING Edgar and Silus stalk each other in the steam room. Edgar launches himself towards Silus, but Silus is now too quick. Silus slams Edgar sideways into a pipe, an imprint of Edgar's face left on the pipe. Stunned Edgar releases his grip, stumbles back, Silus rising now, he has him. Again, Silus slams Edgar's head into another pipe. And now Silus has Edgar's throat in his fist and the look on Silus' face tells Edgar he will not escape. We see Edgar, beginning to lose consciousness now, dying. Steam now rises all around them from broken pipes. Then behind Silus, Edgar can make something out. An old, corroded tank, steaming, with the words sterilizer on it. There are a series of long shafts connected to the sterilizer via a tube and held in position by clamps ; they look like they're for sterilizing bottles. With a last effort Edgar propels Silus backwards onto one of the shafts, making Silus grimace and clutch his back where he's been pierced, then slide to the ground. The piercing has operated some lever so that steam now also drifts from the wound on Silus' back. Cut to Silus looking up, clutching his back with the pain of it. And now Edgar above him. He removes one of the sterilizer shafts from the bracket that holds it. He clutches a lever on the side which makes viciously hot steam pulse from the end of the shaft. Edgar moves slowly towards Silus. We see Silus, unable to rise, crawling back, until bang, he's stopped by more pipes behind him. Nowhere to go. And Edgar ready to pounce. He does, driving the shaft towards Silus' head. Silus manages to raise one hand to Edgar's wrist to stop the shaft from piercing his skull. Now the shaft is right in Silus' face, the lightly steaming hole staring back at Silus. Edgar's finger moves to the lever on the side of the shaft, ready to get some steam going. EDGAR If I burn the skin from your face, I wonder how that would be. If you looked like a monster. Cut to Edgar's finger moving over the steaming lever. The steaming end of the shaft right in Silus' face. Then Edgar's face as he watches his brothers face for the last time. The blasting sound of steam and a steaming blast from the shaft drifts into our frame. Cut to Silus. His face is not scolded. Cut back to Edgar, his expression getting tighter, his face redder, the whites of his eyes becoming bloodshot. Then he goes to speak, but now words come out, only a swirling puff of steam. And then he falls and we see behind him, standing there is Lilly, one of the other sterilizing shafts in her hand ; steam still rising from the sharp end of it. Cut to Edgar, prone, on the wet floor of the pipe room ; steam rises from both his mouth and the back of his head.","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT POV steadicaming through the streets of the Quarantine zone. The POV belongs to Lilly who moves down the street, half carrying Silus who limps. Lilly takes in the devastation. Then Silus pulls up. LILLY What is it? SILUS In there. Silus is pointing to a fallen down building through the haze and the rain. LILLY Is there something wrong? SILUS No. He gently touches her mud smeared face. SILUS -LRB- continuing. -RRB- There is something very precious. You must take it, keep it secret. Do n't let them touch it. LILLY I do n't understand. SILUS You will. And then they both hear it. A wail, distorted, echoing ; it sounds like a hurt animal. Lilly looks at Silus. SILUS -LRB- continuing. -RRB- Hurry. Lilly turns towards the building. She slowly moves towards it, into the doorway as Silus watches her go. Silus turns to the sunrise, it reflects in his eyes. Cut to","INT. JAMESTOWN SLUM, QUARANTINE ZONE, BUILDING, NIGHT Lilly moves through the derelict place, past fallen beams. It seems empty. Then Lilly hears it again. A wail. This time she knows what it is ; we can tell from the way her eyes glisten. She moves forward, closer to the sound. And finally she sees the Brother Priest we saw before, who kneels in front of a crate. He looks up at her as she approaches. As Lilly moves forward she sees what lies with the crate. Wrapped in dirty sacking, there is a baby. In the corner Lilly can see a woman - the child's mother - dead from the infection. The baby cries and Lilly can see the tiny fangs of a Brother in the baby's mouth. PRIEST 2 The first female of her kind. The first daughter given to us. Lilly moves forward. Emotional music rises in the soundtrack ; evoking memory, the circle completing. Lilly reaches out, letting the baby girl grip her hand. Lilly reaches into the crate, drawing the baby into her arms, staring down into the baby's face ; a face somehow already wise, already serene. Broken tears run down Lilly's cheek as she presses the baby to herself, all the pain of the past flooding over her, the baby's tiny hands reaching out, clasping onto her. PRIEST 2 -LRB- continuing. -RRB- Come. Before they find her. Cut to","EXT. JAMESTOWN SLUM, QUARANTINE ZONE - DAWN Lilly exits the building. She looks around for Silus, but he has gone. She pauses. Through the mist and drifting smoke from the fires we can see that in the distance a tarnished sun is lighting the horizon. PRIEST 2 We must go. After a final pause Lilly moves off with the Priest, carrying the tiny bundle with her. LILLY -LRB- VO. -RRB- For me, everything has changed now. Because of Silus I see the world through new eyes.","EXT. LILLY'S APARTMENT - NIGHT Silus, on a fire escape, in the shadows. Gone are the clothes of the Brotherhood, rather he is dressed as someone who does not want to be seen. Cut to his POV. We see Lilly's building. We see through the window, into her apartment ; a beacon of warmth in the night. In Lilly's bed we can see the baby, its hands happily making patterns before its eyes. LILLY -LRB- VO. -RRB- Now I see hope, and I see a child, the first female of her kind. Silus scans the apartment. He can see the lounge. Jones is there with Lilly. Lilly is dressed to go out ; to leave. Jones and Lilly hug. Then Jones picks up two suitcases and moves towards the door. Silus watches as Lilly moves into the bedroom and reaches down for the tiny baby, its tiny arms clasping onto her as she lifts it. LILLY -LRB- VO. -RRB- Perhaps Edgar got what he wanted after all, because it time this child will truly change our world. We see Silus, closer, watching. Cut to Lilly, pausing, moving to the window of her apartment, staring out into the night, almost directly toward Silus. She raises her hand, as if in a gesture of goodbye and then she leaves. Cut to Silus, close, nodding. THE END"],"string":"[\n \"EXT. PROLOGUE ON BLACK - NIGHT The screen is black, music evoking religion and danger begins. LILLY For three hundred years the great plagues have swept the earth. Diseases created from the experiments of the Alchemists. We see death tolls appear through this graphically. The plague - 5 million souls. Virulent Small Pox - 10 million. Mutated Influenza 30 Million Souls. LILLY Thinking they had discovered Gods secret code for life, the Alchemists experimented with genetic science. They had no idea what they had unleashed. We begin to see a strange medallion sweeping through smoke, slowly revealing itself. LILLY -LRB- CONT'D. -RRB- -LRB- continuing. -RRB-. but there was also a miracle. One of these plagues helped nature create a new kind of being. At first they were called Nosferatu, or Vampire and were feared. But they were not supernatural monsters, just a better version of ourselves. They were the Brothers, and their religion and science helped sustain us against the plagues and influenzas that have ravaged Europe and the rest of the colonies. For 300 years our two races have lived in harmony. Until now.\",\n \"INT. DOCTORS SURGERY - DAY We are very close on a bespectacled eye. It stares at us and then looks down. GENETIC DOCTOR -LRB- off. -RRB- See here. This is what you need to look for. Cut to the object in the Genetic Doctors hand ; it is like an x - ray, yet the image looks remarkably like a DNA profile. GENETIC DOCTOR -LRB- continuing ; off. -RRB- A genetic mutation, we all carry it. But we now know a virus activates it. We reveal the genetic Doctor, sitting at his desk, smoking a cigarette. The surgery and the clothes suggest the year, yet there are small things that are different, not what you'd expect to be around at this time. Standing next to him in the dusty haze of the room is a younger doctor ; an apprentice who looks attentive. GENETIC DOCTOR -LRB- continuing. -RRB- This Virus plays some unknown role in the birth the Brothers. Of course the mutation occurs very rarely these days. And only in males. The apprentice nods and then looks up. There is someone else in the room. A woman - who we now see is pregnant. There is something about her that suggests more a prisoner or psychiatric patient than a normal pregnant mother. GENETIC DOCTOR -LRB- continuing. -RRB- Strange is n't? APPRENTICE DOCTOR Strange? GENETIC DOCTOR That God would choose such humble vehicle for a miracle. The mothers invariably come from the slums, we do n't know why. -LRB- to the woman. -RRB- This is your 7th is n't it? We see the woman ; she's like a hollow person, hardly aware of where she is. The Doctor shuffles papers. Finds what he wants. GENETIC DOCTOR -LRB- continuing. -RRB- Yes, her first was successful, a Brother was born. Thereafter variously malformed offspring. We can only hope this one will be different. -LRB- to woman. -RRB- You'll have to try harder this time. The woman now looks up. And tentatively speaks. WOMAN IN THE SURGURY Please. GENETIC DOCTOR What is it? WOMAN IN THE SURGURY Please. I want to keep my baby. They always take my babies away. GENETIC DOCTOR Do n't be stupid woman! The woman drops her eyes. We see the Apprentice Doctor, almost pitying the poor woman. APPRENTICE DOCTOR -LRB- to woman. -RRB- You wo n't have to worry. The Brotherhood will take him. We are closer on the woman now. Tears begin to glisten in her eyes as we drift closer to her. APPRENTICE DOCTOR -LRB- continuing ; off. -RRB-. raise him in the church, teach him. He's special. You should be proud. It's a blessing really, he'll want for nothing. Not like the rest of us? We track in closer, closer, to the woman, then continue, right into her eye, through the fluid, to see the room reflected upside down at the back of the retina. This dissolves to an upside view of.\",\n \"INT. HOSPITAL, OPERATION ROOM - DAY POV, baby's view, in an operating theatre. Cut to The woman we saw earlier with the Genetic Doctor ; she has just given birth. The baby is placed on linen blankets and cleaned by a nurse. A man now enters the operating theatre ; we can tell the Doctor is uneasy. The man is dressed in a perfectly cut suit. He does not wear a surgical mask. His eyes are a piercingly clear light gray. He enters with two other men who look similar to him. By his side there is also a pristine boy ; perhaps 8 years old, the same piercing eyes. They both approach the baby. The man stares serenely at the baby, all bloody, lying on blankets. AUGUSTUS This is your brother Silus. You will teach him. The little boy then shares a glance with the woman who has just given birth. She seems to recognize the boy. SILUS AS A BOY Is that my mother? AUGUSTUS No, not any more. Augustus then leans forward and gently opens the baby's mouth. We see the baby close. In the otherwise baby - like mouth we see something strange. There are two tiny fangs protruding from the otherwise smooth gums. We see Augustus smile. In his mouth too, we see two perfectly pointed teeth. AUGUSTUS -LRB- continuing. -RRB- Welcome to the world little Brother. Cut to We end close on the baby ; its piercing eyes. PRODUCTION TITLE : ON BLACK. Perfect Creature / The title fades. Then another title appears. Queen's Imperial Winter Residence, The Pacific Colony, 100 years later.\",\n \"EXT. CITYSCAPE - NIGHT We see a city, seething with smoke from coal fires, steam from engines, alien distorted Victorian spires are silhouetted against the moody, moonlit sky which is literally filled with dirigibles and strange flying machines that seem Victorian, of the industrial revolution, but that are also strangely futuristic. It is 1969, but not our 1969.\",\n \"EXT. STREET - NIGHT A street. The look - of the film and the night - is silver, almost metallic moonlit skies. A hazy mist hangs in the air. Wet, steel pools of water on the dark footpath where a man stands. He stares up at a zeppelin passing overhead, its shadow obscuring him briefly until it passes away. Then we see him. The man is handsome, in a perfectly cut long wool jacket ; dark gray. He wears perfectly shiny black shoes and we can see the surrounding street reflected in them ; Victorian, Gothic buildings. This man is Silus. He surveys the street. While the houses are beautiful, they're run down. Silus - his eyes are the purest light gray you have ever seen - takes a long long inhale through his nose, his eyes closing briefly as if trying to sense/smell something. He stops the breath and opens his eyes. They are clear, full of purpose. He bends down to the footpath, runs his hand along its surface, almost caressing it. He closes his eyes. The camera moves in, to end close on Silus' ear. As this happens the soundtrack - all the noises in the night - become amplified. We see Silus' face, see him concentrating intently. We hear several individual noises. First a very quiet pitter patter. Cut to A cat, stealthily moving between some thorny rose bushes. Cut to Silus again ; concentrating even more. Now the distant sound of trickling water. Cut to A drain pipe, leaking. Cut to Silus once more. This time we can hear `` plop, plop, plop.'' Cut to A pool of water. Then `` plop'' as a drop hits it. The drop is not water. The drop is a red liquid, thick, now dispersing in the water. And another drop, `` plop.'' High speed CRANE UP from this pool, up up the side of a building to end on a FACE in the shadows. We can see reflective, gleaming eyes. And a mouth, with blood dripping from it. Cut to Silus again. His eyes flicking open ; we see the footpath reflected in those perfect light gray eyes. Music - brooding, ancient - begins to hum as Silus slowly rises, as if his limbs have the power to make him float, so perfect and powerful are they. A small smile has appeared on his lips ; it is the smile of a man who knows that something very dark, something very dangerous, is close by. Slowly his hand slips into his jacket. He holds it there, watching, surveying the street immediately ahead of him for the slightest movement. He sees it. On the wall of an old Georgian Mansion across the road, a shape on the side of the wall, almost imperceptible, hidden in the shadows and brickwork. A CREATURE on the side of the wall. Silus begins to move forward now, everything in perfect shining silver slow motion. As he moves forward he pulls a gun from his jacket - it is silver, organic and glass, art nouveaux styling - and points it ahead of him as he glides forward. The creature on the wall senses the movement coming towards it, moves a little and then, like a spider, scrambles along the side of the wall, heading away from us. Silus fires. A bullet of silver explodes from the gun, seems almost to hang in the air for a moment, reflecting the moon above, before hurtling at high speed towards its target. The shell explodes the wall next to the creature, who stops suddenly in the light so that we can see it. A man. With reflective animal eyes and blood on his purple lips. And teeth ; the teeth of a vampire. This creature immediately dives from the wall to the ground, just avoiding another two bullets that crash into the wall. LA as the man falls directly towards the camera. Silus now rushes forward, holding his gun out in front of him ; he moves forward gracefully. He can see the man skillfully climbing up an adjacent derelict building. Silus tries to follow but his way is blocked by wire and fencing. He raises his gun towards the man once more, but he is gone. Close on Silus' enigmatic face. Those eyes. And in his mouth, two perfectly pointed fangs. Cut to\",\n \"EXT. CAFE - NIGHT We are outside a cafe ; the cafe is a warm glow against the cold night. We see past the fine falling rain - through the large glass window that has swirling silver art nouveaux designs lacing across it - to a table inside, by the window, where two pristinely dressed men sit. Cut to\",\n \"INT. CAFE - NIGHT We are inside. Closer on the two men. One is SILUS. The other man is AUGUSTUS ; the man we saw in the operation theatre before. Augustus has hardly aged at all. AUGUSTUS The girl? We see Silus. He remembers. Cut to\",\n \"INT. ROOM, FLASHBACK - NIGHT Flashback from Silus' memory ; a dead girl on a bed, blood splattered across her pillow. Cut to\",\n \"INT. CAFE - NIGHT Silus' face. Pull out to reveal we're back in the café. SILUS It is taken care of. AUGUSTUS This is good. SILUS Augustus. We failed this girl. We asked her to help us catch him, and then we failed her. AUGUSTUS Yes. But her death served a greater good. Every trap needs bait. Augustus lifts a beautifully designed glass and silver pipe from the onyx table at which they sit, then settles back into a fine hardwood chair. The chair's swirling, delicate back creeks as he takes a puff on the pipe. AUGUSTUS -LRB- continuing. -RRB- Are you sure you wo n't join me? Silus shakes his head, no. The opium in the pipe crackles. SILUS Perhaps this is beyond us. Perhaps we should inform the authorities. The human beings. Augustus places the pipe down, blows a smoke ring as a Chinese woman, dressed in a sarong, brings over two finely cut crystal glasses and sets them before the men, then leaves. Silus now lifts the glass and we see what it contains. Blood ; dark and red and viscous. Silus takes a sip, then looks over to the bar. There is a young woman there, sitting at the bar, being treated with great care by several of the elegantly dressed patrons ; the young woman laughs, enjoying the attention. Tubes run from the young woman's arms. These tubes carry her blood into a conch shaped glass bowl. We see the Chinese waitress fill another glass from the bowl. Silus watches, blood slightly present on his ashen lips. And we see two perfectly pointed fangs hanging in his mouth. AUGUSTUS For now the Brothers feel we should deal with this ourselves. SILUS If they find out we are covering up these deaths. AUGUSTUS Which is why you must find him. Silus. Silus now turns to Augustus, still looking unconvinced. AUGUSTUS -LRB- continuing. -RRB- For centuries we Brothers have served mankind and them us. The great union. But remember your history. 300 years ago when our kind were first born into this world they burnt our children as monsters. They had no notion of evolution. In another world we might all have been slaughtered, only to be remembered in myth, monsters to frighten the young or a puzzle for anthropologists. We must refuse to let one aberrant individual destroy the balance between the two races. The old prejudices are still there. Human beings are paranoid creatures by nature. SILUS Perhaps they have good reason. AUGUSTUS Silus. Simply concern yourself with finding Edgar. Find your Brother so that we can help him. Before he kills again. Cut to\",\n \"EXT. JAMESTOWN SLUM, STREET - DAY Close up of a NEWSPAPER. On it we see a banner headline. `` Influenza Vaccine Shortages lead to Black Market Trade.'' We pull out to reveal the paper is lying on a foot path. Wind blows the newspaper out of shot and we tilt up to the street. The street is wet, glistening. The rain, rain rain rain. The Edwardian and Victorian buildings of the street might seem beautiful, but they are not. They are largely derelict. We see a woman standing in a doorway out of the rain. She is wrapped in a black plastic jacket that she pulls about her. A man approaches her. JONES Everyone's ready Lilly. LILLY About time. They both move to one of the tall buildings ; a four story, ancient tenement that looks empty, almost derelict. They quietly move up the steps of the place and then pause. There is the bleep from a strange looking valve powered Walkie Talkie ; hereafter called an RT.. LILLY -LRB- continuing. -RRB- On three gents. One, two.\",\n \"INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - DAY CRASH CUT to the door of the building swinging open wildly, a hand held camera on the shoulder of Lilly and Jones. A large, grubby looking woman stands in a long, grim hallway, mop in hand. At the far end of the hall another door disconnects from its hinges and collapses inwards, two men appearing out of the rain. JONES -LRB- to the woman. -RRB- Do n't you move! We see a gun in Jones' hand as he moves towards the woman, who has her hands up and is getting down on her knees. The camera then pans wildly, left and right. Then Lilly's foot kicks in a door to our right, revealing a dank office and a man, half naked, reaching for a gun. A woman is lying on a cot and she's screaming. She is instantly recognizable as a prostitute. LILLY -LRB- to the slum landlord. -RRB- Do n't you dare. From this POV we see Lilly's hand pointing a gun at the SLUM LANDLORD, who is now slowly easing back into the scummy office. LILLY -LRB- continuing. -RRB- Jones! We now finally cut to see Lilly. She is around 25 ; an intelligent, handsome 25. The man Jones appears at her shoulder, leering. Jones is the type of guy you just know will go to seed at 40. But that's still 10 years away. Jones stares at the Slum Landlord who is trying to cover himself. JONES God help us. What an appalling sight.\",\n \"INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - LATER The hallway again. The other two men we saw entering at the beginning are talking to the woman with the mop. One of the men is taking notes. We pan to the office, to see Lilly and Jones standing before the Slum Landlord, who is now wrapped in a towel and sitting in a chair. SLUM LANDLORD do n't know nothing about it. give'em out. Make sure everyone gets'em. JONES That's a lie! We know you've been trading influenza vaccine in the workhouses! Another man now approaches Lilly. FRANK Lil'. I think you should see this.\",\n \"INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - CONTINUING Halfway down the hall there is a door, Frank opens it displaying a set of stairs leading down. FRANK I'd use the mask if I were you. Lilly pulls a dark surgical - type mask over her face, then slowly moves down the steps into the oblivion below.\",\n \"INT. JAMESTOWN SLUM, TENEMENT BASEMENT - CONTINUING Cut between Lilly's POV and her face, her eyes glimmering in the sub - light as she moves down the stairs very carefully. And finally the horror is revealed. In this basement there are 10 or 12 people, lying on the floor. Most of them are silent, but a couple moan. One, a woman, pleads to Lilly. WOMAN IN THE BASEMENT Help me. Please help. The woman extends her arm. It is covered in sweat ; grimy. The glands at the side of the woman's neck are distended and swollen, her eyes bloodshot. WOMAN IN THE BASEMENT -LRB- continuing. -RRB- Please. I'm sick. Please. The room is a version of hell. Lilly's eyes glisten. Cut to\",\n \"INT. JAMESTOWN SLUM, TENEMENT OFFICE - CONTINUING Jones has the Slum Landlord by the throat. JONES You're a fucking liar! SLUM LANDLORD No, no, I swear it, I gave'em their boosters, both of'em. I'm a responsible landlord, I swear to god. There must've been something wrong with them vaccines. Lilly stares at the Slum Landlord ; shock in her face, and anger. JONES This is a civil health violation! You're going to the hell house for this. You can forget lovely Doris here where you're going. We see the woman who was screaming before, the prostitute ; she makes an obscene gesture at Jones. As this is going on Frank and the other man we've seen are tearing the place apart, looking for something. They do n't find it and Frank's look tells Lilly so. Lilly's face is a mask. She is watching the Slum Landlord very carefully. He keeps looking down ; strangely, nervously. SLUM LANDLORD I do n't know what you're on about. I've done nothing, I swear to god, I've done nothing. Lilly lets her eyes drift down, all the way down to the chair legs, which rock unevenly on the floor. Lilly is staring at the scratched, worn floor boards which MOVE. Cut to Frank, prizing back the floor boards. Jones restrains the Slum Landlord. Lilly watches. Frank pulls the floor boards away easily. We see that hidden in the floor cavity are packets of something. Frank pulls them out. Rips one of the plastic bags open. In it are packets with the words `` Jamestown Borough - Civilian Influenza Vaccination.'' Frank holds it up for Lilly to see. The Slum Landlord is now looking three ways at once. Lilly slowly begins to approach the Slum Landlord. LILLY It is my pleasure to inform you that you are under arrest for trafficking influenza vaccine. SLUM LANDLORD I want my lawyer. LILLY This is a violation of the 12/10 health act, whereby you have withheld borough sponsored vaccines from your tenants. SLUM LANDLORD I want a lawyer! LILLY Anything you say will be held against you as evidence and, by endangering the public good, you are not entitled to a lawyer. The Slum Landlord just stares at her. SLUM LANDLORD Fuck you then. Lilly smiles grimly. LILLY There's only one other thing. Lilly gives the Slum Landlord one almighty slap across the face that stuns him. Then Jones grabs the Slum Landlord and drags him off, but we stay on Lilly. Her face. She stoops and lifts something from the landlords desk. A public health flier saying `` Fight Influenza. Ask your landlord for your free vaccine now.'' Then from the corner of the room, the prostitute pipes up, impatiently waving a cigarette at Lilly. PROSTITUTE Oi! How about me? He promised me some of that. I earned it. Cut to OMITTED\",\n \"INT. POLICE CAR - TWILIGHT Jones is in front, Frank is driving. The car has come to a lurching halt. Some kind of cart is blocking the road. FRANK -LRB- hitting the horn. -RRB- Come one! Jones is eating some kind of pie that is an affront to culinary art. JONES Lil', you want some? Ensconced in the back Lilly shakes her head, no. LILLY Smells terrible. She is watching the patterns of street lights that play and flow over the wet windows of the car. Jones shrugs. JONES I'm not letting that scum put me off my food. That'd be like a moral victory. LILLY I'll get out here. FRANK You sure? We see Lilly get out. Frank and Jones share a look. FRANK -LRB- continuing. -RRB- What's up with her? Jones watches Lilly move off ; something like compassion crosses his features. FRANK -LRB- continuing. -RRB- Jones? Is she alright? JONES Yeah. Lilly's kid. It died of the influenza, did n't it. FRANK She's never said anything about a kid. JONES No. She never says anything. Jones stares after Lilly, then starts chomping into his food.\",\n \"EXT. SUBWAY STATION - CONTINUING The police car pulls out leaving Lilly outside the subway station. Lilly looks exhausted, breathes in deeply. Above, power lines blow in the wind and rain and make a clacking sound. She moves off and we crane up to see the seething smoky city beyond. OMITTED\",\n \"INT. LILLY'S APARTMENT - NIGHT Lilly enters her apartment. It's nice ; not opulent, but a haven of sorts. She stands for a moment in the empty hallway. We see a hall, several doors run off it.\",\n \"INT. LILLY'S APARTMENT, CHILDS BEDROOM - CONTINUING Lilly approaches a room and we see inside it. It is empty apart from a stripped bed and some boxes. Lilly flips the lid on one of the boxes. She picks up a toy ; a pink fairy princess with wings, the paint on its face worn. Lilly winds a key and the wings of the doll flutter, accompanied by the whining sound of the internal mechanics. We see Lilly's face as she stares at the doll. Emotion fights to claw its way out from under her skin, but she does n't let it. Then in the distance we hear a child's cries. It almost sounds like memories wafting through the air, but the stamping of feet from the apartment above makes it plain that the noises come from there ; the sound of children playing. Cut to\",\n \"INT. LILLY'S APARTMENT, BEDROOM - NIGHT Lilly enters her bedroom. The place is a mess. She sits on the bed. She picks up a framed photo which sits on a sideboard next to the bed. It shows Lilly, a man - Lilly's age - and a child of 5 years who looks a lot like Lilly. She stares at the child. We hear the sound of rain pounding against the window of the bedroom.\",\n \"EXT. LILLY'S APARTMENT, BEDROOM - NIGHT Pull out to reveal the exterior window. We can see through the window into Lilly's apartment again, see Lilly lying down, hugging the photo. The rain has become a light mist.\",\n \"EXT. JAMESTOWN SLUM, STREET - NIGHT We are close on a poster. It shows a perfect face, serenely beaming out ; it could be Silus or Augustus, except this man is dressed in religious regalia, like a priest. The poster says `` The Brotherhood loves you. You are divine.'' We begin to crane off the poster which is revealed to be stuck on a lamp post. The street is seething, the slums of Jamestown. A young boy, perhaps seven ; spiked up hair, face covered in grime, grime from dragging himself up in this hellish place. He carries a bag filled with the detritus he's picked from the rubbish bins of the rich. He wears a distinctive red t - shirt that is several sizes too big. He moves along the street, avoiding a disinterested passersby. As he passes an alley he hears something. An animal - like growl. He stops. Down the alley he can see two figures. One is a male. He is clutching another clothed figure ; female. KID Hey?! Hey! At that instant the man turns to the boy. There, half seen in the slick shadows, the most piercing eyes, a bloody mouth, with fangs, hissing. The creature drops the woman and scales the sheer wall of the alleyway ; clutching various handholds, up four flights, then gone. The kid, frightened, now makes to run off but bangs into a passerby. The man grabs the kid roughly. MAN IN THE STREET Where are you going in such a hurry my little ruffian? Pilfering by the look of you? The kid struggles and the Man now sees the shape of the woman in the alleyway, slumped to the ground. MAN IN THE STREET -LRB- continuing. -RRB- What's going on here? What'd you do to her? KID Do n't, I did n't do nothing. It was a Brother. It was a Brother did it. The man moves forward, dragging the kid. And he sees the woman there, deathly white in the alley. Dead eyes staring. MAN IN THE STREET Oh dear god. Cut to\",\n \"INT. NATURAL HISTORY MUSEUM - DAY We track past a sign that says `` Museum of Spiritual Selection and Alchemistry.'' In the distance we can see a group of people in the hazy light. Cut to Augustus - the man we saw with Silus earlier - sitting on a chair surrounded by various objects. At his feet are a gaggle of school children, aged around ten ; affluent looking, human. Augustus points to a strange, ancient looking glass apparatus. AUGUSTUS 300 years ago, with these simple instruments, the alchemist Guiseppi De Angelo discovered what we today call genetic science. AUGUSTUS -LRB- continuing. -RRB- He deciphered that the Brothers were a new race of beings, sent by god, to serve and protect you. We see the faces of the children, rapt. AUGUSTUS -LRB- continuing. -RRB- De Angelo formed the church of the Brotherhood. He was a great great man, but there were others, bad men, who took what De Angelo had discovered and experimented without concern for the results. The science of genetics and all its power has been banned ever since. Who can tell me what came from these bad experiments? One child puts his hand up. Behind the child, in the distance, Augustus now sees Silus approaching ; Silus obviously wants to talk to Augustus. Augustus points to the child while looking at Silus. AUGUSTUS -LRB- continuing. -RRB- Yes. CHILD All the bad things. Like bad germs and flu. Augustus nods, watching Silus' ominous expression. AUGUSTUS Yes. That's right. Augustus looks at the child and tries to smile. AUGUSTUS -LRB- continuing. -RRB- All the bad things.\",\n \"EXT. SLUM, STREET - DAY The streets are wet. High above several large Zeppelins plod across the sky. We crane down to street level to find a police car pulling up through the steam. Lilly gets out, Jones beside her, wolfing down another bun. There are cops everywhere. An alleyway is cordoned off. The dwellers of the slum have floated up and are baying like wolves, hassling the cops ; some yell obscenities, generally along the lines of `` where's the police when you need them?'' Jones stares at the people. JONES Someone should flatten this cesspool and start again. Lilly and Jones move towards the police cordon. Immediately a reporter accosts them. STREET REPORTER Marm? The Tribune. Do you have any comments on the death? LILLY No. STREET REPORTER They're saying it was a Brother, is that true? Lilly stares at the reporter, pauses for thought. She whistles to one of the cops nearby, who then approaches. LILLY Arrest her. Jones and Lilly push past as the reporter protests at being manhandled. LILLY -LRB- continuing ; to Jones. -RRB- Find any witnesses and shut them up. Jones nods and moves over to a policeman guarding the alley. Lilly ducks under the crime scene tape, moving into the alley.\",\n \"INT. JAMESTOWN SLUM, ALLEYWAY - DAY The alleyway is full of forensics personnel. Lilly moves deeper into the alleyway. We see her POV moving forward, finally revealing the body of the young woman who is surrounded by various forensics staff. Lilly talks to one. LILLY Can I step in? FORENSIC GUY With the traffic. What's it matter. Lilly moves forward. She can now see the woman more clearly. The woman is obviously dead ; her pale white skin like wet shining alabaster in the dark alley. Flashes from photographic machines light the scene, almost blinding Lilly and briefly revealing the true horror of the scene. Lilly kneels and carefully begins to examine the body. Another man now walks up and kneels next to Lilly ; young, good looking, obviously takes pride in himself. DOMINIC Lil'. LILLY Hello Dominic. DOMINIC Have you seen it? Dominic bends down and moves the dead woman's head, displaying the side of her neck. A bite has torn the skin on the side of her neck. The wound extends down, the carotid artery sliced in two. DOMINIC -LRB- continuing. -RRB- It's a bite. If you know what I mean? Lilly nods, then looks down at the woman's dead, cockeyed stare. Lilly closes the woman's eyes. LILLY Any identification? She is passed a bloody ID. Lilly stares at it. LILLY -LRB- continuing. -RRB- Tanya Garfield. Jones now arrives. JONES -LRB- to forensics team. -RRB- Where do you get a cup of tea around here? No one answers. Jones shrugs. JONES -LRB- continuing. -RRB- There's a kid who saw it, down there. Lilly sees the red shirted street urchin in the distance being talked to by two uniformed policemen. JONES -LRB- continuing. -RRB- Says it was a Brother. And they've got another fellow, that's all who saw it. Lilly nods. LILLY Alright, we'll close this down gents. None of you are to say a word, not even to your old mother. All the police officers stare at her ; they know what she means alright. LILLY -LRB- continuing. -RRB- Jones. Make sure. Jones shrugs and nods. Lilly gets up and moves towards the street kid who is being talked to by two burly, grumpy policemen. The boy is shaking. LILLY -LRB- continuing. -RRB- He saw what happened? POLICEMAN 1 Now he wont talk. Did n't see anything. Lilly looks at the boy. So young. LILLY What's your name? The kid does n't answer and gets a whack around the ears from one of the policemen. LILLY -LRB- continuing ; to the policeman. -RRB- Stop that. Lilly stares at the kid, as if the way he looks has keyed a memory in her. She squats and looks him straight in the eye. LILLY -LRB- continuing. -RRB- What's your name then? KID -LRB- nervous. -RRB- Albert. LILLY You live around here? The kid looks nervous. Lilly moves some of the bedraggled hair out of the kid's eyes. LILLY -LRB- continuing. -RRB- I grew up 3 streets from here. Matheson Lane. The Skrummers Workhouse. KID -LRB- surprised. -RRB- You did? LILLY Or should I say, I crawled out of here. The kid smiles. Lilly focuses on him now. LILLY -LRB- continuing. -RRB- No one else will do anything about this, you know? They just think this is a slum. No one really cares what happens to the people here. Except for you. And me. The kid stares at her ; she's a magician and he's a believer. LILLY -LRB- continuing. -RRB- What did you see? KID A man. LILLY What kind of man? KID A Brother. LILLY You're sure it was a Brother? KID He had teeth and everything. LILLY Where did he go? The kid turns and points to the shear wall of the alley. KID He went straight up there. Lilly stares at the wall. LILLY Alright, you go with these men, they'll look after you. I promise. She rises. LILLY -LRB- continuing ; to the Policemen. -RRB- Get him to describe it all. And keep him away from everyone. The Policemen grunt and begin to lead the kid off. LILLY -LRB- continuing ; to the Policemen. -RRB- And get him some food. Jones, now standing next to Lilly, moans. JONES Now they'll all want feeding. Lilly looks at Jones's callous face ; she's not amused. Cut to\",\n \"EXT. JAMESTOWN SLUM, BUILDING ABOVE ALLEYWAY - CONTINUING High angle POV of Lilly and Jones moving off. Someone is watching them from the roof above. The POV belongs to Silus, who stares down at them. In particular he watches Lilly. We see Lilly pause and then look up as if feeling she's watched. We see Lilly's POV of the building above. There is no one there. HA of Lilly looking up. Cut to\",\n \"INT. POLICE STATION, HOWARD ANDERSON'S OFFICE - LATER A device flies toward the camera, sharp needles eject from it slamming into skin. Seated at the desk is a harassed, balding man -LRB- ANDERSON -RRB- of about 55. He's just finished vaccinating himself, wincing at the needle jabs on the soft skin of his arm. There are many other needle marks on his skin. LILLY -LRB- off. -RRB- I've quarantined the neighborhood. Lilly stands before the man's large desk, which is lit by only a desk lamp. LILLY -LRB- continuing. -RRB- As far as anyone knows we have a new influenza outbreak. ANDERSON What about the telephonic companies? LILLY They're cooperating, closing all phone lines in and out except directly to us. Anderson nods. ANDERSON Sit, sit. She does. ANDERSON -LRB- continuing. -RRB- You've done well Lilly. The reporter is more of a problem. We have 2 days by law before we have to release her. Then it's out. Anderson lays down the medi kit and stares at it as he motions for her to sit. She does. ANDERSON -LRB- continuing. -RRB- I hate these things. I'm like a pin cushion. LILLY It's better than the alternative, sir. Anderson stares at her ; a moment of tension. ANDERSON I need you to stay with this, Lilly. You know Jamestown better than anyone, how to handle the people. Lilly acknowledges the compliment. ANDERSON -LRB- continuing. -RRB- The Brothers have requested to be involved with the investigation. LILLY That's nice for them. ANDERSON You have a problem with it? LILLY Not particularly. ANDERSON Good. I think they can help. And I do n't want someone working on this whose got something against the Church. LILLY How do you know I do n't? ANDERSON Lilly, you're the least prejudiced person I know. In fact, you're the only one I know. That's important. The church is powerful, but more than that, people's faith in the Brotherhood is about all they've got these days. And the government knows it. Even the Queen herself is involved. This is political. Cut to\",\n \"INT. POLICE STATION, COMMUNAL OFFICE - DAY Lilly enters, drinking a coffee. She begins to top it up from the coffee stand when Jones comes up to her. JONES Lil'. He's here. Lilly's expression becomes taut. She peers towards her office. She can clearly see an exceptionally well dressed man in her office with his back to us. It is Silus. A young female cop - Steph - is in there and we can see her kissing a ring on Silus' hand and Silus placing his hand on her head as if blessing her. Steph then exits the office and approaches Lilly and Jones ; her face is flushed with excitement. STEPH Do you know who he is? That's Brother Silus. They say one day he will lead the Brotherhood. He's a great man. JONES I think I hear choir music. Steph flashes Jones a resentful look. STEPH Do you respect anything? JONES Hey. My old mum goes to church four times a week and gives blood. She's happy as a lark. Just do n't expect me to kiss him, that's all I'm telling you. Cut to\",\n \"INT. POLICE STATION, LILLY'S OFFICE - CONTINUOUS Close on the enigmatic ring on Silus' finger. We see Lilly is seated on one side of her desk, Silus on the other. Lilly is staring at the ring, then she studies a Photostat in front of her. There is a picture of a man, a rather perfect looking man. LILLY Senior Brother Edgar. How long have you known about this? Silus opposite Lilly, his perfect, serene appearance an anathema in the grunge of the Jamestown police station. He watches her very carefully, listens to the way her finger taps the sheet in front of her, the sound of her chair swiveling, all the sounds very acute to him ; she has a physical ease about her. SILUS A matter of weeks. Lilly smiles. SILUS -LRB- continuing. -RRB- Is there something wrong? Lilly stops smiling. For the first time she is still. LILLY Yes. Withholding evidence. Covering up two murders. And no one's worried. If me or one of the people in Jamestown did that they'd be in the hell house with the key thrown away. It seems the church is able to do whatever it wants. Silus nods. SILUS You're right to not like it. It is political. Lilly becomes more interested at this ; at the bald honesty of the statement. SILUS -LRB- continuing. -RRB- We thought we could find Brother Edgar ourselves. We were wrong. But now any debate is pointless. Lilly stares at him. There is already something between them even though they stand on opposite sides of a huge gulf. She nods, accepting his point. SILUS -LRB- continuing. -RRB- The greatest danger is if this were to become public knowledge. LILLY Would n't want anyone criticizing the church I suppose. SILUS It's more than that Captain. This is about prejudice, or rather the nature of it. As a female surely you would understand. LILLY Really. SILUS How many other Captains in this borough are female? LILLY None? SILUS How are your actions judged, the same or differently from the men. Lilly stares at Silus ; he is an incredible being. LILLY Differently. SILUS Exactly. If a white man kills, then he is just a killer. If a black man kills, then all black men are suspect. That is the nature of prejudice. Those who are different are grouped together. If only one Brother does a bad thing then all Brothers are suspect, because we are different. And then what would this world be like, if there was no hope? Lilly nods, acknowledging the truth of it. LILLY Alright then. So what do you suggest? SILUS First, there is something you should hear. Cut to\",\n \"INT. POLICE STATION, BRIEFING ROOM - LATER Scummy, large briefing room. There are seven cops in here, perched on desks and chairs. Jones, Dominic, Frank plus four others. Lilly is also there. So is Silus, sitting, perfectly still, calm. Several of the cops look at him suspiciously. LILLY Ok, ok, quiet down. Everyone nods and shuts up as Lilly stands in front of the men. LILLY -LRB- continuing. -RRB- Gentlemen, there's no other way to put it. We have only 2 days to find the suspect. There are guffaws from most of the policemen. JONES There's no chance. Not a hope in hell. FRANK He's right. We do n't even know where to begin. LILLY Quiet! Lilly is angry. There is silence in the room. Lilly seems more angry than she should be. LILLY -LRB- continuing. -RRB- What you are about to hear will not leave this room. Everyone understand? Jones? Jones shrugs. LILLY -LRB- continuing. -RRB- I would suggest anyone with a weak stomach leave now. No one moves. They all stare at Lilly. LILLY -LRB- continuing. -RRB- This is Brother Silus. She motions to Silus, who rises, watching the glares from the cops who eye him like a suspect. SILUS Thank you Captain. Could we have the plate? An old slide projector heats up as the main lights are turned off. The projector sprays an image up on the wall. The face of a killer, before he became one, the serene gaze of a Brother. SILUS -LRB- continuing. -RRB- Senior Brother Edgar. Until 3 weeks ago, he was a trusted and talented theologian and scientist. DOMINIC What'd he do? SILUS He was personally responsible for developing the most recent influenza antivirals. It is because of him that most of you are alive today. His behavior appeared normal. Next. 3 photos come up. The victims. SILUS -LRB- continuing. -RRB- The victims. John Anderson. Julie Danes. Tanya Garfield. All in their early 20's, but beyond that no obvious connection. Next. A Map. SILUS -LRB- continuing. -RRB- There is no precedent for Brother Edgar's behavior. No Brother has ever taken a human life, not in the 300 years since we began. Not one. Our role has been to preserve and maintain the human life. Not take it. JONES Next he'll be wanting an fucking medal. Silus stares directly at Jones now. Their eyes lock. Silus continues, perfectly calm. SILUS What I am saying to you is that Brother Edgar's behavior is aberrant. We SILUS -LRB- cont. -RRB- do n't understand it. And therefore it's difficult to predict. The only thing we know is where he will strike next. DOMINIC How do you know? Silus moves to the desk next to him. He passes something to another cop who now sits at the desk. We see Lilly now. The look on her face tells us that she knows what is coming and she's not looking forward to it. We see what Silus gave the cop. An audio tape. The cop places the tape in a tape deck. He then switches it on. He then turns the volume knob on an amplifier which now directs static hiss to two big speakers. We see the faces of the cops, all listening in the dim light coming from the slide projector. Above the level of the hissing tape there is another noise. It is a wet sound. Like a cat would make if it were lapping up milk. An another sound. Like an animal, moaning with pleasure. We see the cops ; some of them are beginning to twig. And there is another noise. It is a man ; moaning. MAN ON THE TAPE -LRB- off. -RRB- Please. Please do n't hurt me. We see Jones and Dominic. Their glares say it all. And then another voice. EDGAR -LRB- off, like to a lover. -RRB- Quiet. MAN ON THE TAPE -LRB- off. -RRB- Please. EDGAR -LRB- off. -RRB- I said shut up! Then we hear a punch and then noises which can only be described as sounding like a dog killing something. Jones springs out of his seat. JONES Fuck! LILLY Jones, sit down. JONES Why are we listening to this?! LILLY Quiet! Jones stands there enraged. Dominic pulls him down back into his chair. All the cops are appalled by what they have heard. And then a voice. EDGAR -LRB- off. -RRB- Good. Now you're quiet. We can hear Edgar moving around. EDGAR -LRB- continuing ; off. -RRB- Did you hear that Silus? I hope so. We see Silus, listening as intently as everyone else. EDGAR -LRB- continuing ; off. -RRB- The next one will be tomorrow. There is a square, Bridge Square it's called. I will take the next one from there. You should try harder this time. Please try harder. More moving around, then the sound on the tape cuts out. We are left with only tape hiss. Everyone stares at Silus. FRANK He sent this to you. Specifically. SILUS We share the same mother. There is a bond. The cops all stare at Silus' emotionless response. LILLY There will be two teams. Frank, I want you and Abernathy up in the buildings around Bridge Square. Frank nods. LILLY -LRB- continuing. -RRB- I'll lead the other team with Dominic, Jones and Queen's Imperial Guard in support. No guns, batons only. JONES What? LILLY You heard me. He's to be taken alive.\",\n \"EXT. JAMESTOWN, BRIDGE SQUARE - NIGHT It has rained. The small square is dimly lit. At it's center is a small park with distorted trees. And a rundown playground. A rusty swing creaks. We see a figure there. It is Lilly. She watches the rusty swing creak. Then she looks up to the surrounding buildings. We tilt up to one of the buildings which is perhaps eight stories high ; like the others around the square it is an apartment building. There is movement at the very top. Cut to\",\n \"EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT POV from the top of the building, observing Lilly below enter a black, unmarked van. Then there is buzz from an RT.. We reveal POV belongs to Silus. SILUS Yes.\",\n \"INT. POLICE VAN - NIGHT Lilly is in a police van. Jones and Dominic are there with her ; both of them trying to come to grips with the strange stun weapons they've been given. And there are three huge, dark eyed soldiers there, dressed in the ominous black uniform of the Queen's Imperial Guard, cocking their electric batons ; which fizz in the half light. LILLY Anything? We cut between Lilly in the van and Silus on the roof. SILUS No. Silus surveys the scene. He can see an Imperial Guard sniper over the square on the roof of a building. Below, in the street, we can see the silhouettes of several Brothers ; unmoving, watchful sentinels. LILLY It's getting late. SILUS He will come. LILLY Ok. We'll sit tight. Lilly closes the com. Jones is staring at her. JONES This is a dud. Lilly ignores Jones and talks into the RT again. LILLY Frank? Cut to\",\n \"INT. APARTMENT BUILDING, BRIDGE SQUARE - NIGHT Frank is inspecting a stairwell of the building. He has Abernathy with him. He talks into his RT.. FRANK Yeah Lil'. LILLY -LRB- off. -RRB- Anything? FRANK Not a thing. LILLY -LRB- off. -RRB- Check each floor again. Frank motions to Abernathy, who is already sighing. FRANK You heard her. Once more for the empire. Low Angle from the floor of the two men beginning to climb the stairs, their guns out. The shot stays where it is. We can see the stairs and the wall. We pause. The soundtrack is almost dead quiet, apart from the buzzing flouro above us. And then the CAMERA begins to advance, like a POV, heading for the wall ahead. It reaches the corner and then advances along cables running up to the roof. As it climbs we can see a ventilation shaft in the corner with no grill. The camera approaches it and moves into the shaft, continuous.\",\n \"INT. APARTMENT BUILDING, VENTILATION SHAFT - CONTINUOUS The shot continues to track through the man - sized shaft. As we move through the shaft - turning corners, going up floors - we pass grills. Some of them show light coming from the apartments within. We can hear an argument in one room. A crying child in the next. A TV blaring in another -LRB- playing porno -RRB-. But mostly the rooms are dark. And as we move up and along, there is a scuttling NOISE, growing louder, as if we are approaching it. Then the NOISE stops. The camera halts, stares down the long ventilation shaft. Silence. Dead silence. The camera starts to move again and then turns a corner to run into the leering face of Edgar, the vampire, his teeth bared, his eyes reflecting in the half light. Then he smiles. EDGAR Shoo. Cut to A rat, staring back at Edgar. The rat turns and streaks off back whence it came. A slight smile appears on Edgar's face ; a smile that can chill the blood in your veins. Then he begins to move forward. We hear his breathing ; low, but excited. He moves with the precision and strength of an insect. His eyes glisten and reflect light like an animal's. His skin is flesh white and milky in the metal shaft. Cut to His POV approaching a grill. A subdued light comes through it. The POV approaches and sees into the apartment below.\",\n \"INT. ROOM, SAME BUILDING - NIGHT A woman, around 20, attractive, brushing her hair. She has just had a shower. She sits. Cut to The shaft. We see Edgar's hand enter shot. His hand grips the bottom of the grill and tries to open it. It does n't budge. Cut to Inside the room, the woman turns and looks up at the grill. She thinks she's heard something. She stares ; waits. She gets up and moves towards the grill high above on the wall. She places a chair under it, then gets up on it, standing on tip toes, trying to see if there's anything behind the grill. Her hand reaches out and tries the grill, to see if it's secure. Then she leans closer to it. Her face pressed right up against it. Closer. Closer. Cut to Edgar's white face, lurching into shot. Staring, staring. Cut to His POV. He is now looking through a different grill. This time there is a young man inside an apartment. Doing exercises. Edgar watches. And again that chilling smile. We see the man again, who gets up and preens himself in front of a mirror. Close on Edgar's eyes, devouring the sight of this pumped up flesh. The young man exits the room, going into a bathroom. We see Edgar's hand trying to open the grill. It moves. Cut to\",\n \"INT. APARTMENT BUILDING, HALL - NIGHT Frank and Abernathy are on fifth floor, finishing a sweep of it. As they move they hear a CRASH. They stop. Then another crash, coming from the floor up. Then a SCREAM. They look at each other, then begin to run to the stairwell, as Frank talks into his RT.. FRANK Lil'! Lil'! Cut to\",\n \"INT. POLICE VAN - CONTINUING LILLY Frank. FRANK -LRB- off. -RRB- He's on the sixth floor! He's on the sixth floor! LILLY Let's go. Everyone fires into action and begins to exit the van.\",\n \"EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT Silus watches from his vantage point. He can see Lilly and her team below rushing into the building adjacent to him. And then he sees, through one of the windows on the sixth floor, the flashes of gunfire. Cut to\",\n \"INT. APARTMENT BUILDING, STAIR WELL - NIGHT Handheld camera with Lilly and her crew rushing up the stairwell ; up up. Cut to OMITTED\",\n \"INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT Lilly and her crew entering the hall. They are confronted with a view of the long hall. Halfway down there is a door with blood smeared on it. We can see Abernathy, lying in a pool of blood outside the door. The cops stop. A door opens close to them. A large greasy man pokes his head out the door and gets the cops guns on him immediately. Lilly motions with her hand. LILLY -LRB- whispering. -RRB- Police. Get back inside. Get back. The man returns and closes the door. The Imperial Guards now swing into action. They move forward towards the room, to the closed door. Lilly and her crew follow. The Imperial Guards get ready outside the door batons ready. One of them motions for Lilly and her crew to wait. Jones is nearest them. He goes down on one knee. Dominic moves past them and positions himself on the other side. Lilly kneels where she is. Beat. Then the Imperial Guards kick open the door and enter. Lilly waits, watching. There's no sound. Dominic begins to move forward, then enter the door to the apartment, his baton raised. Jones now moves forward, keeping his eyes on the door. There is no sound coming from the room. Cut to Lilly, kneeling in the hall. Also staring at the door. Too late to realize the door next to her is opening. Before she can react, she's staring into the face of Edgar ; the eyes, the bloody mouth. Edgar is on her in an instant, moving with ferocious speed, whipping her like a rag doll into the room. Meanwhile Jones is edging towards the room Dominic entered. Cut to\",\n \"INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT Lilly, trapped, held by Edgar, who stares at her. Then, in one swift movement, he lurches down, tearing her neck with his teeth. She cries out.\",\n \"INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT In the hall, Jones is looking into the room Dominic went into. The lights come on. The room is empty. Just the cops and Frank's bloody corpse on the floor. JONES Lil'. Jones turns to see Lilly, but she's not there. The hallway is empty. He sees the door Lilly was pulled through. Then looks down. Blood is seeping from under the door. JONES -LRB- continuing. -RRB- Fuck! Cut to\",\n \"INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT Lilly being embraced by Edgar, she ca n't do anything. Then a loud crash on the door, as if someone is trying to break in. Edgar stops feeding, stares at Lilly. Beat. EDGAR You're so strong. Then another crash on the door. Edgar drops Lilly. He propels himself towards a ventilation grill on the wall. Cut to Jones and the cops kicking the door in. It swings open to show Lilly on the floor. Jones stoops down. JONES Lilly! Jones gets close to Lilly, starts squeezing the side of her neck, trying to stop the arterial blood from squirting her life away. JONES -LRB- continuing. -RRB- Oh shit shit. Dominic enters and sees the scene. He yells into his RT.. DOMINIC Lilly's hurt. She's hurt! The other cops are now scanning the room. Meanwhile Dominic has found the ventilation shaft, blood smeared around the opening. DOMINIC -LRB- continuing. -RRB- He's in the ventilation shaft! Jones then stares down at Lilly pressing one hand against the wound. Close on Lilly, going into shock. She's shivering. JONES She's dying! She's fucking dying! At that moment SILUS appears at the door. Silus stares at Lilly, bleeding to death in Jones' arms. Silus immediately bends to her. With his free hand Jones pulls out a vicious knife which he points at Silus. JONES -LRB- continuing. -RRB- Get away from her! But Silus ignores the knife and moves closer to Lilly. JONES -LRB- continuing. -RRB- Get away or I'll stick you! SILUS Do you want me to save her? Jones wavers. SILUS -LRB- continuing. -RRB- She is dying. Jones backs the knife away. Silus whips his hand to the blade of the knife, slashing his wrist, blood immediately issuing from the wound. He presses his bleeding wrist to Lilly's mouth. At first resistant, Lilly begins to suck at the wrist. Jones is appalled. Silus then leans close to Lilly and whispers in her ear. All the other noises in the soundtrack drop out. SILUS -LRB- continuing. -RRB- Lilly. Stop fighting now. Fall back, fall back. Slowly she does. Silus removes his wrist from Lilly's mouth. She is silent, comatose. A medical team now scramble through the door, pushing past Silus and the bloody Jones and begin to work on Lilly. For a moment Silus and Jones stare at each other. Then Silus turns to the ventilation shaft in the corner. He closes his eyes. Listens. DOMINIC He's getting away! SILUS Quiet. The cops are silent. Stare at Silus who opens his eyes. SILUS -LRB- continuing. -RRB- He's going up. We move in on Silus' ear. Closer, closer. Into his ear.\",\n \"INT. APARTMENT BUILDING, VENTILATION SHAFT - NIGHT The long shaft and in the distance Edgar approaching, his eyes reflective, moving with the speed of an insect through the shaft, his bloody mouth. Cut to Silus, now also in the shaft, his gun out, moving forward. He turns a corner. The shaft is empty. He waits, watching, listening. He hears a scuffling. Cut to Edgar, the same, turning a corner to see Silus approaching him. Silus raises his gun. A puff emits from the end of his gun. The projectile hurtles towards Edgar, who just ducks out of the way in time. Edgar turns. There is a grill next to him. He smashes it with his foot. Cut to Silus approaching the junction, turning the corner, just in time to see Edgar's legs pass through the hole.\",\n \"INT. APARTMENT BUILDING, HALL - CONTINUING We see Jones move into the hall, looking at the roof, searching. Then he looks at Lilly's blood which covers his hands. He pockets his stun weapon and pulls out his own dangerous looking gun. Cut to\",\n \"INT. APARTMENT BUILDING, DIFFERENT FLOOR - NIGHT A door bursts open. Edgar - in slow motion - crashes through the door and into the hall. The sound track is a huge driving slab of choral orchestral music. The camera tracks back as he starts to mount the wall, his momentum carrying him diving towards the camera. Cut to Silus enters the empty hall. No Edgar. Then he sees in the roof, a manhole cover, slightly ajar. Cut to\",\n \"INT. APARTMENT BUILDING, CEILING CAVITY - NIGHT Silus' POV as he climbs into the crawl space, its ceiling following the pitch of the roof. It is dark and extends for a long way. Silus squats in the sub light like a beautifully dressed animal. What he ca n't see are two blinking eyes above him in the rafters of the dark roof. It is Edgar. Edgar drops, Silus turns too late as the weight of Edgar drives into him, sending both of them through the floor of the ceiling cavity and down.\",\n \"INT. APARTMENT BUILDING, ANOTHER HALL - NIGHT to fall, a dead weight, crashing down onto the floor of the hall in a hail of debris. Edgar is on top of Silus and strangling him, and then he stops and turns. He moves just in time to avoid a bullet from Jones' gun which glances Edgar's cheek, sending off a wisp of burnt colored smoke. Cut to Jones. Gun smoking, standing at the other end of the hall. Edgar screams the scream of something from the animal kingdom. Then turns and runs. Cut to Silus rising, pulling out his gun. Jones points his gun, but Silus is obscuring his view. Cut to Edgar runs away down the hall. Then on Silus. Very still, very silent. Close on his finger pressing the trigger. The camera zooms right into the interior of the gun to see the projectile entering the gun's chamber and the hammer igniting it. The projectile explodes out the end of the gun. High Angle of the projectile flying towards its target, the ceiling lights above streaking past on its reflective surface, cruel mechanical claws suddenly slide out from the side of the capsule. Then Edgar, camera tracking back at high speed. Slow move in on Silus' cool gray eyes. Then whack! The projectile stabs into Edgar's back, the claws springing forward to hook onto Edgar's flesh, we see the fluid within the transparent projectile flow into Edgar, see Edgar's eyes widen, see his POV of the approaching window then. Crash. Edgar's head implants itself in the wall below the window, the dust and debris from the wall board drifting over Edgar's numb stare. In the background Silus stands. Motionless. We see Jones walking forward, gun still pointing, heading towards Edgar. Silus turns and steps in front of him. JONES Get out of my way. SILUS No. Jones stares at Silus and contemplates firing. JONES He killed Lilly. Silus does n't move. He stares calmly at Jones. Jones points the gun in Silus' face. Beat. JONES -LRB- continuing. -RRB- Bang. Jones lowers his gun. We end close on Silus' serene face. SLOW DISSOLVE OMITTED\",\n \"INT. SFX - CONTINUING Black. Voices in the dark, quiet at first, then growing more frightening ; then the hint of a face, in negative - Edgar - then screams, like the screams of an animal on the hunt. And another face, alternating with Edgar's. Silus.\",\n \"INT. HOSPITAL, LILLY'S WARD - DAY High Angle of Lilly asleep, lying on a hospital bed. We drift down. Again there is rain, pounding against the window. Her body flinches ; she is in a dream, a nightmare. As we drift closer to her, her eyes open, staring straight up and then to the left. Then grim recognition. Cut to Low Angle on Silus standing above her, examining the tube that runs a clear fluid into her in a slow drip. LILLY Antibiotics. They say it's like an animal bite. Silus nods. He slowly sits on the bed. LILLY -LRB- continuing. -RRB- I want to thank you. SILUS We all caught Edgar. LILLY I do n't mean that. The blood, they say it saved my life. Is it true that people who go to church are given your blood? SILUS Sometimes the rituals call for it. Some say they have visions from it. That it restores their health. Silus regards her and she him. She reaches out and touches his hand, almost retracts at the smooth texture of the skin. LILLY So smooth. She turns over his hand to reveal the wrist ; the scars are almost gone from where Silus cut himself. LILLY -LRB- continuing. -RRB- Healed already. SILUS In some ways my body is like a human embryo. The cells regenerate quickly. It is why we live so long. Will someone come for you? Your family? She releases his hand. LILLY I do n't have one. Not any more. SILUS I see. LILLY Influenza. My husband was quick. But my daughter, Mary, her little body fought it for a long time. So I just waited. Hoped. But then you realize how cruel hope is. And you just want it to end. Not to stop her suffering, but to stop my own. SILUS I am sorry. LILLY Do we seem pathetic to you? SILUS No. Fragile. Worn down by nature. But you fight back. LILLY Yes. We're good at that. Lilly stares up into Silus' serene face. Silus smiles. Then stands. SILUS I think yours will be a good life to watch, Lilly. Goodbye. Lilly tries to smile as Silus turns and walks off down the ward. Close on Lilly who looks grim. Then she turns to the window. Rain again, blowing hard against the pane.\",\n \"INT. HOSPITAL,LILLY'S WARD - CONTINUOUS As Silus leaves the ward he passes Jones, who's been standing there as if he's been watching them. A beat. Then Jones shoves a newspaper into Silus' hands. JONES Nicely done. You're more human than I thought. Jones unceremoniously pushes past Silus and moves into Lilly's room. Silus reads the newspaper. The story tells of the recent deaths in Jamestown, explaining that it was an insane man who thought he was a Brother. The man's picture is shown ; it is actually one of the victims. Through the window in the doorway Silus watches Jones approach Lilly. We are close on his enigmatic face.\",\n \"EXT. BROTHERHOOD BUILDING, FOYER - DAY- Establisher We tilt down a grand building.\",\n \"INT. BROTHERHOOD BUILDING, FOYER - DAY A huge foyer, shinning marble floors. All done in perfect taste. We see Silus cross the foyer and enter an elevator. The elevator doors close.\",\n \"INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - DAY Silus enters the room. There are several technicians at work at a console ; again the organic nouveaux stylings of the Brothers. Augustus is also there. Next to him, someone who is obviously human. His lack of perfection stands out ; the balding hair, dark rings under his eyes. Silus joins them. AUGUSTUS Silus. You know Professor Liepsky. Silus shakes the Professor's hand. We see the hands touching, then slide apart with a wisping sound that makes the Professor wince a little. SILUS How is he? PROFESSOR LIEPSKY See for yourself. He taps one of the men at the console on the shoulder. The man hits a button and we see that in front of the console there is a huge glass window and beyond it a room which is now lit. Edgar is in there. And Edgar is not pleased. Even from here his glowering stare penetrates everyone in the room. From this distance we ca n't make out much, beyond the fact that Edgar is seated in a chair, in an otherwise plain white room. Around his chair is a strange `` brace'' of sorts, that seems to be holding Edgar in place. SILUS Is the brace necessary? AUGUSTUS He decapitated a guard as they brought him in. Even though he was sedated. He said he will drink us all dry. SILUS Insane then. PROFESSOR LIEPSKY Not quite. Silus now turns to the Professor. PROFESSOR LIEPSKY -LRB- continuing. -RRB- He's become infected. SILUS With what? The Professor looks to Augustus, as if worried he's said to much. AUGUSTUS Go on, Brother Silus will soon be part of the inner circle of the Brotherhood. He should know this. Cut to\",\n \"INT. BROTHERHOOD BUILDING, LABS - CONTINUING POV approaching a curved, glass and metal door. On the door we see the words `` Biological Containment Area.''\",\n \"INT. BROTHERHOOD BUILDING, BIO CONTAINMENT WARD DAY - Establisher POV continues. There are 3 beds in here. In them, strapped down, 3 young woman. They are all insane, monstrous ; the whites of their eyes are blood red. We see Silus observe them, but there is no horror in his eyes, just compassion. He moves to one of the woman and slowly grasps her hand. She lurches towards him. PROFESSOR LIEPSKY If she was n't restrained she would try to kill you. Do n't worry, it's only transmissible through their blood. We designed it that way. Silus quietly turns to the Professor. SILUS Designed? PROFESSOR LIEPSKY Genetically designed. Edgar was experimenting with the virus that created you. It was sanctioned by the government. SILUS Since when do they sanction such things? PROFESSOR LIEPSKY Since not one Brother has been born in 70 years. And never a female of your kind from which we could breed. And we need to breed more Brothers. You give the world hope. To the people you're like gods walking the earth. AUGUSTUS This is what Edgar was doing Silus. Trying to genetically control the birth of Brothers. Silus is now turns back to the poor creature on the bed. PROFESSOR LIEPSKY And Edgar was successful. Each of these women carried a Brother, for a time. But, the virus. changed. Most of them have died and these will die soon. Silus places his hand on the poor creature's head, blessing her. PROFESSOR LIEPSKY -LRB- continuing. -RRB- And Edgar may be the first Brother to ever die. PROFESSOR LIEPSKY -LRB- continuing. -RRB- Before that, his brain will wither like these women. Containment will be the issue. Cut to\",\n \"INT. BROTHERHOOD BUILDING, CELL ANTEROOM - CONTINUING A door slamming behind Silus, he is in a strangely, eerily lit cubicle. SILUS -LRB- off. -RRB- The police officer. Lilly. Did he infect her with this? PROFESSOR LIEPSKY -LRB- off. -RRB- No. She was lucky. But it is in Edgar's blood. It always will be. and another door in front of Silus clicks, then slides open to reveal.\",\n \"INT. BROTHERHOOD BUILDING, CELL - CONTINUING Edgar, sitting in the chair. He immediately turns to the door, his eyes burrowing straight into Silus. Silus moves forward. We track, Silus' POV, toward Edgar and the reality of his predicament is revealed. There are metal rods extending from the cage around him. Two at the sides. Two from the front. They strategically pointed at Edgar's chest and sides. If he was to try to get up, they would pierce him. SILUS Hello my Brother. We can now see Edgar for the first time in something approaching a normal state. He looks similar to Silus, perhaps not quite so perfect. He radiates confident primeval power ; less a man captured than an animal waiting. Edgar is smiles. He shifts a little, we see the rods piercing his flesh. EDGAR Do you like what they've done for me Silus? He moves again, as if enjoying it. SILUS You are sick. We will help you if we can. EDGAR Help me? I am being what I was meant to be. How can you help me from that? Or do you want to tame me? Brainwash me? Animal or vegetable, are those the two choices, Silus? Edgar leans closer to Silus. EDGAR -LRB- continuing. -RRB- I want to share the feeling with you. To feel their blood flow until every last drop is yours, until that weak, pointless little pump finally stops. They are staring at each other very intently now. Edgar smiles gently. EDGAR -LRB- continuing. -RRB- The one I had, the police woman. She was so strong. I found it hard to leave her. Edgar moves. EDGAR -LRB- continuing. -RRB- Is she dead? SILUS She survived. EDGAR Good. I will have her again. For perhaps the first time, we see a real hint of anger on Silus' face. SILUS You wo n't touch her. Edgar looks at his brother for a moment. Edgar's features are a paradox ; almost sympathy for Silus followed by understanding. Then he smiles. EDGAR You've chosen to watch over her. You want her do n't you? I can see it in your eyes. You are like me. Silus' control has returned now. SILUS I will pray for your cure, Brother. Silus then turns and leaves. EDGAR I wont be able to forgive you for this you know? Not ever. In fact, when I get out of here. He moves violently, blood seeping from his wounds now. EDGAR -LRB- continuing. -RRB- I will make you see. I will show you the way. I will see you drink your little police woman right through. By now frightening music has hummed into existence. Silus has paused at the door to the cell. Without looking back he passes through the door, leaving Edgar to his prison. Edgar, slowly turns back to the window in front of him. He sees himself reflected in it. The Camera moves into Edgar's eyes. The lights go out. All we are left with are his strange reflective eyes. Waiting. Waiting. OMITTED\",\n \"INT. BROTHERHOOD BUILDING, CELL - NIGHT A smooth, white walled cell. Flash edits of Edgar. Standing, posing, balancing literally on his fingertips, doing sensuous, slow gymnastic yoga. His hair has changed so we know time has passed. Finally he stands there ; poised tensile steel. He slowly draws his finger nails against the shining floor of the cell, it almost looks like he's sharpening them. A tube comes from his arm for taking blood samples. Then Edgar begins to run directly at the glass window of the console room and then dives for it, smashing his head against it ; blood and saliva left smeared there. Behind the glass window the console operators jump.\",\n \"INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUI60A CONSOLE OPERATOR 1 I do n't like it when he does that. CONSOLE OPERATOR 2 -LRB- scolding Edgar ; into microphone. -RRB- You stop that or we'll use the gas!\",\n \"INT. BROTHERHOOD BUILDING, CELL - CONTINUING We see Edgar, slowly pulling himself up, blood and bruising apparent on his face. He smiles. We zoom in close to the glass, see Edgar's infected blood run down it until it congeals a little, caught in a tiny, almost imperceptible, hairline fracture.\",\n \"EXT. JAMESTOWN CLUBLAND, STREET - NIGHT Rain on the streets. A man, covered in tattoos - an affluent hood, is in a doorway snorting snuff Dominic, Jones and several other cops emerge from hiding places, pointing their guns at the man who puts his hands up. Hand held cameras follow several other cops and Lilly as they move into the building, again catching various hoods unaware. Lilly moves forward quickly, down a hallway and finds what she is looking for. In a room she discovers a harem of prostitutes, none of them older than ten years old. She stares at their doll - like faces, then lowers her gun. We see Lilly, the scars from Edgar's attack now healed but still apparent on her neck. Her hair is shorter ; she seems more worn down. Jones appears on her shoulder. LILLY Take them away from here. Jones nods as Lilly walks off. JONES You do n't feel like a drink? But Lilly does n't respond, she just walks off. Jones watches her leave. Then he stares at the round faces of the children in front of him, something approaching compassion there. JONES -LRB- continuing. -RRB- Now my girls, anyone hungry?\",\n \"EXT. JAMESTOWN CLUBLAND, STREET - CONTINUING Lilly exits the building into the rain, wrapping herself up against it. Then she stops, feels she's being watched. She looks up at the surrounding buildings. But there's nothing there. She pulls out an amulet with the symbol of the Brotherhood on it from under her jacket, and then after a beat, kisses it, a little smile comes to warms her lips against the cold. She leaves. Cut to\",\n \"EXT. JAMESTOWN CLUBLAND, BUILDING ROOFTOP - CONTINUING POV looking down on Lilly as she walks away. It's Silus, watching her quietly from the shadows, his eyes reflective orbs in the night. OMITTED OMITTED\",\n \"INT. BROTHERHOOD BUILDING, CELL - CONTINUING Edgar's cell is very dimly lit. Edgar is in front of the glass window to the console room. He is repeatedly banging is head against it. And his fingernails slide across the shiny surface ; has he simply gone insane? A voice comes over the Tannoy. CONSOLE OPERATOR -LRB- off. -RRB- If you do n't stop that we'll use the gas. You hear me? Edgar just continues to bang his forehead against the glass, it drums eerily. Cut to\",\n \"INT. LILLY'S APARTMENT - DAY We track through Lilly's apartment, silently. We enter the lounge to see Lilly sitting on a couch watching a strange looking valve powered globular Television - like device. We track ominously up behind her. Then stop. JONES -LRB- off. -RRB- I knocked. Lilly turns to Jones. LILLY You nearly gave me a heart attack. Steph now emerges from the kitchen, dressed in a t - shirt and shorts and carrying some food. Jones looks at her coldly. JONES What's this then? Lilly and Steph smile at the inference Jones is beginning to draw. STEPH My apartment was condemned, keep your hair on, what's left of it. Meanwhile Lilly shushes them and turns back to the murky gray images emitting from the television. TV PRESENTER the ascension through the ranks of the Church has been fast for Brother Silus. He will now be the highest ranking cardinal outside the ruling council of the Brotherhood. This is largely seen as a reward for his handling of the last influenza pandemic. Jones and Lilly watch as Silus is seen on the television in an interview. Steph stares at the screen with awe, she involuntarily kisses the symbol that hangs from a chain around her neck ; it resembles a Brother's ring. STEPH Is n't he amazing? Jones sneers under his breath. JONES A saint. LILLY Quiet. We move over their shoulders to track closer to the black and white TV screen. TV PRESENTER You have been an opponent of those who want an easing in the ban on genetic research. SILUS Yes. TV PRESENTER They would say you're denying legitimate research into a science that would change the world. SILUS The church does not deny the potential. Only the motivations of those who want to exploit it. And the fact that we understand so little of its power. TV PRESENTER With the elimination of influenza, are we approaching a new era where disease might be a thing of the past? As she is saying this we are now close on the TV's speaker. We then begin tracking out. We reveal the speaker is not part of the TV, but the speaker in Edgar's cell. Edgar, smiling coldly as he listens. As he listens he is gently gliding his finger nails against a sharp edge of the chair ; sharpening them. SILUS Disease is part of nature, it will always be a part of our lives. Close on Edgar. EDGAR How true. TV PRESENTER -LRB- off. -RRB- Brother Silus' confirmation ceremony will be held today in the sacred Chapel of St. Augustine where all the Brotherhood will gather. Edgar listens, smiles.\",\n \"INT. CEREMONIAL CHAPEL - DAY An ornate door ; ancient, with strange, beautiful dark symbols carved into the old wood, like something out of a castle in Prague. The doors open and we see a large chapel. And within the large dark interior, lit by great long candles, the Brotherhood have gathered. They all stare at the camera, which we reveal is Silus' POV. We see SILUS. Unchanged, still the perfect creature he has always been. But for now the suit has gone and instead he stands draped in fine ropes, robes that carry his life on them ; achievements, his rank, which is now high. In the distance, at an alter, stands AUGUSTUS. He is also in his gowns. A gong sounds and the Brothers, in unison with the music, begin to chant ; it is eerie, it sounds like Tibetan monks.\",\n \"INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM CONTINUING Professor Liepsky, looking more aged, worn, enters the control room. Alarms are sounding. At the console is a human male who looks terrified. CONSOLE OPERATOR I turned off the lights to try and calm him. Liepsky hits a button and it floods Edgar's cell with light. Edgar is right there, staring at them, his hands plastered over the glass window. He is covered in blood. In the background a bloody corpse on the floor. Edgar bangs his head against the glass, making Liepsky flinch. On Edgar's forehead we see scars from this kind of repeated banging. CONSOLE OPERATOR -LRB- continuing. -RRB- We gassed him as usual. We waited 10 minutes. He must have held his breath. The look on Liepsky's face says it all. We see Edgar. We had thought he was looking at the Professor. But he's not, his gaze is focused past the Professor to the dimly seen back wall of the control room. On it is a schematic, showing this room, other rooms on the level, the elevator shaft. Edgar is talking it all in.\",\n \"INT. CEREMONIAL CHAPEL - DAY Silus, on one knee before Augustus. Augustus now places a ceremonial sword at the back of Silus' neck, then draws it gently across the skin. Below, a Brother holds out a bowl to catch the drops of Silus' blood. AUGUSTUS The blood flows, through them, to us and we preserve them, preserve the blood we are bound to protect. Silus raises his head. We see his face. He takes the bowl, drinks and then stands, holding it up to the other Brothers. SILUS Let the blood be one and the two races join, as the Perfect Creature. Cut to\",\n \"INT. BROTHERHOOD BUILDING, CELL - DAY Close on Edgar, smiling. Calm. EDGAR Today my brother enters the history books, Professor. PROFESSOR LIEPSKY -LRB- over the tannoy. -RRB- Move back! After a moment, Edgar slowly walks backward in perfectly smooth movements. EDGAR Tonight all the Brothers will be with him. A perfect day for me to celebrate. From the far wall Edgar begins to glide forward, first in slow motion then ramping up to full speed, launching himself at the glass window. He bounces off it, leaving blood and saliva there. The Professor and the console operator share an unsettled glance. Edgar slowly stands. He stares very intently at the glass window in front of him. We zoom in on the glass. The small hair line fracture we saw previously now begins to lengthen before our eyes. Edgar's face. A smile. Then he is forward at high velocity before anything else can happen, smashing once more into the glass window, this time shattering it into a thousand tiny pieces.\",\n \"INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUOUS Horrified the console operator begins to make an escape. But Edgar is on him before they're a few paces towards the door. Edgar's long fingers sink into his neck like the flesh and bone were clay. He screams. The Professor makes it to the door, pulls himself through and shuts it, but on Edgar's hand. Edgar does n't flinch, but kicks the door open.\",\n \"INT. BROTHERHOOD BUILDING, HALL - DAY The Professor is now scrambling, half falling in slow motion as Edgar advances. As normal motion returns he kicks Liepsky in the head ; the sound of impact has a nasty fatality to it. Cut to Edgar. A door further down the hall is being unbolted. Edgar immediately runs towards it, then launches himself at it, his fingers extended like knives which enter the eyes of a guard who's coming through the doorway. The guard falls back on another two guards behind him. A round from a shotgun goes off, taking a small chunk from Edgar's side, but it's nothing more than a bee sting to him. His speed and precision is that of a creature who knows he only has one chance. He kicks the second guard under the chin, instantly snapping his neck, while flicking the third in the eyes with his sharpened fingernails. This guard falls, his eyes leaking orbs. Beat. Edgar crouches like a dark god of destruction, a siren sounding, the lights all going off, then flicking to red emergency lights. Edgar's eyes reflect in the half - light. Then he bares his teeth. At the end of the hallway he can hear the elevator arriving on this floor. Edgar smiles. Cut to\",\n \"INT. BROTHERHOOD BUILDING, FOYER - DAY The gleaming surfaces of the ground floor of the Brotherhood building. We hear the elevator begin to arrive. We pan off this to a desk where a receptionist sits. Cut to The Receptionist ; she's trying desperately to place a call. We see the shadow from a figure cast over her and she turns and looks up, fear making her shake now. Cut to Edgar, staring down at her. EDGAR You wo n't be taking any more calls today. Cut to\",\n \"INT. BROTHERHOOD BUILDING, HALL - LATER Slow steadicam along the underground halls. We see the bodies of Edgar's victims being cleaned up by personnel. We stop. In the distance we see the door to Edgar's cell open. Cut to Silus, observing the scene. The lighting is intermittent, flickering. Augustus is standing next to Silus, the weird light of the hallway reflecting in his eyes. AUGUSTUS Now he carries this thing out into the world. Can you imagine what will happen if he infects others? Or if the experiments were known. We are left with Silus' beautiful, reflective eyes. SILUS The question becomes what will he do next? He said he would kill us all. But especially the police officer. Lilly. Cut to\",\n \"INT. JAMESTOWN SUBWAY - SUNSET Flashing lights of subway trains screaming through subway tunnels, wheels screeching as metal grinds on metal.\",\n \"INT. JAMESTOWN SUBWAY EXIT - CONTINUING The streets are flooding like Bangkok in the monsoon ; rain pouring off awnings that hang out over the street. The streets are full ; prostitutes, drug peddlers, apothecary shops, the industrial revolution low down and dirty. There is a fight breaking out between two men who are dressed like punk rockers. Several people are alighting from a subway exit ; the exit has `` Jamestown/Brougham'' on a nouveaux styled sign that might remind you of a Paris or Barcelona metro, only dirtier. We see Lilly in the distance, in her dark jacket, emerge from the subway. She begins the short walk to her apartment. The streets are crowded and there are plenty of Maori people in this area, so there's plenty of food stalls ; the air is filled with the sound of evening prayers. Lilly stops at one of the food stalls and starts picking up vegetables. A Maori man comes out and smiles and they start talking in the local dialect. She buys a live eel. Cut to Across the street, in a doorway, we see a very weedy, sick looking guy - this is Freddy. Standing next to him is a Prostitute, swaying from the effects of laudanum. PROSTITUTE Come on governor, you going to pay me or not? FREDDY Soon enough my cherub. I've not finished with you yet. He sucks on something that looks like a ventaline inhaler, then pockets it, licks his lips and begins heading off down the street, the drunk Prostitute dragged along. Cut to Again, Lilly from a distance, walking along the street which is more deserted, now carrying a bag full of groceries. As she walks we begin to hear voices ; violent, arguing. Lilly approaches an alleyway, the raised voices becoming louder. She slowly places her bag on the ground and then pulls out a revolver. She edges into the alleyway.\",\n \"EXT. JAMESTOWN SLUM, ALLEYWAY - CONTINUING Lilly's POV down the alleyway. It seems empty. The POV moves in a little and there in an offshoot of the alleyway we can see Freddy. He is standing over a woman who cowers ; she's plainly a prostitute. Freddy points a gun at her head. FREDDY You've been ripping me off! I should blow your dirty little brains out! STEPH -LRB- off. -RRB- Police! Put the gun down now! And now we see, it's not Lilly we've been watching, but Steph. She points her gun at Freddy. Freddy turns to Steph. He slowly raises his arms. FREDDY It's ok. I'm complying officer, see. STEPH Put the gun on the ground and step away! FREDDY I'm doing it. Freddy puts the gun down. The Prostitute on the ground now scrambles to her feet and heads towards Steph. PROSTITUTE He's crazy! Fucking crazy! She gives Freddy the finger then heads off. STEPH -LRB- to the prostitute. -RRB- Wait! -LRB- to Freddy. -RRB- Down! Right now, down on the ground! Freddy gets down. FREDDY I'm getting wet now. Low Angle on Steph approaching. Behind her a FIGURE is descending the wall behind him. STEPH Shut up! Steph is over Freddy now. He's staring up at her. He can see that a shape has appeared behind Steph. EDGAR, his eyes gleaming. Steph pulls out some handcuffs. STEPH -LRB- continuing. -RRB- Put your hands behind your back. FREDDY Sure. Anything you say. But before Steph can move forward, Edgar has her gun hand in a vice - like grip. She cries out in pain as her wrist disintegrates. As a reflex she stamps on Edgar's foot and kicks him in the groin with her other. He does not flinch. He smashes Steph into a down pipe on the wall of the alley so that wet grit is ground into her face. We then see Edgar's face at her shoulder. EDGAR Nice to meet you again. Edgar pulls back the jacket at Steph's neck to find no scars. He pulls Steph's face towards him brutally, staring at her profile. He then smashes her head against the pipe so that she falls unconscious to the ground. FREDDY What's wrong? EDGAR You brought me the wrong one. FREDDY Does it matter, one's as good as the next? Edgar's stare makes Freddy shut up and avert his eyes. Edgar then turns on the tube on his arm so that blood drips into the unconscious Steph's mouth ; making her gag. FREDDY -LRB- continuing. -RRB- You promised me some of that. Freddy's licking his lips. Edgar studies Freddy, then raises his arm. Freddy just stares. We see the tube on Edgar's arm that connects to his veins. And in a moment Freddy has latched onto it and is sucking like some kind of human leech. EDGAR What do you see Freddy. Visions? Can you see your future? For a moment Edgar strokes Freddy's hair, then rips the tube away. FREDDY Hey! Freddy moves forward, but is pushed back by Edgar. EDGAR Do n't be a greedy little pig Freddy. You have to earn more. Close on Edgar, his repellent features under the hood. He looks up. Far above, through the falling rain, past the high - rise slum around them ; we see the moon hanging like a pearly crescent in the sky. The moon is slowly obscured by clouds. EDGAR -LRB- continuing. -RRB- We have more to do. Cut to\",\n \"EXT. JAMESTOWN CLUBLAND, STREET - NIGHT We see a figure exiting the subway. This time it is Lilly, following the same path that Steph took. Making her way through the crowded street. The rain has given way to a fine mist. Then, as Lilly moves forward she senses something ; that feeling again, that she is being watched. She stands for a moment as people push past, looks up at the gothic Victorian buildings that loom out of the drifting mist. But there is nothing. Lilly begins to make her way through the drifting mist, casting glances at the odd passerby. Then, ahead of her, there is one pedestrian in particular, taller than the rest, wearing a great hooded jacket, who stands out. He is immediately suspicious to Lilly. He is slowly moving through the crowd towards her. From under the hooded jacket we see the glint of the approaching figure's eyes ; an intense stare hidden in the shadows. The man now puts his hand in his pocket as if he's reaching for something. Lilly now slowly slips her hand into her jacket, her gun a cold hard presence in her hand. She stares ahead at the approaching figure, who has now stopped, after bumping into a pedestrian. Lilly continues forward, closer, closer. From under the hooded jacket the glistening eyes of the man ahead catches hers for a moment. The man now begins to approach her, his hand pulling something from his jacket, going for something. A gun. Lilly immediately pulls her gun. The mist beads on the shining barrel of her gun. The man is raising his hand towards her. LILLY Police. Put your hands where I can see them! The man now lurches forward, his hand rising towards Lilly, her finger begins to caress the trigger of her gun, as the man looms closer. And then he is gone. Cut to The man slamming against the wet wall of a building, grasping at the hands that now threaten to throttle him. And we see Silus, his hands on the man's throat, and for only the second time, we see anger in Silus' eyes. People in the street scatter as more Brothers emerge with guns pointed. And Lilly, shaking, pointing her gun at the man Silus is holding. On the ground, next to the man, she sees what he had in his hand. A pamphlet. Asking people to come to church service ; a picture of a Brother priest serenely beaming out from it. Meanwhile the man that Silus has is gagging on the ground, Silus' hand still on his throat. He's begging. PARISHONER Holy brother, please. Lilly grabs Silus' shoulder. LILLY Let him go. She shows Silus the pamphlet. LILLY -LRB- continuing. -RRB- He's harmless. Let him go. The man now pulls back his hood. He is black, his large, watery eyes stare up in awe at Silus. He grabs Silus' hand which now relaxes and draws Silus' ring to his lips, kissing it, in tears. PARISHONER Forgive me. I've offended you. We see Silus' dark stare. A beat. Then Silus reaches out and places his hand on the man's head. SILUS No. You are divine. It is the world that offends me. Silus rises, the Parishioner just lays there in awe. Silus now turns to Lilly who is on his shoulder. And now Lilly realizes for the first time that it is Silus. LILLY Brother Silus. What's going on? We then hear a police siren and a car pulls up through the rain. The door opens and Jones emerges, taking in both Lilly and Silus. A grim smile of realization comes to Jones' face. He pulls something from his jacket. Cut to\",\n \"INT. LILLY'S APARTMENT, LOUNGE - NIGHT Steph's ID is tossed down on a table. JONES -LRB- off. -RRB- A shopkeeper heard yelling. Went to see, found this. One witness. A prostitute. Jones tosses down a photo. It is Freddy, looking suitably scummy in a police identikit photo. JONES -LRB- continuing. -RRB- She identified this lovely citizen. We thought maybe he had a grudge or was crazy. I guess we were wrong. Silus stands by the window ; lights make patterns on his face. SILUS It is Edgar. LILLY And now he's got Steph. Why does he want her? SILUS She is not what he was after. We see Lilly slowly getting it. LILLY Steph was staying with me. She was wearing my coat. It was me he was after. Was n't it? Silus now turns, slowly moves towards her, coming out of the shadows. Lilly finds it hard to return his gaze, involuntarily touches her neck where it is scarred from Edgar's attack. Jones is watching all this very carefully. SILUS Yes. He will come for you Lilly. JONES Right, then we put you somewhere safe and set up this place. Shooters on the roofs. And when he comes we blow his fucking brains out. SILUS He will know. He will see and hear it. Lilly is staring at Steph's ID. LILLY It has to be me. That's what he wants. It's the only chance Steph's got. JONES What are you talking about, she's probably dead already. LILLY Jones! And we ca n't make it too hard. He has to be able to get in. He ca n't suspect anything. Jones is shaking his head. Silus just stares at Lilly. LILLY -LRB- continuing. -RRB- That's the way it will be. I'm the bait. Close on Silus.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT - SUNSET We are in a large, derelict warehouse ; detritus and stacked and smashed wooden crates. Music is playing somewhere in the distance from a phonograph. We track through the space. Daylight comes through cracks in the blacked out windows high above, creating tiny shafts of laser light that flicker from the dust. We pass through the stacks of crates that are like a high walled maze. Music emits from a stereo, loud. We continue to move down a hall. Through the detritus, towards a door. A hand opens the door.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING In the corner of the room, huddled, chained to the floor, is Steph. She does not look good. In fact she looks very sick. There are tubes coming off her arm. Freddy stoops down and begins to check the tubes running from her arm. There are small taps on the tubes. He turns them on. Blood begins to flow from her into a cup that is already stained red. As he turns it off Steph shivers, her eyes open. The whites of her eyes are blood red ; she is sick. She speaks, weakly. STEPH Help me. Please, I'm sick. Help me. She reaches for Freddy, but he pulls away. Freddy's not looking too hot either. FREDDY Do n't fucking touch me. He picks up the half filled cup and leaves. Steph stares after him. Tears welling in her eyes, beginning to shake now, moving against the chains that bind her. But they stay fast.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Freddy moves into the large warehouse space, the music still echoing. Freddy looks around, searching for Edgar. FREDDY Hey! His voice echoes through the empty space. FREDDY -LRB- continuing. -RRB- Where've you gone now?\",\n \"EXT. LILLY'S APARTMENT - NIGHT A POV, wavering slightly, the hint of a whispering breath. We see Lilly's apartment. The shot zooms in at high velocity, searching the windows, zooming in here to check the lock on this window, then on that. Then the shot wildly pans and twists to the street below. Again it zooms in, to the entrance of the building, to a couple walking past in the night, as if searching for any sign of something out of the ordinary. We can hear the couples voices, talking about inane things. Cut to Edgar's face in the shadows. His eyes reflective, his whole being readied and concentrating. He closes his eyes. We move around to end close on his ear, the soundtrack becoming stark as the sounds of the night become eerily separated and distinct. One sound in particular, a kind of metal sound, scratching slightly, growing louder. Edgar's eyes open. Cut to A zoom speeding towards Lilly's bedroom window, then swooping at the last minute to end on an apartment one floor down. And there, gently moving in the night air, a partially open window, the latch grinding in the breeze. Cut to\",\n \"INT. LILLY'S APARTMENT - CONTINUING A whiz pan POV, ending on the lounge of Lilly's apartment ; as if we just caught the last part of someone turning their head, as if alerted. All the lights are out. We slowly begin to move forward, dipping and gliding silently, into the hallway. Slowly we approach a doorway and creep into.\",\n \"INT. LILLY'S APARTMENT, BEDROOM - CONTINUING We can see Lilly lying on the bed, her skin alabaster in the moonlight that comes through the window blinds. Closer closer until we halt above her. Cut closer to see Lilly asleep ; her hand grips her service revolver which protrudes from under her pillow. We see Silus standing above her, his eyes glisten in the sub light. As he watches, Lilly moves, as if she's having a dream, her hand grips the gun beneath her pillow. Silus slowly bends down, close to her. Watching. Then he reaches out, as if to gently wake her, then stops as Lilly stirs. She turns, curling up into the fetal position. Silus is confronted with the old scars from Edgar's attack. For a moment Silus stares at her. Stares. Then very quietly, smoothly, he moves his head down, very close to her arm. He sniffs it, as you would something very delicate, very complex. Then he closes his eyes. We see Lilly, her arm. Silus slowly enters frame, moves his face close to Lilly, moves along her arm as if taking in her scent. Slowly her arm raises, as his face moves up her body to her neck, her hand now embracing Silus' head. Closer as his face is near hers and still with eyes closed her face turns towards him, his dark lips and hers are close. Cut to Silus, back where he was, smelling her arm. His eyes open and he moves back a little, as if shocked by the daydream he has just indulged in. We see Lilly, as she was before, curled up in the fetal position. Then a sound. Silus immediately pivots, his gun immediately pointed at the figure who stands silhouetted in the doorway. Jones. JONES What are you doing? The camera immediately drops, through the floor of Lilly's apartment to the apartment below to find.\",\n \"INT. APARTMENT BELOW LILLY'S - CONTINUING Edgar, standing in the apartment below, immediately freezing. We zoom into his ear as he listens. Flash cuts of sound and image ; a large man turning in his bed and groaning, a tap drips in an apartment, a fluorescent colored mosquito catcher vaporizing a mosquito with a zing, then a woman's lips ; whispering. LILLY What is it? Jones? Cut to\",\n \"INT. LILLY'S APARTMENT, BEDROOM - CONTINUING Silus above Lilly, his hand up to silence her, Jones stock still in the doorway. Waiting, waiting. Bang, Silus rushes to the window of the apartment, ripping it open, pointing his gun below. But there is no one there. Then Silus spots it. On the floor below the window is open, a curtain gently wafts out of the window in the breeze. Silus turns to Jones and Lilly. SILUS Stay here. Silus immediately drops out of the window. Cut to Lilly rushes to the window and looks out expecting to see Silus dead on the pavement below, but the street is empty. And then she sees it ; the window below her apartment is open.\",\n \"INT. LILLY'S APARTMENT, HALLWAY - CONTINUING Lilly, gun extended, moving forward towards her apartment door, Jones behind her, trying to grab her. JONES Get back here, Lilly! But Lilly shoves him off, opens the door and moves into the hall and waits. She hears more smashing from the other side of the building. She turns to Jones. LILLY Cover me. And she's off, smashing the apartment door in front of her with her foot and moving into the apartment, towards the window beyond. Jones can only curse, lift his gun and move after her.\",\n \"INT. APARTMENT ADJACENT TO LILLY'S - CONTINUING Lilly's POV crashing through the apartment and reaching the window, pulling it open to see.\",\n \"EXT. LILLY'S APARTMENT, REAR - CONTINUING Lilly's POV of the city below. We see her search with her eyes, and then she sees it. Cut to Lilly's POV, closer, looking down on Edgar running over a roof. Cut to Edgar running towards us as we track back, then he launches himself. Cut to Low angle, Edgar jumping from above us, to land almost on the camera, stopping himself by grabbing iron piping protruding from the side of the building. Edgar turns, smiles, thinking he's escaped ; then shock comes across his face. Cut to Edgar's POV as Silus flies through the air and crashes straight into the camera. Silus' hands go straight for Edgar's throat, stopping Edgar from falling. The two Brothers eyes lock. EDGAR You saved me. Then Edgar's smile. He pushes off the wall with his legs, sending both of them tumbling over the railing. We see them fall, Silus hitting a railing which sends him spinning out of control, whilst Edgar manages to clasp onto it. Cut to Silus' POV, tumbling wildly out of control, heading for the ground, finally coming to a jarring stop, the view of the alleyway upside down. We now reveal Silus, only just conscious, caught in wire netting, hanging upside down in the alleyway. And there, landing, is Edgar, poised, watching. Edgar slowly approaches so that he is near. He bends down to Silus. EDGAR -LRB- continuing. -RRB- When will you admit it. You're just like me. Edgar's nose is bleeding. He dabs some on his fingers, then raises his hand to Silus. EDGAR -LRB- continuing. -RRB- Maybe you need some encouragement. He brings the dripping blood closer to Silus, closer. Then an explosion ; the sound of bullets whistling through the air. Then Edgar is gone. Cut to Lilly and Jones entering the alleyway to find Silus still hanging from the railing. LILLY -LRB- to Jones. -RRB- Get him down. Lilly then moves into the adjacent alleyway to search for Edgar. JONES Lilly, wait! Damn you. Lilly! She turns and gives him a final quick look. LILLY If he escapes then Steph is dead. Just follow me when you can, hurry! Cut to Lilly moving through a slick wet alleyway ; water plops and dribbles from leaking pipes. She swings her gun towards movement ; water crashing out of a pipe. Lilly's shaking, terrified, but she keeps on going. And then another sound and she swings her gun to find Edgar, standing in the shadows, waiting. EDGAR The little policewoman. LILLY Do n't move! Edgar purposely raises his hand so that she fires ; the bullet going through the flesh of Edgar's arm ; his arm now smoking. LILLY -LRB- continuing. -RRB- I said do n't move. Where is she, where's the girl? Edgar can only smile. EDGAR Oh, I've killed her already. Essentially. Then he moves, she fires, but he's too fast, spinning, diving, in an instant he has the gun, twisting it and Lilly's arm behind her back. She fires, once, twice, the bullets and smoke rising up from Edgar's side. He twists harder, the gun then falling to the ground. Edgar is now behind her. He moves his face close to hers. EDGAR -LRB- continuing. -RRB- Has he tasted you yet, little policewoman? Lilly tries to twist out of his grasp. EDGAR -LRB- continuing. -RRB- He's just the same as me, you know it, you can feel it too. LILLY He's nothing like you. Edgar's face twists into a smile. EDGAR We will see. You will be my tool. A cat, hissing, screeching. Cut to Silus and Jones entering the alleyway, the cat tearing away from them in fright. Jones moves forward and we tilt down to see Lilly's gun lying on the wet cobblestones, smoke wisping from the barrel. Jones stoops down and picks up the gun, then turns to Silus. After a beat, Jones throws the gun at Silus' head. Silus dodges it easily and it clacks onto the cobblestones. JONES You happy now? Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, TOILET - DAY Close on Freddy's face, looking at himself in a mirror. He's pulling back his eyelid ; his eyes are bloodshot and he's sweating. Freddy then pushes the mirror shut and we see Edgar, silhouetted in the bathroom doorway. FREDDY You scared the shit out of me. Hey, the police woman. She's real sick. To tell the truth I do n't feel so hot myself. Edgar approaches, still silhouetted. EDGAR I want you to take her and put her where they'll find her. FREDDY But I'm sick. She's given me something. Edgar moves incredibly fast, we ca n't quite see what he has done but we suspect he has just buried his hand in Freddy's chest. We see Freddy's face, stunned, deathly white. EDGAR What have I said to you? Freddy falls, leaving Edgar's hand in mid air ; we ca n't see clearly, but it likes frighteningly like he has one of Freddy's internal organs in his hand. EDGAR -LRB- continuing. -RRB- I hate arguments. Cut to\",\n \"EXT. JAMESTOWN SLUM, ALLEYWAY - DAY Close on a pendant ; the symbol of the Brothers. We pull out to reveal Steph, very sick now. Edgar is has her wrapped in a sheet and is half carrying her along a decrepit alley. Ahead of him is a street ; we can see several passersby. Edgar sits Steph up against the wall of the alley, propped up. She really is sick. She coughs. Edgar looks at her for a moment. Then after consideration, takes her hands and crosses them, and places an envelope in her limp hands. Happy with the composition he moves off. Cut to A close High Angle on Steph looking up, her bloodshot, dazed eyes staring blankly. We drift up and away from her. Already the rats are beginning to come out and sniff her.\",\n \"INT. HOSPITAL, HALLWAY - DAY There are several nurses running towards us, they turn and move down a hallway. We reveal Jones and Dominic. They move to the nurses station and Jones flashes his ID. JONES Stephanie Richards, you just brought her in. And then a scream. Blood curdling ; the sound of someone insane, screaming their lungs out, hurling abuse. We see the faces of the cops and the terrified nurse in front of them who points down the hall where the noise is coming from. The Cops move off. The nurse then sees someone else arrive. She raises the pendant that hangs around her neck and kisses it. NURSE Thank god you're here. We see who has entered. It is Silus. Near him there are several people sick. They look sick ; like Steph and Freddy looked. Cut to\",\n \"INT. HOSPITAL, ISOLATION WARD - CONTINUING Jones and the Dominic move through an anteroom. Nursing staff and doctors are madly running about. The screaming we heard before punctuates the noisy clutter of medical procedures. Jones approaches a door ; it has the words `` level 4 isolation unit'' on it. A large Guard blocks his way. Jones shows his ID. A figure brushes past them and enters the door ; the figure is fully decked out in something like a spacesuit. Jones and Dominic are ushered sideways, to another room. This room has a glass viewing window which looks into the adjacent room. A middle aged Doctor stands there, his thumb nail in his mouth, looking thoughtful. When he turns towards Jones, we can see there is fear in his eyes. Jones shows his ID. Screaming from within the adjacent room draws his attention and that of Jones.\",\n \"INT. HOSPITAL, STEPH'S ROOM - CONTINUING In the adjacent room two nurses are trying to put in a line to Steph's arms which are restrained by straps. Steph lies on a bed. She looks truly sick ; her hair matted, her skin blotchy. Her eyes are also blood red, the tiny blood vessels hemorrhaging. And she is screaming abuse at the nurses and Doctors who work on her. Close of Jones, staring at the scene. Silus now enters the room. Almost immediately Steph stops screaming. She is staring directly at Silus ; even this deranged, she is still in complete awe. JONES Will she recover? The Doctor turns to Jones ; the Doctor looks puzzled. DOCTOR No. Containment is the issue now. She is. insane. And we've had more cases, 10 in the last hour. The Doctor leaves. Jones turns to Silus. JONES What is this? What is it? SILUS It comes from Edgar. He has shared his blood with them. JONES You're telling me that he's out there spreading this around? Jones gets close to Silus, intimidating. JONES -LRB- continuing. -RRB- He'll give it to Lilly! Dominic gets in between. DOMINIC Jones! Back off. Dominic pushes Jones back and then stares at Silus. DOMINIC -LRB- continuing. -RRB- This is spreading. Silus does n't speak, just stares at Steph. DOMINIC -LRB- continuing. -RRB- Brother Silus? JONES That's it, Lilly's dead. SILUS No. He will keep her alive. DOMINIC Why? SILUS So that I will come for him. That's what he wants. Dominic pulls an envelope from his jacket and passes it to Silus, who opens it to discover a beautifully handwritten letter. DOMINIC It says, `` Everything flows from me. My blood will change the world.'' What does that mean? Silus stares at the two men. Then turns to Steph, her eyes, creepy, still locked on Silus.\",\n \"EXT. JAMESTOWN SLUM BUILDING, ROOF - NIGHT Jamestown, from above. We drift down so that we see the buildings, see fires breaking out, hear screams echoing through the night. We continue down towards the rooftop of one building in particular. We see one of the infected citizens of Jamestown standing on the roof, screaming out into the night like some crazed animal. We continue past the creature, then travel through a ventilation shaft on the roof. We hurtle down this, down, down to the depths of the building and out the shaft into a subterranean basement. We drift through a doorway in the wet stone wall, down a tunnel, to finally enter a room. And we see Lilly. She is covered in grime, her hands bound above her head with chains to an ancient, ornate pipes that twist through the place. She looks up at us. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Edgar, now standing above Lilly. He bends down, checking the chains that bind her. His face moves close to her so that he can smell her. Hear her heart pounding. See the scars from his previous attack. Then a noise, echoing through the tunnels. The sound of the mad infected denizens of the containment zone, screaming out into the night. Edgar smiles. EDGAR It almost sounds like children playing, do n't you think? LILLY No. EDGAR I looked at your body. You have borne a child. Lilly's features tense. EDGAR -LRB- continuing. -RRB- Did you abandon it? Your kind are good at that. Even though her position is impossible, Lilly wo n't show Edgar fear. LILLY Why do n't you just kill me? Edgar just smiles. Lilly spits in his face and screams at him. LILLY -LRB- continuing. -RRB- Kill me! Edgar grabs her by the throat, for a moment anger boils out of Edgar, but he restrains himself. EDGAR can see why he likes you. But have a better use for you. To save you, Silus will take my blood. Join me. LILLY You're insane. EDGAR The world is insane. I am better than you. But they force me to serve you. Does that happen in a sane world? Forced to watch you waste the most precious thing you have. Life. Then Edgar's face changes ; he stares at her with pity, for a moment we see a hint of the noble creature he used to be. EDGAR -LRB- continuing. -RRB- Do you know what they do to us when we are born? They take us from our mothers. Force us into a life of loneliness, and denial. Can you imagine a life like that? Lilly senses an opening. LILLY You do n't have to do this. You can change things. Edgar places his head in his hands, he seems to be weeping. EDGAR You have reminded me of something. When he looks back up at her, he is terrifying to behold. EDGAR -LRB- continuing. -RRB- I must search out my mother, if she still lives. And kill her for what she did. Edgar smiles quietly, rises and exits. We are left with Lilly bound to the rusty pipes. She strains, tries to pull her hands from the chains, but they wo n't move. Above her on the pipe there is a old rusty bracket. Lilly blinks through the sweat running into her eyes. She moves the chains that bind her hands closer to the bracket and begins rubbing the chains against the bracket in the vain hope that she may be able to cut her way through the chains. She strains harder and harder, fighting back the tears, the fear, she just grinds at the chain repetitively. Cut to\",\n \"INT. HOSPITAL, STEPH'S ROOM - DAY Steph, in the hospital bed, her eyes staring up, hollow. A bed sheet is drawn over her dead face. Cut to\",\n \"INT. HOSPITAL, VARIOUS - CONTINUING We see Silus. Staring through a window into an office. In there we can see Jones. Jones is talking in a very animated manner to someone who is obviously a reporter. The reporter stares, like Jones, through the window towards Silus. Jones turns away, looking guilty. Cut to Bedlam in the hospital corridors. People screaming, being restrained. What is clear is that the virus Steph had has now broken out into a plague of biblical proportions. We see a DOCTOR standing in the middle of the hospital corridor, blood over his smock, in a state of pure shock. And we see Silus there. A perfect creature observing the chaos. As he stands there he can see a small child ; a girl, maybe around five. Silus stares at the child. The girl is holding her mother's hand. Her mother lies on a cot, strapped down ; there are many other cots filling the crowded hallway. Her mother is dead. The girl's dirty face is stained with tears. For a moment Silus wavers. Then he moves over to the girl. She stares up at him with her tear stained grimy face. Silus goes to place his hand on her forehead as blessing, but the child cringes, then jumps up and escapes down the hallway. Silus can only stare at the horror of it all. Cut to\",\n \"INT. ROOM - DAY On a dirty, stained valve radio. We slowly track in on the speaker, hearing an interview coming from it. REPORTER -LRB- off. -RRB- Some say this plague is the result of genetic experimentation, by the Brothers. Do you have a comment? Cut to DELETED\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT We move past road blocks. HEALTH OFFICIAL -LRB- off. -RRB- We're asking everyone to stay in their homes in the sections of Jamestown now under quarantine. Armed, gas masked guards stand with their guns at the ready. Beyond the blockade is Jamestown. Fires burn, bodies lie on the streets. REPORTER -LRB- off. -RRB- There are reports of residents being shot trying to escape the quarantine zone. Is that true? They say the Queen has left the city. Is this martial law? A figure is stumbling towards us. One of the guards fires and the figure drops. Cut to Two soldiers, wearing crude Victorian containment suits, surveying a map. SOLDIER We've blocked off this section, and here, containing the Jamestown slums. We see the soldier outlining the Quarantine zone, marked in red.\",\n \"INT. BROTHERHOOD BUILDING, FOYER - DAY There is an angry mob, banging on the locked doors of the brotherhood building. Their placards tell the tale. `` Brothers have brought the plague.'' `` No to Genetic experimentation.'' EDGAR -LRB- off. -RRB- Do you like the world I am making for us, Silus? I have n't had your little policewoman yet. But I will soon. You'll just have to find me. You know where I am. Everything flows from me. Remember that. Human police stand ready with guns. It's a disaster. Silus is there. He watches the faces of the mob, baying for blood. He sees them burning the emblems of the brotherhood.\",\n \"INT. BROTHERHOOD BUILDING, AUGUSTUS' OFFICE - CONTINUING We are in a beautifully ornate office. It is like a private chapel. We see Silus enter. He is grim. Augustus is kneeling in prayer. He senses Silus. AUGUSTUS The infection is spreading. Each day he shares his blood with more of them. Even though they are locked in their homes. SILUS He is somewhere in the quarantine zone. I will find him. Augustus turns to Silus. Augustus moves closer to him, stares into Silus' strange, pale eyes. AUGUSTUS Clear. So very clear your eyes. The way they were when you were born. There will be no search. Augustus moves off to his desk. Silus is shocked. SILUS No search? AUGUSTUS The Queen has instructed the government to evacuate the city around the quarantine zone. In another day they will take action. SILUS What kind of action? AUGUSTUS Eradication. Of everything within the area. They will burn it all. Including Edgar. SILUS And the innocents there, who are not infected? AUGUSTUS It is a necessary step. We can not let this escape. SILUS No! Augustus looks up at Silus ; this is perhaps the first time Silus has refused anything that Augustus has decreed. AUGUSTUS Is it the policewoman? Is this affecting your thinking? There is no love for our kind Silus. Only service. SILUS We have done this. Released this thing into the world. We have betrayed their trust in us, more than once. I wo n't do it again. AUGUSTUS There is no debate. They will be sacrificed, so the rest will be pure. Silus shakes his head. AUGUSTUS -LRB- continuing. -RRB- This policeman, Jones. He talked to the press. Told them this came from Edgar. Silus watches Augustus very carefully. AUGUSTUS -LRB- continuing. -RRB- There are members of the inner circle who question the way you have handled this. Blame you for this man's actions. I have made it clear that you will fix this. That you will silence him. Augustus moves close to Silus now. Gently touches his face. AUGUSTUS -LRB- continuing. -RRB- These are hard things we do. But you must think of the greater good. And of your own future. Cut to A light bulb flickering.\",\n \"INT. JONES APARTMENT, HALL - NIGHT Jones exits an elevator. The light above him flickers and dies. He stands in the dark. JONES Great. Jones begins to stomp down the hall, towards the part of the hall that is lit. Then pop, that light goes out as well. Jones stops. He pulls out his big gun from his armpit holster. He checks over his shoulder, and then with the gun extended he moves slowly forward. He approaches an area that opens up a little. He pauses, then under his breath. JONES -LRB- continuing. -RRB- Come on then. He launches himself around the corner and fires his gun. He's lucky that his misses his target. A small, dirty, cowering boy with his fingers on the bank of light switches. The wall next to the boy's head has exploded ; dust and wall board now drift down like snow. Jones can only stare at the quivering child whose dirty face blank with fright. Then Jones turns. He can make out a figure in the dark hall. A patient, quiet sentinel.\",\n \"INT. JONES APARTMENT - NIGHT Jones opens the door to his apartment and enters. Silus follows. The place is a dump. Lounge and kitchen all one area, bedroom off to one side, dishes in the sink, clothes everywhere. Jones heads into the kitchen and turns on a coffee machine, then grabs a dirty glass, pours a drink. Silus watches him. Jones comes into the lounge. He still has his gun in his hand. He stares at Silus, whose perfect outline makes Jones' life seem even more abysmal. JONES What do you want? SILUS I want to help you. They know you talked to the press. JONES They can fuck off. For that matter, so can you. Jones takes a slurp on his drink. JONES -LRB- continuing. -RRB- You'd be the last person I'd trust. SILUS Why? JONES I saw you. Remember. Watching Lilly, when she was asleep. Silus does n't answer now. Jones moves forward. JONES -LRB- continuing. -RRB- Maybe you're just like your Brother. Maybe you're helping him. Now there's a thought. Jones prods Silus' shoulder with the gun. JONES -LRB- continuing. -RRB- Do you know where she is? Jones prods again and finds Silus' elegant steel fingers around his wrist. The two men face off. JONES -LRB- continuing. -RRB- You've changed. Not the outside. But inside. I know you. You know what, I can see myself? Jones tries to wrench his wrist free, but Silus holds it tight. Jones swings his free arm and smashes Silus on the side of the face. For a moment Silus does n't move, then his hand is around Jones' throat. Squeezing. Squeezing. His other hand wrenching the gun from Jones' hand. There is silence in the room, apart from Jones' choking gags. Then Silus pushes Jones back so that he flies into a chair. Jones stares up at Silus now, fear in his eyes. Silus watches him. Then a sound attracts his attention. Cut to Water hisses from Jones' coffee machine in the kitchen. JONES -LRB- continuing ; sneering. -RRB- Coffee's ready. Cut to Silus, turning, listening, focusing on the water dripping from the coffee machine. Silus is concentrating. Realization comes into his eyes. We zoom close to Silus' ear. The soundtrack becomes enhanced. Cut to The tap in Jones' festering sink, dripping ; plop plop plop. We see the water in the bottom of the sink reflecting the room. We see Silus approaching ; reflected there. His hand enters frame and touches the water. And we hear Edgar's voice, the words we heard him say in Augustus' office. EDGAR -LRB- off. -RRB- You know where I am. Everything flows from me. We see Silus staring at the water. We see a giant drop of water hanging from the tap, hanging, hanging, then falling. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT - NIGHT We are under water, liquid drops down into the water ; red liquid, blood. We can see a figure distorted in the water ; the figure is bleeding himself into the water. It is Edgar. Cut to We see a subterranean water system. We see Edgar at the edge of a pool, bleeding himself into the water supply. Edgar looks up. His eyes reflect at us, blinking like an animal's. Cut to Lilly in her cell, still grinding away at the chains that bind her hands. She stops, as if she's heard something, expecting Edgar to walk through the doorway. He does n't. She begins desperately grinding away at the chains once more. Cut to\",\n \"INT. JONES APARTMENT - CONTINUING Back on Silus who now turns to Jones. SILUS Do you have a map? Cut to Jones laying out a map of the city on his kitchen table ; empty booze bottles roll out of the way. Jones has a pen and he's marking off an area. JONES There's the quarantine zone. It's a pit. Slums. SILUS The water supply. Where is it? Jones searches and then pin points an area in the center of the quarantine zone. JONES There, all the old suburbs are supplied by their own artesian wells. Mineral springs. That's why it has n't broken out of Jamestown, it's the water. Jamestown's water. The two men stare at each other, both reaching the same conclusion. SILUS He is there, with Lilly. We see the Map.\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT Cut to a crane down to reveal Silus and Jones observing the guards at the blockade. JONES You'll never get in, they've circled the whole borough. Silus turns to Jones. SILUS I will get in. You must go to the press. Tell them about the water. Tell them what the government will do. JONES You're dead after this. You know that? Whatever happens. Silus smiles. SILUS Watch for me, Officer Jones. Silus exits. Jones watches him leave, then Jones leaves too.\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS We see Silus, close. It's as if he is meditating. We pull out to reveal he is kneeling on the roof of a building ; he looks as if he's preparing himself for something. He then rises, all fluid concentration, and runs towards us and then the camera is on his shoulder as he jumps off the roof. Cut to Silus' POV falling down down, falling towards a window then smashing through it.\",\n \"EXT. OMITTED - CONTINUING\",\n \"INT. APARTMENT BUILDING, QUARANTINE ZONE - CONTINUOUS Silus exploding onto the floor of the apartment. For a moment there is silence, just glass tinkling, Silus poised. Then Silus turns and is gone. Cut to\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS The slums are wrapped in smoke and haze from fires that burn there ; an eerie dead zone, made all the stranger by the gothic spires that climb out of the haze. Then Silus hears something. It is the wailing of a new born child. Silus moves towards the cries, then up ahead he sees a figure, kneeling on the ground. As Silus moves through the haze he sees what it is. It is a Brother Priest, kneeling beside someone. The Brother is holding the hand of the person on the ground who is in the last throws of death. When Silus is next to him the Priest looks up at him. Tears wet his cheeks. For a moment they just stare at each other. PRIEST 2 Who has done this, Brother? SILUS We have. To our shame. The Silus hears the babies cries again. Closer now. The Priest stares at the dying creature on the ground in front of him. Drops the limp hand he was holding. Then rises and turns squarely to Silus. PRIEST 2 I have something to show you. The Priest moves off towards a building and Silus follows. Cut to\",\n \"INT. JAMESTOWN SLUM, QUARANTINE ZONE, HOVEL - CONTINUING We see Silus and the Priest enter. The Priest leads Silus into the dark place. As he moves forward Silus can hear a strange gurgling sound ; not of the sick or dying, this is a more innocent sound. The sounds of a newborn. We See Silus approach a filthy, roughly made crib. In it is a baby ; it's eyes stare up at Silus with wisdom beyond their years. PRIEST 2 It is a miracle my Brother. She is a female, the first of our kind. Silus watches the baby carefully. SILUS She must be protected. He then turns to the Priest. SILUS -LRB- continuing. -RRB- I would ask for your help Brother. The Church can no longer be trusted.\",\n \"EXT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Edgar, atop the roof of the building that sits above the water treatment plant. He is watching his handiwork ; the screams in the night, the burning fires, the haze rising up, cloaking the city. Then down below, he sees a figure approaching. He knows who it is. Silus is coming to him. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly, in her cell. She is working the chains that bind her hands against the pipe. She's rubbing them desperately, harder, harder. Then she stops. She can hear someone approaching. Edgar appears in the doorway ; still and poised. Then he turns, listening. A creaking echoes through the tunnels as if an iron door, somewhere above, has been opened. EDGAR He's coming little one. He's coming for you. Edgar takes one more blinking look at Lilly and then leaves, slamming the large iron door behind him. Lilly pulls at the chains, hoping against hope that they'll break. They do n't. LILLY No. She now looks above. The pipe her chains are connected to runs up towards the roof, then takes a bend to disappear into the wall near the door. She bangs on the pipe. There is a little movement where it goes into the wall. Just enough to give her some hope. Lilly struggles now to her feet. She slides the chains up. To get the chains over the bend she'll have to jump. She does, sliding the chain over the bend. Now she hangs from the pipe, the chains cutting into her wrists viciously, making her groan. She then gets her hands on the pipe and begins sliding along the pipe until she is near the door. She then reaches up with her feet and kicks at the wall, pushing, trying to dislodge the pipe. It moves, water leaks from it. But it does not give way. A desperate beat. Then she reaches down to the door with her foot. She tries to force down the door handle, her foot wet and slippery. Finally she gets the handle down, opens the door so that it clangs against the wall. LILLY -LRB- continuing. -RRB- Hello! I'm down here. Silus. Her hands slip from the pipe and again the chains bite into her wrist. She cries out in pain. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING Above we see Silus, stopping. Lilly's cries echo through the place. It is a wet maze of grease and rust, ornate twisting pipes built long ago and now decrepit. Silus waits, listens. Then something. Cut to Feet, moving fast, splashing in a pool of black water. Silus turns, just catching a movement, a flash of someone moving off through the distorted piping. He moves to where he saw the figure, to catch sight of a person moving to an open iron doorway. SILUS Lilly? But when the woman turns it is not Lilly. It is one of the infected ; the red eyes, mad and staring at him. And both he and the creature hear it. Cries, of someone in pain. Lilly. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING Lilly's cries echo up the stairwell, up towards the surface. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly twisting on the chains that bind her to the pipe, crying out in pain. Cut to\",\n \"INT. JAMESTOWN SLUM, HIDEOUT The creature moving through the doorway towards the sounds of Lilly's cries. Silus now moves forward to get to the creature, flying towards the doorway. We see him approaching the doorway and then from nowhere Edgar slams into Silus, sending them both careening over a railing.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING Low Angle looking directly up at the two Brothers fall, bouncing and crashing off the rails on the way down.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING They both hit the wet stone floor. They are in the pipe room where subterranean mineral springs rise up from deep in the earth and where the boroughs water supply is sterilized. Silus is stunned, rises, blood issuing from his mouth. Silus pulls his gun from his coat, but Edgar's kick is too fast, whipping the gun away so that the glass instrument smashes against some dripping pipes. Edgar then squares off against Silus. EDGAR It is a maze down here. But given time, that thing will find her. Do things to her. I'll show you where she is, if you take some. Edgar stalks forward. He holds up his arm to Silus. Silus stares at the tube coming from Edgar's arm. Edgar moves towards Silus, twisting on the tube so that his infected blood drips onto the ground. EDGAR -LRB- continuing. -RRB- You're almost there anyway. And then Silus' face, intense, a dark smile, his hand now gripping Edgar's hand ; surprise in Edgar's eyes. He pulls Edgar toward him with all his might, his hand clamping onto Edgar's throat - the power of the entwined bodies immense - then Edgar whipping his body, breaking Silus' grip, smashing Silus on the side of the head, but then only to get a kick from Silus directly in the stomach that sends him smashing into several protruding pipes, ripping into his back. Edgar screams.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING Lilly. Half conscious now, hanging from the pipe above her, twisting. The sound of Edgar's screams makes her groan, awaken a little, dazed. Then there is a loud clang. She cranes her head to see down the tunnel that leads to her cell. She catches sight of a shadow, movement in the tunnel. LILLY Silus. Then the figure moves into the tunnel, shuffling, the legs not completely following the brains instructions, but doing enough to propel the person forward, then a stumble. And in a shaft of light Lilly can see a hand slapping at the wet wall. But it is less a hand than a claw. And the face that follows the hand ; the red, reflective eyes of one of the half mad, the infected. The thing catches sight of Lilly, then propels itself towards her. We see it's POV, approaching faster, faster. And Lilly reaching out with her foot, to the door, struggling to hook it with her foot, trying to close it, almost catching the door handle, but her foot is so slippery and the thing is almost on her. Then she stretches out with her foot, just catching the door and slams it in the face of the thing that is about to attack her. The thing on the other side of the door is now screaming wildly and the door handle is jerking down as the creature tries to activate it and Lilly has her feet on it, trying desperately to keep the door shut, but her feet keep slipping. And then she realizes that the pipe from which she hangs is beginning to wobble - water is now coursing from the hole in the wall, beginning to flow faster and faster. Her feet slip more and more on the door. Lilly tries to keep the door closed, but her feet are too slippery and the thing is pushing through the door. In the dark space only its eyes and slavering mouth are clear, hands grasping for Lilly legs, scratching at them, Lilly twisting, the creature's nails searching for purchase on her legs. Lilly hauls herself up, wrapping her legs around the pipe she's attached to. The thing below her is groaning incoherently, reaching up, its hands grabbing at her, Lilly pulling herself just out of reach, then seeing the eyes below her, wanting her. Lilly tries to pull herself higher. And then she feels it. The pipe she's attached to is shifting, where it joins the wall. Water is now flooding from it, the pipe jerks down, some of the old wall giving way. The creature's fingers are now able to grasp Lilly's t - shirt, drag at it, pull at her, screaming, the pipe grinding, water flowing and then the whole thing comes down, the pipe bursting out of the wall. Lilly and the pipe falls, right on top of the creature. For a moment neither of them move, then the creature is grabbing at Lilly's hair, pulling her head back. In a flash Lilly pulls the pipe to which she is attached right into the face of the creature. This gives her time to stagger upright. She's still chained around the pipe ; she can see the end of the pipe near the door. She begins to slide the chains back as the creature begins to rise and advance towards her. Lilly desperately slides the chain along the pipe. It catches on a protrusion, while the creature advances. Lilly frees it just in time, falling backwards as the creature jumps at her, Lilly lifting the chain up to hold the creature back. The creature strains to get at Lilly. Lilly now has the chain at the creature's neck. She begins to tighten it around the creature's neck, her only hope now. The creature changes now, from frightening to pitiful as it realizes it ca n't breath, it's fingers desperately moving over Lilly's face, almost pleading. Tears form in Lilly's eyes as she tightens the stranglehold ; there is no anger there, just desperation, and behind that, pity. The creature breathes it's last breath then collapses onto Lilly.\",\n \"INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING Edgar and Silus stalk each other in the steam room. Edgar launches himself towards Silus, but Silus is now too quick. Silus slams Edgar sideways into a pipe, an imprint of Edgar's face left on the pipe. Stunned Edgar releases his grip, stumbles back, Silus rising now, he has him. Again, Silus slams Edgar's head into another pipe. And now Silus has Edgar's throat in his fist and the look on Silus' face tells Edgar he will not escape. We see Edgar, beginning to lose consciousness now, dying. Steam now rises all around them from broken pipes. Then behind Silus, Edgar can make something out. An old, corroded tank, steaming, with the words sterilizer on it. There are a series of long shafts connected to the sterilizer via a tube and held in position by clamps ; they look like they're for sterilizing bottles. With a last effort Edgar propels Silus backwards onto one of the shafts, making Silus grimace and clutch his back where he's been pierced, then slide to the ground. The piercing has operated some lever so that steam now also drifts from the wound on Silus' back. Cut to Silus looking up, clutching his back with the pain of it. And now Edgar above him. He removes one of the sterilizer shafts from the bracket that holds it. He clutches a lever on the side which makes viciously hot steam pulse from the end of the shaft. Edgar moves slowly towards Silus. We see Silus, unable to rise, crawling back, until bang, he's stopped by more pipes behind him. Nowhere to go. And Edgar ready to pounce. He does, driving the shaft towards Silus' head. Silus manages to raise one hand to Edgar's wrist to stop the shaft from piercing his skull. Now the shaft is right in Silus' face, the lightly steaming hole staring back at Silus. Edgar's finger moves to the lever on the side of the shaft, ready to get some steam going. EDGAR If I burn the skin from your face, I wonder how that would be. If you looked like a monster. Cut to Edgar's finger moving over the steaming lever. The steaming end of the shaft right in Silus' face. Then Edgar's face as he watches his brothers face for the last time. The blasting sound of steam and a steaming blast from the shaft drifts into our frame. Cut to Silus. His face is not scolded. Cut back to Edgar, his expression getting tighter, his face redder, the whites of his eyes becoming bloodshot. Then he goes to speak, but now words come out, only a swirling puff of steam. And then he falls and we see behind him, standing there is Lilly, one of the other sterilizing shafts in her hand ; steam still rising from the sharp end of it. Cut to Edgar, prone, on the wet floor of the pipe room ; steam rises from both his mouth and the back of his head.\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT POV steadicaming through the streets of the Quarantine zone. The POV belongs to Lilly who moves down the street, half carrying Silus who limps. Lilly takes in the devastation. Then Silus pulls up. LILLY What is it? SILUS In there. Silus is pointing to a fallen down building through the haze and the rain. LILLY Is there something wrong? SILUS No. He gently touches her mud smeared face. SILUS -LRB- continuing. -RRB- There is something very precious. You must take it, keep it secret. Do n't let them touch it. LILLY I do n't understand. SILUS You will. And then they both hear it. A wail, distorted, echoing ; it sounds like a hurt animal. Lilly looks at Silus. SILUS -LRB- continuing. -RRB- Hurry. Lilly turns towards the building. She slowly moves towards it, into the doorway as Silus watches her go. Silus turns to the sunrise, it reflects in his eyes. Cut to\",\n \"INT. JAMESTOWN SLUM, QUARANTINE ZONE, BUILDING, NIGHT Lilly moves through the derelict place, past fallen beams. It seems empty. Then Lilly hears it again. A wail. This time she knows what it is ; we can tell from the way her eyes glisten. She moves forward, closer to the sound. And finally she sees the Brother Priest we saw before, who kneels in front of a crate. He looks up at her as she approaches. As Lilly moves forward she sees what lies with the crate. Wrapped in dirty sacking, there is a baby. In the corner Lilly can see a woman - the child's mother - dead from the infection. The baby cries and Lilly can see the tiny fangs of a Brother in the baby's mouth. PRIEST 2 The first female of her kind. The first daughter given to us. Lilly moves forward. Emotional music rises in the soundtrack ; evoking memory, the circle completing. Lilly reaches out, letting the baby girl grip her hand. Lilly reaches into the crate, drawing the baby into her arms, staring down into the baby's face ; a face somehow already wise, already serene. Broken tears run down Lilly's cheek as she presses the baby to herself, all the pain of the past flooding over her, the baby's tiny hands reaching out, clasping onto her. PRIEST 2 -LRB- continuing. -RRB- Come. Before they find her. Cut to\",\n \"EXT. JAMESTOWN SLUM, QUARANTINE ZONE - DAWN Lilly exits the building. She looks around for Silus, but he has gone. She pauses. Through the mist and drifting smoke from the fires we can see that in the distance a tarnished sun is lighting the horizon. PRIEST 2 We must go. After a final pause Lilly moves off with the Priest, carrying the tiny bundle with her. LILLY -LRB- VO. -RRB- For me, everything has changed now. Because of Silus I see the world through new eyes.\",\n \"EXT. LILLY'S APARTMENT - NIGHT Silus, on a fire escape, in the shadows. Gone are the clothes of the Brotherhood, rather he is dressed as someone who does not want to be seen. Cut to his POV. We see Lilly's building. We see through the window, into her apartment ; a beacon of warmth in the night. In Lilly's bed we can see the baby, its hands happily making patterns before its eyes. LILLY -LRB- VO. -RRB- Now I see hope, and I see a child, the first female of her kind. Silus scans the apartment. He can see the lounge. Jones is there with Lilly. Lilly is dressed to go out ; to leave. Jones and Lilly hug. Then Jones picks up two suitcases and moves towards the door. Silus watches as Lilly moves into the bedroom and reaches down for the tiny baby, its tiny arms clasping onto her as she lifts it. LILLY -LRB- VO. -RRB- Perhaps Edgar got what he wanted after all, because it time this child will truly change our world. We see Silus, closer, watching. Cut to Lilly, pausing, moving to the window of her apartment, staring out into the night, almost directly toward Silus. She raises her hand, as if in a gesture of goodbye and then she leaves. Cut to Silus, close, nodding. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,0,0,0,0,0,0,0,0,1,1,0,1,0,0,0,0,0,0,0,0,1,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,0,0,1,1,0,1,1,0,0,1,0,1,0,1,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,1,0,0,0,1,0,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1,1,1,0,1],"string":"[\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"The film opens as a pregnant woman (Danielle Cormack) gives birth to a vampire. A young Brother, Silus, aged 10–13 is told this child, Edgar and he are from the same mother. Throughout this introduction, the mother is in visible emotional distress, reaching out across the room to Silus, trying to touch him. Captioned \"100 Years Later.\" Jamestown slum has had a series of attacks on women, who are all found with their throats bitten. Lilly Squires (Saffron Burrows) is in charge of the human police investigating these cases. She states that she comes from a workhouse in this same slum, and we establish that she is one of the few cops who care what happens to these people at the bottom of the socioeconomic heap. Lilly finds a small boy who witnesses one attack, and tells her that a Brother was responsible. As the police don't want to panic the city, the string of murders is explained away as being the result of an outbreak of the rampant influenza virus. Silus (Dougray Scott) is detailed by the church cardinals to work with the human police, because the Brothers know that these attacks have been carried out by a Brother; Silus's brother Edgar (Leo Gregory). Edgar has sent Silus a recording of his last murder, challenging him to find and stop him before he kills again. Edgar provides the location of his next murder. With Silus' help, Lilly puts together a task force to stake out the area Edgar has targeted. However Edgar distracts the cops and attacks Lilly, biting her in the neck. An officer interrupts the attack and Edgar flees. To save Lilly's life, Silus tells her to drink his blood, which she does. Silus then pursues Edgar, managing to shoot him with a tranquilizing dart. Silus later visits Lilly in hospital. We establish that she has no family as they died from influenza. Lilly is having visions from drinking Silus' blood. The newspapers have published a fake story of the death of the killer; a deranged human who believed he was a Brother. Edgar is being held in a \"brace\", a spiked body restraint in a cell in the church basement. Because Silus is soon to be made a member of the \"inner circle\" he is told the full details of what happened to Edgar. The cardinals are worried that not a single Brother has been born for 70 years, and that a female vampire has never been born. Although they have publicly banned genetic research, the church has been carrying it out in secret. Edgar has been developing a virus to inject into pregnant women, to force the baby to be born a vampire. Alas the virus has mutated, and it has turned the women into violent, insane, psychopaths. Ten of Edgar's research subjects are already dead, and the last one is dying. Edgar has also become infected, and is now insane, although the effect is slower due to his strong immune system. Silus visits Edgar, who vows to escape and finish off Lilly. Edgar accuses Silus of being in love with Lilly, despite Brothers being forbidden to love. The night Silus is at a ceremony in the church for his investiture as a cardinal Edgar escapes, killing the guards and receptionist, and disappears into Jamestown. He enlists the help of a local named Freddy to help him catch Lilly. Edgar has installed a tap and tube system into his forearm, so he can turn on a flow of his own infected blood at any time. He catches a policewoman and fills her mouth with his blood. Freddy insists on getting his own share as well, not knowing it is infected. Silus is guarding Lilly at her apartment with Lilly's colleague Jones. When she is sleeping Silus shows some affection for her by imagining kissing her. Later, Silus leaves to investigate a noise downstairs and Lilly and Jones patrol around. When Lilly approaches a window, Edgar bursts through from outside and grabs her. Silus and Edgar grapple, however Silus is knocked unconscious long enough for Edgar and Lilly to disappear. The virus has spread throughout Jamestown. The government has instituted a quarantine, and soldiers shoot anybody who attempts to leave. Humans are rioting outside the churches, and throwing their rosaries back at the Brothers. Silus discovers Edgar's location is Jamestown's water source. Edgar is dripping his blood into the water supply, infecting all of Jamestown. However, each suburb has its own separate water supply. Silus is determined to go in and rescue Lilly, however another cardinal tells him that Jamestown will be burned to the ground to make sure that the virus dies, and Edgar with it. He warns Silus that his own career will be doomed if he ignores the \"greater good\" and breaches quarantine. Silus breaks through into Jamestown and heads to the aquifer, dodging the infected. Lilly is handcuffed to a water pipe in a locked basement. Edgar comes in and she tries to persuade him to stop but instead he challenges her about her dead child, saying that her race is good at abandoning children. Edgar finds Silus and they fight. Just as Silus is winning, Edgar throws him backwards onto the prongs of a steam injector. As Silus lies groaning, and possibly dying, on the ground, Edgar approaches with a portable steam injector. When Edgar depresses the trigger steam comes out. Edgar threatens to burn Silus's face off so that he will be more of a monster just like him. Lilly comes up behind Edgar and kills him by stabbing another steam injector into the back of his skull. Silus escorts Lilly from the water facility. He kisses Lilly and says she must do something. He gestures to a building then tells Lilly she must look after what she will find in there and keep it away from the Brotherhood. Lilly enters the building, and finds the other Brother, a dead woman, and a baby. The Brother tells Lilly the infant is the first female vampire ever born. The virus has created her and she is truly the first Perfect Creature. Silus is branded a heretic, and must stay in hiding. Meanwhile, Lilly is caring for the baby and Silus is watching over her. The movie ends with Silus saying that he is being hunted but he will always fight back, leaving scope for a second movie."},"name":{"kind":"string","value":"Perfect_Creature"}}},{"rowIdx":162,"cells":{"scenes":{"kind":"list like","value":["INT. RESTAURANT - MORNING (PRESENT DAY) LOUISE is a waitress in a coffee shop. She is in her early - thirties, but too old to be doing this. She is very pretty and meticulously groomed, even at the end of her shift. She is slamming dirty coffee cups from the counter into a bus tray underneath the counter. It is making a lot of RACKET, which she is oblivious to. There is COUNTRY MUZAK in the b.g., which she hums along with.","INT. THELMA'S KITCHEN - MORNING THELMA is a housewife. It's morning and she is slamming coffee cups from the breakfast table into the kitchen sink, which is full of dirty breakfast dishes and some stuff left from last night's dinner which had to `` soak''. She is still in her nightgown. The TV is ON in the b.g. From the kitchen, we can see an incomplete wallpapering project going on in the dining room, an obvious `` do - it - yourself'' attempt by Thelma.","INT. RESTAURANT - MORNING Louise goes to the pay phone and dials a number.","INT. THELMA'S KITCHEN - MORNING Phone RINGS. Thelma goes over to answer it. THELMA -LRB- hollering. -RRB- I got it! Hello.","INT. RESTAURANT - MORNING LOUISE -LRB- at pay phone. -RRB- I hope you're packed, little housewife,'cause we are outta her tonight.","INT. THELMA'S KITCHEN - MORNING THELMA Well, wait now. I still have to ask Darryl if I can go. LOUISE -LRB- V.O. -RRB- You mean you have n't asked him yet? For Christ sake, Thelma, is he your husband or your father? It's just two days. For God's sake, Thelma. Do n't be a child. Just tell him you're goin' with me, for cryin' out loud. Tell him I'm havin' a nervous breakdown. Thelma has the phone tucked under her chin, as she cuts out coupons from the newspaper and pins them on a bulletin board already covered with them. We see various recipes torn out from women's magazines along the lines of `` 101 Ways to Cook Pork.'' THELMA He already thinks you're out of your mind, Louise, that do n't carry much weight with Darryl. Are you at work? LOUISE -LRB- V.O. -RRB- No, I'm callin' from the Playboy Mansion. THELMA I'll call you right back. Thelma goes through the living room to the bottom of the stairs and leans on the bannister. THELMA Darryl! Honey, you'd better hurry up. DARRYL comes trotting down the stairs. Polyester was made for this man, and he's dripping in `` men's'' jewelry. He manages a Carpeteria. DARRYL Damnit, Thelma, do n't holler like that! Have n't I told you I ca n't stand it when you holler in the morning. THELMA I'm sorry, Doll, I just did n't want you to be late. Darryl is checking himself out in the hall mirror, and it's obvious he likes what he sees. He exudes over - confidence for reasons that never become apparent. He likes to think of himself as a real lady killer. He is making imperceptible adjustments to his over - moussed hair. Thelma watches approvingly. THELMA Hon. DARRYL What. THELMA -LRB- she decides not to tell him. -RRB- Have a good day at work today. DARRYL Uh - huh. THELMA Hon? DARRYL What?! THELMA You want anything special for dinner? DARRYL No, Thelma, I do n't give a shit what we have for dinner. I may not even make it home for dinner. You know how Fridays are. THELMA Funny how so many people wan na buy carpet on a Friday night. You'd almost think they's want to forget about it for the weekend. DARRYL Well then, it's a good thing you're not regional manager and I am. He's finally ready. He walks to the door and gives Thelma the most perfunctory kiss on the cheek. THELMA ` Bye, honey. I wo n't wait up. DARRYL See ya. Darryl leaves. We see his Corvette parked out front. As he closes the front door, Thelma leans against it. THELMA He's gon na shit. Thelma laughs to herself. She goes back into the kitchen and picks up the phone and dials it.","INT. RESTAURANT - MORNING The pay phone on the wall RINGS. ALBERT, a busboy in his 50's, answers. ALBERT Good morning. Why, yes, she is. Is this Thelma? Oh, Thelma, when you gon na run away with me? Louise comes over and takes the phone out of his hand. LOUISE -LRB- to Albert. -RRB- Not this weekend, sweetie, she's runnin' away with me. -LRB- into phone. -RRB- Hi. What'd he say? THELMA -LRB- V.O. -RRB- What time are you gon na pick me up? LOUISE You're kiddin'! Alright! I'll be there around two or three. THELMA -LRB- V.O. -RRB- What kind of stuff do I bring? LOUISE I do n't know. Warm stuff, I guess. It's the mountains. I guess it gets cold at night. I'm just gon na bring everything. THELMA -LRB- V.O. -RRB- Okay. I will, too. LOUISE And steal Darryl's fishin' stuff. THELMA -LRB- V.O. -RRB- I do n't know how to fish, Louise. LOUISE Neither do I, Thelma, but Darryl does it, how hard can it be? I'll see you later. Be ready. They both hang up.","EXT. RESTAURANT - DAY Louise pulls out in a green'66 T - Bird in mint condition.","INT. THELMA'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY Going into the suitcase is bathing suits, wool socks, flannel pajamas, jeans, sweaters, T - shirts, a couple of dresses, way too much stuff for a two - day trip. REVEAL Thelma, standing in front of a closet, trying to decide what else to bring, as if she's forgotten something. The room looks like it was decorated entirely from a Sears catalog. It's really frilly.","INT. LOUISE'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY A perfectly ordered suitcase, everything neatly folded and orderly. Three pairs of underwear, one pair of long underwear, two pairs of pants, two sweaters, one furry robe, one nightgown. She could be packing for camp. REVEAL Louise. Her room is as orderly as the suitcase. Everything matches. It's not quite as frilly as Thelma's, but it is of the same ilk. She is debating whether to take an extra pair of socks. She decides not to and closes the suitcase. She goes to the phone, picks it up and dials. We hear : ANSWERING MACHINE -LRB- V.O. -RRB- Hi. This is Jimmy. I'm not here right now, but I'll probably be back'cause. all my stuff's here. Leave a message. Louise slams down the phone. A framed picture of Louise and Jimmy sits on the table next to the phone. She matter - of - factly slams that face down, too.","INT. THELMA'S BEDROOM - DAY Thelma is still throwing stuff in, randomly now. She talks to herself quietly the whole time. She is taking stuff off of her nightstand, a small clock, fingernail scissors, etc.. She opens the drawer of her nightstand. Her attitude is purposeful ; she looks as if she knows exactly what she's doing ; although, frankly, she has no idea, and each decision is completely arbitrary. As she rifles through it, plucking various items from among the jumbled contents, we see there is a gun in there, one Darryl bought her for protection. It is unloaded, but there is a box of bullets. She picks up the gun like it's a rat by the tail and puts it in her purse. THELMA -LRB- muttering to herself. -RRB- Psycho killers. She grabs the box of bullets and throws them in, too. She tries to close her suitcase, but there is stuff hanging out all over the place. She stuffs things back in the sides and heaves all her weight against the top.","EXT. THELMA'S HOUSE - DAY Louise's green'66 T - Bird convertible pulls into the driveway of Thelma's house. The garage door goes up and Thelma is standing in the garage with all her gear. A suitcase that looks like it might explode, fishing gear, a cooler, a lantern. Thelma's car, a beat - up gray Honda, is parked in there, too. Louise gets out of the driver's seat. LOUISE We do n't need the lantern. The place has electricity. THELMA I wan na take it anyway. Just in case. LOUISE In case of what? THELMA In case there's some escaped psycho killer on the loose, who cuts the electricity off and tries to come in and kill us. LOUISE -LRB- going along with her. -RRB- Oh yeah, sure, Thelma, that lantern will come in real handy. Maybe we could tow your car behind, in case he steals the spark plugs. THELMA We'd have to. That thing barely makes it down the driveway. They load everything into the car. The trunk barely closes. Thelma heaves all her weight against it. They get into the car and pull out of the driveway. As they drive down the street, we hear Thelma let out a long howl. She is laughing and she sticks her arms straight up in the air.","EXT. CAR - DAY They are driving down the interstate. Thelma reaches for her purse and finds the gun. THELMA Louise, will you take care of the gun? Louise shrieks at the sight of it. LOUISE Why in hell did you bring that? Thelma wonders if Louise is really that naive. THELMA Oh, come on, Louise. psycho killers, bears. snakes! I just do n't know how to use it. So will you take care of it? Louise reaches over and takes the gun out of Thelma's purse and holds it in her hand. She tests the weight of it, and then puts it under the seat. Thelma puts the bullets under the seat. They are speeding off down the highway with the RADIO blaring. Louise puts in a TAPE of wild R&B MUSIC. THELMA Whose place is this again? LOUISE It's Bob's, the day manager's. He's gettin' a divorce, so his wife's gettin' this place, so he's just lettin' all his friends use it till he has to turn over the keys. THELMA I've never had the chance to go out of town without Darryl. LOUISE How come he let you go? THELMA'Cause I did n't ask him. LOUISE Aw, shit, Thelma, he's gon na kill you. THELMA Well, he has never let me go. He never lets me do one goddamn thing that's any fun. All he wants me to do is hang around the house the whole time while he's out doing God only knows what. They are both silent for a minute. THELMA -LRB- looking straight ahead. -RRB- I left him a note. I left him stuff to microwave. After a pause. THELMA I guess you have n't heard anything from Jimmy. yet? Louise's jaw tightens. The car speeds up. THELMA never mind. A huge semi - tanker carrying gas passes them on the highway and HONKS. The mud flaps are the shiny silhouettes of naked women. There is a bumper sticker on the back that says : `` Lick you all over - ten cents.'' LOUISE One of your friends? Thelma is watching herself in the side mirror, pretending to smoke a cigarette. THELMA'S POV OF A SIGN alongside the road that reads `` See you in church on Sunday!'' Thelma pushes in the lighter and waits for it to pop out. Louise gives her a sidelong glance, but does not say anything.","INT. CAR - COUNTRY ROAD - DAY THELMA How much longer is it gon na be? I'm hungry. LOUISE Another hour of so. We've got enough food for a month. THELMA I'll never make it. Ca n't we stop just for a few minutes. LOUISE We've not gon na get to the cabin till after dark as it is, Thelma. THELMA Then what difference does it make if we stop? Come on. I never get to do stuff like this. Louise realizes that Thelma is going to revert to a teenager and continue whining unless she gives in. LOUISE Alright, but it's gon na be a quick stop.","EXT. SILVER BULLET - NIGHT They pull off at a place down on the right all lit up with neon. It's called the SILVER BULLET. The sign flashes COCKTAILS - BEER - DANCING - FOOD. There is a huge gravel parking lot with lots of pickup trucks and older cars. Even though it's early, you can tell this place is a real night spot. It's already pretty crowded.","INT. SILVER BULLET - NIGHT This place is jumpin'. There are ten pool tables with crowds all around. The long bar is filled with customers. There are tables and booths. The room is dense with smoke. There is a dance floor, but no one is dancing yet because the band is still setting up. There are a lot of single men. Many heads turn and follow Thelma and Louise to an empty table. LOUISE I have n't seen a place like this since I left Texas. THELMA Is n't this fun? A WAITRESS comes over and drops two menus on the table. WAITRESS Y' all wan na drink? LOUISE No thanks. THELMA I'll have Wild Turkey straight up and a Coke back, please. As the Waitress leaves : LOUISE Thelma! THELMA Tell me somethin'. Is this my vacation or is n't it? I mean, God, you're as bad as Darryl. LOUISE I just have n't seen you like this in a while. I'm used to seeing you more sedate. THELMA Well, I've had it up to my ass with sedate! You said you and me was gon na get outta town and, for once, just really let our hair down. Well, darlin,' look out'cause my hair is comin' down! As the Waitress returns : LOUISE -LRB- laughing. -RRB- Alright. -LRB- to Waitress. -RRB- I changed my mind. I'll have a margarita with and a shot of Cuervo on the side, please. THELMA Yeah! As the Waitress leaves, a MAN comes over with a chair which he pulls up to the table and straddles backwards. He is in his late - 40's, heavyset, his face is shiny in the neon light. MAN Now what are a couple of Kewpie dolls like you doin' in a place like this? LOUISE Mindin' our own business, why do n't you try it. THELMA Well, we left town for the weekend'cause we wanted to try and have a good time. And because Louise here is mad because her boyfriend wo n't call her while he's out on the road. Louise kicks Thelma under the table. THELMA -LRB- quieter. -RRB- We just wanted to get somethin' to eat. MAN Well, you come to the right place. You like chili? They got good chili. The Waitress returns with Louise's drink. WAITRESS Harlan, are you botherin' these poor girls? HARLAN -LRB- MAN. -RRB- Hell, no. I was just bein' friendly. WAITRESS -LRB- making eye contact with Louise. -RRB- It's a good thing they're not all as friendly as you. Louise understands. THELMA Your name's Harlan? I got an uncle named Harlan! HARLAN You do? Is he a funny uncle?'Cause if he is, then he and I got somethin' in common. Harlan laughs. Thelma laughs, too, but does n't really get the joke. Louise does not laugh. LOUISE -LRB- to Harlan. -RRB- I do n't mean to be rude, but I've got something I need to talk to my friend about. In private. HARLAN Aw, I understand. I did n't mean to bother ya. It's just hard not to notice two such pretty ladies as yourselves. -LRB- standing, to Thelma. -RRB- You better dance with me before you leave, or I'll never forgive you. THELMA Oh, sure. That'd be fun. Harlan leaves, then : THELMA Jeez, Louise, that was n't very nice. LOUISE Ca n't you tell when somebody's hittin' on you? THELMA So what if he was? It's all your years of waitin' tables has made you jaded, that's all. LOUISE Maybe. THELMA Well, just relax, will ya. You're makin' me nervous. Thelma knocks back her shot of Wild Turkey and holds up her glass to the Waitress to bring her another one. The Waitress sees her and nods. She turns back to face her friend. THELMA So, Jimmy still has n't called yet? LOUISE Givin' him a taste of his own medicine. Asshole. THELMA I'm sorry, Louise. I know you're all upset. It's just I'm so excited to be out of the house, I guess. -LRB- pause. -RRB- I wonder if Darryl's home yet. LOUISE I wonder if Jimmy's gotten back. THELMA Why do n't you tell him to just to get lost once and for all? LOUISE Why do n't you ditch that loser husband of yours? They both drift off momentarily, contemplating their domestic problems, until the Waitress comes over : WAITRESS -LRB- rolling her eyes. -RRB- This one's on Harlan. Thelma looks over at the bar where Harlan is grinning at her, making dancing motions. She smiles and waves at him. Her face becomes serious again as she turns back to Louise. THELMA Jimmy'll come in off the road, you wo n't be there, he'll freak out and call you a hundred thousand times, and Sunday night you'll call him back and, by Monday. He'll be kissin' the ground you walk on. Thelma's mind goes too fast for her mouth, and the speed at which she speaks can be staggering. Louise is used to it. Louise smiles wistfully at Thelma's assessment of the situation. LOUISE Exactly. THELMA In the meantime, you said we were gon na have some fun. So let's have some! She again drinks her whole shot of Wild Turkey and holds up her glass, as the BAND strikes up a lively tune. Practically the whole place `` whoops'' and heads for the dance floor. Louise drinks her shot of tequila and holds up her glass, too. LATER Thelma is dancing with Harlan and has been for quite a while. Louise has been dancing with a quiet guy named DAN. Thelma is breathless, drunk and giggly. She holds a beer bottle in one hand. She is laughing a lot about nothing, and Harlan is studying her closely. Louise notices this. LOUISE -LRB- over the noise. -RRB- Thelma, I'm gon na hit the little girls' room, and then we got ta hit the road. THELMA -LRB- eyes closed, swaying with the music. -RRB- Ready when you are. Louise heads off to the bathroom. THELMA -LRB- eyes still closed. -RRB- Louise, I'm gon na come with you. -LRB- she gets a funny look on her face. -RRB- I do n't feel so good. She stumbles a step and drops her beer bottle. Louise is heading towards the bathroom, where there is a line of at least fifteen women in front of her. HARLAN -LRB- catching Thelma, copping feels. -RRB- Oopsy - doopsy. We need to get you some fresh air, little lady. He steers her towards the door. Louise leans against the wall, waiting in line. CUT TO :","EXT. SILVER BULLET PARKING LOT - NIGHT Harlan is hauling Thelma out the door into the parking lot. She is pretty limp. THELMA Oh shit. HARLAN What's wrong? THELMA Stop. HARLAN What for? THELMA I'm spinning.","INT. SILVER BULLET - NIGHT The Waitress is going over to their table. She picks up Thelma's purse off the floor and puts it on her chair. She sets the check on the table, looks around to see if she can see them and walks away.","INT. BATHROOM - NIGHT Louise goes into the bathroom. She stands in front of the sink and looks at herself in the mirror.","EXT. PARKING LOT - NIGHT Thelma has been sick. She has Harlan's handkerchief and is wiping her mouth. Harlan has backed off for this part, but he's right back in there. HARLAN How you feelin' now, darlin'? Harlan is leaning close to Thelma's head, and she pulls her head away. THELMA I guess I'm startin' to feel a little better. HARLAN Yeah, you're startin' to feel pretty good to me, too. He pulls her to him and tries to put his arms around her. Thelma pulls away. THELMA -LRB- uncomfortable. -RRB- I think I need to keep walking.","INT. SILVER BULLET - NIGHT Louise comes out of the bathroom as the next woman goes in. She scans the room looking for Thelma. She does n't see her. She goes over to the table and sees Thelma's stuff there. She picks up the check and looks at it.","EXT. SILVER BULLET PARKING LOT - NIGHT Harlan has led Thelma off to the far end of the parking lot. He is trying to kiss her now. He is pushing her arms down and turning her head away. THELMA Do n't. I'm married. I do n't feel good. I've been sick. HARLAN It's okay. I'm married, too. Harlan is pushing himself on her now, and she is beginning to push him away harder.","INT. SILVER BULLET - NIGHT Louise is paying the Waitress. The Waitress is shaking her head, indicating she has n't seen Thelma either. Louise picks up Thelma's stuff and heads towards the door.","EXT. SILVER BULLET PARKING LOT - NIGHT Harlan has now pinned Thelma against the back of a car and is kissing her neck. He has her ass in his hands. He is beginning to hump her. She is pushing him away as hard as she can, but he is relentless. HARLAN -LRB- breathing heavily. -RRB- You're beautiful. It's okay. I wo n't hurt you. It's okay. THELMA -LRB- struggling. -RRB- Stop it! Goddamnit, I mean it! Louise is gon na wonder where I am. Let go! HARLAN Louise is alright. LOUISE is now standing outside the door of the Silver Bullet. She is looking around. HARLAN is pulling at Thelma's clothes. Thelma gets one of her arms free and hits him hard in the face. He hits her back and grabs her face, squeezing it hard. HARLAN Do n't you hit me! Do n't you fucking hit me! There is no trace of friendliness in his face now. He looks mean and dangerous. He lets go of her face and pins her arms behind her. He holds both of her arms with one hand. HARLAN You just shut up. With his free hand, he reaches down and starts to pull her dress up. Thelma is still struggling and there are tears running down her face. THELMA Do n't hurt me. Harlan. Please. HARLAN Shut up. He turns her around, pushing her face down onto the back of the car. He holds both her arms in one hand and continues pulling her dress up over her hips. He starts to undo his pants as we hear the CRUNCH of gravel. LOUISE -LRB- O.S. -RRB- Let her go. HARLAN Get lost. THELMA Louise! TIGHT SHOT of the barrel of Thelma's gun being pressed into the nape of Harlan's neck. Louise's thumb pulls back the hammer. LOUISE You let her go, you fat fucking asshole, or I'm gon na splatter your ugly face all over this nice car. Harlan slowly raises his hands in the air, and Thelma darts out, pulling her dress down. HARLAN Now, calm down. We were just havin' a little fun. Louise glances at Thelma. Thelma shakes her head no. LOUISE Looks like you've got a real fucked up idea of fun. Now turn around. Louise starts to back away, but the gun is still close to his face. His pants are undone in the front. She is still backing away with the gun raised. Thelma is inching away as well. LOUISE Just for the future, when a woman's crying like that, she's not having any fun! Louise lowers the gun and stares at him for a second. Then she turns and walks away. Thelma does, too. HARLAN -LRB- pulling up his pants. -RRB- Bitch. I should have gone ahead and fucked her. Louise stops in her tracks. LOUISE What did you say? HARLAN I said suck my cock. Louise takes two long strides back towards him, raises the gun and FIRES a bullet into his face. We hear his body HIT the gravel parking lot. LOUISE'S POV. The car behind him is splattered with blood. Thelma and Louise are both silent. We hear the SOUND of the nightclub in the distance. Louise lowers the gun. THELMA Oh my God. LOUISE Get the car. THELMA Jesus Christ! Louise, you shot him. LOUISE Get the car! Thelma runs to get the car. LOUISE -LRB- quietly, to herself. -RRB- You watch your mouth, buddy. Thelma comes careening up in reverse. Louise hops in and Thelma PEELS OUT, spraying gravel. As they speed out of the parking lot back to the road, we hear MUSIC blaring from the nightclub. They hit the main road with tires SQUEALING. LOUISE Get back to the interstate. Louise lifts her hand and notices she is still holding the gun. THELMA Shit! I. I, which way? LOUISE West. Left.","EXT. CAR - DISTANCING SHOT - NIGHT They get onto the interstate going west. TRAVELING SHOT FROM BEHIND - VARIOUS DRIVING SHOTS","INT. CAR - NIGHT Louise picks up the handkerchief from the car seat and wipes the gun off. Her movements are as if in slow motion. She puts the gun under the seat. Thelma is watching her. THELMA Louise. Louise does not answer. THELMA Louise. Where are we going? LOUISE -LRB- shaking. -RRB- I do n't know, Thelma! I do n't know! Just shut up a minute so I can think. Thelma starts to cry quietly. THELMA Should n't we go to the cops? I mean, I think we should tell the police. LOUISE Tell them what?! What, Thelma? What do you think we should tell them? THELMA I do n't know. Just tell'em what happened. LOUISE Which part? THELMA All of it. That he tried to rape me. LOUISE Only about a hundred people saw you cheek to goddamn cheek with him all night, Thelma! Who's gon na believe that?! We just do n't live in that kind of world. Pull over!","EXT. INTERSTATE - NIGHT Thelma pulls off to the side of the road. Louise gets out and starts to walk around the car. She stops when she gets to the back of the car, and she is sick. Thelma waits in the car and moves over to the passenger side. Louise gets in the driver's side. THELMA Louise. Are you alright? Louise rests her head on the steering wheel. LOUISE Oh Christ. -LRB- to Thelma. -RRB- Thelma. Thelma does n't hear. LOUISE Thelma. Thelma looks at her blankly, without answering. LOUISE I've got ta stop for a minute. I've got to get it together. I'm gon na find a place to get a cup of coffee and I'm gon na sit down for a second. Do you want to come? Thelma's head moves almost imperceptibly. Louise studies Thelma's face. LOUISE Is that yes? Are you up to this? Again, Thelma slightly moves her head in a nod. Louise puts the car in gear and pulls OUT OF SHOT.","EXT. TRUCK STOP - RESTAURANT - NIGHT The green'66 T - Bird pulls into a modern truck stop and parks. Louise turns to Thelma. LOUISE We got ta be inconspicuous. Do you know what that means? THELMA Yes. LOUISE It means you do n't talk to anybody. You do n't draw attention to yourself in any way. Do you understand that? Again, she twitches more than nods. LOUISE Tell me you understand that. Thelma nods more firmly now. She understands. VARIOUS POV SHOTS of truck drivers seeing Thelma and Louise wind their way towards the restaurant portion of the coffee shop. They look small and incongruous with the surroundings.","INT. TRUCK STOP - TIGHT SHOT - WAITRESS' HANDS - 4 A.M. slamming dirty coffee cups from the counter into a bus tray underneath the counter. REVEAL Louise and Thelma sitting at the counter. Louise is looking at a map. The car is parked outside, near the door. LOUISE -LRB- halfway to herself. -RRB- We have to think this through. We have to be smart. Now is not the time to panic. If we panic now, we're done for. Nobody saw it. Nobody knows it was us. We're still okay. Now all we have to do is just figure out our next move. THELMA Our next move? I'll say one thing, Louise. This is some vacation. I sure am having a good time. This is real fun. LOUISE If you were n't so concerned with having a good time, we would n't be here right now. THELMA Just what is that supposed to mean? LOUISE It means shut up, Thelma. THELMA So this is all my fault, is it. Louise looks at Thelma for a long time. LOUISE Just shut up. The Waitress comes and fills their coffee cups. Thelma stands up to go to the bathroom. She grabs her purse from the counter, and the strap catches on her coffee cup and it falls to the floor with a CRASH. All heads turn and look at her. THELMA I have to go to the bathroom. I. Sorry. HOLD on Louise.","EXT. SILVER BULLET PARKING LOT - 4:00 A.M. Police cars are parked around. The activity has died down. Doors on the coroner's van SLAM shut. In the back of a police car sits the Waitress with the door open. A DETECTIVE in a suit leans over the car door with his note pad. HAL Could you identify'em, if ya saw'em again? LENA -LRB- WAITRESS. -RRB- Hal, I've told you about twenty times, yes, I could identify'em, but neither one of them was the type to pull something like this. HAL Well, you're not exactly an expert witness, but what makes you so sure? LENA If waitin' tables in a bar do n't make you an expert on human nature, then nothin' will, and I could've told you that Harlan Puckett would end up buyin' it in a parkin' lot. I'm just surprised it did n't happen before now. HAL Who do you think did it? LENA Has anybody asked his wife? She's the one I hope did it. HAL Lena, just cut the bullshit, will ya? Do have any ideas or do n't ya? I been standin' in this stupid parkin' lot all goddamn night, and I still got to go file a report before I can go home in time to get back up again! LENA Well, if I had to guess, I'd say it was some ol' gal, some ol' gal's husband. But it was n't either one of those two. The tall one, the redhead, she left me a huge tip. HAL You did n't happen to notice what kind of car they were driving? LENA It's a nightclub, not a drive - in, Hal. I do n't follow the customers to the parking lot. HAL Alright, Lena. Go on home. We might have to call you in for some more questioning. Lena gets out of the back of the car. LENA Those girls are not the murderous type.","INT. PAY PHONE - NIGHT Outside the bathroom there is a pay phone. Thelma picks it up and dials. THELMA -LRB- into phone. -RRB- Collect from Thelma. There is no answer.","INT. THELMA'S HOUSE - NIGHT Phone RINGS. VARIOUS SHOTS of the interior of the empty Dickinson house : THE BEDROOM exactly as Thelma left it. The drawer of the nightstand still open. THE NOTE TO DARRYL taped to the refrigerator. The interior of the microwave with a now completely thawed microwave dinner still in the package in a little puddle.","INT. TRUCK STOP - NIGHT THELMA Thanks. I'll try later. She hangs up and goes into the bathroom. As the door closes behind her, Louise comes up with a handful of change and starts putting it into the phone. She dials a number. It RINGS for a long time. She hangs up and goes into the bathroom. She looks at herself in the mirror. She notices a tiny speck on her cheek. She takes a paper towel and wets it and rubs the spot. She looks at the towel and there is a bright red streak. LOUISE Thelma. Come on, Thelma! The door of the stall flies open and Thelma comes charging out and heads straight for the door, without even looking at Louise. Louise charges out after her. They head out of the restaurant and, THROUGH THE WINDOW, we see them get into the car and drive away.","EXT. CAR - DRIVING SHOT - DAWN The T - Bird barrels down a fairly empty four - lane highway. A truck passes going the other way.","INT. CAR - DAWN The top is down on the car, and Thelma is slouched on the seat, her hair blowing wildly. LOUISE We're gon na go to the next town and stop. We'll get a motel room. I can rest for a while and then figure out how to get some money. We're gon na need money. Thelma. How much money do you have with you? THELMA What? Oh, I do n't know. Let me look. Thelma is rummaging through her purse. She finds her wallet and takes it out. Thelma finds some bills stuffed in the change compartment and takes them out. She straightens the money out. THELMA Sixty - four dollars. As she is counting it, one of the bills flies out of her hands. Thelma's not that good at handling money. THELMA Umm. Shit. Forty - four dollars. Louise has not noticed any of this. She is so intent on her driving. THELMA I'm cash poor. LOUISE Hmmm. We got ta get some money.","EXT. MOTEL - ESTABLISHING SHOT - DAY The motel is near farms and agricultural areas with crops.","INT. MOTEL ROOM - DAY (6 A.M.) The curtains are open and we can see the car parked right outside the room. Thelma is lying on the bed staring up at the ceiling. Louise is bustling around the room, putting things in drawers. THELMA Why are you unpacking? You said we were just gon na take a nap. Louise did not realize she was doing it. LOUISE Oh, I do n't know. I'm just nervous. I got ta figure out what to do. THELMA Well, when you figure it out, wake me up. LOUISE Just what the hell is wrong with you? Louise slams the closet door. Thelma jumps. THELMA What do you mean? LOUISE Why are you actin' like this? THELMA Actin' like what?! How am I supposed to act? ` Scuse me for not knowing what to do after you blow somebody's head off! They are silent for a moment. LOUISE You could help me try and figure it out! I got ta figure out what to do, and you could try and help me. THELMA I suggested we go to the police, but you did n't like that ; so, frankly, Louise, I'm all out of ideas. LOUISE Well, what's the big rush, Thelma? If we just give'em some time, they'll come to us! Oh Christ. I'm just not ready to go to jail yet. Why do n't you go out to the pool or something and I'll figure it out. THELMA Give me the keys. LOUISE You're not touchin' that car. THELMA My stuff's in the trunk! God! You care more about that car than you do about most people. LOUISE Most people just cause me trouble, but that car always gets me out of it.","INT. POLICE GARAGE - DAY Hal is at the police station where they're dusting the car with Harlan all over it for prints. Hal looks closely at the back of the car. He holds his hands over two sets of hand prints. He moves his hands to the outside of the prints so as not to smear them, and puts his hands on the car. His face is one inch away from the trunk. He sees a very clear drop of blood. It's different than any of the other blood splatters on the car. He calls the identification technician over and points it out. HAL -LRB- pointing. -RRB- What's that? The I.D. TECH comes over and looks and shrugs his shoulders. I.D. TECH Blood? HAL Whose? I.D. TECH His, I guess. Hal makes a face like he suddenly felt a slight toothache. He stares at the guy. HAL You guess? Hal takes out a black sharpie and draws a circle around the area of the black smudge and the drop of blood. He shakes his head slightly.","EXT. MOTEL - DAY Thelma comes out of the room and walks towards the pool. She stops, then decides to go on to the pool. She lies down in a lounge chair facing the road.","INT. MOTEL ROOM - DAY Louise in the motel room. She's looking at the phone. She picks it up and dials it and watches herself in the mirror. She stares as if she's trying to see into herself, see through herself.","EXT. MOTEL POOL - DAY Thelma arranges herself in a lounge chair, trying desperately to feel like she's on vacation.","INT. MOTEL ROOM - DAY ANSWERING MACHINE -LRB- V.O. -RRB- Hi. This is Jimmy. I'm not here right now. A VOICE interrupts the message : JIMMY -LRB- V.O. -RRB- Hello! I'm here. Hang on a minute! The machine switches OFF.","INT. JIMMY'S APARTMENT - DAY JIMMY, mid - 30's, musician, is standing in the kitchen on the phone. He's not the type you'd expect Louise to like, not quite straight - looking enough. LOUISE -LRB- V.O. -RRB- -LRB- on phone. -RRB- Jimmy.","INT. MOTEL ROOM - DAY Louise is looking at herself on the phone in the mirror. She is very choked up. JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Louise! Where are you? Are you alright? Honey. LOUISE Hi. I'm okay. How are you? Long time no see. JIMMY -LRB- V.O. -RRB- Louise, honey. Where are you? You sound funny. Louise is still looking at herself in the mirror, as if she's never seen herself before. LOUISE I am funny. I'm real funny. JIMMY -LRB- V.O. -RRB- Are you in town? This sounds long distance. LOUISE No, I'm out of town. I'm in. I'm in real deep shit, Jimmy. Deep shit Arkansas. JIMMY -LRB- V.O. -RRB- Louise, just tell me what the hell is going on here! I come back, nobody knows where you are. Is Thelma with you? Darryl's been callin' here every half - hour sayin' he's gon na kill you both when you get back, he's goin' nuts. I do n't envy her if she is.","EXT. MOTEL POOL - DAY Thelma at pool basking in the sun.","INT. MOTEL ROOM - DAY JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Where'd y' all go? LOUISE Fishing. Look, Jimmy. I need you to help me. This is serious. I'm in trouble and I need you to help me. Can you do that?","INT. JIMMY'S APARTMENT - DAY Jimmy is shocked by the gravity of her tone of voice. He realizes this is very serious. JIMMY Yes, yes, darlin'. I can help you. Tell me where you are.","INT. MOTEL ROOM - DAY Louise covers the mouthpiece with her hand. She is trying very hard not to cry. LOUISE I have a savings account with about sixty - seven hundred dollars in it. Now I know you wo n't be able to get it out, but I'm good for it. I need that money. Can you wire me the sixty - seven hundred dollars and I'll pay you back? Please, I'm desperate. JIMMY -LRB- V.O. -RRB- What the fuck is going on? LOUISE Something real bad has happened and I ca n't tell you what, just that it's bad and I did it and I ca n't undo it. Can you help me? JIMMY -LRB- V.O. -RRB- Of course. Of course! Where? Ca n't I bring it to you? For God's sake, baby, please, just tell me what's happened, what could possibly be so bad? Louise sits on the edge of the bed. She is looking at her hand. LOUISE Jimmy? She takes the ring that she wears on her left hand and turns it around backwards to make it look like a wedding band. LOUISE Do you love me? JIMMY -LRB- V.O. -RRB- Christ, sure. yes! LOUISE Wire it to the Western Union in Oklahoma City,","INT. JIMMY'S APARTMENT - DAY JIMMY You're in Oklahoma?! LOUISE -LRB- V.O. -RRB- Not yet. JIMMY Louise, let me call you back after I wire it, so you'll know which office to go to. LOUISE -LRB- V.O. -RRB- Ca n't it go to any office? JIMMY No, for that much money I have to tell them exactly which office. I know, I've had to have money wired to me on the road. And there has to be a code word or they wo n't give it to you. I'll have to tell you the code.","INT. MOTEL ROOM - DAY LOUISE Tell me now. JIMMY -LRB- V.O. -RRB- Call me back. LOUISE Okay. I'll call you back. In an hour. Do n't tell Darryl. JIMMY -LRB- V.O. -RRB- I know. Call me back. Louise, I love you, okay? LOUISE Okay.","EXT. MOTEL POOL - DAY Thelma by the pool. A car SCREECHES, a loud horn HONKS. LOUISE -LRB- bellowing. -RRB- Come on, Thelma! Get in the car! Thelma bolts upright and grabs her sundress and dashes to the car. She jumps in over the door. She's in a mild state of shock. THELMA Did you finish thinking? LOUISE I think better when I drive. Louise PEELS OUT of the parking lot.","INT. POLICE STATION - MAJOR'S OFFICE - DAY Hal is in the office talking to his superior. He stands in front of the desk with his hands in his pockets while his MAJOR sits behind the desk looking troubled. HAL All we know is there were two women in a green T - Bird convertible that turned left out of the parking lot, going real fast. We're trying to get a make on the car, but nothin' yet. So far, we got nothin'. MAJOR Well, you'd best get something. Even if they did n't do it, it times out that they most likely witnessed it. I want somebody to at least talk to'em. Put out an APB with a description and see what we get back. HAL Alright. MAJOR Is there any reason to believe they've left the state? HAL That's certainly possible. MAJOR Why do n't we go ahead and let the bureau in on this. HAL I have no problem with that. MAJOR Somebody's butt is gon na bar - b - que.","EXT. CAR - FARMLAND - DRIVING SHOT - DAY","INT. CAR - DAY THELMA Do n't get mad, Louise, but where are we going? LOUISE Oklahoma City. Jimmy's gon na wire me some money, and then. THELMA You talked to him?! Is he mad? Did you tell him? LOUISE No, I did n't tell him. And that's something we got ta get straight. Darryl's been callin', mad as a hornet, makin' all kinds of noise. When you talk to him, you can not say anything about this. You got ta make sure everything sounds normal. THELMA I called the asshole at 4:00 in the morning and he was n't even home. I do n't know what he's got to be mad about. I'm the one who should be mad. LOUISE I've been tellin' you that for the last ten years. THELMA Do you think Darryl's having an affair? LOUISE I do n't think Darryl is mature enough to conduct an affair. THELMA But you think he fools around. LOUISE Thelma, I'm going to Mexico. I think I can make it in two and a half days, but I'm going to have to haul ass. Are you up to this? I mean, I have to know. This is n't a game. I'm in deep shit. I got ta know what you're gon na do. THELMA I. I do n't know. I do n't know what you're askin' me. LOUISE Do n't you fall apart on me. Goddamnit, Thelma. Every time we get in trouble, you go blank or plead insanity or some such shit, and this time. Not this time. Everything's changed now. Now you can do whatever you want, but I'm going to Mexico. I'm going. Are you coming with me? Thelma is staring down the road. She does not answer. Then : THELMA I think he does. Fool around.","EXT. CAR - FARMLAND - DRIVING SHOT - DAY","INT. POLICE STATION - INTERROGATION ROOM - DAY TIGHT SHOT of an `` indent - a - kit'' likeness of Louise. On a table nearby lies a drawing strongly resembling Thelma. Lena, the waitress, sits next to the plain - clothes cop who holds the indent - a - kit. Hal picks up the drawing and studies it closely.","EXT. SMALL COUNTRY TOWN - DAY The T - Bird rolls into town.","EXT. COUNTRY STORE - DAY Louise and Thelma pull up in front of an old store, the kind with a wooden front porch, the kind that sells bait and flannel shirts. They enter the store and see an OLD MAN behind the counter. LOUISE Do you have a pay phone? OLD MAN ` Round the side, by the restrooms. Louise gets change while Thelma strolls around looking at rubber worms and pickled pigs' feet. Louise goes out to the phone.","EXT. PAY PHONE - DAY Louise dropping change into the phone. It RINGS and Jimmy answers.","INT. JIMMY'S APARTMENT - DAY JIMMY Louise!","EXT. PAY PHONE - DAY LOUISE Is that how you answer the phone? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- I got it. I was afraid I'd missed you. I almost could n't get a check cashed. It's Saturday. LOUISE Who did it? JIMMY -LRB- V.O. -RRB- Friend of mine, owns a club. Dickie Randall. You'd know him if you saw him. His brother was in your class. Terry. LOUISE You did n't say what it was for, did you? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- No, honey. I told him I was buyin' a car. What is it for? LOUISE -LRB- not responding to the question. -RRB- Good. That was good. Where do I go? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- It's a place called Shaw's Siesta Motel. The address is 1921 North East 23. It's under your name. LOUISE And what's the mysterious code word? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Peaches. LOUISE What? JIMMY -LRB- V.O. -RRB- That's the code word. I miss you, peaches. Louise rolls her eyes and tries not to melt. LOUISE Okay, Jimmy. Thanks. She puts her finger down on the receiver.","INT. JIMMY'S APARTMENT - DAY Jimmy is still holding the phone to his ear. JIMMY Louise?","INT. COUNTRY STORE - DAY Thelma in store buying gum, beef jerky. Next to the cash register on the counter on display are those little tiny bottles of liquor. Thelma picks up a little bottle of Wild Turkey and puts in on the counter. The Old Man rings it up. She takes another one and puts it on the counter. The Old Man is still ringing stuff up. She takes two more and puts them on the counter. She takes the rest of the little bottles of Wild Turkey out of the display and puts them on the counter. She takes one little bottle of Cuervo and puts it down on the counter, too. The Old Man finally looks at her. From the wall behind him, he takes a pint of Wild Turkey down. OLD MAN Ma'am, are you sure you would n't rather have the large economy size?","EXT. PAY PHONE - DAY Louise is hanging up the phone. She walks away towards the front of the store.","EXT. COUNTRY STORE - DAY Thelma comes out of the front of the store. The store is at a crossroads with a fair amount of vehicular traffic. LOUISE Go call Darryl. Thelma is walking towards the car. She puts her purse in the front seat. She looks at Louise. THELMA Call him? LOUISE Call him. Do n't tell him anything. Tell him you're having a wonderful time and you'll be home tomorrow night. THELMA Will I be? LOUISE I do n't know. I wo n't be. Thelma and Louise look at each other while this sinks in. THELMA walks around to the side of the building to the phone. She picks it up and dials. THELMA -LRB- into phone. -RRB- Collect from Thelma.","EXT. STOREFRONT - DAY Louise goes into the store for a chocolate Yoohoo.","EXT. PAY PHONE - DAY THELMA Honey?","INT. THELMA'S HOUSE - DAY Darryl in the den of their house. The room is a mess. There are beer cans everywhere. The large screen TV is ON, showing a FOOTBALL GAME. Darryl is in a recliner. He is wearing loud shorts, a V - necked T - shirt, and a couple of necklaces and bracelets. DARRYL Goddamnit, Thelma, where in the Sam Hill are you?!","EXT. PAY PHONE - DAY THELMA I'm. I'm with Louise. We're in the mountains, we're.","INT. THELMA'S HOUSE - DAY DARRYL -LRB- interrupting. -RRB- What in the hell do you think you're doing? Have you lost your goddamn mind?! Is that it? I leave for work and you take complete leave of your senses?","EXT. PAY PHONE - DAY THELMA Darryl. baby. Darryl, calm down now, honey. Please do n't get so mad. I can explain.","INT. THELMA'S HOUSE - DAY Darryl is mad, but he's still watching the game. DARRYL Hold on. Hold on a minute, damnit. He covers the mouthpiece and watches a play where `` his team'' fumbles the ball. This only makes him madder. He puts the phone back to his ear in time to hear Thelma say : THELMA -LRB- V.O. -RRB- only for one day and we'll be back tomorrow night. DARRYL No you wo n't. You'll be back today. Now! You get your ass back here, Thelma, now, Goddamnit. Thelma, do you understand me?","EXT. PAY PHONE - DAY Thelma is trying not to cry. She's trying to be strong. THELMA Darryl, please. You're my husband, not my father, Darryl.","INT. THELMA'S HOUSE - DAY DARRYL -LRB- interrupting. -RRB- That does it! That Louise is nothin' but a bad influence. If you're not back here tonight, Goddamnit, Thelma. well, I just do n't wan na say. Neither one of them say anything for a moment. DARRYL Thelma?","EXT. PAY PHONE - DAY THELMA Darryl. DARRYL -LRB- V.O. -RRB- What? THELMA Go fuck yourself. She hangs up on him.","EXT. COUNTRY STORE - DAY Thelma has tears running down her face and she is watching the ground as she storms back to the car. So she makes a loud grunt as she slams into someone that she did not see. Both people are knocked back a few steps from the force of the collision. HITCHHIKER Whoa! Excuse me! Miss, are you alright? Thelma nods her head `` yes,'' but tears continue. Her crying is silent. HITCHHIKER Is there anything I can do? Thelma shakes her head `` no.'' She tries to control her tears. She notices how blue his eyes are. THELMA No. Thanks. Sorry. THELMA collects herself as she walks back to the car. She gets in and is drying her eyes, looking in the side mirror. In the mirror she sees the Hitchhiker come back around from the side of the building. He is several feet behind the car, and she watches him as he removes his long - sleeved shirt and stuffs it into his duffel bag. Now he is just in T - shirt and jeans. He looks good. Really good. She watches in the mirror as he picks up his stuff and heads towards the road. She can see him as he's walking. He stops. He's thinking. He heads over to the car. HITCHHIKER Would you mind me asking which direction you and your friend are going? I'm trying to get back to school and my ride fell through, so I'm kinda stuck. Are you going my way? Thelma does n't know what to do. THELMA Umm. I think we're going to Oklahoma City. But I'm not sure. HITCHHIKER Do you think you could. I mean, I could help pay for gas. Thelma knows Louise is n't going to like this. THELMA Ummm. Well, see, it's not really up to me. It's not my car. Umm, we'll have to ask my friend, but she'll probably say no. She's a little uptight. HITCHHIKER Well. Maybe we better not ask her. But thank you anyway. Now she wants him to come. He starts to walk away from the car. THELMA Well, we can ask her. That wo n't hurt. Just then Louise comes out of the store. She sees Thelma talking to this guy and, for one moment, stops dead in her tracks as she takes this in, then continues toward the car. Although her face is basically expressionless, we see that it's possible she might kill Thelma. THELMA Louise, this young man is on his way back to school and needs a ride, and I thought since. LOUISE It's probably not a good idea. THELMA Louise. The Hitchhiker just nods and starts walking towards the road. HITCHHIKER Y' all have a nice day. Drive safe. The guy does seem really nice and Thelma is really frustrated that Louise would n't give him a ride, but decides not to confront her. THELMA See how polite he is? He was really nice. Louise lowers the top and backs the car out. They watch him walk away. Louise pulls out of the parking lot onto the road. They pass the Hitchhiker. Thelma waves. HITCHHIKER -LRB- to Thelma. -RRB- You cheer up now! She turns around in the seat to continue waving. He smiles and waves. They drive down the road. TIGHT SHOT of the Hitchhiker as the smile fades from his face. CUT TO :","INT. CAR - DRIVING - DAY Thelma looking sulky. THELMA I wish we could've brought him with us. LOUISE What did Darryl say? THELMA -LRB- sarcastically. -RRB- He said `` Okay, Thelma. I just wanted to know you were alright. I hope you're havin' a good time. You sure deserve one after puttin' up with me all the time. I love you, honey.'' Louise does n't say anything. THELMA How long before we're in Goddamn Mexico?","INT. POLICE STATION - DAY Hal goes over a list of every registered green T - Bird in the state. INSERT - COMPUTER MONITOR Names are scrolling by as Hal stares blankly at the screen. We see the name LOUISE ELIZABETH SAWYER scroll past. It means nothing to Hal.","INT. CAR - DAY It's twenty minutes later. They are clear of the town. Thelma is like a dog with a bone. She just wo n't let it drop. THELMA I just do n't see what it would hurt just to give somebody a ride. Did you see his butt? Darryl does n't have a cute butt. You could park a car in the shadow of his ass. LOUISE I'm sorry. I'm just not in the mood for company right now. Here. Take this map. I need you to find all the secondary roads to Mexico from Oklahoma City. I think we should stay off the interstates. We're too conspicuous. THELMA -LRB- taking map. -RRB- Well, it looks like we can get on this road 81 that heads down towards Dallas, then cut over to. LOUISE -LRB- interrupting. -RRB- I do n't want to go that way. Find a way that we do n't have to go through Texas. THELMA -LRB- looking at map. -RRB- Wait. What? You want to go to Mexico from Oklahoma and you do n't want to go through Texas? LOUISE You know how I feel about Texas. We're not going that way. THELMA I know, Louise, but we're running for our lives! Do n't you think you could make an exception just this once?! I mean, look at the map. The only thing between Oklahoma and Mexico is Texas! LOUISE Thelma! I'm not gon na talk about this! Now find another way or give me the goddamn map and I will! You understand? THELMA No, Louise. How come you never said what happened? Louise is completely unreasonable on this subject and Thelma is totally puzzled by Louise's reaction but is reluctant to press her further. LOUISE I. I just. I just do n't think it's the place I wan na get caught for doin' something like. if you blow a guy's head off with his pants down, believe me, Texas is the last place you wan na get caught! Trust me! Now, I said, I do n't wan na talk about it! Louise looks very shaken up. She keeps her eyes on the road but she's holding the steering wheel so tightly, her knuckles are white. She does not look at Thelma. Suddenly she reaches over and locks her door. Thelma flinches imperceptibly at this gesture. THELMA Okay. We'll go around Texas to get to Mexico. This is crazy.","EXT. ROAD - FARMLAND - DAY Two Harley - Davidson bikes tool past, driven by a couple of ex - hippies from the 60's. The Hitchhiker is on the back of one, and he waves to them as they go by. Thelma waves back enthusiastically. THELMA I'll tell you what. He is gooood lookin'. Louise pops a TAPE into the cassette player.","EXT. LOUISE'S APARTMENT COMPLEX - DAY Hal walks up the sidewalk past a couple of elderly people sitting outside, to the door of an apartment complex and knocks.","INT. LOUISE'S APARTMENT - DAY VARIOUS SHOTS of Louise's empty apartment. There are pictures of Louise and Thelma in high school. The kitchen is spotless and nothing is out on the counters. HER BED is unwrinkled, perfect, and next to it on her nightstand is a picture of Jimmy and her in a small heart shaped frame. Everything is extremely neat and orderly.","EXT. LOUISE'S APARTMENT COMPLEX - DAY Hal is walking back down the sidewalk past the old people. He stops, turns around and goes back to them. We see him stand and talk to them. OVER MUSIC :","INT. CAR - DAY Thelma and Louise are singing along with the MUSIC. THELMA/LOUISE -LRB- pointing. -RRB- Yeah, yeah, yeah, yeah, yeah, yeah!","EXT. CROSSROADS - DAY Hitchhiker standing on the side of the road. Thelma looks at Louise pleadingly. Louise's car pulls over and he hops in the back seat. An animated Thelma turns around backwards in the front seat to face him.","INT./ EXT. COFFEE SHOP - DAY Hal walks into the coffee shop where Louise works. VARIOUS SHOTS of him talking to other employees. Albert, waitress, etc.. Some cover their mouths as they recognize police sketches of Louise and Thelma. The Day Manager comes over, looks at the pictures and talks to Hal.","INT. CAR Thelma passing out beef jerky and Wild Turkey to Hitchhiker and Louise.","EXT. THELMA'S HOUSE - DAY Hal's unmarked detective car pulls up in front of Thelma's house. A Corvette, completely customized with everything, sits in the driveway.","INT. CAR Hitchhiker leans over resting his chin on the back of the front seat. THELMA So J.D., what are you studying in school? J.D. Human nature. I'm majoring in behavioral science. LOUISE And whaddya wan na be when ya grow up? J.D. A waiter. Louise laughs. He has charmed her too.","EXT. THELMA'S HOUSE - DAY Hal is walking up the sidewalk as the front door flies open to reveal a drunk Darryl in Hawaiian shorts, necklaces and a beer can in his hand.","INT. THELMA'S HOUSE - DAY Hal and Darryl in den. The TV DRONES in the b.g. Pictures and papers are on the table. TIGHT SHOT of Darryl's face. DARRYL What?! CUT TO :","INT. THELMA'S HOUSE - DEN - DAY EXTREME CLOSEUP of Darryl's face. DARRYL What?!","EXT. RURAL HIGHWAY - DAY J.D. -LRB- to Thelma. -RRB- So how come you do n't have any kids? THELMA Darryl, that's my husband, he says he's not ready. He's still too much of a kid himself. He prides himself on being infantile. LOUISE He's got a lot to be proud of. THELMA Louise and Darryl do n't get along. LOUISE That's puttin' it mildly. THELMA She thinks he's a pig. LOUISE He's a real piece o' work. I wish you could meet him. J.D. Did you get married real young? THELMA Twenty - four is n't young. I'd already been goin' out with him ten years when we got married. I've never been with anybody but Darryl. J.D. Well, if you do n't mind me sayin' so, he sounds like a real asshole. THELMA It's okay. He is an asshole. Most of the time I just let it slide. J.D. is looking down the road, way off in the distance. J.D. Better slow down. That's a cop. Louise looks down the road and sees a highway patrol car coming down the road towards them. She does not look alarmed but veers off the road into a `` rest area'' drive that has trees and shrubs that obscure the view from the road. She glides along as the cop car passes on the other side without seeing them. Louise glides right back onto the road as if nothing unusual has happened at all. They realize they have not been spotted. J.D. and Louise look at each other. J.D. Maybe you got a few too many parking tickets? LOUISE We'll take you on to Oklahoma City, then you'd best be on your way.","INT. THELMA'S HOUSE - DAY Hal is on the phone to the FBI man. Darryl is sitting on a chair looking dazed. Other law enforcement types roam around the house. HAL The prints on the trunk of the car match those of Thelma Dickinson.","INT. FBI OFFICE - DAY MAX STRATTON, an FBI MAN in his early forties, is looking at the ident - a - kit drawings of Louise and Thelma. MAX Well I'll be damned. Is n't that strange.","INT. THELMA'S HOUSE - DAY HAL And the husband says a gun is missing. She took a lot of stuff. It looks like she maybe planned on being gone a while. The strange thing is, her husband said she would never touch that gun. He got it for her'cause he's out late a lot, but he said she'd never touch it, would n't learn to shoot it, just left it in a drawer for years.","INT. FBI OFFICE - DAY MAX What kind of gun was it? HAL -LRB- V.O. -RRB- A.38. MAX Right. Where are they?","INT. THELMA'S HOUSE - DAY HAL We're lookin'. They were on their way to some guy's cabin and they never showed up. We're lookin'. We hope you're lookin' too.","EXT. FLATLANDS - ROAD - DUSK The T - Bird barrels down the road at high speed.","EXT. SHAW'S SIESTA MOTEL - DUSK Louise, Thelma, and J.D. pull into the motel parking lot. LOUISE I just got ta run in for a minute. Louise looks at J.D. in the back seat and takes the keys out of the ignition. LOUISE You two better go on and say your goodbyes. Louise gets out of the car and goes inside.","INT. MOTEL OFFICE - NIGHT An older WOMAN behind the counter is looking at a computer screen. LOUISE Louise Elizabeth Sawyer. Are you sure? WOMAN Nothin'. Nothin' came in today at all. Louise turns and sees Thelma crawl over into the back seat with J.D. LOUISE Nothing under peaches? Check again under peaches. WOMAN Naw, nothin' under peaches neither. A MAN comes up behind Louise and stands close behind her. MAN -LRB- JIMMY. -RRB- Did you say Peaches?! Why that's the secret word! Show her what she's won, Don. He drops an envelope in front of her. Louise is startled and turns around quickly. JIMMY Hey, peaches. LOUISE Oh my God! Jimmy! You. Oh my God! What are you doin' here? JIMMY -LRB- to Woman. -RRB- Can we get another room? Just put it on my credit card. The Woman hands them a key. WOMAN ` Round to the back.","EXT. MOTEL PARKING LOT - NIGHT Louise and Jimmy walk outside and catch Thelma sitting very close to J.D. Thelma sees Jimmy and is so startled she screams and involuntarily slams herself across the back seat to the other side of the car. She tries to look nonchalant. THELMA Jimmy! Hello, stranger. What in the world are you doin' here? JIMMY Ask me no questions, I'll tell you no lies. THELMA Good answer. Same goes double for me. JIMMY Who's your friend? J.D. is climbing out of the car, looking very uncomfortable. THELMA This is J.D. He's a student. We're just givin' him a ride to. to here. Louise said we could bring him here and then he'd have to go. And that's what he's doin'. He's goin'. Are n't you, J.D? J.D. Yup. Thanks for the ride. You all take care. He quickly turns and walks away toward the road. THELMA -LRB- watching him. -RRB- Yup. That's him goin'. I love to watch him go. LOUISE -LRB- to Jimmy. -RRB- Thelma kinda took to him. Jimmy is smiling. JIMMY -LRB- to Thelma. -RRB- Well, come on, gal, I got you a room. You can go on in and take a nice cold shower. THELMA Do n't mind me, Jimmy, I'm just a wild woman. JIMMY I always knew that. THELMA A regular outlaw. Louise shoots Thelma a look. The three of them drive around to the back of the motel. Thelma turns and looks at the road. J.D. is standing there. He blows her a kiss.","EXT. MOTEL ROOM - NIGHT They stop in front of the motel rooms and the three of them climb out of the car. LOUISE Let me just go in and freshen up for a minute. I need to wash my face, you know. Thelma is taking their luggage out of the trunk. JIMMY Okay, honey. I do n't want to rush you. I just wan na talk to you and. -LRB- whispering. -RRB-. be alone with you. I'll just be in my room, 115, you just come on down when you're ready. Jimmy helps carry the luggage to Thelma's room. He stops at the door. JIMMY I'll be waiting. Louise smiles at him quizzically as if she ca n't believe he's acting this way. He turns on his heel and slinks away. THELMA I do n't care what you say about him. The boy has got it bad. LOUISE He's always got it bad as long as I'm running in the other direction. Do n't be fooled, he's no different than any other guy. He knows how to chase and that's it. Once he's caught you, he do n't know what to do. So he runs away. THELMA I heard that.","INT. MOTEL ROOM - NIGHT They close the door to their room. Louise sets the envelope of money on the table. LOUISE -LRB- indicating envelope. -RRB- Our future. Louise gets her purse and starts taking out her makeup. She stands very close to the mirror. She is putting on lip liner. Thelma is watching. THELMA So what are you gon na tell him? LOUISE Nothing. I'm not gon na tell him a thing. The least I can do is not make him an accessory any more than he already is. THELMA You are so sweet to that guy, you really are. Imagine not wanting to drag him into this. He is a lucky man. Louise is still putting on her makeup, making sure it's perfect. LOUISE I did n't ask him to come! It's like I said, Thelma, he just loves the chase. THELMA Well boy, he's got his work cut out for him now, do n't he? LOUISE Put a lid on it, Thelma! It's hard enough as it is. Just let me get this part over with. Now stay here and guard the money. If there's any problem I'm in room 115. THELMA I wo n't wait up. Louise turns to face Thelma. LOUISE How do I look? THELMA You're a vision, Louise, a goddamn vision of loveliness, you always are. LOUISE Have another drink, Thelma. Louise walks out the door. THELMA Good idea.","EXT. MOTEL ROOM - NIGHT It's raining out. Louise goes to Jimmy's room. Louise knocks on the door to room 115. The door opens slightly and one red rose pops out. LOUISE Hello. JIMMY -LRB- in a falsetto voice. -RRB- Who is it? LOUISE It's me. The following eleven roses are held out the door, then Louise is yanked inside and we hear her shriek with LAUGHTER.","INT. THELMA'S MOTEL ROOM - EVENING Thelma has taken a shower and is dressed in cut - offs and a T - shirt. Her hair is still damp but she looks better than she did when she arrived. Thelma is fixing a drink of Wild Turkey and Diet 7 - Up in one of the motel room glasses. There is a KNOCK on the door. She stops what she is doing and is completely still. THELMA Louise? Another KNOCK. THELMA Louise, is that you? J.D. -LRB- O.S. -RRB- -LRB- through the door. -RRB- Thelma? It's me. Thelma opens the door and there stands J.D., soaking wet from the rain pouring down behind him. J.D. I just thought I. I know I'm supposed to be gone, but. He's kind of looking over towards the road. He's still slightly shy. J.D. I'm not havin' much luck gettin' a ride. He notices looking past her into the room that Louise is n't there. Thelma just stands there looking at him. J.D. Well, I guess I'd better. THELMA Wait! Um, where ya going? J.D. I do n't know. Nowhere. What are you doin'? THELMA I do n't know. Nothin'. Took a shower. J.D. That sounds nice. THELMA Well, you wan na use the shower? You can tell he does want to but does n't want to say so. So instead he just kind of stands there with a reticent grin on his face. J.D. Oh. I. where's Louise? THELMA She's off with Jimmy, that's her boyfriend. J.D. That's lonely for you, I guess. I always think of motel rooms as lonely. Thelma pretends like she's had a lot of experience with this sort of thing. THELMA -LRB- letting him in the door. -RRB- Oh, yes, well, they can be.","INT. JIMMY'S ROOM - NIGHT Jimmy is pouring champagne into Louise's glass. There are a dozen roses in a vase on the table. He pours for himself as he sits as close to Louise as possible. JIMMY Now, my little coconut, what seems to be the trouble here? Tell Daddy everything. LOUISE -LRB- cringing. -RRB- Jimmy, my daddy's still alive and it kind of gives me the creeps when you do that. JIMMY Okay, okay, just tell me what's the trouble. Louise just looks at him for a minute. LOUISE Jimmy, I'm not gon na tell ya what the trouble is. Someday soon you'll understand why I ca n't. But I wo n't tell ya, so do n't ask me. Jimmy is once again shocked by how serious she is. JIMMY -LRB- almost at a loss for words. -RRB- Okay, peaches, okay. But can I ask you one thing? LOUISE Maybe. JIMMY Does it have something to do with another guy? Are you in love with him? LOUISE It's nothin' like that. JIMMY -LRB- exploding. -RRB- Then what?! What, goddamnit, Louise! Where the fuck are you going? Are you just leaving for fucking ever? What, did you fuckin' murder somebody or what?! Louise spills her champagne. LOUISE Stop it! Stop it, Jimmy, or I'll leave right now. I'm not kiddin'! JIMMY -LRB- calming down. -RRB- Alright, alright. I'm sorry. They both take a second to regain their composure. JIMMY Can I just ask you one other thing? LOUISE Maybe. Jimmy pulls a little black box out of his pocket. JIMMY Will you wear this? He hands Louise the box. She opens it and it is a diamond ring. Louise is flabbergasted. JIMMY Will you at least see how it fits? LOUISE Jimmy. it's beautiful! JIMMY You did n't see that one comin', did ya?","INT. THELMA'S MOTEL ROOM - NIGHT J.D. is out of the shower standing in front of the mirror wearing only his jeans, the top button of which is still undone and no shirt. He has an incredible physique. He also has a tattoo on his shoulder of the homemade variety. Thelma has gone and bought cheese crackers and peanuts from a vending machine and is into her second Wild Turkey and 7 - Up. She sits on the bed, watching him in the mirror. He definitely looks better with his shirt off. She suddenly feels awkward and stands up. THELMA You wan na drink?","INT. JIMMY'S MOTEL ROOM - NIGHT Louise has the engagement ring on her finger. It's really beautiful. JIMMY So whaddya think. I mean. I could. uh. get a job. Of some kind. I mean you've been tellin' me that for years, right? LOUISE Why now, Jimmy? JIMMY -LRB- this is hard for him. -RRB-'Cause, Louise. I do n't want to lose you. And for some reason I get the feelin' you're about to split. Permanently. Louise does n't know how to respond. She struggles for a reply. LOUISE Jimmy, we've gone all these years. we never made it work. We're not gon na be able to just. I'm not. What kind of job, honey? Can you see it. I ca n't. Jimmy does n't answer right away. He's trying to see it. JIMMY I'm the one. I never made it work. I just. It's not that I do n't love you. It's not that. I just never thought I'd be thirty - six years old and I never thought. I do n't know what I thought. What do you want, darlin'. What do you want me to do. LOUISE I do n't know. It does n't even matter anymore. I just want you to be happy. It's not that I do n't love you either. But Jimmy, your timing could n't be worse. Jimmy does not really understand why this is happening. JIMMY Are you just doin' this to punish me? LOUISE Believe me, the last thing I want is for you to get punished.","INT. THELMA'S MOTEL ROOM - NIGHT Thelma has poured a drink for J.D. who's sitting on the edge of the bed. She walks over and hands it to him and as she does, he takes the drink with one hand and her hand with the other. He sets the drink down on the nightstand and holds her hand with both of his. He closely studies her wedding ring. He suddenly looks up at her and gazes at her just as intently. He slowly shakes his head as he removes her ring as if to say, `` This is not right for you. This is n't going to work.'' He looks at the ring as he moves it through space finally stopping when the ring is directly over his drink. He drops it in. He looks back at Thelma and smiles as if to say, `` There. Now do n't you feel better?'' He smartly kisses her hand.","INT. JIMMY'S ROOM - NIGHT Louise and Jimmy are sitting on the edge of the bed. Jimmy has put the ring on her finger and they both are looking at it, as Jimmy holds her hand in his. They both ponder it. JIMMY It does look good.","INT. THELMA'S ROOM - NIGHT J.D. is standing on the dresser with a towel tied around his neck like a cape. J.D. Faster than a speeding green T - Bird, able to leap tall babes in a single bound. He leaps from the dresser and flies across the room landing on the bed, straddling Thelma. J.D. -LRB- in his deep man's voice. -RRB- Hi. Could I interest you in some Fuller brushes? Thelma has not stopped laughing since he came in the room. He is the greatest guy she's ever seen. He is sniffing her neck like a dog. THELMA -LRB- giggling. -RRB- Stop, stop, stop! Thelma tries to catch her breath. THELMA Who are you? J.D. attacks her again. J.D. I am the great and powerful Oz. THELMA J.D! Just tell me. I know you're not some schoolboy. Now come on, nobody ever tells me shit. J.D. I'm just some guy. A guy whose parole officer is probably having a shit fit right about now. Thelma gasps. THELMA What?! Parole officer? You mean you're a criminal? J.D. Well, not anymore, Thelma, except for bustin' parole, I have n't done one wrong thing. THELMA What did ya do? J.D. I'm a robber. THELMA You're a bank robber? J.D. Nope. I've never robbed a bank. THELMA What? J.D. Well, I robbed a gas station once, and I robbed a couple of liquor stores, and some convenience stores. And that's it. THELMA How? J.D. Well, I was just down on my luck and it seemed like somethin' I was good at so I. THELMA -LRB- interrupting. -RRB- No, I mean how would you do it? Do you just sneak in real fast or hide out till the store closes or what? J.D. Naw, honey, that would be burglary. I never got arrested for burglary. Burglary's for chicken shits. If you're gon na rob someone, ya just have to go right on up to'em and do it. Just take the money. That's robbery. That's a whole ` nother deal. THELMA Tell me. J.D. Well, first you pick your place, see, then I'd just sit back and watch it for awhile. Ya got ta wait for just the right moment, which is something you know instinctively, that ca n't be taught. Then I'd waltz on in. J.D. jumps up and picks up a hair dryer and holds it like a gun. He starts acting it out. J.D. And I'd say, `` Alright, ladies and gentlemen, let's see who'll win the prize for keepin' their cool. Simon says everybody lie down on the floor. If nobody loses their head, then nobody loses their head. You sir. You do the honors. Just empty that cash into this bag and you'll have an amazing story to tell all your friends. If not, you'll have a tag on your toe. You decide.'' Then I'd split. Simple. THELMA My gosh, you sure gentlemanly about it. J.D. I've always believed if done right, armed robbery does n't have to be a totally unpleasant experience. THELMA God. You're a real live outlaw! J.D. I may be the outlaw, but you're the one stealin' my heart. THELMA And smooth, boy, you are smooth. They kiss passionately. THELMA You're kinda the best thing that's happened to me in a long time. J.D. You're a little angle, you are. J.D. turns out the light.","INT. JIMMY'S ROOM - NIGHT Louise and Jimmy are wrapped in each other's arms, quietly making love. Through this, Jimmy is ardent. JIMMY Louise? I think you are so damn beautiful. I mean that. I always have. She smiles. Completely. LOUISE -LRB- whispering. -RRB- I think you're beautiful too.","EXT. SIESTA MOTEL - DAWN MONTAGE of early morning staff, a truck driver climbing into his cab with a silver thermos, squirrels hopping around on the ground.","INT. SIESTA COFFEE SHOP - DAWN TIGHT SHOT of coffee beginning to drip into an empty coffee pot. Louise and Jimmy are sitting in a booth, both on the same side. They are both playing with their wedding rings. JIMMY Do n't worry darlin'. I'll say I never found you. I'll say anything you want. We'll find a way to get you out of this, whatever it is. LOUISE Damn, Jimmy, did you take a pill that makes you say all the right stuff? JIMMY I'm choking on it. They sit for a minute. JIMMY Honey? Ummm. Do you want me to come with you? They look at each other, into each other and Jimmy can see that Louise is already gone. Louise is really touched that he asked her that but she knows it's impossible. She is very kind to him. LOUISE Oh. now. it's probably not such a good idea right now. I'll. catch up with you later, on down the road. In her hand she's been holding the ring in the black box. She puts it on the table and slides it back to him. He stops her, suddenly. He covers her hand with his. JIMMY You keep this! Jimmy is trying not to seem upset, so he's completely still. A taxi pulls up outside. LOUISE Your taxi's here. Jimmy pulls her to him and kisses her so passionately that employees in the coffee shop look away. A cook fans himself with a spatula. The taxi driver, who can see in, looks at his watch. JIMMY Are you happy, Louise? I just want you to be happy. Louise looks at her hand and Jimmy's hand. LOUISE I'm happy, sweetie. Happy as I can be. Jimmy gets up and leaves the coffee shop. Louise watches him go. A WAITRESS comes over and fills her coffee cup. WAITRESS Good thing he left when he did. We thought we were gon na have to put out a fire. The Waitress chuckles and the other waitresses do too. Louise waves to Jimmy in the back of the cab. The cab driver winks at her. She smiles to herself.","INT. THELMA'S MOTEL ROOM - MORNING The room is totally trashed. J.D. and Thelma are both asleep, naked and hanging off either side of the bed. J.D. starts to stir.","INT. HAL'S BEDROOM - MORNING Hal is in bed with is WIFE. He has to get up. He is holding his wife in his arms. HAL Honey? SARAH Yes, baby? HAL Do you think you could ever shoot someone? SARAH What? HAL Do you think you could ever think of a set of circumstances that would just cause you to haul off and shoot someone? SARAH I could shoot your cousin Eddie. HAL Why? SARAH Because he's an inconsiderate asshole. HAL I'm asking you seriously, Sarah, a stranger? SARAH I do n't know, honey. I guess it would depend. HAL On what? SARAH -LRB- trying to picture it. -RRB- Well, maybe if they were trying to hurt you or one of the kids. I'm sure I could shoot someone if they tried to hurt one of the children. HAL Yeah, I could too. But. I do n't know why I'm even asking you this. It's just. we ca n't place anybody at the scene but these two gals that everybody swears is sweet as pie. I do n't know. I keep hearing words - impossible - inconceivable. If just one person would say. SARAH Honey. Nothing's impossible. You just do n't shoot someone like that for no reason. Maybe he was askin' for it. Anyway, somebody's husband probably got ol' Harlan. HAL That's what everybody says. Only problem is nobody's husband was unaccounted for that night. Could you shoot Eddie in the face? At point blank range? SARAH -LRB- thinking. -RRB- In the leg. HAL -LRB- getting up. -RRB- I got ta go to Little Rock.","INT. COFFEE SHOP - MORNING Louise is sitting in the booth by herself. Thelma comes hurrying by. She looks disheveled but is grinning like an idiot. She sees Louise and charges into the coffee shop. Her energy and volume is several notches higher than the rest of the people in the coffee shop. There are a couple more customers in there now. Thelma slides into the booth seated directly across from Louise. THELMA Hi. She is shocked by Thelma's appearance. LOUISE What happened to your hair? THELMA Nothing. It got messed up. Louise is studying Thelma closely as Thelma squirms in her seat, barely able to contain herself. LOUISE What's wrong with you? THELMA Nothing. Why? Do I seem different? LOUISE Yes, now that you mention it. You seem crazy. Like you're on drugs. THELMA Well, I'm not on drugs. But I might be crazy. LOUISE -LRB- shaking her head. -RRB- I do n't think I wan na hear what you're gon na tell me. Thelma is just about to shriek when the Waitress comes over and puts a coffee cup on the table and pours some. Thelma gets a grip on herself for a moment then loses it as the Waitress goes away. THELMA Oh my God, Louise! I ca n't believe it! I just really ca n't believe it! I mean. whoa! Thelma is just laughing hysterically. Louise suddenly understands. LOUISE Oh, Thelma. Oh, no. THELMA I mean I finally understand what all the fuss is about. This is just a whole ` nother ball game! LOUISE Thelma, please get a hold of yourself. You're making a spectacle. THELMA You know, Louise, you're supposed to be my best friend. You could at least be a little bit happy for me. You could at least pretend to be slightly happy that for once in my life I have a sexual experience that is n't completely disgusting. LOUISE I'm sorry. I am happy. I'm very happy for you. I'm glad you had a good time. It's about time. Where is he now? THELMA Taking a shower. LOUISE You left that guy alone in the room? Louise is getting a bad feeling. She is already standing up putting money on the table. LOUISE Where's the money, Thelma? Thelma has forgotten all about the money. THELMA Ummm. it's on the table. It's okay. They are both leaving the restaurant now. As they hit the door they both break into a full run. THELMA I do n't remember.","EXT. MOTEL PARKING LOT - DAY They run across the parking lot around the back to the room. The door is ajar and no one is in the room. Louise goes in and Thelma stays outside the door. THELMA Goddamnit! I've never been lucky! Not one time! Louise comes back outside. She does n't say anything. She is stoic, fighting tears. THELMA Shit. That little sonofabitch burgled me. I do n't believe it. Louise sits down on the sidewalk in front of the room. Thelma comes and sits beside her. Neither one says anything for a moment. THELMA Louise? Are you okay? Louise shakes her head no. THELMA Louise. It's okay. Louise? I'm sorry. I mean it. Louise has seen the end of the tunnel and there is no light. LOUISE It's not okay, Thelma. It's definitely not okay. None of this is okay. What are we going to do for money? What are we gon na buy gas with? Our good looks? I mean. Goddamn, Thelma! Louise quietly starts to fall apart. This causes Thelma to leap into action. THELMA Come on. Stand up! Do n't you worry about it. I'll take care of it. Just do n't you worry about it. Get your stuff. Louise is still sitting on the sidewalk. THELMA Come on! Damnit, get your stuff and let's get out of here! Louise slowly gets to her feet. THELMA Move! -LRB- to herself. -RRB- Jesus Christ, take your damn time. Thelma is hauling stuff out of the car.","EXT. MOTEL PARKING LOT - MORNING TIGHT SHOT of rear wheel of green T - Bird LAYING RUBBER out of the motel parking lot. Thelma and Louise, both looking a little rougher than we've seen so far, drive away.","EXT. THELMA'S HOUSE - DAY Hal, FBI Man, various other police and detective types, pull up in front of the house. The front door swings open and there stands Darryl looking like he's been shot out of a cannon.","EXT. STREET - DAY Louise and Thelma pull into a convenience store.","INT. THELMA'S HOUSE - DAY Police are tapping the phones, dusting for prints, etc., while Darryl sits motionless in his recliner with a dull expression on his face. HAL -LRB- to Darryl. -RRB- As you know, we've tapped your phone. In the event that she calls in. Max comes up and joins them as they walk down the hallway. MAX We're going to leave someone here at the house in the event that she calls in. Someone will be here until we find them. HAL The important thing is not to let on that you know anything. We want to try and find out where they are. Now I do n't want to get too personal, but do you have a good relationship with your wife? Are you close with her? DARRYL Yeah, I guess. I mean, I'm about as close as I can be with a nut case like that. MAX Well, if she calls, just be gentle. Like you're happy to hear from her. You know, like you really miss her. Women love that shit.","EXT. CONVENIENCE STORE - DAY Thelma and Louise are sitting in the car. They've put all their money together. LOUISE Eighty - eight dollars ai n't gon na make a dent, baby girl. THELMA -LRB- getting out of the car. -RRB- Do n't worry about it. You want anything? LOUISE No. Thelma marches off to the store. Louise puts a tape in the deck and is listening to loud R&B MUSIC. She checks herself in the rearview mirror. She takes her lipstick out and is about to put it on. She makes eye contact with herself and, instead, throws it out the window, closes her eyes and leans her head back on the seat. She's in a world of shit. Thelma comes trotting out of the store and jumps into the car. THELMA -LRB- breathless. -RRB- Drive! Louise looks at her. THELMA Drive! Drive away! LOUISE -LRB- driving away. -RRB- What happened? Thelma opens her purse and exposes a bag full of bills. LOUISE What? You robbed the store? You robbed the Goddamn store?! Thelma shrieks with excitement. Louise is completely stunned. THELMA Well! We needed the money! It's not like I killed anybody, for God's sake. Louise shoots her a look. She puts the car in gear and FLOORS it out of the parking lot. She is still looking at Thelma as if she has completely lost her mind. THELMA I'm sorry. Well, we need the money. Now we have it. LOUISE Oh shit, Thelma! Shit! Shit! Shit! THELMA -LRB- sternly. -RRB- Now you get a grip, Louise! Just drive us to Goddamn Mexico, will ya! LOUISE Okay. Shit, Thelma! What'd you do? I mean, what did you say? THELMA Well, I just.","INT. POLICE STATION - INTERROGATION ROOM - DAY Hal, Max, various other cops, and Darryl all watch as TV plays back VCR TAPE of Thelma in the convenience store pulling a gun. In perfect lip sync is : THELMA -LRB- V.O. -RRB- Alright, ladies and gentleman, let's see who'll win the prize for keepin' their cool. Everybody lie down on the floor. If nobody loses their head, then nobody loses their head. TIGHT SHOT of Darryl's face going deeper and deeper into a state of shock. TIGHT SHOTS of Hal, Max, etc., all looking intently at the screen. VIDEO IMAGE of Thelma boldly ordering cashier to fill her purse with money. As he's loading the purse with bills, she's taking beef jerky from the display and putting it in there, too, while she points the gun at the cashier. THELMA -LRB- V.O. -RRB- -LRB- videotape playback. -RRB- You, sir. You do the honors. Just empty that cash into this bag and you'll have an amazing story to tell all your friends. If not, you'll have a tag on your toe. You decide. CUT TO :","INT. CAR - DAY Thelma and Louise in car, driving. LOUISE -LRB- incredulous. -RRB- Holy shit. CUT TO :","INT. POLICE STATION - INTERROGATION ROOM - DAY DARRYL Jesus Christ. MAX Good God. HAL -LRB- wearily. -RRB- My Lord.","EXT. DRIVING SHOT - DAY LOUISE Holy shit. THELMA Lem me see the map. Louise throws the map across the front seat at Thelma and FLOORS it. FADE TO BLACK.","INT. JIMMY'S APARTMENT BUILDING - DAY Jimmy is entering the apartment building, carrying his overnight bag. Two men are sitting on the stairs. They stand as he comes in. They are plainclothes police. They show their badges. He leaves with them.","EXT. ROAD - TIGHT SHOT - J.D.'S BACKSIDE - DAY made only more prominent by the bulging wallet in his back right pocket. J.D. is walking down the road and continues to walk as an Oklahoma State Patrol car pulls up alongside him. He smiles and gives a friendly wave as they cruise along slowly beside him. We can see the cop nearest him talking, and then we see J.D. stop walking and set down his duffel bag. He reaches for his wallet. It's clear that they have asked for some I.D.","EXT. RURAL ROAD - DAY Louise is driving. They fly past a kid on his bike on a long gravel driveway. He watches them. A huge cloud of dust blows up as they pass him. He turns and rides his bike down the driveway towards the house.","INT. CAR - DAY THELMA Louise, you'd better slow down. I'll just die if we get caught over a speeding ticket. Louise looks at the speedometer touching 80 mph and lets her foot off the gas. Louise is looking a little nervous. LOUISE For the first time in my life, I wish this car was n't green. THELMA Are you sure we should be driving like this? In broad daylight and everything? LOUISE No we should n't, but I want to put some distance between us and the scene of our last Goddamn crime! THELMA Oooooweee! You shoulda seen me! Like I'd been doin' it all my life! Nobody would ever believe it. LOUISE You think you've found your calling? THELMA Maybe. Maybe. The call of the wild! Thelma howls like a dog and drinks a little bottle of Wild Turkey. LOUISE You're disturbed. THELMA Yes! I believe I am!","INT. POLICE STATION - INTERROGATION ROOM - DAY Jimmy is in a small room with Hal, Max, other cops, looking stunned. JIMMY I swear to God, she would n't tell me one thing! Christ! You oughta try to find that kid that was with'em. HAL Tell us about him. JIMMY Just some young guy. Around twenty years old. Dark hair. Jimmy is really upset and has to really struggle to control himself. JIMMY -LRB- trying to remember him. -RRB- They said they'd picked him up along the way. He was a student. But he did n't look right. But he left when they got to the motel. MAX Do you understand that you may be facing an accessory charge? HAL This is serious, son. A man is dead. JIMMY I know! I'd tell you if I knew! Goddamn! I know something happened, or she would n't have left. I'm trying to remember everything! Find that fucking kid. He probably knows something.","EXT. DRIVING SHOT - DAY Thelma and Louise are in the car. Thelma is taking empty little Wild Turkey bottles out of her purse and throwing them out the window. LOUISE So what's the plan, Thelma? You just gon na stay drunk? THELMA Try to. LOUISE Litterbug. They come ROARING up on a semi - tanker carrying gas. We see their FISH - EYE REFLECTIONS in the shiny tanker. The mud flaps are the shiny silhouettes of naked women that Thelma and Louise saw earlier. The truck is going slower than they are. LOUISE Aw, great. This always happens. Whenever you're in a hurry. She noses out to see if she can pass, but there's a car coming. The car passes and the truck HONKS. The truck driver's arm comes out his window and waves them past. THELMA Is n't that nice? Truck drivers are always so nice. The best drivers on the road. As they get next to the truck, the truck driver is smiling and waving at them. They smile and wave back. He flicks his tongue at them. Louise screams. THELMA/LOUISE Ugh! Gross! Oh my God! Aw, God! Louise FLOORS it and speeds past him. THELMA Ugh! Why do they have to do that? LOUISE They think we like it. Maybe they think it turns us on. Louise shivers with disgust.","INT. POLICE STATION - INTERROGATION ROOM - DAY Jimmy is looking at police mug shots of a lot of young guys. Hal shows Jimmy a mug shot of J.D. HAL Is this the guy you saw them with? JIMMY -LRB- looking closely. -RRB- It's him. MAX -LRB- clapping his hands. -RRB- Oh, happy day. JIMMY You got ta be kiddin' me. They picked up a murderer?! HAL Armed robber. JIMMY Oh, great. MAX -LRB- to Hal. -RRB- They're flying him here right now. He was picked up this morning for parole violation. They also found about six grand on him, so he probably knocked over something while he was out there. They can drop him by here for questioning. I'm so happy. JIMMY -LRB- overhearing. -RRB- How much cash did he have?","EXT. POLICE STATION - DAY J.D. arriving, handcuffed, at State Police building.","EXT. DIRT ROAD - DAY The T - Bird is entering terrain that looks more like desert. The top of the T - Bird is up.","INT. CAR - DAY LOUISE Thelma. THELMA Yeah. LOUISE I want you to call Darryl. THELMA What for? LOUISE To find out if he knows anything. If you think he does, you got ta hang up because it means the police have told him and the phone is probably tapped. THELMA Jeez, Louise, tapped the phone? You think so? LOUISE -LRB- agitated. -RRB- Oh, come on! Murder one and armed robbery, Thelma! THELMA Murder one! God, Louise, ca n't we even say it was self - defense? LOUISE But it was n't! We got away! We were walkin' away! THELMA They do n't know that! It was just you and me there. I'll say he raped me and you had to shoot him! I mean, it's almost the truth! LOUISE It wo n't work. THELMA Why not?! LOUISE No physical evidence. We ca n't prove he did it. We probably ca n't even prove he touched you by now. They both pause for a moment. THELMA God. The law is some tricky shit, is n't it? Then : THELMA How do you know ` bout all this stuff anyway? Louise does not answer the question. LOUISE Besides, what do we say about the robbery? No excuse for that. No such thing as justifiable robbery. THELMA Alright, Louise!","EXT. DIRT ROAD - HELICOPTER SHOT - DUSK As the sun sets, the T - Bird drives deeper into the vast desert.","INT. POLICE STATION - NIGHT Darryl is sitting in the hallway. Two officers are leading J.D. down the hall. Hal, Max, other plainclothes officers follow. Darryl looks at Hal questioningly. Hal does n't respond and the entourage quickly goes into a room. Darryl stands and crosses the hall to the room as the door shuts in his face. DARRYL -LRB- yelling at the door. -RRB- Hey! Hey!","INT. POLICE STATION - INTERROGATION ROOM - NIGHT J.D. Who's the nut? HAL That's Thelma Dickinson's husband. J.D. Aw, God.","INT. POLICE STATION - HALLWAY - NIGHT Darryl tries the doorknob, but the door is locked.","INT. POLICE STATION - INTERROGATION ROOM - NIGHT Hal, Max, J.D., other officers. There is a VCR and monitor set up in the room and they view the videotape of Thelma in the convenience store. J.D. -LRB- pleased. -RRB- Alright! She did good! Did n't she? HAL Well, son, she's doin' a damn sight better'n you right now. MAX Where did you get $ 6600.00 in cash? J.D. A friend. HAL We spoke with a gentlemen today who says he personally delivered very close to that same amount to a Miss Louise Sawyer. Do you know her too? J.D. Umm, yes. She was driving. HAL He said he took it to a motel in Oklahoma City. He also says that at that time he met a man. He identified you through a series of mug shots. He also told us that you and Mrs. Dickinson seemed `` close.'' Is that true? J.D. You might say we had a meeting of the minds, yes. MAX Did you know that Mrs. Dickinson and Miss Sawyer are wanted in connection with a murder? J.D. What?! HAL Did either of them ever indicate that they might be running from the Law? J.D. -LRB- surprised to hear this. -RRB- Now that you mention it, they might have been a little bit jumpy. HAL You know what? You're starting to irritate me. MAX Yeah. Me too. Hal thinks for a moment and then looks to Max. HAL Do you mind if I have a word with him alone for a minute. Max agrees and opens the door for the others to leave. He and Hal make eye contact before Max closes the door. J.D. What?! What'd I do? Hal sits down across the table from J.D. and looks at him. HAL Son, I got ta feelin' about somethin' and I just wan na ask your opinion. Do you think Thelma Dickinson would have committed armed robbery if you had n't taken all their money? J.D. does n't say anything. They both just sit there for a moment. HAL Cat got your tongue? J.D. shifts in his chair. J.D. How do you know I took it? How do you know they did n't just give it to me? HAL There's two girls out there that had a chance, they had a chance! And you blew it for'em. Now they've gotten in some serious trouble, some very serious trouble and for at least part of it, I'm gon na hold you personally responsible for anything that happens to them. I've got no feelin' for you. But I may be the only person in the world who gives a rat's ass what happens to them and you're either gon na tell me every damn thing you know, so there's a small chance I can actually do them some good, or I'm gon na be all over you like a fly on shit for the rest of your natural life. Your misery is gon na be my goddamn mission in life. That's a sincere promise. Hal walks over and opens the door and Max and the others straggle back in. HAL Now, for one thing, you violated your parole two days out. And you know Judge Hainey. He hates this sort of thing. Once he gets wind of this, he's gon na blow sky high. And then when he finds out that you're a possible accessory to murder and armed robbery, well, I think we can safely place your ass back in the slammer for at least the remaining eight, do n't you? MAX Oh, definitely. J.D. -LRB- convinced. -RRB- Okay. Is somebody gon na write this down?","INT. POLICE STATION - NIGHT Darryl is sitting in the hallway. Hal comes out of the room first. HAL Mr. Dickinson, if you'll just hang on, I want a word with you and then we'll take you home. Police officers lead J.D. out of the interrogation room, down the hallway. Darryl is watching J.D. closely. J.D. is smirking at him. J.D. -LRB- slyly, to Darryl. -RRB- I like your wife. DARRYL -LRB- going after him. -RRB- Come back here, you little shit! Hal and another police officer are restraining Darryl. J.D. is led off down the hall.","EXT. GAS STATION - NIGHT Louise and Thelma pull into a gas station.","EXT. GAS STATION - NIGHT A gas station attendant approaches as Louise and Thelma are getting out of the car. LOUISE -LRB- to attendant. -RRB- Fill her up. -LRB- to Thelma. -RRB- There's a phone right over there. THELMA Let's get it over with. Thelma and Louise walk to the phone. LOUISE I'm not kidding, Thelma. If you think he knows, even if you're not sure, hang up.","INT. THELMA'S HOUSE - NIGHT The TV is ON and the place is a mess. Darryl, Hal, Max, and other cops spring into action as the phone RINGS, putting on headsets, turning on tape recorders. Darryl picks up the phone. DARRYL Hello.","EXT. PAY PHONE - NIGHT THELMA Darryl. It's me.","INT. THELMA'S HOUSE - NIGHT Hal, Max, etc., all are gesticulating wildly. DARRYL -LRB- real friendly. -RRB- Thelma! Hello!","EXT. PAY PHONE Thelma hangs up the phone. THELMA -LRB- matter - of - factly. -RRB- He knows.","INT. THELMA'S HOUSE - NIGHT Everyone is very disappointed, taking off their headsets, turning off tape recorders and looking at Darryl like he's an idiot. HAL Shit. Darryl still holds the phone in his hand. DARRYL What?! All I said was hello.","EXT. PAY PHONE - NIGHT Thelma and Louise are staring at each other intently. Louise steps up to the phone. LOUISE You got any change? Thelma digs in her bag and hands Louise a roll of quarters. Louise gets out of the car and goes to the pay phone. Thelma follows her. She puts the money in and dials. It RINGS. LOUISE Darryl, this is Louise. Are the police there?","INT. THELMA'S HOUSE - NIGHT Again everybody springs into action. Darryl is fumbling with the phone. DARRYL Uh, no! No, why would any police be here? Hey, where are you girls, anyway? Darryl gives Hal and Max a look as if he's got it completely under control. Clever guy.","EXT. PHONE - NIGHT LOUISE Let me talk to whoever's in charge there?","INT. THELMA'S HOUSE - NIGHT DARRYL What are you talking about, Louise? Hal comes over and takes the phone away from Darryl. Hal looks at Max who nods, `` take it.'' HAL Hello, Miss Sawyer. I'm Hal Slocumbe, Chief Investigator, Homicide, Arkansas State Police. How are you?","EXT. PHONE - NIGHT LOUISE -LRB- chuckling. -RRB- I've been better. HAL -LRB- V.O. -RRB- You girls are in some hot water. LOUISE Yes, sir. I know.","INT. THELMA'S HOUSE - NIGHT HAL You're both okay? Neither one of you hurt? You're bein' careful with that gun?","EXT. PHONE - NIGHT LOUISE We're both fine. HAL -LRB- V.O. -RRB- Good. You wan na tell me what happened? LOUISE Sure. Maybe over coffee sometime. I'll buy.","INT. THELMA'S HOUSE - NIGHT HAL I just want you to know, neither one of you are charged with murder yet. You're still just wanted for questioning. Although, now, Mrs. Dickinson's wanted in Oklahoma for armed robbery.","EXT. PHONE - NIGHT LOUISE No kiddin'. Listen, we got ta go. I'll call you back, all right? Louise looks at her watch. HAL -LRB- V.O. -RRB- Miss Sawyer, I do n't think y' all are gon na make it to Mexico. We should talk. Please. I wan na to help you. On hearing this Louise mouths the word `` shit'' in a very frustrated way. Louise hangs up the phone.","INT. THELMA'S HOUSE - NIGHT All are busy trying to see if the call was traced. Darryl is back in his recliner still in shock.","EXT. PAY PHONE - NIGHT She is stomping back to the car. Thelma follows doggedly. A moving van pulls in and parks in the b.g. LOUISE That J.D. kid is a little shit. THELMA What. Louise stops as she is about to get in and faces Thelma who's standing on the other side of the car. LOUISE How'd they find out we're going to Mexico, Thelma, how they know that? THELMA I. I. LOUISE You told that thievin' little shit where we were goin'?! Louise yanks open her car door, gets in and slams the door and fires up the ENGINE. Thelma hops in quickly. THELMA I just told him if he ever gets to Mexico to look us up. I asked him not to tell. I did n't think he would tell anybody. LOUISE Why not?! What's he got to lose? Other than my life's savings, that is. Shit! Louise careens back onto the road. THELMA I'm sorry. I mean I. Louise slams on the brakes. LOUISE Goddamnit, Thelma! Let me explain something to you. Right now we have only two things goin' for us. One, nobody knows where we are, and two, nobody knows where we're going. Now, one of our things that was going for us is gone! Louise stops yelling for a moment groping for self - control. Thelma looks pitiful. LOUISE Just stop talkin' to people, Thelma! Stop bein' so open! We're fugitives now. Let's behave that way! THELMA You're right.","EXT. LONELY ROAD - NIGHT (MUSCO LIGHT) The T - Bird flashes by on a road that looks a lot like Route 66. THELMA -LRB- V.O. -RRB- Louise? Where are we? LOUISE -LRB- V.O. -RRB- Just past Boise City. THELMA -LRB- V.O. -RRB- Idaho? LOUISE -LRB- V.O. -RRB- Oklahoma, Thelma. We're crossing into New Mexico. THELMA -LRB- V.O. -RRB- I always wanted to see New Mexico.","EXT. THELMA'S POV - OUT PASSENGER WINDOW - PITCH BLACK","EXT. BACK ROAD - NIGHT The car goes streaking by.","INT. THELMA'S HOUSE - NIGHT (MUSCO LIGHT) All's quiet. The large screen TV is ON and the room is filled with dense smoke. Hal, Max, sit at a table going over paperwork. Other plainclothes and surveillance guys play cards. Darryl sits crumpled in his recliner staring blankly at the TV.","INT. JIMMY'S APARTMENT - NIGHT Jimmy sits on his couch with his guitar while two plainclothes cops sit reading the paper, doing the crossword puzzle.","INT. CAR - NIGHT Thelma is sipping on a little Wild Turkey. THELMA Now what? LOUISE Now what what? THELMA Whaddo we do? LOUISE Oh, I do n't know, Thelma. I guess maybe we could turn ourselves in and spend our lives trading cigarettes for mascara so we can look nice when our families come to visit us on Saturdays. Maybe we could have children with the prison guards. THELMA I'm not suggestin' that! I'm not goin' back. No matter what happens. So do n't worry about me. Louise speeds up. Thelma hands Louise a little bottle of Wild Turkey and she drinks it down. Thelma has one too. THELMA Can I ask you kind of a weird question? LOUISE Yeah. THELMA Of all the things in the world that scare you, what's the worst thing that scares you the most? LOUISE You mean now or before? THELMA Before. LOUISE I guess I always thought the worst thing that could happen would be to end up old and alone in some crummy apartment with one of those little dogs. THELMA What little dogs? LOUISE You know those little dogs you see people with? THELMA Like a Chihuahua? LOUISE Those, too, but you know those little hairy ones? Those flat - faced little fuckers with those ugly goddamned teeth? THELMA Oh yeah. You mean Peek - a - poos. LOUISE Yeah. Those. That always put the fear of God in me. What about you? THELMA Well, to be honest, the idea of getting old with Darryl was kinda startin' to get to me. LOUISE I can see that. THELMA I mean, look how different he looks just since high school. It's bad enough I have to get old, but doin' it with Darryl around is only gon na make it worse. -LRB- quieter. -RRB- I mean, I do n't think he's gon na be very nice about it. LOUISE Well, now, maybe you wo n't have to. THELMA Always lookin' on the bright side, are n't ya?","EXT. MOONLIT DESERT HIGHWAY - NIGHT (MUSCO LIGHT) They are driving through Monument Valley. The T - Bird speeds through the beautifully moonlit desert. It is almost like daylight. MONTAGE of silhouettes of cacti, huge rock formations, desert beauty SHOTS, etc..","INT. CAR - POV THROUGH WINDSHIELD - NIGHT The sky is bright and expansive and the road goes on forever. THELMA This is so beautiful. LOUISE Gosh. It sure is. THELMA I always wanted to travel. I just never got the opportunity. LOUISE Well, you got it now. They both look forward for another moment. And then, at the same time, they look at each other, each taking the other one in completely, in this moment. They're saying everything to each other in this moment, but their expressions do n't change and they do n't say a word. MUSIC plays on the RADIO.","EXT. DESERT HIGHWAY - NIGHT A semi - gas tanker is up ahead on the road. It looks like the one they saw earlier. It's got the same mud flaps.","INT. CAR - NIGHT LOUISE Look! Look who it is, Thelma. I'll be darned. What's he doin' way out here. THELMA Just ignore him. Louise passes him and, as she does, he HONKS. They look up and he is wildly pointing to his lap. LOUISE Oh, Christ. I hate this guy. THELMA We should have just ignored him.","EXT. DESERT HIGHWAY - DAWN (OVER MUSIC) The car is flying down the road.","INT. CAR - DESERT HIGHWAY - DAWN They are quiet for a moment, then Thelma starts quietly laughing to herself. She is trying to stop but can not. LOUISE What? THELMA -LRB- shaking with laughter. -RRB- Nothing. It's not funny. LOUISE What? What's not funny, Thelma! Thelma is trying to compose herself but can not. THELMA Okay, but. -LRB- she can barely speak. -RRB- I ca n't say. Thelma is n't making a sound. She is stuck in a convulsion of laughter. LOUISE What?! THELMA -LRB- gasping for air. -RRB- Harlan. LOUISE What?! What about him?! THELMA Just the look on his face when you. -LRB- she is falling apart again. -RRB-. it's not funny. LOUISE -LRB- shocked. -RRB- Now, Thelma, that is not. Thelma is still trying to get a grip on herself. THELMA Boy, he was n't expectin' that! LOUISE -LRB- scolding. -RRB- Thelma! THELMA -LRB- impersonating Harlan. -RRB- Suck my dick. Boom! Thelma is laughing wildly. LOUISE -LRB- quietly. -RRB- Thelma. It's not funny. Thelma has just crossed the line from laughing to crying. THELMA -LRB- trying to catch her breath. -RRB- I know! They both get quiet. Thelma leans back just watching Louise. She studies her as if she's never really seen her before. All of a sudden a look of shocked realization comes over Thelma's face. She jerks upright and startles Louise. THELMA -LRB- carefully. -RRB- It happened to you. did n't it? Louise knows what she is talking about. She becomes immediately agitated. LOUISE I do n't want to talk about it! Thelma, I'm not kidding! Do n't you even. THELMA in Texas. did n't it? That's what happened. Oh my God. Louise looks as if she is looking for a way to flee. LOUISE -LRB- fighting hysteria. -RRB- I'm warning you, Thelma. You better drop it right now! I do n't want to talk about it! THELMA -LRB- gently. -RRB- Okay, Louise. It's okay. Louise's eyes are wild, not seeing, while Thelma now seems completely serene.","EXT. DESERT HIGHWAY - DAWN The car is SCREAMING down the road. They drive through a little stand of buildings.","EXT. DESERT HIGHWAY - LONG LENS SHOT - DAWN A car speeds up to try and catch them. The red and blue lights pop on. It is a New Mexico State Patrol car.","INT. CAR - DAY Louise sees the lights in the rearview mirror. LOUISE'S POV OF THE SPEEDOMETER at 100 mph. Thelma is asleep. LOUISE Shit! Thelma, wake up! Shit! We're gettin' pulled over! Thelma jumps awake. THELMA What! What! Oh shit! Oh no! They are trying not to panic. They are slowing down, but still doing 70 mph. The patrol car is right behind them. THELMA What do we do? What do you want to do?! LOUISE I do n't know! Shit! Let's just play it by ear. He may not know. He may just give me a ticket. THELMA Please, God, please do n't let us get caught. Please, please, please. Louise pulls the car off the road. The patrol car pulls up right behind them. The lights shine brightly in through the windows.","EXT. SIDE OF DESERT HIGHWAY - DAY PATROLMAN -LRB- O.S. ; OVER P.A. -RRB- Turn off your engine. Louise does. The PATROLMAN gets out of his car and approaches their car. He comes to the driver's side window. It is rolled up. PATROLMAN'S POV OF LOUISE smiling up at him. He gestures to her to roll her window down. She does. LOUISE Hello, Officer. Is there a problem? PATROLMAN You wan na let me see your license, please? Louise fumbles in her purse for her wallet, opens it and shows her license. PATROLMAN You wan na take it out of your wallet, please? LOUISE Oh yeah. She does and hands it to him. THELMA I told you to slow down. Hell, Officer, I told her to slow down. LOUISE About how fast was I going? PATROLMAN About a hundred and ten. You wan na step out of the car, please? They walk to the back of the car. He notes the license plate number. PATROLMAN Is this your car? LOUISE Yes. PATROLMAN You wan na come with me, please? Walk around and get in the car, please. LOUISE In the back? PATROLMAN Front. LOUISE Am I in trouble? PATROLMAN As far as I'm concerned, yes, ma'am, you are. Patrolman gets in the driver's side. He picks up a clipboard and clips Louise's driver's license to it. He picks up the hand mike for the radio and, as he does, a hand with a gun comes in his car window. It's Thelma and she puts the gun to his head. THELMA Officer, I am so sorry about this. Could you let go of that? He drops it. THELMA I really, really apologize, but please put your hands on the steering wheel. See, if you get on that radio, you're gon na find out that we're wanted in two states and probably considered armed and dangerous, at least I am, then our whole plan would be shot to hell. Louise, take his gun. Louise reaches over and takes his gun. LOUISE -LRB- apologetic. -RRB- I am really sorry about this. THELMA I swear, before yesterday, neither one of us would have ever pulled a stunt like this. But if you ever met my husband, you'd know why I just can. You wan na step out of the car, please? -LRB- she opens the door for him. -RRB- You wan na put your hands on your head, please? Louise, shoot the radio. LOUISE What? THELMA Shoot the radio! Louise SHOOTS the car radio. The cop flinches with each shot. THELMA The police radio, Louise! Jesus! Louise fires TWO SHOTS into the police radio. It BLASTS all to hell. THELMA You wan na step to the back of the car, please. Louise, bring the keys. Louise reaches over and takes the keys. She takes her license off the clipboard. She gets out and trots around to the back of the car. Thelma is holding the gun on the Patrolman. Suddenly Thelma FIRES the gun, blowing two holes into the trunk cover. THELMA -LRB- to Louise. -RRB- Open to trunk. Louise opens the trunk. THELMA -LRB- to Patrolman. -RRB- You wan na step into the trunk, please? PATROLMAN Ma'am, please. I got kids. a wife. THELMA You do? Well, you're lucky. You be sweet to'em. Especially your wife. My husband was n't sweet to me and look how I turned out. Now go on, get in there. As he's climbing into the trunk, Thelma explains to Louise : THELMA Air holes. He's all the way in and Louise closes the trunk.","INT. PATROL CAR - DAY Thelma opens the glove compartment. She takes a box of spare ammo and closes it. Thelma takes the keys and gets out of the car. She walks around to the trunk.","EXT. PATROL CAR - DAY THELMA -LRB- to trunk. -RRB- Sorry! LOUISE -LRB- from her car. -RRB- Sorry! Thelma hops into the car with Louise. They look at each other. LOUISE Ready? THELMA Hit it. Louise pulls the car back onto the road and they drive away.","INT. CAR - DAY THELMA -LRB- shaking her head. -RRB- I know it's crazy, Louise, but I just feel like I've got a knack for this shit. LOUISE I believe you.","EXT. CAR - MONTAGE DRIVING SHOTS - DAY They are in really beautiful country now. THELMA -LRB- V.O. -RRB- Drive like hell.","INT. THELMA'S KITCHEN - MORNING Hal and Max are alone in the kitchen. Hal switches on the Mr. Coffee. MAX It's just not working like this. We got ta do something. It'd be one thing if these girls were hardened criminals, but Jesus, Hal, this is makin' us look bad. I do n't know. maybe they're not movin'. Maybe that little creep lied. HAL He's got nothin' to gain by lyin'. Nothin' at all. He already got all their money. I just do n't know what we're dealin' with here. Anyway, it went out again last night on Nationwide Teletype. Let's just wait it out a little longer. She said she was gon na call back. Let's just sit tight. MAX We do n't have a whole lotta choice, do we? I ca n't figure out if they're real smart or just really, really lucky. HAL It do n't matter. Brains will only get you so far and luck always runs out. A cop walks into the kitchen and hands Hal a file that says Louise Elizabeth Sawyer on the outside. He opens it up and starts looking through a personal history. One piece of paper is a case file from Texas containing an incident report of a rape. Stamped across it are the words `` charges dropped.''","INT. CAR - DAY THELMA Louise. are we still going to Mexico? LOUISE Yes. Thelma pauses while she searches for the logic. THELMA Then are n't we going in the wrong direction? LOUISE Well, I figure if you take a state policeman, shoot up his car, take his gun and lock him in the trunk, it's best to just get on out of the state if you can. THELMA Just asking. They are both quiet for a second. Louise goes a little faster. Thelma is digging through her bag. She hands Louise a piece of beef jerky. LOUISE I do n't want to see any more beef jerky. I mean the next beef jerky you hand me is going out the window. It's drivin' me crazy. The whole car smells like it. THELMA It's good. It's what the pioneers ate. LOUISE I do n't care what the damn pioneers ate. You just keep that shit away from me, now I mean it. Thelma puts down her bag. LOUISE And I do n't want any more Wild Turkey, either. It's burning a hole in my stomach. THELMA Okay, okay. I've got some tequila. You want some tequila? LOUISE You do? THELMA Yeah, you want it? LOUISE Yeah. Thelma starts to dig through her bag again. THELMA It's in here somewhere. Louise is rubbing her face. She looks pretty bad. Her hands are shaking. LOUISE Shit. I'm gettin' tired. THELMA Are you alright? Louise does not really seem alright. LOUISE I think I've really fucked up. I think I've got us in a situation where we could both get killed. Why did n't we just go straight to the police. THELMA You know why. You already said. LOUISE What'd I say again? THELMA Nobody would believe us. We'd still get in trouble. We'd still have our lives ruined. And you know what else? LOUISE What? THELMA That guy was hurtin' me. And if you had n't come out when you did, he'd a hurt me a lot worse. And probably nothin' woulda happened to him.'Cause everybody did see me dancin' with him all night. And they woulda made out like I asked for it. And my life woulda been ruined a whole lot worse than it is now. At least now I'm havin' fun. And I'm not sorry the son of a bitch is dead. I'm only sorry that it was you that did it and not me. And if I have n't, I wan na take this time to thank you, Louise. Thank you for savin' my ass. LOUISE I said all that? THELMA No, Louise, you said the first part. I said all the rest. LOUISE -LRB- tired. -RRB- Whatever.","EXT. ROADSIDE REST STATION - MORNING Louise is at a pay phone as the sky is just starting to get light. Thelma is in the bathroom nearby. Louise has already dialed and the phone is RINGING.","INT. THELMA'S HOUSE - MORNING The TV DRONES on in the b.g. as the phone RINGS there, everyone leaps into action again. Max picks up the phone. MAX Hello. LOUISE -LRB- V.O. -RRB- Let me speak to. Slocumbe. MAX -LRB- to Hal. -RRB- She wants to talk to you. HAL Hello, Louise.","EXT. PAY PHONE - MORNING LOUISE Hey. HAL -LRB- V.O. -RRB- How are things goin' out there? LOUISE Weird. Got some kind of snowball effect goin' here or somethin'. HAL -LRB- V.O. -RRB- You're still with us though. You're somewhere on the face of the earth? LOUISE Well, we're not in the middle of nowhere, but we can see it from here.","INT. THELMA'S HOUSE - MORNING Hal smiles. HAL I swear. Louise, I almost feel like I know you. LOUISE -LRB- V.O. -RRB- Well. You do n't. HAL You're gettin' in deeper every moment you're gone. LOUISE -LRB- V.O. -RRB- Would you believe me if I told you this whole thing is an accident? HAL I do believe you. That's what I want everybody to believe. Trouble is, it does n't look like an accident and you're not here to tell me about it. I need you to help me here.","EXT. PAY PHONE - MORNING Louise does not answer. HAL -LRB- V.O. -RRB- Did Harlan Puckett. Through clenched teeth, repulsed : LOUISE -LRB- interrupting. -RRB- No! HAL -LRB- V.O. -RRB- You want to come on in? Louise thinks for a minute. LOUISE I do n't think so.","INT. THELMA'S HOUSE - DAY HAL Then I'm sorry. We're gon na have to charge you with murder. Now, do you want to come out of this alive? The surveillance man motions to Hal to keep it going. Darryl comes in and immediately realizes Hal is talking to Louise. Darryl looks attentively at Hal.","EXT. PAY PHONE - DAY LOUISE You know, certain words and phrases just keep floating through my mind, things like incarceration, cavity search, life imprisonment, death by electrocution, that sort of thing. So, come out alive? I do n't know. Let us think about that. HAL -LRB- V.O. -RRB- Louise, I'll do anything. I know what's makin' you run. I know what happened to you in Texas. Louise's eyes get wide as she hears this. A FINGER reaches up and presses down the lever and hangs up the phone. ANGLE OF THELMA She has her finger on the lever. THELMA Come on, Louise. Do n't blow it. Let's go. She walks away towards the car. Louise is still standing there holding the phone. Thelma stops and looks at her. THELMA Come on. Louise does n't move.","INT. THELMA'S HOUSE - DAY Frustrated, Hal slams down the phone. He looks over at the surveillance man who nods to say `` we got it.'' The whole room reacts excitedly. Everyone in the room springs into action. Max immediately picks up the phone and Hal watches him intently. He mouths the words to Max - `` I wan na go'' emphatically. Max slightly shakes his head, still of the phone. Hal goes charging over to Max. HAL Max. You got ta take me there! I'm. I'm the only one she's ever talked to. I do n't want anybody losin' their heads. You know what happens. The volume gets turned way up and the next thing you know those girls are gon na get shot. Max, still holding the phone, is surprised by this outburst. MAX -LRB- calmly. -RRB- Okay, Hal, okay.","EXT. PAY PHONE - DAY Louise is still standing there. THELMA Louise? LOUISE Yes, Thelma? THELMA You're not gon na give up on me, are ya? LOUISE What do you mean? THELMA You're not gon na make some deal with that guy, are you? I mean, I just wan na know. LOUISE No, Thelma. I'm not gon na make any deals. THELMA I can understand if you're thinkin' about it. I mean, in a way, you've got something to go back for. I mean Jimmy and everything. Louise is surprised to be hearing this from Thelma. LOUISE Thelma, that is not an option. THELMA But I do n't know. something's crossed over in me and I ca n't go back. I mean, I just could n't live. LOUISE I know. I know what you mean. I do n't wan na end up on the damn Geraldo Show. They are both quiet for a moment. LOUISE He said they're charging us with murder. THELMA -LRB- making a face. -RRB- Eeuww. LOUISE And we have to decide whether we want to come out of this dead or alive. THELMA Gosh, did n't he say anything positive at all? Louise STARTS the car. They lurch into reverse then SCREECH forward as they tear off down the road. WIDE SHOT OF CAR as they fly down the road. THELMA Louise, do you think we should change cars, get another car? LOUISE Sure. You know how to hotwire a car? THELMA No. LOUISE Well, let me know when you figure it out.","EXT. AIRSTRIP - DAY A car pulls up on an airstrip and stops next to a small jet. Hal and Max get out of the car and board the plane.","EXT. DESERT - DAY MONTAGE of driving shots as Louise and Thelma drive through the intense beauty of the Arizona desert.","INT. CAR - DAY THELMA You awake? LOUISE You could call it that. My eyes are open. THELMA Me too. I feel awake. LOUISE Good. THELMA Wide awake. I do n't remember ever feelin' this awake. Everything looks different. You know what I mean. I know you know what I mean. Everything looks new. Do you feel like that? Like you've got something to look forward to? Louise and Thelma both get quiet for a second. LOUISE We'll be drinkin' margaritas by the sea, Mamasita. THELMA We can change our names. LOUISE We can live in a hacienda. THELMA I wan na get a job. I wan na work at Club Med. LOUISE Yes! Yes! Now what kind of deal do you think that cop can come up with to beat that? THELMA It'd have to be pretty good. LOUISE It would have to be pretty damn good. They are both laughing. The car is still flying down the road. The sun is coming higher in the sky now. They come to an intersection in the middle of nowhere. Louise stops and looks at the map. LOUISE We should head a little further in. There's not that many roads in this state. I want to try to hit Mexico somewhere not so close to New Mexico. They probably wan na kill us in New Mexico. THELMA You're drivin'. Louise takes a right turn and speeds down the road.","EXT. DESERT ROAD - DAY Louise and Thelma are singing along to a wild R&B SONG. They do the hand movements as if they are the Supremes. They come roaring up on the semi - tanker, the same one they have seen three times before. THELMA -LRB- screaming over music. -RRB- Oh my God! Louise! Look! Look! See if that's him! LOUISE It's him. He's got California plates. It's the same guy. THELMA Pass him!","EXT. DESERT ROAD - DAY Louise bears down really hard and passes him. Again as they get right next to him, he blows kisses down at them. He is leering at them and laughing. Louise and Thelma drive further down the road. Louise pulls the car off to the side of the road. As the truck gets close they start waving to him to stop. He pulls his truck off the side of the road and stops. ANGLE ON Louise and Thelma smiling up at him. He chuckles to himself. He leans out the window. THELMA Hi! TRUCKER Hi there! You alright? THELMA We're fine! How are you? TRUCKER Grrrreat! LOUISE Follow us. They turn off onto a dirt road and pull to a stop.","INT. TRUCK CAB - DAY The Trucker reaches over and opens a glove compartment crammed full of condoms. He grabs a few and shoves them in his pocket. He turns off his engine and gets out of the truck.","EXT. SIDE OF ROAD - DAY He walks up to the car. Louise and Thelma get out of the car. THELMA Where you goin'? TRUCKER Fresno. LOUISE We been seein' you all along the way. TRUCKER Yeah. I been seein' you, too. THELMA We think you have really bad manners. Louise nods. LOUISE We were just wonderin' where you think you get off behavin' like that to women you do n't even know. This is not what is supposed to be happening. TRUCKER What? What are you talkin' about? LOUISE You know good and damn well what I'm talkin' about. THELMA I mean really! That business with your tongue. What is that? That's disgusting! LOUISE And, oh my God, that other thing, that pointing to your lap? What's that supposed to mean exactly? Does that mean pull over, I want to show you what a big fat slob I am or. THELMA Does that mean suck my dick? TRUCKER You women are crazy! LOUISE You got that right. THELMA We think you should apologize. He is getting a little panicky. TRUCKER I'm not apologizing for shit! LOUISE Say you're sorry. TRUCKER Fuck that. Louise pulls the gun they stole from the State Patrolman. LOUISE Say you're sorry or we'll make you fuckin' sorry. He looks at the gun. TRUCKER Oh, Jesus! THELMA You probably even called us beavers on your CB radio, did n't you? TRUCKER Yeah. sure did. THELMA Damn. I hate that! I hate bein' called a beaver, do n't you? LOUISE Are you going to apologize or not? TRUCKER Fuck you. Louise looks at his truck off in the distance. She points the gun at it, takes a second to get a bead, then SHOOTS two of the tires flat. The truck slowly sinks as the air escapes from the tires. TRUCKER Oh goddamn! You bitch! Louise and Thelma look at each other. They both turn towards the truck and FIRE rounds into the tankers until they EXPLODE in a huge ball of fire. The truck driver screams at the top of his lungs. Louise starts the car and starts driving in circles around the truck driver. Thelma and Louise are both howling at the top of their lungs. Thelma is sitting on the back of the front seat with her legs on the dashboard. TRUCKER You fucking bitch! Aaaaaaarrrgghh! You're gon na have to pay for that! I'm gon na make you pay for that! You hear me?! Louise stops the car right next to him. THELMA Shut up. Louise takes off again and Thelma falls into the back seat. They drive off trailing a huge cloud of dust.","EXT. DESERT - DAY Louise drives through the desert back towards the road, past the burning debris of the truck. As she gets to the road she stops. Thelma climbs into the front seat.","INT. CAR - DAY THELMA Hey. Where'd you learn to shoot like that? LOUISE Texas. You were right about what happened to me there. They pull away from the burning wreckage.","INT. CAR - DAY As Thelma and Louise talk, their voices are heard over the following scene. LOUISE -LRB- V.O. -RRB- You know what's happened, do n't you? THELMA -LRB- V.O. -RRB- What? LOUISE -LRB- V.O. -RRB- -LRB- smiling. -RRB- We've gone insane. THELMA -LRB- V.O. -RRB- Yup.","EXT. NEW MEXICO SIDE OF ROAD - DAY A battered old pickup truck is parked by the New Mexico State Patrol. An old man uses a crowbar to pry open the trunk. The New Mexico State Patrolman hops out of the trunk.","EXT. DESERT ROAD - HELICOPTER SHOT - DAY Police Bulletin VOICE OVER BEGINS AND PLAYS OVER following scenes : A police helicopter flies over the burning wreckage of the fuel truck. The truck driver is waving his arms as the helicopter descends, blowing dirt all over him.","INT. THELMA'S HOUSE - DAY Darryl sits practically comatose in a big chair. His eyes have a dull glaze as he stares first at one wall, then another.","INT. CAR - DAY A TIGHT SHOT of a TAPE being shoved into the cassette deck.","INT. FBI JET - DAY Max and Hal sit next to each other in the jet. Hal tries to appear as if he's used to all this. Max holds a cellular phone to his ear. TIGHT SHOT of Max as we hear through the phone : Police VOICE OVER becomes part of scene. POLICE -LRB- V.O. -RRB- -LRB- on phone. -RRB-. Abducted. shot up the car. stole the officer's weapon. tanker. blown up. terrorized. Max's face becomes troubled and more serious than we've seen so far. He looks at Hal as he hangs up the phone. MAX You're not even going to believe this.","EXT. FBI JET - DAY The jet banks off to the left.","EXT. DESERT ROAD - DAY WIDE SHOT of car speeding through the desert on an empty highway west. DRIVING SHOT - Thelma has her face to the sun with her eyes closed. Louise is driving with a fierce intensity. They hardly resemble the two women that started out for a weekend in the mountains two days earlier. Although their faces are tanned and lined and their hair is blowing wildly there is a sense of serenity that pervades.","EXT. HELIPORT - DAY Hal and Max are climbing out of the jet and running across the tarmac to a waiting helicopter. Max is carrying a walkie - talkie now.","INT. CAR - DAY Thelma sits up suddenly. An Arizona police car passes them going eastbound. THELMA Oh shit. Louise. Do you think he saw us? LOUISE I do n't know, but let's get off. LOUISE'S POV - REARVIEW MIRROR The police car cuts across the median to begin pursuit of the girls. The lights are flashing.","INT. CAR - DAY LOUISE Is your seat belt on? Thelma puts her seat belt on. Louise floors the car and it streaks off, putting some distance between them and the police car. Thelma looks back at the police car. She looks scared. THELMA I guess we shoulda made some kinda plan for what to do if we get caught. LOUISE Yeah, right. We're not gon na get caught.","INT. ARIZONA POLICE CAR - DAY STATE POLICEMAN is on his radio. POLICEMAN #1 requesting assistance. In pursuit of a green T - Bird, 1966 license, seven, one, nine, William, Zebra, Adam. RADIO -LRB- V.O. -RRB- Roger. Be advised. -LRB- breaks up. -RRB-. armed and extremely dangerous.","EXT. ARIZONA STATE POLICE HEADQUARTERS - DAY A steady stream of state police cars pulls out of the parking lot with lights flashing while other policemen are running to their cars still parked in the lot.","INT. CAR - DAY THELMA How far are we from Mexico? LOUISE About two hundred and fifty miles. THELMA How long do you think that'll take?","EXT. DESERT ROAD - DAY There are now two police cars behind them about half a mile back. They are going really fast. A police helicopter catches up to them and orders them to stop. Thelma stands and flips them off. THELMA We're going to Mexico!","INT. CAR - DAY THELMA -LRB- looking back. -RRB- Uh oh. There's another one. Louise and Thelma both are looking back at the two police cars following them. They turn back around just in time to see a third Arizona State police car has pulled into the middle of an intersection of the only road that crosses it for miles. They both scream. Louise swerves just in time to keep from hitting it broadside. She goes off the road and has to struggle to pull her car back onto the road, leaving a huge cloud of dust. LOUISE Shit! THELMA Did you see that guy?! He was right in the middle of the road!","EXT. DESERT ROAD - DAY The first two police cars are approaching the same intersection. They are driving side by side. There is still a huge cloud of dust that now covers the third car in the middle of the intersection.","INT. POLICE CAR #1 - POV - DAY A huge cloud of dust blows across the road as he approaches the intersection. It clears to reveal the third police car in the middle of the road, just as he and police car # 2 reach the intersection. ANGLE ON POLICEMAN # 1 as he screams and swerves to the right.","INT. POLICE CAR #3 - DAY ANGLE ON POLICEMAN # 3 as he sees both police cars heading right for him at 120 mph. He screams and ducks down into the seat. ANOTHER ANGLE - POLICE CAR # 1 swerves to the right. Police car # 2 swerves to the left, both barely missing police car # 3. ANOTHER ANGLE as police car # 1 and police car # 2 both pull back onto the road right next to each other.","INT. POLICE CAR #3 - DAY Policeman # 3 sits up in the seat. He ca n't believe he is n't dead. He puts his car in gear and takes off down the road after them.","INT. CAR - DAY LOUISE -LRB- looking in rearview mirror. -RRB- Shit! THELMA What?! LOUISE What?! What d'you think?! THELMA Oh.","EXT. DESERT GHOST TOWN - DAY Louise and Thelma blow through a stand of buildings left from when the train went through here. There are two parallel streets on either side of the one they're on and, as they pass by buildings, they can see police cars ROARING down these parallel streets trying to `` head them off at the pass.'' Louise FLOORS it and her car screams ahead. LOUISE We probably shoulda filled up the car before we blew up that truck. THELMA Why? LOUISE They'll probably catch us when we have to stop for gas! THELMA I know this whole thing was my fault. I know it is. LOUISE There's one thing you oughta understand by now, Thelma, it's not your fault. THELMA Louise. no matter what happens, I'm glad I came with you. LOUISE You're crazy.","EXT. DESERT ROAD - DAY Louise swerves off the road and begins driving across the desert. All the police cars take off across the desert after them. They are now being pursued by at least fifteen cars.","INT. CAR - DAY THELMA You're a good friend. LOUISE You too, sweetie, the best. THELMA I guess I went a little crazy, huh? LOUISE No. You've always been crazy. This is just the first chance you've had to really express yourself. THELMA I guess everything from here on in is going to be pretty shitty. LOUISE Unbearable, I'd imagine. THELMA I guess everything we've got to lose is already gone anyway. LOUISE How do you stay so positive? They smile.","EXT. DESERT - DAY It does look like an Army. More police cars have joined, and from every direction, police cars are swarming across the desert, although none are in front of them. Way off in the distance, a helicopter joins the chase.","INT. CAR - DAY Thelma is looking way up ahead in the distance. THELMA Louise! LOUISE What?! THELMA What in the hell is that up there? LOUISE Where?! THELMA Way up ahead! Louise strains to see. Whatever it is, Louise is barreling towards it, the car leaving the ground as they fly through the desert. LOUISE Oh my God! Louise starts to laugh and cry at the same time. THELMA What in the hell is it?! LOUISE It's the Goddamn Grand Canyon!","EXT. DESERT - DAY Behind them is a huge wall of dust created by all the police cars following them. In front of them, looking larger every moment, is the awesome splendor of the Grand Canyon.","INT. CAR - DAY THELMA Is n't it beautiful?! LOUISE It's grand! Louise has tears streaming down her face as she realizes there is absolutely no escape. She continues barreling towards it without slowing down.","EXT. DESERT - DAY All the police cars are still following about a half a mile behind. The car is bouncing and flying across the desert. Finally, they get about twenty yards from the edge and Louise SLAMS on the brakes. Thelma and Louise are just waiting for the cars to catch up. The police cars stop in a line about two hundred yards behind them. The dust from the cars is blowing across them. They just sit looking at the Grand Canyon. From the canyon, the FBI helicopter rises up in front of the car.","INT. FBI HELICOPTER - DAY Hal sees Thelma and Louise for the first time. They are sitting in the car, oblivious in a way, to all the activity around them. He only takes his eyes off of them long enough to look at Max.","INT. CAR - DAY THELMA God! It looks like the Army! LOUISE All this for us? Thelma starts to laugh. Louise is only concerned with missing the cacti and other obstacles that lie before her.","INT. FBI HELICOPTER - DAY The helicopter lands behind the row of police cars. HAL'S POV He sees Thelma and Louise facing each other. They look so nice. He ca n't stop looking. He borrows the binoculars from Max. He sees Thelma and Louise in the car. Some of the police sharpshooters are sporting semi - automatic rifles. Hal looks at Max. HAL Hey! Do n't let them shoot those girls. This is too much. They got guns pointed at'em! MAX The women are armed, Hal. This is standard. Now you stay calm here. These boys know what they're doin'. Max climbs out of the chopper. Hal sits for a moment and then leaps out and follows Max. POLICE -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- This is the Arizona Highway Patrol. You are under arrest. You are considered armed and dangerous. Any failure to obey any command will be considered an act of aggression against us.","INT. CAR - DAY THELMA Now what? LOUISE We're not giving up, Thelma. THELMA Then let's not get caught. LOUISE What are you talkin' about? THELMA -LRB- indicating the Grand Canyon. -RRB- Go. LOUISE Go? Thelma is smiling at her. THELMA Go. They look at each other, look back at the wall of police cars, and then look back at each other. They smile. TIGHT SHOT - CARTRIDGES being loaded into automatic rifle. THELMA AND LOUISE - THROUGH THE CROSS HAIRS OF A GUN SIGHT","EXT. DESERT - DAY TWO OF THE ARIZONA COPS by their cars, as they are loading weapons, talk quietly. ARIZONA COP #1 heard they shot a cop. ARIZONA COP #2 No shit. ARIZONA COP #1 With his own gun. Put him in the trunk and blew him away.","INT. CAR - DAY Louise and Thelma are looking at each other. POLICE -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- Turn off the engine and place your hands in the air!","EXT. DESERT - DAY Hal is about to crawl out of his skin. He ca n't believe this thing is getting out of control. He jumps in front of Max. HAL Max! Let me talk to'em! I ca n't believe this! You've got ta do something here! Max goes around Hal and continues walking. Hal jumps in front of Max again and blocks his way. HAL I'm sorry to bother you, I know you're real busy right now, but how many times, Max? How many times has that woman got ta be fucked over? You could lift one finger and save her ass and you wo n't even do that? MAX -LRB- grabbing Hal. -RRB- Get a hold of yourself! You are way out of your jurisdiction, now come on! Calm down! Do n't make me sorry I let you come! Max lets go of Hal's lapels. HAL -LRB- under his breath. -RRB- Shit! I ca n't fucking believe this! Hal walks along with a look of total disbelief on his face. He's shaking his head. Slowly he breaks into a trot and starts heading toward the front line. MAX -LRB- shouting. -RRB- Hey. Hey! Hal is running now and clears the front row of cars. There is a lot of confusion among the officers on the front row. Some shout, some lower their guns to look. ARIZONA COP #1 What in the hell?! ARIZONA #2 -LRB- lowering his rifle. -RRB- The son of a bitch is in my way!","INT. CAR - DAY They are still looking at each other really hard. THELMA You're a good friend. LOUISE You, too, sweetie, the best. -LRB- SHOOT WITH OR WITHOUT. -RRB- MUSIC : B.B. King song entitled `` Better Not Look Down'' begins. It is very upbeat. LOUISE Are you sure? Thelma nods. THELMA Hit it. Louise puts the car in gear and FLOORS it. CUT TO :","EXT. DESERT - DAY Hal's eyes widen for a moment at what he sees, and then a sense of calm overtakes him and he mouths the word `` alright.'' B.B. KING SONG -LRB- V.O. -RRB- I've been around, I've seem some things, People movin' faster than the speed of sound, faster than a speedin' bullet. People livin' like Superman, all day and all night. I wo n't say if it's wrong or I wo n't say if it's right. I'm pretty fast myself. But I do have some advice to pass along, right here in the words to this song.","EXT. DESERT - DAY The cops all lower their weapons as looks of shock and disbelief cover their faces. A cloud of dust blows THROUGH THE FRAME as the speeding car sails over the edge of the cliff. B.B. KING SONG -LRB- V.O. -RRB- Better not look down, if you wan na keep on flyin'. Put the hammer down, keep it full speed ahead. Better not look back or you might just wind up cryin'. You can keep it movin' if you do n't look down. FADE OUT. THE END."],"string":"[\n \"INT. RESTAURANT - MORNING (PRESENT DAY) LOUISE is a waitress in a coffee shop. She is in her early - thirties, but too old to be doing this. She is very pretty and meticulously groomed, even at the end of her shift. She is slamming dirty coffee cups from the counter into a bus tray underneath the counter. It is making a lot of RACKET, which she is oblivious to. There is COUNTRY MUZAK in the b.g., which she hums along with.\",\n \"INT. THELMA'S KITCHEN - MORNING THELMA is a housewife. It's morning and she is slamming coffee cups from the breakfast table into the kitchen sink, which is full of dirty breakfast dishes and some stuff left from last night's dinner which had to `` soak''. She is still in her nightgown. The TV is ON in the b.g. From the kitchen, we can see an incomplete wallpapering project going on in the dining room, an obvious `` do - it - yourself'' attempt by Thelma.\",\n \"INT. RESTAURANT - MORNING Louise goes to the pay phone and dials a number.\",\n \"INT. THELMA'S KITCHEN - MORNING Phone RINGS. Thelma goes over to answer it. THELMA -LRB- hollering. -RRB- I got it! Hello.\",\n \"INT. RESTAURANT - MORNING LOUISE -LRB- at pay phone. -RRB- I hope you're packed, little housewife,'cause we are outta her tonight.\",\n \"INT. THELMA'S KITCHEN - MORNING THELMA Well, wait now. I still have to ask Darryl if I can go. LOUISE -LRB- V.O. -RRB- You mean you have n't asked him yet? For Christ sake, Thelma, is he your husband or your father? It's just two days. For God's sake, Thelma. Do n't be a child. Just tell him you're goin' with me, for cryin' out loud. Tell him I'm havin' a nervous breakdown. Thelma has the phone tucked under her chin, as she cuts out coupons from the newspaper and pins them on a bulletin board already covered with them. We see various recipes torn out from women's magazines along the lines of `` 101 Ways to Cook Pork.'' THELMA He already thinks you're out of your mind, Louise, that do n't carry much weight with Darryl. Are you at work? LOUISE -LRB- V.O. -RRB- No, I'm callin' from the Playboy Mansion. THELMA I'll call you right back. Thelma goes through the living room to the bottom of the stairs and leans on the bannister. THELMA Darryl! Honey, you'd better hurry up. DARRYL comes trotting down the stairs. Polyester was made for this man, and he's dripping in `` men's'' jewelry. He manages a Carpeteria. DARRYL Damnit, Thelma, do n't holler like that! Have n't I told you I ca n't stand it when you holler in the morning. THELMA I'm sorry, Doll, I just did n't want you to be late. Darryl is checking himself out in the hall mirror, and it's obvious he likes what he sees. He exudes over - confidence for reasons that never become apparent. He likes to think of himself as a real lady killer. He is making imperceptible adjustments to his over - moussed hair. Thelma watches approvingly. THELMA Hon. DARRYL What. THELMA -LRB- she decides not to tell him. -RRB- Have a good day at work today. DARRYL Uh - huh. THELMA Hon? DARRYL What?! THELMA You want anything special for dinner? DARRYL No, Thelma, I do n't give a shit what we have for dinner. I may not even make it home for dinner. You know how Fridays are. THELMA Funny how so many people wan na buy carpet on a Friday night. You'd almost think they's want to forget about it for the weekend. DARRYL Well then, it's a good thing you're not regional manager and I am. He's finally ready. He walks to the door and gives Thelma the most perfunctory kiss on the cheek. THELMA ` Bye, honey. I wo n't wait up. DARRYL See ya. Darryl leaves. We see his Corvette parked out front. As he closes the front door, Thelma leans against it. THELMA He's gon na shit. Thelma laughs to herself. She goes back into the kitchen and picks up the phone and dials it.\",\n \"INT. RESTAURANT - MORNING The pay phone on the wall RINGS. ALBERT, a busboy in his 50's, answers. ALBERT Good morning. Why, yes, she is. Is this Thelma? Oh, Thelma, when you gon na run away with me? Louise comes over and takes the phone out of his hand. LOUISE -LRB- to Albert. -RRB- Not this weekend, sweetie, she's runnin' away with me. -LRB- into phone. -RRB- Hi. What'd he say? THELMA -LRB- V.O. -RRB- What time are you gon na pick me up? LOUISE You're kiddin'! Alright! I'll be there around two or three. THELMA -LRB- V.O. -RRB- What kind of stuff do I bring? LOUISE I do n't know. Warm stuff, I guess. It's the mountains. I guess it gets cold at night. I'm just gon na bring everything. THELMA -LRB- V.O. -RRB- Okay. I will, too. LOUISE And steal Darryl's fishin' stuff. THELMA -LRB- V.O. -RRB- I do n't know how to fish, Louise. LOUISE Neither do I, Thelma, but Darryl does it, how hard can it be? I'll see you later. Be ready. They both hang up.\",\n \"EXT. RESTAURANT - DAY Louise pulls out in a green'66 T - Bird in mint condition.\",\n \"INT. THELMA'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY Going into the suitcase is bathing suits, wool socks, flannel pajamas, jeans, sweaters, T - shirts, a couple of dresses, way too much stuff for a two - day trip. REVEAL Thelma, standing in front of a closet, trying to decide what else to bring, as if she's forgotten something. The room looks like it was decorated entirely from a Sears catalog. It's really frilly.\",\n \"INT. LOUISE'S BEDROOM - CLOSEUP - SUITCASE ON BED - DAY A perfectly ordered suitcase, everything neatly folded and orderly. Three pairs of underwear, one pair of long underwear, two pairs of pants, two sweaters, one furry robe, one nightgown. She could be packing for camp. REVEAL Louise. Her room is as orderly as the suitcase. Everything matches. It's not quite as frilly as Thelma's, but it is of the same ilk. She is debating whether to take an extra pair of socks. She decides not to and closes the suitcase. She goes to the phone, picks it up and dials. We hear : ANSWERING MACHINE -LRB- V.O. -RRB- Hi. This is Jimmy. I'm not here right now, but I'll probably be back'cause. all my stuff's here. Leave a message. Louise slams down the phone. A framed picture of Louise and Jimmy sits on the table next to the phone. She matter - of - factly slams that face down, too.\",\n \"INT. THELMA'S BEDROOM - DAY Thelma is still throwing stuff in, randomly now. She talks to herself quietly the whole time. She is taking stuff off of her nightstand, a small clock, fingernail scissors, etc.. She opens the drawer of her nightstand. Her attitude is purposeful ; she looks as if she knows exactly what she's doing ; although, frankly, she has no idea, and each decision is completely arbitrary. As she rifles through it, plucking various items from among the jumbled contents, we see there is a gun in there, one Darryl bought her for protection. It is unloaded, but there is a box of bullets. She picks up the gun like it's a rat by the tail and puts it in her purse. THELMA -LRB- muttering to herself. -RRB- Psycho killers. She grabs the box of bullets and throws them in, too. She tries to close her suitcase, but there is stuff hanging out all over the place. She stuffs things back in the sides and heaves all her weight against the top.\",\n \"EXT. THELMA'S HOUSE - DAY Louise's green'66 T - Bird convertible pulls into the driveway of Thelma's house. The garage door goes up and Thelma is standing in the garage with all her gear. A suitcase that looks like it might explode, fishing gear, a cooler, a lantern. Thelma's car, a beat - up gray Honda, is parked in there, too. Louise gets out of the driver's seat. LOUISE We do n't need the lantern. The place has electricity. THELMA I wan na take it anyway. Just in case. LOUISE In case of what? THELMA In case there's some escaped psycho killer on the loose, who cuts the electricity off and tries to come in and kill us. LOUISE -LRB- going along with her. -RRB- Oh yeah, sure, Thelma, that lantern will come in real handy. Maybe we could tow your car behind, in case he steals the spark plugs. THELMA We'd have to. That thing barely makes it down the driveway. They load everything into the car. The trunk barely closes. Thelma heaves all her weight against it. They get into the car and pull out of the driveway. As they drive down the street, we hear Thelma let out a long howl. She is laughing and she sticks her arms straight up in the air.\",\n \"EXT. CAR - DAY They are driving down the interstate. Thelma reaches for her purse and finds the gun. THELMA Louise, will you take care of the gun? Louise shrieks at the sight of it. LOUISE Why in hell did you bring that? Thelma wonders if Louise is really that naive. THELMA Oh, come on, Louise. psycho killers, bears. snakes! I just do n't know how to use it. So will you take care of it? Louise reaches over and takes the gun out of Thelma's purse and holds it in her hand. She tests the weight of it, and then puts it under the seat. Thelma puts the bullets under the seat. They are speeding off down the highway with the RADIO blaring. Louise puts in a TAPE of wild R&B MUSIC. THELMA Whose place is this again? LOUISE It's Bob's, the day manager's. He's gettin' a divorce, so his wife's gettin' this place, so he's just lettin' all his friends use it till he has to turn over the keys. THELMA I've never had the chance to go out of town without Darryl. LOUISE How come he let you go? THELMA'Cause I did n't ask him. LOUISE Aw, shit, Thelma, he's gon na kill you. THELMA Well, he has never let me go. He never lets me do one goddamn thing that's any fun. All he wants me to do is hang around the house the whole time while he's out doing God only knows what. They are both silent for a minute. THELMA -LRB- looking straight ahead. -RRB- I left him a note. I left him stuff to microwave. After a pause. THELMA I guess you have n't heard anything from Jimmy. yet? Louise's jaw tightens. The car speeds up. THELMA never mind. A huge semi - tanker carrying gas passes them on the highway and HONKS. The mud flaps are the shiny silhouettes of naked women. There is a bumper sticker on the back that says : `` Lick you all over - ten cents.'' LOUISE One of your friends? Thelma is watching herself in the side mirror, pretending to smoke a cigarette. THELMA'S POV OF A SIGN alongside the road that reads `` See you in church on Sunday!'' Thelma pushes in the lighter and waits for it to pop out. Louise gives her a sidelong glance, but does not say anything.\",\n \"INT. CAR - COUNTRY ROAD - DAY THELMA How much longer is it gon na be? I'm hungry. LOUISE Another hour of so. We've got enough food for a month. THELMA I'll never make it. Ca n't we stop just for a few minutes. LOUISE We've not gon na get to the cabin till after dark as it is, Thelma. THELMA Then what difference does it make if we stop? Come on. I never get to do stuff like this. Louise realizes that Thelma is going to revert to a teenager and continue whining unless she gives in. LOUISE Alright, but it's gon na be a quick stop.\",\n \"EXT. SILVER BULLET - NIGHT They pull off at a place down on the right all lit up with neon. It's called the SILVER BULLET. The sign flashes COCKTAILS - BEER - DANCING - FOOD. There is a huge gravel parking lot with lots of pickup trucks and older cars. Even though it's early, you can tell this place is a real night spot. It's already pretty crowded.\",\n \"INT. SILVER BULLET - NIGHT This place is jumpin'. There are ten pool tables with crowds all around. The long bar is filled with customers. There are tables and booths. The room is dense with smoke. There is a dance floor, but no one is dancing yet because the band is still setting up. There are a lot of single men. Many heads turn and follow Thelma and Louise to an empty table. LOUISE I have n't seen a place like this since I left Texas. THELMA Is n't this fun? A WAITRESS comes over and drops two menus on the table. WAITRESS Y' all wan na drink? LOUISE No thanks. THELMA I'll have Wild Turkey straight up and a Coke back, please. As the Waitress leaves : LOUISE Thelma! THELMA Tell me somethin'. Is this my vacation or is n't it? I mean, God, you're as bad as Darryl. LOUISE I just have n't seen you like this in a while. I'm used to seeing you more sedate. THELMA Well, I've had it up to my ass with sedate! You said you and me was gon na get outta town and, for once, just really let our hair down. Well, darlin,' look out'cause my hair is comin' down! As the Waitress returns : LOUISE -LRB- laughing. -RRB- Alright. -LRB- to Waitress. -RRB- I changed my mind. I'll have a margarita with and a shot of Cuervo on the side, please. THELMA Yeah! As the Waitress leaves, a MAN comes over with a chair which he pulls up to the table and straddles backwards. He is in his late - 40's, heavyset, his face is shiny in the neon light. MAN Now what are a couple of Kewpie dolls like you doin' in a place like this? LOUISE Mindin' our own business, why do n't you try it. THELMA Well, we left town for the weekend'cause we wanted to try and have a good time. And because Louise here is mad because her boyfriend wo n't call her while he's out on the road. Louise kicks Thelma under the table. THELMA -LRB- quieter. -RRB- We just wanted to get somethin' to eat. MAN Well, you come to the right place. You like chili? They got good chili. The Waitress returns with Louise's drink. WAITRESS Harlan, are you botherin' these poor girls? HARLAN -LRB- MAN. -RRB- Hell, no. I was just bein' friendly. WAITRESS -LRB- making eye contact with Louise. -RRB- It's a good thing they're not all as friendly as you. Louise understands. THELMA Your name's Harlan? I got an uncle named Harlan! HARLAN You do? Is he a funny uncle?'Cause if he is, then he and I got somethin' in common. Harlan laughs. Thelma laughs, too, but does n't really get the joke. Louise does not laugh. LOUISE -LRB- to Harlan. -RRB- I do n't mean to be rude, but I've got something I need to talk to my friend about. In private. HARLAN Aw, I understand. I did n't mean to bother ya. It's just hard not to notice two such pretty ladies as yourselves. -LRB- standing, to Thelma. -RRB- You better dance with me before you leave, or I'll never forgive you. THELMA Oh, sure. That'd be fun. Harlan leaves, then : THELMA Jeez, Louise, that was n't very nice. LOUISE Ca n't you tell when somebody's hittin' on you? THELMA So what if he was? It's all your years of waitin' tables has made you jaded, that's all. LOUISE Maybe. THELMA Well, just relax, will ya. You're makin' me nervous. Thelma knocks back her shot of Wild Turkey and holds up her glass to the Waitress to bring her another one. The Waitress sees her and nods. She turns back to face her friend. THELMA So, Jimmy still has n't called yet? LOUISE Givin' him a taste of his own medicine. Asshole. THELMA I'm sorry, Louise. I know you're all upset. It's just I'm so excited to be out of the house, I guess. -LRB- pause. -RRB- I wonder if Darryl's home yet. LOUISE I wonder if Jimmy's gotten back. THELMA Why do n't you tell him to just to get lost once and for all? LOUISE Why do n't you ditch that loser husband of yours? They both drift off momentarily, contemplating their domestic problems, until the Waitress comes over : WAITRESS -LRB- rolling her eyes. -RRB- This one's on Harlan. Thelma looks over at the bar where Harlan is grinning at her, making dancing motions. She smiles and waves at him. Her face becomes serious again as she turns back to Louise. THELMA Jimmy'll come in off the road, you wo n't be there, he'll freak out and call you a hundred thousand times, and Sunday night you'll call him back and, by Monday. He'll be kissin' the ground you walk on. Thelma's mind goes too fast for her mouth, and the speed at which she speaks can be staggering. Louise is used to it. Louise smiles wistfully at Thelma's assessment of the situation. LOUISE Exactly. THELMA In the meantime, you said we were gon na have some fun. So let's have some! She again drinks her whole shot of Wild Turkey and holds up her glass, as the BAND strikes up a lively tune. Practically the whole place `` whoops'' and heads for the dance floor. Louise drinks her shot of tequila and holds up her glass, too. LATER Thelma is dancing with Harlan and has been for quite a while. Louise has been dancing with a quiet guy named DAN. Thelma is breathless, drunk and giggly. She holds a beer bottle in one hand. She is laughing a lot about nothing, and Harlan is studying her closely. Louise notices this. LOUISE -LRB- over the noise. -RRB- Thelma, I'm gon na hit the little girls' room, and then we got ta hit the road. THELMA -LRB- eyes closed, swaying with the music. -RRB- Ready when you are. Louise heads off to the bathroom. THELMA -LRB- eyes still closed. -RRB- Louise, I'm gon na come with you. -LRB- she gets a funny look on her face. -RRB- I do n't feel so good. She stumbles a step and drops her beer bottle. Louise is heading towards the bathroom, where there is a line of at least fifteen women in front of her. HARLAN -LRB- catching Thelma, copping feels. -RRB- Oopsy - doopsy. We need to get you some fresh air, little lady. He steers her towards the door. Louise leans against the wall, waiting in line. CUT TO :\",\n \"EXT. SILVER BULLET PARKING LOT - NIGHT Harlan is hauling Thelma out the door into the parking lot. She is pretty limp. THELMA Oh shit. HARLAN What's wrong? THELMA Stop. HARLAN What for? THELMA I'm spinning.\",\n \"INT. SILVER BULLET - NIGHT The Waitress is going over to their table. She picks up Thelma's purse off the floor and puts it on her chair. She sets the check on the table, looks around to see if she can see them and walks away.\",\n \"INT. BATHROOM - NIGHT Louise goes into the bathroom. She stands in front of the sink and looks at herself in the mirror.\",\n \"EXT. PARKING LOT - NIGHT Thelma has been sick. She has Harlan's handkerchief and is wiping her mouth. Harlan has backed off for this part, but he's right back in there. HARLAN How you feelin' now, darlin'? Harlan is leaning close to Thelma's head, and she pulls her head away. THELMA I guess I'm startin' to feel a little better. HARLAN Yeah, you're startin' to feel pretty good to me, too. He pulls her to him and tries to put his arms around her. Thelma pulls away. THELMA -LRB- uncomfortable. -RRB- I think I need to keep walking.\",\n \"INT. SILVER BULLET - NIGHT Louise comes out of the bathroom as the next woman goes in. She scans the room looking for Thelma. She does n't see her. She goes over to the table and sees Thelma's stuff there. She picks up the check and looks at it.\",\n \"EXT. SILVER BULLET PARKING LOT - NIGHT Harlan has led Thelma off to the far end of the parking lot. He is trying to kiss her now. He is pushing her arms down and turning her head away. THELMA Do n't. I'm married. I do n't feel good. I've been sick. HARLAN It's okay. I'm married, too. Harlan is pushing himself on her now, and she is beginning to push him away harder.\",\n \"INT. SILVER BULLET - NIGHT Louise is paying the Waitress. The Waitress is shaking her head, indicating she has n't seen Thelma either. Louise picks up Thelma's stuff and heads towards the door.\",\n \"EXT. SILVER BULLET PARKING LOT - NIGHT Harlan has now pinned Thelma against the back of a car and is kissing her neck. He has her ass in his hands. He is beginning to hump her. She is pushing him away as hard as she can, but he is relentless. HARLAN -LRB- breathing heavily. -RRB- You're beautiful. It's okay. I wo n't hurt you. It's okay. THELMA -LRB- struggling. -RRB- Stop it! Goddamnit, I mean it! Louise is gon na wonder where I am. Let go! HARLAN Louise is alright. LOUISE is now standing outside the door of the Silver Bullet. She is looking around. HARLAN is pulling at Thelma's clothes. Thelma gets one of her arms free and hits him hard in the face. He hits her back and grabs her face, squeezing it hard. HARLAN Do n't you hit me! Do n't you fucking hit me! There is no trace of friendliness in his face now. He looks mean and dangerous. He lets go of her face and pins her arms behind her. He holds both of her arms with one hand. HARLAN You just shut up. With his free hand, he reaches down and starts to pull her dress up. Thelma is still struggling and there are tears running down her face. THELMA Do n't hurt me. Harlan. Please. HARLAN Shut up. He turns her around, pushing her face down onto the back of the car. He holds both her arms in one hand and continues pulling her dress up over her hips. He starts to undo his pants as we hear the CRUNCH of gravel. LOUISE -LRB- O.S. -RRB- Let her go. HARLAN Get lost. THELMA Louise! TIGHT SHOT of the barrel of Thelma's gun being pressed into the nape of Harlan's neck. Louise's thumb pulls back the hammer. LOUISE You let her go, you fat fucking asshole, or I'm gon na splatter your ugly face all over this nice car. Harlan slowly raises his hands in the air, and Thelma darts out, pulling her dress down. HARLAN Now, calm down. We were just havin' a little fun. Louise glances at Thelma. Thelma shakes her head no. LOUISE Looks like you've got a real fucked up idea of fun. Now turn around. Louise starts to back away, but the gun is still close to his face. His pants are undone in the front. She is still backing away with the gun raised. Thelma is inching away as well. LOUISE Just for the future, when a woman's crying like that, she's not having any fun! Louise lowers the gun and stares at him for a second. Then she turns and walks away. Thelma does, too. HARLAN -LRB- pulling up his pants. -RRB- Bitch. I should have gone ahead and fucked her. Louise stops in her tracks. LOUISE What did you say? HARLAN I said suck my cock. Louise takes two long strides back towards him, raises the gun and FIRES a bullet into his face. We hear his body HIT the gravel parking lot. LOUISE'S POV. The car behind him is splattered with blood. Thelma and Louise are both silent. We hear the SOUND of the nightclub in the distance. Louise lowers the gun. THELMA Oh my God. LOUISE Get the car. THELMA Jesus Christ! Louise, you shot him. LOUISE Get the car! Thelma runs to get the car. LOUISE -LRB- quietly, to herself. -RRB- You watch your mouth, buddy. Thelma comes careening up in reverse. Louise hops in and Thelma PEELS OUT, spraying gravel. As they speed out of the parking lot back to the road, we hear MUSIC blaring from the nightclub. They hit the main road with tires SQUEALING. LOUISE Get back to the interstate. Louise lifts her hand and notices she is still holding the gun. THELMA Shit! I. I, which way? LOUISE West. Left.\",\n \"EXT. CAR - DISTANCING SHOT - NIGHT They get onto the interstate going west. TRAVELING SHOT FROM BEHIND - VARIOUS DRIVING SHOTS\",\n \"INT. CAR - NIGHT Louise picks up the handkerchief from the car seat and wipes the gun off. Her movements are as if in slow motion. She puts the gun under the seat. Thelma is watching her. THELMA Louise. Louise does not answer. THELMA Louise. Where are we going? LOUISE -LRB- shaking. -RRB- I do n't know, Thelma! I do n't know! Just shut up a minute so I can think. Thelma starts to cry quietly. THELMA Should n't we go to the cops? I mean, I think we should tell the police. LOUISE Tell them what?! What, Thelma? What do you think we should tell them? THELMA I do n't know. Just tell'em what happened. LOUISE Which part? THELMA All of it. That he tried to rape me. LOUISE Only about a hundred people saw you cheek to goddamn cheek with him all night, Thelma! Who's gon na believe that?! We just do n't live in that kind of world. Pull over!\",\n \"EXT. INTERSTATE - NIGHT Thelma pulls off to the side of the road. Louise gets out and starts to walk around the car. She stops when she gets to the back of the car, and she is sick. Thelma waits in the car and moves over to the passenger side. Louise gets in the driver's side. THELMA Louise. Are you alright? Louise rests her head on the steering wheel. LOUISE Oh Christ. -LRB- to Thelma. -RRB- Thelma. Thelma does n't hear. LOUISE Thelma. Thelma looks at her blankly, without answering. LOUISE I've got ta stop for a minute. I've got to get it together. I'm gon na find a place to get a cup of coffee and I'm gon na sit down for a second. Do you want to come? Thelma's head moves almost imperceptibly. Louise studies Thelma's face. LOUISE Is that yes? Are you up to this? Again, Thelma slightly moves her head in a nod. Louise puts the car in gear and pulls OUT OF SHOT.\",\n \"EXT. TRUCK STOP - RESTAURANT - NIGHT The green'66 T - Bird pulls into a modern truck stop and parks. Louise turns to Thelma. LOUISE We got ta be inconspicuous. Do you know what that means? THELMA Yes. LOUISE It means you do n't talk to anybody. You do n't draw attention to yourself in any way. Do you understand that? Again, she twitches more than nods. LOUISE Tell me you understand that. Thelma nods more firmly now. She understands. VARIOUS POV SHOTS of truck drivers seeing Thelma and Louise wind their way towards the restaurant portion of the coffee shop. They look small and incongruous with the surroundings.\",\n \"INT. TRUCK STOP - TIGHT SHOT - WAITRESS' HANDS - 4 A.M. slamming dirty coffee cups from the counter into a bus tray underneath the counter. REVEAL Louise and Thelma sitting at the counter. Louise is looking at a map. The car is parked outside, near the door. LOUISE -LRB- halfway to herself. -RRB- We have to think this through. We have to be smart. Now is not the time to panic. If we panic now, we're done for. Nobody saw it. Nobody knows it was us. We're still okay. Now all we have to do is just figure out our next move. THELMA Our next move? I'll say one thing, Louise. This is some vacation. I sure am having a good time. This is real fun. LOUISE If you were n't so concerned with having a good time, we would n't be here right now. THELMA Just what is that supposed to mean? LOUISE It means shut up, Thelma. THELMA So this is all my fault, is it. Louise looks at Thelma for a long time. LOUISE Just shut up. The Waitress comes and fills their coffee cups. Thelma stands up to go to the bathroom. She grabs her purse from the counter, and the strap catches on her coffee cup and it falls to the floor with a CRASH. All heads turn and look at her. THELMA I have to go to the bathroom. I. Sorry. HOLD on Louise.\",\n \"EXT. SILVER BULLET PARKING LOT - 4:00 A.M. Police cars are parked around. The activity has died down. Doors on the coroner's van SLAM shut. In the back of a police car sits the Waitress with the door open. A DETECTIVE in a suit leans over the car door with his note pad. HAL Could you identify'em, if ya saw'em again? LENA -LRB- WAITRESS. -RRB- Hal, I've told you about twenty times, yes, I could identify'em, but neither one of them was the type to pull something like this. HAL Well, you're not exactly an expert witness, but what makes you so sure? LENA If waitin' tables in a bar do n't make you an expert on human nature, then nothin' will, and I could've told you that Harlan Puckett would end up buyin' it in a parkin' lot. I'm just surprised it did n't happen before now. HAL Who do you think did it? LENA Has anybody asked his wife? She's the one I hope did it. HAL Lena, just cut the bullshit, will ya? Do have any ideas or do n't ya? I been standin' in this stupid parkin' lot all goddamn night, and I still got to go file a report before I can go home in time to get back up again! LENA Well, if I had to guess, I'd say it was some ol' gal, some ol' gal's husband. But it was n't either one of those two. The tall one, the redhead, she left me a huge tip. HAL You did n't happen to notice what kind of car they were driving? LENA It's a nightclub, not a drive - in, Hal. I do n't follow the customers to the parking lot. HAL Alright, Lena. Go on home. We might have to call you in for some more questioning. Lena gets out of the back of the car. LENA Those girls are not the murderous type.\",\n \"INT. PAY PHONE - NIGHT Outside the bathroom there is a pay phone. Thelma picks it up and dials. THELMA -LRB- into phone. -RRB- Collect from Thelma. There is no answer.\",\n \"INT. THELMA'S HOUSE - NIGHT Phone RINGS. VARIOUS SHOTS of the interior of the empty Dickinson house : THE BEDROOM exactly as Thelma left it. The drawer of the nightstand still open. THE NOTE TO DARRYL taped to the refrigerator. The interior of the microwave with a now completely thawed microwave dinner still in the package in a little puddle.\",\n \"INT. TRUCK STOP - NIGHT THELMA Thanks. I'll try later. She hangs up and goes into the bathroom. As the door closes behind her, Louise comes up with a handful of change and starts putting it into the phone. She dials a number. It RINGS for a long time. She hangs up and goes into the bathroom. She looks at herself in the mirror. She notices a tiny speck on her cheek. She takes a paper towel and wets it and rubs the spot. She looks at the towel and there is a bright red streak. LOUISE Thelma. Come on, Thelma! The door of the stall flies open and Thelma comes charging out and heads straight for the door, without even looking at Louise. Louise charges out after her. They head out of the restaurant and, THROUGH THE WINDOW, we see them get into the car and drive away.\",\n \"EXT. CAR - DRIVING SHOT - DAWN The T - Bird barrels down a fairly empty four - lane highway. A truck passes going the other way.\",\n \"INT. CAR - DAWN The top is down on the car, and Thelma is slouched on the seat, her hair blowing wildly. LOUISE We're gon na go to the next town and stop. We'll get a motel room. I can rest for a while and then figure out how to get some money. We're gon na need money. Thelma. How much money do you have with you? THELMA What? Oh, I do n't know. Let me look. Thelma is rummaging through her purse. She finds her wallet and takes it out. Thelma finds some bills stuffed in the change compartment and takes them out. She straightens the money out. THELMA Sixty - four dollars. As she is counting it, one of the bills flies out of her hands. Thelma's not that good at handling money. THELMA Umm. Shit. Forty - four dollars. Louise has not noticed any of this. She is so intent on her driving. THELMA I'm cash poor. LOUISE Hmmm. We got ta get some money.\",\n \"EXT. MOTEL - ESTABLISHING SHOT - DAY The motel is near farms and agricultural areas with crops.\",\n \"INT. MOTEL ROOM - DAY (6 A.M.) The curtains are open and we can see the car parked right outside the room. Thelma is lying on the bed staring up at the ceiling. Louise is bustling around the room, putting things in drawers. THELMA Why are you unpacking? You said we were just gon na take a nap. Louise did not realize she was doing it. LOUISE Oh, I do n't know. I'm just nervous. I got ta figure out what to do. THELMA Well, when you figure it out, wake me up. LOUISE Just what the hell is wrong with you? Louise slams the closet door. Thelma jumps. THELMA What do you mean? LOUISE Why are you actin' like this? THELMA Actin' like what?! How am I supposed to act? ` Scuse me for not knowing what to do after you blow somebody's head off! They are silent for a moment. LOUISE You could help me try and figure it out! I got ta figure out what to do, and you could try and help me. THELMA I suggested we go to the police, but you did n't like that ; so, frankly, Louise, I'm all out of ideas. LOUISE Well, what's the big rush, Thelma? If we just give'em some time, they'll come to us! Oh Christ. I'm just not ready to go to jail yet. Why do n't you go out to the pool or something and I'll figure it out. THELMA Give me the keys. LOUISE You're not touchin' that car. THELMA My stuff's in the trunk! God! You care more about that car than you do about most people. LOUISE Most people just cause me trouble, but that car always gets me out of it.\",\n \"INT. POLICE GARAGE - DAY Hal is at the police station where they're dusting the car with Harlan all over it for prints. Hal looks closely at the back of the car. He holds his hands over two sets of hand prints. He moves his hands to the outside of the prints so as not to smear them, and puts his hands on the car. His face is one inch away from the trunk. He sees a very clear drop of blood. It's different than any of the other blood splatters on the car. He calls the identification technician over and points it out. HAL -LRB- pointing. -RRB- What's that? The I.D. TECH comes over and looks and shrugs his shoulders. I.D. TECH Blood? HAL Whose? I.D. TECH His, I guess. Hal makes a face like he suddenly felt a slight toothache. He stares at the guy. HAL You guess? Hal takes out a black sharpie and draws a circle around the area of the black smudge and the drop of blood. He shakes his head slightly.\",\n \"EXT. MOTEL - DAY Thelma comes out of the room and walks towards the pool. She stops, then decides to go on to the pool. She lies down in a lounge chair facing the road.\",\n \"INT. MOTEL ROOM - DAY Louise in the motel room. She's looking at the phone. She picks it up and dials it and watches herself in the mirror. She stares as if she's trying to see into herself, see through herself.\",\n \"EXT. MOTEL POOL - DAY Thelma arranges herself in a lounge chair, trying desperately to feel like she's on vacation.\",\n \"INT. MOTEL ROOM - DAY ANSWERING MACHINE -LRB- V.O. -RRB- Hi. This is Jimmy. I'm not here right now. A VOICE interrupts the message : JIMMY -LRB- V.O. -RRB- Hello! I'm here. Hang on a minute! The machine switches OFF.\",\n \"INT. JIMMY'S APARTMENT - DAY JIMMY, mid - 30's, musician, is standing in the kitchen on the phone. He's not the type you'd expect Louise to like, not quite straight - looking enough. LOUISE -LRB- V.O. -RRB- -LRB- on phone. -RRB- Jimmy.\",\n \"INT. MOTEL ROOM - DAY Louise is looking at herself on the phone in the mirror. She is very choked up. JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Louise! Where are you? Are you alright? Honey. LOUISE Hi. I'm okay. How are you? Long time no see. JIMMY -LRB- V.O. -RRB- Louise, honey. Where are you? You sound funny. Louise is still looking at herself in the mirror, as if she's never seen herself before. LOUISE I am funny. I'm real funny. JIMMY -LRB- V.O. -RRB- Are you in town? This sounds long distance. LOUISE No, I'm out of town. I'm in. I'm in real deep shit, Jimmy. Deep shit Arkansas. JIMMY -LRB- V.O. -RRB- Louise, just tell me what the hell is going on here! I come back, nobody knows where you are. Is Thelma with you? Darryl's been callin' here every half - hour sayin' he's gon na kill you both when you get back, he's goin' nuts. I do n't envy her if she is.\",\n \"EXT. MOTEL POOL - DAY Thelma at pool basking in the sun.\",\n \"INT. MOTEL ROOM - DAY JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Where'd y' all go? LOUISE Fishing. Look, Jimmy. I need you to help me. This is serious. I'm in trouble and I need you to help me. Can you do that?\",\n \"INT. JIMMY'S APARTMENT - DAY Jimmy is shocked by the gravity of her tone of voice. He realizes this is very serious. JIMMY Yes, yes, darlin'. I can help you. Tell me where you are.\",\n \"INT. MOTEL ROOM - DAY Louise covers the mouthpiece with her hand. She is trying very hard not to cry. LOUISE I have a savings account with about sixty - seven hundred dollars in it. Now I know you wo n't be able to get it out, but I'm good for it. I need that money. Can you wire me the sixty - seven hundred dollars and I'll pay you back? Please, I'm desperate. JIMMY -LRB- V.O. -RRB- What the fuck is going on? LOUISE Something real bad has happened and I ca n't tell you what, just that it's bad and I did it and I ca n't undo it. Can you help me? JIMMY -LRB- V.O. -RRB- Of course. Of course! Where? Ca n't I bring it to you? For God's sake, baby, please, just tell me what's happened, what could possibly be so bad? Louise sits on the edge of the bed. She is looking at her hand. LOUISE Jimmy? She takes the ring that she wears on her left hand and turns it around backwards to make it look like a wedding band. LOUISE Do you love me? JIMMY -LRB- V.O. -RRB- Christ, sure. yes! LOUISE Wire it to the Western Union in Oklahoma City,\",\n \"INT. JIMMY'S APARTMENT - DAY JIMMY You're in Oklahoma?! LOUISE -LRB- V.O. -RRB- Not yet. JIMMY Louise, let me call you back after I wire it, so you'll know which office to go to. LOUISE -LRB- V.O. -RRB- Ca n't it go to any office? JIMMY No, for that much money I have to tell them exactly which office. I know, I've had to have money wired to me on the road. And there has to be a code word or they wo n't give it to you. I'll have to tell you the code.\",\n \"INT. MOTEL ROOM - DAY LOUISE Tell me now. JIMMY -LRB- V.O. -RRB- Call me back. LOUISE Okay. I'll call you back. In an hour. Do n't tell Darryl. JIMMY -LRB- V.O. -RRB- I know. Call me back. Louise, I love you, okay? LOUISE Okay.\",\n \"EXT. MOTEL POOL - DAY Thelma by the pool. A car SCREECHES, a loud horn HONKS. LOUISE -LRB- bellowing. -RRB- Come on, Thelma! Get in the car! Thelma bolts upright and grabs her sundress and dashes to the car. She jumps in over the door. She's in a mild state of shock. THELMA Did you finish thinking? LOUISE I think better when I drive. Louise PEELS OUT of the parking lot.\",\n \"INT. POLICE STATION - MAJOR'S OFFICE - DAY Hal is in the office talking to his superior. He stands in front of the desk with his hands in his pockets while his MAJOR sits behind the desk looking troubled. HAL All we know is there were two women in a green T - Bird convertible that turned left out of the parking lot, going real fast. We're trying to get a make on the car, but nothin' yet. So far, we got nothin'. MAJOR Well, you'd best get something. Even if they did n't do it, it times out that they most likely witnessed it. I want somebody to at least talk to'em. Put out an APB with a description and see what we get back. HAL Alright. MAJOR Is there any reason to believe they've left the state? HAL That's certainly possible. MAJOR Why do n't we go ahead and let the bureau in on this. HAL I have no problem with that. MAJOR Somebody's butt is gon na bar - b - que.\",\n \"EXT. CAR - FARMLAND - DRIVING SHOT - DAY\",\n \"INT. CAR - DAY THELMA Do n't get mad, Louise, but where are we going? LOUISE Oklahoma City. Jimmy's gon na wire me some money, and then. THELMA You talked to him?! Is he mad? Did you tell him? LOUISE No, I did n't tell him. And that's something we got ta get straight. Darryl's been callin', mad as a hornet, makin' all kinds of noise. When you talk to him, you can not say anything about this. You got ta make sure everything sounds normal. THELMA I called the asshole at 4:00 in the morning and he was n't even home. I do n't know what he's got to be mad about. I'm the one who should be mad. LOUISE I've been tellin' you that for the last ten years. THELMA Do you think Darryl's having an affair? LOUISE I do n't think Darryl is mature enough to conduct an affair. THELMA But you think he fools around. LOUISE Thelma, I'm going to Mexico. I think I can make it in two and a half days, but I'm going to have to haul ass. Are you up to this? I mean, I have to know. This is n't a game. I'm in deep shit. I got ta know what you're gon na do. THELMA I. I do n't know. I do n't know what you're askin' me. LOUISE Do n't you fall apart on me. Goddamnit, Thelma. Every time we get in trouble, you go blank or plead insanity or some such shit, and this time. Not this time. Everything's changed now. Now you can do whatever you want, but I'm going to Mexico. I'm going. Are you coming with me? Thelma is staring down the road. She does not answer. Then : THELMA I think he does. Fool around.\",\n \"EXT. CAR - FARMLAND - DRIVING SHOT - DAY\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY TIGHT SHOT of an `` indent - a - kit'' likeness of Louise. On a table nearby lies a drawing strongly resembling Thelma. Lena, the waitress, sits next to the plain - clothes cop who holds the indent - a - kit. Hal picks up the drawing and studies it closely.\",\n \"EXT. SMALL COUNTRY TOWN - DAY The T - Bird rolls into town.\",\n \"EXT. COUNTRY STORE - DAY Louise and Thelma pull up in front of an old store, the kind with a wooden front porch, the kind that sells bait and flannel shirts. They enter the store and see an OLD MAN behind the counter. LOUISE Do you have a pay phone? OLD MAN ` Round the side, by the restrooms. Louise gets change while Thelma strolls around looking at rubber worms and pickled pigs' feet. Louise goes out to the phone.\",\n \"EXT. PAY PHONE - DAY Louise dropping change into the phone. It RINGS and Jimmy answers.\",\n \"INT. JIMMY'S APARTMENT - DAY JIMMY Louise!\",\n \"EXT. PAY PHONE - DAY LOUISE Is that how you answer the phone? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- I got it. I was afraid I'd missed you. I almost could n't get a check cashed. It's Saturday. LOUISE Who did it? JIMMY -LRB- V.O. -RRB- Friend of mine, owns a club. Dickie Randall. You'd know him if you saw him. His brother was in your class. Terry. LOUISE You did n't say what it was for, did you? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- No, honey. I told him I was buyin' a car. What is it for? LOUISE -LRB- not responding to the question. -RRB- Good. That was good. Where do I go? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- It's a place called Shaw's Siesta Motel. The address is 1921 North East 23. It's under your name. LOUISE And what's the mysterious code word? JIMMY -LRB- V.O. -RRB- -LRB- on phone. -RRB- Peaches. LOUISE What? JIMMY -LRB- V.O. -RRB- That's the code word. I miss you, peaches. Louise rolls her eyes and tries not to melt. LOUISE Okay, Jimmy. Thanks. She puts her finger down on the receiver.\",\n \"INT. JIMMY'S APARTMENT - DAY Jimmy is still holding the phone to his ear. JIMMY Louise?\",\n \"INT. COUNTRY STORE - DAY Thelma in store buying gum, beef jerky. Next to the cash register on the counter on display are those little tiny bottles of liquor. Thelma picks up a little bottle of Wild Turkey and puts in on the counter. The Old Man rings it up. She takes another one and puts it on the counter. The Old Man is still ringing stuff up. She takes two more and puts them on the counter. She takes the rest of the little bottles of Wild Turkey out of the display and puts them on the counter. She takes one little bottle of Cuervo and puts it down on the counter, too. The Old Man finally looks at her. From the wall behind him, he takes a pint of Wild Turkey down. OLD MAN Ma'am, are you sure you would n't rather have the large economy size?\",\n \"EXT. PAY PHONE - DAY Louise is hanging up the phone. She walks away towards the front of the store.\",\n \"EXT. COUNTRY STORE - DAY Thelma comes out of the front of the store. The store is at a crossroads with a fair amount of vehicular traffic. LOUISE Go call Darryl. Thelma is walking towards the car. She puts her purse in the front seat. She looks at Louise. THELMA Call him? LOUISE Call him. Do n't tell him anything. Tell him you're having a wonderful time and you'll be home tomorrow night. THELMA Will I be? LOUISE I do n't know. I wo n't be. Thelma and Louise look at each other while this sinks in. THELMA walks around to the side of the building to the phone. She picks it up and dials. THELMA -LRB- into phone. -RRB- Collect from Thelma.\",\n \"EXT. STOREFRONT - DAY Louise goes into the store for a chocolate Yoohoo.\",\n \"EXT. PAY PHONE - DAY THELMA Honey?\",\n \"INT. THELMA'S HOUSE - DAY Darryl in the den of their house. The room is a mess. There are beer cans everywhere. The large screen TV is ON, showing a FOOTBALL GAME. Darryl is in a recliner. He is wearing loud shorts, a V - necked T - shirt, and a couple of necklaces and bracelets. DARRYL Goddamnit, Thelma, where in the Sam Hill are you?!\",\n \"EXT. PAY PHONE - DAY THELMA I'm. I'm with Louise. We're in the mountains, we're.\",\n \"INT. THELMA'S HOUSE - DAY DARRYL -LRB- interrupting. -RRB- What in the hell do you think you're doing? Have you lost your goddamn mind?! Is that it? I leave for work and you take complete leave of your senses?\",\n \"EXT. PAY PHONE - DAY THELMA Darryl. baby. Darryl, calm down now, honey. Please do n't get so mad. I can explain.\",\n \"INT. THELMA'S HOUSE - DAY Darryl is mad, but he's still watching the game. DARRYL Hold on. Hold on a minute, damnit. He covers the mouthpiece and watches a play where `` his team'' fumbles the ball. This only makes him madder. He puts the phone back to his ear in time to hear Thelma say : THELMA -LRB- V.O. -RRB- only for one day and we'll be back tomorrow night. DARRYL No you wo n't. You'll be back today. Now! You get your ass back here, Thelma, now, Goddamnit. Thelma, do you understand me?\",\n \"EXT. PAY PHONE - DAY Thelma is trying not to cry. She's trying to be strong. THELMA Darryl, please. You're my husband, not my father, Darryl.\",\n \"INT. THELMA'S HOUSE - DAY DARRYL -LRB- interrupting. -RRB- That does it! That Louise is nothin' but a bad influence. If you're not back here tonight, Goddamnit, Thelma. well, I just do n't wan na say. Neither one of them say anything for a moment. DARRYL Thelma?\",\n \"EXT. PAY PHONE - DAY THELMA Darryl. DARRYL -LRB- V.O. -RRB- What? THELMA Go fuck yourself. She hangs up on him.\",\n \"EXT. COUNTRY STORE - DAY Thelma has tears running down her face and she is watching the ground as she storms back to the car. So she makes a loud grunt as she slams into someone that she did not see. Both people are knocked back a few steps from the force of the collision. HITCHHIKER Whoa! Excuse me! Miss, are you alright? Thelma nods her head `` yes,'' but tears continue. Her crying is silent. HITCHHIKER Is there anything I can do? Thelma shakes her head `` no.'' She tries to control her tears. She notices how blue his eyes are. THELMA No. Thanks. Sorry. THELMA collects herself as she walks back to the car. She gets in and is drying her eyes, looking in the side mirror. In the mirror she sees the Hitchhiker come back around from the side of the building. He is several feet behind the car, and she watches him as he removes his long - sleeved shirt and stuffs it into his duffel bag. Now he is just in T - shirt and jeans. He looks good. Really good. She watches in the mirror as he picks up his stuff and heads towards the road. She can see him as he's walking. He stops. He's thinking. He heads over to the car. HITCHHIKER Would you mind me asking which direction you and your friend are going? I'm trying to get back to school and my ride fell through, so I'm kinda stuck. Are you going my way? Thelma does n't know what to do. THELMA Umm. I think we're going to Oklahoma City. But I'm not sure. HITCHHIKER Do you think you could. I mean, I could help pay for gas. Thelma knows Louise is n't going to like this. THELMA Ummm. Well, see, it's not really up to me. It's not my car. Umm, we'll have to ask my friend, but she'll probably say no. She's a little uptight. HITCHHIKER Well. Maybe we better not ask her. But thank you anyway. Now she wants him to come. He starts to walk away from the car. THELMA Well, we can ask her. That wo n't hurt. Just then Louise comes out of the store. She sees Thelma talking to this guy and, for one moment, stops dead in her tracks as she takes this in, then continues toward the car. Although her face is basically expressionless, we see that it's possible she might kill Thelma. THELMA Louise, this young man is on his way back to school and needs a ride, and I thought since. LOUISE It's probably not a good idea. THELMA Louise. The Hitchhiker just nods and starts walking towards the road. HITCHHIKER Y' all have a nice day. Drive safe. The guy does seem really nice and Thelma is really frustrated that Louise would n't give him a ride, but decides not to confront her. THELMA See how polite he is? He was really nice. Louise lowers the top and backs the car out. They watch him walk away. Louise pulls out of the parking lot onto the road. They pass the Hitchhiker. Thelma waves. HITCHHIKER -LRB- to Thelma. -RRB- You cheer up now! She turns around in the seat to continue waving. He smiles and waves. They drive down the road. TIGHT SHOT of the Hitchhiker as the smile fades from his face. CUT TO :\",\n \"INT. CAR - DRIVING - DAY Thelma looking sulky. THELMA I wish we could've brought him with us. LOUISE What did Darryl say? THELMA -LRB- sarcastically. -RRB- He said `` Okay, Thelma. I just wanted to know you were alright. I hope you're havin' a good time. You sure deserve one after puttin' up with me all the time. I love you, honey.'' Louise does n't say anything. THELMA How long before we're in Goddamn Mexico?\",\n \"INT. POLICE STATION - DAY Hal goes over a list of every registered green T - Bird in the state. INSERT - COMPUTER MONITOR Names are scrolling by as Hal stares blankly at the screen. We see the name LOUISE ELIZABETH SAWYER scroll past. It means nothing to Hal.\",\n \"INT. CAR - DAY It's twenty minutes later. They are clear of the town. Thelma is like a dog with a bone. She just wo n't let it drop. THELMA I just do n't see what it would hurt just to give somebody a ride. Did you see his butt? Darryl does n't have a cute butt. You could park a car in the shadow of his ass. LOUISE I'm sorry. I'm just not in the mood for company right now. Here. Take this map. I need you to find all the secondary roads to Mexico from Oklahoma City. I think we should stay off the interstates. We're too conspicuous. THELMA -LRB- taking map. -RRB- Well, it looks like we can get on this road 81 that heads down towards Dallas, then cut over to. LOUISE -LRB- interrupting. -RRB- I do n't want to go that way. Find a way that we do n't have to go through Texas. THELMA -LRB- looking at map. -RRB- Wait. What? You want to go to Mexico from Oklahoma and you do n't want to go through Texas? LOUISE You know how I feel about Texas. We're not going that way. THELMA I know, Louise, but we're running for our lives! Do n't you think you could make an exception just this once?! I mean, look at the map. The only thing between Oklahoma and Mexico is Texas! LOUISE Thelma! I'm not gon na talk about this! Now find another way or give me the goddamn map and I will! You understand? THELMA No, Louise. How come you never said what happened? Louise is completely unreasonable on this subject and Thelma is totally puzzled by Louise's reaction but is reluctant to press her further. LOUISE I. I just. I just do n't think it's the place I wan na get caught for doin' something like. if you blow a guy's head off with his pants down, believe me, Texas is the last place you wan na get caught! Trust me! Now, I said, I do n't wan na talk about it! Louise looks very shaken up. She keeps her eyes on the road but she's holding the steering wheel so tightly, her knuckles are white. She does not look at Thelma. Suddenly she reaches over and locks her door. Thelma flinches imperceptibly at this gesture. THELMA Okay. We'll go around Texas to get to Mexico. This is crazy.\",\n \"EXT. ROAD - FARMLAND - DAY Two Harley - Davidson bikes tool past, driven by a couple of ex - hippies from the 60's. The Hitchhiker is on the back of one, and he waves to them as they go by. Thelma waves back enthusiastically. THELMA I'll tell you what. He is gooood lookin'. Louise pops a TAPE into the cassette player.\",\n \"EXT. LOUISE'S APARTMENT COMPLEX - DAY Hal walks up the sidewalk past a couple of elderly people sitting outside, to the door of an apartment complex and knocks.\",\n \"INT. LOUISE'S APARTMENT - DAY VARIOUS SHOTS of Louise's empty apartment. There are pictures of Louise and Thelma in high school. The kitchen is spotless and nothing is out on the counters. HER BED is unwrinkled, perfect, and next to it on her nightstand is a picture of Jimmy and her in a small heart shaped frame. Everything is extremely neat and orderly.\",\n \"EXT. LOUISE'S APARTMENT COMPLEX - DAY Hal is walking back down the sidewalk past the old people. He stops, turns around and goes back to them. We see him stand and talk to them. OVER MUSIC :\",\n \"INT. CAR - DAY Thelma and Louise are singing along with the MUSIC. THELMA/LOUISE -LRB- pointing. -RRB- Yeah, yeah, yeah, yeah, yeah, yeah!\",\n \"EXT. CROSSROADS - DAY Hitchhiker standing on the side of the road. Thelma looks at Louise pleadingly. Louise's car pulls over and he hops in the back seat. An animated Thelma turns around backwards in the front seat to face him.\",\n \"INT./ EXT. COFFEE SHOP - DAY Hal walks into the coffee shop where Louise works. VARIOUS SHOTS of him talking to other employees. Albert, waitress, etc.. Some cover their mouths as they recognize police sketches of Louise and Thelma. The Day Manager comes over, looks at the pictures and talks to Hal.\",\n \"INT. CAR Thelma passing out beef jerky and Wild Turkey to Hitchhiker and Louise.\",\n \"EXT. THELMA'S HOUSE - DAY Hal's unmarked detective car pulls up in front of Thelma's house. A Corvette, completely customized with everything, sits in the driveway.\",\n \"INT. CAR Hitchhiker leans over resting his chin on the back of the front seat. THELMA So J.D., what are you studying in school? J.D. Human nature. I'm majoring in behavioral science. LOUISE And whaddya wan na be when ya grow up? J.D. A waiter. Louise laughs. He has charmed her too.\",\n \"EXT. THELMA'S HOUSE - DAY Hal is walking up the sidewalk as the front door flies open to reveal a drunk Darryl in Hawaiian shorts, necklaces and a beer can in his hand.\",\n \"INT. THELMA'S HOUSE - DAY Hal and Darryl in den. The TV DRONES in the b.g. Pictures and papers are on the table. TIGHT SHOT of Darryl's face. DARRYL What?! CUT TO :\",\n \"INT. THELMA'S HOUSE - DEN - DAY EXTREME CLOSEUP of Darryl's face. DARRYL What?!\",\n \"EXT. RURAL HIGHWAY - DAY J.D. -LRB- to Thelma. -RRB- So how come you do n't have any kids? THELMA Darryl, that's my husband, he says he's not ready. He's still too much of a kid himself. He prides himself on being infantile. LOUISE He's got a lot to be proud of. THELMA Louise and Darryl do n't get along. LOUISE That's puttin' it mildly. THELMA She thinks he's a pig. LOUISE He's a real piece o' work. I wish you could meet him. J.D. Did you get married real young? THELMA Twenty - four is n't young. I'd already been goin' out with him ten years when we got married. I've never been with anybody but Darryl. J.D. Well, if you do n't mind me sayin' so, he sounds like a real asshole. THELMA It's okay. He is an asshole. Most of the time I just let it slide. J.D. is looking down the road, way off in the distance. J.D. Better slow down. That's a cop. Louise looks down the road and sees a highway patrol car coming down the road towards them. She does not look alarmed but veers off the road into a `` rest area'' drive that has trees and shrubs that obscure the view from the road. She glides along as the cop car passes on the other side without seeing them. Louise glides right back onto the road as if nothing unusual has happened at all. They realize they have not been spotted. J.D. and Louise look at each other. J.D. Maybe you got a few too many parking tickets? LOUISE We'll take you on to Oklahoma City, then you'd best be on your way.\",\n \"INT. THELMA'S HOUSE - DAY Hal is on the phone to the FBI man. Darryl is sitting on a chair looking dazed. Other law enforcement types roam around the house. HAL The prints on the trunk of the car match those of Thelma Dickinson.\",\n \"INT. FBI OFFICE - DAY MAX STRATTON, an FBI MAN in his early forties, is looking at the ident - a - kit drawings of Louise and Thelma. MAX Well I'll be damned. Is n't that strange.\",\n \"INT. THELMA'S HOUSE - DAY HAL And the husband says a gun is missing. She took a lot of stuff. It looks like she maybe planned on being gone a while. The strange thing is, her husband said she would never touch that gun. He got it for her'cause he's out late a lot, but he said she'd never touch it, would n't learn to shoot it, just left it in a drawer for years.\",\n \"INT. FBI OFFICE - DAY MAX What kind of gun was it? HAL -LRB- V.O. -RRB- A.38. MAX Right. Where are they?\",\n \"INT. THELMA'S HOUSE - DAY HAL We're lookin'. They were on their way to some guy's cabin and they never showed up. We're lookin'. We hope you're lookin' too.\",\n \"EXT. FLATLANDS - ROAD - DUSK The T - Bird barrels down the road at high speed.\",\n \"EXT. SHAW'S SIESTA MOTEL - DUSK Louise, Thelma, and J.D. pull into the motel parking lot. LOUISE I just got ta run in for a minute. Louise looks at J.D. in the back seat and takes the keys out of the ignition. LOUISE You two better go on and say your goodbyes. Louise gets out of the car and goes inside.\",\n \"INT. MOTEL OFFICE - NIGHT An older WOMAN behind the counter is looking at a computer screen. LOUISE Louise Elizabeth Sawyer. Are you sure? WOMAN Nothin'. Nothin' came in today at all. Louise turns and sees Thelma crawl over into the back seat with J.D. LOUISE Nothing under peaches? Check again under peaches. WOMAN Naw, nothin' under peaches neither. A MAN comes up behind Louise and stands close behind her. MAN -LRB- JIMMY. -RRB- Did you say Peaches?! Why that's the secret word! Show her what she's won, Don. He drops an envelope in front of her. Louise is startled and turns around quickly. JIMMY Hey, peaches. LOUISE Oh my God! Jimmy! You. Oh my God! What are you doin' here? JIMMY -LRB- to Woman. -RRB- Can we get another room? Just put it on my credit card. The Woman hands them a key. WOMAN ` Round to the back.\",\n \"EXT. MOTEL PARKING LOT - NIGHT Louise and Jimmy walk outside and catch Thelma sitting very close to J.D. Thelma sees Jimmy and is so startled she screams and involuntarily slams herself across the back seat to the other side of the car. She tries to look nonchalant. THELMA Jimmy! Hello, stranger. What in the world are you doin' here? JIMMY Ask me no questions, I'll tell you no lies. THELMA Good answer. Same goes double for me. JIMMY Who's your friend? J.D. is climbing out of the car, looking very uncomfortable. THELMA This is J.D. He's a student. We're just givin' him a ride to. to here. Louise said we could bring him here and then he'd have to go. And that's what he's doin'. He's goin'. Are n't you, J.D? J.D. Yup. Thanks for the ride. You all take care. He quickly turns and walks away toward the road. THELMA -LRB- watching him. -RRB- Yup. That's him goin'. I love to watch him go. LOUISE -LRB- to Jimmy. -RRB- Thelma kinda took to him. Jimmy is smiling. JIMMY -LRB- to Thelma. -RRB- Well, come on, gal, I got you a room. You can go on in and take a nice cold shower. THELMA Do n't mind me, Jimmy, I'm just a wild woman. JIMMY I always knew that. THELMA A regular outlaw. Louise shoots Thelma a look. The three of them drive around to the back of the motel. Thelma turns and looks at the road. J.D. is standing there. He blows her a kiss.\",\n \"EXT. MOTEL ROOM - NIGHT They stop in front of the motel rooms and the three of them climb out of the car. LOUISE Let me just go in and freshen up for a minute. I need to wash my face, you know. Thelma is taking their luggage out of the trunk. JIMMY Okay, honey. I do n't want to rush you. I just wan na talk to you and. -LRB- whispering. -RRB-. be alone with you. I'll just be in my room, 115, you just come on down when you're ready. Jimmy helps carry the luggage to Thelma's room. He stops at the door. JIMMY I'll be waiting. Louise smiles at him quizzically as if she ca n't believe he's acting this way. He turns on his heel and slinks away. THELMA I do n't care what you say about him. The boy has got it bad. LOUISE He's always got it bad as long as I'm running in the other direction. Do n't be fooled, he's no different than any other guy. He knows how to chase and that's it. Once he's caught you, he do n't know what to do. So he runs away. THELMA I heard that.\",\n \"INT. MOTEL ROOM - NIGHT They close the door to their room. Louise sets the envelope of money on the table. LOUISE -LRB- indicating envelope. -RRB- Our future. Louise gets her purse and starts taking out her makeup. She stands very close to the mirror. She is putting on lip liner. Thelma is watching. THELMA So what are you gon na tell him? LOUISE Nothing. I'm not gon na tell him a thing. The least I can do is not make him an accessory any more than he already is. THELMA You are so sweet to that guy, you really are. Imagine not wanting to drag him into this. He is a lucky man. Louise is still putting on her makeup, making sure it's perfect. LOUISE I did n't ask him to come! It's like I said, Thelma, he just loves the chase. THELMA Well boy, he's got his work cut out for him now, do n't he? LOUISE Put a lid on it, Thelma! It's hard enough as it is. Just let me get this part over with. Now stay here and guard the money. If there's any problem I'm in room 115. THELMA I wo n't wait up. Louise turns to face Thelma. LOUISE How do I look? THELMA You're a vision, Louise, a goddamn vision of loveliness, you always are. LOUISE Have another drink, Thelma. Louise walks out the door. THELMA Good idea.\",\n \"EXT. MOTEL ROOM - NIGHT It's raining out. Louise goes to Jimmy's room. Louise knocks on the door to room 115. The door opens slightly and one red rose pops out. LOUISE Hello. JIMMY -LRB- in a falsetto voice. -RRB- Who is it? LOUISE It's me. The following eleven roses are held out the door, then Louise is yanked inside and we hear her shriek with LAUGHTER.\",\n \"INT. THELMA'S MOTEL ROOM - EVENING Thelma has taken a shower and is dressed in cut - offs and a T - shirt. Her hair is still damp but she looks better than she did when she arrived. Thelma is fixing a drink of Wild Turkey and Diet 7 - Up in one of the motel room glasses. There is a KNOCK on the door. She stops what she is doing and is completely still. THELMA Louise? Another KNOCK. THELMA Louise, is that you? J.D. -LRB- O.S. -RRB- -LRB- through the door. -RRB- Thelma? It's me. Thelma opens the door and there stands J.D., soaking wet from the rain pouring down behind him. J.D. I just thought I. I know I'm supposed to be gone, but. He's kind of looking over towards the road. He's still slightly shy. J.D. I'm not havin' much luck gettin' a ride. He notices looking past her into the room that Louise is n't there. Thelma just stands there looking at him. J.D. Well, I guess I'd better. THELMA Wait! Um, where ya going? J.D. I do n't know. Nowhere. What are you doin'? THELMA I do n't know. Nothin'. Took a shower. J.D. That sounds nice. THELMA Well, you wan na use the shower? You can tell he does want to but does n't want to say so. So instead he just kind of stands there with a reticent grin on his face. J.D. Oh. I. where's Louise? THELMA She's off with Jimmy, that's her boyfriend. J.D. That's lonely for you, I guess. I always think of motel rooms as lonely. Thelma pretends like she's had a lot of experience with this sort of thing. THELMA -LRB- letting him in the door. -RRB- Oh, yes, well, they can be.\",\n \"INT. JIMMY'S ROOM - NIGHT Jimmy is pouring champagne into Louise's glass. There are a dozen roses in a vase on the table. He pours for himself as he sits as close to Louise as possible. JIMMY Now, my little coconut, what seems to be the trouble here? Tell Daddy everything. LOUISE -LRB- cringing. -RRB- Jimmy, my daddy's still alive and it kind of gives me the creeps when you do that. JIMMY Okay, okay, just tell me what's the trouble. Louise just looks at him for a minute. LOUISE Jimmy, I'm not gon na tell ya what the trouble is. Someday soon you'll understand why I ca n't. But I wo n't tell ya, so do n't ask me. Jimmy is once again shocked by how serious she is. JIMMY -LRB- almost at a loss for words. -RRB- Okay, peaches, okay. But can I ask you one thing? LOUISE Maybe. JIMMY Does it have something to do with another guy? Are you in love with him? LOUISE It's nothin' like that. JIMMY -LRB- exploding. -RRB- Then what?! What, goddamnit, Louise! Where the fuck are you going? Are you just leaving for fucking ever? What, did you fuckin' murder somebody or what?! Louise spills her champagne. LOUISE Stop it! Stop it, Jimmy, or I'll leave right now. I'm not kiddin'! JIMMY -LRB- calming down. -RRB- Alright, alright. I'm sorry. They both take a second to regain their composure. JIMMY Can I just ask you one other thing? LOUISE Maybe. Jimmy pulls a little black box out of his pocket. JIMMY Will you wear this? He hands Louise the box. She opens it and it is a diamond ring. Louise is flabbergasted. JIMMY Will you at least see how it fits? LOUISE Jimmy. it's beautiful! JIMMY You did n't see that one comin', did ya?\",\n \"INT. THELMA'S MOTEL ROOM - NIGHT J.D. is out of the shower standing in front of the mirror wearing only his jeans, the top button of which is still undone and no shirt. He has an incredible physique. He also has a tattoo on his shoulder of the homemade variety. Thelma has gone and bought cheese crackers and peanuts from a vending machine and is into her second Wild Turkey and 7 - Up. She sits on the bed, watching him in the mirror. He definitely looks better with his shirt off. She suddenly feels awkward and stands up. THELMA You wan na drink?\",\n \"INT. JIMMY'S MOTEL ROOM - NIGHT Louise has the engagement ring on her finger. It's really beautiful. JIMMY So whaddya think. I mean. I could. uh. get a job. Of some kind. I mean you've been tellin' me that for years, right? LOUISE Why now, Jimmy? JIMMY -LRB- this is hard for him. -RRB-'Cause, Louise. I do n't want to lose you. And for some reason I get the feelin' you're about to split. Permanently. Louise does n't know how to respond. She struggles for a reply. LOUISE Jimmy, we've gone all these years. we never made it work. We're not gon na be able to just. I'm not. What kind of job, honey? Can you see it. I ca n't. Jimmy does n't answer right away. He's trying to see it. JIMMY I'm the one. I never made it work. I just. It's not that I do n't love you. It's not that. I just never thought I'd be thirty - six years old and I never thought. I do n't know what I thought. What do you want, darlin'. What do you want me to do. LOUISE I do n't know. It does n't even matter anymore. I just want you to be happy. It's not that I do n't love you either. But Jimmy, your timing could n't be worse. Jimmy does not really understand why this is happening. JIMMY Are you just doin' this to punish me? LOUISE Believe me, the last thing I want is for you to get punished.\",\n \"INT. THELMA'S MOTEL ROOM - NIGHT Thelma has poured a drink for J.D. who's sitting on the edge of the bed. She walks over and hands it to him and as she does, he takes the drink with one hand and her hand with the other. He sets the drink down on the nightstand and holds her hand with both of his. He closely studies her wedding ring. He suddenly looks up at her and gazes at her just as intently. He slowly shakes his head as he removes her ring as if to say, `` This is not right for you. This is n't going to work.'' He looks at the ring as he moves it through space finally stopping when the ring is directly over his drink. He drops it in. He looks back at Thelma and smiles as if to say, `` There. Now do n't you feel better?'' He smartly kisses her hand.\",\n \"INT. JIMMY'S ROOM - NIGHT Louise and Jimmy are sitting on the edge of the bed. Jimmy has put the ring on her finger and they both are looking at it, as Jimmy holds her hand in his. They both ponder it. JIMMY It does look good.\",\n \"INT. THELMA'S ROOM - NIGHT J.D. is standing on the dresser with a towel tied around his neck like a cape. J.D. Faster than a speeding green T - Bird, able to leap tall babes in a single bound. He leaps from the dresser and flies across the room landing on the bed, straddling Thelma. J.D. -LRB- in his deep man's voice. -RRB- Hi. Could I interest you in some Fuller brushes? Thelma has not stopped laughing since he came in the room. He is the greatest guy she's ever seen. He is sniffing her neck like a dog. THELMA -LRB- giggling. -RRB- Stop, stop, stop! Thelma tries to catch her breath. THELMA Who are you? J.D. attacks her again. J.D. I am the great and powerful Oz. THELMA J.D! Just tell me. I know you're not some schoolboy. Now come on, nobody ever tells me shit. J.D. I'm just some guy. A guy whose parole officer is probably having a shit fit right about now. Thelma gasps. THELMA What?! Parole officer? You mean you're a criminal? J.D. Well, not anymore, Thelma, except for bustin' parole, I have n't done one wrong thing. THELMA What did ya do? J.D. I'm a robber. THELMA You're a bank robber? J.D. Nope. I've never robbed a bank. THELMA What? J.D. Well, I robbed a gas station once, and I robbed a couple of liquor stores, and some convenience stores. And that's it. THELMA How? J.D. Well, I was just down on my luck and it seemed like somethin' I was good at so I. THELMA -LRB- interrupting. -RRB- No, I mean how would you do it? Do you just sneak in real fast or hide out till the store closes or what? J.D. Naw, honey, that would be burglary. I never got arrested for burglary. Burglary's for chicken shits. If you're gon na rob someone, ya just have to go right on up to'em and do it. Just take the money. That's robbery. That's a whole ` nother deal. THELMA Tell me. J.D. Well, first you pick your place, see, then I'd just sit back and watch it for awhile. Ya got ta wait for just the right moment, which is something you know instinctively, that ca n't be taught. Then I'd waltz on in. J.D. jumps up and picks up a hair dryer and holds it like a gun. He starts acting it out. J.D. And I'd say, `` Alright, ladies and gentlemen, let's see who'll win the prize for keepin' their cool. Simon says everybody lie down on the floor. If nobody loses their head, then nobody loses their head. You sir. You do the honors. Just empty that cash into this bag and you'll have an amazing story to tell all your friends. If not, you'll have a tag on your toe. You decide.'' Then I'd split. Simple. THELMA My gosh, you sure gentlemanly about it. J.D. I've always believed if done right, armed robbery does n't have to be a totally unpleasant experience. THELMA God. You're a real live outlaw! J.D. I may be the outlaw, but you're the one stealin' my heart. THELMA And smooth, boy, you are smooth. They kiss passionately. THELMA You're kinda the best thing that's happened to me in a long time. J.D. You're a little angle, you are. J.D. turns out the light.\",\n \"INT. JIMMY'S ROOM - NIGHT Louise and Jimmy are wrapped in each other's arms, quietly making love. Through this, Jimmy is ardent. JIMMY Louise? I think you are so damn beautiful. I mean that. I always have. She smiles. Completely. LOUISE -LRB- whispering. -RRB- I think you're beautiful too.\",\n \"EXT. SIESTA MOTEL - DAWN MONTAGE of early morning staff, a truck driver climbing into his cab with a silver thermos, squirrels hopping around on the ground.\",\n \"INT. SIESTA COFFEE SHOP - DAWN TIGHT SHOT of coffee beginning to drip into an empty coffee pot. Louise and Jimmy are sitting in a booth, both on the same side. They are both playing with their wedding rings. JIMMY Do n't worry darlin'. I'll say I never found you. I'll say anything you want. We'll find a way to get you out of this, whatever it is. LOUISE Damn, Jimmy, did you take a pill that makes you say all the right stuff? JIMMY I'm choking on it. They sit for a minute. JIMMY Honey? Ummm. Do you want me to come with you? They look at each other, into each other and Jimmy can see that Louise is already gone. Louise is really touched that he asked her that but she knows it's impossible. She is very kind to him. LOUISE Oh. now. it's probably not such a good idea right now. I'll. catch up with you later, on down the road. In her hand she's been holding the ring in the black box. She puts it on the table and slides it back to him. He stops her, suddenly. He covers her hand with his. JIMMY You keep this! Jimmy is trying not to seem upset, so he's completely still. A taxi pulls up outside. LOUISE Your taxi's here. Jimmy pulls her to him and kisses her so passionately that employees in the coffee shop look away. A cook fans himself with a spatula. The taxi driver, who can see in, looks at his watch. JIMMY Are you happy, Louise? I just want you to be happy. Louise looks at her hand and Jimmy's hand. LOUISE I'm happy, sweetie. Happy as I can be. Jimmy gets up and leaves the coffee shop. Louise watches him go. A WAITRESS comes over and fills her coffee cup. WAITRESS Good thing he left when he did. We thought we were gon na have to put out a fire. The Waitress chuckles and the other waitresses do too. Louise waves to Jimmy in the back of the cab. The cab driver winks at her. She smiles to herself.\",\n \"INT. THELMA'S MOTEL ROOM - MORNING The room is totally trashed. J.D. and Thelma are both asleep, naked and hanging off either side of the bed. J.D. starts to stir.\",\n \"INT. HAL'S BEDROOM - MORNING Hal is in bed with is WIFE. He has to get up. He is holding his wife in his arms. HAL Honey? SARAH Yes, baby? HAL Do you think you could ever shoot someone? SARAH What? HAL Do you think you could ever think of a set of circumstances that would just cause you to haul off and shoot someone? SARAH I could shoot your cousin Eddie. HAL Why? SARAH Because he's an inconsiderate asshole. HAL I'm asking you seriously, Sarah, a stranger? SARAH I do n't know, honey. I guess it would depend. HAL On what? SARAH -LRB- trying to picture it. -RRB- Well, maybe if they were trying to hurt you or one of the kids. I'm sure I could shoot someone if they tried to hurt one of the children. HAL Yeah, I could too. But. I do n't know why I'm even asking you this. It's just. we ca n't place anybody at the scene but these two gals that everybody swears is sweet as pie. I do n't know. I keep hearing words - impossible - inconceivable. If just one person would say. SARAH Honey. Nothing's impossible. You just do n't shoot someone like that for no reason. Maybe he was askin' for it. Anyway, somebody's husband probably got ol' Harlan. HAL That's what everybody says. Only problem is nobody's husband was unaccounted for that night. Could you shoot Eddie in the face? At point blank range? SARAH -LRB- thinking. -RRB- In the leg. HAL -LRB- getting up. -RRB- I got ta go to Little Rock.\",\n \"INT. COFFEE SHOP - MORNING Louise is sitting in the booth by herself. Thelma comes hurrying by. She looks disheveled but is grinning like an idiot. She sees Louise and charges into the coffee shop. Her energy and volume is several notches higher than the rest of the people in the coffee shop. There are a couple more customers in there now. Thelma slides into the booth seated directly across from Louise. THELMA Hi. She is shocked by Thelma's appearance. LOUISE What happened to your hair? THELMA Nothing. It got messed up. Louise is studying Thelma closely as Thelma squirms in her seat, barely able to contain herself. LOUISE What's wrong with you? THELMA Nothing. Why? Do I seem different? LOUISE Yes, now that you mention it. You seem crazy. Like you're on drugs. THELMA Well, I'm not on drugs. But I might be crazy. LOUISE -LRB- shaking her head. -RRB- I do n't think I wan na hear what you're gon na tell me. Thelma is just about to shriek when the Waitress comes over and puts a coffee cup on the table and pours some. Thelma gets a grip on herself for a moment then loses it as the Waitress goes away. THELMA Oh my God, Louise! I ca n't believe it! I just really ca n't believe it! I mean. whoa! Thelma is just laughing hysterically. Louise suddenly understands. LOUISE Oh, Thelma. Oh, no. THELMA I mean I finally understand what all the fuss is about. This is just a whole ` nother ball game! LOUISE Thelma, please get a hold of yourself. You're making a spectacle. THELMA You know, Louise, you're supposed to be my best friend. You could at least be a little bit happy for me. You could at least pretend to be slightly happy that for once in my life I have a sexual experience that is n't completely disgusting. LOUISE I'm sorry. I am happy. I'm very happy for you. I'm glad you had a good time. It's about time. Where is he now? THELMA Taking a shower. LOUISE You left that guy alone in the room? Louise is getting a bad feeling. She is already standing up putting money on the table. LOUISE Where's the money, Thelma? Thelma has forgotten all about the money. THELMA Ummm. it's on the table. It's okay. They are both leaving the restaurant now. As they hit the door they both break into a full run. THELMA I do n't remember.\",\n \"EXT. MOTEL PARKING LOT - DAY They run across the parking lot around the back to the room. The door is ajar and no one is in the room. Louise goes in and Thelma stays outside the door. THELMA Goddamnit! I've never been lucky! Not one time! Louise comes back outside. She does n't say anything. She is stoic, fighting tears. THELMA Shit. That little sonofabitch burgled me. I do n't believe it. Louise sits down on the sidewalk in front of the room. Thelma comes and sits beside her. Neither one says anything for a moment. THELMA Louise? Are you okay? Louise shakes her head no. THELMA Louise. It's okay. Louise? I'm sorry. I mean it. Louise has seen the end of the tunnel and there is no light. LOUISE It's not okay, Thelma. It's definitely not okay. None of this is okay. What are we going to do for money? What are we gon na buy gas with? Our good looks? I mean. Goddamn, Thelma! Louise quietly starts to fall apart. This causes Thelma to leap into action. THELMA Come on. Stand up! Do n't you worry about it. I'll take care of it. Just do n't you worry about it. Get your stuff. Louise is still sitting on the sidewalk. THELMA Come on! Damnit, get your stuff and let's get out of here! Louise slowly gets to her feet. THELMA Move! -LRB- to herself. -RRB- Jesus Christ, take your damn time. Thelma is hauling stuff out of the car.\",\n \"EXT. MOTEL PARKING LOT - MORNING TIGHT SHOT of rear wheel of green T - Bird LAYING RUBBER out of the motel parking lot. Thelma and Louise, both looking a little rougher than we've seen so far, drive away.\",\n \"EXT. THELMA'S HOUSE - DAY Hal, FBI Man, various other police and detective types, pull up in front of the house. The front door swings open and there stands Darryl looking like he's been shot out of a cannon.\",\n \"EXT. STREET - DAY Louise and Thelma pull into a convenience store.\",\n \"INT. THELMA'S HOUSE - DAY Police are tapping the phones, dusting for prints, etc., while Darryl sits motionless in his recliner with a dull expression on his face. HAL -LRB- to Darryl. -RRB- As you know, we've tapped your phone. In the event that she calls in. Max comes up and joins them as they walk down the hallway. MAX We're going to leave someone here at the house in the event that she calls in. Someone will be here until we find them. HAL The important thing is not to let on that you know anything. We want to try and find out where they are. Now I do n't want to get too personal, but do you have a good relationship with your wife? Are you close with her? DARRYL Yeah, I guess. I mean, I'm about as close as I can be with a nut case like that. MAX Well, if she calls, just be gentle. Like you're happy to hear from her. You know, like you really miss her. Women love that shit.\",\n \"EXT. CONVENIENCE STORE - DAY Thelma and Louise are sitting in the car. They've put all their money together. LOUISE Eighty - eight dollars ai n't gon na make a dent, baby girl. THELMA -LRB- getting out of the car. -RRB- Do n't worry about it. You want anything? LOUISE No. Thelma marches off to the store. Louise puts a tape in the deck and is listening to loud R&B MUSIC. She checks herself in the rearview mirror. She takes her lipstick out and is about to put it on. She makes eye contact with herself and, instead, throws it out the window, closes her eyes and leans her head back on the seat. She's in a world of shit. Thelma comes trotting out of the store and jumps into the car. THELMA -LRB- breathless. -RRB- Drive! Louise looks at her. THELMA Drive! Drive away! LOUISE -LRB- driving away. -RRB- What happened? Thelma opens her purse and exposes a bag full of bills. LOUISE What? You robbed the store? You robbed the Goddamn store?! Thelma shrieks with excitement. Louise is completely stunned. THELMA Well! We needed the money! It's not like I killed anybody, for God's sake. Louise shoots her a look. She puts the car in gear and FLOORS it out of the parking lot. She is still looking at Thelma as if she has completely lost her mind. THELMA I'm sorry. Well, we need the money. Now we have it. LOUISE Oh shit, Thelma! Shit! Shit! Shit! THELMA -LRB- sternly. -RRB- Now you get a grip, Louise! Just drive us to Goddamn Mexico, will ya! LOUISE Okay. Shit, Thelma! What'd you do? I mean, what did you say? THELMA Well, I just.\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY Hal, Max, various other cops, and Darryl all watch as TV plays back VCR TAPE of Thelma in the convenience store pulling a gun. In perfect lip sync is : THELMA -LRB- V.O. -RRB- Alright, ladies and gentleman, let's see who'll win the prize for keepin' their cool. Everybody lie down on the floor. If nobody loses their head, then nobody loses their head. TIGHT SHOT of Darryl's face going deeper and deeper into a state of shock. TIGHT SHOTS of Hal, Max, etc., all looking intently at the screen. VIDEO IMAGE of Thelma boldly ordering cashier to fill her purse with money. As he's loading the purse with bills, she's taking beef jerky from the display and putting it in there, too, while she points the gun at the cashier. THELMA -LRB- V.O. -RRB- -LRB- videotape playback. -RRB- You, sir. You do the honors. Just empty that cash into this bag and you'll have an amazing story to tell all your friends. If not, you'll have a tag on your toe. You decide. CUT TO :\",\n \"INT. CAR - DAY Thelma and Louise in car, driving. LOUISE -LRB- incredulous. -RRB- Holy shit. CUT TO :\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY DARRYL Jesus Christ. MAX Good God. HAL -LRB- wearily. -RRB- My Lord.\",\n \"EXT. DRIVING SHOT - DAY LOUISE Holy shit. THELMA Lem me see the map. Louise throws the map across the front seat at Thelma and FLOORS it. FADE TO BLACK.\",\n \"INT. JIMMY'S APARTMENT BUILDING - DAY Jimmy is entering the apartment building, carrying his overnight bag. Two men are sitting on the stairs. They stand as he comes in. They are plainclothes police. They show their badges. He leaves with them.\",\n \"EXT. ROAD - TIGHT SHOT - J.D.'S BACKSIDE - DAY made only more prominent by the bulging wallet in his back right pocket. J.D. is walking down the road and continues to walk as an Oklahoma State Patrol car pulls up alongside him. He smiles and gives a friendly wave as they cruise along slowly beside him. We can see the cop nearest him talking, and then we see J.D. stop walking and set down his duffel bag. He reaches for his wallet. It's clear that they have asked for some I.D.\",\n \"EXT. RURAL ROAD - DAY Louise is driving. They fly past a kid on his bike on a long gravel driveway. He watches them. A huge cloud of dust blows up as they pass him. He turns and rides his bike down the driveway towards the house.\",\n \"INT. CAR - DAY THELMA Louise, you'd better slow down. I'll just die if we get caught over a speeding ticket. Louise looks at the speedometer touching 80 mph and lets her foot off the gas. Louise is looking a little nervous. LOUISE For the first time in my life, I wish this car was n't green. THELMA Are you sure we should be driving like this? In broad daylight and everything? LOUISE No we should n't, but I want to put some distance between us and the scene of our last Goddamn crime! THELMA Oooooweee! You shoulda seen me! Like I'd been doin' it all my life! Nobody would ever believe it. LOUISE You think you've found your calling? THELMA Maybe. Maybe. The call of the wild! Thelma howls like a dog and drinks a little bottle of Wild Turkey. LOUISE You're disturbed. THELMA Yes! I believe I am!\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY Jimmy is in a small room with Hal, Max, other cops, looking stunned. JIMMY I swear to God, she would n't tell me one thing! Christ! You oughta try to find that kid that was with'em. HAL Tell us about him. JIMMY Just some young guy. Around twenty years old. Dark hair. Jimmy is really upset and has to really struggle to control himself. JIMMY -LRB- trying to remember him. -RRB- They said they'd picked him up along the way. He was a student. But he did n't look right. But he left when they got to the motel. MAX Do you understand that you may be facing an accessory charge? HAL This is serious, son. A man is dead. JIMMY I know! I'd tell you if I knew! Goddamn! I know something happened, or she would n't have left. I'm trying to remember everything! Find that fucking kid. He probably knows something.\",\n \"EXT. DRIVING SHOT - DAY Thelma and Louise are in the car. Thelma is taking empty little Wild Turkey bottles out of her purse and throwing them out the window. LOUISE So what's the plan, Thelma? You just gon na stay drunk? THELMA Try to. LOUISE Litterbug. They come ROARING up on a semi - tanker carrying gas. We see their FISH - EYE REFLECTIONS in the shiny tanker. The mud flaps are the shiny silhouettes of naked women that Thelma and Louise saw earlier. The truck is going slower than they are. LOUISE Aw, great. This always happens. Whenever you're in a hurry. She noses out to see if she can pass, but there's a car coming. The car passes and the truck HONKS. The truck driver's arm comes out his window and waves them past. THELMA Is n't that nice? Truck drivers are always so nice. The best drivers on the road. As they get next to the truck, the truck driver is smiling and waving at them. They smile and wave back. He flicks his tongue at them. Louise screams. THELMA/LOUISE Ugh! Gross! Oh my God! Aw, God! Louise FLOORS it and speeds past him. THELMA Ugh! Why do they have to do that? LOUISE They think we like it. Maybe they think it turns us on. Louise shivers with disgust.\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY Jimmy is looking at police mug shots of a lot of young guys. Hal shows Jimmy a mug shot of J.D. HAL Is this the guy you saw them with? JIMMY -LRB- looking closely. -RRB- It's him. MAX -LRB- clapping his hands. -RRB- Oh, happy day. JIMMY You got ta be kiddin' me. They picked up a murderer?! HAL Armed robber. JIMMY Oh, great. MAX -LRB- to Hal. -RRB- They're flying him here right now. He was picked up this morning for parole violation. They also found about six grand on him, so he probably knocked over something while he was out there. They can drop him by here for questioning. I'm so happy. JIMMY -LRB- overhearing. -RRB- How much cash did he have?\",\n \"EXT. POLICE STATION - DAY J.D. arriving, handcuffed, at State Police building.\",\n \"EXT. DIRT ROAD - DAY The T - Bird is entering terrain that looks more like desert. The top of the T - Bird is up.\",\n \"INT. CAR - DAY LOUISE Thelma. THELMA Yeah. LOUISE I want you to call Darryl. THELMA What for? LOUISE To find out if he knows anything. If you think he does, you got ta hang up because it means the police have told him and the phone is probably tapped. THELMA Jeez, Louise, tapped the phone? You think so? LOUISE -LRB- agitated. -RRB- Oh, come on! Murder one and armed robbery, Thelma! THELMA Murder one! God, Louise, ca n't we even say it was self - defense? LOUISE But it was n't! We got away! We were walkin' away! THELMA They do n't know that! It was just you and me there. I'll say he raped me and you had to shoot him! I mean, it's almost the truth! LOUISE It wo n't work. THELMA Why not?! LOUISE No physical evidence. We ca n't prove he did it. We probably ca n't even prove he touched you by now. They both pause for a moment. THELMA God. The law is some tricky shit, is n't it? Then : THELMA How do you know ` bout all this stuff anyway? Louise does not answer the question. LOUISE Besides, what do we say about the robbery? No excuse for that. No such thing as justifiable robbery. THELMA Alright, Louise!\",\n \"EXT. DIRT ROAD - HELICOPTER SHOT - DUSK As the sun sets, the T - Bird drives deeper into the vast desert.\",\n \"INT. POLICE STATION - NIGHT Darryl is sitting in the hallway. Two officers are leading J.D. down the hall. Hal, Max, other plainclothes officers follow. Darryl looks at Hal questioningly. Hal does n't respond and the entourage quickly goes into a room. Darryl stands and crosses the hall to the room as the door shuts in his face. DARRYL -LRB- yelling at the door. -RRB- Hey! Hey!\",\n \"INT. POLICE STATION - INTERROGATION ROOM - NIGHT J.D. Who's the nut? HAL That's Thelma Dickinson's husband. J.D. Aw, God.\",\n \"INT. POLICE STATION - HALLWAY - NIGHT Darryl tries the doorknob, but the door is locked.\",\n \"INT. POLICE STATION - INTERROGATION ROOM - NIGHT Hal, Max, J.D., other officers. There is a VCR and monitor set up in the room and they view the videotape of Thelma in the convenience store. J.D. -LRB- pleased. -RRB- Alright! She did good! Did n't she? HAL Well, son, she's doin' a damn sight better'n you right now. MAX Where did you get $ 6600.00 in cash? J.D. A friend. HAL We spoke with a gentlemen today who says he personally delivered very close to that same amount to a Miss Louise Sawyer. Do you know her too? J.D. Umm, yes. She was driving. HAL He said he took it to a motel in Oklahoma City. He also says that at that time he met a man. He identified you through a series of mug shots. He also told us that you and Mrs. Dickinson seemed `` close.'' Is that true? J.D. You might say we had a meeting of the minds, yes. MAX Did you know that Mrs. Dickinson and Miss Sawyer are wanted in connection with a murder? J.D. What?! HAL Did either of them ever indicate that they might be running from the Law? J.D. -LRB- surprised to hear this. -RRB- Now that you mention it, they might have been a little bit jumpy. HAL You know what? You're starting to irritate me. MAX Yeah. Me too. Hal thinks for a moment and then looks to Max. HAL Do you mind if I have a word with him alone for a minute. Max agrees and opens the door for the others to leave. He and Hal make eye contact before Max closes the door. J.D. What?! What'd I do? Hal sits down across the table from J.D. and looks at him. HAL Son, I got ta feelin' about somethin' and I just wan na ask your opinion. Do you think Thelma Dickinson would have committed armed robbery if you had n't taken all their money? J.D. does n't say anything. They both just sit there for a moment. HAL Cat got your tongue? J.D. shifts in his chair. J.D. How do you know I took it? How do you know they did n't just give it to me? HAL There's two girls out there that had a chance, they had a chance! And you blew it for'em. Now they've gotten in some serious trouble, some very serious trouble and for at least part of it, I'm gon na hold you personally responsible for anything that happens to them. I've got no feelin' for you. But I may be the only person in the world who gives a rat's ass what happens to them and you're either gon na tell me every damn thing you know, so there's a small chance I can actually do them some good, or I'm gon na be all over you like a fly on shit for the rest of your natural life. Your misery is gon na be my goddamn mission in life. That's a sincere promise. Hal walks over and opens the door and Max and the others straggle back in. HAL Now, for one thing, you violated your parole two days out. And you know Judge Hainey. He hates this sort of thing. Once he gets wind of this, he's gon na blow sky high. And then when he finds out that you're a possible accessory to murder and armed robbery, well, I think we can safely place your ass back in the slammer for at least the remaining eight, do n't you? MAX Oh, definitely. J.D. -LRB- convinced. -RRB- Okay. Is somebody gon na write this down?\",\n \"INT. POLICE STATION - NIGHT Darryl is sitting in the hallway. Hal comes out of the room first. HAL Mr. Dickinson, if you'll just hang on, I want a word with you and then we'll take you home. Police officers lead J.D. out of the interrogation room, down the hallway. Darryl is watching J.D. closely. J.D. is smirking at him. J.D. -LRB- slyly, to Darryl. -RRB- I like your wife. DARRYL -LRB- going after him. -RRB- Come back here, you little shit! Hal and another police officer are restraining Darryl. J.D. is led off down the hall.\",\n \"EXT. GAS STATION - NIGHT Louise and Thelma pull into a gas station.\",\n \"EXT. GAS STATION - NIGHT A gas station attendant approaches as Louise and Thelma are getting out of the car. LOUISE -LRB- to attendant. -RRB- Fill her up. -LRB- to Thelma. -RRB- There's a phone right over there. THELMA Let's get it over with. Thelma and Louise walk to the phone. LOUISE I'm not kidding, Thelma. If you think he knows, even if you're not sure, hang up.\",\n \"INT. THELMA'S HOUSE - NIGHT The TV is ON and the place is a mess. Darryl, Hal, Max, and other cops spring into action as the phone RINGS, putting on headsets, turning on tape recorders. Darryl picks up the phone. DARRYL Hello.\",\n \"EXT. PAY PHONE - NIGHT THELMA Darryl. It's me.\",\n \"INT. THELMA'S HOUSE - NIGHT Hal, Max, etc., all are gesticulating wildly. DARRYL -LRB- real friendly. -RRB- Thelma! Hello!\",\n \"EXT. PAY PHONE Thelma hangs up the phone. THELMA -LRB- matter - of - factly. -RRB- He knows.\",\n \"INT. THELMA'S HOUSE - NIGHT Everyone is very disappointed, taking off their headsets, turning off tape recorders and looking at Darryl like he's an idiot. HAL Shit. Darryl still holds the phone in his hand. DARRYL What?! All I said was hello.\",\n \"EXT. PAY PHONE - NIGHT Thelma and Louise are staring at each other intently. Louise steps up to the phone. LOUISE You got any change? Thelma digs in her bag and hands Louise a roll of quarters. Louise gets out of the car and goes to the pay phone. Thelma follows her. She puts the money in and dials. It RINGS. LOUISE Darryl, this is Louise. Are the police there?\",\n \"INT. THELMA'S HOUSE - NIGHT Again everybody springs into action. Darryl is fumbling with the phone. DARRYL Uh, no! No, why would any police be here? Hey, where are you girls, anyway? Darryl gives Hal and Max a look as if he's got it completely under control. Clever guy.\",\n \"EXT. PHONE - NIGHT LOUISE Let me talk to whoever's in charge there?\",\n \"INT. THELMA'S HOUSE - NIGHT DARRYL What are you talking about, Louise? Hal comes over and takes the phone away from Darryl. Hal looks at Max who nods, `` take it.'' HAL Hello, Miss Sawyer. I'm Hal Slocumbe, Chief Investigator, Homicide, Arkansas State Police. How are you?\",\n \"EXT. PHONE - NIGHT LOUISE -LRB- chuckling. -RRB- I've been better. HAL -LRB- V.O. -RRB- You girls are in some hot water. LOUISE Yes, sir. I know.\",\n \"INT. THELMA'S HOUSE - NIGHT HAL You're both okay? Neither one of you hurt? You're bein' careful with that gun?\",\n \"EXT. PHONE - NIGHT LOUISE We're both fine. HAL -LRB- V.O. -RRB- Good. You wan na tell me what happened? LOUISE Sure. Maybe over coffee sometime. I'll buy.\",\n \"INT. THELMA'S HOUSE - NIGHT HAL I just want you to know, neither one of you are charged with murder yet. You're still just wanted for questioning. Although, now, Mrs. Dickinson's wanted in Oklahoma for armed robbery.\",\n \"EXT. PHONE - NIGHT LOUISE No kiddin'. Listen, we got ta go. I'll call you back, all right? Louise looks at her watch. HAL -LRB- V.O. -RRB- Miss Sawyer, I do n't think y' all are gon na make it to Mexico. We should talk. Please. I wan na to help you. On hearing this Louise mouths the word `` shit'' in a very frustrated way. Louise hangs up the phone.\",\n \"INT. THELMA'S HOUSE - NIGHT All are busy trying to see if the call was traced. Darryl is back in his recliner still in shock.\",\n \"EXT. PAY PHONE - NIGHT She is stomping back to the car. Thelma follows doggedly. A moving van pulls in and parks in the b.g. LOUISE That J.D. kid is a little shit. THELMA What. Louise stops as she is about to get in and faces Thelma who's standing on the other side of the car. LOUISE How'd they find out we're going to Mexico, Thelma, how they know that? THELMA I. I. LOUISE You told that thievin' little shit where we were goin'?! Louise yanks open her car door, gets in and slams the door and fires up the ENGINE. Thelma hops in quickly. THELMA I just told him if he ever gets to Mexico to look us up. I asked him not to tell. I did n't think he would tell anybody. LOUISE Why not?! What's he got to lose? Other than my life's savings, that is. Shit! Louise careens back onto the road. THELMA I'm sorry. I mean I. Louise slams on the brakes. LOUISE Goddamnit, Thelma! Let me explain something to you. Right now we have only two things goin' for us. One, nobody knows where we are, and two, nobody knows where we're going. Now, one of our things that was going for us is gone! Louise stops yelling for a moment groping for self - control. Thelma looks pitiful. LOUISE Just stop talkin' to people, Thelma! Stop bein' so open! We're fugitives now. Let's behave that way! THELMA You're right.\",\n \"EXT. LONELY ROAD - NIGHT (MUSCO LIGHT) The T - Bird flashes by on a road that looks a lot like Route 66. THELMA -LRB- V.O. -RRB- Louise? Where are we? LOUISE -LRB- V.O. -RRB- Just past Boise City. THELMA -LRB- V.O. -RRB- Idaho? LOUISE -LRB- V.O. -RRB- Oklahoma, Thelma. We're crossing into New Mexico. THELMA -LRB- V.O. -RRB- I always wanted to see New Mexico.\",\n \"EXT. THELMA'S POV - OUT PASSENGER WINDOW - PITCH BLACK\",\n \"EXT. BACK ROAD - NIGHT The car goes streaking by.\",\n \"INT. THELMA'S HOUSE - NIGHT (MUSCO LIGHT) All's quiet. The large screen TV is ON and the room is filled with dense smoke. Hal, Max, sit at a table going over paperwork. Other plainclothes and surveillance guys play cards. Darryl sits crumpled in his recliner staring blankly at the TV.\",\n \"INT. JIMMY'S APARTMENT - NIGHT Jimmy sits on his couch with his guitar while two plainclothes cops sit reading the paper, doing the crossword puzzle.\",\n \"INT. CAR - NIGHT Thelma is sipping on a little Wild Turkey. THELMA Now what? LOUISE Now what what? THELMA Whaddo we do? LOUISE Oh, I do n't know, Thelma. I guess maybe we could turn ourselves in and spend our lives trading cigarettes for mascara so we can look nice when our families come to visit us on Saturdays. Maybe we could have children with the prison guards. THELMA I'm not suggestin' that! I'm not goin' back. No matter what happens. So do n't worry about me. Louise speeds up. Thelma hands Louise a little bottle of Wild Turkey and she drinks it down. Thelma has one too. THELMA Can I ask you kind of a weird question? LOUISE Yeah. THELMA Of all the things in the world that scare you, what's the worst thing that scares you the most? LOUISE You mean now or before? THELMA Before. LOUISE I guess I always thought the worst thing that could happen would be to end up old and alone in some crummy apartment with one of those little dogs. THELMA What little dogs? LOUISE You know those little dogs you see people with? THELMA Like a Chihuahua? LOUISE Those, too, but you know those little hairy ones? Those flat - faced little fuckers with those ugly goddamned teeth? THELMA Oh yeah. You mean Peek - a - poos. LOUISE Yeah. Those. That always put the fear of God in me. What about you? THELMA Well, to be honest, the idea of getting old with Darryl was kinda startin' to get to me. LOUISE I can see that. THELMA I mean, look how different he looks just since high school. It's bad enough I have to get old, but doin' it with Darryl around is only gon na make it worse. -LRB- quieter. -RRB- I mean, I do n't think he's gon na be very nice about it. LOUISE Well, now, maybe you wo n't have to. THELMA Always lookin' on the bright side, are n't ya?\",\n \"EXT. MOONLIT DESERT HIGHWAY - NIGHT (MUSCO LIGHT) They are driving through Monument Valley. The T - Bird speeds through the beautifully moonlit desert. It is almost like daylight. MONTAGE of silhouettes of cacti, huge rock formations, desert beauty SHOTS, etc..\",\n \"INT. CAR - POV THROUGH WINDSHIELD - NIGHT The sky is bright and expansive and the road goes on forever. THELMA This is so beautiful. LOUISE Gosh. It sure is. THELMA I always wanted to travel. I just never got the opportunity. LOUISE Well, you got it now. They both look forward for another moment. And then, at the same time, they look at each other, each taking the other one in completely, in this moment. They're saying everything to each other in this moment, but their expressions do n't change and they do n't say a word. MUSIC plays on the RADIO.\",\n \"EXT. DESERT HIGHWAY - NIGHT A semi - gas tanker is up ahead on the road. It looks like the one they saw earlier. It's got the same mud flaps.\",\n \"INT. CAR - NIGHT LOUISE Look! Look who it is, Thelma. I'll be darned. What's he doin' way out here. THELMA Just ignore him. Louise passes him and, as she does, he HONKS. They look up and he is wildly pointing to his lap. LOUISE Oh, Christ. I hate this guy. THELMA We should have just ignored him.\",\n \"EXT. DESERT HIGHWAY - DAWN (OVER MUSIC) The car is flying down the road.\",\n \"INT. CAR - DESERT HIGHWAY - DAWN They are quiet for a moment, then Thelma starts quietly laughing to herself. She is trying to stop but can not. LOUISE What? THELMA -LRB- shaking with laughter. -RRB- Nothing. It's not funny. LOUISE What? What's not funny, Thelma! Thelma is trying to compose herself but can not. THELMA Okay, but. -LRB- she can barely speak. -RRB- I ca n't say. Thelma is n't making a sound. She is stuck in a convulsion of laughter. LOUISE What?! THELMA -LRB- gasping for air. -RRB- Harlan. LOUISE What?! What about him?! THELMA Just the look on his face when you. -LRB- she is falling apart again. -RRB-. it's not funny. LOUISE -LRB- shocked. -RRB- Now, Thelma, that is not. Thelma is still trying to get a grip on herself. THELMA Boy, he was n't expectin' that! LOUISE -LRB- scolding. -RRB- Thelma! THELMA -LRB- impersonating Harlan. -RRB- Suck my dick. Boom! Thelma is laughing wildly. LOUISE -LRB- quietly. -RRB- Thelma. It's not funny. Thelma has just crossed the line from laughing to crying. THELMA -LRB- trying to catch her breath. -RRB- I know! They both get quiet. Thelma leans back just watching Louise. She studies her as if she's never really seen her before. All of a sudden a look of shocked realization comes over Thelma's face. She jerks upright and startles Louise. THELMA -LRB- carefully. -RRB- It happened to you. did n't it? Louise knows what she is talking about. She becomes immediately agitated. LOUISE I do n't want to talk about it! Thelma, I'm not kidding! Do n't you even. THELMA in Texas. did n't it? That's what happened. Oh my God. Louise looks as if she is looking for a way to flee. LOUISE -LRB- fighting hysteria. -RRB- I'm warning you, Thelma. You better drop it right now! I do n't want to talk about it! THELMA -LRB- gently. -RRB- Okay, Louise. It's okay. Louise's eyes are wild, not seeing, while Thelma now seems completely serene.\",\n \"EXT. DESERT HIGHWAY - DAWN The car is SCREAMING down the road. They drive through a little stand of buildings.\",\n \"EXT. DESERT HIGHWAY - LONG LENS SHOT - DAWN A car speeds up to try and catch them. The red and blue lights pop on. It is a New Mexico State Patrol car.\",\n \"INT. CAR - DAY Louise sees the lights in the rearview mirror. LOUISE'S POV OF THE SPEEDOMETER at 100 mph. Thelma is asleep. LOUISE Shit! Thelma, wake up! Shit! We're gettin' pulled over! Thelma jumps awake. THELMA What! What! Oh shit! Oh no! They are trying not to panic. They are slowing down, but still doing 70 mph. The patrol car is right behind them. THELMA What do we do? What do you want to do?! LOUISE I do n't know! Shit! Let's just play it by ear. He may not know. He may just give me a ticket. THELMA Please, God, please do n't let us get caught. Please, please, please. Louise pulls the car off the road. The patrol car pulls up right behind them. The lights shine brightly in through the windows.\",\n \"EXT. SIDE OF DESERT HIGHWAY - DAY PATROLMAN -LRB- O.S. ; OVER P.A. -RRB- Turn off your engine. Louise does. The PATROLMAN gets out of his car and approaches their car. He comes to the driver's side window. It is rolled up. PATROLMAN'S POV OF LOUISE smiling up at him. He gestures to her to roll her window down. She does. LOUISE Hello, Officer. Is there a problem? PATROLMAN You wan na let me see your license, please? Louise fumbles in her purse for her wallet, opens it and shows her license. PATROLMAN You wan na take it out of your wallet, please? LOUISE Oh yeah. She does and hands it to him. THELMA I told you to slow down. Hell, Officer, I told her to slow down. LOUISE About how fast was I going? PATROLMAN About a hundred and ten. You wan na step out of the car, please? They walk to the back of the car. He notes the license plate number. PATROLMAN Is this your car? LOUISE Yes. PATROLMAN You wan na come with me, please? Walk around and get in the car, please. LOUISE In the back? PATROLMAN Front. LOUISE Am I in trouble? PATROLMAN As far as I'm concerned, yes, ma'am, you are. Patrolman gets in the driver's side. He picks up a clipboard and clips Louise's driver's license to it. He picks up the hand mike for the radio and, as he does, a hand with a gun comes in his car window. It's Thelma and she puts the gun to his head. THELMA Officer, I am so sorry about this. Could you let go of that? He drops it. THELMA I really, really apologize, but please put your hands on the steering wheel. See, if you get on that radio, you're gon na find out that we're wanted in two states and probably considered armed and dangerous, at least I am, then our whole plan would be shot to hell. Louise, take his gun. Louise reaches over and takes his gun. LOUISE -LRB- apologetic. -RRB- I am really sorry about this. THELMA I swear, before yesterday, neither one of us would have ever pulled a stunt like this. But if you ever met my husband, you'd know why I just can. You wan na step out of the car, please? -LRB- she opens the door for him. -RRB- You wan na put your hands on your head, please? Louise, shoot the radio. LOUISE What? THELMA Shoot the radio! Louise SHOOTS the car radio. The cop flinches with each shot. THELMA The police radio, Louise! Jesus! Louise fires TWO SHOTS into the police radio. It BLASTS all to hell. THELMA You wan na step to the back of the car, please. Louise, bring the keys. Louise reaches over and takes the keys. She takes her license off the clipboard. She gets out and trots around to the back of the car. Thelma is holding the gun on the Patrolman. Suddenly Thelma FIRES the gun, blowing two holes into the trunk cover. THELMA -LRB- to Louise. -RRB- Open to trunk. Louise opens the trunk. THELMA -LRB- to Patrolman. -RRB- You wan na step into the trunk, please? PATROLMAN Ma'am, please. I got kids. a wife. THELMA You do? Well, you're lucky. You be sweet to'em. Especially your wife. My husband was n't sweet to me and look how I turned out. Now go on, get in there. As he's climbing into the trunk, Thelma explains to Louise : THELMA Air holes. He's all the way in and Louise closes the trunk.\",\n \"INT. PATROL CAR - DAY Thelma opens the glove compartment. She takes a box of spare ammo and closes it. Thelma takes the keys and gets out of the car. She walks around to the trunk.\",\n \"EXT. PATROL CAR - DAY THELMA -LRB- to trunk. -RRB- Sorry! LOUISE -LRB- from her car. -RRB- Sorry! Thelma hops into the car with Louise. They look at each other. LOUISE Ready? THELMA Hit it. Louise pulls the car back onto the road and they drive away.\",\n \"INT. CAR - DAY THELMA -LRB- shaking her head. -RRB- I know it's crazy, Louise, but I just feel like I've got a knack for this shit. LOUISE I believe you.\",\n \"EXT. CAR - MONTAGE DRIVING SHOTS - DAY They are in really beautiful country now. THELMA -LRB- V.O. -RRB- Drive like hell.\",\n \"INT. THELMA'S KITCHEN - MORNING Hal and Max are alone in the kitchen. Hal switches on the Mr. Coffee. MAX It's just not working like this. We got ta do something. It'd be one thing if these girls were hardened criminals, but Jesus, Hal, this is makin' us look bad. I do n't know. maybe they're not movin'. Maybe that little creep lied. HAL He's got nothin' to gain by lyin'. Nothin' at all. He already got all their money. I just do n't know what we're dealin' with here. Anyway, it went out again last night on Nationwide Teletype. Let's just wait it out a little longer. She said she was gon na call back. Let's just sit tight. MAX We do n't have a whole lotta choice, do we? I ca n't figure out if they're real smart or just really, really lucky. HAL It do n't matter. Brains will only get you so far and luck always runs out. A cop walks into the kitchen and hands Hal a file that says Louise Elizabeth Sawyer on the outside. He opens it up and starts looking through a personal history. One piece of paper is a case file from Texas containing an incident report of a rape. Stamped across it are the words `` charges dropped.''\",\n \"INT. CAR - DAY THELMA Louise. are we still going to Mexico? LOUISE Yes. Thelma pauses while she searches for the logic. THELMA Then are n't we going in the wrong direction? LOUISE Well, I figure if you take a state policeman, shoot up his car, take his gun and lock him in the trunk, it's best to just get on out of the state if you can. THELMA Just asking. They are both quiet for a second. Louise goes a little faster. Thelma is digging through her bag. She hands Louise a piece of beef jerky. LOUISE I do n't want to see any more beef jerky. I mean the next beef jerky you hand me is going out the window. It's drivin' me crazy. The whole car smells like it. THELMA It's good. It's what the pioneers ate. LOUISE I do n't care what the damn pioneers ate. You just keep that shit away from me, now I mean it. Thelma puts down her bag. LOUISE And I do n't want any more Wild Turkey, either. It's burning a hole in my stomach. THELMA Okay, okay. I've got some tequila. You want some tequila? LOUISE You do? THELMA Yeah, you want it? LOUISE Yeah. Thelma starts to dig through her bag again. THELMA It's in here somewhere. Louise is rubbing her face. She looks pretty bad. Her hands are shaking. LOUISE Shit. I'm gettin' tired. THELMA Are you alright? Louise does not really seem alright. LOUISE I think I've really fucked up. I think I've got us in a situation where we could both get killed. Why did n't we just go straight to the police. THELMA You know why. You already said. LOUISE What'd I say again? THELMA Nobody would believe us. We'd still get in trouble. We'd still have our lives ruined. And you know what else? LOUISE What? THELMA That guy was hurtin' me. And if you had n't come out when you did, he'd a hurt me a lot worse. And probably nothin' woulda happened to him.'Cause everybody did see me dancin' with him all night. And they woulda made out like I asked for it. And my life woulda been ruined a whole lot worse than it is now. At least now I'm havin' fun. And I'm not sorry the son of a bitch is dead. I'm only sorry that it was you that did it and not me. And if I have n't, I wan na take this time to thank you, Louise. Thank you for savin' my ass. LOUISE I said all that? THELMA No, Louise, you said the first part. I said all the rest. LOUISE -LRB- tired. -RRB- Whatever.\",\n \"EXT. ROADSIDE REST STATION - MORNING Louise is at a pay phone as the sky is just starting to get light. Thelma is in the bathroom nearby. Louise has already dialed and the phone is RINGING.\",\n \"INT. THELMA'S HOUSE - MORNING The TV DRONES on in the b.g. as the phone RINGS there, everyone leaps into action again. Max picks up the phone. MAX Hello. LOUISE -LRB- V.O. -RRB- Let me speak to. Slocumbe. MAX -LRB- to Hal. -RRB- She wants to talk to you. HAL Hello, Louise.\",\n \"EXT. PAY PHONE - MORNING LOUISE Hey. HAL -LRB- V.O. -RRB- How are things goin' out there? LOUISE Weird. Got some kind of snowball effect goin' here or somethin'. HAL -LRB- V.O. -RRB- You're still with us though. You're somewhere on the face of the earth? LOUISE Well, we're not in the middle of nowhere, but we can see it from here.\",\n \"INT. THELMA'S HOUSE - MORNING Hal smiles. HAL I swear. Louise, I almost feel like I know you. LOUISE -LRB- V.O. -RRB- Well. You do n't. HAL You're gettin' in deeper every moment you're gone. LOUISE -LRB- V.O. -RRB- Would you believe me if I told you this whole thing is an accident? HAL I do believe you. That's what I want everybody to believe. Trouble is, it does n't look like an accident and you're not here to tell me about it. I need you to help me here.\",\n \"EXT. PAY PHONE - MORNING Louise does not answer. HAL -LRB- V.O. -RRB- Did Harlan Puckett. Through clenched teeth, repulsed : LOUISE -LRB- interrupting. -RRB- No! HAL -LRB- V.O. -RRB- You want to come on in? Louise thinks for a minute. LOUISE I do n't think so.\",\n \"INT. THELMA'S HOUSE - DAY HAL Then I'm sorry. We're gon na have to charge you with murder. Now, do you want to come out of this alive? The surveillance man motions to Hal to keep it going. Darryl comes in and immediately realizes Hal is talking to Louise. Darryl looks attentively at Hal.\",\n \"EXT. PAY PHONE - DAY LOUISE You know, certain words and phrases just keep floating through my mind, things like incarceration, cavity search, life imprisonment, death by electrocution, that sort of thing. So, come out alive? I do n't know. Let us think about that. HAL -LRB- V.O. -RRB- Louise, I'll do anything. I know what's makin' you run. I know what happened to you in Texas. Louise's eyes get wide as she hears this. A FINGER reaches up and presses down the lever and hangs up the phone. ANGLE OF THELMA She has her finger on the lever. THELMA Come on, Louise. Do n't blow it. Let's go. She walks away towards the car. Louise is still standing there holding the phone. Thelma stops and looks at her. THELMA Come on. Louise does n't move.\",\n \"INT. THELMA'S HOUSE - DAY Frustrated, Hal slams down the phone. He looks over at the surveillance man who nods to say `` we got it.'' The whole room reacts excitedly. Everyone in the room springs into action. Max immediately picks up the phone and Hal watches him intently. He mouths the words to Max - `` I wan na go'' emphatically. Max slightly shakes his head, still of the phone. Hal goes charging over to Max. HAL Max. You got ta take me there! I'm. I'm the only one she's ever talked to. I do n't want anybody losin' their heads. You know what happens. The volume gets turned way up and the next thing you know those girls are gon na get shot. Max, still holding the phone, is surprised by this outburst. MAX -LRB- calmly. -RRB- Okay, Hal, okay.\",\n \"EXT. PAY PHONE - DAY Louise is still standing there. THELMA Louise? LOUISE Yes, Thelma? THELMA You're not gon na give up on me, are ya? LOUISE What do you mean? THELMA You're not gon na make some deal with that guy, are you? I mean, I just wan na know. LOUISE No, Thelma. I'm not gon na make any deals. THELMA I can understand if you're thinkin' about it. I mean, in a way, you've got something to go back for. I mean Jimmy and everything. Louise is surprised to be hearing this from Thelma. LOUISE Thelma, that is not an option. THELMA But I do n't know. something's crossed over in me and I ca n't go back. I mean, I just could n't live. LOUISE I know. I know what you mean. I do n't wan na end up on the damn Geraldo Show. They are both quiet for a moment. LOUISE He said they're charging us with murder. THELMA -LRB- making a face. -RRB- Eeuww. LOUISE And we have to decide whether we want to come out of this dead or alive. THELMA Gosh, did n't he say anything positive at all? Louise STARTS the car. They lurch into reverse then SCREECH forward as they tear off down the road. WIDE SHOT OF CAR as they fly down the road. THELMA Louise, do you think we should change cars, get another car? LOUISE Sure. You know how to hotwire a car? THELMA No. LOUISE Well, let me know when you figure it out.\",\n \"EXT. AIRSTRIP - DAY A car pulls up on an airstrip and stops next to a small jet. Hal and Max get out of the car and board the plane.\",\n \"EXT. DESERT - DAY MONTAGE of driving shots as Louise and Thelma drive through the intense beauty of the Arizona desert.\",\n \"INT. CAR - DAY THELMA You awake? LOUISE You could call it that. My eyes are open. THELMA Me too. I feel awake. LOUISE Good. THELMA Wide awake. I do n't remember ever feelin' this awake. Everything looks different. You know what I mean. I know you know what I mean. Everything looks new. Do you feel like that? Like you've got something to look forward to? Louise and Thelma both get quiet for a second. LOUISE We'll be drinkin' margaritas by the sea, Mamasita. THELMA We can change our names. LOUISE We can live in a hacienda. THELMA I wan na get a job. I wan na work at Club Med. LOUISE Yes! Yes! Now what kind of deal do you think that cop can come up with to beat that? THELMA It'd have to be pretty good. LOUISE It would have to be pretty damn good. They are both laughing. The car is still flying down the road. The sun is coming higher in the sky now. They come to an intersection in the middle of nowhere. Louise stops and looks at the map. LOUISE We should head a little further in. There's not that many roads in this state. I want to try to hit Mexico somewhere not so close to New Mexico. They probably wan na kill us in New Mexico. THELMA You're drivin'. Louise takes a right turn and speeds down the road.\",\n \"EXT. DESERT ROAD - DAY Louise and Thelma are singing along to a wild R&B SONG. They do the hand movements as if they are the Supremes. They come roaring up on the semi - tanker, the same one they have seen three times before. THELMA -LRB- screaming over music. -RRB- Oh my God! Louise! Look! Look! See if that's him! LOUISE It's him. He's got California plates. It's the same guy. THELMA Pass him!\",\n \"EXT. DESERT ROAD - DAY Louise bears down really hard and passes him. Again as they get right next to him, he blows kisses down at them. He is leering at them and laughing. Louise and Thelma drive further down the road. Louise pulls the car off to the side of the road. As the truck gets close they start waving to him to stop. He pulls his truck off the side of the road and stops. ANGLE ON Louise and Thelma smiling up at him. He chuckles to himself. He leans out the window. THELMA Hi! TRUCKER Hi there! You alright? THELMA We're fine! How are you? TRUCKER Grrrreat! LOUISE Follow us. They turn off onto a dirt road and pull to a stop.\",\n \"INT. TRUCK CAB - DAY The Trucker reaches over and opens a glove compartment crammed full of condoms. He grabs a few and shoves them in his pocket. He turns off his engine and gets out of the truck.\",\n \"EXT. SIDE OF ROAD - DAY He walks up to the car. Louise and Thelma get out of the car. THELMA Where you goin'? TRUCKER Fresno. LOUISE We been seein' you all along the way. TRUCKER Yeah. I been seein' you, too. THELMA We think you have really bad manners. Louise nods. LOUISE We were just wonderin' where you think you get off behavin' like that to women you do n't even know. This is not what is supposed to be happening. TRUCKER What? What are you talkin' about? LOUISE You know good and damn well what I'm talkin' about. THELMA I mean really! That business with your tongue. What is that? That's disgusting! LOUISE And, oh my God, that other thing, that pointing to your lap? What's that supposed to mean exactly? Does that mean pull over, I want to show you what a big fat slob I am or. THELMA Does that mean suck my dick? TRUCKER You women are crazy! LOUISE You got that right. THELMA We think you should apologize. He is getting a little panicky. TRUCKER I'm not apologizing for shit! LOUISE Say you're sorry. TRUCKER Fuck that. Louise pulls the gun they stole from the State Patrolman. LOUISE Say you're sorry or we'll make you fuckin' sorry. He looks at the gun. TRUCKER Oh, Jesus! THELMA You probably even called us beavers on your CB radio, did n't you? TRUCKER Yeah. sure did. THELMA Damn. I hate that! I hate bein' called a beaver, do n't you? LOUISE Are you going to apologize or not? TRUCKER Fuck you. Louise looks at his truck off in the distance. She points the gun at it, takes a second to get a bead, then SHOOTS two of the tires flat. The truck slowly sinks as the air escapes from the tires. TRUCKER Oh goddamn! You bitch! Louise and Thelma look at each other. They both turn towards the truck and FIRE rounds into the tankers until they EXPLODE in a huge ball of fire. The truck driver screams at the top of his lungs. Louise starts the car and starts driving in circles around the truck driver. Thelma and Louise are both howling at the top of their lungs. Thelma is sitting on the back of the front seat with her legs on the dashboard. TRUCKER You fucking bitch! Aaaaaaarrrgghh! You're gon na have to pay for that! I'm gon na make you pay for that! You hear me?! Louise stops the car right next to him. THELMA Shut up. Louise takes off again and Thelma falls into the back seat. They drive off trailing a huge cloud of dust.\",\n \"EXT. DESERT - DAY Louise drives through the desert back towards the road, past the burning debris of the truck. As she gets to the road she stops. Thelma climbs into the front seat.\",\n \"INT. CAR - DAY THELMA Hey. Where'd you learn to shoot like that? LOUISE Texas. You were right about what happened to me there. They pull away from the burning wreckage.\",\n \"INT. CAR - DAY As Thelma and Louise talk, their voices are heard over the following scene. LOUISE -LRB- V.O. -RRB- You know what's happened, do n't you? THELMA -LRB- V.O. -RRB- What? LOUISE -LRB- V.O. -RRB- -LRB- smiling. -RRB- We've gone insane. THELMA -LRB- V.O. -RRB- Yup.\",\n \"EXT. NEW MEXICO SIDE OF ROAD - DAY A battered old pickup truck is parked by the New Mexico State Patrol. An old man uses a crowbar to pry open the trunk. The New Mexico State Patrolman hops out of the trunk.\",\n \"EXT. DESERT ROAD - HELICOPTER SHOT - DAY Police Bulletin VOICE OVER BEGINS AND PLAYS OVER following scenes : A police helicopter flies over the burning wreckage of the fuel truck. The truck driver is waving his arms as the helicopter descends, blowing dirt all over him.\",\n \"INT. THELMA'S HOUSE - DAY Darryl sits practically comatose in a big chair. His eyes have a dull glaze as he stares first at one wall, then another.\",\n \"INT. CAR - DAY A TIGHT SHOT of a TAPE being shoved into the cassette deck.\",\n \"INT. FBI JET - DAY Max and Hal sit next to each other in the jet. Hal tries to appear as if he's used to all this. Max holds a cellular phone to his ear. TIGHT SHOT of Max as we hear through the phone : Police VOICE OVER becomes part of scene. POLICE -LRB- V.O. -RRB- -LRB- on phone. -RRB-. Abducted. shot up the car. stole the officer's weapon. tanker. blown up. terrorized. Max's face becomes troubled and more serious than we've seen so far. He looks at Hal as he hangs up the phone. MAX You're not even going to believe this.\",\n \"EXT. FBI JET - DAY The jet banks off to the left.\",\n \"EXT. DESERT ROAD - DAY WIDE SHOT of car speeding through the desert on an empty highway west. DRIVING SHOT - Thelma has her face to the sun with her eyes closed. Louise is driving with a fierce intensity. They hardly resemble the two women that started out for a weekend in the mountains two days earlier. Although their faces are tanned and lined and their hair is blowing wildly there is a sense of serenity that pervades.\",\n \"EXT. HELIPORT - DAY Hal and Max are climbing out of the jet and running across the tarmac to a waiting helicopter. Max is carrying a walkie - talkie now.\",\n \"INT. CAR - DAY Thelma sits up suddenly. An Arizona police car passes them going eastbound. THELMA Oh shit. Louise. Do you think he saw us? LOUISE I do n't know, but let's get off. LOUISE'S POV - REARVIEW MIRROR The police car cuts across the median to begin pursuit of the girls. The lights are flashing.\",\n \"INT. CAR - DAY LOUISE Is your seat belt on? Thelma puts her seat belt on. Louise floors the car and it streaks off, putting some distance between them and the police car. Thelma looks back at the police car. She looks scared. THELMA I guess we shoulda made some kinda plan for what to do if we get caught. LOUISE Yeah, right. We're not gon na get caught.\",\n \"INT. ARIZONA POLICE CAR - DAY STATE POLICEMAN is on his radio. POLICEMAN #1 requesting assistance. In pursuit of a green T - Bird, 1966 license, seven, one, nine, William, Zebra, Adam. RADIO -LRB- V.O. -RRB- Roger. Be advised. -LRB- breaks up. -RRB-. armed and extremely dangerous.\",\n \"EXT. ARIZONA STATE POLICE HEADQUARTERS - DAY A steady stream of state police cars pulls out of the parking lot with lights flashing while other policemen are running to their cars still parked in the lot.\",\n \"INT. CAR - DAY THELMA How far are we from Mexico? LOUISE About two hundred and fifty miles. THELMA How long do you think that'll take?\",\n \"EXT. DESERT ROAD - DAY There are now two police cars behind them about half a mile back. They are going really fast. A police helicopter catches up to them and orders them to stop. Thelma stands and flips them off. THELMA We're going to Mexico!\",\n \"INT. CAR - DAY THELMA -LRB- looking back. -RRB- Uh oh. There's another one. Louise and Thelma both are looking back at the two police cars following them. They turn back around just in time to see a third Arizona State police car has pulled into the middle of an intersection of the only road that crosses it for miles. They both scream. Louise swerves just in time to keep from hitting it broadside. She goes off the road and has to struggle to pull her car back onto the road, leaving a huge cloud of dust. LOUISE Shit! THELMA Did you see that guy?! He was right in the middle of the road!\",\n \"EXT. DESERT ROAD - DAY The first two police cars are approaching the same intersection. They are driving side by side. There is still a huge cloud of dust that now covers the third car in the middle of the intersection.\",\n \"INT. POLICE CAR #1 - POV - DAY A huge cloud of dust blows across the road as he approaches the intersection. It clears to reveal the third police car in the middle of the road, just as he and police car # 2 reach the intersection. ANGLE ON POLICEMAN # 1 as he screams and swerves to the right.\",\n \"INT. POLICE CAR #3 - DAY ANGLE ON POLICEMAN # 3 as he sees both police cars heading right for him at 120 mph. He screams and ducks down into the seat. ANOTHER ANGLE - POLICE CAR # 1 swerves to the right. Police car # 2 swerves to the left, both barely missing police car # 3. ANOTHER ANGLE as police car # 1 and police car # 2 both pull back onto the road right next to each other.\",\n \"INT. POLICE CAR #3 - DAY Policeman # 3 sits up in the seat. He ca n't believe he is n't dead. He puts his car in gear and takes off down the road after them.\",\n \"INT. CAR - DAY LOUISE -LRB- looking in rearview mirror. -RRB- Shit! THELMA What?! LOUISE What?! What d'you think?! THELMA Oh.\",\n \"EXT. DESERT GHOST TOWN - DAY Louise and Thelma blow through a stand of buildings left from when the train went through here. There are two parallel streets on either side of the one they're on and, as they pass by buildings, they can see police cars ROARING down these parallel streets trying to `` head them off at the pass.'' Louise FLOORS it and her car screams ahead. LOUISE We probably shoulda filled up the car before we blew up that truck. THELMA Why? LOUISE They'll probably catch us when we have to stop for gas! THELMA I know this whole thing was my fault. I know it is. LOUISE There's one thing you oughta understand by now, Thelma, it's not your fault. THELMA Louise. no matter what happens, I'm glad I came with you. LOUISE You're crazy.\",\n \"EXT. DESERT ROAD - DAY Louise swerves off the road and begins driving across the desert. All the police cars take off across the desert after them. They are now being pursued by at least fifteen cars.\",\n \"INT. CAR - DAY THELMA You're a good friend. LOUISE You too, sweetie, the best. THELMA I guess I went a little crazy, huh? LOUISE No. You've always been crazy. This is just the first chance you've had to really express yourself. THELMA I guess everything from here on in is going to be pretty shitty. LOUISE Unbearable, I'd imagine. THELMA I guess everything we've got to lose is already gone anyway. LOUISE How do you stay so positive? They smile.\",\n \"EXT. DESERT - DAY It does look like an Army. More police cars have joined, and from every direction, police cars are swarming across the desert, although none are in front of them. Way off in the distance, a helicopter joins the chase.\",\n \"INT. CAR - DAY Thelma is looking way up ahead in the distance. THELMA Louise! LOUISE What?! THELMA What in the hell is that up there? LOUISE Where?! THELMA Way up ahead! Louise strains to see. Whatever it is, Louise is barreling towards it, the car leaving the ground as they fly through the desert. LOUISE Oh my God! Louise starts to laugh and cry at the same time. THELMA What in the hell is it?! LOUISE It's the Goddamn Grand Canyon!\",\n \"EXT. DESERT - DAY Behind them is a huge wall of dust created by all the police cars following them. In front of them, looking larger every moment, is the awesome splendor of the Grand Canyon.\",\n \"INT. CAR - DAY THELMA Is n't it beautiful?! LOUISE It's grand! Louise has tears streaming down her face as she realizes there is absolutely no escape. She continues barreling towards it without slowing down.\",\n \"EXT. DESERT - DAY All the police cars are still following about a half a mile behind. The car is bouncing and flying across the desert. Finally, they get about twenty yards from the edge and Louise SLAMS on the brakes. Thelma and Louise are just waiting for the cars to catch up. The police cars stop in a line about two hundred yards behind them. The dust from the cars is blowing across them. They just sit looking at the Grand Canyon. From the canyon, the FBI helicopter rises up in front of the car.\",\n \"INT. FBI HELICOPTER - DAY Hal sees Thelma and Louise for the first time. They are sitting in the car, oblivious in a way, to all the activity around them. He only takes his eyes off of them long enough to look at Max.\",\n \"INT. CAR - DAY THELMA God! It looks like the Army! LOUISE All this for us? Thelma starts to laugh. Louise is only concerned with missing the cacti and other obstacles that lie before her.\",\n \"INT. FBI HELICOPTER - DAY The helicopter lands behind the row of police cars. HAL'S POV He sees Thelma and Louise facing each other. They look so nice. He ca n't stop looking. He borrows the binoculars from Max. He sees Thelma and Louise in the car. Some of the police sharpshooters are sporting semi - automatic rifles. Hal looks at Max. HAL Hey! Do n't let them shoot those girls. This is too much. They got guns pointed at'em! MAX The women are armed, Hal. This is standard. Now you stay calm here. These boys know what they're doin'. Max climbs out of the chopper. Hal sits for a moment and then leaps out and follows Max. POLICE -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- This is the Arizona Highway Patrol. You are under arrest. You are considered armed and dangerous. Any failure to obey any command will be considered an act of aggression against us.\",\n \"INT. CAR - DAY THELMA Now what? LOUISE We're not giving up, Thelma. THELMA Then let's not get caught. LOUISE What are you talkin' about? THELMA -LRB- indicating the Grand Canyon. -RRB- Go. LOUISE Go? Thelma is smiling at her. THELMA Go. They look at each other, look back at the wall of police cars, and then look back at each other. They smile. TIGHT SHOT - CARTRIDGES being loaded into automatic rifle. THELMA AND LOUISE - THROUGH THE CROSS HAIRS OF A GUN SIGHT\",\n \"EXT. DESERT - DAY TWO OF THE ARIZONA COPS by their cars, as they are loading weapons, talk quietly. ARIZONA COP #1 heard they shot a cop. ARIZONA COP #2 No shit. ARIZONA COP #1 With his own gun. Put him in the trunk and blew him away.\",\n \"INT. CAR - DAY Louise and Thelma are looking at each other. POLICE -LRB- O.S. -RRB- -LRB- over loudspeaker. -RRB- Turn off the engine and place your hands in the air!\",\n \"EXT. DESERT - DAY Hal is about to crawl out of his skin. He ca n't believe this thing is getting out of control. He jumps in front of Max. HAL Max! Let me talk to'em! I ca n't believe this! You've got ta do something here! Max goes around Hal and continues walking. Hal jumps in front of Max again and blocks his way. HAL I'm sorry to bother you, I know you're real busy right now, but how many times, Max? How many times has that woman got ta be fucked over? You could lift one finger and save her ass and you wo n't even do that? MAX -LRB- grabbing Hal. -RRB- Get a hold of yourself! You are way out of your jurisdiction, now come on! Calm down! Do n't make me sorry I let you come! Max lets go of Hal's lapels. HAL -LRB- under his breath. -RRB- Shit! I ca n't fucking believe this! Hal walks along with a look of total disbelief on his face. He's shaking his head. Slowly he breaks into a trot and starts heading toward the front line. MAX -LRB- shouting. -RRB- Hey. Hey! Hal is running now and clears the front row of cars. There is a lot of confusion among the officers on the front row. Some shout, some lower their guns to look. ARIZONA COP #1 What in the hell?! ARIZONA #2 -LRB- lowering his rifle. -RRB- The son of a bitch is in my way!\",\n \"INT. CAR - DAY They are still looking at each other really hard. THELMA You're a good friend. LOUISE You, too, sweetie, the best. -LRB- SHOOT WITH OR WITHOUT. -RRB- MUSIC : B.B. King song entitled `` Better Not Look Down'' begins. It is very upbeat. LOUISE Are you sure? Thelma nods. THELMA Hit it. Louise puts the car in gear and FLOORS it. CUT TO :\",\n \"EXT. DESERT - DAY Hal's eyes widen for a moment at what he sees, and then a sense of calm overtakes him and he mouths the word `` alright.'' B.B. KING SONG -LRB- V.O. -RRB- I've been around, I've seem some things, People movin' faster than the speed of sound, faster than a speedin' bullet. People livin' like Superman, all day and all night. I wo n't say if it's wrong or I wo n't say if it's right. I'm pretty fast myself. But I do have some advice to pass along, right here in the words to this song.\",\n \"EXT. DESERT - DAY The cops all lower their weapons as looks of shock and disbelief cover their faces. A cloud of dust blows THROUGH THE FRAME as the speeding car sails over the edge of the cliff. B.B. KING SONG -LRB- V.O. -RRB- Better not look down, if you wan na keep on flyin'. Put the hammer down, keep it full speed ahead. Better not look back or you might just wind up cryin'. You can keep it movin' if you do n't look down. FADE OUT. THE END.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,1,1,1,0,1,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,1,0,0,1,0,0,0,1,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Best friends Thelma Dickinson and Louise Sawyer set out for a weekend vacation at a fishing cabin in the mountains to take a break from their dreary lives in Arkansas. Thelma, a ditzy housewife, is married to a disrespectful and controlling man, Darryl, while sharp-tongued Louise works as a waitress in a diner and is on–off dating an easygoing musician, Jimmy, who spends most of his time on the road. On the way, they stop for a drink at a roadhouse bar, where Thelma meets and dances with a flirtatious stranger, Harlan. When he takes her outside to the parking lot to get some fresh air, he starts kissing her and taking her clothes off without her consent. Thelma resists, but Harlan becomes violent and then attempts to rape her. Louise finds them and threatens to shoot Harlan with the gun that Thelma brought with her. Harlan stops, but, as the women walk away, he yells that he should have raped her, telling them \"I should have gone ahead and fucked her\", before insulting Louise when she turns around. In a fit of rage, Louise responds by shooting Harlan in the chest, killing him instantly. A horrified Thelma ushers Louise to the car and the pair flee the scene. At a motel, they discuss how to handle the situation. Thelma wants to go to the police, but Louise fears that no one will believe Thelma's claim of attempted rape since Thelma was drinking and dancing with Harlan, and they will be subsequently charged for murder. They decide to go on the run, but Louise insists that they travel from Oklahoma to Mexico without going through Texas. Something happened to Louise in Texas several years earlier, and Thelma suspects it was something similar to what had happened with Harlan but Louise vehemently says she will not talk about it. Heading west, the women come across an attractive young drifter, J.D., who Thelma quickly falls for, and Thelma convinces Louise to let him hitch a ride with them. Louise contacts Jimmy and asks him to wire transfer her life savings to her. When she goes to pick up the money, she finds that Jimmy has come to deliver the money in person, and the two spend the night together. Jimmy proposes to Louise, but she refuses. Meanwhile, Thelma invites J.D. to her room, and they sleep together. She then learns he is a thief who has broken parole. The following morning, Thelma leaves J.D. in her motel room to meet Louise downstairs for breakfast, and, when they return, they discover J.D. has stolen Louise's life savings and fled. Louise is distraught, so a guilty Thelma takes charge and later robs a nearby convenience store using tactics she learned from listening to J.D. Meanwhile, the FBI is getting closer to catching the fugitives after witnesses at the bar saw Louise's 1966 Ford Thunderbird convertible speeding out of the parking lot the night of the shooting. Their whereabouts are also questioned by the owner of the fishing cabin after the women failed to arrive for the weekend. Arkansas State Police Investigator Hal Slocumb, leading the investigation, questions both J.D., who was caught, and Jimmy and taps into the phone line at Darryl's house. He discovers that Louise had been raped years earlier in Texas, so he sympathizes with her situation and understands why they didn't report Harlan's murder to the authorities. During a couple of brief phone conversations with Louise, he expresses his sympathy but is unsuccessful in his attempts to persuade her to surrender. Thelma tells Louise she understands if she wants to go back home, knowing she has Jimmy waiting for her, but explains she cannot go back to Darryl. Louise promises they will keep going together. The pair are later pulled over by a New Mexico state trooper for speeding. Knowing he will soon discover they are wanted for murder and armed robbery, Thelma holds him at gunpoint and locks him in the trunk of his police car, while Louise takes his gun and ammunition. They drive away from the scene and spend the next few nights heading further west. On the road, they encounter a foul-mouthed truck driver who repeatedly makes obscene gestures at them. They pull over and demand an apology from him; when he refuses, they fire at the fuel tanker he was driving, causing it to explode. The women leave him stranded in the desert with the tanker's wreckage. Thelma and Louise are finally cornered by the authorities only one hundred yards from the edge of the Grand Canyon. Hal arrives on the scene, but he is refused the chance to make one last attempt to talk the women into surrendering. Rather than be captured and spend the rest of their lives in jail, Thelma proposes that they \"keep going\". Louise asks Thelma if she is certain, and Thelma says yes. They kiss, Louise steps on the gas, and they accelerate over the cliff as Hal desperately pursues them on foot."},"name":{"kind":"string","value":"Thelma_&_Louise"}}},{"rowIdx":163,"cells":{"scenes":{"kind":"list like","value":["EXT. COLD MOUNTAIN TOWN, NORTH CAROLINA. DAY ON A BLACK SCREEN : Credits. A RAUCOUS VOICE -LRB- SWIMMER'S -RRB- CHANTING IN THE CHEROKEE LANGUAGE. A RANGE OF MOUNTAINS SLOWLY EMERGES : shrouded in a blue mist like a Chinese water color. Below them, close to a small town, YOUNG MEN, armed with vicious sticks and stripped to the waist, come charging in a muscular, steaming pack. Their opponents, also swinging sticks, attach the pack. A ball, barely round, made of leather, emerges, smacked forwards by INMAN, who hurtles after it and collides with a stick swung by SWIMMER, a young and lithe American Indian. Inman falls, clutching his nose. The ball bobbles on the ground in front of him. He grabs it and gets to his feet, the blood pouring from his nose. His team form a phalanx around him and he continues to charge. A PRISTINE CABRIOLET pulled by an impressive horse, comes down towards the town. It has to pass across the temporary field of play, parting the teams. Some of the contestants grab their shirts to restore propriety as the Cabriolet and its two exotic passengers passes by. The driver is a man in his early fifties, dressed in the severe garb of a minister, MONROE. And next to him, a self - conscious girl in the spotless elaborate, architectural skirts of the period, is his daughter, ADA. Inman, using his shirt to staunch his battered nose, looks at Ada, astonished by her. An angel in this wild place. Now Swimmer stops chanting and begins, more hesitantly, to translate into English : SWIMMER’S VOICE -LRB- V.O. -RRB- You will be lonely. You will howl like a dog as you walk alone. You will carry dog shit cupped in your hands. You will be smeared with dog shit. Your spirit will wane and dwindle to blue, the colour of despair. As the Cabriolet passes, SWIMMER takes the ball an with a whoop starts to run towards the opposing goal. The game resumes. Ada looks back as the men swarm into each other, sticks and fists flailing.","EXT. COLD MOUNTAIN TOWN. NIGHT A SIDE OF BEEF turns on a huge barbecue. The battered teams eating, drinking hard liquor, rehearsing victory and defeat, illuminated by a roaring bonfire. Swimmer is sewing up a gash in Inman's cheek as he continues to translate : SWIMMER This is your path. There is no other. That's a curse you can use on the Yankee before battle. INMAN And that works? SWIMMER You have to say it in Cherokee. INMAN You said it to me in Cherokee. During this, Monroe and Ada have arrived, escorted by SALLY SWANGER, a local woman, middle - aged, kindly, and her husband, ESCO, a glorious curmudgeon. The Monroes are introduced to various locals. Inamn watches them, on the other side of the crowd. The Reverend Monroe, his daughter Ada. Up from Charleston, bringing God's word to you heathens! Is Esco's preferred introduction. Building a church. Inman watches Ada, moves his head to keep her in view as Swimmer stitches, and winces with pain. SWIMMER So keep your head still. Sally collects plates for the Monroes. Hands them to Ada and her father, who wait, patiently, for silverware. Esco takes a plate, picks up a skewer of meat, bites on it. Monroe pluckily follows suit. INMAN -LRB- to Swimmer. -RRB- Anyway, there wo n't be any war. And if there is, they say it wo n't last a week.","EXT. CONFEDERATE LINES. PREDAWN CAPTION : PETERSBURG, VIRGINIA. JULY 30TH, 1864. IN THE FOURTH YEAR OF THE CIVIL WAR. A STAND OF TREES. The pastoral lush green Virginia. A RABBIT surfaces from its hole. Peace and beauty. A second RABBIT shakes itself from the ground, darts into open ground to confront the FORBIDDING TRENCHES OF THE CONFEDERATE AND UNION ARMIES, RANGED AGAINST EACH OTHER ON THE OUTSKIRTS OF PETERSBURG. Massive wooden barricades in the shape of crosses, rows of X's, define the two lines. The Federals have been laying siege for months. So early and it's already hot. The trees are an oasis of green in a world of mud between the two stark and ugly scars of the trenches. IN THE CONFEDERATE LINES, the men are rousing, boiling water for coffee or to shave, smoking, stiff from night. There's a large gun emplacement and some men still sleep against the stub - nosed cannon. Another RABBIT is disturbed from its hole. Ears pricked up to a distant rumbling.","INT. TUNNEL. PREDAWN. A dark hole. Some evil place. A scraping sound. Shapes burrowing forwards at a crouch. A silent purpose.","EXT. CONFEDERATE LINES. PREDAWN. Young OAKLEY, freshly recruited, approaches a group of men, like him Highlanders from Company F of the 25th North Carolina Regiment. He doles out breakfast. Inman, loading his heavy LeMats pistol, its nine rounds, is not hungry. Oakley serves another, ROURKE, last seen in the scrum at Cold Mountain. Oakley keeps his head low as he serves. ROURKE Do n't worry, son. Those Yankee boys keep store hours. They ai n't open yet.","INT. TUNNEL. PREDAWN Shadows and shapes. A BARREL rumbles along the tunnel. It reaches a kneeling figure, who rolls it forwards. A relay team. At the end of the tunnel, where it widens, a man, naked to the waist, crouches, stacking the barrels.","EXT. CONFEDERATE LINES. PREDAWN A RABBIT, scared up, darts along the trench. Rourke sees it, beckons to another Cold Mountain boy, Butcher. BUTCHER That's fresh breakfast. Shoot him! ROURKE I'm not firing, start the damn war off. Butcher chases after the rabbit, Rourke in raucous support.","INT. TUNNEL. PREDAWN The crouching man has wrapped FUZE WIRE around the last barrel, and now retreats, paying out the wire as he does so, as each man in the tunnel crawls backwards behind him.","EXT. CONFEDERATE LINES. DAWN Rourke weaves through the gun emplacements, laughing. ROURKE That's my rabbit! Great sport. Inman, fifty yards away, looks over, amused, goes back to his gun.","INT. TUNNEL. DAWN The fuze wire is lit. It fizzes towards the barrels.","EXT. CONFEDERATE LINES. DAWN Rourke is running BUT NOW THE GROUND BUCKLES UNDER HIM AND HE'S BEING LIFTED SLOWLY INTO THE AIR, the earth swelling. AN APOCALYPTIC EXPLOSION. FOUR TONS OF DYNAMITE RIP THE GROUND OPEN IN A CRATER 135 FEET LONG, 90 FEET ACROSS, 30 FEET DEEP. HORSES, GUNS, MEN ARE BLOWN TO PIECES AND THROWN UP INTO THE AIR. INMAN DISAPPEARS UNDER DIRT AND DEBRIS. Pandemonium. The Confederates are in complete disarray. The Federals pour forwards across NO MANS LAND, through the peaceful oasis of trees, roaring the roar of attack. They flood towards the crater, hundreds of them, charging into a dense and impenetrable WALL OF SMOKE. THEN THEY'RE INSIDE THE GREAT GASH OF CRATER AND CA N'T GET OUT AGAIN, arriving at an insurmountable wall of mud. The Confederates regroup. Orders are yelled. Chaos developing into battle. The Confederates begin firing into the crater. Guns and mortar wheel round and empty into what is becoming a terrible death trap. Inman gets to his feet. Oakley with him, and rushes through the smoke to the pit, emptying his LeMats into the crater. LATER : A BLACK REGIMENT from the Union join the attack. Bodies falling on bodies as the Federals charge in and pack their comrades even tighter. The Confederates make a pincer movement outside the Crater, forcing all the Federals in. It's Medieval. No escape. THE CONFEDERATES jump into the pit to engage the Federals. Hand to hand fighting. Too close for rifles, just bayonets, and guns swung like clubs and Inman sliding down into that hell, tiring the nine rounds, then the shotgun charge, which does a terrible damage. Primitive. Unutterable carnage. Men killing each other in embraces, soldier crushed against soldier, desperate to survive, to kill, to live. An oozing layer cake of bodies, dead and frantically alive, drowning in slick. YOUNG OAKLEY loses his rifle and picks up a magazine case, clubbing his opponent, then slips onto him and is stuck with a bayonet, the pain of which makes him squeal. INMAN GOES AT IT. He's a warrior, punching and stabbing and firing. A coldly efficient killer. He's grabbed from behind and crushed, a hand gouging at his face, an almighty struggle. He falls and lands on top of Oakley, and he and his Federal opponent fight to the death with the wounded boy as their pillow. The slaughter continues over and around them, the sound, the sound of hell and madness. The boy has his arm around Inman, like lovers. LATER : The Confederates run after the retreating Union soldiers, firing, cavalry riding them down. Inman stands, the boy's blood all over him, exhausted and appalled. The crater, behind him, an abattoir of men. The victors are yelling, pumped mad with adrenaline. Butcher comes alongside Inman. BUTCHER That was something! That's hell and we've been there! Kicked old Nick's asshole. A WOUNDED BLACK SOLDIER sits up as Butcher celebrates. Butcher runs over, but ca n't find a charge for his musket. He looks around in the stack of corpses, pulling out weapons, tries one : not loaded, throws it down, tries another : not loaded. The wounded man ca n't get up, tries to drag himself like a crab away from Butcher. Inman yells at him, appalled. BUTCHER You got a charge? He picks up another musket. It fires. The wounded Federal slumps back, dead.","EXT. CONFEDERATE LINES. DUSK THE AFTERMATH. The dead being piled up for burial, divided into allegiance. Wounded prisoners able to walk are led away. A great deal of casual looting. Of boots, of equipment, of personal items. Inman sees a soldier in the crater, lining up wounded Federals, putting their heads in a row. THE MAN EXTRACTS A HAMMER FROM HIS BELT AND, SATISFIED HE HAS AN ECONOMIC ARRANGEMENT, PROCEEDS DOWN THE LINE, SMASHING EACH SKULL. Inman turns away, sees another Rebel, extravagantly costumed, a strange FIDDLE head protruding from his knapsack. This is STOBROD THEWES. He's bent over a dead Federal, examining his mouth. He reaches behind his back and roots around in the knapsack, producing A PAIR OF PLIERS, WHICH HE INSERTS INTO THE CORPSE'S MOUTH. He's yanking away when A SWINGING BOOT connects with his head and knocks him to the ground. Startled, he looks up to see Inman hovering over him. STOBROD That's gold in his mouth he got no need for. -LRB- shrugs. -RRB- We take his boots. He examines his fiddle for damage. Some orderlies pass, lifting OAKLEY away on a gurney. Oakley's pale as a maiden, the life leaking from him. Inman walks a way with him. Oakley looks up, desperate to be brave. OAKLEY I got a few. You saw? INMAN I saw. OAKLEY I know you do n't recognise me. I'm Mo Oakley's boy. -LRB- Inman finds this incredible. -RRB- It's okay. I was thirteen when you all left. Am I going to die? Inman flicks his eyes to the Orderly, whose look confirms the boy's wounds are certainly mortal.","INT. FIELD HOSPITAL. NIGHT Inman sits on the ground beside Oakley's cot. Around them, the wounded are certainly dying, makeshift care, oil lights, groans. OAKLEY I'd like to hear some music while I go.","EXT. CONFEDERATE LINES. NIGHT Inman walks around the campfires. He hears some fiddle music. It's Stobrod. Stobrod sees Inman. Inman stares, his expression an instruction, the turns and walks away.","INT. FIELD HOSPITAL. NIGHT Stobrod stands over Oakley. Consults with Inman. STOBROD What about Bonaparte's Retreat? That's one I play. OAKLEY Play me something sweet. Like a girl's waiting for me. Stobrod looks at Inman, confused. OAKLEY Play me something like there's nothing to fear from a merciful Lord. INMAN -LRB- to Stobrod. -RRB- You heard him. STOBROD -LRB- nervous. -RRB- I only know a couple of tunes. OAKLEY Like when you're thirsty up at Bishop's Creek and the water is so cool. Inman glares at Stobrod. And Stobrod starts to play. Hesitant, then with gathering confidence, improvising, increasingly expansive, as if he's as surprised as everyone else. Oakley's lips move. A whisper. Inman leans in. OAKLEY I'm reaching Cold Mountain before you. Stobrod plays. It's wrenching. Oakley stills. Inman abruptly puts his hand on the neck of the fiddle, stopping Stobrod. The boy is dead. Inman gets to his feet and walks away.","INT. CONFEDERATE TENT. NIGHT A dozen men in the tent. Inman has a BOOK, its cover gone, rolled up and tied with a leather strap. His bookmark is A FADED TINTYPE PHOTOGRAPH of a solemn young woman. He unwraps the book carefully and reads a page by the sickly light next to his bedroll. An OFFICER comes into the tent, approaches Inman, who makes a stand. OFFICER Do n't get up, soldier. You are mentioned tonight in my report. You are a credit to the Highlands, to North Carolina and to the Cause. INMAN -LRB- tight. -RRB- Do you have news, sir, on my application for transfer? OFFICER I know. A bloody day. It's what our General said : Good thing war is so terrible else a man might end up liking it too much. INMAN Sir. It was my understanding the medical corps was desperate for volunteers. OFFICER Right now, soldier, it's me who is in need of volunteers. There's a dozen Yankees in that stand of trees between us. Stuck there from the retreat. Come daylight they can shoot us down for sport.","EXT. CONFEDERATE LINES. NIGHT A beautiful night. Lots of stars. Inman and three others, including Butcher, slide over the top of the trench, far to one side of the stand of trees. The plan is to cast a wide arc that will bring them around back of the trees, closer to the enemy side than their own. The four men slither over the ground. They pause. Inman has arrived at a tangle of corpses. He slithers over them. They work their way towards the trees. THERE ARE A HALF DOZEN FEDERALS CROUCHING IN THE COVER OF THE TREES. They are dozing. Only one of them sits with a rifle surveying the Confederate lines, the others have their backs to the enemy, sitting against the trunks, grabbing a few minute's sleep. As the four rebels approach, still crawling, one of the Federals opens his eyes, sees the attack, shifts for his rifle. INMAN IMMEDIATELY STANDS UP, FIRING INSTANTLY, killing him and two others, while Butcher throws himself at another. The exchanges are brief and savage and one of Inman's party and all of the Federals lay dead. Then the rebels break from the trees. A FLARE goes up, then another, both from the Confederate trenches. INMAN AND HIS ACCOMPLICES ARE PICKED OUT IN A BRILLIANT GREEN LIGHT. Shots follow, from both sides, aimed at the three returning men as they zigzag towards their own lines. As they get close, voices cry out, rippling down the trench, joining their own admonitions : Do n't shoot, Hold your fire, they're our boys, Hold your fire! They're almost home. Butcher is laughing, whooping. Then just as suddenly he falls, wounded. Inman stops, turns back, runs to him. Inman collects Butcher, drags him, carries him. They're fifty yards from their lines. A BULLET CATCHES INMAN IN THE NECK. He goes down like a tree, blood pouring from his neck. Lying on the ground, he watches the phosphorescent lights slowly fade to black, all sound fading with them.","EXT. CHAPEL, COLD MOUNTAIN TOWN. 3 YEARS EARLIER. DAY A WOODEN JOIST swings across the view of the Blue Ridge. Men are swarming over the roof of an unfinished CHAPEL, below which appears the small town of COLD MOUNTAIN. Among the workers, armed with nails and hammer, knees clutching a rafter, is Inman, fresh and a whole lifetime younger. Rourke and Butcher are also there hammering, building, kidding around and Oakley, barely a teenager. Below them, women are setting up a lunch for the workers, ADA amongst them. She has the circumspect air of the blue stocking, uncomfortably aware of the dirt beneath her hem, the men's radar for her every move. Inman watches her as Sally Swanger approaches. SALLY -LRB- to Ada, as Monroe moves off. -RRB- Ada, how are you settling in? Are you liking the farm? ADA Very much. It's beautiful country. SALLY So listen - if you would say hello to one of these fools, I'll get a field cleared this weekend. ADA Anyone? Like a forfeit? SALLY -LRB- pointing at Inman who immediately looks away. -RRB- No. Him in particular, up in the rafters. Been pressing me all morning. UP ON THE ROOFBEAMS OF THE CHAPEL, the men are preoccupied with talk of secession from the Union. ROURKE -LRB- hammering. -RRB- I call this nail : Northern Aggression. -LRB- hammering. -RRB- I call this nail : a free nigger. BUTCHER Show some respect - these nails are making a church. ROURKE -LRB- hammering. -RRB- I call this nail : respect the church. Ada comes over, carrying a tray of lemonade glasses. Calls up to Inman. ADA Hello. Inman swings down. He feels the other men staring, burning a hole in his head. ADA I'm Ada Monroe. INMAN I'm Inman. ADA Inman? INMAN W. P. Inman. ADA W. P. Inman. INMAN Repeating a thing does n't improve it. -LRB- shrugs. -RRB- People call me Inman. ADA If you were to take a glass of lemonade your friends might stop staring. Inman. INMAN They're not my friends. He drops down to ground level, takes the lemonade, scowls at the other guys. They're breaking for lunch and as they make their way to the trestle tables - they enjoy jostling Inman. INMAN Thank you. ADA And what do you do? INMAN I work wood. Got a piece of land. Mostly work wood. ADA Clear fields? INMAN -LRB- uncomfortable. -RRB- I can clear a field. ADA So, was there something in particular you wished to say to me? INMAN -LRB- thinks about it. -RRB- Not that comes to me. -LRB- hands back the glass. -RRB- I'll say thank you for the lemonade. And he turns and joins the other men gathering round the tables for lunch. Ada watches him, intrigued. Rourke and co. approach ESCO SWANGER, a known sympathizer with the North, to give him a bad time. ROURKE Esco loves the Yankees. ESCO I prefer a Yankee to a halfwit. Inman arrives just as Rourke points a warning finger at Esco. He pushes the finger down to get by. Esco continues : ESCO What is it you think you'd be fighting for? ROURKE The South. ESCO And what's that when it's at home? Esco's sons, ELLIS AND ACTON, who're working at the other end of the building, have now arrived at the table. ACTON Pop, you causing trouble? ESCO No. ELLIS That means yes. ESCO You cut the wood, you carry the water for good old King Cotton. Now you want to fight for him. Somebody has to explain it to me. ACTON -LRB- to Rourke and the others. -RRB- Do n't even try. The others are desperate to tease Inman. BUTCHER How's the lemonade? Sweet? Ada, at the lemonade stand again, watches them laughing at Inman, who keeps his head fixed on the table.","EXT. CONFEDERATE LINES. NIGHT INMAN, ON A GURNEY, carried, someone with a cloth to his neck, which is soaked through with blood. They start to run with him, heading for the field hospital, worried that he will die before the wound can be staunched, cauterized. Throughout, A STRANGE MUSIC PLAYS, discordant notes jangling :","EXT. SWANGER FARM. COLD MOUNTAIN. DAY - from A PIANO, lashed to a cart, as it bounces along the lane, passing the Swanger Farm. Sally comes out to look. It's Ada riding next to one of the farmhands, a second boy keeping watch over the piano. Sally goes over. SALLY That's a fine looking thing. ADA I've been missing it. SALLY Thank you, by the way. -LRB- from Ada's quizzical look. -RRB- Inman's down in the bottom field, clearing his debt. ADA Oh dear. And then he had nothing to say. SALLY He was happy. ADA Really? SALLY Are men so different in Charleston? ADA Men? I do n't know. I do n't even know what a woman should be like. In Charleston I was called a thistle, twice, by two different men. Both of them - they were hunting for a simile, what was I like - and thistle came right to them. SALLY If you're saying you might like him, why not go down and say hello.","EXT. BOTTOM FIELD, SWANGER FARM. DAY Inman's working in the field, stripped to his undershirt, hot work, wielding a scythe. He hears something and looks up at the edge of the lane, ADA IS PLAYING THE PIANO, which is still strapped to the cart. She briefly raises a hand to Inman, then nods to the farmhand who sets them on their way again. Inman smiles, waves back, watching as the cart rumbles off down the track.","EXT. BLACK COVE FARM. NIGHT It's pouting with rain. INSIDE THE FARMHOUSE, ADA IS PLAYING THE PIANO. Men and women crowd into the parlour, in best clothes, celebrating the completion of the Chapel. Inman is outside on the porch, his coat soaked, water pouring off his hat. He looks at Ada. She finishes. Monroe steps in front of the applause, smiling. His words of thanks leak through the window to Inman, who stands, watching, listening.","INT. PARLOUR, BLACK COVE FARM. NIGHT Monroe circulates, with Ada. He nods at a group of men, who congregate in one part, not mingling. Their leader, TEAGUE, might be a minister himself, favouring a black dress coat, a black crow in the corner, eyes flashing. Ada does n't know them. Esco comes by. Monroe puts a hand on his arm. MONROE Esco, our friends there -. -LRB- indicating Teague and co. -RRB- - they helped build the Chapel? ESCO That's Teague and his boys. I'd recommend you kick them out except a man do n't kick a snake. One time the Teague family owned the whole of Cold Mountain. My farm, your farm, all belonged to his grand - daddy. Teague wanted this place bad. You got it. He's here sniffing out an advantage. MONROE There's no advantage here, but to celebrate a job well done. Cheers -. -LRB- he raises his glass. -RRB- - and thank you. And Teague raises his glass across the room.","EXT. BLACK COVE FARM. NIGHT Ada appears at the door opening it onto the porch. She's carrying a tray with drinks. Acknowledges Inman. ADA Were you planning to come inside? INMAN I'm wetter than a fish. ADA There's a good fire going. INMAN I'm all right. ADA Somebody said you were enlisting. -LRB- no response. -RRB- Are you? INMAN If there's a war we'll all fight. ADA -LRB- unimpressed. -RRB- If there's a mountain we'll all climb, if there's an ocean we'll all drown. INMAN Call a thing a war makes it a challenge to some men. ADA Did you get a picture made? INMAN Say again. ADA A tintype, with your gun and your courage on display. INMAN You're laughing at me. ADA I do n't know you. INMAN You're always carrying a tray. ADA I'm taking a drink over to the negroes in the barn. INMAN -LRB- takes the tray. -RRB- I'll do that. I ca n't get much wetter. He goes into the night rain. She watches him.","EXT. BLACK COVE FARM. DAY A beautiful day, the farm peaceful. Inman walks up the path to the farmhouse, its borders flowering and pretty, a slave woman weeding. He knocks on the door. Monroe answers. MONROE Mr. Inman. INMAN Reverend. MONROE What can I do for you? Inman hovers, awkward. Ada appears, awkward. INMAN I have some sheet music. Belonged to my father. No use to me. Ada comes forward, takes the package. MONROE You must come in. INMAN I should probably get along. ADA Mr. Inman is more comfortable outdoors. Perhaps we might take a walk. MONROE A splendid idea.","EXT. BLACK COVE FARM. DAY Monroe and Inman and Ada touring the farm. It's a biggish property, over three hundred acres. And well - tended by the dozen slave farmhands who work it, some of whom are dotted about in the landscape. Rolling mountains dominate the view. MONROE -LRB- expansive. -RRB- I want to get sheep into this field. A big field does n't look right without sheep. You're a lucky fellow, Mr. Inman, you've had this view all your life. INMAN I think so. MONROE It's a special view. I dragged my poor daughter to Cold Mountain from Charleston because of my Doctors - they say my heart is weak - so the air's meant to do me good. But it's the view I think heals. Ada walking behind, comes alongside the two men, threading her arm into her father's but, by so doing, also arriving next to Inman. MONROE I have to get on my visits. Can I offer you a ride back into town? Inman looks at Ada. No word.","INT. PARLOUR, BLACK COVE FARM. DAY From the window Ada watches the Cabriolet head towards town. At the piano, she unwraps the leather lace from the package of music. Inside the first book of music, there's a DAGUERREOTYPE OF INMAN with his LeMats, a typical Confederate pose. Some of the music has left its imprint on the picture, the notes like a melody over Inman's face. Ada picks them out on the piano. The ebullient sound of Shape Singing. A noisy choir letting rip -","INT. CHAPEL, COLD MOUNTAIN TOWN, MAY 20TH, 1861. DAY - THE WHOLE CHURCH IS SINGING, MEN TO ONE SIDE : WOMEN TO THE OTHER. Monroe conducts, sings. Inman is there, as is Ada. He fixes on her neck, the way the hair falls. The door bursts open. Young OAKLEY, apologetic nod to Monroe, sits at the back, then leans forward, as the singing continues, to say something to Rourke, who says something to Butcher, the news spreading like wildfire. Rourke gets up, leaves. Butcher gets up next, follows. Another man. Another. Depleting the male voices, until only women and some of the older men are singing and one side of the church is practically empty. Inman, remains, fixed on Ada. Who does not look round.","EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY Those left in the congregation now spill out into what has become a melee as the NEWS OF SECESSION goes up. Enormous excitement, particularly among the boys, who now seem curiously attractive to the girls. Inman blinks out into the sun, Ada finds him. They're awkward as they watch other sweethearts embracing. ADA Well, you have your war. TEAGUE AND HIS MEN COME RIDING UP THE STREET, their horses clearing a path amongst the celebrating crowd. Teague reins in his horse and rides it up against Esco Swanger. TEAGUE Those who follow Lincoln, or preach abolition, best keep one eye open when they're sleeping, Old Bogey Man might get you! Inman steps between Esco and Teague, holding the reins of Teague's horse, easy and dangerous. INMAN Are you the law all of a sudden? Teague produces a document, which he waves in the air. TEAGUE That's right, son. Home Guard for Haywood County. I'm the law from today. You all go fight now. We'll watch your sweethearts. And he spurs on his horse, his fellow Home Guard falling in behind, riding on over the ridge. Inman walks to Ada. INMAN You might be safer back in Charleston. ADA But then who'll be waiting for you? She puts a hand on his arm for a second. They both want to get to the point of declaration but do n't know how. They stand, people noisy around them, those about to leave, those about to be left. INMAN I'm going to walk back inside the Chapel. And he does so, making his meaning clear for her to follow.","INT. CHAPEL, COLD MOUNTAIN TOWN. DAY Inman walks inside. Stands with his back to the door. It opens and closes. Inman turns. It's Monroe. MONROE Did you want a quiet word? Now the door opens again and it's Ada. She's dismayed to see her father. INMAN Just some quiet. MONROE Of course Ada. He indicates they should both leave. Inman sits at a bench.","EXT. COLD MOUNTAIN TOWN. DAY Monroe and Ada come into town in their cabriolet. They pass under banners proclaiming the Confederate cause : Old Rip's Awake! Watch out Yankees! The trap draws up by the Cold Mountain General Store. Monroe lets Ada down. MONROE -LRB- of his appointment. -RRB- I'll daresay Dr. O'Brien'll want to do a test or two. ADA And then there'll be a coffee or two, a brandy or two. Monroe smiles in acknowledgement, gets back in the trap. Ada heads into the store.","INT. BEDROOM. ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY INMAN SITS ON HIS BED, wearing pants and a vest. His room is like a monk's cell. Nothing in it. Inman's trunk is packed. He's polishing his boots, in his bare feet. One hand inside the boot, the other blacking it. There's a knock at the door. He opens it. It's Ada. He abruptly closes the door on her.","INT. HALLWAY, ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY Ada waits outside. She's not sure what's happening. Then Inman opens the door. He's buttoning his shirt. His boots are on, one conspicuously dirty, one highly polished. Somebody walks up the stairs, carrying a jug and bowl. They separate as the man passes them. They're tender, awkward. ADA I found you this book. William Bartram. They tell me it's good. I think he writes about these parts, the author, so. Inman takes it. She has something else. Wrapped in paper. ADA And this. -LRB- hands it to him. -RRB- I'm not smiling in it. I do n't know how to do that, hold a smile, so now I'm solemn. INMAN Ada. ADA What? HE KISSES HER, pressing into her, his arm circling her waist. Below them the sound of a MARCHING BAND. It's the RECRUITMENT PARADE and brings Rourke and Butcher racing down the stairs. Inman pulls away from Ada as the boys hurtle for the front door. ROURKE Let's go!","EXT. COLD MOUNTAIN TOWN. DAY Rourke, Butcher, and then Inman appear in the doorway of the Rooming House, and then fall in with the motley crew of Volunteers AS THEY MARCH BY WITH THE BAND AND THE ENLISTED SOLDIERS. The town is out to wish them well, parents, younger brothers, sweethearts walking alongside their brave men. Ada comes to the door of the Rooming House. Inman looks back and sees her, but almost immediately loses her in the crowd. THE DRUMMERS DRUM, THE CROWD CHEERS, THE RECRUITS MARCH UP THE HILL -","EXT. BEHIND CONFEDERATE LINES, VIRGINIA. DAY - AND THE WOUNDED AND THE WRETCHED STRAGGLE ALONG THE RAILROAD. A TRAIN with the seriously injured snakes past the back of the Confederate lines - its suburbs of supplies, arriving and departing troops - and into peaceful country. FIDDLE PLAYS, THEN A BANJO.","INT. BOX CAR. DAY A CROWDED WAGON. It's a cauldron, and those able smash through the wooden walls to make a breathing hole. Some have their heads thrust out like crated poultry. INMAN IS IN THERE, neck bandaged, its ugly seepage making a bloody necklace. The light plays black and white through the boarded sides of the boxcar, flashing on Inman's face as he drifts in and out of consciousness. He focuses and sees the strange head of STOBROD'S FIDDLE. Stobrod is serenading him, accompanied by an angel - faced and extremely heavy child - man, PANGLE, whose grin of delight seems permanent even in this claustrophobic, grim world. Inman is panicked, puts a hand to push the fiddle away. His voice is a croak, spoiled. INMAN I'm not dying. STOBROD -LRB- to Pangle. -RRB- What'd he say? PANGLE Says he ai n't about to die. STOBROD -LRB- to Inman. -RRB- Truth to tell they say you are, Soldier. We'll meet again, in the better world. He changes his tune, and the tempo, finding a foot - slapping rhythm, the two musicians grinning at each other. Inman lapses back into unconsciousness. The rhythm becomes a hammering sound.","EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY - AS A MAN HAMMERS A TINTYPE OF HIS SON'S FACE into the wooden porch of the Chapel, where it joins many other portraits of those lost to the war. Monroe presides. One of the slaves from Black Cove holds the ladder for the bereaved father. Other families wait, with their own daguerreotype to mount. It's a memorial service without bodies. Riders approach. Home Guard. Teague brings his horse up alongside Monroe at the Chapel door, tips his hat in condolence to the bereaved families. With him is a young, intensely beautiful and flamboyant rider, BOSIE, his hair long, a single fingernail bizarrely overgrown. Somehow sinister. TEAGUE My condolences to you all. -LRB- he considers the slave. -RRB- Keep an eye on the negro. They want what the white man got - all of you watch out your brave boys give their lives to war and meantime your slaves carry murder, rape and arson to your firesides. MONROE The only slaves within twenty miles labor on my farm. They're good Christians and I'll vouchsafe for them.","EXT. APPROACH TO BLACK COVE FARM. DAY Cold Mountain at its loveliest. The CABRIOLET with Monroe and his daughter heads towards the farm. At a bend they meet a couple of riders, TWINS, from Teague's Home Guard, riding furiously past them. Monroe reins in the trap and lets them thunder past before continuing on their way home. Monroe is intrigued by Ada, as if he's never looked at her before. ADA What? MONROE You're looking - at this moment, I do n't know why - you're looking exactly like your mother. ADA Every time you see the doctor you get melancholy. MONROE He listens to my heart and I get emotional. ADA He gives you alcohol and you get emotional. She squeezes his arm. MONROE We commiserate about the folly of this terrible war. -LRB- they ride in silence. -RRB- Do you worry when there's no word from him? -LRB- no response. -RRB- From Mr. Inman? ADA Yes. But then I've tried counting the number of words which passed between Mr. Inman and me. -LRB- looking ahead, seeing smoke. -RRB- Is that a bonfire? So close to the barns. Then they see THE FAMILY OF SLAVES turn off the road as their cabriolet approaches, running away into the fields. ADA What's going on? MONROE -LRB- shouting at the disappearing slaves. -RRB- Hey! Stop there! Hey! Monroe gets out of the cabriolet and runs into the fields after the retreating family, who are carrying bundles, chairs, personal items, all loaded up. Ada has already taken the reins and has driven up to the house. THE BARN IN WHICH THE SLAVE FAMILY HAD LIVED IS ON FIRE. Monroe catches one of the women, remonstrates with her. She's upset, distressed, one of her sons comes back, pushes Monroe to the ground. They hurry away. Monroe gets up, hurries to the fire. A FIGURE SWINGS IN THE HEAT OF THE FLAMES, HANGING FROM A BEAM. Monroe spies it as he catches up with Ada. MONROE Dear God. ADA No, Daddy, it's not real. The figure swings round. IT'S AN EFFIGY, A GROTESQUE CARICATURE OF A BLACK MAN. MONROE -LRB- appalled. -RRB- What is wrong with us all? Ada turns and runs off. ADA I'll get help. -LRB- shouting over her shoulder. -RRB- Keep away from the flames. Monroe stands and considers the flames. Ada turns back once more to see him - a small man silhouetted against the blaze.","INT. HOSPITAL, CHARLESTON. DAY INMAN lies ; bandaged, eyes closed, in THE BALLROOM OF A COLONIAL MANSION, co - opted as one ward of a Confederate hospital. Rows of beds, the wounded and the dying, are lodged between some vestiges of the room's former glory. SOME LOCAL WOMEN, conscious of their duty to the cause, are brought through by an exhausted doctor, who's lost all his grace. The windows are open, but it's still insufferably hot, the muslin curtains barely moving. DOCTOR Most of these men will be dead by the morning or, if they're stubborn, by nightfall. I have other men outside in the quadrangle waiting for the beds. The women try to process this, the attitude. DOCTOR So, any kind word will be a blessing. One woman is overpowered by the stench, gags. DOCTOR It's the heat. I'm sorry. They rot. The women begin to approach the beds. DOCTOR Do n't pray. If they're not God fearing you can stir up a hornet's nest. MRS. MORGAN, nervous, decent, sits next to INMAN. His mouth is moving. She does n't know what he's saying. MRS. MORGAN I'm sorry, you want water? She bends to him again. His voice is a faint croak. INMAN Pigeon River. Little East Fork. The Doctor is on his exit, stops at the bed. MRS. MORGAN I'm sorry. I do n't know what he's saying. DOCTOR They ramble. Names of loved ones. MRS. MORGAN -LRB- listening to Inman. -RRB- Pigeon River. Is that a place? Cold Mountain? The Doctor shrugs, not a detective, moves on, stops at the man in the next bed. Has a brief look, calls to a nurse. DOCTOR This man is dead.","EXT. BLACK COVE FARM. LATE AFTERNOON Monroe and Ada are outside, a picnic at the summer table, autumn leaves blowing up around them. Nearby the charred skeleton of the barn. Ada gets up, clears away. MONROE Thank you. -LRB- staying her for grace. -RRB- For your Providence, Oh lord, we thank you. ADA Amen. That was the last of the ham. MONROE It was delicious. ADA I have to learn how to cook. MONROE I was going to say something in Chapel. Perhaps some of the womenfolk will volunteer. ADA I ca n't have people coming here and cooking for me! MONROE It's my fault. I should have raised you less like a companion and more like a young woman. I'm sorry. ADA I'm not sorry, but I do n't know how we'll get through another winter. MONROE Will you play me something? Something peaceful while I look over my sermon. Ada takes the dishes away. He gets out his papers, his pen and ink.","INT. PARLOUR, BLACK COVE FARM. DUSK ADA PLAYS THE PIANO. Chopin's Prelude in E Minor. Outside in the garden, Monroe has adjourned to his striped campaign chair, and is hunched over his notes. The door of the parlour is open and the music floats over to him as he works. Ada plays. A FEW SPOTS OF RAIN appear at the window. Then the steady drumming of a summer shower. ADA -LRB- still playing. -RRB- Daddy, bring the tablecloth in with you! She plays some more. Monroe has n't come in. The rain splashes on to the window. ADA Daddy, come inside before you drown! After a few more bars, she stops playing and, curious, goes to the door. She stands at the doorway. MONROE'S SERMON IS CAUGHT IN THE WIND AND BLOWS AROUND HIM, THE INK RUN TO ABSTRACTIONS, his hand dropped and visible to Ada as, with dread, she approaches. SHE CATCHES THE SODDEN PAPERS, CHASING AFTER THEM, THEN REACHES HER DEAD FATHER. He's like a fish, his face shining with the rain, and glass eyed. She leans in to him, her head to his heart, then runs, oblivious to the rain, her dress already drenched, runs down the lane. ADA -LRB- V.O. -RRB- Dear Mr. Inman.","INT. HOSPITAL, CHARLESTON. NIGHT INMAN'S FACE as he drifts in and out of consciousness. Mrs. Morgan, the hospital volunteer, sits by Inman's bed. She holds ADA'S UNOPENED LETTER, badly weather damaged, the pages stuck together, the writing blurred where the ink has run. MRS. MORGAN It's come to you by way of Virginia. There are various dates, which she decodes. MRS. MORGAN It's not too recent - written this past winter. I'm afraid I ca n't read who it's from. Dear Mr. Inman,","INT. BLACK COVE FARM. NIGHT Ada is writing at her father's desk. A lonely room. ADA -LRB- V.O. -RRB- - I'm still waiting, as I promised I would, but I find myself alone and at the end of my wits -","INT. HOSPITAL, CHARLESTON. NIGHT Mrs. Morgan reads to Inman, trying to decipher the letter : MRS. MORGAN - at the end of my wits, so now I say to you, plain as I can, come back to me. Come back to me is my request. -LRB- ca n't read the next bit. -RRB- Then something I ca n't read, something, come back to me. Inman is very still. Then, eyes glinting with determination, gives a TINY NOD. OFFICIAL -LRB- O.S. -RRB- By order of Zebulon Vance, Governor of this great state of North Carolina : any soldier turned deserter is guilty of treason and shall be hunted down like a dog.","EXT. COLD MOUNTAIN TOWN. DAY Ada walks down the hill from the Chapel. There is an absence of young people, but the older folk are gathered round the General Store where a UNIFORMED OFFICIAL is reading from a document. OFFICIAL - Any man takes in a deserter is likewise guilty of treason. The Official is flanked by Teague, Bosey and the twins, puffed up with self - importance. Ada has to walk around him to enter the store. OFFICIAL The Home Guard is powered to enter any place it sees fit, without notice or constraint. Names of all deserters will be posted in every town, published in every newspaper.","INT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY The Official continues outside as Ada enters. Ada approaches Mrs Castlereagh, the owner. ADA Is there a letter for me? MRS. CASTLEREAGH Nothing - we're getting no post through at all - although if you slip out back the material you ordered has arrived. They go to the back of the store, to a screened - off area. Mrs. Castlereagh hands her over a packet of material. There's another, more furtive, transaction to take place. Mrs Castlereagh hands over a second parcel as if it were narcotics. Ada tears at the wrapping. It's a parcel of books. MRS. CASTLEREAGH If folks knew I was taking deliveries from the North. ADA I know. Thank you so much. MRS. CASTLEREAGH The sooner we lose this war the better. Already one boy gone, another with his leg took off at the knee. That's enough. ADA What do you hear? MRS. CASTLEREAGH All I know is they say not one boy in ten from these mountains is coming home again and most of them are deserters.","EXT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY Ada emerges, almost collides with Teague. She wriggles past him, tries to make her package invisible.","EXT. APPROACH TO BLACK COVE FARM - DAY IT'S WINTER. A solitary RIDER jogs his horse through the frost, towards Black Cove farm. Ada is working at a handpump, failing to coax water from the well. She's wrapped in blankets. The farm is somewhat unkempt and so is she. The hem of her skirt is frayed. She rips at it tearing off a strip of material, which she binds around the handle in an attempt to thaw the mechanism. Then she looks up to see the horseman approaching. It's Teague. Ada immediately heads inside the house. Teague arrives at the house, takes a brace of RABBITS from his saddlebag. He heads for the gate. The gate needs oiling, the path is overgrown, he looks at the pump handle, the abandoned pitcher. Ada opens the door, pinning her hair. TEAGUE It's taken me too long, but I've come to pay my respects. ADA Thank you. TEAGUE -LRB- hands over the rabbits. -RRB- I reckoned you might need fattening up. Ada takes them. She is very queasy with these dead animals. TEAGUE This house must bring bad luck. Killed my granddaddy to lose it, then my daddy died on account of not having it, then your daddy died on account of getting it. We should burn it down. ADA Did n't somebody try? TEAGUE Lot to manage without help. Need a hand with that pump? ADA No. TEAGUE I'm happy to volunteer. ADA But not to volunteer for the war? TEAGUE The war? I wanted to go. But you know : too old, too literate. Plus I got no spleen. Lost it from a horse's kick. ADA You've got no spleen. TEAGUE That's the thing about an organ. You do n't know you need it till you lost it. -LRB- suddenly busy with a bayonet. -RRB- I want to clear this path. I can just as soon do it and talk as stand around and talk. Then you can say men beat a path to your door. ADA I'd really prefer it if you did n't do that. TEAGUE Would you rather I did my job? -LRB- scything at the path. -RRB- See if there's any material I should confiscate. For the war effort. ADA I was raised in the good manners of the South where a gentleman does n't enter a house with a woman alone. TEAGUE -LRB- now he's at the pump. -RRB- Good manners did n't quite make it to these mountains. If it do n't yield meat, or you ca n't sit on it, or suck on it. -LRB- he gets the pump going, water pours out. -RRB- And you're sleeping all right? These cold dark nights? ADA I'm sleeping fine. TEAGUE It's going to be a long hard winter. He turns and stops at the gate, runs his hands through his hair and uses the grease to ease the hinge. Then steps up onto his horse, and rides away. Ada watches him. Shudders.","INT. BLACK COVE FARM. NIGHT Ada comes into the kitchen. A weak oil - lamp reveals THE TWO RABBITS, partially covered on a plate, flies buzzing around them, a little liquid leaking from them. Ada takes a knife and contemplates skinning gutting them. Suddenly she gathers them up and runs out.","EXT. BLACK COVE FARM. NIGHT ADA BURIES THE TWO RABBITS. The wind howls. She covers the little hole with soil and stones. Pumps out water to wash her hands. Thinks she hears a noise, listens, alert to any unfamiliar sounds, then hurries back to the house.","INT. BLACK COVE FARM. NIGHT Ada comes inside, she closes the door. Locks it. Puts a chair against it. Goes upstairs, to her bedroom.","INT. BLACK COVE FARM. NIGHT Ada enters her bedroom. It's a chaos of books, clothes, dishes. She closes the door, sets another chair against it. Then drags her armchair up against that, books and papers spilling onto the floor. She props up Inman's portrait, on, the chair, as if he were guarding her. Sits on the bed and, desolate, begins to write :","EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAY ADA -LRB- V.O. -RRB- Should I imagine you are dead and, that it is to your spirit I am writing? No word from you in all this time. If you receive this please know I am here and warring, too, with a faint heart. THERAPY FOR WOUNDED SOLDIERS. Some of those convalescing swim or are helped to paddle in the healing sea. There are rudimentary wheelchairs. Inman, a long way from home, is amongst those sitting in one of these, very still, grey and sick - but alive. He pulls at the dressing on his neck, exposing the still raw and livid wound to the sea air. Inman has his Bartram, his bookmark is the battered and foxed picture of Ada, which he considers, before continuing to read. Behind him A HUNDRED SLAVES AT WORK IN THE FIELDS, and behind them the Mansion which has become the hospital. A series of bells, of shouts, and the slaves stop working, prepare for the long walk home, congregating, then forming a line, herded by the foremen. Inman eases his position to bend over and dip his bandage in the seawater. He brings the wet bandage to his neck, considers the ocean, his fellow ragtag of wounded, the slaves, the great fields, the Mansion. The whole meaning of this war around him. A GRAVEL VOICE STARTS TO SING THE BLUES, CONTINUES AS -","EXT. HOSPITAL, CHARLESTON. DUSK The men return to the Hospital. A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire. HE'S SINGING AS -","EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY - A tintype of OAKLEY is added to the Chapel's votives, hammered in alongside Rourke and Butcher. There are fifty or more images now, the paint flaking around them. The exterior of the Chapel, three years on, has taken on the burden of recording history. There is no minister, no services, just the votives, daguerreotypes or simply the names of those missing in action, accompanied by tiny vases of wildflowers. The town shrouded in mist, and quiet.","EXT. BLACK COVE FARM. SPRING. DAY EVERYWHERE SIGNS OF PROFOUND NEGLECT, like a Grimm's fairy tale of a deserted house. The fields are overgrown with weeds, the gardens abandoned. The chickens have deserted the henhouse and are wandering around the outbuildings, scuffing at the packed dirt. Sally and Esco come up the overgrown path, avoiding the chickens, and knock at the door. SALLY Ada! Ada, It's Sally. They're seen from ground level, through a boxwood, as their feet patrol the ground, turn away from the door, and then retreat, their voices drifting away. Ada is there, crouching in her hidey - hole, a blanket on the ground, her book. She wants to reveal herself, but is too embarrassed. ESCO Will you look at the state of this place! SALLY Poor soul. She's got nobody and nothing and three hundred acres of misery. During this a ROOSTER, black and gold, struts into the boxwood. As the rooster approaches, Ada shudders, tries to shoo it away without alerting her presence. Ada peers through the boxwood as Sally and Esco close the gate and recede. The rooster comes at her again. She rises up, kicking out at it, while he flares his wings, spurs flaying at her. Ada runs from the boxwood, tormented by the triumphant rooster, which continues to fly and scratch, driving her into the house.","INT. ADA'S BEDROOM BLACK COVE FARM. DAY Ada dabs at the scratches, her dress rolled down to the waist to reveal her arms and shoulders. Now she shucks off the dress completely and tries to find a clean replacement. There is n't one, so she hunts through the overflowing laundry basket for something less dirty.","INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY Ada enters her father's room, wearing undergarments. Everything as he left it and, in contrast to the rest of the house, extremely tidy. She opens a wardrobe, finds one of his coats, puts it on. It's much too big, and she rolls up the sleeves, catches her pinched face and disheveled face in a swivel mirror. She turns the mirror away and the image swings into -","EXT. GATES OF HOSPITAL, CHARLESTON. DAY - the figure of Inman walking, frail, grey. A kind of lurching walk, as if his balance is n't guaranteed. He gets close to the gate and interests a Guard, on the lookout for would - be deserters. A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire. He's always singing. Inman approaches. When Inman speaks, his voice is a croak. BLIND MAN Getting better all the time. INMAN Seems that way. BLIND MAN I would n't hurry. War's almost done. INMAN Where'd you take your wound? BLIND MAN Before I was born. Never saw a thing in this world, not a tree a gun or a woman. Though I put my hand on all three. Couple of things I felt back there I'd sure liked to have had a long look at. He's shoveling some peanuts into a twist of paper. INMAN What would you give for that? To have your eyeballs back for ten minutes? BLIND MAN Ten minutes! Would n't give an Indian head cent. I fear it might turn me hateful. INMAN That's sure what seeing's done to me. BLIND MAN That ai n't the way I meant it. You said ten minutes. It's having a thing and then the loss I'm talking about. INMAN Then we do n't agree. There's not much I would n't give for ten minutes of someplace. BLIND MAN Someplace or someone. INMAN Same difference. BLIND MAN You watch yourself. They're shooting men who take themselves a walk.","EXT. TREE PROMENADE, CHARLESTON. DAY Inman and a bunch of other walking wounded make their way, under supervision, towards the town. The grandeur of the approach, the carriages. The sorry state of the soldiers.","INT. COURTHOUSE, CHARLESTON. DAY TWO GREAT TRESTLE TABLES, LOADED WITH CLOTHES. Underneath the tables, boots - laced together, origins various. The charitable womenfolk are helping match clothes to recovering soldiers, some of whom are still on crutches, or in wheelchairs. Inman finds a black dresscoat, some pants, a pair of boots. He accumulates a little pile. On his way out, AN ELDERLY AND STAUNCH CONFEDERATE GENTLEMAN shakes his hand and gives him an apple from the barrel.","EXT. TEMPORARY BARBERSHOP, CHARLESTON. DAY Inman emerges from the Courthouse and joins the line for a shave at the makeshift barbershop set up outside the Courthouse. Two barbers, two chairs. A VERY ELEGANT SQUARE, SOME STUCCO - FRONTED BUILDINGS, A GLIMPSE OF THE MONEYED SOUTH IN SHARP CONTRAST TO THE MODEST TOWN OF COLD MOUNTAIN. AN AUCTION HOUSE OPPOSITE ADVERTISES SLAVES, CATTLE, LAND. BARBER Next. Inman settles in the seat. The Barber contemplates his scraggy beard, the livid, scabbed wound on his neck. BARBER -LRB- nervous. -RRB- I'll cut your hair, but I ai n't about to shave you. That thing opens up, your head's liable to falloff.","INT. HOSPITAL, CHARLESTON. PREDAWN It is almost dawn. The window by Inman's bed is a frame giving onto the still dark world. The Night Guard passes by on its patrol of the perimeter. A CLEAN - SHAVEN INMAN IS FULLY DRESSED UNDER THE COVERS. He gets his hat, pushes his book into his knapsack and, with one step up, WALKS OUT OF THE WINDOW AND INTO THE WORLD.","EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAWN Inman, his footprints in the sand, as he hurries along by the edge of the ocean, away from the hospital.","EXT. SWANGER FARM. DAY - as Ada walks, the wind kicking up around her, past the Swanger place. She's bent and curiously dressed in her father's coat. SALLY -LRB- V.O. -RRB- Ada. Sally Swanger calls out from the field. She's concerned at Ada's gaunt, ragged appearance. Ada waits for her approach. SALLY You're skinny as a whippet, girl - you're coming indoors with me. ADA I ca n't. I'm not - I need to clean some clothes. SALLY Great God, you ever looked at my husband! I ca n't get him to wear decent Church clothes Christmas morning. Hang on to me, the wind'll blow you over. And she folds her arm into Ada's. They walk up the lane.","INT. SWANGER FARM. AFTERNOON Ada eats. Esco across from her contemplating her evident appetite, the oversized man's jacket. Sally ladles more food onto Ada's plate. SALLY Do n't go back to that dark house. There's a bed here, least till our boys get home. ESCO That your daddy's coat? ADA I was saying to Sally, I was n't expecting to be visiting, so. ESCO Do n't suit you. He starts to chuckle, then Ada, too, then Sally. ESCO I ca n't get up to your place this week. -LRB- of Sally. -RRB- She's mad at me - ADA I do n't expect - ESCO - more than I can do to keep this place half - managed. I'm ready - to stop, I tell you. I just want to sit on my porch with Sal, watch my boys in the field, holler good job! every hour or so. SALLY What about your people in Charleston? ADA There are no people. And no money. My father had some bonds and investments. They're worthless now, of course, the war has. they're not worth anything. -LRB- they look at each other. -RRB- I love it here. In spite of everything. ESCO And waiting on a feller. A look from Sally. ESCO Look down our well. -LRB- Sally's disgusted with him. -RRB- She should! Look down our well with a mirror, you'll see the future. S'what they say. -LRB- to Sally. -RRB- You do it! Do n't make that face. SALLY I know it ai n't rightly Christian, but it's what folks do, like when they dangle a needle over the belly to see if you're carrying a boy or a girl. ADA What kind of mirror?","EXT. YARD, SWANGER FARM. LATE DAY AN IMAGE - DISTORTED, WATERY. IT'S HARD TO RESOLVE BUT COULD BE A CORRIDOR OF TREES. THE SUN LOW AT ONE END, THE SILHOUETTE OF A FIGURE WALKING SLOWLY FORWARDS, A SUDDEN DISTURBANCE OF CROWS. Ada is bent backwards over the well, a hand mirror glinting down into the blackness. The reflection is elusive against the bright evening sky, the sun almost set, and low. ESCO See anything? ADA I do n't know. SALLY I tried many a time, never saw a dickybird. The image is clearer. The trees sharpen, the figure walking, the steep incline of the corridor, all fiercely black and white as if it were a carpet of snow and black hieroglyphs of trees, and crows flying. The trick of the glass and the watery disc of the well surface. A buzzing in Ada's ears, something like a distant music. Then the figure seems to suddenly pitch forwards, but at that moment, Ada - canted over, getting dizzy has to move and the image flies away, replaced with the sky, the flash of the setting sun. SALLY You all right? Ada's faint. She sits up, blank, a little shaken. ADA -LRB- V.O. -RRB- Yesterday I found myself crouched over a well like a mad woman, which I suppose I have become","EXT. PLANTATION. DAY Inman walks along an expanse of marshland. Great cranes fly heavily over him. ADA -LRB- V.O. -RRB- - and staring down into its secrets, I thought I saw you there, walking back to me -","EXT. BLACK COVE FARM. LATE AFTERNOON Ada is writing in her father's campaign chair, a blanket wrapped around her, a rake propped next to her. ADA -LRB- V.O. -RRB- - or wished I did. RUBY -LRB- O.S. -RRB- That cow wants milking. Ada looks up from her writing with a start. She covers her letter, guiltily, instinctively. In front of her, at the gate, is A YOUNG RAWBONED, FERAL WOMAN, OF INDETERMINATE ORIGINS. She is barefoot, and dressed in a hand - dye _ shift of blue. Her name is RUBY. RUBY If that letter ai n't urgent, the cow is - is what I'm saying. ADA I do n't know you. RUBY Old Lady Swanger says you need some help. Here I am. Ada is instantly defensive, intimidated. ADA I need help, I need, I do need help, but I need a laborer - there's plowing and rough work and - I think there's been a misunderstanding. RUBY What's the rake for? ADA The rake? RUBY Ai n't for gardening, that's for sure. Number one - you got a horse I can plow all day. I'm a worker. Number two there's no man better than me cause there's no man around who ai n't old or full of mischief. I know your plight. ADA My plight? RUBY Am I hard to hear cause you keep repeating everything. I'm not looking for money, never cared for it and now it ai n't worth nothing. I expect to board and eat at the same table. I'm not a servant. Do you get my meaning? ADA You're not a servant. RUBY People'll have to empty their own night jars, that's my point. ADA Right. RUBY And I'm not planning to work while you watch neither. ADA Right. RUBY Is that a yes or a no? ADA -LRB- looks at Ruby. -RRB- Yes. RUBY There's half the day yet. Let's make a start. My name's Ruby. I know your name. ADA The rake : there's a rooster devil, I'm sure of it. He's Lucifer himself. I go near him he's at me with his spurs. RUBY I despise a flogging rooster. Where is he? Ada gets up, nods to the corner of the yard. Ruby goes over. The Rooster gathers himself up for a new opponent. IN ONE MOVEMENT SHE PICKS UP THE BIRD AND TWISTS OFF ITS HEAD. RUBY Let's put him in a pot.","EXT. CORNFIELDS. DAWN Inman's walking on a track which passes through cornfields, the crop high and thick around him. He stops, hearing something. Riders. He wades into the field, seeking cover in the tall crop, lying in the dirt. Horses appear. HOME GUARD MEN ON PATROL, A CHAIN GANG OF PRISONERS : SLAVES, DESERTERS IN TOW, A COUPLE OF FEDERAL SOLDIERS. They have dogs, which sniff and growl, intrigued by the fields, called back by the Home Guard. Inman waits until they're well out of sight. AS HE GETS TO HIS FEET IN THE GREAT FIELDS, ANOTHER BODY APPEARS, THEN ANOTHER, THEN ANOTHER, THEN ANOTHER, ALL SLAVES ON THE RUN DOTTED AROUND THE FIELD. He walks to the road, paying no heed to them. They assemble, paying no heed to him and move off in the opposite direction. Inman turns, looks at them. INMAN Hey! -LRB- they stop, turn. -RRB- I'd pay a dollar for an egg. A piece of cheese. They look at him, then continue on their way.","INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN Ada wakes up to persistent knocking. RUBY Ada? Ada? You up? ADA Yes. -LRB- opening her eyes. -RRB- It's still dark. RUBY Tell the cows that. It's late.","INT. KITCHEN, BLACK COVE FARM. PREDAWN Ada enters blearily, clutching her novel. Ruby already busy. ADA I have to eat something. RUBY Then you have to get up earlier. -LRB- at Ada's book. -RRB- What's that? ADA A novel. RUBY -LRB- heading outside. -RRB- You want to carry a book carry one you can write in -","EXT. BLACK COVE FARM. DAWN Ruby emerges, followed by Ada, chewing on a tomato. RUBY - we got our own story. Called Black Cove Farm : a catastrophe. She looks back at Ada for a reaction. RUBY I can spell it, too. C - a - t - a - s - t - r - o - phe. Learned the same place you did, in the schoolroom. That's one of the first words they taught me. Ruby Thewes, you are a ca - t - a - s - t - r - o - p - h - e. They're heading for the stable.","INT. STABLE, BLACK COVE FARM. DAY Ruby's already pitching hay. Turns to Ada. RUBY You mucking out? Ada half - asleep, obedient, stunned by this energy. RUBY Three years I was in school before my daddy - saying God rest his soul is like wishing him what he had in life, cause he lived to rest, he was born tired - before my daddy decided there was better use for my backside than have it sat all day in front of a blackboard.","EXT. A FIELD OF WEEDS, BLACK COVE FARM. DAY Ruby dictates a list to Ada as they bustle along. RUBY Number One - layout a winter garden for cool season crops : turnips, onions, cabbage, greens. Ada scribbles, walks, scribbles.","EXT. BARN, BLACK COVE FARM Ruby up a ladder, inspecting the roof. RUBY Number Two : patch the shingles on the barn roof. Do we have a maul and froe? ADA -LRB- writing, holding the ladder. -RRB- Maul? RUBY M - a - u - l. ADA I have no idea.","INT. COLD HOUSE, BLACK COVE FARM. DAY Ruby cleans out leaves and detritus from the stone channel, allowing the stream to flow free and cool. RUBY Number three : clay crocks for preserves. Tomatoes. Beans. Jams.","EXT. BOTTOM FIELD, BLACK COVE FARM. DUSK Ruby doing her version of soil analysis, scrunching the earth, tasting it, spitting it out. Ada makes a face. RUBY Clear and turn this field. No harm done letting it go fallow, now we'll do well.","EXT. OUTBUILDINGS, BLACK COVE FARM. AFTERNOON Ruby looks up. Ada catches up with her. RUBY Number fifteen ADA Sixteen. RUBY Number sixteen : let's get a martin colony going in the Gourd House. Keep away crows. You got one thing in abundance on this farm and that's crows. ADA What's a Gourd House?","EXT. APPLE ORCHARD, BLACK COVE FARM. DUSK Ruby, delighted, contemplates the bounty of apples. RUBY There's survival. On them trees. -LRB- turns to an exhausted Ada. -RRB- You got a cider press or would that be wishing on a blessing? ADA Actually, yes, I think we do. Ruby whoops, jogs away. Ada, exhausted takes a bite of an apple, watches her.","EXT. A BLUFF. NIGHT INMAN WALKS A ROCKY TRACK, FALLING AWAY TO THE RIVER AT ONE SIDE, A STEEP CLIFF TO THE OTHER, the way itself broken and precarious, bad country to meet an enemy. Inman sees A LIGHT in the distance, a torch flicking in and out of view, like a star to follow. He stops, narrows his eyes to focus on the view, listening hard. He pulls out the Lemats. A MAN, ALL IN BLACK, A HORSE IN TOW, IS AT THE EDGE OF THE GORGE. The horse has a burden - a sack or wrapped bundle draped over either side of the saddle. The attempts to heave the bundle onto his shoulders. He ca n't, and the bundle slips to the ground, cover falling enough to glimpse an arm, a head. IT IS THE BODY OF A BLACK GIRL. The man tries again to lift her. He's clearly upset, despairing, his hat comes off to reveal long, dandy's hair, all extravagant curls. He staggers with the weight of the girl, heading for the lip of the deep gorge. He kisses the girl again and again, cheeks, mouth, mumbling to her. He's at the edge now and can just let her go. THEN INMAN'S GUN IS AT HIS TEMPLE. INMAN Do n't let go. Just back up, nice and steady, do this all in reverse, you're going to end up with her draped back over your animal. VEASEY Do n't pull that trigger. I am a man of God. INMAN I've killed several of them. VEASEY I mean I am God's minister. INMAN What part of God's business is throwing a woman down a gorge. VEASEY A slave woman, can you see that in this light? She's black as a bucket of tar. He's retreating, on his way back to the horse. INMAN Is she dead? VEASEY Drugged her. Like you would a butterfly. And I care for her, that's the heartbreak of it. He has the girl back on the horse. Inman brings the torch up to his face. It's tear - stained. VEASEY She's got my bastard in her belly. What kind of pistol is that I never saw the like of it?","EXT. VEASEY TOWN. NIGHT Inman leads the horse, with Veasey ahead of him, hands tied behind his back, desperate for a reprieve. VEASEY I'm begging you. It's better you blowout my brains than return me to this place. INMAN Where does she live? VEASEY In our house. She sleeps in our kitchen. You do n't know me, friend, but the good Lord punished me with want. I am all appetite. That's all I do all day is want : food, the female parts. INMAN Shut your mouth. I do n't want a sermon every time I ask a question. They're in the town's main drag now. There's a Chapel and next to it, a small house. INMAN This your place? VEASEY Dear God of misery. INMAN You're going to put her back where she sleeps. VEASEY I do that the Members will lynch me. Consorting with a nigger, adultery, siring a bastard while serving as their preacher. We're a strict congregation we've churched men for picking up a fiddle on the sabbath. INMAN So you reckoned to kill her. Disgusted, Inman approaches the front door of the house. VEASEY There's a back door. Have pity. And he leads Inman down a side path.","INT. VEASEY HOUSE. NIGHT Veasey comes in, now carrying the girl. Inman comes behind, the gun trained on Veasey as he sets her down by the fire. VEASEY -LRB- whispering. -RRB- Thank you. I was going to do a grievous wrong. He looks longing at the girl as he puts the blanket around her shoulders. He turns to Inman. VESEY You tasted dark meat? Sweet as liquorice. I think I should go back up to my wife. She wakes at the slightest noise. Inman is incredulous that he thinks he can just go to bed. INMAN You find me some paper and a pen.","EXT. CHAPEL, VEASEY TOWN. DAWN INMAN HAS TIED A VERY DISTRAUGHT VEASEY TO A TREE IN FRONT OF HIS CHAPEL. Inman is pinning a sheet of paper above Veasey's head. It's covered in handwriting. A dog barks. VEASEY You're not entitled to judge me! You're nothing but an outlier, plain as daylight! Inman has pulled a handkerchief from Veasey's jacket. He stuffs it into his mouth, cutting this diatribe short. And then he walks away leaving Veasey tied to the tree, cursing through the handkerchief.","INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN Ada asleep. Ruby enters, shattering the calm. RUBY Morning. Pigs : you have any loose in the woods? ADA No. What? No. We bought our hams. RUBY There's a world more to a hog than the two hams! Lard, for example, we'll need plenty - She picks up some discarded laundry, contemplates the overflowing laundry basket. RUBY The catastrophe of Ada Monroe's laundry. -LRB- marching out. -RRB- I can feel you shutting your eyes.","EXT. BOTTOM FIELD. BLACK COVE FARM. DAY Ada and Ruby working with the horse to make the beginnings of A SPLIT RAIL FENCE. As they struggle with a heavy rail, Ruby is testing Ada. RUBY What's this wood? ADA I do n't know. Locust? RUBY Where's North? ADA North is, North is - RUBY Name me three herbs growing wild on this farm. ADA -LRB- frustrated with Ruby and with herself. -RRB- I ca n't! I ca n't! All right? I can talk about farming in Latin. Will that do? I can read French. I know Harmony and Counterpoint. I know my Bible. I can name the principal rivers of Europe, but do n't ask me to name one stream in this county. I can embroider, but I ca n't darn, I can arrange cut flowers, but I ca n't grow them. If a thing has a function, if I might do something with it, it was n't considered suitable. RUBY Why? ADA Ruby, you could ask why? about pretty much everything to do with me. They manage to get the first line of rail set down. ADA This fence is about the first thing I've ever done that'll produce an actual result. RUBY So you never wrapped your legs around this Inman? An old - fashioned look from Ada.","EXT. SUNKEN FOREST. DAY Inman finds himself in A SUNKEN FOREST OF PINE. He moves warily, his beard longer, his figure gaunt, his clothes weathering to a uniform smudge of charcoal. He hears DOGS BARKING IN THE DISTANCE, FAINT SHOUTS. He picks up his pace, skirts round the swampy lake.","EXT. CAPE FEAR RIVER. DUSK Inman comes to the bank of a HUGE RIVER. The water, as the light begins to go, is the color of mud, with bubbles, belching to the surface, full of ugly prominent. Inman is almost jogging now, an ear tracking his still distant pursuers. The river is too wide to contemplate swimming and now it begins to curve left, forcing him - against his judgment, to circle back. He approaches A SMALL JETTY. A sign : Ferry $ 5. Yell Loud. On the far bank there's A CABIN ON STILTS above the highwater mark. Inman calls out, reluctantly, his voice still a kind of growl. Then again. A TINY FIGURE steps out of the cabin and waves before jumping into a small canoe. The canoe heads against the current, the rower's back bent with the effort. As the canoe approaches, Inman sees that the ferryman is, in fact, A YOUNG GIRL, not eighteen. She does n't look at him. He produces five dollars. She eyes the bill with contempt. FERRYGIRL For five dollars I would n't give a parched man a dipper of this riverwater. INMAN Sign says ferry, five dollars. FERRYGIRL This look like a ferry? My Daddy's dead, or gone off to the Federals, do n't matter which. I'm the way across now. INMAN What's the name of this thing? FERRYGIRL Nothing but the mighty Cape Fear River, is all. A dog barks in the distance. Getting closer. Inman turns to the sound. The Ferrygirl is well aware of her leverage. FERRYGIRL Nobody crosses this water unless they're running from someplace. Some cross one way, some the other : makes no difference, they're all running. You want to wait for your friends? INMAN I can give you thirty dollars script. FERRYGIRL Let's go. VOICE -LRB- O.S. -RRB- Hey! Hey! Wait! Inman is astonished to see VEASEY stumble out of the trees. His head is shaved, his face bruised and swollen, his clothes castoffs and ill - fitting, cinched at the waist with rope. He stumbles towards Inman, urging him to get on with the journey. VEASEY Keep going. We're both in trouble. He gets straight into the canoe. INMAN No. Get out. VEASEY It's Homeguard. Made me tell them all about you. INMAN I should have shot you when I had the chance. Shouts, more barking. Inman jumps in the canoe, and they're off. The Ferrygirl turns the boat around, rows them away from the jetty with the grace of someone doing something for the thousandth time. VEASEY I'm not looking for revenge, by the way. For what you did to me. No, I'm a Pilgrim now, like you, traveling the road, paying our dues, relying on the kindness of strangers. INMAN You're nothing like me and the last thing I want right now is a conversation. VEASEY -LRB- to Ferrygirl. -RRB- You recall Job in the scriptures? I will give free utterance to my complaint. I will speak in the bitterness of my soul. That's our friend here. -LRB- to Inman. -RRB- They cut off my hair. Which was hard. I was vain about my hair. -LRB- to Ferrygirl. -RRB- I had good curls. But I deserved it. I'm the Reverend Veasey. Have I seen you in church? Inman sits, scouring the bank for sign of his pursuers. The sun is sinking fast. FERRYGIRL I'm saving for a cowhide, and when I get it I aim to get a saddle made, and when I get me a saddle I'll save for a horse, and when I got a horse I'll throw on the saddle, and then you wo n't see my sorry ass round this swamp again. She has no love for the river. Another gurgle of viscous bubbles around the canoe. VEASEY What's that? FERRYGIRL Catfish. ` gator. Keep your hand in the boat. Already looks like some critter chewed his neck. -LRB- she looks at Inman. -RRB- Thirty more dollars, we can go to the cabin. I'll pull this dress over my head. VEASEY -LRB- excited. -RRB- Have we got thirty dollars? A sharp sound, a tiny thwack of ball on meat. The Ferrygirl SUDDENLY SLUMPS BACK and falls into the water. Veasey grabs out at the oar, but it goes, too. The girl sinks quickly, A BLOODY GAP to the side of her head. Inman, on his knees and stretching, ca n't help her. Then a second noise as A HOLE THE SIZE OF A FIST appears in the canoe, just at waterlevel. Water pours into the canoe. Dogs bark, and now FIGURES are visible at the jetty. HOME GUARD. One of them has a sniper's rifle and is loading for a third shot. Inman can see him sighting the rifle. They lie flat in the canoe. ANOTHER GREAT FIST OF WOOD is gouged out. Now the boat is almost full of water. Veasey spits out a foul mouthful. INMAN ROCKS THE CANOE AND LETS IT TURN OVER ONTO THEM, Veasey surfaces from under it, clutching the wood as a raft, but the canoe CATCHES INMAN A BLOW TO HIS HEAD and he sinks. Veasey hauls him to the surface and, surprisingly strong, holds him with one fist, the boat with the other, lets the current take them, pulling them under, then up, under, then up, but clinging on, as the rifle continues to deliver its assault, another shot into the boat, another into the water near to Veasey's arm. THE GIRL'S BODY comes by them, carried by the river, the dress billowing out almost covering her head. The sun has gone, the light fading, the canoe sliding downriver away from their aggressors.","EXT. ANOTHER PART OF THE CAPE FEAR. NIGHT In the moonlight, the canoe drifts into the muddy bank and Veasey drags a half - drowned Inman to land, both of them retching with the vile river water. AN ALLIGATOR eases into the river not ten feet from where they lie, lungs heaving. They get up. Veasey to his feet, Inman to his knees. VEASEY You okay? Inman nods, coughs. And Veasey AIMS A KICK at Inman's head, knocking him back into the mud. INMAN Jesus, god! VEASEY I figure that righteous, given our history. Otherwise I'd bear a grudge on our journey. INMAN There's nowhere I'm going with you except to Hellfire!","INT. ADA'S BEDROOM. BLACK COVE FARM. NIGHT Ada, her hair plaited in a new and simpler configuration, is working on Ruby's hair, while Ruby experiments with some earrings. A pile of Ada's jewelry on the bed beside them. ADA Agricola poetis viam non monstrat. RUBY Which means? ADA The farmer does not point out the road to a poet. RUBY Which means? Should be the other way round ADA Which means, I suppose, which means the poet should know where he's going. RUBY -LRB- of Ada's hairdressing. -RRB- It's no wonder you're helpless and hopeless if it takes this long to fix your hair. -LRB- of the Latin. -RRB- Say some more. ADA Terra mutata non mutat mores. -LRB- ca n't believe she knows all these phrases by heart. -RRB- It's appalling what's in my head. RUBY It's appalling what's in my head? ADA No, it means : A change of place does not change a character. RUBY Well that's surely true even in English. ADA You can keep those earrings. RUBY We ca n't keep anything. ADA I have to keep the bangles. They were my mother's. RUBY Well that's all. The rest is for trading. Else they can bury you in your finery. ADA -LRB- of her hair. -RRB- You're done. There's a small mirror on a stand. It has Inman's picture stuck in it. She picks it up, removing the tintype, and holding it up for Ruby to see her hairstyle. RUBY Good God! Okay. She takes the mirror and shows Ada her simple plait. ADA I like it. RUBY Takes two minutes. That's what I like. She puts the earrings back in the pile. RUBY How much do you love that piano?","EXT. BLACK COVE FARM. DUSK THE PIANO jangles down the rutted lane on the back of Mr. Roy's cart. Ada watches, A SMALL FLOCK of sheep milling around her in the path. Ruby is dragging a big sow towards the yard. Ada picks up one of two sacks and staggers towards the house.","INT. KITCHEN, BLACK COVE FARM. DUSK Ada arrives in the kitchen. They've got it under control now, scrubbed and orderly. She puts the sack down next to another one. Her hands are calloused, the finger nails cracked and ruined, stripes of earth under them. Ruby comes in, struggling with the last sack, pleased. RUBY We're careful we'll get through the winter now. I made old man Roy give me ten of those sheep on account of I said they were so small put together they were no bigger than six proper sheep. ADA My father always wanted sheep on this land. RUBY I'm sorry you had to lose your piano. I cut off my hair once, for money. My daddy got two dollars for it. Made a wig for a rich feller in Raleigh. They're working as they talk, taking the sacks into the larder, putting out stuff for the evening meal. RUBY Stobrod called himself a musician - my daddy - he could play six tune on a fiddle. Got himself shot dead at Petersburg. I was like his goat or some creature tethered to a post. He left me once, up the mountains. I was eight. He was gone over two weeks. ADA Oh Ruby. RUBY -LRB- defiant. -RRB- I was all right! He'd walk forty miles for liquor and not forty inches for kindness. ADA And your mother? RUBY Never met her. We're the same in that regard. He said she was - he told me a thousand stories - she was a wolf or an indian or a donkey. Do n't say much for him, except you know he'd be fast to work up a sweat on a tree if he thought there was pleasure in it. There's a pause. Ruby not easy with her emotions. Abruptly she jumps up. RUBY There's cows to milk.","EXT. RIVER, EN ROUTE TO SALISBURY. DAY Inman stands in the river, hoping to catch a fish, trying to concentrate. Veasey presides, complaining. VEASEY Used to be as regular as morning prayers. Matter of fact I could set my watch by my bowels. That beeswax you fed me, day before yesterday, it stops a man up. Open my gut now they'd find turds stacked up like little black twigs. On a parallel track across the river, RIDERS. impossible to say whether Home Guard or a Federal Raiding Party. Inman splashes out of the water, pushes Veasey down, silencing him. The riders pass. Veasey spots something shining in the grass, picks it up. IT'S A LONG TWO - HANDED SAW. VEASEY Hey! Look at this! -LRB- flexing it. -RRB- This is a good saw. INMAN -LRB- getting up. -RRB- It's not yours. You take it, you make us another enemy. You're a Christian - don' t you know your commandments? VEASEY You'll find the good Lord very flexible on the subject of property. We could do a lot with this saw. Inman is vexed, walks away. Veasey follows, experimenting with the saw's music when flexed. Inman stalks on.","EXT. NEAR A FORD. DAY Inman way ahead, full of purpose. Veasey still has the saw, trots to catch up. VEASEY Why you in such a hurry the whole time? -LRB- no answer. -RRB- Hurry or slow the destination is always the same. It's only the journey that is different. That's either in the Good Book or I made it up. Inman suddenly stops, scowling, puts up a hand, listens. Inman carefully scouts the track then, with great caution, edges towards the river bank. A HEAVY SET MAN labours in the water. He's contemplating THE HUGE BLACK CARCASS OF A BULL which has slipped into the ford and died. The man is wet and exasperated. VEASEY Good day to you! The man turns, his spirit evidently lifted by the prospect of help. His name is JUNIOR. He's working on roping the animal. JUNIOR My old bull, wandered off and died in this here creek. Fouled up our water is how I found it. Veasey is immediately an authority on bull removal. VEASEY This is a tricky one. The three men contemplate the carcass, swatting away the swarms of flies. Junior offers a swig from a jug of liquor. Inman refuses, Veasey takes a long pull, shudders happily. VEASEY The name for the Bull's member is a tassel. I learned that and never forgot it. JUNIOR Reckon I need a train of mules. VEASEY -LRB- walking away. -RRB- I'm getting an idea. My saw is the remedy. Let's saw up some wood and make levers. INMAN Then what? VEASEY Lever him out. This'll work! He walks into the wood. JUNIOR Where you two sports heading? INMAN -LRB- inscrutable. -RRB- I do n't know where he's heading. I'm going down the road. And I got a good way to go before nightfall. JUNIOR -LRB- acknowledging his attitude. -RRB- Charitable of you to make a stop. Ai n't for me to be curious. VEASEY -LRB- emerges from the woods. -RRB- How do you work this damn thing? INMAN -LRB- to Veasey. -RRB- Give me that saw. -LRB- to Junior. -RRB- Come on. He takes the saw, walks to the bull, gets on one side, indicates Junior should go to the other. INMAN Let's do this in chapters. And they begin to SAW OFF THE BULL'S NECK. LATER, and they're in A VILE STEW OF BLOOD AND INNARDS. The stomach opens and its contents gush into the creek. Veasey is disgusted, draws back. The two other men haul up the rest of the animal onto the banks. They're exhausted. INMAN You might want to leave off that water for a day or two. JUNIOR There'll be a tang, I'd imagine.","EXT. TRACK APPROACHING JUNIOR'S CABIN. EVENING Junior, Inman and Veasey come around a bend and there's A BIG CABIN LOOMING. It's in such poor repair that one end has slipped from the stones which serve as it's foundation and STANDS BADLY TILTED OVER. Junior roots up another hidden jug of liquor, which he drinks from, then hands to Veasey. JUNIOR There's my place. Hope you can stomach a yard chock - full of females. Brought my woman home, she showed up with her three so - called sisters and their brats. The noise in that place is something awful. It's why I go hunting. VEASEY -LRB- considering the wild camber. -RRB- Looks a bit crooked. JUNIOR It is on a bit of a tilt. Them females. They all roll down one end each night! VEASEY - Roll me over! JUNIOR - In the clover VEASEY One good fart - that'll tip over! They guffaw, delighted in the alcohol haze. Veasey suddenly exclaims, hand in the air, rushes into the bushes. VEASEY Oh God of my God! Hallelujah! Hallelujah! JUNIOR What's up? VEASEY The Israelites! The tribes of Israel are about to flee from the banks of Egypt! Hallelujah! INMAN -LRB- explaining to Junior. -RRB- He's got a shit coming on. It's overdue. JUNIOR -LRB- bewildered. -RRB- And he's a Preacher? Like a Christian? INMAN Like a Christian. JUNIOR Good God.","EXT. JUNIOR'S CABIN. DUSK The three men arrive at the yard. DOGS AND CHILDREN MILL AROUND THE VISITORS. FOUR WOMEN COME OUT, one after the other each of them in simple shifts which seem to emphasis their voluptuousness, or so it seems to Veasey. They freely stare. JUNIOR These two boys is stopping for supper. They're on the road to Atonement. The women consider the men, then disappear back inside. VEASEY Atonement is not a place. JUNIOR So what is it when it's at home? VEASEY Those are fine examples of the female. JUNIOR Take them all and leave the saw. Be a sight more use. SHYLA -LRB- reappearing. -RRB- If they want to get in a tub there's an hour before food. JUNIOR They love to scrub a man. -LRB- to Shyla. -RRB- Put the water on the boil. -LRB- back to the men. -RRB- It's my liquor, gets their titties swinging. VEASEY -LRB- excited. -RRB- God damn! -LRB- to Inman. -RRB- I was right about sheep droppings those stools - like rock hard. Quite astonishing.","INT. SMOKEHOUSE AT JUNIOR'S CABIN. DUSK No real furniture. Veasey is shaving. Inman stows his knapsack behind the woodburning stove, on which a big kettle of boiling water steams away. Then he gets in the tub, his back to the door. Shyla comes in, brings the kettle over to the tub, pours in the steaming water. She appraises Inman. It's intensely sexual. SHYLA That's battered flesh. -LRB- of his neck wound. -RRB- I could work a finger in there. VEASEY He's a hero. Took that wound at Petersburg. INMAN He does n't know what I am. -LRB- uncomfortable with her stare. -RRB- Thanks. SHYLA -LRB- to Veasey. -RRB- He's shy, ai n't he? VEASEY Wait up a few minutes, I'll be in that tub, then we'll see who's a shy one. SHYLA I want to poke my thumb in his holes. A second woman comes to the door. Dolly. DOLLY Lila says supper's up.","INT. JUNIOR'S CABIN, NIGHT LILA, JUNIOR'S WIFE, spoons out stew from a vast pot. The table crammed with customers - her three sisters, the three men, the herd of dogs and filthy children. Nobody speaks. Each time Lila bends over to spoon out of the pot, her cleavage strains against the flimsy fabric of her dress. Veasey's mesmerized. Inman is also getting drunk, his eyes increasingly glazed. When Lila makes to sit down next to Junior, he slides a hand up her dress, exposing a naked buttock, which he strokes and pinches as he pulls away. LILA Hey! Junior grins, looks over at Inman, then nudges Veasey. JUNIOR He's gone now. Look! His eyes have gone. INMAN -LRB- vaguely, drunk. -RRB- What? VEASEY Dolly? DOLLY S'me. VEASEY Dolly, Lila, Shyla and Mae. That's a poem. That's a poem. He begins to recite, has a verse in his mind. VEASEY Dolly, Lila, Shyla and Mae. -LRB- but he can' t summon it. -RRB- Da - da da - da da - da dae. -LRB- vague. -RRB-. there's a poem there. JUNIOR I'm leaving soon as I'm full. VEASEY Really. Goodbye. JUNIOR Got a bunch of traps needs visiting. I'll be back tomorrow, before dark. You'll still be here? VEASEY That's my fervent prayer. JUNIOR My house is your house. INMAN -LRB- suddenly. -RRB- Like to wash their hands and pray. VEASEY Say again? INMAN Dolly, Lila, Shyla and Mae. VEASEY That's Job. Do n't say much but even liquored up there's a preacher in him. Inman gets up suddenly, sways. INMAN I'll say my goodbyes, got miles and miles to go before sunset. -LRB- head spinning. -RRB- I'll just quickly lie down. And he stumbles over to the fire where he instantly curls up. VEASEY I'm heading for that smokehouse and I'm ready to be washed clean of my dirt. He gets up, wanders out of the door. Junior's eyes glint. He jerks his head towards the girls then in the direction of the smokehouse. JUNIOR You go tend to him. -LRB- to Lila. -RRB- I'll be seeing you. He picks up his gun and leaves Dolly gathering up the children and herding them out. DOLLY Come on you - get! Shyla stays, Mae having gone off after Veasey. Lila waits until the children have gone. They consider Inman supine by the fire. LILA He's mine. You can go rub yourself off on the Preacher. -LRB- of Inman. -RRB- Gon na make him hug me till I grunt. Lila shepherds Shyla out, shuts the door, swigs from the jug, walks over to Inman, then turns to the big table and pushes pots and plates way down to one end to make a playing field. Then she bends over the prostrate Inman. LILA Hey! Inman stirs, glazed. LILA -LRB- kneeling down to him. -RRB- You want to see what Mamma's got for you? SHE SLIPS A SLEEVE OF HER DRESS TO REVEAL A FULL BREAST. Inman is drunk, does n't think he's awake. She takes her breast to his mouth, and Inman suckles. Then she puts his hands under the dress which rides up as his hands move between her legs. She's naked. LILA That's good. Ai n't that sweet? SHE PULLS INMAN TO HIS FEET, KISSES HIM, THEN TURNS HER BACK AND LIES FACE DOWN ON THE TABLE, HER BARE ASS UNDULATING IN THE AIR. LILA You just get on and ride me all the way to China. He does n't move, except to sway, eyes glazed. She turns. LILA You shy? You need a hand? -LRB- goes to his buttons. -RRB- Let's have a look see what we can muster. She's kneeling now, her dress hunched up around her middle, working the front of Inman's pants. He's in a swoon, surrendering to her, getting aroused, his hand cupping her head. ON CUE, THE DOOR CRASHES OPEN AND HE'S STARING DOWN THE BARREL OF JUNIOR'S SHOTGUN. As Lila turns, Junior KICKS HER violently in the head, knocking her over. JUNIOR You little bitch! Look at you! Cover yourself up! NEXT HE SWINGS THE SHOTGUN BARREL AGAINST THE SIDE OF INMAN'S HEAD. Inman falls back. Junior goes to the door and whistles. AND WITH THAT THE ROOM FILLS UP WITH A GROUP OF HOME GUARD BRISTLING WITH WEAPONS AND PURPOSE. THEY SEIZE INMAN, DRAG HIM OUT AS JUNIOR SPITS AND KICKS AT HIM.","INT. SMOKEHOUSE AT JUNIOR'S CABIN. NIGHT Lila enters the smokehouse, hand to her bruised head. VEASEY'S ON THE FLOOR, WITH DOLLY ASTRIDE HIM, HIS ARM CRUSHING A NAKED MAE INTO AN EMBRACE. He considers Lila, beams : VEASEY I had a special prayer you'd come visit. THREE MEN BURST IN BEHIND HER, RIFLES RAISED.","EXT. JUNIOR'S CABIN. NIGHT Veasey led out, a CHAIN GANG waiting - a bedraggled collection of prisoners, slaves, deserters - and now INMAN. Veasey is joined to the line. It starts to rain.","EXT. SWANGER FARM. DAY Ruby and Ada at the door of the Swanger house. They both wear Monroe's clothes by now, like two little men. THEY'RE CARRYING A SMALL SACK, A PIE UNDER A CLOTH. Ruby hammers at the door, a little impatient. Sally Swanger opens it, has to decode who it is under the clothes, the hats. SALLY Ada Monroe and Ruby Thewes! Look at you both! RUBY Look at us both what? SALLY Like a coupla scarecrows after a thunderstorm. RUBY We need a scarecrow, birds eating up half our winter garden. ADA Sally's right. We should both stop toiling and stand a while with our arms stretch out. I'll volunteer. RUBY We got something for you. ADA For all your kindness. Coffee. And a pie. RUBY That's real coffee. It ai n't hickory and dirt. SALLY -LRB- taking the gifts. -RRB- Thank you both. -LRB- of the pie. -RRB- Ruby, I look forward to this. We all do. Esco and me. RUBY -LRB- grinning at Ada. -RRB- She made it. ADA I made it. SALLY Good God in Heaven. RUBY -LRB- by way of recommendation. -RRB- I'm still alive. Sally's strangely awkward, lingering at the door, staring at the gifts. RUBY We'll be getting along. SALLY -LRB- nodding. -RRB- I know Esco's going to be real sorry he missed you. You all take care. They all kiss, then the girls walk back down the path. Ruby is vexed. RUBY That strike you as odd? ADA What? RUBY Stood at her front door? ADA Sally? RUBY Number one - I know that woman all my life. I never stood outside her house - she'd invite a wolf inside if it knocked on the door. ADA Perhaps, I do n't know, perhaps she was busy. RUBY Number two - Old Man Swanger was inside that house : I could smell his pipe burning. Number three - look at these fields. ADA What about them? She contemplated the stubble fields they're passing. RUBY We came by here a week ago, they were waist high in hay.","EXT. A PATH. DRIVING RAIN. NIGHT The Home Guard ride, bent under their oilskins, as the rain tips down. Between the horses, unprotected and drenched, their prisoners trudge along the muddy path. Inman and Veasey among them. Veasey has grown some beard. AN OLDER MAN COLLAPSES, lies where he falls, not moving. There's a domino effect and so Inman falls on top of him. He picks himself up, then tries to pull up the older man. He does n't move. INMAN He's dead. The horses plough on. Inman shouts to BROWN, the leader. INMAN This man's dead! Nobody pays any attention. He has to drag the body.","EXT. VEASEY TOWN. DAY THE HOME GUARD ESCORT THE PRISONERS PAST VEASEY'S OLD CHURCH. More days have gone by and taken their toll on the prisoners, Veasey and Inman are haggard and filthy and reduced. The Home Guards stop for food, a wash, a break, chain the prisoners to a horse rail. Citizens go by, Veasey knows them all. Some of them spit contemptuously at the Deserters. None of them recognise Veasey. VEASEY Am I so altered that they do n't see me? Somebody walks by with a young child. Veasey looks at Inman. VEASEY I christened that child. The child stops, looks without recognizing, is tugged away from the chain gang by his mother. One of the other prisoners, SHEFFIELD, leans in to Inman, his voice low. SHEFFIELD I'm looking to get out of this. They drag us back to fight - we're just target practice for the Federal boys. INMAN You run, we're all running with you, the lame and the stupid, of which we number both. SHEFFIELD Either way we're fucked. Run or do n't run. INMAN Just give me some warning so I can tell the guard - I'm not getting shot again for some cause I do n't believe in. A GROUP OF SLAVES ARE WALKING BY, CARRYING SACKS. One of the women is pregnant. Veasey studies the group, sees the pregnant woman, recognizes her. VEASEY -LRB- mesmerized. -RRB- That's Rebecca. That's Rebecca. -LRB- he hisses. -RRB- Rebecca! In daylight it's apparent that Rebecca is a real beauty. She turns at the sound of her name, stops, is confused. She sees Veasey and approaches, appalled at his condition. REBECCA Mas? VEASEY Is it well with you? -LRB- Rebecca nods. -RRB- I've been repenting for what I did. I've walked the road of atonement. REBECCA Your curls is all gone. THE GUARD KICKS HIM. GUARD Hey! VEASEY -LRB- holding his head, to Rebecca. -RRB- God Bless you. Rebecca, reluctant, rejoins the other slaves, walks away with them, but then turns back to look at Veasey. She clearly cares about him. And seeing her has somehow broken his heart. He turns away from Inman, towards Sheffield. VEASEY I'm with you. I got a baby coming.","EXT. RAILROAD TRACK. DAY THE CHAIN GANG TRUDGES DOWN THE TRACK, horses on either side of them, steep banks forming a V for the railroad. A TRAIN IS COMING. Brown rides up to the prisoners, herds them off the track. The train approaches quite slowly - the boxcars full of wounded soldiers. Some of the Home Guard dismount, take out pipes. The prisoners wait, one of them sits down. Sheffield says something to Veasey, who casually yanks up the sitting prisoner. Inman suddenly understands what's going to happen. The train is almost on them. INMAN No! But it's too late. SHEFFIELD JERKS FORWARD IN FRONT OF THE TRAIN, PULLING ALL THE OTHERS WITH HIM, their reluctance tempered by the possibility of being crushed by the oncoming train. SOMEHOW THE CHAIN GANG GETS ACROSS THE TRACK, stumbling and chaotic, the chains yanking tight, then loose, the tight causing a collapse, the loose a recovery. They run alongside the train, blocking themselves from the fire of the Guard, Sheffield screaming tactics - and then, as the train starts to pull past them, they run up the bank, now all as a unit scrambling to the steep summit. ON THE OTHER SIDE OF THE TRAIN THE HOME GUARD HAVE REMOUNTED THEIR HORSES AND ARE RIDING HARD ALONGSIDE IT. Then they have sight of the escaping prisoners silhouetted at the top of the bank like a line of paper dolls stretched out along the ridge. Sheffield's yelling with adrenaline, Veasey joins in, elated. One of the guards raises a rifle, steadies himself on his horse, FIRES. He catches Veasey, who crumples, spinning round and falling down the bank, until Inman uses all his strength and practically lifts him in the air. The chain recovers and works back up the bank. But then A SECOND BULLET catches another prisoner and this time the effect is catastrophic - THE WHOLE GANG JUST FLIPS OVER AND PLUMMETS DOWN THE BANK. The Home Guard approach, firing randomly at the bodies as they tumble into the ditch by the side of the track. Until all movement ceases. Inman has a wound to his head which bleeds profusely, almost completely covering his face. Brown arrives, considers the carnage. BROWN Get these sacks of shit under the ground.","INT. BARN, BLACK COVE FARM. DAWN Ada's milking. It's barely daylight. She's slowly becoming a country girl. Ruby appears in the doorway. RUBY Someone's been in the corncrib. ADA You sure? RUBY It's a coon or possum. Scratched out a fist hole in the side. This place! I'm telling you - we grow, others eat. I'll go into town, take the last of the cider and trade for a trap.","INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY Ada is in Monroe's bedroom, looks out as Ruby goes off to town, jugs of cider swung either side of the horse. Ada goes over to Monroe's closet, pulls out some clothes.","EXT. THE WINTER GARDEN, BLACK COVE FARM. DAY Ada buttons Monroe's dress coat and completes the SCARECROW she's spent the day making, save for the hat, which she now fixes on, pushing in a hat pin to secure it. She's made a stern black thing and steps back to consider it. Horsemen come riding along the lane. It's Teague and his men. He does n't stop but raises his hat to Ada.","INT. KITCHEN, BLACK COVE FARM. DAY Ada looks out at the Winter Garden. From that distance it really does look like her father out in the field, arms outstretched as if waiting for her to run to him. She finds it unbearable, her tears coming, runs out into the fields, attacks the scarecrow, pulling off the hat, the clothes.","EXT. RAILROAD TRACK. MORNING THE SOUND OF TINY BELLS. A misty drizzle. A GOAT snuffles around in the freshly turned dirt : A hand, pale and wet, protrudes from the thin layer of earth covering the bodies of the murdered Chain Gang. SOMETHING SHIFTS UNDER THE DIRT, breaking the surface. Inman wedged under three or four corpses - their limbs and chains wrapped around him, has regained consciousness. He coughs, ca n't breathe properly, tries to work himself some air, spitting out dirt. He makes a noise to distract the goat, rattling the chains. Inman rears up, the bodies slithering off him, but even then the animal only retreats a yard or two. VEASEY SLIDES FACE UP, A BULLET IN HIS FOREHEAD LIKE A MYSTICAL THIRD EYE. Inman feels a surprising loss and tenderness. He heaves again, groaning with the pain of new and old wounds.","EXT. OLD MILL, COLD MOUNTAIN. DAY Ruby rides back from town along the river. An ugly looking trap tied over the horses and three or four bulging sacks. By an abandoned mill she sees the Home Guard under the trees. She slows up. TEAGUE What you looking to catch? RUBY What? TEAGUE With that trap. RUBY We got some critter stealing our corn. TEAGUE Still but the two of you up there, is it? RUBY You know it. TEAGUE When we get a cold night, camped out, trying to keep the rule of law, protecting girls like you from Federals and deserters, that's a thought warms us. -LRB- to his men. -RRB- ai n't it? - the two of you up there on my Grand - daddy's farm, dressed in men's clothes. Warms us right up. What you got in the sacks? -LRB- to the men. -RRB- Looks like human heads! Eh? Looks like a bunch of heads. We got competition! Ruby rides on. She rides around the bend - she's not far from the Swanger farm.","EXT. RAILROAD TRACK. DAY Goats, their bells tinkling, munch around the tracks. One of them turns at a noise - a GROTESQUE VISION - A MOVING, SEETHING MOUND OF DIRT. It's Inman, inching along the embankment, the chain of dead bodies in tow, a macabre tug of war. He considers the goats, they consider him. He rears up and finds himself STARING DOWN THE BARREL OF A SHOTGUN.","EXT. SWANGER FARM. DAY Sally is pinning out white sheets, they're filling out like sails in the afternoon wind. Ruby rides up. Sally seems a little vexed to see her. She walks down to the gate. SALLY Ruby. RUBY I'm not stopping, Sally. I'm not snooping neither. Just you should know Teague and his boys are lurking down by Pigeon River, the old mill. SALLY -LRB- after a beat. -RRB- You tell Ada that was a good pie. Ruby rides off. Sally watches, then goes inside the house, her energy changing immediately, as if she might faint.","EXT. MADDY'S CARAVAN. AFTERNOON HARSH WHISTLES. A secret place, in the heart of a forest. There's the answering sound of SMALL BELLS, a chorus of them. Inman is dragged into view on a makeshift litter. Goats appear, they herd around the figure dragging the litter. IT'S AN OLD WOMAN, silver haired, her face a leather map, her clothes leather, everything about her like old leather. HER NAME IS MADDY. She and Inman round a bend and there's Maddy's house - AN OLD CARAVAN, long grown into the ground and plaited with vines and creepers. Inman tries to sit up. An old whiskered BILLYGOAT butts up against Inman, knocks him down. Maddy pays no attention to the struggle, heads inside her caravan. MADDY Mind that Billy, he's the jealous kind. She emerges, with a bowl of water, rags, washes his face, pushing back his hair to look at his wound, puts a finger to the gash on his neck professional in her appraisal. Inman is barely conscious, he groans, trying to defend himself. MADDY Pay no attention to me. What happened to your head? INMAN Fighting. MADDY And your neck? INMAN Different fighting. MADDY You're the color of a cadaver. I'll fix you. I can fix you up. INMAN -LRB- speaking of his spirit. -RRB- Mister - you could fix me I'd be in your everlasting debt. MADDY Debts, fighting - them words do n't mean much round here. For the record, I'm a female of the species.","EXT. BOTTOM FIELD, BLACK COVE FARM. DAY Ruby rides up to the farm. She rides past the winter garden, admires THE SCARECROW - WHICH NOW PARODIES ADA, the same outfit she once wore to visit Inman, the same dress, same hat. Ruby grins as Ada comes over from the field. RUBY The hat's a nice touch. Ruby gets off the horse, and they start unloading sacks. RUBY You're quiet. ADA I cried for my Daddy. I dressed up the scarecrow in his suit and he came back, his arms out, said you never cried enough, you never cried enough. RUBY Well now you did. ADA Then I thought, it's not my Daddy, it's my sweetheart. I saw him once that way, when I looked down Sally's well. So I dressed the scarecrow in the dress I wore the day he left. In case his spirit flies over looking out for me. -LRB- of the vicious looking trap. -RRB- That looks terrible. Ruby opens the sacks. ADA Cabbages. RUBY I bargained like Lucifer. We can make all kinds of good eating. ADA Such as? RUBY Cabbage. Slaw, sauerkraut, cabbage soup, fried cabbage, stuffed cabbage.","EXT. SWANGER FARM. DAY TEAGUE'S MEN RIDE UP TO THE FARM. Esco's out in the field, labouring away, but with his shotgun by him. Teague stops alongside the field, the rail between him and Esco. Esco stops working, picks up his shotgun and goes over. Teague has four men with him. MO and JO, the twins, huge, and with the appearance of having less than one brain between the two of them, GRAYLING, a reluctant - looking man, funereal in his bearing, and BOSIE. TEAGUE Afternoon. The riders slowly fan out, almost as if choreographed. ESCO Do n't spread out. Why they spreading out? TEAGUE I'm not spreading out. I'm sitting here. Esco comes over the rail fence, his gun loose in his hands. TEAGUE Never knew a man worked in his field with a shotgun. ESCO There's a war on. TEAGUE Got to watch out for the Bogey Man. He starts to fish out a tobacco pouch. Esco's gun swings up. Teague shows him the leather pouch, shrugs, starts to make a cigarette.","INT. SWANGER FARM. DAY From inside the house, Sally watches everything. Her view impaired by the sheets.","EXT. SWANGER FARM. DAY Mo dismounts. Ambles past Esco, looks behind the sheets. ESCO KICKS OUT AT HIM, the shotgun rigid and pointing. ESCO Get off my land. Mo examines his breeches for a dust mark, wipes it off, retreating in a turkey walk of examining and dusting. TEAGUE Your boys come back. ESCO Ai n't seen my boys in four years. They're fighting other boys, not old men and women. TEAGUE -LRB- to his men. -RRB- He means us. He's referring there to us. -LRB- to Esco. -RRB- So you wo n't care if we take a look around? ESCO What I got ta give you? A chicken? A lamb? TEAGUE -LRB- shrugs. -RRB- Sure. ESCO Right then. TEAGUE Thing is - you got one barrel and there's five of us. Not a fair fight. BOSIE SUDDENLY DROPS OFF HIS HORSE, ROLLS ON THE GROUND. BOSIE Bogey Man! Bogey Man! Esco is momentarily distracted and, in that instant, Mo kicks out at him, knocking the gun from his hands, which fires into the air, a shocking sound.","EXT. BLACK COVE FARM. DAY Ruby and Ada digging a trench by the smokehouse, laying in the pale heads of cabbage. They hear the distant shot. RUBY What's that? They stop. Listen. Look at each other, start running.","EXT. SWANGER FARM. DAY Jo sets on Esco, knocking him - backwards into a sheet, where it gets twisted, while Jo kicks and punches, little spots of blood staining the sheet with each blow. MO PULLS OUT HIS SABRE AND RUNS ESCO THROUGH, LEAVES THE SABRE IN DEEP, PINNING ESCO TO THE SHEET, THEN SPINNING HIM ROUND IN THE SHEET SO THAT IT TIGHTENS. A stain grows out from the blade, huge and spreading. Teague walks to Esco. TEAGUE You're harbouring deserters. I can confiscate every animal on this farm, every plate, every sheet, every little pellet of chicken shit - I can confiscate your old lady's asshole, so do n't offer me a bird. Sally runs out, screaming. She tries to pull out the sabre. MO REVERSES HIS RIFLE AND CLUBS HER TO THE GROUND. TEAGUE -LRB- sharply. -RRB- Hey! Mo backs away. Sally is screaming. She watches, helpless, as Esco dies in front of her, the sheet growing a darker red. TEAGUE You got your bait. Set it on the hook. BOSIE, SMILING, FETCHES A ROPE FROM HIS HORSE, ALREADY NOOSED AT ONE END. HE FLIPS THE LOOP OVER SALLY'S HEAD.","INT. BARN, SWANGER FARM. DAY ELLIS AND ACTON SWANGER emerge from their hiding places, unable to bear the sound of their mother's screams. They're carrying an axe, a pitchfork, mad for revenge.","EXT. SWANGER FARM. DAY BOSIE IS DOING SOME SORT OF DANCE ALONG THE FENCE RAIL. He's very graceful, his hair flying, his hands out, one finger nail extremely long, his boots stamping down on the fence. UNDER HIS STOMPING FEET, THE RAIL POST IS PRESSED ON SALLY SWANGER'S THUMBS. She ca n't scream any longer, because the noose has practically strangled her. The rope's tied off to Bosie's horse, which yanks on the noose with every slight movement. Sally is prostrate in the dirt. Her two boys come running from the barn. TEAGUE CASUALLY, SHOOTS ELLIS WITH HIS RIFLE. BOSIE LETS ACTON GET ALL THE WAY TOWARDS HIM AND THEN SHOOTS HIM FROM A YARD AWAY, THE GUN SUDDENLY SPRINGING INTO HIS HAND. AS ACTON FALLS, BOSIE DOES A FLIP TO DIVE OFF THE POST AND LAND ON HIS FEET NEXT TO ACTON'S BODY.","EXT. SWANGER FARM. DUSK Ada and Ruby, riding together on the horse, arrive at the Swangers. SALLY IS STILL PINNED UNDER THE FENCE POST. The noose around her neck has been tied off to the post so that she ca n't move. There's a bloody sheet draped over the edge of the well. Blood on the ground. Ruby heaves at the fence. RUBY I ca n't get this damn thing off her. ADA -LRB- at the well, looking down. -RRB- Dear Lord in heaven. RUBY Ada, I ca n't get this off her! Ada runs over. They struggle, ca n't lift it. Sally's lips are moving. RUBY What darling? What? She bends down, listens to her. Looks up at Ada. RUBY She's saying do n't bother. ADA Wait! She grabs a thick log off the stack, staggers back and in a second they've inserted it into the fence and levered it up and away from Sally's hands. They fall back onto the dirt. Ruby cradles Sally. Ada nods towards the well. ADA There's someone down there. I think it's Esco. Ruby looks over at the well, then at Ada. RUBY This world wo n't stand long. God wo n't let it stand this way long.","INT. MADDY'S CARAVAN. DAY An exotic interior, many crocks and jars, bunches of herbs, wrapped papers of dried things, like a woodland apothecary store. Inman wakes up. He finds himself in a small cot, wrapped in blankets, a poultice at his neck. He does n't know where he is or how long he's been there.","EXT. MADDY'S CARAVAN. DAY Maddy's sitting on a stool. There's a circle of stones where her fire lives and she sets the tinder to it. Inman emerges from the caravan. He's pale and unsteady. INMAN How long have I been sleeping? MADDY Not long enough. INMAN I ca n't stop here. I'm a deserter. They find me here things could be bad for you. MADDY What they going to do? Cut short my young life? Sit down before you fall down. She calls over a little goat. It ambles over affectionately and nuzzles into her hand. She strokes it and scratches under the chin. The creature gets increasingly tranquil. INMAN How long you been up here? MADDY What year are we?' 63? INMAN Last time I checked it was' 64. MADDY I'd say twenty six years. INMAN Twenty six years! MADDY I could move on anytime. I've seen most of the world anyway, Richmond in the North, south almost to Charleston. You're going somewhere or you are somewhere, what's the difference? She's still stroking the goat. It looks as if it's asleep. MADDY I've learned a person can survive off pretty much of a goat. I ca n't abide a chicken, but a goat gives you company and milk and cheese and then, when you need it, good meat. In a single motion she has a knife in her hand and has SLIT THE THROAT OF THE GOAT, putting the bowl underneath its neck to catch the blood, still stroking the goat, which blinks as if it were only surprised and not dying. MADDY So you've been fighting? INMAN -LRB- as if he might break. -RRB- I could be at killing for days sometimes, in the hand to hand, my feet against the feet of my enemy and I always killed him and he never killed me. MADDY He gave it a try, to look at you. INMAN I guess he did. MADDY See I think there's a plan. There's a design. For each and every one of us. During this she's shucked the skin off the goat with the authority of someone who's done this a thousand times. MADDY You look at nature, a bird flies somewhere, picks up a seed, shits the seed out, a plant grows. Bird's got a job, seed's got a job. And the goat is now thin and pink, eyes bulging, a piece of meat.","INT. MADDY'S CARAVAN. EVENING A woodburning stove with a single cooking plate - on which pieces of the goat meat, sprinkled with herbs, are sizzling in a pan. INMAN IS EATING LIKE A MAN POSSESSED, WRAPPING THE MEAT IN CORN FRITTERS AND PUSHING THEM INTO HIS MOUTH. Maddy watches him, adds another mound of meat to his plate. Inman nods in thanks, but - does n't look up. She opens a jar and takes out a handful of dried poppy heads, puts them near the stove, then dips into another jar and pulls out what look like old cheroot stubs. MADDY Take one of these now with your food. Inman is circumspect, views the stub lozenge with suspicion. MADDY Swallow it. If you die I'll give you your money back. Inman puts it in his mouth, gags at the taste of it. She hands him a beaker with milk to wash it down. MADDY Our minds are n't made to hold on to the particulars of pain, the way we do bliss. She starts steaming the poppies. INMAN It's true. MADDY What is? INMAN What you remember. MADDY What's her name? INMAN Ada. -LRB- At the food. -RRB- - Sometimes I think I'm crazy when I'm just hungry -. -LRB- another mouthful. -RRB- Ada Monroe. MADDY And is she waiting for you? INMAN She was. I do n't know. Or if she'd know me. I'm like the boy who goes out in winter for firewood comes back in the spring with a whistle. Maddy pricks open the poppies and collects their opium, then hands Inman the liquid. MADDY Now drink this. It visits the pain. And you'll sleep. He drinks the laudanum she's made. INMAN I've had to put myself in the way of people's kindness. MADDY I hope you found it. She dips a cloth in the steaming water, unbuttons his shirt. She has a crock of what looks like treacle and vaseline. She smears this salve over the neck wound and into his scalp. Inman surrenders to the drug. INMAN The passenger pigeons fly south, the berries ripen. Whether I see them or not, whether a man dies, or a war is won. MADDY That's the laudanum getting to you. That's good. Say something more. -LRB- she kneels to his leg. -RRB- Raise that up for me. He obliges. She grimaces at the state of it, where the chain has chewed into the flesh. Gets to work. INMAN She gave me a book. Ada Monroe. Man by the name of Bartram. Wrote about his travels. I carried that book through every battle. I left it someplace, got to get it back. Sometimes just reading the name of a place near home - Sorell Cove, Fire Scale Ridge - was enough to bring me to tears. Thing is I've been thinking - those places belonged to people before us, to the Indian - and he had a different name. What did he call Sorell Cove? How can a name not even the real name break your heart? It's her, she's the place I'm heading. And I hardly know her. So how can a person who's maybe not even a real person - I do n't know what I'm talking about - I have to close my eyes. He slides off the stool and lays on the floor. Maddy goes over to her cot and pulls off a blanket which she drapes over him.","EXT. YARD, BLACK COVE FARM. DAY Ada in the henhouse, collecting eggs, is confident now among the birds. She emerges to find Ruby walking out of the backdoor with the shotgun and a determined look. RUBY It's a man. ADA What is? RUBY Raiding our corn. Got him in the trap. That's him yelping. ADA You're not going to shoot him! RUBY I do n't want him to shoot me. -LRB- of the gun. -RRB- Can you fire this thing? ADA -LRB- making it clear she ca n't. -RRB- Yes. They head towards the corn crib, bundled up against the cold. A MAN IS KNEELING AT THE CORN CRIB, perfectly caught in the art of stealing, his head forced away from view. Ruby hands Ada the gun and approaches, warily. RUBY Listen up - you got a barrel trained on your rear - end. STOBROD Get me out of this dang thing. My fist's about to drop off. RUBY You got a weapon? STOBROD No ma'am. I'm begging you. I'm already on my knees, otherwise I'd get down on them. RUBY -LRB- suddenly recognises the voice. -RRB- Unbelievable! Stobrod Thewes. STOBROD Ruby? God damn! ADA What? RUBY -LRB- to Ada, disgusted. -RRB- That's my daddy. She walks up to him and KICKS HIM HARD AS SHE CAN ON HIS BACKSIDE.","INT. KITCHEN, BLACK COVE FARM. DAY A strip of fabric, homemade bandage, being wrapped around Stobrod's badly gashed hand. Ada is tending to him. Ruby is cooking at the range, not remotely warm towards her prodigal father, who looks rather comfortable. Stobrod looks at her. STOBROD Just so's you know - I can eat while she's doing this - in case you're holding off. RUBY Just so's you know - you're not eating inside. Number One - they hang people round here for taking in deserters. Number two - even if they gave out prizes - you'd still eat outside. STOBROD You're scarred. RUBY I'm what? STOBROD Your heart. Scarred. I did wrong to you. RUBY You'd be scarred. You'd be really scarred if I had n't wrapped them trap teeth in sacking. Which was her idea. STOBROD I hurt you. RUBY Good God! STOBROD I wrote fifty tunes with you in mind. Ruby this, Ruby that, Ruby with the eyes that sparkle. RUBY Hey! Let's agree : you beat me, you abandoned me, you ignored me, you beat me some more - all of that is better than Ruby with the eyes that sparkle! STOBROD I'm changed. People change. War changes people something terrible. -LRB- to Ada. -RRB- Ruby's told you - I've no doubt - I was n't always the best. RUBY You were an asshole. STOBROD I ca n't disagree with that. I was. RUBY Get him out of here! STOBROD Music's changed me. I'm full of music, darling. I wish I'd brung my fiddle Hey Ruby! Got a new fiddle - it's got a little snake's rattle in the body - took it off a dead federal in Virginia. That's a beautiful fiddle. It's full of tunes, Ruby. Do n't know if it's from that little rattle locked up in it, or from something untied my heart. Ruby walks over with a crock, wrapped in a cloth. RUBY You're all set. STOBROD -LRB- sincerely. -RRB- Bless you both. He goes to the door. RUBY Ai n't you got a proper coat? STOBROD Darling, I'm fine. And you just say the word, I wo n't come back neither. I do n't want to put either you or your mistress here in any bother. ADA I'm not Ruby's employer. STOBROD Oh, okay, who is? RUBY Nobody. -LRB- Stobrod digests this. -RRB- I'll make up food for you, you come Sundays before it's light, I'll leave it behind the Old Frazier Mill. STOBROD Do you know who really needs a coat, darling, is my partner, fat boy name of Pangle. We're hiding up in the caves and he feels the cold like a thin man, but ai n't no coat'll fit him. -LRB- leaving. -RRB- I love you, Ruby. In case the sky falls on our head. You're a good girl. And he's gone. Ruby scowls. FIDDLE MUSIC BEGINS. RUBY He is so full of manure, that man, we could lay him on the dirt and grow another one just like him. ADA So that's Stobrod Thewes. RUBY It is and that's the last you'll see of him.","EXT. MADDY'S CARAVAN. DUSK THE FIDDLE CONTINUES, A BANJO JOINS IN. Maddy is loading up Inman for his journey. She hands him a bulging goatskin satchel. MADDY That's medicine and goatmeat. You're sick of both. INMAN I have a deal to thank you for. She hands him an ancient flintlock pistol. MADDY And that's just for show, or - if you can get close enough - a wild turkey. She turns, abruptly, mingles in with her goats. Inman nods, knows that she does n't want a fuss, although he wants to make one, and turns himself, heads away from the caravan.","EXT. WOODS. DAY THE MUSIC CONTINUES. A TURKEY calls. And again. JUNIOR is hunting. He creeps through this clearing, eyes peeled for the turkey, gun at the ready. His dog growls, and he puts a hand over its mouth. He listens. Another call. Junior moves, without sound, in its direction, stops for several seconds under a tree, listening. He looks up. INMAN IS PERCHED IN THE TREE. THE PISTOL FLASHES IN HIS HAND.","EXT. JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman drags Junior's corpse in to the yard. The dogs whine and slobber over the body. Inman goes straight into the Smoke House.","INT. SMOKE HOUSE AT JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman reaches behind the stove and retrieves his bag. He checks for the LeMats, for the Bartram, opens it, locating the tintype of Ada, which he considers, as the dogs howl outside, joined with another wailing.","EXT. JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman emerges with his bag, LeMats at the ready. The women are all keening over the corpse, as it a saint had passed away. Dogs, women all howling. A chicken bobs in, investigates the glob of blood on Junior's skull. Inman walks away, does n't look at the women, who do n't look at him.","INT. RUBY'S ROOM, BLACK COVE FARM. DAWN THE MUSIC CONTINUES. Ruby wakes up. Looks out of the window. Ada, also woken, comes into Ruby's room. STOBROD IS OUTSIDE WITH PANGLE, VIOLIN AND BANJO. Ruby opens the window, scowling. Stobrod beams, stops playing, holds up the food, points at Pangle in his new coat. Pangle waves. RUBY Get on back where you came from! Stobrod and Pangle smile and hurry away.","EXT. PATH IN HILL COUNTRY. DAY WINTER SETTING IN. Inman, increasingly a stick figure in the landscape, wasted and fragile, trudges along through fallen leaves. He still limps from the leg irons. No shelter anywhere. He unwraps a paper containing some scraps of goat meat and corn bread. He walks and eats, fishes out a lozenge, tries to swallow it, washes it down with a drink from his flask. Opens the crock of salve and rubs the treacly grease into his neck and ankle. The path splits. He does n't know which way to go, A CROW repeatedly caws off to the left and, taking it as a sign, Inman goes in that direction. ADA -LRB- V.O. -RRB- My love for Heathcliff resembles the eternal rocks beneath","INT. ADA'S BEDROOM, BLACK COVE FARM. NIGHT Ada in the bed, reading to Ruby from Wuthering Heights. ADA - a source of little visible delight, But necessary. RUBY She ai n't gon na marry Linton, is she? She said - whatever our souls are made of his and mine are the same. You ca n't say that and then marry Linton. ADA We'll find out. RUBY Okay. ADA Tomorrow. RUBY I'm not waiting until tomorrow. ADA Ruby, I'm falling asleep. She lies back in her bed. Ruby takes the book, lies across the bottom of the bed, as Ada goes to sleep. RUBY Little visible delight, but necessary. I like that.","EXT. SMALL WOOD. NIGHT DRIVING RAIN. Inman shelters under a huge tree, whose split trunk provides a mean shelter. He inserts himself into the cleft of it, a black thing in a black tree, like a troll. He stands, shivers, sodden, desolate.","EXT. SARA'S CABIN. NIGHT A LITTLE CABIN. Its lights coming through square windows like a chinese lantern. Inman considers it, the risk versus the shelter. The sleet still pelts down on him and he decides to approach. Closer he can hear a sound coming from the house. IT'S A BABY'S INCESSANT CRY. HE SEES A YOUNG WOMAN WALKING ROUND AND ROUND IN THE ROOM, CLUTCHING THE BABY WRAPPED UP IN A QUILT. Inman knocks hard on the door. The light from the lamp goes out, although the fire still gives the room a clear glow. INMAN I'm one man alone. I'm a Confederate soldier on furlough. I have no bad intention. I need shelter and food. THE TINY SOUND OF THE DOOR BEING BOLTED. INMAN Can I at least sleep in the corn crib - just for some shelter? I'll be on my way come morning. No answer. Inman accepts this as a rebuttal, and trudges back towards the road. SARA -LRB- V.O. -RRB- I've got a rifle. Inman turns. A gap in the door appears, the figure barely seen. INMAN Fair enough. The baby's crying behind her. SARA There's some beans and corn pone, all I got. You better come in.","INT. SARA'S CABIN. NIGHT Inman enters the cabin. It's a single room. A big fire. The baby on the bed, a rudimentary crib unoccupied next to it. The woman is already at the little stove. She turns to him. She's painfully beautiful. But sad and fragile. Inman, despite himself, is mesmerized. INMAN Thank you. SARA I'm alone here, as you can see, with my baby. I need to believe you mean no harm. Inman takes out his gun. She starts, terrified. INMAN No, I mean to give it to you. He turns it handle forwards and offers it to her. SARA I do n't want it. I had my way they'd take metal altogether out of this world. Every blade, every gun. INMAN Is your baby sick? SARA He cries. I do n't know. He cries a lot. My man is dead. He took his wound at Fredericksburg. Never saw his boy. She never once looks at him. Her eyes on the floor or the food or the baby. INMAN I'm sorry. SARA It's pretty much what you'll get if you knock on any door of this war. Man dead, woman left. She hands him a plate of steaming beans. An onion perched on top. SARA It's mean food but it's hot. She goes over to the bed and picks up her baby and starts the same business of walking him, singing the while, an odd lament. Inman eats, looks at her, at the child and the fire. He picks up the onion, bites into it. Sara looks across. INMAN -LRB- ashamed of his hunger. -RRB- There's no hunting on the road, just cress and - He takes another bite. Sara picks up the baby. SARA I need to feed this man, if you could look away. Inman, embarrassed, turns his back to her. He sits finishing the food while she puts the baby to her breast, slipping the shoulder from her dress. While the baby feeds. SARA Used to have a cow, few goats. Raiders took them. Made me kill our own dog on the porch. That poor creature watched over me. Nothing left now save a hog and couple of chickens to live off till spring. I'll have to kill that hog and make sense of the flesh and divisions which is something I never did. INMAN I could do that for you in the morning. SARA I'm not asking. INMAN It's what I'd gladly do for you for what you're gladly doing for me. I'm Inman by the way. That's my name. SARA I'm Sara. My baby's Ethan. INMAN Glad to know you both.","EXT. SARA'S CABIN. NIGHT Sara walks ahead of Inman. She carries a pile of clothing, a pair of boots. It's still wretched outside, she hugs the house, the porch barely offering shelter. INMAN FOLLOWS, with a bowl of steaming water and a small towel over his arm. She hands him the clothes. SARA You look about his size. He was another man straight up and down. There's a palpable attraction between them, so that every exchange seems to contain a promise, a sexual charge. SARA I do n't even have a blanket. INMAN I got a blanket. SARA I'll leave you the lamp. By the dim light, Inman peels off his clothes, sets to work with the bar of soap and the cloth to scrub himself clean. He can be seen from the window and finds himself turning away to pull off his pants.","INT. SARA'S CABIN. NIGHT Sara sits at the cot, still singing to the baby, then gets up, goes to the window, sees Inman dressing, walks to the door, lets it open a little, but not so as she can be seen. SARA They fit? INMAN -LRB- O.S. -RRB- Pretty much. These boots are good boots. SARA I'll say good night. INMAN -LRB- O.S. -RRB- Good night.","EXT. SARA'S CABIN. NIGHT Inman settles down into the corncrib. He's cold and everything is damp and lumpy and uncomfortable. He pulls his thin blanket around him. The wind is howling. He levers himself up, looks at the house with its warm invitation, can almost feel Sara in there. He reluctantly settles down again. HE HEARS A NOISE, STEPS APPROACHING. HE REACHES FOR THE LEMATS UNDER THE BLANKETS. SARA Will you come inside? She stands in a shift, a blanket over her shoulders. Her body under the cotton very clear to him. She turns and goes back inside.","INT. SARA'S CABIN. NIGHT Inman comes in. Sara is sitting on her bed. Long silence. SARA Could you do something for me? Do you think you could lie here, next to me, and not need to go further? INMAN I do n't know. I'll try. He sits on the bed as she slips under the covers, and then removes the boots, his shirt, gets under the covers. There's an electric space between them. Then Sara begins to cry, pulls his arm to open up so that she can be folded into him. SHE SOBS, SHUDDERING IN THE BED. INMAN I'll go. I'll go, shall I? SARA I do n't want you to. They lie, staring up at the ceiling, her tears falling. A FIDDLE PLAYS HEAVY WITH YEARNING.","INT. OLD MILL, COLD MOUNTAIN. CHRISTMAS DAY. NIGHT THE MUSIC CONTINUES. Stobrod is playing the fiddle, his bowing hand still lightly taped and a fingerless mitten covering it. They're in the abandoned Mill, a derelict space, which has been cheered up with some rudimentary Christmas decorations. Ada, Ruby and Sally Swanger, her hair now almost completely white. Some token presents. Pangle is picking at a banjo, his grin infectious, and a third player, GEORGIA, with a harmonica. As they play : PANGLE -LRB- of Sally. -RRB- She do n't speak. STOBROD She ca n't speak. I told you. PANGLE -LRB- smiles at Sally. -RRB- Is she feeble then? STOBROD No. -LRB- to Sally. -RRB- Do n't mind him. -LRB- to Ruby. -RRB- Hey Ruby : what about this? He starts the tune of Wayfaring Stranger. Ruby groans. STOBROD Do n't make that face - you listen : c'mon Georgia. And he starts up again, but this time GEORGIA BEGINS TO SING. He's like a pale angel and sings with a soft, true voice. Ruby finds herself taken by this boy's voice and by Stobrod's extraordinary invention as he takes the tune off on a wild journey. Ruby sits next to Ada, fiddles with her bracelets, slips one from Ada's wrist and slides it over her own.","EXT. OLD MILL, COLD MOUNTAIN. EVENING They're all outside now, shaking hands. GEORGIA There's snow in the air. RUBY Do n't sleep here. STOBROD We wo n't. ADA It's bitter, they could stop one night. RUBY They stop one night, they'll want to stop two. PANGLE This coat's warm. STOBROD What about next Sunday? That'll be the New Year. It's gon na be a better one. RUBY Maybe. GEORGIA The war's over in a month. RUBY He said that a month ago. ADA -LRB- shaking Stobrod's hand in goodnight. -RRB- It started off being over in a month. STOBROD Miss Ada. Merry Christmas. ADA Merry Christmas. Pangle. Georgia. GEORGIA ` Night. PANGLE ` Night now. The three women walk down the lane, the three men watch. STOBROD That's my Ruby. GEORGIA She's an original. STOBROD You think the Good Lord would forgive an old cold fool if he changed his mind? Ada said it herself it was bitter.","EXT. SWANGER FARM. NIGHT The three women head towards Sally's house. RUBY What kind of name's Georgia? ADA It's where he comes from, it's not his name. RUBY I know that's meant to be the ugliest state under the heavens. ADA Why do you care what his name is? RUBY -LRB- a funny look, then. -RRB- What's that cluster of Stars? ADA Orion. RUBY What about them shaped like a wishbone? ADA That's Taurus the bull, and that's Gemini and that's Orion's big dog, Canis Major. RUBY Listen to her, Sal. She's turned into a highland girl. ADA I could always name the stars, Ruby, that was never my problem. They all three have linked arms. Ada imitates Stobrod. ADA I love you darling. In case that big old sky falls on our heads. And I love you, too. Sal. RUBY It's sad, Sal. It's a c - a - t - a - s - t - r - o - p - h - e.","INT. ADA'S BEDROOM, BLACK COVE FARM. MORNING Ada at the window as, outside, SNOW FLAKES BEGIN TO FALL.","EXT. OLD MILL, COLD MOUNTAIN. MORNING Stobrod opens the door of the Mill. The SNOW FLAKES dissuade him from venturing further. He goes back inside. STOBROD -LRB- O.S. -RRB- No sense setting off in snow. THE DOOR SHUTS, FIDDLE MUSIC LEAKS THROUGH THE DOOR, FOLLOWED BY BANJO AND HARMONICA.","INT. SARA'S CABIN. EARLY Sara, dressed, agitated - the baby already complaining - is urgently shaking Inman. Hissing at him : SARA Get out of here, quick! Inman surfaces from deep sleep. SARA Federals are coming. They find you here it'll go bad on all of us. Inman is up, grabbing clothes, boots, his gun. INMAN I can try and fight them. SARA No, my baby. Please no! Just get. She pulls up the window in back of the cabin. Inman throws things out into the freezing morning. He has his pants on, but is otherwise naked. He swings over the window and down onto the frosty ground.","EXT. SARA'S CABIN. EARLY Inman picks up his stuff and, at a crouch, runs for cover to the wood which borders the property. He can hear horses and a commotion at the front of Sara's cabin, but does n't look round until he's sheltered by the trees. FEDERAL SOLDIERS, a raiding party, have dismounted and are already wrangling with Sara. Inman watches, pulling on his shirt, shivering, then his boots. Sara is standing in front of the hogpen, as if to protect the animal, but one of the soldiers, PISTOL, barges her to one side, toppling her, and opens the gate, starts herding the hog out into the yard. A second soldier, NYM, emerges from the cabin, carrying Ethan. Sara starts up, struggles with him, is again knocked down. INMAN HAS TO WATCH AS THEY DRAG HER OVER TO A FENCE POST AND ROPE HER TO IT THEN SLIP THE BLANKET OFF THE BABY AND LAY IT ON THE GROUND IN THE MIDDLE OF THE YARD. Then Sara starts to scream. Inman is dressed. Boots on. He looks back at the yard. The men sitting, smoking, prepared to wait, their breath coming out in gusts in the freezing air. Flakes of snow fall. PISTOL We got all day. SARA My baby's sick! Cover him up! He's shaking! Have some pity. A third Federal, BARDOLPH, chases after the chickens, gathers them up. SARA I got nothing. I swear. Nym gets close to her, putting his rifle to her chest. NYM That ai n't necessarily so. SARA Yes! Take me inside! Let's all go inside! Take my baby inside and then we'll do whatever you want. Nym unties her. Pistol has a rope around the hog and now leads it towards the horses. SARA -LRB- screaming. -RRB- There's nothing! You take that hog I'm as good as dead. Cover up my boy! She's wailing, an unbearable ululation. NYM SLAPS HER, TWICE, HARD.","INT. SARA'S CABIN. DAY The door is kicked open. Nym pushes Sara inside, kicks the door shut, REVEALING INMAN STANDING BEHIND IT.","EXT. SARA'S CABIN. DAY Bardolph, a chicken in his arms, goes over to the baby. BARDOLPH This is ready to get a fit going. It's shuddering. It's gone blue. PISTOL -LRB- to Nym. -RRB- How long does he want? Hey! Leave some for the rest of us. Pistol heads towards the cabin. As he approaches the door, Bardolph rearranges the blankets to, cover the baby. Pistol opens the door. Nym is on top of Sara. Pistol laughs, enters, and is clubbed down by Inman, who steps out onto the porch, while SARA SHRUGS OFF THE BODY OF NYM, HIS THROAT CUT. Bardolph looks up to see Inman walking towards him. Bardolph has left his weapon by the fence. INMAN Move away from the baby. Bardolph obeys, terrified. Sara runs out, collects Ethan, gives a little moan of anguish, runs back inside the cabin. BARDOLPH Do n't shoot. INMAN Take off your boots. -LRB- Bardolph does so. -RRB- Take off your pants, and your shirt. BARDOLPH Do n't shoot me, please. We're starving. We have n't eaten. INMAN You'd better get running before you catch your death of cold. BARDOLPH -LRB- nods, terrified. -RRB- Thanks, thank you. I will. AND THEN A SHOT RINGS OUT AND HE CRASHES TO THE GROUND, DEAD. Behind Inman, Sara stands with a rifle.","EXT. SARA'S CABIN. LATE DAY THERE'S A HUGE FIRE GOING, WITH A CAULDRON HUNG OVER IT. THE HOG HANGS UPSIDE DOWN FROM A TREE, BLOOD DRIPPING INTO A BOWL. There's a sense of ritual and order : the chapters of transforming the hog into food. Sara is inside the cabin, the door open onto the yard. She holds the baby by the fireplace, swaddled up tight. She tries to put him to her breast, but he wo n't feed. She puts Ethan back in his crib, comes outside. Now Inman is butchering the hog, chopping down either side of the spine to make two sides of meat. Now Sara is holding up a sheet of hog fat, as if it were a lace shawl. Now she's rendering the fat into lard. Now Inman's salting the two hams. Now Sara's washing the intestine. She sings all the while - I dreamed that my bower was full of red swine and my bride bed full of blood - they do n't really converse. Inman continues to work. Sara goes back inside to Ethan's crib. Inman glances back, but can hardly bear to, her anxiety so palpable. THE BABY IS DEAD. She looks at it. She takes it up in her arms. Kisses its forehead. Makes a strange stifling noise. Inman does n't look at her. She comes out again, shovels some of the food into a plate, serves it up to Inman, gently touching him as she does so. Then serves out food for herself. Inman starts to eat. SARA Good? Inman nods. She collects up the knapsacks, including Inman's, and goes back inside the house with them. Inman squats, eating, glancing back towards the cabin. There's the sudden shocking report of a revolver. Inman, knowing what it is, goes slowly towards the house and its two dead bodies. His own face is a rictus, the eyes thin slits. If he gave into his grief it would never cease.","INT. SARA'S CABIN. DUSK From the house, the silhouette of Inman working outside in the day's dying light, snow falling around him. He's digging a grave. Inside the house, TWO BUNDLES, the small body wrapped in a blanket, the other wrapped in the bed's patchwork quilt.","EXT. CABBAGE PATCH, BLACK COVE FARM. DUSK Still snowing. Ruby trudges past Ada who is digging out a couple of heads of the buried cabbages. ADA Do you think he's dead? RUBY Who? ADA -LRB- shrugs. -RRB- This snow. Is n't it supposed to fall with bad news? RUBY Bad news is girls get working. I'm going to round up the animals. -LRB- squints up at the snow. -RRB- This'll settle. She walks past. Ada stares into the distance where","EXT. WILD COUNTRY. LAST LIGHT - the snow falls down on Inman. He's hardly visible in its gusting waves. Just a thin black question mark, hunched over the elements, moving slowly forwards.","EXT. OLD MILL, COLD MOUNTAIN. DAY THE SNOW HAS STOPPED. It's left a carpet on the ground. Stobrod, Pangle and Georgia emerge from the Old Mill. THEY MAKE HEAVY FOOTPRINTS as they set off up the hill towards the mountain.","EXT. PATH IN THE MOUNTAINS. DAY Inman comes sliding down a crumbling slate hill and onto the path. He cornea to a place where the path suddenly drops away to reveal a view of the geography. And there, finally, in the distance, Inman can see the blue ridge. Somewhere in there is home, is Ada. He goes on.","EXT. SLOPES OF COLD MOUNTAIN. DAY Pangle walks too close to Stobrod and steps on the back of his boot which promptly detaches itself from Stobrod's foot. Stobrod turns - and with a raised finger - pushes Pangle. PANGLE FALLS IN THE SNOW, ARMS SPREADEAGLED, AND SMILES.","EXT. PIGEON RIVER BEHIND THE OLD MILL. DAY SOME HORSES CLUSTER around the Stobrod party's footprints. Bosie swings acrobatically over his horse, to hang over the tracks, then up again into his saddle, looks at Teague. The Home Guard plod slowly forward in the direction of the tracks.","EXT. THE KILLING GROUND, COLD MOUNTAIN. EVENING A CLEARING, fringed by poplars. Stobrod is making a fire. Pangle appears with an armful of firewood, his big grin a fixture. Then Georgia appears. He's carrying A SMALL BUCK, frozen and covered with snow. GEORGIA What d'you reckon? Think we could eat this? STOBROD You cook something long enough you can eat anything. PANGLE -LRB- prodding it. -RRB- It's frozen. How long it been there for? STOBROD You hungry? PANGLE Yeah. STOBROD Not very long.","EXT. SLOPES OF COLD MOUNTAIN. EVENING Teague examines the snow's imprinted silhouette of Pangle.","EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT STOBROD SINGS AND COOKS. PANGLE ACCOMPANIES HIM ON BANJO, Georgia joins in the chorus. Stobrod pulls one of the hickory stick skewers out of the fire, blows on the, meat, smells, smells again, looks at Georgia, takes a bite. Chews. STOBROD Edible. Pangle takes another stick, burns his fingers. PANGLE Ow! GEORGIA -LRB- takes a bite from his skewer. -RRB- Do n't taste much like venison. PANGLE It's good. I think it's good.","EXT. THE KILLING GROUND. COLD MOUNTAIN. NIGHT The three men are asleep. The fire still burning. They're lying like petals of a flower around it. Suddenly Georgia sits bolt upright, grimaces, gets up stumbles away from the fire, toward a stand of trees, from which come the vivid sounds of violent nausea.","EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT GEORGIA IS KNEELING IN THE SNOW, his head in the snow, when he A HALF DOZEN RIDERS TROT PAST approaching the sleeping Stobrod and Pangle. Georgia has to vomit again.","EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT Teague rides up to the fire, the other riders with him - Mo, Jo, Bosie, Grayling. Stobrod wakes, sits up, Pangle sleeps. TEAGUE Evening. Hope we did n't disturb you. STOBROD You're all right. TEAGUE Name's Teague. Do I know you? STOBROD Thewes. Teague slides off his horse, approaches the fire. TEAGUE You a deserter? - do n't mind if I just warm up at your fire. -LRB- of the sleeping Pangle. -RRB- That your wife? STOBROD Who? That's a he! TEAGUE He your wife? STOBROD We're musicians. He picks the banjo, I got a fiddle. TEAGUE -LRB- to his men. -RRB- Look pretty romantic by the fire. Do n't they? -LRB- to Stobrod. -RRB- Your boyfriend's got a nice bit of flesh on him. Close your eyes slip inside that shirt get two good handfuls - dark enough I'd be willing. I'm just kidding. -LRB- to his men. -RRB- Tell him, I'm just kidding. BOSIE He's just kidding.","EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia squints through the trees. Does n't know what to do.","EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT TEAGUE Did you answer my question - about your military status? STOBROD Discharged. Took a wound at Petersburg. TEAGUE Oh, so like a hero's discharge. STOBROD I guess. TEAGUE And your boyfriend? STOBROD The military would n't take him. He ca n't fight. He's simple. He's got a mind no bigger'n a pickled walnut. TEAGUE I'm sorry - he's fat, he's simple and got titties - but you're insisting he ai n't a woman. God damn! Do n't that sausage smell outstanding. STOBROD -LRB- he's very nervous. -RRB- Miqhty outstanding. TEAGUE Mighty outstanding! There's a new phrase. Mighty outstanding. Listen, do n't tell me - you left your papers somewhere. STOBROD Which papers? TEAGUE Your hero's discharge. For mighty outstanding valour. STOBROD They're, they're, they're at my house. TEAGUE -LRB- enjoying himself. -RRB- And where, where, where is your house? STOBROD Down the mountain. TEAGUE But you're up the mountain. STOBROD Hunting. Drinking. TEAGUE On honeymoon. -LRB- to his men. -RRB- I'm pretty fucking funny tonight. BOSIE Is he going to play? -LRB- to Stobrod. -RRB- You gon na play that fiddle? STOBROD Sure. Sure. -LRB- kicks Pangle. -RRB- Hey, wake up! Pangle surfaces, blinks, grins at everybody. TEAGUE Evening, Mrs. PANGLE -LRB- looking around. -RRB- Where's Georgia? TEAGUE -LRB- interested. -RRB- Where's Georgia? In the trees, Georgia ducks, retches. STOBROD He do n't know what he's saying. We were talking about Georgia early on - maybe heading down there. TEAGUE Georgia's like my armpit. Worse, it's like yours. -LRB- to Pangle. -RRB- Want some sausage? PANGLE Thanks. You is Home Guard? TEAGUE Yes, ma'am. PANGLE You is Teague? TEAGUE -LRB- to the others. -RRB- I'm known! STOBROD He do n't know what he's saying. PANGLE -LRB- quoting. -RRB- That bastard Teague. TEAGUE Really. PANGLE Bad words. Folk always put the curse words in front of your name. STOBROD Mr. Teague wants us to play. PANGLE Okay. TEAGUE We heard there were deserters in these parts. Hiding out in a big cave. STOBROD Not come to my ears. TEAGUE You do n't know where this cave is? STOBROD No, sir. PANGLE You do, Stobes! He means - STOBROD Right, right! he means, there is a cave, right, it's up over the other side, big cave, we played some music up there, never occurred to me they were deserters. Near Bearpen Branch. PANGLE Ai n't nowhere near Bearpen Branch! It's this side! He's always getting lost. That cave - we live there! - it's over on Big Stomp. Tell you how I always find it. There's a big old locust tree fell down across the path, that points straight at it, like a finger, always a dozen squirrels round that tree. You gets to the tree, sit on it, and there's your entrance, straight in front of you, tree points at it. Come right to your hand, them squirrels -. -LRB- makes a chirping sound. -RRB- - Chrrrpppp! Chrrrrppp! TEAGUE Sounds good. Okay, let's eat, let's hear some music.","EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia watches as the music starts, Stobrod playing and singing, Pangle joining in at the chorus. Their improvising is wild, profound, Stobrod chording the fiddle, Pangle following him, then, finishing with another verse and ending with the title declaimed by Stobrod. STOBROD I call this tune : Ruby's Lament.","EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT Something like compassion has flickered over Teague's face. Mo and Jo nod to the music's secret rhythms. Only Bosie seems detached, contemplating his long fingernail. The music finishes. The Home Guard applaud. PANGLE What'd you make of that? BOSIE Heartbreaking. TEAGUE Stand over by that tree. STOBROD Me? TEAGUE Over by that tree. Over there. Take your boyfriend. Stobrod gets up, carrying his fiddle, heads over to a big old poplar. Nods at Pangle. STOBROD Come on. Pangle gets up, banjo in his hand. Puts his arm around Stobrod as if they were about to be photographed. The Home Guard gather around them. From the trees Georgia watches, helpless. Pangle grins at Teague. TEAGUE Do n't smile. PANGLE What? TEAGUE Quit smiling. STOBROD He always smiles. He do n't mean nothing by it. I told him this world's got nothing worth a smile. TEAGUE Put your hat over your face. PANGLE What do you mean? TEAGUE Cover your face with your hat. PANGLE TALES OFF HIS HAT, HOLDS IT OVER HIS FACE. THE MOMENT HE OBLIGIES, TEAGUE'S CARBINE SPRINGS UP IN HIS HAND AND BLOWS THE HAT AWAY SEVERAL OTHER SHOTS FOLLOW. STOBROD FALLS UNDER PANGLE, THE BULLETS FLYING.","EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia lies prostrate in the snow, shuddering under the report of each bullet.","EXT. BOTTOM FIELD, BLACK COVE FARM. DAY Ruby working in the snow, in the field, clipping a sheep's feet, the animal on its back between Ruby's knees. She looks up to see GEORGIA RUNNING ACROSS THE FIELD TOWARDS HER, calling out her name. From the kitchen window, Ada looks on as he reaches Ruby, the story pouring from him. Ada emerges from the house, walks towards the bad news.","INT. STOREROOM, BLACK COVE FARM. DAY Ruby sorting out a kit of shovels, blankets. Ada comes in does n't know how to help her friend, who shows no emotion. ADA I told Georgia he can stop here, sleep in the barn. He's got nothing inside him. He'd walk out of here and die in the snow. RUBY He can milk the cows. I was worrying about that. It'll be dark in a couple of hours. I's ten hours climb from here. He's drawn a map. ADA Okay. RUBY -LRB- boiling. -RRB- You know these fools stayed the night in the Mill? That's Stobrod - he ca n't do one good thing without adding the bad. Left tracks in the snow all the way up for them Home Guards to follow. That's a sign says shoot me! ADA Ruby, I'm so sorry. Ada moves towards her, puts her arms around her. Ruby is rigid. Ada stops embracing her. RUBY We should get going. She's tying up the kit. She does n't know how to grieve. RUBY Every piece of this is a man's bullshit. They call this a war a cloud over the land, but they made the weather. Then they stand in the rain and say : shit! It's raining! -LRB- tears welling. -RRB- If I cry one tear for my Daddy I stole it off a crocodile.","EXT. COLD MOUNTAIN. EVENING THE SNOW IS FALLING HEAVILY. RUBY AND ADA TRUDGE UP THE MOUNTAIN, dressed in Monroe's clothes, hats pulled down, leading the horse, which is loaded up with tools and supplies. A choice of paths. They start up one, then Ruby decides against it, consults the map, and they reverse, pulling the horse back and then yanking it up the other path.","EXT. PI STRUCTURE, COLD MOUNTAIN. NIGHT Ruby and Ada have made a fire. They sleep under a stone structure, which forms a natural pi shape, the fire in the entrance, the snow caught in its light.","EXT. THE KILLING GROUND, COLD MOUNTAIN. MORNING Ada and Ruby arrive at the scene of murder. Pangle is keeled over at the old Poplar, snow covering him. Only his girth and a glimpse of coat identify him. Ada brushes some of the snow from his face, revealing the death wound, then lays a hand in blessing on his head. ADA I do n't understand. RUBY Maybe Teague's took him. They did that with the Swanger boys - did n't, they? - dragged them into town, then strung them up as warning. it's snowed since, so I ca n't read the story on the ground. Ada fishes out Pangle's banjo from the snow. It's broken and the strings hang slack. RUBY Let's dig. LATER - and RUBY FINISHES OFF THE GRAVE, hammering in a stone to mark the place. Ada walks away towards the creek, to wash her hands. She bends and rinses her face. As she looks up SHE SEES STOBROD ON THE OTHER SIDE OF THE CREEK ; half - in, half out of the water, slumped against a tree, blood everywhere, staining the crust of snow which covers him. ADA Ruby! Ruby! Ruby arrives at Ada, looks to where she's looking, walks straight into the creek, all her love contained in the urgency with which she hurtles to her father, oblivious to the freezing water. She puts a head to his chest, seeks out a pulse at his wrist. Calls back to Ada. RUBY He's still breathing! -LRB- to Stobrod. -RRB- God damn! Daddy ; Daddy - it's Ruby. Do n't you die on me again. -LRB- to Ada. -RRB- He's still breathing!","EXT. THE KILLING GROUND, COLD MOUNTAIN. AFTERNOON A mean fire burns by the creek. RUBY TURNS A KNIFE IN THE FLAMES. Stobrod's back is exposed. Just by the shoulder blade is an ugly grey and purple bulge the size of a crabapple. Ruby turns to Ada, who is helping. RUBY Pack a pan full of snow. I need good clean water, boiled up. She cuts the skin and prises out a slug which she drops in the snow and rolls around to clean. Stobrod does n't move. He could be dead. Ada loads the pan with snow. ADA Let's get him home. We have herbs there and it's warm. RUBY He'll die first. He's got hardly no blood left in him. ADA He'll die lying here. RUBY There's a place further on up. Used to be. Old Cherokee place. There's good water right by it. Ada puts the snow - packed pan on the fire.","EXT. BY THE OUTLIER'S CAVE, COLD MOUNTAIN. AFTERNOON Squirrels frolic. Teague sits on the trunk of a fallen tree. He feeds the squirrels, looking straight ahead where the mouth of a cave winks back at him.","EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. AFTERNOON THE TWO WOMEN EMERGE FROM A STEEP TUNNEL OF TREES IN A CHESTNUT GROVE. There's a stream and, up on the bank, A CLUSTER OF BLACK CONICAL HUTS, made up of chestnut logs, abandoned and slightly sinister looking. They approach one of the huts, its door long lost. The snow has drifted in. A second hut has a door which they pry open. It's dark and cold, but apparently still weatherproof. They get Stobrod off the horse and carry him inside, then come out again to unload the horse of its remaining load. ADA This horse is weary. He's ready to give up the ghost. Ruby picks up the blankets and provisions and goes back inside to her father. Ada takes the horse to another hut and, despite his great reluctance, pushes him inside. ADA Good boy. -LRB- she blows into his nostrils, calming him. -RRB- That's warmer, is n't it. Ada would n't even recognize this practical, hardy woman she's become. Stringy and of few words. She sets off towards the tree tunnel, passing Stobrod's hut. ADA I'm getting firewood.","EXT. THE KILLING GROUND, COLD MOUNTAIN. DUSK Inman approaches the Killing Ground. He studies the ground, finds Pangle's grave. Blood has left its black writing in the snow and he finds first where Stobrod has been, where the bullet had been removed, then the journey away, still tiny, telltale spatters of blood, and the hoof prints and boot prints of two walkers and one loaded horse. He puts his hand into the ashes of Ruby's fire, ca n't feel any warmth. It's getting dark. He takes a drink from the stream, shudders at the cold.","INT. STOBROD'S HUT, CHEROKEE VILLAGE. NIGHT The fire burns, a pall of smoke. Stobrod lies on the ground, swathed in blankets. Coughs. Ruby sits next to him, wipes the hair from his forehead. Ada opens her eyes, looks, closes them, listens to the fire, a strange squeaking as it burns. ADA That wood - that sound when it burns that mean more snow? RUBY Yes, it do, country girl.","EXT. TRACK, COLD MOUNTAIN. DAWN First light. The sun creeps up, a red streak of dawn. Inman walking, his head bent to the tracks. He walks quickly, even as the terrain gets more steep. As he bends to the snow - where a spot of blood has fallen into a hoof print - A FLAKE OF SNOW LANDS ON HIS HAND. Then a second. He looks up. The snow falls. He starts to move more quickly, racing the snow as it seeks to erase the tracks. The snow thickens.","EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING In the Chestnut Grovel A DOZEN WILD TURKEYS pick their way across the snow. A shotgun lines up its sight at one of them. The trigger is squeezed. An explosion of feathers.","EXT. THREE WAY CROSSING, COLD MOUNTAIN. MORNING Inman hears the shot. Then a second, the sound ricocheting around him. He ca n't quite identify its source but he runs again, heading for the Chestnut trees he can see above him.","EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING Ada collects the two turkeys, the first creatures she's ever shot. Does n't quite know how to hold them. She straightens up and sees, at the other end of the tree tunnel, backlit by the morning sun, THE SILHOUETTE OF A MAN. She drops the turkeys tires to reload the shotgun. Inman comes down the tunnel, approaching the hunter he sees through the snow at the other end of it. ADA Turn round and go back where you came from. Inman is bewildered by this woman's voice in a man's outfit, keeps walking, peering through the snow. Ada fires a warning shot. Inman, still some distance, suddenly understands. INMAN Ada? Ada Monroe? ADA I do not know you. After all this time, all this way, Inman could give up the ghost. INMAN Then I believe I made a mistake. He turns, walks heavily away from her. Then he turns again, completely lost, without compass. INMAN If I knew where to go I'd go there. ADA -LRB- finally recognising him. -RRB- Inman? He nods. They do n't know how to speak to each other, just stand awkwardly, some distance apart, the emotion stones in their throats. Eventually - ADA You'd better come with me. And with that, she starts to sob, and sob. VERY HIGH ANGLE : Inman walks towards Ada. They embrace.","INT. STOBROD'S HUT, CHEROKEE VILLAGE. MORNING Ada enters, Inman behind her. Ruby looks up from Stobrod. ADA Ruby, this is Inman. Ruby digests this. Considers this ghost of a man. RUBY Congratulations, I should send you out with a shotgun more often. He looks as he needs sleep. INMAN I may need to. RUBY Be my guest. You shot or something? INMAN Not lately. RUBY Hungry? -LRB- Inman nods, Ruby to Ada. -RRB- He woke up. ADA Stobrod? RUBY Said - your mommy's name was Grace then closed his eyes again.","EXT. CHEROKEE VILLAGE. DAY Ada comes out of Stobrod's hut, a glimpse of Inman sleeping on the floor, heads for another hut which Ruby is sweeping out. The snow has stopped. Ada stands in the door, watches Ruby. Ruby's resistance to Inman is palpable. ADA He's asleep. They both are. RUBY I'm not surprised. Your man looks played out. ADA I saw him. I realize now. RUBY Saw him when? ADA In Sally Swanger's well. A tunnel of trees. The man like a black smudge in the snow, the sun behind him. RUBY Well there you are. ADA Funny thing is it was n't the same. The image. It was n't snowing. And in the well, he was, as if he were falling. RUBY You probably do n't remember it right. ADA I remember it exactly. There were crows, these black crows flying towards me. I thought I was seeing him fall. Instead I was seeing him come back to me. All this while I've been packing ice around my heart. How will I make it melt? RUBY Better get a fire going. -LRB- goes to the fireplace. -RRB- I've got big plans for that farm. Got a vision in my mind of how that Cove needs to be. ADA I know you have. RUBY There's not a thing we ca n't do ourselves.","INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT THE FIRE BURNS. Ada lies awake. Ruby sleeping. Ada gets up, steps out into the snow, her blanket around her.","EXT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT Inman is outside his cabin. Only the light escaping from the cabin, fire lights them, almost silhouettes. INMAN I'm sorry. I was trying to be quiet. ADA I could n't sleep. INMAN - I got no appetite left to be in a room with wounded men. ADA I ca n't see your face. INMAN It's not a face you recognised. ADA Did you get my letters? INMAN I got three letters. Carried them in that book you gave me. The Bertram. ADA I must have sent 100. Did you write to me? INMAN Whenever I could. If you never got them I can summarize. ADA No, it's - INMAN I pray you're well. I pray I'm in your thoughts. You are all that keeps me from sliding into some dark place. ADA But how did I keep you? We barely knew each other. A few moments. INMAN A thousand moments. They're like a bag of tiny diamonds glittering in a black heart. Do n't matter if they're real or things I made up. The shape of your neck. The way you felt under my hands when I pulled you to me. ADA Your boots, one polished, one not yet polished. INMAN You're playing a piano and I'm standing outside. ADA I'm playing a piano and you're standing outside. INMAN That kiss - which I've kissed again every day of my walking. ADA Every day of my waiting. INMAN Maybe you ca n't see my face, but if you could see my inside, my whatever you want to name it, my spirit, that's the fear I have deeper than any gash on my neck. I think I'm ruined. They kept trying to put me in the ground, but I was n't ready, no ma'am, no more ready than that scoundrel in there's not ready to die on us. But if I had goodness, I lost it. If I had anything tender in me I shot it dead. Ruby stomps out of the hut. RUBY Number one - shut this door, it's freezing. -LRB- goes over to Stobrod's hut. -RRB- Number two - shut that door, it's freezing. -LRB- turns to them. -RRB- I'm laying on my back, with my fingers poked in my ears trying to shut out who's got a bag of diamonds and who's got boots needs polishing, If you want to get three feet up a bull's ass listen to what sweethearts whisper to each other. She's at the door to Stobrod's hut. She contemplates them. RUBY In fact, if you're going to wimble all night I'm going to sleep in with him. And with that she enters Stobrod's hut, slamming the door. ADA Now I ca n't see anything. A long pause. INMAN I'll say goodnight. ADA I do n't think Ruby's vacating my hut so that you can sleep in a different one.","INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT Ada puts logs onto the fire. After a few moments a knock. ADA Come in. Inman enters. They do n't know the rules for this. ADA Whatever comes to pass between you and me, I want Ruby to stay in Black Cove. INMAN Right. ADA As long as she wants. And if she never leaves I'll be glad. INMAN More a question could she put up with me. ADA And you understand she's my friend, she's not a hired hand and she does n't empty a night jar unless it's her own. INMAN Sure. ADA This war's made some things pointless. It's hard to imagine a wedding. I think even my father would recognize that. INMAN Ada, I want to marry you. If you'll have me. ADA Is n't there's some religion where you just have to say I marry you, three times, and then you're man and wife. INMAN I marry you. I marry you. I marry you. Ada laughs, unsettling Inman. INMAN Why's that funny? ADA No, I think it's I divorce you three times and then you're not married anymore. INMAN I can wait for you. ADA You waited enough. I certainly did. I marry you. I marry you. I marry you. And they kiss, tentative, then more urgent. ADA I'm sorry about the way I look. In these clothes. -LRB- Inman shakes his head. -RRB- And there are so many buttons. -LRB- starts to undress. -RRB- Will you turn your back? INMAN Not for all the gold dollars in the Federal Bank. She stands holding her clothes in front of her to cover herself. He takes them from her, drops them to the floor.","EXT. CHEROKEE VILLAGE. MORNING A crisp, cold beautiful morning. They're packing up, all their clothes in layers. Inman prepares the horse. Ruby and Ada carrying bundles out of the huts. Inman approaches Ruby. INMAN You go ahead. I'll follow with the horse at a pace your daddy can tolerate. ADA We can all go together. INMAN It's safer this way. No one has quarrel with you. RUBY He's right. INMAN -LRB- to Ruby. -RRB- I gather I need permission if I reckon on living at Black Cove. Ruby gives a curt nod, goes over to Stobrod's hut. Inman gets close to Ada. INMAN We'll get to you by nightfall. ADA You be safe. She puts her hand to his mouth which creases into a smile. INMAN Your Mr. Bartram speaks about some category of fly born on the hide of a cow. It flies up into a tree and waits and waits until it smells cow. It can wait a year, two years, I do n't know, maybe longer. Then a cow comes along and it wakes up, flies down, lays its eggs on the cow. There's purpose for you. ADA And am I the fly in this story, or the cow?","INT. STOBROD'S HUT, CHEROKEE VILLAGE. DAY Ruby is wrapping a fragile Stobrod for the journey. STOBROD You come up the mountain for me, darling, I'd be dead otherwise, dead and gone. RUBY You'd have found some other fool to rescue you. STOBROD He's sweet on you, that Georgia boy. He coughs for a long time. RUBY If you say a thing and then cough it's a lie. Daddy, stay on that horse, and do n't lose him or sell him. We'll need him on the farm.","EXT. CHEROKEE VILLAGE. MORNING And then the two women are off, little men in their outfits, tramping off in the snow. Inman watches.","EXT. TRACK NEAR THREE WAY CROSSING, COLD MOUNTAIN. DAY Ruby and Ada walk. RUBY I hope that Georgia boy's been seeing to the animals. ADA I thought you were thinking on him! RUBY I was not. I was thinking on swollen udders - and before you say same difference. ADA I'm saying nothing. Ruby elbows her. RUBY Miss lovey - dovey! Ada elbows her back.","EXT. THREE WAY CROSSING, COLD MOUNTAIN. DAY Inman has roped Stobrod to the horse which he pulls down a steep slope. Behind him, their hooves muffled by the snow, A GROUP OF RIDERS JOIN THE TRAIL, IN SLOW BUT STEADY PURSUIT. Inman walks on, apparently oblivious to who's behind him. He and Stobrod are some distance from broken ground, a fringe of trees. INMAN -LRB- quietly to Stobrod. -RRB- Do n't look round. STOBROD Got it. INMAN How many men does he have? STOBROD There were five. You ca n't reason with that man. INMAN -LRB- takes off his gloves. -RRB- I got a conversation stopper. -LRB- they're getting closer. -RRB- Closer we get to that broken ground the better. Inman opens his coat. Stobrod looks at the Lemats. They're at the edge of the trees. INMAN You hold on tight, do you hear? When I say three, look round, nice and slow. STOBROD Okay. INMAN One, two, three. Stobrod looks round. Inman does n't. Teague has some new bodies in his entourage but they're all dead. A SPARE HORSE HAS THREE CORPSES HUNG OVER IT, ANOTHER HORSE DRAGS A MAKESHIFT LITTER WITH A COUPLE MORE, SOUVENIRS OF THEIR CAVE VISIT. Teague waves. TEAGUE God damn! You're a hard fucker to put down. -LRB- they approach. -RRB- Good directions to that cave from the fat boy - saw the squirrels, sat on the tree made some friends, brought some back with me. His riders begin, quite casually, to fan out. IN ONE MOVEMENT, INMAN SLAPS THE FLANK OF THE HORSE. WHICH CAREERS DOWN THE TRACK, THEN TURNS AND FIRES, TWICE, BEFORE PITCHING HIMSELF INTO A ROLL TOWARDS THE TREES. HIS FIRST SHOT KNOCKS JO FROM HIS HORSE, THE SECOND MO, WHO FALLS INTO THE SNOW, BLEEDING FROM THE GROIN AND SCREAMING. The riderless horse gets tangled up with the others. Inman is in the trees, shots around him. He does n't move away from, but towards the riders inside the line of trees. Grayling charges him, riding into the trees. INMAN SHOOTS HIM, THEN RUSHES FROM THE TREES, FIRING, MISSING BOSIE, WHO RIDES AWAY, EVIDENTLY NOT RELISHING THE FIGHT, AND THROWS HIMSELF AT TEAGUE, WHOSE HORSE IS BUCKING WILDLY. Teague's carbine fires an involuntary shot into the air. Inman yanks the gun from his hand with his own left hand and lets go the shotgun barrel of the Lemats with the other, the big pistol almost leaping from his hand with the recoil. TEAGUE'S CHEST OPENS OUT AS HE'S THROWN OFF THE HORSE. Mo is still screaming. Inman walks over and shoots him in the head, then walks to Teague, who is saying something, the blood blotting the snow under him. Inman studies him, picks up the Spencer carbine, turns to look where Bosie has gone, steps up onto Teague's horse, reins the horse in, and trots it over to the prostrate Teague, LEANS OVER AND SHOOTS HIM DEAD. He turns the horse in the direction Bosie had headed. He ca n't see horse or rider, but in the stand of Hickory Trees ahead, THE GUSTS OF STEAMING BREATH betray them both. He rides slowly towards the stand of trees.","EXT. COLD MOUNTAIN. DAY Ada and Ruby walking. They hear the shots. Ada turns and starts to run through the snow, her hat flying from her head.","EXT. STAND OF HICKORY TREES, COLD MOUNTAIN. DAY Inman's horse is parallel to Bosie, who is deep inside the trees but also riding, slowly. It's like a dance. INMAN Come out of there. BOSIE No, sir. Here's fine. INMAN I just have to shoot the horse from under you. BOSIE Shoot her. She's not mine. You riding Mr Teague's mare? INMAN I am. BOSIE He dead? INMAN I hope so. -LRB- wearily, as he brings his horse inside the trees. -RRB- Look, how old are you? Give me your gun and ride home, I'm done fighting. I'm sick of it. BOSIE I give you my gun you'll shoot me dead. INMAN I will not shoot you, but nor am I walking down that mountain looking over my shoulder for you. BOSIE That's what they call a conundrum. I tell you what I've got on my side. INMAN What have you got on your side? BOSIE The confidence of youth. And in that second HE PRODUCES HIS GUN AND FIRES. INMAN HAS ALREADY FIRED THE LEMATS AND THE BOY, SHOT IN THE HEAD, FALLS. CAUGHT BY ONE STIRRUP THE HORSE BOLTING. INMAN WATCHES, STOCK STILL, THEN MAKES A COUGH, AS IF CLEARING HIS THROAT, AND A THIN MIST OF BLOOD SPRAYS FROM HIS MOUTH.","EXT. RIDGE, COLD MOUNTAIN. DAY Ada and Ruby running. THEY REACH STOBROD, HIS HORSE STOPPED, DRINKING FROM THE CREEK. Stobrod, barely conscious, hanging halfway down its flank, held on by the ropes. Ada hurries on, taking the shotgun from Ruby, who tends to her father.","EXT. A GROVE OF TREES, COLD MOUNTAIN. DAY Ada runs past the horse dragging the cave corpses. She hardly stops to look at the bodies, just rushes on. THE GROUND SIMPLIFIES AND SHE'S AT THE BOTTOM OF A GROVE. A STEEP INCLINE, THE SUN LOW AND IN FRONT OF HER. SHE SEES A BRILLIANT FRAME OF BLACK TREES, AND THEN A SUDDEN FLURRY OF ANGRY CROWS FLYING TOWARDS HER. AT THE TOP OF THE HILL IS A SMALL HIEROGLYPH OF A MAN. FINALLY, THE IMAGE FROM THE SWANGER WELL EXACTLY AS SHE FIRST SAW IT. THE FIGURE RAISES A HAND, BRIEFLY, THEN PITCHES FORWARD INTO THE SNOW. She runs, her heart broken, towards the body of Inman. He's dead, the red flag of his life ebbed, away in the snow. Ada falls to her knees and pulls him over, the snow crusted on his face, which she wipes away with great tenderness, then sits, his head in her lap, as Ruby slowly comes up the hill towards them. A VIOLIN PLAYS, quite raucous.","INT. KITCHEN, BLACK COVE FARM, EASTER. DAY A GIRL, about five or six, with Ada's curls, sits at the table cradling a tiny lamb, which wo n't feed from the nippled bottle she offers it. She tries again. Ada comes in suddenly, takes a knife from the kitchen, and hurries out. ADA You bring that lamb outside. The girl gets up, carries the lamb out into the field.","EXT. FIELD, BLACK COVE FARM. DAY THE SOUND OF THE FIDDLE CONTINUING, JOINED BY A BANJO, It's a glorious spring morning, Black Cove Farm at its most luxuriant, the path edged with brilliant flowers. There are more animals in evidence. The girl emerges from the house and sees Ada in the field, surrounded by sheep. She hurries over. ADA IS EXPERTLY SKINNING A STILLBORN LAMB. The little girl is horrified. GRACE What are you doing! ADA He came out dead, love. She has the skin off the lamb, which lies like a little pink cat on the ground. She approaches Grace, takes the live lamb from her arms, the girl resistant, frightened. GRACE Do n't kill him! ADA I'm not going to kill him. But we have to try something or else he's going to die. She takes the skin and wraps it round Grace's lamb. Then puts the covered lamb into the pen with the dead lamb's mother. It goes to the sheep and, after a few false starts, starts to feed, accepted as a surrogate. ADA Is n't that a small mercy. And A VOICE joins in with the fiddle and banjo.","EXT. BLACK COVE FARM. DAY STOBROD is playing, on his repaired fiddle. His hair is now completely grey. GEORGIA is playing the banjo and singing, although. A SMALL CHILD with Georgia's reddish coloring keeps invading his picking hand trying to join in. RUBY HAS ANOTHER GEORGIA CHILD IN HER ARMS, but is also trying to serve food. She passes Georgia and touches the top of his head. SALLY SWANGER is pouring water from a jug, Ada emerges from the kitchen, with a big pie, racing to the table. ADA -LRB- laughing. -RRB- Hot hot hot hot hot! From behind her, Grace appears, carrying a jug of milk, puts it on the groaning board of the table. Grace has a full plate in front of her, picks up a fork to spear some meat. ADA Grace Inman, nobody said eat. -LRB- then to Stobrod. -RRB- Mr. Thewes. The music stops. And there's quiet except for the sound of animals : lowing, barking, braying, bleating. ADA For good friends, good food, good family : for all our blessings - Oh Lord we thank thee. Amen. ALL Amen! And they eat. THE END"],"string":"[\n \"EXT. COLD MOUNTAIN TOWN, NORTH CAROLINA. DAY ON A BLACK SCREEN : Credits. A RAUCOUS VOICE -LRB- SWIMMER'S -RRB- CHANTING IN THE CHEROKEE LANGUAGE. A RANGE OF MOUNTAINS SLOWLY EMERGES : shrouded in a blue mist like a Chinese water color. Below them, close to a small town, YOUNG MEN, armed with vicious sticks and stripped to the waist, come charging in a muscular, steaming pack. Their opponents, also swinging sticks, attach the pack. A ball, barely round, made of leather, emerges, smacked forwards by INMAN, who hurtles after it and collides with a stick swung by SWIMMER, a young and lithe American Indian. Inman falls, clutching his nose. The ball bobbles on the ground in front of him. He grabs it and gets to his feet, the blood pouring from his nose. His team form a phalanx around him and he continues to charge. A PRISTINE CABRIOLET pulled by an impressive horse, comes down towards the town. It has to pass across the temporary field of play, parting the teams. Some of the contestants grab their shirts to restore propriety as the Cabriolet and its two exotic passengers passes by. The driver is a man in his early fifties, dressed in the severe garb of a minister, MONROE. And next to him, a self - conscious girl in the spotless elaborate, architectural skirts of the period, is his daughter, ADA. Inman, using his shirt to staunch his battered nose, looks at Ada, astonished by her. An angel in this wild place. Now Swimmer stops chanting and begins, more hesitantly, to translate into English : SWIMMER’S VOICE -LRB- V.O. -RRB- You will be lonely. You will howl like a dog as you walk alone. You will carry dog shit cupped in your hands. You will be smeared with dog shit. Your spirit will wane and dwindle to blue, the colour of despair. As the Cabriolet passes, SWIMMER takes the ball an with a whoop starts to run towards the opposing goal. The game resumes. Ada looks back as the men swarm into each other, sticks and fists flailing.\",\n \"EXT. COLD MOUNTAIN TOWN. NIGHT A SIDE OF BEEF turns on a huge barbecue. The battered teams eating, drinking hard liquor, rehearsing victory and defeat, illuminated by a roaring bonfire. Swimmer is sewing up a gash in Inman's cheek as he continues to translate : SWIMMER This is your path. There is no other. That's a curse you can use on the Yankee before battle. INMAN And that works? SWIMMER You have to say it in Cherokee. INMAN You said it to me in Cherokee. During this, Monroe and Ada have arrived, escorted by SALLY SWANGER, a local woman, middle - aged, kindly, and her husband, ESCO, a glorious curmudgeon. The Monroes are introduced to various locals. Inamn watches them, on the other side of the crowd. The Reverend Monroe, his daughter Ada. Up from Charleston, bringing God's word to you heathens! Is Esco's preferred introduction. Building a church. Inman watches Ada, moves his head to keep her in view as Swimmer stitches, and winces with pain. SWIMMER So keep your head still. Sally collects plates for the Monroes. Hands them to Ada and her father, who wait, patiently, for silverware. Esco takes a plate, picks up a skewer of meat, bites on it. Monroe pluckily follows suit. INMAN -LRB- to Swimmer. -RRB- Anyway, there wo n't be any war. And if there is, they say it wo n't last a week.\",\n \"EXT. CONFEDERATE LINES. PREDAWN CAPTION : PETERSBURG, VIRGINIA. JULY 30TH, 1864. IN THE FOURTH YEAR OF THE CIVIL WAR. A STAND OF TREES. The pastoral lush green Virginia. A RABBIT surfaces from its hole. Peace and beauty. A second RABBIT shakes itself from the ground, darts into open ground to confront the FORBIDDING TRENCHES OF THE CONFEDERATE AND UNION ARMIES, RANGED AGAINST EACH OTHER ON THE OUTSKIRTS OF PETERSBURG. Massive wooden barricades in the shape of crosses, rows of X's, define the two lines. The Federals have been laying siege for months. So early and it's already hot. The trees are an oasis of green in a world of mud between the two stark and ugly scars of the trenches. IN THE CONFEDERATE LINES, the men are rousing, boiling water for coffee or to shave, smoking, stiff from night. There's a large gun emplacement and some men still sleep against the stub - nosed cannon. Another RABBIT is disturbed from its hole. Ears pricked up to a distant rumbling.\",\n \"INT. TUNNEL. PREDAWN. A dark hole. Some evil place. A scraping sound. Shapes burrowing forwards at a crouch. A silent purpose.\",\n \"EXT. CONFEDERATE LINES. PREDAWN. Young OAKLEY, freshly recruited, approaches a group of men, like him Highlanders from Company F of the 25th North Carolina Regiment. He doles out breakfast. Inman, loading his heavy LeMats pistol, its nine rounds, is not hungry. Oakley serves another, ROURKE, last seen in the scrum at Cold Mountain. Oakley keeps his head low as he serves. ROURKE Do n't worry, son. Those Yankee boys keep store hours. They ai n't open yet.\",\n \"INT. TUNNEL. PREDAWN Shadows and shapes. A BARREL rumbles along the tunnel. It reaches a kneeling figure, who rolls it forwards. A relay team. At the end of the tunnel, where it widens, a man, naked to the waist, crouches, stacking the barrels.\",\n \"EXT. CONFEDERATE LINES. PREDAWN A RABBIT, scared up, darts along the trench. Rourke sees it, beckons to another Cold Mountain boy, Butcher. BUTCHER That's fresh breakfast. Shoot him! ROURKE I'm not firing, start the damn war off. Butcher chases after the rabbit, Rourke in raucous support.\",\n \"INT. TUNNEL. PREDAWN The crouching man has wrapped FUZE WIRE around the last barrel, and now retreats, paying out the wire as he does so, as each man in the tunnel crawls backwards behind him.\",\n \"EXT. CONFEDERATE LINES. DAWN Rourke weaves through the gun emplacements, laughing. ROURKE That's my rabbit! Great sport. Inman, fifty yards away, looks over, amused, goes back to his gun.\",\n \"INT. TUNNEL. DAWN The fuze wire is lit. It fizzes towards the barrels.\",\n \"EXT. CONFEDERATE LINES. DAWN Rourke is running BUT NOW THE GROUND BUCKLES UNDER HIM AND HE'S BEING LIFTED SLOWLY INTO THE AIR, the earth swelling. AN APOCALYPTIC EXPLOSION. FOUR TONS OF DYNAMITE RIP THE GROUND OPEN IN A CRATER 135 FEET LONG, 90 FEET ACROSS, 30 FEET DEEP. HORSES, GUNS, MEN ARE BLOWN TO PIECES AND THROWN UP INTO THE AIR. INMAN DISAPPEARS UNDER DIRT AND DEBRIS. Pandemonium. The Confederates are in complete disarray. The Federals pour forwards across NO MANS LAND, through the peaceful oasis of trees, roaring the roar of attack. They flood towards the crater, hundreds of them, charging into a dense and impenetrable WALL OF SMOKE. THEN THEY'RE INSIDE THE GREAT GASH OF CRATER AND CA N'T GET OUT AGAIN, arriving at an insurmountable wall of mud. The Confederates regroup. Orders are yelled. Chaos developing into battle. The Confederates begin firing into the crater. Guns and mortar wheel round and empty into what is becoming a terrible death trap. Inman gets to his feet. Oakley with him, and rushes through the smoke to the pit, emptying his LeMats into the crater. LATER : A BLACK REGIMENT from the Union join the attack. Bodies falling on bodies as the Federals charge in and pack their comrades even tighter. The Confederates make a pincer movement outside the Crater, forcing all the Federals in. It's Medieval. No escape. THE CONFEDERATES jump into the pit to engage the Federals. Hand to hand fighting. Too close for rifles, just bayonets, and guns swung like clubs and Inman sliding down into that hell, tiring the nine rounds, then the shotgun charge, which does a terrible damage. Primitive. Unutterable carnage. Men killing each other in embraces, soldier crushed against soldier, desperate to survive, to kill, to live. An oozing layer cake of bodies, dead and frantically alive, drowning in slick. YOUNG OAKLEY loses his rifle and picks up a magazine case, clubbing his opponent, then slips onto him and is stuck with a bayonet, the pain of which makes him squeal. INMAN GOES AT IT. He's a warrior, punching and stabbing and firing. A coldly efficient killer. He's grabbed from behind and crushed, a hand gouging at his face, an almighty struggle. He falls and lands on top of Oakley, and he and his Federal opponent fight to the death with the wounded boy as their pillow. The slaughter continues over and around them, the sound, the sound of hell and madness. The boy has his arm around Inman, like lovers. LATER : The Confederates run after the retreating Union soldiers, firing, cavalry riding them down. Inman stands, the boy's blood all over him, exhausted and appalled. The crater, behind him, an abattoir of men. The victors are yelling, pumped mad with adrenaline. Butcher comes alongside Inman. BUTCHER That was something! That's hell and we've been there! Kicked old Nick's asshole. A WOUNDED BLACK SOLDIER sits up as Butcher celebrates. Butcher runs over, but ca n't find a charge for his musket. He looks around in the stack of corpses, pulling out weapons, tries one : not loaded, throws it down, tries another : not loaded. The wounded man ca n't get up, tries to drag himself like a crab away from Butcher. Inman yells at him, appalled. BUTCHER You got a charge? He picks up another musket. It fires. The wounded Federal slumps back, dead.\",\n \"EXT. CONFEDERATE LINES. DUSK THE AFTERMATH. The dead being piled up for burial, divided into allegiance. Wounded prisoners able to walk are led away. A great deal of casual looting. Of boots, of equipment, of personal items. Inman sees a soldier in the crater, lining up wounded Federals, putting their heads in a row. THE MAN EXTRACTS A HAMMER FROM HIS BELT AND, SATISFIED HE HAS AN ECONOMIC ARRANGEMENT, PROCEEDS DOWN THE LINE, SMASHING EACH SKULL. Inman turns away, sees another Rebel, extravagantly costumed, a strange FIDDLE head protruding from his knapsack. This is STOBROD THEWES. He's bent over a dead Federal, examining his mouth. He reaches behind his back and roots around in the knapsack, producing A PAIR OF PLIERS, WHICH HE INSERTS INTO THE CORPSE'S MOUTH. He's yanking away when A SWINGING BOOT connects with his head and knocks him to the ground. Startled, he looks up to see Inman hovering over him. STOBROD That's gold in his mouth he got no need for. -LRB- shrugs. -RRB- We take his boots. He examines his fiddle for damage. Some orderlies pass, lifting OAKLEY away on a gurney. Oakley's pale as a maiden, the life leaking from him. Inman walks a way with him. Oakley looks up, desperate to be brave. OAKLEY I got a few. You saw? INMAN I saw. OAKLEY I know you do n't recognise me. I'm Mo Oakley's boy. -LRB- Inman finds this incredible. -RRB- It's okay. I was thirteen when you all left. Am I going to die? Inman flicks his eyes to the Orderly, whose look confirms the boy's wounds are certainly mortal.\",\n \"INT. FIELD HOSPITAL. NIGHT Inman sits on the ground beside Oakley's cot. Around them, the wounded are certainly dying, makeshift care, oil lights, groans. OAKLEY I'd like to hear some music while I go.\",\n \"EXT. CONFEDERATE LINES. NIGHT Inman walks around the campfires. He hears some fiddle music. It's Stobrod. Stobrod sees Inman. Inman stares, his expression an instruction, the turns and walks away.\",\n \"INT. FIELD HOSPITAL. NIGHT Stobrod stands over Oakley. Consults with Inman. STOBROD What about Bonaparte's Retreat? That's one I play. OAKLEY Play me something sweet. Like a girl's waiting for me. Stobrod looks at Inman, confused. OAKLEY Play me something like there's nothing to fear from a merciful Lord. INMAN -LRB- to Stobrod. -RRB- You heard him. STOBROD -LRB- nervous. -RRB- I only know a couple of tunes. OAKLEY Like when you're thirsty up at Bishop's Creek and the water is so cool. Inman glares at Stobrod. And Stobrod starts to play. Hesitant, then with gathering confidence, improvising, increasingly expansive, as if he's as surprised as everyone else. Oakley's lips move. A whisper. Inman leans in. OAKLEY I'm reaching Cold Mountain before you. Stobrod plays. It's wrenching. Oakley stills. Inman abruptly puts his hand on the neck of the fiddle, stopping Stobrod. The boy is dead. Inman gets to his feet and walks away.\",\n \"INT. CONFEDERATE TENT. NIGHT A dozen men in the tent. Inman has a BOOK, its cover gone, rolled up and tied with a leather strap. His bookmark is A FADED TINTYPE PHOTOGRAPH of a solemn young woman. He unwraps the book carefully and reads a page by the sickly light next to his bedroll. An OFFICER comes into the tent, approaches Inman, who makes a stand. OFFICER Do n't get up, soldier. You are mentioned tonight in my report. You are a credit to the Highlands, to North Carolina and to the Cause. INMAN -LRB- tight. -RRB- Do you have news, sir, on my application for transfer? OFFICER I know. A bloody day. It's what our General said : Good thing war is so terrible else a man might end up liking it too much. INMAN Sir. It was my understanding the medical corps was desperate for volunteers. OFFICER Right now, soldier, it's me who is in need of volunteers. There's a dozen Yankees in that stand of trees between us. Stuck there from the retreat. Come daylight they can shoot us down for sport.\",\n \"EXT. CONFEDERATE LINES. NIGHT A beautiful night. Lots of stars. Inman and three others, including Butcher, slide over the top of the trench, far to one side of the stand of trees. The plan is to cast a wide arc that will bring them around back of the trees, closer to the enemy side than their own. The four men slither over the ground. They pause. Inman has arrived at a tangle of corpses. He slithers over them. They work their way towards the trees. THERE ARE A HALF DOZEN FEDERALS CROUCHING IN THE COVER OF THE TREES. They are dozing. Only one of them sits with a rifle surveying the Confederate lines, the others have their backs to the enemy, sitting against the trunks, grabbing a few minute's sleep. As the four rebels approach, still crawling, one of the Federals opens his eyes, sees the attack, shifts for his rifle. INMAN IMMEDIATELY STANDS UP, FIRING INSTANTLY, killing him and two others, while Butcher throws himself at another. The exchanges are brief and savage and one of Inman's party and all of the Federals lay dead. Then the rebels break from the trees. A FLARE goes up, then another, both from the Confederate trenches. INMAN AND HIS ACCOMPLICES ARE PICKED OUT IN A BRILLIANT GREEN LIGHT. Shots follow, from both sides, aimed at the three returning men as they zigzag towards their own lines. As they get close, voices cry out, rippling down the trench, joining their own admonitions : Do n't shoot, Hold your fire, they're our boys, Hold your fire! They're almost home. Butcher is laughing, whooping. Then just as suddenly he falls, wounded. Inman stops, turns back, runs to him. Inman collects Butcher, drags him, carries him. They're fifty yards from their lines. A BULLET CATCHES INMAN IN THE NECK. He goes down like a tree, blood pouring from his neck. Lying on the ground, he watches the phosphorescent lights slowly fade to black, all sound fading with them.\",\n \"EXT. CHAPEL, COLD MOUNTAIN TOWN. 3 YEARS EARLIER. DAY A WOODEN JOIST swings across the view of the Blue Ridge. Men are swarming over the roof of an unfinished CHAPEL, below which appears the small town of COLD MOUNTAIN. Among the workers, armed with nails and hammer, knees clutching a rafter, is Inman, fresh and a whole lifetime younger. Rourke and Butcher are also there hammering, building, kidding around and Oakley, barely a teenager. Below them, women are setting up a lunch for the workers, ADA amongst them. She has the circumspect air of the blue stocking, uncomfortably aware of the dirt beneath her hem, the men's radar for her every move. Inman watches her as Sally Swanger approaches. SALLY -LRB- to Ada, as Monroe moves off. -RRB- Ada, how are you settling in? Are you liking the farm? ADA Very much. It's beautiful country. SALLY So listen - if you would say hello to one of these fools, I'll get a field cleared this weekend. ADA Anyone? Like a forfeit? SALLY -LRB- pointing at Inman who immediately looks away. -RRB- No. Him in particular, up in the rafters. Been pressing me all morning. UP ON THE ROOFBEAMS OF THE CHAPEL, the men are preoccupied with talk of secession from the Union. ROURKE -LRB- hammering. -RRB- I call this nail : Northern Aggression. -LRB- hammering. -RRB- I call this nail : a free nigger. BUTCHER Show some respect - these nails are making a church. ROURKE -LRB- hammering. -RRB- I call this nail : respect the church. Ada comes over, carrying a tray of lemonade glasses. Calls up to Inman. ADA Hello. Inman swings down. He feels the other men staring, burning a hole in his head. ADA I'm Ada Monroe. INMAN I'm Inman. ADA Inman? INMAN W. P. Inman. ADA W. P. Inman. INMAN Repeating a thing does n't improve it. -LRB- shrugs. -RRB- People call me Inman. ADA If you were to take a glass of lemonade your friends might stop staring. Inman. INMAN They're not my friends. He drops down to ground level, takes the lemonade, scowls at the other guys. They're breaking for lunch and as they make their way to the trestle tables - they enjoy jostling Inman. INMAN Thank you. ADA And what do you do? INMAN I work wood. Got a piece of land. Mostly work wood. ADA Clear fields? INMAN -LRB- uncomfortable. -RRB- I can clear a field. ADA So, was there something in particular you wished to say to me? INMAN -LRB- thinks about it. -RRB- Not that comes to me. -LRB- hands back the glass. -RRB- I'll say thank you for the lemonade. And he turns and joins the other men gathering round the tables for lunch. Ada watches him, intrigued. Rourke and co. approach ESCO SWANGER, a known sympathizer with the North, to give him a bad time. ROURKE Esco loves the Yankees. ESCO I prefer a Yankee to a halfwit. Inman arrives just as Rourke points a warning finger at Esco. He pushes the finger down to get by. Esco continues : ESCO What is it you think you'd be fighting for? ROURKE The South. ESCO And what's that when it's at home? Esco's sons, ELLIS AND ACTON, who're working at the other end of the building, have now arrived at the table. ACTON Pop, you causing trouble? ESCO No. ELLIS That means yes. ESCO You cut the wood, you carry the water for good old King Cotton. Now you want to fight for him. Somebody has to explain it to me. ACTON -LRB- to Rourke and the others. -RRB- Do n't even try. The others are desperate to tease Inman. BUTCHER How's the lemonade? Sweet? Ada, at the lemonade stand again, watches them laughing at Inman, who keeps his head fixed on the table.\",\n \"EXT. CONFEDERATE LINES. NIGHT INMAN, ON A GURNEY, carried, someone with a cloth to his neck, which is soaked through with blood. They start to run with him, heading for the field hospital, worried that he will die before the wound can be staunched, cauterized. Throughout, A STRANGE MUSIC PLAYS, discordant notes jangling :\",\n \"EXT. SWANGER FARM. COLD MOUNTAIN. DAY - from A PIANO, lashed to a cart, as it bounces along the lane, passing the Swanger Farm. Sally comes out to look. It's Ada riding next to one of the farmhands, a second boy keeping watch over the piano. Sally goes over. SALLY That's a fine looking thing. ADA I've been missing it. SALLY Thank you, by the way. -LRB- from Ada's quizzical look. -RRB- Inman's down in the bottom field, clearing his debt. ADA Oh dear. And then he had nothing to say. SALLY He was happy. ADA Really? SALLY Are men so different in Charleston? ADA Men? I do n't know. I do n't even know what a woman should be like. In Charleston I was called a thistle, twice, by two different men. Both of them - they were hunting for a simile, what was I like - and thistle came right to them. SALLY If you're saying you might like him, why not go down and say hello.\",\n \"EXT. BOTTOM FIELD, SWANGER FARM. DAY Inman's working in the field, stripped to his undershirt, hot work, wielding a scythe. He hears something and looks up at the edge of the lane, ADA IS PLAYING THE PIANO, which is still strapped to the cart. She briefly raises a hand to Inman, then nods to the farmhand who sets them on their way again. Inman smiles, waves back, watching as the cart rumbles off down the track.\",\n \"EXT. BLACK COVE FARM. NIGHT It's pouting with rain. INSIDE THE FARMHOUSE, ADA IS PLAYING THE PIANO. Men and women crowd into the parlour, in best clothes, celebrating the completion of the Chapel. Inman is outside on the porch, his coat soaked, water pouring off his hat. He looks at Ada. She finishes. Monroe steps in front of the applause, smiling. His words of thanks leak through the window to Inman, who stands, watching, listening.\",\n \"INT. PARLOUR, BLACK COVE FARM. NIGHT Monroe circulates, with Ada. He nods at a group of men, who congregate in one part, not mingling. Their leader, TEAGUE, might be a minister himself, favouring a black dress coat, a black crow in the corner, eyes flashing. Ada does n't know them. Esco comes by. Monroe puts a hand on his arm. MONROE Esco, our friends there -. -LRB- indicating Teague and co. -RRB- - they helped build the Chapel? ESCO That's Teague and his boys. I'd recommend you kick them out except a man do n't kick a snake. One time the Teague family owned the whole of Cold Mountain. My farm, your farm, all belonged to his grand - daddy. Teague wanted this place bad. You got it. He's here sniffing out an advantage. MONROE There's no advantage here, but to celebrate a job well done. Cheers -. -LRB- he raises his glass. -RRB- - and thank you. And Teague raises his glass across the room.\",\n \"EXT. BLACK COVE FARM. NIGHT Ada appears at the door opening it onto the porch. She's carrying a tray with drinks. Acknowledges Inman. ADA Were you planning to come inside? INMAN I'm wetter than a fish. ADA There's a good fire going. INMAN I'm all right. ADA Somebody said you were enlisting. -LRB- no response. -RRB- Are you? INMAN If there's a war we'll all fight. ADA -LRB- unimpressed. -RRB- If there's a mountain we'll all climb, if there's an ocean we'll all drown. INMAN Call a thing a war makes it a challenge to some men. ADA Did you get a picture made? INMAN Say again. ADA A tintype, with your gun and your courage on display. INMAN You're laughing at me. ADA I do n't know you. INMAN You're always carrying a tray. ADA I'm taking a drink over to the negroes in the barn. INMAN -LRB- takes the tray. -RRB- I'll do that. I ca n't get much wetter. He goes into the night rain. She watches him.\",\n \"EXT. BLACK COVE FARM. DAY A beautiful day, the farm peaceful. Inman walks up the path to the farmhouse, its borders flowering and pretty, a slave woman weeding. He knocks on the door. Monroe answers. MONROE Mr. Inman. INMAN Reverend. MONROE What can I do for you? Inman hovers, awkward. Ada appears, awkward. INMAN I have some sheet music. Belonged to my father. No use to me. Ada comes forward, takes the package. MONROE You must come in. INMAN I should probably get along. ADA Mr. Inman is more comfortable outdoors. Perhaps we might take a walk. MONROE A splendid idea.\",\n \"EXT. BLACK COVE FARM. DAY Monroe and Inman and Ada touring the farm. It's a biggish property, over three hundred acres. And well - tended by the dozen slave farmhands who work it, some of whom are dotted about in the landscape. Rolling mountains dominate the view. MONROE -LRB- expansive. -RRB- I want to get sheep into this field. A big field does n't look right without sheep. You're a lucky fellow, Mr. Inman, you've had this view all your life. INMAN I think so. MONROE It's a special view. I dragged my poor daughter to Cold Mountain from Charleston because of my Doctors - they say my heart is weak - so the air's meant to do me good. But it's the view I think heals. Ada walking behind, comes alongside the two men, threading her arm into her father's but, by so doing, also arriving next to Inman. MONROE I have to get on my visits. Can I offer you a ride back into town? Inman looks at Ada. No word.\",\n \"INT. PARLOUR, BLACK COVE FARM. DAY From the window Ada watches the Cabriolet head towards town. At the piano, she unwraps the leather lace from the package of music. Inside the first book of music, there's a DAGUERREOTYPE OF INMAN with his LeMats, a typical Confederate pose. Some of the music has left its imprint on the picture, the notes like a melody over Inman's face. Ada picks them out on the piano. The ebullient sound of Shape Singing. A noisy choir letting rip -\",\n \"INT. CHAPEL, COLD MOUNTAIN TOWN, MAY 20TH, 1861. DAY - THE WHOLE CHURCH IS SINGING, MEN TO ONE SIDE : WOMEN TO THE OTHER. Monroe conducts, sings. Inman is there, as is Ada. He fixes on her neck, the way the hair falls. The door bursts open. Young OAKLEY, apologetic nod to Monroe, sits at the back, then leans forward, as the singing continues, to say something to Rourke, who says something to Butcher, the news spreading like wildfire. Rourke gets up, leaves. Butcher gets up next, follows. Another man. Another. Depleting the male voices, until only women and some of the older men are singing and one side of the church is practically empty. Inman, remains, fixed on Ada. Who does not look round.\",\n \"EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY Those left in the congregation now spill out into what has become a melee as the NEWS OF SECESSION goes up. Enormous excitement, particularly among the boys, who now seem curiously attractive to the girls. Inman blinks out into the sun, Ada finds him. They're awkward as they watch other sweethearts embracing. ADA Well, you have your war. TEAGUE AND HIS MEN COME RIDING UP THE STREET, their horses clearing a path amongst the celebrating crowd. Teague reins in his horse and rides it up against Esco Swanger. TEAGUE Those who follow Lincoln, or preach abolition, best keep one eye open when they're sleeping, Old Bogey Man might get you! Inman steps between Esco and Teague, holding the reins of Teague's horse, easy and dangerous. INMAN Are you the law all of a sudden? Teague produces a document, which he waves in the air. TEAGUE That's right, son. Home Guard for Haywood County. I'm the law from today. You all go fight now. We'll watch your sweethearts. And he spurs on his horse, his fellow Home Guard falling in behind, riding on over the ridge. Inman walks to Ada. INMAN You might be safer back in Charleston. ADA But then who'll be waiting for you? She puts a hand on his arm for a second. They both want to get to the point of declaration but do n't know how. They stand, people noisy around them, those about to leave, those about to be left. INMAN I'm going to walk back inside the Chapel. And he does so, making his meaning clear for her to follow.\",\n \"INT. CHAPEL, COLD MOUNTAIN TOWN. DAY Inman walks inside. Stands with his back to the door. It opens and closes. Inman turns. It's Monroe. MONROE Did you want a quiet word? Now the door opens again and it's Ada. She's dismayed to see her father. INMAN Just some quiet. MONROE Of course Ada. He indicates they should both leave. Inman sits at a bench.\",\n \"EXT. COLD MOUNTAIN TOWN. DAY Monroe and Ada come into town in their cabriolet. They pass under banners proclaiming the Confederate cause : Old Rip's Awake! Watch out Yankees! The trap draws up by the Cold Mountain General Store. Monroe lets Ada down. MONROE -LRB- of his appointment. -RRB- I'll daresay Dr. O'Brien'll want to do a test or two. ADA And then there'll be a coffee or two, a brandy or two. Monroe smiles in acknowledgement, gets back in the trap. Ada heads into the store.\",\n \"INT. BEDROOM. ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY INMAN SITS ON HIS BED, wearing pants and a vest. His room is like a monk's cell. Nothing in it. Inman's trunk is packed. He's polishing his boots, in his bare feet. One hand inside the boot, the other blacking it. There's a knock at the door. He opens it. It's Ada. He abruptly closes the door on her.\",\n \"INT. HALLWAY, ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY Ada waits outside. She's not sure what's happening. Then Inman opens the door. He's buttoning his shirt. His boots are on, one conspicuously dirty, one highly polished. Somebody walks up the stairs, carrying a jug and bowl. They separate as the man passes them. They're tender, awkward. ADA I found you this book. William Bartram. They tell me it's good. I think he writes about these parts, the author, so. Inman takes it. She has something else. Wrapped in paper. ADA And this. -LRB- hands it to him. -RRB- I'm not smiling in it. I do n't know how to do that, hold a smile, so now I'm solemn. INMAN Ada. ADA What? HE KISSES HER, pressing into her, his arm circling her waist. Below them the sound of a MARCHING BAND. It's the RECRUITMENT PARADE and brings Rourke and Butcher racing down the stairs. Inman pulls away from Ada as the boys hurtle for the front door. ROURKE Let's go!\",\n \"EXT. COLD MOUNTAIN TOWN. DAY Rourke, Butcher, and then Inman appear in the doorway of the Rooming House, and then fall in with the motley crew of Volunteers AS THEY MARCH BY WITH THE BAND AND THE ENLISTED SOLDIERS. The town is out to wish them well, parents, younger brothers, sweethearts walking alongside their brave men. Ada comes to the door of the Rooming House. Inman looks back and sees her, but almost immediately loses her in the crowd. THE DRUMMERS DRUM, THE CROWD CHEERS, THE RECRUITS MARCH UP THE HILL -\",\n \"EXT. BEHIND CONFEDERATE LINES, VIRGINIA. DAY - AND THE WOUNDED AND THE WRETCHED STRAGGLE ALONG THE RAILROAD. A TRAIN with the seriously injured snakes past the back of the Confederate lines - its suburbs of supplies, arriving and departing troops - and into peaceful country. FIDDLE PLAYS, THEN A BANJO.\",\n \"INT. BOX CAR. DAY A CROWDED WAGON. It's a cauldron, and those able smash through the wooden walls to make a breathing hole. Some have their heads thrust out like crated poultry. INMAN IS IN THERE, neck bandaged, its ugly seepage making a bloody necklace. The light plays black and white through the boarded sides of the boxcar, flashing on Inman's face as he drifts in and out of consciousness. He focuses and sees the strange head of STOBROD'S FIDDLE. Stobrod is serenading him, accompanied by an angel - faced and extremely heavy child - man, PANGLE, whose grin of delight seems permanent even in this claustrophobic, grim world. Inman is panicked, puts a hand to push the fiddle away. His voice is a croak, spoiled. INMAN I'm not dying. STOBROD -LRB- to Pangle. -RRB- What'd he say? PANGLE Says he ai n't about to die. STOBROD -LRB- to Inman. -RRB- Truth to tell they say you are, Soldier. We'll meet again, in the better world. He changes his tune, and the tempo, finding a foot - slapping rhythm, the two musicians grinning at each other. Inman lapses back into unconsciousness. The rhythm becomes a hammering sound.\",\n \"EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY - AS A MAN HAMMERS A TINTYPE OF HIS SON'S FACE into the wooden porch of the Chapel, where it joins many other portraits of those lost to the war. Monroe presides. One of the slaves from Black Cove holds the ladder for the bereaved father. Other families wait, with their own daguerreotype to mount. It's a memorial service without bodies. Riders approach. Home Guard. Teague brings his horse up alongside Monroe at the Chapel door, tips his hat in condolence to the bereaved families. With him is a young, intensely beautiful and flamboyant rider, BOSIE, his hair long, a single fingernail bizarrely overgrown. Somehow sinister. TEAGUE My condolences to you all. -LRB- he considers the slave. -RRB- Keep an eye on the negro. They want what the white man got - all of you watch out your brave boys give their lives to war and meantime your slaves carry murder, rape and arson to your firesides. MONROE The only slaves within twenty miles labor on my farm. They're good Christians and I'll vouchsafe for them.\",\n \"EXT. APPROACH TO BLACK COVE FARM. DAY Cold Mountain at its loveliest. The CABRIOLET with Monroe and his daughter heads towards the farm. At a bend they meet a couple of riders, TWINS, from Teague's Home Guard, riding furiously past them. Monroe reins in the trap and lets them thunder past before continuing on their way home. Monroe is intrigued by Ada, as if he's never looked at her before. ADA What? MONROE You're looking - at this moment, I do n't know why - you're looking exactly like your mother. ADA Every time you see the doctor you get melancholy. MONROE He listens to my heart and I get emotional. ADA He gives you alcohol and you get emotional. She squeezes his arm. MONROE We commiserate about the folly of this terrible war. -LRB- they ride in silence. -RRB- Do you worry when there's no word from him? -LRB- no response. -RRB- From Mr. Inman? ADA Yes. But then I've tried counting the number of words which passed between Mr. Inman and me. -LRB- looking ahead, seeing smoke. -RRB- Is that a bonfire? So close to the barns. Then they see THE FAMILY OF SLAVES turn off the road as their cabriolet approaches, running away into the fields. ADA What's going on? MONROE -LRB- shouting at the disappearing slaves. -RRB- Hey! Stop there! Hey! Monroe gets out of the cabriolet and runs into the fields after the retreating family, who are carrying bundles, chairs, personal items, all loaded up. Ada has already taken the reins and has driven up to the house. THE BARN IN WHICH THE SLAVE FAMILY HAD LIVED IS ON FIRE. Monroe catches one of the women, remonstrates with her. She's upset, distressed, one of her sons comes back, pushes Monroe to the ground. They hurry away. Monroe gets up, hurries to the fire. A FIGURE SWINGS IN THE HEAT OF THE FLAMES, HANGING FROM A BEAM. Monroe spies it as he catches up with Ada. MONROE Dear God. ADA No, Daddy, it's not real. The figure swings round. IT'S AN EFFIGY, A GROTESQUE CARICATURE OF A BLACK MAN. MONROE -LRB- appalled. -RRB- What is wrong with us all? Ada turns and runs off. ADA I'll get help. -LRB- shouting over her shoulder. -RRB- Keep away from the flames. Monroe stands and considers the flames. Ada turns back once more to see him - a small man silhouetted against the blaze.\",\n \"INT. HOSPITAL, CHARLESTON. DAY INMAN lies ; bandaged, eyes closed, in THE BALLROOM OF A COLONIAL MANSION, co - opted as one ward of a Confederate hospital. Rows of beds, the wounded and the dying, are lodged between some vestiges of the room's former glory. SOME LOCAL WOMEN, conscious of their duty to the cause, are brought through by an exhausted doctor, who's lost all his grace. The windows are open, but it's still insufferably hot, the muslin curtains barely moving. DOCTOR Most of these men will be dead by the morning or, if they're stubborn, by nightfall. I have other men outside in the quadrangle waiting for the beds. The women try to process this, the attitude. DOCTOR So, any kind word will be a blessing. One woman is overpowered by the stench, gags. DOCTOR It's the heat. I'm sorry. They rot. The women begin to approach the beds. DOCTOR Do n't pray. If they're not God fearing you can stir up a hornet's nest. MRS. MORGAN, nervous, decent, sits next to INMAN. His mouth is moving. She does n't know what he's saying. MRS. MORGAN I'm sorry, you want water? She bends to him again. His voice is a faint croak. INMAN Pigeon River. Little East Fork. The Doctor is on his exit, stops at the bed. MRS. MORGAN I'm sorry. I do n't know what he's saying. DOCTOR They ramble. Names of loved ones. MRS. MORGAN -LRB- listening to Inman. -RRB- Pigeon River. Is that a place? Cold Mountain? The Doctor shrugs, not a detective, moves on, stops at the man in the next bed. Has a brief look, calls to a nurse. DOCTOR This man is dead.\",\n \"EXT. BLACK COVE FARM. LATE AFTERNOON Monroe and Ada are outside, a picnic at the summer table, autumn leaves blowing up around them. Nearby the charred skeleton of the barn. Ada gets up, clears away. MONROE Thank you. -LRB- staying her for grace. -RRB- For your Providence, Oh lord, we thank you. ADA Amen. That was the last of the ham. MONROE It was delicious. ADA I have to learn how to cook. MONROE I was going to say something in Chapel. Perhaps some of the womenfolk will volunteer. ADA I ca n't have people coming here and cooking for me! MONROE It's my fault. I should have raised you less like a companion and more like a young woman. I'm sorry. ADA I'm not sorry, but I do n't know how we'll get through another winter. MONROE Will you play me something? Something peaceful while I look over my sermon. Ada takes the dishes away. He gets out his papers, his pen and ink.\",\n \"INT. PARLOUR, BLACK COVE FARM. DUSK ADA PLAYS THE PIANO. Chopin's Prelude in E Minor. Outside in the garden, Monroe has adjourned to his striped campaign chair, and is hunched over his notes. The door of the parlour is open and the music floats over to him as he works. Ada plays. A FEW SPOTS OF RAIN appear at the window. Then the steady drumming of a summer shower. ADA -LRB- still playing. -RRB- Daddy, bring the tablecloth in with you! She plays some more. Monroe has n't come in. The rain splashes on to the window. ADA Daddy, come inside before you drown! After a few more bars, she stops playing and, curious, goes to the door. She stands at the doorway. MONROE'S SERMON IS CAUGHT IN THE WIND AND BLOWS AROUND HIM, THE INK RUN TO ABSTRACTIONS, his hand dropped and visible to Ada as, with dread, she approaches. SHE CATCHES THE SODDEN PAPERS, CHASING AFTER THEM, THEN REACHES HER DEAD FATHER. He's like a fish, his face shining with the rain, and glass eyed. She leans in to him, her head to his heart, then runs, oblivious to the rain, her dress already drenched, runs down the lane. ADA -LRB- V.O. -RRB- Dear Mr. Inman.\",\n \"INT. HOSPITAL, CHARLESTON. NIGHT INMAN'S FACE as he drifts in and out of consciousness. Mrs. Morgan, the hospital volunteer, sits by Inman's bed. She holds ADA'S UNOPENED LETTER, badly weather damaged, the pages stuck together, the writing blurred where the ink has run. MRS. MORGAN It's come to you by way of Virginia. There are various dates, which she decodes. MRS. MORGAN It's not too recent - written this past winter. I'm afraid I ca n't read who it's from. Dear Mr. Inman,\",\n \"INT. BLACK COVE FARM. NIGHT Ada is writing at her father's desk. A lonely room. ADA -LRB- V.O. -RRB- - I'm still waiting, as I promised I would, but I find myself alone and at the end of my wits -\",\n \"INT. HOSPITAL, CHARLESTON. NIGHT Mrs. Morgan reads to Inman, trying to decipher the letter : MRS. MORGAN - at the end of my wits, so now I say to you, plain as I can, come back to me. Come back to me is my request. -LRB- ca n't read the next bit. -RRB- Then something I ca n't read, something, come back to me. Inman is very still. Then, eyes glinting with determination, gives a TINY NOD. OFFICIAL -LRB- O.S. -RRB- By order of Zebulon Vance, Governor of this great state of North Carolina : any soldier turned deserter is guilty of treason and shall be hunted down like a dog.\",\n \"EXT. COLD MOUNTAIN TOWN. DAY Ada walks down the hill from the Chapel. There is an absence of young people, but the older folk are gathered round the General Store where a UNIFORMED OFFICIAL is reading from a document. OFFICIAL - Any man takes in a deserter is likewise guilty of treason. The Official is flanked by Teague, Bosey and the twins, puffed up with self - importance. Ada has to walk around him to enter the store. OFFICIAL The Home Guard is powered to enter any place it sees fit, without notice or constraint. Names of all deserters will be posted in every town, published in every newspaper.\",\n \"INT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY The Official continues outside as Ada enters. Ada approaches Mrs Castlereagh, the owner. ADA Is there a letter for me? MRS. CASTLEREAGH Nothing - we're getting no post through at all - although if you slip out back the material you ordered has arrived. They go to the back of the store, to a screened - off area. Mrs. Castlereagh hands her over a packet of material. There's another, more furtive, transaction to take place. Mrs Castlereagh hands over a second parcel as if it were narcotics. Ada tears at the wrapping. It's a parcel of books. MRS. CASTLEREAGH If folks knew I was taking deliveries from the North. ADA I know. Thank you so much. MRS. CASTLEREAGH The sooner we lose this war the better. Already one boy gone, another with his leg took off at the knee. That's enough. ADA What do you hear? MRS. CASTLEREAGH All I know is they say not one boy in ten from these mountains is coming home again and most of them are deserters.\",\n \"EXT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY Ada emerges, almost collides with Teague. She wriggles past him, tries to make her package invisible.\",\n \"EXT. APPROACH TO BLACK COVE FARM - DAY IT'S WINTER. A solitary RIDER jogs his horse through the frost, towards Black Cove farm. Ada is working at a handpump, failing to coax water from the well. She's wrapped in blankets. The farm is somewhat unkempt and so is she. The hem of her skirt is frayed. She rips at it tearing off a strip of material, which she binds around the handle in an attempt to thaw the mechanism. Then she looks up to see the horseman approaching. It's Teague. Ada immediately heads inside the house. Teague arrives at the house, takes a brace of RABBITS from his saddlebag. He heads for the gate. The gate needs oiling, the path is overgrown, he looks at the pump handle, the abandoned pitcher. Ada opens the door, pinning her hair. TEAGUE It's taken me too long, but I've come to pay my respects. ADA Thank you. TEAGUE -LRB- hands over the rabbits. -RRB- I reckoned you might need fattening up. Ada takes them. She is very queasy with these dead animals. TEAGUE This house must bring bad luck. Killed my granddaddy to lose it, then my daddy died on account of not having it, then your daddy died on account of getting it. We should burn it down. ADA Did n't somebody try? TEAGUE Lot to manage without help. Need a hand with that pump? ADA No. TEAGUE I'm happy to volunteer. ADA But not to volunteer for the war? TEAGUE The war? I wanted to go. But you know : too old, too literate. Plus I got no spleen. Lost it from a horse's kick. ADA You've got no spleen. TEAGUE That's the thing about an organ. You do n't know you need it till you lost it. -LRB- suddenly busy with a bayonet. -RRB- I want to clear this path. I can just as soon do it and talk as stand around and talk. Then you can say men beat a path to your door. ADA I'd really prefer it if you did n't do that. TEAGUE Would you rather I did my job? -LRB- scything at the path. -RRB- See if there's any material I should confiscate. For the war effort. ADA I was raised in the good manners of the South where a gentleman does n't enter a house with a woman alone. TEAGUE -LRB- now he's at the pump. -RRB- Good manners did n't quite make it to these mountains. If it do n't yield meat, or you ca n't sit on it, or suck on it. -LRB- he gets the pump going, water pours out. -RRB- And you're sleeping all right? These cold dark nights? ADA I'm sleeping fine. TEAGUE It's going to be a long hard winter. He turns and stops at the gate, runs his hands through his hair and uses the grease to ease the hinge. Then steps up onto his horse, and rides away. Ada watches him. Shudders.\",\n \"INT. BLACK COVE FARM. NIGHT Ada comes into the kitchen. A weak oil - lamp reveals THE TWO RABBITS, partially covered on a plate, flies buzzing around them, a little liquid leaking from them. Ada takes a knife and contemplates skinning gutting them. Suddenly she gathers them up and runs out.\",\n \"EXT. BLACK COVE FARM. NIGHT ADA BURIES THE TWO RABBITS. The wind howls. She covers the little hole with soil and stones. Pumps out water to wash her hands. Thinks she hears a noise, listens, alert to any unfamiliar sounds, then hurries back to the house.\",\n \"INT. BLACK COVE FARM. NIGHT Ada comes inside, she closes the door. Locks it. Puts a chair against it. Goes upstairs, to her bedroom.\",\n \"INT. BLACK COVE FARM. NIGHT Ada enters her bedroom. It's a chaos of books, clothes, dishes. She closes the door, sets another chair against it. Then drags her armchair up against that, books and papers spilling onto the floor. She props up Inman's portrait, on, the chair, as if he were guarding her. Sits on the bed and, desolate, begins to write :\",\n \"EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAY ADA -LRB- V.O. -RRB- Should I imagine you are dead and, that it is to your spirit I am writing? No word from you in all this time. If you receive this please know I am here and warring, too, with a faint heart. THERAPY FOR WOUNDED SOLDIERS. Some of those convalescing swim or are helped to paddle in the healing sea. There are rudimentary wheelchairs. Inman, a long way from home, is amongst those sitting in one of these, very still, grey and sick - but alive. He pulls at the dressing on his neck, exposing the still raw and livid wound to the sea air. Inman has his Bartram, his bookmark is the battered and foxed picture of Ada, which he considers, before continuing to read. Behind him A HUNDRED SLAVES AT WORK IN THE FIELDS, and behind them the Mansion which has become the hospital. A series of bells, of shouts, and the slaves stop working, prepare for the long walk home, congregating, then forming a line, herded by the foremen. Inman eases his position to bend over and dip his bandage in the seawater. He brings the wet bandage to his neck, considers the ocean, his fellow ragtag of wounded, the slaves, the great fields, the Mansion. The whole meaning of this war around him. A GRAVEL VOICE STARTS TO SING THE BLUES, CONTINUES AS -\",\n \"EXT. HOSPITAL, CHARLESTON. DUSK The men return to the Hospital. A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire. HE'S SINGING AS -\",\n \"EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY - A tintype of OAKLEY is added to the Chapel's votives, hammered in alongside Rourke and Butcher. There are fifty or more images now, the paint flaking around them. The exterior of the Chapel, three years on, has taken on the burden of recording history. There is no minister, no services, just the votives, daguerreotypes or simply the names of those missing in action, accompanied by tiny vases of wildflowers. The town shrouded in mist, and quiet.\",\n \"EXT. BLACK COVE FARM. SPRING. DAY EVERYWHERE SIGNS OF PROFOUND NEGLECT, like a Grimm's fairy tale of a deserted house. The fields are overgrown with weeds, the gardens abandoned. The chickens have deserted the henhouse and are wandering around the outbuildings, scuffing at the packed dirt. Sally and Esco come up the overgrown path, avoiding the chickens, and knock at the door. SALLY Ada! Ada, It's Sally. They're seen from ground level, through a boxwood, as their feet patrol the ground, turn away from the door, and then retreat, their voices drifting away. Ada is there, crouching in her hidey - hole, a blanket on the ground, her book. She wants to reveal herself, but is too embarrassed. ESCO Will you look at the state of this place! SALLY Poor soul. She's got nobody and nothing and three hundred acres of misery. During this a ROOSTER, black and gold, struts into the boxwood. As the rooster approaches, Ada shudders, tries to shoo it away without alerting her presence. Ada peers through the boxwood as Sally and Esco close the gate and recede. The rooster comes at her again. She rises up, kicking out at it, while he flares his wings, spurs flaying at her. Ada runs from the boxwood, tormented by the triumphant rooster, which continues to fly and scratch, driving her into the house.\",\n \"INT. ADA'S BEDROOM BLACK COVE FARM. DAY Ada dabs at the scratches, her dress rolled down to the waist to reveal her arms and shoulders. Now she shucks off the dress completely and tries to find a clean replacement. There is n't one, so she hunts through the overflowing laundry basket for something less dirty.\",\n \"INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY Ada enters her father's room, wearing undergarments. Everything as he left it and, in contrast to the rest of the house, extremely tidy. She opens a wardrobe, finds one of his coats, puts it on. It's much too big, and she rolls up the sleeves, catches her pinched face and disheveled face in a swivel mirror. She turns the mirror away and the image swings into -\",\n \"EXT. GATES OF HOSPITAL, CHARLESTON. DAY - the figure of Inman walking, frail, grey. A kind of lurching walk, as if his balance is n't guaranteed. He gets close to the gate and interests a Guard, on the lookout for would - be deserters. A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire. He's always singing. Inman approaches. When Inman speaks, his voice is a croak. BLIND MAN Getting better all the time. INMAN Seems that way. BLIND MAN I would n't hurry. War's almost done. INMAN Where'd you take your wound? BLIND MAN Before I was born. Never saw a thing in this world, not a tree a gun or a woman. Though I put my hand on all three. Couple of things I felt back there I'd sure liked to have had a long look at. He's shoveling some peanuts into a twist of paper. INMAN What would you give for that? To have your eyeballs back for ten minutes? BLIND MAN Ten minutes! Would n't give an Indian head cent. I fear it might turn me hateful. INMAN That's sure what seeing's done to me. BLIND MAN That ai n't the way I meant it. You said ten minutes. It's having a thing and then the loss I'm talking about. INMAN Then we do n't agree. There's not much I would n't give for ten minutes of someplace. BLIND MAN Someplace or someone. INMAN Same difference. BLIND MAN You watch yourself. They're shooting men who take themselves a walk.\",\n \"EXT. TREE PROMENADE, CHARLESTON. DAY Inman and a bunch of other walking wounded make their way, under supervision, towards the town. The grandeur of the approach, the carriages. The sorry state of the soldiers.\",\n \"INT. COURTHOUSE, CHARLESTON. DAY TWO GREAT TRESTLE TABLES, LOADED WITH CLOTHES. Underneath the tables, boots - laced together, origins various. The charitable womenfolk are helping match clothes to recovering soldiers, some of whom are still on crutches, or in wheelchairs. Inman finds a black dresscoat, some pants, a pair of boots. He accumulates a little pile. On his way out, AN ELDERLY AND STAUNCH CONFEDERATE GENTLEMAN shakes his hand and gives him an apple from the barrel.\",\n \"EXT. TEMPORARY BARBERSHOP, CHARLESTON. DAY Inman emerges from the Courthouse and joins the line for a shave at the makeshift barbershop set up outside the Courthouse. Two barbers, two chairs. A VERY ELEGANT SQUARE, SOME STUCCO - FRONTED BUILDINGS, A GLIMPSE OF THE MONEYED SOUTH IN SHARP CONTRAST TO THE MODEST TOWN OF COLD MOUNTAIN. AN AUCTION HOUSE OPPOSITE ADVERTISES SLAVES, CATTLE, LAND. BARBER Next. Inman settles in the seat. The Barber contemplates his scraggy beard, the livid, scabbed wound on his neck. BARBER -LRB- nervous. -RRB- I'll cut your hair, but I ai n't about to shave you. That thing opens up, your head's liable to falloff.\",\n \"INT. HOSPITAL, CHARLESTON. PREDAWN It is almost dawn. The window by Inman's bed is a frame giving onto the still dark world. The Night Guard passes by on its patrol of the perimeter. A CLEAN - SHAVEN INMAN IS FULLY DRESSED UNDER THE COVERS. He gets his hat, pushes his book into his knapsack and, with one step up, WALKS OUT OF THE WINDOW AND INTO THE WORLD.\",\n \"EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAWN Inman, his footprints in the sand, as he hurries along by the edge of the ocean, away from the hospital.\",\n \"EXT. SWANGER FARM. DAY - as Ada walks, the wind kicking up around her, past the Swanger place. She's bent and curiously dressed in her father's coat. SALLY -LRB- V.O. -RRB- Ada. Sally Swanger calls out from the field. She's concerned at Ada's gaunt, ragged appearance. Ada waits for her approach. SALLY You're skinny as a whippet, girl - you're coming indoors with me. ADA I ca n't. I'm not - I need to clean some clothes. SALLY Great God, you ever looked at my husband! I ca n't get him to wear decent Church clothes Christmas morning. Hang on to me, the wind'll blow you over. And she folds her arm into Ada's. They walk up the lane.\",\n \"INT. SWANGER FARM. AFTERNOON Ada eats. Esco across from her contemplating her evident appetite, the oversized man's jacket. Sally ladles more food onto Ada's plate. SALLY Do n't go back to that dark house. There's a bed here, least till our boys get home. ESCO That your daddy's coat? ADA I was saying to Sally, I was n't expecting to be visiting, so. ESCO Do n't suit you. He starts to chuckle, then Ada, too, then Sally. ESCO I ca n't get up to your place this week. -LRB- of Sally. -RRB- She's mad at me - ADA I do n't expect - ESCO - more than I can do to keep this place half - managed. I'm ready - to stop, I tell you. I just want to sit on my porch with Sal, watch my boys in the field, holler good job! every hour or so. SALLY What about your people in Charleston? ADA There are no people. And no money. My father had some bonds and investments. They're worthless now, of course, the war has. they're not worth anything. -LRB- they look at each other. -RRB- I love it here. In spite of everything. ESCO And waiting on a feller. A look from Sally. ESCO Look down our well. -LRB- Sally's disgusted with him. -RRB- She should! Look down our well with a mirror, you'll see the future. S'what they say. -LRB- to Sally. -RRB- You do it! Do n't make that face. SALLY I know it ai n't rightly Christian, but it's what folks do, like when they dangle a needle over the belly to see if you're carrying a boy or a girl. ADA What kind of mirror?\",\n \"EXT. YARD, SWANGER FARM. LATE DAY AN IMAGE - DISTORTED, WATERY. IT'S HARD TO RESOLVE BUT COULD BE A CORRIDOR OF TREES. THE SUN LOW AT ONE END, THE SILHOUETTE OF A FIGURE WALKING SLOWLY FORWARDS, A SUDDEN DISTURBANCE OF CROWS. Ada is bent backwards over the well, a hand mirror glinting down into the blackness. The reflection is elusive against the bright evening sky, the sun almost set, and low. ESCO See anything? ADA I do n't know. SALLY I tried many a time, never saw a dickybird. The image is clearer. The trees sharpen, the figure walking, the steep incline of the corridor, all fiercely black and white as if it were a carpet of snow and black hieroglyphs of trees, and crows flying. The trick of the glass and the watery disc of the well surface. A buzzing in Ada's ears, something like a distant music. Then the figure seems to suddenly pitch forwards, but at that moment, Ada - canted over, getting dizzy has to move and the image flies away, replaced with the sky, the flash of the setting sun. SALLY You all right? Ada's faint. She sits up, blank, a little shaken. ADA -LRB- V.O. -RRB- Yesterday I found myself crouched over a well like a mad woman, which I suppose I have become\",\n \"EXT. PLANTATION. DAY Inman walks along an expanse of marshland. Great cranes fly heavily over him. ADA -LRB- V.O. -RRB- - and staring down into its secrets, I thought I saw you there, walking back to me -\",\n \"EXT. BLACK COVE FARM. LATE AFTERNOON Ada is writing in her father's campaign chair, a blanket wrapped around her, a rake propped next to her. ADA -LRB- V.O. -RRB- - or wished I did. RUBY -LRB- O.S. -RRB- That cow wants milking. Ada looks up from her writing with a start. She covers her letter, guiltily, instinctively. In front of her, at the gate, is A YOUNG RAWBONED, FERAL WOMAN, OF INDETERMINATE ORIGINS. She is barefoot, and dressed in a hand - dye _ shift of blue. Her name is RUBY. RUBY If that letter ai n't urgent, the cow is - is what I'm saying. ADA I do n't know you. RUBY Old Lady Swanger says you need some help. Here I am. Ada is instantly defensive, intimidated. ADA I need help, I need, I do need help, but I need a laborer - there's plowing and rough work and - I think there's been a misunderstanding. RUBY What's the rake for? ADA The rake? RUBY Ai n't for gardening, that's for sure. Number one - you got a horse I can plow all day. I'm a worker. Number two there's no man better than me cause there's no man around who ai n't old or full of mischief. I know your plight. ADA My plight? RUBY Am I hard to hear cause you keep repeating everything. I'm not looking for money, never cared for it and now it ai n't worth nothing. I expect to board and eat at the same table. I'm not a servant. Do you get my meaning? ADA You're not a servant. RUBY People'll have to empty their own night jars, that's my point. ADA Right. RUBY And I'm not planning to work while you watch neither. ADA Right. RUBY Is that a yes or a no? ADA -LRB- looks at Ruby. -RRB- Yes. RUBY There's half the day yet. Let's make a start. My name's Ruby. I know your name. ADA The rake : there's a rooster devil, I'm sure of it. He's Lucifer himself. I go near him he's at me with his spurs. RUBY I despise a flogging rooster. Where is he? Ada gets up, nods to the corner of the yard. Ruby goes over. The Rooster gathers himself up for a new opponent. IN ONE MOVEMENT SHE PICKS UP THE BIRD AND TWISTS OFF ITS HEAD. RUBY Let's put him in a pot.\",\n \"EXT. CORNFIELDS. DAWN Inman's walking on a track which passes through cornfields, the crop high and thick around him. He stops, hearing something. Riders. He wades into the field, seeking cover in the tall crop, lying in the dirt. Horses appear. HOME GUARD MEN ON PATROL, A CHAIN GANG OF PRISONERS : SLAVES, DESERTERS IN TOW, A COUPLE OF FEDERAL SOLDIERS. They have dogs, which sniff and growl, intrigued by the fields, called back by the Home Guard. Inman waits until they're well out of sight. AS HE GETS TO HIS FEET IN THE GREAT FIELDS, ANOTHER BODY APPEARS, THEN ANOTHER, THEN ANOTHER, THEN ANOTHER, ALL SLAVES ON THE RUN DOTTED AROUND THE FIELD. He walks to the road, paying no heed to them. They assemble, paying no heed to him and move off in the opposite direction. Inman turns, looks at them. INMAN Hey! -LRB- they stop, turn. -RRB- I'd pay a dollar for an egg. A piece of cheese. They look at him, then continue on their way.\",\n \"INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN Ada wakes up to persistent knocking. RUBY Ada? Ada? You up? ADA Yes. -LRB- opening her eyes. -RRB- It's still dark. RUBY Tell the cows that. It's late.\",\n \"INT. KITCHEN, BLACK COVE FARM. PREDAWN Ada enters blearily, clutching her novel. Ruby already busy. ADA I have to eat something. RUBY Then you have to get up earlier. -LRB- at Ada's book. -RRB- What's that? ADA A novel. RUBY -LRB- heading outside. -RRB- You want to carry a book carry one you can write in -\",\n \"EXT. BLACK COVE FARM. DAWN Ruby emerges, followed by Ada, chewing on a tomato. RUBY - we got our own story. Called Black Cove Farm : a catastrophe. She looks back at Ada for a reaction. RUBY I can spell it, too. C - a - t - a - s - t - r - o - phe. Learned the same place you did, in the schoolroom. That's one of the first words they taught me. Ruby Thewes, you are a ca - t - a - s - t - r - o - p - h - e. They're heading for the stable.\",\n \"INT. STABLE, BLACK COVE FARM. DAY Ruby's already pitching hay. Turns to Ada. RUBY You mucking out? Ada half - asleep, obedient, stunned by this energy. RUBY Three years I was in school before my daddy - saying God rest his soul is like wishing him what he had in life, cause he lived to rest, he was born tired - before my daddy decided there was better use for my backside than have it sat all day in front of a blackboard.\",\n \"EXT. A FIELD OF WEEDS, BLACK COVE FARM. DAY Ruby dictates a list to Ada as they bustle along. RUBY Number One - layout a winter garden for cool season crops : turnips, onions, cabbage, greens. Ada scribbles, walks, scribbles.\",\n \"EXT. BARN, BLACK COVE FARM Ruby up a ladder, inspecting the roof. RUBY Number Two : patch the shingles on the barn roof. Do we have a maul and froe? ADA -LRB- writing, holding the ladder. -RRB- Maul? RUBY M - a - u - l. ADA I have no idea.\",\n \"INT. COLD HOUSE, BLACK COVE FARM. DAY Ruby cleans out leaves and detritus from the stone channel, allowing the stream to flow free and cool. RUBY Number three : clay crocks for preserves. Tomatoes. Beans. Jams.\",\n \"EXT. BOTTOM FIELD, BLACK COVE FARM. DUSK Ruby doing her version of soil analysis, scrunching the earth, tasting it, spitting it out. Ada makes a face. RUBY Clear and turn this field. No harm done letting it go fallow, now we'll do well.\",\n \"EXT. OUTBUILDINGS, BLACK COVE FARM. AFTERNOON Ruby looks up. Ada catches up with her. RUBY Number fifteen ADA Sixteen. RUBY Number sixteen : let's get a martin colony going in the Gourd House. Keep away crows. You got one thing in abundance on this farm and that's crows. ADA What's a Gourd House?\",\n \"EXT. APPLE ORCHARD, BLACK COVE FARM. DUSK Ruby, delighted, contemplates the bounty of apples. RUBY There's survival. On them trees. -LRB- turns to an exhausted Ada. -RRB- You got a cider press or would that be wishing on a blessing? ADA Actually, yes, I think we do. Ruby whoops, jogs away. Ada, exhausted takes a bite of an apple, watches her.\",\n \"EXT. A BLUFF. NIGHT INMAN WALKS A ROCKY TRACK, FALLING AWAY TO THE RIVER AT ONE SIDE, A STEEP CLIFF TO THE OTHER, the way itself broken and precarious, bad country to meet an enemy. Inman sees A LIGHT in the distance, a torch flicking in and out of view, like a star to follow. He stops, narrows his eyes to focus on the view, listening hard. He pulls out the Lemats. A MAN, ALL IN BLACK, A HORSE IN TOW, IS AT THE EDGE OF THE GORGE. The horse has a burden - a sack or wrapped bundle draped over either side of the saddle. The attempts to heave the bundle onto his shoulders. He ca n't, and the bundle slips to the ground, cover falling enough to glimpse an arm, a head. IT IS THE BODY OF A BLACK GIRL. The man tries again to lift her. He's clearly upset, despairing, his hat comes off to reveal long, dandy's hair, all extravagant curls. He staggers with the weight of the girl, heading for the lip of the deep gorge. He kisses the girl again and again, cheeks, mouth, mumbling to her. He's at the edge now and can just let her go. THEN INMAN'S GUN IS AT HIS TEMPLE. INMAN Do n't let go. Just back up, nice and steady, do this all in reverse, you're going to end up with her draped back over your animal. VEASEY Do n't pull that trigger. I am a man of God. INMAN I've killed several of them. VEASEY I mean I am God's minister. INMAN What part of God's business is throwing a woman down a gorge. VEASEY A slave woman, can you see that in this light? She's black as a bucket of tar. He's retreating, on his way back to the horse. INMAN Is she dead? VEASEY Drugged her. Like you would a butterfly. And I care for her, that's the heartbreak of it. He has the girl back on the horse. Inman brings the torch up to his face. It's tear - stained. VEASEY She's got my bastard in her belly. What kind of pistol is that I never saw the like of it?\",\n \"EXT. VEASEY TOWN. NIGHT Inman leads the horse, with Veasey ahead of him, hands tied behind his back, desperate for a reprieve. VEASEY I'm begging you. It's better you blowout my brains than return me to this place. INMAN Where does she live? VEASEY In our house. She sleeps in our kitchen. You do n't know me, friend, but the good Lord punished me with want. I am all appetite. That's all I do all day is want : food, the female parts. INMAN Shut your mouth. I do n't want a sermon every time I ask a question. They're in the town's main drag now. There's a Chapel and next to it, a small house. INMAN This your place? VEASEY Dear God of misery. INMAN You're going to put her back where she sleeps. VEASEY I do that the Members will lynch me. Consorting with a nigger, adultery, siring a bastard while serving as their preacher. We're a strict congregation we've churched men for picking up a fiddle on the sabbath. INMAN So you reckoned to kill her. Disgusted, Inman approaches the front door of the house. VEASEY There's a back door. Have pity. And he leads Inman down a side path.\",\n \"INT. VEASEY HOUSE. NIGHT Veasey comes in, now carrying the girl. Inman comes behind, the gun trained on Veasey as he sets her down by the fire. VEASEY -LRB- whispering. -RRB- Thank you. I was going to do a grievous wrong. He looks longing at the girl as he puts the blanket around her shoulders. He turns to Inman. VESEY You tasted dark meat? Sweet as liquorice. I think I should go back up to my wife. She wakes at the slightest noise. Inman is incredulous that he thinks he can just go to bed. INMAN You find me some paper and a pen.\",\n \"EXT. CHAPEL, VEASEY TOWN. DAWN INMAN HAS TIED A VERY DISTRAUGHT VEASEY TO A TREE IN FRONT OF HIS CHAPEL. Inman is pinning a sheet of paper above Veasey's head. It's covered in handwriting. A dog barks. VEASEY You're not entitled to judge me! You're nothing but an outlier, plain as daylight! Inman has pulled a handkerchief from Veasey's jacket. He stuffs it into his mouth, cutting this diatribe short. And then he walks away leaving Veasey tied to the tree, cursing through the handkerchief.\",\n \"INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN Ada asleep. Ruby enters, shattering the calm. RUBY Morning. Pigs : you have any loose in the woods? ADA No. What? No. We bought our hams. RUBY There's a world more to a hog than the two hams! Lard, for example, we'll need plenty - She picks up some discarded laundry, contemplates the overflowing laundry basket. RUBY The catastrophe of Ada Monroe's laundry. -LRB- marching out. -RRB- I can feel you shutting your eyes.\",\n \"EXT. BOTTOM FIELD. BLACK COVE FARM. DAY Ada and Ruby working with the horse to make the beginnings of A SPLIT RAIL FENCE. As they struggle with a heavy rail, Ruby is testing Ada. RUBY What's this wood? ADA I do n't know. Locust? RUBY Where's North? ADA North is, North is - RUBY Name me three herbs growing wild on this farm. ADA -LRB- frustrated with Ruby and with herself. -RRB- I ca n't! I ca n't! All right? I can talk about farming in Latin. Will that do? I can read French. I know Harmony and Counterpoint. I know my Bible. I can name the principal rivers of Europe, but do n't ask me to name one stream in this county. I can embroider, but I ca n't darn, I can arrange cut flowers, but I ca n't grow them. If a thing has a function, if I might do something with it, it was n't considered suitable. RUBY Why? ADA Ruby, you could ask why? about pretty much everything to do with me. They manage to get the first line of rail set down. ADA This fence is about the first thing I've ever done that'll produce an actual result. RUBY So you never wrapped your legs around this Inman? An old - fashioned look from Ada.\",\n \"EXT. SUNKEN FOREST. DAY Inman finds himself in A SUNKEN FOREST OF PINE. He moves warily, his beard longer, his figure gaunt, his clothes weathering to a uniform smudge of charcoal. He hears DOGS BARKING IN THE DISTANCE, FAINT SHOUTS. He picks up his pace, skirts round the swampy lake.\",\n \"EXT. CAPE FEAR RIVER. DUSK Inman comes to the bank of a HUGE RIVER. The water, as the light begins to go, is the color of mud, with bubbles, belching to the surface, full of ugly prominent. Inman is almost jogging now, an ear tracking his still distant pursuers. The river is too wide to contemplate swimming and now it begins to curve left, forcing him - against his judgment, to circle back. He approaches A SMALL JETTY. A sign : Ferry $ 5. Yell Loud. On the far bank there's A CABIN ON STILTS above the highwater mark. Inman calls out, reluctantly, his voice still a kind of growl. Then again. A TINY FIGURE steps out of the cabin and waves before jumping into a small canoe. The canoe heads against the current, the rower's back bent with the effort. As the canoe approaches, Inman sees that the ferryman is, in fact, A YOUNG GIRL, not eighteen. She does n't look at him. He produces five dollars. She eyes the bill with contempt. FERRYGIRL For five dollars I would n't give a parched man a dipper of this riverwater. INMAN Sign says ferry, five dollars. FERRYGIRL This look like a ferry? My Daddy's dead, or gone off to the Federals, do n't matter which. I'm the way across now. INMAN What's the name of this thing? FERRYGIRL Nothing but the mighty Cape Fear River, is all. A dog barks in the distance. Getting closer. Inman turns to the sound. The Ferrygirl is well aware of her leverage. FERRYGIRL Nobody crosses this water unless they're running from someplace. Some cross one way, some the other : makes no difference, they're all running. You want to wait for your friends? INMAN I can give you thirty dollars script. FERRYGIRL Let's go. VOICE -LRB- O.S. -RRB- Hey! Hey! Wait! Inman is astonished to see VEASEY stumble out of the trees. His head is shaved, his face bruised and swollen, his clothes castoffs and ill - fitting, cinched at the waist with rope. He stumbles towards Inman, urging him to get on with the journey. VEASEY Keep going. We're both in trouble. He gets straight into the canoe. INMAN No. Get out. VEASEY It's Homeguard. Made me tell them all about you. INMAN I should have shot you when I had the chance. Shouts, more barking. Inman jumps in the canoe, and they're off. The Ferrygirl turns the boat around, rows them away from the jetty with the grace of someone doing something for the thousandth time. VEASEY I'm not looking for revenge, by the way. For what you did to me. No, I'm a Pilgrim now, like you, traveling the road, paying our dues, relying on the kindness of strangers. INMAN You're nothing like me and the last thing I want right now is a conversation. VEASEY -LRB- to Ferrygirl. -RRB- You recall Job in the scriptures? I will give free utterance to my complaint. I will speak in the bitterness of my soul. That's our friend here. -LRB- to Inman. -RRB- They cut off my hair. Which was hard. I was vain about my hair. -LRB- to Ferrygirl. -RRB- I had good curls. But I deserved it. I'm the Reverend Veasey. Have I seen you in church? Inman sits, scouring the bank for sign of his pursuers. The sun is sinking fast. FERRYGIRL I'm saving for a cowhide, and when I get it I aim to get a saddle made, and when I get me a saddle I'll save for a horse, and when I got a horse I'll throw on the saddle, and then you wo n't see my sorry ass round this swamp again. She has no love for the river. Another gurgle of viscous bubbles around the canoe. VEASEY What's that? FERRYGIRL Catfish. ` gator. Keep your hand in the boat. Already looks like some critter chewed his neck. -LRB- she looks at Inman. -RRB- Thirty more dollars, we can go to the cabin. I'll pull this dress over my head. VEASEY -LRB- excited. -RRB- Have we got thirty dollars? A sharp sound, a tiny thwack of ball on meat. The Ferrygirl SUDDENLY SLUMPS BACK and falls into the water. Veasey grabs out at the oar, but it goes, too. The girl sinks quickly, A BLOODY GAP to the side of her head. Inman, on his knees and stretching, ca n't help her. Then a second noise as A HOLE THE SIZE OF A FIST appears in the canoe, just at waterlevel. Water pours into the canoe. Dogs bark, and now FIGURES are visible at the jetty. HOME GUARD. One of them has a sniper's rifle and is loading for a third shot. Inman can see him sighting the rifle. They lie flat in the canoe. ANOTHER GREAT FIST OF WOOD is gouged out. Now the boat is almost full of water. Veasey spits out a foul mouthful. INMAN ROCKS THE CANOE AND LETS IT TURN OVER ONTO THEM, Veasey surfaces from under it, clutching the wood as a raft, but the canoe CATCHES INMAN A BLOW TO HIS HEAD and he sinks. Veasey hauls him to the surface and, surprisingly strong, holds him with one fist, the boat with the other, lets the current take them, pulling them under, then up, under, then up, but clinging on, as the rifle continues to deliver its assault, another shot into the boat, another into the water near to Veasey's arm. THE GIRL'S BODY comes by them, carried by the river, the dress billowing out almost covering her head. The sun has gone, the light fading, the canoe sliding downriver away from their aggressors.\",\n \"EXT. ANOTHER PART OF THE CAPE FEAR. NIGHT In the moonlight, the canoe drifts into the muddy bank and Veasey drags a half - drowned Inman to land, both of them retching with the vile river water. AN ALLIGATOR eases into the river not ten feet from where they lie, lungs heaving. They get up. Veasey to his feet, Inman to his knees. VEASEY You okay? Inman nods, coughs. And Veasey AIMS A KICK at Inman's head, knocking him back into the mud. INMAN Jesus, god! VEASEY I figure that righteous, given our history. Otherwise I'd bear a grudge on our journey. INMAN There's nowhere I'm going with you except to Hellfire!\",\n \"INT. ADA'S BEDROOM. BLACK COVE FARM. NIGHT Ada, her hair plaited in a new and simpler configuration, is working on Ruby's hair, while Ruby experiments with some earrings. A pile of Ada's jewelry on the bed beside them. ADA Agricola poetis viam non monstrat. RUBY Which means? ADA The farmer does not point out the road to a poet. RUBY Which means? Should be the other way round ADA Which means, I suppose, which means the poet should know where he's going. RUBY -LRB- of Ada's hairdressing. -RRB- It's no wonder you're helpless and hopeless if it takes this long to fix your hair. -LRB- of the Latin. -RRB- Say some more. ADA Terra mutata non mutat mores. -LRB- ca n't believe she knows all these phrases by heart. -RRB- It's appalling what's in my head. RUBY It's appalling what's in my head? ADA No, it means : A change of place does not change a character. RUBY Well that's surely true even in English. ADA You can keep those earrings. RUBY We ca n't keep anything. ADA I have to keep the bangles. They were my mother's. RUBY Well that's all. The rest is for trading. Else they can bury you in your finery. ADA -LRB- of her hair. -RRB- You're done. There's a small mirror on a stand. It has Inman's picture stuck in it. She picks it up, removing the tintype, and holding it up for Ruby to see her hairstyle. RUBY Good God! Okay. She takes the mirror and shows Ada her simple plait. ADA I like it. RUBY Takes two minutes. That's what I like. She puts the earrings back in the pile. RUBY How much do you love that piano?\",\n \"EXT. BLACK COVE FARM. DUSK THE PIANO jangles down the rutted lane on the back of Mr. Roy's cart. Ada watches, A SMALL FLOCK of sheep milling around her in the path. Ruby is dragging a big sow towards the yard. Ada picks up one of two sacks and staggers towards the house.\",\n \"INT. KITCHEN, BLACK COVE FARM. DUSK Ada arrives in the kitchen. They've got it under control now, scrubbed and orderly. She puts the sack down next to another one. Her hands are calloused, the finger nails cracked and ruined, stripes of earth under them. Ruby comes in, struggling with the last sack, pleased. RUBY We're careful we'll get through the winter now. I made old man Roy give me ten of those sheep on account of I said they were so small put together they were no bigger than six proper sheep. ADA My father always wanted sheep on this land. RUBY I'm sorry you had to lose your piano. I cut off my hair once, for money. My daddy got two dollars for it. Made a wig for a rich feller in Raleigh. They're working as they talk, taking the sacks into the larder, putting out stuff for the evening meal. RUBY Stobrod called himself a musician - my daddy - he could play six tune on a fiddle. Got himself shot dead at Petersburg. I was like his goat or some creature tethered to a post. He left me once, up the mountains. I was eight. He was gone over two weeks. ADA Oh Ruby. RUBY -LRB- defiant. -RRB- I was all right! He'd walk forty miles for liquor and not forty inches for kindness. ADA And your mother? RUBY Never met her. We're the same in that regard. He said she was - he told me a thousand stories - she was a wolf or an indian or a donkey. Do n't say much for him, except you know he'd be fast to work up a sweat on a tree if he thought there was pleasure in it. There's a pause. Ruby not easy with her emotions. Abruptly she jumps up. RUBY There's cows to milk.\",\n \"EXT. RIVER, EN ROUTE TO SALISBURY. DAY Inman stands in the river, hoping to catch a fish, trying to concentrate. Veasey presides, complaining. VEASEY Used to be as regular as morning prayers. Matter of fact I could set my watch by my bowels. That beeswax you fed me, day before yesterday, it stops a man up. Open my gut now they'd find turds stacked up like little black twigs. On a parallel track across the river, RIDERS. impossible to say whether Home Guard or a Federal Raiding Party. Inman splashes out of the water, pushes Veasey down, silencing him. The riders pass. Veasey spots something shining in the grass, picks it up. IT'S A LONG TWO - HANDED SAW. VEASEY Hey! Look at this! -LRB- flexing it. -RRB- This is a good saw. INMAN -LRB- getting up. -RRB- It's not yours. You take it, you make us another enemy. You're a Christian - don' t you know your commandments? VEASEY You'll find the good Lord very flexible on the subject of property. We could do a lot with this saw. Inman is vexed, walks away. Veasey follows, experimenting with the saw's music when flexed. Inman stalks on.\",\n \"EXT. NEAR A FORD. DAY Inman way ahead, full of purpose. Veasey still has the saw, trots to catch up. VEASEY Why you in such a hurry the whole time? -LRB- no answer. -RRB- Hurry or slow the destination is always the same. It's only the journey that is different. That's either in the Good Book or I made it up. Inman suddenly stops, scowling, puts up a hand, listens. Inman carefully scouts the track then, with great caution, edges towards the river bank. A HEAVY SET MAN labours in the water. He's contemplating THE HUGE BLACK CARCASS OF A BULL which has slipped into the ford and died. The man is wet and exasperated. VEASEY Good day to you! The man turns, his spirit evidently lifted by the prospect of help. His name is JUNIOR. He's working on roping the animal. JUNIOR My old bull, wandered off and died in this here creek. Fouled up our water is how I found it. Veasey is immediately an authority on bull removal. VEASEY This is a tricky one. The three men contemplate the carcass, swatting away the swarms of flies. Junior offers a swig from a jug of liquor. Inman refuses, Veasey takes a long pull, shudders happily. VEASEY The name for the Bull's member is a tassel. I learned that and never forgot it. JUNIOR Reckon I need a train of mules. VEASEY -LRB- walking away. -RRB- I'm getting an idea. My saw is the remedy. Let's saw up some wood and make levers. INMAN Then what? VEASEY Lever him out. This'll work! He walks into the wood. JUNIOR Where you two sports heading? INMAN -LRB- inscrutable. -RRB- I do n't know where he's heading. I'm going down the road. And I got a good way to go before nightfall. JUNIOR -LRB- acknowledging his attitude. -RRB- Charitable of you to make a stop. Ai n't for me to be curious. VEASEY -LRB- emerges from the woods. -RRB- How do you work this damn thing? INMAN -LRB- to Veasey. -RRB- Give me that saw. -LRB- to Junior. -RRB- Come on. He takes the saw, walks to the bull, gets on one side, indicates Junior should go to the other. INMAN Let's do this in chapters. And they begin to SAW OFF THE BULL'S NECK. LATER, and they're in A VILE STEW OF BLOOD AND INNARDS. The stomach opens and its contents gush into the creek. Veasey is disgusted, draws back. The two other men haul up the rest of the animal onto the banks. They're exhausted. INMAN You might want to leave off that water for a day or two. JUNIOR There'll be a tang, I'd imagine.\",\n \"EXT. TRACK APPROACHING JUNIOR'S CABIN. EVENING Junior, Inman and Veasey come around a bend and there's A BIG CABIN LOOMING. It's in such poor repair that one end has slipped from the stones which serve as it's foundation and STANDS BADLY TILTED OVER. Junior roots up another hidden jug of liquor, which he drinks from, then hands to Veasey. JUNIOR There's my place. Hope you can stomach a yard chock - full of females. Brought my woman home, she showed up with her three so - called sisters and their brats. The noise in that place is something awful. It's why I go hunting. VEASEY -LRB- considering the wild camber. -RRB- Looks a bit crooked. JUNIOR It is on a bit of a tilt. Them females. They all roll down one end each night! VEASEY - Roll me over! JUNIOR - In the clover VEASEY One good fart - that'll tip over! They guffaw, delighted in the alcohol haze. Veasey suddenly exclaims, hand in the air, rushes into the bushes. VEASEY Oh God of my God! Hallelujah! Hallelujah! JUNIOR What's up? VEASEY The Israelites! The tribes of Israel are about to flee from the banks of Egypt! Hallelujah! INMAN -LRB- explaining to Junior. -RRB- He's got a shit coming on. It's overdue. JUNIOR -LRB- bewildered. -RRB- And he's a Preacher? Like a Christian? INMAN Like a Christian. JUNIOR Good God.\",\n \"EXT. JUNIOR'S CABIN. DUSK The three men arrive at the yard. DOGS AND CHILDREN MILL AROUND THE VISITORS. FOUR WOMEN COME OUT, one after the other each of them in simple shifts which seem to emphasis their voluptuousness, or so it seems to Veasey. They freely stare. JUNIOR These two boys is stopping for supper. They're on the road to Atonement. The women consider the men, then disappear back inside. VEASEY Atonement is not a place. JUNIOR So what is it when it's at home? VEASEY Those are fine examples of the female. JUNIOR Take them all and leave the saw. Be a sight more use. SHYLA -LRB- reappearing. -RRB- If they want to get in a tub there's an hour before food. JUNIOR They love to scrub a man. -LRB- to Shyla. -RRB- Put the water on the boil. -LRB- back to the men. -RRB- It's my liquor, gets their titties swinging. VEASEY -LRB- excited. -RRB- God damn! -LRB- to Inman. -RRB- I was right about sheep droppings those stools - like rock hard. Quite astonishing.\",\n \"INT. SMOKEHOUSE AT JUNIOR'S CABIN. DUSK No real furniture. Veasey is shaving. Inman stows his knapsack behind the woodburning stove, on which a big kettle of boiling water steams away. Then he gets in the tub, his back to the door. Shyla comes in, brings the kettle over to the tub, pours in the steaming water. She appraises Inman. It's intensely sexual. SHYLA That's battered flesh. -LRB- of his neck wound. -RRB- I could work a finger in there. VEASEY He's a hero. Took that wound at Petersburg. INMAN He does n't know what I am. -LRB- uncomfortable with her stare. -RRB- Thanks. SHYLA -LRB- to Veasey. -RRB- He's shy, ai n't he? VEASEY Wait up a few minutes, I'll be in that tub, then we'll see who's a shy one. SHYLA I want to poke my thumb in his holes. A second woman comes to the door. Dolly. DOLLY Lila says supper's up.\",\n \"INT. JUNIOR'S CABIN, NIGHT LILA, JUNIOR'S WIFE, spoons out stew from a vast pot. The table crammed with customers - her three sisters, the three men, the herd of dogs and filthy children. Nobody speaks. Each time Lila bends over to spoon out of the pot, her cleavage strains against the flimsy fabric of her dress. Veasey's mesmerized. Inman is also getting drunk, his eyes increasingly glazed. When Lila makes to sit down next to Junior, he slides a hand up her dress, exposing a naked buttock, which he strokes and pinches as he pulls away. LILA Hey! Junior grins, looks over at Inman, then nudges Veasey. JUNIOR He's gone now. Look! His eyes have gone. INMAN -LRB- vaguely, drunk. -RRB- What? VEASEY Dolly? DOLLY S'me. VEASEY Dolly, Lila, Shyla and Mae. That's a poem. That's a poem. He begins to recite, has a verse in his mind. VEASEY Dolly, Lila, Shyla and Mae. -LRB- but he can' t summon it. -RRB- Da - da da - da da - da dae. -LRB- vague. -RRB-. there's a poem there. JUNIOR I'm leaving soon as I'm full. VEASEY Really. Goodbye. JUNIOR Got a bunch of traps needs visiting. I'll be back tomorrow, before dark. You'll still be here? VEASEY That's my fervent prayer. JUNIOR My house is your house. INMAN -LRB- suddenly. -RRB- Like to wash their hands and pray. VEASEY Say again? INMAN Dolly, Lila, Shyla and Mae. VEASEY That's Job. Do n't say much but even liquored up there's a preacher in him. Inman gets up suddenly, sways. INMAN I'll say my goodbyes, got miles and miles to go before sunset. -LRB- head spinning. -RRB- I'll just quickly lie down. And he stumbles over to the fire where he instantly curls up. VEASEY I'm heading for that smokehouse and I'm ready to be washed clean of my dirt. He gets up, wanders out of the door. Junior's eyes glint. He jerks his head towards the girls then in the direction of the smokehouse. JUNIOR You go tend to him. -LRB- to Lila. -RRB- I'll be seeing you. He picks up his gun and leaves Dolly gathering up the children and herding them out. DOLLY Come on you - get! Shyla stays, Mae having gone off after Veasey. Lila waits until the children have gone. They consider Inman supine by the fire. LILA He's mine. You can go rub yourself off on the Preacher. -LRB- of Inman. -RRB- Gon na make him hug me till I grunt. Lila shepherds Shyla out, shuts the door, swigs from the jug, walks over to Inman, then turns to the big table and pushes pots and plates way down to one end to make a playing field. Then she bends over the prostrate Inman. LILA Hey! Inman stirs, glazed. LILA -LRB- kneeling down to him. -RRB- You want to see what Mamma's got for you? SHE SLIPS A SLEEVE OF HER DRESS TO REVEAL A FULL BREAST. Inman is drunk, does n't think he's awake. She takes her breast to his mouth, and Inman suckles. Then she puts his hands under the dress which rides up as his hands move between her legs. She's naked. LILA That's good. Ai n't that sweet? SHE PULLS INMAN TO HIS FEET, KISSES HIM, THEN TURNS HER BACK AND LIES FACE DOWN ON THE TABLE, HER BARE ASS UNDULATING IN THE AIR. LILA You just get on and ride me all the way to China. He does n't move, except to sway, eyes glazed. She turns. LILA You shy? You need a hand? -LRB- goes to his buttons. -RRB- Let's have a look see what we can muster. She's kneeling now, her dress hunched up around her middle, working the front of Inman's pants. He's in a swoon, surrendering to her, getting aroused, his hand cupping her head. ON CUE, THE DOOR CRASHES OPEN AND HE'S STARING DOWN THE BARREL OF JUNIOR'S SHOTGUN. As Lila turns, Junior KICKS HER violently in the head, knocking her over. JUNIOR You little bitch! Look at you! Cover yourself up! NEXT HE SWINGS THE SHOTGUN BARREL AGAINST THE SIDE OF INMAN'S HEAD. Inman falls back. Junior goes to the door and whistles. AND WITH THAT THE ROOM FILLS UP WITH A GROUP OF HOME GUARD BRISTLING WITH WEAPONS AND PURPOSE. THEY SEIZE INMAN, DRAG HIM OUT AS JUNIOR SPITS AND KICKS AT HIM.\",\n \"INT. SMOKEHOUSE AT JUNIOR'S CABIN. NIGHT Lila enters the smokehouse, hand to her bruised head. VEASEY'S ON THE FLOOR, WITH DOLLY ASTRIDE HIM, HIS ARM CRUSHING A NAKED MAE INTO AN EMBRACE. He considers Lila, beams : VEASEY I had a special prayer you'd come visit. THREE MEN BURST IN BEHIND HER, RIFLES RAISED.\",\n \"EXT. JUNIOR'S CABIN. NIGHT Veasey led out, a CHAIN GANG waiting - a bedraggled collection of prisoners, slaves, deserters - and now INMAN. Veasey is joined to the line. It starts to rain.\",\n \"EXT. SWANGER FARM. DAY Ruby and Ada at the door of the Swanger house. They both wear Monroe's clothes by now, like two little men. THEY'RE CARRYING A SMALL SACK, A PIE UNDER A CLOTH. Ruby hammers at the door, a little impatient. Sally Swanger opens it, has to decode who it is under the clothes, the hats. SALLY Ada Monroe and Ruby Thewes! Look at you both! RUBY Look at us both what? SALLY Like a coupla scarecrows after a thunderstorm. RUBY We need a scarecrow, birds eating up half our winter garden. ADA Sally's right. We should both stop toiling and stand a while with our arms stretch out. I'll volunteer. RUBY We got something for you. ADA For all your kindness. Coffee. And a pie. RUBY That's real coffee. It ai n't hickory and dirt. SALLY -LRB- taking the gifts. -RRB- Thank you both. -LRB- of the pie. -RRB- Ruby, I look forward to this. We all do. Esco and me. RUBY -LRB- grinning at Ada. -RRB- She made it. ADA I made it. SALLY Good God in Heaven. RUBY -LRB- by way of recommendation. -RRB- I'm still alive. Sally's strangely awkward, lingering at the door, staring at the gifts. RUBY We'll be getting along. SALLY -LRB- nodding. -RRB- I know Esco's going to be real sorry he missed you. You all take care. They all kiss, then the girls walk back down the path. Ruby is vexed. RUBY That strike you as odd? ADA What? RUBY Stood at her front door? ADA Sally? RUBY Number one - I know that woman all my life. I never stood outside her house - she'd invite a wolf inside if it knocked on the door. ADA Perhaps, I do n't know, perhaps she was busy. RUBY Number two - Old Man Swanger was inside that house : I could smell his pipe burning. Number three - look at these fields. ADA What about them? She contemplated the stubble fields they're passing. RUBY We came by here a week ago, they were waist high in hay.\",\n \"EXT. A PATH. DRIVING RAIN. NIGHT The Home Guard ride, bent under their oilskins, as the rain tips down. Between the horses, unprotected and drenched, their prisoners trudge along the muddy path. Inman and Veasey among them. Veasey has grown some beard. AN OLDER MAN COLLAPSES, lies where he falls, not moving. There's a domino effect and so Inman falls on top of him. He picks himself up, then tries to pull up the older man. He does n't move. INMAN He's dead. The horses plough on. Inman shouts to BROWN, the leader. INMAN This man's dead! Nobody pays any attention. He has to drag the body.\",\n \"EXT. VEASEY TOWN. DAY THE HOME GUARD ESCORT THE PRISONERS PAST VEASEY'S OLD CHURCH. More days have gone by and taken their toll on the prisoners, Veasey and Inman are haggard and filthy and reduced. The Home Guards stop for food, a wash, a break, chain the prisoners to a horse rail. Citizens go by, Veasey knows them all. Some of them spit contemptuously at the Deserters. None of them recognise Veasey. VEASEY Am I so altered that they do n't see me? Somebody walks by with a young child. Veasey looks at Inman. VEASEY I christened that child. The child stops, looks without recognizing, is tugged away from the chain gang by his mother. One of the other prisoners, SHEFFIELD, leans in to Inman, his voice low. SHEFFIELD I'm looking to get out of this. They drag us back to fight - we're just target practice for the Federal boys. INMAN You run, we're all running with you, the lame and the stupid, of which we number both. SHEFFIELD Either way we're fucked. Run or do n't run. INMAN Just give me some warning so I can tell the guard - I'm not getting shot again for some cause I do n't believe in. A GROUP OF SLAVES ARE WALKING BY, CARRYING SACKS. One of the women is pregnant. Veasey studies the group, sees the pregnant woman, recognizes her. VEASEY -LRB- mesmerized. -RRB- That's Rebecca. That's Rebecca. -LRB- he hisses. -RRB- Rebecca! In daylight it's apparent that Rebecca is a real beauty. She turns at the sound of her name, stops, is confused. She sees Veasey and approaches, appalled at his condition. REBECCA Mas? VEASEY Is it well with you? -LRB- Rebecca nods. -RRB- I've been repenting for what I did. I've walked the road of atonement. REBECCA Your curls is all gone. THE GUARD KICKS HIM. GUARD Hey! VEASEY -LRB- holding his head, to Rebecca. -RRB- God Bless you. Rebecca, reluctant, rejoins the other slaves, walks away with them, but then turns back to look at Veasey. She clearly cares about him. And seeing her has somehow broken his heart. He turns away from Inman, towards Sheffield. VEASEY I'm with you. I got a baby coming.\",\n \"EXT. RAILROAD TRACK. DAY THE CHAIN GANG TRUDGES DOWN THE TRACK, horses on either side of them, steep banks forming a V for the railroad. A TRAIN IS COMING. Brown rides up to the prisoners, herds them off the track. The train approaches quite slowly - the boxcars full of wounded soldiers. Some of the Home Guard dismount, take out pipes. The prisoners wait, one of them sits down. Sheffield says something to Veasey, who casually yanks up the sitting prisoner. Inman suddenly understands what's going to happen. The train is almost on them. INMAN No! But it's too late. SHEFFIELD JERKS FORWARD IN FRONT OF THE TRAIN, PULLING ALL THE OTHERS WITH HIM, their reluctance tempered by the possibility of being crushed by the oncoming train. SOMEHOW THE CHAIN GANG GETS ACROSS THE TRACK, stumbling and chaotic, the chains yanking tight, then loose, the tight causing a collapse, the loose a recovery. They run alongside the train, blocking themselves from the fire of the Guard, Sheffield screaming tactics - and then, as the train starts to pull past them, they run up the bank, now all as a unit scrambling to the steep summit. ON THE OTHER SIDE OF THE TRAIN THE HOME GUARD HAVE REMOUNTED THEIR HORSES AND ARE RIDING HARD ALONGSIDE IT. Then they have sight of the escaping prisoners silhouetted at the top of the bank like a line of paper dolls stretched out along the ridge. Sheffield's yelling with adrenaline, Veasey joins in, elated. One of the guards raises a rifle, steadies himself on his horse, FIRES. He catches Veasey, who crumples, spinning round and falling down the bank, until Inman uses all his strength and practically lifts him in the air. The chain recovers and works back up the bank. But then A SECOND BULLET catches another prisoner and this time the effect is catastrophic - THE WHOLE GANG JUST FLIPS OVER AND PLUMMETS DOWN THE BANK. The Home Guard approach, firing randomly at the bodies as they tumble into the ditch by the side of the track. Until all movement ceases. Inman has a wound to his head which bleeds profusely, almost completely covering his face. Brown arrives, considers the carnage. BROWN Get these sacks of shit under the ground.\",\n \"INT. BARN, BLACK COVE FARM. DAWN Ada's milking. It's barely daylight. She's slowly becoming a country girl. Ruby appears in the doorway. RUBY Someone's been in the corncrib. ADA You sure? RUBY It's a coon or possum. Scratched out a fist hole in the side. This place! I'm telling you - we grow, others eat. I'll go into town, take the last of the cider and trade for a trap.\",\n \"INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY Ada is in Monroe's bedroom, looks out as Ruby goes off to town, jugs of cider swung either side of the horse. Ada goes over to Monroe's closet, pulls out some clothes.\",\n \"EXT. THE WINTER GARDEN, BLACK COVE FARM. DAY Ada buttons Monroe's dress coat and completes the SCARECROW she's spent the day making, save for the hat, which she now fixes on, pushing in a hat pin to secure it. She's made a stern black thing and steps back to consider it. Horsemen come riding along the lane. It's Teague and his men. He does n't stop but raises his hat to Ada.\",\n \"INT. KITCHEN, BLACK COVE FARM. DAY Ada looks out at the Winter Garden. From that distance it really does look like her father out in the field, arms outstretched as if waiting for her to run to him. She finds it unbearable, her tears coming, runs out into the fields, attacks the scarecrow, pulling off the hat, the clothes.\",\n \"EXT. RAILROAD TRACK. MORNING THE SOUND OF TINY BELLS. A misty drizzle. A GOAT snuffles around in the freshly turned dirt : A hand, pale and wet, protrudes from the thin layer of earth covering the bodies of the murdered Chain Gang. SOMETHING SHIFTS UNDER THE DIRT, breaking the surface. Inman wedged under three or four corpses - their limbs and chains wrapped around him, has regained consciousness. He coughs, ca n't breathe properly, tries to work himself some air, spitting out dirt. He makes a noise to distract the goat, rattling the chains. Inman rears up, the bodies slithering off him, but even then the animal only retreats a yard or two. VEASEY SLIDES FACE UP, A BULLET IN HIS FOREHEAD LIKE A MYSTICAL THIRD EYE. Inman feels a surprising loss and tenderness. He heaves again, groaning with the pain of new and old wounds.\",\n \"EXT. OLD MILL, COLD MOUNTAIN. DAY Ruby rides back from town along the river. An ugly looking trap tied over the horses and three or four bulging sacks. By an abandoned mill she sees the Home Guard under the trees. She slows up. TEAGUE What you looking to catch? RUBY What? TEAGUE With that trap. RUBY We got some critter stealing our corn. TEAGUE Still but the two of you up there, is it? RUBY You know it. TEAGUE When we get a cold night, camped out, trying to keep the rule of law, protecting girls like you from Federals and deserters, that's a thought warms us. -LRB- to his men. -RRB- ai n't it? - the two of you up there on my Grand - daddy's farm, dressed in men's clothes. Warms us right up. What you got in the sacks? -LRB- to the men. -RRB- Looks like human heads! Eh? Looks like a bunch of heads. We got competition! Ruby rides on. She rides around the bend - she's not far from the Swanger farm.\",\n \"EXT. RAILROAD TRACK. DAY Goats, their bells tinkling, munch around the tracks. One of them turns at a noise - a GROTESQUE VISION - A MOVING, SEETHING MOUND OF DIRT. It's Inman, inching along the embankment, the chain of dead bodies in tow, a macabre tug of war. He considers the goats, they consider him. He rears up and finds himself STARING DOWN THE BARREL OF A SHOTGUN.\",\n \"EXT. SWANGER FARM. DAY Sally is pinning out white sheets, they're filling out like sails in the afternoon wind. Ruby rides up. Sally seems a little vexed to see her. She walks down to the gate. SALLY Ruby. RUBY I'm not stopping, Sally. I'm not snooping neither. Just you should know Teague and his boys are lurking down by Pigeon River, the old mill. SALLY -LRB- after a beat. -RRB- You tell Ada that was a good pie. Ruby rides off. Sally watches, then goes inside the house, her energy changing immediately, as if she might faint.\",\n \"EXT. MADDY'S CARAVAN. AFTERNOON HARSH WHISTLES. A secret place, in the heart of a forest. There's the answering sound of SMALL BELLS, a chorus of them. Inman is dragged into view on a makeshift litter. Goats appear, they herd around the figure dragging the litter. IT'S AN OLD WOMAN, silver haired, her face a leather map, her clothes leather, everything about her like old leather. HER NAME IS MADDY. She and Inman round a bend and there's Maddy's house - AN OLD CARAVAN, long grown into the ground and plaited with vines and creepers. Inman tries to sit up. An old whiskered BILLYGOAT butts up against Inman, knocks him down. Maddy pays no attention to the struggle, heads inside her caravan. MADDY Mind that Billy, he's the jealous kind. She emerges, with a bowl of water, rags, washes his face, pushing back his hair to look at his wound, puts a finger to the gash on his neck professional in her appraisal. Inman is barely conscious, he groans, trying to defend himself. MADDY Pay no attention to me. What happened to your head? INMAN Fighting. MADDY And your neck? INMAN Different fighting. MADDY You're the color of a cadaver. I'll fix you. I can fix you up. INMAN -LRB- speaking of his spirit. -RRB- Mister - you could fix me I'd be in your everlasting debt. MADDY Debts, fighting - them words do n't mean much round here. For the record, I'm a female of the species.\",\n \"EXT. BOTTOM FIELD, BLACK COVE FARM. DAY Ruby rides up to the farm. She rides past the winter garden, admires THE SCARECROW - WHICH NOW PARODIES ADA, the same outfit she once wore to visit Inman, the same dress, same hat. Ruby grins as Ada comes over from the field. RUBY The hat's a nice touch. Ruby gets off the horse, and they start unloading sacks. RUBY You're quiet. ADA I cried for my Daddy. I dressed up the scarecrow in his suit and he came back, his arms out, said you never cried enough, you never cried enough. RUBY Well now you did. ADA Then I thought, it's not my Daddy, it's my sweetheart. I saw him once that way, when I looked down Sally's well. So I dressed the scarecrow in the dress I wore the day he left. In case his spirit flies over looking out for me. -LRB- of the vicious looking trap. -RRB- That looks terrible. Ruby opens the sacks. ADA Cabbages. RUBY I bargained like Lucifer. We can make all kinds of good eating. ADA Such as? RUBY Cabbage. Slaw, sauerkraut, cabbage soup, fried cabbage, stuffed cabbage.\",\n \"EXT. SWANGER FARM. DAY TEAGUE'S MEN RIDE UP TO THE FARM. Esco's out in the field, labouring away, but with his shotgun by him. Teague stops alongside the field, the rail between him and Esco. Esco stops working, picks up his shotgun and goes over. Teague has four men with him. MO and JO, the twins, huge, and with the appearance of having less than one brain between the two of them, GRAYLING, a reluctant - looking man, funereal in his bearing, and BOSIE. TEAGUE Afternoon. The riders slowly fan out, almost as if choreographed. ESCO Do n't spread out. Why they spreading out? TEAGUE I'm not spreading out. I'm sitting here. Esco comes over the rail fence, his gun loose in his hands. TEAGUE Never knew a man worked in his field with a shotgun. ESCO There's a war on. TEAGUE Got to watch out for the Bogey Man. He starts to fish out a tobacco pouch. Esco's gun swings up. Teague shows him the leather pouch, shrugs, starts to make a cigarette.\",\n \"INT. SWANGER FARM. DAY From inside the house, Sally watches everything. Her view impaired by the sheets.\",\n \"EXT. SWANGER FARM. DAY Mo dismounts. Ambles past Esco, looks behind the sheets. ESCO KICKS OUT AT HIM, the shotgun rigid and pointing. ESCO Get off my land. Mo examines his breeches for a dust mark, wipes it off, retreating in a turkey walk of examining and dusting. TEAGUE Your boys come back. ESCO Ai n't seen my boys in four years. They're fighting other boys, not old men and women. TEAGUE -LRB- to his men. -RRB- He means us. He's referring there to us. -LRB- to Esco. -RRB- So you wo n't care if we take a look around? ESCO What I got ta give you? A chicken? A lamb? TEAGUE -LRB- shrugs. -RRB- Sure. ESCO Right then. TEAGUE Thing is - you got one barrel and there's five of us. Not a fair fight. BOSIE SUDDENLY DROPS OFF HIS HORSE, ROLLS ON THE GROUND. BOSIE Bogey Man! Bogey Man! Esco is momentarily distracted and, in that instant, Mo kicks out at him, knocking the gun from his hands, which fires into the air, a shocking sound.\",\n \"EXT. BLACK COVE FARM. DAY Ruby and Ada digging a trench by the smokehouse, laying in the pale heads of cabbage. They hear the distant shot. RUBY What's that? They stop. Listen. Look at each other, start running.\",\n \"EXT. SWANGER FARM. DAY Jo sets on Esco, knocking him - backwards into a sheet, where it gets twisted, while Jo kicks and punches, little spots of blood staining the sheet with each blow. MO PULLS OUT HIS SABRE AND RUNS ESCO THROUGH, LEAVES THE SABRE IN DEEP, PINNING ESCO TO THE SHEET, THEN SPINNING HIM ROUND IN THE SHEET SO THAT IT TIGHTENS. A stain grows out from the blade, huge and spreading. Teague walks to Esco. TEAGUE You're harbouring deserters. I can confiscate every animal on this farm, every plate, every sheet, every little pellet of chicken shit - I can confiscate your old lady's asshole, so do n't offer me a bird. Sally runs out, screaming. She tries to pull out the sabre. MO REVERSES HIS RIFLE AND CLUBS HER TO THE GROUND. TEAGUE -LRB- sharply. -RRB- Hey! Mo backs away. Sally is screaming. She watches, helpless, as Esco dies in front of her, the sheet growing a darker red. TEAGUE You got your bait. Set it on the hook. BOSIE, SMILING, FETCHES A ROPE FROM HIS HORSE, ALREADY NOOSED AT ONE END. HE FLIPS THE LOOP OVER SALLY'S HEAD.\",\n \"INT. BARN, SWANGER FARM. DAY ELLIS AND ACTON SWANGER emerge from their hiding places, unable to bear the sound of their mother's screams. They're carrying an axe, a pitchfork, mad for revenge.\",\n \"EXT. SWANGER FARM. DAY BOSIE IS DOING SOME SORT OF DANCE ALONG THE FENCE RAIL. He's very graceful, his hair flying, his hands out, one finger nail extremely long, his boots stamping down on the fence. UNDER HIS STOMPING FEET, THE RAIL POST IS PRESSED ON SALLY SWANGER'S THUMBS. She ca n't scream any longer, because the noose has practically strangled her. The rope's tied off to Bosie's horse, which yanks on the noose with every slight movement. Sally is prostrate in the dirt. Her two boys come running from the barn. TEAGUE CASUALLY, SHOOTS ELLIS WITH HIS RIFLE. BOSIE LETS ACTON GET ALL THE WAY TOWARDS HIM AND THEN SHOOTS HIM FROM A YARD AWAY, THE GUN SUDDENLY SPRINGING INTO HIS HAND. AS ACTON FALLS, BOSIE DOES A FLIP TO DIVE OFF THE POST AND LAND ON HIS FEET NEXT TO ACTON'S BODY.\",\n \"EXT. SWANGER FARM. DUSK Ada and Ruby, riding together on the horse, arrive at the Swangers. SALLY IS STILL PINNED UNDER THE FENCE POST. The noose around her neck has been tied off to the post so that she ca n't move. There's a bloody sheet draped over the edge of the well. Blood on the ground. Ruby heaves at the fence. RUBY I ca n't get this damn thing off her. ADA -LRB- at the well, looking down. -RRB- Dear Lord in heaven. RUBY Ada, I ca n't get this off her! Ada runs over. They struggle, ca n't lift it. Sally's lips are moving. RUBY What darling? What? She bends down, listens to her. Looks up at Ada. RUBY She's saying do n't bother. ADA Wait! She grabs a thick log off the stack, staggers back and in a second they've inserted it into the fence and levered it up and away from Sally's hands. They fall back onto the dirt. Ruby cradles Sally. Ada nods towards the well. ADA There's someone down there. I think it's Esco. Ruby looks over at the well, then at Ada. RUBY This world wo n't stand long. God wo n't let it stand this way long.\",\n \"INT. MADDY'S CARAVAN. DAY An exotic interior, many crocks and jars, bunches of herbs, wrapped papers of dried things, like a woodland apothecary store. Inman wakes up. He finds himself in a small cot, wrapped in blankets, a poultice at his neck. He does n't know where he is or how long he's been there.\",\n \"EXT. MADDY'S CARAVAN. DAY Maddy's sitting on a stool. There's a circle of stones where her fire lives and she sets the tinder to it. Inman emerges from the caravan. He's pale and unsteady. INMAN How long have I been sleeping? MADDY Not long enough. INMAN I ca n't stop here. I'm a deserter. They find me here things could be bad for you. MADDY What they going to do? Cut short my young life? Sit down before you fall down. She calls over a little goat. It ambles over affectionately and nuzzles into her hand. She strokes it and scratches under the chin. The creature gets increasingly tranquil. INMAN How long you been up here? MADDY What year are we?' 63? INMAN Last time I checked it was' 64. MADDY I'd say twenty six years. INMAN Twenty six years! MADDY I could move on anytime. I've seen most of the world anyway, Richmond in the North, south almost to Charleston. You're going somewhere or you are somewhere, what's the difference? She's still stroking the goat. It looks as if it's asleep. MADDY I've learned a person can survive off pretty much of a goat. I ca n't abide a chicken, but a goat gives you company and milk and cheese and then, when you need it, good meat. In a single motion she has a knife in her hand and has SLIT THE THROAT OF THE GOAT, putting the bowl underneath its neck to catch the blood, still stroking the goat, which blinks as if it were only surprised and not dying. MADDY So you've been fighting? INMAN -LRB- as if he might break. -RRB- I could be at killing for days sometimes, in the hand to hand, my feet against the feet of my enemy and I always killed him and he never killed me. MADDY He gave it a try, to look at you. INMAN I guess he did. MADDY See I think there's a plan. There's a design. For each and every one of us. During this she's shucked the skin off the goat with the authority of someone who's done this a thousand times. MADDY You look at nature, a bird flies somewhere, picks up a seed, shits the seed out, a plant grows. Bird's got a job, seed's got a job. And the goat is now thin and pink, eyes bulging, a piece of meat.\",\n \"INT. MADDY'S CARAVAN. EVENING A woodburning stove with a single cooking plate - on which pieces of the goat meat, sprinkled with herbs, are sizzling in a pan. INMAN IS EATING LIKE A MAN POSSESSED, WRAPPING THE MEAT IN CORN FRITTERS AND PUSHING THEM INTO HIS MOUTH. Maddy watches him, adds another mound of meat to his plate. Inman nods in thanks, but - does n't look up. She opens a jar and takes out a handful of dried poppy heads, puts them near the stove, then dips into another jar and pulls out what look like old cheroot stubs. MADDY Take one of these now with your food. Inman is circumspect, views the stub lozenge with suspicion. MADDY Swallow it. If you die I'll give you your money back. Inman puts it in his mouth, gags at the taste of it. She hands him a beaker with milk to wash it down. MADDY Our minds are n't made to hold on to the particulars of pain, the way we do bliss. She starts steaming the poppies. INMAN It's true. MADDY What is? INMAN What you remember. MADDY What's her name? INMAN Ada. -LRB- At the food. -RRB- - Sometimes I think I'm crazy when I'm just hungry -. -LRB- another mouthful. -RRB- Ada Monroe. MADDY And is she waiting for you? INMAN She was. I do n't know. Or if she'd know me. I'm like the boy who goes out in winter for firewood comes back in the spring with a whistle. Maddy pricks open the poppies and collects their opium, then hands Inman the liquid. MADDY Now drink this. It visits the pain. And you'll sleep. He drinks the laudanum she's made. INMAN I've had to put myself in the way of people's kindness. MADDY I hope you found it. She dips a cloth in the steaming water, unbuttons his shirt. She has a crock of what looks like treacle and vaseline. She smears this salve over the neck wound and into his scalp. Inman surrenders to the drug. INMAN The passenger pigeons fly south, the berries ripen. Whether I see them or not, whether a man dies, or a war is won. MADDY That's the laudanum getting to you. That's good. Say something more. -LRB- she kneels to his leg. -RRB- Raise that up for me. He obliges. She grimaces at the state of it, where the chain has chewed into the flesh. Gets to work. INMAN She gave me a book. Ada Monroe. Man by the name of Bartram. Wrote about his travels. I carried that book through every battle. I left it someplace, got to get it back. Sometimes just reading the name of a place near home - Sorell Cove, Fire Scale Ridge - was enough to bring me to tears. Thing is I've been thinking - those places belonged to people before us, to the Indian - and he had a different name. What did he call Sorell Cove? How can a name not even the real name break your heart? It's her, she's the place I'm heading. And I hardly know her. So how can a person who's maybe not even a real person - I do n't know what I'm talking about - I have to close my eyes. He slides off the stool and lays on the floor. Maddy goes over to her cot and pulls off a blanket which she drapes over him.\",\n \"EXT. YARD, BLACK COVE FARM. DAY Ada in the henhouse, collecting eggs, is confident now among the birds. She emerges to find Ruby walking out of the backdoor with the shotgun and a determined look. RUBY It's a man. ADA What is? RUBY Raiding our corn. Got him in the trap. That's him yelping. ADA You're not going to shoot him! RUBY I do n't want him to shoot me. -LRB- of the gun. -RRB- Can you fire this thing? ADA -LRB- making it clear she ca n't. -RRB- Yes. They head towards the corn crib, bundled up against the cold. A MAN IS KNEELING AT THE CORN CRIB, perfectly caught in the art of stealing, his head forced away from view. Ruby hands Ada the gun and approaches, warily. RUBY Listen up - you got a barrel trained on your rear - end. STOBROD Get me out of this dang thing. My fist's about to drop off. RUBY You got a weapon? STOBROD No ma'am. I'm begging you. I'm already on my knees, otherwise I'd get down on them. RUBY -LRB- suddenly recognises the voice. -RRB- Unbelievable! Stobrod Thewes. STOBROD Ruby? God damn! ADA What? RUBY -LRB- to Ada, disgusted. -RRB- That's my daddy. She walks up to him and KICKS HIM HARD AS SHE CAN ON HIS BACKSIDE.\",\n \"INT. KITCHEN, BLACK COVE FARM. DAY A strip of fabric, homemade bandage, being wrapped around Stobrod's badly gashed hand. Ada is tending to him. Ruby is cooking at the range, not remotely warm towards her prodigal father, who looks rather comfortable. Stobrod looks at her. STOBROD Just so's you know - I can eat while she's doing this - in case you're holding off. RUBY Just so's you know - you're not eating inside. Number One - they hang people round here for taking in deserters. Number two - even if they gave out prizes - you'd still eat outside. STOBROD You're scarred. RUBY I'm what? STOBROD Your heart. Scarred. I did wrong to you. RUBY You'd be scarred. You'd be really scarred if I had n't wrapped them trap teeth in sacking. Which was her idea. STOBROD I hurt you. RUBY Good God! STOBROD I wrote fifty tunes with you in mind. Ruby this, Ruby that, Ruby with the eyes that sparkle. RUBY Hey! Let's agree : you beat me, you abandoned me, you ignored me, you beat me some more - all of that is better than Ruby with the eyes that sparkle! STOBROD I'm changed. People change. War changes people something terrible. -LRB- to Ada. -RRB- Ruby's told you - I've no doubt - I was n't always the best. RUBY You were an asshole. STOBROD I ca n't disagree with that. I was. RUBY Get him out of here! STOBROD Music's changed me. I'm full of music, darling. I wish I'd brung my fiddle Hey Ruby! Got a new fiddle - it's got a little snake's rattle in the body - took it off a dead federal in Virginia. That's a beautiful fiddle. It's full of tunes, Ruby. Do n't know if it's from that little rattle locked up in it, or from something untied my heart. Ruby walks over with a crock, wrapped in a cloth. RUBY You're all set. STOBROD -LRB- sincerely. -RRB- Bless you both. He goes to the door. RUBY Ai n't you got a proper coat? STOBROD Darling, I'm fine. And you just say the word, I wo n't come back neither. I do n't want to put either you or your mistress here in any bother. ADA I'm not Ruby's employer. STOBROD Oh, okay, who is? RUBY Nobody. -LRB- Stobrod digests this. -RRB- I'll make up food for you, you come Sundays before it's light, I'll leave it behind the Old Frazier Mill. STOBROD Do you know who really needs a coat, darling, is my partner, fat boy name of Pangle. We're hiding up in the caves and he feels the cold like a thin man, but ai n't no coat'll fit him. -LRB- leaving. -RRB- I love you, Ruby. In case the sky falls on our head. You're a good girl. And he's gone. Ruby scowls. FIDDLE MUSIC BEGINS. RUBY He is so full of manure, that man, we could lay him on the dirt and grow another one just like him. ADA So that's Stobrod Thewes. RUBY It is and that's the last you'll see of him.\",\n \"EXT. MADDY'S CARAVAN. DUSK THE FIDDLE CONTINUES, A BANJO JOINS IN. Maddy is loading up Inman for his journey. She hands him a bulging goatskin satchel. MADDY That's medicine and goatmeat. You're sick of both. INMAN I have a deal to thank you for. She hands him an ancient flintlock pistol. MADDY And that's just for show, or - if you can get close enough - a wild turkey. She turns, abruptly, mingles in with her goats. Inman nods, knows that she does n't want a fuss, although he wants to make one, and turns himself, heads away from the caravan.\",\n \"EXT. WOODS. DAY THE MUSIC CONTINUES. A TURKEY calls. And again. JUNIOR is hunting. He creeps through this clearing, eyes peeled for the turkey, gun at the ready. His dog growls, and he puts a hand over its mouth. He listens. Another call. Junior moves, without sound, in its direction, stops for several seconds under a tree, listening. He looks up. INMAN IS PERCHED IN THE TREE. THE PISTOL FLASHES IN HIS HAND.\",\n \"EXT. JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman drags Junior's corpse in to the yard. The dogs whine and slobber over the body. Inman goes straight into the Smoke House.\",\n \"INT. SMOKE HOUSE AT JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman reaches behind the stove and retrieves his bag. He checks for the LeMats, for the Bartram, opens it, locating the tintype of Ada, which he considers, as the dogs howl outside, joined with another wailing.\",\n \"EXT. JUNIOR'S CABIN. DAY THE MUSIC CONTINUES. Inman emerges with his bag, LeMats at the ready. The women are all keening over the corpse, as it a saint had passed away. Dogs, women all howling. A chicken bobs in, investigates the glob of blood on Junior's skull. Inman walks away, does n't look at the women, who do n't look at him.\",\n \"INT. RUBY'S ROOM, BLACK COVE FARM. DAWN THE MUSIC CONTINUES. Ruby wakes up. Looks out of the window. Ada, also woken, comes into Ruby's room. STOBROD IS OUTSIDE WITH PANGLE, VIOLIN AND BANJO. Ruby opens the window, scowling. Stobrod beams, stops playing, holds up the food, points at Pangle in his new coat. Pangle waves. RUBY Get on back where you came from! Stobrod and Pangle smile and hurry away.\",\n \"EXT. PATH IN HILL COUNTRY. DAY WINTER SETTING IN. Inman, increasingly a stick figure in the landscape, wasted and fragile, trudges along through fallen leaves. He still limps from the leg irons. No shelter anywhere. He unwraps a paper containing some scraps of goat meat and corn bread. He walks and eats, fishes out a lozenge, tries to swallow it, washes it down with a drink from his flask. Opens the crock of salve and rubs the treacly grease into his neck and ankle. The path splits. He does n't know which way to go, A CROW repeatedly caws off to the left and, taking it as a sign, Inman goes in that direction. ADA -LRB- V.O. -RRB- My love for Heathcliff resembles the eternal rocks beneath\",\n \"INT. ADA'S BEDROOM, BLACK COVE FARM. NIGHT Ada in the bed, reading to Ruby from Wuthering Heights. ADA - a source of little visible delight, But necessary. RUBY She ai n't gon na marry Linton, is she? She said - whatever our souls are made of his and mine are the same. You ca n't say that and then marry Linton. ADA We'll find out. RUBY Okay. ADA Tomorrow. RUBY I'm not waiting until tomorrow. ADA Ruby, I'm falling asleep. She lies back in her bed. Ruby takes the book, lies across the bottom of the bed, as Ada goes to sleep. RUBY Little visible delight, but necessary. I like that.\",\n \"EXT. SMALL WOOD. NIGHT DRIVING RAIN. Inman shelters under a huge tree, whose split trunk provides a mean shelter. He inserts himself into the cleft of it, a black thing in a black tree, like a troll. He stands, shivers, sodden, desolate.\",\n \"EXT. SARA'S CABIN. NIGHT A LITTLE CABIN. Its lights coming through square windows like a chinese lantern. Inman considers it, the risk versus the shelter. The sleet still pelts down on him and he decides to approach. Closer he can hear a sound coming from the house. IT'S A BABY'S INCESSANT CRY. HE SEES A YOUNG WOMAN WALKING ROUND AND ROUND IN THE ROOM, CLUTCHING THE BABY WRAPPED UP IN A QUILT. Inman knocks hard on the door. The light from the lamp goes out, although the fire still gives the room a clear glow. INMAN I'm one man alone. I'm a Confederate soldier on furlough. I have no bad intention. I need shelter and food. THE TINY SOUND OF THE DOOR BEING BOLTED. INMAN Can I at least sleep in the corn crib - just for some shelter? I'll be on my way come morning. No answer. Inman accepts this as a rebuttal, and trudges back towards the road. SARA -LRB- V.O. -RRB- I've got a rifle. Inman turns. A gap in the door appears, the figure barely seen. INMAN Fair enough. The baby's crying behind her. SARA There's some beans and corn pone, all I got. You better come in.\",\n \"INT. SARA'S CABIN. NIGHT Inman enters the cabin. It's a single room. A big fire. The baby on the bed, a rudimentary crib unoccupied next to it. The woman is already at the little stove. She turns to him. She's painfully beautiful. But sad and fragile. Inman, despite himself, is mesmerized. INMAN Thank you. SARA I'm alone here, as you can see, with my baby. I need to believe you mean no harm. Inman takes out his gun. She starts, terrified. INMAN No, I mean to give it to you. He turns it handle forwards and offers it to her. SARA I do n't want it. I had my way they'd take metal altogether out of this world. Every blade, every gun. INMAN Is your baby sick? SARA He cries. I do n't know. He cries a lot. My man is dead. He took his wound at Fredericksburg. Never saw his boy. She never once looks at him. Her eyes on the floor or the food or the baby. INMAN I'm sorry. SARA It's pretty much what you'll get if you knock on any door of this war. Man dead, woman left. She hands him a plate of steaming beans. An onion perched on top. SARA It's mean food but it's hot. She goes over to the bed and picks up her baby and starts the same business of walking him, singing the while, an odd lament. Inman eats, looks at her, at the child and the fire. He picks up the onion, bites into it. Sara looks across. INMAN -LRB- ashamed of his hunger. -RRB- There's no hunting on the road, just cress and - He takes another bite. Sara picks up the baby. SARA I need to feed this man, if you could look away. Inman, embarrassed, turns his back to her. He sits finishing the food while she puts the baby to her breast, slipping the shoulder from her dress. While the baby feeds. SARA Used to have a cow, few goats. Raiders took them. Made me kill our own dog on the porch. That poor creature watched over me. Nothing left now save a hog and couple of chickens to live off till spring. I'll have to kill that hog and make sense of the flesh and divisions which is something I never did. INMAN I could do that for you in the morning. SARA I'm not asking. INMAN It's what I'd gladly do for you for what you're gladly doing for me. I'm Inman by the way. That's my name. SARA I'm Sara. My baby's Ethan. INMAN Glad to know you both.\",\n \"EXT. SARA'S CABIN. NIGHT Sara walks ahead of Inman. She carries a pile of clothing, a pair of boots. It's still wretched outside, she hugs the house, the porch barely offering shelter. INMAN FOLLOWS, with a bowl of steaming water and a small towel over his arm. She hands him the clothes. SARA You look about his size. He was another man straight up and down. There's a palpable attraction between them, so that every exchange seems to contain a promise, a sexual charge. SARA I do n't even have a blanket. INMAN I got a blanket. SARA I'll leave you the lamp. By the dim light, Inman peels off his clothes, sets to work with the bar of soap and the cloth to scrub himself clean. He can be seen from the window and finds himself turning away to pull off his pants.\",\n \"INT. SARA'S CABIN. NIGHT Sara sits at the cot, still singing to the baby, then gets up, goes to the window, sees Inman dressing, walks to the door, lets it open a little, but not so as she can be seen. SARA They fit? INMAN -LRB- O.S. -RRB- Pretty much. These boots are good boots. SARA I'll say good night. INMAN -LRB- O.S. -RRB- Good night.\",\n \"EXT. SARA'S CABIN. NIGHT Inman settles down into the corncrib. He's cold and everything is damp and lumpy and uncomfortable. He pulls his thin blanket around him. The wind is howling. He levers himself up, looks at the house with its warm invitation, can almost feel Sara in there. He reluctantly settles down again. HE HEARS A NOISE, STEPS APPROACHING. HE REACHES FOR THE LEMATS UNDER THE BLANKETS. SARA Will you come inside? She stands in a shift, a blanket over her shoulders. Her body under the cotton very clear to him. She turns and goes back inside.\",\n \"INT. SARA'S CABIN. NIGHT Inman comes in. Sara is sitting on her bed. Long silence. SARA Could you do something for me? Do you think you could lie here, next to me, and not need to go further? INMAN I do n't know. I'll try. He sits on the bed as she slips under the covers, and then removes the boots, his shirt, gets under the covers. There's an electric space between them. Then Sara begins to cry, pulls his arm to open up so that she can be folded into him. SHE SOBS, SHUDDERING IN THE BED. INMAN I'll go. I'll go, shall I? SARA I do n't want you to. They lie, staring up at the ceiling, her tears falling. A FIDDLE PLAYS HEAVY WITH YEARNING.\",\n \"INT. OLD MILL, COLD MOUNTAIN. CHRISTMAS DAY. NIGHT THE MUSIC CONTINUES. Stobrod is playing the fiddle, his bowing hand still lightly taped and a fingerless mitten covering it. They're in the abandoned Mill, a derelict space, which has been cheered up with some rudimentary Christmas decorations. Ada, Ruby and Sally Swanger, her hair now almost completely white. Some token presents. Pangle is picking at a banjo, his grin infectious, and a third player, GEORGIA, with a harmonica. As they play : PANGLE -LRB- of Sally. -RRB- She do n't speak. STOBROD She ca n't speak. I told you. PANGLE -LRB- smiles at Sally. -RRB- Is she feeble then? STOBROD No. -LRB- to Sally. -RRB- Do n't mind him. -LRB- to Ruby. -RRB- Hey Ruby : what about this? He starts the tune of Wayfaring Stranger. Ruby groans. STOBROD Do n't make that face - you listen : c'mon Georgia. And he starts up again, but this time GEORGIA BEGINS TO SING. He's like a pale angel and sings with a soft, true voice. Ruby finds herself taken by this boy's voice and by Stobrod's extraordinary invention as he takes the tune off on a wild journey. Ruby sits next to Ada, fiddles with her bracelets, slips one from Ada's wrist and slides it over her own.\",\n \"EXT. OLD MILL, COLD MOUNTAIN. EVENING They're all outside now, shaking hands. GEORGIA There's snow in the air. RUBY Do n't sleep here. STOBROD We wo n't. ADA It's bitter, they could stop one night. RUBY They stop one night, they'll want to stop two. PANGLE This coat's warm. STOBROD What about next Sunday? That'll be the New Year. It's gon na be a better one. RUBY Maybe. GEORGIA The war's over in a month. RUBY He said that a month ago. ADA -LRB- shaking Stobrod's hand in goodnight. -RRB- It started off being over in a month. STOBROD Miss Ada. Merry Christmas. ADA Merry Christmas. Pangle. Georgia. GEORGIA ` Night. PANGLE ` Night now. The three women walk down the lane, the three men watch. STOBROD That's my Ruby. GEORGIA She's an original. STOBROD You think the Good Lord would forgive an old cold fool if he changed his mind? Ada said it herself it was bitter.\",\n \"EXT. SWANGER FARM. NIGHT The three women head towards Sally's house. RUBY What kind of name's Georgia? ADA It's where he comes from, it's not his name. RUBY I know that's meant to be the ugliest state under the heavens. ADA Why do you care what his name is? RUBY -LRB- a funny look, then. -RRB- What's that cluster of Stars? ADA Orion. RUBY What about them shaped like a wishbone? ADA That's Taurus the bull, and that's Gemini and that's Orion's big dog, Canis Major. RUBY Listen to her, Sal. She's turned into a highland girl. ADA I could always name the stars, Ruby, that was never my problem. They all three have linked arms. Ada imitates Stobrod. ADA I love you darling. In case that big old sky falls on our heads. And I love you, too. Sal. RUBY It's sad, Sal. It's a c - a - t - a - s - t - r - o - p - h - e.\",\n \"INT. ADA'S BEDROOM, BLACK COVE FARM. MORNING Ada at the window as, outside, SNOW FLAKES BEGIN TO FALL.\",\n \"EXT. OLD MILL, COLD MOUNTAIN. MORNING Stobrod opens the door of the Mill. The SNOW FLAKES dissuade him from venturing further. He goes back inside. STOBROD -LRB- O.S. -RRB- No sense setting off in snow. THE DOOR SHUTS, FIDDLE MUSIC LEAKS THROUGH THE DOOR, FOLLOWED BY BANJO AND HARMONICA.\",\n \"INT. SARA'S CABIN. EARLY Sara, dressed, agitated - the baby already complaining - is urgently shaking Inman. Hissing at him : SARA Get out of here, quick! Inman surfaces from deep sleep. SARA Federals are coming. They find you here it'll go bad on all of us. Inman is up, grabbing clothes, boots, his gun. INMAN I can try and fight them. SARA No, my baby. Please no! Just get. She pulls up the window in back of the cabin. Inman throws things out into the freezing morning. He has his pants on, but is otherwise naked. He swings over the window and down onto the frosty ground.\",\n \"EXT. SARA'S CABIN. EARLY Inman picks up his stuff and, at a crouch, runs for cover to the wood which borders the property. He can hear horses and a commotion at the front of Sara's cabin, but does n't look round until he's sheltered by the trees. FEDERAL SOLDIERS, a raiding party, have dismounted and are already wrangling with Sara. Inman watches, pulling on his shirt, shivering, then his boots. Sara is standing in front of the hogpen, as if to protect the animal, but one of the soldiers, PISTOL, barges her to one side, toppling her, and opens the gate, starts herding the hog out into the yard. A second soldier, NYM, emerges from the cabin, carrying Ethan. Sara starts up, struggles with him, is again knocked down. INMAN HAS TO WATCH AS THEY DRAG HER OVER TO A FENCE POST AND ROPE HER TO IT THEN SLIP THE BLANKET OFF THE BABY AND LAY IT ON THE GROUND IN THE MIDDLE OF THE YARD. Then Sara starts to scream. Inman is dressed. Boots on. He looks back at the yard. The men sitting, smoking, prepared to wait, their breath coming out in gusts in the freezing air. Flakes of snow fall. PISTOL We got all day. SARA My baby's sick! Cover him up! He's shaking! Have some pity. A third Federal, BARDOLPH, chases after the chickens, gathers them up. SARA I got nothing. I swear. Nym gets close to her, putting his rifle to her chest. NYM That ai n't necessarily so. SARA Yes! Take me inside! Let's all go inside! Take my baby inside and then we'll do whatever you want. Nym unties her. Pistol has a rope around the hog and now leads it towards the horses. SARA -LRB- screaming. -RRB- There's nothing! You take that hog I'm as good as dead. Cover up my boy! She's wailing, an unbearable ululation. NYM SLAPS HER, TWICE, HARD.\",\n \"INT. SARA'S CABIN. DAY The door is kicked open. Nym pushes Sara inside, kicks the door shut, REVEALING INMAN STANDING BEHIND IT.\",\n \"EXT. SARA'S CABIN. DAY Bardolph, a chicken in his arms, goes over to the baby. BARDOLPH This is ready to get a fit going. It's shuddering. It's gone blue. PISTOL -LRB- to Nym. -RRB- How long does he want? Hey! Leave some for the rest of us. Pistol heads towards the cabin. As he approaches the door, Bardolph rearranges the blankets to, cover the baby. Pistol opens the door. Nym is on top of Sara. Pistol laughs, enters, and is clubbed down by Inman, who steps out onto the porch, while SARA SHRUGS OFF THE BODY OF NYM, HIS THROAT CUT. Bardolph looks up to see Inman walking towards him. Bardolph has left his weapon by the fence. INMAN Move away from the baby. Bardolph obeys, terrified. Sara runs out, collects Ethan, gives a little moan of anguish, runs back inside the cabin. BARDOLPH Do n't shoot. INMAN Take off your boots. -LRB- Bardolph does so. -RRB- Take off your pants, and your shirt. BARDOLPH Do n't shoot me, please. We're starving. We have n't eaten. INMAN You'd better get running before you catch your death of cold. BARDOLPH -LRB- nods, terrified. -RRB- Thanks, thank you. I will. AND THEN A SHOT RINGS OUT AND HE CRASHES TO THE GROUND, DEAD. Behind Inman, Sara stands with a rifle.\",\n \"EXT. SARA'S CABIN. LATE DAY THERE'S A HUGE FIRE GOING, WITH A CAULDRON HUNG OVER IT. THE HOG HANGS UPSIDE DOWN FROM A TREE, BLOOD DRIPPING INTO A BOWL. There's a sense of ritual and order : the chapters of transforming the hog into food. Sara is inside the cabin, the door open onto the yard. She holds the baby by the fireplace, swaddled up tight. She tries to put him to her breast, but he wo n't feed. She puts Ethan back in his crib, comes outside. Now Inman is butchering the hog, chopping down either side of the spine to make two sides of meat. Now Sara is holding up a sheet of hog fat, as if it were a lace shawl. Now she's rendering the fat into lard. Now Inman's salting the two hams. Now Sara's washing the intestine. She sings all the while - I dreamed that my bower was full of red swine and my bride bed full of blood - they do n't really converse. Inman continues to work. Sara goes back inside to Ethan's crib. Inman glances back, but can hardly bear to, her anxiety so palpable. THE BABY IS DEAD. She looks at it. She takes it up in her arms. Kisses its forehead. Makes a strange stifling noise. Inman does n't look at her. She comes out again, shovels some of the food into a plate, serves it up to Inman, gently touching him as she does so. Then serves out food for herself. Inman starts to eat. SARA Good? Inman nods. She collects up the knapsacks, including Inman's, and goes back inside the house with them. Inman squats, eating, glancing back towards the cabin. There's the sudden shocking report of a revolver. Inman, knowing what it is, goes slowly towards the house and its two dead bodies. His own face is a rictus, the eyes thin slits. If he gave into his grief it would never cease.\",\n \"INT. SARA'S CABIN. DUSK From the house, the silhouette of Inman working outside in the day's dying light, snow falling around him. He's digging a grave. Inside the house, TWO BUNDLES, the small body wrapped in a blanket, the other wrapped in the bed's patchwork quilt.\",\n \"EXT. CABBAGE PATCH, BLACK COVE FARM. DUSK Still snowing. Ruby trudges past Ada who is digging out a couple of heads of the buried cabbages. ADA Do you think he's dead? RUBY Who? ADA -LRB- shrugs. -RRB- This snow. Is n't it supposed to fall with bad news? RUBY Bad news is girls get working. I'm going to round up the animals. -LRB- squints up at the snow. -RRB- This'll settle. She walks past. Ada stares into the distance where\",\n \"EXT. WILD COUNTRY. LAST LIGHT - the snow falls down on Inman. He's hardly visible in its gusting waves. Just a thin black question mark, hunched over the elements, moving slowly forwards.\",\n \"EXT. OLD MILL, COLD MOUNTAIN. DAY THE SNOW HAS STOPPED. It's left a carpet on the ground. Stobrod, Pangle and Georgia emerge from the Old Mill. THEY MAKE HEAVY FOOTPRINTS as they set off up the hill towards the mountain.\",\n \"EXT. PATH IN THE MOUNTAINS. DAY Inman comes sliding down a crumbling slate hill and onto the path. He cornea to a place where the path suddenly drops away to reveal a view of the geography. And there, finally, in the distance, Inman can see the blue ridge. Somewhere in there is home, is Ada. He goes on.\",\n \"EXT. SLOPES OF COLD MOUNTAIN. DAY Pangle walks too close to Stobrod and steps on the back of his boot which promptly detaches itself from Stobrod's foot. Stobrod turns - and with a raised finger - pushes Pangle. PANGLE FALLS IN THE SNOW, ARMS SPREADEAGLED, AND SMILES.\",\n \"EXT. PIGEON RIVER BEHIND THE OLD MILL. DAY SOME HORSES CLUSTER around the Stobrod party's footprints. Bosie swings acrobatically over his horse, to hang over the tracks, then up again into his saddle, looks at Teague. The Home Guard plod slowly forward in the direction of the tracks.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. EVENING A CLEARING, fringed by poplars. Stobrod is making a fire. Pangle appears with an armful of firewood, his big grin a fixture. Then Georgia appears. He's carrying A SMALL BUCK, frozen and covered with snow. GEORGIA What d'you reckon? Think we could eat this? STOBROD You cook something long enough you can eat anything. PANGLE -LRB- prodding it. -RRB- It's frozen. How long it been there for? STOBROD You hungry? PANGLE Yeah. STOBROD Not very long.\",\n \"EXT. SLOPES OF COLD MOUNTAIN. EVENING Teague examines the snow's imprinted silhouette of Pangle.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT STOBROD SINGS AND COOKS. PANGLE ACCOMPANIES HIM ON BANJO, Georgia joins in the chorus. Stobrod pulls one of the hickory stick skewers out of the fire, blows on the, meat, smells, smells again, looks at Georgia, takes a bite. Chews. STOBROD Edible. Pangle takes another stick, burns his fingers. PANGLE Ow! GEORGIA -LRB- takes a bite from his skewer. -RRB- Do n't taste much like venison. PANGLE It's good. I think it's good.\",\n \"EXT. THE KILLING GROUND. COLD MOUNTAIN. NIGHT The three men are asleep. The fire still burning. They're lying like petals of a flower around it. Suddenly Georgia sits bolt upright, grimaces, gets up stumbles away from the fire, toward a stand of trees, from which come the vivid sounds of violent nausea.\",\n \"EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT GEORGIA IS KNEELING IN THE SNOW, his head in the snow, when he A HALF DOZEN RIDERS TROT PAST approaching the sleeping Stobrod and Pangle. Georgia has to vomit again.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT Teague rides up to the fire, the other riders with him - Mo, Jo, Bosie, Grayling. Stobrod wakes, sits up, Pangle sleeps. TEAGUE Evening. Hope we did n't disturb you. STOBROD You're all right. TEAGUE Name's Teague. Do I know you? STOBROD Thewes. Teague slides off his horse, approaches the fire. TEAGUE You a deserter? - do n't mind if I just warm up at your fire. -LRB- of the sleeping Pangle. -RRB- That your wife? STOBROD Who? That's a he! TEAGUE He your wife? STOBROD We're musicians. He picks the banjo, I got a fiddle. TEAGUE -LRB- to his men. -RRB- Look pretty romantic by the fire. Do n't they? -LRB- to Stobrod. -RRB- Your boyfriend's got a nice bit of flesh on him. Close your eyes slip inside that shirt get two good handfuls - dark enough I'd be willing. I'm just kidding. -LRB- to his men. -RRB- Tell him, I'm just kidding. BOSIE He's just kidding.\",\n \"EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia squints through the trees. Does n't know what to do.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT TEAGUE Did you answer my question - about your military status? STOBROD Discharged. Took a wound at Petersburg. TEAGUE Oh, so like a hero's discharge. STOBROD I guess. TEAGUE And your boyfriend? STOBROD The military would n't take him. He ca n't fight. He's simple. He's got a mind no bigger'n a pickled walnut. TEAGUE I'm sorry - he's fat, he's simple and got titties - but you're insisting he ai n't a woman. God damn! Do n't that sausage smell outstanding. STOBROD -LRB- he's very nervous. -RRB- Miqhty outstanding. TEAGUE Mighty outstanding! There's a new phrase. Mighty outstanding. Listen, do n't tell me - you left your papers somewhere. STOBROD Which papers? TEAGUE Your hero's discharge. For mighty outstanding valour. STOBROD They're, they're, they're at my house. TEAGUE -LRB- enjoying himself. -RRB- And where, where, where is your house? STOBROD Down the mountain. TEAGUE But you're up the mountain. STOBROD Hunting. Drinking. TEAGUE On honeymoon. -LRB- to his men. -RRB- I'm pretty fucking funny tonight. BOSIE Is he going to play? -LRB- to Stobrod. -RRB- You gon na play that fiddle? STOBROD Sure. Sure. -LRB- kicks Pangle. -RRB- Hey, wake up! Pangle surfaces, blinks, grins at everybody. TEAGUE Evening, Mrs. PANGLE -LRB- looking around. -RRB- Where's Georgia? TEAGUE -LRB- interested. -RRB- Where's Georgia? In the trees, Georgia ducks, retches. STOBROD He do n't know what he's saying. We were talking about Georgia early on - maybe heading down there. TEAGUE Georgia's like my armpit. Worse, it's like yours. -LRB- to Pangle. -RRB- Want some sausage? PANGLE Thanks. You is Home Guard? TEAGUE Yes, ma'am. PANGLE You is Teague? TEAGUE -LRB- to the others. -RRB- I'm known! STOBROD He do n't know what he's saying. PANGLE -LRB- quoting. -RRB- That bastard Teague. TEAGUE Really. PANGLE Bad words. Folk always put the curse words in front of your name. STOBROD Mr. Teague wants us to play. PANGLE Okay. TEAGUE We heard there were deserters in these parts. Hiding out in a big cave. STOBROD Not come to my ears. TEAGUE You do n't know where this cave is? STOBROD No, sir. PANGLE You do, Stobes! He means - STOBROD Right, right! he means, there is a cave, right, it's up over the other side, big cave, we played some music up there, never occurred to me they were deserters. Near Bearpen Branch. PANGLE Ai n't nowhere near Bearpen Branch! It's this side! He's always getting lost. That cave - we live there! - it's over on Big Stomp. Tell you how I always find it. There's a big old locust tree fell down across the path, that points straight at it, like a finger, always a dozen squirrels round that tree. You gets to the tree, sit on it, and there's your entrance, straight in front of you, tree points at it. Come right to your hand, them squirrels -. -LRB- makes a chirping sound. -RRB- - Chrrrpppp! Chrrrrppp! TEAGUE Sounds good. Okay, let's eat, let's hear some music.\",\n \"EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia watches as the music starts, Stobrod playing and singing, Pangle joining in at the chorus. Their improvising is wild, profound, Stobrod chording the fiddle, Pangle following him, then, finishing with another verse and ending with the title declaimed by Stobrod. STOBROD I call this tune : Ruby's Lament.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT Something like compassion has flickered over Teague's face. Mo and Jo nod to the music's secret rhythms. Only Bosie seems detached, contemplating his long fingernail. The music finishes. The Home Guard applaud. PANGLE What'd you make of that? BOSIE Heartbreaking. TEAGUE Stand over by that tree. STOBROD Me? TEAGUE Over by that tree. Over there. Take your boyfriend. Stobrod gets up, carrying his fiddle, heads over to a big old poplar. Nods at Pangle. STOBROD Come on. Pangle gets up, banjo in his hand. Puts his arm around Stobrod as if they were about to be photographed. The Home Guard gather around them. From the trees Georgia watches, helpless. Pangle grins at Teague. TEAGUE Do n't smile. PANGLE What? TEAGUE Quit smiling. STOBROD He always smiles. He do n't mean nothing by it. I told him this world's got nothing worth a smile. TEAGUE Put your hat over your face. PANGLE What do you mean? TEAGUE Cover your face with your hat. PANGLE TALES OFF HIS HAT, HOLDS IT OVER HIS FACE. THE MOMENT HE OBLIGIES, TEAGUE'S CARBINE SPRINGS UP IN HIS HAND AND BLOWS THE HAT AWAY SEVERAL OTHER SHOTS FOLLOW. STOBROD FALLS UNDER PANGLE, THE BULLETS FLYING.\",\n \"EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT Georgia lies prostrate in the snow, shuddering under the report of each bullet.\",\n \"EXT. BOTTOM FIELD, BLACK COVE FARM. DAY Ruby working in the snow, in the field, clipping a sheep's feet, the animal on its back between Ruby's knees. She looks up to see GEORGIA RUNNING ACROSS THE FIELD TOWARDS HER, calling out her name. From the kitchen window, Ada looks on as he reaches Ruby, the story pouring from him. Ada emerges from the house, walks towards the bad news.\",\n \"INT. STOREROOM, BLACK COVE FARM. DAY Ruby sorting out a kit of shovels, blankets. Ada comes in does n't know how to help her friend, who shows no emotion. ADA I told Georgia he can stop here, sleep in the barn. He's got nothing inside him. He'd walk out of here and die in the snow. RUBY He can milk the cows. I was worrying about that. It'll be dark in a couple of hours. I's ten hours climb from here. He's drawn a map. ADA Okay. RUBY -LRB- boiling. -RRB- You know these fools stayed the night in the Mill? That's Stobrod - he ca n't do one good thing without adding the bad. Left tracks in the snow all the way up for them Home Guards to follow. That's a sign says shoot me! ADA Ruby, I'm so sorry. Ada moves towards her, puts her arms around her. Ruby is rigid. Ada stops embracing her. RUBY We should get going. She's tying up the kit. She does n't know how to grieve. RUBY Every piece of this is a man's bullshit. They call this a war a cloud over the land, but they made the weather. Then they stand in the rain and say : shit! It's raining! -LRB- tears welling. -RRB- If I cry one tear for my Daddy I stole it off a crocodile.\",\n \"EXT. COLD MOUNTAIN. EVENING THE SNOW IS FALLING HEAVILY. RUBY AND ADA TRUDGE UP THE MOUNTAIN, dressed in Monroe's clothes, hats pulled down, leading the horse, which is loaded up with tools and supplies. A choice of paths. They start up one, then Ruby decides against it, consults the map, and they reverse, pulling the horse back and then yanking it up the other path.\",\n \"EXT. PI STRUCTURE, COLD MOUNTAIN. NIGHT Ruby and Ada have made a fire. They sleep under a stone structure, which forms a natural pi shape, the fire in the entrance, the snow caught in its light.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. MORNING Ada and Ruby arrive at the scene of murder. Pangle is keeled over at the old Poplar, snow covering him. Only his girth and a glimpse of coat identify him. Ada brushes some of the snow from his face, revealing the death wound, then lays a hand in blessing on his head. ADA I do n't understand. RUBY Maybe Teague's took him. They did that with the Swanger boys - did n't, they? - dragged them into town, then strung them up as warning. it's snowed since, so I ca n't read the story on the ground. Ada fishes out Pangle's banjo from the snow. It's broken and the strings hang slack. RUBY Let's dig. LATER - and RUBY FINISHES OFF THE GRAVE, hammering in a stone to mark the place. Ada walks away towards the creek, to wash her hands. She bends and rinses her face. As she looks up SHE SEES STOBROD ON THE OTHER SIDE OF THE CREEK ; half - in, half out of the water, slumped against a tree, blood everywhere, staining the crust of snow which covers him. ADA Ruby! Ruby! Ruby arrives at Ada, looks to where she's looking, walks straight into the creek, all her love contained in the urgency with which she hurtles to her father, oblivious to the freezing water. She puts a head to his chest, seeks out a pulse at his wrist. Calls back to Ada. RUBY He's still breathing! -LRB- to Stobrod. -RRB- God damn! Daddy ; Daddy - it's Ruby. Do n't you die on me again. -LRB- to Ada. -RRB- He's still breathing!\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. AFTERNOON A mean fire burns by the creek. RUBY TURNS A KNIFE IN THE FLAMES. Stobrod's back is exposed. Just by the shoulder blade is an ugly grey and purple bulge the size of a crabapple. Ruby turns to Ada, who is helping. RUBY Pack a pan full of snow. I need good clean water, boiled up. She cuts the skin and prises out a slug which she drops in the snow and rolls around to clean. Stobrod does n't move. He could be dead. Ada loads the pan with snow. ADA Let's get him home. We have herbs there and it's warm. RUBY He'll die first. He's got hardly no blood left in him. ADA He'll die lying here. RUBY There's a place further on up. Used to be. Old Cherokee place. There's good water right by it. Ada puts the snow - packed pan on the fire.\",\n \"EXT. BY THE OUTLIER'S CAVE, COLD MOUNTAIN. AFTERNOON Squirrels frolic. Teague sits on the trunk of a fallen tree. He feeds the squirrels, looking straight ahead where the mouth of a cave winks back at him.\",\n \"EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. AFTERNOON THE TWO WOMEN EMERGE FROM A STEEP TUNNEL OF TREES IN A CHESTNUT GROVE. There's a stream and, up on the bank, A CLUSTER OF BLACK CONICAL HUTS, made up of chestnut logs, abandoned and slightly sinister looking. They approach one of the huts, its door long lost. The snow has drifted in. A second hut has a door which they pry open. It's dark and cold, but apparently still weatherproof. They get Stobrod off the horse and carry him inside, then come out again to unload the horse of its remaining load. ADA This horse is weary. He's ready to give up the ghost. Ruby picks up the blankets and provisions and goes back inside to her father. Ada takes the horse to another hut and, despite his great reluctance, pushes him inside. ADA Good boy. -LRB- she blows into his nostrils, calming him. -RRB- That's warmer, is n't it. Ada would n't even recognize this practical, hardy woman she's become. Stringy and of few words. She sets off towards the tree tunnel, passing Stobrod's hut. ADA I'm getting firewood.\",\n \"EXT. THE KILLING GROUND, COLD MOUNTAIN. DUSK Inman approaches the Killing Ground. He studies the ground, finds Pangle's grave. Blood has left its black writing in the snow and he finds first where Stobrod has been, where the bullet had been removed, then the journey away, still tiny, telltale spatters of blood, and the hoof prints and boot prints of two walkers and one loaded horse. He puts his hand into the ashes of Ruby's fire, ca n't feel any warmth. It's getting dark. He takes a drink from the stream, shudders at the cold.\",\n \"INT. STOBROD'S HUT, CHEROKEE VILLAGE. NIGHT The fire burns, a pall of smoke. Stobrod lies on the ground, swathed in blankets. Coughs. Ruby sits next to him, wipes the hair from his forehead. Ada opens her eyes, looks, closes them, listens to the fire, a strange squeaking as it burns. ADA That wood - that sound when it burns that mean more snow? RUBY Yes, it do, country girl.\",\n \"EXT. TRACK, COLD MOUNTAIN. DAWN First light. The sun creeps up, a red streak of dawn. Inman walking, his head bent to the tracks. He walks quickly, even as the terrain gets more steep. As he bends to the snow - where a spot of blood has fallen into a hoof print - A FLAKE OF SNOW LANDS ON HIS HAND. Then a second. He looks up. The snow falls. He starts to move more quickly, racing the snow as it seeks to erase the tracks. The snow thickens.\",\n \"EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING In the Chestnut Grovel A DOZEN WILD TURKEYS pick their way across the snow. A shotgun lines up its sight at one of them. The trigger is squeezed. An explosion of feathers.\",\n \"EXT. THREE WAY CROSSING, COLD MOUNTAIN. MORNING Inman hears the shot. Then a second, the sound ricocheting around him. He ca n't quite identify its source but he runs again, heading for the Chestnut trees he can see above him.\",\n \"EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING Ada collects the two turkeys, the first creatures she's ever shot. Does n't quite know how to hold them. She straightens up and sees, at the other end of the tree tunnel, backlit by the morning sun, THE SILHOUETTE OF A MAN. She drops the turkeys tires to reload the shotgun. Inman comes down the tunnel, approaching the hunter he sees through the snow at the other end of it. ADA Turn round and go back where you came from. Inman is bewildered by this woman's voice in a man's outfit, keeps walking, peering through the snow. Ada fires a warning shot. Inman, still some distance, suddenly understands. INMAN Ada? Ada Monroe? ADA I do not know you. After all this time, all this way, Inman could give up the ghost. INMAN Then I believe I made a mistake. He turns, walks heavily away from her. Then he turns again, completely lost, without compass. INMAN If I knew where to go I'd go there. ADA -LRB- finally recognising him. -RRB- Inman? He nods. They do n't know how to speak to each other, just stand awkwardly, some distance apart, the emotion stones in their throats. Eventually - ADA You'd better come with me. And with that, she starts to sob, and sob. VERY HIGH ANGLE : Inman walks towards Ada. They embrace.\",\n \"INT. STOBROD'S HUT, CHEROKEE VILLAGE. MORNING Ada enters, Inman behind her. Ruby looks up from Stobrod. ADA Ruby, this is Inman. Ruby digests this. Considers this ghost of a man. RUBY Congratulations, I should send you out with a shotgun more often. He looks as he needs sleep. INMAN I may need to. RUBY Be my guest. You shot or something? INMAN Not lately. RUBY Hungry? -LRB- Inman nods, Ruby to Ada. -RRB- He woke up. ADA Stobrod? RUBY Said - your mommy's name was Grace then closed his eyes again.\",\n \"EXT. CHEROKEE VILLAGE. DAY Ada comes out of Stobrod's hut, a glimpse of Inman sleeping on the floor, heads for another hut which Ruby is sweeping out. The snow has stopped. Ada stands in the door, watches Ruby. Ruby's resistance to Inman is palpable. ADA He's asleep. They both are. RUBY I'm not surprised. Your man looks played out. ADA I saw him. I realize now. RUBY Saw him when? ADA In Sally Swanger's well. A tunnel of trees. The man like a black smudge in the snow, the sun behind him. RUBY Well there you are. ADA Funny thing is it was n't the same. The image. It was n't snowing. And in the well, he was, as if he were falling. RUBY You probably do n't remember it right. ADA I remember it exactly. There were crows, these black crows flying towards me. I thought I was seeing him fall. Instead I was seeing him come back to me. All this while I've been packing ice around my heart. How will I make it melt? RUBY Better get a fire going. -LRB- goes to the fireplace. -RRB- I've got big plans for that farm. Got a vision in my mind of how that Cove needs to be. ADA I know you have. RUBY There's not a thing we ca n't do ourselves.\",\n \"INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT THE FIRE BURNS. Ada lies awake. Ruby sleeping. Ada gets up, steps out into the snow, her blanket around her.\",\n \"EXT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT Inman is outside his cabin. Only the light escaping from the cabin, fire lights them, almost silhouettes. INMAN I'm sorry. I was trying to be quiet. ADA I could n't sleep. INMAN - I got no appetite left to be in a room with wounded men. ADA I ca n't see your face. INMAN It's not a face you recognised. ADA Did you get my letters? INMAN I got three letters. Carried them in that book you gave me. The Bertram. ADA I must have sent 100. Did you write to me? INMAN Whenever I could. If you never got them I can summarize. ADA No, it's - INMAN I pray you're well. I pray I'm in your thoughts. You are all that keeps me from sliding into some dark place. ADA But how did I keep you? We barely knew each other. A few moments. INMAN A thousand moments. They're like a bag of tiny diamonds glittering in a black heart. Do n't matter if they're real or things I made up. The shape of your neck. The way you felt under my hands when I pulled you to me. ADA Your boots, one polished, one not yet polished. INMAN You're playing a piano and I'm standing outside. ADA I'm playing a piano and you're standing outside. INMAN That kiss - which I've kissed again every day of my walking. ADA Every day of my waiting. INMAN Maybe you ca n't see my face, but if you could see my inside, my whatever you want to name it, my spirit, that's the fear I have deeper than any gash on my neck. I think I'm ruined. They kept trying to put me in the ground, but I was n't ready, no ma'am, no more ready than that scoundrel in there's not ready to die on us. But if I had goodness, I lost it. If I had anything tender in me I shot it dead. Ruby stomps out of the hut. RUBY Number one - shut this door, it's freezing. -LRB- goes over to Stobrod's hut. -RRB- Number two - shut that door, it's freezing. -LRB- turns to them. -RRB- I'm laying on my back, with my fingers poked in my ears trying to shut out who's got a bag of diamonds and who's got boots needs polishing, If you want to get three feet up a bull's ass listen to what sweethearts whisper to each other. She's at the door to Stobrod's hut. She contemplates them. RUBY In fact, if you're going to wimble all night I'm going to sleep in with him. And with that she enters Stobrod's hut, slamming the door. ADA Now I ca n't see anything. A long pause. INMAN I'll say goodnight. ADA I do n't think Ruby's vacating my hut so that you can sleep in a different one.\",\n \"INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT Ada puts logs onto the fire. After a few moments a knock. ADA Come in. Inman enters. They do n't know the rules for this. ADA Whatever comes to pass between you and me, I want Ruby to stay in Black Cove. INMAN Right. ADA As long as she wants. And if she never leaves I'll be glad. INMAN More a question could she put up with me. ADA And you understand she's my friend, she's not a hired hand and she does n't empty a night jar unless it's her own. INMAN Sure. ADA This war's made some things pointless. It's hard to imagine a wedding. I think even my father would recognize that. INMAN Ada, I want to marry you. If you'll have me. ADA Is n't there's some religion where you just have to say I marry you, three times, and then you're man and wife. INMAN I marry you. I marry you. I marry you. Ada laughs, unsettling Inman. INMAN Why's that funny? ADA No, I think it's I divorce you three times and then you're not married anymore. INMAN I can wait for you. ADA You waited enough. I certainly did. I marry you. I marry you. I marry you. And they kiss, tentative, then more urgent. ADA I'm sorry about the way I look. In these clothes. -LRB- Inman shakes his head. -RRB- And there are so many buttons. -LRB- starts to undress. -RRB- Will you turn your back? INMAN Not for all the gold dollars in the Federal Bank. She stands holding her clothes in front of her to cover herself. He takes them from her, drops them to the floor.\",\n \"EXT. CHEROKEE VILLAGE. MORNING A crisp, cold beautiful morning. They're packing up, all their clothes in layers. Inman prepares the horse. Ruby and Ada carrying bundles out of the huts. Inman approaches Ruby. INMAN You go ahead. I'll follow with the horse at a pace your daddy can tolerate. ADA We can all go together. INMAN It's safer this way. No one has quarrel with you. RUBY He's right. INMAN -LRB- to Ruby. -RRB- I gather I need permission if I reckon on living at Black Cove. Ruby gives a curt nod, goes over to Stobrod's hut. Inman gets close to Ada. INMAN We'll get to you by nightfall. ADA You be safe. She puts her hand to his mouth which creases into a smile. INMAN Your Mr. Bartram speaks about some category of fly born on the hide of a cow. It flies up into a tree and waits and waits until it smells cow. It can wait a year, two years, I do n't know, maybe longer. Then a cow comes along and it wakes up, flies down, lays its eggs on the cow. There's purpose for you. ADA And am I the fly in this story, or the cow?\",\n \"INT. STOBROD'S HUT, CHEROKEE VILLAGE. DAY Ruby is wrapping a fragile Stobrod for the journey. STOBROD You come up the mountain for me, darling, I'd be dead otherwise, dead and gone. RUBY You'd have found some other fool to rescue you. STOBROD He's sweet on you, that Georgia boy. He coughs for a long time. RUBY If you say a thing and then cough it's a lie. Daddy, stay on that horse, and do n't lose him or sell him. We'll need him on the farm.\",\n \"EXT. CHEROKEE VILLAGE. MORNING And then the two women are off, little men in their outfits, tramping off in the snow. Inman watches.\",\n \"EXT. TRACK NEAR THREE WAY CROSSING, COLD MOUNTAIN. DAY Ruby and Ada walk. RUBY I hope that Georgia boy's been seeing to the animals. ADA I thought you were thinking on him! RUBY I was not. I was thinking on swollen udders - and before you say same difference. ADA I'm saying nothing. Ruby elbows her. RUBY Miss lovey - dovey! Ada elbows her back.\",\n \"EXT. THREE WAY CROSSING, COLD MOUNTAIN. DAY Inman has roped Stobrod to the horse which he pulls down a steep slope. Behind him, their hooves muffled by the snow, A GROUP OF RIDERS JOIN THE TRAIL, IN SLOW BUT STEADY PURSUIT. Inman walks on, apparently oblivious to who's behind him. He and Stobrod are some distance from broken ground, a fringe of trees. INMAN -LRB- quietly to Stobrod. -RRB- Do n't look round. STOBROD Got it. INMAN How many men does he have? STOBROD There were five. You ca n't reason with that man. INMAN -LRB- takes off his gloves. -RRB- I got a conversation stopper. -LRB- they're getting closer. -RRB- Closer we get to that broken ground the better. Inman opens his coat. Stobrod looks at the Lemats. They're at the edge of the trees. INMAN You hold on tight, do you hear? When I say three, look round, nice and slow. STOBROD Okay. INMAN One, two, three. Stobrod looks round. Inman does n't. Teague has some new bodies in his entourage but they're all dead. A SPARE HORSE HAS THREE CORPSES HUNG OVER IT, ANOTHER HORSE DRAGS A MAKESHIFT LITTER WITH A COUPLE MORE, SOUVENIRS OF THEIR CAVE VISIT. Teague waves. TEAGUE God damn! You're a hard fucker to put down. -LRB- they approach. -RRB- Good directions to that cave from the fat boy - saw the squirrels, sat on the tree made some friends, brought some back with me. His riders begin, quite casually, to fan out. IN ONE MOVEMENT, INMAN SLAPS THE FLANK OF THE HORSE. WHICH CAREERS DOWN THE TRACK, THEN TURNS AND FIRES, TWICE, BEFORE PITCHING HIMSELF INTO A ROLL TOWARDS THE TREES. HIS FIRST SHOT KNOCKS JO FROM HIS HORSE, THE SECOND MO, WHO FALLS INTO THE SNOW, BLEEDING FROM THE GROIN AND SCREAMING. The riderless horse gets tangled up with the others. Inman is in the trees, shots around him. He does n't move away from, but towards the riders inside the line of trees. Grayling charges him, riding into the trees. INMAN SHOOTS HIM, THEN RUSHES FROM THE TREES, FIRING, MISSING BOSIE, WHO RIDES AWAY, EVIDENTLY NOT RELISHING THE FIGHT, AND THROWS HIMSELF AT TEAGUE, WHOSE HORSE IS BUCKING WILDLY. Teague's carbine fires an involuntary shot into the air. Inman yanks the gun from his hand with his own left hand and lets go the shotgun barrel of the Lemats with the other, the big pistol almost leaping from his hand with the recoil. TEAGUE'S CHEST OPENS OUT AS HE'S THROWN OFF THE HORSE. Mo is still screaming. Inman walks over and shoots him in the head, then walks to Teague, who is saying something, the blood blotting the snow under him. Inman studies him, picks up the Spencer carbine, turns to look where Bosie has gone, steps up onto Teague's horse, reins the horse in, and trots it over to the prostrate Teague, LEANS OVER AND SHOOTS HIM DEAD. He turns the horse in the direction Bosie had headed. He ca n't see horse or rider, but in the stand of Hickory Trees ahead, THE GUSTS OF STEAMING BREATH betray them both. He rides slowly towards the stand of trees.\",\n \"EXT. COLD MOUNTAIN. DAY Ada and Ruby walking. They hear the shots. Ada turns and starts to run through the snow, her hat flying from her head.\",\n \"EXT. STAND OF HICKORY TREES, COLD MOUNTAIN. DAY Inman's horse is parallel to Bosie, who is deep inside the trees but also riding, slowly. It's like a dance. INMAN Come out of there. BOSIE No, sir. Here's fine. INMAN I just have to shoot the horse from under you. BOSIE Shoot her. She's not mine. You riding Mr Teague's mare? INMAN I am. BOSIE He dead? INMAN I hope so. -LRB- wearily, as he brings his horse inside the trees. -RRB- Look, how old are you? Give me your gun and ride home, I'm done fighting. I'm sick of it. BOSIE I give you my gun you'll shoot me dead. INMAN I will not shoot you, but nor am I walking down that mountain looking over my shoulder for you. BOSIE That's what they call a conundrum. I tell you what I've got on my side. INMAN What have you got on your side? BOSIE The confidence of youth. And in that second HE PRODUCES HIS GUN AND FIRES. INMAN HAS ALREADY FIRED THE LEMATS AND THE BOY, SHOT IN THE HEAD, FALLS. CAUGHT BY ONE STIRRUP THE HORSE BOLTING. INMAN WATCHES, STOCK STILL, THEN MAKES A COUGH, AS IF CLEARING HIS THROAT, AND A THIN MIST OF BLOOD SPRAYS FROM HIS MOUTH.\",\n \"EXT. RIDGE, COLD MOUNTAIN. DAY Ada and Ruby running. THEY REACH STOBROD, HIS HORSE STOPPED, DRINKING FROM THE CREEK. Stobrod, barely conscious, hanging halfway down its flank, held on by the ropes. Ada hurries on, taking the shotgun from Ruby, who tends to her father.\",\n \"EXT. A GROVE OF TREES, COLD MOUNTAIN. DAY Ada runs past the horse dragging the cave corpses. She hardly stops to look at the bodies, just rushes on. THE GROUND SIMPLIFIES AND SHE'S AT THE BOTTOM OF A GROVE. A STEEP INCLINE, THE SUN LOW AND IN FRONT OF HER. SHE SEES A BRILLIANT FRAME OF BLACK TREES, AND THEN A SUDDEN FLURRY OF ANGRY CROWS FLYING TOWARDS HER. AT THE TOP OF THE HILL IS A SMALL HIEROGLYPH OF A MAN. FINALLY, THE IMAGE FROM THE SWANGER WELL EXACTLY AS SHE FIRST SAW IT. THE FIGURE RAISES A HAND, BRIEFLY, THEN PITCHES FORWARD INTO THE SNOW. She runs, her heart broken, towards the body of Inman. He's dead, the red flag of his life ebbed, away in the snow. Ada falls to her knees and pulls him over, the snow crusted on his face, which she wipes away with great tenderness, then sits, his head in her lap, as Ruby slowly comes up the hill towards them. A VIOLIN PLAYS, quite raucous.\",\n \"INT. KITCHEN, BLACK COVE FARM, EASTER. DAY A GIRL, about five or six, with Ada's curls, sits at the table cradling a tiny lamb, which wo n't feed from the nippled bottle she offers it. She tries again. Ada comes in suddenly, takes a knife from the kitchen, and hurries out. ADA You bring that lamb outside. The girl gets up, carries the lamb out into the field.\",\n \"EXT. FIELD, BLACK COVE FARM. DAY THE SOUND OF THE FIDDLE CONTINUING, JOINED BY A BANJO, It's a glorious spring morning, Black Cove Farm at its most luxuriant, the path edged with brilliant flowers. There are more animals in evidence. The girl emerges from the house and sees Ada in the field, surrounded by sheep. She hurries over. ADA IS EXPERTLY SKINNING A STILLBORN LAMB. The little girl is horrified. GRACE What are you doing! ADA He came out dead, love. She has the skin off the lamb, which lies like a little pink cat on the ground. She approaches Grace, takes the live lamb from her arms, the girl resistant, frightened. GRACE Do n't kill him! ADA I'm not going to kill him. But we have to try something or else he's going to die. She takes the skin and wraps it round Grace's lamb. Then puts the covered lamb into the pen with the dead lamb's mother. It goes to the sheep and, after a few false starts, starts to feed, accepted as a surrogate. ADA Is n't that a small mercy. And A VOICE joins in with the fiddle and banjo.\",\n \"EXT. BLACK COVE FARM. DAY STOBROD is playing, on his repaired fiddle. His hair is now completely grey. GEORGIA is playing the banjo and singing, although. A SMALL CHILD with Georgia's reddish coloring keeps invading his picking hand trying to join in. RUBY HAS ANOTHER GEORGIA CHILD IN HER ARMS, but is also trying to serve food. She passes Georgia and touches the top of his head. SALLY SWANGER is pouring water from a jug, Ada emerges from the kitchen, with a big pie, racing to the table. ADA -LRB- laughing. -RRB- Hot hot hot hot hot! From behind her, Grace appears, carrying a jug of milk, puts it on the groaning board of the table. Grace has a full plate in front of her, picks up a fork to spear some meat. ADA Grace Inman, nobody said eat. -LRB- then to Stobrod. -RRB- Mr. Thewes. The music stops. And there's quiet except for the sound of animals : lowing, barking, braying, bleating. ADA For good friends, good food, good family : for all our blessings - Oh Lord we thank thee. Amen. ALL Amen! And they eat. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,1,1,1,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,1,0,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"When North Carolina secedes from the Union on May 20, 1861, the young men of Cold Mountain hurry to enlist in the Confederate States Army. Among them is W.P. Inman, a carpenter who has fallen in love with Ada Monroe, a preacher's daughter who had come from Charleston, South Carolina to care for her ailing father. Their whirlwind courtship is interrupted by the war, but they share their first kiss the day Inman leaves for the army. Before parting ways, Ada promises Inman that she will wait for him. Three years later, Inman fights in the Battle of the Crater and survives; he then comforts a dying acquaintance from Cold Mountain, while fellow soldier Stobrod Thewes plays a tune on his fiddle. Inman is later wounded in a skirmish; as he lies in a hospital near death, a nurse reads him a letter from Ada, who pleads for Inman to come home to her. Inman recovers and deserts, embarking on a long trek back to Cold Mountain. Inman encounters a corrupt preacher named Veasey, who is about to drown his pregnant slave lover. Inman stops Veasey, and leaves him tied up to face the town's justice. Exiled from his parish, Veasey later joins Inman on his journey. They help a young man named Junior dispose of a bull cadaver, and then join him and his sordid family for dinner. Junior leaves and returns with the Confederate Home Guard, who take Inman and Veasey away along with other deserters. During a skirmish with Union cavalry, Veasey and the group are killed while Inman is left for dead; an elderly hermit living in the woods finds Inman and nurses him back to health. Inman eventually meets a grieving young widow named Sara and her infant child Ethan, and stays the night at her cabin. The next morning, three Union soldiers arrive demanding food; they take Sara and Ethan hostage, forcing Inman to kill two of them, while an enraged Sara fatally shoots the last one trying to flee. Back in Cold Mountain, Ada's father has died, leaving her with no money and few means to run their property's farm in Black Cove. She survives on the kindness of her neighbors, particularly Esco and Sally Swanger, who eventually send for Ruby Thewes—Stobrod's daughter—to help. Ruby moves in and together they bring the farm to working order, becoming close friends. Meanwhile, Ada writes constant letters to Inman in hopes of meeting him again and renewing their romance. Ada has several tense encounters with Captain Teague, the leader of the local Home Guard who covets Ada and her property, and whose grandfather had once owned much of Cold Mountain. One day, Teague and his men kill Esco, and then torture Sally to coax her deserter sons out of hiding and kill them as well. Ada and Ruby rescue Sally, who is traumatized and rendered mute. The women celebrate Christmas with Stobrod, who has deserted and arrived to Cold Mountain with traveling companions Pangle, a simple-minded banjo player, and Georgia, a mandolin player to whom Ruby is attracted. While camping in the woods one night, Stobrod and Pangle are cornered by Teague and the Guard while Georgia watches from hiding; Pangle unintentionally reveals the musicians are deserters, and the Guard shoot Pangle and Stobrod. Georgia escapes and informs Ruby and Ada, who return to the scene to find Pangle dead and Stobrod badly wounded. The women remove a bullet from Stobrod's back, and they take shelter in an abandoned Cherokee camp. Ada goes hunting for food and is reunited with Inman, who has finally returned to Cold Mountain. They return to the camp, and spend the night consummating their love for one another. Leaving Inman and Stobrod to hide at the camp, Ada and Ruby are surrounded by Teague and his men, having captured and tortured Georgia for their whereabouts. Inman arrives and kills Teague and most of his band in a gunfight. He then chases Teague's lieutenant, Bosie, and exchanges fast draws; Bosie is killed, but Inman is mortally wounded. Ada finds and comforts Inman, who dies in her arms. Years later, it is revealed that Ada's night with Inman had produced a daughter, Grace Inman, and that Ruby has married Georgia bearing two children. With Stobrod and Sally, the family celebrates Easter together at Black Cove."},"name":{"kind":"string","value":"Cold_Mountain_(film)"}}},{"rowIdx":164,"cells":{"scenes":{"kind":"list like","value":["JAWS: THE REVENGE TITLE SEQUENCE : UNDER WATER - NIGHT As titles and music play, we move slowly beneath the water off the coast of Amity. We swim beneath a dock, threading our way through pilings. We move through the water, swimming, just swimming, with all the time in the world. We move over some junk - the rusting front end of an automobile. We're going somewhere. The water becomes shallow and we stop. Up through the surface, the images distorted, we see the lights of a town. Amity. We move on, swimming again, just swimming, moving through the water until, suddenly, the water swirls with motion around us. We experience the sensation of turning and then we see it, THE EYE. And, for a moment, we think we're going to see more. But all we see, as titles end, is THE EYE. THE REVENGE FADE IN AN ENORMOUS BLACK EYE casts its deadly stare straight at us. Waves of heat, like ocean currents, rise up around it. A sound like that of the fires of hell fills our ears. ELLEN -LRB- O.S. -RRB- Stop that. SEAN -LRB- O.S. -RRB- Stop what? ELLEN -LRB- O.S. -RRB- That. SEAN -LRB- O.S. -RRB- -LRB- laughing. -RRB- I'm not doing anything. A hand is heard being slapped lightly. SEAN -LRB- O.S. -RRB- -LRB- feigning pain. -RRB- That hurt. ELLEN -LRB- O.S. -RRB- Serves you right. -LRB- laughing despite herself. -RRB- Will you please stop. SEAN -LRB- O.S. -RRB- Ca n't help myself. The huge eye rises up toward us, then turns away and disappears, to be replaced by another just like it.","INT. BRODY HOUSE - KITCHEN - NIGHT The eye belongs to a fish and the fish is frying in a pan and Ellen has just turned it. She glances at Sean, her son, who's dressed in an Amity police uniform. He's munching a piece of lettuce from the salad, which he's been picking at. It's winter and she's wearing a bit of wool. ELLEN You're almost as fast as your father. He could snatch a tomato out of a salad faster that a rabbit makes love. Sean grins at his mother and slowly tries to take more lettuce without being seen. ELLEN -LRB- continuing. -RRB- I see what you're doing. SEAN I'm hungry, Mom. ELLEN Let me finish dinner before you eat it. Chop the peppers. He lines up a red and green pepper and eyes them sympatha - tically. SEAN Sorry fellas. He starts chopping them up and Ellen grabs her glass of wine and sits herself on a stool to watch him. Showing off a little, he starts adding some professional panache to his chopping. ELLEN Watch your fingers. He cuts himself. SEAN Shit. The phone rings. ELLEN Are you all right? SEAN Adds flavor. He sucks at his finger as she answers the phone on its second ring. SEAN -LRB- continuing. -RRB- We do n't want any. ELLEN -LRB- picking up the phone. -RRB- Hello? -LRB- smile broadens as she listens. -RRB- Thea who? -LRB- laughs. -RRB- I know it's Thea Brody. How many grandchildren do I have? I know you can use the phone by yourself. You're a big girl. I know you're five. Sean, still sucking at his finger, eager to talk with his niece, moves to the phone and leans in close to the mouthpiece. SEAN Hi ya, kiddo. How you doing down there in the sunshine? Ellen shares the mouthpiece with her son. THEA -LRB- O.S. -RRB- I'm fine, Uncle Sean. I went swimming today. I'm taking lessons. MICHAEL -LRB- O.S. -RRB- She already swims like a fish. SEAN Hey, Michael! MICHAEL -LRB- O.S. -RRB- Hey, bro. ELLEN -LRB- to Sean. -RRB- The fish. Check it. SEAN You check it. ELLEN I'm on the phone. MICHAEL -LRB- O.S. -RRB- I'm paying for the call. SEAN -LRB- to Ellen. -RRB- Not if you let me have it. ELLEN In a minute. THEA -LRB- O.S. -RRB- What's going on? SEAN -LRB- to Thea. -RRB- Your grandmother's a slave driver. Tell her to be nice to me. Sean makes a face at his mother, who smiles at him, then continues her conversation with Thea. ELLEN Did you get the book I sent you? -LRB- listens. -RRB- Sean studies the fish as it fries in the pan, not sure what to do with it. SEAN Ask the big doctor about his work. -LRB- yelling so Michael can hear him. -RRB- Tough life you Bahamian beach bum. Playing in the water all day. ELLEN He heard that. SEAN -LRB- smiling. -RRB- Good. He turns to the fish. OMITTED AMITY - DUSK It's the next day and the main business street of Amity is ablaze with Christmas lights and decorations. The streets are busier than usual with traffic. People move about with that extra sense of purpose and good cheer which accompanies the holiday season. Sean, Ellen and Tiffany, the young woman to whom Sean is engaged, are just leaving Ellen's real estate office, a storefront on the main street. They're carrying Christmas packages. Ellen's partner, Agnes Taft, is seen at her desk inside. ELLEN -LRB- as she leaves. -RRB- Tomorrow we have to get the ads for the paper straightened out. And if Mrs. Blodget calls, tell her we'll have the final offer tomorrow. MRS. TAFT How come you get to leave early? ELLEN -LRB- smiling. -RRB- My desk is closer to the door. Mrs. Taft grins and goes back to work as Ellen, Sean and Tiffany start across the street. The sign above the door behind them reads : ` BRODY AND TAFT, REAL ESTATE.' SEAN -LRB- continuing their earlier conversation. -RRB- A big one. ELLEN A small one. Your brother wo n't be here. The Mayor sees them as he moves along the sidewalk. THE MAYOR Merry Christmas. ELLEN Merry Christmas, Jim. SEAN/TIFFANY Merry Christmas, Mayor. THE MAYOR Eggnog time. Thursday night. ELLEN I'll be there. The Mayor offers a large grin and hurries on. SEAN -LRB- to Ellen. -RRB- We're having a big tree and we're getting out all the old ornaments and we're going to do it right. TIFFANY We'll put stockings on the mantel. SEAN And we're putting out a sandwich and a bottle of beer for Santa. ELLEN -LRB- laughing. -RRB- All right. We'll do it all. Tiffany, you have no idea what kind of mad man you're marrying. TIFFANY -LRB- smiling at Sean. -RRB- Oh, yes I do. They approach the front of the police station. SEAN I've got to check in. He kisses his mother on the cheek and plants one on Tiffany's lips. ELLEN Do n't be late. SEAN I wo n't. Sean heads for the station. The two women watch him for a moment, then move on. ELLEN -LRB- with good humor. -RRB- He has the messiest room in America. TIFFANY I know. but he's all mine. Ellen gives her a look, then smiles and the two women continue on.","INT. POLICE STATION - DUSK Sean moves into the front office, taking off his gloves and blowing into his hands. The secretary, Polly, who is close to retirement, is going through a filing cabinet. There's a framed picture of Martin Brody on the wall near her. It has a plaque beneath it which reads, MARTIN BRODY, POLICE CHIEF, 1973 - 1985. She slams the drawer shut in her frustration at not being able to find what she's looking for. SEAN That bad, huh? POLLY We're out of decaf. We're out of petty cash. And we're out of requisition forms. He smiles sympathetically and pours himself a half cup of coffee and waits for the rest of it. POLLY -LRB- continuing. -RRB- You have the safety talk at school, one o'clock tomorrow. SEAN Anything to do before I go home? He sips at his coffee, eager to be gone. Polly opens another file and searches. POLLY That man keeps calling about his training film. I ca n't convince him we do n't have a S.W.A.T. team. SEAN Good night, Polly. He takes a final sip of coffee and puts the mug down and heads for the door. The phone rings. Polly moves to her desk. POLLY George called about the softball league. He wants you to organize a team for next summer. He disappears as she picks up the phone. POLLY -LRB- continuing. -RRB- Amity Police Department. -LRB- listens ; then yells at Sean. -RRB- Hold it! There's an old dock piling drifting in the channel. Sean reappears in the doorway looking quizzical. POLLY -LRB- continuing ; on the phone. -RRB- Maybe it will just keep drifting until it goes away. -LRB- to Sean. -RRB- It's stuck against a channel marker. He starts away again, trying to ignore it. POLLY -LRB- continuing ; listening ; then yelling. -RRB- Hold it again! Coast Guard's busy and it has to be cleared before the fishermen come back. Sean moves back to the doorway. SEAN Where's Lenny? POLLY -LRB- hand over the mouthpiece. -RRB- Gone to Ben Masters' place. Cow tipping. SEAN Cow tipping? POLLY Claims kids come around at night and tip over his sleeping cows. They're not giving milk. SEAN -LRB- sighing. -RRB- I'll take care of it. POLLY -LRB- on the phone. -RRB- Deputy Brody will take care of it personally. She hangs up and eyes Sean, who's still framed in the doorway. SEAN Call my mother. Tell her I'll be late. He shakes his head and disappears at the door. SEAN -LRB- continuing. -RRB- Cow tipping. THE DOCKS - DUSK TO NIGHT A huge banner is stretched above the docks. It reads : AMITY ANNUAL CHRISTMAS PAGEANT. The combined forces of the high school band, chorus and dramatic society are in the process of rehearsing their musical version of the birth of Christ. Their director, Mr. Tarkanian, is jumping about, trying to organize things. TARKANIAN Come on people. Come on. We go on at eight o'clock tomorrow night and. -LRB- voice rising to a scream. -RRB- No one's ready. This gets him some attention and his kids begin taking their places - Mary and Joseph, the Three Wisemen, the shepherds. the sheep, the camel, which is a horse with an artificial hump. TARKANIAN -LRB- continuing. -RRB- You shepherds, find your places. And do n't forget the sheep. Sean pulls up in the police vehicle, gets out and, grinning and shaking his head at the confusion, begins to make his way through it. SEAN -LRB- yelling at Tarkanian. -RRB- Good luck. TARKANIAN I'll need it with this bunch. Sean pushes on, moving out on the dock. TARKANIAN -LRB- O.S. -RRB- Where's the Frankincense? This is supposed to be a dress rehearsal. THE POLICE BOAT - NIGHT Sean gets the engine started and casts off and the small boat makes its way from the dock. TARKANIAN -LRB- O.S. -RRB- -LRB- shouting. -RRB- You're supposed to be in costume, Joseph. Where's your robe? Jesus! A KID -LRB- O.S. -RRB- Here I am. THE BAY - NIGHT The boat moves slowly toward the channel. Sean looks back and sees the lights and activity on the dock and smiles a little, then turns his attention to the job at hand, switching on the boat's spotlight, using it to cut through the accumulating darkness. THE CHANNEL - NIGHT Sean brings the boat to the channel marker, with its small blinking red light, and kills the engine and examines the huge piece of dock piling, most of which is beneath the sur - face. It's lodged against the marker, so heavy in the water that it's not moving an inch. Hardly more than a shadow, his face just barely illuminated by the occasional dull red light, Sean gathers the towline and begins trying to secure it to the piling, a difficult job in the cold, which requires him to lean out over the side as far as he can. The band is heard starting up on the dock, gradually col - lecting itself until it sounds like one, playing `` The First Noel.'' A few moments later, the choir begins singing it. Suddenly the water explodes up around him violently and the boat rocks in the shock of it and a dark form is seen, for an instant, and Sean disappears from our view. The boat's spotlight rocks crazily. Then the turmoil of the water dies and all is calm and the singing from the dock is heard clearly again. Sean, holding onto his shredded sleeve and coat, bleeding profusely, has fallen to a corner of the stern. He looks off toward the dock and opens his mouth to call for help, but nothing comes out. The music grows louder as the band and chorus find their confidence. Then a tremendous surge of water explodes upward and the dark form is seen again, for an instant, and our view of Sean is lost. When we can see again, Sean and a corner of the stern are gone. For a moment, Sean is seen holding onto the piece of dock piling with his remaining arm. He cries out for help but it's lost in the swelling sound of the Christmas Carol coming from the dock. Then Sean and the pole disappear beneath the surface. He's just gone. A few moments later, the pole pops back to the surface. In the rocking spotlight from the boat, the clear outline of the shark's jaws can be seen where it's taken a chunk of it. In the stillness of the night, the band and chorus suddenly stop. TARKANIAN -LRB- O.S. -RRB- -LRB- yelling ; his patience exhausted. -RRB- Get the star higher. Higher! And where the hell are the Wisemen?","INT. POLICE STATION - DAY Ellen in shock, moves down a corridor with Lenny, Sean's boss, the Chief. He holds her arm as they move to a back room of the station. Polly and a handful of townspeople watch sadly from the other end. LENNY If I did n't have to, I would n't. -LRB- hates this conversation. -RRB- There's not enough. Law requires a positive identification and there's not. -LRB- ca n't finish. -RRB- He holds the door open and Ellen goes inside. THE BACK ROOM - DAY A sheet covers the table in the center of the room. There's a slight bulge beneath it. Ellen moves to the table. Lenny moves to get ahead of her. LENNY I wish there was some way to make it easy. Ellen, still in shock, watches as Lenny pulls back the sheet. She goes rigid, staring at Sean's remains without expression. He glances at her, then puts the sheet back. She does n't move. He moves to an old desk which sits in a corner and takes up a package. Sean's service revolver, in his holster, and his badge are on top of it. He brings them to her. LENNY -LRB- continuing. -RRB- His things. She looks dully at Lenny, then at the package, staring at the service revolver. LENNY -LRB- continuing. -RRB- I thought you'd want them. She takes what he offers and leaves. THE CORRIDOR Ellen stops and uses all her strength to compose herself. Her expression is etched with controlled rage.","EXT. BRODY HOUSE - DAY A taxi pulls up in front and Michael Brody, in his late twenties. Carla, his wife, mid - twenties, and Thea, their five - year - old daughter, get out. As the driver gathers their luggage, they look sadly at the house, then start for it. Thea does n't really understand what's going on.","INT. HOUSE - DAY Michael and his family move into the house. MICHAEL Mom? There's no answer and he looks in the living room. It's empty. MICHAEL -LRB- continuing. -RRB- Anybody home? Polly moves into the hall, followed by Mrs. Kintner, Agnes Taft, and another woman. They all look as though they've been working in the kitchen. POLLY Michael. He moves to her and they embrace. Polly looks at Carla and the two women exchange sad smiles. MICHAEL Where's Mom? Polly points out toward the beach. POLLY She's been out there for hours. MICHAEL How's she doing? Polly gives him a look, as if to say, not very well. MRS. KINTNER We just came from Tiffany's house. MRS. TAFT Poor girl. The doctor's had to sedate her. Michael nods and leaves. Polly smiles at Thea. POLLY I hardly recognize you, Thea. You're so grown up. THEA Uncle Sean is dead, you know. -LRB- to Carla. -RRB- Will he ever come back? CARLA -LRB- to Thea. -RRB- We'll talk about it some more later. POLLY -LRB- to Thea. -RRB- You want something to eat? THEA -LRB- to Polly. -RRB- I had a hamburger on the plane. POLLY We can do better than that. Polly offers her hand and Thea takes it and they head for the kitchen. Polly and Carla exchanging the knowledge of how difficult this all is for a child. POLLY How about a funny bone sandwich? Thea giggles and they disappear into the kitchen. THE BEACH - DAY Ellen stands at the shoreline, looking out toward the bay, her expression empty of feeling ; stoic suppression of her feelings. Michael moves down the beach toward her. MICHAEL Mom. She turns and, for a long moment they look at each other, then he moves to her and takes her in his arms. They hold onto each other for a long time. Tears begin to well up in his eyes. She looks at him, then kisses him gently, then looks back out at the water. ELLEN -LRB- with deadly calm. -RRB- It came for him. It waited all this time and it came for him. MICHAEL Mother. But she does n't hear him. Her mind and heart are somewhere else.","INT. BRODY HOUSE - KITCHEN - NIGHT Carla is organizing the evening meal. Michael moves into the room. MICHAEL She's putting Thea to sleep. He gets a can of beer from the refrigerator and pops the top, then looks at it. She studies him. MICHAEL -LRB- continuing. -RRB- I bought him his first legal drink. He got so pissed that night. CARLA He told me you both did. They look at each other, sharing their grief. CARLA -LRB- continuing. -RRB- He told me a lot about you two. Carla catches Ellen entering from the corner of her eye. Michael follows her gaze. MICHAEL Sit down, Ma. ELLEN You guys must be starving. Ellen moves to the counter and starts pulling out pots and pans, as though she's lost control of herself. Carla moves to calm her down. CARLA I'm making dinner. You should. Ellen pulls herself free from Carla's hand and continues pulling out the pots. She stops suddenly, holding one in her hand. She lets it drop and turns to look at Michael. ELLEN I want you to get out of the water. MICHAEL What? ELLEN I want you to give up that terrible job. MICHAEL Come on, Mom, you ca n't be serious. ELLEN -LRB- her voice rising. -RRB- You're damn right I'm serious. MICHAEL I'm just getting started. ELLEN I do n't want you in the water anymore. She stops suddenly, aware that Michael and Carla are staring at her. MICHAEL Mom, you're upset. Sit down. Please. ELLEN I wo n't have anyone in my family any - where near the water. -LRB- coming unglued. -RRB- Never again. Never. Michael moves to her, trying to take her in his arms, trying to comfort her. MICHAEL Hey, come on, you ca n't believe that voodoo. Sharks do n't commit murder. They do n't pick out a person. ELLEN -LRB- pulling away from her son. -RRB- It picked Sean. It killed your father. MICHAEL Dad died from a heart attack. ELLEN He died from fear. From having to go out there after it. She starts from the room unable to control herself, not wanting to unravel completely in front of Michael and Carla. MICHAEL -LRB- a last attempt to reason with her. -RRB- There's never been a great white where we live. It's warm water. They do n't like it. ELLEN -LRB- O.S. -RRB- -LRB- as she moves away. -RRB- Your brother's dead. Your father's dead. Michael and Carla look at each other with grave concern. THE BEACH - DAY The sand is hard from the cold and it's empty of people. The water is calm. The day is sunny and peaceful. MICHAEL -LRB- O.S. -RRB- He was such a good - natured kid. Always going out of his way. CARLA -LRB- O.S. -RRB- He was doing his job. MICHAEL -LRB- O.S. -RRB- It was a piece of wood. A shitty piece of wood. It's not fair. Michael and Carla move into view, their backs to us, bundled against the cold. CARLA He was just doing his job, Michael. They walk on in silence for a moment and we see them coming toward us. Michael is deeply troubled. Carla is concerned about him. MICHAEL God, he could make me laugh sometimes. -LRB- pauses. -RRB- He was always tagging after me when we were kids. He wanted so much to do what I was doing. Suddenly Michael starts running. Carla watches him for a moment, then starts running after him. CARLA Where are you going? MICHAEL Nowhere. He starts running flat out and Carla runs with him, stopping finally because he's too fast and she ca n't keep pace. She watches as he works every muscle in his body, trying to exhaust himself, trying to rid himself of what he feels. OMITTED","INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS) Sean, a small boy, and Martin are at the table. Martin is lost in thought, reflecting on his dilemma about the appearance of a great white shark in Amity and the refusal of the town fathers to shut down the beaches. Sean imitates his father's every move, mimicking him in every way. MINISTER -LRB- V.O. -RRB- To everything there is a season And a time to every purpose under the heaven ; A time to be born, and a time to die. THE CEMETERY - DAY Ellen is smiling, her expression reflecting her memory of her son and her husband. Sean is being buried. The Minister is conducting the gravesite service. Thea stands next to Ellen, holding her hand. Carla is next to her. Michael stands on the other side of his mother. Tiffany stands next to him. She's crying. Hundreds of townspeople have come to pay their last respects, Polly, Lenny, Mrs. Kintner, Mrs. Taft, Tarkanian, the Mayor and several Selectmen among them. MINISTER A time to plant, and a time to pluck up that which is planted ; A time to kill, and a time to heal ; A time to break down, and a time to build up ; A time to weep, and a time to laugh.","INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS) Martin and Sean are still at the table. Martin finally catches his son and makes a funny face at him and Sean makes one back. Martin opens his arms and Sean comes to him and the boy kisses his father. Ellen watches from the doorway. MINISTER -LRB- V.O. -RRB- A time to mourn, and a time to dance ; A time to cast away stones, and a time to gather stones together. A time to embrace, and a time to refrain from embracing. A time to seek, and a time to lose ; A time to keep, and a time to cast away ; A time to rend, and a time to sew. THE CEMETERY - DAY Ellen is still smiling. Thea is looking up at her, smiling to herself, trying to figure out what's amusing her grand - mother. Michael and Carla look at Ellen with concern. MINISTER A time to keep silence, and a time to speak ; A time to love and a time to hate ; A time for war, and a time for peace. AVRIL BAY - NIGHT The water laps gently against the shore. A person's legs are seen walking into it. Ellen is revealed walking slowly, deliberate out into the cold water of the bay. Her expression is set with sad determination as though she's going to keep on walking, until the water swallows her up. Finally she stops, and slowly raises her right hand. It holds Sean's service revolver. She points it toward the water in front of her and one by one, coldly, methodically, fires all six rounds into the bay.","EXT. DRUGSTORE - DAY Ellen, Michael, Carla and Thea leave the store and move off. Thea is unwrapping a lollipop. CARLA You'll spoil her. THEA That's what grandmas are for. Ellen, constantly surprised by her granddaughter, laughs. It pleases Michael and Carla. MICHAEL I want you to come back with us. Ellen looks at him with a raised eyebrow. Michael's concern for her is evident. MICHAEL -LRB- continuing. -RRB- Change of scenery. Spend more time with Thea. THEA Yes! Ellen looks at Carla, silently asking for her response. CARLA -LRB- smiling ; taking Ellen's arm. -RRB- What do I think? I think it's a lovely idea. MICHAEL Please, Mom. At least consider it. You should get away. You should n't be alone now. ELLEN -LRB- mimicking Thea. -RRB- Yes! THEA You can stay in my room. ELLEN -LRB- to Thea. -RRB- I'd like that. -LRB- to Michael. -RRB- I need to be away from here. Michael, surprised, pleased by how quickly his mother agreed, smiles and she returns it, the first smile she's had for anyone but Thea and the memory of her son and husband since Sean was killed. Carla looks at Michael, her expression etched with love and concern. THE FERRY - DAY Michael with Thea in his arms, Ellen and Carla stand together near their taxi as the ferry leaves Amity and heads for the mainland, the first leg of their journey to the Bahamas. Thea is playing a game with Ellen, pretending to whisper a secret. Ellen does it back and Thea giggles hysterically. THEA Grandma said, buzz, buzz, buzz. Ellen laughs at her granddaughter's delight. Michael and Carla grin. THEA -LRB- continuing. -RRB- Swing me. Swing me. Michael and Carla start swinging Thea between them. As Thea laughs, Ellen, suddenly, without warning, moves away and starts crying, unseen by the others. She looks back toward the island, sobbing now, finally letting it out, taking a last look at her home. Carla, Thea and Michael are heard laughing as they continue their game. AVRIL BAY - DAY From the surface of the water, the ferry is seen becoming smaller and smaller as it moves away. The old dock piling that Sean tried to dislodge from the channel marker, that cost him his life, has washed up on the beach. It's in several pieces and bears the distinct outline of the great white shark's jaws. Several of its teeth are lodged in the wood. NASSAU AIRPORT A large Eastern airline jet descends to the airport, finally touching down and braking as it brings the Brody family to the Bahamas. The plane flashes past. NASSAU BAY - DAY A blur of red flashes past. A Parachutist is being pulled by a speedboat. Several others are revealed, then a crowd of swimmers, and banana boats, and sailfish. The busy bay, it's `` high season,'' is seen from the point of view of a low flying aircraft. CARLA -LRB- O.S. -RRB- I've always wanted to ride one of those. MICHAEL -LRB- O.S. -RRB- No way. CARLA -LRB- O.S. -RRB- -LRB- laughing. -RRB- Chicken.","INT. PLANE - DAY Ellen stares down at the water, carrying her mood from Amity. Michael and Carla ride next to and just behind her and eye Ellen with concern. Michael is dealing with his own grief, forcing himself to put on a `` strong'' face for his mother. Thea looks back from the front seat. She's riding next to Hoagie Newcombe, the pilot, a man of Ellen's age who looks the `` free spirit'' he is. THEA Can I ride one sometime? ELLEN -LRB- breaking free from her trance. -RRB- It's too dangerous. CARLA -LRB- teasing. -RRB- Like mother, like son. MICHAEL My mother always told me, if God had intended us to ride parachutes for fun, we'd have been born with free tickets. ELLEN -LRB- laughing. -RRB- I never. THEA -LRB- to Hoagie. -RRB- Where's the lady who brings the soda? Hoagie laughs. THEA -LRB- continuing. -RRB- They had them on the big one. HOAGIE I have coffee in the thermos. THEA I'm too young for coffee. Can I drive the plane? CARLA Thea. THEA Sometimes my father puts me in his lap and lets me steer the Jeep. CARLA Do n't bother Hoagie. HOAGIE Sometimes I let special people sit on my lap and steer the plane. He helps Thea undo her seat belt and she climbs into his lap and he puts her little hands on the wheel, then puts his over them. MICHAEL Jake tells me you're going to have to fly for the rest of your life to pay off what you lost at the crap table. HOAGIE Good news travels fast. He throws a smile back at Michael, who smiles back, just a little. HOAGIE -LRB- continuing. -RRB- I'll get it back next time. THEA How come it bumps up and down when there's no road? HOAGIE The wind does that. -LRB- to Ellen. -RRB- Ever been to the Bahamas before? ELLEN No. HOAGIE First time for everything is the best. After that you know too much and it's never quite the same. ELLEN You must get bored easily. MICHAEL Not from what I've heard. HOAGIE Only on Tuesdays. The rest of the week is interesting as hell. MICHAEL Hoagie likes adventure. Michael glances at Carla, who's smiling at Thea, as Hoagie gives Ellen his most charming smile. Ellen is looking from Michael to Hoagie, not sure what to make of it all. THEA What's that? She's pointing to a gauge with a horizontal white line across it. HOAGIE It tells me if I'm flying level. Sometimes it's hard to tell without a road. THEA How do you make the plane go up and down? HOAGIE Like this. CARLA -LRB- to Michael. -RRB- You okay? MICHAEL Yeah. CARLA -LRB- looking at Ellen ; thenMichael. -RRB- She'll be okay too. Carla takes Michael's hand and holds it as Hoagie puts the plane into a steep dive. Everyone holds on. HOAGIE -LRB- continuing. -RRB- Want to go for a little ride? THEA I do. ELLEN Can you just go off? HOAGIE I'm the captain of this majestic ship. It goes where I take it. He gestures to Ellen to look below and she looks out her window. OMITTED THE AIRPORT - DAY Palm trees stir in the gentle breeze. The terminal is decorated for Christmas. A half - dozen islanders eye the air taxi as its wheels touch down. VACATION HOUSE - DAY We move past large, expensive houses off a narrow road. They're landscaped beautifully. The sound of `` The Christmas Song'' being sung by `` someone'' is heard. A CAR - DAY Ellen stares at the houses from an early model white Cadillac as it makes its way toward Michael's house. `` The Christmas Song'' is coming from its stereo speakers.","INT. CAR (MICHAEL'S NEIGHBORHOOD) - DAY Carla is in back with Ellen. Thea is between them, resting her head against her mother's arms. Michael is in front, next to Romeo, the driver, an Islander, black. His car has glitter stars attached to the roof. The stereo speakers are in back. CARLA -LRB- to Ellen. -RRB- No cooking while you're here. No washing dishes. No cleaning. ELLEN I'm not on vacation. THEA I like Grandma's cooking. ELLEN Thank you. MICHAEL -LRB- pointing. -RRB- Neptune's Folly. Our boat. Ellen sees, from her point of view, an old, patchwork forty - five - foot sailboat with a long bowsprit tied to a dock. ELLEN -LRB- O.S. -RRB- Oh, it looks like my uncle's. He taught me how to sail when I was a kid. MICHAEL -LRB- O.S. -RRB- -LRB- continuing. -RRB- It's Jake's actually. Our floating lab. Ellen looks back at her son and offers a tentative smile. MICHAEL -LRB- continuing. -RRB- Beats going to the office. He turns and points to the small neighborhood of houses they're entering. MICHAEL -LRB- continuing. -RRB- Jake lives over there. Ellen looks at several small, rundown houses with Christmas decorations. Romeo, who's been eyeing Ellen in his rearview mirror, picks up his `` tour guide'' microphone and lowers the stereo player and starts singing, doing a perfect imitation of Nat King Cole, singing the same song. Michael and Carla grin and Thea pulls herself forward to watch. Ellen catches on and laughs. MICHAEL -LRB- continuing. -RRB- Romeo does Tony Bennet and Johnny Mathis too. But they all sound like Nat King Cole. Romeo grins and keeps on singing. OMITTED MICHAEL'S HOUSE - DAY The Cadillac makes its way to a house like the others and stops. A Jeep is parked in the drive. An outbuilding, Carla's studio, is nearby. A small dock is in front. Despite its condition, the house is charming and is situated right on the beach. Romeo is still singing. The family piles out. Thea heads for the dock. MICHAEL I'll help you with the bags, Romeo. ROMEO You can take the big one. Michael laughs. CARLA It sure is good to be home. MICHAEL It sure is. Romeo hums as he and Michael start unloading luggage. Carla checks the backseat. Ellen stretches and looks at the house, trying to hide her mother's concern about the way her son is living. Carla sees her and smiles and puts her arm around her. CARLA It'll grow on you. ELLEN I like it. Really. She looks at Carla and finds herself smiling back. CARLA It has its virtues. It has n't fallen down yet. THEA -LRB- O.S. -RRB- Watch me, Grandma. Ellen turns and sees Thea just grabbing an old automobile tire which is suspended by a rope from a beam on the dock. ELLEN Stop! Thea swings out over the water and Ellen runs toward her. Carla and Michael follow. ELLEN -LRB- continuing. -RRB- Thea! Get down from there. Thea! Thea swings back to the dock and lets go of the tire, looking from her mother to her grandmother, not sure what she's supposed to do. ELLEN -LRB- continuing ; as she approaches. -RRB- No, no. It's too dangerous. THEA Mommy lets me. CARLA -LRB- holding out her hand. -RRB- Come on, sweetheart. THEA -LRB- upset. -RRB- But you always let me. CARLA Not today. Come on, Thea. She moves to her daughter to pick her up and Thea balks. Her exhaustion from the trip is too much. She starts to cry. THEA Daddy, why ca n't I? CARLA -LRB- becoming angry. -RRB- Did you hear what I said? Come inside. THEA I do n't want to. I want to swing. Thea grabs the tire and Carla grabs her and Thea starts screaming through her tears. CARLA You can swing later. We have to unpack now. Thea struggles in Carla's arms as they start for the house. ELLEN Oh, I did n't mean. -LRB- trying to lighten the moment. -RRB- I'm being such a Grandma. MICHAEL Come on, I'll show you around. Michael takes her arm and they start for the studio. ELLEN I did n't mean to start that. MICHAEL -LRB- smiling. -RRB- Do n't be such a Grandma. I was always climbing something. ELLEN You were a monkey. Thea is heard crying as Carla takes her into the house and they move on to the studio.","INT. STUDIO - DAY An enormous abstract metal sculpture sits center room. It has a huge gaping crevice near its top, not unlike a mouth. MICHAEL -LRB- O.S. -RRB- -LRB- as they approach. -RRB- All you all right? ELLEN -LRB- O.S. -RRB- I'm fine. Ellen finds a smile for her son as they enter the studio. ELLEN -LRB- continuing. -RRB- How are you doing? MICHAEL -LRB- shrugging. -RRB- Okay. ELLEN -LRB- continuing. -RRB- We have n't had a real talk, have we? We'll do that before I go. He nods. She studies his concern. ELLEN -LRB- continuing. -RRB- I'll be all right, Michael. MICHAEL -LRB- finding his smile. -RRB- Good. So will I. They look at each other for a moment, then his gaze shifts to the piece of sculpture. MICHAEL -LRB- continuing. -RRB- She calls it, ` Tourist On The Loose.' Local government commissioned it. For the public beach. CARLA -LRB- O.S. -RRB- -LRB- yelling from the house. -RRB- We forgot to stop at the store. Ellen studies the piece of sculpture. The studio is filled with other metal pieces and Carla's tools, which include tanks of gas and welder's gear. Ellen does n't quite know what to make of it. MICHAEL -LRB- yelling back. -RRB- Make a list. CARLA -LRB- O.S. -RRB- We need milk. MICHAEL Big unveiling ceremony in a couple of weeks. CARLA -LRB- O.S. -RRB- We need beer. MICHAEL I'll be right there. She looks at him, not quite sure what to say. MICHAEL -LRB- continuing. -RRB- Incredible, is n't it? His grin is contagious and she smiles and they start out together. The huge abstract sculpture, with its gaping crevice of a mouth, fills our vision. THE WATER - DAY Ellen swims off the beach by Michael's house. She is the only person in sight. BENEATH THE WATER - DAY Ellen is seen from the point of view of something watching her, stalking her, as she swims. We move closer until we're beneath her. She stops swimming and treads water. We move closer and closer. Ellen sees what's coming toward her and her expression floods with terror. She starts swimming as fast as she can. The water becomes violent as she's attacked. She struggles and the water begins to fill with blood. Her blood. THEA'S ROOM - NIGHT Ellen's eyes pop open, wide. Her face is still filled with fear. BENEATH THE WATER - DAY From the point of view of someone, something, we move slowly through the water, exploring the seascape, which is filled with exotic plants and fish and, nearby, the old wreck of a rusting freighter. JAKE -LRB- O.S. -RRB- -LRB- through a small underwater speaker ; an unhappy voice. -RRB- Stop farting around. MICHAEL -LRB- O.S. -RRB- -LRB- voice somewhat garbled. -RRB- Stop busting my hump. JAKE -LRB- O.S. -RRB- Try the area around the wreck. A small wet submersible comes into view, working its way slowly over the flat sea bottom. Michael, in wet suit and scuba gear is inside. He's spotted a group of conch and parks the sub. MICHAEL -LRB- O.S. -RRB- Bingo. He lifts the bubble and leans out and starts checking the conch to separate males from females. A single conch is seen shooting out the appendage which it uses to move, sinking it into the sea bottom and pulling itself forward. JAKE -LRB- O.S. -RRB- How many? MICHAEL -LRB- O.S. -RRB- Will you leave me alone? JAKE -LRB- O.S. -RRB- You tagging them? MICHAEL I'm separating the ladies from the gentlemen. JAKE -LRB- O.S. -RRB- You moved any slower, you'd grow roots. We've got a schedule. shake it, man. MICHAEL -LRB- O.S. -RRB- The females have eggs. JAKE -LRB- O.S. -RRB- We'll pass around cigars. Michael starts putting small round electronic tags on the conch, which he secures with epoxy. MICHAEL -LRB- O.S. -RRB- We're being paid to see where they go. How they propagate. JAKE -LRB- O.S. -RRB- If we had some decent money, I'd be able to read their temperatures. Study their motor systems. MICHAEL If you'd leave me alone, I'd be able to get my work done. Michael swims free of the sub, to get free from the range of the speaker which carries Jake's voice. JAKE -LRB- O.S. -RRB- Once a grunt, always a grunt. You got no vision, Michael. I'm getting a signal from the first one. You tag it right? It's buzzing. Sounds like a hornet trying to get out of a closet. Michael ignores him. THE BARGE - DAY Jake, an Islander, black, is listening to his headset. He's agitated. Clarence and William, the surface crew, both Islanders, watch Jake carefully. The barge is low in the water and broad of beam and is permanently moored to this site. A dinghy, with an outboard, is tied to the barge. JAKE -LRB- through the phone. -RRB- Michael! -LRB- to Clarence. -RRB- This thing working? CLARENCE You rigged it. You spent all that money on an education and you come back looking like this. JAKE -LRB- yelling ; on the phone. -RRB- Michael! Clarence shakes his head sadly, having fun. Jake looks at him, annoyed. BENEATH THE WATER - DAY Michael continues to tag conch. JAKE -LRB- O.S. -RRB- Michael. I know you can hear me. Michael looks toward the sub and the sound of Jake's voice, then continues his work.","INT. STUDIO - DAY A flame, almost too bright to look at, welds metal to metal. Carla works on her sculpture, adding yet another appendage to its trunk. She looks off a something, then lowers the flame of the torch and lifts her mask and studies what she sees, her expression reflecting both a sadness and understanding. From her point of view, Ellen is seen washing windows outside the house. Her back is to Carla. Carla watches Ellen for a long moment, a sad smile finally working the corners of her mouth. CARLA I was afraid to ask if you did windows. Ellen turns and sees Carla and, for just a moment, is troubled at being caught. Then she offers a smile and a shrug. ELLEN I do n't usually. Not at these rates. Ellen, her hair tied back, her expression showing fatigue, and Carla, looking more like an auto - body worker than an artist, look at each other, neither sure what to say next. CARLA I could use a half - dozen more arms. I've only got two weeks to get this thing finished. ELLEN Do you and Michael ever talk about his work? About spending so much time working in the water? CARLA Usually it's all he talks about. You must n't worry. ELLEN I ca n't help it. CARLA I used to worry. But you know what happens, you find out that scuba diving's safer than climbing into the bathtub. ELLEN I should n't interfere. -LRB- smiles. -RRB- My mother - in - law is so neat she puts paper under the cuckoo clock. CARLA Henny Youngman. ELLEN You caught me. CARLA You're not interfering, Ellen. The two women look at each other for another moment, then Ellen goes back to work. Carla watches her, then flips down her mask and turns the flame back up and returns to her welding. THE BARGE - DAY The sub is being secured by Clarence and William. Michael is peeling out of his wet suit. Jake is studying Michael's clipboard. MICHAEL -LRB- yelling. -RRB- I know how to tag a damn conch. JAKE The readings suck. MICHAEL Maybe it's the tags that suck. JAKE I made them, man. MICHAEL I stuck them on, man. JAKE You did n't stick them on right. MICHAEL If you made them right, it would n't happen. They leak. JAKE -LRB- yelling. -RRB- A blind man could find more conch on a mountainside. MICHAEL You could n't find your ass with both hands. JAKE You leave me high and dry. You come back looking like a zombie. MICHAEL -LRB- squaring off. -RRB- Hey! JAKE Should n't pick on that. Sorry. I'm sorry about your brother. MICHAEL Yeah, well, just stop yelling. Jake approaches, a big grin plastered on his face, and Michael backs off, shaking his head. MICHAEL -LRB- continuing. -RRB- Come on, Jake. Jake wraps his arms around Michael and lifts him off the deck. JAKE I missed you, is all. It's dull around here working alone. Smelling all that sweet cologne. MICHAEL Put me down. JAKE -LRB- looking at Clarence and William. -RRB- They wo n't fight with me. MICHAEL Put me down, damnit. Jake puts him down and laughs and Michael grins. MICHAEL -LRB- continuing. -RRB- Maybe I missed you too. JAKE -LRB- still grinning ; to Clarence. -RRB- Where the hell's the beer? CLARENCE Thought you'd never ask. Coming up. WILLIAM Goes good with conch stew. King Conch. Clarence opens a cooler and pulls out four bottles of beer. JAKE -LRB- to William. -RRB- Conch. conch. conch research is n't sexy, William. Does n't attract the big bucks. WILLIAM Conch is very important to our economy. It's a good thing to study. So we'll always have them. CLARENCE Conch is an aphrodisiac. -LRB- as he throws them bottles of beer. -RRB- Besides, no one respectable would hire you gents anyway. not with hair like that. a while ago he could n't get into a restaurant. Sign said, no hats. no platts. dreads, man, dreads. They screw the tops off the beer bottles and Jake holds his up. JAKE To anything but an honest job. They laugh and drink.","INT. HOUSE - DAY The Christmas tree, a shiny green fake job, glitters with decorations. Thea is opening the last of her presents. Ellen, Michael and Carla, who's been playing Santa Claus, Jake and Louisa, a very attractive Islander, black, in her midtwenties, sit on the floor. They've all got drinks, and they're all into Thea. ELLEN -LRB- O.S. -RRB- Your father was six then. Just like you. THEA -LRB- looking up. -RRB- I'm still five. Jake makes a face and Louisa smiles at Ellen, who's sitting in a chair, taking her only pleasure from the day, her first Christmas since Martin's death, from Thea's joy. ELLEN He was always getting into some sort of mischief. JAKE I have no doubt. MICHAEL Nothing out of the ordinary. ELLEN Once he locked himself in the bathroom and your grandfather had to get the ladder and climb in through the window. JAKE Bad boy. MICHAEL I did n't do it on purpose. ELLEN -LRB- smiling. -RRB- He did n't spank you very hard. Thea pulls new sneakers from a box. THEA Mommy spanked me once. -LRB- to her parents. -RRB- Oh, these are good. Thank you. She puts them down and starts unwrapping her last present, a big box. Michael takes an outrageous Hawaiian shirt from his box. CARLA You're welcome. I was the one who cried. THEA Was Uncle Sean ever bad? Did you ever spank him? Ellen reacts. Michael covers quickly. MICHAEL Sharp shirt, Jake. JAKE May your sex life be as busy as your shirt. CARLA Thank you. JAKE Every tropo needs one. -LRB- to Louisa. -RRB- Do n't you want to see what Santa got you? LOUISA -LRB- eyeing him mischievously. -RRB- I'm not sure. CARLA Marry the man and put him out of his misery. JAKE -LRB- to Louisa. -RRB- Listen to Carla. Marry me. I'm tall, dark and handsome. two out of three ai n't bad. LOUISA Do n't flatter yourself. -LRB- laughing. -RRB- Thea rips the paper off the box and Michael, Carla, Jake and Louisa turn their attention to her excitement. Ellen watches them, her smile fading as Thea moves to Jake and Louisa with the box. Ellen's thoughts turn to Sean and she glances out the window toward the ocean. THEA -LRB- O.S. -RRB- If I had a baby brother, I'd be the oldest. I could be in charge. Ellen leaves the room, unobserved by the others. CARLA Only children are my favorites. That means you, MaGee. THEA My tea set. I got my tea set. -LRB- to Jake and Louisa. -RRB- Thank you. LOUISA Everyone should have a tea set. Michael glances over at his mother and sees that she's going and moves to a window. THEA -LRB- O.S. -RRB- It has a teapot and cups and saucers. LOUISA -LRB- O.S. -RRB- And a sugar bowl and creamer. THEA -LRB- O.S. -RRB- Can I put real tea in it? LOUISA -LRB- O.S. -RRB- Yes, you can put real tea in it. Michael sees his mother staring sadly at the sea. THEA -LRB- O.S. -RRB- Can I make sandwiches? CARLA -LRB- O.S. -RRB- Yes, you can make sandwiches. The phone rings. THEA -LRB- O.S. -RRB- -LRB- yelling as she goes. -RRB- I've got it. I've got it. JAKE -LRB- O.S. -RRB- If it's National Geographic, tell them we only do covers. Michael continues to watch his mother as the phone rings twice more, then is answered. THEA -LRB- O.S. -RRB- Hello? THE KITCHEN - DAY Thea is on a chair, holding the phone. HOOPER -LRB- O.S. -RRB- Ho - ho - ho. THEA Who's this? HOOPER -LRB- O.S. -RRB- Santa Claus. THEA Come on, Uncle Sean, I know it's you. There's stunned silence at the other end. Thea ca n't figure it out. THEA -LRB- continuing. -RRB- Uncle Sean? Michael moves quickly into the room, his expression etched with confusion and concern. He grabs the phone. MICHAEL Who is this?","INT. APARTMENT - DAY Matt Hooper is standing at a window, looking out over a city. He feels terrible. HOOPER Michael. Jesus, I'm sorry. I. Thea thought. I'm sorry about Sean. I was away. A project at the Antarctic. I just heard.","INT. HOUSE - KITCHEN - DAY Michael has his arm around Thea, who is still on the chair. MICHAEL Matt? HOOPER -LRB- O.S. -RRB- Tell Thea I'm sorry. Michael gives Thea a squeeze and lifts her off the chair. She looks at her father with concern, then is attracted to the noise and laughter in the other room and heads for it. HOOPER -LRB- O.S. -RRB- -LRB- continuing. -RRB- I do n't know what the hell to say. MICHAEL You do n't have to say anything, Matt. I know how you feel.","INT. APARTMENT - DAY Matt is still staring out the window. HOOPER Yeah. MICHAEL -LRB- O.S. -RRB- Still chasing fish? HOOPER Still tagging conch? MICHAEL -LRB- O.S. -RRB- We'll be done pretty soon. HOOPER Tricky little devils, are n't they? How's the degree doing? MICHAEL -LRB- O.S. -RRB- Inch by inch. HOOPER How's Ellen? THE BEACH - DAY Ellen stands perfectly still, as though hearing something no one else can hear, staring with a fixed expression at the ocean. She seems terribly sad. MICHAEL -LRB- O.S. -RRB- She has good days and bad. I do n't know. HOOPER -LRB- O.S. -RRB- She's a tough lady. MICHAEL -LRB- O.S. -RRB- I wish there was something I could do. HOOPER -LRB- O.S. -RRB- She's had a lot to deal with. She needs time. MICHAEL -LRB- O.S. -RRB- Would you talk to her? She's got it in her head that the shark came for him. She still blames it for my father's death. HOOPER -LRB- O.S. -RRB- Oh, boy.","INT. HOUSE - KITCHEN - DAY Michael is looking out through the door, toward the window where he was watching his mother. MICHAEL I miss him, Matt. I still ca n't believe he's gone. CARLA -LRB- O.S. -RRB- Tell Matt he should be here.","INT. APARTMENT - DAY HOOPER I wish I was. Remember the Christmas I spent with you on the island? You were still kids. Martin put on that stupid Santa Claus suit. MICHAEL -LRB- O.S. -RRB- The stuffing came out of the pillow he was wearing. HOOPER Feathers all over the place. MICHAEL -LRB- O.S. -RRB- It was like having snow in the house. Jesus, I miss them. THEA -LRB- O.S. -RRB- -LRB- heard yelling. -RRB- Tell Uncle Matt my new Teddy bear can move its arms and legs. HOOPER -LRB- beginning to crack. -RRB- Tell her my Teddy bear snores.","INT. HOUSE - KITCHEN - DAY Michael is beginning to cry. The silence builds as he and Matt deal with the memory of Sean and Martin. HOOPER -LRB- O.S. -RRB- -LRB- pulling himself together. -RRB- Let me speak to Ellen. MICHAEL I'll get her. Have a good Christmas, Matt. HOOPER -LRB- O.S. -RRB- You too, Michael. Michael puts the phone down and collects himself, then leaves. A moment later Carla moves into the kitchen and picks up the phone. CARLA I thought I'd steal a moment with my second favorite marine biologist. HOOPER -LRB- O.S. -RRB- I was going to bring you back a penguin I could n't find one that wanted to winter in the Bahamas. She smiles, a little.","EXT. HOUSE - DAY Ellen stares out to sea, her expression unchanged. Michael moves out of the house, working to put on a `` face'' for her. MICHAEL Matt's on the phone. She turns and heads for the house, as though Michael's not there. As she passes, she stops and looks at him. ELLEN I want you to give up your work. MICHAEL Mom, please do n't start that again. ELLEN You could teach. You could. MICHAEL I'm not going to quit now. ELLEN You're all I have left. I do n't want you going in the water. He puts his hands on her shoulders. MICHAEL What I do is perfectly safe. Jake and I are scientists. One of these days we'll be PHDs. Perfectly Harmless Derelicts. We know what we're doing. There's nothing to worry about. It's warm water here, remember? Great whites hate it. Wrinkles their skin. Makes them look like prunes. He smiles and she manages a small one in return. MICHAEL -LRB- continuing. -RRB- Come on. You can do better than that. You've got a big one in there somewhere. Her smile grows. MICHAEL -LRB- continuing. -RRB- A little better. But you'll have to do better than that. Now go talk to Matt. He misses you. He kisses her and she offers a genuine smile, then moves into the house. He watches her go, still concerned. OMITTED THE BEACH - DAY Thea and Ellen are at the water's edge, building a sand castle. Up the beach, at the point, there's a speedboat near the shore. Hoagie is wading out to it, holding out an envelope, which the man in the boat finally is able to grab. ELLEN We have to dig it deep so the water will go all the way around. So we can swim to it. THEA You're silly. They dig the moat, Thea with her shovel. Ellen with her hands. ELLEN It will be Buckingham Palace and you'll be Princess Di and there'll be a big Parade of Horse Guards and you'll ride in a golden carriage. Thea giggles and Ellen smiles her pleasure at being able to do that, even as she begins to shudder, as though her body temperature has suddenly dropped thirty degrees, and she looks out over the water, feeling something which fills her with fear. ELLEN -LRB- quietly ; with conviction ; as though talking to something unseen. -RRB- You're coming, are n't you? THEA -LRB- O.S. -RRB- Who's coming? Ellen looks around. Thea is still digging. ELLEN No one. Nothing. -LRB- starts digging. -RRB- We've got to get this finished before the tide comes in. THEA It's not nice to be evasive. Ellen looks at her, still surprised by what her granddaughter is capable of saying. The man in the boat looks in the envelope as Hoagie starts wading back to the beach. THEA -LRB- continuing. -RRB- My mother says that to my father. Ellen laughs. MAN IN THE BOAT Next time do n't keep me waiting. HOAGIE -LRB- shouting ; unhappy. -RRB- Yeah. yeah. yeah. Ellen has turned and watches as the speedboat roars off and Hoagie grab his fishing gear and starts down the beach toward her. Thea keeps digging. HOAGIE -LRB- continuing ; as he spots Ellen ; a big smile. -RRB- Hello, Ellen. He waves. She watches as he comes closer. HOAGIE -LRB- continuing. -RRB- I do n't know why I fish here. Never catch anything. Must be a sign under the water. ` Beware, Hoagie's here.' THEA You're the man who drives the plane. ELLEN -LRB- correcting her. -RRB- Flies the plane. HOAGIE Mostly it feels like driving. You digging for buried treasure? THEA We're building a sand castle. Hoagie sets his gear down and squats to take a closer look. He eyes Thea playfully. HOAGIE You the architect? THEA I'm the artist. Like my mother. Hoagie grins at her, then eyes Ellen, who's looking out over the water again, her expression set with foreboding. NEPTUNE'S FOLLY - DAY Conch larva are seen under a microscope. JAKE -LRB- O.S. -RRB- You know why? That's what happens when you lead one of those Norman Rockwell sheltered lives. That's what's wrong with you. Michael is revealed at the microscope, studying the conch larva. A large fish tank, with is filled with them - they ca n't be seen with the naked eye - is nearby. MICHAEL You can talk. You were n't exactly a deprived kid. Next thing you're going to start about going back to your roots and that rock reggae crap. Cut that hair and you're nothing but a three - piece suit. Jake is at the bench which holds lab equipment and tools, writing figures in a notebook. Above him are shelves of bottled, preserved specimens. Clarence is drumming a native rhythm against a bulkhead. It's slowly getting on Jake's nerves. JAKE We have three months of work and approximately no money left to support it. CLARENCE Spent it all on beer. Jake gives Clarence a dirty look and turns back to Michael. JAKE Bahamian Fisheries Department is n't exactly Fort Knox. He slides the notebook to Michael, who studies the figures. JAKE -LRB- continuing. -RRB- Office of Naval Research has some money. MICHAEL Forget it. JAKE Money is money. MICHAEL They put bombs on dolphins. JAKE I know a guy who got money from them to study eels. CLARENCE Tough to put a bomb on an eel. Jake gives Clarence another dirty look. JAKE -LRB- to Michael. -RRB- I'm busting my ass to get my degree. I'm tired of all this paradise shit. Jake moves for the cabin door, to the deck above. MICHAEL I like it here. Michael follows Jake. TOPSIDE - DAY Jake moves above decks. JAKE A regular tropo. Spend the rest of your life in a bathing suit, living off nickel and dime grants. You want to be a bum all your life, be my guest. Not me. I'm not growing old chasing snails and dying from terminal crotch rot. MICHAEL It's not a bad life, Jake. JAKE You're afraid of the competition out there. CLARENCE -LRB- coming topside ; doing his drumbeat as he goes. -RRB- Sweet breezes. Sweet women. JAKE -LRB- to Clarence. -RRB- You have something to say about everything. Clarence keeps drumming. MICHAEL He's just trying to keep you from disappearing up your own. JAKE You're nothing but a bunch of goddamn romantics. You're never going to amount to anything. Jake heads for the dinghy which is tied up next to the boat. JAKE -LRB- continuing ; as he goes. -RRB- I expect to come back here some day and find you trying to teach conch to talk. And knock off that stupid drumming. Clarence stops in midbeat, creating a pocket of silence for William, who's just coming down the dock carrying two six - packs of beer. WILLIAM I like conch. Jake gives him a dirty look, leaving poor William confused. Michael shakes his head, suppressing a grin. THE BEACH - DAY Thea works on her sand castle, shaping the building inside the moat. Ellen and Hoagie sit at the water's edge, far enough away not to be heard. She stares out at the water. He studies her. She looks at him finally, trying to rationalize the conversation they've already had. ELLEN I do n't know why I've told you all this. I hardly know you. HOAGIE Sometimes talking to a stranger is easier. ELLEN I. I ca n't explain it. It's just something I feel. HOAGIE I always listen to my feelings. She shifts her gaze back out over the water. ELLEN Sometimes I think I'm going crazy. The nightmares. HOAGIE It could have been an accident. ELLEN -LRB- looking at him. -RRB- It was no accident. HOAGIE I'm not saying you're wrong, just that there are other possibilities. ELLEN When it killed Sean it was like a stab in the heart. I knew with absolute certainty that it had come for him. I knew that. I know it's coming. She's moving toward the edge, trembling now and he takes her hand and holds it between them. ELLEN -LRB- suddenly ; matter - of - factly. -RRB- What's it cost to take a ride on that plane? THEA -LRB- O.S. -RRB- The water's coming in. The water's coming in. Ellen stands and they move together to Thea. HOAGIE Depends on where you want to go. ELLEN Does n't matter. THEA Hurry! HOAGIE Just like that? ELLEN -LRB- laughing. -RRB- Just like that. She turns her attention to Thea, who's helping the water fill her moat.","INT. PLANE - DAY Hoagie and Ellen are side by side in a private aircraft. HOAGIE -LRB- in the midst of it. -RRB- He was struck by lightning, this man, seven times. Took his toenail, his shoe, his hat. set his hair on fire. But it did n't kill him. No one could explain that. She glances at him, amused by his efforts to entertain her. ELLEN How can you just take the plane like this? HOAGIE Boss' day off. Take the wheel. ELLEN I ca n't. HOAGIE Sure you can. ELLEN I do n't know how. HOAGIE No one does till they learn. He lets go of the wheel and the plane starts to lose altitude. ELLEN What are you doing? HOAGIE If you do n't take it, we'll be swimming in a minute. She hesitates, then grabs the wheel in front of her and he puts a hand on one of hers and guides the wheel back so the plane levels off. She's gripping the wheel so tightly her knuckles are turning white. HOAGIE -LRB- continuing. -RRB- Easy does it. Hold her gently. She'll damn near fly herself. She tries to relax, and after a few moments, he takes his hand off hers. She tenses. HOAGIE -LRB- continuing. -RRB- It's just like driving a car. ELLEN Where do I pull off? HOAGIE -LRB- laughing. -RRB- You're doing fine. I'll keep you out of trouble. Relax. Ellen stares straight ahead, trying to get the feel of it. ELLEN Where are we going? He answers with a mischievous grin. ELLEN -LRB- continuing. -RRB- I'm only doing this to get out of my family's hair. HOAGIE One time I was flying supplies up the Amazon. Went down in the jungle. ELLEN You're not going to tell me, are you? HOAGIE Got picked up by a tribe of head - hunters. ELLEN You're impossible. HOAGIE They took me to the chief, who took a long look at me, then took me in his hut. ELLEN The plane's turning. The plane is indeed starting to slip into a gentle banking turn. It's Hoagie's doing. He's nudging his wheel slightly. HOAGIE In the hut, sitting on a pole was a shrunken head. My head. Me. She glances at him, then looks ahead, not sure whether she's should be nervous about the plane's behavior. HOAGIE -LRB- continuing. -RRB- It was like looking into one of those mirrors which says, objects may be closer than they appear. Chief said, there are two of everybody in the world and since we already have one of you, the other one can go. Ellen laughs. Hoagie grins. HOAGIE -LRB- continuing. -RRB- How do you like flying? ELLEN It's wonderful. She eases the plane into more of a turn and enjoys the sensation. She glances at him and he nods that she's doing just fine. HOAGIE You are crazy, Ellen. No matter what anyone says. She laughs and turns her attention to flying. AN ISLAND - NATIVE QUARTER - DAY A native festival, a parade filled with masked and costumed dancers and musicians and marchers, blasts its way through the ancient, narrow streets of an early Bahamian settlement. Hoagie, wearing a windbreaker, and Ellen, who's changed her clothes, thread their way through the throng, moving like Salmon upstream against the flow of the mass of humanity moving the other way. She's fascinated by the music and noise and color of what's around her. HOAGIE -LRB- yelling. -RRB- A few more streets. She casts a smile at him, then returns her attention to the parade. Hoagie navigates them through the crowd. A STREET - DAY Hoagie leads Ellen up a street no wider than an alley. The old houses seem to lean toward each other. The street is empty because its residents are all at the festival, whose noise follows them as they move away from it. HOAGIE A few more houses. They move on.","EXT. HOUSE - DAY Ellen watches from the street as Hoagie and Charles Townsend, an islander, black, talk quietly on the porch. She sees Hoagie take a small, bulging envelope from his pocket and give it to Charles, who looks inside, smiles, then puts it in his pocket. The two men shake hands. THE BARGE - DAY Michael and Clarence are sitting at the edge of it, their feet in the water. William is flanked out near the winch, reading. MICHAEL -LRB- on the horn. -RRB- How many? JAKE -LRB- O.S. -RRB- Stop busting my hump. MICHAEL Oh, it's okay for you, but not for me. JAKE -LRB- O.S. -RRB- I've struck the mother - lode. I'm counting. spade work. BENEATH THE SURFACE - DAY Jake maneuvers the sub above an enormous group of conch, trying to take measure of what he's come across. MICHAEL -LRB- O.S. -RRB- I wish you would n't say that. JAKE What? MICHAEL -LRB- O.S. -RRB- Spade's a garden tool. Jake looks up from his clipboard and sees staring at him, the dead black eye of a fish whose pupil looks to be about the size of a bowling ball. He freezes, staring back at it. MICHAEL -LRB- O.S. -RRB- -LRB- continuing. -RRB- Trouble with you, Jake, is you have no sense of humor. JAKE -LRB- finding his voice. -RRB- Holy shit! The eye disappears and Jake starts looking for it. JAKE -LRB- continuing. -RRB- Got a big fish down here. THE BARGE - DAY Michael stands to scan the water and the shark explodes out of the water, over the low side of the barge, passing within a few feet of Clarence, who freezes, his mouth open with terrified surprise, and goes straight for Michael, who throws himself to the deck. The shark misses him by inches, unable to close its great jaws about him because of the width of the barge. As quickly as it appeared, the shark is gone. THE STREET - DAY Hoagie and Ellen fight their way across the street, through the festival parade. The noise is deafening. Suddenly Ellen stops. She shudders as she did on the beach. Hoagie looks back and sees her and threads his way to her, bumping into several dancers as he goes. She's staring off into the distance, seeing something beyond the reach of her vision. HOAGIE What's wrong? ELLEN Nothing. She looks at him and manufactures a smile. ELLEN -LRB- continuing. -RRB- I'm fine. HOAGIE No, you're not. ELLEN I'm terrific. Come on. She grabs his hand and pulls him into a group of dancers, picking up their rhythm, trying desperately to get into it. He's forced to dance with her, though every bone in his body resists the idea. HOAGIE -LRB- yelling above the din. -RRB- Give it up. She ignores him, throwing every ounce of energy she has into the dancing. HOAGIE -LRB- continuing ; yelling. -RRB- You ca n't keep doing this. Again she ignores him and he's bumped into and they lose each other for a moment. She dances on and he has to run to catch her. He takes her arm and stops her. HOAGIE -LRB- continuing. -RRB- I ca n't keep doing this. The merrymakers pass around them like a river rushes past a rock. A band passes them and they can hardly hear themselves think. ELLEN -LRB- shouting. -RRB- You promised me a drink. HOAGIE -LRB- shouting back. -RRB- Sharks come and go, Ellen. People do n't have anything to do with it. ELLEN -LRB- shouting. -RRB- The kind with an umbrella in it. HOAGIE Give it up. Kick it in the ass. Get on with your life. The band passes and the noise settles, momentarily, to a dull roar as more dancers move around them. HOAGIE -LRB- continuing. -RRB- I know what you're going through. The nightmares will go away. -LRB- grins. -RRB- I ever tell you about the time I flew the pandas from China to a Zoo? The lady panda fell in love with me. Ellen starts to laugh. She ca n't stop herself. The music grows louder. He holds out his hand and she looks at it, then takes it and they look at each other for a long moment. HOAGIE -LRB- continuing. -RRB- A drink with an umbrella in it. ELLEN A big one. HOAGIE A big one. They push their way through the parade until they disappear from view. THE BARGE - DAY Clarence and William, still excited, and not a little frightened, glance at the water as they secure the sub. CLARENCE Never saw anything that big. Never. -LRB- to Michael. -RRB- I was right next to you. The bastard went right past me. WILLIAM Should have gone for Jake. -LRB- to Jake ; explaining himself. -RRB- Had you right there. Why would it come up? Michael is still shaky, trying to get control of himself. Jake's not buying any of it. CLARENCE What the hell's it doing in warm water anyway? JAKE What difference does it make? It's here. Michael turns from the water and looks at Jake. JAKE -LRB- continuing. -RRB- You guys are making this into some - thing that just is n't so. It's just a shark. A great big bloody wonderful shark. Do n't say anything to anyone. The locals find out they'll panic. They'll want to kill it. -LRB- his excitement growing. -RRB- We've got us a great white, Michael. We're going to do us some real research. MICHAEL -LRB- quietly ; matter - of - factly. -RRB- Do n't say anything about this to my mother. Michael looks back out over the water. JAKE Oh, shit, man, I'm sorry. He moves to Michael. JAKE -LRB- continuing. -RRB- I did n't mean to run off at the mouth like that. She's going through a lot. I know you re hurting about your brother. Michael does n't answer. He continues to stare at the sea, his expression filled with ambivalence. Jake puts his arm around him.","EXT. MICHAEL'S HOUSE - NIGHT Headlights break the darkness as a car pulls up. Ellen gets out. ELLEN Good night. She shakes his hand and starts to take it back and he holds it, looking at her in a way that suggests he'd like more. ELLEN -LRB- continuing. -RRB- Please, Hoagie. He smiles and lets go of her hand. HOAGIE Good night, Ellen. The car pulls away and Ellen starts for the house. CARLA -LRB- 0. S. -RRB- Come to bed.","INT. HOUSE - NIGHT - BEDROOM Michael stands at the window, in the dark, watching his mother. He's seen and heard it all. Carla is in bed. CARLA He took her sightseeing. You work. I work. She needs someone to help take her mind off things. He looks at her, his expression troubled. She smiles and pats the bed next to him. CARLA -LRB- continuing. -RRB- I'll take your mind off things, sailor. He finds a small smile and moves to her open arms. can be heard moving into the house.","INT. CASINO - NIGHT Playing cards settle softly on a felt table. Blackjack hands are being dealt to five players. Louisa deals, her fast hands expertly distributing the last of the `` up'' cards. She deals her own, then glances past the players as they study their cards. Jake, Carla, Ellen and Michael, all dressed for a big night out,. stand in back of the players. Jake points to his watch impatiently. JAKE -LRB- mouthing the words silently. -RRB- How much longer? This is supposed to be your party. LOUISA -LRB- mouthing back ; smiling. -RRB- In a few minutes. Louisa starts dealing the first `` hits.'' Michael glances about. He seems on edge. MICHAEL I'll check the table. Michael leaves, heading for another room. Ellen watches him go, exposing her concern for his troubled mood. CARLA -LRB- to Ellen. -RRB- You want to try your hand at something? ELLEN I'd be afraid of losing. JAKE I'm afraid of winning. I would n't know what to do with the money. CARLA Fat chance, cowboy. Jake grins as a groundswell of excitement carries across the room, which is filled with gamblers and decorations for New Year's Eve. The joint is jumping. They look for its source and see Hoagie at the crap table, accepting the congratulations of those around him. He smiles as a large pile of chips is raked in front of him, adding to the pile he already has. Irma, an Islander, light - skinned who's dressed in a low - cut satin gown with sequins, is hanging on him. CARLA -LRB- continuing. -RRB- Come on. I want to see. Jake, Ellen on one arm, Carla on the other, moves across the room as Hoagie rolls again, and wins again. THE CRAP TABLE Hoagie sees them approaching as the pile of chips in front of him grows. He smiles at Ellen, as he's given the dice again. Irma gives Ellen a look. The excitement at the table is high. Bets are being placed. Everyone is eyeing Hoagie, who is slightly `` pissed'' and has a mischievous glint in his eye. HOAGIE Couple of more passes and I'll buy my own airplane. Hell, maybe my own airline. ELLEN -LRB- eyeing the chips. -RRB- You're not going to bet it all. HOAGIE All or nothing. You want to roll them for me? ELLEN No! Irma does n't know what to make of Hoagie's interest in Ellen. Hoagie grins, closes his eyes for a moment, making his secret incantation, then opens them, smiles once more at Ellen and rolls. The dice skip down the table, bounce off the other end and settle. A soft moan goes up from the people around the table. Hoagie's grin wavers, then is restored. Irma has just seen her big night go up in smoke. HOUSE MAN -LRB- O.S. -RRB- Snake eyes. ELLEN Is that bad? HOAGIE Depends on your point of view. He pushes his chips toward the center of the table, accepting condolences from a few of the players, then steps away. HOAGIE -LRB- continuing. -RRB- It was theirs anyway. I 11 buy us all a drink. JAKE We'll buy you one. We're having a party. CARLA Louisa's birthday. HOAGIE On New Year's Eve? CARLA Beats Halloween. They all start for the lounge. Louisa is seen talking to her relief dealer. Irma takes Hoagie's arm. ELLEN -LRB- to Jake. -RRB- When do you and Louisa get to see each other? Between your working days and her working nights. JAKE -LRB- laughing. -RRB- I get her at two in the morning, when she's at her best. Besides, how many marine biologists can cut cards with one hand and fan a deck. They thread their way through the gaming tables. JAKE -LRB- 0. S. -RRB- -LRB- continuing. -RRB- She's the Albert Einstein of gambling. Quote the odds on every game in the house. THE LOUNGE - NIGHT A trio plays softly. A dozen couples dance. The tables are full. Hats, horns and decorations are everywhere. Ellen, Hoagie, Irma, Michael, Carla, Jake and Louisa, who's had time to make a fast change and looks terrific, wait as Shirley, their waitress, sets the last of their drinks on the table. SHIRLEY On the house. Jake grins at her, then at the others. JAKE I knew there was a reason I could afford this. -LRB- toasting Louisa. -RRB- To the woman of my dreams. Who grows more beautiful. LOUISA Here it comes. JAKE Who grows more beautiful. LOUISA Here comes the cow ca - ca. JAKE -LRB- pressing on. -RRB- More beautiful with each passing minute. LOUISA I told you. JAKE Now wait a minute. I'm being serious here. LOUISA Oh, Jake. -LRB- smiles. -RRB- JAKE Happy birthday, darling. They raise their glasses in a chorus of `` Happy Birthday,'' then drinking. Louisa grins, then eyes Jake. LOUISA Do n't go weak in the knees on me tonight. JAKE I just want to make an honest woman of you. LOUISA I'm not going to marry you until you straighten out your life and your hair. Irma watches it all, her gaze shifting from face to face as though she's watching a tennis match. CARLA At least he does n't have a beard. ELLEN -LRB- to Louisa. -RRB- Do you enjoy dealing blackjack? JAKE She's in management. LOUISA I'm training to. JAKE Manage the whole damn place some day. I'm looking forward to living in the style to which I would like to become accustomed. LOUISA I'd have to manage a nookie parlor to do that. Hoagie roars. Ellen laughs. Carla nearly spits out her drink. Irma's not sure what's going on. HOAGIE I knew a piano player once who. CARLA Never mind. Michael eyes Hoagie, none too pleased that he's joined them. Hoagie smiles at him and Michael smiles back steadily, a kind of challenge. LOUISA You want to marry me, you' re going to have to straighten out your life. ELLEN -LRB- getting into it. -RRB- He looks perfectly responsible to me. LOUISA Jake's idea of responsibility ends with dressing himself in the morning. ELLEN -LRB- teasing. -RRB- Well, I think he's cute. JAKE Woman has taste. LOUISA When he has a pillow over his head. JAKE You want to be careful how you talk to me. I'm about to become famous. You should see. LOUISA No shop talk. You promised. MICHAEL -LRB- almost coming out of his chair. -RRB- Jake! JAKE -LRB- catching himself. -RRB- Sorry. Michael starts to breathe again. Hoagie stands. HOAGIE -LRB- to Ellen. -RRB- Would you suffer through a dance with me? ELLEN -LRB- standing. -RRB- You'll be sorry. Michael shifts his gaze from Jake, who he's angry at, to Hoagie and his mother, a situation that's creating fresh alarm. They're moving to the dance floor. Irma is abjectly unhappy. HOAGIE I have two right feet. ELLEN Good. I have two left. CARLA -LRB- to Michael. -RRB- Will you lighten up. This is supposed to be a party. LOUISA My party. JAKE He's depressed because he's started to count conch when he goes to sleep. Michael casts an unhappy look at Jake, then stands. MICHAEL Excuse me. He heads for the dance floor. THE DANCE FLOOR Ellen smiles at Hoagie, caught up in the story he's started telling her. He stops when he sees Michael heading for them. She sees her son. MICHAEL -LRB- as lightly as he can. -RRB- Mind if I cut in? Your date's lonely. HOAGIE The world would be a better place if more sons danced with their mothers. Hoagie returns to the table and Michael and Ellen start dancing. MICHAEL -LRB- finally ; a trace of sarcasm. -RRB- You're having a good time. ELLEN I am. Michael eyes Hoagie, who's joining the others, already getting caught up in their conversation. ELLEN -LRB- continuing. -RRB- Stop pouting. You look like you did when you were six and did n't get something you wanted. He looks at her. ELLEN -LRB- continuing. -RRB- I enjoy his company. MICHAEL I do n't like him chasing around after you. I do n't trust him. ELLEN He's not chasing and I'm not running. And that's ridiculous. Michael clams up and she studies him. ELLEN -LRB- continuing. -RRB- I've been a pain in the ass and I'm sorry. He looks at her quizzically. ELLEN -LRB- continuing. -RRB- I'm not going to bother you anymore about your work. MICHAEL You're not a pain in the ass. ELLEN Will you let me finish. I've been working on this all day. She smiles at him, then becomes serious. ELLEN -LRB- continuing. -RRB- Your brother's death almost killed me. I m not sure I'll ever get over it. But I ca n't allow myself to keep on believing it was intentional. I'm not going to let an obsession run my life. Michael stares at his mother uncomfortably. ELLEN -LRB- continuing. -RRB- It's not easy. None of it is. I have to find some way to get on with my life and I'm going to try. I finally figured that out. I'm going to do my best. MICHAEL Good. He does n't seem all that happy. ELLEN That's it? Good. I thought you'd break out the champagne. MICHAEL I'm pleased. I really am. Really. ELLEN No more sharks. I'll stay for another week, then. MICHAEL You just got here. ELLEN -LRB- laughing. -RRB- Children are never satisfied. I have my house, my friends, my job. My life, Michael. I have to live it. Besides, I'll be back. Now show your mother what a good dancer you are. She rests her head on his shoulder and they dance on. His expression reveals confusion. He's caught between her effort to get rid of an idea and his suspicion that it may be true. THE DOCK - DAY Michael walks from the Jeep to Neptune's Folly. It's the beginning of a new day and he has n't slept and looks terrible. NEPTUNE'S FOLLY - DAY He boards her, looking for Clarence and William. MICHAEL Where is everybody? JAKE -LRB- 0. S. -RRB- Down here. Michael heads for the cabin. BELOW DECKS - DAY Jake is at the bench, soldering wires into a small cylin - drical device. Another device like it is nearby on the bench along with several small speakers and an Oscilloscope. MICHAEL What happened to Clarence and? JAKE Gave them the day off. Michael moves to the bench, not sure what's going on. He watches Jake work. MICHAEL What for? We've got a job to finish. Why are you making the monitor? JAKE As the sun slowly sets in the West, we bid a fond farewell to the family of conch. As Jake speaks he presses the barbs from the monitor to Michael's chest and the sound of his heart is heard over a speaker and its rhythms are seen on the oscilloscope. MICHAEL -LRB- pissed off. -RRB- What the hell are you talking about? Jake puts the barbs against his chest and his heart is heard and seen. JAKE We're out of money, partner. We wrap it up, write it up and turn it in. How come your heart sounds stronger than mine? You got two of them? MICHAEL We do n't write up anything until we're done. JAKE Okay. we're done, man. MICHAEL When we got the grant. JAKE When I got the grant. MICHAEL When I signed on. JAKE When I invited you. MICHAEL We got it together, Jake. JAKE Okay. we got it together. MICHAEL -LRB- voice rising. -RRB- We have at least three months' work left. We ca n't write a report. We do n't know enough. JAKE We've got a rare bird here, Michael. Great whites do n't come to the Bahamas. There's never been one down here before. I'm not just going to let it swim away. MICHAEL My name goes on that report. It's a half - assed job, I do n't get my doctorate. Neither do you. JAKE The shark will get it for us. Michael takes a hard look at him, then starts to leave. JAKE -LRB- continuing. -RRB- I thought we were planning a long rosy future together. MICHAEL So did I. Jake goes after him. JAKE Hey! He grabs Michael and they face each other. JAKE -LRB- continuing. -RRB- Even if it's there, it wo n't be around forever. It'll figure out the water's too warm and take off. We'll never get this chance again. It's what we were trained for, for Christ's sake. It's why you spent all that time on the books. He looks at Michael, who's hesitating. JAKE -LRB- continuing ; grinning. -RRB- We'll give it a few days, then it's back to the snails. Indulge me, Michael. There's a long moment of silence as the two men stare at each other. MICHAEL -LRB- finally. -RRB- I do n't know shit about electronics. JAKE -LRB- laughing. -RRB- You do n't know shit about anything. Time you learned.","EXT. HOUSE - DAY CARLA -LRB- O.S. -RRB- -LRB- yelling. -RRB- This is the third time this month you've forgotten to take it out. She appears around the corner hauling a large plastic bag of garbage, heading for the street. MICHAEL -LRB- O.S. -RRB- I have a lot on my mind. He appears behind her, engaged in the same task. CARLA It does n't take much to remember what day they come. MICHAEL My brain is shrinking. There's only so much room. CARLA Do n't give me that preoccupied scientist crap. I'm trying to get ready for. MICHAEL I thought artists worked with their subconscious. She gives him a dirty look as they deposit the garbage bags in their `` pickup'' spot. He tries out a smile on her. It's not working today. MICHAEL -LRB- continuing. -RRB- How come it's my responsibility? CARLA Because. She starts for her studio. MICHAEL Oh, okay. Now I understand. All you had to do was explain it. She ignores him and he watches her, frustrated, until she moves inside. Then he starts after her.","INT. STUDIO - DAY She grabs her welder's mask, then fires up her torch. He enters. MICHAEL -LRB- before he's seen. -RRB- I take out the garbage, because. I'm glad we got that straightened out. CARLA We do n't have anything straightened out. You're uptight about something. what's wrong? MICHAEL Why should there be anything wrong? I'm sitting around the house, enjoying my day off and you start yelling at me about garbage. She gives him a hard, steady look which says, there's more to it than garbage. MICHAEL -LRB- continuing ; quietly. -RRB- What the hell are we arguing about? CARLA I do n't know. You. I do n't know. He moves toward her and she holds the torch toward him. MICHAEL No fair, I'm not armed. CARLA Then do n't come any closer. MICHAEL Turn it off. CARLA No. MICHAEL Off. CARLA I have work. MICHAEL I've always wanted to make love to an angry welder. I've dreamed of nothing else since I was a small boy. She ca n't help smiling. She turns the torch off and he moves the rest of the way to her and kisses her. CARLA -LRB- murmuring. -RRB- Close the door. MICHAEL They're at the beach. She kisses him this time. THE BARGE - DAY Jake is secured to the davit with a line. Michael is tying another line around his waist. Clarence and William are chumming the water with meat and blood. Several large chunks of horse meat are on lines, over the side. Jake holds a long pole to which the heart monitoring device, with its barbs, is attached. The big boat, their floating lab, is secured to one side of the barge. MICHAEL You sure you've done this before? JAKE Lots of times. Michael tests the knot, then Jake moves to the edge of the barge and leans out as far as he can. MICHAEL And it's always worked? JAKE -LRB- grinning back at him. -RRB- So far. CLARENCE It's coming. They see the fin making its way toward the barge. Michael tenses, moving back toward the center of the barge until the line he's holding goes taut. Jake, the pole held high, watches as the shark gets closer, his body tensing as he gets ready. Michael is rigid, mesmerized with the approaching shark, his expression filled with what he's wondering - will it try to get him? JAKE You remember how to pull a rope? Michael looks at Jake blankly, then stares at the oncoming shark, which comes closer and closer, then, at the last moment rolls to its side and opens its great jaws and goes for the horse meat. Jake waits until the shark's underside is at its most exposed, then rams the pole into it, then pulls it back quickly. JAKE -LRB- continuing. -RRB- Hot damn! We got it! Michael is still transfixed. Jake looks back at him. JAKE Now would be a good time. Michael remembers his job and pulls Jake back to the barge. The shark, a thirty - pound piece of horse meat in its mouth, rolls away, disappearing beneath the surface. JAKE -LRB- continuing. -RRB- Let's see if the damn thing works. WATERFRONT CAFE - DAY The ocean is like a blue - green lake, its placid surface reflecting the early afternoon sun. HOAGIE -LRB- 0. S. -RRB- You do n't have to go. Ellen stares out at the water, her expression wistful. HOAGIE -LRB- O.S. -RRB- -LRB- continuing. -RRB- You do n't have to do anything you do n't want to. She turns to Hoagie, who's sitting across the table from her. He sips his coffee and studies her. She looks past him to the others who are still eating lunch. HOAGIE -LRB- continuing. -RRB- Our little island seems to agree with you. ELLEN I have my own little island. HOAGIE But it gets cold in winter. She smiles at that and sips her coffee. HOAGIE -LRB- continuing. -RRB- I tried winter once. Burlington, Vermont. Flew a run to New York. I have a bone in my foot that still has n't thawed. When I was a small boy. ELLEN That's hard to imagine. HOAGIE -LRB- grinning. -RRB- I dreamed about always being warm. Stay a while. His tone of voice causes her to look at him quizzically. HOAGIE -LRB- continuing. -RRB- I could take some time off. ELLEN You're always taking time off. HOAGIE I like to travel. She smiles and he returns it. HOAGIE -LRB- continuing. -RRB- I'll nick the boss' plane again. ELLEN What? HOAGIE -LRB- grinning. -RRB- I borrow it without telling him. ELLEN Wo n't you get in trouble? HOAGIE Only if he finds out. It's a short hop to the Caribbean. We could take a few days. ELLEN There must be plenty of women who would be glad to go. HOAGIE There are. I'm tired of one - way conversations. They look at each other for a long moment. HOAGIE -LRB- continuing. -RRB- I have this overwhelming desire to kiss you, Ellen Brody. ELLEN -LRB- her cheeks flooding with color. -RRB- Why? HOAGIE -LRB- laughing. -RRB- Because it would n't occur to you to know why. Blushing suits you. ELLEN I'm sorry. I. HOAGIE There's nothing to be sorry about. ELLEN The whole idea is preposterous. His expression takes on the color of his feelings. He likes this woman, a lot. HOAGIE I do n't think so. She's flustered and unsure how to respond. ELLEN -LRB- finally ; trying to make light of it. -RRB- You sure you do n't need glasses? HOAGIE My vision is perfect. He leans across the table and kisses her. NEPTUNE'S FOLLY - DAY The shark's heartbeat is heard, then seen on the scope. Jake glances at it, then at Michael, who's at the wheel. JAKE What are we getting out of this old bucket? MICHAEL What she's got. Nine knots. JAKE -LRB- muttering. -RRB- Shit. He turns his attention back to the scope. The heartbeat line is beginning to flatten. Jake climbs up on the boom and scans the water. Michael does the same from his position at the wheel. He looks to Jake, who's shielding his eyes against the glare, holding the mast with his other hand. MICHAEL -LRB- finally. -RRB- How long have you known Hoagie? JAKE What? MICHAEL How long have you known Hoagie? JAKE What the hell does Hoagie have to do with this? MICHAEL How long? JAKE As long as he's been here. Jake turns his attention back to the water. The sound of the heartbeat is growing weaker. JAKE Bring her to starboard. MICHAEL -LRB- turning the wheel. -RRB- How long has he been here? JAKE Who? MICHAEL Hoagie. JAKE I do n't remember. One day he was just here. MICHAEL What do you know about him? Jake checks the EKG scope. The line is nearly flat. The heartbeats are a whisper. MICHAEL -LRB- continuing. -RRB- He's after my mother. Jake laughs, looking at Michael as though he's crazy. MICHAEL -LRB- continuing. -RRB- What's so funny about that? JAKE You think he's not good enough for her? You're right. If she was my mother, I'd send her home right now. He turns his attention back to the scope, then scans the water. JAKE -LRB- continuing. -RRB- Bring her about. We're headed in the wrong direction. MICHAEL Half the pilots down here fly drugs. He's always going off. JAKE Half do n't. Bring her about. MICHAEL I am. You must know something about him. JAKE He gambles. He likes a good time. I see him around. MICHAEL I hear he flies a lot of private charters. The heartbeats have stopped and Jake snaps around to look at the scope. The line is dead flat. He's stunned. JAKE We lost it. MICHAEL Maybe the gear crapped out. JAKE If you had n't been gassing about Hoagie. MICHAEL Maybe it's gone. Jake gives him an angry look, then starts fiddling with the gear. Finally, in his frustration, he bangs it with his hand. Michael seems quietly relieved. JAKE We'll look for it tomorrow. Michael does n't respond.","INT. STUDIO - DAY Carla works on her sculpture, securing a large piece of metal near the top with a wrench, tightening huge chrome nuts. ELLEN -LRB- 0. S. -RRB- All he did was kiss me. CARLA -LRB- smiling. -RRB- It's beginning. Ellen is at the base of the sculpture, watching Carla, her back to the door. ELLEN Beginning of what? CARLA -LRB- laughing. -RRB- Whatever happens next. ELLEN I always thought when I grew up I'd know what to do about things like this. I do n't even know if he's serious. Neither of them sees Thea, who's moved into the studio and has decided not to announce herself. CARLA Give it some time, Ellen. See what happens. ELLEN Part of me wanted to go off with him, the rest of me could n't. I do n't know why he wants me. CARLA Maybe he's got good taste. I do n't think he's spent much time with a woman like you. ELLEN I do n't know what he thinks. I do n't know what I think. I do n't even know why I'm talking about it. -LRB- laughing. -RRB- It's silly. I'm getting too old for this sort of thing. She spots Thea and stops suddenly. Carla follows her gaze. THEA You said it was n't polite to interrupt people. CARLA Yes, I did. THEA It's time for tea, Grandma. ELLEN I almost forgot. THEA I did n't. Thea moves to Ellen, offering her hand, which Ellen takes. THEA -LRB- continuing. -RRB- I put everything in my room. My Teddy bear is joining us. ELLEN -LRB- to Carla. -RRB- Thanks for the consultation. CARLA Office hours, nine to five. Rates go up after cocktails. The two women smile at each other, then Ellen leaves with Thea and Carla returns to her work.","INT. HOUSE - KITCHEN - NIGHT Michael stands at the window, looking out at the night. He's troubled. He clasps his hands behind his back, unaware that Thea is standing behind him, her troubled expression a mirror of his, her hands behind her back, her tiny feet spread apart exactly like his. He scratches his cheek unconsciously and she does the same. She checks his facial expression and resets hers. He sighs and she sighs and he hears and looks down, surprised to see her, then noticing that she's assumed his body posture in every way. He makes a funny face and she makes one back and he smiles and she returns it. THEA Uncle Sean could make funny faces. He snatches her up off the floor and hugs her, holding onto her tightly. Ellen watches from the doorway, unobserved, her concern for her son etched into her expression. He sees her and she offers a quick smile. ELLEN -LRB- to Thea. -RRB- Time for bed, peanut. Michael gives his daughter a kiss and puts her down and she moves to her grandmother. ELLEN -LRB- continuing. -RRB- I'll be in to read you a story. THEA Good night, Daddy. MICHAEL Good night, dear heart. Thea leaves and Michael takes a beer from the refrigerator and moves to the table where three empty cans are lined up neatly. He pops the top of the new one and takes a long drink, then sits and returns to the writing of his report on their conch project. There are several open textbooks and several notebooks in front of them. ELLEN -LRB- finally. -RRB- It's late. MICHAEL Trying to write our report. ELLEN You look tired. MICHAEL I'm fine. She studies him as he tries to write. ELLEN I saw you and Thea. He looks up, making it clear that he does n't want to talk. She sees it but presses on. ELLEN -LRB- continuing. -RRB- You and Sean used to make. MICHAEL I have to get this finished. ELLEN I'm leaving in a few days. I do n't want to do that with you unhappy. MICHAEL I m not unhappy. Frustrated maybe. Discouraged a little. It'll work out. ELLEN I'm worried. We have n't had our. MICHAEL There's nothing to worry about. ELLEN -LRB- smiling. -RRB- I'm your mother. It's my job. He offers a small smile, then goes back to work. ELLEN -LRB- continuing. -RRB- You looked just like your father. The first time the shark came to Amity. MICHAEL I do n't want to talk about that. ELLEN It's a terrible thing to know some - thing no one else wants to believe. MICHAEL -LRB- angry. -RRB- I'm tired of hearing about it. There's no shark. Sean was n't killed by the same shark. Dad did n't die because of it. It's all wrong. Some fantasy you've concocted. You keep bringing it up. He goes back to work, ignoring her. She wants to say more but stops herself. Instead she starts looking through the refrigerator. ELLEN -LRB- finally ; quietly. -RRB- You hungry? MICHAEL No. She watches him, her expression sad and filled with concern. THE WATER - NIGHT The surface is searched, as though something is being looked for. The shark is seen, swimming, just swimming, its fin slicing through the water as though it's hearing its own music. Then, without warning, it attacks, coming straight at us, its great jaws opening wide, rolling to one side as it comes for the kill - its great rows of teeth enveloping us, closing down on us, consuming us, until it goes dark.","INT. HOUSE - BEDROOM - NIGHT Michael wakes with a fearful start, his eyes open wide. THEA'S ROOM - NIGHT Ellen lunges upright, her expression set with terror. MICHAEL'S ROOM - NIGHT Michael trembles. He ca n't stop it. THEA'S ROOM - NIGHT Ellen struggles to control her breathing. She's close to hyperventilating. BENEATH THE WATER - DAY Michael searches for conch, moving slowly through the water. NEPTUNE'S FOLLY/THE BARGE - DAY Jake watches the scope, which is dead flat. There's no sound coming from the speaker next to it. Clarence and William, on the barge, search the surface of the water with binoculars. BENEATH THE WATER - DAY Michael continues to search for conch. From his point of view, the water is clear, filled only with colorful fish and streaks of sunlight from above. Then he spots a small group of conch. MICHAEL I've got about a half dozen. I'm going to tag them. You hearing anything? JAKE -LRB- 0. S. -RRB- Nothing. But stay within a quarter mile. I've got a three - mile radius on the monitor. If he comes back I'll hear him. You'll have time to get up. NEPTUNE'S FOLLY/THE BARGE - DAY Jake glances at Clarence and William, who continue to search visually for signs of the shark. JAKE -LRB- into the phone. -RRB- Looks like. The sound of the shark's heartbeat suddenly pounds out of the speaker, stopping Jake in midsentence. JAKE -LRB- continuing. -RRB- I've got him. Bring it in. BENEATH THE WATER - DAY Michael is turning the sub as quickly as he can, looking around frantically for the shark. There's nothing to be seen. NEPTUNE'S FOLLY - DAY The heartbeats are coming stronger. The line on the scope is fluctuating wildly. JAKE Michael, get your ass up here. Now! BENEATH THE WATER - DAY The sub moves toward the barge, making its way slowly - to the eye almost leisurely, even though it's going full out. MICHAEL I'm coming. How close is it? JAKE -LRB- 0. S. -RRB- Close. I do n't know. Just get the hell. THE BARGE - DAY Clarence suddenly goes rigid. CLARENCE There it is. From his point of view, seen through binoculars, the fin slices through the water. BENEATH THE WATER - DAY Michael pushes the sub to its limit, when suddenly it's hit and Michael's teeth are rattled as the sub is knocked through the water. MICHAEL -LRB- yelling. -RRB- Jake! Jake! The shark hits the sub again, his great jaws tearing into the canopy and prop, damaging the sub badly. It turns then and almost leisurely swims away, its mouth bleeding, its head raked with cuts. Michael eyes it, then the nearby wreck and pushes himself free of the sub, swimming as fast as he can toward the freighter. The shark turns and starts after him, closing the distance rapidly as Michael makes for an opening in the wreck's hull. JAKE -LRB- 0. S. -RRB- -LRB- yelling. -RRB- Michael! Can you hear me. NEPTUNE'S FOLLY - DAY Jake is watching the scope. The line indicates a heart that's gone crazy. The heartbeat from the speaker is booming. JAKE Are you all right, Michael? What's going on? BENEATH THE WATER - DAY Michael swims the last few feet to the wreck, moving through a hole in its hull just as the shark is about to get him.","INT. WRECK - DAY Michael swims into a corridor which is filled with light coming from one end. He turns and looks back at the hole. The shark is gone. He looks up and down the corridor, then starts swimming away from the light. The corridor begins to turn dark as a huge black shadow fills the other end. Michael senses something and looks back and sees the shadow of the shark against the wall. He freezes as the shadow moves toward him, finally covering his face. The shark comes closer and Michael starts backing up. The shark moves closer, almost lazily opening its jaws as it prepares to devour him. Michael keeps backing up, then trips and falls backwards through a door, his arms coming up as he tries to stop himself. His fall takes him down into a room. Light floods into it from above. He gathers himself and looks up. There's no sign of the shark. He looks about quickly, taking measure of his situation, then the light above is blacked out as the shark swims slowly over the room. Michael watches, barely breathing, until the light returns. He listens and looks and waits. The silence builds. Where the hell is it? THE BARGE - DAY The submersible pops to the surface, its ballast tank destroyed by the shark. Water pours from the space Michael occupied. The heartbeats continue to be heard. Jake, Clarence and William stare at the sub. JAKE Get the bang sticks. We're going down. CLARENCE Bang sticks are like yelling at it. JAKE We're going down. All of us. Clarence starts moving quickly to the boat. CLARENCE -LRB- as he goes. -RRB- They wo n't kill it. JAKE We'll divert it. We'll do something. William is breaking out wet suits. He throws one to Jake. JAKE -LRB- continuing. -RRB- Screw the wet suits. No time. Jake gets out the air tanks and regulators. JAKE -LRB- continuing. -RRB- We'll do something. Michael's down there. Get the lead out.","INT. WRECK - DAY Michael eyes the opening above him. That, and the door he fell through, are the only way in or out. His breathing has returned to normal. He takes off his air tank, handling it with care. There's an explosion of wood and metal next to him and the shark bursts through the bulkhead. Quickly Michael pulls the regulator, blows the air from the tank, and rides upward on the force of air coming from the bottle, just barely escaping the great jaws. He shoots up through the opening above him, ripping his arm against the side of the opening as he passes through and the water starts to fill with blood. THE WATER/THE BARGE - DAY Jake, Clarence and William have their air tanks strapped on. They each hold bang sticks and are getting ready to go in, when Michael explodes up above the surface right in front of them, gasping for air. Jake jumps in the water and grabs Michael and Clarence and William pull Michael aboard and Jake climbs up after him. Michael crawls away from the edge of the barge. He's shaking. Jake moves to him. Clarence and William gather around. JAKE Are you all right? Michael does n't answer and Jake looks at him with concern. OMITTED","INT. HOUSE - BEDROOM - NIGHT Michael sits bolt upright, as though he's been discharged from a gun. He's sweating. Carla sleeps peacefully next to him. He gets himself under control and leaves the bed. THE BATHROOM - NIGHT The light comes on and Michael looks at himself in the mirror, not sure he recognizes the image staring back at him His arm is bandaged where he cut himself escaping from the shark. He can hear his own heart beating. THE SUBMERSIBLE/THE BARGE/NEPTUNE'S FOLLY - DAY Michael is in the sub. Jake, Clarence and William stand at the side of the barge. The sub is taped together and has no canopy. JAKE It's my turn in the barrel, man. MICHAEL You fall off a horse, you get right back on or you do n't ride again. JAKE I do n't like it. MICHAEL I did n't ask you to. JAKE What about Carla's gig? MICHAEL I'm going down, Jake. JAKE She's not going to like it. Michael puts his regulator in his mouth and starts slowly to move away and down beneath the surface. Jake watches for a moment, an unhappy man, then moves quickly to the monitor and scope on the boat. Clarence and William take up their stations with binoculars. CLARENCE I hope the man knows what he's doing. JAKE He knows what he has to do. Jake's expression belies his words. He's deeply concerned. BENEATH THE WATER - DAY Michael has already spotted a group of conch. He parks the sub and quickly gets to work tagging them. He looks about quickly as though something is coming up behind him. There's nothing there. He finishes and returns to the sub and maneuvers it up off the ground and continues his search for more conch. MICHAEL You getting a reading on them? JAKE -LRB- O.S. -RRB- I live to hear the sound. You all right? MICHAEL What about the monitor? You getting anything on the shark? JAKE -LRB- O.S. -RRB- Nothing. Hey Michael. You know I was thinking about yesterday. Maybe all that was wrong was he was hungry. MICHAEL How come only me? JAKE -LRB- O.S. -RRB- Maybe he only likes white meat. MICHAEL Funny, Jake. Funny. JAKE -LRB- O.S. -RRB- Just trying to be helpful. As Jake speaks, the head of a Moray eel explodes out of a rock crevice right in front of Michael and his heart nearly stops. THE PUBLIC BEACH - DAY The beach and water are crowded with sunbathers and swimmers, with several banana boats and sailfish. Up from the beach, a short distance away, a crowd has gathered to witness the unveiling of Carla's statue. The Mayor of the island, Mr. Witherspoon, a dignified black man, is in the midst of his dedication speech. The statue looms behind him, shrouded beneath its cloth. Carla, Ellen, Thea and Louisa, who totes a camera, along with several local `` big - wigs'' stand next to him. LOUISA Where the hell are they? CARLA They'll be here. Carla searches the water for a moment, then turns her attention back to the speech. She's very unhappy about Michael's absence. WITHERSPOON Something we look at every day, something we think beautiful. Something that makes us stop and ponder. Something that makes us question the wonder of life Even that becomes unique when it falls to the artist's eye. Thea, who's bored stiff, eyes a group of friends getting ready to go out on a banana boat, a long `` hotdog'' which five riders straddle, holding onto grips in front of them. THEA -LRB- tugging at Carla. -RRB- Can I go on the banana boat? Margaret's going. She's with her mother. WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- Art transforms the ordinary into the unique. A sunset for example. Carla sees what Thea's talking about, and she sees how bored she is. CARLA Okay. Be careful. THEA I will. WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- We see a sunset in all its glory, yet the artist sees something that is n't there for the rest of us. Thea runs to join her friends, yelling at them to wait as she tears across the beach. Ellen watches with concern. Carla sees it. CARLA Banana boats are fun. LOUISA I'd go with her if I could. CARLA Thanks. LOUISA What are friends for? WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- Something from the inner eye. -LRB- Pauses. -RRB- Today we are privileged to dedicate a work of art that reflects the true spirit, the free expression of life here in the Bahamas. Carla looks at Mr. Witherspoon cross - eyed and Louisa stifles a laugh and the two women exchange smiles. Then Carla looks at Ellen, who manages a small smile, then turns her attention back to Thea, who's taking the last empty seat, one from the back, just in front of Margaret's mother. WITHERSPOON -LRB- O.S. -RRB- Carla Brody, a grand addition to our community, an artist of growing reputation, was commissioned to express our way of life in permanent form. The boat takes off behind its speedboat and the kids in it begin to shriek, Thea loudest of all. WITHERSPOON -LRB- O.S. -RRB- -LRB- continuing. -RRB- So that whoever visits our public beach will be able to share in that spirit. Ellen continues to watch Thea, Mr. Witherspoon signals to Carla and she moves forward to join him. WITHERSPOON -LRB- continuing. -RRB- Ladies and gentlemen, Carla Brody. Applause greets her introduction and she nods and smiles her thanks, then she and Mr. Witherspoon both take hold of the cord which will pull the cloth from the statue. Louisa begins to video tape the proceedings. Someone gets in her way and she says something, then jostles for better position. Ellen eyes Thea as the banana boat makes a sweeping turn and heads back across the water in front of them. As Mr. Witherspoon and Carla pull the cord, Ellen sees the fin pop up out of the water behind the banana boat. As the cloth comes free of the statue, the crowd breaks into loud, anticipatory applause. It covers Ellen's scream. She starts running for the beach, yelling as she goes. The fin moves closer to the boat. The applause begins to trickle away as the crowd begins to realize the nature of the huge abstract work of art. They do n't understand it. Mr. Witherspoon looks at it quizzically. Ellen's screams are heard now and Carla sees her running along the beach, waving her arms. Then she sees what Ellen sees, the fin, and she and Louisa and the others start running. THE BANANA BOAT - DAY Margaret's mother sees what's going on on the beach and finally looks in back of her and sees the fin and then the shark as it comes up out of the water for Thea. She grabs the child, pushing her forward, putting herself in the way. The shark rips into her and she's pulled into the water, then beneath it. Thea screams, but nothing comes out. Air starts leaking from the inflatable boat. The water around it starts filling with blood. Ellen watches her granddaughter, horrified. Dozens of people line the water's edge around her, yelling, crowding around as the speedboat brings what's left of the banana boat to shore. Thea and the other two kids and remaining adult are holding on for dear life as they're dragged through the water. Carla, with Louisa at her heels, wades out toward them, frantic, yelling. CARLA Thea. I'm here, Thea. Mommy's here. Ellen stares at the sea, then at her granddaughter, who Carla has reached. When she sees that Thea is in one piece, unseen by anyone, she moves back through the crowd and starts away. She walks deliberately, then begins to march. Finally she breaks into a run and disappears from view. THE BIG BOAT/THE DOCK - DAY As a hand fumbles with a key and finally gets it into the engine, the distant sound of singing is heard. The key is turned and the engine cranks over a few times, then starts, drowning out the singing. MICHAEL AND JAKE -LRB- O.S. -RRB- -LRB- singing. -RRB-' I found my thrill on Blueberry Hill - on Blueberry Hill - when I found you. The moon stood still on Blueberry Hill.' Ellen moves to the bow and casts off, throwing the lines to the dock. She does the same at the stern, then experiments with the clutch and the boat starts pulling away. THE WATER/THE BOAT - DAY From another point of view, a point of land at the end of the beach where Michael and Jake live, the boat is seen heading out into the Atlantic.","EXT. JAKE'S HOUSE - BACK PORCH DAY A dozen beer bottles are lined up on the rail of the porch. Michael and Jake's feet are seen resting on the rail near them. MICHAEL AND JAKE -LRB- 0. S. -RRB- -LRB- singing. -RRB-'. I found my thrill on Blueberry Hill. MICHAEL -LRB- 0. S. -RRB- I do n't like that song. JAKE -LRB- 0. S. -RRB- You do n't know the words. They're sitting side by side, both holding bottles of beer, both half in the bag. They both take long swallows at the same time. JAKE -LRB- continuing ; grinning ; singing. -RRB- A Moray eel. A Moray eel. MICHAEL -LRB- singing. -RRB- ` It was so ugly. It was so big.' JAKE -LRB- singing. -RRB-' A Moray eel.' MICHAEL -LRB- singing. -RRB- ` Snuck up on me.' JAKE -LRB- singing. -RRB- ` It got us in hot water. We should have been there for Carla.' The mention of it, the memory of what caused him to miss the ceremony, his need to confront his fear, all make him suddenly unhappy. MICHAEL Shit. JAKE Do n't be so down, man. Money's gone. Shark's gone. We're back to conch. We've got it made. MICHAEL Shove it. JAKE You'll be the eternal tropo. The old man and the sea. Know the words to this one? -LRB- singing ; `` Mack The Knife''. -RRB- ` Oh, the shark has pretty teeth, dear, and he shows them pearly white.' MICHAEL Stop that! JAKE You do n't like my voice? MICHAEL I do n't like the song. JAKE Tough shit. -LRB- singing. -RRB- ` When the shark bites with his teeth, dear.' Michael stands and grabs Jake in a single motion. MICHAEL I told you. Jake grabs Michael's shirt. He's still sitting. JAKE You told me what? MICHAEL Screw you, Jake. Michael pulls away and starts off. MICHAEL -LRB- continuing. -RRB- Screw you. Jake laughs as Michael storms off. JAKE -LRB- singing. -RRB- ` Oh, the shark has pretty teeth, dear.' His grin fades as Michael disappears from view. He takes a swallow of beer, then mutters, `` sorry.'' Alone he seems as unhappy as Michael. THE BOAT/THE WATER - DAY The boat is well out into the ocean now There's no land in sight. Ellen is a tiny figure at the wheel. She stands straight and tall.","EXT. MICHAEL'S HOUSE - DAY He completes the short walk from Jake's and enters his house. MICHAEL -LRB- as he enters. -RRB- Carla?","INT. HOUSE - DAY He moves inside, looking for people. MICHAEL Carla! Mom? He looks in a room, then moves on. MICHAEL -LRB- continuing. -RRB- Thea? He moves toward his daughter's room. THEA'S ROOM - DAY Michael looks in and comes up short. He sees Carla on Thea's bed, rocking their daughter gently in her arms. Thea's eyes are wide open, her expression blank. Louisa sits in a chair next to them. CARLA -LRB- hissing a whisper. -RRB- Where have you been? MICHAEL What's wrong? What happened? CARLA Thea was attacked by a shark. Michael is stunned. He ca n't believe it. CARLA The doctor said she should be all right. She's in shock. MICHAEL But it went away. We would have known. LOUISA What went away? MICHAEL We were doing research. It disappeared. We thought. CARLA You knew? MICHAEL It went away. He moves to the bed, to look at his daughter, who stares past him, as though he's not there. It breaks his heart. MICHAEL -LRB- continuing ; softly. -RRB- Sweetheart. CARLA -LRB- furious. -RRB- She could have been killed. You knew and you did n't tell us. You let your mother think. MICHAEL Where is she? CARLA How could you do that? Your own daughter. MICHAEL Where's my mother? CARLA I do n't know. He starts from the room. CARLA -LRB- continuing. -RRB- Why did n't you tell us? -LRB- breaking ; enraged. -RRB- Why did n't you tell us? MICHAEL -LRB- looking back. -RRB- I'm sorry. Please, Carla. I did n't think there was any danger. I'm sorry. I love you. Both of you. It suddenly strikes him. He knows where his mother has gone. He goes to the window. THE DOCK - DAY From the window, from Michael's point of view, he sees that the boat is gone. He runs from the room, passing Louisa, who looks at him angrily. LOUISA Where's Jake? He does n't answer.","EXT. HOUSE - DAY He runs from the house and heads for the dock. MICHAEL -LRB- yelling as he goes. -RRB- Jake! Jake! OMITTED THE BIG BOAT - DAY Ellen steers the boat at full throttle, out farther into the Atlantic, scanning the water for the shark, determina - tion set deeply into her expression. THE POINT - DAY Hoagie is setting up to fish from the point at the end of the beach where Michael and Jake live. He checks his bait and hook, then casts, then sees the dinghy heading toward him. THE DINGHY/THE POINT - DAY Jake rides in the bow. Michael steers. They see Hoagie, and Jake starts waving at him. JAKE -LRB- yelling. -RRB- You see our boat? HOAGIE -LRB- yelling. -RRB- I just got here. MICHAEL -LRB- yelling. -RRB- My mother took it. HOAGIE -LRB- yelling. -RRB- I hope she's a good sailor. JAKE -LRB- yelling. -RRB- A shark attacked Thea and some kids. She's going after it. HOAGIE -LRB- yelling. -RRB- She's going after it? MICHAEL -LRB- yelling. -RRB- We've got to stop her. Hoagie understands what's going on and starts reeling in. HOAGIE -LRB- yelling. -RRB- You're going after her in that? You're crazy. It'll take all day in that bathtub. JAKE -LRB- yelling. -RRB- You got a better idea? THE AIRPORT - DAY A small, low - wing aircraft takes off.","INT. PLANE - DAY Hoagie is already turning to head out over the water. Michael is straining to see the ocean. They have to yell to be heard over the din of the engines. Jake rides next to Hoagie. HOAGIE When we find her we'll radio her position. The Coast Guard will pick her up. Do n't worry. JAKE She'll be all right, partner. She'll never find it. We could n't. MICHAEL It will find her. Jake looks at him like he's crazy. This is something he has n't heard. JAKE What do you mean, it'll find her? HOAGIE She said it was coming. JAKE What do you mean, it's coming? MICHAEL What the hell are you? HOAGIE She has it in her head that the shark that killed Martin and Sean is. JAKE -LRB- to Michael. -RRB- He's not talking about our shark. MICHAEL -LRB- to Hoagie. -RRB- What do you do when you're not flying people? HOAGIE I deliver laundry. We're going to circle northeast. Hoagie changes directions. MICHAEL Everything's a joke to you. JAKE You saying she thinks the shark is after her? HOAGIE Not Ellen. MICHAEL She does n't need a drug dealer for. Hoagie starts laughing. Jake is looking at them both with disbelief. MICHAEL What the hell's so funny? JAKE That's a lot of crap. Sharks do n't. HOAGIE I want to find her as much as you do, Michael. MICHAEL I want you to leave her alone. I do n't want you involving her in. HOAGIE -LRB- spotting something. -RRB- What's that? He points and they see a tiny dot of a boat in the distance. Hoagie starts for it and they watch as he drops altitude. There's a long silence as they strain to see the boat. When they get closer they see that it's a pleasure sailor. The people aboard wave at them. MICHAEL -LRB- not ready to give it up. -RRB- What do you deliver on all those charters you? HOAGIE I fly elephants for smugglers. THE BOAT - DAY Ellen searches the water for the shark. She puts the boat into a long slow turn. All she can see is the endless expanse of ocean around her. THE WATER - DAY The boat is seen from the surface, from the point of view of something following her, keeping pace with her. The shark is stalking her.","INT. PLANE - DAY Hoagie, Michael and Jake fly on in search of Ellen. Michael is raw nerve ends. MICHAEL Ca n't this thing go any faster? HOAGIE Any faster and it'll turn into a flying Cuisinart and dice us into oblivion. Hoagie banks the plane, changing direction to search another area. THE BOAT/THE WATER - DAY Ellen turns the wheel, beginning another sweep, searching for the shark. At first she does n't see anything, then she goes rigid. A hundred yards away she sees the fin. She shuts off the engine and, in the quiet, moves to the stern and looks at the shark, which is keeping its distance. ELLEN -LRB- quietly ; with deadly calm. -RRB- Come and get me, you son - of - a - bitch. Take me and leave my family alone. The silence builds as only the water lapping up against the side of the becalmed boat is heard. The fin disappears beneath the surface and Ellen, still at the stern, her body trembling, looks for it. She ca n't see anything. The silence builds. She waits. Then, in the intense calm, the distant sound of an airplane engine droning is heard.","INT. PLANE - DAY Jake sees the boat and points. JAKE There she is. They see the boat and the tiny figure of Ellen at the stern. Hoagie alters course, dropping altitude as he goes. He starts fishing for a chart so he can radio her exact loca - tion. Michael rises in his seat to get a better view. He sees something in the water and strains to make out what it is. THE WATER - DAY The dark form of the shark is visible beneath the surface as it moves rapidly toward the boat.","INT. PLANE - DAY They strain to see the form in the water as the plane moves rapidly closer to the boat. HOAGIE Is that what I think it is? No answer is necessary as they watch the shark close the distance to the boat. It's going for Ellen. JAKE Holy Christ. MICHAEL -LRB- a whisper. -RRB- Mom. THE BOAT - DAY The shark comes exploding up out of the water for Ellen, missing her by only a few feet, taking a piece of the stern off the boat, then disappearing beneath the surface. Then she hears the plane and looks but does n't seem to see it. She's in shock from the shark's attack, but is still dedicated to her mission. The plane flies in low, buzzing the boat, the great roar of its engine causing Ellen to duck out of the way.","INT. PLANE - DAY Hoagie makes a tight circle and starts back. MICHAEL Slow it down. He starts to open a door. Jake stops him. JAKE What the hell are you doing? MICHAEL I've got to get to her. JAKE You jump, you'll kill yourself. HOAGIE What are you worried about? You make it, the shark will kill you anyway. I'm going in. Hoagie grabs his microphone and switches it on. HOAGIE -LRB- continuing ; on the horn. -RRB- Thomas, my boy, you there? This is PBN 17452. THOMAS -LRB- 0. S. -RRB- -LRB- laughing ; from the speaker. -RRB- Boss is going to be pissed at you for taking his plane, Hoagie. HOAGIE -LRB- grinning. -RRB- Wait till he finds out what I'm going to do with it. THE BOAT - DAY Ellen watches the plane with horror as it comes in on a line parallel to the boat, coming closer and closer to the water.","INT. PLANE - DAY HOAGIE -LRB- still on the horn. -RRB- A couple of boats, fast, and someone who knows how to kill a shark. A big one. He puts the microphone back and starts preparing to bring the plane into the water. HOAGIE -LRB- continuing. -RRB- Grab your socks. JAKE You sure you know how to do this. HOAGIE Hell, no. What kind of pilot do you think I am? THE BOAT/THE PLANE/THE WATER - DAY Ellen backs away from the stern as the plane nears the surface and its engine sputters, then quits. It hits the water and its nose rocks forward, then it settles forward and skips some seventy - five feet, plowing through the water violently, finally coming to a stop near the boat. Hoagie pushes the door open and water starts coming in. HOAGIE Hell, that was n't half bad. Get going. I'll keep it busy. JAKE It'll come for the plane. It's attracted to metal. The electro - magnetic impulse. HOAGIE Will you get the bloody hell out of here. Jake jumps into the water and starts swimming for the boat. MICHAEL Come on, Hoagie. HOAGIE All you passengers are the same. Complain. Complain. He pushes Michael out. THE BOAT/THE PLANE - DAY Ellen sees Jake, then Michael swimming frantically for the boat. ELLEN -LRB- screaming. -RRB- Michael! No, goddamnit! No! Then she sees the shark heading for the plane and Hoagie and she stares at it and the image of Hoagie, who backs up to the door behind him. ELLEN -LRB- continuing ; barely audible. -RRB- Hoagie. No. THE PLANE - DAY The shark attacks the plane, going straight for the cockpit, rising up out of the water, blocking Hoagie from view, taking a mouthful of door, then rolling off and disappearing beneath the surface. Hoagie is gone. Michael and Jake scramble aboard. They move quickly to Ellen and Michael puts his arm around her, trying to offer comfort. She's in shock. They stare at the plane as it starts to sink, scanning the water, looking for Hoagie. MICHAEL -LRB- quietly. -RRB- It got him. ELLEN -LRB- angry ; passionately. -RRB- Why'd you come out here? MICHAEL Why'd you take the boat? ELLEN Why'd you bring them? It kept coming. There was no other way to stop it. MICHAEL -LRB- his voice rising. -RRB- Did n't you realize what you were doing? You should n't have done it. ELLEN I had to. It was all I could do. Suddenly her anger explodes. Michael tries to hold her but she pulls away. ELLEN -LRB- continuing. -RRB- I tried to tell you. I tried. HOAGIE -LRB- O.S. -RRB- -LRB- yelling from the other side. -RRB- Give me a hand here for Christ's sake. They turn and see Hoagie struggling to climb aboard and move quickly to help him. HOAGIE -LRB- continuing ; grinning. -RRB- That thing has terrible breath. They pull him aboard and he smiles at Ellen, who is very happy indeed to see him. HOAGIE -LRB- continuing. -RRB- What say we get the hell out of here, Ellen Brody. JAKE Get her started. Hoagie and Michael start for the engine. Ellen watches them, then looks out over the water for the shark. Jake turns on the heart monitor and EKG scope and a moment later the sound of the shark's heartbeat, which is faint, starts coming through the speaker, and the sight of its rhythmic beating is seen on the scope. JAKE It's working. Hoagie watches as Michael tries to get the engine started. It wo n't turn over. HOAGIE Not the engine, pal. Jake heads for the cabin. JAKE -LRB- as he goes. -RRB- Get it going, Hoagie. Michael. Michael follows Jake below. Hoagie jumps down into the engine pit and starts checking the fuel line. Ellen stares out to sea, waiting for what she knows will happen. HOAGIE Maybe the plane gave it indigestion. JAKE -LRB- O.S. -RRB- -LRB- from below ; yelling. -RRB- They spend half their lives looking for food and the other half eating it They do n't care what it is. ELLEN -LRB- softly. -RRB- It's not food it's after. The distant sounds of the shark's heart continue to be heard. BELOW DECKS - DAY Jake takes the top off an underwater strobe light and begins rewiring rapidly, changing connections. Michael watches. JAKE -LRB- in the midst of it. -RRB- If it works, if we can get it inside the bastard and set it off, it'll shock the hell out of it. We'll need a slave switch to set it off. Pull the dry cell out of the radio. MICHAEL Anybody ever tell you you're nuts. Michael starts pulling the battery. JAKE -LRB- grinning. -RRB- All the time. MICHAEL It'll work. JAKE Theory, partner. If it responds to external electrical impulse, it might respond to one coming from inside it. Confuse it. Drive it away. MICHAEL If we're real lucky, it'll eat itself. ABOVE DECKS - DAY Hoagie hands Ellen sparkplugs, which she dries with a rag. She continues to glance at the sea, her expression set with the inevitable. The shark's faint heartbeats are heard. BELOW DECKS - DAY Jake is taping a cover over the strobe base. Michael is wiring another strobe light to the battery. JAKE Wait for the sucker to charge, then hit the switch. Just like taking a picture. MICHAEL The big picture. If we ca n't get him to swallow it, we'll shove it up his. JAKE -LRB- laughing. -RRB- I forgot my rubber gloves. Let's do it. They head for the deck ABOVE DECKS - DAY As Michael and Jake move topside, they see Hoagie and Ellen staring at the speaker and EKG scope. The heartbeats have stopped. The line on the scope is flat. MICHAEL Your equipment has crapped out again. JAKE My equipment does n't crap out. Jake grabs a pole from the deck and throws it to Michael, then starts tying the device to the end of it. His hands are trembling. HOAGIE Maybe it had a heart attack. Too much fatty food. Humans are full of cholesterol. Hoagie gets the last sparkplug screwed back in and tries the engine and it kicks to life. HOAGIE -LRB- continuing. -RRB- Son - of - a - bitch! Jake starts for the bow. JAKE -LRB- to Michael. -RRB- Get a line. Michael grabs a coiled line from the deck and follows Jake forward. HOAGIE -LRB- to Ellen. -RRB- We're going to make it. She just stares at him, not believing it for a moment. Jake is standing at the bow, looking out over the water. Michael reaches him with the line. MICHAEL I'll do it, Jake. JAKE No way. MICHAEL It's my fault. I have to. JAKE We need it to eat electronics, man. Not you. Get it on me. MICHAEL -LRB- a plea. -RRB- Jake. JAKE -LRB- grinning. -RRB- I'm the one who wanted to study it. Michael relents and quickly ties the line around Jake's waist. Jake makes his way out to the end of the bowsprit, using the guy wire from the mast for support. Michael passes him the pole with the device at the end of it. Ellen and Hoagie watch from the stern. He's underway. JAKE -LRB- continuing ; yelling back. -RRB- Keep it steady. HOAGIE Aye, aye, Captain. The shark explodes up completely out of the water, clearing the surface, opening its jaws as it comes directly for Michael, who leaps back. ELLEN Michael! Jake moves back on the bowsprit, getting in the shark's way, and as the shark flies up toward Jake, he rams the pole down its throat. The pole snaps and the shark takes the device, Jake and a piece of the bowsprit. Ellen screams. The guy wire flies loose and the already weakened mast begins to fall. Michael pulls at the line, which goes limp in his hands. Jake, in the shark's mouth, goes crashing into the water. The mast crashes into the boat and water. Ellen and Hoagie are running forward. Michael watches as Jake and the shark disappear beneath the surface. In the distance, the three of them see the shark rise up out of the water. Part of Jake is seen in its jaws. Then they're gone. The heartbeats are heard again. Michael opens his mouth and a great wail of anguish comes out and carries out over the water. Hoagie dashes back toward the controls. Ellen, taking strength from her son's need, grabs his arm, hard. ELLEN Michael! There are tears in his eyes. HOAGIE -LRB- yelling. -RRB- Get that goddamn gizmo of Jake's working. Michael stares at the sea. Ellen looks at her son compassionately, then Michael starts for the cabin and Ellen follows to the deck near Hoagie, where she watches the water. The shark's heartbeats are getting louder and closer together. Hoagie eyes the speaker as he opens the throttle, giving it everything its got. BELOW DECKS - DAY Michael grabs the slave switch and turns it on and it begins to whine as the strobe unit in the shark's stomach begins to charge. HOAGIE -LRB- O.S. -RRB- -LRB- yelling. -RRB- It's coming. He hits the switch too soon. Nothing happens. He can hear the heartbeats thumping a frenzy as the shark begins its attack. MICHAEL -LRB- yelling. -RRB- What happened? HOAGIE -LRB- 0. S. -RRB- Nothing! What the hell are you doing down there? The whine begins to build again. ABOVE DECKS - DAY The heartbeats sound like an invitation to hell. Hoagie grabs Ellen's arm. HOAGIE Take the wheel. He leaves it before she does and runs to the cabin. She takes his place, glancing at the water, seeing the fin. Her expression floods with rage and she turns the wheel toward the shark, trying to meet it head on. BELOW DECKS - DAY Hoagie sticks his head in the door. HOAGIE The damn thing is going to have our asses. MICHAEL It needs more time to charge. They start topside. Michael brings the slave switch with him. ABOVE DECKS/THE WATER - DAY Ellen is bringing the boat directly toward the shark, which is coming straight for them. The heartbeats are deafening. As Hoagie and Michael move topside, the boat and the shark collide head on, sending shock waves from stem to stern. Ellen holds onto the wheel with both hands and keeps her feet. Michael and Hoagie are knocked on their asses. The heartbeats retreat, then start growing louder and stronger again. The whine of the strobe has stopped. Michael hits the switch several times and it starts again. Ellen sees the fin and steers toward it. The shark is coming again, like an old boxer looking for the knockout punch in the fifteenth round. The boat and the shark are heading for each other, the distance between them closing fast. Ellen drives the boat toward it. The slave switch makes a popping sound, and Michael hits the switch and the flash in his hand goes off. The water explodes as the shark receives an enormous jolt of electricity. It thrashes about wildly then, in slow motion, some twenty - five feet from the boat, right in front of it, the shark rises up out of the water, exposing half its body. It seems suspended there, its great head pointed right at Ellen, its dead black eyes seeming to stare straight at her. Holding fast to the wheel, her expression set hard, Ellen drives the boat straight at the shark. She pushes the throttle forward, hard, getting the last bit of speed from the engine, driving straight into the beast, impaling it in the throat with what's left of the sharp jagged end of the bowsprit. The shark goes crazy, its weight pulling the bow down into the water as it tries to free itself, thrashing about so violently that it turns the bow into splinters. Ellen, Michael and Hoagie are thrown into the water. THE WATER - DAY They watch as the shark dies its violent death, taking what remains of the boat beneath the surface with it. BENEATH THE SURFACE - DAY The shark and the boat sink slowly to the bottom. THE SURFACE - DAY Ellen, exhausted, emptied of everything, begins to sob. Everything she feels, everything she's suppressed about Sean's death pours out of her. She begins to slip beneath the surface. Hoagie grabs her. ELLEN I ca n't. HOAGIE Yes you can. Michael reaches them and together, helping Ellen, they swim to a large piece of the boat which is floating nearby. Holding it, catching their breath, Ellen still crying, they look out across the water, silently remembering Jake. MICHAEL -LRB- quietly. -RRB- It's over. Ellen stares at the sea, her expression etched with uncertainty. Is it over? Will it ever be? Our vision shifts from Ellen to her point of view of the endless expanse of ocean. In the distance the clouds seem to be reaching for its surface. Slowly, almost indiscernibly at first, the closing music begins. Another sound, that of airplane engines is heard. OMITTED THE AIRPORT - DAY The noise of the air taxi's engines, as they're warmed up, is loud. The music, which builds slowly, relentlessly, continues. Closing credits begin, like punctuation marks. Hoagie is in the cockpit. Ellen, who's dressed for travel, Michael, who carries Thea, and Carla approach the plane. ELLEN -LRB- yelling to be heard above the noise. -RRB- I want you all to come to Amity this summer. MICHAEL There's a lot. I want to talk about it. He's having trouble. ELLEN We will. We'll have a lot of time together. -LRB- pauses. -RRB- What are you going to do now? CARLA -LRB- yelling. -RRB- We'll be there. ELLEN -LRB- to Thea. -RRB- You make sure they come? THEA -LRB- yelling ; liking the excitement. -RRB- I will. I'll miss you, Grandma. ELLEN -LRB- laughing. -RRB- I'll miss you. They've reached the plane and Hoagie and Ellen make eye contact. MICHAEL -LRB- eyeing his mother and Hoagie. -RRB- Promise me you'll be all right. ELLEN -LRB- turning to him ; yelling. -RRB- Promise me. MICHAEL -LRB- yelling. -RRB- I'll wear my rubbers. I'll be careful. I'll be. HOAGIE -LRB- yelling ; grinning. -RRB- Mothers and sons. Mine used to tell me to wear clean shorts. ELLEN/HOAGIE -LRB- both yelling ; both enjoying the moment. -RRB- In case you got hit by a car. They laugh above the noise. Michael and Hoagie eye each other. MICHAEL -LRB- yelling at Hoagie. -RRB- You know, you try harder not to give a damn than anyone I've ever met? Hoagie, straining to hear, grins. HOAGIE -LRB- yelling. -RRB- What? Michael moves closer, Thea still in his arms. THEA -LRB- before Michael can repeat himself ; yelling. -RRB-. Can I fly the plane again? The music dips now, as Hoagie takes a long 1ook at Thea, his smile building warmly. HOAGIE Absolutely. Any time. He beckons her with his finger and Michael holds her closer. HOAGIE -LRB- continuing. -RRB- Can you keep a secret? Something no one else knows? THEA -LRB- still yelling at the top of her lungs. -RRB- Yes I can. HOAGIE -LRB- yelling back. -RRB- I own the airplane. I can do whatever I want. I'm the boss. Michael, Ellen and Carla react. HOAGIE -LRB- continuing. -RRB- Which means I have to go a lot of places to pay my debts and borrow money to keep it going. He looks at Michael with mischief in his eye. The music begins to build again, toward its climax. Credits continue. HOAGIE -LRB- continuing ; yelling louder. -RRB- Remind me when I get back to tell you about the time I flew a hundred nuns to Nairobi. Michael and others laugh, but it's lost in the sound of the engines and the music. The family moves to the plane's door. Ellen kisses Carla and Thea good - bye, then turns to Michael. ELLEN -LRB- above the noise. -RRB- We never had that talk, did we? He looks at her, troubled, and she smiles at him. ELLEN -LRB- continuing. -RRB- We will. We'll have a lot of time together, Michael. MICHAEL -LRB- shouting. -RRB- I'm going to finish what Jake and I started. I owe him that. Hell, I owe him everything. -LRB- shouting ; hardly heard. -RRB- I'll get something important done for both of us. Ellen and Michael embrace, then kiss each other good - bye. HOAGIE -LRB- yelling. -RRB- There they were, all hundred of them. His last words are drowned out by engines and music and he shrugs as he and Ellen smile at each other. She takes a last look at her family, then boards the plane and the door closes behind her. THE AIRPORT/THE PLANE - DAY As music and credits continue, the plane takes off and starts out over the ocean, heading for Nassau. Michael, holding Thea, and Carla, her arm through his, watch as the plane becomes smaller and smaller, until it is lost in the vastness of the sky and the sky is transformed into ocean and music and credits end. FADE OUT THE END"],"string":"[\n \"JAWS: THE REVENGE TITLE SEQUENCE : UNDER WATER - NIGHT As titles and music play, we move slowly beneath the water off the coast of Amity. We swim beneath a dock, threading our way through pilings. We move through the water, swimming, just swimming, with all the time in the world. We move over some junk - the rusting front end of an automobile. We're going somewhere. The water becomes shallow and we stop. Up through the surface, the images distorted, we see the lights of a town. Amity. We move on, swimming again, just swimming, moving through the water until, suddenly, the water swirls with motion around us. We experience the sensation of turning and then we see it, THE EYE. And, for a moment, we think we're going to see more. But all we see, as titles end, is THE EYE. THE REVENGE FADE IN AN ENORMOUS BLACK EYE casts its deadly stare straight at us. Waves of heat, like ocean currents, rise up around it. A sound like that of the fires of hell fills our ears. ELLEN -LRB- O.S. -RRB- Stop that. SEAN -LRB- O.S. -RRB- Stop what? ELLEN -LRB- O.S. -RRB- That. SEAN -LRB- O.S. -RRB- -LRB- laughing. -RRB- I'm not doing anything. A hand is heard being slapped lightly. SEAN -LRB- O.S. -RRB- -LRB- feigning pain. -RRB- That hurt. ELLEN -LRB- O.S. -RRB- Serves you right. -LRB- laughing despite herself. -RRB- Will you please stop. SEAN -LRB- O.S. -RRB- Ca n't help myself. The huge eye rises up toward us, then turns away and disappears, to be replaced by another just like it.\",\n \"INT. BRODY HOUSE - KITCHEN - NIGHT The eye belongs to a fish and the fish is frying in a pan and Ellen has just turned it. She glances at Sean, her son, who's dressed in an Amity police uniform. He's munching a piece of lettuce from the salad, which he's been picking at. It's winter and she's wearing a bit of wool. ELLEN You're almost as fast as your father. He could snatch a tomato out of a salad faster that a rabbit makes love. Sean grins at his mother and slowly tries to take more lettuce without being seen. ELLEN -LRB- continuing. -RRB- I see what you're doing. SEAN I'm hungry, Mom. ELLEN Let me finish dinner before you eat it. Chop the peppers. He lines up a red and green pepper and eyes them sympatha - tically. SEAN Sorry fellas. He starts chopping them up and Ellen grabs her glass of wine and sits herself on a stool to watch him. Showing off a little, he starts adding some professional panache to his chopping. ELLEN Watch your fingers. He cuts himself. SEAN Shit. The phone rings. ELLEN Are you all right? SEAN Adds flavor. He sucks at his finger as she answers the phone on its second ring. SEAN -LRB- continuing. -RRB- We do n't want any. ELLEN -LRB- picking up the phone. -RRB- Hello? -LRB- smile broadens as she listens. -RRB- Thea who? -LRB- laughs. -RRB- I know it's Thea Brody. How many grandchildren do I have? I know you can use the phone by yourself. You're a big girl. I know you're five. Sean, still sucking at his finger, eager to talk with his niece, moves to the phone and leans in close to the mouthpiece. SEAN Hi ya, kiddo. How you doing down there in the sunshine? Ellen shares the mouthpiece with her son. THEA -LRB- O.S. -RRB- I'm fine, Uncle Sean. I went swimming today. I'm taking lessons. MICHAEL -LRB- O.S. -RRB- She already swims like a fish. SEAN Hey, Michael! MICHAEL -LRB- O.S. -RRB- Hey, bro. ELLEN -LRB- to Sean. -RRB- The fish. Check it. SEAN You check it. ELLEN I'm on the phone. MICHAEL -LRB- O.S. -RRB- I'm paying for the call. SEAN -LRB- to Ellen. -RRB- Not if you let me have it. ELLEN In a minute. THEA -LRB- O.S. -RRB- What's going on? SEAN -LRB- to Thea. -RRB- Your grandmother's a slave driver. Tell her to be nice to me. Sean makes a face at his mother, who smiles at him, then continues her conversation with Thea. ELLEN Did you get the book I sent you? -LRB- listens. -RRB- Sean studies the fish as it fries in the pan, not sure what to do with it. SEAN Ask the big doctor about his work. -LRB- yelling so Michael can hear him. -RRB- Tough life you Bahamian beach bum. Playing in the water all day. ELLEN He heard that. SEAN -LRB- smiling. -RRB- Good. He turns to the fish. OMITTED AMITY - DUSK It's the next day and the main business street of Amity is ablaze with Christmas lights and decorations. The streets are busier than usual with traffic. People move about with that extra sense of purpose and good cheer which accompanies the holiday season. Sean, Ellen and Tiffany, the young woman to whom Sean is engaged, are just leaving Ellen's real estate office, a storefront on the main street. They're carrying Christmas packages. Ellen's partner, Agnes Taft, is seen at her desk inside. ELLEN -LRB- as she leaves. -RRB- Tomorrow we have to get the ads for the paper straightened out. And if Mrs. Blodget calls, tell her we'll have the final offer tomorrow. MRS. TAFT How come you get to leave early? ELLEN -LRB- smiling. -RRB- My desk is closer to the door. Mrs. Taft grins and goes back to work as Ellen, Sean and Tiffany start across the street. The sign above the door behind them reads : ` BRODY AND TAFT, REAL ESTATE.' SEAN -LRB- continuing their earlier conversation. -RRB- A big one. ELLEN A small one. Your brother wo n't be here. The Mayor sees them as he moves along the sidewalk. THE MAYOR Merry Christmas. ELLEN Merry Christmas, Jim. SEAN/TIFFANY Merry Christmas, Mayor. THE MAYOR Eggnog time. Thursday night. ELLEN I'll be there. The Mayor offers a large grin and hurries on. SEAN -LRB- to Ellen. -RRB- We're having a big tree and we're getting out all the old ornaments and we're going to do it right. TIFFANY We'll put stockings on the mantel. SEAN And we're putting out a sandwich and a bottle of beer for Santa. ELLEN -LRB- laughing. -RRB- All right. We'll do it all. Tiffany, you have no idea what kind of mad man you're marrying. TIFFANY -LRB- smiling at Sean. -RRB- Oh, yes I do. They approach the front of the police station. SEAN I've got to check in. He kisses his mother on the cheek and plants one on Tiffany's lips. ELLEN Do n't be late. SEAN I wo n't. Sean heads for the station. The two women watch him for a moment, then move on. ELLEN -LRB- with good humor. -RRB- He has the messiest room in America. TIFFANY I know. but he's all mine. Ellen gives her a look, then smiles and the two women continue on.\",\n \"INT. POLICE STATION - DUSK Sean moves into the front office, taking off his gloves and blowing into his hands. The secretary, Polly, who is close to retirement, is going through a filing cabinet. There's a framed picture of Martin Brody on the wall near her. It has a plaque beneath it which reads, MARTIN BRODY, POLICE CHIEF, 1973 - 1985. She slams the drawer shut in her frustration at not being able to find what she's looking for. SEAN That bad, huh? POLLY We're out of decaf. We're out of petty cash. And we're out of requisition forms. He smiles sympathetically and pours himself a half cup of coffee and waits for the rest of it. POLLY -LRB- continuing. -RRB- You have the safety talk at school, one o'clock tomorrow. SEAN Anything to do before I go home? He sips at his coffee, eager to be gone. Polly opens another file and searches. POLLY That man keeps calling about his training film. I ca n't convince him we do n't have a S.W.A.T. team. SEAN Good night, Polly. He takes a final sip of coffee and puts the mug down and heads for the door. The phone rings. Polly moves to her desk. POLLY George called about the softball league. He wants you to organize a team for next summer. He disappears as she picks up the phone. POLLY -LRB- continuing. -RRB- Amity Police Department. -LRB- listens ; then yells at Sean. -RRB- Hold it! There's an old dock piling drifting in the channel. Sean reappears in the doorway looking quizzical. POLLY -LRB- continuing ; on the phone. -RRB- Maybe it will just keep drifting until it goes away. -LRB- to Sean. -RRB- It's stuck against a channel marker. He starts away again, trying to ignore it. POLLY -LRB- continuing ; listening ; then yelling. -RRB- Hold it again! Coast Guard's busy and it has to be cleared before the fishermen come back. Sean moves back to the doorway. SEAN Where's Lenny? POLLY -LRB- hand over the mouthpiece. -RRB- Gone to Ben Masters' place. Cow tipping. SEAN Cow tipping? POLLY Claims kids come around at night and tip over his sleeping cows. They're not giving milk. SEAN -LRB- sighing. -RRB- I'll take care of it. POLLY -LRB- on the phone. -RRB- Deputy Brody will take care of it personally. She hangs up and eyes Sean, who's still framed in the doorway. SEAN Call my mother. Tell her I'll be late. He shakes his head and disappears at the door. SEAN -LRB- continuing. -RRB- Cow tipping. THE DOCKS - DUSK TO NIGHT A huge banner is stretched above the docks. It reads : AMITY ANNUAL CHRISTMAS PAGEANT. The combined forces of the high school band, chorus and dramatic society are in the process of rehearsing their musical version of the birth of Christ. Their director, Mr. Tarkanian, is jumping about, trying to organize things. TARKANIAN Come on people. Come on. We go on at eight o'clock tomorrow night and. -LRB- voice rising to a scream. -RRB- No one's ready. This gets him some attention and his kids begin taking their places - Mary and Joseph, the Three Wisemen, the shepherds. the sheep, the camel, which is a horse with an artificial hump. TARKANIAN -LRB- continuing. -RRB- You shepherds, find your places. And do n't forget the sheep. Sean pulls up in the police vehicle, gets out and, grinning and shaking his head at the confusion, begins to make his way through it. SEAN -LRB- yelling at Tarkanian. -RRB- Good luck. TARKANIAN I'll need it with this bunch. Sean pushes on, moving out on the dock. TARKANIAN -LRB- O.S. -RRB- Where's the Frankincense? This is supposed to be a dress rehearsal. THE POLICE BOAT - NIGHT Sean gets the engine started and casts off and the small boat makes its way from the dock. TARKANIAN -LRB- O.S. -RRB- -LRB- shouting. -RRB- You're supposed to be in costume, Joseph. Where's your robe? Jesus! A KID -LRB- O.S. -RRB- Here I am. THE BAY - NIGHT The boat moves slowly toward the channel. Sean looks back and sees the lights and activity on the dock and smiles a little, then turns his attention to the job at hand, switching on the boat's spotlight, using it to cut through the accumulating darkness. THE CHANNEL - NIGHT Sean brings the boat to the channel marker, with its small blinking red light, and kills the engine and examines the huge piece of dock piling, most of which is beneath the sur - face. It's lodged against the marker, so heavy in the water that it's not moving an inch. Hardly more than a shadow, his face just barely illuminated by the occasional dull red light, Sean gathers the towline and begins trying to secure it to the piling, a difficult job in the cold, which requires him to lean out over the side as far as he can. The band is heard starting up on the dock, gradually col - lecting itself until it sounds like one, playing `` The First Noel.'' A few moments later, the choir begins singing it. Suddenly the water explodes up around him violently and the boat rocks in the shock of it and a dark form is seen, for an instant, and Sean disappears from our view. The boat's spotlight rocks crazily. Then the turmoil of the water dies and all is calm and the singing from the dock is heard clearly again. Sean, holding onto his shredded sleeve and coat, bleeding profusely, has fallen to a corner of the stern. He looks off toward the dock and opens his mouth to call for help, but nothing comes out. The music grows louder as the band and chorus find their confidence. Then a tremendous surge of water explodes upward and the dark form is seen again, for an instant, and our view of Sean is lost. When we can see again, Sean and a corner of the stern are gone. For a moment, Sean is seen holding onto the piece of dock piling with his remaining arm. He cries out for help but it's lost in the swelling sound of the Christmas Carol coming from the dock. Then Sean and the pole disappear beneath the surface. He's just gone. A few moments later, the pole pops back to the surface. In the rocking spotlight from the boat, the clear outline of the shark's jaws can be seen where it's taken a chunk of it. In the stillness of the night, the band and chorus suddenly stop. TARKANIAN -LRB- O.S. -RRB- -LRB- yelling ; his patience exhausted. -RRB- Get the star higher. Higher! And where the hell are the Wisemen?\",\n \"INT. POLICE STATION - DAY Ellen in shock, moves down a corridor with Lenny, Sean's boss, the Chief. He holds her arm as they move to a back room of the station. Polly and a handful of townspeople watch sadly from the other end. LENNY If I did n't have to, I would n't. -LRB- hates this conversation. -RRB- There's not enough. Law requires a positive identification and there's not. -LRB- ca n't finish. -RRB- He holds the door open and Ellen goes inside. THE BACK ROOM - DAY A sheet covers the table in the center of the room. There's a slight bulge beneath it. Ellen moves to the table. Lenny moves to get ahead of her. LENNY I wish there was some way to make it easy. Ellen, still in shock, watches as Lenny pulls back the sheet. She goes rigid, staring at Sean's remains without expression. He glances at her, then puts the sheet back. She does n't move. He moves to an old desk which sits in a corner and takes up a package. Sean's service revolver, in his holster, and his badge are on top of it. He brings them to her. LENNY -LRB- continuing. -RRB- His things. She looks dully at Lenny, then at the package, staring at the service revolver. LENNY -LRB- continuing. -RRB- I thought you'd want them. She takes what he offers and leaves. THE CORRIDOR Ellen stops and uses all her strength to compose herself. Her expression is etched with controlled rage.\",\n \"EXT. BRODY HOUSE - DAY A taxi pulls up in front and Michael Brody, in his late twenties. Carla, his wife, mid - twenties, and Thea, their five - year - old daughter, get out. As the driver gathers their luggage, they look sadly at the house, then start for it. Thea does n't really understand what's going on.\",\n \"INT. HOUSE - DAY Michael and his family move into the house. MICHAEL Mom? There's no answer and he looks in the living room. It's empty. MICHAEL -LRB- continuing. -RRB- Anybody home? Polly moves into the hall, followed by Mrs. Kintner, Agnes Taft, and another woman. They all look as though they've been working in the kitchen. POLLY Michael. He moves to her and they embrace. Polly looks at Carla and the two women exchange sad smiles. MICHAEL Where's Mom? Polly points out toward the beach. POLLY She's been out there for hours. MICHAEL How's she doing? Polly gives him a look, as if to say, not very well. MRS. KINTNER We just came from Tiffany's house. MRS. TAFT Poor girl. The doctor's had to sedate her. Michael nods and leaves. Polly smiles at Thea. POLLY I hardly recognize you, Thea. You're so grown up. THEA Uncle Sean is dead, you know. -LRB- to Carla. -RRB- Will he ever come back? CARLA -LRB- to Thea. -RRB- We'll talk about it some more later. POLLY -LRB- to Thea. -RRB- You want something to eat? THEA -LRB- to Polly. -RRB- I had a hamburger on the plane. POLLY We can do better than that. Polly offers her hand and Thea takes it and they head for the kitchen. Polly and Carla exchanging the knowledge of how difficult this all is for a child. POLLY How about a funny bone sandwich? Thea giggles and they disappear into the kitchen. THE BEACH - DAY Ellen stands at the shoreline, looking out toward the bay, her expression empty of feeling ; stoic suppression of her feelings. Michael moves down the beach toward her. MICHAEL Mom. She turns and, for a long moment they look at each other, then he moves to her and takes her in his arms. They hold onto each other for a long time. Tears begin to well up in his eyes. She looks at him, then kisses him gently, then looks back out at the water. ELLEN -LRB- with deadly calm. -RRB- It came for him. It waited all this time and it came for him. MICHAEL Mother. But she does n't hear him. Her mind and heart are somewhere else.\",\n \"INT. BRODY HOUSE - KITCHEN - NIGHT Carla is organizing the evening meal. Michael moves into the room. MICHAEL She's putting Thea to sleep. He gets a can of beer from the refrigerator and pops the top, then looks at it. She studies him. MICHAEL -LRB- continuing. -RRB- I bought him his first legal drink. He got so pissed that night. CARLA He told me you both did. They look at each other, sharing their grief. CARLA -LRB- continuing. -RRB- He told me a lot about you two. Carla catches Ellen entering from the corner of her eye. Michael follows her gaze. MICHAEL Sit down, Ma. ELLEN You guys must be starving. Ellen moves to the counter and starts pulling out pots and pans, as though she's lost control of herself. Carla moves to calm her down. CARLA I'm making dinner. You should. Ellen pulls herself free from Carla's hand and continues pulling out the pots. She stops suddenly, holding one in her hand. She lets it drop and turns to look at Michael. ELLEN I want you to get out of the water. MICHAEL What? ELLEN I want you to give up that terrible job. MICHAEL Come on, Mom, you ca n't be serious. ELLEN -LRB- her voice rising. -RRB- You're damn right I'm serious. MICHAEL I'm just getting started. ELLEN I do n't want you in the water anymore. She stops suddenly, aware that Michael and Carla are staring at her. MICHAEL Mom, you're upset. Sit down. Please. ELLEN I wo n't have anyone in my family any - where near the water. -LRB- coming unglued. -RRB- Never again. Never. Michael moves to her, trying to take her in his arms, trying to comfort her. MICHAEL Hey, come on, you ca n't believe that voodoo. Sharks do n't commit murder. They do n't pick out a person. ELLEN -LRB- pulling away from her son. -RRB- It picked Sean. It killed your father. MICHAEL Dad died from a heart attack. ELLEN He died from fear. From having to go out there after it. She starts from the room unable to control herself, not wanting to unravel completely in front of Michael and Carla. MICHAEL -LRB- a last attempt to reason with her. -RRB- There's never been a great white where we live. It's warm water. They do n't like it. ELLEN -LRB- O.S. -RRB- -LRB- as she moves away. -RRB- Your brother's dead. Your father's dead. Michael and Carla look at each other with grave concern. THE BEACH - DAY The sand is hard from the cold and it's empty of people. The water is calm. The day is sunny and peaceful. MICHAEL -LRB- O.S. -RRB- He was such a good - natured kid. Always going out of his way. CARLA -LRB- O.S. -RRB- He was doing his job. MICHAEL -LRB- O.S. -RRB- It was a piece of wood. A shitty piece of wood. It's not fair. Michael and Carla move into view, their backs to us, bundled against the cold. CARLA He was just doing his job, Michael. They walk on in silence for a moment and we see them coming toward us. Michael is deeply troubled. Carla is concerned about him. MICHAEL God, he could make me laugh sometimes. -LRB- pauses. -RRB- He was always tagging after me when we were kids. He wanted so much to do what I was doing. Suddenly Michael starts running. Carla watches him for a moment, then starts running after him. CARLA Where are you going? MICHAEL Nowhere. He starts running flat out and Carla runs with him, stopping finally because he's too fast and she ca n't keep pace. She watches as he works every muscle in his body, trying to exhaust himself, trying to rid himself of what he feels. OMITTED\",\n \"INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS) Sean, a small boy, and Martin are at the table. Martin is lost in thought, reflecting on his dilemma about the appearance of a great white shark in Amity and the refusal of the town fathers to shut down the beaches. Sean imitates his father's every move, mimicking him in every way. MINISTER -LRB- V.O. -RRB- To everything there is a season And a time to every purpose under the heaven ; A time to be born, and a time to die. THE CEMETERY - DAY Ellen is smiling, her expression reflecting her memory of her son and her husband. Sean is being buried. The Minister is conducting the gravesite service. Thea stands next to Ellen, holding her hand. Carla is next to her. Michael stands on the other side of his mother. Tiffany stands next to him. She's crying. Hundreds of townspeople have come to pay their last respects, Polly, Lenny, Mrs. Kintner, Mrs. Taft, Tarkanian, the Mayor and several Selectmen among them. MINISTER A time to plant, and a time to pluck up that which is planted ; A time to kill, and a time to heal ; A time to break down, and a time to build up ; A time to weep, and a time to laugh.\",\n \"INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS) Martin and Sean are still at the table. Martin finally catches his son and makes a funny face at him and Sean makes one back. Martin opens his arms and Sean comes to him and the boy kisses his father. Ellen watches from the doorway. MINISTER -LRB- V.O. -RRB- A time to mourn, and a time to dance ; A time to cast away stones, and a time to gather stones together. A time to embrace, and a time to refrain from embracing. A time to seek, and a time to lose ; A time to keep, and a time to cast away ; A time to rend, and a time to sew. THE CEMETERY - DAY Ellen is still smiling. Thea is looking up at her, smiling to herself, trying to figure out what's amusing her grand - mother. Michael and Carla look at Ellen with concern. MINISTER A time to keep silence, and a time to speak ; A time to love and a time to hate ; A time for war, and a time for peace. AVRIL BAY - NIGHT The water laps gently against the shore. A person's legs are seen walking into it. Ellen is revealed walking slowly, deliberate out into the cold water of the bay. Her expression is set with sad determination as though she's going to keep on walking, until the water swallows her up. Finally she stops, and slowly raises her right hand. It holds Sean's service revolver. She points it toward the water in front of her and one by one, coldly, methodically, fires all six rounds into the bay.\",\n \"EXT. DRUGSTORE - DAY Ellen, Michael, Carla and Thea leave the store and move off. Thea is unwrapping a lollipop. CARLA You'll spoil her. THEA That's what grandmas are for. Ellen, constantly surprised by her granddaughter, laughs. It pleases Michael and Carla. MICHAEL I want you to come back with us. Ellen looks at him with a raised eyebrow. Michael's concern for her is evident. MICHAEL -LRB- continuing. -RRB- Change of scenery. Spend more time with Thea. THEA Yes! Ellen looks at Carla, silently asking for her response. CARLA -LRB- smiling ; taking Ellen's arm. -RRB- What do I think? I think it's a lovely idea. MICHAEL Please, Mom. At least consider it. You should get away. You should n't be alone now. ELLEN -LRB- mimicking Thea. -RRB- Yes! THEA You can stay in my room. ELLEN -LRB- to Thea. -RRB- I'd like that. -LRB- to Michael. -RRB- I need to be away from here. Michael, surprised, pleased by how quickly his mother agreed, smiles and she returns it, the first smile she's had for anyone but Thea and the memory of her son and husband since Sean was killed. Carla looks at Michael, her expression etched with love and concern. THE FERRY - DAY Michael with Thea in his arms, Ellen and Carla stand together near their taxi as the ferry leaves Amity and heads for the mainland, the first leg of their journey to the Bahamas. Thea is playing a game with Ellen, pretending to whisper a secret. Ellen does it back and Thea giggles hysterically. THEA Grandma said, buzz, buzz, buzz. Ellen laughs at her granddaughter's delight. Michael and Carla grin. THEA -LRB- continuing. -RRB- Swing me. Swing me. Michael and Carla start swinging Thea between them. As Thea laughs, Ellen, suddenly, without warning, moves away and starts crying, unseen by the others. She looks back toward the island, sobbing now, finally letting it out, taking a last look at her home. Carla, Thea and Michael are heard laughing as they continue their game. AVRIL BAY - DAY From the surface of the water, the ferry is seen becoming smaller and smaller as it moves away. The old dock piling that Sean tried to dislodge from the channel marker, that cost him his life, has washed up on the beach. It's in several pieces and bears the distinct outline of the great white shark's jaws. Several of its teeth are lodged in the wood. NASSAU AIRPORT A large Eastern airline jet descends to the airport, finally touching down and braking as it brings the Brody family to the Bahamas. The plane flashes past. NASSAU BAY - DAY A blur of red flashes past. A Parachutist is being pulled by a speedboat. Several others are revealed, then a crowd of swimmers, and banana boats, and sailfish. The busy bay, it's `` high season,'' is seen from the point of view of a low flying aircraft. CARLA -LRB- O.S. -RRB- I've always wanted to ride one of those. MICHAEL -LRB- O.S. -RRB- No way. CARLA -LRB- O.S. -RRB- -LRB- laughing. -RRB- Chicken.\",\n \"INT. PLANE - DAY Ellen stares down at the water, carrying her mood from Amity. Michael and Carla ride next to and just behind her and eye Ellen with concern. Michael is dealing with his own grief, forcing himself to put on a `` strong'' face for his mother. Thea looks back from the front seat. She's riding next to Hoagie Newcombe, the pilot, a man of Ellen's age who looks the `` free spirit'' he is. THEA Can I ride one sometime? ELLEN -LRB- breaking free from her trance. -RRB- It's too dangerous. CARLA -LRB- teasing. -RRB- Like mother, like son. MICHAEL My mother always told me, if God had intended us to ride parachutes for fun, we'd have been born with free tickets. ELLEN -LRB- laughing. -RRB- I never. THEA -LRB- to Hoagie. -RRB- Where's the lady who brings the soda? Hoagie laughs. THEA -LRB- continuing. -RRB- They had them on the big one. HOAGIE I have coffee in the thermos. THEA I'm too young for coffee. Can I drive the plane? CARLA Thea. THEA Sometimes my father puts me in his lap and lets me steer the Jeep. CARLA Do n't bother Hoagie. HOAGIE Sometimes I let special people sit on my lap and steer the plane. He helps Thea undo her seat belt and she climbs into his lap and he puts her little hands on the wheel, then puts his over them. MICHAEL Jake tells me you're going to have to fly for the rest of your life to pay off what you lost at the crap table. HOAGIE Good news travels fast. He throws a smile back at Michael, who smiles back, just a little. HOAGIE -LRB- continuing. -RRB- I'll get it back next time. THEA How come it bumps up and down when there's no road? HOAGIE The wind does that. -LRB- to Ellen. -RRB- Ever been to the Bahamas before? ELLEN No. HOAGIE First time for everything is the best. After that you know too much and it's never quite the same. ELLEN You must get bored easily. MICHAEL Not from what I've heard. HOAGIE Only on Tuesdays. The rest of the week is interesting as hell. MICHAEL Hoagie likes adventure. Michael glances at Carla, who's smiling at Thea, as Hoagie gives Ellen his most charming smile. Ellen is looking from Michael to Hoagie, not sure what to make of it all. THEA What's that? She's pointing to a gauge with a horizontal white line across it. HOAGIE It tells me if I'm flying level. Sometimes it's hard to tell without a road. THEA How do you make the plane go up and down? HOAGIE Like this. CARLA -LRB- to Michael. -RRB- You okay? MICHAEL Yeah. CARLA -LRB- looking at Ellen ; thenMichael. -RRB- She'll be okay too. Carla takes Michael's hand and holds it as Hoagie puts the plane into a steep dive. Everyone holds on. HOAGIE -LRB- continuing. -RRB- Want to go for a little ride? THEA I do. ELLEN Can you just go off? HOAGIE I'm the captain of this majestic ship. It goes where I take it. He gestures to Ellen to look below and she looks out her window. OMITTED THE AIRPORT - DAY Palm trees stir in the gentle breeze. The terminal is decorated for Christmas. A half - dozen islanders eye the air taxi as its wheels touch down. VACATION HOUSE - DAY We move past large, expensive houses off a narrow road. They're landscaped beautifully. The sound of `` The Christmas Song'' being sung by `` someone'' is heard. A CAR - DAY Ellen stares at the houses from an early model white Cadillac as it makes its way toward Michael's house. `` The Christmas Song'' is coming from its stereo speakers.\",\n \"INT. CAR (MICHAEL'S NEIGHBORHOOD) - DAY Carla is in back with Ellen. Thea is between them, resting her head against her mother's arms. Michael is in front, next to Romeo, the driver, an Islander, black. His car has glitter stars attached to the roof. The stereo speakers are in back. CARLA -LRB- to Ellen. -RRB- No cooking while you're here. No washing dishes. No cleaning. ELLEN I'm not on vacation. THEA I like Grandma's cooking. ELLEN Thank you. MICHAEL -LRB- pointing. -RRB- Neptune's Folly. Our boat. Ellen sees, from her point of view, an old, patchwork forty - five - foot sailboat with a long bowsprit tied to a dock. ELLEN -LRB- O.S. -RRB- Oh, it looks like my uncle's. He taught me how to sail when I was a kid. MICHAEL -LRB- O.S. -RRB- -LRB- continuing. -RRB- It's Jake's actually. Our floating lab. Ellen looks back at her son and offers a tentative smile. MICHAEL -LRB- continuing. -RRB- Beats going to the office. He turns and points to the small neighborhood of houses they're entering. MICHAEL -LRB- continuing. -RRB- Jake lives over there. Ellen looks at several small, rundown houses with Christmas decorations. Romeo, who's been eyeing Ellen in his rearview mirror, picks up his `` tour guide'' microphone and lowers the stereo player and starts singing, doing a perfect imitation of Nat King Cole, singing the same song. Michael and Carla grin and Thea pulls herself forward to watch. Ellen catches on and laughs. MICHAEL -LRB- continuing. -RRB- Romeo does Tony Bennet and Johnny Mathis too. But they all sound like Nat King Cole. Romeo grins and keeps on singing. OMITTED MICHAEL'S HOUSE - DAY The Cadillac makes its way to a house like the others and stops. A Jeep is parked in the drive. An outbuilding, Carla's studio, is nearby. A small dock is in front. Despite its condition, the house is charming and is situated right on the beach. Romeo is still singing. The family piles out. Thea heads for the dock. MICHAEL I'll help you with the bags, Romeo. ROMEO You can take the big one. Michael laughs. CARLA It sure is good to be home. MICHAEL It sure is. Romeo hums as he and Michael start unloading luggage. Carla checks the backseat. Ellen stretches and looks at the house, trying to hide her mother's concern about the way her son is living. Carla sees her and smiles and puts her arm around her. CARLA It'll grow on you. ELLEN I like it. Really. She looks at Carla and finds herself smiling back. CARLA It has its virtues. It has n't fallen down yet. THEA -LRB- O.S. -RRB- Watch me, Grandma. Ellen turns and sees Thea just grabbing an old automobile tire which is suspended by a rope from a beam on the dock. ELLEN Stop! Thea swings out over the water and Ellen runs toward her. Carla and Michael follow. ELLEN -LRB- continuing. -RRB- Thea! Get down from there. Thea! Thea swings back to the dock and lets go of the tire, looking from her mother to her grandmother, not sure what she's supposed to do. ELLEN -LRB- continuing ; as she approaches. -RRB- No, no. It's too dangerous. THEA Mommy lets me. CARLA -LRB- holding out her hand. -RRB- Come on, sweetheart. THEA -LRB- upset. -RRB- But you always let me. CARLA Not today. Come on, Thea. She moves to her daughter to pick her up and Thea balks. Her exhaustion from the trip is too much. She starts to cry. THEA Daddy, why ca n't I? CARLA -LRB- becoming angry. -RRB- Did you hear what I said? Come inside. THEA I do n't want to. I want to swing. Thea grabs the tire and Carla grabs her and Thea starts screaming through her tears. CARLA You can swing later. We have to unpack now. Thea struggles in Carla's arms as they start for the house. ELLEN Oh, I did n't mean. -LRB- trying to lighten the moment. -RRB- I'm being such a Grandma. MICHAEL Come on, I'll show you around. Michael takes her arm and they start for the studio. ELLEN I did n't mean to start that. MICHAEL -LRB- smiling. -RRB- Do n't be such a Grandma. I was always climbing something. ELLEN You were a monkey. Thea is heard crying as Carla takes her into the house and they move on to the studio.\",\n \"INT. STUDIO - DAY An enormous abstract metal sculpture sits center room. It has a huge gaping crevice near its top, not unlike a mouth. MICHAEL -LRB- O.S. -RRB- -LRB- as they approach. -RRB- All you all right? ELLEN -LRB- O.S. -RRB- I'm fine. Ellen finds a smile for her son as they enter the studio. ELLEN -LRB- continuing. -RRB- How are you doing? MICHAEL -LRB- shrugging. -RRB- Okay. ELLEN -LRB- continuing. -RRB- We have n't had a real talk, have we? We'll do that before I go. He nods. She studies his concern. ELLEN -LRB- continuing. -RRB- I'll be all right, Michael. MICHAEL -LRB- finding his smile. -RRB- Good. So will I. They look at each other for a moment, then his gaze shifts to the piece of sculpture. MICHAEL -LRB- continuing. -RRB- She calls it, ` Tourist On The Loose.' Local government commissioned it. For the public beach. CARLA -LRB- O.S. -RRB- -LRB- yelling from the house. -RRB- We forgot to stop at the store. Ellen studies the piece of sculpture. The studio is filled with other metal pieces and Carla's tools, which include tanks of gas and welder's gear. Ellen does n't quite know what to make of it. MICHAEL -LRB- yelling back. -RRB- Make a list. CARLA -LRB- O.S. -RRB- We need milk. MICHAEL Big unveiling ceremony in a couple of weeks. CARLA -LRB- O.S. -RRB- We need beer. MICHAEL I'll be right there. She looks at him, not quite sure what to say. MICHAEL -LRB- continuing. -RRB- Incredible, is n't it? His grin is contagious and she smiles and they start out together. The huge abstract sculpture, with its gaping crevice of a mouth, fills our vision. THE WATER - DAY Ellen swims off the beach by Michael's house. She is the only person in sight. BENEATH THE WATER - DAY Ellen is seen from the point of view of something watching her, stalking her, as she swims. We move closer until we're beneath her. She stops swimming and treads water. We move closer and closer. Ellen sees what's coming toward her and her expression floods with terror. She starts swimming as fast as she can. The water becomes violent as she's attacked. She struggles and the water begins to fill with blood. Her blood. THEA'S ROOM - NIGHT Ellen's eyes pop open, wide. Her face is still filled with fear. BENEATH THE WATER - DAY From the point of view of someone, something, we move slowly through the water, exploring the seascape, which is filled with exotic plants and fish and, nearby, the old wreck of a rusting freighter. JAKE -LRB- O.S. -RRB- -LRB- through a small underwater speaker ; an unhappy voice. -RRB- Stop farting around. MICHAEL -LRB- O.S. -RRB- -LRB- voice somewhat garbled. -RRB- Stop busting my hump. JAKE -LRB- O.S. -RRB- Try the area around the wreck. A small wet submersible comes into view, working its way slowly over the flat sea bottom. Michael, in wet suit and scuba gear is inside. He's spotted a group of conch and parks the sub. MICHAEL -LRB- O.S. -RRB- Bingo. He lifts the bubble and leans out and starts checking the conch to separate males from females. A single conch is seen shooting out the appendage which it uses to move, sinking it into the sea bottom and pulling itself forward. JAKE -LRB- O.S. -RRB- How many? MICHAEL -LRB- O.S. -RRB- Will you leave me alone? JAKE -LRB- O.S. -RRB- You tagging them? MICHAEL I'm separating the ladies from the gentlemen. JAKE -LRB- O.S. -RRB- You moved any slower, you'd grow roots. We've got a schedule. shake it, man. MICHAEL -LRB- O.S. -RRB- The females have eggs. JAKE -LRB- O.S. -RRB- We'll pass around cigars. Michael starts putting small round electronic tags on the conch, which he secures with epoxy. MICHAEL -LRB- O.S. -RRB- We're being paid to see where they go. How they propagate. JAKE -LRB- O.S. -RRB- If we had some decent money, I'd be able to read their temperatures. Study their motor systems. MICHAEL If you'd leave me alone, I'd be able to get my work done. Michael swims free of the sub, to get free from the range of the speaker which carries Jake's voice. JAKE -LRB- O.S. -RRB- Once a grunt, always a grunt. You got no vision, Michael. I'm getting a signal from the first one. You tag it right? It's buzzing. Sounds like a hornet trying to get out of a closet. Michael ignores him. THE BARGE - DAY Jake, an Islander, black, is listening to his headset. He's agitated. Clarence and William, the surface crew, both Islanders, watch Jake carefully. The barge is low in the water and broad of beam and is permanently moored to this site. A dinghy, with an outboard, is tied to the barge. JAKE -LRB- through the phone. -RRB- Michael! -LRB- to Clarence. -RRB- This thing working? CLARENCE You rigged it. You spent all that money on an education and you come back looking like this. JAKE -LRB- yelling ; on the phone. -RRB- Michael! Clarence shakes his head sadly, having fun. Jake looks at him, annoyed. BENEATH THE WATER - DAY Michael continues to tag conch. JAKE -LRB- O.S. -RRB- Michael. I know you can hear me. Michael looks toward the sub and the sound of Jake's voice, then continues his work.\",\n \"INT. STUDIO - DAY A flame, almost too bright to look at, welds metal to metal. Carla works on her sculpture, adding yet another appendage to its trunk. She looks off a something, then lowers the flame of the torch and lifts her mask and studies what she sees, her expression reflecting both a sadness and understanding. From her point of view, Ellen is seen washing windows outside the house. Her back is to Carla. Carla watches Ellen for a long moment, a sad smile finally working the corners of her mouth. CARLA I was afraid to ask if you did windows. Ellen turns and sees Carla and, for just a moment, is troubled at being caught. Then she offers a smile and a shrug. ELLEN I do n't usually. Not at these rates. Ellen, her hair tied back, her expression showing fatigue, and Carla, looking more like an auto - body worker than an artist, look at each other, neither sure what to say next. CARLA I could use a half - dozen more arms. I've only got two weeks to get this thing finished. ELLEN Do you and Michael ever talk about his work? About spending so much time working in the water? CARLA Usually it's all he talks about. You must n't worry. ELLEN I ca n't help it. CARLA I used to worry. But you know what happens, you find out that scuba diving's safer than climbing into the bathtub. ELLEN I should n't interfere. -LRB- smiles. -RRB- My mother - in - law is so neat she puts paper under the cuckoo clock. CARLA Henny Youngman. ELLEN You caught me. CARLA You're not interfering, Ellen. The two women look at each other for another moment, then Ellen goes back to work. Carla watches her, then flips down her mask and turns the flame back up and returns to her welding. THE BARGE - DAY The sub is being secured by Clarence and William. Michael is peeling out of his wet suit. Jake is studying Michael's clipboard. MICHAEL -LRB- yelling. -RRB- I know how to tag a damn conch. JAKE The readings suck. MICHAEL Maybe it's the tags that suck. JAKE I made them, man. MICHAEL I stuck them on, man. JAKE You did n't stick them on right. MICHAEL If you made them right, it would n't happen. They leak. JAKE -LRB- yelling. -RRB- A blind man could find more conch on a mountainside. MICHAEL You could n't find your ass with both hands. JAKE You leave me high and dry. You come back looking like a zombie. MICHAEL -LRB- squaring off. -RRB- Hey! JAKE Should n't pick on that. Sorry. I'm sorry about your brother. MICHAEL Yeah, well, just stop yelling. Jake approaches, a big grin plastered on his face, and Michael backs off, shaking his head. MICHAEL -LRB- continuing. -RRB- Come on, Jake. Jake wraps his arms around Michael and lifts him off the deck. JAKE I missed you, is all. It's dull around here working alone. Smelling all that sweet cologne. MICHAEL Put me down. JAKE -LRB- looking at Clarence and William. -RRB- They wo n't fight with me. MICHAEL Put me down, damnit. Jake puts him down and laughs and Michael grins. MICHAEL -LRB- continuing. -RRB- Maybe I missed you too. JAKE -LRB- still grinning ; to Clarence. -RRB- Where the hell's the beer? CLARENCE Thought you'd never ask. Coming up. WILLIAM Goes good with conch stew. King Conch. Clarence opens a cooler and pulls out four bottles of beer. JAKE -LRB- to William. -RRB- Conch. conch. conch research is n't sexy, William. Does n't attract the big bucks. WILLIAM Conch is very important to our economy. It's a good thing to study. So we'll always have them. CLARENCE Conch is an aphrodisiac. -LRB- as he throws them bottles of beer. -RRB- Besides, no one respectable would hire you gents anyway. not with hair like that. a while ago he could n't get into a restaurant. Sign said, no hats. no platts. dreads, man, dreads. They screw the tops off the beer bottles and Jake holds his up. JAKE To anything but an honest job. They laugh and drink.\",\n \"INT. HOUSE - DAY The Christmas tree, a shiny green fake job, glitters with decorations. Thea is opening the last of her presents. Ellen, Michael and Carla, who's been playing Santa Claus, Jake and Louisa, a very attractive Islander, black, in her midtwenties, sit on the floor. They've all got drinks, and they're all into Thea. ELLEN -LRB- O.S. -RRB- Your father was six then. Just like you. THEA -LRB- looking up. -RRB- I'm still five. Jake makes a face and Louisa smiles at Ellen, who's sitting in a chair, taking her only pleasure from the day, her first Christmas since Martin's death, from Thea's joy. ELLEN He was always getting into some sort of mischief. JAKE I have no doubt. MICHAEL Nothing out of the ordinary. ELLEN Once he locked himself in the bathroom and your grandfather had to get the ladder and climb in through the window. JAKE Bad boy. MICHAEL I did n't do it on purpose. ELLEN -LRB- smiling. -RRB- He did n't spank you very hard. Thea pulls new sneakers from a box. THEA Mommy spanked me once. -LRB- to her parents. -RRB- Oh, these are good. Thank you. She puts them down and starts unwrapping her last present, a big box. Michael takes an outrageous Hawaiian shirt from his box. CARLA You're welcome. I was the one who cried. THEA Was Uncle Sean ever bad? Did you ever spank him? Ellen reacts. Michael covers quickly. MICHAEL Sharp shirt, Jake. JAKE May your sex life be as busy as your shirt. CARLA Thank you. JAKE Every tropo needs one. -LRB- to Louisa. -RRB- Do n't you want to see what Santa got you? LOUISA -LRB- eyeing him mischievously. -RRB- I'm not sure. CARLA Marry the man and put him out of his misery. JAKE -LRB- to Louisa. -RRB- Listen to Carla. Marry me. I'm tall, dark and handsome. two out of three ai n't bad. LOUISA Do n't flatter yourself. -LRB- laughing. -RRB- Thea rips the paper off the box and Michael, Carla, Jake and Louisa turn their attention to her excitement. Ellen watches them, her smile fading as Thea moves to Jake and Louisa with the box. Ellen's thoughts turn to Sean and she glances out the window toward the ocean. THEA -LRB- O.S. -RRB- If I had a baby brother, I'd be the oldest. I could be in charge. Ellen leaves the room, unobserved by the others. CARLA Only children are my favorites. That means you, MaGee. THEA My tea set. I got my tea set. -LRB- to Jake and Louisa. -RRB- Thank you. LOUISA Everyone should have a tea set. Michael glances over at his mother and sees that she's going and moves to a window. THEA -LRB- O.S. -RRB- It has a teapot and cups and saucers. LOUISA -LRB- O.S. -RRB- And a sugar bowl and creamer. THEA -LRB- O.S. -RRB- Can I put real tea in it? LOUISA -LRB- O.S. -RRB- Yes, you can put real tea in it. Michael sees his mother staring sadly at the sea. THEA -LRB- O.S. -RRB- Can I make sandwiches? CARLA -LRB- O.S. -RRB- Yes, you can make sandwiches. The phone rings. THEA -LRB- O.S. -RRB- -LRB- yelling as she goes. -RRB- I've got it. I've got it. JAKE -LRB- O.S. -RRB- If it's National Geographic, tell them we only do covers. Michael continues to watch his mother as the phone rings twice more, then is answered. THEA -LRB- O.S. -RRB- Hello? THE KITCHEN - DAY Thea is on a chair, holding the phone. HOOPER -LRB- O.S. -RRB- Ho - ho - ho. THEA Who's this? HOOPER -LRB- O.S. -RRB- Santa Claus. THEA Come on, Uncle Sean, I know it's you. There's stunned silence at the other end. Thea ca n't figure it out. THEA -LRB- continuing. -RRB- Uncle Sean? Michael moves quickly into the room, his expression etched with confusion and concern. He grabs the phone. MICHAEL Who is this?\",\n \"INT. APARTMENT - DAY Matt Hooper is standing at a window, looking out over a city. He feels terrible. HOOPER Michael. Jesus, I'm sorry. I. Thea thought. I'm sorry about Sean. I was away. A project at the Antarctic. I just heard.\",\n \"INT. HOUSE - KITCHEN - DAY Michael has his arm around Thea, who is still on the chair. MICHAEL Matt? HOOPER -LRB- O.S. -RRB- Tell Thea I'm sorry. Michael gives Thea a squeeze and lifts her off the chair. She looks at her father with concern, then is attracted to the noise and laughter in the other room and heads for it. HOOPER -LRB- O.S. -RRB- -LRB- continuing. -RRB- I do n't know what the hell to say. MICHAEL You do n't have to say anything, Matt. I know how you feel.\",\n \"INT. APARTMENT - DAY Matt is still staring out the window. HOOPER Yeah. MICHAEL -LRB- O.S. -RRB- Still chasing fish? HOOPER Still tagging conch? MICHAEL -LRB- O.S. -RRB- We'll be done pretty soon. HOOPER Tricky little devils, are n't they? How's the degree doing? MICHAEL -LRB- O.S. -RRB- Inch by inch. HOOPER How's Ellen? THE BEACH - DAY Ellen stands perfectly still, as though hearing something no one else can hear, staring with a fixed expression at the ocean. She seems terribly sad. MICHAEL -LRB- O.S. -RRB- She has good days and bad. I do n't know. HOOPER -LRB- O.S. -RRB- She's a tough lady. MICHAEL -LRB- O.S. -RRB- I wish there was something I could do. HOOPER -LRB- O.S. -RRB- She's had a lot to deal with. She needs time. MICHAEL -LRB- O.S. -RRB- Would you talk to her? She's got it in her head that the shark came for him. She still blames it for my father's death. HOOPER -LRB- O.S. -RRB- Oh, boy.\",\n \"INT. HOUSE - KITCHEN - DAY Michael is looking out through the door, toward the window where he was watching his mother. MICHAEL I miss him, Matt. I still ca n't believe he's gone. CARLA -LRB- O.S. -RRB- Tell Matt he should be here.\",\n \"INT. APARTMENT - DAY HOOPER I wish I was. Remember the Christmas I spent with you on the island? You were still kids. Martin put on that stupid Santa Claus suit. MICHAEL -LRB- O.S. -RRB- The stuffing came out of the pillow he was wearing. HOOPER Feathers all over the place. MICHAEL -LRB- O.S. -RRB- It was like having snow in the house. Jesus, I miss them. THEA -LRB- O.S. -RRB- -LRB- heard yelling. -RRB- Tell Uncle Matt my new Teddy bear can move its arms and legs. HOOPER -LRB- beginning to crack. -RRB- Tell her my Teddy bear snores.\",\n \"INT. HOUSE - KITCHEN - DAY Michael is beginning to cry. The silence builds as he and Matt deal with the memory of Sean and Martin. HOOPER -LRB- O.S. -RRB- -LRB- pulling himself together. -RRB- Let me speak to Ellen. MICHAEL I'll get her. Have a good Christmas, Matt. HOOPER -LRB- O.S. -RRB- You too, Michael. Michael puts the phone down and collects himself, then leaves. A moment later Carla moves into the kitchen and picks up the phone. CARLA I thought I'd steal a moment with my second favorite marine biologist. HOOPER -LRB- O.S. -RRB- I was going to bring you back a penguin I could n't find one that wanted to winter in the Bahamas. She smiles, a little.\",\n \"EXT. HOUSE - DAY Ellen stares out to sea, her expression unchanged. Michael moves out of the house, working to put on a `` face'' for her. MICHAEL Matt's on the phone. She turns and heads for the house, as though Michael's not there. As she passes, she stops and looks at him. ELLEN I want you to give up your work. MICHAEL Mom, please do n't start that again. ELLEN You could teach. You could. MICHAEL I'm not going to quit now. ELLEN You're all I have left. I do n't want you going in the water. He puts his hands on her shoulders. MICHAEL What I do is perfectly safe. Jake and I are scientists. One of these days we'll be PHDs. Perfectly Harmless Derelicts. We know what we're doing. There's nothing to worry about. It's warm water here, remember? Great whites hate it. Wrinkles their skin. Makes them look like prunes. He smiles and she manages a small one in return. MICHAEL -LRB- continuing. -RRB- Come on. You can do better than that. You've got a big one in there somewhere. Her smile grows. MICHAEL -LRB- continuing. -RRB- A little better. But you'll have to do better than that. Now go talk to Matt. He misses you. He kisses her and she offers a genuine smile, then moves into the house. He watches her go, still concerned. OMITTED THE BEACH - DAY Thea and Ellen are at the water's edge, building a sand castle. Up the beach, at the point, there's a speedboat near the shore. Hoagie is wading out to it, holding out an envelope, which the man in the boat finally is able to grab. ELLEN We have to dig it deep so the water will go all the way around. So we can swim to it. THEA You're silly. They dig the moat, Thea with her shovel. Ellen with her hands. ELLEN It will be Buckingham Palace and you'll be Princess Di and there'll be a big Parade of Horse Guards and you'll ride in a golden carriage. Thea giggles and Ellen smiles her pleasure at being able to do that, even as she begins to shudder, as though her body temperature has suddenly dropped thirty degrees, and she looks out over the water, feeling something which fills her with fear. ELLEN -LRB- quietly ; with conviction ; as though talking to something unseen. -RRB- You're coming, are n't you? THEA -LRB- O.S. -RRB- Who's coming? Ellen looks around. Thea is still digging. ELLEN No one. Nothing. -LRB- starts digging. -RRB- We've got to get this finished before the tide comes in. THEA It's not nice to be evasive. Ellen looks at her, still surprised by what her granddaughter is capable of saying. The man in the boat looks in the envelope as Hoagie starts wading back to the beach. THEA -LRB- continuing. -RRB- My mother says that to my father. Ellen laughs. MAN IN THE BOAT Next time do n't keep me waiting. HOAGIE -LRB- shouting ; unhappy. -RRB- Yeah. yeah. yeah. Ellen has turned and watches as the speedboat roars off and Hoagie grab his fishing gear and starts down the beach toward her. Thea keeps digging. HOAGIE -LRB- continuing ; as he spots Ellen ; a big smile. -RRB- Hello, Ellen. He waves. She watches as he comes closer. HOAGIE -LRB- continuing. -RRB- I do n't know why I fish here. Never catch anything. Must be a sign under the water. ` Beware, Hoagie's here.' THEA You're the man who drives the plane. ELLEN -LRB- correcting her. -RRB- Flies the plane. HOAGIE Mostly it feels like driving. You digging for buried treasure? THEA We're building a sand castle. Hoagie sets his gear down and squats to take a closer look. He eyes Thea playfully. HOAGIE You the architect? THEA I'm the artist. Like my mother. Hoagie grins at her, then eyes Ellen, who's looking out over the water again, her expression set with foreboding. NEPTUNE'S FOLLY - DAY Conch larva are seen under a microscope. JAKE -LRB- O.S. -RRB- You know why? That's what happens when you lead one of those Norman Rockwell sheltered lives. That's what's wrong with you. Michael is revealed at the microscope, studying the conch larva. A large fish tank, with is filled with them - they ca n't be seen with the naked eye - is nearby. MICHAEL You can talk. You were n't exactly a deprived kid. Next thing you're going to start about going back to your roots and that rock reggae crap. Cut that hair and you're nothing but a three - piece suit. Jake is at the bench which holds lab equipment and tools, writing figures in a notebook. Above him are shelves of bottled, preserved specimens. Clarence is drumming a native rhythm against a bulkhead. It's slowly getting on Jake's nerves. JAKE We have three months of work and approximately no money left to support it. CLARENCE Spent it all on beer. Jake gives Clarence a dirty look and turns back to Michael. JAKE Bahamian Fisheries Department is n't exactly Fort Knox. He slides the notebook to Michael, who studies the figures. JAKE -LRB- continuing. -RRB- Office of Naval Research has some money. MICHAEL Forget it. JAKE Money is money. MICHAEL They put bombs on dolphins. JAKE I know a guy who got money from them to study eels. CLARENCE Tough to put a bomb on an eel. Jake gives Clarence another dirty look. JAKE -LRB- to Michael. -RRB- I'm busting my ass to get my degree. I'm tired of all this paradise shit. Jake moves for the cabin door, to the deck above. MICHAEL I like it here. Michael follows Jake. TOPSIDE - DAY Jake moves above decks. JAKE A regular tropo. Spend the rest of your life in a bathing suit, living off nickel and dime grants. You want to be a bum all your life, be my guest. Not me. I'm not growing old chasing snails and dying from terminal crotch rot. MICHAEL It's not a bad life, Jake. JAKE You're afraid of the competition out there. CLARENCE -LRB- coming topside ; doing his drumbeat as he goes. -RRB- Sweet breezes. Sweet women. JAKE -LRB- to Clarence. -RRB- You have something to say about everything. Clarence keeps drumming. MICHAEL He's just trying to keep you from disappearing up your own. JAKE You're nothing but a bunch of goddamn romantics. You're never going to amount to anything. Jake heads for the dinghy which is tied up next to the boat. JAKE -LRB- continuing ; as he goes. -RRB- I expect to come back here some day and find you trying to teach conch to talk. And knock off that stupid drumming. Clarence stops in midbeat, creating a pocket of silence for William, who's just coming down the dock carrying two six - packs of beer. WILLIAM I like conch. Jake gives him a dirty look, leaving poor William confused. Michael shakes his head, suppressing a grin. THE BEACH - DAY Thea works on her sand castle, shaping the building inside the moat. Ellen and Hoagie sit at the water's edge, far enough away not to be heard. She stares out at the water. He studies her. She looks at him finally, trying to rationalize the conversation they've already had. ELLEN I do n't know why I've told you all this. I hardly know you. HOAGIE Sometimes talking to a stranger is easier. ELLEN I. I ca n't explain it. It's just something I feel. HOAGIE I always listen to my feelings. She shifts her gaze back out over the water. ELLEN Sometimes I think I'm going crazy. The nightmares. HOAGIE It could have been an accident. ELLEN -LRB- looking at him. -RRB- It was no accident. HOAGIE I'm not saying you're wrong, just that there are other possibilities. ELLEN When it killed Sean it was like a stab in the heart. I knew with absolute certainty that it had come for him. I knew that. I know it's coming. She's moving toward the edge, trembling now and he takes her hand and holds it between them. ELLEN -LRB- suddenly ; matter - of - factly. -RRB- What's it cost to take a ride on that plane? THEA -LRB- O.S. -RRB- The water's coming in. The water's coming in. Ellen stands and they move together to Thea. HOAGIE Depends on where you want to go. ELLEN Does n't matter. THEA Hurry! HOAGIE Just like that? ELLEN -LRB- laughing. -RRB- Just like that. She turns her attention to Thea, who's helping the water fill her moat.\",\n \"INT. PLANE - DAY Hoagie and Ellen are side by side in a private aircraft. HOAGIE -LRB- in the midst of it. -RRB- He was struck by lightning, this man, seven times. Took his toenail, his shoe, his hat. set his hair on fire. But it did n't kill him. No one could explain that. She glances at him, amused by his efforts to entertain her. ELLEN How can you just take the plane like this? HOAGIE Boss' day off. Take the wheel. ELLEN I ca n't. HOAGIE Sure you can. ELLEN I do n't know how. HOAGIE No one does till they learn. He lets go of the wheel and the plane starts to lose altitude. ELLEN What are you doing? HOAGIE If you do n't take it, we'll be swimming in a minute. She hesitates, then grabs the wheel in front of her and he puts a hand on one of hers and guides the wheel back so the plane levels off. She's gripping the wheel so tightly her knuckles are turning white. HOAGIE -LRB- continuing. -RRB- Easy does it. Hold her gently. She'll damn near fly herself. She tries to relax, and after a few moments, he takes his hand off hers. She tenses. HOAGIE -LRB- continuing. -RRB- It's just like driving a car. ELLEN Where do I pull off? HOAGIE -LRB- laughing. -RRB- You're doing fine. I'll keep you out of trouble. Relax. Ellen stares straight ahead, trying to get the feel of it. ELLEN Where are we going? He answers with a mischievous grin. ELLEN -LRB- continuing. -RRB- I'm only doing this to get out of my family's hair. HOAGIE One time I was flying supplies up the Amazon. Went down in the jungle. ELLEN You're not going to tell me, are you? HOAGIE Got picked up by a tribe of head - hunters. ELLEN You're impossible. HOAGIE They took me to the chief, who took a long look at me, then took me in his hut. ELLEN The plane's turning. The plane is indeed starting to slip into a gentle banking turn. It's Hoagie's doing. He's nudging his wheel slightly. HOAGIE In the hut, sitting on a pole was a shrunken head. My head. Me. She glances at him, then looks ahead, not sure whether she's should be nervous about the plane's behavior. HOAGIE -LRB- continuing. -RRB- It was like looking into one of those mirrors which says, objects may be closer than they appear. Chief said, there are two of everybody in the world and since we already have one of you, the other one can go. Ellen laughs. Hoagie grins. HOAGIE -LRB- continuing. -RRB- How do you like flying? ELLEN It's wonderful. She eases the plane into more of a turn and enjoys the sensation. She glances at him and he nods that she's doing just fine. HOAGIE You are crazy, Ellen. No matter what anyone says. She laughs and turns her attention to flying. AN ISLAND - NATIVE QUARTER - DAY A native festival, a parade filled with masked and costumed dancers and musicians and marchers, blasts its way through the ancient, narrow streets of an early Bahamian settlement. Hoagie, wearing a windbreaker, and Ellen, who's changed her clothes, thread their way through the throng, moving like Salmon upstream against the flow of the mass of humanity moving the other way. She's fascinated by the music and noise and color of what's around her. HOAGIE -LRB- yelling. -RRB- A few more streets. She casts a smile at him, then returns her attention to the parade. Hoagie navigates them through the crowd. A STREET - DAY Hoagie leads Ellen up a street no wider than an alley. The old houses seem to lean toward each other. The street is empty because its residents are all at the festival, whose noise follows them as they move away from it. HOAGIE A few more houses. They move on.\",\n \"EXT. HOUSE - DAY Ellen watches from the street as Hoagie and Charles Townsend, an islander, black, talk quietly on the porch. She sees Hoagie take a small, bulging envelope from his pocket and give it to Charles, who looks inside, smiles, then puts it in his pocket. The two men shake hands. THE BARGE - DAY Michael and Clarence are sitting at the edge of it, their feet in the water. William is flanked out near the winch, reading. MICHAEL -LRB- on the horn. -RRB- How many? JAKE -LRB- O.S. -RRB- Stop busting my hump. MICHAEL Oh, it's okay for you, but not for me. JAKE -LRB- O.S. -RRB- I've struck the mother - lode. I'm counting. spade work. BENEATH THE SURFACE - DAY Jake maneuvers the sub above an enormous group of conch, trying to take measure of what he's come across. MICHAEL -LRB- O.S. -RRB- I wish you would n't say that. JAKE What? MICHAEL -LRB- O.S. -RRB- Spade's a garden tool. Jake looks up from his clipboard and sees staring at him, the dead black eye of a fish whose pupil looks to be about the size of a bowling ball. He freezes, staring back at it. MICHAEL -LRB- O.S. -RRB- -LRB- continuing. -RRB- Trouble with you, Jake, is you have no sense of humor. JAKE -LRB- finding his voice. -RRB- Holy shit! The eye disappears and Jake starts looking for it. JAKE -LRB- continuing. -RRB- Got a big fish down here. THE BARGE - DAY Michael stands to scan the water and the shark explodes out of the water, over the low side of the barge, passing within a few feet of Clarence, who freezes, his mouth open with terrified surprise, and goes straight for Michael, who throws himself to the deck. The shark misses him by inches, unable to close its great jaws about him because of the width of the barge. As quickly as it appeared, the shark is gone. THE STREET - DAY Hoagie and Ellen fight their way across the street, through the festival parade. The noise is deafening. Suddenly Ellen stops. She shudders as she did on the beach. Hoagie looks back and sees her and threads his way to her, bumping into several dancers as he goes. She's staring off into the distance, seeing something beyond the reach of her vision. HOAGIE What's wrong? ELLEN Nothing. She looks at him and manufactures a smile. ELLEN -LRB- continuing. -RRB- I'm fine. HOAGIE No, you're not. ELLEN I'm terrific. Come on. She grabs his hand and pulls him into a group of dancers, picking up their rhythm, trying desperately to get into it. He's forced to dance with her, though every bone in his body resists the idea. HOAGIE -LRB- yelling above the din. -RRB- Give it up. She ignores him, throwing every ounce of energy she has into the dancing. HOAGIE -LRB- continuing ; yelling. -RRB- You ca n't keep doing this. Again she ignores him and he's bumped into and they lose each other for a moment. She dances on and he has to run to catch her. He takes her arm and stops her. HOAGIE -LRB- continuing. -RRB- I ca n't keep doing this. The merrymakers pass around them like a river rushes past a rock. A band passes them and they can hardly hear themselves think. ELLEN -LRB- shouting. -RRB- You promised me a drink. HOAGIE -LRB- shouting back. -RRB- Sharks come and go, Ellen. People do n't have anything to do with it. ELLEN -LRB- shouting. -RRB- The kind with an umbrella in it. HOAGIE Give it up. Kick it in the ass. Get on with your life. The band passes and the noise settles, momentarily, to a dull roar as more dancers move around them. HOAGIE -LRB- continuing. -RRB- I know what you're going through. The nightmares will go away. -LRB- grins. -RRB- I ever tell you about the time I flew the pandas from China to a Zoo? The lady panda fell in love with me. Ellen starts to laugh. She ca n't stop herself. The music grows louder. He holds out his hand and she looks at it, then takes it and they look at each other for a long moment. HOAGIE -LRB- continuing. -RRB- A drink with an umbrella in it. ELLEN A big one. HOAGIE A big one. They push their way through the parade until they disappear from view. THE BARGE - DAY Clarence and William, still excited, and not a little frightened, glance at the water as they secure the sub. CLARENCE Never saw anything that big. Never. -LRB- to Michael. -RRB- I was right next to you. The bastard went right past me. WILLIAM Should have gone for Jake. -LRB- to Jake ; explaining himself. -RRB- Had you right there. Why would it come up? Michael is still shaky, trying to get control of himself. Jake's not buying any of it. CLARENCE What the hell's it doing in warm water anyway? JAKE What difference does it make? It's here. Michael turns from the water and looks at Jake. JAKE -LRB- continuing. -RRB- You guys are making this into some - thing that just is n't so. It's just a shark. A great big bloody wonderful shark. Do n't say anything to anyone. The locals find out they'll panic. They'll want to kill it. -LRB- his excitement growing. -RRB- We've got us a great white, Michael. We're going to do us some real research. MICHAEL -LRB- quietly ; matter - of - factly. -RRB- Do n't say anything about this to my mother. Michael looks back out over the water. JAKE Oh, shit, man, I'm sorry. He moves to Michael. JAKE -LRB- continuing. -RRB- I did n't mean to run off at the mouth like that. She's going through a lot. I know you re hurting about your brother. Michael does n't answer. He continues to stare at the sea, his expression filled with ambivalence. Jake puts his arm around him.\",\n \"EXT. MICHAEL'S HOUSE - NIGHT Headlights break the darkness as a car pulls up. Ellen gets out. ELLEN Good night. She shakes his hand and starts to take it back and he holds it, looking at her in a way that suggests he'd like more. ELLEN -LRB- continuing. -RRB- Please, Hoagie. He smiles and lets go of her hand. HOAGIE Good night, Ellen. The car pulls away and Ellen starts for the house. CARLA -LRB- 0. S. -RRB- Come to bed.\",\n \"INT. HOUSE - NIGHT - BEDROOM Michael stands at the window, in the dark, watching his mother. He's seen and heard it all. Carla is in bed. CARLA He took her sightseeing. You work. I work. She needs someone to help take her mind off things. He looks at her, his expression troubled. She smiles and pats the bed next to him. CARLA -LRB- continuing. -RRB- I'll take your mind off things, sailor. He finds a small smile and moves to her open arms. can be heard moving into the house.\",\n \"INT. CASINO - NIGHT Playing cards settle softly on a felt table. Blackjack hands are being dealt to five players. Louisa deals, her fast hands expertly distributing the last of the `` up'' cards. She deals her own, then glances past the players as they study their cards. Jake, Carla, Ellen and Michael, all dressed for a big night out,. stand in back of the players. Jake points to his watch impatiently. JAKE -LRB- mouthing the words silently. -RRB- How much longer? This is supposed to be your party. LOUISA -LRB- mouthing back ; smiling. -RRB- In a few minutes. Louisa starts dealing the first `` hits.'' Michael glances about. He seems on edge. MICHAEL I'll check the table. Michael leaves, heading for another room. Ellen watches him go, exposing her concern for his troubled mood. CARLA -LRB- to Ellen. -RRB- You want to try your hand at something? ELLEN I'd be afraid of losing. JAKE I'm afraid of winning. I would n't know what to do with the money. CARLA Fat chance, cowboy. Jake grins as a groundswell of excitement carries across the room, which is filled with gamblers and decorations for New Year's Eve. The joint is jumping. They look for its source and see Hoagie at the crap table, accepting the congratulations of those around him. He smiles as a large pile of chips is raked in front of him, adding to the pile he already has. Irma, an Islander, light - skinned who's dressed in a low - cut satin gown with sequins, is hanging on him. CARLA -LRB- continuing. -RRB- Come on. I want to see. Jake, Ellen on one arm, Carla on the other, moves across the room as Hoagie rolls again, and wins again. THE CRAP TABLE Hoagie sees them approaching as the pile of chips in front of him grows. He smiles at Ellen, as he's given the dice again. Irma gives Ellen a look. The excitement at the table is high. Bets are being placed. Everyone is eyeing Hoagie, who is slightly `` pissed'' and has a mischievous glint in his eye. HOAGIE Couple of more passes and I'll buy my own airplane. Hell, maybe my own airline. ELLEN -LRB- eyeing the chips. -RRB- You're not going to bet it all. HOAGIE All or nothing. You want to roll them for me? ELLEN No! Irma does n't know what to make of Hoagie's interest in Ellen. Hoagie grins, closes his eyes for a moment, making his secret incantation, then opens them, smiles once more at Ellen and rolls. The dice skip down the table, bounce off the other end and settle. A soft moan goes up from the people around the table. Hoagie's grin wavers, then is restored. Irma has just seen her big night go up in smoke. HOUSE MAN -LRB- O.S. -RRB- Snake eyes. ELLEN Is that bad? HOAGIE Depends on your point of view. He pushes his chips toward the center of the table, accepting condolences from a few of the players, then steps away. HOAGIE -LRB- continuing. -RRB- It was theirs anyway. I 11 buy us all a drink. JAKE We'll buy you one. We're having a party. CARLA Louisa's birthday. HOAGIE On New Year's Eve? CARLA Beats Halloween. They all start for the lounge. Louisa is seen talking to her relief dealer. Irma takes Hoagie's arm. ELLEN -LRB- to Jake. -RRB- When do you and Louisa get to see each other? Between your working days and her working nights. JAKE -LRB- laughing. -RRB- I get her at two in the morning, when she's at her best. Besides, how many marine biologists can cut cards with one hand and fan a deck. They thread their way through the gaming tables. JAKE -LRB- 0. S. -RRB- -LRB- continuing. -RRB- She's the Albert Einstein of gambling. Quote the odds on every game in the house. THE LOUNGE - NIGHT A trio plays softly. A dozen couples dance. The tables are full. Hats, horns and decorations are everywhere. Ellen, Hoagie, Irma, Michael, Carla, Jake and Louisa, who's had time to make a fast change and looks terrific, wait as Shirley, their waitress, sets the last of their drinks on the table. SHIRLEY On the house. Jake grins at her, then at the others. JAKE I knew there was a reason I could afford this. -LRB- toasting Louisa. -RRB- To the woman of my dreams. Who grows more beautiful. LOUISA Here it comes. JAKE Who grows more beautiful. LOUISA Here comes the cow ca - ca. JAKE -LRB- pressing on. -RRB- More beautiful with each passing minute. LOUISA I told you. JAKE Now wait a minute. I'm being serious here. LOUISA Oh, Jake. -LRB- smiles. -RRB- JAKE Happy birthday, darling. They raise their glasses in a chorus of `` Happy Birthday,'' then drinking. Louisa grins, then eyes Jake. LOUISA Do n't go weak in the knees on me tonight. JAKE I just want to make an honest woman of you. LOUISA I'm not going to marry you until you straighten out your life and your hair. Irma watches it all, her gaze shifting from face to face as though she's watching a tennis match. CARLA At least he does n't have a beard. ELLEN -LRB- to Louisa. -RRB- Do you enjoy dealing blackjack? JAKE She's in management. LOUISA I'm training to. JAKE Manage the whole damn place some day. I'm looking forward to living in the style to which I would like to become accustomed. LOUISA I'd have to manage a nookie parlor to do that. Hoagie roars. Ellen laughs. Carla nearly spits out her drink. Irma's not sure what's going on. HOAGIE I knew a piano player once who. CARLA Never mind. Michael eyes Hoagie, none too pleased that he's joined them. Hoagie smiles at him and Michael smiles back steadily, a kind of challenge. LOUISA You want to marry me, you' re going to have to straighten out your life. ELLEN -LRB- getting into it. -RRB- He looks perfectly responsible to me. LOUISA Jake's idea of responsibility ends with dressing himself in the morning. ELLEN -LRB- teasing. -RRB- Well, I think he's cute. JAKE Woman has taste. LOUISA When he has a pillow over his head. JAKE You want to be careful how you talk to me. I'm about to become famous. You should see. LOUISA No shop talk. You promised. MICHAEL -LRB- almost coming out of his chair. -RRB- Jake! JAKE -LRB- catching himself. -RRB- Sorry. Michael starts to breathe again. Hoagie stands. HOAGIE -LRB- to Ellen. -RRB- Would you suffer through a dance with me? ELLEN -LRB- standing. -RRB- You'll be sorry. Michael shifts his gaze from Jake, who he's angry at, to Hoagie and his mother, a situation that's creating fresh alarm. They're moving to the dance floor. Irma is abjectly unhappy. HOAGIE I have two right feet. ELLEN Good. I have two left. CARLA -LRB- to Michael. -RRB- Will you lighten up. This is supposed to be a party. LOUISA My party. JAKE He's depressed because he's started to count conch when he goes to sleep. Michael casts an unhappy look at Jake, then stands. MICHAEL Excuse me. He heads for the dance floor. THE DANCE FLOOR Ellen smiles at Hoagie, caught up in the story he's started telling her. He stops when he sees Michael heading for them. She sees her son. MICHAEL -LRB- as lightly as he can. -RRB- Mind if I cut in? Your date's lonely. HOAGIE The world would be a better place if more sons danced with their mothers. Hoagie returns to the table and Michael and Ellen start dancing. MICHAEL -LRB- finally ; a trace of sarcasm. -RRB- You're having a good time. ELLEN I am. Michael eyes Hoagie, who's joining the others, already getting caught up in their conversation. ELLEN -LRB- continuing. -RRB- Stop pouting. You look like you did when you were six and did n't get something you wanted. He looks at her. ELLEN -LRB- continuing. -RRB- I enjoy his company. MICHAEL I do n't like him chasing around after you. I do n't trust him. ELLEN He's not chasing and I'm not running. And that's ridiculous. Michael clams up and she studies him. ELLEN -LRB- continuing. -RRB- I've been a pain in the ass and I'm sorry. He looks at her quizzically. ELLEN -LRB- continuing. -RRB- I'm not going to bother you anymore about your work. MICHAEL You're not a pain in the ass. ELLEN Will you let me finish. I've been working on this all day. She smiles at him, then becomes serious. ELLEN -LRB- continuing. -RRB- Your brother's death almost killed me. I m not sure I'll ever get over it. But I ca n't allow myself to keep on believing it was intentional. I'm not going to let an obsession run my life. Michael stares at his mother uncomfortably. ELLEN -LRB- continuing. -RRB- It's not easy. None of it is. I have to find some way to get on with my life and I'm going to try. I finally figured that out. I'm going to do my best. MICHAEL Good. He does n't seem all that happy. ELLEN That's it? Good. I thought you'd break out the champagne. MICHAEL I'm pleased. I really am. Really. ELLEN No more sharks. I'll stay for another week, then. MICHAEL You just got here. ELLEN -LRB- laughing. -RRB- Children are never satisfied. I have my house, my friends, my job. My life, Michael. I have to live it. Besides, I'll be back. Now show your mother what a good dancer you are. She rests her head on his shoulder and they dance on. His expression reveals confusion. He's caught between her effort to get rid of an idea and his suspicion that it may be true. THE DOCK - DAY Michael walks from the Jeep to Neptune's Folly. It's the beginning of a new day and he has n't slept and looks terrible. NEPTUNE'S FOLLY - DAY He boards her, looking for Clarence and William. MICHAEL Where is everybody? JAKE -LRB- 0. S. -RRB- Down here. Michael heads for the cabin. BELOW DECKS - DAY Jake is at the bench, soldering wires into a small cylin - drical device. Another device like it is nearby on the bench along with several small speakers and an Oscilloscope. MICHAEL What happened to Clarence and? JAKE Gave them the day off. Michael moves to the bench, not sure what's going on. He watches Jake work. MICHAEL What for? We've got a job to finish. Why are you making the monitor? JAKE As the sun slowly sets in the West, we bid a fond farewell to the family of conch. As Jake speaks he presses the barbs from the monitor to Michael's chest and the sound of his heart is heard over a speaker and its rhythms are seen on the oscilloscope. MICHAEL -LRB- pissed off. -RRB- What the hell are you talking about? Jake puts the barbs against his chest and his heart is heard and seen. JAKE We're out of money, partner. We wrap it up, write it up and turn it in. How come your heart sounds stronger than mine? You got two of them? MICHAEL We do n't write up anything until we're done. JAKE Okay. we're done, man. MICHAEL When we got the grant. JAKE When I got the grant. MICHAEL When I signed on. JAKE When I invited you. MICHAEL We got it together, Jake. JAKE Okay. we got it together. MICHAEL -LRB- voice rising. -RRB- We have at least three months' work left. We ca n't write a report. We do n't know enough. JAKE We've got a rare bird here, Michael. Great whites do n't come to the Bahamas. There's never been one down here before. I'm not just going to let it swim away. MICHAEL My name goes on that report. It's a half - assed job, I do n't get my doctorate. Neither do you. JAKE The shark will get it for us. Michael takes a hard look at him, then starts to leave. JAKE -LRB- continuing. -RRB- I thought we were planning a long rosy future together. MICHAEL So did I. Jake goes after him. JAKE Hey! He grabs Michael and they face each other. JAKE -LRB- continuing. -RRB- Even if it's there, it wo n't be around forever. It'll figure out the water's too warm and take off. We'll never get this chance again. It's what we were trained for, for Christ's sake. It's why you spent all that time on the books. He looks at Michael, who's hesitating. JAKE -LRB- continuing ; grinning. -RRB- We'll give it a few days, then it's back to the snails. Indulge me, Michael. There's a long moment of silence as the two men stare at each other. MICHAEL -LRB- finally. -RRB- I do n't know shit about electronics. JAKE -LRB- laughing. -RRB- You do n't know shit about anything. Time you learned.\",\n \"EXT. HOUSE - DAY CARLA -LRB- O.S. -RRB- -LRB- yelling. -RRB- This is the third time this month you've forgotten to take it out. She appears around the corner hauling a large plastic bag of garbage, heading for the street. MICHAEL -LRB- O.S. -RRB- I have a lot on my mind. He appears behind her, engaged in the same task. CARLA It does n't take much to remember what day they come. MICHAEL My brain is shrinking. There's only so much room. CARLA Do n't give me that preoccupied scientist crap. I'm trying to get ready for. MICHAEL I thought artists worked with their subconscious. She gives him a dirty look as they deposit the garbage bags in their `` pickup'' spot. He tries out a smile on her. It's not working today. MICHAEL -LRB- continuing. -RRB- How come it's my responsibility? CARLA Because. She starts for her studio. MICHAEL Oh, okay. Now I understand. All you had to do was explain it. She ignores him and he watches her, frustrated, until she moves inside. Then he starts after her.\",\n \"INT. STUDIO - DAY She grabs her welder's mask, then fires up her torch. He enters. MICHAEL -LRB- before he's seen. -RRB- I take out the garbage, because. I'm glad we got that straightened out. CARLA We do n't have anything straightened out. You're uptight about something. what's wrong? MICHAEL Why should there be anything wrong? I'm sitting around the house, enjoying my day off and you start yelling at me about garbage. She gives him a hard, steady look which says, there's more to it than garbage. MICHAEL -LRB- continuing ; quietly. -RRB- What the hell are we arguing about? CARLA I do n't know. You. I do n't know. He moves toward her and she holds the torch toward him. MICHAEL No fair, I'm not armed. CARLA Then do n't come any closer. MICHAEL Turn it off. CARLA No. MICHAEL Off. CARLA I have work. MICHAEL I've always wanted to make love to an angry welder. I've dreamed of nothing else since I was a small boy. She ca n't help smiling. She turns the torch off and he moves the rest of the way to her and kisses her. CARLA -LRB- murmuring. -RRB- Close the door. MICHAEL They're at the beach. She kisses him this time. THE BARGE - DAY Jake is secured to the davit with a line. Michael is tying another line around his waist. Clarence and William are chumming the water with meat and blood. Several large chunks of horse meat are on lines, over the side. Jake holds a long pole to which the heart monitoring device, with its barbs, is attached. The big boat, their floating lab, is secured to one side of the barge. MICHAEL You sure you've done this before? JAKE Lots of times. Michael tests the knot, then Jake moves to the edge of the barge and leans out as far as he can. MICHAEL And it's always worked? JAKE -LRB- grinning back at him. -RRB- So far. CLARENCE It's coming. They see the fin making its way toward the barge. Michael tenses, moving back toward the center of the barge until the line he's holding goes taut. Jake, the pole held high, watches as the shark gets closer, his body tensing as he gets ready. Michael is rigid, mesmerized with the approaching shark, his expression filled with what he's wondering - will it try to get him? JAKE You remember how to pull a rope? Michael looks at Jake blankly, then stares at the oncoming shark, which comes closer and closer, then, at the last moment rolls to its side and opens its great jaws and goes for the horse meat. Jake waits until the shark's underside is at its most exposed, then rams the pole into it, then pulls it back quickly. JAKE -LRB- continuing. -RRB- Hot damn! We got it! Michael is still transfixed. Jake looks back at him. JAKE Now would be a good time. Michael remembers his job and pulls Jake back to the barge. The shark, a thirty - pound piece of horse meat in its mouth, rolls away, disappearing beneath the surface. JAKE -LRB- continuing. -RRB- Let's see if the damn thing works. WATERFRONT CAFE - DAY The ocean is like a blue - green lake, its placid surface reflecting the early afternoon sun. HOAGIE -LRB- 0. S. -RRB- You do n't have to go. Ellen stares out at the water, her expression wistful. HOAGIE -LRB- O.S. -RRB- -LRB- continuing. -RRB- You do n't have to do anything you do n't want to. She turns to Hoagie, who's sitting across the table from her. He sips his coffee and studies her. She looks past him to the others who are still eating lunch. HOAGIE -LRB- continuing. -RRB- Our little island seems to agree with you. ELLEN I have my own little island. HOAGIE But it gets cold in winter. She smiles at that and sips her coffee. HOAGIE -LRB- continuing. -RRB- I tried winter once. Burlington, Vermont. Flew a run to New York. I have a bone in my foot that still has n't thawed. When I was a small boy. ELLEN That's hard to imagine. HOAGIE -LRB- grinning. -RRB- I dreamed about always being warm. Stay a while. His tone of voice causes her to look at him quizzically. HOAGIE -LRB- continuing. -RRB- I could take some time off. ELLEN You're always taking time off. HOAGIE I like to travel. She smiles and he returns it. HOAGIE -LRB- continuing. -RRB- I'll nick the boss' plane again. ELLEN What? HOAGIE -LRB- grinning. -RRB- I borrow it without telling him. ELLEN Wo n't you get in trouble? HOAGIE Only if he finds out. It's a short hop to the Caribbean. We could take a few days. ELLEN There must be plenty of women who would be glad to go. HOAGIE There are. I'm tired of one - way conversations. They look at each other for a long moment. HOAGIE -LRB- continuing. -RRB- I have this overwhelming desire to kiss you, Ellen Brody. ELLEN -LRB- her cheeks flooding with color. -RRB- Why? HOAGIE -LRB- laughing. -RRB- Because it would n't occur to you to know why. Blushing suits you. ELLEN I'm sorry. I. HOAGIE There's nothing to be sorry about. ELLEN The whole idea is preposterous. His expression takes on the color of his feelings. He likes this woman, a lot. HOAGIE I do n't think so. She's flustered and unsure how to respond. ELLEN -LRB- finally ; trying to make light of it. -RRB- You sure you do n't need glasses? HOAGIE My vision is perfect. He leans across the table and kisses her. NEPTUNE'S FOLLY - DAY The shark's heartbeat is heard, then seen on the scope. Jake glances at it, then at Michael, who's at the wheel. JAKE What are we getting out of this old bucket? MICHAEL What she's got. Nine knots. JAKE -LRB- muttering. -RRB- Shit. He turns his attention back to the scope. The heartbeat line is beginning to flatten. Jake climbs up on the boom and scans the water. Michael does the same from his position at the wheel. He looks to Jake, who's shielding his eyes against the glare, holding the mast with his other hand. MICHAEL -LRB- finally. -RRB- How long have you known Hoagie? JAKE What? MICHAEL How long have you known Hoagie? JAKE What the hell does Hoagie have to do with this? MICHAEL How long? JAKE As long as he's been here. Jake turns his attention back to the water. The sound of the heartbeat is growing weaker. JAKE Bring her to starboard. MICHAEL -LRB- turning the wheel. -RRB- How long has he been here? JAKE Who? MICHAEL Hoagie. JAKE I do n't remember. One day he was just here. MICHAEL What do you know about him? Jake checks the EKG scope. The line is nearly flat. The heartbeats are a whisper. MICHAEL -LRB- continuing. -RRB- He's after my mother. Jake laughs, looking at Michael as though he's crazy. MICHAEL -LRB- continuing. -RRB- What's so funny about that? JAKE You think he's not good enough for her? You're right. If she was my mother, I'd send her home right now. He turns his attention back to the scope, then scans the water. JAKE -LRB- continuing. -RRB- Bring her about. We're headed in the wrong direction. MICHAEL Half the pilots down here fly drugs. He's always going off. JAKE Half do n't. Bring her about. MICHAEL I am. You must know something about him. JAKE He gambles. He likes a good time. I see him around. MICHAEL I hear he flies a lot of private charters. The heartbeats have stopped and Jake snaps around to look at the scope. The line is dead flat. He's stunned. JAKE We lost it. MICHAEL Maybe the gear crapped out. JAKE If you had n't been gassing about Hoagie. MICHAEL Maybe it's gone. Jake gives him an angry look, then starts fiddling with the gear. Finally, in his frustration, he bangs it with his hand. Michael seems quietly relieved. JAKE We'll look for it tomorrow. Michael does n't respond.\",\n \"INT. STUDIO - DAY Carla works on her sculpture, securing a large piece of metal near the top with a wrench, tightening huge chrome nuts. ELLEN -LRB- 0. S. -RRB- All he did was kiss me. CARLA -LRB- smiling. -RRB- It's beginning. Ellen is at the base of the sculpture, watching Carla, her back to the door. ELLEN Beginning of what? CARLA -LRB- laughing. -RRB- Whatever happens next. ELLEN I always thought when I grew up I'd know what to do about things like this. I do n't even know if he's serious. Neither of them sees Thea, who's moved into the studio and has decided not to announce herself. CARLA Give it some time, Ellen. See what happens. ELLEN Part of me wanted to go off with him, the rest of me could n't. I do n't know why he wants me. CARLA Maybe he's got good taste. I do n't think he's spent much time with a woman like you. ELLEN I do n't know what he thinks. I do n't know what I think. I do n't even know why I'm talking about it. -LRB- laughing. -RRB- It's silly. I'm getting too old for this sort of thing. She spots Thea and stops suddenly. Carla follows her gaze. THEA You said it was n't polite to interrupt people. CARLA Yes, I did. THEA It's time for tea, Grandma. ELLEN I almost forgot. THEA I did n't. Thea moves to Ellen, offering her hand, which Ellen takes. THEA -LRB- continuing. -RRB- I put everything in my room. My Teddy bear is joining us. ELLEN -LRB- to Carla. -RRB- Thanks for the consultation. CARLA Office hours, nine to five. Rates go up after cocktails. The two women smile at each other, then Ellen leaves with Thea and Carla returns to her work.\",\n \"INT. HOUSE - KITCHEN - NIGHT Michael stands at the window, looking out at the night. He's troubled. He clasps his hands behind his back, unaware that Thea is standing behind him, her troubled expression a mirror of his, her hands behind her back, her tiny feet spread apart exactly like his. He scratches his cheek unconsciously and she does the same. She checks his facial expression and resets hers. He sighs and she sighs and he hears and looks down, surprised to see her, then noticing that she's assumed his body posture in every way. He makes a funny face and she makes one back and he smiles and she returns it. THEA Uncle Sean could make funny faces. He snatches her up off the floor and hugs her, holding onto her tightly. Ellen watches from the doorway, unobserved, her concern for her son etched into her expression. He sees her and she offers a quick smile. ELLEN -LRB- to Thea. -RRB- Time for bed, peanut. Michael gives his daughter a kiss and puts her down and she moves to her grandmother. ELLEN -LRB- continuing. -RRB- I'll be in to read you a story. THEA Good night, Daddy. MICHAEL Good night, dear heart. Thea leaves and Michael takes a beer from the refrigerator and moves to the table where three empty cans are lined up neatly. He pops the top of the new one and takes a long drink, then sits and returns to the writing of his report on their conch project. There are several open textbooks and several notebooks in front of them. ELLEN -LRB- finally. -RRB- It's late. MICHAEL Trying to write our report. ELLEN You look tired. MICHAEL I'm fine. She studies him as he tries to write. ELLEN I saw you and Thea. He looks up, making it clear that he does n't want to talk. She sees it but presses on. ELLEN -LRB- continuing. -RRB- You and Sean used to make. MICHAEL I have to get this finished. ELLEN I'm leaving in a few days. I do n't want to do that with you unhappy. MICHAEL I m not unhappy. Frustrated maybe. Discouraged a little. It'll work out. ELLEN I'm worried. We have n't had our. MICHAEL There's nothing to worry about. ELLEN -LRB- smiling. -RRB- I'm your mother. It's my job. He offers a small smile, then goes back to work. ELLEN -LRB- continuing. -RRB- You looked just like your father. The first time the shark came to Amity. MICHAEL I do n't want to talk about that. ELLEN It's a terrible thing to know some - thing no one else wants to believe. MICHAEL -LRB- angry. -RRB- I'm tired of hearing about it. There's no shark. Sean was n't killed by the same shark. Dad did n't die because of it. It's all wrong. Some fantasy you've concocted. You keep bringing it up. He goes back to work, ignoring her. She wants to say more but stops herself. Instead she starts looking through the refrigerator. ELLEN -LRB- finally ; quietly. -RRB- You hungry? MICHAEL No. She watches him, her expression sad and filled with concern. THE WATER - NIGHT The surface is searched, as though something is being looked for. The shark is seen, swimming, just swimming, its fin slicing through the water as though it's hearing its own music. Then, without warning, it attacks, coming straight at us, its great jaws opening wide, rolling to one side as it comes for the kill - its great rows of teeth enveloping us, closing down on us, consuming us, until it goes dark.\",\n \"INT. HOUSE - BEDROOM - NIGHT Michael wakes with a fearful start, his eyes open wide. THEA'S ROOM - NIGHT Ellen lunges upright, her expression set with terror. MICHAEL'S ROOM - NIGHT Michael trembles. He ca n't stop it. THEA'S ROOM - NIGHT Ellen struggles to control her breathing. She's close to hyperventilating. BENEATH THE WATER - DAY Michael searches for conch, moving slowly through the water. NEPTUNE'S FOLLY/THE BARGE - DAY Jake watches the scope, which is dead flat. There's no sound coming from the speaker next to it. Clarence and William, on the barge, search the surface of the water with binoculars. BENEATH THE WATER - DAY Michael continues to search for conch. From his point of view, the water is clear, filled only with colorful fish and streaks of sunlight from above. Then he spots a small group of conch. MICHAEL I've got about a half dozen. I'm going to tag them. You hearing anything? JAKE -LRB- 0. S. -RRB- Nothing. But stay within a quarter mile. I've got a three - mile radius on the monitor. If he comes back I'll hear him. You'll have time to get up. NEPTUNE'S FOLLY/THE BARGE - DAY Jake glances at Clarence and William, who continue to search visually for signs of the shark. JAKE -LRB- into the phone. -RRB- Looks like. The sound of the shark's heartbeat suddenly pounds out of the speaker, stopping Jake in midsentence. JAKE -LRB- continuing. -RRB- I've got him. Bring it in. BENEATH THE WATER - DAY Michael is turning the sub as quickly as he can, looking around frantically for the shark. There's nothing to be seen. NEPTUNE'S FOLLY - DAY The heartbeats are coming stronger. The line on the scope is fluctuating wildly. JAKE Michael, get your ass up here. Now! BENEATH THE WATER - DAY The sub moves toward the barge, making its way slowly - to the eye almost leisurely, even though it's going full out. MICHAEL I'm coming. How close is it? JAKE -LRB- 0. S. -RRB- Close. I do n't know. Just get the hell. THE BARGE - DAY Clarence suddenly goes rigid. CLARENCE There it is. From his point of view, seen through binoculars, the fin slices through the water. BENEATH THE WATER - DAY Michael pushes the sub to its limit, when suddenly it's hit and Michael's teeth are rattled as the sub is knocked through the water. MICHAEL -LRB- yelling. -RRB- Jake! Jake! The shark hits the sub again, his great jaws tearing into the canopy and prop, damaging the sub badly. It turns then and almost leisurely swims away, its mouth bleeding, its head raked with cuts. Michael eyes it, then the nearby wreck and pushes himself free of the sub, swimming as fast as he can toward the freighter. The shark turns and starts after him, closing the distance rapidly as Michael makes for an opening in the wreck's hull. JAKE -LRB- 0. S. -RRB- -LRB- yelling. -RRB- Michael! Can you hear me. NEPTUNE'S FOLLY - DAY Jake is watching the scope. The line indicates a heart that's gone crazy. The heartbeat from the speaker is booming. JAKE Are you all right, Michael? What's going on? BENEATH THE WATER - DAY Michael swims the last few feet to the wreck, moving through a hole in its hull just as the shark is about to get him.\",\n \"INT. WRECK - DAY Michael swims into a corridor which is filled with light coming from one end. He turns and looks back at the hole. The shark is gone. He looks up and down the corridor, then starts swimming away from the light. The corridor begins to turn dark as a huge black shadow fills the other end. Michael senses something and looks back and sees the shadow of the shark against the wall. He freezes as the shadow moves toward him, finally covering his face. The shark comes closer and Michael starts backing up. The shark moves closer, almost lazily opening its jaws as it prepares to devour him. Michael keeps backing up, then trips and falls backwards through a door, his arms coming up as he tries to stop himself. His fall takes him down into a room. Light floods into it from above. He gathers himself and looks up. There's no sign of the shark. He looks about quickly, taking measure of his situation, then the light above is blacked out as the shark swims slowly over the room. Michael watches, barely breathing, until the light returns. He listens and looks and waits. The silence builds. Where the hell is it? THE BARGE - DAY The submersible pops to the surface, its ballast tank destroyed by the shark. Water pours from the space Michael occupied. The heartbeats continue to be heard. Jake, Clarence and William stare at the sub. JAKE Get the bang sticks. We're going down. CLARENCE Bang sticks are like yelling at it. JAKE We're going down. All of us. Clarence starts moving quickly to the boat. CLARENCE -LRB- as he goes. -RRB- They wo n't kill it. JAKE We'll divert it. We'll do something. William is breaking out wet suits. He throws one to Jake. JAKE -LRB- continuing. -RRB- Screw the wet suits. No time. Jake gets out the air tanks and regulators. JAKE -LRB- continuing. -RRB- We'll do something. Michael's down there. Get the lead out.\",\n \"INT. WRECK - DAY Michael eyes the opening above him. That, and the door he fell through, are the only way in or out. His breathing has returned to normal. He takes off his air tank, handling it with care. There's an explosion of wood and metal next to him and the shark bursts through the bulkhead. Quickly Michael pulls the regulator, blows the air from the tank, and rides upward on the force of air coming from the bottle, just barely escaping the great jaws. He shoots up through the opening above him, ripping his arm against the side of the opening as he passes through and the water starts to fill with blood. THE WATER/THE BARGE - DAY Jake, Clarence and William have their air tanks strapped on. They each hold bang sticks and are getting ready to go in, when Michael explodes up above the surface right in front of them, gasping for air. Jake jumps in the water and grabs Michael and Clarence and William pull Michael aboard and Jake climbs up after him. Michael crawls away from the edge of the barge. He's shaking. Jake moves to him. Clarence and William gather around. JAKE Are you all right? Michael does n't answer and Jake looks at him with concern. OMITTED\",\n \"INT. HOUSE - BEDROOM - NIGHT Michael sits bolt upright, as though he's been discharged from a gun. He's sweating. Carla sleeps peacefully next to him. He gets himself under control and leaves the bed. THE BATHROOM - NIGHT The light comes on and Michael looks at himself in the mirror, not sure he recognizes the image staring back at him His arm is bandaged where he cut himself escaping from the shark. He can hear his own heart beating. THE SUBMERSIBLE/THE BARGE/NEPTUNE'S FOLLY - DAY Michael is in the sub. Jake, Clarence and William stand at the side of the barge. The sub is taped together and has no canopy. JAKE It's my turn in the barrel, man. MICHAEL You fall off a horse, you get right back on or you do n't ride again. JAKE I do n't like it. MICHAEL I did n't ask you to. JAKE What about Carla's gig? MICHAEL I'm going down, Jake. JAKE She's not going to like it. Michael puts his regulator in his mouth and starts slowly to move away and down beneath the surface. Jake watches for a moment, an unhappy man, then moves quickly to the monitor and scope on the boat. Clarence and William take up their stations with binoculars. CLARENCE I hope the man knows what he's doing. JAKE He knows what he has to do. Jake's expression belies his words. He's deeply concerned. BENEATH THE WATER - DAY Michael has already spotted a group of conch. He parks the sub and quickly gets to work tagging them. He looks about quickly as though something is coming up behind him. There's nothing there. He finishes and returns to the sub and maneuvers it up off the ground and continues his search for more conch. MICHAEL You getting a reading on them? JAKE -LRB- O.S. -RRB- I live to hear the sound. You all right? MICHAEL What about the monitor? You getting anything on the shark? JAKE -LRB- O.S. -RRB- Nothing. Hey Michael. You know I was thinking about yesterday. Maybe all that was wrong was he was hungry. MICHAEL How come only me? JAKE -LRB- O.S. -RRB- Maybe he only likes white meat. MICHAEL Funny, Jake. Funny. JAKE -LRB- O.S. -RRB- Just trying to be helpful. As Jake speaks, the head of a Moray eel explodes out of a rock crevice right in front of Michael and his heart nearly stops. THE PUBLIC BEACH - DAY The beach and water are crowded with sunbathers and swimmers, with several banana boats and sailfish. Up from the beach, a short distance away, a crowd has gathered to witness the unveiling of Carla's statue. The Mayor of the island, Mr. Witherspoon, a dignified black man, is in the midst of his dedication speech. The statue looms behind him, shrouded beneath its cloth. Carla, Ellen, Thea and Louisa, who totes a camera, along with several local `` big - wigs'' stand next to him. LOUISA Where the hell are they? CARLA They'll be here. Carla searches the water for a moment, then turns her attention back to the speech. She's very unhappy about Michael's absence. WITHERSPOON Something we look at every day, something we think beautiful. Something that makes us stop and ponder. Something that makes us question the wonder of life Even that becomes unique when it falls to the artist's eye. Thea, who's bored stiff, eyes a group of friends getting ready to go out on a banana boat, a long `` hotdog'' which five riders straddle, holding onto grips in front of them. THEA -LRB- tugging at Carla. -RRB- Can I go on the banana boat? Margaret's going. She's with her mother. WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- Art transforms the ordinary into the unique. A sunset for example. Carla sees what Thea's talking about, and she sees how bored she is. CARLA Okay. Be careful. THEA I will. WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- We see a sunset in all its glory, yet the artist sees something that is n't there for the rest of us. Thea runs to join her friends, yelling at them to wait as she tears across the beach. Ellen watches with concern. Carla sees it. CARLA Banana boats are fun. LOUISA I'd go with her if I could. CARLA Thanks. LOUISA What are friends for? WITHERSPOON -LRB- 0. S. -RRB- -LRB- continuing. -RRB- Something from the inner eye. -LRB- Pauses. -RRB- Today we are privileged to dedicate a work of art that reflects the true spirit, the free expression of life here in the Bahamas. Carla looks at Mr. Witherspoon cross - eyed and Louisa stifles a laugh and the two women exchange smiles. Then Carla looks at Ellen, who manages a small smile, then turns her attention back to Thea, who's taking the last empty seat, one from the back, just in front of Margaret's mother. WITHERSPOON -LRB- O.S. -RRB- Carla Brody, a grand addition to our community, an artist of growing reputation, was commissioned to express our way of life in permanent form. The boat takes off behind its speedboat and the kids in it begin to shriek, Thea loudest of all. WITHERSPOON -LRB- O.S. -RRB- -LRB- continuing. -RRB- So that whoever visits our public beach will be able to share in that spirit. Ellen continues to watch Thea, Mr. Witherspoon signals to Carla and she moves forward to join him. WITHERSPOON -LRB- continuing. -RRB- Ladies and gentlemen, Carla Brody. Applause greets her introduction and she nods and smiles her thanks, then she and Mr. Witherspoon both take hold of the cord which will pull the cloth from the statue. Louisa begins to video tape the proceedings. Someone gets in her way and she says something, then jostles for better position. Ellen eyes Thea as the banana boat makes a sweeping turn and heads back across the water in front of them. As Mr. Witherspoon and Carla pull the cord, Ellen sees the fin pop up out of the water behind the banana boat. As the cloth comes free of the statue, the crowd breaks into loud, anticipatory applause. It covers Ellen's scream. She starts running for the beach, yelling as she goes. The fin moves closer to the boat. The applause begins to trickle away as the crowd begins to realize the nature of the huge abstract work of art. They do n't understand it. Mr. Witherspoon looks at it quizzically. Ellen's screams are heard now and Carla sees her running along the beach, waving her arms. Then she sees what Ellen sees, the fin, and she and Louisa and the others start running. THE BANANA BOAT - DAY Margaret's mother sees what's going on on the beach and finally looks in back of her and sees the fin and then the shark as it comes up out of the water for Thea. She grabs the child, pushing her forward, putting herself in the way. The shark rips into her and she's pulled into the water, then beneath it. Thea screams, but nothing comes out. Air starts leaking from the inflatable boat. The water around it starts filling with blood. Ellen watches her granddaughter, horrified. Dozens of people line the water's edge around her, yelling, crowding around as the speedboat brings what's left of the banana boat to shore. Thea and the other two kids and remaining adult are holding on for dear life as they're dragged through the water. Carla, with Louisa at her heels, wades out toward them, frantic, yelling. CARLA Thea. I'm here, Thea. Mommy's here. Ellen stares at the sea, then at her granddaughter, who Carla has reached. When she sees that Thea is in one piece, unseen by anyone, she moves back through the crowd and starts away. She walks deliberately, then begins to march. Finally she breaks into a run and disappears from view. THE BIG BOAT/THE DOCK - DAY As a hand fumbles with a key and finally gets it into the engine, the distant sound of singing is heard. The key is turned and the engine cranks over a few times, then starts, drowning out the singing. MICHAEL AND JAKE -LRB- O.S. -RRB- -LRB- singing. -RRB-' I found my thrill on Blueberry Hill - on Blueberry Hill - when I found you. The moon stood still on Blueberry Hill.' Ellen moves to the bow and casts off, throwing the lines to the dock. She does the same at the stern, then experiments with the clutch and the boat starts pulling away. THE WATER/THE BOAT - DAY From another point of view, a point of land at the end of the beach where Michael and Jake live, the boat is seen heading out into the Atlantic.\",\n \"EXT. JAKE'S HOUSE - BACK PORCH DAY A dozen beer bottles are lined up on the rail of the porch. Michael and Jake's feet are seen resting on the rail near them. MICHAEL AND JAKE -LRB- 0. S. -RRB- -LRB- singing. -RRB-'. I found my thrill on Blueberry Hill. MICHAEL -LRB- 0. S. -RRB- I do n't like that song. JAKE -LRB- 0. S. -RRB- You do n't know the words. They're sitting side by side, both holding bottles of beer, both half in the bag. They both take long swallows at the same time. JAKE -LRB- continuing ; grinning ; singing. -RRB- A Moray eel. A Moray eel. MICHAEL -LRB- singing. -RRB- ` It was so ugly. It was so big.' JAKE -LRB- singing. -RRB-' A Moray eel.' MICHAEL -LRB- singing. -RRB- ` Snuck up on me.' JAKE -LRB- singing. -RRB- ` It got us in hot water. We should have been there for Carla.' The mention of it, the memory of what caused him to miss the ceremony, his need to confront his fear, all make him suddenly unhappy. MICHAEL Shit. JAKE Do n't be so down, man. Money's gone. Shark's gone. We're back to conch. We've got it made. MICHAEL Shove it. JAKE You'll be the eternal tropo. The old man and the sea. Know the words to this one? -LRB- singing ; `` Mack The Knife''. -RRB- ` Oh, the shark has pretty teeth, dear, and he shows them pearly white.' MICHAEL Stop that! JAKE You do n't like my voice? MICHAEL I do n't like the song. JAKE Tough shit. -LRB- singing. -RRB- ` When the shark bites with his teeth, dear.' Michael stands and grabs Jake in a single motion. MICHAEL I told you. Jake grabs Michael's shirt. He's still sitting. JAKE You told me what? MICHAEL Screw you, Jake. Michael pulls away and starts off. MICHAEL -LRB- continuing. -RRB- Screw you. Jake laughs as Michael storms off. JAKE -LRB- singing. -RRB- ` Oh, the shark has pretty teeth, dear.' His grin fades as Michael disappears from view. He takes a swallow of beer, then mutters, `` sorry.'' Alone he seems as unhappy as Michael. THE BOAT/THE WATER - DAY The boat is well out into the ocean now There's no land in sight. Ellen is a tiny figure at the wheel. She stands straight and tall.\",\n \"EXT. MICHAEL'S HOUSE - DAY He completes the short walk from Jake's and enters his house. MICHAEL -LRB- as he enters. -RRB- Carla?\",\n \"INT. HOUSE - DAY He moves inside, looking for people. MICHAEL Carla! Mom? He looks in a room, then moves on. MICHAEL -LRB- continuing. -RRB- Thea? He moves toward his daughter's room. THEA'S ROOM - DAY Michael looks in and comes up short. He sees Carla on Thea's bed, rocking their daughter gently in her arms. Thea's eyes are wide open, her expression blank. Louisa sits in a chair next to them. CARLA -LRB- hissing a whisper. -RRB- Where have you been? MICHAEL What's wrong? What happened? CARLA Thea was attacked by a shark. Michael is stunned. He ca n't believe it. CARLA The doctor said she should be all right. She's in shock. MICHAEL But it went away. We would have known. LOUISA What went away? MICHAEL We were doing research. It disappeared. We thought. CARLA You knew? MICHAEL It went away. He moves to the bed, to look at his daughter, who stares past him, as though he's not there. It breaks his heart. MICHAEL -LRB- continuing ; softly. -RRB- Sweetheart. CARLA -LRB- furious. -RRB- She could have been killed. You knew and you did n't tell us. You let your mother think. MICHAEL Where is she? CARLA How could you do that? Your own daughter. MICHAEL Where's my mother? CARLA I do n't know. He starts from the room. CARLA -LRB- continuing. -RRB- Why did n't you tell us? -LRB- breaking ; enraged. -RRB- Why did n't you tell us? MICHAEL -LRB- looking back. -RRB- I'm sorry. Please, Carla. I did n't think there was any danger. I'm sorry. I love you. Both of you. It suddenly strikes him. He knows where his mother has gone. He goes to the window. THE DOCK - DAY From the window, from Michael's point of view, he sees that the boat is gone. He runs from the room, passing Louisa, who looks at him angrily. LOUISA Where's Jake? He does n't answer.\",\n \"EXT. HOUSE - DAY He runs from the house and heads for the dock. MICHAEL -LRB- yelling as he goes. -RRB- Jake! Jake! OMITTED THE BIG BOAT - DAY Ellen steers the boat at full throttle, out farther into the Atlantic, scanning the water for the shark, determina - tion set deeply into her expression. THE POINT - DAY Hoagie is setting up to fish from the point at the end of the beach where Michael and Jake live. He checks his bait and hook, then casts, then sees the dinghy heading toward him. THE DINGHY/THE POINT - DAY Jake rides in the bow. Michael steers. They see Hoagie, and Jake starts waving at him. JAKE -LRB- yelling. -RRB- You see our boat? HOAGIE -LRB- yelling. -RRB- I just got here. MICHAEL -LRB- yelling. -RRB- My mother took it. HOAGIE -LRB- yelling. -RRB- I hope she's a good sailor. JAKE -LRB- yelling. -RRB- A shark attacked Thea and some kids. She's going after it. HOAGIE -LRB- yelling. -RRB- She's going after it? MICHAEL -LRB- yelling. -RRB- We've got to stop her. Hoagie understands what's going on and starts reeling in. HOAGIE -LRB- yelling. -RRB- You're going after her in that? You're crazy. It'll take all day in that bathtub. JAKE -LRB- yelling. -RRB- You got a better idea? THE AIRPORT - DAY A small, low - wing aircraft takes off.\",\n \"INT. PLANE - DAY Hoagie is already turning to head out over the water. Michael is straining to see the ocean. They have to yell to be heard over the din of the engines. Jake rides next to Hoagie. HOAGIE When we find her we'll radio her position. The Coast Guard will pick her up. Do n't worry. JAKE She'll be all right, partner. She'll never find it. We could n't. MICHAEL It will find her. Jake looks at him like he's crazy. This is something he has n't heard. JAKE What do you mean, it'll find her? HOAGIE She said it was coming. JAKE What do you mean, it's coming? MICHAEL What the hell are you? HOAGIE She has it in her head that the shark that killed Martin and Sean is. JAKE -LRB- to Michael. -RRB- He's not talking about our shark. MICHAEL -LRB- to Hoagie. -RRB- What do you do when you're not flying people? HOAGIE I deliver laundry. We're going to circle northeast. Hoagie changes directions. MICHAEL Everything's a joke to you. JAKE You saying she thinks the shark is after her? HOAGIE Not Ellen. MICHAEL She does n't need a drug dealer for. Hoagie starts laughing. Jake is looking at them both with disbelief. MICHAEL What the hell's so funny? JAKE That's a lot of crap. Sharks do n't. HOAGIE I want to find her as much as you do, Michael. MICHAEL I want you to leave her alone. I do n't want you involving her in. HOAGIE -LRB- spotting something. -RRB- What's that? He points and they see a tiny dot of a boat in the distance. Hoagie starts for it and they watch as he drops altitude. There's a long silence as they strain to see the boat. When they get closer they see that it's a pleasure sailor. The people aboard wave at them. MICHAEL -LRB- not ready to give it up. -RRB- What do you deliver on all those charters you? HOAGIE I fly elephants for smugglers. THE BOAT - DAY Ellen searches the water for the shark. She puts the boat into a long slow turn. All she can see is the endless expanse of ocean around her. THE WATER - DAY The boat is seen from the surface, from the point of view of something following her, keeping pace with her. The shark is stalking her.\",\n \"INT. PLANE - DAY Hoagie, Michael and Jake fly on in search of Ellen. Michael is raw nerve ends. MICHAEL Ca n't this thing go any faster? HOAGIE Any faster and it'll turn into a flying Cuisinart and dice us into oblivion. Hoagie banks the plane, changing direction to search another area. THE BOAT/THE WATER - DAY Ellen turns the wheel, beginning another sweep, searching for the shark. At first she does n't see anything, then she goes rigid. A hundred yards away she sees the fin. She shuts off the engine and, in the quiet, moves to the stern and looks at the shark, which is keeping its distance. ELLEN -LRB- quietly ; with deadly calm. -RRB- Come and get me, you son - of - a - bitch. Take me and leave my family alone. The silence builds as only the water lapping up against the side of the becalmed boat is heard. The fin disappears beneath the surface and Ellen, still at the stern, her body trembling, looks for it. She ca n't see anything. The silence builds. She waits. Then, in the intense calm, the distant sound of an airplane engine droning is heard.\",\n \"INT. PLANE - DAY Jake sees the boat and points. JAKE There she is. They see the boat and the tiny figure of Ellen at the stern. Hoagie alters course, dropping altitude as he goes. He starts fishing for a chart so he can radio her exact loca - tion. Michael rises in his seat to get a better view. He sees something in the water and strains to make out what it is. THE WATER - DAY The dark form of the shark is visible beneath the surface as it moves rapidly toward the boat.\",\n \"INT. PLANE - DAY They strain to see the form in the water as the plane moves rapidly closer to the boat. HOAGIE Is that what I think it is? No answer is necessary as they watch the shark close the distance to the boat. It's going for Ellen. JAKE Holy Christ. MICHAEL -LRB- a whisper. -RRB- Mom. THE BOAT - DAY The shark comes exploding up out of the water for Ellen, missing her by only a few feet, taking a piece of the stern off the boat, then disappearing beneath the surface. Then she hears the plane and looks but does n't seem to see it. She's in shock from the shark's attack, but is still dedicated to her mission. The plane flies in low, buzzing the boat, the great roar of its engine causing Ellen to duck out of the way.\",\n \"INT. PLANE - DAY Hoagie makes a tight circle and starts back. MICHAEL Slow it down. He starts to open a door. Jake stops him. JAKE What the hell are you doing? MICHAEL I've got to get to her. JAKE You jump, you'll kill yourself. HOAGIE What are you worried about? You make it, the shark will kill you anyway. I'm going in. Hoagie grabs his microphone and switches it on. HOAGIE -LRB- continuing ; on the horn. -RRB- Thomas, my boy, you there? This is PBN 17452. THOMAS -LRB- 0. S. -RRB- -LRB- laughing ; from the speaker. -RRB- Boss is going to be pissed at you for taking his plane, Hoagie. HOAGIE -LRB- grinning. -RRB- Wait till he finds out what I'm going to do with it. THE BOAT - DAY Ellen watches the plane with horror as it comes in on a line parallel to the boat, coming closer and closer to the water.\",\n \"INT. PLANE - DAY HOAGIE -LRB- still on the horn. -RRB- A couple of boats, fast, and someone who knows how to kill a shark. A big one. He puts the microphone back and starts preparing to bring the plane into the water. HOAGIE -LRB- continuing. -RRB- Grab your socks. JAKE You sure you know how to do this. HOAGIE Hell, no. What kind of pilot do you think I am? THE BOAT/THE PLANE/THE WATER - DAY Ellen backs away from the stern as the plane nears the surface and its engine sputters, then quits. It hits the water and its nose rocks forward, then it settles forward and skips some seventy - five feet, plowing through the water violently, finally coming to a stop near the boat. Hoagie pushes the door open and water starts coming in. HOAGIE Hell, that was n't half bad. Get going. I'll keep it busy. JAKE It'll come for the plane. It's attracted to metal. The electro - magnetic impulse. HOAGIE Will you get the bloody hell out of here. Jake jumps into the water and starts swimming for the boat. MICHAEL Come on, Hoagie. HOAGIE All you passengers are the same. Complain. Complain. He pushes Michael out. THE BOAT/THE PLANE - DAY Ellen sees Jake, then Michael swimming frantically for the boat. ELLEN -LRB- screaming. -RRB- Michael! No, goddamnit! No! Then she sees the shark heading for the plane and Hoagie and she stares at it and the image of Hoagie, who backs up to the door behind him. ELLEN -LRB- continuing ; barely audible. -RRB- Hoagie. No. THE PLANE - DAY The shark attacks the plane, going straight for the cockpit, rising up out of the water, blocking Hoagie from view, taking a mouthful of door, then rolling off and disappearing beneath the surface. Hoagie is gone. Michael and Jake scramble aboard. They move quickly to Ellen and Michael puts his arm around her, trying to offer comfort. She's in shock. They stare at the plane as it starts to sink, scanning the water, looking for Hoagie. MICHAEL -LRB- quietly. -RRB- It got him. ELLEN -LRB- angry ; passionately. -RRB- Why'd you come out here? MICHAEL Why'd you take the boat? ELLEN Why'd you bring them? It kept coming. There was no other way to stop it. MICHAEL -LRB- his voice rising. -RRB- Did n't you realize what you were doing? You should n't have done it. ELLEN I had to. It was all I could do. Suddenly her anger explodes. Michael tries to hold her but she pulls away. ELLEN -LRB- continuing. -RRB- I tried to tell you. I tried. HOAGIE -LRB- O.S. -RRB- -LRB- yelling from the other side. -RRB- Give me a hand here for Christ's sake. They turn and see Hoagie struggling to climb aboard and move quickly to help him. HOAGIE -LRB- continuing ; grinning. -RRB- That thing has terrible breath. They pull him aboard and he smiles at Ellen, who is very happy indeed to see him. HOAGIE -LRB- continuing. -RRB- What say we get the hell out of here, Ellen Brody. JAKE Get her started. Hoagie and Michael start for the engine. Ellen watches them, then looks out over the water for the shark. Jake turns on the heart monitor and EKG scope and a moment later the sound of the shark's heartbeat, which is faint, starts coming through the speaker, and the sight of its rhythmic beating is seen on the scope. JAKE It's working. Hoagie watches as Michael tries to get the engine started. It wo n't turn over. HOAGIE Not the engine, pal. Jake heads for the cabin. JAKE -LRB- as he goes. -RRB- Get it going, Hoagie. Michael. Michael follows Jake below. Hoagie jumps down into the engine pit and starts checking the fuel line. Ellen stares out to sea, waiting for what she knows will happen. HOAGIE Maybe the plane gave it indigestion. JAKE -LRB- O.S. -RRB- -LRB- from below ; yelling. -RRB- They spend half their lives looking for food and the other half eating it They do n't care what it is. ELLEN -LRB- softly. -RRB- It's not food it's after. The distant sounds of the shark's heart continue to be heard. BELOW DECKS - DAY Jake takes the top off an underwater strobe light and begins rewiring rapidly, changing connections. Michael watches. JAKE -LRB- in the midst of it. -RRB- If it works, if we can get it inside the bastard and set it off, it'll shock the hell out of it. We'll need a slave switch to set it off. Pull the dry cell out of the radio. MICHAEL Anybody ever tell you you're nuts. Michael starts pulling the battery. JAKE -LRB- grinning. -RRB- All the time. MICHAEL It'll work. JAKE Theory, partner. If it responds to external electrical impulse, it might respond to one coming from inside it. Confuse it. Drive it away. MICHAEL If we're real lucky, it'll eat itself. ABOVE DECKS - DAY Hoagie hands Ellen sparkplugs, which she dries with a rag. She continues to glance at the sea, her expression set with the inevitable. The shark's faint heartbeats are heard. BELOW DECKS - DAY Jake is taping a cover over the strobe base. Michael is wiring another strobe light to the battery. JAKE Wait for the sucker to charge, then hit the switch. Just like taking a picture. MICHAEL The big picture. If we ca n't get him to swallow it, we'll shove it up his. JAKE -LRB- laughing. -RRB- I forgot my rubber gloves. Let's do it. They head for the deck ABOVE DECKS - DAY As Michael and Jake move topside, they see Hoagie and Ellen staring at the speaker and EKG scope. The heartbeats have stopped. The line on the scope is flat. MICHAEL Your equipment has crapped out again. JAKE My equipment does n't crap out. Jake grabs a pole from the deck and throws it to Michael, then starts tying the device to the end of it. His hands are trembling. HOAGIE Maybe it had a heart attack. Too much fatty food. Humans are full of cholesterol. Hoagie gets the last sparkplug screwed back in and tries the engine and it kicks to life. HOAGIE -LRB- continuing. -RRB- Son - of - a - bitch! Jake starts for the bow. JAKE -LRB- to Michael. -RRB- Get a line. Michael grabs a coiled line from the deck and follows Jake forward. HOAGIE -LRB- to Ellen. -RRB- We're going to make it. She just stares at him, not believing it for a moment. Jake is standing at the bow, looking out over the water. Michael reaches him with the line. MICHAEL I'll do it, Jake. JAKE No way. MICHAEL It's my fault. I have to. JAKE We need it to eat electronics, man. Not you. Get it on me. MICHAEL -LRB- a plea. -RRB- Jake. JAKE -LRB- grinning. -RRB- I'm the one who wanted to study it. Michael relents and quickly ties the line around Jake's waist. Jake makes his way out to the end of the bowsprit, using the guy wire from the mast for support. Michael passes him the pole with the device at the end of it. Ellen and Hoagie watch from the stern. He's underway. JAKE -LRB- continuing ; yelling back. -RRB- Keep it steady. HOAGIE Aye, aye, Captain. The shark explodes up completely out of the water, clearing the surface, opening its jaws as it comes directly for Michael, who leaps back. ELLEN Michael! Jake moves back on the bowsprit, getting in the shark's way, and as the shark flies up toward Jake, he rams the pole down its throat. The pole snaps and the shark takes the device, Jake and a piece of the bowsprit. Ellen screams. The guy wire flies loose and the already weakened mast begins to fall. Michael pulls at the line, which goes limp in his hands. Jake, in the shark's mouth, goes crashing into the water. The mast crashes into the boat and water. Ellen and Hoagie are running forward. Michael watches as Jake and the shark disappear beneath the surface. In the distance, the three of them see the shark rise up out of the water. Part of Jake is seen in its jaws. Then they're gone. The heartbeats are heard again. Michael opens his mouth and a great wail of anguish comes out and carries out over the water. Hoagie dashes back toward the controls. Ellen, taking strength from her son's need, grabs his arm, hard. ELLEN Michael! There are tears in his eyes. HOAGIE -LRB- yelling. -RRB- Get that goddamn gizmo of Jake's working. Michael stares at the sea. Ellen looks at her son compassionately, then Michael starts for the cabin and Ellen follows to the deck near Hoagie, where she watches the water. The shark's heartbeats are getting louder and closer together. Hoagie eyes the speaker as he opens the throttle, giving it everything its got. BELOW DECKS - DAY Michael grabs the slave switch and turns it on and it begins to whine as the strobe unit in the shark's stomach begins to charge. HOAGIE -LRB- O.S. -RRB- -LRB- yelling. -RRB- It's coming. He hits the switch too soon. Nothing happens. He can hear the heartbeats thumping a frenzy as the shark begins its attack. MICHAEL -LRB- yelling. -RRB- What happened? HOAGIE -LRB- 0. S. -RRB- Nothing! What the hell are you doing down there? The whine begins to build again. ABOVE DECKS - DAY The heartbeats sound like an invitation to hell. Hoagie grabs Ellen's arm. HOAGIE Take the wheel. He leaves it before she does and runs to the cabin. She takes his place, glancing at the water, seeing the fin. Her expression floods with rage and she turns the wheel toward the shark, trying to meet it head on. BELOW DECKS - DAY Hoagie sticks his head in the door. HOAGIE The damn thing is going to have our asses. MICHAEL It needs more time to charge. They start topside. Michael brings the slave switch with him. ABOVE DECKS/THE WATER - DAY Ellen is bringing the boat directly toward the shark, which is coming straight for them. The heartbeats are deafening. As Hoagie and Michael move topside, the boat and the shark collide head on, sending shock waves from stem to stern. Ellen holds onto the wheel with both hands and keeps her feet. Michael and Hoagie are knocked on their asses. The heartbeats retreat, then start growing louder and stronger again. The whine of the strobe has stopped. Michael hits the switch several times and it starts again. Ellen sees the fin and steers toward it. The shark is coming again, like an old boxer looking for the knockout punch in the fifteenth round. The boat and the shark are heading for each other, the distance between them closing fast. Ellen drives the boat toward it. The slave switch makes a popping sound, and Michael hits the switch and the flash in his hand goes off. The water explodes as the shark receives an enormous jolt of electricity. It thrashes about wildly then, in slow motion, some twenty - five feet from the boat, right in front of it, the shark rises up out of the water, exposing half its body. It seems suspended there, its great head pointed right at Ellen, its dead black eyes seeming to stare straight at her. Holding fast to the wheel, her expression set hard, Ellen drives the boat straight at the shark. She pushes the throttle forward, hard, getting the last bit of speed from the engine, driving straight into the beast, impaling it in the throat with what's left of the sharp jagged end of the bowsprit. The shark goes crazy, its weight pulling the bow down into the water as it tries to free itself, thrashing about so violently that it turns the bow into splinters. Ellen, Michael and Hoagie are thrown into the water. THE WATER - DAY They watch as the shark dies its violent death, taking what remains of the boat beneath the surface with it. BENEATH THE SURFACE - DAY The shark and the boat sink slowly to the bottom. THE SURFACE - DAY Ellen, exhausted, emptied of everything, begins to sob. Everything she feels, everything she's suppressed about Sean's death pours out of her. She begins to slip beneath the surface. Hoagie grabs her. ELLEN I ca n't. HOAGIE Yes you can. Michael reaches them and together, helping Ellen, they swim to a large piece of the boat which is floating nearby. Holding it, catching their breath, Ellen still crying, they look out across the water, silently remembering Jake. MICHAEL -LRB- quietly. -RRB- It's over. Ellen stares at the sea, her expression etched with uncertainty. Is it over? Will it ever be? Our vision shifts from Ellen to her point of view of the endless expanse of ocean. In the distance the clouds seem to be reaching for its surface. Slowly, almost indiscernibly at first, the closing music begins. Another sound, that of airplane engines is heard. OMITTED THE AIRPORT - DAY The noise of the air taxi's engines, as they're warmed up, is loud. The music, which builds slowly, relentlessly, continues. Closing credits begin, like punctuation marks. Hoagie is in the cockpit. Ellen, who's dressed for travel, Michael, who carries Thea, and Carla approach the plane. ELLEN -LRB- yelling to be heard above the noise. -RRB- I want you all to come to Amity this summer. MICHAEL There's a lot. I want to talk about it. He's having trouble. ELLEN We will. We'll have a lot of time together. -LRB- pauses. -RRB- What are you going to do now? CARLA -LRB- yelling. -RRB- We'll be there. ELLEN -LRB- to Thea. -RRB- You make sure they come? THEA -LRB- yelling ; liking the excitement. -RRB- I will. I'll miss you, Grandma. ELLEN -LRB- laughing. -RRB- I'll miss you. They've reached the plane and Hoagie and Ellen make eye contact. MICHAEL -LRB- eyeing his mother and Hoagie. -RRB- Promise me you'll be all right. ELLEN -LRB- turning to him ; yelling. -RRB- Promise me. MICHAEL -LRB- yelling. -RRB- I'll wear my rubbers. I'll be careful. I'll be. HOAGIE -LRB- yelling ; grinning. -RRB- Mothers and sons. Mine used to tell me to wear clean shorts. ELLEN/HOAGIE -LRB- both yelling ; both enjoying the moment. -RRB- In case you got hit by a car. They laugh above the noise. Michael and Hoagie eye each other. MICHAEL -LRB- yelling at Hoagie. -RRB- You know, you try harder not to give a damn than anyone I've ever met? Hoagie, straining to hear, grins. HOAGIE -LRB- yelling. -RRB- What? Michael moves closer, Thea still in his arms. THEA -LRB- before Michael can repeat himself ; yelling. -RRB-. Can I fly the plane again? The music dips now, as Hoagie takes a long 1ook at Thea, his smile building warmly. HOAGIE Absolutely. Any time. He beckons her with his finger and Michael holds her closer. HOAGIE -LRB- continuing. -RRB- Can you keep a secret? Something no one else knows? THEA -LRB- still yelling at the top of her lungs. -RRB- Yes I can. HOAGIE -LRB- yelling back. -RRB- I own the airplane. I can do whatever I want. I'm the boss. Michael, Ellen and Carla react. HOAGIE -LRB- continuing. -RRB- Which means I have to go a lot of places to pay my debts and borrow money to keep it going. He looks at Michael with mischief in his eye. The music begins to build again, toward its climax. Credits continue. HOAGIE -LRB- continuing ; yelling louder. -RRB- Remind me when I get back to tell you about the time I flew a hundred nuns to Nairobi. Michael and others laugh, but it's lost in the sound of the engines and the music. The family moves to the plane's door. Ellen kisses Carla and Thea good - bye, then turns to Michael. ELLEN -LRB- above the noise. -RRB- We never had that talk, did we? He looks at her, troubled, and she smiles at him. ELLEN -LRB- continuing. -RRB- We will. We'll have a lot of time together, Michael. MICHAEL -LRB- shouting. -RRB- I'm going to finish what Jake and I started. I owe him that. Hell, I owe him everything. -LRB- shouting ; hardly heard. -RRB- I'll get something important done for both of us. Ellen and Michael embrace, then kiss each other good - bye. HOAGIE -LRB- yelling. -RRB- There they were, all hundred of them. His last words are drowned out by engines and music and he shrugs as he and Ellen smile at each other. She takes a last look at her family, then boards the plane and the door closes behind her. THE AIRPORT/THE PLANE - DAY As music and credits continue, the plane takes off and starts out over the ocean, heading for Nassau. Michael, holding Thea, and Carla, her arm through his, watch as the plane becomes smaller and smaller, until it is lost in the vastness of the sky and the sky is transformed into ocean and music and credits end. FADE OUT THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,1,0,1,0,0,0,0,1,1,0,0,0,1,1,1,0,1,0,1],"string":"[\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"On Amity Island, sheriff Martin Brody, the hero of previous shark attacks, has died from a heart attack. His wife, Ellen Brody (Lorraine Gary), thinks it was from fear of sharks. She now lives with their son Sean (Mitchell Anderson) and his fiancée Tiffany (Mary Smith). Sean works as a police deputy and is sent to clear a log from a buoy a few days before Christmas. As he does so, a massive great white shark bursts out of the water, rips off his arm, and then pulls him under the surface and kills him, sinking his boat in the process. Ellen is convinced that the shark targeted Sean on purpose. She decides to go to the Bahamas to spend time with her older son Michael (Lance Guest), his wife Carla (Karen Young), and their five-year-old daughter Thea (Judith Barsi). In the islands, Ellen meets carefree airplane pilot Hoagie (Michael Caine). Michael – along with partners Jake (Mario Van Peebles), William, and Clarence – works as a marine biologist. The shark that killed Sean unexpectedly appears and attempts \"devouring\" their boat. The crew decides to keep quiet about the shark's presence due to Ellen's attempts to convince Michael to find a job on land. Ellen becomes so obsessive that she starts having nightmares of being attacked by a shark. Then she starts getting psychic feelings when the shark attacks Michael. She and the shark seem to share a strange connection that is unexplained. The crew decides to attach a device to the shark that would track its heartbeat. Using chum to attract it, Jake stabs the device's tracking pole into the beast's side. The next day, Michael is chased by the shark and barely manages to escape unharmed. Thea goes on an inflatable banana boat with her friend Margaret and her mother. The shark attack and kills Margaret's mother. Ellen is horrified. She goes on Jake's boat, intending to sacrifice herself to stop the killing. Michael and Jake are flown by Hoagie to look for Ellen and find the shark in pursuit of their boat (which Ellen has hijacked). Hoagie lands the plane on the water, ordering Michael and Jake swim to the boat as the shark drags the plane and Hoagie underwater. Much to Ellen's disbelief, Hoagie survives. Jake and Michael hastily put together an explosive powered by electrical impulses. They begin blasting the shark with the impulses, which begin to drive it mad; it repeatedly jumps out of the water, screaming in pain. As Jake moves to the front of the boat, the shark lunges, giving it the chance to pull Jake under and maul him. He manages to get the explosive into the shark's mouth before he is dragged under. Michael continues to blast the shark with the impulses, causing it to leap out of the water again, igniting the bomb as Ellen rams the shark with the sailboat. The broken bowsprit impales the shark, which explodes upon impact. The bow of the ship sinks to the bottom of the sea with the shark's corpse. Michael then hears Jake, severely injured but alive, floating in the water. The four survive the harsh encounter and make it back to land. Hoagie flies Ellen back to Amity Island."},"name":{"kind":"string","value":"Jaws:_The_Revenge"}}},{"rowIdx":165,"cells":{"scenes":{"kind":"list like","value":["INT. DAY. HALLWAY OUTSIDE OF MAX BIALYSTOCK'S OFFICE. CLOSE - UP OF LITTLE OLD LADY. She blows a kiss and WAVES GOOD - BYE. CUT TO CLOSE - UP OF MAX BIALYSTOCK. HE RESPONDS WITH SIMILAR GESTURES. CAMERA PULLS BACK TO FULL SHOT. LEGEND ON FROSTED GLASS OF BIALYSTOCK'S OFFICE DOOR READS : MAX BIALYSTOCK - THEATRICAL PRODUCER. LITTLE OLD LADY BEGINS TO DESCEND STAIRWAY. SHE STOPS, TURNS, BLOWS ANOTHER KISS AND ONCE MORE WAVES GOODBYE. BIALYSTOCK GRACIOUSLY ANSWERS IN KIND. BIALYSTOCK Do n't forget the checkee. Ca n't produce playees without checkees. LITTLE OLD LADY You can count on me - o, you dirty young man. CAMERA BACK TO BIALYSTOCK'S FACE FROZEN IN A LITTLE GOODBYE SMILE. THE LITTLE OLD LADY'S FOOTSTEPS. BEGIN TO FADE. BIALYSTOCK'S FACE QUICKLY RESUMES ITS NORMAL EXPRESSION - DESPAIR AND DISGUST. HE THEN REACHES INTO HIS VEST POCKET, PULLS OUT AN OLD - FASHIONED, POCKET WATCH AND EARNESTLY CONSULTS ITS FACE. CAMERA STAYS WITH HIM AS HE RUSHES INTO HIS OFFICE. BIALYSTOCK MOVES WITH A QUICK SHUFFLING GAIT TO HIS DESK. FROM THE TOP OF IT HE PICKS UP A FRAMED PHOTOGRAPH. CAMERA INSERT : CLOSE - UP OF PHOTOGRAPH. IT IS FACE OF LITTLE OLD LADY WHO HAS JUST LEFT. CAMERA BACK TO BIALYSTOCK. HE OPENS DESK DRAWER. IT IS FILLED WITH TAGGED KEYS. HE PICKS UP A KEY. CAMERA INSERT : TAG ON KEY READS : INVESTORS FILE. CAMERA BACK TO BIALYSTOCK. WITH PHOTOGRAPH IN HAND, HE MOVES ACROSS HIS OFFICE TO A LARGE, DOUBLE - DOORED CABINET. HE UNLOCKS CABINET. CAMERA SHOWS CABINET INTERIOR FILLED WITH HUNDREDS OF SIMILARLY FRAMED PHOTOGRAPHS OF LITTLE OLD LADIES. CAMERA BACK TO BIALYSTOCK. HE PLACES PHOTOGRAPH IN ITS PROPER NICHE AND BEGINS TO LOOK THROUGH THE FACES. CAMERA SLOWLY PANS ROWS OF PHOTOGRAPHS, BIALYSTOCK'S P.O.V. BIALYSTOCK -LRB- Voice Over. -RRB- `` Hold me, touch me', ` hold me, touch me', ` hold me, touch me', where is ` hold me, touch me'? Ahhh. here we are. ` Hold me, touch me.''' CAMERA STOPS PANNING AND REMAINS ON ONE OF THE PHOTOGRAPHS. BIALYSTOCK'S HAND MOVES INTO THE FRAME AND PICKS UP PHOTOGRAPH. CAMERA MOVES IN TO CLOSE - UP OF PHOTOGRAPH DISSOLVE THROUGH TO MATCHING CLOSE - UP OF SAME FACE WE HAVE JUST SEEN IN PHOTOGRAPH. CAMERA PULLS BACK TO REVEAL LITTLE OLD LADY IN REAR SEAT OF LIMOUSINE. EXTERIOR. DAY. CAMERA KEEPS MOVING BACK TO EXTERIOR OF LIMO AS IT MOVES ALONG THROUGH NEW YORK'S THEATRICAL DISTRICT. LONG SHOT. 45TH STREET. SAME LIMOUSINE PULLS UP IN FRONT OF ONE OF THE THEATRES THAT LINE THE BLOCK. MEDIUM SHOT. CHAUFFEUR BRISKLY HOPS OUT, AND SMARTLY OPENS REAR DOOR. THE LITTLE OLD LADY EMERGES. SHE LOWERS HER VEIL AND FURTIVELY DUCKS INTO THE BUILDING ENTRANCE.","INT. MEDIUM SHOT. DILAPIDATED THEATRE OFFICE BUILDING. THE LITTLE OLD LADY ENTERS. SHE RAISES HER VEIL, CHUCKLES GLEEFULLY, AND BEGINS TO ASCEND THE STAIRS. MEDIUM SHOT. UPON REACHING THE LANDING, SHE SPOTS THE FIRST LITTLE OLD LADY COMING DOWN. SHE QUICKLY DROPS HER VEIL. THE FIRST LITTLE OLD LADY DISCREETLY HIDES HER FACE WITH HER PURSE AS THEY PASS EACH OTHER ON THE LANDING. DISSOLVE TO FOURTH FLOOR LANDING. THE LITTLE OLD LADY MAKES HER WAY TO THE TOP. SHE HANGS ONTO THE BANISTER FOR SUPPORT AS SHE CATCHES HER BREATH. SHE RAISES HER VEIL, REACHES INTO HER PURSE, TAKES OUT A SMALL FLACON OF PERFUME AND SPRAYS DELICATELY BEHIND BOTH EARS. THOROUGHLY COMPOSED, SHE APPROACHES BIALYSTOCK'S DOOR. SHE RAPS ON THE DOOR THREE TIMES IN QUICK SUCCESSION, WAITS A MOMENT, RAPS TWICE AND THEN THREE TIMES AGAIN. SUDDENLY THE DOOR IS FLUNG OPEN. MEDIUM SHOT. MAX BIALYSTOCK BIALYSTOCK -LRB- leering. -RRB- Darling! MEDIUM SHOT OVER BIALYSTOCK'S SHOULDER. LITTLE OLD LADY. LITTLE OLD LADY -LRB- passionately. -RRB- Hold me, touch me. CUT TO TWO SHOT. BIALYSTOCK CLUTCHES THE LITTLE OLD LADY IN A PASSIONATE EMBRACE. BIALYSTOCK Devil woman. FREEZE ACTION. SUPER - IMPOSE FIRST CREDIT : ZERO MOSTEL. RESUME ACTION. THE LITTLE OLD LADY GIGGLES JOYOUSLY AND THEN SLIPS FROM BIALYSTOCK'S GRASP, DARTS INTO THE OFFICE AND DUCKS BEHIND THE COUCH. SHE POPS HER HEAD UP. LITTLE OLD LADY Finder's keepers. FREEZE ACTION. SUPER - IMPOSE : TITLE OF FILM RESUME ACTION. BIALYSTOCK Here I come, ready or not. BIALYSTOCK LEAPS THROUGH THE AIR TOWARDS THE COUCH. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK LANDS BADLY. HE WRITHES IN PAIN. LITTLE OLD LADY COQUETTISHLY CRAWLS TO HIM. LITTLE OLD LADY What's the matter? Papa no want to play with baby? BIALYSTOCK Ohhhhhh. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK REACHES OUT FOR HER. SHE ELUDES HIM, DARTS INTO A CHAIR, CROSSES HER LEG SEDUCTIVELY, RAISES HER SKIRT JUST ABOVE HER KNEE REVEALING A GOLDEN ROSE AND GARTER. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK STRUGGLES TO HIS FEET. BIALYSTOCK Come to Papa. Come to Papa do. LITTLE OLD LADY LEAPS OUT OF HER CHAIR AND POSES, COYLY. LITTLE OLD LADY To the victor go the spoils. BIALYSTOCK STARTS FOR HER. SHE RUSHES AROUND A CHAIR AND DUCKS BEHIND IT. BIALYSTOCK TIPTOES ON TO CHAIR AND PEEKS OVER IT. BIALYSTOCK I'm gon na get you. FREEZE - ACTION. CREDIT. RESUME ACTION. CUT TO LITTLE OLD LADY WEDGED BETWEEN DESK AND BACK OF CHAIR. SHE STRAIGHTENS HER LEGS AND SENDS THE CHAIR HURTLING ACROSS THE ROOM. CLOSE - UP OF BIALYSTOCK'S FACE : TERROR. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK CRASHES INTO RADIATOR. BIALYSTOCK Ohhhhhhhh. CUT TO LITTLE OLD LADY. SHE IS LYING PHONE ON THE DESK, PREENING HERSELF AND PURRING. LITTLE OLD LADY Meeow. Meeow. I wonder where Old Tom is tonight? Meeow. BIALYSTOCK, WITH GREAT WILL, PUSHES THE HATE OUT OF HIS FACE AND REPLACES IT WITH SWEETNESS. BIALYSTOCK Rowrrr. BIALYSTOCK GLIDES IN TOM - CAT FASHION OVER TO HIS PREENING PUSSY - CAT. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK FINISHES CROSSING TO DESK, PUTS HIS FACE DOWN NEAR HERS AND SOFTLY MEWS INTO HER EAR. SHE SUDDENLY LETS OUT A FIERCE HOWL AS SHE REBUFFS HIM WITH A SAVAGE SWIPE OF HER `` PAW''. BIALYSTOCK GRABS HIS STRICKEN FACE WITH BOTH HANDS AND SHRIEKS. BIALYSTOCK Aieeeeyiyiyiyiyi, CLOSE - UP OF BIALYSTOCK'S PAIN - RIDDEN FEATURES. STOP ACTION. CREDIT. RESUME ACTION. BIALYSTOCK FALLS INTO THE CHAIR MOANING. SHE HOPS ON TO HIS LAP. FROM HIS BREAST POCKET SHE TAKES A HANDKERCHIEF AND TENDERLY DABS HIS CHEEK WITH IT. LITTLE OLD LADY Oh, Bialy, Bialy, darling, did I hurt you? FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK My hand. My hand. I ca n't turn my hand. -LRB- he turns his hand. -RRB- THERE IS A RAPPING AT THE DOOR. WE HEAR IT, THEY DO N'T. LITTLE OLD LADY -LRB- taking his hand. -RRB- Do n't worry. I'll kiss it and make it well. -LRB- she smothers his hand with kissers. -RRB- BIALYSTOCK -LRB- trying to rescue his hand. -RRB- Enough. It's better. Please, Lambchop, it's better. Stop. You're hurting it again. CUT TO DOOR. IT OPENS. LEO BLOOM ENTERS. BLOOM -LRB- his forward motion arrested by the unbelievable scene. -RRB- How do you do. I mean. Excuse me. I mean. BIALYSTOCK You mean ooops, do n't you? Say ooops and get out. BLOOM I'll wait in the hall. BIALYSTOCK Oooooooops! BLOOM -LRB- backing out of door. -RRB- Ooooooops. LITTLE OLD LADY HOPS OFF BIALYSTOCK'S LAP AND GOES TO DOOR. LITTLE OLD LADY I ca n't abide a peeping Tom. There's one in the apartment just opposite my bedroom window. I swear that man NEVER takes his field glasses off me for a minute. SHE LOCKS DOOR AND STARTS BACK TOWARD BIALYSTOCK. LITTLE OLD LADY Feeling better? BIALYSTOCK NODS HIS HEAD IN ASSENT. LITTLE OLD LADY Good. Let's fool around. Now, I'll be the innocent little milk maid and you'll be the naughty stable boy. -LRB- she goes into her act. -RRB- Oh, this milk is so heavy. I'll never reach the house. Help. Will someone help me? BIALYSTOCK -LRB- stopping her. -RRB- Wait. Wait. We ca n't play today. I have too many appointments. LITTLE OLD LADY -LRB- crushed. -RRB- We ca n't play today? BIALYSTOCK Thursday. Thursday. We'll play Thursday. We'll play the Contessa and the chauffeur. LITTLE OLD LADY Oh, the best one. BIALYSTOCK -LRB- trying to steer her towards the door. -RRB- Until Thursday, then, Contessa Mio. LITTLE OLD LADY -LRB- she sits on the sofa. -RRB- Oh, Bialy, please, just a little. Just a little. BIALYSTOCK -LRB- harassed. -RRB- All right. All right. HE SQUATS DOWN IN FRONT OF HER IN CHAUFFEUR FASHION, HIS HANDS ON THE WHEEL. LITTLE OLD LADY So, the Count hired you this morning, Rudolfo. Watch the road. Watch the road. BIALYSTOCK I ca n't take my eyes off you. How can I drive when you drive me mad. Mad. LITTLE OLD LADY -LRB- she squeals with delight. -RRB- Rudolfo, you dirty pig! Pull over. BIALYSTOCK -LRB- upright. -RRB- Good. That's enough. We'll do the rest on Thursday. -LRB- he reaches down and helps her off the couch. -RRB- That's a good girl. -LRB- leading her to the door. -RRB- It's always such fun to see you. BIALYSTOCK OPENS THE DOOR AND USHERS HER OUT ONTO THE LANDING. CUT TO HALLWAY. FAR SHOT. REVEALING BLOOM WAITING OUTSIDE. WE SEE HIM. THEY DO NOT. BLOOM, VERY EMBARRASSED, HUGS THE WALL TRYING TO MAKE HIMSELF LESS CONSPICUOUS. MEDIUM SHOT. BIALYSTOCK AND THE OLD LADY IN FRONT OF BIALYSTOCK'S DOOR. BIALYSTOCK Until Thursday, then, you bawdy wench. HE SLAPS HER ON THE RUMP. LITTLE OLD LADY Oooh. I love it. Hold me, touch me. CUT TO BLOOM IN SHADOWS, AGHAST. BACK TO MEDIUM SHOT LITTLE OLD LADY AND BIALYSTOCK. BIALYSTOCK Thursday. I'll see you Thursday. LITTLE OLD LADY And we'll finish playing the Contessa and Rudolfo. BIALYSTOCK Good. Yes. Thursday. LITTLE OLD LADY And after that we'll play the Abduction and cruel rape of Lucretia. And I'll play Lucretia. CUT TO BLOOM IN SHADOWS. IT IS ALL TOO MUCH FOR HIM. HE LOOKS THE OTHER WAY. SUDDENLY HIS EYES WIDEN IN SURPRISE, AS HE DISCOVERS ANOTHER MAN HIDING IN THE NEXT DOORWAY. THE MAN PUTS A FINGER TO HIS LIPS INDICATING SILENCE. THERE IS NO PLACE LEFT FOR BLOOM TO LOOK. HE LOOKS TO HEAVEN. BACK TO LITTLE OLD LADY AND BIALYSTOCK. LITTLE OLD LADY Oh, Thursday. Will Thursday ever come? BIALYSTOCK -LRB- to himself. -RRB- Like clockwork. SHE STARTS TO DESCEND. LITTLE OLD LADY I shall count the minutes. BIALYSTOCK Goodbye, my angel. My angel! -LRB- calling after her. -RRB- Hey, touch me. wait! Hey, uh. Lucretia, Lucretia! WE HEAR A MOUNTING CLATTER OF FOOTSTEPS AS THE LITTLE OLD LADY FLIES BACK UP THE STAIRS. LITTLE OLD LADY -LRB- eagerly. -RRB- Yes? BIALYSTOCK Oh, Angelcake, you forgot to give me the check. Ca n't produce a play without money, ha, ha, ha. CUT TO BLOOM. ONCE MORE HE STEALS A GLANCE AT THE STRANGER HIDDEN IN THE SECOND DOORWAY. ONCE AGAIN THE MAN GESTURES FOR HIM TO BE SILENT. CUT BACK TO BIALYSTOCK AND THE OLD LADY. LITTLE OLD LADY -LRB- opening her handbag and reaching inside. -RRB- Of course, the check, I had it with me all the time. SHE TAKES OUT THE CHECK AND HANDS IT TO HIM. LITTLE OLD LADY I do n't know what's happening to me. I must be getting old. BIALYSTOCK TAKES CHECK AND READS IT. LITTLE OLD LADY Is it all right? I made it out to cash. You did n't tell me the name of the play. BIALYSTOCK Oh, it's fine. Fine. Good. Good. Bye. Bye. LITTLE OLD LADY Til Thursday, my Darling, I shall count the minutes. SHE STARTS TO DESCEND. LITTLE OLD LADY -LRB- descending. -RRB- Ta. Ta. BIALYSTOCK -LRB- waving check at her. -RRB- Ta. Ta. THE MAN, WHO HAS BEEN LURKING IN THE SECOND DOORWAY, SUDDENLY SPRINGS INTO ACTION. HE DARTS FORWARD AND QUICKLY TAKES THE CHECK OUT OF BIALYSTOCK'S HAND. THE MAN -LRB- LANDLORD. -RRB- He who signs a lease, must pay rent. HE SHOVES THE CHECK INTO HIS POCKET AND STARTS DOWN THE STAIRS. LANDLORD That's the law. BIALYSTOCK Murderer! Thief! How can you take the last penny out of a man's pocket? LANDLORD -LRB- turns back, shrugs. -RRB- I have to. I'm a landlord! BIALYSTOCK -LRB- shouting to heaven. -RRB- Oh Lord, hear my plea. Destroy him. He maketh a blight on the land. CUT TO LANDLORD ON THE WAY DOWN. LANDLORD -LRB- to the Lord. -RRB- Do n't pay attention. He's crazy. CUT BACK TO BIALYSTOCK. HE TURNS TO RE - ENTER HIS OFFICE. BIALYSTOCK -LRB- biting his knuckle. -RRB- Nnnnn. That hurt. -LRB- he sighs. -RRB- I'll have to make another call. HE STARTS IN AND STOPS. HE NOTICES BLOOM. BIALYSTOCK -LRB- to Bloom, quietly. -RRB- Have you been there all this time? BLOOM NODS. BIALYSTOCK And did you see and hear everything? BLOOM NODS. BIALYSTOCK Then what do you have to say for yourself? BLOOM Uh. uh. ooooooops? BIALYSTOCK -LRB- shouts. -RRB- Who are you? What do you want? Why are you loitering in my hallway? Speak, dummy, speak! Why do n't you speak? BLOOM Scared. Ca n't talk. BIALYSTOCK All right. Get a hold of yourself. Take a deep breath, let it out slowly and tell me who you are. BLOOM -LRB- breathes deeply. Words tumble from his mouth as he exhales. -RRB- I'm Leo Bloom, I'm an accountant, I'm from Whitehall and Marks, I was sent here to do your books and I'm terribly sorry I caught you with the old lady. -LRB- he has run out of breath. -RRB- BIALYSTOCK `` Caught you with the old lady.'' Come in, Mr. Tact. CUT TO OFFICE. THEY ENTER. BLOOM ENTERS TIMOROUSLY. HE DOES N'T KNOW QUITE WHERE TO GO. HE LOOKS TO BIALYSTOCK FOR GUIDANCE. BIALYSTOCK STUDIES BLOOM CURIOUSLY FROM HEAD TO TOE. BIALYSTOCK So you're an accountant, eh? BLOOM -LRB- timidly. -RRB- Yes sir. BIALYSTOCK Then account for yourself! Do you believe in God? Do you believe in gold? Why are you looking up old lady's dresses? Bit of a pervert, eh? BLOOM, WHO HAS BEEN QUAKING UNDER THE ASSAULT, REACHES INTO HIS POCKET AND TAKES OUT THE TATTERED CORNER OF AN OLD BLUE BABY BLANKET. HE TWISTS THE BLUE BLANKET NERVOUSLY IN HIS HANDS. BLOOM Sir, I. BIALYSTOCK Never mind. Never mind. Do the books. They're in that desk over there. Top drawer. BLOOM DUTIFULLY GOES TO DESK. OPENS TOP DRAWER AND BEGINS REMOVING BOOKS. BIALYSTOCK How dare you condemn me without knowing all the facts. BLOOM But sir, I'm not condem. BIALYSTOCK Shut up. I'm having a rhetorical conversation. -LRB- to himself. -RRB- How humiliating. Max Bialystock. Max Bialystock. BIALYSTOCK SUDDENLY WHEELS AND SHOUTS AT BLOOM. BIALYSTOCK You know who I used to be? Max Bialystock! The King of Broadway! Six shows running at once. Lunch at Delmonico's. Two hundred dollar suits. Look at me. Look at me now! I'm wearing a cardboard belt! HE RIPS THE BELT OFF AND HOLDS IT IN THE AIR. BIALYSTOCK I used to have thousands of investors begging, pleading, to put their money into a Max Bialystock production. HE PICKS UP THE PICTURE ON DESK -LRB- ` HOLD ME, TOUCH ME' -RRB- TAKES IT OVER TO OPEN CABINET FILLED WITH SIMILAR PICTURES. BIALYSTOCK Look at my investors now. Voila! -LRB- gestures at pictures. -RRB- Hundreds of little old ladies stopping off at Max Bialystock's office to grab a last thrill on the way to the cemetery. HE PUTS PICTURE BACK IN ITS PLACE. LOOKS TOWARD BLOOM. CUT TO BLOOM. HE IS OBVIOUSLY TOUCHED BY THE GREAT MAN'S DILEMMA. CUT TO BIALYSTOCK. BIALYSTOCK You have exactly ten seconds to change that disgusting look of pity into one of enormous respect. One. Two. CUT TO BLOOM. HE IS REALLY TRYING TO CHANGE HIS EXPRESSION. CUT TO BIALYSTOCK. BIALYSTOCK Do the books! Do the books! CUT TO BLOOM. HE IS GREATLY RELIEVED. BLOOM -LRB- sighing. -RRB- Yes, sir. Thank you. HE PLUNGES INTO HIS WORK. CUT TO BIALYSTOCK. HE GOES TO WINDOW, LOOKS OUT. BIALYSTOCK -LRB- to himself. -RRB- Window's so filthy, ca n't tell if it's day or night out there. HE WIPES WINDOW WITH HIS CUFF. LOOKS AT WINDOW. NO GOOD. LOOKS AT HIS GRIMY CUFF. GRIMACES. FROM HIS DESK HE TAKES THE REMAINS OF A CARDBOARD CONTAINER OF COFFEE AND SLOSHES IT AGAINST THE WINDOW. HE WIPES WITH HIS TIE. HE LOOKS OVER HIS SHOULDER AT BLOOM TO SEE IF HE IS WATCHING. BLOOM IS WATCHING. THEIR EYES MEET. BLOOM'S EYES RETREAT. BIALYSTOCK VICTORIOUSLY TURNS AWAY AND LOOKS OUT THE WINDOW DOWN INTO THE STREET. CAMERA : SHOT OF STREET. BIALYSTOCK'S POINT OF VIEW. A WHITE ROLLS ROYCE SLOWLY MAKES ITS WAY UP THE BLOCK. BIALYSTOCK -LRB- voice over as camera follows Rolls. -RRB- Look at that. A white Rolls Royce. That's it baby, when you got it, flaunt it. BLOOM -LRB- off screen. -RRB- Koff, koff. ahem, ahem. harrumph. BIALYSTOCK I assume you are making those cartoon noises to attract my attention. Am I correct in my assumption, you fish - faced enemy of the people? BLOOM IS WOUNDED. BIALYSTOCK I have hurt your feelings. BLOOM NODS. BIALYSTOCK Good, what is it? BLOOM Sir, may I speak to you for a minute? BIALYSTOCK -LRB- looking at his watch. -RRB- Go! You have fifty - eight seconds. BLOOM Well, sir, it seems. BIALYSTOCK -LRB- interrupting. -RRB- You have forty - eight seconds left. Hurry. Hurry. BLOOM -LRB- speedily. -RRB- In looking at your books, I've discovered that. BIALYSTOCK -LRB- interrupting. -RRB- Twenty - eight seconds, hurry, hurry, you're using up your time. IN HIS ANXIETY, BLOOM UNCONSCIOUSLY REACHES INTO HIS POCKET TAKES OUT THE OLD BLUE BLANKET AND NERVOUSLY STROKES HIS CHEEK WITH IT. BLOOM Mr. Bialystock, I can not function under these conditions. BIALYSTOCK CURIOUSLY EYES THE BLANKET. BLOOM You're making me extremely nervous. BIALYSTOCK What is that? A handkerchief? BLOOM QUICKLY BEGINS TO PUT AWAY HIS BLUE BLANKET. BLOOM It's nothing. nothing. QUICK AS A FLASH, BIALYSTOCK REACHES OVER AND SNATCHES IT OUT OF BLOOM'S HAND. BIALYSTOCK If it's nothing, why ca n't I see it? BLOOM LEAPS UP IN HOT PURSUIT OF HIS BLANKET. BLOOM -LRB- shrieking in panic. -RRB- My blanket. Give me my blue blanket. BIALYSTOCK, TAKEN ABACK, HURRIEDLY GIVES THE BLANKET BACK TO BLOOM. BIALYSTOCK Here, do n't panic. BLOOM -LRB- clutching his blanket. -RRB- I'm sorry. I do n't like people touching my blue blanket. It's not important. It's a minor compulsion. I can deal with it if I want to. It's just that I've had it ever since I was a baby and. and. I find it very comforting. HE KISSES IT AND SHOVES IT INTO HIS POCKET. BIALYSTOCK -LRB- to himself. -RRB- They come here. They all come here. How do they find me? BLOOM -LRB- recovering his dignity. -RRB- Mr. Bialystock. BIALYSTOCK Yes, Prince Mishkin, what can we do for you? BLOOM This is hardly a time for levity. I've discovered a serious error here in the accounts of your last play. BIALYSTOCK MOVES AROUND THE DESK TO EXAMINE THE LEDGER. BIALYSTOCK Where? What? BLOOM According to the backer's list you raised $ 60,000. But the show you produced only cost fifty - eight thousand. There's two thousand dollars unaccounted for. BIALYSTOCK I went to a Turkish bath, who cares? The show was a flop. What difference does it make? BLOOM It makes a great deal of difference. That's fraud. If they found out, you could go to prison. BIALYSTOCK Why should they find out? It's only two thousand dollars, Bloom, do me a favor, move a few decimal points around. You can do it. You're an accountant. The word ` count' is part of your title. BLOOM -LRB- aghast. -RRB- But that's cheating! BIALYSTOCK It's not cheating. It's charity. Bloom, look at me. look at me! I'm drowning. Other men sail through life. Bialystock has struck a reef. Bloom, I'm going under. I am being sunk by a society that demands success, when all I can offer is failure. Bloom, I'm reaching out to you. Do n't send me to jail. Help! Help! DURING BIALYSTOCK'S LAST SPEECH, BLOOM UNCONSCIOUSLY REACHES INTO HIS POCKET, TAKES OUT THE BLUE BLANKET AND RUBS IT ACROSS HIS CHEEK. BLOOM Oh dear, oh dear, oh dear, oh dear. BIALYSTOCK -LRB- faintly. -RRB- Help! BLOOM All right. I'll do it. I'll do it. BIALYSTOCK Thank you, Bloom. I knew I could con you. BLOOM Oh, it's all right. wha? BIALYSTOCK Nothing. Nothing. Do it. Do it. BLOOM -LRB- pouring over the accounts. -RRB- Now let's see, two thousand dollars. That is n't much. I'm sure I can hide it somewhere. After all, the department of internal revenue is n't interested in a show that flopped. BIALYSTOCK Yes. Right. Good thinking. You figure it out. I'm tired. I'm gon na take a little nap. -LRB- crossing to couch. -RRB- Wake me if there's a fire. HE HURLS HIMSELF DOWN ONTO THE COUCH. CAMERA MOVES IN TO TIGHT SHOT OF BLOOM. BLOOM Now let's see, if we add these figures, we get. CAMERA MOVES INTO CLOSE - UP OF BLOOM'S FINGER SWIFTLY MOVING DOWN LONG COLUMN OF FIGURES. HE COMES TO THE END AND IMMEDIATELY WRITHES TOTAL BELOW. BACK TO TIGHT SHOT OF BLOOM. HE COMPARES PAGES. BLOOM -LRB- musing to himself. -RRB- Heh, heh, heh, amazing. It's absolutely amazing. But under the right circumstances, a producer could make more money with a flop than he could with a hit. QUICK CUT TO BIALYSTOCK'S SLEEPING FACE. HIS EYES POP OPEN. CUT BACK TO BLOOM. BLOOM Yes. Yes. It's quite possible. If he were certain the show would fail, a man could make a fortune. CUT TO BIALYSTOCK. BY NOW HE IS HALFWAY ACROSS THE ROOM. HIS WHOLE BEING TINGLING WITH ALERTNESS. HE MOVES TO BLOOM'S DESK AND HOVERS OVER HIM, WAITING EXPECTANTLY FOR MORE INFORMATION. BUT BLOOM IS LOST IN HIS WORK, UNAWARE THAT BIALYSTOCK IS HANGING ON HIS EVERY WORD. BIALYSTOCK Yes? BLOOM LOOKS UP. HE IS STARTLED TO SEE BIALYSTOCK'S FACE SO CLOSE TO HIS OWN. BLOOM -LRB- at a loss. -RRB- Yes, what? BIALYSTOCK What you were saying. Keep talking. BLOOM What was I saying? BIALYSTOCK You were saying that under the right circumstances, a producer could make more money with a flop than he could with a hit. BLOOM -LRB- smiling. -RRB- Yes, it's quite possible. BIALYSTOCK You keep saying that, but you do n't tell me how. How could a producer make more money with a flop than with a hit? BLOOM, SLIGHTLY EXASPERATED, PUTS HIS PENCIL DOWN AND FACES BIALYSTOCK. HE SPEAKS TO BIALYSTOCK AS A TEACHER WOULD A STUDENT. BLOOM It's simply a matter of creative accounting. Let us assume, just for the moment, that you are a dishonest man. BIALYSTOCK Assume away! BLOOM Well, it's very easy. You simply raise more money than you really need. BIALYSTOCK What do you mean? BLOOM You've done it yourself, only you did it on a very small scale. BIALYSTOCK What did I do? BLOOM You raised two thousand more than you needed to produce your last play. BIALYSTOCK So what? What did it get me? I'm wearing a cardboard belt. BLOOM Ahhhhhh! But that's where you made your error. You did n't go all the way. You see, if you were really a bold criminal, you could have raised a million. BIALYSTOCK But the play only cost $ 60,000 to produce. BLOOM Exactly. And how long did it run? BIALYSTOCK One night. BLOOM See? You could have raised a million dollars, put on a sixty thousand dollar flop and kept the rest. BIALYSTOCK But what if the play was a hit? BLOOM Oh, you'd go to jail. If the play were a hit, you'd have to pay off the backers, and with so many backers there could never be enough profits to go around, get it? BIALYSTOCK Aha, aha, aha, aha, aha, aha! So, in order for the scheme to work, we'd have to find a sure fire flop. BLOOM What scheme? BIALYSTOCK What scheme? Your scheme, you bloody little genius. BLOOM Oh, no. No. No. I meant no scheme. I merely posed a little, academic accounting theory. It's just a thought. BIALYSTOCK Bloom, worlds are turned on such thoughts! BIALYSTOCK STARTS MOVING IN ON BLOOM. BIALYSTOCK Do n't you see, Bloom. Darling, Bloom, glorious Bloom, it's so simple. Step one : We find the worst play in the world - a sure flop. Step two : I raise a million dollars - there's a lot of little old ladies in this world. Step three : You go back to work on the books. Phoney lists of backers - one for the government, one for us. You can do it, Bloom, you're a wizard. Step four : We open on Broadway and before you can say ` step five' we close on Broadway. Step six : We take our million dollars and fly to Rio de Janiero. BIALYSTOCK GRABS BLOOM IN HIS ARMS AND BEGINS TO LEAD HIM IN A WILD TANGO AROUND THE ROOM. BIALYSTOCK -LRB- sings. -RRB- `` Ah, Rio, Rio by the seao, meo, myo, meo.'' BLOOM -LRB- afraid of the scheme, afraid of the dance, afraid of Bialystock. -RRB- Mr. Bialystock. No. Wait. Please. You're holding me too tight. I'm an honest man. You do n't understand. BIALYSTOCK -LRB- leading Bloom as he talks. -RRB- No, Bloom, you do n't understand. This is fate, this is destiny. There's no avoiding it. AT THIS POINT, BIALYSTOCK SWEEPS BLOOM INTO AN ELABORATE DIP. BLOOM -LRB- the back of his head practically touching the floor. -RRB- Mr. Bialystock, not more than five minutes ago, against my better judgment, I doctored your books. That, sir, is the ultimate extent of my criminal life. BIALYSTOCK RAISES HIS FISTS TO THE HEAVENS IN DESPAIR. BLOOM, EXPERIENCING A DEFINITE LACK OF SUPPORT, GOES CRASHING TO THE FLOOR. BIALYSTOCK OOOOOHH! OOOOOHH! OOOOOHH! OOOOOHH! I WANT THAT MONEY! CAMERA ON BLOOM AS HE LIES STRICKEN ON THE FLOOR. BLOOM -LRB- to himself. -RRB- Oh, I fell on my keys. -LRB- he shifts slightly to make himself more comfortable. -RRB- I've got to get out of here. BIALYSTOCK -LRB- angrily hovering over Bloom. -RRB- You miserable, cowardly, wretched little caterpillar. Do n't you ever want to become a butterfly? Do n't you want to spread your wings and flap your way to glory? BIALYSTOCK FLAPS HIS ARMS LIKE A HUGE PREDATORY BIRD. BLOOM -LRB- his eyes widened in terror. -RRB- You're going to jump on me. BIALYSTOCK STARES AT HIM INCREDULOUSLY. BLOOM You're going to jump on me. I know you're going to jump on me - like Nero jumped on Poppea. BIALYSTOCK -LRB- nonplussed. -RRB- What? BLOOM -LRB- by now he is shrieking. -RRB- Poppea. She was his wife. And she was unfaithful to him. So he got mad and he jumped on her. Up and down, up and down, until he squashed her like a bug. Please do n't jump on me. BIALYSTOCK -LRB- shouting and jumping up and down next to Bloom. -RRB- I'm not going to jump on you! BLOOM -LRB- rolling away in terror. -RRB- Aaaaaaaaaa! BIALYSTOCK -LRB- hoisting Bloom to his feet. -RRB- Will you get a hold on yourself. BLOOM -LRB- up on his feet and running for cover. -RRB- Do n't touch me! Do n't touch me! HE RUNS TO A CORNER OF THE ROOM. TRAPPED! HE TURNS. BIALYSTOCK What are you afraid of? I'm not going to hurt you! What's the matter with you? BLOOM I'm hysterical. I'm having hysterics. I'm hysterical. I ca n't stop. When I get like this, I ca n't stop. I'm hysterical. BIALYSTOCK RUSHES TO THE DESK. PICKS UP A CARAFE OF WATER AND SHOSHES ITS CONTENTS INTO BLOOM'S FACE. BLOOM I'm wet! I'm wet! I'm hysterical and I'm wet! BIALYSTOCK IN A DESPERATE MOVE TO STOP BLOOM'S HYSTERICS, SLAPS HIM ACROSS THE FACE. BLOOM -LRB- holding his face. -RRB- I'm in pain! And I'm wet! And I'm still hysterical! BIALYSTOCK RAISES HIS HAND AGAIN. BLOOM No! No! Do n't hit. It does n't help. It only increases my sense of danger. BIALYSTOCK What can I do? What can I do? You're getting me hysterical. BLOOM Go away from me. You frighten me. -LRB- he indicates the sofa. -RRB- Sit over there. BIALYSTOCK SITS ON THE SOFA. BIALYSTOCK -LRB- exasperated. -RRB- Okay. I'm way over here. Is that better? BLOOM It's a little better, but you still look angry. BIALYSTOCK How's this? -LRB- he smiles sweetly. -RRB- BLOOM Good. Good. That's nice. That's very nice. I think I'm coming out of it now. Yes. Yes. I'm definitely coming out of it. Thank you for smiling. It helped a great deal. BIALYSTOCK -LRB- for want of something sensible. -RRB- Well, you know what they say, `` Smile and the world smiles with you.'' Heh, heh. -LRB- to himself. -RRB- The man should be in a straight jacket. -LRB- to Bloom. -RRB- Feeling better? BLOOM Much, thank you. But I am a little lightheaded. Maybe I should eat something. Hysterics have a way of severely depleting one's blood sugar, you know. BIALYSTOCK They certainly do. They certainly do. Come, let me take you to lunch. BLOOM That's very kind of you, Mr. Bialystock, but I. BIALYSTOCK -LRB- interrupting. -RRB- Nonsense, nonsense, my dear boy. I lowered your blood sugar, but least I could do is raise it a little. BLOOM LOOKS AT HIM SUSPICIOUSLY. BIALYSTOCK And I promise you faithfully, I wo n't discuss that silly scheme to make a million dollars anymore. BIALYSTOCK DONS HIS CAPE AND `` BELASCO'' HAT. FROM A RACK HE SELECTS A GOLD - TOPPED WALKING STICK. HE GOES TO DOOR, OPENS IT, AND WITH A GRAND FLOURISH, MOTIONS BLOOM TO PRECEDE HIM. BIALYSTOCK Avanti! BLOOM GRACIOUSLY COMPLIES. THEY EXIT. CUT TO EXTERIOR. ENTRANCE OF BIALYSTOCK'S OFFICE BUILDING. THE DOOR OPENS. IT IS HELD BY BIALYSTOCK. BLOOM EXITS BUILDING INTO STREET. BLOOM -LRB- to Bialystock, who is holding door. -RRB- Thank you. BIALYSTOCK Je vous empris. THEY TURN UP 45TH STREET AND HEAD TOWARD BROADWAY. BIALYSTOCK REACHES INTO HIS POCKET AND COUNTS HIS MONEY. HE LOOKS WORRIED. SUDDENLY HIS FACE BRIGHTENS. WE SEE WHAT BIALYSTOCK SEES. CUT TO MURRAY THE BLINDMAN WORKING 45TH STREET. CAMERA BACK TO BIALYSTOCK AND BLOOM. BIALYSTOCK DROPS A STEP BEHIND, QUICKLY TAKES OFF HIS HAT AND FLINGS IT THROUGH THE AIR. BIALYSTOCK -LRB- pointing to his hat. -RRB- My hat. BLOOM I'll get it. HE RACES AFTER IT. BIALYSTOCK DETOURS SLIGHTLY TOWARD MURRAY THE BLINDMAN, WHO WEARS A LARGE CARDBOARD SIGN WITH THE LEGEND : `` MURRAY THE BLINDMAN. YOU CAN SEE. I CA N'T. GIVE!'' INSCRIBED ON IT. BIALYSTOCK REACHES DOWN INTO HIS CUP AND GRABS A FIST FULL OF COINS. BIALYSTOCK Murray, I'm going to lunch. I took two dollars. MURRAY THE BLINDMAN Okay, Bialy, that makes six eighty you owe me. BIALYSTOCK I know. Do n't worry. You'll get it. You'll get it. MURRAY THE BLINDMAN -LRB- tapping his way along. -RRB- Well, do n't forget about it. I need it. Nobody understands. I'm competing with giants. The Greater New York Fund. The March of Dimes. The Community Chest. They're driving me out of business. BLOOM COMES DASHING BACK WITH HAT IN HAND. BLOOM -LRB- out of breath. -RRB- I got it, Mr. Bialystock. HE PROFFERS HAT TO BIALYSTOCK. BIALYSTOCK TAKES IT. BIALYSTOCK Thank you, Leo. And call me Max. You know, I do n't let everybody call me Max. It's only people I really like. BLOOM -LRB- trying it on. -RRB- Okay. Max! And you can call me Leo. BIALYSTOCK I already have. Come on. BLOOM Oh. BIALYSTOCK Where would you like to eat? BLOOM Well, Max, I do n't know, Max. What do you think, Max? BIALYSTOCK QUIETLY WINCES AT THE SURFEIT OF MAX. BIALYSTOCK Let me see. it's such a beautiful day. Why waste it indoors. I've got it! Let's go to Coney Island! We'll lunch at the sea shore. BLOOM Coney Island? BIALYSTOCK What's the matter, Leo? Do n't you like Coney Island? BLOOM I. I love it. I have n't been there since I was a kid. But it's nearly two o'clock. I really should be getting back to Whitehall and Marks. BIALYSTOCK Nonsense! As far as Whitehall and Marks are concerned, you're working with Bialystock, right? BLOOM Right. BIALYSTOCK Then stick with Bialystock! SWISH PAN CUT TO CONEY ISLAND. FAR SHOT OF BIALYSTOCK AND BLOOM AMIDST THE CROWD AT A CUSTARD STAND. CAMERA ZOOMS IN. TWO SHOT. BIALYSTOCK -LRB- to Custard Man. -RRB- We'll have another round. CUSTARD MAN What kind now, sports? BIALYSTOCK What kind now, Leo? BLOOM -LRB- he's loosening up. -RRB- I do n't know. Let's see. We've had chocolate, vanilla, banana - let's go green. BIALYSTOCK -LRB- to Custard Man. -RRB- Two pistachios, my good man. CUSTARD MAN I'm not your good man, I happen to own this establishment. -LRB- he turns to fill the order. -RRB- BIALYSTOCK Everybody's a big shot. -LRB- turns to Bloom. -RRB- Well, Leo, are you having a good time? BLOOM I do n't know. I think so. I feel very strange. BIALYSTOCK Maybe you're happy. BLOOM Yes. That's it. Happy. Well, whatta ya think of that. Happy. QUICK DISSOLVE TO BIALYSTOCK AND BLOOM ON THE WHIP -LRB- A CONEY ISLAND RIDE -RRB-. THEY ARE TIGHTLY SQUEEZED INTO ONE OF THE MOVING SEATS. THEY ARE BETWEEN `` WHIPS''. BLOOM -LRB- licking his pistachio custard. He is ecstatic. -RRB- I love it. I love it. Get set. We're coming to another turn. BIALYSTOCK -LRB- working, relentlessly working on Bloom. -RRB- Bloom, it can always be like this. Life can be beautiful. Let me show you. Stick with. THEY HIT THE TURN. BIALYSTOCK Bialysto - o - o - o - ckk. QUICK DISSOLVE TO BARKER SELLING TICKETS IN FRONT OF TUNNEL OF LOVE. MEDIUM SHOT OF EXIT. A LITTLE BOAT COMES OUT. IN IT ARE A MAN AND A WOMAN EMBRACING. IT IS FOLLOWED BY ANOTHER. IN IT THERE IS A SAILOR KISSING A GIRL. BOAT NUMBER THREE COMES OUT. IN IT ARE BIALYSTOCK AND BLOOM. CLOSE IN TO A TIGHT TWO SHOT. BLOOM IS MESMERIZED. BIALYSTOCK SPEAKS IN A SOFT, ENCHANTING TONE. BIALYSTOCK Money is honey. Money is honey. Money can put soft things next to your skin. Silk. satin. women. CLOSE - UP OF BLOOM'S EYES. THEY WIDEN ON THE WORD `` WOMEN.'' QUICK DISSOLVE TO PARACHUTE JUMP. BIALYSTOCK AND BLOOM ARE SEATED IN A LITTLE GONDOLA THAT SWINGS BENEATH A HUGE PARACHUTE. THEY ARE BUCKLING THEMSELVES IN. BLOOM But if we're caught, we'll go to prison. BIALYSTOCK -LRB- sensing victory, he marshals his forces for the final assault. -RRB- You think you're not in prison now? Living in a grey little room. Going to a grey little job. Leading a grey little life. BLOOM You're right. You're absolutely right. I'm a nothing. I spend my life counting other people's money - people I'm smarter than, better than. Where's my share? Where's Leo Bloom's share? I want, I want, I want, I want everything I've ever seen in the movies! THE PARACHUTE BEGINS TO ASCEND. WE FOLLOW. BLOOM -LRB- coming out of it. -RRB- Hey, we're going up. BIALYSTOCK You bet your boots, Leo. It's Bialystock and Bloom - on the rise. Upward and onward. Say, you'll join me. Nothing can stop us. BIALYSTOCK OFFERS HIS HAND TO BLOOM. BLOOM -LRB- shouting at the top of his lungs. -RRB- I'll do it! By God, I'll do it! BLOOM GRABS BIALYSTOCK'S HAND AND SHAKES IT FIRMLY. BIALYSTOCK This is where we belong, Leo. On top of the world. Top of the world! THEY HIT THE TOP. THE PARACHUTE IS RELEASED, THEY QUICKLY PLUMMET DOWN. BIALYSTOCK Oiiiiiii! BLOOM Ohhhhhhhh! BIALYSTOCK AND BLOOM DROP OUT OF FRAME. SLOW DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. OVERHEAD SHOT. BIALYSTOCK AND BLOOM ARE BATHED IN A SMALL POOL OF CONCENTRATED LIGHT. THEY ARE DOWN TO THEIR SHIRT SLEEVES. THEY ARE FEVERISHLY READING PLAY MANUSCRIPTS. ALL ABOUT THEM ARE STREWN COFFEE CONTAINERS, SOME EMPTY, SOME HALF - FILLED. THERE IS A HUGE PILE OF DISCARDED SCRIPTS ON THE FLOOR. CUT TO TIGHT SHOT OF LEO BLOOM AS HE READS SCRIPT. HE LOOKS UP, PUSHES HIS GLASSES BACK AND MASSAGES THE BRIDGE OF HIS NOSE. BLOOM Max, let's call it a night. It's two in the morning. I do n't know what I'm reading anymore. PULL BACK TO TWO SHOT. BIALYSTOCK Read, read. We've got to find the worst play ever written. BIALYSTOCK TURNS HIS ATTENTION TO A NEW SCRIPT. HE CRACKS IT OPEN AND BEGINS READING. BIALYSTOCK Hmmnn. `` Gregor Samsa awoke one morning to find he had been transformed into a giant cock - a - roach.'' IN A RAGE BIALYSTOCK FLINGS THE MANUSCRIPT ONTO THE PILE OF BIALYSTOCK It's good! CAMERA MOVES UP AND WE DISSOLVE THROUGH TO MEDIUM SHOT OF OFFICE. BIALYSTOCK AND BLOOM ARE THOROUGHLY DISHEVELED AND BADLY IN NEED OF A SHAVE. BLOOM -LRB- mumbling to himself as he reads. -RRB- Wait a minute, I've read this part. I'm reading plays I read this morning. HE GETS UP, STRETCHES, GOES TO WINDOW AND RAISES SHADE. SUNLIGHT FLOODS THE ROOM. HE REELS BACK AS THOUGH STRUCK. BLOOM Good lord, it's morning. Let's face it, we'll never find it. -LRB- he turns to face Bialystock. -RRB- Max, tomorrow's another day. Today's another day. BIALYSTOCK -LRB- off - camera. Crazy little voice. -RRB- We'll never find it, eh? We'll never find it, eh? Ha, ha, ha, ha, ha. CUT TO BIALYSTOCK. HE IS STANDING. AT HIS FEET LIES A SCRIPT. HE DANCES AROUND IT, HIS ARMS FOLDED ACROSS HIS CHEST. BIALYSTOCK -LRB- as he does an insane little jig around the script. -RRB- You ca n't smell it when it's under your nose. You ca n't see it when it's right before your eyes. You ca n't feel it when it's in your hand, when it's in your pocket. CUT TO MEDIUM SHOT. BLOOM Max, what is it? What are you doing? What's happening? BIALYSTOCK I'll tell you what's happening. We've struck gold. Not fool's gold, but real gold. The mother lode. The mother lode. The mother of them all. BLOOM -LRB- brightening. -RRB- You found a flop! BIALYSTOCK A flop, ha! That's putting it mildly. A disaster! A catastrophe! An outrage! A guaranteed - to - close - in - one - night beauty! HE BENDS DOWN, PICKS UP THE SCRIPT AND SHAKES IT IN BLOOM'S FACE. BIALYSTOCK This is freedom from want forever. This is a house in the country. This is a Rolls Royce and a Bentley. This is wine, women and song and women. BLOOM SNATCHES THE SCRIPT FROM HIS HANDS AND READS ALOUD THE TITLE. CUT TO CLOSE - UP. TITLE OF SCRIPT. BLOOM -LRB- voice over. -RRB- `` SPRINGTIME FOR HITLER, A Gay Romp with Adolph and Eva in Berchtesgarten.'' Fantastic! BACK TO TWO SHOT. BIALYSTOCK AND BLOOM. BIALYSTOCK It's practically a love letter to Hitler! BLOOM -LRB- ecstatic. -RRB- It wo n't run a week! BIALYSTOCK Run a week? Are you kidding? This play has got to close in the first act. BLOOM Who wrote it? CUT TO AUTHOR'S NAME ON THE MANUSCRIPT : By FRANZ LIEBKIND. DISSOLVE THROUGH AUTHOR'S NAME TO BIALYSTOCK AND BLOOM, SHAVED AND DAPPER, WALKING DOWN STREET IN A RUN - DOWN TENEMENT NEIGHBORHOOD. BLOOM Here it is - 415. THEY MARCH UP STOOP TO NUMBER 415. THEIR MOTION IS ARRESTED BY A QUERULOUS COMMAND ISSUED IN PHLEGMATIC TONES BY THE SUPERINTENDENT OF THE BUILDING -LRB- A WOMAN IN HER LATE FORTIES -RRB- WHO IS LEANING OUT OF HER WINDOW WHICH IS ADJACENT TO THE STOOP. SUPER Who do you want? BLOOM -LRB- taken aback. -RRB- I beg your pardon? SUPER Who do you want? No one gets in the building unless I know who they want. I'm the concierge. My husband used to be the concierge. He's dead. Now I'm the concierge. BIALYSTOCK -LRB- imperiously. -RRB- We are seeking Mr. Franz Liebkind. SUPER Oh, the kraut. He's on the top floor. Apartment twenty - three. BLOOM Thank you. THEY START INTO THE BUILDING. SUPER But you wo n't find him there. He's up on the roof with his birds. He keeps birds. Dirty, disgusting, filthy, lice - ridden birds. You used to be able to sit out on the stoop like a person. Not anymore. No sir. Birds! You get my drift? BLOOM We. uh. get your drift. Thank you, Madam. SUPER I'm not a madam. I'm a concierge. BIALYSTOCK AND BLOOM ENTER THE BUILDING. CUT TO FRANZ LIEBKIND. HE IS IN HIS EARLY FORTIES. HE IS WEARING, AS ALWAYS, A GERMAN HELMET. HE CROUCHES BESIDE A HUGE PIGEON COOP. IN HIS LEFT HAND HE TENDERLY HOLDS A PIGEON. IN HIS RIGHT, A SMALL PHOTO OF ADOLPH HITLER. HE SHOWS THE PICTURE TO THE BIRD. HE MOVES IT BACK AND FORTH UNTIL HE IS SURE THE BIRD IS FOCUSED ON IT PROPERLY. LIEBKIND -LRB- to pigeon. -RRB- Hilda, look. look good. Hilda, you're not looking. Hilda, if he lives, I know you will find him. HE KISSES THE BIRD AND TOSSES IT SKYWARD. CUT TO ROOF DOOR. BIALYSTOCK AND BLOOM ENTER ONTO THE ROOF. THEY LOOK FOR LIEBKIND. HE IS NOT ON THAT SIDE OF ROOF. THEY WALK AROUND TO OTHER SIDE. AS SOON AS THEY TURN THE CORNER, THEY SPOT LIEBKIND CROUCHED NEAR THE COOP. BLOOM -LRB- quietly to Bialystock. -RRB- He's wearing a German helmet. BIALYSTOCK -LRB- in a fierce whisper. -RRB- Shhh. Do n't say anything to offend him. We need that play. -LRB- cups his hands to his mouth and calls up to the coop. -RRB- Franz Liebkind? LIEBKIND IS NOT AWARE OF THEIR PRESENCE UNTIL HE HEARS HIS NAME CALLED. STARTLED, HE QUICKLY FLIPS HITLER'S PICTURE UNDER HIS HELMET. LIEBKIND -LRB- he speaks with a German accent. -RRB- I vas never a member of the Nazi party. I am not responsible. I only followed orders. Who are you? BIALYSTOCK Mr. Liebkind, wait. You do n't understand. LIEBKIND Vhy do you persecute me? My papers are in order. I love my country. -LRB- he sings. -RRB- `` Oh, beautiful for spacious skies, For amber vaves of grain.'' BIALYSTOCK Mr. Liebkind, wait. LIEBKIND -LRB- singing. -RRB- `` I'm a Yankee Doodle Dandy. BIALYSTOCK -LRB- interrupting. -RRB- Mr. Liebkind, relax, relax, we're not from the government. We came here to talk to you about your play. LIEBKIND My play? You mean, `` Springtime For.'' you know who? BIALYSTOCK Yes. LIEBKIND Vat about it? BIALYSTOCK We loved it. We thought it was a masterpiece. That's why we're here. We want to produce it on Broadway. LIEBKIND You're not, as you Americans say, dragging my leg, are you? BLOOM No, not at all sir, we're quite serious. We want to produce your play. -LRB- he reaches into his attache case and displays a legal looking document. -RRB- I have the contracts right here. LIEBKIND -LRB- looking up. -RRB- Oh joy of joys! Oh, dream of dreams! I ca n't believe it. -LRB- he turns to the pigeons. -RRB- Birds, birds, do you hear? Otto, Bertz, Heintz, Hans, Wolfgang, do you hear? Ve are going to clear the Fuhrer's name. Fly, fly, spread the words. HE OPENS THE CAGES AND SETS THE BIRDS FREE. LIEBKIND -LRB- singing at the top of his lungs. -RRB- `` Deutchland, Deutchland, uber alles, Uber alles in der velt.'' BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN ALARM. LIEBKIND -LRB- singing for all he's worth. -RRB- `` Deutchland, Deutchland.'' BLOOM -LRB- shouting. -RRB- Mr. Liebkind, Mr. Liebkind. LIEBKIND STOPS SINGING. LIEBKIND Vat? BLOOM People can hear you. LIEBKIND OH. -LRB- he sings. -RRB- `` I'm a Yankee Doodle Dandy, Yankee Doodle is my.'' Listen, this is not place to talk. Come! We go to my flat. An occasion like this calls for Schnapps. DISSOLVE TO FRANZ LIEBKIND'S APARTMENT. LIEBKIND HAS JUST FINISHED POURING THREE GLASSES OF SCHNAPPS. HE PUTS THE BOTTLE ON A TRAY. LIEBKIND -LRB- as he hands glasses to Bialystock and Bloom. -RRB- Mr. Bloom, Mr. Bialystock. Gentleman, with your permission, I would like to propose a toast to the greatest man that ever lived. Let us say his name quietly to ourselves. The walls have ears. CUT TO TIGHT SHOT OF FRANZ LIEBKIND. LIEBKIND -LRB- a fervent whisper. -RRB- Adolph Hitler. -LRB- he downs drink. -RRB- CUT TO TIGHT SHOT OF BLOOM. BLOOM -LRB- whisper. -RRB- Sigmund Freud. -LRB- he downs drink. -RRB- CUT TO TIGHT SHOT OF BIALYSTOCK. BIALYSTOCK -LRB- whisper. -RRB- Max Bialystock. -LRB- he downs drink. -RRB- BACK TO SCENE. LIEBKIND I vas vit him a great deal, you know. BIALYSTOCK With whom? LIEBKIND -LRB- astonished by the question. -RRB- Vit the Fuhrer, of course. He liked me. Out of all the household staff at Berchtesgarten, I vas his favorite. I vas the only one allowed into his chambers at bedtime. BIALYSTOCK No kidding? LIEBKIND Oh, sure. I used to take him his hot milk and his opium. Achhh, those were the days. Vat good times ve had. Dinner parties vit lovely ladies and gentlemen, singing und dancing. You know, not many people knew about it, but the Fuhrer vas a terrific dancer. BIALYSTOCK Really, I never dreamed. LIEBKIND -LRB- flies into an indignant rage. -RRB- That's because you were taken in by that verdampter Allied propaganda. Such filthy lies. But nobody said a bad vord about Winston Churchill, did they? Oh no, Vin Vit Vinnie! -LRB- he gestures V for victory. -RRB- Churchill, vit his cigars and his brandy and his rotten paintings. Could n't even say Nazi. He would say Narzis, Narzis. Ve vere not Narzies, ve vere Nazis. But let me tell this, and you're getting it straight from the horse, Hitler vas better looking than Churchill, he vas a better dresser than Churchill, had more hair, told funnier jokes, and could dance the pants off Churchill! BIALYSTOCK -LRB- swinging along. -RRB- That's exactly why we want to do this play. To show the world the true Hitler, the Hitler you knew, the Hitler you loved, the Hitler with a song in his heart. -LRB- to Bloom. -RRB- Leo, quick, the contract. BLOOM QUICKLY WHIPS THE CONTRACT OUT OF HIS POCKET, PRODUCES A PEN, HANDS THEM TO BIALYSTOCK. BIALYSTOCK SPREADS THE CONTRACT OUT ON THE TABLE BEFORE LIEBKIND. BIALYSTOCK Here, sign here, Franz Liebkind. And make your dream a reality. HE HANDS LIEBKIND THE PEN. LIEBKIND REFUSES IT. LIEBKIND Wait. No. How do I know I can trust you? How do I know you vill present this play in the manner and spirit in vhich it vas conceived? BIALYSTOCK We swear it! LIEBKIND Not good enough. Vould you be villing to take the Siegfried oath? BIALYSTOCK Yes. We would! INSERT : CLOSE - UP BLOOM. HE LOOKS WORRIED. LIEBKIND Good. I will make the preparations. LIEBKIND LEAVES THE ROOM. BLOOM -LRB- anxious whisper. -RRB- Max, I do n't want to take any Siegfried Oath. I do n't know what it is, but I do n't want to take it. We might end up in the German Army. BIALYSTOCK Shut up, you idiot. He's a harmless nut. Play along with him. It's almost in the bag. LIEBKIND ENTERS. HE IS LADEN DOWN WITH ALL SORTS OF RITUALISTIC PARAPHERNALIA. LIEBKIND PLACES ALL THE STUFF ON THE TABLE. WITHOUT A WORD TO THEM, HE GOES TO PHONOGRAPH. IN A FEW SECONDS WE HEAR THE OPENING STRAINS OF WAGNER'S `` RIDE OF THE VALKYRIES.'' AS THE MUSIC BOOMS LOUDER, LIEBKIND ADDRESSES THEM. LIEBKIND Please to don your helmets. FROM THE TABLE THEY TAKE CLASSIC WAGNERIAN HELMETS -LRB- WITH HORNS -RRB- AND PLACE THEM ON THEIR HEADS. LIEBKIND Please to light your candles. THEY EACH TAKE A HUGE WHITE CANDLE FROM THE TABLE AND LIGHT IT. LIEBKIND FLICKS THE LIGHT SWITCH. NOW THEY ARE IN THE DARK EXCEPT FOR THE GLOW OF THEIR CANDLES. LIEBKIND Please repeat after me. I solemnly swear. BIALYSTOCK AND BLOOM I solemnly swear. LIEBKIND By the sacred memory. BIALYSTOCK AND BLOOM By the sacred memory. LIEBKIND Of Siegfried. BIALYSTOCK AND BLOOM Of Siegfried. LIEBKIND Wagner. BIALYSTOCK AND BLOOM Wagner. LIEBKIND Nietzche. BIALYSTOCK AND BLOOM Nietzche. LIEBKIND Bismark. BIALYSTOCK AND BLOOM Bismark. LIEBKIND Hindenburg. BIALYSTOCK AND BLOOM Hindenburg. LIEBKIND The Graf Spee. BIALYSTOCK AND BLOOM The Graf Spee. LIEBKIND The Blue Max. BIALYSTOCK AND BLOOM The Blue Max. LIEBKIND And last, but not least, Adolph. you know who. BIALYSTOCK AND BLOOM And last, but not least, Adolph. you know who. LIEBKIND -LRB- saluting. -RRB- Heil you know who! BIALYSTOCK AND BLOOM -LRB- spiritlessly saluting. -RRB- Heil you know who! LIEBKIND Good. Good. Now ve sign the contract. BIALYSTOCK Good. Good. -LRB- he hands Liebkind the pen. -RRB- LIEBKIND No. No. Not in ink. We'll desecrate the oath. It must be done in blood. CUT TO BLOOM'S FACE. IT IS A SILENT OI. LIEBKIND Fingers, please. BIALYSTOCK AND BLOOM EXTEND THEIR FOREFINGERS AND LOOK THE OTHER WAY. LIEBKIND PRICKS THEM WITH THE SACRED SAFETY PIN, AND SQUEEZES A FEW DROPS OF BLOOD FROM EACH INTO THE SACRED VESSEL -LRB- A JAR COVER -RRB-. HE DOES THE SAME WITH HIS OWN FINGER. LIEBKIND Ve vill sign vit this sacred qvill taken from the last chicken I served at Berchtesgarten. LIEBKIND SIGNS. `` THE RIDE OF THE VALKYRIES'' REACHES ITS ZENITH. IT ECHOES THROUGH THE ROOM AS WE FADE OUT. FADE IN ON BIALYSTOCK AND BLOOM AS THEY WALK UP STREET AWAY FROM TENEMENT. IT IS LATE AFTERNOON. THEY ARE BOTH WEARING SWASTIKA ARM BANDS. BIALYSTOCK -LRB- triumphantly whacking the contract with the back of his hand. -RRB- There it is. in red and white! `` Springtime For Hitler,'' signed, sealed and delivered. -LRB- he notices Bloom's dour expression. -RRB- What's the matter with you? BLOOM Look, I'm just not wearing this arm band. I do n't care how big the deal is. BIALYSTOCK -LRB- placating him. -RRB- Okay, take it off, take it off. THEY TAKE OFF THEIR ARM BANDS AND TOSS THEM INTO A LITTER BASKET. BIALYSTOCK SPOTS A PASSING TAXI. HE WHISTLES. IT STOPS. BIALYSTOCK -LRB- to cab driver as he opens door. -RRB- The Blue Gypsy. BLOOM -LRB- about to enter cab with Bialystock. -RRB- Why are we going to the Blue Gypsy?! BIALYSTOCK -LRB- stopping Bloom from entering cab. -RRB- We are not going to The Blue Gypsy. I am going to The Blue Gypsy. BIALYSTOCK GETS INTO CAB AND SLAMS THE DOOR. HE CONTINUES SPEAKING TO BLOOM THROUGH THE WINDOW. BIALYSTOCK I have a rendez - vous with a lady of some means. You see dear Bloom, phase one is complete, the play is ours. We are now entering phase two - the raising of the money. In the days to come, you will see very little of me, for Bialystock is launching himself into little - old - lady - land. -LRB- to cab driver. -RRB- Avanti! THE CAB SPEEDS AWAY. SWISH PAN CUT TO TIGHT SHOT OF LITTLE OLD LADY # 3. IN HER HAND SHE HOLDS A BUBBLING GLASS OF CHAMPAGNE. SHE RAISES IT TO BIALYSTOCK. PULL BACK TO TWO SHOT OF BIALYSTOCK AND LITTLE OLD LADY. THEY ARE SEATED IN A CORNER BOOTH OF A LITTLE VIENNESE CAFE. LITTLE OLD LADY #3 Here's to the success of your new play. BIALYSTOCK RAISES HIS GLASS. BIALYSTOCK Our play, my love. HE GALLANTLY INTERTWINES HIS ARMS IN HERS IN A LOVER'S TOAST. IT IS HARD TO DRINK WITH ARMS ENTWINED, ESPECIALLY IF ONE OF THE ARMS IS ATTACHED TO A LITTLE OLD LADY. THE TOAST IS A FIASCO, BIALYSTOCK GETTING MOST OF THE CHAMPAGNE OVER HIS VEST AND TROUSERS. LITTLE OLD LADY #3 Oh, I'm sorry, Bialy, did I wet you? BIALYSTOCK Think nothing of it, my dear. A mere trifle. A mere trifle. Did you bring your checkbook? LITTLE OLD LADY #3 It's right here in my purse and I made it out just as you told me - to cash. That's a funny name for a play. BIALYSTOCK Think nothing of it. SHE SNAPS OPEN HER LITTLE BEADED PURSE, TAKES OUT THE CHECK AND BEGINS TO HAND IT TO BIALYSTOCK. AT THIS MOMENT, WE ARE ASSAULTED BY THE PASSIONATE SOUND OF A CRYING VIOLIN. CAMERA PULLS BACK TO REVEAL A VIOLINIST IN GYPSY ATTIRE CLOSING IN ON THE TABLE. THE LITTLE OLD LADY IS DELIGHTED BY THE VIOLINIST AND UNFORTUNATELY FOR BIALYSTOCK STOPS THE PASSAGE OF THE CHECK AS HER ATTENTION IS DIVERTED. BIALYSTOCK CAUTIOUSLY REACHES OUT TO SNATCH THE CHECK BUT EACH TIME THAT HE DOES, A TURN IN THE MUSIC MAKES THE LITTLE OLD LADY CLUTCH HER HEART. BIALYSTOCK IS VERY UNHAPPY. HE QUIETLY BRINGS HIS FOOT FROM BENEATH THE TABLE AND PLACES IT DIRECTLY OVER THE FOOT OF THE VIOLINIST. CUT TO CLOSE - UP OF BIALYSTOCK'S FOOT POISED OVER VIOLINIST'S FOOT. BIALYSTOCK PROCEEDS TO CRUSH VIOLINIST'S FOOT. CUT TO VIOLINIST'S FACE. SOMEHOW IT CONVEYS TO US ALL THE MISERY AND PAIN OF THE HUMAN CONDITION. WITH EYES CROSSED BY GRIEF, HE LIMPS TO ANOTHER TABLE. BIALYSTOCK QUICKLY REACHES OUT AND SNATCHES THE CHECK. SWISH PAN CUT TO HANSOM CAB THREADING ITS WAY THROUGH CENTRAL PARK. NIGHT. CUT TO INTERIOR OF CAB. BIALYSTOCK IS COZILY ENSCONCED WITH LITTLE OLD LADY # 4. BIALYSTOCK -LRB- taking check from old lady. -RRB- Thank you, my dear. LITTLE OLD LADY #4 Oh, Bialy, Bialy, tell me again. Tell me again. BIALYSTOCK Edna, I swear on my life, you do n't look a day over sixty - five. SWISH PAN CUT TO CITY TRAFFIC. DAY. A TAXI FILLS THE SCREEN. AS IT MOVES OUT OF FRAME, WE DISCOVER BIALYSTOCK AND LITTLE OLD LADY # 5 ASTRIDE A RED AND WHITE HONDA MOTOR SCOOTER. AS THEY ROAR PAST THE CAMERA, BIALYSTOCK SHOUTS. BIALYSTOCK Clear the road! Clear the road! LITTLE OLD LADY #5 -LRB- clutching Bialystock fiercely. -RRB- Go, Bialy, baby, go! SWISH PAN CUT TO POSH PARK AVENUE APARTMENT. NIGHT. A PRIVATE CONCERN IS IN PROGRESS. A THIN, CONSUMPTIVE - LOOKING YOUNG MAN FINGERS HIS WAY THROUGH A CHOPIN NOCTURNE. CAMERA SLOWLY PANS THE ROOM. SEATED IN A SEMI - CIRCLE AROUND THE PIANO ON VARIOUS PIECES OF DELICATE EMPIRE FURNITURE IS AN AUSTERE GROUP OF ELDERLY DIGNIFIED PATRONS OF THE ARTS. SUDDENLY AN OLD LADY'S SHRIEK RENDS THE AIR. EVERYONE'S HEAD TURNS. LITTLE OLD LADY #6 -LRB- slightly flustered. -RRB- Go on with the concert! Go on with the concert! It's nothing. Nothing. BIALYSTOCK STARES STRAIGHT AHEAD. LITTLE OLD LADY #6 -LRB- to Bialystock, smiling. -RRB- You dirty man. SWISH PAN CUT TO NEW YORK STREET. OLD FASHIONED LIMOUSINE PULLS INTO VIEW. THE WINDOW SHADES ARE DRAWN. AS IT PASSES, WE DETECT STRANGE SOUNDS EMANATING FROM THE INTERIOR. LITTLE OLD LADY #7 -LRB- off camera. -RRB- Tee hee, ha ha ha, ho ho, ooo, ooo, teehee hee. BIALYSTOCK -LRB- off camera, simultaneously. -RRB- Heh, heh, heh. Hah, hah, hah. THE CAR DRIVES OUT OF FRAME. SWISH PAN CUT TO SCULPTOR'S ATELIER. DAY. AN ANCIENT LITTLE OLD LADY WEARING A SCULPTOR'S SMOCK IS FEEBLY CHIPPING AWAY WITH CHISEL AND HAMMER AT A HUGE SQUARE BLOCK OF MARBLE. SHE MAKES NOT A SCRATCH ON IT. CAMERA DOLLIES BACK TO REVEAL BIALYSTOCK, HER SUBJECT, STANDING NUDE, EXCEPT FOR LOIN CLOTH, HOLDING UP AN ENORMOUS GLOBE. HE IS OBVIOUSLY ATLAS. LITTLE OLD LADY #8 -LRB- stepping back to admire her work. -RRB- Well, Bialy, how's it coming? BIALYSTOCK It's beautiful, Alma, beautiful. -LRB- to the heavens. -RRB- Oi. SWISH PAN CUT TO LIVING ROOM. NIGHT. BIALYSTOCK, DRESSED AS A TURKISH SLAVE, IS ASLEEP ON THE SOFA. THE ROOM HAS BEEN DONE IN A BYZANTINE DECOR. THE STRAINS OF SCHEHERAZADE SOFTLY FILL THE ROOM. SUDDENLY A WHIP COMES FLASHING INTO THE FRAME AND WHACKS AGAINST THE TORSO OF THE SLEEPING BIALYSTOCK. SHOT WIDENS TO REVEAL ` HOLD ME, TOUCH ME' WIELDING THE WHIP. SHE IS DRESSED IN AN ` ARABIAN NIGHTS' COSTUME. HOLD ME, TOUCH ME Dance! Dance, slave! BIALYSTOCK IS UP IN A FLASH AND INTO A QUICK TURKISH TIME STEP SO AS TO AVOID THE DEADLY LASH. BIALYSTOCK How's this? HOLD ME, TOUCH ME Faster, faster, you dog. Excite me, delight me. Hold me, touch me. CUT TO CLOSE - UP OF BIALYSTOCK'S FACE AS HE DANCES. BIALYSTOCK -LRB- murmuring to himself. -RRB- Money is honey, money is honey. DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. BIALYSTOCK IS SEATED AT THE DESK. ON ONE SIDE OF HIM IS A LARGE STACK OF SIGNED INVESTOR CONTRACTS. ON THE OTHER AN EQUALLY LARGE PILE OF UNSIGNED ONES. BIALYSTOCK SIGNS FURIOUSLY, AS BLOOM FEEDS THE CONTRACTS TO HIM. BLOOM -LRB- handing Bialystock contract. -RRB- Mrs. Sarah Catheart. She owns 50 % of the profits. BIALYSTOCK DUTIFULLY SIGNS. BLOOM TAKES ANOTHER AND PLACES IT BEFORE BIALYSTOCK. BLOOM Mrs. Eleanor Biddlecombe. She also owns 50 % of the profits. BIALYSTOCK SIGNS. BLOOM PUTS THE NEXT ONE DOWN. BLOOM Mrs. Virginia Resnick. She also owns 50 % of the profits. BIALYSTOCK SIGNS. BLOOM TAKES ANOTHER. BLOOM Mrs. Alma Wentworth. She owns 100 % of the profits. BIALYSTOCK SIGNS. THEN LOOKS UP AT BLOOM. BIALYSTOCK Leo, what if this play is a hit? BLOOM Then the Department of Justice owns 100 % of Bialystock and Bloom. BIALYSTOCK -LRB- Bloom's thought makes him unhappy. -RRB- OI. I'm depressed. Leo, do me a favor. Open the safe. I want to see the money. LEO, HUMORING HIM, SPINS THE COMBINATION DIAL ON SAFE AND OPENS IT. CUT TO INSIDE OF SAFE. IT IS JAMMED FULL OF NEATLY STACKED PILES OF MONEY. CUT TO BIALYSTOCK ON HIS HANDS AND KNEES IN FRONT OF SAFE. BIALYSTOCK -LRB- to himself. Inhales deeply. -RRB- That's better. BIALYSTOCK TAKES OUT A STACK OF NEATLY FOLDED BILLS. HE SMELLS IT, KISSES IT AND PUTS IT IN HIS POCKET. BLOOM What are you doing? BIALYSTOCK I'm going to buy a toy. I worked very, very hard and I think I deserve a toy. BLOOM -LRB- quizzically. -RRB- A toy? DISSOLVE TO CLOSE - UP, FACE OF A GORGEOUS BLONDE, ULLA. DOLLY BACK TO REVEAL THE REST OF HER. SHE IS INCREDIBLY WELL - ENDOWED. CUT TO BIALYSTOCK AND BLOOM. THEIR EYES GLUED TO HER FORM. BLOOM That's a toy? BIALYSTOCK Yes. She's an adult, educational toy made in Sweden for children over fifty. BLOOM STARES AT HIM. BIALYSTOCK Stop looking at me like that. She's not an indulgence. She happens to be our new receptionist. She goes with our new surroundings. QUICKLY PAN POSH NEW WALL - PAPER, FURNISHINGS, ETC.. BIALYSTOCK Ulla, I'd like you to meet my partner and associate, Mr. Leo Bloom. ULLA Got dag pa dig. BLOOM How do you do. -LRB- to Bialystock. -RRB- Have you gone mad? A receptionist that ca n't speak English. What will people say? BIALYSTOCK They'll say, `` Oooh, wah, wah, wah, ooh, ooh.'' BLOOM What is she gon na do here? BIALYSTOCK I'll show you. Ulla, go to work. ULLA Ya, sur. ULLA GOES TO PHONOGRAPH AND PLACES NEEDLE ON RECORD. THE DRIVING SOUND OF A TWIST FILLS THE ROOM. ULLA SENSUOUSLY TWISTS, VIBRATES, FRUGS, WATUSIS AND ROCKS HER BODY IN TIME WITH MUSIC. BIALYSTOCK See, it helps the day go by. Ulla, okay. Okay. ULLA STOPS, GOES TO PHONOGRAPH AND TAKES NEEDLE OFF. BIALYSTOCK Go to desk. Answer telephone. HE PICKS UP PHONE TO SHOW HER. BIALYSTOCK Bialystock and Bloom. Bialystock and Bloom. ULLA -LRB- repeating to herself as she leaves. -RRB- Bialystock and Blum. Bialystock and Blum. Bialystock and Blum. Got dag pa dig. Bialystock and Blum. BIALYSTOCK -LRB- to Bloom, opening up a box on his desk. -RRB- Hey, Blum, have a cigar. BLOOM No thanks. BIALYSTOCK TAKES AN ENORMOUS BLACK CIGAR. BLOOM Max, maybe. BIALYSTOCK REACHES UNDER HIS DESK. PRESSES BUZZER. WE HEAR BUZZING SOUND IN ANTE - ROOM. BLOOM What's that? BIALYSTOCK Nothing. Nothing. Go on. ULLA ENTERS. GOES TO DESK, PICKS UP CIGARETTE LIGHTER, LIGHTS BIALYSTOCK'S CIGAR, KISSES HIM. ULLA -LRB- pinching Bialystock's cheek. -RRB- Min Bialystock. ULLA LEAVES. BIALYSTOCK Nice girl. BLOOM Max, as I was saying, maybe we should go easy on the spending. I mean these offices and everything. BIALYSTOCK Why? Take it when you can get it! Flaunt it, baby, flaunt it! BLOOM But if something should. God forbid. go wrong, at least we could give them some of their money back. It would look better in court. BIALYSTOCK Stop talking like that, you white mouse! Nothing's going to go wrong. As a matter of fact, today I have taken steps to insure total disaster. At two o'clock we have an appointment with none other than Roger De Bris. BLOOM -LRB- searching. -RRB- Roger De Bris. Roger De Bris. Oh yes, the director. Is he good. I mean bad? BIALYSTOCK Roger De Bris is the worst director that ever lived. BLOOM Do you think he'll take the job? BIALYSTOCK Only if we ask him. BIALYSTOCK CONSULTS HIS WATCH. BIALYSTOCK Come on. We'd better hurry. We're late. BIALYSTOCK BUZZES. ULLA ENTERS. BIALYSTOCK Call chauffeur. Get car. ULLA -LRB- smiling. -RRB- Good. Good. We go Motel. BIALYSTOCK No. We go. -LRB- he indicates Bloom and himself. -RRB- ULLA You, Blum go Motel. BIALYSTOCK No. No Motel. Get car. Get car. ULLA -LRB- as she leaves. -RRB- Get car. Get car. BIALYSTOCK Very nice girl. DISSOLVE TO STREET IN FRONT OF CHIC TOWNHOUSE UPPER SIXTIES. DAY. A WHITE ROLLS ROYCE LIMO PULLS UP. A LIVERIED CHAUFFEUR WITH SMALL LATIN - TYPE MUSTACHE GETS OUT AND OPENS DOOR FOR PASSENGERS. BIALYSTOCK AND BLOOM GET OUT. BIALYSTOCK -LRB- to chauffeur. -RRB- Thank you, Rudolfo. BIALYSTOCK AND BLOOM CLIMB THE STEPS TO THE FRONT DOOR. BIALYSTOCK PUSHES THE DOORBELL. WE HEAR CHIMES. BIALYSTOCK -LRB- whispering. -RRB- Now do n't let anything he does or says upset you. He's a little peculiar. BLOOM What do you mean? THE DOOR OPENS. FRAMED IN THE DOORWAY IS A THIN, STRANGE LOOKING MAN IN A BLACK TURTLENECK SWEATER. -LRB- CARMEN GIYA -RRB- HE CONTEMPLATES THEM COLDLY. CARMEN Yesssssss? BIALYSTOCK I am Max Bialystock. This is my associate, Mr. Bloom. We have an appointment with Mr. De Bris. CARMEN Ah, yes, you're expected. Please come in. THEY ENTER THE VESTIBULE. CARMEN CLOSES THE DOOR BEHIND THEM. CARMEN How do you do. I'm Carmen Giya, Mr. De Bris' private secretary. Would you be so kind as to remove your shoes. BIALYSTOCK AND BLOOM LOOK AT EACH OTHER BEWILDERED. CARMEN White, white, white is the color of our carpets. BIALYSTOCK AND BLOOM REMOVE THEIR SHOES. CARMEN -LRB- to Bloom indicating a rack of slippers. -RRB- Now, let's see, you're wearing grey. I would suggest the crimson. They're a little vivid, but your suit is so quiet. -LRB- to Bialystock, studying his mish mash attire. -RRB- Why do n't you. Oh, take anything. Please follow me. CARMEN LEADS THE WAY. BIALYSTOCK AND BLOOM SCUFF AFTER HIM. WE FOLLOW THEM DOWN A NARROW CORRIDOR LINED WITH EXAMPLES OF CLASSIC GREEK SCULPTURE - EACH ONE DEPICTING NUDE MALES IN VARIOUS POSES.","INT: ELEVATOR. CUT TO ROGER DE BRIS' BOUDOIR SITTING ROOM. IT IS ELEGANTLY FEMININE. CHAISE LOUNGE, ANTIQUE MIRRORS, LOUIS XVI ARMOIRE AND DRESSING TABLE. FROM BEHIND AN ORNATE DRESSING SCREEN, WE HEAR MUFFLED SOUNDS OF DISCONTENT. DE BRIS -LRB- from behind screen. -RRB- I'll never get into this damned thing. CUT TO BOUDOIR ENTRANCE. CARMEN, BIALYSTOCK AND BLOOM ENTER. CARMEN -LRB- to De Bris. -RRB- We're not alone. DE BRIS' HEAD POPS OVER THE SCREEN. HE IS A ONCE HANDSOME, NOW DISSIPATED MAN IN HIS LATE FORTIES. DE BRIS Ah, Messers Bialystock and Bloom, I presume. Ha, ha, ha, forgive the pun. BLOOM -LRB- to Bialystock. -RRB- What pun? BIALYSTOCK -LRB- a curt whisper. -RRB- Shut up. He thinks he's witty. -LRB- to De Bris. -RRB- It's good to see you again, Roger. Did you get a chance to read `` Springtime For Hitler?'' DE BRIS EMERGES FROM BEHIND THE SCREEN. HE IS WEARING A `` LADY WINDERMERE'S FAN'' STYLE DRESS. DE BRIS Remarkable. Remarkable. A stunning piece of work. BLOOM -LRB- shocked, whispers. -RRB- Max! He's wearing a dress. -LRB- his mouth remains open. -RRB- BIALYSTOCK Shhhhhh. DE BRIS -LRB- continuing. -RRB- I think it's a very important play. I, for one, never realized that the Third Reich meant Germany. I mean it's drenched with historical goodies like that. DE BRIS IS SUDDENLY AWARE OF BLOOM'S EXPRESSION. -LRB- BLOOM'S MOUTH IS STILL AGAPE. -RRB- DE BRIS Oh, dear, you're staring at my dress. I should explain. I'm going to the Choreographer's Ball tonight. There's a prize for the best costume. CARMEN -LRB- smugly. -RRB- We always win. DE BRIS -LRB- looking in the mirror. -RRB- I'm not so sure about tonight. I'm supposed to be the Grand Duchess - I think I look more like Tugboat Annie. What do you think? HE PARADES BACK AND FORTH, EXECUTING SHARP TURNS LIKE A MODEL AT A FASHION SHOW. DE BRIS No be cruel. Be brutal. Be brutal. Because heaven knows they will. Well, what do you think, Mr. Bloom? BLOOM -LRB- very embarrassed. -RRB- Well, it's. uh. it's nice and long. I mean, it's. uh. uh. where do you keep your wallet? BIALYSTOCK -LRB- jumping in. -RRB- It's gorgeous. Absolutely gorgeous. You could n't have picked a better color. It brings out your eyes. Let's face it, Roger, that dress is you. DE BRIS -LRB- his eyes flashing flirtatiously. -RRB- Do you really think it brings out my eyes? CARMEN -LRB- irritated. -RRB- We ca n't tell a thing without your wig. As far as I'm concerned, you're only half - dressed. DE BRIS Ummmm. Well, if you're so worried about the wig, get it, o' wicked witch of the west. CARMEN TURNS IN A HUFF AND LEAVES TO GET THE WIG. DE BRIS REACHES INTO CUT CRYSTAL CIGARETTE BOX, TAKES CIGARETTE, TAPS IT, AND HOLDS IT FOR A LIGHT. BIALYSTOCK -LRB- in a whisper to Bloom. -RRB- Quick, light his cigarette. He likes you. BLOOM NERVOUSLY REACHES FOR A BOOK OF MATCHES, RIPS ONE OUT AND STRIKES IT. IT DOES N'T LIGHT. HE TRIES ANOTHER AND ANOTHER. ONE FINALLY CATCHES FIRE. HE TRIES TO HOLD IT STEADY, BUT HE IS TOO NERVOUS. DE BRIS FIRMLY PLACES HIS HAND OVER BLOOM'S TO STEADY THE FLAME. DE BRIS Did n't I meet you on a summer cruise? HE LIGHTS THE CIGARETTE BUT CONTINUES TO HOLD BLOOM'S HAND. BLOOM I've. I've. never been on a cruise. DE BRIS Oh, quel dommage. CARMEN ENTERS CARRYING WIG. HE SEES DE BRIS HOLDING BLOOM'S HAND. CARMEN -LRB- snidely. -RRB- Oh, I see we're getting acquainted. DE BRIS DROPS BLOOM'S HAND AND TURNS ON CARMEN. DE BRIS How would you like to go back to teasing hair, big mouth? BIALYSTOCK Roger, do you mind if we talk a little business? DE BRIS Please, please, that's what we're here for. -LRB- to Carmen, who is adjusting the wig. -RRB- Be careful, that hurt. BIALYSTOCK I think this would be a marvelous opportunity for you, Roger. Up to now, you've always been associated with musicals, and. DE BRIS Yes. Dopey show - girls in gooey gowns. Two - three - kick - turn! Turn - turn - kick - turn! It's enough to make you throw up! At last a chance to do straight drama! To deal with conflict, with inner truth. Roger De Bris presents history. Of course, I think we should add a little music. That whole third act has got to go. They're losing the war. It's too depressing. We'll have to put something in there. -LRB- gripped by his vision. -RRB- Aaahghhh! I see it! A line of beautiful girls, dressed as Storm Troopers, black patent leather boots, all marching together. Two - three - kick - turn! Turn - turn - kick - turn! BIALYSTOCK That's genius. That's genius. Roger, I think I speak for Mr. Bloom and myself when I say that you're the only man in the world who can do justice to SPRINGTIME FOR HITLER. DE BRIS -LRB- in one rush. -RRB- Wait a minute. This is a very big decision. It might effect the course of my entire life. I'll have to think about it. I'll do it. DE BRIS EXTENDS HIS HAND. BIALYSTOCK SHAKES IT. BIALYSTOCK Congratulations. DE BRIS -LRB- to Carmen. -RRB- Get on the phone. Send out a casting call. Call every agent in town. I want to see everybody. Everybody. DISSOLVE TO STAGE DOOR OF BROADWAY THEATRE. DAY. SIGN ON DOOR READS : CASTING TODAY - SPRINGTIME FOR HITLER. QUICK DISSOLVE TO INTERIOR OF THEATRE. THE PLACE IS A MADHOUSE. HUNDREDS OF WOULD - BE HITLERS FILL THE STAGE. EACH AND EVERY ONE WITH THE FUHRER'S HAIRCUT AND LITTLE SQUARE MUSTACHE. THERE ARE TALL HITLERS, SHORT HITLERS, FAT HITLERS, SKINNY HITLERS, METHOD HITLERS, SHAKESPEAREAN HITLERS, ALL KINDS HITLERS. CUT TO FIRST ROW OF AUDIENCE. SEATED THERE, WATCHING THE BEDLAM, ARE BIALYSTOCK AND BLOOM, DE BRIS, CARMEN GIYA AND FRANZ LIEBKIND. BIALYSTOCK -LRB- looking for the least likely Hitler. -RRB- Roger, what about that one? The fat Hitler on the right? DE BRIS I do n't know. I rather fancy that one. CUT TO BEAUTIFUL, BLOND, MUSCULAR, YOUNG MAN, WHO LOOKS AS IF HE IS POSING FOR `` BODY BEAUTIFUL.'' HE BEARS NOT THE SLIGHTEST RESEMBLANCE TO HITLER EVEN THOUGH HE DOES SPORT A LITTLE BLACK MUSTACHE. CUT BACK TO BIALYSTOCK. BIALYSTOCK Not bad. Not bad. What do you think, Franz? LIEBKIND -LRB- very emotional. -RRB- I do n't know. I do n't know. For some strange reason, I'm deeply moved. -LRB- he wipes away a tear. -RRB- DE BRIS -LRB- getting to his feet. -RRB- Oh, this is bedlam, bedlam. We must have some order. DE BRIS, FOLLOWED BY CARMEN, HOPS TO THE STAGE AND ADDRESSES THE MILLING MOB. DE BRIS -LRB- clapping his hands for attention. -RRB- Will all the dancing Hitlers please wait in the wings. We're only taking the singing Hitlers. AS THE DANCING HITLERS LEAVE THE STAGE, CARMEN ARRANGES THE SINGING HITLERS SO THAT THEY ARE IN A LONG STRAIGHT LINE AGAINST THE BACK OF THE STAGE WALL. CARMEN READS OUT A NAME AND THE FIRST SINGING HITLER WALKS DOWNSTAGE TO AUDITION. EXCEPT FOR A SPORTY LITTLE HITLER MUSTACHE, HE BEARS LITTLE RESEMBLANCE TO THE FUHRER. CARMEN Arthur Packard. DE BRIS Hello, Arthur. Tell us something about yourself. ARTHUR PACKARD -LRB- in a strangulated tenor's voice. -RRB- I was the lead tenor of the Albuquerque Opera Company for two seasons. I just finished a road tour of STUDENT PRINCE. And last season I was up for the lead in the Broadway production of Circus Man. DE BRIS What happened? ARTHUR PACKARD I did n't get it. DE BRIS What are you going to sing for us Arthur? AS ARTHUR TELLS HIM THE TITLE OF HIS SONG, DE BRIS MOUTHS IT WORD FOR WORD TOWARD HIS FRIEND, CARMEN. ARTHUR PACKARD The soliloquy from CAROUSEL. FROM THE PIT THE PIANO PLAYS A FOUR BAR INTRODUCTION. ARTHUR PACKARD -LRB- sings. -RRB- My boy Bill will be strong and as tall as a. DE BRIS Thank you. ARTHUR SHRUGS AND LEAVES THE STAGE. DE BRIS Next please. CARMEN Jason Green. JASON GREEN COMES DOWNSTAGE. HE IS A BIG, BARREL - CHESTED MAN. HE ALSO WEARS HITLER - TYPE MUSTACHE. DE BRIS Well, Jason, what have you been doing lately? JASON GREEN -LRB- in basso profundo. -RRB- For the last sixteen years, I've been touring with `` Naughty Marietta.'' DE BRIS Good. And what are you going to sing for us, Jason? AS JASON TELLS HIM THE SONG'S TITLE, DE BRIS ONCE AGAIN MOUTHS IT WORD FOR WORD WITH HIM. JASON GREEN `` Stout - hearted Men.'' BEGINNING OF `` STOUT - HEARTED MEN'' MONTAGE. THERE IS A SHORT PIANO INTRODUCTION. JASON GREEN -LRB- singing. -RRB- `` Give me some men Who are stout - hearted men Who will fight for the right they adore.'' DE BRIS -LRB- off - camera voice. -RRB- Thaaank you. DISSOLVE TO A NEW HITLER SINGING -LRB- LITTLE BALD MAN -RRB- BALD HITLER -LRB- singing. -RRB- `` Show me some men Who are stout - hearted men And I'll soon show you ten thousand more.'' DE BRIS -LRB- off - camera voice. -RRB- Thaaank you. DISSOLVE TO ANOTHER HITLER -LRB- ITALIAN BASSO -RRB- ITALIAN HITLER -LRB- singing. -RRB- `` Shoulder to shoulder and bolder and bolder They grow as they march to the war.'' DE BRIS -LRB- voice off camera. -RRB- Thaaank you. DISSOLVE TO DELICATE HITLER DELICATE HITLER -LRB- singing. -RRB- `` There is nothing in this world can halt or mar our plan.'' DE BRIS -LRB- voice off camera. -RRB- Thaank you. DISSOLVE TO SHORT - HAIRED WOMAN HITLER SHORT-HAIRED WOMAN HITLER `` When stout - hearted men Will get together man to man.'' DE BRIS -LRB- voice off camera. -RRB- Thaaank you. CUT TO CARMEN GIYA ON STAGE. IT IS NOW EMPTY. CARMEN Well, that's it. CUT TO FIRST ROW OF AUDIENCE. SLOW PAN BIALYSTOCK, BLOOM, DE BRIS, AD LIEBKIND. THEY ARE TIRED, DISHEVELED AND UNHAPPY. BLOOM I think that's enough Hitlers for one day. Maybe we'll get lucky tomorrow. BIALYSTOCK You think out of all those Hitlers you could find just one. LIEBKIND It was the same thing in Germany. We looked for years before we found the right Hitler. FROM OFF - STAGE WE HEAR THE SHARP CLICK OF BOOTS APPROACHING. ALL EYES TURN TOWARD THE STAGE. FROM OUT OF THE WINGS STEPS A YOUNG PERSON IN A LEATHER DOUBLET, HIGH LEATHER BOOTS, AND EXTREMELY LONG HAIR. IT CARRIES A GUITAR. UNTIL IT SPEAKS, WE ARE NOT SURE WHETHER IT IS A YOUNG MAN OR A YOUNG WOMAN. -LRB- LORENZO ST. DU BOIS -RRB- LSD Hey, man. CARMEN I beg your pardon. LSD Is this where they're auditioning Boomerang? CARMEN -LRB- studying him coldly. -RRB- No, I'm afraid you've wandered into the wrong theatre. LSD -LRB- to himself, as he starts to leave. -RRB- Man, freaked out again. BIALYSTOCK -LRB- leaping to his feet. -RRB- Wait! This is Boomerang. This is Boomerang. DE BRIS -LRB- to Bialystock. -RRB- What are you saying? BIALYSTOCK Let's hear him. What have we got to lose? -LRB- to LSD. -RRB- What's your name? LSD Lorenzo Saint DuBois. But everybody calls me LSD. DE BRIS What have you done, LSD? LSD Six months, I'm out on probation, but it's cool now, baby. DE BRIS I mean in show business. LSD Oh, in show business. Well, let's put it this way, my next job will be my debut. DE BRIS What do you do best? LSD Hey, man, I ca n't do that here, that's what they put me away for. DE BRIS Oh, sing. Sing! LSD Hey, baby, that's where they put me, Sing - Sing. How'd you know that, you been up? DE BRIS -LRB- a little hysterical. -RRB- Sing a song! Just sing a song! LSD Here's a little thing I think you're going to see on the charts any day. I wrote it last night in my sleep. It's a Hindu Zen Folk Rock Ballad. LSD SINGS `` I'M THE VICTIM OF A MULTI - MYSTIC FREAK - OUT.'' THE SONG IS GEARED TO THE AU COURANT `` RAGA ROCK'' BEAT. PHRASES SUCH AS, `` CONNECT WITH THE INFINITE'' AND `` TURN ON THE WORLD.'' LORENZO FINISHES THE NUMBER. CUT TO BIALYSTOCK, BLOOM, LIEBKIND AND DE BRIS. THEY ARE STUNNED. BIALYSTOCK IS THE FIRST TO RECOVER. BIALYSTOCK -LRB- shouting. -RRB- That's our Hitler! LIEBKIND -LRB- howls of despair. -RRB- Vaaaat? BIALYSTOCK -LRB- quickly. -RRB- Franz, do n't you see, Hitler was a man of his time. This is a man of his time. LIEBKIND But he has long hair! BIALYSTOCK Do n't look at the outside, look at the inside. It's the inner Hitler we're after. The young beautiful Hitler, who danced his way to glory. LIEBKIND I do n't know. I do n't know. DE BRIS -LRB- he has been studying LSD intensely. -RRB- Could be an exciting piece of off - beat casting. Of course, we'd have to do something about that coiffure. LIEBKIND But he's so crazy, he's so sloppy, he's so. so. American! BIALYSTOCK Franz, trust me. I promise I wo n't let you down. LIEBKIND All right, but remember, if you damage the Fuhrer's reputation, I kill you. DISSOLVE TO MARQUEE OF BROADWAY THEATRE. MARQUEE READS : OPENING TONIGHT - SPRINGTIME FOR HITLER. Directed by ROGER DE BRIS. PAN DOWN TO THEATRE ENTRANCE. THE SIDEWALK IS CHOKED WITH OPENING NIGHTERS, ALL AGLITTER IN DIAMONDS, FURS AND ELEGANT TUXEDOS. LUXURIOUS BLACK LIMOUSINES PULL UP TO THE CURB, DEPOSITING THEIR RICH CONTENTS, THE MAJORITY OF WHICH ARE LITTLE OLD LADIES. CUT TO LOBBY. THERE IN THE MIDST OF THE SWIRLING CONFUSION STAND BIALYSTOCK AND BLOOM IN THEIR OPENING NIGHT TAILS. BIALYSTOCK IS RESPLENDENT IN A BLACK SILK CAPE, LINED IN CRIMSON SATIN. BLOOM'S TAILS ARE OBVIOUSLY RENTED. THEY ARE NEAR THE TICKET TAKER. AS SOME OF THE OPENING NIGHT `` SUPPORTERS'' ENTER THE THEATRE, THEY SHOUT ENCOURAGEMENTS TO BIALYSTOCK AND BLOOM. TO EACH OF THE WELL - WISHERS, BIALYSTOCK RESPONDS WITH A SMILE AND A MUMBLE. THEY GET THE SMILE, WE HEAR THE MUMBLE. FIRST WELL-WISHER -LRB- a silver - haired gentleman in his late fifties. -RRB- Good luck, Max, I hope it's a big hit. BIALYSTOCK -LRB- mumbling. -RRB- Bite your tongue. SECOND WELL-WISHER -LRB- a little old lady. -RRB- We're gon na do it this time, Bialy, I just know it. BIALYSTOCK I hope you lose your bloomers. THIRD WELL-WISHER -LRB- another old lady. -RRB- My prayers go with you, Bialy. BIALYSTOCK God Forbid. CUT TO LIMOUSINE PULLING UP IN FRONT OF THEATRE. DOORMAN OPENS DOOR, ASSISTS RICH COUPLE OUT OF CAR. LIMOUSINE PULLS AWAY. A MOTORCYCLE WITH SIDE - CAR ROARS UP TO FRONT OF THEATRE. AT THE HANDLEBARS, BEAUTIFULLY DECKED OUT IN TUXEDO AND HIS EVER POPULAR GERMAN HELMET IS FRANZ LIEBKIND. CAMERA FOLLOWS LIEBKIND AS HE ENTERS LOBBY. HE MAKES HIS WAY THROUGH THE MILLING THRONG TOWARD BIALYSTOCK AND BLOOM. LIEBKIND -LRB- to Bialystock and Bloom, very seriously. -RRB- Gentlemen, this is a very momentous moment. HE CLICKS HIS HEELS AND SHAKES HANDS WITH EACH OF THEM. LIEBKIND -LRB- to Bloom. -RRB- Good luck. -LRB- to Bialystock. -RRB- Good luck. HE STARTS INTO THEATRE, STOPS, TURNS BACK TO BIALYSTOCK AND BLOOM. LIEBKIND -LRB- a mad gleam in his eye. -RRB- Tonight, New York. Tomorrow, the world! HE TURNS TRIUMPHANTLY AND ENTERS THE THEATRE. OFF-CAMERA VOICE -LRB- GIRL. -RRB- Check your hat? LIEBKIND -LRB- off camera. -RRB- No! BIALYSTOCK So much for Nutsy Fagin. BLOOM -LRB- nudging Bialystock, whispers. -RRB- Here comes the Times Drama Critic. BIALYSTOCK Watch closely, as Bialystock drives the last nail into the coffin. BIALYSTOCK AMBLES OVER TO THE TIMES CRITIC, WHO HAS STOPPED TO CHAT WITH SOME PEOPLE. BIALYSTOCK Always delighted to see the gentlemen of the press. There you are, sir. Two on the aisle, compliments of the management. -LRB- he smiles unctuously. -RRB- DRAMA CRITIC -LRB- haughtily accepting tickets. -RRB- Thank you. Here, wait a minute. There seems to be some mistake. There's a hundred dollar bill wrapped around these tickets. BIALYSTOCK -LRB- conspiratorially. -RRB- It's no mistake. Enjoy the show. DRAMA CRITIC -LRB- outraged. -RRB- Mr. Bialystock, just what do you think you're doing? BIALYSTOCK I'm bribing you. And if you play ball, there's a lot more where that came from. BIALYSTOCK WINKS AND SAUNTERS OFF. DRAMA CRITIC -LRB- blustering with rage. -RRB- I. I. I. How dare he! I've never been so insulted in my life! The gall of the man! The incredible gall of the man! I'll fix his wagon. THE CRITIC STALKS INTO THE THEATRE. AS HE PASSES BIALYSTOCK, HE CONTEMPTUOUSLY FLINGS THE HUNDRED DOLLAR BILL TO THE FLOOR. HE DISAPPEARS THROUGH THE DOOR. OFF-CAMERA VOICE -LRB- GIRL. -RRB- Check your hat? DRAMA CRITIC -LRB- off camera. -RRB- No! BIALYSTOCK REACHES DOWN, PICKS UP CRUMPLED DOLLAR BILL, STRAIGHTENS IT OUT, PUTS IT IN HIS POCKET. BIALYSTOCK -LRB- grinning like a Cheshire cat. -RRB- Heh, heh, heh. He'll kill us. FROM INSIDE THE THEATRE, WE HEAR THE OVERTURE BEGINNING. LIGHTS IN THE LOBBY BLINK. BLOOM Come on, they've started the overture. BIALYSTOCK AND BLOOM ENTER THE THEATRE. CUT TO REVERSE ANGLE. BIALYSTOCK AND BLOOM ENTERING DARKENED THEATRE. THEY TAKE POSITIONS AT THE BACK OF THE HOUSE. BLOOM EXTENDS HIS HAND TO BIALYSTOCK. HE INTENDS TO SPEAK IN A CONFIDENT AND CONTROLLED MANNER BUT WHAT COMES OUT IS AN HYSTERICAL SHRIEK. BLOOM -LRB- casually shrieking. -RRB- Well, Max, this is it! HE SCARES HIMSELF AND QUICKLY CLAPS HIS HANDS OVER HIS MOUTH. BLOOM -LRB- whispers. -RRB- I'm sorry, I'm a little nervous. BIALYSTOCK Relax, in two hours our worries will be over. CUT TO STAGE. AS THE OVERTURE IS CONCLUDED, THE CURTAIN SLOWLY RISES. ON STAGE THERE IS A LINE OF GIRLS DRESSED IN SEXY STORM TROOPER COSTUMES - BLACK PATENT LEATHER BOOTS, ETC.. THEIR ARMS ARE LINKED ABOUT ONE ANOTHER AS THEY DANCE AND KICK IN RADIO CITY MUSIC HALL ROCKETTE FASHION. STORM TROOPER CHORUS -LRB- singing. -RRB- Germany was having trouble, What a sad, sad story. Needed a new leader To restore its former glory. Where, oh, where was he, Who could that man be, We looked around, And then we found, The man for you and me, And now its. THE STORM TROOPER ROCKETTES PART AND FROM ABOVE THEM, DESCENDING TWIN STAIRCASES, WE SEE TWO LINES OF BEAUTIFUL SHOWGIRLS, HOLDING HUGE BALLOONS ABOVE THEIR HEADS. ON EACH BALLOON IS PAINTED A PICTURE OF THE FUHRER. EVERYONE SINGS AS THEY DESCEND. ENTIRE CHORUS -LRB- singing. -RRB- `` Springtime for Hitler,'' etc.. CUT TO AUDIENCE. NUMBER ON STAGE CONTINUES. CLOSE - UP OF MAN AND WOMAN ON AISLE. WOMAN -LRB- DOWAGER. -RRB- This is shocking! CUT TO ANOTHER AREA OF AUDIENCE. ANOTHER COUPLE. MAN -LRB- STUFFED SHIRT. -RRB- Outrageous! CUT TO CRITIC ON THE AISLE, BIALYSTOCK'S P.O.V.. HE SCOWLS AS HE FURIOUSLY MAKES NOTES. CUT TO BIALYSTOCK AND BLOOM AT BACK OF THEATRE. THEY ARE SMILING. BIALYSTOCK POINTS TO COUPLE WHO HAVE LEFT THEIR SEATS AND STARTED UP THE AISLE. BIALYSTOCK Ahhhhh, it's going better than I expected. THE COUPLE COMES ABREAST OF BIALYSTOCK AND BLOOM. WOMAN -LRB- to man as they exit theatre. -RRB- Well, talk about bad taste. BIALYSTOCK -LRB- he chuckles as they leave. -RRB- Come, let us repair to the bar across the street. I do n't want to be caught here during intermission. We'll be stoned to death. THEY LINK ARMS AND MERRILY MARCH OUT OF THE THEATRE. CUT TO STAGE. `` SPRINGTIME FOR HITLER'' OPENING IS ENDING IN A GREAT CRESCENDO OF PATRIOTIC INSANITY. ENTIRE CHORUS -LRB- singing. -RRB- So Springtime for Hitler, Is Springtime for Goering, Is Springtime for Goebbels, Is Springtime for Himmler, Is Springtime for you and me! CURTAIN FALLS. THE NUMBER IS RECEIVED BY THE AUDIENCE WITH HUSHED SILENCE. FOLLOWED BY A SURGE TOWARD THE DOORS. THE AISLES ARE CHOKED WITH UNHAPPY PEOPLE, WHO CA N'T WAIT TO GET OUT. CURTAIN RISES. ON STAGE ARE EVA BRAUN AND HITLER -LRB- LSD -RRB-. EVA BRAUN IS A FETCHING BLONDE IN LONG BRAIDS. LSD IS PACING UP AND DOWN. EVA BRAUN SITS ON LOVE SEAT DOWNSTAGE. IN HER HAND IS AN OVERSIZED DAISY. AS SHE PULLS THE PETALS FROM IT, SHE WHINES. SHE HAS A PRONOUNCED AMERICAN ACCENT. EVA Er liebt mir. Er liebt mir nicht. Er liebt mir. -LRB- the last petal. -RRB- Er liebt mir nicht. CUT TO PEOPLE IN AISLE. THEY HAVE NOTICEABLY SLOWED DOWN. SOME ARE WALKING BACKWARDS. THEY ARE INTRIGUED. CUT BACK TO STAGE. EVA -LRB- turns to LSD. -RRB- Du liebt mir nicht! LSD -LRB- protesting vehemently. -RRB- I lieb you baby, I lieb you. You know that. EVA If you lieb me, why are you leaving me? LSD Hey, man, I ca n't spend all my time with you. I took an oath, baby, Deutschland uber alles. CUT TO AUDIENCE IN AISLES. THEY HAVE ALL STOPPED LEAVING TO TURN AND WATCH. SOME BEGIN TO LAUGH AND OTHERS APPLAUD. THEY LIKE LSD. MAN That's Hitler? I get it! It's a put - on. CUT TO WOMAN. WOMAN Hey, Harry, he's funny. NOW THERE IS A MAD RUSH TO REGAIN THEIR SEATS. CUT TO INTERIOR BAR. IT IS EMPTY EXCEPT FOR THE BARTENDER AND A DRUNK AT THE FAR END OF THE BAR. BIALYSTOCK AND BLOOM ARE SEATED ON STOOLS AT THE BAR. THEY CLINK GLASSES. BIALYSTOCK Here's to the one and only performance of `` Springtime for Hitler.'' THEY BOTH LAUGH AND DOWN THEIR DRINKS. BIALYSTOCK RAPS ON THE BAR WITH HIS CANE. BIALYSTOCK Innkeeper, innkeeper, another round of drinks here. As a matter of fact, a round of drinks for everybody in the place! BARTENDER LOOKS AROUND AT THE ALMOST EMPTY BARROOM. DOES A LITTLE TAKE. HE THEN REPLENISHES THEIR DRINKS AND PLACES A GLASS IN FRONT OF THE DRUNK. THE DRUNK TIPS HIS HAT GRACIOUSLY TOWARDS BIALYSTOCK. BLOOM Just think, yesterday I was a meaningless little accountant - and today, I am the producer of a Broadway flop! BIALYSTOCK -LRB- raising his glass. -RRB- To failure! BLOOM To failure! DRUNK -LRB- blushing. -RRB- Oh, thank you! It's very kind of you. -LRB- raises his glass and downs his drink. -RRB- CUT BACK TO STAGE. SAME SCENE. EVA STARTS TO CRY. EVA If the Duke of Windsor could give up the Throne of England for the woman he loved, why ca n't you? LSD It's different. I'm a tyrant, baby. AUDIENCE LAUGHS. CUT TO FRANZ LIEBKIND SEATED IN AN AISLE SEAT. HE NERVOUSLY PINCHES HIS FACE AS HE SEMI - COHERENTLY MUMBLES TO HIMSELF. LIEBKIND -LRB- becoming slightly unhinged. -RRB- Baby, why does he keep saying baby? I did n't write baby. The Fuhrer never said baby. Vat is it vit this baby? WOMAN IN ADJOINING SEAT -LRB- very annoyed. -RRB- Will you shut up! LIEBKIND You shut up! I'm the author. You're just the audience. I outrank you. CUT TO BAR. BIALYSTOCK AND BLOOM ARE A LITTLE TIPSY. BY NOW THE DRUNK HAS JOINED THEM AND ALL THREE ARE GOOD PALS. BIALYSTOCK Bartender, bartender, another drink for myself and my associate, Mr. Bloom. And do n't forget our good - natured inebriate over there. DRUNK TIPS HIS HAT GRACIOUSLY. DRUNK Eternally grateful. Sincerely yours, Oliver Wendell Drunk. DURING DRUNK'S SPEECH, BARTENDER HAS REFILLED THEIR GLASSES. HE STANDS BACK, WATCHING THEM AS HE DRIES GLASSES. DRUNK -LRB- raises his glass. -RRB- A toast! BLOOM To what? DRUNK -LRB- stumped. -RRB- To. toast! I love toast. BIALYSTOCK AND BLOOM To toast. BIALYSTOCK -LRB- smacking his glass down on the bar. -RRB- Now I'll take the lead and I want you right behind me all the way! One. two. three! -LRB- singing. -RRB- `` By the light, BLOOM AND DRUNK -LRB- singing. -RRB- `` By the light, by the light, BIALYSTOCK `` Of the silvery moon, BLOOM AND DRUNK `` Of the silvery mooooon, BIALYSTOCK `` I want to croon, BLOOM AND DRUNK `` He wants to croon, he wants to croon, BIALYSTOCK `` To my honey I'll croon, BLOOM AND DRUNK `` He's gon na croon love's tune, BIALYSTOCK `` Honeymoon, BLOOM AND DRUNK `` Honeymoon, honeymoon, BIALYSTOCK `` Keep a shining in. BIALYSTOCK STOPS ABRUPTLY. HE POINTS TOWARD THE DOOR. WE HEAR THE SOUND OF PEOPLE ENTERING THE BAR. BIALYSTOCK Intermission! Quick, hide your face. They'll tear us to pieces. BIALYSTOCK AND BLOOM HOP ON THEIR STOOLS AND COVER THEIR FACES WITH THEIR HANDS. THE DRUNK SHRUGS, HOPS ON THE STOOL NEXT TO THEM AND ALSO HIDES HIS FACE. A HORDE OF FIRST NIGHTERS SWEEPS INTO THE BAR. THEY ARE ALL AROUND BIALYSTOCK, BLOOM AND THE DRUNK, CLAMORING FOR DRINKS. CROWD -LRB- ad - lib. -RRB- `` Scotch on the rocks,'' `` Bourbon and soda.'' `` Two martinis.'' `` Whiskey sour.'' THE CROWD IS VERY CHEERFUL. THEY ARE STILL BUBBLING FROM THE FIRST ACT. WOMAN -LRB- to her escort. -RRB- Well, so far that's about the funniest thing I've ever seen on Broadway. BIALYSTOCK AND BLOOM LOOK AT EACH OTHER. WOMAN'S ESCORT Never laughed so much in my life. MAN -LRB- to his friend. -RRB- Hysterical, absolutely hysterical. MAN'S FRIEND I thought I'd split my sides. BIALYSTOCK Take it easy, do n't panic. There are a lot of plays on this street. They are not necessarily talking about `` Springtime For Hitler.'' HUSBAND -LRB- to his wife. -RRB- Honey, I never in a million years thought I'd ever love a show called `` Springtime For Hitler.'' BIALYSTOCK AND BLOOM FREEZE. A LITTLE OLD LADY COMES UP BEHIND BIALYSTOCK. SHE RAPS HIM ON THE BACK WITH HER UMBRELLA. LITTLE OLD LADY #8 Bialy, you sly fox, you've done it. It's a smasheroo. BIALYSTOCK -LRB- in a daze. -RRB- Smasheroo. Smasheroo. THE CROWD STARTS TO LEAVE. LITTLE OLD LADY Oh, I'd better hurry back. I do n't want to miss one minute of it. THE FIRST NIGHTERS LEAVE THE BAR. ALL THAT REMAIN ARE BIALYSTOCK AND BLOOM, THE BARTENDER AND THE DRUNK. BIALYSTOCK SLIPS OFF THE STOOL AND WANDERS TO MIDDLE OF BARROOM. BIALYSTOCK -LRB- dazed. -RRB- Got to think. Got to think. Got to think. Got to think. Got to think. CUT TO BLOOM AT THE BAR, FROZEN, STARING STRAIGHT AHEAD. HIS EYES ARE GLAZED WITH SHOCK. HE STROKES HIS CHEEK WITH HIS LITTLE BLUE BLANKET. BLOOM Mrs. Cathcart - 50 % Mrs. Biddlecombe - 50 % Mrs. Wentworth - 50 % Mrs. Resnick - 100 % THE DRUNK STARES FROM ONE TO THE OTHER. UNHAPPY WITH THEIR PRESENT MOOD, HE DECIDES TO LIVEN THINGS UP AGAIN. HE TIPTOES OVER TO BIALYSTOCK, PUTS HIS ARMS AROUND BIALYSTOCK'S WAIST, ROCKS BACK AND FORTH AND BEGINS TO SING. DRUNK -LRB- singing. -RRB- `` By the light. By the light, by the light. Of the silvery. BIALYSTOCK PICKS HIM UP AND THROWS HIM ACROSS THE BAR. BIALYSTOCK Get away from me, you drunken bum! DRUNK PICKS HIMSELF UP AND DUSTS HIMSELF OFF. DRUNK -LRB- indignantly. -RRB- Fairweather friend! THE DRUNK STAGGERS OUT OF THE BAR. BIALYSTOCK GETS A HOLD OF HIMSELF. BIALYSTOCK Maybe it's not true! BIALYSTOCK RUSHES OVER TO BLOOM. BLOOM -LRB- still mumbling to himself. -RRB- No way out. No way out. BIALYSTOCK Bloom, Bloom, maybe it's not true. BLOOM DOES NOT RESPOND. BIALYSTOCK SHAKES HIM. BLOOM -LRB- droning monotonously. -RRB- No way out. No way out. What? Who? BIALYSTOCK Why do n't we go over to the theatre and see what's really happening? After all, we've only heard from a small portion of the audience. Let's hear what the majority thinks. BLOOM -LRB- in a trance. -RRB- The majority. The majority. Yes. Let's hear from the majority. THEY START TO LEAVE. DISSOLVE TO BIALYSTOCK AND BLOOM ENTERING LOBBY OF THEATRE. AS THEY OPEN DOOR TO THEATRE, THEY ARE GREETED BY A SHOCK WAVE OF LAUGHTER. THEY PAUSE STRICKEN. BLOOM I do n't want to go in. BIALYSTOCK Come, we have to. THEY TAKE EACH OTHER'S HANDS LIKE TWO FRIGHTENED LITTLE BOYS AND CAUTIOUSLY WALK IN. CUT TO BIALYSTOCK AND BLOOM AS THEY ENTER. THEY TAKE THEIR POSITIONS AT THE BACK OF THE HOUSE AND WATCH THE PROCEEDINGS MEEKLY, LIKE TWO LAMBS AWAITING THE SLAUGHTER. CUT TO STAGE. HITLER HAS OBVIOUSLY CALLED A COUNCIL OF WAR. THE FUHRER IS SURROUNDED BY HIS GENERAL STAFF. GENERAL -LRB- making a report. -RRB- We are falling back on all fronts. Our soldiers are retreating. LSD No good, baby, no good. You heard my orders. Nobody retreats. Attack! Attack! GENERAL Who can we attack? They're all too big. LSD -LRB- getting an inspiration. -RRB- Hey, man, let's stomp Switzerland! GENERAL We ca n't. we keep our money there! CUT BACK TO BIALYSTOCK AND BLOOM. THEY STARE STRAIGHT AHEAD, STONY - FACED. HUGE TEARS WELL UP IN THEIR EYES AND RUN DOWN THEIR CHEEKS. CUT TO LIEBKIND. HE HAS RIPPED OFF THE ARM OF HIS CHAIR AND IS EARNESTLY GNAWING AT IT. LIEBKIND Baby, again with that baby. There must be no more babies. LIEBKIND LEAPS FROM HIS SEAT AND HEADS TOWARD THE SIDE ENTRANCE LEADING TO THE STAGE. CUT BACK TO STAGE. LSD Where's Goebbels? Where's my little Joe? GENERAL -LRB- to the wings. -RRB- Send for Goebbels. LSD He's the only cat left that still grooves me. GOEBBELS ENTERS LAUGHING. GOEBBELS Heil, baby! I just finished the morning propaganda broadcasts. LSD What did you tell the people? GOEBBELS I told them we invaded England. LSD Hey, baby, that's good! How'd we come out? GOEBBELS We won. LSD Groovy! THEY SMACK HANDS. LAUGH FROM AUDIENCE. CUT TO BACKSTAGE. LIEBKIND COMES CHARGING IN LIKE A LUNATIC. LIEBKIND Bring down the curtain! Bring down the curtain! HE RUSHES FOR THE CURTAIN ROPE. A STAGEHAND ATTEMPTS TO STOP HIM. HE RIPS OFF HIS HELMET AND BANGS HIM OVER THE HEAD WITH IT. AS HE SLUMPS TO THE GROUND, LIEBKIND UNDOES THE CURTAIN ROPE. CUT TO ACTORS ON STAGE. LSD Goebbels, you're the only one. THE CURTAIN DROPS WITH A THUD. FROM BENEATH IT CRAWLS LIEBKIND. HE JUMPS UP AND ADDRESSES THE AUDIENCE. LIEBKIND I am the author of this play. You are the victims of a hoax. These are not my words. The Fuhrer never said baby. The Fuhrer was sweet, the Fuhrer was kind, the Fuhrer was good. STAGE MANAGER -LRB- off camera. -RRB- Get that curtain up. CURTAIN STARTS TO RISE. LIEBKIND HURLS HIMSELF IT, AND HOLDS IT DOWN. LIEBKIND NO! No! The curtain must not go up! DESPITE HIS EFFORTS, THE CURTAIN SLOWLY RISES. LIEBKIND DOES NOT RELEASE HIS HOLD ON IT. HE STARTS TO GO UP. LIEBKIND Stop! Stop! AS THE CURTAIN RISES, WE SEE A BEWILDERED GROUP OF ACTORS AND STAGE HANDS WATCHING LIEBKIND'S ASCENT. THE AUDIENCE, THINKING LIEBKIND'S BEHAVIOR PART OF THE SHOW, ENJOYS THE PROCEEDINGS TREMENDOUSLY. THEY BREAK INTO APPLAUSE. CUT TO CRITIC. HE IS LAUGHING UPROARIOUSLY AND TEARING UP HIS NOTES. CUT BACK TO LIEBKIND. LIEBKIND We have been betrayed! I will return! I will returnnnnn. LIEBKIND DISAPPEARS INTO THE FLIES. DISSOLVE TO ANTEROOM OF BIALYSTOCK AND BLOOM'S OFFICE. DAY. ULLA, WEARING A BELTED RAINCOAT, SITS AT THE TYPEWRITER. MUSIC FROM A RECORD PLAYER SOFTLY ROCKS IN THE BACKGROUND. IN HER LEFT HAND SHE HOLDS A GLASS OF CHAMPAGNE, FROM WHICH SHE SIPS, WHILE HER RIGHT HAND, INDEX FINGER EXTENDED, STABS AT THE FUNNY LITTLE KEYS. SHE IS HAPPY, IT IS THE RIGHT ONE. THE DOOR FLIES OPEN. THE DESPERATE BIALYSTOCK AND BLOOM ENTER. ULLA LEAPS UP, QUICKLY UNDOES HER RAINCOAT, EXPOSING HER DELICIOUS BODY, CLOTHED ONLY IN BLACK LACE UNDERTHINGS. ULLA We make love? BIALYSTOCK No! No! We do n't make love. Go to work. ULLA IMMEDIATELY TURNS UP RECORD PLAYER TO A CRASHING BLARE AND DOES HER GROOVY DANCE. BIALYSTOCK HOWLS IN DESPAIR AND FLEES INTO HIS OFFICE TOGETHER WITH BLOOM. HE CLOSES THE DOOR, SHUTTING OUT THE NOISE. THE OFFICE IS FILLED WITH FLOWERS AND CONGRATULATORY TELEGRAMS. BIALYSTOCK SWOOPS DOWN ON THE TELEGRAMS. HE RIPS ONE OPEN AND BEGINS READING. BIALYSTOCK `` Congratulations. It's the biggest hit on Broadway.'' HE TEARS IT UP AND THROWS IT AWAY. HE PICKS UP ANOTHER AND READS. BIALYSTOCK `` Congratulations. Hitler will run forever.'' HE THROWS IT AWAY. BIALYSTOCK ATTACKS THE PILE OF TELEGRAMS. WITHOUT OPENING THEM UP, HE TEARS THEM ONE AT A TIME. BIALYSTOCK -LRB- boiling with rage. -RRB- Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. THE DOOR SWINGS OPEN. POSED IN THE DOORWAY IS ROGER DE BRIS. IN ONE HAND HE CARRIES AN OPEN, BUBBLING MAGNUM OF CHAMPAGNE. DE BRIS -LRB- ecstatic. -RRB- Congratulations! Have you seen the reviews? Have you seen the lines at the box office? It's a torrent, it's an avalanche, it's the biggest hit on Broadway! HE STARTS INTO THE ROOM. BIALYSTOCK GROWLS AND LUNGES AT HIM. BIALYSTOCK You lousy fruit. You've ruined me! HE SMASHES DE BRIS UP AGAINST THE WALL. THE CHAMPAGNE GOES FLYING. DE BRIS -LRB- shrieking. -RRB- Help! Help! He's crazy! He's going to kill me. Call the police! Call the police! Help, help, murder, murder, rape, rape! BIALYSTOCK THROWS HIM OUT, SLAMS THE DOOR AND LOCKS IT. HE FALLS INTO THE CHAIR AND PUTS HIS FEET UP ON THE DESK. BIALYSTOCK -LRB- moaning. -RRB- How could this happen? I was so careful. I picked the wrong play, the wrong director, the wrong cast. Where did I go right? We forgot one important, Bloom. Adolf Hitler always drew a crowd. BIALYSTOCK IS SUDDENLY AWARE THAT BLOOM IS DOING STRANGE THINGS AT THE NEXT DESK. BIALYSTOCK What are you doing? CUT TO BLOOM. HE IS FEVERISHLY PILING LEDGERS AND ACCOUNT BOOKS TOGETHER. HE SWOOPS THEM UP IN HIS ARMS, CLUTCHES THEM TIGHTLY AND BEGINS BACKING TOWARDS THE DOOR. BLOOM -LRB- defensively. -RRB- Do n't try to stop me. I've made up my mind. BIALYSTOCK What are you doing with those books? Where are you going? BLOOM -LRB- with hysterical conviction. -RRB- I'm turning myself in. It's the only way. I'm going to cooperate with the authorities. They'll reduce my sentence and then there's time off for good behavior. And maybe I'll get a job in the prison library. So long. HE TURNS THE KNOB. THE DOOR IS LOCKED. HE FIDDLES WITH THE CATCH. TOO LATE! BIALYSTOCK IS UP AND AT HIM IN A FLASH. HE BLOCKS THE DOOR. BIALYSTOCK -LRB- reasonably. -RRB- Leo, take it easy. Relax, you're overwrought. You do n't know what you're doing. You're acting out of panic. GIM ME THOSE BOOKS! BIALYSTOCK LUNGES AT BLOOM AND GRABS FOR THE BOOKS. BLOOM STILL RETAINS A FIRM HOLD. THEY STRUGGLE BACK AND FORTH. BLOOM I never should have listened to you. BIALYSTOCK I never should have listened to you. BLOOM Ohhhhhhhhh, how I hate you. BIALYSTOCK Double. Double. Double. WITH A MIGHTY WRENCH, BIALYSTOCK RIPS THE BOOKS OUT OF BLOOM'S HANDS. BIALYSTOCK -LRB- clutching the books triumphantly. -RRB- Haaaaa! Haaaaa! Haaaaa! BLOOM FLIPS. HE ATTACKS BIALYSTOCK LIKE A CRAZY KID, SCREAMING HYSTERICALLY AND PUNCHING WITH ONE ARM AS HE PROTECTS HIS FACE WITH THE OTHER. BLOOM -LRB- shrieking. -RRB- FAT! FAT! FAT! FAT! FAT! BIALYSTOCK GOES CRASHING TO THE FLOOR UNDER THE ONSLAUGHT. BLOOM DIVES ON TOP OF HIM. THEY ROLL ON THE FLOOR LOCKED IN MORTAL COMBAT. SUDDENLY THREE SHOTS RING OUT IN SUCCESSION. BIALYSTOCK AND BLOOM IMMEDIATELY STOP WHAT THEY'RE DOING AND TURN TOWARD THE DOOR. CUT TO LOCK AND HANDLE OF DOOR. THEY DROP OFF. A LITTLE SMOKE RISES FROM THE HOLE. LIEBKIND -LRB- off screen, outside door. -RRB- I am betrayed! BIALYSTOCK AND BLOOM LOOK AT EACH OTHER. CUT TO THE DOOR. IT FLIES OPEN. FRAMED IN THE DOORWAY IS FRANZ LIEBKIND, SMOKING LUGER IN HAND. LIEBKIND -LRB- solemnly. -RRB- You have broken the Siegfried Oath. You must die. HE BLASTS AWAY. THE WINDOW IS SHATTERED. PIECES OF WALL GO WHIZZING THROUGH THE AIR. BIALYSTOCK DROPS THE LEDGERS AND HE AND BLOOM DIVE FOR COVER BEHIND THE DESK. LIEBKIND This is no good. I'm not killing you. Do n't you understand, you have broken the Siegfried Oath. You must die. Vill you cooperate! CUT TO TIGHT TWO SHOT. BIALYSTOCK AND BLOOM SCRUNCHED BEHIND DESK. THEY STARE AT EACH OTHER IN AMAZEMENT. THERE IS A TIMOROUS KNOCK AT THE DOOR. BIALYSTOCK AND BLOOM -LRB- together. -RRB- Come in. Come in. ULLA ENTERS. ULLA I hear noise. You call? SHE LOOKS AROUND. ULLA Where are you? SHE CONTINUES WALKING UNTIL SHE SEES THEM CROUCHED BEHIND THE DESK. ULLA Ahhh. I see you. You like something? Coffee? BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN DISBELIEF. BIALYSTOCK Coffee. Yes. That's a good idea. -LRB- with great emphasis. -RRB- Why do n't you ask the gentleman with the gun. The gentleman who is shooting at us. and trying to kill us. what he will have. ULLA -LRB- to Liebkind. -RRB- You like coffee? CUT TO BIALYSTOCK AND BLOOM. THEY STARE AT EACH OTHER, DUMBFOUNDED. LIEBKIND Yes, please. Black. Two sugars. ULLA REPEATS TO HERSELF AS SHE STARTS FOR THE DOOR. ULLA Three coffees. Two regular. One black. two sugars. SHE EXITS AND CLOSES THE DOOR BEHIND HIM. BIALYSTOCK LOOKS UP TO THE FATES AND MAKES A SMALL SOUND OF DESPAIR. LIEBKIND And now ve must resume hostilities. Are you coming out from behind that desk or not? BIALYSTOCK Not. LIEBKIND Cowards, miserable cringing cowards. Clinging to life like baby butterflies. Vatch, vatch and remember. Franz Liebkind vill show you how to die like a man! HE PLACES THE MUZZLE OF THE GUN AGAINST HIS TEMPLE. BLOOM AND BIALYSTOCK PEER OVER THE DESK TO SEE. LIEBKIND -LRB- exhalted. -RRB- Soon I vill be vit mine Fuhrer, und Goering, und Goebbels, and Himmler. I'm coming boys! HE PULLS THE TRIGGER. CLICK. CLICK. CLICK. THE GUN IS JAMMED. HE THROWS THE GUN DOWN IN DISGUST. LIEBKIND -LRB- in utter anguish. -RRB- Boy, vhen things go wrong! HE FALLS INTO A CHAIR AND SOBS LIKE A CHILD. LIEBKIND I'm a failure. I'm a failure. I'm a failure. BIALYSTOCK AND BLOOM COME OUT FROM BEHIND DESK. BIALYSTOCK LOOKS AT HIS WATCH. BIALYSTOCK Five o'clock. Killed a whole day playing hide - and - seek with a crazy Kraut. BIALYSTOCK PICKS UP LUGER. LIEBKIND -LRB- still sobbing. -RRB- I'm not crazy. I'm inept. HE CONTINUES TO SOB. BLOOM WALKS OVER TO THE WEEPING LIEBKIND AND COMFORTINGLY PATS HIM ON THE SHOULDER. BLOOM There, there. LIEBKIND -LRB- looking around. -RRB- Vhere? Vhere? oh. BIALYSTOCK -LRB- to Liebkind. -RRB- You crazy lunatic! What are you shooting at us for? Why do n't you use this. -LRB- indicates gun. -RRB- where it will do us some good? Why do n't you shoot the actors? -LRB- the thought strikes home. -RRB- Liebkind, have I ever steered you wrong? LIEBKIND Always. BIALYSTOCK Never mind. Listen. Every night people are laughing at your beloved Fuhrer. Why? LIEBKIND It's that LSD und his verdampter babies! BIALYSTOCK -LRB- handing him the gun and some money. -RRB- Here. Buy bullets. Kill. Kill them all! BLOOM What? BIALYSTOCK -LRB- to Bloom. -RRB- Shut up. LIEBKIND Yes. The actors. I must destroy the actors. LIEBKIND STARTS TO GO. BLOOM Stop! Stop! This is insanity. HE LEAPS ACROSS THE ROOM AND WRENCHES THE GUN FROM LIEBKIND'S HAND. BLOOM -LRB- screaming. -RRB- Have you lost your mind? What are you talking about? Kill the actors. You ca n't kill the actors - they're not animals, they're human beings! BIALYSTOCK They are? Have you ever eaten with one? Liebkind, go! Kill! BLOOM Liebkind, no! BIALYSTOCK -LRB- to Bloom. -RRB- What are you doing? We're trapped. It's either the show or us. There's no way out. What can we do, blow up the theatre? BIALYSTOCK FREEZES AS THE THOUGHT TAKES HOLD. CUT TO CLOSE - UP OF BLOOM. HIS EYES NARROW AS HE SERIOUSLY CONSIDERS THE PROPOSAL. CUT TO CLOSE - UP LIEBKIND. HIS FACE A POSTER OF SHINING APPROVAL. CAMERA PULLS BACK. THE THREE OF THEM SEARCH EACH OTHER'S FACES EARNESTLY. THEY ARE OBVIOUSLY IN ACCORD. FADE IN. DARKENED CELLAR OF THEATRE. WE SEE THE FAINT GLOW OF A SHIELDED LAMP AT THE END OF A TUNNEL. AS THE CAMERA MOVES THROUGH TUNNEL CLOSER AND CLOSER TO THE LIGHT, WE MAKE OUT THE SHADOWY FORMS OF THREE MEN. CAMERA DOLLIES IN TO REVEAL BIALYSTOCK, BLOOM AND LIEBKIND. BLOOM IS HOLDING A MINER'S LAMP. LIEBKIND IS TRYING BRICK LOOSE FROM WALL. BIALYSTOCK IS CONSULTING MAP. BRICK COMES LOOSE. LIEBKIND REMOVES IT. LIEBKIND -LRB- the surgeon at work. -RRB- Dynamite. BLOOM SLAPS A NEATLY TAPED BUNDLE OF DYNAMITE INTO LIEBKIND'S HAND. LIEBKIND GENTLY PLACES IT IN OPENING. LIEBKIND Fuse cap. BIALYSTOCK REACHES INTO HIS POCKET AND HANDS HIM A FUSE CAP. LIEBKIND PUTS CAP IN PLACE. LIEBKIND Fuse. BLOOM REACHES IN POCKET, TAKES OUT SPOOL OF FUSE, HANDS IT TO LIEBKIND. LIEBKIND Thank you. LIEBKIND TIES FUSE IN PLACE. LIEBKIND Gut. Now for the master connection. CAMERA FOLLOWS THEM AS THEY MOVE BACK THROUGH THE TUNNEL. LIEBKIND TRAILS FUSE FROM SPOOL. THEY FINALLY EMERGE INTO AN OPEN AREA OF CELLAR DIRECTLY BENEATH THE STAGE. LIEBKIND Gut. Now vhere's the other fuse? BLOOM RAISES HIS LAMP, REVEALING A SIMILAR TUNNEL ON THE OTHER SIDE OF THE CELLAR. BLOOM There it is. CAMERA INSERT : CLOSE - UP SIMILAR FUSE PROTRUDING FROM SECOND TUNNEL. BACK TO SCENE. LIEBKIND -LRB- to Bloom. -RRB- Pick it up and bring it here, please. BLOOM Okay. HE STARTS TOWARD SECOND TUNNEL. LIEBKIND -LRB- anxiously. -RRB- Where are you going vit the light? BLOOM I need it. How'm I gon na find the fuse? LIEBKIND Oh, ve come vit you. All for one and all in the light. THE THREE OF THEM GINGERLY TIPTOE OVER TO SECOND TUNNEL ENTRANCE. BLOOM PICKS UP THE FUSE. THEY TIPTOE BACK. BLOOM HANDS FUSE TO LIEBKIND. LIEBKIND REACHES INTO HIS KNAPSACK, TAKES OUT LITTLE BLACK METAL BOX WITH TWO TERMINAL CAPS AT EITHER END AND SETS IT DOWN ON CELLAR FLOOR. LIEBKIND Now ve take the two fuse leads, attach them to the terminals of the conductor and ve're in business. BIALYSTOCK -LRB- grinning. -RRB- You mean out of business. Heh, heh. LIEBKIND BEGINS FIDDLING WITH THE FUSE LEADS AND TERMINALS. BLOOM Max, I. BIALYSTOCK -LRB- irritated. He has not time for small talk. -RRB- What is it? BLOOM Well, I. Well, it's just that. I'm sorry I called you fat, fat, fat. BIALYSTOCK -LRB- smacking Bloom affectionately on the shoulder. -RRB- Ahhhhhh. Leo, Leo, Leo. LIEBKIND -LRB- mumbling to himself. -RRB- Plus to minus. Negative to positive. Male to. BIALYSTOCK Come on. Let's get going. LIEBKIND Qviet. Qviet This is very important. HE TURNS BACK TO HIS WORK. LIEBKIND Vait a minute. Vait a minute. Male to male? Male to female? Female to male? Female to female? Vait a minute. In people, male to female. But electricity is strange. It's male to male. HE QUICKLY FINISHES THE CONNECTION. LIEBKIND Sehr gut. -LRB- to Bialystock. -RRB- Slow fuse, please. BIALYSTOCK REACHES INTO HIS POCKET AND HANDS LIEBKIND A ROLL OF FUSE. LIEBKIND Thank you. HE BEGINS TYING SLOW FUSE TO CONDUCTOR. LIEBKIND -LRB- as he works. -RRB- Now ve take the slow fuse. Tie one end to the master connection and the other ve attach to the detonator. HE FINISHES CONNECTIONS. LIEBKIND Come, ve go to the detonator. THEY BEGIN TO MOVE BACK AS LIEBKIND SLOWLY SPOOLS OUT FUSE. THEY START UP THE STAIRS. LIEBKIND Vait a minute. Are you sure this is slow fuse? It feels like qvick fuse. -LRB- to Bloom. -RRB- Shine your light on it. BLOOM SHINES LIGHT ON FUSE. LIEBKIND I do n't know. I do n't know. The markings are so similar. Qvick fuse or slow fuse? LIEBKIND TAKES A WOODEN MATCH OUT OF HIS POCKET. LIEBKIND I must find out. It is critical. HE STRIKES THE MATCH AND LIGHTS THE FUSE. WHOOSH! IT IGNITES. THE SPARKS RUSH TOWARD THE MASTER CONNECTION. LIEBKIND CHARGES DOWN THE STAIRS AND CHASES AFTER THE QUICK BURNING FUSE FOR ALL HE'S WORTH. HE CATCHES UP WITH IT JUST BEFORE IT REACHES THE MASTER CONNECTION AND QUICKLY STAMPS IT OUT. LIEBKIND Let's face it. That was dumb. HE TROTS BACK. LIEBKIND Boys, vhere is you? BIALYSTOCK AND BLOOM COME CRAWLING OUT FROM BEHIND STAIRS. LIEBKIND -LRB- seeing them. -RRB- Dot vas the qvick one. BIALYSTOCK We assumed that. LIEBKIND REACHES INTO HIS POCKET AND SHOWS THEM A ROLL OF FUSE. LIEBKIND Here. You see. This is the slow fuse. It is much wider. It has more resistance, more density. Therefore, it burns slower. BIALYSTOCK You mean you had the slow fuse in your pocket all the time and you forgot to put it on? LIEBKIND Yes. Amazing is n't it? BIALYSTOCK RAISES HIS CANE AND SMASHES LIEBKIND ON THE HELMET. BONNNG. BIALYSTOCK You stupid kraut! LIEBKIND Vhy do you always call me kraut? Kraut is cabbage! Do ve call you hot dogs? Ve call you Yanks not franks! BIALYSTOCK All right. Finish the job. Let's get outta here. CUT TO SIDE DOOR OF THEATRE. THE DOOR OPENS SLOWLY. BIALYSTOCK, BLOOM AND LIEBKIND TIPTOE OUT. BLOOM SETS DETONATOR DOWN. LIEBKIND Und now for the final connection. HE WRAPS THE FUSE LEAD AROUND THE METAL CONTACT POLE AND RAISES THE PLUNGER. BIALYSTOCK Wait. I'll check to see if the coast is clear. HE RUNS TO THE END OF THE ALLEY. LOOKS BOTH WAYS AND RUNS BACK. BIALYSTOCK The coast is clear! LIEBKIND Good. Get down. BIALYSTOCK AND BLOOM CROUCH DOWN AND HOLD THEIR EARDRUMS. LIEBKIND GRABS THE HANDLE OF THE DETONATOR. HIS EYES SUDDENLY GLISTEN WITH TEARS. LIEBKIND Goodbye, my foolish fancy. Goodbye, my misbegotten child. Goodbye, my tortured testament of twisted truths. BIALYSTOCK Do it! Do it! LIEBKIND TENSES HIMSELF FOR THE PLUNGE. HE STARTS AND STOPS. LIEBKIND I ca n't. I ca n't do it. It's a demon. It's a gargoyle, it's a monster. but it's still my child. HE SOBS INCONSOLABLY. BIALYSTOCK ROUGHLY PUSHES HIM ASIDE AND GRABS THE HANDLE OF THE DETONATOR AND PLUNGES IT DOWN. HE HURLS HIMSELF TO THE GROUND AND COVERS HIS HEAD IN ANTICIPATION OF THE EXPLOSION. NOTHING HAPPENS. AFTER A WHILE THEY ALL RAISE THEIR HEADS CURIOUSLY. BIALYSTOCK -LRB- quizzically. -RRB- Nothing. LIEBKIND GOES TO PLUNGER, RAISES HANDLE AND EXAMINES DETONATOR. LIEBKIND Here is gut. of course, of course. In electricity, it's always male to female. But with people, it's not always so. Come ve must go back. BIALYSTOCK Do you need us? LIEBKIND Of course I need you. It's dark in there. BLOOM Okay, okay. Let's not waste time. THEY OPEN THE SIDE DOOR AND DISAPPEAR INTO THE THEATRE. DRUNK -LRB- off camera, singing. -RRB- `` Honeymoon, keep a shinin' in June,'' CUT TO ENTRANCE OF ALLEY. DRUNK COMES STAGGERING INTO VIEW. HE SPOTS DETONATOR. DRUNK `` your silvery beams, Will light love's dreams,'' What the heck is that? A bicycle pump? Naaah. Lem me see. Could it be? Good grief, it's Eli Whitney's cotton gin. Naaah. Aahh, I know what it is. HE WALKS OVER TO DETONATOR AND SITS ON FIRE STANCHION JUST BEHIND IT. HE RAISES HIS FOOT AND STARTS IT DOWN TOWARD THE PLUNGER. DRUNK Shine'em up! HE PUSHES PLUNGER DOWN WITH HIS FOOT. CUT TO LONG SHOT OF THEATRE. -LRB- MOCK UP -RRB- THERE IS A TERRIFIC EXPLOSION. PIECES OF THE THEATRE GO FLYING THROUGH THE AIR. CUT TO TIGHT SHOT OF DRUNK. HE IS ON HIS KNEES. DEBRIS CRASHES ALL AROUND HIM. SMOKE AND NOISE FILL THE AIR. HE STAGGERS TO HIS FEET. HE ROCKS BACK AND FORTH AS THOUGH HE WERE IN AN EARTHQUAKE. DRUNK -LRB- bravely singing. -RRB- `` Sa - an Fra - ancisco, open your golden gates, Do n't let a stranger wait. DISSOLVE TO TIGHT SHOT OF JUDGE'S GAVEL SOLEMNLY RAPPING FOR ORDER. PULL BACK TO REVEAL CROWDED COURTROOM. CAMERA MOVES IN TO FOREGROUND OF COURT. THERE, SEATED AT THE DEFENDANT'S TABLE ARE, IN ORDER, BLOOM WITH HIS ARM IN A SLING, BIALYSTOCK WITH HIS LEG IN A CAST, AND A MUMMY SWATHED IN BANDAGES. WE KNOW THE MUMMY IS LIEBKIND BECAUSE IT IS WEARING A GERMAN HELMET. LIEBKIND -LRB- mumbling through his bandages. -RRB- Male to male? Male to female? CUT TO TIGHT SHOT OF JUDGE. JUDGE Has the jury reached a verdict? CUT TO JURY. THEIR EXPRESSIONS INDICATE THAT THEY ARE NOT AT ALL WELL - DISPOSED TOWARD THE DEFENDANTS. CAMERA CLOSES IN ON FOREMAN. HE RISES. FOREMAN We have, your honor. JUDGE -LRB- off camera. -RRB- How does the jury find? FOREMAN We find the defendants incredibly guilty. CUT TO JUDGE. JUDGE Will the defendants please rise and approach the bench. CUT TO BIALYSTOCK, BLOOM AND LIEBKIND. THEY STRUGGLE TO THEIR FEET AND HOBBLE TO THE JUDGE'S BENCH. JUDGE Do the defendants have anything to say in their behalf before the court pronounces sentence? BLOOM I would like to say a word, sir, not on my behalf, but in behalf of my partner, Max Bialystock. JUDGE Proceed. BLOOM Thank you, your honor. Max Bialystock is a very selfish man. BIALYSTOCK -LRB- whispers to Bloom. -RRB- Do n't help me. BLOOM He's a liar and a cheat and a scoundrel. He's taken money from little old ladies. He's talked people into doing things they never would have dreamed of. Especially me. But who has he really hurt? Who are the victims? Not me, I had the most exciting adventure of my life. And what about the little old ladies? What would their lives have been without Max Bialystock? He made them feel wanted and young and attractive again. LITTLE OLD LADIES -LRB- off camera, ad - lib. -RRB- `` Oh, Max, Max, I love you Max.'' `` Let him go, let him go.'' `` Do n't take my Bialy.'' JUDGE -LRB- rapping gavel. -RRB- Order. Order. BIALYSTOCK And may I humbly add, your honor, that we have learned our lesson and we'll never do it again. JUDGE I will take that into consideration. The defendants shall serve not more than five and not less than two years in the State Penitentiary. -LRB- he pounds gavel. -RRB- DISSOLVE THROUGH TO SIGN ON STONE WALL. SIGN READS : STATE PENITENTIARY. DISSOLVE THROUGH TO PRISON YARD. DETACHMENTS OF PRISONERS, LED BY GUARDS, MARCH PAST CAMERA. PRISON LAUNDRY. MUCH NOISE AND STEAM. CAMERA PANS TO ANOTHER BUILDING MARKED : MACHINE SHOP. LOUD METALLIC CACOPHONY EMANATES FROM INSIDE. CAMERA CONTINUES ITS JOURNEY. IT COMES TO REST ON PRISON AUDITORIUM. TINKLE OF PIANO IS HEARD FROM INSIDE. CAMERA MOVES THROUGH CLOSED DOORS TO INTERIOR. WE SEE A LONG LINE OF PRISONERS -LRB- 20 -RRB-. FOR SOME REASON THEY ARE ALL HOLDING MONEY IN THEIR HANDS. LINE ENDS AT A DESK. SEATED AT THE DESK, IN A GREY, PRISON UNIFORM, IS NUMBER : 979345, FORMERLY KNOWN TO US AS LEO BLOOM. BESIDE THE TABLE IS A WORLD PREMIERE 979344 and 979345 PRESENT `` PRISONERS OF LOVE'', STARRING 778629 and CO - STARRING 440123. INVEST NOW! HUGE PROFITS GUARANTEED! A PRISONER HANDS BLOOM MONEY. BLOOM COUNTS IT AND PUTS IT INTO TIN BOX. HE HANDS PRISONER A RECEIPT. BLOOM Twenty - five dollars. Here's your receipt. You now own 28 % of `` Prisoners of Love.'' CAMERA PANS TO STAGE. THE STAGE IS FILLED WITH A LINE OF CONVICT `` CHORUS GIRLS.'' THEIR TROUSERS ROLLED UP ABOVE THEIR KNEES, SHOWING AN ASSORTMENT OF INTERESTING HAIRY LEGS. AT THE PIANO, KNOCKING OUT THE LIVELY RHYTHM, IS FRANZ LIEBKIND AND HIS EVER POPULAR GERMAN HELMET. ON STAGE DIRECTING THE REHEARSAL IS THE INDOMITABLE MAX BIALYSTOCK. BIALYSTOCK -LRB- waving his cane and shouting at the top of his lungs. -RRB- Higher, you animals, higher! We open Saturday night! Kick! Kick! Two - three - kick - turn! Two - three - kick - turn! Okay, let's hear it! THE PRISONERS BREAK INTO SONG. PRISONERS -LRB- singing. -RRB- `` We're prisoners of love, etc.'' MUSIC SWELLS TO CRESCENDO. CAMERA PULLS BACK TO ENCOMPASS THE ENTIRE STAGE AS `` THE END'' AND SUBSEQUENT TECHNICAL CREDITS APPEAR ON THE SCREEN."],"string":"[\n \"INT. DAY. HALLWAY OUTSIDE OF MAX BIALYSTOCK'S OFFICE. CLOSE - UP OF LITTLE OLD LADY. She blows a kiss and WAVES GOOD - BYE. CUT TO CLOSE - UP OF MAX BIALYSTOCK. HE RESPONDS WITH SIMILAR GESTURES. CAMERA PULLS BACK TO FULL SHOT. LEGEND ON FROSTED GLASS OF BIALYSTOCK'S OFFICE DOOR READS : MAX BIALYSTOCK - THEATRICAL PRODUCER. LITTLE OLD LADY BEGINS TO DESCEND STAIRWAY. SHE STOPS, TURNS, BLOWS ANOTHER KISS AND ONCE MORE WAVES GOODBYE. BIALYSTOCK GRACIOUSLY ANSWERS IN KIND. BIALYSTOCK Do n't forget the checkee. Ca n't produce playees without checkees. LITTLE OLD LADY You can count on me - o, you dirty young man. CAMERA BACK TO BIALYSTOCK'S FACE FROZEN IN A LITTLE GOODBYE SMILE. THE LITTLE OLD LADY'S FOOTSTEPS. BEGIN TO FADE. BIALYSTOCK'S FACE QUICKLY RESUMES ITS NORMAL EXPRESSION - DESPAIR AND DISGUST. HE THEN REACHES INTO HIS VEST POCKET, PULLS OUT AN OLD - FASHIONED, POCKET WATCH AND EARNESTLY CONSULTS ITS FACE. CAMERA STAYS WITH HIM AS HE RUSHES INTO HIS OFFICE. BIALYSTOCK MOVES WITH A QUICK SHUFFLING GAIT TO HIS DESK. FROM THE TOP OF IT HE PICKS UP A FRAMED PHOTOGRAPH. CAMERA INSERT : CLOSE - UP OF PHOTOGRAPH. IT IS FACE OF LITTLE OLD LADY WHO HAS JUST LEFT. CAMERA BACK TO BIALYSTOCK. HE OPENS DESK DRAWER. IT IS FILLED WITH TAGGED KEYS. HE PICKS UP A KEY. CAMERA INSERT : TAG ON KEY READS : INVESTORS FILE. CAMERA BACK TO BIALYSTOCK. WITH PHOTOGRAPH IN HAND, HE MOVES ACROSS HIS OFFICE TO A LARGE, DOUBLE - DOORED CABINET. HE UNLOCKS CABINET. CAMERA SHOWS CABINET INTERIOR FILLED WITH HUNDREDS OF SIMILARLY FRAMED PHOTOGRAPHS OF LITTLE OLD LADIES. CAMERA BACK TO BIALYSTOCK. HE PLACES PHOTOGRAPH IN ITS PROPER NICHE AND BEGINS TO LOOK THROUGH THE FACES. CAMERA SLOWLY PANS ROWS OF PHOTOGRAPHS, BIALYSTOCK'S P.O.V. BIALYSTOCK -LRB- Voice Over. -RRB- `` Hold me, touch me', ` hold me, touch me', ` hold me, touch me', where is ` hold me, touch me'? Ahhh. here we are. ` Hold me, touch me.''' CAMERA STOPS PANNING AND REMAINS ON ONE OF THE PHOTOGRAPHS. BIALYSTOCK'S HAND MOVES INTO THE FRAME AND PICKS UP PHOTOGRAPH. CAMERA MOVES IN TO CLOSE - UP OF PHOTOGRAPH DISSOLVE THROUGH TO MATCHING CLOSE - UP OF SAME FACE WE HAVE JUST SEEN IN PHOTOGRAPH. CAMERA PULLS BACK TO REVEAL LITTLE OLD LADY IN REAR SEAT OF LIMOUSINE. EXTERIOR. DAY. CAMERA KEEPS MOVING BACK TO EXTERIOR OF LIMO AS IT MOVES ALONG THROUGH NEW YORK'S THEATRICAL DISTRICT. LONG SHOT. 45TH STREET. SAME LIMOUSINE PULLS UP IN FRONT OF ONE OF THE THEATRES THAT LINE THE BLOCK. MEDIUM SHOT. CHAUFFEUR BRISKLY HOPS OUT, AND SMARTLY OPENS REAR DOOR. THE LITTLE OLD LADY EMERGES. SHE LOWERS HER VEIL AND FURTIVELY DUCKS INTO THE BUILDING ENTRANCE.\",\n \"INT. MEDIUM SHOT. DILAPIDATED THEATRE OFFICE BUILDING. THE LITTLE OLD LADY ENTERS. SHE RAISES HER VEIL, CHUCKLES GLEEFULLY, AND BEGINS TO ASCEND THE STAIRS. MEDIUM SHOT. UPON REACHING THE LANDING, SHE SPOTS THE FIRST LITTLE OLD LADY COMING DOWN. SHE QUICKLY DROPS HER VEIL. THE FIRST LITTLE OLD LADY DISCREETLY HIDES HER FACE WITH HER PURSE AS THEY PASS EACH OTHER ON THE LANDING. DISSOLVE TO FOURTH FLOOR LANDING. THE LITTLE OLD LADY MAKES HER WAY TO THE TOP. SHE HANGS ONTO THE BANISTER FOR SUPPORT AS SHE CATCHES HER BREATH. SHE RAISES HER VEIL, REACHES INTO HER PURSE, TAKES OUT A SMALL FLACON OF PERFUME AND SPRAYS DELICATELY BEHIND BOTH EARS. THOROUGHLY COMPOSED, SHE APPROACHES BIALYSTOCK'S DOOR. SHE RAPS ON THE DOOR THREE TIMES IN QUICK SUCCESSION, WAITS A MOMENT, RAPS TWICE AND THEN THREE TIMES AGAIN. SUDDENLY THE DOOR IS FLUNG OPEN. MEDIUM SHOT. MAX BIALYSTOCK BIALYSTOCK -LRB- leering. -RRB- Darling! MEDIUM SHOT OVER BIALYSTOCK'S SHOULDER. LITTLE OLD LADY. LITTLE OLD LADY -LRB- passionately. -RRB- Hold me, touch me. CUT TO TWO SHOT. BIALYSTOCK CLUTCHES THE LITTLE OLD LADY IN A PASSIONATE EMBRACE. BIALYSTOCK Devil woman. FREEZE ACTION. SUPER - IMPOSE FIRST CREDIT : ZERO MOSTEL. RESUME ACTION. THE LITTLE OLD LADY GIGGLES JOYOUSLY AND THEN SLIPS FROM BIALYSTOCK'S GRASP, DARTS INTO THE OFFICE AND DUCKS BEHIND THE COUCH. SHE POPS HER HEAD UP. LITTLE OLD LADY Finder's keepers. FREEZE ACTION. SUPER - IMPOSE : TITLE OF FILM RESUME ACTION. BIALYSTOCK Here I come, ready or not. BIALYSTOCK LEAPS THROUGH THE AIR TOWARDS THE COUCH. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK LANDS BADLY. HE WRITHES IN PAIN. LITTLE OLD LADY COQUETTISHLY CRAWLS TO HIM. LITTLE OLD LADY What's the matter? Papa no want to play with baby? BIALYSTOCK Ohhhhhh. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK REACHES OUT FOR HER. SHE ELUDES HIM, DARTS INTO A CHAIR, CROSSES HER LEG SEDUCTIVELY, RAISES HER SKIRT JUST ABOVE HER KNEE REVEALING A GOLDEN ROSE AND GARTER. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK STRUGGLES TO HIS FEET. BIALYSTOCK Come to Papa. Come to Papa do. LITTLE OLD LADY LEAPS OUT OF HER CHAIR AND POSES, COYLY. LITTLE OLD LADY To the victor go the spoils. BIALYSTOCK STARTS FOR HER. SHE RUSHES AROUND A CHAIR AND DUCKS BEHIND IT. BIALYSTOCK TIPTOES ON TO CHAIR AND PEEKS OVER IT. BIALYSTOCK I'm gon na get you. FREEZE - ACTION. CREDIT. RESUME ACTION. CUT TO LITTLE OLD LADY WEDGED BETWEEN DESK AND BACK OF CHAIR. SHE STRAIGHTENS HER LEGS AND SENDS THE CHAIR HURTLING ACROSS THE ROOM. CLOSE - UP OF BIALYSTOCK'S FACE : TERROR. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK CRASHES INTO RADIATOR. BIALYSTOCK Ohhhhhhhh. CUT TO LITTLE OLD LADY. SHE IS LYING PHONE ON THE DESK, PREENING HERSELF AND PURRING. LITTLE OLD LADY Meeow. Meeow. I wonder where Old Tom is tonight? Meeow. BIALYSTOCK, WITH GREAT WILL, PUSHES THE HATE OUT OF HIS FACE AND REPLACES IT WITH SWEETNESS. BIALYSTOCK Rowrrr. BIALYSTOCK GLIDES IN TOM - CAT FASHION OVER TO HIS PREENING PUSSY - CAT. FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK FINISHES CROSSING TO DESK, PUTS HIS FACE DOWN NEAR HERS AND SOFTLY MEWS INTO HER EAR. SHE SUDDENLY LETS OUT A FIERCE HOWL AS SHE REBUFFS HIM WITH A SAVAGE SWIPE OF HER `` PAW''. BIALYSTOCK GRABS HIS STRICKEN FACE WITH BOTH HANDS AND SHRIEKS. BIALYSTOCK Aieeeeyiyiyiyiyi, CLOSE - UP OF BIALYSTOCK'S PAIN - RIDDEN FEATURES. STOP ACTION. CREDIT. RESUME ACTION. BIALYSTOCK FALLS INTO THE CHAIR MOANING. SHE HOPS ON TO HIS LAP. FROM HIS BREAST POCKET SHE TAKES A HANDKERCHIEF AND TENDERLY DABS HIS CHEEK WITH IT. LITTLE OLD LADY Oh, Bialy, Bialy, darling, did I hurt you? FREEZE - ACTION. CREDIT. RESUME ACTION. BIALYSTOCK My hand. My hand. I ca n't turn my hand. -LRB- he turns his hand. -RRB- THERE IS A RAPPING AT THE DOOR. WE HEAR IT, THEY DO N'T. LITTLE OLD LADY -LRB- taking his hand. -RRB- Do n't worry. I'll kiss it and make it well. -LRB- she smothers his hand with kissers. -RRB- BIALYSTOCK -LRB- trying to rescue his hand. -RRB- Enough. It's better. Please, Lambchop, it's better. Stop. You're hurting it again. CUT TO DOOR. IT OPENS. LEO BLOOM ENTERS. BLOOM -LRB- his forward motion arrested by the unbelievable scene. -RRB- How do you do. I mean. Excuse me. I mean. BIALYSTOCK You mean ooops, do n't you? Say ooops and get out. BLOOM I'll wait in the hall. BIALYSTOCK Oooooooops! BLOOM -LRB- backing out of door. -RRB- Ooooooops. LITTLE OLD LADY HOPS OFF BIALYSTOCK'S LAP AND GOES TO DOOR. LITTLE OLD LADY I ca n't abide a peeping Tom. There's one in the apartment just opposite my bedroom window. I swear that man NEVER takes his field glasses off me for a minute. SHE LOCKS DOOR AND STARTS BACK TOWARD BIALYSTOCK. LITTLE OLD LADY Feeling better? BIALYSTOCK NODS HIS HEAD IN ASSENT. LITTLE OLD LADY Good. Let's fool around. Now, I'll be the innocent little milk maid and you'll be the naughty stable boy. -LRB- she goes into her act. -RRB- Oh, this milk is so heavy. I'll never reach the house. Help. Will someone help me? BIALYSTOCK -LRB- stopping her. -RRB- Wait. Wait. We ca n't play today. I have too many appointments. LITTLE OLD LADY -LRB- crushed. -RRB- We ca n't play today? BIALYSTOCK Thursday. Thursday. We'll play Thursday. We'll play the Contessa and the chauffeur. LITTLE OLD LADY Oh, the best one. BIALYSTOCK -LRB- trying to steer her towards the door. -RRB- Until Thursday, then, Contessa Mio. LITTLE OLD LADY -LRB- she sits on the sofa. -RRB- Oh, Bialy, please, just a little. Just a little. BIALYSTOCK -LRB- harassed. -RRB- All right. All right. HE SQUATS DOWN IN FRONT OF HER IN CHAUFFEUR FASHION, HIS HANDS ON THE WHEEL. LITTLE OLD LADY So, the Count hired you this morning, Rudolfo. Watch the road. Watch the road. BIALYSTOCK I ca n't take my eyes off you. How can I drive when you drive me mad. Mad. LITTLE OLD LADY -LRB- she squeals with delight. -RRB- Rudolfo, you dirty pig! Pull over. BIALYSTOCK -LRB- upright. -RRB- Good. That's enough. We'll do the rest on Thursday. -LRB- he reaches down and helps her off the couch. -RRB- That's a good girl. -LRB- leading her to the door. -RRB- It's always such fun to see you. BIALYSTOCK OPENS THE DOOR AND USHERS HER OUT ONTO THE LANDING. CUT TO HALLWAY. FAR SHOT. REVEALING BLOOM WAITING OUTSIDE. WE SEE HIM. THEY DO NOT. BLOOM, VERY EMBARRASSED, HUGS THE WALL TRYING TO MAKE HIMSELF LESS CONSPICUOUS. MEDIUM SHOT. BIALYSTOCK AND THE OLD LADY IN FRONT OF BIALYSTOCK'S DOOR. BIALYSTOCK Until Thursday, then, you bawdy wench. HE SLAPS HER ON THE RUMP. LITTLE OLD LADY Oooh. I love it. Hold me, touch me. CUT TO BLOOM IN SHADOWS, AGHAST. BACK TO MEDIUM SHOT LITTLE OLD LADY AND BIALYSTOCK. BIALYSTOCK Thursday. I'll see you Thursday. LITTLE OLD LADY And we'll finish playing the Contessa and Rudolfo. BIALYSTOCK Good. Yes. Thursday. LITTLE OLD LADY And after that we'll play the Abduction and cruel rape of Lucretia. And I'll play Lucretia. CUT TO BLOOM IN SHADOWS. IT IS ALL TOO MUCH FOR HIM. HE LOOKS THE OTHER WAY. SUDDENLY HIS EYES WIDEN IN SURPRISE, AS HE DISCOVERS ANOTHER MAN HIDING IN THE NEXT DOORWAY. THE MAN PUTS A FINGER TO HIS LIPS INDICATING SILENCE. THERE IS NO PLACE LEFT FOR BLOOM TO LOOK. HE LOOKS TO HEAVEN. BACK TO LITTLE OLD LADY AND BIALYSTOCK. LITTLE OLD LADY Oh, Thursday. Will Thursday ever come? BIALYSTOCK -LRB- to himself. -RRB- Like clockwork. SHE STARTS TO DESCEND. LITTLE OLD LADY I shall count the minutes. BIALYSTOCK Goodbye, my angel. My angel! -LRB- calling after her. -RRB- Hey, touch me. wait! Hey, uh. Lucretia, Lucretia! WE HEAR A MOUNTING CLATTER OF FOOTSTEPS AS THE LITTLE OLD LADY FLIES BACK UP THE STAIRS. LITTLE OLD LADY -LRB- eagerly. -RRB- Yes? BIALYSTOCK Oh, Angelcake, you forgot to give me the check. Ca n't produce a play without money, ha, ha, ha. CUT TO BLOOM. ONCE MORE HE STEALS A GLANCE AT THE STRANGER HIDDEN IN THE SECOND DOORWAY. ONCE AGAIN THE MAN GESTURES FOR HIM TO BE SILENT. CUT BACK TO BIALYSTOCK AND THE OLD LADY. LITTLE OLD LADY -LRB- opening her handbag and reaching inside. -RRB- Of course, the check, I had it with me all the time. SHE TAKES OUT THE CHECK AND HANDS IT TO HIM. LITTLE OLD LADY I do n't know what's happening to me. I must be getting old. BIALYSTOCK TAKES CHECK AND READS IT. LITTLE OLD LADY Is it all right? I made it out to cash. You did n't tell me the name of the play. BIALYSTOCK Oh, it's fine. Fine. Good. Good. Bye. Bye. LITTLE OLD LADY Til Thursday, my Darling, I shall count the minutes. SHE STARTS TO DESCEND. LITTLE OLD LADY -LRB- descending. -RRB- Ta. Ta. BIALYSTOCK -LRB- waving check at her. -RRB- Ta. Ta. THE MAN, WHO HAS BEEN LURKING IN THE SECOND DOORWAY, SUDDENLY SPRINGS INTO ACTION. HE DARTS FORWARD AND QUICKLY TAKES THE CHECK OUT OF BIALYSTOCK'S HAND. THE MAN -LRB- LANDLORD. -RRB- He who signs a lease, must pay rent. HE SHOVES THE CHECK INTO HIS POCKET AND STARTS DOWN THE STAIRS. LANDLORD That's the law. BIALYSTOCK Murderer! Thief! How can you take the last penny out of a man's pocket? LANDLORD -LRB- turns back, shrugs. -RRB- I have to. I'm a landlord! BIALYSTOCK -LRB- shouting to heaven. -RRB- Oh Lord, hear my plea. Destroy him. He maketh a blight on the land. CUT TO LANDLORD ON THE WAY DOWN. LANDLORD -LRB- to the Lord. -RRB- Do n't pay attention. He's crazy. CUT BACK TO BIALYSTOCK. HE TURNS TO RE - ENTER HIS OFFICE. BIALYSTOCK -LRB- biting his knuckle. -RRB- Nnnnn. That hurt. -LRB- he sighs. -RRB- I'll have to make another call. HE STARTS IN AND STOPS. HE NOTICES BLOOM. BIALYSTOCK -LRB- to Bloom, quietly. -RRB- Have you been there all this time? BLOOM NODS. BIALYSTOCK And did you see and hear everything? BLOOM NODS. BIALYSTOCK Then what do you have to say for yourself? BLOOM Uh. uh. ooooooops? BIALYSTOCK -LRB- shouts. -RRB- Who are you? What do you want? Why are you loitering in my hallway? Speak, dummy, speak! Why do n't you speak? BLOOM Scared. Ca n't talk. BIALYSTOCK All right. Get a hold of yourself. Take a deep breath, let it out slowly and tell me who you are. BLOOM -LRB- breathes deeply. Words tumble from his mouth as he exhales. -RRB- I'm Leo Bloom, I'm an accountant, I'm from Whitehall and Marks, I was sent here to do your books and I'm terribly sorry I caught you with the old lady. -LRB- he has run out of breath. -RRB- BIALYSTOCK `` Caught you with the old lady.'' Come in, Mr. Tact. CUT TO OFFICE. THEY ENTER. BLOOM ENTERS TIMOROUSLY. HE DOES N'T KNOW QUITE WHERE TO GO. HE LOOKS TO BIALYSTOCK FOR GUIDANCE. BIALYSTOCK STUDIES BLOOM CURIOUSLY FROM HEAD TO TOE. BIALYSTOCK So you're an accountant, eh? BLOOM -LRB- timidly. -RRB- Yes sir. BIALYSTOCK Then account for yourself! Do you believe in God? Do you believe in gold? Why are you looking up old lady's dresses? Bit of a pervert, eh? BLOOM, WHO HAS BEEN QUAKING UNDER THE ASSAULT, REACHES INTO HIS POCKET AND TAKES OUT THE TATTERED CORNER OF AN OLD BLUE BABY BLANKET. HE TWISTS THE BLUE BLANKET NERVOUSLY IN HIS HANDS. BLOOM Sir, I. BIALYSTOCK Never mind. Never mind. Do the books. They're in that desk over there. Top drawer. BLOOM DUTIFULLY GOES TO DESK. OPENS TOP DRAWER AND BEGINS REMOVING BOOKS. BIALYSTOCK How dare you condemn me without knowing all the facts. BLOOM But sir, I'm not condem. BIALYSTOCK Shut up. I'm having a rhetorical conversation. -LRB- to himself. -RRB- How humiliating. Max Bialystock. Max Bialystock. BIALYSTOCK SUDDENLY WHEELS AND SHOUTS AT BLOOM. BIALYSTOCK You know who I used to be? Max Bialystock! The King of Broadway! Six shows running at once. Lunch at Delmonico's. Two hundred dollar suits. Look at me. Look at me now! I'm wearing a cardboard belt! HE RIPS THE BELT OFF AND HOLDS IT IN THE AIR. BIALYSTOCK I used to have thousands of investors begging, pleading, to put their money into a Max Bialystock production. HE PICKS UP THE PICTURE ON DESK -LRB- ` HOLD ME, TOUCH ME' -RRB- TAKES IT OVER TO OPEN CABINET FILLED WITH SIMILAR PICTURES. BIALYSTOCK Look at my investors now. Voila! -LRB- gestures at pictures. -RRB- Hundreds of little old ladies stopping off at Max Bialystock's office to grab a last thrill on the way to the cemetery. HE PUTS PICTURE BACK IN ITS PLACE. LOOKS TOWARD BLOOM. CUT TO BLOOM. HE IS OBVIOUSLY TOUCHED BY THE GREAT MAN'S DILEMMA. CUT TO BIALYSTOCK. BIALYSTOCK You have exactly ten seconds to change that disgusting look of pity into one of enormous respect. One. Two. CUT TO BLOOM. HE IS REALLY TRYING TO CHANGE HIS EXPRESSION. CUT TO BIALYSTOCK. BIALYSTOCK Do the books! Do the books! CUT TO BLOOM. HE IS GREATLY RELIEVED. BLOOM -LRB- sighing. -RRB- Yes, sir. Thank you. HE PLUNGES INTO HIS WORK. CUT TO BIALYSTOCK. HE GOES TO WINDOW, LOOKS OUT. BIALYSTOCK -LRB- to himself. -RRB- Window's so filthy, ca n't tell if it's day or night out there. HE WIPES WINDOW WITH HIS CUFF. LOOKS AT WINDOW. NO GOOD. LOOKS AT HIS GRIMY CUFF. GRIMACES. FROM HIS DESK HE TAKES THE REMAINS OF A CARDBOARD CONTAINER OF COFFEE AND SLOSHES IT AGAINST THE WINDOW. HE WIPES WITH HIS TIE. HE LOOKS OVER HIS SHOULDER AT BLOOM TO SEE IF HE IS WATCHING. BLOOM IS WATCHING. THEIR EYES MEET. BLOOM'S EYES RETREAT. BIALYSTOCK VICTORIOUSLY TURNS AWAY AND LOOKS OUT THE WINDOW DOWN INTO THE STREET. CAMERA : SHOT OF STREET. BIALYSTOCK'S POINT OF VIEW. A WHITE ROLLS ROYCE SLOWLY MAKES ITS WAY UP THE BLOCK. BIALYSTOCK -LRB- voice over as camera follows Rolls. -RRB- Look at that. A white Rolls Royce. That's it baby, when you got it, flaunt it. BLOOM -LRB- off screen. -RRB- Koff, koff. ahem, ahem. harrumph. BIALYSTOCK I assume you are making those cartoon noises to attract my attention. Am I correct in my assumption, you fish - faced enemy of the people? BLOOM IS WOUNDED. BIALYSTOCK I have hurt your feelings. BLOOM NODS. BIALYSTOCK Good, what is it? BLOOM Sir, may I speak to you for a minute? BIALYSTOCK -LRB- looking at his watch. -RRB- Go! You have fifty - eight seconds. BLOOM Well, sir, it seems. BIALYSTOCK -LRB- interrupting. -RRB- You have forty - eight seconds left. Hurry. Hurry. BLOOM -LRB- speedily. -RRB- In looking at your books, I've discovered that. BIALYSTOCK -LRB- interrupting. -RRB- Twenty - eight seconds, hurry, hurry, you're using up your time. IN HIS ANXIETY, BLOOM UNCONSCIOUSLY REACHES INTO HIS POCKET TAKES OUT THE OLD BLUE BLANKET AND NERVOUSLY STROKES HIS CHEEK WITH IT. BLOOM Mr. Bialystock, I can not function under these conditions. BIALYSTOCK CURIOUSLY EYES THE BLANKET. BLOOM You're making me extremely nervous. BIALYSTOCK What is that? A handkerchief? BLOOM QUICKLY BEGINS TO PUT AWAY HIS BLUE BLANKET. BLOOM It's nothing. nothing. QUICK AS A FLASH, BIALYSTOCK REACHES OVER AND SNATCHES IT OUT OF BLOOM'S HAND. BIALYSTOCK If it's nothing, why ca n't I see it? BLOOM LEAPS UP IN HOT PURSUIT OF HIS BLANKET. BLOOM -LRB- shrieking in panic. -RRB- My blanket. Give me my blue blanket. BIALYSTOCK, TAKEN ABACK, HURRIEDLY GIVES THE BLANKET BACK TO BLOOM. BIALYSTOCK Here, do n't panic. BLOOM -LRB- clutching his blanket. -RRB- I'm sorry. I do n't like people touching my blue blanket. It's not important. It's a minor compulsion. I can deal with it if I want to. It's just that I've had it ever since I was a baby and. and. I find it very comforting. HE KISSES IT AND SHOVES IT INTO HIS POCKET. BIALYSTOCK -LRB- to himself. -RRB- They come here. They all come here. How do they find me? BLOOM -LRB- recovering his dignity. -RRB- Mr. Bialystock. BIALYSTOCK Yes, Prince Mishkin, what can we do for you? BLOOM This is hardly a time for levity. I've discovered a serious error here in the accounts of your last play. BIALYSTOCK MOVES AROUND THE DESK TO EXAMINE THE LEDGER. BIALYSTOCK Where? What? BLOOM According to the backer's list you raised $ 60,000. But the show you produced only cost fifty - eight thousand. There's two thousand dollars unaccounted for. BIALYSTOCK I went to a Turkish bath, who cares? The show was a flop. What difference does it make? BLOOM It makes a great deal of difference. That's fraud. If they found out, you could go to prison. BIALYSTOCK Why should they find out? It's only two thousand dollars, Bloom, do me a favor, move a few decimal points around. You can do it. You're an accountant. The word ` count' is part of your title. BLOOM -LRB- aghast. -RRB- But that's cheating! BIALYSTOCK It's not cheating. It's charity. Bloom, look at me. look at me! I'm drowning. Other men sail through life. Bialystock has struck a reef. Bloom, I'm going under. I am being sunk by a society that demands success, when all I can offer is failure. Bloom, I'm reaching out to you. Do n't send me to jail. Help! Help! DURING BIALYSTOCK'S LAST SPEECH, BLOOM UNCONSCIOUSLY REACHES INTO HIS POCKET, TAKES OUT THE BLUE BLANKET AND RUBS IT ACROSS HIS CHEEK. BLOOM Oh dear, oh dear, oh dear, oh dear. BIALYSTOCK -LRB- faintly. -RRB- Help! BLOOM All right. I'll do it. I'll do it. BIALYSTOCK Thank you, Bloom. I knew I could con you. BLOOM Oh, it's all right. wha? BIALYSTOCK Nothing. Nothing. Do it. Do it. BLOOM -LRB- pouring over the accounts. -RRB- Now let's see, two thousand dollars. That is n't much. I'm sure I can hide it somewhere. After all, the department of internal revenue is n't interested in a show that flopped. BIALYSTOCK Yes. Right. Good thinking. You figure it out. I'm tired. I'm gon na take a little nap. -LRB- crossing to couch. -RRB- Wake me if there's a fire. HE HURLS HIMSELF DOWN ONTO THE COUCH. CAMERA MOVES IN TO TIGHT SHOT OF BLOOM. BLOOM Now let's see, if we add these figures, we get. CAMERA MOVES INTO CLOSE - UP OF BLOOM'S FINGER SWIFTLY MOVING DOWN LONG COLUMN OF FIGURES. HE COMES TO THE END AND IMMEDIATELY WRITHES TOTAL BELOW. BACK TO TIGHT SHOT OF BLOOM. HE COMPARES PAGES. BLOOM -LRB- musing to himself. -RRB- Heh, heh, heh, amazing. It's absolutely amazing. But under the right circumstances, a producer could make more money with a flop than he could with a hit. QUICK CUT TO BIALYSTOCK'S SLEEPING FACE. HIS EYES POP OPEN. CUT BACK TO BLOOM. BLOOM Yes. Yes. It's quite possible. If he were certain the show would fail, a man could make a fortune. CUT TO BIALYSTOCK. BY NOW HE IS HALFWAY ACROSS THE ROOM. HIS WHOLE BEING TINGLING WITH ALERTNESS. HE MOVES TO BLOOM'S DESK AND HOVERS OVER HIM, WAITING EXPECTANTLY FOR MORE INFORMATION. BUT BLOOM IS LOST IN HIS WORK, UNAWARE THAT BIALYSTOCK IS HANGING ON HIS EVERY WORD. BIALYSTOCK Yes? BLOOM LOOKS UP. HE IS STARTLED TO SEE BIALYSTOCK'S FACE SO CLOSE TO HIS OWN. BLOOM -LRB- at a loss. -RRB- Yes, what? BIALYSTOCK What you were saying. Keep talking. BLOOM What was I saying? BIALYSTOCK You were saying that under the right circumstances, a producer could make more money with a flop than he could with a hit. BLOOM -LRB- smiling. -RRB- Yes, it's quite possible. BIALYSTOCK You keep saying that, but you do n't tell me how. How could a producer make more money with a flop than with a hit? BLOOM, SLIGHTLY EXASPERATED, PUTS HIS PENCIL DOWN AND FACES BIALYSTOCK. HE SPEAKS TO BIALYSTOCK AS A TEACHER WOULD A STUDENT. BLOOM It's simply a matter of creative accounting. Let us assume, just for the moment, that you are a dishonest man. BIALYSTOCK Assume away! BLOOM Well, it's very easy. You simply raise more money than you really need. BIALYSTOCK What do you mean? BLOOM You've done it yourself, only you did it on a very small scale. BIALYSTOCK What did I do? BLOOM You raised two thousand more than you needed to produce your last play. BIALYSTOCK So what? What did it get me? I'm wearing a cardboard belt. BLOOM Ahhhhhh! But that's where you made your error. You did n't go all the way. You see, if you were really a bold criminal, you could have raised a million. BIALYSTOCK But the play only cost $ 60,000 to produce. BLOOM Exactly. And how long did it run? BIALYSTOCK One night. BLOOM See? You could have raised a million dollars, put on a sixty thousand dollar flop and kept the rest. BIALYSTOCK But what if the play was a hit? BLOOM Oh, you'd go to jail. If the play were a hit, you'd have to pay off the backers, and with so many backers there could never be enough profits to go around, get it? BIALYSTOCK Aha, aha, aha, aha, aha, aha! So, in order for the scheme to work, we'd have to find a sure fire flop. BLOOM What scheme? BIALYSTOCK What scheme? Your scheme, you bloody little genius. BLOOM Oh, no. No. No. I meant no scheme. I merely posed a little, academic accounting theory. It's just a thought. BIALYSTOCK Bloom, worlds are turned on such thoughts! BIALYSTOCK STARTS MOVING IN ON BLOOM. BIALYSTOCK Do n't you see, Bloom. Darling, Bloom, glorious Bloom, it's so simple. Step one : We find the worst play in the world - a sure flop. Step two : I raise a million dollars - there's a lot of little old ladies in this world. Step three : You go back to work on the books. Phoney lists of backers - one for the government, one for us. You can do it, Bloom, you're a wizard. Step four : We open on Broadway and before you can say ` step five' we close on Broadway. Step six : We take our million dollars and fly to Rio de Janiero. BIALYSTOCK GRABS BLOOM IN HIS ARMS AND BEGINS TO LEAD HIM IN A WILD TANGO AROUND THE ROOM. BIALYSTOCK -LRB- sings. -RRB- `` Ah, Rio, Rio by the seao, meo, myo, meo.'' BLOOM -LRB- afraid of the scheme, afraid of the dance, afraid of Bialystock. -RRB- Mr. Bialystock. No. Wait. Please. You're holding me too tight. I'm an honest man. You do n't understand. BIALYSTOCK -LRB- leading Bloom as he talks. -RRB- No, Bloom, you do n't understand. This is fate, this is destiny. There's no avoiding it. AT THIS POINT, BIALYSTOCK SWEEPS BLOOM INTO AN ELABORATE DIP. BLOOM -LRB- the back of his head practically touching the floor. -RRB- Mr. Bialystock, not more than five minutes ago, against my better judgment, I doctored your books. That, sir, is the ultimate extent of my criminal life. BIALYSTOCK RAISES HIS FISTS TO THE HEAVENS IN DESPAIR. BLOOM, EXPERIENCING A DEFINITE LACK OF SUPPORT, GOES CRASHING TO THE FLOOR. BIALYSTOCK OOOOOHH! OOOOOHH! OOOOOHH! OOOOOHH! I WANT THAT MONEY! CAMERA ON BLOOM AS HE LIES STRICKEN ON THE FLOOR. BLOOM -LRB- to himself. -RRB- Oh, I fell on my keys. -LRB- he shifts slightly to make himself more comfortable. -RRB- I've got to get out of here. BIALYSTOCK -LRB- angrily hovering over Bloom. -RRB- You miserable, cowardly, wretched little caterpillar. Do n't you ever want to become a butterfly? Do n't you want to spread your wings and flap your way to glory? BIALYSTOCK FLAPS HIS ARMS LIKE A HUGE PREDATORY BIRD. BLOOM -LRB- his eyes widened in terror. -RRB- You're going to jump on me. BIALYSTOCK STARES AT HIM INCREDULOUSLY. BLOOM You're going to jump on me. I know you're going to jump on me - like Nero jumped on Poppea. BIALYSTOCK -LRB- nonplussed. -RRB- What? BLOOM -LRB- by now he is shrieking. -RRB- Poppea. She was his wife. And she was unfaithful to him. So he got mad and he jumped on her. Up and down, up and down, until he squashed her like a bug. Please do n't jump on me. BIALYSTOCK -LRB- shouting and jumping up and down next to Bloom. -RRB- I'm not going to jump on you! BLOOM -LRB- rolling away in terror. -RRB- Aaaaaaaaaa! BIALYSTOCK -LRB- hoisting Bloom to his feet. -RRB- Will you get a hold on yourself. BLOOM -LRB- up on his feet and running for cover. -RRB- Do n't touch me! Do n't touch me! HE RUNS TO A CORNER OF THE ROOM. TRAPPED! HE TURNS. BIALYSTOCK What are you afraid of? I'm not going to hurt you! What's the matter with you? BLOOM I'm hysterical. I'm having hysterics. I'm hysterical. I ca n't stop. When I get like this, I ca n't stop. I'm hysterical. BIALYSTOCK RUSHES TO THE DESK. PICKS UP A CARAFE OF WATER AND SHOSHES ITS CONTENTS INTO BLOOM'S FACE. BLOOM I'm wet! I'm wet! I'm hysterical and I'm wet! BIALYSTOCK IN A DESPERATE MOVE TO STOP BLOOM'S HYSTERICS, SLAPS HIM ACROSS THE FACE. BLOOM -LRB- holding his face. -RRB- I'm in pain! And I'm wet! And I'm still hysterical! BIALYSTOCK RAISES HIS HAND AGAIN. BLOOM No! No! Do n't hit. It does n't help. It only increases my sense of danger. BIALYSTOCK What can I do? What can I do? You're getting me hysterical. BLOOM Go away from me. You frighten me. -LRB- he indicates the sofa. -RRB- Sit over there. BIALYSTOCK SITS ON THE SOFA. BIALYSTOCK -LRB- exasperated. -RRB- Okay. I'm way over here. Is that better? BLOOM It's a little better, but you still look angry. BIALYSTOCK How's this? -LRB- he smiles sweetly. -RRB- BLOOM Good. Good. That's nice. That's very nice. I think I'm coming out of it now. Yes. Yes. I'm definitely coming out of it. Thank you for smiling. It helped a great deal. BIALYSTOCK -LRB- for want of something sensible. -RRB- Well, you know what they say, `` Smile and the world smiles with you.'' Heh, heh. -LRB- to himself. -RRB- The man should be in a straight jacket. -LRB- to Bloom. -RRB- Feeling better? BLOOM Much, thank you. But I am a little lightheaded. Maybe I should eat something. Hysterics have a way of severely depleting one's blood sugar, you know. BIALYSTOCK They certainly do. They certainly do. Come, let me take you to lunch. BLOOM That's very kind of you, Mr. Bialystock, but I. BIALYSTOCK -LRB- interrupting. -RRB- Nonsense, nonsense, my dear boy. I lowered your blood sugar, but least I could do is raise it a little. BLOOM LOOKS AT HIM SUSPICIOUSLY. BIALYSTOCK And I promise you faithfully, I wo n't discuss that silly scheme to make a million dollars anymore. BIALYSTOCK DONS HIS CAPE AND `` BELASCO'' HAT. FROM A RACK HE SELECTS A GOLD - TOPPED WALKING STICK. HE GOES TO DOOR, OPENS IT, AND WITH A GRAND FLOURISH, MOTIONS BLOOM TO PRECEDE HIM. BIALYSTOCK Avanti! BLOOM GRACIOUSLY COMPLIES. THEY EXIT. CUT TO EXTERIOR. ENTRANCE OF BIALYSTOCK'S OFFICE BUILDING. THE DOOR OPENS. IT IS HELD BY BIALYSTOCK. BLOOM EXITS BUILDING INTO STREET. BLOOM -LRB- to Bialystock, who is holding door. -RRB- Thank you. BIALYSTOCK Je vous empris. THEY TURN UP 45TH STREET AND HEAD TOWARD BROADWAY. BIALYSTOCK REACHES INTO HIS POCKET AND COUNTS HIS MONEY. HE LOOKS WORRIED. SUDDENLY HIS FACE BRIGHTENS. WE SEE WHAT BIALYSTOCK SEES. CUT TO MURRAY THE BLINDMAN WORKING 45TH STREET. CAMERA BACK TO BIALYSTOCK AND BLOOM. BIALYSTOCK DROPS A STEP BEHIND, QUICKLY TAKES OFF HIS HAT AND FLINGS IT THROUGH THE AIR. BIALYSTOCK -LRB- pointing to his hat. -RRB- My hat. BLOOM I'll get it. HE RACES AFTER IT. BIALYSTOCK DETOURS SLIGHTLY TOWARD MURRAY THE BLINDMAN, WHO WEARS A LARGE CARDBOARD SIGN WITH THE LEGEND : `` MURRAY THE BLINDMAN. YOU CAN SEE. I CA N'T. GIVE!'' INSCRIBED ON IT. BIALYSTOCK REACHES DOWN INTO HIS CUP AND GRABS A FIST FULL OF COINS. BIALYSTOCK Murray, I'm going to lunch. I took two dollars. MURRAY THE BLINDMAN Okay, Bialy, that makes six eighty you owe me. BIALYSTOCK I know. Do n't worry. You'll get it. You'll get it. MURRAY THE BLINDMAN -LRB- tapping his way along. -RRB- Well, do n't forget about it. I need it. Nobody understands. I'm competing with giants. The Greater New York Fund. The March of Dimes. The Community Chest. They're driving me out of business. BLOOM COMES DASHING BACK WITH HAT IN HAND. BLOOM -LRB- out of breath. -RRB- I got it, Mr. Bialystock. HE PROFFERS HAT TO BIALYSTOCK. BIALYSTOCK TAKES IT. BIALYSTOCK Thank you, Leo. And call me Max. You know, I do n't let everybody call me Max. It's only people I really like. BLOOM -LRB- trying it on. -RRB- Okay. Max! And you can call me Leo. BIALYSTOCK I already have. Come on. BLOOM Oh. BIALYSTOCK Where would you like to eat? BLOOM Well, Max, I do n't know, Max. What do you think, Max? BIALYSTOCK QUIETLY WINCES AT THE SURFEIT OF MAX. BIALYSTOCK Let me see. it's such a beautiful day. Why waste it indoors. I've got it! Let's go to Coney Island! We'll lunch at the sea shore. BLOOM Coney Island? BIALYSTOCK What's the matter, Leo? Do n't you like Coney Island? BLOOM I. I love it. I have n't been there since I was a kid. But it's nearly two o'clock. I really should be getting back to Whitehall and Marks. BIALYSTOCK Nonsense! As far as Whitehall and Marks are concerned, you're working with Bialystock, right? BLOOM Right. BIALYSTOCK Then stick with Bialystock! SWISH PAN CUT TO CONEY ISLAND. FAR SHOT OF BIALYSTOCK AND BLOOM AMIDST THE CROWD AT A CUSTARD STAND. CAMERA ZOOMS IN. TWO SHOT. BIALYSTOCK -LRB- to Custard Man. -RRB- We'll have another round. CUSTARD MAN What kind now, sports? BIALYSTOCK What kind now, Leo? BLOOM -LRB- he's loosening up. -RRB- I do n't know. Let's see. We've had chocolate, vanilla, banana - let's go green. BIALYSTOCK -LRB- to Custard Man. -RRB- Two pistachios, my good man. CUSTARD MAN I'm not your good man, I happen to own this establishment. -LRB- he turns to fill the order. -RRB- BIALYSTOCK Everybody's a big shot. -LRB- turns to Bloom. -RRB- Well, Leo, are you having a good time? BLOOM I do n't know. I think so. I feel very strange. BIALYSTOCK Maybe you're happy. BLOOM Yes. That's it. Happy. Well, whatta ya think of that. Happy. QUICK DISSOLVE TO BIALYSTOCK AND BLOOM ON THE WHIP -LRB- A CONEY ISLAND RIDE -RRB-. THEY ARE TIGHTLY SQUEEZED INTO ONE OF THE MOVING SEATS. THEY ARE BETWEEN `` WHIPS''. BLOOM -LRB- licking his pistachio custard. He is ecstatic. -RRB- I love it. I love it. Get set. We're coming to another turn. BIALYSTOCK -LRB- working, relentlessly working on Bloom. -RRB- Bloom, it can always be like this. Life can be beautiful. Let me show you. Stick with. THEY HIT THE TURN. BIALYSTOCK Bialysto - o - o - o - ckk. QUICK DISSOLVE TO BARKER SELLING TICKETS IN FRONT OF TUNNEL OF LOVE. MEDIUM SHOT OF EXIT. A LITTLE BOAT COMES OUT. IN IT ARE A MAN AND A WOMAN EMBRACING. IT IS FOLLOWED BY ANOTHER. IN IT THERE IS A SAILOR KISSING A GIRL. BOAT NUMBER THREE COMES OUT. IN IT ARE BIALYSTOCK AND BLOOM. CLOSE IN TO A TIGHT TWO SHOT. BLOOM IS MESMERIZED. BIALYSTOCK SPEAKS IN A SOFT, ENCHANTING TONE. BIALYSTOCK Money is honey. Money is honey. Money can put soft things next to your skin. Silk. satin. women. CLOSE - UP OF BLOOM'S EYES. THEY WIDEN ON THE WORD `` WOMEN.'' QUICK DISSOLVE TO PARACHUTE JUMP. BIALYSTOCK AND BLOOM ARE SEATED IN A LITTLE GONDOLA THAT SWINGS BENEATH A HUGE PARACHUTE. THEY ARE BUCKLING THEMSELVES IN. BLOOM But if we're caught, we'll go to prison. BIALYSTOCK -LRB- sensing victory, he marshals his forces for the final assault. -RRB- You think you're not in prison now? Living in a grey little room. Going to a grey little job. Leading a grey little life. BLOOM You're right. You're absolutely right. I'm a nothing. I spend my life counting other people's money - people I'm smarter than, better than. Where's my share? Where's Leo Bloom's share? I want, I want, I want, I want everything I've ever seen in the movies! THE PARACHUTE BEGINS TO ASCEND. WE FOLLOW. BLOOM -LRB- coming out of it. -RRB- Hey, we're going up. BIALYSTOCK You bet your boots, Leo. It's Bialystock and Bloom - on the rise. Upward and onward. Say, you'll join me. Nothing can stop us. BIALYSTOCK OFFERS HIS HAND TO BLOOM. BLOOM -LRB- shouting at the top of his lungs. -RRB- I'll do it! By God, I'll do it! BLOOM GRABS BIALYSTOCK'S HAND AND SHAKES IT FIRMLY. BIALYSTOCK This is where we belong, Leo. On top of the world. Top of the world! THEY HIT THE TOP. THE PARACHUTE IS RELEASED, THEY QUICKLY PLUMMET DOWN. BIALYSTOCK Oiiiiiii! BLOOM Ohhhhhhhh! BIALYSTOCK AND BLOOM DROP OUT OF FRAME. SLOW DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. OVERHEAD SHOT. BIALYSTOCK AND BLOOM ARE BATHED IN A SMALL POOL OF CONCENTRATED LIGHT. THEY ARE DOWN TO THEIR SHIRT SLEEVES. THEY ARE FEVERISHLY READING PLAY MANUSCRIPTS. ALL ABOUT THEM ARE STREWN COFFEE CONTAINERS, SOME EMPTY, SOME HALF - FILLED. THERE IS A HUGE PILE OF DISCARDED SCRIPTS ON THE FLOOR. CUT TO TIGHT SHOT OF LEO BLOOM AS HE READS SCRIPT. HE LOOKS UP, PUSHES HIS GLASSES BACK AND MASSAGES THE BRIDGE OF HIS NOSE. BLOOM Max, let's call it a night. It's two in the morning. I do n't know what I'm reading anymore. PULL BACK TO TWO SHOT. BIALYSTOCK Read, read. We've got to find the worst play ever written. BIALYSTOCK TURNS HIS ATTENTION TO A NEW SCRIPT. HE CRACKS IT OPEN AND BEGINS READING. BIALYSTOCK Hmmnn. `` Gregor Samsa awoke one morning to find he had been transformed into a giant cock - a - roach.'' IN A RAGE BIALYSTOCK FLINGS THE MANUSCRIPT ONTO THE PILE OF BIALYSTOCK It's good! CAMERA MOVES UP AND WE DISSOLVE THROUGH TO MEDIUM SHOT OF OFFICE. BIALYSTOCK AND BLOOM ARE THOROUGHLY DISHEVELED AND BADLY IN NEED OF A SHAVE. BLOOM -LRB- mumbling to himself as he reads. -RRB- Wait a minute, I've read this part. I'm reading plays I read this morning. HE GETS UP, STRETCHES, GOES TO WINDOW AND RAISES SHADE. SUNLIGHT FLOODS THE ROOM. HE REELS BACK AS THOUGH STRUCK. BLOOM Good lord, it's morning. Let's face it, we'll never find it. -LRB- he turns to face Bialystock. -RRB- Max, tomorrow's another day. Today's another day. BIALYSTOCK -LRB- off - camera. Crazy little voice. -RRB- We'll never find it, eh? We'll never find it, eh? Ha, ha, ha, ha, ha. CUT TO BIALYSTOCK. HE IS STANDING. AT HIS FEET LIES A SCRIPT. HE DANCES AROUND IT, HIS ARMS FOLDED ACROSS HIS CHEST. BIALYSTOCK -LRB- as he does an insane little jig around the script. -RRB- You ca n't smell it when it's under your nose. You ca n't see it when it's right before your eyes. You ca n't feel it when it's in your hand, when it's in your pocket. CUT TO MEDIUM SHOT. BLOOM Max, what is it? What are you doing? What's happening? BIALYSTOCK I'll tell you what's happening. We've struck gold. Not fool's gold, but real gold. The mother lode. The mother lode. The mother of them all. BLOOM -LRB- brightening. -RRB- You found a flop! BIALYSTOCK A flop, ha! That's putting it mildly. A disaster! A catastrophe! An outrage! A guaranteed - to - close - in - one - night beauty! HE BENDS DOWN, PICKS UP THE SCRIPT AND SHAKES IT IN BLOOM'S FACE. BIALYSTOCK This is freedom from want forever. This is a house in the country. This is a Rolls Royce and a Bentley. This is wine, women and song and women. BLOOM SNATCHES THE SCRIPT FROM HIS HANDS AND READS ALOUD THE TITLE. CUT TO CLOSE - UP. TITLE OF SCRIPT. BLOOM -LRB- voice over. -RRB- `` SPRINGTIME FOR HITLER, A Gay Romp with Adolph and Eva in Berchtesgarten.'' Fantastic! BACK TO TWO SHOT. BIALYSTOCK AND BLOOM. BIALYSTOCK It's practically a love letter to Hitler! BLOOM -LRB- ecstatic. -RRB- It wo n't run a week! BIALYSTOCK Run a week? Are you kidding? This play has got to close in the first act. BLOOM Who wrote it? CUT TO AUTHOR'S NAME ON THE MANUSCRIPT : By FRANZ LIEBKIND. DISSOLVE THROUGH AUTHOR'S NAME TO BIALYSTOCK AND BLOOM, SHAVED AND DAPPER, WALKING DOWN STREET IN A RUN - DOWN TENEMENT NEIGHBORHOOD. BLOOM Here it is - 415. THEY MARCH UP STOOP TO NUMBER 415. THEIR MOTION IS ARRESTED BY A QUERULOUS COMMAND ISSUED IN PHLEGMATIC TONES BY THE SUPERINTENDENT OF THE BUILDING -LRB- A WOMAN IN HER LATE FORTIES -RRB- WHO IS LEANING OUT OF HER WINDOW WHICH IS ADJACENT TO THE STOOP. SUPER Who do you want? BLOOM -LRB- taken aback. -RRB- I beg your pardon? SUPER Who do you want? No one gets in the building unless I know who they want. I'm the concierge. My husband used to be the concierge. He's dead. Now I'm the concierge. BIALYSTOCK -LRB- imperiously. -RRB- We are seeking Mr. Franz Liebkind. SUPER Oh, the kraut. He's on the top floor. Apartment twenty - three. BLOOM Thank you. THEY START INTO THE BUILDING. SUPER But you wo n't find him there. He's up on the roof with his birds. He keeps birds. Dirty, disgusting, filthy, lice - ridden birds. You used to be able to sit out on the stoop like a person. Not anymore. No sir. Birds! You get my drift? BLOOM We. uh. get your drift. Thank you, Madam. SUPER I'm not a madam. I'm a concierge. BIALYSTOCK AND BLOOM ENTER THE BUILDING. CUT TO FRANZ LIEBKIND. HE IS IN HIS EARLY FORTIES. HE IS WEARING, AS ALWAYS, A GERMAN HELMET. HE CROUCHES BESIDE A HUGE PIGEON COOP. IN HIS LEFT HAND HE TENDERLY HOLDS A PIGEON. IN HIS RIGHT, A SMALL PHOTO OF ADOLPH HITLER. HE SHOWS THE PICTURE TO THE BIRD. HE MOVES IT BACK AND FORTH UNTIL HE IS SURE THE BIRD IS FOCUSED ON IT PROPERLY. LIEBKIND -LRB- to pigeon. -RRB- Hilda, look. look good. Hilda, you're not looking. Hilda, if he lives, I know you will find him. HE KISSES THE BIRD AND TOSSES IT SKYWARD. CUT TO ROOF DOOR. BIALYSTOCK AND BLOOM ENTER ONTO THE ROOF. THEY LOOK FOR LIEBKIND. HE IS NOT ON THAT SIDE OF ROOF. THEY WALK AROUND TO OTHER SIDE. AS SOON AS THEY TURN THE CORNER, THEY SPOT LIEBKIND CROUCHED NEAR THE COOP. BLOOM -LRB- quietly to Bialystock. -RRB- He's wearing a German helmet. BIALYSTOCK -LRB- in a fierce whisper. -RRB- Shhh. Do n't say anything to offend him. We need that play. -LRB- cups his hands to his mouth and calls up to the coop. -RRB- Franz Liebkind? LIEBKIND IS NOT AWARE OF THEIR PRESENCE UNTIL HE HEARS HIS NAME CALLED. STARTLED, HE QUICKLY FLIPS HITLER'S PICTURE UNDER HIS HELMET. LIEBKIND -LRB- he speaks with a German accent. -RRB- I vas never a member of the Nazi party. I am not responsible. I only followed orders. Who are you? BIALYSTOCK Mr. Liebkind, wait. You do n't understand. LIEBKIND Vhy do you persecute me? My papers are in order. I love my country. -LRB- he sings. -RRB- `` Oh, beautiful for spacious skies, For amber vaves of grain.'' BIALYSTOCK Mr. Liebkind, wait. LIEBKIND -LRB- singing. -RRB- `` I'm a Yankee Doodle Dandy. BIALYSTOCK -LRB- interrupting. -RRB- Mr. Liebkind, relax, relax, we're not from the government. We came here to talk to you about your play. LIEBKIND My play? You mean, `` Springtime For.'' you know who? BIALYSTOCK Yes. LIEBKIND Vat about it? BIALYSTOCK We loved it. We thought it was a masterpiece. That's why we're here. We want to produce it on Broadway. LIEBKIND You're not, as you Americans say, dragging my leg, are you? BLOOM No, not at all sir, we're quite serious. We want to produce your play. -LRB- he reaches into his attache case and displays a legal looking document. -RRB- I have the contracts right here. LIEBKIND -LRB- looking up. -RRB- Oh joy of joys! Oh, dream of dreams! I ca n't believe it. -LRB- he turns to the pigeons. -RRB- Birds, birds, do you hear? Otto, Bertz, Heintz, Hans, Wolfgang, do you hear? Ve are going to clear the Fuhrer's name. Fly, fly, spread the words. HE OPENS THE CAGES AND SETS THE BIRDS FREE. LIEBKIND -LRB- singing at the top of his lungs. -RRB- `` Deutchland, Deutchland, uber alles, Uber alles in der velt.'' BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN ALARM. LIEBKIND -LRB- singing for all he's worth. -RRB- `` Deutchland, Deutchland.'' BLOOM -LRB- shouting. -RRB- Mr. Liebkind, Mr. Liebkind. LIEBKIND STOPS SINGING. LIEBKIND Vat? BLOOM People can hear you. LIEBKIND OH. -LRB- he sings. -RRB- `` I'm a Yankee Doodle Dandy, Yankee Doodle is my.'' Listen, this is not place to talk. Come! We go to my flat. An occasion like this calls for Schnapps. DISSOLVE TO FRANZ LIEBKIND'S APARTMENT. LIEBKIND HAS JUST FINISHED POURING THREE GLASSES OF SCHNAPPS. HE PUTS THE BOTTLE ON A TRAY. LIEBKIND -LRB- as he hands glasses to Bialystock and Bloom. -RRB- Mr. Bloom, Mr. Bialystock. Gentleman, with your permission, I would like to propose a toast to the greatest man that ever lived. Let us say his name quietly to ourselves. The walls have ears. CUT TO TIGHT SHOT OF FRANZ LIEBKIND. LIEBKIND -LRB- a fervent whisper. -RRB- Adolph Hitler. -LRB- he downs drink. -RRB- CUT TO TIGHT SHOT OF BLOOM. BLOOM -LRB- whisper. -RRB- Sigmund Freud. -LRB- he downs drink. -RRB- CUT TO TIGHT SHOT OF BIALYSTOCK. BIALYSTOCK -LRB- whisper. -RRB- Max Bialystock. -LRB- he downs drink. -RRB- BACK TO SCENE. LIEBKIND I vas vit him a great deal, you know. BIALYSTOCK With whom? LIEBKIND -LRB- astonished by the question. -RRB- Vit the Fuhrer, of course. He liked me. Out of all the household staff at Berchtesgarten, I vas his favorite. I vas the only one allowed into his chambers at bedtime. BIALYSTOCK No kidding? LIEBKIND Oh, sure. I used to take him his hot milk and his opium. Achhh, those were the days. Vat good times ve had. Dinner parties vit lovely ladies and gentlemen, singing und dancing. You know, not many people knew about it, but the Fuhrer vas a terrific dancer. BIALYSTOCK Really, I never dreamed. LIEBKIND -LRB- flies into an indignant rage. -RRB- That's because you were taken in by that verdampter Allied propaganda. Such filthy lies. But nobody said a bad vord about Winston Churchill, did they? Oh no, Vin Vit Vinnie! -LRB- he gestures V for victory. -RRB- Churchill, vit his cigars and his brandy and his rotten paintings. Could n't even say Nazi. He would say Narzis, Narzis. Ve vere not Narzies, ve vere Nazis. But let me tell this, and you're getting it straight from the horse, Hitler vas better looking than Churchill, he vas a better dresser than Churchill, had more hair, told funnier jokes, and could dance the pants off Churchill! BIALYSTOCK -LRB- swinging along. -RRB- That's exactly why we want to do this play. To show the world the true Hitler, the Hitler you knew, the Hitler you loved, the Hitler with a song in his heart. -LRB- to Bloom. -RRB- Leo, quick, the contract. BLOOM QUICKLY WHIPS THE CONTRACT OUT OF HIS POCKET, PRODUCES A PEN, HANDS THEM TO BIALYSTOCK. BIALYSTOCK SPREADS THE CONTRACT OUT ON THE TABLE BEFORE LIEBKIND. BIALYSTOCK Here, sign here, Franz Liebkind. And make your dream a reality. HE HANDS LIEBKIND THE PEN. LIEBKIND REFUSES IT. LIEBKIND Wait. No. How do I know I can trust you? How do I know you vill present this play in the manner and spirit in vhich it vas conceived? BIALYSTOCK We swear it! LIEBKIND Not good enough. Vould you be villing to take the Siegfried oath? BIALYSTOCK Yes. We would! INSERT : CLOSE - UP BLOOM. HE LOOKS WORRIED. LIEBKIND Good. I will make the preparations. LIEBKIND LEAVES THE ROOM. BLOOM -LRB- anxious whisper. -RRB- Max, I do n't want to take any Siegfried Oath. I do n't know what it is, but I do n't want to take it. We might end up in the German Army. BIALYSTOCK Shut up, you idiot. He's a harmless nut. Play along with him. It's almost in the bag. LIEBKIND ENTERS. HE IS LADEN DOWN WITH ALL SORTS OF RITUALISTIC PARAPHERNALIA. LIEBKIND PLACES ALL THE STUFF ON THE TABLE. WITHOUT A WORD TO THEM, HE GOES TO PHONOGRAPH. IN A FEW SECONDS WE HEAR THE OPENING STRAINS OF WAGNER'S `` RIDE OF THE VALKYRIES.'' AS THE MUSIC BOOMS LOUDER, LIEBKIND ADDRESSES THEM. LIEBKIND Please to don your helmets. FROM THE TABLE THEY TAKE CLASSIC WAGNERIAN HELMETS -LRB- WITH HORNS -RRB- AND PLACE THEM ON THEIR HEADS. LIEBKIND Please to light your candles. THEY EACH TAKE A HUGE WHITE CANDLE FROM THE TABLE AND LIGHT IT. LIEBKIND FLICKS THE LIGHT SWITCH. NOW THEY ARE IN THE DARK EXCEPT FOR THE GLOW OF THEIR CANDLES. LIEBKIND Please repeat after me. I solemnly swear. BIALYSTOCK AND BLOOM I solemnly swear. LIEBKIND By the sacred memory. BIALYSTOCK AND BLOOM By the sacred memory. LIEBKIND Of Siegfried. BIALYSTOCK AND BLOOM Of Siegfried. LIEBKIND Wagner. BIALYSTOCK AND BLOOM Wagner. LIEBKIND Nietzche. BIALYSTOCK AND BLOOM Nietzche. LIEBKIND Bismark. BIALYSTOCK AND BLOOM Bismark. LIEBKIND Hindenburg. BIALYSTOCK AND BLOOM Hindenburg. LIEBKIND The Graf Spee. BIALYSTOCK AND BLOOM The Graf Spee. LIEBKIND The Blue Max. BIALYSTOCK AND BLOOM The Blue Max. LIEBKIND And last, but not least, Adolph. you know who. BIALYSTOCK AND BLOOM And last, but not least, Adolph. you know who. LIEBKIND -LRB- saluting. -RRB- Heil you know who! BIALYSTOCK AND BLOOM -LRB- spiritlessly saluting. -RRB- Heil you know who! LIEBKIND Good. Good. Now ve sign the contract. BIALYSTOCK Good. Good. -LRB- he hands Liebkind the pen. -RRB- LIEBKIND No. No. Not in ink. We'll desecrate the oath. It must be done in blood. CUT TO BLOOM'S FACE. IT IS A SILENT OI. LIEBKIND Fingers, please. BIALYSTOCK AND BLOOM EXTEND THEIR FOREFINGERS AND LOOK THE OTHER WAY. LIEBKIND PRICKS THEM WITH THE SACRED SAFETY PIN, AND SQUEEZES A FEW DROPS OF BLOOD FROM EACH INTO THE SACRED VESSEL -LRB- A JAR COVER -RRB-. HE DOES THE SAME WITH HIS OWN FINGER. LIEBKIND Ve vill sign vit this sacred qvill taken from the last chicken I served at Berchtesgarten. LIEBKIND SIGNS. `` THE RIDE OF THE VALKYRIES'' REACHES ITS ZENITH. IT ECHOES THROUGH THE ROOM AS WE FADE OUT. FADE IN ON BIALYSTOCK AND BLOOM AS THEY WALK UP STREET AWAY FROM TENEMENT. IT IS LATE AFTERNOON. THEY ARE BOTH WEARING SWASTIKA ARM BANDS. BIALYSTOCK -LRB- triumphantly whacking the contract with the back of his hand. -RRB- There it is. in red and white! `` Springtime For Hitler,'' signed, sealed and delivered. -LRB- he notices Bloom's dour expression. -RRB- What's the matter with you? BLOOM Look, I'm just not wearing this arm band. I do n't care how big the deal is. BIALYSTOCK -LRB- placating him. -RRB- Okay, take it off, take it off. THEY TAKE OFF THEIR ARM BANDS AND TOSS THEM INTO A LITTER BASKET. BIALYSTOCK SPOTS A PASSING TAXI. HE WHISTLES. IT STOPS. BIALYSTOCK -LRB- to cab driver as he opens door. -RRB- The Blue Gypsy. BLOOM -LRB- about to enter cab with Bialystock. -RRB- Why are we going to the Blue Gypsy?! BIALYSTOCK -LRB- stopping Bloom from entering cab. -RRB- We are not going to The Blue Gypsy. I am going to The Blue Gypsy. BIALYSTOCK GETS INTO CAB AND SLAMS THE DOOR. HE CONTINUES SPEAKING TO BLOOM THROUGH THE WINDOW. BIALYSTOCK I have a rendez - vous with a lady of some means. You see dear Bloom, phase one is complete, the play is ours. We are now entering phase two - the raising of the money. In the days to come, you will see very little of me, for Bialystock is launching himself into little - old - lady - land. -LRB- to cab driver. -RRB- Avanti! THE CAB SPEEDS AWAY. SWISH PAN CUT TO TIGHT SHOT OF LITTLE OLD LADY # 3. IN HER HAND SHE HOLDS A BUBBLING GLASS OF CHAMPAGNE. SHE RAISES IT TO BIALYSTOCK. PULL BACK TO TWO SHOT OF BIALYSTOCK AND LITTLE OLD LADY. THEY ARE SEATED IN A CORNER BOOTH OF A LITTLE VIENNESE CAFE. LITTLE OLD LADY #3 Here's to the success of your new play. BIALYSTOCK RAISES HIS GLASS. BIALYSTOCK Our play, my love. HE GALLANTLY INTERTWINES HIS ARMS IN HERS IN A LOVER'S TOAST. IT IS HARD TO DRINK WITH ARMS ENTWINED, ESPECIALLY IF ONE OF THE ARMS IS ATTACHED TO A LITTLE OLD LADY. THE TOAST IS A FIASCO, BIALYSTOCK GETTING MOST OF THE CHAMPAGNE OVER HIS VEST AND TROUSERS. LITTLE OLD LADY #3 Oh, I'm sorry, Bialy, did I wet you? BIALYSTOCK Think nothing of it, my dear. A mere trifle. A mere trifle. Did you bring your checkbook? LITTLE OLD LADY #3 It's right here in my purse and I made it out just as you told me - to cash. That's a funny name for a play. BIALYSTOCK Think nothing of it. SHE SNAPS OPEN HER LITTLE BEADED PURSE, TAKES OUT THE CHECK AND BEGINS TO HAND IT TO BIALYSTOCK. AT THIS MOMENT, WE ARE ASSAULTED BY THE PASSIONATE SOUND OF A CRYING VIOLIN. CAMERA PULLS BACK TO REVEAL A VIOLINIST IN GYPSY ATTIRE CLOSING IN ON THE TABLE. THE LITTLE OLD LADY IS DELIGHTED BY THE VIOLINIST AND UNFORTUNATELY FOR BIALYSTOCK STOPS THE PASSAGE OF THE CHECK AS HER ATTENTION IS DIVERTED. BIALYSTOCK CAUTIOUSLY REACHES OUT TO SNATCH THE CHECK BUT EACH TIME THAT HE DOES, A TURN IN THE MUSIC MAKES THE LITTLE OLD LADY CLUTCH HER HEART. BIALYSTOCK IS VERY UNHAPPY. HE QUIETLY BRINGS HIS FOOT FROM BENEATH THE TABLE AND PLACES IT DIRECTLY OVER THE FOOT OF THE VIOLINIST. CUT TO CLOSE - UP OF BIALYSTOCK'S FOOT POISED OVER VIOLINIST'S FOOT. BIALYSTOCK PROCEEDS TO CRUSH VIOLINIST'S FOOT. CUT TO VIOLINIST'S FACE. SOMEHOW IT CONVEYS TO US ALL THE MISERY AND PAIN OF THE HUMAN CONDITION. WITH EYES CROSSED BY GRIEF, HE LIMPS TO ANOTHER TABLE. BIALYSTOCK QUICKLY REACHES OUT AND SNATCHES THE CHECK. SWISH PAN CUT TO HANSOM CAB THREADING ITS WAY THROUGH CENTRAL PARK. NIGHT. CUT TO INTERIOR OF CAB. BIALYSTOCK IS COZILY ENSCONCED WITH LITTLE OLD LADY # 4. BIALYSTOCK -LRB- taking check from old lady. -RRB- Thank you, my dear. LITTLE OLD LADY #4 Oh, Bialy, Bialy, tell me again. Tell me again. BIALYSTOCK Edna, I swear on my life, you do n't look a day over sixty - five. SWISH PAN CUT TO CITY TRAFFIC. DAY. A TAXI FILLS THE SCREEN. AS IT MOVES OUT OF FRAME, WE DISCOVER BIALYSTOCK AND LITTLE OLD LADY # 5 ASTRIDE A RED AND WHITE HONDA MOTOR SCOOTER. AS THEY ROAR PAST THE CAMERA, BIALYSTOCK SHOUTS. BIALYSTOCK Clear the road! Clear the road! LITTLE OLD LADY #5 -LRB- clutching Bialystock fiercely. -RRB- Go, Bialy, baby, go! SWISH PAN CUT TO POSH PARK AVENUE APARTMENT. NIGHT. A PRIVATE CONCERN IS IN PROGRESS. A THIN, CONSUMPTIVE - LOOKING YOUNG MAN FINGERS HIS WAY THROUGH A CHOPIN NOCTURNE. CAMERA SLOWLY PANS THE ROOM. SEATED IN A SEMI - CIRCLE AROUND THE PIANO ON VARIOUS PIECES OF DELICATE EMPIRE FURNITURE IS AN AUSTERE GROUP OF ELDERLY DIGNIFIED PATRONS OF THE ARTS. SUDDENLY AN OLD LADY'S SHRIEK RENDS THE AIR. EVERYONE'S HEAD TURNS. LITTLE OLD LADY #6 -LRB- slightly flustered. -RRB- Go on with the concert! Go on with the concert! It's nothing. Nothing. BIALYSTOCK STARES STRAIGHT AHEAD. LITTLE OLD LADY #6 -LRB- to Bialystock, smiling. -RRB- You dirty man. SWISH PAN CUT TO NEW YORK STREET. OLD FASHIONED LIMOUSINE PULLS INTO VIEW. THE WINDOW SHADES ARE DRAWN. AS IT PASSES, WE DETECT STRANGE SOUNDS EMANATING FROM THE INTERIOR. LITTLE OLD LADY #7 -LRB- off camera. -RRB- Tee hee, ha ha ha, ho ho, ooo, ooo, teehee hee. BIALYSTOCK -LRB- off camera, simultaneously. -RRB- Heh, heh, heh. Hah, hah, hah. THE CAR DRIVES OUT OF FRAME. SWISH PAN CUT TO SCULPTOR'S ATELIER. DAY. AN ANCIENT LITTLE OLD LADY WEARING A SCULPTOR'S SMOCK IS FEEBLY CHIPPING AWAY WITH CHISEL AND HAMMER AT A HUGE SQUARE BLOCK OF MARBLE. SHE MAKES NOT A SCRATCH ON IT. CAMERA DOLLIES BACK TO REVEAL BIALYSTOCK, HER SUBJECT, STANDING NUDE, EXCEPT FOR LOIN CLOTH, HOLDING UP AN ENORMOUS GLOBE. HE IS OBVIOUSLY ATLAS. LITTLE OLD LADY #8 -LRB- stepping back to admire her work. -RRB- Well, Bialy, how's it coming? BIALYSTOCK It's beautiful, Alma, beautiful. -LRB- to the heavens. -RRB- Oi. SWISH PAN CUT TO LIVING ROOM. NIGHT. BIALYSTOCK, DRESSED AS A TURKISH SLAVE, IS ASLEEP ON THE SOFA. THE ROOM HAS BEEN DONE IN A BYZANTINE DECOR. THE STRAINS OF SCHEHERAZADE SOFTLY FILL THE ROOM. SUDDENLY A WHIP COMES FLASHING INTO THE FRAME AND WHACKS AGAINST THE TORSO OF THE SLEEPING BIALYSTOCK. SHOT WIDENS TO REVEAL ` HOLD ME, TOUCH ME' WIELDING THE WHIP. SHE IS DRESSED IN AN ` ARABIAN NIGHTS' COSTUME. HOLD ME, TOUCH ME Dance! Dance, slave! BIALYSTOCK IS UP IN A FLASH AND INTO A QUICK TURKISH TIME STEP SO AS TO AVOID THE DEADLY LASH. BIALYSTOCK How's this? HOLD ME, TOUCH ME Faster, faster, you dog. Excite me, delight me. Hold me, touch me. CUT TO CLOSE - UP OF BIALYSTOCK'S FACE AS HE DANCES. BIALYSTOCK -LRB- murmuring to himself. -RRB- Money is honey, money is honey. DISSOLVE TO BIALYSTOCK'S OFFICE. NIGHT. BIALYSTOCK IS SEATED AT THE DESK. ON ONE SIDE OF HIM IS A LARGE STACK OF SIGNED INVESTOR CONTRACTS. ON THE OTHER AN EQUALLY LARGE PILE OF UNSIGNED ONES. BIALYSTOCK SIGNS FURIOUSLY, AS BLOOM FEEDS THE CONTRACTS TO HIM. BLOOM -LRB- handing Bialystock contract. -RRB- Mrs. Sarah Catheart. She owns 50 % of the profits. BIALYSTOCK DUTIFULLY SIGNS. BLOOM TAKES ANOTHER AND PLACES IT BEFORE BIALYSTOCK. BLOOM Mrs. Eleanor Biddlecombe. She also owns 50 % of the profits. BIALYSTOCK SIGNS. BLOOM PUTS THE NEXT ONE DOWN. BLOOM Mrs. Virginia Resnick. She also owns 50 % of the profits. BIALYSTOCK SIGNS. BLOOM TAKES ANOTHER. BLOOM Mrs. Alma Wentworth. She owns 100 % of the profits. BIALYSTOCK SIGNS. THEN LOOKS UP AT BLOOM. BIALYSTOCK Leo, what if this play is a hit? BLOOM Then the Department of Justice owns 100 % of Bialystock and Bloom. BIALYSTOCK -LRB- Bloom's thought makes him unhappy. -RRB- OI. I'm depressed. Leo, do me a favor. Open the safe. I want to see the money. LEO, HUMORING HIM, SPINS THE COMBINATION DIAL ON SAFE AND OPENS IT. CUT TO INSIDE OF SAFE. IT IS JAMMED FULL OF NEATLY STACKED PILES OF MONEY. CUT TO BIALYSTOCK ON HIS HANDS AND KNEES IN FRONT OF SAFE. BIALYSTOCK -LRB- to himself. Inhales deeply. -RRB- That's better. BIALYSTOCK TAKES OUT A STACK OF NEATLY FOLDED BILLS. HE SMELLS IT, KISSES IT AND PUTS IT IN HIS POCKET. BLOOM What are you doing? BIALYSTOCK I'm going to buy a toy. I worked very, very hard and I think I deserve a toy. BLOOM -LRB- quizzically. -RRB- A toy? DISSOLVE TO CLOSE - UP, FACE OF A GORGEOUS BLONDE, ULLA. DOLLY BACK TO REVEAL THE REST OF HER. SHE IS INCREDIBLY WELL - ENDOWED. CUT TO BIALYSTOCK AND BLOOM. THEIR EYES GLUED TO HER FORM. BLOOM That's a toy? BIALYSTOCK Yes. She's an adult, educational toy made in Sweden for children over fifty. BLOOM STARES AT HIM. BIALYSTOCK Stop looking at me like that. She's not an indulgence. She happens to be our new receptionist. She goes with our new surroundings. QUICKLY PAN POSH NEW WALL - PAPER, FURNISHINGS, ETC.. BIALYSTOCK Ulla, I'd like you to meet my partner and associate, Mr. Leo Bloom. ULLA Got dag pa dig. BLOOM How do you do. -LRB- to Bialystock. -RRB- Have you gone mad? A receptionist that ca n't speak English. What will people say? BIALYSTOCK They'll say, `` Oooh, wah, wah, wah, ooh, ooh.'' BLOOM What is she gon na do here? BIALYSTOCK I'll show you. Ulla, go to work. ULLA Ya, sur. ULLA GOES TO PHONOGRAPH AND PLACES NEEDLE ON RECORD. THE DRIVING SOUND OF A TWIST FILLS THE ROOM. ULLA SENSUOUSLY TWISTS, VIBRATES, FRUGS, WATUSIS AND ROCKS HER BODY IN TIME WITH MUSIC. BIALYSTOCK See, it helps the day go by. Ulla, okay. Okay. ULLA STOPS, GOES TO PHONOGRAPH AND TAKES NEEDLE OFF. BIALYSTOCK Go to desk. Answer telephone. HE PICKS UP PHONE TO SHOW HER. BIALYSTOCK Bialystock and Bloom. Bialystock and Bloom. ULLA -LRB- repeating to herself as she leaves. -RRB- Bialystock and Blum. Bialystock and Blum. Bialystock and Blum. Got dag pa dig. Bialystock and Blum. BIALYSTOCK -LRB- to Bloom, opening up a box on his desk. -RRB- Hey, Blum, have a cigar. BLOOM No thanks. BIALYSTOCK TAKES AN ENORMOUS BLACK CIGAR. BLOOM Max, maybe. BIALYSTOCK REACHES UNDER HIS DESK. PRESSES BUZZER. WE HEAR BUZZING SOUND IN ANTE - ROOM. BLOOM What's that? BIALYSTOCK Nothing. Nothing. Go on. ULLA ENTERS. GOES TO DESK, PICKS UP CIGARETTE LIGHTER, LIGHTS BIALYSTOCK'S CIGAR, KISSES HIM. ULLA -LRB- pinching Bialystock's cheek. -RRB- Min Bialystock. ULLA LEAVES. BIALYSTOCK Nice girl. BLOOM Max, as I was saying, maybe we should go easy on the spending. I mean these offices and everything. BIALYSTOCK Why? Take it when you can get it! Flaunt it, baby, flaunt it! BLOOM But if something should. God forbid. go wrong, at least we could give them some of their money back. It would look better in court. BIALYSTOCK Stop talking like that, you white mouse! Nothing's going to go wrong. As a matter of fact, today I have taken steps to insure total disaster. At two o'clock we have an appointment with none other than Roger De Bris. BLOOM -LRB- searching. -RRB- Roger De Bris. Roger De Bris. Oh yes, the director. Is he good. I mean bad? BIALYSTOCK Roger De Bris is the worst director that ever lived. BLOOM Do you think he'll take the job? BIALYSTOCK Only if we ask him. BIALYSTOCK CONSULTS HIS WATCH. BIALYSTOCK Come on. We'd better hurry. We're late. BIALYSTOCK BUZZES. ULLA ENTERS. BIALYSTOCK Call chauffeur. Get car. ULLA -LRB- smiling. -RRB- Good. Good. We go Motel. BIALYSTOCK No. We go. -LRB- he indicates Bloom and himself. -RRB- ULLA You, Blum go Motel. BIALYSTOCK No. No Motel. Get car. Get car. ULLA -LRB- as she leaves. -RRB- Get car. Get car. BIALYSTOCK Very nice girl. DISSOLVE TO STREET IN FRONT OF CHIC TOWNHOUSE UPPER SIXTIES. DAY. A WHITE ROLLS ROYCE LIMO PULLS UP. A LIVERIED CHAUFFEUR WITH SMALL LATIN - TYPE MUSTACHE GETS OUT AND OPENS DOOR FOR PASSENGERS. BIALYSTOCK AND BLOOM GET OUT. BIALYSTOCK -LRB- to chauffeur. -RRB- Thank you, Rudolfo. BIALYSTOCK AND BLOOM CLIMB THE STEPS TO THE FRONT DOOR. BIALYSTOCK PUSHES THE DOORBELL. WE HEAR CHIMES. BIALYSTOCK -LRB- whispering. -RRB- Now do n't let anything he does or says upset you. He's a little peculiar. BLOOM What do you mean? THE DOOR OPENS. FRAMED IN THE DOORWAY IS A THIN, STRANGE LOOKING MAN IN A BLACK TURTLENECK SWEATER. -LRB- CARMEN GIYA -RRB- HE CONTEMPLATES THEM COLDLY. CARMEN Yesssssss? BIALYSTOCK I am Max Bialystock. This is my associate, Mr. Bloom. We have an appointment with Mr. De Bris. CARMEN Ah, yes, you're expected. Please come in. THEY ENTER THE VESTIBULE. CARMEN CLOSES THE DOOR BEHIND THEM. CARMEN How do you do. I'm Carmen Giya, Mr. De Bris' private secretary. Would you be so kind as to remove your shoes. BIALYSTOCK AND BLOOM LOOK AT EACH OTHER BEWILDERED. CARMEN White, white, white is the color of our carpets. BIALYSTOCK AND BLOOM REMOVE THEIR SHOES. CARMEN -LRB- to Bloom indicating a rack of slippers. -RRB- Now, let's see, you're wearing grey. I would suggest the crimson. They're a little vivid, but your suit is so quiet. -LRB- to Bialystock, studying his mish mash attire. -RRB- Why do n't you. Oh, take anything. Please follow me. CARMEN LEADS THE WAY. BIALYSTOCK AND BLOOM SCUFF AFTER HIM. WE FOLLOW THEM DOWN A NARROW CORRIDOR LINED WITH EXAMPLES OF CLASSIC GREEK SCULPTURE - EACH ONE DEPICTING NUDE MALES IN VARIOUS POSES.\",\n \"INT: ELEVATOR. CUT TO ROGER DE BRIS' BOUDOIR SITTING ROOM. IT IS ELEGANTLY FEMININE. CHAISE LOUNGE, ANTIQUE MIRRORS, LOUIS XVI ARMOIRE AND DRESSING TABLE. FROM BEHIND AN ORNATE DRESSING SCREEN, WE HEAR MUFFLED SOUNDS OF DISCONTENT. DE BRIS -LRB- from behind screen. -RRB- I'll never get into this damned thing. CUT TO BOUDOIR ENTRANCE. CARMEN, BIALYSTOCK AND BLOOM ENTER. CARMEN -LRB- to De Bris. -RRB- We're not alone. DE BRIS' HEAD POPS OVER THE SCREEN. HE IS A ONCE HANDSOME, NOW DISSIPATED MAN IN HIS LATE FORTIES. DE BRIS Ah, Messers Bialystock and Bloom, I presume. Ha, ha, ha, forgive the pun. BLOOM -LRB- to Bialystock. -RRB- What pun? BIALYSTOCK -LRB- a curt whisper. -RRB- Shut up. He thinks he's witty. -LRB- to De Bris. -RRB- It's good to see you again, Roger. Did you get a chance to read `` Springtime For Hitler?'' DE BRIS EMERGES FROM BEHIND THE SCREEN. HE IS WEARING A `` LADY WINDERMERE'S FAN'' STYLE DRESS. DE BRIS Remarkable. Remarkable. A stunning piece of work. BLOOM -LRB- shocked, whispers. -RRB- Max! He's wearing a dress. -LRB- his mouth remains open. -RRB- BIALYSTOCK Shhhhhh. DE BRIS -LRB- continuing. -RRB- I think it's a very important play. I, for one, never realized that the Third Reich meant Germany. I mean it's drenched with historical goodies like that. DE BRIS IS SUDDENLY AWARE OF BLOOM'S EXPRESSION. -LRB- BLOOM'S MOUTH IS STILL AGAPE. -RRB- DE BRIS Oh, dear, you're staring at my dress. I should explain. I'm going to the Choreographer's Ball tonight. There's a prize for the best costume. CARMEN -LRB- smugly. -RRB- We always win. DE BRIS -LRB- looking in the mirror. -RRB- I'm not so sure about tonight. I'm supposed to be the Grand Duchess - I think I look more like Tugboat Annie. What do you think? HE PARADES BACK AND FORTH, EXECUTING SHARP TURNS LIKE A MODEL AT A FASHION SHOW. DE BRIS No be cruel. Be brutal. Be brutal. Because heaven knows they will. Well, what do you think, Mr. Bloom? BLOOM -LRB- very embarrassed. -RRB- Well, it's. uh. it's nice and long. I mean, it's. uh. uh. where do you keep your wallet? BIALYSTOCK -LRB- jumping in. -RRB- It's gorgeous. Absolutely gorgeous. You could n't have picked a better color. It brings out your eyes. Let's face it, Roger, that dress is you. DE BRIS -LRB- his eyes flashing flirtatiously. -RRB- Do you really think it brings out my eyes? CARMEN -LRB- irritated. -RRB- We ca n't tell a thing without your wig. As far as I'm concerned, you're only half - dressed. DE BRIS Ummmm. Well, if you're so worried about the wig, get it, o' wicked witch of the west. CARMEN TURNS IN A HUFF AND LEAVES TO GET THE WIG. DE BRIS REACHES INTO CUT CRYSTAL CIGARETTE BOX, TAKES CIGARETTE, TAPS IT, AND HOLDS IT FOR A LIGHT. BIALYSTOCK -LRB- in a whisper to Bloom. -RRB- Quick, light his cigarette. He likes you. BLOOM NERVOUSLY REACHES FOR A BOOK OF MATCHES, RIPS ONE OUT AND STRIKES IT. IT DOES N'T LIGHT. HE TRIES ANOTHER AND ANOTHER. ONE FINALLY CATCHES FIRE. HE TRIES TO HOLD IT STEADY, BUT HE IS TOO NERVOUS. DE BRIS FIRMLY PLACES HIS HAND OVER BLOOM'S TO STEADY THE FLAME. DE BRIS Did n't I meet you on a summer cruise? HE LIGHTS THE CIGARETTE BUT CONTINUES TO HOLD BLOOM'S HAND. BLOOM I've. I've. never been on a cruise. DE BRIS Oh, quel dommage. CARMEN ENTERS CARRYING WIG. HE SEES DE BRIS HOLDING BLOOM'S HAND. CARMEN -LRB- snidely. -RRB- Oh, I see we're getting acquainted. DE BRIS DROPS BLOOM'S HAND AND TURNS ON CARMEN. DE BRIS How would you like to go back to teasing hair, big mouth? BIALYSTOCK Roger, do you mind if we talk a little business? DE BRIS Please, please, that's what we're here for. -LRB- to Carmen, who is adjusting the wig. -RRB- Be careful, that hurt. BIALYSTOCK I think this would be a marvelous opportunity for you, Roger. Up to now, you've always been associated with musicals, and. DE BRIS Yes. Dopey show - girls in gooey gowns. Two - three - kick - turn! Turn - turn - kick - turn! It's enough to make you throw up! At last a chance to do straight drama! To deal with conflict, with inner truth. Roger De Bris presents history. Of course, I think we should add a little music. That whole third act has got to go. They're losing the war. It's too depressing. We'll have to put something in there. -LRB- gripped by his vision. -RRB- Aaahghhh! I see it! A line of beautiful girls, dressed as Storm Troopers, black patent leather boots, all marching together. Two - three - kick - turn! Turn - turn - kick - turn! BIALYSTOCK That's genius. That's genius. Roger, I think I speak for Mr. Bloom and myself when I say that you're the only man in the world who can do justice to SPRINGTIME FOR HITLER. DE BRIS -LRB- in one rush. -RRB- Wait a minute. This is a very big decision. It might effect the course of my entire life. I'll have to think about it. I'll do it. DE BRIS EXTENDS HIS HAND. BIALYSTOCK SHAKES IT. BIALYSTOCK Congratulations. DE BRIS -LRB- to Carmen. -RRB- Get on the phone. Send out a casting call. Call every agent in town. I want to see everybody. Everybody. DISSOLVE TO STAGE DOOR OF BROADWAY THEATRE. DAY. SIGN ON DOOR READS : CASTING TODAY - SPRINGTIME FOR HITLER. QUICK DISSOLVE TO INTERIOR OF THEATRE. THE PLACE IS A MADHOUSE. HUNDREDS OF WOULD - BE HITLERS FILL THE STAGE. EACH AND EVERY ONE WITH THE FUHRER'S HAIRCUT AND LITTLE SQUARE MUSTACHE. THERE ARE TALL HITLERS, SHORT HITLERS, FAT HITLERS, SKINNY HITLERS, METHOD HITLERS, SHAKESPEAREAN HITLERS, ALL KINDS HITLERS. CUT TO FIRST ROW OF AUDIENCE. SEATED THERE, WATCHING THE BEDLAM, ARE BIALYSTOCK AND BLOOM, DE BRIS, CARMEN GIYA AND FRANZ LIEBKIND. BIALYSTOCK -LRB- looking for the least likely Hitler. -RRB- Roger, what about that one? The fat Hitler on the right? DE BRIS I do n't know. I rather fancy that one. CUT TO BEAUTIFUL, BLOND, MUSCULAR, YOUNG MAN, WHO LOOKS AS IF HE IS POSING FOR `` BODY BEAUTIFUL.'' HE BEARS NOT THE SLIGHTEST RESEMBLANCE TO HITLER EVEN THOUGH HE DOES SPORT A LITTLE BLACK MUSTACHE. CUT BACK TO BIALYSTOCK. BIALYSTOCK Not bad. Not bad. What do you think, Franz? LIEBKIND -LRB- very emotional. -RRB- I do n't know. I do n't know. For some strange reason, I'm deeply moved. -LRB- he wipes away a tear. -RRB- DE BRIS -LRB- getting to his feet. -RRB- Oh, this is bedlam, bedlam. We must have some order. DE BRIS, FOLLOWED BY CARMEN, HOPS TO THE STAGE AND ADDRESSES THE MILLING MOB. DE BRIS -LRB- clapping his hands for attention. -RRB- Will all the dancing Hitlers please wait in the wings. We're only taking the singing Hitlers. AS THE DANCING HITLERS LEAVE THE STAGE, CARMEN ARRANGES THE SINGING HITLERS SO THAT THEY ARE IN A LONG STRAIGHT LINE AGAINST THE BACK OF THE STAGE WALL. CARMEN READS OUT A NAME AND THE FIRST SINGING HITLER WALKS DOWNSTAGE TO AUDITION. EXCEPT FOR A SPORTY LITTLE HITLER MUSTACHE, HE BEARS LITTLE RESEMBLANCE TO THE FUHRER. CARMEN Arthur Packard. DE BRIS Hello, Arthur. Tell us something about yourself. ARTHUR PACKARD -LRB- in a strangulated tenor's voice. -RRB- I was the lead tenor of the Albuquerque Opera Company for two seasons. I just finished a road tour of STUDENT PRINCE. And last season I was up for the lead in the Broadway production of Circus Man. DE BRIS What happened? ARTHUR PACKARD I did n't get it. DE BRIS What are you going to sing for us Arthur? AS ARTHUR TELLS HIM THE TITLE OF HIS SONG, DE BRIS MOUTHS IT WORD FOR WORD TOWARD HIS FRIEND, CARMEN. ARTHUR PACKARD The soliloquy from CAROUSEL. FROM THE PIT THE PIANO PLAYS A FOUR BAR INTRODUCTION. ARTHUR PACKARD -LRB- sings. -RRB- My boy Bill will be strong and as tall as a. DE BRIS Thank you. ARTHUR SHRUGS AND LEAVES THE STAGE. DE BRIS Next please. CARMEN Jason Green. JASON GREEN COMES DOWNSTAGE. HE IS A BIG, BARREL - CHESTED MAN. HE ALSO WEARS HITLER - TYPE MUSTACHE. DE BRIS Well, Jason, what have you been doing lately? JASON GREEN -LRB- in basso profundo. -RRB- For the last sixteen years, I've been touring with `` Naughty Marietta.'' DE BRIS Good. And what are you going to sing for us, Jason? AS JASON TELLS HIM THE SONG'S TITLE, DE BRIS ONCE AGAIN MOUTHS IT WORD FOR WORD WITH HIM. JASON GREEN `` Stout - hearted Men.'' BEGINNING OF `` STOUT - HEARTED MEN'' MONTAGE. THERE IS A SHORT PIANO INTRODUCTION. JASON GREEN -LRB- singing. -RRB- `` Give me some men Who are stout - hearted men Who will fight for the right they adore.'' DE BRIS -LRB- off - camera voice. -RRB- Thaaank you. DISSOLVE TO A NEW HITLER SINGING -LRB- LITTLE BALD MAN -RRB- BALD HITLER -LRB- singing. -RRB- `` Show me some men Who are stout - hearted men And I'll soon show you ten thousand more.'' DE BRIS -LRB- off - camera voice. -RRB- Thaaank you. DISSOLVE TO ANOTHER HITLER -LRB- ITALIAN BASSO -RRB- ITALIAN HITLER -LRB- singing. -RRB- `` Shoulder to shoulder and bolder and bolder They grow as they march to the war.'' DE BRIS -LRB- voice off camera. -RRB- Thaaank you. DISSOLVE TO DELICATE HITLER DELICATE HITLER -LRB- singing. -RRB- `` There is nothing in this world can halt or mar our plan.'' DE BRIS -LRB- voice off camera. -RRB- Thaank you. DISSOLVE TO SHORT - HAIRED WOMAN HITLER SHORT-HAIRED WOMAN HITLER `` When stout - hearted men Will get together man to man.'' DE BRIS -LRB- voice off camera. -RRB- Thaaank you. CUT TO CARMEN GIYA ON STAGE. IT IS NOW EMPTY. CARMEN Well, that's it. CUT TO FIRST ROW OF AUDIENCE. SLOW PAN BIALYSTOCK, BLOOM, DE BRIS, AD LIEBKIND. THEY ARE TIRED, DISHEVELED AND UNHAPPY. BLOOM I think that's enough Hitlers for one day. Maybe we'll get lucky tomorrow. BIALYSTOCK You think out of all those Hitlers you could find just one. LIEBKIND It was the same thing in Germany. We looked for years before we found the right Hitler. FROM OFF - STAGE WE HEAR THE SHARP CLICK OF BOOTS APPROACHING. ALL EYES TURN TOWARD THE STAGE. FROM OUT OF THE WINGS STEPS A YOUNG PERSON IN A LEATHER DOUBLET, HIGH LEATHER BOOTS, AND EXTREMELY LONG HAIR. IT CARRIES A GUITAR. UNTIL IT SPEAKS, WE ARE NOT SURE WHETHER IT IS A YOUNG MAN OR A YOUNG WOMAN. -LRB- LORENZO ST. DU BOIS -RRB- LSD Hey, man. CARMEN I beg your pardon. LSD Is this where they're auditioning Boomerang? CARMEN -LRB- studying him coldly. -RRB- No, I'm afraid you've wandered into the wrong theatre. LSD -LRB- to himself, as he starts to leave. -RRB- Man, freaked out again. BIALYSTOCK -LRB- leaping to his feet. -RRB- Wait! This is Boomerang. This is Boomerang. DE BRIS -LRB- to Bialystock. -RRB- What are you saying? BIALYSTOCK Let's hear him. What have we got to lose? -LRB- to LSD. -RRB- What's your name? LSD Lorenzo Saint DuBois. But everybody calls me LSD. DE BRIS What have you done, LSD? LSD Six months, I'm out on probation, but it's cool now, baby. DE BRIS I mean in show business. LSD Oh, in show business. Well, let's put it this way, my next job will be my debut. DE BRIS What do you do best? LSD Hey, man, I ca n't do that here, that's what they put me away for. DE BRIS Oh, sing. Sing! LSD Hey, baby, that's where they put me, Sing - Sing. How'd you know that, you been up? DE BRIS -LRB- a little hysterical. -RRB- Sing a song! Just sing a song! LSD Here's a little thing I think you're going to see on the charts any day. I wrote it last night in my sleep. It's a Hindu Zen Folk Rock Ballad. LSD SINGS `` I'M THE VICTIM OF A MULTI - MYSTIC FREAK - OUT.'' THE SONG IS GEARED TO THE AU COURANT `` RAGA ROCK'' BEAT. PHRASES SUCH AS, `` CONNECT WITH THE INFINITE'' AND `` TURN ON THE WORLD.'' LORENZO FINISHES THE NUMBER. CUT TO BIALYSTOCK, BLOOM, LIEBKIND AND DE BRIS. THEY ARE STUNNED. BIALYSTOCK IS THE FIRST TO RECOVER. BIALYSTOCK -LRB- shouting. -RRB- That's our Hitler! LIEBKIND -LRB- howls of despair. -RRB- Vaaaat? BIALYSTOCK -LRB- quickly. -RRB- Franz, do n't you see, Hitler was a man of his time. This is a man of his time. LIEBKIND But he has long hair! BIALYSTOCK Do n't look at the outside, look at the inside. It's the inner Hitler we're after. The young beautiful Hitler, who danced his way to glory. LIEBKIND I do n't know. I do n't know. DE BRIS -LRB- he has been studying LSD intensely. -RRB- Could be an exciting piece of off - beat casting. Of course, we'd have to do something about that coiffure. LIEBKIND But he's so crazy, he's so sloppy, he's so. so. American! BIALYSTOCK Franz, trust me. I promise I wo n't let you down. LIEBKIND All right, but remember, if you damage the Fuhrer's reputation, I kill you. DISSOLVE TO MARQUEE OF BROADWAY THEATRE. MARQUEE READS : OPENING TONIGHT - SPRINGTIME FOR HITLER. Directed by ROGER DE BRIS. PAN DOWN TO THEATRE ENTRANCE. THE SIDEWALK IS CHOKED WITH OPENING NIGHTERS, ALL AGLITTER IN DIAMONDS, FURS AND ELEGANT TUXEDOS. LUXURIOUS BLACK LIMOUSINES PULL UP TO THE CURB, DEPOSITING THEIR RICH CONTENTS, THE MAJORITY OF WHICH ARE LITTLE OLD LADIES. CUT TO LOBBY. THERE IN THE MIDST OF THE SWIRLING CONFUSION STAND BIALYSTOCK AND BLOOM IN THEIR OPENING NIGHT TAILS. BIALYSTOCK IS RESPLENDENT IN A BLACK SILK CAPE, LINED IN CRIMSON SATIN. BLOOM'S TAILS ARE OBVIOUSLY RENTED. THEY ARE NEAR THE TICKET TAKER. AS SOME OF THE OPENING NIGHT `` SUPPORTERS'' ENTER THE THEATRE, THEY SHOUT ENCOURAGEMENTS TO BIALYSTOCK AND BLOOM. TO EACH OF THE WELL - WISHERS, BIALYSTOCK RESPONDS WITH A SMILE AND A MUMBLE. THEY GET THE SMILE, WE HEAR THE MUMBLE. FIRST WELL-WISHER -LRB- a silver - haired gentleman in his late fifties. -RRB- Good luck, Max, I hope it's a big hit. BIALYSTOCK -LRB- mumbling. -RRB- Bite your tongue. SECOND WELL-WISHER -LRB- a little old lady. -RRB- We're gon na do it this time, Bialy, I just know it. BIALYSTOCK I hope you lose your bloomers. THIRD WELL-WISHER -LRB- another old lady. -RRB- My prayers go with you, Bialy. BIALYSTOCK God Forbid. CUT TO LIMOUSINE PULLING UP IN FRONT OF THEATRE. DOORMAN OPENS DOOR, ASSISTS RICH COUPLE OUT OF CAR. LIMOUSINE PULLS AWAY. A MOTORCYCLE WITH SIDE - CAR ROARS UP TO FRONT OF THEATRE. AT THE HANDLEBARS, BEAUTIFULLY DECKED OUT IN TUXEDO AND HIS EVER POPULAR GERMAN HELMET IS FRANZ LIEBKIND. CAMERA FOLLOWS LIEBKIND AS HE ENTERS LOBBY. HE MAKES HIS WAY THROUGH THE MILLING THRONG TOWARD BIALYSTOCK AND BLOOM. LIEBKIND -LRB- to Bialystock and Bloom, very seriously. -RRB- Gentlemen, this is a very momentous moment. HE CLICKS HIS HEELS AND SHAKES HANDS WITH EACH OF THEM. LIEBKIND -LRB- to Bloom. -RRB- Good luck. -LRB- to Bialystock. -RRB- Good luck. HE STARTS INTO THEATRE, STOPS, TURNS BACK TO BIALYSTOCK AND BLOOM. LIEBKIND -LRB- a mad gleam in his eye. -RRB- Tonight, New York. Tomorrow, the world! HE TURNS TRIUMPHANTLY AND ENTERS THE THEATRE. OFF-CAMERA VOICE -LRB- GIRL. -RRB- Check your hat? LIEBKIND -LRB- off camera. -RRB- No! BIALYSTOCK So much for Nutsy Fagin. BLOOM -LRB- nudging Bialystock, whispers. -RRB- Here comes the Times Drama Critic. BIALYSTOCK Watch closely, as Bialystock drives the last nail into the coffin. BIALYSTOCK AMBLES OVER TO THE TIMES CRITIC, WHO HAS STOPPED TO CHAT WITH SOME PEOPLE. BIALYSTOCK Always delighted to see the gentlemen of the press. There you are, sir. Two on the aisle, compliments of the management. -LRB- he smiles unctuously. -RRB- DRAMA CRITIC -LRB- haughtily accepting tickets. -RRB- Thank you. Here, wait a minute. There seems to be some mistake. There's a hundred dollar bill wrapped around these tickets. BIALYSTOCK -LRB- conspiratorially. -RRB- It's no mistake. Enjoy the show. DRAMA CRITIC -LRB- outraged. -RRB- Mr. Bialystock, just what do you think you're doing? BIALYSTOCK I'm bribing you. And if you play ball, there's a lot more where that came from. BIALYSTOCK WINKS AND SAUNTERS OFF. DRAMA CRITIC -LRB- blustering with rage. -RRB- I. I. I. How dare he! I've never been so insulted in my life! The gall of the man! The incredible gall of the man! I'll fix his wagon. THE CRITIC STALKS INTO THE THEATRE. AS HE PASSES BIALYSTOCK, HE CONTEMPTUOUSLY FLINGS THE HUNDRED DOLLAR BILL TO THE FLOOR. HE DISAPPEARS THROUGH THE DOOR. OFF-CAMERA VOICE -LRB- GIRL. -RRB- Check your hat? DRAMA CRITIC -LRB- off camera. -RRB- No! BIALYSTOCK REACHES DOWN, PICKS UP CRUMPLED DOLLAR BILL, STRAIGHTENS IT OUT, PUTS IT IN HIS POCKET. BIALYSTOCK -LRB- grinning like a Cheshire cat. -RRB- Heh, heh, heh. He'll kill us. FROM INSIDE THE THEATRE, WE HEAR THE OVERTURE BEGINNING. LIGHTS IN THE LOBBY BLINK. BLOOM Come on, they've started the overture. BIALYSTOCK AND BLOOM ENTER THE THEATRE. CUT TO REVERSE ANGLE. BIALYSTOCK AND BLOOM ENTERING DARKENED THEATRE. THEY TAKE POSITIONS AT THE BACK OF THE HOUSE. BLOOM EXTENDS HIS HAND TO BIALYSTOCK. HE INTENDS TO SPEAK IN A CONFIDENT AND CONTROLLED MANNER BUT WHAT COMES OUT IS AN HYSTERICAL SHRIEK. BLOOM -LRB- casually shrieking. -RRB- Well, Max, this is it! HE SCARES HIMSELF AND QUICKLY CLAPS HIS HANDS OVER HIS MOUTH. BLOOM -LRB- whispers. -RRB- I'm sorry, I'm a little nervous. BIALYSTOCK Relax, in two hours our worries will be over. CUT TO STAGE. AS THE OVERTURE IS CONCLUDED, THE CURTAIN SLOWLY RISES. ON STAGE THERE IS A LINE OF GIRLS DRESSED IN SEXY STORM TROOPER COSTUMES - BLACK PATENT LEATHER BOOTS, ETC.. THEIR ARMS ARE LINKED ABOUT ONE ANOTHER AS THEY DANCE AND KICK IN RADIO CITY MUSIC HALL ROCKETTE FASHION. STORM TROOPER CHORUS -LRB- singing. -RRB- Germany was having trouble, What a sad, sad story. Needed a new leader To restore its former glory. Where, oh, where was he, Who could that man be, We looked around, And then we found, The man for you and me, And now its. THE STORM TROOPER ROCKETTES PART AND FROM ABOVE THEM, DESCENDING TWIN STAIRCASES, WE SEE TWO LINES OF BEAUTIFUL SHOWGIRLS, HOLDING HUGE BALLOONS ABOVE THEIR HEADS. ON EACH BALLOON IS PAINTED A PICTURE OF THE FUHRER. EVERYONE SINGS AS THEY DESCEND. ENTIRE CHORUS -LRB- singing. -RRB- `` Springtime for Hitler,'' etc.. CUT TO AUDIENCE. NUMBER ON STAGE CONTINUES. CLOSE - UP OF MAN AND WOMAN ON AISLE. WOMAN -LRB- DOWAGER. -RRB- This is shocking! CUT TO ANOTHER AREA OF AUDIENCE. ANOTHER COUPLE. MAN -LRB- STUFFED SHIRT. -RRB- Outrageous! CUT TO CRITIC ON THE AISLE, BIALYSTOCK'S P.O.V.. HE SCOWLS AS HE FURIOUSLY MAKES NOTES. CUT TO BIALYSTOCK AND BLOOM AT BACK OF THEATRE. THEY ARE SMILING. BIALYSTOCK POINTS TO COUPLE WHO HAVE LEFT THEIR SEATS AND STARTED UP THE AISLE. BIALYSTOCK Ahhhhh, it's going better than I expected. THE COUPLE COMES ABREAST OF BIALYSTOCK AND BLOOM. WOMAN -LRB- to man as they exit theatre. -RRB- Well, talk about bad taste. BIALYSTOCK -LRB- he chuckles as they leave. -RRB- Come, let us repair to the bar across the street. I do n't want to be caught here during intermission. We'll be stoned to death. THEY LINK ARMS AND MERRILY MARCH OUT OF THE THEATRE. CUT TO STAGE. `` SPRINGTIME FOR HITLER'' OPENING IS ENDING IN A GREAT CRESCENDO OF PATRIOTIC INSANITY. ENTIRE CHORUS -LRB- singing. -RRB- So Springtime for Hitler, Is Springtime for Goering, Is Springtime for Goebbels, Is Springtime for Himmler, Is Springtime for you and me! CURTAIN FALLS. THE NUMBER IS RECEIVED BY THE AUDIENCE WITH HUSHED SILENCE. FOLLOWED BY A SURGE TOWARD THE DOORS. THE AISLES ARE CHOKED WITH UNHAPPY PEOPLE, WHO CA N'T WAIT TO GET OUT. CURTAIN RISES. ON STAGE ARE EVA BRAUN AND HITLER -LRB- LSD -RRB-. EVA BRAUN IS A FETCHING BLONDE IN LONG BRAIDS. LSD IS PACING UP AND DOWN. EVA BRAUN SITS ON LOVE SEAT DOWNSTAGE. IN HER HAND IS AN OVERSIZED DAISY. AS SHE PULLS THE PETALS FROM IT, SHE WHINES. SHE HAS A PRONOUNCED AMERICAN ACCENT. EVA Er liebt mir. Er liebt mir nicht. Er liebt mir. -LRB- the last petal. -RRB- Er liebt mir nicht. CUT TO PEOPLE IN AISLE. THEY HAVE NOTICEABLY SLOWED DOWN. SOME ARE WALKING BACKWARDS. THEY ARE INTRIGUED. CUT BACK TO STAGE. EVA -LRB- turns to LSD. -RRB- Du liebt mir nicht! LSD -LRB- protesting vehemently. -RRB- I lieb you baby, I lieb you. You know that. EVA If you lieb me, why are you leaving me? LSD Hey, man, I ca n't spend all my time with you. I took an oath, baby, Deutschland uber alles. CUT TO AUDIENCE IN AISLES. THEY HAVE ALL STOPPED LEAVING TO TURN AND WATCH. SOME BEGIN TO LAUGH AND OTHERS APPLAUD. THEY LIKE LSD. MAN That's Hitler? I get it! It's a put - on. CUT TO WOMAN. WOMAN Hey, Harry, he's funny. NOW THERE IS A MAD RUSH TO REGAIN THEIR SEATS. CUT TO INTERIOR BAR. IT IS EMPTY EXCEPT FOR THE BARTENDER AND A DRUNK AT THE FAR END OF THE BAR. BIALYSTOCK AND BLOOM ARE SEATED ON STOOLS AT THE BAR. THEY CLINK GLASSES. BIALYSTOCK Here's to the one and only performance of `` Springtime for Hitler.'' THEY BOTH LAUGH AND DOWN THEIR DRINKS. BIALYSTOCK RAPS ON THE BAR WITH HIS CANE. BIALYSTOCK Innkeeper, innkeeper, another round of drinks here. As a matter of fact, a round of drinks for everybody in the place! BARTENDER LOOKS AROUND AT THE ALMOST EMPTY BARROOM. DOES A LITTLE TAKE. HE THEN REPLENISHES THEIR DRINKS AND PLACES A GLASS IN FRONT OF THE DRUNK. THE DRUNK TIPS HIS HAT GRACIOUSLY TOWARDS BIALYSTOCK. BLOOM Just think, yesterday I was a meaningless little accountant - and today, I am the producer of a Broadway flop! BIALYSTOCK -LRB- raising his glass. -RRB- To failure! BLOOM To failure! DRUNK -LRB- blushing. -RRB- Oh, thank you! It's very kind of you. -LRB- raises his glass and downs his drink. -RRB- CUT BACK TO STAGE. SAME SCENE. EVA STARTS TO CRY. EVA If the Duke of Windsor could give up the Throne of England for the woman he loved, why ca n't you? LSD It's different. I'm a tyrant, baby. AUDIENCE LAUGHS. CUT TO FRANZ LIEBKIND SEATED IN AN AISLE SEAT. HE NERVOUSLY PINCHES HIS FACE AS HE SEMI - COHERENTLY MUMBLES TO HIMSELF. LIEBKIND -LRB- becoming slightly unhinged. -RRB- Baby, why does he keep saying baby? I did n't write baby. The Fuhrer never said baby. Vat is it vit this baby? WOMAN IN ADJOINING SEAT -LRB- very annoyed. -RRB- Will you shut up! LIEBKIND You shut up! I'm the author. You're just the audience. I outrank you. CUT TO BAR. BIALYSTOCK AND BLOOM ARE A LITTLE TIPSY. BY NOW THE DRUNK HAS JOINED THEM AND ALL THREE ARE GOOD PALS. BIALYSTOCK Bartender, bartender, another drink for myself and my associate, Mr. Bloom. And do n't forget our good - natured inebriate over there. DRUNK TIPS HIS HAT GRACIOUSLY. DRUNK Eternally grateful. Sincerely yours, Oliver Wendell Drunk. DURING DRUNK'S SPEECH, BARTENDER HAS REFILLED THEIR GLASSES. HE STANDS BACK, WATCHING THEM AS HE DRIES GLASSES. DRUNK -LRB- raises his glass. -RRB- A toast! BLOOM To what? DRUNK -LRB- stumped. -RRB- To. toast! I love toast. BIALYSTOCK AND BLOOM To toast. BIALYSTOCK -LRB- smacking his glass down on the bar. -RRB- Now I'll take the lead and I want you right behind me all the way! One. two. three! -LRB- singing. -RRB- `` By the light, BLOOM AND DRUNK -LRB- singing. -RRB- `` By the light, by the light, BIALYSTOCK `` Of the silvery moon, BLOOM AND DRUNK `` Of the silvery mooooon, BIALYSTOCK `` I want to croon, BLOOM AND DRUNK `` He wants to croon, he wants to croon, BIALYSTOCK `` To my honey I'll croon, BLOOM AND DRUNK `` He's gon na croon love's tune, BIALYSTOCK `` Honeymoon, BLOOM AND DRUNK `` Honeymoon, honeymoon, BIALYSTOCK `` Keep a shining in. BIALYSTOCK STOPS ABRUPTLY. HE POINTS TOWARD THE DOOR. WE HEAR THE SOUND OF PEOPLE ENTERING THE BAR. BIALYSTOCK Intermission! Quick, hide your face. They'll tear us to pieces. BIALYSTOCK AND BLOOM HOP ON THEIR STOOLS AND COVER THEIR FACES WITH THEIR HANDS. THE DRUNK SHRUGS, HOPS ON THE STOOL NEXT TO THEM AND ALSO HIDES HIS FACE. A HORDE OF FIRST NIGHTERS SWEEPS INTO THE BAR. THEY ARE ALL AROUND BIALYSTOCK, BLOOM AND THE DRUNK, CLAMORING FOR DRINKS. CROWD -LRB- ad - lib. -RRB- `` Scotch on the rocks,'' `` Bourbon and soda.'' `` Two martinis.'' `` Whiskey sour.'' THE CROWD IS VERY CHEERFUL. THEY ARE STILL BUBBLING FROM THE FIRST ACT. WOMAN -LRB- to her escort. -RRB- Well, so far that's about the funniest thing I've ever seen on Broadway. BIALYSTOCK AND BLOOM LOOK AT EACH OTHER. WOMAN'S ESCORT Never laughed so much in my life. MAN -LRB- to his friend. -RRB- Hysterical, absolutely hysterical. MAN'S FRIEND I thought I'd split my sides. BIALYSTOCK Take it easy, do n't panic. There are a lot of plays on this street. They are not necessarily talking about `` Springtime For Hitler.'' HUSBAND -LRB- to his wife. -RRB- Honey, I never in a million years thought I'd ever love a show called `` Springtime For Hitler.'' BIALYSTOCK AND BLOOM FREEZE. A LITTLE OLD LADY COMES UP BEHIND BIALYSTOCK. SHE RAPS HIM ON THE BACK WITH HER UMBRELLA. LITTLE OLD LADY #8 Bialy, you sly fox, you've done it. It's a smasheroo. BIALYSTOCK -LRB- in a daze. -RRB- Smasheroo. Smasheroo. THE CROWD STARTS TO LEAVE. LITTLE OLD LADY Oh, I'd better hurry back. I do n't want to miss one minute of it. THE FIRST NIGHTERS LEAVE THE BAR. ALL THAT REMAIN ARE BIALYSTOCK AND BLOOM, THE BARTENDER AND THE DRUNK. BIALYSTOCK SLIPS OFF THE STOOL AND WANDERS TO MIDDLE OF BARROOM. BIALYSTOCK -LRB- dazed. -RRB- Got to think. Got to think. Got to think. Got to think. Got to think. CUT TO BLOOM AT THE BAR, FROZEN, STARING STRAIGHT AHEAD. HIS EYES ARE GLAZED WITH SHOCK. HE STROKES HIS CHEEK WITH HIS LITTLE BLUE BLANKET. BLOOM Mrs. Cathcart - 50 % Mrs. Biddlecombe - 50 % Mrs. Wentworth - 50 % Mrs. Resnick - 100 % THE DRUNK STARES FROM ONE TO THE OTHER. UNHAPPY WITH THEIR PRESENT MOOD, HE DECIDES TO LIVEN THINGS UP AGAIN. HE TIPTOES OVER TO BIALYSTOCK, PUTS HIS ARMS AROUND BIALYSTOCK'S WAIST, ROCKS BACK AND FORTH AND BEGINS TO SING. DRUNK -LRB- singing. -RRB- `` By the light. By the light, by the light. Of the silvery. BIALYSTOCK PICKS HIM UP AND THROWS HIM ACROSS THE BAR. BIALYSTOCK Get away from me, you drunken bum! DRUNK PICKS HIMSELF UP AND DUSTS HIMSELF OFF. DRUNK -LRB- indignantly. -RRB- Fairweather friend! THE DRUNK STAGGERS OUT OF THE BAR. BIALYSTOCK GETS A HOLD OF HIMSELF. BIALYSTOCK Maybe it's not true! BIALYSTOCK RUSHES OVER TO BLOOM. BLOOM -LRB- still mumbling to himself. -RRB- No way out. No way out. BIALYSTOCK Bloom, Bloom, maybe it's not true. BLOOM DOES NOT RESPOND. BIALYSTOCK SHAKES HIM. BLOOM -LRB- droning monotonously. -RRB- No way out. No way out. What? Who? BIALYSTOCK Why do n't we go over to the theatre and see what's really happening? After all, we've only heard from a small portion of the audience. Let's hear what the majority thinks. BLOOM -LRB- in a trance. -RRB- The majority. The majority. Yes. Let's hear from the majority. THEY START TO LEAVE. DISSOLVE TO BIALYSTOCK AND BLOOM ENTERING LOBBY OF THEATRE. AS THEY OPEN DOOR TO THEATRE, THEY ARE GREETED BY A SHOCK WAVE OF LAUGHTER. THEY PAUSE STRICKEN. BLOOM I do n't want to go in. BIALYSTOCK Come, we have to. THEY TAKE EACH OTHER'S HANDS LIKE TWO FRIGHTENED LITTLE BOYS AND CAUTIOUSLY WALK IN. CUT TO BIALYSTOCK AND BLOOM AS THEY ENTER. THEY TAKE THEIR POSITIONS AT THE BACK OF THE HOUSE AND WATCH THE PROCEEDINGS MEEKLY, LIKE TWO LAMBS AWAITING THE SLAUGHTER. CUT TO STAGE. HITLER HAS OBVIOUSLY CALLED A COUNCIL OF WAR. THE FUHRER IS SURROUNDED BY HIS GENERAL STAFF. GENERAL -LRB- making a report. -RRB- We are falling back on all fronts. Our soldiers are retreating. LSD No good, baby, no good. You heard my orders. Nobody retreats. Attack! Attack! GENERAL Who can we attack? They're all too big. LSD -LRB- getting an inspiration. -RRB- Hey, man, let's stomp Switzerland! GENERAL We ca n't. we keep our money there! CUT BACK TO BIALYSTOCK AND BLOOM. THEY STARE STRAIGHT AHEAD, STONY - FACED. HUGE TEARS WELL UP IN THEIR EYES AND RUN DOWN THEIR CHEEKS. CUT TO LIEBKIND. HE HAS RIPPED OFF THE ARM OF HIS CHAIR AND IS EARNESTLY GNAWING AT IT. LIEBKIND Baby, again with that baby. There must be no more babies. LIEBKIND LEAPS FROM HIS SEAT AND HEADS TOWARD THE SIDE ENTRANCE LEADING TO THE STAGE. CUT BACK TO STAGE. LSD Where's Goebbels? Where's my little Joe? GENERAL -LRB- to the wings. -RRB- Send for Goebbels. LSD He's the only cat left that still grooves me. GOEBBELS ENTERS LAUGHING. GOEBBELS Heil, baby! I just finished the morning propaganda broadcasts. LSD What did you tell the people? GOEBBELS I told them we invaded England. LSD Hey, baby, that's good! How'd we come out? GOEBBELS We won. LSD Groovy! THEY SMACK HANDS. LAUGH FROM AUDIENCE. CUT TO BACKSTAGE. LIEBKIND COMES CHARGING IN LIKE A LUNATIC. LIEBKIND Bring down the curtain! Bring down the curtain! HE RUSHES FOR THE CURTAIN ROPE. A STAGEHAND ATTEMPTS TO STOP HIM. HE RIPS OFF HIS HELMET AND BANGS HIM OVER THE HEAD WITH IT. AS HE SLUMPS TO THE GROUND, LIEBKIND UNDOES THE CURTAIN ROPE. CUT TO ACTORS ON STAGE. LSD Goebbels, you're the only one. THE CURTAIN DROPS WITH A THUD. FROM BENEATH IT CRAWLS LIEBKIND. HE JUMPS UP AND ADDRESSES THE AUDIENCE. LIEBKIND I am the author of this play. You are the victims of a hoax. These are not my words. The Fuhrer never said baby. The Fuhrer was sweet, the Fuhrer was kind, the Fuhrer was good. STAGE MANAGER -LRB- off camera. -RRB- Get that curtain up. CURTAIN STARTS TO RISE. LIEBKIND HURLS HIMSELF IT, AND HOLDS IT DOWN. LIEBKIND NO! No! The curtain must not go up! DESPITE HIS EFFORTS, THE CURTAIN SLOWLY RISES. LIEBKIND DOES NOT RELEASE HIS HOLD ON IT. HE STARTS TO GO UP. LIEBKIND Stop! Stop! AS THE CURTAIN RISES, WE SEE A BEWILDERED GROUP OF ACTORS AND STAGE HANDS WATCHING LIEBKIND'S ASCENT. THE AUDIENCE, THINKING LIEBKIND'S BEHAVIOR PART OF THE SHOW, ENJOYS THE PROCEEDINGS TREMENDOUSLY. THEY BREAK INTO APPLAUSE. CUT TO CRITIC. HE IS LAUGHING UPROARIOUSLY AND TEARING UP HIS NOTES. CUT BACK TO LIEBKIND. LIEBKIND We have been betrayed! I will return! I will returnnnnn. LIEBKIND DISAPPEARS INTO THE FLIES. DISSOLVE TO ANTEROOM OF BIALYSTOCK AND BLOOM'S OFFICE. DAY. ULLA, WEARING A BELTED RAINCOAT, SITS AT THE TYPEWRITER. MUSIC FROM A RECORD PLAYER SOFTLY ROCKS IN THE BACKGROUND. IN HER LEFT HAND SHE HOLDS A GLASS OF CHAMPAGNE, FROM WHICH SHE SIPS, WHILE HER RIGHT HAND, INDEX FINGER EXTENDED, STABS AT THE FUNNY LITTLE KEYS. SHE IS HAPPY, IT IS THE RIGHT ONE. THE DOOR FLIES OPEN. THE DESPERATE BIALYSTOCK AND BLOOM ENTER. ULLA LEAPS UP, QUICKLY UNDOES HER RAINCOAT, EXPOSING HER DELICIOUS BODY, CLOTHED ONLY IN BLACK LACE UNDERTHINGS. ULLA We make love? BIALYSTOCK No! No! We do n't make love. Go to work. ULLA IMMEDIATELY TURNS UP RECORD PLAYER TO A CRASHING BLARE AND DOES HER GROOVY DANCE. BIALYSTOCK HOWLS IN DESPAIR AND FLEES INTO HIS OFFICE TOGETHER WITH BLOOM. HE CLOSES THE DOOR, SHUTTING OUT THE NOISE. THE OFFICE IS FILLED WITH FLOWERS AND CONGRATULATORY TELEGRAMS. BIALYSTOCK SWOOPS DOWN ON THE TELEGRAMS. HE RIPS ONE OPEN AND BEGINS READING. BIALYSTOCK `` Congratulations. It's the biggest hit on Broadway.'' HE TEARS IT UP AND THROWS IT AWAY. HE PICKS UP ANOTHER AND READS. BIALYSTOCK `` Congratulations. Hitler will run forever.'' HE THROWS IT AWAY. BIALYSTOCK ATTACKS THE PILE OF TELEGRAMS. WITHOUT OPENING THEM UP, HE TEARS THEM ONE AT A TIME. BIALYSTOCK -LRB- boiling with rage. -RRB- Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. BIALYSTOCK Congratulations! HE TEARS TELEGRAM. THE DOOR SWINGS OPEN. POSED IN THE DOORWAY IS ROGER DE BRIS. IN ONE HAND HE CARRIES AN OPEN, BUBBLING MAGNUM OF CHAMPAGNE. DE BRIS -LRB- ecstatic. -RRB- Congratulations! Have you seen the reviews? Have you seen the lines at the box office? It's a torrent, it's an avalanche, it's the biggest hit on Broadway! HE STARTS INTO THE ROOM. BIALYSTOCK GROWLS AND LUNGES AT HIM. BIALYSTOCK You lousy fruit. You've ruined me! HE SMASHES DE BRIS UP AGAINST THE WALL. THE CHAMPAGNE GOES FLYING. DE BRIS -LRB- shrieking. -RRB- Help! Help! He's crazy! He's going to kill me. Call the police! Call the police! Help, help, murder, murder, rape, rape! BIALYSTOCK THROWS HIM OUT, SLAMS THE DOOR AND LOCKS IT. HE FALLS INTO THE CHAIR AND PUTS HIS FEET UP ON THE DESK. BIALYSTOCK -LRB- moaning. -RRB- How could this happen? I was so careful. I picked the wrong play, the wrong director, the wrong cast. Where did I go right? We forgot one important, Bloom. Adolf Hitler always drew a crowd. BIALYSTOCK IS SUDDENLY AWARE THAT BLOOM IS DOING STRANGE THINGS AT THE NEXT DESK. BIALYSTOCK What are you doing? CUT TO BLOOM. HE IS FEVERISHLY PILING LEDGERS AND ACCOUNT BOOKS TOGETHER. HE SWOOPS THEM UP IN HIS ARMS, CLUTCHES THEM TIGHTLY AND BEGINS BACKING TOWARDS THE DOOR. BLOOM -LRB- defensively. -RRB- Do n't try to stop me. I've made up my mind. BIALYSTOCK What are you doing with those books? Where are you going? BLOOM -LRB- with hysterical conviction. -RRB- I'm turning myself in. It's the only way. I'm going to cooperate with the authorities. They'll reduce my sentence and then there's time off for good behavior. And maybe I'll get a job in the prison library. So long. HE TURNS THE KNOB. THE DOOR IS LOCKED. HE FIDDLES WITH THE CATCH. TOO LATE! BIALYSTOCK IS UP AND AT HIM IN A FLASH. HE BLOCKS THE DOOR. BIALYSTOCK -LRB- reasonably. -RRB- Leo, take it easy. Relax, you're overwrought. You do n't know what you're doing. You're acting out of panic. GIM ME THOSE BOOKS! BIALYSTOCK LUNGES AT BLOOM AND GRABS FOR THE BOOKS. BLOOM STILL RETAINS A FIRM HOLD. THEY STRUGGLE BACK AND FORTH. BLOOM I never should have listened to you. BIALYSTOCK I never should have listened to you. BLOOM Ohhhhhhhhh, how I hate you. BIALYSTOCK Double. Double. Double. WITH A MIGHTY WRENCH, BIALYSTOCK RIPS THE BOOKS OUT OF BLOOM'S HANDS. BIALYSTOCK -LRB- clutching the books triumphantly. -RRB- Haaaaa! Haaaaa! Haaaaa! BLOOM FLIPS. HE ATTACKS BIALYSTOCK LIKE A CRAZY KID, SCREAMING HYSTERICALLY AND PUNCHING WITH ONE ARM AS HE PROTECTS HIS FACE WITH THE OTHER. BLOOM -LRB- shrieking. -RRB- FAT! FAT! FAT! FAT! FAT! BIALYSTOCK GOES CRASHING TO THE FLOOR UNDER THE ONSLAUGHT. BLOOM DIVES ON TOP OF HIM. THEY ROLL ON THE FLOOR LOCKED IN MORTAL COMBAT. SUDDENLY THREE SHOTS RING OUT IN SUCCESSION. BIALYSTOCK AND BLOOM IMMEDIATELY STOP WHAT THEY'RE DOING AND TURN TOWARD THE DOOR. CUT TO LOCK AND HANDLE OF DOOR. THEY DROP OFF. A LITTLE SMOKE RISES FROM THE HOLE. LIEBKIND -LRB- off screen, outside door. -RRB- I am betrayed! BIALYSTOCK AND BLOOM LOOK AT EACH OTHER. CUT TO THE DOOR. IT FLIES OPEN. FRAMED IN THE DOORWAY IS FRANZ LIEBKIND, SMOKING LUGER IN HAND. LIEBKIND -LRB- solemnly. -RRB- You have broken the Siegfried Oath. You must die. HE BLASTS AWAY. THE WINDOW IS SHATTERED. PIECES OF WALL GO WHIZZING THROUGH THE AIR. BIALYSTOCK DROPS THE LEDGERS AND HE AND BLOOM DIVE FOR COVER BEHIND THE DESK. LIEBKIND This is no good. I'm not killing you. Do n't you understand, you have broken the Siegfried Oath. You must die. Vill you cooperate! CUT TO TIGHT TWO SHOT. BIALYSTOCK AND BLOOM SCRUNCHED BEHIND DESK. THEY STARE AT EACH OTHER IN AMAZEMENT. THERE IS A TIMOROUS KNOCK AT THE DOOR. BIALYSTOCK AND BLOOM -LRB- together. -RRB- Come in. Come in. ULLA ENTERS. ULLA I hear noise. You call? SHE LOOKS AROUND. ULLA Where are you? SHE CONTINUES WALKING UNTIL SHE SEES THEM CROUCHED BEHIND THE DESK. ULLA Ahhh. I see you. You like something? Coffee? BIALYSTOCK AND BLOOM LOOK AT EACH OTHER IN DISBELIEF. BIALYSTOCK Coffee. Yes. That's a good idea. -LRB- with great emphasis. -RRB- Why do n't you ask the gentleman with the gun. The gentleman who is shooting at us. and trying to kill us. what he will have. ULLA -LRB- to Liebkind. -RRB- You like coffee? CUT TO BIALYSTOCK AND BLOOM. THEY STARE AT EACH OTHER, DUMBFOUNDED. LIEBKIND Yes, please. Black. Two sugars. ULLA REPEATS TO HERSELF AS SHE STARTS FOR THE DOOR. ULLA Three coffees. Two regular. One black. two sugars. SHE EXITS AND CLOSES THE DOOR BEHIND HIM. BIALYSTOCK LOOKS UP TO THE FATES AND MAKES A SMALL SOUND OF DESPAIR. LIEBKIND And now ve must resume hostilities. Are you coming out from behind that desk or not? BIALYSTOCK Not. LIEBKIND Cowards, miserable cringing cowards. Clinging to life like baby butterflies. Vatch, vatch and remember. Franz Liebkind vill show you how to die like a man! HE PLACES THE MUZZLE OF THE GUN AGAINST HIS TEMPLE. BLOOM AND BIALYSTOCK PEER OVER THE DESK TO SEE. LIEBKIND -LRB- exhalted. -RRB- Soon I vill be vit mine Fuhrer, und Goering, und Goebbels, and Himmler. I'm coming boys! HE PULLS THE TRIGGER. CLICK. CLICK. CLICK. THE GUN IS JAMMED. HE THROWS THE GUN DOWN IN DISGUST. LIEBKIND -LRB- in utter anguish. -RRB- Boy, vhen things go wrong! HE FALLS INTO A CHAIR AND SOBS LIKE A CHILD. LIEBKIND I'm a failure. I'm a failure. I'm a failure. BIALYSTOCK AND BLOOM COME OUT FROM BEHIND DESK. BIALYSTOCK LOOKS AT HIS WATCH. BIALYSTOCK Five o'clock. Killed a whole day playing hide - and - seek with a crazy Kraut. BIALYSTOCK PICKS UP LUGER. LIEBKIND -LRB- still sobbing. -RRB- I'm not crazy. I'm inept. HE CONTINUES TO SOB. BLOOM WALKS OVER TO THE WEEPING LIEBKIND AND COMFORTINGLY PATS HIM ON THE SHOULDER. BLOOM There, there. LIEBKIND -LRB- looking around. -RRB- Vhere? Vhere? oh. BIALYSTOCK -LRB- to Liebkind. -RRB- You crazy lunatic! What are you shooting at us for? Why do n't you use this. -LRB- indicates gun. -RRB- where it will do us some good? Why do n't you shoot the actors? -LRB- the thought strikes home. -RRB- Liebkind, have I ever steered you wrong? LIEBKIND Always. BIALYSTOCK Never mind. Listen. Every night people are laughing at your beloved Fuhrer. Why? LIEBKIND It's that LSD und his verdampter babies! BIALYSTOCK -LRB- handing him the gun and some money. -RRB- Here. Buy bullets. Kill. Kill them all! BLOOM What? BIALYSTOCK -LRB- to Bloom. -RRB- Shut up. LIEBKIND Yes. The actors. I must destroy the actors. LIEBKIND STARTS TO GO. BLOOM Stop! Stop! This is insanity. HE LEAPS ACROSS THE ROOM AND WRENCHES THE GUN FROM LIEBKIND'S HAND. BLOOM -LRB- screaming. -RRB- Have you lost your mind? What are you talking about? Kill the actors. You ca n't kill the actors - they're not animals, they're human beings! BIALYSTOCK They are? Have you ever eaten with one? Liebkind, go! Kill! BLOOM Liebkind, no! BIALYSTOCK -LRB- to Bloom. -RRB- What are you doing? We're trapped. It's either the show or us. There's no way out. What can we do, blow up the theatre? BIALYSTOCK FREEZES AS THE THOUGHT TAKES HOLD. CUT TO CLOSE - UP OF BLOOM. HIS EYES NARROW AS HE SERIOUSLY CONSIDERS THE PROPOSAL. CUT TO CLOSE - UP LIEBKIND. HIS FACE A POSTER OF SHINING APPROVAL. CAMERA PULLS BACK. THE THREE OF THEM SEARCH EACH OTHER'S FACES EARNESTLY. THEY ARE OBVIOUSLY IN ACCORD. FADE IN. DARKENED CELLAR OF THEATRE. WE SEE THE FAINT GLOW OF A SHIELDED LAMP AT THE END OF A TUNNEL. AS THE CAMERA MOVES THROUGH TUNNEL CLOSER AND CLOSER TO THE LIGHT, WE MAKE OUT THE SHADOWY FORMS OF THREE MEN. CAMERA DOLLIES IN TO REVEAL BIALYSTOCK, BLOOM AND LIEBKIND. BLOOM IS HOLDING A MINER'S LAMP. LIEBKIND IS TRYING BRICK LOOSE FROM WALL. BIALYSTOCK IS CONSULTING MAP. BRICK COMES LOOSE. LIEBKIND REMOVES IT. LIEBKIND -LRB- the surgeon at work. -RRB- Dynamite. BLOOM SLAPS A NEATLY TAPED BUNDLE OF DYNAMITE INTO LIEBKIND'S HAND. LIEBKIND GENTLY PLACES IT IN OPENING. LIEBKIND Fuse cap. BIALYSTOCK REACHES INTO HIS POCKET AND HANDS HIM A FUSE CAP. LIEBKIND PUTS CAP IN PLACE. LIEBKIND Fuse. BLOOM REACHES IN POCKET, TAKES OUT SPOOL OF FUSE, HANDS IT TO LIEBKIND. LIEBKIND Thank you. LIEBKIND TIES FUSE IN PLACE. LIEBKIND Gut. Now for the master connection. CAMERA FOLLOWS THEM AS THEY MOVE BACK THROUGH THE TUNNEL. LIEBKIND TRAILS FUSE FROM SPOOL. THEY FINALLY EMERGE INTO AN OPEN AREA OF CELLAR DIRECTLY BENEATH THE STAGE. LIEBKIND Gut. Now vhere's the other fuse? BLOOM RAISES HIS LAMP, REVEALING A SIMILAR TUNNEL ON THE OTHER SIDE OF THE CELLAR. BLOOM There it is. CAMERA INSERT : CLOSE - UP SIMILAR FUSE PROTRUDING FROM SECOND TUNNEL. BACK TO SCENE. LIEBKIND -LRB- to Bloom. -RRB- Pick it up and bring it here, please. BLOOM Okay. HE STARTS TOWARD SECOND TUNNEL. LIEBKIND -LRB- anxiously. -RRB- Where are you going vit the light? BLOOM I need it. How'm I gon na find the fuse? LIEBKIND Oh, ve come vit you. All for one and all in the light. THE THREE OF THEM GINGERLY TIPTOE OVER TO SECOND TUNNEL ENTRANCE. BLOOM PICKS UP THE FUSE. THEY TIPTOE BACK. BLOOM HANDS FUSE TO LIEBKIND. LIEBKIND REACHES INTO HIS KNAPSACK, TAKES OUT LITTLE BLACK METAL BOX WITH TWO TERMINAL CAPS AT EITHER END AND SETS IT DOWN ON CELLAR FLOOR. LIEBKIND Now ve take the two fuse leads, attach them to the terminals of the conductor and ve're in business. BIALYSTOCK -LRB- grinning. -RRB- You mean out of business. Heh, heh. LIEBKIND BEGINS FIDDLING WITH THE FUSE LEADS AND TERMINALS. BLOOM Max, I. BIALYSTOCK -LRB- irritated. He has not time for small talk. -RRB- What is it? BLOOM Well, I. Well, it's just that. I'm sorry I called you fat, fat, fat. BIALYSTOCK -LRB- smacking Bloom affectionately on the shoulder. -RRB- Ahhhhhh. Leo, Leo, Leo. LIEBKIND -LRB- mumbling to himself. -RRB- Plus to minus. Negative to positive. Male to. BIALYSTOCK Come on. Let's get going. LIEBKIND Qviet. Qviet This is very important. HE TURNS BACK TO HIS WORK. LIEBKIND Vait a minute. Vait a minute. Male to male? Male to female? Female to male? Female to female? Vait a minute. In people, male to female. But electricity is strange. It's male to male. HE QUICKLY FINISHES THE CONNECTION. LIEBKIND Sehr gut. -LRB- to Bialystock. -RRB- Slow fuse, please. BIALYSTOCK REACHES INTO HIS POCKET AND HANDS LIEBKIND A ROLL OF FUSE. LIEBKIND Thank you. HE BEGINS TYING SLOW FUSE TO CONDUCTOR. LIEBKIND -LRB- as he works. -RRB- Now ve take the slow fuse. Tie one end to the master connection and the other ve attach to the detonator. HE FINISHES CONNECTIONS. LIEBKIND Come, ve go to the detonator. THEY BEGIN TO MOVE BACK AS LIEBKIND SLOWLY SPOOLS OUT FUSE. THEY START UP THE STAIRS. LIEBKIND Vait a minute. Are you sure this is slow fuse? It feels like qvick fuse. -LRB- to Bloom. -RRB- Shine your light on it. BLOOM SHINES LIGHT ON FUSE. LIEBKIND I do n't know. I do n't know. The markings are so similar. Qvick fuse or slow fuse? LIEBKIND TAKES A WOODEN MATCH OUT OF HIS POCKET. LIEBKIND I must find out. It is critical. HE STRIKES THE MATCH AND LIGHTS THE FUSE. WHOOSH! IT IGNITES. THE SPARKS RUSH TOWARD THE MASTER CONNECTION. LIEBKIND CHARGES DOWN THE STAIRS AND CHASES AFTER THE QUICK BURNING FUSE FOR ALL HE'S WORTH. HE CATCHES UP WITH IT JUST BEFORE IT REACHES THE MASTER CONNECTION AND QUICKLY STAMPS IT OUT. LIEBKIND Let's face it. That was dumb. HE TROTS BACK. LIEBKIND Boys, vhere is you? BIALYSTOCK AND BLOOM COME CRAWLING OUT FROM BEHIND STAIRS. LIEBKIND -LRB- seeing them. -RRB- Dot vas the qvick one. BIALYSTOCK We assumed that. LIEBKIND REACHES INTO HIS POCKET AND SHOWS THEM A ROLL OF FUSE. LIEBKIND Here. You see. This is the slow fuse. It is much wider. It has more resistance, more density. Therefore, it burns slower. BIALYSTOCK You mean you had the slow fuse in your pocket all the time and you forgot to put it on? LIEBKIND Yes. Amazing is n't it? BIALYSTOCK RAISES HIS CANE AND SMASHES LIEBKIND ON THE HELMET. BONNNG. BIALYSTOCK You stupid kraut! LIEBKIND Vhy do you always call me kraut? Kraut is cabbage! Do ve call you hot dogs? Ve call you Yanks not franks! BIALYSTOCK All right. Finish the job. Let's get outta here. CUT TO SIDE DOOR OF THEATRE. THE DOOR OPENS SLOWLY. BIALYSTOCK, BLOOM AND LIEBKIND TIPTOE OUT. BLOOM SETS DETONATOR DOWN. LIEBKIND Und now for the final connection. HE WRAPS THE FUSE LEAD AROUND THE METAL CONTACT POLE AND RAISES THE PLUNGER. BIALYSTOCK Wait. I'll check to see if the coast is clear. HE RUNS TO THE END OF THE ALLEY. LOOKS BOTH WAYS AND RUNS BACK. BIALYSTOCK The coast is clear! LIEBKIND Good. Get down. BIALYSTOCK AND BLOOM CROUCH DOWN AND HOLD THEIR EARDRUMS. LIEBKIND GRABS THE HANDLE OF THE DETONATOR. HIS EYES SUDDENLY GLISTEN WITH TEARS. LIEBKIND Goodbye, my foolish fancy. Goodbye, my misbegotten child. Goodbye, my tortured testament of twisted truths. BIALYSTOCK Do it! Do it! LIEBKIND TENSES HIMSELF FOR THE PLUNGE. HE STARTS AND STOPS. LIEBKIND I ca n't. I ca n't do it. It's a demon. It's a gargoyle, it's a monster. but it's still my child. HE SOBS INCONSOLABLY. BIALYSTOCK ROUGHLY PUSHES HIM ASIDE AND GRABS THE HANDLE OF THE DETONATOR AND PLUNGES IT DOWN. HE HURLS HIMSELF TO THE GROUND AND COVERS HIS HEAD IN ANTICIPATION OF THE EXPLOSION. NOTHING HAPPENS. AFTER A WHILE THEY ALL RAISE THEIR HEADS CURIOUSLY. BIALYSTOCK -LRB- quizzically. -RRB- Nothing. LIEBKIND GOES TO PLUNGER, RAISES HANDLE AND EXAMINES DETONATOR. LIEBKIND Here is gut. of course, of course. In electricity, it's always male to female. But with people, it's not always so. Come ve must go back. BIALYSTOCK Do you need us? LIEBKIND Of course I need you. It's dark in there. BLOOM Okay, okay. Let's not waste time. THEY OPEN THE SIDE DOOR AND DISAPPEAR INTO THE THEATRE. DRUNK -LRB- off camera, singing. -RRB- `` Honeymoon, keep a shinin' in June,'' CUT TO ENTRANCE OF ALLEY. DRUNK COMES STAGGERING INTO VIEW. HE SPOTS DETONATOR. DRUNK `` your silvery beams, Will light love's dreams,'' What the heck is that? A bicycle pump? Naaah. Lem me see. Could it be? Good grief, it's Eli Whitney's cotton gin. Naaah. Aahh, I know what it is. HE WALKS OVER TO DETONATOR AND SITS ON FIRE STANCHION JUST BEHIND IT. HE RAISES HIS FOOT AND STARTS IT DOWN TOWARD THE PLUNGER. DRUNK Shine'em up! HE PUSHES PLUNGER DOWN WITH HIS FOOT. CUT TO LONG SHOT OF THEATRE. -LRB- MOCK UP -RRB- THERE IS A TERRIFIC EXPLOSION. PIECES OF THE THEATRE GO FLYING THROUGH THE AIR. CUT TO TIGHT SHOT OF DRUNK. HE IS ON HIS KNEES. DEBRIS CRASHES ALL AROUND HIM. SMOKE AND NOISE FILL THE AIR. HE STAGGERS TO HIS FEET. HE ROCKS BACK AND FORTH AS THOUGH HE WERE IN AN EARTHQUAKE. DRUNK -LRB- bravely singing. -RRB- `` Sa - an Fra - ancisco, open your golden gates, Do n't let a stranger wait. DISSOLVE TO TIGHT SHOT OF JUDGE'S GAVEL SOLEMNLY RAPPING FOR ORDER. PULL BACK TO REVEAL CROWDED COURTROOM. CAMERA MOVES IN TO FOREGROUND OF COURT. THERE, SEATED AT THE DEFENDANT'S TABLE ARE, IN ORDER, BLOOM WITH HIS ARM IN A SLING, BIALYSTOCK WITH HIS LEG IN A CAST, AND A MUMMY SWATHED IN BANDAGES. WE KNOW THE MUMMY IS LIEBKIND BECAUSE IT IS WEARING A GERMAN HELMET. LIEBKIND -LRB- mumbling through his bandages. -RRB- Male to male? Male to female? CUT TO TIGHT SHOT OF JUDGE. JUDGE Has the jury reached a verdict? CUT TO JURY. THEIR EXPRESSIONS INDICATE THAT THEY ARE NOT AT ALL WELL - DISPOSED TOWARD THE DEFENDANTS. CAMERA CLOSES IN ON FOREMAN. HE RISES. FOREMAN We have, your honor. JUDGE -LRB- off camera. -RRB- How does the jury find? FOREMAN We find the defendants incredibly guilty. CUT TO JUDGE. JUDGE Will the defendants please rise and approach the bench. CUT TO BIALYSTOCK, BLOOM AND LIEBKIND. THEY STRUGGLE TO THEIR FEET AND HOBBLE TO THE JUDGE'S BENCH. JUDGE Do the defendants have anything to say in their behalf before the court pronounces sentence? BLOOM I would like to say a word, sir, not on my behalf, but in behalf of my partner, Max Bialystock. JUDGE Proceed. BLOOM Thank you, your honor. Max Bialystock is a very selfish man. BIALYSTOCK -LRB- whispers to Bloom. -RRB- Do n't help me. BLOOM He's a liar and a cheat and a scoundrel. He's taken money from little old ladies. He's talked people into doing things they never would have dreamed of. Especially me. But who has he really hurt? Who are the victims? Not me, I had the most exciting adventure of my life. And what about the little old ladies? What would their lives have been without Max Bialystock? He made them feel wanted and young and attractive again. LITTLE OLD LADIES -LRB- off camera, ad - lib. -RRB- `` Oh, Max, Max, I love you Max.'' `` Let him go, let him go.'' `` Do n't take my Bialy.'' JUDGE -LRB- rapping gavel. -RRB- Order. Order. BIALYSTOCK And may I humbly add, your honor, that we have learned our lesson and we'll never do it again. JUDGE I will take that into consideration. The defendants shall serve not more than five and not less than two years in the State Penitentiary. -LRB- he pounds gavel. -RRB- DISSOLVE THROUGH TO SIGN ON STONE WALL. SIGN READS : STATE PENITENTIARY. DISSOLVE THROUGH TO PRISON YARD. DETACHMENTS OF PRISONERS, LED BY GUARDS, MARCH PAST CAMERA. PRISON LAUNDRY. MUCH NOISE AND STEAM. CAMERA PANS TO ANOTHER BUILDING MARKED : MACHINE SHOP. LOUD METALLIC CACOPHONY EMANATES FROM INSIDE. CAMERA CONTINUES ITS JOURNEY. IT COMES TO REST ON PRISON AUDITORIUM. TINKLE OF PIANO IS HEARD FROM INSIDE. CAMERA MOVES THROUGH CLOSED DOORS TO INTERIOR. WE SEE A LONG LINE OF PRISONERS -LRB- 20 -RRB-. FOR SOME REASON THEY ARE ALL HOLDING MONEY IN THEIR HANDS. LINE ENDS AT A DESK. SEATED AT THE DESK, IN A GREY, PRISON UNIFORM, IS NUMBER : 979345, FORMERLY KNOWN TO US AS LEO BLOOM. BESIDE THE TABLE IS A WORLD PREMIERE 979344 and 979345 PRESENT `` PRISONERS OF LOVE'', STARRING 778629 and CO - STARRING 440123. INVEST NOW! HUGE PROFITS GUARANTEED! A PRISONER HANDS BLOOM MONEY. BLOOM COUNTS IT AND PUTS IT INTO TIN BOX. HE HANDS PRISONER A RECEIPT. BLOOM Twenty - five dollars. Here's your receipt. You now own 28 % of `` Prisoners of Love.'' CAMERA PANS TO STAGE. THE STAGE IS FILLED WITH A LINE OF CONVICT `` CHORUS GIRLS.'' THEIR TROUSERS ROLLED UP ABOVE THEIR KNEES, SHOWING AN ASSORTMENT OF INTERESTING HAIRY LEGS. AT THE PIANO, KNOCKING OUT THE LIVELY RHYTHM, IS FRANZ LIEBKIND AND HIS EVER POPULAR GERMAN HELMET. ON STAGE DIRECTING THE REHEARSAL IS THE INDOMITABLE MAX BIALYSTOCK. BIALYSTOCK -LRB- waving his cane and shouting at the top of his lungs. -RRB- Higher, you animals, higher! We open Saturday night! Kick! Kick! Two - three - kick - turn! Two - three - kick - turn! Okay, let's hear it! THE PRISONERS BREAK INTO SONG. PRISONERS -LRB- singing. -RRB- `` We're prisoners of love, etc.'' MUSIC SWELLS TO CRESCENDO. CAMERA PULLS BACK TO ENCOMPASS THE ENTIRE STAGE AS `` THE END'' AND SUBSEQUENT TECHNICAL CREDITS APPEAR ON THE SCREEN.\"\n]"},"labels":{"kind":"list like","value":[0,1,1],"string":"[\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Max Bialystock (Zero Mostel) is a washed-up, aging Broadway producer who ekes out a living romancing lascivious wealthy elderly women in exchange for money for his next play. Nebbish accountant Leo Bloom (Gene Wilder) arrives at Bialystock's office to do his books and discovers there is a two thousand dollar overcharge in the accounts of Bialystock's last play, because he raised more money than he could repay by selling more than 100% of the shares in the potential profits. Bialystock persuades Bloom to hide the relatively minor fraud, and, while shuffling numbers, Bloom has a revelation: a producer could make a lot more money with a flop than a hit. Bialystock immediately puts this scheme into action. They will over-sell shares again, but on a much larger scale and produce a play that will close on opening night. No one audits the books of a play presumed to have lost money, thus avoiding a pay-out and leaving the duo free to flee to Rio de Janeiro with the profits. Leo is afraid such a criminal venture will fail and they will go to prison; but Max eventually convinces him that his drab existence is no better than prison. After reading many bad plays, the partners find the obvious choice for their scheme: Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden. It is \"a love letter to Hitler\" written in total sincerity by deranged ex-Nazi Franz Liebkind (Kenneth Mars), whose name is German for \"Frank Lovechild\". They persuade him to sign over the stage rights, telling him they want to show the world \"the Hitler you loved, the Hitler you knew, the Hitler with a song in his heart.\" To guarantee that the show is a flop, they hire Roger De Bris (Christopher Hewett), a director whose plays \"close on the first day of rehearsal\". The part of Hitler goes to a charismatic but only semi-coherent, flower power hippie named Lorenzo St. DuBois, a.k.a. L.S.D. (Dick Shawn), who can barely remember his own name and had mistakenly wandered into their theater during the casting call. After Bialystock sells 25,000% of the play to his regular investors (dozens of lustful little old ladies), they are sure they are on their way to Rio. The result of all of this is a cheerfully upbeat and utterly tasteless musical play purporting to be about the happy home life of a brutal dictator. It opens with a lavish production of the title song, \"Springtime For Hitler\", which celebrates Nazi Germany crushing Europe (\"Springtime for Hitler and Germany/Winter for Poland and France\"). Unfortunately for Bialystock and Bloom, their attempt backfires as, after initial dumbfounded disbelief, the audience finds L.S.D. 's beatnik-like portrayal (and misunderstanding of the story) to be hilarious and misinterpret the production as a satire. Springtime For Hitler is declared a smash-hit, which means, of course, the investors will be expecting a larger financial return than can be paid out. As the stunned partners turn on each other, they are confronted by a gun-wielding Franz Liebkind, who is enraged and humiliated by L.S.D. 's portrayal of Hitler, accuses them of breaking the \"Siegfried Oath\". After a reconciliation, the three band together and blow up the theater to end the production. They are injured, arrested, and tried. In spite of Leo's impassioned statement praising Max (while also referring to him as \"the most selfish man I have ever met in my life\") the jury finds them \"incredibly guilty\" and they go to prison. In the end, Leo, Max, and Franz go back to producing plays with their fellow inmates (\"Prisoners of Love\"). Leo Bloom, however, continues the same old scam of overselling shares of the play to the other prisoners (20-30%) and even to the warden (50%). The song is performed while the credits are shown."},"name":{"kind":"string","value":"The_Producers_(1968_film)"}}},{"rowIdx":166,"cells":{"scenes":{"kind":"list like","value":["OCEAN'S TWELVE A MULTI - COLORED SCREEN After a few introductory credits, we pull back to reveal the source of this kaleidoscopic backdrop : A SINGLE, STRIPED TULIP, planted in a long row of other tulips. A HAND reaches in and pulls the tulip from the ground. We then cut to : A BASKET of tulips, carried by hand to a truck, where it is loaded with hundreds of other baskets. The door of the truck is SHUT and we cut to : The door of the truck OPENING to reveal that the tulips are now boxed and crated. A forklift moves the crates onto a wagon, which is driven by a MANNED CART across the biggest warehouse on the planet, the Bloenen Markt -LRB- CHECK THIS - steven -RRB- in Amsterdam, Netherlands. The cart and wagons we were following disappear into a maze of synchronized activity. The cart arrives in the AUCTION ROOM, which is constructed like an ampitheater : the buyers sit in a steeply raked semi - circle, facing two giant, clock - shaped scoreboards that display the bids on the flowers being viewed. The striped tulips fetch a very high price. The carts of striped tulips are delivered to an automated sorting apparatus of enormous size and complexity. They end up on a truck heading for the airport. The tulips are loaded onto a plane. During the transatlantic flight, they sit nestled in the cargo hold. The tulips are unloaded from the plane, driven across an airport tarmac and loaded onto another plane. The tulips are unloaded from the plane and loaded onto a truck. The truck drives through a small town and pulls into the back of a","EXT./INT. FLOWER SHOP -- DAY A YOUNG MAN takes delivery of the flowers and carries them through the rear of the store to the display area up front. We stay on the tulips as we hear the following conversation : CUSTOMER Wow. How do they do that? OWNER It's an accident. It means the flower developed a virus early in the bulb stage. The flaws create the unusual coloring. CUSTOMER Can you arrange something for me with those? OWNER Of course. What kind of price range are you looking for? Now we SEE the customer : TESS. TESS Well, it's for my parent's anniversary. They do n't know I'm coming. I just want it to be beautiful. Can you just do whatever you think looks best? OWNER I'll need a few minutes. TESS Take your time, please. And thank you. The Owner moves toward a corner of the store where the flowers are arranged. Tess walks around, looking at the rest of the store. Tess looks out the window. A black sedan is pulling up at the curb. OWNER That should be some surprise. TESS Which? OWNER For your parents. TESS Oh. Yes. I hope so. One of the POWER TWINS gets out of the driver's side door and crosses in front of the car. Tess starts moving away from the window. OWNER Which one is it? TESS I'm sorry? OWNER Anniversary. TESS Oh. Fortieth OWNER Wow. Okay. I think I have an idea. Something classic. The Power Twin opens the rear passenger side door, revealing TERRY BENEDICT. Tess turns away from the window. TESS Do you have a bathroom? OWNER Straight back, on the left. It's unisex. TESS Thank you. Tess scurries to the back. OWNER -LRB- to Tess, a caveat. -RRB- It's unisex! Tess flies past the bathroom and heads for the back door. She pushes through it and runs right into Power Twin No. 2.","EXT. HOUSE -- DAY A nice place on the eastern seaboard. We hear the faint sound of a phone ring.","INT. HOUSE -- DAY Danny Ocean picks up the receiver, checks the caller ID. He smiles and answers : DANNY Miguel Diaz speaking. Almost immediately, his expression clouds. He looks at his watch. DANNY -LRB- cont'd. -RRB- Tess, Tess. It's okay. You remember what we talked about, if this happened? All right. Call me in twenty - four hours on that number. He hangs up the phone and runs out of the house. He does n't take anything with him.","EXT. HOUSE -- DAY Danny runs out of the house and down the street, leaving his car in the driveway.","INT. CAR -- DAY Tess, floral arrangement in her lap, sits in the car with Benedict. BENEDICT The Baldwins. TESS What about them? BENEDICT We had dinner with them three years ago. You talked about your parent's anniversary. She says nothing. BENEDICT -LRB- cont'd. -RRB- I'm getting married next month. TESS So am I. A beat. BENEDICT Well, I hope Danny is as good as he thinks he is. A bouquet toss in prison can get pretty ugly.","INT. BANK VAULT -- DAY Danny takes a safe deposit box out of a wall, He opens the box, revealing a CELL PHONE and some CASH.","EXT. TRAIN STATION (NOT A BIG ONE) -- DAY Danny boards a train.","INT. AMTRAK TRAIN -- DAY The landscape hurtles by. We pan over to find Danny sitting next to the window. We continue to pan and find REUBEN TISHKOFF seated next to a group of male commuters. REUBEN -LRB- over. -RRB- I really think you're being too sensitive. She's crazy about you. I can tell.","INT. SPA -- DAY REUBEN lies in a mud bath, his face covered with a dried exfoliating `` mask'' treatment. There is a cigar in one hand and a cellphone in the other. His eyes are closed to the sun. REUBEN Joyce, she's ninety - two. I'm all she has left. -LRB- beat. -RRB- The wheelchair thing was an accident, she's having some trouble with the joystick. I'll adjust it. -LRB- beat. -RRB- I told you, when her mouth hangs open like that, that means she's happy. -LRB- beat. -RRB- I am. When are you coming over? -LRB- beat. -RRB- You're tired because you work too much. You do n't have to work all the time. Do n't you want to take a break? Those trays look so heavy. -LRB- beat. -RRB- Of course. How could you ask that? -LRB- beat. -RRB- Because when I heard you laugh, all my problems disappeared. A SHADOW crosses over Reuben's face, and Reuben squints open one eye. There, with the sun like an aura behind his head, is TERRY BENEDICT.","INT. AMTRAK TRAIN -- DAY Reuben is handed a bloody mary by the porter, who then continues on, bringing a glass of white wine to THE AMAZING YEN.","INT. POOL -- DAY Yen swims a strong, steady freestyle. Pull back to reveal that he is swimming in a 9' by 5' `` Endless Pool'' in his 15th floor Shanghai apartment. A HAND MOVES INTO FRAME and turns off the water current. Yen immediately slams into the end of his jacuzzi - sized pool. He lifts his head out of the water to SEE the POWER TWINS standing `` poolside.'' He spits out a stream of invective, in Chinese. The Power Twins look at each other.","INT. AMTRAK TRAIN -- DAY Yen sets his magazine down and heads for the bathroom, where TURK and VIRGIL MALLOY are waiting in line. TURK The opening does n't work. VIRGIL Duh. TURK She should n't have the same dream as Franklin. He's the antagonist. VIRGIL It was your idea. TURK No it was n't. VIRGIL Well, it was n't mine. It could n't be ; it's too stupid. TURK Why do you do that? why do you have to get personal? VIRGIL It's not personal, it's a fact.","INT. YOGA STUDIO -- DAY VIRGIL and TURK MALLOY, in GTX lycra yoga gear lead a class -LRB- mostly female -RRB- through the vinyassa. The studio is mirrored on three sides. TURK It's personal. You do n't argue logically. You attack. -LRB- to the class. -RRB- Bring the right foot back even with the left, buttocks raised high. -LRB- to Virgil. -RRB-. you have to have reasons, to support your argument. -LRB- to the class. -RRB-. flattening the back so the body forms a triangle. VIRGIL I ca n't listen to you anymore. It makes me physically sick. Turk looks to him, but also sees a GUY in the class staring at all of the women `` raising their buttocks high''. He indicates this to Virgil, who goes over to the guy. TURK Relax the crown of the head toward the floor. Draw the hips away from the hands, len - gthening the spine. And press the heels toward the floor. Virgil steps on the guy's back and leans down to whisper in his ear. VIRGIL This a serious class. No pigs allowed. Okay? GUY Sorry. TURK Virge. Virgil stands up. Benedict and the Power Twins are standing right behind him. His expression changes as he sees them in the mirror.","INT. AMTRAK TRAIN -- DAY The Malloys and Yen are still waiting for the bathroom. TURK You're hallucinating. VIRGIL Yeah, whatever, OJ. Finally, the lock OPENS and RUSTY RYAN exits. We follow him to his seat, where he puts on a pair of headphones. TIGHT SHOT Of molten metal bubbling in a small iron cask, a jeweler's cask. MOVE to REVEAL a GARAGE filled mostly with cars in some state of restoration FIND RUSTY as he painstakingly works on a new piece that is just BELOW FRAME. Whatever it is, it is clearly getting to him. He shakes his head ; it's not right. It's just not good enough. Rusty glances at the digital thermometer attached to the cask of molten metal. It reads : 736.18 degrees. RUSTY You are kidding me.","INT. RUSTY'S CAR -- DAY Rusty glances in his rearview as he drives through the city talking on his cell phone. He's keeping an eye on a white Cadillac that seem to be following him. RUSTY 736.18 degrees Fahrenheit, Felix. I watched it. FELIX -LRB- TELEPHONE V.O. -RRB- Rusty. What do you want from me? Rusty turns a corner, then glances in his rearview again. RUSTY I want what I paid for. FELIX And that's what I sent. RUSTY No, Felix, no. I paid for pure. And if my workshop were on top of Mount Everest it would be pure. But I'm at sea level, Felix, and at sea level it should liquefy at 736.95. If it's pure, that is. Which this is n't. Rusty makes another turn. A few seconds later, the Cadillac turns behind him. FELIX -LRB- TELEPHONE V.O. -RRB- Well, I did n't know you were going to liquefy it. Rusty pulls to a stop light. The Cadillac pulls up three cars behind him. RUSTY Let me ask you something : When Christo calls his cotton supplier and asks for 100 % cotton cloth, do you think his supplier sends him 98 % cotton and 2 % polyester and when that does n't work, says to Christo, `` Well, you should have told me you were going to wrap the coast of Australia''? FELIX Who's Christo? Rusty looks to the heavens. RUSTY Felix, you're in a shame spiral. Have your assistant lose my number. Rusty snaps his phone shut. RUSTY -LRB- cont'd. -RRB- My god. Rusty looks into the rear view mirror and then slows the car to a stop. He gets out of his car and slams the door shut. He walks back to the Cadillac and knocks on the window. It rolls down electronically to reveal Benedict. RUSTY -LRB- contd. -RRB- How long you gon na give us?","INT. AMTRAK TRAIN -- DAY Rusty continues to listen to his headset. We pan over to see FRANK CATTON seated opposite him.","INT. RITZ CARLTON HOTEL, NEW YORK -- DAY The penthouse apartment. It takes the entire floor and has a 360 degree view. Right now, all of the furniture inside of it is being taken away by movers. Frank enters frame. BENEDICT Four weeks. FRANK We stole that money fair and square. You bought people off to find me. You took advantage during an economic downturn, and made them say some shit they should n't have said. It's not fair, it's not just, and it aint' cool. A long beat. Benedict stares back at him. FRANK -LRB- cont'd. -RRB- Did you hear what I just said? BENEDICT I heard what you said, Frank. Did you hear what I said? Frank looks at Benedict and the Power Twins.","INT. AMTRAK TRAIN -- DAY Frank takes us to Livingston.","INT. STAGE -- NIGHT Livingston performs a stand - up routine. LIVINGSTON How many people here tonight were stupid enough to have children? A few people raise their hands. LIVINGSTON -LRB- cont'd. -RRB- Wow. No, seriously, that's great. I have a child. A daughter. She's five. They get to you, right? Am I right? Like emotionally. I mean, sometimes she'll turn to me with her little face and her little shiny eyes, and she'll say, `` Daddy, please stop hitting me,'' and it just breaks my heart.' People are n't sure what to make of this. LIVINGSTON -LRB- cont'd. -RRB- I'm Livingston Dell. Thanks for listening. See you at ten. Livingston strides off stage as we see that he is at the Bellagio, in the lounge. Benedict and the Power Twins are waiting for him. Somehow he is n't surprised. LIVINGSTON -LRB- cont'd. -RRB- -LRB- to Benedict. -RRB- I appreciate you letting me finish my run. You've been very patient. BENEDICT What can I say? You're a funny guy.","INT. AMTRAK TRAIN -- DAY Livingston takes us to Saul Bloom, reading the Racing Form.","INT. THE WASPIEST IMAGINABLE MEN'S CLUB -- DAY All dark wood and oriental rugs. MOVE across a row of oil paintings that flatter stodgy club members from the 1800s to the present. Land on Saul, sitting in window light that mimics the aforementioned portraits. SAUL What it is about horses? I ask you. Is it the strength? The beauty? The fearlessness? The grace? Of course. But there's something else. Something in the eyes. The person with him nods. SAUL -LRB- cont'd. -RRB- Yes. When I look into a horse's eyes, I can tell : This one's a winner. A jacketed WAITER appears, holding a tray. WAITER Excuse me, Mr. Bloom? SAUL Yes? WAITER There appears to be a problem with your card. The waiter tips the tray to reveal Saul's credit card, which has been CUT INTO TINY PIECES. Without missing a beat, he reaches for his wallet. SAUL You take Visa? WAITER I was acting on instructions from your business manager. SAUL My business manager? WAITER Mr. Benedict.","INT. AMTRAK TRAIN -- DAY Saul leads us to Basher.","INT. RECORDING STUDIO -- NIGHT Basher is putting the finishing touches on a song. A producer and engineer sit behind a huge mixing console. It's good - Basher's really got something going here.","INT. RECORDING BOOTH -- MOMENTS LATER Basher is leaning over a thick legal document, and Benedict is leaning over him. The music has been turned off. BENEDICT Look at it this way. Eugene. if the album goes platinum it'll cover what you owe. And if the second one goes gold, that should cover the interest.","INT. AMTRAK TRAIN -- DAY Basher takes us to Linus.","INT. CAR -- DAY Linus looking from the front seat to the back, talking to Benedict. LINUS I'm responsible for myself. I have my own life and my own plans. I've never asked for anything but a fair shake. We make a deal, I stick to the deal. He turns forward, thinking. Then after a beat, he turns back to Benedict. LINUS -LRB- cont'd. -RRB- I just need to be absolutely clear that we have an understanding : If you contact my father, I'll kill myself, and you'll never get the rest of your money. Benedict nods. Linus turns forward and exhales, relieved.","INT. AMTRAK TRAIN -- DAY Linus takes us back to Danny. The train hurtles onward. ABSOLUTE BEDLAM Reuben, Yen, the Malloys, Frank, Livingston, Saul, Basher, and Linus are all talking at once - right at us. Right at Danny. And they are not happy. The group is in an abandoned WAREHOUSE somewhere near NYC. Danny is overwhelmed, like a deer caught in the headlights. He throws a desperate glance at Rusty, who's looking out the window serenely, letting Danny flounder. MOMENTS LATER Total silence. Everyone just stares at Danny, waiting for an answer. DANNY How many ca n't make the deadline? Everyone raises their hands except Reuben. REUBEN -LRB- off their looks. -RRB- So I'm smarter than those schmucks on Wall Street. Whose fault is that? Fair enough. DANNY How many think if they run, they'll be found? Everyone raises their hands. Including Reuben. Danny gets up, walks over to Rusty. The rest of the guys shrug and begin talking amongst themselves. After a long beat. DANNY -LRB- cont'd. -RRB- Well, the only other - RUSTY We're on the five o'clock. DANNY Good. A beat. DANNY -LRB- cont'd. -RRB- Where? RUSTY Amsterdam. Danny steps back. DANNY AMSTERDAM!? Danny's tone draws everyone's attention. Noticing this, Danny and Rusty move into a nearby dilapidated office doorway. The guys go back to talking, mostly about what they were doing when they were found. This rises steadily in volume until the din is obliterated by a LOUD VOICE : DANNY -LRB- cont'd. -RRB- I'M TELLING YOU THIS IS A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! The guys exchange glances. Danny walks over to them and sighs.","INT. AIRPORT TERMINAL -- TICKETING AREA Livingston hands his passport to a KLM AGENT. LIVINGSTON Flight 144 to Amsterdam. JUMP CUT TO the agent handing Livingston his boarding pass. KLM AGENT You're in seat 43J. Enjoy your flight. LIVINGSTON Uh. there must be some mistake. I mean. unless. is your first class section in the back of the plane? The agent looks back at him, confused. KLM AGENT No. JUMP CUT TO the agent handing Linus his boarding pass : KLM AGENT -LRB- cont'd. -RRB- 32E. CUT TO the agent handing Virgil and Turk their tickets. KLM AGENT -LRB- contd. -RRB- 41C and D. JUMP CUT TO the agent handing Saul his boarding pass : KLM AGENT -LRB- cont'd. -RRB- 55K. SAUL Fifty - five K? There's a fifty - five K? KLM AGENT We've increased capacity by employing advanced design technology. SAUL You made the seats smaller. Can you just say that? You made the seats smaller. JUMP CUT to show Frank : FRANK See, you're not hearing me. What I'm trying to tell you is the reservations agent made a mistake when she issued the ticket, because on the rare occasions that I fly commercially, I always book a first - class ticket with no restrictions - The desk agent looks back at him skeptically. KLM AGENT She may have, air, but this is the only ticket available to you on this flight. I need you to step aside so I can take care of the next customer. FRANK Now, listen : Do n't make me get black.","INT. SECURITY AREA Frank stands with his arm outstretched, shoes and belt off. Two TSA officers run metal detecting wands over every inch of his body. Three more guys pick through his luggage : they squeeze toothpaste from his Sensodyne tube, sniff his hair products, unroll his `` tighty - whitey'' briefs. PAN to REVEAL that Basher is getting the exact same treatment, right next to him. They exchange looks. REVERSE ANGLE : the rest of the group stands sipping iced lattes from Starbucks and watching the show. Reuben walks up. DANNY Reuben. REUBEN I wanted to wish you luck. And listen : I want to do something for you. Reuben hands Danny an envelope. DANNY What's this? REUBEN Take it. Take it. This is the least I can do. I've got a friend who owns the Bellagio of Amsterdam and I've made reservations for all of you there. It's all taken care of. RUSTY That's very touching, Reuben. REUBEN It's the least I could do. I love you guys. Enjoy. Yen says something in Chinese. REUBEN -LRB- cont'd. -RRB- No, thank you.","INT. 747 -- NIGHT Yen sits in First Class, playing an in - seat video. Virgil and Turk kneel on either side, watching his progress. VIRGIL Nice. TURK Great anticipation. FLIGHT ATTENDANT Gentlemen, you'll have to go back to your seats now. Reluctantly, they do. We follow them back to coach, where they pass Linus, talking to himself. LINUS Ground level. First floor. Day one. Planning stages. -LRB- beat. -RRB- Planning stages. We move on to find Livingston, who grabs Turk by the arm. LIVINGSTON How'd he get that seat? TURK What seat? Turk moves on, taking us past a sleeping Saul and landing on Danny and Rusty, who watch a movie with fixed expressions. A reverse angle shows us that the video screen is twenty rows away - it is impossible to discern any detail at all. Rusty takes his headphones off and exhales. Danny notices this and does the same. After a beat : RUSTY Call me an elitist asshole, call me a bourgeois clown, call me anything you want, but ` economy' is bullshit. DANNY Oh, I do n't know. it's not that ba - The guy in front of Danny moves his seat back suddenly and spills Danny's drink all over Danny's lap. Linus approaches Danny and Rusty. LINUS Hey. You guys have a minute? DANNY Sure, Linus. RUSTY What's on your mind? LINUS Well, I know this may not be the exact right time to bring this up, but I've been thinking about. well, about where I want to be in five years, career - wise, and I've decided I really want to be more than just a role - player. I really see myself as kind of an idea man, like you guys. I mean, I know you do your part and you're in the trenches with us and all, but it's really your show, and like I said, five years from now, I want to be running my own show. Danny and Rusty exchange a look. then look back at Linus. DANNY Uh - huh. RUSTY Right. LINUS So if there's any opportunity for me to be involved in the, you know, planning stages of things, I would really appreciate it. I really feel like I'm ready for more responsibility and that I could really make a contribution. Rusty turns to Danny. RUSTY Are you thinking what I'm thinking? DANNY Evelyn. RUSTY -LRB- to Linus. -RRB- We're negotiating the terms with her tomorrow. You feel up to taking the lead? LINUS Are you serious? DANNY Absolutely. LINUS This is n't some gag? RUSTY No gag. LINUS Wow. Yeah. That would be awesome. DANNY Okay, then. LINUS Man. I was n't sure if I should say anything. Now I'm glad I did. DANNY So are we. RUSTY We're here to listen. LINUS Great. Thanks. Really. You wo n't regret this. Linus leaves. Danny and Rusty put their headphones back on. Now they look content. Basher and Frank watch Linus go. BASHER Tom. SAUL He can be a Tom? BASHER Anybody can be a Tom. SAUL You got ta make your own opportunities. This ai n't a rehearsal. BASHER Tom. Saul chews his economy class trail mix. SAUL Boy, you're tough. BASHER Stop calling me `` boy''. Saul stops chewing. They look at each other.","EXT. AMSTERDAM -- DAY Establishing shots of the city.","EXT. RED LIGHT DISTRICT -- DAY The group makes their way down a damp cobblestone street. They stop in front of a window and look up. REVERSE ANGLE They have stopped in front of a narrow townhouse that has been converted to a hotel. The sign says `` Bellagio of Amsterdam.''","INT. BELLAGIO OF AMSTERDAM -- DAY A single room with 12 bunks in it. Their noses are wrinkled up because the place stinks. LIVINGSTON How could he lie to us like that? RUSTY The sign said ` the Bellagio of Amsterdam'. Everyone looks at each other and turns to leave. LINUS -LRB-? -RRB- Wait a minute. That's it? DANNY Yeah. LINUS Look, you guys no frills, no perks, run - and - gun, all that stuff, and I said no problem because I believed you were right that we should n't go deeper into debt and spend money we do n't have. I mean, am I the only one who thinks this might actually be a good thing? That we could use a little humility? That maybe we were a little too pleased and impressed with ourselves after the Benedict job? Okay, I grant you that maybe this is n't what we deserve, but maybe it's what we need. We can do this. No, I take it back : We have to do this. A long beat.","EXT. AMSTERDAM'S FINEST FIVE-STAR HOTEL Four black mercedes skid to a stop outside Amsterdam's finest five - star hotel. Everyone emerges with big smiles on their faces. Everyone except Linus. He scowls, yanks his bag back from the hotel doorman who rushed over to take it for him.","EXT. CONVENIENCE STORE, UNITED STATES -- DAY Tess enters and buys a phone card.","EXT. PHONE BOOTH -- DAY Tess talks to Danny. Across the street, a BLACK SEDAN is parked. TESS What are you doing in Amsterdam? DANNY -LRB- PHONE V.O. -RRB- Only what I have to do to get Benedict off our backs. TESS Be careful, Danny. Please. DANNY How's work? TESS It's the same. I'm distracted. DANNY I'm sorry. TESS It's not your fault. DANNY -LRB- TELEPHONE V.O. -RRB- I keep trying to figure out what I did wrong. How did he find us? Tess ca n't bring herself to tell Danny the truth, that it was entirely her fault. TESS Danny, do n't keep thinking about it. DANNY -LRB- TELEPHONE V.O. -RRB- I did something wrong. He should never have found us. TESS I'll call you tomorrow. I love you. DANNY I love you.","INT. AMSTERDAM HOTEL SUITE -- NIGHT Danny hangs up the phone and site.","INT. HOTEL -- NIGHT In other rooms, the guys get themselves settled in. Each takes a step toward personalizing their suite.","EXT. AMSTERDAM COFFEE HOUSE -- DAY Danny and Rusty lead an obviously eager Linus towards a coffee house. RUSTY She'll try and use her looks to distract you. Do n't let her. DANNY Be polite, but firm. LINUS Right. RUSTY Do n't get soft on us. Do n't make too many concessions. LINUS I wo n't. Danny and Rusty nod. Okay.","INT. COFFEE HOUSE -- CLOSE ON EVELYN. Who is obviously a MAN IN DRAG. Linus looks to Danny and Rusty but they give him nothing. EVELYN The onset of summer is like a woman who owns too many shoes. She/He looks to Linus, who looks to Danny and Rusty. DANNY -LRB- bailing Linus out. -RRB- If animals were capable of flattery, the World Bank would be open until 8pm. EVELYN When I was four years old, I saw my mother kill a spider with a tea cozy. Again, the Evelyn looks to Linus, who has nothing to say. RUSTY A doctor who specializes in skin diseases will dream that he has fallen asleep in front of the television. Later he will wake up in front of the television but not remember his dream. Evelyn nods and looks to Linus, as do Danny and Rusty. He furrows his brow, then speaks : LINUS O let the sun beat down upon my face, stars to fill my dreams. I am a traveler of both time and space, to be where I have been. Danny and Rusty stare at Linus like he's nuts, like he's just cracked. Evelyn's entire expression changes. EVELYN Your young friend has a great deal to learn about respect. She/He puts his/her drink down and walks to another part of the establishment. DANNY Linus. why do n't you wait outside. Rusty and Danny follow Evelyn and quietly console him/her.","EXT. COFFEE HOUSE -- AFTERWARD -- DAY Linus cools his heels. Danny and Rusty emerge from inside. DANNY Is that your idea of making a contribution? RUSTY Her terms were scandalous. And we were lucky to get them after what you said. DANNY The deal was this close to being blown. LINUS `` Deal?'' What `` deal?'' Danny and Rusty just look at him. LINUS -LRB- cont'd. -RRB- I know what you guys are doing. Danny and Rusty exhange looks. What? LINUS -LRB- cont'd. -RRB- Look. That. person had too many cupcakes. They just keep staring at him. LINUS -LRB- cont'd. -RRB- I was playing along. RUSTY `` Playing along!'' DANNY You called her mother a whore. RUSTY A really cheap one. LINUS Guys, I'm not falling for this. I'm not. But Danny and Rusty are n't laughing. They look pissed. Seriously pissed. LINUS -LRB- cont'd. -RRB- I mean. Danny and Rusty just look at him. Linus squirms. LINUS -LRB- cont'd. -RRB- I called her mother a whore?","INT. AMSTERDAM HOTEL SUITE -- NIGHT Danny and Rusty explain the job to the group. RUSTY It's a privately owned home. But do n't let that fool you. It's extremely well - protected. A photo of a four - story canal house is displayed on a flat screen connected to Livingston's computer. SAUL What are we after? DANNY A document. A very old, very valuable document. A photo labeled `` The Vanderspeigle Getuigschrift'' is displayed on screen. VIRGIL What is it? RUSTY A stock certificate. DANNY The first one ever issued, from the first corporation on the planet. The Dutch East India Trading Company. It's the only one of it's kind and it's worth a boat - load. TURK What's our cut? RUSTY 2.7 million after expenses. A beat. Turk seems confused. TURK Each? VIRGIL Who negotiated this? Danny and Rusty look at Linus, LINUS Thanks. LIVINGSTON What do we know so far? DANNY There's a dummy key pad by the front door. -LRB- points to a diagram. -RRB- But the alarm is really controlled by the keypad in Mr. Vanderspeigle's second floor office. Now, here's good news : we already know the system's master code. Evelyn gave it to us. FRANK That's not good news, that's really good news. VIRGIL We just wait until he leaves. DANNY Yeah, well. that's the bad news. RUSTY He does n't. Frank flinches. Does n't like what he's hearing. DANNY He's agoraphobic. AMSTERDAM PLANNING MONTAGE Shots of their mark, Vanderspeigle, being an agoraphobic weirdo. LIVINGSTON So he's never been out of his house? Ever? RUSTY -LRB- V.O. -RRB- Not once since he moved in ten years ago. SAUL -LRB- V.O. -RRB- Does n't this guy believe in fresh air? RUSTY -LRB- V.O. -RRB- Cracks his windows at night. that's about it. When Vanderspeigle cracks his window we see that locking pins fall into place to prevent the window from opening more than a few inches. LIVINGSTON -LRB- V.O. -RRB- Can we tap into the system from the outside through the phone lines? RUSTY -LRB- V.O. -RRB- Negative. It's a closed - loop system with two redundant servers locked into titanium cases in the guy's bedroom. We SEE the servers in Vanderspeigle's bedroom. BASHER -LRB- V.O. -RRB- Could we use a remote device to trigger the panel? DANNY -LRB- V.O. -RRB- It's hard - wired and shielded.","INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) TURK Guys, am I missing something here? We know his damn code, right? You're telling me with that much information we ca n't find a way into this freak's house? Frank flinches again. He seem to be reacting to the term `` freak.'' TURK Ca n't we just get a telephone repair truck. AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB- TURK -LRB- V.O. -RRB- put the basket up and use a telescoping rod through the open window to tap out the guy's code? Turk's idea plays out as it is in his MIND'S EYE, until : RUSTY -LRB- V.O. -RRB- The street in front of the house is blocked off to vehicles. DANNY -LRB- V.O. -RRB- And it's covered by five independently - wired surveillance cameras. RUSTY -LRB- V.O. -RRB- Monitored 24 - hours a day by a security company. We SEE the security arrangements they describe.","INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) SAUL God, this guy really is a freak. BASHER Crazy freak. Frank reacts again to the term `` freak.'' It really bothers him. Danny notices. DANNY Something wrong? FRANK Just. do n't call the guy a freak, okay? Everyone turns and looks at Frank like he's a freak. FRANK -LRB- cont'd. -RRB- What? The entire room is staring at him. FRANK -LRB- cont'd. -RRB- What?! I mean, am I the only one here who feels funny about stealing from a. a. handicapped guy? Danny looks to one side of the room. then the other. DANNY Yeah. The rest of the room agrees. Matter closed. Everyone just turns back to what they're doing. DANNY -LRB- cont'd. -RRB- Okay, so we know what we ca n't do. Frank stews. DANNY -LRB- cont'd. -RRB- Time to think outside the box, guys. A beat. Everyone thinks. Then : LINUS Okay, here's something. I've got an idea. suppose we - RUSTY No. LINUS Well, but how - RUSTY There's a Goldmann Grid over the enitre surface. Linus looks at him. RUSTY -LRB- cont'd. -RRB- Is that what you were thinking about? Linus nods. DANNY -LRB- sudden idea. -RRB- But. RUSTY - Well, that's different. Especially if we - Rusty makes a circular motion with his finger and then stops it with his other hand. DANNY Right. LINUS What? RUSTY -LRB- quick aside to Linus. -RRB- A Schuman Special. -LRB- then to Livingston. -RRB- Livingston - LIVINGSTON Absolutely. I mean, I'd need a day to - RUSTY You'll have three. Basher? BASHER No worries. RUSTY Virgil, Turk. VIRGIL. says. Just got ta get the gear. TURK Sweden. RUSTY Yen? Yen says something in Chinese. RUSTY -LRB- cont'd. -RRB- What, and give up show business? Saul - SAUL I know, I know. I'll be bored. You'll be fine. RUSTY Clock's running. Everyone gets up and leaves. Within seconds, Linus is alone, standing in the middle of the room. LINUS What's a Schuman Special?","INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT Livingston uses a mock up of the alarm panel as a visual aid. LIVINGSTON -LRB- to Basher. -RRB- Your shot has to hit directly above the keypad. AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB- We see Basher rehearsing the shot. He ca n't get a clear shot of the target. In fact, he ca n't see it. He turns to Saul. BASHER Let me see the specs. Saul pulls a well - worn copy of the alarm system blueprint. Basher goes to the height of the alarm keypad in the bedroom. It's 4' 10''. BASHER How tall is the surface of this roof? SAUL About 87 feet. BASHER How tall exactly?","INT. HOTEL SUITE -- DAY Danny looks at a diagram of the safe they'll have to crack when they get inside Vanderspeigle's house, the safe that contains the `` Vanderspeigle Getuigschrift''. Everyone but Linus and Rusty are here. But then Rusty comes in. RUSTY You're not going to believe this. DANNY Try me. RUSTY We do n't have line - of - sight. DANNY What? RUSTY We tried everywhere. Some places we're only three or four inches off. but. there's no straight shot. Even with Basher. It's literally impossible. Linus enters, out of breath. Seeing everyone, he goes to Danny and Rusty. LINUS Can I talk to you guys for a second? They nod and allow Linus to pull them into the corner. Linus looks over at the group and then turns to ` them. LINUS Listen, I've done a little research on the Schuman Special, and uh. we do n't have line of sight for the shot. DANNY What? RUSTY Jesus. This'll kill us. DANNY -LRB- to Linus. -RRB- Listen : Do n't say anything. If you're ever going to run your own crew, you've got to remember to never show weakness. RUSTY It's like blood in the water for these guys. DANNY If they think you're slipping, you wo n't even see it coming. Linus swallows. RUSTY But hey - thanks. Linus nods and goes back to the group. RUSTY -LRB- to Danny. -RRB- I need some air.","EXT. CANAL -- DUSK Rusty and Danny walk along the adjacent road. DANNY The Swinging Priest? RUSTY Not enough time. DANNY Crazy Larry. RUSTY Too many variables. DANNY Robinov's Revenge? RUSTY Too many obstacles. DANNY The Soft Shoulder. RUSTY Not enough people. DANNY Baker's Dozen. RUSTY We'd need a woman. DANNY Hell in a Handbasket. RUSTY Ca n't train the cat that quickly. DANNY I ca n't have my wife watch me hauled off in handcuffs again. RUSTY It's always about you, is n't it? DANNY This like running toward a cliff. Speaking of which, how's Isabel? RUSTY I have no idea what you're talking about. DANNY You get the tattoo removed? RUSTY Given its location, my doctor advised against it. Rusty stops walking. Danny continues, then notices he is alone. He turns back to Rusty. DANNY What are you doing? RUSTY We're here. DANNY Oh. As Danny and Rusty enter the hotel, Rusty trips on the steps. DANNY Nice. Rusty bends down to look at the step. He notices that one tile on the edge of the stop has lost some mortar. He touches the tile and watches the lip rise up and down, up and down, as though it's cantilevered. THE GROUP STARES INTO CAMERA SAUL You want to do what? REVERSE to REVEAL Rusty and Danny. RUSTY Tilt it. Raise it slightly. SAUL The whole house? RUSTY It's only a few inches. BASHER Then I'll have line - of - sight. FRANK We ca n't tilt a whole house. VIRGIL They did it with the Leaning Tower of Pisa. RUSTY Exactly. SAUL It took three hundred guys two years to do that. You're crazy. Nobody's ever done anything like this. RUSTY Not true. Palowski did it in ` 64 in Venice and ` 73 in Istanbul. SAUL Really? LIVINGSTON And he only had a crew of six. RUSTY There are thirty pylons. We cut them, insert the jacks, and crank. BASHER For nineteen hours. Here's the order in which they have to be done.","EXT. VANDERSPEIGLE'S HOUSE -- NIGHT It is pouring rain. From across the canal, we MOVE towards Vanderspeigle's house, favoring a barge moored just out front. Then, instead of moving over the barge, we PUSH THROUGH its hull to -","INT. BARGE HULL FIND Frank and Livingston inside manning a series of industrial water pumps. They're grimy and covered in sweat. Rain drips through the deck above them. LIVINGSTON So, Basher approached me about being on a crew. FRANK When? LIVINGSTON Yesterday. Frank thinks about that. Yen pops his head out from a small tube and says something in Chinese. Frank shrugs. does n't understand. Yen tries again. This time he enunciates very clearly and talks very loudly -LRB- like Americans do when foreigners do n't understand English -RRB-. Frank nods, starts turning the handle of the water pump in the opposite direction. Yen climbs down out of the tube. Then he climbs back up the tube. He picks up a jack in the corner. Climbs back in the tube.","INT. UNDER VANDERSPEIGLE'S HOUSE - NIGHT We FOLLOW him as he climbs through the tube and emerges underneath Vanderspeigle's house, inside its foundation. The thirty pylons extend from the base of the house into the into the swamp it sits atop of. There is little space between the swamp level and the house. Runoff from the rain outside drips everywhere. FIND Danny and Rusty struggling to place a hand - cranked jack into a freshly cut space in one of the timber pylons. They are covered in muck and grime RUSTY The good news is, after the first twelve hours, I stopped being able to smell anything. DANNY Took a few more for me. RUSTY This water was stagnant six hundred years ago. FIND the Malloys, thirty feet away, using a fancy underwater saw to cut a space in another pylon. Because the cutting is taking place underwater it is extremely quiet. VIRGIL There's no reason for him not to. He would go to the cops. TURK Okay, so he goes to the cops. VIRGIL Then they arrest Dominique. TURK. says. Right. VIRGIL Then we have no story. TURK Right. LINUS She steals the money from Mr. Mulroney. They turn to look at Linus, sawing nearby. TURK What? VIRGIL Why would she? LINUS To pay Franklin to keep quiet. Turk and Virgil think about that. Linus keeps sawing. TURK That's good.","INT. APARTMENT ACROSS FROM VANDERSPEIGLE'S HOUSE -- NIGHT Basher and Saul sit in big cushiony chairs. SAUL Counterfeiting? Me? -LRB- beat. -RRB- I have to tell you, it's not something I condone. It's cheating. BASHER It is cheating. SAUL There's no subtlety to it. BASHER It's kind of embarrassing. SAUL No one I know. BASHER I ca n't imagine anything like that. A long beat. Then each of them reach into their jackets and produce $ 20 bills. They exchange and examine the bills closely by eye. Satisfied, they trade them again and return them to their coat pockets. SAUL Not bad. BASHER Bolivia. SAUL Diego's people? BASHER Yeah. SAUL Well. Congratulations. BASHER I told him about you. SAUL I'm too old. That's dangerous. My stuff is cheap compared to that. It's just me and my gal, you know. What you're talking about is organized. But thanks, anyway.","INT. APARTMENT -- NIGHT Frank sits watching TV. Livingston enters with groceries. FRANK Jay Leno called. LIVINGSTON When are you gon na stop with that tired `` white people ca n't be funny stuff''? It's so old, Frank, really. Do you want some orange juice? I got the good kind. Just then they are interrupted by Danny's voice on a walkie - talkie. DANNY -LRB- V.O. -RRB- Augie One, this is Condor. UNDER VANDERSPEIGLE'S HOUSE Rusty turns to Danny. LIVINGSTON -LRB- V.O. -RRB- This is Augie One ; Go Condor.","INT. APARTMENT -- NIGHT DANNY -LRB- V.O. -RRB- We're fully cranked here. Let's go to phase two. Livingston and Frank look at each other. FRANK Bring that orange juice.","EXT. ROOF -- NIGHT Basher sets up his gear again. This time, when he raises the crossbow to check his shot, HE CAN SEE THE KEYPAD. Just barely. He steadies himself. Saul knows that he's ready to take the shot. He speaks into a walkie talkie. SAUL This is Gatsby. We're green here. Basher aims. The INSTANT he fires the shot we","INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY A MALE SECRETARY -LRB- HESS -RRB- rushes through Europol's extraordinary Richard Meier - designed headquarters.","INT. AUDITORIUM -- DAY Europol Agent ISABEL LAHIRI gives a presentation to seventy - five of her colleagues. With her on stage are a couple of seated HIGHER - UP TYPES. She's nervous. ISABEL Let's discuss, briefly and to begin, with the category of `` thieves'', as distinguished from the larger category of what might be termed `` hardened'' criminals. The highest level, `` master thieves,'' if you will, is a very small world. Between six and ten high - level crews are operating in Europe at any given time. Worldwide, no more than twenty. The most famous, Gaspar LeMarc, is either dead or retired, and the expectation is that no one will replace him. The good news is the trend is toward their extinction. The secretary enters the auditorium and walks toward the podium. ISABEL For example : Anecdotal evidence suggest these people are personally insufferable. The Higher - Ups look at each other ; what did she just say? ISABEL Their egos demand constant praise, and they embellish their exploits to anyone who will listen. They tell their own stories endlessly, provided of course, they are talking to a fellow thief or an intimate. Many in the audience are now looking to each other, wondering if this is appropriate. ISABEL Those who interact with them on a personal level are relegated to positions of total servitude, with no chance for growth or freedom. Their lives are treated as secondary. Many of them suffer from depression. It's a crime for which there is no law, and yet causes untold damage. One of the Higher - Ups convinces the other to say something, but by now Hess the Male Secretary has reached Isabel and interrupts her by whispering into her ear. She balances. ISABEL -LRB- cont'd. -RRB- -LRB- amplified by the lectern mic. -RRB- WHAT?","INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY Isabel and Hess walk briskly through the ultra - modern hallway. He briefs her as they walk in a hushed voice. Then something he says stops her in her tracks. Hess continues to explain something we ca n't hear. Then he pulls out some PHOTOS. Isabel leafs through them. ISABEL That's impossible!","EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY Isabel arrives and is greeted by PAUL, a lead detective working the Vanderspeigle theft for the Amsterdam police department. PAUL Thanks for coming. We can really use your help on this one. His partner looks over at Isabel, who is wearing a skirt and pretty damn good shoes. The guy checks out her legs and looks away. ISABEL I hope the scene has n't been contaminated. Isabel walks away. Moments later, she enters the house with the lead detective.","INT. VANDERSPEIGLE HOUSE - DAY As soon as she's inside she's all business. ISABEL No forced entry. PAUL Not that we can find. UPSTAIRS - VANDERSPEIGLE'S HOME OFFICE Isabel looks around Vanderspeigle's home office. Behind a fake bookcase is a small room which contains the safe. In the other direction is Vanderspeigle's bedroom. PAUL -LRB- nods. -RRB- We ca n't figure out how they disabled the alarm. We thought maybe they tried to short it out somehow. ISABEL No, that would have triggered the system. Isabel goes to the alarm pad. Pulls the face plate off, examines the inside. ISABEL -LRB- cont'd. -RRB- And damaged the circuits. PAM Well, then I do n't know how they got in. ISABEL They had to have known the code. She moves on to look in the mark's BEDROOM. PAUL -LRB- calls to her. -RRB- We considered that, but the mark swears that nobody in the world knew the code except him. He programmed the last seven steps of the system himself. He set it and never left the house again. When he dies, we'll probably have to physically cut all the power lines to the house to get it off line. Isabel examines the computer brain of the alarm system which was locked inside a titanium case in Vanderspeigle's bedroom closet. She answers the detective almost as an afterthought. ISABEL There are other ways to get the code. -LRB- to herself. -RRB- Closed loop. Redundant servers. Titanium encasement. Not bad. The lead detective enters the bedroom. PAUL Like what? Again, Isabel is inside her own mind. She's really just answering the detective's questions out of courtesy. ISABEL Uh. well, they probably set up in a house across the canal and watched him type the code in through a pair of binoculars. We GO WITH HIM as he walks back into the office. He stands at the alarm panel and pretends to type in the code. He twists around and looks out the window behind him. PAUL -LRB- calling to Isabel in the bedroom. -RRB- Actually, I do n't know about that. Isabel re - enters the office. PAUL -LRB- cont'd. -RRB- Unless he had a habit of typing in the code like this - He stands to the side of the panel and reaches over to type in the numbers. It's an obviously unnatural position. Then he moves in front of the panel and types in the code as one normally would. PAUL -LRB- cont'd. -RRB- - then his body would block the view from across the canal. ISABEL That's why they probably set up over there - She points out an adjacent window on another wall. ISABEL -LRB- cont'd. -RRB- - And used the mirror. She points at a small mirror on the opposite wall. The detective bends down so his eye is at the level of the keypad, then he looks in the mirror. He can see directly across the canal into another house. ISABEL -LRB- cont'd. -RRB- I'm guessing they'd need a fifteen hundred millimeter lens to get a clear shot but - But Isabel's already moved on. Something has caught her attention just above the alarm panel : a patch of paint that is shinier than the paint that surrounds it. Isabel puts her finger to her tongue to wet it, then touches the shiny area. When she pulls her finger away there is paint on it. Isabel cocks her head. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A black - clad thief -LRB- LINUS -RRB- uses a paint brush to touch up the wall above the alarm keypad. BACK TO SCENE - THE CRIME SCENE The lead detective watches Isabel intently. PAUL What is it? Isabel uses the blunt end of a letter opener from Vanderspeigle's desk to gently dig at the wall under the paint. The plaster there is soft and wet. In fact it is n't plaster at all. It's spackle. PAUL -LRB- cont'd. -RRB- What is that? Isabel cooks her head again. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE THUNK! A crossbow bolt hits the wall above the alarm panel. BACK TO SCENE - THE CRIME SCENE ISABEL It's where the crossbow bolt hit. PAUL A crossbow bolt? ISABEL Ever heard of Franz Schuman? PAUL No. Isabel is at the window. The one that Vanderspeigle leaves cracked open every night. Isabel looks across the canal at the apartment where Basher and Saul were playing cards. ISABEL They would have fired from that roof. Through this open window. Isabel kneels down, checks the line - of - sight to make sure she's correct. PAUL From that roof, through this window? Nobody could make a shot like that. ISABEL Not a cop, anyway. PAUL What's that supposed to mean? ISABEL Sorry. Your friend downstairs put me in a bad mood. PAUL He's an idiot. You should n't let him bother you. ISABEL Yes. You're right. Isabel pulls out a notepad and writes the name : `` Eugene ` Basher' Tarr.'' There are two names above Basher's in her little book : `` Robert Ryan'' and `` Danny Ocean.'' ISABEL -LRB- cont'd. -RRB- But these man are exceptionally good. Even when they make mistakes. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A bolt flies through Vanderspeigle's open window and hits the wall above the alarm pad. Two thin wires are attached to a tiny wheel, which is attached to the back of the bolt. The wires run back to the window of the apartment across the canal. Inside that apartment : the wires end in another tiny wheel which is mounted on a large tripod for stability. In effect the group now has a mini - clothesline running between the alarm pad and the apartment across the canal. Livingston attaches a device designed to fit directly over the number pad of Vanderspeigle's keypad to the `` clothesline'' that runs across the canal. BACK TO SCENE - THE CRIME SCENE Isabel writes : `` Livingston Dell?'' Underneath Basher's name in her notebook. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Livingston's device is shuttled across the canal, through Vanderspeigle's cracked window and right to the alarm panel. Magnets on the side of the device cause it to snap into place over the top of the keypad. Livingston then types a six - digit code into a remote keypad. His keypunches are mimicked by the remote device. Vanderspeigle's alarm shuts off. Downstairs : From inside we see the front door lock picked. The door swings open. BACK TO SCENE - THE CRIME SCENE Isabel nods her head. There's a slight smile on her face. The smile of admiration, respect in another's skills. ISABEL When did he get up and notice the certificate was gone? PAUL The alarm woke him at 4:2 O am. ISABEL But the alarm would have been - She stops. And smiles to herself. ISABEL -LRB- cont'd. -RRB- Oh. Oh, I know what happened. PAUL What? Isabel quickly glances around the room. Her eye lands on the floor near the false bookcase. On some dark lines in the crevices where the floor boards meet. She kneels down for a closer look. ISABEL There was someone else. PAUL Someone else. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Danny and Rusty come through the front door. They are followed by Linus. All of them are soaking wet from 24 hours in the swamp under the house, and the last few minutes in the pouring rain outside the front door. The group silently slips up the stairs. ISABEL -LRB- V.O. -RRB- Oh, I wish I could've have seen that.","INT. VANDERSPEIGLE OFFICE - NIGHT They enter Vanderspeigle's office. You can hear him snoring in the other room. Danny and Rusty quickly, carefully remove the crossbow bolt from the wall and take it to the window. They drop it -LRB- and the attached wires -RRB- to the Malloys, who are waiting on the street below. Meanwhile Linus spackles the hole in the wall and paints over the spackle. Danny and Rusty turn to see that Linus is finished. They hand - signal each other like Special Forces guys do, then move towards the bookcase on the adjacent wall. ISABEL -LRB- V.O. -RRB- That must have really been something. Suddenly : DANNY Wait! Wait! Shhhh! Everyone freezes. Danny puts his hand up to his ear to try to listen for the sound he thought he heard. We hear the faint sound of somebody singing to themselves. Danny and Rusty quickly realize it's coming from behind the bookcase. What the hell? They yank open the false bookcase to reveal a handsome Frenchman who has just finished cleaning out the contents of Vanderspeigle's safe. Danny and Rusty stare at him. He turns around and sees them, but if he's bothered in the slightest he sure is n't showing it. Danny approaches him. This exchange is whispered with a great amount of drama at very close range. DINNER JACKET Can I help you? DANNY Yeah. What the hell are you doing? DINNER JACKET I am getting here first. Just then, Frank and Yen arrive. The Frenchman looks them over. RUSTY This is our score. DINNER JACKET I am here before you. FRANK -LRB- joining. -RRB- We let you in the house! Somehow you got in after we hit the code but before we got to the door. DINNER JACKET That's thirty seconds. How could I know which exact thirty seconds I had? Unless I knew you plan. Could I have known your plan? Do you have a snitch in your group? DANNY No. RUSTY We do n't. DINNER JACKET Yes, I know you do n't. Because I saw, the whole thing from that chair. I knew you were around, but I had my own plan. Yen says something in Chinese. DINNER JACKET There's really no need for that. Danny wants to raise his voice, but he ca n't. Vanderspeigle is snoring twenty feet away. DANNY Listen, we have to come to some arrangement. LINUS We've incurred some very serious costs here. Danny and Rusty look at him. LINUS Well, we have. The Malloys arrive. DINNER JACKET Every second I am becoming more outnumbered. VIRGIL -LRB- whispering, re : Dinner Jacket. -RRB- Who's this? FRANK He said he got here first. VIRGIL That's bullshit. RUSTY Hey. Mouth. VIRGIL This is our goddamned job! He sounds as angry as a guy who's whispering can sound. LIVINGSTON If the situation were reversed - DINNER JACKET But the situation is not reversed. The situation is that I am here first, without any help from you. Livingston arrives, soaking wet like everyone else. DINNER JACKET So as much as I would - Basher and Saul arrive. DINNER JACKET Jesus, how many of you are there? DANNY Just give us the stock certificate. Whatever else you took out of that safe. it's yours. Dinner Jacket stops. Thinks for a moment. Then : DINNER JACKET No. But : I leave you with something. He hands Danny a business card. DINNER JACKET My attorney. In case Evelyn's employer tries anything. well, anything. Dinner Jacket smiles, then pulls a tiny electronic device out of his shirt pocket. He presses a button. And the alarm blares to life. BACK TO SCENE - THE CRIME SCENE Paul stares at Isabel. PAUL Are you sure? ISABEL I'm sure there's another scenario that would fit these physical details, but I do n't know what it is. PAUL Where should we start? Isabel takes out her PDA, writes something on her keypad, and hits a few buttons. A second later, Paul's BEEPER goes off. ISABEL You can start by picking that guy up.","INT. AMSTERDAM HOTEL SUITE -- DAY The group sits around looking depressed. VIRGIL Who the hell was that guy? FRANK It's going to get out, you know. People are going to find out. BASHER Somebody must know this bloke's name. LIVINGSTON The question is who trained him. He got into that place alone. DANNY He says. FRANK I believed him. SAUL -LRB- unsettled. -RRB- You think he's better than us? FRANK I'm not saying anything, but the man was sitting there, waiting for us. LINUS Do you think the cops even know who this guys is? RUSTY Please. That guy's never even seen a cop. TURK Maybe he works with the cops. SAUL You do n't work with the cops unless you absolutely have to. And not even then. BASHER Either way, he's got to have a name. LIVINGSTON It ca n't be that hard to find out who this guy is. Like I said, somebody trained him. Who trains the best? DANNY LeMarc. -LRB- to Rusty. -RRB- Right? RUSTY If he's not dead. LINUS Who's LeMarc? Stunned silence from the guys. They wo n't even respond. Yen says something.","EXT. POLICE HEADQUARTERS -- DAY Isabel arrives.","INT. POLICE HEADQUARTERS -- DAY Isabel is waiting to be processed. Eventually, she is directed down a hallway.","INT. INTERROGATION ANTEROOM -- DAY We LOOK through a one - way mirror into the interrogation room where detectives Onderdonk and Devenpeck are trying the bad cop / bad cop routine on Evelyn. Isabel walks INTO FRAME and watches : Onderdonk slams his fist on the table. Davenpeck shouts in Evelyn's face. Evelyn just laughs. Isabel shakes her head. Frustrated and more exhausted than their detainee, the two detectives leave the interrogation room for the ante - room where Isabel is. ONDERDONK Fucking stone. DAVENPECK I'm not quitting. ONDERDONK Who said quitting. I'm tired. ISABEL Can I speak to him? The two detectives look at each other. DAVENPECK Who are you? Isabel produces a signed document. They look at it, shrug, and give it back. DAVENPECK Apparently, you can do whatever you want with him. ONDERDONK Are you moving him? ISABEL Oh no. I just need to speak with him. To get some information. DAVENPECK We've been on him for six hours. ONDERDONK With our best stuff. DAVENPECK Our best stuff. In mind terms, we've been torturing this guy. ISABEL I'm sure. I only need a moment, then I'll be out of your way. They shrug. Isabel goes into the room with Evelyn. We STAY WITH Onderdonk and Davenpeck, who watch her through the two - way mirror. THROUGH THE MIRROR : Isabel walks right up to Evelyn, smiles, and whispers one word to him/her. Evelyn's face freezes. He/she looks at Isabel, scared. Then he/she starts to weep. Uncontrollably. Tears stream down his/her face. Isabel hands Evelyn a sheet of paper and he/she begins to write. Onderdonk and Davenpeck are dumbfounded. Isabel turns around so she's facing them.","INT. AMSTERDAM HOTEL SUITE -- NIGHT The entire group, minus Danny, sits around glumly watching CNN International on the flat screen. Danny is on his cell phone on the other side of the room. DANNY -LRB- INTO PHONE. -RRB- It's not a problem, it's a hiccup. It wo n't affect our schedule that much. I want to talk about you, not the job. How are you doing? KNOCK - KNOCK - KNOCK. Something about it does n't sound familiar. Danny moves into the big roam. Rusty is at the door, looking through the peep - hole. Rusty puts his head down. Clearly it is n't a stranger. DANNY Tess, I've got to call you back. He hangs up. KNOCK - KNOCK - KNOCK. Rusty indicates for Danny to get it. DANNY Coming. Danny opens the door to reveal ISABEL. She looks at Danny. He looks back at her. They do n't say a word. Danny motions for her to come in. RUSTY -LRB- still glued to the TV. -RRB- Who is it? ISABEL -LRB- to Rusty. -RRB- Hello, Robert. Rusty spins to see Isabel. RUSTY Isabel. He crosses to her. STAY with the group for a moment. LINUS `` Robert?'' Is that his real name? Virgil and Turk shrug. LINUS How does she know that? LIVINGSTON Ex - girlfriend. BASHER & SAUL Fiancee. ANGLE ON RUSTY AND ISABEL The entire group is watching them. RUSTY It's great to see you. ISABEL Is it? Because you've been seeing a lot of me lately. She hands a surveillance photo to Rusty. ISABEL You were sitting in a Mercedes outside my apartment on Wednesday night. She hands Rusty another photo. -LRB- These are the photos Hess the male secretary showed her at Europol HQ that we could n't see. -RRB- ISABEL You were hiding in the bushes when I had lunch yesterday at Trattoria Bella. She hands him a third photo. Looks at the fourth. ISABEL This one. I'm not even sure where this one was taken, but I like it a lot. Very Ron Gallela. She hands this photo to Danny. It's a picture of Rusty, with a dorky look on his face, peering out from behind a mailbox he's using as cover while he spies on Isabel. ISABEL I mean, if I did n't know better I'd think you all came here to steal the Vanderspeigle Getuigschrift, also known as the world's first stock certificate. -LRB- to the group as a whole. -RRB- You must have been so proud of yourselves. A Schuman Special. It's been awhile. -LRB- smiles at Basher. -RRB- That was a very handsome crossbow shot, Eugene. Basher winces at the sound of his real name. The group stares back at her. Ca n't believe this is happening. ISABEL And the Palowski. whose idea was that? She knows it was Rusty. RUSTY We did n't steal anything. ISABEL Oh. I know you did n't. Somebody beat you to it. One man. No crew. No back up. Tell me something - just so I can get the full picture in my head - was he wearing a tuxedo? A white dinner jacket? BASHER -LRB- to Isabel. -RRB- At least we saw him in the flesh. You'll never see this guy your whole life. ISABEL So you know who he is? DANNY Of course we know who he is. ISABEL Well, then. I'll see you when you see him. To get your certificate back. She takes the photo of Rusty peeking from behind the mailbox from Danny's hand. She walks out. The group is frozen. Livingston is still looking at the pictures of Rusty following Isabel. LIVINGSTON -LRB- to Rusty, re : the photo. -RRB- Who's hat is that? SAUL How did she - That was - DANNY -LRB- to Rusty. -RRB- This is what I was talking about. This is exactly what I was talking - RUSTY - I was just checking up on her. I knew she did n't want to see me. I was being polite. TURK Where did she learn all that stuff? The Palowski stuff. DANNY Her father. VIRGIL He was a cop? RUSTY Thief. LINUS Was he good? DANNY Very. FRANK Great. VIRGIL What's the big deal? She's just some brilliant, pissed - off ex - girlfriend who's dad taught her every trick in the book. SAUL & BASHER Fiancee. TURK But did you see that display of emotion, handing out those pictures? VIRGIL Totally unprofessional. RUSTY She's passionate. VIRGIL She's unbalanced. RUSTY Her job is very stressful. SAUL She could reduce her stress by leaving us alone. DANNY We've got to slow her down. Everyone agrees. DANNY But first : We find our French friend and introduce ourselves. FUNKY TRANSITION","INT. EUROPOL HEADQUARTERS -- DAY Isabel is talking to her superior. ISABEL'S BOSS Twenty - four hours. You know that. ISABEL I do n't have twenty - four hours. They're there now. They'll lead me to him. ISABEL'S BOSS You also know that you can go now, if you do n't take your secretary. When there's liability, I need a document. She nods.","INT. EUROPOL HEADQUARTERS HALLWAY -- DAY Isabel exits. HESS He said we ca n't leave until tomorrow because of liability issues and he needs a document. ISABEL Yes. HESS Thanks for trying. ISABEL Let's share a car. HESS That would be nice. Thank you. ISABEL I ca n't believe they wo n't make an exception. -LRB- beat. -RRB- I've got to find out who this other guy is.","INT. MONTE CARLO CASINO -- NIGHT Dinner Jacket -LRB- AKA FRANCOIS TOULOUR -RRB- wins a huge blackjack bet. The crowd reacts enthusiastically. A beautiful woman stands near him.","INT. MONTE CARLO CASINO -- NIGHT The crowd around the blackjack table erupts as Toulour wine another massive bet. Note : The same dealer pays him off. The same crowd is watching. But Toulour is dressed in a different tuxedo, and a different women is standing by his side. ANOTHER BEAUTIFUL WOMAN Fantastic. BASHER -LRB- V.O. -RRB- He did his first big job in 1989. Bundesbank, Berlin. DANNY -LRB- V.O. -RRB- The fifteen million dollar one the day the Berlin wall fell? BASHER -LRB- V.O. -RRB- He was nineteen years old. INTERCUT - INT. / EXT.. MONTE CARLO CASINO - NIGHT FOLLOW Toulour -LRB- in a different tuxedo, with a different beautiful woman -RRB- as he exits the casino.","EXT. MONTE CARLO CASINO -- NIGHT When we PICK HIM UP on the exterior he is in another tuxedo with another woman. ANOTHER BEAUTIFUL WOMAN Where do you want to go this weekend? BASHER -LRB- V.O. -RRB- Bank Faltier, Paris 190 and again in'91. Total take twenty - one million euros. Bank of Italy' 92. Eighteen million. Danish Treasury, also 192. Twenty - two million. Prado museum. Madrid'93. The Picasso. Estimated value - SAUL -LRB- V.O. -RRB- Hang on a second! He - All of them?! LIVINGSTON -LRB- V.O. -RRB- He's not done. DANNY -LRB- V.O. -RRB- Wait - Prado Museum, the Picasso - that was Moretti. INTERCUT - EXT.. MONTE CARLO - NIGHT Toulour rockets his turbocharged Bentley into a tunnel.","EXT. MONTE CARLO TUNNEL - NIGHT PICK HIM UP as he exits the tunnel in a new car, wearing a new tux, with a new woman. BASHER -LRB- V.O. -RRB- He in Moretti. It's one of his aliases. RUSTY -LRB- V.O. -RRB- Anything else? BASHER -LRB- V.O. -RRB- UDC bank in Geneva, ` 94. Nineteen million in bearer bonds. The Louvre -'95 and twice in' 96. Yen -LRB- in V.O. -RRB- says something in Chinese. BASHER -LRB- V.O. -RRB- He left a Post - It note on the Mona Lisa that said `` Bitch set me up.'' LIVINGSTON -LRB- V.O. -RRB- Tell them about Saint Tropez. BASHER -LRB- V.O. -RRB- In 2000, he stole the King of Morocco's 230 foot yacht. Vanished into thin air. Crew surfaced a few days later in a life raft. Could n't remember a thing. SAUL -LRB- V.O. -RRB- How do you hide a two hundred foot yacht?! BASHER -LRB- V.O. -RRB- If the King knows, he's not telling. He received it back a month later. INTERCUT - EXT.. COTE D'AZURE - NIGHT Toulour. Another car. Another tux. Another beautiful woman. He pilots his convertible Maserati at high speed along the windy road. ANOTHER BEAUTIFUL WOMAN How far is your house, Baron? TOULOUR Twenty minutes by helicopter. TURK -LRB- V.O. -RRB- One guy did all those jobs? VIRGIL -LRB- V.O. -RRB- How'd he get all those aliases? BASHER -LRB- V.O. -RRB- Until a month ago Interpol were convinced that the heists were the work of twelve different people. But not any more. LIVINGSTON -LRB- V.O. -RRB- The French national police just gave him a nickname. `` Le Renard Nuit'' - The Night Fox.","INT. HOTEL SUITE -- DAY Danny rolls his eyes. BASHER Scotland Yard said he's the new LeMarc. RUSTY Scotland Yard never saw LeMarc. INTERCUT - EXT.. PRIVATE HELIPORT - NIGHT A helicopter lands on a massive Lake Como estate. Toulour gets out. New clothes. New woman. DANNY -LRB- V.O. -RRB- Personal information? LINUS -LRB- V.O. -RRB- Some say he's one of these guys that thinks because he was born in a penthouse, he controls the elevator business. Others say he turned out okay when you consider how rich his parents were. SAUL -LRB- V.O. -RRB- Taxes over here are brutal. People do n't realize. LINUS -LRB- V.O. -RRB- Father was a big - time industrialist, got into the cellphone market on the ground floor. Mother inherited. Had maids as a child. He's a public figure, people know who he is. He's been rumored to run for office in Spain, even though he does n't appear to live there. INTERCUT - EXT. / INT. TOULOUR'S HOUSE - NIGHT Toulour, in new clothes, with yet another woman, unlocks several locks and disarms two alarms. The woman ca n't believe all the security he has. ANOTHER BEAUTIFUL WOMAN What do you have in there, the Mona Lisa? TOULOUR -LRB- as if. -RRB- Please. ANOTHER BEAUTIFUL WOMAN -LRB- does n't miss a beat. -RRB- You know what? I do n't like that painting either. I do n't like anything Van Gogh did. Toulour smiles and lets her in. LINUS -LRB- V.O. -RRB- He's an avid golfer, pro - level tennis player, and inveterate gambler. But apparently his favorite pastime is. Linus trails off. BACK TO THE HOTEL DANNY What? RUSTY Spit it out, Linus. INTERCUT - INT. TOULOUR'S VILLA - NIGHT A tableau shot looking into the bedroom. ANOTHER BEAUTIFUL WOMAN joins Toulour in his bedroom.","INT. AMSTERDAM HOTEL SUITE -- DAY LINUS He's rarely alone. I think it's a compulsion. I have a list of names here. it was just the first week. DANNY All right, moving on, is there anything else we need to know about this guy before we - BASHER Did we forget to mention he's a Viscount? DANNY A what? LIVINGSTON Viscount. As in nobility. DANNY -LRB- can not take it anymore. -RRB- Last time I checked titles like that went out with a little number I like to call the French Revolution - BASHER Spain. DANNY What? BASHER His title. It's Spanish. Mother's cousin. INTERCUT - INT. TOULOUR'S BEDROOM - DAWN Toulour crawls out of bad. Wonders who the woman next to him is. BACK TO SCENE - INT. AMSTERDAM HOTEL SUITE - DAY DANNY He may be the greatest thief in Europe. He may have slept with half of the EU. He may be a Casanova with the soul of a starving artist. It does n't matter. INTERCUT - INT. TOULOUR'S HALLWAY - DAWN Toulour comes downstairs in his bathrobe. BACK TO SCENE - INT. AMSTERDAM HOTEL SUITE - DAWN DANNY There's something he cares about. There's something he ca n't live without. INTERCUT - INT. TOULOUR'S HOUSE - DAWN Toulour reaches the base of the stairs and stops dead in his tracks. He looks ahead of him to a wall covered with paintings. One painting is clearly missing. All that remains are the dust/fade marks on the wall to indicate that it had been there. He walks up to the wall and smiles - certainly this will be an interesting day. He's actually been cheered up by this.","EXT. TOULOUR'S VILLA -- DAY Toulour in playing a hard - fought game of tennis. His opponent -LRB- EDMUND -RRB- bangs a great shot. Toulour gets there and smacks it back. Edmund dives for the ball, just gets it back over the net. But Toulour is waiting and hits a kill shot. EDMUNDS Are you on steroids? Toulour laughs. EDMUND Let's try again. Give me five games this time. TOULOUR You are worse than Sampras. You should be paying me. A BUTLER arrives. BUTLER -LRB- in French. -RRB- Pardon me, sir. He hands Toulour two business cards. One says `` Daniel Ocean,'' the other `` Rusty Ryan.'' BUTLER -LRB- in French. -RRB- Two gentlemen. They say they met you in Amsterdam last week. TOULOUR -LRB- in French. -RRB- Put them on the veranda and get them a drink. I'll be right up.","EXT. VERANDA -- DAY Danny and Rusty look out over Lake Como. Toulour arrives. TOULOUR -LRB- to Danny. -RRB- Rusty. -LRB- to Rusty. -RRB- Danny. DANNY Other way around. TOULOUR Are you sure? Usually I'm so good at that. Edmund arrives, carrying his tennis bag. TOULOUR This is Edmund. Edmund. Rusty. Danny. He calls by their wrong names again. DANNY Nice to meet you. Edmund. -LRB- making conversation. -RRB- You a tennis pro? Rusty takes a sip of ice tea. EDMUND Actually, no, I'm the King of Morocco. Danny and Rusty nod, their smiles frozen.","INT. VILLA -- DAY Toulour shows Danny and Rusty his art. TOULOUR Sadly, I ca n't show you my favorite painting of all - a Degas that used to hang right there - because it was stolen recently. DANNY That's awful. RUSTY The criminal element is everywhere these days. Toulour nods. DANNY Listen, Francois - TOULOUR Please. Call me Baron. DANNY We came here for the Vanderspeigle certificate - TOULOUR That's not for sale. DANNY Your Degas is worth three times that. You want your painting back, you're going to have to trade. TOULOUR You actually expect me to believe that you are in possession of my Degas? You are living in a. in a bubble. Toulour looks at them and walks away.","INT. LAKE COMO HOTEL SUITE -- DAY Rusty and Danny stand with the rest of the group. BASHER He used the word `` amateur''? Rusty and Danny nod reluctantly. VIRGIL You said we could show him the painting right, to prove that we had it. DANNY Yes. RUSTY He still would n't trade. Yen says something. FRANK We need to teach him a lesson. TURK Absolutely. DANNY All right, let's stay calm. We do n't need to over - react here. He said some disrespectful things, that's true. But why antagonize this guy? Why get into something with him? He's young and he's filthy rich, and he's got time on his hands. We do n't want to become his Betty noir. We can just fence his painting and earn a lot more than we would have from the certificate. BASHER It's about reputation. You said so yourself. We have to get that certificate to Evelyn's buyer or - DANNY We'll make enough selling the Degas to pay off her buyer - FRANK Then why did you make that trip down there in the first place, if you did n't want to get into something? DANNY Saul? SAUL Turn his name over to Isabel. In exchange for getting off our backs. Tough one to swallow. SAUL Short of that. the only appropriate response is to steal his next job right out from under him. Just like he did to us. TURK We do n't even know our next job. DANNY We got ten million in that closet. Danny points at the closet in the room. DANNY I cash in the Degas, take a moment to think about our next move. Toulour is n't going anywhere. You guys are hyping him too much, you're letting him get inside your head. Everyone agrees. Danny opens the closet. There's a picture frame in there, but NO PICTURE. It's been stolen by Toulour. We hear the SOUND OF A CASE BEING SHUT AND LOCKED.","INT. PARIS BUILDING -- DAY We see a SMALL, SECURE BOX being transported to a heavily secured truck.","EXT. PARIS BUILDING -- DAY The truck exits the building and drives down a street with security MOTORCYCLES surrounding it.","EXT. PARIS FREEWAY -- DAY The motorcade heads for the private airport. The secure box is loaded onto a plane as Isabel and her male secretary Hess exit a plane nearby.","INT. CAR -- DAY Isabel and Hess heading into Paris. ISABEL Why do I need to see all these guys? When I tracked the Munch down in Sweden I got all the approvals I needed with one phone call. With Lenin's shaving kit the Russians brought me in and it took a single signature and I got it at the airport a minute after I arrived. What's so goddamned special about the French? Hess gives her a look as though she should know better. HESS Without their signatures, you ca n't do anything. You ca n't pull the suspects over, you ca n't do surveillance on them, you're not even allowed to contact them. They're real sticklers about sovereignty issues here.","INT. PARIS BUREAUCRAT'S OFFICE -- DAY The Bureaucrat looks at Isabel. All of her. INSPECTOR Isabel, I could n't possibly sign those documents in good conscience without talking to you about the case in detail. I realize you're in a hurry and my schedule for the rest of the day is quite full, so perhaps, if you're interested in being expedient, we could discuss the case. over dinner.","INT. SEDAN -- DAY Isabel sits in the back with Hess. HESS Foucquet's at eight - thirty. Apparently their's a private room. Better bring your kevlar. -LRB- to the driver. -RRB- Do n't stop for that.","EXT. PARIS STREET--DAY The driver accelerates through a yellow/red light, almost hitting DANNY AND TOULOUR Who deftly avoid getting crushed. DANNY That's not how I want to go. TOULOUR No. They walk on. TOULOUR Very theatrical of you. asking to meet here. Like we're spies meeting to do an exchange. DANNY Why are you doing this to us? TOULOUR Doing what? DANNY This is a game for you. For us it's survival. Are you that bored? I mean. TOULOUR No. I would n't do that. No. The truth is. I made a bet. Or maybe a better word is a `` wager''. DANNY What kind of wager?","EXT. PARIS CAPE -- DAY Danny and Toulour sit across from each other. The bottom quarter of the Eifel tower is visible in the background. TOULOUR A gentlemen's wager with a friend of mine - my mentor. A few months ago we were at his winter place in Nicaragua and another guest referred to me as `` the greatest thief in the world.'' I did n't object, obviously, but my mentor fell silent. Later I asked him about it. He said if I really wanted to say I was the best thief. I'd have to prove I was better than the eleven of you. -LRB- beat. -RRB- You know, the Benedict job made waves, even all the way over here. 16.3 million dollars. That's a lot of money. DANNY 163. TOULOUR Sorry. 163. Before you were found.","INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY TOULOUR Yes, 163 million is a lot of money. It attracts attention. So, in a way, you brought this problem with me on yourselves. You're victims of your own success. DANNY Here's what I'm going to do. You tell me the name of your mentor. I'll call him up and I'll tell him that you're the greatest thief in the world. that I accept that to be true. And in return. you leave us alone, let us go about our business. How about that? TOULOUR He said you'd probably say something like that - but he said you'd probably have your fingers crossed when you said it. Danny frowns, pulls his hand out of his pocket. TOULOUR -LRB- CONT'D. -RRB- So in this situation - for the purposes of my wager - words are n't good enough. I have to prove this on the ground. DANNY This mentor of yours. was he a good thief in his day? TOULOUR Who, LeMarc? Danny swallows. DANNY Yeah. Him.","INT. PARIS HOTEL ROOM -- DAY Angle on the group - they're slack - jawed. LIVINGSTON Who? Yen says something. RUSTY I thought so too. SAUL LeMarc. The LeMarc. Danny nods. SAUL God hates me. He hates all of us. FRANK Hell, this could go on forever. DANNY No. It's going to be settled by one more job. A single object. SAUL Whatever it is, let's just let him have it. DANNY We ca n't. LIVINGSTON Because of pride? DANNY Because we beat him, he'll pay Benedict off. A stunned beat. FRANK -LRB- new lease on life. -RRB- Now we're talking. BASHER One score, for the whole thing? LIVINGSTON What do we have to do? I mean, is it a fair bet or is it like. the Coronation Egg or something? Danny points. That's it. That's the one. SAUL He wants us to steal the Coronation Egg! BASHER That's just. that's. what is that? SAUL The Holy Grail. RUSTY Carl Faberge, the greatest goldsmith in history, constructed the Coronation Egg in 1896 for the wedding of Czar Nicholas and Alexandra. Every world class thief in the last 108 years has tried to steal it. No one has even come close. SAUL That's because it's cursed. LINUS What? SAUL It's un - stealable. DANNY It's the only thing in LeMarc's entire career that he went after but failed to get. He tried three times. A long beat of silence. DANNY We get the egg and we're free. BASHER That's great, except we ca n't get it. SAUL It's not possible. DANNY Then we go to jail. A beat. VIRGIL Well. where is it now?","EXT. ROME, ITALY PRIVATE AIRPORT -- DAY The SMALL, SECURE BOX is being taken off a plane. Another motorcade forms and escorts the vehicle into the city.","EXT. STREETS OF ROME -- DAY The motorcade is completely stopped in traffic. In a nearby sedan, Isabel sits next to an Italian CARABINIERI LIAISON of same sort. Hess is in the front seat. ISABEL I'm going to need surveillance on both hotels, phone taps, room bugs, people in the lobby and by every exit. CARABINIERI OFFICER Yes, absolutely. ISABEL If I had to guess I'd say I'll need at least 25 people, a dozen vehicles. and an on - call air unit. CARABINIERI OFFICER Yes, absolutely. ISABEL Okay, one more thing, and this is crucial : these guys are extremely, sophisticated at avoiding electronic surveillance, so we'll need real state of the art stuff. I'm talking synthetic aperture pinhole cameras, wave reformation mics with a high Plank coefficient and a passive input structure - You're not writing anything down ; are you sure you're getting all this? CARABINIERI OFFICER Yes, absolutely. ISABEL Okay. Good. Now what time am I meeting Captain Giordano? A beat. CARABINIERI OFFICER -LRB- tentative. -RRB- Yes. ISABEL No, what time? Another beat. CARABINIERI OFFICER Yes. absolutely. Isabel looks right at him. ISABEL I see. so. you've spoken with the Pope and he's okay with autographing my breasts? Hess turns around. CARABINIERI OFFICER Yes, absolutely. Isabel sighs loudly and sinks back into her seat.","EXT. STREETS OF ROME -- DAY The motorcade arrives at the Museum of Modern Art. We follow armored car and continue on to find Danny walking up the front steps.","INT. MUSEUM OF MODERN ART -- DAY Angle on Livingston as he subtly nods at something in the distance. Danny is standing next to him. DANNY What am I looking at? LIVINGSTON A TR354 infra red motion detection system. It's the gold standard. DANNY Saul and Linus back yet? LIVINGSTON No. DANNY No? LIVINGSTON And I ca n't find Rusty.","INT. MUSEUM -- ELSEWHERE Frank and Yen look at an `` authorized - entry only'' door as a member of the museum staff goes through it. The door has a complex double - locking mechanism that would make it impossible to pick. Yen says something in Chinese. FRANK What? Yen says something in Chinese, again. FRANK Well, I do n't know, but that's one nasty lock. Danny approaches. DANNY Seen Rusty? FRANK We thought he was with you. Danny moves off.","INT. MUSEUM -- ELSEWHERE Basher is being questioned by Danny. BASHER Not since we first got here. About an hour ago. Danny moves away. BASHER -LRB- cont'd. -RRB- -LRB- to Danny's back. -RRB- And where's Saul and Linus?","INT. ROME HOTEL ROOM -- DAY Isabel enters her room. Suddenly she spins and draws her pistol. Her gun ends up in Rusty's face. ISABEL Jesus, Robert. I could've killed you. He shrugs. A long beat as she takes a look at him. RUSTY I'm older. ISABEL I hope so. What are you doing in my room? RUSTY I thought maybe we could get some coffee. ISABEL No, thanks. RUSTY Okay, how about a two week trip to Zanzibar? ISABEL Please do n't. RUSTY Fine, coffee then. Whatever you say. Isabel gives an exasperated sigh. ISABEL Why do I want to have coffee with you? RUSTY How should I know? sorry about your mom. Isable nods. RUSTY -LRB- cont'd. -RRB- She was a real. ISABEL She hated you. RUSTY Well, she was nice enough to hide it from me. Some people ca n't even do that. ISABEL She hated everybody. Rusty nods. He remembers. ISABEL You'll never get it by the way. RUSTY Get what? ISABEL You'll think you've got it, you'll be so close that you'll be able to taste it and then this guy, the Night Fox or whoever he is, will just take it - right out of your hand - just like he did in Amsterdam. He's as good as LeMarc. RUSTY It's not possible. ISABEL You're in a bubble. Rusty looks at her.","INT. ROME WAREHOUSE -- DAY A mock up of the room the egg will be displayed in. A dummy egg sits on a cradle in the center of the room. Infra - red motion detectors cover the room. Motion sensitive lasers shine directly onto the egg. Danny, Basher, Yen, Frank, and Livingston try to figure out how to get around the security systems. LIVINGSTON -LRB- IN THE BACKGROUND. -RRB- No, that wo n't work either. The IR will pick it up before you even get close. This is depressing to everyone. FRANK Look, if we're having this much trouble, and we've got ten guys Toulour must be pulling his hair out. INTERCUT - EXT.. POOLSIDE - DAY Toulour lies in a lounge chair. BACK TO SCENE - INT. ROME WAREHOUSE - DAY The group agrees Toulour must be suffering like them. Rusty strides in. Everyone looks at him. He looks at the mock up of the egg. RUSTY Would you call that bubble - shaped? DANNY What? Rusty shrugs it off. RUSTY She pulled a gun on me. He sits. RUSTY -LRB- cont'd. -RRB- She wo n't back off. FRANK Are you back on? RUSTY I'm selling. She ai n't buying. DANNY More importantly, what kind of reception is the Italian Police giving her?","INT. ROME POLICE HEADQUARTERS -- DAY A SUBORDINATE OFFICER leads Isabel down a hallway. SUBORDINATE OFFICER Captain Giordano is handling an urgent interrogation. He'll be up as soon as it is completed. Please wait in here. He leads Isabel and Hess into the Captain's office. A large clock on the wall reads 11:45 am. The open windows in the office look out onto one of Rome's famous courtyards. Captain Giordano stands with three other officers. They are having a loud, tense conversation in Italian. Isabel watches as Giordano's temper really flares. He jabs his finger at one of the other cops. CAPTAIN GIORDANO -LRB- SUBTITLED. -RRB- Naples sucks! They're a joke! The only decent player they have is Pasqualli - and he's a pussy. ITALIAN COP 1 -LRB- SUBTITLED. -RRB- Pasqualli runs circles around Bologna's backfield every time. ITALIAN COP 2 -LRB- SUBTITLED. -RRB- Pasqualli could single - handedly - Isabel turns to the officer who escorted her in. ISABEL What are they talking about? SUBORDINATE OFFICER It's an internal matter, Madame. Isabel and Hess look at each other.","EXT. COURTYARD -- DAY The Captain continues to argue. Those involved in the discussion are being brought lunch.","INT. CAPTAIN GIORDANO'S OFFICE -- DAY Isabel's sitting on the couch now, her eye lids drooping. Hess checks his PDA. ITALIAN COP 3 -LRB- O.S., SUBTITLED. -RRB- - and her friends could trounce NapIes! The clock on the wall reads 2:20 PM. Isabel's been here two and a half hours.","INT. ROME WAREHOUSE -- DAY Livingston, Yen, Danny, and Rusty are experimenting with a way for Yen to drop from the ceiling so that he's hanging right over the egg. Their mock - up alarm rings. A red light flashes. LIVINGSTON Damn - it. Danny rubs his face. This is feeling impossible. He goes into the corner and clicks a walkie - talkie. in the background we see Rusty trying to keep everybody's spirits high. RUSTY All right, okay. Let's not be defeatists. What about that mirror trick that Akimbo tried at the - LIVINGSTON - There's no mirror thin enough to avoid tripping the lasers. In the foreground, Danny on the walkie - talkie. DANNY What's he doing now? VIRGIL -LRB- RADIO V.O. -RRB- Nothing. Just reading the papers at a cafe. Oh, no, wait. A woman just sat down next to him. He's getting her phone number. TURK -LRB- RADIO V.O. -RRB- Wow. What are those? VIRGIL -LRB- RADIO V.O. -RRB- Jimmy Chu. TURK -LRB- RADIO V.O. -RRB- I've never seen that color. DANNY -LRB- into walkie. -RRB- Okay, take it easy over there. Saul and Linus enter. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. SAUL We gave'em the shake. Caught'em napping.","INT. CAPTAIN GIORDANO'S OFFICE -- DAY Isabel is asleep on the couch. It's 5:30 PM. A hand taps her shoulder. She wakes up and is shocked to see Captain Giordano, finally, standing above her. SUBORDINATE OFFICER -LRB- doing the introductions. -RRB- Captain Giordano, Rome Police Special Investigations. Isabel Lahiri, Europol, Major Theft Task Force. The Captain nods. Isabel looks over at Hess, who is still asleep. MOMENTS LATER Isabel and the Captain are alone now. Giordano is looking right into her eyes, with laser focus. There is n't even a hint of lasciviousness about him. He's all business. ISABEL reason to believe these men. -LRB- lays out photos of Danny, Rusty, and Toulour. -RRB-. are going to try to steal the Coronation Egg when it is actually put on display next week. I need official authorization to surveil and pursue these suspected criminals on Italian soil. CAPTAIN GIORDANO Yes, absolutely. ISABEL And I'll need substantial resources from your department. Can I count on that? CAPTAIN GIORDANO Yes, absolutely. Isabel stops. Starts to wonder. ISABEL So, Captain, what do you think of my skirt? He smiles and looks at her. CAPTAIN GIORDANO I think it's very beautiful. Why, do n't you like it?","EXT. ROME CAFE -- DAY Danny and Toulour. A waiter brings them coffee, Danny SPOONS in a lot of sugar, then stirs. TOULOUR I do n't usually call for a second date. For you I make an exception. DANNY Thanks. TOULOUR I think it's good that we talk. You see, you should stop following me. You're wasting your time. I'm going to let you go first and get caught. Then they will increase the security even more, and then I will steal the Egg. Then Lemarc can make his decision. DANNY You sound confident. TOULOUR Confident? This is a very American word. I am arrogant. There's a difference. DANNY Does n't matter if you're that good. Are you that good? TOULOUR I can move objects with my mind. Danny just looks at him. TOULOUR You do n't believe it? DANNY Do you? TOULOUR Are you done stirring your sugar? Danny stops, lifts the spoon. It's completely BENT. DANNY That's fantastic. -LRB- starts to go. -RRB- Listen, I appreciate the call, and, best of luck. TOULOUR Danny. I'm serious. Sit down, please. Danny site down and looks at him. DANNY You're telekinetic, is that what you're telling me? TOULOUR Yes. But. it's a curse. A nightmare. Everything is too easy. But then LeMarc says I'm still not the best. So I take his challenge. And you will fail, and I will win, and so what? What does it prove? What is he trying to show me? Danny just looks at him.","INT. CAPTAIN GIORDANO'S OFFICE -- DAY CAPTAIN GIORDANO Ms. Lahiri, you're in Italy now. We are a sovereign nation. We're not some adjunct, some administrative district of the EU. When Europol calls we do n't jump up and tap dance for you. If you want to work in Italy, then you have to do it under Italian authority. and that means you have to talk to Commander Andriotti. who, I'm sure, will be happy to meet with you some time next week - ISABEL Next week! CAPTAIN GIORDANO - when he returns from vacation. Isabel slumps back into her chair. Stares up to the heavens.","INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY Isabel and Hess walk. HESS He said he has to get approval from someone else and they're on sick leave. ISABEL Vacation. HESS Sorry I fell asleep. ISABEL We both did. I'm exhausted.","EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY An exasperated Isabel tries to regain her equilibrium with a cappuccino. A piece of music comes over the cafe loudspeaker that catches Isabel's attention. A CHEESY WAVY SCREEN ISABEL'S FLASHBACK Years ago. Isabel's sitting at the very same cafe reading the newspaper when she hears frantic police whistles. She looks up to see a man running down the street at full bore. As he gets closer we realize it's Rusty. Eight cops are chasing him. Rusty rushes past the cafe. As he does he notices Isabel, they make eye contact. Then he's gone. Sprints around the corner. The cops rush past her. She hears sirens converging from all directions.","INT. POLICE HEADQUARTERS (STILL IN FLASHBACK) Isabel shows her Europol identification to a detective. ISABEL Hi, this is n't official business. Actually, I'm here on vacation. But I was sitting in a cafe this afternoon, near the Piazza Navona and. the police were chasing someone on foot. I was just wondering if you caught him or. do you know anything about that case? ITALIAN DETECTIVE I know the case, yes. Unfortunately, we did n't catch him. ISABEL Oh.","EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK) Isabel sits in the same seat the next day, reading the newspaper, enjoying her vacation. She looks up and stops cold. Rusty, all cleaned up now, dressed in a perfectly - tailored suit, sits down three tables away from her. She stares at him. Ca n't believe it. The brazenness. The audacity of this guy. Rusty does n't seem to have a care in the world as he chats easily with the waiter, in Italian. Finally, Isabel just ca n't help herself. She gets up and walks over to Rusty's table. ISABEL Excuse me. RUSTY Yes. ISABEL Um. Did I? I think I saw you. yesterday. RUSTY Oh yeah? ISABEL The police were chasing you. RUSTY You sure your eyes are n't broken? ISABEL I'm quite sure it was you. RUSTY Well, then I'm not gon na argue. Can I buy you a coffee?","EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY We transition back to the cafe. Isabel's phone rings. ISABEL Hello. RUSTY We've got to stop meeting like this. She turns. He's sitting at the table behind her.","EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER Isabel and Rusty are being quiet for the moment. The waiter's in the midst of an animated discussion in Italian with one of the customers. ISABEL What are they talking about all the time?! RUSTY Soccer. -LRB- translating. -RRB- He does n't like Naples. thinks they're a bunch of. sissies. -LRB- turns to Isabel. -RRB- Can I ask you a question? -LRB- off Isabel's nod. -RRB- Will you come to Zanzibar with me on Friday? ISABEL Stop it.","INT. ROME WAREHOUSE -- DAY Danny sleeps, sitting up, in a chair as the rest of the group tries to figure out how to defeat the security systems around their mock - up egg. The group breaks into applause startling Danny awake. LIVINGSTON We did it! It works! DANNY What, what happened?","INT. ORNATE HALLWAY -- DAY TIGHT MEDIUM shot on uniformed National Police officer as he strides down the hallway. His bearing is disciplined, stern, formal. He is clearly handling a matter of utmost importance. Tilt down to reveal he is carrying a tiny cup of CAPPUCCINO.","INT. ORNATE OFFICE OUTER OFFICE -- DAY The National Police Officer blows through, passing Hess.","INT. ORNATE OFFICE -- DAY Isabel sits with Commander Andriotti. The office door swings open and the National Police officer walks in. He places the cappuccino on Andriotti's desk and leaves.","INT. CAPTAIN GIORDANO'S OFFICE -- DAY Giordano sits with his feet up on his desk, smoking a cigar. The door swings open and Isabel strides in, catching him completely off guard. She thrusts a piece of paper in his face. CAPTAIN GIORDANO What's that? ISABEL An order signed by Commander Andriotti instructing you to `` provide any and all support that Agent Lahiri requests, whenever she requests it.'' He looks at it. CAPTAIN GIORDANO It's good, yes. Okay. He looks at her. CAPTAIN GIORDANO That's a very nice blouse you wear today.","INT. MUSEUM --DAY Linus and the Malloys walk through the museum. LINUS When Dominique goes back with Thomas to check the trunk, the money should n't be in the briefcase. Franklin should have double - crossed them. VIRGIL That could be a great moment, when he's on the ground. TURK And you think Thomas is going to get blown up. VIRGIL Hey. They look. A large group of Security people are talking to some NEW TECHNICIANS and ISABEL. ISABEL Another camera here and here. And have a guard here at all times so any attempt to disable the system will be detected. All your IR devices need to be fitted with reflective faces otherwise a UV later can be used to burn the sensors out.","INT. ROME WAREHOUSE -- DAY The guys look glum. LINUS She just walked in there like Patton or something. She's changing. everything and - There were so many cops with her. I've never seen so - Danny plats up his hand to stop him. LINUS I do n't understand. If her father was a thief. why's she such a hardass? I mean you'd think she'd have a little sympathy for us. RUSTY When she was twelve her mother told her that her dad got arrested doing a job in Russia and died in jail. -LRB- beat. -RRB- So I would n't count on much sympathy. BASHER `` This time it's personal''. Danny looks to Rusty, who nods.","EXT. MUSEUM OF MODERN ART -- DAY Fourteen police cars parked in front of it. Isabel stands at a police checkpoint on the road in front of the museum chatting with Captain Giordano, who's clearly brown - nosing her big - time since receiving Andriotti's order. Her phone rings. She looks at the number and answers it. ISABEL What do you want? RUSTY -LRB- V.O. -RRB- Ever heard of overkill? ISABEL I do n't even think Toulour can get it now. RUSTY If he gets it, we'll let you arrest us. If we get it, you come away with me to Zanzibar - ISABEL What is your obsession with Zanzibar?! RUSTY Do you want to make the bet or not? ISABEL I'm hanging up. Stop calling me.","INT. HOTEL LOBBY -- DAY Isabel crosses to the elevators.","INT. ISABEL'S HOTEL ROOM -- DAY She enters. Shuts the door behind her. Then, instantly, starts balling.","INT. ROME WAREHOUSE -- DAY Danny and Rusty stand with Livingston. LIVINGSTON I'm telling you, with everything she's done in the last twenty - four hours. unless you happen to be best friends with the head of security at the museum, unless you are someone he knows and trusts enough to leave alone in the gallery, after disabling about half of their security system, forget it. We are not stealing that egg. DANNY `` Someone he knows. Someone he trusts.'' `` Someone he knows.'' RUSTY What about someone he does n't know but trusts? DANNY For instance? RUSTY I'm talking about you know who, who looks an awful lot like you know who. Everyone looks at Danny. DANNY She might. It's not going to be easy getting her over here.","EXT. DEPARTMENT STORE -- DAY Tess walks down the street. She passes an alley, where a utilities truck is raising a MAN IN A BUCKET. She enters the department store.","INT. DEPARTMENT STORE -- DAY Tess shops for perfume. The Power twins watch her from a discreet distance. She smiles at them. Then makes her way to the ladies room.","INT. LADIES ROOM -- DAY She walks in and goes right for the window. She's about to open it when it opens from outside. She jumps a mile until she sees that BRUISER is there, standing in the bucket from the utilities company. BRUISER Hiya, Tess. Just climb on through. Try not to look down too much.","EXT. DEPARTMENT STORE -- DAY Four stories above an alleyway. Tess climbs out the ladies room window into the cherry picker basket, with Bruiser's help.","EXT. STREET LEVEL -- A MINUTE LATER Tess climbs into a taxi cab. Reuben - in an anachronistic taxi driver's uniform - is driving. REUBEN There's make - up in the bag there. And some photos. Do the best you can.","INT. THE POSHEST ROME HOTEL -- DAY The HOTEL MANAGER comes to the front desk to answer a call. HOTEL MANAGER Bonjourno. Yes. Yes. Oh. oh, really. Well, absolutely. We can have. I can make our presidential suite available. No, no, no. No trouble at all. We'd love. We're honored that she'd think of us. He hangs up. Turns, elated, to his front desk staff. HOTEL MANAGER -LRB- SUBTITLED. -RRB- Julia Roberts is coming to stay with us!","EXT. POSHEST ROME HOTEL -- DAY Tess, as Julia Roberts, steps out of a Mercedes limo wearing sunglasses and carrying a puppy. Frank and Basher, as Nation of Islam bodyguards, clear a place in front of her. Reuben trails, dressed in the latest hip - hop clothes. A throng of fans and paparazzi rush toward her. Strobes blind us. Fans scream out her name, thrust paper and pen at her for autographs. It's a frigging madhouse. PRESS Ms. Roberts! Ms. Roberts! Why did you come back to Rome so soon! TESS I. uh. PRESS Was it to see Topher? TESS To see what? PRESS Topher Grace! Your co - star! Is that why you're here?! TESS Oh. No. I came to - to see the - PRESS Where's Danny? TESS What? PRESS Danny, your husband! TESS -LRB- looks to Reuben. -RRB- Well, he's not really - REUBEN Ms. Roberts is very tired! Please let her through! Please!","INT. PRESIDENTIAL SUITE -- DAY Tess enters and shuts the door behind her. She takes a deep breath and exhales. She looks up at Danny, who's there waiting for her. TESS I ca n't do this. Danny goes to her. Kisses her. Hugs her. When he steps back he answers : DANNY Yes, you can. TESS I'm not an actress, Danny! And I do n't look like her! DANNY You do, Tess. You really do. I never told you that before, but it's true. TESS Come on : my. She notions at her body, but we ca n't tell what part. TESS And my. She motions at her body again ; again it's totally ambiguous what part. TESS And my ears. Anybody who sees my ears is going to know instantly. DANNY Nobody's looking at your ears. TESS Yes, Danny, they are. They're going to know.","INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY Isabel stands with the MUSEUM DIRECTOR. ISABEL When did that happen? MUSEUM DIRECTOR We just found out. I arranged a private showing for tomorrow morning before we open the show to the public. ISABEL I do n't understand, why do you have to disable any of the systems - MUSEUM DIRECTOR Because she might want to get close to the egg, got right up here and look at it. And I'm not going to embarrass myself or this institution by telling her she ca n't. ISABEL She's an actress, Giovanni, not the Pope. MUSEUM DIRECTOR Do you realize how much free publicity we'll get for this museum, just because she because she decided to come by and look at the egg? She's even agreed to do a photo shoot for us promoting the museum. Isabel gives an exasperated sigh. ISABEL That's exactly the sort of thing. INTERCUT - INT. WAREHOUSE - DAY Saul, Frank, and Rusty sit on plush couches and watch Isabel's conversation with the museum director from six different angles. Clearly, Livingston has tapped into the museum's closed circuit system. ISABEL -LRB- TELEVISION V.O. -RRB- that the people I'm after will exploit. -LRB- thinks. -RRB- Okay, fine. You want to shut down half the electronic system, let me post eight cops in the room. Saul, Frank, and Rusty clench teeth and fists. On pins and needles for a moment. If the museum director agrees they're in big trouble. MUSEUM DIRECTOR -LRB- TELEVISION V.O. -RRB- Are you crazy? That's worse than. you want me to treat her like a criminal? The guys relax back into the couches, their plan narrowly having escaped disaster. ANOTHER ANGLE On Saul, Frank, and Rusty relaxing. Only this angle has a digital quality to it - because we are watching them now through a hi - def TV screen. PULL BACK to REVEAL Toulour, sitting in a warehouse of his own, watching his own surveillance footage of both our guys' warehouse and the museum's closed circuit system. MUSEUM DIRECTOR -LRB- TELEVISION V.O. -RRB- Look, if you need to do something to reinforce security during her visit, fine. But it's got to be out of sight. And it ca n't effect Julia in any way. Are we clear?","INT. ROME BISTRO -- DAY Toulour eats with a beautiful woman. Virgil sits six tables away, keeping an eye on him. Turk strolls in and sits with his brother. TURK Where is he? VIRGIL -LRB- points at Toulour. -RRB- There. I took a look at the interrogation scene. TURK Why? VIRGIL'Cause Linus said it was repetitive. TURK It clarifies everything. VIRGIL He said it's too on the nose. TURK What's he, the head of the studio? What's he ever written? VIRGIL He's just saying - Oh, no - TURK What? VIRGIL It's not him! Turk spine to see `` Toulour'' get up at the other table. Only it's not Toulour. It's somebody who looks like Toulour from behind. TURK What! How did you - You moron! You said you were watching him the whole time! VIRGIL I was! I mean, I used the bathroom once, but it was quick. You lost him yesterday! They sit for a minute. TURK Livingston said Frank said that Rusty said that Danny said Toulour said do n't ever bother following him.","INT. RUSTY'S HOTEL ROOM -- NIGHT ON Rusty - the blue light of an unseen television reflecting off his face. He walks onto the balcony. We follow Rusty down a hallway. He enters a dark apartment. Slips silently through the dining room. Two places are set. A candle on the table is burned down to almost nothing.","INT. BEDROOM -- NIGHT The lights are out here too. But Isabel's still awake. Rusty enters the room. She does n't look at him RUSTY I'm sorry. ISABEL What happened? RUSTY I have to go. Right now. I have to leave the country. It could be a while. A month. Maybe more. Isabel turns to look at Rusty. She can barely see the outline of his face in the darkness. ISABEL What are you saying? What the hell are you saying? Where are you going? RUSTY I ca n't tell you. Isabel stares at his dark face. ISABEL When people start talking the way you're talking there are only two possibilities : you're either in intelligence or you're a criminal. And no one I work with has ever worked with you. or even knows your name. RUSTY You knew what I was the day you met me, Isabel. ISABEL Robert. RUSTY We can talk about it when I get back. ISABEL No, Robert. I have to tell you something. RUSTY What is it? ISABEL I'm taking the job. I'm moving to Amsterdam. He does n't respond for a moment. RUSTY I ca n't have this conversation right now. Please, Isabel. I have to get out of here. I love you. He kisses her then leaves.","EXT. APARTMENT -- NIGHT Outside the front of the apartment, he shuts the door and turns toward us. We see his face in the light for the first time : His left eye is swollen shut. Blood is caked into his hair and on his cheek. Somebody beat the shit out of him. BACK IN THE PRESENT DAY Rusty is still on the balcony. There's a knock at the door. He opens it to see Isabel. ISABEL You want to walk?","EXT. ROME -- NIGHT Rusty and Isabel sit on the steps of the Campidoglio. ISABEL I know how you're planning to do it. I know Julia's visit is the key. RUSTY Who's Julia? ISABEL -LRB- after a beat. -RRB- LeMarc knew when to get out. He just quit. with his perfect record intact. Now he's a legend. -LRB- exhorting. -RRB- Do n't do this. RUSTY LeMarc quit because he was 75 years old, Isabel. He was tired. His doctor told him if he did n't start taking it easy he was going to have another heart attack. You're dramatizing it. ISABEL You do n't know why LeMarc retired, any better than I do. You have no idea. RUSTY Actually, I do. I know exactly why. ISABEL Really? How's that? RUSTY He told me. ISABEL -LRB- skeptical as hell. -RRB- You know LeMarc? RUSTY A little. ISABEL Since when? RUSTY Ten years ago. ISABEL For how long? RUSTY For six months. ISABEL You - She's so mad she can hardly speak. ISABEL You knew LeMarc? You knew LeMarc and never told me? That's the worst thing you've ever done to me. Nobody knows more about LeMarc than me. How could you do that? RUSTY I could n't tell you, then. ISABEL Really awful. Isabel thinks. ISABEL Then why are n't you as good as Toulour? Rusty shrugs. A beat. ISABEL I do n't want to arrest you, Robert. I really do n't. But I will if you make me. I will if you go for that egg. Rusty goes silent, looks out at the lights of the city. ISABEL So many times, I waited. You ca n't do that to a person. RUSTY Isabel - ISABEL I have to go. Isabel gets up. walks away fast. She's barely holding herself together. Rusty watches her go. Several seconds, then : FLASHBACK - INT. APARTMENT BUILDING - ROME - DAY Rusty carries a huge bouquet of flowers up the stairs to the front door of his apartment with Isabel. It's a perfect sunny day outside. He unlocks the door quietly and swings it open to see the apartment is bare. The furniture is still there. But nothing else. Nothing on the walls or the shelves. Isabel has clearly moved out. Rusty's whole body reacts. He slowly looks around him, as if in a dream. His eye goes to the dining room table. Isabel's engagement ring is there. BACK TO SCENE - EXT.. ROME - CAMPIDOGLIO - NIGHT Rusty is still watching Isabel, small now in the distance. She turns the corner out of sight.","EXT. MUSEUM OF MODERN ART -- DAWN Isabel pulls up in her car.","INT. MUSEUM OF MODERN ART -- DAWN The Egg is being put into position. Isabel watches.","INT. HOTEL SUITE -- DAWN Reuben is talking to Yen. Frank and Livingston get ready in the background. REUBEN You're a photographer. Very exacting. You want things a certain way, but you never raise your voice. You're uncompromising. Strong. FRANK Reuben, what are you doing? REUBEN Oh, we understand each other. I'm mean, the actual words are gibberish to me, but I know what he means. There's a tone, you know. We communicate. I'm sure he'd tell you the same thing. -LRB- to Yen. -RRB- Am I right? Yen says something in Chinese.","INT. HOTEL SUITE -- DAWN Danny and the Malloys are looking at Tess's hair. TURK I say we do a Joey Heatherton, 1971. VIRGIL It's the wrong color. Turk looks at his watch. TURK Damn. There's a knock at the door. They let Tess check on it. She looks out the keyhole ; It's TOPHER GRACE. Tess looks back to the group and shrugs. TOPHER -LRB- off. -RRB- Hello? He knocks again. The group scrambles and hides. Tess opens the door. TOPHER Hey! I got your room number from McCormick, I hope you do n't mind. He walks in and hugs her. She looks terrified. Topher disengages and looks around. TOPHER This is great. Do you have the adjoining room? TESS Uh, no. TOPHER Oh. Hey. I saw the rough cut of YOU ALWAYS, YOU NEVER. It's so awesome. Congratulations. TESS Oh. Thank you. TOPHER It was just like a dub of a lo - rez output, but I could totally see what you were doing. I think you might win again. Seriously. TESS Oh. TOPHER It really actually looked like you were blind. How did you do that? What is it like, an on - set thing, or was it digital? TESS It was, uh. TOPHER You can tell me, I wo n't tell a soul. Because if you say it's instinctual, I'm quitting right now. Seriously. The way you parted your hair? That was so connected. And that scene with the matches? And when you find out who your real grandmother is and run through the rain and find her on the porch and touch her face? Man, that was. you got ta tell Steven how much I loved it. TESS Okay. TOPHER So what are you doing? TESS I'm, uh, getting ready to go out. TOPHER -LRB- laughs. -RRB- I mean next. What movie are you doing next? TESS I. I'm having trouble deciding what to do next. TOPHER Is Danny working? TESS Danny. Danny is. Danny is. TOPHER Oh, no. Is something wrong? Have you two. TESS No, no. TOPHER I'm so sorry. I'm so sorry. TESS No. we're absolutely fine, he's just - TOPHER I've got to stop asking people about their spouses, it's like always a mistake - TESS No, really - TOPHER Listen, I wo n't say a word. Seriously. I'm rooting for you guys, you know that. This is your private business and I totally respect that. No more Danny questions from me. TESS Thank you. He's fine. Danny's fine. He's working. TOPHER Hey, cool, whatever. That's what I'll say. A beat. TOPHER So can I come look at that Egg with you?","INT. MUSEUM -- ENTRY HALL -- DAY Reuben -LRB- dressed in a hip - hop outfit -RRB- and Linus -LRB- dressed like an agent -RRB- stand in front of some paparazzi. A crowd of museum employees also rubberneck. REUBEN My name is Stuart Feldman, Worldwide Executive Senior Vice - President of Marketing, Corporate Senior Vice - President of Publicity and Corporate International Executive Worldwide President of Promotion for the Warner Brothers Motion Picture company. -LRB- indicating. -RRB- My colleague, Grant Wells, who is responsible for Ms. Roberts itinerary, has graciously set aside time for Ms. Roberts to view the Coronation Egg privately.","INT. SECURITY ROOM Isabel, the Security Director, and Captain Giordano sit with four cops watching a bank of closed circuit screens. ISABEL I want to be on record as saying that you should have shut the entire museum down. Isabel keeps her eye on the tourists who circulate through the other wings of the museum.","INT. MUSEUM -- ENTRY HALL -- DAY `` Julia'' arrives flanked by her `` Nation of Islam'' guards, Frank and Basher. The assembled employees clap and call her name. She waves as they take her picture. Topher throws his arm around Julia to make sure he gets in all the shots. The Museum Director comes up to greet `` Julia''.","INT. SECURITY ROOM Isabel watches the security camera feeds. ISABEL There! Right there! Isabel points at a screen showing the museum's other entrance. Rusty nonchalantly slips into the museum.","INT. GALLERY CONTAINING THE CORONATION EGG -- DAY `` Julia'' enters and walks up to the egg. Her entourage follows. TESS It's so beautiful. My God. Topher looks at the egg - TOPHER Kinda small. He turns away to look a cute girl on the museum staff. TOPHER Hi. BACK ON `` JULIA'' She leans in close to the egg. TESS I'm not going to set off any alarms? MUSEUM DIRECTOR No. No. Get as close as you like. Reuben pops his head in between them. REUBEN -LRB- obsequious. -RRB- Julia - unless you have any objections - Wen and his crew set up for the publicity stills.","INT. ANOTHER PART OF THE MUSEUM -- DAY Rusty ponders a painting like college student trying to impress his art history professor. Finally he moves on, into another gallery. PAN to REVEAL nine uniformed cops trailing behind him.","INT. GALLERY CONTAINING THE CORONATION EGG -- DAY Yen ENTERS FRAME - dressed like a pretentious grunge rocker. He whispers Chinese into a bullhorn. Theoretically he's speaking to his crew -LRB- Danny, Saul, and Livingston in lame disguises -RRB- telling them where to set up the camera, lights, and flags. Each `` crew member'' carries an odd - looking oversized `` light meter''. Upon closer examination we can see that each device has a small TV screen on it - which is tapped into the museum's closed circuit system. The guys are carefully placing their flags and lights so as to block the view of the egg from each of the eight cameras on the ceiling of the gallery. `` Studio Execs,'' Reuben and Linus go to `` Julia.'' REUBEN I was thinking maybe we could get you and Topher into some `` You Always You Never'' hats and t - shirts for the shoot - TESS That's stupid. REUBEN -LRB- instant reversal. -RRB- So stupid! -LRB- turns to Linus as if it's his idea. -RRB- Idiot. -LRB- gingerly. -RRB- Maybe we could put some posters in the background - TESS I do n't think we want to be so obvious - REUBEN I completely agree! -LRB- to Linus. -RRB- Stop trying to turn this into some sort of stunt.","INT. OTHER PART OF MUSEUM Isabel struts up to Rusty. ISABEL This is n't going to work. RUSTY I do n't know what you're talking about.","INT. GALLERY CONTAINING THE CORONATION EGG -- DAY Yen stands on two apple boxes to shoot photos of `` Julia'' and Topher. `` Julia'' looks ridiculously stiff and keeps putting her hands up to block her ears. Topher keeps shooting glances at Danny, who is moving around flags and lights, ostensibly in accordance with Yen's Chinese language orders. Julia sees Topher's expression - he recognizes Danny from somewhere. JULIA Okay, thanks everybody. Thank you so much. She starts to walk out. Topher shrugs and follows her.","INT. MUSEUM HALLWAY -- DAY Julia and her entourage barrel down the hallway. Topher catches up. TOPHER Hey, J Ro, why the quick exit? TESS I. uh, I have to take some pills. Aspirin. I get headaches. TOPHER Yeah, well, with everything thing you've been going through I can see how you'd need something. TESS They're just aspirin. TOPHER Right. I've never taken aspirin in my life, ever. Can you believe that? TESS That's amazing. TOPHER For me, it's like a control thing. TESS Well, with aspirin. it's very beneficial. TOPHER Oh, yeah. I'm sure. They are interrupted by the sound of PIERCING SIRENS and CLANGING BELLS - all manner of alarms coming from the gallery containing the egg. Tess rushes back to the gallery just in time to see police officers pin Danny and his entire crew on the floor and against walls and start handcuffing them. She freezes. Ca n't move. Her bodyguards -LRB- Frank and Basher -RRB- grab her and move her quickly out of the area.","EXT. ROME POLICE HEADQUARTERS -- DAY Three massive Ford Excursion SUV's with diplomatic plates double park out front, completely blocking the flow of traffic on the narrow street. Eight FBI agents climb out of their behemoths and walk inside like they own the place. The boss is a 55 year - old agent named MOLLY STARR.","INT. LOBBY -- DAY Molly Starr steps inside with her posse. She pulls out her badge and hangs it around her neck. AGENT MOLLY STARR Who's in charge? Isabel and Captain Giordano look at her and her team with obvious trepidation. ISABEL -LRB- tentative. -RRB- I am. CAPTAIN GIORDANO -LRB- smelling trouble. -RRB- She is. Molly gives a slight nod to one of her lackeys. He thrusts an official - looking paper at Isabel.","INT. \"OBSERVATION \"HALLWAY -- DAY Molly swaggers down a hallway, followed by Isabel and Giordano. She stops at an observation window and looks through it to see Danny, who is handcuffed to a chair, awaiting interrogation. His expression is impassive. She moves on to the next window : Yen. Same impassive expression. She continues down the line, Reuben, Livingston, and Saul. Each has the same impassive expression. Through the final window she sees Linus. He's nervously tapping his foot. Molly smiles sadistically. AGENT MOLLY STARR Oh, yeah. I'll start with him.","INT. INTERROGATION ROOM -- DAY Molly sits face - to - face with Linus. Isabel and Captain Giordano stand in the corner and observe. AGENT MOLLY STARR When people think of Italy they think of food, wine, the Renaissance. They do n't realize Italy has the scariest prisons in the civilized world. You know why? They're all leftover from the Middle Ages. They're worse than dirty ; they're damp. They're like caves. Linus ca n't look her in the eye. AGENT MOLLY STARR -LRB- cont'd. -RRB- I'm the only hope you've got. LINUS What do you want? AGENT MOLLY STARR Testify against the others in the Benedict case. LINUS I ca n't do that. AGENT MOLLY STARR Sure you can. You'll get a year, maybe two. The Italian charges will be dropped. You and the others will be extradited to the US this afternoon. A long beat. AGENT MOLLY STARR Think about those prisons. Think about living there for twenty years, getting out when you're fifty. What a catch you'll be.","EXT. / INT. FBI SUV -- DAY Linus is bundled into the back of the SUV. Agent Starr gets in next to him. She motions to the driver. They pull out.","EXT. POLICE STATION -- DAY Agent Starr's SUV is followed by three other SUV's and escorted by two Rome Police cars.","INT. FBI SUV -- DAY Linus stares morosely at the headrest in front of him. A long, long beat. then he turns to Agent Starr : LINUS Did you tell Dad? Before `` Agent Starr'' answers the agent in the passenger seat turns around. It's Clint Eastwood. CLINT Of course she did. We're married, for God's sake.","INT. HOTEL SUITE -- DAY Tess waits. A key sounds in the door, and she is on her feet. She reaches Danny before he's all the way in the room. She kisses him, then remembers she's mad at him. TESS Why did n't you tell me? DANNY I could n't. TESS Why not? DANNY Because you're not an actress. You would n't have been so real. TESS I thought you were going to jail. DANNY I'm not going to jail. A beat. TESS So you do n't think I'm a good actress. DANNY You're a terrible liar. TESS I'm a good liar. DANNY Where did Benedict find you? TESS He. DANNY At your parent's house. TESS That was. okay, so I'm not a good liar. So what. You're good enough for both of us. DANNY Exactly.","EXT. CIAMPINO AIRPORT -- DAY The motorcade of FBI SUV's pulls through the security gate and drives toward a US government Gulfstream parked on the flight line. Isabel watches with Captain Giordino and Commander Andriotti. Linus, Saul, Yen, Livingston and Reuben get out of the SUVs, all of them beaming. They hug Linus's mom and dad and mount the steps to the plane. Then Rusty gets out, says goodbye to everyone, and heads for Isabel. ISABEL -LRB- eyes go wide. -RRB- What the - Oh my God! -LRB- spins to Giordano. -RRB- Call the tower! Do n't let that plane take off! Giordano stares blankly at her. But he does n't move. ISABEL -LRB- cont'd. -RRB- Do something! Do you realize what's happening?! Do you understand what's going on?! CAPTAIN GIORDANO -LRB- deadpan. -RRB- Yes, absolutely. Isabel blinks. It takes a second to hit her. Rusty approaches. RUSTY Guys. Get on there before they leave without you. Thanks. CAPTAIN GIORDANO -LRB- speaking like an American. -RRB- Hey, no problem. Good seeing you, man. ANDRIOTTI Take care. See you back home. RUSTY Thanks, Scooter. Isabel is dumbstruck.","EXT. TOULOUR'S VILLA -- DAY Toulour pulls up in a Ferrari. His butler gets the door for him. BUTLER How was Rome, air? Toulour answers by handing a small velvet bag to his butler -LRB- a bag just big enough to hold the coronation egg -RRB-. TOULOUR Put this in the safe, would you? BUTLER Of course, sir. Your guests are on the veranda. TOULOUR Guests?","EXT. CIAMPINO AIRPORT -- DAY Isabel watches as the `` US Government'' Gulfstream containing all the members of Rusty's crew that she arrested at the museum taxis down the runway and becomes airborne. She turns to Rusty. ISABEL I hate you. RUSTY I love you. ISABEL This will ruin me. RUSTY No, it wo n't. Not if you come to Zanzibar. ISABEL What is it with Zanzibar? RUSTY It's where LeMarc is. Rusty points nearby at another private plane. The pilot has just opened the door and put the stairs down. RUSTY That one's ours. We can be there in three hours. A beat. RUSTY Do n't you want to meet him? He wants to meet you. ISABEL You're asking me to turn my back on my whole life. RUSTY Would you miss it? ISABEL I'm a cop. That's who I am. RUSTY You're only a cop because your father was a thief. ISABEL Who died in a Russian jail. RUSTY According to you mother. ISABEL What does that mean? RUSTY It means you should meet LeMarc.","EXT. VERANDA -- DAY Toulour walks out to find Danny and Tess chomping on gourmet nuts and sipping his special reserve brandy. TOULOUR -LRB- to Danny. -RRB- Let me guess, you decided you did want to give my lawyer a call. But you lost his card. Toulour holds out another card to Danny. DANNY No, nothing like that. We just came to collect our money. TOULOUR Not only did you fail, half of your crew got pinched! Your plan was not good. -LRB- to Tess. -RRB- And you do n't look anything like Julia Roberts! I mean your. -LRB- motions ambiguously to her body. -RRB-. and your. -LRB- another ambiguous motion. -RRB-. and your ears. Toulour stops. Danny and Tess just look at him. Something about their demeanor is troubling. Namely, that they look completely untroubled. TOULOUR Oh, no. You stole it on the way to Rome did n't you? I stole a replica.","EXT. PARIS BUILDING -- DAY A repeat of the shot of the SMALL, SECURE BOX being taken to a truck. The truck moves out of the garage and on to the street as before. This time the shot continues over to a door on the side of the building. A YOUNG KID emerges with a backpack over his shoulder.","EXT. PARIS STREET -- DAY The BACKPACK KID passes another guy, a NORMAL - LOOKING GUY, who, after a beat, follows Backpack Kid.","INT. PARIS TRAIN STATION -- DAY The Backpack Kid, followed by Normal - Looking Guy, walk through the terminal and get in line. We swing over to see Normal Looking Guy # 2 looking at them.","INT. TRAIN -- DAY In motion. We start on the Backpack Kid, who is reading a book. The Backpack is beneath his legs. Next to him sits LINUS. Across from him is one of the Normal - Looking Guys. The other Normal - Looking Guy is a row away, facing him. Linus looks at the door of the car. SAUL Is making his way through the door. He looks drunk. LINUS Looks down at his copy of the French FHM. SAUL Gets close and closer to Linus and the Backpack Kid. LINUS Puts his magazine away. SAUL Is almost to Linus's row, he stumbles a little, almost falls. Then, with a loud WHOOSH the train goes completely dark. It's gone into a tunnel. We hear Saul's voice CRY OUT. In a few seconds, the train exits the tunnel and the lights come back on. SAUL Has fallen into the lap of the BackPack kid. Linus and the Normal - Looking Guy try to help him up. He stumbles onward and collapses into a vacant seat. LINUS -LRB- in French. -RRB- He's completely drunk. The BackPack Kid nods his head. Linus goes back to his book. We drop down to see HIS BACKPACK also beneath his feet.","INT. TRAIN STATION ROME, ITALY -- DAY Linus walks through the terminal, backpack over his shoulder. Suddenly he stops and kneels to tie his shoelace. Saul, seeing this and reacting, splits off into another direction.","INT. WAREHOUSE -- DAY Linus and Saul approach the group. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. BACK TO TOULOUR ON VERANDA - DAY TOULOUR But that means you knew what to steal before LeMarc proposed that I challenge you for it. That means.","INT. RUSTY'S GARAGE -- DAY The image from the beginning of the film, with Rusty watching the boiling cask. He's talking on the phone. RUSTY Gaspar, it's Rusty. How are you? And this time we see what be is working on : A PERFECT REPLICA OF THE CORONATION EGG. In the warehouse in NYC, we see Danny and Rusty `` arguing'', but from a different angle. They are smiling as they yell : DANNY I'M TELLING YOU IT'S A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! BACK TO TOULOUR ON VERANDA - DAY TOULOUR LeMarc told you. Of course. He looks deflated. It's probably just occurring to him that he's never lost before. He sits down. TOULOUR To teach me. He is silent. Tess indicates to Danny that they should leave. Danny nods, and they rise. DANNY Well, we'll be in touch to make all the arrangements. TOULOUR No. Do n't go. Please. Toulour gets up. TOULOUR You are my guests. I will celebrate your victory. Besides, you may have noticed, I do n't like to be alone.","EXT. VERANDA -- LATER They are toasting champagne. TOULOUR I am feeling more French by the minute. To my first depression.","INT. TAXI -- DAY Saul and Basher ride to the airport. BASHER So I think if you really analyze it, you can see that it's inevitable. It's time for us to evolve, en masse. I have to help bring that about whatever way I can, you know. Otherwise, the trajectory is fixed. You know what I'm saying? SAUL Mmm. Yes. But I'm through evolving, I think. It's too tiring. I feel pretty evolved. You know, considering.","INT. AIRPORT -- DAY Frank and Yen buy magazines. Yen has a copy of an ITALIAN TABLOID. The headline screams CO - STAR SAYS JULIA MARRIAGE IN TROUBLE. A sub - headline reads HER ADDICTION TO PAINKILLERS IS RIPPING THEM APART.","INT. AIRPLANE -- NIGHT In First Class. Basher and Saul tip champagne glasses. Virgil, Turk, and Linus all crack open copies of their story to read. TURK I've got an idea for another Dominique story. VIRGIL Can we finish this one first? TURK Just let me tell it to you. VIRGIL No. TURK It's like three sentences. VIRGIL I'm serious ; you're asking too much. Virgil puts on his headset. Turk leans over to Linus and begins to speak. Linus, reading, holds his finger up. Yen reads a magazine. Reuben glances at it. REUBEN May I look at that when you're through with it? Yen says something. It would seem he is okay with that. Livingston speaks into his VOICE RECORDER. LIVINGSTON -LRB- trying to be dispassionate. -RRB- All in all, it was depressingly familiar. The forced camaraderie, the hollow smiles. Scared to take a moment's reflection. Scared to imagine a different life. We behaved like boys. -LRB- beat, he chokes. -RRB- But. He begins to weep, quietly, but very quickly regains his composure. LIVINGSTON I'm Livingston Dell. Thanks for listening.","EXT. VILLA -- NIGHT Tess and Danny enjoy the sunrise. TESS When do you want to go back? DANNY Feel like traveling? TESS Yeah. Do n't you? DANNY Yeah. Toulour enters with THE LAST BEAUTIFUL WOMAN in tow. TOULOUR Tess. Danny. This is Monica Bellucci. And indeed it is. MONICA Hello. TESS & DANNY Hello. TOULOUR We're thinking of taking a trip to the states. Take a look around. We'd love to meet some of your friends while we're there. Actually, one friend in particular.","EXT. SKY OVER ZANZIBAR -- DAY We follow the Gulfstream jet.","INT. JET -- DAY Isabel looks out the window. Rusty watches her, She looks over at him, then back out the window.","EXT. BEACH HOUSE -- DAY Stunning. Classic. Rusty and Isabel pull up. He takes her hand and leads her inside.","INT. BEACH HOUSE -- DAY Rusty and Isabel walk through the house. RUSTY There he is. Rusty indicates the back porch. A figure sits in a lounge chair, reading a book. This is LEMARC. RUSTY -LRB- cont'd. -RRB- Gaspar! ISABEL Gaspar? That was my fa - Isabel looks to the porch just as LE MARC, her father, turns to face her. She goes to him and they embrace. ISABEL -LRB- cont'd. -RRB- Daddy. LeMarc looks to Rusty. Rusty salutes, makes a drinking gesture and heads for the kitchen. The sound of a jet takes us to A GLOBE As we rotate from Toulour's villa to LAS VEGAS, NEVADA ESTABLISHING SHOTS Of the Bellagio hotel. CUT TO A RECEIPT For a wire transfer of $ 191,507,067.37 into the account of TB ENTERPRISES. Description : `` Repayment of personal loan''. TERRY BENEDICT Staring at this receipt. He looks up. REUBEN Is opposite him. They are both being served for lunch by a JACKETED WAITER, whose face is continually obscured. REUBEN That's the exact figure, I'm pretty sure. BENEDICT Yes. REUBEN So we're clean? BENEDICT You want it in writing? REUBEN I'll take your word. BENEDICT You're clean. REUBEN These grudges, they're awful. Nobody wine. BENEDICT As soon as someone retaliates, the situation is out of control. REUBEN This way, there's no need for retaliation. Why would there be? BENEDICT There's plenty for everyone. REUBEN More than plenty. It's just a matter of sharing. BENEDICT Sharing is good. REUBEN It is. Waiter? Can I get sparkling water? It's good for my acid reflux. WAITER -LRB- off. -RRB- Of course. The waiter turns toward the bar and we see now that he is FRANCOIS TOULOUR. He's wearing a STRIPED TULIP in his WAITER'S JACKET. CUT TO BLACK THE END"],"string":"[\n \"OCEAN'S TWELVE A MULTI - COLORED SCREEN After a few introductory credits, we pull back to reveal the source of this kaleidoscopic backdrop : A SINGLE, STRIPED TULIP, planted in a long row of other tulips. A HAND reaches in and pulls the tulip from the ground. We then cut to : A BASKET of tulips, carried by hand to a truck, where it is loaded with hundreds of other baskets. The door of the truck is SHUT and we cut to : The door of the truck OPENING to reveal that the tulips are now boxed and crated. A forklift moves the crates onto a wagon, which is driven by a MANNED CART across the biggest warehouse on the planet, the Bloenen Markt -LRB- CHECK THIS - steven -RRB- in Amsterdam, Netherlands. The cart and wagons we were following disappear into a maze of synchronized activity. The cart arrives in the AUCTION ROOM, which is constructed like an ampitheater : the buyers sit in a steeply raked semi - circle, facing two giant, clock - shaped scoreboards that display the bids on the flowers being viewed. The striped tulips fetch a very high price. The carts of striped tulips are delivered to an automated sorting apparatus of enormous size and complexity. They end up on a truck heading for the airport. The tulips are loaded onto a plane. During the transatlantic flight, they sit nestled in the cargo hold. The tulips are unloaded from the plane, driven across an airport tarmac and loaded onto another plane. The tulips are unloaded from the plane and loaded onto a truck. The truck drives through a small town and pulls into the back of a\",\n \"EXT./INT. FLOWER SHOP -- DAY A YOUNG MAN takes delivery of the flowers and carries them through the rear of the store to the display area up front. We stay on the tulips as we hear the following conversation : CUSTOMER Wow. How do they do that? OWNER It's an accident. It means the flower developed a virus early in the bulb stage. The flaws create the unusual coloring. CUSTOMER Can you arrange something for me with those? OWNER Of course. What kind of price range are you looking for? Now we SEE the customer : TESS. TESS Well, it's for my parent's anniversary. They do n't know I'm coming. I just want it to be beautiful. Can you just do whatever you think looks best? OWNER I'll need a few minutes. TESS Take your time, please. And thank you. The Owner moves toward a corner of the store where the flowers are arranged. Tess walks around, looking at the rest of the store. Tess looks out the window. A black sedan is pulling up at the curb. OWNER That should be some surprise. TESS Which? OWNER For your parents. TESS Oh. Yes. I hope so. One of the POWER TWINS gets out of the driver's side door and crosses in front of the car. Tess starts moving away from the window. OWNER Which one is it? TESS I'm sorry? OWNER Anniversary. TESS Oh. Fortieth OWNER Wow. Okay. I think I have an idea. Something classic. The Power Twin opens the rear passenger side door, revealing TERRY BENEDICT. Tess turns away from the window. TESS Do you have a bathroom? OWNER Straight back, on the left. It's unisex. TESS Thank you. Tess scurries to the back. OWNER -LRB- to Tess, a caveat. -RRB- It's unisex! Tess flies past the bathroom and heads for the back door. She pushes through it and runs right into Power Twin No. 2.\",\n \"EXT. HOUSE -- DAY A nice place on the eastern seaboard. We hear the faint sound of a phone ring.\",\n \"INT. HOUSE -- DAY Danny Ocean picks up the receiver, checks the caller ID. He smiles and answers : DANNY Miguel Diaz speaking. Almost immediately, his expression clouds. He looks at his watch. DANNY -LRB- cont'd. -RRB- Tess, Tess. It's okay. You remember what we talked about, if this happened? All right. Call me in twenty - four hours on that number. He hangs up the phone and runs out of the house. He does n't take anything with him.\",\n \"EXT. HOUSE -- DAY Danny runs out of the house and down the street, leaving his car in the driveway.\",\n \"INT. CAR -- DAY Tess, floral arrangement in her lap, sits in the car with Benedict. BENEDICT The Baldwins. TESS What about them? BENEDICT We had dinner with them three years ago. You talked about your parent's anniversary. She says nothing. BENEDICT -LRB- cont'd. -RRB- I'm getting married next month. TESS So am I. A beat. BENEDICT Well, I hope Danny is as good as he thinks he is. A bouquet toss in prison can get pretty ugly.\",\n \"INT. BANK VAULT -- DAY Danny takes a safe deposit box out of a wall, He opens the box, revealing a CELL PHONE and some CASH.\",\n \"EXT. TRAIN STATION (NOT A BIG ONE) -- DAY Danny boards a train.\",\n \"INT. AMTRAK TRAIN -- DAY The landscape hurtles by. We pan over to find Danny sitting next to the window. We continue to pan and find REUBEN TISHKOFF seated next to a group of male commuters. REUBEN -LRB- over. -RRB- I really think you're being too sensitive. She's crazy about you. I can tell.\",\n \"INT. SPA -- DAY REUBEN lies in a mud bath, his face covered with a dried exfoliating `` mask'' treatment. There is a cigar in one hand and a cellphone in the other. His eyes are closed to the sun. REUBEN Joyce, she's ninety - two. I'm all she has left. -LRB- beat. -RRB- The wheelchair thing was an accident, she's having some trouble with the joystick. I'll adjust it. -LRB- beat. -RRB- I told you, when her mouth hangs open like that, that means she's happy. -LRB- beat. -RRB- I am. When are you coming over? -LRB- beat. -RRB- You're tired because you work too much. You do n't have to work all the time. Do n't you want to take a break? Those trays look so heavy. -LRB- beat. -RRB- Of course. How could you ask that? -LRB- beat. -RRB- Because when I heard you laugh, all my problems disappeared. A SHADOW crosses over Reuben's face, and Reuben squints open one eye. There, with the sun like an aura behind his head, is TERRY BENEDICT.\",\n \"INT. AMTRAK TRAIN -- DAY Reuben is handed a bloody mary by the porter, who then continues on, bringing a glass of white wine to THE AMAZING YEN.\",\n \"INT. POOL -- DAY Yen swims a strong, steady freestyle. Pull back to reveal that he is swimming in a 9' by 5' `` Endless Pool'' in his 15th floor Shanghai apartment. A HAND MOVES INTO FRAME and turns off the water current. Yen immediately slams into the end of his jacuzzi - sized pool. He lifts his head out of the water to SEE the POWER TWINS standing `` poolside.'' He spits out a stream of invective, in Chinese. The Power Twins look at each other.\",\n \"INT. AMTRAK TRAIN -- DAY Yen sets his magazine down and heads for the bathroom, where TURK and VIRGIL MALLOY are waiting in line. TURK The opening does n't work. VIRGIL Duh. TURK She should n't have the same dream as Franklin. He's the antagonist. VIRGIL It was your idea. TURK No it was n't. VIRGIL Well, it was n't mine. It could n't be ; it's too stupid. TURK Why do you do that? why do you have to get personal? VIRGIL It's not personal, it's a fact.\",\n \"INT. YOGA STUDIO -- DAY VIRGIL and TURK MALLOY, in GTX lycra yoga gear lead a class -LRB- mostly female -RRB- through the vinyassa. The studio is mirrored on three sides. TURK It's personal. You do n't argue logically. You attack. -LRB- to the class. -RRB- Bring the right foot back even with the left, buttocks raised high. -LRB- to Virgil. -RRB-. you have to have reasons, to support your argument. -LRB- to the class. -RRB-. flattening the back so the body forms a triangle. VIRGIL I ca n't listen to you anymore. It makes me physically sick. Turk looks to him, but also sees a GUY in the class staring at all of the women `` raising their buttocks high''. He indicates this to Virgil, who goes over to the guy. TURK Relax the crown of the head toward the floor. Draw the hips away from the hands, len - gthening the spine. And press the heels toward the floor. Virgil steps on the guy's back and leans down to whisper in his ear. VIRGIL This a serious class. No pigs allowed. Okay? GUY Sorry. TURK Virge. Virgil stands up. Benedict and the Power Twins are standing right behind him. His expression changes as he sees them in the mirror.\",\n \"INT. AMTRAK TRAIN -- DAY The Malloys and Yen are still waiting for the bathroom. TURK You're hallucinating. VIRGIL Yeah, whatever, OJ. Finally, the lock OPENS and RUSTY RYAN exits. We follow him to his seat, where he puts on a pair of headphones. TIGHT SHOT Of molten metal bubbling in a small iron cask, a jeweler's cask. MOVE to REVEAL a GARAGE filled mostly with cars in some state of restoration FIND RUSTY as he painstakingly works on a new piece that is just BELOW FRAME. Whatever it is, it is clearly getting to him. He shakes his head ; it's not right. It's just not good enough. Rusty glances at the digital thermometer attached to the cask of molten metal. It reads : 736.18 degrees. RUSTY You are kidding me.\",\n \"INT. RUSTY'S CAR -- DAY Rusty glances in his rearview as he drives through the city talking on his cell phone. He's keeping an eye on a white Cadillac that seem to be following him. RUSTY 736.18 degrees Fahrenheit, Felix. I watched it. FELIX -LRB- TELEPHONE V.O. -RRB- Rusty. What do you want from me? Rusty turns a corner, then glances in his rearview again. RUSTY I want what I paid for. FELIX And that's what I sent. RUSTY No, Felix, no. I paid for pure. And if my workshop were on top of Mount Everest it would be pure. But I'm at sea level, Felix, and at sea level it should liquefy at 736.95. If it's pure, that is. Which this is n't. Rusty makes another turn. A few seconds later, the Cadillac turns behind him. FELIX -LRB- TELEPHONE V.O. -RRB- Well, I did n't know you were going to liquefy it. Rusty pulls to a stop light. The Cadillac pulls up three cars behind him. RUSTY Let me ask you something : When Christo calls his cotton supplier and asks for 100 % cotton cloth, do you think his supplier sends him 98 % cotton and 2 % polyester and when that does n't work, says to Christo, `` Well, you should have told me you were going to wrap the coast of Australia''? FELIX Who's Christo? Rusty looks to the heavens. RUSTY Felix, you're in a shame spiral. Have your assistant lose my number. Rusty snaps his phone shut. RUSTY -LRB- cont'd. -RRB- My god. Rusty looks into the rear view mirror and then slows the car to a stop. He gets out of his car and slams the door shut. He walks back to the Cadillac and knocks on the window. It rolls down electronically to reveal Benedict. RUSTY -LRB- contd. -RRB- How long you gon na give us?\",\n \"INT. AMTRAK TRAIN -- DAY Rusty continues to listen to his headset. We pan over to see FRANK CATTON seated opposite him.\",\n \"INT. RITZ CARLTON HOTEL, NEW YORK -- DAY The penthouse apartment. It takes the entire floor and has a 360 degree view. Right now, all of the furniture inside of it is being taken away by movers. Frank enters frame. BENEDICT Four weeks. FRANK We stole that money fair and square. You bought people off to find me. You took advantage during an economic downturn, and made them say some shit they should n't have said. It's not fair, it's not just, and it aint' cool. A long beat. Benedict stares back at him. FRANK -LRB- cont'd. -RRB- Did you hear what I just said? BENEDICT I heard what you said, Frank. Did you hear what I said? Frank looks at Benedict and the Power Twins.\",\n \"INT. AMTRAK TRAIN -- DAY Frank takes us to Livingston.\",\n \"INT. STAGE -- NIGHT Livingston performs a stand - up routine. LIVINGSTON How many people here tonight were stupid enough to have children? A few people raise their hands. LIVINGSTON -LRB- cont'd. -RRB- Wow. No, seriously, that's great. I have a child. A daughter. She's five. They get to you, right? Am I right? Like emotionally. I mean, sometimes she'll turn to me with her little face and her little shiny eyes, and she'll say, `` Daddy, please stop hitting me,'' and it just breaks my heart.' People are n't sure what to make of this. LIVINGSTON -LRB- cont'd. -RRB- I'm Livingston Dell. Thanks for listening. See you at ten. Livingston strides off stage as we see that he is at the Bellagio, in the lounge. Benedict and the Power Twins are waiting for him. Somehow he is n't surprised. LIVINGSTON -LRB- cont'd. -RRB- -LRB- to Benedict. -RRB- I appreciate you letting me finish my run. You've been very patient. BENEDICT What can I say? You're a funny guy.\",\n \"INT. AMTRAK TRAIN -- DAY Livingston takes us to Saul Bloom, reading the Racing Form.\",\n \"INT. THE WASPIEST IMAGINABLE MEN'S CLUB -- DAY All dark wood and oriental rugs. MOVE across a row of oil paintings that flatter stodgy club members from the 1800s to the present. Land on Saul, sitting in window light that mimics the aforementioned portraits. SAUL What it is about horses? I ask you. Is it the strength? The beauty? The fearlessness? The grace? Of course. But there's something else. Something in the eyes. The person with him nods. SAUL -LRB- cont'd. -RRB- Yes. When I look into a horse's eyes, I can tell : This one's a winner. A jacketed WAITER appears, holding a tray. WAITER Excuse me, Mr. Bloom? SAUL Yes? WAITER There appears to be a problem with your card. The waiter tips the tray to reveal Saul's credit card, which has been CUT INTO TINY PIECES. Without missing a beat, he reaches for his wallet. SAUL You take Visa? WAITER I was acting on instructions from your business manager. SAUL My business manager? WAITER Mr. Benedict.\",\n \"INT. AMTRAK TRAIN -- DAY Saul leads us to Basher.\",\n \"INT. RECORDING STUDIO -- NIGHT Basher is putting the finishing touches on a song. A producer and engineer sit behind a huge mixing console. It's good - Basher's really got something going here.\",\n \"INT. RECORDING BOOTH -- MOMENTS LATER Basher is leaning over a thick legal document, and Benedict is leaning over him. The music has been turned off. BENEDICT Look at it this way. Eugene. if the album goes platinum it'll cover what you owe. And if the second one goes gold, that should cover the interest.\",\n \"INT. AMTRAK TRAIN -- DAY Basher takes us to Linus.\",\n \"INT. CAR -- DAY Linus looking from the front seat to the back, talking to Benedict. LINUS I'm responsible for myself. I have my own life and my own plans. I've never asked for anything but a fair shake. We make a deal, I stick to the deal. He turns forward, thinking. Then after a beat, he turns back to Benedict. LINUS -LRB- cont'd. -RRB- I just need to be absolutely clear that we have an understanding : If you contact my father, I'll kill myself, and you'll never get the rest of your money. Benedict nods. Linus turns forward and exhales, relieved.\",\n \"INT. AMTRAK TRAIN -- DAY Linus takes us back to Danny. The train hurtles onward. ABSOLUTE BEDLAM Reuben, Yen, the Malloys, Frank, Livingston, Saul, Basher, and Linus are all talking at once - right at us. Right at Danny. And they are not happy. The group is in an abandoned WAREHOUSE somewhere near NYC. Danny is overwhelmed, like a deer caught in the headlights. He throws a desperate glance at Rusty, who's looking out the window serenely, letting Danny flounder. MOMENTS LATER Total silence. Everyone just stares at Danny, waiting for an answer. DANNY How many ca n't make the deadline? Everyone raises their hands except Reuben. REUBEN -LRB- off their looks. -RRB- So I'm smarter than those schmucks on Wall Street. Whose fault is that? Fair enough. DANNY How many think if they run, they'll be found? Everyone raises their hands. Including Reuben. Danny gets up, walks over to Rusty. The rest of the guys shrug and begin talking amongst themselves. After a long beat. DANNY -LRB- cont'd. -RRB- Well, the only other - RUSTY We're on the five o'clock. DANNY Good. A beat. DANNY -LRB- cont'd. -RRB- Where? RUSTY Amsterdam. Danny steps back. DANNY AMSTERDAM!? Danny's tone draws everyone's attention. Noticing this, Danny and Rusty move into a nearby dilapidated office doorway. The guys go back to talking, mostly about what they were doing when they were found. This rises steadily in volume until the din is obliterated by a LOUD VOICE : DANNY -LRB- cont'd. -RRB- I'M TELLING YOU THIS IS A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! The guys exchange glances. Danny walks over to them and sighs.\",\n \"INT. AIRPORT TERMINAL -- TICKETING AREA Livingston hands his passport to a KLM AGENT. LIVINGSTON Flight 144 to Amsterdam. JUMP CUT TO the agent handing Livingston his boarding pass. KLM AGENT You're in seat 43J. Enjoy your flight. LIVINGSTON Uh. there must be some mistake. I mean. unless. is your first class section in the back of the plane? The agent looks back at him, confused. KLM AGENT No. JUMP CUT TO the agent handing Linus his boarding pass : KLM AGENT -LRB- cont'd. -RRB- 32E. CUT TO the agent handing Virgil and Turk their tickets. KLM AGENT -LRB- contd. -RRB- 41C and D. JUMP CUT TO the agent handing Saul his boarding pass : KLM AGENT -LRB- cont'd. -RRB- 55K. SAUL Fifty - five K? There's a fifty - five K? KLM AGENT We've increased capacity by employing advanced design technology. SAUL You made the seats smaller. Can you just say that? You made the seats smaller. JUMP CUT to show Frank : FRANK See, you're not hearing me. What I'm trying to tell you is the reservations agent made a mistake when she issued the ticket, because on the rare occasions that I fly commercially, I always book a first - class ticket with no restrictions - The desk agent looks back at him skeptically. KLM AGENT She may have, air, but this is the only ticket available to you on this flight. I need you to step aside so I can take care of the next customer. FRANK Now, listen : Do n't make me get black.\",\n \"INT. SECURITY AREA Frank stands with his arm outstretched, shoes and belt off. Two TSA officers run metal detecting wands over every inch of his body. Three more guys pick through his luggage : they squeeze toothpaste from his Sensodyne tube, sniff his hair products, unroll his `` tighty - whitey'' briefs. PAN to REVEAL that Basher is getting the exact same treatment, right next to him. They exchange looks. REVERSE ANGLE : the rest of the group stands sipping iced lattes from Starbucks and watching the show. Reuben walks up. DANNY Reuben. REUBEN I wanted to wish you luck. And listen : I want to do something for you. Reuben hands Danny an envelope. DANNY What's this? REUBEN Take it. Take it. This is the least I can do. I've got a friend who owns the Bellagio of Amsterdam and I've made reservations for all of you there. It's all taken care of. RUSTY That's very touching, Reuben. REUBEN It's the least I could do. I love you guys. Enjoy. Yen says something in Chinese. REUBEN -LRB- cont'd. -RRB- No, thank you.\",\n \"INT. 747 -- NIGHT Yen sits in First Class, playing an in - seat video. Virgil and Turk kneel on either side, watching his progress. VIRGIL Nice. TURK Great anticipation. FLIGHT ATTENDANT Gentlemen, you'll have to go back to your seats now. Reluctantly, they do. We follow them back to coach, where they pass Linus, talking to himself. LINUS Ground level. First floor. Day one. Planning stages. -LRB- beat. -RRB- Planning stages. We move on to find Livingston, who grabs Turk by the arm. LIVINGSTON How'd he get that seat? TURK What seat? Turk moves on, taking us past a sleeping Saul and landing on Danny and Rusty, who watch a movie with fixed expressions. A reverse angle shows us that the video screen is twenty rows away - it is impossible to discern any detail at all. Rusty takes his headphones off and exhales. Danny notices this and does the same. After a beat : RUSTY Call me an elitist asshole, call me a bourgeois clown, call me anything you want, but ` economy' is bullshit. DANNY Oh, I do n't know. it's not that ba - The guy in front of Danny moves his seat back suddenly and spills Danny's drink all over Danny's lap. Linus approaches Danny and Rusty. LINUS Hey. You guys have a minute? DANNY Sure, Linus. RUSTY What's on your mind? LINUS Well, I know this may not be the exact right time to bring this up, but I've been thinking about. well, about where I want to be in five years, career - wise, and I've decided I really want to be more than just a role - player. I really see myself as kind of an idea man, like you guys. I mean, I know you do your part and you're in the trenches with us and all, but it's really your show, and like I said, five years from now, I want to be running my own show. Danny and Rusty exchange a look. then look back at Linus. DANNY Uh - huh. RUSTY Right. LINUS So if there's any opportunity for me to be involved in the, you know, planning stages of things, I would really appreciate it. I really feel like I'm ready for more responsibility and that I could really make a contribution. Rusty turns to Danny. RUSTY Are you thinking what I'm thinking? DANNY Evelyn. RUSTY -LRB- to Linus. -RRB- We're negotiating the terms with her tomorrow. You feel up to taking the lead? LINUS Are you serious? DANNY Absolutely. LINUS This is n't some gag? RUSTY No gag. LINUS Wow. Yeah. That would be awesome. DANNY Okay, then. LINUS Man. I was n't sure if I should say anything. Now I'm glad I did. DANNY So are we. RUSTY We're here to listen. LINUS Great. Thanks. Really. You wo n't regret this. Linus leaves. Danny and Rusty put their headphones back on. Now they look content. Basher and Frank watch Linus go. BASHER Tom. SAUL He can be a Tom? BASHER Anybody can be a Tom. SAUL You got ta make your own opportunities. This ai n't a rehearsal. BASHER Tom. Saul chews his economy class trail mix. SAUL Boy, you're tough. BASHER Stop calling me `` boy''. Saul stops chewing. They look at each other.\",\n \"EXT. AMSTERDAM -- DAY Establishing shots of the city.\",\n \"EXT. RED LIGHT DISTRICT -- DAY The group makes their way down a damp cobblestone street. They stop in front of a window and look up. REVERSE ANGLE They have stopped in front of a narrow townhouse that has been converted to a hotel. The sign says `` Bellagio of Amsterdam.''\",\n \"INT. BELLAGIO OF AMSTERDAM -- DAY A single room with 12 bunks in it. Their noses are wrinkled up because the place stinks. LIVINGSTON How could he lie to us like that? RUSTY The sign said ` the Bellagio of Amsterdam'. Everyone looks at each other and turns to leave. LINUS -LRB-? -RRB- Wait a minute. That's it? DANNY Yeah. LINUS Look, you guys no frills, no perks, run - and - gun, all that stuff, and I said no problem because I believed you were right that we should n't go deeper into debt and spend money we do n't have. I mean, am I the only one who thinks this might actually be a good thing? That we could use a little humility? That maybe we were a little too pleased and impressed with ourselves after the Benedict job? Okay, I grant you that maybe this is n't what we deserve, but maybe it's what we need. We can do this. No, I take it back : We have to do this. A long beat.\",\n \"EXT. AMSTERDAM'S FINEST FIVE-STAR HOTEL Four black mercedes skid to a stop outside Amsterdam's finest five - star hotel. Everyone emerges with big smiles on their faces. Everyone except Linus. He scowls, yanks his bag back from the hotel doorman who rushed over to take it for him.\",\n \"EXT. CONVENIENCE STORE, UNITED STATES -- DAY Tess enters and buys a phone card.\",\n \"EXT. PHONE BOOTH -- DAY Tess talks to Danny. Across the street, a BLACK SEDAN is parked. TESS What are you doing in Amsterdam? DANNY -LRB- PHONE V.O. -RRB- Only what I have to do to get Benedict off our backs. TESS Be careful, Danny. Please. DANNY How's work? TESS It's the same. I'm distracted. DANNY I'm sorry. TESS It's not your fault. DANNY -LRB- TELEPHONE V.O. -RRB- I keep trying to figure out what I did wrong. How did he find us? Tess ca n't bring herself to tell Danny the truth, that it was entirely her fault. TESS Danny, do n't keep thinking about it. DANNY -LRB- TELEPHONE V.O. -RRB- I did something wrong. He should never have found us. TESS I'll call you tomorrow. I love you. DANNY I love you.\",\n \"INT. AMSTERDAM HOTEL SUITE -- NIGHT Danny hangs up the phone and site.\",\n \"INT. HOTEL -- NIGHT In other rooms, the guys get themselves settled in. Each takes a step toward personalizing their suite.\",\n \"EXT. AMSTERDAM COFFEE HOUSE -- DAY Danny and Rusty lead an obviously eager Linus towards a coffee house. RUSTY She'll try and use her looks to distract you. Do n't let her. DANNY Be polite, but firm. LINUS Right. RUSTY Do n't get soft on us. Do n't make too many concessions. LINUS I wo n't. Danny and Rusty nod. Okay.\",\n \"INT. COFFEE HOUSE -- CLOSE ON EVELYN. Who is obviously a MAN IN DRAG. Linus looks to Danny and Rusty but they give him nothing. EVELYN The onset of summer is like a woman who owns too many shoes. She/He looks to Linus, who looks to Danny and Rusty. DANNY -LRB- bailing Linus out. -RRB- If animals were capable of flattery, the World Bank would be open until 8pm. EVELYN When I was four years old, I saw my mother kill a spider with a tea cozy. Again, the Evelyn looks to Linus, who has nothing to say. RUSTY A doctor who specializes in skin diseases will dream that he has fallen asleep in front of the television. Later he will wake up in front of the television but not remember his dream. Evelyn nods and looks to Linus, as do Danny and Rusty. He furrows his brow, then speaks : LINUS O let the sun beat down upon my face, stars to fill my dreams. I am a traveler of both time and space, to be where I have been. Danny and Rusty stare at Linus like he's nuts, like he's just cracked. Evelyn's entire expression changes. EVELYN Your young friend has a great deal to learn about respect. She/He puts his/her drink down and walks to another part of the establishment. DANNY Linus. why do n't you wait outside. Rusty and Danny follow Evelyn and quietly console him/her.\",\n \"EXT. COFFEE HOUSE -- AFTERWARD -- DAY Linus cools his heels. Danny and Rusty emerge from inside. DANNY Is that your idea of making a contribution? RUSTY Her terms were scandalous. And we were lucky to get them after what you said. DANNY The deal was this close to being blown. LINUS `` Deal?'' What `` deal?'' Danny and Rusty just look at him. LINUS -LRB- cont'd. -RRB- I know what you guys are doing. Danny and Rusty exhange looks. What? LINUS -LRB- cont'd. -RRB- Look. That. person had too many cupcakes. They just keep staring at him. LINUS -LRB- cont'd. -RRB- I was playing along. RUSTY `` Playing along!'' DANNY You called her mother a whore. RUSTY A really cheap one. LINUS Guys, I'm not falling for this. I'm not. But Danny and Rusty are n't laughing. They look pissed. Seriously pissed. LINUS -LRB- cont'd. -RRB- I mean. Danny and Rusty just look at him. Linus squirms. LINUS -LRB- cont'd. -RRB- I called her mother a whore?\",\n \"INT. AMSTERDAM HOTEL SUITE -- NIGHT Danny and Rusty explain the job to the group. RUSTY It's a privately owned home. But do n't let that fool you. It's extremely well - protected. A photo of a four - story canal house is displayed on a flat screen connected to Livingston's computer. SAUL What are we after? DANNY A document. A very old, very valuable document. A photo labeled `` The Vanderspeigle Getuigschrift'' is displayed on screen. VIRGIL What is it? RUSTY A stock certificate. DANNY The first one ever issued, from the first corporation on the planet. The Dutch East India Trading Company. It's the only one of it's kind and it's worth a boat - load. TURK What's our cut? RUSTY 2.7 million after expenses. A beat. Turk seems confused. TURK Each? VIRGIL Who negotiated this? Danny and Rusty look at Linus, LINUS Thanks. LIVINGSTON What do we know so far? DANNY There's a dummy key pad by the front door. -LRB- points to a diagram. -RRB- But the alarm is really controlled by the keypad in Mr. Vanderspeigle's second floor office. Now, here's good news : we already know the system's master code. Evelyn gave it to us. FRANK That's not good news, that's really good news. VIRGIL We just wait until he leaves. DANNY Yeah, well. that's the bad news. RUSTY He does n't. Frank flinches. Does n't like what he's hearing. DANNY He's agoraphobic. AMSTERDAM PLANNING MONTAGE Shots of their mark, Vanderspeigle, being an agoraphobic weirdo. LIVINGSTON So he's never been out of his house? Ever? RUSTY -LRB- V.O. -RRB- Not once since he moved in ten years ago. SAUL -LRB- V.O. -RRB- Does n't this guy believe in fresh air? RUSTY -LRB- V.O. -RRB- Cracks his windows at night. that's about it. When Vanderspeigle cracks his window we see that locking pins fall into place to prevent the window from opening more than a few inches. LIVINGSTON -LRB- V.O. -RRB- Can we tap into the system from the outside through the phone lines? RUSTY -LRB- V.O. -RRB- Negative. It's a closed - loop system with two redundant servers locked into titanium cases in the guy's bedroom. We SEE the servers in Vanderspeigle's bedroom. BASHER -LRB- V.O. -RRB- Could we use a remote device to trigger the panel? DANNY -LRB- V.O. -RRB- It's hard - wired and shielded.\",\n \"INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) TURK Guys, am I missing something here? We know his damn code, right? You're telling me with that much information we ca n't find a way into this freak's house? Frank flinches again. He seem to be reacting to the term `` freak.'' TURK Ca n't we just get a telephone repair truck. AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB- TURK -LRB- V.O. -RRB- put the basket up and use a telescoping rod through the open window to tap out the guy's code? Turk's idea plays out as it is in his MIND'S EYE, until : RUSTY -LRB- V.O. -RRB- The street in front of the house is blocked off to vehicles. DANNY -LRB- V.O. -RRB- And it's covered by five independently - wired surveillance cameras. RUSTY -LRB- V.O. -RRB- Monitored 24 - hours a day by a security company. We SEE the security arrangements they describe.\",\n \"INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) SAUL God, this guy really is a freak. BASHER Crazy freak. Frank reacts again to the term `` freak.'' It really bothers him. Danny notices. DANNY Something wrong? FRANK Just. do n't call the guy a freak, okay? Everyone turns and looks at Frank like he's a freak. FRANK -LRB- cont'd. -RRB- What? The entire room is staring at him. FRANK -LRB- cont'd. -RRB- What?! I mean, am I the only one here who feels funny about stealing from a. a. handicapped guy? Danny looks to one side of the room. then the other. DANNY Yeah. The rest of the room agrees. Matter closed. Everyone just turns back to what they're doing. DANNY -LRB- cont'd. -RRB- Okay, so we know what we ca n't do. Frank stews. DANNY -LRB- cont'd. -RRB- Time to think outside the box, guys. A beat. Everyone thinks. Then : LINUS Okay, here's something. I've got an idea. suppose we - RUSTY No. LINUS Well, but how - RUSTY There's a Goldmann Grid over the enitre surface. Linus looks at him. RUSTY -LRB- cont'd. -RRB- Is that what you were thinking about? Linus nods. DANNY -LRB- sudden idea. -RRB- But. RUSTY - Well, that's different. Especially if we - Rusty makes a circular motion with his finger and then stops it with his other hand. DANNY Right. LINUS What? RUSTY -LRB- quick aside to Linus. -RRB- A Schuman Special. -LRB- then to Livingston. -RRB- Livingston - LIVINGSTON Absolutely. I mean, I'd need a day to - RUSTY You'll have three. Basher? BASHER No worries. RUSTY Virgil, Turk. VIRGIL. says. Just got ta get the gear. TURK Sweden. RUSTY Yen? Yen says something in Chinese. RUSTY -LRB- cont'd. -RRB- What, and give up show business? Saul - SAUL I know, I know. I'll be bored. You'll be fine. RUSTY Clock's running. Everyone gets up and leaves. Within seconds, Linus is alone, standing in the middle of the room. LINUS What's a Schuman Special?\",\n \"INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT Livingston uses a mock up of the alarm panel as a visual aid. LIVINGSTON -LRB- to Basher. -RRB- Your shot has to hit directly above the keypad. AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB- We see Basher rehearsing the shot. He ca n't get a clear shot of the target. In fact, he ca n't see it. He turns to Saul. BASHER Let me see the specs. Saul pulls a well - worn copy of the alarm system blueprint. Basher goes to the height of the alarm keypad in the bedroom. It's 4' 10''. BASHER How tall is the surface of this roof? SAUL About 87 feet. BASHER How tall exactly?\",\n \"INT. HOTEL SUITE -- DAY Danny looks at a diagram of the safe they'll have to crack when they get inside Vanderspeigle's house, the safe that contains the `` Vanderspeigle Getuigschrift''. Everyone but Linus and Rusty are here. But then Rusty comes in. RUSTY You're not going to believe this. DANNY Try me. RUSTY We do n't have line - of - sight. DANNY What? RUSTY We tried everywhere. Some places we're only three or four inches off. but. there's no straight shot. Even with Basher. It's literally impossible. Linus enters, out of breath. Seeing everyone, he goes to Danny and Rusty. LINUS Can I talk to you guys for a second? They nod and allow Linus to pull them into the corner. Linus looks over at the group and then turns to ` them. LINUS Listen, I've done a little research on the Schuman Special, and uh. we do n't have line of sight for the shot. DANNY What? RUSTY Jesus. This'll kill us. DANNY -LRB- to Linus. -RRB- Listen : Do n't say anything. If you're ever going to run your own crew, you've got to remember to never show weakness. RUSTY It's like blood in the water for these guys. DANNY If they think you're slipping, you wo n't even see it coming. Linus swallows. RUSTY But hey - thanks. Linus nods and goes back to the group. RUSTY -LRB- to Danny. -RRB- I need some air.\",\n \"EXT. CANAL -- DUSK Rusty and Danny walk along the adjacent road. DANNY The Swinging Priest? RUSTY Not enough time. DANNY Crazy Larry. RUSTY Too many variables. DANNY Robinov's Revenge? RUSTY Too many obstacles. DANNY The Soft Shoulder. RUSTY Not enough people. DANNY Baker's Dozen. RUSTY We'd need a woman. DANNY Hell in a Handbasket. RUSTY Ca n't train the cat that quickly. DANNY I ca n't have my wife watch me hauled off in handcuffs again. RUSTY It's always about you, is n't it? DANNY This like running toward a cliff. Speaking of which, how's Isabel? RUSTY I have no idea what you're talking about. DANNY You get the tattoo removed? RUSTY Given its location, my doctor advised against it. Rusty stops walking. Danny continues, then notices he is alone. He turns back to Rusty. DANNY What are you doing? RUSTY We're here. DANNY Oh. As Danny and Rusty enter the hotel, Rusty trips on the steps. DANNY Nice. Rusty bends down to look at the step. He notices that one tile on the edge of the stop has lost some mortar. He touches the tile and watches the lip rise up and down, up and down, as though it's cantilevered. THE GROUP STARES INTO CAMERA SAUL You want to do what? REVERSE to REVEAL Rusty and Danny. RUSTY Tilt it. Raise it slightly. SAUL The whole house? RUSTY It's only a few inches. BASHER Then I'll have line - of - sight. FRANK We ca n't tilt a whole house. VIRGIL They did it with the Leaning Tower of Pisa. RUSTY Exactly. SAUL It took three hundred guys two years to do that. You're crazy. Nobody's ever done anything like this. RUSTY Not true. Palowski did it in ` 64 in Venice and ` 73 in Istanbul. SAUL Really? LIVINGSTON And he only had a crew of six. RUSTY There are thirty pylons. We cut them, insert the jacks, and crank. BASHER For nineteen hours. Here's the order in which they have to be done.\",\n \"EXT. VANDERSPEIGLE'S HOUSE -- NIGHT It is pouring rain. From across the canal, we MOVE towards Vanderspeigle's house, favoring a barge moored just out front. Then, instead of moving over the barge, we PUSH THROUGH its hull to -\",\n \"INT. BARGE HULL FIND Frank and Livingston inside manning a series of industrial water pumps. They're grimy and covered in sweat. Rain drips through the deck above them. LIVINGSTON So, Basher approached me about being on a crew. FRANK When? LIVINGSTON Yesterday. Frank thinks about that. Yen pops his head out from a small tube and says something in Chinese. Frank shrugs. does n't understand. Yen tries again. This time he enunciates very clearly and talks very loudly -LRB- like Americans do when foreigners do n't understand English -RRB-. Frank nods, starts turning the handle of the water pump in the opposite direction. Yen climbs down out of the tube. Then he climbs back up the tube. He picks up a jack in the corner. Climbs back in the tube.\",\n \"INT. UNDER VANDERSPEIGLE'S HOUSE - NIGHT We FOLLOW him as he climbs through the tube and emerges underneath Vanderspeigle's house, inside its foundation. The thirty pylons extend from the base of the house into the into the swamp it sits atop of. There is little space between the swamp level and the house. Runoff from the rain outside drips everywhere. FIND Danny and Rusty struggling to place a hand - cranked jack into a freshly cut space in one of the timber pylons. They are covered in muck and grime RUSTY The good news is, after the first twelve hours, I stopped being able to smell anything. DANNY Took a few more for me. RUSTY This water was stagnant six hundred years ago. FIND the Malloys, thirty feet away, using a fancy underwater saw to cut a space in another pylon. Because the cutting is taking place underwater it is extremely quiet. VIRGIL There's no reason for him not to. He would go to the cops. TURK Okay, so he goes to the cops. VIRGIL Then they arrest Dominique. TURK. says. Right. VIRGIL Then we have no story. TURK Right. LINUS She steals the money from Mr. Mulroney. They turn to look at Linus, sawing nearby. TURK What? VIRGIL Why would she? LINUS To pay Franklin to keep quiet. Turk and Virgil think about that. Linus keeps sawing. TURK That's good.\",\n \"INT. APARTMENT ACROSS FROM VANDERSPEIGLE'S HOUSE -- NIGHT Basher and Saul sit in big cushiony chairs. SAUL Counterfeiting? Me? -LRB- beat. -RRB- I have to tell you, it's not something I condone. It's cheating. BASHER It is cheating. SAUL There's no subtlety to it. BASHER It's kind of embarrassing. SAUL No one I know. BASHER I ca n't imagine anything like that. A long beat. Then each of them reach into their jackets and produce $ 20 bills. They exchange and examine the bills closely by eye. Satisfied, they trade them again and return them to their coat pockets. SAUL Not bad. BASHER Bolivia. SAUL Diego's people? BASHER Yeah. SAUL Well. Congratulations. BASHER I told him about you. SAUL I'm too old. That's dangerous. My stuff is cheap compared to that. It's just me and my gal, you know. What you're talking about is organized. But thanks, anyway.\",\n \"INT. APARTMENT -- NIGHT Frank sits watching TV. Livingston enters with groceries. FRANK Jay Leno called. LIVINGSTON When are you gon na stop with that tired `` white people ca n't be funny stuff''? It's so old, Frank, really. Do you want some orange juice? I got the good kind. Just then they are interrupted by Danny's voice on a walkie - talkie. DANNY -LRB- V.O. -RRB- Augie One, this is Condor. UNDER VANDERSPEIGLE'S HOUSE Rusty turns to Danny. LIVINGSTON -LRB- V.O. -RRB- This is Augie One ; Go Condor.\",\n \"INT. APARTMENT -- NIGHT DANNY -LRB- V.O. -RRB- We're fully cranked here. Let's go to phase two. Livingston and Frank look at each other. FRANK Bring that orange juice.\",\n \"EXT. ROOF -- NIGHT Basher sets up his gear again. This time, when he raises the crossbow to check his shot, HE CAN SEE THE KEYPAD. Just barely. He steadies himself. Saul knows that he's ready to take the shot. He speaks into a walkie talkie. SAUL This is Gatsby. We're green here. Basher aims. The INSTANT he fires the shot we\",\n \"INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY A MALE SECRETARY -LRB- HESS -RRB- rushes through Europol's extraordinary Richard Meier - designed headquarters.\",\n \"INT. AUDITORIUM -- DAY Europol Agent ISABEL LAHIRI gives a presentation to seventy - five of her colleagues. With her on stage are a couple of seated HIGHER - UP TYPES. She's nervous. ISABEL Let's discuss, briefly and to begin, with the category of `` thieves'', as distinguished from the larger category of what might be termed `` hardened'' criminals. The highest level, `` master thieves,'' if you will, is a very small world. Between six and ten high - level crews are operating in Europe at any given time. Worldwide, no more than twenty. The most famous, Gaspar LeMarc, is either dead or retired, and the expectation is that no one will replace him. The good news is the trend is toward their extinction. The secretary enters the auditorium and walks toward the podium. ISABEL For example : Anecdotal evidence suggest these people are personally insufferable. The Higher - Ups look at each other ; what did she just say? ISABEL Their egos demand constant praise, and they embellish their exploits to anyone who will listen. They tell their own stories endlessly, provided of course, they are talking to a fellow thief or an intimate. Many in the audience are now looking to each other, wondering if this is appropriate. ISABEL Those who interact with them on a personal level are relegated to positions of total servitude, with no chance for growth or freedom. Their lives are treated as secondary. Many of them suffer from depression. It's a crime for which there is no law, and yet causes untold damage. One of the Higher - Ups convinces the other to say something, but by now Hess the Male Secretary has reached Isabel and interrupts her by whispering into her ear. She balances. ISABEL -LRB- cont'd. -RRB- -LRB- amplified by the lectern mic. -RRB- WHAT?\",\n \"INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY Isabel and Hess walk briskly through the ultra - modern hallway. He briefs her as they walk in a hushed voice. Then something he says stops her in her tracks. Hess continues to explain something we ca n't hear. Then he pulls out some PHOTOS. Isabel leafs through them. ISABEL That's impossible!\",\n \"EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY Isabel arrives and is greeted by PAUL, a lead detective working the Vanderspeigle theft for the Amsterdam police department. PAUL Thanks for coming. We can really use your help on this one. His partner looks over at Isabel, who is wearing a skirt and pretty damn good shoes. The guy checks out her legs and looks away. ISABEL I hope the scene has n't been contaminated. Isabel walks away. Moments later, she enters the house with the lead detective.\",\n \"INT. VANDERSPEIGLE HOUSE - DAY As soon as she's inside she's all business. ISABEL No forced entry. PAUL Not that we can find. UPSTAIRS - VANDERSPEIGLE'S HOME OFFICE Isabel looks around Vanderspeigle's home office. Behind a fake bookcase is a small room which contains the safe. In the other direction is Vanderspeigle's bedroom. PAUL -LRB- nods. -RRB- We ca n't figure out how they disabled the alarm. We thought maybe they tried to short it out somehow. ISABEL No, that would have triggered the system. Isabel goes to the alarm pad. Pulls the face plate off, examines the inside. ISABEL -LRB- cont'd. -RRB- And damaged the circuits. PAM Well, then I do n't know how they got in. ISABEL They had to have known the code. She moves on to look in the mark's BEDROOM. PAUL -LRB- calls to her. -RRB- We considered that, but the mark swears that nobody in the world knew the code except him. He programmed the last seven steps of the system himself. He set it and never left the house again. When he dies, we'll probably have to physically cut all the power lines to the house to get it off line. Isabel examines the computer brain of the alarm system which was locked inside a titanium case in Vanderspeigle's bedroom closet. She answers the detective almost as an afterthought. ISABEL There are other ways to get the code. -LRB- to herself. -RRB- Closed loop. Redundant servers. Titanium encasement. Not bad. The lead detective enters the bedroom. PAUL Like what? Again, Isabel is inside her own mind. She's really just answering the detective's questions out of courtesy. ISABEL Uh. well, they probably set up in a house across the canal and watched him type the code in through a pair of binoculars. We GO WITH HIM as he walks back into the office. He stands at the alarm panel and pretends to type in the code. He twists around and looks out the window behind him. PAUL -LRB- calling to Isabel in the bedroom. -RRB- Actually, I do n't know about that. Isabel re - enters the office. PAUL -LRB- cont'd. -RRB- Unless he had a habit of typing in the code like this - He stands to the side of the panel and reaches over to type in the numbers. It's an obviously unnatural position. Then he moves in front of the panel and types in the code as one normally would. PAUL -LRB- cont'd. -RRB- - then his body would block the view from across the canal. ISABEL That's why they probably set up over there - She points out an adjacent window on another wall. ISABEL -LRB- cont'd. -RRB- - And used the mirror. She points at a small mirror on the opposite wall. The detective bends down so his eye is at the level of the keypad, then he looks in the mirror. He can see directly across the canal into another house. ISABEL -LRB- cont'd. -RRB- I'm guessing they'd need a fifteen hundred millimeter lens to get a clear shot but - But Isabel's already moved on. Something has caught her attention just above the alarm panel : a patch of paint that is shinier than the paint that surrounds it. Isabel puts her finger to her tongue to wet it, then touches the shiny area. When she pulls her finger away there is paint on it. Isabel cocks her head. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A black - clad thief -LRB- LINUS -RRB- uses a paint brush to touch up the wall above the alarm keypad. BACK TO SCENE - THE CRIME SCENE The lead detective watches Isabel intently. PAUL What is it? Isabel uses the blunt end of a letter opener from Vanderspeigle's desk to gently dig at the wall under the paint. The plaster there is soft and wet. In fact it is n't plaster at all. It's spackle. PAUL -LRB- cont'd. -RRB- What is that? Isabel cooks her head again. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE THUNK! A crossbow bolt hits the wall above the alarm panel. BACK TO SCENE - THE CRIME SCENE ISABEL It's where the crossbow bolt hit. PAUL A crossbow bolt? ISABEL Ever heard of Franz Schuman? PAUL No. Isabel is at the window. The one that Vanderspeigle leaves cracked open every night. Isabel looks across the canal at the apartment where Basher and Saul were playing cards. ISABEL They would have fired from that roof. Through this open window. Isabel kneels down, checks the line - of - sight to make sure she's correct. PAUL From that roof, through this window? Nobody could make a shot like that. ISABEL Not a cop, anyway. PAUL What's that supposed to mean? ISABEL Sorry. Your friend downstairs put me in a bad mood. PAUL He's an idiot. You should n't let him bother you. ISABEL Yes. You're right. Isabel pulls out a notepad and writes the name : `` Eugene ` Basher' Tarr.'' There are two names above Basher's in her little book : `` Robert Ryan'' and `` Danny Ocean.'' ISABEL -LRB- cont'd. -RRB- But these man are exceptionally good. Even when they make mistakes. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A bolt flies through Vanderspeigle's open window and hits the wall above the alarm pad. Two thin wires are attached to a tiny wheel, which is attached to the back of the bolt. The wires run back to the window of the apartment across the canal. Inside that apartment : the wires end in another tiny wheel which is mounted on a large tripod for stability. In effect the group now has a mini - clothesline running between the alarm pad and the apartment across the canal. Livingston attaches a device designed to fit directly over the number pad of Vanderspeigle's keypad to the `` clothesline'' that runs across the canal. BACK TO SCENE - THE CRIME SCENE Isabel writes : `` Livingston Dell?'' Underneath Basher's name in her notebook. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Livingston's device is shuttled across the canal, through Vanderspeigle's cracked window and right to the alarm panel. Magnets on the side of the device cause it to snap into place over the top of the keypad. Livingston then types a six - digit code into a remote keypad. His keypunches are mimicked by the remote device. Vanderspeigle's alarm shuts off. Downstairs : From inside we see the front door lock picked. The door swings open. BACK TO SCENE - THE CRIME SCENE Isabel nods her head. There's a slight smile on her face. The smile of admiration, respect in another's skills. ISABEL When did he get up and notice the certificate was gone? PAUL The alarm woke him at 4:2 O am. ISABEL But the alarm would have been - She stops. And smiles to herself. ISABEL -LRB- cont'd. -RRB- Oh. Oh, I know what happened. PAUL What? Isabel quickly glances around the room. Her eye lands on the floor near the false bookcase. On some dark lines in the crevices where the floor boards meet. She kneels down for a closer look. ISABEL There was someone else. PAUL Someone else. MIND'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Danny and Rusty come through the front door. They are followed by Linus. All of them are soaking wet from 24 hours in the swamp under the house, and the last few minutes in the pouring rain outside the front door. The group silently slips up the stairs. ISABEL -LRB- V.O. -RRB- Oh, I wish I could've have seen that.\",\n \"INT. VANDERSPEIGLE OFFICE - NIGHT They enter Vanderspeigle's office. You can hear him snoring in the other room. Danny and Rusty quickly, carefully remove the crossbow bolt from the wall and take it to the window. They drop it -LRB- and the attached wires -RRB- to the Malloys, who are waiting on the street below. Meanwhile Linus spackles the hole in the wall and paints over the spackle. Danny and Rusty turn to see that Linus is finished. They hand - signal each other like Special Forces guys do, then move towards the bookcase on the adjacent wall. ISABEL -LRB- V.O. -RRB- That must have really been something. Suddenly : DANNY Wait! Wait! Shhhh! Everyone freezes. Danny puts his hand up to his ear to try to listen for the sound he thought he heard. We hear the faint sound of somebody singing to themselves. Danny and Rusty quickly realize it's coming from behind the bookcase. What the hell? They yank open the false bookcase to reveal a handsome Frenchman who has just finished cleaning out the contents of Vanderspeigle's safe. Danny and Rusty stare at him. He turns around and sees them, but if he's bothered in the slightest he sure is n't showing it. Danny approaches him. This exchange is whispered with a great amount of drama at very close range. DINNER JACKET Can I help you? DANNY Yeah. What the hell are you doing? DINNER JACKET I am getting here first. Just then, Frank and Yen arrive. The Frenchman looks them over. RUSTY This is our score. DINNER JACKET I am here before you. FRANK -LRB- joining. -RRB- We let you in the house! Somehow you got in after we hit the code but before we got to the door. DINNER JACKET That's thirty seconds. How could I know which exact thirty seconds I had? Unless I knew you plan. Could I have known your plan? Do you have a snitch in your group? DANNY No. RUSTY We do n't. DINNER JACKET Yes, I know you do n't. Because I saw, the whole thing from that chair. I knew you were around, but I had my own plan. Yen says something in Chinese. DINNER JACKET There's really no need for that. Danny wants to raise his voice, but he ca n't. Vanderspeigle is snoring twenty feet away. DANNY Listen, we have to come to some arrangement. LINUS We've incurred some very serious costs here. Danny and Rusty look at him. LINUS Well, we have. The Malloys arrive. DINNER JACKET Every second I am becoming more outnumbered. VIRGIL -LRB- whispering, re : Dinner Jacket. -RRB- Who's this? FRANK He said he got here first. VIRGIL That's bullshit. RUSTY Hey. Mouth. VIRGIL This is our goddamned job! He sounds as angry as a guy who's whispering can sound. LIVINGSTON If the situation were reversed - DINNER JACKET But the situation is not reversed. The situation is that I am here first, without any help from you. Livingston arrives, soaking wet like everyone else. DINNER JACKET So as much as I would - Basher and Saul arrive. DINNER JACKET Jesus, how many of you are there? DANNY Just give us the stock certificate. Whatever else you took out of that safe. it's yours. Dinner Jacket stops. Thinks for a moment. Then : DINNER JACKET No. But : I leave you with something. He hands Danny a business card. DINNER JACKET My attorney. In case Evelyn's employer tries anything. well, anything. Dinner Jacket smiles, then pulls a tiny electronic device out of his shirt pocket. He presses a button. And the alarm blares to life. BACK TO SCENE - THE CRIME SCENE Paul stares at Isabel. PAUL Are you sure? ISABEL I'm sure there's another scenario that would fit these physical details, but I do n't know what it is. PAUL Where should we start? Isabel takes out her PDA, writes something on her keypad, and hits a few buttons. A second later, Paul's BEEPER goes off. ISABEL You can start by picking that guy up.\",\n \"INT. AMSTERDAM HOTEL SUITE -- DAY The group sits around looking depressed. VIRGIL Who the hell was that guy? FRANK It's going to get out, you know. People are going to find out. BASHER Somebody must know this bloke's name. LIVINGSTON The question is who trained him. He got into that place alone. DANNY He says. FRANK I believed him. SAUL -LRB- unsettled. -RRB- You think he's better than us? FRANK I'm not saying anything, but the man was sitting there, waiting for us. LINUS Do you think the cops even know who this guys is? RUSTY Please. That guy's never even seen a cop. TURK Maybe he works with the cops. SAUL You do n't work with the cops unless you absolutely have to. And not even then. BASHER Either way, he's got to have a name. LIVINGSTON It ca n't be that hard to find out who this guy is. Like I said, somebody trained him. Who trains the best? DANNY LeMarc. -LRB- to Rusty. -RRB- Right? RUSTY If he's not dead. LINUS Who's LeMarc? Stunned silence from the guys. They wo n't even respond. Yen says something.\",\n \"EXT. POLICE HEADQUARTERS -- DAY Isabel arrives.\",\n \"INT. POLICE HEADQUARTERS -- DAY Isabel is waiting to be processed. Eventually, she is directed down a hallway.\",\n \"INT. INTERROGATION ANTEROOM -- DAY We LOOK through a one - way mirror into the interrogation room where detectives Onderdonk and Devenpeck are trying the bad cop / bad cop routine on Evelyn. Isabel walks INTO FRAME and watches : Onderdonk slams his fist on the table. Davenpeck shouts in Evelyn's face. Evelyn just laughs. Isabel shakes her head. Frustrated and more exhausted than their detainee, the two detectives leave the interrogation room for the ante - room where Isabel is. ONDERDONK Fucking stone. DAVENPECK I'm not quitting. ONDERDONK Who said quitting. I'm tired. ISABEL Can I speak to him? The two detectives look at each other. DAVENPECK Who are you? Isabel produces a signed document. They look at it, shrug, and give it back. DAVENPECK Apparently, you can do whatever you want with him. ONDERDONK Are you moving him? ISABEL Oh no. I just need to speak with him. To get some information. DAVENPECK We've been on him for six hours. ONDERDONK With our best stuff. DAVENPECK Our best stuff. In mind terms, we've been torturing this guy. ISABEL I'm sure. I only need a moment, then I'll be out of your way. They shrug. Isabel goes into the room with Evelyn. We STAY WITH Onderdonk and Davenpeck, who watch her through the two - way mirror. THROUGH THE MIRROR : Isabel walks right up to Evelyn, smiles, and whispers one word to him/her. Evelyn's face freezes. He/she looks at Isabel, scared. Then he/she starts to weep. Uncontrollably. Tears stream down his/her face. Isabel hands Evelyn a sheet of paper and he/she begins to write. Onderdonk and Davenpeck are dumbfounded. Isabel turns around so she's facing them.\",\n \"INT. AMSTERDAM HOTEL SUITE -- NIGHT The entire group, minus Danny, sits around glumly watching CNN International on the flat screen. Danny is on his cell phone on the other side of the room. DANNY -LRB- INTO PHONE. -RRB- It's not a problem, it's a hiccup. It wo n't affect our schedule that much. I want to talk about you, not the job. How are you doing? KNOCK - KNOCK - KNOCK. Something about it does n't sound familiar. Danny moves into the big roam. Rusty is at the door, looking through the peep - hole. Rusty puts his head down. Clearly it is n't a stranger. DANNY Tess, I've got to call you back. He hangs up. KNOCK - KNOCK - KNOCK. Rusty indicates for Danny to get it. DANNY Coming. Danny opens the door to reveal ISABEL. She looks at Danny. He looks back at her. They do n't say a word. Danny motions for her to come in. RUSTY -LRB- still glued to the TV. -RRB- Who is it? ISABEL -LRB- to Rusty. -RRB- Hello, Robert. Rusty spins to see Isabel. RUSTY Isabel. He crosses to her. STAY with the group for a moment. LINUS `` Robert?'' Is that his real name? Virgil and Turk shrug. LINUS How does she know that? LIVINGSTON Ex - girlfriend. BASHER & SAUL Fiancee. ANGLE ON RUSTY AND ISABEL The entire group is watching them. RUSTY It's great to see you. ISABEL Is it? Because you've been seeing a lot of me lately. She hands a surveillance photo to Rusty. ISABEL You were sitting in a Mercedes outside my apartment on Wednesday night. She hands Rusty another photo. -LRB- These are the photos Hess the male secretary showed her at Europol HQ that we could n't see. -RRB- ISABEL You were hiding in the bushes when I had lunch yesterday at Trattoria Bella. She hands him a third photo. Looks at the fourth. ISABEL This one. I'm not even sure where this one was taken, but I like it a lot. Very Ron Gallela. She hands this photo to Danny. It's a picture of Rusty, with a dorky look on his face, peering out from behind a mailbox he's using as cover while he spies on Isabel. ISABEL I mean, if I did n't know better I'd think you all came here to steal the Vanderspeigle Getuigschrift, also known as the world's first stock certificate. -LRB- to the group as a whole. -RRB- You must have been so proud of yourselves. A Schuman Special. It's been awhile. -LRB- smiles at Basher. -RRB- That was a very handsome crossbow shot, Eugene. Basher winces at the sound of his real name. The group stares back at her. Ca n't believe this is happening. ISABEL And the Palowski. whose idea was that? She knows it was Rusty. RUSTY We did n't steal anything. ISABEL Oh. I know you did n't. Somebody beat you to it. One man. No crew. No back up. Tell me something - just so I can get the full picture in my head - was he wearing a tuxedo? A white dinner jacket? BASHER -LRB- to Isabel. -RRB- At least we saw him in the flesh. You'll never see this guy your whole life. ISABEL So you know who he is? DANNY Of course we know who he is. ISABEL Well, then. I'll see you when you see him. To get your certificate back. She takes the photo of Rusty peeking from behind the mailbox from Danny's hand. She walks out. The group is frozen. Livingston is still looking at the pictures of Rusty following Isabel. LIVINGSTON -LRB- to Rusty, re : the photo. -RRB- Who's hat is that? SAUL How did she - That was - DANNY -LRB- to Rusty. -RRB- This is what I was talking about. This is exactly what I was talking - RUSTY - I was just checking up on her. I knew she did n't want to see me. I was being polite. TURK Where did she learn all that stuff? The Palowski stuff. DANNY Her father. VIRGIL He was a cop? RUSTY Thief. LINUS Was he good? DANNY Very. FRANK Great. VIRGIL What's the big deal? She's just some brilliant, pissed - off ex - girlfriend who's dad taught her every trick in the book. SAUL & BASHER Fiancee. TURK But did you see that display of emotion, handing out those pictures? VIRGIL Totally unprofessional. RUSTY She's passionate. VIRGIL She's unbalanced. RUSTY Her job is very stressful. SAUL She could reduce her stress by leaving us alone. DANNY We've got to slow her down. Everyone agrees. DANNY But first : We find our French friend and introduce ourselves. FUNKY TRANSITION\",\n \"INT. EUROPOL HEADQUARTERS -- DAY Isabel is talking to her superior. ISABEL'S BOSS Twenty - four hours. You know that. ISABEL I do n't have twenty - four hours. They're there now. They'll lead me to him. ISABEL'S BOSS You also know that you can go now, if you do n't take your secretary. When there's liability, I need a document. She nods.\",\n \"INT. EUROPOL HEADQUARTERS HALLWAY -- DAY Isabel exits. HESS He said we ca n't leave until tomorrow because of liability issues and he needs a document. ISABEL Yes. HESS Thanks for trying. ISABEL Let's share a car. HESS That would be nice. Thank you. ISABEL I ca n't believe they wo n't make an exception. -LRB- beat. -RRB- I've got to find out who this other guy is.\",\n \"INT. MONTE CARLO CASINO -- NIGHT Dinner Jacket -LRB- AKA FRANCOIS TOULOUR -RRB- wins a huge blackjack bet. The crowd reacts enthusiastically. A beautiful woman stands near him.\",\n \"INT. MONTE CARLO CASINO -- NIGHT The crowd around the blackjack table erupts as Toulour wine another massive bet. Note : The same dealer pays him off. The same crowd is watching. But Toulour is dressed in a different tuxedo, and a different women is standing by his side. ANOTHER BEAUTIFUL WOMAN Fantastic. BASHER -LRB- V.O. -RRB- He did his first big job in 1989. Bundesbank, Berlin. DANNY -LRB- V.O. -RRB- The fifteen million dollar one the day the Berlin wall fell? BASHER -LRB- V.O. -RRB- He was nineteen years old. INTERCUT - INT. / EXT.. MONTE CARLO CASINO - NIGHT FOLLOW Toulour -LRB- in a different tuxedo, with a different beautiful woman -RRB- as he exits the casino.\",\n \"EXT. MONTE CARLO CASINO -- NIGHT When we PICK HIM UP on the exterior he is in another tuxedo with another woman. ANOTHER BEAUTIFUL WOMAN Where do you want to go this weekend? BASHER -LRB- V.O. -RRB- Bank Faltier, Paris 190 and again in'91. Total take twenty - one million euros. Bank of Italy' 92. Eighteen million. Danish Treasury, also 192. Twenty - two million. Prado museum. Madrid'93. The Picasso. Estimated value - SAUL -LRB- V.O. -RRB- Hang on a second! He - All of them?! LIVINGSTON -LRB- V.O. -RRB- He's not done. DANNY -LRB- V.O. -RRB- Wait - Prado Museum, the Picasso - that was Moretti. INTERCUT - EXT.. MONTE CARLO - NIGHT Toulour rockets his turbocharged Bentley into a tunnel.\",\n \"EXT. MONTE CARLO TUNNEL - NIGHT PICK HIM UP as he exits the tunnel in a new car, wearing a new tux, with a new woman. BASHER -LRB- V.O. -RRB- He in Moretti. It's one of his aliases. RUSTY -LRB- V.O. -RRB- Anything else? BASHER -LRB- V.O. -RRB- UDC bank in Geneva, ` 94. Nineteen million in bearer bonds. The Louvre -'95 and twice in' 96. Yen -LRB- in V.O. -RRB- says something in Chinese. BASHER -LRB- V.O. -RRB- He left a Post - It note on the Mona Lisa that said `` Bitch set me up.'' LIVINGSTON -LRB- V.O. -RRB- Tell them about Saint Tropez. BASHER -LRB- V.O. -RRB- In 2000, he stole the King of Morocco's 230 foot yacht. Vanished into thin air. Crew surfaced a few days later in a life raft. Could n't remember a thing. SAUL -LRB- V.O. -RRB- How do you hide a two hundred foot yacht?! BASHER -LRB- V.O. -RRB- If the King knows, he's not telling. He received it back a month later. INTERCUT - EXT.. COTE D'AZURE - NIGHT Toulour. Another car. Another tux. Another beautiful woman. He pilots his convertible Maserati at high speed along the windy road. ANOTHER BEAUTIFUL WOMAN How far is your house, Baron? TOULOUR Twenty minutes by helicopter. TURK -LRB- V.O. -RRB- One guy did all those jobs? VIRGIL -LRB- V.O. -RRB- How'd he get all those aliases? BASHER -LRB- V.O. -RRB- Until a month ago Interpol were convinced that the heists were the work of twelve different people. But not any more. LIVINGSTON -LRB- V.O. -RRB- The French national police just gave him a nickname. `` Le Renard Nuit'' - The Night Fox.\",\n \"INT. HOTEL SUITE -- DAY Danny rolls his eyes. BASHER Scotland Yard said he's the new LeMarc. RUSTY Scotland Yard never saw LeMarc. INTERCUT - EXT.. PRIVATE HELIPORT - NIGHT A helicopter lands on a massive Lake Como estate. Toulour gets out. New clothes. New woman. DANNY -LRB- V.O. -RRB- Personal information? LINUS -LRB- V.O. -RRB- Some say he's one of these guys that thinks because he was born in a penthouse, he controls the elevator business. Others say he turned out okay when you consider how rich his parents were. SAUL -LRB- V.O. -RRB- Taxes over here are brutal. People do n't realize. LINUS -LRB- V.O. -RRB- Father was a big - time industrialist, got into the cellphone market on the ground floor. Mother inherited. Had maids as a child. He's a public figure, people know who he is. He's been rumored to run for office in Spain, even though he does n't appear to live there. INTERCUT - EXT. / INT. TOULOUR'S HOUSE - NIGHT Toulour, in new clothes, with yet another woman, unlocks several locks and disarms two alarms. The woman ca n't believe all the security he has. ANOTHER BEAUTIFUL WOMAN What do you have in there, the Mona Lisa? TOULOUR -LRB- as if. -RRB- Please. ANOTHER BEAUTIFUL WOMAN -LRB- does n't miss a beat. -RRB- You know what? I do n't like that painting either. I do n't like anything Van Gogh did. Toulour smiles and lets her in. LINUS -LRB- V.O. -RRB- He's an avid golfer, pro - level tennis player, and inveterate gambler. But apparently his favorite pastime is. Linus trails off. BACK TO THE HOTEL DANNY What? RUSTY Spit it out, Linus. INTERCUT - INT. TOULOUR'S VILLA - NIGHT A tableau shot looking into the bedroom. ANOTHER BEAUTIFUL WOMAN joins Toulour in his bedroom.\",\n \"INT. AMSTERDAM HOTEL SUITE -- DAY LINUS He's rarely alone. I think it's a compulsion. I have a list of names here. it was just the first week. DANNY All right, moving on, is there anything else we need to know about this guy before we - BASHER Did we forget to mention he's a Viscount? DANNY A what? LIVINGSTON Viscount. As in nobility. DANNY -LRB- can not take it anymore. -RRB- Last time I checked titles like that went out with a little number I like to call the French Revolution - BASHER Spain. DANNY What? BASHER His title. It's Spanish. Mother's cousin. INTERCUT - INT. TOULOUR'S BEDROOM - DAWN Toulour crawls out of bad. Wonders who the woman next to him is. BACK TO SCENE - INT. AMSTERDAM HOTEL SUITE - DAY DANNY He may be the greatest thief in Europe. He may have slept with half of the EU. He may be a Casanova with the soul of a starving artist. It does n't matter. INTERCUT - INT. TOULOUR'S HALLWAY - DAWN Toulour comes downstairs in his bathrobe. BACK TO SCENE - INT. AMSTERDAM HOTEL SUITE - DAWN DANNY There's something he cares about. There's something he ca n't live without. INTERCUT - INT. TOULOUR'S HOUSE - DAWN Toulour reaches the base of the stairs and stops dead in his tracks. He looks ahead of him to a wall covered with paintings. One painting is clearly missing. All that remains are the dust/fade marks on the wall to indicate that it had been there. He walks up to the wall and smiles - certainly this will be an interesting day. He's actually been cheered up by this.\",\n \"EXT. TOULOUR'S VILLA -- DAY Toulour in playing a hard - fought game of tennis. His opponent -LRB- EDMUND -RRB- bangs a great shot. Toulour gets there and smacks it back. Edmund dives for the ball, just gets it back over the net. But Toulour is waiting and hits a kill shot. EDMUNDS Are you on steroids? Toulour laughs. EDMUND Let's try again. Give me five games this time. TOULOUR You are worse than Sampras. You should be paying me. A BUTLER arrives. BUTLER -LRB- in French. -RRB- Pardon me, sir. He hands Toulour two business cards. One says `` Daniel Ocean,'' the other `` Rusty Ryan.'' BUTLER -LRB- in French. -RRB- Two gentlemen. They say they met you in Amsterdam last week. TOULOUR -LRB- in French. -RRB- Put them on the veranda and get them a drink. I'll be right up.\",\n \"EXT. VERANDA -- DAY Danny and Rusty look out over Lake Como. Toulour arrives. TOULOUR -LRB- to Danny. -RRB- Rusty. -LRB- to Rusty. -RRB- Danny. DANNY Other way around. TOULOUR Are you sure? Usually I'm so good at that. Edmund arrives, carrying his tennis bag. TOULOUR This is Edmund. Edmund. Rusty. Danny. He calls by their wrong names again. DANNY Nice to meet you. Edmund. -LRB- making conversation. -RRB- You a tennis pro? Rusty takes a sip of ice tea. EDMUND Actually, no, I'm the King of Morocco. Danny and Rusty nod, their smiles frozen.\",\n \"INT. VILLA -- DAY Toulour shows Danny and Rusty his art. TOULOUR Sadly, I ca n't show you my favorite painting of all - a Degas that used to hang right there - because it was stolen recently. DANNY That's awful. RUSTY The criminal element is everywhere these days. Toulour nods. DANNY Listen, Francois - TOULOUR Please. Call me Baron. DANNY We came here for the Vanderspeigle certificate - TOULOUR That's not for sale. DANNY Your Degas is worth three times that. You want your painting back, you're going to have to trade. TOULOUR You actually expect me to believe that you are in possession of my Degas? You are living in a. in a bubble. Toulour looks at them and walks away.\",\n \"INT. LAKE COMO HOTEL SUITE -- DAY Rusty and Danny stand with the rest of the group. BASHER He used the word `` amateur''? Rusty and Danny nod reluctantly. VIRGIL You said we could show him the painting right, to prove that we had it. DANNY Yes. RUSTY He still would n't trade. Yen says something. FRANK We need to teach him a lesson. TURK Absolutely. DANNY All right, let's stay calm. We do n't need to over - react here. He said some disrespectful things, that's true. But why antagonize this guy? Why get into something with him? He's young and he's filthy rich, and he's got time on his hands. We do n't want to become his Betty noir. We can just fence his painting and earn a lot more than we would have from the certificate. BASHER It's about reputation. You said so yourself. We have to get that certificate to Evelyn's buyer or - DANNY We'll make enough selling the Degas to pay off her buyer - FRANK Then why did you make that trip down there in the first place, if you did n't want to get into something? DANNY Saul? SAUL Turn his name over to Isabel. In exchange for getting off our backs. Tough one to swallow. SAUL Short of that. the only appropriate response is to steal his next job right out from under him. Just like he did to us. TURK We do n't even know our next job. DANNY We got ten million in that closet. Danny points at the closet in the room. DANNY I cash in the Degas, take a moment to think about our next move. Toulour is n't going anywhere. You guys are hyping him too much, you're letting him get inside your head. Everyone agrees. Danny opens the closet. There's a picture frame in there, but NO PICTURE. It's been stolen by Toulour. We hear the SOUND OF A CASE BEING SHUT AND LOCKED.\",\n \"INT. PARIS BUILDING -- DAY We see a SMALL, SECURE BOX being transported to a heavily secured truck.\",\n \"EXT. PARIS BUILDING -- DAY The truck exits the building and drives down a street with security MOTORCYCLES surrounding it.\",\n \"EXT. PARIS FREEWAY -- DAY The motorcade heads for the private airport. The secure box is loaded onto a plane as Isabel and her male secretary Hess exit a plane nearby.\",\n \"INT. CAR -- DAY Isabel and Hess heading into Paris. ISABEL Why do I need to see all these guys? When I tracked the Munch down in Sweden I got all the approvals I needed with one phone call. With Lenin's shaving kit the Russians brought me in and it took a single signature and I got it at the airport a minute after I arrived. What's so goddamned special about the French? Hess gives her a look as though she should know better. HESS Without their signatures, you ca n't do anything. You ca n't pull the suspects over, you ca n't do surveillance on them, you're not even allowed to contact them. They're real sticklers about sovereignty issues here.\",\n \"INT. PARIS BUREAUCRAT'S OFFICE -- DAY The Bureaucrat looks at Isabel. All of her. INSPECTOR Isabel, I could n't possibly sign those documents in good conscience without talking to you about the case in detail. I realize you're in a hurry and my schedule for the rest of the day is quite full, so perhaps, if you're interested in being expedient, we could discuss the case. over dinner.\",\n \"INT. SEDAN -- DAY Isabel sits in the back with Hess. HESS Foucquet's at eight - thirty. Apparently their's a private room. Better bring your kevlar. -LRB- to the driver. -RRB- Do n't stop for that.\",\n \"EXT. PARIS STREET--DAY The driver accelerates through a yellow/red light, almost hitting DANNY AND TOULOUR Who deftly avoid getting crushed. DANNY That's not how I want to go. TOULOUR No. They walk on. TOULOUR Very theatrical of you. asking to meet here. Like we're spies meeting to do an exchange. DANNY Why are you doing this to us? TOULOUR Doing what? DANNY This is a game for you. For us it's survival. Are you that bored? I mean. TOULOUR No. I would n't do that. No. The truth is. I made a bet. Or maybe a better word is a `` wager''. DANNY What kind of wager?\",\n \"EXT. PARIS CAPE -- DAY Danny and Toulour sit across from each other. The bottom quarter of the Eifel tower is visible in the background. TOULOUR A gentlemen's wager with a friend of mine - my mentor. A few months ago we were at his winter place in Nicaragua and another guest referred to me as `` the greatest thief in the world.'' I did n't object, obviously, but my mentor fell silent. Later I asked him about it. He said if I really wanted to say I was the best thief. I'd have to prove I was better than the eleven of you. -LRB- beat. -RRB- You know, the Benedict job made waves, even all the way over here. 16.3 million dollars. That's a lot of money. DANNY 163. TOULOUR Sorry. 163. Before you were found.\",\n \"INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY TOULOUR Yes, 163 million is a lot of money. It attracts attention. So, in a way, you brought this problem with me on yourselves. You're victims of your own success. DANNY Here's what I'm going to do. You tell me the name of your mentor. I'll call him up and I'll tell him that you're the greatest thief in the world. that I accept that to be true. And in return. you leave us alone, let us go about our business. How about that? TOULOUR He said you'd probably say something like that - but he said you'd probably have your fingers crossed when you said it. Danny frowns, pulls his hand out of his pocket. TOULOUR -LRB- CONT'D. -RRB- So in this situation - for the purposes of my wager - words are n't good enough. I have to prove this on the ground. DANNY This mentor of yours. was he a good thief in his day? TOULOUR Who, LeMarc? Danny swallows. DANNY Yeah. Him.\",\n \"INT. PARIS HOTEL ROOM -- DAY Angle on the group - they're slack - jawed. LIVINGSTON Who? Yen says something. RUSTY I thought so too. SAUL LeMarc. The LeMarc. Danny nods. SAUL God hates me. He hates all of us. FRANK Hell, this could go on forever. DANNY No. It's going to be settled by one more job. A single object. SAUL Whatever it is, let's just let him have it. DANNY We ca n't. LIVINGSTON Because of pride? DANNY Because we beat him, he'll pay Benedict off. A stunned beat. FRANK -LRB- new lease on life. -RRB- Now we're talking. BASHER One score, for the whole thing? LIVINGSTON What do we have to do? I mean, is it a fair bet or is it like. the Coronation Egg or something? Danny points. That's it. That's the one. SAUL He wants us to steal the Coronation Egg! BASHER That's just. that's. what is that? SAUL The Holy Grail. RUSTY Carl Faberge, the greatest goldsmith in history, constructed the Coronation Egg in 1896 for the wedding of Czar Nicholas and Alexandra. Every world class thief in the last 108 years has tried to steal it. No one has even come close. SAUL That's because it's cursed. LINUS What? SAUL It's un - stealable. DANNY It's the only thing in LeMarc's entire career that he went after but failed to get. He tried three times. A long beat of silence. DANNY We get the egg and we're free. BASHER That's great, except we ca n't get it. SAUL It's not possible. DANNY Then we go to jail. A beat. VIRGIL Well. where is it now?\",\n \"EXT. ROME, ITALY PRIVATE AIRPORT -- DAY The SMALL, SECURE BOX is being taken off a plane. Another motorcade forms and escorts the vehicle into the city.\",\n \"EXT. STREETS OF ROME -- DAY The motorcade is completely stopped in traffic. In a nearby sedan, Isabel sits next to an Italian CARABINIERI LIAISON of same sort. Hess is in the front seat. ISABEL I'm going to need surveillance on both hotels, phone taps, room bugs, people in the lobby and by every exit. CARABINIERI OFFICER Yes, absolutely. ISABEL If I had to guess I'd say I'll need at least 25 people, a dozen vehicles. and an on - call air unit. CARABINIERI OFFICER Yes, absolutely. ISABEL Okay, one more thing, and this is crucial : these guys are extremely, sophisticated at avoiding electronic surveillance, so we'll need real state of the art stuff. I'm talking synthetic aperture pinhole cameras, wave reformation mics with a high Plank coefficient and a passive input structure - You're not writing anything down ; are you sure you're getting all this? CARABINIERI OFFICER Yes, absolutely. ISABEL Okay. Good. Now what time am I meeting Captain Giordano? A beat. CARABINIERI OFFICER -LRB- tentative. -RRB- Yes. ISABEL No, what time? Another beat. CARABINIERI OFFICER Yes. absolutely. Isabel looks right at him. ISABEL I see. so. you've spoken with the Pope and he's okay with autographing my breasts? Hess turns around. CARABINIERI OFFICER Yes, absolutely. Isabel sighs loudly and sinks back into her seat.\",\n \"EXT. STREETS OF ROME -- DAY The motorcade arrives at the Museum of Modern Art. We follow armored car and continue on to find Danny walking up the front steps.\",\n \"INT. MUSEUM OF MODERN ART -- DAY Angle on Livingston as he subtly nods at something in the distance. Danny is standing next to him. DANNY What am I looking at? LIVINGSTON A TR354 infra red motion detection system. It's the gold standard. DANNY Saul and Linus back yet? LIVINGSTON No. DANNY No? LIVINGSTON And I ca n't find Rusty.\",\n \"INT. MUSEUM -- ELSEWHERE Frank and Yen look at an `` authorized - entry only'' door as a member of the museum staff goes through it. The door has a complex double - locking mechanism that would make it impossible to pick. Yen says something in Chinese. FRANK What? Yen says something in Chinese, again. FRANK Well, I do n't know, but that's one nasty lock. Danny approaches. DANNY Seen Rusty? FRANK We thought he was with you. Danny moves off.\",\n \"INT. MUSEUM -- ELSEWHERE Basher is being questioned by Danny. BASHER Not since we first got here. About an hour ago. Danny moves away. BASHER -LRB- cont'd. -RRB- -LRB- to Danny's back. -RRB- And where's Saul and Linus?\",\n \"INT. ROME HOTEL ROOM -- DAY Isabel enters her room. Suddenly she spins and draws her pistol. Her gun ends up in Rusty's face. ISABEL Jesus, Robert. I could've killed you. He shrugs. A long beat as she takes a look at him. RUSTY I'm older. ISABEL I hope so. What are you doing in my room? RUSTY I thought maybe we could get some coffee. ISABEL No, thanks. RUSTY Okay, how about a two week trip to Zanzibar? ISABEL Please do n't. RUSTY Fine, coffee then. Whatever you say. Isabel gives an exasperated sigh. ISABEL Why do I want to have coffee with you? RUSTY How should I know? sorry about your mom. Isable nods. RUSTY -LRB- cont'd. -RRB- She was a real. ISABEL She hated you. RUSTY Well, she was nice enough to hide it from me. Some people ca n't even do that. ISABEL She hated everybody. Rusty nods. He remembers. ISABEL You'll never get it by the way. RUSTY Get what? ISABEL You'll think you've got it, you'll be so close that you'll be able to taste it and then this guy, the Night Fox or whoever he is, will just take it - right out of your hand - just like he did in Amsterdam. He's as good as LeMarc. RUSTY It's not possible. ISABEL You're in a bubble. Rusty looks at her.\",\n \"INT. ROME WAREHOUSE -- DAY A mock up of the room the egg will be displayed in. A dummy egg sits on a cradle in the center of the room. Infra - red motion detectors cover the room. Motion sensitive lasers shine directly onto the egg. Danny, Basher, Yen, Frank, and Livingston try to figure out how to get around the security systems. LIVINGSTON -LRB- IN THE BACKGROUND. -RRB- No, that wo n't work either. The IR will pick it up before you even get close. This is depressing to everyone. FRANK Look, if we're having this much trouble, and we've got ten guys Toulour must be pulling his hair out. INTERCUT - EXT.. POOLSIDE - DAY Toulour lies in a lounge chair. BACK TO SCENE - INT. ROME WAREHOUSE - DAY The group agrees Toulour must be suffering like them. Rusty strides in. Everyone looks at him. He looks at the mock up of the egg. RUSTY Would you call that bubble - shaped? DANNY What? Rusty shrugs it off. RUSTY She pulled a gun on me. He sits. RUSTY -LRB- cont'd. -RRB- She wo n't back off. FRANK Are you back on? RUSTY I'm selling. She ai n't buying. DANNY More importantly, what kind of reception is the Italian Police giving her?\",\n \"INT. ROME POLICE HEADQUARTERS -- DAY A SUBORDINATE OFFICER leads Isabel down a hallway. SUBORDINATE OFFICER Captain Giordano is handling an urgent interrogation. He'll be up as soon as it is completed. Please wait in here. He leads Isabel and Hess into the Captain's office. A large clock on the wall reads 11:45 am. The open windows in the office look out onto one of Rome's famous courtyards. Captain Giordano stands with three other officers. They are having a loud, tense conversation in Italian. Isabel watches as Giordano's temper really flares. He jabs his finger at one of the other cops. CAPTAIN GIORDANO -LRB- SUBTITLED. -RRB- Naples sucks! They're a joke! The only decent player they have is Pasqualli - and he's a pussy. ITALIAN COP 1 -LRB- SUBTITLED. -RRB- Pasqualli runs circles around Bologna's backfield every time. ITALIAN COP 2 -LRB- SUBTITLED. -RRB- Pasqualli could single - handedly - Isabel turns to the officer who escorted her in. ISABEL What are they talking about? SUBORDINATE OFFICER It's an internal matter, Madame. Isabel and Hess look at each other.\",\n \"EXT. COURTYARD -- DAY The Captain continues to argue. Those involved in the discussion are being brought lunch.\",\n \"INT. CAPTAIN GIORDANO'S OFFICE -- DAY Isabel's sitting on the couch now, her eye lids drooping. Hess checks his PDA. ITALIAN COP 3 -LRB- O.S., SUBTITLED. -RRB- - and her friends could trounce NapIes! The clock on the wall reads 2:20 PM. Isabel's been here two and a half hours.\",\n \"INT. ROME WAREHOUSE -- DAY Livingston, Yen, Danny, and Rusty are experimenting with a way for Yen to drop from the ceiling so that he's hanging right over the egg. Their mock - up alarm rings. A red light flashes. LIVINGSTON Damn - it. Danny rubs his face. This is feeling impossible. He goes into the corner and clicks a walkie - talkie. in the background we see Rusty trying to keep everybody's spirits high. RUSTY All right, okay. Let's not be defeatists. What about that mirror trick that Akimbo tried at the - LIVINGSTON - There's no mirror thin enough to avoid tripping the lasers. In the foreground, Danny on the walkie - talkie. DANNY What's he doing now? VIRGIL -LRB- RADIO V.O. -RRB- Nothing. Just reading the papers at a cafe. Oh, no, wait. A woman just sat down next to him. He's getting her phone number. TURK -LRB- RADIO V.O. -RRB- Wow. What are those? VIRGIL -LRB- RADIO V.O. -RRB- Jimmy Chu. TURK -LRB- RADIO V.O. -RRB- I've never seen that color. DANNY -LRB- into walkie. -RRB- Okay, take it easy over there. Saul and Linus enter. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. SAUL We gave'em the shake. Caught'em napping.\",\n \"INT. CAPTAIN GIORDANO'S OFFICE -- DAY Isabel is asleep on the couch. It's 5:30 PM. A hand taps her shoulder. She wakes up and is shocked to see Captain Giordano, finally, standing above her. SUBORDINATE OFFICER -LRB- doing the introductions. -RRB- Captain Giordano, Rome Police Special Investigations. Isabel Lahiri, Europol, Major Theft Task Force. The Captain nods. Isabel looks over at Hess, who is still asleep. MOMENTS LATER Isabel and the Captain are alone now. Giordano is looking right into her eyes, with laser focus. There is n't even a hint of lasciviousness about him. He's all business. ISABEL reason to believe these men. -LRB- lays out photos of Danny, Rusty, and Toulour. -RRB-. are going to try to steal the Coronation Egg when it is actually put on display next week. I need official authorization to surveil and pursue these suspected criminals on Italian soil. CAPTAIN GIORDANO Yes, absolutely. ISABEL And I'll need substantial resources from your department. Can I count on that? CAPTAIN GIORDANO Yes, absolutely. Isabel stops. Starts to wonder. ISABEL So, Captain, what do you think of my skirt? He smiles and looks at her. CAPTAIN GIORDANO I think it's very beautiful. Why, do n't you like it?\",\n \"EXT. ROME CAFE -- DAY Danny and Toulour. A waiter brings them coffee, Danny SPOONS in a lot of sugar, then stirs. TOULOUR I do n't usually call for a second date. For you I make an exception. DANNY Thanks. TOULOUR I think it's good that we talk. You see, you should stop following me. You're wasting your time. I'm going to let you go first and get caught. Then they will increase the security even more, and then I will steal the Egg. Then Lemarc can make his decision. DANNY You sound confident. TOULOUR Confident? This is a very American word. I am arrogant. There's a difference. DANNY Does n't matter if you're that good. Are you that good? TOULOUR I can move objects with my mind. Danny just looks at him. TOULOUR You do n't believe it? DANNY Do you? TOULOUR Are you done stirring your sugar? Danny stops, lifts the spoon. It's completely BENT. DANNY That's fantastic. -LRB- starts to go. -RRB- Listen, I appreciate the call, and, best of luck. TOULOUR Danny. I'm serious. Sit down, please. Danny site down and looks at him. DANNY You're telekinetic, is that what you're telling me? TOULOUR Yes. But. it's a curse. A nightmare. Everything is too easy. But then LeMarc says I'm still not the best. So I take his challenge. And you will fail, and I will win, and so what? What does it prove? What is he trying to show me? Danny just looks at him.\",\n \"INT. CAPTAIN GIORDANO'S OFFICE -- DAY CAPTAIN GIORDANO Ms. Lahiri, you're in Italy now. We are a sovereign nation. We're not some adjunct, some administrative district of the EU. When Europol calls we do n't jump up and tap dance for you. If you want to work in Italy, then you have to do it under Italian authority. and that means you have to talk to Commander Andriotti. who, I'm sure, will be happy to meet with you some time next week - ISABEL Next week! CAPTAIN GIORDANO - when he returns from vacation. Isabel slumps back into her chair. Stares up to the heavens.\",\n \"INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY Isabel and Hess walk. HESS He said he has to get approval from someone else and they're on sick leave. ISABEL Vacation. HESS Sorry I fell asleep. ISABEL We both did. I'm exhausted.\",\n \"EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY An exasperated Isabel tries to regain her equilibrium with a cappuccino. A piece of music comes over the cafe loudspeaker that catches Isabel's attention. A CHEESY WAVY SCREEN ISABEL'S FLASHBACK Years ago. Isabel's sitting at the very same cafe reading the newspaper when she hears frantic police whistles. She looks up to see a man running down the street at full bore. As he gets closer we realize it's Rusty. Eight cops are chasing him. Rusty rushes past the cafe. As he does he notices Isabel, they make eye contact. Then he's gone. Sprints around the corner. The cops rush past her. She hears sirens converging from all directions.\",\n \"INT. POLICE HEADQUARTERS (STILL IN FLASHBACK) Isabel shows her Europol identification to a detective. ISABEL Hi, this is n't official business. Actually, I'm here on vacation. But I was sitting in a cafe this afternoon, near the Piazza Navona and. the police were chasing someone on foot. I was just wondering if you caught him or. do you know anything about that case? ITALIAN DETECTIVE I know the case, yes. Unfortunately, we did n't catch him. ISABEL Oh.\",\n \"EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK) Isabel sits in the same seat the next day, reading the newspaper, enjoying her vacation. She looks up and stops cold. Rusty, all cleaned up now, dressed in a perfectly - tailored suit, sits down three tables away from her. She stares at him. Ca n't believe it. The brazenness. The audacity of this guy. Rusty does n't seem to have a care in the world as he chats easily with the waiter, in Italian. Finally, Isabel just ca n't help herself. She gets up and walks over to Rusty's table. ISABEL Excuse me. RUSTY Yes. ISABEL Um. Did I? I think I saw you. yesterday. RUSTY Oh yeah? ISABEL The police were chasing you. RUSTY You sure your eyes are n't broken? ISABEL I'm quite sure it was you. RUSTY Well, then I'm not gon na argue. Can I buy you a coffee?\",\n \"EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY We transition back to the cafe. Isabel's phone rings. ISABEL Hello. RUSTY We've got to stop meeting like this. She turns. He's sitting at the table behind her.\",\n \"EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER Isabel and Rusty are being quiet for the moment. The waiter's in the midst of an animated discussion in Italian with one of the customers. ISABEL What are they talking about all the time?! RUSTY Soccer. -LRB- translating. -RRB- He does n't like Naples. thinks they're a bunch of. sissies. -LRB- turns to Isabel. -RRB- Can I ask you a question? -LRB- off Isabel's nod. -RRB- Will you come to Zanzibar with me on Friday? ISABEL Stop it.\",\n \"INT. ROME WAREHOUSE -- DAY Danny sleeps, sitting up, in a chair as the rest of the group tries to figure out how to defeat the security systems around their mock - up egg. The group breaks into applause startling Danny awake. LIVINGSTON We did it! It works! DANNY What, what happened?\",\n \"INT. ORNATE HALLWAY -- DAY TIGHT MEDIUM shot on uniformed National Police officer as he strides down the hallway. His bearing is disciplined, stern, formal. He is clearly handling a matter of utmost importance. Tilt down to reveal he is carrying a tiny cup of CAPPUCCINO.\",\n \"INT. ORNATE OFFICE OUTER OFFICE -- DAY The National Police Officer blows through, passing Hess.\",\n \"INT. ORNATE OFFICE -- DAY Isabel sits with Commander Andriotti. The office door swings open and the National Police officer walks in. He places the cappuccino on Andriotti's desk and leaves.\",\n \"INT. CAPTAIN GIORDANO'S OFFICE -- DAY Giordano sits with his feet up on his desk, smoking a cigar. The door swings open and Isabel strides in, catching him completely off guard. She thrusts a piece of paper in his face. CAPTAIN GIORDANO What's that? ISABEL An order signed by Commander Andriotti instructing you to `` provide any and all support that Agent Lahiri requests, whenever she requests it.'' He looks at it. CAPTAIN GIORDANO It's good, yes. Okay. He looks at her. CAPTAIN GIORDANO That's a very nice blouse you wear today.\",\n \"INT. MUSEUM --DAY Linus and the Malloys walk through the museum. LINUS When Dominique goes back with Thomas to check the trunk, the money should n't be in the briefcase. Franklin should have double - crossed them. VIRGIL That could be a great moment, when he's on the ground. TURK And you think Thomas is going to get blown up. VIRGIL Hey. They look. A large group of Security people are talking to some NEW TECHNICIANS and ISABEL. ISABEL Another camera here and here. And have a guard here at all times so any attempt to disable the system will be detected. All your IR devices need to be fitted with reflective faces otherwise a UV later can be used to burn the sensors out.\",\n \"INT. ROME WAREHOUSE -- DAY The guys look glum. LINUS She just walked in there like Patton or something. She's changing. everything and - There were so many cops with her. I've never seen so - Danny plats up his hand to stop him. LINUS I do n't understand. If her father was a thief. why's she such a hardass? I mean you'd think she'd have a little sympathy for us. RUSTY When she was twelve her mother told her that her dad got arrested doing a job in Russia and died in jail. -LRB- beat. -RRB- So I would n't count on much sympathy. BASHER `` This time it's personal''. Danny looks to Rusty, who nods.\",\n \"EXT. MUSEUM OF MODERN ART -- DAY Fourteen police cars parked in front of it. Isabel stands at a police checkpoint on the road in front of the museum chatting with Captain Giordano, who's clearly brown - nosing her big - time since receiving Andriotti's order. Her phone rings. She looks at the number and answers it. ISABEL What do you want? RUSTY -LRB- V.O. -RRB- Ever heard of overkill? ISABEL I do n't even think Toulour can get it now. RUSTY If he gets it, we'll let you arrest us. If we get it, you come away with me to Zanzibar - ISABEL What is your obsession with Zanzibar?! RUSTY Do you want to make the bet or not? ISABEL I'm hanging up. Stop calling me.\",\n \"INT. HOTEL LOBBY -- DAY Isabel crosses to the elevators.\",\n \"INT. ISABEL'S HOTEL ROOM -- DAY She enters. Shuts the door behind her. Then, instantly, starts balling.\",\n \"INT. ROME WAREHOUSE -- DAY Danny and Rusty stand with Livingston. LIVINGSTON I'm telling you, with everything she's done in the last twenty - four hours. unless you happen to be best friends with the head of security at the museum, unless you are someone he knows and trusts enough to leave alone in the gallery, after disabling about half of their security system, forget it. We are not stealing that egg. DANNY `` Someone he knows. Someone he trusts.'' `` Someone he knows.'' RUSTY What about someone he does n't know but trusts? DANNY For instance? RUSTY I'm talking about you know who, who looks an awful lot like you know who. Everyone looks at Danny. DANNY She might. It's not going to be easy getting her over here.\",\n \"EXT. DEPARTMENT STORE -- DAY Tess walks down the street. She passes an alley, where a utilities truck is raising a MAN IN A BUCKET. She enters the department store.\",\n \"INT. DEPARTMENT STORE -- DAY Tess shops for perfume. The Power twins watch her from a discreet distance. She smiles at them. Then makes her way to the ladies room.\",\n \"INT. LADIES ROOM -- DAY She walks in and goes right for the window. She's about to open it when it opens from outside. She jumps a mile until she sees that BRUISER is there, standing in the bucket from the utilities company. BRUISER Hiya, Tess. Just climb on through. Try not to look down too much.\",\n \"EXT. DEPARTMENT STORE -- DAY Four stories above an alleyway. Tess climbs out the ladies room window into the cherry picker basket, with Bruiser's help.\",\n \"EXT. STREET LEVEL -- A MINUTE LATER Tess climbs into a taxi cab. Reuben - in an anachronistic taxi driver's uniform - is driving. REUBEN There's make - up in the bag there. And some photos. Do the best you can.\",\n \"INT. THE POSHEST ROME HOTEL -- DAY The HOTEL MANAGER comes to the front desk to answer a call. HOTEL MANAGER Bonjourno. Yes. Yes. Oh. oh, really. Well, absolutely. We can have. I can make our presidential suite available. No, no, no. No trouble at all. We'd love. We're honored that she'd think of us. He hangs up. Turns, elated, to his front desk staff. HOTEL MANAGER -LRB- SUBTITLED. -RRB- Julia Roberts is coming to stay with us!\",\n \"EXT. POSHEST ROME HOTEL -- DAY Tess, as Julia Roberts, steps out of a Mercedes limo wearing sunglasses and carrying a puppy. Frank and Basher, as Nation of Islam bodyguards, clear a place in front of her. Reuben trails, dressed in the latest hip - hop clothes. A throng of fans and paparazzi rush toward her. Strobes blind us. Fans scream out her name, thrust paper and pen at her for autographs. It's a frigging madhouse. PRESS Ms. Roberts! Ms. Roberts! Why did you come back to Rome so soon! TESS I. uh. PRESS Was it to see Topher? TESS To see what? PRESS Topher Grace! Your co - star! Is that why you're here?! TESS Oh. No. I came to - to see the - PRESS Where's Danny? TESS What? PRESS Danny, your husband! TESS -LRB- looks to Reuben. -RRB- Well, he's not really - REUBEN Ms. Roberts is very tired! Please let her through! Please!\",\n \"INT. PRESIDENTIAL SUITE -- DAY Tess enters and shuts the door behind her. She takes a deep breath and exhales. She looks up at Danny, who's there waiting for her. TESS I ca n't do this. Danny goes to her. Kisses her. Hugs her. When he steps back he answers : DANNY Yes, you can. TESS I'm not an actress, Danny! And I do n't look like her! DANNY You do, Tess. You really do. I never told you that before, but it's true. TESS Come on : my. She notions at her body, but we ca n't tell what part. TESS And my. She motions at her body again ; again it's totally ambiguous what part. TESS And my ears. Anybody who sees my ears is going to know instantly. DANNY Nobody's looking at your ears. TESS Yes, Danny, they are. They're going to know.\",\n \"INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY Isabel stands with the MUSEUM DIRECTOR. ISABEL When did that happen? MUSEUM DIRECTOR We just found out. I arranged a private showing for tomorrow morning before we open the show to the public. ISABEL I do n't understand, why do you have to disable any of the systems - MUSEUM DIRECTOR Because she might want to get close to the egg, got right up here and look at it. And I'm not going to embarrass myself or this institution by telling her she ca n't. ISABEL She's an actress, Giovanni, not the Pope. MUSEUM DIRECTOR Do you realize how much free publicity we'll get for this museum, just because she because she decided to come by and look at the egg? She's even agreed to do a photo shoot for us promoting the museum. Isabel gives an exasperated sigh. ISABEL That's exactly the sort of thing. INTERCUT - INT. WAREHOUSE - DAY Saul, Frank, and Rusty sit on plush couches and watch Isabel's conversation with the museum director from six different angles. Clearly, Livingston has tapped into the museum's closed circuit system. ISABEL -LRB- TELEVISION V.O. -RRB- that the people I'm after will exploit. -LRB- thinks. -RRB- Okay, fine. You want to shut down half the electronic system, let me post eight cops in the room. Saul, Frank, and Rusty clench teeth and fists. On pins and needles for a moment. If the museum director agrees they're in big trouble. MUSEUM DIRECTOR -LRB- TELEVISION V.O. -RRB- Are you crazy? That's worse than. you want me to treat her like a criminal? The guys relax back into the couches, their plan narrowly having escaped disaster. ANOTHER ANGLE On Saul, Frank, and Rusty relaxing. Only this angle has a digital quality to it - because we are watching them now through a hi - def TV screen. PULL BACK to REVEAL Toulour, sitting in a warehouse of his own, watching his own surveillance footage of both our guys' warehouse and the museum's closed circuit system. MUSEUM DIRECTOR -LRB- TELEVISION V.O. -RRB- Look, if you need to do something to reinforce security during her visit, fine. But it's got to be out of sight. And it ca n't effect Julia in any way. Are we clear?\",\n \"INT. ROME BISTRO -- DAY Toulour eats with a beautiful woman. Virgil sits six tables away, keeping an eye on him. Turk strolls in and sits with his brother. TURK Where is he? VIRGIL -LRB- points at Toulour. -RRB- There. I took a look at the interrogation scene. TURK Why? VIRGIL'Cause Linus said it was repetitive. TURK It clarifies everything. VIRGIL He said it's too on the nose. TURK What's he, the head of the studio? What's he ever written? VIRGIL He's just saying - Oh, no - TURK What? VIRGIL It's not him! Turk spine to see `` Toulour'' get up at the other table. Only it's not Toulour. It's somebody who looks like Toulour from behind. TURK What! How did you - You moron! You said you were watching him the whole time! VIRGIL I was! I mean, I used the bathroom once, but it was quick. You lost him yesterday! They sit for a minute. TURK Livingston said Frank said that Rusty said that Danny said Toulour said do n't ever bother following him.\",\n \"INT. RUSTY'S HOTEL ROOM -- NIGHT ON Rusty - the blue light of an unseen television reflecting off his face. He walks onto the balcony. We follow Rusty down a hallway. He enters a dark apartment. Slips silently through the dining room. Two places are set. A candle on the table is burned down to almost nothing.\",\n \"INT. BEDROOM -- NIGHT The lights are out here too. But Isabel's still awake. Rusty enters the room. She does n't look at him RUSTY I'm sorry. ISABEL What happened? RUSTY I have to go. Right now. I have to leave the country. It could be a while. A month. Maybe more. Isabel turns to look at Rusty. She can barely see the outline of his face in the darkness. ISABEL What are you saying? What the hell are you saying? Where are you going? RUSTY I ca n't tell you. Isabel stares at his dark face. ISABEL When people start talking the way you're talking there are only two possibilities : you're either in intelligence or you're a criminal. And no one I work with has ever worked with you. or even knows your name. RUSTY You knew what I was the day you met me, Isabel. ISABEL Robert. RUSTY We can talk about it when I get back. ISABEL No, Robert. I have to tell you something. RUSTY What is it? ISABEL I'm taking the job. I'm moving to Amsterdam. He does n't respond for a moment. RUSTY I ca n't have this conversation right now. Please, Isabel. I have to get out of here. I love you. He kisses her then leaves.\",\n \"EXT. APARTMENT -- NIGHT Outside the front of the apartment, he shuts the door and turns toward us. We see his face in the light for the first time : His left eye is swollen shut. Blood is caked into his hair and on his cheek. Somebody beat the shit out of him. BACK IN THE PRESENT DAY Rusty is still on the balcony. There's a knock at the door. He opens it to see Isabel. ISABEL You want to walk?\",\n \"EXT. ROME -- NIGHT Rusty and Isabel sit on the steps of the Campidoglio. ISABEL I know how you're planning to do it. I know Julia's visit is the key. RUSTY Who's Julia? ISABEL -LRB- after a beat. -RRB- LeMarc knew when to get out. He just quit. with his perfect record intact. Now he's a legend. -LRB- exhorting. -RRB- Do n't do this. RUSTY LeMarc quit because he was 75 years old, Isabel. He was tired. His doctor told him if he did n't start taking it easy he was going to have another heart attack. You're dramatizing it. ISABEL You do n't know why LeMarc retired, any better than I do. You have no idea. RUSTY Actually, I do. I know exactly why. ISABEL Really? How's that? RUSTY He told me. ISABEL -LRB- skeptical as hell. -RRB- You know LeMarc? RUSTY A little. ISABEL Since when? RUSTY Ten years ago. ISABEL For how long? RUSTY For six months. ISABEL You - She's so mad she can hardly speak. ISABEL You knew LeMarc? You knew LeMarc and never told me? That's the worst thing you've ever done to me. Nobody knows more about LeMarc than me. How could you do that? RUSTY I could n't tell you, then. ISABEL Really awful. Isabel thinks. ISABEL Then why are n't you as good as Toulour? Rusty shrugs. A beat. ISABEL I do n't want to arrest you, Robert. I really do n't. But I will if you make me. I will if you go for that egg. Rusty goes silent, looks out at the lights of the city. ISABEL So many times, I waited. You ca n't do that to a person. RUSTY Isabel - ISABEL I have to go. Isabel gets up. walks away fast. She's barely holding herself together. Rusty watches her go. Several seconds, then : FLASHBACK - INT. APARTMENT BUILDING - ROME - DAY Rusty carries a huge bouquet of flowers up the stairs to the front door of his apartment with Isabel. It's a perfect sunny day outside. He unlocks the door quietly and swings it open to see the apartment is bare. The furniture is still there. But nothing else. Nothing on the walls or the shelves. Isabel has clearly moved out. Rusty's whole body reacts. He slowly looks around him, as if in a dream. His eye goes to the dining room table. Isabel's engagement ring is there. BACK TO SCENE - EXT.. ROME - CAMPIDOGLIO - NIGHT Rusty is still watching Isabel, small now in the distance. She turns the corner out of sight.\",\n \"EXT. MUSEUM OF MODERN ART -- DAWN Isabel pulls up in her car.\",\n \"INT. MUSEUM OF MODERN ART -- DAWN The Egg is being put into position. Isabel watches.\",\n \"INT. HOTEL SUITE -- DAWN Reuben is talking to Yen. Frank and Livingston get ready in the background. REUBEN You're a photographer. Very exacting. You want things a certain way, but you never raise your voice. You're uncompromising. Strong. FRANK Reuben, what are you doing? REUBEN Oh, we understand each other. I'm mean, the actual words are gibberish to me, but I know what he means. There's a tone, you know. We communicate. I'm sure he'd tell you the same thing. -LRB- to Yen. -RRB- Am I right? Yen says something in Chinese.\",\n \"INT. HOTEL SUITE -- DAWN Danny and the Malloys are looking at Tess's hair. TURK I say we do a Joey Heatherton, 1971. VIRGIL It's the wrong color. Turk looks at his watch. TURK Damn. There's a knock at the door. They let Tess check on it. She looks out the keyhole ; It's TOPHER GRACE. Tess looks back to the group and shrugs. TOPHER -LRB- off. -RRB- Hello? He knocks again. The group scrambles and hides. Tess opens the door. TOPHER Hey! I got your room number from McCormick, I hope you do n't mind. He walks in and hugs her. She looks terrified. Topher disengages and looks around. TOPHER This is great. Do you have the adjoining room? TESS Uh, no. TOPHER Oh. Hey. I saw the rough cut of YOU ALWAYS, YOU NEVER. It's so awesome. Congratulations. TESS Oh. Thank you. TOPHER It was just like a dub of a lo - rez output, but I could totally see what you were doing. I think you might win again. Seriously. TESS Oh. TOPHER It really actually looked like you were blind. How did you do that? What is it like, an on - set thing, or was it digital? TESS It was, uh. TOPHER You can tell me, I wo n't tell a soul. Because if you say it's instinctual, I'm quitting right now. Seriously. The way you parted your hair? That was so connected. And that scene with the matches? And when you find out who your real grandmother is and run through the rain and find her on the porch and touch her face? Man, that was. you got ta tell Steven how much I loved it. TESS Okay. TOPHER So what are you doing? TESS I'm, uh, getting ready to go out. TOPHER -LRB- laughs. -RRB- I mean next. What movie are you doing next? TESS I. I'm having trouble deciding what to do next. TOPHER Is Danny working? TESS Danny. Danny is. Danny is. TOPHER Oh, no. Is something wrong? Have you two. TESS No, no. TOPHER I'm so sorry. I'm so sorry. TESS No. we're absolutely fine, he's just - TOPHER I've got to stop asking people about their spouses, it's like always a mistake - TESS No, really - TOPHER Listen, I wo n't say a word. Seriously. I'm rooting for you guys, you know that. This is your private business and I totally respect that. No more Danny questions from me. TESS Thank you. He's fine. Danny's fine. He's working. TOPHER Hey, cool, whatever. That's what I'll say. A beat. TOPHER So can I come look at that Egg with you?\",\n \"INT. MUSEUM -- ENTRY HALL -- DAY Reuben -LRB- dressed in a hip - hop outfit -RRB- and Linus -LRB- dressed like an agent -RRB- stand in front of some paparazzi. A crowd of museum employees also rubberneck. REUBEN My name is Stuart Feldman, Worldwide Executive Senior Vice - President of Marketing, Corporate Senior Vice - President of Publicity and Corporate International Executive Worldwide President of Promotion for the Warner Brothers Motion Picture company. -LRB- indicating. -RRB- My colleague, Grant Wells, who is responsible for Ms. Roberts itinerary, has graciously set aside time for Ms. Roberts to view the Coronation Egg privately.\",\n \"INT. SECURITY ROOM Isabel, the Security Director, and Captain Giordano sit with four cops watching a bank of closed circuit screens. ISABEL I want to be on record as saying that you should have shut the entire museum down. Isabel keeps her eye on the tourists who circulate through the other wings of the museum.\",\n \"INT. MUSEUM -- ENTRY HALL -- DAY `` Julia'' arrives flanked by her `` Nation of Islam'' guards, Frank and Basher. The assembled employees clap and call her name. She waves as they take her picture. Topher throws his arm around Julia to make sure he gets in all the shots. The Museum Director comes up to greet `` Julia''.\",\n \"INT. SECURITY ROOM Isabel watches the security camera feeds. ISABEL There! Right there! Isabel points at a screen showing the museum's other entrance. Rusty nonchalantly slips into the museum.\",\n \"INT. GALLERY CONTAINING THE CORONATION EGG -- DAY `` Julia'' enters and walks up to the egg. Her entourage follows. TESS It's so beautiful. My God. Topher looks at the egg - TOPHER Kinda small. He turns away to look a cute girl on the museum staff. TOPHER Hi. BACK ON `` JULIA'' She leans in close to the egg. TESS I'm not going to set off any alarms? MUSEUM DIRECTOR No. No. Get as close as you like. Reuben pops his head in between them. REUBEN -LRB- obsequious. -RRB- Julia - unless you have any objections - Wen and his crew set up for the publicity stills.\",\n \"INT. ANOTHER PART OF THE MUSEUM -- DAY Rusty ponders a painting like college student trying to impress his art history professor. Finally he moves on, into another gallery. PAN to REVEAL nine uniformed cops trailing behind him.\",\n \"INT. GALLERY CONTAINING THE CORONATION EGG -- DAY Yen ENTERS FRAME - dressed like a pretentious grunge rocker. He whispers Chinese into a bullhorn. Theoretically he's speaking to his crew -LRB- Danny, Saul, and Livingston in lame disguises -RRB- telling them where to set up the camera, lights, and flags. Each `` crew member'' carries an odd - looking oversized `` light meter''. Upon closer examination we can see that each device has a small TV screen on it - which is tapped into the museum's closed circuit system. The guys are carefully placing their flags and lights so as to block the view of the egg from each of the eight cameras on the ceiling of the gallery. `` Studio Execs,'' Reuben and Linus go to `` Julia.'' REUBEN I was thinking maybe we could get you and Topher into some `` You Always You Never'' hats and t - shirts for the shoot - TESS That's stupid. REUBEN -LRB- instant reversal. -RRB- So stupid! -LRB- turns to Linus as if it's his idea. -RRB- Idiot. -LRB- gingerly. -RRB- Maybe we could put some posters in the background - TESS I do n't think we want to be so obvious - REUBEN I completely agree! -LRB- to Linus. -RRB- Stop trying to turn this into some sort of stunt.\",\n \"INT. OTHER PART OF MUSEUM Isabel struts up to Rusty. ISABEL This is n't going to work. RUSTY I do n't know what you're talking about.\",\n \"INT. GALLERY CONTAINING THE CORONATION EGG -- DAY Yen stands on two apple boxes to shoot photos of `` Julia'' and Topher. `` Julia'' looks ridiculously stiff and keeps putting her hands up to block her ears. Topher keeps shooting glances at Danny, who is moving around flags and lights, ostensibly in accordance with Yen's Chinese language orders. Julia sees Topher's expression - he recognizes Danny from somewhere. JULIA Okay, thanks everybody. Thank you so much. She starts to walk out. Topher shrugs and follows her.\",\n \"INT. MUSEUM HALLWAY -- DAY Julia and her entourage barrel down the hallway. Topher catches up. TOPHER Hey, J Ro, why the quick exit? TESS I. uh, I have to take some pills. Aspirin. I get headaches. TOPHER Yeah, well, with everything thing you've been going through I can see how you'd need something. TESS They're just aspirin. TOPHER Right. I've never taken aspirin in my life, ever. Can you believe that? TESS That's amazing. TOPHER For me, it's like a control thing. TESS Well, with aspirin. it's very beneficial. TOPHER Oh, yeah. I'm sure. They are interrupted by the sound of PIERCING SIRENS and CLANGING BELLS - all manner of alarms coming from the gallery containing the egg. Tess rushes back to the gallery just in time to see police officers pin Danny and his entire crew on the floor and against walls and start handcuffing them. She freezes. Ca n't move. Her bodyguards -LRB- Frank and Basher -RRB- grab her and move her quickly out of the area.\",\n \"EXT. ROME POLICE HEADQUARTERS -- DAY Three massive Ford Excursion SUV's with diplomatic plates double park out front, completely blocking the flow of traffic on the narrow street. Eight FBI agents climb out of their behemoths and walk inside like they own the place. The boss is a 55 year - old agent named MOLLY STARR.\",\n \"INT. LOBBY -- DAY Molly Starr steps inside with her posse. She pulls out her badge and hangs it around her neck. AGENT MOLLY STARR Who's in charge? Isabel and Captain Giordano look at her and her team with obvious trepidation. ISABEL -LRB- tentative. -RRB- I am. CAPTAIN GIORDANO -LRB- smelling trouble. -RRB- She is. Molly gives a slight nod to one of her lackeys. He thrusts an official - looking paper at Isabel.\",\n \"INT. \\\"OBSERVATION \\\"HALLWAY -- DAY Molly swaggers down a hallway, followed by Isabel and Giordano. She stops at an observation window and looks through it to see Danny, who is handcuffed to a chair, awaiting interrogation. His expression is impassive. She moves on to the next window : Yen. Same impassive expression. She continues down the line, Reuben, Livingston, and Saul. Each has the same impassive expression. Through the final window she sees Linus. He's nervously tapping his foot. Molly smiles sadistically. AGENT MOLLY STARR Oh, yeah. I'll start with him.\",\n \"INT. INTERROGATION ROOM -- DAY Molly sits face - to - face with Linus. Isabel and Captain Giordano stand in the corner and observe. AGENT MOLLY STARR When people think of Italy they think of food, wine, the Renaissance. They do n't realize Italy has the scariest prisons in the civilized world. You know why? They're all leftover from the Middle Ages. They're worse than dirty ; they're damp. They're like caves. Linus ca n't look her in the eye. AGENT MOLLY STARR -LRB- cont'd. -RRB- I'm the only hope you've got. LINUS What do you want? AGENT MOLLY STARR Testify against the others in the Benedict case. LINUS I ca n't do that. AGENT MOLLY STARR Sure you can. You'll get a year, maybe two. The Italian charges will be dropped. You and the others will be extradited to the US this afternoon. A long beat. AGENT MOLLY STARR Think about those prisons. Think about living there for twenty years, getting out when you're fifty. What a catch you'll be.\",\n \"EXT. / INT. FBI SUV -- DAY Linus is bundled into the back of the SUV. Agent Starr gets in next to him. She motions to the driver. They pull out.\",\n \"EXT. POLICE STATION -- DAY Agent Starr's SUV is followed by three other SUV's and escorted by two Rome Police cars.\",\n \"INT. FBI SUV -- DAY Linus stares morosely at the headrest in front of him. A long, long beat. then he turns to Agent Starr : LINUS Did you tell Dad? Before `` Agent Starr'' answers the agent in the passenger seat turns around. It's Clint Eastwood. CLINT Of course she did. We're married, for God's sake.\",\n \"INT. HOTEL SUITE -- DAY Tess waits. A key sounds in the door, and she is on her feet. She reaches Danny before he's all the way in the room. She kisses him, then remembers she's mad at him. TESS Why did n't you tell me? DANNY I could n't. TESS Why not? DANNY Because you're not an actress. You would n't have been so real. TESS I thought you were going to jail. DANNY I'm not going to jail. A beat. TESS So you do n't think I'm a good actress. DANNY You're a terrible liar. TESS I'm a good liar. DANNY Where did Benedict find you? TESS He. DANNY At your parent's house. TESS That was. okay, so I'm not a good liar. So what. You're good enough for both of us. DANNY Exactly.\",\n \"EXT. CIAMPINO AIRPORT -- DAY The motorcade of FBI SUV's pulls through the security gate and drives toward a US government Gulfstream parked on the flight line. Isabel watches with Captain Giordino and Commander Andriotti. Linus, Saul, Yen, Livingston and Reuben get out of the SUVs, all of them beaming. They hug Linus's mom and dad and mount the steps to the plane. Then Rusty gets out, says goodbye to everyone, and heads for Isabel. ISABEL -LRB- eyes go wide. -RRB- What the - Oh my God! -LRB- spins to Giordano. -RRB- Call the tower! Do n't let that plane take off! Giordano stares blankly at her. But he does n't move. ISABEL -LRB- cont'd. -RRB- Do something! Do you realize what's happening?! Do you understand what's going on?! CAPTAIN GIORDANO -LRB- deadpan. -RRB- Yes, absolutely. Isabel blinks. It takes a second to hit her. Rusty approaches. RUSTY Guys. Get on there before they leave without you. Thanks. CAPTAIN GIORDANO -LRB- speaking like an American. -RRB- Hey, no problem. Good seeing you, man. ANDRIOTTI Take care. See you back home. RUSTY Thanks, Scooter. Isabel is dumbstruck.\",\n \"EXT. TOULOUR'S VILLA -- DAY Toulour pulls up in a Ferrari. His butler gets the door for him. BUTLER How was Rome, air? Toulour answers by handing a small velvet bag to his butler -LRB- a bag just big enough to hold the coronation egg -RRB-. TOULOUR Put this in the safe, would you? BUTLER Of course, sir. Your guests are on the veranda. TOULOUR Guests?\",\n \"EXT. CIAMPINO AIRPORT -- DAY Isabel watches as the `` US Government'' Gulfstream containing all the members of Rusty's crew that she arrested at the museum taxis down the runway and becomes airborne. She turns to Rusty. ISABEL I hate you. RUSTY I love you. ISABEL This will ruin me. RUSTY No, it wo n't. Not if you come to Zanzibar. ISABEL What is it with Zanzibar? RUSTY It's where LeMarc is. Rusty points nearby at another private plane. The pilot has just opened the door and put the stairs down. RUSTY That one's ours. We can be there in three hours. A beat. RUSTY Do n't you want to meet him? He wants to meet you. ISABEL You're asking me to turn my back on my whole life. RUSTY Would you miss it? ISABEL I'm a cop. That's who I am. RUSTY You're only a cop because your father was a thief. ISABEL Who died in a Russian jail. RUSTY According to you mother. ISABEL What does that mean? RUSTY It means you should meet LeMarc.\",\n \"EXT. VERANDA -- DAY Toulour walks out to find Danny and Tess chomping on gourmet nuts and sipping his special reserve brandy. TOULOUR -LRB- to Danny. -RRB- Let me guess, you decided you did want to give my lawyer a call. But you lost his card. Toulour holds out another card to Danny. DANNY No, nothing like that. We just came to collect our money. TOULOUR Not only did you fail, half of your crew got pinched! Your plan was not good. -LRB- to Tess. -RRB- And you do n't look anything like Julia Roberts! I mean your. -LRB- motions ambiguously to her body. -RRB-. and your. -LRB- another ambiguous motion. -RRB-. and your ears. Toulour stops. Danny and Tess just look at him. Something about their demeanor is troubling. Namely, that they look completely untroubled. TOULOUR Oh, no. You stole it on the way to Rome did n't you? I stole a replica.\",\n \"EXT. PARIS BUILDING -- DAY A repeat of the shot of the SMALL, SECURE BOX being taken to a truck. The truck moves out of the garage and on to the street as before. This time the shot continues over to a door on the side of the building. A YOUNG KID emerges with a backpack over his shoulder.\",\n \"EXT. PARIS STREET -- DAY The BACKPACK KID passes another guy, a NORMAL - LOOKING GUY, who, after a beat, follows Backpack Kid.\",\n \"INT. PARIS TRAIN STATION -- DAY The Backpack Kid, followed by Normal - Looking Guy, walk through the terminal and get in line. We swing over to see Normal Looking Guy # 2 looking at them.\",\n \"INT. TRAIN -- DAY In motion. We start on the Backpack Kid, who is reading a book. The Backpack is beneath his legs. Next to him sits LINUS. Across from him is one of the Normal - Looking Guys. The other Normal - Looking Guy is a row away, facing him. Linus looks at the door of the car. SAUL Is making his way through the door. He looks drunk. LINUS Looks down at his copy of the French FHM. SAUL Gets close and closer to Linus and the Backpack Kid. LINUS Puts his magazine away. SAUL Is almost to Linus's row, he stumbles a little, almost falls. Then, with a loud WHOOSH the train goes completely dark. It's gone into a tunnel. We hear Saul's voice CRY OUT. In a few seconds, the train exits the tunnel and the lights come back on. SAUL Has fallen into the lap of the BackPack kid. Linus and the Normal - Looking Guy try to help him up. He stumbles onward and collapses into a vacant seat. LINUS -LRB- in French. -RRB- He's completely drunk. The BackPack Kid nods his head. Linus goes back to his book. We drop down to see HIS BACKPACK also beneath his feet.\",\n \"INT. TRAIN STATION ROME, ITALY -- DAY Linus walks through the terminal, backpack over his shoulder. Suddenly he stops and kneels to tie his shoelace. Saul, seeing this and reacting, splits off into another direction.\",\n \"INT. WAREHOUSE -- DAY Linus and Saul approach the group. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. BACK TO TOULOUR ON VERANDA - DAY TOULOUR But that means you knew what to steal before LeMarc proposed that I challenge you for it. That means.\",\n \"INT. RUSTY'S GARAGE -- DAY The image from the beginning of the film, with Rusty watching the boiling cask. He's talking on the phone. RUSTY Gaspar, it's Rusty. How are you? And this time we see what be is working on : A PERFECT REPLICA OF THE CORONATION EGG. In the warehouse in NYC, we see Danny and Rusty `` arguing'', but from a different angle. They are smiling as they yell : DANNY I'M TELLING YOU IT'S A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! BACK TO TOULOUR ON VERANDA - DAY TOULOUR LeMarc told you. Of course. He looks deflated. It's probably just occurring to him that he's never lost before. He sits down. TOULOUR To teach me. He is silent. Tess indicates to Danny that they should leave. Danny nods, and they rise. DANNY Well, we'll be in touch to make all the arrangements. TOULOUR No. Do n't go. Please. Toulour gets up. TOULOUR You are my guests. I will celebrate your victory. Besides, you may have noticed, I do n't like to be alone.\",\n \"EXT. VERANDA -- LATER They are toasting champagne. TOULOUR I am feeling more French by the minute. To my first depression.\",\n \"INT. TAXI -- DAY Saul and Basher ride to the airport. BASHER So I think if you really analyze it, you can see that it's inevitable. It's time for us to evolve, en masse. I have to help bring that about whatever way I can, you know. Otherwise, the trajectory is fixed. You know what I'm saying? SAUL Mmm. Yes. But I'm through evolving, I think. It's too tiring. I feel pretty evolved. You know, considering.\",\n \"INT. AIRPORT -- DAY Frank and Yen buy magazines. Yen has a copy of an ITALIAN TABLOID. The headline screams CO - STAR SAYS JULIA MARRIAGE IN TROUBLE. A sub - headline reads HER ADDICTION TO PAINKILLERS IS RIPPING THEM APART.\",\n \"INT. AIRPLANE -- NIGHT In First Class. Basher and Saul tip champagne glasses. Virgil, Turk, and Linus all crack open copies of their story to read. TURK I've got an idea for another Dominique story. VIRGIL Can we finish this one first? TURK Just let me tell it to you. VIRGIL No. TURK It's like three sentences. VIRGIL I'm serious ; you're asking too much. Virgil puts on his headset. Turk leans over to Linus and begins to speak. Linus, reading, holds his finger up. Yen reads a magazine. Reuben glances at it. REUBEN May I look at that when you're through with it? Yen says something. It would seem he is okay with that. Livingston speaks into his VOICE RECORDER. LIVINGSTON -LRB- trying to be dispassionate. -RRB- All in all, it was depressingly familiar. The forced camaraderie, the hollow smiles. Scared to take a moment's reflection. Scared to imagine a different life. We behaved like boys. -LRB- beat, he chokes. -RRB- But. He begins to weep, quietly, but very quickly regains his composure. LIVINGSTON I'm Livingston Dell. Thanks for listening.\",\n \"EXT. VILLA -- NIGHT Tess and Danny enjoy the sunrise. TESS When do you want to go back? DANNY Feel like traveling? TESS Yeah. Do n't you? DANNY Yeah. Toulour enters with THE LAST BEAUTIFUL WOMAN in tow. TOULOUR Tess. Danny. This is Monica Bellucci. And indeed it is. MONICA Hello. TESS & DANNY Hello. TOULOUR We're thinking of taking a trip to the states. Take a look around. We'd love to meet some of your friends while we're there. Actually, one friend in particular.\",\n \"EXT. SKY OVER ZANZIBAR -- DAY We follow the Gulfstream jet.\",\n \"INT. JET -- DAY Isabel looks out the window. Rusty watches her, She looks over at him, then back out the window.\",\n \"EXT. BEACH HOUSE -- DAY Stunning. Classic. Rusty and Isabel pull up. He takes her hand and leads her inside.\",\n \"INT. BEACH HOUSE -- DAY Rusty and Isabel walk through the house. RUSTY There he is. Rusty indicates the back porch. A figure sits in a lounge chair, reading a book. This is LEMARC. RUSTY -LRB- cont'd. -RRB- Gaspar! ISABEL Gaspar? That was my fa - Isabel looks to the porch just as LE MARC, her father, turns to face her. She goes to him and they embrace. ISABEL -LRB- cont'd. -RRB- Daddy. LeMarc looks to Rusty. Rusty salutes, makes a drinking gesture and heads for the kitchen. The sound of a jet takes us to A GLOBE As we rotate from Toulour's villa to LAS VEGAS, NEVADA ESTABLISHING SHOTS Of the Bellagio hotel. CUT TO A RECEIPT For a wire transfer of $ 191,507,067.37 into the account of TB ENTERPRISES. Description : `` Repayment of personal loan''. TERRY BENEDICT Staring at this receipt. He looks up. REUBEN Is opposite him. They are both being served for lunch by a JACKETED WAITER, whose face is continually obscured. REUBEN That's the exact figure, I'm pretty sure. BENEDICT Yes. REUBEN So we're clean? BENEDICT You want it in writing? REUBEN I'll take your word. BENEDICT You're clean. REUBEN These grudges, they're awful. Nobody wine. BENEDICT As soon as someone retaliates, the situation is out of control. REUBEN This way, there's no need for retaliation. Why would there be? BENEDICT There's plenty for everyone. REUBEN More than plenty. It's just a matter of sharing. BENEDICT Sharing is good. REUBEN It is. Waiter? Can I get sparkling water? It's good for my acid reflux. WAITER -LRB- off. -RRB- Of course. The waiter turns toward the bar and we see now that he is FRANCOIS TOULOUR. He's wearing a STRIPED TULIP in his WAITER'S JACKET. CUT TO BLACK THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Terry Benedict locates all eleven members of Danny Ocean's crew, demanding they return the $160 million they stole from his casinos plus $38 million interest. Short by half, the group schemes to stage another heist in Europe to avoid problems with U.S. authorities. They are tipped off by an informant named Matsui about the location of the first stock certificate ever. After a complex series of schemes, they find the document has already been stolen by the \"Night Fox\", another master thief. Europol Detective Isabel Lahiri is called in to investigate the theft and realizes that she gave Rusty the idea of how to solve a complication of the heist with a description of a similar burglary earlier during their relationship. Surprising the group at their accommodation, she warns them they cannot beat the Night Fox or his mentor, the mysterious master-thief \"LeMarc\", both of whom excel in practicing the \"long-con\". She has been hunting both for years. Danny and his gang discover the Night Fox is François Toulour, a wealthy French baron who has a villa on Lake Como. Toulour invites Danny to his villa and reveals that he had hired Matsui to inform the crew about the certificate in order to arrange the meeting with Danny. Toulour is upset that LeMarc did not describe him as the best thief in the world and challenges Danny to steal the Fabergé Imperial Coronation Egg. If Danny and his crew win, Toulour will pay off the debt to Benedict. Danny and his gang begin to plan an elaborate heist to swap the egg for a holographic recreation, but the engineer hired by the group accidentally tips off Lahiri to their presence, and she captures all of the crew except Linus, Tarr, Turk, and Saul. Linus comes up with a second plan involving Danny's wife, Tess, posing as a pregnant Julia Roberts in order to get close to the Egg and swap it. They are foiled by Lahiri and a coincidentally present Bruce Willis, and the rest of the group are captured. Lahiri is told that they are to be extradited to the United States. Linus is chosen first to be interrogated by the FBI agent assigned to collect them. It turns out that she is his mother, who organizes the release of the whole gang. She points out to Lahiri that Lahiri will face only retribution for forging a signature on a Europol form to obtain the necessary arrest warrants for Ocean's gang. Some time later, Danny and Tess return to Toulour's estate where he reveals his glee at their failure. Toulour explains he stole the egg at night using his agility and dancing skills to evade its heavy security. Toulour's celebration is short-lived when Danny reveals that his group stole the real egg while it was in transit to the museum, and Toulour realizes they were tipped off by LeMarc. A flashback reveals that Danny and Rusty had met LeMarc earlier when he revealed his confidence trick intended to humiliate Toulour, and at the same time, to restore to himself the Fabergé egg that he had stolen years ago and had returned following his wife's wishes. Toulour is forced to admit Danny won the bet and gives him the money for the debt. They pay back Benedict and promise not to perform any more heists in his casinos as Toulour is in the background spying on Benedict. Rusty takes Lahiri to a safe house that he claims has been lent to him by LeMarc. She is reunited with her father, who is revealed to be the man she has been pursuing for years: LeMarc."},"name":{"kind":"string","value":"Oceans_Twelve"}}},{"rowIdx":167,"cells":{"scenes":{"kind":"list like","value":["INT. DERELICT BUILDING - DAY WE MEET : MUMBLES -LRB- late 30s -RRB- and ONE TWO -LRB- late 30s -RRB-. They are listening to a sales pitch from two REAL ESTATE AGENTS. We SEE all the relevant pictures of their pitch explaining a changing city, LONDON. SLICK ESTATE AGENT -LRB- V.O. -RRB- Two years ago this property cost one million pounds. -LRB- we SEE building. -RRB- Today, it costs five million. The camera WHIP PANS over to another part of the building to see the other ESTATE AGENT giving his pitch. The camera will keep this back and forth for the duration of the scene. OTHER SLICK ESTATE AGENT -LRB- V.O. -RRB- How did this happen? -LRB- CUT TO relevant pictures as he speaks. -RRB- Attractive tax opportunities for foreign investment, restrictive building consent and massive hedge fund bonuses,. -LRB- beat. -RRB- London, my good man, is fast becoming the financial and cultural capital of the world. SLICK ESTATE AGENT And of course the Russians have come to town. OTHER SLICK ESTATE AGENT Makes it hard to compete with an ex - Soviet oligarch that has six billion dollars in his back pocket. They do n't haggle the price, they double the price. SLICK ESTATE AGENT Russians come, prices rise, and it does n't stop. It only goes one way. OTHER SLICK ESTATE AGENT Up. SLICK ESTATE AGENT I ca n't teach you how to skin a cat, but I can tell you a lot about the money in bricks and mortar. Like he said, it's going one way. You need to see a lawyer. One Two and Mumbles look at one another. ONE TWO We need to see a Lawyer.","INT. LAWYER'S OFFICE CUT TO a modern looking LAWYER'S office. We SEE the LAWYER advising MUMBLES AND ONE TWO. LAWYER TYPE They say it's only going one way.","EXT. STREET - DAY ONE TWO and the LAWYER are here looking at the building, it is a bit dilapidated and bleak. LAWYER TYPE It looks like a great deal.","INT. LAWYER'S OFFICE We cut back into the office where the LAWYER lays out the building plans. LAWYER TYPE These are the plans,. it costs ten and it'll be worth twenty with planning. But first you got ta give the councilor a drink.","INT. COUNCILOR'S OFFICE CUT TO the desk of a COUNCILOR -LRB- mid thirties middle management -RRB- who is receiving a brown envelope from the LAWYER. COUNCILOR -LRB- off the envelope. -RRB- Tell them they'll get the planning,.","INT. LAWYER'S OFFICE We CUT BACK to our LAWYER now smug. One Two and Mumbles are standing in front of him. LAWYER TYPE You'll get the planning. Take care of the councilor and it will move like shit through a goose.","INT. SPEELER ONE TWO We need help. MUMBLES Lenny Cole? ONE TWO Dog number one,. MUMBLES But he moves fast and he loves bricks and mortar.","INT. LENNY COLE'S OFFICE MEET LENNY COLE -LRB- 50s, dark, a little tubby -RRB-, Mumbles and One Two are here. Lenny's office is kitsch, he fancies himself as a man of class. LENNY COLE I do move fast and I love bricks and mortar, properties are always the safe bet, but you better know what you're doing ` cos this ai n't soft money. You trip up,. -LRB- beat. -RRB- And it's not me that's gon na get hurt. You got security? MUMBLES We got property. LENNY COLE Do n't let me down boys. -LRB- beat. -RRB- Come on then, give us your hand. They shake hands and sign the papers.","INT. COUNCILOR'S OFFICE The Councilor is the phone to the Lawyer. He speaks in hushed tones clandestine like. COUNCILOR -LRB- into phone. -RRB- Ca n't talk now, but there has been a problem. I ca n't get you the planning.","INT. LAWYER'S OFFICE The Lawyer is on the phone with Mumbles and One Two. LAWYER TYPE -LRB- into phone. -RRB- I'm sorry boys, ca n't get the planning.","INT. SPEELER One two is on the phone. He looks over to Mumbles. ONE TWO He ca n't get the planing. MUMBLES He ca n't get the planing?","EXT. DERELICT BUILDING Lenny is looking out to One Two and Mumbles who are standing outside his car looking very white. Lenny screams from the back seat. LENNY COLE What do you mean you ca n't get the fuckin planning? -LRB- pointing. -RRB- There is seven million of my cash in there, without planning it's worth five,. you owe me. I take the building, you lose your share, but I am still outta pocket two large ones. Find it. The window goes up and the car pulls off. Lenny picks up his phone, he dials huffing and puffing.","INT. LENNY'S CAR -- CONTINUOUS LENNY COLE Is that you Councilor? -LRB- Lenny smiles. -RRB- I hear you got that car you was after,. now, sort the planning out. COUNCILOR -LRB- V.O. -RRB- Sorted Lenny. He puts the phone down and looks over smiling. MEET ARCHY -LRB- Lenny's right hand man, 50s -RRB-. LENNY COLE What's wrong with you Arch? ARCHY That's a bit strong is n't it Len? They come from the same place as you, you'll clean'em out. LENNY COLE Same place as me? Do I look like an immigrant Archy? -LRB- beat. -RRB- No one gave me a leg up, did they? They need a bit of fear, ` cos otherwise they're gon na come up against me,. need a little lesson do n't they?","INT. SPEELER One Two and Mumbles are here, it's quiet until,. ONE TWO We got ta sell. MUMBLES And be left with what? ONE TWO Just got ta start again,. FADE OUT.","INT. CORRIDOR OF SPORTS ARENA Start CREDITS over sports arena entrance. Lenny is being walked down a corridor, the walls are lined with photographs of old soccer stars. On each side of him are two ESCORTS -LRB- ex - military types, heavy looking -RRB-. As they pass each door, we realize where ever he is going, it has to be important. The ESCORTS talk in to their microphones and to the different GUARDS on each door way. Every now and then we see the SPORTS ARENA in the back ground. At last we reach the main door to the head office.","INT. HEAD OFFICE As the door is opened we see a small crowd of MEN in suits gathered around a kind - looking MAN with bright blue eyes. He nods a couple of times. We CUT TO the front of Lenny who is clearly impressed, Mr. Blue eyes pays him no attention. The small crowd of business MEN shake hands and head to the door at which Lenny is waiting patiently.","INT. SPORTS ARENA -- DAY CLOSE UP on the back of URI -LRB- Russian Jew, 40s, slick, and well groomed, he is our Mr. Blue Eyes -RRB- overlooking his sports arena. We stay on the back of Uri's head while he is talking to Lenny. URI Glad you could join us here Lenny. LENNY COLE It's nice to see you Uri. URI Good. -LRB- there is a pause. -RRB- I can see we are very much alike you and I Lenny. We like to get things done. -LRB- beat. -RRB- What's it going to cost me? LENNY COLE First, let me make clear how much we can help you benefit from this deal. With out me, it will take you five to ten years to get the permission to erect your arena. -LRB- beat. -RRB- Second, with Government policy as it so stands we both know it's unlikely that you'd ever get that consent. -LRB- beat. -RRB- Thirdly, in legal fees, transactions and building consent, you'd be paying 6 to 12 million without any real guarantee of that result. We CUT TO Uri unfazed, he just wants the figure. URI So Lenny,. how much? LENNY COLE Seven million Euros. Still unfazed. URI I expect a guarantee that I have consent within six months and no red tape. LENNY COLE That's right Uri, you can consider that done. Pause while tension stews, then,. URI Drink! Follow me.","INT. SPORTS ARENA - PRIVATE BAR Uri walks to the bar. Lenny follows trying to contain his excitement, he's out of his league, a `` welcome to the billionaires club'' look has struck him pink. Lenny passes a PICTURE that's sat on an EASEL. LENNY COLE Oh, that's a nice picture Uri, has n't it got, errrh depth? Uri is at the bar now. He has placed one large tumbler down and is pouring a very very large measure out. URI That picture has brought me nothing but luck Lenny,. it's my lucky picture. -LRB- he has a good idea. -RRB- You like? Take it for a while, maybe it will give you luck. LENNY COLE Oh I could n't Uri,. Still absorbed with the painting. URI Now we're partners, I insist. I will get it sent around to your house and you can give it back to me when our deal is finalized. Lenny looks at the bar. Uri motions, there is a SMALL KEG of WHISKEY on the bar and only one large glass. LENNY COLE I thought you lot drunk Vodka. URI Whiskey is the new Vodka. LENNY COLE You not joining me Uri? URI I do n't drink. LENNY COLE Oh,. cheers then,. URI To success. Lenny awkwardly starts to glug as Uri looks on.","INT. LENNY'S CAR - DAY Lenny enters the back seat of his car, Archy is waiting for him in the back. ARCHY You all right there Len? You look a little pink. LENNY COLE -LRB- Flustered. -RRB- Turbo, get us a perrier and a wet wipe live - o. Lenny's panting. LENNY COLE -LRB- CONT'D. -RRB- Tried to poison me the dirty Cossack. TURBO -LRB- Lenny's driver -RRB- is fumbling around in the front seat trying to get ice into a glass from the cooler that sits beside him. LENNY COLE -LRB- CONT'D. -RRB- Stop messing about and give us the bottle Turbo. ARCHY So, how's the billionaires club? Lenny grabs the drink, desperately takes a big glug of water and wipes his face. LENNY COLE That Communism did n't seem to slow'em down did it? We've hit the big time here Archy boy! -LRB- beat. -RRB- What's wrong? Where's the old Archy smile? ARCHY You wan na watch out there. Times are changing, they do n't have too much respect for the old school. LENNY COLE Shut up Archy,. -LRB- under his breath. -RRB- No school like the old school,. I still run this town see? That's why he came to me right? Got that? ARCHY Yeah, got that.","INT. SPORTS ARENA - PRIVATE BAR Uri looks at VICTOR -LRB- Uri's right hand man -RRB-. They're looking down at Lenny's disappearing car. VICTOR You think you should have leant him your lucky picture? URI It makes the peasant feel royal,. do n't spoil it, we need him at the moment. I want that consent. -LRB- beat. -RRB- Call the accountant and get her to clear the money.","INT. ACCOUNTANT TAX OFFICES A man and woman sit on one side of a desk, MEET STELLA AND BERTIE. Bertie is 45 and handsome in a dark posh sort of way. Stella is 32, film star. Sitting opposite them are two TAX MEN -LRB- civil servant types, grey, middle aged, a little tubby and bald -RRB-. There's a stand off. STELLA Look, can we shut the door? There's a pause while the TAX MAN looks at his colleague. TAX MAN Shut the door. His colleague gets up and shuts the door. STELLA Let's put our cards on the table. We both know you are n't going to get the full forty out of my clients. TAX MAN This is the tax office and in the end we get what we want. STELLA Save that speech for the tourists Charlie and let's strike a deal - take the twenty now and let it go. Otherwise, they'll move the company off shore tomorrow and you'll spend the next twenty years chasing an imaginary forty million around every republic that grows bananas. Bertie lifts out papers from his brief case. TAX MAN I see why you married her now Bertie. The two TAX MEN look at each other, they're thinking the same thought.","INT. CHAUFFEUR DRIVEN MERCEDES - EVENING BERTIE I told you we'd make a great team,. You know why you get those deals? She looks relatively bored. BERTIE -LRB- CONT'D. -RRB- Because those fat, sad, old men like it when you swear at them. They shake like cocktails and sweat like semtex when you raise that posh little voice. You my love are a rare commodity. -LRB- beat. -RRB- Now come on, give your Bertie a smile. STELLA I do n't feel like smiling. I am a thirty two year old accountant married to a homosexual lawyer. -LRB- beat. -RRB- I'm a beard without kids Bertie! I'm in a marriage of convenience that can be quite inconvenient at times. The phone rings, Bertie picks it up and answers. BERTIE Yes, she's right here. -LRB- he puts his hand over the receiver. -RRB- It's Omovich. -LRB- mincey. -RRB- Are you sure he is n't gay?","INT. SPEELER Introduction of the SPEELER. A location of all things nefarious, a place to scam, buy and sell things illegal, and play cards. MUMBLES and ONE TWO own the Speeler. MEET Handsome Bob -LRB- mid thirties, part of the gang Errrh Handsome -RRB-. FRED THE HEAD -LRB- late 40s -RRB- he runs it with DOLLY -LRB- early 50s, maternal figure, cleaner and chef -RRB-. These are the main players in a room of never less than TEN rarely no more than TWENTY people. FRED THE HEAD You wo n't do a five, they've got nothing on you Handsome Bob. HANDSOME BOB What are you talking about Fred? They got an informer, a grass, and a rat with a roach - smoking - a canary,. they've got more information than the fuckin Internet. DOLLY Language,. FRED THE HEAD Well, like I said, nothing. MUMBLES Leave him alone Fred, you're stressing him out. Dolly get him a cuppa tea. -LRB- beat. -RRB- Come on deal the cards Fred. We see in the background someone coming in. MEET COOKIE -LRB- late 30s, slicked back, black hair -RRB-, his look is a bit of a parody. COOKIE All right chaps? FRED THE HEAD All right Cookie. MUMBLES Want to be dealt in? COOKIE Ca n't stay for long, but throw us in for a quick spin. One Two, who has been on the phone finishes his call. He looks over to Mumbles. ONE TWO Mumbles, can I have a word?","INT. SPEELER STORAGE ROOM MUMBLES What's happening? ONE TWO You know the lady, the posh one who likes abitta the rough life? MUMBLES The accountant, what about her? You have n't heard from her in a while, too dangerous that one. ONE TWO Says she's got some work, you know,. proper work. -LRB- he makes gun impression. -RRB- I would normally turn her down, but considering,. MUMBLES Let's have a meet.","INT. ART GALLERY - NEXT DAY Stella's here admiring an abstract picture of nothingness. One Two sits next to her. ONE TWO I got one like that at home with a little boy fishing. STELLA Is that what they call humor where you come from? ONE TWO Well, do n't they call that art where you come from? STELLA You're quite the entertainer are n't you Mr. One Two? And you are late, please do n't be late, I have a very busy schedule.","INT. ART GALLERY - CORRIDOR They walk down the corridor. STELLA I have some work and thought you'd be interested, its your kind of work. ONE TWO Go on. STELLA There are two accountants taking out seven million Euros from a bank I know and it wo n't be protected. -LRB- beat. -RRB- Twenty percent for me, as normal. The details are in here. She passes an envelope. ONE TWO Anything else? STELLA Yes,. I do n't want this coming back to me so, if you could give them a black eye,. that might help. She see's a slight pause and look of concern from One Two. STELLA -LRB- CONT'D. -RRB- A black eye, nothing more. She passes him an envelope. ONE TWO Ok, very good Mrs. Dexter, a black eye it is then. He looks down at her shoes. ONE TWO -LRB- CONT'D. -RRB- Nice shoes. STELLA -LRB- she smiles. -RRB- Why thank you, you'll be able to afford your own pair in a couple of days. Good bye. He watches her walk off, he likes her, she likes him.","INT. BACK OFFICE OF MUSIC VENUE Two guys are here counting money. MEET ROMAN and MICKEY, two black Americans. -LRB- Mid 30s dressed very classy, with a bit of an urban twist -RRB- They are in the managing game, exploiting the talents of the English. The sound of distant bass thudding through the walls can be heard while Mickey is on the phone trying to do some kind of business. A real ROCKER with long hair and good looks comes walking in distressed. ROCKER I need the dry ice Mickey, I need the dry ice. My show just does n't work without it. MICKEY -LRB- hand over the receiver. -RRB- If you told me yesterday you needed dry ice, I would have gotten you the driest ice the world could offer, but you did n't ask for no dry ice. You asked for two cases of Johnny Walker black label and four ladies of the pole and I got them for you did n't I? There's a pause from the Rocker. MICKEY -LRB- CONT'D. -RRB- Did n't I? ROCKER Yes you did I do confess, but Mickey, you're the manager and I am the rocker. You've got on the managers hat, now pluck something out of it. MICKEY My hat is deep and full of magic. I got rabbits, handkerchiefs, and ladies of the pole drinking Black Label. I got smoke machines, bubble machines, I even got love marines and still the hat goes deeper, but. there ai n't no mother fuckin dry ice. ROCK N ROLLER Ok, ok, come home, you've made your point. -LRB- he turns on his way out. -RRB- But tomorrow, I need dry ice. ROMAN looks up from his paper, having not got involved in the slightest. Roman taps the paper he has been reading. ROMAN Have you read this? MICKEY What? He reads out the headlines. ROMAN Johnny Story singer extraordinaire, fell off a boat, they say. Missing, assumed dead, they say. MICKEY What,. our Johnny? ROMAN How many rock stars by the name of Johnny Story do you think there are in this universe Mickey? MICKEY The only thing he's fallen off is his junkies spoon, he's no deader than the suit you're wearing now. He'll be gearing himself up somewhere happy as clam in a fisherman's net. Rockers like that never die, they just wither and give me pain.","EXT. TENNIS CLUB - DAY On the tennis court we see the COUNCILOR -LRB- our man from the beginning -RRB-, who is playing tennis with TERRY THE INSTRUCTOR. The Councilor is taking it seriously apart from the distraction of JACKIE on the next door court. ARCHY is here watching over the game and reading the paper, we see him read an article and look a little moved. Lenny comes up behind him and starts to read over his shoulder. LENNY COLE Johnny Story singer extraordinare, fell off a boat, missing, assumed dead. ARCHY I do n't know what to say Lenny. LENNY COLE I bet he took a lot of people with him in his hot little crack pipe. -LRB- beat. -RRB- We will never mention this again, all right Arch? Archy looks a little shocked. Lenny carries on like nothing has happened. LENNY COLE -LRB- CONT'D. -RRB- Now, tell the Councilor to stop fuckin about with sticks and balls and send him inside. Lenny walks into the bar and Archy moves on to the court. ARCHY Very good councilor, you must of had lessons as a boy. -LRB- beat. -RRB- Fancy a cool down and a chat with Lenny? The Councilor slyly looks over to Jackie, she looks back. The Councilor is thinking explicit thoughts. ARCHY -LRB- CONT'D. -RRB- Do you know Jackie? Nervous, the Councilor knows these thugs are n't shy. COUNCILOR No, no, no, Archy, do n't say anything. ARCHY Do n't worry, she's a friend,. and a member. -LRB- raises his voice. -RRB- Jackie,. fancy a run ` a ` round with the Councilor? Pause. She looks sullen, stroppy and rude all at the same time. JACKIE Only if he's wicked. She turns away to hit a ball, the Councilor's heart skips a beat. COUNCILOR -LRB- excited and shy. -RRB- What does she mean by that? ARCHY I think she likes you boy - o.","INT. TENNIS CLUB BAR Lenny is at the bar on his own looking at the papers and picking at the nuts. In walks the Councilor with Archy, the Councilor sits next to Lenny at the bar. LENNY COLE They say that times are changing Councilor, that this country is n't what it used to be, it's the new New York, they say. You being a political man must know all about that. The Councilor looks a bit flustered. COUNCILOR Errh, I think they are probably right, times have changed, but that should n't affect you Lenny. LENNY COLE They say it's all gone `` international'' now, out with the old guard in with the new, but I think they're wrong. -LRB- beat. -RRB- Anyway, where are my manners? Look at you sweaty as a native and pink as a pelican,. and I have n't even offered you a wet one. COUNCILOR A lemonade and orange please. LENNY COLE Oh that's nice,. refreshing, that'll put you back on top boy. Lenny pulls out the plans and a leather pack of cigars. LENNY COLE -LRB- CONT'D. -RRB- Here you go, plans and papers. -LRB- beat. -RRB- Would you like a cigar? COUNCILOR I do n't mind if I do,. that's a nice lighter. LENNY COLE Eight grand they wanted for it cheeky toads and I paid, you know why? COUNCILOR Tell me Lenny. LENNY COLE ` Cos it's all about the details. Looking at the plans. COUNCILOR -LRB- awkwardly. -RRB- Is our little deal in there too Lenny? Lenny milks the silence while he lights his cigar, the Councilor feels like a prick waiting, it goes on and on. LENNY COLE Oh I would n't forget that, the most important things first. He puts the Dunhill lighter down on the plans. LENNY COLE -LRB- CONT'D. -RRB- I'll leave you with them. -LRB- beat. -RRB- I got ta run, ca n't stay here chewing the fat all day, a mans got to make a living. Call me in the ` morrow. He walks toward the door as Jackie is walking in, Lenny looks slyly at her as they pass. LENNY COLE -LRB- CONT'D. -RRB- Look after him Jackie. In the distance. COUNCILOR Oh Lenny, you forgot your lighter. Lenny looks back to the Councilor. LENNY COLE Ca n't be mine, it's got your name on it. CUT TO the bottom of the lighter, `` THE COUNCILOR.'' Lenny carries on walking and smiling.","EXT. PARK - MORNING It's the next morning, we SEE One Two running. Mumbles and Handsome Bob pull up along side of him in their car. There is a moment of pause while they admire One Two running along side of them. MUMBLES Do n't you get bored of that? I mean, your not really going anywhere. If you wan na run, why do n't you run to the shops or do something useful? ONE TWO You could do with some of this yourself Mumbles, you're letting yourself go. -LRB- beat. -RRB- Anyway, I'm busy, have you come to talk about anything important? MUMBLES It's all about the zone is n't it? You boys and girls like to find funny places in your head where nothing can get you, do n't you? You're scared, you're running away from yourself One Two. ONE TWO No Mumbles, I am trying to run away from you. Bob, you sorted out the car? HANDSOME BOB Yeah, it looks like a heap of shit, but it ca n't half go. -LRB- beat. -RRB- A bit like you One Two. Mumbles turns to Handsome Bob MUMBLES I reckon he's trying to get fit for the lady. Nothing gets under his skin like a lady he ca n't have, does it? -LRB- pause. -RRB- A straight going, cocky, educated, arrogant posh bird trips him right up. I reckon we should set Handsome Bob on her. That'll liven you up One Two. ONE TWO Bob would n't know where to begin. HANDSOME BOB I'm good with the posh ones, do n't you worry about that. ONE TWO I've had enough of this, can you two piss off cos I am trying to find my `` zone'' One Two sprints off leaving them behind. MUMBLES He ca n't half run for a white fella.","INT. LENNY'S HOME OFFICE - NIGHT Lenny is pacing in a ladies dressing gown with long silk socks. He ca n't sleep, he pours a large one, lights a cigar, picks up the phone and dials. LENNY COLE Archy? You awake? -LRB- beat. -RRB- Never mind, you are now. I had a horrible dream that the Councilor did n't come through, I do n't want anything going wrong on this one, that Russian's the key to the big time. -LRB- pause. -RRB- You think he's all right? -LRB- beat. -RRB- You sure? -LRB- beat. -RRB- What did Jackie say? His feet go back up on the desk with confidence. LENNY COLE -LRB- CONT'D. -RRB- She did? I knew he'd like the lighter, nice touch eh? She's a good girl that Jackie. -LRB- laughing. -RRB- Give her another drink. -LRB- beat. -RRB- You're right, he would n't have leant me his lucky painting if he did n't mean business. Yeah, I had it taken off it's easel and stuck it above my desk, it's looks magnifi. He suddenly stops. His eyes have spotted something scary, the office chair disappears from under him, he takes the phone, the lamp, and the ash tray with him to the floor. LENNY COLE -LRB- CONT'D. -RRB- -LRB- from the floor. -RRB- Arch! Arch! I have been robbed. He turns the receiver the right way round. LENNY COLE -LRB- CONT'D. -RRB- I said I have been robbed. -LRB- beat. -RRB- I do n't know when. The painting,. it's gone. He stands fumbling and screaming, his scotch all over him. LENNY COLE -LRB- CONT'D. -RRB- The one Uri gave me! -LRB- beat. -RRB- All right LOANED for fucks sake! Beat while panic sets in and Archy is saying something on the other end. LENNY COLE -LRB- CONT'D. -RRB- This is n't good Arch, it's his favorite painting, his lucky painting! Get round here and bring the troops.","INT. LENNY'S HOME OFFICE -- LATER Lenny's still pacing, a small gathering of tired looking HOOLIGANS are lined up in Lenny's office. BANDY Where was it Len? Lenny is standing in front of the fire place smoking and looking very anxious. There is a bald spot above his head where a picture once stood, a picture light illuminates an clearly empty space. He is horrified by the stupidity of the question. LENNY COLE Let's take a wild stab in the dark shall we Bandy? Archy slap him and then send him to school ` cos I ca n't take any more of this. You sort it out, get that picture back and bring me a body, I am going to back to bed. He stomps off to bed. ARCHY Bandy if you ever ask a stupid question like that again, you see Danny there? He's gon na slap you. BANDY Sorry Arch, it's just,. I was trying to use initiative. ARCHY Danny slap him. DANNY slaps him with the back of his left hand. Archy's not happy - it was the wrong hand. ARCHY -LRB- CONT'D. -RRB- With the right Danny,. properly. DANNY slaps him again, it's weak. ARCHY -LRB- CONT'D. -RRB- I said properly, with the back of your right hand Danny. DANNY What is this a tennis match Arch? ARCHY Slap him! DANNY slaps him again, BANDY takes it good. Archy huffs and goes over to slap him proper, SLAP! Bandy's disappeared into another dimension. ARCHY -LRB- CONT'D. -RRB- Like that! -LRB- beat. -RRB- Now, if you men can master a slap like that, there's no need for your clients to hold back. They'll open up like a fountain full of words after one of those. No need for strong violence, no no, they're straight back to their childhood. Putty in your hands, ask Bandy,. -LRB- motioning. -RRB- Look, thinks he's back at school. DANNY But he never went to school. ARCHY Daniel, do you want a slap as well? Now, if the slap does n't work,. Cut'em. or pay'em, but keep the receipts ` cos this ai n't the Mafia. -LRB- beat. -RRB- Now, get to work and find that painting.","EXT. BOND WAREHOUSE - BACK LOT - DAY Mumbles, Handsome Bob, and One Two are standing here dressed as security guards. Handsome Bob is watching over the car that is waiting for the TWO ACCOUNTANTS to come out of the back door of the warehouse. One Two and Mumbles are to the side. MUMBLES You ready? ONE TWO Yup, load up boys and pay attention. One Two see's the door open and makes a move. Two ACCOUNTANTS come out of the back door, while in route they click their central locking open on the car waiting. One Two is already on them as the ACCOUNTANTS go to open their car door. ONE TWO -LRB- CONT'D. -RRB- Hello lads. He flashes the gun in his belt. The ACCOUNTANTS are too shocked to even know what is going on. ONE TWO -LRB- CONT'D. -RRB- Put the bags in the car and walk away. The ACCOUNTANTS see the gun, but still look for a way out. Mumbles meets them with another gun. MUMBLES Do n't be silly boys, do as you are told. Put the bags in the car, give him the keys and walk away smiling. The ACCOUNTANTS do as they are told. One Two and Mumbles get into the car, calm as you like. One Two, starts the engine, but he ca n't find reverse. There is a crunching sound from the car, the accountants stop and look round. One Two puts down the window. ONE TWO -LRB- to the accountants. -RRB- Oi, come back here. The ACCOUNTANTS come back. ONE TWO -LRB- CONT'D. -RRB- Where's reverse? ACCOUNTANT You have to lift up the nob under the gear stick. One Two struggles, then finds the gear. ONE TWO Right, now fuck off. MUMBLES -LRB- to accountants. -RRB- Slowly and keep smiling. ONE TWO Shit,. MUMBLES What? ONE TWO I have got to hurt him. -LRB- to the Accountants. -RRB- Oi come back here. MUMBLES Why? What did he ever do to you? Come on we've got the money now let's piss off! The Accountant has made his away back to the car. ACCOUNTANT Yes? One Two goes through the motions getting ready to hit the accountant without actually being able to do it. ONE TWO Shit, I ca n't do it. One Two wheels spins out of there.","INT. CAR - MOVING Mumbles and One Two take off driving. MUMBLES -LRB- looking. -RRB- You're an embarrassment to crime you are. ONE TWO She asked me to give him a black eye. MUMBLES She's sick that bird of yours, sick. Quickly changing the subject. ONE TWO Is Handsome Bob behind? MUMBLES He's there.","INT. CONSTRUCTION SITE - CONTINUOUS Uri is walking around looking over one his sites, he's entertaining a corporate gathering of MEN all in suits and hard hats. URI The developement has been underway for four years and will be completed within another two. The area covers twelve acres and it will become one of Londons premiere residences. We can SEE VICTOR -LRB- Uri's right hand man -RRB- in the background looking anxious. URI -LRB- CONT'D. -RRB- Thirty two floors and six acres,. excuse me gentlemen,. Uri walks over to VICTOR. URI -LRB- CONT'D. -RRB- What is it? Victor leans in and whispers to Uri. After 15 seconds Uri leans back. URI -LRB- CONT'D. -RRB- -LRB- in Russian. -RRB- Do they know who we are? VICTOR -LRB- in Russian. -RRB- It's not like the old country, it's cowboys and Indians out here. URI -LRB- in Russian. -RRB- We do n't have time to play games,. people and business are waiting. Speak to the accountant and get some more money. -LRB- beat. -RRB- And Victor, this time no problems.","INT. ART GALLERY Stella is here again looking at the abstract pictures on the wall. One Two joins her, he's got a largish Louis Vuitton with the money and her twenty percent in it. ONE TWO I know a man that'll copy that for you. Might take him a couple of minutes mind. STELLA You do n't need to copy anything any more, welcome to the nouveau riche Mr. One Two. ONE TWO Here's one for you too Mrs Dexter. STELLA Why thank you Mr. One Two. I see you did n't think much of the black eye though. ONE TWO Would have liked to obliged, but from a professional point of view, it just was n't natural,. -LRB- pause. -RRB- Until next time then. STELLA Until next time. She turns and walks away, he looks slyly.","INT. CAR Handsome Bob is driving. HANDSOME BOB She's a looker ai n't she One Two? One Two picks up his phone and starts to dial. ONE TWO She's not for you Bob, that is class. Someone picks up at the other end of the phone. ONE TWO -LRB- CONT'D. -RRB- Archy, I got Lenny's bitta scratch.","INT. LENNY'S CAR - MOVING Turbo is driving Archy, who is on the phone. ARCHY What, you got it all? ONE TWO -LRB- V.O. -RRB- Yeah and it's burning a hole in the floor, so you better come and get it before it melts my boots. ARCHY I'll come round the speeler. Archy's phone beeps - he has an incoming call. ARCHY -LRB- CONT'D. -RRB- Got another call, got ta go. Archy switches calls.","INT. LENNY'S OFFICE Lenny is pacing, he's on the phone. LENNY COLE Archy, the Russian did n't come through with the money.","INT. LENNY'S CAR ARCHY Calm down Len, the Councilor can wait. -LRB- beat. -RRB- Some good news for you, One Two and Co came through with the scratch.","INT. LENNY'S OFFICE LENNY COLE What, all of it? ARCHY -LRB- V.O. -RRB- Yeah, all of it. LENNY COLE -LRB- surprised. -RRB- Where did they get that from then?","INT. LENNY'S CAR ARCHY Ask no questions hear no lies. -LRB- beat. -RRB- Just got ta do is find your painting now Len.","INT. LENNY'S OFFICE Lenny's phone beeps - he has an incoming call. LENNY COLE Just make sure you find it. -LRB- beat. -RRB- I got ta another call. He switches calls.","INT. COUNCILOR'S OFFICE The Councilor is on his mobile, speaking in hushed tones. COUNCILOR I have all my people waiting Lenny. You ca n't let me down!","INT. LENNY'S OFFICE LENNY COLE It's just a delay, that's all Councilor. Just a delay. He puts the phone down.","INT. LENNY'S CAR We CUT back to Archy in the car. ARCHY Stop here Turbo.","EXT. STREET - EVENING Archy gets out of the car and on to the street which is packed with theater goers. He has seen someone he knows, a dodgy looking ticket seller GARY moves between the people. ARCHY Gary. GARY Hello Arch. What brings you down here? Want some tickets? ARCHY I want the Tank. GARY You wo n't see him on the cobbles at this time of night, you know how much he likes the cold. He's at the end of the street tucked up watching a Zulu movie.","EXT. STREET - CONT. Archy knocks on window of massive American 4x4. The window comes down, savage noises emanate from the interior, a massive black bald head turns, MEET TANK very street, very soft spoken and very articulate. He's sitting next to a SHAVAWN a street girl. TANK Hello Arch, what you doing here? ARCHY I need a word. TANK Well do n't stand out there on the cobbles it's freezing, step into my world. -LRB- too the girl. -RRB- Shavawn get us a couple of vanilla chai lattes, there's a good girl. She disappears.","INT. TANKS CAR TANK Great movie this Arch. They've had it digitally re - mastered, glorious picture and the sounds exquisite. He presses the remote, the sound goes up so all we can hear is the sound of spears on shields. TANK -LRB- CONT'D. -RRB- Oh I like this bit, thousands and thousands of'em, but them red coats just do n't move. That's courage that is Arch. -LRB- beat. -RRB- They did have guns mind. The sound of screaming and death is penetrating. ARCHY Turn it down a tad, I need to have a word. Tank flicks the pause button. TANK Where are my manners? Sorry Arch, what do you want, tickets? I got just the show for you, a Chinese orphan with a learning disability that do n't stop singing and dancing all the way through the first half. Then, up pops a Geisha girl and it all goes magical in the second ; the wife will love it and you ca n't get tickets for love nor,. ARCHY I do n't want tickets, I need you to find me a painting, a classic, been nicked outta of Lenny's house. And since you got more feet on the street than coppers on the beat,. -LRB- starting to make his way out. -RRB- I'd like you to assist. I'll leave you a little livener. There's a large twenty to get some tongues wagging.","INT. SPEELER - NIGHT All the boys are sitting around playing cards. The buzzer goes, buzzzzzzzzzzz, Fred answers the intercom. FRED THE HEAD Yeah,? -LRB- beat. -RRB- Come on up, but do n't be wasting my time. ONE TWO Is that Archy? FRED THE HEAD No, couple of oysters who got a little something to be viewed. He presses the button and walks back to the group. FRED THE HEAD -LRB- CONT'D. -RRB- How's your Mum taking it Handsome? -LRB- beat. -RRB- She must be very unhappy, I mean a five stretch? HANDSOME BOB Not again, please Fred. FRED THE HEAD Sorry Bob, I did n't mean to offend. In the background we see the door open and in comes two thieving SCOTSMEN, they are selling fur coats. DOLLY Who wants another cuppa? ONE TWO -LRB- raising his cup. -RRB- Thank you. MUMBLES Glass of milk for me, my love. Our thieves move over to the table. MEET our cocky Scotsmen MALCOLM and his partner in crime PAUL. Malcolm drops his bags and starts to get busy. He's got a strong Scottish accent that has been influenced by last nights crack for dinner and two large whisky's for breakfast. MALCOLM Good afternoon gentlemen. He coughs nervously as the boys look on dead pan. He sees Dolly. MALCOLM -LRB- CONT'D. -RRB- Excuse me my love, any chance of a wee dram of water to oil the larynx? FRED THE HEAD Get on with it. MALCOLM -LRB- cough. -RRB- Ok gentlemen here we go. First, my colleague Paul will be modeling the grey wolf. We see Paul who's obviously completely geared out of his nut, he's trying to squeeze in to the stolen grey wolf fur coat. It's far too small and the fur stops half way up his arms, it's not possible to do the buttons up. MALCOLM -LRB- CONT'D. -RRB- I must apologize for my assistants handicaps. He has unusually long arms and an alarmingly small neck. -LRB- beat, the crowd is unimpressed. -RRB- Now, I do agree it does n't seem like the right time to acquire a coat of such thermal efficiency. However, I have been informed that we are looking at a very white winter. PLUS gentlemen and fine lady,. -LRB- He winks at Dolly who has got him a very large glass of water. -RRB- Christmas is always round the corner. He downs the water without it touching the sides. MUMBLES Where did you find these two junkies? FRED THE HEAD What is this, a fuckin double act? ONE TWO Shut up and tell us the price. MALCOLM All in good time gentlemen, all in good time. -LRB- beat. -RRB- Paul, why do n't you sit down for a while. If Paul does n't sit down, he's gon na fall down. He stumbles into the card table on his way to a seat, knocking drinks and cards everywhere. Everyone protests. MALCOLM -LRB- V.O. ; CONT'D. -RRB- -LRB- from under the table. -RRB- Next, we have a very much sought after affair seen in very, very glossy magazines,. He jumps up wearing the most ridiculously oversized fur coat and matching hat you have ever seen. MALCOLM -LRB- CONT'D. -RRB- The famous, but rare black bear from the dark mountains of Siberian Calcutta. He starts to do a slow spin, at which point WE SEE a large white stipe running down the furs back. MALCOLM -LRB- CONT'D. -RRB- Get an eye full of that stripe gentlemen. MUMBLES Have a look at that, it's a six foot skunk. Everyone thinks its very fuckin funny. The laughter is interrupted only by the buzzer. Buzzzzzzzzzz, Fred goes to answers the buzzer. MALCOLM And all of this could be yours for a staggeringly low,. Cut to Fred at the buzzer. FRED THE HEAD All right Arch. Back to the table, everyone's ears prick up at the name. Malcolm pauses before he panics, he can tell something is up. FRED THE HEAD -LRB- CONT'D. -RRB- Yeah, come on up. Everyone starts tucking their money into their pockets. Fred makes his way back to the table. He speaks to Malcolm and Paul. FRED THE HEAD -LRB- CONT'D. -RRB- You two out, live - o. -LRB- gesturing. -RRB- The back door. Malcolm knows this is a sign to go. MALCOLM Come on Paul, we'll be going now. The two Scotsmen race in their fur coats toward the back door. IN WALKS Archy with Danny, the crew continue their card game. FRED THE HEAD All right Arch? ARCHY Fred,. -LRB- pause. -RRB- The speelers very quiet today, everything all right? FRED THE HEAD Good as gold thanks. ARCHY All right Mumbles? One Two? MUMBLES/ONE TWO Arch! Pause while the boys carry on playing cards. ARCHY So where is it then? ONE TWO What, ca n't you smell it? One Two slowly kicks it out from under the table. Archy leans over to take the bag and One Two sticks a few notes in his pocket. ONE TWO -LRB- CONT'D. -RRB- And buy yourself a new pair of shoes. Archy turns and heads out - he's smiling and mutters to himself. ARCHY Silly bastards.","INT. URI'S BOAT - EVENING Uri has got some serious stink boat gin palace on the River Thames. He's entertaining Stella. URI They say there are only two days you enjoy a boat, the day you buy it and the day you sell it. STELLA Well, according to my figures that sounds about right, but what can you do? -LRB- beat. -RRB- Beauty is a cruel mistress. He smiles, she is smart, he fancies her. URI I must remember that line. Can I pour you a glass? STELLA Not for me thank you. URI You know, I like you. I like the way you. are. Always thinking about business, very professional. STELLA That's what you pay me to be, is n't it? He nods. URI Tell me about your husband. Slightly uncomfortable STELLA My husband is a lawyer. URI I hear he is very good at what he does, maybe we can have some work for him. Pause, she's dead pan and not giving anything away. URI -LRB- CONT'D. -RRB- Tell me, what do you do for fun? Pause. URI -LRB- CONT'D. -RRB- Have I offended you in some way? STELLA I do n't quite know where this is going and if you do n't mind, I would like to keep our relationship professional. There is a pause while Uri is slightly lost for words. Then he slams the table in excitement and looks up at Victor who is standing in the distance. URI You see Victor, this is what I am talking about. -LRB- in Russian. -RRB- This is what I like about this country. They understand hierarchy - you do your job, I do mine and everyone gets along. -LRB- back into English. -RRB- Now, back to business. We have had security problems and to cut a long story short, I need another seven million Euros lost in the books. Pause. STELLA -LRB- not happy, she's playing a good little actress. -RRB- Forgive me for being immodest Mr Omovich. I am a very good accountant, but I can only cover so much of your money, it does have to be accounted for after all. It is not easy to lose seven million to the tax man. URI But, if you are so good,. She huffs and puffs. STELLA Let me think about it, there are some options I have tried to leave open. He puts his hand on top of hers, just before she pulls it away he takes his off. URI Thank you.","INT. LENNY'S OFFICE Tank is standing in front of Archy. TANK You know why they call me Tank do n't you Archy? ARCHY I should imagine it has something to do with you being a dirty great blac,. TANK Think Tank. Nothing gets past the old think Tank Arch, nothing. -LRB- pause. -RRB- You got me thinking, so I fired a few questions into the right direction. Thought I'd better come see you ` cos I got some news ` bout your painting. Archy leans back to hear what Tank is about to tell him.","INT. WAREHOUSE - NEXT DAY Lenny walks into the warehouse where we see TWO SLOANES -LRB- posh kids, 20s -RRB- strapped to a pair of chairs with weights on the bottom. There are large leather belts wrapped around them. LENNY COLE Right, I am going to tell you how this works. You're going in the drink and I am going to make a cup of tea. Archy grabs a hook attached to an electric winch and attaches it to their leather belts. LENNY COLE -LRB- CONT'D. -RRB- Underneath the floor boards is the famous river Thames. I hope for your sakes you can hold your breath for as long as it takes to boil that kettle. After that, I am going to ask you a question, one question. You are going to give me a name and if it's the right name, I send you home warm and dry in a fresh set of clothes. If it's the wrong name, you'll be fed to the cray fish,. see ya. He presses the green button and a hatch in the floor opens. The TWO SLOANES are lowered into the river protesting.","INT. ONE TWO'S CAR Handsome Bob's got the long face on. ONE TWO Come on Bob, cheer up. HANDSOME BOB What have I got to cheer up about, I am going to be locked up in an eight by ten tomorrow night. ONE TWO But that's tomorrow night, tonight its take off time, we've prepared a little going away party. -LRB- beat. -RRB- I got `` the Harris twins'' the most expensive escort girls to have ever escorted. They've got a night off from the Russians and they've all been greased down just for the Bobski! It's going to take you two and a half years just to recover from this little party. Handsome Bob is n't impressed. ONE TWO -LRB- CONT'D. -RRB- That cheered you up then? HANDSOME BOB -LRB- still not looking happy. -RRB- It's not that I am ungrateful One Two, it's just,. ONE TWO It's just what? HANDSOME BOB Do n't worry,. you would n't understand. Pause for a concerned thought from One Two. ONE TWO I understand anything coming from you Bobby boy. HANDSOME BOB Would you? ONE TWO You're me best mate. There is a pause from Handsome Bob. HANDSOME BOB I do n't want the strippers One Two,. -LRB- beat. -RRB- I want you,. Pause. A little look from One Two like `` Oh you're taken the piss'', then a realization that he is n't. The brakes are slammed on and the car comes to a screeching halt. One Two is out before you know it, screaming through the windshield.","EXT. CAR - NIGHT ONE TWO You dirty bastard! I know all your girlfriends all of'em! HANDSOME BOB -LRB- horrified. -RRB- See, I told you you would n't understand! ONE TWO Understand what? That you're a homa? You're Handsome Bob for Gods sake, Handsome Bob the lady killer! That is you Bob, do you hear me? God, I have had showers with you, you've seen my cock! HANDSOME BOB I only told you cos I'm going away, but I should have kept my mouth shut. ONE TWO Fuckin right you should have kept your mouth shut, should have drowned the cat instead of letting it out the bag. Bob's now inconsolable sitting in the car. One Two feels bad,. he catches himself.","INT. CAR -- MOMENTS LATER One Two is back in the car, he's trying to calm Handsome. ONE TWO All right Bob, I am sorry. I went over the top, it was just a surprise that's all. -LRB- Bob's still crying. -RRB- Bit of a broad side Bob, do you hear me, I am sorry,. -LRB- beat. -RRB- Well what is it you want to do with me?","INT. WAREHOUSE - DAY The TWO SLOANES have been brought back up and are covered in shit and cray fish, they are half drowned. LENNY COLE Hose'em down Danny. Get those cray fish off'em. Now, who has that painting? -LRB- beat. -RRB- One name. Archy rips the tape off their mouths at the same time. DROWNED SLOANE Johnny, Johnny Story. You know the singer in that group Story Time. This means something to Lenny. LENNY COLE That did n't work did it? How can a dead man sell you a painting? DROWNED SLOANE He's not dead, I know he's not dead because he just tried to sell us that picture and changed his mind at the last minute. He's got like an obsession with it. Lenny's face contorts with anger. LENNY COLE Put'em back Arch, before I shoot'em. The TWO SLOANES scream in horror. DROWNED SLOANE Jesus! I know him, I know who he is,. we went to school with him. We're telling the truth, we're telling the,. The tape is put back over their mouths. They're struggling to get free. ARCHY Len, could I have a word? Private,. it's worth it.","INT. WAREHOUSE CORNER Archy looks at Lenny, there is a PAUSE for a while. They both feel uncomfortable. ARCHY Your boy's not dead, is he? LENNY COLE -LRB- snapping. -RRB- Do n't you dare call him my boy. ARCHY Sorry, I mean your boy, the Ex's boy,. your step son. He had a set of keys to the house did n't he? Lenny's red as a beetroot. LENNY COLE He wo n't die that cockroach. That junkie's seen more funerals than a fuckin undertaker,. that boy is poison. The next world war will have his name written all over it. -LRB- beat. -RRB- Get me those two flash idiots that used to manage him, what are they called, Greek and Mini? ARCHY Roman and Mickey. LENNY COLE If anyone can find that smoking crack pipe, it's them.","INT. BEDROOM WE CUT BACK TO TEN YEARS AGO. Cut to a shot of a 12 year old BOY with a cut under his eye singing `` Bank Robber'' by The Clash in to the mirror. He's wearing just his boxer shorts and enjoying himself, he's gon na be a rock star. From behind WE SEE his bedroom door open, but the music is to loud for the boy to have heard the entrance. We SEE Lenny, ten years younger entering, we can tell via the body language that he is irritated. He pauses then walks up suddenly slapping the boy very hard across the side of the face. It's enough to knock him out, the boy goes down - shot like a bullet out of a barrel. The red hand then slaps the stereo off. LENNY COLE Listen to me boy, listen. I never did like you and neither did your real father. You're a reject, a wrong - un, a fuckin fairy in the mirror that I inherited from your mother, but she ai n't with us no more, so now it's just you and me. In one week you go back to school, the best fuckin school in the country I might add, then you'll be gone for another term. -LRB- beat. -RRB- In the mean time, show me some gratitude and keep the fuckin music down.","INT. CRACK HOUSE We CUT BACK to present and MEET JOHNNY STORY -LRB- think Pete Doherty meets Richard Ashcroft -RRB- or Posh John, posh, good looking, 25, alarmingly skinny and pale in a grey sort of way. He's still listening to `` Bank Robber'' dancing round with a couple of toy guns. His mate, who is not so posh, MEET PETE is sporting a balaclava at present. They've been cracking it up and the paraphernalia is everywhere. Johnny is standing in front of the mirror next to the mirror is the painting and oh he loves it. Pete rolls up his balaclava up and slams the stereo off. JOHNNY STORY Just could n't, it's got me,. that's what art does Pete, it gets you. PETE You'd get a good few notes for that. Go on John, jog it on. JOHNNY STORY You would n't understand. PETE Why not? JOHNNY STORY Because,. You,. Are street scum Pete. He does a quick moon walk, he's taking the piss. JOHNNY STORY -LRB- CONT'D. -RRB- You're in need of an education, that's what you need, but your Dad never gave a shit about you did he? And that is why you are on the gear. Your gear is your surrogate father. PETE Leave off John, what is this shrink time? JOHNNY STORY Come on Pedro, share. I'm your sponsor, Doctor,. your dad if you're feeling a bit of regression coming on. -LRB- beat. -RRB- But first we should have a drink in our hands.","INT. BAR Rough old bar, there are a couple of OLD WASTERS staggering around in the distance. Johnny and Pete have now got drinks in their hands. PETE My Dad made me watch Bonanza every Sunday after church. JOHNNY STORY That's got to have done some damage, all those guns and cowboys. PETE You think? It was n't all bad, he sometimes made me laugh too. JOHNNY STORY Now we're getting somewhere. Did he interfere with you? You know, touch you inappropriate like? PETE He tickled me if that's what you mean. JOHNNY STORY Now that's it! That's what I was looking for, you see your Dad is a monster Pedro, a tickling monster. -LRB- singing. -RRB- Pedro's dad's a tickling monster! Johnny helps himself to some WASTERS drink at the bar for a quick refreshment. Understandably, the WASTER does n't look happy and his three FRIENDS do n't look happy either. WASTER That's my drink. Johnny gives the WASTER and his FRIENDS the masturbation signal without even bothering to look at them. PETE Fuck you singalong, you're no help and stop calling me Pedro. The WASTER grabs a bottle from the bar ready to take some action. Johnny grabs a pencil from his top pocket, he holds it out like it's a knife. It's almost a joke. JOHNNY STORY Come on boy, I'll have you and ya girlfriends! I'll do the lot of yazz. The WASTER is lost. Johnny is not physically scary, he's only scary because he's quite clearly mad. He looks like Robert Deniro in Taxi driver, mad as mars, he catches himself in the mirror, he likes what he sees. Ciggy falling out of his mouth, he sort of takes the piss out of himself, smiles `` tough Johnny,'' the WASTER backs off he does n't want junkie madness. JOHNNY STORY -LRB- CONT'D. -RRB- -LRB- Leaning over his shoulder, mock serious. -RRB- Was I good or what Pete? It's all in the eyes. -LRB- he raises his ridiculous eye brows. -RRB- Junkies, I'll shit'em! Johnny sits back down next to Pete. JOHNNY STORY -LRB- CONT'D. -RRB- Did your Dad do anything else to you Pete? PETE He hit me bad as well the slag. Hit with a chain. Pete starts to lift up his shirt. JOHNNY STORY -LRB- Johnny stands. -RRB- What are you doing? I'm not going to tickle you Pete, I'm not your Dad. He looks over and see's Pete has got the most horrific scars on his back. Johnny notice's them and stops in his tracks. Johnny walks back over to Pete and very tenderly touches his back, it feels horrible and bobbled. JOHNNY STORY -LRB- CONT'D. -RRB- -LRB- soft. -RRB- I find that profoundly offensive Pedro. Two's up on a snout to show I care. He pulls out a ciggy. Pete takes it. PETE I used to think it had something to do with Bonanza. JOHNNY STORY Your dad was jealous. Cos you dad is n't sure he's your dad, cos you do n't look like him. PETE Really? What do I look like then? JOHNNY STORY You have all the facial characteristics of North American native, Livapuddlian Indian. See your Dad thought you were a red Indian and Bonanza triggered your fathers unconscious feelings. PETE Really? Pause. Pete looks at Johnny,. Johnny starts to smile. PETE -LRB- CONT'D. -RRB- You slag Story! I'm not telling you fuck all,. piss taker.","INT. ROMAN AND MICKEYS OFFICE Mickey and Roman's SECRETARY walks in. SECRETARY Mickey,. Roman, there are four gentlemen who,. The office door opens wider, in walks Lenny, Archy and BOYS. ARCHY Who wan na see you two. SECRETARY I'm sorry Mickey. MICKEY Do n't worry about it June, go and have another lunch. LENNY COLE Sorry to intrude. -LRB- seeing some fruit on the table. -RRB- They call this a lichee do n't they? ROMAN I believe so. LENNY COLE Tasty exotic, bit like your suit. Lenny pops it in his mouth, chews a while and spits out the middle. He turns to face ROMAN and MICKEY, he does not look happy. ROMAN How can we help? LENNY COLE Do n't you have an act called Story Time? ROMAN We did. LENNY COLE And is n't there a lead singer called Johnny Story? ROMAN There was. LENNY COLE Well, I would like to see Mr Johnny Story. ROMAN I would like to see him too, but that might be tricky ` cos according to the newspapers the only songs Mr Story is going to be singing is hymns. LENNY COLE And I shed a tear. I shed it for all those bone tops that read the papers and believe that shit. -LRB- beat. -RRB- Have you seen his body? Have you seen him smacked up and cracked up with his tongue on his chin and his cock in his hand, swinging from the rafters, like a real rock'n' rolla? -LRB- pause. -RRB- No, you did n't did you? And nobody else fuckin did either, did they ` cos he ai n't dead. He's alive - alive - o somewhere selling cockles and mussels,. and a very important painting that does n't belong to him. ROMAN Sorry, but what has this got to do with us? LENNY COLE You have twelve licenses within a jurisdiction which I control. You wan na play on, do what I tell you. -LRB- pause. -RRB- Now, I can tell what you're thinking. ROMAN That there's not much you ca n't do? ARCHY Slow down tinker bell, you'll never sing the same if ya teeth are n't your own. Pause. MICKEY You gon na take care of him? LENNY COLE -LRB- smiling. -RRB- What do you think we are, gangsters? That's not my style and especially not with genetics and all,. There is a look of confusion from Roman and Mickey. LENNY COLE -LRB- CONT'D. -RRB- Bloods thicker than poison moon beam, now do us all a favor, before you catch a cold.","INT. SPEELER One Two walks into the speeler, he looks like a lost man. He looks over at the guys sitting around talking, they stop and look up. COOKIE Where have you been? You were missed in court today. That's not very compassionate is it, did n't turn up for your amigos funeral. The phone rings in the back ground, Dolly answers it. FRED THE HEAD Everybody else was there but you and I got the feeling you were the only person Handsome wanted to see. One Two turns a little nasty. ONE TWO What are you trying to say Fred? FRED THE HEAD Eh? ONE TWO You wan na have it out now? From behind we see Handsome Bob and Mumbles walk into the Speeler. Handsome Bob sneaks up and put his hands over One Twos eyes. HANDSOME BOB Guess whoooo? One Two spins round in major shock, he see's Bob and he does n't like it. All the boys look on like One Two's going to hug him. He does n't. HANDSOME BOB -LRB- CONT'D. -RRB- The prosecution lost the paper work. I am offski, the case is closed. ONE TWO -LRB- in shock. -RRB- Five years, you were supposed to get five fucking years! Everyone's in shock. Dolly walks over and interrupts. DOLLY One Two there's a woman on the phone for you, she sounds very educated.","INT. SPEELER STORAGE ROOM One Two takes the call. ONE TWO How did you get this number? STELLA -LRB- V.O. -RRB- I can get any number, I work with numbers do n't I? ONE TWO One point for initiative, two to tell me what's on your mind.","INT. STELLA'S OFFICE Stella sits at her desk. STELLA I need a favor. My husbands having a party tonight and they need some `` smarties'' but they have nowhere to go. Look, I know it's a liberty, but I thought you might know people. Plus, I have another bit of work for you. -LRB- beat. -RRB- You can bring your friends. There will be interesting people - the rich and famous, the great and good.","INT.SPEELER - STORAGE ROOM One Two looks through the crack in the door and sees Cookie. ONE TWO Let me see what I can do.","INT. SPEELER One Two comes back into the room, he is still in disbelief. ONE TWO So Bob got off, big fucking deal. -LRB- everyone looks a little lost. -RRB- I have a little bit of work for you Cookie we have a party to go to.","INT. URI'S BOAT - DAY Lenny has another large vodka in his hand, while Uri smiles. URI You're looking well Lenny. LENNY COLE Well thank you Uri, that's a real compliment from a man that obviously takes good care of himself. URI I suppose you're wondering why you are here? LENNY COLE I assume you want to check that everything is still `` kosher'' at my end. -LRB- pause. -RRB- I was a little surprised you did n't come through at the appropriate time, but I reckon you have your reasons. Silence. URI I assume everything is still as you say,. Kosher? Pause. Lenny milks the moment and after a few seconds of mock thought, he speaks. LENNY COLE Do n't you worry Uri, that one's on me,. partners and all that, but I would n't like it to go south again, makes things difficult, if you know what I mean? URI I understand Lenny and I would n't like things to go wrong either. Which brings me conveniently to my next point. Ever since the painting, my lucky painting, has n't been hanging on my wall, things have not been,. so lucky. I know this is a rude request because we have not concluded our business, but I feel as though I need it. Long pause while Lenny scrambles for an excuse.","INT. LENNY'S CAR Lenny enters the car looking a little peachy. Archy takes one look and grimaces. ARCHY Fuckin hell Len, he's given you that bar tan again. You wan na leave that vodka alone. LENNY COLE Shut up Arch! ARCHY Everything all right? LENNY COLE No it's fuckin not all right, he want's his painting, his lucky painting. Archy looks a little worried. ARCHY Oh, I see. That's a bit of a problem then is n't it? LENNY COLE You should have seen his eyes I swore they changed color, went fuckin red they did. ARCHY They do n't care who's soil they are on that lot. They can buy half the country without breaking a sweat, you're small time to them. They could click their fingers and we'd be ether. Turning very nasty. LENNY COLE You speak to me like that again and I'll cut your fuckin tongue out. I run this town, got that, me! Anybody who thinks he's rude enough, let'em raise a finger, ` cos I'll take off his whole fuckin arm. Do you understand that Archy? -LRB- beat. -RRB- I said do YOU? Archy thinks his boss is going mad, but he does n't let on. ARCHY Yes, I do Len.","INT. ROMAN AND MICKEY'S OFFICE The boys are still reeling from the news that Johnny is Lenny's son. MICKEY How about that then, Johnny Story's father? How did that get under the radar? Why does n't anybody know? ROMAN Would you want anyone to know that he was your Dad? Would we have taken him on if we had known? MICKEY We're going to have to give him something, anything, a bed that's been slept in, a bone for his dog, some token of effort. ROMAN We need to see Cookie.","INT. PARTY - NIGHT The door opens Mumbles, One Two, Cookie, and Fred stand there. A man, TOM in black tie opens the door, he looks posh and is in his boxers. TOM -LRB- A bit rude. -RRB- Who are you? He looks the boys up and down. COOKIE My name is Cookie. TOM You must be with Stella? COOKIE No, we're with the Grand Old Duke of York. TOM Well you ca n't come in here, not without shaking my hand. He offers it to One Two who accepts. Tom pulls it back at the last minute and greases his hair back. TOM -LRB- CONT'D. -RRB- So you're supposed to be a hard case eh? Tom disappears inside where we see a mass of extremely drunk TOFFS running around going wild in black tie. COOKIE -LRB- to One Two. -RRB- This is gon na be a scream, Fred get'em in. He is talking about drinks. FRED THE HEAD Why me? MUMBLES ` Cos you look like one of them. FRED THE HEAD They're mad this lot. COOKIE And take that chewing gum off your feet before you start dancing. Stella approaches. STELLA Good evening gentlemen. All the boys give it the `` oh you sly one'' to One Two. There's a gathering of TOFFS starting to cluster, they're waiting to be fed. A semi naked WAITER appears with a drinks tray. STELLA -LRB- CONT'D. -RRB- Help yourselves to drinks. TOM -LRB- searching for street cred. -RRB- So! Who the man? ONE TWO I think that's your cue Cookie. Cookie takes his cue. COOKIE Come on then kids, get in a nice orderly line and we'll get the party started. The boys all head various ways into the party","INT. PARTY We see One Two walking through the party, when he runs into Handsome. ONE TWO What the fuck are you doing here? HANDSOME BOB Well all the chaps were coming and I did n't have any plans tonight did I? Thought I might celebrate a little, do you mind? ONE TWO Yes I do fuckin mind. Now listen Bob, what happened last night is our little secret all right and it was only cos you were supposed to be doing your time, right? You tell anybody and I swear to God,. I swear to God. Well fuck it Bob, I think you understand. As One Two walks away he runs into Tom again who stands in his way. ONE TWO -LRB- CONT'D. -RRB- Let me tell you something hard case, if you start any trouble around her,. One Two gives him the quick ONE TWO punch, Tom is knocked out cold, he catches him standing up and lowers him to the floor. One Two walks off.","INT. PARTY - SOFA We CUT TO Mumbles on the sofa who is watching One Two, he grimaces. Bertie is next to him. MUMBLES And that's why they call him One Two. BERTIE So you're part of the wild bunch? Stella says you're dangerous. Mumbles smiles and flicks his cigar ash into Bertie's glass. He knows he's a poof and keeps his eyes on him a second too long just to get Bertie excited. MUMBLES Does she now? BERTIE So is your friend part of the wild bunch? Bertie is talking about Handsome and Mumbles knows it. MUMBLES That young man is the greatest gun slinger in town. BERTIE -LRB- Bertie smiles. -RRB- Then how come I do n't know him? -LRB- beat. -RRB- I know all about your type. MUMBLES How is that then? BERTIE I'm a criminal lawyer,. and I know a secret about your part of town. MUMBLES What secrets that then? BERTIE You have an informer in your neck of the woods. MUMBLES Oh yeah, so what's his name? BERTIE You have to pay for secrets. MUMBLES That's not nice, but while your at it, what's the price? BERTIE -LRB- he looks to Handsome. -RRB- I want to meet the gun slinger. Mumbles looks over to Handsome.","INT. PARTY - CORRIDOR CUT TO One two who has just run into Stella, there is a man holding a tray of drinks next to them. STELLA Drink? ONE TWO Large one,. Dance? STELLA So, you're a dancer? ONE TWO Am I a dancer? Shall we put the record straight? One Two makes room in front of him and starts to dance relativity badly. You get the feeling he probably could dance, but he just ca n't be bothered to make an effort. ONE TWO -LRB- CONT'D. -RRB- You see it's all in the genes. -LRB- he slowly turns. -RRB- My Dad was a dancer and his Dad before that so gradually it's percolated the old DNA. You not joining me? STELLA Sure, I like to dance. She stands up and dances just like him. ONE TWO Hello, I can sense a little competition. So what you got for me? STELLA The same job's back on again. ONE TWO Oh yea? -LRB- beat. -RRB- Do n't throw my rhythm. STELLA Same time, same place, same money. ONE TWO What about security? STELLA Same as before, but they're not my accountants. A couple of their's,. other than that, should be just the same.","INT. PARTY We CUT TO Mumbles who has gone up to Handsome. MUMBLES Handsome, I got a job for you. See that man on the couch. HANDSOME BOB The one that's staring at us? How can I miss him. MUMBLES Do me a favor, chat him up. HANDSOME BOB Fuck off what do think I am? MUMBLES He's some big wig lawyer who knows about an informer in our part of town and since you were just looking at a five stretch, I thought you might be interested. Handsome gets the picture and heads over to Bertie. One Two appears and approaches Mumbles. ONE TWO We got another job on, same as before. MUMBLES It's all go around here is n't it? Den of iniquity this place is. You know your old lady, well her big time lawyer husband he's a beard got a crush on the Handsome. ONE TWO What are you talking about? MUMBLES Put it this way, I do n't think they married for love. ONE TWO I got ta get a breath of fresh air.","INT. PARTY - SOFA We CUT TO to Handsome who has come to sit on the same sofa as Bertie. HANDSOME BOB So, I hear you have a secret, but you look like you might have more than one. Why do n't you confess? BERTIE I do n't want to talk about work. HANDSOME BOB If you tell me who the informer is, we will talk about whatever you want to, anyway, you do n't have to tell me anything. If he's an informer you'll have his depositions and poems. BERTIE My, my not just a pretty face. How do you know about those sort of things? Handsome scribbles out his number on a piece of paper, and gives it to Bertie. HANDSOME BOB Let's have a drink during the week, and I'll tell you all about it, all I need is a little bit of paper work.","INT. PARTY One Two is on his way out the door when Cookie stops him. COOKIE Oi One Two, I am going to make a killing out of this lot, they've definitely got more money than brains. -LRB- to One Two. -RRB- I owe you one boyo.","INT. CRACK HOUSE Johnny is watching cartoons trying to skin up a joint using a page of a book, he puts it down in frustration. Pete walks in, grabs the picture from it's place and starts to walk out. Johnny squints. JOHNNY STORY Pedro? Come back here. Pete stops in his tracks. JOHNNY STORY -LRB- CONT'D. -RRB- Where do you think you are going with that painting? PETE -LRB- he's flapping. -RRB- You never said it was your Dad's or whatever you wan na call him. You got ta give it back John people are looking for it, bad people. The streets are alive with the sound of pain. JOHNNY STORY You may have a point Pete, but I ca n't give it up. You know why? PETE No, why? JOHNNY STORY Meet me in the pub in two minutes.","INT. PUB Johnny walks in and approaches the BARMAN. He does n't like Johnny. BARMAN What do you want? JOHNNY STORY Now, now no need for that tone bar steward. I am merely on mission to acquire a shot of your finest Scotch and a packet of your,. -LRB- pointing to paper's. -RRB- Cheapest rolling paper. BARMAN Green or red? JOHNNY STORY King size of course - along with a packet of your shiniest coffin nails. The BARMAN reaches for a pack of cigarettes. BARMAN Do n't make a scene in here boy. Johnny puts a large note on the bar. JOHNNY STORY Put the change in the blind box my good man and remember,. He leans into the bar and shuts one eye. JOHNNY STORY -LRB- CONT'D. -RRB- `` In the kingdom of the blind, the one eyed man is king'' The BARMAN is left with his mouth open. Johnny walks to the piano to drink his Scotch. There are a few beer mats on the piano, Johnny wipes the mats off with a glide of his hand and they fall to the floor. He raises the lid, coughs, composes himself, and extends his hands through his sleeves. He hits the first note and takes his scotch down in one. A few of the old PUNTERS turn around. Johnny starts to play the most beautiful classical music with his eyes shut. Pete walks in, approaches Johnny and sits with him. He likes it when he plays. Johnny does n't even need to see him to know that he's there. JOHNNY STORY -LRB- CONT'D. -RRB- You see that pack of Virginia killing sticks at the end of the piano? We SEE the pack of cigarette's on the piano. PETE Yeah. JOHNNY STORY All you need to know about life is retained within those four walls. Pete picks up the pack as Johnny keeps his eyes shut. The following story is a montage of pack shots of the cigarette box, intercut with Johnny's delicate fingers stroking the keys. JOHNNY STORY -LRB- CONT'D. -RRB- You will notice that one of your personalities is seduced by the illusions of grandeur. A `` gold'' packet of `` king'' size and with a `` regal'' insignia. An attractive implication toward glamour and wealth, a subtle suggestion that cigarettes are indeed your `` royal'' and loyal friends. And that Pete,. is a lie. -LRB- beat. -RRB- Your other personality is trying to draw your attention to the flip side of the discussion. Written in boring, bold, black and white is the statement, that these neat little soldiers of death, are in fact, trying to `` kill you.'' And that Pete,. is the truth. -LRB- beat. -RRB- Beauty is a beguiling call to death and I am addicted to the sweet siren of its pitch. And that,. is why,. you and I love the crack, and that is also why I can not,. give that painting back. He opens his eyes and looks at Pete, his cigarette has gone out. JOHNNY STORY -LRB- CONT'D. -RRB- Now, please pass me a light. PETE -LRB- in mock awe. -RRB- Oh you are something special Johnny Story. Johnny smiles and puts him in a head lock, they fall to the floor wrestling.","INT. RESTAURANT - BELOW THE SPEELER One Two and Mumbles are here eating and holding their implements of destruction to be used on the next `` job'' we SEE the details. MUMBLES We'll use rock salt in the shot gun cartridges. Slip'em into the revolver, if it starts getting large, we'll bang a couple in to'em and that'll slow'em down. They wo n't know the difference between lead or salt and of course Bob's driving. ONE TWO I do n't want to use Bob. MUMBLES What? He's our driver, the A - teams not complete without the driver. -LRB- beat. -RRB- What's happened between you and Bob? There's a bit of a pause. ONE TWO I think there might be something about Bob you do n't know Mumbles. MUMBLES What's that then? That he's a poof? ONE TWO What? Eh? How did you know? MUMBLES Everybody knows he's a flamer, you're the only one who does n't. He loves the boys. ONE TWO -LRB- stunned. -RRB- What are you talking about, I am losing orientation here Mumbles. MUMBLES Did he make a pass at you, is this what this is all about? ONE TWO Yes, he fuckin did. MUMBLES Ok so what's the problem? It was supposed to be his last night so you `` took care'' of him, that's what friends do for one another, well done, I wo n't tell the chaps. ONE TWO Hold on a minute, you wo n't tell the chaps what? MUMBLES What did you do? Suck his,. ONE TWO Stop right fuckin there! What is going on here? Does that mean you've sucked his,. MUMBLES Well, you must have touched him. ONE TWO Hold on! I am not fucking gay! He wanted a dance that's all! MUMBLES Did you give him one?","INT. CUBAN MENS DANCING CLUB We CUT TO a shot of One Two dancing a slow dance with Handsome Bob who looks depressed.","INT. RESTAURANT - BELOW THE SPEELER ONE TWO A DANCE, yes, I did. MUMBLES Was it a slow dance? One Two trails off,. ONE TWO What has he done to me? Beat. MUMBLES I think there's something else you should know about our Bob. ONE TWO What, there's more? MUMBLES Who do you think looked after your Mum before she died, whilst you were doing a two stretch? -LRB- beat. -RRB- ` Cos it was n't fuckin me and I am your best pal! No, it was Bob around there six times a week without fail making sure she was looked after. You tore your mums heart out when you went away and Bob did his best to put it back. -LRB- pause. -RRB- I tell you something One Two, if I could be half the human that Bob is and the price was being a poof, I'd think about it. -LRB- beat. -RRB- Not for too long, but I'd have to think about it. ONE TWO He looked after my Mum, how come he never told me? MUMBLES ` Cos that's Handsome Bob and he's class.","INT. NIGHT CLUB - BACKSTAGE Roman and Mickey have got a BAND on stage and the place is filling up. Roman is on the phone looking concerned as Mickey looks on, he puts the phone down. We CUT TO our BAND playing on stage, modern young punksters, Arctic Monkey types. Plenty of attitude.","EXT. NIGHT CLUB DOOR - NIGHT There is a long line of people outside Roman and Mickey's venue. Johnny and Pete hustle their way through the crowd, the BOUNCER pulls them up. BOUNCER Oi you, what do you think you're doing? JOHNNY STORY What do you think we're doing? We're trying to get in. BOUNCER Go home wasters, costs money to get in here. JOHNNY STORY Yes my good man, I am aware of that. Johnny goes for his money, but the BOUNCER pushes him on.","INT. NIGHT CLUB - BACKSTAGE MICKEY What's wrong with you? ROMAN Get that Archy on the phone, I think we've got a problem. WE CUT to the BAND smashing away.","EXT. NIGHT CLUB DOOR The BOUNCER is holding Johnny and Pete back. BOUNCER Run along junkies. JOHNNY STORY Oi looky, but no touchy. Johnny pushes the BOUNCERS arm away. The BOUNCER retorts with a slap round the cheek. Pete wo n't stand for that, he goes for the BOUNCER in a pathetic junkie way. PETE Get off him you slag, he's class. The BOUNCER smashes a big bouncer punch right on Pete's nose. Pete shoots back past Johnny and lays in the road, the line starts clapping.","INT. NIGHT CLUB Roman is on the phone with Archy, we cut to them mid conversation. ROMAN Mr. Archy,. -LRB- beat. -RRB- I hear you, but you ca n't just shut us down! I've got an act on.","EXT. NIGHT CLUB DOOR Johnny stands over Pete, he notices Johnny's face. Pete's seen this before, he's changing like a madmen about to explode. PETE -LRB- calm, but worried. -RRB- Leave it John, I'm happy, I'm all right down here mate. Let's call it a night eh? JOHNNY STORY I'll show em' fuckin happy.","INT. NIGHT CLUB - BACK STAGE We hear the BAND is starting to get louder and faster. ROMAN I understand, we'll find him,. -LRB- still pleading. -RRB- But I have to keep the club open! I have four hundred people in here! -LRB- beat. -RRB- Do n't you dare shut us down!","EXT. NIGHT CLUB DOOR Johnny makes for the BOUNCER with menace, the BOUNCER looks at Johnny coming and smiles. BOUNCER Fancy some more talent boy? Johnny keeps coming, he's tiny in comparison, the BOUNCER stands and waits - he's ready. Johnny gives the old two finger poke to the eyes, the BOUNCER screams in pain and swings into the ether","INT. NIGHT CLUB We CUT TO THE BAND who is going mad.","EXT. NIGHT CLUB DOOR Johnny pulls out his signature pencils. JOHNNY STORY I am going to report you, what's your name? BOUNCER Jog on boy, before I grind your bones to make my bread. Without a hesitation Johnny sticks the pencils into the BOUNCERS leg, it's quite nasty. The BOUNCER stumbles forward like a wounded elephant, it's David and Goliath. Johnny's smart, he knows how to do this properly. JOHNNY STORY Oh I'm sorry did that hurt? Here let me help you up.","INT. NIGHT CLUB - BACK STAGE Mickey walks back to Roman. MICKEY -LRB- to Roman. -RRB- They're trying to shut us down! CUT TO THE BAND going even madder - the crowd is loving it.","EXT. NIGHT CLUB DOOR Johnny picks up a trash bin lid and starts giving it to the bouncer. The crowd dances around this wounded beast. JOHNNY STORY What was that about grinding bones?","INT. NIGHT CLUB ROMAN If we want to keep the licence and the lights on, we need to find Johnny Story. Mickey looks at the security camera and sees chaos. MICKEY There is a revolution taking place outside. The BAND is still going when all of a sudden the lights get pulled, we cut to black.","INT. RESTAURANT - TACKY MODERN FLASH Roman and Mickey have come to find Cookie. He is with a GROUP of people having dinner including Fred the Head. We cut into him mid joke. COOKIE Joke to be inserted by Cookie. The table laughs, Roman and Mickey approach. COOKIE -LRB- CONT'D. -RRB- Hello, it's Roman and Mickey, what are you doing here boys? ROMAN Can we have a word Cookie?","INT. RESTAURANT BOOTH ROMAN We need to find Johnny Story. COOKIE Well, you should be the first to know this, but is n't he,. ROMAN You know and I know nothing kills Johnny. -LRB- beat. -RRB- Come on Cookie, you've helped him fuck up his life for the last five years, now do him a good turn. This story will be illustrated appropriately, including a little smoking devil holding the burning crack. COOKIE Have you ever bought a ticket to the junkies bone yard Roman? -LRB- beat. -RRB- It's an unpleasant place called `` curl up and die.'' Might sound like a hair salon, but it do n't fuckin look like one I can tell ya. It's a horrible sight and a terrible sound listening to a man sucking his soul through the hole in `` the pipe'' and even worse when he tries to tear it back. -LRB- beat. -RRB- I've been there, I've done that,. then I nailed that demon in a smoke proof coffin and I did it all with Johnny. I love that man, he's what you call class. and if you would use your heads, you would love him too. You know his music sales have gone up a thousand percent in two weeks. -LRB- beat. -RRB- You see, Johnny `` the crack head'' Story knows that a `` Rocka'' is worth more dead than alive, silly world ai n't it? -LRB- beat. -RRB- Mr Story does n't get his gear from me, he has to travel far and wide. Leave me your number and if the dead feels like calling, you'll be the first to know.","INT. RANGE ROVER We SEE inside the Range Rover where there is a DRIVER with our TWO CHECHNYANS. The CHECHNYANS have suitcases handcuffed to their wrists. They speak in their native tongue. CHECHNYAN 1 Victor is Uri's right hand man, we served together for four years in Chechnya. We used to have a good time together, he's a real soldier, strong, hard, we made much trouble. I saved his life and he saved mine many times,. CHECHNYAN 1 pulls up his sleeve to reveal a massive tattoo. His arm is filled with slash marks on it. CHECHNYAN 1 -LRB- CONT'D. -RRB- Caught in tank tracks! He pulled me out and this one,. He unbuckles his trousers and shows a massive gouge in his thigh. CHECHNYAN 1 -LRB- CONT'D. -RRB- Stem grenade. CHECHNYAN 2 I have one of those,. CHECHNYAN 2 pulls up his trouser leg to reveal massive scars on his shin. CHECHNYAN 2 -LRB- CONT'D. -RRB- How many of these have you got?","INT. RANGE ROVER Chechnyan 1 pulls his shirt up to reveal more wounds. CHECHNYAN 1 Six thirty calibe,. SMASH! Their car is smashed into a tailspin, by Handsome Bob's truck. The Range Rover eventually lands on it's side, steam, spinning wheels, smoke, and glass is everywhere.","EXT. STREET Bob jumps out of his truck and runs down to the second getaway car waiting. We SEE One Two and Mumbles get out of their car and run over to the Range Rover on its side, they are carrying an axe and bolt cutters. Inside, CHECHNYAN 2 slowly opens his dazed eyes, to SEE an axe chopping through the window. TWO CHOPS and the window gives in. One Two leans in and grabs the case, but it's chained to CHECHNYAN 2's wrist. One Two pulls the arm out of the window and Mumbles uses massive bolt cutters to cut the case free. MUMBLES There's another case, grab it. One Two leans in and grabs the second case from Chechnyan 1. As he is about to chop this one loose, he is pulled into the car by CHECHNYAN 2. ONE TWO The bastard's still kicking. Mace him, mace him! Mumbles quickly moves around to the other window and sprays mace everywhere, including into One Two's eyes. ONE TWO -LRB- CONT'D. -RRB- Yaaaaaaaaaaaaaa, not me you idiot, the Guerrilla! CHECHNYAN 2 in the mean time has regained some of his strength and is still pulling One Two into the car with him. We can SEE Bob in the distance now next to their second getaway car looking concerned. ONE TWO -LRB- CONT'D. -RRB- Shoot him, shoot him, the bastards going to eat me! Mumbles pulls out a revolver, sticks it in the window and fires it into CHECHNYAN 2's leg. This just aggravates the CHECHNYAN. ONE TWO -LRB- CONT'D. -RRB- In his arms! Bang. ONE TWO -LRB- CONT'D. -RRB- Arhhhhhhhhhhh. That's my fuckin arm! One Two manages to head butt CHECHNYAN 2 and goes back to reclaiming the case from CHECHNYAN 1. He pulls it out and Mumbles cuts the chain. One Two ca n't see a thing. MUMBLES Let's go, we've got it. ONE TWO Give me a hand, you've blinded me! Major confusion is setting in. They run back to their car, which is still running, Mumbles shoves One Two into the back and jumps in the drivers seat. ONE TWO -LRB- CONT'D. -RRB- Go, go, go, go! With his window open, Mumbles wheel spins out of the situation and turns to check on One Two. From out of nowhere a very large CHECHNYAN arm shoots through the window and puts Mumbles in a neck lock. The CHECHNYAN 2 is holding on and not letting go. The car tears across the road and enters a shop window that has a mezzanine. The car comes to a halt on a precarious ledge, it's dangling with the CHECHNYAN 2 still not letting go.","INT. CAR - IN SPORTS SHOP ONE TWO Give me the gun. One Two can get a clear shot into the CHECHNYAN 2's side. He shots him once, CHECHNYAN 2 does n't move, twice, three times, four times, he finally lets go and falls down on the floor. ONE TWO -LRB- CONT'D. -RRB- Shit, what are these two made out of? Mumbles is coughing and slowly coming back to life. MUMBLES Let's get going. ONE TWO I can hardly see, where are we? MUMBLES Grab my hand, we're getting out of here. ONE TWO Who's got the cases? MUMBLES I've got'em. As they get out of the car, WE SEE CHECHNYAN 1 has now made his way down the street. He is punch drunk with mace in his eyes, but extracts a machine gun from under his jacket. The boys freeze they are fucked, nowhere to go, but CHECHNYAN 1 is blinking profusely he ca n't be sure where they are. He lets off a magazine into the manikins next to our boys who all hit the deck. The magazine runs dry, CHECHNYAN 1 dips into his belt to extract a fresh one. Mumbles see's his opportunity, he grabs a golf club that is standing next to him, runs at CHECHNYAN 1 and takes a massive swipe at his head. CHECHNYAN 1 goes down, but he has already put in a new magazine. Mumbles is still carrying the cases, One Two is attached to his arm. ONE TWO Shoot him Mumbles or we wo n't get out of this! MUMBLES I ca n't fuckin shoot him, you do it. A baseball smashes into Mumbles face, he goes down, and he's out. CHECHNYAN 2 has appeared carrying a metal baseball bat. One Two picks up the machine gun. ONE TWO Stop or I'll shoot! CHECHNYAN 2 will not stop, he just keeps on coming. ONE TWO -LRB- CONT'D. -RRB- I mean it, get down,. get down! CHECHNYAN 2 keeps coming, One Two does n't want to do it but he has to. He lets off twenty three bullets into the CHECHNYAN 2's chest, the CHECHNYAN is knocked back and disappears over the mezzanine. One Two is in shock, he has never killed a man. He stands there numb. MUMBLES -LRB- who has come back to life. -RRB- I got the cases, now let go. Pause. One Two is still in shock. MUMBLES -LRB- CONT'D. -RRB- Now One Two, now! They make their way to the entrance. There is a crowd of PEOPLE gathered, a great `` ohhhhhhhh'' goes up.","EXT. SPORTS SHOP ONE TWO Where's Bob? Beep. Beep. A car slowly makes it way through the crowd. It pulls up and the boys pile in, what's left of them. They pull away from the sports shop.","INT. BOB'S GETAWAY CAR Bob looks in his mirror, he can see a gun being raised, there is someone on the trunk. HANDSOME BOB Down. He slams on the brakes. CHECHNYAN 2 goes flying over the roof, but stops himself hitting the road by perforating the hood with his massive knife. He proceeds to perforate the wind screen with another knife that he extracts and -LRB- because of laminate -RRB- starts to saw through the wind screen. The boys are in horror. HANDSOME BOB -LRB- CONT'D. -RRB- Abandon ship!","EXT. BOB'S GETAWAY CAR One Two gets caught in a head lock by CHECHNYAN 2, they struggle. Mumbles hits the CHECHNYAN from behind with a car Jack and CHECHNYAN 2 goes down again. One Two's eyes have just about come back. ONE TWO Run! Run for your lives. The crew split in DIFFERENT DIRECTIONS. Bob takes the cases and plucks some poor bystander out of their car and takes off. Mumbles disappears another way. CHECHNYAN 2 is up and follows One Two - terminator style, a foot chase begins. One Two, split from the group and being pursued, jumps over a wall.","EXT. RAILWAY TRACK One Two has ended up on a railway track. He turns back, why should CHECHNYAN 2 chase him, he has n't got the money. But no, CHECHNYAN 2 is over the fence, bullet proof vest flapping in the wind, and coming after him. One Two finds his strength this is his world, the world of the runner - he's off down the tracks. The pair of them are bleeding profusely, they're bashed to a pulp, but they have still got a running sprit. The run goes on and on. CHECHNYAN 2 has ripped off his jacket, we can see his massive scar covered torso dripping in blood and sweat, he seems unstoppable. One Two gets confident and starts to run backwards egging CHECHNYAN 2 on, CHECHNYAN 2 is a good runner, but not good enough. Deep hate fills his eyes as One Two makes a fool out of him, CHECHNYAN 2 will remember this man. One Two is taking complete liberties, he almost stops and waits until CHECHNYAN 2 has caught up to him and then he tears off, the CHECHNYAN keeps coming. One Two see's in the distance a tiny moped approaching from a distance, its CHECHNYAN 1 who completely out sizes the machine. However, he's moving and it's moving faster than One Two. One Two ducks off the tracks and over a wall, the moped gets nearer. At least when he gets over the wall, the moped wo n't follow right? One Two's over. He can hear the moped on the other side, One Two looks over his shoulder he can see the moped being lifted over the wall. `` Oh shit.'' This is where One Two's `` zone'' comes into play. He drifts in to a place that he can not be disturbed and he runs and runs and runs. Up, down, through and in.","EXT. STREET We see Mumbles has caught up with One Two along side the tracks. He is on a motorbike that he has stolen. MUMBLES Get on! One Two jumps on the back and they speed away leaving our Chechnyan's behind.","INT. PORTA CABIN We are on another one of Uri's construction sites, Lenny is here to do the money exchange, again. LENNY COLE I will have that painting with you in a couple of days Uri. It got locked up with some other goods of mine, I wanted to keep it safe, but Archy lost the key to the lock. Did n't you Arch? Archy nods like an idiot. LENNY COLE -LRB- CONT'D. -RRB- Now, I'm not being funny Uri, but I have a payment to make. So if there is any chance that I could get the money. Victor walks up, there is something wrong. VICTOR -LRB- in Russian. -RRB- I need to speak to you Uri.","EXT. PORTA CABIN - CONTINUOS Uri concludes the meeting with Lenny and Archy and they walk to the exit where Turbo is waiting by the door. Something has obviously just happened. LENNY COLE Something wrong with these immigrants Arch, I do n't fuckin trust'em. We're being set up, do n't know how, but something's wrong, I can smell it with my sniffer. I thought he was made of fuckin money, not too happy about flashing it around here though is he?","INT. PORTA CABIN Uri watches Lenny walk off. VICTOR He is the only one that knows. URI He does n't have the balls or the brains. VICTOR He's a crook, a small time back handing crook. Once could be a coincidence, but twice and the painting - your `` lucky painting'' I think he is trying to make a fool out of you.","INT. RESTAURANT One Two walks into the restaurant with Handsome Bob. One Two is bashed to a pulp, but he's wearing a nice suit and carrying a bag full of money. There is a slight silence as his appearance arrests conversations. Handsome waits near the entrance and One Two sits down across from Stella, there is a pause. The odd PERSON passes and double takes at One Two. STELLA Oh my God, are you all right? A WAITER walks up. ONE TWO That is a rhetorical question I hope. -LRB- to waiter. -RRB- A glass of water thank you. -LRB- beat. -RRB- With a straw. -LRB- To Stella. -RRB- Do n't you want to know what happened? STELLA I know what happened, it's been all over the news, but I did n't realize,. ONE TWO You did n't say anything about guns,. machine guns with war criminals stuck to the trigger. STELLA I am sorry I did n't know, but should n't you have taken precautions? ONE TWO I'll leave your bag under the table all right? -LRB- pause. -RRB- But this is n't about the money is it? I saw you there on that last job. At first I thought it was curiosity,. CUT BACK TO THE ROBBERY we see Stella in her car that One Two had seen, but we did n't. ONE TWO -LRB- CONT'D. -RRB- But then I realized what was going on. You do n't need the money, you liked the rush. Your old man, ca n't give you the action can he? -LRB- beat. -RRB- Good - bye sweetheart you're too dangerous for me. He gets up and limps out.","INT. CAR One Two and Handsome get into the car where Mumbles, nursing his own wounds, is already waiting. Handsome sits in the drivers seat when his phone goes. HANDSOME BOB Is that you Bertie? Mumbles and One Two know what this call is about. BERTIE -LRB- V.O. -RRB- What's happening about that drink? HANDSOME BOB What's happening about that paper work? BERTIE -LRB- V.O. -RRB- I am busy tonight, but Monday looks good. I'll leave the papers at my reception under your name and text you the address. HANDSOME BOB I'll be round in a jiffy and I'll see you Monday. The phone goes down, One Two narrows his eyes. ONE TWO You are scary good at that. HANDSOME BOB Do you miss it? ONE TWO Shut up Bob or I'll slap you. Go and pick up your paper work from your boy friend and drop me off on the way, I am going back to bed.","INT. TOWN HALL Lenny is walking down the main corridor, he's a man on a mission. Archy is next to him, not looking so enthusiastic. LENNY COLE Arch I do n't care if he's fuckin busy, if we call, he answers, that's the deal. There he is,. -LRB- shouting. -RRB- Councilor,. Councilor! The Councilor is walking down the corridor he's with some of his COLLEAGUES. He looks mortified and beckons his friends on. LENNY COLE -LRB- CONT'D. -RRB- Something wrong with your telephone? COUNCILOR What are you doing here Lenny? You ca n't come here. LENNY COLE Steady, Councilor steady,. I go wherever I fuckin want. This is my town, not yours no matter what you and your pen pushing immigrant boy scouts might think. -LRB- pause. -RRB- Now, what's going on? COUNCILOR -LRB- hurriedly. -RRB- Step in here.","INT. COUNCILORS OFFICE The Councilor steps into his office. COUNCILOR I ca n't do it, you've left it too long Lenny. You want something that the city has a ruling against, something they said they would n't give permission to build. LENNY COLE Do n't give me that shit. I can look out my window and there's twenty kinds of buildings this city said they'd never build, how did that happen eh? Fuckin termites got together and had a house building party did they? No sunshine, back handers put them up, back handers just like mine. COUNCILOR This is n't fuckin Zaire Lenny, I ca n't do it this time. Lenny grabs the Councilor by the bollocks and pushes him up against the wall. COUNCILOR -LRB- CONT'D. -RRB- Get off my bollocks Lenny. He squeezes the Councilors bollocks harder, the Councilor screams. LENNY COLE Do n't you swear at me you yellow puddle of immigrants piss or I'll fuckin drown you in it. -LRB- squeeze. -RRB- Feel that do you Councilor? You think I do n't have a paper trail for all the gifts, the cars, holidays, tennis courts and swimming pools? I own these bollocks and they're more fragile than a pair of quails eggs. Now get it done! -LRB- squeeze. -RRB- And next time blue bollocks, remember who the Daddy is!","INT. CRACK HOUSE Johnny's sitting smoking a fag and watching more cartoons. Pete walks in with Malcolm and Paul, Johnny jumps up angry. JOHNNY STORY Moron,. what do you think your doing? PETE What John? JOHNNY STORY Letting creatures in my yard without my consent. PETE They're good stuff John, Scotch and Scouse. MALCOLM Like the drink and the Beatles. I am Malcolm and this is my friend and colleague Paul, you know like the saint. Paul's still comatose. MALCOLM -LRB- CONT'D. -RRB- Paul does n't say much, he's too busy thinking. -LRB- beat. -RRB- Come on, we know you John, we're big fans, you're what they call a real rocknrolla. Johnny cuts in and storms over to all three of them, pushing them out the door. JOHNNY Out! Good - bye, on your way, bon voyage and fuck off. Pete falls to the floor sulking, Johnny can push no more it's a lay down, Malcolm and Paul join him. JOHNNY -LRB- CONT'D. -RRB- What is this a laydown? A fuckin demo? MALCOLM Leave us be Johnny, we're nice people. Peaceful people. This is a demonstration of peace. JOHNNY Where the fuck did you find these two junkies? Conference, now Pete. Johnny drags Pete in toilet.","INT. CRACK HOUSE TOILET JOHNNY STORY Pedro I swear this is the last time I'm having you take the piss, next time you're on your own. PETE Sorry, I thought you might like some company. JOHNNY STORY I am dead Pete, what does that tell you? It tells you, that dead people do n't like company! Now jog'em on. PETE All right, I'll tell'em to leave. JOHNNY STORY Yes you fucking well will, smelly junkies. Meeting adjourned. Johnny and Pete walk out of the toilet, Malcolm and Paul are gone. PETE You've scared'em off sing - a - long, but with a welcome like that it's not all that shocking. JOHNNY STORY Lucky you're not following them. Johnny looks over, the picture has gone, he turns to Pete. JOHNNY STORY -LRB- CONT'D. -RRB- Where's the picture Pete?","INT. SPEELER Malcolm and Paul walk in the speeler, it's packed. Paul is holding the painting. FRED THE HEAD Hi ho it's the werewolf brothers, what you got for us today? MALCOLM Paul, please exhibit to the audience the fine artifact. Paul walks around with the painting - Malcolm sits him down, he's in a state again. MALCOLM -LRB- CONT'D. -RRB- Now, now young Paul rest your weary legs. -LRB- beat. here comes the pitch. -RRB- Gentlemen,. we are entering the realm of the ancient art form of paint on canvas,. Cookie cuts in. COOKIE I'll have it, how much? MALCOLM -LRB- stunned. -RRB- One moment sir, there's a pitch that comes with this painting,. Cookie gets up from the table and walks over. COOKIE I do n't want the pitch, I said I'll have it. MALCOLM It's a very rare and expensive painting sir. Malcolm's upset, he wanted to give the pitch. Cookie pulls out a lot of money too much for Malcolm to say no to. COOKIE Here ya go, have a week in snow. Malcolm takes it. MALCOLM Good afternoon gentlemen, it's been a pleasure. I can hardly wait till the next time.","EXT. GOLF COURSE Uri, Lenny and Victor are out on the fairway. LENNY COLE I'll have that painting in a couple of days Uri, trust me on that. Uri's not sure about that last statement. URI You like it out here Lenny? LENNY COLE Ca n't beat the great outdoors can you Uri? I ca n't understand it, not a soul out here. URI That's because I have had the course cleared for us Lenny, we are not going to be disturbed. LENNY COLE Oh that's good, I love a clear fair way, that's a bitta me that Uri. Nothing worse than being jogged on by blind tourists swinging a stick on a Sunday. URI What are we going to do Lenny? Every time I am about to make my payment something dishonest happens. -LRB- pause. -RRB- You, would n't know anything about that, would you? Clearly shifting gears, could he be saying what he thinks. LENNY COLE Excuse me? Are you trying to say something Uri? URI I am not trying Lenny, I am saying something. Lenny is not having any of this, after all he's `` top dog.'' LENNY COLE I think you forget who you are speaking to you insolent bastard. You forget where you are you fuckin immigrant. This is my land, my fuckin show, I run this tow,. Victor has extracted a five iron from out of the golf bag and has decided to break both of Lenny's legs in ten different places. Lenny screams in unimaginable agony, writhing on the green. Uri almost ignores the activity. URI I have to go now Lenny, I am having lunch with the Councilor, your Councilor. This, as you know, is the ninth hole and it is a long crawl back to your car. You should make it by sunrise, just in time to bring me my `` lucky picture.'' I want it back do you hear me? Victor kicks him. LENNY COLE Yes,. yes. URI After that, I do n't want to hear from you again, disappear do you understand me Lenny? -LRB- Victor stands on his broken legs arrrrgh. -RRB- Lenny? LENNY COLE Yes, yes, I understand. Victor dips into his Lenny's pocket and extracts his phone. URI Times just change. -LRB- Uri gets in the buggy. -RRB- Good bye Lenny. He gets into the buggy with Victor and drives off.","INT. ONE TWO'S HOUSE One Two comes in and closes the door behind him. He looks down on the floor and there is THE PAINTING, we see a large note on it that says. `` Let myself in, thought your lady would like the painting. Love, Cookie'' The door bell rings, he opens it and there stands Stella. She walks in straight past One Two, he turns round with his mouth open, she gently slaps it shut and kisses him.","INT. CAR We are outside Bertie's office - Handsome opens the car door and jumps in, he's holding a brown envelope. Mumbles is waiting there.","INT. ONE TWO'S HOUSE One Two is sitting on the bed that has been torn apart. He's in his boxer shorts with a ciggy in his mouth. Stella is walking toward the bathroom, the phone rings. ONE TWO Yeah?","INT. CAR We see Mumbles and Handsome driving they are talking on the speaker phone. MUMBLES We've found out about that informer. Your lady `` the beard,'' her old man came through. ONE TWO -LRB- V.O. -RRB- What? HANDSOME BOB It's here in my hands, THE informer, the one responsible for all the sentences we have been seeing - all of'em, including me. ONE TWO -LRB- V.O. -RRB- Well, who is it then? MUMBLES Who's Sidney Shaw?","INT. ONE TWO'S HOUSE ONE TWO Sidney Shaw is a pseudonym you idiot, they never use the real name. Get around here and let me have a look.","INT. HOSPITAL CORRIDOR A gang of VILLAINS are lining the corridor, Archy walks through them.","INT. HOSPITAL BEDROOM Lenny is here with a NURSE. NURSE Do n't try and move it'll be too painful before tonight. LENNY COLE Give me the water, Aaaaaahhhhh,. NURSE I told you not to move. Archy walks into the room. LENNY COLE Broke my legs in four places Archy, did you hear that? The bastard's made me limp for the rest of my days. ARCHY What do you want me to do? Lenny is clearly distressed, his confidence has gone. LENNY COLE I need that picture Archy, I need it bad. ARCHY I'll get it, do n't you worry and I think I can do better than that. This catches his attention. LENNY COLE What? ARCHY Someone has been at the Russian's money, a couple of silly gun slingers,. he was n't making up stories. LENNY COLE What? ARCHY You know'em and you do n't like'em either. LENNY COLE I ai n't playing fuckin games here Arch look at me, who? ARCHY Mumbles, Bob and One Two.","INT. ONE TWO'S HOUSE Stella walks out of the bathroom, she looks immaculate. ONE TWO Look at you, good as new. STELLA I have to go now. ONE TWO Fancy sharing some dancing lessons with me later in the week, a bitta the ` ol salsa? STELLA -LRB- she smiles. -RRB- I'll take you up on that. ONE TWO I got something for you. Thought you might like it, seeing as you like paintings and all. -LRB- he motions. -RRB- There, it's on floor. Leant up against the wall is the lucky painting, she stops and looks at it, the camera slowly creeps into her face. We observe One Two looking for a reaction. ONE TWO -LRB- CONT'D. -RRB- Like it? STELLA You have very good taste,. Mr One Two. She picks up the painting and turns smiling. STELLA -LRB- CONT'D. -RRB- Good bye. With that she is off and out the door. One Two grabs the 70s retro headphones above his head and slaps them on his ears. He presses the remote control and the music kicks in.","EXT. CRACK HOUSE Mickey and Roman approach the crack house door and flick up the letter box. They see a string hanging, they pull it and down comes a key.","INT. CRACK HOUSE Roman and Mickey walk in to see Johnny slouched and watching TV, more silly cartoons. He's got his top off and he's smoking a ciggy. His feet are resting on an old chair and Pete is asleep next to him. Johnny hardly moves. ROMAN So why did you call Johnny? JOHNNY STORY Sorry, Johnny's not home right now, but the pipe is and the pipe says that Johnny heard you were getting in trouble boys. Roman gives a slight roll of the eyes. ROMAN Look, whoever I am talking to please relay the message to Johnny. His Dad, his jack in the box surprise gangster Daddy, paid us a visit. Shut down a few of our venues and he intends to shut down a few more unless Mr Story puts in an appearance. JOHNNY STORY Why are you talking to a pipe Roman? You're madder than I am. MICKEY Come back Johnny, come back home. JOHNNY STORY But home is where your head is and I do n't feel at home in my head. -LRB- beat. -RRB- Come back Johnny! Johnny smiles and pulls out a gun from under his arse. He points it at Roman, waits until he knows they feel it and pulls the trigger. It's a lighter. He relights his splif, hot hash dropping on his chest, he ignores it. JOHNNY STORY -LRB- CONT'D. -RRB- I bet our Lenny gave you the `` I'm his old man'' speech did n't he? -LRB- impersonating Lenny. -RRB- I've seen jelly fish with closer DNA than that slag. Now Johnny will come quietly, but you might have a couple of problems with the pipe. -LRB- he sighs. -RRB- Come on boys, buy us both a cup of tea. No need for any noise, let Pete sleep on.","INT. ONE TWO'S HOUSE One Two has still got the headphones on, his eyes shut and he's tapping his knees. All of a sudden the music stops coming out of the headset and is now filling the room, someone else is here.","INT. URI'S OFFICE - FLASHBACK WE CUT BACK to an earlier scene that we were n't a part of until now. Victor is talking to a man, we ca n't see who it is. VICTOR Uri is a man born with nothing, carved his way up the hard way, he's smart, young and only one thing will stop him from reaching his goals,. women. And this woman has become a problem. -LRB- pause. -RRB- My job is to protect Uri and in this department he needs protecting, I do n't like her or trust her and I want you to follow that snake. We reveal it's CHECHNYAN 1 our war criminal who is looking battered from the beating the day before. CHECHNYAN 1 Leave it with me Victor.","EXT. RESTAURANT - FLASH BACK We go back to the scene at the restaurant from a different perspective. The two CHECHNYAN'S see One Two and Handsome Bob walk out of the restaurant, they two look at one another, their brows steel.","INT. ONE TWO'S HOUSE CUT BACK to present with the music being cut off from One Two's head phones. He opens his eyes, on his throat lies a very long and sharp knife. The two CHECHNYANS have entered the room and pulled the wire out of the machine. CHECHNYAN 1 is sitting on a chair next to One Two, he's the one with the blade. He smiles, One Two does n't.","EXT. ONE TWO'S HOUSE Archy approaches the door with Danny behind, he pushes it, it opens. Concerned, he pulls out a shooter, so does Danny, they go in.","INT. ONE TWO'S HOUSE The music is very loud, it's Russian. Archy and Danny make their way to it's source, up the stairs, to the bedroom door. The base thumps out. Archy tries the handle, it turns, he pushes the door open slowly. The music becomes clear as we reveal a horrible scene. Archy is shocked, but a little amused. Tied to the bed, back to front with a pillow over his head is One Two. A large blade is resting on his back, a bottle of vodka is open on the side, One Two cries and wriggles uselessly. On the floor facing the other direction is our pretty much naked Chechnyan doing a traditional Chechnyan dance, which involves lots of extended leg action. He is wearing military speedos and fuck all else apart from his military hat. He is `` having much fun.'' His massive frame is still black and blue from the beating One Two previously inflicted. The other Chechnyan -LRB- similarly dressed -RRB-, is digging into his bag of tools, extracting all sorts of horrible looking things. Archy looks on amazed by the show, he has a quick look at Danny who is also bemused. He hits the `` off'' button, the Chechnyans spin, looking distressed. Silence ensues. ARCHY Is this a bad time One Two? ONE TWO -LRB- unable to say anything. -RRB- Emmm, emmmmmmmmmmmm. ARCHY Shall we come back later? ONE TWO -LRB- still unable to say anything. -RRB- Emmmmmmmmmmmmmmmmmmmmm. The Chechnyans make a quick move, their last ever. We hear FOUR shots ring out quickly.","EXT. ONE TWO'S HOUSE Handsome Bob and Mumbles pull up and get out. Handsome Bob puts the paper work in his top pocket and bangs on the front door.","INT. ONE TWO'S HOUSE One Two is being wrapped up in a carpet on the floor. He's still emmmmmmmmming and wriggling. We hear Handsome Bob and Mumbles at the front. MUMBLES -LRB- V.O. -RRB- One Two, it's us. Archy pays no attention to the door yet, he is on the phone to Lenny. LENNY COLE -LRB- V.O. -RRB- Bring'em to the warehouse and do n't hurt'em until I've spoken to'em, all right? ARCHY All right Lenny, I got a call waiting here, I'll see ya at the show. Archy presses his phone to take the other call. ARCHY -LRB- CONT'D. -RRB- Hello?","INT. CRACK HOUSE Roman and Mickey are still here with Johnny. Roman speaks. ROMAN Archy?","EXT. ETON POSH SCHOOL - WE FLASHBACK TEN YEARS Archy leans against a ROLLSROYCE with another HEAVY. Young Johnny walks up, he's wearing tales and a bow tie, he's with two of his toffy school FRIENDS. JOHNNY STORY Hello Archy. ARCHY Johnny, you do look the part. JOHNNY STORY Show us your guns Uncle Arch, I told the boys all about it. ARCHY Shut up and get in the car. Archy throws Johnny a packet of rolos and turns to get in the car. As he turns, Johnny lifts up the back of his sports jacket and steals his gun. The two FRIENDS are in shock, needless to say so is Archy. Johnny holds it on his two friends. JOHNNY STORY Give us your money boys. Archy grabs the gun and hits Johnny on the back of the head, not too hard. ARCHY You little swine,. now get in the car. Archy puts the gun away and looks at the two shocked school friends. He gently slaps them on the cheek in an intimidating way and gives them a tener. ARCHY -LRB- CONT'D. -RRB- Be good boys, you never know who's watching.","EXT. WAREHOUSE - BACK TO PRESENT Bandy, who is pushing Lenny stops at the bottom of the stairs. BANDY You wan na take the stairs or the elevator Mr Cole? Lenny's in a wheelchair, he looks at Bandy. LENNY COLE Come here Bandy. Bandy comes near, Lenny takes a sniff. LENNY COLE -LRB- CONT'D. -RRB- You been drinking again? BANDY No,. Mr Cole. Lenny slaps him. LENNY COLE Think before you drink and before you drive me mad Bandy. Bandy goes back to his position of pushing the boss towards the elevator.","EXT. WAREHOUSE Johnny, Roman and Mickey walk toward the entrance. JOHNNY STORY Do n't worry boys, nothing to be nervous about, some of my Dad's best friends ended up here. Archy arrives with a couple of old carpets, One Two, Mumbles and Handsome Bob are wrapped inside. JOHNNY STORY -LRB- CONT'D. -RRB- Hello Arch, wrapped up in a carpet just like the old days? -LRB- beat. -RRB- What is it today? The rack? The garotte? Or is it the old cray fish trap? ARCHY Still full of hot air Johnny. They walk inside the warehouse doors, Danny follows with the carpets.","INT. WAREHOUSE They all make their way to the elevator. JOHNNY STORY You're looking a bit down, has that old clown been working you long hours? -LRB- beat. -RRB- You always were loyal - no dog like a loyal dog. ARCHY Watch your mouth John. JOHNNY STORY -LRB- feigning fear. -RRB- Do n't hit me Archy, I'm a singer not a fighter. -LRB- back to normal. -RRB- I've just the remedy for you, a story, a Johnny Story and it's all about you. Archy presses a button to call the elevator. They wait. ARCHY I do n't want to hear it. JOHNNY STORY Sorry, that's right get into character. -LRB- beat. -RRB- Look at him boys, scary ai n't he? Roman and Mickey do n't like any of this. JOHNNY STORY -LRB- CONT'D. -RRB- That's what four years inside does to a man, eats his soul and when it's all gone it makes a man quite scary. Ever wondered how you got there? Ever wondered what grass informed on you? The elevator arrives and they all pile in, including the rugs with One Two, Mumbles and Handsome Bob.","INT. WAREHOUSE ELEVATOR - CONT. A noise comes from one of the carpets. JOHNNY STORY So who we got in there? Anyone I know? Anyone famous? That's right it's only a job, is n't it? Just being loyal, just following orders. -LRB- Johnny salutes. -RRB- I bet you can operate a nice gas shower,. I can see you with a couple of S's on your collar and a stiff goose in your step. Archy turns and slaps him the famous `` Archy slap'' it's nasty, Archy's getting wound up. ARCHY Shut it, otherwise you will get hurt. His face has been slapped into the direction of Roman and Mickey. Johnny keeps his head still,. JOHNNY STORY That, Roman and Mickey, is the famous Archy slap. I have been magically transported straight back to my childhood. He speaks next in a little boys voice, he's taking the piss. JOHNNY STORY -LRB- CONT'D. -RRB- Do n't turn Archy in, he's your friend, he's loyal, just like the dog. He changes to impersonate Lenny, its deep and over the top. JOHNNY STORY -LRB- CONT'D. -RRB- Shut up boy, do n't stick your nose where it do n't belong otherwise I'll chop it off. -LRB- little boy voice. -RRB- But you ca n't do it to Uncle Arch, I love him. -LRB- deep. -RRB- Needs a little lesson though do n't he? Left his station has n't he? A little time inside to remember who the boss is. Archy straightens his tie to remain calm, but ca n't take it any longer. He picks Johnny up and slams him against the wall. ARCHY -LRB- shouting. -RRB- Shut it, you hear me or I'll do ya myself, you poisonous little fucker! JOHNNY STORY -LRB- feigning fear. -RRB- Do n't hurt me Arch, I'm only little.","EXT. ELEVATOR - CORRIDOR OF WAREHOUSE The elevator door opens and we see skinny Johnny stuck up in the air held by Archy. Danny looks on a bit disturbed. DANNY Put him down Arch, he's only little. Archy drops him, his wires crossed. He needs a little time to think. Johnny is off out of the elevator walking away happy as a clam. Back to Archy in the elevator. DANNY -LRB- CONT'D. -RRB- You all right? You look a little green. ARCHY -LRB- back to business. -RRB- Fine, roll out the carpets.","INT. WAREHOUSE Johnny comes bowling in like a ` rocknrolla' coming on to stage. He spots Lenny. JOHNNY STORY Sidney! Nice wheels. Archy comes in with Danny and the carpets, Handsome Bob hears this, is Lenny Cole the Sidney Shaw? JOHNNY STORY -LRB- CONT'D. -RRB- Sorry about the painting, needed the cash for a little bit of the old `` dusty show bizzzzzzzz.'' -LRB- beat. -RRB- So, it's gone now, lost in the world of degenerate and stoned no hopers, never to be seen again by the eye of a clean soul. There is a pause while Lenny considers just shooting him. He changes his tone, he gets serious and slow. LENNY COLE Tell me, what are you boy if you are not poison? Look what you've left behind you. Your Dad could n't even bear the sight ya, no wonder he fucked off and left me to pick up the pieces, but that was n't enough for you was it? No, had to drive your mum into a bottle of pills and house full of nutters. All she got then was a hot bath a ice cold razor, why? -LRB- beat. -RRB- Cos your poison Johnny, that's why. JOHNNY STORY What can I say,. -LRB- pause. -RRB- I'm a junkie, crack head, no gooder, should never have wasted your money on that school. LENNY COLE Archy get him out of here. ARCHY I've had enough of him, I do n't trust myself. -LRB- beat. -RRB- Use someone else. Johnny grabs the back of Lenny's chair and pushes him around like he's a two year old, Lenny feels a right twit. One Two, Handsome Bob, and Mumbles observe. JOHNNY STORY It's a gathering, I love a gathering look, Mumbles, One Two, Handsome Bob all the old faces today. -LRB- beat. -RRB- It's all going so well apart from Archy who's ruining the day. I tried to cheer him up with that story about how you grassed him u,. BANG! Lenny shoots Johnny in the hip with a gun he has kept hidden. Everybody is shocked, Danny jumps back in horror that was pretty close. ROMAN Whooooa,. ARCHY All right calm down, give me that, I'll take care of him. Danny moves in to take the gun from Lenny. Johnny speaks in pain, but still chipper. JOHNNY STORY That was n't one of your better shots was it now Daddy. If you want to shut me up it should have been a bit higher. Lenny looks up to Danny. LENNY COLE -LRB- quietly. -RRB- Danny come here, I want him taken care of, you hear? Now get him out. Danny takes Roman, Mickey and Johnny out towards the elevator. LENNY COLE -LRB- CONT'D. -RRB- You do n't know how much trouble you have caused me so please understand that I will kill you very slowly if you do not tell me where my money is. HANDSOME BOB The address is in my top pocket. Here, Archy,. you know I would n't mess you around. Lenny is out of reach of them, Archy can tell Handsome Bob is implying something. HANDSOME BOB -LRB- CONT'D. -RRB- Take it Arch. Archy leans forward to take it, Lenny interrupts wheeling himself over. LENNY COLE Let me have a look first. He takes the letters out of Handsome Bob's top pocket and opens them up. He squints, the print is too small he ca n't read what it says. ARCHY Here you ca n't read it without your glasses, let me have a look. Lenny looks uncomfortable, Archy almost snatches the letters and flicks through the pages. He reads to himself, could it be true? Could Lenny be the informer sending everyone around him down? LENNY COLE What does it say? Hurry,.","INT. ELEVATOR Mickey and Roman are holding Johnny up, he's bleeding all over the place. Danny is facing front while another MAN is keeping an eye on them. We SEE, but the other's do n't, Danny is slowly screwing on a silencer. JOHNNY STORY Do n't worry just yet fellas, nothing's going to happen while we're standing in the elevator because they do n't want to have to drag the three corpses across to the cars that would be hard work. In about two minutes from now, when we're all driving along happily,. WE FLASH FORWARD TO AN IMAGINARY SCENE - JOHNNY'S V.O. IS ACTED OUT.","INT. CAR - FLASH FORWARD JOHNNY STORY -LRB- V.O. -RRB- Danny boy is going to turn around and `` pop me'' two in the head and one in throat just to make sure. -LRB- beat. -RRB- And then, since Danny is obviously going to kill you two as well,. WE SEE the imaginary shots from Danny's gun go off on Mickey and Roman.","INT. WAREHOUSE We cut back to the scene upstairs. ARCHY You wan na know what this says Len? -LRB- beat. -RRB- Funny thing with the law, it can be quite flexible. Every time an informer finds himself in front of a judge,.","INT. COURT ROOM We see Archy's story acted out in the full court room, Law and Order style. The judge and lawyer act out Archy's words. JUDGE A secret letter stands witness as to the cooperation and efficiency of that informer. LAWYER An accurate record of his treachery will be brought in to protect the informer,.","INT. WAREHOUSE Back to our present scene. ARCHY If the informer has provided adequate information, that dog of dogs will be magically released,.","INT. COURT ROOM Back to our acted out scene. JUDGE A sort of, `` get out of jail free'' card, but this comes along with the trail of a good alibi.","INT. WAREHOUSE Archy turns the pages of the letter. WE SEE different JUDGES giving different sentences to different FACES, some of these faces we know, one of them is Fred the Head, Handsome Bob and one of them is ARCHY.","INT. COURT ROOM Still being acted out, in Law and Order style. LAWYER The only evidence that will ever remain of this deal is that form of a very exclusive and hard to come by legal document called a `` secret debt''.","INT. WAREHOUSE Back to our present scene. ARCHY As in deputation,. -LRB- beat. -RRB- The likes of which I hold for the very first time in my hand. -LRB- beat. -RRB- Of course they use a false name and I have seen that name many times in the last twenty years, always did wonder who Sidney Shaw was,.","INT. LENNYS OFFICE - FLASHBACK FLASHBACK twenty years ago, Archy picking up papers on Lenny's desk and turns to him. ARCHY Who's this Sidney Shaw Len? LENNY COLE -LRB- bothered. -RRB- Give us that here.","INT. WAREHOUSE Lenny has gone white. LENNY COLE No, I am being set up. ARCHY You're a dirty bastard Sidney, a very dirty bastard. Archy grabs the belt that's used to tie up drowning victims, he throws it round Lenny's chair and stuffs a bit of cloth into Lenny's wide open mouth. ARCHY -LRB- CONT'D. -RRB- -LRB- to One Two, Handsome Bob and Mumbles. -RRB- You three, cut yourself free and get out of here,. Archy throws a knife across to Mumbles who just catches it and starts to cut his way out of the ropes. Archy gets back on with the job at hand. He reads through the names Lenny has grassed on over the years. ARCHY -LRB- CONT'D. -RRB- Michael Finny, ten years. Frazier Nash, fifteen years. Cousin Ronnie, six years,. you dirty bastard. -LRB- beat. -RRB- Michael Dexter, eight years. Archy grabs the winch that lowers victims to their crayfish death and bangs it on to the back of the wheel chair. He presses the start button and the wheelchair is raised with haste. ARCHY -LRB- CONT'D. -RRB- The Jew twins, fourteen years and of course ME, Archy, four years. One Two, Mumbles, and Handsome Bob are free. ONE TWO See ya Arch,. The three of them are out like rats up ropes, they start to run down the stairs.","INT. ELEVATOR We pick up where we left off with this group. JOHNNY Should n't have brought me here fellas, you're just going to end up as witnesses. We continue with his description of what is going to happen.","INT. CAR - FLASH FORWARD JOHNNY After they have `` dealt'' with us, they're gon na put all three of us in the trunk of a stolen car,.","INT. TRUNK OF STOLEN CAR - FLASH FORWARD We see six gallons of petrol in the trunk of the car in our imaginary scene. JOHNNY And pour six gallons of petrol on top, I can let your imagination fill in the rest.","INT. ELEVATOR Back to present. JOHNNY But now Danny's rattled, he wo n't be able to wait because you now know what's coming, so he's gon na fire. Danny, who is now in a state because Johnny has predicted everything he's going to do, suddenly turns with his gun. Mickey catches it, the force of the stop pulls the trigger, and the other MANS head is drilled through. Roman joins the wrestling match and gets the gun and wrist to aim at Danny's head. The trigger gets squeezed and Danny's head also gets a drilling. Silence. Johnny, who is smothered in blood, speaks coolly. JOHNNY STORY Mickey, pass me the gun. Mickey is out to lunch, but Johnny sounds commanding. JOHNNY STORY -LRB- CONT'D. -RRB- MICKEY quickly, pass me that gun in Dannys hand. Do n't worry he ca n't defend himself he does n't have a head, quickly now. Does this answer the question that you two so frequently asked as to why I sought refuge in the depths and perverse beauty of the crack pipe? The elevator door opens.","EXT. ELEVATOR There stands Bandy, his gun drawn. BANDY Get fucking down! He looks on in horror and points the gun at Johnny. Just as he's about to fire,. there is a great smash of bone on timber. Bandy falls to reveal One Two standing there with a large piece of timber. ONE TWO I think we should get out of here now, do n't you John? At which point in the background WE SEE Lenny being lowered to his demise. He looks at the group in horror as he is quickly lowered to his death by drowning and cray fish. FADE OUT.","INT. URI'S CAR VICTOR I do n't like it Uri, I do n't trust her. I put two of my people on her and they have n't come back. Very insulted. URI You what? I did not tell you to do this. If I had wanted her spied on I would have asked for it, would n't I? VICTOR Yes Uri, you would have, but I still do n't like it. URI I do n't care what you like Victor, I am in charge, now wait here. He gets out and walks to the door.","EXT. STELLA'S HOUSE She answers the door - she is surprised. URI Can I come in?","INT. STELLA'S HOUSE URI Sorry to surprise you, but I have something for you, a token of my appreciation. He hands her a check. STELLA What is this for? URI Please do not be insulted, you have come to mean a lot to me and I value you much more than just your services. -LRB- pause. -RRB- This is simply a reflection of my appreciation. -LRB- vulnerable he likes her. -RRB- I would like to ask you something personal. His phone rings, he frowns slightly and answers it. URI -LRB- CONT'D. -RRB- Not now Victor, I am busy. Uri turns. There, casually resting on the floor is his painting, his lucky painting. Uri's expression changes, his world has been shattered, he's thinking very ugly thoughts. He turns back to Stella, dead pan. URI -LRB- CONT'D. -RRB- A very nice painting. How long have you had it? A little caught off guard. STELLA Years, it's my lucky painting,. it's very special is n't it? URI Beauty is a cruel mistress, is it not? Pause, she smiles. Uri talks back into the phone, the other darker Uri is now in charge. URI -LRB- CONT'D. -RRB- Victor please, come to join us. THE END"],"string":"[\n \"INT. DERELICT BUILDING - DAY WE MEET : MUMBLES -LRB- late 30s -RRB- and ONE TWO -LRB- late 30s -RRB-. They are listening to a sales pitch from two REAL ESTATE AGENTS. We SEE all the relevant pictures of their pitch explaining a changing city, LONDON. SLICK ESTATE AGENT -LRB- V.O. -RRB- Two years ago this property cost one million pounds. -LRB- we SEE building. -RRB- Today, it costs five million. The camera WHIP PANS over to another part of the building to see the other ESTATE AGENT giving his pitch. The camera will keep this back and forth for the duration of the scene. OTHER SLICK ESTATE AGENT -LRB- V.O. -RRB- How did this happen? -LRB- CUT TO relevant pictures as he speaks. -RRB- Attractive tax opportunities for foreign investment, restrictive building consent and massive hedge fund bonuses,. -LRB- beat. -RRB- London, my good man, is fast becoming the financial and cultural capital of the world. SLICK ESTATE AGENT And of course the Russians have come to town. OTHER SLICK ESTATE AGENT Makes it hard to compete with an ex - Soviet oligarch that has six billion dollars in his back pocket. They do n't haggle the price, they double the price. SLICK ESTATE AGENT Russians come, prices rise, and it does n't stop. It only goes one way. OTHER SLICK ESTATE AGENT Up. SLICK ESTATE AGENT I ca n't teach you how to skin a cat, but I can tell you a lot about the money in bricks and mortar. Like he said, it's going one way. You need to see a lawyer. One Two and Mumbles look at one another. ONE TWO We need to see a Lawyer.\",\n \"INT. LAWYER'S OFFICE CUT TO a modern looking LAWYER'S office. We SEE the LAWYER advising MUMBLES AND ONE TWO. LAWYER TYPE They say it's only going one way.\",\n \"EXT. STREET - DAY ONE TWO and the LAWYER are here looking at the building, it is a bit dilapidated and bleak. LAWYER TYPE It looks like a great deal.\",\n \"INT. LAWYER'S OFFICE We cut back into the office where the LAWYER lays out the building plans. LAWYER TYPE These are the plans,. it costs ten and it'll be worth twenty with planning. But first you got ta give the councilor a drink.\",\n \"INT. COUNCILOR'S OFFICE CUT TO the desk of a COUNCILOR -LRB- mid thirties middle management -RRB- who is receiving a brown envelope from the LAWYER. COUNCILOR -LRB- off the envelope. -RRB- Tell them they'll get the planning,.\",\n \"INT. LAWYER'S OFFICE We CUT BACK to our LAWYER now smug. One Two and Mumbles are standing in front of him. LAWYER TYPE You'll get the planning. Take care of the councilor and it will move like shit through a goose.\",\n \"INT. SPEELER ONE TWO We need help. MUMBLES Lenny Cole? ONE TWO Dog number one,. MUMBLES But he moves fast and he loves bricks and mortar.\",\n \"INT. LENNY COLE'S OFFICE MEET LENNY COLE -LRB- 50s, dark, a little tubby -RRB-, Mumbles and One Two are here. Lenny's office is kitsch, he fancies himself as a man of class. LENNY COLE I do move fast and I love bricks and mortar, properties are always the safe bet, but you better know what you're doing ` cos this ai n't soft money. You trip up,. -LRB- beat. -RRB- And it's not me that's gon na get hurt. You got security? MUMBLES We got property. LENNY COLE Do n't let me down boys. -LRB- beat. -RRB- Come on then, give us your hand. They shake hands and sign the papers.\",\n \"INT. COUNCILOR'S OFFICE The Councilor is the phone to the Lawyer. He speaks in hushed tones clandestine like. COUNCILOR -LRB- into phone. -RRB- Ca n't talk now, but there has been a problem. I ca n't get you the planning.\",\n \"INT. LAWYER'S OFFICE The Lawyer is on the phone with Mumbles and One Two. LAWYER TYPE -LRB- into phone. -RRB- I'm sorry boys, ca n't get the planning.\",\n \"INT. SPEELER One two is on the phone. He looks over to Mumbles. ONE TWO He ca n't get the planing. MUMBLES He ca n't get the planing?\",\n \"EXT. DERELICT BUILDING Lenny is looking out to One Two and Mumbles who are standing outside his car looking very white. Lenny screams from the back seat. LENNY COLE What do you mean you ca n't get the fuckin planning? -LRB- pointing. -RRB- There is seven million of my cash in there, without planning it's worth five,. you owe me. I take the building, you lose your share, but I am still outta pocket two large ones. Find it. The window goes up and the car pulls off. Lenny picks up his phone, he dials huffing and puffing.\",\n \"INT. LENNY'S CAR -- CONTINUOUS LENNY COLE Is that you Councilor? -LRB- Lenny smiles. -RRB- I hear you got that car you was after,. now, sort the planning out. COUNCILOR -LRB- V.O. -RRB- Sorted Lenny. He puts the phone down and looks over smiling. MEET ARCHY -LRB- Lenny's right hand man, 50s -RRB-. LENNY COLE What's wrong with you Arch? ARCHY That's a bit strong is n't it Len? They come from the same place as you, you'll clean'em out. LENNY COLE Same place as me? Do I look like an immigrant Archy? -LRB- beat. -RRB- No one gave me a leg up, did they? They need a bit of fear, ` cos otherwise they're gon na come up against me,. need a little lesson do n't they?\",\n \"INT. SPEELER One Two and Mumbles are here, it's quiet until,. ONE TWO We got ta sell. MUMBLES And be left with what? ONE TWO Just got ta start again,. FADE OUT.\",\n \"INT. CORRIDOR OF SPORTS ARENA Start CREDITS over sports arena entrance. Lenny is being walked down a corridor, the walls are lined with photographs of old soccer stars. On each side of him are two ESCORTS -LRB- ex - military types, heavy looking -RRB-. As they pass each door, we realize where ever he is going, it has to be important. The ESCORTS talk in to their microphones and to the different GUARDS on each door way. Every now and then we see the SPORTS ARENA in the back ground. At last we reach the main door to the head office.\",\n \"INT. HEAD OFFICE As the door is opened we see a small crowd of MEN in suits gathered around a kind - looking MAN with bright blue eyes. He nods a couple of times. We CUT TO the front of Lenny who is clearly impressed, Mr. Blue eyes pays him no attention. The small crowd of business MEN shake hands and head to the door at which Lenny is waiting patiently.\",\n \"INT. SPORTS ARENA -- DAY CLOSE UP on the back of URI -LRB- Russian Jew, 40s, slick, and well groomed, he is our Mr. Blue Eyes -RRB- overlooking his sports arena. We stay on the back of Uri's head while he is talking to Lenny. URI Glad you could join us here Lenny. LENNY COLE It's nice to see you Uri. URI Good. -LRB- there is a pause. -RRB- I can see we are very much alike you and I Lenny. We like to get things done. -LRB- beat. -RRB- What's it going to cost me? LENNY COLE First, let me make clear how much we can help you benefit from this deal. With out me, it will take you five to ten years to get the permission to erect your arena. -LRB- beat. -RRB- Second, with Government policy as it so stands we both know it's unlikely that you'd ever get that consent. -LRB- beat. -RRB- Thirdly, in legal fees, transactions and building consent, you'd be paying 6 to 12 million without any real guarantee of that result. We CUT TO Uri unfazed, he just wants the figure. URI So Lenny,. how much? LENNY COLE Seven million Euros. Still unfazed. URI I expect a guarantee that I have consent within six months and no red tape. LENNY COLE That's right Uri, you can consider that done. Pause while tension stews, then,. URI Drink! Follow me.\",\n \"INT. SPORTS ARENA - PRIVATE BAR Uri walks to the bar. Lenny follows trying to contain his excitement, he's out of his league, a `` welcome to the billionaires club'' look has struck him pink. Lenny passes a PICTURE that's sat on an EASEL. LENNY COLE Oh, that's a nice picture Uri, has n't it got, errrh depth? Uri is at the bar now. He has placed one large tumbler down and is pouring a very very large measure out. URI That picture has brought me nothing but luck Lenny,. it's my lucky picture. -LRB- he has a good idea. -RRB- You like? Take it for a while, maybe it will give you luck. LENNY COLE Oh I could n't Uri,. Still absorbed with the painting. URI Now we're partners, I insist. I will get it sent around to your house and you can give it back to me when our deal is finalized. Lenny looks at the bar. Uri motions, there is a SMALL KEG of WHISKEY on the bar and only one large glass. LENNY COLE I thought you lot drunk Vodka. URI Whiskey is the new Vodka. LENNY COLE You not joining me Uri? URI I do n't drink. LENNY COLE Oh,. cheers then,. URI To success. Lenny awkwardly starts to glug as Uri looks on.\",\n \"INT. LENNY'S CAR - DAY Lenny enters the back seat of his car, Archy is waiting for him in the back. ARCHY You all right there Len? You look a little pink. LENNY COLE -LRB- Flustered. -RRB- Turbo, get us a perrier and a wet wipe live - o. Lenny's panting. LENNY COLE -LRB- CONT'D. -RRB- Tried to poison me the dirty Cossack. TURBO -LRB- Lenny's driver -RRB- is fumbling around in the front seat trying to get ice into a glass from the cooler that sits beside him. LENNY COLE -LRB- CONT'D. -RRB- Stop messing about and give us the bottle Turbo. ARCHY So, how's the billionaires club? Lenny grabs the drink, desperately takes a big glug of water and wipes his face. LENNY COLE That Communism did n't seem to slow'em down did it? We've hit the big time here Archy boy! -LRB- beat. -RRB- What's wrong? Where's the old Archy smile? ARCHY You wan na watch out there. Times are changing, they do n't have too much respect for the old school. LENNY COLE Shut up Archy,. -LRB- under his breath. -RRB- No school like the old school,. I still run this town see? That's why he came to me right? Got that? ARCHY Yeah, got that.\",\n \"INT. SPORTS ARENA - PRIVATE BAR Uri looks at VICTOR -LRB- Uri's right hand man -RRB-. They're looking down at Lenny's disappearing car. VICTOR You think you should have leant him your lucky picture? URI It makes the peasant feel royal,. do n't spoil it, we need him at the moment. I want that consent. -LRB- beat. -RRB- Call the accountant and get her to clear the money.\",\n \"INT. ACCOUNTANT TAX OFFICES A man and woman sit on one side of a desk, MEET STELLA AND BERTIE. Bertie is 45 and handsome in a dark posh sort of way. Stella is 32, film star. Sitting opposite them are two TAX MEN -LRB- civil servant types, grey, middle aged, a little tubby and bald -RRB-. There's a stand off. STELLA Look, can we shut the door? There's a pause while the TAX MAN looks at his colleague. TAX MAN Shut the door. His colleague gets up and shuts the door. STELLA Let's put our cards on the table. We both know you are n't going to get the full forty out of my clients. TAX MAN This is the tax office and in the end we get what we want. STELLA Save that speech for the tourists Charlie and let's strike a deal - take the twenty now and let it go. Otherwise, they'll move the company off shore tomorrow and you'll spend the next twenty years chasing an imaginary forty million around every republic that grows bananas. Bertie lifts out papers from his brief case. TAX MAN I see why you married her now Bertie. The two TAX MEN look at each other, they're thinking the same thought.\",\n \"INT. CHAUFFEUR DRIVEN MERCEDES - EVENING BERTIE I told you we'd make a great team,. You know why you get those deals? She looks relatively bored. BERTIE -LRB- CONT'D. -RRB- Because those fat, sad, old men like it when you swear at them. They shake like cocktails and sweat like semtex when you raise that posh little voice. You my love are a rare commodity. -LRB- beat. -RRB- Now come on, give your Bertie a smile. STELLA I do n't feel like smiling. I am a thirty two year old accountant married to a homosexual lawyer. -LRB- beat. -RRB- I'm a beard without kids Bertie! I'm in a marriage of convenience that can be quite inconvenient at times. The phone rings, Bertie picks it up and answers. BERTIE Yes, she's right here. -LRB- he puts his hand over the receiver. -RRB- It's Omovich. -LRB- mincey. -RRB- Are you sure he is n't gay?\",\n \"INT. SPEELER Introduction of the SPEELER. A location of all things nefarious, a place to scam, buy and sell things illegal, and play cards. MUMBLES and ONE TWO own the Speeler. MEET Handsome Bob -LRB- mid thirties, part of the gang Errrh Handsome -RRB-. FRED THE HEAD -LRB- late 40s -RRB- he runs it with DOLLY -LRB- early 50s, maternal figure, cleaner and chef -RRB-. These are the main players in a room of never less than TEN rarely no more than TWENTY people. FRED THE HEAD You wo n't do a five, they've got nothing on you Handsome Bob. HANDSOME BOB What are you talking about Fred? They got an informer, a grass, and a rat with a roach - smoking - a canary,. they've got more information than the fuckin Internet. DOLLY Language,. FRED THE HEAD Well, like I said, nothing. MUMBLES Leave him alone Fred, you're stressing him out. Dolly get him a cuppa tea. -LRB- beat. -RRB- Come on deal the cards Fred. We see in the background someone coming in. MEET COOKIE -LRB- late 30s, slicked back, black hair -RRB-, his look is a bit of a parody. COOKIE All right chaps? FRED THE HEAD All right Cookie. MUMBLES Want to be dealt in? COOKIE Ca n't stay for long, but throw us in for a quick spin. One Two, who has been on the phone finishes his call. He looks over to Mumbles. ONE TWO Mumbles, can I have a word?\",\n \"INT. SPEELER STORAGE ROOM MUMBLES What's happening? ONE TWO You know the lady, the posh one who likes abitta the rough life? MUMBLES The accountant, what about her? You have n't heard from her in a while, too dangerous that one. ONE TWO Says she's got some work, you know,. proper work. -LRB- he makes gun impression. -RRB- I would normally turn her down, but considering,. MUMBLES Let's have a meet.\",\n \"INT. ART GALLERY - NEXT DAY Stella's here admiring an abstract picture of nothingness. One Two sits next to her. ONE TWO I got one like that at home with a little boy fishing. STELLA Is that what they call humor where you come from? ONE TWO Well, do n't they call that art where you come from? STELLA You're quite the entertainer are n't you Mr. One Two? And you are late, please do n't be late, I have a very busy schedule.\",\n \"INT. ART GALLERY - CORRIDOR They walk down the corridor. STELLA I have some work and thought you'd be interested, its your kind of work. ONE TWO Go on. STELLA There are two accountants taking out seven million Euros from a bank I know and it wo n't be protected. -LRB- beat. -RRB- Twenty percent for me, as normal. The details are in here. She passes an envelope. ONE TWO Anything else? STELLA Yes,. I do n't want this coming back to me so, if you could give them a black eye,. that might help. She see's a slight pause and look of concern from One Two. STELLA -LRB- CONT'D. -RRB- A black eye, nothing more. She passes him an envelope. ONE TWO Ok, very good Mrs. Dexter, a black eye it is then. He looks down at her shoes. ONE TWO -LRB- CONT'D. -RRB- Nice shoes. STELLA -LRB- she smiles. -RRB- Why thank you, you'll be able to afford your own pair in a couple of days. Good bye. He watches her walk off, he likes her, she likes him.\",\n \"INT. BACK OFFICE OF MUSIC VENUE Two guys are here counting money. MEET ROMAN and MICKEY, two black Americans. -LRB- Mid 30s dressed very classy, with a bit of an urban twist -RRB- They are in the managing game, exploiting the talents of the English. The sound of distant bass thudding through the walls can be heard while Mickey is on the phone trying to do some kind of business. A real ROCKER with long hair and good looks comes walking in distressed. ROCKER I need the dry ice Mickey, I need the dry ice. My show just does n't work without it. MICKEY -LRB- hand over the receiver. -RRB- If you told me yesterday you needed dry ice, I would have gotten you the driest ice the world could offer, but you did n't ask for no dry ice. You asked for two cases of Johnny Walker black label and four ladies of the pole and I got them for you did n't I? There's a pause from the Rocker. MICKEY -LRB- CONT'D. -RRB- Did n't I? ROCKER Yes you did I do confess, but Mickey, you're the manager and I am the rocker. You've got on the managers hat, now pluck something out of it. MICKEY My hat is deep and full of magic. I got rabbits, handkerchiefs, and ladies of the pole drinking Black Label. I got smoke machines, bubble machines, I even got love marines and still the hat goes deeper, but. there ai n't no mother fuckin dry ice. ROCK N ROLLER Ok, ok, come home, you've made your point. -LRB- he turns on his way out. -RRB- But tomorrow, I need dry ice. ROMAN looks up from his paper, having not got involved in the slightest. Roman taps the paper he has been reading. ROMAN Have you read this? MICKEY What? He reads out the headlines. ROMAN Johnny Story singer extraordinaire, fell off a boat, they say. Missing, assumed dead, they say. MICKEY What,. our Johnny? ROMAN How many rock stars by the name of Johnny Story do you think there are in this universe Mickey? MICKEY The only thing he's fallen off is his junkies spoon, he's no deader than the suit you're wearing now. He'll be gearing himself up somewhere happy as clam in a fisherman's net. Rockers like that never die, they just wither and give me pain.\",\n \"EXT. TENNIS CLUB - DAY On the tennis court we see the COUNCILOR -LRB- our man from the beginning -RRB-, who is playing tennis with TERRY THE INSTRUCTOR. The Councilor is taking it seriously apart from the distraction of JACKIE on the next door court. ARCHY is here watching over the game and reading the paper, we see him read an article and look a little moved. Lenny comes up behind him and starts to read over his shoulder. LENNY COLE Johnny Story singer extraordinare, fell off a boat, missing, assumed dead. ARCHY I do n't know what to say Lenny. LENNY COLE I bet he took a lot of people with him in his hot little crack pipe. -LRB- beat. -RRB- We will never mention this again, all right Arch? Archy looks a little shocked. Lenny carries on like nothing has happened. LENNY COLE -LRB- CONT'D. -RRB- Now, tell the Councilor to stop fuckin about with sticks and balls and send him inside. Lenny walks into the bar and Archy moves on to the court. ARCHY Very good councilor, you must of had lessons as a boy. -LRB- beat. -RRB- Fancy a cool down and a chat with Lenny? The Councilor slyly looks over to Jackie, she looks back. The Councilor is thinking explicit thoughts. ARCHY -LRB- CONT'D. -RRB- Do you know Jackie? Nervous, the Councilor knows these thugs are n't shy. COUNCILOR No, no, no, Archy, do n't say anything. ARCHY Do n't worry, she's a friend,. and a member. -LRB- raises his voice. -RRB- Jackie,. fancy a run ` a ` round with the Councilor? Pause. She looks sullen, stroppy and rude all at the same time. JACKIE Only if he's wicked. She turns away to hit a ball, the Councilor's heart skips a beat. COUNCILOR -LRB- excited and shy. -RRB- What does she mean by that? ARCHY I think she likes you boy - o.\",\n \"INT. TENNIS CLUB BAR Lenny is at the bar on his own looking at the papers and picking at the nuts. In walks the Councilor with Archy, the Councilor sits next to Lenny at the bar. LENNY COLE They say that times are changing Councilor, that this country is n't what it used to be, it's the new New York, they say. You being a political man must know all about that. The Councilor looks a bit flustered. COUNCILOR Errh, I think they are probably right, times have changed, but that should n't affect you Lenny. LENNY COLE They say it's all gone `` international'' now, out with the old guard in with the new, but I think they're wrong. -LRB- beat. -RRB- Anyway, where are my manners? Look at you sweaty as a native and pink as a pelican,. and I have n't even offered you a wet one. COUNCILOR A lemonade and orange please. LENNY COLE Oh that's nice,. refreshing, that'll put you back on top boy. Lenny pulls out the plans and a leather pack of cigars. LENNY COLE -LRB- CONT'D. -RRB- Here you go, plans and papers. -LRB- beat. -RRB- Would you like a cigar? COUNCILOR I do n't mind if I do,. that's a nice lighter. LENNY COLE Eight grand they wanted for it cheeky toads and I paid, you know why? COUNCILOR Tell me Lenny. LENNY COLE ` Cos it's all about the details. Looking at the plans. COUNCILOR -LRB- awkwardly. -RRB- Is our little deal in there too Lenny? Lenny milks the silence while he lights his cigar, the Councilor feels like a prick waiting, it goes on and on. LENNY COLE Oh I would n't forget that, the most important things first. He puts the Dunhill lighter down on the plans. LENNY COLE -LRB- CONT'D. -RRB- I'll leave you with them. -LRB- beat. -RRB- I got ta run, ca n't stay here chewing the fat all day, a mans got to make a living. Call me in the ` morrow. He walks toward the door as Jackie is walking in, Lenny looks slyly at her as they pass. LENNY COLE -LRB- CONT'D. -RRB- Look after him Jackie. In the distance. COUNCILOR Oh Lenny, you forgot your lighter. Lenny looks back to the Councilor. LENNY COLE Ca n't be mine, it's got your name on it. CUT TO the bottom of the lighter, `` THE COUNCILOR.'' Lenny carries on walking and smiling.\",\n \"EXT. PARK - MORNING It's the next morning, we SEE One Two running. Mumbles and Handsome Bob pull up along side of him in their car. There is a moment of pause while they admire One Two running along side of them. MUMBLES Do n't you get bored of that? I mean, your not really going anywhere. If you wan na run, why do n't you run to the shops or do something useful? ONE TWO You could do with some of this yourself Mumbles, you're letting yourself go. -LRB- beat. -RRB- Anyway, I'm busy, have you come to talk about anything important? MUMBLES It's all about the zone is n't it? You boys and girls like to find funny places in your head where nothing can get you, do n't you? You're scared, you're running away from yourself One Two. ONE TWO No Mumbles, I am trying to run away from you. Bob, you sorted out the car? HANDSOME BOB Yeah, it looks like a heap of shit, but it ca n't half go. -LRB- beat. -RRB- A bit like you One Two. Mumbles turns to Handsome Bob MUMBLES I reckon he's trying to get fit for the lady. Nothing gets under his skin like a lady he ca n't have, does it? -LRB- pause. -RRB- A straight going, cocky, educated, arrogant posh bird trips him right up. I reckon we should set Handsome Bob on her. That'll liven you up One Two. ONE TWO Bob would n't know where to begin. HANDSOME BOB I'm good with the posh ones, do n't you worry about that. ONE TWO I've had enough of this, can you two piss off cos I am trying to find my `` zone'' One Two sprints off leaving them behind. MUMBLES He ca n't half run for a white fella.\",\n \"INT. LENNY'S HOME OFFICE - NIGHT Lenny is pacing in a ladies dressing gown with long silk socks. He ca n't sleep, he pours a large one, lights a cigar, picks up the phone and dials. LENNY COLE Archy? You awake? -LRB- beat. -RRB- Never mind, you are now. I had a horrible dream that the Councilor did n't come through, I do n't want anything going wrong on this one, that Russian's the key to the big time. -LRB- pause. -RRB- You think he's all right? -LRB- beat. -RRB- You sure? -LRB- beat. -RRB- What did Jackie say? His feet go back up on the desk with confidence. LENNY COLE -LRB- CONT'D. -RRB- She did? I knew he'd like the lighter, nice touch eh? She's a good girl that Jackie. -LRB- laughing. -RRB- Give her another drink. -LRB- beat. -RRB- You're right, he would n't have leant me his lucky painting if he did n't mean business. Yeah, I had it taken off it's easel and stuck it above my desk, it's looks magnifi. He suddenly stops. His eyes have spotted something scary, the office chair disappears from under him, he takes the phone, the lamp, and the ash tray with him to the floor. LENNY COLE -LRB- CONT'D. -RRB- -LRB- from the floor. -RRB- Arch! Arch! I have been robbed. He turns the receiver the right way round. LENNY COLE -LRB- CONT'D. -RRB- I said I have been robbed. -LRB- beat. -RRB- I do n't know when. The painting,. it's gone. He stands fumbling and screaming, his scotch all over him. LENNY COLE -LRB- CONT'D. -RRB- The one Uri gave me! -LRB- beat. -RRB- All right LOANED for fucks sake! Beat while panic sets in and Archy is saying something on the other end. LENNY COLE -LRB- CONT'D. -RRB- This is n't good Arch, it's his favorite painting, his lucky painting! Get round here and bring the troops.\",\n \"INT. LENNY'S HOME OFFICE -- LATER Lenny's still pacing, a small gathering of tired looking HOOLIGANS are lined up in Lenny's office. BANDY Where was it Len? Lenny is standing in front of the fire place smoking and looking very anxious. There is a bald spot above his head where a picture once stood, a picture light illuminates an clearly empty space. He is horrified by the stupidity of the question. LENNY COLE Let's take a wild stab in the dark shall we Bandy? Archy slap him and then send him to school ` cos I ca n't take any more of this. You sort it out, get that picture back and bring me a body, I am going to back to bed. He stomps off to bed. ARCHY Bandy if you ever ask a stupid question like that again, you see Danny there? He's gon na slap you. BANDY Sorry Arch, it's just,. I was trying to use initiative. ARCHY Danny slap him. DANNY slaps him with the back of his left hand. Archy's not happy - it was the wrong hand. ARCHY -LRB- CONT'D. -RRB- With the right Danny,. properly. DANNY slaps him again, it's weak. ARCHY -LRB- CONT'D. -RRB- I said properly, with the back of your right hand Danny. DANNY What is this a tennis match Arch? ARCHY Slap him! DANNY slaps him again, BANDY takes it good. Archy huffs and goes over to slap him proper, SLAP! Bandy's disappeared into another dimension. ARCHY -LRB- CONT'D. -RRB- Like that! -LRB- beat. -RRB- Now, if you men can master a slap like that, there's no need for your clients to hold back. They'll open up like a fountain full of words after one of those. No need for strong violence, no no, they're straight back to their childhood. Putty in your hands, ask Bandy,. -LRB- motioning. -RRB- Look, thinks he's back at school. DANNY But he never went to school. ARCHY Daniel, do you want a slap as well? Now, if the slap does n't work,. Cut'em. or pay'em, but keep the receipts ` cos this ai n't the Mafia. -LRB- beat. -RRB- Now, get to work and find that painting.\",\n \"EXT. BOND WAREHOUSE - BACK LOT - DAY Mumbles, Handsome Bob, and One Two are standing here dressed as security guards. Handsome Bob is watching over the car that is waiting for the TWO ACCOUNTANTS to come out of the back door of the warehouse. One Two and Mumbles are to the side. MUMBLES You ready? ONE TWO Yup, load up boys and pay attention. One Two see's the door open and makes a move. Two ACCOUNTANTS come out of the back door, while in route they click their central locking open on the car waiting. One Two is already on them as the ACCOUNTANTS go to open their car door. ONE TWO -LRB- CONT'D. -RRB- Hello lads. He flashes the gun in his belt. The ACCOUNTANTS are too shocked to even know what is going on. ONE TWO -LRB- CONT'D. -RRB- Put the bags in the car and walk away. The ACCOUNTANTS see the gun, but still look for a way out. Mumbles meets them with another gun. MUMBLES Do n't be silly boys, do as you are told. Put the bags in the car, give him the keys and walk away smiling. The ACCOUNTANTS do as they are told. One Two and Mumbles get into the car, calm as you like. One Two, starts the engine, but he ca n't find reverse. There is a crunching sound from the car, the accountants stop and look round. One Two puts down the window. ONE TWO -LRB- to the accountants. -RRB- Oi, come back here. The ACCOUNTANTS come back. ONE TWO -LRB- CONT'D. -RRB- Where's reverse? ACCOUNTANT You have to lift up the nob under the gear stick. One Two struggles, then finds the gear. ONE TWO Right, now fuck off. MUMBLES -LRB- to accountants. -RRB- Slowly and keep smiling. ONE TWO Shit,. MUMBLES What? ONE TWO I have got to hurt him. -LRB- to the Accountants. -RRB- Oi come back here. MUMBLES Why? What did he ever do to you? Come on we've got the money now let's piss off! The Accountant has made his away back to the car. ACCOUNTANT Yes? One Two goes through the motions getting ready to hit the accountant without actually being able to do it. ONE TWO Shit, I ca n't do it. One Two wheels spins out of there.\",\n \"INT. CAR - MOVING Mumbles and One Two take off driving. MUMBLES -LRB- looking. -RRB- You're an embarrassment to crime you are. ONE TWO She asked me to give him a black eye. MUMBLES She's sick that bird of yours, sick. Quickly changing the subject. ONE TWO Is Handsome Bob behind? MUMBLES He's there.\",\n \"INT. CONSTRUCTION SITE - CONTINUOUS Uri is walking around looking over one his sites, he's entertaining a corporate gathering of MEN all in suits and hard hats. URI The developement has been underway for four years and will be completed within another two. The area covers twelve acres and it will become one of Londons premiere residences. We can SEE VICTOR -LRB- Uri's right hand man -RRB- in the background looking anxious. URI -LRB- CONT'D. -RRB- Thirty two floors and six acres,. excuse me gentlemen,. Uri walks over to VICTOR. URI -LRB- CONT'D. -RRB- What is it? Victor leans in and whispers to Uri. After 15 seconds Uri leans back. URI -LRB- CONT'D. -RRB- -LRB- in Russian. -RRB- Do they know who we are? VICTOR -LRB- in Russian. -RRB- It's not like the old country, it's cowboys and Indians out here. URI -LRB- in Russian. -RRB- We do n't have time to play games,. people and business are waiting. Speak to the accountant and get some more money. -LRB- beat. -RRB- And Victor, this time no problems.\",\n \"INT. ART GALLERY Stella is here again looking at the abstract pictures on the wall. One Two joins her, he's got a largish Louis Vuitton with the money and her twenty percent in it. ONE TWO I know a man that'll copy that for you. Might take him a couple of minutes mind. STELLA You do n't need to copy anything any more, welcome to the nouveau riche Mr. One Two. ONE TWO Here's one for you too Mrs Dexter. STELLA Why thank you Mr. One Two. I see you did n't think much of the black eye though. ONE TWO Would have liked to obliged, but from a professional point of view, it just was n't natural,. -LRB- pause. -RRB- Until next time then. STELLA Until next time. She turns and walks away, he looks slyly.\",\n \"INT. CAR Handsome Bob is driving. HANDSOME BOB She's a looker ai n't she One Two? One Two picks up his phone and starts to dial. ONE TWO She's not for you Bob, that is class. Someone picks up at the other end of the phone. ONE TWO -LRB- CONT'D. -RRB- Archy, I got Lenny's bitta scratch.\",\n \"INT. LENNY'S CAR - MOVING Turbo is driving Archy, who is on the phone. ARCHY What, you got it all? ONE TWO -LRB- V.O. -RRB- Yeah and it's burning a hole in the floor, so you better come and get it before it melts my boots. ARCHY I'll come round the speeler. Archy's phone beeps - he has an incoming call. ARCHY -LRB- CONT'D. -RRB- Got another call, got ta go. Archy switches calls.\",\n \"INT. LENNY'S OFFICE Lenny is pacing, he's on the phone. LENNY COLE Archy, the Russian did n't come through with the money.\",\n \"INT. LENNY'S CAR ARCHY Calm down Len, the Councilor can wait. -LRB- beat. -RRB- Some good news for you, One Two and Co came through with the scratch.\",\n \"INT. LENNY'S OFFICE LENNY COLE What, all of it? ARCHY -LRB- V.O. -RRB- Yeah, all of it. LENNY COLE -LRB- surprised. -RRB- Where did they get that from then?\",\n \"INT. LENNY'S CAR ARCHY Ask no questions hear no lies. -LRB- beat. -RRB- Just got ta do is find your painting now Len.\",\n \"INT. LENNY'S OFFICE Lenny's phone beeps - he has an incoming call. LENNY COLE Just make sure you find it. -LRB- beat. -RRB- I got ta another call. He switches calls.\",\n \"INT. COUNCILOR'S OFFICE The Councilor is on his mobile, speaking in hushed tones. COUNCILOR I have all my people waiting Lenny. You ca n't let me down!\",\n \"INT. LENNY'S OFFICE LENNY COLE It's just a delay, that's all Councilor. Just a delay. He puts the phone down.\",\n \"INT. LENNY'S CAR We CUT back to Archy in the car. ARCHY Stop here Turbo.\",\n \"EXT. STREET - EVENING Archy gets out of the car and on to the street which is packed with theater goers. He has seen someone he knows, a dodgy looking ticket seller GARY moves between the people. ARCHY Gary. GARY Hello Arch. What brings you down here? Want some tickets? ARCHY I want the Tank. GARY You wo n't see him on the cobbles at this time of night, you know how much he likes the cold. He's at the end of the street tucked up watching a Zulu movie.\",\n \"EXT. STREET - CONT. Archy knocks on window of massive American 4x4. The window comes down, savage noises emanate from the interior, a massive black bald head turns, MEET TANK very street, very soft spoken and very articulate. He's sitting next to a SHAVAWN a street girl. TANK Hello Arch, what you doing here? ARCHY I need a word. TANK Well do n't stand out there on the cobbles it's freezing, step into my world. -LRB- too the girl. -RRB- Shavawn get us a couple of vanilla chai lattes, there's a good girl. She disappears.\",\n \"INT. TANKS CAR TANK Great movie this Arch. They've had it digitally re - mastered, glorious picture and the sounds exquisite. He presses the remote, the sound goes up so all we can hear is the sound of spears on shields. TANK -LRB- CONT'D. -RRB- Oh I like this bit, thousands and thousands of'em, but them red coats just do n't move. That's courage that is Arch. -LRB- beat. -RRB- They did have guns mind. The sound of screaming and death is penetrating. ARCHY Turn it down a tad, I need to have a word. Tank flicks the pause button. TANK Where are my manners? Sorry Arch, what do you want, tickets? I got just the show for you, a Chinese orphan with a learning disability that do n't stop singing and dancing all the way through the first half. Then, up pops a Geisha girl and it all goes magical in the second ; the wife will love it and you ca n't get tickets for love nor,. ARCHY I do n't want tickets, I need you to find me a painting, a classic, been nicked outta of Lenny's house. And since you got more feet on the street than coppers on the beat,. -LRB- starting to make his way out. -RRB- I'd like you to assist. I'll leave you a little livener. There's a large twenty to get some tongues wagging.\",\n \"INT. SPEELER - NIGHT All the boys are sitting around playing cards. The buzzer goes, buzzzzzzzzzzz, Fred answers the intercom. FRED THE HEAD Yeah,? -LRB- beat. -RRB- Come on up, but do n't be wasting my time. ONE TWO Is that Archy? FRED THE HEAD No, couple of oysters who got a little something to be viewed. He presses the button and walks back to the group. FRED THE HEAD -LRB- CONT'D. -RRB- How's your Mum taking it Handsome? -LRB- beat. -RRB- She must be very unhappy, I mean a five stretch? HANDSOME BOB Not again, please Fred. FRED THE HEAD Sorry Bob, I did n't mean to offend. In the background we see the door open and in comes two thieving SCOTSMEN, they are selling fur coats. DOLLY Who wants another cuppa? ONE TWO -LRB- raising his cup. -RRB- Thank you. MUMBLES Glass of milk for me, my love. Our thieves move over to the table. MEET our cocky Scotsmen MALCOLM and his partner in crime PAUL. Malcolm drops his bags and starts to get busy. He's got a strong Scottish accent that has been influenced by last nights crack for dinner and two large whisky's for breakfast. MALCOLM Good afternoon gentlemen. He coughs nervously as the boys look on dead pan. He sees Dolly. MALCOLM -LRB- CONT'D. -RRB- Excuse me my love, any chance of a wee dram of water to oil the larynx? FRED THE HEAD Get on with it. MALCOLM -LRB- cough. -RRB- Ok gentlemen here we go. First, my colleague Paul will be modeling the grey wolf. We see Paul who's obviously completely geared out of his nut, he's trying to squeeze in to the stolen grey wolf fur coat. It's far too small and the fur stops half way up his arms, it's not possible to do the buttons up. MALCOLM -LRB- CONT'D. -RRB- I must apologize for my assistants handicaps. He has unusually long arms and an alarmingly small neck. -LRB- beat, the crowd is unimpressed. -RRB- Now, I do agree it does n't seem like the right time to acquire a coat of such thermal efficiency. However, I have been informed that we are looking at a very white winter. PLUS gentlemen and fine lady,. -LRB- He winks at Dolly who has got him a very large glass of water. -RRB- Christmas is always round the corner. He downs the water without it touching the sides. MUMBLES Where did you find these two junkies? FRED THE HEAD What is this, a fuckin double act? ONE TWO Shut up and tell us the price. MALCOLM All in good time gentlemen, all in good time. -LRB- beat. -RRB- Paul, why do n't you sit down for a while. If Paul does n't sit down, he's gon na fall down. He stumbles into the card table on his way to a seat, knocking drinks and cards everywhere. Everyone protests. MALCOLM -LRB- V.O. ; CONT'D. -RRB- -LRB- from under the table. -RRB- Next, we have a very much sought after affair seen in very, very glossy magazines,. He jumps up wearing the most ridiculously oversized fur coat and matching hat you have ever seen. MALCOLM -LRB- CONT'D. -RRB- The famous, but rare black bear from the dark mountains of Siberian Calcutta. He starts to do a slow spin, at which point WE SEE a large white stipe running down the furs back. MALCOLM -LRB- CONT'D. -RRB- Get an eye full of that stripe gentlemen. MUMBLES Have a look at that, it's a six foot skunk. Everyone thinks its very fuckin funny. The laughter is interrupted only by the buzzer. Buzzzzzzzzzz, Fred goes to answers the buzzer. MALCOLM And all of this could be yours for a staggeringly low,. Cut to Fred at the buzzer. FRED THE HEAD All right Arch. Back to the table, everyone's ears prick up at the name. Malcolm pauses before he panics, he can tell something is up. FRED THE HEAD -LRB- CONT'D. -RRB- Yeah, come on up. Everyone starts tucking their money into their pockets. Fred makes his way back to the table. He speaks to Malcolm and Paul. FRED THE HEAD -LRB- CONT'D. -RRB- You two out, live - o. -LRB- gesturing. -RRB- The back door. Malcolm knows this is a sign to go. MALCOLM Come on Paul, we'll be going now. The two Scotsmen race in their fur coats toward the back door. IN WALKS Archy with Danny, the crew continue their card game. FRED THE HEAD All right Arch? ARCHY Fred,. -LRB- pause. -RRB- The speelers very quiet today, everything all right? FRED THE HEAD Good as gold thanks. ARCHY All right Mumbles? One Two? MUMBLES/ONE TWO Arch! Pause while the boys carry on playing cards. ARCHY So where is it then? ONE TWO What, ca n't you smell it? One Two slowly kicks it out from under the table. Archy leans over to take the bag and One Two sticks a few notes in his pocket. ONE TWO -LRB- CONT'D. -RRB- And buy yourself a new pair of shoes. Archy turns and heads out - he's smiling and mutters to himself. ARCHY Silly bastards.\",\n \"INT. URI'S BOAT - EVENING Uri has got some serious stink boat gin palace on the River Thames. He's entertaining Stella. URI They say there are only two days you enjoy a boat, the day you buy it and the day you sell it. STELLA Well, according to my figures that sounds about right, but what can you do? -LRB- beat. -RRB- Beauty is a cruel mistress. He smiles, she is smart, he fancies her. URI I must remember that line. Can I pour you a glass? STELLA Not for me thank you. URI You know, I like you. I like the way you. are. Always thinking about business, very professional. STELLA That's what you pay me to be, is n't it? He nods. URI Tell me about your husband. Slightly uncomfortable STELLA My husband is a lawyer. URI I hear he is very good at what he does, maybe we can have some work for him. Pause, she's dead pan and not giving anything away. URI -LRB- CONT'D. -RRB- Tell me, what do you do for fun? Pause. URI -LRB- CONT'D. -RRB- Have I offended you in some way? STELLA I do n't quite know where this is going and if you do n't mind, I would like to keep our relationship professional. There is a pause while Uri is slightly lost for words. Then he slams the table in excitement and looks up at Victor who is standing in the distance. URI You see Victor, this is what I am talking about. -LRB- in Russian. -RRB- This is what I like about this country. They understand hierarchy - you do your job, I do mine and everyone gets along. -LRB- back into English. -RRB- Now, back to business. We have had security problems and to cut a long story short, I need another seven million Euros lost in the books. Pause. STELLA -LRB- not happy, she's playing a good little actress. -RRB- Forgive me for being immodest Mr Omovich. I am a very good accountant, but I can only cover so much of your money, it does have to be accounted for after all. It is not easy to lose seven million to the tax man. URI But, if you are so good,. She huffs and puffs. STELLA Let me think about it, there are some options I have tried to leave open. He puts his hand on top of hers, just before she pulls it away he takes his off. URI Thank you.\",\n \"INT. LENNY'S OFFICE Tank is standing in front of Archy. TANK You know why they call me Tank do n't you Archy? ARCHY I should imagine it has something to do with you being a dirty great blac,. TANK Think Tank. Nothing gets past the old think Tank Arch, nothing. -LRB- pause. -RRB- You got me thinking, so I fired a few questions into the right direction. Thought I'd better come see you ` cos I got some news ` bout your painting. Archy leans back to hear what Tank is about to tell him.\",\n \"INT. WAREHOUSE - NEXT DAY Lenny walks into the warehouse where we see TWO SLOANES -LRB- posh kids, 20s -RRB- strapped to a pair of chairs with weights on the bottom. There are large leather belts wrapped around them. LENNY COLE Right, I am going to tell you how this works. You're going in the drink and I am going to make a cup of tea. Archy grabs a hook attached to an electric winch and attaches it to their leather belts. LENNY COLE -LRB- CONT'D. -RRB- Underneath the floor boards is the famous river Thames. I hope for your sakes you can hold your breath for as long as it takes to boil that kettle. After that, I am going to ask you a question, one question. You are going to give me a name and if it's the right name, I send you home warm and dry in a fresh set of clothes. If it's the wrong name, you'll be fed to the cray fish,. see ya. He presses the green button and a hatch in the floor opens. The TWO SLOANES are lowered into the river protesting.\",\n \"INT. ONE TWO'S CAR Handsome Bob's got the long face on. ONE TWO Come on Bob, cheer up. HANDSOME BOB What have I got to cheer up about, I am going to be locked up in an eight by ten tomorrow night. ONE TWO But that's tomorrow night, tonight its take off time, we've prepared a little going away party. -LRB- beat. -RRB- I got `` the Harris twins'' the most expensive escort girls to have ever escorted. They've got a night off from the Russians and they've all been greased down just for the Bobski! It's going to take you two and a half years just to recover from this little party. Handsome Bob is n't impressed. ONE TWO -LRB- CONT'D. -RRB- That cheered you up then? HANDSOME BOB -LRB- still not looking happy. -RRB- It's not that I am ungrateful One Two, it's just,. ONE TWO It's just what? HANDSOME BOB Do n't worry,. you would n't understand. Pause for a concerned thought from One Two. ONE TWO I understand anything coming from you Bobby boy. HANDSOME BOB Would you? ONE TWO You're me best mate. There is a pause from Handsome Bob. HANDSOME BOB I do n't want the strippers One Two,. -LRB- beat. -RRB- I want you,. Pause. A little look from One Two like `` Oh you're taken the piss'', then a realization that he is n't. The brakes are slammed on and the car comes to a screeching halt. One Two is out before you know it, screaming through the windshield.\",\n \"EXT. CAR - NIGHT ONE TWO You dirty bastard! I know all your girlfriends all of'em! HANDSOME BOB -LRB- horrified. -RRB- See, I told you you would n't understand! ONE TWO Understand what? That you're a homa? You're Handsome Bob for Gods sake, Handsome Bob the lady killer! That is you Bob, do you hear me? God, I have had showers with you, you've seen my cock! HANDSOME BOB I only told you cos I'm going away, but I should have kept my mouth shut. ONE TWO Fuckin right you should have kept your mouth shut, should have drowned the cat instead of letting it out the bag. Bob's now inconsolable sitting in the car. One Two feels bad,. he catches himself.\",\n \"INT. CAR -- MOMENTS LATER One Two is back in the car, he's trying to calm Handsome. ONE TWO All right Bob, I am sorry. I went over the top, it was just a surprise that's all. -LRB- Bob's still crying. -RRB- Bit of a broad side Bob, do you hear me, I am sorry,. -LRB- beat. -RRB- Well what is it you want to do with me?\",\n \"INT. WAREHOUSE - DAY The TWO SLOANES have been brought back up and are covered in shit and cray fish, they are half drowned. LENNY COLE Hose'em down Danny. Get those cray fish off'em. Now, who has that painting? -LRB- beat. -RRB- One name. Archy rips the tape off their mouths at the same time. DROWNED SLOANE Johnny, Johnny Story. You know the singer in that group Story Time. This means something to Lenny. LENNY COLE That did n't work did it? How can a dead man sell you a painting? DROWNED SLOANE He's not dead, I know he's not dead because he just tried to sell us that picture and changed his mind at the last minute. He's got like an obsession with it. Lenny's face contorts with anger. LENNY COLE Put'em back Arch, before I shoot'em. The TWO SLOANES scream in horror. DROWNED SLOANE Jesus! I know him, I know who he is,. we went to school with him. We're telling the truth, we're telling the,. The tape is put back over their mouths. They're struggling to get free. ARCHY Len, could I have a word? Private,. it's worth it.\",\n \"INT. WAREHOUSE CORNER Archy looks at Lenny, there is a PAUSE for a while. They both feel uncomfortable. ARCHY Your boy's not dead, is he? LENNY COLE -LRB- snapping. -RRB- Do n't you dare call him my boy. ARCHY Sorry, I mean your boy, the Ex's boy,. your step son. He had a set of keys to the house did n't he? Lenny's red as a beetroot. LENNY COLE He wo n't die that cockroach. That junkie's seen more funerals than a fuckin undertaker,. that boy is poison. The next world war will have his name written all over it. -LRB- beat. -RRB- Get me those two flash idiots that used to manage him, what are they called, Greek and Mini? ARCHY Roman and Mickey. LENNY COLE If anyone can find that smoking crack pipe, it's them.\",\n \"INT. BEDROOM WE CUT BACK TO TEN YEARS AGO. Cut to a shot of a 12 year old BOY with a cut under his eye singing `` Bank Robber'' by The Clash in to the mirror. He's wearing just his boxer shorts and enjoying himself, he's gon na be a rock star. From behind WE SEE his bedroom door open, but the music is to loud for the boy to have heard the entrance. We SEE Lenny, ten years younger entering, we can tell via the body language that he is irritated. He pauses then walks up suddenly slapping the boy very hard across the side of the face. It's enough to knock him out, the boy goes down - shot like a bullet out of a barrel. The red hand then slaps the stereo off. LENNY COLE Listen to me boy, listen. I never did like you and neither did your real father. You're a reject, a wrong - un, a fuckin fairy in the mirror that I inherited from your mother, but she ai n't with us no more, so now it's just you and me. In one week you go back to school, the best fuckin school in the country I might add, then you'll be gone for another term. -LRB- beat. -RRB- In the mean time, show me some gratitude and keep the fuckin music down.\",\n \"INT. CRACK HOUSE We CUT BACK to present and MEET JOHNNY STORY -LRB- think Pete Doherty meets Richard Ashcroft -RRB- or Posh John, posh, good looking, 25, alarmingly skinny and pale in a grey sort of way. He's still listening to `` Bank Robber'' dancing round with a couple of toy guns. His mate, who is not so posh, MEET PETE is sporting a balaclava at present. They've been cracking it up and the paraphernalia is everywhere. Johnny is standing in front of the mirror next to the mirror is the painting and oh he loves it. Pete rolls up his balaclava up and slams the stereo off. JOHNNY STORY Just could n't, it's got me,. that's what art does Pete, it gets you. PETE You'd get a good few notes for that. Go on John, jog it on. JOHNNY STORY You would n't understand. PETE Why not? JOHNNY STORY Because,. You,. Are street scum Pete. He does a quick moon walk, he's taking the piss. JOHNNY STORY -LRB- CONT'D. -RRB- You're in need of an education, that's what you need, but your Dad never gave a shit about you did he? And that is why you are on the gear. Your gear is your surrogate father. PETE Leave off John, what is this shrink time? JOHNNY STORY Come on Pedro, share. I'm your sponsor, Doctor,. your dad if you're feeling a bit of regression coming on. -LRB- beat. -RRB- But first we should have a drink in our hands.\",\n \"INT. BAR Rough old bar, there are a couple of OLD WASTERS staggering around in the distance. Johnny and Pete have now got drinks in their hands. PETE My Dad made me watch Bonanza every Sunday after church. JOHNNY STORY That's got to have done some damage, all those guns and cowboys. PETE You think? It was n't all bad, he sometimes made me laugh too. JOHNNY STORY Now we're getting somewhere. Did he interfere with you? You know, touch you inappropriate like? PETE He tickled me if that's what you mean. JOHNNY STORY Now that's it! That's what I was looking for, you see your Dad is a monster Pedro, a tickling monster. -LRB- singing. -RRB- Pedro's dad's a tickling monster! Johnny helps himself to some WASTERS drink at the bar for a quick refreshment. Understandably, the WASTER does n't look happy and his three FRIENDS do n't look happy either. WASTER That's my drink. Johnny gives the WASTER and his FRIENDS the masturbation signal without even bothering to look at them. PETE Fuck you singalong, you're no help and stop calling me Pedro. The WASTER grabs a bottle from the bar ready to take some action. Johnny grabs a pencil from his top pocket, he holds it out like it's a knife. It's almost a joke. JOHNNY STORY Come on boy, I'll have you and ya girlfriends! I'll do the lot of yazz. The WASTER is lost. Johnny is not physically scary, he's only scary because he's quite clearly mad. He looks like Robert Deniro in Taxi driver, mad as mars, he catches himself in the mirror, he likes what he sees. Ciggy falling out of his mouth, he sort of takes the piss out of himself, smiles `` tough Johnny,'' the WASTER backs off he does n't want junkie madness. JOHNNY STORY -LRB- CONT'D. -RRB- -LRB- Leaning over his shoulder, mock serious. -RRB- Was I good or what Pete? It's all in the eyes. -LRB- he raises his ridiculous eye brows. -RRB- Junkies, I'll shit'em! Johnny sits back down next to Pete. JOHNNY STORY -LRB- CONT'D. -RRB- Did your Dad do anything else to you Pete? PETE He hit me bad as well the slag. Hit with a chain. Pete starts to lift up his shirt. JOHNNY STORY -LRB- Johnny stands. -RRB- What are you doing? I'm not going to tickle you Pete, I'm not your Dad. He looks over and see's Pete has got the most horrific scars on his back. Johnny notice's them and stops in his tracks. Johnny walks back over to Pete and very tenderly touches his back, it feels horrible and bobbled. JOHNNY STORY -LRB- CONT'D. -RRB- -LRB- soft. -RRB- I find that profoundly offensive Pedro. Two's up on a snout to show I care. He pulls out a ciggy. Pete takes it. PETE I used to think it had something to do with Bonanza. JOHNNY STORY Your dad was jealous. Cos you dad is n't sure he's your dad, cos you do n't look like him. PETE Really? What do I look like then? JOHNNY STORY You have all the facial characteristics of North American native, Livapuddlian Indian. See your Dad thought you were a red Indian and Bonanza triggered your fathers unconscious feelings. PETE Really? Pause. Pete looks at Johnny,. Johnny starts to smile. PETE -LRB- CONT'D. -RRB- You slag Story! I'm not telling you fuck all,. piss taker.\",\n \"INT. ROMAN AND MICKEYS OFFICE Mickey and Roman's SECRETARY walks in. SECRETARY Mickey,. Roman, there are four gentlemen who,. The office door opens wider, in walks Lenny, Archy and BOYS. ARCHY Who wan na see you two. SECRETARY I'm sorry Mickey. MICKEY Do n't worry about it June, go and have another lunch. LENNY COLE Sorry to intrude. -LRB- seeing some fruit on the table. -RRB- They call this a lichee do n't they? ROMAN I believe so. LENNY COLE Tasty exotic, bit like your suit. Lenny pops it in his mouth, chews a while and spits out the middle. He turns to face ROMAN and MICKEY, he does not look happy. ROMAN How can we help? LENNY COLE Do n't you have an act called Story Time? ROMAN We did. LENNY COLE And is n't there a lead singer called Johnny Story? ROMAN There was. LENNY COLE Well, I would like to see Mr Johnny Story. ROMAN I would like to see him too, but that might be tricky ` cos according to the newspapers the only songs Mr Story is going to be singing is hymns. LENNY COLE And I shed a tear. I shed it for all those bone tops that read the papers and believe that shit. -LRB- beat. -RRB- Have you seen his body? Have you seen him smacked up and cracked up with his tongue on his chin and his cock in his hand, swinging from the rafters, like a real rock'n' rolla? -LRB- pause. -RRB- No, you did n't did you? And nobody else fuckin did either, did they ` cos he ai n't dead. He's alive - alive - o somewhere selling cockles and mussels,. and a very important painting that does n't belong to him. ROMAN Sorry, but what has this got to do with us? LENNY COLE You have twelve licenses within a jurisdiction which I control. You wan na play on, do what I tell you. -LRB- pause. -RRB- Now, I can tell what you're thinking. ROMAN That there's not much you ca n't do? ARCHY Slow down tinker bell, you'll never sing the same if ya teeth are n't your own. Pause. MICKEY You gon na take care of him? LENNY COLE -LRB- smiling. -RRB- What do you think we are, gangsters? That's not my style and especially not with genetics and all,. There is a look of confusion from Roman and Mickey. LENNY COLE -LRB- CONT'D. -RRB- Bloods thicker than poison moon beam, now do us all a favor, before you catch a cold.\",\n \"INT. SPEELER One Two walks into the speeler, he looks like a lost man. He looks over at the guys sitting around talking, they stop and look up. COOKIE Where have you been? You were missed in court today. That's not very compassionate is it, did n't turn up for your amigos funeral. The phone rings in the back ground, Dolly answers it. FRED THE HEAD Everybody else was there but you and I got the feeling you were the only person Handsome wanted to see. One Two turns a little nasty. ONE TWO What are you trying to say Fred? FRED THE HEAD Eh? ONE TWO You wan na have it out now? From behind we see Handsome Bob and Mumbles walk into the Speeler. Handsome Bob sneaks up and put his hands over One Twos eyes. HANDSOME BOB Guess whoooo? One Two spins round in major shock, he see's Bob and he does n't like it. All the boys look on like One Two's going to hug him. He does n't. HANDSOME BOB -LRB- CONT'D. -RRB- The prosecution lost the paper work. I am offski, the case is closed. ONE TWO -LRB- in shock. -RRB- Five years, you were supposed to get five fucking years! Everyone's in shock. Dolly walks over and interrupts. DOLLY One Two there's a woman on the phone for you, she sounds very educated.\",\n \"INT. SPEELER STORAGE ROOM One Two takes the call. ONE TWO How did you get this number? STELLA -LRB- V.O. -RRB- I can get any number, I work with numbers do n't I? ONE TWO One point for initiative, two to tell me what's on your mind.\",\n \"INT. STELLA'S OFFICE Stella sits at her desk. STELLA I need a favor. My husbands having a party tonight and they need some `` smarties'' but they have nowhere to go. Look, I know it's a liberty, but I thought you might know people. Plus, I have another bit of work for you. -LRB- beat. -RRB- You can bring your friends. There will be interesting people - the rich and famous, the great and good.\",\n \"INT.SPEELER - STORAGE ROOM One Two looks through the crack in the door and sees Cookie. ONE TWO Let me see what I can do.\",\n \"INT. SPEELER One Two comes back into the room, he is still in disbelief. ONE TWO So Bob got off, big fucking deal. -LRB- everyone looks a little lost. -RRB- I have a little bit of work for you Cookie we have a party to go to.\",\n \"INT. URI'S BOAT - DAY Lenny has another large vodka in his hand, while Uri smiles. URI You're looking well Lenny. LENNY COLE Well thank you Uri, that's a real compliment from a man that obviously takes good care of himself. URI I suppose you're wondering why you are here? LENNY COLE I assume you want to check that everything is still `` kosher'' at my end. -LRB- pause. -RRB- I was a little surprised you did n't come through at the appropriate time, but I reckon you have your reasons. Silence. URI I assume everything is still as you say,. Kosher? Pause. Lenny milks the moment and after a few seconds of mock thought, he speaks. LENNY COLE Do n't you worry Uri, that one's on me,. partners and all that, but I would n't like it to go south again, makes things difficult, if you know what I mean? URI I understand Lenny and I would n't like things to go wrong either. Which brings me conveniently to my next point. Ever since the painting, my lucky painting, has n't been hanging on my wall, things have not been,. so lucky. I know this is a rude request because we have not concluded our business, but I feel as though I need it. Long pause while Lenny scrambles for an excuse.\",\n \"INT. LENNY'S CAR Lenny enters the car looking a little peachy. Archy takes one look and grimaces. ARCHY Fuckin hell Len, he's given you that bar tan again. You wan na leave that vodka alone. LENNY COLE Shut up Arch! ARCHY Everything all right? LENNY COLE No it's fuckin not all right, he want's his painting, his lucky painting. Archy looks a little worried. ARCHY Oh, I see. That's a bit of a problem then is n't it? LENNY COLE You should have seen his eyes I swore they changed color, went fuckin red they did. ARCHY They do n't care who's soil they are on that lot. They can buy half the country without breaking a sweat, you're small time to them. They could click their fingers and we'd be ether. Turning very nasty. LENNY COLE You speak to me like that again and I'll cut your fuckin tongue out. I run this town, got that, me! Anybody who thinks he's rude enough, let'em raise a finger, ` cos I'll take off his whole fuckin arm. Do you understand that Archy? -LRB- beat. -RRB- I said do YOU? Archy thinks his boss is going mad, but he does n't let on. ARCHY Yes, I do Len.\",\n \"INT. ROMAN AND MICKEY'S OFFICE The boys are still reeling from the news that Johnny is Lenny's son. MICKEY How about that then, Johnny Story's father? How did that get under the radar? Why does n't anybody know? ROMAN Would you want anyone to know that he was your Dad? Would we have taken him on if we had known? MICKEY We're going to have to give him something, anything, a bed that's been slept in, a bone for his dog, some token of effort. ROMAN We need to see Cookie.\",\n \"INT. PARTY - NIGHT The door opens Mumbles, One Two, Cookie, and Fred stand there. A man, TOM in black tie opens the door, he looks posh and is in his boxers. TOM -LRB- A bit rude. -RRB- Who are you? He looks the boys up and down. COOKIE My name is Cookie. TOM You must be with Stella? COOKIE No, we're with the Grand Old Duke of York. TOM Well you ca n't come in here, not without shaking my hand. He offers it to One Two who accepts. Tom pulls it back at the last minute and greases his hair back. TOM -LRB- CONT'D. -RRB- So you're supposed to be a hard case eh? Tom disappears inside where we see a mass of extremely drunk TOFFS running around going wild in black tie. COOKIE -LRB- to One Two. -RRB- This is gon na be a scream, Fred get'em in. He is talking about drinks. FRED THE HEAD Why me? MUMBLES ` Cos you look like one of them. FRED THE HEAD They're mad this lot. COOKIE And take that chewing gum off your feet before you start dancing. Stella approaches. STELLA Good evening gentlemen. All the boys give it the `` oh you sly one'' to One Two. There's a gathering of TOFFS starting to cluster, they're waiting to be fed. A semi naked WAITER appears with a drinks tray. STELLA -LRB- CONT'D. -RRB- Help yourselves to drinks. TOM -LRB- searching for street cred. -RRB- So! Who the man? ONE TWO I think that's your cue Cookie. Cookie takes his cue. COOKIE Come on then kids, get in a nice orderly line and we'll get the party started. The boys all head various ways into the party\",\n \"INT. PARTY We see One Two walking through the party, when he runs into Handsome. ONE TWO What the fuck are you doing here? HANDSOME BOB Well all the chaps were coming and I did n't have any plans tonight did I? Thought I might celebrate a little, do you mind? ONE TWO Yes I do fuckin mind. Now listen Bob, what happened last night is our little secret all right and it was only cos you were supposed to be doing your time, right? You tell anybody and I swear to God,. I swear to God. Well fuck it Bob, I think you understand. As One Two walks away he runs into Tom again who stands in his way. ONE TWO -LRB- CONT'D. -RRB- Let me tell you something hard case, if you start any trouble around her,. One Two gives him the quick ONE TWO punch, Tom is knocked out cold, he catches him standing up and lowers him to the floor. One Two walks off.\",\n \"INT. PARTY - SOFA We CUT TO Mumbles on the sofa who is watching One Two, he grimaces. Bertie is next to him. MUMBLES And that's why they call him One Two. BERTIE So you're part of the wild bunch? Stella says you're dangerous. Mumbles smiles and flicks his cigar ash into Bertie's glass. He knows he's a poof and keeps his eyes on him a second too long just to get Bertie excited. MUMBLES Does she now? BERTIE So is your friend part of the wild bunch? Bertie is talking about Handsome and Mumbles knows it. MUMBLES That young man is the greatest gun slinger in town. BERTIE -LRB- Bertie smiles. -RRB- Then how come I do n't know him? -LRB- beat. -RRB- I know all about your type. MUMBLES How is that then? BERTIE I'm a criminal lawyer,. and I know a secret about your part of town. MUMBLES What secrets that then? BERTIE You have an informer in your neck of the woods. MUMBLES Oh yeah, so what's his name? BERTIE You have to pay for secrets. MUMBLES That's not nice, but while your at it, what's the price? BERTIE -LRB- he looks to Handsome. -RRB- I want to meet the gun slinger. Mumbles looks over to Handsome.\",\n \"INT. PARTY - CORRIDOR CUT TO One two who has just run into Stella, there is a man holding a tray of drinks next to them. STELLA Drink? ONE TWO Large one,. Dance? STELLA So, you're a dancer? ONE TWO Am I a dancer? Shall we put the record straight? One Two makes room in front of him and starts to dance relativity badly. You get the feeling he probably could dance, but he just ca n't be bothered to make an effort. ONE TWO -LRB- CONT'D. -RRB- You see it's all in the genes. -LRB- he slowly turns. -RRB- My Dad was a dancer and his Dad before that so gradually it's percolated the old DNA. You not joining me? STELLA Sure, I like to dance. She stands up and dances just like him. ONE TWO Hello, I can sense a little competition. So what you got for me? STELLA The same job's back on again. ONE TWO Oh yea? -LRB- beat. -RRB- Do n't throw my rhythm. STELLA Same time, same place, same money. ONE TWO What about security? STELLA Same as before, but they're not my accountants. A couple of their's,. other than that, should be just the same.\",\n \"INT. PARTY We CUT TO Mumbles who has gone up to Handsome. MUMBLES Handsome, I got a job for you. See that man on the couch. HANDSOME BOB The one that's staring at us? How can I miss him. MUMBLES Do me a favor, chat him up. HANDSOME BOB Fuck off what do think I am? MUMBLES He's some big wig lawyer who knows about an informer in our part of town and since you were just looking at a five stretch, I thought you might be interested. Handsome gets the picture and heads over to Bertie. One Two appears and approaches Mumbles. ONE TWO We got another job on, same as before. MUMBLES It's all go around here is n't it? Den of iniquity this place is. You know your old lady, well her big time lawyer husband he's a beard got a crush on the Handsome. ONE TWO What are you talking about? MUMBLES Put it this way, I do n't think they married for love. ONE TWO I got ta get a breath of fresh air.\",\n \"INT. PARTY - SOFA We CUT TO to Handsome who has come to sit on the same sofa as Bertie. HANDSOME BOB So, I hear you have a secret, but you look like you might have more than one. Why do n't you confess? BERTIE I do n't want to talk about work. HANDSOME BOB If you tell me who the informer is, we will talk about whatever you want to, anyway, you do n't have to tell me anything. If he's an informer you'll have his depositions and poems. BERTIE My, my not just a pretty face. How do you know about those sort of things? Handsome scribbles out his number on a piece of paper, and gives it to Bertie. HANDSOME BOB Let's have a drink during the week, and I'll tell you all about it, all I need is a little bit of paper work.\",\n \"INT. PARTY One Two is on his way out the door when Cookie stops him. COOKIE Oi One Two, I am going to make a killing out of this lot, they've definitely got more money than brains. -LRB- to One Two. -RRB- I owe you one boyo.\",\n \"INT. CRACK HOUSE Johnny is watching cartoons trying to skin up a joint using a page of a book, he puts it down in frustration. Pete walks in, grabs the picture from it's place and starts to walk out. Johnny squints. JOHNNY STORY Pedro? Come back here. Pete stops in his tracks. JOHNNY STORY -LRB- CONT'D. -RRB- Where do you think you are going with that painting? PETE -LRB- he's flapping. -RRB- You never said it was your Dad's or whatever you wan na call him. You got ta give it back John people are looking for it, bad people. The streets are alive with the sound of pain. JOHNNY STORY You may have a point Pete, but I ca n't give it up. You know why? PETE No, why? JOHNNY STORY Meet me in the pub in two minutes.\",\n \"INT. PUB Johnny walks in and approaches the BARMAN. He does n't like Johnny. BARMAN What do you want? JOHNNY STORY Now, now no need for that tone bar steward. I am merely on mission to acquire a shot of your finest Scotch and a packet of your,. -LRB- pointing to paper's. -RRB- Cheapest rolling paper. BARMAN Green or red? JOHNNY STORY King size of course - along with a packet of your shiniest coffin nails. The BARMAN reaches for a pack of cigarettes. BARMAN Do n't make a scene in here boy. Johnny puts a large note on the bar. JOHNNY STORY Put the change in the blind box my good man and remember,. He leans into the bar and shuts one eye. JOHNNY STORY -LRB- CONT'D. -RRB- `` In the kingdom of the blind, the one eyed man is king'' The BARMAN is left with his mouth open. Johnny walks to the piano to drink his Scotch. There are a few beer mats on the piano, Johnny wipes the mats off with a glide of his hand and they fall to the floor. He raises the lid, coughs, composes himself, and extends his hands through his sleeves. He hits the first note and takes his scotch down in one. A few of the old PUNTERS turn around. Johnny starts to play the most beautiful classical music with his eyes shut. Pete walks in, approaches Johnny and sits with him. He likes it when he plays. Johnny does n't even need to see him to know that he's there. JOHNNY STORY -LRB- CONT'D. -RRB- You see that pack of Virginia killing sticks at the end of the piano? We SEE the pack of cigarette's on the piano. PETE Yeah. JOHNNY STORY All you need to know about life is retained within those four walls. Pete picks up the pack as Johnny keeps his eyes shut. The following story is a montage of pack shots of the cigarette box, intercut with Johnny's delicate fingers stroking the keys. JOHNNY STORY -LRB- CONT'D. -RRB- You will notice that one of your personalities is seduced by the illusions of grandeur. A `` gold'' packet of `` king'' size and with a `` regal'' insignia. An attractive implication toward glamour and wealth, a subtle suggestion that cigarettes are indeed your `` royal'' and loyal friends. And that Pete,. is a lie. -LRB- beat. -RRB- Your other personality is trying to draw your attention to the flip side of the discussion. Written in boring, bold, black and white is the statement, that these neat little soldiers of death, are in fact, trying to `` kill you.'' And that Pete,. is the truth. -LRB- beat. -RRB- Beauty is a beguiling call to death and I am addicted to the sweet siren of its pitch. And that,. is why,. you and I love the crack, and that is also why I can not,. give that painting back. He opens his eyes and looks at Pete, his cigarette has gone out. JOHNNY STORY -LRB- CONT'D. -RRB- Now, please pass me a light. PETE -LRB- in mock awe. -RRB- Oh you are something special Johnny Story. Johnny smiles and puts him in a head lock, they fall to the floor wrestling.\",\n \"INT. RESTAURANT - BELOW THE SPEELER One Two and Mumbles are here eating and holding their implements of destruction to be used on the next `` job'' we SEE the details. MUMBLES We'll use rock salt in the shot gun cartridges. Slip'em into the revolver, if it starts getting large, we'll bang a couple in to'em and that'll slow'em down. They wo n't know the difference between lead or salt and of course Bob's driving. ONE TWO I do n't want to use Bob. MUMBLES What? He's our driver, the A - teams not complete without the driver. -LRB- beat. -RRB- What's happened between you and Bob? There's a bit of a pause. ONE TWO I think there might be something about Bob you do n't know Mumbles. MUMBLES What's that then? That he's a poof? ONE TWO What? Eh? How did you know? MUMBLES Everybody knows he's a flamer, you're the only one who does n't. He loves the boys. ONE TWO -LRB- stunned. -RRB- What are you talking about, I am losing orientation here Mumbles. MUMBLES Did he make a pass at you, is this what this is all about? ONE TWO Yes, he fuckin did. MUMBLES Ok so what's the problem? It was supposed to be his last night so you `` took care'' of him, that's what friends do for one another, well done, I wo n't tell the chaps. ONE TWO Hold on a minute, you wo n't tell the chaps what? MUMBLES What did you do? Suck his,. ONE TWO Stop right fuckin there! What is going on here? Does that mean you've sucked his,. MUMBLES Well, you must have touched him. ONE TWO Hold on! I am not fucking gay! He wanted a dance that's all! MUMBLES Did you give him one?\",\n \"INT. CUBAN MENS DANCING CLUB We CUT TO a shot of One Two dancing a slow dance with Handsome Bob who looks depressed.\",\n \"INT. RESTAURANT - BELOW THE SPEELER ONE TWO A DANCE, yes, I did. MUMBLES Was it a slow dance? One Two trails off,. ONE TWO What has he done to me? Beat. MUMBLES I think there's something else you should know about our Bob. ONE TWO What, there's more? MUMBLES Who do you think looked after your Mum before she died, whilst you were doing a two stretch? -LRB- beat. -RRB- ` Cos it was n't fuckin me and I am your best pal! No, it was Bob around there six times a week without fail making sure she was looked after. You tore your mums heart out when you went away and Bob did his best to put it back. -LRB- pause. -RRB- I tell you something One Two, if I could be half the human that Bob is and the price was being a poof, I'd think about it. -LRB- beat. -RRB- Not for too long, but I'd have to think about it. ONE TWO He looked after my Mum, how come he never told me? MUMBLES ` Cos that's Handsome Bob and he's class.\",\n \"INT. NIGHT CLUB - BACKSTAGE Roman and Mickey have got a BAND on stage and the place is filling up. Roman is on the phone looking concerned as Mickey looks on, he puts the phone down. We CUT TO our BAND playing on stage, modern young punksters, Arctic Monkey types. Plenty of attitude.\",\n \"EXT. NIGHT CLUB DOOR - NIGHT There is a long line of people outside Roman and Mickey's venue. Johnny and Pete hustle their way through the crowd, the BOUNCER pulls them up. BOUNCER Oi you, what do you think you're doing? JOHNNY STORY What do you think we're doing? We're trying to get in. BOUNCER Go home wasters, costs money to get in here. JOHNNY STORY Yes my good man, I am aware of that. Johnny goes for his money, but the BOUNCER pushes him on.\",\n \"INT. NIGHT CLUB - BACKSTAGE MICKEY What's wrong with you? ROMAN Get that Archy on the phone, I think we've got a problem. WE CUT to the BAND smashing away.\",\n \"EXT. NIGHT CLUB DOOR The BOUNCER is holding Johnny and Pete back. BOUNCER Run along junkies. JOHNNY STORY Oi looky, but no touchy. Johnny pushes the BOUNCERS arm away. The BOUNCER retorts with a slap round the cheek. Pete wo n't stand for that, he goes for the BOUNCER in a pathetic junkie way. PETE Get off him you slag, he's class. The BOUNCER smashes a big bouncer punch right on Pete's nose. Pete shoots back past Johnny and lays in the road, the line starts clapping.\",\n \"INT. NIGHT CLUB Roman is on the phone with Archy, we cut to them mid conversation. ROMAN Mr. Archy,. -LRB- beat. -RRB- I hear you, but you ca n't just shut us down! I've got an act on.\",\n \"EXT. NIGHT CLUB DOOR Johnny stands over Pete, he notices Johnny's face. Pete's seen this before, he's changing like a madmen about to explode. PETE -LRB- calm, but worried. -RRB- Leave it John, I'm happy, I'm all right down here mate. Let's call it a night eh? JOHNNY STORY I'll show em' fuckin happy.\",\n \"INT. NIGHT CLUB - BACK STAGE We hear the BAND is starting to get louder and faster. ROMAN I understand, we'll find him,. -LRB- still pleading. -RRB- But I have to keep the club open! I have four hundred people in here! -LRB- beat. -RRB- Do n't you dare shut us down!\",\n \"EXT. NIGHT CLUB DOOR Johnny makes for the BOUNCER with menace, the BOUNCER looks at Johnny coming and smiles. BOUNCER Fancy some more talent boy? Johnny keeps coming, he's tiny in comparison, the BOUNCER stands and waits - he's ready. Johnny gives the old two finger poke to the eyes, the BOUNCER screams in pain and swings into the ether\",\n \"INT. NIGHT CLUB We CUT TO THE BAND who is going mad.\",\n \"EXT. NIGHT CLUB DOOR Johnny pulls out his signature pencils. JOHNNY STORY I am going to report you, what's your name? BOUNCER Jog on boy, before I grind your bones to make my bread. Without a hesitation Johnny sticks the pencils into the BOUNCERS leg, it's quite nasty. The BOUNCER stumbles forward like a wounded elephant, it's David and Goliath. Johnny's smart, he knows how to do this properly. JOHNNY STORY Oh I'm sorry did that hurt? Here let me help you up.\",\n \"INT. NIGHT CLUB - BACK STAGE Mickey walks back to Roman. MICKEY -LRB- to Roman. -RRB- They're trying to shut us down! CUT TO THE BAND going even madder - the crowd is loving it.\",\n \"EXT. NIGHT CLUB DOOR Johnny picks up a trash bin lid and starts giving it to the bouncer. The crowd dances around this wounded beast. JOHNNY STORY What was that about grinding bones?\",\n \"INT. NIGHT CLUB ROMAN If we want to keep the licence and the lights on, we need to find Johnny Story. Mickey looks at the security camera and sees chaos. MICKEY There is a revolution taking place outside. The BAND is still going when all of a sudden the lights get pulled, we cut to black.\",\n \"INT. RESTAURANT - TACKY MODERN FLASH Roman and Mickey have come to find Cookie. He is with a GROUP of people having dinner including Fred the Head. We cut into him mid joke. COOKIE Joke to be inserted by Cookie. The table laughs, Roman and Mickey approach. COOKIE -LRB- CONT'D. -RRB- Hello, it's Roman and Mickey, what are you doing here boys? ROMAN Can we have a word Cookie?\",\n \"INT. RESTAURANT BOOTH ROMAN We need to find Johnny Story. COOKIE Well, you should be the first to know this, but is n't he,. ROMAN You know and I know nothing kills Johnny. -LRB- beat. -RRB- Come on Cookie, you've helped him fuck up his life for the last five years, now do him a good turn. This story will be illustrated appropriately, including a little smoking devil holding the burning crack. COOKIE Have you ever bought a ticket to the junkies bone yard Roman? -LRB- beat. -RRB- It's an unpleasant place called `` curl up and die.'' Might sound like a hair salon, but it do n't fuckin look like one I can tell ya. It's a horrible sight and a terrible sound listening to a man sucking his soul through the hole in `` the pipe'' and even worse when he tries to tear it back. -LRB- beat. -RRB- I've been there, I've done that,. then I nailed that demon in a smoke proof coffin and I did it all with Johnny. I love that man, he's what you call class. and if you would use your heads, you would love him too. You know his music sales have gone up a thousand percent in two weeks. -LRB- beat. -RRB- You see, Johnny `` the crack head'' Story knows that a `` Rocka'' is worth more dead than alive, silly world ai n't it? -LRB- beat. -RRB- Mr Story does n't get his gear from me, he has to travel far and wide. Leave me your number and if the dead feels like calling, you'll be the first to know.\",\n \"INT. RANGE ROVER We SEE inside the Range Rover where there is a DRIVER with our TWO CHECHNYANS. The CHECHNYANS have suitcases handcuffed to their wrists. They speak in their native tongue. CHECHNYAN 1 Victor is Uri's right hand man, we served together for four years in Chechnya. We used to have a good time together, he's a real soldier, strong, hard, we made much trouble. I saved his life and he saved mine many times,. CHECHNYAN 1 pulls up his sleeve to reveal a massive tattoo. His arm is filled with slash marks on it. CHECHNYAN 1 -LRB- CONT'D. -RRB- Caught in tank tracks! He pulled me out and this one,. He unbuckles his trousers and shows a massive gouge in his thigh. CHECHNYAN 1 -LRB- CONT'D. -RRB- Stem grenade. CHECHNYAN 2 I have one of those,. CHECHNYAN 2 pulls up his trouser leg to reveal massive scars on his shin. CHECHNYAN 2 -LRB- CONT'D. -RRB- How many of these have you got?\",\n \"INT. RANGE ROVER Chechnyan 1 pulls his shirt up to reveal more wounds. CHECHNYAN 1 Six thirty calibe,. SMASH! Their car is smashed into a tailspin, by Handsome Bob's truck. The Range Rover eventually lands on it's side, steam, spinning wheels, smoke, and glass is everywhere.\",\n \"EXT. STREET Bob jumps out of his truck and runs down to the second getaway car waiting. We SEE One Two and Mumbles get out of their car and run over to the Range Rover on its side, they are carrying an axe and bolt cutters. Inside, CHECHNYAN 2 slowly opens his dazed eyes, to SEE an axe chopping through the window. TWO CHOPS and the window gives in. One Two leans in and grabs the case, but it's chained to CHECHNYAN 2's wrist. One Two pulls the arm out of the window and Mumbles uses massive bolt cutters to cut the case free. MUMBLES There's another case, grab it. One Two leans in and grabs the second case from Chechnyan 1. As he is about to chop this one loose, he is pulled into the car by CHECHNYAN 2. ONE TWO The bastard's still kicking. Mace him, mace him! Mumbles quickly moves around to the other window and sprays mace everywhere, including into One Two's eyes. ONE TWO -LRB- CONT'D. -RRB- Yaaaaaaaaaaaaaa, not me you idiot, the Guerrilla! CHECHNYAN 2 in the mean time has regained some of his strength and is still pulling One Two into the car with him. We can SEE Bob in the distance now next to their second getaway car looking concerned. ONE TWO -LRB- CONT'D. -RRB- Shoot him, shoot him, the bastards going to eat me! Mumbles pulls out a revolver, sticks it in the window and fires it into CHECHNYAN 2's leg. This just aggravates the CHECHNYAN. ONE TWO -LRB- CONT'D. -RRB- In his arms! Bang. ONE TWO -LRB- CONT'D. -RRB- Arhhhhhhhhhhh. That's my fuckin arm! One Two manages to head butt CHECHNYAN 2 and goes back to reclaiming the case from CHECHNYAN 1. He pulls it out and Mumbles cuts the chain. One Two ca n't see a thing. MUMBLES Let's go, we've got it. ONE TWO Give me a hand, you've blinded me! Major confusion is setting in. They run back to their car, which is still running, Mumbles shoves One Two into the back and jumps in the drivers seat. ONE TWO -LRB- CONT'D. -RRB- Go, go, go, go! With his window open, Mumbles wheel spins out of the situation and turns to check on One Two. From out of nowhere a very large CHECHNYAN arm shoots through the window and puts Mumbles in a neck lock. The CHECHNYAN 2 is holding on and not letting go. The car tears across the road and enters a shop window that has a mezzanine. The car comes to a halt on a precarious ledge, it's dangling with the CHECHNYAN 2 still not letting go.\",\n \"INT. CAR - IN SPORTS SHOP ONE TWO Give me the gun. One Two can get a clear shot into the CHECHNYAN 2's side. He shots him once, CHECHNYAN 2 does n't move, twice, three times, four times, he finally lets go and falls down on the floor. ONE TWO -LRB- CONT'D. -RRB- Shit, what are these two made out of? Mumbles is coughing and slowly coming back to life. MUMBLES Let's get going. ONE TWO I can hardly see, where are we? MUMBLES Grab my hand, we're getting out of here. ONE TWO Who's got the cases? MUMBLES I've got'em. As they get out of the car, WE SEE CHECHNYAN 1 has now made his way down the street. He is punch drunk with mace in his eyes, but extracts a machine gun from under his jacket. The boys freeze they are fucked, nowhere to go, but CHECHNYAN 1 is blinking profusely he ca n't be sure where they are. He lets off a magazine into the manikins next to our boys who all hit the deck. The magazine runs dry, CHECHNYAN 1 dips into his belt to extract a fresh one. Mumbles see's his opportunity, he grabs a golf club that is standing next to him, runs at CHECHNYAN 1 and takes a massive swipe at his head. CHECHNYAN 1 goes down, but he has already put in a new magazine. Mumbles is still carrying the cases, One Two is attached to his arm. ONE TWO Shoot him Mumbles or we wo n't get out of this! MUMBLES I ca n't fuckin shoot him, you do it. A baseball smashes into Mumbles face, he goes down, and he's out. CHECHNYAN 2 has appeared carrying a metal baseball bat. One Two picks up the machine gun. ONE TWO Stop or I'll shoot! CHECHNYAN 2 will not stop, he just keeps on coming. ONE TWO -LRB- CONT'D. -RRB- I mean it, get down,. get down! CHECHNYAN 2 keeps coming, One Two does n't want to do it but he has to. He lets off twenty three bullets into the CHECHNYAN 2's chest, the CHECHNYAN is knocked back and disappears over the mezzanine. One Two is in shock, he has never killed a man. He stands there numb. MUMBLES -LRB- who has come back to life. -RRB- I got the cases, now let go. Pause. One Two is still in shock. MUMBLES -LRB- CONT'D. -RRB- Now One Two, now! They make their way to the entrance. There is a crowd of PEOPLE gathered, a great `` ohhhhhhhh'' goes up.\",\n \"EXT. SPORTS SHOP ONE TWO Where's Bob? Beep. Beep. A car slowly makes it way through the crowd. It pulls up and the boys pile in, what's left of them. They pull away from the sports shop.\",\n \"INT. BOB'S GETAWAY CAR Bob looks in his mirror, he can see a gun being raised, there is someone on the trunk. HANDSOME BOB Down. He slams on the brakes. CHECHNYAN 2 goes flying over the roof, but stops himself hitting the road by perforating the hood with his massive knife. He proceeds to perforate the wind screen with another knife that he extracts and -LRB- because of laminate -RRB- starts to saw through the wind screen. The boys are in horror. HANDSOME BOB -LRB- CONT'D. -RRB- Abandon ship!\",\n \"EXT. BOB'S GETAWAY CAR One Two gets caught in a head lock by CHECHNYAN 2, they struggle. Mumbles hits the CHECHNYAN from behind with a car Jack and CHECHNYAN 2 goes down again. One Two's eyes have just about come back. ONE TWO Run! Run for your lives. The crew split in DIFFERENT DIRECTIONS. Bob takes the cases and plucks some poor bystander out of their car and takes off. Mumbles disappears another way. CHECHNYAN 2 is up and follows One Two - terminator style, a foot chase begins. One Two, split from the group and being pursued, jumps over a wall.\",\n \"EXT. RAILWAY TRACK One Two has ended up on a railway track. He turns back, why should CHECHNYAN 2 chase him, he has n't got the money. But no, CHECHNYAN 2 is over the fence, bullet proof vest flapping in the wind, and coming after him. One Two finds his strength this is his world, the world of the runner - he's off down the tracks. The pair of them are bleeding profusely, they're bashed to a pulp, but they have still got a running sprit. The run goes on and on. CHECHNYAN 2 has ripped off his jacket, we can see his massive scar covered torso dripping in blood and sweat, he seems unstoppable. One Two gets confident and starts to run backwards egging CHECHNYAN 2 on, CHECHNYAN 2 is a good runner, but not good enough. Deep hate fills his eyes as One Two makes a fool out of him, CHECHNYAN 2 will remember this man. One Two is taking complete liberties, he almost stops and waits until CHECHNYAN 2 has caught up to him and then he tears off, the CHECHNYAN keeps coming. One Two see's in the distance a tiny moped approaching from a distance, its CHECHNYAN 1 who completely out sizes the machine. However, he's moving and it's moving faster than One Two. One Two ducks off the tracks and over a wall, the moped gets nearer. At least when he gets over the wall, the moped wo n't follow right? One Two's over. He can hear the moped on the other side, One Two looks over his shoulder he can see the moped being lifted over the wall. `` Oh shit.'' This is where One Two's `` zone'' comes into play. He drifts in to a place that he can not be disturbed and he runs and runs and runs. Up, down, through and in.\",\n \"EXT. STREET We see Mumbles has caught up with One Two along side the tracks. He is on a motorbike that he has stolen. MUMBLES Get on! One Two jumps on the back and they speed away leaving our Chechnyan's behind.\",\n \"INT. PORTA CABIN We are on another one of Uri's construction sites, Lenny is here to do the money exchange, again. LENNY COLE I will have that painting with you in a couple of days Uri. It got locked up with some other goods of mine, I wanted to keep it safe, but Archy lost the key to the lock. Did n't you Arch? Archy nods like an idiot. LENNY COLE -LRB- CONT'D. -RRB- Now, I'm not being funny Uri, but I have a payment to make. So if there is any chance that I could get the money. Victor walks up, there is something wrong. VICTOR -LRB- in Russian. -RRB- I need to speak to you Uri.\",\n \"EXT. PORTA CABIN - CONTINUOS Uri concludes the meeting with Lenny and Archy and they walk to the exit where Turbo is waiting by the door. Something has obviously just happened. LENNY COLE Something wrong with these immigrants Arch, I do n't fuckin trust'em. We're being set up, do n't know how, but something's wrong, I can smell it with my sniffer. I thought he was made of fuckin money, not too happy about flashing it around here though is he?\",\n \"INT. PORTA CABIN Uri watches Lenny walk off. VICTOR He is the only one that knows. URI He does n't have the balls or the brains. VICTOR He's a crook, a small time back handing crook. Once could be a coincidence, but twice and the painting - your `` lucky painting'' I think he is trying to make a fool out of you.\",\n \"INT. RESTAURANT One Two walks into the restaurant with Handsome Bob. One Two is bashed to a pulp, but he's wearing a nice suit and carrying a bag full of money. There is a slight silence as his appearance arrests conversations. Handsome waits near the entrance and One Two sits down across from Stella, there is a pause. The odd PERSON passes and double takes at One Two. STELLA Oh my God, are you all right? A WAITER walks up. ONE TWO That is a rhetorical question I hope. -LRB- to waiter. -RRB- A glass of water thank you. -LRB- beat. -RRB- With a straw. -LRB- To Stella. -RRB- Do n't you want to know what happened? STELLA I know what happened, it's been all over the news, but I did n't realize,. ONE TWO You did n't say anything about guns,. machine guns with war criminals stuck to the trigger. STELLA I am sorry I did n't know, but should n't you have taken precautions? ONE TWO I'll leave your bag under the table all right? -LRB- pause. -RRB- But this is n't about the money is it? I saw you there on that last job. At first I thought it was curiosity,. CUT BACK TO THE ROBBERY we see Stella in her car that One Two had seen, but we did n't. ONE TWO -LRB- CONT'D. -RRB- But then I realized what was going on. You do n't need the money, you liked the rush. Your old man, ca n't give you the action can he? -LRB- beat. -RRB- Good - bye sweetheart you're too dangerous for me. He gets up and limps out.\",\n \"INT. CAR One Two and Handsome get into the car where Mumbles, nursing his own wounds, is already waiting. Handsome sits in the drivers seat when his phone goes. HANDSOME BOB Is that you Bertie? Mumbles and One Two know what this call is about. BERTIE -LRB- V.O. -RRB- What's happening about that drink? HANDSOME BOB What's happening about that paper work? BERTIE -LRB- V.O. -RRB- I am busy tonight, but Monday looks good. I'll leave the papers at my reception under your name and text you the address. HANDSOME BOB I'll be round in a jiffy and I'll see you Monday. The phone goes down, One Two narrows his eyes. ONE TWO You are scary good at that. HANDSOME BOB Do you miss it? ONE TWO Shut up Bob or I'll slap you. Go and pick up your paper work from your boy friend and drop me off on the way, I am going back to bed.\",\n \"INT. TOWN HALL Lenny is walking down the main corridor, he's a man on a mission. Archy is next to him, not looking so enthusiastic. LENNY COLE Arch I do n't care if he's fuckin busy, if we call, he answers, that's the deal. There he is,. -LRB- shouting. -RRB- Councilor,. Councilor! The Councilor is walking down the corridor he's with some of his COLLEAGUES. He looks mortified and beckons his friends on. LENNY COLE -LRB- CONT'D. -RRB- Something wrong with your telephone? COUNCILOR What are you doing here Lenny? You ca n't come here. LENNY COLE Steady, Councilor steady,. I go wherever I fuckin want. This is my town, not yours no matter what you and your pen pushing immigrant boy scouts might think. -LRB- pause. -RRB- Now, what's going on? COUNCILOR -LRB- hurriedly. -RRB- Step in here.\",\n \"INT. COUNCILORS OFFICE The Councilor steps into his office. COUNCILOR I ca n't do it, you've left it too long Lenny. You want something that the city has a ruling against, something they said they would n't give permission to build. LENNY COLE Do n't give me that shit. I can look out my window and there's twenty kinds of buildings this city said they'd never build, how did that happen eh? Fuckin termites got together and had a house building party did they? No sunshine, back handers put them up, back handers just like mine. COUNCILOR This is n't fuckin Zaire Lenny, I ca n't do it this time. Lenny grabs the Councilor by the bollocks and pushes him up against the wall. COUNCILOR -LRB- CONT'D. -RRB- Get off my bollocks Lenny. He squeezes the Councilors bollocks harder, the Councilor screams. LENNY COLE Do n't you swear at me you yellow puddle of immigrants piss or I'll fuckin drown you in it. -LRB- squeeze. -RRB- Feel that do you Councilor? You think I do n't have a paper trail for all the gifts, the cars, holidays, tennis courts and swimming pools? I own these bollocks and they're more fragile than a pair of quails eggs. Now get it done! -LRB- squeeze. -RRB- And next time blue bollocks, remember who the Daddy is!\",\n \"INT. CRACK HOUSE Johnny's sitting smoking a fag and watching more cartoons. Pete walks in with Malcolm and Paul, Johnny jumps up angry. JOHNNY STORY Moron,. what do you think your doing? PETE What John? JOHNNY STORY Letting creatures in my yard without my consent. PETE They're good stuff John, Scotch and Scouse. MALCOLM Like the drink and the Beatles. I am Malcolm and this is my friend and colleague Paul, you know like the saint. Paul's still comatose. MALCOLM -LRB- CONT'D. -RRB- Paul does n't say much, he's too busy thinking. -LRB- beat. -RRB- Come on, we know you John, we're big fans, you're what they call a real rocknrolla. Johnny cuts in and storms over to all three of them, pushing them out the door. JOHNNY Out! Good - bye, on your way, bon voyage and fuck off. Pete falls to the floor sulking, Johnny can push no more it's a lay down, Malcolm and Paul join him. JOHNNY -LRB- CONT'D. -RRB- What is this a laydown? A fuckin demo? MALCOLM Leave us be Johnny, we're nice people. Peaceful people. This is a demonstration of peace. JOHNNY Where the fuck did you find these two junkies? Conference, now Pete. Johnny drags Pete in toilet.\",\n \"INT. CRACK HOUSE TOILET JOHNNY STORY Pedro I swear this is the last time I'm having you take the piss, next time you're on your own. PETE Sorry, I thought you might like some company. JOHNNY STORY I am dead Pete, what does that tell you? It tells you, that dead people do n't like company! Now jog'em on. PETE All right, I'll tell'em to leave. JOHNNY STORY Yes you fucking well will, smelly junkies. Meeting adjourned. Johnny and Pete walk out of the toilet, Malcolm and Paul are gone. PETE You've scared'em off sing - a - long, but with a welcome like that it's not all that shocking. JOHNNY STORY Lucky you're not following them. Johnny looks over, the picture has gone, he turns to Pete. JOHNNY STORY -LRB- CONT'D. -RRB- Where's the picture Pete?\",\n \"INT. SPEELER Malcolm and Paul walk in the speeler, it's packed. Paul is holding the painting. FRED THE HEAD Hi ho it's the werewolf brothers, what you got for us today? MALCOLM Paul, please exhibit to the audience the fine artifact. Paul walks around with the painting - Malcolm sits him down, he's in a state again. MALCOLM -LRB- CONT'D. -RRB- Now, now young Paul rest your weary legs. -LRB- beat. here comes the pitch. -RRB- Gentlemen,. we are entering the realm of the ancient art form of paint on canvas,. Cookie cuts in. COOKIE I'll have it, how much? MALCOLM -LRB- stunned. -RRB- One moment sir, there's a pitch that comes with this painting,. Cookie gets up from the table and walks over. COOKIE I do n't want the pitch, I said I'll have it. MALCOLM It's a very rare and expensive painting sir. Malcolm's upset, he wanted to give the pitch. Cookie pulls out a lot of money too much for Malcolm to say no to. COOKIE Here ya go, have a week in snow. Malcolm takes it. MALCOLM Good afternoon gentlemen, it's been a pleasure. I can hardly wait till the next time.\",\n \"EXT. GOLF COURSE Uri, Lenny and Victor are out on the fairway. LENNY COLE I'll have that painting in a couple of days Uri, trust me on that. Uri's not sure about that last statement. URI You like it out here Lenny? LENNY COLE Ca n't beat the great outdoors can you Uri? I ca n't understand it, not a soul out here. URI That's because I have had the course cleared for us Lenny, we are not going to be disturbed. LENNY COLE Oh that's good, I love a clear fair way, that's a bitta me that Uri. Nothing worse than being jogged on by blind tourists swinging a stick on a Sunday. URI What are we going to do Lenny? Every time I am about to make my payment something dishonest happens. -LRB- pause. -RRB- You, would n't know anything about that, would you? Clearly shifting gears, could he be saying what he thinks. LENNY COLE Excuse me? Are you trying to say something Uri? URI I am not trying Lenny, I am saying something. Lenny is not having any of this, after all he's `` top dog.'' LENNY COLE I think you forget who you are speaking to you insolent bastard. You forget where you are you fuckin immigrant. This is my land, my fuckin show, I run this tow,. Victor has extracted a five iron from out of the golf bag and has decided to break both of Lenny's legs in ten different places. Lenny screams in unimaginable agony, writhing on the green. Uri almost ignores the activity. URI I have to go now Lenny, I am having lunch with the Councilor, your Councilor. This, as you know, is the ninth hole and it is a long crawl back to your car. You should make it by sunrise, just in time to bring me my `` lucky picture.'' I want it back do you hear me? Victor kicks him. LENNY COLE Yes,. yes. URI After that, I do n't want to hear from you again, disappear do you understand me Lenny? -LRB- Victor stands on his broken legs arrrrgh. -RRB- Lenny? LENNY COLE Yes, yes, I understand. Victor dips into his Lenny's pocket and extracts his phone. URI Times just change. -LRB- Uri gets in the buggy. -RRB- Good bye Lenny. He gets into the buggy with Victor and drives off.\",\n \"INT. ONE TWO'S HOUSE One Two comes in and closes the door behind him. He looks down on the floor and there is THE PAINTING, we see a large note on it that says. `` Let myself in, thought your lady would like the painting. Love, Cookie'' The door bell rings, he opens it and there stands Stella. She walks in straight past One Two, he turns round with his mouth open, she gently slaps it shut and kisses him.\",\n \"INT. CAR We are outside Bertie's office - Handsome opens the car door and jumps in, he's holding a brown envelope. Mumbles is waiting there.\",\n \"INT. ONE TWO'S HOUSE One Two is sitting on the bed that has been torn apart. He's in his boxer shorts with a ciggy in his mouth. Stella is walking toward the bathroom, the phone rings. ONE TWO Yeah?\",\n \"INT. CAR We see Mumbles and Handsome driving they are talking on the speaker phone. MUMBLES We've found out about that informer. Your lady `` the beard,'' her old man came through. ONE TWO -LRB- V.O. -RRB- What? HANDSOME BOB It's here in my hands, THE informer, the one responsible for all the sentences we have been seeing - all of'em, including me. ONE TWO -LRB- V.O. -RRB- Well, who is it then? MUMBLES Who's Sidney Shaw?\",\n \"INT. ONE TWO'S HOUSE ONE TWO Sidney Shaw is a pseudonym you idiot, they never use the real name. Get around here and let me have a look.\",\n \"INT. HOSPITAL CORRIDOR A gang of VILLAINS are lining the corridor, Archy walks through them.\",\n \"INT. HOSPITAL BEDROOM Lenny is here with a NURSE. NURSE Do n't try and move it'll be too painful before tonight. LENNY COLE Give me the water, Aaaaaahhhhh,. NURSE I told you not to move. Archy walks into the room. LENNY COLE Broke my legs in four places Archy, did you hear that? The bastard's made me limp for the rest of my days. ARCHY What do you want me to do? Lenny is clearly distressed, his confidence has gone. LENNY COLE I need that picture Archy, I need it bad. ARCHY I'll get it, do n't you worry and I think I can do better than that. This catches his attention. LENNY COLE What? ARCHY Someone has been at the Russian's money, a couple of silly gun slingers,. he was n't making up stories. LENNY COLE What? ARCHY You know'em and you do n't like'em either. LENNY COLE I ai n't playing fuckin games here Arch look at me, who? ARCHY Mumbles, Bob and One Two.\",\n \"INT. ONE TWO'S HOUSE Stella walks out of the bathroom, she looks immaculate. ONE TWO Look at you, good as new. STELLA I have to go now. ONE TWO Fancy sharing some dancing lessons with me later in the week, a bitta the ` ol salsa? STELLA -LRB- she smiles. -RRB- I'll take you up on that. ONE TWO I got something for you. Thought you might like it, seeing as you like paintings and all. -LRB- he motions. -RRB- There, it's on floor. Leant up against the wall is the lucky painting, she stops and looks at it, the camera slowly creeps into her face. We observe One Two looking for a reaction. ONE TWO -LRB- CONT'D. -RRB- Like it? STELLA You have very good taste,. Mr One Two. She picks up the painting and turns smiling. STELLA -LRB- CONT'D. -RRB- Good bye. With that she is off and out the door. One Two grabs the 70s retro headphones above his head and slaps them on his ears. He presses the remote control and the music kicks in.\",\n \"EXT. CRACK HOUSE Mickey and Roman approach the crack house door and flick up the letter box. They see a string hanging, they pull it and down comes a key.\",\n \"INT. CRACK HOUSE Roman and Mickey walk in to see Johnny slouched and watching TV, more silly cartoons. He's got his top off and he's smoking a ciggy. His feet are resting on an old chair and Pete is asleep next to him. Johnny hardly moves. ROMAN So why did you call Johnny? JOHNNY STORY Sorry, Johnny's not home right now, but the pipe is and the pipe says that Johnny heard you were getting in trouble boys. Roman gives a slight roll of the eyes. ROMAN Look, whoever I am talking to please relay the message to Johnny. His Dad, his jack in the box surprise gangster Daddy, paid us a visit. Shut down a few of our venues and he intends to shut down a few more unless Mr Story puts in an appearance. JOHNNY STORY Why are you talking to a pipe Roman? You're madder than I am. MICKEY Come back Johnny, come back home. JOHNNY STORY But home is where your head is and I do n't feel at home in my head. -LRB- beat. -RRB- Come back Johnny! Johnny smiles and pulls out a gun from under his arse. He points it at Roman, waits until he knows they feel it and pulls the trigger. It's a lighter. He relights his splif, hot hash dropping on his chest, he ignores it. JOHNNY STORY -LRB- CONT'D. -RRB- I bet our Lenny gave you the `` I'm his old man'' speech did n't he? -LRB- impersonating Lenny. -RRB- I've seen jelly fish with closer DNA than that slag. Now Johnny will come quietly, but you might have a couple of problems with the pipe. -LRB- he sighs. -RRB- Come on boys, buy us both a cup of tea. No need for any noise, let Pete sleep on.\",\n \"INT. ONE TWO'S HOUSE One Two has still got the headphones on, his eyes shut and he's tapping his knees. All of a sudden the music stops coming out of the headset and is now filling the room, someone else is here.\",\n \"INT. URI'S OFFICE - FLASHBACK WE CUT BACK to an earlier scene that we were n't a part of until now. Victor is talking to a man, we ca n't see who it is. VICTOR Uri is a man born with nothing, carved his way up the hard way, he's smart, young and only one thing will stop him from reaching his goals,. women. And this woman has become a problem. -LRB- pause. -RRB- My job is to protect Uri and in this department he needs protecting, I do n't like her or trust her and I want you to follow that snake. We reveal it's CHECHNYAN 1 our war criminal who is looking battered from the beating the day before. CHECHNYAN 1 Leave it with me Victor.\",\n \"EXT. RESTAURANT - FLASH BACK We go back to the scene at the restaurant from a different perspective. The two CHECHNYAN'S see One Two and Handsome Bob walk out of the restaurant, they two look at one another, their brows steel.\",\n \"INT. ONE TWO'S HOUSE CUT BACK to present with the music being cut off from One Two's head phones. He opens his eyes, on his throat lies a very long and sharp knife. The two CHECHNYANS have entered the room and pulled the wire out of the machine. CHECHNYAN 1 is sitting on a chair next to One Two, he's the one with the blade. He smiles, One Two does n't.\",\n \"EXT. ONE TWO'S HOUSE Archy approaches the door with Danny behind, he pushes it, it opens. Concerned, he pulls out a shooter, so does Danny, they go in.\",\n \"INT. ONE TWO'S HOUSE The music is very loud, it's Russian. Archy and Danny make their way to it's source, up the stairs, to the bedroom door. The base thumps out. Archy tries the handle, it turns, he pushes the door open slowly. The music becomes clear as we reveal a horrible scene. Archy is shocked, but a little amused. Tied to the bed, back to front with a pillow over his head is One Two. A large blade is resting on his back, a bottle of vodka is open on the side, One Two cries and wriggles uselessly. On the floor facing the other direction is our pretty much naked Chechnyan doing a traditional Chechnyan dance, which involves lots of extended leg action. He is wearing military speedos and fuck all else apart from his military hat. He is `` having much fun.'' His massive frame is still black and blue from the beating One Two previously inflicted. The other Chechnyan -LRB- similarly dressed -RRB-, is digging into his bag of tools, extracting all sorts of horrible looking things. Archy looks on amazed by the show, he has a quick look at Danny who is also bemused. He hits the `` off'' button, the Chechnyans spin, looking distressed. Silence ensues. ARCHY Is this a bad time One Two? ONE TWO -LRB- unable to say anything. -RRB- Emmm, emmmmmmmmmmmm. ARCHY Shall we come back later? ONE TWO -LRB- still unable to say anything. -RRB- Emmmmmmmmmmmmmmmmmmmmm. The Chechnyans make a quick move, their last ever. We hear FOUR shots ring out quickly.\",\n \"EXT. ONE TWO'S HOUSE Handsome Bob and Mumbles pull up and get out. Handsome Bob puts the paper work in his top pocket and bangs on the front door.\",\n \"INT. ONE TWO'S HOUSE One Two is being wrapped up in a carpet on the floor. He's still emmmmmmmmming and wriggling. We hear Handsome Bob and Mumbles at the front. MUMBLES -LRB- V.O. -RRB- One Two, it's us. Archy pays no attention to the door yet, he is on the phone to Lenny. LENNY COLE -LRB- V.O. -RRB- Bring'em to the warehouse and do n't hurt'em until I've spoken to'em, all right? ARCHY All right Lenny, I got a call waiting here, I'll see ya at the show. Archy presses his phone to take the other call. ARCHY -LRB- CONT'D. -RRB- Hello?\",\n \"INT. CRACK HOUSE Roman and Mickey are still here with Johnny. Roman speaks. ROMAN Archy?\",\n \"EXT. ETON POSH SCHOOL - WE FLASHBACK TEN YEARS Archy leans against a ROLLSROYCE with another HEAVY. Young Johnny walks up, he's wearing tales and a bow tie, he's with two of his toffy school FRIENDS. JOHNNY STORY Hello Archy. ARCHY Johnny, you do look the part. JOHNNY STORY Show us your guns Uncle Arch, I told the boys all about it. ARCHY Shut up and get in the car. Archy throws Johnny a packet of rolos and turns to get in the car. As he turns, Johnny lifts up the back of his sports jacket and steals his gun. The two FRIENDS are in shock, needless to say so is Archy. Johnny holds it on his two friends. JOHNNY STORY Give us your money boys. Archy grabs the gun and hits Johnny on the back of the head, not too hard. ARCHY You little swine,. now get in the car. Archy puts the gun away and looks at the two shocked school friends. He gently slaps them on the cheek in an intimidating way and gives them a tener. ARCHY -LRB- CONT'D. -RRB- Be good boys, you never know who's watching.\",\n \"EXT. WAREHOUSE - BACK TO PRESENT Bandy, who is pushing Lenny stops at the bottom of the stairs. BANDY You wan na take the stairs or the elevator Mr Cole? Lenny's in a wheelchair, he looks at Bandy. LENNY COLE Come here Bandy. Bandy comes near, Lenny takes a sniff. LENNY COLE -LRB- CONT'D. -RRB- You been drinking again? BANDY No,. Mr Cole. Lenny slaps him. LENNY COLE Think before you drink and before you drive me mad Bandy. Bandy goes back to his position of pushing the boss towards the elevator.\",\n \"EXT. WAREHOUSE Johnny, Roman and Mickey walk toward the entrance. JOHNNY STORY Do n't worry boys, nothing to be nervous about, some of my Dad's best friends ended up here. Archy arrives with a couple of old carpets, One Two, Mumbles and Handsome Bob are wrapped inside. JOHNNY STORY -LRB- CONT'D. -RRB- Hello Arch, wrapped up in a carpet just like the old days? -LRB- beat. -RRB- What is it today? The rack? The garotte? Or is it the old cray fish trap? ARCHY Still full of hot air Johnny. They walk inside the warehouse doors, Danny follows with the carpets.\",\n \"INT. WAREHOUSE They all make their way to the elevator. JOHNNY STORY You're looking a bit down, has that old clown been working you long hours? -LRB- beat. -RRB- You always were loyal - no dog like a loyal dog. ARCHY Watch your mouth John. JOHNNY STORY -LRB- feigning fear. -RRB- Do n't hit me Archy, I'm a singer not a fighter. -LRB- back to normal. -RRB- I've just the remedy for you, a story, a Johnny Story and it's all about you. Archy presses a button to call the elevator. They wait. ARCHY I do n't want to hear it. JOHNNY STORY Sorry, that's right get into character. -LRB- beat. -RRB- Look at him boys, scary ai n't he? Roman and Mickey do n't like any of this. JOHNNY STORY -LRB- CONT'D. -RRB- That's what four years inside does to a man, eats his soul and when it's all gone it makes a man quite scary. Ever wondered how you got there? Ever wondered what grass informed on you? The elevator arrives and they all pile in, including the rugs with One Two, Mumbles and Handsome Bob.\",\n \"INT. WAREHOUSE ELEVATOR - CONT. A noise comes from one of the carpets. JOHNNY STORY So who we got in there? Anyone I know? Anyone famous? That's right it's only a job, is n't it? Just being loyal, just following orders. -LRB- Johnny salutes. -RRB- I bet you can operate a nice gas shower,. I can see you with a couple of S's on your collar and a stiff goose in your step. Archy turns and slaps him the famous `` Archy slap'' it's nasty, Archy's getting wound up. ARCHY Shut it, otherwise you will get hurt. His face has been slapped into the direction of Roman and Mickey. Johnny keeps his head still,. JOHNNY STORY That, Roman and Mickey, is the famous Archy slap. I have been magically transported straight back to my childhood. He speaks next in a little boys voice, he's taking the piss. JOHNNY STORY -LRB- CONT'D. -RRB- Do n't turn Archy in, he's your friend, he's loyal, just like the dog. He changes to impersonate Lenny, its deep and over the top. JOHNNY STORY -LRB- CONT'D. -RRB- Shut up boy, do n't stick your nose where it do n't belong otherwise I'll chop it off. -LRB- little boy voice. -RRB- But you ca n't do it to Uncle Arch, I love him. -LRB- deep. -RRB- Needs a little lesson though do n't he? Left his station has n't he? A little time inside to remember who the boss is. Archy straightens his tie to remain calm, but ca n't take it any longer. He picks Johnny up and slams him against the wall. ARCHY -LRB- shouting. -RRB- Shut it, you hear me or I'll do ya myself, you poisonous little fucker! JOHNNY STORY -LRB- feigning fear. -RRB- Do n't hurt me Arch, I'm only little.\",\n \"EXT. ELEVATOR - CORRIDOR OF WAREHOUSE The elevator door opens and we see skinny Johnny stuck up in the air held by Archy. Danny looks on a bit disturbed. DANNY Put him down Arch, he's only little. Archy drops him, his wires crossed. He needs a little time to think. Johnny is off out of the elevator walking away happy as a clam. Back to Archy in the elevator. DANNY -LRB- CONT'D. -RRB- You all right? You look a little green. ARCHY -LRB- back to business. -RRB- Fine, roll out the carpets.\",\n \"INT. WAREHOUSE Johnny comes bowling in like a ` rocknrolla' coming on to stage. He spots Lenny. JOHNNY STORY Sidney! Nice wheels. Archy comes in with Danny and the carpets, Handsome Bob hears this, is Lenny Cole the Sidney Shaw? JOHNNY STORY -LRB- CONT'D. -RRB- Sorry about the painting, needed the cash for a little bit of the old `` dusty show bizzzzzzzz.'' -LRB- beat. -RRB- So, it's gone now, lost in the world of degenerate and stoned no hopers, never to be seen again by the eye of a clean soul. There is a pause while Lenny considers just shooting him. He changes his tone, he gets serious and slow. LENNY COLE Tell me, what are you boy if you are not poison? Look what you've left behind you. Your Dad could n't even bear the sight ya, no wonder he fucked off and left me to pick up the pieces, but that was n't enough for you was it? No, had to drive your mum into a bottle of pills and house full of nutters. All she got then was a hot bath a ice cold razor, why? -LRB- beat. -RRB- Cos your poison Johnny, that's why. JOHNNY STORY What can I say,. -LRB- pause. -RRB- I'm a junkie, crack head, no gooder, should never have wasted your money on that school. LENNY COLE Archy get him out of here. ARCHY I've had enough of him, I do n't trust myself. -LRB- beat. -RRB- Use someone else. Johnny grabs the back of Lenny's chair and pushes him around like he's a two year old, Lenny feels a right twit. One Two, Handsome Bob, and Mumbles observe. JOHNNY STORY It's a gathering, I love a gathering look, Mumbles, One Two, Handsome Bob all the old faces today. -LRB- beat. -RRB- It's all going so well apart from Archy who's ruining the day. I tried to cheer him up with that story about how you grassed him u,. BANG! Lenny shoots Johnny in the hip with a gun he has kept hidden. Everybody is shocked, Danny jumps back in horror that was pretty close. ROMAN Whooooa,. ARCHY All right calm down, give me that, I'll take care of him. Danny moves in to take the gun from Lenny. Johnny speaks in pain, but still chipper. JOHNNY STORY That was n't one of your better shots was it now Daddy. If you want to shut me up it should have been a bit higher. Lenny looks up to Danny. LENNY COLE -LRB- quietly. -RRB- Danny come here, I want him taken care of, you hear? Now get him out. Danny takes Roman, Mickey and Johnny out towards the elevator. LENNY COLE -LRB- CONT'D. -RRB- You do n't know how much trouble you have caused me so please understand that I will kill you very slowly if you do not tell me where my money is. HANDSOME BOB The address is in my top pocket. Here, Archy,. you know I would n't mess you around. Lenny is out of reach of them, Archy can tell Handsome Bob is implying something. HANDSOME BOB -LRB- CONT'D. -RRB- Take it Arch. Archy leans forward to take it, Lenny interrupts wheeling himself over. LENNY COLE Let me have a look first. He takes the letters out of Handsome Bob's top pocket and opens them up. He squints, the print is too small he ca n't read what it says. ARCHY Here you ca n't read it without your glasses, let me have a look. Lenny looks uncomfortable, Archy almost snatches the letters and flicks through the pages. He reads to himself, could it be true? Could Lenny be the informer sending everyone around him down? LENNY COLE What does it say? Hurry,.\",\n \"INT. ELEVATOR Mickey and Roman are holding Johnny up, he's bleeding all over the place. Danny is facing front while another MAN is keeping an eye on them. We SEE, but the other's do n't, Danny is slowly screwing on a silencer. JOHNNY STORY Do n't worry just yet fellas, nothing's going to happen while we're standing in the elevator because they do n't want to have to drag the three corpses across to the cars that would be hard work. In about two minutes from now, when we're all driving along happily,. WE FLASH FORWARD TO AN IMAGINARY SCENE - JOHNNY'S V.O. IS ACTED OUT.\",\n \"INT. CAR - FLASH FORWARD JOHNNY STORY -LRB- V.O. -RRB- Danny boy is going to turn around and `` pop me'' two in the head and one in throat just to make sure. -LRB- beat. -RRB- And then, since Danny is obviously going to kill you two as well,. WE SEE the imaginary shots from Danny's gun go off on Mickey and Roman.\",\n \"INT. WAREHOUSE We cut back to the scene upstairs. ARCHY You wan na know what this says Len? -LRB- beat. -RRB- Funny thing with the law, it can be quite flexible. Every time an informer finds himself in front of a judge,.\",\n \"INT. COURT ROOM We see Archy's story acted out in the full court room, Law and Order style. The judge and lawyer act out Archy's words. JUDGE A secret letter stands witness as to the cooperation and efficiency of that informer. LAWYER An accurate record of his treachery will be brought in to protect the informer,.\",\n \"INT. WAREHOUSE Back to our present scene. ARCHY If the informer has provided adequate information, that dog of dogs will be magically released,.\",\n \"INT. COURT ROOM Back to our acted out scene. JUDGE A sort of, `` get out of jail free'' card, but this comes along with the trail of a good alibi.\",\n \"INT. WAREHOUSE Archy turns the pages of the letter. WE SEE different JUDGES giving different sentences to different FACES, some of these faces we know, one of them is Fred the Head, Handsome Bob and one of them is ARCHY.\",\n \"INT. COURT ROOM Still being acted out, in Law and Order style. LAWYER The only evidence that will ever remain of this deal is that form of a very exclusive and hard to come by legal document called a `` secret debt''.\",\n \"INT. WAREHOUSE Back to our present scene. ARCHY As in deputation,. -LRB- beat. -RRB- The likes of which I hold for the very first time in my hand. -LRB- beat. -RRB- Of course they use a false name and I have seen that name many times in the last twenty years, always did wonder who Sidney Shaw was,.\",\n \"INT. LENNYS OFFICE - FLASHBACK FLASHBACK twenty years ago, Archy picking up papers on Lenny's desk and turns to him. ARCHY Who's this Sidney Shaw Len? LENNY COLE -LRB- bothered. -RRB- Give us that here.\",\n \"INT. WAREHOUSE Lenny has gone white. LENNY COLE No, I am being set up. ARCHY You're a dirty bastard Sidney, a very dirty bastard. Archy grabs the belt that's used to tie up drowning victims, he throws it round Lenny's chair and stuffs a bit of cloth into Lenny's wide open mouth. ARCHY -LRB- CONT'D. -RRB- -LRB- to One Two, Handsome Bob and Mumbles. -RRB- You three, cut yourself free and get out of here,. Archy throws a knife across to Mumbles who just catches it and starts to cut his way out of the ropes. Archy gets back on with the job at hand. He reads through the names Lenny has grassed on over the years. ARCHY -LRB- CONT'D. -RRB- Michael Finny, ten years. Frazier Nash, fifteen years. Cousin Ronnie, six years,. you dirty bastard. -LRB- beat. -RRB- Michael Dexter, eight years. Archy grabs the winch that lowers victims to their crayfish death and bangs it on to the back of the wheel chair. He presses the start button and the wheelchair is raised with haste. ARCHY -LRB- CONT'D. -RRB- The Jew twins, fourteen years and of course ME, Archy, four years. One Two, Mumbles, and Handsome Bob are free. ONE TWO See ya Arch,. The three of them are out like rats up ropes, they start to run down the stairs.\",\n \"INT. ELEVATOR We pick up where we left off with this group. JOHNNY Should n't have brought me here fellas, you're just going to end up as witnesses. We continue with his description of what is going to happen.\",\n \"INT. CAR - FLASH FORWARD JOHNNY After they have `` dealt'' with us, they're gon na put all three of us in the trunk of a stolen car,.\",\n \"INT. TRUNK OF STOLEN CAR - FLASH FORWARD We see six gallons of petrol in the trunk of the car in our imaginary scene. JOHNNY And pour six gallons of petrol on top, I can let your imagination fill in the rest.\",\n \"INT. ELEVATOR Back to present. JOHNNY But now Danny's rattled, he wo n't be able to wait because you now know what's coming, so he's gon na fire. Danny, who is now in a state because Johnny has predicted everything he's going to do, suddenly turns with his gun. Mickey catches it, the force of the stop pulls the trigger, and the other MANS head is drilled through. Roman joins the wrestling match and gets the gun and wrist to aim at Danny's head. The trigger gets squeezed and Danny's head also gets a drilling. Silence. Johnny, who is smothered in blood, speaks coolly. JOHNNY STORY Mickey, pass me the gun. Mickey is out to lunch, but Johnny sounds commanding. JOHNNY STORY -LRB- CONT'D. -RRB- MICKEY quickly, pass me that gun in Dannys hand. Do n't worry he ca n't defend himself he does n't have a head, quickly now. Does this answer the question that you two so frequently asked as to why I sought refuge in the depths and perverse beauty of the crack pipe? The elevator door opens.\",\n \"EXT. ELEVATOR There stands Bandy, his gun drawn. BANDY Get fucking down! He looks on in horror and points the gun at Johnny. Just as he's about to fire,. there is a great smash of bone on timber. Bandy falls to reveal One Two standing there with a large piece of timber. ONE TWO I think we should get out of here now, do n't you John? At which point in the background WE SEE Lenny being lowered to his demise. He looks at the group in horror as he is quickly lowered to his death by drowning and cray fish. FADE OUT.\",\n \"INT. URI'S CAR VICTOR I do n't like it Uri, I do n't trust her. I put two of my people on her and they have n't come back. Very insulted. URI You what? I did not tell you to do this. If I had wanted her spied on I would have asked for it, would n't I? VICTOR Yes Uri, you would have, but I still do n't like it. URI I do n't care what you like Victor, I am in charge, now wait here. He gets out and walks to the door.\",\n \"EXT. STELLA'S HOUSE She answers the door - she is surprised. URI Can I come in?\",\n \"INT. STELLA'S HOUSE URI Sorry to surprise you, but I have something for you, a token of my appreciation. He hands her a check. STELLA What is this for? URI Please do not be insulted, you have come to mean a lot to me and I value you much more than just your services. -LRB- pause. -RRB- This is simply a reflection of my appreciation. -LRB- vulnerable he likes her. -RRB- I would like to ask you something personal. His phone rings, he frowns slightly and answers it. URI -LRB- CONT'D. -RRB- Not now Victor, I am busy. Uri turns. There, casually resting on the floor is his painting, his lucky painting. Uri's expression changes, his world has been shattered, he's thinking very ugly thoughts. He turns back to Stella, dead pan. URI -LRB- CONT'D. -RRB- A very nice painting. How long have you had it? A little caught off guard. STELLA Years, it's my lucky painting,. it's very special is n't it? URI Beauty is a cruel mistress, is it not? Pause, she smiles. Uri talks back into the phone, the other darker Uri is now in charge. URI -LRB- CONT'D. -RRB- Victor please, come to join us. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In London, mob boss Lenny Cole (Tom Wilkinson) rules the ever-growing real estate business, using a corrupt Councillor (Jimi Mistry) for bureaucratic fixing, and his right-hand man Archy (Mark Strong) for the dirty side of things. A billionaire Russian businessman, Uri Omovich (Karel Roden), plans a fixed land deal, and London's crooks seem to all want a piece of it — particularly Uri's underhanded accountant Stella (Thandie Newton), and a gang called \"The Wild Bunch\" led by small-time crook \"One-Two\" (Gerard Butler), his partner \"Mumbles\" (Idris Elba), and their driver, \"Handsome Bob\" (Tom Hardy). Uri agrees to Lenny's price of €7,000,000 to grease the Council's wheels, and as a sign of trust, loans him his \"lucky painting.\" Yet when Uri arranges for Stella to move the funds, she double-crosses him and hires the Wild Bunch to steal the money. Unfortunately for Lenny, however, his junkie stepson Johnny Quid (Toby Kebbell), supposedly dead, steals the painting from Lenny's wall. Lenny and Archy then coerce Johnny's American managers Mickey (Chris \"Ludacris\" Bridges) and Roman (Jeremy Piven) into tracking down Johnny. In a subplot, Handsome Bob gets close to Stella's gay husband, a lawyer who has information on a longtime unknown informer in their criminal circle whose information has Bob looking at a five-year prison term. Uri tasks Stella once more with covertly siphoning the necessary payoff from his holdings, and grows increasingly enamoured with her. When his moneymen are once again robbed by the Wild Bunch, his assistant Victor convinces him that it's likely Lenny who is behind the robberies, and is also purposely keeping Uri's lucky painting from him. Uri & Victor then invite Lenny to a private golf game on a golf course owned by Uri, where Victor beats him savagely with a golf club, finishing by breaking Lenny's leg as a warning to him. Cookie (Matt King) happens to buy the painting from some crackheads who had just stolen it from Johnny's hideout. Cookie then gives the painting to One-Two who, in turn, offers the painting to Stella (after a sexual encounter) as a token of appreciation. After Stella leaves his flat, One-Two is surprised by Uri's henchmen but is rescued, and then kidnapped, by Archy and his goons who had come looking for Uri's money. Uri wants to marry Stella, whom he has long admired. He goes to Stella's house to propose, but he then spots the painting. Stella lies and says she has had it for years. Uri, enraged by Stella's betrayal, orders Victor to kill her. Archy brings Johnny, Roman, Mickey and the Wild Bunch to Lenny's warehouse where Lenny orders Johnny executed. He threatens to kill the Wild Bunch \"very slowly\" unless they give up the money they stole. Handsome Bob offers the legal documents concerning the informant in his pocket to Archy. Archy recognises the pseudonym used on the documents, \"Sidney Shaw\", as belonging to Lenny. Lenny arranged the police to routinely lock up many criminal associates (including Archy) for years at a time to enhance his own standing in the criminal underworld and to ensure his own freedom. Archy orders Lenny's men to free the Wild Bunch and has Lenny drowned and fed to crayfish. In the lift, Johnny explains to Roman and Mickey that they will also be killed to leave no witnesses, and graphically explains the manner of their executions. His description unnerves the man who's to execute the three men, prompting him to act prematurely. Having also already anticipated this move, Johnny warns Mickey and Roman to intervene and kill their would-be executioner. Johnny shoots two more men waiting at the top of the lift and they escape the last of Archy's men (with help from One-Two and the Wild Bunch). Later, Archy picks up Johnny from rehab and gives Johnny Uri's lucky painting as a welcome home present. Archy says that obtaining the painting \"cost a very wealthy Russian an arm and a leg\" implying he had Uri killed. Johnny proclaims that, with his new-found freedom from addiction and from his stepfather, he will do what he could not before: \"become a real RocknRolla\"."},"name":{"kind":"string","value":"RocknRolla"}}},{"rowIdx":168,"cells":{"scenes":{"kind":"list like","value":["EXT. TROPICAL LAGOON - DAY A 135 - foot - luxury yacht is anchored just offshore in a tropical lagoon. The beach is a stunning crescent of white sand at the jungle fringe, utterly deserted. ISLA SORNA, 87 miles southeast of Nublar. Two SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service - fine china, silver, crystal decanters with red and white wine. PAUL BOWMAN, fortyish, sits in a chair off to the side, reading. MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her eyes done more than once, supervises the settings of the table. She looks up and sees a little girl, CATHY, seven or eight years old, wandering off down the beach. MRS. BOWMAN Cathy! Do n't wander off! Cathy keeps wandering. MRS. BOWMAN -LRB- cont'd. -RRB- Cathy, come back! You can look for shells right here! Cathy gestures, pretending she ca n't hear. BOWMAN -LRB- eyes still in his book. -RRB- Leave her alone. MRS. BOWMAN What about snakes? BOWMAN There's no snakes on a beach. Let her have fun, for once. FURTHER DOWN THE BEACH, Cathy keeps wandering away, MUTTERING to herself as her parents' quarreling voices fade in the distance. CATHY Please be quiet, please be quiet please be quiet. Rounding a curve in the beach, her parents disappear from view behind her. A RUSTLING sound draws her attention, and she turns, toward where the thick jungle foliage gives way to the sand. A large bush, maybe twelve feet tall, is moving, its branches swaying and shaking. Curious, Cathy walks up to the bush, which abruptly stops moving. A small, lizard - like animal, dark green with brown stripes along its back, steps out from the bush. Only about a foot tall, it stands on its hind legs, balancing on its thick tail. It walks upright, bobbing its head like a chicken. CATHY Well, hello there! The animal -LRB- a COMPSOGNATHUS -RRB- just stares at her. Cathy squats down on her haunches. CATHY -LRB- cont'd. -RRB- What are you? A little bird or something? She opens her hand. She's got a handful of goldfish crackers. CATHY -LRB- cont'd. -RRB- Are you hungry? You want a goldfish? The compy bobs forward a few steps, cautiously. CATHY -LRB- cont'd. -RRB- Come on. I wo n't hurt you. The compy draws closer. Cathy holds the cracker in the palm of her hand. The compy gets closer still - - and hops numbly up onto Cathy's palm. Her arm dips a bit under the weight, but it's not that heavy, and she holds it up easily. It bobs its head, scarfs up the goldfish, and eats it. Enchanted, Cathy breaks into an enormous grin and returns her hand, calling back over her shoulder. CATHY -LRB- cont'd. -RRB- Mom! Dad! You got ta come see this! I found something! She turns back. Thirty more compys have come out onto the sand. They're standing there, bobbing anxiously, staring at her from a few feet away. Cathy's smile fades. She turns her head slowly to the right. TWENTY MORE COMPYS have come in from that side, forming a semi - circle, bobbing and CHIPPING as they surround her. CATHY -LRB- cont'd. -RRB- -LRB- terrified. -RRB- What do you guys want? BACK ON THE BEACH, the table is set. Mrs. Bowman calls out. MRS. BOWMAN Cathy, sweetheart! Lunch is ready! From around the curve of the beach, a flock of birds bolts from the jungle trees as Cathy's shrill SCREAMS suddenly pierce the air. MRS. BOWMAN PAUL! She takes off, running down the beach, Mr. Bowman leaps out of his chair and follows, and all available deck hands race off to help, kicking up geysers of sand behind them. DOWN THE BEACH, Mrs. Bowman stops dead in her tracks when she rounds the bend in the beach. We do n't see what she sees, but we hear the frenzied SQUEAKING of the strange compys. Mr. Bowman and the Hands race past her to help Cathy as Mrs. Bowman lets loose a horrified, slack - jawed SCREAM, her mouth a perfect oval.","INT. BOARD ROOM - DAY Mrs. Bowman's screaming face dissolves slowly over the YAWNING face of a bored CORPORATE EXECUTIVE, TWENTY OTHER EXECUTIVES sit around a conference table in the boardroom of a monied corporation. All are in expensive suits, most are over sixty. There are rows of BACKBENCHERS too, whispering in their lawyers who sit behind their clients, whispering in their ears. Empty coffee cups and fast food containers on the table hint that everyone's been here a long time. A familiar VOICE resounds through the boardroom as we move down the long table, pat the grim faces of the board members. VOICE -LRB- O.S. -RRB- The hurricane seemed like a disaster at the time, but now I think it was a blessing, nature's way of freeing those animals from their human confines. Of giving them another chance to survive, but this time as they were meant to, without man's interference. The source of the voice is JOHN HAMMOND, the founder of InGen and creator of Jurassic Park. But he's not in the room. His image is on a closed circuit TV screen, which has been wheeled up to the end of the table. And he does n't look good. He's terribly infirmed, propped up in bed, his face pale and drawn, medical equipment BEEPING around him. HAMMOND -LRB- cont'd. -RRB- There are some corporate issues that are not about the bottom line. We have so much still to learn about those creatures. A whole world of intricate, interlocking behaviors, vanished everywhere - except for Site B. Please. Let's not do what is good for more men at the expense at what is best for all mankind. The CHAIRMAN, seventyish, nods awkwardly to the television. CHAIRMAN Thank you, John. Mr. Ludlow? He turns to PETER LUDLOW, late thirties, a man with the anxious look of someone who insists the buck stop on his desk. Ludlow flips open a file, pulls out a stack of black and white eight by tens, and tosses them on the table. LUDLOW -LRB- an accent similar to Hammond's. -RRB- These pictures were taken in a hospital in Costa Rica forty - eight hours ago, after an American family on a yacht cruise stumbled onto Site B. The little girl will be fine, but her parents are wealthy, angry, and very fond of lawsuits. But that's hardly new to us, is it? -LRB- takes a paper from the file. -RRB- Wrongful death settlements, partial list : family of Donald Gennaro, 36.5 million dollars ; family of Robert Muldoon, 12.6 million. Damaged or destroyed equipment, 17.3 million. Demolition, de - construction, and disposal of Isla Nublar facilities, organic and inorganic, one hundred and twenty - six million dollars. The list goes on, gentlemen - research funding, media payoffs. Silence is expensive. He's warming up. Not a bad performer. LUDLOW -LRB- cont'd. -RRB- This corporation has been bleeding from the throat for four years. You, our board of directors, have set patiently and listened to ecology lectures while Mr. Hammond signed your checks and spent your money. You have watched your stock drop from seventy - eight and a quarter to nineteen flat with no good and in sight. And all along, we have held a significant product asset that we could have safely harvested and displayed for profit. Enormous profit. He reaches out to a model on the table and gives it a shove, sending it sliding down the length of the table in front of them. It's a mini - mall version of a zoo. Cages hold tiny replicas of various kinds of dinosaurs while Boy Scout troops and Tourists look on in wonder. LUDLOW -LRB- cont'd. -RRB- Enough money to wipe out four years of lawsuits and damage control and unpleasant infighting, enough to not only send our stock back to where it was but to double it. And the one thing, the only thing standing between us and this asset is a born - again naturalist who happens to be our own CEO. Well, I do n't work for Mother Nature. I work for you. Two of his Backbenchers distribute documents from a stack. Ludlow takes one and reads from it. LUDLOW -LRB- cont'd. -RRB- `` Whereas the Chief Executive Officer has engaged in wasteful and negligent business practices to further his own personal environmental beliefs - Whereas these practices have affected the financial performance of the company by incurring significant losses - Whereas the shareholders have been materially harmed by these losses - Thereby, be it resolved that John Parker Hammond should be resolved from the office of Chief Executive Officer, affective immediately.'' Mr. Chairman, I move the resolution be put to an immediate vote. Do I have a second? BOARD MEMBER I second the motion, Mr. Chairman, Please poll the members by a show of hands. The CHAIRMAN signs heavily, feeling like a traitor. He ca n't bear to look at Hammond on the TV monitor. CHAIRMAN All those in favor of InGen Corporate Resolution 213C, please signify your approval by raising your right hand. It starts slowly, guiltily, but every hand in the room goes up. Ludlow sits back, victorious. Hammond, furious, raises his right hand, which holds a remote control, and points it at the TV screen. It goes blank.","EXT. WELDER'S YARD - NIGHT Sparks fly out the windows and doors of a shed in the middle of a welder's yard. Scrap iron and steel lies everywhere. Somewhere inside the shed, a phone RINGS. The WHOOSH of the arc welder shuts off. DIETER STARK, a big barrel - chested man of forty or so, his face streaked with soot and grime, steps outside with a cordless phone, a cigarette dangling from his lips. DIETER Yeah. He takes a deep drag while someone talks on the other end. He smiles and blows out a cloud of smoke.","INT. NEW YORK SUBWAY - NIGHT Smoke turns into steam as a subway THUNDER into a station underneath Manhattan. The door WHOOSH open, spit out some COMMUTERS and suck up a few more. A tall man hurries down the platform, limping heavily, moving as fast as he can. The subway doors begin to close, but just before they meet - - the man jams a cane in between, stopping them. The man is IAN MALCOLM, fortyish, dressed in black from head to toe. There's a hard wisdom in Malcolm's eyes that may not have been there's a few years ago - he know what you think, and he does n't care.","INT. SUBWAY CAR - NIGHT MALCOLM finds a seat on the crowded subway car and sits down. He looks awful. Tired. Weathered. He notices a CURIOUS MAN across from his is staring at his. Malcolm looks away. The Curious Man still stares. Nervy, the Curious Man gets up and approaches. MALCOLM -LRB- under his breath. -RRB- Shit. The Curious Man sits down next to Malcolm, grinning. MAN You're him, are n't you? MALCOLM Excuse me? MAN The guy. The scientist. I saw you on TV. -LRB- conspiratorially. -RRB- I believed you. No response from Malcolm. The guy leans in even closer. MAN -LRB- cont'd. -RRB- Roooooarr. MALCOLM -LRB- a withering look. -RRB- I was misquoted. I was merely speculating on the evolutionary scenario of a Lost World. I never said I was in any such place. He gets up and moves to another seat on the car, away from the Curious Man. As he sits down, he notices two other COMMUTERS across from him are staring at him. He looks at them. They looks away. He pulls the collar of his coat up tight around him. Nowhere to hide.","INT. JOHN HAMMOND'S APARTMENT - NIGHT A UNIFORMED BUTLER has a question : BUTLER Whom shall I tell Mr. Hammond is calling? MALCOLM stands in the foyer of an expensively decorated Park Avenue apartment. MALCOLM Ian Malcolm A door opens and a little dog comes YAPPING out of the back. It bounds straight at Malcolm, GROWLING, jaws SNAPPING. It lunges - - and Malcolm BATS it away with one swift swing of his cane. The dog rolls across the floor and slinks away, WHINING. The Butler looks at Malcolm disapprovingly. BUTLER Not an animal lover? MALCOLM Not really.","INT. HAMMOND'S BEDROOM - NIGHT MALCOLM enters a darkened bedroom. JOHN HAMMOND lies in the bed we saw earlier, on the other side of the room ; Medical equipment has been disguised as well as possible among the furniture and flowers, but the sheer abundance of it tells us that whatever has stricken him is going to win this battle. HAMMOND Ian! Do n't linger in the doorway like an ingenue, come in, come in! Malcolm steps further into the room. HAMMOND -LRB- cont'd. -RRB- It's good to see you. It really is. How's the leg? MALCOLM Resentful. HAMMOND When you have a lot of time to think, it's funny who you remember. It's the people who challenged you. It is the quality of our opponents that gives our accomplishments meaning. I never told you how sorry I was about what happened after we returned. Noticing Hammond's deteriorated condition, Malcolm finds it hard to sustain anger. MALCOLM I did n't know you - were n't well. HAMMOND It's the lawyers. The lawyers are finally killing me. MALCOLM They do have motives. Why did you want to see me? Your message said it was urgent. HAMMOND You were right - and I was wrong. There! Did you ever think you'd hear me say that? Spectacularly wrong. Instead of observing those animals, I tried to control them. I squandered an opportunity and we still know next to nothing about their lives. Not their lives as man would have them, behind electric fences, but in the wild. Behavior in their natural habitat, the impossible dream of any paleontologist. I could have had it, but I let it slip away. -LRB- pause. -RRB- Thank God for Site B. Malcolm just looks at him for a long moment. MALCOLM What? HAMMOND -LRB- a spark in his eye. -RRB- Well? Did n't it all seem a trifle compact to you? MALCOLM What are you talking about? HAMMOND The hatchery, in particular? You know my initial yields had to be low, far less than one percent, that's a thousand embryos for every single live birth. Genetic engineering on that scale implies a giant operation, not the spotless little laboratory I showed you. MALCOLM I do n't believe you. HAMMOND Isla Nublar was just a showroom, Ian, something for the tourists, Site B was the factory floor. We built it first, on Isla Sorna, eight - some miles from Nublar. MALCOLM No, no, no, no, no, no. HAMMOND After the accident at the park, a hurricane wiped out our facility on Site B. We had to evacuate and leave the animals to fend for themselves. And they did. For four years I've fought to keep them safe from human meddling, now I want you to go there and document them. MALCOLM Are you out of your mind? I still have nightmares, my reputation's a joke, my leg is shot - you think I need more of that? HAMMOND It would be the most extraordinary living fossil record the world has ever seen. MALCOLM So what? Hammonnd picks up a thick file folder from the night table near to him and open it on his lap. Inside, there are memos, charts, maps and photographs. HAMMOND I've been putting this together for over a year. I have personal suggestions for your entire team, phone numbers, contact people. They wo n't believe you about what they're going to see, so do n't bother trying to convince them. Just use my checkbook to get them there. I'll fund your expedition through my personal accounts, as such money and equipment as you need, but only if you leave immediately. If we hesitate, all will be lost. MALCOLM John. HAMMOND You'll need an animal behaviorist, someone with unimpeachable credentials. I believe you already know Sarah Harding. She's got theories about parenting and nurturing among hunter/scavengers I bet she'd be dying to prove on a scale like this. If you convince her to go, it'll be a major coup. When she publishes, the scientific community must take it seriously. Malcolm just shakes his head, flipping through the file sadly. HAMMOND Your documentation, you should use forensic photographic methods, Hasselbladt still cameras, high definition video. When the trick photography analysts take your evidence apart, make it impossible for them to say there was enhancement or computer graphic imaging. Oh, this is very important - avoid the island interior at all costs. Stick to the outer rim. Everything you need to know can be found there. Vindication lies on the outer rim. Malcolm gently closes the file and pushes it back to Hammond. MALCOLM I'm not going, John. HAMMOND -LRB- fatigue returning. -RRB- Ian, you are my last chance to give something of real value to the world. I ca n't walk so far and leave no footprints ; die and leave nothing with my name on it. I will not be known only for my failures. And you will not allow yourself to go down in history as a lunatic. You're too smart. You'e too proud. Dr. Malcolm. Please. This is a chance at redemption. For both of us. There's no time to equivocate, we must seize it now, before - He stops, staring over Malcom's shoulder. Malcom turns. PETER LUDLOW, still in his overcoat, is standing in the doorway to the bedroom. He looks back and forth from Hammond to Malcolm suspiciously. LUDLOW Hello, Uncle John. Dr. Malcolm. Malcolm does n't answer. He seems to know Ludlow, and dislikes him. LUDLOW -LRB- cont'd. -RRB- Did I interrupt something? Malcolm turns back to Hammond. MALCOLM Find someone else.","INT. HAMMOND'S APARTMENT/FOYER - NIGHT In the foyer, LUDLOW hands MALCOLM his coat, just a trifle rudely, and shepherds him to the door. LUDLOW So, you two were just, uh, telling old campfire stories, were you? MALCOLM Do me a favor. Do n't pretend for a second that you and I do n't know the truth. You can convince Time magazine and the Skeptical Inquirer of whatever you want, but I was there. LUDLOW You signed a non - disclosure agreement before you went to the island that expressly forbade you from discussing anything you saw. You violated that agreement. MALCOLM You cost me my livelihood. That on which I relied to support my children. LUDLOW If your university felt you were causing it embarrassment by selling wild stories to Hard Copy, I hardly see how I am to - MALCOLM I did n't tell anything, I told the truth. LUDLOW You version of it. MALCOLM There are no versions of the truth! This is n't a corporate maneuver, it's my life. LUDLOW We made a generous compensatory offer for your injuries. MALCOLM It was a payoff and an insult. InGen never - LUDLOW InGen is my livelihood, Dr. Malcolm, and I will jealously defend its interests. People will know what I want them to know when I want them to know it. Ludlow tosses something to Malcolm, hard. It sails across the foyer, upright, and Malcolm reaches out and catches it with one hand. It's his cane. LUDLOW -LRB- cont'd. -RRB- Do n't forget that. Malcolm stares at him for a long moment. Finally, he turns and walks away. But he does not out of the apartment. Instead, he walks directly past Ludlow, crosses the living room, and steps back into Hammond's bedroom, closing the door behind him with a determined CLICK.","INT. HAMMOND'S BEDROOM - NIGHT HAMMOND looks up, hopeful, as MALCOLM comes back into the room and walks over to his bed. He reaches down - - and picks up the file folder. MALCOLM Do you have a satellite phone?","INT. MOMBASSA BAR - DAY ROLAND TEMBO, late sixties, skin like leather and the diamond hard look of a cobra, sits at a table in the middle of an African cafe/bar in Mombassa. It's daytime and the place is half full, mostly with locals, but there are a few obnoxious TOURISTS too, Americans on safari who somehow found the local handout. They're a noisy bunch, but Roland tunes them out, calmly eating his lunch and drinking a beer while he reads a book, eyeglasses hanging low on his nose. Roland suddenly stops reading and furrows his brow. He looks up. He SNIFFS the air once, then smiles and calls out a person's name. ROLAND Ajay? He turns around. AJAY -LRB- AH - jay -RRB- SIDHU, a wiry East Indian in his late forties, is standing behind him, caught trying to sneak up. AJAY -LRB- delighted. -RRB- How did you know? ROLAND -LRB- taps his nose. -RRB- That cheap aftershave I send you every Christmas, you actually wear it. I'm touched. Sit down, sit down, what brings you to Mombassa? AJAY You. Tell me, Roland, when was the last time you answered your phone? ROLAND Last time I plugged it in, I suppose. Why? Behind them, the group of TOURISTS, all men, laughs loudly. One of them, the MOST OBNOXIOUS TOURISTS, berates the WAITRESS. AJAY I got a call from a gentleman who's going to Costa Rica, or thereabouts. If he's to be believed, it's a most, uh, unique expedition. And very well - funded. ROLAND Well, I'm a very well - funded old son of a bitch. You go. The Most Obnoxious Tourist bellows for the Waitress. His buddies LAUGHS. Roland throws a glance, annoyed. AJAY But alone? We always had great success together, you and I. ROLAND Just a little bit too much, I think. AJAY How do you mean? ROLAND A true hunter does n't mind if the animal wins. If it escapes. But there were n't enough escapes from you and me, Ajay. I've decided to spend a bit less time in the company of death. Maybe I just feel too close to it my - The Waitress comes to the Tourists' table and the Most Obnoxious Tourist actually paws her ass. Roland is out of his chair in a second. ROLAND -LRB- cont'd. -RRB- -LRB- to Ajay. -RRB- Excuse me. Romand walks over to the Tourists' table, says something to the Waitress in the local dialect, and she walks away, behind him. He stares down at the Most Obnoxious Tourist. ROLAND -LRB- cont'd. -RRB- You, sir - are no gentleman. TOURIST Is that supposed to be an insult? ROLAND I can think of none greater. The Tourist looks at his Buddies and laughs. TOURIST Buzz off, you silly old bastard. ROLAND What do I have to do to pick a fight with you, bring your mother into it? TOURIST Are you kidding? I could take you with one arm tied down. ROLAND Really? IN THE MIDDLE OF THE FLOOR, the Waiter finishes tying a man's wrist to his belt in the back of his pants with a napkin. He pulls the knot tight and the man turns around. It's Roland, with his arm tied down. The Tourist stands across from him. TOURIST I mean my arm. POW! Roland punches him square in the jaw. The Tourist reels, stunned. Enraged, he lunges at Roland, swinging with both arms. Roland bobs, neatly ducking the punches, waits for the Tourist to turn around, and POPS him thrice in the face. The Tourist spins and goes down to the floor, face first. A cloud of sawdust and a loud CHEER from the locals rise up in the bar. BACK AT HIS TABLE, Roland drops the napkin on the table and sits back down with Ajay. In the background, the Tourist's Buddies hurriedly carry their fallen cohort out of the bar. ROLAND Sorry. We were saying? AJAY You broke that idiot's jaw for no reason other than your boredom. Tell the truth, Roland. Are n't you even interested in knowing this expedition's quarry? ROLAND Ajay. Go on up to my ranch, take a look around the trophy room, and tell me what kind of quarry you think could possibly be of any interest to me. Ajay just smiles.","EXT. AFRICAN SAVANNAH - NIGHT The African savannah appears in shades of fluorescent green, seen through night - vision goggles. An ANIMAL YELP comes from the left and the green vista sweeps abruptly toward it. The world blurs momentarily, then comes into focus on a field of long grass. The grass ripples in a complex pattern as animals move stealthily through it. One animal head pops up above the grass for a split - second, teeth bared, a white stripe between its eyes. SARAH HARDING pulls the goggles away from her face. SARAH Hyenas. Ace Face is the striped snout. Sarah is thirty, with a compact, athletic body built for the outdoors. She loos through the goggles again, sweeping ahead of the hyenas to their prey. It's a herd of African buffalo, standing belly - deep in the grass, agitated, bellowing and stamping their feet. Sarah turns to MAKENA, her African assistant. SARAH -LRB- cont'd. -RRB- They'll try to take down a calf. Come on. MAKENA Closer? Sarah scurries up and over a rock face. Makena follows. Closer now, they watch as the hyenas rush the herd, running through it, trying to break it up. MAKENA -LRB- cont'd. -RRB- You know, we could see everything from up on the edge of that cliff. SARAH No way. MAKENA But the view would - SARAH No cliffs. -LRB- into a pocket recorder. -RRB- F1 headed sough, F2 and F5 flanking, twenty yards. F3 center. F6 circling wide east. Ca n't see F7. While she talks, breathless, fascinated by the drama before her, Sarah continues to creep closer and closer to the action. Makena follows, with growing unease. MAKENA Sarah. SARAH F8 circling north. F1 straight through, disrupting. Herd moving, stamping. There's F7. Straight through. F8 angling through from the north. She's practically on top of the animals now. MAKENA Dr. Harding. Makena has a hold of Sarah's sweatshirt and is tugging her back, at least trying to slow down her progress as Sarah, wide - eyed with fascination, creeps even closer. Suddenly there is a tremendous BELLOWING and the grass right in front of them rips apart, trampled under the feet of the hyenas as they cluster around a fallen buffalo calf. They yelp and jump, their muzzles bloody. The adults move aside, making room as the hyena pups come forward, squealing to get at the kill. Sarah's eyes shine with excitement and she moves even closer, whispering into the tape recorder. SARAH Brooding behavior in evidence at the kill site, pups are ushered forward and adults help them eat, pulling flesh away from the carcass and - A telephone rings. Sarah stops in mid - sentence, unsure if she heard what she thought she heard. It rings again, the unmistakable CHIRPING of a cellular phone. Sarah and Makena both move at once, pawing at a backpack. SARAH -LRB- cont'd. -RRB- -LRB- a frantic whisper. -RRB- I thought you turned it off! Two hyenas look inquisitively in the direction of the phone. Sarah comes up with it and jabs at a button in irritation. SARAH -LRB- cont'd. -RRB- Yes?! Someone speaks on the other end. Sarah rolls her eyes. SARAH -LRB- cont'd. -RRB- Ian. This better be important. Sarah does n't say anything for a long moment, just listens as the voice on the other end talks. And talks. SARAH -LRB- cont'd. -RRB- When?","INT. MOBILE FIELD SYSTEMS - DAY Ian Malcolm's leg, badly scarred, is bared and draped over the end of a bench. Two sandbags are fastened to his ankle and MALCOLM is lifting them, painfully rehabbing his injury while talking on a satellite phone. MALCOLM We leave in twenty - four hours. Five member team. Behind them, the SPARKS of a acetylene torch fly as WORKMEN make modifications on several vehicles, including a dark - green Mercedes Benz AAV -LRB- all - activity vehicle -RRB-. The hood of the AAV is up and the V - 6 engine has been pulled out ; a new, smaller engine is lowered in its place. To one side are two long trailers, connected by an accordion - like passageway, like on a subway car, allowing one to be towed behind the other. MALCOLM Eddie Carr's handling all our equipment and he'll be there to maintain it. He's designing special field trailers now, top of the line mobile research units. EDDIE CARR, fortyish, is barking out orders to the Workmen. EDDIE No, no, look at the plans, Henry, you ca n't place that strut laterally, it has to be crosswise, LOOK AT THE PLANS! From the ceiling, a large metal age CRASHES down, landing next to them on the floor with a deafening CLANG. They leap back and look up. A WORKMAN waves from a scaffolding. WORKMAN Sorry, Eddie! Specs say it ca n't deform at 12,000 PSI, we had to test it Eddie bends down to inspect the cage, which is rectangular, constructed of inch - thick titanium - alloy bars. Malcolm hangs up the phone and walks up, joining him. MALCOLM Any damage? EDDIE Minimal. MALCOLM `` Minimal'' is too much. It has to be light, it has to be strong - EDDIE Light and strong, light and strong, sure, why not, it's only impossible. God save me from academics. MALCOLM You are an academic. EDDIE Former academic. Now I actually make things. I do n't just talk. MALCOLM You think I'm all talk, Eddie? EDDIE -LRB- does n't look at him. -RRB- It does n't matter what I think. MALCOLM Is there anything we've forgotten? Anything at all? Behind them, someone CLEARS THEIR THROAT. Eddie and Malcolm turn around. KELLY MALCOLM, an African - American girl around twelve years old, stands in the doorway to the garage, a duffel bag slung over one shoulder. She looks at Malcolm and breaks into a wide grin. KELLY Hi, Dad. MALCOLM Kelly! What are you doing here? She drops the bag on the floor, and wraps her arms around him in a warm embrace. He responds stiffly. KELLY Vacation. I'm all yours. You did n't forget, did you? She pulls back and looks at him. KELLY -LRB- cont'd. -RRB- Did you?","INT. EDDIE'S OFFICE - DAY KELLY is slumped in a chair in Eddie's office next to the construction floor. Outside the glass windows work on the vehicles continues unabated. MALCOLM hangs up the phone. MALCOLM Okay, Karen is expecting you in half an hour. You only have to stay with her one night, she'll put you on a bus in the morning and your mother will be at the station when you get there. KELLY I do n't even know this woman. MALCOLM Well, I do, and she's fantastic. She'll take you to the museum, maybe to a movie if you play your cards right. You're going to have a fantastic time. KELLY Stop saying fantastic. Where are you going? MALCOLM I ca n't tell you. But I'll be back within a week. KELLY My vacation is over in a week. MALCOLM I'll make it up to you this summer. I promise. KELLY I'm your daughter all the time, you know. Not just when it's convenient. MALCOLM Very hurtful. Your mother tell you to say that? KELLY No, Dad. I have thoughts of my own once in a while. From the construction floor, EDDIE calls out. EDDIE -LRB- o.s. -RRB- Dr. Malcolm! Malcolm looks at her, trying to make peace. Quickly. MALCOLM Is that kid still bothering you? KELLY Which one? MALCOLM You know, at the bus stop. With the hair? KELLY That was about a year ago. MALCOLM Well, is he? KELLY No. Richard talked to his parents. MALCOLM That Richard. EDDIE -LRB- o.s. -RRB- Ian, come here a minute! KELLY -LRB- to Malcolm. -RRB- I could come with you. MALCOLM Out of the question. You'd miss the gymnastics trials. You've been training for that for a year. KELLY I do n't care about the trials, I want to be with you. I could be your research assistant, like I was in Austin. MALCOLM This is nothing like Austin. Forget about it. KELLY You like to have kids, you just do n't want to be with them, do you? He looks at her, hurt. Eddie calls out a third time, impatient now. Grateful for the escape, Malcolm gets up and heads for the door. He pauses guiltily. MALCOLM I'm not like you wan me to be. I've what I can be. He leaves.","INT. MAIN FLOOR - DAY While MALCOLM and EDDIE argue over something in the background, KELLY circles around the trailers and looks up at the windows. They're all made of tempered glass, fine wire mesh inside it. She looks around, to see if anybody's watching. They're not, so she quickly slips inside the front trailer.","INT. TRAILER - DAY Inside, the trailer is a miracle of planning and design. It's divided into sections, for different laboratory functions. The main area is a biological lab, with specimen trays, dissecting pans, and microscopes that connect to video monitors. Next to it there's an extensive computer section, a bank of processors, and a communications section. All the lab equipment is miniaturized and built into small tables that slides into the walls. Everything is bolted down. She notices a large map on the wall. Off the coat of Costa Rica, there is an area that has been circled in heavy black ink. Kelly puts a finger on the map, crossing westward, through the Pacific Ocean. Thegre are dozen s of islands out here, but in the highlighted region, there is a semi - circle of five. Matanceros. Muerte. Tacano. Pena. And Sorna. Underneath the whole island chain, there is a bold legend. `` The Five Deaths,'' it says. Slowly, an ocean barge starts to chug its way across the face of the map, leaving a wake that rolls the printed letters of those three ominous words.","EXT. OPEN SEA - DAY The map dissolves slowly away as the barge SPALASEHS through five foot ocean swells in the open sea. The barge is crammed with equipment, the AAV, trailers, a jeep, and the members of Malcolm's team. ON THE BOAT, MALCOLM stands in the bow, riding the choppy seas. Next to him, DR. JUTTSON, fortyish, holds onto the railing, seasick. He SHOUTS over the DRONE of the boat's engines. JUTTISON -LRB- as the waves pound the boat. -RRB- Could n't - we just - airlift - into the - island? MALCOLM Dr. Harding insisted we go by sea! Helicopters are too disruptive. These are n't piles of bones you'll be studying this time, Dr. Juttson, they live, they breathe, and they react! Juttson looks at him skeptically - - and throws up. AT THE BACK OF THE BOAT, NICK VAN OWEN, a good - looking American in his late twenties, is sitting amid a pile of video cameras and other photographic equipment, playing with a Game Bow. SARAH HARDING, dressed in field gear, sits down next to him. SARAH So what's your story, Nick? NICK I was a cameraman for Nightline for six years, been freelance since' 91. Do a lot of work for Greenpeace. SARAH That must be interesting. What drew you there? NICK Women. ` Bout eighty percent female in Greenpeace. SARAH Very noble of you. -LRB- of the noisy Game Boy. -RRB- You do n't think you're bringing that thing onto the island, do you? Nick grins and shuts it off. NICK Hey, I would n't want to spook the woolly mammoths. SARAH You think this is all a joke? NICK Oh, please. How am I supposed to keep a straight face when -. -LRB- gestures to the black - clad Malcolm. -RRB- - Johnny Cash here tells me I'm going to Skull Island? SARAH -LRB- not amused. -RRB- Ian's a very good friend of mine. NICK He does n't need a friend, he needs a shrink. SARAH I believe in him. But her face says even she has her doubts. NICK Come on, there's only one reason any of us are here. His check cleared. She looks at him. SARAH Drop the cynical pose. You ca n't pull it off while playing Donkey Kong. The boat's CAPTAIN, a Costa Rican, points ahead and SHOUTS to them. CAPTAIN There it is! They all turn and look out over the bow. Up ahead, shear, reddish - gray cliffs of volcanic rock rise dramatically out of the fog - heavy ocean. CAPTAIN -LRB- cont'd. -RRB- Isla Sorna! The boat ROARS ahead, plowing into a heavy wreath of fog. The mist swirls and encircles it.","EXT. ISLAND FIORD - DAY A narrow inlet cuts through the steep cliffs, leading to the island interior. The barge bursts through the fog at the mouth of the fiord and heads deeper into the island.","EXT. LAGOON - DAY Lush green plants drip everywhere in this verdant lagoon. Sulfurous yellow steam issues from the ground, bleaching the nearby foliage white. In the distance one can hear the cries of JUNGLE BIRDS. The boat is now beached and the CREW flips the tarps off the AAV, the jeep, and the trailers. The trucks back down a narrow ramp and onto the soft clay shore at the edge of the lagoon. There is a large three - toad animal imprint in the clay at the water's edge, and the AAV backs right over it, swapping its track for the animal's. MALCOLM is at the edge of the water with the CAPTAIN. MALCOLM Be back in three days, but keep the satellite phone on and your radio tuned to the frequency I specified in case we need you sooner. CAPTAIN Do n't worry. I've lived around here all my life, these islands are completely - In the distance, they hear the faint, strange ROAR of a very large animal. The Captain looks at Malcolm, eyes wide. CAPTAIN -LRB- cont'd. -RRB- - safe.","EXT. GRASSY PLAIN - DAY The jeep tows the double trailer to the edge of a grassy plain just beyond the lagoon, overlooking the interior of the island. The noon sun is high overhead ; below, the valley shimmers in midday heat. EDDIE connects a flexible cable to the jeep's power winch and flicks it on. The cable turns slowly in the sunlight. Moving along the length of it, we see the cable leads to a pile of aluminum, some kind of strut assembly painted a camouflage color. As the winch pulls the cable tight, the jumble of thin struts begins to move, slowly rising into the air. The emerging structure climbs, spidery, struts unfolding, fifteen feet into the air. The light house at the top -LRB- the cage that was tested back at Eddie's workshop -RRB- is now just beneath the lowest branches of the nearby trees, which almost conceal it from view. NICK lights a cigarette and carelessly tosses the match on the ground. Malcolm notices. MALCOLM Listen. I know you all have probably concluded that I'm out of my mind. Is it our imagination, or did the trees behind Malcolm just sway slightly? MALCOLM -LRB- cont'd. -RRB- That's all right, for now. But just humor me and be careful. No, it's not our imagination, there they go again. Whole trees shivering and swaying from left to right and back again. MALCOLM -LRB- cont'd. -RRB- Even if you think I'm harmless and deluded, I promise - Now the trees CREAKS and GROAN as they sway. Everyone has seen it, and now Malcolm turns around too. MALCOLM -LRB- cont'd. -RRB- - this place is for real.","INT. DOUBLE TRAILERS - DAY It's quiet inside the trailers that serve as their command post/living quarters. The books are lined up neatly on the shelves. The computers sit, booted up and awaiting data input. All the way in the back, past the spare tires and life preservers and canned food and bottled water, up in one storage bin all the way on top, there's a RUSTLING SOUND. A plastic student ID card pops out in the cracks under the bin's door. A photograph in the lower right hand corner of the card is visible - it's Kelly, Malcolm's twelve - year - old daughter. The card wriggles against the lock and, with a soft CLICK, the door pops open. KELLY herself tumbles out, wrapped in several blankets and carrying a mason jar half full of a yellowish liquid. We can guess. She leaps to her feet, blinks the light out of her eyes, and bolts to the back of the trailer as fast as she possibly can. She races through a narrow door and SLAMS it shut. A sign on the door says `` RESTROOM.'' Inside, a SIGH of relief is heard.","EXT. JUNGLE TRAIL - DAY Along a stream bed, the jungle trees still shiver. NICK loads a three quarter inch tape into his heavy video camera and chews anxiously on a piece of gum. SARAH and DR. JUTTSON are beside him as the group nervously follows the GROANING forest trees to their right. At the rear, EDDIE and MALCOLM walk side by side. Eddie is carrying a heavy silver rifle, an aluminum canister hanging beneath the barrel. He shows it to Malcolm, his voice low and urgent. EDDIE Lindstradt air rifle. Fires a subsonic Fluger impact - delivery dart. He cracks open the cartridge bank, revealing a row of plastic containers filled with straw - colored liquid. Each is tipped with a three inch needle and carries a bright yellow warning tag - `` EXTREME DANGER! LETHAL TOXICITY!'' EDDIE -LRB- cont'd. -RRB- I loaded the enhanced venom of Conus purpurascens, the South Sea cone shell. Most powerful neurotoxin in the world. Acts within a two - thousandth of a second. Faster than the nerve - conduction velocity. The animal's down before it feels the prick of the dart. From their right, the shaking trees seen closer now. By walking down the stream bed, the humans are tracking right along with the animals as they move in the foliage. MALCOLM -LRB- to Eddie. -RRB- Is there an antidote? EDDIE Like if you shoot yourself in the foot? Would n't matter. You'd be dead before you realized you'd accidentally pulled the trigger. Ahead of them, thick foliage blocks the path of the dried up stream bed to the height of about fifteen feet. But around them, the CRASHING sounds get louder and closer, the swaying trees shiver right beside them. Eddie raises the rifle in defense as the trees right at the edge of the stream bed sway and part. Above the foliage, they see the sudden movement - - of a row of STEGOSAUR fins. The spade - shaped fins run along a ridge down the middle of the animal's back, about three feet tall each. The group freezes, amazed, and as the stegosaur continues on, they get a good look at it through a break in the foliage. It's a large dinosaur with a small head, a thick neck, and a huge lumbering body. A double row of plates runs along the crest of its back, and it has a dragging trail with long spikes in it. The gum drops out of Nick's mouth, FLOPS onto his shirt, and sticks there. NICK Oh - JUTTSON - my - EDDIE - God! SARAH It's beautiful! A second stegosaur, a baby about a quarter the size of the first animal, breaks through the foliage, following the adult. While the group is reaching to that, the earth vibrates and a third stego, by far the biggest of the three, walks out of the foliage right behind them, crossing within ten feet. Apparently unconcerned about these little creatures in their environment, the stegos continue on across the stream bed. Sarah raises a still camera and shoots pictures. Her shutter is muted, so that a muffled CLICK is all that's audible. Juttson raises a pocket recorder to his lips and whispers into it breathlessly. JUTTSON Stegosaurus, family Stegosauridae, infraorder Stegosauria, suborder Thyreophora. Length, adult male, estimate twenty - five to thirty feet. His breathy words turn into almost helpless laughter, of all things, as he ca n't contain his astonishment. Eddie covers his mouth, trying to keep him quiet. SARAH -LRB- to Juttsn. -RRB- That was a pair bond! A family group, even, long after that infant was nestbound! JUTTSON I want to see the nesting ground! Nick turns to Malcolm, eyes like saucers, and makes a futile, wordless, boy - was - I - wrong - on - this - one gesture. Malcolm smiles, leans over, and TAPS softly on Nick's video camera. Nick raises it to his shoulder and flicks it on as the group continues on into the bush after the animals. IN THE BUSH, the baby wanders away from the group and ambles over near where Sarah crouches in the bushes. Sarah raises her camera again and silently SNAPS a picture. She WHISPERS to Juttson, who is beside her. SARAH Lone nest - not colonial. I do n't see an egg clutch. She gestures and Juttson peers through a pair of field glasses. JUTTSON -LRB- whispering back. -RRB- The empty shells are crushed and trampled. The young stay in the birth environment, that's conclusive! SARAH Not without a shot of the nest. She sees an opportunity. As the baby heads back to its parents, Sarah scoots right along with it, moving behind it, using its body as a shield to block her from the view of the other two. Nick and Eddie's faces whiten in alarm. Nick reaches out to stop her, but he barely gets hold of the sole of her boot before she pulls away from him and duckwalks out into the clearing. IN THE CLEARING, Sarah slinks along behind the baby stego as it walks back, toward the nest, chewing the branches it carries in its south. She raises up sightly, squeezing off pictures of the herd, ever better as she gets closer. BACK AT THE HILL, the others can only watch her, aghast. NICK She's gutty. MALCOLM She's nuts. IN THE CLEARING, Sarah keeps moving closer. The baby passes a small grouping of rocks and Sarah ducks behind them. She's now in a perfect position to photograph the nest, and she squeezes off picture after picture from this ideal vantage point. She shoots the last picture on the roll - - and the camera's autowinder WHIRS to life. Sarah looks down in horror as the camera's motor WHINES loudly in her hands. Th noise startles the animals. The male turns toward her the plates on its back bristling. Sarah gets to her feet and starts to move away, slowly. The male turns away from her and swings its tail, spikes extended. It WHIZZES through the air, right at her, but Sarah leaps back at the last second - - and the tail's spikes THUD into the dirt where she was. Sarah CRUNCHES to the ground and the three stegosaurs dart away, disappearing into the bush, moving surprisingly quickly for animals their size. The others run to Sarah, help her to her feet, and pull her back, against a massive tree trunk. But the tree trunk lifts right up off the ground. It's no tree, it's a DINOSAUR'S LEG, a massive one, six feet across, God knows how many feet high. The Group gasps and looks up as a MAKENCHIASAURUS, an enormous saurupod over a hundred feet from nose to tail, lumbers away from them. The Group stares in wonder as the mamenchiasaur stops and HONKS furtively, its long neck stretched out above them. Now a second mamenchiasaur neck cranes out of the surrounding forest trees and wraps around the first. The first mamenchiasaur THUNDERS around in a semi - circle, getting into position behind the second. Nick swings his video camera straight up and the group suddenly finds itself in the middle of a mamenchiasaur mating. The mighty tails swing and SNAP around them as the two animals come together, and trees start snapping and falling, CRASHING to the jungle floor. The group panics and bolts for cover toward the only place where the trees are not falling - which is directly underneath the animals! Amid HONKS and BLEATS, the swinging tails continue to deforest the jungle around them. The noise and chaos is deafening, drowning out the LAUGHTER and SCREAMS of the fascinated and terrified group. There is a momentary lull and the group dashes out from underneath the animals, disappearing into the thick forest. A SHORT DISTANCE AWAY, the Group collapses to the ground, breathless, chests heaving with wild, frightened laughter. Sarah goes to Malcolm and throws her arms around him, exhilarated. SARAH Ian, you're not insane! I'm so glad! JUTTSON -LRB- out of breath. -RRB- Dr. Malcolm - the world - owes you an apology.","EXT. JUNGLE TRAIL - DAY Suddenly, the Gathereres are taking their expedition a lot more seriously. They march quickly back to base camp, their energy and excitement palpable. NICK strikes a match and raises it to a cigarette with a shaking hand, but SARAH leans in and blows it out. SARAH No more smoking. We leave no scent of any kind. No hair tonics, no cologne, seal all our food in plastic bags. We will observe and document, but we will not interact. MALCOLM That's a scientific impossibility, you know. Heisenberg uncertainty principle. Whatever you study, you also change. Nick ejects the used videotape from his camera and pulls out a sharpie, to label it. NICK What should I call this? `` Jurassic Pork?'' Eddie, next to him, laughs. SARAH -LRB- still to Malcolm. -RRB- And let's forget about the high hide. We ca n't do this kind of work up in a tower, we need to be out in the field, as close to the animals as possible. JUTTSON I'm not surprised stegosaur lived in a family group, but there's never been anything in the fossil record to prove the carnivores did. SARAH Why would n't they? Look at hyenas, jackals, nearly all species of predator birds - JUTTSON That does n't say a thing about T - rex, they could have been rogues. Robert Burke certainly thinks they were. SARAH We've got to see one to find out. Is there any - MALCOLM No way. NICK Oh, my God. SARAH - way we could safely - NICK Oh, no! He takes off, running as fast as he can, down the trail, toward base camp. They look ahead, in the direction Nick is running. A plume of black smoke is rising up over the trees. EDDIE Fire!","EXT. BASE CAMP - DAY NICK bursts out of the trees and races toward the thick plume of smoke. In the middle of the base camp, someone has neatly built a campfire surrounded by stones. Flames burn in the middle. Nick races over to it and stomps it out as the OTHERS emerge from the trees behind him. MALCOLM A campfire?! Nick grabs a jug of water, but Sarah steps in. SARAH No! Water mixes the smoke billow, use dirt! They start to kick and rake dirt onto the fire with their hands and feet. Eddie and Dr. Juttson jump in and help out. MALCOLM Who the hell started a campfire?! VOICE -LRB- o.s. -RRB- It was just to make lunch. Malcolm turns toward the source of the voice. KELLY stands in the doorway of the trailer, sheepish. KELLY -LRB- cont'd. -RRB- I wanted it ready when you got back. The whole group stares, stunned, none more so than Malcolm himself. MALCOLM Oh. man.","EXT. BASE CAMP - LATER Later, and base camp is a blur of activity. SARAH, JUTTSON, NICK, and EDDIE are hard at work, burying the remains of the fire, sealing their food in plastic bags, loading camera equipment, packing up specimen containers and other information - gathering equipment. MALCOLM, meanwhile, is lecturing Kelly. MALCOLM You know you were putting yourself in a potentially dangerous situation, but you did n't bother to find out how dangerous before you leapt in. You do n't have the faintest idea what's going on on this island! SARAH -LRB- loading a backpack. -RRB- What do you want to do, Ian, lock her up for curiosity? Where do you think she gets it? JUTTSON -LRB- to Nick. -RRB- Do you have chromium tapes? The others fog in high - NICK - humidity, I know. -LRB- waving a tape. -RRB- Highest lead density on the market. EDDIE -LRB- to Malcolm. -RRB- We've got a lot of heavy marching ahead of us. I'm not carrying anybody. KELLY I can keep up. MALCOLM You're going home. I'm sending a radio call for the boats. We'll all go down to the lagoon and wait for them. SARAH Lighten up, Ian, you sound like a high school vice - principal. MALCOLM I'm her father. KELLY Sure, now. Nick leans over and whispers to Eddie, gesturing to Malcolm and Kelly. NICK Do you see any family resemblance here? MALCOLM You ca n't stay, Kelly, that's it. It's too dangerous. SARAH If it's so dangerous, why'd you bring any of us? KELLY You're wrong, Dad. I do know what's going on on this island. MALCOLM How could you possibly? KELLY Because you said so. Maybe nobody else believed you, but I always did. He looks at her, touched. Nick mutters to Eddie again. NICK The kid scores with cheap sentiment. SARAH Ian, if we recall the boat now, we've made two invasive landings in one day. That'll have to go in any paper I write, and it will leave room for people to say our findings were contaminated. You know the academic world as well as I do, once they smell blood in the water, you're dead. Our presence has got to be one hundred percent antiseptic. That means if we bend a blade of grass, we bend it right back the way it - A low sound has been rising while she speaks, and now it comes BOOMING over the jungle around them, a THUNDEROUS racket that shakes the very ground beneath them. Suddenly, three C - 130 military cargo planes THUNDER overhead and ROAR toward the island interior, flying very low. The planes are enormous, fat - assed creatures, their rear cargo doors hanging open. AT A RIDGE, the members of the gatherer expedition hit the dirt and peer over a ledge, watching as the airplanes bank and circle over a specific spot. Eddie raises a pair of field glasses. DOWN BELOW, huge metal equipment containers are shoved out the back of the cargo bays. They SNAP off trees like matchsticks, CRUSH flat anything foolish enough to exist where they want to land. Now MEN pour out the rear of the planes, their low - altitude parachutes billowing open behind them. UP ON THE RIDGE, Nick looks at Sarah. NICK You were saying something about antiseptic?","EXT. HUNTERS' CAMP - DAY Metal container doors CLANG to the ground, jeep engines ROAR to life in a cloud of thick black diesel smoke, blue laser barriers SIZZLE and BURN through foliage as this group of HUNTERS establishes a perimeter around their new camp. PETER LUDLOW, dressed in brand new Banana Republic safari wear, steps into the center of the camp and surveys the surroundings. He turns to DR. ROBERT BURKE, a ragged, pony - tailed man in wire - rimmed glasses. LUDLOW Welcome to your dream come true, Dr. Burke. Burke has a detailed set of satellite recon photographs that he spreads out on the hood of a jeep. BURKE I believe the large herbivores forage in open plains, like bison, which would explain the great variety of heat dots we're reading in the flatlands around this waterhole. Right - here. LUDLOW Then that's where we're going. Burke flips open a manifest that he will carry with him at all times. Inside, there are dozens of sketches of various kinds underneath. As each vehicle ROARS out of the equipment container, Burke slips a waterproof eight by ten card with an icon of the various dinosaurs on the island into a slot in the dashboard. BURKE -LRB- calling them off. -RRB- Hadrosaurus! Carinthosaurus! Maiasaurus! As the procession goes on, Ludlow turns to DIETER STARK, the man we saw welding earlier. LUDLOW This is as good a place as any for base camp. First priority is the laser barriers, I want them all up and running in thirty minutes. Half an hour, understand? Dieter nods and turns to some of the HUNTERS, who number about twenty in all, that are working nearby. But someone steps in front of Dieter, cutting him off. It's ROLAND TEMBO, the hunter from the bar in Mombassa. ROLAND Cancel that, Dieter. LUDLOW What? Why? Roland points to a stream running nearby. ROLAND Carnivores hunt near stream beds. Do you want to set up base camp or an all - you - can - eat people bar? LUDLOW -LRB- thinks. -RRB- You heard his, Dieter. Find a new spot. And remember, we're after herbivores only - no unnecessary risks. Dieter SIGHS and goes to work. Roland puts an arm around Ludlow and pulls him aside. ROLAND Peter, if you want me to run your little camping trip, there are two conditions. First - I'm in charge, and when I'm not around, Dieter is. Your job is to sign the checks, tell us we're doing a good job, and open your case of scotch when we have a good day. Second condition - my fee. You can keep it. All I want in exchange for my services is the right to hunt one of the tyrannosaurs. A male. Buck only. Why and how are my business. If you do n't like either of those conditions, you're on your own. Go ahead and set up your camp right here, or in a swamp, or in the middle of a rex nest, for all I care. But I've been on too many safaris with rich dentists to listen to any more suicidal ideas. Okay? LUDLOW -LRB- what else can he say? -RRB- Okay. ROLAND Good lad.","EXT. JUNGLE The jungle foliage shivers, quakes, and finally falls as the Hunters' convoy ROARS into the hart of the jungle. DIETER STARK stands in the front of the lead vehicle, the `` speedbird,'' waving the convoy forward, his Driver -LRB- CARTER -RRB- at the wheel beside him. LUDLOW is in the back seat of the speedbird next to DR. BURKE. ROLAND and AJAY, his tracker, are in the second jeep. They look up as the brakelights on the speedbird flash and the car stops, forcing the rest of the convoy to halt as well. In the front, the speedbird flashes its lights at something in front of it. Dieter climbs out, plainly irritated. He walks around the front of the car and sees - - four PACHYCEPHALOSAURS eating grass in the middle of the jungle trail. They're about five feet tall, thick, heavy - set animals whose distinctive feature is an enormous skull casing, a tall, impressive crown that rises on the tops of their heads. Dieter does n't seem impressed. He looks back at Ludlow, who look at Dr. Burke. Burke stands up in his seat, a look of wonder on his face. BURKE Pachycephalosaurus! LUDLOW Carnivore? BURKE -LRB- enchanted. -RRB- Huh? No! No, herbivore, late Cretaceous. Very unusual plant eater, see that distinctive domed skull? That's nine inches of solid bone. LUDLOW -LRB- who cares? -RRB- Just get them out of the way, Dieter. DIETER COME ON, MOVE IT! The pachys look up at him sluggishly, still eating, like cows chewing their cuds. As unimpressive with him as he is with them, they go back to their grass. DIETER -LRB- cont'd. -RRB- Oh, for God's - He slings his rifle off his shoulder and aims it at the closest animal. Behind him, Roland has climbed out of the second jeep. ROLAND Dieter. This is a round - up, not a war. Use your powers of persuasion. Dieter gestures to the speedbird to pull ahead, which it does, slowly, toward the animals. The pachys look up, alert, but do not move. Dieter walks toward them. DIETER Come on, come on, do n't have all day! BURKE -LRB- going on to no one in particular. -RRB- See, the pachy's neck attaches at the bottom of its skull instead of the back of its head, as with reptiles. The speedbird draws closer. The first pachy stares at it intently. The lead vehicle gets closer, closer - - and BANGS into the pachy, knocking it back a few feet, out of the way. BURKE -LRB- cont'd. -RRB- So when it lowers its head, its neck lines up directly with its backbone - BEHIND DIETER, Ajay is staring at something on the ground at his feet. He takes a few steps further into the foliage, then turns back toward Roland. AJAY Roland. UP AT THE FRONT, the pachys turn and hop away. Dieter turns and heads back to the speedbird. As he reaches for the door, a VOICE calls `` look out!'' from behind him. Dieter spins around, just in time to see - - the first pachy in full charge. It SLAMS headfirst into the speedbird, SMASHING the headlights and denting the grill. BURKE -LRB- concluding his lecture. -RRB- Which is perfect for absorbing impact. Dieter turns and runs around to the front of the car. The pachy has backed up for another run and is now CHARGING RIGHT AT HIM. Dieter retreats, quickly, and rips open the passenger door to protect himself. SLAM! The pachy clobbers the door, sending Dieter flying against the car, knocking the wind out of him. In the other jeeps, the rest of the HUNTERS stand up or lean out the window for a better look, laughing. POW! The pachy head - butts the tire next to Dieter. It bounces off, tumbles to the ground, and rolls to its feet as Dieter gets to his knees and crawls toward the back of the speedbird. But the pachy is quicker and lunges at Dieter again. He's forced to hit the dirt and crawls quickly underneath the speedbird, just as the animal SLAMS into the rear of the vehicle. Now the other three animals join the jun.. Ludlow and the Driver have to cover their heads as the animals lunge at the car again and again, SMASHING the steel - meshed windows and MANGLING the quarter panels. The rest of the group watches, vastly amused. A FEW STEPS INTO THE JUNGLE, Ajay and Roland are staring at something on the ground - an animal footprint, three - toed, enormous. AJAY It matches the pictures. ROLAND It certainly does. Roland gets up and goes back to his vehicle, ignoring the pachy demolition derby that continues up at the speedbird. Roland opens a case in the back of the jeep, revealing - - his gun. It's an antique elephant gun, a double barreled.600 Nitro Express. Nearly a hundred years old, it's still in immaculate condition, its rosewood stock buttery smooth, bisons delicately engraved along its silver breach. The barrels are twenty - four inches long, topped with an ivory bead foresight at the business end. Roland scoops up the gun, breaks the breach, and pulls two rounds of ammunition from his shirt pocket. Four inches long and three - quarters of an inch in diameter, these are the largest full metal jacket cartridges ever made. He slips one into each barrel and heads back into the bush. Roland pauses before he goes, as if noticing the animals trashing the speedbird for the first time. ROLAND HEY! The pachys all freeze, staring at him. Roland waves one hand, HISSES sharply between his teeth - - and the pachys scatter, back into the jungle. Takes care of that problem. Roland turns and heads back into the jungle, calling out over his shoulder to Ludlow. ROLAND -LRB- cont'd. -RRB- Do n't worry about us. We'll catch up. LUDLOW Where do you think you're going?! ROLAND To collect my fee. And with that he disappears into the foliage. The Driver of the Speedbird drops it into gear and the battered car GROANS forward. As it moves ahead, it reveals DIETER, lying underneath it, ego bruised worse than body. IN THE JUNGLE, Ajay takes a step into the bush, but at a ninety degree angle away from the direction in which the animals tracks lead. ROLAND Ajay. Ajay turns. Roland points in the direction in which the footprints lead. ROLAND -LRB- cont'd. -RRB- I'm no tracker, but even I can read this spoor. AJAY Do you wish to go where the animal has been, or where the animal is? Roland smiles. Ajay sets off in his direction and Roland follows.","EXT. ISLAND RIDGE - DAY Seen from a ridge above them, the hunters' convoy continues to plow through the jungle. But how the hunters themselves are being tracked, followed by the GATHERERS. They scurry along as fast as they can, trying to keep pace with the moving vehicle below. EDDIE Why did n't you tell us about these guys, Ian?! MALCOLM Because I did n't know! I do n't have the faintest idea what they're doing here. NICK -LRB- angry. -RRB- Ruining everything, that's what they're doing. You could choke on the diesel smoke already! SARAH Ian, nothing we observe will be valid if we're trailing along in the wake of an army. Kelly has a pair of binoculars and is studying the vehicles as they move below. KELLY `` InGen.'' What's InGen? MALCOLM Where does it say that? KELLY On the side of that one truck. Malcolm takes the binoculars and stares down there himself. JUTTSON InGen is a genetics corporation, is n't it? NICK -LRB- to Malcolm. -RRB- Is that who we're really working for?! Gene splicers?! MALCOLM No! We're an independently funded expedition. SARAH Funded by whom? MALCOLM John Hammond. JUTTSON But he's the head of InGen! NICK You got ta be kidding. -LRB- to Malcolm. -RRB- You dragged me out of Greenpeace to be a corporate stooge? You could n't get anybody else? KELLY Yeah, what have you done, Dad? SARAH We'd better keep moving, or we'll lose them. The group moves on ahead, but Malcolm lingers, angry, staring through the binoculars. MALCOLM What are you doing to me, John?","EXT. THE CAVES - DAY AJAY and ROLAND make their way through the foliage and come into a small clearing, where a cluster of caves is carved into the rock. Ajay freezes, gesturing ahead, to the cave on the far left. Roland pulls up a handful of grass and releases it on the breeze. It floats back between his legs. That's good. He proceeds toward the cave, carefully, Ajay behind him. They can see nothing beyond the yawning mouth of the cave, only a black interior. Roland pauses, looking down. On the ground to his right he sees the partially eastern leg of a creature. It's old, crawling with white maggots and flies. Roland continues on. Closer to the cave, he now passes the skull of a large animal, some of the flesh and green skin still adhering to the bone. It, too, is covered with flies. Still he continues on. A short rise leads into the cave, and they edge up it. From inside the cave, they can hear an odd SQUEAKING sound, very high - pitched. Crawling now, Roland and Ajay scale a four - foot circular rampart of dried mud, and peer into - - the tyrannosaur nest. It's flattered inside, about ten feet in diameter, completely encircled by earthen walls. A BABY TYRANNOSAUR, about four and a half feet long, is in the center of the nest. It has a large head, very large eyes, and its body is covered with a fluffy red down, which gives it a scraggly appearance. It SQUEAKS repeatedly, tearing awkwardly at the remains of a chunk of animal flesh, biting decisively with tiny, sharp teeth. The cave itself is a foul boneyard. ANIMAL CARCASSES litter the edges, flies BUZZ in the captive air. Roland raises a bandana to his nose to cover the stench. He turns to Ajay and WHISPERS. ROLAND It's the rex nest. Ajay nods. The baby tyrannosaur hears the whisper and looks up, cocking its head in curiosity. AJAY Make a blind here? Wait for the buck to return? ROLAND -LRB- shakes his head no. -RRB- If the nest is upwind, so are we. When he comes back, he'll know we're here before we have a chance. The truck - In the nest below, the baby SQUEAKS angrily at the intruders. ROLAND -LRB- cont'd. -RRB- - is to get him to come where we want him. The baby SQUEAKS again, indignant. Roland turns and looks down at it. Thinking.","EXT. RIDGE - DUSK As the sun glows bright orange on the horizon, NICK raises a pair of binoculars to his eyes and peers down at the vista below the ridge. In the lenses of the binoculars, we can clearly see a mixed herd of midsized herbivores - HARDOSAURS, PACHYCEPHALOSAURS, and CALLIMIMUSES - racing across the plain below. MALCOLM, also staring through binoculars, lies on the ridge beside him. SARAH is several feet behind them, her back pressed against a tree, unwilling to go to the lip of the ridge. THROUGH NICK'S BINOCULARS We see a shaky point of view of the herd running. The binoculars whip to the right - - revealing a jeep chasing the herd Not just one jeep, in fact, but a whole FLEET OF HUNTER PURSUIT VEHICLES! There are two herding jeeps, one motorcycle, as speedier mini - jeep, and, further behind, a container truck and a wrangler's pickup truck. Although there's a great deal of commotion below, up here it's almost eerily silent. ON THE RIDGE, Nick lowers the binoculars, angry. When he raises them again, the sun FLARES off the lens -","EXT. THE PLAIN - DUSK - and when the brilliant flare clears, we're right down in the middle of the roundup. Engines ROAR, wheels spin and dig in the dirt, men SHOUT and radios SQUAWK as the hunter vehicles pursue the fleeting herd they're flushed. The HUNTER SHOUT and SHRIEK with glee, incredulous and thrilled by the spectacular animals they're pursuing. HUNTER LOOK AT THESE THINGS! HUNTER 2 THEY'RE BEAUTIFUL, MAN, THEY'RE BEAUTIFUL! One of the pursuit vehicles -LRB- a `` snagger'' -RRB-, pulls ahead of the others. DIETER STARK stands in the passenger seat, holding a long pole with a noose dangling from the end of it. He swings the pole out over the side of the jeep and SHOUTS to the driver. DIETER FASTER! The Driver hits the gas and the snagger leaps forward, gaining on the herd. Aware of the danger behind them, the herd veers to the right, toward the cover of thick jungle - - but the motorcycle ROARS in from the right side, cutting them off, herding them back out into the open. BACK IN THE CONTAINER TRUCK, PETER LUDLOW stands in a `` conning tower,'' a command post in the heaviest pursuit vehicle. He BARKS into a walkie - talkie. LUDLOW Alive, Dieter, and uninjured! BACK ON THE SNAGGER, the Driver can barely keep up with the twists and feints thrown by the herd ahead of him. Dieter CURSES and throws the lasso pole into the back of the jeep. Ludlow's voice continues over the radio in Dieter's jeep. LUDLOW -LRB- o.s. -RRB- Those are very expensive animals! Can you hear me?! DIETER -LRB- to the Driver. -RRB- Turn that off! The Driver SNAPS off the radio as Dieter grabs a long - barreled rifle from the back of the vehicle. THE MOTORCYCLE guns it again, forcing the herd back into the middle of the plain. From the trees to the left, two heads on enormous necks rise up in alarm. Two APATOSAURS are startled from the bush and lumber out across the middle of the plain. The herd does n't even break stride, but keeps running, scampering after the giants and stampeding right between their massive legs. One smaller pachycephalosaur bolts loose, but the motorcycle cuts it off and herds it back into the middle, which now takes the motorcycle right through the rising and falling legs of the apotosaurs. The bike chases the pachy out the other side, and as the apatosaurs disappear into the distance, the cycle isolates the juvenile. Another truck, a `` scissor rig,'' spots the isolated animal. High in the back of the truck, a HUNTER mans a tranquilizer cannon, drawing a bead on the pachy as the cycle runs it down. He FIRES and the tranquilizer dart hits the animal in the neck. Its pace slows and another HUNTER from the truck tosses a lasso around its neck. They crank a winch, reeling in the animal. As the truck gain on it, two six - foot padded arms with what look like heavy airbags on the insides open up on the front of the truck. As the animal is pulled in, the scissors close with a hydraulic WHIR, trapping the animal between its airbags. Now a pick - up rig ROARS up and drops its back gate. The scissor rig rolls forward, depositing the squirming pachy in this dino - contaiment vehicle. Two HUNTERS throw levers on the side of the scissor bars and the scissor rig backs away, leaving the animal, still pinched between the bars, imprisoned in the back of the pick - up rig. The Hunters quickly fit new scissor bars onto the scissor rig and it takes off, back into the hunt. BACK ON THE SNAGGER, Dieter, rifle in hand, drops down into the passenger seat, whips a harness over himself and CLICKS it into place. He jabs his thumb into a flashing red button in the dashboard. Immediately, a motor underneath the seat HUMS to life and the seat itself telescopes, extending a good four feet out to Dieter raises the gun, picks a CARINTHOSAUR, a red - crested herbivore, from the rear of the fleeting herd, and takes aim. BANG! The carinthosaur staggers as a tranquilizer dart sticks in its left hindquarter. UP ON THE RIDGE, there is utter quiet. Nick and the others stare wordlessly at the spectacle below. DOWN ON THE PLAIN, the snagger SHUDDERS to a halt in the dirt, kicking up a huge cloud of dust and dirt. The motorcycle spins to a stop beside it, its DRIVER pushing his mask up to reveal his sweat and dirt - streaked face. The wrangler truck backs up and drops its rear door, which CLANGS heavily to the ground. FOUR WRANGLERS carrying wire noose poles and chains race down the ramp and out of the truck. Dieter jumps off the snagger. He puts down his tranquilizer gun, picks up a long steel rod, and walks forward slowly. Ahead of him, the carinthosaur is still on its feet. The sedated animal staggers, fighting to retain its balance while it is surrounded by the wary Wranglers. DIETER Easy - easy - not too close! Full extension! The Wranglers adjust their poles, extending them another three feet, which allows them to stay further from the reeling, ten foot tall animal. DIETER -LRB- cont'd. -RRB- Now! Almost as one, the Wranglers flip their noose over the stunned animal's neck. It thrashes, but the Wranglers hold their poles tightly, surrounding and immobilizing it. UP ON THE RIDGE, Nick turns away. He ca n't watch. DOWN ON THE PLAIN, a bolero - type device, a rope with a round weight at either end, whips around the carinthosaur's legs. The animal THUDS to the dirt with a SNORT of a defeat. Ludlow steps up next to Dieter and both of them stare down at the helpless animal. Ludlow's breathing heavily, eyes glowing. The animal is still thrashing, pumping its legs crazily. Dieter turns a knob on the side of the steel rod he's holding and thrusts it into the defenseless animal's neck. A blue arc of electricity CRACKS and dances over the carinthosaur's body. The animal convulses in pain, a horrible, high - pitched SQUEALING rips the air. DR. BURKE, their paleontologist, hurries forward with a syringe. He draws a certain amount of tranquilizer from a bottle and injects it into the animal's thigh. CARTER, Dieter's Driver, steps up with a can of spray paint and quickly tags the animal with an ID number in day - glo orange. Dieter pulls the card with an icon of a carinthosaur from the dashboard of the jeep and marks a black X over the drawing of the animal. DIETER Next case.","EXT. RIDGE - NIGHT Night has fallen over the island. The hunters have established base camp in an area they have trampled and cleared just below the ridge. Blue laser fences encircle the perimeter. Inside, half a dozen tents are set up around a central campfire. The vehicles are all parked at one end, away from the tents. At the other end, there is a row of at least a dozen `` capture containers,'' cages that hold the imprisoned dinosaurs they have already rounded up. SARAH, MALCOLM, and NICK stand at the edge of the ridge above, looking down at the scene. Sarah stands a bit further back from the others, not wanting to get too close to the edge. VOICES waft up to them, raucous, LAUGHING, some even SINGING. DR. JUTTSON has a pair of night - vision binoculars trained on the cages. JUTTSON Carinthosaurus - compsognathus - triceratops - pachycephalosaurus - or small scavengers only. Malcolm, also with binoculars, furrows his brow, seeing something below. THROUGH MALCOLM'S BINOCULARS, he sees PETER LUDLOW, standing in the middle of the camp, pointing, giving orders. ON THE RIDGE, Malcolm drops the binoculars. MALCOLM Ludlow. That's why Hammond was in such a hurry for me to get here. He knew they were coming. He gives the binoculars to Sarah, who moves forward gingerly. MALCOLM -LRB- cont'd. -RRB- You okay? SARAH -LRB- irritated. -RRB- Heights, I ca n't help it. Put your arm here, will you? She puts his arm around her waits, to steady her while she is close to the cliff edge. JUTTSON What do they want? MALCOLM They want their money back. To InGen, this island is nothing more than a bed investment. JUTTSON We should get back to base camp. Eddie's waiting for us. MALCOLM I ca n't believe Peter Ludlow's running all this. SARAH He is n't. Check out the guy walking past the fire. She hands the binoculars to Malcolm. THROUGH THE BINOCULARS, Malcolm sees ROLAND, who's walking with AJAY, weapons and equipment slung over their shoulders. SARAH -LRB- o.s. -RRB- I've seen him before. In Brazil. He and that guy with him were spearhunting jaguars. Said it was immoral to go after them any other way. He's not just a hunter, he's a philosopher. Kind of guy who beats you up with your own argument. BACK ON THE RIDGE, SARAH -LRB- cont'd. -RRB- He's the one in charge. MALCOLM Well, if that's true - the man in charge just left camp. Nick, who has been quietly fuming next to them, now steps forward. NICK Then this is our chance. MALCOLM Our chance to do what? NICK I do n't know these guys, but I know'em. I've seen'em on Japanese whalers, French barges trying to dump barrels of nuclear waste in the North Atlantic. They're all the same. They spray us with water cannon when we try to stop'em, sink our boats, and then call us crazy. He rummages through his pack, coming up with various tools. A hunting knife. A bolt cutter. NICK -LRB- cont'd. -RRB- Nobody has to come with me. I've done this before. SARAH Why, Nick. You are a tree - hugger. He looks at her, hurt. NICK There' no reason for name calling. MALCOLM Dr. Juttson, please take Kelly back to camp right away. Leave the other car for us and we'll meet you there in an hour or so. KELLY What are you guys gon na do? MALCOLM -LRB- signs. -RRB- Exactly what John Hammond wanted us to do.","INT. TENT - HUNTER'S CAMP - NIGHT In the hunters' supply tent, a case of twelve - year - old scotch sits open amid crate after crate of weapons and ammunition. PETER LUDLOW reaches in and pulls a bottle out.","EXT. JUNGLE - NIGHT In the jungle, LUDLOW approaches a small clearing. ROLAND is bent over a small stake in the ground, chaining something to it. As Ludlow approaches and walks around him, he sees what protest. Roland looks up. ROLAND Offering a little incentive. Ludlow laughs and shakes his head. He takes a drink and offers Roland one. Roland accepts. Ludlow notices Roland's gun leaning against a tree. LUDLOW What kind of gun is that? ROLAND My father's.600 Nitro Express. Made in 1904. Karimojo Bell gave it to him after he took down his last elephant. 8700 foot pound striking force. LUDLOW How close do you have to be? ROLAND Forty yards. Less, maybe. I assume it'll take a slug in the brain case to bring him down. LUDLOW Why not just use a scope and a poison dart and snipe him from a hill? Roland just looks at him. ROLAND Or a laser beam from a satellite? Ludlow leans down, close to the baby rex, and examines it while it thrashes on its chain. Its mouth has been bound shut with a leather strap. LUDLOW You rally think this'll draw the parent? ROLAND I once saw a bull elephant die charging a jeep. All the jeep had done was startle the bull's calves. I saw a lioness carry wounded prey four and a half miles, all the way back to its den, just to teach its cubs how to finish off a kill. LUDLOW Killing lessons? Heartwarming. ROLAND Rex wo n't be any different. It'll come. LUDLOW You're kidding yourself. An adult T - rex cares about one thing - filling its own belly. It acts the way people wish they could, that's why everyone's fascinated by it. If people had the chance to see one dinosaur and one only, ninety - nine percent would - He stops, an idea on his face. LUDLOW -LRB- cont'd. -RRB- Wait. Why not? Sedatives. growth inhibitors. ROLAND What? LUDLOW I had n't planned on bringing carnivores back because of the liability risk, but I only thought of adults, it never occurred to me -. -LRB- close to the animal. -RRB- You are a billion dollar idea, my little f - CRACK! The tyrannosaur, even with its jaws clamped shut, lunges at Ludlow's face, head - butting him right across the bridge of the nose. Ludlow staggers back, WAITING in pain, clutching his bleeding face. Roland laughs. Ludlow, like an enraged child, snatches up Roland's gun and brings the butt down viciously on the rex's leg. The bone breaks with a dry SNAP and the animal HOWLS in pain. Roland lunges and throws Ludlow to the ground, but the damage is done. ROLAND What the hell you do that for?! As his pain eases, Ludlow feels a bit foolish, but he attempts to cover. LUDLOW Had to. To keep him still for the trip. ROLAND You've broken its leg! LUDLOW We've got to transport it seven thousand miles. Would you prefer it bit off the leg of a crew member? He gets up, brushes himself off, and heads back to the camp, trying to salvage his dignity. Roland watches him go.","EXT. EDGE OF HUNTERS' CAMP - NIGHT At the edge of the hunters' camp, NICK, SARAH, and MALCOLM scramble down a hillside and stop at the edge of the laser barriers. There are three beams, each about two feet apart, the tallest almost six feet off the ground. Nick reaches the edge and crouches. Sarah, helped by Malcolm, steps up onto his back and jumps over the top, landing with a CRUNCH. Nick is next, given a boost by Malcolm, who is then left alone on the other side. He backs up a few steps, jogs right at the lasers, then springs off his good leg - - and does the Fosburry Flop right over the top. He lands with a THUD, to the silent admiration of the other two. FURTHER IN THE CAMP, the three of them creep along, hiding behind a stack of fuel barrels. They lean around the edge for a look. They're directly behind the row of vehicle. They move, into the open, covering the ground between them and the jeeps. Reaching them, Nick hits the dirt and wriggles under the first one. Malcolm and Sarah stand lookout. UNDER THE JEEP, Nick pulls the bolt cutter from his back pocket. He squirms along until he finds the jeep's fuel line - - and he snips it. He ducks out of the way just as the stream of fuel begins to pour into the dirt. MALCOLM AND SARAH move slowly down the line, standing watch as Nick crawls out from under the first jeep and proceeds to the second. They hear another SNIP, then keep moving, to cover him as he moves to the third. From in the distance, Malcolm hears a sound, a faint, high - pitched SCREECHING. He turns and looks to that direction.","EXT. JUNGLE CLEARING - NIGHT It's the baby T - rex, still SCREENING. Up in a nearby tree, ROLAND and AJAY have spread some broken branches crosswise to form a high hide of their own about ten feet off the ground. They wait. Roland raises his binoculars. The light of the camp spills all the way out here, illuminating some of the jungle. He scans it, searching for any sign of movement.","EXT. HUNTERS' CAMP - NIGHT Back in the camp, Sarah, Malcolm, and Nick have finished with all of the vehicles except the badly battered one, which is parked some distance away, undergoing repairs. The motor pool area is now a soggy lake of spilled gasoline. The saboteurs walk casually across the camp, unnoticed in the drunken revelry. They pass several tents, the shadows of the partiers visible as they move inside. They continue across the camp and arrive at the other side - - to face the caged animals. The carinthosaur that was tranquilized earlier stands there dully, eyes heavy and glassy, still under the effects. They pass a stegosaur, its row of fine bristling. And finally they reach the largest cage, which houses a triceratops the size of a pickup truck, Nick pulls out his trusty bolt cutters. He looks at them, a glint in his eye. NICK Hang on. We may encounter some turbulence.","INT. HUNTERS' CAMP - NIGHT In one of the hunter tents, PETER LUDLOW leans over the satellite recon pictures of the island, planning the next day's assault with DIETER and DR. BURKE, their paleontologist. There are small wooden dinosaur models scattered around the photos, indicating where certain species can be found. BURKE If you're really interested in infants, we'll have better luck at the seaside, because the sands offer a cushioning surface where the egg clutches can - can - He trails off. A low RUMBLING sound can be heard outside, and the little wooden dinosaurs start shaking on the board. They look at each other. The RUMBLING gets louder. Outside, someone SHOUTS ; on the board, the little dinosaurs start hopping and bouncing from the vibrations, the SHOUTS outside turn to SCREAMS, they turn and look at the back of the tent - - and the triceratops bursts right through the canvas!","EXT. CAMP - NIGHT HUNTERS go flying as the tent - covered triceratops, its horns tearing through the canvas, RUMBLES across the camp. Men SHOUT in alarm, the triceratops BELLOWS in anger and confusion, chaos reigns. In the crush of PEOPLE running every which way, MALCOLM and SARAH are swept off in one direction while NICK is buffeted in another. They SHOUT, but can not be heard over the frey. The triceratops, blinded by the canvas shroud, stomps right through the fire in the middle of the camp AND THE TENT BURSTS INTO FLAME. Now really upset, the animal panics and lashes out in all directions, blasting through tents, demolishing and/or setting ablaze anything that gets in its way. Its considerable hindquarters SLAM into a parked jeep, sending it rolling across the camp. The jeep flattens the largest tent and SLAMS down on its side. Its broken gas line SPRAYS gas over the ground, the gas hits one of the dozens of small blazes the triceratops has left in its wake, and the flame shoots up the ribbon of gas. The jeep explodes. OUT IN THE JUNGLE CLEARING, Roland and Ajay, up in the tree, leap to their feet as a fireball rises up from the camp in the distance. ROLAND What in God's -! BACK IN THE CAMP, the rest of the newly - freed animals now storm through the camp. The blue laser barriers bounce crazily and go out as the sending units are trampled underfoot by the fleeing animals. AT THE RIDGE OF CAMP, Nick takes advantage of the downed lasers to slip part the bordere of the camp and disappear into the jungle in one direction, while Malcolm and Sarah vanish in the other. The burning tent, which was the equipment tent, now detonates in a series of smaller EXPLOSIONS. Dieter and several others are knocked to the ground by the series of concessive blasts. He drags himself up onto all fours, charred and bruised. A burning tire rolls slowly past him, spinning to a stop - - at ROLAND's feet. Dieter looks up at him. ROLAND Last time I leave you in charge. OUT IN THE JUNGLE, Nick breaks out into the jungle clearing, the same one where Ajay and Roland had their blind. He sees the baby tyrannosaur chained to the stake. NICK Sick bastards. He goes to the animal, which now BLEATS in pain, its broken leg hanging at an odd angle. With one strong tug, Nick pulls the stake out of the ground. BACK IN THE CAMP, Roland surveys the destruction. The fire has spread and several tents are now tongues of flame flapping in the air, the animals are gone or going, and their personnel are scattered and terrified. PETER LUDLOW, breathless, face smeared with dirt, and smoke, staggers up to Roland. LUDLOW What in Christ's name is going on?! ROLAND Is n't it obvious? He holds up the sniped padlock from one of the animal cages. NICK -LRB- cont'd. -RRB- We're not alone on this island.","EXT. JUNGLE - NIGHT MALCOLM and SARAH race back up onto the ridge trail, where the green AAV is parked. NICK bursts around from the other side of the car. SARAH Nick, thank God, we did n't know if - Malcolm opens the rear door. NICK Wait, do n't - With a piercing SHRIEK, the BABY TYRANNOSAUR, now in the back of the AAV, flings itself at the open doorway, jaws SNAPPING just short of Malcolm's nose. MALCOLM HOLY SHIT! He SLAMS the door. DOWN IN THE HUNTERS' CAMP, Roland hears the commotion up on the ridge and looks up. ROLAND Do we have anyone up there? BACK UP ON THE RIDGE, Malcolm is confronting Nick. MALCOLM NICK It has a broken leg! MALCOLM So do it a favor and put it out of its misery! NICK No! Get in the car before they hear us! He runs around and leaps in the driver's seat. Sarah slips into the passenger seat, quickly, leaving Malcolm no choice but the rear.","EXT. JUNGLE - NIGHT The AAV SLAPS through the jungle foliage. From inside the car, we can hear the baby tyrannosaur SCREAMING in anger.","INT. AAV - NIGHT The baby writhes on the base seat next to Malcolm, who has flattened himself against the door, as far away from the animal as possible. SARAH Ian, close the window, it's going to wake every predator in the jungle! Malcolm leans over the enraged animal and cranks up its window. The tyrannosaur SLASHES with one of its powerful hind legs, ripping the flesh of his forearm. He SHOUTS in pain. Outside, the listening jungle whizzes by.","EXT. HIGH HIDE - NIGHT Up in the high hide, EDDIE, DR. JUTTSON, and KELLY are standing watch, scanning the jungle for any sign of their returning comrades. Juttson yanks the night - vision binoculars away from his face as he spots the AAV, pulling up to the base camp a couple hundred yards away. JUTTSON There they are! They all turn and look, but Eddie furrows his brow, watching them pull the wounded animal from the back seat. EDDIE What is that they have with them?","EXT. CAMP - NIGHT SARAH and NICK carry the SCREECHING baby tyrannosaur in their arms, headed for the trailer. MALCOLM, holding his bleeding arm, is n't far behind.","INT. TRAILER - NIGHT SARAH and NICK bring the SCREAMING infant to the metal dining table and hold it down. MALCOLM is right behind them. MALCOLM This is exceedingly unwise. Sarah turns away from a drawer of medical supplies, holding a small syringe. Her shirt is streaked with blood from the baby's injured leg. SARAH Too late to worry about that! Hold him together, Nick! Nick tightens his grip on the animal and Sarah makes an injection into its thigh, over its loudly voiced objections. MALCOLM Just do whatever you have to do and get it out of here as quickly as possible. Sarah picks up a small ultrasound transducer and runs it over the animal's leg. A green and white skeletal image appears on a monitor next to the table. SARAH Okay, there's the metatarsals - tibia, fibula - there it is! See it? That's a fracture, just above the epiphysis. They peer closely at the monitor. NICK That little black line? SARAH That little black line means death for this infant. The fibula wo n't heal straight, so the ankle joint ca n't pivot when he stands on his hind feet. The baby wo n't be able to run, and probably ca n't even walk. It'll be crippled, and a predator will pick it off before it gets more than a few weeks old. MALCOLM Can you set up? SARAH -LRB- thinking. -RRB- It has to be temporary, something that'll break apart and fall off as the animal grows. MALCOLM Think fast, Sarah. The tyrannosaur, still in pain, SHRIEKS again.","EXT. HIGH HIDE - NIGHT Through their binoculars, the rest of the group watches the trailer carefully. Even inside, the animal's SCREECHES are clearly audible. Kelly is getting scared. KELLY What are they doing? Why do n't they hurry?! EDDIE Give me the radio. From the trailer, the baby lets out a long, plaintive SHRIEK - One by one, Eddie, Kelly, and Juttson turn around and stare into the night jungle.","INT. TRAILER - NIGHT NICK holds the animal while SARAH fits an aluminum foil cuff around its injured leg and paints it with a coating of resin. MALCOLM, at the window, stares out anxiously. The animal thrashes again. NICK Give it more morphine! SARAH We'll kill it with too much, we'll put it into respiratory arrest! I'm almost done. Damn it, I need another adhesive, something pliable I can - Her eyes fall on Nick. She holds out her hand, urgently. SARAH -LRB- cont'd. -RRB- Spit! He spits his bubblegum into the palm of her hand. The baby rex CRIES OUT again.","EXT. HIGH HIDE - NIGHT From the swaying jungle, there is another answering ROAR. And this one's closer. In the high hide, the rest of the group stares, trembling. In the distance, a flock of birds SHRIEKS and takes flight as the tops of some trees move, a whole section of forest suddenly coming alive, as if brushed by wind. But it's not the wind. They hear noises, THUDS in the jungle. And then another section of forest trembles. Closer. Another flock of birds bursts out of the treetops and swarms past the high hide. KELLY What is it? Dr. Juttson puts an arm around Kelly, instinctively pulling her closer to him. Eddie WHISPERS urgently into the walkie - talkie. EDDIE Sarah, come in! JUTTSON It's moving. Fast.","INT. TRAILER - NIGHT There is a radio box mounted on the far wall of the trailer. The speaker BUZZES urgently with Eddie's VOICE. EDDIE -LRB- o.s. -RRB- Sarah, Malcolm, can you hear me?! On the table, Sarah is frantically molding Nick's bubblegum into place on the makeshift splint. But the baby rex, regaining its strength, is thrashing again. SARAH Hold it down, Nick! NICK I'm trying! EDDIE -LRB- o.s. -RRB- -LRB- from the radio. -RRB- Is anybody there?! Malcolm moves to answer the radio, but Sarah SHOUTS to him. SARAH Ian, get the bottle of amoxicillin and fill a syringe! Quick injection of antibiotics and I can get it out of here! Forsaking the radio, Malcolm moves to the medicine drawer and comes up with what she wants. Working fast, he draws twenty cc's of the pink liquid. EDDIE -LRB- o.s. -RRB- -LRB- still from the radio, now desperate. -RRB- SARAH OR IAN, ANSWER ME! They ignore him as Sarah grabs the syringe and makes the injection. EDDIE -LRB- o.s. -RRB- WHATEVER YOU BROUGHT INTO THE TRAILER, GET IT OUT NOW!","EXT. HIGH HIDE - NIGHT Eddie has given up on whispering as he clutches the radio desperately. EDDIE WE ESTIMATE TWO LARGE ADULTS HEADED IN YOUR DIRECTION! I REPEAT -","INT. TRAILER - NIGHT Nick, Sarah, and Malcolm spin around at hearing that terrible piece of information. MALCOLM Oh, Christ. He bolts over to the wall speaker and hits the button. MALCOLM -LRB- cont'd. -RRB- Let me talk to Kelly, is she - A deafening ROAR sound from just outside the trailer, followed immediately by a CRASHING sound. They whirl and look to the window, just in time to see - - the AAV tumbling by, rolling on its side! There is another ROAR, and the baby, on the table, ROARS in response. Outside the window, the head of a full - grown TYRANNOSAURUS REX lowers and peers inside. Malcolm, Sarah, and Nick all freeze in absolute terror. The rex outside GURGLES, making material cooing noises. The baby rex, calm for the first time, GURGLES back. But across the trailer, in the opposite window, ANOTHER T - REX HEAD SUDDENLY APPEARS. This one ROARS, deeply, a roar so low and loud it rattles anything in the trailer that is n't tied down. NICK What do they want?! MALCOLM What do you think they want?! SARAH That's impossible, they ca n't have the sensory equipment to track it all the way here! MALCOLM Current evidence seems to be to the contrary, would n't you say?! GIVE IT TO THEM! Nick, hands shaking, grabs the shoulder video camera he used earlier. He whips out the cassette that's in there, hurls it into an open duffel bag with half a dozen others, SLAMS a fresh cassette in, and flicks the `` ON'' switch. Sarah and Malcolm, meanwhile, hurry to the other end of the trailer, carrying the baby rex. Outside, the two adult rexes stay with them, walking in the same direction, watching them through the window.","EXT. TRAILER - NIGHT Seen from outside, the light inside the trailers clearly illuminates Sarah and Malcolm as they carry the bay rex. The adult rexes tower over the trailer, twice as tall and nearly as long. They walk slowly alongside it, hunched over, watching their infant.","INT. TRAILER - NIGHT At the door to the trailer, Sarah un - muzzles the frantic baby. SARAH Ready? Malcolm reaches for the door handle. NICK Wait! He dives down on the floor under them, pointing the video camera up at the door, getting the best shot. Malcolm takes a breath, turns the knob, and throws open the door. Outside, the enormous rex heads pause for a moment, staring, surprised. Although terrified, Sarah actually starts to sing. SARAH -LRB- softly. -RRB- Born free, as free as the wind blows. As free as the grass grows - MALCOLM Are you insane?! SARAH I swear to God, it works with lions sometimes! There we are - your baby is free - The baby, excited, wriggles free of them and lands on the ground outside. Not wasting a second, Malcolm SLAMS the door shut. The three of them freeze, not daring to breath. Outside, they can hear the SNUFFLING and COOING of the animals as they inspect their young - - and then the soft THUD of their footsteps, growing fainter as they move away. From the wall, EDDIE'S VOICE comes over the radio, relieved. EDDIE They're going back into the jungle.","EXT. HIGH HIDE - NIGHT EDDIE, JUTTSON, and KELLY sag back against the railings of the high hide. EDDIE Thank God. Thank God. MALCOLM'S VOICE comes over the radio. MALCOLM -LRB- o.s. -RRB- Kelly? Are you all right? She takes the radio, her voice shaky. KELLY Uh huh.","INT. TRAILER - NIGHT MALCOLM is at the radio. MALCOLM Wait there. I'll come up in a minute. Do n't move, understand? KELLY -LRB- o.s. -RRB- I understand. Malcolm slump against the wall of the trailer. SARAH and NICK sit on the floor leaning against the opposite wall, completely drained. Sarah pulls out her pocket recorder and speaks shakily into it. SARAH Note to Dr. Juttson - Tyrannosaurus rex does nurture its young. They laugh weakly. NICK There's, uh - there's an unwritten rule when a news crew is in a war zone. You stop the van every two miles and decide whether or not to go on. Whether or not you feel lucky. One `` no'' from anybody in the group and you turn around right there, no question asked, nobody embarrassed. -LRB- pause. -RRB- Well? Do we go on? Immediately : SARAH No. MALCOLM No. NICK No way. They all laugh. MALCOLM All right. I'm satisfied with the evidence we have right now. I feel vindicated. John Hammond will too. -LRB- to Sarah. -RRB- Do you have enough to publish? SARAH They will come after me. But I can collect some stool samples, for DNA with that, Nick's tapes, and the rest of you to back me up, it should stand when we get back. MALCOLM -LRB- getting up. -RRB- Then the only thing left to do is make sure we do get back. I'll call the mainland on the satellite phone and have them send the boat right now. This expedition is over. He goes to the desk and picks up the heavy gray satellite phone that's resting in a battery pack. The front panel lights up, a brilliant green. But from the wall speaker, the radio CRACKLES and EDDIE'S VOICE breaks through, soft and empty. EDDIE -LRB- o.s. -RRB- Oh, God. I am so sorry. Malcolm and Sarah look at the speaker box. MALCOLM What the hell is he sorry f - A low RATTLE sneaks into the trailer. Malcolm, Sarah, and Nick takes a step forward from the walls, looking around. The RATTLE gets louder, the trailer shakes and vibrates, everything in it starts to BANG against the walls - - and something huge SMASHES into the side of the trailer. They're all thrown against the far wall, there is an earsplitting CRACK of electricity, the entire trailer rocks and sparks a brilliant blue, and then everything goes black. The satellite phone flies out of Malcolm's hands and SMACKS against the wall. It lands on the floor, its number pad still glowing green. Nick crawls over and looks out one of the windows. Outside, the flank of one of the tyrannosaurs wipes past the window, revealing the second tyrannosaur, charging straight at the trailer! NICK HANG ON TO SOMETHING! They hurl themselves at the nearest solid object and hang on for dear life. The charging rex SLAM into the side of the trailer, which rocks up on one side, BANGS back down, and is quickly RAMMED again by the furious animal. This time the entire trailer rolls over, completely upside down. Sarah, Nick, and Malcolm let go of their precarious handholds and drop onto the ceiling. The tables, chairs, lab equipment, everything that's bolted down clings to the floor above them ; everything that is n't RAINS DOWN ON THEM. But the rexes are n't done. The trailer JOLTS INTO MOTION, sliding forwards. SEEN FROM OUTSIDE, the upside down trailer, which is the rear of the two trailers, slides along the muddy ground, pushing up earth in front of it. IN THE TRAILER, SARAH They're pushing us! Malcolm, frantic, crawls up to a window to get a look outside. He looks down and sees a T - rex footprint in the earth outside as they move past it. He cranks his head to get a look at the direction in which they are being pushed. His eyes widen at something he sees outside the window. MALCOLM Oh, God. SARAH What?! MALCOLM They're pushing us over the cliff. Sure enough, out the back window, we see a few more feet of muddy earth, and then nothing but inky black. The three of them look at each other for a moment - - and then crawl like hell toward the other end of the trailer. The opposite end reaches the edge of the cliff and starts up to tip ever - so - slightly downward. They reach the accordion - like connector and Malcolm crawls into it. THROUGH THE WINDSHIELD OF THE FRONT TRAILER, which is right - side - up, Malcolm can see the two rexes hard at it, pushing the front end of the trailer. IN THE REAR TRAILER, Nick has a pretty good grip at the top of the trailer, but Sarah can only cling to an air vent in the ceiling as stuff starts to roll and tumble past her, headed downhill. The angle increases, the trailer dips, and now stuff starts to freefall, right past her, some SMASHING her in the head. Malcolm, still in the connecting tube, grabs hold. Sarah, starting to be pulled downward, paws at the refrigerator, getting a g rip on the handle. The door, held by a safety latch, does n't open. Below Sarah, debris falls to the rear window of the trailer. Through the CRACKING glass, we can see the surf, CRASHING five hundred feet below. The refrigerator bolts suddenly CRUNCH free of the wall. The box strains on its power cord. Still clinging to the handle, Sarah swings wildly as it starts to come loose, swaying above her. The safety latch on the door gives, it swings open, and a shower of food BANGS off of her as gravity empties the contents. Sarah loses her grip and plummets through the now - vertical trailer. She SCREAMS, covers her head, and SMASHES into the rear window. The glass spiderwebs, but does not break. FIVE HUNDRED FEET BELOW, an enormous wave POUNDS the rocky shore. Above, Sarah is a tiny figure, sprawled out on the glass, held invisibly by the breaking window. IN THE TRAILER, Nick SHOUTS to her. NICK SARAH! DO N'T MOVE! Sarah, stunned by the fall, blinks a few times, regaining her senses. She looks down, at the crashing surf so far below. For a person with a fear of heights, this is a real drag. As she stares, the rocks seem to move even farther away from her. She blanches ; the world spins around her. SARAH OH. GOD. please. Her breath fogs the cracked glass. Slowly, she tries to get up, caaaaaarefully pulling herself up to her hands and knees. But as she puts pressures on her hands, the glass CRACKS even more, tiny spiderwebs shooting out around her fingers. The whole glass panel sags, bowing out around the bottom of the trailer. UP ABOVE HER, Malcolm looks down and sees the satellite phone precariously balanced on one leg of the kitchen table, its number pad still glowing green. Nick is closest to it. MALCOLM Nick! Grab the phone! SARAH looks to her right, at a metal grating that runs along the wall of the trailer. She shifts her weight, leaning on one hand to reach for the grating with the other. NICK reaches for the satellite phone, its antenna just six inches from his outstretched fingers. SARAH leans toward the metal grating, all hairline cracks shoot out around her pivot hand, shaking through the glass. The splintered glass spread like a disease, it reaches the edge of the frame - - and her hand CRACKS right through the glass. She GASPS and pulls her hand out, but now she knees SMASH through the glass. NICK has two fingers on the phone, but suddenly the whole trailer shudders and the heavy phone tips off the table leg and falls. NICK SARAH LOOK OUT! SARAH lunges for the metal grating and clings to it just as the heavy phone whizzes past her head and SMASHES into the glass, opening up a huge hole in the center of the back window. UNDERNEATH THE TRAILER, glass, food, lab equipment, and the precious satellite phone fall out the broken window and SMASH on the rocks far below. IN THE CLEANING, the trailers are split, like an L, the rear trailer hanging straight down, the forward one resting on the edge of the cliff. Satisfied with their work, the T - rexes turn and lumber back into the jungle. IN THE TRAILER, Sarah climbs carefully up the metal grating. Above her, Nick lowers himself as far as he can, reaching for her. ON THE CLIFFSIDE, we realize the hanging trailer halted its descent because one corner of it is wedged in the branches of a tree that grows out from the muddy cliff. But now those branches SPLINTER. IN THE TRAILER, Malcolm sees the bellows, the connector between the trailers, stretch as the lower trailer JERKS and dips lower. BELOW HIM, Sarah mountain - climbs through the trailer's kitchen, inadvertently kicking the faucet on as she struggles for purchase. OUTSIDE, the tree branch SNAPS and the trailer jerks, stretching down again. The bellows expands to its full length, stretching like a Slinky. INSIDE, Nick knows he has to hurry. He climbs down, bouncing off the built - in furniture, moving ever closer to Sarah. But Sarah slips and loses her grip, dropping a few feet. She gabs hold of the sink, the flowing water spraying her face.","EXT. JUNGLE - NIGHT EDDIE CARR is in the driver's seat of the jeep, racing through the jungle as fast as he can. EDDIE Hang on - hang on - The foliage SMACKS the windshield, then clears suddenly, revealing the endangered trailers on the cliffside ahead of him. The jeep bounces through the deep footprints left by the rex and SKIDS to a halt.","INT. TRAILER - NIGHT Sarah loses her grip on the sink and falls, SMASHING into the frame of the half - broken rear window again. OUTSIDE, Eddie bolts out of the car and runs to the front trailer. He SHOUTS in through the broken front window. EDDIE HEY! HELLO?! IN THE REAR TRAILER, The three look up from their precarious positions. MALCOLM WE'RE IN HERE! GET SOME ROPE! OUTSIDE, Eddie turns and run back to the jeep. He grabs a coil of rope, secures one end around a tree, and hurries back to the trailer. IN THE REAR TRAILER, Eddie dashes over the mess in the front trailer and crawls out into the extended connector. He peers over the edge, down into the second trailer, and tosses the rope. EDDIE Catch! The rope falls through the center of the trailer, its end dangling all the way out the smashed rear window. But the trailer SHUDDERS, starting to move again. SARAH We're sliding! EDDIE Climbs up if you can! OUTSIDE, Eddie runs out of the trailer in time to see the wheels dragging forward through the mud as the weight of the dangling trailer pulls the whole thing toward the edge of the cliff. He runs for the jeep and grabs hold of the power winch on the front grill. Behind him, the trailer rolls closer to the edge of the cliff. Eddie races back to the trailer, pulling out a length of cable behind him. He runs up to the still - moving trailer, dives for its towing hook, the cable goes taut - - and he falls short. Just by six inches, but he's out of cable. EDDIE Damn it! INSIDE THE TRAILER, Nick and Sarah are now together, clinging to the rope near the bottom of the trailer as it shifts around them. Malcolm is further up, also clinging to the rope. OUTSIDE, dirt and rocks pile up around the wheels and spill over the edge of the cliff. Eddie, back at the jeep, reels out more winch cable. He turns and races back to the trailer just as gravity starts to LIFT THE FRONT END OFF THE GROUND! Eddie dives again, and this time the cable hook CLICKS securely into the trailer's towing hook. The trailer lurches toward the edge of the cliff and stops. But the jeep is jerked forward by the sudden pressure. IN THE TRAILER, Malcolm clings to the rope in the middle of the trailer while Nick and Sarah try to struggle up it, but a sudden dig knocks them back, and their hands slide down the line. SCREAMING, they slide through the trailer and their feet SMASH through the remains of the rear window. Regaining hold of the rope at the very end, the two of them now find themselves hanging out of the rear end of the trailer, dangling over the rocky shore below. IN THE JEEP, Eddie hits the gas and the tires slosh in the mud, trying to get a grip. The jeep pulls just enough to lower the front trailer back to earth. But the tires spin, fighting to hold it there. ON THE CLIFFSIDE Sarah and Nick dangle, desperate. IN THE JEEP Eddie CHUNKS the shifter into four wheel drive and GUNS the engine. As the motor ROARS, the sound is topped by another ROAR, in the distance. And this one's not a machine. But Eddie does n't hear it. He GUNS the engine again. There is another ROAR from the jungle. Eddie hears this one. He darts a look at the side view mirror. In it, he sees one of the TYRANNOSAURS bolt out of the jungle behind him. He GASPS and looks at the other side view. In it, he sees the OTHER REX racing toward him. The tyrannosaurs STOMP forward to confront the ROARING jeep. The first rex bends over, CHOMPS down on the rear tire, and lifts the car to its teeth. But the spinning tire LINGS in the rex's mouth, burning it. Surprised by the fight in this foe, the rex loses its grip and the jeep BANGS back down onto the ground. Eddie, horrified, dives down under the steering wheel, to get away. The gas pedal pops up - - which makes the trailer pitch over the side of the cliff. But the rex STOMPS down on the jeep to prevent its escape. The trailers stop. Now the rexes lean down, over the jeep, and focus on Eddie, who still covers under the steering wheel. The first rex SNAPS at him, hitting the steering column with it, leaving Eddie fully exposed. He SCREAMS and the second rex lashes in, seizing him in its teeth and tossing him out of the car. Eddie pops up into the air between the two rexes, both their heads flash at him at the same time, and in a split - second, he disappears between their teeth. Now completely ignored, the jeep rolls freely forward and the trailers drop over the edge of the cliff. INSIDE THE TRAILER, Nick, Sarah and Malcolm cling to each other and the rope as the trailers fall around them. The windows flash by as the trailers plummet, equipment BANGS and SCRAPES them, but they hold on to the rope, still tied to the tree, for dear life. ON THE CLIFFSIDE, the trailers slide the rest of the way, exposing the three, who pop out the space where the front windshield was. Dangling from the rope, they look up and see the jeep, which is now rolling to the edge of the cliff. It falls, past them, and the whole mess EXPLODES on the rocks below. Finally, it is silent, except for the sound of the surf.","EXT. CLEARING - NIGHT It's quiet up here too, the rexes nowhere to be seen. At the cliff, a hand appears from over the edge. Then another. SARAH pulls herself up, back onto solid ground, then comes NICK, then both of them reach over and help MALCOLM up over the edge. They collapse there, in the mud, completely exhausted. MALCOLM -LRB- softly. -RRB- Eddie? He looks at the other two. They glance around, then drop their heads. Sarah hears a SOUND in the distance. SARAH Oh, God. Now what? From the edge of the jungle, a cris - cross of flashlight beams moves toward them. But rather than the three or four that would signify their own group, there are nearly twenty of them. The HUNTERS, PETER LUDLOW is in the lead, ROLAND and AJAY with him. DIETER is there too, shepherding KELLY and DR. JUTTSON along in front of him. Malcolm sees Kelly, they call out to each other, and race together. Malcolm falls to his knees and hugs her as tightly as he possibly can. MALCOLM Are you all right?! Anything broken? KELLY I'm fine, I'm fine, I was scared, I thought you, are you okay?! MALCOLM I'm fine. I'm fine. Roland looks around, at the mess that was their base camp. ROLAND -LRB- mostly to himself. -RRB- That's what you think.","EXT. RUINED BASE CAMP - NIGHT In the ruins of the first team's base camp, the survivors of the night's two separate catastrophes stand face to face, in a heated argument. MALCOLM sits off to the side, still holding Kelly in his arms, just looking down at the ground and shaking his head. There's something about his posture of defeat that is far more ominous than any of the hot tempers that are flaring. LUDLOW rants to SARAH while DIETER looms menacingly over NICK. LUDLOW Trespassing, sabotage - you could go to jail just for being here, did you know that? SARAH Do n't start a legal argument with me, this island is n't your property, and neither are these animals! DR. JUTTSON has encountered DR. BURKE. JUTTSON What are you doing here, Burke? There's no TV cameras, what's the point? BURKE Dr. Juttson, you exist outside the classroom. I am amazed. Dieter continues to get in Nick's face. NICK Are you looking for a problem? JUTTSON -LRB- an urgent whisper. -RRB- Everyone, keep your voices down! ROLAND Back off, Dieter. JUTTSON Listen to me, by moving the baby rex into our camp, we changed the adults' perceived territory! LUDLOW Their what? SARAH -LRB- she understands. -RRB- Oh, God. JUTTSON That's why they persisted in destroying the trailers, they now feel they have to defend this entire area! We're not safe here. LUDLOW -LRB- of Sarah and Nick. -RRB- Thanks to you people. SARAH Hey, we came here to observe, you came here to strip - mine the place! It's a looter mentality, all you care about is what you can take. ROLAND None of that matters. Our communications equipment's been destroyed. If your radio and satellite phone were in those trailers that went off the cliff, and I'm guessing by the look on his face - He points at Malcolm, who is still off to the side, sitting in stunned silence. Malcolm looks up and nods, slowly. The grimness of their situation sinks in. ROLAND -LRB- cont'd. -RRB- We are stuck here, ladies and gentlemen. And we're stuck together.","EXT. HUNTERS' CAMP - NIGHT Back in the hunters' now - demolished camp, members of the two groups combine their diminished supplies. They have half a dozen large plastic containers of water, thirty - seven containers of food, ranging from Ziploc bags to aluminum tins, a variety of weapons, mot of them borne on the hips or shoulders of the HUNTER team, the charred and scraggly remnants of several pieces of now - useless electrical equipment, a flare gun and several flares, somebody's tattered paperback -LRB- `` Crime and Punishment'' -RRB-, a box of Hershey bars, and a cartoon of Marlboros. ROLAND supervises the assembling of the resources, which are displayed in front of him. LUDLOW, NICK, SARAH, JUTTSON, and MALCOLM, who is still holding KELLY close to him, are with him. They hold their discussion in quiet tones. ROLAND If we ca n't stay in the rex's territory, we have to move tonight. SARAH Move where? Our boat's not coming for two days, your airlift is waiting for an order you have no way to send - Ludlow refers to the charred and trampled satellite photographs of the island, which are still mostly legible. LUDLOW There's a communication center, here, in the old worker village. Hammond put in some kind of renewable power source replenishing. It may still work. If we could get there, we could send a radio call for the airlift. NICK How far is the village? LUDLOW I said if we could get there. NICK Well, how far is it? LUDLOW A day's walk, maybe more. That's not the problem. ROLAND What is? LUDLOW The velociraptors. Malcolm looks up sharply. LUDLOW -LRB- cont'd. -RRB- Our infrareds show their nesting sites are concentrated in the island interior. That's why we planned on keeping to the outer rim. Malcolm shepherds Kelly away from the conversation and mutters something to her quietly in the background. DIETER What are velociraptors? JUTTSON Carnivores. Pack hunters. About six feet long, three or four hundred pounds, and very, very fast. Dieter brandishes his weapon. DIETER I think we can handle ourselves against them. Malcolm rejoins the conversation, alone. He keeps his voice low. MALCOLM No. I'm quite certain you ca n't. ROLAND Look, we have two choices. We can hike back down to the lagoon, where we can sit for two days, in the open, next to a heavily used water source while we're waiting for your boat to arrive, or we can head for the village, where we might find some shelter and we can call for help. MALCOLM We'd never make it past the raptors. Trust me, I have some experience in this matter. Roland looks at him. ROLAND That may be. But you were n't with me at the time. Malcolm just shakes his head, then turns and walks back to Kelly. Roland turns to the others. ROLAND -LRB- cont'd. -RRB- Load up. Let's get this moveable feast underway.","EXT. ISLAND - NIGHT The SURVIVORS set forth, marching through the jungle in a column. Two HUNTERS strap on small shoulder - mounted servo - flashlights. Wires run from the lights end in sensor pads which they stick to the skin of their necks. Thus attached, when the hunters turn their heads, the servo - lights turn with them, illuminating whatever direction they look in. MALCOLM screws the barrel into the Lindstradt rifle and slings it over his shoulder as he marches, limping heavily. He looks down at KELLY, who is marching alongside him. His face shows the deepest of regret. He shakes his head, cursing himself. MALCOLM Damn it. He looks away as Kelly looks up at him, questioning. ROLAND falls into step with Malcolm and notices his limp. ROLAND You all right? Malcolm looks at him, then looks away without answering. ROLAND -LRB- cont'd. -RRB- Wrong question? MALCOLM You ever heard of Gambler's Ruin? ROLAND What's that? MALCOLM A statistical phenomenon. Says everything in the world goes in streaks. It's real, you see it everywhere - in weather, in river flooding, in baseball, in blackjack, in stock markets. Once things go bad, they tend to stay bad. Bad things cluster. They go to hell together. ROLAND Feeling a bit blue, are we? Malcolm glances at Kelly, who has taken a slightly faster pace and is a few steps ahead of them now. MALCOLM Just - flawed. Very deeply flawed. ROLAND Why did you come here? MALCOLM So that others would know about this place? ROLAND Why should they? MALCOLM Because it exists. ROLAND It'll still exit if they go on not knowing, wo n't it? MALCOLM Yes. And people will live in the absence of truth. ROLAND So the truth is more important to you than your life? MALCOLM -LRB- lowers is voice. -RRB- I do n't care about my life. But if I'd ever thought for a second that she would be in danger - Roland follows his gaze forward, to Kelly, who's about ten yards ahead now. ROLAND She yours? AHEAD OF THEM, Kelly can hear their voices, faint, but clear. They are not as far away as they think they are. MALCOLM -LRB- o.s. -RRB- I'm afraid so. I do n't know what the hell I'm doing with kids. I never should have had her. Kelly's face shows she heard that part. BEHIND HER, Malcolm, unaware, continues with Roland. MALCOLM -LRB- cont'd. -RRB- Why are you here? ROLAND Somewhere on this island, there exits the greatest predator that ever lived. And the second greatest predator must take him down. MALCOLM But why? ROLAND You remember that guy, about twenty years ago, I forget his name, but he climbed Everest without any oxygen, came down almost dead. And they asked him, `` why did you go up there to die?'' And he said `` I did n't. I went up there to live.'' MALCOLM -LRB- nods. -RRB- It's called self - testing. But in your case, it sounds more like self - destruction. A uniquely human characteristic. In fact, human beings destroy things so well that I sometimes think that's our function. Maybe every few sons, some animal comes along that kills off the rest of the world, clears the decks, and lets evolution proceed to his next phase. Maybe death and destruction are our job, maybe we're supposed to destroy ourselves and every other living thing that - Every person on the trail within earshot has stopped and is staring at Malcolm, shaken by his words. Roland grabs Malcolm by the shirt collar and pulls him close, GROWLING in his ear. ROLAND Tell you what. You can see whatever you want to, to me, but you will not spew any more nihilist rants at anyone else in the group. I'm fighting panic, and you push the wrong buttons. Understand? Malcolm just blinks. This guy's in charge.","EXT. JUNGLE - DAWN As a purple dawn dissolves the night sky, the SURVIVORS stagger on, exhausted. Some are starting to tire, and there are spaces in the column. MALCOLM's limp seems to be getting worse. NICK reaches out, to take Malcolm's pack, but Malcolm swats his hand away. KELLY, still ahead of him, falls into step with SARAH. KELLY I do n't think - my dad does n't think we're going to make it. Sarah looks at her. SARAH Your dad is wrong. About a lot more than he knows. She puts an arm around her. Kelly looks up at her, grateful. The long march continues. UP AT THE FRONT, NICK catches up to ROLAND. NICK I think you should call a break. ROLAND Another half hour. NICK Some of them wo n't make another half hour. We did n't come this far to start dropping in the middle of the jungle. If you do n't call it, I will. Roland looks at him, steely, then SHOUTS to the group. ROLAND FIVE MINUTES BREAK! Immediately, the marchers drop where they stood, absolutely drained. AT THE REAR OF THE GROUP, DRS. BURKE and JUTTSON are bickering. JUTTSON I ca n't believe you're still angry about that. BURKE You know, it's very easy to criticize the first person who studies something. JUTTSON No, it's easy to criticize sloppy research and hasty conclusions. NEARBY, MALCOLM checks Nick's bag of videotapes, making sure they're still dry and undamaged. Sarah comes up, watching him. SARAH You know, even if we do get those tapes back, people are going to say it's just another hoax. Ian Malcolm's alien autopsy. MALCOLM Maybe. Maybe not. SARAH Ian, they will misplace our evidence, shoot holes in our testimony, and say some special effects genius created the animals. The only way people will ever believe that dinosaurs exist is if you dump a T - rex in the middle of times Square. He does n't look at her. She sits down beside her. SARAH -LRB- cont'd. -RRB- There's something more important that you should be thinking about instead. BEHIND THEM, Dr. Burke, furious, has stalked away from Juttson and sits down on a rock. H does a double take, noticing something behind the rock. He leans over and picks it up. It's an oval shape about eight inches long, with a pebbled exterior. A dinosaur egg. Burke's face lights up, fascinated, and he carefully pieces the egg in a satchel he wears over one shoulder. AT THE REAR OF THE GROUP, DIETER STARK pulls a wad of toilet paper from his pack, drops the pack on the ground, and turns to the Hunter nearest him - CARTER, his driver, who has his back turned. DIETER Wait here for me, would ya Carter? He steps off the path, into the jungle. But as we come around the front of Carter, we see he's wearing a Walkman, the headphone BLARING tinnily in his ears. And he did n't hear a word.","EXT. THICK OF THE JUNGLE - DAY Only a few feet off the path, it's primary forest, the growth so thick that almost all sunlight is obscured. DIETER claws forward until he finds a suitable spot to relieve himself. He clears away a bunch of leaves and debris and raises his hand to his belt buckle. He freezes, hearing something we did n't. He glances around, head darting, alert to any danger. Nothing there. Just a few distant ANIMAL CALLS - - and s SCURRYING around to his left. Dieter snaps his head in that direction. At first, he sees nothing, but as he moves closer, gun extended in front of him, he sees a small dinosaur, a COMPSOGRATHUS, the same chicken - sized animal Cathy saw on the beach so long ago. DIETER It's not polite to - He pulls the steel rod out of a loop in his belt and touches it to the compy's back. The blue bolt of electricity CRACKS and dances over the compy's body and it convulses in pain. DIETER -LRB- cont'd. -RRB- - sneak up on people. The wounded compsognathus scurries back into the jungle, whimpering. Dieter clambers through the foliage ten or twelve paces, pushes aside two large palm fronds, and steps out into - - more jungle. He stops, puzzled, not sure if he went back or forward. He looks behind him. He pauses, recalculating the path he took coming into the jungle, MUTTERING to himself, gesturing with his hands, retracing his steps. He adjusts his angle slightly to the right and heads off in that direction. But after five or six hard - fought steps, he stops again. Still nothing but jungle. DIETER HEY! CARTER! YELL OR SOMETHING, I GOT TURNED AROUND IN HERE! ON THE TRAIL, Dieter's cries are faint, but audible. The only Marchers hear enough to hear him is CARTER, but the Walkman is blaring in his ears. DIETER -LRB- o.s. -RRB- Carter. me? IN THE JUNGLE, Dieter hears that SCURRYING sound again, this time from his right. He adjusts his angle again and SCRAPES through the foliage, moving faster and faster. Panicking, he ties to run, but the roots rise high out of the ground in the jungle, and he trips on one and falls flat on his face. He looks up. The SCURRYING sound comes again, this time ten times louder than before, like a hundred feet coming at him. Dieter GASPS as something rushes in at him. He whirls to his right. Whatever it is rushes in from that side as well. And the left. And behind him. Dieter scrambles up into a sitting position - - and laughs. He is surrounded by at least forty compys now, the same as the one he wounded. For a long moment, they just stare at him. Slowly, he brings his gun around, to point it at them. DIETER Easy - wait - one more sec - As one, the compys SHRIEK and hurl themselves forward, covering Dieter's body. Their teeth and claws FLASH as they each try to grab a scrap of his flesh, tearing savagely. Dieter SCREAMS and flails, waving his arms and legs wildly. Some of the tiny animals lose their grip and sail off, SMASHING into trees or the ground. But dozens of others hang on, and Dieter falls over backwards, now lying on his back on the ground. Hysterical, he fights like hell to get to his feet, SCREAMING, shaking, swatting the compys loose. He spins, and that tactic seems to work, as the compys themselves begin to panic and drop off of him. But he also loses his grip on his weapon, which goes flying, landing in the thick foliage five or six feet from him. Losing the attack, the compys turn and dart away en masse, stopping ten yards away from him. But they turn and regroup, facing him in a line, hopping up and down, CHIRPING and SHRIEKING. Dieter bounds into the foliage, looking for his gun. But the compys follow him in and he's forced to flee, abandoning his lost weapon. Ten feet on, he stops, knowing he's screwed without the gun. He turns to face the pursuing compys. They stop. Dieter charges them, SHOUTING, waving his arms. The compys turn and run. Dieter stops. The compys stop. They stare back at him. There is a moment of quiet, then they start to hop again, CHIRPING and SQUEALING. Dieter, tired of this game, turns and runs away. The compys follow.","EXT. JUNGLE - DAY From the front of the convoy, ROLAND SHOUTS out. ROLAND Break's over, move on! The exhausted marchers drag themselves back to their feet and start to march again. At the rear of the group, someone taps Carter, who is still listening to his music. Carter gets up, hoists his backpack, and marches away. Behind him, Dieter's pack is left, forgotten, on the jungle trail.","EXT. DEEP IN THE JUNGLE - DAY DIETER stumbles along, exhausted. He reaches the edge of a stream that runs under the foliage, and his feet slip on the stones. He falls, into the rocky stream. Behind him, the army of compys pours over the little hill he just crested. They disappear for a moment, down an incline - - And then swarm over his body. In a frenzy of splashing, Dieter shrugs them off and crawls away, through the stream. He gets to his feet but falls again, this time over a log. A geyser of water splashes up in the air behind the log as Dieter drops out of sight. The compys leap over the log and disappear from view too, throwing up their own splashes of water. SCREECHING, CHIRPING, and the sound of TEARING flesh mixes with Dieter's SCREAMS. Now, as more compys leap over the log and splash into the water below, the geysers that shoot up into our field of view are pink. And then they're a deep, deep red.","EXT. JUNGLE - DAY The group has stopped again. Near the rear, SARAH, NICK, MALCOLM, LUDLOW, and ROLAND are in a tense conversation with CARTER. ROLAND How long ago was this? CARTER Seven, eight minutes. Roland looks at them, thinking. Finally : ROLAND Then he's dead. Nobody tells the little girl. Last thing we need is screaming hysterics. He turns and heads back to the front of the column. SARAH We have to send someone to look for him! ROLAND You go if you like, but we're not waiting for you. MOVE IT OUT! They look at each other, appalled, but the column starts to move. Numbed, shocked, but left with no choice, they move on, one by one.","EXT. ISLAND RIDGE - DUSK The column of MARCHERS has finally reached the island ridge, where they are silhouetted against the setting sun. They're taking a break, sprawled out on rocks or over the ground. MALCOLM sits next to KELLY, who's sitting on a log. MALCOLM You okay? She does n't look at him, just gets up and walks away, going to sit over next to SARAH. Malcolm watches, pained, but Sarah puts an arm around her and makes a `` she's okay'' gesture to Malcolm. AT THE RIDGE, ROLAND steps up to the very edge and peers into the island interior. From his vantage point, he's able to see all the way to the far side of the island, a rim of herd black cliff, miles away. Between here and the cliffs there is nothing but gently undulating jungle. He refers to one of the satellite recon photos. ROLAND Looks like the worker village is down in there, about a mile and a half northeast from the base of these cliffs. MALCOLM is next to him. MALCOLM There must be a game trail, some kind of path that goes down there. Roland looks around at the exhausted MARCHERS. ROLAND They'll have to rest before we look for it. Eat. Sleep. Two hours. Then we hit it.","EXT. CAMPSITE - NIGHT The group has made camp in the jungle. The mood is somber, most of the MARCHERS asleep already. Three or four tents have been put up. IN ONE TENT, KELLY sits quietly in a corner, her eyes wide, knees hugged up to his chest. SARAH comes in. SARAH There you are. Your dad's looking for you. KELLY I doubt that. Sarah takes off her outer shirt and hangs it over a bar to dry the broad red smear across its front. SARAH Oh, come on. Go talk to him. KELLY Why? He likes to be alone. I can stay with you. IN THE CAMPSITE, all is still. The nocturnal jungle HOOTS and BUZZES around the sleeping marchers. In his tent, ROLAND abruptly sits up. As if he heard something. He looks out the open flap. In the middle of the campsite, he sees AJAY stop in his tracks, head cocked. Roland gets up and goes outside, joining Ajay in the middle of the camp. ROLAND You hear something? AJAY No. I feel something. Roland looks at him. This is n't so good. He looks out at the shifting jungle. He notices a thin plume of smoke rising up over the trees just barely outside the edge of camp. ROLAND Oh, no. IN SARAH'S TENT, Kelly and Sarah have laid down on top of sleeping bags, trying to get a few minutes' rest. Sarah's shirt hangs over them, swaying in the gentle breeze coming through the open flap. As the shirt dangles there, swinging softly from side to side, we notice the broad red smear across the front. Oh, that's right - it's blood. The baby T - rex's blood. AT THE RIDGE OF CAMP, the thin plume of smoke leads down to a tiny cooking fire that's been lit by DR. BURKE. He's set a small frying pan on top of it, and now he CRACKS the dinosaur egg he picked up earlier into the pan. Roland and Ajay run up behind him. ROLAND -LRB- hisses. -RRB- ARE YOU OUT OF YOUR MIND?! Burke leaps out of the way as Roland kicks dirt on the fire. BMBB! Roland, Ajay, and Burke all freeze. What was that? IN SARAH'S TENT, Sarah and Kelly sit up. They felt it too. BMBB! AT THE COCKING FIRE, ROLAND Get my weapon. Ajay turns and trots away a few steps, then stops cold, staring down at the ground. BMBB! A recent rain has all left puddles scattered around the camp, and impact tremors now create ripples in the puddles - concentric circles spreading to the outer edges. BMBB! IN SARAH'S TENT, Sarah and Kelly are frantically sealing up any opened food into Ziploc bags. BMBB! Now they leap into Sarah's sleeping bag, to seal themselves, and draw the zipper up, all the way around. Outside, the silhouette of the rex's head passes by the tent. Sarah works faster, her fingers struggling to close the last few inches, but - - the rex head pokes through the flap of the tent. It sniffs, SNORTING the air in and out. It looks around the tent. It sniffs Sarah's hanging shirt, the one that is stained with the blood of the baby tyrannosaur. The adult tyrannosaur GURGLES again, COOING and cocking its head curiously. In the sleeping bag, Sarah and Kelly's eyes are barely visible, wide in panic. The rex sniffs and nudges the bag, trying to figure out what this thing is. It rolls the bag over once, decides it's uninteresting, and then rises, straights up - - taking the whole tent with it! The stakes pop out of the ground as the tent rises high up into the air and flutters away, leaving the sleeping bag fully exposed on the ground beneath it. IN THE CAMPSITE, the SECOND TYRANNOSAUR now steps out of the jungle, joining the first. Panic hits the camp as the sleeping HUNTERS wake up. Many of them start to run. Roland scrambles toward his tent, where he can see his weapon lying near the open flap. As he draws close, an enormous T - rex foot stomps down on the tent, driving the rifle deep into the mud. Roland, weaponless, stands frozen, watching as the panicked Hunters flee in all directions. ROLAND FOR CHRIST'S SAKE, DO N'T RUN! But they ignore him, sweeping him up in the wave of flushed prey that pours across the campsite. Some toss random and ill - aimed GUNSHOTS back at the rexes. ACROSS THE CAMPSITE, NICK bursts out of the crowd, sees Kelly and Sarah struggling to get out of the sleeping bag, and grabs each by an arm. He rips them to their feet and sweeps them off ahead of him, into the jungle. IN THE MIDDLE OF THE CROWD, MALCOLM, blinking back sleep, stands a good head above the rest of the panicking crowd. Frantically, he scans the group. MALCOLM KELLY? KEEEEELLLY?! But he ca n't see her. AT THE EDGE OF CAMP, the two rexes join forces, herding the fleeing Hunters into a narrow ravine. UP ON A ROCK RACE, Roland scrambles up a steep rock face. No way in hell he's going down that ravine. He sees Malcolm, still in the middle of the camp, start to head for the ravine. ROLAND MALCOLM! OVER HERE! Malcolm runs over and hurls himself at the rock face, scrambling to climb up the smooth, steep boulders. Behind him, one of the rexes spots him and lunges across the camp toward him. ROLAND -LRB- cont'd. -RRB- FASTER! Malcolm gives it everything he's got, clawing his way up the rock face - - and rex draws closer and pounces at his legs - - and Roland reaches down, grabs Malcolm by the hair and pulls him up, out of the rex's grasp. The rex falls short, but he's close enough that we can hear his teeth SNAP together, closing around nothing but air. It turns, sees easier prey in the fleeing Hunters, and takes off after them. Malcolm lands on top of the rock ledge with a CRUNCH. Roland unceremoniously dumps a fistful of hair in his lap. IN THE RAVINE, Kelly, in the middle of the fleeing crowd with Sarah and Nick, hears her father screaming her name and looks up. Malcolm and Roland are on the rock ridge above them, keeping pace. MALCOLM -LRB- shouting. -RRB- KELLY, UP HERE! But Kelly continues to flee, as the rexes are in the ravine now, and drawing closer to the group. Some Hunters try to leap up and scale the rocks, but the ravine is deepening, there's no way out. One rex grabs hold of a Hunter in its teeth and hurls him against the rock face. The second rex picks up another Hunter and snaps its massive head left and right quickly, to break its victim's neck. The Hunter goes flying forward and crashes into - - CARTER, Dieter's driver, who stumbles and falls. The rest of the fleeing humans run around or over him, but when the rex lifts its foot, we see Carter is actually stuck to the bottom of it - - and when the animal takes its next step it CRUSHES him into the earth. UP ON TH ROCK FACE, Malcolm is frantic. MALCOLM I got ta get down there! DOWN IN THE RAVINE, it's obvious no one is going to outrun the rexes, and Nick knows it. He bursts ahead of Sarah and Kelly and spots something off to his left. It's a waterfall, apparently right in front of a sheer rock face. But there's something about the way the water is falling that tells him something. NICK SARAH KELLY COME HERE! He grabs each of them and hauls them forward, running straight at the waterfall. Apparently, he intends to jump right into the rock, and he's dragging them along with him. SARAH WHAT ARE YOU - NICK JUMP! The three of them spring right at the waterfall and disappear THROUGH the water. DR. BURKE, fleeing along with everyone else, is watching as they vanish. BEHIND THE WATERFALL, there is a small recess, which is what Nick had hoped for. It's small, only four or five feet deep, but it's just enough for him, Sarah, and Kelly to cover behind the flowing water. Breathless, terrified, they can hear the mayhem outside. NICK Shhhh. shhhh. With an enormous SPLASH, something bursts through the cascading water and crashes into them. Dr. Burke. BURKE Get out of the way! He pulls his way up against the far wall, as far away from the water as he can. FOOOOM! Now another shape bursts through the watery curtain. A Tyrannosaur head. Burke gave away the hiding spot. The four SCREAM as the rex's jaws SNAP left and right, searching for them, falling just inches short. They squeeze as far back against the wall as they can get. The rex ca n't quite get its head all the way through the opening - - so it uses its tongue. A long, dark blue shape slithers out of its mouth and touches the humans, trying to wrap around them, to pull them out of the cave. Burke, blind with panic, forces himself even further into the cave, which pushes Kelly further out. SARAH STOP IT YOU'RE PUSHED HER OUT STOP IT! But Burke does n't listen, throwing elbows to make room for himself. His movements dislodge a portion of muddy earth, and a flurry of enormous cockroaches, eight or nine inches long each, pour out of the wall and swarm over his face and neck. Burke SCREAMS and instinctively leaps away, toward the flowing water. And that's all the leverage the rex needs. It curls its tongue, wrapping Burke up in it and pulling him between its teeth. SCREAMING hideously, he is dragged out, through the waterfall, and disappears. Sarah, Nick, and Kelly stare in horror as the white screen of water turn pink. UP ON THE ROCK FACE, Malcolm and Roland see the rex walk away from the waterfall with Burke, leaving the hiding place unmolested. Malcolm is nearly hysterical. ROLAND She's okay! They'll stay in there, she's okay! IN A JUNGLE CLEARING, routed Hunters emerge from the gully at the edge of he jungle. Ahead of them, there is a large open plain covered by long `` elephant'' grass. AJAY, running along with them, stops abruptly at the edge of the grass, SHOUTING to the others. AWAY NO! DO N'T GO INTO THE LONG GRASS! Not in the frenzy, they ignore him. Behind Ajay, the enormous shadows of the two pursuing tyrannosaurs stop as well, holding up at the edge of the jungle. Ajay, torn between a sense of responsibility and his better judgement, opts for the former and races into the grass after the other Hunters, waving his arms. UP ABOVE THEM, Roland and Malcolm come out onto a rocky ledge that has a view of the plain below. Roland can see the Hunters leaving trails as they plow through the grass. ROLAND Elephant grass! ON THE PLAIN, the groups of Hunters wades into the middle of the long grass. One of them stops and turns, looking back at the jungle trees. HUNTER They gave up! They're not chasing us! There are CHEERS, SIGHS OF relief. In the distance, AJAY'S VOICE can be heard, faintly calling to them to come back. Up on the rock in the distance, they can see Roland, waving his arms madly. But in the giddiness of their escape, they pay it no mind. They continue plowing into the high grass, anything to get further away from the tyrannosaurs. ABOUT FIFTY YARDS AWAY, the tops of three animal heads rise up slowly, backlit by the full moon. In the distance, the heads can seethe Hunter party. The heads descend, back into the grass. BACK WITH THE HUNTERS, they continue forward, oblivious. Now behind them, four more heads rise up in the grass. As then descend. On all sides of the Hunters, the grass ripples as animals move forward toward them, undetected, inexorable as torpedoes. And these torpedoes are on target. One Hunter is suddenly dragged down, yanked silently below the surface of the tall grass. In his place, a long, lizard - like tail rises up as the animal drops its head to make the kill. Behind him, two more Hunters are taken down, and two more animal tails rise up in their place. A Hunter ahead hears the RUSTLING and turns. His face turns white as, behind him - - a VELOCIRAPTOR springs out of the grass. Velociraptor runs upright on its powerfully muscled hind legs, the second tow of each foot bearing an extra - large curved claw, carried in a retracted position, with which it slashes on attack. Like now. This raptor SNARLS and SLAMS into the body of the Hunter, taking him down. A feeding frenzy ensues. The Hunters run in all directions, but are pulled down and vanish into the twitching long grass. Another raptor enters from the right, leaps high into the air, past the full moon, SLAMS into the chest of more human prey, and takes him down, into the grass. Behind them, Ajay's face falls, defeated. He looks around, realizing he too is now stranded in the middle of the long grass. Around him, four torpedo trails head straight for him. Ajay simply closes his eyes. UP ON THE ROCK, Roland turns away from the carnage, pained.","EXT. RUINED CAMPSITE - NIGHT SARAH, MALCOLM, KELLY, NICK, ROLAND, DR. JUTTSON, and PETER LUDLOW stand in the ruins of their campsite, their ranks decimated, spirits shattered. Roland is at the hole in the ground where his tent once was. He has pulled his.800 Nitro Express from the mud and more or less cleaned it, now he's checking the loads. Kelly, nearly catatonic with fear, clings to Sarah, and it does n't look as if she'll ever let go. Malcolm, who is on his knees picking through the wreckage of a tent, looks over at them, but Sarah waves him off - `` she's okay.'' Roland appears, standing over the group. He looks at Malcolm, who has found the Lindstradt rifle, intact. ROLAND How many rounds did you find for that weapon? MALCOLM Four, counting the one in the chamber. ROLAND Do n't let it out of your hands again. -LRB- to Sara, but looking at Kelly. -RRB- Can the kid walk? SARAH Ask her. ROLAND Can the kid walk? KELLY I can. I can walk. While he addresses the group, Roland straps on one of the servo - lights, the shoulder - mounted flashlights that follow your gaze. ROLAND We're going to find a path down into the interior of the island. Load up whatever you think you need, and I mean need. If you ca n't carry it indefinitely, do n't bring it. We'll hit the worker village in a couple hours and be out of here before dawn. AT THE EDGE OF CAMP, Roland bends over one of the three - toed footprints left by the rex. Behind him, the rest of the group is packing up, slinging the remnants of their equipment over their shoulders. Roland bends over and SNIFFS the footprint. It's filled with a liquid of some kind. He takes his canteen, dumps the remaining water into the ground, and plunges the canteen into the footprint, filling it. Ludlow hovers over his shoulder. LUDLOW What is that? ROLAND Piss. Ludlow does n't ask. NOW AT THE FIRE, Roland stares down at the ashes of the cooking fire that led to such disaster. He grabs a handful of the ash and shoves it in his pants pocket.","EXT. VALLEY OF DEATH - NIGHT ROLAND and LUDLOW -LRB- who, along with Sarah and Malcolm, is also wearing a servo - light now -RRB- maneuver down a rugged hillside and come out in a flattened area. Ludlow GASPS, looking ahead in wonderment. MALCOLM breaks through the hillside's foliage a moment later. He too stares in amazement. SARAH and KELLY come next, then NICK, then JUTTSON. One by one, they all stop and stare. SARAH God help us. They're standing in a flat, sandy area lined with boulders at the sides. The flat area stretches fifty yards from side to side and as far as they can see ahead. But that's not what amazes them so. Everywhere, the sand is dotted with dinosaur skeletons. Some are huge, apatosaurs, sixty feet from head to tail tip. Others are smaller, herbivores of many different kinds. The more intact skeletons lie on their sides, their ribcages arcs of pale bone. but just as many have been ripped apart, bits of carcass tossed in every direction. NICK I do not feel lucky. ROLAND Keep moving. They march on, tiny figures moving among the mountainous skeletons by the light of the full moon. Roland notices one carcass in particular, a recent kill. It's an enormous HADROSAUR with fresh bites taken out of it. He bends down, studying the soft earth around it for footprints. FURTHER ON, Malcolm looks up, noticing the bony shapes around them, which fall in heavy shadows like cell bars, seem to be changing. He turns, and his servo - light shines on the bones. But they're not bones any more at all, they're pipes, the animal graveyard now given over to the lifeless skeletons of manmade objects - twisted, rotting machinery. LUDLOW We made it! They hurry over a small rise -","EXT. WORKER VILLAGE - NIGHT - and find themselves at the edge of what was once Isla Sorna's worker village. The size of a football field, the town is divided by a main street that's dotted on both sides by stores, residences, cafes, a gas station. All the way at the far end is a large, blocky, four - story building. But the town is a mess. The hurricane that hit here must have been ferocious, for everywhere things are smashed, broken, upended. And the jungle has stepped into the breath, growing up, around, and over everything. Huge root systems snake through the street, making it almost impassable. MALCOLM The jungle. It's always ready to return. Roland catches up and looks at Ludlow. ROLAND Where's the power and radio setup? LUDLOW Operations building. Far end of the street. A light rain falls as they start down the street, carefully, silently, Roland and Malcolm with their weapons at the ready. They pass the skeleton of a fallen water tower. An empty gas station, its vine - snarled pumps now useless. The only sound is the low mechanical HUM of the servo - lights as they follow the group's gazes obediently. Every few feet, the group encounters strange, grayish lumps that lies in random places in the middle of the street. Malcolm, curious, stops and taps one of them. It's a rock - hard. Nick looks over his shoulder. NICK Lava? MALCOLM No. NICK What are they? MALCOLM I do n't know. Finally, they reach the operation building, at the far end of the town. LUDLOW The radio rig is inside. It runs directly from the geothermal generator, so power should n't be a problem. ROLAND Good. He pulls out his canteen. Ludlow watches as he screws the top off, moves toward the building, and starts splashing the contents on the outside of it. The rest of the group just stares at him. MALCOLM What's he got in there? LUDLOW Piss. SARAH What? LUDLOW Do n't ask me. The guy's completely out to lunch. NICK What in God's name would he want with - Roland rejoins them. ROLAND Tyrannosaur urine. I do n't want anything to do with it, and neither does any other animal on this island. This building is now demarcated as the rex's territory. As long as you stay in that building, you'll all be safe until the helicopter comes. He drops his pack, swings his gun off his shoulder, and checks the load. Dr. Juttson looks fearful. JUTTSON Where are you going? ROLAND After the rex. I saw a fresh kill back in the valley with tyrannosaur tracks all around it. If I'm not back in time, do n't wait for me. SARAH You've got to be kidding. ROLAND Runs against my nature to hole up in a cave and wait. LUDLOW Do you think the rex might have the infant with it? ROLAND Possible. Ludlow takes off his hat and turns to Nick. LUDLOW You know how to work a radio, do n't you? SARAH You're going too? LUDLOW I lost everything I came after on this trip, but one T - rex in one theme park could single - handedly bail InGen out of Chapter 11. He takes a slip of paper from the brim of his hat and hands it to Nick. LUDLOW -LRB- cont'd. -RRB- This is the broadcast frequency. ID yourself as `` Harvest Leader.'' You know what to tell'em. MALCOLM You gentlemen feel you have to do this now? ROLAND Now's the perfect time. The animal just fed, so it wo n't stalk us for food. Predators do n't hurt when they're not hungry. Ludlow double checks the clip on his semi - automatic rifle - NICK No. - and SMACKS it back into the belly of the gun. NICK -LRB- cont'd. -RRB- Only humans do.","INT. COMMUNICATIONS ROOM - NIGHT The console of a sophisticated radio set - up glows brightly, all green, red, and yellow. NICK tunes the dial to a specific frequency. The radio WHINES and HISSES tuning in. NICK -LRB- into microphone. -RRB- CQ, CQ. This is InGen Operation Harvest Leader to Harvest Base. Come in, please. The remaining SURVIVORS, minus Ludlow and Roland, shine their flashlights around the dusty, vine - hung interior of the communications room. On the wall a row of chrome letters says `` We Make The Future,'' but the words are obscured by a tangle of vines. Mushrooms and fungi sprout from the carpet. On one wall, there is a mural of what the completed Jurassic Park would have looked like. Big hotels, Ford Explorers with tourists leaning out the windows taking pictures, big crowds at the fences around the animal exhibits. But none of it came true, and now even the mural is runny and dust - covered. There is a pause, filed only with radio static. Sarah looks at Nick tensely, waiting. Finally, a VOICE comes over the radio, clean as can be. VOICE -LRB- o.s. -RRB- Go ahead, Harvest Leader. They all breath a sign of relief.","EXT. MAIN STREET - NIGHT With Roland and Ludlow gone on the hunt and the rest of the group inside the operations building, main street stands deserted and silent. Nearly deserted, anyway. Moonlight shadows lengthen at one end of the street - - and FIVE VELOCIRAPTORS STROLL INTO TOWN.","EXT. VALLEY OF DEATH - NIGHT ROLAND AND LUDLOW are back in the valley of death, standing amid the giant skeletons of long - dead animals. Roland bends down, checking the carcass of the freshly - chewed HADROSAUR he saw earlier. A set of giant three - toed rex tracks leads away from the carcass, down the stream bed. Roland follows them. Ludlow follows Roland. As they near a bend in the stream, Roland looks down, at the surface of the water. A pattern of ripples moves toward them, washing over their ankles. Roland follows the ripples with his eyes. From up head, around the bend, he can hear the sound of an animal eating and drinking. A very large animal. He reaches into his pocket and pulls out a pinch of the ashes from the cooking fire that he scooped up earlier and releases that on the wind. They float there for a second, suspended, then blow back at him. LUDLOW We're downwind. Good. Roland darts a contemptuous look at him. He puts a finger to his lips, gesturing for silence, then steps up, onto the shore. Ludlow follows. They creep forward, toward the sounds. They round the bend and Roland hits his belly, edging up over a small rise. Over the rise, he sees the TYRANNOSAUR, about a hundred yards ahead. It's stooped over the stream bed, drinking. Like a bird, it dips its head in the water and then straightens up, to let the water fall down its throat. A dozen COMPYS are at the water as well, drinking. Roland gently FLICKS the safety on his gun to `` off.'' Ludlow edges toward the cover of a low - hanging branch. As he puts his weight on one knee, it presses down hard on the middle of a small stick, which CRACKS in half. Roland turns, eyes blazing. Out in the open, the tyrannosaur snaps its head sharply as well, staring in the direction of the sound. But since Roland's own head is turned, he does n't see the dinosaur's reaction. Roland holds a warning finger out to Ludlow. Roland turns his head back. The tyrannosaur is gone. FURTHER ON, the trail of three - toed tyrannosaur footprints stops abruptly. Roland stops too, gesturing for Ludlow to freeze behind him. Roland glances both ways, looking for any sign of the track. To the right, the ground gives way to hard black volcanic rock. A short distance behind them, the rock is solid, a massive, green, pebbled boulder ten feet high. Roland frowns and WHISPERS in Ludlow's ear again. ROLAND We took to the rock. LUDLOW Why? In front of Roland, a palm frond sways gently in the night breeze. Roland's eyes widen. He pulls out another pinch of campfire ash and releases it on the wind. This time, the ash blows off, straight away from him. ROLAND Wind shift. They freeze, terrified. Behind them, the enormous green pebbled boulder - - opens an eye. That's no boulder, that's the MALE TYRANNOSAUR, standing rock - solid still, its natural camouflage blending into the surrounding foliage perfectly. Very slowly and almost silently, the rex brings its head all the way around until it is staring directly down at them from about ten feet away. Roland and Ludlow stand frozen, their back to the rex, unaware of its presence. Until it exhales. The soft SNORT of its breath is n't quite audible, but it brushes the hair on the backs of their necks ever so slightly. Their hearts drop into their stomachs. Ludlow speaks, his voice a queasy HISS. LUDLOW It's. behind. us. ROLAND -LRB- the very softest whisper. -RRB- It's just fed. It wo n't attack unless it's threatened. Do n't move. As the rex silently cocks its head, sizing up the danger from these intruders, it breathes again. A few strands of Ludlow's hair flap in the exhalation. He closes his eyes, near tears. He ca n't take it. His eyes dart, glancing down at the weapon he holds in his hands. Unfortunately, it's extended in front of him, away from the rex. He risks another HISS. LUDLOW If I do n't move, I ca n't shoot it. ROLAND Let it go, Peter. The animal won. Behind them, the rex appears satisfied. It starts to swing its massive head around, back toward the jungle. It lifts one great leg and takes a step into the trees. Roland signs and closes his eyes, relieved. But Ludlow seizes the opportunity. He whips his weapon around and drops to one knee. ROLAND -LRB- cont'd. -RRB- NO! The rex is infinitely quicker. Ludlow just has time to squeeze off a short burst of semi - automatic gunfire when the animal whirls, takes one elegant step forward, and POUNCES. Ludlow's bullets rip harmlessly through the foliage between the rex's legs as its big head snaps forward and comes down, jaws wide. They close around Ludlow's body, lift his straight up into the air, and toss him once, readjusting their grip so it is firmly around his midsection. The whole combination of movements takes but half a second. By the time Roland turns around, the animal has pivoted and darted back into the jungle, carrying Ludlow, still SCREAMING and writhing in its mouth. Roland raises his gun, to draw a bead on the animal, but through the shivering trees, he can only see that the tyrannosaur is gone.","INT. COMMUNICATIONS ROOM - NIGHT MALCOLM SARAH, NICK, KELLY, and DR. JUTTSON wait nervously in the communications room. An empty can of Dr. Pepper sitting on one of the countertops begins to RATTLE. They look over at it, confused, as the lightweight aluminum can CHATTERS on the formica counter. Other objects in the lab begin to rattle too. Glass jars CLANK against one another, books start to drop off the shelves, a stool shudders across the floor. KELLY What's going on?! Above them, the rotting wooden roof of the building starts to actually tear away, chunks of moldy timber flying up into the night. They look up, a deafening ROAR fills the room - - and a helicopter's searchlight floods in! As the chopper dips lower, looking for a place to land, the violent prop wash rips away huge chunks of the roof over their heads.","INT. HELICOPTER - NIGHT Up above the operations building, the helicopter circles. The roof of the building is all arches and rotten timber, impossible to land open. Below, the PILOTS see the SURVIVORS through the torn roof of the building. They wave frantically, their flashlight beams piercing the night sky. PILOT There they are! The Co - Pilot scans the street below, but it's choked with overturned cars and fallen trees. CO-PILOT No LZ in the street, too much debris! PILOT Check the other buildings! The Co - Pilot nods and they peel off, swooping over the rest of the village. At the far end of the street, the Co - Pilot brings the searchlight to bear on the large, flat roof of a three story building. The Pilot gives him a thumbs - up.","EXT. MAIN STREET - NIGHT MALCOLM, SARAH, KELLY, NICK and finally DR. JUTTSON run out the front of the operations building. At the end of the street, they can see the helicopter as it descends slowly over the building, to land on its roof. MALCOLM There it is! Happily, the group double - times it down the street, headed for the chopper. Again, those strange rock formations are everywhere. Some seem to be on the sides of buildings, as if they once dripped there and then turned to stone. This time Sarah pauses at one that is dripping over to the side of a car like solidified lava. Her face falls as a thought occurs to her. SARAH Ian. It's guano. MALCOLM What? SARAH These formations. They're dried - MALCOLM Birdshit? A VELOCIRAPTORS jumps onto a fallen tree trunk behind them. They do n't see it. NICK Who cares? Let's go! Unaware of the raptor's presence, they resume their trot toward the helicopter. Behind them, the raptor crouches and SNARLS, but the sound is lost under the WHINE of the helicopter's engines. It springs, covering the distance between them quickly. The animal SLAMS into JUTTSON, the last person in the group, and takes him down. Juttson is thrown forward, into the others, who fall like dominoes. Juttson SCREAMS, his voice an unnatural, high - pitched SQUEAL, as the raptor flips him over and lowers its jaws into him. Sarah looks up, panicked. Her eyes widen at the sight of a SECOND RAPTOR, this one running straight at hr at top speed. She buries her face in the dirt, covering her head with her hands - - and the raptor's foot SLAMS into the ground between her legs as it bounds over her and dives onto Juttson, joining the first raptor in the kill. Panicked, the group scatters in all directions. Kelly jumps up and scrambles into the middle of the street, where she hits the dirt and crawls under a fallen shed in the middle of the road. Malcolm rolls over to the space where Kelly was, but she's gone now. He looks around frantically. MALCOLM Kelly?! KELLY?! Sarah rolls onto her feet and sprints toward the building nearest her. Behind her, a THIRD RAPTOR gives chase, bounding after her with horrifying speed. Sarah runs flat - out, but her speed is nothing compared to the raptor's, and it gains on her rapidly. The walls of a structure of some kind close in around Sarah, and as she leaps across a leather seat and SLAMS a door behind her, we realize she's crawled into the back seat of an abandoned car. But the car door is thin protection against the charging raptor, which SLAMS into the window, head first. The window spinderwebs, but does not yield. The raptor crumples to the ground. Sarah looks up, through a three inch hole in the middle of the web. The raptor leaps back to its feet and plunges its nose into the tiny hole, thrashing, widening it. Sarah SCREAMS and the animal forces its entire head through the hole, SNAPPING its jaws just short of her face. She hurls herself over the seat and into the front as the animal penetrates even further into the car, but its torso will not fit through the window opening. It pulls away. In the front seat, Sarah gets some very bad news. There's no windshield. The raptor springs up onto the hood, its claws CLATTERING on the sheet metal, and tosses its body through the opening - - just as Sarah hurls herself out the door. While the raptor struggles to right itself in the front seat, Sarah runs to the nearest building, ducks inside, and SLAMS the heavy wooden door.","EXT. GAS STATION - NIGHT MALCOLM races between the idled gas pumps and into the gas station building, closing the door behind him. A moment later, a raptor bounds after him, SLAMMING into the door. Meeting resistance, it bounces off, notices the plate glass window next to the door, and pounces at that. The window SHATTERS and the raptor clings to the ledge, staring inside, its tail hanging out. Just as it gets inside, Malcolm opens the door and comes back out, keeping the place of wall between them. He pulls the Lindstradt rifle off his back and tries to take aim - - but the raptor whirls and springs, forcing him back inside, through the door again. Willing to play along, the raptor turns and jumps through the window again.","INT. GAS STATION - NIGHT Balancing on the window frame, the raptor HISSES and crouches, ready to spring at Malcolm. Malcolm takes cover behind the door, which is hanging open between them. He raises the rifle. Th raptor springs into the door, BLASTING it off its hinges, knocking Malcolm right through a window behind him. But the door SMACKS up against the wall, covering the window, preventing the raptor from following Malcolm out that way. For the moment.","EXT. GAS STATION - NIGHT Malcolm flies through the window and CRUNCHES to the ground. He GROANS in agony and rolls off his bad leg, which is twisted unnaturally beneath him, and claws in the mud for the gun. ROUGH HANDS reach down, grab him by the shirt, and haul him to his feet. It's NICK. He drags Malcolm away, but in the commotion Nick's duffel slips off his shoulder and lands in the street, spilling some of the precious videotapes. Malcolm scoops them up. NICK Come on! MALCOLM Where's Kelly? NICK She's with Sarah! They race off, down the street.","INT. KILN HOUSE - NIGHT High above SARAH, we see she is standing alone in a three story kiln house, a windowless shed used for firing pottery and other construction projects. Catwalks lined with heavy chains hang above her, and onto the floor below, she turns in circles, wondering what to do now. From outside the kiln house, she hears SCRATCHING, digging sounds. From the other side of the door comes an animal SNORT, and a small puff of dust and dirt billows up through the crack along the ground. ON THE OTHER SIDE OF THE DOOR, the claws of one of the raptors dig furiously, trying to tunnel underneath. INSIDE, Sarah runs to the opposite wall, falls to her knees, and starts digging a tunnel of her own, clawing frantically at the ganging tools always and CLANKS as it tears at the earth below it. Sarah digs faster. So does the raptor. With about eight inches of space under the wall, Sarah grabs hold of the bottom of one of the plans and pries it up as hard as she can. It snaps off with a loud CRACK. At the door, the raptor stops digging. It's silent for a moment. Sarah has a good foot and a half of space under her wall now. She starts to lower her body into it - - JUST AS THE RAPTOR'S CLAWS FLASH THROUGH FROM THE OTHER SIDE! Sarah falls back, SCREAMING, leaps to her feet, and jumps up, grabbing hold of one of the catwalks above. She starts to climb, up, anywhere up, as the RAPTOR now squirms and thrashes its way inside, coming in through her hole. Sarah climbs, hauling herself up, leaping from one catwalk to another. The raptor leaps up onto a catwalk as well and follows her.","EXT. KILM HOUSE - NIGHT A window in the slanted roof of the kiln house EXPLODES in a shower of glass as SARAH kicks through it and climbs outside.","EXT. MAIN STREET - NIGHT Nick drags a badly limping MALCOLM down the main street. They can see helicopter at the far end, engine ROARING and searchlight playing over them as they draw closer. They approach a rusted, abandoned pickup in the middle of the street - - and a RAPTOR leaps on top of it. Its claws CLACK on the roof as it goes into its pre - attack crouch. They do n't stick around to negotiate. Nick hauls Malcolm off into the nearest building.","INT. WORKER HOTEL - NIGHT NICK and MALCOLM hurry inside and SLAM the door behind them. They're standing in the lobby of a hotel of some kind, probably used for overnight guests and day workers who had to spend the night. The room and staircase wind around a large, open - aired central area four stories tall. They SHOUT at each other, frantic. MALCOLM We ca n't stay in here! NICK We're sure as hell not going back out there'' MALCOLM This is single - wall construction! It's just a shack! NICK It'll hold! MALCOLM For sixty seconds, maybe! Look at this! -LRB- RAPS on the door with his knuckles. -RRB- You could - With a CRASH, the wood SPRINTERS around the lock and the door swings open violently. Malcolm is thrown aside, landing hard on the floor. A VELOCIRAPTOR stands HISSING in the doorway. Nick throws his weight against the door. SLAMMING it hard against the raptor. Malcolm rolls over and paws the gun off his back. SLAM! The raptor charges the door again, this time BLASTING it off its hinges, knocking Nick to the floor beneath it. The raptor turns and SNARLS at Malcolm. Malcolm swings the gun around - - the raptor lunges at him - - Malcolm's finger closes on the trigger - - and the raptor lands on top of him. The weight of the animal CRUSHES him into the floor, but the gun barrel now stands between them. The raptor CHOMPS down hard on the barrel, its teeth GRINDING on the metal, and SNAPS its head, to tear it from Malcolm's hands. Malcolm pulls the trigger. The raptor's eyes pop wide as the dart SLAMS into the back of its throat. It makes a GURGLING sound, then convulses violently and rolls off of Malcolm, yanking the gun from his hands as it falls and dies. Nick scrambles out from under the door. Malcolm tries to wrench the gun from the raptor's clenched jaws, but it wo n't budge. NICK -LRB- helping him out. -RRB- Head for the roof! MALCOLM I have to find Kelly! NICK I think she's with Sarah! MALCOLM DAMN IT, BE SURE!","EXT. MAIN STREET - NIGHT KELLY remains huddled under the fallen shed, trembling with fear. She holds her breath and freezes, as just outside, only two feet from where she's hiding - - a RAPTOR'S FEET pick their way past her, down the middle of the street. Kelly closes her eyes and suppresses a scream.","EXT. ROOFTOP - NIGHT NICK and MALCOLM burst onto the roof of the now - burning hotel and SLAM the door behind them. The helicopter is now only three rooftops away. They turn and head for it, Nick in the lead, but there's an eight foot gap between the buildings. MALCOLM It's too wide! Nick looks around, desperate. A fallen power pole leans against the building they're standing on, its lines gone slack. NICK Help me push this! Malcolm understands. He and Nick throw a shoulder into the pole and give it a mighty push, tipping it over in the other direction. One good hard shove and it falls to the far building, THUDDING against it solidly. Its power lines are not taut, a lifeline from this rooftop to the next. Nick grabs hold and starts to pull himself across the gap, hand over hand. Behind them, the door of the building SPLINTERS and CRASHES open as a raptor throws all its weight into it. Malcolm leaps onto the power line without hesitation and starts pulling himself across. But even with the door wide open, the raptor on the other side hesitates. It SNARLS and backs away, refusing to come out onto the roof. ON THE OTHER ROOFTOP, Malcolm lands next to Nick on the second rooftop. They look back at the frightened animal, which takes tow steps out onto the roof, SNARLS, and backs into the doorway again. NICK It's afraid to come onto the roof! Malcolm looks around, at the rooftop. Strange bits of scrap and debris seem to have been arranged there, in an odd, concentric pattern. MALCOLM Something's wrong. NICK Look! Sarah! He points to the roof of the kilm house, in the distance. Malcolm turns, and sees SARAH crawling across the tile. His face turns white. MALCOLM SHE'S ALONE!","EXT. KILM HOUSE ROOF - NIGHT SARAH has problems. Still on top of the kilm house, she reaches the edge and pushes off the roof, leaping to the roof of the next building. She lands at the peak of the intersection of the two sides of sloping roof. As she pulls herself up - - a RAPTOR appears on the rooftop behind her. In full stride, it leaps, sails over her, and lands on the roof ahead of her. Sarah swings to her left and starts to crawl down the slope, away from the raptor. Suddenly the roof board under her SPRINTERS and CRACKS under her weight. The whole section pulls up and starts to slide off the roof. Sarah, clinging to it, rides the roof planks down, away from the raptor. She looks over her shoulder, down - - and sees ANOTHER RAPTOR, waiting for her on the roof of the building below. Sarah quickly rolls off the sliding section of roof, which keeps sliding, falling. The raptor below jumps up, just in time to get WHACKED in the head by the falling roof section. Sarah tries to cling to the Spanish tile roof, fingers and nails slipping on the slick ceramic surface. She slides all the way to the edge, grabs hold of the gutter, and dangles there, suspended above one raptor and trapped below another. The raptor above works its way down. The one below leaps up, at her dangling legs. She has left them in time with its jumps, to avoid losing her feet. This ca n't go on for long. Desperate, she pulls one of the Spanish tiles up from the roof and hurls it at the raptor below. It hits the animal in the head, for all the good that does. But Sarah keeps on, pulling and throwing more tiles. She edges to the right, toward a fresh supply. The raptor above edges even closer, claws CLICKING on the slick roof. Something interesting is happening. As Sarah pulls the loose tiles free, the ones above slide down, to take their place. Sarah sees this and pulls more free, knocking them out of the way as fast as she can. Suddenly an avalanche of loose tiles breaks loose and the footing underneath the raptor above disintegrates. The animal's feet flail and grasp, it slides towards the edge amid the tumbling tiles. Sarah, seeing it coming, swings in close to the building, hugging it as closely as she can. The raptor falls off the roof, right past her - - and CRUNCHES into the raptor below. Both animals SNARK and attack one another. Now Sarah, her grip exhausted, falls too, landing right next to the enraged animals. They fight and roll, RIGHT OVER HER. She GROANS and hugs the wood below her, the raptors continue to thrash and bite, they roll back, toward her, she rolls out of their way - - and plunges through a hole in the roof.","INT. LAB - NIGHT Sarah falls through the roof of a deserted laboratory and lands in the tray of an old - fashioned hanging fluorescent light fixture. One end of the fixture's support SNAPS, it drops at a 45 degree angle, Sarah slides out the other end and CRASHES through a window.","EXT. STREET - NIGHT Sarah lands in the mud in the street below.","EXT. BETWEEN TWO BUILDING - NIGHT With a THUD, MALCOLM lands in the mud between two other building, one of which he has just climbed off of. Panicked, he leaps to his feet and starts to SHOUT. MALCOLM Kelly! KELLY!","EXT. MAIN STREET - NIGHT SARAH sprints down the main street as fast as she can, toward the building on which sits the helicopter. Above her, she can see NICK has now reached the helicopter and is waving to her. Sarah reaches the fallen water tower, which is next to the helicopter building, and starts to climb it. ELSEWHERE IN THE STREET, KELLY is still covering underneath the fallen shed. In the distance, she can see the helicopter. But she is trembling with fear, unable to move. The whole shed suddenly RATTLES as something heavy hits it outside. Kelly's mouth drops open to scream, but her terror is so complex that no sound comes out. She raises her hands in self - defense, whatever's outside ROARS with effort, the entire shed is suddenly RIPPED right up off of her, and she looks up - - into her father's eyes. KELLY Dad! MALCOLM Come on! He grabs her by the hand and they take off down the street. ON THE ROOFTOP, Sarah emerges at the top of the water tower structure and leaps onto the roof, into Nick's arms. NICK Where's Kelly? SARAH Where's Ian? Eyes wide with panic, they both turn and look down at the street below, where they see KELLY and MALCOLM, racing at top speed down the middle of the street - - WITH A VELOCIRAPTOR CHASING THEM. DOWN IN THE STREET, Malcolm and Kelly have a twenty yard advantage on the animal. They're pretty fast, but it's faster. Above them, Nick and Sarah are at the edge of the roof, SHOUTING and urging them on. They push it, faster. They reach the base of the fallen water tower, the jumble of struts and metal poles that Sarah climbed. MALCOLM CLIMB! Kelly leaps ahead of him and grabs hold of one of the poles, pulling herself neatly up to her feet and reaching for the next one. Malcolm stretches and makes the same effort, but for him it's much harder. Below them, the raptor springs and SLAMS into the struts, shaking the whole structure. It pulls itself up. Higher up, Kelly climbs fast, hands gliding over the poles. She breaks out into the open, where a long, narrow pole runs on a slight incline up to the roof. She scampers across it, running the balance beam. She reaches the other side, on a ledge below the roofline, and looks back. Malcolm is at the other end, hesitating, drained, breathing hard. KELLY DAD, COME ON! Below him, the raptor closes in. Malcolm sets out across the beam, his legs shaking. He places his feet carefully, he does n't have nearly the balance Kelly did. The raptor draws closer. KELLY -LRB- cont'd. -RRB- FASTER! Malcolm slips. One foot twists right off the bar and he spins, arms flailing, trying to regain his tenuous balance. But he overcompensates and his whole body, wrenches out from under him. He falls, the bar SMACKS him hard in the chest, knocking the wind out of him, and he drops, flipping right off the bar and bouncing painfully through the maze of bars below. He drops right past the pursuing velociraptor, CRUNCHING to a halt in a nest of bars ten feet off the ground, probably cracking a rib. Kelly SCREAMS from above him. KELLY -LRB- cont'd. -RRB- DAD! She stares down in horror at her father. Wrenched in among the bars, Malcolm is helpless as the animal crouches only six feet above him now, with an open attack route. The animal SNARKS and goes into its pre - attack crouch. Up above, Kelly wipes the palms of her hands on her jeans and leaps out into space, grabbing hold of one of the bars. The raptor springs. Kelly spins around, over the top of the bar, and, at the very peak of her trajectory, she lets go. The raptor sails through down from above, feet first, SLAMMING both of them squarely into the raptor's side, sending it hurtling into space. She lands hard and awkwardly, CLANGING into the spidery scaffolding next to Malcolm as the raptor SMASHES to the ground below. But Kelly manages to hold on. KELLY GET UP! She grabs hold of Malcolm and pulls him to his feet. ON THE ROOF, Kelly and Malcolm appear over the roofline. The PILOTS SHOUTS from inside. PILOT LET'S GO LET'S GO LET'S GO! Malcolm and Kelly scramble toward the helicopter. But at the opposite side of the roof, a RAPTOR claws its way over the edge as well. Malcolm sees it and they lunge for the helicopter, but the animal is far faster. It's only ten feet away, then five, they're surely done for this time, when - - KA - BOOM! There comes the loudest single gunshot anyone has ever heard, and the raptor flies off its feet and lands ten feet across the roof, dead. They look up, to the source of the gunshot. It's ROLAND, standing at the edge of the roof, holding his smoking.600 Nitro Express. But there's no time for celebration, as suddenly the helicopter's left skid CRACKS right through the surface of the roof. PILOT HURRY! THE ROOF'S GIVING WAY! The skid dips even further, ripping right through the thatch - and - wood construction. Kelly, who had one foot in the helicopter, loses her balance - - as the roof caves in beneath her. MALCOLM KELLY! She falls, SCREAMING, through the hole and down, into the building below. ONE FLOOR DOWN, Kelly lands with a CRUNCH on the floor immediately below the roof, about nine feet down. But her landing is cushioned by an inordinate amount of straw and leaves that have been arranged there. She lifts one hand, and a yellowy, viscous substance drips off of it. It's yolk. She looks around, noticing half a dozen large, oblong shapes. Eggs. Above her, Malcolm is scrambling, climbing down to her through the wreckage of the CREAKING, crumbling roof. MALCOLM Kelly! I'm coming! Kelly climbs to her knees, but behind her, a large, dark shape is moving. Rising. Unfolding, in a way. IT'S A PTERANODON. Yep, flying dinosaur. The enormous animal raises its head, a brilliant blue crest extending two feet behind its long, saber - like beak. It SQUAWKS at Kelly in fury. She can only stare, spellbound. Malcolm reaches her and grabs hold as the angry animal unfurls its massive twenty - two foot wingspread. ON THE ROOF, the helicopter lurches as it sinks further into the crumbling roof, and now the skids are getting tangled in the debris. Roland races over to the hole, climbs in a few feet, and starts kicking at it, making it larger. ROLAND Give me a ladder! IN THE PTERANODON NEST, Malcolm tries to haul Kelly back up the way he came, but a SECOND PTERANODON now appears from the depths of the building, SCREECHING in fury at these invaders who have landed in the middle of their clutch of eggs. An emergency rescue ladder drops through the hole in the roof. Malcolm grabs Kelly with one arm and the ladder with the other and they start to climb out of the nest. ON THE ROOF, Malcolm and Kelly climb the ladder and are pulled into the belly of the chopper just as two enormous beaks break through the surface of the roof around them. The pteranodons are emerging. MALCOLM GO GO GO GO GOG GO! The helicopter lurches up a few feet, but it yanked to an abrupt stop. The engines WHINE, the chopper just hovers there. PILOT We're snagged on something! They loos down. BOTH PTERANODONS have come out through the hole in the roof and are clinging to the skids of the helicopter. They flap their gigantic wings in unison, and drag the helicopter off, into the air, away from the nest - - and let go. Freed, the helicopter gains altitude quickly. IN THE HELICOPTER, the PILOTS gape as the pteranodons coast along, right next to the helicopter. PILOT Hang on! If I tip it hard, I can cut'em with the rotors! SARAH NO! Do n't! They're not attacking! They look out the windows, where, indeed, the magnificent animals are merely accompanying them, flying escort as the chopper gains altitude. SARAH -LRB- cont'd. -RRB- They're protecting their nest. That's all. That's all they're doing. Kelly, completely drained, sits between Sarah and Malcolm, each of whom has a protective arm around her. She sags against her father's chest, nothing left. He holds her tight and WHISPERS in her ear. MALCOLM Thank you. Kelly, thank God. Thank God for you. IN THE NIGHT SKY, over the island, the helicopter steadily gains altitude. A hundred feet. Three hundred. A thousand. As the helicopter is clearly leaving the island, the pteranodons now peel off, their job done. One of them banks sharply, right in front of the moon. The moonlight silhouettes it, shining right through its membranous wings, lighting it up like a Halloween skeleton. Below, the tiny green island melts away into the vastness of the wine - dark sea.","EXT. TYRANNOSAUR NEST - NIGHT Elsewhere in the forest, it's not such a happy story. PETER LUDLOW, still alive, drops through the air and CRUNCHES to the muddy ground. Dizzy, bleeding, the breath knocked out of him, he opens his eyes and sees a sloping bank of dried mud. From behind him, he hears a CHIRPING sound. He turns. He's in the tyrannosaur nest. The BABY TYRANNOSAUR faces him, still with a strange aluminum - foil cast on its leg. The baby SQUEAKS with excitement as it toddles toward him. Ludlow scrambles to his feet, unsure what to do. Both ADULT TYRANNOSAURS stand outside the nest, staring down at him. The baby runs toward Ludlow, so he turns and runs away. But in an instant, the male brings its head down, knocking Ludlow to the ground. Then it raises its head again. Watching. Waiting. Ludlow gets up again and tries to run, but now the female rex strikes, knocking him over again. Ludlow tries to crawl away, on all fours. The male bends down and closes its jaws around one of his legs, holding it tightly. Ludlow SCREAMS - - and the rex bits down decisively. The bone breaks with a dry SNAP. Ludlow HOWLS in pain, unable to move, and the baby toddles forward eagerly. Ludlow can only stare as it leaps up, onto his chest, and opens its jaws wide. Peter Ludlow SCREAMS.","EXT. CEMETERY - DAY Snow falls in a gray midwinter sky. In a cemetery, a group of fifty MOURNERS is grouped around a gravesite next to a coffin that is festooned with cascades of flowers. On a table, there is an array of framed photographs - - of JOHN HAMMOND. A MINISTER reads from the Bible while the Mourners wipe away tears. IAN MALCOLM stands a respectful distance from the group, KELLY right beside him. Malcolm's face is blank, tired, his sunburn out of place with the white winter setting around him. At gravesite, a Young Woman turns, looking back over her shoulder. About sixteen, she's lovely, with long blonde hair and an honest, open face. She notices Malcolm, recognizes him. She nudges a Young Man next to her, about thirteen years old. The Young Man turns and breaks into a smile just as welcoming. As the ceremony breaks up, they walk over to him. MALCOLM Hello, Lex. Tim. LEX stands on her tiptoes and kisses Malcolm on the cheek. TIM extends a hand and Malcolm shakes it. MALCOLM -LRB- cont'd. -RRB- This is Kelly. My daughter. They nod their hellos. LEX I'm glad you came, Dr. Malcolm MALCOLM I'm sorry about your grandfather. TIM Thank you. LEX We were going to call you, in a few days. Tim and I have been thinking, and we've decided we want people to know about the island. About what we all saw. TIM We think it's something our grandfather would want us to do. MALCOLM -LRB- pause. -RRB- Why? LEX Because it's true. Malcolm looks at her for a long moment. MALCOLM I know, Lex. But even if we're the only ones who ever know, it'll still be true. You see, I've decided that if the world found out about what your grandfather created, it would n't be around for very long. LEX But - it was real. You ca n't let people go on saying it's not. MALCOLM That's the thing about reality. He looks down at Kelly. MALCOLM -LRB- cont'd. -RRB- Even when people stop believing in it, it does n't go away. Kelly smiles and takes his hand, her slender fingers interlocking with his.","EXT. JUNGLE - DAY Back on Isla Sorna, we float over the deserted worker village, moving lightly, as in a dream. MALCOLM -LRB- V.O. -RRB- Do you feel the cold wind blowing on your face? That's real. We sweep low, landing on the roof the helicopter took off from, the nest below now careful rebuilt with straw and scrap, a dozen unblemished eggs in the middle of it. MALCOLM -LRB- V.O. -RRB- Do you see the four of us, standing here together, alive? That's real. A PTERANODON land gently on the nest. Ever so carefully, it positions itself over the eggs, lowers itself to roosting position, and folds its giant wings around its body. MALCOLM -LRB- V.O. -RRB- And maybe that's still that matters. The animal raises its head, opens its beak, and SQUAWKS approvingly up at the heavens. FADE OUT"],"string":"[\n \"EXT. TROPICAL LAGOON - DAY A 135 - foot - luxury yacht is anchored just offshore in a tropical lagoon. The beach is a stunning crescent of white sand at the jungle fringe, utterly deserted. ISLA SORNA, 87 miles southeast of Nublar. Two SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service - fine china, silver, crystal decanters with red and white wine. PAUL BOWMAN, fortyish, sits in a chair off to the side, reading. MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her eyes done more than once, supervises the settings of the table. She looks up and sees a little girl, CATHY, seven or eight years old, wandering off down the beach. MRS. BOWMAN Cathy! Do n't wander off! Cathy keeps wandering. MRS. BOWMAN -LRB- cont'd. -RRB- Cathy, come back! You can look for shells right here! Cathy gestures, pretending she ca n't hear. BOWMAN -LRB- eyes still in his book. -RRB- Leave her alone. MRS. BOWMAN What about snakes? BOWMAN There's no snakes on a beach. Let her have fun, for once. FURTHER DOWN THE BEACH, Cathy keeps wandering away, MUTTERING to herself as her parents' quarreling voices fade in the distance. CATHY Please be quiet, please be quiet please be quiet. Rounding a curve in the beach, her parents disappear from view behind her. A RUSTLING sound draws her attention, and she turns, toward where the thick jungle foliage gives way to the sand. A large bush, maybe twelve feet tall, is moving, its branches swaying and shaking. Curious, Cathy walks up to the bush, which abruptly stops moving. A small, lizard - like animal, dark green with brown stripes along its back, steps out from the bush. Only about a foot tall, it stands on its hind legs, balancing on its thick tail. It walks upright, bobbing its head like a chicken. CATHY Well, hello there! The animal -LRB- a COMPSOGNATHUS -RRB- just stares at her. Cathy squats down on her haunches. CATHY -LRB- cont'd. -RRB- What are you? A little bird or something? She opens her hand. She's got a handful of goldfish crackers. CATHY -LRB- cont'd. -RRB- Are you hungry? You want a goldfish? The compy bobs forward a few steps, cautiously. CATHY -LRB- cont'd. -RRB- Come on. I wo n't hurt you. The compy draws closer. Cathy holds the cracker in the palm of her hand. The compy gets closer still - - and hops numbly up onto Cathy's palm. Her arm dips a bit under the weight, but it's not that heavy, and she holds it up easily. It bobs its head, scarfs up the goldfish, and eats it. Enchanted, Cathy breaks into an enormous grin and returns her hand, calling back over her shoulder. CATHY -LRB- cont'd. -RRB- Mom! Dad! You got ta come see this! I found something! She turns back. Thirty more compys have come out onto the sand. They're standing there, bobbing anxiously, staring at her from a few feet away. Cathy's smile fades. She turns her head slowly to the right. TWENTY MORE COMPYS have come in from that side, forming a semi - circle, bobbing and CHIPPING as they surround her. CATHY -LRB- cont'd. -RRB- -LRB- terrified. -RRB- What do you guys want? BACK ON THE BEACH, the table is set. Mrs. Bowman calls out. MRS. BOWMAN Cathy, sweetheart! Lunch is ready! From around the curve of the beach, a flock of birds bolts from the jungle trees as Cathy's shrill SCREAMS suddenly pierce the air. MRS. BOWMAN PAUL! She takes off, running down the beach, Mr. Bowman leaps out of his chair and follows, and all available deck hands race off to help, kicking up geysers of sand behind them. DOWN THE BEACH, Mrs. Bowman stops dead in her tracks when she rounds the bend in the beach. We do n't see what she sees, but we hear the frenzied SQUEAKING of the strange compys. Mr. Bowman and the Hands race past her to help Cathy as Mrs. Bowman lets loose a horrified, slack - jawed SCREAM, her mouth a perfect oval.\",\n \"INT. BOARD ROOM - DAY Mrs. Bowman's screaming face dissolves slowly over the YAWNING face of a bored CORPORATE EXECUTIVE, TWENTY OTHER EXECUTIVES sit around a conference table in the boardroom of a monied corporation. All are in expensive suits, most are over sixty. There are rows of BACKBENCHERS too, whispering in their lawyers who sit behind their clients, whispering in their ears. Empty coffee cups and fast food containers on the table hint that everyone's been here a long time. A familiar VOICE resounds through the boardroom as we move down the long table, pat the grim faces of the board members. VOICE -LRB- O.S. -RRB- The hurricane seemed like a disaster at the time, but now I think it was a blessing, nature's way of freeing those animals from their human confines. Of giving them another chance to survive, but this time as they were meant to, without man's interference. The source of the voice is JOHN HAMMOND, the founder of InGen and creator of Jurassic Park. But he's not in the room. His image is on a closed circuit TV screen, which has been wheeled up to the end of the table. And he does n't look good. He's terribly infirmed, propped up in bed, his face pale and drawn, medical equipment BEEPING around him. HAMMOND -LRB- cont'd. -RRB- There are some corporate issues that are not about the bottom line. We have so much still to learn about those creatures. A whole world of intricate, interlocking behaviors, vanished everywhere - except for Site B. Please. Let's not do what is good for more men at the expense at what is best for all mankind. The CHAIRMAN, seventyish, nods awkwardly to the television. CHAIRMAN Thank you, John. Mr. Ludlow? He turns to PETER LUDLOW, late thirties, a man with the anxious look of someone who insists the buck stop on his desk. Ludlow flips open a file, pulls out a stack of black and white eight by tens, and tosses them on the table. LUDLOW -LRB- an accent similar to Hammond's. -RRB- These pictures were taken in a hospital in Costa Rica forty - eight hours ago, after an American family on a yacht cruise stumbled onto Site B. The little girl will be fine, but her parents are wealthy, angry, and very fond of lawsuits. But that's hardly new to us, is it? -LRB- takes a paper from the file. -RRB- Wrongful death settlements, partial list : family of Donald Gennaro, 36.5 million dollars ; family of Robert Muldoon, 12.6 million. Damaged or destroyed equipment, 17.3 million. Demolition, de - construction, and disposal of Isla Nublar facilities, organic and inorganic, one hundred and twenty - six million dollars. The list goes on, gentlemen - research funding, media payoffs. Silence is expensive. He's warming up. Not a bad performer. LUDLOW -LRB- cont'd. -RRB- This corporation has been bleeding from the throat for four years. You, our board of directors, have set patiently and listened to ecology lectures while Mr. Hammond signed your checks and spent your money. You have watched your stock drop from seventy - eight and a quarter to nineteen flat with no good and in sight. And all along, we have held a significant product asset that we could have safely harvested and displayed for profit. Enormous profit. He reaches out to a model on the table and gives it a shove, sending it sliding down the length of the table in front of them. It's a mini - mall version of a zoo. Cages hold tiny replicas of various kinds of dinosaurs while Boy Scout troops and Tourists look on in wonder. LUDLOW -LRB- cont'd. -RRB- Enough money to wipe out four years of lawsuits and damage control and unpleasant infighting, enough to not only send our stock back to where it was but to double it. And the one thing, the only thing standing between us and this asset is a born - again naturalist who happens to be our own CEO. Well, I do n't work for Mother Nature. I work for you. Two of his Backbenchers distribute documents from a stack. Ludlow takes one and reads from it. LUDLOW -LRB- cont'd. -RRB- `` Whereas the Chief Executive Officer has engaged in wasteful and negligent business practices to further his own personal environmental beliefs - Whereas these practices have affected the financial performance of the company by incurring significant losses - Whereas the shareholders have been materially harmed by these losses - Thereby, be it resolved that John Parker Hammond should be resolved from the office of Chief Executive Officer, affective immediately.'' Mr. Chairman, I move the resolution be put to an immediate vote. Do I have a second? BOARD MEMBER I second the motion, Mr. Chairman, Please poll the members by a show of hands. The CHAIRMAN signs heavily, feeling like a traitor. He ca n't bear to look at Hammond on the TV monitor. CHAIRMAN All those in favor of InGen Corporate Resolution 213C, please signify your approval by raising your right hand. It starts slowly, guiltily, but every hand in the room goes up. Ludlow sits back, victorious. Hammond, furious, raises his right hand, which holds a remote control, and points it at the TV screen. It goes blank.\",\n \"EXT. WELDER'S YARD - NIGHT Sparks fly out the windows and doors of a shed in the middle of a welder's yard. Scrap iron and steel lies everywhere. Somewhere inside the shed, a phone RINGS. The WHOOSH of the arc welder shuts off. DIETER STARK, a big barrel - chested man of forty or so, his face streaked with soot and grime, steps outside with a cordless phone, a cigarette dangling from his lips. DIETER Yeah. He takes a deep drag while someone talks on the other end. He smiles and blows out a cloud of smoke.\",\n \"INT. NEW YORK SUBWAY - NIGHT Smoke turns into steam as a subway THUNDER into a station underneath Manhattan. The door WHOOSH open, spit out some COMMUTERS and suck up a few more. A tall man hurries down the platform, limping heavily, moving as fast as he can. The subway doors begin to close, but just before they meet - - the man jams a cane in between, stopping them. The man is IAN MALCOLM, fortyish, dressed in black from head to toe. There's a hard wisdom in Malcolm's eyes that may not have been there's a few years ago - he know what you think, and he does n't care.\",\n \"INT. SUBWAY CAR - NIGHT MALCOLM finds a seat on the crowded subway car and sits down. He looks awful. Tired. Weathered. He notices a CURIOUS MAN across from his is staring at his. Malcolm looks away. The Curious Man still stares. Nervy, the Curious Man gets up and approaches. MALCOLM -LRB- under his breath. -RRB- Shit. The Curious Man sits down next to Malcolm, grinning. MAN You're him, are n't you? MALCOLM Excuse me? MAN The guy. The scientist. I saw you on TV. -LRB- conspiratorially. -RRB- I believed you. No response from Malcolm. The guy leans in even closer. MAN -LRB- cont'd. -RRB- Roooooarr. MALCOLM -LRB- a withering look. -RRB- I was misquoted. I was merely speculating on the evolutionary scenario of a Lost World. I never said I was in any such place. He gets up and moves to another seat on the car, away from the Curious Man. As he sits down, he notices two other COMMUTERS across from him are staring at him. He looks at them. They looks away. He pulls the collar of his coat up tight around him. Nowhere to hide.\",\n \"INT. JOHN HAMMOND'S APARTMENT - NIGHT A UNIFORMED BUTLER has a question : BUTLER Whom shall I tell Mr. Hammond is calling? MALCOLM stands in the foyer of an expensively decorated Park Avenue apartment. MALCOLM Ian Malcolm A door opens and a little dog comes YAPPING out of the back. It bounds straight at Malcolm, GROWLING, jaws SNAPPING. It lunges - - and Malcolm BATS it away with one swift swing of his cane. The dog rolls across the floor and slinks away, WHINING. The Butler looks at Malcolm disapprovingly. BUTLER Not an animal lover? MALCOLM Not really.\",\n \"INT. HAMMOND'S BEDROOM - NIGHT MALCOLM enters a darkened bedroom. JOHN HAMMOND lies in the bed we saw earlier, on the other side of the room ; Medical equipment has been disguised as well as possible among the furniture and flowers, but the sheer abundance of it tells us that whatever has stricken him is going to win this battle. HAMMOND Ian! Do n't linger in the doorway like an ingenue, come in, come in! Malcolm steps further into the room. HAMMOND -LRB- cont'd. -RRB- It's good to see you. It really is. How's the leg? MALCOLM Resentful. HAMMOND When you have a lot of time to think, it's funny who you remember. It's the people who challenged you. It is the quality of our opponents that gives our accomplishments meaning. I never told you how sorry I was about what happened after we returned. Noticing Hammond's deteriorated condition, Malcolm finds it hard to sustain anger. MALCOLM I did n't know you - were n't well. HAMMOND It's the lawyers. The lawyers are finally killing me. MALCOLM They do have motives. Why did you want to see me? Your message said it was urgent. HAMMOND You were right - and I was wrong. There! Did you ever think you'd hear me say that? Spectacularly wrong. Instead of observing those animals, I tried to control them. I squandered an opportunity and we still know next to nothing about their lives. Not their lives as man would have them, behind electric fences, but in the wild. Behavior in their natural habitat, the impossible dream of any paleontologist. I could have had it, but I let it slip away. -LRB- pause. -RRB- Thank God for Site B. Malcolm just looks at him for a long moment. MALCOLM What? HAMMOND -LRB- a spark in his eye. -RRB- Well? Did n't it all seem a trifle compact to you? MALCOLM What are you talking about? HAMMOND The hatchery, in particular? You know my initial yields had to be low, far less than one percent, that's a thousand embryos for every single live birth. Genetic engineering on that scale implies a giant operation, not the spotless little laboratory I showed you. MALCOLM I do n't believe you. HAMMOND Isla Nublar was just a showroom, Ian, something for the tourists, Site B was the factory floor. We built it first, on Isla Sorna, eight - some miles from Nublar. MALCOLM No, no, no, no, no, no. HAMMOND After the accident at the park, a hurricane wiped out our facility on Site B. We had to evacuate and leave the animals to fend for themselves. And they did. For four years I've fought to keep them safe from human meddling, now I want you to go there and document them. MALCOLM Are you out of your mind? I still have nightmares, my reputation's a joke, my leg is shot - you think I need more of that? HAMMOND It would be the most extraordinary living fossil record the world has ever seen. MALCOLM So what? Hammonnd picks up a thick file folder from the night table near to him and open it on his lap. Inside, there are memos, charts, maps and photographs. HAMMOND I've been putting this together for over a year. I have personal suggestions for your entire team, phone numbers, contact people. They wo n't believe you about what they're going to see, so do n't bother trying to convince them. Just use my checkbook to get them there. I'll fund your expedition through my personal accounts, as such money and equipment as you need, but only if you leave immediately. If we hesitate, all will be lost. MALCOLM John. HAMMOND You'll need an animal behaviorist, someone with unimpeachable credentials. I believe you already know Sarah Harding. She's got theories about parenting and nurturing among hunter/scavengers I bet she'd be dying to prove on a scale like this. If you convince her to go, it'll be a major coup. When she publishes, the scientific community must take it seriously. Malcolm just shakes his head, flipping through the file sadly. HAMMOND Your documentation, you should use forensic photographic methods, Hasselbladt still cameras, high definition video. When the trick photography analysts take your evidence apart, make it impossible for them to say there was enhancement or computer graphic imaging. Oh, this is very important - avoid the island interior at all costs. Stick to the outer rim. Everything you need to know can be found there. Vindication lies on the outer rim. Malcolm gently closes the file and pushes it back to Hammond. MALCOLM I'm not going, John. HAMMOND -LRB- fatigue returning. -RRB- Ian, you are my last chance to give something of real value to the world. I ca n't walk so far and leave no footprints ; die and leave nothing with my name on it. I will not be known only for my failures. And you will not allow yourself to go down in history as a lunatic. You're too smart. You'e too proud. Dr. Malcolm. Please. This is a chance at redemption. For both of us. There's no time to equivocate, we must seize it now, before - He stops, staring over Malcom's shoulder. Malcom turns. PETER LUDLOW, still in his overcoat, is standing in the doorway to the bedroom. He looks back and forth from Hammond to Malcolm suspiciously. LUDLOW Hello, Uncle John. Dr. Malcolm. Malcolm does n't answer. He seems to know Ludlow, and dislikes him. LUDLOW -LRB- cont'd. -RRB- Did I interrupt something? Malcolm turns back to Hammond. MALCOLM Find someone else.\",\n \"INT. HAMMOND'S APARTMENT/FOYER - NIGHT In the foyer, LUDLOW hands MALCOLM his coat, just a trifle rudely, and shepherds him to the door. LUDLOW So, you two were just, uh, telling old campfire stories, were you? MALCOLM Do me a favor. Do n't pretend for a second that you and I do n't know the truth. You can convince Time magazine and the Skeptical Inquirer of whatever you want, but I was there. LUDLOW You signed a non - disclosure agreement before you went to the island that expressly forbade you from discussing anything you saw. You violated that agreement. MALCOLM You cost me my livelihood. That on which I relied to support my children. LUDLOW If your university felt you were causing it embarrassment by selling wild stories to Hard Copy, I hardly see how I am to - MALCOLM I did n't tell anything, I told the truth. LUDLOW You version of it. MALCOLM There are no versions of the truth! This is n't a corporate maneuver, it's my life. LUDLOW We made a generous compensatory offer for your injuries. MALCOLM It was a payoff and an insult. InGen never - LUDLOW InGen is my livelihood, Dr. Malcolm, and I will jealously defend its interests. People will know what I want them to know when I want them to know it. Ludlow tosses something to Malcolm, hard. It sails across the foyer, upright, and Malcolm reaches out and catches it with one hand. It's his cane. LUDLOW -LRB- cont'd. -RRB- Do n't forget that. Malcolm stares at him for a long moment. Finally, he turns and walks away. But he does not out of the apartment. Instead, he walks directly past Ludlow, crosses the living room, and steps back into Hammond's bedroom, closing the door behind him with a determined CLICK.\",\n \"INT. HAMMOND'S BEDROOM - NIGHT HAMMOND looks up, hopeful, as MALCOLM comes back into the room and walks over to his bed. He reaches down - - and picks up the file folder. MALCOLM Do you have a satellite phone?\",\n \"INT. MOMBASSA BAR - DAY ROLAND TEMBO, late sixties, skin like leather and the diamond hard look of a cobra, sits at a table in the middle of an African cafe/bar in Mombassa. It's daytime and the place is half full, mostly with locals, but there are a few obnoxious TOURISTS too, Americans on safari who somehow found the local handout. They're a noisy bunch, but Roland tunes them out, calmly eating his lunch and drinking a beer while he reads a book, eyeglasses hanging low on his nose. Roland suddenly stops reading and furrows his brow. He looks up. He SNIFFS the air once, then smiles and calls out a person's name. ROLAND Ajay? He turns around. AJAY -LRB- AH - jay -RRB- SIDHU, a wiry East Indian in his late forties, is standing behind him, caught trying to sneak up. AJAY -LRB- delighted. -RRB- How did you know? ROLAND -LRB- taps his nose. -RRB- That cheap aftershave I send you every Christmas, you actually wear it. I'm touched. Sit down, sit down, what brings you to Mombassa? AJAY You. Tell me, Roland, when was the last time you answered your phone? ROLAND Last time I plugged it in, I suppose. Why? Behind them, the group of TOURISTS, all men, laughs loudly. One of them, the MOST OBNOXIOUS TOURISTS, berates the WAITRESS. AJAY I got a call from a gentleman who's going to Costa Rica, or thereabouts. If he's to be believed, it's a most, uh, unique expedition. And very well - funded. ROLAND Well, I'm a very well - funded old son of a bitch. You go. The Most Obnoxious Tourist bellows for the Waitress. His buddies LAUGHS. Roland throws a glance, annoyed. AJAY But alone? We always had great success together, you and I. ROLAND Just a little bit too much, I think. AJAY How do you mean? ROLAND A true hunter does n't mind if the animal wins. If it escapes. But there were n't enough escapes from you and me, Ajay. I've decided to spend a bit less time in the company of death. Maybe I just feel too close to it my - The Waitress comes to the Tourists' table and the Most Obnoxious Tourist actually paws her ass. Roland is out of his chair in a second. ROLAND -LRB- cont'd. -RRB- -LRB- to Ajay. -RRB- Excuse me. Romand walks over to the Tourists' table, says something to the Waitress in the local dialect, and she walks away, behind him. He stares down at the Most Obnoxious Tourist. ROLAND -LRB- cont'd. -RRB- You, sir - are no gentleman. TOURIST Is that supposed to be an insult? ROLAND I can think of none greater. The Tourist looks at his Buddies and laughs. TOURIST Buzz off, you silly old bastard. ROLAND What do I have to do to pick a fight with you, bring your mother into it? TOURIST Are you kidding? I could take you with one arm tied down. ROLAND Really? IN THE MIDDLE OF THE FLOOR, the Waiter finishes tying a man's wrist to his belt in the back of his pants with a napkin. He pulls the knot tight and the man turns around. It's Roland, with his arm tied down. The Tourist stands across from him. TOURIST I mean my arm. POW! Roland punches him square in the jaw. The Tourist reels, stunned. Enraged, he lunges at Roland, swinging with both arms. Roland bobs, neatly ducking the punches, waits for the Tourist to turn around, and POPS him thrice in the face. The Tourist spins and goes down to the floor, face first. A cloud of sawdust and a loud CHEER from the locals rise up in the bar. BACK AT HIS TABLE, Roland drops the napkin on the table and sits back down with Ajay. In the background, the Tourist's Buddies hurriedly carry their fallen cohort out of the bar. ROLAND Sorry. We were saying? AJAY You broke that idiot's jaw for no reason other than your boredom. Tell the truth, Roland. Are n't you even interested in knowing this expedition's quarry? ROLAND Ajay. Go on up to my ranch, take a look around the trophy room, and tell me what kind of quarry you think could possibly be of any interest to me. Ajay just smiles.\",\n \"EXT. AFRICAN SAVANNAH - NIGHT The African savannah appears in shades of fluorescent green, seen through night - vision goggles. An ANIMAL YELP comes from the left and the green vista sweeps abruptly toward it. The world blurs momentarily, then comes into focus on a field of long grass. The grass ripples in a complex pattern as animals move stealthily through it. One animal head pops up above the grass for a split - second, teeth bared, a white stripe between its eyes. SARAH HARDING pulls the goggles away from her face. SARAH Hyenas. Ace Face is the striped snout. Sarah is thirty, with a compact, athletic body built for the outdoors. She loos through the goggles again, sweeping ahead of the hyenas to their prey. It's a herd of African buffalo, standing belly - deep in the grass, agitated, bellowing and stamping their feet. Sarah turns to MAKENA, her African assistant. SARAH -LRB- cont'd. -RRB- They'll try to take down a calf. Come on. MAKENA Closer? Sarah scurries up and over a rock face. Makena follows. Closer now, they watch as the hyenas rush the herd, running through it, trying to break it up. MAKENA -LRB- cont'd. -RRB- You know, we could see everything from up on the edge of that cliff. SARAH No way. MAKENA But the view would - SARAH No cliffs. -LRB- into a pocket recorder. -RRB- F1 headed sough, F2 and F5 flanking, twenty yards. F3 center. F6 circling wide east. Ca n't see F7. While she talks, breathless, fascinated by the drama before her, Sarah continues to creep closer and closer to the action. Makena follows, with growing unease. MAKENA Sarah. SARAH F8 circling north. F1 straight through, disrupting. Herd moving, stamping. There's F7. Straight through. F8 angling through from the north. She's practically on top of the animals now. MAKENA Dr. Harding. Makena has a hold of Sarah's sweatshirt and is tugging her back, at least trying to slow down her progress as Sarah, wide - eyed with fascination, creeps even closer. Suddenly there is a tremendous BELLOWING and the grass right in front of them rips apart, trampled under the feet of the hyenas as they cluster around a fallen buffalo calf. They yelp and jump, their muzzles bloody. The adults move aside, making room as the hyena pups come forward, squealing to get at the kill. Sarah's eyes shine with excitement and she moves even closer, whispering into the tape recorder. SARAH Brooding behavior in evidence at the kill site, pups are ushered forward and adults help them eat, pulling flesh away from the carcass and - A telephone rings. Sarah stops in mid - sentence, unsure if she heard what she thought she heard. It rings again, the unmistakable CHIRPING of a cellular phone. Sarah and Makena both move at once, pawing at a backpack. SARAH -LRB- cont'd. -RRB- -LRB- a frantic whisper. -RRB- I thought you turned it off! Two hyenas look inquisitively in the direction of the phone. Sarah comes up with it and jabs at a button in irritation. SARAH -LRB- cont'd. -RRB- Yes?! Someone speaks on the other end. Sarah rolls her eyes. SARAH -LRB- cont'd. -RRB- Ian. This better be important. Sarah does n't say anything for a long moment, just listens as the voice on the other end talks. And talks. SARAH -LRB- cont'd. -RRB- When?\",\n \"INT. MOBILE FIELD SYSTEMS - DAY Ian Malcolm's leg, badly scarred, is bared and draped over the end of a bench. Two sandbags are fastened to his ankle and MALCOLM is lifting them, painfully rehabbing his injury while talking on a satellite phone. MALCOLM We leave in twenty - four hours. Five member team. Behind them, the SPARKS of a acetylene torch fly as WORKMEN make modifications on several vehicles, including a dark - green Mercedes Benz AAV -LRB- all - activity vehicle -RRB-. The hood of the AAV is up and the V - 6 engine has been pulled out ; a new, smaller engine is lowered in its place. To one side are two long trailers, connected by an accordion - like passageway, like on a subway car, allowing one to be towed behind the other. MALCOLM Eddie Carr's handling all our equipment and he'll be there to maintain it. He's designing special field trailers now, top of the line mobile research units. EDDIE CARR, fortyish, is barking out orders to the Workmen. EDDIE No, no, look at the plans, Henry, you ca n't place that strut laterally, it has to be crosswise, LOOK AT THE PLANS! From the ceiling, a large metal age CRASHES down, landing next to them on the floor with a deafening CLANG. They leap back and look up. A WORKMAN waves from a scaffolding. WORKMAN Sorry, Eddie! Specs say it ca n't deform at 12,000 PSI, we had to test it Eddie bends down to inspect the cage, which is rectangular, constructed of inch - thick titanium - alloy bars. Malcolm hangs up the phone and walks up, joining him. MALCOLM Any damage? EDDIE Minimal. MALCOLM `` Minimal'' is too much. It has to be light, it has to be strong - EDDIE Light and strong, light and strong, sure, why not, it's only impossible. God save me from academics. MALCOLM You are an academic. EDDIE Former academic. Now I actually make things. I do n't just talk. MALCOLM You think I'm all talk, Eddie? EDDIE -LRB- does n't look at him. -RRB- It does n't matter what I think. MALCOLM Is there anything we've forgotten? Anything at all? Behind them, someone CLEARS THEIR THROAT. Eddie and Malcolm turn around. KELLY MALCOLM, an African - American girl around twelve years old, stands in the doorway to the garage, a duffel bag slung over one shoulder. She looks at Malcolm and breaks into a wide grin. KELLY Hi, Dad. MALCOLM Kelly! What are you doing here? She drops the bag on the floor, and wraps her arms around him in a warm embrace. He responds stiffly. KELLY Vacation. I'm all yours. You did n't forget, did you? She pulls back and looks at him. KELLY -LRB- cont'd. -RRB- Did you?\",\n \"INT. EDDIE'S OFFICE - DAY KELLY is slumped in a chair in Eddie's office next to the construction floor. Outside the glass windows work on the vehicles continues unabated. MALCOLM hangs up the phone. MALCOLM Okay, Karen is expecting you in half an hour. You only have to stay with her one night, she'll put you on a bus in the morning and your mother will be at the station when you get there. KELLY I do n't even know this woman. MALCOLM Well, I do, and she's fantastic. She'll take you to the museum, maybe to a movie if you play your cards right. You're going to have a fantastic time. KELLY Stop saying fantastic. Where are you going? MALCOLM I ca n't tell you. But I'll be back within a week. KELLY My vacation is over in a week. MALCOLM I'll make it up to you this summer. I promise. KELLY I'm your daughter all the time, you know. Not just when it's convenient. MALCOLM Very hurtful. Your mother tell you to say that? KELLY No, Dad. I have thoughts of my own once in a while. From the construction floor, EDDIE calls out. EDDIE -LRB- o.s. -RRB- Dr. Malcolm! Malcolm looks at her, trying to make peace. Quickly. MALCOLM Is that kid still bothering you? KELLY Which one? MALCOLM You know, at the bus stop. With the hair? KELLY That was about a year ago. MALCOLM Well, is he? KELLY No. Richard talked to his parents. MALCOLM That Richard. EDDIE -LRB- o.s. -RRB- Ian, come here a minute! KELLY -LRB- to Malcolm. -RRB- I could come with you. MALCOLM Out of the question. You'd miss the gymnastics trials. You've been training for that for a year. KELLY I do n't care about the trials, I want to be with you. I could be your research assistant, like I was in Austin. MALCOLM This is nothing like Austin. Forget about it. KELLY You like to have kids, you just do n't want to be with them, do you? He looks at her, hurt. Eddie calls out a third time, impatient now. Grateful for the escape, Malcolm gets up and heads for the door. He pauses guiltily. MALCOLM I'm not like you wan me to be. I've what I can be. He leaves.\",\n \"INT. MAIN FLOOR - DAY While MALCOLM and EDDIE argue over something in the background, KELLY circles around the trailers and looks up at the windows. They're all made of tempered glass, fine wire mesh inside it. She looks around, to see if anybody's watching. They're not, so she quickly slips inside the front trailer.\",\n \"INT. TRAILER - DAY Inside, the trailer is a miracle of planning and design. It's divided into sections, for different laboratory functions. The main area is a biological lab, with specimen trays, dissecting pans, and microscopes that connect to video monitors. Next to it there's an extensive computer section, a bank of processors, and a communications section. All the lab equipment is miniaturized and built into small tables that slides into the walls. Everything is bolted down. She notices a large map on the wall. Off the coat of Costa Rica, there is an area that has been circled in heavy black ink. Kelly puts a finger on the map, crossing westward, through the Pacific Ocean. Thegre are dozen s of islands out here, but in the highlighted region, there is a semi - circle of five. Matanceros. Muerte. Tacano. Pena. And Sorna. Underneath the whole island chain, there is a bold legend. `` The Five Deaths,'' it says. Slowly, an ocean barge starts to chug its way across the face of the map, leaving a wake that rolls the printed letters of those three ominous words.\",\n \"EXT. OPEN SEA - DAY The map dissolves slowly away as the barge SPALASEHS through five foot ocean swells in the open sea. The barge is crammed with equipment, the AAV, trailers, a jeep, and the members of Malcolm's team. ON THE BOAT, MALCOLM stands in the bow, riding the choppy seas. Next to him, DR. JUTTSON, fortyish, holds onto the railing, seasick. He SHOUTS over the DRONE of the boat's engines. JUTTISON -LRB- as the waves pound the boat. -RRB- Could n't - we just - airlift - into the - island? MALCOLM Dr. Harding insisted we go by sea! Helicopters are too disruptive. These are n't piles of bones you'll be studying this time, Dr. Juttson, they live, they breathe, and they react! Juttson looks at him skeptically - - and throws up. AT THE BACK OF THE BOAT, NICK VAN OWEN, a good - looking American in his late twenties, is sitting amid a pile of video cameras and other photographic equipment, playing with a Game Bow. SARAH HARDING, dressed in field gear, sits down next to him. SARAH So what's your story, Nick? NICK I was a cameraman for Nightline for six years, been freelance since' 91. Do a lot of work for Greenpeace. SARAH That must be interesting. What drew you there? NICK Women. ` Bout eighty percent female in Greenpeace. SARAH Very noble of you. -LRB- of the noisy Game Boy. -RRB- You do n't think you're bringing that thing onto the island, do you? Nick grins and shuts it off. NICK Hey, I would n't want to spook the woolly mammoths. SARAH You think this is all a joke? NICK Oh, please. How am I supposed to keep a straight face when -. -LRB- gestures to the black - clad Malcolm. -RRB- - Johnny Cash here tells me I'm going to Skull Island? SARAH -LRB- not amused. -RRB- Ian's a very good friend of mine. NICK He does n't need a friend, he needs a shrink. SARAH I believe in him. But her face says even she has her doubts. NICK Come on, there's only one reason any of us are here. His check cleared. She looks at him. SARAH Drop the cynical pose. You ca n't pull it off while playing Donkey Kong. The boat's CAPTAIN, a Costa Rican, points ahead and SHOUTS to them. CAPTAIN There it is! They all turn and look out over the bow. Up ahead, shear, reddish - gray cliffs of volcanic rock rise dramatically out of the fog - heavy ocean. CAPTAIN -LRB- cont'd. -RRB- Isla Sorna! The boat ROARS ahead, plowing into a heavy wreath of fog. The mist swirls and encircles it.\",\n \"EXT. ISLAND FIORD - DAY A narrow inlet cuts through the steep cliffs, leading to the island interior. The barge bursts through the fog at the mouth of the fiord and heads deeper into the island.\",\n \"EXT. LAGOON - DAY Lush green plants drip everywhere in this verdant lagoon. Sulfurous yellow steam issues from the ground, bleaching the nearby foliage white. In the distance one can hear the cries of JUNGLE BIRDS. The boat is now beached and the CREW flips the tarps off the AAV, the jeep, and the trailers. The trucks back down a narrow ramp and onto the soft clay shore at the edge of the lagoon. There is a large three - toad animal imprint in the clay at the water's edge, and the AAV backs right over it, swapping its track for the animal's. MALCOLM is at the edge of the water with the CAPTAIN. MALCOLM Be back in three days, but keep the satellite phone on and your radio tuned to the frequency I specified in case we need you sooner. CAPTAIN Do n't worry. I've lived around here all my life, these islands are completely - In the distance, they hear the faint, strange ROAR of a very large animal. The Captain looks at Malcolm, eyes wide. CAPTAIN -LRB- cont'd. -RRB- - safe.\",\n \"EXT. GRASSY PLAIN - DAY The jeep tows the double trailer to the edge of a grassy plain just beyond the lagoon, overlooking the interior of the island. The noon sun is high overhead ; below, the valley shimmers in midday heat. EDDIE connects a flexible cable to the jeep's power winch and flicks it on. The cable turns slowly in the sunlight. Moving along the length of it, we see the cable leads to a pile of aluminum, some kind of strut assembly painted a camouflage color. As the winch pulls the cable tight, the jumble of thin struts begins to move, slowly rising into the air. The emerging structure climbs, spidery, struts unfolding, fifteen feet into the air. The light house at the top -LRB- the cage that was tested back at Eddie's workshop -RRB- is now just beneath the lowest branches of the nearby trees, which almost conceal it from view. NICK lights a cigarette and carelessly tosses the match on the ground. Malcolm notices. MALCOLM Listen. I know you all have probably concluded that I'm out of my mind. Is it our imagination, or did the trees behind Malcolm just sway slightly? MALCOLM -LRB- cont'd. -RRB- That's all right, for now. But just humor me and be careful. No, it's not our imagination, there they go again. Whole trees shivering and swaying from left to right and back again. MALCOLM -LRB- cont'd. -RRB- Even if you think I'm harmless and deluded, I promise - Now the trees CREAKS and GROAN as they sway. Everyone has seen it, and now Malcolm turns around too. MALCOLM -LRB- cont'd. -RRB- - this place is for real.\",\n \"INT. DOUBLE TRAILERS - DAY It's quiet inside the trailers that serve as their command post/living quarters. The books are lined up neatly on the shelves. The computers sit, booted up and awaiting data input. All the way in the back, past the spare tires and life preservers and canned food and bottled water, up in one storage bin all the way on top, there's a RUSTLING SOUND. A plastic student ID card pops out in the cracks under the bin's door. A photograph in the lower right hand corner of the card is visible - it's Kelly, Malcolm's twelve - year - old daughter. The card wriggles against the lock and, with a soft CLICK, the door pops open. KELLY herself tumbles out, wrapped in several blankets and carrying a mason jar half full of a yellowish liquid. We can guess. She leaps to her feet, blinks the light out of her eyes, and bolts to the back of the trailer as fast as she possibly can. She races through a narrow door and SLAMS it shut. A sign on the door says `` RESTROOM.'' Inside, a SIGH of relief is heard.\",\n \"EXT. JUNGLE TRAIL - DAY Along a stream bed, the jungle trees still shiver. NICK loads a three quarter inch tape into his heavy video camera and chews anxiously on a piece of gum. SARAH and DR. JUTTSON are beside him as the group nervously follows the GROANING forest trees to their right. At the rear, EDDIE and MALCOLM walk side by side. Eddie is carrying a heavy silver rifle, an aluminum canister hanging beneath the barrel. He shows it to Malcolm, his voice low and urgent. EDDIE Lindstradt air rifle. Fires a subsonic Fluger impact - delivery dart. He cracks open the cartridge bank, revealing a row of plastic containers filled with straw - colored liquid. Each is tipped with a three inch needle and carries a bright yellow warning tag - `` EXTREME DANGER! LETHAL TOXICITY!'' EDDIE -LRB- cont'd. -RRB- I loaded the enhanced venom of Conus purpurascens, the South Sea cone shell. Most powerful neurotoxin in the world. Acts within a two - thousandth of a second. Faster than the nerve - conduction velocity. The animal's down before it feels the prick of the dart. From their right, the shaking trees seen closer now. By walking down the stream bed, the humans are tracking right along with the animals as they move in the foliage. MALCOLM -LRB- to Eddie. -RRB- Is there an antidote? EDDIE Like if you shoot yourself in the foot? Would n't matter. You'd be dead before you realized you'd accidentally pulled the trigger. Ahead of them, thick foliage blocks the path of the dried up stream bed to the height of about fifteen feet. But around them, the CRASHING sounds get louder and closer, the swaying trees shiver right beside them. Eddie raises the rifle in defense as the trees right at the edge of the stream bed sway and part. Above the foliage, they see the sudden movement - - of a row of STEGOSAUR fins. The spade - shaped fins run along a ridge down the middle of the animal's back, about three feet tall each. The group freezes, amazed, and as the stegosaur continues on, they get a good look at it through a break in the foliage. It's a large dinosaur with a small head, a thick neck, and a huge lumbering body. A double row of plates runs along the crest of its back, and it has a dragging trail with long spikes in it. The gum drops out of Nick's mouth, FLOPS onto his shirt, and sticks there. NICK Oh - JUTTSON - my - EDDIE - God! SARAH It's beautiful! A second stegosaur, a baby about a quarter the size of the first animal, breaks through the foliage, following the adult. While the group is reaching to that, the earth vibrates and a third stego, by far the biggest of the three, walks out of the foliage right behind them, crossing within ten feet. Apparently unconcerned about these little creatures in their environment, the stegos continue on across the stream bed. Sarah raises a still camera and shoots pictures. Her shutter is muted, so that a muffled CLICK is all that's audible. Juttson raises a pocket recorder to his lips and whispers into it breathlessly. JUTTSON Stegosaurus, family Stegosauridae, infraorder Stegosauria, suborder Thyreophora. Length, adult male, estimate twenty - five to thirty feet. His breathy words turn into almost helpless laughter, of all things, as he ca n't contain his astonishment. Eddie covers his mouth, trying to keep him quiet. SARAH -LRB- to Juttsn. -RRB- That was a pair bond! A family group, even, long after that infant was nestbound! JUTTSON I want to see the nesting ground! Nick turns to Malcolm, eyes like saucers, and makes a futile, wordless, boy - was - I - wrong - on - this - one gesture. Malcolm smiles, leans over, and TAPS softly on Nick's video camera. Nick raises it to his shoulder and flicks it on as the group continues on into the bush after the animals. IN THE BUSH, the baby wanders away from the group and ambles over near where Sarah crouches in the bushes. Sarah raises her camera again and silently SNAPS a picture. She WHISPERS to Juttson, who is beside her. SARAH Lone nest - not colonial. I do n't see an egg clutch. She gestures and Juttson peers through a pair of field glasses. JUTTSON -LRB- whispering back. -RRB- The empty shells are crushed and trampled. The young stay in the birth environment, that's conclusive! SARAH Not without a shot of the nest. She sees an opportunity. As the baby heads back to its parents, Sarah scoots right along with it, moving behind it, using its body as a shield to block her from the view of the other two. Nick and Eddie's faces whiten in alarm. Nick reaches out to stop her, but he barely gets hold of the sole of her boot before she pulls away from him and duckwalks out into the clearing. IN THE CLEARING, Sarah slinks along behind the baby stego as it walks back, toward the nest, chewing the branches it carries in its south. She raises up sightly, squeezing off pictures of the herd, ever better as she gets closer. BACK AT THE HILL, the others can only watch her, aghast. NICK She's gutty. MALCOLM She's nuts. IN THE CLEARING, Sarah keeps moving closer. The baby passes a small grouping of rocks and Sarah ducks behind them. She's now in a perfect position to photograph the nest, and she squeezes off picture after picture from this ideal vantage point. She shoots the last picture on the roll - - and the camera's autowinder WHIRS to life. Sarah looks down in horror as the camera's motor WHINES loudly in her hands. Th noise startles the animals. The male turns toward her the plates on its back bristling. Sarah gets to her feet and starts to move away, slowly. The male turns away from her and swings its tail, spikes extended. It WHIZZES through the air, right at her, but Sarah leaps back at the last second - - and the tail's spikes THUD into the dirt where she was. Sarah CRUNCHES to the ground and the three stegosaurs dart away, disappearing into the bush, moving surprisingly quickly for animals their size. The others run to Sarah, help her to her feet, and pull her back, against a massive tree trunk. But the tree trunk lifts right up off the ground. It's no tree, it's a DINOSAUR'S LEG, a massive one, six feet across, God knows how many feet high. The Group gasps and looks up as a MAKENCHIASAURUS, an enormous saurupod over a hundred feet from nose to tail, lumbers away from them. The Group stares in wonder as the mamenchiasaur stops and HONKS furtively, its long neck stretched out above them. Now a second mamenchiasaur neck cranes out of the surrounding forest trees and wraps around the first. The first mamenchiasaur THUNDERS around in a semi - circle, getting into position behind the second. Nick swings his video camera straight up and the group suddenly finds itself in the middle of a mamenchiasaur mating. The mighty tails swing and SNAP around them as the two animals come together, and trees start snapping and falling, CRASHING to the jungle floor. The group panics and bolts for cover toward the only place where the trees are not falling - which is directly underneath the animals! Amid HONKS and BLEATS, the swinging tails continue to deforest the jungle around them. The noise and chaos is deafening, drowning out the LAUGHTER and SCREAMS of the fascinated and terrified group. There is a momentary lull and the group dashes out from underneath the animals, disappearing into the thick forest. A SHORT DISTANCE AWAY, the Group collapses to the ground, breathless, chests heaving with wild, frightened laughter. Sarah goes to Malcolm and throws her arms around him, exhilarated. SARAH Ian, you're not insane! I'm so glad! JUTTSON -LRB- out of breath. -RRB- Dr. Malcolm - the world - owes you an apology.\",\n \"EXT. JUNGLE TRAIL - DAY Suddenly, the Gathereres are taking their expedition a lot more seriously. They march quickly back to base camp, their energy and excitement palpable. NICK strikes a match and raises it to a cigarette with a shaking hand, but SARAH leans in and blows it out. SARAH No more smoking. We leave no scent of any kind. No hair tonics, no cologne, seal all our food in plastic bags. We will observe and document, but we will not interact. MALCOLM That's a scientific impossibility, you know. Heisenberg uncertainty principle. Whatever you study, you also change. Nick ejects the used videotape from his camera and pulls out a sharpie, to label it. NICK What should I call this? `` Jurassic Pork?'' Eddie, next to him, laughs. SARAH -LRB- still to Malcolm. -RRB- And let's forget about the high hide. We ca n't do this kind of work up in a tower, we need to be out in the field, as close to the animals as possible. JUTTSON I'm not surprised stegosaur lived in a family group, but there's never been anything in the fossil record to prove the carnivores did. SARAH Why would n't they? Look at hyenas, jackals, nearly all species of predator birds - JUTTSON That does n't say a thing about T - rex, they could have been rogues. Robert Burke certainly thinks they were. SARAH We've got to see one to find out. Is there any - MALCOLM No way. NICK Oh, my God. SARAH - way we could safely - NICK Oh, no! He takes off, running as fast as he can, down the trail, toward base camp. They look ahead, in the direction Nick is running. A plume of black smoke is rising up over the trees. EDDIE Fire!\",\n \"EXT. BASE CAMP - DAY NICK bursts out of the trees and races toward the thick plume of smoke. In the middle of the base camp, someone has neatly built a campfire surrounded by stones. Flames burn in the middle. Nick races over to it and stomps it out as the OTHERS emerge from the trees behind him. MALCOLM A campfire?! Nick grabs a jug of water, but Sarah steps in. SARAH No! Water mixes the smoke billow, use dirt! They start to kick and rake dirt onto the fire with their hands and feet. Eddie and Dr. Juttson jump in and help out. MALCOLM Who the hell started a campfire?! VOICE -LRB- o.s. -RRB- It was just to make lunch. Malcolm turns toward the source of the voice. KELLY stands in the doorway of the trailer, sheepish. KELLY -LRB- cont'd. -RRB- I wanted it ready when you got back. The whole group stares, stunned, none more so than Malcolm himself. MALCOLM Oh. man.\",\n \"EXT. BASE CAMP - LATER Later, and base camp is a blur of activity. SARAH, JUTTSON, NICK, and EDDIE are hard at work, burying the remains of the fire, sealing their food in plastic bags, loading camera equipment, packing up specimen containers and other information - gathering equipment. MALCOLM, meanwhile, is lecturing Kelly. MALCOLM You know you were putting yourself in a potentially dangerous situation, but you did n't bother to find out how dangerous before you leapt in. You do n't have the faintest idea what's going on on this island! SARAH -LRB- loading a backpack. -RRB- What do you want to do, Ian, lock her up for curiosity? Where do you think she gets it? JUTTSON -LRB- to Nick. -RRB- Do you have chromium tapes? The others fog in high - NICK - humidity, I know. -LRB- waving a tape. -RRB- Highest lead density on the market. EDDIE -LRB- to Malcolm. -RRB- We've got a lot of heavy marching ahead of us. I'm not carrying anybody. KELLY I can keep up. MALCOLM You're going home. I'm sending a radio call for the boats. We'll all go down to the lagoon and wait for them. SARAH Lighten up, Ian, you sound like a high school vice - principal. MALCOLM I'm her father. KELLY Sure, now. Nick leans over and whispers to Eddie, gesturing to Malcolm and Kelly. NICK Do you see any family resemblance here? MALCOLM You ca n't stay, Kelly, that's it. It's too dangerous. SARAH If it's so dangerous, why'd you bring any of us? KELLY You're wrong, Dad. I do know what's going on on this island. MALCOLM How could you possibly? KELLY Because you said so. Maybe nobody else believed you, but I always did. He looks at her, touched. Nick mutters to Eddie again. NICK The kid scores with cheap sentiment. SARAH Ian, if we recall the boat now, we've made two invasive landings in one day. That'll have to go in any paper I write, and it will leave room for people to say our findings were contaminated. You know the academic world as well as I do, once they smell blood in the water, you're dead. Our presence has got to be one hundred percent antiseptic. That means if we bend a blade of grass, we bend it right back the way it - A low sound has been rising while she speaks, and now it comes BOOMING over the jungle around them, a THUNDEROUS racket that shakes the very ground beneath them. Suddenly, three C - 130 military cargo planes THUNDER overhead and ROAR toward the island interior, flying very low. The planes are enormous, fat - assed creatures, their rear cargo doors hanging open. AT A RIDGE, the members of the gatherer expedition hit the dirt and peer over a ledge, watching as the airplanes bank and circle over a specific spot. Eddie raises a pair of field glasses. DOWN BELOW, huge metal equipment containers are shoved out the back of the cargo bays. They SNAP off trees like matchsticks, CRUSH flat anything foolish enough to exist where they want to land. Now MEN pour out the rear of the planes, their low - altitude parachutes billowing open behind them. UP ON THE RIDGE, Nick looks at Sarah. NICK You were saying something about antiseptic?\",\n \"EXT. HUNTERS' CAMP - DAY Metal container doors CLANG to the ground, jeep engines ROAR to life in a cloud of thick black diesel smoke, blue laser barriers SIZZLE and BURN through foliage as this group of HUNTERS establishes a perimeter around their new camp. PETER LUDLOW, dressed in brand new Banana Republic safari wear, steps into the center of the camp and surveys the surroundings. He turns to DR. ROBERT BURKE, a ragged, pony - tailed man in wire - rimmed glasses. LUDLOW Welcome to your dream come true, Dr. Burke. Burke has a detailed set of satellite recon photographs that he spreads out on the hood of a jeep. BURKE I believe the large herbivores forage in open plains, like bison, which would explain the great variety of heat dots we're reading in the flatlands around this waterhole. Right - here. LUDLOW Then that's where we're going. Burke flips open a manifest that he will carry with him at all times. Inside, there are dozens of sketches of various kinds underneath. As each vehicle ROARS out of the equipment container, Burke slips a waterproof eight by ten card with an icon of the various dinosaurs on the island into a slot in the dashboard. BURKE -LRB- calling them off. -RRB- Hadrosaurus! Carinthosaurus! Maiasaurus! As the procession goes on, Ludlow turns to DIETER STARK, the man we saw welding earlier. LUDLOW This is as good a place as any for base camp. First priority is the laser barriers, I want them all up and running in thirty minutes. Half an hour, understand? Dieter nods and turns to some of the HUNTERS, who number about twenty in all, that are working nearby. But someone steps in front of Dieter, cutting him off. It's ROLAND TEMBO, the hunter from the bar in Mombassa. ROLAND Cancel that, Dieter. LUDLOW What? Why? Roland points to a stream running nearby. ROLAND Carnivores hunt near stream beds. Do you want to set up base camp or an all - you - can - eat people bar? LUDLOW -LRB- thinks. -RRB- You heard his, Dieter. Find a new spot. And remember, we're after herbivores only - no unnecessary risks. Dieter SIGHS and goes to work. Roland puts an arm around Ludlow and pulls him aside. ROLAND Peter, if you want me to run your little camping trip, there are two conditions. First - I'm in charge, and when I'm not around, Dieter is. Your job is to sign the checks, tell us we're doing a good job, and open your case of scotch when we have a good day. Second condition - my fee. You can keep it. All I want in exchange for my services is the right to hunt one of the tyrannosaurs. A male. Buck only. Why and how are my business. If you do n't like either of those conditions, you're on your own. Go ahead and set up your camp right here, or in a swamp, or in the middle of a rex nest, for all I care. But I've been on too many safaris with rich dentists to listen to any more suicidal ideas. Okay? LUDLOW -LRB- what else can he say? -RRB- Okay. ROLAND Good lad.\",\n \"EXT. JUNGLE The jungle foliage shivers, quakes, and finally falls as the Hunters' convoy ROARS into the hart of the jungle. DIETER STARK stands in the front of the lead vehicle, the `` speedbird,'' waving the convoy forward, his Driver -LRB- CARTER -RRB- at the wheel beside him. LUDLOW is in the back seat of the speedbird next to DR. BURKE. ROLAND and AJAY, his tracker, are in the second jeep. They look up as the brakelights on the speedbird flash and the car stops, forcing the rest of the convoy to halt as well. In the front, the speedbird flashes its lights at something in front of it. Dieter climbs out, plainly irritated. He walks around the front of the car and sees - - four PACHYCEPHALOSAURS eating grass in the middle of the jungle trail. They're about five feet tall, thick, heavy - set animals whose distinctive feature is an enormous skull casing, a tall, impressive crown that rises on the tops of their heads. Dieter does n't seem impressed. He looks back at Ludlow, who look at Dr. Burke. Burke stands up in his seat, a look of wonder on his face. BURKE Pachycephalosaurus! LUDLOW Carnivore? BURKE -LRB- enchanted. -RRB- Huh? No! No, herbivore, late Cretaceous. Very unusual plant eater, see that distinctive domed skull? That's nine inches of solid bone. LUDLOW -LRB- who cares? -RRB- Just get them out of the way, Dieter. DIETER COME ON, MOVE IT! The pachys look up at him sluggishly, still eating, like cows chewing their cuds. As unimpressive with him as he is with them, they go back to their grass. DIETER -LRB- cont'd. -RRB- Oh, for God's - He slings his rifle off his shoulder and aims it at the closest animal. Behind him, Roland has climbed out of the second jeep. ROLAND Dieter. This is a round - up, not a war. Use your powers of persuasion. Dieter gestures to the speedbird to pull ahead, which it does, slowly, toward the animals. The pachys look up, alert, but do not move. Dieter walks toward them. DIETER Come on, come on, do n't have all day! BURKE -LRB- going on to no one in particular. -RRB- See, the pachy's neck attaches at the bottom of its skull instead of the back of its head, as with reptiles. The speedbird draws closer. The first pachy stares at it intently. The lead vehicle gets closer, closer - - and BANGS into the pachy, knocking it back a few feet, out of the way. BURKE -LRB- cont'd. -RRB- So when it lowers its head, its neck lines up directly with its backbone - BEHIND DIETER, Ajay is staring at something on the ground at his feet. He takes a few steps further into the foliage, then turns back toward Roland. AJAY Roland. UP AT THE FRONT, the pachys turn and hop away. Dieter turns and heads back to the speedbird. As he reaches for the door, a VOICE calls `` look out!'' from behind him. Dieter spins around, just in time to see - - the first pachy in full charge. It SLAMS headfirst into the speedbird, SMASHING the headlights and denting the grill. BURKE -LRB- concluding his lecture. -RRB- Which is perfect for absorbing impact. Dieter turns and runs around to the front of the car. The pachy has backed up for another run and is now CHARGING RIGHT AT HIM. Dieter retreats, quickly, and rips open the passenger door to protect himself. SLAM! The pachy clobbers the door, sending Dieter flying against the car, knocking the wind out of him. In the other jeeps, the rest of the HUNTERS stand up or lean out the window for a better look, laughing. POW! The pachy head - butts the tire next to Dieter. It bounces off, tumbles to the ground, and rolls to its feet as Dieter gets to his knees and crawls toward the back of the speedbird. But the pachy is quicker and lunges at Dieter again. He's forced to hit the dirt and crawls quickly underneath the speedbird, just as the animal SLAMS into the rear of the vehicle. Now the other three animals join the jun.. Ludlow and the Driver have to cover their heads as the animals lunge at the car again and again, SMASHING the steel - meshed windows and MANGLING the quarter panels. The rest of the group watches, vastly amused. A FEW STEPS INTO THE JUNGLE, Ajay and Roland are staring at something on the ground - an animal footprint, three - toed, enormous. AJAY It matches the pictures. ROLAND It certainly does. Roland gets up and goes back to his vehicle, ignoring the pachy demolition derby that continues up at the speedbird. Roland opens a case in the back of the jeep, revealing - - his gun. It's an antique elephant gun, a double barreled.600 Nitro Express. Nearly a hundred years old, it's still in immaculate condition, its rosewood stock buttery smooth, bisons delicately engraved along its silver breach. The barrels are twenty - four inches long, topped with an ivory bead foresight at the business end. Roland scoops up the gun, breaks the breach, and pulls two rounds of ammunition from his shirt pocket. Four inches long and three - quarters of an inch in diameter, these are the largest full metal jacket cartridges ever made. He slips one into each barrel and heads back into the bush. Roland pauses before he goes, as if noticing the animals trashing the speedbird for the first time. ROLAND HEY! The pachys all freeze, staring at him. Roland waves one hand, HISSES sharply between his teeth - - and the pachys scatter, back into the jungle. Takes care of that problem. Roland turns and heads back into the jungle, calling out over his shoulder to Ludlow. ROLAND -LRB- cont'd. -RRB- Do n't worry about us. We'll catch up. LUDLOW Where do you think you're going?! ROLAND To collect my fee. And with that he disappears into the foliage. The Driver of the Speedbird drops it into gear and the battered car GROANS forward. As it moves ahead, it reveals DIETER, lying underneath it, ego bruised worse than body. IN THE JUNGLE, Ajay takes a step into the bush, but at a ninety degree angle away from the direction in which the animals tracks lead. ROLAND Ajay. Ajay turns. Roland points in the direction in which the footprints lead. ROLAND -LRB- cont'd. -RRB- I'm no tracker, but even I can read this spoor. AJAY Do you wish to go where the animal has been, or where the animal is? Roland smiles. Ajay sets off in his direction and Roland follows.\",\n \"EXT. ISLAND RIDGE - DAY Seen from a ridge above them, the hunters' convoy continues to plow through the jungle. But how the hunters themselves are being tracked, followed by the GATHERERS. They scurry along as fast as they can, trying to keep pace with the moving vehicle below. EDDIE Why did n't you tell us about these guys, Ian?! MALCOLM Because I did n't know! I do n't have the faintest idea what they're doing here. NICK -LRB- angry. -RRB- Ruining everything, that's what they're doing. You could choke on the diesel smoke already! SARAH Ian, nothing we observe will be valid if we're trailing along in the wake of an army. Kelly has a pair of binoculars and is studying the vehicles as they move below. KELLY `` InGen.'' What's InGen? MALCOLM Where does it say that? KELLY On the side of that one truck. Malcolm takes the binoculars and stares down there himself. JUTTSON InGen is a genetics corporation, is n't it? NICK -LRB- to Malcolm. -RRB- Is that who we're really working for?! Gene splicers?! MALCOLM No! We're an independently funded expedition. SARAH Funded by whom? MALCOLM John Hammond. JUTTSON But he's the head of InGen! NICK You got ta be kidding. -LRB- to Malcolm. -RRB- You dragged me out of Greenpeace to be a corporate stooge? You could n't get anybody else? KELLY Yeah, what have you done, Dad? SARAH We'd better keep moving, or we'll lose them. The group moves on ahead, but Malcolm lingers, angry, staring through the binoculars. MALCOLM What are you doing to me, John?\",\n \"EXT. THE CAVES - DAY AJAY and ROLAND make their way through the foliage and come into a small clearing, where a cluster of caves is carved into the rock. Ajay freezes, gesturing ahead, to the cave on the far left. Roland pulls up a handful of grass and releases it on the breeze. It floats back between his legs. That's good. He proceeds toward the cave, carefully, Ajay behind him. They can see nothing beyond the yawning mouth of the cave, only a black interior. Roland pauses, looking down. On the ground to his right he sees the partially eastern leg of a creature. It's old, crawling with white maggots and flies. Roland continues on. Closer to the cave, he now passes the skull of a large animal, some of the flesh and green skin still adhering to the bone. It, too, is covered with flies. Still he continues on. A short rise leads into the cave, and they edge up it. From inside the cave, they can hear an odd SQUEAKING sound, very high - pitched. Crawling now, Roland and Ajay scale a four - foot circular rampart of dried mud, and peer into - - the tyrannosaur nest. It's flattered inside, about ten feet in diameter, completely encircled by earthen walls. A BABY TYRANNOSAUR, about four and a half feet long, is in the center of the nest. It has a large head, very large eyes, and its body is covered with a fluffy red down, which gives it a scraggly appearance. It SQUEAKS repeatedly, tearing awkwardly at the remains of a chunk of animal flesh, biting decisively with tiny, sharp teeth. The cave itself is a foul boneyard. ANIMAL CARCASSES litter the edges, flies BUZZ in the captive air. Roland raises a bandana to his nose to cover the stench. He turns to Ajay and WHISPERS. ROLAND It's the rex nest. Ajay nods. The baby tyrannosaur hears the whisper and looks up, cocking its head in curiosity. AJAY Make a blind here? Wait for the buck to return? ROLAND -LRB- shakes his head no. -RRB- If the nest is upwind, so are we. When he comes back, he'll know we're here before we have a chance. The truck - In the nest below, the baby SQUEAKS angrily at the intruders. ROLAND -LRB- cont'd. -RRB- - is to get him to come where we want him. The baby SQUEAKS again, indignant. Roland turns and looks down at it. Thinking.\",\n \"EXT. RIDGE - DUSK As the sun glows bright orange on the horizon, NICK raises a pair of binoculars to his eyes and peers down at the vista below the ridge. In the lenses of the binoculars, we can clearly see a mixed herd of midsized herbivores - HARDOSAURS, PACHYCEPHALOSAURS, and CALLIMIMUSES - racing across the plain below. MALCOLM, also staring through binoculars, lies on the ridge beside him. SARAH is several feet behind them, her back pressed against a tree, unwilling to go to the lip of the ridge. THROUGH NICK'S BINOCULARS We see a shaky point of view of the herd running. The binoculars whip to the right - - revealing a jeep chasing the herd Not just one jeep, in fact, but a whole FLEET OF HUNTER PURSUIT VEHICLES! There are two herding jeeps, one motorcycle, as speedier mini - jeep, and, further behind, a container truck and a wrangler's pickup truck. Although there's a great deal of commotion below, up here it's almost eerily silent. ON THE RIDGE, Nick lowers the binoculars, angry. When he raises them again, the sun FLARES off the lens -\",\n \"EXT. THE PLAIN - DUSK - and when the brilliant flare clears, we're right down in the middle of the roundup. Engines ROAR, wheels spin and dig in the dirt, men SHOUT and radios SQUAWK as the hunter vehicles pursue the fleeting herd they're flushed. The HUNTER SHOUT and SHRIEK with glee, incredulous and thrilled by the spectacular animals they're pursuing. HUNTER LOOK AT THESE THINGS! HUNTER 2 THEY'RE BEAUTIFUL, MAN, THEY'RE BEAUTIFUL! One of the pursuit vehicles -LRB- a `` snagger'' -RRB-, pulls ahead of the others. DIETER STARK stands in the passenger seat, holding a long pole with a noose dangling from the end of it. He swings the pole out over the side of the jeep and SHOUTS to the driver. DIETER FASTER! The Driver hits the gas and the snagger leaps forward, gaining on the herd. Aware of the danger behind them, the herd veers to the right, toward the cover of thick jungle - - but the motorcycle ROARS in from the right side, cutting them off, herding them back out into the open. BACK IN THE CONTAINER TRUCK, PETER LUDLOW stands in a `` conning tower,'' a command post in the heaviest pursuit vehicle. He BARKS into a walkie - talkie. LUDLOW Alive, Dieter, and uninjured! BACK ON THE SNAGGER, the Driver can barely keep up with the twists and feints thrown by the herd ahead of him. Dieter CURSES and throws the lasso pole into the back of the jeep. Ludlow's voice continues over the radio in Dieter's jeep. LUDLOW -LRB- o.s. -RRB- Those are very expensive animals! Can you hear me?! DIETER -LRB- to the Driver. -RRB- Turn that off! The Driver SNAPS off the radio as Dieter grabs a long - barreled rifle from the back of the vehicle. THE MOTORCYCLE guns it again, forcing the herd back into the middle of the plain. From the trees to the left, two heads on enormous necks rise up in alarm. Two APATOSAURS are startled from the bush and lumber out across the middle of the plain. The herd does n't even break stride, but keeps running, scampering after the giants and stampeding right between their massive legs. One smaller pachycephalosaur bolts loose, but the motorcycle cuts it off and herds it back into the middle, which now takes the motorcycle right through the rising and falling legs of the apotosaurs. The bike chases the pachy out the other side, and as the apatosaurs disappear into the distance, the cycle isolates the juvenile. Another truck, a `` scissor rig,'' spots the isolated animal. High in the back of the truck, a HUNTER mans a tranquilizer cannon, drawing a bead on the pachy as the cycle runs it down. He FIRES and the tranquilizer dart hits the animal in the neck. Its pace slows and another HUNTER from the truck tosses a lasso around its neck. They crank a winch, reeling in the animal. As the truck gain on it, two six - foot padded arms with what look like heavy airbags on the insides open up on the front of the truck. As the animal is pulled in, the scissors close with a hydraulic WHIR, trapping the animal between its airbags. Now a pick - up rig ROARS up and drops its back gate. The scissor rig rolls forward, depositing the squirming pachy in this dino - contaiment vehicle. Two HUNTERS throw levers on the side of the scissor bars and the scissor rig backs away, leaving the animal, still pinched between the bars, imprisoned in the back of the pick - up rig. The Hunters quickly fit new scissor bars onto the scissor rig and it takes off, back into the hunt. BACK ON THE SNAGGER, Dieter, rifle in hand, drops down into the passenger seat, whips a harness over himself and CLICKS it into place. He jabs his thumb into a flashing red button in the dashboard. Immediately, a motor underneath the seat HUMS to life and the seat itself telescopes, extending a good four feet out to Dieter raises the gun, picks a CARINTHOSAUR, a red - crested herbivore, from the rear of the fleeting herd, and takes aim. BANG! The carinthosaur staggers as a tranquilizer dart sticks in its left hindquarter. UP ON THE RIDGE, there is utter quiet. Nick and the others stare wordlessly at the spectacle below. DOWN ON THE PLAIN, the snagger SHUDDERS to a halt in the dirt, kicking up a huge cloud of dust and dirt. The motorcycle spins to a stop beside it, its DRIVER pushing his mask up to reveal his sweat and dirt - streaked face. The wrangler truck backs up and drops its rear door, which CLANGS heavily to the ground. FOUR WRANGLERS carrying wire noose poles and chains race down the ramp and out of the truck. Dieter jumps off the snagger. He puts down his tranquilizer gun, picks up a long steel rod, and walks forward slowly. Ahead of him, the carinthosaur is still on its feet. The sedated animal staggers, fighting to retain its balance while it is surrounded by the wary Wranglers. DIETER Easy - easy - not too close! Full extension! The Wranglers adjust their poles, extending them another three feet, which allows them to stay further from the reeling, ten foot tall animal. DIETER -LRB- cont'd. -RRB- Now! Almost as one, the Wranglers flip their noose over the stunned animal's neck. It thrashes, but the Wranglers hold their poles tightly, surrounding and immobilizing it. UP ON THE RIDGE, Nick turns away. He ca n't watch. DOWN ON THE PLAIN, a bolero - type device, a rope with a round weight at either end, whips around the carinthosaur's legs. The animal THUDS to the dirt with a SNORT of a defeat. Ludlow steps up next to Dieter and both of them stare down at the helpless animal. Ludlow's breathing heavily, eyes glowing. The animal is still thrashing, pumping its legs crazily. Dieter turns a knob on the side of the steel rod he's holding and thrusts it into the defenseless animal's neck. A blue arc of electricity CRACKS and dances over the carinthosaur's body. The animal convulses in pain, a horrible, high - pitched SQUEALING rips the air. DR. BURKE, their paleontologist, hurries forward with a syringe. He draws a certain amount of tranquilizer from a bottle and injects it into the animal's thigh. CARTER, Dieter's Driver, steps up with a can of spray paint and quickly tags the animal with an ID number in day - glo orange. Dieter pulls the card with an icon of a carinthosaur from the dashboard of the jeep and marks a black X over the drawing of the animal. DIETER Next case.\",\n \"EXT. RIDGE - NIGHT Night has fallen over the island. The hunters have established base camp in an area they have trampled and cleared just below the ridge. Blue laser fences encircle the perimeter. Inside, half a dozen tents are set up around a central campfire. The vehicles are all parked at one end, away from the tents. At the other end, there is a row of at least a dozen `` capture containers,'' cages that hold the imprisoned dinosaurs they have already rounded up. SARAH, MALCOLM, and NICK stand at the edge of the ridge above, looking down at the scene. Sarah stands a bit further back from the others, not wanting to get too close to the edge. VOICES waft up to them, raucous, LAUGHING, some even SINGING. DR. JUTTSON has a pair of night - vision binoculars trained on the cages. JUTTSON Carinthosaurus - compsognathus - triceratops - pachycephalosaurus - or small scavengers only. Malcolm, also with binoculars, furrows his brow, seeing something below. THROUGH MALCOLM'S BINOCULARS, he sees PETER LUDLOW, standing in the middle of the camp, pointing, giving orders. ON THE RIDGE, Malcolm drops the binoculars. MALCOLM Ludlow. That's why Hammond was in such a hurry for me to get here. He knew they were coming. He gives the binoculars to Sarah, who moves forward gingerly. MALCOLM -LRB- cont'd. -RRB- You okay? SARAH -LRB- irritated. -RRB- Heights, I ca n't help it. Put your arm here, will you? She puts his arm around her waits, to steady her while she is close to the cliff edge. JUTTSON What do they want? MALCOLM They want their money back. To InGen, this island is nothing more than a bed investment. JUTTSON We should get back to base camp. Eddie's waiting for us. MALCOLM I ca n't believe Peter Ludlow's running all this. SARAH He is n't. Check out the guy walking past the fire. She hands the binoculars to Malcolm. THROUGH THE BINOCULARS, Malcolm sees ROLAND, who's walking with AJAY, weapons and equipment slung over their shoulders. SARAH -LRB- o.s. -RRB- I've seen him before. In Brazil. He and that guy with him were spearhunting jaguars. Said it was immoral to go after them any other way. He's not just a hunter, he's a philosopher. Kind of guy who beats you up with your own argument. BACK ON THE RIDGE, SARAH -LRB- cont'd. -RRB- He's the one in charge. MALCOLM Well, if that's true - the man in charge just left camp. Nick, who has been quietly fuming next to them, now steps forward. NICK Then this is our chance. MALCOLM Our chance to do what? NICK I do n't know these guys, but I know'em. I've seen'em on Japanese whalers, French barges trying to dump barrels of nuclear waste in the North Atlantic. They're all the same. They spray us with water cannon when we try to stop'em, sink our boats, and then call us crazy. He rummages through his pack, coming up with various tools. A hunting knife. A bolt cutter. NICK -LRB- cont'd. -RRB- Nobody has to come with me. I've done this before. SARAH Why, Nick. You are a tree - hugger. He looks at her, hurt. NICK There' no reason for name calling. MALCOLM Dr. Juttson, please take Kelly back to camp right away. Leave the other car for us and we'll meet you there in an hour or so. KELLY What are you guys gon na do? MALCOLM -LRB- signs. -RRB- Exactly what John Hammond wanted us to do.\",\n \"INT. TENT - HUNTER'S CAMP - NIGHT In the hunters' supply tent, a case of twelve - year - old scotch sits open amid crate after crate of weapons and ammunition. PETER LUDLOW reaches in and pulls a bottle out.\",\n \"EXT. JUNGLE - NIGHT In the jungle, LUDLOW approaches a small clearing. ROLAND is bent over a small stake in the ground, chaining something to it. As Ludlow approaches and walks around him, he sees what protest. Roland looks up. ROLAND Offering a little incentive. Ludlow laughs and shakes his head. He takes a drink and offers Roland one. Roland accepts. Ludlow notices Roland's gun leaning against a tree. LUDLOW What kind of gun is that? ROLAND My father's.600 Nitro Express. Made in 1904. Karimojo Bell gave it to him after he took down his last elephant. 8700 foot pound striking force. LUDLOW How close do you have to be? ROLAND Forty yards. Less, maybe. I assume it'll take a slug in the brain case to bring him down. LUDLOW Why not just use a scope and a poison dart and snipe him from a hill? Roland just looks at him. ROLAND Or a laser beam from a satellite? Ludlow leans down, close to the baby rex, and examines it while it thrashes on its chain. Its mouth has been bound shut with a leather strap. LUDLOW You rally think this'll draw the parent? ROLAND I once saw a bull elephant die charging a jeep. All the jeep had done was startle the bull's calves. I saw a lioness carry wounded prey four and a half miles, all the way back to its den, just to teach its cubs how to finish off a kill. LUDLOW Killing lessons? Heartwarming. ROLAND Rex wo n't be any different. It'll come. LUDLOW You're kidding yourself. An adult T - rex cares about one thing - filling its own belly. It acts the way people wish they could, that's why everyone's fascinated by it. If people had the chance to see one dinosaur and one only, ninety - nine percent would - He stops, an idea on his face. LUDLOW -LRB- cont'd. -RRB- Wait. Why not? Sedatives. growth inhibitors. ROLAND What? LUDLOW I had n't planned on bringing carnivores back because of the liability risk, but I only thought of adults, it never occurred to me -. -LRB- close to the animal. -RRB- You are a billion dollar idea, my little f - CRACK! The tyrannosaur, even with its jaws clamped shut, lunges at Ludlow's face, head - butting him right across the bridge of the nose. Ludlow staggers back, WAITING in pain, clutching his bleeding face. Roland laughs. Ludlow, like an enraged child, snatches up Roland's gun and brings the butt down viciously on the rex's leg. The bone breaks with a dry SNAP and the animal HOWLS in pain. Roland lunges and throws Ludlow to the ground, but the damage is done. ROLAND What the hell you do that for?! As his pain eases, Ludlow feels a bit foolish, but he attempts to cover. LUDLOW Had to. To keep him still for the trip. ROLAND You've broken its leg! LUDLOW We've got to transport it seven thousand miles. Would you prefer it bit off the leg of a crew member? He gets up, brushes himself off, and heads back to the camp, trying to salvage his dignity. Roland watches him go.\",\n \"EXT. EDGE OF HUNTERS' CAMP - NIGHT At the edge of the hunters' camp, NICK, SARAH, and MALCOLM scramble down a hillside and stop at the edge of the laser barriers. There are three beams, each about two feet apart, the tallest almost six feet off the ground. Nick reaches the edge and crouches. Sarah, helped by Malcolm, steps up onto his back and jumps over the top, landing with a CRUNCH. Nick is next, given a boost by Malcolm, who is then left alone on the other side. He backs up a few steps, jogs right at the lasers, then springs off his good leg - - and does the Fosburry Flop right over the top. He lands with a THUD, to the silent admiration of the other two. FURTHER IN THE CAMP, the three of them creep along, hiding behind a stack of fuel barrels. They lean around the edge for a look. They're directly behind the row of vehicle. They move, into the open, covering the ground between them and the jeeps. Reaching them, Nick hits the dirt and wriggles under the first one. Malcolm and Sarah stand lookout. UNDER THE JEEP, Nick pulls the bolt cutter from his back pocket. He squirms along until he finds the jeep's fuel line - - and he snips it. He ducks out of the way just as the stream of fuel begins to pour into the dirt. MALCOLM AND SARAH move slowly down the line, standing watch as Nick crawls out from under the first jeep and proceeds to the second. They hear another SNIP, then keep moving, to cover him as he moves to the third. From in the distance, Malcolm hears a sound, a faint, high - pitched SCREECHING. He turns and looks to that direction.\",\n \"EXT. JUNGLE CLEARING - NIGHT It's the baby T - rex, still SCREENING. Up in a nearby tree, ROLAND and AJAY have spread some broken branches crosswise to form a high hide of their own about ten feet off the ground. They wait. Roland raises his binoculars. The light of the camp spills all the way out here, illuminating some of the jungle. He scans it, searching for any sign of movement.\",\n \"EXT. HUNTERS' CAMP - NIGHT Back in the camp, Sarah, Malcolm, and Nick have finished with all of the vehicles except the badly battered one, which is parked some distance away, undergoing repairs. The motor pool area is now a soggy lake of spilled gasoline. The saboteurs walk casually across the camp, unnoticed in the drunken revelry. They pass several tents, the shadows of the partiers visible as they move inside. They continue across the camp and arrive at the other side - - to face the caged animals. The carinthosaur that was tranquilized earlier stands there dully, eyes heavy and glassy, still under the effects. They pass a stegosaur, its row of fine bristling. And finally they reach the largest cage, which houses a triceratops the size of a pickup truck, Nick pulls out his trusty bolt cutters. He looks at them, a glint in his eye. NICK Hang on. We may encounter some turbulence.\",\n \"INT. HUNTERS' CAMP - NIGHT In one of the hunter tents, PETER LUDLOW leans over the satellite recon pictures of the island, planning the next day's assault with DIETER and DR. BURKE, their paleontologist. There are small wooden dinosaur models scattered around the photos, indicating where certain species can be found. BURKE If you're really interested in infants, we'll have better luck at the seaside, because the sands offer a cushioning surface where the egg clutches can - can - He trails off. A low RUMBLING sound can be heard outside, and the little wooden dinosaurs start shaking on the board. They look at each other. The RUMBLING gets louder. Outside, someone SHOUTS ; on the board, the little dinosaurs start hopping and bouncing from the vibrations, the SHOUTS outside turn to SCREAMS, they turn and look at the back of the tent - - and the triceratops bursts right through the canvas!\",\n \"EXT. CAMP - NIGHT HUNTERS go flying as the tent - covered triceratops, its horns tearing through the canvas, RUMBLES across the camp. Men SHOUT in alarm, the triceratops BELLOWS in anger and confusion, chaos reigns. In the crush of PEOPLE running every which way, MALCOLM and SARAH are swept off in one direction while NICK is buffeted in another. They SHOUT, but can not be heard over the frey. The triceratops, blinded by the canvas shroud, stomps right through the fire in the middle of the camp AND THE TENT BURSTS INTO FLAME. Now really upset, the animal panics and lashes out in all directions, blasting through tents, demolishing and/or setting ablaze anything that gets in its way. Its considerable hindquarters SLAM into a parked jeep, sending it rolling across the camp. The jeep flattens the largest tent and SLAMS down on its side. Its broken gas line SPRAYS gas over the ground, the gas hits one of the dozens of small blazes the triceratops has left in its wake, and the flame shoots up the ribbon of gas. The jeep explodes. OUT IN THE JUNGLE CLEARING, Roland and Ajay, up in the tree, leap to their feet as a fireball rises up from the camp in the distance. ROLAND What in God's -! BACK IN THE CAMP, the rest of the newly - freed animals now storm through the camp. The blue laser barriers bounce crazily and go out as the sending units are trampled underfoot by the fleeing animals. AT THE RIDGE OF CAMP, Nick takes advantage of the downed lasers to slip part the bordere of the camp and disappear into the jungle in one direction, while Malcolm and Sarah vanish in the other. The burning tent, which was the equipment tent, now detonates in a series of smaller EXPLOSIONS. Dieter and several others are knocked to the ground by the series of concessive blasts. He drags himself up onto all fours, charred and bruised. A burning tire rolls slowly past him, spinning to a stop - - at ROLAND's feet. Dieter looks up at him. ROLAND Last time I leave you in charge. OUT IN THE JUNGLE, Nick breaks out into the jungle clearing, the same one where Ajay and Roland had their blind. He sees the baby tyrannosaur chained to the stake. NICK Sick bastards. He goes to the animal, which now BLEATS in pain, its broken leg hanging at an odd angle. With one strong tug, Nick pulls the stake out of the ground. BACK IN THE CAMP, Roland surveys the destruction. The fire has spread and several tents are now tongues of flame flapping in the air, the animals are gone or going, and their personnel are scattered and terrified. PETER LUDLOW, breathless, face smeared with dirt, and smoke, staggers up to Roland. LUDLOW What in Christ's name is going on?! ROLAND Is n't it obvious? He holds up the sniped padlock from one of the animal cages. NICK -LRB- cont'd. -RRB- We're not alone on this island.\",\n \"EXT. JUNGLE - NIGHT MALCOLM and SARAH race back up onto the ridge trail, where the green AAV is parked. NICK bursts around from the other side of the car. SARAH Nick, thank God, we did n't know if - Malcolm opens the rear door. NICK Wait, do n't - With a piercing SHRIEK, the BABY TYRANNOSAUR, now in the back of the AAV, flings itself at the open doorway, jaws SNAPPING just short of Malcolm's nose. MALCOLM HOLY SHIT! He SLAMS the door. DOWN IN THE HUNTERS' CAMP, Roland hears the commotion up on the ridge and looks up. ROLAND Do we have anyone up there? BACK UP ON THE RIDGE, Malcolm is confronting Nick. MALCOLM NICK It has a broken leg! MALCOLM So do it a favor and put it out of its misery! NICK No! Get in the car before they hear us! He runs around and leaps in the driver's seat. Sarah slips into the passenger seat, quickly, leaving Malcolm no choice but the rear.\",\n \"EXT. JUNGLE - NIGHT The AAV SLAPS through the jungle foliage. From inside the car, we can hear the baby tyrannosaur SCREAMING in anger.\",\n \"INT. AAV - NIGHT The baby writhes on the base seat next to Malcolm, who has flattened himself against the door, as far away from the animal as possible. SARAH Ian, close the window, it's going to wake every predator in the jungle! Malcolm leans over the enraged animal and cranks up its window. The tyrannosaur SLASHES with one of its powerful hind legs, ripping the flesh of his forearm. He SHOUTS in pain. Outside, the listening jungle whizzes by.\",\n \"EXT. HIGH HIDE - NIGHT Up in the high hide, EDDIE, DR. JUTTSON, and KELLY are standing watch, scanning the jungle for any sign of their returning comrades. Juttson yanks the night - vision binoculars away from his face as he spots the AAV, pulling up to the base camp a couple hundred yards away. JUTTSON There they are! They all turn and look, but Eddie furrows his brow, watching them pull the wounded animal from the back seat. EDDIE What is that they have with them?\",\n \"EXT. CAMP - NIGHT SARAH and NICK carry the SCREECHING baby tyrannosaur in their arms, headed for the trailer. MALCOLM, holding his bleeding arm, is n't far behind.\",\n \"INT. TRAILER - NIGHT SARAH and NICK bring the SCREAMING infant to the metal dining table and hold it down. MALCOLM is right behind them. MALCOLM This is exceedingly unwise. Sarah turns away from a drawer of medical supplies, holding a small syringe. Her shirt is streaked with blood from the baby's injured leg. SARAH Too late to worry about that! Hold him together, Nick! Nick tightens his grip on the animal and Sarah makes an injection into its thigh, over its loudly voiced objections. MALCOLM Just do whatever you have to do and get it out of here as quickly as possible. Sarah picks up a small ultrasound transducer and runs it over the animal's leg. A green and white skeletal image appears on a monitor next to the table. SARAH Okay, there's the metatarsals - tibia, fibula - there it is! See it? That's a fracture, just above the epiphysis. They peer closely at the monitor. NICK That little black line? SARAH That little black line means death for this infant. The fibula wo n't heal straight, so the ankle joint ca n't pivot when he stands on his hind feet. The baby wo n't be able to run, and probably ca n't even walk. It'll be crippled, and a predator will pick it off before it gets more than a few weeks old. MALCOLM Can you set up? SARAH -LRB- thinking. -RRB- It has to be temporary, something that'll break apart and fall off as the animal grows. MALCOLM Think fast, Sarah. The tyrannosaur, still in pain, SHRIEKS again.\",\n \"EXT. HIGH HIDE - NIGHT Through their binoculars, the rest of the group watches the trailer carefully. Even inside, the animal's SCREECHES are clearly audible. Kelly is getting scared. KELLY What are they doing? Why do n't they hurry?! EDDIE Give me the radio. From the trailer, the baby lets out a long, plaintive SHRIEK - One by one, Eddie, Kelly, and Juttson turn around and stare into the night jungle.\",\n \"INT. TRAILER - NIGHT NICK holds the animal while SARAH fits an aluminum foil cuff around its injured leg and paints it with a coating of resin. MALCOLM, at the window, stares out anxiously. The animal thrashes again. NICK Give it more morphine! SARAH We'll kill it with too much, we'll put it into respiratory arrest! I'm almost done. Damn it, I need another adhesive, something pliable I can - Her eyes fall on Nick. She holds out her hand, urgently. SARAH -LRB- cont'd. -RRB- Spit! He spits his bubblegum into the palm of her hand. The baby rex CRIES OUT again.\",\n \"EXT. HIGH HIDE - NIGHT From the swaying jungle, there is another answering ROAR. And this one's closer. In the high hide, the rest of the group stares, trembling. In the distance, a flock of birds SHRIEKS and takes flight as the tops of some trees move, a whole section of forest suddenly coming alive, as if brushed by wind. But it's not the wind. They hear noises, THUDS in the jungle. And then another section of forest trembles. Closer. Another flock of birds bursts out of the treetops and swarms past the high hide. KELLY What is it? Dr. Juttson puts an arm around Kelly, instinctively pulling her closer to him. Eddie WHISPERS urgently into the walkie - talkie. EDDIE Sarah, come in! JUTTSON It's moving. Fast.\",\n \"INT. TRAILER - NIGHT There is a radio box mounted on the far wall of the trailer. The speaker BUZZES urgently with Eddie's VOICE. EDDIE -LRB- o.s. -RRB- Sarah, Malcolm, can you hear me?! On the table, Sarah is frantically molding Nick's bubblegum into place on the makeshift splint. But the baby rex, regaining its strength, is thrashing again. SARAH Hold it down, Nick! NICK I'm trying! EDDIE -LRB- o.s. -RRB- -LRB- from the radio. -RRB- Is anybody there?! Malcolm moves to answer the radio, but Sarah SHOUTS to him. SARAH Ian, get the bottle of amoxicillin and fill a syringe! Quick injection of antibiotics and I can get it out of here! Forsaking the radio, Malcolm moves to the medicine drawer and comes up with what she wants. Working fast, he draws twenty cc's of the pink liquid. EDDIE -LRB- o.s. -RRB- -LRB- still from the radio, now desperate. -RRB- SARAH OR IAN, ANSWER ME! They ignore him as Sarah grabs the syringe and makes the injection. EDDIE -LRB- o.s. -RRB- WHATEVER YOU BROUGHT INTO THE TRAILER, GET IT OUT NOW!\",\n \"EXT. HIGH HIDE - NIGHT Eddie has given up on whispering as he clutches the radio desperately. EDDIE WE ESTIMATE TWO LARGE ADULTS HEADED IN YOUR DIRECTION! I REPEAT -\",\n \"INT. TRAILER - NIGHT Nick, Sarah, and Malcolm spin around at hearing that terrible piece of information. MALCOLM Oh, Christ. He bolts over to the wall speaker and hits the button. MALCOLM -LRB- cont'd. -RRB- Let me talk to Kelly, is she - A deafening ROAR sound from just outside the trailer, followed immediately by a CRASHING sound. They whirl and look to the window, just in time to see - - the AAV tumbling by, rolling on its side! There is another ROAR, and the baby, on the table, ROARS in response. Outside the window, the head of a full - grown TYRANNOSAURUS REX lowers and peers inside. Malcolm, Sarah, and Nick all freeze in absolute terror. The rex outside GURGLES, making material cooing noises. The baby rex, calm for the first time, GURGLES back. But across the trailer, in the opposite window, ANOTHER T - REX HEAD SUDDENLY APPEARS. This one ROARS, deeply, a roar so low and loud it rattles anything in the trailer that is n't tied down. NICK What do they want?! MALCOLM What do you think they want?! SARAH That's impossible, they ca n't have the sensory equipment to track it all the way here! MALCOLM Current evidence seems to be to the contrary, would n't you say?! GIVE IT TO THEM! Nick, hands shaking, grabs the shoulder video camera he used earlier. He whips out the cassette that's in there, hurls it into an open duffel bag with half a dozen others, SLAMS a fresh cassette in, and flicks the `` ON'' switch. Sarah and Malcolm, meanwhile, hurry to the other end of the trailer, carrying the baby rex. Outside, the two adult rexes stay with them, walking in the same direction, watching them through the window.\",\n \"EXT. TRAILER - NIGHT Seen from outside, the light inside the trailers clearly illuminates Sarah and Malcolm as they carry the bay rex. The adult rexes tower over the trailer, twice as tall and nearly as long. They walk slowly alongside it, hunched over, watching their infant.\",\n \"INT. TRAILER - NIGHT At the door to the trailer, Sarah un - muzzles the frantic baby. SARAH Ready? Malcolm reaches for the door handle. NICK Wait! He dives down on the floor under them, pointing the video camera up at the door, getting the best shot. Malcolm takes a breath, turns the knob, and throws open the door. Outside, the enormous rex heads pause for a moment, staring, surprised. Although terrified, Sarah actually starts to sing. SARAH -LRB- softly. -RRB- Born free, as free as the wind blows. As free as the grass grows - MALCOLM Are you insane?! SARAH I swear to God, it works with lions sometimes! There we are - your baby is free - The baby, excited, wriggles free of them and lands on the ground outside. Not wasting a second, Malcolm SLAMS the door shut. The three of them freeze, not daring to breath. Outside, they can hear the SNUFFLING and COOING of the animals as they inspect their young - - and then the soft THUD of their footsteps, growing fainter as they move away. From the wall, EDDIE'S VOICE comes over the radio, relieved. EDDIE They're going back into the jungle.\",\n \"EXT. HIGH HIDE - NIGHT EDDIE, JUTTSON, and KELLY sag back against the railings of the high hide. EDDIE Thank God. Thank God. MALCOLM'S VOICE comes over the radio. MALCOLM -LRB- o.s. -RRB- Kelly? Are you all right? She takes the radio, her voice shaky. KELLY Uh huh.\",\n \"INT. TRAILER - NIGHT MALCOLM is at the radio. MALCOLM Wait there. I'll come up in a minute. Do n't move, understand? KELLY -LRB- o.s. -RRB- I understand. Malcolm slump against the wall of the trailer. SARAH and NICK sit on the floor leaning against the opposite wall, completely drained. Sarah pulls out her pocket recorder and speaks shakily into it. SARAH Note to Dr. Juttson - Tyrannosaurus rex does nurture its young. They laugh weakly. NICK There's, uh - there's an unwritten rule when a news crew is in a war zone. You stop the van every two miles and decide whether or not to go on. Whether or not you feel lucky. One `` no'' from anybody in the group and you turn around right there, no question asked, nobody embarrassed. -LRB- pause. -RRB- Well? Do we go on? Immediately : SARAH No. MALCOLM No. NICK No way. They all laugh. MALCOLM All right. I'm satisfied with the evidence we have right now. I feel vindicated. John Hammond will too. -LRB- to Sarah. -RRB- Do you have enough to publish? SARAH They will come after me. But I can collect some stool samples, for DNA with that, Nick's tapes, and the rest of you to back me up, it should stand when we get back. MALCOLM -LRB- getting up. -RRB- Then the only thing left to do is make sure we do get back. I'll call the mainland on the satellite phone and have them send the boat right now. This expedition is over. He goes to the desk and picks up the heavy gray satellite phone that's resting in a battery pack. The front panel lights up, a brilliant green. But from the wall speaker, the radio CRACKLES and EDDIE'S VOICE breaks through, soft and empty. EDDIE -LRB- o.s. -RRB- Oh, God. I am so sorry. Malcolm and Sarah look at the speaker box. MALCOLM What the hell is he sorry f - A low RATTLE sneaks into the trailer. Malcolm, Sarah, and Nick takes a step forward from the walls, looking around. The RATTLE gets louder, the trailer shakes and vibrates, everything in it starts to BANG against the walls - - and something huge SMASHES into the side of the trailer. They're all thrown against the far wall, there is an earsplitting CRACK of electricity, the entire trailer rocks and sparks a brilliant blue, and then everything goes black. The satellite phone flies out of Malcolm's hands and SMACKS against the wall. It lands on the floor, its number pad still glowing green. Nick crawls over and looks out one of the windows. Outside, the flank of one of the tyrannosaurs wipes past the window, revealing the second tyrannosaur, charging straight at the trailer! NICK HANG ON TO SOMETHING! They hurl themselves at the nearest solid object and hang on for dear life. The charging rex SLAM into the side of the trailer, which rocks up on one side, BANGS back down, and is quickly RAMMED again by the furious animal. This time the entire trailer rolls over, completely upside down. Sarah, Nick, and Malcolm let go of their precarious handholds and drop onto the ceiling. The tables, chairs, lab equipment, everything that's bolted down clings to the floor above them ; everything that is n't RAINS DOWN ON THEM. But the rexes are n't done. The trailer JOLTS INTO MOTION, sliding forwards. SEEN FROM OUTSIDE, the upside down trailer, which is the rear of the two trailers, slides along the muddy ground, pushing up earth in front of it. IN THE TRAILER, SARAH They're pushing us! Malcolm, frantic, crawls up to a window to get a look outside. He looks down and sees a T - rex footprint in the earth outside as they move past it. He cranks his head to get a look at the direction in which they are being pushed. His eyes widen at something he sees outside the window. MALCOLM Oh, God. SARAH What?! MALCOLM They're pushing us over the cliff. Sure enough, out the back window, we see a few more feet of muddy earth, and then nothing but inky black. The three of them look at each other for a moment - - and then crawl like hell toward the other end of the trailer. The opposite end reaches the edge of the cliff and starts up to tip ever - so - slightly downward. They reach the accordion - like connector and Malcolm crawls into it. THROUGH THE WINDSHIELD OF THE FRONT TRAILER, which is right - side - up, Malcolm can see the two rexes hard at it, pushing the front end of the trailer. IN THE REAR TRAILER, Nick has a pretty good grip at the top of the trailer, but Sarah can only cling to an air vent in the ceiling as stuff starts to roll and tumble past her, headed downhill. The angle increases, the trailer dips, and now stuff starts to freefall, right past her, some SMASHING her in the head. Malcolm, still in the connecting tube, grabs hold. Sarah, starting to be pulled downward, paws at the refrigerator, getting a g rip on the handle. The door, held by a safety latch, does n't open. Below Sarah, debris falls to the rear window of the trailer. Through the CRACKING glass, we can see the surf, CRASHING five hundred feet below. The refrigerator bolts suddenly CRUNCH free of the wall. The box strains on its power cord. Still clinging to the handle, Sarah swings wildly as it starts to come loose, swaying above her. The safety latch on the door gives, it swings open, and a shower of food BANGS off of her as gravity empties the contents. Sarah loses her grip and plummets through the now - vertical trailer. She SCREAMS, covers her head, and SMASHES into the rear window. The glass spiderwebs, but does not break. FIVE HUNDRED FEET BELOW, an enormous wave POUNDS the rocky shore. Above, Sarah is a tiny figure, sprawled out on the glass, held invisibly by the breaking window. IN THE TRAILER, Nick SHOUTS to her. NICK SARAH! DO N'T MOVE! Sarah, stunned by the fall, blinks a few times, regaining her senses. She looks down, at the crashing surf so far below. For a person with a fear of heights, this is a real drag. As she stares, the rocks seem to move even farther away from her. She blanches ; the world spins around her. SARAH OH. GOD. please. Her breath fogs the cracked glass. Slowly, she tries to get up, caaaaaarefully pulling herself up to her hands and knees. But as she puts pressures on her hands, the glass CRACKS even more, tiny spiderwebs shooting out around her fingers. The whole glass panel sags, bowing out around the bottom of the trailer. UP ABOVE HER, Malcolm looks down and sees the satellite phone precariously balanced on one leg of the kitchen table, its number pad still glowing green. Nick is closest to it. MALCOLM Nick! Grab the phone! SARAH looks to her right, at a metal grating that runs along the wall of the trailer. She shifts her weight, leaning on one hand to reach for the grating with the other. NICK reaches for the satellite phone, its antenna just six inches from his outstretched fingers. SARAH leans toward the metal grating, all hairline cracks shoot out around her pivot hand, shaking through the glass. The splintered glass spread like a disease, it reaches the edge of the frame - - and her hand CRACKS right through the glass. She GASPS and pulls her hand out, but now she knees SMASH through the glass. NICK has two fingers on the phone, but suddenly the whole trailer shudders and the heavy phone tips off the table leg and falls. NICK SARAH LOOK OUT! SARAH lunges for the metal grating and clings to it just as the heavy phone whizzes past her head and SMASHES into the glass, opening up a huge hole in the center of the back window. UNDERNEATH THE TRAILER, glass, food, lab equipment, and the precious satellite phone fall out the broken window and SMASH on the rocks far below. IN THE CLEANING, the trailers are split, like an L, the rear trailer hanging straight down, the forward one resting on the edge of the cliff. Satisfied with their work, the T - rexes turn and lumber back into the jungle. IN THE TRAILER, Sarah climbs carefully up the metal grating. Above her, Nick lowers himself as far as he can, reaching for her. ON THE CLIFFSIDE, we realize the hanging trailer halted its descent because one corner of it is wedged in the branches of a tree that grows out from the muddy cliff. But now those branches SPLINTER. IN THE TRAILER, Malcolm sees the bellows, the connector between the trailers, stretch as the lower trailer JERKS and dips lower. BELOW HIM, Sarah mountain - climbs through the trailer's kitchen, inadvertently kicking the faucet on as she struggles for purchase. OUTSIDE, the tree branch SNAPS and the trailer jerks, stretching down again. The bellows expands to its full length, stretching like a Slinky. INSIDE, Nick knows he has to hurry. He climbs down, bouncing off the built - in furniture, moving ever closer to Sarah. But Sarah slips and loses her grip, dropping a few feet. She gabs hold of the sink, the flowing water spraying her face.\",\n \"EXT. JUNGLE - NIGHT EDDIE CARR is in the driver's seat of the jeep, racing through the jungle as fast as he can. EDDIE Hang on - hang on - The foliage SMACKS the windshield, then clears suddenly, revealing the endangered trailers on the cliffside ahead of him. The jeep bounces through the deep footprints left by the rex and SKIDS to a halt.\",\n \"INT. TRAILER - NIGHT Sarah loses her grip on the sink and falls, SMASHING into the frame of the half - broken rear window again. OUTSIDE, Eddie bolts out of the car and runs to the front trailer. He SHOUTS in through the broken front window. EDDIE HEY! HELLO?! IN THE REAR TRAILER, The three look up from their precarious positions. MALCOLM WE'RE IN HERE! GET SOME ROPE! OUTSIDE, Eddie turns and run back to the jeep. He grabs a coil of rope, secures one end around a tree, and hurries back to the trailer. IN THE REAR TRAILER, Eddie dashes over the mess in the front trailer and crawls out into the extended connector. He peers over the edge, down into the second trailer, and tosses the rope. EDDIE Catch! The rope falls through the center of the trailer, its end dangling all the way out the smashed rear window. But the trailer SHUDDERS, starting to move again. SARAH We're sliding! EDDIE Climbs up if you can! OUTSIDE, Eddie runs out of the trailer in time to see the wheels dragging forward through the mud as the weight of the dangling trailer pulls the whole thing toward the edge of the cliff. He runs for the jeep and grabs hold of the power winch on the front grill. Behind him, the trailer rolls closer to the edge of the cliff. Eddie races back to the trailer, pulling out a length of cable behind him. He runs up to the still - moving trailer, dives for its towing hook, the cable goes taut - - and he falls short. Just by six inches, but he's out of cable. EDDIE Damn it! INSIDE THE TRAILER, Nick and Sarah are now together, clinging to the rope near the bottom of the trailer as it shifts around them. Malcolm is further up, also clinging to the rope. OUTSIDE, dirt and rocks pile up around the wheels and spill over the edge of the cliff. Eddie, back at the jeep, reels out more winch cable. He turns and races back to the trailer just as gravity starts to LIFT THE FRONT END OFF THE GROUND! Eddie dives again, and this time the cable hook CLICKS securely into the trailer's towing hook. The trailer lurches toward the edge of the cliff and stops. But the jeep is jerked forward by the sudden pressure. IN THE TRAILER, Malcolm clings to the rope in the middle of the trailer while Nick and Sarah try to struggle up it, but a sudden dig knocks them back, and their hands slide down the line. SCREAMING, they slide through the trailer and their feet SMASH through the remains of the rear window. Regaining hold of the rope at the very end, the two of them now find themselves hanging out of the rear end of the trailer, dangling over the rocky shore below. IN THE JEEP, Eddie hits the gas and the tires slosh in the mud, trying to get a grip. The jeep pulls just enough to lower the front trailer back to earth. But the tires spin, fighting to hold it there. ON THE CLIFFSIDE Sarah and Nick dangle, desperate. IN THE JEEP Eddie CHUNKS the shifter into four wheel drive and GUNS the engine. As the motor ROARS, the sound is topped by another ROAR, in the distance. And this one's not a machine. But Eddie does n't hear it. He GUNS the engine again. There is another ROAR from the jungle. Eddie hears this one. He darts a look at the side view mirror. In it, he sees one of the TYRANNOSAURS bolt out of the jungle behind him. He GASPS and looks at the other side view. In it, he sees the OTHER REX racing toward him. The tyrannosaurs STOMP forward to confront the ROARING jeep. The first rex bends over, CHOMPS down on the rear tire, and lifts the car to its teeth. But the spinning tire LINGS in the rex's mouth, burning it. Surprised by the fight in this foe, the rex loses its grip and the jeep BANGS back down onto the ground. Eddie, horrified, dives down under the steering wheel, to get away. The gas pedal pops up - - which makes the trailer pitch over the side of the cliff. But the rex STOMPS down on the jeep to prevent its escape. The trailers stop. Now the rexes lean down, over the jeep, and focus on Eddie, who still covers under the steering wheel. The first rex SNAPS at him, hitting the steering column with it, leaving Eddie fully exposed. He SCREAMS and the second rex lashes in, seizing him in its teeth and tossing him out of the car. Eddie pops up into the air between the two rexes, both their heads flash at him at the same time, and in a split - second, he disappears between their teeth. Now completely ignored, the jeep rolls freely forward and the trailers drop over the edge of the cliff. INSIDE THE TRAILER, Nick, Sarah and Malcolm cling to each other and the rope as the trailers fall around them. The windows flash by as the trailers plummet, equipment BANGS and SCRAPES them, but they hold on to the rope, still tied to the tree, for dear life. ON THE CLIFFSIDE, the trailers slide the rest of the way, exposing the three, who pop out the space where the front windshield was. Dangling from the rope, they look up and see the jeep, which is now rolling to the edge of the cliff. It falls, past them, and the whole mess EXPLODES on the rocks below. Finally, it is silent, except for the sound of the surf.\",\n \"EXT. CLEARING - NIGHT It's quiet up here too, the rexes nowhere to be seen. At the cliff, a hand appears from over the edge. Then another. SARAH pulls herself up, back onto solid ground, then comes NICK, then both of them reach over and help MALCOLM up over the edge. They collapse there, in the mud, completely exhausted. MALCOLM -LRB- softly. -RRB- Eddie? He looks at the other two. They glance around, then drop their heads. Sarah hears a SOUND in the distance. SARAH Oh, God. Now what? From the edge of the jungle, a cris - cross of flashlight beams moves toward them. But rather than the three or four that would signify their own group, there are nearly twenty of them. The HUNTERS, PETER LUDLOW is in the lead, ROLAND and AJAY with him. DIETER is there too, shepherding KELLY and DR. JUTTSON along in front of him. Malcolm sees Kelly, they call out to each other, and race together. Malcolm falls to his knees and hugs her as tightly as he possibly can. MALCOLM Are you all right?! Anything broken? KELLY I'm fine, I'm fine, I was scared, I thought you, are you okay?! MALCOLM I'm fine. I'm fine. Roland looks around, at the mess that was their base camp. ROLAND -LRB- mostly to himself. -RRB- That's what you think.\",\n \"EXT. RUINED BASE CAMP - NIGHT In the ruins of the first team's base camp, the survivors of the night's two separate catastrophes stand face to face, in a heated argument. MALCOLM sits off to the side, still holding Kelly in his arms, just looking down at the ground and shaking his head. There's something about his posture of defeat that is far more ominous than any of the hot tempers that are flaring. LUDLOW rants to SARAH while DIETER looms menacingly over NICK. LUDLOW Trespassing, sabotage - you could go to jail just for being here, did you know that? SARAH Do n't start a legal argument with me, this island is n't your property, and neither are these animals! DR. JUTTSON has encountered DR. BURKE. JUTTSON What are you doing here, Burke? There's no TV cameras, what's the point? BURKE Dr. Juttson, you exist outside the classroom. I am amazed. Dieter continues to get in Nick's face. NICK Are you looking for a problem? JUTTSON -LRB- an urgent whisper. -RRB- Everyone, keep your voices down! ROLAND Back off, Dieter. JUTTSON Listen to me, by moving the baby rex into our camp, we changed the adults' perceived territory! LUDLOW Their what? SARAH -LRB- she understands. -RRB- Oh, God. JUTTSON That's why they persisted in destroying the trailers, they now feel they have to defend this entire area! We're not safe here. LUDLOW -LRB- of Sarah and Nick. -RRB- Thanks to you people. SARAH Hey, we came here to observe, you came here to strip - mine the place! It's a looter mentality, all you care about is what you can take. ROLAND None of that matters. Our communications equipment's been destroyed. If your radio and satellite phone were in those trailers that went off the cliff, and I'm guessing by the look on his face - He points at Malcolm, who is still off to the side, sitting in stunned silence. Malcolm looks up and nods, slowly. The grimness of their situation sinks in. ROLAND -LRB- cont'd. -RRB- We are stuck here, ladies and gentlemen. And we're stuck together.\",\n \"EXT. HUNTERS' CAMP - NIGHT Back in the hunters' now - demolished camp, members of the two groups combine their diminished supplies. They have half a dozen large plastic containers of water, thirty - seven containers of food, ranging from Ziploc bags to aluminum tins, a variety of weapons, mot of them borne on the hips or shoulders of the HUNTER team, the charred and scraggly remnants of several pieces of now - useless electrical equipment, a flare gun and several flares, somebody's tattered paperback -LRB- `` Crime and Punishment'' -RRB-, a box of Hershey bars, and a cartoon of Marlboros. ROLAND supervises the assembling of the resources, which are displayed in front of him. LUDLOW, NICK, SARAH, JUTTSON, and MALCOLM, who is still holding KELLY close to him, are with him. They hold their discussion in quiet tones. ROLAND If we ca n't stay in the rex's territory, we have to move tonight. SARAH Move where? Our boat's not coming for two days, your airlift is waiting for an order you have no way to send - Ludlow refers to the charred and trampled satellite photographs of the island, which are still mostly legible. LUDLOW There's a communication center, here, in the old worker village. Hammond put in some kind of renewable power source replenishing. It may still work. If we could get there, we could send a radio call for the airlift. NICK How far is the village? LUDLOW I said if we could get there. NICK Well, how far is it? LUDLOW A day's walk, maybe more. That's not the problem. ROLAND What is? LUDLOW The velociraptors. Malcolm looks up sharply. LUDLOW -LRB- cont'd. -RRB- Our infrareds show their nesting sites are concentrated in the island interior. That's why we planned on keeping to the outer rim. Malcolm shepherds Kelly away from the conversation and mutters something to her quietly in the background. DIETER What are velociraptors? JUTTSON Carnivores. Pack hunters. About six feet long, three or four hundred pounds, and very, very fast. Dieter brandishes his weapon. DIETER I think we can handle ourselves against them. Malcolm rejoins the conversation, alone. He keeps his voice low. MALCOLM No. I'm quite certain you ca n't. ROLAND Look, we have two choices. We can hike back down to the lagoon, where we can sit for two days, in the open, next to a heavily used water source while we're waiting for your boat to arrive, or we can head for the village, where we might find some shelter and we can call for help. MALCOLM We'd never make it past the raptors. Trust me, I have some experience in this matter. Roland looks at him. ROLAND That may be. But you were n't with me at the time. Malcolm just shakes his head, then turns and walks back to Kelly. Roland turns to the others. ROLAND -LRB- cont'd. -RRB- Load up. Let's get this moveable feast underway.\",\n \"EXT. ISLAND - NIGHT The SURVIVORS set forth, marching through the jungle in a column. Two HUNTERS strap on small shoulder - mounted servo - flashlights. Wires run from the lights end in sensor pads which they stick to the skin of their necks. Thus attached, when the hunters turn their heads, the servo - lights turn with them, illuminating whatever direction they look in. MALCOLM screws the barrel into the Lindstradt rifle and slings it over his shoulder as he marches, limping heavily. He looks down at KELLY, who is marching alongside him. His face shows the deepest of regret. He shakes his head, cursing himself. MALCOLM Damn it. He looks away as Kelly looks up at him, questioning. ROLAND falls into step with Malcolm and notices his limp. ROLAND You all right? Malcolm looks at him, then looks away without answering. ROLAND -LRB- cont'd. -RRB- Wrong question? MALCOLM You ever heard of Gambler's Ruin? ROLAND What's that? MALCOLM A statistical phenomenon. Says everything in the world goes in streaks. It's real, you see it everywhere - in weather, in river flooding, in baseball, in blackjack, in stock markets. Once things go bad, they tend to stay bad. Bad things cluster. They go to hell together. ROLAND Feeling a bit blue, are we? Malcolm glances at Kelly, who has taken a slightly faster pace and is a few steps ahead of them now. MALCOLM Just - flawed. Very deeply flawed. ROLAND Why did you come here? MALCOLM So that others would know about this place? ROLAND Why should they? MALCOLM Because it exists. ROLAND It'll still exit if they go on not knowing, wo n't it? MALCOLM Yes. And people will live in the absence of truth. ROLAND So the truth is more important to you than your life? MALCOLM -LRB- lowers is voice. -RRB- I do n't care about my life. But if I'd ever thought for a second that she would be in danger - Roland follows his gaze forward, to Kelly, who's about ten yards ahead now. ROLAND She yours? AHEAD OF THEM, Kelly can hear their voices, faint, but clear. They are not as far away as they think they are. MALCOLM -LRB- o.s. -RRB- I'm afraid so. I do n't know what the hell I'm doing with kids. I never should have had her. Kelly's face shows she heard that part. BEHIND HER, Malcolm, unaware, continues with Roland. MALCOLM -LRB- cont'd. -RRB- Why are you here? ROLAND Somewhere on this island, there exits the greatest predator that ever lived. And the second greatest predator must take him down. MALCOLM But why? ROLAND You remember that guy, about twenty years ago, I forget his name, but he climbed Everest without any oxygen, came down almost dead. And they asked him, `` why did you go up there to die?'' And he said `` I did n't. I went up there to live.'' MALCOLM -LRB- nods. -RRB- It's called self - testing. But in your case, it sounds more like self - destruction. A uniquely human characteristic. In fact, human beings destroy things so well that I sometimes think that's our function. Maybe every few sons, some animal comes along that kills off the rest of the world, clears the decks, and lets evolution proceed to his next phase. Maybe death and destruction are our job, maybe we're supposed to destroy ourselves and every other living thing that - Every person on the trail within earshot has stopped and is staring at Malcolm, shaken by his words. Roland grabs Malcolm by the shirt collar and pulls him close, GROWLING in his ear. ROLAND Tell you what. You can see whatever you want to, to me, but you will not spew any more nihilist rants at anyone else in the group. I'm fighting panic, and you push the wrong buttons. Understand? Malcolm just blinks. This guy's in charge.\",\n \"EXT. JUNGLE - DAWN As a purple dawn dissolves the night sky, the SURVIVORS stagger on, exhausted. Some are starting to tire, and there are spaces in the column. MALCOLM's limp seems to be getting worse. NICK reaches out, to take Malcolm's pack, but Malcolm swats his hand away. KELLY, still ahead of him, falls into step with SARAH. KELLY I do n't think - my dad does n't think we're going to make it. Sarah looks at her. SARAH Your dad is wrong. About a lot more than he knows. She puts an arm around her. Kelly looks up at her, grateful. The long march continues. UP AT THE FRONT, NICK catches up to ROLAND. NICK I think you should call a break. ROLAND Another half hour. NICK Some of them wo n't make another half hour. We did n't come this far to start dropping in the middle of the jungle. If you do n't call it, I will. Roland looks at him, steely, then SHOUTS to the group. ROLAND FIVE MINUTES BREAK! Immediately, the marchers drop where they stood, absolutely drained. AT THE REAR OF THE GROUP, DRS. BURKE and JUTTSON are bickering. JUTTSON I ca n't believe you're still angry about that. BURKE You know, it's very easy to criticize the first person who studies something. JUTTSON No, it's easy to criticize sloppy research and hasty conclusions. NEARBY, MALCOLM checks Nick's bag of videotapes, making sure they're still dry and undamaged. Sarah comes up, watching him. SARAH You know, even if we do get those tapes back, people are going to say it's just another hoax. Ian Malcolm's alien autopsy. MALCOLM Maybe. Maybe not. SARAH Ian, they will misplace our evidence, shoot holes in our testimony, and say some special effects genius created the animals. The only way people will ever believe that dinosaurs exist is if you dump a T - rex in the middle of times Square. He does n't look at her. She sits down beside her. SARAH -LRB- cont'd. -RRB- There's something more important that you should be thinking about instead. BEHIND THEM, Dr. Burke, furious, has stalked away from Juttson and sits down on a rock. H does a double take, noticing something behind the rock. He leans over and picks it up. It's an oval shape about eight inches long, with a pebbled exterior. A dinosaur egg. Burke's face lights up, fascinated, and he carefully pieces the egg in a satchel he wears over one shoulder. AT THE REAR OF THE GROUP, DIETER STARK pulls a wad of toilet paper from his pack, drops the pack on the ground, and turns to the Hunter nearest him - CARTER, his driver, who has his back turned. DIETER Wait here for me, would ya Carter? He steps off the path, into the jungle. But as we come around the front of Carter, we see he's wearing a Walkman, the headphone BLARING tinnily in his ears. And he did n't hear a word.\",\n \"EXT. THICK OF THE JUNGLE - DAY Only a few feet off the path, it's primary forest, the growth so thick that almost all sunlight is obscured. DIETER claws forward until he finds a suitable spot to relieve himself. He clears away a bunch of leaves and debris and raises his hand to his belt buckle. He freezes, hearing something we did n't. He glances around, head darting, alert to any danger. Nothing there. Just a few distant ANIMAL CALLS - - and s SCURRYING around to his left. Dieter snaps his head in that direction. At first, he sees nothing, but as he moves closer, gun extended in front of him, he sees a small dinosaur, a COMPSOGRATHUS, the same chicken - sized animal Cathy saw on the beach so long ago. DIETER It's not polite to - He pulls the steel rod out of a loop in his belt and touches it to the compy's back. The blue bolt of electricity CRACKS and dances over the compy's body and it convulses in pain. DIETER -LRB- cont'd. -RRB- - sneak up on people. The wounded compsognathus scurries back into the jungle, whimpering. Dieter clambers through the foliage ten or twelve paces, pushes aside two large palm fronds, and steps out into - - more jungle. He stops, puzzled, not sure if he went back or forward. He looks behind him. He pauses, recalculating the path he took coming into the jungle, MUTTERING to himself, gesturing with his hands, retracing his steps. He adjusts his angle slightly to the right and heads off in that direction. But after five or six hard - fought steps, he stops again. Still nothing but jungle. DIETER HEY! CARTER! YELL OR SOMETHING, I GOT TURNED AROUND IN HERE! ON THE TRAIL, Dieter's cries are faint, but audible. The only Marchers hear enough to hear him is CARTER, but the Walkman is blaring in his ears. DIETER -LRB- o.s. -RRB- Carter. me? IN THE JUNGLE, Dieter hears that SCURRYING sound again, this time from his right. He adjusts his angle again and SCRAPES through the foliage, moving faster and faster. Panicking, he ties to run, but the roots rise high out of the ground in the jungle, and he trips on one and falls flat on his face. He looks up. The SCURRYING sound comes again, this time ten times louder than before, like a hundred feet coming at him. Dieter GASPS as something rushes in at him. He whirls to his right. Whatever it is rushes in from that side as well. And the left. And behind him. Dieter scrambles up into a sitting position - - and laughs. He is surrounded by at least forty compys now, the same as the one he wounded. For a long moment, they just stare at him. Slowly, he brings his gun around, to point it at them. DIETER Easy - wait - one more sec - As one, the compys SHRIEK and hurl themselves forward, covering Dieter's body. Their teeth and claws FLASH as they each try to grab a scrap of his flesh, tearing savagely. Dieter SCREAMS and flails, waving his arms and legs wildly. Some of the tiny animals lose their grip and sail off, SMASHING into trees or the ground. But dozens of others hang on, and Dieter falls over backwards, now lying on his back on the ground. Hysterical, he fights like hell to get to his feet, SCREAMING, shaking, swatting the compys loose. He spins, and that tactic seems to work, as the compys themselves begin to panic and drop off of him. But he also loses his grip on his weapon, which goes flying, landing in the thick foliage five or six feet from him. Losing the attack, the compys turn and dart away en masse, stopping ten yards away from him. But they turn and regroup, facing him in a line, hopping up and down, CHIRPING and SHRIEKING. Dieter bounds into the foliage, looking for his gun. But the compys follow him in and he's forced to flee, abandoning his lost weapon. Ten feet on, he stops, knowing he's screwed without the gun. He turns to face the pursuing compys. They stop. Dieter charges them, SHOUTING, waving his arms. The compys turn and run. Dieter stops. The compys stop. They stare back at him. There is a moment of quiet, then they start to hop again, CHIRPING and SQUEALING. Dieter, tired of this game, turns and runs away. The compys follow.\",\n \"EXT. JUNGLE - DAY From the front of the convoy, ROLAND SHOUTS out. ROLAND Break's over, move on! The exhausted marchers drag themselves back to their feet and start to march again. At the rear of the group, someone taps Carter, who is still listening to his music. Carter gets up, hoists his backpack, and marches away. Behind him, Dieter's pack is left, forgotten, on the jungle trail.\",\n \"EXT. DEEP IN THE JUNGLE - DAY DIETER stumbles along, exhausted. He reaches the edge of a stream that runs under the foliage, and his feet slip on the stones. He falls, into the rocky stream. Behind him, the army of compys pours over the little hill he just crested. They disappear for a moment, down an incline - - And then swarm over his body. In a frenzy of splashing, Dieter shrugs them off and crawls away, through the stream. He gets to his feet but falls again, this time over a log. A geyser of water splashes up in the air behind the log as Dieter drops out of sight. The compys leap over the log and disappear from view too, throwing up their own splashes of water. SCREECHING, CHIRPING, and the sound of TEARING flesh mixes with Dieter's SCREAMS. Now, as more compys leap over the log and splash into the water below, the geysers that shoot up into our field of view are pink. And then they're a deep, deep red.\",\n \"EXT. JUNGLE - DAY The group has stopped again. Near the rear, SARAH, NICK, MALCOLM, LUDLOW, and ROLAND are in a tense conversation with CARTER. ROLAND How long ago was this? CARTER Seven, eight minutes. Roland looks at them, thinking. Finally : ROLAND Then he's dead. Nobody tells the little girl. Last thing we need is screaming hysterics. He turns and heads back to the front of the column. SARAH We have to send someone to look for him! ROLAND You go if you like, but we're not waiting for you. MOVE IT OUT! They look at each other, appalled, but the column starts to move. Numbed, shocked, but left with no choice, they move on, one by one.\",\n \"EXT. ISLAND RIDGE - DUSK The column of MARCHERS has finally reached the island ridge, where they are silhouetted against the setting sun. They're taking a break, sprawled out on rocks or over the ground. MALCOLM sits next to KELLY, who's sitting on a log. MALCOLM You okay? She does n't look at him, just gets up and walks away, going to sit over next to SARAH. Malcolm watches, pained, but Sarah puts an arm around her and makes a `` she's okay'' gesture to Malcolm. AT THE RIDGE, ROLAND steps up to the very edge and peers into the island interior. From his vantage point, he's able to see all the way to the far side of the island, a rim of herd black cliff, miles away. Between here and the cliffs there is nothing but gently undulating jungle. He refers to one of the satellite recon photos. ROLAND Looks like the worker village is down in there, about a mile and a half northeast from the base of these cliffs. MALCOLM is next to him. MALCOLM There must be a game trail, some kind of path that goes down there. Roland looks around at the exhausted MARCHERS. ROLAND They'll have to rest before we look for it. Eat. Sleep. Two hours. Then we hit it.\",\n \"EXT. CAMPSITE - NIGHT The group has made camp in the jungle. The mood is somber, most of the MARCHERS asleep already. Three or four tents have been put up. IN ONE TENT, KELLY sits quietly in a corner, her eyes wide, knees hugged up to his chest. SARAH comes in. SARAH There you are. Your dad's looking for you. KELLY I doubt that. Sarah takes off her outer shirt and hangs it over a bar to dry the broad red smear across its front. SARAH Oh, come on. Go talk to him. KELLY Why? He likes to be alone. I can stay with you. IN THE CAMPSITE, all is still. The nocturnal jungle HOOTS and BUZZES around the sleeping marchers. In his tent, ROLAND abruptly sits up. As if he heard something. He looks out the open flap. In the middle of the campsite, he sees AJAY stop in his tracks, head cocked. Roland gets up and goes outside, joining Ajay in the middle of the camp. ROLAND You hear something? AJAY No. I feel something. Roland looks at him. This is n't so good. He looks out at the shifting jungle. He notices a thin plume of smoke rising up over the trees just barely outside the edge of camp. ROLAND Oh, no. IN SARAH'S TENT, Kelly and Sarah have laid down on top of sleeping bags, trying to get a few minutes' rest. Sarah's shirt hangs over them, swaying in the gentle breeze coming through the open flap. As the shirt dangles there, swinging softly from side to side, we notice the broad red smear across the front. Oh, that's right - it's blood. The baby T - rex's blood. AT THE RIDGE OF CAMP, the thin plume of smoke leads down to a tiny cooking fire that's been lit by DR. BURKE. He's set a small frying pan on top of it, and now he CRACKS the dinosaur egg he picked up earlier into the pan. Roland and Ajay run up behind him. ROLAND -LRB- hisses. -RRB- ARE YOU OUT OF YOUR MIND?! Burke leaps out of the way as Roland kicks dirt on the fire. BMBB! Roland, Ajay, and Burke all freeze. What was that? IN SARAH'S TENT, Sarah and Kelly sit up. They felt it too. BMBB! AT THE COCKING FIRE, ROLAND Get my weapon. Ajay turns and trots away a few steps, then stops cold, staring down at the ground. BMBB! A recent rain has all left puddles scattered around the camp, and impact tremors now create ripples in the puddles - concentric circles spreading to the outer edges. BMBB! IN SARAH'S TENT, Sarah and Kelly are frantically sealing up any opened food into Ziploc bags. BMBB! Now they leap into Sarah's sleeping bag, to seal themselves, and draw the zipper up, all the way around. Outside, the silhouette of the rex's head passes by the tent. Sarah works faster, her fingers struggling to close the last few inches, but - - the rex head pokes through the flap of the tent. It sniffs, SNORTING the air in and out. It looks around the tent. It sniffs Sarah's hanging shirt, the one that is stained with the blood of the baby tyrannosaur. The adult tyrannosaur GURGLES again, COOING and cocking its head curiously. In the sleeping bag, Sarah and Kelly's eyes are barely visible, wide in panic. The rex sniffs and nudges the bag, trying to figure out what this thing is. It rolls the bag over once, decides it's uninteresting, and then rises, straights up - - taking the whole tent with it! The stakes pop out of the ground as the tent rises high up into the air and flutters away, leaving the sleeping bag fully exposed on the ground beneath it. IN THE CAMPSITE, the SECOND TYRANNOSAUR now steps out of the jungle, joining the first. Panic hits the camp as the sleeping HUNTERS wake up. Many of them start to run. Roland scrambles toward his tent, where he can see his weapon lying near the open flap. As he draws close, an enormous T - rex foot stomps down on the tent, driving the rifle deep into the mud. Roland, weaponless, stands frozen, watching as the panicked Hunters flee in all directions. ROLAND FOR CHRIST'S SAKE, DO N'T RUN! But they ignore him, sweeping him up in the wave of flushed prey that pours across the campsite. Some toss random and ill - aimed GUNSHOTS back at the rexes. ACROSS THE CAMPSITE, NICK bursts out of the crowd, sees Kelly and Sarah struggling to get out of the sleeping bag, and grabs each by an arm. He rips them to their feet and sweeps them off ahead of him, into the jungle. IN THE MIDDLE OF THE CROWD, MALCOLM, blinking back sleep, stands a good head above the rest of the panicking crowd. Frantically, he scans the group. MALCOLM KELLY? KEEEEELLLY?! But he ca n't see her. AT THE EDGE OF CAMP, the two rexes join forces, herding the fleeing Hunters into a narrow ravine. UP ON A ROCK RACE, Roland scrambles up a steep rock face. No way in hell he's going down that ravine. He sees Malcolm, still in the middle of the camp, start to head for the ravine. ROLAND MALCOLM! OVER HERE! Malcolm runs over and hurls himself at the rock face, scrambling to climb up the smooth, steep boulders. Behind him, one of the rexes spots him and lunges across the camp toward him. ROLAND -LRB- cont'd. -RRB- FASTER! Malcolm gives it everything he's got, clawing his way up the rock face - - and rex draws closer and pounces at his legs - - and Roland reaches down, grabs Malcolm by the hair and pulls him up, out of the rex's grasp. The rex falls short, but he's close enough that we can hear his teeth SNAP together, closing around nothing but air. It turns, sees easier prey in the fleeing Hunters, and takes off after them. Malcolm lands on top of the rock ledge with a CRUNCH. Roland unceremoniously dumps a fistful of hair in his lap. IN THE RAVINE, Kelly, in the middle of the fleeing crowd with Sarah and Nick, hears her father screaming her name and looks up. Malcolm and Roland are on the rock ridge above them, keeping pace. MALCOLM -LRB- shouting. -RRB- KELLY, UP HERE! But Kelly continues to flee, as the rexes are in the ravine now, and drawing closer to the group. Some Hunters try to leap up and scale the rocks, but the ravine is deepening, there's no way out. One rex grabs hold of a Hunter in its teeth and hurls him against the rock face. The second rex picks up another Hunter and snaps its massive head left and right quickly, to break its victim's neck. The Hunter goes flying forward and crashes into - - CARTER, Dieter's driver, who stumbles and falls. The rest of the fleeing humans run around or over him, but when the rex lifts its foot, we see Carter is actually stuck to the bottom of it - - and when the animal takes its next step it CRUSHES him into the earth. UP ON TH ROCK FACE, Malcolm is frantic. MALCOLM I got ta get down there! DOWN IN THE RAVINE, it's obvious no one is going to outrun the rexes, and Nick knows it. He bursts ahead of Sarah and Kelly and spots something off to his left. It's a waterfall, apparently right in front of a sheer rock face. But there's something about the way the water is falling that tells him something. NICK SARAH KELLY COME HERE! He grabs each of them and hauls them forward, running straight at the waterfall. Apparently, he intends to jump right into the rock, and he's dragging them along with him. SARAH WHAT ARE YOU - NICK JUMP! The three of them spring right at the waterfall and disappear THROUGH the water. DR. BURKE, fleeing along with everyone else, is watching as they vanish. BEHIND THE WATERFALL, there is a small recess, which is what Nick had hoped for. It's small, only four or five feet deep, but it's just enough for him, Sarah, and Kelly to cover behind the flowing water. Breathless, terrified, they can hear the mayhem outside. NICK Shhhh. shhhh. With an enormous SPLASH, something bursts through the cascading water and crashes into them. Dr. Burke. BURKE Get out of the way! He pulls his way up against the far wall, as far away from the water as he can. FOOOOM! Now another shape bursts through the watery curtain. A Tyrannosaur head. Burke gave away the hiding spot. The four SCREAM as the rex's jaws SNAP left and right, searching for them, falling just inches short. They squeeze as far back against the wall as they can get. The rex ca n't quite get its head all the way through the opening - - so it uses its tongue. A long, dark blue shape slithers out of its mouth and touches the humans, trying to wrap around them, to pull them out of the cave. Burke, blind with panic, forces himself even further into the cave, which pushes Kelly further out. SARAH STOP IT YOU'RE PUSHED HER OUT STOP IT! But Burke does n't listen, throwing elbows to make room for himself. His movements dislodge a portion of muddy earth, and a flurry of enormous cockroaches, eight or nine inches long each, pour out of the wall and swarm over his face and neck. Burke SCREAMS and instinctively leaps away, toward the flowing water. And that's all the leverage the rex needs. It curls its tongue, wrapping Burke up in it and pulling him between its teeth. SCREAMING hideously, he is dragged out, through the waterfall, and disappears. Sarah, Nick, and Kelly stare in horror as the white screen of water turn pink. UP ON THE ROCK FACE, Malcolm and Roland see the rex walk away from the waterfall with Burke, leaving the hiding place unmolested. Malcolm is nearly hysterical. ROLAND She's okay! They'll stay in there, she's okay! IN A JUNGLE CLEARING, routed Hunters emerge from the gully at the edge of he jungle. Ahead of them, there is a large open plain covered by long `` elephant'' grass. AJAY, running along with them, stops abruptly at the edge of the grass, SHOUTING to the others. AWAY NO! DO N'T GO INTO THE LONG GRASS! Not in the frenzy, they ignore him. Behind Ajay, the enormous shadows of the two pursuing tyrannosaurs stop as well, holding up at the edge of the jungle. Ajay, torn between a sense of responsibility and his better judgement, opts for the former and races into the grass after the other Hunters, waving his arms. UP ABOVE THEM, Roland and Malcolm come out onto a rocky ledge that has a view of the plain below. Roland can see the Hunters leaving trails as they plow through the grass. ROLAND Elephant grass! ON THE PLAIN, the groups of Hunters wades into the middle of the long grass. One of them stops and turns, looking back at the jungle trees. HUNTER They gave up! They're not chasing us! There are CHEERS, SIGHS OF relief. In the distance, AJAY'S VOICE can be heard, faintly calling to them to come back. Up on the rock in the distance, they can see Roland, waving his arms madly. But in the giddiness of their escape, they pay it no mind. They continue plowing into the high grass, anything to get further away from the tyrannosaurs. ABOUT FIFTY YARDS AWAY, the tops of three animal heads rise up slowly, backlit by the full moon. In the distance, the heads can seethe Hunter party. The heads descend, back into the grass. BACK WITH THE HUNTERS, they continue forward, oblivious. Now behind them, four more heads rise up in the grass. As then descend. On all sides of the Hunters, the grass ripples as animals move forward toward them, undetected, inexorable as torpedoes. And these torpedoes are on target. One Hunter is suddenly dragged down, yanked silently below the surface of the tall grass. In his place, a long, lizard - like tail rises up as the animal drops its head to make the kill. Behind him, two more Hunters are taken down, and two more animal tails rise up in their place. A Hunter ahead hears the RUSTLING and turns. His face turns white as, behind him - - a VELOCIRAPTOR springs out of the grass. Velociraptor runs upright on its powerfully muscled hind legs, the second tow of each foot bearing an extra - large curved claw, carried in a retracted position, with which it slashes on attack. Like now. This raptor SNARLS and SLAMS into the body of the Hunter, taking him down. A feeding frenzy ensues. The Hunters run in all directions, but are pulled down and vanish into the twitching long grass. Another raptor enters from the right, leaps high into the air, past the full moon, SLAMS into the chest of more human prey, and takes him down, into the grass. Behind them, Ajay's face falls, defeated. He looks around, realizing he too is now stranded in the middle of the long grass. Around him, four torpedo trails head straight for him. Ajay simply closes his eyes. UP ON THE ROCK, Roland turns away from the carnage, pained.\",\n \"EXT. RUINED CAMPSITE - NIGHT SARAH, MALCOLM, KELLY, NICK, ROLAND, DR. JUTTSON, and PETER LUDLOW stand in the ruins of their campsite, their ranks decimated, spirits shattered. Roland is at the hole in the ground where his tent once was. He has pulled his.800 Nitro Express from the mud and more or less cleaned it, now he's checking the loads. Kelly, nearly catatonic with fear, clings to Sarah, and it does n't look as if she'll ever let go. Malcolm, who is on his knees picking through the wreckage of a tent, looks over at them, but Sarah waves him off - `` she's okay.'' Roland appears, standing over the group. He looks at Malcolm, who has found the Lindstradt rifle, intact. ROLAND How many rounds did you find for that weapon? MALCOLM Four, counting the one in the chamber. ROLAND Do n't let it out of your hands again. -LRB- to Sara, but looking at Kelly. -RRB- Can the kid walk? SARAH Ask her. ROLAND Can the kid walk? KELLY I can. I can walk. While he addresses the group, Roland straps on one of the servo - lights, the shoulder - mounted flashlights that follow your gaze. ROLAND We're going to find a path down into the interior of the island. Load up whatever you think you need, and I mean need. If you ca n't carry it indefinitely, do n't bring it. We'll hit the worker village in a couple hours and be out of here before dawn. AT THE EDGE OF CAMP, Roland bends over one of the three - toed footprints left by the rex. Behind him, the rest of the group is packing up, slinging the remnants of their equipment over their shoulders. Roland bends over and SNIFFS the footprint. It's filled with a liquid of some kind. He takes his canteen, dumps the remaining water into the ground, and plunges the canteen into the footprint, filling it. Ludlow hovers over his shoulder. LUDLOW What is that? ROLAND Piss. Ludlow does n't ask. NOW AT THE FIRE, Roland stares down at the ashes of the cooking fire that led to such disaster. He grabs a handful of the ash and shoves it in his pants pocket.\",\n \"EXT. VALLEY OF DEATH - NIGHT ROLAND and LUDLOW -LRB- who, along with Sarah and Malcolm, is also wearing a servo - light now -RRB- maneuver down a rugged hillside and come out in a flattened area. Ludlow GASPS, looking ahead in wonderment. MALCOLM breaks through the hillside's foliage a moment later. He too stares in amazement. SARAH and KELLY come next, then NICK, then JUTTSON. One by one, they all stop and stare. SARAH God help us. They're standing in a flat, sandy area lined with boulders at the sides. The flat area stretches fifty yards from side to side and as far as they can see ahead. But that's not what amazes them so. Everywhere, the sand is dotted with dinosaur skeletons. Some are huge, apatosaurs, sixty feet from head to tail tip. Others are smaller, herbivores of many different kinds. The more intact skeletons lie on their sides, their ribcages arcs of pale bone. but just as many have been ripped apart, bits of carcass tossed in every direction. NICK I do not feel lucky. ROLAND Keep moving. They march on, tiny figures moving among the mountainous skeletons by the light of the full moon. Roland notices one carcass in particular, a recent kill. It's an enormous HADROSAUR with fresh bites taken out of it. He bends down, studying the soft earth around it for footprints. FURTHER ON, Malcolm looks up, noticing the bony shapes around them, which fall in heavy shadows like cell bars, seem to be changing. He turns, and his servo - light shines on the bones. But they're not bones any more at all, they're pipes, the animal graveyard now given over to the lifeless skeletons of manmade objects - twisted, rotting machinery. LUDLOW We made it! They hurry over a small rise -\",\n \"EXT. WORKER VILLAGE - NIGHT - and find themselves at the edge of what was once Isla Sorna's worker village. The size of a football field, the town is divided by a main street that's dotted on both sides by stores, residences, cafes, a gas station. All the way at the far end is a large, blocky, four - story building. But the town is a mess. The hurricane that hit here must have been ferocious, for everywhere things are smashed, broken, upended. And the jungle has stepped into the breath, growing up, around, and over everything. Huge root systems snake through the street, making it almost impassable. MALCOLM The jungle. It's always ready to return. Roland catches up and looks at Ludlow. ROLAND Where's the power and radio setup? LUDLOW Operations building. Far end of the street. A light rain falls as they start down the street, carefully, silently, Roland and Malcolm with their weapons at the ready. They pass the skeleton of a fallen water tower. An empty gas station, its vine - snarled pumps now useless. The only sound is the low mechanical HUM of the servo - lights as they follow the group's gazes obediently. Every few feet, the group encounters strange, grayish lumps that lies in random places in the middle of the street. Malcolm, curious, stops and taps one of them. It's a rock - hard. Nick looks over his shoulder. NICK Lava? MALCOLM No. NICK What are they? MALCOLM I do n't know. Finally, they reach the operation building, at the far end of the town. LUDLOW The radio rig is inside. It runs directly from the geothermal generator, so power should n't be a problem. ROLAND Good. He pulls out his canteen. Ludlow watches as he screws the top off, moves toward the building, and starts splashing the contents on the outside of it. The rest of the group just stares at him. MALCOLM What's he got in there? LUDLOW Piss. SARAH What? LUDLOW Do n't ask me. The guy's completely out to lunch. NICK What in God's name would he want with - Roland rejoins them. ROLAND Tyrannosaur urine. I do n't want anything to do with it, and neither does any other animal on this island. This building is now demarcated as the rex's territory. As long as you stay in that building, you'll all be safe until the helicopter comes. He drops his pack, swings his gun off his shoulder, and checks the load. Dr. Juttson looks fearful. JUTTSON Where are you going? ROLAND After the rex. I saw a fresh kill back in the valley with tyrannosaur tracks all around it. If I'm not back in time, do n't wait for me. SARAH You've got to be kidding. ROLAND Runs against my nature to hole up in a cave and wait. LUDLOW Do you think the rex might have the infant with it? ROLAND Possible. Ludlow takes off his hat and turns to Nick. LUDLOW You know how to work a radio, do n't you? SARAH You're going too? LUDLOW I lost everything I came after on this trip, but one T - rex in one theme park could single - handedly bail InGen out of Chapter 11. He takes a slip of paper from the brim of his hat and hands it to Nick. LUDLOW -LRB- cont'd. -RRB- This is the broadcast frequency. ID yourself as `` Harvest Leader.'' You know what to tell'em. MALCOLM You gentlemen feel you have to do this now? ROLAND Now's the perfect time. The animal just fed, so it wo n't stalk us for food. Predators do n't hurt when they're not hungry. Ludlow double checks the clip on his semi - automatic rifle - NICK No. - and SMACKS it back into the belly of the gun. NICK -LRB- cont'd. -RRB- Only humans do.\",\n \"INT. COMMUNICATIONS ROOM - NIGHT The console of a sophisticated radio set - up glows brightly, all green, red, and yellow. NICK tunes the dial to a specific frequency. The radio WHINES and HISSES tuning in. NICK -LRB- into microphone. -RRB- CQ, CQ. This is InGen Operation Harvest Leader to Harvest Base. Come in, please. The remaining SURVIVORS, minus Ludlow and Roland, shine their flashlights around the dusty, vine - hung interior of the communications room. On the wall a row of chrome letters says `` We Make The Future,'' but the words are obscured by a tangle of vines. Mushrooms and fungi sprout from the carpet. On one wall, there is a mural of what the completed Jurassic Park would have looked like. Big hotels, Ford Explorers with tourists leaning out the windows taking pictures, big crowds at the fences around the animal exhibits. But none of it came true, and now even the mural is runny and dust - covered. There is a pause, filed only with radio static. Sarah looks at Nick tensely, waiting. Finally, a VOICE comes over the radio, clean as can be. VOICE -LRB- o.s. -RRB- Go ahead, Harvest Leader. They all breath a sign of relief.\",\n \"EXT. MAIN STREET - NIGHT With Roland and Ludlow gone on the hunt and the rest of the group inside the operations building, main street stands deserted and silent. Nearly deserted, anyway. Moonlight shadows lengthen at one end of the street - - and FIVE VELOCIRAPTORS STROLL INTO TOWN.\",\n \"EXT. VALLEY OF DEATH - NIGHT ROLAND AND LUDLOW are back in the valley of death, standing amid the giant skeletons of long - dead animals. Roland bends down, checking the carcass of the freshly - chewed HADROSAUR he saw earlier. A set of giant three - toed rex tracks leads away from the carcass, down the stream bed. Roland follows them. Ludlow follows Roland. As they near a bend in the stream, Roland looks down, at the surface of the water. A pattern of ripples moves toward them, washing over their ankles. Roland follows the ripples with his eyes. From up head, around the bend, he can hear the sound of an animal eating and drinking. A very large animal. He reaches into his pocket and pulls out a pinch of the ashes from the cooking fire that he scooped up earlier and releases that on the wind. They float there for a second, suspended, then blow back at him. LUDLOW We're downwind. Good. Roland darts a contemptuous look at him. He puts a finger to his lips, gesturing for silence, then steps up, onto the shore. Ludlow follows. They creep forward, toward the sounds. They round the bend and Roland hits his belly, edging up over a small rise. Over the rise, he sees the TYRANNOSAUR, about a hundred yards ahead. It's stooped over the stream bed, drinking. Like a bird, it dips its head in the water and then straightens up, to let the water fall down its throat. A dozen COMPYS are at the water as well, drinking. Roland gently FLICKS the safety on his gun to `` off.'' Ludlow edges toward the cover of a low - hanging branch. As he puts his weight on one knee, it presses down hard on the middle of a small stick, which CRACKS in half. Roland turns, eyes blazing. Out in the open, the tyrannosaur snaps its head sharply as well, staring in the direction of the sound. But since Roland's own head is turned, he does n't see the dinosaur's reaction. Roland holds a warning finger out to Ludlow. Roland turns his head back. The tyrannosaur is gone. FURTHER ON, the trail of three - toed tyrannosaur footprints stops abruptly. Roland stops too, gesturing for Ludlow to freeze behind him. Roland glances both ways, looking for any sign of the track. To the right, the ground gives way to hard black volcanic rock. A short distance behind them, the rock is solid, a massive, green, pebbled boulder ten feet high. Roland frowns and WHISPERS in Ludlow's ear again. ROLAND We took to the rock. LUDLOW Why? In front of Roland, a palm frond sways gently in the night breeze. Roland's eyes widen. He pulls out another pinch of campfire ash and releases it on the wind. This time, the ash blows off, straight away from him. ROLAND Wind shift. They freeze, terrified. Behind them, the enormous green pebbled boulder - - opens an eye. That's no boulder, that's the MALE TYRANNOSAUR, standing rock - solid still, its natural camouflage blending into the surrounding foliage perfectly. Very slowly and almost silently, the rex brings its head all the way around until it is staring directly down at them from about ten feet away. Roland and Ludlow stand frozen, their back to the rex, unaware of its presence. Until it exhales. The soft SNORT of its breath is n't quite audible, but it brushes the hair on the backs of their necks ever so slightly. Their hearts drop into their stomachs. Ludlow speaks, his voice a queasy HISS. LUDLOW It's. behind. us. ROLAND -LRB- the very softest whisper. -RRB- It's just fed. It wo n't attack unless it's threatened. Do n't move. As the rex silently cocks its head, sizing up the danger from these intruders, it breathes again. A few strands of Ludlow's hair flap in the exhalation. He closes his eyes, near tears. He ca n't take it. His eyes dart, glancing down at the weapon he holds in his hands. Unfortunately, it's extended in front of him, away from the rex. He risks another HISS. LUDLOW If I do n't move, I ca n't shoot it. ROLAND Let it go, Peter. The animal won. Behind them, the rex appears satisfied. It starts to swing its massive head around, back toward the jungle. It lifts one great leg and takes a step into the trees. Roland signs and closes his eyes, relieved. But Ludlow seizes the opportunity. He whips his weapon around and drops to one knee. ROLAND -LRB- cont'd. -RRB- NO! The rex is infinitely quicker. Ludlow just has time to squeeze off a short burst of semi - automatic gunfire when the animal whirls, takes one elegant step forward, and POUNCES. Ludlow's bullets rip harmlessly through the foliage between the rex's legs as its big head snaps forward and comes down, jaws wide. They close around Ludlow's body, lift his straight up into the air, and toss him once, readjusting their grip so it is firmly around his midsection. The whole combination of movements takes but half a second. By the time Roland turns around, the animal has pivoted and darted back into the jungle, carrying Ludlow, still SCREAMING and writhing in its mouth. Roland raises his gun, to draw a bead on the animal, but through the shivering trees, he can only see that the tyrannosaur is gone.\",\n \"INT. COMMUNICATIONS ROOM - NIGHT MALCOLM SARAH, NICK, KELLY, and DR. JUTTSON wait nervously in the communications room. An empty can of Dr. Pepper sitting on one of the countertops begins to RATTLE. They look over at it, confused, as the lightweight aluminum can CHATTERS on the formica counter. Other objects in the lab begin to rattle too. Glass jars CLANK against one another, books start to drop off the shelves, a stool shudders across the floor. KELLY What's going on?! Above them, the rotting wooden roof of the building starts to actually tear away, chunks of moldy timber flying up into the night. They look up, a deafening ROAR fills the room - - and a helicopter's searchlight floods in! As the chopper dips lower, looking for a place to land, the violent prop wash rips away huge chunks of the roof over their heads.\",\n \"INT. HELICOPTER - NIGHT Up above the operations building, the helicopter circles. The roof of the building is all arches and rotten timber, impossible to land open. Below, the PILOTS see the SURVIVORS through the torn roof of the building. They wave frantically, their flashlight beams piercing the night sky. PILOT There they are! The Co - Pilot scans the street below, but it's choked with overturned cars and fallen trees. CO-PILOT No LZ in the street, too much debris! PILOT Check the other buildings! The Co - Pilot nods and they peel off, swooping over the rest of the village. At the far end of the street, the Co - Pilot brings the searchlight to bear on the large, flat roof of a three story building. The Pilot gives him a thumbs - up.\",\n \"EXT. MAIN STREET - NIGHT MALCOLM, SARAH, KELLY, NICK and finally DR. JUTTSON run out the front of the operations building. At the end of the street, they can see the helicopter as it descends slowly over the building, to land on its roof. MALCOLM There it is! Happily, the group double - times it down the street, headed for the chopper. Again, those strange rock formations are everywhere. Some seem to be on the sides of buildings, as if they once dripped there and then turned to stone. This time Sarah pauses at one that is dripping over to the side of a car like solidified lava. Her face falls as a thought occurs to her. SARAH Ian. It's guano. MALCOLM What? SARAH These formations. They're dried - MALCOLM Birdshit? A VELOCIRAPTORS jumps onto a fallen tree trunk behind them. They do n't see it. NICK Who cares? Let's go! Unaware of the raptor's presence, they resume their trot toward the helicopter. Behind them, the raptor crouches and SNARLS, but the sound is lost under the WHINE of the helicopter's engines. It springs, covering the distance between them quickly. The animal SLAMS into JUTTSON, the last person in the group, and takes him down. Juttson is thrown forward, into the others, who fall like dominoes. Juttson SCREAMS, his voice an unnatural, high - pitched SQUEAL, as the raptor flips him over and lowers its jaws into him. Sarah looks up, panicked. Her eyes widen at the sight of a SECOND RAPTOR, this one running straight at hr at top speed. She buries her face in the dirt, covering her head with her hands - - and the raptor's foot SLAMS into the ground between her legs as it bounds over her and dives onto Juttson, joining the first raptor in the kill. Panicked, the group scatters in all directions. Kelly jumps up and scrambles into the middle of the street, where she hits the dirt and crawls under a fallen shed in the middle of the road. Malcolm rolls over to the space where Kelly was, but she's gone now. He looks around frantically. MALCOLM Kelly?! KELLY?! Sarah rolls onto her feet and sprints toward the building nearest her. Behind her, a THIRD RAPTOR gives chase, bounding after her with horrifying speed. Sarah runs flat - out, but her speed is nothing compared to the raptor's, and it gains on her rapidly. The walls of a structure of some kind close in around Sarah, and as she leaps across a leather seat and SLAMS a door behind her, we realize she's crawled into the back seat of an abandoned car. But the car door is thin protection against the charging raptor, which SLAMS into the window, head first. The window spinderwebs, but does not yield. The raptor crumples to the ground. Sarah looks up, through a three inch hole in the middle of the web. The raptor leaps back to its feet and plunges its nose into the tiny hole, thrashing, widening it. Sarah SCREAMS and the animal forces its entire head through the hole, SNAPPING its jaws just short of her face. She hurls herself over the seat and into the front as the animal penetrates even further into the car, but its torso will not fit through the window opening. It pulls away. In the front seat, Sarah gets some very bad news. There's no windshield. The raptor springs up onto the hood, its claws CLATTERING on the sheet metal, and tosses its body through the opening - - just as Sarah hurls herself out the door. While the raptor struggles to right itself in the front seat, Sarah runs to the nearest building, ducks inside, and SLAMS the heavy wooden door.\",\n \"EXT. GAS STATION - NIGHT MALCOLM races between the idled gas pumps and into the gas station building, closing the door behind him. A moment later, a raptor bounds after him, SLAMMING into the door. Meeting resistance, it bounces off, notices the plate glass window next to the door, and pounces at that. The window SHATTERS and the raptor clings to the ledge, staring inside, its tail hanging out. Just as it gets inside, Malcolm opens the door and comes back out, keeping the place of wall between them. He pulls the Lindstradt rifle off his back and tries to take aim - - but the raptor whirls and springs, forcing him back inside, through the door again. Willing to play along, the raptor turns and jumps through the window again.\",\n \"INT. GAS STATION - NIGHT Balancing on the window frame, the raptor HISSES and crouches, ready to spring at Malcolm. Malcolm takes cover behind the door, which is hanging open between them. He raises the rifle. Th raptor springs into the door, BLASTING it off its hinges, knocking Malcolm right through a window behind him. But the door SMACKS up against the wall, covering the window, preventing the raptor from following Malcolm out that way. For the moment.\",\n \"EXT. GAS STATION - NIGHT Malcolm flies through the window and CRUNCHES to the ground. He GROANS in agony and rolls off his bad leg, which is twisted unnaturally beneath him, and claws in the mud for the gun. ROUGH HANDS reach down, grab him by the shirt, and haul him to his feet. It's NICK. He drags Malcolm away, but in the commotion Nick's duffel slips off his shoulder and lands in the street, spilling some of the precious videotapes. Malcolm scoops them up. NICK Come on! MALCOLM Where's Kelly? NICK She's with Sarah! They race off, down the street.\",\n \"INT. KILN HOUSE - NIGHT High above SARAH, we see she is standing alone in a three story kiln house, a windowless shed used for firing pottery and other construction projects. Catwalks lined with heavy chains hang above her, and onto the floor below, she turns in circles, wondering what to do now. From outside the kiln house, she hears SCRATCHING, digging sounds. From the other side of the door comes an animal SNORT, and a small puff of dust and dirt billows up through the crack along the ground. ON THE OTHER SIDE OF THE DOOR, the claws of one of the raptors dig furiously, trying to tunnel underneath. INSIDE, Sarah runs to the opposite wall, falls to her knees, and starts digging a tunnel of her own, clawing frantically at the ganging tools always and CLANKS as it tears at the earth below it. Sarah digs faster. So does the raptor. With about eight inches of space under the wall, Sarah grabs hold of the bottom of one of the plans and pries it up as hard as she can. It snaps off with a loud CRACK. At the door, the raptor stops digging. It's silent for a moment. Sarah has a good foot and a half of space under her wall now. She starts to lower her body into it - - JUST AS THE RAPTOR'S CLAWS FLASH THROUGH FROM THE OTHER SIDE! Sarah falls back, SCREAMING, leaps to her feet, and jumps up, grabbing hold of one of the catwalks above. She starts to climb, up, anywhere up, as the RAPTOR now squirms and thrashes its way inside, coming in through her hole. Sarah climbs, hauling herself up, leaping from one catwalk to another. The raptor leaps up onto a catwalk as well and follows her.\",\n \"EXT. KILM HOUSE - NIGHT A window in the slanted roof of the kiln house EXPLODES in a shower of glass as SARAH kicks through it and climbs outside.\",\n \"EXT. MAIN STREET - NIGHT Nick drags a badly limping MALCOLM down the main street. They can see helicopter at the far end, engine ROARING and searchlight playing over them as they draw closer. They approach a rusted, abandoned pickup in the middle of the street - - and a RAPTOR leaps on top of it. Its claws CLACK on the roof as it goes into its pre - attack crouch. They do n't stick around to negotiate. Nick hauls Malcolm off into the nearest building.\",\n \"INT. WORKER HOTEL - NIGHT NICK and MALCOLM hurry inside and SLAM the door behind them. They're standing in the lobby of a hotel of some kind, probably used for overnight guests and day workers who had to spend the night. The room and staircase wind around a large, open - aired central area four stories tall. They SHOUT at each other, frantic. MALCOLM We ca n't stay in here! NICK We're sure as hell not going back out there'' MALCOLM This is single - wall construction! It's just a shack! NICK It'll hold! MALCOLM For sixty seconds, maybe! Look at this! -LRB- RAPS on the door with his knuckles. -RRB- You could - With a CRASH, the wood SPRINTERS around the lock and the door swings open violently. Malcolm is thrown aside, landing hard on the floor. A VELOCIRAPTOR stands HISSING in the doorway. Nick throws his weight against the door. SLAMMING it hard against the raptor. Malcolm rolls over and paws the gun off his back. SLAM! The raptor charges the door again, this time BLASTING it off its hinges, knocking Nick to the floor beneath it. The raptor turns and SNARLS at Malcolm. Malcolm swings the gun around - - the raptor lunges at him - - Malcolm's finger closes on the trigger - - and the raptor lands on top of him. The weight of the animal CRUSHES him into the floor, but the gun barrel now stands between them. The raptor CHOMPS down hard on the barrel, its teeth GRINDING on the metal, and SNAPS its head, to tear it from Malcolm's hands. Malcolm pulls the trigger. The raptor's eyes pop wide as the dart SLAMS into the back of its throat. It makes a GURGLING sound, then convulses violently and rolls off of Malcolm, yanking the gun from his hands as it falls and dies. Nick scrambles out from under the door. Malcolm tries to wrench the gun from the raptor's clenched jaws, but it wo n't budge. NICK -LRB- helping him out. -RRB- Head for the roof! MALCOLM I have to find Kelly! NICK I think she's with Sarah! MALCOLM DAMN IT, BE SURE!\",\n \"EXT. MAIN STREET - NIGHT KELLY remains huddled under the fallen shed, trembling with fear. She holds her breath and freezes, as just outside, only two feet from where she's hiding - - a RAPTOR'S FEET pick their way past her, down the middle of the street. Kelly closes her eyes and suppresses a scream.\",\n \"EXT. ROOFTOP - NIGHT NICK and MALCOLM burst onto the roof of the now - burning hotel and SLAM the door behind them. The helicopter is now only three rooftops away. They turn and head for it, Nick in the lead, but there's an eight foot gap between the buildings. MALCOLM It's too wide! Nick looks around, desperate. A fallen power pole leans against the building they're standing on, its lines gone slack. NICK Help me push this! Malcolm understands. He and Nick throw a shoulder into the pole and give it a mighty push, tipping it over in the other direction. One good hard shove and it falls to the far building, THUDDING against it solidly. Its power lines are not taut, a lifeline from this rooftop to the next. Nick grabs hold and starts to pull himself across the gap, hand over hand. Behind them, the door of the building SPLINTERS and CRASHES open as a raptor throws all its weight into it. Malcolm leaps onto the power line without hesitation and starts pulling himself across. But even with the door wide open, the raptor on the other side hesitates. It SNARLS and backs away, refusing to come out onto the roof. ON THE OTHER ROOFTOP, Malcolm lands next to Nick on the second rooftop. They look back at the frightened animal, which takes tow steps out onto the roof, SNARLS, and backs into the doorway again. NICK It's afraid to come onto the roof! Malcolm looks around, at the rooftop. Strange bits of scrap and debris seem to have been arranged there, in an odd, concentric pattern. MALCOLM Something's wrong. NICK Look! Sarah! He points to the roof of the kilm house, in the distance. Malcolm turns, and sees SARAH crawling across the tile. His face turns white. MALCOLM SHE'S ALONE!\",\n \"EXT. KILM HOUSE ROOF - NIGHT SARAH has problems. Still on top of the kilm house, she reaches the edge and pushes off the roof, leaping to the roof of the next building. She lands at the peak of the intersection of the two sides of sloping roof. As she pulls herself up - - a RAPTOR appears on the rooftop behind her. In full stride, it leaps, sails over her, and lands on the roof ahead of her. Sarah swings to her left and starts to crawl down the slope, away from the raptor. Suddenly the roof board under her SPRINTERS and CRACKS under her weight. The whole section pulls up and starts to slide off the roof. Sarah, clinging to it, rides the roof planks down, away from the raptor. She looks over her shoulder, down - - and sees ANOTHER RAPTOR, waiting for her on the roof of the building below. Sarah quickly rolls off the sliding section of roof, which keeps sliding, falling. The raptor below jumps up, just in time to get WHACKED in the head by the falling roof section. Sarah tries to cling to the Spanish tile roof, fingers and nails slipping on the slick ceramic surface. She slides all the way to the edge, grabs hold of the gutter, and dangles there, suspended above one raptor and trapped below another. The raptor above works its way down. The one below leaps up, at her dangling legs. She has left them in time with its jumps, to avoid losing her feet. This ca n't go on for long. Desperate, she pulls one of the Spanish tiles up from the roof and hurls it at the raptor below. It hits the animal in the head, for all the good that does. But Sarah keeps on, pulling and throwing more tiles. She edges to the right, toward a fresh supply. The raptor above edges even closer, claws CLICKING on the slick roof. Something interesting is happening. As Sarah pulls the loose tiles free, the ones above slide down, to take their place. Sarah sees this and pulls more free, knocking them out of the way as fast as she can. Suddenly an avalanche of loose tiles breaks loose and the footing underneath the raptor above disintegrates. The animal's feet flail and grasp, it slides towards the edge amid the tumbling tiles. Sarah, seeing it coming, swings in close to the building, hugging it as closely as she can. The raptor falls off the roof, right past her - - and CRUNCHES into the raptor below. Both animals SNARK and attack one another. Now Sarah, her grip exhausted, falls too, landing right next to the enraged animals. They fight and roll, RIGHT OVER HER. She GROANS and hugs the wood below her, the raptors continue to thrash and bite, they roll back, toward her, she rolls out of their way - - and plunges through a hole in the roof.\",\n \"INT. LAB - NIGHT Sarah falls through the roof of a deserted laboratory and lands in the tray of an old - fashioned hanging fluorescent light fixture. One end of the fixture's support SNAPS, it drops at a 45 degree angle, Sarah slides out the other end and CRASHES through a window.\",\n \"EXT. STREET - NIGHT Sarah lands in the mud in the street below.\",\n \"EXT. BETWEEN TWO BUILDING - NIGHT With a THUD, MALCOLM lands in the mud between two other building, one of which he has just climbed off of. Panicked, he leaps to his feet and starts to SHOUT. MALCOLM Kelly! KELLY!\",\n \"EXT. MAIN STREET - NIGHT SARAH sprints down the main street as fast as she can, toward the building on which sits the helicopter. Above her, she can see NICK has now reached the helicopter and is waving to her. Sarah reaches the fallen water tower, which is next to the helicopter building, and starts to climb it. ELSEWHERE IN THE STREET, KELLY is still covering underneath the fallen shed. In the distance, she can see the helicopter. But she is trembling with fear, unable to move. The whole shed suddenly RATTLES as something heavy hits it outside. Kelly's mouth drops open to scream, but her terror is so complex that no sound comes out. She raises her hands in self - defense, whatever's outside ROARS with effort, the entire shed is suddenly RIPPED right up off of her, and she looks up - - into her father's eyes. KELLY Dad! MALCOLM Come on! He grabs her by the hand and they take off down the street. ON THE ROOFTOP, Sarah emerges at the top of the water tower structure and leaps onto the roof, into Nick's arms. NICK Where's Kelly? SARAH Where's Ian? Eyes wide with panic, they both turn and look down at the street below, where they see KELLY and MALCOLM, racing at top speed down the middle of the street - - WITH A VELOCIRAPTOR CHASING THEM. DOWN IN THE STREET, Malcolm and Kelly have a twenty yard advantage on the animal. They're pretty fast, but it's faster. Above them, Nick and Sarah are at the edge of the roof, SHOUTING and urging them on. They push it, faster. They reach the base of the fallen water tower, the jumble of struts and metal poles that Sarah climbed. MALCOLM CLIMB! Kelly leaps ahead of him and grabs hold of one of the poles, pulling herself neatly up to her feet and reaching for the next one. Malcolm stretches and makes the same effort, but for him it's much harder. Below them, the raptor springs and SLAMS into the struts, shaking the whole structure. It pulls itself up. Higher up, Kelly climbs fast, hands gliding over the poles. She breaks out into the open, where a long, narrow pole runs on a slight incline up to the roof. She scampers across it, running the balance beam. She reaches the other side, on a ledge below the roofline, and looks back. Malcolm is at the other end, hesitating, drained, breathing hard. KELLY DAD, COME ON! Below him, the raptor closes in. Malcolm sets out across the beam, his legs shaking. He places his feet carefully, he does n't have nearly the balance Kelly did. The raptor draws closer. KELLY -LRB- cont'd. -RRB- FASTER! Malcolm slips. One foot twists right off the bar and he spins, arms flailing, trying to regain his tenuous balance. But he overcompensates and his whole body, wrenches out from under him. He falls, the bar SMACKS him hard in the chest, knocking the wind out of him, and he drops, flipping right off the bar and bouncing painfully through the maze of bars below. He drops right past the pursuing velociraptor, CRUNCHING to a halt in a nest of bars ten feet off the ground, probably cracking a rib. Kelly SCREAMS from above him. KELLY -LRB- cont'd. -RRB- DAD! She stares down in horror at her father. Wrenched in among the bars, Malcolm is helpless as the animal crouches only six feet above him now, with an open attack route. The animal SNARKS and goes into its pre - attack crouch. Up above, Kelly wipes the palms of her hands on her jeans and leaps out into space, grabbing hold of one of the bars. The raptor springs. Kelly spins around, over the top of the bar, and, at the very peak of her trajectory, she lets go. The raptor sails through down from above, feet first, SLAMMING both of them squarely into the raptor's side, sending it hurtling into space. She lands hard and awkwardly, CLANGING into the spidery scaffolding next to Malcolm as the raptor SMASHES to the ground below. But Kelly manages to hold on. KELLY GET UP! She grabs hold of Malcolm and pulls him to his feet. ON THE ROOF, Kelly and Malcolm appear over the roofline. The PILOTS SHOUTS from inside. PILOT LET'S GO LET'S GO LET'S GO! Malcolm and Kelly scramble toward the helicopter. But at the opposite side of the roof, a RAPTOR claws its way over the edge as well. Malcolm sees it and they lunge for the helicopter, but the animal is far faster. It's only ten feet away, then five, they're surely done for this time, when - - KA - BOOM! There comes the loudest single gunshot anyone has ever heard, and the raptor flies off its feet and lands ten feet across the roof, dead. They look up, to the source of the gunshot. It's ROLAND, standing at the edge of the roof, holding his smoking.600 Nitro Express. But there's no time for celebration, as suddenly the helicopter's left skid CRACKS right through the surface of the roof. PILOT HURRY! THE ROOF'S GIVING WAY! The skid dips even further, ripping right through the thatch - and - wood construction. Kelly, who had one foot in the helicopter, loses her balance - - as the roof caves in beneath her. MALCOLM KELLY! She falls, SCREAMING, through the hole and down, into the building below. ONE FLOOR DOWN, Kelly lands with a CRUNCH on the floor immediately below the roof, about nine feet down. But her landing is cushioned by an inordinate amount of straw and leaves that have been arranged there. She lifts one hand, and a yellowy, viscous substance drips off of it. It's yolk. She looks around, noticing half a dozen large, oblong shapes. Eggs. Above her, Malcolm is scrambling, climbing down to her through the wreckage of the CREAKING, crumbling roof. MALCOLM Kelly! I'm coming! Kelly climbs to her knees, but behind her, a large, dark shape is moving. Rising. Unfolding, in a way. IT'S A PTERANODON. Yep, flying dinosaur. The enormous animal raises its head, a brilliant blue crest extending two feet behind its long, saber - like beak. It SQUAWKS at Kelly in fury. She can only stare, spellbound. Malcolm reaches her and grabs hold as the angry animal unfurls its massive twenty - two foot wingspread. ON THE ROOF, the helicopter lurches as it sinks further into the crumbling roof, and now the skids are getting tangled in the debris. Roland races over to the hole, climbs in a few feet, and starts kicking at it, making it larger. ROLAND Give me a ladder! IN THE PTERANODON NEST, Malcolm tries to haul Kelly back up the way he came, but a SECOND PTERANODON now appears from the depths of the building, SCREECHING in fury at these invaders who have landed in the middle of their clutch of eggs. An emergency rescue ladder drops through the hole in the roof. Malcolm grabs Kelly with one arm and the ladder with the other and they start to climb out of the nest. ON THE ROOF, Malcolm and Kelly climb the ladder and are pulled into the belly of the chopper just as two enormous beaks break through the surface of the roof around them. The pteranodons are emerging. MALCOLM GO GO GO GO GOG GO! The helicopter lurches up a few feet, but it yanked to an abrupt stop. The engines WHINE, the chopper just hovers there. PILOT We're snagged on something! They loos down. BOTH PTERANODONS have come out through the hole in the roof and are clinging to the skids of the helicopter. They flap their gigantic wings in unison, and drag the helicopter off, into the air, away from the nest - - and let go. Freed, the helicopter gains altitude quickly. IN THE HELICOPTER, the PILOTS gape as the pteranodons coast along, right next to the helicopter. PILOT Hang on! If I tip it hard, I can cut'em with the rotors! SARAH NO! Do n't! They're not attacking! They look out the windows, where, indeed, the magnificent animals are merely accompanying them, flying escort as the chopper gains altitude. SARAH -LRB- cont'd. -RRB- They're protecting their nest. That's all. That's all they're doing. Kelly, completely drained, sits between Sarah and Malcolm, each of whom has a protective arm around her. She sags against her father's chest, nothing left. He holds her tight and WHISPERS in her ear. MALCOLM Thank you. Kelly, thank God. Thank God for you. IN THE NIGHT SKY, over the island, the helicopter steadily gains altitude. A hundred feet. Three hundred. A thousand. As the helicopter is clearly leaving the island, the pteranodons now peel off, their job done. One of them banks sharply, right in front of the moon. The moonlight silhouettes it, shining right through its membranous wings, lighting it up like a Halloween skeleton. Below, the tiny green island melts away into the vastness of the wine - dark sea.\",\n \"EXT. TYRANNOSAUR NEST - NIGHT Elsewhere in the forest, it's not such a happy story. PETER LUDLOW, still alive, drops through the air and CRUNCHES to the muddy ground. Dizzy, bleeding, the breath knocked out of him, he opens his eyes and sees a sloping bank of dried mud. From behind him, he hears a CHIRPING sound. He turns. He's in the tyrannosaur nest. The BABY TYRANNOSAUR faces him, still with a strange aluminum - foil cast on its leg. The baby SQUEAKS with excitement as it toddles toward him. Ludlow scrambles to his feet, unsure what to do. Both ADULT TYRANNOSAURS stand outside the nest, staring down at him. The baby runs toward Ludlow, so he turns and runs away. But in an instant, the male brings its head down, knocking Ludlow to the ground. Then it raises its head again. Watching. Waiting. Ludlow gets up again and tries to run, but now the female rex strikes, knocking him over again. Ludlow tries to crawl away, on all fours. The male bends down and closes its jaws around one of his legs, holding it tightly. Ludlow SCREAMS - - and the rex bits down decisively. The bone breaks with a dry SNAP. Ludlow HOWLS in pain, unable to move, and the baby toddles forward eagerly. Ludlow can only stare as it leaps up, onto his chest, and opens its jaws wide. Peter Ludlow SCREAMS.\",\n \"EXT. CEMETERY - DAY Snow falls in a gray midwinter sky. In a cemetery, a group of fifty MOURNERS is grouped around a gravesite next to a coffin that is festooned with cascades of flowers. On a table, there is an array of framed photographs - - of JOHN HAMMOND. A MINISTER reads from the Bible while the Mourners wipe away tears. IAN MALCOLM stands a respectful distance from the group, KELLY right beside him. Malcolm's face is blank, tired, his sunburn out of place with the white winter setting around him. At gravesite, a Young Woman turns, looking back over her shoulder. About sixteen, she's lovely, with long blonde hair and an honest, open face. She notices Malcolm, recognizes him. She nudges a Young Man next to her, about thirteen years old. The Young Man turns and breaks into a smile just as welcoming. As the ceremony breaks up, they walk over to him. MALCOLM Hello, Lex. Tim. LEX stands on her tiptoes and kisses Malcolm on the cheek. TIM extends a hand and Malcolm shakes it. MALCOLM -LRB- cont'd. -RRB- This is Kelly. My daughter. They nod their hellos. LEX I'm glad you came, Dr. Malcolm MALCOLM I'm sorry about your grandfather. TIM Thank you. LEX We were going to call you, in a few days. Tim and I have been thinking, and we've decided we want people to know about the island. About what we all saw. TIM We think it's something our grandfather would want us to do. MALCOLM -LRB- pause. -RRB- Why? LEX Because it's true. Malcolm looks at her for a long moment. MALCOLM I know, Lex. But even if we're the only ones who ever know, it'll still be true. You see, I've decided that if the world found out about what your grandfather created, it would n't be around for very long. LEX But - it was real. You ca n't let people go on saying it's not. MALCOLM That's the thing about reality. He looks down at Kelly. MALCOLM -LRB- cont'd. -RRB- Even when people stop believing in it, it does n't go away. Kelly smiles and takes his hand, her slender fingers interlocking with his.\",\n \"EXT. JUNGLE - DAY Back on Isla Sorna, we float over the deserted worker village, moving lightly, as in a dream. MALCOLM -LRB- V.O. -RRB- Do you feel the cold wind blowing on your face? That's real. We sweep low, landing on the roof the helicopter took off from, the nest below now careful rebuilt with straw and scrap, a dozen unblemished eggs in the middle of it. MALCOLM -LRB- V.O. -RRB- Do you see the four of us, standing here together, alive? That's real. A PTERANODON land gently on the nest. Ever so carefully, it positions itself over the eggs, lowers itself to roosting position, and folds its giant wings around its body. MALCOLM -LRB- V.O. -RRB- And maybe that's still that matters. The animal raises its head, opens its beak, and SQUAWKS approvingly up at the heavens. FADE OUT\"\n]"},"labels":{"kind":"list like","value":[0,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,1,1,1,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0],"string":"[\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"John Hammond invites mathematician Dr. Ian Malcolm to discuss a recent incident, four years after the chaos on Isla Nublar. Malcolm learns that InGen, now headed by Hammond's nephew Peter Ludlow, created the dinosaurs for Jurassic Park on Isla Sorna, which has recently been discovered by a wealthy family. To prevent Ludlow from exploiting the creatures in order to save InGen's future, Hammond asks Malcolm to lead a team who will document the dinosaurs in order to attract support against human interference. Malcolm reluctantly agrees when he learns that his girlfriend, paleontologist Dr. Sarah Harding, was hired and went on ahead, but states his intention to retrieve her. Malcolm travels to Isla Sorna with Eddie Carr, an equipment specialist and engineer, and Nick Van Owen, a video documentarian and activist, but is shocked to find his daughter Kelly stowed away with them on their mobile base. Shortly after finding Sarah, the group reveal that Ludlow is also on the island with a team of hunters and mercenaries, including big game hunters Roland Tembo and Ajay Sidhu; Roland's second-in-command, Dieter Stark; and paleontologist Dr. Robert Burke. Overseeing their camp at night, the group reveal that Ludlow is planning to ship the captured specimens to a theme park in San Diego. Nick and Sarah free the captured dinosaurs who soon proceed to wreak havoc across the camp. Before returning to their base, Nick retrieves an injured Tyrannosaurus rex infant that Roland hoped to use to hunt its male parent, and Nick and Sarah treat the animal with a broken leg. Despite their good intentions when the parents find the infant, the Tyrannosaurus destroy the base and devour Carr as he tries to save the others. After the dinosaurs leave, the group find themselves rescued by Ludlow's team, both of whom are forced to work together after losing all their equipment. With the parents pursuing them, both teams focus on reaching an abandoned InGen site to call for help. However, the journey proves disastrous - Dieter is separated and killed by a pack of Compsognathus; the parents catch up with the group, causing most to panic into a field of long grass, where both they and Ajay are slaughtered by Velociraptors; and Burke is devoured by the female Tyrannosaurus while trying to hide with some of the group in a waterfall cave. While Roland and Ludlow go missing, Malcolm, Sarah, Kelly and Nick manage to reach the InGen base despite being pursued by Velociraptors, and call for help. After being rescued, Nick reveals that he stole Roland's ammunition to prevent him killing his intended trophy, but witness that Roland and Ludlow survived and secured the male Tyrannosaurus with tranquilizers. As Ludlow congratulates the hunter on his success, while InGen personnel arrive on the island to secure it and its infant for transportation, Roland declines a job offer at the San Diego park, questioning the cost of Ludlow's scheme. Later, Malcolm and Sarah attempt to meet with Ludlow in San Diego to convince him to abandon his plans, only for the ship carrying the male Tyrannosaurus to suddenly crash into the docks. Unaware of the danger when the crew is found to have been killed, the male is accidentally released and goes on a rampage in the city. To end its rampage, Malcolm and Sarah secure the infant, after learning from Ludlow that it was taken to the San Diego park, and use it to lure the parent back to the docks. Ludlow pursues after them when they lead the parent to the ship, whereupon he chases after the infant when it is left in the hold, and is promptly killed by both it and its parent. Police soon secure the site, after Sarah tranquilizes the male, and Malcolm seals it and the infant in the ship's hold. In the aftermath of chaos, with both dinosaurs returned to Isla Sorna, Hammond reveals in a televised news interview that the American and Costa Rican governments have declared the island as a nature preserve, finishing the interview with same words Malcolm once said to him before - \"life will find a way\"."},"name":{"kind":"string","value":"The_Lost_World:_Jurassic_Park"}}},{"rowIdx":169,"cells":{"scenes":{"kind":"list like","value":["WHITE SQUALL SUPER : A TRUE STORY - MYSTIC HARBOR CONNECTICUT 1994 CREDITS OVER Wind on the water. Soaring gulls and sand pipers glide over the pilings and sagging bulkheads. OLDER CHUCK -LRB- V.O. -RRB- Though I had n't seen or spoken to Sheldrake in over thirty years, it seemed impossible that his heart was the thing that had finally failed him.","INT. LATE MODEL CAR - SAME CHUCK GIEG, 49, thin, windswept and handsome, is behind the wheel. He pulls down a narrow cobble stone street that leads to the wharf. OLDER CHUCK -LRB- V.O. -RRB- I never got close to him, nobody did. But by the time we made Tampa, I was sure I knew who he was, that I understood what he saw, what nourished his soul and tested his faith.","EXT. WHARF - DAY Chuck stares out across the harbor. In the distance, the echoes of singing masts. Shrouds and canvas softly ping. The small boats of Mystic tug restlessly at their moorings. OLDER CHUCK -LRB- V.O. -RRB- He had taken us to worship, where, what was for him, the holiest of holies. And, for us too by the end.","EXT. DOCTORS OFFICE - LATER Chuck stands silently on the periphery of a gathering of people. They surround a small building, a neighborhood clinic. A worn gray stone, long in the earth, dedicates the structure. IN MEMORY OF NATALIE `` ALICE'' SHELDRAKE M.D., CAPTAIN'S WIFE AND SHIP'S SURGEON OF THE BRIGANTINE ALBATROSS - MAY 2, 1961. Next to the stone a funeral urn. A YOUNG MINISTER gropes for meaning. MINISTER I did n't know Richard Sheldrake personally, but his many friends who knew and worked with him, wanted to make sure that he was returned home, here, to be remembered with his beloved wife. Chuck gazes out at the sleepy harbor, the minister's voice fading away. The afternoon wind is coming up with the tide. He quietly heads towards the water. Drifting, drawn, lost. OLDER CHUCK -LRB- V.O. -RRB- Though he had moved on with his life, now even for the years, to hear him eulogized by strangers, seemed strange. He had been a hewner of stones, a pilot by the silent stars. Like me, alone among many. But most of all for us, the crew of the brigantine Albatross, he was always and would forever be. our Skipper. A SHIP'S BELL turns him around. Ding ding. Ding ding. A beautiful three masted schooner steady on the water slips into port. A picture out of another time, another place. It takes him away.","EXT. FOREST - WATER TOWER - DAY A towering monolith, surrounded by tall oaks and sycamores. The tower is immense. A single ladder runs up to the top. AT THE TOP Just above the tree tops, the view is spectacular. CHUCK GIEG, 16, sits thin and unsteady. Chuck's gaze is drawn upward - to the building spring cumulus clouds. Chuck's older brother WILL, 18, stout, self assured, pulls himself to the top. WILL You gon na jump? Or are you just having a last look? CHUCK I was just thinking that I never had a new pair of shoes till I was twelve. WILL It's no my fault I was born first. Besides, nobody ever sent me on an eight month vacation, so ease up on the sad sack stuff. CHUCK It's not a vacation, it's private school. WILL I thought this was your dream come true. CHUCK That's not why he's sending me. WILL Why then. CHUCK Because it looks good. Chuck looks out, yearning. Will considers him, troubled. CHUCK I'm just not like you. Ya know? I'm never going to go to Yale. I'm never going to be `` William''. WILL Nobody says you have to be like me. CHUCK He does. WILL You do n't give him enough credit Chas. Chuck takes a last look at the building clouds. The sky rumbles. Distant thunder. WILL We better go.","EXT. GIEG HOUSE - DAY Maple street, USA, tree lined and quaint. The Gieg home is a modest two story house with a covered porch. The family station wagon is poised for departure. CHARLES, 45, a generally serious man broods as MIDDY, their mother, 40, soft and thoughtful, exits the house. Chuck and Will appear from the woods. CHARLES -LRB- ticked. -RRB- You plan on making this plane or not? WILL Do n't take any wooden nickels Kemosabe. CHUCK I wo n't. Will shoves out a hand at Chuck. WILL And lighten up will ya. Chuck hugs him anyway and walks to the passenger side. Charles tosses him the keys, like he's doing him a big favor.","INT. CAR - DAY Chuck sits in the drivers seat. Middy is in the back. Charles slams the trunk and gets in. Before Chuck turns the ignition. CHARLES Now just take it easy. We're not going to a fire. Chuck reacts. OUTSIDE Will watches as the car pulls away. CAR - MOVING The Giegs drive in silence. Middy reads from a brochure. MIDDY Honey, did you know that the Albatross was captured by the Germans during World War II? CHUCK No, I did n't. MIDDY It says she was originally Schooner rigged, but Captain Sheldrake turned her into a brigantine. I think square rigs look so much more romantic. CHUCK Me too. CHARLES Appearances are n't everything. Keep your mind on the road. Chuck pulls over to the side of the road. CHARLES What are you doing? Chuck hands him the keys. CHUCK I do n't feel like driving. Okay? Charles regards him oddly.","EXT. AIRPORT GATE - DAY The National Airlines Boeing 707 is bigger than anything Chuck has ever seen. Passengers begin boarding. Charles stands away, detached. MIDDY Do you have your ticket? CHUCK Yes. MIDDY Passport? CHUCK Look, I just better go. Middy hugs her son. CHUCK Goodbye Mom. I'll be okay. MIDDY I know you will. Chuck faces his dad. CHARLES Make us proud. CHUCK Yes sir. Charles extends his hand. They shake. Then Chuck hurries away into the crowd. Charles and Middy watch until he is out of sight.","INT. PLANE - DAY Chuck settles into his seat next to the window. He watches as the world slips away beneath the wings of the 707.","EXT. AIRPORT CUSTOMS - BERMUDA - DAY Another world. Chuck stands in line at the customs booth. He cranes his neck to see the brilliant blue water and coral reefs beyond the runway. Three other boys are ahead of him in line. The CUSTOMS AGENTS go through every piece of luggage. TOD JOHNSTONE, 16, thin and blonde, is in a heated argument with one of the agents about his spear gun. RICK MARCH, 17, wise - cracking and confident, shakes his head, smiling. He spots Chuck, moves through the line and shoves out a hand. RICK Albatross? CHUCK Yeah. RICK Rick March. Who the hell are you? CHUCK Gieg, Chuck. RICK Look, meet us out front when you're through. If they try to take anything away from you like Johnny Quest up there, just make a list and we'll have'em send it down to the boat. CHUCK Whatever. One of the agent starts pulling things out of Rick's duffel bag. He finds a dive knife. RICK Hey, hey! That's my stuff!","EXT. AUSTIN CAB - MOVING - DAY The car whizzes through the narrow streets of Bermuda. CALYPSO MUSIC sings from the radio. The streets are lined with small coral houses and exotic palms.","INT. CAR - SAME The boys are jammed inside with their things. In addition to Chuck, Rick and Tod, is CHARLIE STRATTON, also sixteen. TOD Well Ricky boy, spear gun or no, it's sweet to be back in the world of rum and honey. RICK I got ta admit I never thought you'd be back after the great `` Bowsprit Affair''. TOD Me and Skipper had a meeting of the minds. CHARLIE How's that? TOD I begged. CHUCK -LRB- warming a little. -RRB- What the `` Bowsprit Affair''? RICK Well, Romeo here was on harbor watch and managed to sweet talk one of the local girls to have a go in the bowsprit. TOD Not just any ` local' girl. RICK The ` local' mayor's ` local' daughter. Tod smiles, reminiscing. CHARLIE Thing is, the net in the basket is n't very comfortable, so Tod - o wraps them up in the jib. After the deed was done. RICK He says they did the deed. TOD Trust me, we did the deed. CHARLIE After the `` alleged'' deed was done, they fell asleep. Big Daddy Lawford comes on deck at four bells and hears Casanova sawing logs. TOD Believe me, I needed the rest. CHARLIE He gets the whole crew on deck, gets us on the halyard, and orders the old `` heave ho.''. RICK Up goes the jib and out roll Tod - o and the mayor's daughter, naked as pilot whales. CHARLIE -LRB- to Tod. -RRB- I do n't know who was more surprised, you or Big Daddy. TOD To tell you the truth, I think it was her father. At the top of a hill, the harbor comes into view. RICK Well gentlemen, there she is. The cab stops. Besides many colorful fishing boats, is the ALBATROSS. At ninety - two feet, she dwarfs everything in the harbor. Her white hull glows like ivory and her twin masts and yard arms tower above her deck. Breathtaking. CHARLIE Home sweet hell on the water.","EXT. DOCK - DAY The boys pile out of the taxi. What seemed like a pristine ship from the hill looks like a rust bucket up close. The white paint is streaked and barnacles cover the hull. Looks of disappointment. CHUCK What happened to it? A voice from behind turns Chuck. BILL She cleans up. We'll have her ship shape before we shove off. This is BILL BUTLER, 15, removed, the youngest of the crew and. first mate. Bill gives Chuck a friendly slap on the back and climbs aboard. He is greeted by a Viking giant of a man, LAWFORD, 37, and bearded, the ship's English professor. Puffing on a huge Havana cigar, he stares coolly down at Tod and the others. He speaks with the voice of Moses. LAWFORD `` That this same child of honor and renown, This gallant Hotspur, this all praised knight, And your unthought - of Harry chance to meet. For every honor sitting on his helm, Would they were multitudes, and on my head. My shames redoubled! For the time will come. Chuck feels something and looks up where he meets the intense stare of a man standing between the deck cabins. Their eyes lock. LAWFORD That I shall make this northern youth exchange, his glorious deeds for my indignities.'' Then, the man is gone. Haunting. Only Chuck has seen him. Tod smiles back at Lawford impishly. TOD Would you be addressing me, sir? LAWFORD I would. RICK What's that supposed to mean? LAWFORD -LRB- beat. -RRB- Henry the IV part I Act I Scene ii. I suggest you read it. Lawford sneers and walks away. It's all a show. CHARLIE It means Shakespeare. B - o - r - i - n - g. BILL It means if he catches anybody basket - napping on watch this passage, he's gon na use their lizard for ` cuda' bait. RICK -LRB- lightly. -RRB- Well that's a hell of a how - do - you - do. BILL Drop your gear, go below and pick yourself some bunks. Chuck and the others climb aboard.","INT. MAIN CABIN - DAY Chuck makes his way down the companionway into the main cabin. Other crew members are already unpacking. The sleeping arrangement is Pullman - style with two rows of bunks on each side of the cabin. In the middle of the room is a gimbaled table. This is where the crew will eat and study. RICK Listen up. This is Chuck Gieg. Among the crew - feature ROBIN WEATHERS, 16, a cherub with soft puffy cheeks and TERRY LAPCHICK, 17, skinny and rodent - like. Robin approaches with a hand extended. He carries a 8x10 photo of a young man in a football uniform. ROBIN I'm Robin. Chuck regards the photo. ROBIN -LRB- flat. -RRB- That's my brother. He's dead. Apprehensively Chuck shakes and retreats to a lower bunk. Robin tacks up the picture above his bunk. Terry unpacks in front of one of the lower berths. A loud `` THUD!'' turns everyone around. A duffel bag lies at the bottom of the companionway. A large imposing figure climbs into the cabin. This is JOHN GOODALL, 17, over six feet, big and broad. His hair is slicked back `` Dean'' style and wears a full day's growth of bread on his face. Compared to the others, he looks all man. Everybody clears from his path. He stops in front of the lower, center bunk -LRB- Terry's bunk -RRB- and drops his bag. JOHN I'll take this one. TERRY You probably did n't notice, but this bunk has been taken. John just glares at him, then dumps all of Terry's things onto the blanket on the bunk, gathers it up and tosses it into the remaining upper berth. Terry watches, intimidated. JOHN Anybody got ta problem with that? RICK -LRB- beat. -RRB- Absolutely not. John climbs into his bunk and closes his eyes. Bill enters, followed by several adults. DR. ALICE SHELDRAKE, 30, smart, attractive and tough, is ship's surgeon and Skipper's wife. Lawford appears with GEORGE PASCAL, 30's from Brazil, dark, and fit. BILL Alright, listen up. This is Dr. Alice Sheldrake. The guys stumble over only half listening. ALICE I'm ship's surgeon. I'm in charge of aches, pains, biology, math and science. BILL George Pascal here is ship's cook. GEORGE If you want to keep all your fingers, stay the hell out of my galley unless you're invited. BILL Some of you already know Mr. Lawford. LAWFORD I have been charged with the dubious task of insuring your literary education. Lawford puts a hand on Bill's shoulder. LAWFORD Bill Butler is your first mate. But do n't let his size fool you. Bill gives a half reluctant wave. MIKE So when the hell do we get to meet El Capitan? Snickering. TERRY -LRB- aside. -RRB- Maybe he's getting his wooden leg waxed. Laughter. A sound stops the laughter. Almost on cue, the sound of slow methodical footsteps, pace the deck above them. Then a shadow falls across the skylight, blocking the light. Ominous. They all notice and look up. LAWFORD -LRB- mysterious. -RRB- You'll meet him. Soon enough.","INT. MAIN CABIN - SUNRISE Dawn glows orange in the skylights above the cabin. The only sound is the heavy, even breathing of slumber. Suddenly, a booming voice rumbles down the companionway. LAWFORD -LRB- O.S. -RRB- Arise, Arise, Arise. Chuck wakes, disoriented. Terry bolts upright and hits his head on the low ceiling. Ouch. Tod, Rick and Charlie are up instantly. Lawford's voice echoes through the ship. LAWFORD -LRB- O.S. -RRB- Exultation is the going / Of an inland soul to sea / Past the houses / Past the headlands / Into deep Eternity / Bred as we, among the mountains / Can the sailor understand / the divine intoxication / of the first league out from land? -LRB- pause. -RRB- But I suppose we'll answer that question soon enough gentlemen. Soon enough. TERRY What question? Chuck tries to assimilate Lawford's words. Robin swings his feet over the side of his bunk with a tortured look. John rolls over and pulls his pillow over his head. ROBIN -LRB- foggy. -RRB- What the hell is going on? CHUCK Maybe it's an air raid. In crisply pressed shorts and shirt, Bill Butler steps through the aft bulkhead. He raises a bowswain's whistle and blows. OOOWWWEEEEOOO! Chuck and Robin grab their ears. It's a nightmare. Terry jumps and hits his head again. BILL Roll out sailors! All hands on deck! Sixty seconds. Sixty seconds. He blows the whistle again. This time it brings even John to his feet, staring down at Bill in a blind rage. Bill looks up and casually notices him. BILL You got ta problem Goodall? JOHN You blow that thing again I'll shove it so far up your ass, you're gon na need dental floss to get it out. BILL Just get on deck. Bill turns and disappears topside.","EXT. DECK - DAWN The sun has barely cracked the horizon as the crew staggers onto the deck, shirtless and shivering. BILL Line up! Single file. Single file. The crew lines up. John is the last one through the hatch and he lets us know his boundaries are being pressed. BILL Everybody swims. The boys are aghast. LAWFORD Do n't think people, just go! Go, Go, Go, Go, Go! Swim you win, stay you pay! Rick is the first one through the gunnel door, followed by Tod and Charlie. They howl and scream as they hit the water. The rest follow like lemmings. But John stands defiantly with his arms folded. BILL Now what's the problem, Goodall? Everybody swims. The crew are piling back on deck. George stands in the open galley door. The smell of fresh bacon is intoxicating. JOHN I do n't. LAWFORD You will if you wan na eat. Right George? George nods, wielding a butchers knife. The crew stand shivering, waiting on John. JOHN -LRB- to Bill. -RRB- You gon na swim for your breakfast? Bill gives John a long look then strips to his shorts, swings into the rigging and climbs up to the first yard arm. He looks down at the water some twenty - five feet below. It's a long way. Robin turns away. Lawford booms in a voice that echoes across the harbor. LAWFORD `` Down, down beneath the deep, That oft in triumph bore him, He sleeps a sound and peaceful sleep, With the salt waves dashing over him.'' - Lord Byron gentlemen. With that Bill leaps and hits the water with a huge KERSPLASH! He swims to the boarding ladder, pulls himself up and gets in John's face. BILL Everybody swims. Now, I've been in twice. So I guess I'll be eating your breakfast too. John considers him, then strips off his shirt. But instead of walking over to the gunnel door, he jumps into the ratlines, climbs to the foretop and looks down. He manages a thin smile then climbs to the second set of ratlines past the third yard and continues to the top yard arm - the topgallant. It's a pissing contest and everybody knows it. MIKE I got five bucks says he does n't. CHRIS I got five that says he does n't live. TOD I'll take a dollar of that. ROBIN This is crazy! Robin refuses to watch. The others share a look. John makes his way along the foot ropes and stands at the end of the yard. He tosses a look towards Bill but with no way to back down, he launches into the air. Everyone gasps as he thunders through the air in a broad swan dive. Falling, falling, falling. CHUCK Jesus. ROBIN I ca n't watch this. John hits the water like a bullet. The crew run to the side waiting for him to come up. Nothing. Finally, he breaks the surface. Easy. He climbs up waiting, somehow, to claim victory. Suddenly, they all feel it. A presence. He has appeared silently on top of the Chart House, like a phantom gazing down at them, back lit by the sun the boys must squint to see him. RICHARD SHELDRAKE, -LRB- SKIPPER -RRB-, ageless and windswept, casually reaches up to a block and tackle with one arm and glides to the deck. He is powerfully built and bronzed from the sea and sun. He carriers the burden of command like a cross. Soft - spoken and remote, he is a man to be reckoned with. The crew know they are in the presence of someone larger than life. BILL Skipper on deck! The crew line up clumsily. Skipper has a gaze that blazes right through them. He looks out to sea. Searching, ominous. He waits until the silence is filled with everyone's attention. SKIPPER You know what's out there? Wind and wave and rain. Endless glassy pools that'll hold a sailing ship for weeks and then spit her out into the eye of the kind of hurricane. A blow that could knock the bridge off a battleship. Reefs and rocks and sandbars that'll tear the belly from her and enough fog and night to hide it all. He spits into the water. The crew sheepishly throw glances to the horizon. SKIPPER So look out there. and explain to me why any man in possession of any sense at all, would take on the sea with sail? Skipper turns his gaze back to the boys. There is a fire in his eyes. Nobody dare answers. SKIPPER Because there's something else out there. It beckons in the wind and sings in the shrouds. Voices. Whispering. His ear to the wind. SKIPPER They're voices of men. Calling. Men you do n't even know. Men you ca n't even imagine. It's a seed, a wish, that part of you and I that aches to be alive, that was banished by everything we've ever been taught or told. It's a part of us that can only be found on mountain tops and deserts, in the deepest caverns, smoking battle fields and. across oceans. He turns back to the sea, dark. SKIPPER Out there, is where it all waits. OLDER CHUCK -LRB- V.O. -RRB- He was everything I had expected, part Ahab part Queeg and even Bligh. He spoke in whispers and answered all queries with efficiency and directness. He had gone to sea for the first time at fifteen, the same age as Bill Butler. And as he looked upon us that first day it must have been as though he were staring into a mirror. Skipper manages a sobering look and climbs on top of the chart house. He pats a small brass sign that is welded to the main mast and reads the inscription. SKIPPER -LRB- reading. -RRB- `` Where we go one, we go all.'' With that, he disappears below. Nobody moves. This is exactly the kind of man you want around when the shit hits the fan. TERRY This - is gon na be a long eight months.","INT. MAIN CABIN - DAY The boys devour a hearty breakfast. Tod is the ` galley slave' and fills glasses with orange juice. TOD Chow down boys. The milk and eggs are the first things to go once we put out. John enters balancing two plates heaped with food. RICK You know we got ta dumbwaiter for that. John looks over to the dumbwaiter mounted in the wall. RICK Not that one. Tod - o here. The guys groan. TOD Har, har, har. John approaches the full table, glaring down at Terry who does n't notice him. Finally he looks up, startled. TERRY I'm done. I'm finished. He scrambles to get up and clear his plate. John sits down without a word. The others notice the two plates of food. RICK Hungry, Goodall? He just grunts and starts eating. Robin watches him. JOHN What's your problem? ROBIN Why'd you jump? JOHN Because I felt like it. -LRB- sharp. -RRB- What do you care? ROBIN -LRB- aside. -RRB- I could n't do it. JOHN Well, as soon as you grow some balls, let me know. Robin bristles. ROBIN Screw you! CHARLIE He's right. It was a stupid stunt. JOHN Excuse me? CHARLIE You heard me. John grabs Charlie by his private parts and hoists him into the air. Charlie gasps, the air sucked from his lungs. JOHN Do n't ever call me stupid. ROBIN Come on, he did n't mean anything. John shoves Robin to the floor with his free arm. JOHN Let me tell you girls something. I do what I wan na do. When I wan na do it. And I do n't give a shit what old Ahab up there thinks either. Any questions? John releases Charlie who crumples to the floor. John resumes eating. Bill enters and reads the duty roster. BILL Okay, here's the duty. Gieg, Weathers, Lapchick, Schucart : scrape and paint. Corry and Stricklin have the brass. Robinson, you're the Galley slave. March you're on chain gang with Barnes. Johnston, solo on bilge detail. TOD Butler, what'd I ever do to you? BILL You came back, Tod. You came back. John continues to eat. When he realizes his name has n't been called, he looks up to meet Bill's eyes.","INT. HEAD Pissed, John tries to figure out the head. Pumps going in, pumps going out. OLDER CHUCK -LRB- V.O. -RRB- We were all thirteen individuals. We'd arrived the sum total of our limited experiences and the result of our parents' best, if not narrow, expectations. John pulls back on the lever, belching `` water de le toilet'' all over him.","EXT. SHIP - DAY Chuck sits in a bowswain's chair over the side, with a paint roller in his hand. The rust - streaked hull is being transformed. OLDER CHUCK -LRB- V.O. -RRB- Some of us were there for discipline, some for escape. But I could see a small piece of myself in all of them and though I fought the notion, for me, I knew now, this would be home. A RADIO crackles in the b.g. ANNOUNCER `` President Eisenhower today acknowledged that a secret American spy plane was in fact shot down over the Soviet Union. The pilot has been confirmed as Francis Gary Powers.'' Robin, Terry and Mike, are on the deck within earshot of Chuck with chisels and wire brushes chipping away at the rust. TERRY Why could n't it have been a wooden boat? MIKE Steel boats do n't leak. Mike lights up a cigarette. Robin notices. Marlboro's. ROBIN Hey, can I have one? Mike sizes up Robin for a moment then tosses him the pack. ROBIN Thanks daddy - o. Robin lights up, grimacing with the first drag. TERRY Well, do n't brush too hard. Looks to me like the only thing holding this bucket together is the rust. A voice booms up from the dock. FRANCIS -LRB- O.S. -RRB- Ahoy there. They turn. Standing on the dock is FRANCIS BOUTILLIER, self important and overbearing, with his son, PHILIP, who looks as if this whole ordeal is some kind of punishment. Skipper appears. SKIPPER Good afternoon. Francis boards without being invited. Philip follows in his shadow. He scrutinizes the condition of the boat. FRANCIS Albatross? Does n't inspire a lot of confidence. SKIPPER Oh, on the contrary, the Albatross is considered a very good omen. It is said they embody the spirits of sailors passed on. It's very bad luck if you kill one. And dolphins too. The boys chuckle. FRANCIS I'm Francis Boutillier. This is my son, Philip. SKIPPER I know. Francis looks the Skipper over, reading him, smiling. SKIPPER You're a day late. We keep a schedule aboard ship. Lives depend on it. -LRB- to Philip. -RRB- Hello, Philip. PHIL Sir. Skipper's directness bugs Francis. FRANCIS Your cable said you would n't be putting out until mid - October. SKIPPER As you can see, there's a lot to do. FRANCIS Indentured servitude is not what my son had in mind. SKIPPER This is a working ship. Promptness is not a luxury, it's a necessity, as is the work to maintain her. Had we been ready, I can assure you we would have sailed. Something in this exchange turns the tone of conversation. FRANCIS And I would have expected compensation for my time and expense coming all the way down here. SKIPPER Happily, it all worked out. This time. -LRB- to Bill. -RRB- Bill, take Philip below and help him find a bunk. Phil follows Bill down the companionway. FRANCIS I'll be frank with you. This was his mother's idea. A romp through the Caribbean on a sailboat sounds more like a vacation than an education if you ask me. SKIPPER It will be more than that, I can promise you. FRANCIS -LRB- cool. -RRB- Take good care of my son. There is threat in his tone. SKIPPER We'll do our best. You're welcome to say goodbye. FRANCIS He's a big boy. Francis leaves the boat. Skipper and the crew watch as he climbs into his waiting embassy limousine and drives off. LAWFORD Well, that was neighborly. SKIPPER He did n't get to be Under Secretary of the Air Force by being neighborly. Lawford shakes his head. Bill comes up through the companionway. SKIPPER Everyone aboard young Bill? BILL Yes, Sir. SKIPPER Good. -LRB- beat. -RRB- Let's go sailing.","EXT. ALBATROSS - OPEN WATER - DAY The Albatross is under full power. There is a sense of excitement and anticipation. Charlie, Rick, Robin, and Lawford are on the halyard for the mainsail. Skipper is at the helm with Alice and Bill nearby. Skipper calls over to Chuck who stands alone at the rail. SKIPPER Come over here and take the wheel. Chuck's eyes light up as he walks over and takes the wheel. SKIPPER Hold her steady into the wind. Southwest by west. CHUCK Yes sir. SKIPPER -LRB- to all. -RRB- Gentleman, when you hear an order, sing out. I want to know that you've heard and understand. -LRB- quietly to Bill. -RRB- Raise the mainsail. BILL -LRB- calling out. -RRB- Raise the main! Lawford and his group bellow out. TOGETHER Raise the main! Lawford coaches the boys, sending two scurrying on top the chart house to loosen the stops which hold the heavy furled canvas to the main boom. He guides another to the midships pinrail where the main halyard, which raises the huge sail, is made fast to a belaying pin. He loosens the halyard and hands it to Robin. SKIPPER Take a turn under the pin and lead it out to the others. You guys in the rear take up the slack. Heave together now. In a beautiful tenor voice, Bill begins to croon a sea chanty, an old whaling song with an Irish lilt. BILL -LRB- singing. -RRB- `` When the sun came up there was whisky in the cup.'' The more experienced boys echo the line and pull to the beat. BOYS `` When the sun came up there was whisky in the cup.'' LAWFORD Come on the rest of you, sing! Belt it out like men! The newer guys like Chuck, John, Robin and Terry look at each other like this is the queerest thing they have ever heard of. BILL -LRB- singing. -RRB- `` Not one of us was a sober.'' The boys return the verse half heartedly. Lawford ties off his line and stares them down. Skipper notices that the work has stopped. SKIPPER What's wrong Mr. Lawford. LAWFORD It seems we're short on singers. Skipper walks amid ship and addresses the crew. SKIPPER Everyone sings aboard a wind jammer gentlemen. It lets everyone know you're in sync. It shows unity, that all thoughts are one. A crew that sings together stays together. Besides, I like it. So, pipe up and be sailors. JOHN -LRB- in a whisper. -RRB- Everybody swims, everybody sings. What's next? Tap dancing? Lawford and Rick leap up onto the line pulling it down with their body weight. They sing out the chorus. The crew returns the song, somewhat reluctantly as the great mainsail starts to rise. LAWFORD Tie it off! SKIPPER -LRB- to Bill. -RRB- Outer. BILL Outer Jib! CHARLIE -LRB- confused. -RRB- Outta what? Coached by Tod, another group in the bow, awkwardly hoist the jib. SKIPPER -LRB- to Bill. -RRB- We'll bear off to port and run down wind. BILL Mr. Lawford, stand by to ease the mainsheet. Rick, get on the jib sheet. George, John, Philip, Tim and Dick go aloft to unstop the forecourse. George will show you what to do. Tod, show your men the forward pinrail and stand ready on the buntlines and clewlines. Forecourse first. work upward. The newcomers watch Bill with new - found respect. George, John and the others climb to the forecourse, and out onto the footropes. It's unsteady work and there's confusion everywhere. But through it all, they continue to sing. Lawford moves to the mainsheet on the port side while the others move into their positions. When Bill sees the yardarm crew is in place. BILL Unstop the squares! YARDARM CREW Unstop the squares! SKIPPER -LRB- to Chuck. -RRB- Fall off to port. Ease her around to a heading of northeast. Sing out when you're there. As the tops are released, the giant forecourse drapes into a scalloped pattern. As the bow falls off the wind the snapping main and jib billow. Stiffening to the wind, the ship heels and surges forward. Before her awakening power, everyone changes their stance and grabs for a handhold. Lawford slowly pays out the mainsheet while the forecourse crew move up the ratlines releasing the stops on the other squaresails. CHUCK -LRB- in a whisper. -RRB- Ah. Northeast. sir. SKIPPER -LRB- barking. -RRB- Speak up boy! Chuck jumps, startled. He self - consciously calls out. CHUCK Northeast sir! SKIPPER Unfurl the squares! Tod's group first uncleats the clewlines and buntlines and the great squaresail drops and billows to fullness sending a shudder through the rig. The bow's wake sizzles with the added surge. As each of the squares fall, Alice and Lawford move to their sheets, setting each sail's position. Chuck looks up, amazed at the sheer magnitude and beauty of the canvas that the Albatross carries. BILL Raise the inner jib! Raise the forestaysail! SKIPPER Watch the tell - tales Chuck. If we jibe now we'll have a lot of people in the water. CHUCK Yes, sir. SKIPPER All stop on the engine. BILL All stop on the engine! Bill rotates the telegraph handle back and forth and moves it to the stop position. SKIPPER Behold gentlemen. The power of the wind! As the sails billow the Albatross seems transformed. Everyone stops and looks up. The vessel heels and with a powerful surge, launches into the waves. White foam splashes over the bowsprit as the hull thunders through the water. Chuck's face is full of wonder. It is a magical moment. Then the crew begins to cheer. SKIPPER Did we lose anybody? ALICE Not yet. LONG SHOT The Albatross under full sail is the handsome, powerful image of another time. And yet, here she is. ON DECK Each of the boys is awed by the majesty of this moment. Music builds. SKIPPER Chart us a course for the windward side. Alice considers his request. ALICE That low passed through last night. May be a little bumpy out there. SKIPPER It's time these boys saw some real blue water.","EXT. THE OPEN SEA - LATER The bow of the Albatross explodes through the top of a fifteen foot swell. The sky is clear but the wind is fierce. In spite of the seas the ship is trimmed and sailing well. The crew has never seen mountains of water like this. Disaster seems imminent. Bill has assembled them in front of the wheel house. They are all holding on for dear life. Even John seems shaken. Skipper magically stands effortlessly before them on the rolling deck. He remains perfectly dry. SKIPPER Well. now that I have your undivided attention. I'd like to take this opportunity to make a few points. TERRY -LRB- aside. -RRB- This guy is certifiable. PHIL Suicidal. SKIPPER The first thing is I do n't like people talking when I'm talking so the two of you, shut up. Caught, Terry and Phil button up. SKIPPER Second, the next one of you who does n't jump like a bunny when Mr. Butler gives an order is gon na spend the rest of this trip scrubbing bilges. He's a better sailor today than any ten of you will be when this is all over. Skipper directs the next comment directly at John. SKIPPER And if I catch anybody, ever, jumping off a yard arm again I will personally break what bones are left and send you home in a wheel chair. A wave explodes over the bow. A wall of water crashes over the deck knocking down several of the boys. Terry ca n't take it anymore and explodes. TERRY We're gon na die! We're all gon na die! He lunges at Skipper but Lawford one arms him. SKIPPER Excellent point. As you might have noticed, being out here pretty much puts you in the moment. If you panic, if you lose your head, you die. Maybe you take your mates with you. How'd you like to have to bet on Terry here getting us home today? Each one of you is responsible for the rest. `` Where we go one, we go all''. If your buddy is asleep at the switch we're all fish food. He's making his point which is lost on no one. SKIPPER The ship beneath you is not a toy and sailing is not a game. The Albatross will take us far gentlemen, but she demands constant attention. Respect her, and we'll do fine. Oh, and one more thing. There is nothing that goes on, on this boat that I do n't know about. She speaks to me in the night. So do n't test me. Not even a little. Skipper walks over and puts an arm around Terry who is fighting sobs. SKIPPER Nothing like experience to put things in perspective. Huh son? -LRB- to Bill. -RRB- Alright. Let's go home.","INT. CHART HOUSE - DAY Lawford addresses some of the crew. Chuck, Robin and John are among them. John glares at Lawford. The guys giggle. LAWFORD That's not a satisfactory answer. JOHN Look, save it for somebody else will ya. This ancient shit does n't have anything to do with me. Lawford pauses for a moment and then explodes theatrically. LAWFORD Shit?! He slams a text book into John's hands. LAWFORD Read for me please the words of Mr. Keats at the bottom of the page. John stares back, simmering. Robin interrupts the potential confrontation and reaches for the book. ROBIN I'll read it. I mean I do n't mind. JOHN Shut up donut. John pushes Robin's hands away and studies the page for a moment. He begins reading but struggles with the cadence. JOHN -LRB- reading. -RRB- Much have I traveled in realms of gold / And many goodly states and kingdoms seen / Round many western islands have I been / Which bards in fealty to Apollo hold / Oft of one wide expanse had I been told / That deep - browed Homer ruled as his demesne. LAWFORD You know what he is talking about here? Blank faces. LAWFORD -LRB- ranting. -RRB- Awe. Humility. He's telling you that he has traveled the seas as Homer did. As Ulysses had before him as he tried to find his way home to Ithaca after the Trojan Wars. `` That deep browed Homer''. He points to his head. LAWFORD Brilliant, seasoned, wise, of the mind ;''. ruled as his demesne.'' He commands the voyage of the imagination, like a god. -LRB- pause. -RRB- That is what one of the greatest literary minds of modern times, Mr. Boutillier, has to say about Homer. He snatches the book back. LAWFORD You think the Odyssey is dull? I'll tell you something, it's about each one of you - right now. Doubt and expectation. Friendship, community, self sacrifice and accountability. He holds up the text. LAWFORD This is n't just a story! It's history made allegory. It is a philosophical handbook for life! It holds the secret of this very voyage. JOHN What is it. the secret? Lawford breaks into a huge belly laugh. JOHN -LRB- confused. -RRB- What? LAWFORD If it were only that simple, my young friend. Read on, gentlemen. Read on.","EXT. ALBATROSS - ESTABLISHING - DAY Aerial shot. The Albatross is under full sail leaving Bermuda for the last time. OLDER CHUCK -LRB- V.O. -RRB- And so it was the Albatross that took to the open sea with the wind in her snapping canvas and a bone of white foam in her teeth. In each of us were feelings of anticipation and hesitation for the man at the wheel and of the unfamiliar world he was leading us into. She crashes through the surf - driving, majestic music, building. DECK - DAY The crew hauls in the line, raising the mainsail. Chuck struggles to coil the rope as fast as it is coming in. ALOFT The crew take turns racing up the ratlines into the rigging. BOWSPRIT NET The crew pull down the jib trying to furl it. Most of the sail ends up dragging in the water. ABOVE The squaresails are dropped simultaneously. WIDE White foam boils from the bow of the Albatross as she crashes through the waves. AT THE WHEEL Alice smiles and puts her arms around Skipper's waist. It's coming together. FORETOP - SAME Skipper stands at the rail, looking out. The seas are up and the masts are pitching widely from side to side. Chuck is high above the deck in the footropes, wrestling with one of the squaresails. The pitching mast catches him by surprise and he slips. He tumbles down, tangled in the lines. A rope wraps around his neck, choking him. Robin looks up and sees him hanging helplessly. ROBIN Bill! Skipper! Robin freezes. Skipper leaps into the rigging like a spider and, in a few seconds, wrestles Chuck free and carries him down to the deck. Chuck coughs, catching his breath. The color is gone from Skipper's face. This was a close call. SKIPPER You all right? CHUCK It was my fault. I slipped. Alice examines Chuck, making sure he's okay. Skipper turns to Robin, who is shaken. He never raises his voice. SKIPPER Why did n't you go up there? Robin stands silently. SKIPPER Speak up. Still nothing from Robin. CHARLIE He's afraid to climb. SKIPPER What? -LRB- to Robin. -RRB- Is that true? Robin looks away. SKIPPER Why was n't I made aware of this Bill? BILL I did n't know sir. SKIPPER It's your job to know. If something goes wrong up there, the other eighteen people aboard ca n't be wondering if he's gon na do his job or not. Skipper returns his gaze to Robin, measuring him. Finally. SKIPPER Swing up, son. ROBIN -LRB- trembling. -RRB- What? SKIPPER Up you go. Right now. Robin reluctantly pulls himself up onto the first rung, then the second. He stops and steals a peek up. The mast is swaying. He freezes, his lip starts to tremble. All eyes are on him. Phil chuckles. SKIPPER Do you have something to say? PHIL -LRB- smug. -RRB- No. SKIPPER Then keep your mouth shut. Phil backs off, stunned. Robin ca n't move. SKIPPER -LRB- to Robin. -RRB- What's it going to be? ROBIN I'm sorry. SKIPPER Sorry wo n't cut it. Robin holds on frozen. Skipper turns to the crew. SKIPPER Survival means discipline and assimilation. There are no special cases here. -LRB- to Robin. -RRB- Now, get going. Get up there. Humiliated, a tear slips down his face. Excruciating. SKIPPER What are you blubbering about? ROBIN I do n't know. Skipper jumps onto the backside of the ratlines. His face is but inches from Robin's. SKIPPER One hand in front of the other son. We'll do it together. Robin reaches for the next rung. He looks down. Skipper growls at him. SKIPPER Do n't look down. Look in my eyes! Climb! We'll do it together. ROBIN -LRB- sobbing. -RRB- I ca n't. SKIPPER You climb damn it, or so help me I'll haul you to the foretop by your diaper and leave you there! ROBIN Aaauuuhhh! Skipper gets right in his face and snarls. SKIPPER Are you hating this?! Are you! ROBIN I hate you, you son of a bitch! SKIPPER No. Hate the fear inside of you! Climb like a man mister! Hate it! Hate it away. Hate your way up one more rung! Do it right now! With every ounce of strength, Robin reaches for one more rung screaming as he reaches. Skipper climbs and screams with him. TOGETHER Auuuggghhh! Robin clutches the rung with a death grip. Then, he looks down. His bladder releases. Hot urine runs down his legs and splashes, steaming, onto the deck. The crew is horrified. Robin weeps. ROBIN Oh, god. Skipper backs off. SKIPPER Do n't hate yourself. Hate your weakness. All right. Get down. Robin climbs to the deck and falls in with the others, mortified. SKIPPER I'm only gon na say this one time. I'm not here to wipe noses and asses. I'm not your mother. Trust funds and blue blazers do n't get you a thing out here. You wan na act like babies, then get off my boat. Stunned, the crew is speechless. Chuck instinctively goes to help Robin. Skipper snaps like a turtle. SKIPPER -LRB- to Chuck. -RRB- He can take care of himself. -LRB- to others. -RRB- Any other ` phobias' I need to know about? Skipper fires a look towards Phil. PHIL No, sir. SKIPPER Excellent. Bill, find Mr. Weathers a position to suit his condition. Skipper turns and then stops. SKIPPER Remember something, sooner or later. we all have to face it. CHUCK -LRB- aside. -RRB- Face what? The question hangs in the air like a cloud.","INT. CHART HOUSE - DUSK The chart house is the communication and navigation center for the boat. It also serves as the officers dining room. Skipper, Alice, Lawford, George, and Bill Butler sit around the small table sipping coffee. SKIPPER We're awfully quiet tonight. The group remains silent. Lawford and George exchange a glance. Skipper catches it. SKIPPER Something on your mind, George? George looks up and wipes his mouth with a napkin. GEORGE I think you were too hard on Weathers. SKIPPER You do? GEORGE Yes. I do. Skipper nods. SKIPPER I need to know what I'm working with ; what their boundaries are. Their lives depend on it, and for that matter so does yours. We've got to bring them together. Make them a crew. We're as strong as our weakest link and I do n't want to find that out the hard way. So, I will challenge them and they will come together. GEORGE -LRB- sarcastic. -RRB- Yes sir. SKIPPER You know the best thing about being a Skipper is the worst thing. It's all my responsibility. So I'll tell you what George, you stay off of my bridge, and I'll stay out of your galley. We'll get along that way. Everyone's quiet, but clear. Skipper and Alice exit. GEORGE Fucking bastard. Lawford lets out a belly laugh. LAWFORD I've seen him snatch the tail of the tempest and stuff it, screaming, into a bottle. The bilges are full of them. GEORGE What do you mean? LAWFORD He's been beyond the reach. To the edge of the abyss and back. He'll do well by us all George. He's a real salt. There's no malice in him and there's nothing more dear to him than his boys. So sleep well my friend. Lawford seductively produces a pair of Havana cigars, passes one to George and winks.","INT. GALLEY - DUSK Robin leans over the sink elbow deep in dishwater watching through the cabin window, as the sun slips below the horizon. Chuck stands in the doorway with a plate of food. CHUCK How ya doing? ROBIN -LRB- without turning. -RRB- Fine. CHUCK Good. ROBIN Look, I appreciate, you know, the concern and all, but like he said, I can take care of myself. CHUCK I just brought you something to eat. Robin turns and notices the plate of food and nods. They stand silently. It's awkward. CHUCK I feel like I got you into this. ROBIN Forget it. CHUCK I'm used to spending a lot of time alone. I guess that's what I thought it would be out here. But, it's not is it? ROBIN -LRB- beat. -RRB- I'm sorry I left you hanging up there. CHUCK It does n't matter. Really. I'm just sorry you got chewed out. Robin nods. They both stare out at the rising moon. ROBIN My brother and I used to climb to the top of this old beech tree in the back yard and watch the moon come up just like this. My parents would fight all the time so we'd sneak out there where we could n't hear'em and recite scenes from our favorite movies. Robin grows quiet. ROBIN Would you believe I miss it? The middle of paradise and I'm homesick. Chuck smiles and puts a hand on his back. CHUCK -LRB- ironic. -RRB- Well, I would n't worry. It'll all be there when we get back.","EXT. DECK - DAY The sky is dark and a storm is building and the boat rolls and pitches. Chuck sees Terry heaving over the side. John and Tod hear the sound and turn. JOHN -LRB- disgusted. -RRB- Come on man. Show a little backbone! -LRB- to Tod. -RRB- You believe that?! Tod is fixated on Terry. Suddenly, without warning, he breaks for the rail and lets fly. Phil and Charlie are next. Chris climbs through the companionway but does n't make it to the side. Spontaneous regurgitation. Bill and Lawford jump up onto the wheel housing to avoid being sprayed. Suddenly everyone is heaving. CHRIS Sorry. LAWFORD -LRB- to Bill. -RRB- We're gon na have nobody left up here to crew. Better let Skipper know. Bill nods and disappears. John joins Chuck watching the events around him. JOHN Well Gieg, I'm glad to see I'm not the only guy on this boat that can take a little rock'n roll. Bunch of wusses, I swear! Chuck watches each of his shipmates. Then, suddenly, out of nowhere - Projectile vomit all over John. He looks at Chuck, horrified, then he too, cuts loose over the rail. JOHN Son of a bitch! Chuck looks at John, furious with himself, and begins to laugh. But after a moment he starts to laugh too. It's infectious, they crack each other up. Then, in the middle of belly laughing, they simultaneously retch again over the side.","INT. SKIPPER'S CABIN - DAY Skipper sits at his desk with some charts spread out in front of him. There's a knock on the door. SKIPPER Come in. BILL Skipper, uh, the crew is pretty much doing group boot over the side. SKIPPER Well, that's all part of it. BILL We've got weather moving in from the west. Skipper looks up. SKIPPER That's part of it, too.","EXT. DECK - DUSK Skipper stands at the wheelhouse with Lawford, George and Bill, studying the horizon through binoculars. Dark clouds. Chuck watches Skipper. Everyone, looking for a cue. CHUCK That a. storm, Skipper? Skipper stays glued to the binoculars. SKIPPER Uh, huh. CHUCK Would you, um, say it's a big storm? SKIPPER Sometimes it gets exciting out here. LAWFORD What do you think? SKIPPER Barometer's dropping. The first blow'll come from the south. Might get interesting. CHUCK Should n't we turn away? SKIPPER You ca n't run from the wind son. You trim your sails, face the music and let the chips fall. Bill, let's close her up, dog, tight. Close on hatches and skylights slamming closed and cinched tight. BELOW DECKS Bulkhead doors are closed and cranked down tightly. IN THE GALLEY Pots and pans crash around. IN THE MAIN CABIN The cabin doors on the bookcase swing open and dump books on top of Alice. She turns and looks at the mess, annoyed.","EXT. DECK - SAME SKIPPER Furl the squares, reef the main, and bend on the storm jib, but keep it furled. Drop everything but the inner jib. I want everybody down before we get any lightning. Bill bolts forward with Lawford barking orders. Most of the crew are still ill, but climb into the rigging and begin dropping sail. GEORGE Why's it always happen at night? Skipper regards George, annoyed. SKIPPER George. I want hot food in everybody. Get to it. George returns to the galley. Alice joins Skipper at the wheelhouse handing him foul - weather gear. ALICE Looks like weather. SKIPPER Yep. He slips on a yellow slicker. SKIPPER Do me a favor and tell Bill once she's dogged down I want everyone to break out their slickers and make sure their gear is stowed or we'll spend the next week sorting underwear. -LRB- to the others. -RRB- Lawford, Bill, Mike, John, and Phil will stand the watch. Everyone else hit the racks. PHIL -LRB- impulsively. -RRB- I'm not staying out here. Skipper fires off a look that frightens even Phil. SKIPPER No. That's for sure. Charlie, take his place. Phil goes below, a little ashamed. The crew scatters. Chuck, still at the wheel, pipes up. CHUCK If it's all the same, I'd like to stay on deck. Skipper regards Chuck, who looks back with both fear and eagerness. Suddenly he sees something in this kid. Maybe himself. He almost smiles. Almost. SKIPPER Take the wheel.","EXT. FORETOP - SAME Dark clouds blot out the sky and stars. Thunder rumbles far away. The seas have built but there's no wind. yet. With no steerage, the ship is tossed. Tod hangs high above the heaving deck continuing to furl. The mast swings from side to side, but the air has gone dead calm. Skipper looks up, anticipating. SKIPPER Everyone out of the rigging NOW! BILL Everybody down! ON THE DOUBLE! TOD -LRB- shouting. -RRB- HERE IT COMES! ON THE DECK The crew in the rigging scamper down to the safety of the deck. SKIPPER Bill, on the wheel with Chuck. Bill joins Chuck and takes hold of the wheel. Then it hits. A wall of torrential rain drums the deck amid a tympany of thunder and flashing lightning. The bow explodes through twelve foot swells. This is what the Albatross was born to do.","INT. MAIN CABIN - SAME It's all the crew can do to stay in their bunks. Pots crash, books and personals go flying. The guys are scared. ON DECK The main and jib sheets tighten. Skipper looks at Chuck and Bill. It all comes down to moments like these and he loves it. Suddenly, there is a loud CRACK! A violent flapping noise. Skipper leaps to the port and looks forward. Tod comes running back. TOD We blew the inner! ALICE I'll go. SKIPPER Bring it down and run up the storm jib. We'll fix it later. Stay out of reach of the blocks! Tod and Alice disappear. SKIPPER -LRB- with a twinkle. -RRB- Well, we're in it now. Chuck studies him, frightened, but reassured.","EXT. BOW - SAME The shredded jib and rigging whip violently in the wind. The block smashes into the gunnel rail, shattering it. No one dares go near it. For a moment, it seems to hang there seductively. John, naive of its power, leaps for the rail and grabs it. ALICE NOOO! Suddenly, the wind cracks the sail instantly hurling John high off the deck and over the side. He holds on for dear life, screaming. AT THE WHEEL SKIPPER -LRB- to Chuck. -RRB- Hold her steady. Skipper bolts forward. AT THE BOW Alice uncleats the jib halyard, leaving one turn on the pin and shoves it into Tod's hands. ALICE Release this when I tell you! Skipper joins Tod as Alice scrambles along the deck and pulls herself into the bowsprit netting. When the block and jib swing inboard, she grabs for the leach of the sail yelling. ALICE NOW! As John is snapped inboard Alice leaps up, grabbing the sail, leaning out over the open water. Waves explode through the netting. As Tod releases the halyard, John falls to the deck, bruised, humbled, but alive. Lawford and Skipper pull Alice from the bowsprit. Skipper looks her over. Relieved. No broken bones. Good work. But then this is what he expects. He respects her and now, everyone can see why. He looks at John sprawled on the deck. SKIPPER Be careful will ya? JOHN What ever you say Cap. SKIPPER Let's get that storm jib up. Skipper gives Alice a private look, then returns to the stern where Chuck holds tightly onto the wheel. OLDER CHUCK -LRB- V.O. -RRB- The storm lasted sixteen hours and it set us all on equal footing. It was the first time that we shared an episode on an even plane. As we stood our watches we were equally out of control of our situation, regardless of our physical abilities or social backgrounds. And though our real feelings lay hidden beneath bravado and defiance, we were no longer strangers.","EXT. DECK - DAY The crew is cleaning up. Alice supervises repairs to the jib while others stow line, scrub the deck and chip paint. Lawford paces. LAWFORD You know what they say in the Navy do n't you? RICK What's that, Big Daddy? The more experienced crew members have heard this all before. LAWFORD `` If it moves, salute it. If it does n't move, pick it up. If it's too big to pick up, paint it!'' The boys mockingly salute Lawford as he walks by. John stands before a porthole combing his Brylcreem hair into a `` D.A.'' Mike and Chris climb on deck with several large boxes. MIKE Ladies, gentlemen and hermaphrodites, Mr. Corry and I are happy to announce the grand opening of Trans - Border Enterprises. They start opening the boxes. One is a case of Coca Cola, another is full of cigarettes and candy. CHRIS All of the creature comforts and vices you could possibly want, at home or abroad, available twenty - four hours a day. MIKE For a price, of course. ROBIN If you've got `` a broad'' available I'll take her. JOHN Like you'd know what to do with one. The crew shakes their heads, mutter and check out the goods. TERRY You got Marlboro's? CHRIS Absa - fuckin - lutely. CHUCK Toss me a Cola. CHRIS Fifty cents. CHUCK What?! MIKE Contraband's hard to come by out here son. John is still grooming at the window. PHIL Hey Goodall, you got a date or something? John continues to comb. JOHN Yeah. With your mom. EVERYBODY Oooooooo. Phil slinks away. CHRIS We also have a few rental items. Chris displays a Playboy magazine. Everybody clamors to get a look. MIKE There's a penalty for any material returned to the Trans - Border Library with sticky pages. John walks by, snatches the magazine and heads for his bunk flipping through the pages. MIKE Hey, you ca n't do that! -LRB- to Chris. -RRB- He ca n't do that! John flops in a deck chair. Chris shakes his head and starts closing up the boxes. CHRIS Sure he can.","EXT. STERN - LATER Chuck sits alone, away from the others, reading. On cue, half of the crew descend, dragging him kicking and screaming into the bowswain's chair, and over the side. The guys cheer. CHUCK Come on you guys, this is n't funny! The seat spins, twists and swings from behind the boat. CHARLIE Come on Chucky. Show us a little grit. They lower the chair so it glides just above the surface. When the boat noses into a swell Chuck gets quite a ride. Once he has the hang of it, fear turns to elation. CHUCK YEEE HAAAA! CHARLIE Okay, who's next? PHIL You got ta be kidding? He's a human chum line! RICK No self respecting shark is gon na take a bite out of you. Chuck's hauled back in and Terry pushes his way to the front of the line. TERRY I'm next! Terry goes over the side. Once he gets the hang of it, he gets into it. He maneuvers the chair like a plane, forcing himself deep into the waves and then blasting back to the surface. OFF THE PORT SIDE Robin is trolling. The line takes a tremendous hit and Robin's reel screams. Tod is at the wheel and turns. TOD There she blows! Two hundred feet out something large and pissed has taken the bait. The crew turn and look. Skipper looks out at Terry still in the bowswain's chair. SKIPPER Get him in. Bill waves at Terry to come on in. BILL Come on in! Terry waves him off and disappears back under the waves. They ca n't pull him up while he's going under the water. SKIPPER Do it now Bill. Terry pops up, pissed that they're reeling him back in. Suddenly the animal on the other end of Robin's line explodes out of the sea. It's a six foot Thresher shark. Terry sees it too and freaks, suddenly thrashing and screaming. TERRY Get me out! Get me out! MIKE Oh my god! It's a. SKIPPER -LRB- calmly. -RRB- Shark. -LRB- to Robin. -RRB- Do n't lose it son. George grabs a gaffing hook while Robin fights the rod, trying to bring in the big fish. GEORGE Keep it coming. Robin battles the fish. George clumsily tries to help. The crew make their way to the rear to watch. CHARLIE Whoops. Charlie and Rick and the others heave to get Terry up. Finally he makes it. Sprawling onto the deck. TERRY Oh Jesus! Oh Jesus Christ! The crew turn and cheer Robin on as he brings the shark alongside. GEORGE He must be two hundred pounds! Bring him in close and try to hold him steady. George leans out over the rail, trying to get the hook into a gill. Several of the boys hold onto him as the fish flops around violently. GEORGE Got him! Skipper comes down to inspect the catch. The shark is longer than Terry is tall and thrashes in the the water, snapping and twisting. Terry stands shaking, freaked. All of them are. RICK Damn Terr, you're whiter than Sister Mary Anne's butt. The guys laugh nervously. Terry just stares at the man eater, but it's infectious. After a moment he's laughing too. Skipper slaps him on the back with a wry smile. SKIPPER Well, now you have something to write home about. More laughter. Suddenly, Tom, who is lookout on the foretop, cries out. TOM Land ho! Land ho! Everyone turns around to look. The guys at the stern let go of George and he nearly tumbles overboard. In that instant, the shark slips off of the gaff, and disappears back into the sea. Robin and George share a stunned look. GEORGE Shit. ROBIN There's more where that came from. Skipper returns to the wheelhouse with Alice. Together they scan the horizon. Clouds build over the land ahead. ALICE Cheated death again. He slips an arm around her. SKIPPER Yep.","EXT. ANTIGUA - HARBOR - DAY A group of islanders have assembled to watch the crew approach in the long boats.","INT. LONG BOAT - SAME Chuck gazes across the strange landscape. As the boats dock, the crew pile out and scatter. Local children follow them wherever they go. Chuck, Robin and John find themselves alone. Most of the buildings are primitive. They wander over to a shop. ROBIN What do you say? Cokes? I'm buying. CHUCK & JOHN Sure.","EXT. SHOP Chuck and Robin reappear, sipping cold Cokes. Mike and Chris walk by across the street. Robin speaks up loud enough for them to hear. ROBIN You're right Chuck. There's nothing quite as refreshing as a cold ten cent Coke that only costs ten cents! The three clink their bottles. Mike and Chris slink away.","EXT. COLONIAL FORT - DAY A crumbling fort overlooks the harbor. Below, the Albatross floats like a pearl on the azure blue water. Large bronze muzzle - loading cannons still lie in their gunports, aimed at the sea, waiting for pirate ships that will never come. Each of the guys are sprawled on a cannon, taking in the Caribbean view. ROBIN You think Skipper and Alice do it? CHUCK Do what? ROBIN Ya know. `` It''. CHUCK That's like wondering if your mom and dad do it. Who wants to know? JOHN She is n't that old. CHUCK What do you mean? JOHN I mean she looks pretty damn good in her all - together for being thirty. ROBIN How would you know? JOHN Trust me donut. I know. ROBIN What? Come on. JOHN On the dog watch, night after the storm, I look down into the skylight above Skipper's cabin and there she was, peelin' down. CHUCK No way! ROBIN Come on man, what'd they look like? JOHN Damn, Porkchop, you sound just like a guy who ai n't never seen a pair. ROBIN I've seen'em. I've seen'em. They crack up. CHUCK I walked in on my parents one time. It was only like eight o'clock and they were in bed and I thought that was kinda weird so I just walked in. JOHN That's what they get for not locking the door. CHUCK So I'm standing there and you could hear a pin drop. No breathing or snoring. Suddenly it hits me that somethin' was goin' on that just stopped, really fast, like people are holding their breath. ROBIN So. What happened? CHUCK My mother says in this really low, but very awake kind of voice `` What?'' John and Robin crack up. ROBIN What'd you do? CHUCK I said `` Sorry, wrong room'' and walked away. JOHN Did you shut the door at least? They bust up again. Chuck glares back. CHUCK I do n't remember. Robin sits up on his cannon and looks out, suddenly melancholy. ROBIN My parents do n't do it anymore. CHUCK How do you know? They might. ROBIN'Cause they're getting a divorce. -LRB- beat. -RRB- That's why they sent me here. My sister's at Tabor. They just wanted us out of the house so they could get down to business. JOHN They tell you that? ROBIN I figured it out. CHUCK Yeah. JOHN My old man split along time ago. It does n't mean anything. You just take care of number one that's all that matters. ROBIN It matters to me. JOHN -LRB- kindly. -RRB- Okay donut. Whatever you say. CHUCK We better get back. Robin looks up to John. ROBIN Did you really see'em.","EXT. ALBATROSS - HARBOR - NIGHT The boat moves off leaving the lights of Antigua behind. Chuck watches as the island disappears below the horizon.","EXT. DECK - DAY The wind is up and the seas are high. The ship is under full sail driving at top speed. Foam sprays from the bow as it slices through the water - what she was born to do. The crew line the starboard rail, thrilled to be part of the performance. Tod is at the wheel with Chris nearby. The sails tower above him like a mountain of silk. He wrestles the wheel, careful to hold his course against the powerful trade winds. Skipper, making his rounds inspects the heading on the compass and nods. SKIPPER It's a good sail boys. Tod and Chris beam. Compliments are rare from this man. TOD Thank you, sir. Shall we trim the main Skipper? I think we could get another knot or two. Skipper turns and looks at Tod, a twinkle in his eye. SKIPPER As you like. Gravy. The two gloat as they lighten the mainsheet tackle. Phil joins them. PHIL What do you say I have a crack at the wheel? TOD I'd say, fuck off junior. They laugh. Phil slinks behind the chart house, hurt, and angry. He spots a spear gun stowed against the chart house. As Tod and Chris pull in the main, it strains and stretches against the powerful wind. Phil aims the spear gun at the mainsail from behind the chart house and silently fires. There is a wicked POP as the spear punctures the sail, passing through it, followed by a loud shredding as the huge sail splits. TOD Jesus Christ! Let it out. Let it out! The sound brings Skipper onto the deck like a shot. SKIPPER Hard to port! Hard to port! Calamity, as Tod cranks the ship into the wind. The canvas goes limp as the ship hauls to a dead stop. People dive everywhere to drop sail. SKIPPER Start the engine. All ahead full! Scallop the Square and drop the rest! He shoots a glare at Tod and Chris. TOD -LRB- bewildered. -RRB- I do n't know what happened Skipper. It just blew out. Skipper turns to the task at hand without a word. What had been praise is now reduced to embarrassment and confusion. Phil, still hidden behind the chart house returns the spear gun and smiles to himself at Tod's arrogance turned humility.","EXT. DECK - TOBAGO CAYS - DAY The Albatross has dropped anchor along a remote group of flat, lush atolls. Tall palm trees grow almost to the waters edge. The crew have the mainsail down and Alice supervises the repair of the sail. Phil sits above it all sunning himself in the bowswain's chair. ROBIN Where are you from any way? CHUCK Depths of hell. Ohio. How ` bout you? ROBIN Kennet Square, PA.. ` Mushroom capital of the world'. TOD Sorry to here it. CHUCK Well, and it's pretty cool too, ya know? Bein' here together an all. Phil reels himself down. PHIL Christ, I'm gon na choke on ` feel good'. Robin looks up, taken back. TOD Why are you such a penis Phil. Do you do it on purpose or ca n't you help it. PHIL Tug my chain Johnstone. Skipper comes on deck. Robin and Chuck flip Phil and Terry the finger. SKIPPER After midterms we'll finish our run down to Curacao. The crew reacts, grumbling. SKIPPER I have arranged to host a good will cruise for the Dutch students of the local school there. PHIL -LRB- to Terry. -RRB- Joy, rapture. SKIPPER Each one of you will be responsible for one student. I'll expect you to be courteous. You represent this school and your country. We'll sail in the morning. George appears from the galley and rings the ships bell. GEORGE That's chow. The crew drop what they're doing and stampede down into the cabin.","INT. CABIN - NIGHT Robin thrashes in his bunk calling out. Sweat glistens on his face. Chuck stumbles out to his bunk with Rick and some of the others. RICK Hey man, wake up. Wake up! They shake him. Robin wakes, disoriented, eyes filled with tears. ROBIN I was falling. Phil grumbles from his bunk. PHIL Hey, shut up will ya? CHUCK It was a bad dream. ROBIN It was so real. CHUCK Here's the thing ; whenever you're having a nightmare, all you have to do is say 1 - 2 - 3 wake up! You'll be out of it. You'll wake up. Phil rolls over in his bunk trying to go back to sleep. ROBIN Who told you that? CHUCK My dad. ROBIN It works? CHUCK Swear to God. Only good advice he ever gave me. Now, go back to sleep. He pats Robin on the leg. The guys return to their bunks. Favor Phil, listening. CHUCK -LRB- lingering. -RRB- You okay now? Robin stares at the photo of his brother. ROBIN That's how he died you know. CHUCK Who? ROBIN My brother. He fell out of the old beech tree. Broke his neck. I was on a camp out. They started going at it, throwin' things, a real knock down. -LRB- beat. -RRB- They did n't find him'till the next morning. They did n't even know why he was up there. CHUCK Jesus, you never told them? ROBIN I could n't. Phil stares at the ceiling, affected by what he has overheard. Someone creeps down the companionway and whispers. MIKE -LRB- hushed. -RRB- Hey you guys, come on! Shuffling in the darkness. Phil suddenly realizes, he's alone.","EXT. DECK - NIGHT The dory hangs from her gallows. Some of the guys slowly lower her to the water.","INT. GALLEY - SAME George is asleep with a book in his lap. Mike and Chris slip inside. The door squeaks, George stirs. Mike opens a cabinet and removes a fifth of rum. Silently, Mike passes the bottle to Chris who passes it to Tod who passes it to Charlie who drops it down to Robin who stands in the lowered dory with Chuck. PHIL -LRB- O.S. -RRB- What do you think you're doing? Startled, Mike and Rick share a look. Busted. Phil turns and runs into John, wearing a broad smile, who shakes his head. No way. PHIL Forget it. Count me out! The crew descend and drag Phil, struggling, into the dory. They raise a crude sailing rig and silently move off. A figure stands on top of the chart house, back lit by the moon. It's Skipper. Watching it all. Letting it unfold.","INT. GALLEY - NIGHT Skipper hovers over George, sawing logs. He tosses a pot on the floor. GEORGE -LRB- bolting up. -RRB- What?! What's happening?! SKIPPER You're officer of the watch, George. GEORGE I'm sorry, Skip. It's this damned book. Lawford gave it to me. The book is `` Kafka''. Skipper motions to the empty cabinet. GEORGE Son - of - a - bitch. SKIPPER We're short one long boat too. Come on.","EXT. CAMPFIRE - NIGHT The boys sit in a circle around a small fire passing the bottle. Rick strums his guitar and sings while the rest join in. RICK Oh I was walkin' down Lime street one day. ALL Hey! Weigh! Blow the man down. RICK A pretty young maiden she happened my way. ALL Give me some time to blow the man down. Skipper and George crawl to the top of a sand dune and watch the boys. George starts to stand but Skipper puts a hand on his shoulder. SKIPPER I guess we know what the next acquisition for the galley is going to be. GEORGE What's that? SKIPPER A padlock. On the boys. Phil is drunkest of them all and does a wild jig as the rest of them sing. RICK So to all you sailors who've fought wind and whale. ALL Weight! Hey! Blow the man down. RICK She said `` None the better, you all go to hell.'' ALL Give me some time to Blow the man down! They all crack up. CHRIS I only have one question. JOHN What's that, Canuck? CHRIS If we're not on the boat, how come the ground is moving? CHUCK You think George'll miss the bottle? TERRY We'll blame it on Big Daddy. He's a lush. MIKE All I know is if that Viking son of a bitch puts me on smegma duty one more time I'm gon na have to run him through. TERRY -LRB- mimicking. -RRB- The `` Old Man'' likes a tight ship! CHARLIE `` If it moves, shoot it.'' The rest join in. CHUCK `` If it does n't move, throw it overboard. If it's too big to throw overboard, screw it!'' More laughing. RICK You think Old Thunder Nuts will figure out that we're A.W.O.L. Bill drunkenly imitates the Skipper. PHIL `` There is nothing that goes on, on this boat that I do n't know about. She speaks to me in the night. So do n't test me. Not even a little.'' The boys laugh. On the dune, George shakes his head. GEORGE Immortality. SKIPPER Spirits have a way of bringing that out. GEORGE And being sixteen. SKIPPER They're in a hurry to grow up. They do n't know about consequences or responsibility. That's being sixteen too. -LRB- beat. -RRB- I promise you one thing. GEORGE What's that? SKIPPER They'll know about it in the morning. Skipper smiles.","EXT. BEACH - NIGHT The drunken crew stumble out of the woods onto the beach. As they ready the boat for the trip back Robin looks out to sea. ROBIN -LRB- alarmed. -RRB- Jesus H. Christ. Tod looks up. TERRY What now pork chop? ROBIN Look! The guys turn their gaze to the ocean. The Albatross. is gone! TERRY Holy shit! Where'd she go? The crew is suddenly stone sober. Stunned. CHARLIE What the hell is going on? MIKE She's gone! The boat's gone! Phil breaks into sort of a blind panic. PHIL Oh Jesus, oh Jesus. Man I knew we should n't have gone. I tried to tell you. I tried to tell you. You guys made me come! You made me come! JOHN Will you shut up? You sound like my fucking sister. CHUCK Alright. Everybody just stay cool. We'll figure this out. MIKE Who the hell checked the mooring? ROBIN I did. Why? CHARLIE Maybe she pulled free. MIKE What if they do n't know. If she's adrift, if they're asleep, she could run aground. She could break up on the reef. PHIL -LRB- to Robin. -RRB- Maybe you did n't check it good enough. ROBIN -LRB- defensive, frightened. -RRB- I did. I swear. Oddly, it's Phil who stands up for Robin. PHIL Yeah, well you're really gon na have some bad dreams if we find out you did n't. JOHN That's enough. PHIL How the hell are we gon na get outta here? JOHN We'll think of something. PHIL Oh, praise the lord. -LRB- announcing. -RRB- Relax everybody. Everything is under control. The jug head's going to think of something. Without warning. John lunges at Phil. Phil screams, trying to defend himself. The guys all dive in. Suddenly it's an all out brawl. John out of control pounding Phil's head against the seat of the boat. Suddenly, from behind, comes a blistering `` THWACK!'' as Chuck breaks an oar over the back of John's head. Stunned, John lets go of Phil and turns, blood dripping from the back of his head. JOHN Nobody calls me an idiot. He weaves, then passes out, falling face down in the sand. The guys stagger to their feet, trying to recover. PHIL God damn it man. I think he broke my nose! CHUCK Shut up, Phil. Chuck tosses the broken oar handle, kneels over and vomits. TERRY Well that's just great. Now what are we supposed to do? Chuck and Robin hoist John up and drag him under a palm tree, propping him up. The others huddle to stay warm.","EXT. BEACH - MORNING The crew's asleep in the tropical heat of day. Bloodied and sun burned. A fly buzzes around Rick's face, waking him. He sits up sunburned and sore trying to focus. He gazes across the water, stupefied. RICK Oh - my - god. The others stir and follow his gaze. The Albatross sits in exactly the spot where they left her. ROBIN I'm not sure if this is really good or really bad.","EXT. ALBATROSS - DAY The sound of a rod and reel spinning wildly. George tries to maintain control as the rod nearly jumps out of his hands. GEORGE I got a live one! Skipper, Alice and Bill watch the shoreline as the boys launch the long boat into the surf. George is struggling. A beautiful tarpon leaps out of the water, but Skipper never takes his eyes off of his boys. SKIPPER The thing about fishing George, is you need to let'em run some. Give'em just enough slack so they do n't break the line. But at the same time you've got ta keep enough tension to wear'em down, bring'em in slowly so they do n't really know they're hooked. Suddenly George's line goes slack. He nearly falls over backwards. GEORGE I'll try and remember that.","EXT. DECK - DAY Hound dog and hung over, bloodied and burned, the boys stand before Skipper and the others. Skipper looks dark and angry. SKIPPER You know what a loose cannon is? ` Bout the worst thing that could happen to a wooden ship. All it took was one, crashing around the deck in a storm. It'd smash everything in its way, maybe take out a mast or punch a hole right through the hull. Think about it, just one cannon not tied down, not anchored, could take a whole ` Man of War' straight to the bottom. MIKE -LRB- aside. -RRB- But we do n't have any cannons? Chris jabs him in the ribs. CHRIS -LRB- hushed. -RRB- Shut up! Skipper turns and faces them. SKIPPER Now, if the Skipper were smart, if he could see a storm building, why he'd cut loose every gun on his boat. Even though it would leave him at a disadvantage in battle, he'd push'em into the sea. Better chance running for port than risk the entire ship, his crew. He takes a pause making sure he has their attention for this part. SKIPPER People are like that sometimes. They cut loose and before you know it, they're knocking holes in everything. So you got ta ask yourself if it might not be better to just put'em off before they sink the whole thing. I mean after all, you can always get new cannons. He walks back to his place at the rail. SKIPPER -LRB- beat. -RRB- I want a tight ship, everybody shaved and in clean clothes when we make Curacao. If it goes well, if your mid terms are acceptable, I may reconsider my decision about the rest of the trip. That's all. Dejected, the crew goes below.","EXT. DECK - DAY Under sail. Skipper stands at the wheel overseeing the crew taking exams. Each writes furiously as Alice scribbles problems on the blackboard which hangs from the chart house door. As the boys scratch out the problems, John seems paralyzed. He looks over at Phil and copies down his answer. He checks crib notes hidden in his shorts. Chuck and Robin both see this and exchange looks.","INT. AFT CABIN - DAY John makes his way down the narrow corridor towards the head. Robin follows. Chuck drops down the aft companionway, intercepting John. CHUCK Where you going? JOHN To take a piss. ROBIN Really? John turns around, surprised, sandwiched. JOHN Yeah, that's right. You wan na come in and shake it for me? CHUCK If you're gon na cheat, you might as well copy off somebody who's gon na get the answer right. JOHN You've got ta be kidding. Get the fuck outta my way! Chuck throws open the Engine Room door and they shove John inside. JOHN What the hell! Chuck manages to pin John. Robin checks his pockets and comes up with the crib notes. Chuck lets go. John snatches them, ashamed. CHUCK Takin' a piss? John turns away. ROBIN Why, man? JOHN I do n't have to listen to this. CHUCK Yes you do, stupid. Because if you do n't, I'm gon na go right up there and have a heart to heart with Skipper and you'll be on the first plane back to idiotville. John lunges at Chuck, sending them both sprawling. Robin leaps on top of John. ROBIN Cut it out man! Stop it! What's the matter with you? If Phil had caught you he'd have ratted you out in a second. You get caught cheating, you'll get kicked off the boat. John explodes, tears flowing. JOHN I cheated to get on the boat! All right?! CHUCK What? He lets go of Chuck and stands up trying to hide his emotions. JOHN I doctored my grades so I'd make the cut. I'm a moron, okay? You satisfied?! CHUCK You're not a moron. JOHN Wan na bet? Takes me half a day to get through one chapter of Lawford and I still do n't have any idea what the hell he's talkin' about. You know why it takes me so long to write papers? because I ca n't spell. While everybody else is sleeping, I'm in the rack with a flashlight and a dictionary. John chokes back a sob. JOHN Hell, they even kicked me outa vo - tech'cause I could n't read a slide rule. PHIL I can show you how to use a slide rule. The three turn around, startled. ROBIN How long you been standing there? PHIL Long enough. John looks down, resigned. JOHN They were gon na put me into special - ed this year. I stole a copy of my transcript, changed all the grades. Shit, who am I kidding. I'll never pass the boards. CHUCK Listen, you do n't cheat, and we'll make sure you get the grades. We'll start a private study group. Nobody knows. You'll ace that test. ROBIN I'm in. They turn and look to Phil, who still shows the tell - tail signs of their fight. PHIL Me, too. JOHN Why would you do that? CHUCK Because we believe in you. -LRB- beat. -RRB- Because we're your friends.","EXT. CURACAO - HARBOR - DUSK As a blazing sun sizzles into the western sea, the Albatross rounds a point and heads towards the docks several hundred yards away. On the dock, the students of the school wait. As soon as the ship is in view, they start to cheer. Chuck squints. CHUCK What are they doing? ROBIN I ca n't make it out? Robin calls up to Phil, who is at the wheelhouse. ROBIN Hey, Phil. Swing up the ` binocs' and tell us what you see. Phil picks up the binoculars and focuses. PHIL -LRB- puzzled. -RRB- They're waving. handkerchiefs or something. RICK What? CHARLIE Maybe they're surrendering. PHIL Wait a second. Phil lowers the binoculars and turns to Skipper. PHIL They're girls! They're all girls! Skipper shares a knowing look with Alice. TOD Gim me those. Tod snatches the binoculars. TOD WHHOOOOAAAAA! WOMEN! Everyone on board rushes to the port side. Every single person on the dock is a young girl waving a white handkerchief. Spontaneous cheers from the boys. As the ` Big A' pulls to the dock, John and Tod run for the gunnel door and swing it open. The girls flood the deck. BILL Good morning, ladies. They chatter in Dutch and hurry aboard. Like wall flowers, Robin, Phil and Chuck stand on top of the chart house watching utopia unfold before them. ROBIN What are we supposed to talk about? PHIL You've got ta be kidding? ROBIN But, they do n't speak English. PHIL There are some things that everybody does in the same language. CHUCK Yeah, but how are you supposed to make the first move? PHIL Like this! Phil reaches up for a free line. With a running start he swings out over the water. PHIL Yeeee Haaaaa! He careens back onto the deck and lands in front of two startled, but impressed girls. Robin and Chuck applaud. Phil takes a bow. All hell is breaking loose. Skipper and Alice welcome aboard the headmaster, MS. BOYDE, 50's, dumpy but tough. SKIPPER A very enthusiastic welcome. MS. BOYDE We do n't often have guests. Our girls have been looking forward to your visit for some time. Welcome to Curacao. SKIPPER Thank you. You're all ready to sail then? MS. BOYDE I should think so. ALICE I'm sure they wo n't be disappointed. A man's voice bellows up from the dock. FRANCIS -LRB- O.S. -RRB- Ahoy there! Everyone stops and freezes. Phil turns, disbelieving. It's his parents, Francis and PEGGY BOUTILLIER, standing next to a limousine dressed in brightly colored tourist garb. PEGGY Surprise! FRANCIS Well, well. What do we have here? A floating brothel? ALICE -LRB- cool. -RRB- Hardly. Francis comes aboard uninvited as usual. FRANCIS Well, we thought we'd drop in and see if you were all still in one piece. SKIPPER -LRB- pointed. -RRB- And, of course, we are. FRANCIS Well, you never can tell these days, can you? Skipper shoots a look over at Phil who is staring a hole in the deck. SKIPPER What is it we can do for you today? FRANCIS Well, we've come to give our boy a little break from the monotony. PHIL It's not monotonous. Francis flushes red. FRANCIS Never the less. He turns and joins Peggy on the dock. Phil is suddenly full of rage. This is an invasion of his privacy. Everyone feels it. FRANCIS Hop to boy. We have n't got all day. Phil's anger turns to resigned humiliation. He stops, staring down at his parents. Skipper puts a hand on his shoulder. SKIPPER I did n't know, Phil. Phil nods, head down and walks down the ramp. All watch him go, feeling for him.","EXT. OPEN WATER - DAY The sails begin to rise but unlike earlier, the guys SING out like the Vienna Boys Choir and it's having the desired impressive effect on the women. CREW TOGETHER When the sun came up there was whisky in the cup / and not one of us was sober / Kerry thought she saw a picture, but it really was the sun / then we knew the party was over. The weather was perfect, brisk and steady under the trade wind swells. The voices trail away as the ship moves off. OLDER CHUCK -LRB- V.O. -RRB- Curacao seemed out of a dream, somehow make - believe. But, as Ohio drew further and further away, it was home that began to seem unreal, drifting somewhere in the foggy reaches of our memories. And I knew that each of us was falling in love. But not only with these wonderful women or the swaying palms and porcelain beaches. We were falling in love with the experience we were sharing, and with who we were becoming.","INT. MAIN CABIN - NIGHT The crew is getting ready for a farewell party. Each member is primping. CHUCK Bregitta. Do you believe it? JOHN Believe what? CHUCK Her name. -LRB- savoring the sound. -RRB- Bregitta. It's poetry. TERRY Soon as we ship it'll be `` forgetta''. TOD Do n't mind him, Chucky. You're talking to a guy whose idea of big romance is a palm full of Vaseline. TERRY Screw you, Valentino. I have n't seen you swapping spit with anybody. Tod smiles as he slowly pulls something from his pocket. It's a pair of girls' cotton underwear. TOD That's because I'm discrete, moron. The guys try to wrestle the underwear away from him. Just then Skipper descends the companionway. SKIPPER Alright, gentlemen, we sail with the tide. Twenty - three hundred. Sharp. I'm not waiting. Have a good time tonight but be back on time. The crew cheer. This means the trip goes on.","EXT. SCHOOL - GARDENS - NIGHT Decorated with colored paper lanterns and streamers, a STEEL DRUM BAND softly plays in the b.g.. The crew slow - dance with their girls, dressed in cotton that seems to glow against their dark skin. Ms. Boyde is scrutinizing the body contact between Chuck and BREGITTA. Their lips appear pasted together and she does n't like it. Lawford sees what is about to happen and hands his slimy cigar to George who reacts. LAWFORD Hold this, will ya? Lawford intercepts Ms. Boyde. LAWFORD Madam, I would consider it a privilege if you would allow me to take you on a tour of the dance floor. Ms. Boyde is so flattered, it is all she can do to extend her hand. Lawford leads her away and glares at Rick. LAWFORD You're very light on your feet Ms. Boyde. Was it you who taught all of these young ladies the art of the dance? Ms. Boyde giggles like a school girl.","EXT. RESTAURANT - NIGHT Phil and his parents sit outside at a ritzy restaurant. Phil stares towards the harbor. FRANCIS What's wrong, you do n't like steak? PHIL I should be eating with the crew. FRANCIS Humor me. Eat it anyway. PHIL Why are you here? PEGGY We missed you. We wanted to check on you. PHIL I do n't need you spying on me. FRANCIS Spying?! PHIL I can take care of myself. FRANCIS -LRB- sarcastic. -RRB- Oh, really? PHIL Look, you put me on this boat in the first place. I did n't want to come but I did. Why do you have to embarrass me. Why ca n't you just leave me alone? Francis slaps Phil across the face nearly knocking him out of his chair. Everyone and everything. It's humiliating. PEGGY Francis! She cradles Phil's red face. He fights the tears. FRANCIS Listen to me, you thankless little prick. We're your parents, so do n't you dare talk to me disrespectfully. What the hell is it, this captain? Because I'll see him in a rowboat. PHIL It has nothing to do with him. FRANCIS Well, what does it have to do with? Us? PHIL No. Look, it's me okay? Ca n't it just be about me? For once? Phil pulls free and exits. He can feel eyes all over him.","EXT. SCHOOL - GARDENS - NIGHT Alice watches, swept up in the nostalgic romance of it all. Skipper joins her. SKIPPER He would have loved this. ALICE Your father? SKIPPER All his years at sea, he never stopped talking about these islands. ALICE You miss him. Skipper manages a sad smile. SKIPPER Every hour. Every minute. -LRB- pause. -RRB- I wish he was here. I wish he could have sailed our girl. Seen these boys. She smiles warmly. SKIPPER I'd have liked to have said goodbye. ALICE He knows. SKIPPER You sound so sure. ALICE I am about this. Skipper turns and stares at her deeply. ALICE What? SKIPPER He never would have believed a woman like you existed. Alice smiles and turns back to the dancers. ALICE Do you remember the last time you and I danced under the stars? SKIPPER Guilty. ALICE On the deck of the Yankee, the night you asked me to marry you. We were n't much older than they are. The music changes to a calypso waltz. Skipper takes Alice by the hand. SKIPPER Would you allow me? She's sixteen again. There's something about him that still makes her blush. Skipper leads her to the dance floor. He hesitates, looking deeply into her eyes. As they begin to dance, the boys notice and exchange looks. Lawford and George sit across the quad, sipping punch and smoking cigars. GEORGE If I did n't know better I'd say the old man was acting almost halfway human. LAWFORD He is halfway human. One by one the couples clear for the Skipper and his bride. They glide, lost in each others arms. They dance a dance for the ages. As if it might be for the last time. The music swells.","EXT. PIER - NIGHT Chuck and Bregitta, are at the end of the pier, a full moon hangs above the horizon. Bregitta does n't understand what Chuck is saying, but it's clear she's enjoying him. CHUCK I ca n't remember feeling like this about myself, a place, someone like you. We've come such a long way, seen so much. But nothing like this. Bregitta smiles and takes Chuck's hand. He's nervous. CHUCK I'm not the best at expressing myself. Maybe the only reason I can now is because I know you do n't understand me. -LRB- beat. -RRB- I like you so much. Too much. But how could I? I mean, if we ca n't even communicate, how could I know you? It's confusing. We sail in an hour and I'll never see you again. Bregitta takes Chuck's face gently and kisses him tenderly. Then, in perfect English. BREGITTA I like you, too. Chuck's eyes widen, astonished. Bregitta smiles, takes Chuck by the hand, and leads him to a small covered boat moored to the pier. BREGITTA Come on. We do n't have much time. Blushing deeply, Chuck follows her into the boat.","EXT. STREET - SAME Robin walks down the street hand in hand with one of the girls. A long string of colored lights illuminate the length of the street. Robin clumsily tries to kiss the girl. She laughs. ROBIN -LRB- defensive. -RRB- What? Suddenly there's a flash and the sound of breaking glass. Robin looks up to see Phil staggering, down the street, smashing each of the colored light bulbs with a stick. He showers himself with broken glass and sparks. ROBIN -LRB- to girl. -RRB- Wait for me okay. I'll be right back. I swear. She smiles sadly and nods. Robin sprints down the pier and catches up with Phil. His feet are bleeding. He is completely smashed. ROBIN Phil. What are you doing? PHIL Fandango, Junior. -LRB- he holds up his stick. -RRB- I'm gon na do some limbo baby! ROBIN No way Phil. Not like this. PHIL Roger Meris, steps up, it's a corker down the pipe. THWACK! He scores another bulb. Robin jumps out of the way. PHIL It's outta here! ROBIN Come on man. Let's just talk about it. The music drifts from the gardens ahead. Phil bolts. Robin chases after him. ROBIN Phil! Wait man. Come on.","EXT. SCHOOL - GARDENS - NIGHT John shares a joke with Lawford and George. The calypso is cranking, but only John hears Phil and Robin crash into the refreshment table. Robin struggles to stop Phil. JOHN -LRB- to Lawford. -RRB- Be right back. Lawford nods, oblivious. ON THE GUYS John tries to help Robin with Phil. JOHN Jesus! What the hell happened to him. PHIL Lem me go! Lem me go! ROBIN I do n't know. We got ta get ` im outta here before Skipper sees him like this. PHIL Son of a bitch! Phil kicks and struggles. JOHN Phil, if you do n't calm down, I'm gon na hurt you. Got it? They drag him into the darkness. From near the bandstand however, Skipper has seen it all.","EXT. ALBATROSS - NIGHT The crew lean along the rail waving goodbye to the girls who wave back with their white handkerchiefs.","INT. MAIN CABIN - SAME Chuck and John hold Phil still as Robin picks shards of glass out of his feet. Phil clenches his jaw, but his eyes are dry.","EXT. ALBATROSS - DAY The ship is under full - sail driving before a brisk following wind. It takes two on the helm to keep her safely on course. Those not on watch are sprawled about the boat, scraping and ` red - leading' or reading. Chuck and Robin sit forward with John, studying. Lawford paces the deck, chiding the crew. LAWFORD The rust wo n't wait for you to read Conrad, Goodall. JOHN Then he should n't have written such a long poem, Mr. Lawford. LAWFORD Read on, young John. Read on. College boards are coming. John looks down, dejected. Suddenly Tod cries from the foretop. TOD There they blow! There they blow! Dolphins off the bow! Everyone rushes to see. Dolphins leaping out of the water. It's a magnificent game they play with ships. The crew cheers as each one explodes out of the sea, close enough to touch. Isolated, Phil watches. Angry, cut off. Chuck eyes him, worried. Bill and Charlie rig the bowswain's chair and lower Rick into the water. Suddenly, the dolphins are everywhere. Rick pets them as they swim back and forth. Shear joy. Phil reaches for the spear gun. Nobody notices as he loads and takes aim. Suddenly. with a crack, everyone spins around. A large female dolphin leaps out of the water, bloody foam spraying from her blow hole. She lets out an agonizing scream. Phil holds her fast. CHRIS Jesus Christ! The crew can only watch, stunned. Phil is suddenly, defensive as if waking from a dream. PHIL Fuck off man. It's just a fish. RICK No, Phil. It's a mammal. Skipper steps on deck, sees the dolphin and Phil with the spear gun. SKIPPER -LRB- quietly. -RRB- Bill, lower a long boat. We'll bring her up with the davit. A dory is lowered with John and Bill inside. Once near the water they maneuver the struggling dolphin into a canvas harness. The crew hoist her with the davit tackle, swing her inboard, and gently lower her to the deck. They gather around the gasping animal. Alice checks the wound. Skipper kneels beside her. SKIPPER What do you think? Alice shakes her head and gently strokes the dolphin. ALICE It's through her lung. Skipper turns to Phil. SKIPPER -LRB- to Phil. -RRB- Nice shot. Phil looks up at the crew but one by one they look away. Chuck finds this confusing and inexcusable but is the last to look away. Skipper grimly walks over to one of the deck lockers and pulls out a large wooden mallet and holds it out to Phil. SKIPPER Finish it. Phil looks at the mallet, horrified. PHIL -LRB- stammering. -RRB- I'm not gon na kill it. SKIPPER You already have. Now go on. Do it. Phil backs away. Skipper stares at him for a moment, then walks over to the dolphin. Robin looks away. The sickening sound of the mallet crushing the skull of the animal seems to silence the world. There are one of two thumps of her tail and, it's over. Skipper tosses the bloody mallet into the locker and approaches Phil, his face flushed with anger. He grabs the spear gun, and snaps it across his knee and throws the pieces into the sea. SKIPPER What the hell is wrong with you?! Phil begins to shake with rage. SKIPPER Come on. You got so much fight in you ; you wan na kill something? Take your best shot. The first one's free. Robin holds his ears as if he can make it all go away. For a brief moment Phil looks as if he might take Skipper up on the challenge. Then the impulse passes. SKIPPER That's what I thought. -LRB- beat. -RRB- You're done. You're going home. Skipper turns. The humiliation is more than Phil can take. He lunges after Skipper. Lawford grabs him. Phil swings wildly. PHIL You mean - assed bastard! You son of a bitch! You ca n't do this! You ca n't do this! God damn you! God damn you! Lawford leads Phil, struggling, below. The crew surround the dead dolphin, stunned.","EXT. ARUBA - ESTABLISHING - DAY The Albatross is at anchor in the center of the harbor.","EXT. DECK - SAME Phil comes on deck from below with his duffel bag. Everyone feels bad but no one knows what to say. Phil turns to get a second load. CHUCK Why'd you do it? PHIL -LRB- regretting it. -RRB- What's the difference? CHUCK You only hurt yourself you know? PHIL Like you really care. Like any of you give a shit what happens to me. RICK You're the one who does n't care, Phil. PHIL It hurts too much to care. RICK About yourself? PHIL About anything. Phil turns and disappears down the companionway. ROBIN We should n't be putting him off the boat. CHRIS The guy's out of control. ROBIN Everybody's been outta control on this trip. -LRB- beat. -RRB- Are we a crew or not? I mean, is n't that what this is supposed to be all about? MIKE You're the last person who should be whining about being a `` crew''. ROBIN How do you figure that? MIKE Well, I'd sure like to go into the subject of vertigo and all, but I would n't want you to piss yourself. Robin flushes bright red. John fires a look at Mike. JOHN You're a regular prick you know that? MIKE Tell it to the dolphin, Goodall. JOHN Everybody deserves a second chance, ya know? We'd do the same for you Mike. ROBIN It's about family is n't it? I mean are we together on this or not? There is a long pause. Mike and Chris cave. MIKE Hell, do what ever you want. It wo n't change anything anyway. Robin exchanges a glance with Chuck and together, they climb up the companionway.","EXT. CHART HOUSE - SAME Chuck and Robin stand before the door. ROBIN I ca n't go in there. CHUCK What are you talking about. Robin turns away, ashamed. ROBIN The guys were right. It'll mean nothing coming from me. He'll listen to you Chuck. Everybody does.","INT. CHART HOUSE - SAME Skipper and Alice have paperwork spread out in front of them. A knock. SKIPPER Come. Chuck enters, awkward. SKIPPER What's on your mind? CHUCK I'm here on behalf of the crew, sir. Skipper looks up. SKIPPER Well, spit it out. CHUCK The fact is. We'd like you to give Phil another chance. Alice raises her eyebrows, surprised. SKIPPER Ca n't do it. CHUCK Sir? SKIPPER Close the door. Sit down. Chuck does as he is told. SKIPPER Why do you think I'm sending him home? CHUCK He killed the dolphin. Skipper looks at Chuck for a moment. SKIPPER The Dolphin was a symptom. CHUCK Of what? SKIPPER Of a fight he ca n't win out here. CHUCK It's his father sir. He's suffocating him. We've all seen it. Suddenly it's as if Chuck is talking about his own life. CHUCK I mean he has all these expectations and he does n't even know who his own kid is. What right did then have to show up here? SKIPPER They have every right Chuck. CHUCK They send us because they want us to change, or grow up or something and then they try to keep us the same. Skipper sits up and studies Chuck for a moment. SKIPPER Let me tell you something about Phil's father, and your's too. How do you think you got here? You think this is all free, that they owe you something? You think they enjoy riding subways and commuter trains, driving buses or pulling lobster traps? Work fifty weeks a year to keep you in tennis shoes and private school? Look around at how the rest of the world lives Chuck. We're the luckiest people alive, every one of us. They gave it up for you and Phil, and me too my friend. Chuck chews on it. SKIPPER There are ground rules in families just like on this boat. If you and Phil do n't like it, I'm sorry. Someday you'll understand that, and if you're lucky, you'll come home and find your best friend has been there all along waiting for you to forgive him for being a father. It'll be the way it used to be, when you were ten and your dad was a giant. Now it's Skipper who is talking about himself. SKIPPER Does Phil know how you guys feel? CHUCK I do n't know. SKIPPER You should tell him. That's something he can take with him. Chuck nods and leaves.","EXT. CHART HOUSE - SAME As Chuck exits he meets Robin's eyes. He shakes his head.","INT. CHART HOUSE - SAME Skipper returns to his paperwork but can feel Alice watching him. He senses it. SKIPPER I'm all ears. Alice smiles. ALICE You may not like what you hear. SKIPPER I can take it. ALICE They've become what you wanted. They're a crew. That's why he came. Skipper puts a loving hand on Alice's shoulder. SKIPPER Why did we begin this? ALICE We were idealists. SKIPPER Because we believed we could make an impact out here. Self reliance and community through the disciplines of sailing. ALICE I have n't forgotten. SKIPPER Phil, he's not looking inside. He's just striking out at the world. ALICE He has a lot of hurt inside him. SKIPPER Well, he better learn to own it. Actions have consequences. -LRB- beat. -RRB- It's not what happens here Alice, it's what they take away with them. Alice runs her hands across his face. ALICE You're still an idealist. Skipper turns and slips into her arms. SKIPPER Oh hell.","EXT. DECK - DAY Phil is in the long boat with Skipper, ready to shove off. Tension is high. It's as though they're all waiting for Skipper to give Phil a reprieve. But, it's not coming. They mumble goodbyes. Terry and Rick pass down Phil's bags. RICK Good luck. Phil nods and turns to Skipper. PHIL I'm ready. Skipper starts to pull the oars to make the crossing to the dock as the crew watches them go. Robin turns, staring at the ships bell.","EXT. DOCK - SAME Skipper ties off the boat and Phil hands up his bags. A black limousine waits, brooding. Phil climbs up with Skipper and stands, stares at it. The back door opens, but nobody gets out.","EXT. ALBATROSS - SAME The crew stand, watching. CHARLIE His ol' man's gon na eat him for lunch. JOHN I know what that's like. RICK Yeah. Then, suddenly. CHUCK My god. All stares aloft. In the rigging, climbing up the mast, is Robin. With the ships bell in his teeth, he is sweating every rung. Perspiration glistens on his brow. The crew watches, transfixed as he fights his way towards the foretop.","EXT. DOCK - SAME Phil turns to Skipper. Working up some courage to say something, anything. But all that comes out is. PHIL I'm sorry. A pause between them. SKIPPER I know, Phil. Skipper extends a hand and they shake. Phil is about to turn, when a familiar sound draws their attention.","EXT. FORETOP - SAME Robin, holding on for dear life at the top of the mast, rings the ships bell triumphantly over his head, waving to Phil. Victorious. Ding ding! Ding ding! Ding ding! The crew begin to cheer.","EXT. DOCK - SAME Phil stares back, fighting his emotions. Slowly he raises his hand in a single wave of acknowledgement. The ringing stops as his eyes meet Robin's. Waves back. Skipper turns. SKIPPER They never gave up on you, you know. Phil chews on it. Then. PHIL Tell'em I said. thanks. -LRB- beat. -RRB- Goodbye Skipper. ROBIN'S POV Robin watches as the limo pulls away. He rings the bell wildly. The crew below wave in a show of silent protest. OLDER CHUCK -LRB- V.O. -RRB- As Robin rang him out, we waved in silent protest against Skipper's decision. And in the days that followed the low morale was matched only by a sense of arrogance that perhaps the master should step down and let his students take over. AERIAL SHOT Robin, the Albatross and the drama unfolding below spin slowly away as we climb, turning, higher and higher.","EXT. ALBATROSS - ESTABLISHING - DAY Foam sprays from her bow as the Albatross slices through the swells.","INT. CABIN - SAME Tod exits the head with a worried look on his face. He grabs Chuck by the arm and pulls him aside. Morale is extremely low. TOD Listen man, I think I have a problem. CHUCK We all have problems. TOD I'm pissin' fire man. Chuck reacts.","INT. SKIPPER'S CABIN - DAY Tight on Alice. Pull back to reveal Tod standing in front of her with his shorts down around his ankles. Mortified. ALICE Have a nice time in Curacao, did you Tod? Alice gets up and moves to her medicine chest. Tod starts to pull up his shorts. ALICE Not so fast. She pulls out a menacingly large looking hypodermic needle. Tod's embarrassment turns to alarm.","EXT. DECK - LATER The crew stand in line, pissed. Lawford and George man the deck with Skipper and exchange amused looks. The door opens and Chris exits, red faced, rubbing his backside. He glares at Tod who sits on the paint locker. CHRIS Way - ta - go Valentino. I never even copped a feel in Curacao. TOD Yeah well, your sexual orientation is not my problem. RICK Man, is there a social disease you have n't had? CHARLIE So much for vestal virgins. Lawford swings up a pair of binoculars. A vessel under power is coming up fast behind them. He holds the binocs out to Skipper. LAWFORD What do you make of that? Skipper turns and looks. SKIPPER I do n't know. The ship pulls along the port side, keeping a couple hundred yards between them. The boys move to the rail. George sees them first. GEORGE Jesus. She's got guns. SKIPPER She's Cuban. Everyone becomes alarmed. Even Alice looks concerned. Suddenly a puff of smoke discharges from the gun boat. SKIPPER -LRB- shouting. -RRB- GET DOWN! EVERYBODY DOWN! The entire crew hit the deck as a shell rockets across the bow exploding in the water. SKIPPER Jesus, we're Americans! We're Americans! Skipper grabs the American flag and starts waving it. TERRY Jesus, they're gon na sink us! SKIPPER Bill drop everything. Do it now! The crew scrambles for the rigging, frantically dropping sail. SKIPPER -LRB- hitting each word. -RRB- Who the hell do they think they are? As the sail comes down, the Albatross slows to a stop. The Cubans inch closer and begin speaking over a loud speaker in Spanish. The seas are high and the two ships rise and fall with the large swells between them. GEORGE They want us to identify ourselves. Chuck returns with a bull horn. SKIPPER Tell them we're the American School Ship, Albatross. George replies in Spanish over the bull horn. The Cubans answer. GEORGE They think we're carrying Cuban refugees. -LRB- beat. -RRB- Skipper, they mean to board us. SKIPPER Not a chance. Remind them that according to the Geneva Convention, firing on a civilian vessel on the high sea is an act of war. Another exchange between George and the Cubans. The crew lay flat on the deck, terrified. GEORGE They say they are acting on the direct authority of Fidel Castro. Skipper defiantly swings up onto the gunnel rail. The Cuban Captain gives an order and one of his sailors jumps into the turret of the anti aircraft guns and swivels around pointing both barrels at the Albatross. Skipper stands firm, between the shrouds. Silence. A standoff. SKIPPER Tell'em to come aboard. George sends the return message. There is a pause, then the murmurs of the relieved crew. Skipper swings down but never takes his eyes off the gunboat. SKIPPER -LRB- to crew. -RRB- We've come a long way gentlemen. But this is no time for heroes. I know you're much more, but I need you to be boys right now. That's an order. Now scatter and find your passports.","INT. CABIN - DAY Laundry, books and mementos go flying as each boy scrambles to dig up his passport. Terry sits among his things, dazed. Bill notices. BILL What's wrong?","EXT. DECK - DAY A small launch filled with Cuban soldiers approaches the Albatross. The crew climb on deck and line up along the Chart House with their passports. Lawford walks up to Skipper. LAWFORD We've got a problem. SKIPPER What's that? LAWFORD Terry left his passport in Curacao. We could hide him. SKIPPER No. Bring him on deck with the others. The Cubans cast their lines up and climb aboard carrying side arms. Terry reluctantly joins his crew mates. The COMMANDING OFFICER faces Skipper as his men go down the line checking the passports. Others search the ship. COMMANDER Chicken is a fool's game captain. SKIPPER So is violating international law. COMMANDER But you invited is aboard. SKIPPER Your cannons made a compelling argument. One of the Cubans pulls Terry out of line and brings him forward. He alerts the Commander in Spanish. COMMANDER Stow away? SKIPPER He left his passport in Curacao. It's being mailed to Panama. COMMANDER That is unfortunate. We'll have to take him with us. Terry is petrified. LAWFORD If he's a Cuban, Castro wears a dress. SKIPPER Nobody aboard my ship is going anywhere. Skipper stares him down. The Commander signals to one of his men who disappears into the Chart House. COMMANDER Perhaps in appreciation for our country's pursuit of peace, you might offer us some, token of gratitude. Skipper does n't really have a choice. SKIPPER What do you want? The Cuban returns from the Chart House with the Ships sextant and hands it to the Commander. COMMANDER This. And. Pointing to the ships compass. COMMANDER and that. GEORGE You've got to be kidding! SKIPPER -LRB- cold. -RRB- Take it. Without hesitation the Cubans pull the large brass compass from its base. SKIPPER Now, get the hell off my ship. As they leave the ship, they pause. The Commander looks back at the Skipper, then deliberately drops both sextant and compass into the sea. COMMANDER You'll really have something to teach your students now. Skipper stands towering above them. The Cuban captain smiles up at him. Amazingly, Skipper addresses him in perfect Spanish. SKIPPER Las estrellas es lo unico, que un marinero verdadero se mesesita para encontrarse. Verdade Patron? The Cubans stare back, frowning, amazed as they motor away. The crew are stunned by what they have just witnessed. Skipper turns and meets the eyes of admiration, humility and complete respect. He joins Alice at the helm. They linger for a moment. CHUCK What'd he say? George smiles, impressed as well. GEORGE He told them real sailors need only the stars. With a new attitude, they turn to Skipper. SKIPPER Alright then, let's get outta here. The crew bolt to there positions. OLDER CHUCK -LRB- V.O. -RRB- With staff and string he showed us how to build a sextant. As we rode the trades, he shared the ancient secrets of how to read the waves and follow stars. And some mornings later, bathed in the orange glow of a sunrise, Panama rose from the sea like a phoenix.","EXT. ALBATROSS - PANAMA CANAL - DAY Panama appears on the horizon. The Albatross is dwarfed by the huge freighters moored around her, as she moves through the locks. The crew stand on deck in quiet reverence.","INT. MAIN CABIN - NIGHT The sounds of slumber fill the cabin. All seems well with the world. Suddenly, silhouettes in the darkness. A huge bearded figure stands in the center of the cabin with a trident in his hand. Chuck wakes with a start. He bolts upright to see the horrible figure of NEPTUNE himself -LRB- Lawford -RRB- towering before him. He tries to scream, but hands cover his mouth. He is dragged, struggling, up the companionway.","EXT. DECK - NIGHT The Albatross has been transformed into a ghost ship. Where the sails once were, only shredded fabric. All of the crew have been brought on deck. Powdered faces glow, surreal. John's head has been shaved into a mohawk. Robin, Rick and Chris have been reduced to crew cuts. The shears start over Chuck's head. Neptune and his sidekick, DAVEY JONES -LRB- George -RRB- and two MERMAIDS -LRB- Bill and Alice -RRB- emerge with the rest of the crew. NEPTUNE Hold fast that polliwog and make him presentable. Chuck struggles as his hair is shaved away and face powdered. NEPTUNE Let it be known that on this day in the year nineteen hundred and sixty - one there appeared within the limits of my royal kingdom, the sailing ship brigantine Albatross, bound for Galapagos. All vessels that sail my domain shall be subject to the scrutiny of the underworld. Terry is brought topside kicking and screaming. NEPTUNE Silence! Terry shuts up and succumbs to the same fate as the rest. NEPTUNE Tonight you shall all enter the Order of the Shellbacks. Only when you have been duly initiated shall you enjoy the mysteries and protection of the trident. So, let the festivities begin.","EXT. HELM - NIGHT Neptune and his court sit smoking Havana cigars as each member of the crew present themselves. Robin dressed like a pig and crawls around snorting. John's an Indian brave, whooping and hollering as he does a rain dance. Chuck, with flippers on his hands and feet, hops around like a frog. Rick is in ` drag' as Neptune's girlfriend and must sing everything he says. Charlie is dressed like a sloth and slithers along the deck. Frenetic chaos.","EXT. DECK - LATER Neptune and his court lead a procession around the perimeter of the deck. The crew follows. They stamp their feet and chant. ALL Hell is to drift, heaven to steer! Hell is to drift, heaven to steer! Hell is to drift, heaven to steer! They move faster and faster around the boat. They shout louder and louder, faster and faster until they have all worked themselves into a frenzy.","EXT. BOW - DAWN Davey Jones, holds a large turtle shell over the crews heads. As each one passes before him he pours blood from the turtle shell onto their heads. It runs down, streaking their floured faces and necks. As the ritual progresses, Neptune speaks. NEPTUNE By virtue of the power inherited by me, I do hereby command all of my subjects, such as mermaids, sea serpents, dolphins, whales, sharks and turtles, from eating, playing with, or otherwise molesting this vessel or her crew. Let it be remembered that on this, my Equatorial Domain on Longitude 88' 20' 13'' on this 532nd in the year of the dolphin, you entered the Order of the Shellbacks! The crew cheer and embrace. Skipper calls from the wheel. SKIPPER Land ho!","EXT. GALAPAGOS ISLANDS - DAY The crew stop their celebrating and gather at the port bow. Ahead, glowing orange with the dawn, the islands of Galapagos. It's desolate landscape of silent volcanoes and ancient lava flows that spill into the sea. The faces of the boys, still streaked with the indignities of the night's ordeal, stand silently before their final destination. OLDER CHUCK -LRB- V.O. -RRB- We had journeyed over six thousand miles to the very edge of the earth. Like Darwin before us, we would witness the bliss of nature in the absence of man. And it was as if the Albatross had forded time, leaving it behind. In the heat of those equatorial days, on the virgin onyx beaches and shifting coral dunes, one could expect to find sunning iguanas, nesting frigates and perchance. the footprints of God.","EXT. BEACH - SHIPWRECK BAY - DAY The Albatross rests at anchor. On the beach, the crew watch a huge group of penguins dive and frolic from the ancient guano cliffs. So unaccustomed are these creatures to man, that they have no fear.","EXT. LAGOON - DAY Chuck, John and Rick snorkel among the playful SEA LIONS. They dart and swim like otters among their new human friends.","EXT. LAVA OUTCROPPING - DAY Terry, Chris, Chuck and Mike stand taking notes on exotic birds. Frigates, hawks, flamingos, pelicans, boobies, and of course. albatrosses.","EXT. ALBATROSS - DAY The crew are sprawled across the deck taking final exams. Alice walks among them. Chuck throws an anxious look towards John who is buried in his test.","EXT. GRASSY LOWLANDS - DAY Boobies nest in the grass. Thousands of them and amazingly, the crew can walk among them without them batting an eye. Chuck and Robin watch as the iguanas sneak into unattended nests and steal eggs.","EXT. DUNES - DAY Chuck is alone gazing over the shoreline. A huge flock of finches darken the sky, circling the black sand beach. Pure magic.","EXT. BEACH - DAY Beyond, the anchored Albatross rocks and bounces in a blue - sky gale. Chuck, John, Robin, Rick, Chris and Tod stand by a dory watching the sea build. They wear only tattered shorts, their hair sun bleached and their skin dark. RICK We're here for the night. TOD Yeah.","EXT. ROCKS - SAME Tight. The eyes of predators. Sharp, cunning, hungry.","EXT. BLACK SAND BEACH - DAY A lone wild goat grazes on the beach. It looks up, sensing something, unfamiliar, then, returns to it's grazing. Tight. Thundering bare feet on the black sand. The goat looks up again, this time it sees five Homosapiens bearing down on him. They come naked, swinging their shredded clothing above their heads like lassos. Shouting, whooping, primal. The goat bolts for its life. Pounding through the waterline like the wild horses of Sable, the hunters charge after the hunted, closing. The goat's eyes are full of a terror it has never known. The beach is broad and long with no cover. The hunters are gaining on the goat. Splashing feet pound closer. Suddenly they are upon the goat. But, instead of attacking it, they just run through it, passing it. The goat pulls up and stops, breathless, watching the naked humans run. Close on the faces of brothers, matching each other, step for step. The music builds as we. FREEZE FRAME","EXT. BEACH - NIGHT Wild eyes behind the charcoal painted masks of primal man. The rhythmic beat of sticks clacking and voices chanting. The heaping of driftwood into piles. Taught and powerful, the glistening bodies of young men. Blue sparks leap from striking flint against stone. A flame is born. Voices howl in guttural triumph. As the flames leap and singe the darkness, silhouettes of men pound the sand and cry out in a ritualistic dance. The goat watches from the shadows, bemused, as the dance builds to a frenzy. The night sky is filled with the building sound of raging fire, pounding surf and chanting voices.","EXT. ALBATROSS - SAME The wind carries the sounds of ceremony across the water. The flames from the beach reflect off of the water turning the white hull of the ship, a deep flickering orange. The word A - L - B - A - T - R - O - S - S has been spelled in huge flaming letters. Alice joins Skipper at his place by the rail watching. ALICE What are they doing? SKIPPER Claiming their place in the world.","EXT. SHORELINE - DAWN The white surf hisses as it washes among the cinders of the evenings ritual. The Galapagos have been returned, for now, to the frigates and the iguanas. Across the water against the rising sun, the Albatross, under full sail, is bound for home.","EXT. DECK - SAME The crew stand at their posts. The yards and foretop are trimmed with sailors, their faces taught and their bodies hard. No one looks back.","EXT. DECK - PANAMA CANAL - DAY Alice steps onto the deck from the chart house with papers in her hands. ALICE Well gentlemen, I have the results of your college board scores. I think most of you will be pleased. The crew members collect their exams. Chuck notices John at the bow, alone, lost. CHUCK You okay? JOHN Yeah. How'd you do. Chuck looks down at his exam apprehensively. CHUCK Ninety - six. JOHN Congratulations. CHUCK What about you? John slowly passes his test to Chuck. CHUCK It's a ninety - one! It's an ` A'! JOHN I know. CHUCK -LRB- excited. -RRB- You know? Then why are you up here looking like you're about to jump overboard?! JOHN I just ca n't believe it. CHUCK This is your moment, do n't you see? The instant when you know that your life is never going to be the same again. When you stand up and are counted. John tries to choke back his emotions. JOHN I could n't have done it without you. CHUCK Yes you could. You did. -LRB- holding up the exam. -RRB- This is all you. Nobody else. John looks out. JOHN Thank you. Chuck smiles and joins John's gaze over the water. CHUCK Feels different does n't it? JOHN What? CHUCK That we're going back. I do n't want it to end. I do n't want to be what I was when I left. JOHN What was that? CHUCK Anonymous. Chuck looks at his test grimacing. CHUCK I've been getting ninety - sixes my whole life. It's what they expect. After all this, I still have n't figured it out. JOHN Figured what out? CHUCK Who I am, outside of this boat. What the hell I'm doing here. JOHN I'll tell you who you are. You're the glue. You're the thing that holds everybody around you together. You're strong, you listen and you see things in people the rest of us ca n't. It's a gift. It's Chuck's turn to fight emotion. CHUCK You know, I never had friends like this. JOHN Me either. CHUCK I feel like. we can do anything. John smiles, clutching his exam. JOHN We can. OLDER CHUCK -LRB- V.O. -RRB- In the fading hours of that Pacific dusk, with nothing left to confess, for the first time we felt safe, capable, sure of who we were and where we were going.","INT. MAIN CABIN - DAWN The crew sleep in their bunks. Lawford's voice rumbles down the companionway. LAWFORD A wet sheet and a flowing sea / A wind that follows fast, And fills the white and rushing sail, And bends the gallant mast / Arise, arise you salty dogs. The watch is on. Chuck, Tom, John, Terry and Tod roll out. The dumb waiter clatters down from the galley with the morning's breakfast. Skipper and some of the crew are already eating.","EXT. DECK - DAY The Albatross is under full sail trying to take advantage of what little wind there is. The skies are gray and dank. Tod and Terry are at the helm. Chuck and John are amid ship. John relieves Bill on the forward watch. CHUCK Looks like we're gon na get wet. BILL Well, we need it. I want to take a nice long bath and catch some water for my laundry. JOHN Save some for me will you? BILL You got it. I'm going below. Suddenly, a huge lightning bolt explodes out of the sky and strikes the water a hundred feet off of the starboard beam. Everyone jumps. TOD Jesus! Skipper bolts onto the deck. SKIPPER Everybody okay? The crew nod sheepishly. A very close call. SKIPPER All hands keep out of the rigging and stay clear of the masts. The clouds grow dark but no more lighting. Tod laughs nervously. Everybody joins in. It's contagious. Even Skipper manages a smile. SKIPPER All right gentlemen. Thor's had his fun. Let's keep a keen eye. Skipper starts back into the chart house when suddenly, a powerful gust of wind drives the ship hard to a 45 degree list to the starboard. Skipper stops and turns. Instinctively, John and Chuck spring for the rigging to drop sail. SKIPPER -LRB- sharply. -RRB- No! Stay down! Skipper stares at the sky with the intensity of a cobra. Waiting. The wind eases. It becomes eerily still. The ship slows and the sails go slack. Silence. Skipper maintains his vigil. CLOSE ON WATER Foam and spray appear off of the tops of the swells like the invisible footprint of a locomotive. John sees it first. JOHN -LRB- shouting. -RRB- HERE IT COMES! Everybody turns and looks. Skipper's eyes suddenly widen as he realizes. SKIPPER -LRB- in a whisper. -RRB- White Squall! The charging wall of wind slams into the topsails so hard it send a shudder throughout the ship. The wheel is nearly ripped out of Tod's hands. Instinctively, he tries to turn the ship into the wind. SKIPPER Hard to starboard! Hard to starboard! Confused, panicked, Tod keeps turning to the left, into the wind. Skipper struggles to get to the wheel but when the ship heals so badly he slides sideways across the deck. TOD No, hard to port! SKIPPER TURN THE GOD DAMNED WHEEL TO THE RIGHT! Finally, Tod does as he is told. But as soon as the ship starts to come about, the vicious wind drives her further onto her side. As the deck becomes vertical Chuck half slips, half tumbles down to the starboard gunnel.","INT. MAIN CABIN - SAME Robin, Chris, Bill, Mike and Rick are seated at the table finishing breakfast as the ship starts to go. They all share growing alarm as they watch the table reach it's maximum angle. Dishes start sliding off. BILL Get out! Everybody out!","EXT. DECK - SAME Skipper manages to grab the ax mounted on the chart house and cuts the mainsheet with a single blow. But it's too late. The tall masts plunge into the ocean and the sails scoop tons of sea water, pinning the Albatross on her side.","INT. SKIPPER'S CABIN - SAME Alice struggles towards the door. The book case tears out of the wall and strikes her. She drops to her knees. The door swings open in front of her. She reels for a moment and then loses consciousness.","INT. FORWARD COMPARTMENT - SAME Lawford, Charlie and George are all hurled out of their bunks. The world is suddenly sideways. Lawford leaps up, pushing the others towards the companionway ladder. LAWFORD GO, GO, GO! TOPSIDE! Come on Charlie! George, get them out! George disappears into the main cabin. Lawford manages to get Charlie out. As Lawford reaches the top of the ladder sea water explodes through the hatch and drives him back into the bowels of the ship.","INT. MAIN CABIN - SAME Robin is through the companionway in the chart house with Mike right behind him. But instead of exiting, he holds the door open against the sea so that Mike can escape. Mike gets through the door before the rushing sea slams it closed, pinning Robin's arm. He struggles to push through.","EXT. DECK - SAME John slashes at the lines securing the starboard lifeboat with his knife and manages to free it before it is dragged to the bottom. He scrambles through the collapsed rigging tangled above him for the port lifeboat. AT THE STERN The Albatross is going down. Fast. Chuck and Tod stand on the after skylight. Chuck catches glimpses of the struggle going on below. CHUCK My God, they're drowning! Skipper catches a glimpse of Alice through the skylight. Water washes over her but she does n't move. SKIPPER Oh please, no. Not this woman.","INT. SKIPPER'S CABIN - SAME Skipper's face is pressed hard against the skylight. His muffled voice penetrates the cabin. Alice stirs. She looks around, delirious. SKIPPER Alice, get up! Come on girl! He pounds uselessly on the teak deck then tears at the planks, fingers bleeding. Alice looks up confused but calm and finds Skipper's eyes. ON THE DECK Panicked for the first time in his life Slipper swings the ax wildly at the perpendicular deck sending a shower of splinters into the water. SKIPPER Get out! Get out! Jesus Christ, please God, Alice get out! But after only two swings, the Albatross and Alice, slip beneath the sea.","INT. MAIN CABIN - SAME Water thunders in from every possible exit. Chris and Rick push Bill towards the dumbwaiter. RICK Bill, you go. We'll be right behind you. Before he can say no, Rick and Chris jam Bill into the tiny shaft. Suddenly, from below, a tremendous geyser smashes him to the top, knocking him unconscious. But the pressure is so great that the water sweeps him through the galley and out onto the deck.","EXT. DECK - SAME Skipper struggles to reach John and the second life boat but sees that it is tangled in the rigging. SKIPPER Johnny, it's not good. John defies him and keeps cutting. The ship is almost completely submerged. JOHN I can get it! Suddenly one of the deck lockers breaks free and plunges into the water taking lines and rope with it. John becomes tangled and is dragged into the water. Only his superior strength allows him to hold onto the lifeboat and keep cutting. The Albatross slips beneath the surface. Instead of trying to free himself John keeps slashing at the lifeboat lines as he disappears, swallowed by the sea.","INT. FORWARD COMPARTMENT - SAME Eerie silence. Lawford is trapped in an tiny air pocket. Debris float around. He begins to panic as the water around him rises. LAWFORD My God! Oh God I'm dying! He takes a deep breath and the water consumes him. Then suddenly, the ceiling above him explodes from the pressure within. ON THE SURFACE Lawford is catapulted from the grip of death, to the surface.","EXT. SURFACE - SAME Chuck continues to frantically dive on the chart house door as the ship takes the ` Deep Six'. Suddenly the ship rolls 180 degrees, her screws exposed and keel jutting up like a huge dorsal fin.","EXT. UNDERWATER - SAME Chuck feels the ship coming down on top of him but still finds Robin's arm. They clasp tightly, but Chuck just ca n't budge the door. Then, strangely, Robin releases Chuck's arm and pulls it back through the door. Chuck looks up, startled. The small round window in the door is illuminated from the cabin lights on the inside. Through the glass, Chuck meets Robin's frightened eyes. He fights to stay in a shrinking air pocket. Robin takes a last gulp of air then, a calm comes over him. He meets Chuck's eyes again but this time with a strange acceptance. They both know what's happening. But Robin has refused to take his friend to the bottom with him. He presses his hand to the glass. Chuck does the same. Then with a smile, Robin pushes himself away from the door, disappearing into the darkness and eternity.","EXT. SURFACE - SAME Chuck breaks the surface, gasping for air. He looks around, frantic. He sees nothing but the sea swells and debris. All that remains is the sound of the wind and rain on the water. Suddenly, beneath him, a massive rumbling and explosion of foam. Then, the tops of twin masts rise out of the water like shattered lances as the ship rights herself underwater. She holds herself steady for a moment as if in a final attempt at resurrection, the Albatross begins to rise. Faster and faster, until her entire length explodes out of the water in a mountain of foam and wave. ON THE DECK Like Ahab before him, John appears, lashed in a web of tangled line still slashing to free the remaining long boat. And for a moment, it looks as if she might stay there, as if this were just a final surreal lesson of the sea. Some of the boys begin to cheer prematurely. But Skipper knows better. She's filled to the gills with sea water. She shutters. Then, like a stone, she just drops, sucked to the center of the earth, John's hands still slashing, as she finally goes. PULL BACK TO REVEAL Survivors hanging onto the debris that floats in the watery tempest. Strangely, the wind subsides. The sea becomes calm and a stunned silence falls over those in the water. CHUCK OH GOD! His scream echoes, for the grief of all. ON THE SURFACE There is an explosion of bubbles, and then she slips beneath the waves like a stone. The stunned crew can only watch. Then, as if by magic, the second life boat erupts to the surface. Skipper fights off his emotions. He knows what it means. John died cutting it free. Terry and Bill hang onto a life ring. Blood runs from Bill's head. Charlie, Mike and several others hold onto the side of the other freed life boat which has been swamped. Lawford floats on his back, unconscious, but alive. Several of the boys help pull him towards the boat. Skipper swims to the second boat, desperately looking for those not accounted for. But, they are gone. Among the wreckage, the roof of the chart house. The only sound left is the ominous tolling of the ship's bell, Robin's bell, still secure in it's fitting.","EXT. LIFE BOAT - DAY The boats have been floated and tied together. Skipper is in one, Lawford in the other. One of the two boats has been rigged with sail. Skipper stands in the bow staring into the ink blue water. SKIPPER Raise your sail, Bill. North, north - east. Keep a sharp look out for Florida. Bill studies him for a moment, then. BILL Maybe we could wait around a little longer, sir. There is a long pause before Skipper answers. SKIPPER -LRB- quietly. -RRB- She's gone. She's gone. There is something remarkably touching about this young man trying to take care of him. He puts a hand on Skipper's shoulder. It almost makes him crack. He pats Bill's hand gently. SKIPPER Carry on. BILL Yes sir. SKIPPER North, north - east. -LRB- beat. -RRB- And Dick, please make a note of our final position. Lawford nods sullenly. Chuck looks out at the floating wreckage around them, silent, lost. Suddenly, there is a ` thump' on the hull of the boat. The survivors share a confused look. Then it comes again. Chuck looks out at the surface of the water. It's suddenly alive. With sharks. LAWFORD Hands and feet inside the boats. They come by the dozens. Ramming the boats and rummaging through the debris. They swarm around the boats until it seems as if the water is boiling. Chuck picks up an oar and starts beating wildly at the sharks. CHUCK AAAAHHHH! The others take up the cause and in a moment they are all screaming and cursing the sharks. It's a frenzy of grief and anger. OLDER CHUCK -LRB- V.O. -RRB- We slashed at the sharks as if striking out at the finger of God. And we all begged silently for the ability to understand what had happened. But, if there was a God that day, his answer came only in the moaning wind and our questions were left to drift unanswered, in the titanic ocean of our deepest grief. Exhausted, Chuck stops slashing and stares out. lost. CHUCK -LRB- hushed. -RRB- Wake up. Wake up. 1 - 2 - 3 wake up. Like Robin's nightmare of his brother, this is all too real.","EXT. OCEAN - DAY The tramp freighter GRAN RIO steams toward the life boats. The crew stand silently, watching as the ship approaches.","EXT. SHIP - DAY Chuck stands on the deck of the Gran Rio as the last of the crew scramble up cargo netting hung over the side. Chuck stares out numbly watching as the two deserted long boats drift away.","EXT. DECK - GRAN RIO - DAY Chuck, now dressed, stands in the same spot at the rail, staring out. A muffled sound pulls Chuck into the present. He walks slowly down the after deck to a cabin door where sobbing escapes from the other side. Chuck turns the handle and cracks the door.","INT. CABIN - SAME Curled up on the floor next to his bunk is Skipper. A look of shock comes over Chuck's face. Skipper has come completely unglued, sobbing deeply. CHUCK -LRB- tentative. -RRB- Skipper? Skipper turns slowly, looking up. His eyes are red and his face streaked with tears. He looks at Chuck almost as if he does n't know who he is. Lost. SKIPPER I'm sorry. I'm so sorry. Chuck reels. It sounds more like a confession than an outpouring of sadness. Chuck closes the door.","EXT. HARBOR - TAMPA FLORIDA - DAY Skipper, back in control, and the crew, stand along the port rail of the Gran Rio. A small flotilla of pleasure boats surround the ship and hundreds of people line the pier. It's an intimidating sight. ON THE PIER Pensive, worried, angry faces of parents and families. Chaos. Coast Guard Officials try to hold back the mob. MAN What about the manifest! What about my son! WOMAN How many made it? Nobody will tell us anything! OFFICER We do n't have a list of survivors yet. Please stand back. Do n't push! Angry shouts drown him out. ON THE DECK The CAPTAIN of the Gran Rio comes down from the bridge with some of his officers and stand with Skipper and the others. Several COAST GUARD OFFICERS join them on the deck. Skipper turns to the Captain and extends his hand. SKIPPER Thank you. The Captain nods. Skipper turns to his crew, looking over them. A smile of deep pride passes his lips. They all see it. Then, between the Coast Guard Officers, he walks down the ramp. Lawford and the crew fall in behind.","EXT. PIER - SAME A shouting mob waits for them. Reporters and spectators shout and call out questions. It reaches a fever pitch as the crew descend. Skipper reaches the bottom of the ramp, his eyes meet a cool, familiar face. Francis Boutillier. Phil stands next to him, staring at the ground. FRANCIS -LRB- above the shouting. -RRB- Welcome home. Skipper is shoved forward by the crowd pushing and shoving. The crew follow but are swept away. Charlie stops in front of Phil. CHARLIE Phil? Flash bulbs explode. Charlie and the others are descended upon as reporters bark out questions. REPORTER #1 -LRB- shouting. -RRB- What the hell happened out there captain? REPORTER #2 How many boys did you lose? And how come you did n't go down with your ship? Parents begin to realize who has been lost. Agonizing cries mix with jubilation. It's emotional chaos. The crew members are driven apart, they call to each other, suddenly aware of what's happening. TOD -LRB- panicked. -RRB- Charlie! Bill! Terry suddenly finds himself smothered in the arms of his MOTHER. He strains to see what is happening to his shipmates. TERRY'S MOTHER Oh, sweetheart! Look at you. TERRY Skipper! Reporters corner them blocking his view. More reporters clamor after Skipper, who does n't reply. REPORTER #3 Captain, is it true that the ship was hit by a `` White Squall''? REPORTER #2 Is it true the first mate is only fifteen? Bill steps in between them. BILL It was n't his fault mister. REPORTER #4 The National Weather Service says `` White Squalls'' are a meteorological phenomenon of the imagination. Would you care to comment of that? Do n't you have anything to say to these parents?! The reporter pops a flash picture in Skipper's face. Skipper flies around and knocks the camera to the ground. The reporter jumps back, startled. SKIPPER Yes I do. And it's private. Very private. Skipper is swept away towards the CUSTOMS BOOTH by COAST GUARD OFFICERS. Skipper surrenders the manifest and it is stapled to the outside of the door.","INT. CUSTOMS HUT - SAME Skipper is whisked inside. The Coast Guard Officers lock the doors behind them. OFFICER Sit down Captain. We'll have a car here in a few minutes. Can I get you a cup of coffee? SKIPPER No, thank you. Skipper sits. The wails of family members can be heard as they see the list outside. Flash bulbs and faces press against the windows shouting questions. He just stares at the floor. OUTSIDE From above we can see the group swarm around the the booth like angry hornets. The crew are fractured and pulled apart from each other. Charles, fights his way through the crowd. CHARLES Chuck! Chuck! Chuck tries to get to him. CHUCK Dad! They embrace. Flash bulbs explode all around them. CHUCK Where's Mom? CHARLES I could n't bring her down here until I knew you were safe. A WOMAN Stands, staring at the empty ramp. Lost. A man comes up behind her and leads her away. A reporter shoves a microphone in Chuck's face. REPORTER #5 Was it the Skipper's fault? And is it true drinking was permitted on board? Why did the ship really go down? Charles grabs the guy and shoves him back into the crowd. Chuck strains to see his crew mates but they have been swept away. CHARLES Come on. Charles puts his arm around Chuck, still barefoot, and together, they walk away. Photographers trail after them, popping off a few last photos. Chuck turns and looks back.","INT. CAR MOVING - DOWNTOWN - DAY A ride reminiscent of the one Chuck and his father took before the journey began. There is a gulf of silence between them. Charles breaks it. CHARLES I thought we'd find a store, get you fixed up and then get you some lunch. That sound good? CHUCK Yeah, sure. Chuck stares out the window at the traffic and congestion. A car in front of them runs a red light. Charles slams on the brakes. Chuck is shaken up. Charles notices. CHARLES I'm sorry, son. Are you okay? Chuck manages a nod.","INT. DEPARTMENT STORE - DAY Lavish and conspicuous by Chuck's recent standards, the store is crowded and jammed with merchandise. Claustrophobic. Cash registers ring and MUZAK drifts in from above. Chuck follows as Charles pulls things off of hangers and piles them into Chuck's arms. CHARLES Why do n't you go and try some of that on? CHUCK Okay.","EXT. DRESSING ROOM - DAY Charles peruses the racks. He calls to Chuck. CHARLES How're you doing in there? Chuck calls from a dressing room. CHUCK -LRB- O.S. -RRB- Fine. CHARLES All right. I'm gon na wander over and look at some shoes.","INT. DRESSING ROOM - SAME Chuck is curled up in the floor of the tiny booth. Still dressed in the clothes from the Gran Rio, perspiration beads on his skin. CHUCK -LRB- calling out. -RRB- Okay. Tears stream down his face. He looks up and sees himself in the mirror. The eyes that look back are eyes of the ages. Involuntary sobs. He begins to shake. The tiny booth suddenly like a crypt. Tight, with no air. Chuck lets out a gasp. CHUCK Oh God. Someone pulls open the curtain. A MAN, from the next booth, fat and middle aged stands before Chuck in a pair of pants still sporting the price tags. He looks down. MAN You okay, kid? Chuck is suddenly in the throws of a full - on anxiety attack. He leaps up and pushes past the man.","EXT. DRESSING ROOM - SAME Chuck explodes out of the dressing room. Running, almost blind, he crashes into a rack of clothes. Charles looks up as he scrambles to his feet and bolts for the doors. CHARLES Chuck!","EXT. STREET - SAME Charles bursts through the doors, looking up and down the street, but Chuck is. gone.","EXT. BEACH - SAME The setting sun paints Chuck's face with golden light. He stares out across the water. Charles walks up behind him. CHUCK When we were growing up I always felt like you would take care of things, that everything would be okay. -LRB- beat. -RRB- But you ca n't make this okay, can you? CHARLES No, I ca n't. Charles puts his arm around his son. Together they turn and walk back towards the boardwalk, and the world.","INT. COAST GUARD HEADQUARTERS - NIGHT Skipper sits across from a Coast Guard Officer, TYLER, 60. Tyler pulls out a file and lays it on the table. TYLER There are allegations questioning your competence with regard to the command of the Albatross. I have been instructed to convene a formal tribunal to determine whether or not negligence played a part in the sinking. SKIPPER I understand. TYLER May I ask you something? Skipper nods. TYLER How'd you manage to piss off a guy as powerful as Francis Boutillier? SKIPPER It was n't hard. TYLER I used to helm a school ship. A long time ago. SKIPPER The Coast Guard ` Eagle'. She never lost a race while you were Skipper. Tyler is taken aback by Skipper's knowledge. TYLER That's right, we did n't. I miss it sometimes. But, there are other things a Skipper can do. Tyler removes his glasses and studies Skipper. TYLER The families. want your ticket. Turn it in, we forget the whole thing. Everybody goes home. SKIPPER Absolutely not. TYLER The papers are going to eat you alive. Even if you beat it, you'll never get another commission. -LRB- beat. -RRB- They want someone to be accountable. SKIPPER I am accountable.","INT. HOTEL ROOM - NIGHT Standard fare. Two beds and a T.V. Chuck's lacing a new pair of sneakers. Charles is in the shower. There is a knock at the door. Chuck cracks the door. It's Charlie. CHARLIE We got ta talk.","INT. BOATHOUSE - NIGHT The crew stand by the bulkhead. Bill tosses down a newspaper. The headline reads : INVESTIGATION TO PROBE SCHOOL SHIP TRAGEDY. BILL We're all going to have to testify. They're going to try to take his license. TOM Why? CHUCK They need it to be simple. They need a reason. TOM Who? CHUCK All of them. Everybody waiting on that dock. TIM So what are we supposed to do? TOD Just tell'em what we know and be done with it. That's what he'd want. TERRY Easy for you to say. TOD What's that supposed to mean?! TERRY Everybody knows why she went over Tod. You jibed the boat. TOD I was trying to get her up wind! That's what you do when you're hit a - beam. Or maybe you're too stupid to know that! TERRY That's not what Skipper thought. He was trying to spill air from the main! BILL It was coming four points off the bow, Terry. He never could have gotten her around. TERRY Were you on deck? I was standing right there and all I know is, he. -LRB- indicates Tod. -RRB-. disobeyed an order, twice, and the boat went over. TOD It did n't go over'til I turned her starboard! BILL It was an act of God for Christ's sake. TERRY It was an act of stupidity. Tod lunges at Terry. Bill and Charlie pull them apart. TOD -LRB- screaming. -RRB- Was it my fault we were running all that sail?! Was it my fault she was n't dogged down?! HUH?! I could n't help that the ballast shifted! You son of a bitch! It was n't my fault! it was n't. Tod breaks down, sodding on his knees. BILL It's okay, Tod. Terry drags on a cigarette, then grinds out the butt. TERRY Then whose? Tod looks up along with Bill and Charlie, all confused. TERRY After the lightning strike, we tried to go aloft to drop sail. We'd done it a thousand times. We did n't have to wait for an order. But Skipper called us down. CHARLIE If the foremast had taken a strike, everyone in the rigging would've been fried. What would you have done? TERRY We would have scalloped the squares from the deck. Right Bill? Bill turns and stares into the water, troubled. TOD That's right, that's right! Bleed the sails from the deck and she could've taken a hurricane! It's a strong argument. Even Charlie is troubled by the implication. There is a long moment of silence between them. CHUCK This is crazy. Nothing could have prevented what happened. MIKE You guys are missing the point. This is all because of Phil. Phil and his dear old dad. BILL What? MIKE How do you think they got this together so fast? He's been laying for Skipper since the first day. CHARLIE Come on. Like he's got a vendetta or some such shit? MIKE You got it. -LRB- to Chuck. -RRB- I told you he was a turn coat the day we kicked him off the boat. Chuck frowns, troubled. CHUCK No. You're wrong. MIKE I'm telling you, the only way to change this is to get Phil to call off his old man. And that ai n't gon na happen. So the way I see it, it's Skipper or us. The guys react. It's a no win situation.","EXT. MOTEL - NIGHT Chuck knocks quietly on the door. Phil answers the door. CHUCK Can we talk? PHIL I guess. FRANCIS -LRB- O.S. -RRB- Who is it Philip? PHIL It's okay. I'll be in, in a minute. -LRB- to Chuck. -RRB- Look, what do you want? CHUCK Everybody's saying this whole tribunal is happening because of your father. Because of you. PHIL Well that's just typical is n't it? CHUCK Is it true Phil? PHIL I got ta go. CHUCK You were n't there, you do n't know what happened. PHIL -LRB- defensive. -RRB- I know enough. Chuck puts a hand out to stop him. CHUCK Phil, please. It wo n't change anything. Tell him to call it off. FRANCIS -LRB- O.S. -RRB- Who are you talking to out there Philip. Come back in here. Phil meets Chuck's eyes, then looks away. PHIL I'm sorry. He turns again and reaches for the door. CHUCK Wait. Chuck hands him something. Phil looks down, disbelieving. It's the ship's bell. Robin's bell. Their symbol of unity, of putting loyalty above fear. CHUCK We figured he'd have wanted you to have it. -LRB- beat. -RRB- You do what you've got ta do Phil. He leaves Phil standing alone on the porch, full of emotion, trying to grasp it all.","INT. HEARING ROOM - DAY A small courtroom. The room is filled with the crew members and their families, including the parents of the victims, as well as the media. Phil sits with his father and dodges Chuck's eyes. Coast Guard Officers Tyler, DOWNING and SANDERS head the proceedings. TYLER The United States Coast Guard has been asked to conduct this maritime hearing to consider the revocation of Captain Richard Sheldrake's U.S. Master Seaman's Certificate.","INT. HEARING ROOM - LATER Bill sits at the table with his parents as questions are leveled at him. Chief petty officers Sanders and Downing ask most of the questions as Tyler oversees the proceedings. SANDERS Why did n't you drop any sail? BILL Skipper called us out of the rigging. SANDERS But your instinct was to lose sail? BILL My instinct was to not get electrocuted. SANDERS How old are you, son? BILL -LRB- hesitating. -RRB- Fifteen. SANDERS Thank you. LATER Phil is at the table with Francis. Sanders asks the questions. SANDERS Philip, why were you discharged from the Albatross? Phil does n't look up and speaks in whispers. PHIL Skipper thought I was a challenge to authority. SANDERS Were you? PHIL I do n't know. LATER FRANCIS Captain Sheldrake exhibited an arrogant, controlling attitude in my presence on more than one occasion. I believe he had a personality conflict with my son from the start. SANDERS Well, if you do n't mind my asking, sir, why did you let your son stay? Francis is stumped for a moment but recovers quickly. FRANCIS It was his dream to go. I could hardly stand in the way of that, could I? Phil rubs his temples as if he is going to explode.","INT. HEARING ROOM - LATER It is Skipper's turn at the table. SANDERS Is it true that you forced Robin Weathers to climb the mast when it was clear that he was acrophobic. SKIPPER He climbed when he was ready. SANDERS Were you aware that his brother was killed in a fall. Chuck and the others look up astonished. Mike shoots a look towards Phil. MIKE He did it man. He sang like a bird. Skipper hesitates. SKIPPER Yes, I was. Whispers fill the room. SANDERS Sir, were you aware at any time of the use of alcohol among the crew. SKIPPER Yes, I was. TYLER And you did n't do anything about it? SKIPPER -LRB- beat. -RRB- No. I did n't. Again the crew members are struck. Charlie turns to Chuck. CHARLIE They're twisting it all around. Why does n't he say something? SANDERS Had you ever seen a `` White Squall'' before this incident? SKIPPER No. SANDERS What makes you so sure it was one? SKIPPER I ca n't be sure. SANDERS You really felt that your crew were up for the conditions. SKIPPER We'd come twelve thousand miles together, through every kind of seas imaginable. SANDERS Except, a `` White Squall''. -LRB- beat. -RRB- With all due respect Captain Sheldrake, they're only boys. SKIPPER They are much more than that, sir. SANDERS Is it true that the reason you expelled Philip Boutillier. SKIPPER -LRB- cutting him off. -RRB- For killing a dolphin. SANDERS and that you invited him to strike you? To fight it out on the deck of your ship?! Skipper looks over at Francis. Phil stares at the floor. Skipper manages an ironic smile. SKIPPER Yes, that's true. SANDERS Do you think this is funny? Some kind of joke? You lost six people out there. SKIPPER -LRB- white hot. -RRB- I do n't think one second of this is funny, sir. Skipper stares down Sanders. He turns to Tyler. SANDERS I have no more questions at this time. He turns to sit down, then stops. SANDERS Oh, one last thing. Is n't true that your father was a sea Captain? Skipper bristles. SKIPPER Yes. SANDERS Is n't also true that his vessel went down off of Nantucket? Lost everyone on board. In fair weather no less. Skipper's silence is suddenly filled with rage. Tyler sees it and tries to intercept. TYLER What does this have to do with anything Mr. Sanders? SANDERS -LRB- smug. -RRB- Oh, nothing. I was just curious. SKIPPER My father, was more seaman, more of a man, than you might ever hope to be. Sanders returns to his seat, rattled. Tyler pounds his gavel. TYLER We'll take a brief recess.","EXT. BUILDING - DAY The crew huddle in the parking lot. Fractured, confused. Chuck, Tod, Charlie and Bill, stand off by themselves. TOD There's still a way. BILL What do you mean? TOD It's me, do n't you see. Terry's right, I'm the escape hatch. I disobeyed order. CHUCK You taking the order would n't have changed anything. TOD They do n't know that. -LRB- beat. -RRB- We were the only one's on deck. Look, there's nothing they can do to me right? I'm a kid. CHUCK But that's not the point. TOD That is the point. And Skipper'll slip off the hook. LATER Tod is on the stand. DOWNING Why did n't you turn hard to port as the wind hit? TOD I thought we'd have a better chance if I headed into the wind so we could spill air from our sails. Tyler removes his glasses. DOWNING But the Captain ordered you hard to starboard. TOD Twice. DOWNING Is that what you were trained to do? TOD No. DOWNING Then what do you think he was trying to do. TOD Let the blow drive the boat down wind. Neutralize our canvas. Skipper is becoming uneasy. He sees what is coming. DOWNING So when the captain gave you an order contrary to your training, you thought he was making a mistake? TOD No. TYLER Then why son, why did n't you follow his order? Tod meets Skipper's eyes. TOD Because - I panicked. The room is suddenly buzzing. Tod's Father stands up. TOD'S FATHER That's not true Tod. TERRY -LRB- to Mike. -RRB- What the hell? What is he doing. MIKE Son of a gun. He just sent Skipper a life boat. Tyler turns to Skipper. TYLER If this young man had responded instantly to your command, do you believe the ship might have been spared? SKIPPER I do n't know that anything could have prevented what happened. TYLER Then what are you trying to say then? Skipper stands. SKIPPER Maybe you ca n't see what's happening here, but it's clear to me. -LRB- to Tod. -RRB- I appreciate what you're trying to do Tod. Maybe you could live with it, but I could n't. -LRB- to tribunal. -RRB- If you think I'm going to let a sixteen year old take responsibility, then you underestimate me. The Albatross was my ship. The Ocean Academy was my school. Her loss is mine and mine alone. -LRB- to others. -RRB- I ca n't bring your sons back. If you want my ticket, if that will ease your loss, it's the least I can do. This. Skipper pulls out his wallet and takes out his license. SKIPPER This is easy. Living with it, that'll be hard. Skipper turns and lays his license down in front of Tyler. Then he turns and begins walking towards the back of the room. The room erupts. Crew members and their families hurl accusations and blame. Cameras flash. Tyler tries to regain control. Suddenly Chuck stands, tall. CHUCK No! Do n't you walk away! Not now. Not after all of this! Skipper keeps walking. His head slumps. Tyler pounds his gavel. TYLER That enough son! Order! Please! Tears begin to stream down Chuck's face. His father, Charles, slowly stands meeting his sons eyes. Go for it. CHUCK Tell me Skipper, was it all just a lie? `` Where we go one, we go all''. We listened to you. We believed it. And we're still here! Skipper keeps moving. CHUCK Shame on you then Skipper. Shame on you. Skipper reaches for the door. Suddenly a sound stops him cold in his tracks. Phil slowly rises. Tears streaming down his face. Tightly in his hands he grips the ships bell. Ding ding. Ding ding. Ding ding. It is the ringing of the truth. The tolling of their unity. FRANCIS Sit down! Phil ignores him. Skipper slowly walks over, his eyes never leaving Phil's. He stops, facing him. He gently takes his hands and silences the bell. Then he smiles and puts a hand on the back of Phil's head fighting his own emotions. He turns to Chuck. CHUCK Tell them the truth. Make them understand. The room grows silent. SKIPPER -LRB- smiling. -RRB- You tell them Chuck. Chuck suddenly feels the eyes of the room. CHUCK It's simple. Bad things happen sometimes. It was n't Skipper or Tod. It was all of us. Everyone in this room. Because we all knew the risks. -LRB- to parents. -RRB- You sent us. You paid our tuition, you allowed us to go. So to invent a reason for why this happened, to pin it on one person, well that wo n't change anything. It'll just make our experience meaningless. He turns to the tribunal. CHUCK If you want to judge this man, judge him by his crew. Judge him by Alice and George. Chris and John and Robin. In one way or another each one of them gave their lives saving one of us. This may sound crazy but the Albatross was n't just a ship, or even a school. It was something that we made, that's inside us. That's who Skipper is. That's what he taught us. I guess what it really was about was. the privilege of sacrifice. Chuck turns to Skipper. CHUCK Is n't that right? Skipper nods. SKIPPER That's right. The room is silent. Then, a voice. A golden tenor singing like the wind. Everyone turns. It's Bill. BILL When the sun came up, there was whisky in the cup, and not a one of us was sober. One by one the crew members stand and begin to sing. Chuck turns, surprised to see his father rise and stand with him. Words or not. CREW TOGETHER Jenny thought she saw a picture when it really was the sun, then we knew the party was over. They all stand facing Skipper and sing. The voices build, sweeping over everyone like a wave. CREW TOGETHER Oh my heart is sad, for leaving you today, but I know we'll meet again, when the moon is in the valley and the leafs are on the trees, We will come to clearly in the glen. Skipper meets Chuck's eyes and those of his mates. Only now is his job finished. He beams back. The music swells like an anthem, building, like a swell lifting a small wooden boat over a jagged reef, until it rests safely in the calm waters beyond. The crew come together around Skipper one last time. They embrace.","EXT. MYSTIC SEAPORT - HARBOR - DAY Older Chuck has returned to the small building where the funeral services were held earlier. The people have gone but the funeral urn remains.","EXT. PIER - DAY Chuck walks to the dock. He has the funeral urn in his hands. He steps aboard a small sailboat and begins untying her. The HARBOR MASTER notices and steps out of his office. HARBOR MASTER What do you think you're doing. He walks over to the dock. HARBOR MASTER All right friend, out of the boat. He tries to board the boat but Chuck greets him with the sharp end of a gaffing hook. OLDER CHUCK -LRB- softly. -RRB- Stand away. He looks into Chuck's eyes and sees that he means business. He backs off. Chucks pushes away and raises the sail. The harbor master watches, perplexed as the small boat moves off for open water.","EXT. OPEN SEA - SUNSET Bathed in the orange glow of the sun, Chuck stands naked against the ivory sail. OLDER CHUCK -LRB- V.O. -RRB- They did n't take his ticket that day. But why he never returned to the sea, I'd never know. Perhaps he had n't been able to free himself from the anchor of grief that had driven him to his knees aboard the Gran Rio, or that he no longer cared for the solitude and isolation of command without his Alice. Or maybe it was just that the waves that had spoken to him for so long, had grown silent. Whatever it was, that thing, it had always troubled me. Because, fate offers up no reasons. And maybe that's what I have traveled these thirty four years to say. Maybe that is all I really know. And, that one man cared. Chuck turns to the sea and speaks. OLDER CHUCK Rest easy old salt. For together again, we'll sail. With a powerful heave, he hurls the Skipper's remains at the sinking sun and into the arms of Neptune.","EXT. BEACH - SUNSET The same sunset, but from another time. Four young men walk along a deserted beach. A small boat has beached and rocks gently in the shallows. The boys run up and look at it. On the stern are painted the words : BRIGANTINE ALBATROSS. SLOWLY PULL BACK to reveal endless white sand, blue water, the young men and the boat. OLDER CHUCK -LRB- V.O. -RRB- Some time later we learned that one of our long boats had been recovered. Several young men found it washed up on a nameless beach somewhere on the island of Hispaniola. No one seemed to know who they were or where they came from, but they seemed to know of the Albatross. -LRB- pause. -RRB- Sometimes in my dreams those faceless young men reveal themselves as my lost companions, and on the twilight coral sands of forever, between my slumber and conscious state, we race naked again, so open and in love with those precious moments, running, ever laughing, ever young, ever free.","EXT. GALAPAGOS - DUSK Young again, their hair sun bleached and skins brown, Chuck, John, Robin, Rick, Chris and Tod, pound through the surf in a grinning footrace. Brothers all. Music builds. FREEZE FRAME FADE OUT. THE END"],"string":"[\n \"WHITE SQUALL SUPER : A TRUE STORY - MYSTIC HARBOR CONNECTICUT 1994 CREDITS OVER Wind on the water. Soaring gulls and sand pipers glide over the pilings and sagging bulkheads. OLDER CHUCK -LRB- V.O. -RRB- Though I had n't seen or spoken to Sheldrake in over thirty years, it seemed impossible that his heart was the thing that had finally failed him.\",\n \"INT. LATE MODEL CAR - SAME CHUCK GIEG, 49, thin, windswept and handsome, is behind the wheel. He pulls down a narrow cobble stone street that leads to the wharf. OLDER CHUCK -LRB- V.O. -RRB- I never got close to him, nobody did. But by the time we made Tampa, I was sure I knew who he was, that I understood what he saw, what nourished his soul and tested his faith.\",\n \"EXT. WHARF - DAY Chuck stares out across the harbor. In the distance, the echoes of singing masts. Shrouds and canvas softly ping. The small boats of Mystic tug restlessly at their moorings. OLDER CHUCK -LRB- V.O. -RRB- He had taken us to worship, where, what was for him, the holiest of holies. And, for us too by the end.\",\n \"EXT. DOCTORS OFFICE - LATER Chuck stands silently on the periphery of a gathering of people. They surround a small building, a neighborhood clinic. A worn gray stone, long in the earth, dedicates the structure. IN MEMORY OF NATALIE `` ALICE'' SHELDRAKE M.D., CAPTAIN'S WIFE AND SHIP'S SURGEON OF THE BRIGANTINE ALBATROSS - MAY 2, 1961. Next to the stone a funeral urn. A YOUNG MINISTER gropes for meaning. MINISTER I did n't know Richard Sheldrake personally, but his many friends who knew and worked with him, wanted to make sure that he was returned home, here, to be remembered with his beloved wife. Chuck gazes out at the sleepy harbor, the minister's voice fading away. The afternoon wind is coming up with the tide. He quietly heads towards the water. Drifting, drawn, lost. OLDER CHUCK -LRB- V.O. -RRB- Though he had moved on with his life, now even for the years, to hear him eulogized by strangers, seemed strange. He had been a hewner of stones, a pilot by the silent stars. Like me, alone among many. But most of all for us, the crew of the brigantine Albatross, he was always and would forever be. our Skipper. A SHIP'S BELL turns him around. Ding ding. Ding ding. A beautiful three masted schooner steady on the water slips into port. A picture out of another time, another place. It takes him away.\",\n \"EXT. FOREST - WATER TOWER - DAY A towering monolith, surrounded by tall oaks and sycamores. The tower is immense. A single ladder runs up to the top. AT THE TOP Just above the tree tops, the view is spectacular. CHUCK GIEG, 16, sits thin and unsteady. Chuck's gaze is drawn upward - to the building spring cumulus clouds. Chuck's older brother WILL, 18, stout, self assured, pulls himself to the top. WILL You gon na jump? Or are you just having a last look? CHUCK I was just thinking that I never had a new pair of shoes till I was twelve. WILL It's no my fault I was born first. Besides, nobody ever sent me on an eight month vacation, so ease up on the sad sack stuff. CHUCK It's not a vacation, it's private school. WILL I thought this was your dream come true. CHUCK That's not why he's sending me. WILL Why then. CHUCK Because it looks good. Chuck looks out, yearning. Will considers him, troubled. CHUCK I'm just not like you. Ya know? I'm never going to go to Yale. I'm never going to be `` William''. WILL Nobody says you have to be like me. CHUCK He does. WILL You do n't give him enough credit Chas. Chuck takes a last look at the building clouds. The sky rumbles. Distant thunder. WILL We better go.\",\n \"EXT. GIEG HOUSE - DAY Maple street, USA, tree lined and quaint. The Gieg home is a modest two story house with a covered porch. The family station wagon is poised for departure. CHARLES, 45, a generally serious man broods as MIDDY, their mother, 40, soft and thoughtful, exits the house. Chuck and Will appear from the woods. CHARLES -LRB- ticked. -RRB- You plan on making this plane or not? WILL Do n't take any wooden nickels Kemosabe. CHUCK I wo n't. Will shoves out a hand at Chuck. WILL And lighten up will ya. Chuck hugs him anyway and walks to the passenger side. Charles tosses him the keys, like he's doing him a big favor.\",\n \"INT. CAR - DAY Chuck sits in the drivers seat. Middy is in the back. Charles slams the trunk and gets in. Before Chuck turns the ignition. CHARLES Now just take it easy. We're not going to a fire. Chuck reacts. OUTSIDE Will watches as the car pulls away. CAR - MOVING The Giegs drive in silence. Middy reads from a brochure. MIDDY Honey, did you know that the Albatross was captured by the Germans during World War II? CHUCK No, I did n't. MIDDY It says she was originally Schooner rigged, but Captain Sheldrake turned her into a brigantine. I think square rigs look so much more romantic. CHUCK Me too. CHARLES Appearances are n't everything. Keep your mind on the road. Chuck pulls over to the side of the road. CHARLES What are you doing? Chuck hands him the keys. CHUCK I do n't feel like driving. Okay? Charles regards him oddly.\",\n \"EXT. AIRPORT GATE - DAY The National Airlines Boeing 707 is bigger than anything Chuck has ever seen. Passengers begin boarding. Charles stands away, detached. MIDDY Do you have your ticket? CHUCK Yes. MIDDY Passport? CHUCK Look, I just better go. Middy hugs her son. CHUCK Goodbye Mom. I'll be okay. MIDDY I know you will. Chuck faces his dad. CHARLES Make us proud. CHUCK Yes sir. Charles extends his hand. They shake. Then Chuck hurries away into the crowd. Charles and Middy watch until he is out of sight.\",\n \"INT. PLANE - DAY Chuck settles into his seat next to the window. He watches as the world slips away beneath the wings of the 707.\",\n \"EXT. AIRPORT CUSTOMS - BERMUDA - DAY Another world. Chuck stands in line at the customs booth. He cranes his neck to see the brilliant blue water and coral reefs beyond the runway. Three other boys are ahead of him in line. The CUSTOMS AGENTS go through every piece of luggage. TOD JOHNSTONE, 16, thin and blonde, is in a heated argument with one of the agents about his spear gun. RICK MARCH, 17, wise - cracking and confident, shakes his head, smiling. He spots Chuck, moves through the line and shoves out a hand. RICK Albatross? CHUCK Yeah. RICK Rick March. Who the hell are you? CHUCK Gieg, Chuck. RICK Look, meet us out front when you're through. If they try to take anything away from you like Johnny Quest up there, just make a list and we'll have'em send it down to the boat. CHUCK Whatever. One of the agent starts pulling things out of Rick's duffel bag. He finds a dive knife. RICK Hey, hey! That's my stuff!\",\n \"EXT. AUSTIN CAB - MOVING - DAY The car whizzes through the narrow streets of Bermuda. CALYPSO MUSIC sings from the radio. The streets are lined with small coral houses and exotic palms.\",\n \"INT. CAR - SAME The boys are jammed inside with their things. In addition to Chuck, Rick and Tod, is CHARLIE STRATTON, also sixteen. TOD Well Ricky boy, spear gun or no, it's sweet to be back in the world of rum and honey. RICK I got ta admit I never thought you'd be back after the great `` Bowsprit Affair''. TOD Me and Skipper had a meeting of the minds. CHARLIE How's that? TOD I begged. CHUCK -LRB- warming a little. -RRB- What the `` Bowsprit Affair''? RICK Well, Romeo here was on harbor watch and managed to sweet talk one of the local girls to have a go in the bowsprit. TOD Not just any ` local' girl. RICK The ` local' mayor's ` local' daughter. Tod smiles, reminiscing. CHARLIE Thing is, the net in the basket is n't very comfortable, so Tod - o wraps them up in the jib. After the deed was done. RICK He says they did the deed. TOD Trust me, we did the deed. CHARLIE After the `` alleged'' deed was done, they fell asleep. Big Daddy Lawford comes on deck at four bells and hears Casanova sawing logs. TOD Believe me, I needed the rest. CHARLIE He gets the whole crew on deck, gets us on the halyard, and orders the old `` heave ho.''. RICK Up goes the jib and out roll Tod - o and the mayor's daughter, naked as pilot whales. CHARLIE -LRB- to Tod. -RRB- I do n't know who was more surprised, you or Big Daddy. TOD To tell you the truth, I think it was her father. At the top of a hill, the harbor comes into view. RICK Well gentlemen, there she is. The cab stops. Besides many colorful fishing boats, is the ALBATROSS. At ninety - two feet, she dwarfs everything in the harbor. Her white hull glows like ivory and her twin masts and yard arms tower above her deck. Breathtaking. CHARLIE Home sweet hell on the water.\",\n \"EXT. DOCK - DAY The boys pile out of the taxi. What seemed like a pristine ship from the hill looks like a rust bucket up close. The white paint is streaked and barnacles cover the hull. Looks of disappointment. CHUCK What happened to it? A voice from behind turns Chuck. BILL She cleans up. We'll have her ship shape before we shove off. This is BILL BUTLER, 15, removed, the youngest of the crew and. first mate. Bill gives Chuck a friendly slap on the back and climbs aboard. He is greeted by a Viking giant of a man, LAWFORD, 37, and bearded, the ship's English professor. Puffing on a huge Havana cigar, he stares coolly down at Tod and the others. He speaks with the voice of Moses. LAWFORD `` That this same child of honor and renown, This gallant Hotspur, this all praised knight, And your unthought - of Harry chance to meet. For every honor sitting on his helm, Would they were multitudes, and on my head. My shames redoubled! For the time will come. Chuck feels something and looks up where he meets the intense stare of a man standing between the deck cabins. Their eyes lock. LAWFORD That I shall make this northern youth exchange, his glorious deeds for my indignities.'' Then, the man is gone. Haunting. Only Chuck has seen him. Tod smiles back at Lawford impishly. TOD Would you be addressing me, sir? LAWFORD I would. RICK What's that supposed to mean? LAWFORD -LRB- beat. -RRB- Henry the IV part I Act I Scene ii. I suggest you read it. Lawford sneers and walks away. It's all a show. CHARLIE It means Shakespeare. B - o - r - i - n - g. BILL It means if he catches anybody basket - napping on watch this passage, he's gon na use their lizard for ` cuda' bait. RICK -LRB- lightly. -RRB- Well that's a hell of a how - do - you - do. BILL Drop your gear, go below and pick yourself some bunks. Chuck and the others climb aboard.\",\n \"INT. MAIN CABIN - DAY Chuck makes his way down the companionway into the main cabin. Other crew members are already unpacking. The sleeping arrangement is Pullman - style with two rows of bunks on each side of the cabin. In the middle of the room is a gimbaled table. This is where the crew will eat and study. RICK Listen up. This is Chuck Gieg. Among the crew - feature ROBIN WEATHERS, 16, a cherub with soft puffy cheeks and TERRY LAPCHICK, 17, skinny and rodent - like. Robin approaches with a hand extended. He carries a 8x10 photo of a young man in a football uniform. ROBIN I'm Robin. Chuck regards the photo. ROBIN -LRB- flat. -RRB- That's my brother. He's dead. Apprehensively Chuck shakes and retreats to a lower bunk. Robin tacks up the picture above his bunk. Terry unpacks in front of one of the lower berths. A loud `` THUD!'' turns everyone around. A duffel bag lies at the bottom of the companionway. A large imposing figure climbs into the cabin. This is JOHN GOODALL, 17, over six feet, big and broad. His hair is slicked back `` Dean'' style and wears a full day's growth of bread on his face. Compared to the others, he looks all man. Everybody clears from his path. He stops in front of the lower, center bunk -LRB- Terry's bunk -RRB- and drops his bag. JOHN I'll take this one. TERRY You probably did n't notice, but this bunk has been taken. John just glares at him, then dumps all of Terry's things onto the blanket on the bunk, gathers it up and tosses it into the remaining upper berth. Terry watches, intimidated. JOHN Anybody got ta problem with that? RICK -LRB- beat. -RRB- Absolutely not. John climbs into his bunk and closes his eyes. Bill enters, followed by several adults. DR. ALICE SHELDRAKE, 30, smart, attractive and tough, is ship's surgeon and Skipper's wife. Lawford appears with GEORGE PASCAL, 30's from Brazil, dark, and fit. BILL Alright, listen up. This is Dr. Alice Sheldrake. The guys stumble over only half listening. ALICE I'm ship's surgeon. I'm in charge of aches, pains, biology, math and science. BILL George Pascal here is ship's cook. GEORGE If you want to keep all your fingers, stay the hell out of my galley unless you're invited. BILL Some of you already know Mr. Lawford. LAWFORD I have been charged with the dubious task of insuring your literary education. Lawford puts a hand on Bill's shoulder. LAWFORD Bill Butler is your first mate. But do n't let his size fool you. Bill gives a half reluctant wave. MIKE So when the hell do we get to meet El Capitan? Snickering. TERRY -LRB- aside. -RRB- Maybe he's getting his wooden leg waxed. Laughter. A sound stops the laughter. Almost on cue, the sound of slow methodical footsteps, pace the deck above them. Then a shadow falls across the skylight, blocking the light. Ominous. They all notice and look up. LAWFORD -LRB- mysterious. -RRB- You'll meet him. Soon enough.\",\n \"INT. MAIN CABIN - SUNRISE Dawn glows orange in the skylights above the cabin. The only sound is the heavy, even breathing of slumber. Suddenly, a booming voice rumbles down the companionway. LAWFORD -LRB- O.S. -RRB- Arise, Arise, Arise. Chuck wakes, disoriented. Terry bolts upright and hits his head on the low ceiling. Ouch. Tod, Rick and Charlie are up instantly. Lawford's voice echoes through the ship. LAWFORD -LRB- O.S. -RRB- Exultation is the going / Of an inland soul to sea / Past the houses / Past the headlands / Into deep Eternity / Bred as we, among the mountains / Can the sailor understand / the divine intoxication / of the first league out from land? -LRB- pause. -RRB- But I suppose we'll answer that question soon enough gentlemen. Soon enough. TERRY What question? Chuck tries to assimilate Lawford's words. Robin swings his feet over the side of his bunk with a tortured look. John rolls over and pulls his pillow over his head. ROBIN -LRB- foggy. -RRB- What the hell is going on? CHUCK Maybe it's an air raid. In crisply pressed shorts and shirt, Bill Butler steps through the aft bulkhead. He raises a bowswain's whistle and blows. OOOWWWEEEEOOO! Chuck and Robin grab their ears. It's a nightmare. Terry jumps and hits his head again. BILL Roll out sailors! All hands on deck! Sixty seconds. Sixty seconds. He blows the whistle again. This time it brings even John to his feet, staring down at Bill in a blind rage. Bill looks up and casually notices him. BILL You got ta problem Goodall? JOHN You blow that thing again I'll shove it so far up your ass, you're gon na need dental floss to get it out. BILL Just get on deck. Bill turns and disappears topside.\",\n \"EXT. DECK - DAWN The sun has barely cracked the horizon as the crew staggers onto the deck, shirtless and shivering. BILL Line up! Single file. Single file. The crew lines up. John is the last one through the hatch and he lets us know his boundaries are being pressed. BILL Everybody swims. The boys are aghast. LAWFORD Do n't think people, just go! Go, Go, Go, Go, Go! Swim you win, stay you pay! Rick is the first one through the gunnel door, followed by Tod and Charlie. They howl and scream as they hit the water. The rest follow like lemmings. But John stands defiantly with his arms folded. BILL Now what's the problem, Goodall? Everybody swims. The crew are piling back on deck. George stands in the open galley door. The smell of fresh bacon is intoxicating. JOHN I do n't. LAWFORD You will if you wan na eat. Right George? George nods, wielding a butchers knife. The crew stand shivering, waiting on John. JOHN -LRB- to Bill. -RRB- You gon na swim for your breakfast? Bill gives John a long look then strips to his shorts, swings into the rigging and climbs up to the first yard arm. He looks down at the water some twenty - five feet below. It's a long way. Robin turns away. Lawford booms in a voice that echoes across the harbor. LAWFORD `` Down, down beneath the deep, That oft in triumph bore him, He sleeps a sound and peaceful sleep, With the salt waves dashing over him.'' - Lord Byron gentlemen. With that Bill leaps and hits the water with a huge KERSPLASH! He swims to the boarding ladder, pulls himself up and gets in John's face. BILL Everybody swims. Now, I've been in twice. So I guess I'll be eating your breakfast too. John considers him, then strips off his shirt. But instead of walking over to the gunnel door, he jumps into the ratlines, climbs to the foretop and looks down. He manages a thin smile then climbs to the second set of ratlines past the third yard and continues to the top yard arm - the topgallant. It's a pissing contest and everybody knows it. MIKE I got five bucks says he does n't. CHRIS I got five that says he does n't live. TOD I'll take a dollar of that. ROBIN This is crazy! Robin refuses to watch. The others share a look. John makes his way along the foot ropes and stands at the end of the yard. He tosses a look towards Bill but with no way to back down, he launches into the air. Everyone gasps as he thunders through the air in a broad swan dive. Falling, falling, falling. CHUCK Jesus. ROBIN I ca n't watch this. John hits the water like a bullet. The crew run to the side waiting for him to come up. Nothing. Finally, he breaks the surface. Easy. He climbs up waiting, somehow, to claim victory. Suddenly, they all feel it. A presence. He has appeared silently on top of the Chart House, like a phantom gazing down at them, back lit by the sun the boys must squint to see him. RICHARD SHELDRAKE, -LRB- SKIPPER -RRB-, ageless and windswept, casually reaches up to a block and tackle with one arm and glides to the deck. He is powerfully built and bronzed from the sea and sun. He carriers the burden of command like a cross. Soft - spoken and remote, he is a man to be reckoned with. The crew know they are in the presence of someone larger than life. BILL Skipper on deck! The crew line up clumsily. Skipper has a gaze that blazes right through them. He looks out to sea. Searching, ominous. He waits until the silence is filled with everyone's attention. SKIPPER You know what's out there? Wind and wave and rain. Endless glassy pools that'll hold a sailing ship for weeks and then spit her out into the eye of the kind of hurricane. A blow that could knock the bridge off a battleship. Reefs and rocks and sandbars that'll tear the belly from her and enough fog and night to hide it all. He spits into the water. The crew sheepishly throw glances to the horizon. SKIPPER So look out there. and explain to me why any man in possession of any sense at all, would take on the sea with sail? Skipper turns his gaze back to the boys. There is a fire in his eyes. Nobody dare answers. SKIPPER Because there's something else out there. It beckons in the wind and sings in the shrouds. Voices. Whispering. His ear to the wind. SKIPPER They're voices of men. Calling. Men you do n't even know. Men you ca n't even imagine. It's a seed, a wish, that part of you and I that aches to be alive, that was banished by everything we've ever been taught or told. It's a part of us that can only be found on mountain tops and deserts, in the deepest caverns, smoking battle fields and. across oceans. He turns back to the sea, dark. SKIPPER Out there, is where it all waits. OLDER CHUCK -LRB- V.O. -RRB- He was everything I had expected, part Ahab part Queeg and even Bligh. He spoke in whispers and answered all queries with efficiency and directness. He had gone to sea for the first time at fifteen, the same age as Bill Butler. And as he looked upon us that first day it must have been as though he were staring into a mirror. Skipper manages a sobering look and climbs on top of the chart house. He pats a small brass sign that is welded to the main mast and reads the inscription. SKIPPER -LRB- reading. -RRB- `` Where we go one, we go all.'' With that, he disappears below. Nobody moves. This is exactly the kind of man you want around when the shit hits the fan. TERRY This - is gon na be a long eight months.\",\n \"INT. MAIN CABIN - DAY The boys devour a hearty breakfast. Tod is the ` galley slave' and fills glasses with orange juice. TOD Chow down boys. The milk and eggs are the first things to go once we put out. John enters balancing two plates heaped with food. RICK You know we got ta dumbwaiter for that. John looks over to the dumbwaiter mounted in the wall. RICK Not that one. Tod - o here. The guys groan. TOD Har, har, har. John approaches the full table, glaring down at Terry who does n't notice him. Finally he looks up, startled. TERRY I'm done. I'm finished. He scrambles to get up and clear his plate. John sits down without a word. The others notice the two plates of food. RICK Hungry, Goodall? He just grunts and starts eating. Robin watches him. JOHN What's your problem? ROBIN Why'd you jump? JOHN Because I felt like it. -LRB- sharp. -RRB- What do you care? ROBIN -LRB- aside. -RRB- I could n't do it. JOHN Well, as soon as you grow some balls, let me know. Robin bristles. ROBIN Screw you! CHARLIE He's right. It was a stupid stunt. JOHN Excuse me? CHARLIE You heard me. John grabs Charlie by his private parts and hoists him into the air. Charlie gasps, the air sucked from his lungs. JOHN Do n't ever call me stupid. ROBIN Come on, he did n't mean anything. John shoves Robin to the floor with his free arm. JOHN Let me tell you girls something. I do what I wan na do. When I wan na do it. And I do n't give a shit what old Ahab up there thinks either. Any questions? John releases Charlie who crumples to the floor. John resumes eating. Bill enters and reads the duty roster. BILL Okay, here's the duty. Gieg, Weathers, Lapchick, Schucart : scrape and paint. Corry and Stricklin have the brass. Robinson, you're the Galley slave. March you're on chain gang with Barnes. Johnston, solo on bilge detail. TOD Butler, what'd I ever do to you? BILL You came back, Tod. You came back. John continues to eat. When he realizes his name has n't been called, he looks up to meet Bill's eyes.\",\n \"INT. HEAD Pissed, John tries to figure out the head. Pumps going in, pumps going out. OLDER CHUCK -LRB- V.O. -RRB- We were all thirteen individuals. We'd arrived the sum total of our limited experiences and the result of our parents' best, if not narrow, expectations. John pulls back on the lever, belching `` water de le toilet'' all over him.\",\n \"EXT. SHIP - DAY Chuck sits in a bowswain's chair over the side, with a paint roller in his hand. The rust - streaked hull is being transformed. OLDER CHUCK -LRB- V.O. -RRB- Some of us were there for discipline, some for escape. But I could see a small piece of myself in all of them and though I fought the notion, for me, I knew now, this would be home. A RADIO crackles in the b.g. ANNOUNCER `` President Eisenhower today acknowledged that a secret American spy plane was in fact shot down over the Soviet Union. The pilot has been confirmed as Francis Gary Powers.'' Robin, Terry and Mike, are on the deck within earshot of Chuck with chisels and wire brushes chipping away at the rust. TERRY Why could n't it have been a wooden boat? MIKE Steel boats do n't leak. Mike lights up a cigarette. Robin notices. Marlboro's. ROBIN Hey, can I have one? Mike sizes up Robin for a moment then tosses him the pack. ROBIN Thanks daddy - o. Robin lights up, grimacing with the first drag. TERRY Well, do n't brush too hard. Looks to me like the only thing holding this bucket together is the rust. A voice booms up from the dock. FRANCIS -LRB- O.S. -RRB- Ahoy there. They turn. Standing on the dock is FRANCIS BOUTILLIER, self important and overbearing, with his son, PHILIP, who looks as if this whole ordeal is some kind of punishment. Skipper appears. SKIPPER Good afternoon. Francis boards without being invited. Philip follows in his shadow. He scrutinizes the condition of the boat. FRANCIS Albatross? Does n't inspire a lot of confidence. SKIPPER Oh, on the contrary, the Albatross is considered a very good omen. It is said they embody the spirits of sailors passed on. It's very bad luck if you kill one. And dolphins too. The boys chuckle. FRANCIS I'm Francis Boutillier. This is my son, Philip. SKIPPER I know. Francis looks the Skipper over, reading him, smiling. SKIPPER You're a day late. We keep a schedule aboard ship. Lives depend on it. -LRB- to Philip. -RRB- Hello, Philip. PHIL Sir. Skipper's directness bugs Francis. FRANCIS Your cable said you would n't be putting out until mid - October. SKIPPER As you can see, there's a lot to do. FRANCIS Indentured servitude is not what my son had in mind. SKIPPER This is a working ship. Promptness is not a luxury, it's a necessity, as is the work to maintain her. Had we been ready, I can assure you we would have sailed. Something in this exchange turns the tone of conversation. FRANCIS And I would have expected compensation for my time and expense coming all the way down here. SKIPPER Happily, it all worked out. This time. -LRB- to Bill. -RRB- Bill, take Philip below and help him find a bunk. Phil follows Bill down the companionway. FRANCIS I'll be frank with you. This was his mother's idea. A romp through the Caribbean on a sailboat sounds more like a vacation than an education if you ask me. SKIPPER It will be more than that, I can promise you. FRANCIS -LRB- cool. -RRB- Take good care of my son. There is threat in his tone. SKIPPER We'll do our best. You're welcome to say goodbye. FRANCIS He's a big boy. Francis leaves the boat. Skipper and the crew watch as he climbs into his waiting embassy limousine and drives off. LAWFORD Well, that was neighborly. SKIPPER He did n't get to be Under Secretary of the Air Force by being neighborly. Lawford shakes his head. Bill comes up through the companionway. SKIPPER Everyone aboard young Bill? BILL Yes, Sir. SKIPPER Good. -LRB- beat. -RRB- Let's go sailing.\",\n \"EXT. ALBATROSS - OPEN WATER - DAY The Albatross is under full power. There is a sense of excitement and anticipation. Charlie, Rick, Robin, and Lawford are on the halyard for the mainsail. Skipper is at the helm with Alice and Bill nearby. Skipper calls over to Chuck who stands alone at the rail. SKIPPER Come over here and take the wheel. Chuck's eyes light up as he walks over and takes the wheel. SKIPPER Hold her steady into the wind. Southwest by west. CHUCK Yes sir. SKIPPER -LRB- to all. -RRB- Gentleman, when you hear an order, sing out. I want to know that you've heard and understand. -LRB- quietly to Bill. -RRB- Raise the mainsail. BILL -LRB- calling out. -RRB- Raise the main! Lawford and his group bellow out. TOGETHER Raise the main! Lawford coaches the boys, sending two scurrying on top the chart house to loosen the stops which hold the heavy furled canvas to the main boom. He guides another to the midships pinrail where the main halyard, which raises the huge sail, is made fast to a belaying pin. He loosens the halyard and hands it to Robin. SKIPPER Take a turn under the pin and lead it out to the others. You guys in the rear take up the slack. Heave together now. In a beautiful tenor voice, Bill begins to croon a sea chanty, an old whaling song with an Irish lilt. BILL -LRB- singing. -RRB- `` When the sun came up there was whisky in the cup.'' The more experienced boys echo the line and pull to the beat. BOYS `` When the sun came up there was whisky in the cup.'' LAWFORD Come on the rest of you, sing! Belt it out like men! The newer guys like Chuck, John, Robin and Terry look at each other like this is the queerest thing they have ever heard of. BILL -LRB- singing. -RRB- `` Not one of us was a sober.'' The boys return the verse half heartedly. Lawford ties off his line and stares them down. Skipper notices that the work has stopped. SKIPPER What's wrong Mr. Lawford. LAWFORD It seems we're short on singers. Skipper walks amid ship and addresses the crew. SKIPPER Everyone sings aboard a wind jammer gentlemen. It lets everyone know you're in sync. It shows unity, that all thoughts are one. A crew that sings together stays together. Besides, I like it. So, pipe up and be sailors. JOHN -LRB- in a whisper. -RRB- Everybody swims, everybody sings. What's next? Tap dancing? Lawford and Rick leap up onto the line pulling it down with their body weight. They sing out the chorus. The crew returns the song, somewhat reluctantly as the great mainsail starts to rise. LAWFORD Tie it off! SKIPPER -LRB- to Bill. -RRB- Outer. BILL Outer Jib! CHARLIE -LRB- confused. -RRB- Outta what? Coached by Tod, another group in the bow, awkwardly hoist the jib. SKIPPER -LRB- to Bill. -RRB- We'll bear off to port and run down wind. BILL Mr. Lawford, stand by to ease the mainsheet. Rick, get on the jib sheet. George, John, Philip, Tim and Dick go aloft to unstop the forecourse. George will show you what to do. Tod, show your men the forward pinrail and stand ready on the buntlines and clewlines. Forecourse first. work upward. The newcomers watch Bill with new - found respect. George, John and the others climb to the forecourse, and out onto the footropes. It's unsteady work and there's confusion everywhere. But through it all, they continue to sing. Lawford moves to the mainsheet on the port side while the others move into their positions. When Bill sees the yardarm crew is in place. BILL Unstop the squares! YARDARM CREW Unstop the squares! SKIPPER -LRB- to Chuck. -RRB- Fall off to port. Ease her around to a heading of northeast. Sing out when you're there. As the tops are released, the giant forecourse drapes into a scalloped pattern. As the bow falls off the wind the snapping main and jib billow. Stiffening to the wind, the ship heels and surges forward. Before her awakening power, everyone changes their stance and grabs for a handhold. Lawford slowly pays out the mainsheet while the forecourse crew move up the ratlines releasing the stops on the other squaresails. CHUCK -LRB- in a whisper. -RRB- Ah. Northeast. sir. SKIPPER -LRB- barking. -RRB- Speak up boy! Chuck jumps, startled. He self - consciously calls out. CHUCK Northeast sir! SKIPPER Unfurl the squares! Tod's group first uncleats the clewlines and buntlines and the great squaresail drops and billows to fullness sending a shudder through the rig. The bow's wake sizzles with the added surge. As each of the squares fall, Alice and Lawford move to their sheets, setting each sail's position. Chuck looks up, amazed at the sheer magnitude and beauty of the canvas that the Albatross carries. BILL Raise the inner jib! Raise the forestaysail! SKIPPER Watch the tell - tales Chuck. If we jibe now we'll have a lot of people in the water. CHUCK Yes, sir. SKIPPER All stop on the engine. BILL All stop on the engine! Bill rotates the telegraph handle back and forth and moves it to the stop position. SKIPPER Behold gentlemen. The power of the wind! As the sails billow the Albatross seems transformed. Everyone stops and looks up. The vessel heels and with a powerful surge, launches into the waves. White foam splashes over the bowsprit as the hull thunders through the water. Chuck's face is full of wonder. It is a magical moment. Then the crew begins to cheer. SKIPPER Did we lose anybody? ALICE Not yet. LONG SHOT The Albatross under full sail is the handsome, powerful image of another time. And yet, here she is. ON DECK Each of the boys is awed by the majesty of this moment. Music builds. SKIPPER Chart us a course for the windward side. Alice considers his request. ALICE That low passed through last night. May be a little bumpy out there. SKIPPER It's time these boys saw some real blue water.\",\n \"EXT. THE OPEN SEA - LATER The bow of the Albatross explodes through the top of a fifteen foot swell. The sky is clear but the wind is fierce. In spite of the seas the ship is trimmed and sailing well. The crew has never seen mountains of water like this. Disaster seems imminent. Bill has assembled them in front of the wheel house. They are all holding on for dear life. Even John seems shaken. Skipper magically stands effortlessly before them on the rolling deck. He remains perfectly dry. SKIPPER Well. now that I have your undivided attention. I'd like to take this opportunity to make a few points. TERRY -LRB- aside. -RRB- This guy is certifiable. PHIL Suicidal. SKIPPER The first thing is I do n't like people talking when I'm talking so the two of you, shut up. Caught, Terry and Phil button up. SKIPPER Second, the next one of you who does n't jump like a bunny when Mr. Butler gives an order is gon na spend the rest of this trip scrubbing bilges. He's a better sailor today than any ten of you will be when this is all over. Skipper directs the next comment directly at John. SKIPPER And if I catch anybody, ever, jumping off a yard arm again I will personally break what bones are left and send you home in a wheel chair. A wave explodes over the bow. A wall of water crashes over the deck knocking down several of the boys. Terry ca n't take it anymore and explodes. TERRY We're gon na die! We're all gon na die! He lunges at Skipper but Lawford one arms him. SKIPPER Excellent point. As you might have noticed, being out here pretty much puts you in the moment. If you panic, if you lose your head, you die. Maybe you take your mates with you. How'd you like to have to bet on Terry here getting us home today? Each one of you is responsible for the rest. `` Where we go one, we go all''. If your buddy is asleep at the switch we're all fish food. He's making his point which is lost on no one. SKIPPER The ship beneath you is not a toy and sailing is not a game. The Albatross will take us far gentlemen, but she demands constant attention. Respect her, and we'll do fine. Oh, and one more thing. There is nothing that goes on, on this boat that I do n't know about. She speaks to me in the night. So do n't test me. Not even a little. Skipper walks over and puts an arm around Terry who is fighting sobs. SKIPPER Nothing like experience to put things in perspective. Huh son? -LRB- to Bill. -RRB- Alright. Let's go home.\",\n \"INT. CHART HOUSE - DAY Lawford addresses some of the crew. Chuck, Robin and John are among them. John glares at Lawford. The guys giggle. LAWFORD That's not a satisfactory answer. JOHN Look, save it for somebody else will ya. This ancient shit does n't have anything to do with me. Lawford pauses for a moment and then explodes theatrically. LAWFORD Shit?! He slams a text book into John's hands. LAWFORD Read for me please the words of Mr. Keats at the bottom of the page. John stares back, simmering. Robin interrupts the potential confrontation and reaches for the book. ROBIN I'll read it. I mean I do n't mind. JOHN Shut up donut. John pushes Robin's hands away and studies the page for a moment. He begins reading but struggles with the cadence. JOHN -LRB- reading. -RRB- Much have I traveled in realms of gold / And many goodly states and kingdoms seen / Round many western islands have I been / Which bards in fealty to Apollo hold / Oft of one wide expanse had I been told / That deep - browed Homer ruled as his demesne. LAWFORD You know what he is talking about here? Blank faces. LAWFORD -LRB- ranting. -RRB- Awe. Humility. He's telling you that he has traveled the seas as Homer did. As Ulysses had before him as he tried to find his way home to Ithaca after the Trojan Wars. `` That deep browed Homer''. He points to his head. LAWFORD Brilliant, seasoned, wise, of the mind ;''. ruled as his demesne.'' He commands the voyage of the imagination, like a god. -LRB- pause. -RRB- That is what one of the greatest literary minds of modern times, Mr. Boutillier, has to say about Homer. He snatches the book back. LAWFORD You think the Odyssey is dull? I'll tell you something, it's about each one of you - right now. Doubt and expectation. Friendship, community, self sacrifice and accountability. He holds up the text. LAWFORD This is n't just a story! It's history made allegory. It is a philosophical handbook for life! It holds the secret of this very voyage. JOHN What is it. the secret? Lawford breaks into a huge belly laugh. JOHN -LRB- confused. -RRB- What? LAWFORD If it were only that simple, my young friend. Read on, gentlemen. Read on.\",\n \"EXT. ALBATROSS - ESTABLISHING - DAY Aerial shot. The Albatross is under full sail leaving Bermuda for the last time. OLDER CHUCK -LRB- V.O. -RRB- And so it was the Albatross that took to the open sea with the wind in her snapping canvas and a bone of white foam in her teeth. In each of us were feelings of anticipation and hesitation for the man at the wheel and of the unfamiliar world he was leading us into. She crashes through the surf - driving, majestic music, building. DECK - DAY The crew hauls in the line, raising the mainsail. Chuck struggles to coil the rope as fast as it is coming in. ALOFT The crew take turns racing up the ratlines into the rigging. BOWSPRIT NET The crew pull down the jib trying to furl it. Most of the sail ends up dragging in the water. ABOVE The squaresails are dropped simultaneously. WIDE White foam boils from the bow of the Albatross as she crashes through the waves. AT THE WHEEL Alice smiles and puts her arms around Skipper's waist. It's coming together. FORETOP - SAME Skipper stands at the rail, looking out. The seas are up and the masts are pitching widely from side to side. Chuck is high above the deck in the footropes, wrestling with one of the squaresails. The pitching mast catches him by surprise and he slips. He tumbles down, tangled in the lines. A rope wraps around his neck, choking him. Robin looks up and sees him hanging helplessly. ROBIN Bill! Skipper! Robin freezes. Skipper leaps into the rigging like a spider and, in a few seconds, wrestles Chuck free and carries him down to the deck. Chuck coughs, catching his breath. The color is gone from Skipper's face. This was a close call. SKIPPER You all right? CHUCK It was my fault. I slipped. Alice examines Chuck, making sure he's okay. Skipper turns to Robin, who is shaken. He never raises his voice. SKIPPER Why did n't you go up there? Robin stands silently. SKIPPER Speak up. Still nothing from Robin. CHARLIE He's afraid to climb. SKIPPER What? -LRB- to Robin. -RRB- Is that true? Robin looks away. SKIPPER Why was n't I made aware of this Bill? BILL I did n't know sir. SKIPPER It's your job to know. If something goes wrong up there, the other eighteen people aboard ca n't be wondering if he's gon na do his job or not. Skipper returns his gaze to Robin, measuring him. Finally. SKIPPER Swing up, son. ROBIN -LRB- trembling. -RRB- What? SKIPPER Up you go. Right now. Robin reluctantly pulls himself up onto the first rung, then the second. He stops and steals a peek up. The mast is swaying. He freezes, his lip starts to tremble. All eyes are on him. Phil chuckles. SKIPPER Do you have something to say? PHIL -LRB- smug. -RRB- No. SKIPPER Then keep your mouth shut. Phil backs off, stunned. Robin ca n't move. SKIPPER -LRB- to Robin. -RRB- What's it going to be? ROBIN I'm sorry. SKIPPER Sorry wo n't cut it. Robin holds on frozen. Skipper turns to the crew. SKIPPER Survival means discipline and assimilation. There are no special cases here. -LRB- to Robin. -RRB- Now, get going. Get up there. Humiliated, a tear slips down his face. Excruciating. SKIPPER What are you blubbering about? ROBIN I do n't know. Skipper jumps onto the backside of the ratlines. His face is but inches from Robin's. SKIPPER One hand in front of the other son. We'll do it together. Robin reaches for the next rung. He looks down. Skipper growls at him. SKIPPER Do n't look down. Look in my eyes! Climb! We'll do it together. ROBIN -LRB- sobbing. -RRB- I ca n't. SKIPPER You climb damn it, or so help me I'll haul you to the foretop by your diaper and leave you there! ROBIN Aaauuuhhh! Skipper gets right in his face and snarls. SKIPPER Are you hating this?! Are you! ROBIN I hate you, you son of a bitch! SKIPPER No. Hate the fear inside of you! Climb like a man mister! Hate it! Hate it away. Hate your way up one more rung! Do it right now! With every ounce of strength, Robin reaches for one more rung screaming as he reaches. Skipper climbs and screams with him. TOGETHER Auuuggghhh! Robin clutches the rung with a death grip. Then, he looks down. His bladder releases. Hot urine runs down his legs and splashes, steaming, onto the deck. The crew is horrified. Robin weeps. ROBIN Oh, god. Skipper backs off. SKIPPER Do n't hate yourself. Hate your weakness. All right. Get down. Robin climbs to the deck and falls in with the others, mortified. SKIPPER I'm only gon na say this one time. I'm not here to wipe noses and asses. I'm not your mother. Trust funds and blue blazers do n't get you a thing out here. You wan na act like babies, then get off my boat. Stunned, the crew is speechless. Chuck instinctively goes to help Robin. Skipper snaps like a turtle. SKIPPER -LRB- to Chuck. -RRB- He can take care of himself. -LRB- to others. -RRB- Any other ` phobias' I need to know about? Skipper fires a look towards Phil. PHIL No, sir. SKIPPER Excellent. Bill, find Mr. Weathers a position to suit his condition. Skipper turns and then stops. SKIPPER Remember something, sooner or later. we all have to face it. CHUCK -LRB- aside. -RRB- Face what? The question hangs in the air like a cloud.\",\n \"INT. CHART HOUSE - DUSK The chart house is the communication and navigation center for the boat. It also serves as the officers dining room. Skipper, Alice, Lawford, George, and Bill Butler sit around the small table sipping coffee. SKIPPER We're awfully quiet tonight. The group remains silent. Lawford and George exchange a glance. Skipper catches it. SKIPPER Something on your mind, George? George looks up and wipes his mouth with a napkin. GEORGE I think you were too hard on Weathers. SKIPPER You do? GEORGE Yes. I do. Skipper nods. SKIPPER I need to know what I'm working with ; what their boundaries are. Their lives depend on it, and for that matter so does yours. We've got to bring them together. Make them a crew. We're as strong as our weakest link and I do n't want to find that out the hard way. So, I will challenge them and they will come together. GEORGE -LRB- sarcastic. -RRB- Yes sir. SKIPPER You know the best thing about being a Skipper is the worst thing. It's all my responsibility. So I'll tell you what George, you stay off of my bridge, and I'll stay out of your galley. We'll get along that way. Everyone's quiet, but clear. Skipper and Alice exit. GEORGE Fucking bastard. Lawford lets out a belly laugh. LAWFORD I've seen him snatch the tail of the tempest and stuff it, screaming, into a bottle. The bilges are full of them. GEORGE What do you mean? LAWFORD He's been beyond the reach. To the edge of the abyss and back. He'll do well by us all George. He's a real salt. There's no malice in him and there's nothing more dear to him than his boys. So sleep well my friend. Lawford seductively produces a pair of Havana cigars, passes one to George and winks.\",\n \"INT. GALLEY - DUSK Robin leans over the sink elbow deep in dishwater watching through the cabin window, as the sun slips below the horizon. Chuck stands in the doorway with a plate of food. CHUCK How ya doing? ROBIN -LRB- without turning. -RRB- Fine. CHUCK Good. ROBIN Look, I appreciate, you know, the concern and all, but like he said, I can take care of myself. CHUCK I just brought you something to eat. Robin turns and notices the plate of food and nods. They stand silently. It's awkward. CHUCK I feel like I got you into this. ROBIN Forget it. CHUCK I'm used to spending a lot of time alone. I guess that's what I thought it would be out here. But, it's not is it? ROBIN -LRB- beat. -RRB- I'm sorry I left you hanging up there. CHUCK It does n't matter. Really. I'm just sorry you got chewed out. Robin nods. They both stare out at the rising moon. ROBIN My brother and I used to climb to the top of this old beech tree in the back yard and watch the moon come up just like this. My parents would fight all the time so we'd sneak out there where we could n't hear'em and recite scenes from our favorite movies. Robin grows quiet. ROBIN Would you believe I miss it? The middle of paradise and I'm homesick. Chuck smiles and puts a hand on his back. CHUCK -LRB- ironic. -RRB- Well, I would n't worry. It'll all be there when we get back.\",\n \"EXT. DECK - DAY The sky is dark and a storm is building and the boat rolls and pitches. Chuck sees Terry heaving over the side. John and Tod hear the sound and turn. JOHN -LRB- disgusted. -RRB- Come on man. Show a little backbone! -LRB- to Tod. -RRB- You believe that?! Tod is fixated on Terry. Suddenly, without warning, he breaks for the rail and lets fly. Phil and Charlie are next. Chris climbs through the companionway but does n't make it to the side. Spontaneous regurgitation. Bill and Lawford jump up onto the wheel housing to avoid being sprayed. Suddenly everyone is heaving. CHRIS Sorry. LAWFORD -LRB- to Bill. -RRB- We're gon na have nobody left up here to crew. Better let Skipper know. Bill nods and disappears. John joins Chuck watching the events around him. JOHN Well Gieg, I'm glad to see I'm not the only guy on this boat that can take a little rock'n roll. Bunch of wusses, I swear! Chuck watches each of his shipmates. Then, suddenly, out of nowhere - Projectile vomit all over John. He looks at Chuck, horrified, then he too, cuts loose over the rail. JOHN Son of a bitch! Chuck looks at John, furious with himself, and begins to laugh. But after a moment he starts to laugh too. It's infectious, they crack each other up. Then, in the middle of belly laughing, they simultaneously retch again over the side.\",\n \"INT. SKIPPER'S CABIN - DAY Skipper sits at his desk with some charts spread out in front of him. There's a knock on the door. SKIPPER Come in. BILL Skipper, uh, the crew is pretty much doing group boot over the side. SKIPPER Well, that's all part of it. BILL We've got weather moving in from the west. Skipper looks up. SKIPPER That's part of it, too.\",\n \"EXT. DECK - DUSK Skipper stands at the wheelhouse with Lawford, George and Bill, studying the horizon through binoculars. Dark clouds. Chuck watches Skipper. Everyone, looking for a cue. CHUCK That a. storm, Skipper? Skipper stays glued to the binoculars. SKIPPER Uh, huh. CHUCK Would you, um, say it's a big storm? SKIPPER Sometimes it gets exciting out here. LAWFORD What do you think? SKIPPER Barometer's dropping. The first blow'll come from the south. Might get interesting. CHUCK Should n't we turn away? SKIPPER You ca n't run from the wind son. You trim your sails, face the music and let the chips fall. Bill, let's close her up, dog, tight. Close on hatches and skylights slamming closed and cinched tight. BELOW DECKS Bulkhead doors are closed and cranked down tightly. IN THE GALLEY Pots and pans crash around. IN THE MAIN CABIN The cabin doors on the bookcase swing open and dump books on top of Alice. She turns and looks at the mess, annoyed.\",\n \"EXT. DECK - SAME SKIPPER Furl the squares, reef the main, and bend on the storm jib, but keep it furled. Drop everything but the inner jib. I want everybody down before we get any lightning. Bill bolts forward with Lawford barking orders. Most of the crew are still ill, but climb into the rigging and begin dropping sail. GEORGE Why's it always happen at night? Skipper regards George, annoyed. SKIPPER George. I want hot food in everybody. Get to it. George returns to the galley. Alice joins Skipper at the wheelhouse handing him foul - weather gear. ALICE Looks like weather. SKIPPER Yep. He slips on a yellow slicker. SKIPPER Do me a favor and tell Bill once she's dogged down I want everyone to break out their slickers and make sure their gear is stowed or we'll spend the next week sorting underwear. -LRB- to the others. -RRB- Lawford, Bill, Mike, John, and Phil will stand the watch. Everyone else hit the racks. PHIL -LRB- impulsively. -RRB- I'm not staying out here. Skipper fires off a look that frightens even Phil. SKIPPER No. That's for sure. Charlie, take his place. Phil goes below, a little ashamed. The crew scatters. Chuck, still at the wheel, pipes up. CHUCK If it's all the same, I'd like to stay on deck. Skipper regards Chuck, who looks back with both fear and eagerness. Suddenly he sees something in this kid. Maybe himself. He almost smiles. Almost. SKIPPER Take the wheel.\",\n \"EXT. FORETOP - SAME Dark clouds blot out the sky and stars. Thunder rumbles far away. The seas have built but there's no wind. yet. With no steerage, the ship is tossed. Tod hangs high above the heaving deck continuing to furl. The mast swings from side to side, but the air has gone dead calm. Skipper looks up, anticipating. SKIPPER Everyone out of the rigging NOW! BILL Everybody down! ON THE DOUBLE! TOD -LRB- shouting. -RRB- HERE IT COMES! ON THE DECK The crew in the rigging scamper down to the safety of the deck. SKIPPER Bill, on the wheel with Chuck. Bill joins Chuck and takes hold of the wheel. Then it hits. A wall of torrential rain drums the deck amid a tympany of thunder and flashing lightning. The bow explodes through twelve foot swells. This is what the Albatross was born to do.\",\n \"INT. MAIN CABIN - SAME It's all the crew can do to stay in their bunks. Pots crash, books and personals go flying. The guys are scared. ON DECK The main and jib sheets tighten. Skipper looks at Chuck and Bill. It all comes down to moments like these and he loves it. Suddenly, there is a loud CRACK! A violent flapping noise. Skipper leaps to the port and looks forward. Tod comes running back. TOD We blew the inner! ALICE I'll go. SKIPPER Bring it down and run up the storm jib. We'll fix it later. Stay out of reach of the blocks! Tod and Alice disappear. SKIPPER -LRB- with a twinkle. -RRB- Well, we're in it now. Chuck studies him, frightened, but reassured.\",\n \"EXT. BOW - SAME The shredded jib and rigging whip violently in the wind. The block smashes into the gunnel rail, shattering it. No one dares go near it. For a moment, it seems to hang there seductively. John, naive of its power, leaps for the rail and grabs it. ALICE NOOO! Suddenly, the wind cracks the sail instantly hurling John high off the deck and over the side. He holds on for dear life, screaming. AT THE WHEEL SKIPPER -LRB- to Chuck. -RRB- Hold her steady. Skipper bolts forward. AT THE BOW Alice uncleats the jib halyard, leaving one turn on the pin and shoves it into Tod's hands. ALICE Release this when I tell you! Skipper joins Tod as Alice scrambles along the deck and pulls herself into the bowsprit netting. When the block and jib swing inboard, she grabs for the leach of the sail yelling. ALICE NOW! As John is snapped inboard Alice leaps up, grabbing the sail, leaning out over the open water. Waves explode through the netting. As Tod releases the halyard, John falls to the deck, bruised, humbled, but alive. Lawford and Skipper pull Alice from the bowsprit. Skipper looks her over. Relieved. No broken bones. Good work. But then this is what he expects. He respects her and now, everyone can see why. He looks at John sprawled on the deck. SKIPPER Be careful will ya? JOHN What ever you say Cap. SKIPPER Let's get that storm jib up. Skipper gives Alice a private look, then returns to the stern where Chuck holds tightly onto the wheel. OLDER CHUCK -LRB- V.O. -RRB- The storm lasted sixteen hours and it set us all on equal footing. It was the first time that we shared an episode on an even plane. As we stood our watches we were equally out of control of our situation, regardless of our physical abilities or social backgrounds. And though our real feelings lay hidden beneath bravado and defiance, we were no longer strangers.\",\n \"EXT. DECK - DAY The crew is cleaning up. Alice supervises repairs to the jib while others stow line, scrub the deck and chip paint. Lawford paces. LAWFORD You know what they say in the Navy do n't you? RICK What's that, Big Daddy? The more experienced crew members have heard this all before. LAWFORD `` If it moves, salute it. If it does n't move, pick it up. If it's too big to pick up, paint it!'' The boys mockingly salute Lawford as he walks by. John stands before a porthole combing his Brylcreem hair into a `` D.A.'' Mike and Chris climb on deck with several large boxes. MIKE Ladies, gentlemen and hermaphrodites, Mr. Corry and I are happy to announce the grand opening of Trans - Border Enterprises. They start opening the boxes. One is a case of Coca Cola, another is full of cigarettes and candy. CHRIS All of the creature comforts and vices you could possibly want, at home or abroad, available twenty - four hours a day. MIKE For a price, of course. ROBIN If you've got `` a broad'' available I'll take her. JOHN Like you'd know what to do with one. The crew shakes their heads, mutter and check out the goods. TERRY You got Marlboro's? CHRIS Absa - fuckin - lutely. CHUCK Toss me a Cola. CHRIS Fifty cents. CHUCK What?! MIKE Contraband's hard to come by out here son. John is still grooming at the window. PHIL Hey Goodall, you got a date or something? John continues to comb. JOHN Yeah. With your mom. EVERYBODY Oooooooo. Phil slinks away. CHRIS We also have a few rental items. Chris displays a Playboy magazine. Everybody clamors to get a look. MIKE There's a penalty for any material returned to the Trans - Border Library with sticky pages. John walks by, snatches the magazine and heads for his bunk flipping through the pages. MIKE Hey, you ca n't do that! -LRB- to Chris. -RRB- He ca n't do that! John flops in a deck chair. Chris shakes his head and starts closing up the boxes. CHRIS Sure he can.\",\n \"EXT. STERN - LATER Chuck sits alone, away from the others, reading. On cue, half of the crew descend, dragging him kicking and screaming into the bowswain's chair, and over the side. The guys cheer. CHUCK Come on you guys, this is n't funny! The seat spins, twists and swings from behind the boat. CHARLIE Come on Chucky. Show us a little grit. They lower the chair so it glides just above the surface. When the boat noses into a swell Chuck gets quite a ride. Once he has the hang of it, fear turns to elation. CHUCK YEEE HAAAA! CHARLIE Okay, who's next? PHIL You got ta be kidding? He's a human chum line! RICK No self respecting shark is gon na take a bite out of you. Chuck's hauled back in and Terry pushes his way to the front of the line. TERRY I'm next! Terry goes over the side. Once he gets the hang of it, he gets into it. He maneuvers the chair like a plane, forcing himself deep into the waves and then blasting back to the surface. OFF THE PORT SIDE Robin is trolling. The line takes a tremendous hit and Robin's reel screams. Tod is at the wheel and turns. TOD There she blows! Two hundred feet out something large and pissed has taken the bait. The crew turn and look. Skipper looks out at Terry still in the bowswain's chair. SKIPPER Get him in. Bill waves at Terry to come on in. BILL Come on in! Terry waves him off and disappears back under the waves. They ca n't pull him up while he's going under the water. SKIPPER Do it now Bill. Terry pops up, pissed that they're reeling him back in. Suddenly the animal on the other end of Robin's line explodes out of the sea. It's a six foot Thresher shark. Terry sees it too and freaks, suddenly thrashing and screaming. TERRY Get me out! Get me out! MIKE Oh my god! It's a. SKIPPER -LRB- calmly. -RRB- Shark. -LRB- to Robin. -RRB- Do n't lose it son. George grabs a gaffing hook while Robin fights the rod, trying to bring in the big fish. GEORGE Keep it coming. Robin battles the fish. George clumsily tries to help. The crew make their way to the rear to watch. CHARLIE Whoops. Charlie and Rick and the others heave to get Terry up. Finally he makes it. Sprawling onto the deck. TERRY Oh Jesus! Oh Jesus Christ! The crew turn and cheer Robin on as he brings the shark alongside. GEORGE He must be two hundred pounds! Bring him in close and try to hold him steady. George leans out over the rail, trying to get the hook into a gill. Several of the boys hold onto him as the fish flops around violently. GEORGE Got him! Skipper comes down to inspect the catch. The shark is longer than Terry is tall and thrashes in the the water, snapping and twisting. Terry stands shaking, freaked. All of them are. RICK Damn Terr, you're whiter than Sister Mary Anne's butt. The guys laugh nervously. Terry just stares at the man eater, but it's infectious. After a moment he's laughing too. Skipper slaps him on the back with a wry smile. SKIPPER Well, now you have something to write home about. More laughter. Suddenly, Tom, who is lookout on the foretop, cries out. TOM Land ho! Land ho! Everyone turns around to look. The guys at the stern let go of George and he nearly tumbles overboard. In that instant, the shark slips off of the gaff, and disappears back into the sea. Robin and George share a stunned look. GEORGE Shit. ROBIN There's more where that came from. Skipper returns to the wheelhouse with Alice. Together they scan the horizon. Clouds build over the land ahead. ALICE Cheated death again. He slips an arm around her. SKIPPER Yep.\",\n \"EXT. ANTIGUA - HARBOR - DAY A group of islanders have assembled to watch the crew approach in the long boats.\",\n \"INT. LONG BOAT - SAME Chuck gazes across the strange landscape. As the boats dock, the crew pile out and scatter. Local children follow them wherever they go. Chuck, Robin and John find themselves alone. Most of the buildings are primitive. They wander over to a shop. ROBIN What do you say? Cokes? I'm buying. CHUCK & JOHN Sure.\",\n \"EXT. SHOP Chuck and Robin reappear, sipping cold Cokes. Mike and Chris walk by across the street. Robin speaks up loud enough for them to hear. ROBIN You're right Chuck. There's nothing quite as refreshing as a cold ten cent Coke that only costs ten cents! The three clink their bottles. Mike and Chris slink away.\",\n \"EXT. COLONIAL FORT - DAY A crumbling fort overlooks the harbor. Below, the Albatross floats like a pearl on the azure blue water. Large bronze muzzle - loading cannons still lie in their gunports, aimed at the sea, waiting for pirate ships that will never come. Each of the guys are sprawled on a cannon, taking in the Caribbean view. ROBIN You think Skipper and Alice do it? CHUCK Do what? ROBIN Ya know. `` It''. CHUCK That's like wondering if your mom and dad do it. Who wants to know? JOHN She is n't that old. CHUCK What do you mean? JOHN I mean she looks pretty damn good in her all - together for being thirty. ROBIN How would you know? JOHN Trust me donut. I know. ROBIN What? Come on. JOHN On the dog watch, night after the storm, I look down into the skylight above Skipper's cabin and there she was, peelin' down. CHUCK No way! ROBIN Come on man, what'd they look like? JOHN Damn, Porkchop, you sound just like a guy who ai n't never seen a pair. ROBIN I've seen'em. I've seen'em. They crack up. CHUCK I walked in on my parents one time. It was only like eight o'clock and they were in bed and I thought that was kinda weird so I just walked in. JOHN That's what they get for not locking the door. CHUCK So I'm standing there and you could hear a pin drop. No breathing or snoring. Suddenly it hits me that somethin' was goin' on that just stopped, really fast, like people are holding their breath. ROBIN So. What happened? CHUCK My mother says in this really low, but very awake kind of voice `` What?'' John and Robin crack up. ROBIN What'd you do? CHUCK I said `` Sorry, wrong room'' and walked away. JOHN Did you shut the door at least? They bust up again. Chuck glares back. CHUCK I do n't remember. Robin sits up on his cannon and looks out, suddenly melancholy. ROBIN My parents do n't do it anymore. CHUCK How do you know? They might. ROBIN'Cause they're getting a divorce. -LRB- beat. -RRB- That's why they sent me here. My sister's at Tabor. They just wanted us out of the house so they could get down to business. JOHN They tell you that? ROBIN I figured it out. CHUCK Yeah. JOHN My old man split along time ago. It does n't mean anything. You just take care of number one that's all that matters. ROBIN It matters to me. JOHN -LRB- kindly. -RRB- Okay donut. Whatever you say. CHUCK We better get back. Robin looks up to John. ROBIN Did you really see'em.\",\n \"EXT. ALBATROSS - HARBOR - NIGHT The boat moves off leaving the lights of Antigua behind. Chuck watches as the island disappears below the horizon.\",\n \"EXT. DECK - DAY The wind is up and the seas are high. The ship is under full sail driving at top speed. Foam sprays from the bow as it slices through the water - what she was born to do. The crew line the starboard rail, thrilled to be part of the performance. Tod is at the wheel with Chris nearby. The sails tower above him like a mountain of silk. He wrestles the wheel, careful to hold his course against the powerful trade winds. Skipper, making his rounds inspects the heading on the compass and nods. SKIPPER It's a good sail boys. Tod and Chris beam. Compliments are rare from this man. TOD Thank you, sir. Shall we trim the main Skipper? I think we could get another knot or two. Skipper turns and looks at Tod, a twinkle in his eye. SKIPPER As you like. Gravy. The two gloat as they lighten the mainsheet tackle. Phil joins them. PHIL What do you say I have a crack at the wheel? TOD I'd say, fuck off junior. They laugh. Phil slinks behind the chart house, hurt, and angry. He spots a spear gun stowed against the chart house. As Tod and Chris pull in the main, it strains and stretches against the powerful wind. Phil aims the spear gun at the mainsail from behind the chart house and silently fires. There is a wicked POP as the spear punctures the sail, passing through it, followed by a loud shredding as the huge sail splits. TOD Jesus Christ! Let it out. Let it out! The sound brings Skipper onto the deck like a shot. SKIPPER Hard to port! Hard to port! Calamity, as Tod cranks the ship into the wind. The canvas goes limp as the ship hauls to a dead stop. People dive everywhere to drop sail. SKIPPER Start the engine. All ahead full! Scallop the Square and drop the rest! He shoots a glare at Tod and Chris. TOD -LRB- bewildered. -RRB- I do n't know what happened Skipper. It just blew out. Skipper turns to the task at hand without a word. What had been praise is now reduced to embarrassment and confusion. Phil, still hidden behind the chart house returns the spear gun and smiles to himself at Tod's arrogance turned humility.\",\n \"EXT. DECK - TOBAGO CAYS - DAY The Albatross has dropped anchor along a remote group of flat, lush atolls. Tall palm trees grow almost to the waters edge. The crew have the mainsail down and Alice supervises the repair of the sail. Phil sits above it all sunning himself in the bowswain's chair. ROBIN Where are you from any way? CHUCK Depths of hell. Ohio. How ` bout you? ROBIN Kennet Square, PA.. ` Mushroom capital of the world'. TOD Sorry to here it. CHUCK Well, and it's pretty cool too, ya know? Bein' here together an all. Phil reels himself down. PHIL Christ, I'm gon na choke on ` feel good'. Robin looks up, taken back. TOD Why are you such a penis Phil. Do you do it on purpose or ca n't you help it. PHIL Tug my chain Johnstone. Skipper comes on deck. Robin and Chuck flip Phil and Terry the finger. SKIPPER After midterms we'll finish our run down to Curacao. The crew reacts, grumbling. SKIPPER I have arranged to host a good will cruise for the Dutch students of the local school there. PHIL -LRB- to Terry. -RRB- Joy, rapture. SKIPPER Each one of you will be responsible for one student. I'll expect you to be courteous. You represent this school and your country. We'll sail in the morning. George appears from the galley and rings the ships bell. GEORGE That's chow. The crew drop what they're doing and stampede down into the cabin.\",\n \"INT. CABIN - NIGHT Robin thrashes in his bunk calling out. Sweat glistens on his face. Chuck stumbles out to his bunk with Rick and some of the others. RICK Hey man, wake up. Wake up! They shake him. Robin wakes, disoriented, eyes filled with tears. ROBIN I was falling. Phil grumbles from his bunk. PHIL Hey, shut up will ya? CHUCK It was a bad dream. ROBIN It was so real. CHUCK Here's the thing ; whenever you're having a nightmare, all you have to do is say 1 - 2 - 3 wake up! You'll be out of it. You'll wake up. Phil rolls over in his bunk trying to go back to sleep. ROBIN Who told you that? CHUCK My dad. ROBIN It works? CHUCK Swear to God. Only good advice he ever gave me. Now, go back to sleep. He pats Robin on the leg. The guys return to their bunks. Favor Phil, listening. CHUCK -LRB- lingering. -RRB- You okay now? Robin stares at the photo of his brother. ROBIN That's how he died you know. CHUCK Who? ROBIN My brother. He fell out of the old beech tree. Broke his neck. I was on a camp out. They started going at it, throwin' things, a real knock down. -LRB- beat. -RRB- They did n't find him'till the next morning. They did n't even know why he was up there. CHUCK Jesus, you never told them? ROBIN I could n't. Phil stares at the ceiling, affected by what he has overheard. Someone creeps down the companionway and whispers. MIKE -LRB- hushed. -RRB- Hey you guys, come on! Shuffling in the darkness. Phil suddenly realizes, he's alone.\",\n \"EXT. DECK - NIGHT The dory hangs from her gallows. Some of the guys slowly lower her to the water.\",\n \"INT. GALLEY - SAME George is asleep with a book in his lap. Mike and Chris slip inside. The door squeaks, George stirs. Mike opens a cabinet and removes a fifth of rum. Silently, Mike passes the bottle to Chris who passes it to Tod who passes it to Charlie who drops it down to Robin who stands in the lowered dory with Chuck. PHIL -LRB- O.S. -RRB- What do you think you're doing? Startled, Mike and Rick share a look. Busted. Phil turns and runs into John, wearing a broad smile, who shakes his head. No way. PHIL Forget it. Count me out! The crew descend and drag Phil, struggling, into the dory. They raise a crude sailing rig and silently move off. A figure stands on top of the chart house, back lit by the moon. It's Skipper. Watching it all. Letting it unfold.\",\n \"INT. GALLEY - NIGHT Skipper hovers over George, sawing logs. He tosses a pot on the floor. GEORGE -LRB- bolting up. -RRB- What?! What's happening?! SKIPPER You're officer of the watch, George. GEORGE I'm sorry, Skip. It's this damned book. Lawford gave it to me. The book is `` Kafka''. Skipper motions to the empty cabinet. GEORGE Son - of - a - bitch. SKIPPER We're short one long boat too. Come on.\",\n \"EXT. CAMPFIRE - NIGHT The boys sit in a circle around a small fire passing the bottle. Rick strums his guitar and sings while the rest join in. RICK Oh I was walkin' down Lime street one day. ALL Hey! Weigh! Blow the man down. RICK A pretty young maiden she happened my way. ALL Give me some time to blow the man down. Skipper and George crawl to the top of a sand dune and watch the boys. George starts to stand but Skipper puts a hand on his shoulder. SKIPPER I guess we know what the next acquisition for the galley is going to be. GEORGE What's that? SKIPPER A padlock. On the boys. Phil is drunkest of them all and does a wild jig as the rest of them sing. RICK So to all you sailors who've fought wind and whale. ALL Weight! Hey! Blow the man down. RICK She said `` None the better, you all go to hell.'' ALL Give me some time to Blow the man down! They all crack up. CHRIS I only have one question. JOHN What's that, Canuck? CHRIS If we're not on the boat, how come the ground is moving? CHUCK You think George'll miss the bottle? TERRY We'll blame it on Big Daddy. He's a lush. MIKE All I know is if that Viking son of a bitch puts me on smegma duty one more time I'm gon na have to run him through. TERRY -LRB- mimicking. -RRB- The `` Old Man'' likes a tight ship! CHARLIE `` If it moves, shoot it.'' The rest join in. CHUCK `` If it does n't move, throw it overboard. If it's too big to throw overboard, screw it!'' More laughing. RICK You think Old Thunder Nuts will figure out that we're A.W.O.L. Bill drunkenly imitates the Skipper. PHIL `` There is nothing that goes on, on this boat that I do n't know about. She speaks to me in the night. So do n't test me. Not even a little.'' The boys laugh. On the dune, George shakes his head. GEORGE Immortality. SKIPPER Spirits have a way of bringing that out. GEORGE And being sixteen. SKIPPER They're in a hurry to grow up. They do n't know about consequences or responsibility. That's being sixteen too. -LRB- beat. -RRB- I promise you one thing. GEORGE What's that? SKIPPER They'll know about it in the morning. Skipper smiles.\",\n \"EXT. BEACH - NIGHT The drunken crew stumble out of the woods onto the beach. As they ready the boat for the trip back Robin looks out to sea. ROBIN -LRB- alarmed. -RRB- Jesus H. Christ. Tod looks up. TERRY What now pork chop? ROBIN Look! The guys turn their gaze to the ocean. The Albatross. is gone! TERRY Holy shit! Where'd she go? The crew is suddenly stone sober. Stunned. CHARLIE What the hell is going on? MIKE She's gone! The boat's gone! Phil breaks into sort of a blind panic. PHIL Oh Jesus, oh Jesus. Man I knew we should n't have gone. I tried to tell you. I tried to tell you. You guys made me come! You made me come! JOHN Will you shut up? You sound like my fucking sister. CHUCK Alright. Everybody just stay cool. We'll figure this out. MIKE Who the hell checked the mooring? ROBIN I did. Why? CHARLIE Maybe she pulled free. MIKE What if they do n't know. If she's adrift, if they're asleep, she could run aground. She could break up on the reef. PHIL -LRB- to Robin. -RRB- Maybe you did n't check it good enough. ROBIN -LRB- defensive, frightened. -RRB- I did. I swear. Oddly, it's Phil who stands up for Robin. PHIL Yeah, well you're really gon na have some bad dreams if we find out you did n't. JOHN That's enough. PHIL How the hell are we gon na get outta here? JOHN We'll think of something. PHIL Oh, praise the lord. -LRB- announcing. -RRB- Relax everybody. Everything is under control. The jug head's going to think of something. Without warning. John lunges at Phil. Phil screams, trying to defend himself. The guys all dive in. Suddenly it's an all out brawl. John out of control pounding Phil's head against the seat of the boat. Suddenly, from behind, comes a blistering `` THWACK!'' as Chuck breaks an oar over the back of John's head. Stunned, John lets go of Phil and turns, blood dripping from the back of his head. JOHN Nobody calls me an idiot. He weaves, then passes out, falling face down in the sand. The guys stagger to their feet, trying to recover. PHIL God damn it man. I think he broke my nose! CHUCK Shut up, Phil. Chuck tosses the broken oar handle, kneels over and vomits. TERRY Well that's just great. Now what are we supposed to do? Chuck and Robin hoist John up and drag him under a palm tree, propping him up. The others huddle to stay warm.\",\n \"EXT. BEACH - MORNING The crew's asleep in the tropical heat of day. Bloodied and sun burned. A fly buzzes around Rick's face, waking him. He sits up sunburned and sore trying to focus. He gazes across the water, stupefied. RICK Oh - my - god. The others stir and follow his gaze. The Albatross sits in exactly the spot where they left her. ROBIN I'm not sure if this is really good or really bad.\",\n \"EXT. ALBATROSS - DAY The sound of a rod and reel spinning wildly. George tries to maintain control as the rod nearly jumps out of his hands. GEORGE I got a live one! Skipper, Alice and Bill watch the shoreline as the boys launch the long boat into the surf. George is struggling. A beautiful tarpon leaps out of the water, but Skipper never takes his eyes off of his boys. SKIPPER The thing about fishing George, is you need to let'em run some. Give'em just enough slack so they do n't break the line. But at the same time you've got ta keep enough tension to wear'em down, bring'em in slowly so they do n't really know they're hooked. Suddenly George's line goes slack. He nearly falls over backwards. GEORGE I'll try and remember that.\",\n \"EXT. DECK - DAY Hound dog and hung over, bloodied and burned, the boys stand before Skipper and the others. Skipper looks dark and angry. SKIPPER You know what a loose cannon is? ` Bout the worst thing that could happen to a wooden ship. All it took was one, crashing around the deck in a storm. It'd smash everything in its way, maybe take out a mast or punch a hole right through the hull. Think about it, just one cannon not tied down, not anchored, could take a whole ` Man of War' straight to the bottom. MIKE -LRB- aside. -RRB- But we do n't have any cannons? Chris jabs him in the ribs. CHRIS -LRB- hushed. -RRB- Shut up! Skipper turns and faces them. SKIPPER Now, if the Skipper were smart, if he could see a storm building, why he'd cut loose every gun on his boat. Even though it would leave him at a disadvantage in battle, he'd push'em into the sea. Better chance running for port than risk the entire ship, his crew. He takes a pause making sure he has their attention for this part. SKIPPER People are like that sometimes. They cut loose and before you know it, they're knocking holes in everything. So you got ta ask yourself if it might not be better to just put'em off before they sink the whole thing. I mean after all, you can always get new cannons. He walks back to his place at the rail. SKIPPER -LRB- beat. -RRB- I want a tight ship, everybody shaved and in clean clothes when we make Curacao. If it goes well, if your mid terms are acceptable, I may reconsider my decision about the rest of the trip. That's all. Dejected, the crew goes below.\",\n \"EXT. DECK - DAY Under sail. Skipper stands at the wheel overseeing the crew taking exams. Each writes furiously as Alice scribbles problems on the blackboard which hangs from the chart house door. As the boys scratch out the problems, John seems paralyzed. He looks over at Phil and copies down his answer. He checks crib notes hidden in his shorts. Chuck and Robin both see this and exchange looks.\",\n \"INT. AFT CABIN - DAY John makes his way down the narrow corridor towards the head. Robin follows. Chuck drops down the aft companionway, intercepting John. CHUCK Where you going? JOHN To take a piss. ROBIN Really? John turns around, surprised, sandwiched. JOHN Yeah, that's right. You wan na come in and shake it for me? CHUCK If you're gon na cheat, you might as well copy off somebody who's gon na get the answer right. JOHN You've got ta be kidding. Get the fuck outta my way! Chuck throws open the Engine Room door and they shove John inside. JOHN What the hell! Chuck manages to pin John. Robin checks his pockets and comes up with the crib notes. Chuck lets go. John snatches them, ashamed. CHUCK Takin' a piss? John turns away. ROBIN Why, man? JOHN I do n't have to listen to this. CHUCK Yes you do, stupid. Because if you do n't, I'm gon na go right up there and have a heart to heart with Skipper and you'll be on the first plane back to idiotville. John lunges at Chuck, sending them both sprawling. Robin leaps on top of John. ROBIN Cut it out man! Stop it! What's the matter with you? If Phil had caught you he'd have ratted you out in a second. You get caught cheating, you'll get kicked off the boat. John explodes, tears flowing. JOHN I cheated to get on the boat! All right?! CHUCK What? He lets go of Chuck and stands up trying to hide his emotions. JOHN I doctored my grades so I'd make the cut. I'm a moron, okay? You satisfied?! CHUCK You're not a moron. JOHN Wan na bet? Takes me half a day to get through one chapter of Lawford and I still do n't have any idea what the hell he's talkin' about. You know why it takes me so long to write papers? because I ca n't spell. While everybody else is sleeping, I'm in the rack with a flashlight and a dictionary. John chokes back a sob. JOHN Hell, they even kicked me outa vo - tech'cause I could n't read a slide rule. PHIL I can show you how to use a slide rule. The three turn around, startled. ROBIN How long you been standing there? PHIL Long enough. John looks down, resigned. JOHN They were gon na put me into special - ed this year. I stole a copy of my transcript, changed all the grades. Shit, who am I kidding. I'll never pass the boards. CHUCK Listen, you do n't cheat, and we'll make sure you get the grades. We'll start a private study group. Nobody knows. You'll ace that test. ROBIN I'm in. They turn and look to Phil, who still shows the tell - tail signs of their fight. PHIL Me, too. JOHN Why would you do that? CHUCK Because we believe in you. -LRB- beat. -RRB- Because we're your friends.\",\n \"EXT. CURACAO - HARBOR - DUSK As a blazing sun sizzles into the western sea, the Albatross rounds a point and heads towards the docks several hundred yards away. On the dock, the students of the school wait. As soon as the ship is in view, they start to cheer. Chuck squints. CHUCK What are they doing? ROBIN I ca n't make it out? Robin calls up to Phil, who is at the wheelhouse. ROBIN Hey, Phil. Swing up the ` binocs' and tell us what you see. Phil picks up the binoculars and focuses. PHIL -LRB- puzzled. -RRB- They're waving. handkerchiefs or something. RICK What? CHARLIE Maybe they're surrendering. PHIL Wait a second. Phil lowers the binoculars and turns to Skipper. PHIL They're girls! They're all girls! Skipper shares a knowing look with Alice. TOD Gim me those. Tod snatches the binoculars. TOD WHHOOOOAAAAA! WOMEN! Everyone on board rushes to the port side. Every single person on the dock is a young girl waving a white handkerchief. Spontaneous cheers from the boys. As the ` Big A' pulls to the dock, John and Tod run for the gunnel door and swing it open. The girls flood the deck. BILL Good morning, ladies. They chatter in Dutch and hurry aboard. Like wall flowers, Robin, Phil and Chuck stand on top of the chart house watching utopia unfold before them. ROBIN What are we supposed to talk about? PHIL You've got ta be kidding? ROBIN But, they do n't speak English. PHIL There are some things that everybody does in the same language. CHUCK Yeah, but how are you supposed to make the first move? PHIL Like this! Phil reaches up for a free line. With a running start he swings out over the water. PHIL Yeeee Haaaaa! He careens back onto the deck and lands in front of two startled, but impressed girls. Robin and Chuck applaud. Phil takes a bow. All hell is breaking loose. Skipper and Alice welcome aboard the headmaster, MS. BOYDE, 50's, dumpy but tough. SKIPPER A very enthusiastic welcome. MS. BOYDE We do n't often have guests. Our girls have been looking forward to your visit for some time. Welcome to Curacao. SKIPPER Thank you. You're all ready to sail then? MS. BOYDE I should think so. ALICE I'm sure they wo n't be disappointed. A man's voice bellows up from the dock. FRANCIS -LRB- O.S. -RRB- Ahoy there! Everyone stops and freezes. Phil turns, disbelieving. It's his parents, Francis and PEGGY BOUTILLIER, standing next to a limousine dressed in brightly colored tourist garb. PEGGY Surprise! FRANCIS Well, well. What do we have here? A floating brothel? ALICE -LRB- cool. -RRB- Hardly. Francis comes aboard uninvited as usual. FRANCIS Well, we thought we'd drop in and see if you were all still in one piece. SKIPPER -LRB- pointed. -RRB- And, of course, we are. FRANCIS Well, you never can tell these days, can you? Skipper shoots a look over at Phil who is staring a hole in the deck. SKIPPER What is it we can do for you today? FRANCIS Well, we've come to give our boy a little break from the monotony. PHIL It's not monotonous. Francis flushes red. FRANCIS Never the less. He turns and joins Peggy on the dock. Phil is suddenly full of rage. This is an invasion of his privacy. Everyone feels it. FRANCIS Hop to boy. We have n't got all day. Phil's anger turns to resigned humiliation. He stops, staring down at his parents. Skipper puts a hand on his shoulder. SKIPPER I did n't know, Phil. Phil nods, head down and walks down the ramp. All watch him go, feeling for him.\",\n \"EXT. OPEN WATER - DAY The sails begin to rise but unlike earlier, the guys SING out like the Vienna Boys Choir and it's having the desired impressive effect on the women. CREW TOGETHER When the sun came up there was whisky in the cup / and not one of us was sober / Kerry thought she saw a picture, but it really was the sun / then we knew the party was over. The weather was perfect, brisk and steady under the trade wind swells. The voices trail away as the ship moves off. OLDER CHUCK -LRB- V.O. -RRB- Curacao seemed out of a dream, somehow make - believe. But, as Ohio drew further and further away, it was home that began to seem unreal, drifting somewhere in the foggy reaches of our memories. And I knew that each of us was falling in love. But not only with these wonderful women or the swaying palms and porcelain beaches. We were falling in love with the experience we were sharing, and with who we were becoming.\",\n \"INT. MAIN CABIN - NIGHT The crew is getting ready for a farewell party. Each member is primping. CHUCK Bregitta. Do you believe it? JOHN Believe what? CHUCK Her name. -LRB- savoring the sound. -RRB- Bregitta. It's poetry. TERRY Soon as we ship it'll be `` forgetta''. TOD Do n't mind him, Chucky. You're talking to a guy whose idea of big romance is a palm full of Vaseline. TERRY Screw you, Valentino. I have n't seen you swapping spit with anybody. Tod smiles as he slowly pulls something from his pocket. It's a pair of girls' cotton underwear. TOD That's because I'm discrete, moron. The guys try to wrestle the underwear away from him. Just then Skipper descends the companionway. SKIPPER Alright, gentlemen, we sail with the tide. Twenty - three hundred. Sharp. I'm not waiting. Have a good time tonight but be back on time. The crew cheer. This means the trip goes on.\",\n \"EXT. SCHOOL - GARDENS - NIGHT Decorated with colored paper lanterns and streamers, a STEEL DRUM BAND softly plays in the b.g.. The crew slow - dance with their girls, dressed in cotton that seems to glow against their dark skin. Ms. Boyde is scrutinizing the body contact between Chuck and BREGITTA. Their lips appear pasted together and she does n't like it. Lawford sees what is about to happen and hands his slimy cigar to George who reacts. LAWFORD Hold this, will ya? Lawford intercepts Ms. Boyde. LAWFORD Madam, I would consider it a privilege if you would allow me to take you on a tour of the dance floor. Ms. Boyde is so flattered, it is all she can do to extend her hand. Lawford leads her away and glares at Rick. LAWFORD You're very light on your feet Ms. Boyde. Was it you who taught all of these young ladies the art of the dance? Ms. Boyde giggles like a school girl.\",\n \"EXT. RESTAURANT - NIGHT Phil and his parents sit outside at a ritzy restaurant. Phil stares towards the harbor. FRANCIS What's wrong, you do n't like steak? PHIL I should be eating with the crew. FRANCIS Humor me. Eat it anyway. PHIL Why are you here? PEGGY We missed you. We wanted to check on you. PHIL I do n't need you spying on me. FRANCIS Spying?! PHIL I can take care of myself. FRANCIS -LRB- sarcastic. -RRB- Oh, really? PHIL Look, you put me on this boat in the first place. I did n't want to come but I did. Why do you have to embarrass me. Why ca n't you just leave me alone? Francis slaps Phil across the face nearly knocking him out of his chair. Everyone and everything. It's humiliating. PEGGY Francis! She cradles Phil's red face. He fights the tears. FRANCIS Listen to me, you thankless little prick. We're your parents, so do n't you dare talk to me disrespectfully. What the hell is it, this captain? Because I'll see him in a rowboat. PHIL It has nothing to do with him. FRANCIS Well, what does it have to do with? Us? PHIL No. Look, it's me okay? Ca n't it just be about me? For once? Phil pulls free and exits. He can feel eyes all over him.\",\n \"EXT. SCHOOL - GARDENS - NIGHT Alice watches, swept up in the nostalgic romance of it all. Skipper joins her. SKIPPER He would have loved this. ALICE Your father? SKIPPER All his years at sea, he never stopped talking about these islands. ALICE You miss him. Skipper manages a sad smile. SKIPPER Every hour. Every minute. -LRB- pause. -RRB- I wish he was here. I wish he could have sailed our girl. Seen these boys. She smiles warmly. SKIPPER I'd have liked to have said goodbye. ALICE He knows. SKIPPER You sound so sure. ALICE I am about this. Skipper turns and stares at her deeply. ALICE What? SKIPPER He never would have believed a woman like you existed. Alice smiles and turns back to the dancers. ALICE Do you remember the last time you and I danced under the stars? SKIPPER Guilty. ALICE On the deck of the Yankee, the night you asked me to marry you. We were n't much older than they are. The music changes to a calypso waltz. Skipper takes Alice by the hand. SKIPPER Would you allow me? She's sixteen again. There's something about him that still makes her blush. Skipper leads her to the dance floor. He hesitates, looking deeply into her eyes. As they begin to dance, the boys notice and exchange looks. Lawford and George sit across the quad, sipping punch and smoking cigars. GEORGE If I did n't know better I'd say the old man was acting almost halfway human. LAWFORD He is halfway human. One by one the couples clear for the Skipper and his bride. They glide, lost in each others arms. They dance a dance for the ages. As if it might be for the last time. The music swells.\",\n \"EXT. PIER - NIGHT Chuck and Bregitta, are at the end of the pier, a full moon hangs above the horizon. Bregitta does n't understand what Chuck is saying, but it's clear she's enjoying him. CHUCK I ca n't remember feeling like this about myself, a place, someone like you. We've come such a long way, seen so much. But nothing like this. Bregitta smiles and takes Chuck's hand. He's nervous. CHUCK I'm not the best at expressing myself. Maybe the only reason I can now is because I know you do n't understand me. -LRB- beat. -RRB- I like you so much. Too much. But how could I? I mean, if we ca n't even communicate, how could I know you? It's confusing. We sail in an hour and I'll never see you again. Bregitta takes Chuck's face gently and kisses him tenderly. Then, in perfect English. BREGITTA I like you, too. Chuck's eyes widen, astonished. Bregitta smiles, takes Chuck by the hand, and leads him to a small covered boat moored to the pier. BREGITTA Come on. We do n't have much time. Blushing deeply, Chuck follows her into the boat.\",\n \"EXT. STREET - SAME Robin walks down the street hand in hand with one of the girls. A long string of colored lights illuminate the length of the street. Robin clumsily tries to kiss the girl. She laughs. ROBIN -LRB- defensive. -RRB- What? Suddenly there's a flash and the sound of breaking glass. Robin looks up to see Phil staggering, down the street, smashing each of the colored light bulbs with a stick. He showers himself with broken glass and sparks. ROBIN -LRB- to girl. -RRB- Wait for me okay. I'll be right back. I swear. She smiles sadly and nods. Robin sprints down the pier and catches up with Phil. His feet are bleeding. He is completely smashed. ROBIN Phil. What are you doing? PHIL Fandango, Junior. -LRB- he holds up his stick. -RRB- I'm gon na do some limbo baby! ROBIN No way Phil. Not like this. PHIL Roger Meris, steps up, it's a corker down the pipe. THWACK! He scores another bulb. Robin jumps out of the way. PHIL It's outta here! ROBIN Come on man. Let's just talk about it. The music drifts from the gardens ahead. Phil bolts. Robin chases after him. ROBIN Phil! Wait man. Come on.\",\n \"EXT. SCHOOL - GARDENS - NIGHT John shares a joke with Lawford and George. The calypso is cranking, but only John hears Phil and Robin crash into the refreshment table. Robin struggles to stop Phil. JOHN -LRB- to Lawford. -RRB- Be right back. Lawford nods, oblivious. ON THE GUYS John tries to help Robin with Phil. JOHN Jesus! What the hell happened to him. PHIL Lem me go! Lem me go! ROBIN I do n't know. We got ta get ` im outta here before Skipper sees him like this. PHIL Son of a bitch! Phil kicks and struggles. JOHN Phil, if you do n't calm down, I'm gon na hurt you. Got it? They drag him into the darkness. From near the bandstand however, Skipper has seen it all.\",\n \"EXT. ALBATROSS - NIGHT The crew lean along the rail waving goodbye to the girls who wave back with their white handkerchiefs.\",\n \"INT. MAIN CABIN - SAME Chuck and John hold Phil still as Robin picks shards of glass out of his feet. Phil clenches his jaw, but his eyes are dry.\",\n \"EXT. ALBATROSS - DAY The ship is under full - sail driving before a brisk following wind. It takes two on the helm to keep her safely on course. Those not on watch are sprawled about the boat, scraping and ` red - leading' or reading. Chuck and Robin sit forward with John, studying. Lawford paces the deck, chiding the crew. LAWFORD The rust wo n't wait for you to read Conrad, Goodall. JOHN Then he should n't have written such a long poem, Mr. Lawford. LAWFORD Read on, young John. Read on. College boards are coming. John looks down, dejected. Suddenly Tod cries from the foretop. TOD There they blow! There they blow! Dolphins off the bow! Everyone rushes to see. Dolphins leaping out of the water. It's a magnificent game they play with ships. The crew cheers as each one explodes out of the sea, close enough to touch. Isolated, Phil watches. Angry, cut off. Chuck eyes him, worried. Bill and Charlie rig the bowswain's chair and lower Rick into the water. Suddenly, the dolphins are everywhere. Rick pets them as they swim back and forth. Shear joy. Phil reaches for the spear gun. Nobody notices as he loads and takes aim. Suddenly. with a crack, everyone spins around. A large female dolphin leaps out of the water, bloody foam spraying from her blow hole. She lets out an agonizing scream. Phil holds her fast. CHRIS Jesus Christ! The crew can only watch, stunned. Phil is suddenly, defensive as if waking from a dream. PHIL Fuck off man. It's just a fish. RICK No, Phil. It's a mammal. Skipper steps on deck, sees the dolphin and Phil with the spear gun. SKIPPER -LRB- quietly. -RRB- Bill, lower a long boat. We'll bring her up with the davit. A dory is lowered with John and Bill inside. Once near the water they maneuver the struggling dolphin into a canvas harness. The crew hoist her with the davit tackle, swing her inboard, and gently lower her to the deck. They gather around the gasping animal. Alice checks the wound. Skipper kneels beside her. SKIPPER What do you think? Alice shakes her head and gently strokes the dolphin. ALICE It's through her lung. Skipper turns to Phil. SKIPPER -LRB- to Phil. -RRB- Nice shot. Phil looks up at the crew but one by one they look away. Chuck finds this confusing and inexcusable but is the last to look away. Skipper grimly walks over to one of the deck lockers and pulls out a large wooden mallet and holds it out to Phil. SKIPPER Finish it. Phil looks at the mallet, horrified. PHIL -LRB- stammering. -RRB- I'm not gon na kill it. SKIPPER You already have. Now go on. Do it. Phil backs away. Skipper stares at him for a moment, then walks over to the dolphin. Robin looks away. The sickening sound of the mallet crushing the skull of the animal seems to silence the world. There are one of two thumps of her tail and, it's over. Skipper tosses the bloody mallet into the locker and approaches Phil, his face flushed with anger. He grabs the spear gun, and snaps it across his knee and throws the pieces into the sea. SKIPPER What the hell is wrong with you?! Phil begins to shake with rage. SKIPPER Come on. You got so much fight in you ; you wan na kill something? Take your best shot. The first one's free. Robin holds his ears as if he can make it all go away. For a brief moment Phil looks as if he might take Skipper up on the challenge. Then the impulse passes. SKIPPER That's what I thought. -LRB- beat. -RRB- You're done. You're going home. Skipper turns. The humiliation is more than Phil can take. He lunges after Skipper. Lawford grabs him. Phil swings wildly. PHIL You mean - assed bastard! You son of a bitch! You ca n't do this! You ca n't do this! God damn you! God damn you! Lawford leads Phil, struggling, below. The crew surround the dead dolphin, stunned.\",\n \"EXT. ARUBA - ESTABLISHING - DAY The Albatross is at anchor in the center of the harbor.\",\n \"EXT. DECK - SAME Phil comes on deck from below with his duffel bag. Everyone feels bad but no one knows what to say. Phil turns to get a second load. CHUCK Why'd you do it? PHIL -LRB- regretting it. -RRB- What's the difference? CHUCK You only hurt yourself you know? PHIL Like you really care. Like any of you give a shit what happens to me. RICK You're the one who does n't care, Phil. PHIL It hurts too much to care. RICK About yourself? PHIL About anything. Phil turns and disappears down the companionway. ROBIN We should n't be putting him off the boat. CHRIS The guy's out of control. ROBIN Everybody's been outta control on this trip. -LRB- beat. -RRB- Are we a crew or not? I mean, is n't that what this is supposed to be all about? MIKE You're the last person who should be whining about being a `` crew''. ROBIN How do you figure that? MIKE Well, I'd sure like to go into the subject of vertigo and all, but I would n't want you to piss yourself. Robin flushes bright red. John fires a look at Mike. JOHN You're a regular prick you know that? MIKE Tell it to the dolphin, Goodall. JOHN Everybody deserves a second chance, ya know? We'd do the same for you Mike. ROBIN It's about family is n't it? I mean are we together on this or not? There is a long pause. Mike and Chris cave. MIKE Hell, do what ever you want. It wo n't change anything anyway. Robin exchanges a glance with Chuck and together, they climb up the companionway.\",\n \"EXT. CHART HOUSE - SAME Chuck and Robin stand before the door. ROBIN I ca n't go in there. CHUCK What are you talking about. Robin turns away, ashamed. ROBIN The guys were right. It'll mean nothing coming from me. He'll listen to you Chuck. Everybody does.\",\n \"INT. CHART HOUSE - SAME Skipper and Alice have paperwork spread out in front of them. A knock. SKIPPER Come. Chuck enters, awkward. SKIPPER What's on your mind? CHUCK I'm here on behalf of the crew, sir. Skipper looks up. SKIPPER Well, spit it out. CHUCK The fact is. We'd like you to give Phil another chance. Alice raises her eyebrows, surprised. SKIPPER Ca n't do it. CHUCK Sir? SKIPPER Close the door. Sit down. Chuck does as he is told. SKIPPER Why do you think I'm sending him home? CHUCK He killed the dolphin. Skipper looks at Chuck for a moment. SKIPPER The Dolphin was a symptom. CHUCK Of what? SKIPPER Of a fight he ca n't win out here. CHUCK It's his father sir. He's suffocating him. We've all seen it. Suddenly it's as if Chuck is talking about his own life. CHUCK I mean he has all these expectations and he does n't even know who his own kid is. What right did then have to show up here? SKIPPER They have every right Chuck. CHUCK They send us because they want us to change, or grow up or something and then they try to keep us the same. Skipper sits up and studies Chuck for a moment. SKIPPER Let me tell you something about Phil's father, and your's too. How do you think you got here? You think this is all free, that they owe you something? You think they enjoy riding subways and commuter trains, driving buses or pulling lobster traps? Work fifty weeks a year to keep you in tennis shoes and private school? Look around at how the rest of the world lives Chuck. We're the luckiest people alive, every one of us. They gave it up for you and Phil, and me too my friend. Chuck chews on it. SKIPPER There are ground rules in families just like on this boat. If you and Phil do n't like it, I'm sorry. Someday you'll understand that, and if you're lucky, you'll come home and find your best friend has been there all along waiting for you to forgive him for being a father. It'll be the way it used to be, when you were ten and your dad was a giant. Now it's Skipper who is talking about himself. SKIPPER Does Phil know how you guys feel? CHUCK I do n't know. SKIPPER You should tell him. That's something he can take with him. Chuck nods and leaves.\",\n \"EXT. CHART HOUSE - SAME As Chuck exits he meets Robin's eyes. He shakes his head.\",\n \"INT. CHART HOUSE - SAME Skipper returns to his paperwork but can feel Alice watching him. He senses it. SKIPPER I'm all ears. Alice smiles. ALICE You may not like what you hear. SKIPPER I can take it. ALICE They've become what you wanted. They're a crew. That's why he came. Skipper puts a loving hand on Alice's shoulder. SKIPPER Why did we begin this? ALICE We were idealists. SKIPPER Because we believed we could make an impact out here. Self reliance and community through the disciplines of sailing. ALICE I have n't forgotten. SKIPPER Phil, he's not looking inside. He's just striking out at the world. ALICE He has a lot of hurt inside him. SKIPPER Well, he better learn to own it. Actions have consequences. -LRB- beat. -RRB- It's not what happens here Alice, it's what they take away with them. Alice runs her hands across his face. ALICE You're still an idealist. Skipper turns and slips into her arms. SKIPPER Oh hell.\",\n \"EXT. DECK - DAY Phil is in the long boat with Skipper, ready to shove off. Tension is high. It's as though they're all waiting for Skipper to give Phil a reprieve. But, it's not coming. They mumble goodbyes. Terry and Rick pass down Phil's bags. RICK Good luck. Phil nods and turns to Skipper. PHIL I'm ready. Skipper starts to pull the oars to make the crossing to the dock as the crew watches them go. Robin turns, staring at the ships bell.\",\n \"EXT. DOCK - SAME Skipper ties off the boat and Phil hands up his bags. A black limousine waits, brooding. Phil climbs up with Skipper and stands, stares at it. The back door opens, but nobody gets out.\",\n \"EXT. ALBATROSS - SAME The crew stand, watching. CHARLIE His ol' man's gon na eat him for lunch. JOHN I know what that's like. RICK Yeah. Then, suddenly. CHUCK My god. All stares aloft. In the rigging, climbing up the mast, is Robin. With the ships bell in his teeth, he is sweating every rung. Perspiration glistens on his brow. The crew watches, transfixed as he fights his way towards the foretop.\",\n \"EXT. DOCK - SAME Phil turns to Skipper. Working up some courage to say something, anything. But all that comes out is. PHIL I'm sorry. A pause between them. SKIPPER I know, Phil. Skipper extends a hand and they shake. Phil is about to turn, when a familiar sound draws their attention.\",\n \"EXT. FORETOP - SAME Robin, holding on for dear life at the top of the mast, rings the ships bell triumphantly over his head, waving to Phil. Victorious. Ding ding! Ding ding! Ding ding! The crew begin to cheer.\",\n \"EXT. DOCK - SAME Phil stares back, fighting his emotions. Slowly he raises his hand in a single wave of acknowledgement. The ringing stops as his eyes meet Robin's. Waves back. Skipper turns. SKIPPER They never gave up on you, you know. Phil chews on it. Then. PHIL Tell'em I said. thanks. -LRB- beat. -RRB- Goodbye Skipper. ROBIN'S POV Robin watches as the limo pulls away. He rings the bell wildly. The crew below wave in a show of silent protest. OLDER CHUCK -LRB- V.O. -RRB- As Robin rang him out, we waved in silent protest against Skipper's decision. And in the days that followed the low morale was matched only by a sense of arrogance that perhaps the master should step down and let his students take over. AERIAL SHOT Robin, the Albatross and the drama unfolding below spin slowly away as we climb, turning, higher and higher.\",\n \"EXT. ALBATROSS - ESTABLISHING - DAY Foam sprays from her bow as the Albatross slices through the swells.\",\n \"INT. CABIN - SAME Tod exits the head with a worried look on his face. He grabs Chuck by the arm and pulls him aside. Morale is extremely low. TOD Listen man, I think I have a problem. CHUCK We all have problems. TOD I'm pissin' fire man. Chuck reacts.\",\n \"INT. SKIPPER'S CABIN - DAY Tight on Alice. Pull back to reveal Tod standing in front of her with his shorts down around his ankles. Mortified. ALICE Have a nice time in Curacao, did you Tod? Alice gets up and moves to her medicine chest. Tod starts to pull up his shorts. ALICE Not so fast. She pulls out a menacingly large looking hypodermic needle. Tod's embarrassment turns to alarm.\",\n \"EXT. DECK - LATER The crew stand in line, pissed. Lawford and George man the deck with Skipper and exchange amused looks. The door opens and Chris exits, red faced, rubbing his backside. He glares at Tod who sits on the paint locker. CHRIS Way - ta - go Valentino. I never even copped a feel in Curacao. TOD Yeah well, your sexual orientation is not my problem. RICK Man, is there a social disease you have n't had? CHARLIE So much for vestal virgins. Lawford swings up a pair of binoculars. A vessel under power is coming up fast behind them. He holds the binocs out to Skipper. LAWFORD What do you make of that? Skipper turns and looks. SKIPPER I do n't know. The ship pulls along the port side, keeping a couple hundred yards between them. The boys move to the rail. George sees them first. GEORGE Jesus. She's got guns. SKIPPER She's Cuban. Everyone becomes alarmed. Even Alice looks concerned. Suddenly a puff of smoke discharges from the gun boat. SKIPPER -LRB- shouting. -RRB- GET DOWN! EVERYBODY DOWN! The entire crew hit the deck as a shell rockets across the bow exploding in the water. SKIPPER Jesus, we're Americans! We're Americans! Skipper grabs the American flag and starts waving it. TERRY Jesus, they're gon na sink us! SKIPPER Bill drop everything. Do it now! The crew scrambles for the rigging, frantically dropping sail. SKIPPER -LRB- hitting each word. -RRB- Who the hell do they think they are? As the sail comes down, the Albatross slows to a stop. The Cubans inch closer and begin speaking over a loud speaker in Spanish. The seas are high and the two ships rise and fall with the large swells between them. GEORGE They want us to identify ourselves. Chuck returns with a bull horn. SKIPPER Tell them we're the American School Ship, Albatross. George replies in Spanish over the bull horn. The Cubans answer. GEORGE They think we're carrying Cuban refugees. -LRB- beat. -RRB- Skipper, they mean to board us. SKIPPER Not a chance. Remind them that according to the Geneva Convention, firing on a civilian vessel on the high sea is an act of war. Another exchange between George and the Cubans. The crew lay flat on the deck, terrified. GEORGE They say they are acting on the direct authority of Fidel Castro. Skipper defiantly swings up onto the gunnel rail. The Cuban Captain gives an order and one of his sailors jumps into the turret of the anti aircraft guns and swivels around pointing both barrels at the Albatross. Skipper stands firm, between the shrouds. Silence. A standoff. SKIPPER Tell'em to come aboard. George sends the return message. There is a pause, then the murmurs of the relieved crew. Skipper swings down but never takes his eyes off the gunboat. SKIPPER -LRB- to crew. -RRB- We've come a long way gentlemen. But this is no time for heroes. I know you're much more, but I need you to be boys right now. That's an order. Now scatter and find your passports.\",\n \"INT. CABIN - DAY Laundry, books and mementos go flying as each boy scrambles to dig up his passport. Terry sits among his things, dazed. Bill notices. BILL What's wrong?\",\n \"EXT. DECK - DAY A small launch filled with Cuban soldiers approaches the Albatross. The crew climb on deck and line up along the Chart House with their passports. Lawford walks up to Skipper. LAWFORD We've got a problem. SKIPPER What's that? LAWFORD Terry left his passport in Curacao. We could hide him. SKIPPER No. Bring him on deck with the others. The Cubans cast their lines up and climb aboard carrying side arms. Terry reluctantly joins his crew mates. The COMMANDING OFFICER faces Skipper as his men go down the line checking the passports. Others search the ship. COMMANDER Chicken is a fool's game captain. SKIPPER So is violating international law. COMMANDER But you invited is aboard. SKIPPER Your cannons made a compelling argument. One of the Cubans pulls Terry out of line and brings him forward. He alerts the Commander in Spanish. COMMANDER Stow away? SKIPPER He left his passport in Curacao. It's being mailed to Panama. COMMANDER That is unfortunate. We'll have to take him with us. Terry is petrified. LAWFORD If he's a Cuban, Castro wears a dress. SKIPPER Nobody aboard my ship is going anywhere. Skipper stares him down. The Commander signals to one of his men who disappears into the Chart House. COMMANDER Perhaps in appreciation for our country's pursuit of peace, you might offer us some, token of gratitude. Skipper does n't really have a choice. SKIPPER What do you want? The Cuban returns from the Chart House with the Ships sextant and hands it to the Commander. COMMANDER This. And. Pointing to the ships compass. COMMANDER and that. GEORGE You've got to be kidding! SKIPPER -LRB- cold. -RRB- Take it. Without hesitation the Cubans pull the large brass compass from its base. SKIPPER Now, get the hell off my ship. As they leave the ship, they pause. The Commander looks back at the Skipper, then deliberately drops both sextant and compass into the sea. COMMANDER You'll really have something to teach your students now. Skipper stands towering above them. The Cuban captain smiles up at him. Amazingly, Skipper addresses him in perfect Spanish. SKIPPER Las estrellas es lo unico, que un marinero verdadero se mesesita para encontrarse. Verdade Patron? The Cubans stare back, frowning, amazed as they motor away. The crew are stunned by what they have just witnessed. Skipper turns and meets the eyes of admiration, humility and complete respect. He joins Alice at the helm. They linger for a moment. CHUCK What'd he say? George smiles, impressed as well. GEORGE He told them real sailors need only the stars. With a new attitude, they turn to Skipper. SKIPPER Alright then, let's get outta here. The crew bolt to there positions. OLDER CHUCK -LRB- V.O. -RRB- With staff and string he showed us how to build a sextant. As we rode the trades, he shared the ancient secrets of how to read the waves and follow stars. And some mornings later, bathed in the orange glow of a sunrise, Panama rose from the sea like a phoenix.\",\n \"EXT. ALBATROSS - PANAMA CANAL - DAY Panama appears on the horizon. The Albatross is dwarfed by the huge freighters moored around her, as she moves through the locks. The crew stand on deck in quiet reverence.\",\n \"INT. MAIN CABIN - NIGHT The sounds of slumber fill the cabin. All seems well with the world. Suddenly, silhouettes in the darkness. A huge bearded figure stands in the center of the cabin with a trident in his hand. Chuck wakes with a start. He bolts upright to see the horrible figure of NEPTUNE himself -LRB- Lawford -RRB- towering before him. He tries to scream, but hands cover his mouth. He is dragged, struggling, up the companionway.\",\n \"EXT. DECK - NIGHT The Albatross has been transformed into a ghost ship. Where the sails once were, only shredded fabric. All of the crew have been brought on deck. Powdered faces glow, surreal. John's head has been shaved into a mohawk. Robin, Rick and Chris have been reduced to crew cuts. The shears start over Chuck's head. Neptune and his sidekick, DAVEY JONES -LRB- George -RRB- and two MERMAIDS -LRB- Bill and Alice -RRB- emerge with the rest of the crew. NEPTUNE Hold fast that polliwog and make him presentable. Chuck struggles as his hair is shaved away and face powdered. NEPTUNE Let it be known that on this day in the year nineteen hundred and sixty - one there appeared within the limits of my royal kingdom, the sailing ship brigantine Albatross, bound for Galapagos. All vessels that sail my domain shall be subject to the scrutiny of the underworld. Terry is brought topside kicking and screaming. NEPTUNE Silence! Terry shuts up and succumbs to the same fate as the rest. NEPTUNE Tonight you shall all enter the Order of the Shellbacks. Only when you have been duly initiated shall you enjoy the mysteries and protection of the trident. So, let the festivities begin.\",\n \"EXT. HELM - NIGHT Neptune and his court sit smoking Havana cigars as each member of the crew present themselves. Robin dressed like a pig and crawls around snorting. John's an Indian brave, whooping and hollering as he does a rain dance. Chuck, with flippers on his hands and feet, hops around like a frog. Rick is in ` drag' as Neptune's girlfriend and must sing everything he says. Charlie is dressed like a sloth and slithers along the deck. Frenetic chaos.\",\n \"EXT. DECK - LATER Neptune and his court lead a procession around the perimeter of the deck. The crew follows. They stamp their feet and chant. ALL Hell is to drift, heaven to steer! Hell is to drift, heaven to steer! Hell is to drift, heaven to steer! They move faster and faster around the boat. They shout louder and louder, faster and faster until they have all worked themselves into a frenzy.\",\n \"EXT. BOW - DAWN Davey Jones, holds a large turtle shell over the crews heads. As each one passes before him he pours blood from the turtle shell onto their heads. It runs down, streaking their floured faces and necks. As the ritual progresses, Neptune speaks. NEPTUNE By virtue of the power inherited by me, I do hereby command all of my subjects, such as mermaids, sea serpents, dolphins, whales, sharks and turtles, from eating, playing with, or otherwise molesting this vessel or her crew. Let it be remembered that on this, my Equatorial Domain on Longitude 88' 20' 13'' on this 532nd in the year of the dolphin, you entered the Order of the Shellbacks! The crew cheer and embrace. Skipper calls from the wheel. SKIPPER Land ho!\",\n \"EXT. GALAPAGOS ISLANDS - DAY The crew stop their celebrating and gather at the port bow. Ahead, glowing orange with the dawn, the islands of Galapagos. It's desolate landscape of silent volcanoes and ancient lava flows that spill into the sea. The faces of the boys, still streaked with the indignities of the night's ordeal, stand silently before their final destination. OLDER CHUCK -LRB- V.O. -RRB- We had journeyed over six thousand miles to the very edge of the earth. Like Darwin before us, we would witness the bliss of nature in the absence of man. And it was as if the Albatross had forded time, leaving it behind. In the heat of those equatorial days, on the virgin onyx beaches and shifting coral dunes, one could expect to find sunning iguanas, nesting frigates and perchance. the footprints of God.\",\n \"EXT. BEACH - SHIPWRECK BAY - DAY The Albatross rests at anchor. On the beach, the crew watch a huge group of penguins dive and frolic from the ancient guano cliffs. So unaccustomed are these creatures to man, that they have no fear.\",\n \"EXT. LAGOON - DAY Chuck, John and Rick snorkel among the playful SEA LIONS. They dart and swim like otters among their new human friends.\",\n \"EXT. LAVA OUTCROPPING - DAY Terry, Chris, Chuck and Mike stand taking notes on exotic birds. Frigates, hawks, flamingos, pelicans, boobies, and of course. albatrosses.\",\n \"EXT. ALBATROSS - DAY The crew are sprawled across the deck taking final exams. Alice walks among them. Chuck throws an anxious look towards John who is buried in his test.\",\n \"EXT. GRASSY LOWLANDS - DAY Boobies nest in the grass. Thousands of them and amazingly, the crew can walk among them without them batting an eye. Chuck and Robin watch as the iguanas sneak into unattended nests and steal eggs.\",\n \"EXT. DUNES - DAY Chuck is alone gazing over the shoreline. A huge flock of finches darken the sky, circling the black sand beach. Pure magic.\",\n \"EXT. BEACH - DAY Beyond, the anchored Albatross rocks and bounces in a blue - sky gale. Chuck, John, Robin, Rick, Chris and Tod stand by a dory watching the sea build. They wear only tattered shorts, their hair sun bleached and their skin dark. RICK We're here for the night. TOD Yeah.\",\n \"EXT. ROCKS - SAME Tight. The eyes of predators. Sharp, cunning, hungry.\",\n \"EXT. BLACK SAND BEACH - DAY A lone wild goat grazes on the beach. It looks up, sensing something, unfamiliar, then, returns to it's grazing. Tight. Thundering bare feet on the black sand. The goat looks up again, this time it sees five Homosapiens bearing down on him. They come naked, swinging their shredded clothing above their heads like lassos. Shouting, whooping, primal. The goat bolts for its life. Pounding through the waterline like the wild horses of Sable, the hunters charge after the hunted, closing. The goat's eyes are full of a terror it has never known. The beach is broad and long with no cover. The hunters are gaining on the goat. Splashing feet pound closer. Suddenly they are upon the goat. But, instead of attacking it, they just run through it, passing it. The goat pulls up and stops, breathless, watching the naked humans run. Close on the faces of brothers, matching each other, step for step. The music builds as we. FREEZE FRAME\",\n \"EXT. BEACH - NIGHT Wild eyes behind the charcoal painted masks of primal man. The rhythmic beat of sticks clacking and voices chanting. The heaping of driftwood into piles. Taught and powerful, the glistening bodies of young men. Blue sparks leap from striking flint against stone. A flame is born. Voices howl in guttural triumph. As the flames leap and singe the darkness, silhouettes of men pound the sand and cry out in a ritualistic dance. The goat watches from the shadows, bemused, as the dance builds to a frenzy. The night sky is filled with the building sound of raging fire, pounding surf and chanting voices.\",\n \"EXT. ALBATROSS - SAME The wind carries the sounds of ceremony across the water. The flames from the beach reflect off of the water turning the white hull of the ship, a deep flickering orange. The word A - L - B - A - T - R - O - S - S has been spelled in huge flaming letters. Alice joins Skipper at his place by the rail watching. ALICE What are they doing? SKIPPER Claiming their place in the world.\",\n \"EXT. SHORELINE - DAWN The white surf hisses as it washes among the cinders of the evenings ritual. The Galapagos have been returned, for now, to the frigates and the iguanas. Across the water against the rising sun, the Albatross, under full sail, is bound for home.\",\n \"EXT. DECK - SAME The crew stand at their posts. The yards and foretop are trimmed with sailors, their faces taught and their bodies hard. No one looks back.\",\n \"EXT. DECK - PANAMA CANAL - DAY Alice steps onto the deck from the chart house with papers in her hands. ALICE Well gentlemen, I have the results of your college board scores. I think most of you will be pleased. The crew members collect their exams. Chuck notices John at the bow, alone, lost. CHUCK You okay? JOHN Yeah. How'd you do. Chuck looks down at his exam apprehensively. CHUCK Ninety - six. JOHN Congratulations. CHUCK What about you? John slowly passes his test to Chuck. CHUCK It's a ninety - one! It's an ` A'! JOHN I know. CHUCK -LRB- excited. -RRB- You know? Then why are you up here looking like you're about to jump overboard?! JOHN I just ca n't believe it. CHUCK This is your moment, do n't you see? The instant when you know that your life is never going to be the same again. When you stand up and are counted. John tries to choke back his emotions. JOHN I could n't have done it without you. CHUCK Yes you could. You did. -LRB- holding up the exam. -RRB- This is all you. Nobody else. John looks out. JOHN Thank you. Chuck smiles and joins John's gaze over the water. CHUCK Feels different does n't it? JOHN What? CHUCK That we're going back. I do n't want it to end. I do n't want to be what I was when I left. JOHN What was that? CHUCK Anonymous. Chuck looks at his test grimacing. CHUCK I've been getting ninety - sixes my whole life. It's what they expect. After all this, I still have n't figured it out. JOHN Figured what out? CHUCK Who I am, outside of this boat. What the hell I'm doing here. JOHN I'll tell you who you are. You're the glue. You're the thing that holds everybody around you together. You're strong, you listen and you see things in people the rest of us ca n't. It's a gift. It's Chuck's turn to fight emotion. CHUCK You know, I never had friends like this. JOHN Me either. CHUCK I feel like. we can do anything. John smiles, clutching his exam. JOHN We can. OLDER CHUCK -LRB- V.O. -RRB- In the fading hours of that Pacific dusk, with nothing left to confess, for the first time we felt safe, capable, sure of who we were and where we were going.\",\n \"INT. MAIN CABIN - DAWN The crew sleep in their bunks. Lawford's voice rumbles down the companionway. LAWFORD A wet sheet and a flowing sea / A wind that follows fast, And fills the white and rushing sail, And bends the gallant mast / Arise, arise you salty dogs. The watch is on. Chuck, Tom, John, Terry and Tod roll out. The dumb waiter clatters down from the galley with the morning's breakfast. Skipper and some of the crew are already eating.\",\n \"EXT. DECK - DAY The Albatross is under full sail trying to take advantage of what little wind there is. The skies are gray and dank. Tod and Terry are at the helm. Chuck and John are amid ship. John relieves Bill on the forward watch. CHUCK Looks like we're gon na get wet. BILL Well, we need it. I want to take a nice long bath and catch some water for my laundry. JOHN Save some for me will you? BILL You got it. I'm going below. Suddenly, a huge lightning bolt explodes out of the sky and strikes the water a hundred feet off of the starboard beam. Everyone jumps. TOD Jesus! Skipper bolts onto the deck. SKIPPER Everybody okay? The crew nod sheepishly. A very close call. SKIPPER All hands keep out of the rigging and stay clear of the masts. The clouds grow dark but no more lighting. Tod laughs nervously. Everybody joins in. It's contagious. Even Skipper manages a smile. SKIPPER All right gentlemen. Thor's had his fun. Let's keep a keen eye. Skipper starts back into the chart house when suddenly, a powerful gust of wind drives the ship hard to a 45 degree list to the starboard. Skipper stops and turns. Instinctively, John and Chuck spring for the rigging to drop sail. SKIPPER -LRB- sharply. -RRB- No! Stay down! Skipper stares at the sky with the intensity of a cobra. Waiting. The wind eases. It becomes eerily still. The ship slows and the sails go slack. Silence. Skipper maintains his vigil. CLOSE ON WATER Foam and spray appear off of the tops of the swells like the invisible footprint of a locomotive. John sees it first. JOHN -LRB- shouting. -RRB- HERE IT COMES! Everybody turns and looks. Skipper's eyes suddenly widen as he realizes. SKIPPER -LRB- in a whisper. -RRB- White Squall! The charging wall of wind slams into the topsails so hard it send a shudder throughout the ship. The wheel is nearly ripped out of Tod's hands. Instinctively, he tries to turn the ship into the wind. SKIPPER Hard to starboard! Hard to starboard! Confused, panicked, Tod keeps turning to the left, into the wind. Skipper struggles to get to the wheel but when the ship heals so badly he slides sideways across the deck. TOD No, hard to port! SKIPPER TURN THE GOD DAMNED WHEEL TO THE RIGHT! Finally, Tod does as he is told. But as soon as the ship starts to come about, the vicious wind drives her further onto her side. As the deck becomes vertical Chuck half slips, half tumbles down to the starboard gunnel.\",\n \"INT. MAIN CABIN - SAME Robin, Chris, Bill, Mike and Rick are seated at the table finishing breakfast as the ship starts to go. They all share growing alarm as they watch the table reach it's maximum angle. Dishes start sliding off. BILL Get out! Everybody out!\",\n \"EXT. DECK - SAME Skipper manages to grab the ax mounted on the chart house and cuts the mainsheet with a single blow. But it's too late. The tall masts plunge into the ocean and the sails scoop tons of sea water, pinning the Albatross on her side.\",\n \"INT. SKIPPER'S CABIN - SAME Alice struggles towards the door. The book case tears out of the wall and strikes her. She drops to her knees. The door swings open in front of her. She reels for a moment and then loses consciousness.\",\n \"INT. FORWARD COMPARTMENT - SAME Lawford, Charlie and George are all hurled out of their bunks. The world is suddenly sideways. Lawford leaps up, pushing the others towards the companionway ladder. LAWFORD GO, GO, GO! TOPSIDE! Come on Charlie! George, get them out! George disappears into the main cabin. Lawford manages to get Charlie out. As Lawford reaches the top of the ladder sea water explodes through the hatch and drives him back into the bowels of the ship.\",\n \"INT. MAIN CABIN - SAME Robin is through the companionway in the chart house with Mike right behind him. But instead of exiting, he holds the door open against the sea so that Mike can escape. Mike gets through the door before the rushing sea slams it closed, pinning Robin's arm. He struggles to push through.\",\n \"EXT. DECK - SAME John slashes at the lines securing the starboard lifeboat with his knife and manages to free it before it is dragged to the bottom. He scrambles through the collapsed rigging tangled above him for the port lifeboat. AT THE STERN The Albatross is going down. Fast. Chuck and Tod stand on the after skylight. Chuck catches glimpses of the struggle going on below. CHUCK My God, they're drowning! Skipper catches a glimpse of Alice through the skylight. Water washes over her but she does n't move. SKIPPER Oh please, no. Not this woman.\",\n \"INT. SKIPPER'S CABIN - SAME Skipper's face is pressed hard against the skylight. His muffled voice penetrates the cabin. Alice stirs. She looks around, delirious. SKIPPER Alice, get up! Come on girl! He pounds uselessly on the teak deck then tears at the planks, fingers bleeding. Alice looks up confused but calm and finds Skipper's eyes. ON THE DECK Panicked for the first time in his life Slipper swings the ax wildly at the perpendicular deck sending a shower of splinters into the water. SKIPPER Get out! Get out! Jesus Christ, please God, Alice get out! But after only two swings, the Albatross and Alice, slip beneath the sea.\",\n \"INT. MAIN CABIN - SAME Water thunders in from every possible exit. Chris and Rick push Bill towards the dumbwaiter. RICK Bill, you go. We'll be right behind you. Before he can say no, Rick and Chris jam Bill into the tiny shaft. Suddenly, from below, a tremendous geyser smashes him to the top, knocking him unconscious. But the pressure is so great that the water sweeps him through the galley and out onto the deck.\",\n \"EXT. DECK - SAME Skipper struggles to reach John and the second life boat but sees that it is tangled in the rigging. SKIPPER Johnny, it's not good. John defies him and keeps cutting. The ship is almost completely submerged. JOHN I can get it! Suddenly one of the deck lockers breaks free and plunges into the water taking lines and rope with it. John becomes tangled and is dragged into the water. Only his superior strength allows him to hold onto the lifeboat and keep cutting. The Albatross slips beneath the surface. Instead of trying to free himself John keeps slashing at the lifeboat lines as he disappears, swallowed by the sea.\",\n \"INT. FORWARD COMPARTMENT - SAME Eerie silence. Lawford is trapped in an tiny air pocket. Debris float around. He begins to panic as the water around him rises. LAWFORD My God! Oh God I'm dying! He takes a deep breath and the water consumes him. Then suddenly, the ceiling above him explodes from the pressure within. ON THE SURFACE Lawford is catapulted from the grip of death, to the surface.\",\n \"EXT. SURFACE - SAME Chuck continues to frantically dive on the chart house door as the ship takes the ` Deep Six'. Suddenly the ship rolls 180 degrees, her screws exposed and keel jutting up like a huge dorsal fin.\",\n \"EXT. UNDERWATER - SAME Chuck feels the ship coming down on top of him but still finds Robin's arm. They clasp tightly, but Chuck just ca n't budge the door. Then, strangely, Robin releases Chuck's arm and pulls it back through the door. Chuck looks up, startled. The small round window in the door is illuminated from the cabin lights on the inside. Through the glass, Chuck meets Robin's frightened eyes. He fights to stay in a shrinking air pocket. Robin takes a last gulp of air then, a calm comes over him. He meets Chuck's eyes again but this time with a strange acceptance. They both know what's happening. But Robin has refused to take his friend to the bottom with him. He presses his hand to the glass. Chuck does the same. Then with a smile, Robin pushes himself away from the door, disappearing into the darkness and eternity.\",\n \"EXT. SURFACE - SAME Chuck breaks the surface, gasping for air. He looks around, frantic. He sees nothing but the sea swells and debris. All that remains is the sound of the wind and rain on the water. Suddenly, beneath him, a massive rumbling and explosion of foam. Then, the tops of twin masts rise out of the water like shattered lances as the ship rights herself underwater. She holds herself steady for a moment as if in a final attempt at resurrection, the Albatross begins to rise. Faster and faster, until her entire length explodes out of the water in a mountain of foam and wave. ON THE DECK Like Ahab before him, John appears, lashed in a web of tangled line still slashing to free the remaining long boat. And for a moment, it looks as if she might stay there, as if this were just a final surreal lesson of the sea. Some of the boys begin to cheer prematurely. But Skipper knows better. She's filled to the gills with sea water. She shutters. Then, like a stone, she just drops, sucked to the center of the earth, John's hands still slashing, as she finally goes. PULL BACK TO REVEAL Survivors hanging onto the debris that floats in the watery tempest. Strangely, the wind subsides. The sea becomes calm and a stunned silence falls over those in the water. CHUCK OH GOD! His scream echoes, for the grief of all. ON THE SURFACE There is an explosion of bubbles, and then she slips beneath the waves like a stone. The stunned crew can only watch. Then, as if by magic, the second life boat erupts to the surface. Skipper fights off his emotions. He knows what it means. John died cutting it free. Terry and Bill hang onto a life ring. Blood runs from Bill's head. Charlie, Mike and several others hold onto the side of the other freed life boat which has been swamped. Lawford floats on his back, unconscious, but alive. Several of the boys help pull him towards the boat. Skipper swims to the second boat, desperately looking for those not accounted for. But, they are gone. Among the wreckage, the roof of the chart house. The only sound left is the ominous tolling of the ship's bell, Robin's bell, still secure in it's fitting.\",\n \"EXT. LIFE BOAT - DAY The boats have been floated and tied together. Skipper is in one, Lawford in the other. One of the two boats has been rigged with sail. Skipper stands in the bow staring into the ink blue water. SKIPPER Raise your sail, Bill. North, north - east. Keep a sharp look out for Florida. Bill studies him for a moment, then. BILL Maybe we could wait around a little longer, sir. There is a long pause before Skipper answers. SKIPPER -LRB- quietly. -RRB- She's gone. She's gone. There is something remarkably touching about this young man trying to take care of him. He puts a hand on Skipper's shoulder. It almost makes him crack. He pats Bill's hand gently. SKIPPER Carry on. BILL Yes sir. SKIPPER North, north - east. -LRB- beat. -RRB- And Dick, please make a note of our final position. Lawford nods sullenly. Chuck looks out at the floating wreckage around them, silent, lost. Suddenly, there is a ` thump' on the hull of the boat. The survivors share a confused look. Then it comes again. Chuck looks out at the surface of the water. It's suddenly alive. With sharks. LAWFORD Hands and feet inside the boats. They come by the dozens. Ramming the boats and rummaging through the debris. They swarm around the boats until it seems as if the water is boiling. Chuck picks up an oar and starts beating wildly at the sharks. CHUCK AAAAHHHH! The others take up the cause and in a moment they are all screaming and cursing the sharks. It's a frenzy of grief and anger. OLDER CHUCK -LRB- V.O. -RRB- We slashed at the sharks as if striking out at the finger of God. And we all begged silently for the ability to understand what had happened. But, if there was a God that day, his answer came only in the moaning wind and our questions were left to drift unanswered, in the titanic ocean of our deepest grief. Exhausted, Chuck stops slashing and stares out. lost. CHUCK -LRB- hushed. -RRB- Wake up. Wake up. 1 - 2 - 3 wake up. Like Robin's nightmare of his brother, this is all too real.\",\n \"EXT. OCEAN - DAY The tramp freighter GRAN RIO steams toward the life boats. The crew stand silently, watching as the ship approaches.\",\n \"EXT. SHIP - DAY Chuck stands on the deck of the Gran Rio as the last of the crew scramble up cargo netting hung over the side. Chuck stares out numbly watching as the two deserted long boats drift away.\",\n \"EXT. DECK - GRAN RIO - DAY Chuck, now dressed, stands in the same spot at the rail, staring out. A muffled sound pulls Chuck into the present. He walks slowly down the after deck to a cabin door where sobbing escapes from the other side. Chuck turns the handle and cracks the door.\",\n \"INT. CABIN - SAME Curled up on the floor next to his bunk is Skipper. A look of shock comes over Chuck's face. Skipper has come completely unglued, sobbing deeply. CHUCK -LRB- tentative. -RRB- Skipper? Skipper turns slowly, looking up. His eyes are red and his face streaked with tears. He looks at Chuck almost as if he does n't know who he is. Lost. SKIPPER I'm sorry. I'm so sorry. Chuck reels. It sounds more like a confession than an outpouring of sadness. Chuck closes the door.\",\n \"EXT. HARBOR - TAMPA FLORIDA - DAY Skipper, back in control, and the crew, stand along the port rail of the Gran Rio. A small flotilla of pleasure boats surround the ship and hundreds of people line the pier. It's an intimidating sight. ON THE PIER Pensive, worried, angry faces of parents and families. Chaos. Coast Guard Officials try to hold back the mob. MAN What about the manifest! What about my son! WOMAN How many made it? Nobody will tell us anything! OFFICER We do n't have a list of survivors yet. Please stand back. Do n't push! Angry shouts drown him out. ON THE DECK The CAPTAIN of the Gran Rio comes down from the bridge with some of his officers and stand with Skipper and the others. Several COAST GUARD OFFICERS join them on the deck. Skipper turns to the Captain and extends his hand. SKIPPER Thank you. The Captain nods. Skipper turns to his crew, looking over them. A smile of deep pride passes his lips. They all see it. Then, between the Coast Guard Officers, he walks down the ramp. Lawford and the crew fall in behind.\",\n \"EXT. PIER - SAME A shouting mob waits for them. Reporters and spectators shout and call out questions. It reaches a fever pitch as the crew descend. Skipper reaches the bottom of the ramp, his eyes meet a cool, familiar face. Francis Boutillier. Phil stands next to him, staring at the ground. FRANCIS -LRB- above the shouting. -RRB- Welcome home. Skipper is shoved forward by the crowd pushing and shoving. The crew follow but are swept away. Charlie stops in front of Phil. CHARLIE Phil? Flash bulbs explode. Charlie and the others are descended upon as reporters bark out questions. REPORTER #1 -LRB- shouting. -RRB- What the hell happened out there captain? REPORTER #2 How many boys did you lose? And how come you did n't go down with your ship? Parents begin to realize who has been lost. Agonizing cries mix with jubilation. It's emotional chaos. The crew members are driven apart, they call to each other, suddenly aware of what's happening. TOD -LRB- panicked. -RRB- Charlie! Bill! Terry suddenly finds himself smothered in the arms of his MOTHER. He strains to see what is happening to his shipmates. TERRY'S MOTHER Oh, sweetheart! Look at you. TERRY Skipper! Reporters corner them blocking his view. More reporters clamor after Skipper, who does n't reply. REPORTER #3 Captain, is it true that the ship was hit by a `` White Squall''? REPORTER #2 Is it true the first mate is only fifteen? Bill steps in between them. BILL It was n't his fault mister. REPORTER #4 The National Weather Service says `` White Squalls'' are a meteorological phenomenon of the imagination. Would you care to comment of that? Do n't you have anything to say to these parents?! The reporter pops a flash picture in Skipper's face. Skipper flies around and knocks the camera to the ground. The reporter jumps back, startled. SKIPPER Yes I do. And it's private. Very private. Skipper is swept away towards the CUSTOMS BOOTH by COAST GUARD OFFICERS. Skipper surrenders the manifest and it is stapled to the outside of the door.\",\n \"INT. CUSTOMS HUT - SAME Skipper is whisked inside. The Coast Guard Officers lock the doors behind them. OFFICER Sit down Captain. We'll have a car here in a few minutes. Can I get you a cup of coffee? SKIPPER No, thank you. Skipper sits. The wails of family members can be heard as they see the list outside. Flash bulbs and faces press against the windows shouting questions. He just stares at the floor. OUTSIDE From above we can see the group swarm around the the booth like angry hornets. The crew are fractured and pulled apart from each other. Charles, fights his way through the crowd. CHARLES Chuck! Chuck! Chuck tries to get to him. CHUCK Dad! They embrace. Flash bulbs explode all around them. CHUCK Where's Mom? CHARLES I could n't bring her down here until I knew you were safe. A WOMAN Stands, staring at the empty ramp. Lost. A man comes up behind her and leads her away. A reporter shoves a microphone in Chuck's face. REPORTER #5 Was it the Skipper's fault? And is it true drinking was permitted on board? Why did the ship really go down? Charles grabs the guy and shoves him back into the crowd. Chuck strains to see his crew mates but they have been swept away. CHARLES Come on. Charles puts his arm around Chuck, still barefoot, and together, they walk away. Photographers trail after them, popping off a few last photos. Chuck turns and looks back.\",\n \"INT. CAR MOVING - DOWNTOWN - DAY A ride reminiscent of the one Chuck and his father took before the journey began. There is a gulf of silence between them. Charles breaks it. CHARLES I thought we'd find a store, get you fixed up and then get you some lunch. That sound good? CHUCK Yeah, sure. Chuck stares out the window at the traffic and congestion. A car in front of them runs a red light. Charles slams on the brakes. Chuck is shaken up. Charles notices. CHARLES I'm sorry, son. Are you okay? Chuck manages a nod.\",\n \"INT. DEPARTMENT STORE - DAY Lavish and conspicuous by Chuck's recent standards, the store is crowded and jammed with merchandise. Claustrophobic. Cash registers ring and MUZAK drifts in from above. Chuck follows as Charles pulls things off of hangers and piles them into Chuck's arms. CHARLES Why do n't you go and try some of that on? CHUCK Okay.\",\n \"EXT. DRESSING ROOM - DAY Charles peruses the racks. He calls to Chuck. CHARLES How're you doing in there? Chuck calls from a dressing room. CHUCK -LRB- O.S. -RRB- Fine. CHARLES All right. I'm gon na wander over and look at some shoes.\",\n \"INT. DRESSING ROOM - SAME Chuck is curled up in the floor of the tiny booth. Still dressed in the clothes from the Gran Rio, perspiration beads on his skin. CHUCK -LRB- calling out. -RRB- Okay. Tears stream down his face. He looks up and sees himself in the mirror. The eyes that look back are eyes of the ages. Involuntary sobs. He begins to shake. The tiny booth suddenly like a crypt. Tight, with no air. Chuck lets out a gasp. CHUCK Oh God. Someone pulls open the curtain. A MAN, from the next booth, fat and middle aged stands before Chuck in a pair of pants still sporting the price tags. He looks down. MAN You okay, kid? Chuck is suddenly in the throws of a full - on anxiety attack. He leaps up and pushes past the man.\",\n \"EXT. DRESSING ROOM - SAME Chuck explodes out of the dressing room. Running, almost blind, he crashes into a rack of clothes. Charles looks up as he scrambles to his feet and bolts for the doors. CHARLES Chuck!\",\n \"EXT. STREET - SAME Charles bursts through the doors, looking up and down the street, but Chuck is. gone.\",\n \"EXT. BEACH - SAME The setting sun paints Chuck's face with golden light. He stares out across the water. Charles walks up behind him. CHUCK When we were growing up I always felt like you would take care of things, that everything would be okay. -LRB- beat. -RRB- But you ca n't make this okay, can you? CHARLES No, I ca n't. Charles puts his arm around his son. Together they turn and walk back towards the boardwalk, and the world.\",\n \"INT. COAST GUARD HEADQUARTERS - NIGHT Skipper sits across from a Coast Guard Officer, TYLER, 60. Tyler pulls out a file and lays it on the table. TYLER There are allegations questioning your competence with regard to the command of the Albatross. I have been instructed to convene a formal tribunal to determine whether or not negligence played a part in the sinking. SKIPPER I understand. TYLER May I ask you something? Skipper nods. TYLER How'd you manage to piss off a guy as powerful as Francis Boutillier? SKIPPER It was n't hard. TYLER I used to helm a school ship. A long time ago. SKIPPER The Coast Guard ` Eagle'. She never lost a race while you were Skipper. Tyler is taken aback by Skipper's knowledge. TYLER That's right, we did n't. I miss it sometimes. But, there are other things a Skipper can do. Tyler removes his glasses and studies Skipper. TYLER The families. want your ticket. Turn it in, we forget the whole thing. Everybody goes home. SKIPPER Absolutely not. TYLER The papers are going to eat you alive. Even if you beat it, you'll never get another commission. -LRB- beat. -RRB- They want someone to be accountable. SKIPPER I am accountable.\",\n \"INT. HOTEL ROOM - NIGHT Standard fare. Two beds and a T.V. Chuck's lacing a new pair of sneakers. Charles is in the shower. There is a knock at the door. Chuck cracks the door. It's Charlie. CHARLIE We got ta talk.\",\n \"INT. BOATHOUSE - NIGHT The crew stand by the bulkhead. Bill tosses down a newspaper. The headline reads : INVESTIGATION TO PROBE SCHOOL SHIP TRAGEDY. BILL We're all going to have to testify. They're going to try to take his license. TOM Why? CHUCK They need it to be simple. They need a reason. TOM Who? CHUCK All of them. Everybody waiting on that dock. TIM So what are we supposed to do? TOD Just tell'em what we know and be done with it. That's what he'd want. TERRY Easy for you to say. TOD What's that supposed to mean?! TERRY Everybody knows why she went over Tod. You jibed the boat. TOD I was trying to get her up wind! That's what you do when you're hit a - beam. Or maybe you're too stupid to know that! TERRY That's not what Skipper thought. He was trying to spill air from the main! BILL It was coming four points off the bow, Terry. He never could have gotten her around. TERRY Were you on deck? I was standing right there and all I know is, he. -LRB- indicates Tod. -RRB-. disobeyed an order, twice, and the boat went over. TOD It did n't go over'til I turned her starboard! BILL It was an act of God for Christ's sake. TERRY It was an act of stupidity. Tod lunges at Terry. Bill and Charlie pull them apart. TOD -LRB- screaming. -RRB- Was it my fault we were running all that sail?! Was it my fault she was n't dogged down?! HUH?! I could n't help that the ballast shifted! You son of a bitch! It was n't my fault! it was n't. Tod breaks down, sodding on his knees. BILL It's okay, Tod. Terry drags on a cigarette, then grinds out the butt. TERRY Then whose? Tod looks up along with Bill and Charlie, all confused. TERRY After the lightning strike, we tried to go aloft to drop sail. We'd done it a thousand times. We did n't have to wait for an order. But Skipper called us down. CHARLIE If the foremast had taken a strike, everyone in the rigging would've been fried. What would you have done? TERRY We would have scalloped the squares from the deck. Right Bill? Bill turns and stares into the water, troubled. TOD That's right, that's right! Bleed the sails from the deck and she could've taken a hurricane! It's a strong argument. Even Charlie is troubled by the implication. There is a long moment of silence between them. CHUCK This is crazy. Nothing could have prevented what happened. MIKE You guys are missing the point. This is all because of Phil. Phil and his dear old dad. BILL What? MIKE How do you think they got this together so fast? He's been laying for Skipper since the first day. CHARLIE Come on. Like he's got a vendetta or some such shit? MIKE You got it. -LRB- to Chuck. -RRB- I told you he was a turn coat the day we kicked him off the boat. Chuck frowns, troubled. CHUCK No. You're wrong. MIKE I'm telling you, the only way to change this is to get Phil to call off his old man. And that ai n't gon na happen. So the way I see it, it's Skipper or us. The guys react. It's a no win situation.\",\n \"EXT. MOTEL - NIGHT Chuck knocks quietly on the door. Phil answers the door. CHUCK Can we talk? PHIL I guess. FRANCIS -LRB- O.S. -RRB- Who is it Philip? PHIL It's okay. I'll be in, in a minute. -LRB- to Chuck. -RRB- Look, what do you want? CHUCK Everybody's saying this whole tribunal is happening because of your father. Because of you. PHIL Well that's just typical is n't it? CHUCK Is it true Phil? PHIL I got ta go. CHUCK You were n't there, you do n't know what happened. PHIL -LRB- defensive. -RRB- I know enough. Chuck puts a hand out to stop him. CHUCK Phil, please. It wo n't change anything. Tell him to call it off. FRANCIS -LRB- O.S. -RRB- Who are you talking to out there Philip. Come back in here. Phil meets Chuck's eyes, then looks away. PHIL I'm sorry. He turns again and reaches for the door. CHUCK Wait. Chuck hands him something. Phil looks down, disbelieving. It's the ship's bell. Robin's bell. Their symbol of unity, of putting loyalty above fear. CHUCK We figured he'd have wanted you to have it. -LRB- beat. -RRB- You do what you've got ta do Phil. He leaves Phil standing alone on the porch, full of emotion, trying to grasp it all.\",\n \"INT. HEARING ROOM - DAY A small courtroom. The room is filled with the crew members and their families, including the parents of the victims, as well as the media. Phil sits with his father and dodges Chuck's eyes. Coast Guard Officers Tyler, DOWNING and SANDERS head the proceedings. TYLER The United States Coast Guard has been asked to conduct this maritime hearing to consider the revocation of Captain Richard Sheldrake's U.S. Master Seaman's Certificate.\",\n \"INT. HEARING ROOM - LATER Bill sits at the table with his parents as questions are leveled at him. Chief petty officers Sanders and Downing ask most of the questions as Tyler oversees the proceedings. SANDERS Why did n't you drop any sail? BILL Skipper called us out of the rigging. SANDERS But your instinct was to lose sail? BILL My instinct was to not get electrocuted. SANDERS How old are you, son? BILL -LRB- hesitating. -RRB- Fifteen. SANDERS Thank you. LATER Phil is at the table with Francis. Sanders asks the questions. SANDERS Philip, why were you discharged from the Albatross? Phil does n't look up and speaks in whispers. PHIL Skipper thought I was a challenge to authority. SANDERS Were you? PHIL I do n't know. LATER FRANCIS Captain Sheldrake exhibited an arrogant, controlling attitude in my presence on more than one occasion. I believe he had a personality conflict with my son from the start. SANDERS Well, if you do n't mind my asking, sir, why did you let your son stay? Francis is stumped for a moment but recovers quickly. FRANCIS It was his dream to go. I could hardly stand in the way of that, could I? Phil rubs his temples as if he is going to explode.\",\n \"INT. HEARING ROOM - LATER It is Skipper's turn at the table. SANDERS Is it true that you forced Robin Weathers to climb the mast when it was clear that he was acrophobic. SKIPPER He climbed when he was ready. SANDERS Were you aware that his brother was killed in a fall. Chuck and the others look up astonished. Mike shoots a look towards Phil. MIKE He did it man. He sang like a bird. Skipper hesitates. SKIPPER Yes, I was. Whispers fill the room. SANDERS Sir, were you aware at any time of the use of alcohol among the crew. SKIPPER Yes, I was. TYLER And you did n't do anything about it? SKIPPER -LRB- beat. -RRB- No. I did n't. Again the crew members are struck. Charlie turns to Chuck. CHARLIE They're twisting it all around. Why does n't he say something? SANDERS Had you ever seen a `` White Squall'' before this incident? SKIPPER No. SANDERS What makes you so sure it was one? SKIPPER I ca n't be sure. SANDERS You really felt that your crew were up for the conditions. SKIPPER We'd come twelve thousand miles together, through every kind of seas imaginable. SANDERS Except, a `` White Squall''. -LRB- beat. -RRB- With all due respect Captain Sheldrake, they're only boys. SKIPPER They are much more than that, sir. SANDERS Is it true that the reason you expelled Philip Boutillier. SKIPPER -LRB- cutting him off. -RRB- For killing a dolphin. SANDERS and that you invited him to strike you? To fight it out on the deck of your ship?! Skipper looks over at Francis. Phil stares at the floor. Skipper manages an ironic smile. SKIPPER Yes, that's true. SANDERS Do you think this is funny? Some kind of joke? You lost six people out there. SKIPPER -LRB- white hot. -RRB- I do n't think one second of this is funny, sir. Skipper stares down Sanders. He turns to Tyler. SANDERS I have no more questions at this time. He turns to sit down, then stops. SANDERS Oh, one last thing. Is n't true that your father was a sea Captain? Skipper bristles. SKIPPER Yes. SANDERS Is n't also true that his vessel went down off of Nantucket? Lost everyone on board. In fair weather no less. Skipper's silence is suddenly filled with rage. Tyler sees it and tries to intercept. TYLER What does this have to do with anything Mr. Sanders? SANDERS -LRB- smug. -RRB- Oh, nothing. I was just curious. SKIPPER My father, was more seaman, more of a man, than you might ever hope to be. Sanders returns to his seat, rattled. Tyler pounds his gavel. TYLER We'll take a brief recess.\",\n \"EXT. BUILDING - DAY The crew huddle in the parking lot. Fractured, confused. Chuck, Tod, Charlie and Bill, stand off by themselves. TOD There's still a way. BILL What do you mean? TOD It's me, do n't you see. Terry's right, I'm the escape hatch. I disobeyed order. CHUCK You taking the order would n't have changed anything. TOD They do n't know that. -LRB- beat. -RRB- We were the only one's on deck. Look, there's nothing they can do to me right? I'm a kid. CHUCK But that's not the point. TOD That is the point. And Skipper'll slip off the hook. LATER Tod is on the stand. DOWNING Why did n't you turn hard to port as the wind hit? TOD I thought we'd have a better chance if I headed into the wind so we could spill air from our sails. Tyler removes his glasses. DOWNING But the Captain ordered you hard to starboard. TOD Twice. DOWNING Is that what you were trained to do? TOD No. DOWNING Then what do you think he was trying to do. TOD Let the blow drive the boat down wind. Neutralize our canvas. Skipper is becoming uneasy. He sees what is coming. DOWNING So when the captain gave you an order contrary to your training, you thought he was making a mistake? TOD No. TYLER Then why son, why did n't you follow his order? Tod meets Skipper's eyes. TOD Because - I panicked. The room is suddenly buzzing. Tod's Father stands up. TOD'S FATHER That's not true Tod. TERRY -LRB- to Mike. -RRB- What the hell? What is he doing. MIKE Son of a gun. He just sent Skipper a life boat. Tyler turns to Skipper. TYLER If this young man had responded instantly to your command, do you believe the ship might have been spared? SKIPPER I do n't know that anything could have prevented what happened. TYLER Then what are you trying to say then? Skipper stands. SKIPPER Maybe you ca n't see what's happening here, but it's clear to me. -LRB- to Tod. -RRB- I appreciate what you're trying to do Tod. Maybe you could live with it, but I could n't. -LRB- to tribunal. -RRB- If you think I'm going to let a sixteen year old take responsibility, then you underestimate me. The Albatross was my ship. The Ocean Academy was my school. Her loss is mine and mine alone. -LRB- to others. -RRB- I ca n't bring your sons back. If you want my ticket, if that will ease your loss, it's the least I can do. This. Skipper pulls out his wallet and takes out his license. SKIPPER This is easy. Living with it, that'll be hard. Skipper turns and lays his license down in front of Tyler. Then he turns and begins walking towards the back of the room. The room erupts. Crew members and their families hurl accusations and blame. Cameras flash. Tyler tries to regain control. Suddenly Chuck stands, tall. CHUCK No! Do n't you walk away! Not now. Not after all of this! Skipper keeps walking. His head slumps. Tyler pounds his gavel. TYLER That enough son! Order! Please! Tears begin to stream down Chuck's face. His father, Charles, slowly stands meeting his sons eyes. Go for it. CHUCK Tell me Skipper, was it all just a lie? `` Where we go one, we go all''. We listened to you. We believed it. And we're still here! Skipper keeps moving. CHUCK Shame on you then Skipper. Shame on you. Skipper reaches for the door. Suddenly a sound stops him cold in his tracks. Phil slowly rises. Tears streaming down his face. Tightly in his hands he grips the ships bell. Ding ding. Ding ding. Ding ding. It is the ringing of the truth. The tolling of their unity. FRANCIS Sit down! Phil ignores him. Skipper slowly walks over, his eyes never leaving Phil's. He stops, facing him. He gently takes his hands and silences the bell. Then he smiles and puts a hand on the back of Phil's head fighting his own emotions. He turns to Chuck. CHUCK Tell them the truth. Make them understand. The room grows silent. SKIPPER -LRB- smiling. -RRB- You tell them Chuck. Chuck suddenly feels the eyes of the room. CHUCK It's simple. Bad things happen sometimes. It was n't Skipper or Tod. It was all of us. Everyone in this room. Because we all knew the risks. -LRB- to parents. -RRB- You sent us. You paid our tuition, you allowed us to go. So to invent a reason for why this happened, to pin it on one person, well that wo n't change anything. It'll just make our experience meaningless. He turns to the tribunal. CHUCK If you want to judge this man, judge him by his crew. Judge him by Alice and George. Chris and John and Robin. In one way or another each one of them gave their lives saving one of us. This may sound crazy but the Albatross was n't just a ship, or even a school. It was something that we made, that's inside us. That's who Skipper is. That's what he taught us. I guess what it really was about was. the privilege of sacrifice. Chuck turns to Skipper. CHUCK Is n't that right? Skipper nods. SKIPPER That's right. The room is silent. Then, a voice. A golden tenor singing like the wind. Everyone turns. It's Bill. BILL When the sun came up, there was whisky in the cup, and not a one of us was sober. One by one the crew members stand and begin to sing. Chuck turns, surprised to see his father rise and stand with him. Words or not. CREW TOGETHER Jenny thought she saw a picture when it really was the sun, then we knew the party was over. They all stand facing Skipper and sing. The voices build, sweeping over everyone like a wave. CREW TOGETHER Oh my heart is sad, for leaving you today, but I know we'll meet again, when the moon is in the valley and the leafs are on the trees, We will come to clearly in the glen. Skipper meets Chuck's eyes and those of his mates. Only now is his job finished. He beams back. The music swells like an anthem, building, like a swell lifting a small wooden boat over a jagged reef, until it rests safely in the calm waters beyond. The crew come together around Skipper one last time. They embrace.\",\n \"EXT. MYSTIC SEAPORT - HARBOR - DAY Older Chuck has returned to the small building where the funeral services were held earlier. The people have gone but the funeral urn remains.\",\n \"EXT. PIER - DAY Chuck walks to the dock. He has the funeral urn in his hands. He steps aboard a small sailboat and begins untying her. The HARBOR MASTER notices and steps out of his office. HARBOR MASTER What do you think you're doing. He walks over to the dock. HARBOR MASTER All right friend, out of the boat. He tries to board the boat but Chuck greets him with the sharp end of a gaffing hook. OLDER CHUCK -LRB- softly. -RRB- Stand away. He looks into Chuck's eyes and sees that he means business. He backs off. Chucks pushes away and raises the sail. The harbor master watches, perplexed as the small boat moves off for open water.\",\n \"EXT. OPEN SEA - SUNSET Bathed in the orange glow of the sun, Chuck stands naked against the ivory sail. OLDER CHUCK -LRB- V.O. -RRB- They did n't take his ticket that day. But why he never returned to the sea, I'd never know. Perhaps he had n't been able to free himself from the anchor of grief that had driven him to his knees aboard the Gran Rio, or that he no longer cared for the solitude and isolation of command without his Alice. Or maybe it was just that the waves that had spoken to him for so long, had grown silent. Whatever it was, that thing, it had always troubled me. Because, fate offers up no reasons. And maybe that's what I have traveled these thirty four years to say. Maybe that is all I really know. And, that one man cared. Chuck turns to the sea and speaks. OLDER CHUCK Rest easy old salt. For together again, we'll sail. With a powerful heave, he hurls the Skipper's remains at the sinking sun and into the arms of Neptune.\",\n \"EXT. BEACH - SUNSET The same sunset, but from another time. Four young men walk along a deserted beach. A small boat has beached and rocks gently in the shallows. The boys run up and look at it. On the stern are painted the words : BRIGANTINE ALBATROSS. SLOWLY PULL BACK to reveal endless white sand, blue water, the young men and the boat. OLDER CHUCK -LRB- V.O. -RRB- Some time later we learned that one of our long boats had been recovered. Several young men found it washed up on a nameless beach somewhere on the island of Hispaniola. No one seemed to know who they were or where they came from, but they seemed to know of the Albatross. -LRB- pause. -RRB- Sometimes in my dreams those faceless young men reveal themselves as my lost companions, and on the twilight coral sands of forever, between my slumber and conscious state, we race naked again, so open and in love with those precious moments, running, ever laughing, ever young, ever free.\",\n \"EXT. GALAPAGOS - DUSK Young again, their hair sun bleached and skins brown, Chuck, John, Robin, Rick, Chris and Tod, pound through the surf in a grinning footrace. Brothers all. Music builds. FREEZE FRAME FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"The film is based on the fate of the brigantine Albatross, which sank 2 May 1961, allegedly because of a white squall. The film relates the ill-fated school sailing trip led by Dr. Christopher B. Sheldon (Jeff Bridges), whom the boys call \"Skipper\". He is tough and teaches them discipline. He forms a close connection with all-American Chuck Gieg (Scott Wolf), troubled rich kid Frank Beaumont (Jeremy Sisto), shy Gil Martin (Ryan Phillippe) and bad-boy Dean Preston (Eric Michael Cole). On the first days, it is discovered that one of the student crew members, Gil Martin, suffers from acrophobia and does not even try to rescue Chuck, who nearly chokes to death when he becomes entangled in some rigging after slipping from one of the masts. After Chuck was saved by Skipper Sheldon, Gil is ordered to climb the ropes, which he ultimately cannot do, and is assigned to alternative limited duty while on board. Eventually, the brigantine puts into shore and the boys take their leave on the island. Frank's wealthy father and mother give him a surprise visit while the crew is in port. Frank is upset that the visit seems poorly timed by his overbearing parents, and he becomes separated from the boys and their festivities when his parents require him to go out to \"steak dinner\" with them. The father and son end up in a fist fight and become further estranged by the visit and the fight. After a night of festivities, the crew set out to sea again on the next day. When the brigantine encounters a school of dolphins, Frank, still angry at his father, vents his fury by shooting one of the dolphins with a harpoon. Skipper demands Frank at least put the animal out of its misery, but he can't bring himself to, so Skipper kills it, then tells Frank he's been expelled from the program and puts him ashore at the next port. Soon after, while at sea, the brigantine encounters a freakish \"white squall\" storm. The vessel is battered by the seas, and the boys try to use what the Skipper has taught them to survive the horrific ordeal. Most of them succeed in abandoning the vessel, but Gil, three other students, the Skipper's wife and the cook, are all drowned. When the survivors are rescued and reach land, the Skipper is put on trial, with Frank's powerful parents leading the call for his license to be revoked. Eventually the Skipper refuses to allow anyone else to be blamed for the disaster, and accepts responsibility, but his former students all stand up for him, and Frank turns against his bullying parents to support the Skipper, as all the boys embrace him."},"name":{"kind":"string","value":"White_Squall_(film)"}}},{"rowIdx":170,"cells":{"scenes":{"kind":"list like","value":["EXT. WOODS -- DAY High angle crane shot of an old well, crumbling, surrounded by dead trees and brown leaves. Crane down to ground level as a large German Shepherd runs around from behind the well and noses at something hidden in the long dry grass at the base of the old well. CLOSEUP of a Victorian china BOY doll lying in the grass, the dog's nose nuzzling at it. The dog runs off left. Brow of hill : dog races up towards camera and runs past. Bare ground and a blasted tree ; camera tracks left as the dog runs through shot and off left. A rotting fallen tree ; the dog leaps over it into camera and runs past, dislodging a large toad which falls out of shot. A stream running between low banks ; the dog leaps from right bank to left and out of shot, startling a large raven into the air. Bare trees ; tilt down to show a roadway and a silver bmw speeding towards camera. Tracking shot -LRB- as if from car -RRB- following the dog as it races through the trees beside the road ; slow zoom in on dog. The roadway ; in extreme foreground a large rat scurries away off left as the bmw approaches.","EXT. HOUSE -- DAY The rear of a large three - story country house, cream - coloured and resplendent in an expanse of green lawn and trees. ALICE, an adolescent girl in a long white dress runs away from camera towards the house and up the back stairs. The front of the house seen through open, ornate wrought - iron gates ; the silver BMW comes into shot at left and wheels away down the drive towards the house. The dog races into shot in close pursuit. The dog dashing along the drive. Low angle -LRB- as if from the dog's pov -RRB- of the car turning in the drive. The dog runs after it. Rapid track in on the rear of the car as it pulls to a stop in front of the house. The front entrance as ALICE emerges and runs down the front steps ; track back to include the car as the passenger door opens and MOTEER emerges, wearing a smart grey suit, and kisses ALICE. ALICE Hello, mummy! MOTHER Hello, darling. ALICE Any presents for me? MOTHER A surprise. ALICE What? MOTHER You know! ALICE No I do n't - what? They move to the back of the car, where FATHER has opened the hatchback trunk and is unloading bags of groceries. MOTHER pulls out a small potted palm wrapped in brown paper and hands it to ALICE. MOTHER Where is she? Did she miss tea again? ALICE as she takes the plant ; we notice that she has a small silver crucifix on a chain around her neck. ALICE She said she had tummy - ache. FATHER and MOTHER continue to unload the car. ALICE -LRB- os. -RRB-. so she's sulking in her room. FATHER It's her age. ALICE She's a pest! MOTHER So were you once! Now go and wake her.","INT. HOUSE -- DAY Medium shot through the half - open front door onto the driveway, the car partially visible, as the dog lopes through the door past camera into the house.","EXT. HOUSE -- DAY alice walks from car carrying the potted palm and a plastic carrybag ; track with her as she runs up the front steps.","INT. HOUSE -- DAY High angle through banisters down to the main floor as the panting dog runs up the stairs past camera. alice runs into front room past a large dark Victorian sideboard, puts the plant down onto a table beside a large divan, drops the carrybag onto the divan and runs up stairs at left.","INT. ROSALEEN'S ROOM -- DAY A shelf full of Victorian toys and bric - a - brac ; at screen right is a Pierrot doll with hanging legs in puffed white pantaloons, the legs swinging gently. Ticking of clock audible.","INT. HALL -- DAY ALICE rushing up stairs past camera. ALICE Pest, pest!","INT. ROSALEEN'S ROOM close shot of a porcelain grandMOTHER doll with wire - framed spectacles and a ruffled bonnet, moving slightly in what seems to be a light breeze. Ticking clock.","EXT. HOUSE FATHER and MOTHER carrying plastic bags of groceries from the car towards the house. MOTHER I want you to have a word with her. FATHER Well, I have - I've tried. I've been upstairs to see her. MOTHER Yes, but not - FATHER She always tells me I do n't understand her. MOTHER Oh, that's ridiculous. FATHER Well, she's right.","INT. HOUSE The landing as dog runs up stairs past old wooden furniture, a large house plant on a small table, and goes off left. Low angle up another flight of stairs as the ALICE runs in at right, up the stairs and off left. Dog rounds corner at top of stairs and runs towards camera down a corridor ; camera tracks back in front of dog. Old, peeling radiators. Reverse low angle shot -LRB- as if dog's pov -RRB- : camera tracks quickly along the corridor, which has an old faded carpet and large, dark oil portraits propped up on the floor against the walls on either side. Dog stops outside ROSALEEN's room and sniffs at the door. ALICE runs along the downstairs corridor away from camera, past the old furniture and the house plant, and mounts the stairs. The dog is sitting outside the door as the ALICE reaches the top of the stairs in bg. and runs towards the camera. She reaches the door and pushes irritably at the dog. She shoves at the dog impatiently. ALICE Go away! She knocks sharply at the door.","INT. ROSALEEN'S ROOM A white dress hanging on the back of the door ; grandMOTHER doll visible at the left of the door. ALICE -LRB- off. -RRB- They want you downstairs! You have to come out sometime - you ca n't sulk in there forever! Open the door! Open it! You've been at my lipstick too, have n't you! Pest! During this the camera tracks in and pans slowly left to show the grandMOTHER doll on a shelf beside the door ; then an antique dresser with an oval mirror, in which we see ROSALEEN reflected asleep on her bed ; a clock, a disarranged box of Kleenex, then the bed itself with ROSALEEN fully dressed atop it, curled asleep.","INT. HALLWAY ALICE at the door. ALICE What makes you so different anyway! Buck Teeth! Come on out -","INT. ROSALEEN'S ROOM ROSALEEN tossing in her sleep. We see that she has on bright red lipstick and rouge, and is wearing a white blouse with red and purple hearts on it. Beside her lie a round hand mirror and a lurid teenage magazine.","INT. HALLWAY ALICE Pest! It's not because I want you, either -","INT. ROSALEEN'S ROOM Profile CS of ROSALEEN asleep. ALICE -LRB- off. -RRB-. it's because Mummy wants you!","INT. HALLWAY ALICE Pest, pest.","INT. ROSALEEN'S ROOM ROSALEEN tossing in her sleep. ALICE -LRB- off. -RRB-. pest! Camera tracks in and around the bed right to left. A wind begins to blow tissues and papers across the bed around the tossing ROSALEEN. The bright afternoon sunlight on the right side of the room fades and is replaced by cold blue moonlight from the window os left. Music. close shot of the grandMOTHER doll in the blue light. Shot of a soft cloth sailor doll leaning against the window, curtains billowing in the wind and blue moonlight. Camera tracking back left to right as the wind blows harder across ROSALEEN. close shot of the toy shelf ; camera pans to the left past a teddy bear to a Harlequin doll, its head ticking back and forth, past a porcelain cat head to the sailor doll against the window ; camera moves to window and onto a dream landscape of dark forest and distant mountain. In the distance a wolf howls. dissolve to :","EXT. FOREST - NIGHT Dream forest in thick mist. ALICE runs in at right, freezes in her tracks momentarily as we hear another wolf howl in the distance. She runs left, camera panning to follow her as she runs out of shot left. ALICE runs in at right and towards camera, which tracks back sharply to show the gates from the driveway hanging open, ruined and rusted. ALICE runs through them towards camera and off left. ALICE runs through shot and off left ; camera pans to left to reveal a life size sailor doll standing against a rock face. It jerks to life and turns around to camera. close shot of the cloth face of the doll as it turns round and runs jerkily off left after her.","INT. ROSALEEN'S ROOM ROSALEEN tossing uneasily in her sleep.","EXT. FOREST The white dress hanging from a tree in misty background. ALICE runs in right ; camera pans to a life size teddy bear standing against a tree. The ALICE halts and approaches the bear, stroking it as if for reassurance. The bear jerks to life and tries to grab her. She screams and pushes it away, running off right.","INT. ROSALEEN'S ROOM ROSALEEN tossing. The sailor doll against the moonlit window.","EXT. FOREST The life size sailor doll lumbering forward. ALICE backs into shot from the left, collides with the doll, screams and runs out of shot. The doll collapses limply onto the ground, inert. close shot of the life size teddy bear lifting its head. ALICE screams offscreen. close shot ALICE, horrified, as she turns to run. A large doll's house, with light showing through its lower windows -LRB- it is markedly similar to the house seen earlier -RRB-. ALICE enters shot from left, stares at the doll's house, moves forward to swing open a panel which reveals the rooms inside. close shot of the interior : we see a mouse standing upright inside a miniature canopied bed, its snout poking out through the canopy. extreme close shot of the mouse. close shot of ALICE grimacing in disgust. ALICE's hand picks up a piece of miniature furniture and hurls it at the mouse. The mouse flinches away. ALICE runs off right. Mouse looking into camera.","INT. ROSALEEN'S ROOM close shot grandMOTHER doll as before. ROSALEEN tossing on the bed, camera tracking around bed to left.","EXT. FOREST ALICE running through mist towards camera, which pans left to reveal a large grandFATHER clock shrouded in cobwebs. ALICE stops as the clock strikes once sluggishly and its hands spin erratically. close shot of the clock's base as the door opens and mice spill out onto the ground. close shot of ALICE grimacing in disgust. ALICE runs off left.","INT. ROSALEEN'S ROOM extreme CLOSEUP of the Harlequin doll's head ticking back and forth.","EXT. FOREST ALICE runs in right and camera pans to show large pipe - like structures -LRB- a blast of organ music on soundtrack -RRB- ; at right a bird sits atop one of the pipes looking at ALICE, who pauses and then flees off left.","INT. ROSALEEN'S ROOM extreme close shot of a black and white photograph of ROSALEEN and the dog, propped up on the night table beside the bed, the shadow of the billowing window curtains moving across it. extreme close shot of the porcelain cat head, with the head of the Harlequin doll ticking into shot at extreme right.","EXT. FOREST ALICE running past huge mushrooms towards camera and off screen left. ALICE running past a large owl at left ; pan to follow her. close shot as the owl whirs into flight. The mushrooms in the mist ; at centre screen the owl flies off right as ALICE runs into shot in bg and runs towards camera. ALICE runs left, camera panning with her ; she freezes as the pan discloses a pack of wolves standing motionless atop boulders. close shot ALICE screaming in terror. The wolves watching her, motionless. ALICE standing, wolves behind her. They leap down from the rocks as one and she flees off right. close shot of the wolves leaping down from the rocks. Link cut to close shot of same. ALICE fleeing past huge mushrooms ; she stops to look back. Wolves racing past a large tree. ALICE runs off. The wolf pack in pursuit. Slow motion shot of ALICE running towards camera, the wolves overtaking her from behind, some running round left to cut her off. ALICE running, wolves closer behind. ALICE reaches a rock face blocking the path, whirls round and screams. Wolves howling, their eyes glowing red. close shot of ALICE helpless at the rock face. wolves rush forward. ALICE as she spins round, screaming, to stare at the rock face. close shot on rock face -LRB- as if ALICE's pov -RRB- to show a dark gap in the rock, red eyes glowing within. close shot ALICE screaming, her hand at her throat. extreme CLOSEUP of the glowing red eyes. extreme CLOSEUP of ALICE screaming. Wolf pack rushing up the path. close shot of the wolf leaping out from the gap in the rock face. close shot of ALICE screaming in despair and sinking onto the ground. The wolf pack rushes closer. High angle as ALICE throws her arms up and sinks to the ground ; the wolf pack rushes into shot in f.g., hiding her from view. FADE OUT","INT. ROSALEEN'S ROOM ROSALEEN turns over on the bed, smiling. close shot of the window looking out onto the dream nightscape ; camera tracks in past the window frame.","EXT. FOREST -- DAY dissolve from nightscape to daylight forest scene, autumnal colours. Camera tracks in and pans right to disclose a distant church spire.","EXT. CHURCHYARD -- DAY Low angle shot of the church, its bell tolling a knell ; to the right in f.g. a crane stands on the paved bridge, turning its head to camera. High angle close shot of ALICE with her eyes closed, a garland of white flowers on her brow, dark marks on her throat. close shot of ROSALEEN, a white kerchief on her head, staring down. The bell tolls. MOTHER, wearing a straw bonnet trimmed with white, comes into shot at left, stooping down. ALICE is revealed laid out in a rough wooden coffin, her arms crossed over her breast. MOTHER kisses ALICE's forehead, looks at her sadly, then reaches down to remove the crucifix and chain from around ALICE's neck. Camera pans up with MOTHER as she stands to put it around ROSALEEN's neck. We see GRANNY at right of shot, other mourners behind. MOTHER Say goodbye to your sister now, so you'll never forget her. ROSALEEN looks uncertainly at MOTHER, stoops down to kiss ALICE's forehead, glances again at MOTHER, looks down miserably. Resume on ALICE, as a coffin lids slides up into shot to hide her face. ROSALEEN as she steps back in shock. A crow caws o.s. MOTHER crosses in front of ROSALEEN and out at right. MOTHER walking past church wall to join a group of mourners on the other side of the grave, including FATHER and OLD PRIEST. FATHER puts his arm around her. ROSALEEN and GRANNY. GRANNY reaches out and pulls ROSALEEN to her. GRANNY Stay with me, child. She reaches into her bag and pulls out a large gingerbread man. GRANNY Chew on this. It'll keep your mind off things. ROSALEEN takes the cookie and nibbles it tentatively. grave diggers move into f.g. and stoop down out of show as PRIEST begins to read the service. OLD PRIEST Man that is born of WOMAN hath but a short time to live and is full of misery. High angle on the coffin as they lift it and remove the boards supporting it over the open grave, then lower it slowly. Camera pulls back to show the sparse village congregation gathered around the grave. shot of a red - haired BOY beside his MOTHER. He lifts his head and smiles at ROSALEEN. GRANNY and ROSALEEN. ROSALEEN takes the gingerbread man out of her mouth and sticks out her tongue. The BOY puts out his tongue at her in response. His MOTHER cuffs him smartly. ROSALEEN turns her head away. grave diggers begin to spade earth into the grave. OLD PRIEST We therefore commit her body to the ground. close shot of a spade digging up moist earth. close shot of the coffin in the grave as a clod of earth strikes it and startles a large toad sitting atop the coffin. Another shovelful of earth is lifted. Another clod strikes the coffin and the toad hops away out of shot.","EXT. VILLAGE - SUNDOWN A horsedrawn cart coming over the brow of a hill, FATHER and another PEASANT leading the horse. In the cart sit GRANNY and ROSALEEN on the left, MOTHER isolated on the right. GRANNY Your poor sister - all alone in the wood, and nobody there to save her! cart with the church spire visible in the distance. GRANNY Poor little lamb! ROSALEEN Why could n't she save herself? CMS ROSALEEN and GRANNY. GRANNY You do n't know these things, you're only a child! FATHER and PEASANT pass in front of the camera, blacking out the screen momentarily. Dark screen which is disclosed as dark tree trunk as camera pans left to disclose the village in LS, well in the centre. Crane down as cart comes around well and pulls to a stop. FATHER puts down a crate for the women to step down onto ; he reaches in to help GRANNY out. Link cut to MCS as he lifts GRANNY down, then ROSALEEN. She clings to him. ROSALEEN Daddy. FATHER There, there, pet. GRANNY -LRB- offscreen. -RRB- Shall I take her home. CU GRANNY. GRANNY with me tonight? Her MOTHER's in no fit state to look after her. Resume previous shot as GRANNY's hand comes into shot at right to take ROSALEEN's arm. GRANNY -LRB- offscreen. -RRB- Come, pet. ROSALEEN pulls free and moves to the left, camera panning with her to MOTHER. ROSALEEN I want to stay with Mummy. FATHER Mummy's not well. Just for tonight. Resume previous shot. GRANNY Come, child, come with me. She moves off left. FATHER puts his hand on MOTHER's shoulder, leads her away gently.","EXT. WOODS - EVENING GRANNY and ROSALEEN appear in the distance walking along the path. Dark music. GRANNY It's a long way through the wood, but safe by daylight. Safe if you keep to the path. -LRB- music drowns out her words. -RRB- GRANNY stops and goes to a small shrub, picks something. GRANNY There's lots more of these in the wood, if you know where to look! ROSALEEN -LRB- looks off right. -RRB- Berries! She darts away. Shot past a bush of berries in f.g. to ROSALEEN and GRANNY in b.g. ROSALEEN picks a berry and pops it into her mouth. GRANNY flies forward, grabs ROSALEEN and drags her back. GRANNY Do n't. CLOSE MEDIUM SHOT as she pulls ROSALEEN up from screen left. GRANNY stray from the path, girl! Did you not hear what I told you? Once you stray from the path you're lost entirely! -LRB- she leads ROSALEEN down the path. -RRB- The wild beasts know no mercy. They wait for us in the wood, in the shadow, and once you put a foot wrong - CLOSE TWO SHOT ROSALEEN and GRANNY, who darts her head forward. GRANNY - they POUNCE! ROSALEEN starts. GRANNY smiles, pats her cheek. GRANNY There. CLOSEUP ROSALEEN, alarmed. GRANNY -LRB- offscreen. -RRB-. there, my precious. LONG SHOT GRANNY leads ROSALEEN along the path. GRANNY Do n't take on so. It's something you have to learn, otherwise you'll end up like your poor dear sister! MEDIUM LONG SHOT following them past a huge tree ; camera pans right to disclose GRANNY's cottage in b.g. ROSALEEN runs ahead towards it. Link cut to MEDIUM SHOT as she runs through a gate in the low stone wall around the cottage. Bird song.","EXT. COTTAGE In the yard is a small apple tree. ROSALEEN bends down and picks up a fallen apple from under the tree. ROSALEEN Granny, can I have one? GRANNY I ca n't see why not. ROSALEEN bites into the apple, grimaces and spits it out. close shot of the apple in her hand. A large worm wriggles inside the bite mark. GRANNY -LRB- chuckling. -RRB- You've got a lot to learn, child. She takes the apple and tosses it away. GRANNY Never stray from the path, never eat a windfall apple. She picks another apple from the tree and gives it to ROSALEEN. GRANNY and never trust a man whose eyebrows meet! She strokes ROSALEEN's cheek and goes into the cottage. ROSALEEN bites hungrily into the apple and follows her.","EXT. GRANNY'S COTTAGE - NIGHT A white owl in a tree. The cottage, chimney smoking, under a luminous full moon.","INT. GRANNY'S COTTAGE - NIGHT A cheery fire burning. ROSALEEN is sitting on the floor beside GRANNY in her chair. GRANNY is rolling up a ball of bright red wool. GRANNY The best winter wool, pet, woven across the valley - so good, so soft I thought I'd knit a shawl for your sister. But now, you know what I'll do? ROSALEEN What, Gran? GRANNY I'll make one for you! A very special shawl for a very special lady. She rubs the wool against ROSALEEN's cheek. ROSALEEN Soft as a kitten. GRANNY smiles down at her, her spectacles lit by the fire ; then her expression hardens. GRANNY There's something I should tell you. ROSALEEN -LRB- startled. -RRB- Yes? GRANNY But maybe you ` re too young. ROSALEEN Tell me, Gran! GRANNY Too young to understand. ROSALEEN Oh, go on, Gran, tell me! GRANNY Maybe no child is ever too young. -LRB- pause. -RRB- A wolf may be more than he seems. He may come in many disguises. ROSALEEN What's that? GRANNY The wolf that ate your sister was hairy on the outside. But when she died she went straight to Heaven. The worst kind of wolves are hairy on the inside, and when they bite you, they drag you with them to Hell! ROSALEEN What do you mean, hairy on the inside? Like a furry coat? GRANNY Hush now, foolish child, and listen. Once upon a time there was a WOMAN in the village, and she married a travelling man.","EXT. FOREST - DAY Jubilant fiddle music. villagers dance down the path, all garlanded with flowers, surrounding the happy BRIDE and GROOM. He sweeps her into his arms and carries her over the threshold of an isolated cottage.","INT. BRIDE'S COTTAGE - NIGHT The BRIDE and GROOM stand in their night dress before an open window which admits bright moonlight. The BRIDE still has her garland in her hair. GROOM -LRB- turning from the window. -RRB- They've all gone now. BRIDE It's a shame your people missed the wedding. GROOM -LRB- cryptically. -RRB- Maybe it is and maybe it is n't. She turns and goes to the bed, turns back the covers. close shot as the covers turn back, revealing a tiny hedgehog in the middle of the bed. She laughs and scoops it up to show him. BRIDE My brother ` s idea of a joke! The GROOM stares at her. BRIDE Why are you staring like that? GROOM Because I've never seen anything like you before. BRIDE Do n't they have girls where you come from? GROOM Not like you. She slowly removes the garland of flowers from her hair and puts it aside tenderly. In the shadows the GROOM removes his nightshirt. BRIDE Come out of the shadows. Let me see you, my love. He walks forward slowly, the candlelight glowing on his bare chest. BRIDE Are all travelling men as handsome as you? GROOM So you think I'm handsome? BRIDE The first thing I noticed about you - was the way your eyebrows meet. GROOM Does that spoil me then? BRIDE Come to me and I'll tell you. He bends to kiss her. There is a screech and he yelps in pain. The hedgehog on the floor under his feet. He seizes it and goes to the door to throw it out into the yard. The opened door reveals the full moon. Music. The GROOM stops to stare at the moon, leaning weakly against the door jamb. BRIDE My dear? GROOM -LRB- thickly. -RRB- I must. just go into the yard. for a moment. BRIDE Why ever for? He turns his head towards her ; his pupils are bright red. GROOM Call of nature. He goes out, shutting the door behind him. She smiles uncertainly, gets into bed and snuggles down against the pillow to wait for him.","INT. GRANNY'S COTTAGE - NIGHT GRANNY So she waited. and she waited.","INT. BRIDE'S COTTAGE - NIGHT GRANNY -LRB- vo. -RRB-. and she waited again. The BRIDE sits up and gets out of bed. BRIDE -LRB- to herself, uncertainly. -RRB- Surely he ` s been gone a long time? She walks toward the door. A wolf howls outside. She freezes in terror, then forces herself towards the window.","EXT. BRIDE'S COTTAGE - NIGHT Several wolves in the yard under the blue full moon ; one atop the low stone wall barks in answer to distant howling.","INT. BRIDE'S COTTAGE - NIGHT She recoils in horror. BRIDE No! It ca n't be!","EXT. WOODS - DAWN VILLAGERS armed with rifles searching through ground mist, moving through the trees towards camera. MAN He upped and ran, that ` s all. It was in his blood. Was n't he a travelling man? CLOSE SHOT BRIDE's hand lifting a dead leaf from the ground to reveal a deep wolf print in the wet earth below. BRIDE bent over at edge of pond. In the pond wades another villager probing the bottom with a long stick. He shakes his head. She looks up right, jumps to her feet. villagers approach down the path at right. BRIDE Anything? MAN Not a hair nor a hide of him. Nor a footprint. She pushes him in the chest angrily, runs back to point to the edge of the pond. BRIDE What's that, might I ask? I told you I heard a wolf last night! They came and took him while he was making water, when a man. She sinks to her knees. CLOSE SHOT as she lowers her head. BRIDE is at his most defenseless. -LRB- looks up in tears. -RRB- Murderers! They're murderers! VILLAGERS look on as she lowers her head and sobs. At screen right a white duck preens itself unconcernedly. GRANY -LRB- vo. -RRB- -LRB- over. -RRB- But she was a young thing.","INT. GRANNY'S COTTAGE - NIGHT GRANNY winding the red wool, ROSALEEN listening intently. GRANNY and cheerful of temperament, and she found another husband - not too shy.","INT. BRIDE'S COTTAGE - NIGHT close shot of a porcelain chamber pot under the bed. GRANNY -LRB- vo. -RRB-. to piss in a pot! Pan up to stool on which stands an alarm clock, chiming delicately. The BRIDE's hand reaches out from under the eiderdown to turn it off, then retracts under the eiderdown, her laughter mingling with that of her -LRB- unseen -RRB- husband. ROSALEEN -LRB- vo. -RRB- And they lived happily ever after!","INT. GRANNY'S COTTAGE - NIGHT CMS as before. GRANNY -LRB- sharply. -RRB- Indeed they did not!","INT. COTTAGE - EVENING The BRIDE, older now, in a cluttered kitchen interior with three small children, all tearful. granny -LRB- v0 -RRB- First time passed, happily enough. The BRIDE wipes one baby's face, puts it down. BRIDE What a mess! -LRB- baby wails. -RRB- Oh, do n't start! She picks up another baby and dandles it while she peels potatoes angrily. The first baby wails. BRIDE Shut up! Here. She gives the baby a bit of peeled potato. granny -LRB- vo -RRB- Time passed, and she gave him children. And that was a bad time for wolves, those years, oh yes! Not a sheep or a cow was safe. But for herself all went right as a trivet - until.","EXT. COTTAGE - NIGHT granny -LRB- vo -RRB-. one winter's night. Camera pans and tracks through dark trees to show the lighted window of the cottage. Wolves howl in the distance. A ragged figure with long matted hair limps out of the darkness towards the cottage. He rubs his hand over a dirty window pane ; in the cleared space we see the BRIDE within feeding her children at the table. He limps around the side of the cottage.","INT. COTTAGE - NIGHT The BRIDE feeding fresh wood into the fire. A heavy knock on the door. She gets up andpens the door to reveal the waiting figure. Her astonished face. The disheveled GROOM walks in slowly. She stares at him. BRIDE My God. He glares at the children, sits heavily at the table. GROOM I'm starving. One of the children bursts into alarmed tears. She quickly scoops it away from the table. BRIDE Do you want something to eat? GROOM Did n't you hear me the first time! She ladles out a bowl of soup. He pulls his hair away from his face, leans forward and spoons it up. Baby cries loudly. GROOM Where did these three spring from? BRIDE Out of my belly! GROOM -LRB- snarling. -RRB- Your children - but not my children! Whore! Adulteress! She backs away from him. GROOM You hoped I'd never come back! He overturns the table. BRIDE I thought the wolves had taken you! GROOM Better a wolf than a whore! If I were wolf once more, I'd teach this whore a lesson! He tears his shirt open. She throws a ladle full of soup in his face. He screams and covers his face with his hands. She stares at him. He rips away the skin from his face. She stares, transfixed with horror. He rips the skin from his face and neck with a skeletal hand. The hand claws at her ; she beats it off and backs away behind a post. The hand peels his face entirely away, revealing a bloody grinning skull. She cowers. The hand rips his hair off ; the naked bloody skull turns. It howls. She screams. The skull elongates into a wolf's skull. She runs to the children and hugs them to her. The wolf skull howls ; the skeletal hand claws at the air. She clutches the children around her, screaming. The body erupts into a bloody wolf's frame. The head snarls at her. The bloody wolf moves towards her. The door opens and her SECOND HUSBAND comes in. She screams to him. He turns. His hand seizes an axe leaning against the wall. The wolf, now covered with fur, turns on him. He swings the axe. Slow motion : the wolf's severed head flies off. Slow motion : it soars through the air. Slow motion : it strikes the far wall and tumbles down. Slow motion : it lands in a bucket of milk and submerges. The GROOM's original hand some head resurfaces and floats on the milk, its eyes closed. The BRIDE straightens and walks across the room to stare down at the bucket. The SECOND HUSBAND watches her darkly. She kneels down beside the bucket. Her hand touches the floating head gently. BRIDE -LRB- wondering -RRB- He looks just the same. She looks up at her SECOND HUSBAND. BRIDE. as the day I married him! The SECOND HUSBAND strides forward. He slaps her across the face. She gasps, looks down. The head floating in the milk.","INT. GRANNY'S COTTAGE - NIGHT ROSALEEN listening, seen past GRANNY's hands as they wind the red wool. ROSALEEN I'd never let a man strike me. GRANNY Oh, they're nice as pie until they've had their way with you. But once the bloom is gone, oh, the beast comes out. ROSALEEN When the wolves, though - when the real wolves. LOW ANGLE CLOSEUP of GRANNY seen past ROSALEEN. ROSALEEN - when the real wolves mate, do the dogs beat the bitches afterward? GRANNY Animals! All wild animals! Her face changes. GRANNY Well, that's enough. CLOSEUP of her hands putting the ball of red wool down on a table. GRANNY wool for tonight. CLOSEUP of GRANNY, smiling. GRANNY Bedtime. CLOSEUP of ROSALEEN. CLOSEUP of GRANNY : she removes her glasses, rubs her eyes with her left hand, her silver wedding ring prominent. She folds up her glasses. CLOSEUP of her hands putting the glasses down beside the wool. GRANNY What about a kiss for Granny? ROSALEEN looks away. GRANNY Don ` t I deserve a kiss for my story? ROSALEEN gets up. MEDIUM PROFILE TWO SHOT she kisses the OLD WOMAN's cheek dutifully. GRANNY The best of all girls! She gets up and takes the candle from the table. CLOSEUP of the candle next to a metal ornament : a squat toad with an erect cobra rearing above it. GRANNY walks to camera with candle, which goes out of focus.","EXT. GRANNY'S COTTAGE - NIGHT The full moon seen through trees. Crickets humming. The white owl takes flight from a tree.","INT. GRANNY'S COTTAGE - NIGHT CLOSEUP of the toad ornament shining in the moonlight. ROSALEEN and GRANNY in bed side by side, GRANNY in her nightcap -LRB- as grandMOTHER doll seen earlier -RRB-, the candle burning on the night table beside the bed. CLOSEUP the ermine lifts it head. MEDIUM SHOT panning along the table to the toad ornament. CLOSEUP the ermine swivels its head, hissing softly. MEDIUM SHOT panning around the bed. Music. GRANNY snores softly. ROSALEEN sits up. We hear a wolf howl in the distance. MEDIUM SHOT tracking in on the window and strange Victorian paraphernalia on the table. Music. CLOSEUP ROSALEEN as she glances at GRANNY uneasily, settles down again.","EXT. WOODS - DAY ROSALEEN and GRANNY walking along the path, GRANNY talking indistinctly. A toad crouches on a rock and watches them pass. HIGH ANGLE SHOT down on them as they round a bend in the path. GRANNY Of course you won ` t stay a young girl much longer. Your mummy and daddy will need all the help they can get. Just grow wise, learn all that you can, now that your sister is gone. They pass under a tree. GRANNY's ermine lifts its head and howls. A snake coiled around a low branch of the tree. ROSALEEN and GRANNY walk on unawares.","EXT. VILLAGE - DAY The village children are playing blind man's bluff. The BOY, blindfolded, staggers forward and grabs hold of ROSALEEN. BOY -LRB- pulls off blindfold, reacts -RRB- Cor! GRANNY grabs him by the ear. GRANNY Caught you, you snotty - nosed ragamuffin! BOY I caught Rosaleen! GRANNY Oh no, nobody catches my little princess! She boots him smartly in the rear. GRANNY Come along, my child. The children rush off giggling wildly.","EXT. VILLAGE - NIGHT Lights in windows gleam through the dark.","INT. HOUSE - NIGHT ROSALEEN's MOTHER ladles out soup sadly. MOTHER There's too much food now there's just the three of us. FATHER Do n't grieve. Least said soonest mended.","EXT. VILLAGE - DAY ROSALEEN goes out to the well carrying a bucket. Doves fly out of the well, startling her. She fills her bucket. BOY Rosaleen! Shall we play now? ROSALEEN Play what? BOY A game! ROSALEEN I know a good game. Close your eyes. Now, come to me. The BOY blunders forward. ROSALEEN Now. Closer, closer. Come on. Closer. There! BOY Now what? She empties the bucket of water over him. He splutters. ROSALEEN Olly olly, can ` t catch me! She runs off.","INT. ROSALEEN'S BEDROOM The harlequin doll's head bobbing back and forth. ROSALEEN asleep in the bed, wind blowing around her. TRACK IN on the window, curtains billowing in the wind, and on the dream landscape beyond it.","INT. HOUSE - NIGHT MOTHER gets up from the hearth, looks out the window. FATHER comes into shot and kisses the nape of her neck. She turns to embrace him. ROSALEEN in bed, moths circling her candle. She sits up. CLOSEUP of the candle and the circling moths. ROSALEEN reacts to an offscreen noise. MOTHER and FATHER in bed, falling back content against their pillows after making love. ROSALEEN sits back against her pillow, uneasy.","INT. HOUSE - MORNING MOTHER pokes the fire. ROSALEEN sits up in bed behind her. ROSALEEN -LRB- uncertainly. -RRB- Mummy. MOTHER Yes, pet? ROSALEEN Does he hurt you? MOTHER -LRB- calmly. -RRB- Does who hurt me? ROSALEEN Does Daddy hurt you. when he. MOTHER -LRB- firmly. -RRB- No, not at all. ROSALEEN It sounds like. MOTHER Like what? ROSALEEN Like the beasts Granny talked about. MOTHER You pay too much attention to your Granny. She sits on the bed beside ROSALEEN. MOTHER She knows a lot, but she does n't know everything. And if there's a beast in men, it meets its match in women too. Understand me? Get up and fetch me some water.","EXT. VILLAGE - MORNING ROSALEEN taking down sheets that have been hung to dry. BOY rosaleen! ROSALEEN Yes? BOY I've brought you a little present. ROSALEEN What kind of present? He pulls a bunch of wild flowers out of his shirt and holds it out to her. BOY I thought maybe you ` d take a walk with me in the wood, on Sunday after the service. Just a little walk, Rosaleen. ROSALEEN Why should I? BOY I thought maybe you'd want to. ROSALEEN I'd have to ask. She turns away. He calls after her. BOY Tell your MOTHER I'll be with you. And we wo n't stray from the path!","INT. CHURCHYARD - DAY ROSALEEN and GRANNY sitting beside tombstones under a tree ; GRANNY is knitting the red shawl. GRANNY They're the best of all roses. picked from the grave of a princess. They came off my best rose tree! ROSALEEN Why ca n't Mommy grow roses like that? GRANNY -LRB- sniffing. -RRB- It's a question of a green thumb, she lacks that. No hand at pastry, either! The OLD PRIEST walks by carrying a ladder, which he places beside the tree. GRANNY Good morning, Father! OLD PRIEST Good morning! GRANNY -LRB- to ROSALEEN. -RRB- They say that priests' bastards often turn into wolves as they grow older! ROSALEEN -LRB- alarmed. -RRB- What do you mean? GRANNY If the child is born on Christmas Day. If he's born feet first he'll be the one, if he's born feet first and his eyebrows meet in the middle! Oh yes. very bad! One day he'll meet the Devil in the wood. ROSALEEN looks up at her.","EXT. WOODS - NIGHT Mist. A thin BOY creeps through the trees, looking cautiously to left and right. He moves into close shot, and we see that his eyebrows meet. HIS POV mist in the tress and two points of yellow light that move forward. The BOY, uneasy. The lights approach and are revealed as the headlights of a white limousine. It glides to a silent halt in front of the astonished BOY. Inside the CHAUFFEUR wears a white uniform and cap, with long blonde hair. She turns to look out at the BOY -LRB- it is ROSALEEN in a platinum wig -RRB-. She gets out. Inside the car sits the PRINCE OF DARKNESS contemplating a small skull. She opens the door ; the PRINCE looks out. He gestures to the BOY to come closer. He reaches down and produces a small jar. He holds it out to the BOY. The CHAUFFEUR smiles to herself as the BOY takes it. PRINCE Now use it wisely! The BOY opens the jar and peers inside. PRINCE -LRB- smiling -RRB- Waste not, want not! He gestures and the CHAUFFEUR closes the door. The BOY backs away. The PRINCE returns to contemplating the skull as the car glides away. The BOY unlaces the top of his jerkin. He watches the car move away into the mist. He puts a finger into the jar and smears unguent onto his chest. The car moves off into the distance. CLOSEUP of the BOY's thin naked chest ; pan up to his face. The car is gone. BOY looks down. close shot of his chest : dark hair sprouting. He looks up. Mist where the car disappeared. Hair sprouting thickly on his chest. His feet : vines erupts from the earth and coil around his boots. The BOY's face : he looks down. His chest, now matted with dark hair. Vines wrap around his legs. The climb up his body. He screams. BOY No! No! His face distorts with terror.","INT. ROSALEEN'S BEDROOM He is seen in the dresser mirror, screaming. ROSALEEN sits up in bed, turns to look at the BOY in the mirror.","INT. CHURCHYARD ROSALEEN That's a horrid story! I did n't like it at all. GRANNY It's not a story, child, but God's own truth. So if you should spy on a naked man in the wood, run as if the Devil himself were after you! The OLD PRIEST comes out of the rectory carrying heavy pruning shears. He takes off his hat and plops it over the top of the tombstone next to GRANNY and climbs up the ladder against the tree. ROSALEEN -LRB- whispers. -RRB- The Devil's one thing, but a priest making babies is another! I do n't think our priest would have it in him. GRANNY -LRB- loudly. -RRB- You ca n't trust anyone, least of all a priest! He's not called FATHER for nothing! And do n't bother to whisper - he's deaf as a post! Up in the tree the OLD PRIEST chops at a branch. GRANNY holds out the red shawl. GRANNY There - is n't that lovely? All we need is a nice border and fringe. See how soft it feels! She holds it out to ROSALEEN who tries it on delightedly. ROSALEEN Soft as snow! GRANNY ; Red as a berry! ROSALEEN Red as blood. The OLD PRIEST chops another branch. It lands on GRANNY's bonnet. ROSALEEN laughs. GRANNY Old fool, want to brain me! What's he up to in the tree, the old monkey! FATHER! The OLD PRIEST goes on pruning branches. GRANNY FATHER, are you climbing up to Heaven and chopping the rungs of the ladder after you? Watch what you're doing! Can you hear me? OLD PRIEST Do n't make so much clamour in the garden of God's house, you irreverent old woman! I heard every word! GRANNY -LRB- indignantly -RRB- Well, what a silly game! OLD PRIEST Someone's got to do it! Someone's got to cut away the old wood. Even evergreens need pruning! He chops another branch. It falls as GRANNY leads ROSALEEN away.","EXT. HOUSE - NIGHT ROSALEEN at the window inside looking at a moth caught in a spider web and the enormous spider on the next windowpane.","INT. HOUSE - NIGHT ROSALEEN lifts her hand to touch the spider gingerly. FATHER comes in holding wood, pauses to look at her. He goes past MOTHER busy at the stove, puts the wood down on the hearth, picks up the BOY's bouquet from the mantel and sniffs at it theatrically, then bites off one of the flowers and chews it. MOTHER Daddy, leave her be! ROSALEEN jumps up from the window seat and takes the bouquet from him. ROSALEEN He only asked me to walk with him. What's wrong with that? MOTHER All the same, I do n't know. It's not as if = = FATHER Ah, where's the harm in it, he's our neighbour's son, she's known him since she was a baby. She still is a baby. MOTHER So was our Alice once. FATHER She'll be gone soon enough, she's so pretty. What is it they say - it's not losing a daughter, it's gaining a son? ROSALEEN Stop teasing me, he only asked me to walk with him! FATHER Well, one thing leads to another. MOTHER crosses holding a jug and flicks water from it into FATHER's face.","EXT. WOODS - MORNING LONG SHOT as before tracking over the treetops to the distant church spire. Church bell pealing.","INT. CHURCH - MORNING Sunlight blazing through the window. The OLD PRIEST in his surplice walks to the pulpit, humming to himself, mounts it to face the congregation. The congregation, a couple of dozen villagers, ROSALEEN in the centre beside her parents. OLD PRIEST Isaiah, chapter eleven, verses six to eight. `` The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid, and the calf and the young lion and fatling together, and the little child shall lead them. And the cow and the bear shall feed their young ones together. And the lion shall eat straw with the ox, and the suckling child shall play on the whole of the ass, and the weaned child shall put his hand on the cockatrice's den. They shall not hurt nor destroy in all my holy mountain, for the earth shall be full of the knowledge of the Lord, as the waters cover the sea.ö Under this : The BOY beside his FATHER. He turns to look behind him at ROSALEEN. ROSALEEN looks up at him, grins crookedly. GRANNY starts up out of a doze, looks around her. The BOY turns back ; his FATHER grins down at him proudly. ROSALEEN `` s FATHER looks across at her, leans over to whisper to MOTHER. PRIEST in the lectern. GRANNY asleep. PRIEST smiling. ROSALEEN glances up at the ceiling. HER POV spiders clustered in a web on the underside of a lamp. One falls. ROSALEEN looks down. A spider falls onto her open prayer book. More fall. Her hand calmly brushes them away. PRIEST seen over the heads of the congregation.","EXT. CHURCH - DAY The BOY and ROSALEEN walking away together. ROSALEEN wearing her red shawl. villagers on the church steps watch them go. BOY'S FATHER -LRB- proudly. -RRB- That's my BOY! ROSALEEN'S PARENTS come out of the church, GRANNY and the OLD PRIEST behind them. GRANNY Do n't stray from the path!","EXT. WOODS - DAY ROSALEEN and the BOY walk past a charcoal burner feeding his fire along the path to the wood. BOY When do you have to be back, ROSALEEN? ROSALEEN -LRB- curtly. -RRB- Soon. BOY Why are you so crabby today? I thought you wanted to come! ROSALEEN So what if I did? BOY Well, you should. ROSALEEN What should I? The BOY shyly runs his hands up her shawl, strokes her cheek. BOY Well, you know. ROSALEEN I do n't know. Look! She points to a white dove in a tree, runs towards it. The BOY follows determinedly. BOY Pretty, but not as pretty as you! He kisses her cheek. She pushes him away. BOY Was n't that nice? ROSALEEN No. She runs off down the path. He puffs out his cheeks in exasperation, follows her. ROSALEEN pushes through undergrowth at the side of the path. The BOY runs along the path, stops as he sees ROSALEEN standing motionless against a tree. He goes to her. BOY What's wrong, ROSALEEN? Do n't you like me? ROSALEEN Oh no, I like you. I like you well enough. BOY Well why wo n't you kiss me? -LRB- She looks down. -RRB- You're afraid, are n't you? ROSALEEN I'm not afraid! BOY Well? She leans forward and kisses him on the mouth. He responds eagerly. She pulls away. BOY That was n't very good. Give me another! ROSALEEN -LRB- pushing him away. -RRB- Have to catch me first! She runs off. He pursues but trips and falls flat on his face. ROSALEEN crouches down in the underbrush. BOY ROSALEEN! ROSALEEN runs through the mist. BOY -LRB- os. -RRB- ROSALEEN! She looks back. A rainbow appears across the path behind her. She runs on. The BOY searches more desperately. BOY ROSALEEN! ROSALEEN runs off the path right ; camera focuses on the snake dangling from a tree branch. Extreme high angle shot from atop a dead tree down onto ROSALEEN running into shot below. She looks up at the tree. ROSALEEN at the tree base looking up. She looks around, smiles, looks up again. She begins to climb. CLOSEUP of the snake coiled around the branch. ROSALEEN climbs. She reaches the upper part of the tree. The BOY runs along the path. BOY Rosaleen! Rosaleen! Where are you? Camera cranes up to show the hem of ROSALEEN's red cloak above him in the tree. He runs unawares off down the path. ROSALEEN climbs higher. Ecstatic music as she reaches the top of the tree, where there is a large bird's nest. She looks up happily. We hear a bird cry off. Long shot of ROSALEEN atop the tree, a bird flying off into the distance. close shot of the inside of the nest, which contains white feathers, four grey eggs and a hand mirror. ROSALEEN leans forward. Her hand takes the mirror. She looks at herself in it. High angle shot of her legs dangling over space. Her hands open a small jar, which contains rouge. She rubs some onto her index finger. She rubs it onto her lips. CLOSEUP of the nest and her hand holding the mirror, her face reflected in it. Beside the mirror the eggs one by one crack and open, revealing tiny homunculi inside. ROSALEEN reaches forward. Her hand takes one of the glistening little figures.","EXT. PATH The BOY runs desperately along the path. He stops in horror. BOY Oh Jesus! A calf stands next to a dead heifer, its throat torn and bloody. The BOY runs off shouting. BOY Wolf! Wolf! Mist rising about the dead heifer and its desolate calf. CLOSEUP of a wolf, its eyes blazing, its muzzle bloody. ROSALEEN walks along the path, contemplating the little figurine in her cupped hands. CLOSEUP of the wolf looking down -LRB- as if at her -RRB-.","INT. BARN The BOY runs in shouting. BOY Wolf! Wolf! He trips and falls amidst the pigs. His FATHER reacts. BOY -LRB- exhausted. -RRB- Wolf! ROSALEEN's FATHER rushes forward. FATHER Where's my daughter? What have you done with my daughter? He hauls the BOY to his feet as other villagers crowd around them. MOTHER Where's ROSALEEN? BOY She ran away from me! BOY'S FATHER Get your hands off him! MOTHER ROSALEEN! BOY'S FATHER Do n't you hit my boy! FATHER Your son left my only daughter to the mercy of the wolves! BOY'S FATHER A daughter's one thing, a heifer's another! They fight. ROSALEEN's MOTHER grabs a bucket of water. MOTHER I'll cool you off! She dashes the water over them. They separate sheepishly, revealing ROSALEEN standing in the b.g. MOTHER reacts. MOTHER My darling! Where have you been? And in such a state! ROSALEEN -LRB- quietly. -RRB- Look, Mummy. She raises her cupped hand. CLOSEUP of the little homunculi. MOTHER smiles tenderly at her. CLOSEUP of the figurine, a tiny tear dripping from one eye.","EXT. WOODS - NIGHT Camera pans across dark trees to show the lights of the village far below.","INT. HOUSE - NIGHT FATHER clicks his rifle shut, gets up. ROSALEEN helps him into a heavy dark cloak. MOTHER Take care, wo n't you? And take this. She holds up a crucifix on a chain. He knocks it aside with the barrel of his rifle. FATHER No. This is all these beasts understand. Kill them before they kill you. He goes out. Thunder. MOTHER hugs ROSALEEN.","EXT. WOODS - NIGHT Heavy autumn mist. The villagers walk in single file carrying flaming torches. OLD VILLAGER Keep close! There was once a village so plagued by the beats they drew one up in the bucket of the well! FATHER Hush your antique gossip unless you want the wolves to hear it! The BOY trudges behind his FATHER, clutching a white duck.","INT HOUSE - NIGHT MOTHER is bathing ROSALEEN before the fire. MOTHER You're such a big girl now, are n't you? Come on, hold still! There you are, big girl! Just be careful of those boys if they take you in the wood again. ROSALEEN -LRB- scornfully. -RRB- What boys? Clowns are what the village boys are! MOTHER Your Granny spoils you - makes you think you're something special. That red shawl!","EXT. WOODS - NIGHT The villagers are digging a pit and lopping down branches to conceal it. OLD VILLAGER If you think the wolves are big now you should have seen them when I were a lad! Monsters they was - that's the truth! Veritable monsters. Big as a man - bigger! The BOY clutches the duck fearfully.","INT. HOUSE - NIGHT ROSALEEN wrapped in a sheet drying herself by the fire. ROSALEEN When will Daddy have done with the killing? MOTHER When the beast is dead, and not until the beast is dead. We wo n't live quiet until then. ROSALEEN gets up, holding the sheet around her, and walks to look out of the window. HER POV the full moon outside. A VILLAGER walks past huddled against the cold. Wind blows. ROSALEEN Be winter soon. MOTHER Hard winter. A hard winter brings out the wolves. Thank God we're safe indoors!","EXT. WOODS - NIGHT The BOY holds the duck. The pit is completed and covered with branches. FATHER We must hide in the trees! BOY'S FATHER BOY! Quickly! The BOY runs forward and puts the duck atop the branches concealing the pit. FATHER Douse the lights! Into the trees! Quietly! They disperse. The BOY'S FATHER clasps the BOY to him behind a tree. The duck flaps its wings.","INT. COTTAGE - NIGHT MOTHER and ROSALEEN in two - shot. ROSALEEN Granny says wolves may not always be what they seem. MOTHER How can a wolf be worse than it already is? ROSALEEN Not worse, but different. Maybe it is n't the wolf's fault, Mummy. Maybe. MOTHER Maybe what? ROSALEEN Maybe once upon a time. MOTHER Are you going to tell me a story? ROSALEEN Maybe I am. -LRB- smiles. -RRB- Once upon a time. there was a WOMAN in the valley. MOTHER Um. ROSALEEN And the son of the big house did her a terrible wrong. MOTHER Oh. ROSALEEN So she came to his wedding, to put wrong to right.","INT. TENT - DAY A lavishly appointed pink tent. A SERVANT enters carrying a bottle of wine in a silver ice bucket, followed by another SERVANT. A string trio plays in the background. GUESTS are assembled along lengthy tables placed perpendicular to the main table where the BRIDE and GROOM sit together. The SERVANT pours wine for the GROOM. The GUESTS eat and drink greedily and noisily. DRUNKEN GUEST -LRB- overheard. -RRB- My dear, she was a beautiful thing. No one would have suspected a thing. The GROOM leans over to whisper in the BRIDE's ear. A SERVANT enters bearing a cushion on which rests a sword. The BRIDE and GROOM rise together, the GROOM takes the sword and they turn, the BRIDE putting her hand atop his on the sword, and ceremonially cut into the bottom layer of a massive tiered pink wedding cake. General laughter. GUEST -LRB- with his mouth full. -RRB- Ladies and gentlemen, a toast! To the bride and groom! GUESTS To the bride and groom! DRUNKEN GUEST Come on, lad, kiss the girl! GROOM -LRB- laughs. -RRB- With pleasure! He whispers in her ear. GROOM A taste of what's to come! They kiss. General exclamations. An OLD WOMAN eating a chicken leg greedily. Another WOMAN feeding her lap dog. The prolonged kiss ends as the BRIDE pulls away decorously. GUEST Well done, sir! Very good! The DRUNKEN GUEST drinks from his wine glass. The string trio resumes playing.","EXT. HOUSE - DAY Music heard distantly. Crows caw as a PEASANT WOMAN emerges from the trees and walks slowly towards camera. The house and the tent beside it. Peacocks call as she walks calmly into the tent.","INT. TENT - DAY The tent entrance seen from behind the BRIDE and GROOM. GROOM Your every happiness, my dear. The WOMAN comes into the tent. The GROOM sees her and freezes in shock. He slowly lowers his glass. The BRIDE sees his expression and turns. Camera tracks in on their startled expression. The WOMAN walks towards them, then along the table. She turns into profile : she is heavily pregnant. She looks at the assembled GUESTS with hostile curiosity. An ornate MIRROR comes into shot behind her on the tent wall. The GUESTS whisper excitedly. The musicians play on. The WOMAN takes an apple from the table and bites into it. The GROOM's face as she approaches him. She spits the bite of apple out at him. GUESTS gasp as the GROOM recoils. Music stops. The WOMAN stands with the mirror behind her. WOMAN So - I was n't good enough for you. I was, once. CLOSEUP of the appalled BRIDE. WOMAN Once upon a time. The OLD WOMAN still chewing the chicken leg, her mouthing the only sound in the still tent. WOMAN Do n't you remember? CLOSEUP GROOM. WOMAN Do n't you? The BRIDE turns to look at the GROOM, then looks back at the WOMAN. The OLD WOMAN goes on eating. The WOMAN stands in front of the mirror, in which we can see the BRIDE and GROOM reflected with other GUESTS. WOMAN The wolves in the forest are more decent! CLOSEUP GROOM. The music resumes. CLOSEUP WOMAN in front of the mirror. Its surface warps and bends. The WOMAN spins round to stare into the mirror. The mirror cracks and splinters. We hear screams. She smiles coldly. In the distorted mirror we see the GROOM and BRIDE fall back into their chairs. The WOMAN laughs harshly. CLOSEUP of a hand covered with hair grasping a wine glass and crushing it. The WOMAN laughs. CLOSEUP of a man's boots under the table as they split open and clawed paws emerge. CLOSEUP WOMAN turning, her eyes blazing. In the distorted mirror we see the GROOM writhing. Another pair of shoes splits open to reveal claws. The WOMAN laughing. The hairy hand bleeding from the fragments of the wine glass. More shoes splitting open. The OLD WOMAN staring, fangs protruding from her open mouth. The WOMAN looks right and left. CLOSEUP of a hairy hand rising to paw at a hairy bodice. The OLD WOMAN looking down in horror. The hand ripping open the bodice to reveal hairy breasts. The WOMAN laughs. The OLD WOMAN `` S fanged face in the distorted mirror. The WOMAN stares proudly. A guest transformed entirely into a wolf in fine clothes leaps down from the table, an astonished SERVANT staring. Hairy legs pumping and kicking off shoes. Jaunty music. The WOMAN laughs. Feet kicking. The WOMAN looks left, eyes blazing. The DRUNKEN GUEST, now completely transformed, rips his wig off. The WOMAN laughs. The wolf gulps from its wine glass. The WOMAN leans over backwards laughing. The table, all the GUESTS now wolves. The musicians play on unperturbed. Track along the table of wolves in fine clothes. The WOMAN laughs. A SERVANT represses a smile. The WOMEN stares at the wolves. The wolves leap down, scattering cutlery and glasses. A huge vase of flowers crashes down onto the table. A SERVANT stands impassive as wolves leap about him. A candelabra smashes down onto the table between two wolves. Another vase of flowers topples from its stand, narrowly missing the SERVANT beside it. Wolves leap down past a statue of Cupid holding a bunch of grapes. The distorted mirror reflecting wolves leaping down. The wedding cake collapses. The SERVANTS stand behind the table as it collapses under the weight of the wolves. The pack of wolves rush out of the entrance to the tent, SERVANTS on either side looking at each other in amazement.","EXT. TENT - DAY The pack of wolves rush past an astonished peacock and vanish into the trees.","INT. TENT - DAY More wolves rush out past SERVANT. The distorted mirror reflects the fallen table and the SERVANTS standing behind it. The WOMAN turns from the mirror, smiles and bows her head with exaggerated politeness. In the mirror we see the SERVANTS all bow to her as one. She makes an exaggerated curtsey and sweeps out of the shot ; in the mirror we see the SERVANTS helping themselves to wine.","INT. HOUSE - NIGHT ROSALEEN and MOTHER. MOTHER -LRB- astonished. -RRB- Where did you hear a story like that? ROSALEEN It's not a story, but God's honest truth! Granny told me. MOTHER reacts. ROSALEEN And after that, the WOMAN made the wolves come to sing to her and the baby at night. Made them come and serenade her. MOTHER -LRB- laughing. -RRB- But what pleasure could there be in that? Listening to a lot of wolves! Do n't we have to do it all the time? ROSALEEN The pleasure would come.","EXT. WOODS - NIGHT The WOMAN rocking a cradle suspended from a tree branch. ROSALEEN -LRB- VO. -RRB-. from knowing the power that she had. Music. Wolves are heard howling in the distance. Track back as the WOMAN laughs triumphantly. CLOSEUP of the BABY in the cradle, the WOMAN's hand fondling it. Stormy clouds seen through bare tree branches. Wolves howl. The WOMAN stands over the cradle, crooning to it.","EXT. WOOD - NIGHT Leaves falling in autumnal mist. villagers crouched din the trees, waiting. The duck quacks. Thunder. A huge wolf lopes along the path. BOY Daddy -! The SMITH claps his hand over the BOY's mouth. The wolf approaches. The duck on the path, the wolf in b.g.. A VILLAGER levels his rifle. The wolf sniffs the air, its eyes glowing. CLOSEUP of the duck quacking nervously. The wolf crouches. ZOOM IN on the duck. Low angle slow motion shot of the wolf springing. The wolf crashes down into the concealed pit. The duck flies off in terror. The SMITH releases the BOY and rushes forward. The VILLAGER lowers his rifle and runs forward. villagers holding flaming torches crowd around the pit. They fire their guns into it repeatedly, smoking rising. Flash shot of the wolf's head looking up. The villagers fire relentlessly. The BOY peers down into the pit from between his FATHER's legs, flattens as his FATHER fires his pistol down into the pit. The BOY looks up as the firing ceases. Gunsmoke rises silently from the pit. The villagers bring their torches closer.","INT. HOUSE - NIGHT FATHER enters and throws his rifle down into the corner. MOTHER rushes to close the door after him. MOTHER -LRB- crosses herself. -RRB- Praise be to God! FATHER sits heavily at the table and holds up something wrapped in a cloth. FATHER When I cut it off the carcass for a trophy it was the forepaw. the forepaw of the biggest wolf I ever saw. MOTHER backs away and goes to ROSALEEN. MOTHER The wolf that killed our Alice? FATHER Aye, may be. He puts the bundle on the table. MOTHER and ROSALEEN stare at it. FATHER When I cut it with the knife it was a forepaw, I swear, of a grizzle giant wolf. and then before my very eyes. He unwraps the bundle. MOTHER gasps and clutches ROSALEEN. It is a severed man's hand, with a large ring on one finger. ROSALEEN Whose is it, Daddy? Is it someone you knew? FATHER What do I know whose hand it is! All I know is what I see. MOTHER Get it out! ROSALEEN Was it a man or a wolf you killed? FATHER When I killed it it was a wolf, and it turned into a man. Seeing is believing. ROSALEEN Is it? What about - touching? She moves calmly to the table and reaches out to the severed hand. MOTHER seizes her and drags her away. MOTHER Get it out! FATHER Whatever it is, now it's dead meat! MOTHER turns her face away. ROSALEEN Do we bury it or burn it, Daddy? FATHER stares at her, leaps up and flings the hand into the fire. close shot of it burning. They all stare at it. ROSALEEN moves forward, bends down to look at it. CLOSEUP of the hand burning in the fireplace. CLOSEUP of ROSALEEN staring at it. CLOSEUP of the hand burning.","INT. ROSALEEN'S BEDROOM ROSALEEN asleep, tears streaming down her face, blurring her makeup. A tear falling and hitting the floor, splashing into hundred of tiny droplets. Musical chord. The sailor doll against the blowing window curtains. Another tear splashing, and another. Musical chords. Harlequin doll, motionless. Three more tears splashing to the floor. Musical chords. ROSALEEN asleep, tossing restlessly.","EXT. VILLAGE - WINTER MORNING Snow on the ground. The smith working the bellows of his forge. The SMITH takes a glowing horseshoe out of the forge with long tongs and carries it right to the anvil, where the BOY stands waiting to steady it with another set of tongs. SMITH hammers at the horseshoe while we see ROSALEEN emerge from the cottage in b.g., wearing an apron ; the BOY looks up and sees her. She bends down to throw grain to the geese, then goes back inside. The BOY uses his tongs to dip the horseshoe into a bucket of water ; steam hisses up. He holds up the horseshoe and examines it critically, looks o.s. after ROSALEEN and smiles.","INT. COTTAGE MS of MOTHER and ROSALEEN, ROSALEEN now wearing her red wool shawl ; MOTHER is packing a basket of food. MOTHER You're besotted with that old lady, and her old wives' tales. Maybe you should n't go. ROSALEEN Daddy killed the great wolf. I'll be safe in the forest now, Mummy. MOTHER Mind you do n't stray - and take something to protect yourself with. ROSALEEN picks up a long sharp carving knife. ROSALEEN How about a knife? MOTHER You're not afraid of anything, are you? You're a fearless child, I'll say that. I suppose your Granny will ask you to stay the night. You always were her favorite. ROSALEEN Of course I'll stay the night if she asks me - it'd be rude not to. She is my grandmother, and she may not have a kind word for you, but she's always been good to me. She's all alone out there, Mummy. MOTHER takes down a black stoppered bottle. MOTHER Maybe you're right and maybe you're not. -LRB- puts bottle into basket. -RRB- Give her that from me. And do n't stray now, Rosaleen! I trust you. You wo n't be lucky twice. MOTHER opens the door and ROSALEEN goes out, carrying the basket.","EXT. VILLAGE - DAY The BOY stands by the smithy whittling at a stick with his pocket knife. He ducks out of sight as ROSALEEN emerges from her house in b.g., and dodges round behind the smith to see where she is headed. He takes a few last cuts at his stick, then hurries after her, dodging past men pushing heavy carts. ROSALEEN walks along the snowy path, past a large white rabbit. She walks past men pushing heavy mine carts filled with ore. The BOY runs after her. BOY ROSALEEN! She stops and turns as he runs up. BOY Where are you going? ROSALEEN To see my Granny. BOY It's a long ways through the woods! Let me come with you - you'd be safe with me! ROSALEEN -LRB- scornfully. -RRB- Go into the woods with you? After what happened last time? BOY -LRB- brandishing his knife -RRB- I'll protect you! ROSALEEN smiles and produces her own, larger knife. ROSALEEN No. I've got this to protect me. She brushes past him and runs off., He tries to follow but his path is blocked by men pushing carts.","EXT. WOODS - DAY ROSALEEN pushes on. Camera lingers momentarily on the snake in b.g. CLOSEUP of a large toad atop a snow - covered rock. ROSALEEN crouches down beside it. The toad leaps away abruptly. ROSALEEN looks up in alarm, reaches for her knife, stands up warily. She backs up, spins around. HER POV a bird flies off through the woods. ROSALEEN backs up in the other direction - directly into the HUNTSMAN standing smiling behind her. She whirls round in fright. He doffs his hat to her with exaggerated courtesy, speaks with a distinct Continental accent. HUNTSMAN Miss? ROSALEEN Where did you spring from? HUNTSMAN Did I scare you? I am sorry. ROSALEEN At least you have your clothes on. Huntsman, are you? Lost your horse? HUNTSMAN Lost my horse and lost my companions, young lady. ROSALEEN And lost your way too. HUNTSMAN I do believe I just found it. She backs away. HUNTSMAN I say, do you think you could spare me a drink out of that? ROSALEEN It's for my Granny. HUNTSMAN I know the very place up the way for a picnic! He takes the basket from her, offers her his arm, and leads the way. CLOSEUP of the toad on the snow.","EXT. CLEARING - DAY The HUNTSMAN and ROSALEEN sitting in the shelter of a few large trees, where the snow is not so deep. HUNTSMAN I have the most remarkable object in my pocket. That means I never lose my way in the woods. ROSALEEN In your pocket, you say? HUNTSMAN This object goes everywhere with me - that is, whenever I wear my trousers. ROSALEEN hands him a crisp cake. He bites into it hungrily. HUNTSMAN Umm. -LRB- holds it out to her. -RRB- Go on, bite it. She leans forward ; he retracts his hand puts the cake into his mouth, extends it to her. She nibbles tentatively from the protruding end and then backs quickly away. He smiles, uncorks the bottle, swigs from it. ROSALEEN Do n't you know how strong that stuff is? A man in our village keeps a still - he's the reddest nose you ever saw. He tells lies, too. Like you. I do n't believe there is such a thing. The HUNTSMAN springs to his feet. HUNTSMAN Seeing is believing. He takes something out from his trousers pocket, kneels down beside ROSALEEN and holds it out to her. She looks. He opens it : a pocket compass. HUNTSMAN The little needle always points north, no matter where I go, so I always know exactly where I am. ROSALEEN takes the compass and examines it. ROSALEEN I do n't believe it, even though I see it. HUNTSMAN It was this compass that brought me safe through the wood. ROSALEEN But you lost your way in the wood. HUNTSMAN -LRB- caressing her hair. -RRB- But I found you. Are you sorry? ROSALEEN I'm not sorry. They're clowns, the village boys. HUNTSMAN Well, then. ROSALEEN But do n't you know you should never leave the path? HUNTSMAN I just got onto the path. I was perfectly safe before. ROSALEEN Are n't you afraid of the wolves? HUNTSMAN Why should I be frightened of wolves? ROSALEEN You must know the worse wolves are hairy on the inside. He leaps to his feet in indignation. HUNTSMAN Old wives' tales! Peasant superstition! What, a bright young girl - pretty, intelligent girl like you believing in werewolves! ROSALEEN But my Granny said that - HUNTSMAN For believing in old wives' tales, you deserve. to be punished! He seizes ROSALEEN and kisses her, rolling her onto the ground. She laughs. HUNTSMAN I'll show you I'm not afraid of the wolves, ROSALEEN. I'll make a bet with you. I'll bet you anything you like that I get to your Granny's house before you do. ROSALEEN How? HUNTSMAN I'll use my compass to help me cross the country while you trudge along the dreary path! ROSALEEN Bet me your compass. HUNTSMAN Bet me your heart's desire. ROSALEEN And if I lose? HUNTSMAN You can give me. a kiss! They sit up. HUNTSMAN Here - take my hat as a token of good will. Wear it, until we meet again. He puts it on her head, gets up and goes without another word. ROSALEEN looks at herself in her hand mirror, the hat perched jauntily atop her head. She gets up and hurries along the path. CLOSEUP of the hand mirror abandoned in the snow, with a large raven standing beside it.","EXT. GRANNY'S COTTAGE - NIGHT Snow falling. Owls hoot. The HUNTSMAN moves rapidly and surely through the woods. He approaches the cottage, goes through the gate. He pauses, puts his hand to the game dangling from his belt, puts a finger to his mouth - leaving a smear of blood on his lips. Drops of blood fall onto the snow at his feet. He moves on towards the cottage, his eyes aflame.","INT. GRANNY'S COTTAGE - NIGHT GRANNY sitting dozing over the Bible in her rocking chair before the fire. A heavy knock on the door. GRANNY -LRB- rousing -RRB- Who is it? HUNTSMAN -LRB- os ; falsetto. -RRB- Only your granddaughter. GRANNY Lift up the latch and walk in. CLOSEUP of GRANNY : we see the door reflected in her eyeglasses as the door opens and the HUNTSMAN enters. GRANNY God save us! Her ermine lifts its head and hisses ; the HUNTSMAN whirls round in surprise. GRANNY staggers to her feet, holding her Bible in front of her like a shield. GRANNY Get you back to Hell from which you came! HUNTSMAN I do n't come from Hell. I came from the forest. GRANNY What have you done with my granddaughter? HUNTSMAN Nothing she did n't want! She hurls the Bible at him. He ducks. It falls open against the far wall. She grabs his gun and knocks him onto the floor with it. He howls in pain and fright. She looks down at him. He turns his head, extending an impossibly long tongue. She recoils in horror. She turns and seizes the poker out of the fire, swinging it at him with all her strength as he bounds to his feet. He grabs the red - hot end of the poker and screams in pain. He drops it, extending his smoking palm. He turns and aims a blow at her. The blow knocks her head off. The severed head flies through the air -LRB- slow motion -RRB-. He stares at it. Slow motion : GRANNY's head strikes the wall and shatters into china fragments and floating grey hair.","EXT. GRANNY'S COTTAGE - NIGHT ROSALEEN approaches through the falling snow.","INT. GRANNY'S COTTAGE EXTREME CLOSEUP of the HUNTSMAN's yellow eye as he rocks back and forth in GRANNY's chair by the fire.","EXT. GRANNY'S COTTAGE ROSALEEN approaches the gate.","INT. GRANNY'S COTTAGE The HUNTSMAN rocking in the chair. extreme CLOSEUP of his yellow eye as he rocks slower and slower.","EXT. GRANNY'S COTTAGE ROSALEEN looks up at the sky. A wolf howls in the distance. her pov : a full moon. The HUNTSMAN's eye dissolves in over the moon. More wolves howl.","INT. GRANNY'S COTTAGE extreme CLOSEUP of the HUNTSMAN's eye as the rocking chair slows and comes to a stop.","EXT. GRANNY'S COTTAGE ROSALEEN looking up at the moon ; she looks down at her feet. her pov : the blood on the snow. She moves on hurriedly towards the cottage.","INT. GRANNY'S COTTAGE The door seen past the HUNTSMAN in the chair. A knock. HUNTSMAN -LRB- falsetto. -RRB- Who's there? ROSALEEN -LRB- os. -RRB- Only your granddaughter. HUNTSMAN -LRB- falsetto. -RRB- Lift up the latch and walk in. ROSALEEN enters and stares at the HUNTSMAN. ROSALEEN So. You got here before me just as you said you would. HUNTSMAN I did. ROSALEEN Where's my Granny? HUNTSMAN Gone out to the woodpile, to fetch more logs. ROSALEEN A real gentleman would never let an old lady go out, not on a night like this. HUNTSMAN She wo n't be long. ROSALEEN goes to the window and pulls back the curtain. ROSALEEN She's not there. She turns and looks at him, then darts for the door, but he leaps up into her path. She backs away from him. Her heels comes down onto GRANNY's glasses, smashing them. She looks down at them, then across at the fireplace. her pov : grey hair burning in the grate. ROSALEEN Is that all you left of her? Your kind ca n't stomach hair, can you - even if the worst wolves are hairy on the inside! HUNTSMAN What do you know about my kind? ROSALEEN -LRB- groping behind her. -RRB- My GRANNY told me plenty! Her hands find the knife in the basket behind her. She brandishes it, and he leaps forward to seize it. HUNTSMAN Are you very much afraid? ROSALEEN It would n't do me much good to be afraid, would it? He forces her down onto her knees on the floor. ROSALEEN What big eyes you have! HUNTSMAN All the better to see you with. ROSALEEN They say seeing is believing, but I'd never swear to it. HUNTSMAN You must be wet through. Why do n't you take off your shawl? She shudders. He gently unties it, pulls her to her feet and removes the shawl. ROSALEEN What should I do with it? HUNTSMAN Into the fire with it - you wo n't need it again. She kneels down and puts it into the fire. ROSALEEN Your kind ca n't stomach clothes either. CLOSEUP of the red shawl burning. Wolves howl outside. She looks up. ROSALEEN who's come to sing us carols then? HUNTSMAN Only my companions, darling. I love the company of wolves. Look out of the window and you'll see them. He sinks back grinning into the rocking chair. ROSALEEN goes back to the window and looks out. ROSALEEN Poor creatures. It's freezing cold out there, no wonder they howl so.","EXT. GRANNY'S COTTAGE her pov : wolves on the stone wall outside, their eyes glowing.","INT. GRANNY'S COTTAGE HUNTSMAN Are you sorry for them? ROSALEEN Yes. And for you too! She seizes his rifle from where it was leaning against the wall and levels it at him. He leaps to his feet. HUNTSMAN You're a bold fearless girl, are n't you? And now you must give me back my gun, my dear. He moves towards her. She shakes her head and fires. An ornament on the shelf shatters into fragments. He falls to the floor, howling in fear. He looks up at her. ROSALEEN Are you our kind, or their kind? HUNTSMAN Not one kind or the other. Both. ROSALEEN Then where do you live? In our world, or in theirs? HUNTSMAN I come and go between them. My home is nowhere. ROSALEEN Are you only a man when you dress that way - like GRANNY said? He looks down, unbuttons his shirt and pulls it off, spreading his bare arms. ROSALEEN My, what big arms you have. HUNTSMAN The better to hug you with. He rises and approaches her slowly. ROSALEEN Well. perhaps. you did win your bet, did n't you - you gentleman, you fine gentleman. They say the Prince of Darkness is a gentleman. They're right. A fine gentleman. HUNTSMAN -LRB- smiling. -RRB- Gentlemen always keep their promises. Do ladies keep their promises? Indeed I won my bet. So now, you owe me. ROSALEEN I remember. HUNTSMAN a kiss. Will you be honourable and pay me, or not? He slowly takes her face into his hands and kisses her. She suddenly pushes him away ; he stumbles to the floor. ROSALEEN Jesus, what big teeth you have! HUNTSMAN All the better to eat you with. ROSALEEN seizes the rifle and fires at him. He clutches his shoulder and falls howling to the floor. He rocks back and forth, howling. His back heaves. His long tongue emerges. Hair sprouts along his heaving back. ROSALEEN backs away. He screams. His face splits open and a wolf's head emerges from within. His back splits to let the wolf's body emerge.","EXT. GRANNY'S COTTAGE The full moon in the sky. The wolves on the wall howling.","INT. GRANNY'S COTTAGE pan up from the fire to ROSALEEN's face where she stands against the wall. ROSALEEN I'm sorry. We hear the sound of the wolf whining. ROSALEEN I never knew a wolf could cry. She moves to the grey wolf sitting on the hearth and hugs it.","EXT. GRANNY'S COTTAGE The wolves leap down from the wall and disperse into the night.","INT. COTTAGE ROSALEEN cradles the wolf tenderly. ROSALEEN Leaving you, are they? You'll be all alone. I'll tell you a story of a wounded wolf.","EXT. VILLAGE - NIGHT track in on the well. Wind blows. Pigeons erupt into the shot. ROSALEEN -LRB- vo -RRB- Once upon a time. The well mechanism, cogs turning. ROSALEEN -LRB- vo -RRB-. when the village was asleep. The edge of the well : a wolf appears over the lip, its eyes glowing in the dark. It lifts its muzzle exploratorily, looks into the camera. ROSALEEN -LRB- vo -RRB-. a she - wolf came, from the world below to the world above. A cottage window, which lights up as someone inside approaches the window holding a candle. The wolf on the well lifts its head in response to a distant howling, and howls back. It lowers its head and jumps down out of shot. Wolf moves away from the well uncertainly. It looks about. It trots away from the village towards the bridge. ROSALEEN -LRB- vo -RRB- She meant no harm. The wolf on the bridge, the church spire visible in b.g. ROSALEEN -LRB- vo -RRB-. to anyone, but someone meant harm to her. Cottage door opens ; pan down to reveal a MAN holding a rifle. He fires. CLOSEUP as the bullet strikes the wolf's leg. It wheels around, yelping with pain. It flees over the bridge towards the church, whining.","EXT. WOODS - NIGHT The she - wolf limps through the underbrush, panting in pain. ROSALEEN -LRB- vo -RRB- So she ran. and she ran.","EXT. CHURCHYARD - NIGHT ROSALEEN -LRB- vo -RRB-. and she ran again. The wolf limps up the stone steps leading to the rectory. The wolf hesitates, her eyes glowing. CLOSEUP of light shining out from beneath the door. The wolf lowers her head and whimpers. She limps further up the steps to the door. She wheels and runs back down as the door opens and the OLD PRIEST emerges. He looks out into the misty churchyard. OLD PRIEST Who's there? Who's there? The wolf looks out from behind a tombstone. The OLD PRIEST comes down the steps slowly ; camera PANS right to reveal the WOLF GIRL crouching down where the wolf was previously. She is naked, her body hidden by her long black hair, holding out her arms in supplication. The OLD PRIEST recoils in alarm. OLD PRIEST This is holy ground! The WOLF GIRL holds out her arms. The OLD PRIEST extends his arms. Their hands meet. OLD PRIEST Can you speak? He kneels down beside her. Her face is streaked with tears. OLD PRIEST Are you God's work, or the Devil's? -LRB- she looks away -RRB- Oh, what do I care whose work you are. He takes her wounded arm and wraps a cloth around it. OLD PRIEST. you poor, speechless creature? He smiles reassuringly at her as he wraps the bandage tightly. He puts one hand to her wet cheek. OLD PRIEST It will heal. in time. He holds her, stroking her hair gently. Camera pans away amongst the tombstones. ROSALEEN -LRB- vo. -RRB- And the wound did heal. The WOLF GIRL's tear - stained face. ROSALEEN -LRB- vo -RRB-. for she was just a girl after all. INSERT CLOSEUP of a white rose in full bloom. ROSALEEN -LRB- vo -RRB-. who had strayed from the path in the forest. Slowly the rose opens and turns deep red. CLOSEUP of the WOLF GIRL weeping. ROSALEEN -LRB- vo -RRB-. and remembered what she'd found there. INSERT the rose turns completely red as it opens fully.","EXT. WOODS - NIGHT The WOLF GIRL moves slowly through the underbrush. The village with the church spire in b.g. ROSALEEN -LRB- vo -RRB- So back through the forest she ran and ran. The WOLF GIRL creeps across the bridge, her long hair hiding her naked form. She moves across the bridge. She approaches the well. ROSALEEN -LRB- vo -RRB-. to the well, and the village, from whence she came. She approaches the well cautiously, then climbs up onto the lip. She slowly lowers herself down into the well. ROSALEEN -LRB- vo -RRB- She crept inside, to the world below. close shot of the WOLF GIRL's spread hand disappearing over the lip of the well.","INT. GRANNY'S COTTAGE - NIGHT ROSALEEN on the hearth petting the docile wolf. ROSALEEN And that's all I'll tell you, because that's all I know. The wolf licks her hands and face.","EXT. GRANNY'S COTTAGE - NIGHT The full moon in the winter sky.","EXT. WOODS - MORNING The BOY leads the armed villagers along the path towards Granny's cottage. BOY ROSALEEN! ROSALEEN! MOTHER and FATHER lead the way to the cottage. Slow motion : the front window shatters as the wolf leaps through it. MOTHER turns to watch it escape, glances back at FATHER, goes to the front door. She pushes it open, to reveal a silver wolf waiting calmly within. MOTHER walks forward slowly. The wolf looks up at her. MOTHER stares. Around the wolf's neck hangs ROSALEEN's rosary, the silver cross dangling between the wolf's front paws. FATHER rushes in and aims his rifle. MOTHER -LRB- screaming. -RRB- NO! She knocks the rifle up as FATHER fires. The blast blows a hole in the cottage roof. The wolf turns and leaps through the shattered window. MOTHER and FATHER watch it go.","EXT. GRANNY'S COTTAGE The wolf bounds over the low stone wall towards the woods. The villagers react. MOTHER leans out of the shattered window, screaming. MOTHER No! Do n't shoot! BOY -LRB- desperately. -RRB- ROSALEEN!","EXT. WOODS - DAY The two wolves run together through the woods. They leap over the doll's house in the path. They leap over the life size sailor doll lying face down on the path. They leap over the life size teddy bear, knocking its head off.","INT. ROSALEEN'S ROOM Camera tracks around ROSALEEN lying curled asleep on the bed, cradling the hand mirror.","EXT. WOODS The entire pack of wolves rushes up the path.","INT. HOUSE The wolves rush through dusty corridors full of discarded furniture and Victoriana. CLOSEUP of an old oil portrait in a heavy frame ; in slow motion a wolf bursts through the painting and into the room. More wolves follow through the picture frame. They rush up a staircase towards the attic. They rush down the corridor and mill outside ROSALEEN's room.","INT. ROSALEEN'S ROOM ROSALEEN sits up in alarm.","INT. CORRIDOR The wolves outside her door.","INT. ROSALEEN'S ROOM ROSALEEN clutches the covers up around her. She looks towards the window, panting with fear. The window, its sill laden with old toys and books ; in slow motion a single wolf crashes through the glass panes into the room. ROSALEEN screams. close shot of her screaming in terror. The wolf coming through the window in slow motion. Toys and fragments of glass cascade in slow motion onto the floor and shatter. ROSALEEN -LRB- vo. -RRB- Little girls, this seems to say : Never stop upon your way ; Never trust a stranger friend No one knows how it will end. As you're pretty, so be wise Wolves may lurk in every guise Now, as then, ` tis simple truth : Sweetest tongue hides sharpest tooth. MUSIC AND CREDITS"],"string":"[\n \"EXT. WOODS -- DAY High angle crane shot of an old well, crumbling, surrounded by dead trees and brown leaves. Crane down to ground level as a large German Shepherd runs around from behind the well and noses at something hidden in the long dry grass at the base of the old well. CLOSEUP of a Victorian china BOY doll lying in the grass, the dog's nose nuzzling at it. The dog runs off left. Brow of hill : dog races up towards camera and runs past. Bare ground and a blasted tree ; camera tracks left as the dog runs through shot and off left. A rotting fallen tree ; the dog leaps over it into camera and runs past, dislodging a large toad which falls out of shot. A stream running between low banks ; the dog leaps from right bank to left and out of shot, startling a large raven into the air. Bare trees ; tilt down to show a roadway and a silver bmw speeding towards camera. Tracking shot -LRB- as if from car -RRB- following the dog as it races through the trees beside the road ; slow zoom in on dog. The roadway ; in extreme foreground a large rat scurries away off left as the bmw approaches.\",\n \"EXT. HOUSE -- DAY The rear of a large three - story country house, cream - coloured and resplendent in an expanse of green lawn and trees. ALICE, an adolescent girl in a long white dress runs away from camera towards the house and up the back stairs. The front of the house seen through open, ornate wrought - iron gates ; the silver BMW comes into shot at left and wheels away down the drive towards the house. The dog races into shot in close pursuit. The dog dashing along the drive. Low angle -LRB- as if from the dog's pov -RRB- of the car turning in the drive. The dog runs after it. Rapid track in on the rear of the car as it pulls to a stop in front of the house. The front entrance as ALICE emerges and runs down the front steps ; track back to include the car as the passenger door opens and MOTEER emerges, wearing a smart grey suit, and kisses ALICE. ALICE Hello, mummy! MOTHER Hello, darling. ALICE Any presents for me? MOTHER A surprise. ALICE What? MOTHER You know! ALICE No I do n't - what? They move to the back of the car, where FATHER has opened the hatchback trunk and is unloading bags of groceries. MOTHER pulls out a small potted palm wrapped in brown paper and hands it to ALICE. MOTHER Where is she? Did she miss tea again? ALICE as she takes the plant ; we notice that she has a small silver crucifix on a chain around her neck. ALICE She said she had tummy - ache. FATHER and MOTHER continue to unload the car. ALICE -LRB- os. -RRB-. so she's sulking in her room. FATHER It's her age. ALICE She's a pest! MOTHER So were you once! Now go and wake her.\",\n \"INT. HOUSE -- DAY Medium shot through the half - open front door onto the driveway, the car partially visible, as the dog lopes through the door past camera into the house.\",\n \"EXT. HOUSE -- DAY alice walks from car carrying the potted palm and a plastic carrybag ; track with her as she runs up the front steps.\",\n \"INT. HOUSE -- DAY High angle through banisters down to the main floor as the panting dog runs up the stairs past camera. alice runs into front room past a large dark Victorian sideboard, puts the plant down onto a table beside a large divan, drops the carrybag onto the divan and runs up stairs at left.\",\n \"INT. ROSALEEN'S ROOM -- DAY A shelf full of Victorian toys and bric - a - brac ; at screen right is a Pierrot doll with hanging legs in puffed white pantaloons, the legs swinging gently. Ticking of clock audible.\",\n \"INT. HALL -- DAY ALICE rushing up stairs past camera. ALICE Pest, pest!\",\n \"INT. ROSALEEN'S ROOM close shot of a porcelain grandMOTHER doll with wire - framed spectacles and a ruffled bonnet, moving slightly in what seems to be a light breeze. Ticking clock.\",\n \"EXT. HOUSE FATHER and MOTHER carrying plastic bags of groceries from the car towards the house. MOTHER I want you to have a word with her. FATHER Well, I have - I've tried. I've been upstairs to see her. MOTHER Yes, but not - FATHER She always tells me I do n't understand her. MOTHER Oh, that's ridiculous. FATHER Well, she's right.\",\n \"INT. HOUSE The landing as dog runs up stairs past old wooden furniture, a large house plant on a small table, and goes off left. Low angle up another flight of stairs as the ALICE runs in at right, up the stairs and off left. Dog rounds corner at top of stairs and runs towards camera down a corridor ; camera tracks back in front of dog. Old, peeling radiators. Reverse low angle shot -LRB- as if dog's pov -RRB- : camera tracks quickly along the corridor, which has an old faded carpet and large, dark oil portraits propped up on the floor against the walls on either side. Dog stops outside ROSALEEN's room and sniffs at the door. ALICE runs along the downstairs corridor away from camera, past the old furniture and the house plant, and mounts the stairs. The dog is sitting outside the door as the ALICE reaches the top of the stairs in bg. and runs towards the camera. She reaches the door and pushes irritably at the dog. She shoves at the dog impatiently. ALICE Go away! She knocks sharply at the door.\",\n \"INT. ROSALEEN'S ROOM A white dress hanging on the back of the door ; grandMOTHER doll visible at the left of the door. ALICE -LRB- off. -RRB- They want you downstairs! You have to come out sometime - you ca n't sulk in there forever! Open the door! Open it! You've been at my lipstick too, have n't you! Pest! During this the camera tracks in and pans slowly left to show the grandMOTHER doll on a shelf beside the door ; then an antique dresser with an oval mirror, in which we see ROSALEEN reflected asleep on her bed ; a clock, a disarranged box of Kleenex, then the bed itself with ROSALEEN fully dressed atop it, curled asleep.\",\n \"INT. HALLWAY ALICE at the door. ALICE What makes you so different anyway! Buck Teeth! Come on out -\",\n \"INT. ROSALEEN'S ROOM ROSALEEN tossing in her sleep. We see that she has on bright red lipstick and rouge, and is wearing a white blouse with red and purple hearts on it. Beside her lie a round hand mirror and a lurid teenage magazine.\",\n \"INT. HALLWAY ALICE Pest! It's not because I want you, either -\",\n \"INT. ROSALEEN'S ROOM Profile CS of ROSALEEN asleep. ALICE -LRB- off. -RRB-. it's because Mummy wants you!\",\n \"INT. HALLWAY ALICE Pest, pest.\",\n \"INT. ROSALEEN'S ROOM ROSALEEN tossing in her sleep. ALICE -LRB- off. -RRB-. pest! Camera tracks in and around the bed right to left. A wind begins to blow tissues and papers across the bed around the tossing ROSALEEN. The bright afternoon sunlight on the right side of the room fades and is replaced by cold blue moonlight from the window os left. Music. close shot of the grandMOTHER doll in the blue light. Shot of a soft cloth sailor doll leaning against the window, curtains billowing in the wind and blue moonlight. Camera tracking back left to right as the wind blows harder across ROSALEEN. close shot of the toy shelf ; camera pans to the left past a teddy bear to a Harlequin doll, its head ticking back and forth, past a porcelain cat head to the sailor doll against the window ; camera moves to window and onto a dream landscape of dark forest and distant mountain. In the distance a wolf howls. dissolve to :\",\n \"EXT. FOREST - NIGHT Dream forest in thick mist. ALICE runs in at right, freezes in her tracks momentarily as we hear another wolf howl in the distance. She runs left, camera panning to follow her as she runs out of shot left. ALICE runs in at right and towards camera, which tracks back sharply to show the gates from the driveway hanging open, ruined and rusted. ALICE runs through them towards camera and off left. ALICE runs through shot and off left ; camera pans to left to reveal a life size sailor doll standing against a rock face. It jerks to life and turns around to camera. close shot of the cloth face of the doll as it turns round and runs jerkily off left after her.\",\n \"INT. ROSALEEN'S ROOM ROSALEEN tossing uneasily in her sleep.\",\n \"EXT. FOREST The white dress hanging from a tree in misty background. ALICE runs in right ; camera pans to a life size teddy bear standing against a tree. The ALICE halts and approaches the bear, stroking it as if for reassurance. The bear jerks to life and tries to grab her. She screams and pushes it away, running off right.\",\n \"INT. ROSALEEN'S ROOM ROSALEEN tossing. The sailor doll against the moonlit window.\",\n \"EXT. FOREST The life size sailor doll lumbering forward. ALICE backs into shot from the left, collides with the doll, screams and runs out of shot. The doll collapses limply onto the ground, inert. close shot of the life size teddy bear lifting its head. ALICE screams offscreen. close shot ALICE, horrified, as she turns to run. A large doll's house, with light showing through its lower windows -LRB- it is markedly similar to the house seen earlier -RRB-. ALICE enters shot from left, stares at the doll's house, moves forward to swing open a panel which reveals the rooms inside. close shot of the interior : we see a mouse standing upright inside a miniature canopied bed, its snout poking out through the canopy. extreme close shot of the mouse. close shot of ALICE grimacing in disgust. ALICE's hand picks up a piece of miniature furniture and hurls it at the mouse. The mouse flinches away. ALICE runs off right. Mouse looking into camera.\",\n \"INT. ROSALEEN'S ROOM close shot grandMOTHER doll as before. ROSALEEN tossing on the bed, camera tracking around bed to left.\",\n \"EXT. FOREST ALICE running through mist towards camera, which pans left to reveal a large grandFATHER clock shrouded in cobwebs. ALICE stops as the clock strikes once sluggishly and its hands spin erratically. close shot of the clock's base as the door opens and mice spill out onto the ground. close shot of ALICE grimacing in disgust. ALICE runs off left.\",\n \"INT. ROSALEEN'S ROOM extreme CLOSEUP of the Harlequin doll's head ticking back and forth.\",\n \"EXT. FOREST ALICE runs in right and camera pans to show large pipe - like structures -LRB- a blast of organ music on soundtrack -RRB- ; at right a bird sits atop one of the pipes looking at ALICE, who pauses and then flees off left.\",\n \"INT. ROSALEEN'S ROOM extreme close shot of a black and white photograph of ROSALEEN and the dog, propped up on the night table beside the bed, the shadow of the billowing window curtains moving across it. extreme close shot of the porcelain cat head, with the head of the Harlequin doll ticking into shot at extreme right.\",\n \"EXT. FOREST ALICE running past huge mushrooms towards camera and off screen left. ALICE running past a large owl at left ; pan to follow her. close shot as the owl whirs into flight. The mushrooms in the mist ; at centre screen the owl flies off right as ALICE runs into shot in bg and runs towards camera. ALICE runs left, camera panning with her ; she freezes as the pan discloses a pack of wolves standing motionless atop boulders. close shot ALICE screaming in terror. The wolves watching her, motionless. ALICE standing, wolves behind her. They leap down from the rocks as one and she flees off right. close shot of the wolves leaping down from the rocks. Link cut to close shot of same. ALICE fleeing past huge mushrooms ; she stops to look back. Wolves racing past a large tree. ALICE runs off. The wolf pack in pursuit. Slow motion shot of ALICE running towards camera, the wolves overtaking her from behind, some running round left to cut her off. ALICE running, wolves closer behind. ALICE reaches a rock face blocking the path, whirls round and screams. Wolves howling, their eyes glowing red. close shot of ALICE helpless at the rock face. wolves rush forward. ALICE as she spins round, screaming, to stare at the rock face. close shot on rock face -LRB- as if ALICE's pov -RRB- to show a dark gap in the rock, red eyes glowing within. close shot ALICE screaming, her hand at her throat. extreme CLOSEUP of the glowing red eyes. extreme CLOSEUP of ALICE screaming. Wolf pack rushing up the path. close shot of the wolf leaping out from the gap in the rock face. close shot of ALICE screaming in despair and sinking onto the ground. The wolf pack rushes closer. High angle as ALICE throws her arms up and sinks to the ground ; the wolf pack rushes into shot in f.g., hiding her from view. FADE OUT\",\n \"INT. ROSALEEN'S ROOM ROSALEEN turns over on the bed, smiling. close shot of the window looking out onto the dream nightscape ; camera tracks in past the window frame.\",\n \"EXT. FOREST -- DAY dissolve from nightscape to daylight forest scene, autumnal colours. Camera tracks in and pans right to disclose a distant church spire.\",\n \"EXT. CHURCHYARD -- DAY Low angle shot of the church, its bell tolling a knell ; to the right in f.g. a crane stands on the paved bridge, turning its head to camera. High angle close shot of ALICE with her eyes closed, a garland of white flowers on her brow, dark marks on her throat. close shot of ROSALEEN, a white kerchief on her head, staring down. The bell tolls. MOTHER, wearing a straw bonnet trimmed with white, comes into shot at left, stooping down. ALICE is revealed laid out in a rough wooden coffin, her arms crossed over her breast. MOTHER kisses ALICE's forehead, looks at her sadly, then reaches down to remove the crucifix and chain from around ALICE's neck. Camera pans up with MOTHER as she stands to put it around ROSALEEN's neck. We see GRANNY at right of shot, other mourners behind. MOTHER Say goodbye to your sister now, so you'll never forget her. ROSALEEN looks uncertainly at MOTHER, stoops down to kiss ALICE's forehead, glances again at MOTHER, looks down miserably. Resume on ALICE, as a coffin lids slides up into shot to hide her face. ROSALEEN as she steps back in shock. A crow caws o.s. MOTHER crosses in front of ROSALEEN and out at right. MOTHER walking past church wall to join a group of mourners on the other side of the grave, including FATHER and OLD PRIEST. FATHER puts his arm around her. ROSALEEN and GRANNY. GRANNY reaches out and pulls ROSALEEN to her. GRANNY Stay with me, child. She reaches into her bag and pulls out a large gingerbread man. GRANNY Chew on this. It'll keep your mind off things. ROSALEEN takes the cookie and nibbles it tentatively. grave diggers move into f.g. and stoop down out of show as PRIEST begins to read the service. OLD PRIEST Man that is born of WOMAN hath but a short time to live and is full of misery. High angle on the coffin as they lift it and remove the boards supporting it over the open grave, then lower it slowly. Camera pulls back to show the sparse village congregation gathered around the grave. shot of a red - haired BOY beside his MOTHER. He lifts his head and smiles at ROSALEEN. GRANNY and ROSALEEN. ROSALEEN takes the gingerbread man out of her mouth and sticks out her tongue. The BOY puts out his tongue at her in response. His MOTHER cuffs him smartly. ROSALEEN turns her head away. grave diggers begin to spade earth into the grave. OLD PRIEST We therefore commit her body to the ground. close shot of a spade digging up moist earth. close shot of the coffin in the grave as a clod of earth strikes it and startles a large toad sitting atop the coffin. Another shovelful of earth is lifted. Another clod strikes the coffin and the toad hops away out of shot.\",\n \"EXT. VILLAGE - SUNDOWN A horsedrawn cart coming over the brow of a hill, FATHER and another PEASANT leading the horse. In the cart sit GRANNY and ROSALEEN on the left, MOTHER isolated on the right. GRANNY Your poor sister - all alone in the wood, and nobody there to save her! cart with the church spire visible in the distance. GRANNY Poor little lamb! ROSALEEN Why could n't she save herself? CMS ROSALEEN and GRANNY. GRANNY You do n't know these things, you're only a child! FATHER and PEASANT pass in front of the camera, blacking out the screen momentarily. Dark screen which is disclosed as dark tree trunk as camera pans left to disclose the village in LS, well in the centre. Crane down as cart comes around well and pulls to a stop. FATHER puts down a crate for the women to step down onto ; he reaches in to help GRANNY out. Link cut to MCS as he lifts GRANNY down, then ROSALEEN. She clings to him. ROSALEEN Daddy. FATHER There, there, pet. GRANNY -LRB- offscreen. -RRB- Shall I take her home. CU GRANNY. GRANNY with me tonight? Her MOTHER's in no fit state to look after her. Resume previous shot as GRANNY's hand comes into shot at right to take ROSALEEN's arm. GRANNY -LRB- offscreen. -RRB- Come, pet. ROSALEEN pulls free and moves to the left, camera panning with her to MOTHER. ROSALEEN I want to stay with Mummy. FATHER Mummy's not well. Just for tonight. Resume previous shot. GRANNY Come, child, come with me. She moves off left. FATHER puts his hand on MOTHER's shoulder, leads her away gently.\",\n \"EXT. WOODS - EVENING GRANNY and ROSALEEN appear in the distance walking along the path. Dark music. GRANNY It's a long way through the wood, but safe by daylight. Safe if you keep to the path. -LRB- music drowns out her words. -RRB- GRANNY stops and goes to a small shrub, picks something. GRANNY There's lots more of these in the wood, if you know where to look! ROSALEEN -LRB- looks off right. -RRB- Berries! She darts away. Shot past a bush of berries in f.g. to ROSALEEN and GRANNY in b.g. ROSALEEN picks a berry and pops it into her mouth. GRANNY flies forward, grabs ROSALEEN and drags her back. GRANNY Do n't. CLOSE MEDIUM SHOT as she pulls ROSALEEN up from screen left. GRANNY stray from the path, girl! Did you not hear what I told you? Once you stray from the path you're lost entirely! -LRB- she leads ROSALEEN down the path. -RRB- The wild beasts know no mercy. They wait for us in the wood, in the shadow, and once you put a foot wrong - CLOSE TWO SHOT ROSALEEN and GRANNY, who darts her head forward. GRANNY - they POUNCE! ROSALEEN starts. GRANNY smiles, pats her cheek. GRANNY There. CLOSEUP ROSALEEN, alarmed. GRANNY -LRB- offscreen. -RRB-. there, my precious. LONG SHOT GRANNY leads ROSALEEN along the path. GRANNY Do n't take on so. It's something you have to learn, otherwise you'll end up like your poor dear sister! MEDIUM LONG SHOT following them past a huge tree ; camera pans right to disclose GRANNY's cottage in b.g. ROSALEEN runs ahead towards it. Link cut to MEDIUM SHOT as she runs through a gate in the low stone wall around the cottage. Bird song.\",\n \"EXT. COTTAGE In the yard is a small apple tree. ROSALEEN bends down and picks up a fallen apple from under the tree. ROSALEEN Granny, can I have one? GRANNY I ca n't see why not. ROSALEEN bites into the apple, grimaces and spits it out. close shot of the apple in her hand. A large worm wriggles inside the bite mark. GRANNY -LRB- chuckling. -RRB- You've got a lot to learn, child. She takes the apple and tosses it away. GRANNY Never stray from the path, never eat a windfall apple. She picks another apple from the tree and gives it to ROSALEEN. GRANNY and never trust a man whose eyebrows meet! She strokes ROSALEEN's cheek and goes into the cottage. ROSALEEN bites hungrily into the apple and follows her.\",\n \"EXT. GRANNY'S COTTAGE - NIGHT A white owl in a tree. The cottage, chimney smoking, under a luminous full moon.\",\n \"INT. GRANNY'S COTTAGE - NIGHT A cheery fire burning. ROSALEEN is sitting on the floor beside GRANNY in her chair. GRANNY is rolling up a ball of bright red wool. GRANNY The best winter wool, pet, woven across the valley - so good, so soft I thought I'd knit a shawl for your sister. But now, you know what I'll do? ROSALEEN What, Gran? GRANNY I'll make one for you! A very special shawl for a very special lady. She rubs the wool against ROSALEEN's cheek. ROSALEEN Soft as a kitten. GRANNY smiles down at her, her spectacles lit by the fire ; then her expression hardens. GRANNY There's something I should tell you. ROSALEEN -LRB- startled. -RRB- Yes? GRANNY But maybe you ` re too young. ROSALEEN Tell me, Gran! GRANNY Too young to understand. ROSALEEN Oh, go on, Gran, tell me! GRANNY Maybe no child is ever too young. -LRB- pause. -RRB- A wolf may be more than he seems. He may come in many disguises. ROSALEEN What's that? GRANNY The wolf that ate your sister was hairy on the outside. But when she died she went straight to Heaven. The worst kind of wolves are hairy on the inside, and when they bite you, they drag you with them to Hell! ROSALEEN What do you mean, hairy on the inside? Like a furry coat? GRANNY Hush now, foolish child, and listen. Once upon a time there was a WOMAN in the village, and she married a travelling man.\",\n \"EXT. FOREST - DAY Jubilant fiddle music. villagers dance down the path, all garlanded with flowers, surrounding the happy BRIDE and GROOM. He sweeps her into his arms and carries her over the threshold of an isolated cottage.\",\n \"INT. BRIDE'S COTTAGE - NIGHT The BRIDE and GROOM stand in their night dress before an open window which admits bright moonlight. The BRIDE still has her garland in her hair. GROOM -LRB- turning from the window. -RRB- They've all gone now. BRIDE It's a shame your people missed the wedding. GROOM -LRB- cryptically. -RRB- Maybe it is and maybe it is n't. She turns and goes to the bed, turns back the covers. close shot as the covers turn back, revealing a tiny hedgehog in the middle of the bed. She laughs and scoops it up to show him. BRIDE My brother ` s idea of a joke! The GROOM stares at her. BRIDE Why are you staring like that? GROOM Because I've never seen anything like you before. BRIDE Do n't they have girls where you come from? GROOM Not like you. She slowly removes the garland of flowers from her hair and puts it aside tenderly. In the shadows the GROOM removes his nightshirt. BRIDE Come out of the shadows. Let me see you, my love. He walks forward slowly, the candlelight glowing on his bare chest. BRIDE Are all travelling men as handsome as you? GROOM So you think I'm handsome? BRIDE The first thing I noticed about you - was the way your eyebrows meet. GROOM Does that spoil me then? BRIDE Come to me and I'll tell you. He bends to kiss her. There is a screech and he yelps in pain. The hedgehog on the floor under his feet. He seizes it and goes to the door to throw it out into the yard. The opened door reveals the full moon. Music. The GROOM stops to stare at the moon, leaning weakly against the door jamb. BRIDE My dear? GROOM -LRB- thickly. -RRB- I must. just go into the yard. for a moment. BRIDE Why ever for? He turns his head towards her ; his pupils are bright red. GROOM Call of nature. He goes out, shutting the door behind him. She smiles uncertainly, gets into bed and snuggles down against the pillow to wait for him.\",\n \"INT. GRANNY'S COTTAGE - NIGHT GRANNY So she waited. and she waited.\",\n \"INT. BRIDE'S COTTAGE - NIGHT GRANNY -LRB- vo. -RRB-. and she waited again. The BRIDE sits up and gets out of bed. BRIDE -LRB- to herself, uncertainly. -RRB- Surely he ` s been gone a long time? She walks toward the door. A wolf howls outside. She freezes in terror, then forces herself towards the window.\",\n \"EXT. BRIDE'S COTTAGE - NIGHT Several wolves in the yard under the blue full moon ; one atop the low stone wall barks in answer to distant howling.\",\n \"INT. BRIDE'S COTTAGE - NIGHT She recoils in horror. BRIDE No! It ca n't be!\",\n \"EXT. WOODS - DAWN VILLAGERS armed with rifles searching through ground mist, moving through the trees towards camera. MAN He upped and ran, that ` s all. It was in his blood. Was n't he a travelling man? CLOSE SHOT BRIDE's hand lifting a dead leaf from the ground to reveal a deep wolf print in the wet earth below. BRIDE bent over at edge of pond. In the pond wades another villager probing the bottom with a long stick. He shakes his head. She looks up right, jumps to her feet. villagers approach down the path at right. BRIDE Anything? MAN Not a hair nor a hide of him. Nor a footprint. She pushes him in the chest angrily, runs back to point to the edge of the pond. BRIDE What's that, might I ask? I told you I heard a wolf last night! They came and took him while he was making water, when a man. She sinks to her knees. CLOSE SHOT as she lowers her head. BRIDE is at his most defenseless. -LRB- looks up in tears. -RRB- Murderers! They're murderers! VILLAGERS look on as she lowers her head and sobs. At screen right a white duck preens itself unconcernedly. GRANY -LRB- vo. -RRB- -LRB- over. -RRB- But she was a young thing.\",\n \"INT. GRANNY'S COTTAGE - NIGHT GRANNY winding the red wool, ROSALEEN listening intently. GRANNY and cheerful of temperament, and she found another husband - not too shy.\",\n \"INT. BRIDE'S COTTAGE - NIGHT close shot of a porcelain chamber pot under the bed. GRANNY -LRB- vo. -RRB-. to piss in a pot! Pan up to stool on which stands an alarm clock, chiming delicately. The BRIDE's hand reaches out from under the eiderdown to turn it off, then retracts under the eiderdown, her laughter mingling with that of her -LRB- unseen -RRB- husband. ROSALEEN -LRB- vo. -RRB- And they lived happily ever after!\",\n \"INT. GRANNY'S COTTAGE - NIGHT CMS as before. GRANNY -LRB- sharply. -RRB- Indeed they did not!\",\n \"INT. COTTAGE - EVENING The BRIDE, older now, in a cluttered kitchen interior with three small children, all tearful. granny -LRB- v0 -RRB- First time passed, happily enough. The BRIDE wipes one baby's face, puts it down. BRIDE What a mess! -LRB- baby wails. -RRB- Oh, do n't start! She picks up another baby and dandles it while she peels potatoes angrily. The first baby wails. BRIDE Shut up! Here. She gives the baby a bit of peeled potato. granny -LRB- vo -RRB- Time passed, and she gave him children. And that was a bad time for wolves, those years, oh yes! Not a sheep or a cow was safe. But for herself all went right as a trivet - until.\",\n \"EXT. COTTAGE - NIGHT granny -LRB- vo -RRB-. one winter's night. Camera pans and tracks through dark trees to show the lighted window of the cottage. Wolves howl in the distance. A ragged figure with long matted hair limps out of the darkness towards the cottage. He rubs his hand over a dirty window pane ; in the cleared space we see the BRIDE within feeding her children at the table. He limps around the side of the cottage.\",\n \"INT. COTTAGE - NIGHT The BRIDE feeding fresh wood into the fire. A heavy knock on the door. She gets up andpens the door to reveal the waiting figure. Her astonished face. The disheveled GROOM walks in slowly. She stares at him. BRIDE My God. He glares at the children, sits heavily at the table. GROOM I'm starving. One of the children bursts into alarmed tears. She quickly scoops it away from the table. BRIDE Do you want something to eat? GROOM Did n't you hear me the first time! She ladles out a bowl of soup. He pulls his hair away from his face, leans forward and spoons it up. Baby cries loudly. GROOM Where did these three spring from? BRIDE Out of my belly! GROOM -LRB- snarling. -RRB- Your children - but not my children! Whore! Adulteress! She backs away from him. GROOM You hoped I'd never come back! He overturns the table. BRIDE I thought the wolves had taken you! GROOM Better a wolf than a whore! If I were wolf once more, I'd teach this whore a lesson! He tears his shirt open. She throws a ladle full of soup in his face. He screams and covers his face with his hands. She stares at him. He rips away the skin from his face. She stares, transfixed with horror. He rips the skin from his face and neck with a skeletal hand. The hand claws at her ; she beats it off and backs away behind a post. The hand peels his face entirely away, revealing a bloody grinning skull. She cowers. The hand rips his hair off ; the naked bloody skull turns. It howls. She screams. The skull elongates into a wolf's skull. She runs to the children and hugs them to her. The wolf skull howls ; the skeletal hand claws at the air. She clutches the children around her, screaming. The body erupts into a bloody wolf's frame. The head snarls at her. The bloody wolf moves towards her. The door opens and her SECOND HUSBAND comes in. She screams to him. He turns. His hand seizes an axe leaning against the wall. The wolf, now covered with fur, turns on him. He swings the axe. Slow motion : the wolf's severed head flies off. Slow motion : it soars through the air. Slow motion : it strikes the far wall and tumbles down. Slow motion : it lands in a bucket of milk and submerges. The GROOM's original hand some head resurfaces and floats on the milk, its eyes closed. The BRIDE straightens and walks across the room to stare down at the bucket. The SECOND HUSBAND watches her darkly. She kneels down beside the bucket. Her hand touches the floating head gently. BRIDE -LRB- wondering -RRB- He looks just the same. She looks up at her SECOND HUSBAND. BRIDE. as the day I married him! The SECOND HUSBAND strides forward. He slaps her across the face. She gasps, looks down. The head floating in the milk.\",\n \"INT. GRANNY'S COTTAGE - NIGHT ROSALEEN listening, seen past GRANNY's hands as they wind the red wool. ROSALEEN I'd never let a man strike me. GRANNY Oh, they're nice as pie until they've had their way with you. But once the bloom is gone, oh, the beast comes out. ROSALEEN When the wolves, though - when the real wolves. LOW ANGLE CLOSEUP of GRANNY seen past ROSALEEN. ROSALEEN - when the real wolves mate, do the dogs beat the bitches afterward? GRANNY Animals! All wild animals! Her face changes. GRANNY Well, that's enough. CLOSEUP of her hands putting the ball of red wool down on a table. GRANNY wool for tonight. CLOSEUP of GRANNY, smiling. GRANNY Bedtime. CLOSEUP of ROSALEEN. CLOSEUP of GRANNY : she removes her glasses, rubs her eyes with her left hand, her silver wedding ring prominent. She folds up her glasses. CLOSEUP of her hands putting the glasses down beside the wool. GRANNY What about a kiss for Granny? ROSALEEN looks away. GRANNY Don ` t I deserve a kiss for my story? ROSALEEN gets up. MEDIUM PROFILE TWO SHOT she kisses the OLD WOMAN's cheek dutifully. GRANNY The best of all girls! She gets up and takes the candle from the table. CLOSEUP of the candle next to a metal ornament : a squat toad with an erect cobra rearing above it. GRANNY walks to camera with candle, which goes out of focus.\",\n \"EXT. GRANNY'S COTTAGE - NIGHT The full moon seen through trees. Crickets humming. The white owl takes flight from a tree.\",\n \"INT. GRANNY'S COTTAGE - NIGHT CLOSEUP of the toad ornament shining in the moonlight. ROSALEEN and GRANNY in bed side by side, GRANNY in her nightcap -LRB- as grandMOTHER doll seen earlier -RRB-, the candle burning on the night table beside the bed. CLOSEUP the ermine lifts it head. MEDIUM SHOT panning along the table to the toad ornament. CLOSEUP the ermine swivels its head, hissing softly. MEDIUM SHOT panning around the bed. Music. GRANNY snores softly. ROSALEEN sits up. We hear a wolf howl in the distance. MEDIUM SHOT tracking in on the window and strange Victorian paraphernalia on the table. Music. CLOSEUP ROSALEEN as she glances at GRANNY uneasily, settles down again.\",\n \"EXT. WOODS - DAY ROSALEEN and GRANNY walking along the path, GRANNY talking indistinctly. A toad crouches on a rock and watches them pass. HIGH ANGLE SHOT down on them as they round a bend in the path. GRANNY Of course you won ` t stay a young girl much longer. Your mummy and daddy will need all the help they can get. Just grow wise, learn all that you can, now that your sister is gone. They pass under a tree. GRANNY's ermine lifts its head and howls. A snake coiled around a low branch of the tree. ROSALEEN and GRANNY walk on unawares.\",\n \"EXT. VILLAGE - DAY The village children are playing blind man's bluff. The BOY, blindfolded, staggers forward and grabs hold of ROSALEEN. BOY -LRB- pulls off blindfold, reacts -RRB- Cor! GRANNY grabs him by the ear. GRANNY Caught you, you snotty - nosed ragamuffin! BOY I caught Rosaleen! GRANNY Oh no, nobody catches my little princess! She boots him smartly in the rear. GRANNY Come along, my child. The children rush off giggling wildly.\",\n \"EXT. VILLAGE - NIGHT Lights in windows gleam through the dark.\",\n \"INT. HOUSE - NIGHT ROSALEEN's MOTHER ladles out soup sadly. MOTHER There's too much food now there's just the three of us. FATHER Do n't grieve. Least said soonest mended.\",\n \"EXT. VILLAGE - DAY ROSALEEN goes out to the well carrying a bucket. Doves fly out of the well, startling her. She fills her bucket. BOY Rosaleen! Shall we play now? ROSALEEN Play what? BOY A game! ROSALEEN I know a good game. Close your eyes. Now, come to me. The BOY blunders forward. ROSALEEN Now. Closer, closer. Come on. Closer. There! BOY Now what? She empties the bucket of water over him. He splutters. ROSALEEN Olly olly, can ` t catch me! She runs off.\",\n \"INT. ROSALEEN'S BEDROOM The harlequin doll's head bobbing back and forth. ROSALEEN asleep in the bed, wind blowing around her. TRACK IN on the window, curtains billowing in the wind, and on the dream landscape beyond it.\",\n \"INT. HOUSE - NIGHT MOTHER gets up from the hearth, looks out the window. FATHER comes into shot and kisses the nape of her neck. She turns to embrace him. ROSALEEN in bed, moths circling her candle. She sits up. CLOSEUP of the candle and the circling moths. ROSALEEN reacts to an offscreen noise. MOTHER and FATHER in bed, falling back content against their pillows after making love. ROSALEEN sits back against her pillow, uneasy.\",\n \"INT. HOUSE - MORNING MOTHER pokes the fire. ROSALEEN sits up in bed behind her. ROSALEEN -LRB- uncertainly. -RRB- Mummy. MOTHER Yes, pet? ROSALEEN Does he hurt you? MOTHER -LRB- calmly. -RRB- Does who hurt me? ROSALEEN Does Daddy hurt you. when he. MOTHER -LRB- firmly. -RRB- No, not at all. ROSALEEN It sounds like. MOTHER Like what? ROSALEEN Like the beasts Granny talked about. MOTHER You pay too much attention to your Granny. She sits on the bed beside ROSALEEN. MOTHER She knows a lot, but she does n't know everything. And if there's a beast in men, it meets its match in women too. Understand me? Get up and fetch me some water.\",\n \"EXT. VILLAGE - MORNING ROSALEEN taking down sheets that have been hung to dry. BOY rosaleen! ROSALEEN Yes? BOY I've brought you a little present. ROSALEEN What kind of present? He pulls a bunch of wild flowers out of his shirt and holds it out to her. BOY I thought maybe you ` d take a walk with me in the wood, on Sunday after the service. Just a little walk, Rosaleen. ROSALEEN Why should I? BOY I thought maybe you'd want to. ROSALEEN I'd have to ask. She turns away. He calls after her. BOY Tell your MOTHER I'll be with you. And we wo n't stray from the path!\",\n \"INT. CHURCHYARD - DAY ROSALEEN and GRANNY sitting beside tombstones under a tree ; GRANNY is knitting the red shawl. GRANNY They're the best of all roses. picked from the grave of a princess. They came off my best rose tree! ROSALEEN Why ca n't Mommy grow roses like that? GRANNY -LRB- sniffing. -RRB- It's a question of a green thumb, she lacks that. No hand at pastry, either! The OLD PRIEST walks by carrying a ladder, which he places beside the tree. GRANNY Good morning, Father! OLD PRIEST Good morning! GRANNY -LRB- to ROSALEEN. -RRB- They say that priests' bastards often turn into wolves as they grow older! ROSALEEN -LRB- alarmed. -RRB- What do you mean? GRANNY If the child is born on Christmas Day. If he's born feet first he'll be the one, if he's born feet first and his eyebrows meet in the middle! Oh yes. very bad! One day he'll meet the Devil in the wood. ROSALEEN looks up at her.\",\n \"EXT. WOODS - NIGHT Mist. A thin BOY creeps through the trees, looking cautiously to left and right. He moves into close shot, and we see that his eyebrows meet. HIS POV mist in the tress and two points of yellow light that move forward. The BOY, uneasy. The lights approach and are revealed as the headlights of a white limousine. It glides to a silent halt in front of the astonished BOY. Inside the CHAUFFEUR wears a white uniform and cap, with long blonde hair. She turns to look out at the BOY -LRB- it is ROSALEEN in a platinum wig -RRB-. She gets out. Inside the car sits the PRINCE OF DARKNESS contemplating a small skull. She opens the door ; the PRINCE looks out. He gestures to the BOY to come closer. He reaches down and produces a small jar. He holds it out to the BOY. The CHAUFFEUR smiles to herself as the BOY takes it. PRINCE Now use it wisely! The BOY opens the jar and peers inside. PRINCE -LRB- smiling -RRB- Waste not, want not! He gestures and the CHAUFFEUR closes the door. The BOY backs away. The PRINCE returns to contemplating the skull as the car glides away. The BOY unlaces the top of his jerkin. He watches the car move away into the mist. He puts a finger into the jar and smears unguent onto his chest. The car moves off into the distance. CLOSEUP of the BOY's thin naked chest ; pan up to his face. The car is gone. BOY looks down. close shot of his chest : dark hair sprouting. He looks up. Mist where the car disappeared. Hair sprouting thickly on his chest. His feet : vines erupts from the earth and coil around his boots. The BOY's face : he looks down. His chest, now matted with dark hair. Vines wrap around his legs. The climb up his body. He screams. BOY No! No! His face distorts with terror.\",\n \"INT. ROSALEEN'S BEDROOM He is seen in the dresser mirror, screaming. ROSALEEN sits up in bed, turns to look at the BOY in the mirror.\",\n \"INT. CHURCHYARD ROSALEEN That's a horrid story! I did n't like it at all. GRANNY It's not a story, child, but God's own truth. So if you should spy on a naked man in the wood, run as if the Devil himself were after you! The OLD PRIEST comes out of the rectory carrying heavy pruning shears. He takes off his hat and plops it over the top of the tombstone next to GRANNY and climbs up the ladder against the tree. ROSALEEN -LRB- whispers. -RRB- The Devil's one thing, but a priest making babies is another! I do n't think our priest would have it in him. GRANNY -LRB- loudly. -RRB- You ca n't trust anyone, least of all a priest! He's not called FATHER for nothing! And do n't bother to whisper - he's deaf as a post! Up in the tree the OLD PRIEST chops at a branch. GRANNY holds out the red shawl. GRANNY There - is n't that lovely? All we need is a nice border and fringe. See how soft it feels! She holds it out to ROSALEEN who tries it on delightedly. ROSALEEN Soft as snow! GRANNY ; Red as a berry! ROSALEEN Red as blood. The OLD PRIEST chops another branch. It lands on GRANNY's bonnet. ROSALEEN laughs. GRANNY Old fool, want to brain me! What's he up to in the tree, the old monkey! FATHER! The OLD PRIEST goes on pruning branches. GRANNY FATHER, are you climbing up to Heaven and chopping the rungs of the ladder after you? Watch what you're doing! Can you hear me? OLD PRIEST Do n't make so much clamour in the garden of God's house, you irreverent old woman! I heard every word! GRANNY -LRB- indignantly -RRB- Well, what a silly game! OLD PRIEST Someone's got to do it! Someone's got to cut away the old wood. Even evergreens need pruning! He chops another branch. It falls as GRANNY leads ROSALEEN away.\",\n \"EXT. HOUSE - NIGHT ROSALEEN at the window inside looking at a moth caught in a spider web and the enormous spider on the next windowpane.\",\n \"INT. HOUSE - NIGHT ROSALEEN lifts her hand to touch the spider gingerly. FATHER comes in holding wood, pauses to look at her. He goes past MOTHER busy at the stove, puts the wood down on the hearth, picks up the BOY's bouquet from the mantel and sniffs at it theatrically, then bites off one of the flowers and chews it. MOTHER Daddy, leave her be! ROSALEEN jumps up from the window seat and takes the bouquet from him. ROSALEEN He only asked me to walk with him. What's wrong with that? MOTHER All the same, I do n't know. It's not as if = = FATHER Ah, where's the harm in it, he's our neighbour's son, she's known him since she was a baby. She still is a baby. MOTHER So was our Alice once. FATHER She'll be gone soon enough, she's so pretty. What is it they say - it's not losing a daughter, it's gaining a son? ROSALEEN Stop teasing me, he only asked me to walk with him! FATHER Well, one thing leads to another. MOTHER crosses holding a jug and flicks water from it into FATHER's face.\",\n \"EXT. WOODS - MORNING LONG SHOT as before tracking over the treetops to the distant church spire. Church bell pealing.\",\n \"INT. CHURCH - MORNING Sunlight blazing through the window. The OLD PRIEST in his surplice walks to the pulpit, humming to himself, mounts it to face the congregation. The congregation, a couple of dozen villagers, ROSALEEN in the centre beside her parents. OLD PRIEST Isaiah, chapter eleven, verses six to eight. `` The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid, and the calf and the young lion and fatling together, and the little child shall lead them. And the cow and the bear shall feed their young ones together. And the lion shall eat straw with the ox, and the suckling child shall play on the whole of the ass, and the weaned child shall put his hand on the cockatrice's den. They shall not hurt nor destroy in all my holy mountain, for the earth shall be full of the knowledge of the Lord, as the waters cover the sea.ö Under this : The BOY beside his FATHER. He turns to look behind him at ROSALEEN. ROSALEEN looks up at him, grins crookedly. GRANNY starts up out of a doze, looks around her. The BOY turns back ; his FATHER grins down at him proudly. ROSALEEN `` s FATHER looks across at her, leans over to whisper to MOTHER. PRIEST in the lectern. GRANNY asleep. PRIEST smiling. ROSALEEN glances up at the ceiling. HER POV spiders clustered in a web on the underside of a lamp. One falls. ROSALEEN looks down. A spider falls onto her open prayer book. More fall. Her hand calmly brushes them away. PRIEST seen over the heads of the congregation.\",\n \"EXT. CHURCH - DAY The BOY and ROSALEEN walking away together. ROSALEEN wearing her red shawl. villagers on the church steps watch them go. BOY'S FATHER -LRB- proudly. -RRB- That's my BOY! ROSALEEN'S PARENTS come out of the church, GRANNY and the OLD PRIEST behind them. GRANNY Do n't stray from the path!\",\n \"EXT. WOODS - DAY ROSALEEN and the BOY walk past a charcoal burner feeding his fire along the path to the wood. BOY When do you have to be back, ROSALEEN? ROSALEEN -LRB- curtly. -RRB- Soon. BOY Why are you so crabby today? I thought you wanted to come! ROSALEEN So what if I did? BOY Well, you should. ROSALEEN What should I? The BOY shyly runs his hands up her shawl, strokes her cheek. BOY Well, you know. ROSALEEN I do n't know. Look! She points to a white dove in a tree, runs towards it. The BOY follows determinedly. BOY Pretty, but not as pretty as you! He kisses her cheek. She pushes him away. BOY Was n't that nice? ROSALEEN No. She runs off down the path. He puffs out his cheeks in exasperation, follows her. ROSALEEN pushes through undergrowth at the side of the path. The BOY runs along the path, stops as he sees ROSALEEN standing motionless against a tree. He goes to her. BOY What's wrong, ROSALEEN? Do n't you like me? ROSALEEN Oh no, I like you. I like you well enough. BOY Well why wo n't you kiss me? -LRB- She looks down. -RRB- You're afraid, are n't you? ROSALEEN I'm not afraid! BOY Well? She leans forward and kisses him on the mouth. He responds eagerly. She pulls away. BOY That was n't very good. Give me another! ROSALEEN -LRB- pushing him away. -RRB- Have to catch me first! She runs off. He pursues but trips and falls flat on his face. ROSALEEN crouches down in the underbrush. BOY ROSALEEN! ROSALEEN runs through the mist. BOY -LRB- os. -RRB- ROSALEEN! She looks back. A rainbow appears across the path behind her. She runs on. The BOY searches more desperately. BOY ROSALEEN! ROSALEEN runs off the path right ; camera focuses on the snake dangling from a tree branch. Extreme high angle shot from atop a dead tree down onto ROSALEEN running into shot below. She looks up at the tree. ROSALEEN at the tree base looking up. She looks around, smiles, looks up again. She begins to climb. CLOSEUP of the snake coiled around the branch. ROSALEEN climbs. She reaches the upper part of the tree. The BOY runs along the path. BOY Rosaleen! Rosaleen! Where are you? Camera cranes up to show the hem of ROSALEEN's red cloak above him in the tree. He runs unawares off down the path. ROSALEEN climbs higher. Ecstatic music as she reaches the top of the tree, where there is a large bird's nest. She looks up happily. We hear a bird cry off. Long shot of ROSALEEN atop the tree, a bird flying off into the distance. close shot of the inside of the nest, which contains white feathers, four grey eggs and a hand mirror. ROSALEEN leans forward. Her hand takes the mirror. She looks at herself in it. High angle shot of her legs dangling over space. Her hands open a small jar, which contains rouge. She rubs some onto her index finger. She rubs it onto her lips. CLOSEUP of the nest and her hand holding the mirror, her face reflected in it. Beside the mirror the eggs one by one crack and open, revealing tiny homunculi inside. ROSALEEN reaches forward. Her hand takes one of the glistening little figures.\",\n \"EXT. PATH The BOY runs desperately along the path. He stops in horror. BOY Oh Jesus! A calf stands next to a dead heifer, its throat torn and bloody. The BOY runs off shouting. BOY Wolf! Wolf! Mist rising about the dead heifer and its desolate calf. CLOSEUP of a wolf, its eyes blazing, its muzzle bloody. ROSALEEN walks along the path, contemplating the little figurine in her cupped hands. CLOSEUP of the wolf looking down -LRB- as if at her -RRB-.\",\n \"INT. BARN The BOY runs in shouting. BOY Wolf! Wolf! He trips and falls amidst the pigs. His FATHER reacts. BOY -LRB- exhausted. -RRB- Wolf! ROSALEEN's FATHER rushes forward. FATHER Where's my daughter? What have you done with my daughter? He hauls the BOY to his feet as other villagers crowd around them. MOTHER Where's ROSALEEN? BOY She ran away from me! BOY'S FATHER Get your hands off him! MOTHER ROSALEEN! BOY'S FATHER Do n't you hit my boy! FATHER Your son left my only daughter to the mercy of the wolves! BOY'S FATHER A daughter's one thing, a heifer's another! They fight. ROSALEEN's MOTHER grabs a bucket of water. MOTHER I'll cool you off! She dashes the water over them. They separate sheepishly, revealing ROSALEEN standing in the b.g. MOTHER reacts. MOTHER My darling! Where have you been? And in such a state! ROSALEEN -LRB- quietly. -RRB- Look, Mummy. She raises her cupped hand. CLOSEUP of the little homunculi. MOTHER smiles tenderly at her. CLOSEUP of the figurine, a tiny tear dripping from one eye.\",\n \"EXT. WOODS - NIGHT Camera pans across dark trees to show the lights of the village far below.\",\n \"INT. HOUSE - NIGHT FATHER clicks his rifle shut, gets up. ROSALEEN helps him into a heavy dark cloak. MOTHER Take care, wo n't you? And take this. She holds up a crucifix on a chain. He knocks it aside with the barrel of his rifle. FATHER No. This is all these beasts understand. Kill them before they kill you. He goes out. Thunder. MOTHER hugs ROSALEEN.\",\n \"EXT. WOODS - NIGHT Heavy autumn mist. The villagers walk in single file carrying flaming torches. OLD VILLAGER Keep close! There was once a village so plagued by the beats they drew one up in the bucket of the well! FATHER Hush your antique gossip unless you want the wolves to hear it! The BOY trudges behind his FATHER, clutching a white duck.\",\n \"INT HOUSE - NIGHT MOTHER is bathing ROSALEEN before the fire. MOTHER You're such a big girl now, are n't you? Come on, hold still! There you are, big girl! Just be careful of those boys if they take you in the wood again. ROSALEEN -LRB- scornfully. -RRB- What boys? Clowns are what the village boys are! MOTHER Your Granny spoils you - makes you think you're something special. That red shawl!\",\n \"EXT. WOODS - NIGHT The villagers are digging a pit and lopping down branches to conceal it. OLD VILLAGER If you think the wolves are big now you should have seen them when I were a lad! Monsters they was - that's the truth! Veritable monsters. Big as a man - bigger! The BOY clutches the duck fearfully.\",\n \"INT. HOUSE - NIGHT ROSALEEN wrapped in a sheet drying herself by the fire. ROSALEEN When will Daddy have done with the killing? MOTHER When the beast is dead, and not until the beast is dead. We wo n't live quiet until then. ROSALEEN gets up, holding the sheet around her, and walks to look out of the window. HER POV the full moon outside. A VILLAGER walks past huddled against the cold. Wind blows. ROSALEEN Be winter soon. MOTHER Hard winter. A hard winter brings out the wolves. Thank God we're safe indoors!\",\n \"EXT. WOODS - NIGHT The BOY holds the duck. The pit is completed and covered with branches. FATHER We must hide in the trees! BOY'S FATHER BOY! Quickly! The BOY runs forward and puts the duck atop the branches concealing the pit. FATHER Douse the lights! Into the trees! Quietly! They disperse. The BOY'S FATHER clasps the BOY to him behind a tree. The duck flaps its wings.\",\n \"INT. COTTAGE - NIGHT MOTHER and ROSALEEN in two - shot. ROSALEEN Granny says wolves may not always be what they seem. MOTHER How can a wolf be worse than it already is? ROSALEEN Not worse, but different. Maybe it is n't the wolf's fault, Mummy. Maybe. MOTHER Maybe what? ROSALEEN Maybe once upon a time. MOTHER Are you going to tell me a story? ROSALEEN Maybe I am. -LRB- smiles. -RRB- Once upon a time. there was a WOMAN in the valley. MOTHER Um. ROSALEEN And the son of the big house did her a terrible wrong. MOTHER Oh. ROSALEEN So she came to his wedding, to put wrong to right.\",\n \"INT. TENT - DAY A lavishly appointed pink tent. A SERVANT enters carrying a bottle of wine in a silver ice bucket, followed by another SERVANT. A string trio plays in the background. GUESTS are assembled along lengthy tables placed perpendicular to the main table where the BRIDE and GROOM sit together. The SERVANT pours wine for the GROOM. The GUESTS eat and drink greedily and noisily. DRUNKEN GUEST -LRB- overheard. -RRB- My dear, she was a beautiful thing. No one would have suspected a thing. The GROOM leans over to whisper in the BRIDE's ear. A SERVANT enters bearing a cushion on which rests a sword. The BRIDE and GROOM rise together, the GROOM takes the sword and they turn, the BRIDE putting her hand atop his on the sword, and ceremonially cut into the bottom layer of a massive tiered pink wedding cake. General laughter. GUEST -LRB- with his mouth full. -RRB- Ladies and gentlemen, a toast! To the bride and groom! GUESTS To the bride and groom! DRUNKEN GUEST Come on, lad, kiss the girl! GROOM -LRB- laughs. -RRB- With pleasure! He whispers in her ear. GROOM A taste of what's to come! They kiss. General exclamations. An OLD WOMAN eating a chicken leg greedily. Another WOMAN feeding her lap dog. The prolonged kiss ends as the BRIDE pulls away decorously. GUEST Well done, sir! Very good! The DRUNKEN GUEST drinks from his wine glass. The string trio resumes playing.\",\n \"EXT. HOUSE - DAY Music heard distantly. Crows caw as a PEASANT WOMAN emerges from the trees and walks slowly towards camera. The house and the tent beside it. Peacocks call as she walks calmly into the tent.\",\n \"INT. TENT - DAY The tent entrance seen from behind the BRIDE and GROOM. GROOM Your every happiness, my dear. The WOMAN comes into the tent. The GROOM sees her and freezes in shock. He slowly lowers his glass. The BRIDE sees his expression and turns. Camera tracks in on their startled expression. The WOMAN walks towards them, then along the table. She turns into profile : she is heavily pregnant. She looks at the assembled GUESTS with hostile curiosity. An ornate MIRROR comes into shot behind her on the tent wall. The GUESTS whisper excitedly. The musicians play on. The WOMAN takes an apple from the table and bites into it. The GROOM's face as she approaches him. She spits the bite of apple out at him. GUESTS gasp as the GROOM recoils. Music stops. The WOMAN stands with the mirror behind her. WOMAN So - I was n't good enough for you. I was, once. CLOSEUP of the appalled BRIDE. WOMAN Once upon a time. The OLD WOMAN still chewing the chicken leg, her mouthing the only sound in the still tent. WOMAN Do n't you remember? CLOSEUP GROOM. WOMAN Do n't you? The BRIDE turns to look at the GROOM, then looks back at the WOMAN. The OLD WOMAN goes on eating. The WOMAN stands in front of the mirror, in which we can see the BRIDE and GROOM reflected with other GUESTS. WOMAN The wolves in the forest are more decent! CLOSEUP GROOM. The music resumes. CLOSEUP WOMAN in front of the mirror. Its surface warps and bends. The WOMAN spins round to stare into the mirror. The mirror cracks and splinters. We hear screams. She smiles coldly. In the distorted mirror we see the GROOM and BRIDE fall back into their chairs. The WOMAN laughs harshly. CLOSEUP of a hand covered with hair grasping a wine glass and crushing it. The WOMAN laughs. CLOSEUP of a man's boots under the table as they split open and clawed paws emerge. CLOSEUP WOMAN turning, her eyes blazing. In the distorted mirror we see the GROOM writhing. Another pair of shoes splits open to reveal claws. The WOMAN laughing. The hairy hand bleeding from the fragments of the wine glass. More shoes splitting open. The OLD WOMAN staring, fangs protruding from her open mouth. The WOMAN looks right and left. CLOSEUP of a hairy hand rising to paw at a hairy bodice. The OLD WOMAN looking down in horror. The hand ripping open the bodice to reveal hairy breasts. The WOMAN laughs. The OLD WOMAN `` S fanged face in the distorted mirror. The WOMAN stares proudly. A guest transformed entirely into a wolf in fine clothes leaps down from the table, an astonished SERVANT staring. Hairy legs pumping and kicking off shoes. Jaunty music. The WOMAN laughs. Feet kicking. The WOMAN looks left, eyes blazing. The DRUNKEN GUEST, now completely transformed, rips his wig off. The WOMAN laughs. The wolf gulps from its wine glass. The WOMAN leans over backwards laughing. The table, all the GUESTS now wolves. The musicians play on unperturbed. Track along the table of wolves in fine clothes. The WOMAN laughs. A SERVANT represses a smile. The WOMEN stares at the wolves. The wolves leap down, scattering cutlery and glasses. A huge vase of flowers crashes down onto the table. A SERVANT stands impassive as wolves leap about him. A candelabra smashes down onto the table between two wolves. Another vase of flowers topples from its stand, narrowly missing the SERVANT beside it. Wolves leap down past a statue of Cupid holding a bunch of grapes. The distorted mirror reflecting wolves leaping down. The wedding cake collapses. The SERVANTS stand behind the table as it collapses under the weight of the wolves. The pack of wolves rush out of the entrance to the tent, SERVANTS on either side looking at each other in amazement.\",\n \"EXT. TENT - DAY The pack of wolves rush past an astonished peacock and vanish into the trees.\",\n \"INT. TENT - DAY More wolves rush out past SERVANT. The distorted mirror reflects the fallen table and the SERVANTS standing behind it. The WOMAN turns from the mirror, smiles and bows her head with exaggerated politeness. In the mirror we see the SERVANTS all bow to her as one. She makes an exaggerated curtsey and sweeps out of the shot ; in the mirror we see the SERVANTS helping themselves to wine.\",\n \"INT. HOUSE - NIGHT ROSALEEN and MOTHER. MOTHER -LRB- astonished. -RRB- Where did you hear a story like that? ROSALEEN It's not a story, but God's honest truth! Granny told me. MOTHER reacts. ROSALEEN And after that, the WOMAN made the wolves come to sing to her and the baby at night. Made them come and serenade her. MOTHER -LRB- laughing. -RRB- But what pleasure could there be in that? Listening to a lot of wolves! Do n't we have to do it all the time? ROSALEEN The pleasure would come.\",\n \"EXT. WOODS - NIGHT The WOMAN rocking a cradle suspended from a tree branch. ROSALEEN -LRB- VO. -RRB-. from knowing the power that she had. Music. Wolves are heard howling in the distance. Track back as the WOMAN laughs triumphantly. CLOSEUP of the BABY in the cradle, the WOMAN's hand fondling it. Stormy clouds seen through bare tree branches. Wolves howl. The WOMAN stands over the cradle, crooning to it.\",\n \"EXT. WOOD - NIGHT Leaves falling in autumnal mist. villagers crouched din the trees, waiting. The duck quacks. Thunder. A huge wolf lopes along the path. BOY Daddy -! The SMITH claps his hand over the BOY's mouth. The wolf approaches. The duck on the path, the wolf in b.g.. A VILLAGER levels his rifle. The wolf sniffs the air, its eyes glowing. CLOSEUP of the duck quacking nervously. The wolf crouches. ZOOM IN on the duck. Low angle slow motion shot of the wolf springing. The wolf crashes down into the concealed pit. The duck flies off in terror. The SMITH releases the BOY and rushes forward. The VILLAGER lowers his rifle and runs forward. villagers holding flaming torches crowd around the pit. They fire their guns into it repeatedly, smoking rising. Flash shot of the wolf's head looking up. The villagers fire relentlessly. The BOY peers down into the pit from between his FATHER's legs, flattens as his FATHER fires his pistol down into the pit. The BOY looks up as the firing ceases. Gunsmoke rises silently from the pit. The villagers bring their torches closer.\",\n \"INT. HOUSE - NIGHT FATHER enters and throws his rifle down into the corner. MOTHER rushes to close the door after him. MOTHER -LRB- crosses herself. -RRB- Praise be to God! FATHER sits heavily at the table and holds up something wrapped in a cloth. FATHER When I cut it off the carcass for a trophy it was the forepaw. the forepaw of the biggest wolf I ever saw. MOTHER backs away and goes to ROSALEEN. MOTHER The wolf that killed our Alice? FATHER Aye, may be. He puts the bundle on the table. MOTHER and ROSALEEN stare at it. FATHER When I cut it with the knife it was a forepaw, I swear, of a grizzle giant wolf. and then before my very eyes. He unwraps the bundle. MOTHER gasps and clutches ROSALEEN. It is a severed man's hand, with a large ring on one finger. ROSALEEN Whose is it, Daddy? Is it someone you knew? FATHER What do I know whose hand it is! All I know is what I see. MOTHER Get it out! ROSALEEN Was it a man or a wolf you killed? FATHER When I killed it it was a wolf, and it turned into a man. Seeing is believing. ROSALEEN Is it? What about - touching? She moves calmly to the table and reaches out to the severed hand. MOTHER seizes her and drags her away. MOTHER Get it out! FATHER Whatever it is, now it's dead meat! MOTHER turns her face away. ROSALEEN Do we bury it or burn it, Daddy? FATHER stares at her, leaps up and flings the hand into the fire. close shot of it burning. They all stare at it. ROSALEEN moves forward, bends down to look at it. CLOSEUP of the hand burning in the fireplace. CLOSEUP of ROSALEEN staring at it. CLOSEUP of the hand burning.\",\n \"INT. ROSALEEN'S BEDROOM ROSALEEN asleep, tears streaming down her face, blurring her makeup. A tear falling and hitting the floor, splashing into hundred of tiny droplets. Musical chord. The sailor doll against the blowing window curtains. Another tear splashing, and another. Musical chords. Harlequin doll, motionless. Three more tears splashing to the floor. Musical chords. ROSALEEN asleep, tossing restlessly.\",\n \"EXT. VILLAGE - WINTER MORNING Snow on the ground. The smith working the bellows of his forge. The SMITH takes a glowing horseshoe out of the forge with long tongs and carries it right to the anvil, where the BOY stands waiting to steady it with another set of tongs. SMITH hammers at the horseshoe while we see ROSALEEN emerge from the cottage in b.g., wearing an apron ; the BOY looks up and sees her. She bends down to throw grain to the geese, then goes back inside. The BOY uses his tongs to dip the horseshoe into a bucket of water ; steam hisses up. He holds up the horseshoe and examines it critically, looks o.s. after ROSALEEN and smiles.\",\n \"INT. COTTAGE MS of MOTHER and ROSALEEN, ROSALEEN now wearing her red wool shawl ; MOTHER is packing a basket of food. MOTHER You're besotted with that old lady, and her old wives' tales. Maybe you should n't go. ROSALEEN Daddy killed the great wolf. I'll be safe in the forest now, Mummy. MOTHER Mind you do n't stray - and take something to protect yourself with. ROSALEEN picks up a long sharp carving knife. ROSALEEN How about a knife? MOTHER You're not afraid of anything, are you? You're a fearless child, I'll say that. I suppose your Granny will ask you to stay the night. You always were her favorite. ROSALEEN Of course I'll stay the night if she asks me - it'd be rude not to. She is my grandmother, and she may not have a kind word for you, but she's always been good to me. She's all alone out there, Mummy. MOTHER takes down a black stoppered bottle. MOTHER Maybe you're right and maybe you're not. -LRB- puts bottle into basket. -RRB- Give her that from me. And do n't stray now, Rosaleen! I trust you. You wo n't be lucky twice. MOTHER opens the door and ROSALEEN goes out, carrying the basket.\",\n \"EXT. VILLAGE - DAY The BOY stands by the smithy whittling at a stick with his pocket knife. He ducks out of sight as ROSALEEN emerges from her house in b.g., and dodges round behind the smith to see where she is headed. He takes a few last cuts at his stick, then hurries after her, dodging past men pushing heavy carts. ROSALEEN walks along the snowy path, past a large white rabbit. She walks past men pushing heavy mine carts filled with ore. The BOY runs after her. BOY ROSALEEN! She stops and turns as he runs up. BOY Where are you going? ROSALEEN To see my Granny. BOY It's a long ways through the woods! Let me come with you - you'd be safe with me! ROSALEEN -LRB- scornfully. -RRB- Go into the woods with you? After what happened last time? BOY -LRB- brandishing his knife -RRB- I'll protect you! ROSALEEN smiles and produces her own, larger knife. ROSALEEN No. I've got this to protect me. She brushes past him and runs off., He tries to follow but his path is blocked by men pushing carts.\",\n \"EXT. WOODS - DAY ROSALEEN pushes on. Camera lingers momentarily on the snake in b.g. CLOSEUP of a large toad atop a snow - covered rock. ROSALEEN crouches down beside it. The toad leaps away abruptly. ROSALEEN looks up in alarm, reaches for her knife, stands up warily. She backs up, spins around. HER POV a bird flies off through the woods. ROSALEEN backs up in the other direction - directly into the HUNTSMAN standing smiling behind her. She whirls round in fright. He doffs his hat to her with exaggerated courtesy, speaks with a distinct Continental accent. HUNTSMAN Miss? ROSALEEN Where did you spring from? HUNTSMAN Did I scare you? I am sorry. ROSALEEN At least you have your clothes on. Huntsman, are you? Lost your horse? HUNTSMAN Lost my horse and lost my companions, young lady. ROSALEEN And lost your way too. HUNTSMAN I do believe I just found it. She backs away. HUNTSMAN I say, do you think you could spare me a drink out of that? ROSALEEN It's for my Granny. HUNTSMAN I know the very place up the way for a picnic! He takes the basket from her, offers her his arm, and leads the way. CLOSEUP of the toad on the snow.\",\n \"EXT. CLEARING - DAY The HUNTSMAN and ROSALEEN sitting in the shelter of a few large trees, where the snow is not so deep. HUNTSMAN I have the most remarkable object in my pocket. That means I never lose my way in the woods. ROSALEEN In your pocket, you say? HUNTSMAN This object goes everywhere with me - that is, whenever I wear my trousers. ROSALEEN hands him a crisp cake. He bites into it hungrily. HUNTSMAN Umm. -LRB- holds it out to her. -RRB- Go on, bite it. She leans forward ; he retracts his hand puts the cake into his mouth, extends it to her. She nibbles tentatively from the protruding end and then backs quickly away. He smiles, uncorks the bottle, swigs from it. ROSALEEN Do n't you know how strong that stuff is? A man in our village keeps a still - he's the reddest nose you ever saw. He tells lies, too. Like you. I do n't believe there is such a thing. The HUNTSMAN springs to his feet. HUNTSMAN Seeing is believing. He takes something out from his trousers pocket, kneels down beside ROSALEEN and holds it out to her. She looks. He opens it : a pocket compass. HUNTSMAN The little needle always points north, no matter where I go, so I always know exactly where I am. ROSALEEN takes the compass and examines it. ROSALEEN I do n't believe it, even though I see it. HUNTSMAN It was this compass that brought me safe through the wood. ROSALEEN But you lost your way in the wood. HUNTSMAN -LRB- caressing her hair. -RRB- But I found you. Are you sorry? ROSALEEN I'm not sorry. They're clowns, the village boys. HUNTSMAN Well, then. ROSALEEN But do n't you know you should never leave the path? HUNTSMAN I just got onto the path. I was perfectly safe before. ROSALEEN Are n't you afraid of the wolves? HUNTSMAN Why should I be frightened of wolves? ROSALEEN You must know the worse wolves are hairy on the inside. He leaps to his feet in indignation. HUNTSMAN Old wives' tales! Peasant superstition! What, a bright young girl - pretty, intelligent girl like you believing in werewolves! ROSALEEN But my Granny said that - HUNTSMAN For believing in old wives' tales, you deserve. to be punished! He seizes ROSALEEN and kisses her, rolling her onto the ground. She laughs. HUNTSMAN I'll show you I'm not afraid of the wolves, ROSALEEN. I'll make a bet with you. I'll bet you anything you like that I get to your Granny's house before you do. ROSALEEN How? HUNTSMAN I'll use my compass to help me cross the country while you trudge along the dreary path! ROSALEEN Bet me your compass. HUNTSMAN Bet me your heart's desire. ROSALEEN And if I lose? HUNTSMAN You can give me. a kiss! They sit up. HUNTSMAN Here - take my hat as a token of good will. Wear it, until we meet again. He puts it on her head, gets up and goes without another word. ROSALEEN looks at herself in her hand mirror, the hat perched jauntily atop her head. She gets up and hurries along the path. CLOSEUP of the hand mirror abandoned in the snow, with a large raven standing beside it.\",\n \"EXT. GRANNY'S COTTAGE - NIGHT Snow falling. Owls hoot. The HUNTSMAN moves rapidly and surely through the woods. He approaches the cottage, goes through the gate. He pauses, puts his hand to the game dangling from his belt, puts a finger to his mouth - leaving a smear of blood on his lips. Drops of blood fall onto the snow at his feet. He moves on towards the cottage, his eyes aflame.\",\n \"INT. GRANNY'S COTTAGE - NIGHT GRANNY sitting dozing over the Bible in her rocking chair before the fire. A heavy knock on the door. GRANNY -LRB- rousing -RRB- Who is it? HUNTSMAN -LRB- os ; falsetto. -RRB- Only your granddaughter. GRANNY Lift up the latch and walk in. CLOSEUP of GRANNY : we see the door reflected in her eyeglasses as the door opens and the HUNTSMAN enters. GRANNY God save us! Her ermine lifts its head and hisses ; the HUNTSMAN whirls round in surprise. GRANNY staggers to her feet, holding her Bible in front of her like a shield. GRANNY Get you back to Hell from which you came! HUNTSMAN I do n't come from Hell. I came from the forest. GRANNY What have you done with my granddaughter? HUNTSMAN Nothing she did n't want! She hurls the Bible at him. He ducks. It falls open against the far wall. She grabs his gun and knocks him onto the floor with it. He howls in pain and fright. She looks down at him. He turns his head, extending an impossibly long tongue. She recoils in horror. She turns and seizes the poker out of the fire, swinging it at him with all her strength as he bounds to his feet. He grabs the red - hot end of the poker and screams in pain. He drops it, extending his smoking palm. He turns and aims a blow at her. The blow knocks her head off. The severed head flies through the air -LRB- slow motion -RRB-. He stares at it. Slow motion : GRANNY's head strikes the wall and shatters into china fragments and floating grey hair.\",\n \"EXT. GRANNY'S COTTAGE - NIGHT ROSALEEN approaches through the falling snow.\",\n \"INT. GRANNY'S COTTAGE EXTREME CLOSEUP of the HUNTSMAN's yellow eye as he rocks back and forth in GRANNY's chair by the fire.\",\n \"EXT. GRANNY'S COTTAGE ROSALEEN approaches the gate.\",\n \"INT. GRANNY'S COTTAGE The HUNTSMAN rocking in the chair. extreme CLOSEUP of his yellow eye as he rocks slower and slower.\",\n \"EXT. GRANNY'S COTTAGE ROSALEEN looks up at the sky. A wolf howls in the distance. her pov : a full moon. The HUNTSMAN's eye dissolves in over the moon. More wolves howl.\",\n \"INT. GRANNY'S COTTAGE extreme CLOSEUP of the HUNTSMAN's eye as the rocking chair slows and comes to a stop.\",\n \"EXT. GRANNY'S COTTAGE ROSALEEN looking up at the moon ; she looks down at her feet. her pov : the blood on the snow. She moves on hurriedly towards the cottage.\",\n \"INT. GRANNY'S COTTAGE The door seen past the HUNTSMAN in the chair. A knock. HUNTSMAN -LRB- falsetto. -RRB- Who's there? ROSALEEN -LRB- os. -RRB- Only your granddaughter. HUNTSMAN -LRB- falsetto. -RRB- Lift up the latch and walk in. ROSALEEN enters and stares at the HUNTSMAN. ROSALEEN So. You got here before me just as you said you would. HUNTSMAN I did. ROSALEEN Where's my Granny? HUNTSMAN Gone out to the woodpile, to fetch more logs. ROSALEEN A real gentleman would never let an old lady go out, not on a night like this. HUNTSMAN She wo n't be long. ROSALEEN goes to the window and pulls back the curtain. ROSALEEN She's not there. She turns and looks at him, then darts for the door, but he leaps up into her path. She backs away from him. Her heels comes down onto GRANNY's glasses, smashing them. She looks down at them, then across at the fireplace. her pov : grey hair burning in the grate. ROSALEEN Is that all you left of her? Your kind ca n't stomach hair, can you - even if the worst wolves are hairy on the inside! HUNTSMAN What do you know about my kind? ROSALEEN -LRB- groping behind her. -RRB- My GRANNY told me plenty! Her hands find the knife in the basket behind her. She brandishes it, and he leaps forward to seize it. HUNTSMAN Are you very much afraid? ROSALEEN It would n't do me much good to be afraid, would it? He forces her down onto her knees on the floor. ROSALEEN What big eyes you have! HUNTSMAN All the better to see you with. ROSALEEN They say seeing is believing, but I'd never swear to it. HUNTSMAN You must be wet through. Why do n't you take off your shawl? She shudders. He gently unties it, pulls her to her feet and removes the shawl. ROSALEEN What should I do with it? HUNTSMAN Into the fire with it - you wo n't need it again. She kneels down and puts it into the fire. ROSALEEN Your kind ca n't stomach clothes either. CLOSEUP of the red shawl burning. Wolves howl outside. She looks up. ROSALEEN who's come to sing us carols then? HUNTSMAN Only my companions, darling. I love the company of wolves. Look out of the window and you'll see them. He sinks back grinning into the rocking chair. ROSALEEN goes back to the window and looks out. ROSALEEN Poor creatures. It's freezing cold out there, no wonder they howl so.\",\n \"EXT. GRANNY'S COTTAGE her pov : wolves on the stone wall outside, their eyes glowing.\",\n \"INT. GRANNY'S COTTAGE HUNTSMAN Are you sorry for them? ROSALEEN Yes. And for you too! She seizes his rifle from where it was leaning against the wall and levels it at him. He leaps to his feet. HUNTSMAN You're a bold fearless girl, are n't you? And now you must give me back my gun, my dear. He moves towards her. She shakes her head and fires. An ornament on the shelf shatters into fragments. He falls to the floor, howling in fear. He looks up at her. ROSALEEN Are you our kind, or their kind? HUNTSMAN Not one kind or the other. Both. ROSALEEN Then where do you live? In our world, or in theirs? HUNTSMAN I come and go between them. My home is nowhere. ROSALEEN Are you only a man when you dress that way - like GRANNY said? He looks down, unbuttons his shirt and pulls it off, spreading his bare arms. ROSALEEN My, what big arms you have. HUNTSMAN The better to hug you with. He rises and approaches her slowly. ROSALEEN Well. perhaps. you did win your bet, did n't you - you gentleman, you fine gentleman. They say the Prince of Darkness is a gentleman. They're right. A fine gentleman. HUNTSMAN -LRB- smiling. -RRB- Gentlemen always keep their promises. Do ladies keep their promises? Indeed I won my bet. So now, you owe me. ROSALEEN I remember. HUNTSMAN a kiss. Will you be honourable and pay me, or not? He slowly takes her face into his hands and kisses her. She suddenly pushes him away ; he stumbles to the floor. ROSALEEN Jesus, what big teeth you have! HUNTSMAN All the better to eat you with. ROSALEEN seizes the rifle and fires at him. He clutches his shoulder and falls howling to the floor. He rocks back and forth, howling. His back heaves. His long tongue emerges. Hair sprouts along his heaving back. ROSALEEN backs away. He screams. His face splits open and a wolf's head emerges from within. His back splits to let the wolf's body emerge.\",\n \"EXT. GRANNY'S COTTAGE The full moon in the sky. The wolves on the wall howling.\",\n \"INT. GRANNY'S COTTAGE pan up from the fire to ROSALEEN's face where she stands against the wall. ROSALEEN I'm sorry. We hear the sound of the wolf whining. ROSALEEN I never knew a wolf could cry. She moves to the grey wolf sitting on the hearth and hugs it.\",\n \"EXT. GRANNY'S COTTAGE The wolves leap down from the wall and disperse into the night.\",\n \"INT. COTTAGE ROSALEEN cradles the wolf tenderly. ROSALEEN Leaving you, are they? You'll be all alone. I'll tell you a story of a wounded wolf.\",\n \"EXT. VILLAGE - NIGHT track in on the well. Wind blows. Pigeons erupt into the shot. ROSALEEN -LRB- vo -RRB- Once upon a time. The well mechanism, cogs turning. ROSALEEN -LRB- vo -RRB-. when the village was asleep. The edge of the well : a wolf appears over the lip, its eyes glowing in the dark. It lifts its muzzle exploratorily, looks into the camera. ROSALEEN -LRB- vo -RRB-. a she - wolf came, from the world below to the world above. A cottage window, which lights up as someone inside approaches the window holding a candle. The wolf on the well lifts its head in response to a distant howling, and howls back. It lowers its head and jumps down out of shot. Wolf moves away from the well uncertainly. It looks about. It trots away from the village towards the bridge. ROSALEEN -LRB- vo -RRB- She meant no harm. The wolf on the bridge, the church spire visible in b.g. ROSALEEN -LRB- vo -RRB-. to anyone, but someone meant harm to her. Cottage door opens ; pan down to reveal a MAN holding a rifle. He fires. CLOSEUP as the bullet strikes the wolf's leg. It wheels around, yelping with pain. It flees over the bridge towards the church, whining.\",\n \"EXT. WOODS - NIGHT The she - wolf limps through the underbrush, panting in pain. ROSALEEN -LRB- vo -RRB- So she ran. and she ran.\",\n \"EXT. CHURCHYARD - NIGHT ROSALEEN -LRB- vo -RRB-. and she ran again. The wolf limps up the stone steps leading to the rectory. The wolf hesitates, her eyes glowing. CLOSEUP of light shining out from beneath the door. The wolf lowers her head and whimpers. She limps further up the steps to the door. She wheels and runs back down as the door opens and the OLD PRIEST emerges. He looks out into the misty churchyard. OLD PRIEST Who's there? Who's there? The wolf looks out from behind a tombstone. The OLD PRIEST comes down the steps slowly ; camera PANS right to reveal the WOLF GIRL crouching down where the wolf was previously. She is naked, her body hidden by her long black hair, holding out her arms in supplication. The OLD PRIEST recoils in alarm. OLD PRIEST This is holy ground! The WOLF GIRL holds out her arms. The OLD PRIEST extends his arms. Their hands meet. OLD PRIEST Can you speak? He kneels down beside her. Her face is streaked with tears. OLD PRIEST Are you God's work, or the Devil's? -LRB- she looks away -RRB- Oh, what do I care whose work you are. He takes her wounded arm and wraps a cloth around it. OLD PRIEST. you poor, speechless creature? He smiles reassuringly at her as he wraps the bandage tightly. He puts one hand to her wet cheek. OLD PRIEST It will heal. in time. He holds her, stroking her hair gently. Camera pans away amongst the tombstones. ROSALEEN -LRB- vo. -RRB- And the wound did heal. The WOLF GIRL's tear - stained face. ROSALEEN -LRB- vo -RRB-. for she was just a girl after all. INSERT CLOSEUP of a white rose in full bloom. ROSALEEN -LRB- vo -RRB-. who had strayed from the path in the forest. Slowly the rose opens and turns deep red. CLOSEUP of the WOLF GIRL weeping. ROSALEEN -LRB- vo -RRB-. and remembered what she'd found there. INSERT the rose turns completely red as it opens fully.\",\n \"EXT. WOODS - NIGHT The WOLF GIRL moves slowly through the underbrush. The village with the church spire in b.g. ROSALEEN -LRB- vo -RRB- So back through the forest she ran and ran. The WOLF GIRL creeps across the bridge, her long hair hiding her naked form. She moves across the bridge. She approaches the well. ROSALEEN -LRB- vo -RRB-. to the well, and the village, from whence she came. She approaches the well cautiously, then climbs up onto the lip. She slowly lowers herself down into the well. ROSALEEN -LRB- vo -RRB- She crept inside, to the world below. close shot of the WOLF GIRL's spread hand disappearing over the lip of the well.\",\n \"INT. GRANNY'S COTTAGE - NIGHT ROSALEEN on the hearth petting the docile wolf. ROSALEEN And that's all I'll tell you, because that's all I know. The wolf licks her hands and face.\",\n \"EXT. GRANNY'S COTTAGE - NIGHT The full moon in the winter sky.\",\n \"EXT. WOODS - MORNING The BOY leads the armed villagers along the path towards Granny's cottage. BOY ROSALEEN! ROSALEEN! MOTHER and FATHER lead the way to the cottage. Slow motion : the front window shatters as the wolf leaps through it. MOTHER turns to watch it escape, glances back at FATHER, goes to the front door. She pushes it open, to reveal a silver wolf waiting calmly within. MOTHER walks forward slowly. The wolf looks up at her. MOTHER stares. Around the wolf's neck hangs ROSALEEN's rosary, the silver cross dangling between the wolf's front paws. FATHER rushes in and aims his rifle. MOTHER -LRB- screaming. -RRB- NO! She knocks the rifle up as FATHER fires. The blast blows a hole in the cottage roof. The wolf turns and leaps through the shattered window. MOTHER and FATHER watch it go.\",\n \"EXT. GRANNY'S COTTAGE The wolf bounds over the low stone wall towards the woods. The villagers react. MOTHER leans out of the shattered window, screaming. MOTHER No! Do n't shoot! BOY -LRB- desperately. -RRB- ROSALEEN!\",\n \"EXT. WOODS - DAY The two wolves run together through the woods. They leap over the doll's house in the path. They leap over the life size sailor doll lying face down on the path. They leap over the life size teddy bear, knocking its head off.\",\n \"INT. ROSALEEN'S ROOM Camera tracks around ROSALEEN lying curled asleep on the bed, cradling the hand mirror.\",\n \"EXT. WOODS The entire pack of wolves rushes up the path.\",\n \"INT. HOUSE The wolves rush through dusty corridors full of discarded furniture and Victoriana. CLOSEUP of an old oil portrait in a heavy frame ; in slow motion a wolf bursts through the painting and into the room. More wolves follow through the picture frame. They rush up a staircase towards the attic. They rush down the corridor and mill outside ROSALEEN's room.\",\n \"INT. ROSALEEN'S ROOM ROSALEEN sits up in alarm.\",\n \"INT. CORRIDOR The wolves outside her door.\",\n \"INT. ROSALEEN'S ROOM ROSALEEN clutches the covers up around her. She looks towards the window, panting with fear. The window, its sill laden with old toys and books ; in slow motion a single wolf crashes through the glass panes into the room. ROSALEEN screams. close shot of her screaming in terror. The wolf coming through the window in slow motion. Toys and fragments of glass cascade in slow motion onto the floor and shatter. ROSALEEN -LRB- vo. -RRB- Little girls, this seems to say : Never stop upon your way ; Never trust a stranger friend No one knows how it will end. As you're pretty, so be wise Wolves may lurk in every guise Now, as then, ` tis simple truth : Sweetest tongue hides sharpest tooth. MUSIC AND CREDITS\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,1,0,0,1],"string":"[\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"The film begins In the present day, within a country house. A young girl named Rosaleen (Sarah Patterson) dreams that she lives in a fairytale forest during the late 18th century with her parents (Tusse Silberg and David Warner) and sister Alice (Georgia Slowe). But one day Alice is chased down and killed by wolves. While her parents are mourning, Rosaleen goes to stay the night with her grandmother (Angela Lansbury), who knits a bright red shawl for her granddaughter to wear. The superstitious old woman gives Rosaleen an ominous warning, to beware men whose eyebrows meet. Rosaleen returns to her village, but finds that she must deal with the advances of an amorous boy (Shane Johnstone). Rosaleen and the boy take a walk through the forest, but the boy discovers that the village's cattle have come under attack from a wolf. The villagers set out to hunt the wolf, but once caught and killed, the wolf's corpse transforms into that of a human being. Rosaleen later takes a basket of goods through the woods to her grandmother's cottage, but on her way she encounters an attractive huntsman (Micha Bergese), whose eyebrows meet. He challenges her, saying that he can find his way to her grandmother's house before she can, and the pair set off. The hunter arrives at Rosaleen's grandmother's house first, where he reveals his bestial nature and kills her. Rosaleen arrives later and discovers the carnage, but her need to protect herself is complicated by her desire for the hunter. In the ensuing exchange, Rosaleen accidentally injures the huntsman with his own rifle. Upon this blow, the hunter contorts in pain and transforms into his wolf shape. Rosaleen takes pity on the wounded beast, noting that his pack could leave him behind. She sits down, and begins petting the wolf kindly and tenderly while telling him a story. Ultimately the villagers arrive at the house some time later, looking for a werewolf within. Instead, they discover that Rosaleen herself has become a werewolf. Together, she and the huntsman escape to the forest, joined by a growing pack having chosen each other as mates. The wolves seem to stream into the real world, breaking into Rosaleen's house and gathering outside her bedroom. Rosaleen awakes with a scream as one leaps in through the window and sends her toys crashing to the floor, symbolizing the end of her childhood innocence. Perrault's Le Petit Chaperon Rouge is then heard being read, with the moral warning girls to beware of charming strangers."},"name":{"kind":"string","value":"The_Company_of_Wolves"}}},{"rowIdx":171,"cells":{"scenes":{"kind":"list like","value":["INT. TEMPLE OF BAST - NIGHT START ON THE FACE of A GOLDEN CAT STATUE. This is the cat - god BAST, lithe, noble, beautiful. CAMERA MOVES to reveal the statue is 50 feet tall, dominating this space. Other images of CATS - hieroglyphics, ceramics - abound, as do - REAL CATS, hundreds of them, slinking in the shadows on ramps cut into the sandstone walls of this Egyptian temple. At Bast's feet, EIGHT ACOLYTES in GOWNS kneel in a semi - circle around a flaming BRAZIER. Some of the women WEEP, others PRAY or stare stoically ahead. From outside, we now hear DISTANT SCREAMS, the sounds of MARAUDERS. There's a RHYTHMIC BANGING at the massive BRONZE TEMPLE DOORS.","EXT. TEMPLE OF BAST - NIGHT THE TEMPLE is an impressive place of worship - tapered columns and an ornate Egyptian facade - at the apex of a hilltop VILLAGE, in FLAMES, under ATTACK by a PERSIAN ARMY. SUPERIMPOSE : `` 496 B.C.'' WHAM! THE STEEL PRONG of a mounted BATTERING RAM swings into the ornate DOORS of the temple. PERSIAN SOLDIERS operate the brutal siege engine, SLAM the doors again and again.","INT. TEMPLE OF BAST - NIGHT The HIGH PRIESTESS wears a special HOODED WHITE GOWN that mostly conceals her face. She moves from one ACOLYTE to the next, pours a DARK LIQUID from a bejeweled decanter into golden goblets, then pours one for herself. She raises her goblet toward BAST, as do the others - they drink in unison. HIGH ANGLE as the GOBLETS CLATTER to the floor and the WOMEN SLUMP to the ground. dead. PULL BACK - we're watching this from the PERSPECTIVE of an EGYPTIAN MAU CAT - slim, elegant, dark - spotted gray and black fur, a SCARAB MARK on its head. THE MAU lets out a CRY. which prompts an eerie, growing CHORUS of MEOWS and HOWLS from the other CATS. THE CATS emerge from the hiding places en masse, leaping from niches, converging on the bodies. The MAU leads the way, moves to the high priestess and puts its mouth to hers. ON THE TEMPLE DOORS - at last they BUCKLE and swing open. THE SOLDIERS, bearing TORCHES and SWORDS, storm inside. They grab anything of value, SMASH and DEFACE everything else. At the foot of BAST lie nine ROBES. but there's no sign of the women who wore them. SOLDIERS slash the robes with their swords anyway, then snatch up the goblets for booty. An unearthly CRY - half - human, half - feline - from somewhere high above the rampaging soldiers. They freeze, looking around frantically. More EERIE CRIES echo off the walls, from all directions. The SOLDIERS raise their weapons, clustering defensively. From out of the shadows above them, DARK HUMAN FORMS suddenly leap down with impossible agility. STAY ON THE FACE OF BAST, peering down impassively. The torch - cast SHADOWS of the violence below play upon the statue's golden surface. FLAILING SWORDS, the swift SILHOUETTES of NAKED WOMEN. We hear the GUTTURAL CRIES of the soldiers, clearly outmatched in this mortal combat. MOVE TO THE CATS, perched above the fray, looking downward as they pace the temple's ledges and ramps excitedly. THE MAU takes a final look at its handiwork, then leaps up, slinks through a crevice at the roof, and emerges on - A ROOFTOP We hear the modern SOUNDS of passing AUTO TRAFFIC. CAMERA ROTATES to reveal -","EXT. EDNA'S NEIGHBORHOOD - DAY THE MAU settles by a SATELLITE DISH, looking down on a present - day suburban street, a busy main drag. MARSHLAND and WATER are visible not far away, light RAIN FALLS. SUPERIMPOSE : `` 2500 YEARS LATER.'' The MAU watches as, ACROSS THE STREET, a BUS pulls away from the curb to reveal a WOMAN in a HOODED WHITE PONCHO - the outfit recalls the high priestess of Bast. The HOOD is thrown back, revealing PATIENCE PRICE, 25 - 35, attractive but inclined to conceal her looks - hair over her face, baggy clothes under her poncho. She's cautious, eager to please, to do what's expected of her - a bit of a doormat. Patience looks up from an address scribbled on a scrap of paper, and straight toward the cat on the roof - almost as if she'd sensed its presence. She smiles. THE MAU holds her gaze for a beat, then slinks out of sight.","EXT. EDNA'S HOME - DAY An eccentric, ramshackle home amongst neat, well - kept houses. PATIENCE moves to the front door, RINGS. As she waits, she notes the lawn GRASS grown high, CLIMBING CAT SCULPTURES on the shingles. A SIGN by the door : `` FELINE RESCUE SOCIETY.'' EDNA POWERS opens the door on a chain. She's 50 - 70, a former academic, intelligent, charming, but quite intimidating. EDNA Yes? PATIENCE Hi, Edna Powers? -LRB- off her nod. -RRB- I'm Patience Price, I called about adopting a cat? I saw your flyer at my vet's office - EDNA Oh yes, do come inside. EDNA undoes the chain, opens the door for her.","INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE, out of her poncho, fills out a questionnaire on a clipboard. Numerous CATS roam the premises. Feline artwork and curios, scratching posts, furry toys. cat paradise. PATIENCE Ma'am? EDNA is putting out DRY CAT FOOD in numerous BOWLS. EDNA You may call me Edna. PATIENCE Edna. Some of these questions are. kind of personal. Do you really need to know how many, um, partners I've had in the past year? EDNA I'm not interested in your love life. But I do want to know what sort of home environment you're offering, your degree of commitment. PATIENCE Guess I would n't need the cat if. Patience forces a laugh, fills in a ZERO and passes the clipboard to EDNA. The woman puts down the cat food, slips on the reading glasses she wears on a chain around her neck. EDNA The application is mostly a formality. I have a sense about people. PATIENCE Well, I've always liked animals. -LRB- not enough. -RRB- Cats specifically. I mean, I love them. worship them, even. EDNA seems satisfied, returns to reading Patience's answers. THE MAU, meanwhile, comes around a corner into the room, peering curiously at Patience - who dangles her hand invitingly. He rubs his face against her hand. PATIENCE smiles, coos at the cat - which grabs her hand hard in his CLAWS. PATIENCE stifles a yelp, yanks her hand back. PATIENCE Son of a - EDNA Excuse me? PATIENCE Nothing. handsome cat. I've never seen one like him. THE MAU jumps into Patience's lap, settling in. Edna, surprised and almost suspicious, eyes the cat. EDNA Her. That's Midnight, an Egyptian Mau. Normally she does n't trust people - EDNA reaches a hand toward MIDNIGHT - the cat's fur stands up, she HISSES and SWIPES at Edna. EDNA See? Even I ca n't get near her. Very strange. -LRB- glancing at the application. -RRB- So. You left out your parents' address. PATIENCE Well. they're both dead. EDNA No hereditary illnesses, I hope. PATIENCE Private plane crash. I was eleven. Actually, the last thing they gave me was a kitten. Fatso. EDNA sucks her breath in at this insulting name. PATIENCE He was very round - not from overfeeding or anything, just - really, he did n't mind. Anyway, he was with me a long time, till early this year. He did n't come at the sound of the can - opener, which kind of freaked me out. I found him just, curled up there in his little bed. PATIENCE is getting a bit emotional. EDNA reaches across and squeezes her hand, with genuine sympathy. MIDNIGHT snuggles into Patience's lap, PURRING as she strokes the cat. EDNA It's very hard, dear, I know. you must be in so much pain. Midnight digs her long NAILS into Patience's thigh, kneading. PATIENCE winces, tries to dislodge cat's claws from her leg - Midnight `` playfully'' attacks her hand. Stifling a gasp : PATIENCE Mm - hmm. EDNA Funny how cats get under our skin. They do exactly as they please, they do n't care what anyone thinks about them. they're the ultimate predators. So self - contained, so independent, so wild. sometimes I wonder, why do they even put up with us? PATIENCE The free food? EDNA -LRB- putting the papers aside. -RRB- Well, congratulations. It seems you've been chosen. PATIENCE So you think you might have a kitten for me? EDNA Kitten? No, that would n't be appropriate. Midnight has chosen you. PATIENCE looks a little unnerved at this. MIDNIGHT, rolling on her back, seems to be baring her fangs at Patience. EDNA It's a great honor. Maus are a very rare breed, descended from the sacred cats of ancient Egypt. They were believed to have magical gifts. MIDNIGHT has wrapped herself around Patience's arm, kicking and biting `` playfully.'' PATIENCE I'm not sure she likes me - EDNA Nonsense, she perceives something very special in you. PATIENCE There's nothing special about me. EDNA Cats see things we do n't. Our secret selves - our souls. PATIENCE Mm. Do you have any Band - Aids?","INT. PATIENCE'S APARTMENT - NIGHT CAMERA MOVES THROUGH this modest, neat studio apartment, PAST a BULLETIN BOARD with numerous PHOTOS. One or two show a YOUNG PATIENCE, there's a picture of a LITTLE GIRL between TWO SMILING PARENTS on a ROLLER COASTER. Mostly, though, they're snapshots of a chubby TABBY CAT, from kitten hood to old age. Suddenly, MIDNIGHT LUNGES INTO FRAME, attacking a picture of FATSO, ripping it from the bulletin board. KEEP MOVING PAST WINDOWS facing on the street and an adjacent BUILDING across an alley - it's a corner apartment on the second floor. CAMERA HOLDS ON A TV, where a classic OLD MOVIE like Now, Voyager plays. At a key, romantic moment, CUT TO COMMERCIAL - LAUREL AVENAL strides TOWARD CAMERA - statuesque, perfect, a supermodel. We hear the VOICE of GEORGES AVENAL : GEORGES -LRB- V.O. -RRB- You know who you are. You know what you're after. A MALE MODEL steps INTO FRAME, reaches for her - GEORGES -LRB- V.O. -RRB- You know you're too good for any man. Laurel raises an eyebrow haughtily and SLAPS his face. She moves past the male model to - - GEORGES AVENAL. He's Laurel's husband and the company C.E.O., handsome and charismatic. LAUREL falls into his arms. He caresses her, deeply in love. Georges WINKS. GEORGES almost. CUT TO a PRODUCT SHOT of a JAR OF CREAM, the name `` BEAUNIQUE'' and the AVENAL LOGO. GEORGES -LRB- V.O. -RRB- Beaunique by Avenal. You know you want it. CLOSE ON LAUREL as she tosses her hair back, Gilda - style, with a seductive pout. She purses her lips in a kiss. REVERSE ANGLE - PATIENCE watches with a curled lip, on the couch in a T - shirt and shorts, EATING CHOCOLATE ICE CREAM directly from a pint carton, a dark smear around her mouth. Suddenly, MIDNIGHT POUNCES at the SPOON OF ICE CREAM. Patience jerks back, startled, raises the spoon out of reach. PATIENCE No - this is mine! MIDNIGHT does n't back off, jumping repeatedly at the spoon, climbing over Patience, getting a rear PAW in the open pint. PATIENCE Oh, gross, you - just take it. Patience offers the cat the half - empty pint. As MIDNIGHT digs in happily, burying his head in the container - LIGHTS COME ON in the apartment across the way. PATIENCE hesitates only an instant, sticks the spoon in her mouth, CLICKS OFF the TV and flips off a LAMP by the sofa. THROUGH THE WINDOW, A HANDSOME MAN - his name is TOM LONE - crosses past. PATIENCE sighs in the dark, moving for a better view. This voyeurism is a guilty habit. LONE checks his mail, loosens his tie, unbuttons his shirt. PATIENCE Welcome home, sweetie. How was work today? -LRB- male voice. -RRB- Same old same old. All I wan na do is get out of this shirt and give you a big old hug. LONE is distracted, reading his mail, shirt still on. MIDNIGHT, meanwhile, pulls her head out of the ice cream and leaps onto the windowsill - she looks first at Lone, then at Patience, who looks around her. PATIENCE Down in front. Come on, you, off with the shirt. Instead, LONE is moving out of view. PATIENCE moves in the same direction, into her BATHROOM.","INT. PATIENCE'S APARTMENT - BATHROOM - NIGHT THE BATHROOM WINDOW faces into Lone's bedroom. He starts to unbutton his shirt, glances casually out the window - PATIENCE immediately ducks out of sight. A moment later, she rises slowly to peek out again - THE WINDOW is DARK, LONE has turned off THE LIGHT. PATIENCE flips ON THE LIGHT, studies her face in the mirror. PATIENCE Lame, lame, lame. She wipes a bit of chocolate from the corner of her mouth. She tries a seductive pout, a la Laurel, gives her hair a seductive toss - it winds up in her eyes and mouth. ON PATIENCE'S WINDOW - from across the alley, we see PATIENCE before her mirror, brushing her hair. PULL BACK to reveal we're watching with TOM LONE, who spies on Patience through his own window, lights off. He SIGHS.","INT. AVENAL HQ - SHOWROOM - DAY MOVING CAMERA delivers an assault on the senses : MIRRORS, oversized versions of the BEAUTY PRODUCTS, charts of COLOR CHOICES, shelves upon shelves of slickly - packaged COSMETICS. Prominent is a DISPLAY for BEAUNIQUE. HIP MUSIC in BG. AVENAL GIRLS, perfectly coiffed and made - up Barbie dolls, busily paint the faces of CLIENTS, women of all ages and backgrounds, in high - tech MAKE - UP CHAIRS that resemble torture devices. PATIENCE crosses through, pausing to take off her sneakers and pull on a pair of high heels. SALLY - an Avenal girl in a prim outfit, working on a matronly CUSTOMER - looks up to greet PATIENCE. We now see Patience has a small SCRATCH on her cheek, poorly covered with makeup. SALLY Look what the cat dragged in. PATIENCE -LRB- touching her cheek. -RRB- I know, I know, I'm late - Midnight thought there was a mouse in my pillow. SALLY This is why I only sleep with my own species. Lunch at Joey's? PATIENCE nods and waves as she hurries through a set of doors to an ELEVATOR BANK.","INT. AVENAL HQ - ACCOUNTING BULLPEN - DAY OVERHEAD ANGLE on a rat's maze of office cubicles, peopled with ACCOUNTING STAFF. FIND PATIENCE tapping at her terminal, sipping COFFEE. It's a grim little space, enlivened by a GARFIELD toy, some New Yorker cartoons. PATIENCE seems bored by the drone work - then she cocks her head at something on the screen, leans closer. She double - checks DATA in the print - outs. Something does n't tally. ON SCREEN - among a long list of figures, we see `` YP - 3'' highlighted, followed by a series of numbers. PATIENCE gets up quickly with the printouts, she spills a few drops of COFFEE on her white blouse. She dabs at these distractedly as she moves through the bullpen toward a glassed - in office. She knocks on the open door, where we see the name `` D. BERGER - ACCOUNTING.'' PATIENCE Dave, I was just going over the first quarter expenses. Our lab fees for this one additive - YP - 3 - have gone through the roof. BERGER, a balding, bespectacled accountant, looks up as Patience moves around his desk to show him some figures. PATIENCE Look at this, an overage of eight hundred percent on `` extruded pellets'' alone - I'm not even sure what that is - BERGER Rat chow. Berger's concerned. As they huddle over the figures, we hear a CHOPPER approach. CAMERA MOVES PAST THEM, OUT the WINDOW -","EXT. AVENAL HQ - DAY - CAMERA SWINGS UP the 40 - story skyscraper in the business district of a city mixing architecture old and new. CAMERA PASSES a WINDOW WASHER on a cable - driven rig. NEARING the ROOF, we see a glowing sign which reads `` AVENAL BEAUTY'' - and a PASSENGER CHOPPER coming in for a landing.","EXT. AVENAL HQ - HELIPAD - DAY THE CHOPPER touches down on a HELIPAD atop an elevated PENTHOUSE. GEORGES AVENAL emerges, ducking in the blade wash. The company's CEO, Georges is charismatic, handsome, immaculately tailored - an exacting asshole to the core. Getting out of the helicopter behind him, his menacing, silent bodyguard ANGEL carries a leather suitcase or two. LAUREL AVENAL trots toward her husband with open arms. Laurel is 30 - something, a still - gorgeous super - model but, in person, a tad past her prime. She comes across as sweet and well - meaning, but a bit dim and victimized. LAUREL Oh honey, welcome back! She throws her arms around Georges to give him a kiss, but he pushes her away, turns aside to SNEEZE. LAUREL Are you all right? GEORGES My allergies. I thought you were getting rid of that vile dog of yours. GEORGES plucks a long DOG HAIR from her clothes, holds it up for her to see, then moves on briskly, down an external flight of stairs from the helipad to a PENTHOUSE below. Laurel follows after him, Angel in the rear. LAUREL Georges, when you're gone, Tippy is all I've got and - I get so lonely. GEORGES So get a bird or a fish, something that does n't shed. -LRB- a glance at her. -RRB- Have you gained weight? They head through glass doors into the PENTHOUSE.","INT. AVENAL HQ - PENTHOUSE - DAY LAUREL protests, examining her body. LAUREL No no, it's muscle - I've been working out, doing my Tae Kwan Do - She flexes a MUSCLE to demonstrate. GEORGES is n't interested, looking at the penthouse decor with distaste. Meanwhile ANGEL moves to an elevator, presses a down button and awaits his masters. The penthouse is a large, dramatic space, decorated in a frilly, Louis XIV style - classical STATUARY of nude females, ornate DRAPERIES across one wall - there are LADDERS, cans of paint, a work in progress. A large PORTRAIT of LAUREL dominates the room. In one alcove is a MOVIE - STAR MAKE - UP MIRROR, surrounded by lights. GEORGES What the hell happened here? LAUREL I'm doing some redecorating, I've had so much time on my hands - do you like it? GEORGES No. What's with the curtains? LAUREL Draperies. They soften the space. GEORGES I like hard spaces. -LRB- off her hurt look. -RRB- Whatever, Laurel, if it makes you happy. I plan to be spending more time at the factory, anyway. He enters the ELEVATOR, Laurel behind, Angel hits the button.","INT. AVENAL HQ - ELEVATOR BANK - DAY A LARGE GRAPHIC depicts LAUREL and GEORGE together. PATIENCE curls her lip at this as she presses the DOWN button. DOORS OPEN to reveal the real LAUREL and GEORGES, startling Patience a bit, the impassive ANGEL behind them. Patience takes a half - step forward and hesitates, reluctant to get aboard, frozen in place. The DOORS start to close, then open again - she's in the way. GEORGES In or out? PATIENCE meekly steps into the elevator, presses a button for the lobby, nervously keeping her eyes fixed to the front.","INT. AVENAL HQ - ELEVATOR - DAY GEORGES leans past her to hit `` DOOR CLOSE.'' Many CAT HAIRS are sprinkled on her clothes, he SNIFFS and stifles a sneeze. He looks Patience over, and does n't like what he sees. GEORGES Excuse me, miss. Do you know who I am? PATIENCE Um. of course. You're Georges Avenal - you own the company - GEORGES Then you actually work for me. Are you familiar with our products? PATIENCE Yes sir, I just ca n't really afford them - GEORGES You can afford some peroxide, ca n't you? Do something about this mousy hair. GEORGES runs a hand distastefully through her frizzy hair, then takes a moment to study her. GEORGES Stain on your blouse, run in your pantyhose - and that color's awful on you. -LRB- fingering her outfit. -RRB- Do you own an iron? Show me your hands. Shaking, Patience extends her hands. Georges inspects her trembling fingers. He seems saddened, clucks his tongue. GEORGES A nail - biter. my my, you really are the `` before'' picture, are n't you? LAUREL I could give her the number for my manicurist - GEORGES -LRB- waving Laurel off. -RRB- What's your name? PATIENCE Patience. GEORGES I have n't got all day - PATIENCE No, my name's Patience, Patience Price. I'm in accounting. GEORGES I'm afraid that's no excuse. Regardless of your position, you do represent Avenal Beauty. I simply ca n't allow that to continue. PATIENCE Wait. You're not - firing me? GEORGES I have no choice. All we have to sell is an image - and you are not it. You've got to go. DING! The DOOR OPENS. Patience stares at the man in disbelief, then bolts out into the SHOWROOM. STAY WITH GEORGES, LAUREL and ANGEL as the doors close. LAUREL Poor girl. GEORGES studies Laurel's face a moment, leans closer, amazed. GEORGES Is that a pimple?","INT. JOEY'S DINER - DAY A retro place, PATIENCE and SALLY sit in a booth over SALADS and SODAS. Sally leans across the table, fixing Patience's make - up - her mascara's run from crying, her nose is red. An open MAKE - UP POUCH rests between them. PATIENCE I try, Sally, I really do. I read Vogue, I wear uncomfortable shoes. I've been a female all my life, you'd think I'd be better at it by now. SALLY Watch the frown lines, you'll need a lift before you're forty. PATIENCE He's right, I'm not even presentable enough to be an accountant. Maybe the church needs a new bell - ringer. SALLY Look, he was just in a bad mood. Sales are down, his marriage is on the rocks - PATIENCE How do you know that? SALLY I have an enquiring mind. This is `` Nympho,'' very hot, I snagged it from the showroom. She opens a tube of LIPSTICK, starts applying it expertly to Patience's lips as she speaks. SALLY Laurel's losing her looks, she's dumber than her cockapoo - buzz is, Georges is trading her in for next year's model. All I'm saying is, by now he's probably forgotten about canning you. PATIENCE I do n't care. No way am I going back there. SALLY Shut up, you'll smear. voila, now suck your finger. Patience puts her finger in her mouth, pulls it out with a pop, to keep the lipstick off her teeth. She studies the residue on her finger. PATIENCE I ca n't believe we put this stuff on our mouths. Grease, acid and ground - up fish scales. who knows what they put in our mascara. SALLY No wonder you never made it in sales. ANGLE THROUGH WINDOW BEHIND THEM, as a long LIMOUSINE passes.","INT. LIMOUSINE - DAY LAUREL is fixing her make - up meticulously in a COMPACT MIRROR, looking for signs of the dreaded zit. GEORGES is flipping through AD LAYOUT BOARDS. WESLEY, a weasely ASSISTANT, is seated between them, going over an electronic appointment book. A CHAUFFEUR, ANGEL in the passenger seat. WESLEY You're both scheduled to appear at the Make - Overs for the Homeless event on the 25th - GEORGES Ugh. That one's yours, Laurel. WESLEY The ballet opens the following Friday - GEORGES -LRB- re : the ad boards. -RRB- These look good, Wesley, send them back to the agency. LAUREL closes the compact, leans across to catch a glimpse. LAUREL May I see? GEORGES You would n't be interested. LAUREL Please, Georges? She tugs a board away, then sucks in her breath seeing - AN AD featuring DRINA, a gorgeous young model, nearly nude. We see a tube of MASCARA with the AVENAL LOGO. GEORGES That's Drina. LAUREL She's. pretty. GEORGES She's magnificent. GEORGES takes the board back, LAUREL looks a little sick. LAUREL Well, I'm still the face of Avenal. are n't I? GEORGES -LRB- smiling indulgently. -RRB- You've had a remarkably long shelf life, it's true. But. every product has an expiration date. Laurel bites her lip, looks out the window, close to tears. A PHONE is ringing, ANGEL answers in front. Georges' hands are still full with the ads piled around him. ANGEL Uh, sir, it's Dave Berger in accounting. GEORGES Who? I do n't talk to bean - counters. ANGEL He says it's urgent. GEORGES All right, Angel, put it on speaker.","INT. AVENAL HQ - BERGER'S OFFICE - DAY BERGER peers at his TERMINAL, a half - eaten SANDWICH nearby. He's marked up the PRINT - OUTS that Patience brought him. BERGER -LRB- on phone. -RRB- Mr. Avenal - I hate to bother you, sir, but we have a problem. It seems the lab has been overproducing YP - 3 - that's the anti - aging ingredient in Beaunique - GEORGES Why are you telling me this? It's routine to have a surplus - BERGER We've stockpiled over a thousand gallons, enough to last us well into the 29th Century. GEORGES Perhaps that is a trifle optimistic - BERGER And very expensive. Funding seems to have been siphoned out of the employee pension plan - GEORGES Impossible, this has to be an error. Are you responsible for this data? BERGER Well, actually Patience Price brought the matter to my attention - GEORGES Yes, yes, I'm familiar with Ms. Price. Obviously her bookkeeping is as sloppy as her appearance. BERGER Sir, she's a very reliable employee - GEORGES I've heard enough, Berger. In the future, double - check your figures before you waste my time - and then put it in a memo. WITH BERGER BERGER -LRB- on phone. -RRB- In all fairness, Mr. Avenal, I think - BEEP. He's talking to a dial tone. Berger hangs up, frustrated and chagrined.","EXT. SHOPPING DISTRICT - DAY START on a JEWELRY DISPLAY, a ritzy DIAMOND NECKLACE. SALLY's face appears in the window, beaming. SALLY Wow. sorry, Patience, I just found a new best friend. PATIENCE, beside her, WHISTLES appreciatively, then moves on. PATIENCE I'm sick of drooling over things I'll never have. The two are WINDOW - SHOPPING, passing a SHOE STORE, boots and high - heels. A WESTERNWEAR SHOP, belt buckles, WHIPS. SALLY Oh, you're a ray of sunshine. Tell you what, let me take you clubbing this weekend - PATIENCE I'm not sure I'm fit to be seen in public. SALLY You will be in that dress. I've had my eye on it for weeks. SALLY points at a MANNEQUIN in the window of a trendy boutique, garbed in a dramatic, sexy outfit - a short bodice, a tiny skirt, plenty of plastic skin showing. PATIENCE Sally, that is not a dress, it's a rumor of a dress. It's barely forensic evidence of a dress. SALLY It's a genuine Gaultier knock - off - PATIENCE It's not me. SALLY But do n't you ever wan na be somebody else? PATIENCE I just wish I could be ten years old again - it did n't matter what I wore as long as I could climb a tree in it. SALLY Your tomboy days are over. PATIENCE That's my bus, Sal, see you later. PATIENCE trots toward a BUS, SALLY calls after her. SALLY This weekend, Patience. I swear, I'm gon na make you have fun if it kills you. As Sally moves on, CAMERA LINGERS ON the window of A LINGERIE STORE, scantily - clad MANNEQUINS, including one in BLACK UNDIES and a CAT MASK.","EXT. BERGER'S TOWNHOUSE - NIGHT DAVE BERGER, the accountant, dressed casually, gets out of a CAB and heads into his modest home.","INT. BERGER'S TOWNHOUSE - NIGHT Berger SNIFFS the air quizzically as he lets himself in. He moves toward the KITCHEN. In the kitchen DOORWAY, he fumbles for a LIGHT SWITCH, flicks it on and -","EXT. BERGER'S TOWNHOUSE - NIGHT KA - BOOM! The WINDOWS BLOW OUT with a HUGE EXPLOSION. ACROSS THE STREET, a BLACK MERCEDES pulls from the curb, HEADLIGHTS OFF, and ACCELERATES away.","INT. PATIENCE'S BUILDING - HALLWAY - NIGHT PATIENCE moves to her apartment door, arms loaded with GROCERIES. She struggles to unlock the door while keeping these upright - we see a `` HELLO KITTY'' emblem on her key chain. As soon as the door is open - - MIDNIGHT BOLTS out into the hall, a black streak moving toward the stairs and darting upward. PATIENCE Midnight! You little monster - Patience tosses her groceries in the door, leaving it ajar, and runs after the cat. A few moments after she's vanished up the stairs, we hear FOOTSTEPS from below and. ANGEL, Georges Avenal's menacing bodyguard, appears in the hallway. He moves purposefully for Patience's door, pushes it open and steps inside. Midnight just saved her neck.","INT. PATIENCE'S BUILDING - UPSTAIRS HALLWAY - NIGHT MIDNIGHT makes for an open hall window that leads onto a FIRE ESCAPE. Patience just spots her heading outside. PATIENCE Oh no.","EXT. PATIENCE'S BUILDING - ALLEY - NIGHT Patience reaches the window just in time to see - MIDNIGHT make a SPECTACULAR LEAP across the alleyway and - - LAND ON TOM LONE'S BALCONY. PATIENCE is annoyed, but also impressed, in spite of herself. PATIENCE Hell of a jump.","INT. PATIENCE'S APARTMENT - NIGHT ANGEL flings open the closet and bathroom doors in Patience's empty apartment - no dice. On his way out, he eyes a plate of cat food and ice cream with a wince.","EXT. LONE'S BUILDING - ALLEY - NIGHT Patience clumsily CLAMBERS up Lone's RATTLING FIRE ESCAPE, reaches the level Midnight is on, moves toward the cat. PATIENCE You are not worth the trouble - Suddenly, a WINDOW FLIES OPEN, just a foot away, a GUN points in her face. Patience lets out a CRY, jumps back - LONE Freeze! It's TOM LONE. But Patience loses her balance, FALLS - - and LANDS in an open DUMPSTER. LONE darts from the window, alarmed, realizing his error.","EXT. PATIENCE'S BUILDING - NIGHT ANGEL emerges, shaking his head and shrugging toward the unseen driver of the BLACK MERCEDES, then he climbs in the passenger door. As the car pulls away - - LONE hurries from the building next - door toward the alley.","EXT. PATIENCE'S BUILDING - ALLEY - NIGHT PATIENCE painfully gets upright, slipping in the trash, as LONE appears ; he's a no - nonsense, gruff cop with a dry wit. LONE You all right? He clambers onto the dumpster's edge to help her out, she slips and slides, almost pulls him in after her. LONE I'm really sorry - I'm a police officer, I heard the noise and just assumed. here, grab my arm. He manages to hoist Patience to the lip, she's able to climb to the ground. She's drenched in GOOEY GARBAGE, just stares at Lone, a bit dazed from the fall. She ca n't believe she's face to face with the man of her dreams. Lone thinks a beat. LONE Habla espanol? She blinks at him, confused, then he tentatively flashes a few HAND SIGNS for the deaf. She waves this off. PATIENCE No, I - see, my cat got out - MIDNIGHT MEWS, rubs against Patience's leg. She picks the cat up, nods toward her window. PATIENCE I live right up there - LONE I know. PATIENCE You do? LONE I mean, I - I've seen you. Around. PATIENCE Really. Actually, I've seen you too. Around, that is. -LRB- a nod at the dumpster. -RRB- Thanks for helping me out. LONE Do n't mention it. I ca n't resist a damsel in distress. PATIENCE smiles and cocks her head. flirtatious body language. She runs a hand through her hair, pulls out some sticky TISSUE PAPER, looks at it with disgust. PATIENCE Oh God, what - what is that?! He looks over her shoulder, winces. LONE I could run it over to the lab. She tosses it in the dumpster, finally registering that she's drenched in WET GARBAGE. PATIENCE I'm sorry, it was nice talking to you, but - I'm completely disgusting. Mortified, she hurries back to the entrance to her building. Lone looks after her, amused.","EXT. TRENDY CLUB - NIGHT SPOTLIGHTS before a NIGHTCLUB, a CROWD behind a VELVET ROPE. A HANDSOME BOUNCER stands guard. SALLY AND PATIENCE are near the front of the line. Sally has transformed herself, with heavy make - up, a revealing skin - tight outfit that shows plenty of cleavage. Patience is in a conservative dress, one she might wear to work. Sally HOWLS with LAUGHTER at something Patience has just said. Patience looks grim. PATIENCE It is n't funny. SALLY -LRB- still chuckling. -RRB- Yes it is. All this time you've spent mooning over that hottie neighbor and he points a gun at you - PATIENCE At least it broke the ice - SALLY I told you men go for trashy women. Patience rolls her eyes, looks over Sally's clothes. PATIENCE Speaking of which - how do you even stay in that outfit? SALLY With any luck, I wo n't need to. PATIENCE I hardly recognize you. SALLY That's the idea. I go out at night, I leave daytime Sally behind, become a different person. All women do. Except you, of course. PATIENCE -LRB- shrugs, checks her watch. -RRB- How long have we been here, an hour? We're never getting in. A TRENDY COUPLE - call them RANDY and SANDY - push their way past PATIENCE, almost knocking her over. Randy's ELBOW gets her in the gut, Sandy's SPIKE HEEL drives into her foot. PATIENCE Ow! SANDY looks at her blankly as PATIENCE hops, injured. PATIENCE You could say I'm sorry? RANDY Okay, you're sorry. He and Sandy laugh as the BOUNCER unhooks the rope, steps aside for them to enter. PATIENCE God, people are so rude. SALLY Yes! Sally has just gotten the NOD, hurries forward. Patience follows, limping a bit. The BOUNCER blocks Patience's path, looking her over from head to toe, disapproving. SALLY She's with me. BOUNCER Then you can stay out here too. SALLY She happens to be a very fine human being - BOUNCER Like I said, she do n't belong inside. PATIENCE Sally, just - go in without me - SALLY See, you shoulda bought the dress. PATIENCE bolts, humiliated ; SALLY looks after her sadly.","INT. BUS - NIGHT PATIENCE sits alone in the back of the bus, looks at - A YOUNG COUPLE making out. an ELDERLY COUPLE holding hands. Her eyes drift to an AD for AVENAL BEAUTY overhead - LAUREL and GEORGES AVENAL, arms around each other. Patience sighs and stares out the window.","EXT. PATIENCE'S BUILDING - NIGHT PATIENCE walks toward her building, the bus kiosk behind her, the BUS MOVING AWAY. The street is deserted at this hour. Patience feels very alone, until she looks up to see - - MIDNIGHT, perched in her window, awaiting her arrival. A smile appears on Patience's face. She quickens her step, crossing the empty street, almost to the sidewalk when - - AN ENGINE ROARS behind her. Patience spins just as - - THE MERCEDES, LIGHTS OFF, barrels out of the darkness and - WHAM! Hits her full - on. MIDNIGHT at the WINDOW - the cat lets out a HOWL. ANGLE DOWN, the MERCEDES has stopped, Patience lies a short distance behind. in bad shape. The PASSENGER DOOR OPENS. WITH PATIENCE, barely conscious. ANGEL approaches, studies her, turns her over with his foot. He nods, a job well done.","INT. PATIENCE'S APARTMENT - NIGHT MIDNIGHT is bouncing off the walls, HOWLING like mad, lunging and scratching at the door. Finally, the cat charges across the floor, LAUNCHES herself in a dramatic leap and -","EXT. PATIENCE'S BUILDING - NIGHT SLOW MOTION as MIDNIGHT LAUNCHES HERSELF AT THE GLASS - SMASH!","EXT. BRIDGE/CITY SKYLINE - NIGHT SPLASH! A BODY -LRB- we do n't get a good look -RRB- hits DARK WATER hard and vanishes below. MOVE UP TO REVEAL we're at a bridge over a river, CITY LIGHTS in the distance. ON THE ROADWAY, CAR DOORS CLOSE and the MERCEDES SEDAN SCREECHES away. CLOSER ON THE SKYLINE. A HOWL rises - FIND MIDNIGHT, CRYING from a rooftop. Unseen CATS join in, a feline TELEGRAPH.","EXT. EDNA'S HOME - NIGHT The CAT CRY, just audible, far off. Then - a CAT squeezes out a WINDOW at the gap in the sill. more CATS SCRAMBLE out dormers. yet MORE SHOOT OUT the flapping CAT DOOR.","EXT. SUBURBAN STREETS - NIGHT EDNA'S CATS scramble through alleyways, joined by STRAYS converging from all directions, picking up the CHORUS. It's like a flowing RIVER OF CATS.","EXT. MARSHLAND - NIGHT ON MURKY MOONLIT WATER - CAMERA MOVES past floating TRASH, a CAR TIRE, BOTTLES and CANS. We hear the CRIES of the CATS from nearby, approaching. LIGHTS of the CITY further away, the BRIDGE visible. CAMERA FINDS a nylon - encased FOOT. PAN OVER a woman's CORPSE, her clothes TORN, SOAKED and MUDDY, strewn with RIVER WEEDS. The body bobs amidst REEDS by this soggy shoreline. We reach the woman's FACE - unnaturally pale, eyes fixed. it's PATIENCE PRICE. Dead. THE HOWLING is CLOSE now. THE CATS have gathered here, parting for MIDNIGHT, a feline VIP. The Mau steps tentatively out onto Patience's corpse, careful not to get too wet. She crouches on her chest, and - CLOSE, BREATHES audibly into her parted lips. A brief, barely visible GLOW flickers at Patience's mouth. THE CAT shudders, then moves aside, BLINKS as if drugged. ANOTHER CAT climbs out onto Patience to take Midnight's place and perform the same ritual. HIGH ANGLE. The crowd of CATS waiting in the reeds, more arriving by the minute, ready to take turns. CAMERA ROCKETS DOWN AT PATIENCE'S FACE, into one DEAD EYE. MEMORY MONTAGE - INT. PATIENCE'S HEAD DARK, DISTORTED ; QUICK IMPRESSIONISTIC IMAGES OVERLAP, perhaps CAT POVS -LRB- LOW - ANGLE TRACKING and CLIMBING SHOTS -RRB- mixed with human MEMORIES : POV, a ROLLER - COASTER, PATIENCE'S PARENTS to either side - we hear YOUNG PATIENCE'S LAUGHTER and SHRIEKS. CLOSE TO GROUND, FATSO the KITTEN dashes after a BELL BALL. POV, YOUNG PATIENCE at a mirror in a Halloween CAT COSTUME. POV, CLIMBING A TREE in a suburban backyard. We see her MOM below, searching for young Patience. POV, TWO CLOSED COFFINS, surrounded by FLOWERS. now we hear YOUNG PATIENCE SOBBING. POV, the BLACK MERCEDES ROCKETS AT CAMERA and -","EXT. MARSHLAND - NIGHT (PRESENT) - PATIENCE sits up INTO FRAME with a SCREAM. She thrashes in the shallows of the marsh, gasping for air, disoriented. reborn. There's no sign of the cats. PATIENCE crawls onto shore amidst the reeds, slightly clumsy at first, almost like a newborn kitten. Her ragged, wet clothes cling to her body. TIGHT on her terrified expression. She has no idea what she's doing here - or who, or what she is. She opens her mouth to speak - all that comes out is a strangled CAT CRY. She works her jaw, but ca n't produce human speech. She darts her head, seems disoriented and overwhelmed. HER POV - SOUNDS AMPLIFIED, IMAGE perhaps SOLARIZED, the darkness BRIGHTENED, objects of interest HIGHLIGHTED as she takes in the marshland. The EYES of any creature in sight GLOW. We'll call this CATVISION. WHIP PAN TO a nearby CRICKET perched on a blade of grass - then UP TO an OWL in the distance, soaring over the park. WHIP DOWN TO its prey, a SCURRYING MOUSE. THE OWL swoops with a SCREECH, nailing the MOUSE, we hear its SQUEAL. PATIENCE, frightened at first, becomes increasingly delighted by her heightened senses. She spots - MIDNIGHT in the tall grass. The cat turns, looks over her shoulder once - her EYES catch moonlight and GLOW. Patience is clearly meant to follow. PATIENCE follows MIDNIGHT on all fours, tenuously at first. But as she proceeds, her shoulders and hips roll in distinctly feline fashion. Her body seems slimmer, more muscular. She rises on two legs, moving in a slinky crouch. MIDNIGHT pauses to sharpen her claws on the bark of a gnarled old TREE. PATIENCE follows Midnight's lead, leans forward against the trunk, arms straight out, head arched back. She stretches her neck, her back - her every movement is graceful, sensual, the awkwardness gone. She tries to pull her hands from the tree - but ca n't for a moment, finding her FINGER - NAILS stuck into the bark -LRB- like a cat at a scratching post -RRB-. A DOG BARKS - without thinking about it, PATIENCE scrambles up the side of the tree like a streak. HER POV FROM TREE - A LARGE DOG tugs on its OWNER'S leash, some distance away. The dog walker yanks the dog onward. PATIENCE takes this in, hears a MEOW - MIDNIGHT is perched above her, very Cheshire Cat - like. PATIENCE looks around, self - conscious for a moment - what is she doing up a tree? Bad idea to think. She loses her balance, clutching at branches, tumbles out of the tree - IN MIDAIR for an instant, she flails spastically, letting out a SHRIEK - then her body instinctively TWISTS and - PATIENCE LANDS on all fours, one leg kicked out, haunches low. MIDNIGHT lands beside her, nods approvingly at her landing. Then the cat darts away again, Patience pursues.","EXT. SUBURBAN NEIGHBORHOOD - NIGHT MIDNIGHT leaps to the top of a FENCE, staring down at Patience - `` come on.'' Patience hesitates, then crouches and SPRINGS UP -LRB- with more than human ability -RRB-, lands triumphantly on the fence - then teeters and TUMBLES to the other side. MIDNIGHT looks disappointed. Patience jumps up again quickly, as if pretending this never happened, this time managing to hold her balance. MIDNIGHT gives her a look and leads onward. At first she's like a tightrope walker, careful of falling, but her steps become more confident. Soon she's moving as quickly and smoothly as the cat. MIDNIGHT leaps off the fence and darts across a road, PATIENCE follows.","EXT. PUBLIC GARDEN/ZOO - NIGHT A tall wrought - iron FENCE surrounds greenery and distant cages in an urban area. A SIGN : `` ARBORETUM - ZOO.'' MIDNIGHT squeezes through a gap between the uprights. PATIENCE hesitates - this is too narrow for a normal human. MIDNIGHT waits impatiently on the other side, tail twitching. PATIENCE makes a dubious SOUND, but manages to slip a foot - then a leg - into the opening, twisting and contorting. Amazingly, she's succeeding, her torso ripples and contracts as she insinuates herself between the bars. Finally only her head is on the wrong side. With a final TUG, she's through. MIDNIGHT crouches low, stalking. PATIENCE copies the behavior. MIDNIGHT slowly approaches - A MOTH, fluttering near a FLOWER in this botanical garden. MIDNIGHT sneaks up close, then POUNCES, but the MOTH flies out of the cat's grasp. PATIENCE GIGGLES, MIDNIGHT turns on her and HISSES. The woman and the cat roll together in this neat BOTANICAL GARDEN, playing and batting at each other. CAMERA MOVES TO a small sign nearby, which labels this planting as `` CATNIP.'' MIDNIGHT HURTLES a CONCRETE MOAT, PATIENCE follows, still high, giggly. She suddenly finds herself face to face with : A BENGAL TIGER. He lets out a small ROAR. PATIENCE blinks, crouches - and ROARS back, unafraid. The tiger springs forward. and LICKS HER. She wrestles with him playfully, he's just a bigger version of Midnight.","INT. EDNA'S HOME - BEDROOM - MORNING EDNA POWERS sleeps in bed. MIDNIGHT climbs atop her, starts kneading. She makes a NOISE, rolls over, opens her eyes. EDNA Midnight? What are you doing here? She squints, sees morning light through a window. She climbs out of bed in her nightdress.","EXT. EDNA'S HOME - DAY EDNA emerges in a bathrobe, crossing her overgrown lawn, MIDNIGHT bounding ahead of her. A Martha Stewarty NEIGHBOR, weeding an immaculate garden, throws Edna a sour look. NEIGHBOR Edna, your cats have been using my garden as a litter box again. EDNA -LRB- gravely. -RRB- You ca n't change their nature. The neighbor scowls and returns to her weeding. As EDNA bends down for her newspaper, she hears a MEOW and sees - - Midnight licking a HAND, which protrudes from under a bush. Edna GASPS, moves closer, crouching to get a better look. It's PATIENCE, sound asleep, body twisted sideways in an unnatural position. Quietly : EDNA Hello? Patience starts awake, looking around, confused. EDNA What are you doing in my hedge? Patience rolls out from under the bushes, crouches on her haunches now, a panicky look in her eyes. Leaves and dirt cling to her clothes. She has no idea how she got here.","INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE is wrapped in a BLANKET, sitting on the couch, MIDNIGHT nuzzling her, as EDNA brings her a cup of TEA. Edna picks up a CLIPBOARD from a coffee table. EDNA Your name is Patience Price, you live on South 87th. -LRB- beat. -RRB- You love chocolate - you're afraid of heights? Any of this ring a bell? Patience nods slowly, puts her face in her hands. PATIENCE I. it's coming back to me. But last night. it's just. it's like a dream. EDNA -LRB- chiding. -RRB- You said in your application that you do n't drink or take drugs. PATIENCE -LRB- rising. -RRB- I do n't. I think. something must have happened. I need to. EDNA You need to rest. Patience takes a few steps from the couch and lets the blanket slip from her shoulders. EDNA Oh my God. Edna stares at PATIENCE'S BACK. The fabric of her dress is torn, the skin discolored beneath with a hint of dried blood - and we make out the marks left by a TIRE TREAD. EDNA You're in no condition to - EDNA moves beside Patience and GRABS HER by the wrist - ON PATIENCE'S HAND, the fingers CURL and FIVE SHARP CAT CLAWS -LRB- SPFX -RRB- emerge from her fingertips - only for an instant. EDNA blinks at this, PATIENCE whirls on her with an abrupt and frightening HISS - CLOSE, Patience's pupils become ELLIPTICAL for a blink, flecked with GOLD, then - She yanks her hand away quickly, immediately looks contrite, and a bit dazed from the momentary transformation. PATIENCE Sorry, you - you startled me. look, Edna, thanks for everything, but - I just want to get home and take a bath. Edna nods, unnerved. PATIENCE picks MIDNIGHT up in her arms and hurries out the door. Edna stares after her, a disturbing thought forming.","INT. EDNA'S HOME - OFFICE - DAY EDNA moves purposefully to a FILE CABINET in this cluttered, book - lined room and opens a drawer. She thumbs past many years' worth of scholarly research, finally pulling a thick, dog - eared MANILA FILE from near the back. She moves to her desk, slips on reading glasses and opens the folder - ANGLE ON FILE - an old, thick type - written SCHOLARLY PAPER entitled `` MYTHS OF FELIGYNY, by E. POWERS Ph.D.'' She puts this aside, revealing a WOODCUT of an AFRICAN Catwoman in leopard skin, surrounded by cats. Next, an ASIAN CATWOMAN, a print of a 19th Century watercolor. She wears a Chinese - style MASK, close - fitting robes, a long tail. Both illustrations show the women with CLAWS and ELLIPTICAL PUPILS.","INT. PATIENCE'S APARTMENT - BATHROOM - DAY PATIENCE stares at her dirty face in the MIRROR, still reeling from the events of the previous night. Behind her, THE BATHTUB RUNS, almost filled. She moves to the edge of the tub, starting to undo her ragged clothes, stares down at - THE RIPPLING WATER. She blinks, her expression far away - FLASHBACK - INT. PATIENCE'S HEAD A vertiginous PLUNGE from the bridge toward DARK WATER -","INT. PATIENCE'S APARTMENT - BATHROOM - DAY (PRESENT) PATIENCE starts, shaking off this momentary vision. She dips a finger in the water, jerks back - much as a cat might. She shakes drops off her hand, repelled by the water.","INT. PATIENCE'S APARTMENT - DAY There's KNOCKING at the door. The PHONE IS RINGING, a MACHINE picks up. We hear RUNNING WATER from beyond the closed bathroom door. PATIENCE -LRB- V.O. -RRB- This is Patience, you can leave a message if you want. BEEP.","INT. PATIENCE'S APARTMENT - BATHROOM - DAY PATIENCE turns off the TAPS, in the quiet she hears EDNA'S VOICE on her answering machine. EDNA -LRB- V.O. -RRB- It's Edna Powers - the most extraordinary thing, I - I think I know what's happened to you - PATIENCE has risen with a shiver, hurries back into the main room, pulling her blouse closed.","INT. PATIENCE'S APARTMENT - DAY PATIENCE moves for the PHONE, but FREEZES at the sight of - - THE DOORKNOB RATTLING, someone trying to get in. EDNA -LRB- V.O. -RRB- - be careful, Patience, I'm afraid you may be in danger. MIDNIGHT lets out a menacing GROWL. THE KNOB TURNS, the door swings open - a MAN starts to enter - CLANG! PATIENCE whacks him over the head with a FRYING PAN. THE MAN is knocked hard into the door and slumps to the ground, stunned. it's TOM LONE. PATIENCE recognizes him with horror, looks at the door - PATIENCE'S KEYS with the `` HELLO KITTY'' emblem dangle from the lock, her PURSE is on the ground. PATIENCE I am so, so sorry - TOM LONE groans, painfully coming to and sitting up. PATIENCE crouches at his side. LONE You actually hit me with a frying pan? PATIENCE I did n't know it was you. LONE Guess we're even now. Name's Tom Lone, by the way. PATIENCE -LRB- shakes his hand. -RRB- Patience Price. LONE Yeah, I know, I checked your ID. PATIENCE Oh God, not that awful driver's license picture - LONE -LRB- rubbing his head. -RRB- Got any ice? PATIENCE hurries to assemble an ice pack, MIDNIGHT is eating happily at the table, LONE gets to his feet. LONE I found your purse in the street right outside this morning. I tried calling - I was afraid something might've happened to you. PATIENCE returns with a washcloth full of ice. PATIENCE That was really nice of you. LONE Well, it's part of my job. I'm a detective, burglary - robbery division. So what did happen to you? He applies the ice - pack to his head while eying her clothes. She suddenly becomes aware of her disheveled appearance. PATIENCE Oh no, I'm a mess. It seems every time you see me I - I was just cleaning. -LRB- this is n't flying. -RRB- The um, the chimney. LONE Where's the fireplace? PATIENCE It was n't mine. LONE You're a freelance chimney sweep? LONE is now looking around the apartment, taking it all in with a careful detective's eye. He sees the shredded PHOTOGRAPHS, the BROKEN WINDOW, points - LONE You should get that fixed. PATIENCE Oh yeah, I had n't noticed. I mean, I had to break it to get in because. I lost my purse. LONE -LRB- studying the windowsill. -RRB- Funny, looks like it was broken from inside. Lone is now regarding her with open curiosity. Patience shrugs helplessly. LONE So everything's all right now? -LRB- off her nod. -RRB- Well, I'd better be getting to the station, then. unless there's anything else. LONE hopes so, PATIENCE desperately wants him to stay. but - PATIENCE I guess not. LONE Then - bye, now. He sounds disappointed. As the door shuts, Patience clutches her hair, makes a SOUND of frustration, almost like a MEOW.","INT. PATIENCE'S BUILDING - HALLWAY - DAY PATIENCE flings open the door, calls after Lone : PATIENCE I want you. He turns, startled. Patience has a sultry, come - hither look in her eye, her VOICE has a lower, sexier tone. LONE Excuse me? She shudders. The sexy expression turns to one of shock and anxiety - what has she done? Then, vamping : PATIENCE I want you, um, to forgive me. For hitting you like that. LONE No need - woman living alone, you ca n't take any chances. PATIENCE nods unsurely, starts to retreat into the apartment. LONE thinks, calls out to her. LONE Listen, I was gon na grab a cup of coffee.","INT. COFFEE SHOP - DAY LONE and PATIENCE move from a COUNTER with COFFEE CUPS in hand. Patience has cleaned up, dressed a little sexier than usual - she looks good. PATIENCE So, did you always want to be a policeman? -LRB- beat, rolling her eyes. -RRB- God, listen to me, Conversation 101. LONE -LRB- a laugh. -RRB- Hey, we got ta start somewhere. Actually, when I was a kid, I wanted to be a rock star. They take seats at a small table. LONE I was kind of a delinquent back then, got into some trouble. There was a cop who helped me out. Made a difference. I figured. maybe I could do the same. PATIENCE Plus you can still get into trouble. LONE Right, but for the good guys. So what do you do? When you're not dumpster diving or cleaning chimneys, I mean. PATIENCE Accounting. That is, I used to, I just lost my job. LONE I'm sorry. PATIENCE Do n't be, it was pretty dull. I guess when you get down to it, I'm pretty dull. Patience realizes she's not making for a great first date. PATIENCE Let me start over. It's just. I never got into any trouble or anything - LONE Come on, never? PATIENCE Well, when I was little, but - after I lost my folks I. I guess I turned into sort of a scaredy - ca - um, pretty risk - averse. LONE That's not a bad thing. It's a pretty dangerous world. PATIENCE Sometimes I just wish I was less of a wimp. LONE You're not afraid to admit you're afraid - that takes guts. PATIENCE It does? LONE Most women I know pretend to be tougher than they really are. -LRB- beat. -RRB- Listen. if you ever need someone - to look out for you, keep an eye on -. -LRB- changing tack. -RRB- - or whatever - I'm available. He pulls a card from his wallet, passes it to her. PATIENCE Wow. LONE -LRB- catching himself. -RRB- Oh hey, I did n't mean that to sound like a come - on - PATIENCE -LRB- disappointed. -RRB- Oh. LONE I mean, unless you. -LRB- rising. -RRB- I'm just going to shut up now and go. PATIENCE See you around. LONE Yeah, you will. He gives her a wave and heads out of the coffee shop. A broad smile spreads over Patience's face.","EXT. AVENAL FACTORY - DAY LAUREL'S SMILING FACE on a BILLBOARD. It's only there for a moment, quickly plastered over with - A NEW BILLBOARD featuring DRINA'S FACE. We're outside a dramatic, gated industrial COMPLEX, TRUCKS with the AVENAL LOGO, a sprawling CHEMICAL FACTORY at the center.","INT. AVENAL FACTORY - GEORGES' OFFICE - DAY HUGE VATS, DUCTS, PIPES, etc., it's a busy, VERY NOISY environment. CAMERA FINDS GEORGES' OFFICE, large windows overlooking the factory floor. INSIDE, behind the thick windows, it's SILENT. This is a hard, masculine space, all steel and wood. GEORGES stands by a table, WESLEY and ANGEL at his side ; IVAN NEVSKI, 50s, a smoldering Russian scientist, is showing them - MEDICAL PHOTOS of people's faces, the eyes covered with black BARS - the skin is BLOTCHED, lumpy, something very wrong. GEORGES flips through these quickly, his tone frustrated. GEORGES Okay, with too much YP - 3 you get side - effects - but too much of anything is bad for you - tap water, sunshine, cigarettes - ANGEL It's like leprosy or something. GEORGES The point is, now that we've adjusted the formula, Beaunique works. Plumps the skin, removes wrinkles, leaves a nice rosy glow - it's perfectly safe now, my own wife uses it. His voice trails off as he considers this fact. He glances at the medical pictures, puts them aside. Airy denial : GEORGES You want to be beautiful, you've got to make certain sacrifices. I mean, look at Botox, women are lining up to get their faces paralyzed. NEVSKI has been doing a slow burn, now blurts out : NEVSKI Enough! Pretending my YP - 3 is only for your cosmetics, feh! You've known about these `` side - effects'' from the start, they are not side - effects at all - GEORGES What? You're not making sense - NEVSKI I thought I'd left this sort of madness behind me - then I find out you've been in contact with Xavier Bartok - GEORGES I've never heard of the man. NEVSKI I still have connections. You may have used me, but I am not a fool. GEORGES Doctor Nevski, is it possible you've gone insane? NEVSKI spins on his heel and storms out. ANGEL Russians, sheesh. GEORGES As if I do n't have enough on my mind. GEORGES moves to a nearby SHREDDER. He starts feeding in the MEDICAL PHOTOS. GEORGES Changes are going to have to be made. and change can be painful. He glances at a MAGAZINE AD lying on his desk. GEORGES It is n't easy to eliminate an established brand. Finished shredding the medical photos, he picks up the AD - it's an AD for BEAUNIQUE, featuring LAUREL'S FACE. WESLEY Sir, are you seriously thinking of recalling Beaunique -? GEORGES I'm not talking about Beaunique. He slips the AD into the SHREDDER. CLOSE - as the machine turns THE AD into CONFETTI, we hear the VOICE of LAUREL LAUREL -LRB- V.O. -RRB- A famous poet once said, beauty is truth, truth beauty.","EXT. URBAN PARK - DAY A HOMELESS CAMP - tents, boxes, etc.. - nearby. BAG LADIES stand in a line near MAKE - UP STOOLS, AVENAL GIRLS are busy painting their faces, doing their best. LAUREL -LRB- O.S. -RRB- or maybe it's the other way around. FIND LAUREL AVENAL at a TABLE with a BANNER : `` AVENAL CARES.'' VIDEO CAMERAS are trained on her as she signs POSTERS, PERFUME BOXES, etc. while talking into a MIC. LAUREL The point is, everyone deserves to look in the mirror and feel good about themselves. Be we rich or poor, we all must strive to be more beautiful than we can be. A PROCESS SERVER in a suit with a briefcase reaches Laurel, places a stack of papers in front of her. She starts to sign automatically, then stops, turns off the mic. LAUREL What is this? PROCESS SERVER Laurel Avenal, I am hereby serving you with a restraining order. LAUREL What? PROCESS SERVER You are not to set foot within one hundred yards of any property owned or occupied by Avenal Beauty Corporation or any of its subsidiaries or affiliates. LAUREL I - this must be some sort of mistake - PROCESS SERVER You will, however, have sixty days to remain in residence at the Avenal estate, at the end of which time you and all your personal property must be - LAUREL -LRB- a desperate cry. -RRB- Georges Avenal is my husband! The man pulls another document from his briefcase. PROCESS SERVER That brings me to this petition for divorce. LAUREL looks shell - shocked. A CAMERA FLASHES. She turns and manages to force a stiff, trembling smile for the photographer. CAMERA FLASHES again, WHITING OUT the frame -","INT. PATIENCE'S APARTMENT - NIGHT PATIENCE'S SLEEPING FACE. She stirs, stretches. WIDER, she's lying on top of a BOOKCASE in a twisted, awkward position. MIDNIGHT jumps up and brushes against her. CLOSE ON PATIENCE'S EYES - they FLY OPEN, GOLD - FLECKED and -LRB- for a moment -RRB- ELLIPTICAL. PATIENCE - now pure CATWOMAN - springs down gracefully and scans the dark apartment. She stretches her limbs languorously, licks her lips. She flexes her fingers, watching appreciatively as her CLAWS EMERGE. She reaches out and SPEARS LONE'S CARD on a fingernail, regards it as she picks up the receiver. With another CLAW she unhesitatingly punches in the number. When she speaks, after a beat, her voice is throaty, sexier - whenever she's Catwoman, she'll talk this way. During the following, she toys with the long PHONE CORD like a cat. PATIENCE/CATWOMAN -LRB- on phone. -RRB- Mmm, too bad you're not there. guess I'll have to go out and play by myself. She tosses the receiver aside and prowls the room, moving casually atop the back of the couch, from there to other pieces of furniture and the counter, hops down to the floor. She studies the place as if seeing it for the first time. PATIENCE/CATWOMAN What a dump. PATIENCE plucks at the clothing she wears, frowning. She opens a DRESSER DRAWER and PAWS through the contents, like a cat digging in a litterbox, SHREDDING the clothes. PATIENCE/CATWOMAN Ugh - please - frowsy - She moves to a closet, throws open the door, rifling through the outfits, RIPPING them to bits, hurling them aside. PATIENCE/CATWOMAN Damn, I have n't got a thing to wear! True - she's emptied and trashed the closet, SLAMS the door.","EXT. SHOPPING DISTRICT - NIGHT MULTIPLE ALARMS RING. QUICK CUTS of STOREFRONTS, WINDOWS SMASHED - the SHOE STORE, the LINGERIE STORE, the WESTERN WEAR SHOP, the TRENDY BOUTIQUE. The MANNEQUIN that had displayed the Gaultier knock - off is now NAKED.","EXT. TRENDY CLUB - NIGHT THRONGS out front behind the velvet ropes. All eyes turn toward an approaching FIGURE whom we do n't see at first. LOW ANGLE - a sleek pair of black patent leather BOOTS appears. A purring rendition of a familiar children's tune : CATWOMAN And the cat came back, the very next day. MOVE UP SLOWLY to reveal the rest of the ensemble - long legs in BLACK TIGHTS, the short SKIRT and bodice TOP of the dress. A WHIP is wrapped around her waist, the tip dangles almost like a tail. Her stride is confident, sexy. CATWOMAN The cat came back, they thought she was a goner. Her arms are encased in long, satiny BLACK GLOVES. A half MASK with eyeholes and subtle cat's ears covers the top half of her face, her hair falls free like a mane behind. CATWOMAN But the cat came back, she just would n't stay awa - a - ay. CATWOMAN - the former PATIENCE PRICE - comes to a stop in front of the slack - jawed BOUNCER. CATWOMAN What's the word I'm looking for? Oh yes. Meow. So saying, she strokes a finger under the bouncer's chin - CLOSE, the CLAW emerges from a SLIT in the glove's fingertip, but does n't draw blood. THE BOUNCER recovers himself, unhooking the rope and stepping aside. Catwoman strides past him into the club.","INT. TRENDY CLUB - NIGHT Dramatic DECOR, throbbing MUSIC, DANCING TRENDIES. CATWOMAN moves confidently through the club. PATRONS ca n't help but stare, getting out of her path as she crosses the room. RANDY and SANDY, the rude couple, are bellied up to the bar. CATWOMAN slithers between them, almost unnoticed at first. RANDY starts as something FLICKS against his back - CATWOMAN holds the end of her WHIP/TAIL, smacking it lightly against his rear end. He looks up at her. CATWOMAN Buy me a drink. SANDY stares daggers at Catwoman with her drooling boyfriend, but Catwoman ignores her, leaning close to the attentive BARTENDER and almost whispering : CATWOMAN White Russian, no ice, hold the vodka and Kahlua. The man blinks, retreats to fill the order. SANDY taps Catwoman on the shoulder as she makes eyes at Randy. SANDY Excuse me. Excuse me, earth to slut - he's taken. Without looking at her, Catwoman COUGHS discreetly into her hand, then drops something in SANDY'S martini glass - SPLASH. CLOSE - a FURBALL in the woman's drink. SANDY backs away, making a horrified noise. SANDY Euw! The bartender produces a SHOT - GLASS full of cream. BARTENDER Cream, straight up. Catwoman knocks this back, licks white residue from her lips. CATWOMAN Let's dance. She grabs RANDY by the lapel and drags him toward the dance floor - not that he needs a lot of encouragement. CATWOMAN shoves the man onto the dance floor ahead of her. She begins to writhe sensuously to the music, instantly the center of attention. Catwoman's distinctive movements combine catlike grace with acrobatics and martial arts. RANDY does his best to keep up. He moves near, puts his hands on her ass. She hisses : CATWOMAN Do n't touch my tail. CATWOMAN pulls her WHIP from around her waist, FLICKS it in the air - Randy backs off. But Catwoman swings the whip so that the braided leather wraps repeatedly around his torso. She pulls him against her, clutches his butt - then PUSHES HIM AWAY, spinning him out on the whip like a top - his TROUSERS have been SHREDDED, the belt SLICED. His pants drop to his ankles, he stumbles back in his loud bikini underwear, losing his balance and falling. THE CROWD reacts, laughter. BOUNCER That's enough for one night, honey. HE LUNGES at her from behind, but she drops down and slithers out of his grasp - it's like she's vanished into thin air - then CATWOMAN rises behind him, plants a foot in his ass - - and boots him into the DJ'S STATION - CRASH! MUSIC STOPS. MORE CLUB GOONS appear from the back, approach angrily. CATWOMAN Guess the party's over. CATWOMAN springs upward, atop a BANK OF SPEAKERS. She moves with incredible agility, near the roof of the club, from the speakers to a LIGHT RIG - she leaps and grabs a MIRROR BALL, which SWINGS and deposits her close to the door.","EXT. TRENDY CLUB - NIGHT CATWOMAN hurls open the front doors, kicks aside the velvet rope. She addresses the impatient CROWD : CATWOMAN C'mon in, wan na - bes! Free drinks! THE CROWD stampedes the door. Catwoman struts away down the sidewalk, recoiling the whip around her waist. A couple of CLUB GOONS make it past the throng. CATWOMAN, moving onto a highway OVERPASS, notes she's being pursued. She puts a hand on the railing, and casually VAULTS OVER - THE GOONS rush to the side, look out to see -","EXT. HIGHWAY - NIGHT CATWOMAN strutting confidently down the narrow GUARDRAIL between the two directions of SPEEDING TRAFFIC. She could be out for an evening stroll, ignoring the SCREECHING BRAKES, HORNS, and STARTLED DRIVERS. She gives them a wave without bothering to look over her shoulder.","EXT. TENEMENT ROOFTOP - NIGHT A CHICKEN - WIRE DOOR explodes open and a FLOCK OF PIGEONS ROCKETS OUT of a COOP AT CAMERA. CATWOMAN emerges in a CLOUD OF FEATHERS, brushing a few stray ones off her outfit, with a cat - that - ate - the - canary smile. She cocks her head, listening in different directions for a new source of amusement - snippets of VOICES, MUSIC, PLUMBING SFX, passing VEHICLES. it's like tuning a radio. Then she picks up a distant TINKLE of breaking GLASS -","INT. JEWELRY STORE - NIGHT Dimly lit, an older, discount place. THIEF # 1 methodically breaks DISPLAY CASES with a wrapped hammer, snatches up the contents - necklaces, rings, etc.. - stuffing them into a BAG. As he moves, a SHADOWY FIGURE - CATWOMAN - moves with him, looking over his shoulder, close enough to touch but unseen. Each time he turns his head, she has just slinked out of his view - her timing is impeccable. THIEF # 2, with a SHOTGUN, stands guard over a blindfolded, bound - and - gagged NIGHT WATCHMAN. CATWOMAN appears on the periphery of his vision, but when he turns his head she's disappeared behind a case - she emerges on the other side just before he turns back. THIEF # 3 is at work on a LOCKED STEEL CASE of DRAWERS with a BLOWTORCH and TOOLS. CATWOMAN STEPS LIGHTLY across the CASE above him, he looks up - but there's nobody there. He returns to his work, gets the CASE open and pulls out a DRAWER revealing a RACK full of glittering DIAMONDS. CATWOMAN -LRB- O.S. -RRB- Oooh, pretty. THE THREE THIEVES spin, looking around - THIEF #1 Up there! THIEF # 2 aims his SHOTGUN at - CATWOMAN, perched on a narrow LEDGE at the ceiling moulding. She VAULTS down just as he FIRES, a SPRAY OF PLASTER. THIEF # 2 pumps his shotgun, looking around frantically. THIEF #2 What the hell was that?! CATWOMAN springs out from behind a DISPLAY CASE, gives Thief # 2 a roundhouse KICK in the head that sends the man into a wall, knocking him cold. THIEF # 1 pulls a HANDGUN, but the END OF THE WHIP wraps around it in a flash, yanks it from his hand. CATWOMAN SNAPS HER WHIP at Thief # 1 and Thief # 3, backing them into a corner. As she passes the tied - up GUARD, she uses her claws to SLASH his ropes. In time with WHIP CRACKS - CATWOMAN You boys - thought you could just barge - in here and take - all these beautiful things - that do n't belong to you. The guard quickly tears off his GAG and BLINDFOLD, untying his own feet, then picks up the fallen handgun and trains it on the thieves. We hear POLICE SIRENS APPROACHING. CATWOMAN meanwhile swiftly gathers up fallen jewels, sweeping them into the swag bag. She pauses for a moment, thoughtful. CATWOMAN -LRB- to herself. -RRB- What a lovely idea. With lightning speed, she vanishes out the back with the bag. THE GUARD, totally focused on the thieves, does n't even register she's gone. THIEF # 3 points - THIEF #3 Hey.","EXT. JEWELRY STORE ALLEY - NIGHT CATWOMAN bounds out the exit, leaps atop BOXES, onto a window A/C UNIT, which totters with her weight, just as - AN UNMARKED SEDAN screeches to a halt, and TOM LONE leaps out, GUN ready. He trains it on CATWOMAN - LONE Freeze! CATWOMAN freezes. She blinks down at LONE, he's got a clean shot at her. She cocks her head, licks her lips. CATWOMAN You are cute. LONE blinks at this uncommon response to a pointed weapon, continues to play it by the book. LONE I'm a police officer! CATWOMAN Bet you look sweet in uniform. And such a big gun. LONE I, I - Come down here, now! CATWOMAN Obviously you do n't know much about cats. I come when I want, not when I'm told. With that, she SPRINGS to the rooftop - the force of her leap knocks the A/C free of the window, LONE has to dive out of the way as it CRASHES to the ground.","EXT. ROOFTOPS/CITY STREETS - NIGHT CATWOMAN, silhouetted against the sky, is having a great time, leaping from building to building, scrambling across rooftops. POLICE SIRENS recede in the distance.","EXT. ZOO - DAWN THE SUN is rising. PAN OVER a couple of GLITTERING JEWELS in the dirt. FIND CATWOMAN in the GOLDEN MORNING LIGHT, curled against what looks like a TIGER - SKIN PILLOW. She stirs and groans in her sleep, like someone waking with a hangover. She blinks and frowns at the SUNLIGHT. Where am I? She sits up and realizes - she was sleeping against the belly of the BENGAL TIGER, lying on his side in his sunken ENCLOSURE. CATWOMAN SHRIEKS and leaps to her feet, terrified, yanks OFF HER MASK. With the daylight, she's back to being plain old PATIENCE. She looks down in shock at her revealing outfit ; the swag bag is looped into the whip around her waist. She's awakened the TIGER. Patience lets out another frightened CRY as he eyes her, no longer recognizing her as a friend. The tiger GROWLS, gets to his feet menacingly, starts moving in for the kill. PATIENCE scrambles for a heavily LATCHED DOOR, which she frantically wrestles to open, getting through and SLAMMING IT just as the TIGER LUNGES -","INT. EDNA'S HOME - KITCHEN - DAY A KITTEN pounces on a CAT TOY. PATIENCE - but this time, it was like the tiger wanted to kill me. MOVE TO FIND PATIENCE, seated at Edna's kitchen table, finishing her tale. She's in tight - fitting jeans, RIPPED along the sides, a cut - off top revealing her midriff. Safety pins hold the outfit together, but it looks good on her. EDNA is pulling out teacups, a TEAKETTLE on the burner. EDNA You were afraid - you became its prey. The tiger shredded your clothes? PATIENCE No, I did that myself. I mean, I remember doing it, but it was n't really - you know - me. God, I do n't understand what's happening. EDNA I'm not sure how to put this - it may be hard for you to accept - but I'm something of an expert in these matters - PATIENCE What matters? EDNA Vampirism, lycanthropy. feligyny. PATIENCE -LRB- lost. -RRB- Um. EDNA Feles, Latin for cat. Gynos, Greek for female. I'm a professor of folklore and mythology - that is, I used to be, until I was denied tenure. They said my work was frivolous, but it was an all - male department, and - well, it's a long, sordid story - PATIENCE Edna, please. Can we talk about me? EDNA Oh, yes. The other night. I think you may have. had an accident. A very serious accident. Fatal. PATIENCE -LRB- as if to a child. -RRB- But - I'm not dead. EDNA Not anymore, dear. After you died, you were reborn. As a catwoman. A dramatic WHISTLE. EDNA takes the TEAKETTLE off the stove. EDNA Mint or chamomile? PATIENCE is beyond speech - what Edna just said is impossible, and yet makes sense to her.","INT. EDNA'S HOME - OFFICE - DAY PAN OVER PRINT - OUTS, PAPERS, open BOOKS. A HIEROGLYPHIC of a figure half - feline, half - female in a heavy TOME. EDNA The cult of catwomen dates back to Ancient Egypt, where felines were first domesticated. A SMALL CAT suddenly LEAPS INTO FRAME, staring UP AT CAMERA. EDNA, in her reading glasses, and PATIENCE are seated before the research material spread on her desk, cups of tea before them. Edna patiently removes the CAT. EDNA Excuse me, Cicero. ON PAPERS - a DRAWING of the TEMPLE OF BAST. EDNA The temple of the Catgod, Bast. A Persian army destroyed it in the fifth century BC. EDNA's tone is sad, as if this memory were fresh and painful. EDNA Legend has it that the priestesses became the first catwomen. The cats they'd worshipped - Midnight's ancestors - each gave up one of its nine lives to bring them back from the dead. ON A BOOK, images of MEDIEVAL WITCHES with their cats. EDNA In the middle ages, cats and catwomen were regarded as evil. Nonsense, of course, witches were just single, independent women who broke society's rules. EDNA passes Patience - A BLACK AND WHITE print - out of a blurry SURVEILLANCE SHOT of SELENA KYLE, as seen in `` Batman Returns.'' EDNA There were reports of a catwoman a while back on the East Coast - like many, she turned to a life of crime - but apparently she's disappeared or died. PATIENCE studies the photo. PATIENCE How many have there been? EDNA No one can be sure. I've found references scattered through history, but catwomen tend to lead solitary, secretive lives. Hard to blame them, it seems most were murder victims. PATIENCE has heard enough. She rises, freaked out. PATIENCE I was murdered? Why would anybody kill me? No, I never did anything to. I do n't want to break the rules! She moves out of the room, Edna follows.","INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE paces, EDNA looks on sympathetically. PATIENCE She's like some demon, possessing me in the night, but - but I can keep it under control during the day - EDNA Well, cats do sleep most of the day - PATIENCE When she takes over - it's like, she just does whatever she feels like, she does n't care what people think - EDNA Is that so bad? PATIENCE You do n't understand - I'm afraid she's going to hurt someone - or get me killed. Again. PATIENCE is near tears. EDNA puts her arms around her. PATIENCE There's got to be a way to make it stop. Some kind of, I do n't know, garlic or wolfsbane or something. EDNA -LRB- thinking. -RRB- A domestic cat can return to its natural state effortlessly. But once a cat's gone feral, it can never be tamed. PATIENCE Okay. that is n't helping. EDNA pulls back, looks Patience in the eye. EDNA Relax a little, learn to live with your inner cat. Even love her - she has many admirable qualities - integrate her into your life. If you accept the darker impulses, try to channel them - maybe she'll come to be domesticated - PATIENCE No. I'm going to fight her. I'm stronger than she is - EDNA But you're only fighting yourself - PATIENCE - and I'm going to win. Patience heads out the door. Edna shakes her head ; Patience is n't getting it.","EXT. JEWELRY STORE - DAY POLICE TAPE across the entrance to the storefront. PATIENCE approaches warily, looking around to make sure no one's watching, nervous as hell. She sees an elderly JEWELER and a UNIFORM COP through the window. Patience withdraws a PAPER BAG from under her coat. She drops this beyond the police tape, KNOCKS on the door and RUNS. THE JEWELER comes out, looks down on the ground. He picks up the bag - and sees the word `` SORRY!'' written on the paper. Opening the bag, he finds - THE DIAMONDS AND JEWELS that Catwoman stole.","EXT. PATIENCE'S BUILDING - ALLEY - DAY PATIENCE comes out of a back door of her building with a GARBAGE BAG, still looking around nervously, moving toward the dumpster in the alley. She tosses in the bag - ANGLE IN DUMPSTER, the BAG spills open to reveal pieces of the CATWOMAN OUTFIT. PATIENCE moves back for the door - LONE -LRB- O.S. -RRB- We've got to stop meeting like this. She spins to see TOM LONE approaching from his sedan, parked in a LOT off the alley. PATIENCE is wary of him now, but he seems casual, smiling. She glances at the dumpster anxiously, he follows her sight - line, snooping as always. LONE Doing some spring cleaning? PATIENCE Emptying the catbox, actually. LONE quickly takes a step back from the dumpster. LONE So - that was a. surprising message you left for me. PATIENCE -LRB- embarrassed. -RRB- Oh, well, uh - musta been my cold medication talking. She sniffles and coughs unconvincingly. LONE Well anyway, if you still wanted to get together - maybe we could get a bite to eat Friday night? PATIENCE pretends to think it over. PATIENCE Yeah, maybe.","INT. PATIENCE'S APARTMENT - DAY PATIENCE dances with MIDNIGHT, overcome with joy. She holds the cat at arm's length, sings a TUNE of her own making : PATIENCE Tom Lone, Tom Lone, I called him on the phone - now I wo n't be alone - THE CAT is n't enjoying this, squeals and squirms free. Patience's smile fades a tick. PATIENCE It was Catwoman who made the call. What's he ever gon na see in me? MIDNIGHT has turned his butt to her, tail TWITCHING angrily. PATIENCE glances OUT THE WINDOW to glimpse - LONE, who's just entering his apartment. PATIENCE quickly CLOSES THE BLINDS.","INT. AVENAL HQ - SHOWROOM - DAY THE DOOR OPENS and PATIENCE enters. She keeps her head down, not wanting to be noticed. SALLY spots her, follows her through the showroom toward the elevators. SALLY Patience, what are you doing here? PATIENCE Just came by to clean out my desk. SALLY -LRB- studying her. -RRB- Hm. Did you dye - PATIENCE -LRB- alarmed. -RRB- What? SALLY - your hair. You look different somehow. Cooler. Patience shakes her head, uneasy. SALLY Are you going to the funeral? -LRB- peering at her. -RRB- I know, tinted contacts. PATIENCE -LRB- shakes her head. -RRB- What funeral? SALLY You did n't know? Dave Berger, your boss - his whole place blew up, gas explosion, the night you got fired. PATIENCE -LRB- reeling. -RRB- Oh my God. SALLY Yeah, life's short, huh. -LRB- snaps her fingers. -RRB- The hottie neighbor! That glow, you're getting some, are n't you? Patience reaches the door to the elevators, waves Sally off and vanishes. Sally grins, figuring she's got it right.","INT. AVENAL HQ - ACCOUNTING BULLPEN - DAY A GARFIELD TOY lands atop XEROXED CARTOONS and personal PAPERS in a CARDBOARD BOX. PATIENCE is cleaning out her cubicle in the office. Noticing a flashing LIGHT on her phone, she hits a MESSAGE BUTTON and picks up the receiver. BERGER -LRB- V.O. -RRB- -LRB- filter. -RRB- Patience, it's Dave. She winces at this voice from the grave, casts a sad glance toward his empty office. BERGER -LRB- V.O. -RRB- I called the CEO about your YP - 3 numbers - Avenal went ballistic. I'll have to redo the spreadsheets, you must've screwed up somewhere. PATIENCE -LRB- a whisper. -RRB- Like hell. COMPUTER VOICE -LRB- V.O. -RRB- End of final message. Patience absorbs this a moment, then sits down and TURNS ON her COMPUTER with a PING. ON PATIENCE'S COMPUTER SCREEN - the words, `` YP - 3 PROJECT,'' text and the names of a few PEOPLE in charge. PATIENCE leans forward, reading quickly, quietly to herself. PATIENCE ` Miracle ingredient in Beaunique. just a drop makes wrinkles vanish, blah blah blah.' But what is it? Patience types away, focused on the screen, finds something. We see the name IVAN NEVSKI. PATIENCE Dr. Ivan Nevski, in charge of development. -LRB- types. -RRB- Huh, not in the company directory. QUICK CUTS as she types the name into a GLOBAL SEARCH BOX, reaches a HEAD SHOT of NEVSKI, a SITE in CYRILLIC LETTERING. She finds a TRANSLATION LINK. As the lettering changes to ENGLISH, we go CLOSE on key phrases : `` SOVIET DEFENSE,'' `` SECRET RESEARCH,'' `` CHEMICAL WEAPONS,'' `` BACTERIAL WARFARE.'' PATIENCE sits back, baffled and disturbed.","INT. PATIENCE'S APARTMENT - EVENING PATIENCE is sitting up in bed, reading a BIOCHEMISTRY TEXT, PRINT - OUTS and RESEARCH MATERIAL around her. She YAWNS, squirms - something is coming over her. Her eyes pop open. PATIENCE No. Oh no, not again. SPASMS wrack her body, her back arches, she keeps fighting it, clenching her fists, struggling for control. ON HER HANDS, her own CLAWS are drawing BLOOD from her palms.","EXT. PATIENCE'S BUILDING - ALLEY - NIGHT A GLOVED HAND grips the edge of the DUMPSTER - then CATWOMAN vaults over the side, lands on her haunches, ready to rumble. Her outfit has a banana peel stuck to it. She wrinkles her nose, plucks this off, CLUCKING her tongue. She turns to MIDNIGHT, prowling nearby. CATWOMAN That girl has got to go. She glances up toward Lone's WINDOW - lets out a sexy GROWL - and SPRINGS UP the fire escape.","INT. LONE'S APARTMENT - NIGHT CATWOMAN SCRATCHES at the window. the place is DARK, no response. She PUNCHES out a pane of glass and slithers in. CATWOMAN Boy, you do n't know what you're missing. She moves through the dimly lit, Spartan environment, able to see easily in the dark. She runs a CLAW over the strings of a GUITAR, finds a discarded button - down SHIRT, slips it on. She narrows her eyes when she finds a FRAMED PHOTO - CLOSE - TOM LONE with his arm around a pretty GIRL. Letting out a GROWL, CATWOMAN slashes out the girl's face. IN THE BATHROOM, she opens the medicine chest, picks up men's toiletries. Finding a bottle of COLOGNE, she sprays it in the air and sniffs, then makes a face, looking at the bottle - CLOSE ON BOTTLE - `` MACHISMO. by AVENAL.'' CATWOMAN Avenal. MOVE IN ON CATWOMAN'S FACE.","INT. CATWOMAN'S HEAD (MEMORY MONTAGE) Impressionistic POV FLASHBACKS, V.O.s overlapping, echoing, repeating. all snippets of previously heard dialogue. POV - GEORGES AVENAL, chewing Patience out in the ELEVATOR. EDNA -LRB- V.O. -RRB- Most catwomen were murder victims. PATIENCE -LRB- V.O. -RRB- I was murdered? POV - the MERCEDES COMING AT CAMERA. This time we follow through on the moment of IMPACT - CAMERA FLIES THROUGH THE AIR, HITTING the ground hard. PATIENCE -LRB- V.O. -RRB- Why would anybody kill me? BERGER -LRB- V.O. -RRB- YP - 3. YP - 3. POV - from PATIENCE, lying on the street. HER BLURRING VISION drifts toward the MERCEDES, a SILHOUETTED FIGURE behind the wheel, seen from behind. BERGER -LRB- V.O. -RRB- Avenal went ballistic. POV - ANGEL comes out of the car, LOOMS over Patience. GEORGES -LRB- V.O. -RRB- I have no choice. POV - GEORGES on the elevator, staring INTO CAMERA. ANGEL is right behind him, looking menacing as usual. GEORGES You've got to go.","INT. LONE'S APARTMENT - NIGHT SMASH! CATWOMAN throws the COLOGNE BOTTLE against the wall.","EXT. AVENAL MANSION - NIGHT A sprawling MANSION, dark for the night, an `` A'' in iron scroll - work over the gate. FIND a SECURITY CAMERA, trained on the area in front of a ten - foot WALL. MIDNIGHT suddenly leaps onto the wall, blocking and batting at the CAMERA LENS. WIDER, CATWOMAN, now out of the camera's view, LEAPS up the side of the wall and lands on all fours atop it. AT THE SIDE OF THE MANSION - CATWOMAN scrambles up a trellis toward a second - story window. She leaps to the ledge, crouches, peering in. CLOSE as a razor - sharp CLAW emerges and CUTS a CIRCLE into a PANE OF GLASS.","INT. AVENAL MANSION - HALLWAY - NIGHT The CIRCLE OF GLASS pops out and lands on soft CARPET. CATWOMAN reaches her arm in, unlatches the window, and swings inside into the darkness. CATWOMAN moves stealthily, crouching, senses alert. HER POV - CATVISION The dark hallway GLOWS. An amplified NOISE from a distance. SNORING. ON CATWOMAN'S HANDS Her NAILS emerge from her gloved fingertips, ready to rumble. CATWOMAN rounds a corner toward a large formal staircase that wraps around a huge chandelier. She nears a door which is slightly ajar, pushes it open silently and enters -","INT. AVENAL MANSION - BEDROOM - NIGHT HER POV - CATVISION, nearing a huge, curtained CANOPY BED. CATWOMAN slashes the curtain aside, to reveal - TIPPY THE LAP DOG, curled up in the center of the otherwise unoccupied bed, SNORING away. The dog awakens, raises its head, and starts BARKING FURIOUSLY. CATWOMAN hisses at the creature. It cringes and shivers, seeking cover beneath a pillow.","INT. AVENAL MANSION - HALLWAY & FOYER - NIGHT As CATWOMAN comes out of the bedroom, a FIGURE emerges from the darkness swinging a GOLF CLUB - WHAM! She's struck hard in the back and the head - she topples forward, ROLLS DOWN THE STAIRS. She hits a LANDING, curled up, dazed, clutching her skull. LIGHTS COME ON - LAUREL looks down at her from the top of the stairs, wearing silk pajamas, golf club in hand. She descends cautiously, club raised. LAUREL tentatively pokes at the prone, black - clad Catwoman with her foot. CATWOMAN instantly SPRINGS UP. As Laurel starts to bring the club down, Catwoman grabs it and yanks it away, hurling it into the foyer below, then grabs LAUREL and slams her against the wall. Laurel seems utterly terrified - LAUREL Oh God, please - please do n't hurt me! CATWOMAN studies the frightened woman, easing her grip. Laurel drops the act, and with a martial arts SHRIEK drives a KNEE and a FIST into Catwoman in rapid succession - CATWOMAN flies over the banister, grabbing a hold of the chandelier. It swings in the open foyer - THE CHAIN creaks ominously, starts to rip from the ceiling - CATWOMAN snaps the whip around an upper BALUSTRADE, just as - THE CHANDELIER rips loose from the ceiling. As it CRASHES to the ground, CATWOMAN swings back at LAUREL and - KICKS HER in the chest. LAUREL goes down hard on the stairs. CATWOMAN stands over her. LAUREL looks up at her, outraged. The two women are of similar size and shape, well - matched. LAUREL That was Venetian crystal, you bitch - LAUREL launches a karate KICK at her, CATWOMAN deflects it, lands a blow of her own. CATWOMAN A bitch is a dog. The two engage in martial arts combat, moving down the stairs into the marble foyer. They exchange lines between BLOWS : CATWOMAN You're tougher than you look. LAUREL Took classes when I was modeling in Hong Kong. -LRB- lands a good one, then :. -RRB- Damn it, I broke a nail. She's a skilled fighter, but CATWOMAN is faster, more nimble, able to avoid her attacks. Laurel suddenly pauses, looking winded, ready to give up the fight. CATWOMAN Had enough? LAUREL -LRB- nods, eying her outfit. -RRB- Is that a Gaultier? Catwoman looks down at her clothes, giving Laurel the chance to grab a VASE OF FLOWERS, which she hurls at her - IT SHATTERS, soaking Catwoman. She shakes off water. CATWOMAN I hate water. Suddenly enraged, she lunges toward LAUREL, who hits the ground - but CATWOMAN springs over her head, up to the landing where the LAPDOG yaps. She snatches it up by its collar, bares her CLAWS near its face. THE DOG shuts up, petrified. LAUREL No, please - not Tippy! CATWOMAN Where's your husband? A BEAT as Laurel takes this in. She lets out a little laugh. LAUREL Georges? Why did n't you say you wanted him in the first place? CATWOMAN slowly puts the dog down, it scampers upstairs. LAUREL You one of his girlfriends? CATWOMAN springs back down, shoves Laurel against a wall, flexing her CLAWS. CATWOMAN I do n't belong to anybody. LAUREL Not my face, not my face! CATWOMAN If I ca n't get to Georges, I can at least scratch up something he loves - LAUREL Georges does n't love me! I do n't know if he ever did - CATWOMAN How sad. I'd cry if I cared. LAUREL He never took me seriously, I was just a, a trophy. And now he's bored, he found himself a new toy - CATWOMAN I've heard this story before. Where is he? LAUREL -LRB- thinking frantically. -RRB- He never comes home anymore - I, I know he's got a box for the ballet Friday night - CATWOMAN I ca n't wait that long. I want him now. LAUREL I swear I do n't know where he is, he's left me! Oh God, my career is in the toilet, my whole life is over - go ahead, tear me to pieces - LAUREL is beginning to get hysterical. Catwoman lets out a frustrated GROWL and lets go of her, this is useless. She starts for the door, Laurel sniffs back tears then follows. LAUREL Wait. try the factory. I think that's where he meets Drano, his new mistress. CATWOMAN I'll check it out. LAUREL What do you want with him, anyway? CATWOMAN It's personal. LAUREL Are you going to kill him? CATWOMAN Depends on my mood. LAUREL I'll pay you to kill him. CATWOMAN -LRB- surprised, impressed. -RRB- And here I thought you were just some brain - dead mannequin - LAUREL I'll even give you a lift, if you'll let me watch - CATWOMAN Sorry, I work alone. But I like your attitude. Catwoman disappears into the night. LAUREL looks after her admiringly.","INT. AVENAL FACTORY - GEORGES' OFFICE - NIGHT MOOD MUSIC plays, GEORGES is on the sofa, in a silk robe, beside DRINA. Drinks are on hand, Georges is attempting to neck with her. She pays him no mind, a remote in hand, rewinding a VIDEO that plays on a plasma SCREEN. ON TV, IMAGES OF DRINA dissolve into each other quickly - she DANCES IN A BALL - GOWN, CHAIRS a CORPORATE BOARD MEETING, finally pulls into the winners' circle in a FORMULA RACE CAR, pulls off her helmet and shakes her hair out. ANNOUNCER -LRB- V.O. -RRB- Discover the fountain of youth. in a jar. Beaunique by Avenal. DRINA hits pause, wrinkles her nose. DRINA I look fat. GEORGES We'll shoot another. Georges moves in on Drina, as the CAMERA discreetly pans to the WINDOW over the factory.","INT. AVENAL FACTORY - NIGHT A small crew of NIGHT WORKERS wearing JUMPERS and PAPER MASKS tend the elaborate industrial MACHINERY, it's DEAFENING here. SWIRLING GOO the color of HUMAN SKIN PUMPS through PLASTIC PIPES into a huge SEALED VAT. RAINBOWS of NAIL POLISHES squirt out of NOZZLES into BOTTLES. LIPSTICK STICKS screw down into their TUBES and are CAPPED on CONVEYOR BELTS. OVERHEAD, amidst DUCTING and PIPES, CATWOMAN is on the move. HER CLAWS rake across a row of RUBBER TUBES, which spray multi - colored FLUIDS. HER GLOVED HANDS spin hydraulic VALVES. HER BOOT kicks a CONVEYOR BELT WHEEL, twisting it sideways - the BELT JAMS, SMOKE rises from the clogged gears. A PANEL slides open over a bank of SWITCHES and WHACK - IT buttons. Her gloved fingers start HITTING THEM at random. WITH A WORKER DRONE, CLICKING a hand counter by rote as CASES of neatly - packed jars of NAIL POLISH pass by his station. The man is half - asleep. A CASE COMES BY, a bit crooked on the belt, which is beginning to VIBRATE. The next CASE is missing half its bottles. An ALARM BLEEPS, RED LIGHTS FLASHING in b.g.. The next CASE is filled with BROKEN GLASS, DRENCHED in NAIL POLISH - it gets his attention. He THROWS LEVERS to stop the belt. WIDER, THE FACTORY is in CHAOS. STEAM shoots out of PRESSURE TUBES, COLORED LIQUIDS bubble out of overflowing TANKS, FACE POWDER sprays into the air from a disconnected HOSE. WORKERS dash about frantically, SHOUTING and PANICKED.","INT. AVENAL FACTORY - GEORGES' OFFICE - NIGHT THE CHAOS in the factory is clearly visible through the window, but GEORGES ca n't hear a thing - he and DRINA are groping each other on the couch now. A nearby INTERCOM is BUZZING, Georges finally pushes a talk button, angry. GEORGES This had better be import - oh my God. He's now looking out the window at the CHAOS below.","INT. AVENAL FACTORY - NIGHT The MACHINERY is off now, but the place is a wreck, CLOUDS of STEAM and POWDER, RIVERS of NAIL POLISH on the floor, etc.. A handful of panicking WORKERS struggle to shut down a large DISTILLATION VAT, which RUMBLES ominously. SECURITY GUARDS are pouring in, one speaks rapidly into a WALKIE - TALKIE, looking upwards as he climbs stairs to a network of catwalks overlooking the factory. WALKIE-TALKIE Better stay in your office, sir, keep the door sealed. The saboteurs may still be on the premises. GEORGES -LRB- V.O. -RRB- -LRB- filter. -RRB- Who is responsible for this?! As if on cue, CATWOMAN LEAPS down from above, planting a KICK in the man's back - the walkie - talkie flies from his grasp, she catches it in mid - air, holds it to her lips. CATWOMAN That would be me, Georgy boy. ANGLE THROUGH WINDOW, WITH GEORGE, looking down on the ruined factory as Catwoman appears on a catwalk just below the window, strutting her stuff, speaking into the walkie - talkie. CATWOMAN Come out of your hole, let's have some fun. NUMEROUS GUARDS are approaching from various directions, moving to surround Catwoman. GEORGES Are you crazy?! Who are you? Catwoman CRACKS her WHIP. CATWOMAN A kitten with a whip. You like my makeover? I even had my nails done - As the guards near, she drops the walkie - talkie, LEAPS and WRAPS the WHIP around a PIPE above the WINDOW, SWINGING right past George, CLAWS EXTENDED - - LEAVING FIVE SCRATCH MARKS in the glass right in front of his face. He jumps backwards instinctively. She lands on a catwalk, near more GUARDS. They move in brandishing NIGHTSTICKS. HIGH - ANGLE as the guards surround CATWOMAN - no easy escape. GUARD Here, kitty kitty. CATWOMAN bares her teeth, lets out a menacing HISS. A NIGHTSTICK swings at her, she easily dodges the blow, bending backwards in a way impossible for a mere mortal. Another guard SWINGS at her, she grabs the end of the nightstick and pulls him toward her, snatching a can of MACE off his belt and BLASTING him in the face with it. He's blinded, lets out a cry as she tosses him aside. THE OTHERS come at her at once. CATWOMAN plays them against each other, LEAPING and DODGING, landing KICKS in their CHESTS, leaving Zorro - like SCRATCH MARKS across their uniforms whenever she gets the chance. WITH GEORGES and DRINA, awed by the martial arts display. DRINA Find out where she got those boots. Georges shakes his head, seething. WITH CATWOMAN, A FIST comes at her face, she twists her head, SINKS HER TEETH into the attacker's wrist, BONE CRACKS. BITTEN GUARD Ow! You fight like a girl! CATWOMAN Duh. So saying, she shoves another GUARD into the path of a swinging STICK, which knocks him unconscious. She SOMERSAULTS over the heads of the remaining attackers, she's about to get away when GEORGES' VOICE erupts over a PA.. GEORGES Just shoot the bitch! BLAM! BLAM! BLAM! ANGEL has appeared on the catwalk, brandishing a HANDGUN, FIRING wildly. CATWOMAN dodges and dives from the catwalk, landing - - on her feet on a narrow PIPE below, one amongst several. She moves quickly, leaping easily from pipe to pipe - ANGEL'S BULLETS barely miss her, RICOCHETING, causing GUARDS and WORKERS below to dive for cover. One BULLET STRIKES the rumbling DISTILLATION VAT - CATWOMAN I'm not finished with you, Georgy! So saying, she dives into a large DUCT leading downward.","INT. AVENAL FACTORY - DUCT - NIGHT CATWOMAN rockets downwards, BULLETS PERFORATE the DUCT WORK just behind her.","INT. AVENAL FACTORY - NIGHT THE VAT EXPLODES UPWARD like a VOLCANO, DRENCHING ANGEL and the GUARDS with FLESH - COLORED FOUNDATION.","INT. AVENAL FACTORY - BASEMENT - NIGHT DARKNESS, A GRILL EXPLODES from the ceiling with CATWOMAN'S IMPACT, she topples through and lands on a TABLE of GLASSWARE, which UPENDS, we hear GLASS SHATTER. CATWOMAN is instantly on all fours on the ground, breathing hard. She moves through the dark room, becoming aware of - HUNDREDS OF GLEAMING EYES. CATWOMAN flips on a WALL - SWITCH - - revealing GLASS - WALLED CAGES containing SQUEAKING BLACK RATS. CATWOMAN instinctively HISSES and SWIPES A CLAW in their direction - they shrink back from the glass. MANY HUGE DRUMS stenciled `` YP - 3'' are stored against a far wall, near HOODED CLEAN SUITS and BIOHAZARD SIGNS. CATWOMAN spots a LIST of names and numbers on a bulletin board. She snatches this, studying it - CLOSE - the name IVAN NEVSKI, with an ADDRESS and NUMBER.","EXT. VICTORIAN DUPLEX - NIGHT Neatly kept, colorful architecture. CATWOMAN moves down sloping eaves and swings into a turret window.","INT. NEVSKI'S APARTMENT - NIGHT CATWOMAN moves stealthily inside the dimly lit place. It's upscale, expensively furnished. She scans the room, sees - NEVSKI, his back turned, apparently dozing in a desk chair. CATWOMAN spins him in his chair to confront him - CATWOMAN Ivan Nevski - His head tilts back - she's face - to - face with a CORPSE, he's been shot a couple of times in the chest. He's bluish, eyes glazed - very dead. CATWOMAN -LRB- annoyed. -RRB- You're no help. She SNIFFS the air, turns toward - - a SMOLDERING FIRE in the FIREPLACE. Catwoman moves toward this, studies the ASHES and BURNED PAPERS, then reaches in and snatches out - - the REMAINS of a TEXTBOOK. The cover reads `` YERSINIA PESTIS - A NATURAL HISTORY.'' The book is hot to the touch, she DROPS it, studies it. CATWOMAN Yersinia Pestis. YP. A SINGED NEWS CLIPPING protrudes from between the pages, she plucks this out. CLOSE - `` BUSINESSMAN DENIES TERRORIST LINK,'' with a PHOTO of XAVIER BARTOK, his name in the caption below. CATWOMAN is reading, absorbed, when - THE FRONT DOOR swings open - A UNIFORM COP and a LANDLADY with a ring of keys step inside - LANDLADY Dr. Nevski, are you all - aah! They see CATWOMAN. She HISSES, bolts for the window and vanishes while the COP still fumbles for his gun.","INT. ARMS CACHE - DAY Lush vegetation and tropical sunlight through walls of netting in this immense camouflage tent. CAMERA MOVES PAST racks of AIR - TO - AIR MISSILES, RPGs, a JET FIGHTER and a large military CARGO CHOPPER. XAVIER BARTOK, a well - dressed, heavyset man with a CIGAR in his mouth, accompanied by a couple of BODYGUARDS, is showing off a crate of AUTOMATIC WEAPONS to a couple of REBELS in combat fatigues. They speak in rapid SPANISH, examining the guns, sighting them, etc.. XAVIER excuses himself to answer a ringing CELL PHONE. He speaks with a vague European ACCENT. XAVIER -LRB- V.O. -RRB- -LRB- on phone. -RRB- Acquisitions -","INT. AVENAL FACTORY - DAY WESLEY is on his cell phone on the main FACTORY FLOOR. The place is a WRECK, as WORKERS clean up the mess Catwoman made. WESLEY -LRB- V.O. -RRB- -LRB- on phone. -RRB- This is supply. There's been a slight complication, my employer wishes to move up the exchange - tomorrow night. XAVIER -LRB- snorts. -RRB- Impossible - there are issues of transport, available funds - WESLEY We're willing to adjust the price. But if you ca n't pick up the goods tomorrow, we'll have to take our business elsewhere. XAVIER This is n't your first ` complication.' WESLEY unlocks a door to -","EXT. LOADING DOCK - DAY A FREIGHT ELEVATOR rises to reveal MANY CANISTERS of YP - 3. WESLEY waves to ANGEL at the controls of a FORKLIFT - Angel still has dried flecks of MAKE - UP on his skin. He pulls forward, ready to load the YP - 3 into a waiting TRUCK. WESLEY -LRB- V.O. -RRB- -LRB- on phone. -RRB- It'll be eliminated, like the others. We just do n't want to take any chances.","INT. PATIENCE'S APARTMENT - DAY ON TV, AN ARTIST'S RENDITION of CATWOMAN, made to look far more menacing and mean. NEWSCASTER -LRB- V.O. -RRB- Catwoman has struck again - FOOTAGE of a sheet - covered CORPSE being wheeled out of Nevski's duplex. A BANNER : `` CRIME BREAK,'' a LOCAL NEWS LOGO. NEWSCASTER -LRB- V.O. -RRB- This costumed criminal has now added murder to her resume of mischief and mayhem. REVERSE ANGLE - PATIENCE, sprawled on the couch in baggy sweat - clothes, reacts to this with a stunned expression. ON TV, `` NEWS VIDEO'' of SANDY from the club. SANDY -LRB- V.O. -RRB- - she attacked us for no reason! And her outfit, I mean, that whole S & M thing is so 90s - THE DOORBELL RINGS, PATIENCE moves to answer, attention still on the TV. She throws the door open quickly - TOM LONE takes a step backward, hands up defensively. LONE Just me - PATIENCE Oh my God. Our date. LONE -LRB- amused. -RRB- Way to cover. Patience looks from Lone to the TV behind her - NEWSCASTER Catwoman. Who is she? PATIENCE quickly grabs a remote and FLIPS OFF the TV. She then looks back at Lone, remembering. PATIENCE I - I'll only be a minute. She quickly grabs some clothing, darts toward the bathroom. At the last moment she spots the CAT MASK on the floor and - - KICKS it UNDER THE COUCH as she moves into the bathroom. LONE steps inside, can see his apartment across the way. He calls through the half - open door as she changes : LONE By the way, last night - you did n't happen to see or hear anything - my apartment was broken into. PATIENCE -LRB- O.S. -RRB- No, sorry - I never look out the window. LONE Weird, they did n't take anything, just broke a bottle of after - shave and slashed a picture of my sister. WITH PATIENCE, getting dressed. She smiles, delighted. PATIENCE Your sister, that's -. -LRB- catching herself. -RRB- - really a shame. LONE has moved to the kitchen table, where the numerous RESEARCH BOOKS and HANDWRITTEN NOTES are spread out. ANGLE ON BOOK - A diagram of a BACTERIA, a drawing of a RAT, the entry `` YERSINIA PESTIS.'' LONE What's Yersinia Pestis? PATIENCE -LRB- O.S. -RRB- Bubonic plague. LONE Bubonic plague? Why are you -? ON PATIENCE as she exits the bathroom, looking good. PATIENCE It's sort of a hobby of mine. She trails off, stopping in her tracks as she sees LONE, who's holding up her WHIP with a dubious expression. PATIENCE -LRB- off - handedly. -RRB- Oh, I had kind of a kinky boyfriend once. PATIENCE takes the whip and casually tosses it aside, but Lone's suspicions are fully aroused. PATIENCE Where should we eat? LONE I dunno. you like sushi?","INT. SUSHI BAR - DAY A WAITER comes through a BEADED CURTAIN, passing LONE and PATIENCE seated nearby, drinks before them. The curtain RATTLES after him, distracting PATIENCE. LONE So what've you been up to lately? PATIENCE Me? Oh. Not much. You know, sitting around my apartment, watching television. As she speaks, she involuntarily BATS like a kitten at the swinging CURTAIN. LONE Really? PATIENCE Is that so hard to believe? What about you? LONE Catwoman. Patience starts, folds her hands in front of her. LONE It's the case I've been working on. PATIENCE Oh yeah. I guess I heard about it. LONE I'm not surprised. Talk about your media circus. PATIENCE Well, she is interesting, is n't she? Kind of a. colorful character? LONE She's a thief and a killer. PATIENCE -LRB- heatedly. -RRB- I do n't believe that. -LRB- covering. -RRB- I mean - whatever happened to innocent until proven guilty? LONE seems a little taken aback at her vehemence. Just then, a JAPANESE WAITER places a HUGE TRAY OF SUSHI between them. PATIENCE Guess I went a little crazy ordering. LONE It's refreshing. A lot of women wo n't let a man see them eat. PATIENCE Right, then we go home and binge on Haagan - Dazs. During the following, Lone meticulously mixes soy sauce and wasabi, uses chopsticks, etc.. Patience simply peels the fish off the rice and pops it in her mouth, as if eating potato chips, then licking her fingers like a cat licking its paw. LONE You do hide things, do n't you. You may seem all sweet and shy, but you've got a secret wild side. PATIENCE Women in general, you mean. LONE Right. Women in general. -LRB- watching her reaction. -RRB- You know, I actually saw Catwoman the other night. From a distance. Goofy costume. PATIENCE Really? I heard it was. sexy. LONE In a way. PATIENCE So it could be sexier. with what, maybe a wide belt? LONE Why so interested? PATIENCE You brought it up. LONE studies her for a few seconds. He seems on the verge of saying something important. But instead : LONE You want that toro? LONE is already reaching for another piece of sushi - with lightning reflexes, PATIENCE grabs his hand to stop him - he looks up at her, surprised. She backs off with a smile : PATIENCE No no, it's yours. She eyes the fish hungrily as he eats it.","EXT. RIVERSIDE AREA - DAY LONE and PATIENCE walk close together, near the water. LONE Gon na have to get back to the station, I'm working nights. PATIENCE Catwoman again? LONE Afraid so. But I have a feeling she'll be in custody within the week. PATIENCE -LRB- alarmed. -RRB- Why do you say that? LONE Individuals who feel compelled to act out through an animal alter - ego - bats, birds, bugs, there have been a number of cases in other cities - they catch themselves. Take too many risks, think they can play with the cops. See, they like to be watched. He's staring right at her now. Patience looks away. HER POV - THE SUN GETTING LOW, vanishing behind a cloud. CLOSE, PATIENCE'S PUPILS become ELLIPTICAL for a blink. LONE pauses, standing close. LONE Sorry. Seems like all I can do is talk about work. PATIENCE spins on him, a glint in her eye. PATIENCE So stop talking. So saying, she throws her arm around his neck, the other around his back, pulls him close for a KISS. Lone takes only a moment to respond - it's a good one - until - CLOSE ON LONE'S BACK as her CLAWS involuntarily emerge, tearing right through his shirt and an inch down his back - LONE jerks away, looking back over his shoulder - LONE Ow! PATIENCE clutches her hands to her face, horrified at what she's done, starts backing away - PATIENCE I'm really sorry, I do n't know what got into me, I - I've got to go. She's on the run. A moment later, the surprised Lone pursues, rounding a corner. LONE Patience, wait - But she's already vanished.","INT. EDNA'S HOME - LIVING ROOM - DUSK PATIENCE is breathing hard, blinking rapidly, as she paces Edna's floor. Edna follows nervously, trying to calm her. PATIENCE It's happening, it's happening again. It's not even dark yet - you said she could only come out at night! EDNA I did n't say that! Patience, you made these rules up yourself - a cat is a cat 24 hours a day, they just go hunting at night - PATIENCE And she's after Georges Avenal - if she finds him, she's going to kill him, I know it - EDNA Stop talking about her like she's someone else! She's you! A beat - Patience is in denial about this. PATIENCE Edna, you've got ta. tie me up or something, lock me in the attic - EDNA I do n't have an attic - PATIENCE A closet, the pantry, something! Please. we have to keep the cat in tonight.","EXT./INT. EDNA'S HOME - STORM CELLAR - NIGHT EDNA stands in the opening of the angled storm cellar doorway, looking down the stairs sadly. EDNA Sure you do n't need a blanket, dear? ON PATIENCE, at the foot of the stairs in this cold, dank space, hugging herself, rocking back and forth. PATIENCE Just. lock. the door. Edna quickly CLOSES the door, throws a BOLT. It's extremely DARK down below. Patience starts to pace. We see her features contort with pain as she fights this interior battle. During this monologue, her voice becomes huskier, more Catwoman - like. PATIENCE I'm not a bad person. I'm not a killer. I'm not evil. not like Georges Aaavenal. His name becomes a harsh GROWL. She fights to get a grip. PATIENCE He's a murderer. he did this to me. it's all his fault. Her eyes FLICKER, elliptical for a moment - PATIENCE/CATWOMAN He has to die.","INT. EDNA'S HOME - LIVING ROOM - NIGHT AN UNEARTHLY HOWL ECHOES throughout the place from heater vents in the floor. In response, THE CATS go nuts - prowling, pacing, bouncing off the walls, picking up the CRY.","INT. EDNA'S HOME - DINING ROOM - NIGHT EDNA sits at her table over a simple meal, attempts to read a CAT FANCY MAGAZINE, but it's pretty hopeless. She shuts her eyes, covers her ears.","EXT. EDNA'S HOME & NEIGHBOR'S HOME - NIGHT The sour NEIGHBOR pokes her head out an OPEN WINDOW. NEIGHBOR Edna, I've had it with your damn cats! I'm calling the cops! She SLAMS the window SHUT. CAMERA MOVES to find - - THE STORM DOORS, bolted shut. MIDNIGHT ENTERS FRAME, begins to CLAW at the metal, slowly working the BOLT free. EDNA emerges, sees what's happening, dashes over. She carries a PADLOCK. EDNA Midnight! Shoo! Midnight HISSES, but retreats sulkily. Edna reaches the nearly free bolt, is about to replace it and lock it when she hears a small, timid VOICE from below, through the door : PATIENCE -LRB- O.S. -RRB- Edna? Edna, is that you? EDNA Yes, dear, I'm here. PATIENCE -LRB- O.S. -RRB- Edna, it worked. I think. I think I've beaten her. I'm Patience again. I've won. EDNA Oh, I'm so glad. Edna looks terribly relieved as she throws aside the bolt and begins to open the cellar door. But before she can - - THE DOOR FLIES OPEN, knocking her off her feet. A FIGURE STREAKS PAST. We hear her voice as she retreats : CATWOMAN Sucker.","INT. CONCERT HALL - NIGHT A BALLET in progress - `` Giselle.'' Lithe DANCERS spin gracefully across the stage, a rustic village setting. FIND a HIGH BOX to one side. GEORGES and DRINA, in formal clothes. GEORGES is absorbed in the performance, DRINA looks bored, wrinkles her nose. DRINA What is this about? GEORGES Ssh. -LRB- impatient whisper. -RRB- Giselle is mistreated by a cruel prince and kills herself. Later, the souls of betrayed women come back from the grave for revenge. DRINA makes a SNORING NOISE, puts on a WALKMAN, and is soon bobbing her head to faint ROCK MUSIC.","EXT. CITY STREET - CONCERT HALL - NIGHT BALLET MUSIC CONTINUES OVER. A CITY BUS passes, an AD FOR AVENAL on the side - it's been VANDALIZED, CLAW MARKS across the length of it. CRANE UP to find CATWOMAN crouched on the roof of the bus. She leaps off from the still - moving bus - - onto the ROOF of a TAXI passing the other way - - and finally landing at the curb near - A classical - looking CONCERT HALL, FOUNTAINS in front. CATWOMAN creeps amongst bushes, approaching the building. Numerous COPS patrol the entrance - no way to get past them. CATWOMAN creeps around the perimeter, looking for another way in. By the curb she spots - ANGEL, alone, near a parked LIMOUSINE, lighting a cigarette. CATWOMAN Those things'll kill you. She SMACKS the cigarette out of his hand, BOOTS him into the BUSHES and leaps on top of him. IN THE BUSHES, CATWOMAN straddles ANGEL, bangs his head against a cement curb. CATWOMAN YP - 3 - the plague - what's it for? ANGEL I have no idea what you're - BANG! She whams his head again. CATWOMAN Tell me about Xavier Bartok. ANGEL How do you know - She BANGS his head again. CATWOMAN I'm asking the questions. ANGEL I - I ca n't tell you - She bares her CLAWS over his eyes. CATWOMAN Then it's time to brush up on your Braille. ANGEL No, no, not my eyes! Xavier, he's the one who's buying the stuff! CATWOMAN When? ANGEL The deal goes down tomorrow night - at the Avenal offices - CATWOMAN Wrong. Your boss wo n't live to see it. She BANGS his head hard again, ANGEL loses consciousness. CATWOMAN Thanks for your help. CATWOMAN moves around the side of the building, keeping low, ducking behind parked cars. Fewer COPS here, but the place looks impregnable, no way to scale the walls. She tries an EMERGENCY DOOR - locked, no good. She hisses in frustration, starts to move on when - THE DOOR OPENS behind her. CATWOMAN spins to see - LAUREL, her face hidden with dark glasses and a wide - brimmed hat. She gestures frantically. Catwoman darts inside.","INT. CONCERT HALL - BASEMENT - NIGHT LAUREL whips off the hat and glasses, gives a girly hug to Catwoman, who pulls back immediately. LAUREL I knew you'd come. Laurel leads Catwoman through this basement boiler room. LAUREL He's with his bimbo in a box to the right of the stage. But there's all kinds of security - he's pretty scared of you. CATWOMAN He should be. How much do you know about your husband's operation? LAUREL I know he's built an empire out of women's inadequacy and self - hatred - CATWOMAN Yeah, yeah, but the secret ingredient in his face cream - it's black plague bacteria. He's selling it to an arms dealer. LAUREL -LRB- touching her face. -RRB- Oh my God. CATWOMAN And he's committed murder to protect his secret. LAUREL Nothing he does would surprise me anymore. He's a monster. You should've seen the pre - nup, I do n't get a dime - CATWOMAN has reached an emergency STAIRCASE, cuts her off, bolting upward. CATWOMAN I'll take it from here.","INT. CONCERT HALL - HALLWAY - NIGHT CATWOMAN slinks along a hallway, past a couple of bored young USHERS. They give her a sidelong look. Cats is next month. UNIFORM COPS are clustered near a FORMAL STAIRCASE, blocking her access to the right - hand side of the hall. CATWOMAN bares her teeth in frustration. She hurries toward a VELVET ROPE, the sign, `` BOXES - PRIVATE.'' She slips past the rope, moves to a far door.","INT. CONCERT HALL - NIGHT AN OLD COUPLE SNORE through the ballet. CATWOMAN appears behind them in the box, snatches OPERA GLASSES from the woman's lap and scans the hall - HER POV, ZOOMING from box to box - finding GEORGES in a box on the opposite side of the hall. DRINA is rising, heading out the door. CATWOMAN climbs up the CURTAINS around the box, levering herself upward to the elaborate FRIEZE that wraps around the top of the hall - GREEK GODS in various dramatic poses. WIDER, FROM BELOW, as CATWOMAN climbs and creeps near the ceiling, moving over the PROSCENIUM ARCH above the stage, heading toward GEORGES. A POLICEMAN at ground level spots her - he lifts a radio to his lips, calling for backup. The BALLET below is reaching a crescendo. COPS are filing in from the back of the theatre, trying to be discreet. WITH GEORGES, still absorbed in the ballet. Suddenly CATWOMAN lands in the empty seat beside him, staring at the stage herself. A whisper : CATWOMAN I love this part. GEORGES spins, startled - and she SLASHES HIM across his cheek. The MUSIC is so loud, no one hears his CRY OF PAIN. GEORGES rushes for the exit - but CATWOMAN gets there first, shoves a CHAIR under the doors. CATWOMAN Let's not be interrupted. She advances on him, BLOOD drips from the SLASHES on his cheek, staining his tuxedo shirt. CATWOMAN Red's a good color on you. At that, she grabs Georges and slams him against the wall of the box, behind a curtain, partly concealed from view. The DOOR RATTLES, increasingly hard. CLOSE as CATWOMAN wraps a hand around Georges' throat, the CLAW TIPS digging into his skin. He gasps : GEORGES No - please - CATWOMAN I could rip out your throat. GEORGES Why - why kill me? CATWOMAN Because you deserve it. And because I can. THROUGH BINOCULARS - CATWOMAN holding Georges, but still not delivering the deathblow. LAUREL spies from the back of the theatre. Under her breath : LAUREL C'mon honey. just do it. CATWOMAN'S HAND trembles on Georges' throat. His eyes well up with tears, his expression pleading, desperate. Suddenly - CATWOMAN releases him, throws him GASPING to the floor. CATWOMAN Damn it. I ca n't. THE CHAIR SPLINTERS and the DOOR flies open, ARMED POLICE with DRINA behind them. CATWOMAN leaps to the lip of the box, turns and HISSES, then - - jumps down to the middle of the stage, amidst the DANCERS. AUDIENCE UPROAR, MUSIC STOPS, COPS charge up the aisles - CATWOMAN does a pirouette, bows and bolts into the wings. After a puzzled BEAT, the CONDUCTOR waves his baton and gets the show going again. LAUREL looks agonized - Catwoman was so close.","INT. CONCERT HALL - BACKSTAGE - NIGHT MUSIC CONTINUES as CATWOMAN darts between stored PROPS and FLATS from a GRAVEYARD SCENE, bowling over costumed DANCERS. Seeing POLICEMEN blocking an exit, she dodges between DROPS, scrambles up a FLY - LINE - POLICE track her from below - she leaps between sandbagged ROPES as the BAGS drop, scrambling higher onto the GRID -","INT. CONCERT HALL - NIGHT ON STAGE, inappropriate SCRIMS and PROPS descend and rise again. DANCERS dodge and weave as a GIANT GARBAGE CAN -LRB- think Cats -RRB- descends in the midst of the VILLAGE SQUARE.","INT. CONCERT HALL - BACKSTAGE - NIGHT CATWOMAN darts effortlessly across the overhead grid, when - LONE Freeze! TOM LONE, anticipating her move, has climbed a ladder to the grid. He trains a gun on her - CATWOMAN freezes. She stares at him, breathing hard, taking a moment to come to grips with this adversary. LONE advances on her, stepping gingerly. LONE You're under arrest - He steps on a flimsy support, which starts to give way. Catwoman is alarmed. CATWOMAN Watch out! LONE sways, losing his balance, she springs and grabs his gun arm, saving him. A beat as they look at each other, then - - she SNATCHES the gun out of his hand, tosses it aside, then grabs his tie and pulls his face to her to LICK his cheek. CATWOMAN Tag, you're it. She bounds away, comfortable on the narrow railings. Lone pursues, moving more carefully now. Accompanied by the ballet music, the two perform their private dance, high above the TOMBSTONES and GRAVES. CATWOMAN winds up in a corner on a MESH PLATFORM, no way out from here, but for a 25 - foot drop to - THE FLOOR, where POLICE await, pointing upward. LONE advances, he has her trapped. He pulls HANDCUFFS. CATWOMAN Handcuffs. Yummy. He lunges at her - she dodges, kicks a leg out from under him. No slouch at fighting, Lone recovers, plants a kick in her mid - section. She gasps, surprised. CATWOMAN You play rough. LONE This is n't a game. He charges at her, but she parries a blow, lands a SLASH across his shoulder. As he comes at her again, she jumps and grabs an overhead ELECTRICAL cable, swinging away - Lone has too much momentum, he loses balance, about to go over the edge - CATWOMAN swings back like a pendulum, wrapping her legs around his neck, saving him from falling. She swings him back over the platform, tries to kick him off, but he grabs her legs, pulling her and SNAPPING THE CABLE - STAGE LIGHTS go out, ELECTRICAL SPARKS fly as they hit the platform together, she lands straddling him, catching the SPARKING CABLE just before it strikes the mesh. LONE Be careful! That thing hits the metal, we're both fried! CATWOMAN leans close, whispers : CATWOMAN I knew there was a spark between us. She turns and flings the cable away, it dangles free of the mesh floor, still spitting SPARKS. A second later, CLICK - LONE has slapped a handcuff on her wrist, CLICKS the other cuff over his own. CATWOMAN spins back on him, looking hurt. He reaches to pull off her mask. She slaps his hand. CATWOMAN Please, it's our first date. I would n't want the mystery to go out of our relationship. LONE struggles to push her off, but she keeps her thighs locked around him. He finally rolls on top of her. LONE We do n't have a relationship. CATWOMAN -LRB- mock sadness. -RRB- You men love the chase, but once you catch us, you always lose interest. As she speaks, CLOSE on her cuffed hand - her fingers squeeze together, her hand slithers out of the cuff like a cat's paw. LONE rises, tries to pull Catwoman to her feet - but he comes up with an empty, dangling HANDCUFF. From the ground, CATWOMAN plants a kick in his back from behind, he falls forward and SLAMS his FACE HARD into a LIGHT RIG. Catwoman winces, sounding a lot like Patience : CATWOMAN Sorry. She's on her feet, ready to scamper off, but - MORE COPS have made it to the grid, blocking every way down - ANGLE DOWN, COPS have covered every exit below. LONE glares up at her. LONE It's over. CATWOMAN And here I thought we were hitting it off. With that, she leaps and grabs the dangling POWER LINE which TEARS LOOSE from the ceiling - She DROPS to the floor, still holding the CABLE. COPS surround her, moving in quickly, guns drawn - She backs toward the wall, near a CIRCUIT BREAKER PANEL. CATWOMAN Show of hands - who can see in the dark? She lifts her own hand daintily, then violently SWINGS THE POWER CABLE into the CIRCUIT BREAKERS - A FLASH, a BANG, a SHOWER OF SPARKS - then - PITCH DARKNESS. We hear SHOUTS from the theatre, people PANICKING, and a series of GRUNTS and OOFS as Catwoman takes out the nearest adversaries - CATWOMAN POV - CATVISION, FIGURES have a pale outline, their EYES GLOW, as CATWOMAN dispatches her unseeing opponents.","EXT. CONCERT HALL - STAGE DOOR & SIDE STREET - NIGHT A SIDE DOOR swings open and CATWOMAN darts out. She's almost home free when SHOTS RING OUT behind her - ANGEL, staggering out from the bushes where she clocked him, FIRES his handgun after her. CATWOMAN stumbles and rolls, but keeps moving.","INT. EDNA'S HOME - BEDROOM - NIGHT EDNA holds a few CATS in her arms, WEEPING quietly, tissue close at hand. There's a sound of SCRATCHING at the window, she moves to open it, revealing - CATWOMAN, exhausted and bruised from her battle. She crawls in the window, as Edna stares in astonishment. EDNA Patience? CATWOMAN Not exactly. She throws herself on the end of the bed, curling up with the other cats, examining her injuries. She finds a bloody GASH where Angel's bullet grazed her skin. EDNA moves closer. EDNA Oh dear. You've been shot. Edna hurries into the bathroom and emerges with a small FIRST - AID KIT, begins tending to Catwoman's wound, still sniffling. CATWOMAN It's nothing to cry about. EDNA No, it's my cats. Last night, all that noise - the neighbors complained. Animal Control says they're a health hazard. CATWOMAN Piss on'em. EDNA They're coming tomorrow to take them away, have them destroyed - CATWOMAN It wo n't happen. I promise. EDNA studies Catwoman, speaks softly, worried. EDNA Did you do it? Did you kill him? CATWOMAN shakes her head, disgusted with herself. CATWOMAN I wanted to - but I could n't. I actually. felt sorry for him. EDNA Because you're still Patience Price. CATWOMAN Do n't remind me. That girl is so weak. EDNA No, she is n't. You know that. Catwoman makes an exasperated noise, then YAWNS. CATWOMAN I could really use a nap. So saying, she rolls over and falls asleep at once.","EXT. PATIENCE'S BUILDING - DAY PATIENCE, in borrowed clothes, moves toward the entrance of her building, limping and tired. She climbs the steps. LONE Patience. TOM LONE, wearing SUNGLASSES, approaches tentatively. PATIENCE Oh! Hi. Listen - about last night. LONE Forget it. I, um. listen, I'm sorry about this. He takes a few steps back as - - a PAIR OF PATROL CARS SCREECH to a halt, coming up on the sidewalk in front of Patience's building. COPS armed with SHOTGUNS leap out, train their weapons on her. PATROL COP Hands in the air! TWO MORE COPS throw open the entrance door behind her, HANDGUNS ready. PATIENCE, cornered, looks shocked and betrayed. She raises her hands timidly. LONE removes his shades - we now see he has a nasty BLACK EYE, his face swollen. Still, a hint of regret in his voice : LONE Patience Price, AKA Catwoman, you're under arrest. You have the right to remain silent. ON Patience's stunned expression -","EXT. EDNA'S HOME - DAY Grim - looking ANIMAL CONTROL WORKERS methodically ferry CAT CAGES from Edna's open front door to a VAN in front. EDNA scurries helplessly from cage to cage, saying goodbye, fighting back tears. MIDNIGHT slashes at a WORKER and escapes. But a KITTEN, less agile, is shoved into a CAGE. As the DOOR SLAMS SHUT -","INT. POLICE STATION - INTERROGATION ROOM - DAY PATIENCE is in a JAIL JUMPSUIT, alone in a small, dingy room with the usual one - way mirror and table. THE DOOR is opened by a COP and LONE enters. PATIENCE This is all a mistake - Tom, you know me! LONE -LRB- shakes his head sadly. -RRB- One thing you learn in this line of work - you never really know anybody, not completely. -LRB- professional tone. -RRB- You're being charged with vandalism, burglary and the murder of Doctor Ivan Nevski - PATIENCE He was dead when. um, Ivan who? -LRB- a beat, floundering. -RRB- You, you have no proof that I - what are you doing? LONE is unbuttoning his shirt. He pulls down one side to reveal his shoulder. LONE These scratches were inflicted last night by Catwoman. Forensics also tested this scratch - He turns around to show the claw - mark she left when they kissed. He turns to face her, rebuttoning his shirt. LONE They were made by the same implement. PATIENCE So this whole time, you've been flirting, buying me dinner, acting like you were interested - I was a suspect? It was just some cat and mouse thing? LONE's a little offended, his tone becomes more aggrieved : LONE No, not at first - I really bought the act, vulnerable girl all alone in the big city - PATIENCE Sorry if I do n't fit into your damsel in distress fantasy. LONE That's not what - PATIENCE Real people are a little more complicated. LONE Look, I did n't want to believe it, but - PATIENCE I guess a strong woman can be intimidating to a certain kind of man - LONE Did you really think I was n't gon na recognize you in a little mask? I'm not blind. PATIENCE So if they do n't need rescuing, you better lock them up yourself - They're now talking over each other, sounding just like bickering lovers. LONE glances at the mirror, embarrassed ; they're obviously being watched. Through his teeth : LONE Knock it off. -LRB- flat, Sgt. Friday. -RRB- It'll go a lot easier on you if you just confess now. PATIENCE I've been doing some investigating of my own. A real crime. Georges Avenal is stockpiling YP - 3, a variant of black plague bacteria - LONE Oh yes, your little hobby. Please, Patience - PATIENCE It's a bioweapon! Ivan Nevski developed it, they must've killed him to keep it a secret - LONE So now you've constructed a paranoid fantasy with your former boss at the center. A disgruntled employee - PATIENCE The deal's going down tonight, they're meeting an arms dealer named Xavier Bartok at the Avenal offices - LONE You're hallucinating. Georges Avenal is world famous, worth millions, a respected businessman - why in God's name would he get involved in arms trafficking? PATIENCE I do n't know! Why do n't you ask him? LONE Enough. Are you denying you're Catwoman? PATIENCE -LRB- looks away from him. -RRB- It does n't matter what I say. You'll make me whoever you want me to be. LONE looks at her for a moment, then exits, leaving Patience to study her own defiant expression in the mirror.","INT. POLICE STATION - PATIENCE'S CELL - EVENING PATIENCE paces in her own CELL, talking to herself : PATIENCE Damn it, it's getting dark out, where are you? She stares at her hand, trying to will claws to appear - nothing. A deep breath, concentrating, mantra - like - PATIENCE I am Catwoman. I am. She opens her eyes - it's no good.","INT. CHURCH - NIGHT A gloriously handsome GROOM stands beside a VEILED BRIDE at an altar. ORGAN MUSIC PLAYS. A REVEREND beams at the couple, nods at the young man, who throws back the veil - the bride is DRINA - caught CRACKING a piece of CHEWING GUM. An O.S. DIRECTOR -LRB- O.S. -RRB- Cut! WIDER, as DRINA takes the gum out of her mouth, we're at a COMMERCIAL SHOOT. 35mm CAMERAS, KLIEG LIGHTS, etc.. DRINA I was n't ready! Beside the harried DIRECTOR sits GEORGES, butterfly BANDAGES over the scratches in his face. DIRECTOR We're gon na be at this all night. Drina approaches, looking for a place to put her gum. DRINA Line?! DIRECTOR -LRB- wearily. -RRB-' I do. With Beaunique.' She nods, crouches and sticks the gum UNDER A PEW. AN ASSISTANT has a cell phone to her ear, leans toward Georges, speaks quietly. ASSISTANT It's Detective Lone, apparently they've caught the Catwoman. Georges smiles, breathes a sigh of relief. ASSISTANT He's coming by later, says he wants to ask you about another matter. Georges narrows his eyes and cocks his head at this.","INT. POLICE STATION - PATIENCE'S CELL - NIGHT ON PATIENCE, lying in her bunk, miserable. We hear the sound of a CAT CRYING, distant, almost as if it were in her head. She opens her eyes to see - MIDNIGHT, mostly in shadow, pacing on the other side of a high, mesh - covered window. ON PATIENCE, for a moment we see the GOLD, ELLIPTICAL PUPILS. WIDER, Patience - now CATWOMAN - springs to her feet and studies the BARS of her cell. As she did at the zoo, she begins to ease her body between them.","INT. POLICE STATION - BULLPEN - NIGHT Rows of desks, PLAINCLOTHES and UNIFORM COPS in a bustling, crowded bullpen area, a hive of activity. PATIENCE/CATWOMAN enters in her JAIL JUMPSUIT - she ca n't fight her way through, so she tries a different approach. She moves stealthily through the room, using her heightened reflexes to avoid being seen. It's an intricate choreography of split - second timing, turned heads and diverted glances. She ducks down to crouch as a CART PASSES. A PLAINCLOTHES COP spins idly in his swivel chair, PATIENCE/CATWOMAN circles behind him. PATIENCE / CATWOMAN rolls a signed BASEBALL across a desktop, knocking over a PENCIL CUP. As the ASSISTANT bends to retrieve it, PATIENCE/CATWOMAN steps lightly over her desk - - and makes it OUT THE DOOR.","EXT. ROOFTOPS/CITY STREETS - NIGHT THE FULL MOON just above the rooftops. CATWOMAN rises INTO FRAME in full regalia, silhouetted, then LEAPS away.","INT. ANIMAL CONTROL - NIGHT MOVE from a reversed WINDOW SIGN to a SKYLIGHT above - CATWOMAN leaps through it and lands on the floor in a SHOWER of glass. She hurries towards the KENNELS. CATWOMAN bypasses BARKING DOGS, HISSING at them as she does. She turns a corner and finds - DOZENS OF CATS behind bars. CATWOMAN flings the cages open, the grateful CATS stream out.","INT. CHURCH - NIGHT CAMERA ROLLS ON DRINA and the GROOM at the altar. IN b.g., we glimpse a DARK FIGURE, moving low between the nearby PEWS. DRINA I do. She turns TO CAMERA, holds up a JAR OF BEAUNIQUE. DRINA With Beauni - A BLACK - GLOVED FIST SMASHES her HARD in the FACE. Drina STAGGERS BACK, clutching her NOSE, SHRIEKING, BLOOD spilling on her wedding dress - DRINA No! I just had this fixed! GEORGES and the DIRECTOR are both out of their chairs, stunned at the sight of - CATWOMAN, in the midst of sudden PANDEMONIUM on the set. She reaches into her bodice and removes a small HANDGUN. CREW MEMBERS SCREAM and duck for cover as - BLAM! BLAM! BLAM! CATWOMAN SHOOTS GEORGES in the chest, he collapses, dead instantly. CATWOMAN throws down the gun and sprints behind an ALTAR SCREEN and out of the church.","EXT. CITY STREETS - NIGHT THE DARK MERCEDES, with only ONE HEADLIGHT, and a DENTED FRONT END, weaves quickly around slower traffic.","INT. MERCEDES - NIGHT CATWOMAN drives like a maniac, looking over her shoulder. She lets out a sudden WHOOP of delight - she did it. She hits a SPEED - DIAL button, we hear a phone RINGING as she PEELS off the CAT MASK - and a WIG. it's LAUREL AVENAL. We hear XAVIER'S VOICE : XAVIER -LRB- V.O. ; FILTER. -RRB- Are we on? LAUREL Oh honey, we are so on.","INT. CHURCH - NIGHT CHAOS, PARAMEDICS, COPS, a FORENSICS TEAM photographing George's corpse. Nearby, other COPS bag the HANDGUN. TOM LONE is here, on his cell phone, heading for the exit. LONE -LRB- on phone. -RRB- Yeah, we got a couple dozen witnesses, it was Catwoman. Looks like it might be the same weapon that killed Nevski.","EXT. CHURCH - NIGHT LONE moves outside, past FILM TRUCKS outside this urban church, still on the phone. LONE -LRB- on phone. -RRB- Nah, could n't have been Price after all, musta been a lab error. You better cut her loose right away or she's gon na have a hell of a lawsuit on her hands. yeah, be there soon, I just got ta tie up a couple loose ends. He climbs in his sedan and moves off.","EXT. AVENAL HQ - NIGHT LONE'S SEDAN pulls up near the entrance to the office tower. As he gets out, he hears a CHOPPER coming in overhead and looks up to see - The AVENAL BEAUTY sign high above, a TWIN - ROTOR CHOPPER approaching the helipad. LONE moves toward the showroom entrance, tries the door - locked. He sees the entrance to the PARKING GARAGE, moves down the ramp.","EXT. AVENAL HQ - HELIPAD - NIGHT THE MILITARY CARGO CHOPPER touches down. XAVIER and FOUR MERCENARIES emerge. Two mercs carry ALUMINUM SUITCASES, all are armed with AUTOMATIC WEAPONS. In addition to chopper SOUNDS, there's a WHISTLING WIND up here and the WHITE NOISE ROAR of A.C. DUCTS. LAUREL, still in the cat suit but without the mask, is waiting. XAVIER approaches, a small BRIEFCASE in hand. Laurel's manner is cold, professional, all business - she could n't be more different from the victimized female we met up here at the outset. XAVIER Your husband? LAUREL He wo n't be a problem. Ever again. And I'm not even a suspect. She gestures to her outfit. Xavier nods. XAVIER American women. I'm always impressed. LAUREL Let's do some business. They head down the stairs. CAMERA MOVES, off the roof, to the roof of an adjacent, lower SKYSCRAPER - and finds -","EXT. SKYSCRAPER ROOFTOP - NIGHT THE REAL CATWOMAN. She paces, breathing hard, steeling herself for something, looking toward the Avenal building. A WINDOW WASHER RIG hangs halfway down the building, but it's quite a distance from this roof edge. CATWOMAN I can do this. right? She's addressing MIDNIGHT, who non - commitally licks a paw. CATWOMAN moves to the far end of the roof and sprints toward the edge, leaps for all she's worth - CATWOMAN sails through the air in a perfect arc, toward the window - washer rig. but she's going to fall short and plunge twenty stories. At the last second, she pulls out her whip and snaps it out around - - the cables of the rig. CATWOMAN SLAMS HARD against the side of the building, dangling from the whip. CATWOMAN Ow. She struggles to pull herself upward.","INT. AVENAL HQ - PENTHOUSE - NIGHT An ALUMINUM SUITCASE opens - STACKS of HUNDRED DOLLAR BILLS. WIDER, WESLEY handles the suitcase. He starts to count the stacks of money, testing random bills with a COUNTERFEIT PEN. Meanwhile, Xavier's MERCS are moving aside the LADDERS and PAINT CANS. One yanks down the frilly DRAPERIES to reveal - CANISTERS OF YP - 3, dozens of them in a cutout portion of wall, more than we've seen before. Laurel's been hiding them here all along. Xavier opens his briefcase - there's a TESTING KIT inside. XAVIER May I? So saying, XAVIER plucks a WHITE ROSE from an arrangement. He seals it into a clear PLASTIC CONTAINER, moves to a random canister, and attaches a NOZZLE tightly to the VALVE. Cautiously, he releases a small amount of PRESSURIZED LIQUID into the container. CLOSE - as the MIST makes contact with the ROSE, the PETALS turn PINK, then RED BLOTCHES appear. Abruptly, the petals BLACKEN, WITHER and ULCERATE. The flower is a shriveled mess in seconds. XAVIER Nice. XAVIER carefully removes the nozzle, nodding appreciatively at the canisters. XAVIER Avenal should think about getting out of cosmetics altogether - chemical weapons are a growth industry. THE MERCS, with slightly nervous looks, begin carefully moving the canisters out of the penthouse, up the stairs to the helicopter. THE ELEVATOR DOORS OPEN - it's ANGEL. ANGEL Look what I found. He lifts the semi - conscious LONE from the floor - the man's been bound, gagged and blindfolded with DUCT TAPE, there's a bruise on his head. ANGEL flashes LONE'S BADGE. ANGEL He's a cop. Found him sniffing around the basement. LAUREL -LRB- exasperated. -RRB- Oh beautiful. -LRB- waving a hand. -RRB- Put him in there for now. Angel drags LONE into a CLOSET near the make - up mirror, shoves him inside and closes the door. LAUREL What are we going to do about this? XAVIER -LRB- a shrug. -RRB- I'll be flying over water. I could drop him off. Laurel nods and smiles gratefully.","EXT. AVENAL HQ - NIGHT AT THE SIDE OF THE BUILDING, CATWOMAN holds a button on the WINDOW WASHER'S RIG, which rises toward the roof.","EXT. AVENAL HQ - HELIPAD - NIGHT THE MERCS methodically move canisters from the penthouse, up the stairs, to the CHOPPER on the helipad, where a PILOT waits at the controls - the ROTOR BLADES spin lazily. MERCENARY # 1, winded, calls to the PILOT, who's absorbed in a copy of SOLDIER OF FORTUNE : MERCENARY #1 Wan na pitch in? PILOT -LRB- not looking up. -RRB- Not my job. MERCENARY # 1 exchanges a look with MERCENARY # 2, shakes his head, deposits his canister in the chopper. As he moves back for the stairs he hears moving HYDRAULICS. He heads toward the far edge of the helipad, WEAPON ready. He sees the MOVING CABLES of the window washing rig come to a STOP, he looks cautiously over the edge. HIS POV - the PLATFORM has come to a stop just a few feet below the rooftop. But it's empty. ANOTHER ANGLE - CATWOMAN is clawing her way around the corner of the building, just below a narrow CORNICE. She's dangling precipitously over a forty story fall. She approaches a WINDOW into the PENTHOUSE below the helipad. CATWOMAN POV - on LAUREL in the CATWOMAN suit, chatting with XAVIER while the MERCS ferry YP - 3. ON CATWOMAN, her eyes widen with the realization - Laurel?! CATWOMAN You cow.","INT. AVENAL HQ - PENTHOUSE - NIGHT WESLEY slips a few BUNDLES of BILLS into his pocket and CLOSES an ALUMINUM CASE. WESLEY It's all here. I've taken my cut. LAUREL All right, Wesley. LAUREL opens a HUMIDOR, offering a CIGAR to Xavier : LAUREL Shall we? XAVIER takes a cigar, sniffs it. With mock concern : XAVIER Cuban. Are n't these illegal? They both chuckle as they head out to the garden area.","EXT. AVENAL HQ - HELIPAD - NIGHT MERCENARIES # 3 and # 4 are in the back of the chopper, securing the canisters. # 1 and # 2 head toward the stairs, for another load. MERCENARY # 1, in the rear, passes a low A.C. DUCT. THE WHIP LASHES out from behind him, wraps around his throat - he ca n't cry out as it YANKS him back behind the duct. We hear a nasty THUNK. One down. ON THE STAIRS, MERCENARY # 2 turns around. MERCENARY #2 Tony? No sign of his buddy. He moves back up the stairs and - - GETS HIT IN THE FACE with Merc # 1's GUN BUTT. He rolls down the stairs.","EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT XAVIER and LAUREL have their backs to the stairs, SMOKING their CIGARS, as the unconscious MERCENARY hits the ground a short distance behind them. They do n't notice. Laurel stretches her arms luxuriously, enjoying the feel of the wind. Xavier studies Laurel, a bit lasciviously. LAUREL Free at last. to eat what I want, wear what I want, look like a slob if I want. You have no idea how good it feels. XAVIER I was thinking after this business is over, you might spend some time with me on my island - LAUREL Thanks, no. I'm through with men.","EXT. AVENAL HQ - HELIPAD - NIGHT MERCENARIES # 3 and # 4 emerge from the chopper, looking around for the others. As they start to circle the chopper - - CATWOMAN swings around from behind them, hanging from the slowly spinning ROTOR BLADE, she KICKS THEM BOTH from behind and sends them flying head - first to the asphalt. Merc # 3 is knocked cold, Merc # 4 rolls over on the ground, FIRING A BURST behind him. But when the blade comes around again, she's gone. He has no idea what hit them.","EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT LAUREL and XAVIER both react to the GUNFIRE, dropping their cigars, hurrying for the stairs.","EXT. AVENAL HQ - HELIPAD - NIGHT THE PILOT leaps out, a HANDGUN ready. PILOT What the hell are you shooting at? MERCENARY #4 I do n't know! ON THE OTHER SIDE OF THE CHOPPER, CATWOMAN clings to the FUSELAGE. Seeing a FUEL TANK - CLOSE - her CLAW pierces the ALUMINUM SKIN and FUEL starts to spurt out.","EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT WESLEY and ANGEL have emerged from the penthouse, alarmed, just as LAUREL and XAVIER nearly trip over the groaning MERCENARY # 2. XAVIER What the hell -? Xavier takes the man's AUTOMATIC WEAPON, he and Laurel hurry up to the helipad.","EXT. AVENAL HQ - HELIPAD - NIGHT LAUREL and XAVIER reach the top of the stairs, followed by WESLEY and ANGEL, just as - CATWOMAN leaps down to the penthouse level from the helipad. The group is stunned to see the injured men. MERCENARY # 1 is crawling out from behind the A.C. DUCT. LAUREL angrily grabs a MACHINE GUN from the dazed MERCENARY # 3. To Xavier : LAUREL Where did you find these clowns?! MERCENARY # 4 and ANGEL scout the helipad's perimeter, guns at the ready. WESLEY nervously backs toward the stairs. WESLEY If it's all right with you, Laurel, I'd just as soon be going. Xavier is looking around frantically. XAVIER These are good soldiers. It would take a team of men - LAUREL -LRB- realizing. -RRB- Or one woman. CATWOMAN -LRB- O.S. -RRB- Look what I found! All spin to see - CATWOMAN standing at the edge of the helipad, above the sheer drop, holding THE TWO SUITCASES out to either side of her. She has a lit CIGAR clenched between her teeth. Behind her, the SKY is LIGHTENING with approaching dawn. ALL GUNS are trained on Catwoman, except Laurel's. LAUREL Do n't shoot, you idiots! She'll drop the money - They do n't lower their guns. Catwoman narrows her eyes, speaks around the cigar. CATWOMAN Henchmen, Laurel? How tacky. She jerks one of the cases - the latch has been loosened, it POPS OPEN and CASH GOES FLYING into the wind - DRIFTING from the rooftop to the city streets below. LAUREL reacts in agony. LAUREL No, please - do n't do that again! CATWOMAN drops the emptied case and pulls the cigar from her mouth with a distasteful expression. Eying Laurel : CATWOMAN Do n't you hate it when somebody shows up at a party wearing the same dress? LAUREL advances on Catwoman. LAUREL Let's face it - we're alike, you and me. Catwoman ignores her, shouts to XAVIER and his men : CATWOMAN You guys got ta be careful with this YP - 3 stuff. It's a living thing, you know, a bacteria. If it gets too hot - it dies. XAVIER looks from Catwoman to the FUEL pooling on the helipad, putting two and two together. He jerks his head at his mercs - they start backing away toward the stairs. LAUREL is still focused on the money. LAUREL Let's split the rest of the money - and there's more where that came from - CATWOMAN Tempting offer. We would make a pretty good team. Beyond the law, fighting the yoke of male oppression, sisters under the skin. LAUREL nods hopefully. CATWOMAN looks thoughtfully at the cigar in her hand. CATWOMAN Nah, I still have to live with myself. So saying, she flicks the LIT CIGAR to the helipad - IGNITING the spreading pool of gasoline - XAVIER ET AL. sprint to LEAP OFF THE HELIPAD or CHARGE DOWN THE STAIRS as - THE HELICOPTER EXPLODES in a glorious FIREBALL. LAUREL is thrown across the helipad by the BLAST, showered with CHOPPER DEBRIS. The men are hightailing it out of there, but Laurel gets slowly to her feet, machine gun ready, bent on revenge. Spotting CATWOMAN darting through the SMOKE and FLAMES toward the stairs, LAUREL FIRES a volley with a SCREAM of rage and charges after her in pursuit.","EXT. AVENAL HQ - PENTHOUSE GARDEN - DAWN LAUREL hurries down the stairs to the garden, FIRING at - CATWOMAN, as she darts into the penthouse. Catwoman's nearly hit, showered with broken glass.","INT. AVENAL HQ - LAUREL'S PENTHOUSE - DAWN The roof CREAKS ominously, the room is thick with SMOKE. LAUREL charges in, sees movement near THE ELEVATOR and FIRES - A BODY goes down with a CRY. LAUREL laughs triumphantly, moves to find - ANGEL, dead on the floor. LAUREL winces. LAUREL Sorry, Angel. CATWOMAN leaps at Laurel from behind, the GUN goes flying. The two women CRASH into the CLASSICAL SCULPTURES, shattering them in the course of their struggle. Laurel keeps going for the gun, but Catwoman wo n't let her get near it.","INT. AVENAL HQ - SHOWROOM - DAWN WESLEY, XAVIER and his MERCS hurry from the elevators. They've almost made it out the exit to safety when an EERIE HOWL erupts - XAVIER What is tha - MIDNIGHT leaps onto his back, sinking his fangs in. A beat later, DOZENS of EDNA'S CATS attack the men ; they scream as they try to pry frenzied felines from their flesh.","INT. AVENAL HQ - PENTHOUSE - DAY CATWOMAN and LAUREL continue their battle. Catwoman gets Laurel down, near victory, when - BEAMS OF SUNLIGHT from the window penetrate the SMOKE and catch CATWOMAN full in the face. She backs away, squinting, disoriented - this gives Laurel the chance to recover. CATWOMAN No - I need more time - WHAM! LAUREL gets in a devastating BLOW that sends CATWOMAN reeling. At the same moment, LONE KICKS OPEN the CLOSET DOOR. He's still gagged and blindfolded, hands and feet bound, but he's struggling, GRUNTING now. CATWOMAN takes this in, shocked. She moves to Lone's side. CATWOMAN Tom. Laurel picks up the machine gun. FLAMES are spreading from the ceiling, DOWN THE WALLS. LAUREL You know this guy? Catwoman raises a hand, curls her fingers - but no claws emerge. She looks toward the WINDOW where - - THE SUN is now fully visible. Laurel strides over and KICKS CATWOMAN away from Lone - she rolls across the ground helplessly. Laurel casually points the weapon at Lone's head. CATWOMAN No! Do n't do it! LAUREL Why not? He's just - a man. Catwoman starts to rise, LAUREL steps on Lone's throat, the gun still pointed at his head. LAUREL Move a muscle and you wo n't have a date for the prom. Catwoman freezes, sits back down again. Laurel smiles. LAUREL It's amazing. We're the stronger sex - but men are like Kryptonite. They make us so weak. She increases her pressure on Lone's throat, he WRITHES, CHOKES. Catwoman sounds just like Patience now. CATWOMAN/PATIENCE Stop it, please - you'll kill him. LAUREL Do n't worry, I know exactly how much a man can take. Laurel takes her foot off of Lone, he struggles for air. She moves in on Catwoman. LAUREL You know, I was actually starting to admire you. LAUREL CLOCKS HER with the GUN BUTT. CATWOMAN/PATIENCE tries to crawl away, BLOOD at her lips. LAUREL When I think of all the guys I had to. use. WHACK! She BOOTS CATWOMAN in the stomach. LAUREL And there you were, clawing your way up on your own. But you let me down. She KICKS her again. LAUREL I ask one little favor - but no, I had to take care of Georges myself. And now. this. You've ruined everything. She pulls CATWOMAN halfway to her feet and SLUGS her face. LAUREL then GRABS the top of the CAT MASK and YANKS it off - PATIENCE looks up at her weakly, eyes rolling. LAUREL blinks, a shocked double - take, backs away. LAUREL No. it's impossible. you're dead. PATIENCE's crumpled figure recalls the position of her body lying on the pavement, the night she was murdered. Her eyes go wide as she puts it together. PATIENCE Oh my God. it was you. FLASHBACK - EXT.. PATIENCE'S BUILDING OBJECTIVE SHOT, ANGEL near Patience's body. CAMERA MOVES TO the MERCEDES. The DRIVER'S DOOR opens and LAUREL steps out, looking at Patience's body on the ground with disgust. PATIENCE -LRB- V.O. -RRB- You were behind the wheel that night.","INT. AVENAL HQ - PENTHOUSE - DAY (PRESENT) PATIENCE leaps at LAUREL with blinding speed, CLAWS OUT. PATIENCE/CATWOMAN It was you! LAUREL is overwhelmed by the sudden turn. PATIENCE / CATWOMAN knocks the GUN from Laurel's hands. Laurel dodges her kicks and blows, pushed closer to the flames. LAUREL What do you want, an apology? Of course it was me, it was always me - I ran the YP - 3 operation right under Georges' nose, I could n't let some frumpy accountant blow the whistle when I was so close - PATIENCE/CATWOMAN slashes at Laurel's head with a HISS - she peels off HALF LAUREL'S FACE - it's like a form - fitting `` Mission : Impossible'' LATEX MASK. Beneath, the skin is BLOTCHED with DARK SPOTS and SORES. LAUREL lets out a hideous SCREAM. LAUREL No! My face! PATIENCE/CATWOMAN knocks her to the ground, straddles her. The fight's gone out of LAUREL now, she clutches at her disfigured features. Patience/Catwoman cocks her head, looking at the shredded LATEX hanging from her claws. PATIENCE/CATWOMAN So I'm not the only one hiding behind a mask. LAUREL I was the first to try Beaunique - I was over 30, I had nothing to lose. When the symptoms started to show, it was too late. As she speaks, Laurel peels away the remains of the LATEX. PATIENCE/CATWOMAN So you upped production and sold the stuff to an arms dealer. LAUREL Life hands you lemons, you make lemonade. A FLAMING BEAM gives way, blocking the STAIRWELL, part of the CEILING collapses - this gives Laurel the chance to squirm out from under PATIENCE/CATWOMAN. But instead of going for the gun, she runs straight for the make - up mirror. PATIENCE/CATWOMAN runs to Lone's side, pulling him away from the spreading flames toward the ELEVATOR. She SLASHES the tape that binds his wrists. LAUREL, meanwhile, opens a hidden COMPARTMENT by her mirror, revealing numerous LATEX MASKS. She begins to apply a new one, using adhesive, smoothing wrinkles, hiding the seams, etc.. Nearby, her PORTRAIT starts to MELT and turn to ASH. THE CEILING BUCKLES, chunks of MASONRY falling. PATIENCE/CATWOMAN is prying open the elevator doors. PATIENCE/CATWOMAN Laurel, you better get out of here - LAUREL In a minute - I have to finish putting on my face - THE DOORS OPEN on the empty shaft - almost as an afterthought, PATIENCE/CATWOMAN snatches up her MASK, pulling LONE to her with her other arm. THE CEILING gives way with a BURST OF FLAME -","INT. AVENAL HQ - ELEVATOR SHAFT - DAY PATIENCE/CATWOMAN leaps into the open elevator shaft, LONE has his arms around her - together they slide down a CABLE as FLAMES ERUPT from above.","INT. AVENAL HQ - LAUREL'S PENTHOUSE - DAY LAUREL is now trapped in the make - up alcove, illuminated by flames surrounding her, but she does n't seem to care, working frantically to get a new face on. She whispers a mantra : LAUREL You're still beautiful. you'll always be beautiful. CRASH! CHUNKS OF HELIPAD and the remains of the FLAMING CHOPPER come through the ceiling, obliterating Laurel.","EXT. AVENAL HQ - DAY POLICE charge into the building from a number of COP CARS. As they do so, we see the ARMY OF CATS fleeing.","INT. AVENAL HQ - SHOWROOM - DAY WESLEY, XAVIER and the MERCS are on the ground, SCRATCHED and BLEEDING. They raise their hands for the puzzled, gun - wielding COPS. WESLEY Thank God you're here.","INT. AVENAL HQ - PARKING GARAGE - DAY ELEVATOR DOORS OPEN in this parking garage. PATIENCE / CATWOMAN pulls LONE out, he seems woozy, his arms around her neck. They collapse together against a wall. She tears the DUCT TAPE off Lone's mouth. He winces. LONE Who are you? PATIENCE/CATWOMAN hesitates, about to answer - but instead gives him a long kiss. Then she darts OUT OF FRAME. LONE reels from the kiss, then collects himself and pulls the duct tape from his eyes. WIDE SHOT - he's alone, no sign of her.","EXT. AVENAL HQ - DAY OVERHEAD ANGLE as COPS hustle XAVIER and the OTHERS into police vehicles. CAMERA KEEPS PULLING UP, until we see the ruined ROOF of the building, IN FLAMES. The `` A'' in `` AVENAL BEAUTY'' has been knocked out by the conflagration. for a few moments the sign reads `` VENAL BEAUTY,'' until the whole thing EXPLODES and SPARKS OUT.","INT. EDNA'S HOME - LIVING ROOM - DAY EDNA lies on the couch, a hand over her eyes, asleep in a robe. She stirs as a TONGUE laps at her face. As she sits up, dozens of CATS are all over her, begging for attention. She laughs and cries at the same time then sees - CATWOMAN, masked again, who has entered behind the cats. EDNA Thank you. CATWOMAN A promise is a promise. Her tone is soft, more like Patience's. EDNA takes in the blood on her, her torn clothes. EDNA What happened to you? CATWOMAN I found out the truth. Edna notes the SUNLIGHT pouring through the window, eyes her. EDNA But the sun is up. you're still Catwoman? CATWOMAN pulls off the mask and looks at it, puzzled. CATWOMAN/PATIENCE Yeah. But I'm Patience, too. with or without the mask. I do n't think there's a difference any more. EDNA Maybe there never really was. CATWOMAN/PATIENCE nods and smiles at this thoughtfully, accepting her dual nature at last.","INT. PATIENCE'S APARTMENT - DAY Filled with CARDBOARD BOXES. MOVING MEN carry a few out. SALLY is ostensibly lending a hand, but is mostly interested in the men's muscles. As she picks up a tiny box - SALLY You look awfully hot. Sure you do n't wan na take that shirt off? SALLY winks at PATIENCE as she follows the man out the door. Patience looks good, no trace of the old awkwardness - she's integrated her cat side. The PHONE RINGS, she snatches it up in a swift, feline fashion. PATIENCE Hello? LONE -LRB- V.O. -RRB- -LRB- filter. -RRB- Hi, Patience. Patience turns - LONE stares from his window across the way.","INT. LONE'S APARTMENT - DAY He and Patience maintain eye contact while they speak. LONE -LRB- V.O. -RRB- -LRB- on phone. -RRB- Moving out? PATIENCE -LRB- V.O. -RRB- -LRB- on phone. -RRB- You are a good detective. It just feels like time for a change. LONE Where you heading? PATIENCE Why? You still keeping tabs on me? Said on TV the Catwoman case was closed. LONE Mm. No hard feelings? PATIENCE Nah. In a way, it was flattering. LONE Funny thing, no one at the station remembers letting you out of jail. PATIENCE That's bureaucracy for you. -LRB- changing the subject. -RRB- Hard to believe, Catwoman was Laurel Avenal all along. LONE Uh - huh. It is pretty hard to believe. There's a significant pause, they eye each other across the alley. Lone knows, and Patience knows he knows. In unison : PATIENCE Thank you - LONE Thank you - They laugh at this, take a moment to recover. Then : LONE For what? PATIENCE -LRB- a beat. -RRB- Dinner the other night. How about you? LONE For. teaching me some things. Listen, Patience - if you're still interested - I'd like to get to know you better. MIDNIGHT LEAPS UP onto Patience's shoulder, nuzzles her neck. PATIENCE Hey, you never really know anybody. Not completely. LONE I guess I had that coming. Look, I know it's not simple, I'm a cop and you're. PATIENCE A dull accountant. LONE All I'm saying is - whatever you are, however. complicated - I can deal with it. PATIENCE Can you? LONE I'd like to try. I just do n't want this to be good - bye. PATIENCE Oh. I have a feeling we'll see each other again. She HANGS UP, rolls her shoulders and lets out a little PURR. WITH LONE, he smiles, putting the phone down himself as Patience moves away from the window. WITH PATIENCE, MOVE to find the CAT MASK as she places it on top of stacks of slightly FIRE - DAMAGED $ 100 DOLLAR BILLS and CLOSES THE SUITCASE. CUT TO BLACK. THE END"],"string":"[\n \"INT. TEMPLE OF BAST - NIGHT START ON THE FACE of A GOLDEN CAT STATUE. This is the cat - god BAST, lithe, noble, beautiful. CAMERA MOVES to reveal the statue is 50 feet tall, dominating this space. Other images of CATS - hieroglyphics, ceramics - abound, as do - REAL CATS, hundreds of them, slinking in the shadows on ramps cut into the sandstone walls of this Egyptian temple. At Bast's feet, EIGHT ACOLYTES in GOWNS kneel in a semi - circle around a flaming BRAZIER. Some of the women WEEP, others PRAY or stare stoically ahead. From outside, we now hear DISTANT SCREAMS, the sounds of MARAUDERS. There's a RHYTHMIC BANGING at the massive BRONZE TEMPLE DOORS.\",\n \"EXT. TEMPLE OF BAST - NIGHT THE TEMPLE is an impressive place of worship - tapered columns and an ornate Egyptian facade - at the apex of a hilltop VILLAGE, in FLAMES, under ATTACK by a PERSIAN ARMY. SUPERIMPOSE : `` 496 B.C.'' WHAM! THE STEEL PRONG of a mounted BATTERING RAM swings into the ornate DOORS of the temple. PERSIAN SOLDIERS operate the brutal siege engine, SLAM the doors again and again.\",\n \"INT. TEMPLE OF BAST - NIGHT The HIGH PRIESTESS wears a special HOODED WHITE GOWN that mostly conceals her face. She moves from one ACOLYTE to the next, pours a DARK LIQUID from a bejeweled decanter into golden goblets, then pours one for herself. She raises her goblet toward BAST, as do the others - they drink in unison. HIGH ANGLE as the GOBLETS CLATTER to the floor and the WOMEN SLUMP to the ground. dead. PULL BACK - we're watching this from the PERSPECTIVE of an EGYPTIAN MAU CAT - slim, elegant, dark - spotted gray and black fur, a SCARAB MARK on its head. THE MAU lets out a CRY. which prompts an eerie, growing CHORUS of MEOWS and HOWLS from the other CATS. THE CATS emerge from the hiding places en masse, leaping from niches, converging on the bodies. The MAU leads the way, moves to the high priestess and puts its mouth to hers. ON THE TEMPLE DOORS - at last they BUCKLE and swing open. THE SOLDIERS, bearing TORCHES and SWORDS, storm inside. They grab anything of value, SMASH and DEFACE everything else. At the foot of BAST lie nine ROBES. but there's no sign of the women who wore them. SOLDIERS slash the robes with their swords anyway, then snatch up the goblets for booty. An unearthly CRY - half - human, half - feline - from somewhere high above the rampaging soldiers. They freeze, looking around frantically. More EERIE CRIES echo off the walls, from all directions. The SOLDIERS raise their weapons, clustering defensively. From out of the shadows above them, DARK HUMAN FORMS suddenly leap down with impossible agility. STAY ON THE FACE OF BAST, peering down impassively. The torch - cast SHADOWS of the violence below play upon the statue's golden surface. FLAILING SWORDS, the swift SILHOUETTES of NAKED WOMEN. We hear the GUTTURAL CRIES of the soldiers, clearly outmatched in this mortal combat. MOVE TO THE CATS, perched above the fray, looking downward as they pace the temple's ledges and ramps excitedly. THE MAU takes a final look at its handiwork, then leaps up, slinks through a crevice at the roof, and emerges on - A ROOFTOP We hear the modern SOUNDS of passing AUTO TRAFFIC. CAMERA ROTATES to reveal -\",\n \"EXT. EDNA'S NEIGHBORHOOD - DAY THE MAU settles by a SATELLITE DISH, looking down on a present - day suburban street, a busy main drag. MARSHLAND and WATER are visible not far away, light RAIN FALLS. SUPERIMPOSE : `` 2500 YEARS LATER.'' The MAU watches as, ACROSS THE STREET, a BUS pulls away from the curb to reveal a WOMAN in a HOODED WHITE PONCHO - the outfit recalls the high priestess of Bast. The HOOD is thrown back, revealing PATIENCE PRICE, 25 - 35, attractive but inclined to conceal her looks - hair over her face, baggy clothes under her poncho. She's cautious, eager to please, to do what's expected of her - a bit of a doormat. Patience looks up from an address scribbled on a scrap of paper, and straight toward the cat on the roof - almost as if she'd sensed its presence. She smiles. THE MAU holds her gaze for a beat, then slinks out of sight.\",\n \"EXT. EDNA'S HOME - DAY An eccentric, ramshackle home amongst neat, well - kept houses. PATIENCE moves to the front door, RINGS. As she waits, she notes the lawn GRASS grown high, CLIMBING CAT SCULPTURES on the shingles. A SIGN by the door : `` FELINE RESCUE SOCIETY.'' EDNA POWERS opens the door on a chain. She's 50 - 70, a former academic, intelligent, charming, but quite intimidating. EDNA Yes? PATIENCE Hi, Edna Powers? -LRB- off her nod. -RRB- I'm Patience Price, I called about adopting a cat? I saw your flyer at my vet's office - EDNA Oh yes, do come inside. EDNA undoes the chain, opens the door for her.\",\n \"INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE, out of her poncho, fills out a questionnaire on a clipboard. Numerous CATS roam the premises. Feline artwork and curios, scratching posts, furry toys. cat paradise. PATIENCE Ma'am? EDNA is putting out DRY CAT FOOD in numerous BOWLS. EDNA You may call me Edna. PATIENCE Edna. Some of these questions are. kind of personal. Do you really need to know how many, um, partners I've had in the past year? EDNA I'm not interested in your love life. But I do want to know what sort of home environment you're offering, your degree of commitment. PATIENCE Guess I would n't need the cat if. Patience forces a laugh, fills in a ZERO and passes the clipboard to EDNA. The woman puts down the cat food, slips on the reading glasses she wears on a chain around her neck. EDNA The application is mostly a formality. I have a sense about people. PATIENCE Well, I've always liked animals. -LRB- not enough. -RRB- Cats specifically. I mean, I love them. worship them, even. EDNA seems satisfied, returns to reading Patience's answers. THE MAU, meanwhile, comes around a corner into the room, peering curiously at Patience - who dangles her hand invitingly. He rubs his face against her hand. PATIENCE smiles, coos at the cat - which grabs her hand hard in his CLAWS. PATIENCE stifles a yelp, yanks her hand back. PATIENCE Son of a - EDNA Excuse me? PATIENCE Nothing. handsome cat. I've never seen one like him. THE MAU jumps into Patience's lap, settling in. Edna, surprised and almost suspicious, eyes the cat. EDNA Her. That's Midnight, an Egyptian Mau. Normally she does n't trust people - EDNA reaches a hand toward MIDNIGHT - the cat's fur stands up, she HISSES and SWIPES at Edna. EDNA See? Even I ca n't get near her. Very strange. -LRB- glancing at the application. -RRB- So. You left out your parents' address. PATIENCE Well. they're both dead. EDNA No hereditary illnesses, I hope. PATIENCE Private plane crash. I was eleven. Actually, the last thing they gave me was a kitten. Fatso. EDNA sucks her breath in at this insulting name. PATIENCE He was very round - not from overfeeding or anything, just - really, he did n't mind. Anyway, he was with me a long time, till early this year. He did n't come at the sound of the can - opener, which kind of freaked me out. I found him just, curled up there in his little bed. PATIENCE is getting a bit emotional. EDNA reaches across and squeezes her hand, with genuine sympathy. MIDNIGHT snuggles into Patience's lap, PURRING as she strokes the cat. EDNA It's very hard, dear, I know. you must be in so much pain. Midnight digs her long NAILS into Patience's thigh, kneading. PATIENCE winces, tries to dislodge cat's claws from her leg - Midnight `` playfully'' attacks her hand. Stifling a gasp : PATIENCE Mm - hmm. EDNA Funny how cats get under our skin. They do exactly as they please, they do n't care what anyone thinks about them. they're the ultimate predators. So self - contained, so independent, so wild. sometimes I wonder, why do they even put up with us? PATIENCE The free food? EDNA -LRB- putting the papers aside. -RRB- Well, congratulations. It seems you've been chosen. PATIENCE So you think you might have a kitten for me? EDNA Kitten? No, that would n't be appropriate. Midnight has chosen you. PATIENCE looks a little unnerved at this. MIDNIGHT, rolling on her back, seems to be baring her fangs at Patience. EDNA It's a great honor. Maus are a very rare breed, descended from the sacred cats of ancient Egypt. They were believed to have magical gifts. MIDNIGHT has wrapped herself around Patience's arm, kicking and biting `` playfully.'' PATIENCE I'm not sure she likes me - EDNA Nonsense, she perceives something very special in you. PATIENCE There's nothing special about me. EDNA Cats see things we do n't. Our secret selves - our souls. PATIENCE Mm. Do you have any Band - Aids?\",\n \"INT. PATIENCE'S APARTMENT - NIGHT CAMERA MOVES THROUGH this modest, neat studio apartment, PAST a BULLETIN BOARD with numerous PHOTOS. One or two show a YOUNG PATIENCE, there's a picture of a LITTLE GIRL between TWO SMILING PARENTS on a ROLLER COASTER. Mostly, though, they're snapshots of a chubby TABBY CAT, from kitten hood to old age. Suddenly, MIDNIGHT LUNGES INTO FRAME, attacking a picture of FATSO, ripping it from the bulletin board. KEEP MOVING PAST WINDOWS facing on the street and an adjacent BUILDING across an alley - it's a corner apartment on the second floor. CAMERA HOLDS ON A TV, where a classic OLD MOVIE like Now, Voyager plays. At a key, romantic moment, CUT TO COMMERCIAL - LAUREL AVENAL strides TOWARD CAMERA - statuesque, perfect, a supermodel. We hear the VOICE of GEORGES AVENAL : GEORGES -LRB- V.O. -RRB- You know who you are. You know what you're after. A MALE MODEL steps INTO FRAME, reaches for her - GEORGES -LRB- V.O. -RRB- You know you're too good for any man. Laurel raises an eyebrow haughtily and SLAPS his face. She moves past the male model to - - GEORGES AVENAL. He's Laurel's husband and the company C.E.O., handsome and charismatic. LAUREL falls into his arms. He caresses her, deeply in love. Georges WINKS. GEORGES almost. CUT TO a PRODUCT SHOT of a JAR OF CREAM, the name `` BEAUNIQUE'' and the AVENAL LOGO. GEORGES -LRB- V.O. -RRB- Beaunique by Avenal. You know you want it. CLOSE ON LAUREL as she tosses her hair back, Gilda - style, with a seductive pout. She purses her lips in a kiss. REVERSE ANGLE - PATIENCE watches with a curled lip, on the couch in a T - shirt and shorts, EATING CHOCOLATE ICE CREAM directly from a pint carton, a dark smear around her mouth. Suddenly, MIDNIGHT POUNCES at the SPOON OF ICE CREAM. Patience jerks back, startled, raises the spoon out of reach. PATIENCE No - this is mine! MIDNIGHT does n't back off, jumping repeatedly at the spoon, climbing over Patience, getting a rear PAW in the open pint. PATIENCE Oh, gross, you - just take it. Patience offers the cat the half - empty pint. As MIDNIGHT digs in happily, burying his head in the container - LIGHTS COME ON in the apartment across the way. PATIENCE hesitates only an instant, sticks the spoon in her mouth, CLICKS OFF the TV and flips off a LAMP by the sofa. THROUGH THE WINDOW, A HANDSOME MAN - his name is TOM LONE - crosses past. PATIENCE sighs in the dark, moving for a better view. This voyeurism is a guilty habit. LONE checks his mail, loosens his tie, unbuttons his shirt. PATIENCE Welcome home, sweetie. How was work today? -LRB- male voice. -RRB- Same old same old. All I wan na do is get out of this shirt and give you a big old hug. LONE is distracted, reading his mail, shirt still on. MIDNIGHT, meanwhile, pulls her head out of the ice cream and leaps onto the windowsill - she looks first at Lone, then at Patience, who looks around her. PATIENCE Down in front. Come on, you, off with the shirt. Instead, LONE is moving out of view. PATIENCE moves in the same direction, into her BATHROOM.\",\n \"INT. PATIENCE'S APARTMENT - BATHROOM - NIGHT THE BATHROOM WINDOW faces into Lone's bedroom. He starts to unbutton his shirt, glances casually out the window - PATIENCE immediately ducks out of sight. A moment later, she rises slowly to peek out again - THE WINDOW is DARK, LONE has turned off THE LIGHT. PATIENCE flips ON THE LIGHT, studies her face in the mirror. PATIENCE Lame, lame, lame. She wipes a bit of chocolate from the corner of her mouth. She tries a seductive pout, a la Laurel, gives her hair a seductive toss - it winds up in her eyes and mouth. ON PATIENCE'S WINDOW - from across the alley, we see PATIENCE before her mirror, brushing her hair. PULL BACK to reveal we're watching with TOM LONE, who spies on Patience through his own window, lights off. He SIGHS.\",\n \"INT. AVENAL HQ - SHOWROOM - DAY MOVING CAMERA delivers an assault on the senses : MIRRORS, oversized versions of the BEAUTY PRODUCTS, charts of COLOR CHOICES, shelves upon shelves of slickly - packaged COSMETICS. Prominent is a DISPLAY for BEAUNIQUE. HIP MUSIC in BG. AVENAL GIRLS, perfectly coiffed and made - up Barbie dolls, busily paint the faces of CLIENTS, women of all ages and backgrounds, in high - tech MAKE - UP CHAIRS that resemble torture devices. PATIENCE crosses through, pausing to take off her sneakers and pull on a pair of high heels. SALLY - an Avenal girl in a prim outfit, working on a matronly CUSTOMER - looks up to greet PATIENCE. We now see Patience has a small SCRATCH on her cheek, poorly covered with makeup. SALLY Look what the cat dragged in. PATIENCE -LRB- touching her cheek. -RRB- I know, I know, I'm late - Midnight thought there was a mouse in my pillow. SALLY This is why I only sleep with my own species. Lunch at Joey's? PATIENCE nods and waves as she hurries through a set of doors to an ELEVATOR BANK.\",\n \"INT. AVENAL HQ - ACCOUNTING BULLPEN - DAY OVERHEAD ANGLE on a rat's maze of office cubicles, peopled with ACCOUNTING STAFF. FIND PATIENCE tapping at her terminal, sipping COFFEE. It's a grim little space, enlivened by a GARFIELD toy, some New Yorker cartoons. PATIENCE seems bored by the drone work - then she cocks her head at something on the screen, leans closer. She double - checks DATA in the print - outs. Something does n't tally. ON SCREEN - among a long list of figures, we see `` YP - 3'' highlighted, followed by a series of numbers. PATIENCE gets up quickly with the printouts, she spills a few drops of COFFEE on her white blouse. She dabs at these distractedly as she moves through the bullpen toward a glassed - in office. She knocks on the open door, where we see the name `` D. BERGER - ACCOUNTING.'' PATIENCE Dave, I was just going over the first quarter expenses. Our lab fees for this one additive - YP - 3 - have gone through the roof. BERGER, a balding, bespectacled accountant, looks up as Patience moves around his desk to show him some figures. PATIENCE Look at this, an overage of eight hundred percent on `` extruded pellets'' alone - I'm not even sure what that is - BERGER Rat chow. Berger's concerned. As they huddle over the figures, we hear a CHOPPER approach. CAMERA MOVES PAST THEM, OUT the WINDOW -\",\n \"EXT. AVENAL HQ - DAY - CAMERA SWINGS UP the 40 - story skyscraper in the business district of a city mixing architecture old and new. CAMERA PASSES a WINDOW WASHER on a cable - driven rig. NEARING the ROOF, we see a glowing sign which reads `` AVENAL BEAUTY'' - and a PASSENGER CHOPPER coming in for a landing.\",\n \"EXT. AVENAL HQ - HELIPAD - DAY THE CHOPPER touches down on a HELIPAD atop an elevated PENTHOUSE. GEORGES AVENAL emerges, ducking in the blade wash. The company's CEO, Georges is charismatic, handsome, immaculately tailored - an exacting asshole to the core. Getting out of the helicopter behind him, his menacing, silent bodyguard ANGEL carries a leather suitcase or two. LAUREL AVENAL trots toward her husband with open arms. Laurel is 30 - something, a still - gorgeous super - model but, in person, a tad past her prime. She comes across as sweet and well - meaning, but a bit dim and victimized. LAUREL Oh honey, welcome back! She throws her arms around Georges to give him a kiss, but he pushes her away, turns aside to SNEEZE. LAUREL Are you all right? GEORGES My allergies. I thought you were getting rid of that vile dog of yours. GEORGES plucks a long DOG HAIR from her clothes, holds it up for her to see, then moves on briskly, down an external flight of stairs from the helipad to a PENTHOUSE below. Laurel follows after him, Angel in the rear. LAUREL Georges, when you're gone, Tippy is all I've got and - I get so lonely. GEORGES So get a bird or a fish, something that does n't shed. -LRB- a glance at her. -RRB- Have you gained weight? They head through glass doors into the PENTHOUSE.\",\n \"INT. AVENAL HQ - PENTHOUSE - DAY LAUREL protests, examining her body. LAUREL No no, it's muscle - I've been working out, doing my Tae Kwan Do - She flexes a MUSCLE to demonstrate. GEORGES is n't interested, looking at the penthouse decor with distaste. Meanwhile ANGEL moves to an elevator, presses a down button and awaits his masters. The penthouse is a large, dramatic space, decorated in a frilly, Louis XIV style - classical STATUARY of nude females, ornate DRAPERIES across one wall - there are LADDERS, cans of paint, a work in progress. A large PORTRAIT of LAUREL dominates the room. In one alcove is a MOVIE - STAR MAKE - UP MIRROR, surrounded by lights. GEORGES What the hell happened here? LAUREL I'm doing some redecorating, I've had so much time on my hands - do you like it? GEORGES No. What's with the curtains? LAUREL Draperies. They soften the space. GEORGES I like hard spaces. -LRB- off her hurt look. -RRB- Whatever, Laurel, if it makes you happy. I plan to be spending more time at the factory, anyway. He enters the ELEVATOR, Laurel behind, Angel hits the button.\",\n \"INT. AVENAL HQ - ELEVATOR BANK - DAY A LARGE GRAPHIC depicts LAUREL and GEORGE together. PATIENCE curls her lip at this as she presses the DOWN button. DOORS OPEN to reveal the real LAUREL and GEORGES, startling Patience a bit, the impassive ANGEL behind them. Patience takes a half - step forward and hesitates, reluctant to get aboard, frozen in place. The DOORS start to close, then open again - she's in the way. GEORGES In or out? PATIENCE meekly steps into the elevator, presses a button for the lobby, nervously keeping her eyes fixed to the front.\",\n \"INT. AVENAL HQ - ELEVATOR - DAY GEORGES leans past her to hit `` DOOR CLOSE.'' Many CAT HAIRS are sprinkled on her clothes, he SNIFFS and stifles a sneeze. He looks Patience over, and does n't like what he sees. GEORGES Excuse me, miss. Do you know who I am? PATIENCE Um. of course. You're Georges Avenal - you own the company - GEORGES Then you actually work for me. Are you familiar with our products? PATIENCE Yes sir, I just ca n't really afford them - GEORGES You can afford some peroxide, ca n't you? Do something about this mousy hair. GEORGES runs a hand distastefully through her frizzy hair, then takes a moment to study her. GEORGES Stain on your blouse, run in your pantyhose - and that color's awful on you. -LRB- fingering her outfit. -RRB- Do you own an iron? Show me your hands. Shaking, Patience extends her hands. Georges inspects her trembling fingers. He seems saddened, clucks his tongue. GEORGES A nail - biter. my my, you really are the `` before'' picture, are n't you? LAUREL I could give her the number for my manicurist - GEORGES -LRB- waving Laurel off. -RRB- What's your name? PATIENCE Patience. GEORGES I have n't got all day - PATIENCE No, my name's Patience, Patience Price. I'm in accounting. GEORGES I'm afraid that's no excuse. Regardless of your position, you do represent Avenal Beauty. I simply ca n't allow that to continue. PATIENCE Wait. You're not - firing me? GEORGES I have no choice. All we have to sell is an image - and you are not it. You've got to go. DING! The DOOR OPENS. Patience stares at the man in disbelief, then bolts out into the SHOWROOM. STAY WITH GEORGES, LAUREL and ANGEL as the doors close. LAUREL Poor girl. GEORGES studies Laurel's face a moment, leans closer, amazed. GEORGES Is that a pimple?\",\n \"INT. JOEY'S DINER - DAY A retro place, PATIENCE and SALLY sit in a booth over SALADS and SODAS. Sally leans across the table, fixing Patience's make - up - her mascara's run from crying, her nose is red. An open MAKE - UP POUCH rests between them. PATIENCE I try, Sally, I really do. I read Vogue, I wear uncomfortable shoes. I've been a female all my life, you'd think I'd be better at it by now. SALLY Watch the frown lines, you'll need a lift before you're forty. PATIENCE He's right, I'm not even presentable enough to be an accountant. Maybe the church needs a new bell - ringer. SALLY Look, he was just in a bad mood. Sales are down, his marriage is on the rocks - PATIENCE How do you know that? SALLY I have an enquiring mind. This is `` Nympho,'' very hot, I snagged it from the showroom. She opens a tube of LIPSTICK, starts applying it expertly to Patience's lips as she speaks. SALLY Laurel's losing her looks, she's dumber than her cockapoo - buzz is, Georges is trading her in for next year's model. All I'm saying is, by now he's probably forgotten about canning you. PATIENCE I do n't care. No way am I going back there. SALLY Shut up, you'll smear. voila, now suck your finger. Patience puts her finger in her mouth, pulls it out with a pop, to keep the lipstick off her teeth. She studies the residue on her finger. PATIENCE I ca n't believe we put this stuff on our mouths. Grease, acid and ground - up fish scales. who knows what they put in our mascara. SALLY No wonder you never made it in sales. ANGLE THROUGH WINDOW BEHIND THEM, as a long LIMOUSINE passes.\",\n \"INT. LIMOUSINE - DAY LAUREL is fixing her make - up meticulously in a COMPACT MIRROR, looking for signs of the dreaded zit. GEORGES is flipping through AD LAYOUT BOARDS. WESLEY, a weasely ASSISTANT, is seated between them, going over an electronic appointment book. A CHAUFFEUR, ANGEL in the passenger seat. WESLEY You're both scheduled to appear at the Make - Overs for the Homeless event on the 25th - GEORGES Ugh. That one's yours, Laurel. WESLEY The ballet opens the following Friday - GEORGES -LRB- re : the ad boards. -RRB- These look good, Wesley, send them back to the agency. LAUREL closes the compact, leans across to catch a glimpse. LAUREL May I see? GEORGES You would n't be interested. LAUREL Please, Georges? She tugs a board away, then sucks in her breath seeing - AN AD featuring DRINA, a gorgeous young model, nearly nude. We see a tube of MASCARA with the AVENAL LOGO. GEORGES That's Drina. LAUREL She's. pretty. GEORGES She's magnificent. GEORGES takes the board back, LAUREL looks a little sick. LAUREL Well, I'm still the face of Avenal. are n't I? GEORGES -LRB- smiling indulgently. -RRB- You've had a remarkably long shelf life, it's true. But. every product has an expiration date. Laurel bites her lip, looks out the window, close to tears. A PHONE is ringing, ANGEL answers in front. Georges' hands are still full with the ads piled around him. ANGEL Uh, sir, it's Dave Berger in accounting. GEORGES Who? I do n't talk to bean - counters. ANGEL He says it's urgent. GEORGES All right, Angel, put it on speaker.\",\n \"INT. AVENAL HQ - BERGER'S OFFICE - DAY BERGER peers at his TERMINAL, a half - eaten SANDWICH nearby. He's marked up the PRINT - OUTS that Patience brought him. BERGER -LRB- on phone. -RRB- Mr. Avenal - I hate to bother you, sir, but we have a problem. It seems the lab has been overproducing YP - 3 - that's the anti - aging ingredient in Beaunique - GEORGES Why are you telling me this? It's routine to have a surplus - BERGER We've stockpiled over a thousand gallons, enough to last us well into the 29th Century. GEORGES Perhaps that is a trifle optimistic - BERGER And very expensive. Funding seems to have been siphoned out of the employee pension plan - GEORGES Impossible, this has to be an error. Are you responsible for this data? BERGER Well, actually Patience Price brought the matter to my attention - GEORGES Yes, yes, I'm familiar with Ms. Price. Obviously her bookkeeping is as sloppy as her appearance. BERGER Sir, she's a very reliable employee - GEORGES I've heard enough, Berger. In the future, double - check your figures before you waste my time - and then put it in a memo. WITH BERGER BERGER -LRB- on phone. -RRB- In all fairness, Mr. Avenal, I think - BEEP. He's talking to a dial tone. Berger hangs up, frustrated and chagrined.\",\n \"EXT. SHOPPING DISTRICT - DAY START on a JEWELRY DISPLAY, a ritzy DIAMOND NECKLACE. SALLY's face appears in the window, beaming. SALLY Wow. sorry, Patience, I just found a new best friend. PATIENCE, beside her, WHISTLES appreciatively, then moves on. PATIENCE I'm sick of drooling over things I'll never have. The two are WINDOW - SHOPPING, passing a SHOE STORE, boots and high - heels. A WESTERNWEAR SHOP, belt buckles, WHIPS. SALLY Oh, you're a ray of sunshine. Tell you what, let me take you clubbing this weekend - PATIENCE I'm not sure I'm fit to be seen in public. SALLY You will be in that dress. I've had my eye on it for weeks. SALLY points at a MANNEQUIN in the window of a trendy boutique, garbed in a dramatic, sexy outfit - a short bodice, a tiny skirt, plenty of plastic skin showing. PATIENCE Sally, that is not a dress, it's a rumor of a dress. It's barely forensic evidence of a dress. SALLY It's a genuine Gaultier knock - off - PATIENCE It's not me. SALLY But do n't you ever wan na be somebody else? PATIENCE I just wish I could be ten years old again - it did n't matter what I wore as long as I could climb a tree in it. SALLY Your tomboy days are over. PATIENCE That's my bus, Sal, see you later. PATIENCE trots toward a BUS, SALLY calls after her. SALLY This weekend, Patience. I swear, I'm gon na make you have fun if it kills you. As Sally moves on, CAMERA LINGERS ON the window of A LINGERIE STORE, scantily - clad MANNEQUINS, including one in BLACK UNDIES and a CAT MASK.\",\n \"EXT. BERGER'S TOWNHOUSE - NIGHT DAVE BERGER, the accountant, dressed casually, gets out of a CAB and heads into his modest home.\",\n \"INT. BERGER'S TOWNHOUSE - NIGHT Berger SNIFFS the air quizzically as he lets himself in. He moves toward the KITCHEN. In the kitchen DOORWAY, he fumbles for a LIGHT SWITCH, flicks it on and -\",\n \"EXT. BERGER'S TOWNHOUSE - NIGHT KA - BOOM! The WINDOWS BLOW OUT with a HUGE EXPLOSION. ACROSS THE STREET, a BLACK MERCEDES pulls from the curb, HEADLIGHTS OFF, and ACCELERATES away.\",\n \"INT. PATIENCE'S BUILDING - HALLWAY - NIGHT PATIENCE moves to her apartment door, arms loaded with GROCERIES. She struggles to unlock the door while keeping these upright - we see a `` HELLO KITTY'' emblem on her key chain. As soon as the door is open - - MIDNIGHT BOLTS out into the hall, a black streak moving toward the stairs and darting upward. PATIENCE Midnight! You little monster - Patience tosses her groceries in the door, leaving it ajar, and runs after the cat. A few moments after she's vanished up the stairs, we hear FOOTSTEPS from below and. ANGEL, Georges Avenal's menacing bodyguard, appears in the hallway. He moves purposefully for Patience's door, pushes it open and steps inside. Midnight just saved her neck.\",\n \"INT. PATIENCE'S BUILDING - UPSTAIRS HALLWAY - NIGHT MIDNIGHT makes for an open hall window that leads onto a FIRE ESCAPE. Patience just spots her heading outside. PATIENCE Oh no.\",\n \"EXT. PATIENCE'S BUILDING - ALLEY - NIGHT Patience reaches the window just in time to see - MIDNIGHT make a SPECTACULAR LEAP across the alleyway and - - LAND ON TOM LONE'S BALCONY. PATIENCE is annoyed, but also impressed, in spite of herself. PATIENCE Hell of a jump.\",\n \"INT. PATIENCE'S APARTMENT - NIGHT ANGEL flings open the closet and bathroom doors in Patience's empty apartment - no dice. On his way out, he eyes a plate of cat food and ice cream with a wince.\",\n \"EXT. LONE'S BUILDING - ALLEY - NIGHT Patience clumsily CLAMBERS up Lone's RATTLING FIRE ESCAPE, reaches the level Midnight is on, moves toward the cat. PATIENCE You are not worth the trouble - Suddenly, a WINDOW FLIES OPEN, just a foot away, a GUN points in her face. Patience lets out a CRY, jumps back - LONE Freeze! It's TOM LONE. But Patience loses her balance, FALLS - - and LANDS in an open DUMPSTER. LONE darts from the window, alarmed, realizing his error.\",\n \"EXT. PATIENCE'S BUILDING - NIGHT ANGEL emerges, shaking his head and shrugging toward the unseen driver of the BLACK MERCEDES, then he climbs in the passenger door. As the car pulls away - - LONE hurries from the building next - door toward the alley.\",\n \"EXT. PATIENCE'S BUILDING - ALLEY - NIGHT PATIENCE painfully gets upright, slipping in the trash, as LONE appears ; he's a no - nonsense, gruff cop with a dry wit. LONE You all right? He clambers onto the dumpster's edge to help her out, she slips and slides, almost pulls him in after her. LONE I'm really sorry - I'm a police officer, I heard the noise and just assumed. here, grab my arm. He manages to hoist Patience to the lip, she's able to climb to the ground. She's drenched in GOOEY GARBAGE, just stares at Lone, a bit dazed from the fall. She ca n't believe she's face to face with the man of her dreams. Lone thinks a beat. LONE Habla espanol? She blinks at him, confused, then he tentatively flashes a few HAND SIGNS for the deaf. She waves this off. PATIENCE No, I - see, my cat got out - MIDNIGHT MEWS, rubs against Patience's leg. She picks the cat up, nods toward her window. PATIENCE I live right up there - LONE I know. PATIENCE You do? LONE I mean, I - I've seen you. Around. PATIENCE Really. Actually, I've seen you too. Around, that is. -LRB- a nod at the dumpster. -RRB- Thanks for helping me out. LONE Do n't mention it. I ca n't resist a damsel in distress. PATIENCE smiles and cocks her head. flirtatious body language. She runs a hand through her hair, pulls out some sticky TISSUE PAPER, looks at it with disgust. PATIENCE Oh God, what - what is that?! He looks over her shoulder, winces. LONE I could run it over to the lab. She tosses it in the dumpster, finally registering that she's drenched in WET GARBAGE. PATIENCE I'm sorry, it was nice talking to you, but - I'm completely disgusting. Mortified, she hurries back to the entrance to her building. Lone looks after her, amused.\",\n \"EXT. TRENDY CLUB - NIGHT SPOTLIGHTS before a NIGHTCLUB, a CROWD behind a VELVET ROPE. A HANDSOME BOUNCER stands guard. SALLY AND PATIENCE are near the front of the line. Sally has transformed herself, with heavy make - up, a revealing skin - tight outfit that shows plenty of cleavage. Patience is in a conservative dress, one she might wear to work. Sally HOWLS with LAUGHTER at something Patience has just said. Patience looks grim. PATIENCE It is n't funny. SALLY -LRB- still chuckling. -RRB- Yes it is. All this time you've spent mooning over that hottie neighbor and he points a gun at you - PATIENCE At least it broke the ice - SALLY I told you men go for trashy women. Patience rolls her eyes, looks over Sally's clothes. PATIENCE Speaking of which - how do you even stay in that outfit? SALLY With any luck, I wo n't need to. PATIENCE I hardly recognize you. SALLY That's the idea. I go out at night, I leave daytime Sally behind, become a different person. All women do. Except you, of course. PATIENCE -LRB- shrugs, checks her watch. -RRB- How long have we been here, an hour? We're never getting in. A TRENDY COUPLE - call them RANDY and SANDY - push their way past PATIENCE, almost knocking her over. Randy's ELBOW gets her in the gut, Sandy's SPIKE HEEL drives into her foot. PATIENCE Ow! SANDY looks at her blankly as PATIENCE hops, injured. PATIENCE You could say I'm sorry? RANDY Okay, you're sorry. He and Sandy laugh as the BOUNCER unhooks the rope, steps aside for them to enter. PATIENCE God, people are so rude. SALLY Yes! Sally has just gotten the NOD, hurries forward. Patience follows, limping a bit. The BOUNCER blocks Patience's path, looking her over from head to toe, disapproving. SALLY She's with me. BOUNCER Then you can stay out here too. SALLY She happens to be a very fine human being - BOUNCER Like I said, she do n't belong inside. PATIENCE Sally, just - go in without me - SALLY See, you shoulda bought the dress. PATIENCE bolts, humiliated ; SALLY looks after her sadly.\",\n \"INT. BUS - NIGHT PATIENCE sits alone in the back of the bus, looks at - A YOUNG COUPLE making out. an ELDERLY COUPLE holding hands. Her eyes drift to an AD for AVENAL BEAUTY overhead - LAUREL and GEORGES AVENAL, arms around each other. Patience sighs and stares out the window.\",\n \"EXT. PATIENCE'S BUILDING - NIGHT PATIENCE walks toward her building, the bus kiosk behind her, the BUS MOVING AWAY. The street is deserted at this hour. Patience feels very alone, until she looks up to see - - MIDNIGHT, perched in her window, awaiting her arrival. A smile appears on Patience's face. She quickens her step, crossing the empty street, almost to the sidewalk when - - AN ENGINE ROARS behind her. Patience spins just as - - THE MERCEDES, LIGHTS OFF, barrels out of the darkness and - WHAM! Hits her full - on. MIDNIGHT at the WINDOW - the cat lets out a HOWL. ANGLE DOWN, the MERCEDES has stopped, Patience lies a short distance behind. in bad shape. The PASSENGER DOOR OPENS. WITH PATIENCE, barely conscious. ANGEL approaches, studies her, turns her over with his foot. He nods, a job well done.\",\n \"INT. PATIENCE'S APARTMENT - NIGHT MIDNIGHT is bouncing off the walls, HOWLING like mad, lunging and scratching at the door. Finally, the cat charges across the floor, LAUNCHES herself in a dramatic leap and -\",\n \"EXT. PATIENCE'S BUILDING - NIGHT SLOW MOTION as MIDNIGHT LAUNCHES HERSELF AT THE GLASS - SMASH!\",\n \"EXT. BRIDGE/CITY SKYLINE - NIGHT SPLASH! A BODY -LRB- we do n't get a good look -RRB- hits DARK WATER hard and vanishes below. MOVE UP TO REVEAL we're at a bridge over a river, CITY LIGHTS in the distance. ON THE ROADWAY, CAR DOORS CLOSE and the MERCEDES SEDAN SCREECHES away. CLOSER ON THE SKYLINE. A HOWL rises - FIND MIDNIGHT, CRYING from a rooftop. Unseen CATS join in, a feline TELEGRAPH.\",\n \"EXT. EDNA'S HOME - NIGHT The CAT CRY, just audible, far off. Then - a CAT squeezes out a WINDOW at the gap in the sill. more CATS SCRAMBLE out dormers. yet MORE SHOOT OUT the flapping CAT DOOR.\",\n \"EXT. SUBURBAN STREETS - NIGHT EDNA'S CATS scramble through alleyways, joined by STRAYS converging from all directions, picking up the CHORUS. It's like a flowing RIVER OF CATS.\",\n \"EXT. MARSHLAND - NIGHT ON MURKY MOONLIT WATER - CAMERA MOVES past floating TRASH, a CAR TIRE, BOTTLES and CANS. We hear the CRIES of the CATS from nearby, approaching. LIGHTS of the CITY further away, the BRIDGE visible. CAMERA FINDS a nylon - encased FOOT. PAN OVER a woman's CORPSE, her clothes TORN, SOAKED and MUDDY, strewn with RIVER WEEDS. The body bobs amidst REEDS by this soggy shoreline. We reach the woman's FACE - unnaturally pale, eyes fixed. it's PATIENCE PRICE. Dead. THE HOWLING is CLOSE now. THE CATS have gathered here, parting for MIDNIGHT, a feline VIP. The Mau steps tentatively out onto Patience's corpse, careful not to get too wet. She crouches on her chest, and - CLOSE, BREATHES audibly into her parted lips. A brief, barely visible GLOW flickers at Patience's mouth. THE CAT shudders, then moves aside, BLINKS as if drugged. ANOTHER CAT climbs out onto Patience to take Midnight's place and perform the same ritual. HIGH ANGLE. The crowd of CATS waiting in the reeds, more arriving by the minute, ready to take turns. CAMERA ROCKETS DOWN AT PATIENCE'S FACE, into one DEAD EYE. MEMORY MONTAGE - INT. PATIENCE'S HEAD DARK, DISTORTED ; QUICK IMPRESSIONISTIC IMAGES OVERLAP, perhaps CAT POVS -LRB- LOW - ANGLE TRACKING and CLIMBING SHOTS -RRB- mixed with human MEMORIES : POV, a ROLLER - COASTER, PATIENCE'S PARENTS to either side - we hear YOUNG PATIENCE'S LAUGHTER and SHRIEKS. CLOSE TO GROUND, FATSO the KITTEN dashes after a BELL BALL. POV, YOUNG PATIENCE at a mirror in a Halloween CAT COSTUME. POV, CLIMBING A TREE in a suburban backyard. We see her MOM below, searching for young Patience. POV, TWO CLOSED COFFINS, surrounded by FLOWERS. now we hear YOUNG PATIENCE SOBBING. POV, the BLACK MERCEDES ROCKETS AT CAMERA and -\",\n \"EXT. MARSHLAND - NIGHT (PRESENT) - PATIENCE sits up INTO FRAME with a SCREAM. She thrashes in the shallows of the marsh, gasping for air, disoriented. reborn. There's no sign of the cats. PATIENCE crawls onto shore amidst the reeds, slightly clumsy at first, almost like a newborn kitten. Her ragged, wet clothes cling to her body. TIGHT on her terrified expression. She has no idea what she's doing here - or who, or what she is. She opens her mouth to speak - all that comes out is a strangled CAT CRY. She works her jaw, but ca n't produce human speech. She darts her head, seems disoriented and overwhelmed. HER POV - SOUNDS AMPLIFIED, IMAGE perhaps SOLARIZED, the darkness BRIGHTENED, objects of interest HIGHLIGHTED as she takes in the marshland. The EYES of any creature in sight GLOW. We'll call this CATVISION. WHIP PAN TO a nearby CRICKET perched on a blade of grass - then UP TO an OWL in the distance, soaring over the park. WHIP DOWN TO its prey, a SCURRYING MOUSE. THE OWL swoops with a SCREECH, nailing the MOUSE, we hear its SQUEAL. PATIENCE, frightened at first, becomes increasingly delighted by her heightened senses. She spots - MIDNIGHT in the tall grass. The cat turns, looks over her shoulder once - her EYES catch moonlight and GLOW. Patience is clearly meant to follow. PATIENCE follows MIDNIGHT on all fours, tenuously at first. But as she proceeds, her shoulders and hips roll in distinctly feline fashion. Her body seems slimmer, more muscular. She rises on two legs, moving in a slinky crouch. MIDNIGHT pauses to sharpen her claws on the bark of a gnarled old TREE. PATIENCE follows Midnight's lead, leans forward against the trunk, arms straight out, head arched back. She stretches her neck, her back - her every movement is graceful, sensual, the awkwardness gone. She tries to pull her hands from the tree - but ca n't for a moment, finding her FINGER - NAILS stuck into the bark -LRB- like a cat at a scratching post -RRB-. A DOG BARKS - without thinking about it, PATIENCE scrambles up the side of the tree like a streak. HER POV FROM TREE - A LARGE DOG tugs on its OWNER'S leash, some distance away. The dog walker yanks the dog onward. PATIENCE takes this in, hears a MEOW - MIDNIGHT is perched above her, very Cheshire Cat - like. PATIENCE looks around, self - conscious for a moment - what is she doing up a tree? Bad idea to think. She loses her balance, clutching at branches, tumbles out of the tree - IN MIDAIR for an instant, she flails spastically, letting out a SHRIEK - then her body instinctively TWISTS and - PATIENCE LANDS on all fours, one leg kicked out, haunches low. MIDNIGHT lands beside her, nods approvingly at her landing. Then the cat darts away again, Patience pursues.\",\n \"EXT. SUBURBAN NEIGHBORHOOD - NIGHT MIDNIGHT leaps to the top of a FENCE, staring down at Patience - `` come on.'' Patience hesitates, then crouches and SPRINGS UP -LRB- with more than human ability -RRB-, lands triumphantly on the fence - then teeters and TUMBLES to the other side. MIDNIGHT looks disappointed. Patience jumps up again quickly, as if pretending this never happened, this time managing to hold her balance. MIDNIGHT gives her a look and leads onward. At first she's like a tightrope walker, careful of falling, but her steps become more confident. Soon she's moving as quickly and smoothly as the cat. MIDNIGHT leaps off the fence and darts across a road, PATIENCE follows.\",\n \"EXT. PUBLIC GARDEN/ZOO - NIGHT A tall wrought - iron FENCE surrounds greenery and distant cages in an urban area. A SIGN : `` ARBORETUM - ZOO.'' MIDNIGHT squeezes through a gap between the uprights. PATIENCE hesitates - this is too narrow for a normal human. MIDNIGHT waits impatiently on the other side, tail twitching. PATIENCE makes a dubious SOUND, but manages to slip a foot - then a leg - into the opening, twisting and contorting. Amazingly, she's succeeding, her torso ripples and contracts as she insinuates herself between the bars. Finally only her head is on the wrong side. With a final TUG, she's through. MIDNIGHT crouches low, stalking. PATIENCE copies the behavior. MIDNIGHT slowly approaches - A MOTH, fluttering near a FLOWER in this botanical garden. MIDNIGHT sneaks up close, then POUNCES, but the MOTH flies out of the cat's grasp. PATIENCE GIGGLES, MIDNIGHT turns on her and HISSES. The woman and the cat roll together in this neat BOTANICAL GARDEN, playing and batting at each other. CAMERA MOVES TO a small sign nearby, which labels this planting as `` CATNIP.'' MIDNIGHT HURTLES a CONCRETE MOAT, PATIENCE follows, still high, giggly. She suddenly finds herself face to face with : A BENGAL TIGER. He lets out a small ROAR. PATIENCE blinks, crouches - and ROARS back, unafraid. The tiger springs forward. and LICKS HER. She wrestles with him playfully, he's just a bigger version of Midnight.\",\n \"INT. EDNA'S HOME - BEDROOM - MORNING EDNA POWERS sleeps in bed. MIDNIGHT climbs atop her, starts kneading. She makes a NOISE, rolls over, opens her eyes. EDNA Midnight? What are you doing here? She squints, sees morning light through a window. She climbs out of bed in her nightdress.\",\n \"EXT. EDNA'S HOME - DAY EDNA emerges in a bathrobe, crossing her overgrown lawn, MIDNIGHT bounding ahead of her. A Martha Stewarty NEIGHBOR, weeding an immaculate garden, throws Edna a sour look. NEIGHBOR Edna, your cats have been using my garden as a litter box again. EDNA -LRB- gravely. -RRB- You ca n't change their nature. The neighbor scowls and returns to her weeding. As EDNA bends down for her newspaper, she hears a MEOW and sees - - Midnight licking a HAND, which protrudes from under a bush. Edna GASPS, moves closer, crouching to get a better look. It's PATIENCE, sound asleep, body twisted sideways in an unnatural position. Quietly : EDNA Hello? Patience starts awake, looking around, confused. EDNA What are you doing in my hedge? Patience rolls out from under the bushes, crouches on her haunches now, a panicky look in her eyes. Leaves and dirt cling to her clothes. She has no idea how she got here.\",\n \"INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE is wrapped in a BLANKET, sitting on the couch, MIDNIGHT nuzzling her, as EDNA brings her a cup of TEA. Edna picks up a CLIPBOARD from a coffee table. EDNA Your name is Patience Price, you live on South 87th. -LRB- beat. -RRB- You love chocolate - you're afraid of heights? Any of this ring a bell? Patience nods slowly, puts her face in her hands. PATIENCE I. it's coming back to me. But last night. it's just. it's like a dream. EDNA -LRB- chiding. -RRB- You said in your application that you do n't drink or take drugs. PATIENCE -LRB- rising. -RRB- I do n't. I think. something must have happened. I need to. EDNA You need to rest. Patience takes a few steps from the couch and lets the blanket slip from her shoulders. EDNA Oh my God. Edna stares at PATIENCE'S BACK. The fabric of her dress is torn, the skin discolored beneath with a hint of dried blood - and we make out the marks left by a TIRE TREAD. EDNA You're in no condition to - EDNA moves beside Patience and GRABS HER by the wrist - ON PATIENCE'S HAND, the fingers CURL and FIVE SHARP CAT CLAWS -LRB- SPFX -RRB- emerge from her fingertips - only for an instant. EDNA blinks at this, PATIENCE whirls on her with an abrupt and frightening HISS - CLOSE, Patience's pupils become ELLIPTICAL for a blink, flecked with GOLD, then - She yanks her hand away quickly, immediately looks contrite, and a bit dazed from the momentary transformation. PATIENCE Sorry, you - you startled me. look, Edna, thanks for everything, but - I just want to get home and take a bath. Edna nods, unnerved. PATIENCE picks MIDNIGHT up in her arms and hurries out the door. Edna stares after her, a disturbing thought forming.\",\n \"INT. EDNA'S HOME - OFFICE - DAY EDNA moves purposefully to a FILE CABINET in this cluttered, book - lined room and opens a drawer. She thumbs past many years' worth of scholarly research, finally pulling a thick, dog - eared MANILA FILE from near the back. She moves to her desk, slips on reading glasses and opens the folder - ANGLE ON FILE - an old, thick type - written SCHOLARLY PAPER entitled `` MYTHS OF FELIGYNY, by E. POWERS Ph.D.'' She puts this aside, revealing a WOODCUT of an AFRICAN Catwoman in leopard skin, surrounded by cats. Next, an ASIAN CATWOMAN, a print of a 19th Century watercolor. She wears a Chinese - style MASK, close - fitting robes, a long tail. Both illustrations show the women with CLAWS and ELLIPTICAL PUPILS.\",\n \"INT. PATIENCE'S APARTMENT - BATHROOM - DAY PATIENCE stares at her dirty face in the MIRROR, still reeling from the events of the previous night. Behind her, THE BATHTUB RUNS, almost filled. She moves to the edge of the tub, starting to undo her ragged clothes, stares down at - THE RIPPLING WATER. She blinks, her expression far away - FLASHBACK - INT. PATIENCE'S HEAD A vertiginous PLUNGE from the bridge toward DARK WATER -\",\n \"INT. PATIENCE'S APARTMENT - BATHROOM - DAY (PRESENT) PATIENCE starts, shaking off this momentary vision. She dips a finger in the water, jerks back - much as a cat might. She shakes drops off her hand, repelled by the water.\",\n \"INT. PATIENCE'S APARTMENT - DAY There's KNOCKING at the door. The PHONE IS RINGING, a MACHINE picks up. We hear RUNNING WATER from beyond the closed bathroom door. PATIENCE -LRB- V.O. -RRB- This is Patience, you can leave a message if you want. BEEP.\",\n \"INT. PATIENCE'S APARTMENT - BATHROOM - DAY PATIENCE turns off the TAPS, in the quiet she hears EDNA'S VOICE on her answering machine. EDNA -LRB- V.O. -RRB- It's Edna Powers - the most extraordinary thing, I - I think I know what's happened to you - PATIENCE has risen with a shiver, hurries back into the main room, pulling her blouse closed.\",\n \"INT. PATIENCE'S APARTMENT - DAY PATIENCE moves for the PHONE, but FREEZES at the sight of - - THE DOORKNOB RATTLING, someone trying to get in. EDNA -LRB- V.O. -RRB- - be careful, Patience, I'm afraid you may be in danger. MIDNIGHT lets out a menacing GROWL. THE KNOB TURNS, the door swings open - a MAN starts to enter - CLANG! PATIENCE whacks him over the head with a FRYING PAN. THE MAN is knocked hard into the door and slumps to the ground, stunned. it's TOM LONE. PATIENCE recognizes him with horror, looks at the door - PATIENCE'S KEYS with the `` HELLO KITTY'' emblem dangle from the lock, her PURSE is on the ground. PATIENCE I am so, so sorry - TOM LONE groans, painfully coming to and sitting up. PATIENCE crouches at his side. LONE You actually hit me with a frying pan? PATIENCE I did n't know it was you. LONE Guess we're even now. Name's Tom Lone, by the way. PATIENCE -LRB- shakes his hand. -RRB- Patience Price. LONE Yeah, I know, I checked your ID. PATIENCE Oh God, not that awful driver's license picture - LONE -LRB- rubbing his head. -RRB- Got any ice? PATIENCE hurries to assemble an ice pack, MIDNIGHT is eating happily at the table, LONE gets to his feet. LONE I found your purse in the street right outside this morning. I tried calling - I was afraid something might've happened to you. PATIENCE returns with a washcloth full of ice. PATIENCE That was really nice of you. LONE Well, it's part of my job. I'm a detective, burglary - robbery division. So what did happen to you? He applies the ice - pack to his head while eying her clothes. She suddenly becomes aware of her disheveled appearance. PATIENCE Oh no, I'm a mess. It seems every time you see me I - I was just cleaning. -LRB- this is n't flying. -RRB- The um, the chimney. LONE Where's the fireplace? PATIENCE It was n't mine. LONE You're a freelance chimney sweep? LONE is now looking around the apartment, taking it all in with a careful detective's eye. He sees the shredded PHOTOGRAPHS, the BROKEN WINDOW, points - LONE You should get that fixed. PATIENCE Oh yeah, I had n't noticed. I mean, I had to break it to get in because. I lost my purse. LONE -LRB- studying the windowsill. -RRB- Funny, looks like it was broken from inside. Lone is now regarding her with open curiosity. Patience shrugs helplessly. LONE So everything's all right now? -LRB- off her nod. -RRB- Well, I'd better be getting to the station, then. unless there's anything else. LONE hopes so, PATIENCE desperately wants him to stay. but - PATIENCE I guess not. LONE Then - bye, now. He sounds disappointed. As the door shuts, Patience clutches her hair, makes a SOUND of frustration, almost like a MEOW.\",\n \"INT. PATIENCE'S BUILDING - HALLWAY - DAY PATIENCE flings open the door, calls after Lone : PATIENCE I want you. He turns, startled. Patience has a sultry, come - hither look in her eye, her VOICE has a lower, sexier tone. LONE Excuse me? She shudders. The sexy expression turns to one of shock and anxiety - what has she done? Then, vamping : PATIENCE I want you, um, to forgive me. For hitting you like that. LONE No need - woman living alone, you ca n't take any chances. PATIENCE nods unsurely, starts to retreat into the apartment. LONE thinks, calls out to her. LONE Listen, I was gon na grab a cup of coffee.\",\n \"INT. COFFEE SHOP - DAY LONE and PATIENCE move from a COUNTER with COFFEE CUPS in hand. Patience has cleaned up, dressed a little sexier than usual - she looks good. PATIENCE So, did you always want to be a policeman? -LRB- beat, rolling her eyes. -RRB- God, listen to me, Conversation 101. LONE -LRB- a laugh. -RRB- Hey, we got ta start somewhere. Actually, when I was a kid, I wanted to be a rock star. They take seats at a small table. LONE I was kind of a delinquent back then, got into some trouble. There was a cop who helped me out. Made a difference. I figured. maybe I could do the same. PATIENCE Plus you can still get into trouble. LONE Right, but for the good guys. So what do you do? When you're not dumpster diving or cleaning chimneys, I mean. PATIENCE Accounting. That is, I used to, I just lost my job. LONE I'm sorry. PATIENCE Do n't be, it was pretty dull. I guess when you get down to it, I'm pretty dull. Patience realizes she's not making for a great first date. PATIENCE Let me start over. It's just. I never got into any trouble or anything - LONE Come on, never? PATIENCE Well, when I was little, but - after I lost my folks I. I guess I turned into sort of a scaredy - ca - um, pretty risk - averse. LONE That's not a bad thing. It's a pretty dangerous world. PATIENCE Sometimes I just wish I was less of a wimp. LONE You're not afraid to admit you're afraid - that takes guts. PATIENCE It does? LONE Most women I know pretend to be tougher than they really are. -LRB- beat. -RRB- Listen. if you ever need someone - to look out for you, keep an eye on -. -LRB- changing tack. -RRB- - or whatever - I'm available. He pulls a card from his wallet, passes it to her. PATIENCE Wow. LONE -LRB- catching himself. -RRB- Oh hey, I did n't mean that to sound like a come - on - PATIENCE -LRB- disappointed. -RRB- Oh. LONE I mean, unless you. -LRB- rising. -RRB- I'm just going to shut up now and go. PATIENCE See you around. LONE Yeah, you will. He gives her a wave and heads out of the coffee shop. A broad smile spreads over Patience's face.\",\n \"EXT. AVENAL FACTORY - DAY LAUREL'S SMILING FACE on a BILLBOARD. It's only there for a moment, quickly plastered over with - A NEW BILLBOARD featuring DRINA'S FACE. We're outside a dramatic, gated industrial COMPLEX, TRUCKS with the AVENAL LOGO, a sprawling CHEMICAL FACTORY at the center.\",\n \"INT. AVENAL FACTORY - GEORGES' OFFICE - DAY HUGE VATS, DUCTS, PIPES, etc., it's a busy, VERY NOISY environment. CAMERA FINDS GEORGES' OFFICE, large windows overlooking the factory floor. INSIDE, behind the thick windows, it's SILENT. This is a hard, masculine space, all steel and wood. GEORGES stands by a table, WESLEY and ANGEL at his side ; IVAN NEVSKI, 50s, a smoldering Russian scientist, is showing them - MEDICAL PHOTOS of people's faces, the eyes covered with black BARS - the skin is BLOTCHED, lumpy, something very wrong. GEORGES flips through these quickly, his tone frustrated. GEORGES Okay, with too much YP - 3 you get side - effects - but too much of anything is bad for you - tap water, sunshine, cigarettes - ANGEL It's like leprosy or something. GEORGES The point is, now that we've adjusted the formula, Beaunique works. Plumps the skin, removes wrinkles, leaves a nice rosy glow - it's perfectly safe now, my own wife uses it. His voice trails off as he considers this fact. He glances at the medical pictures, puts them aside. Airy denial : GEORGES You want to be beautiful, you've got to make certain sacrifices. I mean, look at Botox, women are lining up to get their faces paralyzed. NEVSKI has been doing a slow burn, now blurts out : NEVSKI Enough! Pretending my YP - 3 is only for your cosmetics, feh! You've known about these `` side - effects'' from the start, they are not side - effects at all - GEORGES What? You're not making sense - NEVSKI I thought I'd left this sort of madness behind me - then I find out you've been in contact with Xavier Bartok - GEORGES I've never heard of the man. NEVSKI I still have connections. You may have used me, but I am not a fool. GEORGES Doctor Nevski, is it possible you've gone insane? NEVSKI spins on his heel and storms out. ANGEL Russians, sheesh. GEORGES As if I do n't have enough on my mind. GEORGES moves to a nearby SHREDDER. He starts feeding in the MEDICAL PHOTOS. GEORGES Changes are going to have to be made. and change can be painful. He glances at a MAGAZINE AD lying on his desk. GEORGES It is n't easy to eliminate an established brand. Finished shredding the medical photos, he picks up the AD - it's an AD for BEAUNIQUE, featuring LAUREL'S FACE. WESLEY Sir, are you seriously thinking of recalling Beaunique -? GEORGES I'm not talking about Beaunique. He slips the AD into the SHREDDER. CLOSE - as the machine turns THE AD into CONFETTI, we hear the VOICE of LAUREL LAUREL -LRB- V.O. -RRB- A famous poet once said, beauty is truth, truth beauty.\",\n \"EXT. URBAN PARK - DAY A HOMELESS CAMP - tents, boxes, etc.. - nearby. BAG LADIES stand in a line near MAKE - UP STOOLS, AVENAL GIRLS are busy painting their faces, doing their best. LAUREL -LRB- O.S. -RRB- or maybe it's the other way around. FIND LAUREL AVENAL at a TABLE with a BANNER : `` AVENAL CARES.'' VIDEO CAMERAS are trained on her as she signs POSTERS, PERFUME BOXES, etc. while talking into a MIC. LAUREL The point is, everyone deserves to look in the mirror and feel good about themselves. Be we rich or poor, we all must strive to be more beautiful than we can be. A PROCESS SERVER in a suit with a briefcase reaches Laurel, places a stack of papers in front of her. She starts to sign automatically, then stops, turns off the mic. LAUREL What is this? PROCESS SERVER Laurel Avenal, I am hereby serving you with a restraining order. LAUREL What? PROCESS SERVER You are not to set foot within one hundred yards of any property owned or occupied by Avenal Beauty Corporation or any of its subsidiaries or affiliates. LAUREL I - this must be some sort of mistake - PROCESS SERVER You will, however, have sixty days to remain in residence at the Avenal estate, at the end of which time you and all your personal property must be - LAUREL -LRB- a desperate cry. -RRB- Georges Avenal is my husband! The man pulls another document from his briefcase. PROCESS SERVER That brings me to this petition for divorce. LAUREL looks shell - shocked. A CAMERA FLASHES. She turns and manages to force a stiff, trembling smile for the photographer. CAMERA FLASHES again, WHITING OUT the frame -\",\n \"INT. PATIENCE'S APARTMENT - NIGHT PATIENCE'S SLEEPING FACE. She stirs, stretches. WIDER, she's lying on top of a BOOKCASE in a twisted, awkward position. MIDNIGHT jumps up and brushes against her. CLOSE ON PATIENCE'S EYES - they FLY OPEN, GOLD - FLECKED and -LRB- for a moment -RRB- ELLIPTICAL. PATIENCE - now pure CATWOMAN - springs down gracefully and scans the dark apartment. She stretches her limbs languorously, licks her lips. She flexes her fingers, watching appreciatively as her CLAWS EMERGE. She reaches out and SPEARS LONE'S CARD on a fingernail, regards it as she picks up the receiver. With another CLAW she unhesitatingly punches in the number. When she speaks, after a beat, her voice is throaty, sexier - whenever she's Catwoman, she'll talk this way. During the following, she toys with the long PHONE CORD like a cat. PATIENCE/CATWOMAN -LRB- on phone. -RRB- Mmm, too bad you're not there. guess I'll have to go out and play by myself. She tosses the receiver aside and prowls the room, moving casually atop the back of the couch, from there to other pieces of furniture and the counter, hops down to the floor. She studies the place as if seeing it for the first time. PATIENCE/CATWOMAN What a dump. PATIENCE plucks at the clothing she wears, frowning. She opens a DRESSER DRAWER and PAWS through the contents, like a cat digging in a litterbox, SHREDDING the clothes. PATIENCE/CATWOMAN Ugh - please - frowsy - She moves to a closet, throws open the door, rifling through the outfits, RIPPING them to bits, hurling them aside. PATIENCE/CATWOMAN Damn, I have n't got a thing to wear! True - she's emptied and trashed the closet, SLAMS the door.\",\n \"EXT. SHOPPING DISTRICT - NIGHT MULTIPLE ALARMS RING. QUICK CUTS of STOREFRONTS, WINDOWS SMASHED - the SHOE STORE, the LINGERIE STORE, the WESTERN WEAR SHOP, the TRENDY BOUTIQUE. The MANNEQUIN that had displayed the Gaultier knock - off is now NAKED.\",\n \"EXT. TRENDY CLUB - NIGHT THRONGS out front behind the velvet ropes. All eyes turn toward an approaching FIGURE whom we do n't see at first. LOW ANGLE - a sleek pair of black patent leather BOOTS appears. A purring rendition of a familiar children's tune : CATWOMAN And the cat came back, the very next day. MOVE UP SLOWLY to reveal the rest of the ensemble - long legs in BLACK TIGHTS, the short SKIRT and bodice TOP of the dress. A WHIP is wrapped around her waist, the tip dangles almost like a tail. Her stride is confident, sexy. CATWOMAN The cat came back, they thought she was a goner. Her arms are encased in long, satiny BLACK GLOVES. A half MASK with eyeholes and subtle cat's ears covers the top half of her face, her hair falls free like a mane behind. CATWOMAN But the cat came back, she just would n't stay awa - a - ay. CATWOMAN - the former PATIENCE PRICE - comes to a stop in front of the slack - jawed BOUNCER. CATWOMAN What's the word I'm looking for? Oh yes. Meow. So saying, she strokes a finger under the bouncer's chin - CLOSE, the CLAW emerges from a SLIT in the glove's fingertip, but does n't draw blood. THE BOUNCER recovers himself, unhooking the rope and stepping aside. Catwoman strides past him into the club.\",\n \"INT. TRENDY CLUB - NIGHT Dramatic DECOR, throbbing MUSIC, DANCING TRENDIES. CATWOMAN moves confidently through the club. PATRONS ca n't help but stare, getting out of her path as she crosses the room. RANDY and SANDY, the rude couple, are bellied up to the bar. CATWOMAN slithers between them, almost unnoticed at first. RANDY starts as something FLICKS against his back - CATWOMAN holds the end of her WHIP/TAIL, smacking it lightly against his rear end. He looks up at her. CATWOMAN Buy me a drink. SANDY stares daggers at Catwoman with her drooling boyfriend, but Catwoman ignores her, leaning close to the attentive BARTENDER and almost whispering : CATWOMAN White Russian, no ice, hold the vodka and Kahlua. The man blinks, retreats to fill the order. SANDY taps Catwoman on the shoulder as she makes eyes at Randy. SANDY Excuse me. Excuse me, earth to slut - he's taken. Without looking at her, Catwoman COUGHS discreetly into her hand, then drops something in SANDY'S martini glass - SPLASH. CLOSE - a FURBALL in the woman's drink. SANDY backs away, making a horrified noise. SANDY Euw! The bartender produces a SHOT - GLASS full of cream. BARTENDER Cream, straight up. Catwoman knocks this back, licks white residue from her lips. CATWOMAN Let's dance. She grabs RANDY by the lapel and drags him toward the dance floor - not that he needs a lot of encouragement. CATWOMAN shoves the man onto the dance floor ahead of her. She begins to writhe sensuously to the music, instantly the center of attention. Catwoman's distinctive movements combine catlike grace with acrobatics and martial arts. RANDY does his best to keep up. He moves near, puts his hands on her ass. She hisses : CATWOMAN Do n't touch my tail. CATWOMAN pulls her WHIP from around her waist, FLICKS it in the air - Randy backs off. But Catwoman swings the whip so that the braided leather wraps repeatedly around his torso. She pulls him against her, clutches his butt - then PUSHES HIM AWAY, spinning him out on the whip like a top - his TROUSERS have been SHREDDED, the belt SLICED. His pants drop to his ankles, he stumbles back in his loud bikini underwear, losing his balance and falling. THE CROWD reacts, laughter. BOUNCER That's enough for one night, honey. HE LUNGES at her from behind, but she drops down and slithers out of his grasp - it's like she's vanished into thin air - then CATWOMAN rises behind him, plants a foot in his ass - - and boots him into the DJ'S STATION - CRASH! MUSIC STOPS. MORE CLUB GOONS appear from the back, approach angrily. CATWOMAN Guess the party's over. CATWOMAN springs upward, atop a BANK OF SPEAKERS. She moves with incredible agility, near the roof of the club, from the speakers to a LIGHT RIG - she leaps and grabs a MIRROR BALL, which SWINGS and deposits her close to the door.\",\n \"EXT. TRENDY CLUB - NIGHT CATWOMAN hurls open the front doors, kicks aside the velvet rope. She addresses the impatient CROWD : CATWOMAN C'mon in, wan na - bes! Free drinks! THE CROWD stampedes the door. Catwoman struts away down the sidewalk, recoiling the whip around her waist. A couple of CLUB GOONS make it past the throng. CATWOMAN, moving onto a highway OVERPASS, notes she's being pursued. She puts a hand on the railing, and casually VAULTS OVER - THE GOONS rush to the side, look out to see -\",\n \"EXT. HIGHWAY - NIGHT CATWOMAN strutting confidently down the narrow GUARDRAIL between the two directions of SPEEDING TRAFFIC. She could be out for an evening stroll, ignoring the SCREECHING BRAKES, HORNS, and STARTLED DRIVERS. She gives them a wave without bothering to look over her shoulder.\",\n \"EXT. TENEMENT ROOFTOP - NIGHT A CHICKEN - WIRE DOOR explodes open and a FLOCK OF PIGEONS ROCKETS OUT of a COOP AT CAMERA. CATWOMAN emerges in a CLOUD OF FEATHERS, brushing a few stray ones off her outfit, with a cat - that - ate - the - canary smile. She cocks her head, listening in different directions for a new source of amusement - snippets of VOICES, MUSIC, PLUMBING SFX, passing VEHICLES. it's like tuning a radio. Then she picks up a distant TINKLE of breaking GLASS -\",\n \"INT. JEWELRY STORE - NIGHT Dimly lit, an older, discount place. THIEF # 1 methodically breaks DISPLAY CASES with a wrapped hammer, snatches up the contents - necklaces, rings, etc.. - stuffing them into a BAG. As he moves, a SHADOWY FIGURE - CATWOMAN - moves with him, looking over his shoulder, close enough to touch but unseen. Each time he turns his head, she has just slinked out of his view - her timing is impeccable. THIEF # 2, with a SHOTGUN, stands guard over a blindfolded, bound - and - gagged NIGHT WATCHMAN. CATWOMAN appears on the periphery of his vision, but when he turns his head she's disappeared behind a case - she emerges on the other side just before he turns back. THIEF # 3 is at work on a LOCKED STEEL CASE of DRAWERS with a BLOWTORCH and TOOLS. CATWOMAN STEPS LIGHTLY across the CASE above him, he looks up - but there's nobody there. He returns to his work, gets the CASE open and pulls out a DRAWER revealing a RACK full of glittering DIAMONDS. CATWOMAN -LRB- O.S. -RRB- Oooh, pretty. THE THREE THIEVES spin, looking around - THIEF #1 Up there! THIEF # 2 aims his SHOTGUN at - CATWOMAN, perched on a narrow LEDGE at the ceiling moulding. She VAULTS down just as he FIRES, a SPRAY OF PLASTER. THIEF # 2 pumps his shotgun, looking around frantically. THIEF #2 What the hell was that?! CATWOMAN springs out from behind a DISPLAY CASE, gives Thief # 2 a roundhouse KICK in the head that sends the man into a wall, knocking him cold. THIEF # 1 pulls a HANDGUN, but the END OF THE WHIP wraps around it in a flash, yanks it from his hand. CATWOMAN SNAPS HER WHIP at Thief # 1 and Thief # 3, backing them into a corner. As she passes the tied - up GUARD, she uses her claws to SLASH his ropes. In time with WHIP CRACKS - CATWOMAN You boys - thought you could just barge - in here and take - all these beautiful things - that do n't belong to you. The guard quickly tears off his GAG and BLINDFOLD, untying his own feet, then picks up the fallen handgun and trains it on the thieves. We hear POLICE SIRENS APPROACHING. CATWOMAN meanwhile swiftly gathers up fallen jewels, sweeping them into the swag bag. She pauses for a moment, thoughtful. CATWOMAN -LRB- to herself. -RRB- What a lovely idea. With lightning speed, she vanishes out the back with the bag. THE GUARD, totally focused on the thieves, does n't even register she's gone. THIEF # 3 points - THIEF #3 Hey.\",\n \"EXT. JEWELRY STORE ALLEY - NIGHT CATWOMAN bounds out the exit, leaps atop BOXES, onto a window A/C UNIT, which totters with her weight, just as - AN UNMARKED SEDAN screeches to a halt, and TOM LONE leaps out, GUN ready. He trains it on CATWOMAN - LONE Freeze! CATWOMAN freezes. She blinks down at LONE, he's got a clean shot at her. She cocks her head, licks her lips. CATWOMAN You are cute. LONE blinks at this uncommon response to a pointed weapon, continues to play it by the book. LONE I'm a police officer! CATWOMAN Bet you look sweet in uniform. And such a big gun. LONE I, I - Come down here, now! CATWOMAN Obviously you do n't know much about cats. I come when I want, not when I'm told. With that, she SPRINGS to the rooftop - the force of her leap knocks the A/C free of the window, LONE has to dive out of the way as it CRASHES to the ground.\",\n \"EXT. ROOFTOPS/CITY STREETS - NIGHT CATWOMAN, silhouetted against the sky, is having a great time, leaping from building to building, scrambling across rooftops. POLICE SIRENS recede in the distance.\",\n \"EXT. ZOO - DAWN THE SUN is rising. PAN OVER a couple of GLITTERING JEWELS in the dirt. FIND CATWOMAN in the GOLDEN MORNING LIGHT, curled against what looks like a TIGER - SKIN PILLOW. She stirs and groans in her sleep, like someone waking with a hangover. She blinks and frowns at the SUNLIGHT. Where am I? She sits up and realizes - she was sleeping against the belly of the BENGAL TIGER, lying on his side in his sunken ENCLOSURE. CATWOMAN SHRIEKS and leaps to her feet, terrified, yanks OFF HER MASK. With the daylight, she's back to being plain old PATIENCE. She looks down in shock at her revealing outfit ; the swag bag is looped into the whip around her waist. She's awakened the TIGER. Patience lets out another frightened CRY as he eyes her, no longer recognizing her as a friend. The tiger GROWLS, gets to his feet menacingly, starts moving in for the kill. PATIENCE scrambles for a heavily LATCHED DOOR, which she frantically wrestles to open, getting through and SLAMMING IT just as the TIGER LUNGES -\",\n \"INT. EDNA'S HOME - KITCHEN - DAY A KITTEN pounces on a CAT TOY. PATIENCE - but this time, it was like the tiger wanted to kill me. MOVE TO FIND PATIENCE, seated at Edna's kitchen table, finishing her tale. She's in tight - fitting jeans, RIPPED along the sides, a cut - off top revealing her midriff. Safety pins hold the outfit together, but it looks good on her. EDNA is pulling out teacups, a TEAKETTLE on the burner. EDNA You were afraid - you became its prey. The tiger shredded your clothes? PATIENCE No, I did that myself. I mean, I remember doing it, but it was n't really - you know - me. God, I do n't understand what's happening. EDNA I'm not sure how to put this - it may be hard for you to accept - but I'm something of an expert in these matters - PATIENCE What matters? EDNA Vampirism, lycanthropy. feligyny. PATIENCE -LRB- lost. -RRB- Um. EDNA Feles, Latin for cat. Gynos, Greek for female. I'm a professor of folklore and mythology - that is, I used to be, until I was denied tenure. They said my work was frivolous, but it was an all - male department, and - well, it's a long, sordid story - PATIENCE Edna, please. Can we talk about me? EDNA Oh, yes. The other night. I think you may have. had an accident. A very serious accident. Fatal. PATIENCE -LRB- as if to a child. -RRB- But - I'm not dead. EDNA Not anymore, dear. After you died, you were reborn. As a catwoman. A dramatic WHISTLE. EDNA takes the TEAKETTLE off the stove. EDNA Mint or chamomile? PATIENCE is beyond speech - what Edna just said is impossible, and yet makes sense to her.\",\n \"INT. EDNA'S HOME - OFFICE - DAY PAN OVER PRINT - OUTS, PAPERS, open BOOKS. A HIEROGLYPHIC of a figure half - feline, half - female in a heavy TOME. EDNA The cult of catwomen dates back to Ancient Egypt, where felines were first domesticated. A SMALL CAT suddenly LEAPS INTO FRAME, staring UP AT CAMERA. EDNA, in her reading glasses, and PATIENCE are seated before the research material spread on her desk, cups of tea before them. Edna patiently removes the CAT. EDNA Excuse me, Cicero. ON PAPERS - a DRAWING of the TEMPLE OF BAST. EDNA The temple of the Catgod, Bast. A Persian army destroyed it in the fifth century BC. EDNA's tone is sad, as if this memory were fresh and painful. EDNA Legend has it that the priestesses became the first catwomen. The cats they'd worshipped - Midnight's ancestors - each gave up one of its nine lives to bring them back from the dead. ON A BOOK, images of MEDIEVAL WITCHES with their cats. EDNA In the middle ages, cats and catwomen were regarded as evil. Nonsense, of course, witches were just single, independent women who broke society's rules. EDNA passes Patience - A BLACK AND WHITE print - out of a blurry SURVEILLANCE SHOT of SELENA KYLE, as seen in `` Batman Returns.'' EDNA There were reports of a catwoman a while back on the East Coast - like many, she turned to a life of crime - but apparently she's disappeared or died. PATIENCE studies the photo. PATIENCE How many have there been? EDNA No one can be sure. I've found references scattered through history, but catwomen tend to lead solitary, secretive lives. Hard to blame them, it seems most were murder victims. PATIENCE has heard enough. She rises, freaked out. PATIENCE I was murdered? Why would anybody kill me? No, I never did anything to. I do n't want to break the rules! She moves out of the room, Edna follows.\",\n \"INT. EDNA'S HOME - LIVING ROOM - DAY PATIENCE paces, EDNA looks on sympathetically. PATIENCE She's like some demon, possessing me in the night, but - but I can keep it under control during the day - EDNA Well, cats do sleep most of the day - PATIENCE When she takes over - it's like, she just does whatever she feels like, she does n't care what people think - EDNA Is that so bad? PATIENCE You do n't understand - I'm afraid she's going to hurt someone - or get me killed. Again. PATIENCE is near tears. EDNA puts her arms around her. PATIENCE There's got to be a way to make it stop. Some kind of, I do n't know, garlic or wolfsbane or something. EDNA -LRB- thinking. -RRB- A domestic cat can return to its natural state effortlessly. But once a cat's gone feral, it can never be tamed. PATIENCE Okay. that is n't helping. EDNA pulls back, looks Patience in the eye. EDNA Relax a little, learn to live with your inner cat. Even love her - she has many admirable qualities - integrate her into your life. If you accept the darker impulses, try to channel them - maybe she'll come to be domesticated - PATIENCE No. I'm going to fight her. I'm stronger than she is - EDNA But you're only fighting yourself - PATIENCE - and I'm going to win. Patience heads out the door. Edna shakes her head ; Patience is n't getting it.\",\n \"EXT. JEWELRY STORE - DAY POLICE TAPE across the entrance to the storefront. PATIENCE approaches warily, looking around to make sure no one's watching, nervous as hell. She sees an elderly JEWELER and a UNIFORM COP through the window. Patience withdraws a PAPER BAG from under her coat. She drops this beyond the police tape, KNOCKS on the door and RUNS. THE JEWELER comes out, looks down on the ground. He picks up the bag - and sees the word `` SORRY!'' written on the paper. Opening the bag, he finds - THE DIAMONDS AND JEWELS that Catwoman stole.\",\n \"EXT. PATIENCE'S BUILDING - ALLEY - DAY PATIENCE comes out of a back door of her building with a GARBAGE BAG, still looking around nervously, moving toward the dumpster in the alley. She tosses in the bag - ANGLE IN DUMPSTER, the BAG spills open to reveal pieces of the CATWOMAN OUTFIT. PATIENCE moves back for the door - LONE -LRB- O.S. -RRB- We've got to stop meeting like this. She spins to see TOM LONE approaching from his sedan, parked in a LOT off the alley. PATIENCE is wary of him now, but he seems casual, smiling. She glances at the dumpster anxiously, he follows her sight - line, snooping as always. LONE Doing some spring cleaning? PATIENCE Emptying the catbox, actually. LONE quickly takes a step back from the dumpster. LONE So - that was a. surprising message you left for me. PATIENCE -LRB- embarrassed. -RRB- Oh, well, uh - musta been my cold medication talking. She sniffles and coughs unconvincingly. LONE Well anyway, if you still wanted to get together - maybe we could get a bite to eat Friday night? PATIENCE pretends to think it over. PATIENCE Yeah, maybe.\",\n \"INT. PATIENCE'S APARTMENT - DAY PATIENCE dances with MIDNIGHT, overcome with joy. She holds the cat at arm's length, sings a TUNE of her own making : PATIENCE Tom Lone, Tom Lone, I called him on the phone - now I wo n't be alone - THE CAT is n't enjoying this, squeals and squirms free. Patience's smile fades a tick. PATIENCE It was Catwoman who made the call. What's he ever gon na see in me? MIDNIGHT has turned his butt to her, tail TWITCHING angrily. PATIENCE glances OUT THE WINDOW to glimpse - LONE, who's just entering his apartment. PATIENCE quickly CLOSES THE BLINDS.\",\n \"INT. AVENAL HQ - SHOWROOM - DAY THE DOOR OPENS and PATIENCE enters. She keeps her head down, not wanting to be noticed. SALLY spots her, follows her through the showroom toward the elevators. SALLY Patience, what are you doing here? PATIENCE Just came by to clean out my desk. SALLY -LRB- studying her. -RRB- Hm. Did you dye - PATIENCE -LRB- alarmed. -RRB- What? SALLY - your hair. You look different somehow. Cooler. Patience shakes her head, uneasy. SALLY Are you going to the funeral? -LRB- peering at her. -RRB- I know, tinted contacts. PATIENCE -LRB- shakes her head. -RRB- What funeral? SALLY You did n't know? Dave Berger, your boss - his whole place blew up, gas explosion, the night you got fired. PATIENCE -LRB- reeling. -RRB- Oh my God. SALLY Yeah, life's short, huh. -LRB- snaps her fingers. -RRB- The hottie neighbor! That glow, you're getting some, are n't you? Patience reaches the door to the elevators, waves Sally off and vanishes. Sally grins, figuring she's got it right.\",\n \"INT. AVENAL HQ - ACCOUNTING BULLPEN - DAY A GARFIELD TOY lands atop XEROXED CARTOONS and personal PAPERS in a CARDBOARD BOX. PATIENCE is cleaning out her cubicle in the office. Noticing a flashing LIGHT on her phone, she hits a MESSAGE BUTTON and picks up the receiver. BERGER -LRB- V.O. -RRB- -LRB- filter. -RRB- Patience, it's Dave. She winces at this voice from the grave, casts a sad glance toward his empty office. BERGER -LRB- V.O. -RRB- I called the CEO about your YP - 3 numbers - Avenal went ballistic. I'll have to redo the spreadsheets, you must've screwed up somewhere. PATIENCE -LRB- a whisper. -RRB- Like hell. COMPUTER VOICE -LRB- V.O. -RRB- End of final message. Patience absorbs this a moment, then sits down and TURNS ON her COMPUTER with a PING. ON PATIENCE'S COMPUTER SCREEN - the words, `` YP - 3 PROJECT,'' text and the names of a few PEOPLE in charge. PATIENCE leans forward, reading quickly, quietly to herself. PATIENCE ` Miracle ingredient in Beaunique. just a drop makes wrinkles vanish, blah blah blah.' But what is it? Patience types away, focused on the screen, finds something. We see the name IVAN NEVSKI. PATIENCE Dr. Ivan Nevski, in charge of development. -LRB- types. -RRB- Huh, not in the company directory. QUICK CUTS as she types the name into a GLOBAL SEARCH BOX, reaches a HEAD SHOT of NEVSKI, a SITE in CYRILLIC LETTERING. She finds a TRANSLATION LINK. As the lettering changes to ENGLISH, we go CLOSE on key phrases : `` SOVIET DEFENSE,'' `` SECRET RESEARCH,'' `` CHEMICAL WEAPONS,'' `` BACTERIAL WARFARE.'' PATIENCE sits back, baffled and disturbed.\",\n \"INT. PATIENCE'S APARTMENT - EVENING PATIENCE is sitting up in bed, reading a BIOCHEMISTRY TEXT, PRINT - OUTS and RESEARCH MATERIAL around her. She YAWNS, squirms - something is coming over her. Her eyes pop open. PATIENCE No. Oh no, not again. SPASMS wrack her body, her back arches, she keeps fighting it, clenching her fists, struggling for control. ON HER HANDS, her own CLAWS are drawing BLOOD from her palms.\",\n \"EXT. PATIENCE'S BUILDING - ALLEY - NIGHT A GLOVED HAND grips the edge of the DUMPSTER - then CATWOMAN vaults over the side, lands on her haunches, ready to rumble. Her outfit has a banana peel stuck to it. She wrinkles her nose, plucks this off, CLUCKING her tongue. She turns to MIDNIGHT, prowling nearby. CATWOMAN That girl has got to go. She glances up toward Lone's WINDOW - lets out a sexy GROWL - and SPRINGS UP the fire escape.\",\n \"INT. LONE'S APARTMENT - NIGHT CATWOMAN SCRATCHES at the window. the place is DARK, no response. She PUNCHES out a pane of glass and slithers in. CATWOMAN Boy, you do n't know what you're missing. She moves through the dimly lit, Spartan environment, able to see easily in the dark. She runs a CLAW over the strings of a GUITAR, finds a discarded button - down SHIRT, slips it on. She narrows her eyes when she finds a FRAMED PHOTO - CLOSE - TOM LONE with his arm around a pretty GIRL. Letting out a GROWL, CATWOMAN slashes out the girl's face. IN THE BATHROOM, she opens the medicine chest, picks up men's toiletries. Finding a bottle of COLOGNE, she sprays it in the air and sniffs, then makes a face, looking at the bottle - CLOSE ON BOTTLE - `` MACHISMO. by AVENAL.'' CATWOMAN Avenal. MOVE IN ON CATWOMAN'S FACE.\",\n \"INT. CATWOMAN'S HEAD (MEMORY MONTAGE) Impressionistic POV FLASHBACKS, V.O.s overlapping, echoing, repeating. all snippets of previously heard dialogue. POV - GEORGES AVENAL, chewing Patience out in the ELEVATOR. EDNA -LRB- V.O. -RRB- Most catwomen were murder victims. PATIENCE -LRB- V.O. -RRB- I was murdered? POV - the MERCEDES COMING AT CAMERA. This time we follow through on the moment of IMPACT - CAMERA FLIES THROUGH THE AIR, HITTING the ground hard. PATIENCE -LRB- V.O. -RRB- Why would anybody kill me? BERGER -LRB- V.O. -RRB- YP - 3. YP - 3. POV - from PATIENCE, lying on the street. HER BLURRING VISION drifts toward the MERCEDES, a SILHOUETTED FIGURE behind the wheel, seen from behind. BERGER -LRB- V.O. -RRB- Avenal went ballistic. POV - ANGEL comes out of the car, LOOMS over Patience. GEORGES -LRB- V.O. -RRB- I have no choice. POV - GEORGES on the elevator, staring INTO CAMERA. ANGEL is right behind him, looking menacing as usual. GEORGES You've got to go.\",\n \"INT. LONE'S APARTMENT - NIGHT SMASH! CATWOMAN throws the COLOGNE BOTTLE against the wall.\",\n \"EXT. AVENAL MANSION - NIGHT A sprawling MANSION, dark for the night, an `` A'' in iron scroll - work over the gate. FIND a SECURITY CAMERA, trained on the area in front of a ten - foot WALL. MIDNIGHT suddenly leaps onto the wall, blocking and batting at the CAMERA LENS. WIDER, CATWOMAN, now out of the camera's view, LEAPS up the side of the wall and lands on all fours atop it. AT THE SIDE OF THE MANSION - CATWOMAN scrambles up a trellis toward a second - story window. She leaps to the ledge, crouches, peering in. CLOSE as a razor - sharp CLAW emerges and CUTS a CIRCLE into a PANE OF GLASS.\",\n \"INT. AVENAL MANSION - HALLWAY - NIGHT The CIRCLE OF GLASS pops out and lands on soft CARPET. CATWOMAN reaches her arm in, unlatches the window, and swings inside into the darkness. CATWOMAN moves stealthily, crouching, senses alert. HER POV - CATVISION The dark hallway GLOWS. An amplified NOISE from a distance. SNORING. ON CATWOMAN'S HANDS Her NAILS emerge from her gloved fingertips, ready to rumble. CATWOMAN rounds a corner toward a large formal staircase that wraps around a huge chandelier. She nears a door which is slightly ajar, pushes it open silently and enters -\",\n \"INT. AVENAL MANSION - BEDROOM - NIGHT HER POV - CATVISION, nearing a huge, curtained CANOPY BED. CATWOMAN slashes the curtain aside, to reveal - TIPPY THE LAP DOG, curled up in the center of the otherwise unoccupied bed, SNORING away. The dog awakens, raises its head, and starts BARKING FURIOUSLY. CATWOMAN hisses at the creature. It cringes and shivers, seeking cover beneath a pillow.\",\n \"INT. AVENAL MANSION - HALLWAY & FOYER - NIGHT As CATWOMAN comes out of the bedroom, a FIGURE emerges from the darkness swinging a GOLF CLUB - WHAM! She's struck hard in the back and the head - she topples forward, ROLLS DOWN THE STAIRS. She hits a LANDING, curled up, dazed, clutching her skull. LIGHTS COME ON - LAUREL looks down at her from the top of the stairs, wearing silk pajamas, golf club in hand. She descends cautiously, club raised. LAUREL tentatively pokes at the prone, black - clad Catwoman with her foot. CATWOMAN instantly SPRINGS UP. As Laurel starts to bring the club down, Catwoman grabs it and yanks it away, hurling it into the foyer below, then grabs LAUREL and slams her against the wall. Laurel seems utterly terrified - LAUREL Oh God, please - please do n't hurt me! CATWOMAN studies the frightened woman, easing her grip. Laurel drops the act, and with a martial arts SHRIEK drives a KNEE and a FIST into Catwoman in rapid succession - CATWOMAN flies over the banister, grabbing a hold of the chandelier. It swings in the open foyer - THE CHAIN creaks ominously, starts to rip from the ceiling - CATWOMAN snaps the whip around an upper BALUSTRADE, just as - THE CHANDELIER rips loose from the ceiling. As it CRASHES to the ground, CATWOMAN swings back at LAUREL and - KICKS HER in the chest. LAUREL goes down hard on the stairs. CATWOMAN stands over her. LAUREL looks up at her, outraged. The two women are of similar size and shape, well - matched. LAUREL That was Venetian crystal, you bitch - LAUREL launches a karate KICK at her, CATWOMAN deflects it, lands a blow of her own. CATWOMAN A bitch is a dog. The two engage in martial arts combat, moving down the stairs into the marble foyer. They exchange lines between BLOWS : CATWOMAN You're tougher than you look. LAUREL Took classes when I was modeling in Hong Kong. -LRB- lands a good one, then :. -RRB- Damn it, I broke a nail. She's a skilled fighter, but CATWOMAN is faster, more nimble, able to avoid her attacks. Laurel suddenly pauses, looking winded, ready to give up the fight. CATWOMAN Had enough? LAUREL -LRB- nods, eying her outfit. -RRB- Is that a Gaultier? Catwoman looks down at her clothes, giving Laurel the chance to grab a VASE OF FLOWERS, which she hurls at her - IT SHATTERS, soaking Catwoman. She shakes off water. CATWOMAN I hate water. Suddenly enraged, she lunges toward LAUREL, who hits the ground - but CATWOMAN springs over her head, up to the landing where the LAPDOG yaps. She snatches it up by its collar, bares her CLAWS near its face. THE DOG shuts up, petrified. LAUREL No, please - not Tippy! CATWOMAN Where's your husband? A BEAT as Laurel takes this in. She lets out a little laugh. LAUREL Georges? Why did n't you say you wanted him in the first place? CATWOMAN slowly puts the dog down, it scampers upstairs. LAUREL You one of his girlfriends? CATWOMAN springs back down, shoves Laurel against a wall, flexing her CLAWS. CATWOMAN I do n't belong to anybody. LAUREL Not my face, not my face! CATWOMAN If I ca n't get to Georges, I can at least scratch up something he loves - LAUREL Georges does n't love me! I do n't know if he ever did - CATWOMAN How sad. I'd cry if I cared. LAUREL He never took me seriously, I was just a, a trophy. And now he's bored, he found himself a new toy - CATWOMAN I've heard this story before. Where is he? LAUREL -LRB- thinking frantically. -RRB- He never comes home anymore - I, I know he's got a box for the ballet Friday night - CATWOMAN I ca n't wait that long. I want him now. LAUREL I swear I do n't know where he is, he's left me! Oh God, my career is in the toilet, my whole life is over - go ahead, tear me to pieces - LAUREL is beginning to get hysterical. Catwoman lets out a frustrated GROWL and lets go of her, this is useless. She starts for the door, Laurel sniffs back tears then follows. LAUREL Wait. try the factory. I think that's where he meets Drano, his new mistress. CATWOMAN I'll check it out. LAUREL What do you want with him, anyway? CATWOMAN It's personal. LAUREL Are you going to kill him? CATWOMAN Depends on my mood. LAUREL I'll pay you to kill him. CATWOMAN -LRB- surprised, impressed. -RRB- And here I thought you were just some brain - dead mannequin - LAUREL I'll even give you a lift, if you'll let me watch - CATWOMAN Sorry, I work alone. But I like your attitude. Catwoman disappears into the night. LAUREL looks after her admiringly.\",\n \"INT. AVENAL FACTORY - GEORGES' OFFICE - NIGHT MOOD MUSIC plays, GEORGES is on the sofa, in a silk robe, beside DRINA. Drinks are on hand, Georges is attempting to neck with her. She pays him no mind, a remote in hand, rewinding a VIDEO that plays on a plasma SCREEN. ON TV, IMAGES OF DRINA dissolve into each other quickly - she DANCES IN A BALL - GOWN, CHAIRS a CORPORATE BOARD MEETING, finally pulls into the winners' circle in a FORMULA RACE CAR, pulls off her helmet and shakes her hair out. ANNOUNCER -LRB- V.O. -RRB- Discover the fountain of youth. in a jar. Beaunique by Avenal. DRINA hits pause, wrinkles her nose. DRINA I look fat. GEORGES We'll shoot another. Georges moves in on Drina, as the CAMERA discreetly pans to the WINDOW over the factory.\",\n \"INT. AVENAL FACTORY - NIGHT A small crew of NIGHT WORKERS wearing JUMPERS and PAPER MASKS tend the elaborate industrial MACHINERY, it's DEAFENING here. SWIRLING GOO the color of HUMAN SKIN PUMPS through PLASTIC PIPES into a huge SEALED VAT. RAINBOWS of NAIL POLISHES squirt out of NOZZLES into BOTTLES. LIPSTICK STICKS screw down into their TUBES and are CAPPED on CONVEYOR BELTS. OVERHEAD, amidst DUCTING and PIPES, CATWOMAN is on the move. HER CLAWS rake across a row of RUBBER TUBES, which spray multi - colored FLUIDS. HER GLOVED HANDS spin hydraulic VALVES. HER BOOT kicks a CONVEYOR BELT WHEEL, twisting it sideways - the BELT JAMS, SMOKE rises from the clogged gears. A PANEL slides open over a bank of SWITCHES and WHACK - IT buttons. Her gloved fingers start HITTING THEM at random. WITH A WORKER DRONE, CLICKING a hand counter by rote as CASES of neatly - packed jars of NAIL POLISH pass by his station. The man is half - asleep. A CASE COMES BY, a bit crooked on the belt, which is beginning to VIBRATE. The next CASE is missing half its bottles. An ALARM BLEEPS, RED LIGHTS FLASHING in b.g.. The next CASE is filled with BROKEN GLASS, DRENCHED in NAIL POLISH - it gets his attention. He THROWS LEVERS to stop the belt. WIDER, THE FACTORY is in CHAOS. STEAM shoots out of PRESSURE TUBES, COLORED LIQUIDS bubble out of overflowing TANKS, FACE POWDER sprays into the air from a disconnected HOSE. WORKERS dash about frantically, SHOUTING and PANICKED.\",\n \"INT. AVENAL FACTORY - GEORGES' OFFICE - NIGHT THE CHAOS in the factory is clearly visible through the window, but GEORGES ca n't hear a thing - he and DRINA are groping each other on the couch now. A nearby INTERCOM is BUZZING, Georges finally pushes a talk button, angry. GEORGES This had better be import - oh my God. He's now looking out the window at the CHAOS below.\",\n \"INT. AVENAL FACTORY - NIGHT The MACHINERY is off now, but the place is a wreck, CLOUDS of STEAM and POWDER, RIVERS of NAIL POLISH on the floor, etc.. A handful of panicking WORKERS struggle to shut down a large DISTILLATION VAT, which RUMBLES ominously. SECURITY GUARDS are pouring in, one speaks rapidly into a WALKIE - TALKIE, looking upwards as he climbs stairs to a network of catwalks overlooking the factory. WALKIE-TALKIE Better stay in your office, sir, keep the door sealed. The saboteurs may still be on the premises. GEORGES -LRB- V.O. -RRB- -LRB- filter. -RRB- Who is responsible for this?! As if on cue, CATWOMAN LEAPS down from above, planting a KICK in the man's back - the walkie - talkie flies from his grasp, she catches it in mid - air, holds it to her lips. CATWOMAN That would be me, Georgy boy. ANGLE THROUGH WINDOW, WITH GEORGE, looking down on the ruined factory as Catwoman appears on a catwalk just below the window, strutting her stuff, speaking into the walkie - talkie. CATWOMAN Come out of your hole, let's have some fun. NUMEROUS GUARDS are approaching from various directions, moving to surround Catwoman. GEORGES Are you crazy?! Who are you? Catwoman CRACKS her WHIP. CATWOMAN A kitten with a whip. You like my makeover? I even had my nails done - As the guards near, she drops the walkie - talkie, LEAPS and WRAPS the WHIP around a PIPE above the WINDOW, SWINGING right past George, CLAWS EXTENDED - - LEAVING FIVE SCRATCH MARKS in the glass right in front of his face. He jumps backwards instinctively. She lands on a catwalk, near more GUARDS. They move in brandishing NIGHTSTICKS. HIGH - ANGLE as the guards surround CATWOMAN - no easy escape. GUARD Here, kitty kitty. CATWOMAN bares her teeth, lets out a menacing HISS. A NIGHTSTICK swings at her, she easily dodges the blow, bending backwards in a way impossible for a mere mortal. Another guard SWINGS at her, she grabs the end of the nightstick and pulls him toward her, snatching a can of MACE off his belt and BLASTING him in the face with it. He's blinded, lets out a cry as she tosses him aside. THE OTHERS come at her at once. CATWOMAN plays them against each other, LEAPING and DODGING, landing KICKS in their CHESTS, leaving Zorro - like SCRATCH MARKS across their uniforms whenever she gets the chance. WITH GEORGES and DRINA, awed by the martial arts display. DRINA Find out where she got those boots. Georges shakes his head, seething. WITH CATWOMAN, A FIST comes at her face, she twists her head, SINKS HER TEETH into the attacker's wrist, BONE CRACKS. BITTEN GUARD Ow! You fight like a girl! CATWOMAN Duh. So saying, she shoves another GUARD into the path of a swinging STICK, which knocks him unconscious. She SOMERSAULTS over the heads of the remaining attackers, she's about to get away when GEORGES' VOICE erupts over a PA.. GEORGES Just shoot the bitch! BLAM! BLAM! BLAM! ANGEL has appeared on the catwalk, brandishing a HANDGUN, FIRING wildly. CATWOMAN dodges and dives from the catwalk, landing - - on her feet on a narrow PIPE below, one amongst several. She moves quickly, leaping easily from pipe to pipe - ANGEL'S BULLETS barely miss her, RICOCHETING, causing GUARDS and WORKERS below to dive for cover. One BULLET STRIKES the rumbling DISTILLATION VAT - CATWOMAN I'm not finished with you, Georgy! So saying, she dives into a large DUCT leading downward.\",\n \"INT. AVENAL FACTORY - DUCT - NIGHT CATWOMAN rockets downwards, BULLETS PERFORATE the DUCT WORK just behind her.\",\n \"INT. AVENAL FACTORY - NIGHT THE VAT EXPLODES UPWARD like a VOLCANO, DRENCHING ANGEL and the GUARDS with FLESH - COLORED FOUNDATION.\",\n \"INT. AVENAL FACTORY - BASEMENT - NIGHT DARKNESS, A GRILL EXPLODES from the ceiling with CATWOMAN'S IMPACT, she topples through and lands on a TABLE of GLASSWARE, which UPENDS, we hear GLASS SHATTER. CATWOMAN is instantly on all fours on the ground, breathing hard. She moves through the dark room, becoming aware of - HUNDREDS OF GLEAMING EYES. CATWOMAN flips on a WALL - SWITCH - - revealing GLASS - WALLED CAGES containing SQUEAKING BLACK RATS. CATWOMAN instinctively HISSES and SWIPES A CLAW in their direction - they shrink back from the glass. MANY HUGE DRUMS stenciled `` YP - 3'' are stored against a far wall, near HOODED CLEAN SUITS and BIOHAZARD SIGNS. CATWOMAN spots a LIST of names and numbers on a bulletin board. She snatches this, studying it - CLOSE - the name IVAN NEVSKI, with an ADDRESS and NUMBER.\",\n \"EXT. VICTORIAN DUPLEX - NIGHT Neatly kept, colorful architecture. CATWOMAN moves down sloping eaves and swings into a turret window.\",\n \"INT. NEVSKI'S APARTMENT - NIGHT CATWOMAN moves stealthily inside the dimly lit place. It's upscale, expensively furnished. She scans the room, sees - NEVSKI, his back turned, apparently dozing in a desk chair. CATWOMAN spins him in his chair to confront him - CATWOMAN Ivan Nevski - His head tilts back - she's face - to - face with a CORPSE, he's been shot a couple of times in the chest. He's bluish, eyes glazed - very dead. CATWOMAN -LRB- annoyed. -RRB- You're no help. She SNIFFS the air, turns toward - - a SMOLDERING FIRE in the FIREPLACE. Catwoman moves toward this, studies the ASHES and BURNED PAPERS, then reaches in and snatches out - - the REMAINS of a TEXTBOOK. The cover reads `` YERSINIA PESTIS - A NATURAL HISTORY.'' The book is hot to the touch, she DROPS it, studies it. CATWOMAN Yersinia Pestis. YP. A SINGED NEWS CLIPPING protrudes from between the pages, she plucks this out. CLOSE - `` BUSINESSMAN DENIES TERRORIST LINK,'' with a PHOTO of XAVIER BARTOK, his name in the caption below. CATWOMAN is reading, absorbed, when - THE FRONT DOOR swings open - A UNIFORM COP and a LANDLADY with a ring of keys step inside - LANDLADY Dr. Nevski, are you all - aah! They see CATWOMAN. She HISSES, bolts for the window and vanishes while the COP still fumbles for his gun.\",\n \"INT. ARMS CACHE - DAY Lush vegetation and tropical sunlight through walls of netting in this immense camouflage tent. CAMERA MOVES PAST racks of AIR - TO - AIR MISSILES, RPGs, a JET FIGHTER and a large military CARGO CHOPPER. XAVIER BARTOK, a well - dressed, heavyset man with a CIGAR in his mouth, accompanied by a couple of BODYGUARDS, is showing off a crate of AUTOMATIC WEAPONS to a couple of REBELS in combat fatigues. They speak in rapid SPANISH, examining the guns, sighting them, etc.. XAVIER excuses himself to answer a ringing CELL PHONE. He speaks with a vague European ACCENT. XAVIER -LRB- V.O. -RRB- -LRB- on phone. -RRB- Acquisitions -\",\n \"INT. AVENAL FACTORY - DAY WESLEY is on his cell phone on the main FACTORY FLOOR. The place is a WRECK, as WORKERS clean up the mess Catwoman made. WESLEY -LRB- V.O. -RRB- -LRB- on phone. -RRB- This is supply. There's been a slight complication, my employer wishes to move up the exchange - tomorrow night. XAVIER -LRB- snorts. -RRB- Impossible - there are issues of transport, available funds - WESLEY We're willing to adjust the price. But if you ca n't pick up the goods tomorrow, we'll have to take our business elsewhere. XAVIER This is n't your first ` complication.' WESLEY unlocks a door to -\",\n \"EXT. LOADING DOCK - DAY A FREIGHT ELEVATOR rises to reveal MANY CANISTERS of YP - 3. WESLEY waves to ANGEL at the controls of a FORKLIFT - Angel still has dried flecks of MAKE - UP on his skin. He pulls forward, ready to load the YP - 3 into a waiting TRUCK. WESLEY -LRB- V.O. -RRB- -LRB- on phone. -RRB- It'll be eliminated, like the others. We just do n't want to take any chances.\",\n \"INT. PATIENCE'S APARTMENT - DAY ON TV, AN ARTIST'S RENDITION of CATWOMAN, made to look far more menacing and mean. NEWSCASTER -LRB- V.O. -RRB- Catwoman has struck again - FOOTAGE of a sheet - covered CORPSE being wheeled out of Nevski's duplex. A BANNER : `` CRIME BREAK,'' a LOCAL NEWS LOGO. NEWSCASTER -LRB- V.O. -RRB- This costumed criminal has now added murder to her resume of mischief and mayhem. REVERSE ANGLE - PATIENCE, sprawled on the couch in baggy sweat - clothes, reacts to this with a stunned expression. ON TV, `` NEWS VIDEO'' of SANDY from the club. SANDY -LRB- V.O. -RRB- - she attacked us for no reason! And her outfit, I mean, that whole S & M thing is so 90s - THE DOORBELL RINGS, PATIENCE moves to answer, attention still on the TV. She throws the door open quickly - TOM LONE takes a step backward, hands up defensively. LONE Just me - PATIENCE Oh my God. Our date. LONE -LRB- amused. -RRB- Way to cover. Patience looks from Lone to the TV behind her - NEWSCASTER Catwoman. Who is she? PATIENCE quickly grabs a remote and FLIPS OFF the TV. She then looks back at Lone, remembering. PATIENCE I - I'll only be a minute. She quickly grabs some clothing, darts toward the bathroom. At the last moment she spots the CAT MASK on the floor and - - KICKS it UNDER THE COUCH as she moves into the bathroom. LONE steps inside, can see his apartment across the way. He calls through the half - open door as she changes : LONE By the way, last night - you did n't happen to see or hear anything - my apartment was broken into. PATIENCE -LRB- O.S. -RRB- No, sorry - I never look out the window. LONE Weird, they did n't take anything, just broke a bottle of after - shave and slashed a picture of my sister. WITH PATIENCE, getting dressed. She smiles, delighted. PATIENCE Your sister, that's -. -LRB- catching herself. -RRB- - really a shame. LONE has moved to the kitchen table, where the numerous RESEARCH BOOKS and HANDWRITTEN NOTES are spread out. ANGLE ON BOOK - A diagram of a BACTERIA, a drawing of a RAT, the entry `` YERSINIA PESTIS.'' LONE What's Yersinia Pestis? PATIENCE -LRB- O.S. -RRB- Bubonic plague. LONE Bubonic plague? Why are you -? ON PATIENCE as she exits the bathroom, looking good. PATIENCE It's sort of a hobby of mine. She trails off, stopping in her tracks as she sees LONE, who's holding up her WHIP with a dubious expression. PATIENCE -LRB- off - handedly. -RRB- Oh, I had kind of a kinky boyfriend once. PATIENCE takes the whip and casually tosses it aside, but Lone's suspicions are fully aroused. PATIENCE Where should we eat? LONE I dunno. you like sushi?\",\n \"INT. SUSHI BAR - DAY A WAITER comes through a BEADED CURTAIN, passing LONE and PATIENCE seated nearby, drinks before them. The curtain RATTLES after him, distracting PATIENCE. LONE So what've you been up to lately? PATIENCE Me? Oh. Not much. You know, sitting around my apartment, watching television. As she speaks, she involuntarily BATS like a kitten at the swinging CURTAIN. LONE Really? PATIENCE Is that so hard to believe? What about you? LONE Catwoman. Patience starts, folds her hands in front of her. LONE It's the case I've been working on. PATIENCE Oh yeah. I guess I heard about it. LONE I'm not surprised. Talk about your media circus. PATIENCE Well, she is interesting, is n't she? Kind of a. colorful character? LONE She's a thief and a killer. PATIENCE -LRB- heatedly. -RRB- I do n't believe that. -LRB- covering. -RRB- I mean - whatever happened to innocent until proven guilty? LONE seems a little taken aback at her vehemence. Just then, a JAPANESE WAITER places a HUGE TRAY OF SUSHI between them. PATIENCE Guess I went a little crazy ordering. LONE It's refreshing. A lot of women wo n't let a man see them eat. PATIENCE Right, then we go home and binge on Haagan - Dazs. During the following, Lone meticulously mixes soy sauce and wasabi, uses chopsticks, etc.. Patience simply peels the fish off the rice and pops it in her mouth, as if eating potato chips, then licking her fingers like a cat licking its paw. LONE You do hide things, do n't you. You may seem all sweet and shy, but you've got a secret wild side. PATIENCE Women in general, you mean. LONE Right. Women in general. -LRB- watching her reaction. -RRB- You know, I actually saw Catwoman the other night. From a distance. Goofy costume. PATIENCE Really? I heard it was. sexy. LONE In a way. PATIENCE So it could be sexier. with what, maybe a wide belt? LONE Why so interested? PATIENCE You brought it up. LONE studies her for a few seconds. He seems on the verge of saying something important. But instead : LONE You want that toro? LONE is already reaching for another piece of sushi - with lightning reflexes, PATIENCE grabs his hand to stop him - he looks up at her, surprised. She backs off with a smile : PATIENCE No no, it's yours. She eyes the fish hungrily as he eats it.\",\n \"EXT. RIVERSIDE AREA - DAY LONE and PATIENCE walk close together, near the water. LONE Gon na have to get back to the station, I'm working nights. PATIENCE Catwoman again? LONE Afraid so. But I have a feeling she'll be in custody within the week. PATIENCE -LRB- alarmed. -RRB- Why do you say that? LONE Individuals who feel compelled to act out through an animal alter - ego - bats, birds, bugs, there have been a number of cases in other cities - they catch themselves. Take too many risks, think they can play with the cops. See, they like to be watched. He's staring right at her now. Patience looks away. HER POV - THE SUN GETTING LOW, vanishing behind a cloud. CLOSE, PATIENCE'S PUPILS become ELLIPTICAL for a blink. LONE pauses, standing close. LONE Sorry. Seems like all I can do is talk about work. PATIENCE spins on him, a glint in her eye. PATIENCE So stop talking. So saying, she throws her arm around his neck, the other around his back, pulls him close for a KISS. Lone takes only a moment to respond - it's a good one - until - CLOSE ON LONE'S BACK as her CLAWS involuntarily emerge, tearing right through his shirt and an inch down his back - LONE jerks away, looking back over his shoulder - LONE Ow! PATIENCE clutches her hands to her face, horrified at what she's done, starts backing away - PATIENCE I'm really sorry, I do n't know what got into me, I - I've got to go. She's on the run. A moment later, the surprised Lone pursues, rounding a corner. LONE Patience, wait - But she's already vanished.\",\n \"INT. EDNA'S HOME - LIVING ROOM - DUSK PATIENCE is breathing hard, blinking rapidly, as she paces Edna's floor. Edna follows nervously, trying to calm her. PATIENCE It's happening, it's happening again. It's not even dark yet - you said she could only come out at night! EDNA I did n't say that! Patience, you made these rules up yourself - a cat is a cat 24 hours a day, they just go hunting at night - PATIENCE And she's after Georges Avenal - if she finds him, she's going to kill him, I know it - EDNA Stop talking about her like she's someone else! She's you! A beat - Patience is in denial about this. PATIENCE Edna, you've got ta. tie me up or something, lock me in the attic - EDNA I do n't have an attic - PATIENCE A closet, the pantry, something! Please. we have to keep the cat in tonight.\",\n \"EXT./INT. EDNA'S HOME - STORM CELLAR - NIGHT EDNA stands in the opening of the angled storm cellar doorway, looking down the stairs sadly. EDNA Sure you do n't need a blanket, dear? ON PATIENCE, at the foot of the stairs in this cold, dank space, hugging herself, rocking back and forth. PATIENCE Just. lock. the door. Edna quickly CLOSES the door, throws a BOLT. It's extremely DARK down below. Patience starts to pace. We see her features contort with pain as she fights this interior battle. During this monologue, her voice becomes huskier, more Catwoman - like. PATIENCE I'm not a bad person. I'm not a killer. I'm not evil. not like Georges Aaavenal. His name becomes a harsh GROWL. She fights to get a grip. PATIENCE He's a murderer. he did this to me. it's all his fault. Her eyes FLICKER, elliptical for a moment - PATIENCE/CATWOMAN He has to die.\",\n \"INT. EDNA'S HOME - LIVING ROOM - NIGHT AN UNEARTHLY HOWL ECHOES throughout the place from heater vents in the floor. In response, THE CATS go nuts - prowling, pacing, bouncing off the walls, picking up the CRY.\",\n \"INT. EDNA'S HOME - DINING ROOM - NIGHT EDNA sits at her table over a simple meal, attempts to read a CAT FANCY MAGAZINE, but it's pretty hopeless. She shuts her eyes, covers her ears.\",\n \"EXT. EDNA'S HOME & NEIGHBOR'S HOME - NIGHT The sour NEIGHBOR pokes her head out an OPEN WINDOW. NEIGHBOR Edna, I've had it with your damn cats! I'm calling the cops! She SLAMS the window SHUT. CAMERA MOVES to find - - THE STORM DOORS, bolted shut. MIDNIGHT ENTERS FRAME, begins to CLAW at the metal, slowly working the BOLT free. EDNA emerges, sees what's happening, dashes over. She carries a PADLOCK. EDNA Midnight! Shoo! Midnight HISSES, but retreats sulkily. Edna reaches the nearly free bolt, is about to replace it and lock it when she hears a small, timid VOICE from below, through the door : PATIENCE -LRB- O.S. -RRB- Edna? Edna, is that you? EDNA Yes, dear, I'm here. PATIENCE -LRB- O.S. -RRB- Edna, it worked. I think. I think I've beaten her. I'm Patience again. I've won. EDNA Oh, I'm so glad. Edna looks terribly relieved as she throws aside the bolt and begins to open the cellar door. But before she can - - THE DOOR FLIES OPEN, knocking her off her feet. A FIGURE STREAKS PAST. We hear her voice as she retreats : CATWOMAN Sucker.\",\n \"INT. CONCERT HALL - NIGHT A BALLET in progress - `` Giselle.'' Lithe DANCERS spin gracefully across the stage, a rustic village setting. FIND a HIGH BOX to one side. GEORGES and DRINA, in formal clothes. GEORGES is absorbed in the performance, DRINA looks bored, wrinkles her nose. DRINA What is this about? GEORGES Ssh. -LRB- impatient whisper. -RRB- Giselle is mistreated by a cruel prince and kills herself. Later, the souls of betrayed women come back from the grave for revenge. DRINA makes a SNORING NOISE, puts on a WALKMAN, and is soon bobbing her head to faint ROCK MUSIC.\",\n \"EXT. CITY STREET - CONCERT HALL - NIGHT BALLET MUSIC CONTINUES OVER. A CITY BUS passes, an AD FOR AVENAL on the side - it's been VANDALIZED, CLAW MARKS across the length of it. CRANE UP to find CATWOMAN crouched on the roof of the bus. She leaps off from the still - moving bus - - onto the ROOF of a TAXI passing the other way - - and finally landing at the curb near - A classical - looking CONCERT HALL, FOUNTAINS in front. CATWOMAN creeps amongst bushes, approaching the building. Numerous COPS patrol the entrance - no way to get past them. CATWOMAN creeps around the perimeter, looking for another way in. By the curb she spots - ANGEL, alone, near a parked LIMOUSINE, lighting a cigarette. CATWOMAN Those things'll kill you. She SMACKS the cigarette out of his hand, BOOTS him into the BUSHES and leaps on top of him. IN THE BUSHES, CATWOMAN straddles ANGEL, bangs his head against a cement curb. CATWOMAN YP - 3 - the plague - what's it for? ANGEL I have no idea what you're - BANG! She whams his head again. CATWOMAN Tell me about Xavier Bartok. ANGEL How do you know - She BANGS his head again. CATWOMAN I'm asking the questions. ANGEL I - I ca n't tell you - She bares her CLAWS over his eyes. CATWOMAN Then it's time to brush up on your Braille. ANGEL No, no, not my eyes! Xavier, he's the one who's buying the stuff! CATWOMAN When? ANGEL The deal goes down tomorrow night - at the Avenal offices - CATWOMAN Wrong. Your boss wo n't live to see it. She BANGS his head hard again, ANGEL loses consciousness. CATWOMAN Thanks for your help. CATWOMAN moves around the side of the building, keeping low, ducking behind parked cars. Fewer COPS here, but the place looks impregnable, no way to scale the walls. She tries an EMERGENCY DOOR - locked, no good. She hisses in frustration, starts to move on when - THE DOOR OPENS behind her. CATWOMAN spins to see - LAUREL, her face hidden with dark glasses and a wide - brimmed hat. She gestures frantically. Catwoman darts inside.\",\n \"INT. CONCERT HALL - BASEMENT - NIGHT LAUREL whips off the hat and glasses, gives a girly hug to Catwoman, who pulls back immediately. LAUREL I knew you'd come. Laurel leads Catwoman through this basement boiler room. LAUREL He's with his bimbo in a box to the right of the stage. But there's all kinds of security - he's pretty scared of you. CATWOMAN He should be. How much do you know about your husband's operation? LAUREL I know he's built an empire out of women's inadequacy and self - hatred - CATWOMAN Yeah, yeah, but the secret ingredient in his face cream - it's black plague bacteria. He's selling it to an arms dealer. LAUREL -LRB- touching her face. -RRB- Oh my God. CATWOMAN And he's committed murder to protect his secret. LAUREL Nothing he does would surprise me anymore. He's a monster. You should've seen the pre - nup, I do n't get a dime - CATWOMAN has reached an emergency STAIRCASE, cuts her off, bolting upward. CATWOMAN I'll take it from here.\",\n \"INT. CONCERT HALL - HALLWAY - NIGHT CATWOMAN slinks along a hallway, past a couple of bored young USHERS. They give her a sidelong look. Cats is next month. UNIFORM COPS are clustered near a FORMAL STAIRCASE, blocking her access to the right - hand side of the hall. CATWOMAN bares her teeth in frustration. She hurries toward a VELVET ROPE, the sign, `` BOXES - PRIVATE.'' She slips past the rope, moves to a far door.\",\n \"INT. CONCERT HALL - NIGHT AN OLD COUPLE SNORE through the ballet. CATWOMAN appears behind them in the box, snatches OPERA GLASSES from the woman's lap and scans the hall - HER POV, ZOOMING from box to box - finding GEORGES in a box on the opposite side of the hall. DRINA is rising, heading out the door. CATWOMAN climbs up the CURTAINS around the box, levering herself upward to the elaborate FRIEZE that wraps around the top of the hall - GREEK GODS in various dramatic poses. WIDER, FROM BELOW, as CATWOMAN climbs and creeps near the ceiling, moving over the PROSCENIUM ARCH above the stage, heading toward GEORGES. A POLICEMAN at ground level spots her - he lifts a radio to his lips, calling for backup. The BALLET below is reaching a crescendo. COPS are filing in from the back of the theatre, trying to be discreet. WITH GEORGES, still absorbed in the ballet. Suddenly CATWOMAN lands in the empty seat beside him, staring at the stage herself. A whisper : CATWOMAN I love this part. GEORGES spins, startled - and she SLASHES HIM across his cheek. The MUSIC is so loud, no one hears his CRY OF PAIN. GEORGES rushes for the exit - but CATWOMAN gets there first, shoves a CHAIR under the doors. CATWOMAN Let's not be interrupted. She advances on him, BLOOD drips from the SLASHES on his cheek, staining his tuxedo shirt. CATWOMAN Red's a good color on you. At that, she grabs Georges and slams him against the wall of the box, behind a curtain, partly concealed from view. The DOOR RATTLES, increasingly hard. CLOSE as CATWOMAN wraps a hand around Georges' throat, the CLAW TIPS digging into his skin. He gasps : GEORGES No - please - CATWOMAN I could rip out your throat. GEORGES Why - why kill me? CATWOMAN Because you deserve it. And because I can. THROUGH BINOCULARS - CATWOMAN holding Georges, but still not delivering the deathblow. LAUREL spies from the back of the theatre. Under her breath : LAUREL C'mon honey. just do it. CATWOMAN'S HAND trembles on Georges' throat. His eyes well up with tears, his expression pleading, desperate. Suddenly - CATWOMAN releases him, throws him GASPING to the floor. CATWOMAN Damn it. I ca n't. THE CHAIR SPLINTERS and the DOOR flies open, ARMED POLICE with DRINA behind them. CATWOMAN leaps to the lip of the box, turns and HISSES, then - - jumps down to the middle of the stage, amidst the DANCERS. AUDIENCE UPROAR, MUSIC STOPS, COPS charge up the aisles - CATWOMAN does a pirouette, bows and bolts into the wings. After a puzzled BEAT, the CONDUCTOR waves his baton and gets the show going again. LAUREL looks agonized - Catwoman was so close.\",\n \"INT. CONCERT HALL - BACKSTAGE - NIGHT MUSIC CONTINUES as CATWOMAN darts between stored PROPS and FLATS from a GRAVEYARD SCENE, bowling over costumed DANCERS. Seeing POLICEMEN blocking an exit, she dodges between DROPS, scrambles up a FLY - LINE - POLICE track her from below - she leaps between sandbagged ROPES as the BAGS drop, scrambling higher onto the GRID -\",\n \"INT. CONCERT HALL - NIGHT ON STAGE, inappropriate SCRIMS and PROPS descend and rise again. DANCERS dodge and weave as a GIANT GARBAGE CAN -LRB- think Cats -RRB- descends in the midst of the VILLAGE SQUARE.\",\n \"INT. CONCERT HALL - BACKSTAGE - NIGHT CATWOMAN darts effortlessly across the overhead grid, when - LONE Freeze! TOM LONE, anticipating her move, has climbed a ladder to the grid. He trains a gun on her - CATWOMAN freezes. She stares at him, breathing hard, taking a moment to come to grips with this adversary. LONE advances on her, stepping gingerly. LONE You're under arrest - He steps on a flimsy support, which starts to give way. Catwoman is alarmed. CATWOMAN Watch out! LONE sways, losing his balance, she springs and grabs his gun arm, saving him. A beat as they look at each other, then - - she SNATCHES the gun out of his hand, tosses it aside, then grabs his tie and pulls his face to her to LICK his cheek. CATWOMAN Tag, you're it. She bounds away, comfortable on the narrow railings. Lone pursues, moving more carefully now. Accompanied by the ballet music, the two perform their private dance, high above the TOMBSTONES and GRAVES. CATWOMAN winds up in a corner on a MESH PLATFORM, no way out from here, but for a 25 - foot drop to - THE FLOOR, where POLICE await, pointing upward. LONE advances, he has her trapped. He pulls HANDCUFFS. CATWOMAN Handcuffs. Yummy. He lunges at her - she dodges, kicks a leg out from under him. No slouch at fighting, Lone recovers, plants a kick in her mid - section. She gasps, surprised. CATWOMAN You play rough. LONE This is n't a game. He charges at her, but she parries a blow, lands a SLASH across his shoulder. As he comes at her again, she jumps and grabs an overhead ELECTRICAL cable, swinging away - Lone has too much momentum, he loses balance, about to go over the edge - CATWOMAN swings back like a pendulum, wrapping her legs around his neck, saving him from falling. She swings him back over the platform, tries to kick him off, but he grabs her legs, pulling her and SNAPPING THE CABLE - STAGE LIGHTS go out, ELECTRICAL SPARKS fly as they hit the platform together, she lands straddling him, catching the SPARKING CABLE just before it strikes the mesh. LONE Be careful! That thing hits the metal, we're both fried! CATWOMAN leans close, whispers : CATWOMAN I knew there was a spark between us. She turns and flings the cable away, it dangles free of the mesh floor, still spitting SPARKS. A second later, CLICK - LONE has slapped a handcuff on her wrist, CLICKS the other cuff over his own. CATWOMAN spins back on him, looking hurt. He reaches to pull off her mask. She slaps his hand. CATWOMAN Please, it's our first date. I would n't want the mystery to go out of our relationship. LONE struggles to push her off, but she keeps her thighs locked around him. He finally rolls on top of her. LONE We do n't have a relationship. CATWOMAN -LRB- mock sadness. -RRB- You men love the chase, but once you catch us, you always lose interest. As she speaks, CLOSE on her cuffed hand - her fingers squeeze together, her hand slithers out of the cuff like a cat's paw. LONE rises, tries to pull Catwoman to her feet - but he comes up with an empty, dangling HANDCUFF. From the ground, CATWOMAN plants a kick in his back from behind, he falls forward and SLAMS his FACE HARD into a LIGHT RIG. Catwoman winces, sounding a lot like Patience : CATWOMAN Sorry. She's on her feet, ready to scamper off, but - MORE COPS have made it to the grid, blocking every way down - ANGLE DOWN, COPS have covered every exit below. LONE glares up at her. LONE It's over. CATWOMAN And here I thought we were hitting it off. With that, she leaps and grabs the dangling POWER LINE which TEARS LOOSE from the ceiling - She DROPS to the floor, still holding the CABLE. COPS surround her, moving in quickly, guns drawn - She backs toward the wall, near a CIRCUIT BREAKER PANEL. CATWOMAN Show of hands - who can see in the dark? She lifts her own hand daintily, then violently SWINGS THE POWER CABLE into the CIRCUIT BREAKERS - A FLASH, a BANG, a SHOWER OF SPARKS - then - PITCH DARKNESS. We hear SHOUTS from the theatre, people PANICKING, and a series of GRUNTS and OOFS as Catwoman takes out the nearest adversaries - CATWOMAN POV - CATVISION, FIGURES have a pale outline, their EYES GLOW, as CATWOMAN dispatches her unseeing opponents.\",\n \"EXT. CONCERT HALL - STAGE DOOR & SIDE STREET - NIGHT A SIDE DOOR swings open and CATWOMAN darts out. She's almost home free when SHOTS RING OUT behind her - ANGEL, staggering out from the bushes where she clocked him, FIRES his handgun after her. CATWOMAN stumbles and rolls, but keeps moving.\",\n \"INT. EDNA'S HOME - BEDROOM - NIGHT EDNA holds a few CATS in her arms, WEEPING quietly, tissue close at hand. There's a sound of SCRATCHING at the window, she moves to open it, revealing - CATWOMAN, exhausted and bruised from her battle. She crawls in the window, as Edna stares in astonishment. EDNA Patience? CATWOMAN Not exactly. She throws herself on the end of the bed, curling up with the other cats, examining her injuries. She finds a bloody GASH where Angel's bullet grazed her skin. EDNA moves closer. EDNA Oh dear. You've been shot. Edna hurries into the bathroom and emerges with a small FIRST - AID KIT, begins tending to Catwoman's wound, still sniffling. CATWOMAN It's nothing to cry about. EDNA No, it's my cats. Last night, all that noise - the neighbors complained. Animal Control says they're a health hazard. CATWOMAN Piss on'em. EDNA They're coming tomorrow to take them away, have them destroyed - CATWOMAN It wo n't happen. I promise. EDNA studies Catwoman, speaks softly, worried. EDNA Did you do it? Did you kill him? CATWOMAN shakes her head, disgusted with herself. CATWOMAN I wanted to - but I could n't. I actually. felt sorry for him. EDNA Because you're still Patience Price. CATWOMAN Do n't remind me. That girl is so weak. EDNA No, she is n't. You know that. Catwoman makes an exasperated noise, then YAWNS. CATWOMAN I could really use a nap. So saying, she rolls over and falls asleep at once.\",\n \"EXT. PATIENCE'S BUILDING - DAY PATIENCE, in borrowed clothes, moves toward the entrance of her building, limping and tired. She climbs the steps. LONE Patience. TOM LONE, wearing SUNGLASSES, approaches tentatively. PATIENCE Oh! Hi. Listen - about last night. LONE Forget it. I, um. listen, I'm sorry about this. He takes a few steps back as - - a PAIR OF PATROL CARS SCREECH to a halt, coming up on the sidewalk in front of Patience's building. COPS armed with SHOTGUNS leap out, train their weapons on her. PATROL COP Hands in the air! TWO MORE COPS throw open the entrance door behind her, HANDGUNS ready. PATIENCE, cornered, looks shocked and betrayed. She raises her hands timidly. LONE removes his shades - we now see he has a nasty BLACK EYE, his face swollen. Still, a hint of regret in his voice : LONE Patience Price, AKA Catwoman, you're under arrest. You have the right to remain silent. ON Patience's stunned expression -\",\n \"EXT. EDNA'S HOME - DAY Grim - looking ANIMAL CONTROL WORKERS methodically ferry CAT CAGES from Edna's open front door to a VAN in front. EDNA scurries helplessly from cage to cage, saying goodbye, fighting back tears. MIDNIGHT slashes at a WORKER and escapes. But a KITTEN, less agile, is shoved into a CAGE. As the DOOR SLAMS SHUT -\",\n \"INT. POLICE STATION - INTERROGATION ROOM - DAY PATIENCE is in a JAIL JUMPSUIT, alone in a small, dingy room with the usual one - way mirror and table. THE DOOR is opened by a COP and LONE enters. PATIENCE This is all a mistake - Tom, you know me! LONE -LRB- shakes his head sadly. -RRB- One thing you learn in this line of work - you never really know anybody, not completely. -LRB- professional tone. -RRB- You're being charged with vandalism, burglary and the murder of Doctor Ivan Nevski - PATIENCE He was dead when. um, Ivan who? -LRB- a beat, floundering. -RRB- You, you have no proof that I - what are you doing? LONE is unbuttoning his shirt. He pulls down one side to reveal his shoulder. LONE These scratches were inflicted last night by Catwoman. Forensics also tested this scratch - He turns around to show the claw - mark she left when they kissed. He turns to face her, rebuttoning his shirt. LONE They were made by the same implement. PATIENCE So this whole time, you've been flirting, buying me dinner, acting like you were interested - I was a suspect? It was just some cat and mouse thing? LONE's a little offended, his tone becomes more aggrieved : LONE No, not at first - I really bought the act, vulnerable girl all alone in the big city - PATIENCE Sorry if I do n't fit into your damsel in distress fantasy. LONE That's not what - PATIENCE Real people are a little more complicated. LONE Look, I did n't want to believe it, but - PATIENCE I guess a strong woman can be intimidating to a certain kind of man - LONE Did you really think I was n't gon na recognize you in a little mask? I'm not blind. PATIENCE So if they do n't need rescuing, you better lock them up yourself - They're now talking over each other, sounding just like bickering lovers. LONE glances at the mirror, embarrassed ; they're obviously being watched. Through his teeth : LONE Knock it off. -LRB- flat, Sgt. Friday. -RRB- It'll go a lot easier on you if you just confess now. PATIENCE I've been doing some investigating of my own. A real crime. Georges Avenal is stockpiling YP - 3, a variant of black plague bacteria - LONE Oh yes, your little hobby. Please, Patience - PATIENCE It's a bioweapon! Ivan Nevski developed it, they must've killed him to keep it a secret - LONE So now you've constructed a paranoid fantasy with your former boss at the center. A disgruntled employee - PATIENCE The deal's going down tonight, they're meeting an arms dealer named Xavier Bartok at the Avenal offices - LONE You're hallucinating. Georges Avenal is world famous, worth millions, a respected businessman - why in God's name would he get involved in arms trafficking? PATIENCE I do n't know! Why do n't you ask him? LONE Enough. Are you denying you're Catwoman? PATIENCE -LRB- looks away from him. -RRB- It does n't matter what I say. You'll make me whoever you want me to be. LONE looks at her for a moment, then exits, leaving Patience to study her own defiant expression in the mirror.\",\n \"INT. POLICE STATION - PATIENCE'S CELL - EVENING PATIENCE paces in her own CELL, talking to herself : PATIENCE Damn it, it's getting dark out, where are you? She stares at her hand, trying to will claws to appear - nothing. A deep breath, concentrating, mantra - like - PATIENCE I am Catwoman. I am. She opens her eyes - it's no good.\",\n \"INT. CHURCH - NIGHT A gloriously handsome GROOM stands beside a VEILED BRIDE at an altar. ORGAN MUSIC PLAYS. A REVEREND beams at the couple, nods at the young man, who throws back the veil - the bride is DRINA - caught CRACKING a piece of CHEWING GUM. An O.S. DIRECTOR -LRB- O.S. -RRB- Cut! WIDER, as DRINA takes the gum out of her mouth, we're at a COMMERCIAL SHOOT. 35mm CAMERAS, KLIEG LIGHTS, etc.. DRINA I was n't ready! Beside the harried DIRECTOR sits GEORGES, butterfly BANDAGES over the scratches in his face. DIRECTOR We're gon na be at this all night. Drina approaches, looking for a place to put her gum. DRINA Line?! DIRECTOR -LRB- wearily. -RRB-' I do. With Beaunique.' She nods, crouches and sticks the gum UNDER A PEW. AN ASSISTANT has a cell phone to her ear, leans toward Georges, speaks quietly. ASSISTANT It's Detective Lone, apparently they've caught the Catwoman. Georges smiles, breathes a sigh of relief. ASSISTANT He's coming by later, says he wants to ask you about another matter. Georges narrows his eyes and cocks his head at this.\",\n \"INT. POLICE STATION - PATIENCE'S CELL - NIGHT ON PATIENCE, lying in her bunk, miserable. We hear the sound of a CAT CRYING, distant, almost as if it were in her head. She opens her eyes to see - MIDNIGHT, mostly in shadow, pacing on the other side of a high, mesh - covered window. ON PATIENCE, for a moment we see the GOLD, ELLIPTICAL PUPILS. WIDER, Patience - now CATWOMAN - springs to her feet and studies the BARS of her cell. As she did at the zoo, she begins to ease her body between them.\",\n \"INT. POLICE STATION - BULLPEN - NIGHT Rows of desks, PLAINCLOTHES and UNIFORM COPS in a bustling, crowded bullpen area, a hive of activity. PATIENCE/CATWOMAN enters in her JAIL JUMPSUIT - she ca n't fight her way through, so she tries a different approach. She moves stealthily through the room, using her heightened reflexes to avoid being seen. It's an intricate choreography of split - second timing, turned heads and diverted glances. She ducks down to crouch as a CART PASSES. A PLAINCLOTHES COP spins idly in his swivel chair, PATIENCE/CATWOMAN circles behind him. PATIENCE / CATWOMAN rolls a signed BASEBALL across a desktop, knocking over a PENCIL CUP. As the ASSISTANT bends to retrieve it, PATIENCE/CATWOMAN steps lightly over her desk - - and makes it OUT THE DOOR.\",\n \"EXT. ROOFTOPS/CITY STREETS - NIGHT THE FULL MOON just above the rooftops. CATWOMAN rises INTO FRAME in full regalia, silhouetted, then LEAPS away.\",\n \"INT. ANIMAL CONTROL - NIGHT MOVE from a reversed WINDOW SIGN to a SKYLIGHT above - CATWOMAN leaps through it and lands on the floor in a SHOWER of glass. She hurries towards the KENNELS. CATWOMAN bypasses BARKING DOGS, HISSING at them as she does. She turns a corner and finds - DOZENS OF CATS behind bars. CATWOMAN flings the cages open, the grateful CATS stream out.\",\n \"INT. CHURCH - NIGHT CAMERA ROLLS ON DRINA and the GROOM at the altar. IN b.g., we glimpse a DARK FIGURE, moving low between the nearby PEWS. DRINA I do. She turns TO CAMERA, holds up a JAR OF BEAUNIQUE. DRINA With Beauni - A BLACK - GLOVED FIST SMASHES her HARD in the FACE. Drina STAGGERS BACK, clutching her NOSE, SHRIEKING, BLOOD spilling on her wedding dress - DRINA No! I just had this fixed! GEORGES and the DIRECTOR are both out of their chairs, stunned at the sight of - CATWOMAN, in the midst of sudden PANDEMONIUM on the set. She reaches into her bodice and removes a small HANDGUN. CREW MEMBERS SCREAM and duck for cover as - BLAM! BLAM! BLAM! CATWOMAN SHOOTS GEORGES in the chest, he collapses, dead instantly. CATWOMAN throws down the gun and sprints behind an ALTAR SCREEN and out of the church.\",\n \"EXT. CITY STREETS - NIGHT THE DARK MERCEDES, with only ONE HEADLIGHT, and a DENTED FRONT END, weaves quickly around slower traffic.\",\n \"INT. MERCEDES - NIGHT CATWOMAN drives like a maniac, looking over her shoulder. She lets out a sudden WHOOP of delight - she did it. She hits a SPEED - DIAL button, we hear a phone RINGING as she PEELS off the CAT MASK - and a WIG. it's LAUREL AVENAL. We hear XAVIER'S VOICE : XAVIER -LRB- V.O. ; FILTER. -RRB- Are we on? LAUREL Oh honey, we are so on.\",\n \"INT. CHURCH - NIGHT CHAOS, PARAMEDICS, COPS, a FORENSICS TEAM photographing George's corpse. Nearby, other COPS bag the HANDGUN. TOM LONE is here, on his cell phone, heading for the exit. LONE -LRB- on phone. -RRB- Yeah, we got a couple dozen witnesses, it was Catwoman. Looks like it might be the same weapon that killed Nevski.\",\n \"EXT. CHURCH - NIGHT LONE moves outside, past FILM TRUCKS outside this urban church, still on the phone. LONE -LRB- on phone. -RRB- Nah, could n't have been Price after all, musta been a lab error. You better cut her loose right away or she's gon na have a hell of a lawsuit on her hands. yeah, be there soon, I just got ta tie up a couple loose ends. He climbs in his sedan and moves off.\",\n \"EXT. AVENAL HQ - NIGHT LONE'S SEDAN pulls up near the entrance to the office tower. As he gets out, he hears a CHOPPER coming in overhead and looks up to see - The AVENAL BEAUTY sign high above, a TWIN - ROTOR CHOPPER approaching the helipad. LONE moves toward the showroom entrance, tries the door - locked. He sees the entrance to the PARKING GARAGE, moves down the ramp.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT THE MILITARY CARGO CHOPPER touches down. XAVIER and FOUR MERCENARIES emerge. Two mercs carry ALUMINUM SUITCASES, all are armed with AUTOMATIC WEAPONS. In addition to chopper SOUNDS, there's a WHISTLING WIND up here and the WHITE NOISE ROAR of A.C. DUCTS. LAUREL, still in the cat suit but without the mask, is waiting. XAVIER approaches, a small BRIEFCASE in hand. Laurel's manner is cold, professional, all business - she could n't be more different from the victimized female we met up here at the outset. XAVIER Your husband? LAUREL He wo n't be a problem. Ever again. And I'm not even a suspect. She gestures to her outfit. Xavier nods. XAVIER American women. I'm always impressed. LAUREL Let's do some business. They head down the stairs. CAMERA MOVES, off the roof, to the roof of an adjacent, lower SKYSCRAPER - and finds -\",\n \"EXT. SKYSCRAPER ROOFTOP - NIGHT THE REAL CATWOMAN. She paces, breathing hard, steeling herself for something, looking toward the Avenal building. A WINDOW WASHER RIG hangs halfway down the building, but it's quite a distance from this roof edge. CATWOMAN I can do this. right? She's addressing MIDNIGHT, who non - commitally licks a paw. CATWOMAN moves to the far end of the roof and sprints toward the edge, leaps for all she's worth - CATWOMAN sails through the air in a perfect arc, toward the window - washer rig. but she's going to fall short and plunge twenty stories. At the last second, she pulls out her whip and snaps it out around - - the cables of the rig. CATWOMAN SLAMS HARD against the side of the building, dangling from the whip. CATWOMAN Ow. She struggles to pull herself upward.\",\n \"INT. AVENAL HQ - PENTHOUSE - NIGHT An ALUMINUM SUITCASE opens - STACKS of HUNDRED DOLLAR BILLS. WIDER, WESLEY handles the suitcase. He starts to count the stacks of money, testing random bills with a COUNTERFEIT PEN. Meanwhile, Xavier's MERCS are moving aside the LADDERS and PAINT CANS. One yanks down the frilly DRAPERIES to reveal - CANISTERS OF YP - 3, dozens of them in a cutout portion of wall, more than we've seen before. Laurel's been hiding them here all along. Xavier opens his briefcase - there's a TESTING KIT inside. XAVIER May I? So saying, XAVIER plucks a WHITE ROSE from an arrangement. He seals it into a clear PLASTIC CONTAINER, moves to a random canister, and attaches a NOZZLE tightly to the VALVE. Cautiously, he releases a small amount of PRESSURIZED LIQUID into the container. CLOSE - as the MIST makes contact with the ROSE, the PETALS turn PINK, then RED BLOTCHES appear. Abruptly, the petals BLACKEN, WITHER and ULCERATE. The flower is a shriveled mess in seconds. XAVIER Nice. XAVIER carefully removes the nozzle, nodding appreciatively at the canisters. XAVIER Avenal should think about getting out of cosmetics altogether - chemical weapons are a growth industry. THE MERCS, with slightly nervous looks, begin carefully moving the canisters out of the penthouse, up the stairs to the helicopter. THE ELEVATOR DOORS OPEN - it's ANGEL. ANGEL Look what I found. He lifts the semi - conscious LONE from the floor - the man's been bound, gagged and blindfolded with DUCT TAPE, there's a bruise on his head. ANGEL flashes LONE'S BADGE. ANGEL He's a cop. Found him sniffing around the basement. LAUREL -LRB- exasperated. -RRB- Oh beautiful. -LRB- waving a hand. -RRB- Put him in there for now. Angel drags LONE into a CLOSET near the make - up mirror, shoves him inside and closes the door. LAUREL What are we going to do about this? XAVIER -LRB- a shrug. -RRB- I'll be flying over water. I could drop him off. Laurel nods and smiles gratefully.\",\n \"EXT. AVENAL HQ - NIGHT AT THE SIDE OF THE BUILDING, CATWOMAN holds a button on the WINDOW WASHER'S RIG, which rises toward the roof.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT THE MERCS methodically move canisters from the penthouse, up the stairs, to the CHOPPER on the helipad, where a PILOT waits at the controls - the ROTOR BLADES spin lazily. MERCENARY # 1, winded, calls to the PILOT, who's absorbed in a copy of SOLDIER OF FORTUNE : MERCENARY #1 Wan na pitch in? PILOT -LRB- not looking up. -RRB- Not my job. MERCENARY # 1 exchanges a look with MERCENARY # 2, shakes his head, deposits his canister in the chopper. As he moves back for the stairs he hears moving HYDRAULICS. He heads toward the far edge of the helipad, WEAPON ready. He sees the MOVING CABLES of the window washing rig come to a STOP, he looks cautiously over the edge. HIS POV - the PLATFORM has come to a stop just a few feet below the rooftop. But it's empty. ANOTHER ANGLE - CATWOMAN is clawing her way around the corner of the building, just below a narrow CORNICE. She's dangling precipitously over a forty story fall. She approaches a WINDOW into the PENTHOUSE below the helipad. CATWOMAN POV - on LAUREL in the CATWOMAN suit, chatting with XAVIER while the MERCS ferry YP - 3. ON CATWOMAN, her eyes widen with the realization - Laurel?! CATWOMAN You cow.\",\n \"INT. AVENAL HQ - PENTHOUSE - NIGHT WESLEY slips a few BUNDLES of BILLS into his pocket and CLOSES an ALUMINUM CASE. WESLEY It's all here. I've taken my cut. LAUREL All right, Wesley. LAUREL opens a HUMIDOR, offering a CIGAR to Xavier : LAUREL Shall we? XAVIER takes a cigar, sniffs it. With mock concern : XAVIER Cuban. Are n't these illegal? They both chuckle as they head out to the garden area.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT MERCENARIES # 3 and # 4 are in the back of the chopper, securing the canisters. # 1 and # 2 head toward the stairs, for another load. MERCENARY # 1, in the rear, passes a low A.C. DUCT. THE WHIP LASHES out from behind him, wraps around his throat - he ca n't cry out as it YANKS him back behind the duct. We hear a nasty THUNK. One down. ON THE STAIRS, MERCENARY # 2 turns around. MERCENARY #2 Tony? No sign of his buddy. He moves back up the stairs and - - GETS HIT IN THE FACE with Merc # 1's GUN BUTT. He rolls down the stairs.\",\n \"EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT XAVIER and LAUREL have their backs to the stairs, SMOKING their CIGARS, as the unconscious MERCENARY hits the ground a short distance behind them. They do n't notice. Laurel stretches her arms luxuriously, enjoying the feel of the wind. Xavier studies Laurel, a bit lasciviously. LAUREL Free at last. to eat what I want, wear what I want, look like a slob if I want. You have no idea how good it feels. XAVIER I was thinking after this business is over, you might spend some time with me on my island - LAUREL Thanks, no. I'm through with men.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT MERCENARIES # 3 and # 4 emerge from the chopper, looking around for the others. As they start to circle the chopper - - CATWOMAN swings around from behind them, hanging from the slowly spinning ROTOR BLADE, she KICKS THEM BOTH from behind and sends them flying head - first to the asphalt. Merc # 3 is knocked cold, Merc # 4 rolls over on the ground, FIRING A BURST behind him. But when the blade comes around again, she's gone. He has no idea what hit them.\",\n \"EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT LAUREL and XAVIER both react to the GUNFIRE, dropping their cigars, hurrying for the stairs.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT THE PILOT leaps out, a HANDGUN ready. PILOT What the hell are you shooting at? MERCENARY #4 I do n't know! ON THE OTHER SIDE OF THE CHOPPER, CATWOMAN clings to the FUSELAGE. Seeing a FUEL TANK - CLOSE - her CLAW pierces the ALUMINUM SKIN and FUEL starts to spurt out.\",\n \"EXT. AVENAL HQ - PENTHOUSE GARDEN - NIGHT WESLEY and ANGEL have emerged from the penthouse, alarmed, just as LAUREL and XAVIER nearly trip over the groaning MERCENARY # 2. XAVIER What the hell -? Xavier takes the man's AUTOMATIC WEAPON, he and Laurel hurry up to the helipad.\",\n \"EXT. AVENAL HQ - HELIPAD - NIGHT LAUREL and XAVIER reach the top of the stairs, followed by WESLEY and ANGEL, just as - CATWOMAN leaps down to the penthouse level from the helipad. The group is stunned to see the injured men. MERCENARY # 1 is crawling out from behind the A.C. DUCT. LAUREL angrily grabs a MACHINE GUN from the dazed MERCENARY # 3. To Xavier : LAUREL Where did you find these clowns?! MERCENARY # 4 and ANGEL scout the helipad's perimeter, guns at the ready. WESLEY nervously backs toward the stairs. WESLEY If it's all right with you, Laurel, I'd just as soon be going. Xavier is looking around frantically. XAVIER These are good soldiers. It would take a team of men - LAUREL -LRB- realizing. -RRB- Or one woman. CATWOMAN -LRB- O.S. -RRB- Look what I found! All spin to see - CATWOMAN standing at the edge of the helipad, above the sheer drop, holding THE TWO SUITCASES out to either side of her. She has a lit CIGAR clenched between her teeth. Behind her, the SKY is LIGHTENING with approaching dawn. ALL GUNS are trained on Catwoman, except Laurel's. LAUREL Do n't shoot, you idiots! She'll drop the money - They do n't lower their guns. Catwoman narrows her eyes, speaks around the cigar. CATWOMAN Henchmen, Laurel? How tacky. She jerks one of the cases - the latch has been loosened, it POPS OPEN and CASH GOES FLYING into the wind - DRIFTING from the rooftop to the city streets below. LAUREL reacts in agony. LAUREL No, please - do n't do that again! CATWOMAN drops the emptied case and pulls the cigar from her mouth with a distasteful expression. Eying Laurel : CATWOMAN Do n't you hate it when somebody shows up at a party wearing the same dress? LAUREL advances on Catwoman. LAUREL Let's face it - we're alike, you and me. Catwoman ignores her, shouts to XAVIER and his men : CATWOMAN You guys got ta be careful with this YP - 3 stuff. It's a living thing, you know, a bacteria. If it gets too hot - it dies. XAVIER looks from Catwoman to the FUEL pooling on the helipad, putting two and two together. He jerks his head at his mercs - they start backing away toward the stairs. LAUREL is still focused on the money. LAUREL Let's split the rest of the money - and there's more where that came from - CATWOMAN Tempting offer. We would make a pretty good team. Beyond the law, fighting the yoke of male oppression, sisters under the skin. LAUREL nods hopefully. CATWOMAN looks thoughtfully at the cigar in her hand. CATWOMAN Nah, I still have to live with myself. So saying, she flicks the LIT CIGAR to the helipad - IGNITING the spreading pool of gasoline - XAVIER ET AL. sprint to LEAP OFF THE HELIPAD or CHARGE DOWN THE STAIRS as - THE HELICOPTER EXPLODES in a glorious FIREBALL. LAUREL is thrown across the helipad by the BLAST, showered with CHOPPER DEBRIS. The men are hightailing it out of there, but Laurel gets slowly to her feet, machine gun ready, bent on revenge. Spotting CATWOMAN darting through the SMOKE and FLAMES toward the stairs, LAUREL FIRES a volley with a SCREAM of rage and charges after her in pursuit.\",\n \"EXT. AVENAL HQ - PENTHOUSE GARDEN - DAWN LAUREL hurries down the stairs to the garden, FIRING at - CATWOMAN, as she darts into the penthouse. Catwoman's nearly hit, showered with broken glass.\",\n \"INT. AVENAL HQ - LAUREL'S PENTHOUSE - DAWN The roof CREAKS ominously, the room is thick with SMOKE. LAUREL charges in, sees movement near THE ELEVATOR and FIRES - A BODY goes down with a CRY. LAUREL laughs triumphantly, moves to find - ANGEL, dead on the floor. LAUREL winces. LAUREL Sorry, Angel. CATWOMAN leaps at Laurel from behind, the GUN goes flying. The two women CRASH into the CLASSICAL SCULPTURES, shattering them in the course of their struggle. Laurel keeps going for the gun, but Catwoman wo n't let her get near it.\",\n \"INT. AVENAL HQ - SHOWROOM - DAWN WESLEY, XAVIER and his MERCS hurry from the elevators. They've almost made it out the exit to safety when an EERIE HOWL erupts - XAVIER What is tha - MIDNIGHT leaps onto his back, sinking his fangs in. A beat later, DOZENS of EDNA'S CATS attack the men ; they scream as they try to pry frenzied felines from their flesh.\",\n \"INT. AVENAL HQ - PENTHOUSE - DAY CATWOMAN and LAUREL continue their battle. Catwoman gets Laurel down, near victory, when - BEAMS OF SUNLIGHT from the window penetrate the SMOKE and catch CATWOMAN full in the face. She backs away, squinting, disoriented - this gives Laurel the chance to recover. CATWOMAN No - I need more time - WHAM! LAUREL gets in a devastating BLOW that sends CATWOMAN reeling. At the same moment, LONE KICKS OPEN the CLOSET DOOR. He's still gagged and blindfolded, hands and feet bound, but he's struggling, GRUNTING now. CATWOMAN takes this in, shocked. She moves to Lone's side. CATWOMAN Tom. Laurel picks up the machine gun. FLAMES are spreading from the ceiling, DOWN THE WALLS. LAUREL You know this guy? Catwoman raises a hand, curls her fingers - but no claws emerge. She looks toward the WINDOW where - - THE SUN is now fully visible. Laurel strides over and KICKS CATWOMAN away from Lone - she rolls across the ground helplessly. Laurel casually points the weapon at Lone's head. CATWOMAN No! Do n't do it! LAUREL Why not? He's just - a man. Catwoman starts to rise, LAUREL steps on Lone's throat, the gun still pointed at his head. LAUREL Move a muscle and you wo n't have a date for the prom. Catwoman freezes, sits back down again. Laurel smiles. LAUREL It's amazing. We're the stronger sex - but men are like Kryptonite. They make us so weak. She increases her pressure on Lone's throat, he WRITHES, CHOKES. Catwoman sounds just like Patience now. CATWOMAN/PATIENCE Stop it, please - you'll kill him. LAUREL Do n't worry, I know exactly how much a man can take. Laurel takes her foot off of Lone, he struggles for air. She moves in on Catwoman. LAUREL You know, I was actually starting to admire you. LAUREL CLOCKS HER with the GUN BUTT. CATWOMAN/PATIENCE tries to crawl away, BLOOD at her lips. LAUREL When I think of all the guys I had to. use. WHACK! She BOOTS CATWOMAN in the stomach. LAUREL And there you were, clawing your way up on your own. But you let me down. She KICKS her again. LAUREL I ask one little favor - but no, I had to take care of Georges myself. And now. this. You've ruined everything. She pulls CATWOMAN halfway to her feet and SLUGS her face. LAUREL then GRABS the top of the CAT MASK and YANKS it off - PATIENCE looks up at her weakly, eyes rolling. LAUREL blinks, a shocked double - take, backs away. LAUREL No. it's impossible. you're dead. PATIENCE's crumpled figure recalls the position of her body lying on the pavement, the night she was murdered. Her eyes go wide as she puts it together. PATIENCE Oh my God. it was you. FLASHBACK - EXT.. PATIENCE'S BUILDING OBJECTIVE SHOT, ANGEL near Patience's body. CAMERA MOVES TO the MERCEDES. The DRIVER'S DOOR opens and LAUREL steps out, looking at Patience's body on the ground with disgust. PATIENCE -LRB- V.O. -RRB- You were behind the wheel that night.\",\n \"INT. AVENAL HQ - PENTHOUSE - DAY (PRESENT) PATIENCE leaps at LAUREL with blinding speed, CLAWS OUT. PATIENCE/CATWOMAN It was you! LAUREL is overwhelmed by the sudden turn. PATIENCE / CATWOMAN knocks the GUN from Laurel's hands. Laurel dodges her kicks and blows, pushed closer to the flames. LAUREL What do you want, an apology? Of course it was me, it was always me - I ran the YP - 3 operation right under Georges' nose, I could n't let some frumpy accountant blow the whistle when I was so close - PATIENCE/CATWOMAN slashes at Laurel's head with a HISS - she peels off HALF LAUREL'S FACE - it's like a form - fitting `` Mission : Impossible'' LATEX MASK. Beneath, the skin is BLOTCHED with DARK SPOTS and SORES. LAUREL lets out a hideous SCREAM. LAUREL No! My face! PATIENCE/CATWOMAN knocks her to the ground, straddles her. The fight's gone out of LAUREL now, she clutches at her disfigured features. Patience/Catwoman cocks her head, looking at the shredded LATEX hanging from her claws. PATIENCE/CATWOMAN So I'm not the only one hiding behind a mask. LAUREL I was the first to try Beaunique - I was over 30, I had nothing to lose. When the symptoms started to show, it was too late. As she speaks, Laurel peels away the remains of the LATEX. PATIENCE/CATWOMAN So you upped production and sold the stuff to an arms dealer. LAUREL Life hands you lemons, you make lemonade. A FLAMING BEAM gives way, blocking the STAIRWELL, part of the CEILING collapses - this gives Laurel the chance to squirm out from under PATIENCE/CATWOMAN. But instead of going for the gun, she runs straight for the make - up mirror. PATIENCE/CATWOMAN runs to Lone's side, pulling him away from the spreading flames toward the ELEVATOR. She SLASHES the tape that binds his wrists. LAUREL, meanwhile, opens a hidden COMPARTMENT by her mirror, revealing numerous LATEX MASKS. She begins to apply a new one, using adhesive, smoothing wrinkles, hiding the seams, etc.. Nearby, her PORTRAIT starts to MELT and turn to ASH. THE CEILING BUCKLES, chunks of MASONRY falling. PATIENCE/CATWOMAN is prying open the elevator doors. PATIENCE/CATWOMAN Laurel, you better get out of here - LAUREL In a minute - I have to finish putting on my face - THE DOORS OPEN on the empty shaft - almost as an afterthought, PATIENCE/CATWOMAN snatches up her MASK, pulling LONE to her with her other arm. THE CEILING gives way with a BURST OF FLAME -\",\n \"INT. AVENAL HQ - ELEVATOR SHAFT - DAY PATIENCE/CATWOMAN leaps into the open elevator shaft, LONE has his arms around her - together they slide down a CABLE as FLAMES ERUPT from above.\",\n \"INT. AVENAL HQ - LAUREL'S PENTHOUSE - DAY LAUREL is now trapped in the make - up alcove, illuminated by flames surrounding her, but she does n't seem to care, working frantically to get a new face on. She whispers a mantra : LAUREL You're still beautiful. you'll always be beautiful. CRASH! CHUNKS OF HELIPAD and the remains of the FLAMING CHOPPER come through the ceiling, obliterating Laurel.\",\n \"EXT. AVENAL HQ - DAY POLICE charge into the building from a number of COP CARS. As they do so, we see the ARMY OF CATS fleeing.\",\n \"INT. AVENAL HQ - SHOWROOM - DAY WESLEY, XAVIER and the MERCS are on the ground, SCRATCHED and BLEEDING. They raise their hands for the puzzled, gun - wielding COPS. WESLEY Thank God you're here.\",\n \"INT. AVENAL HQ - PARKING GARAGE - DAY ELEVATOR DOORS OPEN in this parking garage. PATIENCE / CATWOMAN pulls LONE out, he seems woozy, his arms around her neck. They collapse together against a wall. She tears the DUCT TAPE off Lone's mouth. He winces. LONE Who are you? PATIENCE/CATWOMAN hesitates, about to answer - but instead gives him a long kiss. Then she darts OUT OF FRAME. LONE reels from the kiss, then collects himself and pulls the duct tape from his eyes. WIDE SHOT - he's alone, no sign of her.\",\n \"EXT. AVENAL HQ - DAY OVERHEAD ANGLE as COPS hustle XAVIER and the OTHERS into police vehicles. CAMERA KEEPS PULLING UP, until we see the ruined ROOF of the building, IN FLAMES. The `` A'' in `` AVENAL BEAUTY'' has been knocked out by the conflagration. for a few moments the sign reads `` VENAL BEAUTY,'' until the whole thing EXPLODES and SPARKS OUT.\",\n \"INT. EDNA'S HOME - LIVING ROOM - DAY EDNA lies on the couch, a hand over her eyes, asleep in a robe. She stirs as a TONGUE laps at her face. As she sits up, dozens of CATS are all over her, begging for attention. She laughs and cries at the same time then sees - CATWOMAN, masked again, who has entered behind the cats. EDNA Thank you. CATWOMAN A promise is a promise. Her tone is soft, more like Patience's. EDNA takes in the blood on her, her torn clothes. EDNA What happened to you? CATWOMAN I found out the truth. Edna notes the SUNLIGHT pouring through the window, eyes her. EDNA But the sun is up. you're still Catwoman? CATWOMAN pulls off the mask and looks at it, puzzled. CATWOMAN/PATIENCE Yeah. But I'm Patience, too. with or without the mask. I do n't think there's a difference any more. EDNA Maybe there never really was. CATWOMAN/PATIENCE nods and smiles at this thoughtfully, accepting her dual nature at last.\",\n \"INT. PATIENCE'S APARTMENT - DAY Filled with CARDBOARD BOXES. MOVING MEN carry a few out. SALLY is ostensibly lending a hand, but is mostly interested in the men's muscles. As she picks up a tiny box - SALLY You look awfully hot. Sure you do n't wan na take that shirt off? SALLY winks at PATIENCE as she follows the man out the door. Patience looks good, no trace of the old awkwardness - she's integrated her cat side. The PHONE RINGS, she snatches it up in a swift, feline fashion. PATIENCE Hello? LONE -LRB- V.O. -RRB- -LRB- filter. -RRB- Hi, Patience. Patience turns - LONE stares from his window across the way.\",\n \"INT. LONE'S APARTMENT - DAY He and Patience maintain eye contact while they speak. LONE -LRB- V.O. -RRB- -LRB- on phone. -RRB- Moving out? PATIENCE -LRB- V.O. -RRB- -LRB- on phone. -RRB- You are a good detective. It just feels like time for a change. LONE Where you heading? PATIENCE Why? You still keeping tabs on me? Said on TV the Catwoman case was closed. LONE Mm. No hard feelings? PATIENCE Nah. In a way, it was flattering. LONE Funny thing, no one at the station remembers letting you out of jail. PATIENCE That's bureaucracy for you. -LRB- changing the subject. -RRB- Hard to believe, Catwoman was Laurel Avenal all along. LONE Uh - huh. It is pretty hard to believe. There's a significant pause, they eye each other across the alley. Lone knows, and Patience knows he knows. In unison : PATIENCE Thank you - LONE Thank you - They laugh at this, take a moment to recover. Then : LONE For what? PATIENCE -LRB- a beat. -RRB- Dinner the other night. How about you? LONE For. teaching me some things. Listen, Patience - if you're still interested - I'd like to get to know you better. MIDNIGHT LEAPS UP onto Patience's shoulder, nuzzles her neck. PATIENCE Hey, you never really know anybody. Not completely. LONE I guess I had that coming. Look, I know it's not simple, I'm a cop and you're. PATIENCE A dull accountant. LONE All I'm saying is - whatever you are, however. complicated - I can deal with it. PATIENCE Can you? LONE I'd like to try. I just do n't want this to be good - bye. PATIENCE Oh. I have a feeling we'll see each other again. She HANGS UP, rolls her shoulders and lets out a little PURR. WITH LONE, he smiles, putting the phone down himself as Patience moves away from the window. WITH PATIENCE, MOVE to find the CAT MASK as she places it on top of stacks of slightly FIRE - DAMAGED $ 100 DOLLAR BILLS and CLOSES THE SUITCASE. CUT TO BLACK. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"Artist and graphics designer Patience Phillips is a meek people-pleaser whose main support is her best friend Sally. She works for a cosmetics company called Hedare Beauty which is ready to ship a new skin cream called Beau-line that is able to reverse the effects of aging. However, when Patience visits the R&D laboratory facility to deliver a redone ad design, she overhears a discussion between the scientist Dr. Ivan Slavicky and Laurel Hedare, the wife of company-owner George Hedare, about the dangerous side effects from continued use of the product. Laurel's guards discover Patience and are ordered to dispose of her. Patience tries to escape using a conduit pipe, but the minions have it sealed and flush her out of it, drowning her. Washed up on shore, Patience is mysteriously revived by an Egyptian Mau cat which had appeared at her apartment earlier; from that moment on, she develops cat-like abilities. From Mau's owner eccentric researcher Ophelia Powers, Patience learns that Egyptian Mau cats serve as messengers of the goddess Bast. Patience realizes that she is now a \"catwoman,\" reborn with abilities that are both a blessing and a curse. Disguised as a mysterious vigilante named Catwoman to hide her identity, Patience, under cover of darkness, searches for answers as to who killed her and why. Eventually, her search (which includes finding Slavicky's body, and later being accused of his murder) leads her to Laurel. She asks Laurel to keep an eye on George, to which Laurel agrees. However, when Patience confronts George (who is attending an opera with another woman) as Catwoman, he reveals he knows nothing about the side effects. The police, led by Patience's love interest Detective Tom Lone, arrive and Catwoman escapes. Later on, Laurel murders her husband for his infidelity and admits to having Dr. Slavicky killed because he wanted to cancel the product's release. She contacts Catwoman and frames her for the murder. Catwoman is then taken into custody by Tom, but not before Laurel reveals the side-effects of the product: discontinuing its use makes the skin disintegrate, while continuing its use makes the skin as hard as marble. She also plans to release Beau-line to the public the following day. Patience slips out of her cell and confronts Laurel in her office, rescuing Tom who came to question Laurel after second thoughts about Patience's guilt in the process and revealing that Laurel is the one responsible for her death. During the fight, she scratches Laurel's face multiple times, causing Laurel to fall out of a window and grab onto a pipe. Laurel sees her face in a window's reflection and horrified by her skin's rapid disintegration (as a result of the scratches and her own use of Beau-line for years), fails to grab hold of Patience's outstretched arm and falls to her death. Though Patience is cleared of any charges made against her regarding the deaths of Dr. Slavicky and the Hedares, she decides to end things with Tom by choosing to continue living outside the law and enjoying her newfound freedom as the mysterious Catwoman."},"name":{"kind":"string","value":"Catwoman_(film)"}}},{"rowIdx":172,"cells":{"scenes":{"kind":"list like","value":["EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES Darkness. Distant sounds of freeway traffic. Then the closer sound of a car - its headlights illumine an oleander bush and the limbs of an Eucalyptus tree. Then the headlights turn - a street sign is suddenly brightly lit. The words on the sign read. `` Mulholland Drive.'' The car moves under the sign as it turns and the words fall once again into darkness.","EXT. NIGHT - MULHOLLAND DRIVE Gliding we follow the car - an older black Cadillac limousine - as it winds its way up Mulholland Drive through the darkness of the Hollywood Hills. There is no one else on the road. As we drift closer to the car.","INT. BLACK CADILLAC LIMOUSINE - NIGHT Two men in dark suits are sitting in the front seat. A beautiful, younger, dark - haired woman sits in back. She sits close up against the door and stares out into the darkness. She seems to be thinking about something. Suddenly she turns and looks ahead. The car is slowing and moving off to the side of the road. DARK-HAIRED WOMAN What are you doing? You do n't stop here. The car stops - half on, half off the road at a dark, blind curve. Both men turn to the woman. DRIVER Get out of the car.","EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT Two cars - a convertible and a late model sedan are drag racing toward the blind curve blocking the view of the Cadillac limousine. The cars are filled with crazed teenagers. Two girls are standing up through the sunroof of the sedan screaming as their hair is whipped straight back. The cars are travelling so fast that they seem to almost float as they fly with psychotic speed down both lanes of Mulholland Drive.","INT. EXT. - CADILLAC LIMOUSINE The driver, still in his seat, has a pistol with a silencer attached pointing at the woman. The other man is getting out of the car. The woman is clutching the seat and the door handle as if trying to anchor herself. She is visibly afraid. The man who got out of the car tries the woman's door, but it is locked. He smiles as he reaches in through the front door and unlocks her door. He opens her door. As he reaches for her, the woman's face becomes flooded with light. Her eyes dart to the front windshield. The driver, flooded with light, turns just as the late model sedan slams into the Cadillac limousine. There is an explosion of metal and glass amidst thunderous tearing sounds as the two cars become one in death. The convertible screams past with hardly a notice. The driver of the limousine dies instantly as his body is jettisoned through the windshield. The other man is torn as the cars screech over him. The woman is brutally thrown into the back of the front seats as a cloud of dust and flying rocks engulfs her. The disastrous moving sculpture of the two cars wants to climb up the hill, then stops and slides back toward the road The Cadillac tips onto its side. Then all is silent. A fire erupts in the sedan and as the dust clears we see the woman appear, then crawl out of the Cadillac to the road. Her face is vacant. There is a bleeding cut just above her forehead. She stands for a moment clutching her purse - lost, then begins to walk as if in a trance across Mulholland down through the bushes and into darkness.","EXT. HOLLYWOOD HILLS - LATER - NIGHT The woman slides down a hill through tangles of hostile desert plants. Sirens can be heard in the distance. She crosses through some trees and is suddenly confronted by a coyote which snarls and leaps at her. She screams and strikes out with her purse in self defense. The coyote backs away - snarling. The woman then loses control and runs at the coyote and it races off. She falls to the ground. We can hear the thunder of her heartbeat as the sirens grow louder. She gets up and stumbles through the trees. When she clears them she is standing overlooking all of Los Angeles glowing down below. She clumsily starts down toward it. HOLLYWOOD STREETS - LATER - NIGHT The woman slides down a dusty hill and finds herself at Franklin Avenue. A car races by and its headlights flare on her face. Her expression shows fear and panic. She does n't know where she is or where to go. She runs frantically across the street. She moves quickly to a sidewalk which takes her into a residential area.","EXT. HOLLYWOOD STREETS - LATER - NIGHT The woman crosses Sunset Boulevard. Coming up Sunset in the distance is a police car with its sirens and lights going. She hurries into the darkness of another residential area. A car turns onto the street and comes toward her. She instinctively moves behind a tree until it passes.","EXT. HOLLYWOOD STREETS - LATER - NIGHT As if being hunted in a foreign land the woman moves desperately down another residential street. A drunken couple round the corner up ahead and start up the sidewalk toward her. She runs off the sidewalk and into the bushes in front of an apartment building. The couple passes by without noticing her. Feeling safe in these bushes her exhaustion overtakes her and she lays her head down to sleep.","EXT. MULHOLLAND DRIVE - NIGHT Police, paramedics surround the wreckage. Two detectives, HARRY MCKNIGHT and NEAL DOMGAARD -LRB- both mid 40's to 50 -RRB-, stare at the remains of the two cars glowing white hot under the crime scene lights. A coroner's van pulls out just after an ambulance. The ambulance's siren begins to wail as it speeds off. The coroner's van cruises slowly. Detective Harry McKnight and Detective Neal Domgaard continue staring. They do not look at each other. They are each motionless for a long moment. DETECTIVE HARRY MCKNIGHT You feel it? DETECTIVE NEAL DOMGAARD Yeah. They continue to stare. DETECTIVE NEAL DOMGAARD Sammy thinks the Caddy had stopped along the shoulder. man up the road said he saw two cars drag racin'. then you got that blind corner. DETECTIVE HARRY MCKNIGHT Two men. two guns in the Caddy. DETECTIVE NEAL DOMGAARD The boys found this on the floor in back of the Caddy. Neal holds up a plastic bag holding a pearl earring. DETECTIVE HARRY MCKNIGHT Yeah, they showed me DETECTIVE NEAL DOMGAARD Could be unrelated. DETECTIVE HARRY MCKNIGHT Could be. any of those dead kids wearin' pearl earrings? DETECTIVE NEAL DOMGAARD No. Could be someone's missin' maybe. DETECTIVE HARRY MCKNIGHT That's what I'm thinkin'. Detective Harry McKnight turns and crosses Mulholland. His eyes move over each blade of grass at the shoulder - each desert bush just beyond. He slowly raises his gaze to the shining lights of Hollywood laying far below like a galaxy. He looks out and wonders.","EXT. HOLLYWOOD STREETS - EARLY DAWN The clang of a metal gate wakes the woman. It is just getting light and she sees an older red - headed woman carrying a suitcase to the curb where a cab stands waiting with its trunk open. The cab driver appears with two suitcases which he sets down next to the car. The red - headed woman and the cab driver both go back through the iron gate. The woman in the bushes pulls herself to the gate where she can peer into the courtyard of this apartment building. She sees the red - headed woman and the cab driver go into an apartment and come back out with more luggage. They leave the apartment door open. When the red - headed woman and the cab driver reach the cab they both begin loading the bags into the trunk and backseat. Their backs are to the woman in the bushes who takes this opportunity to go quickly into the courtyard and through the open apartment door.","INT. APARTMENT - EARLY DAWN The woman comes into a living room where a single trunk remains. She goes further into the apartment and crouches down in a back corner of the kitchen. She listens as footsteps come across the courtyard. She hears the red - headed woman and the cab driver get the trunk. She hears them set it down once they have it in the courtyard. She hears the steps of the red - headed woman come back inside the apartment. She hears the footsteps go all around the apartment and then she hears the footsteps come toward the kitchen. Remaining frozen, the dark - haired woman's eyes look up as the red - headed woman walks right past her, grabs a set of keys off the kitchen counter, then leaves the apartment. The woman can hear the door being locked. She lets go, slides to the kitchen floor, and passes out.","INT. DENNY'S RESTAURANT, HOLLYWOOD - MORNING Two well - dressed men HERB and DAN -LRB- mid 30's -RRB- are sitting at a table drinking coffee. Herb has finished eating his breakfast, but Dan has n't touched his bacon and eggs - he appears too nervous to eat. A blonde waitress with a nameplate saying `` DIANE'' lays the check on their table smiles, then walks off. HERB Why did you want to go to breakfast if you're not hungry? DAN I just wanted to come here. HERB To Denny's? I was n't going to say anything, but why Denny's? DAN This Denny's. HERB Okay. Why this Denny's? DAN It's kind of embarrassing but, HERB Go ahead. DAN I had a dream about this place. HERB Oh boy. DAN You see what I mean. HERB Okay, so you had a dream about this place. Tell me. DAN Well. it's the second one I've had, but they were both the same. they start out that I'm in here but it's not day or night. It's kinda half night, but it looks just like this except for the light, but I'm scared like I ca n't tell ya. Of all people you're standing right over there by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is - there's a man. in back of this place. He's the one. he's the one that's doing it. I can see him through the wall. I can see his face and I hope I never see that face ever outside a dream. Herb stares at Dan to see if he will continue. Dan looks around nervously, then stares at his uneaten food. DAN -LRB- cont'd. -RRB- That's it. HERB So, you came to see if he's out there? DAN To get rid of this god - awful feeling. HERB Right then. Herb gets up, picks up the bill and goes to the cashier to pay. Dan just sits. As Herb is paying the bill he looks over at Dan just as Dan is turning to look at him. From Dan's point of view Herb is standing in exactly the same spot as he stood in the dream. Herb gets a strange feeling, turns back and finishes up with the cashier. He motions for Dan to follow him. Dan rises reluctantly and he and Herb make their way outside.","EXT. DENNY'S Now Herb waits for Dan to lead the way. DAN Around here. Dan takes Herb across the front of Denny's to a narrow sidewalk that leads down the side toward the back. They begin walking down the narrow sidewalk - past a payphone. Dan begins to sweat the nearer he gets to the rear corner of the building. Red bricks glide by slowly. CLOSER ON DAN Beads of sweat cover his face. He finds it difficult to breathe. Herb is just behind him unable to see the fear overtaking his friend, but Herb can feel something himself. The red bricks moving by now are coming to an end - the corner is coming closer - the corner is now very close. Suddenly a man - a face. a face dark and bum - like - moves quickly out from behind the corner and stops - freezes - staring into Dan's eyes. Dan lurches back. All his breath is suddenly gone. He falls back into Herb who tries to catch him as he's falling. Dan hits the ground unable to breathe - his eyes wide with horror. Herb looks up - the man is gone. He looks down to Dan. HERB Dan! Dan! You all right? Dan! He kneels down and studies his friend. He feels for a pulse in the neck. He listens for breathing. His friend is dead. HERB -LRB- cont'd. -RRB- My God!","EXT. LAX AIRPORT - DAY The airport sits in blinding sunlight and veiled with smog. A big jet lands.","INT. LAX AIRPORT A blonde girl walking with an old woman approaches us. As the blonde's face fills the screen we move with her and stay with her as she goes. Her face is bright and her eyes move here and there taking in everything. She can hardly believe she's in Los Angeles - the City of Dreams. She and the old woman pass under a sign which reads `` WELCOME TO LOS ANGELES.'' The girl smiles and looks around excited by every detail.","EXT. LAX AIRPORT The girl and the old lady exit the terminal with their bags. An older gentleman has joined the old lady. They stop at the taxicab stand. The old lady takes the blonde girl's hand. OLD LADY It's time to say goodbye, Betty. It's been so nice travelling with you. BETTY Thank you, Irene. I was so excited and nervous. It was sure great to have you to talk to. IRENE Now, remember I'll be watching for you on the big screen. BETTY -LRB- smiling. -RRB- Okay Irene. Wo n't that be the day. IRENE The best of luck to you, Betty. Take care of yourself and be careful. BETTY Okay I will. Thanks again. Betty and Irene give each other a hug. The old gentleman nods to Betty and takes Irene off. Betty smiles after them. Suddenly someone is grabbing her bags. She turns abruptly to find she is next in line and her cab is waiting. She turns once more and waves at Irene as her bags are loaded into the trunk of the cab. CAB DRIVER Where to? BETTY -LRB- smiling excitedly. -RRB- 1612 Havenhurst. CAB DRIVER Got it! They get into the cab and close their doors. The cab pulls away.","EXT. STREETS - LOS ANGELES - DAY Betty goes from the right side of the cab to the left side of the cab looking at every building, tree and sign. Each street sign seems to be magical to her and she says the names to herself as they pass by. She sees La Tijera, La Cienega, Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire Boulevard, etc., etc. until they reach Fountain and turn right. Betty's heart is pounding when she sees Havenhurst and the cab turns left. In the middle of the block on the right the cab pulls over and stops. Betty sees her new home. an ancient, gorgeous courtyard apartment building, built during the golden age of cinema.","EXT. 1612 HAVENHURST The cab driver puts Betty's bags down on the sidewalk next to her. She can barely stop looking at the building long enough to pay the cab driver who then goes off and drives away. Betty picks up her bags and enters, as if in a dream, through an ornate iron gate to a courtyard with a beautiful working fountain at its center. A sign on a door to her right reads Manager and she rings the bell. An older, once very beautiful, woman wearing heavy make - up and smoking a cigarette in a silver holder opens the door. An unbelievable raspy voice comes out through the dark screen of the still closed screen door. MANAGER Hi there. ten bucks says you're Betty. BETTY I am, Mrs. Lanois. It is Mrs. Lanois is n't it? MRS. LANOIS In all my living glory, baby. BETTY Pleased to meet you. MRS. LANOIS You can call me Coco. everybody does. Stay there, I'll get the key. BETTY Okay, Coco. Coco returns with the key and opens the screen door inhaling a huge drag off her cigarette. She starts off into the courtyard and Betty picks up her bags and follows. As Coco speaks smoke comes out of her with every word. COCO I guess it was your grandfather, was it. he called me to check in, said you were on your way and for you to call when you get in. Nice man. farmer I hear. BETTY Yes, he is. He raises corn. COCO Damn lot of corn raised in Hollywood these days too. BETTY Well, I. COCO You do n't have to tell me. It's written all over that pretty face of yours. You came here to be an actress. I just hope you'll remember there's never been a great poem called `` tits and ass.'' BETTY I. COCO You probably do n't remember her, but Louise Bonner lives right over there in number 29. When she is n't drunk she runs a damn good acting class. BETTY Have many famous actors and actresses lived here? I was meaning to ask you that. COCO Honey, all the great ones came through here at one time or another. A haunting music begins to swell. COCO -LRB- cont'd. -RRB- People say in the springtime when the wind blows the smell of the jasmine you can still feel the presence of everyone of them. BETTY I guess I've come to quite a place. COCO Sweetheart, you do n't know the half of it. The music fades. Coco looks down suddenly. On the cobblestone courtyard in front of her she sees a fresh product of waste from a dog. She angrily turns up to an apartment on the second level. COCO -LRB- cont'd. -RRB- -LRB- yelling up. -RRB- WILKINS! -LRB- no answer. -RRB-. THAT DOG CRAPS ONCE MORE OUT HERE AND I'LL BAKE HIS BUTT FOR BREAKFAST! Coco turns back to Betty. COCO -LRB- cont'd. -RRB- You do n't have pets do you? BETTY No, I do n't. COCO That's good. They're allowed, but I do n't like'em. for obvious reasons. One man used to live here that had a prize fighting kangaroo. You would n't believe what that kangaroo did to this courtyard. let's see your Aunt's apartment. it's a good one. BETTY I can hardly wait, Coco.","INT. APARTMENT - BEDROOM The dirty and torn black cocktail dress of the dark - haired woman along with her shoes, purse and undergarments are in a pile in the bedroom. We drift off them toward the bathroom where the dark - haired woman can be seen showering through rippled glass. There's the sound of a door opening. We see a movement through the glass and the shower goes off instantly. We can hear the dark - haired woman's frightened breathing as she waits frozen listening.","INT. APARTMENT LIVING ROOM Betty enters, thrilled with what she sees. The apartment is filled with movie memorabilia, deco furniture, oriental rugs, brass floor lamps and a massive tiled fireplace. She sets her bags down and stares. BETTY It's unbelievable! COCO I told ya. BETTY Wow! COCO Now I guess you and your Aunt have an understanding. So here's the key and you need anything, just give a holler. -LRB- Coco hands Betty the key. -RRB- Everybody in this building's pretty much okay with me or they would n't be here. If you want, later I'll introduce you around. No hard feelings if you do n't, and do n't forget the rooftop garden. It's just up the stairs we passed. It's open to all the tenants. You can see the Hollywood sign from there. BETTY Oh Coco thank you. Thank you so much. COCO You got it! See you later honey. Coco leaves and closes the door behind her. Betty begins to explore the apartment. - After walking a circle in the living room she passes through the kitchen. She moves down a hallway looking at paintings and posters. She goes into the bedroom. She smiles when she sees the bed which has a huge ornately carved head and foot board. She notices the soiled dress on the floor and she frowns as she looks closer. She stands back up, shrugs and goes into the bathroom which has all the original thirties fixtures damndest floor to ceiling tiles. As she goes toward the sink she smiles to herself in the mirror above it. Suddenly something catches her eye and she opens the shower stall. There before her is the naked, beautiful dark - haired woman. BETTY Oh my! She quickly closes the shower door. BETTY -LRB- cont'd. -RRB- I'm sorry. My Aunt. Ruth did n't tell me someone was going to be here. I'm so sorry. DARK-HAIRED WOMAN That's okay. BETTY I'm Ruth's niece. My name's Betty. I'm sure she told you I was coming. There's a silence. DARK-HAIRED WOMAN There was an accident. I came here. BETTY I understand. I saw the dress. I. I'm sorry. Are you all right? There is another silence. BETTY -LRB- cont'd. -RRB- What happened? DARK-HAIRED WOMAN A car. a car accident. BETTY Are you okay? DARK-HAIRED WOMAN I think so. I was just taking a shower. BETTY Oh my god. I'm sorry. I'll let you get back to that. I'm going to get unpacked. Betty goes to the bathroom door and is closing it when she stops and looks back in. BETTY -LRB- cont'd. -RRB- What's your name? We see a close - up of the dark - haired woman. We see her eyes widen with a kind of fear. She's frantically thinking - searching her mind for an answer. BETTY -LRB- cont'd. -RRB- I'm sorry. I'll get out of here and we can talk later.","INT. APARTMENT BEDROOM Betty is unpacking in the bedroom and putting her belongings in the closet and the dresser drawers. Many of her Aunt's things are still there.","INT. APARTMENT BATHROOM The dark - haired woman is looking at herself in the mirror. She turns and begins looking around the bathroom at shampoos, cosmetics, until her eyes fall on a poster of `` Gilda'' starring Rita Hayworth.","INT. APARTMENT BEDROOM The bathroom door opens and the dark - haired woman comes out wrapped in a towel. She's drying her hair with another. She and Betty stare at one another. DARK-HAIRED WOMAN My name is Rita. BETTY Hi. do you work with my Aunt? RITA No. I. BETTY I. I mean. I. it's none of my business. RITA She has pretty red hair. she is very kind I think. BETTY She sure is. She's letting me stay here while she's working on a movie that's being made in Canada, but I guess you know that. I could n't afford a place like this in a million years. Unless of course I'm discovered and become a movie star. Of course, I'd rather be known as a great actress than a movie star, but sometimes people end up being both and that is, I guess you'd say, sort of why I came here. I'm sorry, I'm just so excited to be here. I mean I just came here from Iowa and now I'm in this dream place. You can imagine how I feel. RITA I think I've been hurt. BETTY Oh. Betty goes to Rita. BETTY -LRB- cont'd. -RRB- Sit down. Betty sits Rita on the bed. She leans down and looks at her head and face. BETTY -LRB- cont'd. -RRB- Where were you hurt? Rita motions to her head above her forehead. Betty looks through her hair and finds her wound which has stopped bleeding but is surrounded by a very large blue black bruising. BETTY -LRB- cont'd. -RRB- We should get a doctor. RITA No. BETTY But, this could be serious. RITA No. I need to sleep. BETTY If you have a concussion you should n't sleep. RITA It will be okay if I sleep. I need to lie down and sleep. BETTY All right, but. I'm going to check on you. Rita lies down and is instantly asleep. Betty leans over her and listens to her breathing. She gets a blanket and drapes it over the beautiful sleeping Rita, then leaves the room.","EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY The street level of the office building is filthy and houses stores selling racks of cheap toys. Up above we see office windows and a big sign saying `` Office Space For Rent'' along with a telephone number to call. We drift in toward one of the windows on the sixth floor.","INT. OFFICE ON SIXTH FLOOR Two men are in the room, JOE and ED. Joe leans up against a rack of filing cabinets. He is in his late twenties. He looks like a run down, heavy metal rocker - wears a blue denim shirt open, T - shirt underneath, black denim jeans and motorcycle boots. His black belt has silver studs. He's smoking a cigarette and is laughing at something the man at the desk has said. His laugh is easy and his grin is infectious. The man at the desk, Ed, wears a clean, crisp black suit, like a business man's but unlike a business man his blonde hair is long enough to go over his shoulders. JOE So man, that's unheard of. an accident like that. who coulda foreseen that. ED Unreal. so, you're looking good. Whatcha doin' these days? JOE Well, not much Ed. Just doin' some stuff for this guy. ED Making ends meet, huh. JOE Hardly. ED Yeah, look at my digs. times are tough. JOE Oh, things are n't so bad. Gee, I hope you're not goin' to get in any trouble. ED It was just a thing. The story made you laugh. JOE Yeah, that's a funny story. Looking like he's rubbing the small of his back Joe moves over to Ed at his desk. Joe looks down to the surface of the desk - to a small worn black book. JOE -LRB- cont'd. -RRB- So, there it is. Ed's famous black book. ED Yeah, the history of the world in phone numbers. Joe's hand still at the small of his back moves into view holding a silenced pistol and in one swift move reaches out and fires a hole through Ed's temple - blowing Ed's brains out across the desk, carpet and wall. Ed's head bangs down on the desk, then is still save the leaking of blood from the wounds. Joe flips his finished cigarette out the open window behind Ed's desk, wipes the gun clean with a handkerchief and places the cleaned gun in Ed's right hand. He places Ed's right forefinger gently onto the trigger. As he puts the finger on the trigger he presses a little too hard and the gun goes off. The bullet shoots out and penetrates the cheap wall at the far end of Ed's office. Joe hears a muffled scream. JOE -LRB- cont'd. -RRB- -LRB- disgusted with himself. -RRB- Oh. man! With a sense of `` just more stuff I got to do'' Joe moves slowly and begrudgingly out of Ed's office, checks the corridor and goes toward the screaming which still persists. He opens up the office door next to Ed's and finds a heavy set woman screaming bloody murder as she is grabbing her buttock and lower back. He sighs and walks over to her and cups his hand tightly around her mouth to squelch the screaming. Wide - eyed, she tries to fight him off and he begins dragging her out of her office. Joe's foot catches on a computer cable clumsily taped across the floor and he falls backwards bringing the heavy woman down with a bone - crushing blow on top of him. The woman begins beating his face with her meaty fists. Joe snaps her head back, instantly stilling her violent activity. He wrestles the stunned heavyweight back to her feet and out her door. He pushes and pulls her into Ed's office. Just before they enter, Joe notices a man with a vacuum cleaner watching him from the far end of the corridor. He stops and calls to the man. JOE -LRB- cont'd. -RRB- Hey man. She's hurt bad. Get down here and use the phone. Help me out. You got ta call the hospital. The man hesitates. not sure if this jives with what he's seeing. JOE -LRB- cont'd. -RRB- I mean it! Get down here quick! She's hurt and I ca n't do everything myself, man. Joe pushes the woman inside Ed's office, throws a glance back down the corridor and sees the man is on his way to him, pushing his industrial vacuum and trailing a 200 ft. long thick black cord as he goes. Joe goes in to Ed's office with the woman. He throws her down on the floor in line between Ed's desk and the bullet hole in the wall. She starts screaming immediately and struggles to get up. Joe grabs the pistol from Ed's dead hand and lifts it to fire, but the woman has turned around and is almost standing. JOE -LRB- cont'd. -RRB- No, no, no. You got ta be turned around. He goes to her, slaps her hard in the face and spins her around. Before she can turn again Joe races back to place himself in the proper line at Ed's desk and quickly fires two silenced shots into the back of her head. The man with the vacuum enters. His eyes begin to widen in reaction to the scene. Just then Joe fires a bullet into the man's chest. The man inadvertently flicks on the vacuum cleaner as his hands rush up to the wound. As the vacuum cleaner whines Joe rushes to the man before the man falls back out into the corridor. He pulls him into the room - the man moaning and clutching his chest, starting to collapse. Joe releases him and the man goes down. The vacuum cleaner seems to be screeching now in the threshold. Joe fires the last bullet into the heavy duty vacuum cleaner. The bullet shorts out the internal wiring of the vacuum. That in turn blows the building's circuit breaker and all the lights go out. JOE -LRB- cont'd. -RRB- -LRB- disgusted with himself. -RRB- Oh. man! Now he hears voices - voices moving into the corridor. VOICES What the hell. what happened? What's this cord doing here? It's the vacuum. It's the vacuum what did it. Joe cleans the pistol once again and places it back in Eddie's hand - Eddie's finger on the trigger. Joe picks up the black book - turns and makes his escape by going out the office window and quickly descending the rusty fire escape.","INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY We see three men sitting at a conference table RAYMOND -LRB- RAY -RRB- HOTT - president of production, wearing a crisp blue suit, VINCENT DARBY - senior vice - president, wearing a crisp green suit and ROBERT SMITH - talent manager, wearing a crisp brown suit. Ray and Mr. Darby sit at the head of the table and Robert Smith sits along the side. A younger man - ADAM KESHER enters and sits down, with an arrogant nonchalance, next to Robert Smith. Adam is dressed in a frumpy old fashioned plaid shirt, worn jacket, dark blue cotton slacks, and a pair of old brown wing tips. As he sits he is holding and twirling a vintage `` 7 - iron'' golf club. ADAM So what's the problem? RAY There is no problem. ADAM So why did you idiots bring me here? I'm in the middle of making a picture. Silence for a moment. A man enters through a rear door and whispers something to Mr. Darby and shows him something on a piece of paper. Mr. Darby studies the piece of paper. MR. DARBY -LRB- to man who entered. -RRB- What was it last time? The man who entered points to something on the paper. MR. DARBY -LRB- cont'd. -RRB- Okay, let's try the next one. The man nods and leaves. RAY He is n't gon na like it. MR. DARBY We'll see. ADAM Hello. who're we talkin' about here? Robert Smith shuffles nervously in his chair next to Adam. ROBERT SMITH You see Adam. there are some suggestions which are to be brought forward. and I know you said you would entertain suggestions and that's all anybody here is asking you to do. ADAM What're you talking about? ROBERT SMITH An open mind. You're in the process of re - casting your lead actress and I'm. -LRB- looks around. -RRB- We're asking you to keep an open mind.","EXT. CENTURY CITY - DAY Before us is a huge modern office building of glass and steel. Two men in dark suits have exited a large limousine and are walking up into the building. We drift up the facade, higher and higher moving in toward the top of the building.","INT. OFFICE BUILDING - DAY The men exit an elevator and move through a lobby where a plaque beneath an enormous bronze sculpture reads `` Ryan Entertainment''. Gliding we travel behind the two men down a wide, carpeted hallway with blonde wood and glass on each side. They enter through two large blonde wooden doors to the conference room.","INT. CONFERENCE ROOM - DAY The men in dark suits go in as if they owned the place. Ray, Mr. Darby and Robert Smith stand immediately. Adam remains seated. Mr. Darby is the only one near enough to attempt a hand shake, but when he offers his hand it is not taken. The men in dark suits sit down without wasting a movement and without acknowledging anyone. One of the men in a dark suit opens a briefcase. Ray has been trying to make introductions. RAY Ah. the Castigliane brothers. Let me introduce you around. please. sit down. -LRB- after they've already seated themselves. -RRB-. this is Mr. Darby whom you know and this is the director Adam Kesher and his manager Robert Smith The Castigliane brothers do not acknowledge any of this, however, during the introductions the one with the briefcase removes a photo of a girl and sets it in front of Ray. RAY -LRB- cont'd. -RRB- Ah. she's very pretty. We see the photo of the girl - of a nice looking blonde - someone we've never seen before. Adam looks like he does n't know what's going on and he's getting upset about not knowing. His manager, Robert Smith, is beginning to see the makings of a confrontation - he's starting to panic. MR. DARBY -LRB- referring to Castigliane brothers. -RRB- May I offer you gentlemen anything? LUIGI CASTIGLIANE Espresso. VINCENZO CASTIGLIANE Nothing. ADAM Uh what's the photo for? MR. DARBY -LRB- picking up phone and speaking. -RRB- One espresso. no, that's it. -LRB- sets phone down - addresses Castigliane brothers. -RRB- I think you're going to enjoy your espresso this time. I've been doing quite a bit of research knowing how hard you are to please. this one comes highly recommended. ADAM What's the photo for? RAY -LRB- to Adam. -RRB- A recommendation. a recommendation to you Adam. VINCENZO CASTIGLIANE Not a recommendation. LUIGI CASTIGLIANE This is the girl. ADAM What girl? For what? What is this Ray? Ray, still standing with a forced smile, turns to the Castigliane brothers. RAY We'd be happy to put her in the pile for considerations. you'd be pleased to know there's quite a lot of interest in this role. ADAM Interest?! There's six of the top actresses that want this thing. LUIGI CASTIGLIANE This is the girl. ADAM Ray. you better take care of this. ROBERT SMITH Hold on. hold on, Adam. ADAM Hold on! There's no way, there's no way! Luigi Castigliane's espresso is brought in by the man who had been in earlier. The man sets the espresso down in front of Luigi and takes a step back. The room becomes silent - watching the Espresso Man and Luigi. Without looking up Luigi speaks softly. LUIGI CASTIGLIANE Napkin. ESPRESSO MAN -LRB- leading forward to hear. -RRB- Pardon? LUIGI CASTIGLIANE Napkin. ESPRESSO MAN Of course. Excuse me. The Espresso Man leaves the room. Luigi looks at the espresso. Vincenzo stares at Adam. Adam is doing his best to stare down Vincenzo. The Espresso man returns with a cloth napkin and lays it down next to the espresso. ESPRESSO MAN -LRB- cont'd. -RRB- Will that be all, Sir? Luigi does n't answer and after a moment of standing very still waiting, the Espresso Man turns and leaves the room. Adam is stared down by Vincenzo and averts his eyes to the espresso cup. He looks around at Ray and Mr. Darby - seeing them stare at the espresso cup. Vincenzo keeps staring at Adam. Luigi picks up the napkin and holds it in his left hand. With his right hand he lifts the espresso cup and places it above the napkin. He brings the cup and napkin to his mouth. He takes a sip of espresso. A small fleeting expression forms on Luigi's impassive face as if for one millisecond he is going to vomit. His mouth opens and he allows the espresso to fall and dribble onto the napkin. He pushes any remaining espresso in his mouth out with his tongue. He holds it in that position for a moment. LUIGI CASTIGLIANE Is shit! Luigi Castigliane stands up. RAY I'm sorry. That was a highly recommended. MR. DARBY That's considered one of the finest espressos in the world, Sir. Luigi just stands there. A small thread on his left suit jacket pocket catches his attention and he smooths it back into the fabric. Vincenzo closes his briefcase, takes out a hankerchief and cleans his nose - then stands, placing the handkerchief back in his pocket. ADAM Wait a minute! What's going on here? Vincenzo just stares toward Adam as if he's not even there. ADAM There's no way that girl is in my movie! Silence. LUIGI CASTIGLIANE That is the girl. The Castigliane brothers begin to leave. Adam stands up trembling with anger. ADAM Hey! That girl is not in my film! VINCENZO CASTIGLIANE It is no longer your film. Adam turns white and stands very still as this sinks in. The Castigliane brothers leave. As the big blonde wood doors close behind them Adam starts to boil. ADAM -LRB- screaming. -RRB- You'd better fix this, Ray! RAY I'll speak to someone. ADAM -LRB- turning to his manager. -RRB- And you'd better speak to someone too. or find yourself another client! This smells like a set - up to me! -LRB- back to Ray. -RRB- And by the way, Ray, I do n't know who these guys are kidding, but every foot of film I've shot is in a vault at the lab that only I can access. No one's getting that film! ROBERT SMITH This is a catastrophe. -LRB- turning toward Ray. -RRB- you told me they might insist on a girl, that's all. ADAM Why did n't you tell me, Robert? That's what I mean. you set me up! I woulda never come here. -LRB- standing. -RRB- I'm leaving. I'm a director you do n't want to lose. you guys better fix this! Adam storms out of the room. RAY -LRB- standing. -RRB- Well. I did n't know that was going to happen.","EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY Adam exits the building carrying his 7 - iron. An attendant takes his valet parking ticket. While Adam, still fuming, waits for his car he notices the big limo standing off to one side. He stares at the car and the huge limo driver leaning up against the front driver's side door. Adam's car arrives - a late model Porsche. Before Adam gets into his car he addresses the attendant. ADAM Did the Castigliane brothers get out of that limo? ATTENDANT They two guys in dark suits? Adam nods and walks over to the limo. The limo driver eyes him and his 7 - iron suspiciously. ADAM Castigliane brothers? LIMO DRIVER Beat it! ADAM O.K. Adam raises his 7 - iron and smashes out the limo's windshield. He whacks two big dents in the hood, then smashes out a headlight. The limo driver starts towards him. Adam laughs, runs to his car and takes off.","INT. AUNT RUTH'S APARTMENT - LATER DAY Betty is stretched out on the big leather couch in the living room. A half eaten sandwich and chips are on a plate on the coffee table next to her. She is talking on the phone. BETTY No Grandpa, you would n't believe it. It's more beautiful than I ever dreamed. no she left me a lot of food. The refrigerator's full. Aunt Ruthie said she'd call me when she got settled. it was real smooth. I sat next to a lady who gave up her first class seat to a boy with a broken leg. She was so nice to me. She invited me to her house sometime. It's in Bel Air which is a place where people have a lot of money. I will. Everybody's telling me to be careful, but I sure love it here Grandpa. Thank you for helping me get here. yeah, it's long distance. I love you. Say hello to Grams. Give her a big kiss for me. Okay, I love you Grandpa. bye. Betty hangs up the phone, takes a big bite of her sandwich and lays flat out on the couch, chewing and smiling up at the ceiling. She suddenly remembers Rita and her promise to look in on her. She gets off the couch and goes into the bedroom.","INT. BEDROOM - DAY Rita is still asleep when she enters. She leans down and finds Rita breathing normally. She feels her forehead. Satisfied that all is well, Betty quietly leaves the bedroom.","INT. - EXT. APARTMENT - DAY Betty rinses her dishes in the kitchen sink and pours herself a cup of coffee. She takes the coffee outside to the courtyard - to a white metal table just outside her doorway. She sits down and stretches in the warm afternoon sun. Across the way she can hear a blues saxophonist practicing in one of the apartments. She drinks her coffee and listens to the music. Some birds fly by overhead. She takes another sip of coffee. The blues music which was mellow and slow is now building in tempo and volume. The phone inside rings. Betty takes her coffee back into the living room, shutting the door behind her. She crosses to the leather couch and picks up the phone. BETTY -LRB- cont'd. -RRB- Hello. Aunt Ruth! I ca n't tell you how happy I am. Your place is so fantastic! Yes. Coco. what a character. I really like her. that's too bad. waiting in an airport must not be too fun. What's a mosquito plane? Oh I get it. How long does that take from Montreal? Well, you'll sleep good tonight. Hudson Bay sounds beautiful. oh well, I hope you packed your coat. -LRB- laughs. -RRB-. You mean the audition. Wally Brown. she did n't mention it but he'll fax the dialogue to Coco? Suddenly I'm so nervous. okay Aunt Ruth. I'll try. I'll study those lines until I know them inside out. Yes, either right here on this fabulous leather couch or I'll take them with a coffee in the courtyard like a regular movie star. -LRB- laughs. -RRB-. Oh! I got a real shock to find your friend Rita here. She was in the shower and I opened the door. Rita. what do you mean? She was in an accident. your friend Rita. No, Coco unlocked the door. No, she did n't see her. She's sleeping. No. she's very nice. I'm sure there's some explanation, Aunt Ruth. I do n't think we have to do that. Please do n't worry. I'll take care of it. No, I'll let you know. Where can I. okay I'll get it from Coco. No, please do n't worry. thank you so much for letting me stay here. You've made me so happy. thank you, thank you. Please do n't worry. Aunt Ruth we do n't need the police. I'll call you when you get to Hudson Bay. Please. please. Goodbye Aunt Ruth. Betty slowly and quietly hangs up the phone. She sits for a moment listening. Silently she stands and moves toward the bedroom. As she approaches the bedroom door she stops at something she sees. Rita is sitting on the edge of the bed crying quietly. Betty goes into the bedroom. Rita looks up at her with desperation. BETTY -LRB- cont'd. -RRB- You're awake. I think I misunderstood you. I thought you knew my Aunt and that's why you were here. I just talked to my Aunt on the phone and she wants me to call the police. Rita starts crying harder, bows down, covering her face with her hands. BETTY -LRB- cont'd. -RRB- Rita? RITA -LRB- crying harder. -RRB- I'm. sorry. I. Betty's heart softens. BETTY What is it Rita? RITA -LRB- still sobbing. -RRB- I'm. I'm. oh no. I thought when I woke up. I thought sleep would do it. Betty kneels down in front of her. BETTY What's wrong? RITA -LRB- crying. -RRB- I do n't know who I am. BETTY What do you mean? You're Rita. RITA -LRB- crying. -RRB- I'm not. I do n't know what my name is. I do n't know who I am! Betty looks down at the purse next to Rita's dress. She picks it up and hands it to Rita. BETTY This is your purse. Your name must be in your purse. Rita takes the purse with sudden trepidation. She hesitates. Something is worrying her. She looks at Betty for help. BETTY -LRB- cont'd. -RRB- You want to know do n't you? RITA I. yes, but. I. BETTY Open it! Rita slowly unzips the purse. The pressure of its contents force the mouth of the purse to widen as the zipper opens and then there is suddenly revealed what will later be known to be $ 125,000.00 cash in hundred dollar bills. Both Rita and Betty almost stop breathing. They look at each other, then back to the money. Rita takes the massive wad of bills out of the purse and sets it on the bed. She reaches back inside and comes up with the only other remaining item in the purse. A BLUE KEY. Betty sees Rita's expression change to a kind of horror. -LRB- note : This blue key is made of very fine heavy metal and does not look like a door key. -RRB-","INTERIOR - OFFICE BUILDING - DAY Ray crosses a carpeted closed area. He mounts a flight of stairs. At the top of the stairs there's a plain blonde wood door. Ray punches in a code on a security panel next to it. The door opens automatically. Ray passes through and goes down a narrow hall. At the end of the hall there is a small elevator. Again Ray punches in a code. The elevator opens and Ray goes in. The elevator door closes, but the elevator does not move. Ray waits. Finally, a woman's voice comes through a speaker. WOMAN'S VOICE Who is it please? RAY Raymond Harris. 20743. The elevator begins to move up. When it stops, the door opens and Ray walks into a windowless reception area where a beautiful Italian woman sits behind a large, blonde, modern, built - in desk. RECEPTIONIST -LRB- very quietly. -RRB- You may go right in, Ray. Ray crosses to a blonde wood double door and waits. The receptionist pushes a button behind her desk - chimes sound as the double doors open to an enormous office with no windows. Heavy rich brown curtains line the walls. Ray enters and the doors close behind him. Ray takes a few steps forward, then stops. There is a solid glass wall that we now notice running the width of the office. Cut into the glass wall is a small speaker microphone apparatus. Beyond the glass off in the center of the room is a man sitting in a very plain, blonde, wood, modern, yet not motorized, wheelchair. The man is paralyzed except for his right hand and head. His head appears small in relation to the size of his body. His suit is immaculate and one of the finest we've ever seen. His manservant stands in the shadows behind him. RAY Good afternoon Mr. Roque. -LRB- pronounced Rowk. -RRB-. Mr. Roque stares at Ray silently. RAY -LRB- cont'd. -RRB- Do you want him replaced? Mr. Roque continues to stare. RAY I know they said. MR. ROQUE Then? RAY Then. I guess it's so. alright, but that means we should. MR. ROQUE Yes? RAY Shut everything down. Is that something that. do you want us to shut everything down? Silence. Ray does n't know what to do. He struggles to interpret Mr. Roque's silence. He waits. Mr. Roque does nothing but stare. RAY -LRB- cont'd. -RRB- Then we'll shut everything down. Silence. Ray turns. The doors open as he approaches them and he leaves the room. The doors close.","EXTERIOR - OFFICE BUILDING - CENTURY CITY Vincenzo and Luigi are staring silently and without expression at the broken windshield of the limousine. The limousine driver suddenly starts signaling to a car entering the driveway to the building. He turns to the Castigliane brothers. LIMO DRIVER The other car is here sirs. Please allow me. The limo driver opens the rear door of the new limo, then hurries around and opens the other rear door. The new driver gets out of the car. LIMO DRIVER -LRB- cont'd. -RRB- Here's the key to the car. Take it straight to the garage. They're waiting for you. The limo driver closes both back doors after the Castigliane brothers are seated within. He then gets in himself and maneuvers the big limo out into traffic. PINK'S CHILI DOGS - DAY Two guys, JOE -LRB- the guy who killed Ed in the sixth floor office -RRB- and BILLY another unkept, rocker type delivery man are standing waiting for their chili dogs with a girl, LANEY, who could be very good looking but she seems to be in poor health. Her hair is long and stringy. She's wearing a tight, short sleeve blue sweater, black jeans and boots. BILLY Yeah, sure. Look what happened to them. JOE No, no, no, I told you. They're fine. They're all real happy. BILLY My next delivery is up that way, so I'll be getting down to it real soon. JOE You're so easy. BILLY Got ta keep an eye on her, that's all. JOE Yeah, what for? BILLY Keep her from gettin' in trouble, that's all. The chili dogs arrive and they pay for them. BILLY -LRB- cont'd. -RRB- Can we eat in the van? JOE What's the matter now? BILLY Nothing. I do n't like being out in the open like this. JOE It must be just so pathetic being you. Sure Billy, grab your dog we'll eat in the van. The three make their way to the van. Joe looks over at Laney. JOE -LRB- cont'd. -RRB- You sure you do n't want anything? LANEY -LRB- hesitantly. -RRB- Not here. no thanks. JOE Not a coke or anything? LANEY No. thanks though. I'll take a cigarette if you have one. JOE Sure, reach in my shirt pocket there. As Laney is getting her cigarette and lighting it. JOE -LRB- cont'd. -RRB- Any new girls on the street these days? LANEY -LRB- taking her first big drag. -RRB- No. I have n't seen any. JOE A brunette? maybe beat up? LANEY No. JOE You'll keep your eyes open for me wo n't you baby? LANEY Sure. Joe spanks her butt as she gets in the van. JOE You bet you will.","INT. MR. ROQUE'S OFFICE - DAY Mr. Roque, in his wheelchair is still in the center of the huge softly lit, windowless office. His manservant standing silently behind him. The small built - in wheelchair phone rings. Mr. Roque pushes a button on a small intricate remote device he holds in his right hand. A slender streamlined microphone rises from the arm of the chair. MR. ROQUE Yes? He listens through a high - tech earplant which we now see. MR. ROQUE -LRB- cont'd. -RRB- Thank you. He pushes two buttons, one after another on the remote device. We hear a small click, a dial tone, a number being dialed, and a phone ringing.","INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS We see the back of a man's head and just over his shoulder we see the top of the phone which is ringing. The man picks up the phone and brings the receiver to his ear. THE MAN Hello.","INT. MR. ROQUE'S OFFICE - SIMULTANEOUS MR. ROQUE She's still missing. We hear a small click and the line goes dead. Mr. Roque pushes a button and the microphone descends back into the chair.","INT. DARK ELEGANT ROOM - SOMEWHERE Again we see the back of the man's head. He's dialing a new number. - He brings the receiver to his ear. We hear a phone ringing - we hear a click - the phone being answered.","INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS We see only a black rotary wall phone and a portion of a greasy filthy kitchen - The receiver has already been lifted off the phone and we see only the cord extending to someone off screen. HAIRY-ARMED MAN -LRB- off screen. -RRB- Talk to me.","INT. DARK ELEGANT ROOM - SOMEWHERE Again we see only the back of the man's head. THE MAN Same.","INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS A man's hairy - arm enters frame and the receiver is placed back on the phone, then immediately picked back up and with the receiver held in the hand the hairy man dials a new number. Part way through the dialing.","INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS The surface of this table is high gloss ultra smooth material. A very modern phone sits on this table and begins to ring softly. A hand enters frame - a woman's hand. The skin is pale white, almost translucent. The fingers are long and seem slightly too large. At the ends of the fingers and thumb are stretched tapered high gloss red fingernails which slightly curve downward. The forefinger of the hand presses a button on the phone. A small tone sounds - followed by a very modern sounding coded signal.","INT. - AUNT RUTH'S APARTMENT - day We pull back from Rita's face until we see that Betty and Rita are sitting on the leather couch about four feet apart staring at the floor. They just sit this way for awhile. BETTY Well. what do you think about then? I mean. well what do you think about? RITA What do you mean? BETTY Well. if you do n't remember anything, I mean what goes through your mind then if you do n't remember anything? RITA Nothing. I do remember the car crash. I told you. I remember the glass. I think about that sometimes. I remember walking here, sort of. Now I remember this place and you. That's about it. BETTY How do you remember how to talk? RITA I do n't know. BETTY You do n't remember anything else? RITA No. -LRB- she covers her eyes with her hands. -RRB- There is something. something there I ca n't tell. I ca n't describe it. -LRB- struggling to figure it out - to express it. -RRB- There are things there. but I'm. here. Betty thinks about what Rita has said. Somehow it seems to make sense to her. BETTY The money. You do n't know where it came from? RITA Unh, unh. BETTY When you think about them. the money. the key. does it make you remember anything? Silence. RITA The money. I do n't know about the money. the key. it makes me feel. afraid. BEVERLY HILLS CITY STREETS - DAY A car - a late model generic sedan is moving toward us. Two men dressed in suits and wearing dark glasses are driving slowly. As they go each man is scanning sidewalks, buildings, passing cars as if hunting for someone. They pass by us and as we turn we leave them and pick - up Adam driving in the opposite direction in the other lane. We stay with Adam. Adam drives his Porsche up a palm lined street. ADAM Office. The voice activated phone connects the line to Adam's office. A secretary answers. SECRETARY Adam Kesher's office. ADAM It's me. Where's Cynthia? SECRETARY She's on the set. I'll connect you Mr. Kesher. Another ringing sound, then a voice. VOICE Stage One. SECRETARY Paul, I have Mr. Kesher for Cynthia. PAUL Right baby, all Hell's broke loose down here. I'll try to find her. Adam listens to dead silence for a moment or two then Cynthia speaks. CYNTHIA Adam, where are you? ADAM What's going on, Cynthia? CYNTHIA They've closed the set. They sent everybody home. ADAM What did you say? CYNTHIA They fired everyone. ADAM Who fired everyone? CYNTHIA -LRB- starting to cry. -RRB- Ray did. and then they closed the set. everybody's gone. You'd better get down here Adam! ADAM No. CYNTHIA You've got to talk to Ray you've got to fix this. ADAM I'm going home. CYNTHIA Home! Meet me at the office. We've got to do something. you've got to do something Adam! ADAM I'm going home Cynthia. CYNTHIA Adam, this is n't like you. Please come to the office. There must be something we can do. ADAM I'm going home. I'll call you later.","EXT. - 1612 HAVENHURST - DAY ESTABLISH","INT. AUNT RUTH'S APARTMENT - DAY The girls are still sitting on the leather couch as before, but now silently off in their own worlds. After a moment. BETTY I wonder where you were going. Betty's question hangs in the air. Slowly we move close to Rita who is on the verge of remembering something. Suddenly - RITA Mulholland Drive. BETTY Mulholland Drive? RITA That's where I was going. Mulholland Drive. BETTY Maybe that's where the accident was. There must be a police report. We could call. RITA No. I do n't. BETTY We could call anonymously from a pay phone. just to see if there was an accident. Rita sits worrying. BETTY -LRB- cont'd. -RRB- Come on. It'll be just like in the movies. We'll pretend to be someone else. I want to walk around anyway. I'm in Hollywood and I have n't even seen any of it. Come on Rita. Do you feel up to it? RITA Okay. but just. just to see. BETTY Just to see if there was an accident on Mulholland Drive. RITA -LRB- tentatively. -RRB- Okay. BETTY Come on. let's find you something to wear. AUNT RUTH'S BEDROOM - DAY Betty laughs as she holds one of Ruth's dresses in front of Rita. BETTY It's terrible. My Aunt dresses like Miss Marple. -LRB- off a blank stare from Rita. -RRB- She's kind of a frumpy woman detective in British movies. Rita laughs along with Betty. Betty goes back in the closet. BETTY -LRB- cont'd. -RRB- Here's something okay. She brings out a pair of khaki pants. BETTY -LRB- cont'd. -RRB- Try these on. You can wear one of my T - shirts with it and it wo n't look bad with those sandals.","EXT. ADAM'S HOUSE - BEL AIR Adam pulls into his driveway, but is blocked from entering the garage by a poolman's truck. He gets out of the car and looks at the truck - sees the insignia on the door which is a blue square with the word `` Gene'' above and the word `` Clean'' below. Adam hears steps behind him and turns. A JAPANESE GARDENER is coming toward him smiling and bowing. JAPANESE GARDENER Ah, Mister. you remember me. I am Taka. your gardener. For long time I not see you. I pleased to see you. Taka reaches out his hand and Adam shakes it. ADAM Hello Taka. It's'cause I'm never home in the day time. It's good to see you again. The garden looks great. Taka bows, smiling and nodding, and goes back to work. Adam heads toward the front door of his house.","INT. - ADAM'S HOUSE - DAY Adam enters, puts his 7 - iron in his golf bag just inside the door, then looks around. He can see the pool through a wall of plate glass windows, but there is no one visible poolside. ADAM -LRB- calling out. -RRB- Lorraine. -LRB- then louder. -RRB- Lorraine. you home? He hears a noise, something falling. He walks in the direction of the noise. It leads him to his bedroom. His expression darkens as he approaches the closed door. He hears voices as he throws the door open. LORRAINE and the poolman GENE are in bed. LORRAINE Now, you've done it! GENE Just forget you ever saw it. It's better that way. LORRAINE What the hell are you even doing here? Adam stands stunned for a moment. Then finds himself walking over to the dresser and opening the top drawer. He removes a large case. LORRAINE -LRB- cont'd. -RRB- What are you doing? Adam starts walking out of the bedroom with the case. LORRAINE -LRB- cont'd. -RRB- THAT'S MY JEWELRY! Adam leaves the bedroom and starts through the house. He goes into the kitchen and looks around - numb but trying to think.","INT. ADAM AND LORRAINE'S BEDROOM - DAY Lorraine is getting dressed as fast as she can. LORRAINE That bastard! GENE He's probably upset Lorraine.","INT. ADAM'S KITCHEN - DAY Adam leaves the kitchen and goes out into the garage. He turns on the light and looks around. He spots some paint cans on a shelf and grabs one and goes back into the kitchen. He can hear Lorraine calling his name. She seems to be coming closer. He sets the jewelry case and the paint can on the floor, kneels down and opens the paint can with his car key. Just as Lorraine enters the kitchen, he opens the jewelry box and empties the 3/4 full gallon can of Hot Pink paint into her jewelry case. LORRAINE WHAT. ARE. YOU. DOING!? He puts his hands into the paint and jewels and smushes them about. Lorraine rushes toward him. LORRAINE -LRB- cont'd. -RRB- STOP IT! Lorraine grabs hold of him. Starts pulling his hair, slapping his face. She tears his jacket. Adam stands all at once and with his wet Hot Pink hands he pushes Lorraine and slams her into the kitchen counter just as Gene the poolman enters. Gene grabs ahold of Adam, cocks back and slams his huge suntanned fist into Adam's face. GENE That's not a way to treat your wife, buddy. I do n't care what she's done. Adam gets up off the floor bleeding from the nose and tries to hit Gene. Gene blocks his punch and slams Adam again, knocking him down to the kitchen floor where he lands and spills the jewelry case. Adam, now covered with paint, is picked up by Gene and thrown out toward the front door. LORRAINE Throw him out! Lorraine opens the front door while Gene picks Adam up, moves him across the carpet and heaves him out onto the front lawn. Lorraine slams the door behind him. Adam picks himself up, severely dazed and bleeding pretty badly, he heads for his car. Taka stops gardening and smiles and bows at Adam as he gets into his car. Adam drives away - pink paint and red blood all over.","INT. AUNT RUTH'S BEDROOM - DAY Rita is now dressed to go out and is studying herself in a mirror. She turns and her gaze falls to her purse. She picks it up and looks questioningly at Betty. BETTY -LRB- cont'd. -RRB- No. you should n't take that. Let's hide it. They look around the room. There's a hatbox in the closet above the clothes rack. Betty brings it down, takes out the hat, and Rita puts the purse inside. Betty puts the hat over the purse in the hatbox and puts in back in the closet. Betty puts out her hand. Rita looks at it for a moment, smiles, and they shake.","EXT. APARTMENT COURTYARD - DAY All dressed now Betty and Rita leave Aunt Ruth's apartment and walk across the courtyard past Coco's apartment and out through the iron gates. No one is about.","EXT. HOLLYWOOD RESIDENTIAL STREET - DAY Betty and Rita walk along. Birds are chirping in the trees which line both sides of the street. Betty is smiling and once again looking around at everything. Her good mood and excitement about life lifts Rita's spirits. Coming toward them on the sidewalk are two people - a middle - aged woman and a young boy around 10 years old. The boy is very thin and something is wrong with him as he is walking awkwardly on crutches. As the two groups pass each other on the sidewalk Betty is struck deeply by the boy's brilliant, luminous blue eyes which are at once innocent and filled with wisdom. After they pass each other Betty turns back and sees the boy and the woman enter 1612 Havenhurst. Betty and Rita continue up the street.","EXT. SUNSET BOULEVARD - DAY The girls walk along the busy boulevard, past guitar shops, video stores. Betty is looking for a payphone. Rita's eyes dart back and forth nervously. She's beginning to feel frightened. PAYPHONE ON RED BRICK WALL - DAY We see the red brick building. It is Denny's. Betty and Rita are walking to the payphone. Betty digs out some change from her purse. She picks up the receiver, drops in a quarter and dials the `` 0'' for Operator. An Operator answers. BETTY Hollywood Police Department please. OPERATOR Is this an emergency? BETTY No, no, I just want the number. OPERATOR Hold for the number. Betty gets the number for the Hollywood Police Station, re - deposits the quarter and dials. VOICE Hollywood Police Department BETTY I'm inquiring about an accident that happened last night on Mulholland Drive. VOICE Hold please. I'll connect you to traffic. Betty holds. SERGEANT BAXTER Traffic. Sergeant Baxter speaking. BETTY Hi. I'm inquiring. well, I heard a sound last night that sounded like a car crash and I want to know if there was an accident on Mulholland Drive. SERGEANT BAXTER Yes, there was. BETTY Can you tell me what happened? SERGEANT BAXTER No. I ca n't. BETTY Was anyone hurt? SERGEANT BAXTER May I have your name please? Betty hangs up. She turns to Rita smiling like a girl who's done something bad and gotten away with it. BETTY There was an accident. He would n't tell me anything else, but that was your accident Rita. I just know it was. Maybe there's something about it in the papers. Come on I'll buy you a cup of coffee and we can see. Betty and Rita enter Denny's.","INT.- DENNY'S - DAY Rita and Betty are seated next to the table where Dan and Herb sat earlier in the day. They both have a cup of coffee in front of them. Betty has a newspaper open and she is scanning the last pages. BETTY -LRB- cont'd. -RRB- Maybe it happened so late it's not going to be in today's paper. RITA There's nothing? BETTY Not that I can see. The same waitress - Diane, comes up to the girl's table and freshens up their coffee. Betty looks up and smiles, sees Diane's nameplate. BETTY -LRB- cont'd. -RRB- Thank you. Diane. Rita shoots a look from Betty to Diane to the nameplate. close - up nameplate The word `` DIANE'' is huge from Rita's POV. Back to scene Diane finishes pouring Rita's cup and smiles at Betty. DIANE You're welcome. Will that be all? You want your check? BETTY Just the coffee. Rita, you want something? RITA -LRB- still staring at the nameplate - thinking. -RRB- No. Just the coffee. BETTY We'll take our check. Diane searches through her many checks to find Betty and Rita's. The manager of Denny's, standing with a woman in a blue dress, calls Diane's name. Diane turns and looks to the manager and the woman. A fleeting fear goes through her eyes. She surreptitiously reaches in her pocket and takes out a Mont Blanc fountain pen which she puts under Betty's check as she places it on their table. She does this very quickly but Betty notices this and Diane notices Betty noticing. Diane walks quickly over to the manager and the woman in the blue dress. Betty turns and watches a heated conversation that she ca n't hear, but she sees the woman in the blue dress searching her purse and shrugging and then leaving. The manager says something to Diane and Diane turns her pockets inside out and pats herself down in front of the manager showing him her innocence. He waves her off and she goes behind the counter to retrieve an order of food. Betty stops watching and turns her attention to Rita, who is tense and lost in a thought. BETTY -LRB- cont'd. -RRB- What is it Rita? RITA -LRB- without moving a muscle. -RRB- Shhhh. At that moment Diane the waitress reappears at their table. Diane looks Betty in the eye and while looking at Betty her left hand slides the Mont Blanc out from under the check and back into her pocket. DIANE Thank you. Come in again. Betty holds her gaze. BETTY You're welcome. We will. Relieved Diane leaves and goes about her business. Betty looks over at Rita waiting for her to tell her something. Rita slowly turns and focuses on Betty. RITA I remember something. I remember something!","EXT. - HAVENHURST - DAY Betty and Rita are walking back to the apartment. We see them from a distance. They are talking and gesturing in an excited and animated way. Just after they enter through the iron gates of 1612 Havenhurst and are out of sight we notice a car moving slowly up Havenhurst toward us. We notice two men in the front seat who seem to be looking around for something.","INT. - AUNT RUTH'S APARTMENT - DAY The door slams shut. Rita grabs Betty's shoulders. RITA Diane Selwyn. Maybe it's my name. AUNT RUTH'S APARTMENT - MOMENTS LATER Betty and Rita are sitting next to each other on the leather couch. Betty is rifling through the phone book. She finds the listings for Selwyn. Her finger drifts down and finds D. Selwyn followed by an address and phone number. It is the only Selwyn with a D. first name. She hands the phone to Rita. BETTY Strange to be calling yourself. RITA Maybe it's not me. BETTY Call the number. Betty reads the number off and Rita pushes the corresponding buttons. Each tone seems to be louder than the last. The ringing seems deafening. There's a click and the phone is answered - by a machine. A woman's voice is heard - loudly. WOMAN'S VOICE -LRB- coming from answering machine. -RRB- Hi. this is me. Leave me a message. Betty now has her ear pressed up against the phone also - straining to hear everything. The machine starts recording. Betty hangs up the phone immediately. RITA It's not my voice. but I know her. BETTY Maybe the voice is n't Diane Selwyn. Maybe that's your roommate or if it is Diane Selwyn she can tell you who you are. RITA Maybe. maybe. maybe.","EXT. - ADAM'S HOUSE - AFTERNOON Taka is bowing and smiling and nodding to someone we do n't see. TAKA'S POV - A man, KENNY, in a sharp black suit is walking down the driveway past Gene the Poolman's truck to the front door of Adam's house. Parked at the street is a big limo with Vincenzo and Luigi Castigliane sitting in the back. Kenny knocks on Adam's front door. Lorraine answers. Lorraine's hands are covered with pink paint. Pink paint is on her face and clothes. KENNY Adam Kesher. he. LORRAINE Yeah, right. get lost! She slams the door, but Kenny's foot stops it and pushes it back with a force that shakes the wall as the door slams open once again. Kenny enters the house. KENNY This is Adam Kesher's house. Where. LORRAINE Like hell it is! Get out. NOW! Gene comes out of the kitchen fast, his hands covered with pink paint. GENE I guess you do n't understand English. She asked to leave. Here's the door. Gene grabs hold of Kenny and starts to push him out the door. Kenny rabbit punches Gene in the nose with lightning speed - his fist like a sledgehammer. Gene goes down. Lorraine shrieks and leaps on Kenny. Her long fingernails going for his eyes. Kenny slaps Lorraine hard. The shriek stops instantly and she falls out cold on the carpet. Gene is back up and going for Kenny. Kenny gets three punches in on Gene's head before Gene hits the ground unconscious. Kenny rubs some pink paint off his hands and tries to get a pink stain off his jacket. He begins walking around the house calling out for Adam. He sees nothing and hears nothing. He goes back to the front door and sees Adam's golf clubs sitting there. Kenny begins snapping the shaft of each club. As he snaps each club we see Lorraine and Gene remain out cold on the floor. And in the kitchen we see that the tap is on and the sink water is now overflowing from the sink and jewelry box - spilling out onto the kitchen floor. Finishing his work with the vintage golf clubs - Kenny leaves.","EXT. - ADAM'S HOUSE - AFTERNOON Kenny jumps into the front seat of the limo. Vincenzo and Luigi nod to the driver and they take off. Taka hoes some weeds beneath a Jacaranda. L.A. AERIAL SHOT HIGH ANGLE - NIGHT Night descends on Los Angeles. Millions of lights down below twinkle like stars.","EXT. 1612 HAVENHURST - NIGHT We see the courtyard at night. Some of the apartment windows have dim, warm lights. Most all is in darkness. The only sound is the water flowing in the fountain with muted distant traffic. Far away a siren wails softly.","INT. AUNT RUTH'S APARTMENT - NIGHT Betty and Rita are on their hands and knees around the coffee table. A map of L.A. is unfolded and Betty is running her finger along a street. Her finger stops. BETTY It's right about here on Sierra Bonita. That's not too far away.","EXT. COURTYARD - SIMULTANEOUS An older, beautiful woman - drunk, is walking slowly - strangely toward the door of Aunt Ruth's apartment.","INT. AUNT RUTH'S APARTMENT - NIGHT - SIMULTANEOUS BETTY What's wrong with that? RITA I'm not sure about this. BETTY I know you're afraid of something. We'll be careful. Tomorrow we'll go over there and we'll find out.","EXT. 1612 HAVENHURST COURTYARD - NIGHT The woman moves up to the door we see her face. Her eyes have the eerie look of one possessed. She knocks mechanically on the door.","INT. AUNT RUTH'S APARTMENT Betty and Rita both turn with alarm. Betty gets up, stares at the door, then at Rita. Rita waits, not knowing what to do. BETTY It'll be okay. Betty opens the door. Betty finds the face of the actress, LOUISE BONNER, staring questioningly at her. BETTY -LRB- cont'd. -RRB- Yes? May I help you? LOUISE Where is Ruth? BETTY Ruth's gone on a film. I'm her niece Betty. Who are you? LOUISE Someone is in trouble. Who are you? Why are you in Ruth's apartment? BETTY I'm her niece. She's letting me stay here. My name is Betty. LOUISE No it is n't. That's not it. That's not what she said. Something bad's happening. Where's Ruth? BETTY I'm sorry, but I do n't know who you are and I'm. COCO Louise. what're are you doing Louise? Louise turns and sees Coco approaching across the courtyard. LOUISE Where have you been Coco? God, I've been trying to find you all afternoon since 3:00 o'clock. That one is in my room and she wo n't leave. I want you to get her out. I want you to get her out now. Coco comes up and grabs hold of Louise. She turns over to Betty. COCO This is Louise Bonner. I'm sure she meant well. -LRB- looking over to Louise. -RRB- This is Betty, Ruth's niece. In fact and fortunately I was just coming to see Betty. Betty's a young actress and I'm delivering faxed pages of a scene for her audition tomorrow. Here they are honey. Now come along Louise and I'll take you home. -LRB- back to Betty. -RRB- Sorry about this. Sometimes it happens. LOUISE No, she said it was someone else in trouble. COCO Stop it, Louise. Let's get you home. goodnight Betty. Coco takes Louise back through the darkness of the courtyard. Betty closes the door and turns. BETTY Whoa! She catches Rita's look. Rita is staring at her, horrified.","EXT. BEVERLY HILLS HOTEL - NIGHT Establish","INT. BEVERLY HILLS HOTEL - CORRIDOR OUTSIDE ROOM 214 A Hotel Manager is walking toward the door of room 214. He knocks softly on the door. The door opens and Adam Kesher is standing there - still beaten looking with remnants of pink paint. ADAM Yes. what is it? HOTEL MANAGER I'm sorry Mr. Kesher, but there seems to be some problem concerning your credit card. ADAM What? HOTEL MANAGER The fact is Mr. Kesher a representative of your bank called us. ADAM How. how'd they know I was here? HOTEL MANAGER I do n't know. All we do is take an impression of the credit card and until you check out it just sits in our files. ADAM So, what did they say? HOTEL MANAGER Well, Sir, I'm afraid they said you're overdrawn at your bank and your line of credit has been cancelled. ADAM Unbelievable. Look. here. -LRB- Adam taking out his wallet. -RRB- I do n't know what's going on. That's so much baloney. I've got enough cash for one night, okay? HOTEL MANAGER That's fine, Mr. Kesher. You can pay cash when you check out. I'm sorry. it was my duty to inform you. ADAM Fine. I'll check out in the morning. HOTEL MANAGER Have a good evening, Mr. Kesher. The Hotel Manager turns to leave and Adam closes the door.","INT. ROOM 214 - NIGHT Adam crosses the room to the phone and dials a number. The phone is answered. ADAM Someone's shut off my money! CYNTHIA I know. Where are you Adam? ADAM What do you mean `` you know''? CYNTHIA Someone called me. When they could n't get you they told me you were as good as broke. I did n't believe then, so I made some calls. ADAM And? CYNTHIA You're broke! ADAM But I'm not broke. CYNTHIA I know, but you're broke. Where are you? ADAM Beverly Hills Hotel. I've got enough cash in my pocket for one night. CYNTHIA Do you know somebody called the The Cowboy? ADAM The Cowboy? CYNTHIA Yeah, the Cowboy. This guy, the Cowboy, wants to see you. Jason said he thought it would be a good idea. ADAM Oh, Jason thought it would be a good idea for me to meet the Cowboy. Should I wear my ten gallon hat and my six shooters? CYNTHIA Something tells me this guy is connected with what's happening, Adam, and I think you should do it and I think you should do it right away. ADAM Cynthia. what's going on? CYNTHIA It's been a very strange day. ADAM And getting stranger. Where do I meet this Cowboy? I mean do I have to ride out to the range? CYNTHIA Sort of, funny boy. If I tell him the meeting's on you're to go to the top of Beachwood Canyon. There's a corral up there where he'll be. ADAM You got ta be kidding? CYNTHIA Will you meet with him? ADAM Yeah, sure. It is that kind of a day. When? CYNTHIA I'll call him, then call you back. If you want you could stay at my place. ADAM Cynthia. that would not be a good idea. CYNTHIA I'm just offering a place to stay. ADAM I understand, Cynthia and thank you for the offer. I'll find a place. Now go ahead and give the Cowboy a yodel and get back to me. CYNTHIA Okay, but you do n't know what you're missing. ADAM Git along little dowgie and call me back. Adam hangs up and seems to sag, cupping his forehead and eyes with his hand.","EXT. BEACHWOOD CANYON - NIGHT Adam, in his Porsche, makes his way up the canyon.","INT. PORSCHE Adam feeling like a fool drives up the dark, winding canyon road. As he nears the top of the canyon the residential area gives way to desert brush. The road winds steeply up to a dark dead end where an old barn and stable sit. Adam parks in a little dirt lot and walk up past the barn to the corral. His eyes grow accustomed to the dark and he.looks about. No one is around. There's only a light wind and a few twinkling stars in the sky above. Suddenly some bare bulbs hanging from the corral gate flare up. Adam hears a noise in the brightness and turns. There walking toward him into the light is the Cowboy - dressed in clean blue denim jeans, well - oiled unscuffed, beautifully engraved cowboy boots, a red embroidered ivory buttoned cowboy shirt complete with string tie. Atop the Cowboy's head is a 10 X white Stetson. The Cowboy is smiling warmly as he approaches. He stops in front of Adam and begins to speak with a true, slow Western drawl. COWBOY Howdy! ADAM Howdy to you. COWBOY Beautiful night. ADAM Yeah. COWBOY Sure want to thank ya for drivin' all the way up to see me from that Beverly Hills Hotel. ADAM No problem. What's on your mind? COWBOY Well now, here's a man who wants to get right to it. Kinda anxious to get to it are ya? ADAM Whatever. COWBOY A man's attitude. a man's attitude goes some ways toward how a man's life will be. Is that somethin' you agree with? ADAM Sure. COWBOY Now. did you answer cause you thought that's what I wanted to hear or did you think about what I said and answer cause you truly believe that to be right? ADAM I agree with what you said. truly. COWBOY What did I say? ADAM That a man's attitude determines to a large extent how his life will be. COWBOY So since you agree I guess you could be a person who does not care about the good life. ADAM How's that? COWBOY Well, just stop for a little second and think about it. Will ya do that for me? ADAM Okay, I'm thinking. COWBOY No. You're too busy being a smart aleck to be thinkin'. Now I want ya to think and quit bein' such a smart aleck. Can ya do that for me? ADAM Look. where's this going? What do you want me to do? COWBOY There's sometimes a buggy. How many drivers does a buggy have? ADAM One. COWBOY So let's just say I'm drivin' this buggy and you fix your attitude and you can ride along with me. ADAM Okay. COWBOY Now I know a few things. I know you have had a rough day. You're probably thinkin' I do n't know the half of it, but in actual fact I know every part of it. The business of gittin' thrown off your movie, the heartache of seeing your wife with another man. losin' access to that precious film vault. Adam suddenly looks stunned, unsure. COWBOY -LRB- cont'd. -RRB- realizin' you do n't have hardly a nickel to your name and then add on to that the sickenin' feeling some men are gon na catch you and hurt you bad for bustin' their vehicle. Some days are like that. They are rough, but what will tomorrow bring? Will it be better than today? The same. or worse? A lot of that is up to us individually. Up to us and our attitude. When the Castigliane brothers said `` This is no longer your film,'' they meant it, but they did n't mean you were not going to direct it. I want you to go back to work tomorrow. You were re - casting the lead actress anyway. audition many girls for the part. When you see the girl that was shown to you earlier today, you will say'' This is the girl.'' The rest of the cast can stay - that is up to you, but that lead girl is not up to you. Now, you will see me one more time if you do good. You will see me two more times if you do bad. Good night. The Cowboy turns and walks until he is engulfed in darkness. Through the darkness Adam hears the sound of a car door opening and closing, then another opening and closing and then the sound of the car driving away. Adam walks up in the direction the Cowboy took, but he sees no sign of a car nor any dust nor any road. He goes back down past the barn and stables to his car. There standing by his Porsche is the Cowboy. COWBOY -LRB- cont'd. -RRB- You thinkin' this'll work out, cause I was thinkin' it just might. ADAM It will work out. COWBOY Good then, but, just in case, that bank's gon na stay closed a bit longer. You understand that? ADAM I understand. COWBOY You're an understandin' fella. ADAM So, this is the last time I see you then unless I do bad? COWBOY No, this one does n't count. It's part of the original one. So then. until we meet again. ADAM Okay. Adam gets in his car and drives off leaving the Cowboy smiling behind him.","EXT. HOLLYWOOD - MORNING We see the rays of the rising sun falling on the huge letters of the HOLLYWOOD SIGN and the hills surrounding it.","INT. AUNT RUTH'S APARTMENT. - MORNING We see Rita's face as we hear Betty off screen. BETTY `` You're still here?'' RITA `` I came back. I thought that's what you wanted.'' We see Betty. BETTY -LRB- angrily. -RRB- `` Nobody wants you here!'' Moving back we realize that the girls are acting out Betty's audition scene. Rita is reading her lines. RITA `` Really?'' BETTY `` My parents are right upstairs! They think you've left.'' RITA `` So. surprise''. BETTY `` I can call them. I can call my dad.'' RITA `` But you wo n't.'' BETTY `` You're playing a dangerous game here. If you're trying to blackmail me. it's not going to work.'' RITA `` You know what I want. it's not that difficult.'' BETTY -LRB- furious. -RRB- `` Get out! Get out before I call my dad. he trusts you. your his best friend. This will be the end of everything.'' RITA `` What about you? What will your dad think about you?'' BETTY `` Stop! Just Stop! That's what you said from the beginning. If I tell what happened. they'll arrest you and put you in jail, so get out of here before.'' RITA `` Before what?'' Betty pulls a table knife out from behind her back. BETTY `` Before I kill you.'' RITA `` Then they'd put you in jail.'' Betty mimes with moving fingers tears flowing from her eyes. BETTY Cry, cry, cry, and then I say with big emotion, `` I hate you. I hate us both!'' Betty drops the kitchen knife and both girls start laughing. BETTY -LRB- cont'd. -RRB- Such a lame scene. RITA But you are really good. Betty mimes tapping a cigarette in a cigarette holder ala Dietrich. BETTY Thank you dahling!","INT. COCO'S APARTMENT - DAY On the move Coco is just bringing her cigarette in its holder up to her painted red lips. The phone is ringing and she's crossing the room to answer it. COCO -LRB- into phone. -RRB- Hello. Ruthie. How's the great up north? Oh, I'm sorry to hear it. what? Well, I have n't seen her if she's in there. Now, Ruthie there's nothing to worry about. I saw Betty last night and she was just fine. Yes, and I gave them to her. She's a real nice kid, Ruthie. Now stop worrying, will ya. I'll go over and have a look around. I will. I've got the production office number. I'll find you. Now keep your socks on up there and take lots of `` C.'' Goodbye honey. Coco puts down the receiver with a long sigh.","INT. AUNT RUTH'S APARTMENT - DAY Betty and Rita are sitting on the leather couch having some coffee. The front door to the apartment is open and sunlight is pouring in through the screen door. Betty looks at her watch. BETTY Oh, no wonder I'm starving. I'm going to fix a sandwich. You want one? RITA I'm all right. BETTY You've got to eat something. You're just nervous about going over to see if you're Diane Selwyn. Rita just looks at her. Betty starts for the kitchen. BETTY -LRB- cont'd. -RRB- Suit yourself. I'll share mine with you if you change your mind. Betty goes into the kitchen. Suddenly there's a knock on the screen door and Coco peers in, seeing Rita on the couch. Rita looks up. panicked. COCO Hi! Who are you? RITA Uh. Betty!? Betty comes out from the kitchen and sees the situation. COCO Can I see you outside a minute Betty? Betty walks past Rita, pats her on the shoulder and goes outside to see Coco who has moved away to wait.","EXT. COURTYARD 1612 HAVENHURST - DAY The screen door slams. Coco and Betty face each other close, out of earshot of Rita. COCO Your Aunt called me. BETTY I was afraid of that. COCO She wants to know who's staying in her apartment. BETTY -LRB- slowly, deliberately. -RRB- It's just for a night or two, until she finds her own place. I tried to explain that to Aunt Ruth, but the connection was bad and her plane was leaving and she got it all mixed up. I kept telling her it was my friend and she kept saying she did n't know any Ritas. COCO Sweetie, look at me straight. Betty lifts her eyes to Coco's. Direct, clear. BETTY Coco. she's very nice. We went to school together. COCO So I guess your Grandpa and Grandma know her. BETTY Not really. I met her in junior college and she was from this other town. Coco looks hard into Betty's innocent face. BETTY -LRB- cont'd. -RRB- You can call my grandparents. I'm sure they'd tell you that I do n't lie and I sure would n't allow a stranger to invade my Aunt Ruth's apartment. COCO Honey. I was married to a director for thirty years. He had an uncanny ability to read people. Maybe some of it rubbed off on me or maybe I had it all along. you're a good kid. What you're telling me is a load of horse - pucky but it comes from a good place. I'll trust you to sort this out. Now I'm not going against Ruth. She's got enough to worry about up there in Canada. If she asks - I'm going to say everything is okay, and you make sure it is. -LRB- Coco places her hand on Betty's shoulder and squeezes it. -RRB- If you need any help you know where to find me. Betty puts her hand on Coco's shoulder and gives her a squeeze. BETTY You're really something Coco. thank you. COCO Do n't make me out to be a sucker. Louise Bonner says there's trouble in there. You remember last night. Sometimes she's wrong, but if there is trouble - get rid of it. Coco turns and walks away. Betty studies her and thinks about what she said before turning and going back inside.","INT. AUNT RUTH'S APARTMENT - SAME Betty enters through the screen door. Rita studies her. RITA Is everything all right? Is it bad for you that I'm here? BETTY -LRB- slightly forcing a broad smile. -RRB- Everything is A - okay, but I've got ta get that sandwich! On her way to the kitchen she checks her watch. BETTY -LRB- cont'd. -RRB- And I've got an audition in one hour.","INT. HOLLYWOOD POLICE STATION - DAY Detective Neal Domgaard throws two wallets down on the desk in front of Detective Harry McKnight. Harry pauses in the middle of a large bite of grilled cheese sandwich with bacon and tomato. He looks down and studies the wallets. DETECTIVE HARRY MCKNIGHT -LRB- biting in and chewing. -RRB- Nice wallets. DETECTIVE NEAL DOMGAARD Handstitched Italian. Filled with phony credit cards. off the two guys in the Caddy. DETECTIVE HARRY MCKNIGHT The one of'em still alive? DETECTIVE NEAL DOMGAARD Yeah. just. Dr. Scott's got ` im. You remember Dr.Scott. DETECTIVE HARRY MCKNIGHT Oh yeah. DETECTIVE NEAL DOMGAARD Well he said. you know in his way. you know what I mean? Besides the guy gettin' rolled up under the kids car which busted him up pretty bad, there was this little knife - like torn piece of metal, you know, off the car body, rolled out and slid up through this guy's neck and just kinda slit his aorta, you know, but they did n't find it right away, so the guy's losin' a lot of blood, you know, to the brain - all this time cause it was just like this thin little puncture wound on the surface of his neck that kinda sealed itself, he said, while inside the aorta is bleedin' pretty steady all that time. So, Dr. Scott's laughin' you know like he does'cause he knows we want to talk to this guy. He's laughin' you know and shakin'. Son of a bitch could n't stop laughin'. It was kinda contagious'cause pretty soon we were all laughin'. the nurse was laughin'. You know how he is. DETECTIVE HARRY MCKNIGHT Find out who they are? DETECTIVE NEAL DOMGAARD Nope, not yet. Their fingerprints do n't match up anywhere. DETECTIVE HARRY MCKNIGHT -LRB- another big bite - chewing. -RRB- Interesting. DETECTIVE NEAL DOMGAARD Yeah. and they both use the same address. DETECTIVE HARRY MCKNIGHT Where at? DETECTIVE NEAL DOMGAARD Palmdale. DETECTIVE HARRY MCKNIGHT Damn, that's a long drive.","EXT. - COURTYARD 1612 HAVENHURST - DAY Betty is coming out of Aunt Ruth's apartment. She calls back in to Rita. BETTY I hope I'm back in a couple of hours. Do n't drink all the coke. -LRB- we hear laughter from inside and Rita call out. -RRB- RITA Good luck! BETTY When I get back I'll have the cab waiting, so be ready to go. RITA Okay. Betty closes the door and heads across the courtyard. She knocks on Coco's door and in a moment Coco answers. BETTY Sorry to trouble you, Coco. COCO It's all right gorgeous. Something wrong? BETTY No, no. I'm on my way to my audition. Before I go I wanted to ask you if you could remember the man's name. Aunt Ruthie's friend who helped put this together. It completely went out of my mind. COCO His name's Wally Brown. great guy. Been in the business since forever. BETTY Thanks Coco. It'd be so embarrassing COCO Naw! He would n't have cared. Just give him a good performance and he'll be happy and I've got a feeling you'll do just that. BETTY Thanks Coco. I'll let you know. COCO Get going. You do n't want to be late. BETTY Right. See ya. COCO Good luck, honey! Betty takes off through the iron gates and Coco smiles as she watches her go.","INT. CAB - DAY Betty is wide - eyed and filled with awe at something she is seeing.","EXT. - PARAMOUNT STUDIOS - MAIN ENTRANCE GATE - DAY The cab pulls up to the gate. Betty pays the driver and gets out. She - stands for a moment staring at a dream. She walks through the gate and as she goes is stopped by a PARAMOUNT GUARD. PARAMOUNT GUARD And where do we think we're going, Miss? Betty stops and turns. BETTY To my audition. PARAMOUNT GUARD And who are we auditioning for today? BETTY Wally Brown. PARAMOUNT GUARD And do we know which of the fifty - seven buildings Wally Brown is in? BETTY -LRB- smiling. -RRB- No, we do n't. PARAMOUNT GUARD Well, now we've got to figure that out first do n't we? BETTY Yes, Sir. PARAMOUNT GUARD Mr.Wallace Brown is in the Executive Building on the second floor. We want to go in and turn right at the first street. Then we want to walk three blocks down past Stage 17 to the white Executive Building. Once we're on the second floor the receptionist will take us from there. Now do we have name? BETTY Betty Elms. PARAMOUNT GUARD Let's see if we have a pass for Betty Elms. and we do. Here we go. And good luck Miss.. Elms. BETTY Thank you. thank you very much.","INT. EXECUTIVE BUILDING - SECOND FLOOR - DAY Betty finishes climbing some stairs and crosses to the receptionist. She hands over her pass. The receptionist looks at it, hands it back to Betty and points down the hall to her left. RECEPTIONIST Number 43, on the left. BETTY Thank you. Betty walks down the long corridor past several offices. The door to office 43 is open when she arrives and she enters a large sitting room with a receptionist at a desk off to one side. RECEPTIONIST May I help you? BETTY My name is Betty Elms. I'm here to audition for. Mr. Brown RECEPTIONIST Good. Perfect timing. Have a seat and I'll get Mr. Brown. The receptionist stands, walks to a door, knocks twice, then enters. She closes the door behind her and Betty is alone in the sitting room. She sits on a couch and looks at the old movie posters covering all four walls. In a moment the same door opens again and an elderly, distinguished looking gentleman WALLY BROWN comes out smiling. Betty stands up immediately. WALLY Betty Elms? BETTY Yes. WALLY I'm Wally Brown. Your Aunt is a very dear friend of mine so it's particularly nice to meet you. BETTY Very pleased to meet you. WALLY Come in. I'd like you to meet everyone. As they walk into Wally's office. WALLY -LRB- cont'd. -RRB- I took the liberty of inviting an extra person to see your audition. She saw your resume picture and was very interested in meeting you. Inside Wally's office several people rise out of chairs when Wally enters with Betty. WALLY -LRB- cont'd. -RRB- Betty Elms this is Jack Taft, my assistant, Jimmy Katz who we've already cast for the part of `` Chuck''. He'll be doing the scene with you. This is Julie Chadwick and Bob Brooker, the director, and our surprise guest is Sarah James. We could n't afford her to cast our picture, but as casting agents go she's the best. SARAH JAMES Why thank you, Wally. Hello Betty. She and Betty shake hands. BETTY Pleased to meet you. SARAH JAMES This is Nicki, my assistant. Nicki, a very stylish, thin girl with black cat - eyed glasses nods coolly to Betty. WALLY And this is Martha, Martha Johnson, who you met out front. Betty nervously smiles to the room. BETTY Hi. WALLY Well. Shall we get to it? Would you like a water or a coffee before we begin? Betty's hands are beginning to sweat. BETTY No, no, I'm fine. WALLY Well then, take a seat everyone. Betty why do n't you join Jimmy and we'll play the scene. Is there anything you'd like to say Bob. something to Betty before they begin? Betty stops on her way across to Jimmy and looks to Bob the director. BOB No. it's not a contest, see, the two of them with themselves, so do n't play it for real until it gets real. Betty does n't know what to say. She catches Sarah's assistant, Nicki, rolling her eyes. BETTY Okay. Betty continues walking toward Jimmy who opens his arms to her as she approaches. He's old enough to be her father. JIMMY Just tell me where it hurts, baby. BETTY What? JIMMY I want to play this one close, Bob. Like it was with that girl, what's her name, with the black hair. That felt good. Whaddya think? Betty looks from Jimmy to Bob. BOB That'd be good, Jimmy. Just do n't rush that line again. I told you. the line where you say, `` Before what?'' JIMMY I was playin' off'em. They say, `` They'll arrest you''. and stuff like that. `` put you in jail''. they say it like that. They all say it the same way, so I react like that. Jimmy turns to Betty. JIMMY -LRB- cont'd. -RRB- Look. what's your name? BETTY Betty. JIMMY Yeah. Betty. You do n't rush it. I do n't rush it. We play it close, just like in the movies. Jimmy reaches out and puts his arm around Betty and brings her in against his pot belly. JIMMY -LRB- cont'd. -RRB- Dad's best friend goes to work. Jimmy smiles as he brings Betty a little closer. She is trying to concentrate through the nervousness and Jimmy's breath. There is a silence as Jimmy looks her in the eyes. Everyone in the room is looking Betty in the eyes. WALLY Bob? BOB And. ACTION! Betty and Jimmy start the scene. It is very difficult for Betty as Jimmy has her in an absurd clench now. BETTY You're still here? JIMMY I came back. I thought that's what you wanted. Jimmy plays this with a big lecherous smile. He gives the last part of the line across her cheek up to her ear. BETTY Nobody wants you here. Betty uses the anger of this line to push herself away from Jimmy. Jimmy reaches out and grabs her wrist. JIMMY Really? Betty pulls her hand away and stands her ground. BETTY My parents are right upstairs! They think you've left. Jimmy smiles broadly and moves again toward Betty. JIMMY So. surprise! Betty pushes him back. BETTY I can call them. I can call my dad. JIMMY But you wo n't. He grabs Betty by the wrist again and pulls her in to him. He puts his hand on her waist and it accidently slips and keeps going down her hips. He jerks his hand back. Betty looks down and sees Jimmy's hand hovering above her thigh. Betty takes her hand and gently presses down on Jimmy's hand. She slowly looks up with the most seductive smile. Jimmy lets his hand rest more firmly on her thigh, and squeezes her thigh as he sees her smile. With his other hand Jimmy gently pulls her closer. Something has started coming over Betty and she catches the drift of this scene in a different way. She's surprising herself. BETTY -LRB- almost a hot whisper. -RRB- You're playing a dangerous game here. if you're trying to blackmail me. it's not going to work. Jimmy now surprises himself. He becomes almost tender and genuinely worked up from the heat coming off Betty. JIMMY You know what I want. it's not that difficult. Where the scene should turn to anger from Betty it ca n't now and Betty plays it as she feels it. She stays in very close to Jimmy - looking him right in the eyes. BETTY -LRB- whispering desperately - slowly. -RRB- Get out. Get out before I call my dad. He trusts you. you're his best friend. -LRB- her arms go around him. -RRB- This will be the end of everything. Jimmy gets lost. He does n't know where he is anymore. He can only see Betty's eyes. JIMMY What about you? What will your dad think about you? Betty still playing it in a dreamy whisper. lost in heat. BETTY Stop. just stop! That's what you said from the beginning. If I tell what happened. they'll arrest you and put you in jail, so get out of here before. JIMMY -LRB- caught by her transfixing, sultry eyes, and almost breathless. he finds himself taking an extra long pause. -RRB- Before what? As scripted Betty pretends to pull the knife from behind her back, but wraps the knife around behind Jimmy and pulls him into a kiss. BETTY -LRB- as she kisses him - whispers. -RRB- Before I kill you. Jimmy panics and pushes Betty away with his hands on her shoulders as if forcing himself to come out of a trance. He finally is able to say his line. JIMMY Then they'd put you in jail. As scripted Betty is supposed to cry now and it is very easy for her to do this because she's ashamed at how the sex of the scene took her over. Tears begin running down her cheeks. She backs away. BETTY I hate you. I hate us both! She pretends to drop the knife. The scene ends. Everyone in the room has become mesmerized by Betty, but they soon drift back to reality and begin applauding the performance. Sarah turns to Nicki. SARAH JAMES I'm going to take her over there. NICKI Big time! WALLY -LRB- to everyone. -RRB- Wow! Betty wipes her eyes and turns smiling - still shocked at herself. BETTY Well, there it was. JIMMY There it was it was! Baby, you got a way! WALLY Bob? BOB Very good. Really. I mean it was forced maybe but still humanistic. Yeah, very good, really. WALLY Well, thank you Betty, and I mean that. That was very impressive. You've done your Aunt proud and I'm going to tell her the first chance I get. We'll speak again soon I'm sure, and thank you so much for coming in. BETTY Well, thank you. Betty does n't quite know what to do. She moves to the center of the room and just stands. Remnants of the scene still staying with her. Sarah stands and Nicki stands just after. SARAH JAMES Thank you, Wally. I'm sure you all have a lot to talk about. We'll walk Betty out. WALLY Well, yes indeed. Our pleasure, Sarah, and do n't you be a stranger. We'd love to see you around here again real soon. SARAH JAMES Well come along, Betty. Sarah takes Betty's hand and they go to the door. Betty turns back once more and smiles. BETTY Thank you again, Mr. Brown. It was nice meeting all of you. Everyone nods and waves and Betty is taken out by Sarah and Nicki.","INT.- CORRIDOR EXECUTIVE BUILDING - DAY The three of them walk down the corridor. SARAH JAMES Oh God, that was awful! Betty's head spins to Sarah. A look of shock and let down on her face. SARAH JAMES -LRB- cont'd. -RRB- Oh, not you Betty. You were stellar and I mean that, but poor Wally. He'll never get that picture made. Wally's days were up twenty - years ago. NICKI -LRB- sickening little laugh. -RRB- How about that Jimmy Katz? SARAH JAMES Oh god! Jimmy Katz never had a day. Jimmy Katz never had a minute. Poor Wally. Betty finds herself getting a little upset. BETTY They seem very nice to me, and Wally. Mr. Brown is a very close friend of my Aunt's, so. SARAH JAMES Settle down, Betty. Do n't get me wrong. I love Wally. I ought to. I was married to him for ten years. Betty does another shocked head turn. SARAH JAMES -LRB- cont'd. -RRB- And I love actors, all actors, Jimmy Katz included. We just get a little catty sometimes. Now we want to take you across the way and introduce you to a director who's a head above the rest. He's got a project that you would kill! At the word ` kill' Betty turns to her once again with a questioning look. SARAH JAMES -LRB- cont'd. -RRB- Knock it right out of the park.","INT. - RECORDING STUDIO - DAY We see what looks like a recording studio right out of the 1960's. We're looking through a plate of glass. A blonde girl is standing at a vintage microphone. Behind her are three back - up male vocalists dressed in three tone, shiny 60's suits. We hear strings soar up and the blonde girl begins to sing SIXTEEN REASONS by Connie Stevens. The male vocalists backing her up flawlessly. We move back and realize we are on a movie set inside a sound stage. A screen test is being shot of the girl and as we continue moving back we see the director Adam Kesher surrounded by his crew. Behind them there are many people standing, eating, watching, working. The stage is full and bustling. The song plays loudly over. Sarah and Nicki bring Betty into this scene through a giant stage door. A guard mimes for them to be quiet as they approach the set. The song continues to play over. As Sarah leads Betty up close Adam turns and his eyes fall on the beautiful face of Betty Elms. Sensing something Betty turns and sees Adam. They each seem to feel the thrill of the thunderbolt, but each embarrassed to stare longer than they already have turn back and watch the girl finish the song. ADAM -LRB- calling out through an electronic megaphone. -RRB- Cut it! He gets out of his chair and walks into the set - up to the blonde girl. He shakes her hand. ADAM -LRB- cont'd. -RRB- Thank you very much, Carol. It was really great of you to come in. I know how busy you are. CAROL Oh, man, are you kidding? I love this script! Where do I sign? ADAM Look. I love you, but there's no way they're gon na let me cast this thing until I've seen everyone. I'll let you know as soon as I can. CAROL I know you will. cause my manager's gon na bug you day and night. me too. ADAM It'll be my pleasure. Now, get out of here. CAROL Oh, you're just so cruel. do n't forget me. I'm the girl that's going to play this part. ADAM -LRB- lightly pinching her cheek. -RRB- See ya later. Adam turns and goes back out of the set onto the stage floor. He looks around. He sees Betty being introduced by Sarah to some of the studio executives. He goes over to his Assistant Director and looks down at the man's notepad. ADAM -LRB- cont'd. -RRB- Who's next, Hank? HANK Camilla Rhodes. Adam wonders - worries. ADAM Is she ready? HANK All ready. ADAM Bring her out. Hank speaks into his walkie - talkie headset. The sound of his voice can be heard in several locations throughout the stage. HANK -LRB- through walkie - talkie. -RRB- Camilla Rhodes next! Adam looks up - a beautiful blonde steps into the set in front of the microphone. IT IS THE GIRL! The back - up singers step in behind her. Adam nods to Hank. HANK -LRB- cont'd. -RRB- Turn over! The cameraman calls out, `` Speed''. ADAM -LRB- through megaphone. -RRB- Playback! Countdown before the music begins. ADAM -LRB- cont'd. -RRB- ACTION! The strings soar up and Camilla Rhodes begins to sing. On the set Betty hears the song again and turns and watches. Once again her eyes find Adam as his eyes are finding hers. This time Adam turns away. He watches Camilla for a moment. She is passable, but not spectacular. Adam reaches out and pulls Hank over to him. HANK Yeah? Adam pauses. ADAM Get Jason over here. Hank gets on his walkie - talkie. HANK Cindy. Adam wants to see Jason. Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN, a tall sixty year old silver - haired man, comes through the crowd and stops at Adam's side. He looks down at Adam, but Adam continues watching Camilla Rhodes. Jason follows Adam's gaze and he watches Camilla sing then turns back to Adam. Adam slowly looks up right into Jason's eyes - wondering how much Jason knows, but Jason's face does n't give away a thing. JASON Did you want to tell me something, Adam? ADAM This is the girl! At that moment Ray, having overheard, comes to Jason's side. He smiles at Adam. RAY Excellent choice, Adam. Adam is sick with himself. Across the room Betty panics when she looks at her watch. BETTY Oh. oh. I have to be somewhere. I promised a friend. She quickly shakes Sarah's and Nicki's hands saying, `` I'm sorry, I'm sorry'' and runs off like Cinderella. Adam turns and sees her running off out of his world. Chris Isaak's song `` Except The New Girl'' segues in over Connie Stevens and plays as Adam, Sarah and Nicki watch Betty disappear out the sound stage door.","EXT. 1612 HAVENHURST - STREET - DAY Chris Isaak song `` Except The New Girl'' continues. An idling cab sits waiting with back door open. COURTYARD - 1612 HAVENHURST DAY Chris Isaak song segues to the sounds of a blues saxophone. Betty and Rita come out of Aunt Ruth's apartment. Betty is laughing, pulling on Rita. BETTY C'mom. There's nothing to be afraid of. Across the courtyard CORNELL DUMONT, a strikingly handsome young black musician, is on his balcony playing the saxophone. He stops playing when he sees the girls. He stands and looks as if recognizing someone. CORNELL DUMONT Hey! Betty and Rita stop and look up, shielding their eyes from the sun. CORNELL DUMONT -LRB- cont'd. -RRB- Hey, how's Sol? BETTY Sol? CORNELL DUMONT No. not you. -LRB- to Rita. -RRB- I'm sorry. I forget your name. RITA -LRB- almost inaudible. -RRB- Rita. CORNELL DUMONT Yeah. Well, I have n't seen Sol lately. Tell him to come by the club. Rita nods. biting her lip. Cornell smiles and picks up his sax. BETTY And what's your name? CORNELL DUMONT -LRB- big smile. -RRB- Cornell Dumont. He begins to blow some sweet jazz that flows smooth as syrup. BETTY -LRB- whispering. -RRB- Ask him who Sol is. Rita hurriedly starts for the gate. BETTY -LRB- cont'd. -RRB- Maybe he could help. Betty follows Rita through the gate to the waiting cab. They get in and the cab pulls away.","INT. CAB - DAY Betty reaches and gently grabs Rita's shoulder. She speaks firmly but quietly so the cab driver wo n't hear. BETTY Why did n't you ask him? Sol knows you! RITA -LRB- whispering back. -RRB- But I do n't know, Sol. I never heard of Sol. I'd just get in trouble. That's why we should n't go see about Diane Selwyn. it's better not to get in trouble. BETTY You're not going to get in trouble. You're going to find out who you are. Finding out who you are gets you out of trouble. Rita thinks about this silently then begins to worry and doubt all over again.","INT. CAB - LATER Betty holds the slip of paper with the address in her hand. She turns back and forth watching the buildings on both sides of the street. BETTY It should be around here. Rita watches out of the window pensively as the cab moves up Sierra Bonita. They near a modern apartment compound of bungalows and duplexes almost hidden in the trees and vegetation. A smooth stucco wall surrounds the complex. BETTY -LRB- cont'd. -RRB- -LRB- points. -RRB- That's it. 2590. -LRB- nudging Rita. -RRB- Does it look familiar? Rita shakes her head. no. Rita is looking at a black car parked down the street facing 2590. She discerns two men sitting in the front. RITA Do n't stop! BETTY What is it? What do you see?! RITA -LRB- quietly - frantic. -RRB- Those men in front, in the car. BETTY Do you know them?! RITA No. but. BETTY -LRB- to driver. -RRB- Keep going. Go around to the back.","EXT. SIERRA BONITA APARTMENT - BACK ALLEY - DAY Betty gets Rita out of the cab and pays the driver, who then drives away. The girls go through a rear gate and enter the complex walking along a curving concrete walk. This leads them to an intersection where a registry is printed on a rough hewn wooden plaque. They scan the list. BETTY Selwyn. number 12. They both look around the various doors near them. Betty spots a sign which says, behind an arrow, bungalows # 10 through # 20. BETTY -LRB- cont'd. -RRB- It's this way. They set off down another sidewalk toward Bungalow # 12. As they near it and actually can see it just ahead they pass a chainlink service gate to the alley. Standing in the alley is a man in a dark suit wearing sunglasses. Both girls dive for the bushes. The man in the black suit turns reacting to the noise and motion. Both girls are trying to catch their breath and stay as still and quiet as possible. BETTY -LRB- cont'd. -RRB- -LRB- panting whisper. -RRB- Now, you've got me scared. Peering through the bushes they see the man still looking in their direction. Suddenly he turns and smiles at something to his left. He hurries off, but soon returns carrying two heavy suitcases, followed by an older woman in a yellow dress. Both Betty and Rita crawl further forward. They see the limo and realize that the man they were afraid of is an ordinary limousine driver just going about his work. The girls stand up, relieved and a little embarrassed. BETTY -LRB- cont'd. -RRB- See, I told you there was nothing to be afraid of! They go up to Bungalow # 12 and stand for a moment facing the front door. RITA Oh no. do n't. Betty does n't listen to Rita. She knocks strongly on the door. They stand waiting. There's no answer so Betty knocks again harder. They wait. RITA -LRB- cont'd. -RRB- No one's. Suddenly the door opens. An attractive MIDDLE - AGED WOMAN stands before them. MIDDLE-AGED WOMAN Yes? BETTY Diane? MIDDLE-AGED WOMAN Number 17. BETTY But it said # 12. MIDDLE-AGED WOMAN I switched apartments with her. She's in # 17. Just walk down that way. It's just to the right. The woman seems to be looking now at Rita. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- It's kind of hidden by the foliage. Betty and Rita start to leave. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- She has n't been around for a few days. BETTY Well. we'll leave her a note. MIDDLE-AGED WOMAN -LRB- starting toward them. -RRB- I'll go with you. She's still got some of my stuff. The phone rings from inside her bungalow. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- -LRB- turning back. -RRB- Oh. go ahead. I've got to get that. The woman hurries back inside and closes the door. Betty and Rita quickly move up the walkway toward Bungalow # 17. BETTY I guess you're not Diane. Rita, still fighting her fear does n't answer. They reach Bungalow # 17. It's set back beneath tall bushes and an old Eucalyptus tree. The front door is in deep shadow. Without even looking at Rita Betty knocks quickly. There's no answer. She knocks again. BETTY -LRB- cont'd. -RRB- Still not home I guess. The girls drift off to the side of the bungalow. Betty tries to see in the windows. She tries a window and to her surprise it opens. RITA I do n't think. BETTY -LRB- looking around for anyone watching. -RRB- C'mon help me in. I'll open the front door. RITA No. Betty jumps up and catches her knees on the siding, her head through the open window. BETTY PUSH! Rita reluctantly pushes and Betty is in. As she closes the window. BETTY -LRB- cont'd. -RRB- Meet you at the door. Rita walks around to the front door and gets there just as Betty opens it. Betty has her hand over her mouth and nose. BETTY -LRB- cont'd. -RRB- I do n't know if you want to come in here or not. There's some kind of horrible smell like. something. Rita is compelled to go in and as the door clicks shut she reacts to the smell.","INT. - BUNGALOW #17 - DAY Betty begins to go through the bungalow and Rita follows. All the blinds are closed and the curtains drawn. They move slowly, looking around at everything as they go. Betty looks to Rita to see if any of this is something she remembers. Rita looks as though she's walking in a trance. Through the half light they move deeper into the bungalow to a corridor.","EXT. SIERRA BONITA APARTMENTS - BUNGALOW #12 - DAY The Middle - Aged Woman is just shutting the door to her bungalow. She walks quickly in the direction of Bungalow # 17.","INT. - BUNGALOW #17 - DAY Betty and Rita are moving down the corridor. They pass a small room and look in at a couch, wardrobe and make - up table. They move on down the corridor to a door which is almost closed. Betty touches the door and it seems to swing open on its own. They enter the room and stop cold. A scream starts to build inside Rita. Before them is a dead woman lying on a bed. Great chunks of mattress are standing upright having been ripped and torn by shotgun blasts. A dried sea of blood surrounds the bloated, gray body of the woman. The scream comes out of Rita as a force propelling her to look closer. Betty lunges after Rita, her eyes also not able to leave the sight. She covers Rita's mouth with her hand and brings her close. The scream is stifled by Betty's hand. In the silence that follows, knocking can be heard. Betty freezes and keeps Rita quiet with her hand still placed over her mouth, but she ca n't stop Rita's violent shaking nor the horror in her eyes.","EXT. BUNGALOW #17 - DAY The Middle - Aged Woman backs away from the front door, looking around at bungalow # 17. She's not sure if she has heard something or not. She wonders, then turns and goes back to her bungalow. Just as she has disappeared the door to Bungalow # 17 flies open and Rita, followed closely behind by Betty, runs with a look of horror directly toward us until her tortured face fills the screen. Sounds, churning music.","INT. AUNT RUTH'S APARTMENT - BATHROOM - DAY Sounds, music churning continues. Great sobs, almost hysterical, wrack Rita's body as she bends over the sink, scissoring into her long, dark hair with a frenzy. There is a loud sound of the scissors cutting deep through many strands of hair. Betty's is rushing to her - her hands reach tenderly, but firmly for Rita's hand holding the scissors. She keeps her from cutting and moves closer, whispering in Rita's ear. Rita ca n't stop crying, but lets Betty hold her. Music changes. BETTY Rita. I know what you're doing. RITA -LRB- through uncontrollable sobs. -RRB- What. I. HAVE. to do. BETTY I know what you have to do, but let me do it. Rita turns and looks up at Betty, her eyes red with crying. Betty pulls her up facing her. Rita lets Betty take the scissors. They look into each other's eyes. Betty gently strokes Rita's cheek, wiping away some tears. BETTY -LRB- cont'd. -RRB- Let me do it.","INT. AUNT RUTH'S APARTMENT - LATER - DAY Panning slowly across we see on the bathroom counter various open bottles, used Q - tips, towels, combs, a brush, a bowl, and lots of long strands of cut black hair. We continue moving up to an empty mirror and eerie music builds. The reflection of the new Rita moves into the mirror. She has short, beautiful blonde hair, blonde eyebrows and no make - up. Betty's reflection comes in beside Rita's. They stare at the new Rita in the mirror. BETTY -LRB- quietly with assurance. -RRB- You look like someone else.","EXT. COURTYARD 1612 HAVENHURST - LATE EVENING - ALMOST DARK We move off the door of Aunt Ruth's apartment and crane slowly up to the apartment above hers - WILKINS - the one with the wayward dog. We move closer to Wilkins' apartment and as we move in we hear a phone ringing.","INT. WILKINS' APARTMENT - A MOMENT LATER Wilkins still in his pajamas, bathrobe and slippers from morning slouches in an enormous stuffed chair and matching ottoman, surrounded by piles of papers and coffee cups. His Jack Russell Terrier wakes and stands at the sound of the phone ringing on a side table next to Wilkins. Wilkins comes out of a deep thought and picks up the receiver as he runs his hand through strange, matted tufts of dirty blonde hair. WILKINS Hello. Adam. How's it going? No, it's okay. Yeah, I'm working, but. they wanted this script a week ago. What? What's wrong with your house? The poolman? Sure, you can have the couch. No, it's no problem. it's just I got ta. I got ta work. Any chance you could bring some food. No, I got plenty of money - I just have n't gone out for awhile. Groovy man! WILKINS -LRB- cont'd. -RRB- Murphy and I'll be glad to see you. No, no, no, he's got plenty of food.","INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT Rita has just taken the hatbox from the closet shelf and is setting it on the bed. BETTY What are you doing? Betty is sitting on the bed opposite. Rita opens the hatbox and removes her purse. She opens the purse and takes out the money. She sits down on the bed and while staring at the money she thinks of what to say. RITA You've been so good to me. now we know why. why I was so afraid. We know what kind of trouble I'm in. I should n't. ask you. I only have this to offer. I'll give you this if I can stay here for awhile. I do n't know what else to do. Betty moves across the bed to the side of Rita. She puts her arm around Rita and holds her. BETTY Rita. I want you to stay here and you do n't have to give me that money. RITA But I want to. BETTY No. We should n't touch that money. We do n't know about that money. That might be dangerous money. You have to start all over again. You look like a brand new person and you can be a brand new person. whoever you want to be. RITA It sounds kind of nice. being somebody brand new. BETTY Hey, let's introduce the brand new you to Hollywood. We have n't seen the roof garden yet.","EXT. COURTYARD - NIGHT The girls come out the front door. Betty leading and pulling a much happier Rita along with her. They half run across the courtyard to stone steps under an Ivy covered eave.","EXT. ROOF GARDEN - NIGHT The girls race up the stone steps toward us. Soon their wind - blown, smiling faces fill the screen as they look out. There before them are the lights of Hollywood with silhouetted palms, slow - moving theater kleig lights, and floating above it all the giant sign in the hills reading HOLLYWOOD. BETTY Here I am Hollywood! My name's Betty. A pause. BETTY -LRB- cont'd. -RRB- -LRB- to Rita. -RRB- Say it! RITA Here I am Hollywood! My name is. Rita. They look out, maybe waiting for an answer blowing in the Santa Ana wind.","INT. AUNT RUTH'S APARTMENT - NIGHT - A MOMENT LATER We move in to the pile of money next to Rita's purse. Past that we move down inside Rita's purse. We see the Blue Key and move closer to it until it fills the screen.","EXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT We drift along the red bricks past the payphone, along the wall until we come to the corner. Slowly we round the corner and move to a dark alley. There amongst the dumpsters and trash cans is the dark silhouette of a figure. We move closer to the figure. It is the bum and the bum sits. We move closer and the bum's face fills the screen. It's face is black with fungus. It's eyes turn and they seem to be red. THE END"],"string":"[\n \"EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES Darkness. Distant sounds of freeway traffic. Then the closer sound of a car - its headlights illumine an oleander bush and the limbs of an Eucalyptus tree. Then the headlights turn - a street sign is suddenly brightly lit. The words on the sign read. `` Mulholland Drive.'' The car moves under the sign as it turns and the words fall once again into darkness.\",\n \"EXT. NIGHT - MULHOLLAND DRIVE Gliding we follow the car - an older black Cadillac limousine - as it winds its way up Mulholland Drive through the darkness of the Hollywood Hills. There is no one else on the road. As we drift closer to the car.\",\n \"INT. BLACK CADILLAC LIMOUSINE - NIGHT Two men in dark suits are sitting in the front seat. A beautiful, younger, dark - haired woman sits in back. She sits close up against the door and stares out into the darkness. She seems to be thinking about something. Suddenly she turns and looks ahead. The car is slowing and moving off to the side of the road. DARK-HAIRED WOMAN What are you doing? You do n't stop here. The car stops - half on, half off the road at a dark, blind curve. Both men turn to the woman. DRIVER Get out of the car.\",\n \"EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT Two cars - a convertible and a late model sedan are drag racing toward the blind curve blocking the view of the Cadillac limousine. The cars are filled with crazed teenagers. Two girls are standing up through the sunroof of the sedan screaming as their hair is whipped straight back. The cars are travelling so fast that they seem to almost float as they fly with psychotic speed down both lanes of Mulholland Drive.\",\n \"INT. EXT. - CADILLAC LIMOUSINE The driver, still in his seat, has a pistol with a silencer attached pointing at the woman. The other man is getting out of the car. The woman is clutching the seat and the door handle as if trying to anchor herself. She is visibly afraid. The man who got out of the car tries the woman's door, but it is locked. He smiles as he reaches in through the front door and unlocks her door. He opens her door. As he reaches for her, the woman's face becomes flooded with light. Her eyes dart to the front windshield. The driver, flooded with light, turns just as the late model sedan slams into the Cadillac limousine. There is an explosion of metal and glass amidst thunderous tearing sounds as the two cars become one in death. The convertible screams past with hardly a notice. The driver of the limousine dies instantly as his body is jettisoned through the windshield. The other man is torn as the cars screech over him. The woman is brutally thrown into the back of the front seats as a cloud of dust and flying rocks engulfs her. The disastrous moving sculpture of the two cars wants to climb up the hill, then stops and slides back toward the road The Cadillac tips onto its side. Then all is silent. A fire erupts in the sedan and as the dust clears we see the woman appear, then crawl out of the Cadillac to the road. Her face is vacant. There is a bleeding cut just above her forehead. She stands for a moment clutching her purse - lost, then begins to walk as if in a trance across Mulholland down through the bushes and into darkness.\",\n \"EXT. HOLLYWOOD HILLS - LATER - NIGHT The woman slides down a hill through tangles of hostile desert plants. Sirens can be heard in the distance. She crosses through some trees and is suddenly confronted by a coyote which snarls and leaps at her. She screams and strikes out with her purse in self defense. The coyote backs away - snarling. The woman then loses control and runs at the coyote and it races off. She falls to the ground. We can hear the thunder of her heartbeat as the sirens grow louder. She gets up and stumbles through the trees. When she clears them she is standing overlooking all of Los Angeles glowing down below. She clumsily starts down toward it. HOLLYWOOD STREETS - LATER - NIGHT The woman slides down a dusty hill and finds herself at Franklin Avenue. A car races by and its headlights flare on her face. Her expression shows fear and panic. She does n't know where she is or where to go. She runs frantically across the street. She moves quickly to a sidewalk which takes her into a residential area.\",\n \"EXT. HOLLYWOOD STREETS - LATER - NIGHT The woman crosses Sunset Boulevard. Coming up Sunset in the distance is a police car with its sirens and lights going. She hurries into the darkness of another residential area. A car turns onto the street and comes toward her. She instinctively moves behind a tree until it passes.\",\n \"EXT. HOLLYWOOD STREETS - LATER - NIGHT As if being hunted in a foreign land the woman moves desperately down another residential street. A drunken couple round the corner up ahead and start up the sidewalk toward her. She runs off the sidewalk and into the bushes in front of an apartment building. The couple passes by without noticing her. Feeling safe in these bushes her exhaustion overtakes her and she lays her head down to sleep.\",\n \"EXT. MULHOLLAND DRIVE - NIGHT Police, paramedics surround the wreckage. Two detectives, HARRY MCKNIGHT and NEAL DOMGAARD -LRB- both mid 40's to 50 -RRB-, stare at the remains of the two cars glowing white hot under the crime scene lights. A coroner's van pulls out just after an ambulance. The ambulance's siren begins to wail as it speeds off. The coroner's van cruises slowly. Detective Harry McKnight and Detective Neal Domgaard continue staring. They do not look at each other. They are each motionless for a long moment. DETECTIVE HARRY MCKNIGHT You feel it? DETECTIVE NEAL DOMGAARD Yeah. They continue to stare. DETECTIVE NEAL DOMGAARD Sammy thinks the Caddy had stopped along the shoulder. man up the road said he saw two cars drag racin'. then you got that blind corner. DETECTIVE HARRY MCKNIGHT Two men. two guns in the Caddy. DETECTIVE NEAL DOMGAARD The boys found this on the floor in back of the Caddy. Neal holds up a plastic bag holding a pearl earring. DETECTIVE HARRY MCKNIGHT Yeah, they showed me DETECTIVE NEAL DOMGAARD Could be unrelated. DETECTIVE HARRY MCKNIGHT Could be. any of those dead kids wearin' pearl earrings? DETECTIVE NEAL DOMGAARD No. Could be someone's missin' maybe. DETECTIVE HARRY MCKNIGHT That's what I'm thinkin'. Detective Harry McKnight turns and crosses Mulholland. His eyes move over each blade of grass at the shoulder - each desert bush just beyond. He slowly raises his gaze to the shining lights of Hollywood laying far below like a galaxy. He looks out and wonders.\",\n \"EXT. HOLLYWOOD STREETS - EARLY DAWN The clang of a metal gate wakes the woman. It is just getting light and she sees an older red - headed woman carrying a suitcase to the curb where a cab stands waiting with its trunk open. The cab driver appears with two suitcases which he sets down next to the car. The red - headed woman and the cab driver both go back through the iron gate. The woman in the bushes pulls herself to the gate where she can peer into the courtyard of this apartment building. She sees the red - headed woman and the cab driver go into an apartment and come back out with more luggage. They leave the apartment door open. When the red - headed woman and the cab driver reach the cab they both begin loading the bags into the trunk and backseat. Their backs are to the woman in the bushes who takes this opportunity to go quickly into the courtyard and through the open apartment door.\",\n \"INT. APARTMENT - EARLY DAWN The woman comes into a living room where a single trunk remains. She goes further into the apartment and crouches down in a back corner of the kitchen. She listens as footsteps come across the courtyard. She hears the red - headed woman and the cab driver get the trunk. She hears them set it down once they have it in the courtyard. She hears the steps of the red - headed woman come back inside the apartment. She hears the footsteps go all around the apartment and then she hears the footsteps come toward the kitchen. Remaining frozen, the dark - haired woman's eyes look up as the red - headed woman walks right past her, grabs a set of keys off the kitchen counter, then leaves the apartment. The woman can hear the door being locked. She lets go, slides to the kitchen floor, and passes out.\",\n \"INT. DENNY'S RESTAURANT, HOLLYWOOD - MORNING Two well - dressed men HERB and DAN -LRB- mid 30's -RRB- are sitting at a table drinking coffee. Herb has finished eating his breakfast, but Dan has n't touched his bacon and eggs - he appears too nervous to eat. A blonde waitress with a nameplate saying `` DIANE'' lays the check on their table smiles, then walks off. HERB Why did you want to go to breakfast if you're not hungry? DAN I just wanted to come here. HERB To Denny's? I was n't going to say anything, but why Denny's? DAN This Denny's. HERB Okay. Why this Denny's? DAN It's kind of embarrassing but, HERB Go ahead. DAN I had a dream about this place. HERB Oh boy. DAN You see what I mean. HERB Okay, so you had a dream about this place. Tell me. DAN Well. it's the second one I've had, but they were both the same. they start out that I'm in here but it's not day or night. It's kinda half night, but it looks just like this except for the light, but I'm scared like I ca n't tell ya. Of all people you're standing right over there by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is - there's a man. in back of this place. He's the one. he's the one that's doing it. I can see him through the wall. I can see his face and I hope I never see that face ever outside a dream. Herb stares at Dan to see if he will continue. Dan looks around nervously, then stares at his uneaten food. DAN -LRB- cont'd. -RRB- That's it. HERB So, you came to see if he's out there? DAN To get rid of this god - awful feeling. HERB Right then. Herb gets up, picks up the bill and goes to the cashier to pay. Dan just sits. As Herb is paying the bill he looks over at Dan just as Dan is turning to look at him. From Dan's point of view Herb is standing in exactly the same spot as he stood in the dream. Herb gets a strange feeling, turns back and finishes up with the cashier. He motions for Dan to follow him. Dan rises reluctantly and he and Herb make their way outside.\",\n \"EXT. DENNY'S Now Herb waits for Dan to lead the way. DAN Around here. Dan takes Herb across the front of Denny's to a narrow sidewalk that leads down the side toward the back. They begin walking down the narrow sidewalk - past a payphone. Dan begins to sweat the nearer he gets to the rear corner of the building. Red bricks glide by slowly. CLOSER ON DAN Beads of sweat cover his face. He finds it difficult to breathe. Herb is just behind him unable to see the fear overtaking his friend, but Herb can feel something himself. The red bricks moving by now are coming to an end - the corner is coming closer - the corner is now very close. Suddenly a man - a face. a face dark and bum - like - moves quickly out from behind the corner and stops - freezes - staring into Dan's eyes. Dan lurches back. All his breath is suddenly gone. He falls back into Herb who tries to catch him as he's falling. Dan hits the ground unable to breathe - his eyes wide with horror. Herb looks up - the man is gone. He looks down to Dan. HERB Dan! Dan! You all right? Dan! He kneels down and studies his friend. He feels for a pulse in the neck. He listens for breathing. His friend is dead. HERB -LRB- cont'd. -RRB- My God!\",\n \"EXT. LAX AIRPORT - DAY The airport sits in blinding sunlight and veiled with smog. A big jet lands.\",\n \"INT. LAX AIRPORT A blonde girl walking with an old woman approaches us. As the blonde's face fills the screen we move with her and stay with her as she goes. Her face is bright and her eyes move here and there taking in everything. She can hardly believe she's in Los Angeles - the City of Dreams. She and the old woman pass under a sign which reads `` WELCOME TO LOS ANGELES.'' The girl smiles and looks around excited by every detail.\",\n \"EXT. LAX AIRPORT The girl and the old lady exit the terminal with their bags. An older gentleman has joined the old lady. They stop at the taxicab stand. The old lady takes the blonde girl's hand. OLD LADY It's time to say goodbye, Betty. It's been so nice travelling with you. BETTY Thank you, Irene. I was so excited and nervous. It was sure great to have you to talk to. IRENE Now, remember I'll be watching for you on the big screen. BETTY -LRB- smiling. -RRB- Okay Irene. Wo n't that be the day. IRENE The best of luck to you, Betty. Take care of yourself and be careful. BETTY Okay I will. Thanks again. Betty and Irene give each other a hug. The old gentleman nods to Betty and takes Irene off. Betty smiles after them. Suddenly someone is grabbing her bags. She turns abruptly to find she is next in line and her cab is waiting. She turns once more and waves at Irene as her bags are loaded into the trunk of the cab. CAB DRIVER Where to? BETTY -LRB- smiling excitedly. -RRB- 1612 Havenhurst. CAB DRIVER Got it! They get into the cab and close their doors. The cab pulls away.\",\n \"EXT. STREETS - LOS ANGELES - DAY Betty goes from the right side of the cab to the left side of the cab looking at every building, tree and sign. Each street sign seems to be magical to her and she says the names to herself as they pass by. She sees La Tijera, La Cienega, Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire Boulevard, etc., etc. until they reach Fountain and turn right. Betty's heart is pounding when she sees Havenhurst and the cab turns left. In the middle of the block on the right the cab pulls over and stops. Betty sees her new home. an ancient, gorgeous courtyard apartment building, built during the golden age of cinema.\",\n \"EXT. 1612 HAVENHURST The cab driver puts Betty's bags down on the sidewalk next to her. She can barely stop looking at the building long enough to pay the cab driver who then goes off and drives away. Betty picks up her bags and enters, as if in a dream, through an ornate iron gate to a courtyard with a beautiful working fountain at its center. A sign on a door to her right reads Manager and she rings the bell. An older, once very beautiful, woman wearing heavy make - up and smoking a cigarette in a silver holder opens the door. An unbelievable raspy voice comes out through the dark screen of the still closed screen door. MANAGER Hi there. ten bucks says you're Betty. BETTY I am, Mrs. Lanois. It is Mrs. Lanois is n't it? MRS. LANOIS In all my living glory, baby. BETTY Pleased to meet you. MRS. LANOIS You can call me Coco. everybody does. Stay there, I'll get the key. BETTY Okay, Coco. Coco returns with the key and opens the screen door inhaling a huge drag off her cigarette. She starts off into the courtyard and Betty picks up her bags and follows. As Coco speaks smoke comes out of her with every word. COCO I guess it was your grandfather, was it. he called me to check in, said you were on your way and for you to call when you get in. Nice man. farmer I hear. BETTY Yes, he is. He raises corn. COCO Damn lot of corn raised in Hollywood these days too. BETTY Well, I. COCO You do n't have to tell me. It's written all over that pretty face of yours. You came here to be an actress. I just hope you'll remember there's never been a great poem called `` tits and ass.'' BETTY I. COCO You probably do n't remember her, but Louise Bonner lives right over there in number 29. When she is n't drunk she runs a damn good acting class. BETTY Have many famous actors and actresses lived here? I was meaning to ask you that. COCO Honey, all the great ones came through here at one time or another. A haunting music begins to swell. COCO -LRB- cont'd. -RRB- People say in the springtime when the wind blows the smell of the jasmine you can still feel the presence of everyone of them. BETTY I guess I've come to quite a place. COCO Sweetheart, you do n't know the half of it. The music fades. Coco looks down suddenly. On the cobblestone courtyard in front of her she sees a fresh product of waste from a dog. She angrily turns up to an apartment on the second level. COCO -LRB- cont'd. -RRB- -LRB- yelling up. -RRB- WILKINS! -LRB- no answer. -RRB-. THAT DOG CRAPS ONCE MORE OUT HERE AND I'LL BAKE HIS BUTT FOR BREAKFAST! Coco turns back to Betty. COCO -LRB- cont'd. -RRB- You do n't have pets do you? BETTY No, I do n't. COCO That's good. They're allowed, but I do n't like'em. for obvious reasons. One man used to live here that had a prize fighting kangaroo. You would n't believe what that kangaroo did to this courtyard. let's see your Aunt's apartment. it's a good one. BETTY I can hardly wait, Coco.\",\n \"INT. APARTMENT - BEDROOM The dirty and torn black cocktail dress of the dark - haired woman along with her shoes, purse and undergarments are in a pile in the bedroom. We drift off them toward the bathroom where the dark - haired woman can be seen showering through rippled glass. There's the sound of a door opening. We see a movement through the glass and the shower goes off instantly. We can hear the dark - haired woman's frightened breathing as she waits frozen listening.\",\n \"INT. APARTMENT LIVING ROOM Betty enters, thrilled with what she sees. The apartment is filled with movie memorabilia, deco furniture, oriental rugs, brass floor lamps and a massive tiled fireplace. She sets her bags down and stares. BETTY It's unbelievable! COCO I told ya. BETTY Wow! COCO Now I guess you and your Aunt have an understanding. So here's the key and you need anything, just give a holler. -LRB- Coco hands Betty the key. -RRB- Everybody in this building's pretty much okay with me or they would n't be here. If you want, later I'll introduce you around. No hard feelings if you do n't, and do n't forget the rooftop garden. It's just up the stairs we passed. It's open to all the tenants. You can see the Hollywood sign from there. BETTY Oh Coco thank you. Thank you so much. COCO You got it! See you later honey. Coco leaves and closes the door behind her. Betty begins to explore the apartment. - After walking a circle in the living room she passes through the kitchen. She moves down a hallway looking at paintings and posters. She goes into the bedroom. She smiles when she sees the bed which has a huge ornately carved head and foot board. She notices the soiled dress on the floor and she frowns as she looks closer. She stands back up, shrugs and goes into the bathroom which has all the original thirties fixtures damndest floor to ceiling tiles. As she goes toward the sink she smiles to herself in the mirror above it. Suddenly something catches her eye and she opens the shower stall. There before her is the naked, beautiful dark - haired woman. BETTY Oh my! She quickly closes the shower door. BETTY -LRB- cont'd. -RRB- I'm sorry. My Aunt. Ruth did n't tell me someone was going to be here. I'm so sorry. DARK-HAIRED WOMAN That's okay. BETTY I'm Ruth's niece. My name's Betty. I'm sure she told you I was coming. There's a silence. DARK-HAIRED WOMAN There was an accident. I came here. BETTY I understand. I saw the dress. I. I'm sorry. Are you all right? There is another silence. BETTY -LRB- cont'd. -RRB- What happened? DARK-HAIRED WOMAN A car. a car accident. BETTY Are you okay? DARK-HAIRED WOMAN I think so. I was just taking a shower. BETTY Oh my god. I'm sorry. I'll let you get back to that. I'm going to get unpacked. Betty goes to the bathroom door and is closing it when she stops and looks back in. BETTY -LRB- cont'd. -RRB- What's your name? We see a close - up of the dark - haired woman. We see her eyes widen with a kind of fear. She's frantically thinking - searching her mind for an answer. BETTY -LRB- cont'd. -RRB- I'm sorry. I'll get out of here and we can talk later.\",\n \"INT. APARTMENT BEDROOM Betty is unpacking in the bedroom and putting her belongings in the closet and the dresser drawers. Many of her Aunt's things are still there.\",\n \"INT. APARTMENT BATHROOM The dark - haired woman is looking at herself in the mirror. She turns and begins looking around the bathroom at shampoos, cosmetics, until her eyes fall on a poster of `` Gilda'' starring Rita Hayworth.\",\n \"INT. APARTMENT BEDROOM The bathroom door opens and the dark - haired woman comes out wrapped in a towel. She's drying her hair with another. She and Betty stare at one another. DARK-HAIRED WOMAN My name is Rita. BETTY Hi. do you work with my Aunt? RITA No. I. BETTY I. I mean. I. it's none of my business. RITA She has pretty red hair. she is very kind I think. BETTY She sure is. She's letting me stay here while she's working on a movie that's being made in Canada, but I guess you know that. I could n't afford a place like this in a million years. Unless of course I'm discovered and become a movie star. Of course, I'd rather be known as a great actress than a movie star, but sometimes people end up being both and that is, I guess you'd say, sort of why I came here. I'm sorry, I'm just so excited to be here. I mean I just came here from Iowa and now I'm in this dream place. You can imagine how I feel. RITA I think I've been hurt. BETTY Oh. Betty goes to Rita. BETTY -LRB- cont'd. -RRB- Sit down. Betty sits Rita on the bed. She leans down and looks at her head and face. BETTY -LRB- cont'd. -RRB- Where were you hurt? Rita motions to her head above her forehead. Betty looks through her hair and finds her wound which has stopped bleeding but is surrounded by a very large blue black bruising. BETTY -LRB- cont'd. -RRB- We should get a doctor. RITA No. BETTY But, this could be serious. RITA No. I need to sleep. BETTY If you have a concussion you should n't sleep. RITA It will be okay if I sleep. I need to lie down and sleep. BETTY All right, but. I'm going to check on you. Rita lies down and is instantly asleep. Betty leans over her and listens to her breathing. She gets a blanket and drapes it over the beautiful sleeping Rita, then leaves the room.\",\n \"EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY The street level of the office building is filthy and houses stores selling racks of cheap toys. Up above we see office windows and a big sign saying `` Office Space For Rent'' along with a telephone number to call. We drift in toward one of the windows on the sixth floor.\",\n \"INT. OFFICE ON SIXTH FLOOR Two men are in the room, JOE and ED. Joe leans up against a rack of filing cabinets. He is in his late twenties. He looks like a run down, heavy metal rocker - wears a blue denim shirt open, T - shirt underneath, black denim jeans and motorcycle boots. His black belt has silver studs. He's smoking a cigarette and is laughing at something the man at the desk has said. His laugh is easy and his grin is infectious. The man at the desk, Ed, wears a clean, crisp black suit, like a business man's but unlike a business man his blonde hair is long enough to go over his shoulders. JOE So man, that's unheard of. an accident like that. who coulda foreseen that. ED Unreal. so, you're looking good. Whatcha doin' these days? JOE Well, not much Ed. Just doin' some stuff for this guy. ED Making ends meet, huh. JOE Hardly. ED Yeah, look at my digs. times are tough. JOE Oh, things are n't so bad. Gee, I hope you're not goin' to get in any trouble. ED It was just a thing. The story made you laugh. JOE Yeah, that's a funny story. Looking like he's rubbing the small of his back Joe moves over to Ed at his desk. Joe looks down to the surface of the desk - to a small worn black book. JOE -LRB- cont'd. -RRB- So, there it is. Ed's famous black book. ED Yeah, the history of the world in phone numbers. Joe's hand still at the small of his back moves into view holding a silenced pistol and in one swift move reaches out and fires a hole through Ed's temple - blowing Ed's brains out across the desk, carpet and wall. Ed's head bangs down on the desk, then is still save the leaking of blood from the wounds. Joe flips his finished cigarette out the open window behind Ed's desk, wipes the gun clean with a handkerchief and places the cleaned gun in Ed's right hand. He places Ed's right forefinger gently onto the trigger. As he puts the finger on the trigger he presses a little too hard and the gun goes off. The bullet shoots out and penetrates the cheap wall at the far end of Ed's office. Joe hears a muffled scream. JOE -LRB- cont'd. -RRB- -LRB- disgusted with himself. -RRB- Oh. man! With a sense of `` just more stuff I got to do'' Joe moves slowly and begrudgingly out of Ed's office, checks the corridor and goes toward the screaming which still persists. He opens up the office door next to Ed's and finds a heavy set woman screaming bloody murder as she is grabbing her buttock and lower back. He sighs and walks over to her and cups his hand tightly around her mouth to squelch the screaming. Wide - eyed, she tries to fight him off and he begins dragging her out of her office. Joe's foot catches on a computer cable clumsily taped across the floor and he falls backwards bringing the heavy woman down with a bone - crushing blow on top of him. The woman begins beating his face with her meaty fists. Joe snaps her head back, instantly stilling her violent activity. He wrestles the stunned heavyweight back to her feet and out her door. He pushes and pulls her into Ed's office. Just before they enter, Joe notices a man with a vacuum cleaner watching him from the far end of the corridor. He stops and calls to the man. JOE -LRB- cont'd. -RRB- Hey man. She's hurt bad. Get down here and use the phone. Help me out. You got ta call the hospital. The man hesitates. not sure if this jives with what he's seeing. JOE -LRB- cont'd. -RRB- I mean it! Get down here quick! She's hurt and I ca n't do everything myself, man. Joe pushes the woman inside Ed's office, throws a glance back down the corridor and sees the man is on his way to him, pushing his industrial vacuum and trailing a 200 ft. long thick black cord as he goes. Joe goes in to Ed's office with the woman. He throws her down on the floor in line between Ed's desk and the bullet hole in the wall. She starts screaming immediately and struggles to get up. Joe grabs the pistol from Ed's dead hand and lifts it to fire, but the woman has turned around and is almost standing. JOE -LRB- cont'd. -RRB- No, no, no. You got ta be turned around. He goes to her, slaps her hard in the face and spins her around. Before she can turn again Joe races back to place himself in the proper line at Ed's desk and quickly fires two silenced shots into the back of her head. The man with the vacuum enters. His eyes begin to widen in reaction to the scene. Just then Joe fires a bullet into the man's chest. The man inadvertently flicks on the vacuum cleaner as his hands rush up to the wound. As the vacuum cleaner whines Joe rushes to the man before the man falls back out into the corridor. He pulls him into the room - the man moaning and clutching his chest, starting to collapse. Joe releases him and the man goes down. The vacuum cleaner seems to be screeching now in the threshold. Joe fires the last bullet into the heavy duty vacuum cleaner. The bullet shorts out the internal wiring of the vacuum. That in turn blows the building's circuit breaker and all the lights go out. JOE -LRB- cont'd. -RRB- -LRB- disgusted with himself. -RRB- Oh. man! Now he hears voices - voices moving into the corridor. VOICES What the hell. what happened? What's this cord doing here? It's the vacuum. It's the vacuum what did it. Joe cleans the pistol once again and places it back in Eddie's hand - Eddie's finger on the trigger. Joe picks up the black book - turns and makes his escape by going out the office window and quickly descending the rusty fire escape.\",\n \"INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY We see three men sitting at a conference table RAYMOND -LRB- RAY -RRB- HOTT - president of production, wearing a crisp blue suit, VINCENT DARBY - senior vice - president, wearing a crisp green suit and ROBERT SMITH - talent manager, wearing a crisp brown suit. Ray and Mr. Darby sit at the head of the table and Robert Smith sits along the side. A younger man - ADAM KESHER enters and sits down, with an arrogant nonchalance, next to Robert Smith. Adam is dressed in a frumpy old fashioned plaid shirt, worn jacket, dark blue cotton slacks, and a pair of old brown wing tips. As he sits he is holding and twirling a vintage `` 7 - iron'' golf club. ADAM So what's the problem? RAY There is no problem. ADAM So why did you idiots bring me here? I'm in the middle of making a picture. Silence for a moment. A man enters through a rear door and whispers something to Mr. Darby and shows him something on a piece of paper. Mr. Darby studies the piece of paper. MR. DARBY -LRB- to man who entered. -RRB- What was it last time? The man who entered points to something on the paper. MR. DARBY -LRB- cont'd. -RRB- Okay, let's try the next one. The man nods and leaves. RAY He is n't gon na like it. MR. DARBY We'll see. ADAM Hello. who're we talkin' about here? Robert Smith shuffles nervously in his chair next to Adam. ROBERT SMITH You see Adam. there are some suggestions which are to be brought forward. and I know you said you would entertain suggestions and that's all anybody here is asking you to do. ADAM What're you talking about? ROBERT SMITH An open mind. You're in the process of re - casting your lead actress and I'm. -LRB- looks around. -RRB- We're asking you to keep an open mind.\",\n \"EXT. CENTURY CITY - DAY Before us is a huge modern office building of glass and steel. Two men in dark suits have exited a large limousine and are walking up into the building. We drift up the facade, higher and higher moving in toward the top of the building.\",\n \"INT. OFFICE BUILDING - DAY The men exit an elevator and move through a lobby where a plaque beneath an enormous bronze sculpture reads `` Ryan Entertainment''. Gliding we travel behind the two men down a wide, carpeted hallway with blonde wood and glass on each side. They enter through two large blonde wooden doors to the conference room.\",\n \"INT. CONFERENCE ROOM - DAY The men in dark suits go in as if they owned the place. Ray, Mr. Darby and Robert Smith stand immediately. Adam remains seated. Mr. Darby is the only one near enough to attempt a hand shake, but when he offers his hand it is not taken. The men in dark suits sit down without wasting a movement and without acknowledging anyone. One of the men in a dark suit opens a briefcase. Ray has been trying to make introductions. RAY Ah. the Castigliane brothers. Let me introduce you around. please. sit down. -LRB- after they've already seated themselves. -RRB-. this is Mr. Darby whom you know and this is the director Adam Kesher and his manager Robert Smith The Castigliane brothers do not acknowledge any of this, however, during the introductions the one with the briefcase removes a photo of a girl and sets it in front of Ray. RAY -LRB- cont'd. -RRB- Ah. she's very pretty. We see the photo of the girl - of a nice looking blonde - someone we've never seen before. Adam looks like he does n't know what's going on and he's getting upset about not knowing. His manager, Robert Smith, is beginning to see the makings of a confrontation - he's starting to panic. MR. DARBY -LRB- referring to Castigliane brothers. -RRB- May I offer you gentlemen anything? LUIGI CASTIGLIANE Espresso. VINCENZO CASTIGLIANE Nothing. ADAM Uh what's the photo for? MR. DARBY -LRB- picking up phone and speaking. -RRB- One espresso. no, that's it. -LRB- sets phone down - addresses Castigliane brothers. -RRB- I think you're going to enjoy your espresso this time. I've been doing quite a bit of research knowing how hard you are to please. this one comes highly recommended. ADAM What's the photo for? RAY -LRB- to Adam. -RRB- A recommendation. a recommendation to you Adam. VINCENZO CASTIGLIANE Not a recommendation. LUIGI CASTIGLIANE This is the girl. ADAM What girl? For what? What is this Ray? Ray, still standing with a forced smile, turns to the Castigliane brothers. RAY We'd be happy to put her in the pile for considerations. you'd be pleased to know there's quite a lot of interest in this role. ADAM Interest?! There's six of the top actresses that want this thing. LUIGI CASTIGLIANE This is the girl. ADAM Ray. you better take care of this. ROBERT SMITH Hold on. hold on, Adam. ADAM Hold on! There's no way, there's no way! Luigi Castigliane's espresso is brought in by the man who had been in earlier. The man sets the espresso down in front of Luigi and takes a step back. The room becomes silent - watching the Espresso Man and Luigi. Without looking up Luigi speaks softly. LUIGI CASTIGLIANE Napkin. ESPRESSO MAN -LRB- leading forward to hear. -RRB- Pardon? LUIGI CASTIGLIANE Napkin. ESPRESSO MAN Of course. Excuse me. The Espresso Man leaves the room. Luigi looks at the espresso. Vincenzo stares at Adam. Adam is doing his best to stare down Vincenzo. The Espresso man returns with a cloth napkin and lays it down next to the espresso. ESPRESSO MAN -LRB- cont'd. -RRB- Will that be all, Sir? Luigi does n't answer and after a moment of standing very still waiting, the Espresso Man turns and leaves the room. Adam is stared down by Vincenzo and averts his eyes to the espresso cup. He looks around at Ray and Mr. Darby - seeing them stare at the espresso cup. Vincenzo keeps staring at Adam. Luigi picks up the napkin and holds it in his left hand. With his right hand he lifts the espresso cup and places it above the napkin. He brings the cup and napkin to his mouth. He takes a sip of espresso. A small fleeting expression forms on Luigi's impassive face as if for one millisecond he is going to vomit. His mouth opens and he allows the espresso to fall and dribble onto the napkin. He pushes any remaining espresso in his mouth out with his tongue. He holds it in that position for a moment. LUIGI CASTIGLIANE Is shit! Luigi Castigliane stands up. RAY I'm sorry. That was a highly recommended. MR. DARBY That's considered one of the finest espressos in the world, Sir. Luigi just stands there. A small thread on his left suit jacket pocket catches his attention and he smooths it back into the fabric. Vincenzo closes his briefcase, takes out a hankerchief and cleans his nose - then stands, placing the handkerchief back in his pocket. ADAM Wait a minute! What's going on here? Vincenzo just stares toward Adam as if he's not even there. ADAM There's no way that girl is in my movie! Silence. LUIGI CASTIGLIANE That is the girl. The Castigliane brothers begin to leave. Adam stands up trembling with anger. ADAM Hey! That girl is not in my film! VINCENZO CASTIGLIANE It is no longer your film. Adam turns white and stands very still as this sinks in. The Castigliane brothers leave. As the big blonde wood doors close behind them Adam starts to boil. ADAM -LRB- screaming. -RRB- You'd better fix this, Ray! RAY I'll speak to someone. ADAM -LRB- turning to his manager. -RRB- And you'd better speak to someone too. or find yourself another client! This smells like a set - up to me! -LRB- back to Ray. -RRB- And by the way, Ray, I do n't know who these guys are kidding, but every foot of film I've shot is in a vault at the lab that only I can access. No one's getting that film! ROBERT SMITH This is a catastrophe. -LRB- turning toward Ray. -RRB- you told me they might insist on a girl, that's all. ADAM Why did n't you tell me, Robert? That's what I mean. you set me up! I woulda never come here. -LRB- standing. -RRB- I'm leaving. I'm a director you do n't want to lose. you guys better fix this! Adam storms out of the room. RAY -LRB- standing. -RRB- Well. I did n't know that was going to happen.\",\n \"EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY Adam exits the building carrying his 7 - iron. An attendant takes his valet parking ticket. While Adam, still fuming, waits for his car he notices the big limo standing off to one side. He stares at the car and the huge limo driver leaning up against the front driver's side door. Adam's car arrives - a late model Porsche. Before Adam gets into his car he addresses the attendant. ADAM Did the Castigliane brothers get out of that limo? ATTENDANT They two guys in dark suits? Adam nods and walks over to the limo. The limo driver eyes him and his 7 - iron suspiciously. ADAM Castigliane brothers? LIMO DRIVER Beat it! ADAM O.K. Adam raises his 7 - iron and smashes out the limo's windshield. He whacks two big dents in the hood, then smashes out a headlight. The limo driver starts towards him. Adam laughs, runs to his car and takes off.\",\n \"INT. AUNT RUTH'S APARTMENT - LATER DAY Betty is stretched out on the big leather couch in the living room. A half eaten sandwich and chips are on a plate on the coffee table next to her. She is talking on the phone. BETTY No Grandpa, you would n't believe it. It's more beautiful than I ever dreamed. no she left me a lot of food. The refrigerator's full. Aunt Ruthie said she'd call me when she got settled. it was real smooth. I sat next to a lady who gave up her first class seat to a boy with a broken leg. She was so nice to me. She invited me to her house sometime. It's in Bel Air which is a place where people have a lot of money. I will. Everybody's telling me to be careful, but I sure love it here Grandpa. Thank you for helping me get here. yeah, it's long distance. I love you. Say hello to Grams. Give her a big kiss for me. Okay, I love you Grandpa. bye. Betty hangs up the phone, takes a big bite of her sandwich and lays flat out on the couch, chewing and smiling up at the ceiling. She suddenly remembers Rita and her promise to look in on her. She gets off the couch and goes into the bedroom.\",\n \"INT. BEDROOM - DAY Rita is still asleep when she enters. She leans down and finds Rita breathing normally. She feels her forehead. Satisfied that all is well, Betty quietly leaves the bedroom.\",\n \"INT. - EXT. APARTMENT - DAY Betty rinses her dishes in the kitchen sink and pours herself a cup of coffee. She takes the coffee outside to the courtyard - to a white metal table just outside her doorway. She sits down and stretches in the warm afternoon sun. Across the way she can hear a blues saxophonist practicing in one of the apartments. She drinks her coffee and listens to the music. Some birds fly by overhead. She takes another sip of coffee. The blues music which was mellow and slow is now building in tempo and volume. The phone inside rings. Betty takes her coffee back into the living room, shutting the door behind her. She crosses to the leather couch and picks up the phone. BETTY -LRB- cont'd. -RRB- Hello. Aunt Ruth! I ca n't tell you how happy I am. Your place is so fantastic! Yes. Coco. what a character. I really like her. that's too bad. waiting in an airport must not be too fun. What's a mosquito plane? Oh I get it. How long does that take from Montreal? Well, you'll sleep good tonight. Hudson Bay sounds beautiful. oh well, I hope you packed your coat. -LRB- laughs. -RRB-. You mean the audition. Wally Brown. she did n't mention it but he'll fax the dialogue to Coco? Suddenly I'm so nervous. okay Aunt Ruth. I'll try. I'll study those lines until I know them inside out. Yes, either right here on this fabulous leather couch or I'll take them with a coffee in the courtyard like a regular movie star. -LRB- laughs. -RRB-. Oh! I got a real shock to find your friend Rita here. She was in the shower and I opened the door. Rita. what do you mean? She was in an accident. your friend Rita. No, Coco unlocked the door. No, she did n't see her. She's sleeping. No. she's very nice. I'm sure there's some explanation, Aunt Ruth. I do n't think we have to do that. Please do n't worry. I'll take care of it. No, I'll let you know. Where can I. okay I'll get it from Coco. No, please do n't worry. thank you so much for letting me stay here. You've made me so happy. thank you, thank you. Please do n't worry. Aunt Ruth we do n't need the police. I'll call you when you get to Hudson Bay. Please. please. Goodbye Aunt Ruth. Betty slowly and quietly hangs up the phone. She sits for a moment listening. Silently she stands and moves toward the bedroom. As she approaches the bedroom door she stops at something she sees. Rita is sitting on the edge of the bed crying quietly. Betty goes into the bedroom. Rita looks up at her with desperation. BETTY -LRB- cont'd. -RRB- You're awake. I think I misunderstood you. I thought you knew my Aunt and that's why you were here. I just talked to my Aunt on the phone and she wants me to call the police. Rita starts crying harder, bows down, covering her face with her hands. BETTY -LRB- cont'd. -RRB- Rita? RITA -LRB- crying harder. -RRB- I'm. sorry. I. Betty's heart softens. BETTY What is it Rita? RITA -LRB- still sobbing. -RRB- I'm. I'm. oh no. I thought when I woke up. I thought sleep would do it. Betty kneels down in front of her. BETTY What's wrong? RITA -LRB- crying. -RRB- I do n't know who I am. BETTY What do you mean? You're Rita. RITA -LRB- crying. -RRB- I'm not. I do n't know what my name is. I do n't know who I am! Betty looks down at the purse next to Rita's dress. She picks it up and hands it to Rita. BETTY This is your purse. Your name must be in your purse. Rita takes the purse with sudden trepidation. She hesitates. Something is worrying her. She looks at Betty for help. BETTY -LRB- cont'd. -RRB- You want to know do n't you? RITA I. yes, but. I. BETTY Open it! Rita slowly unzips the purse. The pressure of its contents force the mouth of the purse to widen as the zipper opens and then there is suddenly revealed what will later be known to be $ 125,000.00 cash in hundred dollar bills. Both Rita and Betty almost stop breathing. They look at each other, then back to the money. Rita takes the massive wad of bills out of the purse and sets it on the bed. She reaches back inside and comes up with the only other remaining item in the purse. A BLUE KEY. Betty sees Rita's expression change to a kind of horror. -LRB- note : This blue key is made of very fine heavy metal and does not look like a door key. -RRB-\",\n \"INTERIOR - OFFICE BUILDING - DAY Ray crosses a carpeted closed area. He mounts a flight of stairs. At the top of the stairs there's a plain blonde wood door. Ray punches in a code on a security panel next to it. The door opens automatically. Ray passes through and goes down a narrow hall. At the end of the hall there is a small elevator. Again Ray punches in a code. The elevator opens and Ray goes in. The elevator door closes, but the elevator does not move. Ray waits. Finally, a woman's voice comes through a speaker. WOMAN'S VOICE Who is it please? RAY Raymond Harris. 20743. The elevator begins to move up. When it stops, the door opens and Ray walks into a windowless reception area where a beautiful Italian woman sits behind a large, blonde, modern, built - in desk. RECEPTIONIST -LRB- very quietly. -RRB- You may go right in, Ray. Ray crosses to a blonde wood double door and waits. The receptionist pushes a button behind her desk - chimes sound as the double doors open to an enormous office with no windows. Heavy rich brown curtains line the walls. Ray enters and the doors close behind him. Ray takes a few steps forward, then stops. There is a solid glass wall that we now notice running the width of the office. Cut into the glass wall is a small speaker microphone apparatus. Beyond the glass off in the center of the room is a man sitting in a very plain, blonde, wood, modern, yet not motorized, wheelchair. The man is paralyzed except for his right hand and head. His head appears small in relation to the size of his body. His suit is immaculate and one of the finest we've ever seen. His manservant stands in the shadows behind him. RAY Good afternoon Mr. Roque. -LRB- pronounced Rowk. -RRB-. Mr. Roque stares at Ray silently. RAY -LRB- cont'd. -RRB- Do you want him replaced? Mr. Roque continues to stare. RAY I know they said. MR. ROQUE Then? RAY Then. I guess it's so. alright, but that means we should. MR. ROQUE Yes? RAY Shut everything down. Is that something that. do you want us to shut everything down? Silence. Ray does n't know what to do. He struggles to interpret Mr. Roque's silence. He waits. Mr. Roque does nothing but stare. RAY -LRB- cont'd. -RRB- Then we'll shut everything down. Silence. Ray turns. The doors open as he approaches them and he leaves the room. The doors close.\",\n \"EXTERIOR - OFFICE BUILDING - CENTURY CITY Vincenzo and Luigi are staring silently and without expression at the broken windshield of the limousine. The limousine driver suddenly starts signaling to a car entering the driveway to the building. He turns to the Castigliane brothers. LIMO DRIVER The other car is here sirs. Please allow me. The limo driver opens the rear door of the new limo, then hurries around and opens the other rear door. The new driver gets out of the car. LIMO DRIVER -LRB- cont'd. -RRB- Here's the key to the car. Take it straight to the garage. They're waiting for you. The limo driver closes both back doors after the Castigliane brothers are seated within. He then gets in himself and maneuvers the big limo out into traffic. PINK'S CHILI DOGS - DAY Two guys, JOE -LRB- the guy who killed Ed in the sixth floor office -RRB- and BILLY another unkept, rocker type delivery man are standing waiting for their chili dogs with a girl, LANEY, who could be very good looking but she seems to be in poor health. Her hair is long and stringy. She's wearing a tight, short sleeve blue sweater, black jeans and boots. BILLY Yeah, sure. Look what happened to them. JOE No, no, no, I told you. They're fine. They're all real happy. BILLY My next delivery is up that way, so I'll be getting down to it real soon. JOE You're so easy. BILLY Got ta keep an eye on her, that's all. JOE Yeah, what for? BILLY Keep her from gettin' in trouble, that's all. The chili dogs arrive and they pay for them. BILLY -LRB- cont'd. -RRB- Can we eat in the van? JOE What's the matter now? BILLY Nothing. I do n't like being out in the open like this. JOE It must be just so pathetic being you. Sure Billy, grab your dog we'll eat in the van. The three make their way to the van. Joe looks over at Laney. JOE -LRB- cont'd. -RRB- You sure you do n't want anything? LANEY -LRB- hesitantly. -RRB- Not here. no thanks. JOE Not a coke or anything? LANEY No. thanks though. I'll take a cigarette if you have one. JOE Sure, reach in my shirt pocket there. As Laney is getting her cigarette and lighting it. JOE -LRB- cont'd. -RRB- Any new girls on the street these days? LANEY -LRB- taking her first big drag. -RRB- No. I have n't seen any. JOE A brunette? maybe beat up? LANEY No. JOE You'll keep your eyes open for me wo n't you baby? LANEY Sure. Joe spanks her butt as she gets in the van. JOE You bet you will.\",\n \"INT. MR. ROQUE'S OFFICE - DAY Mr. Roque, in his wheelchair is still in the center of the huge softly lit, windowless office. His manservant standing silently behind him. The small built - in wheelchair phone rings. Mr. Roque pushes a button on a small intricate remote device he holds in his right hand. A slender streamlined microphone rises from the arm of the chair. MR. ROQUE Yes? He listens through a high - tech earplant which we now see. MR. ROQUE -LRB- cont'd. -RRB- Thank you. He pushes two buttons, one after another on the remote device. We hear a small click, a dial tone, a number being dialed, and a phone ringing.\",\n \"INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS We see the back of a man's head and just over his shoulder we see the top of the phone which is ringing. The man picks up the phone and brings the receiver to his ear. THE MAN Hello.\",\n \"INT. MR. ROQUE'S OFFICE - SIMULTANEOUS MR. ROQUE She's still missing. We hear a small click and the line goes dead. Mr. Roque pushes a button and the microphone descends back into the chair.\",\n \"INT. DARK ELEGANT ROOM - SOMEWHERE Again we see the back of the man's head. He's dialing a new number. - He brings the receiver to his ear. We hear a phone ringing - we hear a click - the phone being answered.\",\n \"INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS We see only a black rotary wall phone and a portion of a greasy filthy kitchen - The receiver has already been lifted off the phone and we see only the cord extending to someone off screen. HAIRY-ARMED MAN -LRB- off screen. -RRB- Talk to me.\",\n \"INT. DARK ELEGANT ROOM - SOMEWHERE Again we see only the back of the man's head. THE MAN Same.\",\n \"INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS A man's hairy - arm enters frame and the receiver is placed back on the phone, then immediately picked back up and with the receiver held in the hand the hairy man dials a new number. Part way through the dialing.\",\n \"INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS The surface of this table is high gloss ultra smooth material. A very modern phone sits on this table and begins to ring softly. A hand enters frame - a woman's hand. The skin is pale white, almost translucent. The fingers are long and seem slightly too large. At the ends of the fingers and thumb are stretched tapered high gloss red fingernails which slightly curve downward. The forefinger of the hand presses a button on the phone. A small tone sounds - followed by a very modern sounding coded signal.\",\n \"INT. - AUNT RUTH'S APARTMENT - day We pull back from Rita's face until we see that Betty and Rita are sitting on the leather couch about four feet apart staring at the floor. They just sit this way for awhile. BETTY Well. what do you think about then? I mean. well what do you think about? RITA What do you mean? BETTY Well. if you do n't remember anything, I mean what goes through your mind then if you do n't remember anything? RITA Nothing. I do remember the car crash. I told you. I remember the glass. I think about that sometimes. I remember walking here, sort of. Now I remember this place and you. That's about it. BETTY How do you remember how to talk? RITA I do n't know. BETTY You do n't remember anything else? RITA No. -LRB- she covers her eyes with her hands. -RRB- There is something. something there I ca n't tell. I ca n't describe it. -LRB- struggling to figure it out - to express it. -RRB- There are things there. but I'm. here. Betty thinks about what Rita has said. Somehow it seems to make sense to her. BETTY The money. You do n't know where it came from? RITA Unh, unh. BETTY When you think about them. the money. the key. does it make you remember anything? Silence. RITA The money. I do n't know about the money. the key. it makes me feel. afraid. BEVERLY HILLS CITY STREETS - DAY A car - a late model generic sedan is moving toward us. Two men dressed in suits and wearing dark glasses are driving slowly. As they go each man is scanning sidewalks, buildings, passing cars as if hunting for someone. They pass by us and as we turn we leave them and pick - up Adam driving in the opposite direction in the other lane. We stay with Adam. Adam drives his Porsche up a palm lined street. ADAM Office. The voice activated phone connects the line to Adam's office. A secretary answers. SECRETARY Adam Kesher's office. ADAM It's me. Where's Cynthia? SECRETARY She's on the set. I'll connect you Mr. Kesher. Another ringing sound, then a voice. VOICE Stage One. SECRETARY Paul, I have Mr. Kesher for Cynthia. PAUL Right baby, all Hell's broke loose down here. I'll try to find her. Adam listens to dead silence for a moment or two then Cynthia speaks. CYNTHIA Adam, where are you? ADAM What's going on, Cynthia? CYNTHIA They've closed the set. They sent everybody home. ADAM What did you say? CYNTHIA They fired everyone. ADAM Who fired everyone? CYNTHIA -LRB- starting to cry. -RRB- Ray did. and then they closed the set. everybody's gone. You'd better get down here Adam! ADAM No. CYNTHIA You've got to talk to Ray you've got to fix this. ADAM I'm going home. CYNTHIA Home! Meet me at the office. We've got to do something. you've got to do something Adam! ADAM I'm going home Cynthia. CYNTHIA Adam, this is n't like you. Please come to the office. There must be something we can do. ADAM I'm going home. I'll call you later.\",\n \"EXT. - 1612 HAVENHURST - DAY ESTABLISH\",\n \"INT. AUNT RUTH'S APARTMENT - DAY The girls are still sitting on the leather couch as before, but now silently off in their own worlds. After a moment. BETTY I wonder where you were going. Betty's question hangs in the air. Slowly we move close to Rita who is on the verge of remembering something. Suddenly - RITA Mulholland Drive. BETTY Mulholland Drive? RITA That's where I was going. Mulholland Drive. BETTY Maybe that's where the accident was. There must be a police report. We could call. RITA No. I do n't. BETTY We could call anonymously from a pay phone. just to see if there was an accident. Rita sits worrying. BETTY -LRB- cont'd. -RRB- Come on. It'll be just like in the movies. We'll pretend to be someone else. I want to walk around anyway. I'm in Hollywood and I have n't even seen any of it. Come on Rita. Do you feel up to it? RITA Okay. but just. just to see. BETTY Just to see if there was an accident on Mulholland Drive. RITA -LRB- tentatively. -RRB- Okay. BETTY Come on. let's find you something to wear. AUNT RUTH'S BEDROOM - DAY Betty laughs as she holds one of Ruth's dresses in front of Rita. BETTY It's terrible. My Aunt dresses like Miss Marple. -LRB- off a blank stare from Rita. -RRB- She's kind of a frumpy woman detective in British movies. Rita laughs along with Betty. Betty goes back in the closet. BETTY -LRB- cont'd. -RRB- Here's something okay. She brings out a pair of khaki pants. BETTY -LRB- cont'd. -RRB- Try these on. You can wear one of my T - shirts with it and it wo n't look bad with those sandals.\",\n \"EXT. ADAM'S HOUSE - BEL AIR Adam pulls into his driveway, but is blocked from entering the garage by a poolman's truck. He gets out of the car and looks at the truck - sees the insignia on the door which is a blue square with the word `` Gene'' above and the word `` Clean'' below. Adam hears steps behind him and turns. A JAPANESE GARDENER is coming toward him smiling and bowing. JAPANESE GARDENER Ah, Mister. you remember me. I am Taka. your gardener. For long time I not see you. I pleased to see you. Taka reaches out his hand and Adam shakes it. ADAM Hello Taka. It's'cause I'm never home in the day time. It's good to see you again. The garden looks great. Taka bows, smiling and nodding, and goes back to work. Adam heads toward the front door of his house.\",\n \"INT. - ADAM'S HOUSE - DAY Adam enters, puts his 7 - iron in his golf bag just inside the door, then looks around. He can see the pool through a wall of plate glass windows, but there is no one visible poolside. ADAM -LRB- calling out. -RRB- Lorraine. -LRB- then louder. -RRB- Lorraine. you home? He hears a noise, something falling. He walks in the direction of the noise. It leads him to his bedroom. His expression darkens as he approaches the closed door. He hears voices as he throws the door open. LORRAINE and the poolman GENE are in bed. LORRAINE Now, you've done it! GENE Just forget you ever saw it. It's better that way. LORRAINE What the hell are you even doing here? Adam stands stunned for a moment. Then finds himself walking over to the dresser and opening the top drawer. He removes a large case. LORRAINE -LRB- cont'd. -RRB- What are you doing? Adam starts walking out of the bedroom with the case. LORRAINE -LRB- cont'd. -RRB- THAT'S MY JEWELRY! Adam leaves the bedroom and starts through the house. He goes into the kitchen and looks around - numb but trying to think.\",\n \"INT. ADAM AND LORRAINE'S BEDROOM - DAY Lorraine is getting dressed as fast as she can. LORRAINE That bastard! GENE He's probably upset Lorraine.\",\n \"INT. ADAM'S KITCHEN - DAY Adam leaves the kitchen and goes out into the garage. He turns on the light and looks around. He spots some paint cans on a shelf and grabs one and goes back into the kitchen. He can hear Lorraine calling his name. She seems to be coming closer. He sets the jewelry case and the paint can on the floor, kneels down and opens the paint can with his car key. Just as Lorraine enters the kitchen, he opens the jewelry box and empties the 3/4 full gallon can of Hot Pink paint into her jewelry case. LORRAINE WHAT. ARE. YOU. DOING!? He puts his hands into the paint and jewels and smushes them about. Lorraine rushes toward him. LORRAINE -LRB- cont'd. -RRB- STOP IT! Lorraine grabs hold of him. Starts pulling his hair, slapping his face. She tears his jacket. Adam stands all at once and with his wet Hot Pink hands he pushes Lorraine and slams her into the kitchen counter just as Gene the poolman enters. Gene grabs ahold of Adam, cocks back and slams his huge suntanned fist into Adam's face. GENE That's not a way to treat your wife, buddy. I do n't care what she's done. Adam gets up off the floor bleeding from the nose and tries to hit Gene. Gene blocks his punch and slams Adam again, knocking him down to the kitchen floor where he lands and spills the jewelry case. Adam, now covered with paint, is picked up by Gene and thrown out toward the front door. LORRAINE Throw him out! Lorraine opens the front door while Gene picks Adam up, moves him across the carpet and heaves him out onto the front lawn. Lorraine slams the door behind him. Adam picks himself up, severely dazed and bleeding pretty badly, he heads for his car. Taka stops gardening and smiles and bows at Adam as he gets into his car. Adam drives away - pink paint and red blood all over.\",\n \"INT. AUNT RUTH'S BEDROOM - DAY Rita is now dressed to go out and is studying herself in a mirror. She turns and her gaze falls to her purse. She picks it up and looks questioningly at Betty. BETTY -LRB- cont'd. -RRB- No. you should n't take that. Let's hide it. They look around the room. There's a hatbox in the closet above the clothes rack. Betty brings it down, takes out the hat, and Rita puts the purse inside. Betty puts the hat over the purse in the hatbox and puts in back in the closet. Betty puts out her hand. Rita looks at it for a moment, smiles, and they shake.\",\n \"EXT. APARTMENT COURTYARD - DAY All dressed now Betty and Rita leave Aunt Ruth's apartment and walk across the courtyard past Coco's apartment and out through the iron gates. No one is about.\",\n \"EXT. HOLLYWOOD RESIDENTIAL STREET - DAY Betty and Rita walk along. Birds are chirping in the trees which line both sides of the street. Betty is smiling and once again looking around at everything. Her good mood and excitement about life lifts Rita's spirits. Coming toward them on the sidewalk are two people - a middle - aged woman and a young boy around 10 years old. The boy is very thin and something is wrong with him as he is walking awkwardly on crutches. As the two groups pass each other on the sidewalk Betty is struck deeply by the boy's brilliant, luminous blue eyes which are at once innocent and filled with wisdom. After they pass each other Betty turns back and sees the boy and the woman enter 1612 Havenhurst. Betty and Rita continue up the street.\",\n \"EXT. SUNSET BOULEVARD - DAY The girls walk along the busy boulevard, past guitar shops, video stores. Betty is looking for a payphone. Rita's eyes dart back and forth nervously. She's beginning to feel frightened. PAYPHONE ON RED BRICK WALL - DAY We see the red brick building. It is Denny's. Betty and Rita are walking to the payphone. Betty digs out some change from her purse. She picks up the receiver, drops in a quarter and dials the `` 0'' for Operator. An Operator answers. BETTY Hollywood Police Department please. OPERATOR Is this an emergency? BETTY No, no, I just want the number. OPERATOR Hold for the number. Betty gets the number for the Hollywood Police Station, re - deposits the quarter and dials. VOICE Hollywood Police Department BETTY I'm inquiring about an accident that happened last night on Mulholland Drive. VOICE Hold please. I'll connect you to traffic. Betty holds. SERGEANT BAXTER Traffic. Sergeant Baxter speaking. BETTY Hi. I'm inquiring. well, I heard a sound last night that sounded like a car crash and I want to know if there was an accident on Mulholland Drive. SERGEANT BAXTER Yes, there was. BETTY Can you tell me what happened? SERGEANT BAXTER No. I ca n't. BETTY Was anyone hurt? SERGEANT BAXTER May I have your name please? Betty hangs up. She turns to Rita smiling like a girl who's done something bad and gotten away with it. BETTY There was an accident. He would n't tell me anything else, but that was your accident Rita. I just know it was. Maybe there's something about it in the papers. Come on I'll buy you a cup of coffee and we can see. Betty and Rita enter Denny's.\",\n \"INT.- DENNY'S - DAY Rita and Betty are seated next to the table where Dan and Herb sat earlier in the day. They both have a cup of coffee in front of them. Betty has a newspaper open and she is scanning the last pages. BETTY -LRB- cont'd. -RRB- Maybe it happened so late it's not going to be in today's paper. RITA There's nothing? BETTY Not that I can see. The same waitress - Diane, comes up to the girl's table and freshens up their coffee. Betty looks up and smiles, sees Diane's nameplate. BETTY -LRB- cont'd. -RRB- Thank you. Diane. Rita shoots a look from Betty to Diane to the nameplate. close - up nameplate The word `` DIANE'' is huge from Rita's POV. Back to scene Diane finishes pouring Rita's cup and smiles at Betty. DIANE You're welcome. Will that be all? You want your check? BETTY Just the coffee. Rita, you want something? RITA -LRB- still staring at the nameplate - thinking. -RRB- No. Just the coffee. BETTY We'll take our check. Diane searches through her many checks to find Betty and Rita's. The manager of Denny's, standing with a woman in a blue dress, calls Diane's name. Diane turns and looks to the manager and the woman. A fleeting fear goes through her eyes. She surreptitiously reaches in her pocket and takes out a Mont Blanc fountain pen which she puts under Betty's check as she places it on their table. She does this very quickly but Betty notices this and Diane notices Betty noticing. Diane walks quickly over to the manager and the woman in the blue dress. Betty turns and watches a heated conversation that she ca n't hear, but she sees the woman in the blue dress searching her purse and shrugging and then leaving. The manager says something to Diane and Diane turns her pockets inside out and pats herself down in front of the manager showing him her innocence. He waves her off and she goes behind the counter to retrieve an order of food. Betty stops watching and turns her attention to Rita, who is tense and lost in a thought. BETTY -LRB- cont'd. -RRB- What is it Rita? RITA -LRB- without moving a muscle. -RRB- Shhhh. At that moment Diane the waitress reappears at their table. Diane looks Betty in the eye and while looking at Betty her left hand slides the Mont Blanc out from under the check and back into her pocket. DIANE Thank you. Come in again. Betty holds her gaze. BETTY You're welcome. We will. Relieved Diane leaves and goes about her business. Betty looks over at Rita waiting for her to tell her something. Rita slowly turns and focuses on Betty. RITA I remember something. I remember something!\",\n \"EXT. - HAVENHURST - DAY Betty and Rita are walking back to the apartment. We see them from a distance. They are talking and gesturing in an excited and animated way. Just after they enter through the iron gates of 1612 Havenhurst and are out of sight we notice a car moving slowly up Havenhurst toward us. We notice two men in the front seat who seem to be looking around for something.\",\n \"INT. - AUNT RUTH'S APARTMENT - DAY The door slams shut. Rita grabs Betty's shoulders. RITA Diane Selwyn. Maybe it's my name. AUNT RUTH'S APARTMENT - MOMENTS LATER Betty and Rita are sitting next to each other on the leather couch. Betty is rifling through the phone book. She finds the listings for Selwyn. Her finger drifts down and finds D. Selwyn followed by an address and phone number. It is the only Selwyn with a D. first name. She hands the phone to Rita. BETTY Strange to be calling yourself. RITA Maybe it's not me. BETTY Call the number. Betty reads the number off and Rita pushes the corresponding buttons. Each tone seems to be louder than the last. The ringing seems deafening. There's a click and the phone is answered - by a machine. A woman's voice is heard - loudly. WOMAN'S VOICE -LRB- coming from answering machine. -RRB- Hi. this is me. Leave me a message. Betty now has her ear pressed up against the phone also - straining to hear everything. The machine starts recording. Betty hangs up the phone immediately. RITA It's not my voice. but I know her. BETTY Maybe the voice is n't Diane Selwyn. Maybe that's your roommate or if it is Diane Selwyn she can tell you who you are. RITA Maybe. maybe. maybe.\",\n \"EXT. - ADAM'S HOUSE - AFTERNOON Taka is bowing and smiling and nodding to someone we do n't see. TAKA'S POV - A man, KENNY, in a sharp black suit is walking down the driveway past Gene the Poolman's truck to the front door of Adam's house. Parked at the street is a big limo with Vincenzo and Luigi Castigliane sitting in the back. Kenny knocks on Adam's front door. Lorraine answers. Lorraine's hands are covered with pink paint. Pink paint is on her face and clothes. KENNY Adam Kesher. he. LORRAINE Yeah, right. get lost! She slams the door, but Kenny's foot stops it and pushes it back with a force that shakes the wall as the door slams open once again. Kenny enters the house. KENNY This is Adam Kesher's house. Where. LORRAINE Like hell it is! Get out. NOW! Gene comes out of the kitchen fast, his hands covered with pink paint. GENE I guess you do n't understand English. She asked to leave. Here's the door. Gene grabs hold of Kenny and starts to push him out the door. Kenny rabbit punches Gene in the nose with lightning speed - his fist like a sledgehammer. Gene goes down. Lorraine shrieks and leaps on Kenny. Her long fingernails going for his eyes. Kenny slaps Lorraine hard. The shriek stops instantly and she falls out cold on the carpet. Gene is back up and going for Kenny. Kenny gets three punches in on Gene's head before Gene hits the ground unconscious. Kenny rubs some pink paint off his hands and tries to get a pink stain off his jacket. He begins walking around the house calling out for Adam. He sees nothing and hears nothing. He goes back to the front door and sees Adam's golf clubs sitting there. Kenny begins snapping the shaft of each club. As he snaps each club we see Lorraine and Gene remain out cold on the floor. And in the kitchen we see that the tap is on and the sink water is now overflowing from the sink and jewelry box - spilling out onto the kitchen floor. Finishing his work with the vintage golf clubs - Kenny leaves.\",\n \"EXT. - ADAM'S HOUSE - AFTERNOON Kenny jumps into the front seat of the limo. Vincenzo and Luigi nod to the driver and they take off. Taka hoes some weeds beneath a Jacaranda. L.A. AERIAL SHOT HIGH ANGLE - NIGHT Night descends on Los Angeles. Millions of lights down below twinkle like stars.\",\n \"EXT. 1612 HAVENHURST - NIGHT We see the courtyard at night. Some of the apartment windows have dim, warm lights. Most all is in darkness. The only sound is the water flowing in the fountain with muted distant traffic. Far away a siren wails softly.\",\n \"INT. AUNT RUTH'S APARTMENT - NIGHT Betty and Rita are on their hands and knees around the coffee table. A map of L.A. is unfolded and Betty is running her finger along a street. Her finger stops. BETTY It's right about here on Sierra Bonita. That's not too far away.\",\n \"EXT. COURTYARD - SIMULTANEOUS An older, beautiful woman - drunk, is walking slowly - strangely toward the door of Aunt Ruth's apartment.\",\n \"INT. AUNT RUTH'S APARTMENT - NIGHT - SIMULTANEOUS BETTY What's wrong with that? RITA I'm not sure about this. BETTY I know you're afraid of something. We'll be careful. Tomorrow we'll go over there and we'll find out.\",\n \"EXT. 1612 HAVENHURST COURTYARD - NIGHT The woman moves up to the door we see her face. Her eyes have the eerie look of one possessed. She knocks mechanically on the door.\",\n \"INT. AUNT RUTH'S APARTMENT Betty and Rita both turn with alarm. Betty gets up, stares at the door, then at Rita. Rita waits, not knowing what to do. BETTY It'll be okay. Betty opens the door. Betty finds the face of the actress, LOUISE BONNER, staring questioningly at her. BETTY -LRB- cont'd. -RRB- Yes? May I help you? LOUISE Where is Ruth? BETTY Ruth's gone on a film. I'm her niece Betty. Who are you? LOUISE Someone is in trouble. Who are you? Why are you in Ruth's apartment? BETTY I'm her niece. She's letting me stay here. My name is Betty. LOUISE No it is n't. That's not it. That's not what she said. Something bad's happening. Where's Ruth? BETTY I'm sorry, but I do n't know who you are and I'm. COCO Louise. what're are you doing Louise? Louise turns and sees Coco approaching across the courtyard. LOUISE Where have you been Coco? God, I've been trying to find you all afternoon since 3:00 o'clock. That one is in my room and she wo n't leave. I want you to get her out. I want you to get her out now. Coco comes up and grabs hold of Louise. She turns over to Betty. COCO This is Louise Bonner. I'm sure she meant well. -LRB- looking over to Louise. -RRB- This is Betty, Ruth's niece. In fact and fortunately I was just coming to see Betty. Betty's a young actress and I'm delivering faxed pages of a scene for her audition tomorrow. Here they are honey. Now come along Louise and I'll take you home. -LRB- back to Betty. -RRB- Sorry about this. Sometimes it happens. LOUISE No, she said it was someone else in trouble. COCO Stop it, Louise. Let's get you home. goodnight Betty. Coco takes Louise back through the darkness of the courtyard. Betty closes the door and turns. BETTY Whoa! She catches Rita's look. Rita is staring at her, horrified.\",\n \"EXT. BEVERLY HILLS HOTEL - NIGHT Establish\",\n \"INT. BEVERLY HILLS HOTEL - CORRIDOR OUTSIDE ROOM 214 A Hotel Manager is walking toward the door of room 214. He knocks softly on the door. The door opens and Adam Kesher is standing there - still beaten looking with remnants of pink paint. ADAM Yes. what is it? HOTEL MANAGER I'm sorry Mr. Kesher, but there seems to be some problem concerning your credit card. ADAM What? HOTEL MANAGER The fact is Mr. Kesher a representative of your bank called us. ADAM How. how'd they know I was here? HOTEL MANAGER I do n't know. All we do is take an impression of the credit card and until you check out it just sits in our files. ADAM So, what did they say? HOTEL MANAGER Well, Sir, I'm afraid they said you're overdrawn at your bank and your line of credit has been cancelled. ADAM Unbelievable. Look. here. -LRB- Adam taking out his wallet. -RRB- I do n't know what's going on. That's so much baloney. I've got enough cash for one night, okay? HOTEL MANAGER That's fine, Mr. Kesher. You can pay cash when you check out. I'm sorry. it was my duty to inform you. ADAM Fine. I'll check out in the morning. HOTEL MANAGER Have a good evening, Mr. Kesher. The Hotel Manager turns to leave and Adam closes the door.\",\n \"INT. ROOM 214 - NIGHT Adam crosses the room to the phone and dials a number. The phone is answered. ADAM Someone's shut off my money! CYNTHIA I know. Where are you Adam? ADAM What do you mean `` you know''? CYNTHIA Someone called me. When they could n't get you they told me you were as good as broke. I did n't believe then, so I made some calls. ADAM And? CYNTHIA You're broke! ADAM But I'm not broke. CYNTHIA I know, but you're broke. Where are you? ADAM Beverly Hills Hotel. I've got enough cash in my pocket for one night. CYNTHIA Do you know somebody called the The Cowboy? ADAM The Cowboy? CYNTHIA Yeah, the Cowboy. This guy, the Cowboy, wants to see you. Jason said he thought it would be a good idea. ADAM Oh, Jason thought it would be a good idea for me to meet the Cowboy. Should I wear my ten gallon hat and my six shooters? CYNTHIA Something tells me this guy is connected with what's happening, Adam, and I think you should do it and I think you should do it right away. ADAM Cynthia. what's going on? CYNTHIA It's been a very strange day. ADAM And getting stranger. Where do I meet this Cowboy? I mean do I have to ride out to the range? CYNTHIA Sort of, funny boy. If I tell him the meeting's on you're to go to the top of Beachwood Canyon. There's a corral up there where he'll be. ADAM You got ta be kidding? CYNTHIA Will you meet with him? ADAM Yeah, sure. It is that kind of a day. When? CYNTHIA I'll call him, then call you back. If you want you could stay at my place. ADAM Cynthia. that would not be a good idea. CYNTHIA I'm just offering a place to stay. ADAM I understand, Cynthia and thank you for the offer. I'll find a place. Now go ahead and give the Cowboy a yodel and get back to me. CYNTHIA Okay, but you do n't know what you're missing. ADAM Git along little dowgie and call me back. Adam hangs up and seems to sag, cupping his forehead and eyes with his hand.\",\n \"EXT. BEACHWOOD CANYON - NIGHT Adam, in his Porsche, makes his way up the canyon.\",\n \"INT. PORSCHE Adam feeling like a fool drives up the dark, winding canyon road. As he nears the top of the canyon the residential area gives way to desert brush. The road winds steeply up to a dark dead end where an old barn and stable sit. Adam parks in a little dirt lot and walk up past the barn to the corral. His eyes grow accustomed to the dark and he.looks about. No one is around. There's only a light wind and a few twinkling stars in the sky above. Suddenly some bare bulbs hanging from the corral gate flare up. Adam hears a noise in the brightness and turns. There walking toward him into the light is the Cowboy - dressed in clean blue denim jeans, well - oiled unscuffed, beautifully engraved cowboy boots, a red embroidered ivory buttoned cowboy shirt complete with string tie. Atop the Cowboy's head is a 10 X white Stetson. The Cowboy is smiling warmly as he approaches. He stops in front of Adam and begins to speak with a true, slow Western drawl. COWBOY Howdy! ADAM Howdy to you. COWBOY Beautiful night. ADAM Yeah. COWBOY Sure want to thank ya for drivin' all the way up to see me from that Beverly Hills Hotel. ADAM No problem. What's on your mind? COWBOY Well now, here's a man who wants to get right to it. Kinda anxious to get to it are ya? ADAM Whatever. COWBOY A man's attitude. a man's attitude goes some ways toward how a man's life will be. Is that somethin' you agree with? ADAM Sure. COWBOY Now. did you answer cause you thought that's what I wanted to hear or did you think about what I said and answer cause you truly believe that to be right? ADAM I agree with what you said. truly. COWBOY What did I say? ADAM That a man's attitude determines to a large extent how his life will be. COWBOY So since you agree I guess you could be a person who does not care about the good life. ADAM How's that? COWBOY Well, just stop for a little second and think about it. Will ya do that for me? ADAM Okay, I'm thinking. COWBOY No. You're too busy being a smart aleck to be thinkin'. Now I want ya to think and quit bein' such a smart aleck. Can ya do that for me? ADAM Look. where's this going? What do you want me to do? COWBOY There's sometimes a buggy. How many drivers does a buggy have? ADAM One. COWBOY So let's just say I'm drivin' this buggy and you fix your attitude and you can ride along with me. ADAM Okay. COWBOY Now I know a few things. I know you have had a rough day. You're probably thinkin' I do n't know the half of it, but in actual fact I know every part of it. The business of gittin' thrown off your movie, the heartache of seeing your wife with another man. losin' access to that precious film vault. Adam suddenly looks stunned, unsure. COWBOY -LRB- cont'd. -RRB- realizin' you do n't have hardly a nickel to your name and then add on to that the sickenin' feeling some men are gon na catch you and hurt you bad for bustin' their vehicle. Some days are like that. They are rough, but what will tomorrow bring? Will it be better than today? The same. or worse? A lot of that is up to us individually. Up to us and our attitude. When the Castigliane brothers said `` This is no longer your film,'' they meant it, but they did n't mean you were not going to direct it. I want you to go back to work tomorrow. You were re - casting the lead actress anyway. audition many girls for the part. When you see the girl that was shown to you earlier today, you will say'' This is the girl.'' The rest of the cast can stay - that is up to you, but that lead girl is not up to you. Now, you will see me one more time if you do good. You will see me two more times if you do bad. Good night. The Cowboy turns and walks until he is engulfed in darkness. Through the darkness Adam hears the sound of a car door opening and closing, then another opening and closing and then the sound of the car driving away. Adam walks up in the direction the Cowboy took, but he sees no sign of a car nor any dust nor any road. He goes back down past the barn and stables to his car. There standing by his Porsche is the Cowboy. COWBOY -LRB- cont'd. -RRB- You thinkin' this'll work out, cause I was thinkin' it just might. ADAM It will work out. COWBOY Good then, but, just in case, that bank's gon na stay closed a bit longer. You understand that? ADAM I understand. COWBOY You're an understandin' fella. ADAM So, this is the last time I see you then unless I do bad? COWBOY No, this one does n't count. It's part of the original one. So then. until we meet again. ADAM Okay. Adam gets in his car and drives off leaving the Cowboy smiling behind him.\",\n \"EXT. HOLLYWOOD - MORNING We see the rays of the rising sun falling on the huge letters of the HOLLYWOOD SIGN and the hills surrounding it.\",\n \"INT. AUNT RUTH'S APARTMENT. - MORNING We see Rita's face as we hear Betty off screen. BETTY `` You're still here?'' RITA `` I came back. I thought that's what you wanted.'' We see Betty. BETTY -LRB- angrily. -RRB- `` Nobody wants you here!'' Moving back we realize that the girls are acting out Betty's audition scene. Rita is reading her lines. RITA `` Really?'' BETTY `` My parents are right upstairs! They think you've left.'' RITA `` So. surprise''. BETTY `` I can call them. I can call my dad.'' RITA `` But you wo n't.'' BETTY `` You're playing a dangerous game here. If you're trying to blackmail me. it's not going to work.'' RITA `` You know what I want. it's not that difficult.'' BETTY -LRB- furious. -RRB- `` Get out! Get out before I call my dad. he trusts you. your his best friend. This will be the end of everything.'' RITA `` What about you? What will your dad think about you?'' BETTY `` Stop! Just Stop! That's what you said from the beginning. If I tell what happened. they'll arrest you and put you in jail, so get out of here before.'' RITA `` Before what?'' Betty pulls a table knife out from behind her back. BETTY `` Before I kill you.'' RITA `` Then they'd put you in jail.'' Betty mimes with moving fingers tears flowing from her eyes. BETTY Cry, cry, cry, and then I say with big emotion, `` I hate you. I hate us both!'' Betty drops the kitchen knife and both girls start laughing. BETTY -LRB- cont'd. -RRB- Such a lame scene. RITA But you are really good. Betty mimes tapping a cigarette in a cigarette holder ala Dietrich. BETTY Thank you dahling!\",\n \"INT. COCO'S APARTMENT - DAY On the move Coco is just bringing her cigarette in its holder up to her painted red lips. The phone is ringing and she's crossing the room to answer it. COCO -LRB- into phone. -RRB- Hello. Ruthie. How's the great up north? Oh, I'm sorry to hear it. what? Well, I have n't seen her if she's in there. Now, Ruthie there's nothing to worry about. I saw Betty last night and she was just fine. Yes, and I gave them to her. She's a real nice kid, Ruthie. Now stop worrying, will ya. I'll go over and have a look around. I will. I've got the production office number. I'll find you. Now keep your socks on up there and take lots of `` C.'' Goodbye honey. Coco puts down the receiver with a long sigh.\",\n \"INT. AUNT RUTH'S APARTMENT - DAY Betty and Rita are sitting on the leather couch having some coffee. The front door to the apartment is open and sunlight is pouring in through the screen door. Betty looks at her watch. BETTY Oh, no wonder I'm starving. I'm going to fix a sandwich. You want one? RITA I'm all right. BETTY You've got to eat something. You're just nervous about going over to see if you're Diane Selwyn. Rita just looks at her. Betty starts for the kitchen. BETTY -LRB- cont'd. -RRB- Suit yourself. I'll share mine with you if you change your mind. Betty goes into the kitchen. Suddenly there's a knock on the screen door and Coco peers in, seeing Rita on the couch. Rita looks up. panicked. COCO Hi! Who are you? RITA Uh. Betty!? Betty comes out from the kitchen and sees the situation. COCO Can I see you outside a minute Betty? Betty walks past Rita, pats her on the shoulder and goes outside to see Coco who has moved away to wait.\",\n \"EXT. COURTYARD 1612 HAVENHURST - DAY The screen door slams. Coco and Betty face each other close, out of earshot of Rita. COCO Your Aunt called me. BETTY I was afraid of that. COCO She wants to know who's staying in her apartment. BETTY -LRB- slowly, deliberately. -RRB- It's just for a night or two, until she finds her own place. I tried to explain that to Aunt Ruth, but the connection was bad and her plane was leaving and she got it all mixed up. I kept telling her it was my friend and she kept saying she did n't know any Ritas. COCO Sweetie, look at me straight. Betty lifts her eyes to Coco's. Direct, clear. BETTY Coco. she's very nice. We went to school together. COCO So I guess your Grandpa and Grandma know her. BETTY Not really. I met her in junior college and she was from this other town. Coco looks hard into Betty's innocent face. BETTY -LRB- cont'd. -RRB- You can call my grandparents. I'm sure they'd tell you that I do n't lie and I sure would n't allow a stranger to invade my Aunt Ruth's apartment. COCO Honey. I was married to a director for thirty years. He had an uncanny ability to read people. Maybe some of it rubbed off on me or maybe I had it all along. you're a good kid. What you're telling me is a load of horse - pucky but it comes from a good place. I'll trust you to sort this out. Now I'm not going against Ruth. She's got enough to worry about up there in Canada. If she asks - I'm going to say everything is okay, and you make sure it is. -LRB- Coco places her hand on Betty's shoulder and squeezes it. -RRB- If you need any help you know where to find me. Betty puts her hand on Coco's shoulder and gives her a squeeze. BETTY You're really something Coco. thank you. COCO Do n't make me out to be a sucker. Louise Bonner says there's trouble in there. You remember last night. Sometimes she's wrong, but if there is trouble - get rid of it. Coco turns and walks away. Betty studies her and thinks about what she said before turning and going back inside.\",\n \"INT. AUNT RUTH'S APARTMENT - SAME Betty enters through the screen door. Rita studies her. RITA Is everything all right? Is it bad for you that I'm here? BETTY -LRB- slightly forcing a broad smile. -RRB- Everything is A - okay, but I've got ta get that sandwich! On her way to the kitchen she checks her watch. BETTY -LRB- cont'd. -RRB- And I've got an audition in one hour.\",\n \"INT. HOLLYWOOD POLICE STATION - DAY Detective Neal Domgaard throws two wallets down on the desk in front of Detective Harry McKnight. Harry pauses in the middle of a large bite of grilled cheese sandwich with bacon and tomato. He looks down and studies the wallets. DETECTIVE HARRY MCKNIGHT -LRB- biting in and chewing. -RRB- Nice wallets. DETECTIVE NEAL DOMGAARD Handstitched Italian. Filled with phony credit cards. off the two guys in the Caddy. DETECTIVE HARRY MCKNIGHT The one of'em still alive? DETECTIVE NEAL DOMGAARD Yeah. just. Dr. Scott's got ` im. You remember Dr.Scott. DETECTIVE HARRY MCKNIGHT Oh yeah. DETECTIVE NEAL DOMGAARD Well he said. you know in his way. you know what I mean? Besides the guy gettin' rolled up under the kids car which busted him up pretty bad, there was this little knife - like torn piece of metal, you know, off the car body, rolled out and slid up through this guy's neck and just kinda slit his aorta, you know, but they did n't find it right away, so the guy's losin' a lot of blood, you know, to the brain - all this time cause it was just like this thin little puncture wound on the surface of his neck that kinda sealed itself, he said, while inside the aorta is bleedin' pretty steady all that time. So, Dr. Scott's laughin' you know like he does'cause he knows we want to talk to this guy. He's laughin' you know and shakin'. Son of a bitch could n't stop laughin'. It was kinda contagious'cause pretty soon we were all laughin'. the nurse was laughin'. You know how he is. DETECTIVE HARRY MCKNIGHT Find out who they are? DETECTIVE NEAL DOMGAARD Nope, not yet. Their fingerprints do n't match up anywhere. DETECTIVE HARRY MCKNIGHT -LRB- another big bite - chewing. -RRB- Interesting. DETECTIVE NEAL DOMGAARD Yeah. and they both use the same address. DETECTIVE HARRY MCKNIGHT Where at? DETECTIVE NEAL DOMGAARD Palmdale. DETECTIVE HARRY MCKNIGHT Damn, that's a long drive.\",\n \"EXT. - COURTYARD 1612 HAVENHURST - DAY Betty is coming out of Aunt Ruth's apartment. She calls back in to Rita. BETTY I hope I'm back in a couple of hours. Do n't drink all the coke. -LRB- we hear laughter from inside and Rita call out. -RRB- RITA Good luck! BETTY When I get back I'll have the cab waiting, so be ready to go. RITA Okay. Betty closes the door and heads across the courtyard. She knocks on Coco's door and in a moment Coco answers. BETTY Sorry to trouble you, Coco. COCO It's all right gorgeous. Something wrong? BETTY No, no. I'm on my way to my audition. Before I go I wanted to ask you if you could remember the man's name. Aunt Ruthie's friend who helped put this together. It completely went out of my mind. COCO His name's Wally Brown. great guy. Been in the business since forever. BETTY Thanks Coco. It'd be so embarrassing COCO Naw! He would n't have cared. Just give him a good performance and he'll be happy and I've got a feeling you'll do just that. BETTY Thanks Coco. I'll let you know. COCO Get going. You do n't want to be late. BETTY Right. See ya. COCO Good luck, honey! Betty takes off through the iron gates and Coco smiles as she watches her go.\",\n \"INT. CAB - DAY Betty is wide - eyed and filled with awe at something she is seeing.\",\n \"EXT. - PARAMOUNT STUDIOS - MAIN ENTRANCE GATE - DAY The cab pulls up to the gate. Betty pays the driver and gets out. She - stands for a moment staring at a dream. She walks through the gate and as she goes is stopped by a PARAMOUNT GUARD. PARAMOUNT GUARD And where do we think we're going, Miss? Betty stops and turns. BETTY To my audition. PARAMOUNT GUARD And who are we auditioning for today? BETTY Wally Brown. PARAMOUNT GUARD And do we know which of the fifty - seven buildings Wally Brown is in? BETTY -LRB- smiling. -RRB- No, we do n't. PARAMOUNT GUARD Well, now we've got to figure that out first do n't we? BETTY Yes, Sir. PARAMOUNT GUARD Mr.Wallace Brown is in the Executive Building on the second floor. We want to go in and turn right at the first street. Then we want to walk three blocks down past Stage 17 to the white Executive Building. Once we're on the second floor the receptionist will take us from there. Now do we have name? BETTY Betty Elms. PARAMOUNT GUARD Let's see if we have a pass for Betty Elms. and we do. Here we go. And good luck Miss.. Elms. BETTY Thank you. thank you very much.\",\n \"INT. EXECUTIVE BUILDING - SECOND FLOOR - DAY Betty finishes climbing some stairs and crosses to the receptionist. She hands over her pass. The receptionist looks at it, hands it back to Betty and points down the hall to her left. RECEPTIONIST Number 43, on the left. BETTY Thank you. Betty walks down the long corridor past several offices. The door to office 43 is open when she arrives and she enters a large sitting room with a receptionist at a desk off to one side. RECEPTIONIST May I help you? BETTY My name is Betty Elms. I'm here to audition for. Mr. Brown RECEPTIONIST Good. Perfect timing. Have a seat and I'll get Mr. Brown. The receptionist stands, walks to a door, knocks twice, then enters. She closes the door behind her and Betty is alone in the sitting room. She sits on a couch and looks at the old movie posters covering all four walls. In a moment the same door opens again and an elderly, distinguished looking gentleman WALLY BROWN comes out smiling. Betty stands up immediately. WALLY Betty Elms? BETTY Yes. WALLY I'm Wally Brown. Your Aunt is a very dear friend of mine so it's particularly nice to meet you. BETTY Very pleased to meet you. WALLY Come in. I'd like you to meet everyone. As they walk into Wally's office. WALLY -LRB- cont'd. -RRB- I took the liberty of inviting an extra person to see your audition. She saw your resume picture and was very interested in meeting you. Inside Wally's office several people rise out of chairs when Wally enters with Betty. WALLY -LRB- cont'd. -RRB- Betty Elms this is Jack Taft, my assistant, Jimmy Katz who we've already cast for the part of `` Chuck''. He'll be doing the scene with you. This is Julie Chadwick and Bob Brooker, the director, and our surprise guest is Sarah James. We could n't afford her to cast our picture, but as casting agents go she's the best. SARAH JAMES Why thank you, Wally. Hello Betty. She and Betty shake hands. BETTY Pleased to meet you. SARAH JAMES This is Nicki, my assistant. Nicki, a very stylish, thin girl with black cat - eyed glasses nods coolly to Betty. WALLY And this is Martha, Martha Johnson, who you met out front. Betty nervously smiles to the room. BETTY Hi. WALLY Well. Shall we get to it? Would you like a water or a coffee before we begin? Betty's hands are beginning to sweat. BETTY No, no, I'm fine. WALLY Well then, take a seat everyone. Betty why do n't you join Jimmy and we'll play the scene. Is there anything you'd like to say Bob. something to Betty before they begin? Betty stops on her way across to Jimmy and looks to Bob the director. BOB No. it's not a contest, see, the two of them with themselves, so do n't play it for real until it gets real. Betty does n't know what to say. She catches Sarah's assistant, Nicki, rolling her eyes. BETTY Okay. Betty continues walking toward Jimmy who opens his arms to her as she approaches. He's old enough to be her father. JIMMY Just tell me where it hurts, baby. BETTY What? JIMMY I want to play this one close, Bob. Like it was with that girl, what's her name, with the black hair. That felt good. Whaddya think? Betty looks from Jimmy to Bob. BOB That'd be good, Jimmy. Just do n't rush that line again. I told you. the line where you say, `` Before what?'' JIMMY I was playin' off'em. They say, `` They'll arrest you''. and stuff like that. `` put you in jail''. they say it like that. They all say it the same way, so I react like that. Jimmy turns to Betty. JIMMY -LRB- cont'd. -RRB- Look. what's your name? BETTY Betty. JIMMY Yeah. Betty. You do n't rush it. I do n't rush it. We play it close, just like in the movies. Jimmy reaches out and puts his arm around Betty and brings her in against his pot belly. JIMMY -LRB- cont'd. -RRB- Dad's best friend goes to work. Jimmy smiles as he brings Betty a little closer. She is trying to concentrate through the nervousness and Jimmy's breath. There is a silence as Jimmy looks her in the eyes. Everyone in the room is looking Betty in the eyes. WALLY Bob? BOB And. ACTION! Betty and Jimmy start the scene. It is very difficult for Betty as Jimmy has her in an absurd clench now. BETTY You're still here? JIMMY I came back. I thought that's what you wanted. Jimmy plays this with a big lecherous smile. He gives the last part of the line across her cheek up to her ear. BETTY Nobody wants you here. Betty uses the anger of this line to push herself away from Jimmy. Jimmy reaches out and grabs her wrist. JIMMY Really? Betty pulls her hand away and stands her ground. BETTY My parents are right upstairs! They think you've left. Jimmy smiles broadly and moves again toward Betty. JIMMY So. surprise! Betty pushes him back. BETTY I can call them. I can call my dad. JIMMY But you wo n't. He grabs Betty by the wrist again and pulls her in to him. He puts his hand on her waist and it accidently slips and keeps going down her hips. He jerks his hand back. Betty looks down and sees Jimmy's hand hovering above her thigh. Betty takes her hand and gently presses down on Jimmy's hand. She slowly looks up with the most seductive smile. Jimmy lets his hand rest more firmly on her thigh, and squeezes her thigh as he sees her smile. With his other hand Jimmy gently pulls her closer. Something has started coming over Betty and she catches the drift of this scene in a different way. She's surprising herself. BETTY -LRB- almost a hot whisper. -RRB- You're playing a dangerous game here. if you're trying to blackmail me. it's not going to work. Jimmy now surprises himself. He becomes almost tender and genuinely worked up from the heat coming off Betty. JIMMY You know what I want. it's not that difficult. Where the scene should turn to anger from Betty it ca n't now and Betty plays it as she feels it. She stays in very close to Jimmy - looking him right in the eyes. BETTY -LRB- whispering desperately - slowly. -RRB- Get out. Get out before I call my dad. He trusts you. you're his best friend. -LRB- her arms go around him. -RRB- This will be the end of everything. Jimmy gets lost. He does n't know where he is anymore. He can only see Betty's eyes. JIMMY What about you? What will your dad think about you? Betty still playing it in a dreamy whisper. lost in heat. BETTY Stop. just stop! That's what you said from the beginning. If I tell what happened. they'll arrest you and put you in jail, so get out of here before. JIMMY -LRB- caught by her transfixing, sultry eyes, and almost breathless. he finds himself taking an extra long pause. -RRB- Before what? As scripted Betty pretends to pull the knife from behind her back, but wraps the knife around behind Jimmy and pulls him into a kiss. BETTY -LRB- as she kisses him - whispers. -RRB- Before I kill you. Jimmy panics and pushes Betty away with his hands on her shoulders as if forcing himself to come out of a trance. He finally is able to say his line. JIMMY Then they'd put you in jail. As scripted Betty is supposed to cry now and it is very easy for her to do this because she's ashamed at how the sex of the scene took her over. Tears begin running down her cheeks. She backs away. BETTY I hate you. I hate us both! She pretends to drop the knife. The scene ends. Everyone in the room has become mesmerized by Betty, but they soon drift back to reality and begin applauding the performance. Sarah turns to Nicki. SARAH JAMES I'm going to take her over there. NICKI Big time! WALLY -LRB- to everyone. -RRB- Wow! Betty wipes her eyes and turns smiling - still shocked at herself. BETTY Well, there it was. JIMMY There it was it was! Baby, you got a way! WALLY Bob? BOB Very good. Really. I mean it was forced maybe but still humanistic. Yeah, very good, really. WALLY Well, thank you Betty, and I mean that. That was very impressive. You've done your Aunt proud and I'm going to tell her the first chance I get. We'll speak again soon I'm sure, and thank you so much for coming in. BETTY Well, thank you. Betty does n't quite know what to do. She moves to the center of the room and just stands. Remnants of the scene still staying with her. Sarah stands and Nicki stands just after. SARAH JAMES Thank you, Wally. I'm sure you all have a lot to talk about. We'll walk Betty out. WALLY Well, yes indeed. Our pleasure, Sarah, and do n't you be a stranger. We'd love to see you around here again real soon. SARAH JAMES Well come along, Betty. Sarah takes Betty's hand and they go to the door. Betty turns back once more and smiles. BETTY Thank you again, Mr. Brown. It was nice meeting all of you. Everyone nods and waves and Betty is taken out by Sarah and Nicki.\",\n \"INT.- CORRIDOR EXECUTIVE BUILDING - DAY The three of them walk down the corridor. SARAH JAMES Oh God, that was awful! Betty's head spins to Sarah. A look of shock and let down on her face. SARAH JAMES -LRB- cont'd. -RRB- Oh, not you Betty. You were stellar and I mean that, but poor Wally. He'll never get that picture made. Wally's days were up twenty - years ago. NICKI -LRB- sickening little laugh. -RRB- How about that Jimmy Katz? SARAH JAMES Oh god! Jimmy Katz never had a day. Jimmy Katz never had a minute. Poor Wally. Betty finds herself getting a little upset. BETTY They seem very nice to me, and Wally. Mr. Brown is a very close friend of my Aunt's, so. SARAH JAMES Settle down, Betty. Do n't get me wrong. I love Wally. I ought to. I was married to him for ten years. Betty does another shocked head turn. SARAH JAMES -LRB- cont'd. -RRB- And I love actors, all actors, Jimmy Katz included. We just get a little catty sometimes. Now we want to take you across the way and introduce you to a director who's a head above the rest. He's got a project that you would kill! At the word ` kill' Betty turns to her once again with a questioning look. SARAH JAMES -LRB- cont'd. -RRB- Knock it right out of the park.\",\n \"INT. - RECORDING STUDIO - DAY We see what looks like a recording studio right out of the 1960's. We're looking through a plate of glass. A blonde girl is standing at a vintage microphone. Behind her are three back - up male vocalists dressed in three tone, shiny 60's suits. We hear strings soar up and the blonde girl begins to sing SIXTEEN REASONS by Connie Stevens. The male vocalists backing her up flawlessly. We move back and realize we are on a movie set inside a sound stage. A screen test is being shot of the girl and as we continue moving back we see the director Adam Kesher surrounded by his crew. Behind them there are many people standing, eating, watching, working. The stage is full and bustling. The song plays loudly over. Sarah and Nicki bring Betty into this scene through a giant stage door. A guard mimes for them to be quiet as they approach the set. The song continues to play over. As Sarah leads Betty up close Adam turns and his eyes fall on the beautiful face of Betty Elms. Sensing something Betty turns and sees Adam. They each seem to feel the thrill of the thunderbolt, but each embarrassed to stare longer than they already have turn back and watch the girl finish the song. ADAM -LRB- calling out through an electronic megaphone. -RRB- Cut it! He gets out of his chair and walks into the set - up to the blonde girl. He shakes her hand. ADAM -LRB- cont'd. -RRB- Thank you very much, Carol. It was really great of you to come in. I know how busy you are. CAROL Oh, man, are you kidding? I love this script! Where do I sign? ADAM Look. I love you, but there's no way they're gon na let me cast this thing until I've seen everyone. I'll let you know as soon as I can. CAROL I know you will. cause my manager's gon na bug you day and night. me too. ADAM It'll be my pleasure. Now, get out of here. CAROL Oh, you're just so cruel. do n't forget me. I'm the girl that's going to play this part. ADAM -LRB- lightly pinching her cheek. -RRB- See ya later. Adam turns and goes back out of the set onto the stage floor. He looks around. He sees Betty being introduced by Sarah to some of the studio executives. He goes over to his Assistant Director and looks down at the man's notepad. ADAM -LRB- cont'd. -RRB- Who's next, Hank? HANK Camilla Rhodes. Adam wonders - worries. ADAM Is she ready? HANK All ready. ADAM Bring her out. Hank speaks into his walkie - talkie headset. The sound of his voice can be heard in several locations throughout the stage. HANK -LRB- through walkie - talkie. -RRB- Camilla Rhodes next! Adam looks up - a beautiful blonde steps into the set in front of the microphone. IT IS THE GIRL! The back - up singers step in behind her. Adam nods to Hank. HANK -LRB- cont'd. -RRB- Turn over! The cameraman calls out, `` Speed''. ADAM -LRB- through megaphone. -RRB- Playback! Countdown before the music begins. ADAM -LRB- cont'd. -RRB- ACTION! The strings soar up and Camilla Rhodes begins to sing. On the set Betty hears the song again and turns and watches. Once again her eyes find Adam as his eyes are finding hers. This time Adam turns away. He watches Camilla for a moment. She is passable, but not spectacular. Adam reaches out and pulls Hank over to him. HANK Yeah? Adam pauses. ADAM Get Jason over here. Hank gets on his walkie - talkie. HANK Cindy. Adam wants to see Jason. Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN, a tall sixty year old silver - haired man, comes through the crowd and stops at Adam's side. He looks down at Adam, but Adam continues watching Camilla Rhodes. Jason follows Adam's gaze and he watches Camilla sing then turns back to Adam. Adam slowly looks up right into Jason's eyes - wondering how much Jason knows, but Jason's face does n't give away a thing. JASON Did you want to tell me something, Adam? ADAM This is the girl! At that moment Ray, having overheard, comes to Jason's side. He smiles at Adam. RAY Excellent choice, Adam. Adam is sick with himself. Across the room Betty panics when she looks at her watch. BETTY Oh. oh. I have to be somewhere. I promised a friend. She quickly shakes Sarah's and Nicki's hands saying, `` I'm sorry, I'm sorry'' and runs off like Cinderella. Adam turns and sees her running off out of his world. Chris Isaak's song `` Except The New Girl'' segues in over Connie Stevens and plays as Adam, Sarah and Nicki watch Betty disappear out the sound stage door.\",\n \"EXT. 1612 HAVENHURST - STREET - DAY Chris Isaak song `` Except The New Girl'' continues. An idling cab sits waiting with back door open. COURTYARD - 1612 HAVENHURST DAY Chris Isaak song segues to the sounds of a blues saxophone. Betty and Rita come out of Aunt Ruth's apartment. Betty is laughing, pulling on Rita. BETTY C'mom. There's nothing to be afraid of. Across the courtyard CORNELL DUMONT, a strikingly handsome young black musician, is on his balcony playing the saxophone. He stops playing when he sees the girls. He stands and looks as if recognizing someone. CORNELL DUMONT Hey! Betty and Rita stop and look up, shielding their eyes from the sun. CORNELL DUMONT -LRB- cont'd. -RRB- Hey, how's Sol? BETTY Sol? CORNELL DUMONT No. not you. -LRB- to Rita. -RRB- I'm sorry. I forget your name. RITA -LRB- almost inaudible. -RRB- Rita. CORNELL DUMONT Yeah. Well, I have n't seen Sol lately. Tell him to come by the club. Rita nods. biting her lip. Cornell smiles and picks up his sax. BETTY And what's your name? CORNELL DUMONT -LRB- big smile. -RRB- Cornell Dumont. He begins to blow some sweet jazz that flows smooth as syrup. BETTY -LRB- whispering. -RRB- Ask him who Sol is. Rita hurriedly starts for the gate. BETTY -LRB- cont'd. -RRB- Maybe he could help. Betty follows Rita through the gate to the waiting cab. They get in and the cab pulls away.\",\n \"INT. CAB - DAY Betty reaches and gently grabs Rita's shoulder. She speaks firmly but quietly so the cab driver wo n't hear. BETTY Why did n't you ask him? Sol knows you! RITA -LRB- whispering back. -RRB- But I do n't know, Sol. I never heard of Sol. I'd just get in trouble. That's why we should n't go see about Diane Selwyn. it's better not to get in trouble. BETTY You're not going to get in trouble. You're going to find out who you are. Finding out who you are gets you out of trouble. Rita thinks about this silently then begins to worry and doubt all over again.\",\n \"INT. CAB - LATER Betty holds the slip of paper with the address in her hand. She turns back and forth watching the buildings on both sides of the street. BETTY It should be around here. Rita watches out of the window pensively as the cab moves up Sierra Bonita. They near a modern apartment compound of bungalows and duplexes almost hidden in the trees and vegetation. A smooth stucco wall surrounds the complex. BETTY -LRB- cont'd. -RRB- -LRB- points. -RRB- That's it. 2590. -LRB- nudging Rita. -RRB- Does it look familiar? Rita shakes her head. no. Rita is looking at a black car parked down the street facing 2590. She discerns two men sitting in the front. RITA Do n't stop! BETTY What is it? What do you see?! RITA -LRB- quietly - frantic. -RRB- Those men in front, in the car. BETTY Do you know them?! RITA No. but. BETTY -LRB- to driver. -RRB- Keep going. Go around to the back.\",\n \"EXT. SIERRA BONITA APARTMENT - BACK ALLEY - DAY Betty gets Rita out of the cab and pays the driver, who then drives away. The girls go through a rear gate and enter the complex walking along a curving concrete walk. This leads them to an intersection where a registry is printed on a rough hewn wooden plaque. They scan the list. BETTY Selwyn. number 12. They both look around the various doors near them. Betty spots a sign which says, behind an arrow, bungalows # 10 through # 20. BETTY -LRB- cont'd. -RRB- It's this way. They set off down another sidewalk toward Bungalow # 12. As they near it and actually can see it just ahead they pass a chainlink service gate to the alley. Standing in the alley is a man in a dark suit wearing sunglasses. Both girls dive for the bushes. The man in the black suit turns reacting to the noise and motion. Both girls are trying to catch their breath and stay as still and quiet as possible. BETTY -LRB- cont'd. -RRB- -LRB- panting whisper. -RRB- Now, you've got me scared. Peering through the bushes they see the man still looking in their direction. Suddenly he turns and smiles at something to his left. He hurries off, but soon returns carrying two heavy suitcases, followed by an older woman in a yellow dress. Both Betty and Rita crawl further forward. They see the limo and realize that the man they were afraid of is an ordinary limousine driver just going about his work. The girls stand up, relieved and a little embarrassed. BETTY -LRB- cont'd. -RRB- See, I told you there was nothing to be afraid of! They go up to Bungalow # 12 and stand for a moment facing the front door. RITA Oh no. do n't. Betty does n't listen to Rita. She knocks strongly on the door. They stand waiting. There's no answer so Betty knocks again harder. They wait. RITA -LRB- cont'd. -RRB- No one's. Suddenly the door opens. An attractive MIDDLE - AGED WOMAN stands before them. MIDDLE-AGED WOMAN Yes? BETTY Diane? MIDDLE-AGED WOMAN Number 17. BETTY But it said # 12. MIDDLE-AGED WOMAN I switched apartments with her. She's in # 17. Just walk down that way. It's just to the right. The woman seems to be looking now at Rita. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- It's kind of hidden by the foliage. Betty and Rita start to leave. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- She has n't been around for a few days. BETTY Well. we'll leave her a note. MIDDLE-AGED WOMAN -LRB- starting toward them. -RRB- I'll go with you. She's still got some of my stuff. The phone rings from inside her bungalow. MIDDLE-AGED WOMAN -LRB- cont'd. -RRB- -LRB- turning back. -RRB- Oh. go ahead. I've got to get that. The woman hurries back inside and closes the door. Betty and Rita quickly move up the walkway toward Bungalow # 17. BETTY I guess you're not Diane. Rita, still fighting her fear does n't answer. They reach Bungalow # 17. It's set back beneath tall bushes and an old Eucalyptus tree. The front door is in deep shadow. Without even looking at Rita Betty knocks quickly. There's no answer. She knocks again. BETTY -LRB- cont'd. -RRB- Still not home I guess. The girls drift off to the side of the bungalow. Betty tries to see in the windows. She tries a window and to her surprise it opens. RITA I do n't think. BETTY -LRB- looking around for anyone watching. -RRB- C'mon help me in. I'll open the front door. RITA No. Betty jumps up and catches her knees on the siding, her head through the open window. BETTY PUSH! Rita reluctantly pushes and Betty is in. As she closes the window. BETTY -LRB- cont'd. -RRB- Meet you at the door. Rita walks around to the front door and gets there just as Betty opens it. Betty has her hand over her mouth and nose. BETTY -LRB- cont'd. -RRB- I do n't know if you want to come in here or not. There's some kind of horrible smell like. something. Rita is compelled to go in and as the door clicks shut she reacts to the smell.\",\n \"INT. - BUNGALOW #17 - DAY Betty begins to go through the bungalow and Rita follows. All the blinds are closed and the curtains drawn. They move slowly, looking around at everything as they go. Betty looks to Rita to see if any of this is something she remembers. Rita looks as though she's walking in a trance. Through the half light they move deeper into the bungalow to a corridor.\",\n \"EXT. SIERRA BONITA APARTMENTS - BUNGALOW #12 - DAY The Middle - Aged Woman is just shutting the door to her bungalow. She walks quickly in the direction of Bungalow # 17.\",\n \"INT. - BUNGALOW #17 - DAY Betty and Rita are moving down the corridor. They pass a small room and look in at a couch, wardrobe and make - up table. They move on down the corridor to a door which is almost closed. Betty touches the door and it seems to swing open on its own. They enter the room and stop cold. A scream starts to build inside Rita. Before them is a dead woman lying on a bed. Great chunks of mattress are standing upright having been ripped and torn by shotgun blasts. A dried sea of blood surrounds the bloated, gray body of the woman. The scream comes out of Rita as a force propelling her to look closer. Betty lunges after Rita, her eyes also not able to leave the sight. She covers Rita's mouth with her hand and brings her close. The scream is stifled by Betty's hand. In the silence that follows, knocking can be heard. Betty freezes and keeps Rita quiet with her hand still placed over her mouth, but she ca n't stop Rita's violent shaking nor the horror in her eyes.\",\n \"EXT. BUNGALOW #17 - DAY The Middle - Aged Woman backs away from the front door, looking around at bungalow # 17. She's not sure if she has heard something or not. She wonders, then turns and goes back to her bungalow. Just as she has disappeared the door to Bungalow # 17 flies open and Rita, followed closely behind by Betty, runs with a look of horror directly toward us until her tortured face fills the screen. Sounds, churning music.\",\n \"INT. AUNT RUTH'S APARTMENT - BATHROOM - DAY Sounds, music churning continues. Great sobs, almost hysterical, wrack Rita's body as she bends over the sink, scissoring into her long, dark hair with a frenzy. There is a loud sound of the scissors cutting deep through many strands of hair. Betty's is rushing to her - her hands reach tenderly, but firmly for Rita's hand holding the scissors. She keeps her from cutting and moves closer, whispering in Rita's ear. Rita ca n't stop crying, but lets Betty hold her. Music changes. BETTY Rita. I know what you're doing. RITA -LRB- through uncontrollable sobs. -RRB- What. I. HAVE. to do. BETTY I know what you have to do, but let me do it. Rita turns and looks up at Betty, her eyes red with crying. Betty pulls her up facing her. Rita lets Betty take the scissors. They look into each other's eyes. Betty gently strokes Rita's cheek, wiping away some tears. BETTY -LRB- cont'd. -RRB- Let me do it.\",\n \"INT. AUNT RUTH'S APARTMENT - LATER - DAY Panning slowly across we see on the bathroom counter various open bottles, used Q - tips, towels, combs, a brush, a bowl, and lots of long strands of cut black hair. We continue moving up to an empty mirror and eerie music builds. The reflection of the new Rita moves into the mirror. She has short, beautiful blonde hair, blonde eyebrows and no make - up. Betty's reflection comes in beside Rita's. They stare at the new Rita in the mirror. BETTY -LRB- quietly with assurance. -RRB- You look like someone else.\",\n \"EXT. COURTYARD 1612 HAVENHURST - LATE EVENING - ALMOST DARK We move off the door of Aunt Ruth's apartment and crane slowly up to the apartment above hers - WILKINS - the one with the wayward dog. We move closer to Wilkins' apartment and as we move in we hear a phone ringing.\",\n \"INT. WILKINS' APARTMENT - A MOMENT LATER Wilkins still in his pajamas, bathrobe and slippers from morning slouches in an enormous stuffed chair and matching ottoman, surrounded by piles of papers and coffee cups. His Jack Russell Terrier wakes and stands at the sound of the phone ringing on a side table next to Wilkins. Wilkins comes out of a deep thought and picks up the receiver as he runs his hand through strange, matted tufts of dirty blonde hair. WILKINS Hello. Adam. How's it going? No, it's okay. Yeah, I'm working, but. they wanted this script a week ago. What? What's wrong with your house? The poolman? Sure, you can have the couch. No, it's no problem. it's just I got ta. I got ta work. Any chance you could bring some food. No, I got plenty of money - I just have n't gone out for awhile. Groovy man! WILKINS -LRB- cont'd. -RRB- Murphy and I'll be glad to see you. No, no, no, he's got plenty of food.\",\n \"INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT Rita has just taken the hatbox from the closet shelf and is setting it on the bed. BETTY What are you doing? Betty is sitting on the bed opposite. Rita opens the hatbox and removes her purse. She opens the purse and takes out the money. She sits down on the bed and while staring at the money she thinks of what to say. RITA You've been so good to me. now we know why. why I was so afraid. We know what kind of trouble I'm in. I should n't. ask you. I only have this to offer. I'll give you this if I can stay here for awhile. I do n't know what else to do. Betty moves across the bed to the side of Rita. She puts her arm around Rita and holds her. BETTY Rita. I want you to stay here and you do n't have to give me that money. RITA But I want to. BETTY No. We should n't touch that money. We do n't know about that money. That might be dangerous money. You have to start all over again. You look like a brand new person and you can be a brand new person. whoever you want to be. RITA It sounds kind of nice. being somebody brand new. BETTY Hey, let's introduce the brand new you to Hollywood. We have n't seen the roof garden yet.\",\n \"EXT. COURTYARD - NIGHT The girls come out the front door. Betty leading and pulling a much happier Rita along with her. They half run across the courtyard to stone steps under an Ivy covered eave.\",\n \"EXT. ROOF GARDEN - NIGHT The girls race up the stone steps toward us. Soon their wind - blown, smiling faces fill the screen as they look out. There before them are the lights of Hollywood with silhouetted palms, slow - moving theater kleig lights, and floating above it all the giant sign in the hills reading HOLLYWOOD. BETTY Here I am Hollywood! My name's Betty. A pause. BETTY -LRB- cont'd. -RRB- -LRB- to Rita. -RRB- Say it! RITA Here I am Hollywood! My name is. Rita. They look out, maybe waiting for an answer blowing in the Santa Ana wind.\",\n \"INT. AUNT RUTH'S APARTMENT - NIGHT - A MOMENT LATER We move in to the pile of money next to Rita's purse. Past that we move down inside Rita's purse. We see the Blue Key and move closer to it until it fills the screen.\",\n \"EXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT We drift along the red bricks past the payphone, along the wall until we come to the corner. Slowly we round the corner and move to a dark alley. There amongst the dumpsters and trash cans is the dark silhouette of a figure. We move closer to the figure. It is the bum and the bum sits. We move closer and the bum's face fills the screen. It's face is black with fungus. It's eyes turn and they seem to be red. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,1,0,0,0,0,1,0,1,0,0,0,0,0,0,0,1,0,1,1,0,0,0,0,0,1,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,1,0],"string":"[\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"A dark-haired woman is the sole survivor of a car crash on Mulholland Drive, a winding road high in the Hollywood Hills. Injured and in shock, she makes her way down into Los Angeles and sneaks into an apartment. Later that morning, an aspiring actress named Betty Elms arrives at the apartment, which is normally occupied by her Aunt Ruth. Betty is startled to find the woman, who has amnesia and assumes the name \"Rita\" after seeing a poster for the film Gilda starring Rita Hayworth. To help the woman remember her identity, Betty looks in Rita's purse, where she finds a large amount of money and an unusual blue key. At a diner called Winkie's, a man tells his companion about a nightmare in which he dreamt there was a horrible figure behind the diner. When they investigate, the figure appears, causing the man with the nightmare to collapse in fright. Elsewhere, director Adam Kesher has his film commandeered by mobsters, who insist he cast an unknown actress named Camilla Rhodes as the lead in his film. Adam resists, but after being thrown out of his house when he finds his wife cheating on him, he learns that his bank has closed his line of credit and he is broke. He agrees to meet a mysterious figure called The Cowboy, who urges him to cast Camilla Rhodes for his own good. Meanwhile, a bungling hit man attempts to steal a book full of phone numbers and leaves three people dead. While trying to learn more about Rita's accident, Betty and Rita go to Winkie's and are served by a waitress named Diane, which causes Rita to remember the name \"Diane Selwyn.\" They find Diane Selwyn in the phone book and call her, but she does not answer. Betty goes to an audition, where her performance is highly praised. A casting agent takes her to a soundstage where a film called The Sylvia North Story, directed by Adam, is being cast. When Camilla Rhodes auditions, Adam capitulates to casting her. Betty locks eyes with Adam, but she flees before she can meet him, saying she is late to meet a friend. Betty and Rita go to Diane Selwyn's apartment and break in when no one answers the door. In the bedroom, they find the body of a woman who has been dead for several days. Terrified, they return to their apartment, where Rita disguises herself with a blonde wig. She and Betty have sex that night. At 2 a.m., Rita insists they go to a theater called Club Silencio. The emcee explains in different languages that everything is an illusion; Rebekah Del Rio comes on stage and begins singing the Roy Orbison song \"Crying\" in Spanish, then collapses while her vocals continue—her performance was a recording. Betty finds a blue box in her purse that matches Rita's key. Upon returning to the apartment, Rita retrieves the key and finds that Betty has disappeared. Rita unlocks the box, and it falls to the floor with a thump. Diane Selwyn wakes up in her bed in the same apartment that Betty and Rita investigated. She looks exactly like Betty, but is a failed actress driven into a deep depression by her failed affair with Camilla Rhodes, a successful actress who looks exactly like Rita. At Camilla's invitation, Diane attends a party at Adam's house on Mulholland Drive. At dinner, Diane states she came to Hollywood when her Aunt Ruth died and left her some money, and she met Camilla at an audition for The Sylvia North Story. Another woman who looks like the \"Camilla Rhodes\" from earlier kisses Camilla, and they turn and smile at Diane. Adam and Camilla prepare to make an important announcement, but they dissolve into laughter and kiss while Diane watches, crying. Later, Diane meets the hit man at Winkie's, appearing to hire him to kill Camilla. He tells her she will find a blue key in her apartment when the job is completed. In her apartment, Diane looks at the blue key on her coffee table. Distraught, she is terrorized by hallucinations and runs screaming to her bed, where she shoots herself. A woman at the theater whispers, \"Silencio.\""},"name":{"kind":"string","value":"Mulholland_Drive_(film)"}}},{"rowIdx":173,"cells":{"scenes":{"kind":"list like","value":["EXT. HIGHWAY -- DAY GRAHAM DALTON, twenty - nine, drives his'69 Cutlass while smoking a cigarette. One could describe his appearance as punk/arty, but neither would do him justice. He is a man of obvious intelligence, and his face is amiable. There is only one key on his keyring, and it is in the ignition. ANN -LRB- voice over. -RRB- Garbage. I started thinking about what happens to all the garbage. I mean, where do we put all of it, we have to run out of places to put it eventually, do n't we? This happened to me before when that barge with all the garbage was stranded and nobody would take it? Remember that?","INT. DOCTOR'S OFFICE -- DAY ANN BISHOP MILLANEY, twenty - six, sits opposite her therapist. She is an extremely attractive woman, dressed in a mature preppy style. There is a wedding ring on her left hand. DOCTOR Yes, I remember. What do you do when these moods overtake you? ANN Nothing. I mean, nothing. I try not to do anything that will produce garbage, so obviously we're talking about eating and basic stuff like that. Did you know that the average person produces three pounds of garbage a day? DOCTOR No, I did n't. ANN Do n't you think that's a lot of garbage? I'd really like to know where it's all going to go. DOCTOR Do you have any idea what triggered this concern? ANN Well, this weekend John was taking out the garbage, and he kept spilling things out of the container, and I started imagining a container that grew garbage, like it just kept filling up and overflowing all by itself, and how could you stop that if it started happening? DOCTOR Ann, do you see a pattern here? ANN What do you mean? DOCTOR Well, last week we talked about your obsession with the families of airline fatalities, and now we're talking about your concern over the garbage problem. ANN Yeah, so? DOCTOR If you think about it, I think you'll see that the object of your obsession is invariably something negative that you could n't possibly have any control over. ANN Well, do you think many people run around thinking about how happy they feel and how great things are? I mean, maybe they do, but I doubt those people are in therapy. Besides, being happy is n't all that great. My figure is always at its best when I'm depressed. The last time I was really happy I put on twenty - five pounds. I thought John was going to have a stroke. JOHN -LRB- voice over. -RRB- It's true, I'm telling you.","INT. LAW OFFICE -- DAY JOHN MILLANEY, twenty - nine, sits at his desk talking on the telephone. He is dressed very well, sporting real suspenders with his striped pinpoint oxford shirt and cotton suit. He fingers the wedding ring on his left hand. JOHN As soon as you've got a ring on your finger, you start getting serious attention from the opposite gender. Seriously, I wish I had Super Bowl seats for every time I had some filly just come up and start talking to me without the slightest provocation. That never happened before I got married. Shit, if I'd known that, I'd have gone out and bought me a ring when I was eighteen and saved myself a lot of time and money. John looks at his watch. JOHN Shit, I got ta be someplace. -LRB- quickly. -RRB- Look, racquetball Thursday? You're the coolest. John presses the intercom button while putting on his jacket. JOHN Uh, Janet, re - schedule Kirkland. Tell him to come in Friday at 1:30. DOCTOR -LRB- voice over, to Ann. -RRB- Are you still keeping these thoughts from John? ANN -LRB- voice over. -RRB- Yes.","INT. LAW OFFICE BATHROOM -- DAY John brushes his teeth and combs his hair very carefully. DOCTOR -LRB- voice over, to Ann. -RRB- Are you afraid of his reaction? Of his finding you silly for thinking of such things? ANN -LRB- voice over. -RRB- No. I do n't know. I have n't told him about the garbage thing because I'm pissed off at him right now. He's letting some old college buddy stay at our house for a couple of days, and he did n't even ask me about it. I mean, I would've said yes, I just wish he would've asked.","INT. DOCTOR'S OFFICE-DAY DOCTOR What upsets you about that? ANN I guess I'm upset because I ca n't really justify being upset, I mean, it's his house, really, he pays the mortgage. DOCTOR But he asked you to quit your job, and you do have housework. ANN Yeah, I know. DOCTOR This unexpected visit notwithstanding, how are things with John? ANN -LRB- shrugs. -RRB- Fine, I guess. Except right now I m going through this where I do n't want him to touch me.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY CYNTHIA BISHOP, Ann's SISTER, opens her door to reveal the freshly coifed John Millaney. They kiss passionately and begin to disrobe. Cynthia bears a slight resemblance to Ann, but is not as overtly attractive. She does, however, have a definite carnal appeal and air of confidence that Ann lacks. DOCTOR -LRB- voice over. -RRB- When did you begin having this feeling? ANN -LRB- voice over. -RRB- About a week ago. I do n't know what brought it on, I just started feeling like I did n't want him to touch me. DOCTOR -LRB- voice over, to Ann. -RRB- Prior to this feeling, were you comfortable having physical contact with him? ANN -LRB- voice over. -RRB- Oh, yeah. -LRB- pause. -RRB- But see, I've never really been into sex that much, I mean, I like it and everything, it just does' t freak me out, I would n't miss it, you know? But anyway, lately we have n't been doing anything at all. Like I said, it's not that I miss it, but I m curious the way things kind of slacked off all of a sudden. John and Cynthia are now having sex. DOCTOR -LRB- voice over. -RRB- Perhaps he senses your hesitance at being touched. ANN -LRB- voice over. -RRB- But see, he stopped before I got that feeling, that's why it seems weird to me. I mean, I'm sure he wishes I would initiate things once in awhile, and I would except it never occurs to me, I'm always thinking about something else and then the few times that I have felt like starting something I was by myself. DOCTOR -LRB- voice over. -RRB- Did you do anything? A pause. ANN -LRB- voice over. -RRB- What do you mean? DOCTOR -LRB- voice over. -RRB- Did you masturbate?","INT. DOCTOR'S OFFICE -- DAY ANN -LRB- taken aback. -RRB- God, no. DOCTOR I take it you've never masturbated? ANN -LRB- slightly uncomfortable. -RRB- Well, I kind of tried once. It just seemed stupid, I kept seeing myself lying there and it seemed stupid, and kind of, uh, I do n't know, and then I was wondering if my dead grandfather could see me doing this, and it just seemed like a dumb thing to be doing when we do n't know what to do with all that garbage, you know? DOCTOR So it was recently that you tried this. ANN -LRB- exhales, head down. -RRB- Well, kind of recently, I guess. But not too recently. There is a pause. ANN I'm really not up to having a guest in the house.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are lying in bed, bathed in sweat. JOHN I've got to get back to the office. CYNTHIA I only get one today? Gee, how exciting. John rolls over and begins to put his clothes on. JOHN I ca n't let my lunch hour go on too long. I've already skipped one meeting. CYNTHIA Do n't give me this passive/aggressive bullshit. If you want to leave, leave. My life does n't stop when you walk out the door, you know what I'm saying? John shakes his head. JOHN Why do n't you just tell me how you really feel? John stands and begins putting on his clothes. JOHN I have a friend coming in from out of town, I'll probably be spending some time with him the next couple of days. CYNTHIA Meaning we'll have to cool it for awhile, right? JOHN Right. A silent shrug from Cynthia. John is almost completely dressed. JOHN I wish you'd quit that bartending job. CYNTHIA Why? JOHN I hate the thought of guys hitting on you all the time. CYNTHIA I can handle it. Besides, the money is good and some of the guys are cute. And you are in no position to be jealous. JOHN Who said I was jealous? CYNTHIA I did. John says nothing. CYNTHIA You know, I'd like to try your house sometime. The idea of doing it in my sister's bed gives me a perverse thrill. John thinks about that. CYNTHIA I wish I could tell everybody that Ann's a lousy lay. Beautiful, popular, Ann Bishop Millaney. JOHN Could be risky. CYNTHIA Well, maybe I could just start a rumor, then. JOHN No, I mean doing it at my house. CYNTHIA Afraid of getting caught? JOHN Maybe. CYNTHIA You should be. Can I meet this friend of yours? JOHN Cynthia, I do n't think you want to, I mean, you should see the way he dresses. I really think he's in a bad way. CYNTHIA I'm intrigued. JOHN You're intrigued? CYNTHIA Sure. Maybe he's the man I'm looking for. Then I wo n't have to fuck worried husbands all the time. John looks at her for a moment before heading for the door. JOHN Bye.","EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Graham has parked in the Millaney's driveway. He opens the trunk, revealing a Sony 8mm Video rig and a single black duffle bag. He grabs the duffle bag and shuts the trunk. Graham knocks at the door. He is stubbing out a cigarette with his beaten tennis shoe when Ann answers the door. She is unable to hide her suprise at his appearance. GRAHAM Ann? ANN Yes? GRAHAM -LRB- extends his hand. -RRB- Graham Dalton. Ann shakes his hand. GRAHAM Can I use your bathroom? Ann withdraws her hand. ANN Yes. Yes, come in, please. Graham moves inside.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann closes the door and motions Graham to the rear of the house. ANN Straight back, first door on the left. Graham heads for the bathroom. Ann heads for the phone. She dials John's office. VOICE ON PHONE Forman, Brent, and Millaney. ANN John Millaney, please. This is his wife. Graham exits the bathroom. Ann quickly hangs up the phone. ANN That was quick. GRAHAM False alarm. ANN Oh. Well, please sit down. Graham sits, his manner pleasantly animated. He gets his Gitanes from inside his scuffed black leather jacket and looks around for an ashtray. Ann swallows uncomfortably. ANN We. do n't usually let people smoke in the house. We have a patio if you - GRAHAM Oh, no problem. It can wait. A moment of silence. Graham looks at Ann directly. It is not a challenging stare, he's just trying to ascertain what kind of person she is. Ann, to her credit, somehow meets his gaze. Something subtle passes between them. ANN -LRB- looks at duffle bag. -RRB- Do you have other things? GRAHAM Yes. -LRB- pause. -RRB- Oh, you mean to bring in! No. Yes, I have some other things, no, I do n't need to bring them in. This is all I need to stay here. ANN Oh. Graham smiles. He has an unusual face, a face that fluctuates between remarkably handsome and just plain strange. GRAHAM Have you ever been on television? ANN Televison? GRAHAM Yes. ANN No. Why? GRAHAM -LRB- shrugs. -RRB- Curious. The central air - conditioning switches on. Ann smiles. ANN Graham is an unusual name. GRAHAM Yeah, I guess it is. My mother is a complete Anglophile, anything British makes her drool like a baby. She probably heard the name in some movie. She's a prisoner of public television now. ANN Oh, uh - huh. GRAHAM Are you uncomfortable with my appearance? ANN -LRB- downplaying. -RRB- No, I think you look. fine. GRAHAM -LRB- smiles. -RRB- Oh. Well, maybe I'm uncomfortable with my appearance. I feel a little out of place in these surroundings. ANN Well. GRAHAM I used to take great pleasure in that, being purposefully different, rubbing people's noses in it. Did n't you do that when you were younger? ANN -LRB- thinks. -RRB- No, not really. GRAHAM Oh. Well, I did. I was in a band once, and the music was always secondary to just flat out offending as many people as possible. ANN You play an instrument? GRAHAM No, I was in charge of kind of standing at the microphone and reciting these really depressing lyrics in a monotone. The whole thing was really. irrelevant. How do you like being married? ANN -LRB- caught slightly off guard. -RRB- Oh, I like it. I like it very much. GRAHAM What about it do you like? I'm not being critical, I'd really like to know. ANN Well. well, the cliché about the security of it, that's really true. We own a house, and I really like that, you know? And I like that John was just made junior partner, so he has a steady job and he's not some. Ann looks at Graham and stops. He smiles again. ANN free - lance. You know. GRAHAM Yes. So you feel security, stability. Like things are going to last awhile. ANN Oh, definitely. I mean, just this past year has gone by like phew! I hardly even knew it passed. GRAHAM Did you know that if you shut someone up in a room, and the only clock he has reference to runs two hours slow for every twenty - four, that his body will eventually adjust to that schedule? Simply because the mind honestly perceives that twenty - six hours are twenty - four, the body follows. And then there are sections of time. Your life can be broken down into the sections of time that formed your personality. -LRB- if you have one. -RRB-. For instance, when I was twelve, I had an eleven minute conversation with my father that to this day defines our relationship. Now, I'm not saying that everything happened in that specific section of time, but the events of my childhood involving my father led up to, and then were crystallized in, that eleven minutes. Ann is fascinated, if a bit overwhelmed. ANN Oh, uh - huh. GRAHAM -LRB- smiles. -RRB- Anyway, I think the mind is very flexible as far as time is concerned. ANN You mean like `` time flies''? GRAHAM Exactly. I would say the fact that you feel the first year of your marriage has gone by quickly means lots of things. Or could mean lots of things. ANN How long has it been since you've seen John? GRAHAM Nine years. ANN Nine years? GRAHAM Yes. I was surprised that he accepted when I asked if I could stay here until I found a place. ANN Why? Did n't you know him well? GRAHAM I knew him very well. We were extremely close until I dropped out. A pause. ANN Why'd you drop out? GRAHAM Oh, lots of reasons, most of them boring. But, up until I dropped out, John and I were. very much alike. ANN That's hard to believe. The two of you seem so different. GRAHAM I would imagine that we are, now. I think I'm ready to use the bathroom, finally. Graham gets up and heads for the toilet. Ann watches him go, a bemused smile on her face. After she hears the door close, she ca n't resist the impulse to take a closer look at Graham's bag. IN THE BATHROOM, Graham pokes around, looking through the medicine cabinet and sniffing towels. JOHN -LRB- voice over. -RRB- Call the cops.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John, Ann and Graham are eating dinner. JOHN -LRB- to Graham. -RRB- That's the first thing that ran through my mind when I saw you. I thought this is not the same man that rode the unicycle naked through the homecoming parade. ANN -LRB- to Graham. -RRB- You did that? GRAHAM Everybody has a past. JOHN -LRB- smiles at Graham. -RRB- What do you think the Greeks would make of that outfit you're wearing? GRAHAM A bonfire, probably. John takes a sip of Chivas. GRAHAM -LRB- to Ann. -RRB- This food is excellent. ANN Thank you. JOHN Yeah, it's not bad. Usually Ann has some serious salt action going. I keep telling her, you can always add more if you want, but you ca n't take it out. GRAHAM -LRB- to Ann. -RRB- You have family here also? ANN -LRB- nods, chewing. -RRB- Mother, father, sister. GRAHAM Sister older or younger? ANN Younger. John takes a large swig of Chivas. GRAHAM Are you close? Graham sees Ann and John exchange looks. GRAHAM I'm sorry. Am I prying again? JOHN You were prying before? GRAHAM Yes, this afternoon. I was grilling Ann about your marriage this afternoon. JOHN -LRB- smiles. -RRB- Really. How'd it go? GRAHAM She held up very well. Ann laughs. GRAHAM -LRB- to Ann. -RRB- So I was asking about your sister. Ann's smile fades. John resumes eating. ANN Oh, we get along okay. She's just very. she's an extrovert. I think she's loud. She probably would n't agree. Definitely would n't agree. JOHN -LRB- to Graham. -RRB- Are you going to see Elizabeth while you re here? An almost imperceptible reaction by Graham. GRAHAM I do n't know. ANN -LRB- interested. -RRB- Who's Elizabeth? JOHN Girl Graham dated. Still lives here, far as I know. Graham eats in silence. ANN Graham and I were talking about apartments and I told him to check the Garden District, there are some nice little places there, garage apartments and stuff. JOHN -LRB- to Graham. -RRB- Stay away from the Garden District. Serious crime. I do n't know what kind of place you're looking for, but there are a lot of studio - type apartments available elsewhere. GRAHAM I wish I did n't have to live someplace. JOHN -LRB- laughs. -RRB- What do you mean? Graham thinks a moment, then puts his keyring with its single key onto the table. GRAHAM Well, see, right now I have this one key, and I really like that. Everything I own is in my car. If I get an apartment, that's two keys. If I get a job, maybe I have to open and close once in awhile, that's more keys. Or I buy some stuff and I m worried about getting ripped off, so I get some locks, and that's more keys. I just really like having the one key. It's clean, you know? Graham looks at the keyring before returning it to his pocket. JOHN Get rid of the car when you get your apartment, then you'll still have one key. GRAHAM I like having the car, the car is important. JOHN Especially if you want to leave someplace in a hurry. GRAHAM Or go someplace in a hurry. Ann takes her plate into the kitchen. JOHN -LRB- smiles at Graham. -RRB- Do you pay taxes? Graham also stands, empty plate in hand. GRAHAM Do I pay taxes? Of course I pay taxes, only a liar does n't pay taxes, I'm not a liar. A liar is the second lowest form of human being. ANN -LRB- from the kitchen. -RRB- What's the first? GRAHAM Lawyers. John smiles, thinking. Graham follows Ann into the kitchen. John shouts after them. JOHN Hey, Ann, why do n't you go with Graham to hunt for apartments? Show him how the city has changed. Ann looks at Graham. ANN Would you mind? GRAHAM No. ANN -LRB- shouts back to John. -RRB- Okay, I will! John, sitting at the table and now toying with his keyring, nods.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Everyone but Ann is asleep. She gets up from her bed and sneaks quietly into the guest bedroom where Graham is staying. She walks cautiously up to his bed to watch him as he sleeps. Moonlight caresses his face as he breathes peacefully. Exhaling, he turns over slowly, his back to Ann. She picks up his jacket from beside the bed and feels the surface. She brings the jacket to her nose, inhaling his presence. She then sets the jacket down.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY The phone rings. Cynthia answers. CYNTHIA Hello. JOHN Cynthia. John. Meet me at my house in exactly one hour. CYNTHIA You are scum. I'll be there.","INT. VACANT APARTMENT-DAY Graham and Ann walk around the room, their footfalls heavy on the hardwood floors. MR. MILLER, the landlord, stands nearby. He looks fairly interested in Ann. MR. MILLER Plenty of room for two people. GRAHAM It'll just be me. MR. MILLER Student? GRAHAM No. -LRB- pause. -RRB- You said three - fifty? MR. MILLER Plus first and last month deposit. GRAHAM Will you lease month - to - month? MR. MILLER Not for three - fifty. GRAHAM How about for five hundred? Mr. Miller looks at Ann, then back at Graham. MR. MILLER That I can do.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia lets herself in. She looks around. CYNTHIA John? JOHN -LRB- offscreen. -RRB- In here! Cynthia walks to the bedroom, where John lies naked on the bed. She smiles, kicking off her shoes. CYNTHIA Ai n't you a picture. Cynthia begins taking her clothes off. She places her diamond stud earring in her jacket pocket, and then drops the jacket on the floor. She moves onto the bed with John. ANN -LRB- voice over. -RRB- Maybe you'll understand this, because you know John, but he confuses me sometimes. GRAHAM -LRB- voice over. -RRB- How do you mean?","INT. CAFÉ - DAY Graham and Ann are having lunch. Ann looks to have had a lot of wine. Graham drinks club soda with a twist. ANN It's hard to explain. It's like. John treats everybody the same, you know? I mean, he acts just as excited about seeing somebody he hardly knows as he does when he sees me. And so I feel like, what's different about me, if I'm treated exactly the same as some acquaintance? If I do n't like somebody, I do n't act like I do. I guess that's why a lot of people think I'm a bitch. She takes a sip of wine. GRAHAM Yeah, I know. I mean, I'm not saying I know people think you're a bitch, I'm saying I know what you mean. And I do n't even know that people think you're a bitch. Do they? ANN I feel like they do. GRAHAM Hmm. Well, maybe you are. Really, I would n't pay much attention. Ann smiles. GRAHAM I know that I just do n't feel a connection with very many people, so I do n't waste time with people I do n't feel one with. ANN Right, right. I do n't feel connected to many people, either. Other than John. Graham nods. ANN Can I tell you something personal? I feel like I can. It's something I could n't tell John. Or would n't, anyway. GRAHAM It's up to you. But I warn you, if you tell me something personal, I might do the same. ANN Okay. I think. I think sex is overrated. I think people place way too much importance on it. And I think that stuff about women wanting it just as bad is crap. I m not saying women do n't want it, I just do n't think they want it for the reason men think they do. -LRB- smiles. -RRB- I'm getting confused. Graham smiles. ANN Do you understand what I'm trying to say? GRAHAM I think so. I remember reading somewhere that men learn to love what they're attracted to, whereas women become more and more attracted to the person they love. ANN Yes! Yes! I think that's very true. Very. Graham watches Ann take a sip of wine. GRAHAM So what about kids? ANN Kids? What about them? GRAHAM Do you want them? ANN Yeah, actually, I do. But John does n't. At least not right now. GRAHAM Why is that? ANN I do n't know, he just said he wants to wait. I quit asking. Graham nods. ANN So what's your personal thing? Are you really going to tell me something personal? GRAHAM Do you want me to? ANN As long as it's not. gross, you know? Like some scar or something. It has to be like mine, like something about you. GRAHAM Agreed. Graham takes a sip of club soda. GRAHAM I'm impotent. Ann looks at him closely. ANN You're what? GRAHAM Impotent. ANN You are? GRAHAM Well, let me put it this way : I can not achieve an erection while in the presence of another person. So, for all practical purposes, I am impotent. takes a large sip of wine. Graham lights a cigarette. ANN Does it bother you? GRAHAM -LRB- exhales. -RRB- Not usually. I mean, honestly, I have n't known many guys that could think straight with an erection, so I feel I'm way ahead of the game as far as being clear - headed goes. ANN Well. are you self - conscious about it? GRAHAM I am self - conscious, but not in the same way that you are. You have got to be the most attractive self - conscious person I've ever seen. ANN Why do you say I'm self - conscious? GRAHAM Well, I've been watching you. I've watched you eat, I've watched you speak, I've watched the way you move, and I see somebody who is extremely conscious of being looked at. I think you really believe that people are looking at you all the time. And you know what? ANN What? GRAHAM They are looking at you. Ann, you are truly breathtaking. I do n't know if you understand how your appearance can affect people. Men want to possess you, women wish they looked like you. And those that do n't or ca n't resent you. And the fact that you're a nice person just makes it worse. ANN -LRB- thinks. -RRB- My therapist said that - GRAHAM You're in therapy? ANN Are n't you? GRAHAM Hah! No, I'm not. Actually, I used to be, but the therapist I had was really ineffectual in helping me deal with my problems. Of course, I lied to him constantly, so I guess I ca n't hold him totally responsible. ANN So you do n't believe in therapy? GRAHAM I believe in it for some people. I mean, for me it was silly, I was confused going in. So I just formed my own personal theory that you should never take advice from someone of the opposite sex that does n't know you intimately. ANN Well, my therapist knows me intimately. GRAHAM -LRB- surprised. -RRB- You had sex with you therapist? ANN Of course not. GRAHAM Oh, see, I meant someone you've had sex with. That's part of the theory. ANN Excuse me for asking, but how would you know? GRAHAM -LRB- smiles. -RRB- Well, I was n't always impotent. Ann takes another sip of wine and thinks for a moment. ANN Now, you said never take advice from someone that you do n't know intimately, right? GRAHAM Basically, yes.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia is leaving the house. She gives John a big kiss. ANN -LRB- voice over. -RRB- So since I've never had sex with you, by your own advice I should n't accept your advice. GRAHAM -LRB- voice over. -RRB- That's correct. -LRB- pause. -RRB- Bit of a dilemma, is n't it? Cynthia is not wearing her diamond stud earring.","INT. DOCTOR'S OFFICE -- DAY ANN Well, I do n't know. The week started off okay, but then I was outside watering the plants, and I started feeling dizzy from the heat and that got me thinking about the Greenhouse Effect, so I went inside and turned on the air - conditioner full blast, and that made me feel a little better until I started thinking about radon leakage coming up through the floor, and - DOCTOR Radon leakage? ANN Yes, it's this radioactive gas in the ground, and houses kind of act like magnets to pull it up, and - you've never heard of this? DOCTOR No, I have n't. ANN Well, the cumulative effect is not good, let me tell you. -LRB- pause. -RRB- I knew I should n't have watered those plants. DOCTOR Did you confront John about the visitor? ANN What visitor? DOCTOR The friend of John's that was staying at your house. ANN Oh, Graham. No, I did n't talk to him about that. Actually, that turned out to be pretty interesting. I expected Graham to be this. well, like John, you know? I mean, he said they had gone to school together, so I was expecting lots of stories about getting drunk and secret handshakes and stuff. But he turned out to be this. this kind of character, I mean, he's kind of arty but okay, you know? DOCTOR Is he still at your house? ANN No, he left last week. DOCTOR Did you find him attractive? ANN What do you mean, like physically? DOCTOR Let me rephrase. Were you attracted to him? ANN -LRB- thinks. -RRB- I guess, but not because of the way he looked or anything. He's just so different, somebody new to have a conversation with. I'm just tired of talking to other couples about whether or not they're going to buy the station wagon, you know? It's just boring. I do n't know, he was just different. And he's really on about truth a lot, being honest, and I like that, I felt comfortable around him. -LRB- pause. -RRB- After he left I had a dream that he signed a lease to rent our guest room. CYNTHIA -LRB- voice over. -RRB- So where's he from?","INT. CYNTHIA BISHOP'S APARTMENT -- DAY Ann stands watching Cynthia get dressed for work. ANN I do n't know. He went to school here, then he was in New York for awhile, then Philadelphia, and then just kind of travelling around. CYNTHIA Must be nice. So, what's he like, is he like John? ANN No, not at all. Actually, I do n't think John likes him much anymore. He said he thought Graham had gotten strange. A pause. CYNTHIA Is he? Strange, I mean? ANN Not really. Maybe if I just saw him on the street I'd have said that, but after talking to him. he's just kind of. I do n't know, unusual. CYNTHIA Uh - huh. So what's he look like? ANN Why? CYNTHIA I just want to know what he looks like, is all. ANN Why, so you can go after him? CYNTHIA Jesus, Ann, get a life. I just asked what he looked like. Ann says nothing. CYNTHIA Besides, even if I decided to fuck his brains out, what business is that of yours? ANN Do you have to say that? CYNTHIA What? ANN You know what. You say it just to irritate me. CYNTHIA I say it because it's descriptive. ANN Well, he does n't strike me as the kind of person that would go in for that sort of thing, anyway. CYNTHIA Ann, you always underestimate me. ANN Well, I wonder why. CYNTHIA I think you're afraid to put the two of us in the same room together. I think you're afraid he'll be undeniably drawn to me. ANN Oh, for God's sake. Really, Cynthia, really, I do n't think he's your type. CYNTHIA `` My type''? What is this bullshit? How would you know what `` my type'' is? ANN I have a pretty good idea. CYNTHIA Ann, you do n't have a clue. Look, I do n't even know why we're discussing this, I'll just call him myself. ANN He does n't have a phone. CYNTHIA Well, I'll call him when he does. ANN But he wo n't. CYNTHIA What are you talking about? ANN He's not getting a phone, he does n't like talking on the phone. CYNTHIA Oh, please. Okay,' so give me the Zen master's address, I'll think of a reason to stop by. ANN Let me talk to him first. CYNTHIA Why? Just give me the address, you wo n't even have to be involved. ANN I do n't feel right just giving you the address so that you can go over there and. CYNTHIA And what? ANN And. do whatever it is you do. Cynthia laughs loudly. Ann, not happy, watches her dig through the jewelry box. ANN Lose something? CYNTHIA That goddam diamond stud earring that cost me a fucking fortune. ANN Are you getting Mom something for her birthday? CYNTHIA I do n't know, I'll get her a card or something. ANN A card? For her fiftieth birthday? CYNTHIA What's wrong with that? ANN Do n't you think she deserves a little more than a card? I mean, the woman gave birth to you. It s her fiftieth birthday - CYNTHIA Will you stop? Jesus. ANN I just thought it might - CYNTHIA Okay, Ann, okay. How about this : you buy her something nice, and I'll pay for half. All right? ANN Fine. CYNTHIA Good. Now, if you'll pardon me, I have to go to work.","INT. DOCTOR'S OFFICE -- DAY ANN I was thinking maybe I should n't be in therapy anymore. DOCTOR What brought this on? ANN I've been thinking about it for awhile, and then I was talking to somebody who kind of put things in perspective for me. DOCTOR -LRB- smiles. -RRB- I thought that's what I did. Who was it that you talked to? ANN That guy Graham I told you about. He said taking advice from someone you do n't know intimately was. well, he said a lot of stuff. The Doctor exhales, thinking for a moment. DOCTOR Ann, in life one has to be aware of hidden agendas. -LRB- pause. -RRB- Did it occur to you that Graham may have his own reasons for not wanting you to be in therapy? ANN What do you mean? I do n't understand. DOCTOR It's possible that Graham has hidden motives for disliking therapy and/or therapists. Perhaps he has problems of his own that he is unwilling to deal with, and he would like to see other people, you for instance, wallow in their situation just as he does. Do you think that's possible? ANN I guess. DOCTOR You understand that you are free to leave therapy at any time? ANN Yes. DOCTOR That you are under no obligation to me? ANN Yes. DOCTOR Do you want to leave therapy? ANN Not really. DOCTOR Do you feel there is more progress to be made? ANN Yes. DOCTOR I'm glad you feel that way, because I feel that way, too. ANN But you do n't have hidden motives for feeling that way, right? The Doctor laughs. Ann does not laugh with him.","INT. GRAHAM'S APARTMENT -- DAY On a television monitor we see images originating from an 8mm Video deck. Graham sits naked in a sheet - covered chair facing the screen. He watches the tape, which is footage of himself interviewing a girl about her sexual preferences. The photography on the tape is handheld, relentless. As the questions get more detailed, Graham becomes more aroused. There is a knock on Graham's door. He calmly shuts off the videotape player and stands, wrapping the sheet around himself. GRAHAM It's open. Graham walks into the bedroom to put on some clothes. Ann opens the door and walks into the apartment. ANN Hi! GRAHAM -LRB- off. -RRB- Ann. Hello. ANN Are you in the middle of something? GRAHAM -LRB- off. -RRB- Nothing I ca n't finish later. ANN -LRB- looks. -RRB- I just wanted to see how the place looked furnished. GRAHAM -LRB- Off. -RRB- Not much to see, I'm afraid. I'm sort of cultivating a minimalist vibe. ANN Somehow I imagined books. I thought you would have like a whole lot of books and be reading all the time. Graham enters. GRAHAM I do read a lot. But I check everything out of the library. Graham picks up an Anais Nin diary and opens it to show Ann the library sleeve inside. GRAHAM Cheaper that way. And cuts down on the clutter. Ann walks to the table where the video gear is set up. Graham watches her closely. She looks into a large box of 8mm videotapes. On the side of each tape is a label. The labels look like this : DONNA / 11 DEC 86 / 1:07:36 And so on. There are thirty or forty tapes, total. ANN What are these? GRAHAM Videotapes. ANN -LRB- smiles. -RRB- I can see that. What are they? Graham exhales. GRAHAM It's a personal project I'm working on. ANN What kind of personal project? GRAHAM Oh, just a personal project like anyone else's personal project. Mine's just a little more personal. ANN Who's Donna? GRAHAM Donna? ANN Donna. On this tape it says `` Donna''. GRAHAM -LRB- thinking. -RRB- Donna was a girl I knew in Florida. ANN You went out with her? GRAHAM Not really. Ann looks in the box again. ANN How come all these are girl's names? Graham thinks for a moment. GRAHAM Because I enjoy interviewing women more than men. ANN All of these are interviews? GRAHAM Yes. ANN Can we look at one? GRAHAM No. ANN Why not? GRAHAM Because I promised each subject that no one would look at the tape except me. Ann looks at Graham for a long moment, then back at the tapes. ANN What. what are these interviews about? GRAHAM The. interviews are about sex, Ann. ANN About sex? GRAHAM Yes. ANN What about sex? GRAHAM Everything about sex. ANN Like what? GRAHAM Like what they've done, what they do, what they do n't do, what they want to do but are afraid to ask for, what they wo n't do even if asked. Anything I can think of. ANN You just ask them questions? GRAHAM Yes. ANN And they just answer them? GRAHAM Mostly. Sometimes they do things. ANN To you? GRAHAM No, not to me, for me, for the camera. ANN -LRB- stunned. -RRB- I do n't. why. why do you do this? GRAHAM I'm sorry this came up. ANN This is just. so. GRAHAM Maybe you want to go. ANN Yes, I do. Ann nods and absently heads for the door. She gives Graham a puzzled look before leaving.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the telephone. ANN -LRB- still shaken. -RRB- I do n't. he does n't want you to come over. CYNTHIA What do you mean he does n't want me to come over? Did you tell him about me? ANN No, I did n't. CYNTHIA Why not? ANN Because I never got around to it. CYNTHIA Well, why? ANN Because. Cynthia, look, John was right. Graham is strange. Very strange. You do n't want to get involved with him. CYNTHIA What the hell happened over there? Did he make a pass at you? ANN No! CYNTHIA Then what's the story, what's this `` strange'' bullshit all of a sudden? Is he drowning puppies, or what? ANN No, it's nothing like that. CYNTHIA Well, what? Is he dangerous? ANN No, he's not dangerous. Not physically. CYNTHIA Well, what, then? ANN I do n't want to talk about it. CYNTHIA Then why'd you call me? ANN I do n't know. Ann hangs up.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia gets out of the shower. The phone rings. She wraps herself in a towel and lifts the receiver. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Not today. I've got other plans. JOHN Oh. -LRB- pause. -RRB- Well, when, then? CYNTHIA How about inviting me over to dinner? JOHN You know what I mean. CYNTHIA Yeah, I know what you mean. Cynthia hangs up the phone.","INT. GRAHAM'S APARTMENT -- DAY Graham sits smoking a cigarette. There is a knock at his door. GRAHAM It's open. Cynthia enters. Graham looks up at her. GRAHAM Who are you? CYNTHIA I'm Cynthia Bishop. GRAHAM Do I know you? CYNTHIA I'm Ann Millaney's sister. GRAHAM The extrovert. CYNTHIA -LRB- smiles. -RRB- She must have been in a good mood when she said that. She usually calls me loud. GRAHAM She called you that, too. May I ask why you re here? CYNTHIA You want me to leave? GRAHAM I just want to know why you're here. CYNTHIA Well, like I said, Ann is my sister. Sisters talk. You can imagine the rest. GRAHAM No, I really ca n't. I find it healthy never to characterize people I do n't know or conversations I have n't heard. I do n't know what you and your sister discussed about me or anything else. Last time I saw Ann she left here very. confused, I would say. And upset. CYNTHIA She still is. GRAHAM And are you here to berate me for making her that way? CYNTHIA Nope. GRAHAM She did n't tell you why she was upset? CYNTHIA Nope. GRAHAM She did n't give you my address? CYNTHIA Nope. GRAHAM How did you find me? CYNTHIA I, uh, know a guy at the power company. GRAHAM I do n't understand. Why did you want to come here? I mean, I ca n't imagine Ann painted a very flattering portrait of me. CYNTHIA Well, I do n't really listen to her when it comes to men. I mean, look at John, for crissake. Oh, you went to school with him did n't you? You're probably friends or something. GRAHAM Nope. I think the man is a liar. CYNTHIA -LRB- smiles. -RRB- I think you're right. So come on, I came all the way over here to find out what got Ann so spooked, tell me what happened. GRAHAM -LRB- smiles. -RRB- Spooked. He motions to the box of videotapes. GRAHAM That box of tapes is what got Ann so `` spooked''. Cynthia goes over to the box and looks inside for a long moment, studying the labels. CYNTHIA Oh, okay. I think I get it. GRAHAM What do you get? CYNTHIA Well, they must be something sexual, because Ann gets freaked out by that shit. Are these tapes of you having sex with these girls or something? GRAHAM Not exactly. CYNTHIA Well, either you are or you are n't. Which is it? GRAHAM Why do n't you let me tape you? CYNTHIA Doing what? GRAHAM Talking. CYNTHIA About what? GRAHAM Sex. Your sexual history, your sexual preferences. CYNTHIA What makes you think I'd discuss that with you? GRAHAM Nothing. CYNTHIA You just want to ask me questions? GRAHAM I just want to ask you questions. CYNTHIA And that's all? GRAHAM That's all. CYNTHIA -LRB- a crooked smile. -RRB- Is this how you get off or something? Taping women talking about their sexual experiences? GRAHAM Yes. CYNTHIA Would anybody else see the tape? GRAHAM Absolutely not. They are for my private use only. CYNTHIA How do we start? GRAHAM I turn on the camera. You start talking. CYNTHIA And you ask questions, right? GRAHAM Yes. CYNTHIA How long will it take? GRAHAM That depends on you. One woman only used three minutes. Another filled up three two hour tapes. CYNTHIA Can I see some of the other tapes to get an idea of what - GRAHAM No. CYNTHIA -LRB- thinks. -RRB- Do I sit or stand? GRAHAM Whichever you prefer. CYNTHIA I'd rather sit. Are you ready? GRAHAM Just a moment. Graham grabs his 8mm Video camera, puts in a new tape, and turns it on. GRAHAM I am now recording. Tell me your name. CYNTHIA Cynthia Patrice Bishop. GRAHAM Describe for me your first sexual experience. CYNTHIA My first sexual experience or the first time I had intercourse? GRAHAM Your first sexual experience. CYNTHIA -LRB- thinks. -RRB- I was. eight years old. Michael Green, who was also eight, asked if he could watch me take a pee. I said he could if I could watch him take one, too. He said okay, and then we went into the woods behind our house. I got this feeling he was chickening out because he kept saying, `` Ladies first!'' So I pulled down my underpants and urinated, and he ran away before I even finished. GRAHAM Was it ever a topic of conversation between the two of you afterward? CYNTHIA No. He kind of avoided me for the rest of the summer, and then his family moved away. To Cleveland, actually. GRAHAM How unfortunate. So when did you finally get to see a penis? CYNTHIA When I was fourteen. GRAHAM Live, or in a photograph or film of some sort? CYNTHIA Very much live. GRAHAM What did you think? Did it look like you expected? CYNTHIA Not really. I did n't picture it with veins or ridges or anything, I thought it would be smooth, like a test tube. GRAHAM Were you disappointed? CYNTHIA No. If anything, after I looked at it awhile, it got more interesting. It had character, you know? GRAHAM What about when you touched it? What did you expect it to feel like, and then what did it really feel like? CYNTHIA It was warmer than I thought it would be, and the skin was softer than it looked. It's weird. Thinking about it now, the organ itself seemed like a separate thing, a separate entity to me. I mean, after he pulled it out and I could look at it and touch it, I completely forgot that there was a guy attached to it. I remember literally being startled when the guy spoke to me. GRAHAM What did he say? CYNTHIA He said that my hand felt good. GRAHAM Then what happened? CYNTHIA Then I started moving my hand, and then he stopped talking.","INT. GRAHAM'S APARTMENT -- DAY Cynthia, adjusting her clothes, opens the door to leave. She looks very aroused. She and Graham do not speak or touch.","INT. LAW OFFICES -- DAY John Millaney picks up a telephone and presses a blinking button. JOHN John Millaney. CYNTHIA I want to see you. JOHN When? CYNTHIA Right now. JOHN Jesus, I do n't know if I can get away. I've got a client waiting. I'd have to do some heavy duty juggling. CYNTHIA Then get those balls in the air and get your butt over here. She hangs up. John thinks a moment, then hits his intercom button. JOHN Janet, re - schedule Kirkland, see if he can come in Friday. Smooth things out, tell him an emergency came up. I'll slip out the back.","INT. GRAHAM'S APARTMENT -- DAY Graham watches Cynthia's tape, becoming excited. CYNTHIA -LRB- voice on tape. -RRB- Would you like me to take my pants off? GRAHAM -LRB- voice on tape. -RRB- If you wish. -LRB- pause. -RRB- You're not wearing any underwear. CYNTHIA -LRB- voice on tape. -RRB- Do you like the way I look? GRAHAM -LRB- voice on tape. -RRB- Yes. CYNTHIA -LRB- voice On tape. -RRB- Do you think I'm pretty? GRAHAM -LRB- voice on tape. -RRB- Yes. CYNTHIA -LRB- voice on tape. -RRB- Prettier than Ann? GRAHAM -LRB- voice on tape. -RRB- Different.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia and John are having sex. CYNTHIA -LRB- to Graham, voice on tape. -RRB- John does n't have sex with Ann anymore. GRAHAM -LRB- voice On tape. -RRB- Is that what he tells you? CYNTHIA -LRB- voice on tape. -RRB- He does n't have to tell me. Cynthia has an intense orgasm. She rolls off of John, sweating. JOHN Jesus Christ. You are on fire today. Cynthia smiles. CYNTHIA Yes. You can go now. DOCTOR -LRB- voice over. -RRB- If you wo n't talk to me, I ca n't help you. A moment of silence. John is starting to put his clothes on. Cynthia lies in bed, her eyes closed, her face serene. ANN -LRB- voice over. -RRB- I hate my sister.","INT. DOCTOR'S OFFICE -- DAY DOCTOR Why? ANN -LRB- rambling. -RRB- Because all she thinks about are these guys she's after and I just hate her she's such a little slut I thought that in high school and I think that now. Why do people have to be so obsessed with sex all what's the big damn deal? I mean, it's okay and everything, but I do n't understand when people let it control them, control their lives, why do they do that?","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Ann lies awake in bed beside John, who is sound asleep. DOCTOR -LRB- voice over. -RRB- There are many things that can exert control over one's life, good and bad. Religion, greed, philanthropy, drugs. ANN -LRB- voice over. -RRB- I know, but this. I just feel like everybody I know right now is obsessed with sex. Ann looks over at John. She slowly reaches under the covers and grasps his penis. Without waking, he rolls over and turns his back to her. She returns to looking at the ceiling. ANN -LRB- voice over. -RRB- Except John, I guess.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the phone. Ann looks very morose. CYNTHIA He just asked me questions. ANN What kinds of questions? CYNTHIA Questions about sex. ANN Well, like what did he ask, exactly? A pause. CYNTHIA Well, like, I do n't want to tell you, exactly. ANN Oh, so you'll let a total stranger record your sexual life on tape, but you wo n't tell your own sister? CYNTHIA Apparently. ANN Did he ask you to take your clothes off? CYTNHIA Did he ask me to take my clothes off? No, he did n't. ANN Did you take your clothes off? CYNTHIA Yes, I did. ANN -LRB- floored. -RRB- Cynthia! CYNTHIA What!? ANN Why did you do that? CYNTHIA Because I wanted to. ANN But why did you want to? CYNTHIA I wanted him to see me. ANN Cynthia, who knows where that tape may end up? He could be. bouncing it off some satellite or something. Some horny old men in South America or something could be watching it. CYNTHIA He would n't do that. ANN You do n't know that for sure. CYNTHIA Well, it's too late now, is n't it? ANN Did he touch you? CYNTHIA No, but I did. ANN You touched him? CYTNHIA No, I touched me. ANN Wait a minute. Do you mean. do n't tell me you. in front of him. CYNTHIA In front of him, Ann, yes. ANN. -LRB- serious. -RRB- You are in trouble. CYNTHIA -LRB- laughs. -RRB- Listen to you! You sound like Mom. What are you talking about? ANN -LRB- outraged. -RRB- I can t believe you did that! CYNTHIA Why? ANN I mean, I could n't do that in front of John, even. CYNTHIA You could n't do it, period. ANN You know what I mean, you do n't even know him! CYNTHIA I feel like I do. ANN That does n't mean you do. You ca n't possibly trust him, he's. perverted. CYNTHIA He's harmless. He just sits around and looks at these tapes. What's the big deal? ANN So he's got this catalogue of women touching themselves? That does n't make you feel weird? CYNTHIA No. I do n't think they all did what I did. ANN You are in serious trouble. CYNTHIA Ann, I do n't understand why this freaks you out so much. You did n't do it, I did, and if it does n't bother me, why should it bother you? ANN I do n't want to discuss it. CYNTHIA Then why do you keep asking about it?","INT. LOUNGE -- DAY A sparse daytime crowd. Cynthia serves a beer to some DUDE. He puts the money down on the bar and looks at her. DUDE -LRB- as Marlon Brando. -RRB- Are you an assassin? CYTNHIA Excuse me? DUDE -LRB- still Brando. -RRB- You're an errand boy. sent by grocery clerks. to collect a bill. Ann enters the lounge, carrying a package. DUDE -LRB- to Cynthia. -RRB- Brando, it's Brando, come on. CYNTHIA It's great. Pardon me. Cynthia moves down the bar to meet Ann. ANN I wish you'd get an answering machine. CYTNHIA There's a phone here. ANN It was busy. Ann opens the package, revealing a lovely sun dress. ANN Here it is. CYNTHIA What is it? ANN It's a sun dress. CYNTHIA It looks like a tablecloth. ANN It does not. CYTNHIA Well, why would she want a sun dress? She's got spots on her shoulders and varicose veins. ANN So will you, someday. CYNTHIA Yeah, and when I do, I wo n't be wearing sun dresses. The lounge phone rings. ANN I was just trying to - CYNTHIA Hold on. Cynthia walks to the other end of the bar to answer the phone. The Dude watches her pass. Then he turns to Ann and gives her the once - over. He spots the present. DUDE Nice dress. Ann says nothing. DUDE Wan na hear my Walter Matthau? You'll love this. -LRB- as Matthau. -RRB- `` Feeelix, what are you, craaazee?''. -LRB- back to normal. -RRB- Pretty good, huh? Cynthia picks up the phone. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Well, this is timely. Your wife is here, would you like to speak to her? JOHN She's there? What's she doing there? CYTNHIA She came by to show me a present that she and I are buying for your mother - in - law. JOHN Oh. When can I see you? CYNTHIA I do n't know. I'm not sure I can duplicate the level of intensity I had the other day. JOHN Nothing wrong with trying. CYNTHIA I do n't think my sister would agree. A pause. JOHN Do you want me to stop calling? CYNTHIA Look, I'll call you, okay? Cynthia hangs up and walks back to Ann. CYNTHIA So what's my share of the dress? ANN Thirty - two dollars. Cynthia pulls thirty - five bucks out of her jeans. She watches Ann put the money away. CYNTHIA Look, do n't worry about the dress, I'm sure she'll love it. DUDE -LRB- to Ann and Cynthia. -RRB- Hey! How about Tom Brokaw? Nobody does Brokaw. -LRB- as Tom Brokaw. -RRB- `` In Iran today.''","INT. GRAHAM'S APARTMENT -- DAY Graham sits reading a book. There is a knock at his door. GRAHAM It s open. Cynthia enters the room, looking very intent on something. GRAHAM Hello. CYNTHIA Hi. Graham sets his book down. He looks at her for a moment, then drags on his cigarette. CYNTHIA Look, I'm just going to come right out and tell you why I'm here, okay? GRAHAM Okay. CYNTHIA I'd like to make another tape. Graham thinks for a moment. GRAHAM No. CYNTHIA No? Not even one more? GRAHAM I never do more than one. I'm sorry. CYNTHIA I ca n't talk you into it? GRAHAM No. You'll have to get somebody else. CYNTHIA Now who the hell is going to do that for me? GRAHAM I'm sure a substantial number of men in this town would volunteer. CYNTHIA But I want you to do it, I want somebody who will ask the right questions and everything, somebody I can play to and feel safe because you ca n't do anything. GRAHAM Ouch. Okay, I deserved that. Cynthia, do n't you understand? After the first time it's just not spontaneous. There's no edge anymore. Look at the tapes, there is only one date on each label. I have never taped anyone twice. CYNTHIA So make an exception. GRAHAM No. CYNTHIA How about if you record over the one we already made? You could have the same date and not use another tape. Who would know? GRAHAM I would. CYNTHIA Well, what the hell am I supposed to do? GRAHAM Cynthia, I do n't know. CYNTHIA I ca n't believe you're doing this after I let you tape me. GRAHAM I'm sorry. I ca n't do it. CYNTHIA Goddamit, give me my tape, then. GRAHAM No. Cynthia heads for the tape box. Graham leaps up to stop her. CYNTHIA -LRB- digging through the box. -RRB- It's my fucking tape, you asshole - Graham grabs her wrists momentarily. GRAHAM -LRB- heated. -RRB- No! I told you what the parameters were and you agreed. It's my tape. I look at it, I touch it, nobody else. Cynthia and Graham look at each other for a long moment. GRAHAM Please go, I'd like you to go now. Cynthia looks at him. CYNTHIA Sure, okay. She leaves.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John and Ann lie in bed. The lights are out. Ann is wide awake, while John is on the verge of sleep. He rolls over and puts his arm around her. She gets up and sits in a chair opposite the bed. ANN John? JOHN Mmmmm. ANN I called you Tuesday at 3:30 and they said you were n't in. Do you remember where you were?","INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are in Cynthia's bed, kissing. On the floor, John's watch reads 3:11 pm.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Tuesday. I had a late lunch. ANN Did you see a message to call me when you got back in?","EXT. CYNTHIA BISHOP'S APARTMENT -- DAY John leaves Cynthia's house and drives straight home, greeting Ann as he steps through the front door.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Yes. I just got busy. ANN That's interesting, because I did n't leave a message. John is waking up a little. JOHN Then maybe I saw an old message. There are a lot of them on my desk, you know. ANN Who'd you have lunch with? JOHN I ate by myself. A pause. JOHN Something wrong? ANN Are you having an affair? JOHN Jesus Christ, where'd that come from? I have a late lunch by myself and now I'm fucking somebody? ANN Well, are you? JOHN No, I'm not. Frankly, I'm offended at the accusation. ANN If I'm right, I want to know. I do n't want you to lie. I'd be very upset, but not as upset as if I'd found out you'd been lying. JOHN There's nothing to know, Ann. ANN I ca n't tell you how upset I would be if you were lying. JOHN Ann, you are completely paranoid. Not ten minutes ago I wanted to make love for the first time in weeks, and you act like I'm dipped in shit. You know, I think there are a lot of women that would be glad to have a young, straight male making a pretty good living beside them in bed with a hard on. ANN My sister, for one. Is that who it is? JOHN For God's sake, Ann, I am not fucking your sister. I do n't find her that attractive, for one. ANN Is that supposed to comfort me? JOHN I was just saying, you know? I did n't get paranoid when you did n't want to make love. I could have easily assumed that you did n't want to because you were having an affair. ANN But I'm not. JOHN I'm not either! ANN Why do n't I believe you? JOHN Look, this conversation is utterly ridiculous. Maybe when you have some evidence, we should talk, but do n't give me conjecture and intuition. ANN Always the lawyer. JOHN Goddam right. I mean, can you imagine : `` Your honor, I'm positive this man is guilty. I ca n't place him at the scene or establish a motive, but I have this really strong feeling.'' ANN You've made your point. JOHN I'm sorry. It's just. I'm under a lot of pressure with this Kirkland thing, it's my first big case as junior partner, and I work all day, I come home, I look forward to seeing you, and. it hurts that you accuse me like that. A pause. Ann exhales. ANN I'm sorry, too. I. I get these ideas in my head, you know, and I have nothing to do all day but sit around and concoct these intricate scenarios. And then I want to believe it so I do n't think I've wasted the whole day. Last week I was convinced you were having an affair with Cynthia, I do n't know why. JOHN I do n't, either. I mean, Cynthia, of all people. She's so. ANN Loud. JOHN Yeah. Jeez, give me some credit. ANN I did n't say it was rational, I just said I was convinced. JOHN Is n't therapy helping at all? ANN I do n't know. Sometimes I feel stupid babbling about my little problems while children are starving in the world. JOHN Quitting your therapy wo n't feed the children of Ethiopia. ANN I know. A pause. ANN You never used to say `` fucking''.","INT. CYNTHIA BISHOP'S APARTMENT -- DAY John sits on the edge of Cynthia's bed, slowly undressing. JOHN It's just so blatantly stupid, I have a hard time believing you did it. CYNTHIA What's so stupid about it? JOHN That you. you do n't even know the guy. CYNTHIA Well, you know him, he's a friend of yours, do you think he can be trusted? JOHN Shit, after what you've told me, I do n't know. I should've known, when he showed up dressed like some arty brat. CYNTHIA I like the way he dresses. JOHN What if this tape gets into the wrong hands? CYNTHIA `` The wrong hands''? We're not talking about military secrets, John. They're just tapes that he makes so he can sit around and get off. JOHN Jesus Christ. And he does n't have sex with any of them? They just talk? CYNTHIA Right. JOHN Jesus. I could almost understand it if he was screwing these people, almost. Why does n't he just buy some magazines or porno movies or something? CYNTHIA Does n't work. He has to know the people, he has to be able to interact with them. JOHN Interact, fine, but did you have to masturbate in front of him, for God's sake? I mean. A pause. CYNTHIA I felt like it, so what? Goddam, you and Ann make such a big deal out of it. JOHN You told Ann about this? CYNTHIA Of course. She is my sister. I tell her almost everything. JOHN I wish you had n't done that. CYNTHIA Why not? JOHN It's just something I'd prefer she did n't know about. CYNTHIA She's a grown - up, she can handle it. JOHN I just. Ann is very. CYNTHIA Hung up. JOHN It just was n't a smart thing to do. Did you sign any sort of paper, or did he have any contract with you saying he would n't broadcast these tapes? CYNTHIA No. JOHN You realize you have no recourse legally? This stuff could show up anywhere. CYNTHIA It wo n't. I trust him. JOHN -LRB- disbelieving. -RRB- You trust him. CYNTHIA Yeah, I do. A helluva lot more than I trust you. JOHN What do you mean? CYNTHIA Exactly what I said. I'd trust him before I'd trust you. How much clearer can I be? JOHN It hurts that you would say that to me. CYNTHIA -LRB- laughs. -RRB- Oh, please. Come on, John. You're fucking your wife's sister and you hardly been married a year. You're a liar. But at least I know you're a liar. It's the people that do n't know, like Ann, that have to watch out. JOHN By definition you're lying to Ann, too. CYNTHIA That's right. But I never took a vow in front of God and everybody to be `` faithful'' to my sister. JOHN Look, are we going to do it or not? CYNTHIA Actually, no, I've changed my mind. I should n't have called. JOHN -LRB- ingratiating. -RRB- Well, I'm here now. I'd like to do something. CYNTHIA How about straightening up the living room? John does n't smile. CYNTHIA Come on, John. You should be happy, we've gone this far without Ann finding out, I'm making it real easy on you. Just walk out of here and I'll see you at your house for a family dinner sometime. JOHN Did he put you up to this? CYNTHIA Who? JOHN Graham. CYNTHIA No, he did n't put me up to this. Jesus, I do n't need people to tell me what I should do. I've just been thinking about things, that's all. JOHN I ca n't believe I let him stay in my house. Right under my nose. That deviant fucker was right under my nose and I did n't see him. CYNTHIA If he had been under your prick you'd have spotted him for sure. JOHN -LRB- looks at her. -RRB- God, you. you're mean. CYNTHIA I know. Will you please leave now? JOHN Maybe I do n't want to leave. Maybe I want to talk. CYNTHIA John, we have nothing to talk about. JOHN I knew it, I knew it. Things are getting complicated. CYNTHIA No, John, things are getting real simple.","INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, dressed in some of John's work clothes -LRB- old cotton shirt, khaki pants -RRB- is cleaning the house. Not cleaning like a normal person, but like an obsessive/compulsive person. Scrubbing spots that are already clean, vacuuming the same area of rug over and over, etc.. Suddenly, an object lodges itself in the snout of the vacuum cleaner, making a loud noise. Shutting the machine off, Ann turns it over and sees that Cynthia's diamond stud earring has gotten hooked in the take - up roller. Ann stares at Cynthia's earring for a long moment. Cynthia picking up her jacket from beside the bed after having sex with John. The earring slips out of the pocket and bounces under the edge of the bed. Ann as she sets the earring onto the floor and begins to pound it with the bottom of a water glass, trying to smash it to pieces. She soon realizes the futility of trying to break a diamond. Ann looks down at herself. Suddenly realizing that she is dressed in John's clothing, she frantically rips the shirt and pants from her body as though the material were burning her skin. Popped buttons skid across the floor. Clothed only in her bra and underwear, Ann sits in the middle of the bedroom floor, arms around herself.","EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, now in jeans and t - shirt, stumbles to her car. Once inside, she jams the key into the ignition and rests her head against the steering wheel.","EXT. GRAHAM'S APARTMENT -- DAY Ann lifts her head from the steering wheel and looks up. She looks almost surprised to find that she has driven to Graham's. Slowly, she gets out of the car.","INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is a weak knock at the door. Graham listens, not sure he heard anything. There is a second weak knock. GRAHAM It's open! Nothing happens. Graham gets up and opens the door himself. Ann stands against the wall of the hallway, her head down, her breathing deliberate. Concerned, Graham slowly begins to lead her inside. Impulsively, she hugs him tightly. Unaccustomed to physical contact, Graham's hands hang awkwardly at his side. Ann slowly pulls back from the embrace and sits down. Graham goes to the kitchen area and gets her a glass of water. He gives it to her and sits in the chair opposite. Ann holds the glass in her hand, staring at it. GRAHAM It's bottled, not tap. A weak smile from Ann. She drinks, swallowing with difficulty. ANN I'm not sure why I came here. I had kind of decided not to talk to you after. you know. GRAHAM I know. A pause. ANN That son of a bitch. Ann looks at Graham. ANN -LRB- sarcastic. -RRB- John and Cynthia have been. `` fucking''. GRAHAM I know. ANN -LRB- stunned. -RRB- You know? GRAHAM Yes. ANN How did you know? GRAHAM She said it on her tape. ANN -LRB- angry. -RRB- Why did n't you tell me? GRAHAM Ann, when would I have told you? We were not speaking, if you recall. Ann says nothing. GRAHAM But even if we had been speaking, I would n't have told you. ANN Why not? GRAHAM It's not my place to tell you these things, Ann. You have to find out by yourself or from John directly. You have to trust me on this. Ann shakes her head. ANN My life is. shit. It's all shit. It's like somebody saying, `` Okay, chairs are not chairs, they're actually swimming pools'' I mean, nothing is what I thought it was. What happened to me? Have I been asleep? I vaguely remember the wedding, but a lot of it is just a blur. like I was watching from a distance. I ca n't believe him. Why did n't I trust my intuition? Graham says nothing. ANN And I'm vacuuming his goddam rug. His rug, that he paid to have put in his house. Nothing in that place belongs to me. I wanted to put some of my grandmother's furniture in it, but he would n't let me. So I m vacuuming his rug. That bastard. Ann looks at Graham. ANN I want to make a tape. A pause. GRAHAM Do you think that's such a good idea? ANN Do n't you want to make one? GRAHAM Yes. But I sense the element of revenge here. ANN What difference does it make why I do it? GRAHAM I want you to be aware of what you're doing and why, because I know that this is not the sort of thing you would do in a normal frame of mind. ANN What would you know about a normal frame of mind? GRAHAM -LRB- impressed. -RRB- That's a good question. ANN What do you have to do to get ready? GRAHAM Load a new tape, turn the camera on. ANN Then do it. Graham opens a new box of videotapes. ANN How do you pay for all this? I mean, rent, and tapes and this equipment. GRAHAM I have money. ANN What will you do when the money runs out? GRAHAM It wo n't. Are you ready? ANN Yes. Graham turns the camera on. GRAHAM Tell me your name. ANN Ann Bishop Millaney.","EXT. GRAHAM'S APARTMENT -- DUSK Street lights are illuminated. Night is imminent.","INT. GRAHAM'S APARTMENT -- DUSK Graham stops the video recorder. The record meter is stopped at 46:02. Ann sits beside Graham on the couch. She looks into his eyes, stroking his hair. After a moment, she gets up to leave.","INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John is talking on the phone as Ann walks through the door. He mumbles an apology into the receiver and hangs up as Ann moves to the couch, her expression calm. JOHN -LRB- worried. -RRB- Jesus Christ! What the hell happened? I came home and your car was gone, the door was open, I thought for sure you'd been abducted by some mad fucker, I was literally just calling the cops when you walked in. What happened? ANN I want out of this marriage. JOHN -LRB- genuinely shocked. -RRB- What? ANN -LRB- looks at him. -RRB- I want out of this marriage. JOHN Why? ANN We'll call it uncontested or whatever. I just want out. John moves to sit beside her on the couch. Ann does not look at him. JOHN -LRB- conciliatory. -RRB- Ann, honey, please, tell me what's wrong. Do n't just say you want out and leave me wondering. You ca n't just go without telling me why. Ann turns to look at him for a moment, then turns away. ANN Fuck you. I can do what I want. John's mouth literally hangs open in shock. He is dumbstruck. ANN I'll stay at my mother's. John gets up from the couch and begins pacing. JOHN Where did you go when you left here? ANN I drove around. Then I went to talk with Graham. John smacks his hand on his leg. JOHN Goddammit, goddammit! That son of a bitch! -LRB- thinking. -RRB- Well, at least I know you did n't fuck him. ANN No, but I wanted to. I really wanted to, partially just to piss you off. John is seething. JOHN You're leaving me for him, are n't you? Well, that makes a sad sort of sense. He ca n't, and you wo n't. ANN I'm not going to discuss this with you anymore. You're making no sense. John walks over to Ann. JOHN Did you make one of those goddam tapes? Ann says nothing. JOHN Answer me, godammit! Did you make one of those tapes? ANN Yes! John explodes, hitting the wall all around Ann. She cowers beneath the storm. John bolts from the house. ANN DO N'T YOU TOUCH HIM!","INT. GRAHAM'S APARTMENT - NIGHT Graham stands in the middle of the room with a cigarette in his mouth, trying to teach himself to moonwalk.","EXT. GRAHAM'S APARTMENT -- NIGHT John screeches to a halt, parking haphazardly. He gets out of the car and runs to Graham's apartment.","INT. GRAHAM'S APARTMENT -- NIGHT John bursts through the door without bothering to knock. Graham looks up, startled. Before he can even react, John has him by the lapels. GRAHAM Hi, John. JOHN Where are the tapes, Graham? GRAHAM What tapes? JOHN You know which tapes! Where are they? GRAHAM John, as a lawyer, you should know that those tapes are private property. JOHN So is my wife, asshole! GRAHAM She's not property, John, she's a person. Were you just going to keep right on lying to her? JOHN What the hell do you think? I love Ann. You think I'm going to tell her about Cynthia and hurt her feelings like that? GRAHAM God, you need help. JOHN I need help? Whose sitting by himself in a room choking his chauncey to a bunch of videotapes, Graham? Not me, buddy. You're the fucking nut. Now show me those tapes. GRAHAM No. JOHN I'm not kidding, Graham, you'd better do what I say. Give me those tapes. GRAHAM No. John punches Graham in the jaw, knocking him to the floor. Graham feels his mouth for blood as John picks him up by the shirt. JOHN Graham, I swear to Christ I'll kill your scrawny ass. Now give me those tapes. GRAHAM No. John roughly pushes Graham into one of the director's chairs, which topples over and throws Graham to the floor once again. John looks around. He sees the boxes of tapes and begins to go through the contents. Graham gets up and runs over to stop him. GRAHAM Get away from those! They belong to me! Graham and John struggle. John hits Graham in the stomach and pushes him to the floor. JOHN Give me your keys. GRAHAM My keys? John bends over and starts going through Graham's pockets. JOHN Your keys, asshole! Your two fucking keys! Give them to me! GRAHAM I'm not going to give you my keys. John beats Graham until Graham can offer no resistance. He then drags Graham into the hallway and leaves him there. John then locks himself inside Graham's apartment. John walks over to the boxes of videotapes and begins to search through them spastically. He finds both Cynthia and Ann's tapes. After a brief deliberation, he decides to watch Ann's. He turns on the player and the monitor. After pulling a chair up to the screen, John presses the button marked `` play''. In the hallway, Graham drags himself to the door of his apartment. Putting his ear to the inlet, he strains to hear what is going on inside. John watches the monitor come to life. The image is Ann, sitting in a chair. GRAHAM -LRB- on tape. -RRB- Tell me your name. ANN -LRB- on tape. -RRB- Ann Bishop Millaney. GRAHAM -LRB- on tape. -RRB- You are married, correct? JOHN Goddam right. ANN -LRB- on tape. -RRB- Yes. GRAHAM -LRB- on tape. -RRB- Who usually initiates sex? John's jaw tightens. JOHN Bastard. ANN -LRB- on tape. -RRB- He does. GRAHAM -LRB- on tape. -RRB- Do you talk to him? ANN -LRB- on tape. -RRB- When we're making love? GRAHAM -LRB- on tape. -RRB- Yes. ANN -LRB- on tape. -RRB- Sometimes. Afterward. GRAHAM -LRB- on tape. -RRB- Does he go down on you? JOHN -LRB- shouting at Graham. -RRB- You son of a bitch! ANN -LRB- on tape. -RRB- Not very often. GRAHAM -LRB- on tape. -RRB- I would. John is literally so mad he ca n't speak. He watches the screen in mute anger, his hands wrapped tightly around the arms of the chair. Graham still listens from the hallway. GRAHAM -LRB- on tape. -RRB- Have you ever wanted to make love to someone other than your husband? JOHN Goddamit. Ann hesitates. JOHN -LRB- to Ann's image. -RRB- Answer him, goddammit! GRAHAM -LRB- on tape. -RRB- You're hesitating. I think that means you have. JOHN -LRB- to Graham on tape. -RRB- Shut up! ANN -LRB- on tape. -RRB- You do n't know what I'm thinking. GRAHAM -LRB- on tape. -RRB- It's a simple question. Have you ever thought of having - making love with someone other than your husband? John leans forward. ANN -LRB- on tape. -RRB- Is he going to see this? GRAHAM -LRB- on tape. -RRB- Absolutely not. A sarcastic chuckle from John. In the hallway, Graham furrows his brow. ANN -LRB- on tape. -RRB- I have thought about it, yes. JOHN -LRB- to Ann's image. -RRB- You bitch. I knew it. GRAHAM -LRB- on tape. -RRB- Did you have sex before you were married? ANN -LRB- on tape. -RRB- Yes. GRAHAM -LRB- on tape. -RRB- Did the person you made love with satisfy you more than your husband? JOHN -LRB- to Graham. -RRB- God damn you! ANN -LRB- on tape. -RRB- Yes. John stands and throws his chair against the door. Graham, still listening at the door, is startled. GRAHAM -LRB- on tape. -RRB- And you have thought about. making love to that person again since you ve been married? John watches the monitor, his eyes beginning to water. ANN -LRB- on tape. -RRB- I do n't see what difference it makes, I mean, I can think what I want. -LRB- pause. -RRB- I do n't know if I want to do this anymore, I'm afraid. I do n't mind answering the questions so much, but if somebody were to see this. GRAHAM -LRB- on tape. -RRB- At some level, I do n't understand your nervousness. Have you decided to leave John? Ann thinks. John watches. ANN -LRB- on tape. -RRB- Yes, I have. I will. GRAHAM -LRB- on tape. -RRB- Then as far as this taping goes, you have nothing to worry about. ANN -LRB- on tape. -RRB- I guess not. GRAHAM -LRB- on tape. -RRB- Do you want me to stop? John, absorbed in the image, absently shakes his head. ANN -LRB- on tape. -RRB- No. GRAHAM -LRB- on tape. -RRB- Are there people other than your previous lover that you have fantasized about? A pause. ANN -LRB- on tape. -RRB- Yes. Whenever. all right, look. Whenever I see a man that I think is attractive, I wonder what it would be like with him, I mean, I'm just curious, I do n't act on it, but I hate that I think that! I wish I could just forget about that stuff! GRAHAM -LRB- on tape. -RRB- Why? ANN -LRB- on tape. -RRB- Because that's how Cynthia thinks! All she does is think about that stuff, and I hate that, I do n't want to be like her, I do n't want to be like her! GRAHAM -LRB- on tape. -RRB- You're not like your sister. You could n't be like her if you wanted to. ANN -LRB- on tape. -RRB- I know. Deep down, I know that. It just bothers me, when I have feelings or impulses that she has. John picks up the chair he threw and sets it upright. He sits down and watches the screen impassively. Graham still listens from outside. GRAHAM -LRB- on tape. -RRB- So you do fantasize? ANN. -LRB- on tape. -RRB- Yes. GRAHAM. -LRB- on tape. -RRB- About who? ANN -LRB- on tape. -RRB- I fantasized about you. GRAHAM. -LRB- on tape. -RRB- About me? ANN. -LRB- on tape. -RRB- Yes. A pause. ANN -LRB- on tape. -RRB- Have you fantasized about me? GRAHAM -LRB- on tape. -RRB- I thought I made that clear before, when I said I would go down on you. ANN -LRB- on tape. -RRB- I remember. You could do that, could n't you? Go down on me? GRAHAM -LRB- on tape. -RRB- Yes. ANN -LRB- on tape. -RRB- If I asked you to, would you? Not on tape, I mean? GRAHAM -LRB- on tape. -RRB- No. ANN -LRB- on tape. -RRB- On tape? GRAHAM -LRB- on tape. -RRB- No. ANN -LRB- on tape. -RRB- Why not? GRAHAM -LRB- on tape. -RRB- If I ca n't do it all, I do n't want to do anything. And I ca n't do it all. ANN -LRB- on tape. -RRB- Ca n't or wo n't? A pause. John is still watching the tape, his face betraying no emotion. Graham still listens from outside. The previous afternoon. We are no longer looking at Ann on the monitor, but watching her and Graham AS THEY MADE THE TAPE. For instance, we can now see Graham from Ann's point of view, or the two of them at the same time, etc.. GRAHAM Ca n't. ANN You said you were n't always impotent. GRAHAM That's correct. ANN So you have had sex. GRAHAM Yes. ANN Who was the last person you had sex with? GRAHAM Her name was Elizabeth. ANN So what happened? Was it so bad that it turned you off? GRAHAM No, it was wonderful. That was n't the problem. ANN What was the problem? GRAHAM The problem was me. I was. I was a pathological liar. Or am, I should say. Lying is like alcoholism, one is always `` recovering''. ANN So you lied to her? GRAHAM Yes. I did. Willfully and repeatedly. ANN How come? GRAHAM I loved her for how good she made me feel, and I hated her for how good she made me feel. And at that time, I tended to express my feelings non - verbally. I could n't handle anyone having that much control over my emotions. ANN And now you can? GRAHAM Now I make sure that no one has the opportunity to test me. ANN Do n't you get lonely? GRAHAM How could I, with all these nice people stopping by? The fact is that I've lived by myself for so long, I ca n't imagine living with another person. It's amazing what you can get used to if enough time goes by. And anyway, I'm asking the questions. Are you happy? ANN I do n't know anymore. I thought I was, but obviously I was wrong. GRAHAM Did you confront John with the fact that you knew about him? ANN Not yet. I'm not sure I will. I just want out. GRAHAM If you do get out of your marriage, will you continue to be inhibited? ANN I do n't know. It all gets back to that Cynthia thing. I do n't like her. eagerness. There's nothing left to imagine, there's no. GRAHAM Subtlety? ANN Subtlety, yes. No subtlety. Plus, I've never really felt able to open up with anyone. I mean, that other person I told you about, I enjoyed making love with him a lot, but I still was n't able to really let go. I always feel like I'm being watched and I should n't embarrass myself. GRAHAM And you feel the same way with John? ANN Kind of. I mean, John's like this kind of. craftsman. Like he's a carpenter, and he makes really good tables. But that's all he can make, and I do n't need anymore tables. GRAHAM Interesting analogy. ANN I'm babbling. GRAHAM No, you're not. ANN -LRB- thinking. -RRB- God, I m so mad at him! GRAHAM You should be. He lied to you. So did Cynthia. ANN Yeah, I know, but somehow I expect that from her, I mean, she'll do it with almost anybody, I do n't know, I should n't stick up for her I guess, but him. He lied so. deeply! Ooo, I want to watch him die! Ann sits quietly for a moment. Graham watches her silently. The camera continues to roll. ANN -LRB- looks up at Graham. -RRB- You're really never going to make love again? GRAHAM I'm not planning on it. A pause. ANN If you were in love with me, would you? GRAHAM I'm not in love with you. ANN But if you were? GRAHAM I. I ca n't answer that precisely. ANN But I feel like maybe I could be really comfortable with you. GRAHAM That's very flattering. ANN So why wo n't you make love with me? Why would n't you, I mean? GRAHAM Ann. Are you asking me hypothetically, or are you asking me for real, right now? ANN I'm asking for real. I want you to turn that camera off and make love with me. Will you? A pause. GRAHAM I ca n't. ANN Why not? GRAHAM I've told you. ANN But I do n't understand - GRAHAM Ann, it could happen to me all over again, do n't you see? I could start to - ANN But how do you know for sure, you have to try to find a way to fig - GRAHAM I could n't face her if I had slept with somebody else. A pause. ANN Who? Elizabeth? GRAHAM -LRB- uncomfortable. -RRB- Yes. ANN You mean you're still in contact with her? GRAHAM No. ANN But you're planning to be? GRAHAM I do n't know. Possibly. ANN Wait a minute, wait a minute. What's going on here? Did you come back here just to see her again? GRAHAM Not entirely. ANN But that was part of it? GRAHAM Yes. ANN Like maybe a big part? GRAHAM Possibly. ANN Graham, I mean, what do you think her reaction is going to be if you contact her? GRAHAM I do n't know. ANN Look at you, look at what's happened to you, look how you've changed! Do n't you think she will have changed? GRAHAM I do n't know. I really would rather not talk about it. ANN -LRB- has to laugh. -RRB- Whoa! I'm so glad we got that on tape! You wo n't answer a question about Elizabeth, but I have to answer all these intimate questions about my sex life! Graham, what do you think she's going to make of all these videotapes? Are you going to tell her about them? I ca n't imagine her being too understanding about that. But since you do n't lie anymore, you'll have to say something. GRAHAM As I said, I have n't decided what to do, exactly. Perhaps I wo n't do anything. ANN Oh, you just moved here to think about it, right? Graham says nothing. Ann looks at him. ANN Oh, God, Graham, this is so. pathetic. You're not even what you pretend to be, you're a lie, you're a bigger lie than you ever were. Graham sets the camera down, though it continues to record. He is visibly upset. GRAHAM All right, you want to talk about lies, let's talk about lies, Ann. Let's talk about lying to yourself. You have n't been able to sleep with your husband because you're no longer in love with him, and maybe you never were. You have n't been honest with yourself in longer than you can remember. ANN -LRB- heated. -RRB- Yeah, you're right. But I never claimed to know everything like you, and have all these little theories. I'm still learning, I know that. But I do n't feel like I've wasted time. If I had to go through my marriage to get to where I am right now, fine. Ann moves in closer, burrowing, her eyes on fire. ANN But you. You have wasted nine years. I mean, that has to be some sort of weird record or something, nine years. How does that feel? Graham says nothing. Ann picks up the camera and points it at him. GRAHAM Do n't do that. ANN Why not? GRAHAM Because. ANN `` Because''? That's not good enough. I asked you a question, Graham. I asked you `` how does it feel''? How does it feel, Mr. I Want To Go Down On You But I Ca n't? Do you know how many people you've sucked into your weird little world? Including me? Come on, how does it feel? GRAHAM I ca n't tell you like this. ANN I'm just going to keep asking until you answer. I'm sure there's plenty of tape. GRAHAM I do n't find this `` turning the tables'' thing very interesting - ANN I do n't care. Graham reaches up for the camera. Ann knocks his hand away. ANN Not until I get some answers. Tell what you feel. Not what you think, I've heard plenty of that. What you feel. Graham is on the verge of completely falling apart. ANN Come on! GRAHAM All right! All right! You want to know? You want to know how I feel? I feel ashamed. Is that what you wanted to hear? A pause. Graham regains his composure somewhat. ANN Why are you ashamed? GRAHAM Jesus Christ, Ann. Why is anybody anything? I think you have this idea that people are either all good or all bad, and you do n't allow for any gray areas, and that's what most of us consist of. ANN You're not answering me. GRAHAM -LRB- heated. -RRB- Well, what kind of answer are you looking for, Ann? What is it exactly that you want to know? ANN I want to know why you are the way you are! GRAHAM And I'm telling you it's not any one thing that I can point to and say `` That's why!'' It does n't work that way with people who have problems, Ann, it's not that neat, it's not that tidy! It's not a series of little boxes that you can line up and count. Things just do n't happen that way. ANN But why ca n't you just put it all behind you? Ca n't you just forget it? All that stuff you did? GRAHAM No, Ann, I ca n't. I ca n't forget it. It's not something I can fix. It's difficult. There s something in my mind. the way my brain works. -LRB- frustrated. -RRB- God, Ann, when you're with another person, and you re. inside them, you're so vulnerable, you're revealing so much. there's no protection. And. somebody could say, or do something to you while you re in this. state of. nakedness. And they could hurt you without even knowing it. In a way that you could n't even see. -LRB- looks at Ann. -RRB- And you would withdraw. To make sure it did n't happen again. Ann looks at him for a long moment and then sets the camera down. She moves in front of Graham and kneels. ANN I want to touch you. Graham shakes his head. ANN I want to touch you. GRAHAM No. Ann reaches out, and Graham instinctively begins to move away. ANN Graham. Something in her voice makes him stop. Their eyes lock. Graham slowly moves back toward her. Ann's hand eases out to him, her eyes still burning into his. Graham closes his eyes, accepting Ann's touch. She caresses him. Slowly. Delicately. She touches his arms, his face, his hair. Closing her eyes, she takes his hand and puts it against her face. She begins to lie him back on the couch. When he offers light resistance, she gently persists. ANN Keep your eyes closed. Graham lies back, silently obeying. Ann touches his face. Gradually, her hand slips to his neck and she begins to unbutton his shirt. She watches his face, hoping that he will remain calm. He does. She rubs her hand on his chest. Once again she brings Graham's hand to her face. She moves his hand to her neck and throat, painting her skin with his fingers. Soon each hand is exploring the other. Fingers search for and find hidden areas. Ann stands. Their hands remain together, and Graham's eyes remain closed. Ann moves onto the couch with Graham. She gently lowers herself into a sitting position on his waist. She slowly moves both of her hands onto Graham's chest. They move forward and back, like a lazy tide. She looks at Graham. His face is tranquil. Ann quietly begins to move her face toward his. Soon she is hovering inches above him, her long hair touching his features. She lowers her lips to his forehead and kisses him. She waits for a negative reaction. Getting none, she moves lower and kisses his eyes. Still receiving no discouragement, she moves to his nose. A subtle movement from Graham. Ann waits for a moment. She then moves to his lips, her luxuriant tresses enveloping his face. She kisses him lightly. She kisses him again. Graham tilts his head back and she softly kisses his neck. Graham's hands make their way up Ann's back until they have reached her neck. He slowly pulls his face to hers. He kisses her. Graham is flooded with warmth and excitement. He caresses her, intoxicating himself with physical contact. The kisses become more meaningful, and the touching becomes more passionate. For a moment, Graham seems about to evaporate in a state of ecstasy, his eyes filled with relief and happiness. But his gaze happens to fall on the video camera, which continues to record. Graham seizes up and abruptly backs away from Ann's embrace. Reality slowly envelopes him. ANN Graham. GRAHAM I'm okay. It's okay. Ann reaches for his hand. He allows her to take it. GRAHAM -LRB- almost dazed. -RRB- It's okay. Graham looks at Ann for a long moment. She sees the acceptance and gratitude in his eyes. She smiles lightly. Graham moves forward and shuts off the camera. John watching the tape. There is video snow on the monitor now. The tape timer reads 46:02. John gets up slowly, ejects the tape from the player, and heads for the door. Graham, hearing the footsteps approach, backs away from the inlet. His eye is swollen, and he holds one of his hands in a curious position. John opens the door. He looks at Graham for a moment before reaching into his pocket for Graham's keys. He dangles them in his hand as he stands over Graham. JOHN I never told you this, because I thought it would crush you, but now I could give a shit. -LRB- pause. -RRB- I fucked Elizabeth. Before you broke up. Before you were having trouble, even. So you can stop making her into a saint. She was good in bed and she could keep a secret. And that's about all I can say about her. John drops Graham's keys to the floor and leaves. Graham stands, fighting back tears, and walks into his apartment. He pulls Ann's tape from the videotape player. He reaches inside the cassette cartridge and pulls the videotape itself out, ruining it forever. He does the same to every other tape in both the boxes. Calmly. Deliberately. Methodically. He walks over to the camera/recorder, trailing a mound of videotape behind him. He breaks the lens off the camera body, and smashes the inner workings against the edge of the table. He then drops the damaged unit into the pile of destroyed tape, where it disappears.","INT. LAW OFFICES -- DAY John Millaney talks to his colleague. JOHN Man, not having to answer to anybody. I feel like this huge weight has been lifted from my shoulders. I mean, come on, if I decide that I'd rather live alone, what's so bad about that? It's not like I've decided to live a life of crime, right? It's just how I feel, you ca n't help the way you feel, you just have to be honest about it. John dials a number on his telephone. VOICE ON PHONE IBM. JOHN -LRB- to phone. -RRB- Brian Kirkland, please. VOICE ON PHONE May I ask who's calling? JOHN John Millaney. VOICE ON PHONE One moment. JOHN -LRB- to his colleague. -RRB- Anyway, I've always said, the work is the thing. I can be happy without a marriage, but take away my work, that's different. And if Ann ca n't handle that, that's her problem, like we re all alone in this world, you know what I'm saying? I mean, fuck. -LRB- looks at phone. -RRB- Jesus, what's takin' this guy? The intercom clicks to life. SECRETARY -LRB- on speaker. -RRB- Mr. Millaney? JOHN Yeah. SECRETARY -LRB- on speaker. -RRB- Mr. Forman would like to see you in his office. JOHN Okay, in a minute, I'm on with a client. SECRETARY -LRB- on speaker. -RRB- He said immediately. JOHN All right, jesus. The intercom clicks off. VOICE ON PHONE Mr. Millaney? JOHN Yes? VOICE ON PHONE Mr. Kirkland has asked me to inform you that he has obtained legal representation elsewhere, and that if you have a message for him to leave it with me. John swallows. JOHN Thank you. I. there is no message. Thank you. John hangs up. He thinks for a moment, rubbing his forehead. The intercom clicks to life. SECRETARY -LRB- on speaker. -RRB- Mr. Millaney, Mr. Forman is waiting. DUDE -LRB- voice over. -RRB- Come on, I'm not asking too much, am I? Just one little question.","INT. LOUNGE -- DAY Cynthia is tending bar. The Dude from earlier is still there, puffing On a big cigar. DUDE Just tell me what time you get off. Work, I mean. What's the harm in that? Whaddaya say? Ann enters the lounge. Cynthia watches with apprehensive surprise as Ann approaches with a potted plant. CYNTHIA -LRB- to Dude. -RRB- Excuse me. Cynthia moves to meet Ann at the end of the bar. Ann sets the plant down on the counter. Her manner is diffident, but not hostile. ANN I know it's your birthday, and I know you like plants. So I got you this. Cynthia is very moved, though she struggles valiantly to conceal her emotions. CYNTHIA Thank you. ANN Well. I ca n't stay. Ann begins to leave. CYNTHIA Can I call you? Ann turns back to face her. They look at each other for a moment. ANN Do you have my work number? CYNTHIA No. Ann writes the number down on a napkin. ANN I get real busy between two and four. CYNTHIA Okay. Ann looks at Cynthia again before leaving. ANN Bye. CYNTHIA Bye. Ann leaves. Cynthia continues to look at the door long after Ann has left. DUDE Nice plant. turns to him. CYNTHIA Do me a favor. Do n't come in here anymore.","INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is now some furniture in the apartment. Bookshelves, plants, etc.. There are periodicals on the table where the video gear used to be. There are no cigarettes. There is a knock at Graham's door, which now has a deadbolt lock. GRAHAM Who is it? A knock again. Graham sets his book down and goes to the door. He unlocks the deadbolt and opens it. Ann stands in the hallway. Graham is obviously flushed with feeling at seeing her. She wordlessly moves into the room, her movements like a slow breeze, her expression calm. Graham watches her go by. She stops in the middle of the room, her back to him. Graham moves toward her slowly. Sensing him behind her, her breathing becomes deep. Graham slowly enfolds her in his arms, his face against her hair. She closes her eyes as their fingers entwine. CUT TO BLACK THE END"],"string":"[\n \"EXT. HIGHWAY -- DAY GRAHAM DALTON, twenty - nine, drives his'69 Cutlass while smoking a cigarette. One could describe his appearance as punk/arty, but neither would do him justice. He is a man of obvious intelligence, and his face is amiable. There is only one key on his keyring, and it is in the ignition. ANN -LRB- voice over. -RRB- Garbage. I started thinking about what happens to all the garbage. I mean, where do we put all of it, we have to run out of places to put it eventually, do n't we? This happened to me before when that barge with all the garbage was stranded and nobody would take it? Remember that?\",\n \"INT. DOCTOR'S OFFICE -- DAY ANN BISHOP MILLANEY, twenty - six, sits opposite her therapist. She is an extremely attractive woman, dressed in a mature preppy style. There is a wedding ring on her left hand. DOCTOR Yes, I remember. What do you do when these moods overtake you? ANN Nothing. I mean, nothing. I try not to do anything that will produce garbage, so obviously we're talking about eating and basic stuff like that. Did you know that the average person produces three pounds of garbage a day? DOCTOR No, I did n't. ANN Do n't you think that's a lot of garbage? I'd really like to know where it's all going to go. DOCTOR Do you have any idea what triggered this concern? ANN Well, this weekend John was taking out the garbage, and he kept spilling things out of the container, and I started imagining a container that grew garbage, like it just kept filling up and overflowing all by itself, and how could you stop that if it started happening? DOCTOR Ann, do you see a pattern here? ANN What do you mean? DOCTOR Well, last week we talked about your obsession with the families of airline fatalities, and now we're talking about your concern over the garbage problem. ANN Yeah, so? DOCTOR If you think about it, I think you'll see that the object of your obsession is invariably something negative that you could n't possibly have any control over. ANN Well, do you think many people run around thinking about how happy they feel and how great things are? I mean, maybe they do, but I doubt those people are in therapy. Besides, being happy is n't all that great. My figure is always at its best when I'm depressed. The last time I was really happy I put on twenty - five pounds. I thought John was going to have a stroke. JOHN -LRB- voice over. -RRB- It's true, I'm telling you.\",\n \"INT. LAW OFFICE -- DAY JOHN MILLANEY, twenty - nine, sits at his desk talking on the telephone. He is dressed very well, sporting real suspenders with his striped pinpoint oxford shirt and cotton suit. He fingers the wedding ring on his left hand. JOHN As soon as you've got a ring on your finger, you start getting serious attention from the opposite gender. Seriously, I wish I had Super Bowl seats for every time I had some filly just come up and start talking to me without the slightest provocation. That never happened before I got married. Shit, if I'd known that, I'd have gone out and bought me a ring when I was eighteen and saved myself a lot of time and money. John looks at his watch. JOHN Shit, I got ta be someplace. -LRB- quickly. -RRB- Look, racquetball Thursday? You're the coolest. John presses the intercom button while putting on his jacket. JOHN Uh, Janet, re - schedule Kirkland. Tell him to come in Friday at 1:30. DOCTOR -LRB- voice over, to Ann. -RRB- Are you still keeping these thoughts from John? ANN -LRB- voice over. -RRB- Yes.\",\n \"INT. LAW OFFICE BATHROOM -- DAY John brushes his teeth and combs his hair very carefully. DOCTOR -LRB- voice over, to Ann. -RRB- Are you afraid of his reaction? Of his finding you silly for thinking of such things? ANN -LRB- voice over. -RRB- No. I do n't know. I have n't told him about the garbage thing because I'm pissed off at him right now. He's letting some old college buddy stay at our house for a couple of days, and he did n't even ask me about it. I mean, I would've said yes, I just wish he would've asked.\",\n \"INT. DOCTOR'S OFFICE-DAY DOCTOR What upsets you about that? ANN I guess I'm upset because I ca n't really justify being upset, I mean, it's his house, really, he pays the mortgage. DOCTOR But he asked you to quit your job, and you do have housework. ANN Yeah, I know. DOCTOR This unexpected visit notwithstanding, how are things with John? ANN -LRB- shrugs. -RRB- Fine, I guess. Except right now I m going through this where I do n't want him to touch me.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY CYNTHIA BISHOP, Ann's SISTER, opens her door to reveal the freshly coifed John Millaney. They kiss passionately and begin to disrobe. Cynthia bears a slight resemblance to Ann, but is not as overtly attractive. She does, however, have a definite carnal appeal and air of confidence that Ann lacks. DOCTOR -LRB- voice over. -RRB- When did you begin having this feeling? ANN -LRB- voice over. -RRB- About a week ago. I do n't know what brought it on, I just started feeling like I did n't want him to touch me. DOCTOR -LRB- voice over, to Ann. -RRB- Prior to this feeling, were you comfortable having physical contact with him? ANN -LRB- voice over. -RRB- Oh, yeah. -LRB- pause. -RRB- But see, I've never really been into sex that much, I mean, I like it and everything, it just does' t freak me out, I would n't miss it, you know? But anyway, lately we have n't been doing anything at all. Like I said, it's not that I miss it, but I m curious the way things kind of slacked off all of a sudden. John and Cynthia are now having sex. DOCTOR -LRB- voice over. -RRB- Perhaps he senses your hesitance at being touched. ANN -LRB- voice over. -RRB- But see, he stopped before I got that feeling, that's why it seems weird to me. I mean, I'm sure he wishes I would initiate things once in awhile, and I would except it never occurs to me, I'm always thinking about something else and then the few times that I have felt like starting something I was by myself. DOCTOR -LRB- voice over. -RRB- Did you do anything? A pause. ANN -LRB- voice over. -RRB- What do you mean? DOCTOR -LRB- voice over. -RRB- Did you masturbate?\",\n \"INT. DOCTOR'S OFFICE -- DAY ANN -LRB- taken aback. -RRB- God, no. DOCTOR I take it you've never masturbated? ANN -LRB- slightly uncomfortable. -RRB- Well, I kind of tried once. It just seemed stupid, I kept seeing myself lying there and it seemed stupid, and kind of, uh, I do n't know, and then I was wondering if my dead grandfather could see me doing this, and it just seemed like a dumb thing to be doing when we do n't know what to do with all that garbage, you know? DOCTOR So it was recently that you tried this. ANN -LRB- exhales, head down. -RRB- Well, kind of recently, I guess. But not too recently. There is a pause. ANN I'm really not up to having a guest in the house.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are lying in bed, bathed in sweat. JOHN I've got to get back to the office. CYNTHIA I only get one today? Gee, how exciting. John rolls over and begins to put his clothes on. JOHN I ca n't let my lunch hour go on too long. I've already skipped one meeting. CYNTHIA Do n't give me this passive/aggressive bullshit. If you want to leave, leave. My life does n't stop when you walk out the door, you know what I'm saying? John shakes his head. JOHN Why do n't you just tell me how you really feel? John stands and begins putting on his clothes. JOHN I have a friend coming in from out of town, I'll probably be spending some time with him the next couple of days. CYNTHIA Meaning we'll have to cool it for awhile, right? JOHN Right. A silent shrug from Cynthia. John is almost completely dressed. JOHN I wish you'd quit that bartending job. CYNTHIA Why? JOHN I hate the thought of guys hitting on you all the time. CYNTHIA I can handle it. Besides, the money is good and some of the guys are cute. And you are in no position to be jealous. JOHN Who said I was jealous? CYNTHIA I did. John says nothing. CYNTHIA You know, I'd like to try your house sometime. The idea of doing it in my sister's bed gives me a perverse thrill. John thinks about that. CYNTHIA I wish I could tell everybody that Ann's a lousy lay. Beautiful, popular, Ann Bishop Millaney. JOHN Could be risky. CYNTHIA Well, maybe I could just start a rumor, then. JOHN No, I mean doing it at my house. CYNTHIA Afraid of getting caught? JOHN Maybe. CYNTHIA You should be. Can I meet this friend of yours? JOHN Cynthia, I do n't think you want to, I mean, you should see the way he dresses. I really think he's in a bad way. CYNTHIA I'm intrigued. JOHN You're intrigued? CYNTHIA Sure. Maybe he's the man I'm looking for. Then I wo n't have to fuck worried husbands all the time. John looks at her for a moment before heading for the door. JOHN Bye.\",\n \"EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Graham has parked in the Millaney's driveway. He opens the trunk, revealing a Sony 8mm Video rig and a single black duffle bag. He grabs the duffle bag and shuts the trunk. Graham knocks at the door. He is stubbing out a cigarette with his beaten tennis shoe when Ann answers the door. She is unable to hide her suprise at his appearance. GRAHAM Ann? ANN Yes? GRAHAM -LRB- extends his hand. -RRB- Graham Dalton. Ann shakes his hand. GRAHAM Can I use your bathroom? Ann withdraws her hand. ANN Yes. Yes, come in, please. Graham moves inside.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann closes the door and motions Graham to the rear of the house. ANN Straight back, first door on the left. Graham heads for the bathroom. Ann heads for the phone. She dials John's office. VOICE ON PHONE Forman, Brent, and Millaney. ANN John Millaney, please. This is his wife. Graham exits the bathroom. Ann quickly hangs up the phone. ANN That was quick. GRAHAM False alarm. ANN Oh. Well, please sit down. Graham sits, his manner pleasantly animated. He gets his Gitanes from inside his scuffed black leather jacket and looks around for an ashtray. Ann swallows uncomfortably. ANN We. do n't usually let people smoke in the house. We have a patio if you - GRAHAM Oh, no problem. It can wait. A moment of silence. Graham looks at Ann directly. It is not a challenging stare, he's just trying to ascertain what kind of person she is. Ann, to her credit, somehow meets his gaze. Something subtle passes between them. ANN -LRB- looks at duffle bag. -RRB- Do you have other things? GRAHAM Yes. -LRB- pause. -RRB- Oh, you mean to bring in! No. Yes, I have some other things, no, I do n't need to bring them in. This is all I need to stay here. ANN Oh. Graham smiles. He has an unusual face, a face that fluctuates between remarkably handsome and just plain strange. GRAHAM Have you ever been on television? ANN Televison? GRAHAM Yes. ANN No. Why? GRAHAM -LRB- shrugs. -RRB- Curious. The central air - conditioning switches on. Ann smiles. ANN Graham is an unusual name. GRAHAM Yeah, I guess it is. My mother is a complete Anglophile, anything British makes her drool like a baby. She probably heard the name in some movie. She's a prisoner of public television now. ANN Oh, uh - huh. GRAHAM Are you uncomfortable with my appearance? ANN -LRB- downplaying. -RRB- No, I think you look. fine. GRAHAM -LRB- smiles. -RRB- Oh. Well, maybe I'm uncomfortable with my appearance. I feel a little out of place in these surroundings. ANN Well. GRAHAM I used to take great pleasure in that, being purposefully different, rubbing people's noses in it. Did n't you do that when you were younger? ANN -LRB- thinks. -RRB- No, not really. GRAHAM Oh. Well, I did. I was in a band once, and the music was always secondary to just flat out offending as many people as possible. ANN You play an instrument? GRAHAM No, I was in charge of kind of standing at the microphone and reciting these really depressing lyrics in a monotone. The whole thing was really. irrelevant. How do you like being married? ANN -LRB- caught slightly off guard. -RRB- Oh, I like it. I like it very much. GRAHAM What about it do you like? I'm not being critical, I'd really like to know. ANN Well. well, the cliché about the security of it, that's really true. We own a house, and I really like that, you know? And I like that John was just made junior partner, so he has a steady job and he's not some. Ann looks at Graham and stops. He smiles again. ANN free - lance. You know. GRAHAM Yes. So you feel security, stability. Like things are going to last awhile. ANN Oh, definitely. I mean, just this past year has gone by like phew! I hardly even knew it passed. GRAHAM Did you know that if you shut someone up in a room, and the only clock he has reference to runs two hours slow for every twenty - four, that his body will eventually adjust to that schedule? Simply because the mind honestly perceives that twenty - six hours are twenty - four, the body follows. And then there are sections of time. Your life can be broken down into the sections of time that formed your personality. -LRB- if you have one. -RRB-. For instance, when I was twelve, I had an eleven minute conversation with my father that to this day defines our relationship. Now, I'm not saying that everything happened in that specific section of time, but the events of my childhood involving my father led up to, and then were crystallized in, that eleven minutes. Ann is fascinated, if a bit overwhelmed. ANN Oh, uh - huh. GRAHAM -LRB- smiles. -RRB- Anyway, I think the mind is very flexible as far as time is concerned. ANN You mean like `` time flies''? GRAHAM Exactly. I would say the fact that you feel the first year of your marriage has gone by quickly means lots of things. Or could mean lots of things. ANN How long has it been since you've seen John? GRAHAM Nine years. ANN Nine years? GRAHAM Yes. I was surprised that he accepted when I asked if I could stay here until I found a place. ANN Why? Did n't you know him well? GRAHAM I knew him very well. We were extremely close until I dropped out. A pause. ANN Why'd you drop out? GRAHAM Oh, lots of reasons, most of them boring. But, up until I dropped out, John and I were. very much alike. ANN That's hard to believe. The two of you seem so different. GRAHAM I would imagine that we are, now. I think I'm ready to use the bathroom, finally. Graham gets up and heads for the toilet. Ann watches him go, a bemused smile on her face. After she hears the door close, she ca n't resist the impulse to take a closer look at Graham's bag. IN THE BATHROOM, Graham pokes around, looking through the medicine cabinet and sniffing towels. JOHN -LRB- voice over. -RRB- Call the cops.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John, Ann and Graham are eating dinner. JOHN -LRB- to Graham. -RRB- That's the first thing that ran through my mind when I saw you. I thought this is not the same man that rode the unicycle naked through the homecoming parade. ANN -LRB- to Graham. -RRB- You did that? GRAHAM Everybody has a past. JOHN -LRB- smiles at Graham. -RRB- What do you think the Greeks would make of that outfit you're wearing? GRAHAM A bonfire, probably. John takes a sip of Chivas. GRAHAM -LRB- to Ann. -RRB- This food is excellent. ANN Thank you. JOHN Yeah, it's not bad. Usually Ann has some serious salt action going. I keep telling her, you can always add more if you want, but you ca n't take it out. GRAHAM -LRB- to Ann. -RRB- You have family here also? ANN -LRB- nods, chewing. -RRB- Mother, father, sister. GRAHAM Sister older or younger? ANN Younger. John takes a large swig of Chivas. GRAHAM Are you close? Graham sees Ann and John exchange looks. GRAHAM I'm sorry. Am I prying again? JOHN You were prying before? GRAHAM Yes, this afternoon. I was grilling Ann about your marriage this afternoon. JOHN -LRB- smiles. -RRB- Really. How'd it go? GRAHAM She held up very well. Ann laughs. GRAHAM -LRB- to Ann. -RRB- So I was asking about your sister. Ann's smile fades. John resumes eating. ANN Oh, we get along okay. She's just very. she's an extrovert. I think she's loud. She probably would n't agree. Definitely would n't agree. JOHN -LRB- to Graham. -RRB- Are you going to see Elizabeth while you re here? An almost imperceptible reaction by Graham. GRAHAM I do n't know. ANN -LRB- interested. -RRB- Who's Elizabeth? JOHN Girl Graham dated. Still lives here, far as I know. Graham eats in silence. ANN Graham and I were talking about apartments and I told him to check the Garden District, there are some nice little places there, garage apartments and stuff. JOHN -LRB- to Graham. -RRB- Stay away from the Garden District. Serious crime. I do n't know what kind of place you're looking for, but there are a lot of studio - type apartments available elsewhere. GRAHAM I wish I did n't have to live someplace. JOHN -LRB- laughs. -RRB- What do you mean? Graham thinks a moment, then puts his keyring with its single key onto the table. GRAHAM Well, see, right now I have this one key, and I really like that. Everything I own is in my car. If I get an apartment, that's two keys. If I get a job, maybe I have to open and close once in awhile, that's more keys. Or I buy some stuff and I m worried about getting ripped off, so I get some locks, and that's more keys. I just really like having the one key. It's clean, you know? Graham looks at the keyring before returning it to his pocket. JOHN Get rid of the car when you get your apartment, then you'll still have one key. GRAHAM I like having the car, the car is important. JOHN Especially if you want to leave someplace in a hurry. GRAHAM Or go someplace in a hurry. Ann takes her plate into the kitchen. JOHN -LRB- smiles at Graham. -RRB- Do you pay taxes? Graham also stands, empty plate in hand. GRAHAM Do I pay taxes? Of course I pay taxes, only a liar does n't pay taxes, I'm not a liar. A liar is the second lowest form of human being. ANN -LRB- from the kitchen. -RRB- What's the first? GRAHAM Lawyers. John smiles, thinking. Graham follows Ann into the kitchen. John shouts after them. JOHN Hey, Ann, why do n't you go with Graham to hunt for apartments? Show him how the city has changed. Ann looks at Graham. ANN Would you mind? GRAHAM No. ANN -LRB- shouts back to John. -RRB- Okay, I will! John, sitting at the table and now toying with his keyring, nods.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Everyone but Ann is asleep. She gets up from her bed and sneaks quietly into the guest bedroom where Graham is staying. She walks cautiously up to his bed to watch him as he sleeps. Moonlight caresses his face as he breathes peacefully. Exhaling, he turns over slowly, his back to Ann. She picks up his jacket from beside the bed and feels the surface. She brings the jacket to her nose, inhaling his presence. She then sets the jacket down.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY The phone rings. Cynthia answers. CYNTHIA Hello. JOHN Cynthia. John. Meet me at my house in exactly one hour. CYNTHIA You are scum. I'll be there.\",\n \"INT. VACANT APARTMENT-DAY Graham and Ann walk around the room, their footfalls heavy on the hardwood floors. MR. MILLER, the landlord, stands nearby. He looks fairly interested in Ann. MR. MILLER Plenty of room for two people. GRAHAM It'll just be me. MR. MILLER Student? GRAHAM No. -LRB- pause. -RRB- You said three - fifty? MR. MILLER Plus first and last month deposit. GRAHAM Will you lease month - to - month? MR. MILLER Not for three - fifty. GRAHAM How about for five hundred? Mr. Miller looks at Ann, then back at Graham. MR. MILLER That I can do.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia lets herself in. She looks around. CYNTHIA John? JOHN -LRB- offscreen. -RRB- In here! Cynthia walks to the bedroom, where John lies naked on the bed. She smiles, kicking off her shoes. CYNTHIA Ai n't you a picture. Cynthia begins taking her clothes off. She places her diamond stud earring in her jacket pocket, and then drops the jacket on the floor. She moves onto the bed with John. ANN -LRB- voice over. -RRB- Maybe you'll understand this, because you know John, but he confuses me sometimes. GRAHAM -LRB- voice over. -RRB- How do you mean?\",\n \"INT. CAFÉ - DAY Graham and Ann are having lunch. Ann looks to have had a lot of wine. Graham drinks club soda with a twist. ANN It's hard to explain. It's like. John treats everybody the same, you know? I mean, he acts just as excited about seeing somebody he hardly knows as he does when he sees me. And so I feel like, what's different about me, if I'm treated exactly the same as some acquaintance? If I do n't like somebody, I do n't act like I do. I guess that's why a lot of people think I'm a bitch. She takes a sip of wine. GRAHAM Yeah, I know. I mean, I'm not saying I know people think you're a bitch, I'm saying I know what you mean. And I do n't even know that people think you're a bitch. Do they? ANN I feel like they do. GRAHAM Hmm. Well, maybe you are. Really, I would n't pay much attention. Ann smiles. GRAHAM I know that I just do n't feel a connection with very many people, so I do n't waste time with people I do n't feel one with. ANN Right, right. I do n't feel connected to many people, either. Other than John. Graham nods. ANN Can I tell you something personal? I feel like I can. It's something I could n't tell John. Or would n't, anyway. GRAHAM It's up to you. But I warn you, if you tell me something personal, I might do the same. ANN Okay. I think. I think sex is overrated. I think people place way too much importance on it. And I think that stuff about women wanting it just as bad is crap. I m not saying women do n't want it, I just do n't think they want it for the reason men think they do. -LRB- smiles. -RRB- I'm getting confused. Graham smiles. ANN Do you understand what I'm trying to say? GRAHAM I think so. I remember reading somewhere that men learn to love what they're attracted to, whereas women become more and more attracted to the person they love. ANN Yes! Yes! I think that's very true. Very. Graham watches Ann take a sip of wine. GRAHAM So what about kids? ANN Kids? What about them? GRAHAM Do you want them? ANN Yeah, actually, I do. But John does n't. At least not right now. GRAHAM Why is that? ANN I do n't know, he just said he wants to wait. I quit asking. Graham nods. ANN So what's your personal thing? Are you really going to tell me something personal? GRAHAM Do you want me to? ANN As long as it's not. gross, you know? Like some scar or something. It has to be like mine, like something about you. GRAHAM Agreed. Graham takes a sip of club soda. GRAHAM I'm impotent. Ann looks at him closely. ANN You're what? GRAHAM Impotent. ANN You are? GRAHAM Well, let me put it this way : I can not achieve an erection while in the presence of another person. So, for all practical purposes, I am impotent. takes a large sip of wine. Graham lights a cigarette. ANN Does it bother you? GRAHAM -LRB- exhales. -RRB- Not usually. I mean, honestly, I have n't known many guys that could think straight with an erection, so I feel I'm way ahead of the game as far as being clear - headed goes. ANN Well. are you self - conscious about it? GRAHAM I am self - conscious, but not in the same way that you are. You have got to be the most attractive self - conscious person I've ever seen. ANN Why do you say I'm self - conscious? GRAHAM Well, I've been watching you. I've watched you eat, I've watched you speak, I've watched the way you move, and I see somebody who is extremely conscious of being looked at. I think you really believe that people are looking at you all the time. And you know what? ANN What? GRAHAM They are looking at you. Ann, you are truly breathtaking. I do n't know if you understand how your appearance can affect people. Men want to possess you, women wish they looked like you. And those that do n't or ca n't resent you. And the fact that you're a nice person just makes it worse. ANN -LRB- thinks. -RRB- My therapist said that - GRAHAM You're in therapy? ANN Are n't you? GRAHAM Hah! No, I'm not. Actually, I used to be, but the therapist I had was really ineffectual in helping me deal with my problems. Of course, I lied to him constantly, so I guess I ca n't hold him totally responsible. ANN So you do n't believe in therapy? GRAHAM I believe in it for some people. I mean, for me it was silly, I was confused going in. So I just formed my own personal theory that you should never take advice from someone of the opposite sex that does n't know you intimately. ANN Well, my therapist knows me intimately. GRAHAM -LRB- surprised. -RRB- You had sex with you therapist? ANN Of course not. GRAHAM Oh, see, I meant someone you've had sex with. That's part of the theory. ANN Excuse me for asking, but how would you know? GRAHAM -LRB- smiles. -RRB- Well, I was n't always impotent. Ann takes another sip of wine and thinks for a moment. ANN Now, you said never take advice from someone that you do n't know intimately, right? GRAHAM Basically, yes.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia is leaving the house. She gives John a big kiss. ANN -LRB- voice over. -RRB- So since I've never had sex with you, by your own advice I should n't accept your advice. GRAHAM -LRB- voice over. -RRB- That's correct. -LRB- pause. -RRB- Bit of a dilemma, is n't it? Cynthia is not wearing her diamond stud earring.\",\n \"INT. DOCTOR'S OFFICE -- DAY ANN Well, I do n't know. The week started off okay, but then I was outside watering the plants, and I started feeling dizzy from the heat and that got me thinking about the Greenhouse Effect, so I went inside and turned on the air - conditioner full blast, and that made me feel a little better until I started thinking about radon leakage coming up through the floor, and - DOCTOR Radon leakage? ANN Yes, it's this radioactive gas in the ground, and houses kind of act like magnets to pull it up, and - you've never heard of this? DOCTOR No, I have n't. ANN Well, the cumulative effect is not good, let me tell you. -LRB- pause. -RRB- I knew I should n't have watered those plants. DOCTOR Did you confront John about the visitor? ANN What visitor? DOCTOR The friend of John's that was staying at your house. ANN Oh, Graham. No, I did n't talk to him about that. Actually, that turned out to be pretty interesting. I expected Graham to be this. well, like John, you know? I mean, he said they had gone to school together, so I was expecting lots of stories about getting drunk and secret handshakes and stuff. But he turned out to be this. this kind of character, I mean, he's kind of arty but okay, you know? DOCTOR Is he still at your house? ANN No, he left last week. DOCTOR Did you find him attractive? ANN What do you mean, like physically? DOCTOR Let me rephrase. Were you attracted to him? ANN -LRB- thinks. -RRB- I guess, but not because of the way he looked or anything. He's just so different, somebody new to have a conversation with. I'm just tired of talking to other couples about whether or not they're going to buy the station wagon, you know? It's just boring. I do n't know, he was just different. And he's really on about truth a lot, being honest, and I like that, I felt comfortable around him. -LRB- pause. -RRB- After he left I had a dream that he signed a lease to rent our guest room. CYNTHIA -LRB- voice over. -RRB- So where's he from?\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY Ann stands watching Cynthia get dressed for work. ANN I do n't know. He went to school here, then he was in New York for awhile, then Philadelphia, and then just kind of travelling around. CYNTHIA Must be nice. So, what's he like, is he like John? ANN No, not at all. Actually, I do n't think John likes him much anymore. He said he thought Graham had gotten strange. A pause. CYNTHIA Is he? Strange, I mean? ANN Not really. Maybe if I just saw him on the street I'd have said that, but after talking to him. he's just kind of. I do n't know, unusual. CYNTHIA Uh - huh. So what's he look like? ANN Why? CYNTHIA I just want to know what he looks like, is all. ANN Why, so you can go after him? CYNTHIA Jesus, Ann, get a life. I just asked what he looked like. Ann says nothing. CYNTHIA Besides, even if I decided to fuck his brains out, what business is that of yours? ANN Do you have to say that? CYNTHIA What? ANN You know what. You say it just to irritate me. CYNTHIA I say it because it's descriptive. ANN Well, he does n't strike me as the kind of person that would go in for that sort of thing, anyway. CYNTHIA Ann, you always underestimate me. ANN Well, I wonder why. CYNTHIA I think you're afraid to put the two of us in the same room together. I think you're afraid he'll be undeniably drawn to me. ANN Oh, for God's sake. Really, Cynthia, really, I do n't think he's your type. CYNTHIA `` My type''? What is this bullshit? How would you know what `` my type'' is? ANN I have a pretty good idea. CYNTHIA Ann, you do n't have a clue. Look, I do n't even know why we're discussing this, I'll just call him myself. ANN He does n't have a phone. CYNTHIA Well, I'll call him when he does. ANN But he wo n't. CYNTHIA What are you talking about? ANN He's not getting a phone, he does n't like talking on the phone. CYNTHIA Oh, please. Okay,' so give me the Zen master's address, I'll think of a reason to stop by. ANN Let me talk to him first. CYNTHIA Why? Just give me the address, you wo n't even have to be involved. ANN I do n't feel right just giving you the address so that you can go over there and. CYNTHIA And what? ANN And. do whatever it is you do. Cynthia laughs loudly. Ann, not happy, watches her dig through the jewelry box. ANN Lose something? CYNTHIA That goddam diamond stud earring that cost me a fucking fortune. ANN Are you getting Mom something for her birthday? CYNTHIA I do n't know, I'll get her a card or something. ANN A card? For her fiftieth birthday? CYNTHIA What's wrong with that? ANN Do n't you think she deserves a little more than a card? I mean, the woman gave birth to you. It s her fiftieth birthday - CYNTHIA Will you stop? Jesus. ANN I just thought it might - CYNTHIA Okay, Ann, okay. How about this : you buy her something nice, and I'll pay for half. All right? ANN Fine. CYNTHIA Good. Now, if you'll pardon me, I have to go to work.\",\n \"INT. DOCTOR'S OFFICE -- DAY ANN I was thinking maybe I should n't be in therapy anymore. DOCTOR What brought this on? ANN I've been thinking about it for awhile, and then I was talking to somebody who kind of put things in perspective for me. DOCTOR -LRB- smiles. -RRB- I thought that's what I did. Who was it that you talked to? ANN That guy Graham I told you about. He said taking advice from someone you do n't know intimately was. well, he said a lot of stuff. The Doctor exhales, thinking for a moment. DOCTOR Ann, in life one has to be aware of hidden agendas. -LRB- pause. -RRB- Did it occur to you that Graham may have his own reasons for not wanting you to be in therapy? ANN What do you mean? I do n't understand. DOCTOR It's possible that Graham has hidden motives for disliking therapy and/or therapists. Perhaps he has problems of his own that he is unwilling to deal with, and he would like to see other people, you for instance, wallow in their situation just as he does. Do you think that's possible? ANN I guess. DOCTOR You understand that you are free to leave therapy at any time? ANN Yes. DOCTOR That you are under no obligation to me? ANN Yes. DOCTOR Do you want to leave therapy? ANN Not really. DOCTOR Do you feel there is more progress to be made? ANN Yes. DOCTOR I'm glad you feel that way, because I feel that way, too. ANN But you do n't have hidden motives for feeling that way, right? The Doctor laughs. Ann does not laugh with him.\",\n \"INT. GRAHAM'S APARTMENT -- DAY On a television monitor we see images originating from an 8mm Video deck. Graham sits naked in a sheet - covered chair facing the screen. He watches the tape, which is footage of himself interviewing a girl about her sexual preferences. The photography on the tape is handheld, relentless. As the questions get more detailed, Graham becomes more aroused. There is a knock on Graham's door. He calmly shuts off the videotape player and stands, wrapping the sheet around himself. GRAHAM It's open. Graham walks into the bedroom to put on some clothes. Ann opens the door and walks into the apartment. ANN Hi! GRAHAM -LRB- off. -RRB- Ann. Hello. ANN Are you in the middle of something? GRAHAM -LRB- off. -RRB- Nothing I ca n't finish later. ANN -LRB- looks. -RRB- I just wanted to see how the place looked furnished. GRAHAM -LRB- Off. -RRB- Not much to see, I'm afraid. I'm sort of cultivating a minimalist vibe. ANN Somehow I imagined books. I thought you would have like a whole lot of books and be reading all the time. Graham enters. GRAHAM I do read a lot. But I check everything out of the library. Graham picks up an Anais Nin diary and opens it to show Ann the library sleeve inside. GRAHAM Cheaper that way. And cuts down on the clutter. Ann walks to the table where the video gear is set up. Graham watches her closely. She looks into a large box of 8mm videotapes. On the side of each tape is a label. The labels look like this : DONNA / 11 DEC 86 / 1:07:36 And so on. There are thirty or forty tapes, total. ANN What are these? GRAHAM Videotapes. ANN -LRB- smiles. -RRB- I can see that. What are they? Graham exhales. GRAHAM It's a personal project I'm working on. ANN What kind of personal project? GRAHAM Oh, just a personal project like anyone else's personal project. Mine's just a little more personal. ANN Who's Donna? GRAHAM Donna? ANN Donna. On this tape it says `` Donna''. GRAHAM -LRB- thinking. -RRB- Donna was a girl I knew in Florida. ANN You went out with her? GRAHAM Not really. Ann looks in the box again. ANN How come all these are girl's names? Graham thinks for a moment. GRAHAM Because I enjoy interviewing women more than men. ANN All of these are interviews? GRAHAM Yes. ANN Can we look at one? GRAHAM No. ANN Why not? GRAHAM Because I promised each subject that no one would look at the tape except me. Ann looks at Graham for a long moment, then back at the tapes. ANN What. what are these interviews about? GRAHAM The. interviews are about sex, Ann. ANN About sex? GRAHAM Yes. ANN What about sex? GRAHAM Everything about sex. ANN Like what? GRAHAM Like what they've done, what they do, what they do n't do, what they want to do but are afraid to ask for, what they wo n't do even if asked. Anything I can think of. ANN You just ask them questions? GRAHAM Yes. ANN And they just answer them? GRAHAM Mostly. Sometimes they do things. ANN To you? GRAHAM No, not to me, for me, for the camera. ANN -LRB- stunned. -RRB- I do n't. why. why do you do this? GRAHAM I'm sorry this came up. ANN This is just. so. GRAHAM Maybe you want to go. ANN Yes, I do. Ann nods and absently heads for the door. She gives Graham a puzzled look before leaving.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the telephone. ANN -LRB- still shaken. -RRB- I do n't. he does n't want you to come over. CYNTHIA What do you mean he does n't want me to come over? Did you tell him about me? ANN No, I did n't. CYNTHIA Why not? ANN Because I never got around to it. CYNTHIA Well, why? ANN Because. Cynthia, look, John was right. Graham is strange. Very strange. You do n't want to get involved with him. CYNTHIA What the hell happened over there? Did he make a pass at you? ANN No! CYNTHIA Then what's the story, what's this `` strange'' bullshit all of a sudden? Is he drowning puppies, or what? ANN No, it's nothing like that. CYNTHIA Well, what? Is he dangerous? ANN No, he's not dangerous. Not physically. CYNTHIA Well, what, then? ANN I do n't want to talk about it. CYNTHIA Then why'd you call me? ANN I do n't know. Ann hangs up.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia gets out of the shower. The phone rings. She wraps herself in a towel and lifts the receiver. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Not today. I've got other plans. JOHN Oh. -LRB- pause. -RRB- Well, when, then? CYNTHIA How about inviting me over to dinner? JOHN You know what I mean. CYNTHIA Yeah, I know what you mean. Cynthia hangs up the phone.\",\n \"INT. GRAHAM'S APARTMENT -- DAY Graham sits smoking a cigarette. There is a knock at his door. GRAHAM It's open. Cynthia enters. Graham looks up at her. GRAHAM Who are you? CYNTHIA I'm Cynthia Bishop. GRAHAM Do I know you? CYNTHIA I'm Ann Millaney's sister. GRAHAM The extrovert. CYNTHIA -LRB- smiles. -RRB- She must have been in a good mood when she said that. She usually calls me loud. GRAHAM She called you that, too. May I ask why you re here? CYNTHIA You want me to leave? GRAHAM I just want to know why you're here. CYNTHIA Well, like I said, Ann is my sister. Sisters talk. You can imagine the rest. GRAHAM No, I really ca n't. I find it healthy never to characterize people I do n't know or conversations I have n't heard. I do n't know what you and your sister discussed about me or anything else. Last time I saw Ann she left here very. confused, I would say. And upset. CYNTHIA She still is. GRAHAM And are you here to berate me for making her that way? CYNTHIA Nope. GRAHAM She did n't tell you why she was upset? CYNTHIA Nope. GRAHAM She did n't give you my address? CYNTHIA Nope. GRAHAM How did you find me? CYNTHIA I, uh, know a guy at the power company. GRAHAM I do n't understand. Why did you want to come here? I mean, I ca n't imagine Ann painted a very flattering portrait of me. CYNTHIA Well, I do n't really listen to her when it comes to men. I mean, look at John, for crissake. Oh, you went to school with him did n't you? You're probably friends or something. GRAHAM Nope. I think the man is a liar. CYNTHIA -LRB- smiles. -RRB- I think you're right. So come on, I came all the way over here to find out what got Ann so spooked, tell me what happened. GRAHAM -LRB- smiles. -RRB- Spooked. He motions to the box of videotapes. GRAHAM That box of tapes is what got Ann so `` spooked''. Cynthia goes over to the box and looks inside for a long moment, studying the labels. CYNTHIA Oh, okay. I think I get it. GRAHAM What do you get? CYNTHIA Well, they must be something sexual, because Ann gets freaked out by that shit. Are these tapes of you having sex with these girls or something? GRAHAM Not exactly. CYNTHIA Well, either you are or you are n't. Which is it? GRAHAM Why do n't you let me tape you? CYNTHIA Doing what? GRAHAM Talking. CYNTHIA About what? GRAHAM Sex. Your sexual history, your sexual preferences. CYNTHIA What makes you think I'd discuss that with you? GRAHAM Nothing. CYNTHIA You just want to ask me questions? GRAHAM I just want to ask you questions. CYNTHIA And that's all? GRAHAM That's all. CYNTHIA -LRB- a crooked smile. -RRB- Is this how you get off or something? Taping women talking about their sexual experiences? GRAHAM Yes. CYNTHIA Would anybody else see the tape? GRAHAM Absolutely not. They are for my private use only. CYNTHIA How do we start? GRAHAM I turn on the camera. You start talking. CYNTHIA And you ask questions, right? GRAHAM Yes. CYNTHIA How long will it take? GRAHAM That depends on you. One woman only used three minutes. Another filled up three two hour tapes. CYNTHIA Can I see some of the other tapes to get an idea of what - GRAHAM No. CYNTHIA -LRB- thinks. -RRB- Do I sit or stand? GRAHAM Whichever you prefer. CYNTHIA I'd rather sit. Are you ready? GRAHAM Just a moment. Graham grabs his 8mm Video camera, puts in a new tape, and turns it on. GRAHAM I am now recording. Tell me your name. CYNTHIA Cynthia Patrice Bishop. GRAHAM Describe for me your first sexual experience. CYNTHIA My first sexual experience or the first time I had intercourse? GRAHAM Your first sexual experience. CYNTHIA -LRB- thinks. -RRB- I was. eight years old. Michael Green, who was also eight, asked if he could watch me take a pee. I said he could if I could watch him take one, too. He said okay, and then we went into the woods behind our house. I got this feeling he was chickening out because he kept saying, `` Ladies first!'' So I pulled down my underpants and urinated, and he ran away before I even finished. GRAHAM Was it ever a topic of conversation between the two of you afterward? CYNTHIA No. He kind of avoided me for the rest of the summer, and then his family moved away. To Cleveland, actually. GRAHAM How unfortunate. So when did you finally get to see a penis? CYNTHIA When I was fourteen. GRAHAM Live, or in a photograph or film of some sort? CYNTHIA Very much live. GRAHAM What did you think? Did it look like you expected? CYNTHIA Not really. I did n't picture it with veins or ridges or anything, I thought it would be smooth, like a test tube. GRAHAM Were you disappointed? CYNTHIA No. If anything, after I looked at it awhile, it got more interesting. It had character, you know? GRAHAM What about when you touched it? What did you expect it to feel like, and then what did it really feel like? CYNTHIA It was warmer than I thought it would be, and the skin was softer than it looked. It's weird. Thinking about it now, the organ itself seemed like a separate thing, a separate entity to me. I mean, after he pulled it out and I could look at it and touch it, I completely forgot that there was a guy attached to it. I remember literally being startled when the guy spoke to me. GRAHAM What did he say? CYNTHIA He said that my hand felt good. GRAHAM Then what happened? CYNTHIA Then I started moving my hand, and then he stopped talking.\",\n \"INT. GRAHAM'S APARTMENT -- DAY Cynthia, adjusting her clothes, opens the door to leave. She looks very aroused. She and Graham do not speak or touch.\",\n \"INT. LAW OFFICES -- DAY John Millaney picks up a telephone and presses a blinking button. JOHN John Millaney. CYNTHIA I want to see you. JOHN When? CYNTHIA Right now. JOHN Jesus, I do n't know if I can get away. I've got a client waiting. I'd have to do some heavy duty juggling. CYNTHIA Then get those balls in the air and get your butt over here. She hangs up. John thinks a moment, then hits his intercom button. JOHN Janet, re - schedule Kirkland, see if he can come in Friday. Smooth things out, tell him an emergency came up. I'll slip out the back.\",\n \"INT. GRAHAM'S APARTMENT -- DAY Graham watches Cynthia's tape, becoming excited. CYNTHIA -LRB- voice on tape. -RRB- Would you like me to take my pants off? GRAHAM -LRB- voice on tape. -RRB- If you wish. -LRB- pause. -RRB- You're not wearing any underwear. CYNTHIA -LRB- voice on tape. -RRB- Do you like the way I look? GRAHAM -LRB- voice on tape. -RRB- Yes. CYNTHIA -LRB- voice On tape. -RRB- Do you think I'm pretty? GRAHAM -LRB- voice on tape. -RRB- Yes. CYNTHIA -LRB- voice on tape. -RRB- Prettier than Ann? GRAHAM -LRB- voice on tape. -RRB- Different.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia and John are having sex. CYNTHIA -LRB- to Graham, voice on tape. -RRB- John does n't have sex with Ann anymore. GRAHAM -LRB- voice On tape. -RRB- Is that what he tells you? CYNTHIA -LRB- voice on tape. -RRB- He does n't have to tell me. Cynthia has an intense orgasm. She rolls off of John, sweating. JOHN Jesus Christ. You are on fire today. Cynthia smiles. CYNTHIA Yes. You can go now. DOCTOR -LRB- voice over. -RRB- If you wo n't talk to me, I ca n't help you. A moment of silence. John is starting to put his clothes on. Cynthia lies in bed, her eyes closed, her face serene. ANN -LRB- voice over. -RRB- I hate my sister.\",\n \"INT. DOCTOR'S OFFICE -- DAY DOCTOR Why? ANN -LRB- rambling. -RRB- Because all she thinks about are these guys she's after and I just hate her she's such a little slut I thought that in high school and I think that now. Why do people have to be so obsessed with sex all what's the big damn deal? I mean, it's okay and everything, but I do n't understand when people let it control them, control their lives, why do they do that?\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Ann lies awake in bed beside John, who is sound asleep. DOCTOR -LRB- voice over. -RRB- There are many things that can exert control over one's life, good and bad. Religion, greed, philanthropy, drugs. ANN -LRB- voice over. -RRB- I know, but this. I just feel like everybody I know right now is obsessed with sex. Ann looks over at John. She slowly reaches under the covers and grasps his penis. Without waking, he rolls over and turns his back to her. She returns to looking at the ceiling. ANN -LRB- voice over. -RRB- Except John, I guess.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the phone. Ann looks very morose. CYNTHIA He just asked me questions. ANN What kinds of questions? CYNTHIA Questions about sex. ANN Well, like what did he ask, exactly? A pause. CYNTHIA Well, like, I do n't want to tell you, exactly. ANN Oh, so you'll let a total stranger record your sexual life on tape, but you wo n't tell your own sister? CYNTHIA Apparently. ANN Did he ask you to take your clothes off? CYTNHIA Did he ask me to take my clothes off? No, he did n't. ANN Did you take your clothes off? CYNTHIA Yes, I did. ANN -LRB- floored. -RRB- Cynthia! CYNTHIA What!? ANN Why did you do that? CYNTHIA Because I wanted to. ANN But why did you want to? CYNTHIA I wanted him to see me. ANN Cynthia, who knows where that tape may end up? He could be. bouncing it off some satellite or something. Some horny old men in South America or something could be watching it. CYNTHIA He would n't do that. ANN You do n't know that for sure. CYNTHIA Well, it's too late now, is n't it? ANN Did he touch you? CYNTHIA No, but I did. ANN You touched him? CYTNHIA No, I touched me. ANN Wait a minute. Do you mean. do n't tell me you. in front of him. CYNTHIA In front of him, Ann, yes. ANN. -LRB- serious. -RRB- You are in trouble. CYNTHIA -LRB- laughs. -RRB- Listen to you! You sound like Mom. What are you talking about? ANN -LRB- outraged. -RRB- I can t believe you did that! CYNTHIA Why? ANN I mean, I could n't do that in front of John, even. CYNTHIA You could n't do it, period. ANN You know what I mean, you do n't even know him! CYNTHIA I feel like I do. ANN That does n't mean you do. You ca n't possibly trust him, he's. perverted. CYNTHIA He's harmless. He just sits around and looks at these tapes. What's the big deal? ANN So he's got this catalogue of women touching themselves? That does n't make you feel weird? CYNTHIA No. I do n't think they all did what I did. ANN You are in serious trouble. CYNTHIA Ann, I do n't understand why this freaks you out so much. You did n't do it, I did, and if it does n't bother me, why should it bother you? ANN I do n't want to discuss it. CYNTHIA Then why do you keep asking about it?\",\n \"INT. LOUNGE -- DAY A sparse daytime crowd. Cynthia serves a beer to some DUDE. He puts the money down on the bar and looks at her. DUDE -LRB- as Marlon Brando. -RRB- Are you an assassin? CYTNHIA Excuse me? DUDE -LRB- still Brando. -RRB- You're an errand boy. sent by grocery clerks. to collect a bill. Ann enters the lounge, carrying a package. DUDE -LRB- to Cynthia. -RRB- Brando, it's Brando, come on. CYNTHIA It's great. Pardon me. Cynthia moves down the bar to meet Ann. ANN I wish you'd get an answering machine. CYTNHIA There's a phone here. ANN It was busy. Ann opens the package, revealing a lovely sun dress. ANN Here it is. CYNTHIA What is it? ANN It's a sun dress. CYNTHIA It looks like a tablecloth. ANN It does not. CYTNHIA Well, why would she want a sun dress? She's got spots on her shoulders and varicose veins. ANN So will you, someday. CYNTHIA Yeah, and when I do, I wo n't be wearing sun dresses. The lounge phone rings. ANN I was just trying to - CYNTHIA Hold on. Cynthia walks to the other end of the bar to answer the phone. The Dude watches her pass. Then he turns to Ann and gives her the once - over. He spots the present. DUDE Nice dress. Ann says nothing. DUDE Wan na hear my Walter Matthau? You'll love this. -LRB- as Matthau. -RRB- `` Feeelix, what are you, craaazee?''. -LRB- back to normal. -RRB- Pretty good, huh? Cynthia picks up the phone. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Well, this is timely. Your wife is here, would you like to speak to her? JOHN She's there? What's she doing there? CYTNHIA She came by to show me a present that she and I are buying for your mother - in - law. JOHN Oh. When can I see you? CYNTHIA I do n't know. I'm not sure I can duplicate the level of intensity I had the other day. JOHN Nothing wrong with trying. CYNTHIA I do n't think my sister would agree. A pause. JOHN Do you want me to stop calling? CYNTHIA Look, I'll call you, okay? Cynthia hangs up and walks back to Ann. CYNTHIA So what's my share of the dress? ANN Thirty - two dollars. Cynthia pulls thirty - five bucks out of her jeans. She watches Ann put the money away. CYNTHIA Look, do n't worry about the dress, I'm sure she'll love it. DUDE -LRB- to Ann and Cynthia. -RRB- Hey! How about Tom Brokaw? Nobody does Brokaw. -LRB- as Tom Brokaw. -RRB- `` In Iran today.''\",\n \"INT. GRAHAM'S APARTMENT -- DAY Graham sits reading a book. There is a knock at his door. GRAHAM It s open. Cynthia enters the room, looking very intent on something. GRAHAM Hello. CYNTHIA Hi. Graham sets his book down. He looks at her for a moment, then drags on his cigarette. CYNTHIA Look, I'm just going to come right out and tell you why I'm here, okay? GRAHAM Okay. CYNTHIA I'd like to make another tape. Graham thinks for a moment. GRAHAM No. CYNTHIA No? Not even one more? GRAHAM I never do more than one. I'm sorry. CYNTHIA I ca n't talk you into it? GRAHAM No. You'll have to get somebody else. CYNTHIA Now who the hell is going to do that for me? GRAHAM I'm sure a substantial number of men in this town would volunteer. CYNTHIA But I want you to do it, I want somebody who will ask the right questions and everything, somebody I can play to and feel safe because you ca n't do anything. GRAHAM Ouch. Okay, I deserved that. Cynthia, do n't you understand? After the first time it's just not spontaneous. There's no edge anymore. Look at the tapes, there is only one date on each label. I have never taped anyone twice. CYNTHIA So make an exception. GRAHAM No. CYNTHIA How about if you record over the one we already made? You could have the same date and not use another tape. Who would know? GRAHAM I would. CYNTHIA Well, what the hell am I supposed to do? GRAHAM Cynthia, I do n't know. CYNTHIA I ca n't believe you're doing this after I let you tape me. GRAHAM I'm sorry. I ca n't do it. CYNTHIA Goddamit, give me my tape, then. GRAHAM No. Cynthia heads for the tape box. Graham leaps up to stop her. CYNTHIA -LRB- digging through the box. -RRB- It's my fucking tape, you asshole - Graham grabs her wrists momentarily. GRAHAM -LRB- heated. -RRB- No! I told you what the parameters were and you agreed. It's my tape. I look at it, I touch it, nobody else. Cynthia and Graham look at each other for a long moment. GRAHAM Please go, I'd like you to go now. Cynthia looks at him. CYNTHIA Sure, okay. She leaves.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John and Ann lie in bed. The lights are out. Ann is wide awake, while John is on the verge of sleep. He rolls over and puts his arm around her. She gets up and sits in a chair opposite the bed. ANN John? JOHN Mmmmm. ANN I called you Tuesday at 3:30 and they said you were n't in. Do you remember where you were?\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are in Cynthia's bed, kissing. On the floor, John's watch reads 3:11 pm.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Tuesday. I had a late lunch. ANN Did you see a message to call me when you got back in?\",\n \"EXT. CYNTHIA BISHOP'S APARTMENT -- DAY John leaves Cynthia's house and drives straight home, greeting Ann as he steps through the front door.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Yes. I just got busy. ANN That's interesting, because I did n't leave a message. John is waking up a little. JOHN Then maybe I saw an old message. There are a lot of them on my desk, you know. ANN Who'd you have lunch with? JOHN I ate by myself. A pause. JOHN Something wrong? ANN Are you having an affair? JOHN Jesus Christ, where'd that come from? I have a late lunch by myself and now I'm fucking somebody? ANN Well, are you? JOHN No, I'm not. Frankly, I'm offended at the accusation. ANN If I'm right, I want to know. I do n't want you to lie. I'd be very upset, but not as upset as if I'd found out you'd been lying. JOHN There's nothing to know, Ann. ANN I ca n't tell you how upset I would be if you were lying. JOHN Ann, you are completely paranoid. Not ten minutes ago I wanted to make love for the first time in weeks, and you act like I'm dipped in shit. You know, I think there are a lot of women that would be glad to have a young, straight male making a pretty good living beside them in bed with a hard on. ANN My sister, for one. Is that who it is? JOHN For God's sake, Ann, I am not fucking your sister. I do n't find her that attractive, for one. ANN Is that supposed to comfort me? JOHN I was just saying, you know? I did n't get paranoid when you did n't want to make love. I could have easily assumed that you did n't want to because you were having an affair. ANN But I'm not. JOHN I'm not either! ANN Why do n't I believe you? JOHN Look, this conversation is utterly ridiculous. Maybe when you have some evidence, we should talk, but do n't give me conjecture and intuition. ANN Always the lawyer. JOHN Goddam right. I mean, can you imagine : `` Your honor, I'm positive this man is guilty. I ca n't place him at the scene or establish a motive, but I have this really strong feeling.'' ANN You've made your point. JOHN I'm sorry. It's just. I'm under a lot of pressure with this Kirkland thing, it's my first big case as junior partner, and I work all day, I come home, I look forward to seeing you, and. it hurts that you accuse me like that. A pause. Ann exhales. ANN I'm sorry, too. I. I get these ideas in my head, you know, and I have nothing to do all day but sit around and concoct these intricate scenarios. And then I want to believe it so I do n't think I've wasted the whole day. Last week I was convinced you were having an affair with Cynthia, I do n't know why. JOHN I do n't, either. I mean, Cynthia, of all people. She's so. ANN Loud. JOHN Yeah. Jeez, give me some credit. ANN I did n't say it was rational, I just said I was convinced. JOHN Is n't therapy helping at all? ANN I do n't know. Sometimes I feel stupid babbling about my little problems while children are starving in the world. JOHN Quitting your therapy wo n't feed the children of Ethiopia. ANN I know. A pause. ANN You never used to say `` fucking''.\",\n \"INT. CYNTHIA BISHOP'S APARTMENT -- DAY John sits on the edge of Cynthia's bed, slowly undressing. JOHN It's just so blatantly stupid, I have a hard time believing you did it. CYNTHIA What's so stupid about it? JOHN That you. you do n't even know the guy. CYNTHIA Well, you know him, he's a friend of yours, do you think he can be trusted? JOHN Shit, after what you've told me, I do n't know. I should've known, when he showed up dressed like some arty brat. CYNTHIA I like the way he dresses. JOHN What if this tape gets into the wrong hands? CYNTHIA `` The wrong hands''? We're not talking about military secrets, John. They're just tapes that he makes so he can sit around and get off. JOHN Jesus Christ. And he does n't have sex with any of them? They just talk? CYNTHIA Right. JOHN Jesus. I could almost understand it if he was screwing these people, almost. Why does n't he just buy some magazines or porno movies or something? CYNTHIA Does n't work. He has to know the people, he has to be able to interact with them. JOHN Interact, fine, but did you have to masturbate in front of him, for God's sake? I mean. A pause. CYNTHIA I felt like it, so what? Goddam, you and Ann make such a big deal out of it. JOHN You told Ann about this? CYNTHIA Of course. She is my sister. I tell her almost everything. JOHN I wish you had n't done that. CYNTHIA Why not? JOHN It's just something I'd prefer she did n't know about. CYNTHIA She's a grown - up, she can handle it. JOHN I just. Ann is very. CYNTHIA Hung up. JOHN It just was n't a smart thing to do. Did you sign any sort of paper, or did he have any contract with you saying he would n't broadcast these tapes? CYNTHIA No. JOHN You realize you have no recourse legally? This stuff could show up anywhere. CYNTHIA It wo n't. I trust him. JOHN -LRB- disbelieving. -RRB- You trust him. CYNTHIA Yeah, I do. A helluva lot more than I trust you. JOHN What do you mean? CYNTHIA Exactly what I said. I'd trust him before I'd trust you. How much clearer can I be? JOHN It hurts that you would say that to me. CYNTHIA -LRB- laughs. -RRB- Oh, please. Come on, John. You're fucking your wife's sister and you hardly been married a year. You're a liar. But at least I know you're a liar. It's the people that do n't know, like Ann, that have to watch out. JOHN By definition you're lying to Ann, too. CYNTHIA That's right. But I never took a vow in front of God and everybody to be `` faithful'' to my sister. JOHN Look, are we going to do it or not? CYNTHIA Actually, no, I've changed my mind. I should n't have called. JOHN -LRB- ingratiating. -RRB- Well, I'm here now. I'd like to do something. CYNTHIA How about straightening up the living room? John does n't smile. CYNTHIA Come on, John. You should be happy, we've gone this far without Ann finding out, I'm making it real easy on you. Just walk out of here and I'll see you at your house for a family dinner sometime. JOHN Did he put you up to this? CYNTHIA Who? JOHN Graham. CYNTHIA No, he did n't put me up to this. Jesus, I do n't need people to tell me what I should do. I've just been thinking about things, that's all. JOHN I ca n't believe I let him stay in my house. Right under my nose. That deviant fucker was right under my nose and I did n't see him. CYNTHIA If he had been under your prick you'd have spotted him for sure. JOHN -LRB- looks at her. -RRB- God, you. you're mean. CYNTHIA I know. Will you please leave now? JOHN Maybe I do n't want to leave. Maybe I want to talk. CYNTHIA John, we have nothing to talk about. JOHN I knew it, I knew it. Things are getting complicated. CYNTHIA No, John, things are getting real simple.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, dressed in some of John's work clothes -LRB- old cotton shirt, khaki pants -RRB- is cleaning the house. Not cleaning like a normal person, but like an obsessive/compulsive person. Scrubbing spots that are already clean, vacuuming the same area of rug over and over, etc.. Suddenly, an object lodges itself in the snout of the vacuum cleaner, making a loud noise. Shutting the machine off, Ann turns it over and sees that Cynthia's diamond stud earring has gotten hooked in the take - up roller. Ann stares at Cynthia's earring for a long moment. Cynthia picking up her jacket from beside the bed after having sex with John. The earring slips out of the pocket and bounces under the edge of the bed. Ann as she sets the earring onto the floor and begins to pound it with the bottom of a water glass, trying to smash it to pieces. She soon realizes the futility of trying to break a diamond. Ann looks down at herself. Suddenly realizing that she is dressed in John's clothing, she frantically rips the shirt and pants from her body as though the material were burning her skin. Popped buttons skid across the floor. Clothed only in her bra and underwear, Ann sits in the middle of the bedroom floor, arms around herself.\",\n \"EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, now in jeans and t - shirt, stumbles to her car. Once inside, she jams the key into the ignition and rests her head against the steering wheel.\",\n \"EXT. GRAHAM'S APARTMENT -- DAY Ann lifts her head from the steering wheel and looks up. She looks almost surprised to find that she has driven to Graham's. Slowly, she gets out of the car.\",\n \"INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is a weak knock at the door. Graham listens, not sure he heard anything. There is a second weak knock. GRAHAM It's open! Nothing happens. Graham gets up and opens the door himself. Ann stands against the wall of the hallway, her head down, her breathing deliberate. Concerned, Graham slowly begins to lead her inside. Impulsively, she hugs him tightly. Unaccustomed to physical contact, Graham's hands hang awkwardly at his side. Ann slowly pulls back from the embrace and sits down. Graham goes to the kitchen area and gets her a glass of water. He gives it to her and sits in the chair opposite. Ann holds the glass in her hand, staring at it. GRAHAM It's bottled, not tap. A weak smile from Ann. She drinks, swallowing with difficulty. ANN I'm not sure why I came here. I had kind of decided not to talk to you after. you know. GRAHAM I know. A pause. ANN That son of a bitch. Ann looks at Graham. ANN -LRB- sarcastic. -RRB- John and Cynthia have been. `` fucking''. GRAHAM I know. ANN -LRB- stunned. -RRB- You know? GRAHAM Yes. ANN How did you know? GRAHAM She said it on her tape. ANN -LRB- angry. -RRB- Why did n't you tell me? GRAHAM Ann, when would I have told you? We were not speaking, if you recall. Ann says nothing. GRAHAM But even if we had been speaking, I would n't have told you. ANN Why not? GRAHAM It's not my place to tell you these things, Ann. You have to find out by yourself or from John directly. You have to trust me on this. Ann shakes her head. ANN My life is. shit. It's all shit. It's like somebody saying, `` Okay, chairs are not chairs, they're actually swimming pools'' I mean, nothing is what I thought it was. What happened to me? Have I been asleep? I vaguely remember the wedding, but a lot of it is just a blur. like I was watching from a distance. I ca n't believe him. Why did n't I trust my intuition? Graham says nothing. ANN And I'm vacuuming his goddam rug. His rug, that he paid to have put in his house. Nothing in that place belongs to me. I wanted to put some of my grandmother's furniture in it, but he would n't let me. So I m vacuuming his rug. That bastard. Ann looks at Graham. ANN I want to make a tape. A pause. GRAHAM Do you think that's such a good idea? ANN Do n't you want to make one? GRAHAM Yes. But I sense the element of revenge here. ANN What difference does it make why I do it? GRAHAM I want you to be aware of what you're doing and why, because I know that this is not the sort of thing you would do in a normal frame of mind. ANN What would you know about a normal frame of mind? GRAHAM -LRB- impressed. -RRB- That's a good question. ANN What do you have to do to get ready? GRAHAM Load a new tape, turn the camera on. ANN Then do it. Graham opens a new box of videotapes. ANN How do you pay for all this? I mean, rent, and tapes and this equipment. GRAHAM I have money. ANN What will you do when the money runs out? GRAHAM It wo n't. Are you ready? ANN Yes. Graham turns the camera on. GRAHAM Tell me your name. ANN Ann Bishop Millaney.\",\n \"EXT. GRAHAM'S APARTMENT -- DUSK Street lights are illuminated. Night is imminent.\",\n \"INT. GRAHAM'S APARTMENT -- DUSK Graham stops the video recorder. The record meter is stopped at 46:02. Ann sits beside Graham on the couch. She looks into his eyes, stroking his hair. After a moment, she gets up to leave.\",\n \"INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John is talking on the phone as Ann walks through the door. He mumbles an apology into the receiver and hangs up as Ann moves to the couch, her expression calm. JOHN -LRB- worried. -RRB- Jesus Christ! What the hell happened? I came home and your car was gone, the door was open, I thought for sure you'd been abducted by some mad fucker, I was literally just calling the cops when you walked in. What happened? ANN I want out of this marriage. JOHN -LRB- genuinely shocked. -RRB- What? ANN -LRB- looks at him. -RRB- I want out of this marriage. JOHN Why? ANN We'll call it uncontested or whatever. I just want out. John moves to sit beside her on the couch. Ann does not look at him. JOHN -LRB- conciliatory. -RRB- Ann, honey, please, tell me what's wrong. Do n't just say you want out and leave me wondering. You ca n't just go without telling me why. Ann turns to look at him for a moment, then turns away. ANN Fuck you. I can do what I want. John's mouth literally hangs open in shock. He is dumbstruck. ANN I'll stay at my mother's. John gets up from the couch and begins pacing. JOHN Where did you go when you left here? ANN I drove around. Then I went to talk with Graham. John smacks his hand on his leg. JOHN Goddammit, goddammit! That son of a bitch! -LRB- thinking. -RRB- Well, at least I know you did n't fuck him. ANN No, but I wanted to. I really wanted to, partially just to piss you off. John is seething. JOHN You're leaving me for him, are n't you? Well, that makes a sad sort of sense. He ca n't, and you wo n't. ANN I'm not going to discuss this with you anymore. You're making no sense. John walks over to Ann. JOHN Did you make one of those goddam tapes? Ann says nothing. JOHN Answer me, godammit! Did you make one of those tapes? ANN Yes! John explodes, hitting the wall all around Ann. She cowers beneath the storm. John bolts from the house. ANN DO N'T YOU TOUCH HIM!\",\n \"INT. GRAHAM'S APARTMENT - NIGHT Graham stands in the middle of the room with a cigarette in his mouth, trying to teach himself to moonwalk.\",\n \"EXT. GRAHAM'S APARTMENT -- NIGHT John screeches to a halt, parking haphazardly. He gets out of the car and runs to Graham's apartment.\",\n \"INT. GRAHAM'S APARTMENT -- NIGHT John bursts through the door without bothering to knock. Graham looks up, startled. Before he can even react, John has him by the lapels. GRAHAM Hi, John. JOHN Where are the tapes, Graham? GRAHAM What tapes? JOHN You know which tapes! Where are they? GRAHAM John, as a lawyer, you should know that those tapes are private property. JOHN So is my wife, asshole! GRAHAM She's not property, John, she's a person. Were you just going to keep right on lying to her? JOHN What the hell do you think? I love Ann. You think I'm going to tell her about Cynthia and hurt her feelings like that? GRAHAM God, you need help. JOHN I need help? Whose sitting by himself in a room choking his chauncey to a bunch of videotapes, Graham? Not me, buddy. You're the fucking nut. Now show me those tapes. GRAHAM No. JOHN I'm not kidding, Graham, you'd better do what I say. Give me those tapes. GRAHAM No. John punches Graham in the jaw, knocking him to the floor. Graham feels his mouth for blood as John picks him up by the shirt. JOHN Graham, I swear to Christ I'll kill your scrawny ass. Now give me those tapes. GRAHAM No. John roughly pushes Graham into one of the director's chairs, which topples over and throws Graham to the floor once again. John looks around. He sees the boxes of tapes and begins to go through the contents. Graham gets up and runs over to stop him. GRAHAM Get away from those! They belong to me! Graham and John struggle. John hits Graham in the stomach and pushes him to the floor. JOHN Give me your keys. GRAHAM My keys? John bends over and starts going through Graham's pockets. JOHN Your keys, asshole! Your two fucking keys! Give them to me! GRAHAM I'm not going to give you my keys. John beats Graham until Graham can offer no resistance. He then drags Graham into the hallway and leaves him there. John then locks himself inside Graham's apartment. John walks over to the boxes of videotapes and begins to search through them spastically. He finds both Cynthia and Ann's tapes. After a brief deliberation, he decides to watch Ann's. He turns on the player and the monitor. After pulling a chair up to the screen, John presses the button marked `` play''. In the hallway, Graham drags himself to the door of his apartment. Putting his ear to the inlet, he strains to hear what is going on inside. John watches the monitor come to life. The image is Ann, sitting in a chair. GRAHAM -LRB- on tape. -RRB- Tell me your name. ANN -LRB- on tape. -RRB- Ann Bishop Millaney. GRAHAM -LRB- on tape. -RRB- You are married, correct? JOHN Goddam right. ANN -LRB- on tape. -RRB- Yes. GRAHAM -LRB- on tape. -RRB- Who usually initiates sex? John's jaw tightens. JOHN Bastard. ANN -LRB- on tape. -RRB- He does. GRAHAM -LRB- on tape. -RRB- Do you talk to him? ANN -LRB- on tape. -RRB- When we're making love? GRAHAM -LRB- on tape. -RRB- Yes. ANN -LRB- on tape. -RRB- Sometimes. Afterward. GRAHAM -LRB- on tape. -RRB- Does he go down on you? JOHN -LRB- shouting at Graham. -RRB- You son of a bitch! ANN -LRB- on tape. -RRB- Not very often. GRAHAM -LRB- on tape. -RRB- I would. John is literally so mad he ca n't speak. He watches the screen in mute anger, his hands wrapped tightly around the arms of the chair. Graham still listens from the hallway. GRAHAM -LRB- on tape. -RRB- Have you ever wanted to make love to someone other than your husband? JOHN Goddamit. Ann hesitates. JOHN -LRB- to Ann's image. -RRB- Answer him, goddammit! GRAHAM -LRB- on tape. -RRB- You're hesitating. I think that means you have. JOHN -LRB- to Graham on tape. -RRB- Shut up! ANN -LRB- on tape. -RRB- You do n't know what I'm thinking. GRAHAM -LRB- on tape. -RRB- It's a simple question. Have you ever thought of having - making love with someone other than your husband? John leans forward. ANN -LRB- on tape. -RRB- Is he going to see this? GRAHAM -LRB- on tape. -RRB- Absolutely not. A sarcastic chuckle from John. In the hallway, Graham furrows his brow. ANN -LRB- on tape. -RRB- I have thought about it, yes. JOHN -LRB- to Ann's image. -RRB- You bitch. I knew it. GRAHAM -LRB- on tape. -RRB- Did you have sex before you were married? ANN -LRB- on tape. -RRB- Yes. GRAHAM -LRB- on tape. -RRB- Did the person you made love with satisfy you more than your husband? JOHN -LRB- to Graham. -RRB- God damn you! ANN -LRB- on tape. -RRB- Yes. John stands and throws his chair against the door. Graham, still listening at the door, is startled. GRAHAM -LRB- on tape. -RRB- And you have thought about. making love to that person again since you ve been married? John watches the monitor, his eyes beginning to water. ANN -LRB- on tape. -RRB- I do n't see what difference it makes, I mean, I can think what I want. -LRB- pause. -RRB- I do n't know if I want to do this anymore, I'm afraid. I do n't mind answering the questions so much, but if somebody were to see this. GRAHAM -LRB- on tape. -RRB- At some level, I do n't understand your nervousness. Have you decided to leave John? Ann thinks. John watches. ANN -LRB- on tape. -RRB- Yes, I have. I will. GRAHAM -LRB- on tape. -RRB- Then as far as this taping goes, you have nothing to worry about. ANN -LRB- on tape. -RRB- I guess not. GRAHAM -LRB- on tape. -RRB- Do you want me to stop? John, absorbed in the image, absently shakes his head. ANN -LRB- on tape. -RRB- No. GRAHAM -LRB- on tape. -RRB- Are there people other than your previous lover that you have fantasized about? A pause. ANN -LRB- on tape. -RRB- Yes. Whenever. all right, look. Whenever I see a man that I think is attractive, I wonder what it would be like with him, I mean, I'm just curious, I do n't act on it, but I hate that I think that! I wish I could just forget about that stuff! GRAHAM -LRB- on tape. -RRB- Why? ANN -LRB- on tape. -RRB- Because that's how Cynthia thinks! All she does is think about that stuff, and I hate that, I do n't want to be like her, I do n't want to be like her! GRAHAM -LRB- on tape. -RRB- You're not like your sister. You could n't be like her if you wanted to. ANN -LRB- on tape. -RRB- I know. Deep down, I know that. It just bothers me, when I have feelings or impulses that she has. John picks up the chair he threw and sets it upright. He sits down and watches the screen impassively. Graham still listens from outside. GRAHAM -LRB- on tape. -RRB- So you do fantasize? ANN. -LRB- on tape. -RRB- Yes. GRAHAM. -LRB- on tape. -RRB- About who? ANN -LRB- on tape. -RRB- I fantasized about you. GRAHAM. -LRB- on tape. -RRB- About me? ANN. -LRB- on tape. -RRB- Yes. A pause. ANN -LRB- on tape. -RRB- Have you fantasized about me? GRAHAM -LRB- on tape. -RRB- I thought I made that clear before, when I said I would go down on you. ANN -LRB- on tape. -RRB- I remember. You could do that, could n't you? Go down on me? GRAHAM -LRB- on tape. -RRB- Yes. ANN -LRB- on tape. -RRB- If I asked you to, would you? Not on tape, I mean? GRAHAM -LRB- on tape. -RRB- No. ANN -LRB- on tape. -RRB- On tape? GRAHAM -LRB- on tape. -RRB- No. ANN -LRB- on tape. -RRB- Why not? GRAHAM -LRB- on tape. -RRB- If I ca n't do it all, I do n't want to do anything. And I ca n't do it all. ANN -LRB- on tape. -RRB- Ca n't or wo n't? A pause. John is still watching the tape, his face betraying no emotion. Graham still listens from outside. The previous afternoon. We are no longer looking at Ann on the monitor, but watching her and Graham AS THEY MADE THE TAPE. For instance, we can now see Graham from Ann's point of view, or the two of them at the same time, etc.. GRAHAM Ca n't. ANN You said you were n't always impotent. GRAHAM That's correct. ANN So you have had sex. GRAHAM Yes. ANN Who was the last person you had sex with? GRAHAM Her name was Elizabeth. ANN So what happened? Was it so bad that it turned you off? GRAHAM No, it was wonderful. That was n't the problem. ANN What was the problem? GRAHAM The problem was me. I was. I was a pathological liar. Or am, I should say. Lying is like alcoholism, one is always `` recovering''. ANN So you lied to her? GRAHAM Yes. I did. Willfully and repeatedly. ANN How come? GRAHAM I loved her for how good she made me feel, and I hated her for how good she made me feel. And at that time, I tended to express my feelings non - verbally. I could n't handle anyone having that much control over my emotions. ANN And now you can? GRAHAM Now I make sure that no one has the opportunity to test me. ANN Do n't you get lonely? GRAHAM How could I, with all these nice people stopping by? The fact is that I've lived by myself for so long, I ca n't imagine living with another person. It's amazing what you can get used to if enough time goes by. And anyway, I'm asking the questions. Are you happy? ANN I do n't know anymore. I thought I was, but obviously I was wrong. GRAHAM Did you confront John with the fact that you knew about him? ANN Not yet. I'm not sure I will. I just want out. GRAHAM If you do get out of your marriage, will you continue to be inhibited? ANN I do n't know. It all gets back to that Cynthia thing. I do n't like her. eagerness. There's nothing left to imagine, there's no. GRAHAM Subtlety? ANN Subtlety, yes. No subtlety. Plus, I've never really felt able to open up with anyone. I mean, that other person I told you about, I enjoyed making love with him a lot, but I still was n't able to really let go. I always feel like I'm being watched and I should n't embarrass myself. GRAHAM And you feel the same way with John? ANN Kind of. I mean, John's like this kind of. craftsman. Like he's a carpenter, and he makes really good tables. But that's all he can make, and I do n't need anymore tables. GRAHAM Interesting analogy. ANN I'm babbling. GRAHAM No, you're not. ANN -LRB- thinking. -RRB- God, I m so mad at him! GRAHAM You should be. He lied to you. So did Cynthia. ANN Yeah, I know, but somehow I expect that from her, I mean, she'll do it with almost anybody, I do n't know, I should n't stick up for her I guess, but him. He lied so. deeply! Ooo, I want to watch him die! Ann sits quietly for a moment. Graham watches her silently. The camera continues to roll. ANN -LRB- looks up at Graham. -RRB- You're really never going to make love again? GRAHAM I'm not planning on it. A pause. ANN If you were in love with me, would you? GRAHAM I'm not in love with you. ANN But if you were? GRAHAM I. I ca n't answer that precisely. ANN But I feel like maybe I could be really comfortable with you. GRAHAM That's very flattering. ANN So why wo n't you make love with me? Why would n't you, I mean? GRAHAM Ann. Are you asking me hypothetically, or are you asking me for real, right now? ANN I'm asking for real. I want you to turn that camera off and make love with me. Will you? A pause. GRAHAM I ca n't. ANN Why not? GRAHAM I've told you. ANN But I do n't understand - GRAHAM Ann, it could happen to me all over again, do n't you see? I could start to - ANN But how do you know for sure, you have to try to find a way to fig - GRAHAM I could n't face her if I had slept with somebody else. A pause. ANN Who? Elizabeth? GRAHAM -LRB- uncomfortable. -RRB- Yes. ANN You mean you're still in contact with her? GRAHAM No. ANN But you're planning to be? GRAHAM I do n't know. Possibly. ANN Wait a minute, wait a minute. What's going on here? Did you come back here just to see her again? GRAHAM Not entirely. ANN But that was part of it? GRAHAM Yes. ANN Like maybe a big part? GRAHAM Possibly. ANN Graham, I mean, what do you think her reaction is going to be if you contact her? GRAHAM I do n't know. ANN Look at you, look at what's happened to you, look how you've changed! Do n't you think she will have changed? GRAHAM I do n't know. I really would rather not talk about it. ANN -LRB- has to laugh. -RRB- Whoa! I'm so glad we got that on tape! You wo n't answer a question about Elizabeth, but I have to answer all these intimate questions about my sex life! Graham, what do you think she's going to make of all these videotapes? Are you going to tell her about them? I ca n't imagine her being too understanding about that. But since you do n't lie anymore, you'll have to say something. GRAHAM As I said, I have n't decided what to do, exactly. Perhaps I wo n't do anything. ANN Oh, you just moved here to think about it, right? Graham says nothing. Ann looks at him. ANN Oh, God, Graham, this is so. pathetic. You're not even what you pretend to be, you're a lie, you're a bigger lie than you ever were. Graham sets the camera down, though it continues to record. He is visibly upset. GRAHAM All right, you want to talk about lies, let's talk about lies, Ann. Let's talk about lying to yourself. You have n't been able to sleep with your husband because you're no longer in love with him, and maybe you never were. You have n't been honest with yourself in longer than you can remember. ANN -LRB- heated. -RRB- Yeah, you're right. But I never claimed to know everything like you, and have all these little theories. I'm still learning, I know that. But I do n't feel like I've wasted time. If I had to go through my marriage to get to where I am right now, fine. Ann moves in closer, burrowing, her eyes on fire. ANN But you. You have wasted nine years. I mean, that has to be some sort of weird record or something, nine years. How does that feel? Graham says nothing. Ann picks up the camera and points it at him. GRAHAM Do n't do that. ANN Why not? GRAHAM Because. ANN `` Because''? That's not good enough. I asked you a question, Graham. I asked you `` how does it feel''? How does it feel, Mr. I Want To Go Down On You But I Ca n't? Do you know how many people you've sucked into your weird little world? Including me? Come on, how does it feel? GRAHAM I ca n't tell you like this. ANN I'm just going to keep asking until you answer. I'm sure there's plenty of tape. GRAHAM I do n't find this `` turning the tables'' thing very interesting - ANN I do n't care. Graham reaches up for the camera. Ann knocks his hand away. ANN Not until I get some answers. Tell what you feel. Not what you think, I've heard plenty of that. What you feel. Graham is on the verge of completely falling apart. ANN Come on! GRAHAM All right! All right! You want to know? You want to know how I feel? I feel ashamed. Is that what you wanted to hear? A pause. Graham regains his composure somewhat. ANN Why are you ashamed? GRAHAM Jesus Christ, Ann. Why is anybody anything? I think you have this idea that people are either all good or all bad, and you do n't allow for any gray areas, and that's what most of us consist of. ANN You're not answering me. GRAHAM -LRB- heated. -RRB- Well, what kind of answer are you looking for, Ann? What is it exactly that you want to know? ANN I want to know why you are the way you are! GRAHAM And I'm telling you it's not any one thing that I can point to and say `` That's why!'' It does n't work that way with people who have problems, Ann, it's not that neat, it's not that tidy! It's not a series of little boxes that you can line up and count. Things just do n't happen that way. ANN But why ca n't you just put it all behind you? Ca n't you just forget it? All that stuff you did? GRAHAM No, Ann, I ca n't. I ca n't forget it. It's not something I can fix. It's difficult. There s something in my mind. the way my brain works. -LRB- frustrated. -RRB- God, Ann, when you're with another person, and you re. inside them, you're so vulnerable, you're revealing so much. there's no protection. And. somebody could say, or do something to you while you re in this. state of. nakedness. And they could hurt you without even knowing it. In a way that you could n't even see. -LRB- looks at Ann. -RRB- And you would withdraw. To make sure it did n't happen again. Ann looks at him for a long moment and then sets the camera down. She moves in front of Graham and kneels. ANN I want to touch you. Graham shakes his head. ANN I want to touch you. GRAHAM No. Ann reaches out, and Graham instinctively begins to move away. ANN Graham. Something in her voice makes him stop. Their eyes lock. Graham slowly moves back toward her. Ann's hand eases out to him, her eyes still burning into his. Graham closes his eyes, accepting Ann's touch. She caresses him. Slowly. Delicately. She touches his arms, his face, his hair. Closing her eyes, she takes his hand and puts it against her face. She begins to lie him back on the couch. When he offers light resistance, she gently persists. ANN Keep your eyes closed. Graham lies back, silently obeying. Ann touches his face. Gradually, her hand slips to his neck and she begins to unbutton his shirt. She watches his face, hoping that he will remain calm. He does. She rubs her hand on his chest. Once again she brings Graham's hand to her face. She moves his hand to her neck and throat, painting her skin with his fingers. Soon each hand is exploring the other. Fingers search for and find hidden areas. Ann stands. Their hands remain together, and Graham's eyes remain closed. Ann moves onto the couch with Graham. She gently lowers herself into a sitting position on his waist. She slowly moves both of her hands onto Graham's chest. They move forward and back, like a lazy tide. She looks at Graham. His face is tranquil. Ann quietly begins to move her face toward his. Soon she is hovering inches above him, her long hair touching his features. She lowers her lips to his forehead and kisses him. She waits for a negative reaction. Getting none, she moves lower and kisses his eyes. Still receiving no discouragement, she moves to his nose. A subtle movement from Graham. Ann waits for a moment. She then moves to his lips, her luxuriant tresses enveloping his face. She kisses him lightly. She kisses him again. Graham tilts his head back and she softly kisses his neck. Graham's hands make their way up Ann's back until they have reached her neck. He slowly pulls his face to hers. He kisses her. Graham is flooded with warmth and excitement. He caresses her, intoxicating himself with physical contact. The kisses become more meaningful, and the touching becomes more passionate. For a moment, Graham seems about to evaporate in a state of ecstasy, his eyes filled with relief and happiness. But his gaze happens to fall on the video camera, which continues to record. Graham seizes up and abruptly backs away from Ann's embrace. Reality slowly envelopes him. ANN Graham. GRAHAM I'm okay. It's okay. Ann reaches for his hand. He allows her to take it. GRAHAM -LRB- almost dazed. -RRB- It's okay. Graham looks at Ann for a long moment. She sees the acceptance and gratitude in his eyes. She smiles lightly. Graham moves forward and shuts off the camera. John watching the tape. There is video snow on the monitor now. The tape timer reads 46:02. John gets up slowly, ejects the tape from the player, and heads for the door. Graham, hearing the footsteps approach, backs away from the inlet. His eye is swollen, and he holds one of his hands in a curious position. John opens the door. He looks at Graham for a moment before reaching into his pocket for Graham's keys. He dangles them in his hand as he stands over Graham. JOHN I never told you this, because I thought it would crush you, but now I could give a shit. -LRB- pause. -RRB- I fucked Elizabeth. Before you broke up. Before you were having trouble, even. So you can stop making her into a saint. She was good in bed and she could keep a secret. And that's about all I can say about her. John drops Graham's keys to the floor and leaves. Graham stands, fighting back tears, and walks into his apartment. He pulls Ann's tape from the videotape player. He reaches inside the cassette cartridge and pulls the videotape itself out, ruining it forever. He does the same to every other tape in both the boxes. Calmly. Deliberately. Methodically. He walks over to the camera/recorder, trailing a mound of videotape behind him. He breaks the lens off the camera body, and smashes the inner workings against the edge of the table. He then drops the damaged unit into the pile of destroyed tape, where it disappears.\",\n \"INT. LAW OFFICES -- DAY John Millaney talks to his colleague. JOHN Man, not having to answer to anybody. I feel like this huge weight has been lifted from my shoulders. I mean, come on, if I decide that I'd rather live alone, what's so bad about that? It's not like I've decided to live a life of crime, right? It's just how I feel, you ca n't help the way you feel, you just have to be honest about it. John dials a number on his telephone. VOICE ON PHONE IBM. JOHN -LRB- to phone. -RRB- Brian Kirkland, please. VOICE ON PHONE May I ask who's calling? JOHN John Millaney. VOICE ON PHONE One moment. JOHN -LRB- to his colleague. -RRB- Anyway, I've always said, the work is the thing. I can be happy without a marriage, but take away my work, that's different. And if Ann ca n't handle that, that's her problem, like we re all alone in this world, you know what I'm saying? I mean, fuck. -LRB- looks at phone. -RRB- Jesus, what's takin' this guy? The intercom clicks to life. SECRETARY -LRB- on speaker. -RRB- Mr. Millaney? JOHN Yeah. SECRETARY -LRB- on speaker. -RRB- Mr. Forman would like to see you in his office. JOHN Okay, in a minute, I'm on with a client. SECRETARY -LRB- on speaker. -RRB- He said immediately. JOHN All right, jesus. The intercom clicks off. VOICE ON PHONE Mr. Millaney? JOHN Yes? VOICE ON PHONE Mr. Kirkland has asked me to inform you that he has obtained legal representation elsewhere, and that if you have a message for him to leave it with me. John swallows. JOHN Thank you. I. there is no message. Thank you. John hangs up. He thinks for a moment, rubbing his forehead. The intercom clicks to life. SECRETARY -LRB- on speaker. -RRB- Mr. Millaney, Mr. Forman is waiting. DUDE -LRB- voice over. -RRB- Come on, I'm not asking too much, am I? Just one little question.\",\n \"INT. LOUNGE -- DAY Cynthia is tending bar. The Dude from earlier is still there, puffing On a big cigar. DUDE Just tell me what time you get off. Work, I mean. What's the harm in that? Whaddaya say? Ann enters the lounge. Cynthia watches with apprehensive surprise as Ann approaches with a potted plant. CYNTHIA -LRB- to Dude. -RRB- Excuse me. Cynthia moves to meet Ann at the end of the bar. Ann sets the plant down on the counter. Her manner is diffident, but not hostile. ANN I know it's your birthday, and I know you like plants. So I got you this. Cynthia is very moved, though she struggles valiantly to conceal her emotions. CYNTHIA Thank you. ANN Well. I ca n't stay. Ann begins to leave. CYNTHIA Can I call you? Ann turns back to face her. They look at each other for a moment. ANN Do you have my work number? CYNTHIA No. Ann writes the number down on a napkin. ANN I get real busy between two and four. CYNTHIA Okay. Ann looks at Cynthia again before leaving. ANN Bye. CYNTHIA Bye. Ann leaves. Cynthia continues to look at the door long after Ann has left. DUDE Nice plant. turns to him. CYNTHIA Do me a favor. Do n't come in here anymore.\",\n \"INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is now some furniture in the apartment. Bookshelves, plants, etc.. There are periodicals on the table where the video gear used to be. There are no cigarettes. There is a knock at Graham's door, which now has a deadbolt lock. GRAHAM Who is it? A knock again. Graham sets his book down and goes to the door. He unlocks the deadbolt and opens it. Ann stands in the hallway. Graham is obviously flushed with feeling at seeing her. She wordlessly moves into the room, her movements like a slow breeze, her expression calm. Graham watches her go by. She stops in the middle of the room, her back to him. Graham moves toward her slowly. Sensing him behind her, her breathing becomes deep. Graham slowly enfolds her in his arms, his face against her hair. She closes her eyes as their fingers entwine. CUT TO BLACK THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,1,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,1,0,0,1,1,1,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"Ann Bishop Mullany lives in Baton Rouge. She is unhappily married to John, a successful lawyer, and they live in a comfortable home. Ann has a personal complaint about intimacy she expresses to her sister: she has never experienced an orgasm. She is in therapy. Graham Dalton is an old close college friend of John. He is now a seeming drifter with some money saved up. Nine years after college Graham returns to visit and perhaps live in Baton Rouge. Graham arrives at John's to meet Ann. Later she learns that John has invited Graham to stay with them until he finds an apartment. When John arrives home, Graham's demeanor becomes remarkably more guarded, due in large part to John's subtle disapproval of Graham's bohemian persona. The men discuss the fact that Graham's college girlfriend, Elizabeth, is still living in Baton Rouge. John is cheating on Ann with her sister, Cynthia, a free-spirited and friendly bartender. He rationalizes it by blaming Ann's frigidity. John frequently leaves his law office mid-day to meet for trysts with Cynthia, instructing his secretary to reschedule clients, even when they are already in the lobby waiting to see him. Ann ends up helping Graham look for an apartment. After Graham finds a place, Ann makes an impromptu visit to Graham's apartment. While visiting she notices stacks of camcorder videotapes, all with women's names on them around the television. When pressed, Graham explains that he interviews women about their lives, sexual experiences, and fantasies, and records them on videotape. After hearing Graham, Ann is suddenly overcome with shock and confusion, and quickly leaves his apartment. Within a day, Ann's outgoing sister Cynthia appears uninvited at Graham's apartment and introduces herself. Cynthia presses Graham to explain what incident \"spooked\" Ann the preceding day. Graham briefly and reluctantly explains the sexual interview videotapes, and admits to Cynthia his sexual dysfunction: that he is impotent when in the presence of another person, and that he achieves gratification by watching these videos in private. Graham propositions Cynthia to make an interview tape, assuring her that no other person is allowed to see the tapes. She believes him, and agrees. Cynthia reports doing a videotape with Graham back to Ann, who is horrified. Later Cynthia also tells John about her videotape and he also reacts very negatively (though more than a little possessively). Cleaning her home the next day, Ann discovers Cynthia's pearl earring in her bedroom (she knows the earring belongs to her sister, since she had mentioned that she had lost it) while vacuuming. Ann is then furious. She heads over to Graham's apartment with the intention of making a videotape. Graham objects, telling her making a videotape is something she would not do in a normal frame of mind. Ann insists on making a videotape, and Graham relents. Afterward at home, Ann then angrily demands a divorce from John. In the ensuing shouting argument, John quickly learns that Ann has been to Graham's, and that she made a sexual video. John rushes to Graham's apartment, suddenly hits him and then locks him out of the house. John then watches Ann's tape. In the video, Ann says she has never felt any kind of 'satisfaction' from sex. After Graham asks if she ever thinks of having sex with other men, she admits she has thought of Graham. Ann later turns the camera on Graham, who resists but she persists. Graham confesses that he is haunted by Elizabeth, and that his motivation in returning to Baton Rouge is an attempt to achieve some closure. Graham explains that he was a pathological liar, which destroyed an otherwise rewarding relationship with Elizabeth. He explains that he has since gone to great lengths to keep people at a distance and avoid relationships. Ann starts touching and kissing Graham; Graham turns off the camera; it is implied that the two have sex. A chastened John joins Graham on the front porch and, with obvious pleasure, confesses to having sex with Elizabeth while she and Graham were a couple. But John also helps Graham see his ex Elizabeth in a more realistic way. He states, \"She was no saint. She was good in bed, and she could keep a secret. That's all I can say about her.\" and then leaves. This statement makes Graham furious and he goes into a rage and destroys all of the videotapes, as well as his video camera. The next day, John is summoned to his boss's legal office, where it’s implied that he is about to be fired due to his frequent cancellations of meetings with important clients of the firm to have sexual trysts with Cynthia. In the next scene, Ann and Cynthia reconcile at the bar Cynthia tends. Ann then goes to Graham's place and joins Graham on the front porch, as they appear to be a couple."},"name":{"kind":"string","value":"Sex,_Lies,_and_Videotape"}}},{"rowIdx":174,"cells":{"scenes":{"kind":"list like","value":["EXT. FITCH SENIOR HIGH SCHOOL - DUSK A few cars scatter the parking lot. WE hear GRUNTS followed by the distinct sound of basketballs shredding net.","INT. FITCH SENIOR HIGH SCHOOL/GYM - CONTINUOUS An empty gymnasium except for a shirtless MIKE O'DONNELL, 17. Mike stands feet BEYOND the 3 point line, grabs balls from a hopper and rapidly shoots, shoots, shoots. SWISH. SWISH. SWISH. This kid's automatic. Mike's hair, a pompadour mullet a la ` 21 Jump Street' and short shorts circa 1989. Mustached and curly haired COACH HARVEY, 40, enters. COACH HARVEY Hey, O'Donnell, save some for the game. Mike sinks one last jumper, turns to the Coach. MIKE Just warming up, Coach. Coach Harvey hands Mike a towel. COACH HARVEY First game of the season and the scouts are already lining up. You have half the season I know you're capable of, you can play anywhere you want, Mike. MIKE That's the plan coach. The rest of the FITCH FALCONS basketball team jogs out from the locker room followed by a PHOTOGRAPHER. COACH HARVEY Round up, Jock Straps! Picture time. The Team assembles in the middle of the court. A PLAYER kneeling in front holds a sign, ` FITCH FALCONS, 1989'. MIKE Hold on. Ed's not here yet. DOM, 17, handsome, tall, long rat tail, scoffs - DOM Who cares? He's the water boy. MIKE And you suck, Dom, but we're letting you in the picture. A shoving match breaks out between Mike and Dom. COACH HARVEY Hey! Hey! Knock it off. Coach Harvey pulls the Players apart just as the gym doors burst open. ED FREEDMAN, 17, sporting a jacket over a WIZARD costume, runs in, trips on his robe, gets up, peels his clothes off. ED Sorry I'm late. I was locked in a life and death battle with the dark wizard. COACH HARVEY Fall in, Freedman. Hurry up. Ed takes a spot next to Dom. PHOTOGRPAHER And 3, 2, 1 - WE see Dom reach behind Ed, grab hold of his underwear. RRRRIIIPP. FLASH. And with the flash WE cut to :","INT. FITCH SENIOR HIGH SCHOOL/GYM - NIGHT The Falcons run, pass and shoot on one end of the court. On the opposite end, a TEAM in BLUE warms up. Lights dim. Cue MC Hammer's ` Ca n't Touch This'. CHEERLEADERS at center court perform the Hammer DANCE ROUTINE. PAN around the gym, everybody's doing the Hammer dance. Ed awkwardly tries to imitate Mike. Coach shakes his head in disgust and when the routine ends - COACH HARVEY Alright, Ladies, bring it in! The Falcons swarm to the bench, take seats. Ed hands waters to the Players, skips Dom, stops at Mike. MIKE Ed, I ca n't help you with the girls if you keep showing up places dressed like the Cookie Crisp guy. Okay? Dude, do n't look now but I think Muffy Campanella is scopin' you hard. ED For real? Ed jerks around to blatantly stare at her. MIKE Smile, pud. Ed flashes a goofy smile. MUFFY mimes puking. MIKE -LRB- CONT'D. -RRB- My bad. GIRL'S VOICE -LRB- o.s. -RRB- Mike? SCARLET, 17, an 80's beauty, stands at the end of the bench. MIKE Who's that stone cold fox? Oh, it's my girlfriend. -LRB- walks over. -RRB- I'm glad you're here, Scar. This whole scout thing's got me wicked nervous. Dom dribbles past, smiles at Scarlet. DOM I'm dedicating my first basket to you, Scarlet. MIKE Way you shoot that might be mid - season! -LRB- to Scarlet. -RRB- Everything cool? She smiles nervously, lies. SCARLET Oh yeah. Everything's totally copacetic. MIKE Totally? SCARLET Totally. REFEREE blows the whistle. COACH HARVEY Let's go! Remember, Boys, winners get the girls. Losers please themselves! MIKE -LRB- to Scarlet. -RRB- Excellent. Got ta run. He kisses her cheek, starts off, turns back - MIKE -LRB- CONT'D. -RRB- What's wrong? LONG SHOT : We hear nothing but see Mike's body deflate. He steps away from Scarlet towards center court. Muffy and her friends mock Ed and laugh hysterically ED Do you really think Muffy's in to me? Mike, in a daze walks right past Ed. Takes his place for the jump ball. The Crowd stomps and cheers LOUDLY. The Ref is about to toss the ball. Mike looks up at the stands, sees a crushed Scarlet heading for the exit. Mike's torn. Play or go after her. He goes after her. COACH HARVEY Where you going!? O'Donnell!?","INT. FITCH SENIOR HIGH SCHOOL/TUNNEL - NIGHT Mike rushes in. MIKE Scar! Wait. She turns, slumps against the wall. Mike catches up to her. Mike leans in and kisses Scarlet.","EXT. PALISADES NEIGHBORHOOD. PRESENT DAY - MORNING Opulent HOMES. OCEAN views. Luxury CARS. Manicured LAWNS. The sound of an alarm clock shatters the silence as WE settle in on a large, MEDITERRANEAN STYLE HOUSE.","INT. ED'S HOUSE/MIKE'S BEDROOM - MORNING MIKE O'DONNELL, now 36, angrily slaps the alarm off. 6 AM. He climbs out of bed, bones creaking, stiff, groans.","INT. BATHROOM - MORNING A showered, suited Mike stands before the mirror, knots a tie around his neck. MIKE -LRB- UNINSPIRED. -RRB- Today is going to be a good day. I love my job. I am a lucky man. Who's lucky? Mike O'Donnell. Mike yanks his tie straight up as if he were hanging himself.","INT. ED'S HOUSE/LIVING ROOM - MORNING ED FREEDMAN, now 36, lies on a portable table in his boxers. ACUPUNCTURE NEEDLES protrude from every inch of his body, neck and face. at least 5000 needles. A HOT, YOUNG ACUPUNCTURIST adds more to him. ACUPUNCTURIST Can you feel your Qi flowing freely? ED I'm not sure if its my Qi or internal bleeding. Mike enters, shakes his head in amusement. MIKE What are you doing now? Ed looks over, sees Mike watching. ED There he is. There's Mr. Sunshine. Fei Jing Acupuncture. It's all the rage. Makes you look five years younger. Ed climbs slowly off the table, shuffles over, groaning in pain the entire way. He pours himself a shot of BROWN LIQUID from a pitcher, throws the shot back and immediately SPITS it all over the place. ED -LRB- CONT'D. -RRB- -LRB- calls to Acupuncturist. -RRB- What's this brown stuff again? ACUPUNCTURIST Rhinoceros urine. Pure protein. ED Delish! -LRB- to Mike. -RRB- The girl has absolutely no clue what she's doing. MIKE Then why are you letting her stick needles in you? ED Because she's hot. But today's not about me. It's about you becoming the new regional sales manager. MIKE I better be. I've invested 18 years of my life in that miserable company. ED No negativity. Negativity's for the 800 pound fat lady who needs to be airlifted out of bed. You, Michael Shawn O'Donnell, are a winner. MIKE A winner does n't have to crash at his best friend's house because he was kicked out of his own house. ED Are you kidding?! It does n't get any better than this! I got ta get back. My legs just went numb. Good luck today. Ed drags painfully back to the Acupuncturist.","EXT. SAN FERNANDO VALLEY - MORNING Mike wheels his Audi A4 below a nondescript, two level building. Sign reads, ` Wyatt Pharmaceuticals'.","INT. WYATT PHARMACEUTICALS/CONFERENCE ROOM - MORNING PHARMACEUTICAL DRUG POSTERS cover the walls. Smiling faces, happy couples. little pills. Surrounding a conference table are Mike's colleagues. HOT WOMEN, 20 to 35, in skimpy business suits, chatting away. Mike sits amongst them, the only male present. A glum look on his face. WENDY, bubbly, ditsy, 22, leans over to him. WENDY Congratulations, Mike. You deserve it. You're like a totally amazing salesman. MIKE Thanks, Wendy. That like totally means so much to me. ROGER, 23, boss, strides through the door. ROGER Good morning, peeps. As you all know, today I'll be naming the new regional sales manager. What's it take to be an RSM? Leadership skills, a comprehensive knowledge of today's prescription pharmaceuticals and most importantly a dedicated soldier. Mike straightens his tie, buttons his suit jacket. ROGER -LRB- CONT'D. -RRB- All being said, congratulations -. -LRB- Mike begins to rise. -RRB- Wendy. Dumbfounded, Mike slumps back into his seat. Wendy springs up out of hers, SCREAMING and BOUNCING. ROGER -LRB- CONT'D. -RRB- Now go out there and sell some drugs peeps! The Women stream out. MIKE How could you do this to me? I've been a salesman here 18 years. Wendy's only been here 2 months!? ROGER Look, your sales are admittedly better but she has the college degree. What can I do? MIKE You can give me the promotion, Roger! ROGER Things have changed. I could n't even hire you now with only a high school diploma. My hands are tied, bro - ski. Mike swallows his pride and exits.","EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DUSK Mike pulls into the empty parking lot, climbs out of his car and into the building.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DUSK Mike hurries down the hall, opens a door, peeks his head in.","INT. FITCH SENIOR HIGH SCHOOL/GYM - DUSK Mike peers around. nobody. MIKE Alex? No answer. A basketball sits in the middle of the floor. Mike enters, picks up the ball, begins dribbling. faster, between his legs, around his back, up to the 3 point line - MIKE -LRB- CONT'D. -RRB- 3, 2, 1 - Mike hits a perfect jumper at the imaginary buzzer, smiles. MIKE -LRB- CONT'D. -RRB- The kid's still got it. Mike dashes for the bouncing ball, scoops it up, goes for a reverse lay up, makes it but when he lands. he lands. CRACK. hard. Mike grabs his lower back, groans - MIKE -LRB- CONT'D. -RRB- Ooooh. That was stupid.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DUSK Mike limps out of the gym, wanders over to a wall covered in PHOTOGRAPHS. Fitch basketball teams of the past. Mike searches the pictures until he finds it. the photo WE saw being taken earlier. the team of 1989. Ed mid howl from Dom's wedgy. Mike stares at the photograph. lost in time and thought. The smiling, confident image of his youth stares back at him. MALE VOICE -LRB- o.s. -RRB- You know someone in that picture? Mike startles from his daydream, turns. A kind - faced, old JANITOR, stands behind him, mop in hand. MIKE I do. Me. I'm in the center there. The Janitor leans in, takes a closer look at Young Mike. JANITOR Adolescence can be so cruel. MIKE What are you talking about? -LRB- lost in the picture AGAIN. -RRB- I had life by the balls in that picture. Everything was possible. Then a few minutes later, pffffft, all gone. JANITOR ` For of all sad words of tongue and pen, the saddest are these : ` It might have been.' MIKE That'll be my epitaph. JANITOR We all have regrets. MIKE Why's it have to be that way? JANITOR Maybe it does, maybe it does n't. Ca n't hurt to ask. You never know who's listening, Michael. Michael wistfully eyes the old photo, looks back to the JANITOR - MIKE How did you know. ALEX -LRB- O.S. -RRB- What are you doing, Dad? ALEX, 15, messy hair and slight, and MAGGIE, 17 and awkwardly pretty, appear at the other end of the hall. MIKE Hey, Guys. I was just talking to - Mike looks back to the Janitor. GONE. MIKE -LRB- CONT'D. -RRB- Never mind. Sorry I'm late. You ready to get some dinner then? They make their way towards the door. Mike limping. ALEX Why are you limping? MIKE Tweaked my back pumping iron. Really, really heavy iron.","INT. CHEESECAKE FACTORY - NIGHT Mike, Alex and Maggie sit before dinner. Alex eats heartily. Maggie quietly pushes her food around. MIKE I bet your chompin' at the bit for hoop season to start. ALEX Yeah, me and the guys are running drills, scrimmaging, getting in shape. Maggie stifles a laugh. MIKE That's my boy. Remember, it's not how big you are - ALEX - it's how big you play. Father and Son touch fists. MIKE And what about you, Mags? What's new? MAGGIE Nothing. ALEX She got into Georgetown. MIKE You did!? That's fantastic! MAGGIE It's no big deal. MIKE It's a huge deal. That's a great university. I'm proud of you. -LRB- Maggie remains quiet. -RRB- Am I missing something here? MAGGIE You would n't understand. MIKE Try me. MAGGIE I have a lot of emotional stress right now. My friends are all going to different schools, I'm not even sure. MIKE That's not stress. Wait ` til you get out into the real world, get a crappy job, have some smarmy twerp - boss calling you bro - ski. Maggie rolls her eyes. ALEX Did you get the promotion, Dad? MIKE Still waiting to hear. Mike forces a smile hiding his disappointment.","EXT. SAN FERNANDO VALLEY/MIKE'S HOUSE - NIGHT Mike pulls up behind a ` Dom's Nursery' van. He, Alex and Maggie step out. Mike eyes the van with disdain. MIKE Is your mom home? ALEX She's probably out back. MIKE Hey, next week we'll have a barbecue at Uncle Ed's. Sound good? MAGGIE I'm counting down the minutes. Maggie heads straight for the modest ranch house and inside. MIKE What's with her? ALEX We see you once a week for a couple hours. What do you expect? Alex follows Maggie into the house. Mike makes his way around back.","EXT. MIKE'S HOUSE/BACKYARD - DAY As Mike rounds the corner, he almost runs into a smiling Dom Johnson, 36. Don lugs 3 loaded trash bags. DOM Hey, Mike. Good to see you. Tough break, you and Scarlet. MIKE Bite me, Dom. Dom serves Mike a cocky wink, continues on. Mike scowls. Scarlet, 36, slams a shovel into the ground, wedges it beneath a dying shrub and rips it out. MIKE -LRB- CONT'D. -RRB- A little late for a delivery is n't it? SCARLET Dom was in the neighborhood. He offered to make a dump run for me. MIKE Does n't he live 30 miles from here? SCARLET What's your point? MIKE Come on. He's been after you since 10th grade and he's after you now. SCARLET At least someone's after me. Mike smiles playfully and begins to serenade - MIKE ` In touch with the ground, I'm on the hunt I'm after you.' Scarlet shakes her head - SCARLET Please, Mike. This is n't high school. That's not gon na work. MIKE ` Smell like I sound, I'm lost in a crowd, and I'm hungry like the wolf.' Mike flirtatiously stalks her. Scarlet fights smiling. SCARLET You can stop now. It's not working. MIKE ` Mouth is alive, with juices like wine, and I'm hungry like the wolf' Mike gets close to Scarlet's face. She smiles, stops herself and pushes him away. SCARLET You no longer have the right to invoke the `` wolf.'' A chastised Mike eyes the yard. it's a WRECK. holes and mounds of dirt everywhere, carcasses of dead plants, bushes and flowers strewn about. MIKE Why are you destroying the yard? Scarlet stops shoveling, wipes dirt from her face. SCARLET I'm gon na use it as a showpiece for clients. Thanks for asking. MIKE Kind of a big undertaking is n't it? SCARLET I am a landscape designer. Then again you barely took an interest in my work so I guess that's a fair question. An awkward silence. Then - MIKE I did n't get it. SCARLET I'm sorry. But maybe this is what you needed. Maybe it's time you looked for something else? MIKE That's a great idea, Scar. Because there are so many options out there for a 36 year old with only a high school diploma. Scarlet throws the shovel to the ground. SCARLET And it's all my fault, is n't it? MIKE I did n't say that. SCARLET No, but it's what you think, right? Mike's silence says it all. Scarlet fights back tears. SCARLET -LRB- CONT'D. -RRB- I never asked you to marry me. MIKE But I did. Scarlet shakes her head in frustration. SCARLET I'm sorry you're not happy with the way your life turned out Mike, really, I am, but you're not the victim here. Scarlet goes back to shoveling. Mike turns, steps, falls into a hole.","INT. MIKE'S AUDI - NIGHT A somber Mike drives alongside the Los Angeles River. An old song plays low on the radio. static. then. BOOM. THUNDER roars scaring Mike and literally shaking the Audi. SPLASH. RAIN drops in buckets. MIKE Jesus! Mike turns the wipers on high. Not much help. He slows the car to a crawl, straining to see out the windshield. LIGHTNING flashes. We see the Janitor leaning over the railing looking into the raging river. Mike brakes, throws his door open, jumps out into the pouring rain.","EXT. ROAD - NIGHT MIKE Hey!? Get away from there!? Mike, blinded by the rain makes his way to the railing. The Janitor's GONE. MIKE -LRB- CONT'D. -RRB- Oh no! Hello!? Mike leans over the rickety railing, looks down. The phosphorescent water swirls angrily. rising quickly. It's mesmerizing. Magical. Mike ca n't take his eyes off - LIGHTENING FLASHES Mike's 17 year - old face reflection stares back up at him. MIKE -LRB- CONT'D. -RRB- What the - CRACK. The railing BREAKS. Mike FALLS. SPLASH. headlong into the river.","EXT. ED'S HOUSE - NEXT MORNING Mike's Audi rolls into the driveway. The door swings open. A muddy, shoeless foot steps out followed by a shoed foot but in no better shape. WE follow the feet, tattered slacks dragging on the cement, to the door. 2 filthy hands dig into pockets, searching - MIKE Damn it. -LRB- pushes doorbell. -RRB- Ed! Ed! I lost my key!","INT. ED'S HOUSE - MORNING Ed, wrapped in a robe, tissue between his toes, wobbles to the door so as not to mess up his freshly polished nails. ED Coming! I've been worried sick! WHERE - Ed opens the door. standing before him is Mike, covered in MUD. His ripped, grimy suit now hangs off of him because. HE'S 17 AGAIN. Ed's eyes widen with FEAR. MIKE I've had a really rough night. ED AAAAAHHHHHHHHH! Ed slams the door, frantically wobbles away. The door opens, ANGLE ON the muddy feet as they enter and follow the trail of cotton balls up the stairs and to the bathroom door.","INT. BATHROOM - DAY ANGLE ON Ed cowering against the back wall, brandishing an over - sized loofah. The door slowly swings open. Ed gasps - ED Do n't come any closer! I'll use it! MIKE What are you gon na do? Exfoliate me to death? -LRB- Ed shrieks. -RRB- You got into my samples case again, did n't you? A whimpering Ed points to the mirror. MIKE -LRB- CONT'D. -RRB- What's your problem, it's only mud. The muddy feet turn toward the mirror and - MIKE -LRB- CONT'D. -RRB- AAAAAAAAHHHHHHH! ANGLE ON the mirror. Mike's 17. He turns on the water, splashes his face frantically. Mud gone. He's still 17. MIKE -LRB- CONT'D. -RRB- AHHHHHHHHHHHH! Mike tears his suit jacket and shirt off. hairless chest. He yanks off his pants, peeks down his boxers - MIKE -LRB- CONT'D. -RRB- I'm dreaming right? Is this some kind of hallucination? Mike pulls Ed up by his robe. MIKE -LRB- CONT'D. -RRB- Do something! Anything! Pinch me! Ed throws a knee into Mike's nuts, bolts out the door SCREAMING. Mike crumbles. MIKE -LRB- CONT'D. -RRB- I said pinch!","INT. ED'S HOUSE/FOYER - DAY Ed reaches the door, fumbles with the locks. He just manages to open the door when Mike tackles him to the floor. The two buddies roll around, limbs intertwined. MIKE Calm down! We need to talk! We can work this out! FEMALE VOICE -LRB- o.s. -RRB- Aye dios mio! They stop wrestling, look up. The LATINO MAID stands in the doorway genuflecting. ED Maria, we're just friends. Really. The Maid hurries off muttering prayers in Spanish.","EXT. ED'S HOUSE/BACKYARD - LATER ED My theory is that you were transformed by a freak congruence of some of the planets most volatile elements. I've recreated the exact contents of the LA River. The toxic pollutants, the contaminants. REVEAL Mike in the gurgling green water of the hot tub. MIKE Well, it obviously is n't working. ED That's because the cocktail's not complete. Ed picks up a TOASTER attached to an extension cord. ED -LRB- CONT'D. -RRB- Last night we had the worst electrical storm of the last hundred years. MIKE Is that true? ED It was pretty bad. Ed raises the toaster - MIKE Wait! Wait! Wait! Do you really think this'll work? ED It could. Ed tosses it in. Mike screams. Nothing happens. ED -LRB- CONT'D. -RRB- Oops. Came unplugged. Wo n't be a moment. Ed reaches down to plug it in. ED -LRB- CONT'D. -RRB- What were you doing by the river anyway? CLOSE ON MIKE, Light bulb goes off. He leaps out, runs for the house. MIKE The janitor!","EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DAY The Audi screeches to a stop in front of the school. Mike bounds out, wearing a robe, races inside.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike rushes past baffled STUDENTS, asking no one in PARTICULAR - MIKE Has anyone seen the janitor? Is the janitor here? Where's the janitor? Mike reaches the familiar wall of pictures. Kids point, laugh, stare. A FEMALE JANITOR, steps from a room. MIKE -LRB- CONT'D. -RRB- Excuse me! Excuse me!? Can you tell me where I can find the night janitor? JANITOR I'm the only custodial engineer currently employed here. MIKE There was an old guy, white hair. I showed him this picture of me - Mike points to the 1989 team photo. JANITOR - Of you? That picture's from 1989. Mike backs away from the picture and the Janitor. MIKE Right. Forget it. Confused, Mike stumbles to the bathroom. He's about to enter, three letter jacket wearing JOCKS, STAN, JAZZ and KEVIN, burst out laughing, knocking Mike on the way by.","INT. FITCH SENIOR HIGH SCHOOL/BATHROOM - DAY Mike enters, moves to a sink, turns the water on - VOICE -LRB- o.s. -RRB- Can I get a little help in here? Mike turns, sees what appears to be UNDERWEAR stretched over the corner of a closed stall door. Mike approaches the door, swings it open. there HANGS Alex, sneakers dangling 3 feet off the ground. The back of his underwear wrenched up over the corner of the door. MIKE Alex? What are you doing up there? ALEX I wanted to see if I could get my nuts into my esophagus. What do you think I'm doing!? Get me down! MIKE Okay. Okay. I'll get you down. Mike pulls the underwear off the door. Alex drops, reaches down his pants, adjusts his underwear. ALEX How do you know my name? MIKE I'm. Mark. Freedman. Your Uncle Ed's son. He told me to look out for you. ALEX Uncle Ed has a son? MIKE Believe me, it's gon na be a surprise to him too. Did those guys do this to you? ALEX Goons from the basketball team. MIKE But why? ALEX Because they can and so they do on a daily basis. MIKE -LRB- SHOCKED. -RRB- But you're one of them. ALEX No, I'm not. Nice robe, guy. Got ta go. Alex walks out bowlegged. A devastated Mike watches him go.","INT. AUDI - MOMENTS LATER Mike drives off out of the parking lot. To his left he spies - ANGLE ON : Stan and Maggie making out against Stan's Mustang. Mike pounds on the horn, scaring them apart. Drive's off.","INT. ED'S HOUSE/KITCHEN - NIGHT Ed sits at the island, a laptop in front of him. On the screen WE see he's perusing www.spellscursesincantations.com. The sound of the front door opening and closing. Mike enters. ED Did you find the janitor? MIKE He does n't exist. Nothing makes sense. ED Did he ask you for your soul? MIKE No? ED That's a good sign. We can eliminate Satan. -LRB- clicks on a link. -RRB- I think what we're dealing with here is a spell of enlightenment. -LRB- peruses the page. -RRB- `` Spell affect''. `` casting procedure''. yada, yada, yada. Basically it's a learning spell. There's something you need to figure out and until you do you'll stay a kid. My guess is that janitor was probably a war. MIKE I'm going back to high school. ED lock. I'm sorry. Could you repeat that? Because I thought you just said you were - MIKE Going back to high school. Mike grabs a beer from the fridge, cracks it. As Mike is about to take a sip, Ed swipes the beer from his hand. CHUGS it down. ED Are you out of your freaking mind!? MIKE My son was hanging by his underwear from a bathroom stall door and my daughter was being mauled by a smarmy gorilla. They need me. ED What about your job? MIKE Email and telephone. I got it covered. ED Well, Scarlet, then. What are you gon na tell her? MIKE Nothing. ED You're just gon na disappear? MIKE To be honest, I think she'd rather have it that way. What's with the attitude? ED Because I know you're going to suck me into this and I'm not going back there, Mike. You'll never get me to go back to Fitch. Never!","INT. FITCH SENIOR HIGH SCHOOL/OFFICE - DAY ED I hate you. PULL BACK TO REVEAL Ed and Mike sit outside Principal's office. Mike is dressed in an overly exaggerated hip style, -LRB- a grown - ups concept of what's cool - he looks ridiculous -RRB-. MIKE Take a deep breath. All you have to do is enroll me and say as little as possible. Ed calms. Mike pulls a manila folder out of his book bag. MIKE -LRB- CONT'D. -RRB- Are you sure these look legit? ED -LRB- offended/cocky. -RRB- Please. I created software used to launch the space shuttle. I think I'm capable of forging some report cards. What's up with the gear? MIKE This is hip teenage apparel. I got it right off the mannequin at Ed Hardy. SECRETARY Ms. Goodwin will see you now. Mike and Ed stand, head for the door marked ` Principal'. ED First sign this old hag is on to us I'M - Mike and Ed step through the door -","INT. PRINCIPAL'S OFFICE - DAY MS. GOODWIN, 35, sits behind her desk. she's no hag. She's an attractive, buttoned - up professional. Ed's face lights up and without missing a beat - ED - so glad we chose this school. I'm Ed Freedman. Ed steps in front of Mike, shakes Ms. Goodwin's hand. JULIE Nice to meet you. I'm Julie Goodwin, principal here at Fitch Senior High. And you behind there? You are? Mike tries to peer around Ed. Mike finally physically moves Ed steps aside. ED Oh, right. Sorry. This little chicken pock here is Mark. Say hello, Mark. Ed smiles, rubs Mikes head vigorously. Mike slaps his hand. MIKE Nice to meet you, Julie. JULIE Around here you're going to have to use Ms. Goodwin. Please, sit. Mike and Ed sit. ED Before we get started I want you to know that Mark's a bastard. JULIE Excuse me!? ED I had him out of wedlock. So the answer is yes, I'm very single. and very rich. MIKE Dad met mom in Thailand. She's a very successful prostitute. Ed's smile fades. JULIE O - Kay. Did you bring your transcripts? Mike hands Julie the folder. As Julie browses through it, Ed and Mike get into a pinching, elbowing fight. When she looks up, the friends stop. Both smiling. JULIE -LRB- CONT'D. -RRB- So the last school you went to was Cutler High in Connecticut. And you were a straight A student. Very impressive. ED I help him with his homework. a lot. MIKE Oh, dad, the doctor called. You were right. It is herpes. Ed's jaw drops. Julie rises abruptly. JULIE I think it's time we got Mark to class. Lisa! Lisa! The door opens, in steps LISA, 18. JULIE -LRB- CONT'D. -RRB- Lisa, will you print out a schedule for Mark and show him to class? LISA Sure. Come on, Mark. Mike stands. Ed addresses him as fatherly as he knows how - ED Be a good boy now. And sit up straight. Mike glares at Ed, follows Lisa out. Ed turns to Julie. ED -LRB- CONT'D. -RRB- They grow up so fast. Mojito? JULIE I beg your pardon. ED You strike me as a Mojito gal. I know this little Cuban place, great PLANTAINS - JULIE - Yeah, no. I do n't date my students' parents. It's a rule of mine. ED I'll enroll him somewhere else. JULIE I really need to get back to work. Julie ushers Ed to the door. ED See you at the next bake sale then? Julie shuts the door, shakes her head in disbelief.","INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Mike steps in. Scattered giggles at his appearance. Mike takes a seat, eyes three sexy girls wearing next to nothing, SAMANTHA, LAUREN and JAMIE, busy texting on their phones. MIKE Do their mothers know they dress like that? A GIRL next to him leans over - GIRL Those are the Wonder Bras. Beware. The Jocks, Stan, Jazz and Kevin strut in. Mike's eyes narrow. Stan stops before Mike, looks him up and down - STAN What did you did do? Mug the mannequin at the Ed Hardy store? JAZZ Tool! Laughter from the class. Mike shies. The Jocks sit, Stan behind Mike. Just as the last bell rings, Maggie rushes in, sits with the Bras. MAGGIE Oh thank God he's not here. I ran all the way from - Something catches Maggie's eye. It's Mike waving to her. MAGGIE -LRB- CONT'D. -RRB- Why's that freak waving at me. Maggie places a hand over her face, looks down. MALE VOICE -LRB- o.s. -RRB- Take your seats. Stop the talking. MR. ADAMS, 45, prissy, strides in carrying a stack of papers. MR. ADAMS Here are yesterday's tests. Let's see how you all did. Moans from the class. Adams walks up and down the aisle slapping them down on the desks. MR. ADAMS -LRB- CONT'D. -RRB- C -, C, B -, D, D -, F Adams reaches Maggie, drops the test on her desk. MR. ADAMS -LRB- CONT'D. -RRB- D for O'Donnell. Humiliated, Maggie lowers her head. MR. ADAMS -LRB- CONT'D. -RRB- Let me guess. Early acceptance? -LRB- Maggie nods. -RRB- Where are we going? MAGGIE Georgetown. MR. ADAMS If you flunk senior calculus you'll be lucky to get into beauty school, missy. So, if you plan on slacking your way through my class, do n't. Save your parents tuition money and pick up a blow dryer. Mike angrily stands - MIKE Enough! Mr. Adams turns to Mike. MR. ADAMS Excuse me? MIKE Do you think humiliating a 17 year - old in front of her peers is helpful or do you just get off on it? MR. ADAMS And you are? MIKE Mark Freedman. It's my first day. Adams turns, walks back towards the front of the room. MR. ADAMS Well, Mr. Freedman - Stan signals his friends, takes out a LIGHTER, flicks it, leans forward and places the flame BETWEEN Mike's legs. The flame GLOWS RED against Mike's jeans. The Jocks and Bras pull out their cells and begin VIDEOING. Adams scribbles on a pad - MR. ADAMS -LRB- CONT'D. -RRB- - you've earned yourself a trip to the principal's office. Welcome to Fitch. Adams rips the paper off, holds it out towards Mike. Mike sniffs at the air - MIKE Is someone barbecuing? -LRB- BEAT. -RRB- YYYYEEEEOOOOOWWWWWWW! Mike LEAPS out of his shoes. A FLAME runs up his crotch. LAUGHTER. Mike, SCREAMING, runs around the room fanning his package. MR. ADAMS Get out, Mr. Freedman! Mike snatches the slip from Adams and out the door.","INT. FITCH SENIOR HIGH SCHOOL/CAFETERIA - DAY A packed lunchroom. The CLIQUES sit amongst themselves. WE notice all the KIDS hunched over STARING AT THEIR PHONES. Mike enters carrying a bag lunch. A BLACK BURN MARK on the crotch of his pants. A GAYSIAN spots him, yells - GAYSIAN Go Hot Pants! Do your dance, Girl! The entire cafeteria turns to Mike and erupts in laughter. As Mike passes each table, WE see the kids are watching his ` fire dance' on their phones. Mike approaches a table of the 3 BIGGEST LOSERS in school, unkempt hair, fat, acne. Mike begins to sit when - BIGGEST LOSER Look, we feel your pain. We really do. But life's hard enough, Brother. Mike nods, continues on past the snickering and catcalls until he sees Maggie and the Wonder Bras. ANGLE : Wonder Bra Table. Maggie, Samantha, Jamie and Lauren pick around plates of cafeteria food. MAGGIE What's the big deal? He stuck up for me in class. It was a nice thing to do. SAMANTHA He was totally sexing on you. LAUREN He's coming. Pretend you're not here. Mike approaches, big smile. The Wonder Bras look off in every direction except Mike's. MIKE Hi, Maggie. Hi, girls. I'm Mark - The Girls continue looking away, ignoring Mike. MIKE -LRB- CONT'D. -RRB- Girls? Hello? Anyone home? LAUREN Oh my God. Ca n't you see we're not here? MIKE Good. So there's plenty of room then. Mike drops down next to Samantha and across from Maggie. JAMIE Oh, look. He brought a bag lunch. How sped. -LRB- special ed. -RRB- Mike hides his lunch. SAMANTHA Look, this table is V.I.P. You're a NIP. MIKE What's a NIP? LAUREN Not Important. Go away. MIKE Maggie, why are you friends with these horrible girls? MAGGIE Listen, I appreciate what you did in class but, I already have a boyfriend. MIKE You have a boyfriend? -LRB- his phone rings. -RRB- Excuse me a second. Mike pulls out an OLDER Blackberry phone, looks at the caller ID. Scarlet. He sends it to voice mail. JAMIE He still gets calls. How 2007. SAMANTHA I think my grandfather has that phone. MIKE Maggie, could we talk somewhere ELSE - The sound of a bouncing ball interrupts. MALE VOICE -LRB- o.s. -RRB- Yo! Mike turns. Stan, Jazz and Kevin swagger over. STAN Bro - ski, what are you doing at our table? MAGGIE Nothing. He was just leaving. Maggie nods for Mike to go. MIKE -LRB- SARCASTIC. -RRB- We should do this again sometime. Mike stands. Stan pulls Maggie up, starts making out with her, hands all over her. WE can see Mike's blood BOIL until - MIKE -LRB- CONT'D. -RRB- Get your hands off her, you little punk! Oops. Stan stops groping, steps over to Mike, a solid foot taller than him. STAN You got ta problem with me, ` bra? Mike looks around. the entire cafeteria watches. Defeated - MIKE No, no, I do n't. Stan takes Mike's hat off, picks up an ice cream from Maggie's tray, puts the ice cream in the hat, places it back on Mike's head and SMUSHES it down. STAN Now make like Tom and Cruise. Flush with humiliation and ice cream dripping down his face, Mike turns and walks out. MAGGIE That was so not cool. STAN What? I'll buy you another ice cream. WE see Alex, seated by himself at a back table, shake his head in disgust.","INT. RESTAURANT/BAR - NIGHT A beaten down Mike sits alongside Ed at the bar. MIKE It was terrible. The place is evil, Ed. That building needs to be exorcised. ED Come on. It could n't have been that bad. MIKE My beanbag was lit on fire, videoed and sent to every member of student body. ED Yeah, I caught it on youtube. Funny stuff. MIKE They mocked my clothes and phone. My daughter got a tongue bath in front of me and I have mint chip in my ears. ED High school's great, is n't it? The BARTENDER approaches. BARTENDER What can I get you? MIKE Double scotch neat. BARTENDER Funny, kid. ED Get the boy a Shirley Temple. Extra cherries. The Bartender nods serves up the drinks. Mike miserably plucks a cherry off his pink drink. MIKE I'm not going back there. ED Mike, you're an adult sitting on 36 years of experience. You should be dominating these kids, ripping their hearts out. An OLDER WOMAN takes a seat next to the boys. MIKE I know why you're encouraging me all of a sudden. ED Because I'm a supportive dad. MIKE Because you want to nail my principal. ED Did she ask about me? MIKE She's not your type. She's smart. ED As far as I can tell that's her only flaw. I need a reason to see her again. You could flunk your classes, start a fight, vandalise the place. You'll figure it out. Then I can rush in, a teary eyed, helpless, single dad who ca n't handle his angry, kitten killing son. What do you think? The Older Lady, having listened to it all, turns to Ed - OLDER LADY I think you should be reported to child services! ED Mind your business, Lady. This is a family matter. The Lady turns away in disgust. MIKE I ca n't do it. I do n't have it in me. ED Hey, no sweat off my sack. Tell Alex to stop wearing underwear all together. He'll be fine. That's what I did. Mike eyes Ed, considers just how `` well adjusted'' Ed is. A determined look comes over Mike. He pounds the bar. MIKE You're right! My kids need me. ED At' a boy. Now what you need is a crash course on being a teen in 2008. A MONTAGE OF MIKE'S CRASH COURSE","EXT. MAGAZINE STAND - NIGHT The Boys gather a stack of TEEN MAGAZINES and TABLOID RAGS. Ed slips a MELONS Magazine into the pile.","INT. TRENDY HAIR SALON - NIGHT A picture of a YOUNG, POPULAR STAR torn from one of the teen mags hangs on the mirror. A HAIRDRESSER cuts away and highlights Mike's long locks. Ed sits beside Mike sipping wine, enjoying a manicure.","INT. TRENDY CLOTHES STORE - NIGHT It's the PRETTY WOMAN scene. 2 hip SALESGIRLS pull clothes from racks. A clean cut Mike tries on sneakers, jeans, T - shirts, hoodies, shirts, jewelry. Ed nods with his approval or disapproval. At the register, the Girls hand Mike his bags of clothes. Ed takes out his cell to put their numbers in it. The Girls frown and go back to work.","INT. VIRGIN MEGA MUSIC STORE - NIGHT Mike and Ed stand before the wall of 100 top albums. Both wear headphones listening and moving to the music.","INT. ED'S HOUSE/OFFICE - NIGHT Mike and Ed, surrounded by the magazines and music discs, sit before the computer. Ed TEACHES Mike how to create a MYSPACE page. Bogus About Me and Interests. Photoshopped pictures of Mike in exotic locations. All the ` now' movies, music and books. They fill his Friends section with only hot girls. The Boys view the flashy, finished product, tap fists. This page makes ` Mark Freedman' look like a playboy.","INT. MAC STORE - NIGHT A SALESMAN hands a smiling Mike his new iPhone.","INT. ED'S HOUSE/MIKE'S BEDROOM - NIGHT Mike sits on the bed, types away on his laptop. A knock on the door. Mike looks up and YELLS. Ed stands in the doorway, his entire body and head wrapped in SEAWEED. ED Before you ask, it's a seaweed wrap. I'm detoxifying as well as losing an inch or 2 from my problem areas. MIKE There must be a very hot girl downstairs. ED There is. What are you doing? MIKE I forwarded my calls to my new phone, sent some work emails and just lobbed one to Scarlet, told her I was in Peru finding myself. Think she'll buy it? ED Probably not because when she called earlier I told her you were being detained at Guantanamo. Ready for tomorrow? MIKE I am so ready. Ed flips Mike a set of keys. Mike's eyes light up. ED That ought' a put you over the top. And do n't forget to hook me up son. Ed plods off. Off Mike's huge smile.","EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - MORNING The usual pre - school ritual. Stan, Jazz, Kevin, the Wonder Bras and Maggie all hang around Stan's ` stang. Stan and Maggie wrapped in a heated embrace, kissing. HONK. A horn blares. Stan and Maggie jump out of the way. An ASTON MARTIN VANQUISH stops next to the crew. The tinted window rolls down revealing the new and improved Mike. Mike winks then rolls on past. SAMANTHA Oh my god. Was that - JAMIE Did you see - LAUREN I told you he was cute.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY It's the MOMENT. Mike walks the hallway, handsome and hip. Samantha, Lauren and Jamie text by their lockers. Mike struts up to them. The Bras smile. MIKE So I've been here a couple days now and I think I got it figured out. You girls are lesbians, right? The Bras' jaws hit the floor. Mike walks off, a huge grin on his face. Man, that felt good.","INT. FITCH SENIOR HIGH SCHOOL/CAFETERIA - DAY Mike steps from the kitchen area carrying a TRAY, scans the crowded room, finds Alex seated at a table ALONE. It's a heartbreaking image. Mike approaches - MIKE Mind if I sit here? ALEX Mark? You look totally different. Mike sits across from Alex. MIKE I got rid of the bull's eye on my forehead. ALEX Could you move to the left a little? Mike inches left, peeks behind him. 2 girls eat lunch together. The one facing them is a cute Latino, NICOLE, 16. Nicole smiles. Alex quickly shies away. MIKE Who's she? ALEX Nicole Lopez. She's in my Spanish class. MIKE Have you spoken to her? ALEX No. I get all stupid so I just stare. MIKE I'll tell you a funny story. The first time I met your mother I was so nervous - ALEX My mother? MIKE What? ALEX You said, ` the first time I met your mother I was so nervous.' MIKE I did? That's weird. Is your mom hot? ALEX Dude. MIKE What's going on tonight? You wan na hang out? Do something? ALEX Really? MIKE Yeah you could show me around. ALEX Cool. The Wonder Bras sway in, take seats at the VIP table. MIKE I'll swing by your house around 7. Mike rises. ALEX I would n't go over there. Stan and his Baboons have lunch this period. MIKE Do n't worry. I'll see you tonight. Mike strolls over to the Bras' table, plunks himself down. MIKE -LRB- CONT'D. -RRB- Did you girls catch Ellen yesterday? Rosie was on. Melissa Etheridge jammed - SAMANTHA - You're so rude!? We're not gay. We like boys. JAMIE Yeah, Samantha's a total slu. Samantha's jaw drops. LAUREN Last New Year's Samantha made it with my boyfriend. SAMANTHA I was on like 5 Red Bulls! I ca n't believe you keep bringing that up. The Bras' begin to bicker amongst themselves. Mike pulls out his new iPhone, plugs the earphones in his ears. The Bras immediately stop bickering, ogle the phone. JAMIE Rad phone. MIKE I know. I'll text you. NOT. Later. much. Mike rises from the table. SAMANTHA Like we'd ever give you our numbers. Stan, carrying a basketball, his goons and Maggie come up behind Mike. STAN Heads up! Stan whips the ball at Mike. Mike, cat - quick, spins around, catches the ball. The whole cafeteria turns their attention on Mike and Stan. Mike points to the name ` Stan' on Stan's letter jacket, reads - MIKE Stan. Did mommy sew that on there so you would n't forget your name? Laughter from the Students. STAN You think ` cause you got a haircut and new clothes people'd forget what a fag you are? MAGGIE Cut it out, Stan. Let's eat. STAN Gim me my ball back, bee - yotch. Mike ignores him and starts dribbling. MIKE You know, Stan, I feel sorry for you. STAN You do n't know me. Mike speaks loudly now, playing to the cafeteria. MIKE Oh but I do. All too well. You're the man. Captain of the basketball team. Dates the pretty girls. High school is your kingdom. Stan and his Posse tap fists. Mike dribbles between his legs. MIKE -LRB- CONT'D. -RRB- But, People, Stan's a bully. Why? It would be way too easy to say Stan preys on the weak because he's simply a dick. No, Stan's more complex than that. According to leading psychiatrists Stan is a bully for 1 of 3 reasons. 1, under all that male bravado there's an insecure little girl banging on the closet door trying to get out. 2, like a caveman, Stan's brain is underdeveloped. Therefore Stan is unable to use self - control so he acts out aggressively. And the third reason - Mike holds up his pinky then spins the ball on it. MIKE -LRB- CONT'D. -RRB- I'd argue that Stan suffers from all 3. The entire cafeteria LAUGHS HYSTERICALLY. Mike feigns whipping it back at Stan, who recoils, then gently rolls the ball back to Stan. MIKE -LRB- CONT'D. -RRB- -LRB- WINKS. -RRB- Do n't hurt yourself big boy. Some students, including Alex, ERUPT. The Wonder Bras eye Mike with new found lust. ANGLE ON Mike's face as he walks away. MIKE -LRB- CONT'D. -RRB- -LRB- to himself. -RRB- 3, 2, 1. Mike ducks just as the ball whizzes overhead, rockets across the cafeteria landing on Miss Goodwin's tray, splattering her with food. She glares at Stan. Mike's iphone buzzes. ANGLE ON SCREEN : the Wonder Bras digits appear.","INT. FITCH SENIOR HIGH SCHOOL/COLLEGE CENTER - DAY Mike enters, approaches MRS. MENCER, 60. MIKE My guidance councilor made me come, but just so you know I'm not planning on going to college. MRS. MENCER A lot of kids feel that way. Do n't be intimidated. It does n't hurt to take a look. Mrs. Mencer hands Mike a hefty book. MRS. MENCER -LRB- CONT'D. -RRB- A good place to start is here. this book has information on every college and university in the country. MIKE Thanks. Mike sits, starts paging through the book and gets lost in the bright colored pictures. smiling STUDENTS, CAMPUSES and LECTURE HALLS. THE OPTIONS HE LOST YEARS AGO.","INT. ASTON MARTIN - NIGHT A pumped - up Mike dials. ringing. On the seat beside him rests a stack of college applications. Ed answers. ED -LRB- o.s. -RRB- Hello? MIKE It was incredible! I was incredible! You should' a seen me! I humiliated Stan in front of the entire lunchroom. Everyone was clapping. The popular girls were begging to give me their numbers! ED See what happens when you put a little lipstick on the pig? Did you manage to get sent to the principal's office? MIKE Man, I feel great! I even shot some hoops after school. No aches. No pains. Got ta run, Buddy. Mike hangs up.","EXT. MIKE'S HOUSE - NIGHT The Aston Martin pulls up. Mike climbs out, walks to the door, takes a deep breath and rings the bell. SCARLET -LRB- o.s. -RRB- Coming! The door opens revealing Scarlet in her dirty yard attire. SCARLET -LRB- CONT'D. -RRB- I've been dying to meet you. I've known your father since. -LRB- gasps. -RRB- Scarlet. SPEECHLESS. visibly stunned by the resemblance. MIKE Is something wrong? SCARLET -LRB- FLUSTERED. -RRB- No. It's just. you look like. No. I'm fine. Come in. Please.","INT. MIKE'S HOUSE/LIVING ROOM - NIGHT Scarlet and Mike sit across from one another. Scarlet stares at Mike as if examining every pore on his face. SCARLET And you say Ed Freedman is your father? MIKE That's my dad. All 68 inches of him. SCARLET You do n't look anything like him. If you do n't mind me asking, who's your mother? MIKE My mother. she. she was. a. Mike spies Dostoevsky's Crime and Punishment on a table. MIKE -LRB- CONT'D. -RRB- - a convict. In New Jersey. They met while dad was at Princeton. She was on parole. B&E, fist fighting, shanking. Nothing major. But she's dead now. SCARLET Oh? I'm sorry. MIKE I warned her about kite surfing during hurricane season. So how are things with you? Doing anything exciting? Dating? Flirting with Dom Johnson maybe? SCARLET Why would you ask about Dom? Did Ed tell you to say that? MIKE I mean do what you want. You're a grown woman but, word on the street is Dom's been spreading gingivitis all over town. SCARLET I'll keep that in mind, Mark. Scarlet ca n't take her eyes off Mike. SCARLET -LRB- CONT'D. -RRB- It's crazy how much you like my husband when he was a teenager. Mike switches subjects, points to her dirty clothes - MIKE You doing some gardening? SCARLET I am. I'm a landscape designer. I'm actually redoing the backyard. I'll show you. Scarlet stands, leads Mike to the french doors. SCARLET -LRB- CONT'D. -RRB- It's a work in progress so you'll have to use your imagination some. Scarlet opens the doors, flips on the lights. The yard's been cleaned up. Fresh blankets of sod rest in piles next to stacks of limestone. HUNDREDS of unplanted plants, flowers, trees and shrubs sit around the yard in strategic positions.","EXT. MIKE'S HOUSE/BACKYARD - NIGHT Mike and Scarlet step outside. MIKE I almost do n't even recognize it. er. if I had seen it before I probably would n't recognize it. SCARLET You would n't have. It was a disaster back here a few days ago. Obviously I have a lot to do still. I'm laying the sod next and the limestone pathway will go here. Scarlet moves about the yard, pointing and explaining. SCARLET -LRB- CONT'D. -RRB- Then I'll plant all those, over a hundred different types of flowers and plants. I have an amazing fountain being delivered that'll go here and a bench over there. And I'll string rows of tiny, white lights above it all so every night will be a starry one. It'll be a real sanctuary back here. MIKE It seems like a lot' a work for one person, Scar. A chill runs up Scarlet's spine. SCARLET My husband's the only one that ever calls me that. Alex appears at the doors interrupting - ALEX Yo, Mark. Let's do this. MIKE Good luck with the project. SCARLET Nice to meet you. And, Alex, be home by 10:30. Mike heads back inside. Scarlet stares after him.","INT. ASTON MARTIN - NIGHT Mike and Alex step in. MIKE How's your mom doing? You know, with your dad not being around and all. ALEX She does n't like to show it but I know she's bummed. I think it bothers her more that he has n't called me or Maggie in a while. Whatever. BEEP. BEEP. Mike pulls out his iPhone, text message from Samantha. It reads : SAMANTHA'S TEXT Wat ^? mobinit 2 zuma. soi! but w/e. brb. bk. gtg. ttyl. xo. sam. Mike stares at the screen as if it were in hieroglyphics. MIKE I have no idea what this says? Alex takes the phone from Mike, reads - ALEX It says ` What up? Mobbing it to Zuma. So over it but whatever. Be right back. Back. Got to go. Talk to you later. kiss, hug. Sam. MIKE Let's hit the beach, wingman. The two touch fists.","EXT. ZUMA BEACH - NIGHT A BONFIRE illuminates the night sky. MUSIC plays. KIDS lay on blankets, play football. Others splash in the ocean. WE find Maggie and the Wonder Bras seated by the fire. SAMANTHA We were on his myspace page. There's a picture of him jamming with the Chili Peppers at Coachella. JAMIE I heard Timbaland wants to produce an album with him. LAUREN Yeah, but he turned him down to help orphans with Brangelina in Nambib - ib - bib. in Africa. SAMANTHA Oh my God! I bet he knows Justin. ANGLE : Mike and a nervous Alex make their way down the sand. ALEX This looks boring. Let's go back to my house and play video games. Alex turns. Mike grabs his arm, turns him back. MIKE What are you so nervous about? ALEX The beach is for the older, cool kids. I do n't belong here. MIKE What are you talking about? You're a basketball player. You're cool. ALEX I do n't play basketball. I mean, I can play, I just do n't play on the team. Mike is stunned. MIKE But I thought you were getting ready for the season? ALEX I never told you that. As a confused Mike and Alex approach the scene, BOYS call out to Mike, tap his fist. GIRLS fawn over him. Mike's become a celebrity. and he's eating it up. ANGLE : Lauren spots Mike with Alex. LAUREN Here he comes! The Bras whip their heads around, get all dreamy. MAGGIE Can he be any lamer? Using my little brother to get to me? SAMANTHA If that boy was an apple he'd be delicious. Samantha leaps up, scurries over to Mike. Lauren and Jamie chase after her. Maggie shakes her head. As Mike and Alex approach the gathering, Alex freezes up. ALEX Oh, man. It's her. She's here. MIKE Who? Alex nods towards the fire. Seated with FRIENDS is Nicole. Alex BELCHES loudly. ALEX She's so pretty it makes me gassy. MIKE Calm down. Here's what you're gon na do. You're gon na go over there and introduce yourself - ALEX She wo n't like me, Mark. I'm a loser. Mike grabs Alex by the shoulders. MIKE Why? Because Stan says so? You think Stan's a winner? He's going nowhere. You're a great kid. Any girl would be lucky to get your attention. ALEX Really? MIKE Really. And right now, there's a girl over there who's dying to meet you. A determined look comes over Alex. ALEX Okay. What do I say? MIKE Just introduce yourself. Then compliment her on something she never gets complimented on. Like if she has big, meaty, man hands tell her she should be a hand model. -LRB- Alex burps nervously. -RRB- And do n't burp on her. ALEX I can do that. Alex takes a deep breath, marches off just as Samantha runs up and throws her arms around Mike. SAMANTHA You came! Why do n't we take a walk somewhere private and play? Jamie and Lauren rush over. JAMIE I do n't think so, Sam. Mark promised me a walk on the beach. LAUREN Walk with me. I've got less miles on me. A full blown ARGUMENT breaks out between the Bras. Mike sees Maggie sitting by the fire alone, slips out. ANGLE : Alex steps over to Nicole and suddenly loses confidence. As he turns to retreat, Nicole looks up - NICOLE Hi. Alex stops, turns back around and blurts out - ALEX Hi, Alex. I'm Nicole. Nicole and her Friends giggle. NICOLE You do n't look like a Nicole. ALEX You have big, meaty man hands. You should be a hand model. The Girls' jaws drop. Nicole hides her hands. NICOLE Oh my God! Seriously!? Alex rips a huge BURP. The Girls duck for cover. GIRL 1 I think he got some on me! ALEX Wait. I'm sorry. I'm just real nervous and I've wanted to talk to you for so long. And Mark told me to compliment you on something you never get complimented on but I could n't find anything because everything's so. perfect. Nicole and her Friends MELT. NICOLE Do you want to sit down, Nicole? Nicole scoots over making room next to her. Alex smiles. ANGLE : Mike sits down beside Maggie. MAGGIE What do you want? MIKE Stan. Why are you dating him? MAGGIE Get to the point why do n't you? MIKE I'm serious. He's not a nice guy. Matter of fact he's a jackass. MAGGIE Do n't talk about him like that. You do n't even know him. MIKE I know he bullies your brother. MAGGIE Stan barely knows Alex exists. We're moving in together after graduation. MIKE Whoa. Whoa. Whoa. I thought you were going to Georgetown? MAGGIE I'm going to Westwood Community College. Stan and I both are. Mike loses it, leaps to his feet shouting - MIKE The hell you are, Young Lady! If you think I'm gon na let you throw your life away on some Sleestack you're crazy! I forbid you to see him anymore and that's final! Maggie jumps up. Kids all stare. MAGGIE Who do you think you are!? My father?! Maggie stomps over to the still bickering Bras. MIKE Do n't you walk away from me, Margaret Sarah O'Donnell! Maggie and the Bras turn towards Mike and glare. Maggie heads for the parking lot. SAMANTHA Who's Margaret? LAUREN He does n't even know her name. JAMIE He's so not into her. The Bras make the ` text me' sign then hurry after Maggie. Mike kicks angrily at the sand and accidentally into the faces of a group of KIDS.","EXT. ED'S HOUSE/POOL - MORNING A HOT GIRL wearing a ` Lifeguard' bathing suit sits atop a high chair. Ed floats on a raft. A frozen drink next to him. Scarlet looms over him, the 2 in a heated conversation - SCARLET I have n't heard from him in three weeks. Obviously he does n't care. ED He cares. SCARLET Then where is he? Mike steps from the house, sees Scarlet - MIKE What's going on? SCARLET Nothing, Mark. I was just dropping something off. Scarlet tosses a manila envelope on the patio table. SCARLET -LRB- CONT'D. -RRB- Our court date is the 27th. If he has anything to say, he can say it then. Scarlet exits. MIKE What was that all about? ED That envelope contains divorce papers. Mike eyes the envelope, in stunned silence. ED -LRB- CONT'D. -RRB- But what do you care? You're going to college, right? Life's one big panty raid for you. Mike feigns innocence. MIKE I do n't know what you're talking about? ED I saw the applications in your room. MIKE You went through my room!? ED If you'd cleaned like I asked I would n't have had to. You ca n't be serious about this can you? Mike starts to argue then gives in - MIKE I have to face the possibility that I might never turn back and if that's the case, I'm going to do it right this time around. ED Karmically speaking, in the next life you're coming back as a hemorrhoid. Mike scoffs, storms off. Ed calls after him - ED -LRB- CONT'D. -RRB- I'm not paying for college!","INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike shoves books in his locker. Stan approaches. STAN You like her, do n't you? MIKE Who? STAN My girlfriend. She told me you were trashing me at the beach. MIKE Leave her alone, Stan. She's a good kid. STAN I do n't know how good she is yet but after I find out, she's all yours. Stan walks off. Mike slams his locker shut.","INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Mike slips inside the empty classroom, slathers KRAZY GLUE all over Stan's DESKTOP and CHAIR. Mike sits just as the rest of the class files in. Stan kisses Maggie and takes his seat. Stan leans on his desk, placing a FOREARM and a HAND on the sticky desktop. He catches Mike looking back at him and gives him a cocky wink. Mike winks back knowingly. Mike's phone beeps. He checks it. A PIX MESSAGE. 3 perfect ASSES in tiny bikini bottoms. A wide - eyed Mike spins in his seat to find the Wonder Bras smiling at him. Mr. Adams enters. MR. ADAMS Settle, people. Adams scribbles a large equation on the blackboard. MR. ADAMS -LRB- CONT'D. -RRB- This was your homework. Who can come up here and solve this for me? Anyone? Blank, uninterested faces. Scattered giggles. Adams tosses the chalk angrily on his desk. MR. ADAMS -LRB- CONT'D. -RRB- Not one person. Fine. Miss O'Donnell. Come up here and dazzle us with your brilliance. Maggie rises nervously from her seat, shuffles to the front of the class. As she passes Stan WE see. Stan lifts his fingers from the desktop. it's WET. he places his wet fingers to the tip of his nose and smells. When Stan tries to remove his fingers from his nose. they STICK. Stan tries to raise his other arm. STUCK. STAN Stuck! I'm stuck! My fingers! Stan stands, hunched. the CHAIR GLUED to his butt. The DESK ATTACHED to his forearm and his FINGERS STUCK to his nose. The Kids and Mike burst out laughing, break out their video phones as Stan fumbles around, dragging the desk, PANICKING. MR. ADAMS Sit down, Stan! Sit down! STAN It's glue! I'm glued to everything! Jazz bounds out of his seat, grabs hold of Stan's wrist. JAZZ I'll get it off! STAN No! No! Do n't pull -! RRRRIIIIPPPP. Jazz yanks. Stan's SCREAM echoes.","INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY Mike, wearing basketball gear and bouncing a basketball, stands in the middle of the court. Alex enters. ALEX I got your text. What's so important? MIKE This year you're making the team. We practice everyday ` til try outs. That gives us a week and a half. ALEX Forget it. MIKE Yeah, you're right. You probably do n't have any skills anyway. Mike begins to walk out. ALEX Hey! I got skills. Mike turns back. MIKE So what's your problem? Is it Stan and his friends? ALEX Just leave it alone. MIKE You do n't need to be afraid of them, Alex. ALEX I'm too small anyway. MIKE That's why we focus on your speed, dribbling and outside shot. Remember, it's not how big you are - ALEX - it's how big you play. -LRB- QUIZZICALLY. -RRB- Where did you hear that? MIKE -LRB- COVERS. -RRB- I do n't know? Read it somewhere I guess. Be a sport. Show me what you got. Mike tosses Alex the ball. Alex begins to dribble. Mike steps up to defend. Alex dribbles quicker, through his legs. MIKE -LRB- CONT'D. -RRB- Alright. You got a little game. WHAM. The doors slam open. In walk Stan and his Posse. A BLOOD speckled BAND - AID covers the tip of Stan's nose. STAN What are you 2 queers doing in my gym? MIKE Let's go, Alex. Alex stops dribbling. He and Mike move towards the door. Stan and his Posse block the way. STAN I do n't think so. You girls wan na play with the boys then let's play. 2 on 2. MIKE We'll save you the embarrassment for try - outs. Stan takes the ball from Alex, turns his back, dribbles. STAN Come on, Ally. Embarrass me. While dribbling, Stan moves backwards, bumping into Alex's midsection, forcing Alex back. MIKE Back off, Stan. Alex takes a deep breath, tired of being afraid - ALEX It's okay. I got him. Alex throws his hands up, tries to defend the much bigger Stan. Stan easily backs Alex down, faking left and right. STAN You ready? Here it comes. Stan spins, elbows high. POW. Alex catches one to the head and DROPS. Stan shoots and scores. STAN -LRB- CONT'D. -RRB- 2 points! And I was fouled! Stan high 5's Jazz and Kevin. Blind with RAGE, Mike RUSHES Stan. WHAM. tackles him hard to the floor. Jazz and Kevin throw Mike off Stan, punching and kicking him. COACH HARVEY, now 58, enters the gym, runs over to the fracas, pulls the boys apart. COACH HARVEY Hey! That's enough! That's enough!","INT. FITCH SENIOR HIGH SCHOOL/OFFICE - DAY Mike and a nervous Alex sit outside the principal's office. Mike holds an ice pack to his eye. ALEX My mom's been in there a while. She's gon na be pissed. MIKE Act like you're hurt and she wo n't be able to stay mad at you. The door swings open. An elated Ed blows in. ED Way to go, slugger! Get any shots in? The Secretary's jaw drops. SECRETARY Mr. Freedman, your son has a black eye. ED Wuss! Ed sits between Mike and Alex. ED -LRB- CONT'D. -RRB- Hey, Alex. How you doin', buddy? ALEX I'm okay I guess. ED Good. Good. -LRB- turns to Mike, nudges HIM. -RRB- Nice goin'. How do I look? Anything in my teeth? How's my breath? Ed flashes his pearly whites then blows on Mike. The principal's door opens, an angry Scarlet steps out. SCARLET Ed. ED Hey, Scarlet. Exciting, is n't it? My first parent/principal conference. Scarlet looks sternly to Alex - SCARLET Fighting? What's gotten into you? ALEX -LRB- rubs his jaw. -RRB- I ca n't talk, Mom. My jaw. SCARLET -LRB- MELTS. -RRB- My poor baby. And how about you, Mark? Scarlet bends down so she's eye to eye with Mike. She removes the ice pack. a purple shiner. SCARLET -LRB- CONT'D. -RRB- Ouch. You poor thing. Does it hurt? Scarlet strokes Mike's face. Mike loses himself in her caring, gentle touch. MIKE Not anymore. You smell great. Scarlet, a bit weirded out by Mike, stands. SCARLET Alex, I'll meet you at the car. I need to talk to Uncle Ed for a second. Alex shuffles out of the office. Scarlet turns to Ed, hushed - SCARLET -LRB- CONT'D. -RRB- Did you give him the divorce papers? ED I sent them to him. SCARLET Is it another woman? I can handle it. Tell me the truth. ED I have n't heard from him, really. Scarlet looks down, fights back tears, unravels a bit. SCARLET Okay. If you do, please have him call home. For the kids. I'm running out of excuses - ED I'll tell him. I promise. Scarlet forces a smile. Mike watches her go. For the first time he's seen HER REALITY. hurt, pain, frustration. Mike places his head sadly in his hands. Julie the Principal pokes her head out the door. JULIE Ed, come on in. Ed whispers to Mike. ED I'll take it from here. As Ed passes Julie on the way in - ED -LRB- CONT'D. -RRB- I'm heartbroken. The boy's incorrigible.","INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Ed takes a seat across from Julie, puts on his best ` troubled parent' look. JULIE Look, if it was only one isolated fight it would n't distress me all that much. Boys will be boys. But, it's also been brought to my attention that Mark may have Krazy glued a boy to his chair. Ed stifles a laugh, puts on a serious face. ED My son? Mark! Get in here! Now! Mike slouches in, takes a seat. ED -LRB- CONT'D. -RRB- Did you glue a boy to his chair? MIKE No. Ed throws his hands up in exasperation. ED See? The boy's out of control. He's acting up at home. He wo n't eat his vegetables - MIKE He shaves his back. ED He sucks his thumb. MIKE He wears girls underwear. ED He wets his bed. JULIE Enough! Mark, I know it's hard to be the new kid but if I have anymore trouble from you, you'll be facing detentions or worse. You can go now. Mike nods, exits. Ed stands and with exaggerated sadness - ED He's crying out for help and I do n't know what to do. It hurts so bad. Maybe we could discuss this over margaritas? JULIE Let's give him time to figure it out on his own. If the situation gets worse then we'll take the next step. ED You're the expert. I'm just a single dad out here blowing like dust in the wind. Ed shakes Julie's hand and exits, sniffling.","EXT. MIKE'S HOUSE/BACKYARD - DAY A dirt covered Scarlet wrestles a roll of sod down. MIKE -LRB- o.s. -RRB- Got an extra pair of gloves? Scarlet peers over her shoulder. Mike wanders in. Scarlet stands, wipes her bare, dirty hands on her jeans. SCARLET Gloves are for sissies. MIKE Yeah, but I just had a manicure. SCARLET -LRB- LAUGHS. -RRB- You're serious? You want to help? MIKE Are you kidding? I love landscaping! It's right up there with watching `` Sex and the City'' and snuggling. Scarlet laughs, eyes him skeptically - SCARLET Mark, I'm 36 years old - MIKE I'm just doing this to make a few bucks so I can buy Laker tickets. SCARLET -LRB- BLUSHES. -RRB- Embarrassing. Sorry. I'll give you 10 dollars a day. MIKE Wow. 10 whole dollars. At that rate I should be able to buy tickets in. 2011. SCARLET Fine. 20. Grab a roll. Mike and Scarlet, step over to the sod, lift a roll together, carry it over to the spot. MIKE What are the benefits like here? SCARLET I'll throw in a baloney sandwich. MIKE Deal. Mike and Scarlet share a laugh.","INT. FITCH SENIOR HIGH SCHOOL/LIBRARY - DAY Mike strolls in, sits at a back table, pulls a college application from his knapsack. He takes out a pen, places the tip to the paper where it says ` name' when - WE hear the muffled sound of CRYING. Mike rises, follows the sobs through the maze of stacks until he finds - MIKE Maggie? - seated on the floor, head hidden between her knees. Maggie looks up, sees Mike, quickly dries her eyes. MAGGIE What do you want? To rub it in my face? Say I told you so? MIKE You lost me? Maggie drops her head back between her knees. MAGGIE Stan dumped me. Maggie BAWLS loudly. Mike panics, fearing the worst - MIKE What happened? What did he do? You did n't. MAGGIE My mom was working last night. Stan came over with a box of - Mike slaps his palms over his ears. MIKE Your next word better be ` cookies' or you're in big, big trouble! MAGGIE What am I going to do? I ca n't live without him. Maggie takes Mike's shirt, BLOWS her nose on it. MIKE Maggie, did you two. you know. do. MAGGIE Do what? MIKE That thing. that rabbits do a lot of and that a girl your age should never do and should only do when she's married. MAGGIE Sex? No, that's why he dumped me! Maggie bawls again. Mike silently celebrates, sits beside her, awkwardly pats her on the back. MIKE There, there now. It's okay. MAGGIE Sure he was a jerk but he was there for me. Which is more than I can say for any other man in my life. Maggie sobs uncontrollably. Mike takes a deep breath, calms - MIKE When you're young everything seems like the end of the world. But it's not. It's just the beginning. And you might have to meet a few more jerks, but one day you'll meet a boy who treats you the way you deserve to be treated. like the sun rises and sets with you. MAGGIE You really think so? MIKE I know so. Maggie throws her arms around Mike, hugs him tight. Mike hugs her back. A moment he's never had with his daughter. MAGGIE You're so sweet. ANGLE ON Maggie's face. She's SMITTEN. MONTAGE OF LIFE","EXT. BASKETBALL COURT - DAY Alex dribbles, using both hands, while running through a maze of cones. Whenever he messes up, Mike makes him start again.","EXT. MIKE'S HOUSE/BACKYARD - DAY Mike and Scarlet settle the limestone rocks into the freshly laid sod creating a walkway.","INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Maggie solves a difficult problem on the board, much to Mr. Adam's chagrin. Maggie turns from the chalkboard and smiles flirtatiously at Mike. Stan catches this exchange and pops the back of Mike's head.","EXT. BASKETBALL COURT - NIGHT Lights shine down. Alex stands behind the 3 point line. Mike feeds him balls. Alex shoots and moves. Shoots and moves. More misses than hits.","INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Again, Mike and Ed sit before a stern Julie.","EXT. MIKE'S HOUSE/DRIVEWAY - DAY Mike teaches Alex the cross over dribble. Scarlet brings the boys water. Mike checks her out as she goes back in the house. Alex bounces the ball off his head.","INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY A muffled buzz. Mike reaches into his pocket, pulls out his phone. A PIX MESSAGE. Mike opens it. A close up of perfect CLEAVAGE. Mike peeks over his shoulder. the Wonder Bras text on their phones. He's confused until - Mike turns a little more in his seat. MAGGIE smiles seductively at him, blows a kiss. Mike GASPS, spins back around. TRAUMATIZED.","EXT. MIKE'S HOUSE/BACKYARD - DAY Scarlet fills holes with plants then waters them with a hose. She turns, finds Mike SLEEPING in the grass. Scarlet picks up the hose, TURNS IT ON HIM. Mike leaps up, chases her.","EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DAY Mike, Alex, Nicole, Maggie, the Bras and a slew of KIDS hang by Mike's Aston. Stan, Jazz and Kevin are all that's left by Stan's Mustang.","EXT. BASKETBALL COURT - DAY Alex scampers through the maze of cones, dribbling from hand to hand. and does it perfectly. Mike and Alex high 5.","EXT. MIKE'S HOUSE/BACKYARD - DAY Mike and Scarlet lug an ornate, wooden bench to it's spot. They sit. Mike casually places a hand on Scarlet's leg. Scarlet casually removes it.","INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY A game of 1 on 1. Alex dribbles up to Mike. Mike crouches in a defensive stance. Mike goes for the ball. Alex crosses over. Mike misses. Alex pulls up, shoots and scores. Mike smiles, shakes his head.","INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Again, Mike and Ed sit before Julie. She hands Ed a slip of paper. 3 detentions. Ed chokes back crocodile tears.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike places books in his locker, shuts the door revealing. a goo goo eyed Maggie. Mike startles and RUNS. Maggie chases.","INT. BASKETBALL COURT - DAY Alex stands behind the 3 point line. Mike rapidly feeds him balls. Alex catches, shoots and moves. This time. they're all going in. Mike passes the last ball. Alex shoots and we -","INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY CLOSE ON a ball going through the hoop. Wider reveals Alex following through. He and Mike tap fists. It's TRY - OUTS. Coach Harvey, a number of HOPEFULS, Maggie, Nicole and the Bras watch the game of half court, 2 on 2. Stan and Jazz vs. Mike and Alex. Mike and Alex school Stan and Jazz. Steals, picks, fancy passes and scoring. The Coach watches with awe. A final 3 pointer by Mike in Stan's face seals the deal. COACH HARVEY That makes 11 - 3. Game over. Gather up. As Alex passes Harvey, Harvey stops him - COACH HARVEY -LRB- CONT'D. -RRB- You've got ta little bit of your old man in you, O'Donnell. The Team and the Hopefuls huddle around Coach Harvey. COACH HARVEY -LRB- CONT'D. -RRB- As you all know due to the amount of seniors coming back I only have 2 open spots on the roster. It's Freedman and O'Donnell. The rest of you hit the showers. The Hopefuls trudge out of the gym. Alex leaps into the air. ALEX Wooo! We did it, Mark! We did it! MIKE You killed it out there! Alex runs over, hugs Nicole. Mike beams with pride. Coach Harvey puts an arm around him - COACH HARVEY Son, I do n't know where you came from but you just made my year.","INT. MIKE'S HOUSE - NIGHT Alex rushes through the door. Mike and Maggie follow. Maggie slaps Mike's butt.","INT. MIKE'S HOUSE/KITCHEN - NIGHT ALEX Mom! Mom! SCARLET -LRB- o.s. -RRB- I'll be right out, Honey! MIKE I got' a use the bathroom. WE follow Mike down the hall. As he passes a half open door, he pauses, peeks in. Scarlet, facing away, pulls a shirt over her nude back, shakes out her long hair. Mike watches. no, he GAZES longingly, lovingly. lost in her beauty until. Scarlet turns, startles - SCARLET Mark? I did n't know you were there. MIKE I'm sorry. You just look so beautiful. Scarlet blushes. it's been a while since she's heard that. SCARLET Thank you. MIKE Can I zip you up? SCARLET I'm wearing a sweater. MIKE Your jeans? Scarlet walks towards him and. SLAM. shuts the door on him. Mike wanders to the bathroom, shaking his head - MIKE -LRB- CONT'D. -RRB- Stupid, idiot, stupid.","INT. MIKE'S HOUSE/BATHROOM - NIGHT Mike enters, steps over to the toilet. Maggie slips in behind him, shuts the door. He whirls around. MIKE Maggie, what. Maggie places a finger on his lips. MAGGIE Shhh. I get it now. Why you did n't want me to be with Stan, the nice things you said in the library. It's because you wanted me. Maggie backs Mike against the wall. MIKE Maggie, listen to me. I'm not the person you think. MAGGIE Shhh. Yes, you are. You're a good guy. You're not like the others. MIKE That's right! I'm not like the others. I'm very different than the others. So different that you and I can never be. Maggie stops, looks quizzically at Mike - MAGGIE What are you trying to say? Are you. `` confused''? MIKE Yes! Yes! That's it. I'm confused. Extremely confused. MAGGIE Ohmygod! It all makes sense now! Your hair. The highlights. Mike starts to speak. Stops. Finally gets it - MIKE What? No - no - no - no. I'm not gay. I'm. I've been in love with the same girl since I was 17. Maggie switches back into predatory mode. MAGGIE Who is it? Does she go to our school? Do I know her? MIKE No, you do n't. Now -. -LRB- eyes the toilet. -RRB- - if you do n't mind? MAGGIE Tell your girlfriend she better keep a close eye on you. Maggie smiles seductively and struts out.","INT. MIKE'S HOUSE/KITCHEN - NIGHT Alex types on his phone. Mike enters. MIKE Who you texting? ALEX My dad. I have to tell him about today. Mike nods. then realizes. BEEP. BEEP. HIS PHONE. Alex and Maggie look to Mike. Mike checks his phone. ALEX -LRB- CONT'D. -RRB- Did you just get a text? MIKE -LRB- NERVOUS. -RRB- Me? No. Yes. It's Ed. I mean dad. Not your dad. My dad. I'll just call him back. Scarlet enters. She looks AMAZING. SCARLET So? What happened? Tell me. Tell me. I'm dying to hear. ALEX I did it. I'm a Falcon! The first game's in 2 weeks. SCARLET Oh my God, Alex! That's so incredible! Scarlet wraps Alex in a big hug. Mike watches. It's a bittersweet moment for him. SCARLET -LRB- CONT'D. -RRB- I'm so happy for you. And now I want to show you guys something. Scarlet, unable to contain her excitement, leads Mike and Alex to the french doors and flicks a light switch. SCARLET -LRB- CONT'D. -RRB- Ta da! Thousands of tiny, white lights illuminate Scarlet's OASIS. MIKE You hung the lights! SCARLET I wanted you to be the first to see it. ALEX Mom, it's sick.","EXT. MIKE'S HOUSE/BACKYARD - NIGHT The 3 step outside. Mike, truly blown away, takes picture with his iPhone. MIKE It's amazing. I'm speechless. I'm sorry I never saw how talented you are. I mean when people see this and how talented you are you'll be designing sanctuaries all over the city. SCARLET -LRB- BEAMS. -RRB- Thank you. ALEX Mom, why are you all dressed up? SCARLET Oh my God. I almost forgot. I have a date. Off Mike's stunned reaction.","INT. MIKE'S HOUSE/FOYER - NIGHT Mike marches in behind Scarlet. As they reach the door, he steps in front of her. MIKE Let's see who the lucky guy is. Mike swings the door open revealing. Dom Johnson. MIKE -LRB- CONT'D. -RRB- I knew it! SLAM. Mike shuts the door, blocks it. MIKE -LRB- CONT'D. -RRB- I knew you had a thing for him! You ca n't do this! You took vows. What kind of example are you setting for the kids!? SCARLET Mark, I'm flattered. Really, I am. But I'm too old for you. Scarlet moves Mike aside, opens the door. Dom stands in the doorway holding a bouquet. DOM Wow. You look absolutely ravishing. MIKE Keep it in your pants, Casanova. SCARLET Do n't mind him. You all set? DOM Let's do it. Scarlet heads for the van. Dom looks to Mike - DOM -LRB- CONT'D. -RRB- Hey, kid. if the vans' a rockin'. well you know the rest. Dom imitates humping, jogs after Scarlet. MIKE Do n't you lay a finger on her, Johnson! I know where you live! Mike slams the door.","INT. MIKE'S HOUSE/KITCHEN - NIGHT A contemplative Alex scoops lasagna onto plates. An agitated Mike enters, pulls up a seat at the counter. ALEX It's weird to think about my mom with someone other than my dad. MIKE It's adultery! If this were Afghanistan she'd be dragged through the village by goats. You need to talk to her. ALEX My mom's been pretty sad the past few months. She deserves to be happy. My dad obviously is. wherever he is. MIKE Maybe he's not? Maybe he wishes he could be here right now with you but there's a real good reason he ca n't be. ALEX No, my dad's not a family guy. This is dumb but I used to tell him I was on the basketball team because I knew he'd never make it to a game. MIKE Then why would you tell him that? ALEX I guess I was hoping it would make him like me more. Mike is CRUSHED.","INT. GUCCI STORE - DAY Mike paces in front of a dressing room. A SALESMAN waits by the door. MIKE My wife's moving on. My son does n't think I like him and my daughter's in love with me. I need to change back, Ed. Ed steps from the changing room wearing very tight, ultra hip clothes that belong on a 20 year old. he looks ridiculous. ED What about college? MIKE I'm not going. I'll be a pharm rep til I die. I just want my family back. -LRB- BEAT. -RRB- You're not gon na wear that, are you? Ed checks his butt in a full length mirror, nods happily. ED Baby's got back. Ed retreats into the changing room. ED -LRB- CONT'D ; o.s. -RRB- Now that Julie's agreed to go out with me tonight, I need you to start behaving. I ca n't have her thinking my son is a complete degenerate. MIKE Fine. I want to have some kids over tonight to celebrate Alex making the team. Is that cool? Ed, wearing only his banana hammock underwear and socks, steps from the room, hands the clothes to the Salesman. ED Wrap it up. No, it's not cool. I remember hearing what those parties were like, kids peeing everywhere, food on the ceilings, puke in the pool. MIKE Listen to you. You sound like an old man. Other SHOPPERS eye Ed oddly as they pass. ED No party. I mean it. Do n't make me take the car away. MIKE Do n't treat me like a child, Ed. ED I wo n't when you stop acting like one. Mike grabs Ed's bare tits and TWISTS. Ed screams, grabs Mike's tits and TWISTS. Both of them HOWL in pain. SALESMAN Sir! Please! Mike and Ed, both still titty twisting, look up. Everyone in the store stares. They each let go, force smiles. ED This is n't over. son! MIKE Not even close. Dad! Ed stomps into the dressing room rubbing his sore boobs. Mike pulls out his iPhone, begins texting.","INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY The Wonder Bras stand by their lockers when their phones beep. TEXT MESSAGE. MIKE'S TEXT Party at my house 2nite. 7. Get the word out. The Bras type away, simultaneously hit SEND. WIDE REVEALS. hundreds of students. the beeps of hundreds of cell phones.","EXT. ED'S HOUSE - NIGHT CARS line the street. A steady flow of KIDS stream towards the front door. MUSIC pounds from within. It's a RAGER.","INT. ED'S HOUSE/KITCHEN - NIGHT MAYHEM. Kids raid the refrigerator, throw food around. Another KID sprays the room with the removable sink head. Mike rushes in, grabs the sink head from the Kid. MIKE Give me that! WONDER BRAS -LRB- O.S. -RRB- Hey, Sexy. Mike turns without thinking SPRAYING all 3 Wonder Bras in the face. The Bras scream. Mike replaces the nozzle. MIKE I'm so sorry. Have you seen Alex? The Bras wipe themselves off, grab Mike's hands. SAMANTHA Dance with us! The Bras drag a reluctant Mike out of the kitchen and into -","INT. ED'S HOUSE/LIVING ROOM - NIGHT PARTY - GOERS dance everywhere and on top of everything. The Bras surround Mike, each girl grinding on him as if it were a competition. Lauren takes Mike by the face, turns him towards her - LAUREN Nambib - bib - ib, that African country makes me horny. Jamie spins Mike towards her, places his hands on her boobs - JAMIE Perfect, are n't they? Samantha pulls Mike roughly by the hair, twists him around - SAMANTHA Which one of us is it gon na be? Mike tries to squeeze out. The Bras block him. The music changes. a remix version of Hammer's ` Ca n't Touch This' blares. MIKE I thought you girls wanted to dance? Mike breaks into the 80's Hammer routine WE saw from the first scene. The Bras back up. Party - Goers stop what they're doing and watch. not sure whether to laugh or join in. And then, the Bras fall in. Followed by others. The party just got hotter. Maggie runs through the party and out the back. Stan chases after her. Mike inconspicuously Hammer walks his way out of the mix and outside.","EXT. ED'S HOUSE/POOL - NIGHT Stan corners Maggie against the back wall. STAN I was upset. I'm sorry. But I need you to show me you love me. Then we'll move in together. MAGGIE Whatever. I'm with someone else now. STAN Yeah, right. Who'd be stupid enough? MAGGIE Him. Stan turns angrily toward Mike as he approaches. MIKE Party's over, Stan. You're out of here. STAN Who's gon na make me leave? You? MIKE I would but it smells like you've been drinking so I'll let the cops do it. Mike pulls out his phone. Stan looks to Maggie then back to Mike, laughs - STAN You can have the nun. She does n't put out anyway. MIKE On second thought - Mike SWINGS. Stan ducks, throws a giant uppercut. POW. Mike's eyes roll back in his head and WE cut to BLACK.","INT. UPSCALE RESTAURANT/DINING ROOM - NIGHT The HOSTESS shows Ed and Julie to their table by the window. Ed wears his new Gucci outfit. Julie's under dressed. HOSTESS There you are, Mr. Freedman. ED Thanks. Put this towards your studies. Ed hands the Hostess a 50. Julie rolls her eyes. JULIE When you asked me to get together to talk about Mark this is n't what I envisioned. This is n't a date, Ed. ED Are you insinuating that I'd use my son's misfortune just to go out with you? What kind of a father do you think I am? JULIE As long as we're on the same page. A WAITER approaches. WAITER Good evening. Would you care to see the wine - ED Bring us the 1962 Petrus. The Waiter nods, leaves. ED -LRB- CONT'D. -RRB- You're going to love this wine. $ 2000 dollars a bottle. JULIE I do n't drink. So tell me what you think's going on with Mark? ED It's baffling really but I noticed he's been drinking a lot of diet ice tea lately. Maybe he's gay? JULIE You did n't ask me here to talk about Mark, did you? ED Do you like caviar? Because if you do you have to try the Almas. 100 year - old Beluga. $ 700 per ounce. Julie throws her napkin on the table. JULIE You're disgusting, Ed. ED What? You do n't like Beluga? You can get something else. JULIE I'm not some 22 year - old who you can impress with caviar and expensive wine. ED Would the caviar and expensive wine impress you if you were on a yacht off Monte Carlo? JULIE I came here because I'm concerned about the wellbeing of your son but you do n't care about Mark. All you're concerned with is proving to me how wealthy you are. ED I do care about Mike. Mark. Whatever his name is. JULIE You know what's too bad, Ed? I'm sure when you were the guy the boys picked on and the girls ignored you were really sweet. But you thought becoming rich would solve all your problems. Instead it made you just like them. I have to go. Julie rises. Ed takes her wrist. ED Wait. You're right. I'm acting like an idiot. I'm sorry. Please stay. Julie begrudgingly sits back down. JULIE Act normal or I'm leaving.","INT. ED'S HOUSE/MIKE'S BEDROOM - NIGHT CLOSE ON Mike's face, eyes shut. A hand gently strokes his head. Mike stirs awake, smiles, eyes still closed - MIKE I had the craziest dream. I was 17 again and back in high school. It was horrible, Scarlet - MAGGIE -LRB- o.s. -RRB- Scarlet!? Mike's eyes pop open. WIDER reveals Mike and Maggie on the bed. Mike's head rests on Maggie's lap. Mike JUMPS off the bed, scrambles to the other side of the room and behind a chair. Maggie leaps off the bed. MAGGIE -LRB- CONT'D. -RRB- You wan na play? Okay, let's play. I'm the hungry lioness and you're a baby gazelle. Maggie ROARS, chases Mike around the room. MIKE Wait! This is highly inappropriate and dysfunctional. Listen to me, Maggie. I'm your father. Maggie growls, stalks Mike around the bed. MAGGIE And I've been a bad, bad girl, Daddy. Maggie dives across the bed. Mike dodges, runs out the door.","EXT. ED'S HOUSE/BACKYARD - NIGHT Alex and Nicole sit closely by a fire pit, laughing. ALEX How about Mrs. Cruz? Every time she rolls her r's she spits all over me. Alex imitates Mrs. Cruz. Nicole laughs, places her hand on Alex's leg. Alex looks down at her hand, then up at her, both staring at one another. THE MOMENT. Nicole closes her eyes, moves in. Alex moves in then FREAKS. He bounds out of his chair, sprints inside leaving Nicole hanging.","INT. ED'S HOUSE - NIGHT A distraught Alex pushes his way through the insanity. He finds Mike running down the stairs. ALEX Mike, I blew it! I totally blew it! MIKE Blew what? What happened? ALEX She wanted me to kiss her but I panicked. I did n't know if I should close my eyes or which way to turn my head or how much tongue I'm supposed to use - MIKE Slow down. Have you ever kissed a girl before? ALEX Not a real one. I used to practice on my dad's Playboys. MIKE How did you find. forget it. It's easy. All you have to do is take her face in your hands gently like THIS - Mike places a hand gently on either side of Alex's face. MIKE -LRB- CONT'D. -RRB- - hold her still as you adjust your head, close your eyes and kiss her. The rest happens naturally. A BOY walks past, sees Mike romantically holding Alex's face. BOY That is so wrong. Mike and Alex quickly separate. ALEX What if I, you know, pitch a tent? MIKE If you feel it, you know, getting angry, take a step back. Now go get that kiss. Alex takes a deep breath, steps outside.","EXT. ED'S HOUSE/BACKYARD - NIGHT A determined Alex marches over to the seated Nicole. ALEX Nicole. Nicole stands - NICOLE I'm sorry, Alex. I did n't mean to - Before she can finish Alex's hands are on her face and his lips on hers. It's as if time stands still.","INT. ED'S HOUSE - NIGHT Mike watches his son's MAGICAL FIRST KISS. And when Alex takes a step back, Mike laughs. BEEP. BEEP. Mike pulls out his phone. Text message. SAMANTHA'S TEXT 911. ^ stairs. mastr b - room. Mike rushes to the stairs. An angry Maggie storms down them. Mike ducks. Maggie passes. Mike races up.","INT. ED'S HOUSE/HALLWAY - NIGHT Mike sprints down the hall, throws open the door to find -","INT. ED'S HOUSE/MASTER BEDROOM - NIGHT Samantha, Jamie and Lauren in the bed, clothes on the floor. SAMANTHA We decided not to make you choose. JAMIE You can have all 3 of us. The chance of a lifetime. A legend making moment. MIKE -LRB- looks sadly at the Bras. -RRB- Girls, if I was 20 years younger I'd. probably only last 10 seconds anyway. Put your clothes back on. Mike turns, exits. On the way out WE actually hear SNIFFLING. SAMANTHA Was he crying?","INT. UPSCALE RESTAURNT - NIGHT Julie laughs hysterically. ED God's honest truth. I had the whole costume. I used to go everywhere dressed like a wizard. No wonder I did n't get a date all through high school. Annnnd you think I'm the biggest nerd ever. JULIE No, no, really. I do n't. -LRB- catches her breath, suddenly serious. -RRB- Hark! Who goes there? ED -LRB- UNSURE. -RRB- Tis I. The Wizard they call Marius. And who might you be fair maiden? Free to be herself, Julie lets her hair down, shakes it out. JULIE Tis I! Elf Princess Ariala of Jamroar. ED NO WAY! JULIE YES WAY! ED Level 10. JULIE Mage. Level 15. Bitch! They stare at each other incredibly turned on. Ed screams - ED Check please!","EXT. ED'S HOUSE/POOL - NIGHT CLOSE ON a Heavy Kid leans over the pool PUKING. Wider. Mike beside him while Kids cheer the Heavy Kid on. MIKE I'm so dead. Mike turns, finds SCARLET making her way through the crowd. MIKE -LRB- CONT'D. -RRB- Oh no! Mike rushes over to her. MIKE -LRB- CONT'D. -RRB- Scarlet, what are you doing here? SCARLET I'm looking for Alex. It's past his curfew and he was n't picking up his phone. Is he here? MIKE Yeah, he's fine. He's with his girlfriend. SCARLET Alex has a girlfriend? MIKE He does and she's really cute. Come on. Mike leads Scarlet away from the pool.","INT. FERRARI - NIGHT Ed and Julie drive through the upscale neighborhood. JULIE How did you get your hands on the 5th edition? That's not due out for another three years. ED I have two words for you. Russian mafia. JULIE Drive faster. He steps on the gas. He fishtails around a corner. Cars pack Ed's street and driveway. Boys and girls trample the front lawn. One BOY urinates in a flower bed. JULIE -LRB- CONT'D. -RRB- Calm thyself, Marius. ED That little -! I'll kill him! Ed double parks the car, jumps out.","EXT. ED'S HOUSE - NIGHT Ed storms up the driveway. Julie hurries after him. A KID spies Julie, calls out - KID It's Ms. Goodwin! Run! All the Kids on the lawn SCATTER in different directions.","INT. ED'S HOUSE/LIVING ROOM - NIGHT Ed and Julie enter the crowded, loud room. Kids dance, stomp around on the furniture. A furious Ed screams - ED Everybody out! Get out! Get out! Nobody flinches. Julie WHISTLES loudly. The Kids stop. JULIE This party is over! If you do n't want to spend the next 3 months in detention you will leave. now! The Kids BEELINE for the door. Ed stops a GIRL. ED Do you know where Mark Freedman is? GIRL I think I saw him go outside. SPLAT. A slice of pizza falls from the ceiling onto Ed's head. The Girl laughs, exits.","INT. ED'S HOUSE/KITCHEN - NIGHT Maggie enters, weeds through the crowd, bumps into the Bras. MAGGIE Have you seen Mark? SAMANTHA We're looking for him too. Maggie scowls, heads for the back door. The Bras chase.","EXT. ED'S HOUSE/BACKYARD - NIGHT Mike and Scarlet hide behind the pool house, peek around the corner, spy on Alex and Nicole by the fire pit. Alex is animated, confident. SCARLET He's like a totally different person. Scarlet and Mike step back by the pool, sit on a lounge. SCARLET -LRB- CONT'D. -RRB- It's been so good for him to have you around. You have no idea. MIKE Believe me, I do. He's a great kid. And you're an amazing mother. SCARLET I'm not so sure. I mean look at me. I showed up at a party to drag my son home. Could I be any more embarrassing? And how many amazing mothers run their kids' father off? MIKE Hey, you did n't run him off. Do n't blame yourself for his stupidity. SCARLET I knew he was unhappy. I knew he hated his job. I should've been more supportive, more sympathetic to what he was going through. He gave up a lot for me. MIKE That's bull shit! You, Maggie and Alex are the best thing that ever happened to me. him. He was just too selfish to recognize it. At least, that's how I see it. Scarlet smiles thankfully at Mike. ANGLE. Maggie and the Bras roam the backyard searching for Mike. JAMIE He's over there. By the pool. SAMANTHA Who's the ho? MAGGIE Mom? ANGLE. Alex and Nicole, hand in hand, stroll back towards the house when Alex freezes - ALEX Whoa. What's my mom doing here? ANGLE. Scarlet places a hand over Mike's. SCARLET You're sweet. I have no idea why I'm telling you all this. There's just something so familiar. Scarlet looks into Mike's eyes. Mike stares back. She's vulnerable. He loves her. It's perfect. Mike leans in and KISSES HER. PASSIONATELY. SSSSSLAP. Mike falls off the chair. Scarlet leaps up. SCARLET -LRB- CONT'D. -RRB- What do you think you're doing!? Mike scrambles to his feet. MIKE Scar, just calm down. I have something to tell you but I need you to keep an open mind. Can you do that for me? SCARLET This conversation is over, Mark. MIKE I'm not Mark. SCARLET I'm not in the mood for games. MIKE It's no game. I'm me. him. Mike. It's me. your husband. Scarlet winces as if dealt a blow - SCARLET What? Why would you say that? MIKE It's the truth. I'm the father of your children. You have to believe me. SCARLET Do n't ever come near me or my family again. If you do, I'll have you arrested or better yet, institutionalized. Scarlet marches towards the house. Mike on her heels pleading. MIKE Let me explain, Scar. As she passes Ed and Julie. SCARLET Your son needs a shrink! Scarlet storms off. Before Mike can protest - MAGGIE Pervert! Mike turns. SLAP. Maggie lights him up, runs for the house. SLAP, SLAP, SLAP. The Bras add theirs on the way out. Alex and Nicole march past. Mike reaches for Alex's arm. Alex pulls it away. MIKE Alex, wait. Let me explain - ALEX How could you do this to me? Alex whisks Nicole into the house. Mike lowers his head. Ed stomps over, grabs Mike. ED This place is a disaster! A kid pissed all over my English garden! What were you thinking!? MIKE She hates me, Ed. I've ruined everything. Mike runs for the house. Julie looks quizzically to Ed. JULIE Who hates him? What's going on? Ed shifts uncomfortably, takes a deep breath. ED Oh boy. I do n't quite know how to put this. JULIE Try being honest. ED He's not really my son. I do n't have a son. SLAP. Ed looks like he's about to cry. JULIE Mark's obviously having a crisis and you. you insensitive bastard, you disown him? He'd be better off with his mother in Thailand. Julie strides for the house. Ed yells after her - ED Should I call you?!","EXT. ED'S HOUSE - MORNING All is normal. No signs of a party.","INT. ED'S HOUSE/HALLWAY - MORNING Ed knocks and knocks on Mike's bedroom door. ED Come on. It's been 2 days. Open up. WE hear a dragging sound then. CLICK. Ed turns the knob, opens the door, enters.","INT. ED'S HOUSE/MIKE'S BEDROOM - MORNING Dark. Mike climbs back into bed. Ed waves at the air. ED Jesus. It smells like Jeffrey Dahmer's kitchen in here. Ed pulls up the blinds, opens the windows. A disheveled, Mike groans, rolls away from the light. Ed sits on the bed. ED -LRB- CONT'D. -RRB- Are you alright? MIKE I really messed up. I've lost my family. ED That's not true. Nothing's ever truly lost. MIKE What about you and Julie? ED Oh, that? That's lost. MIKE Sorry about the party. I'll pay for any damages. ED Do n't worry about it. My spa guy got the last of the vomit out of the pool so we're good. I do n't mean to rub salt in your wounds but - Ed holds up the manila envelope of divorce papers. ED -LRB- CONT'D. -RRB- - you're due in court in an hour. A look of determination comes over Mike's face.","EXT. ED'S HOUSE - DAY The BMW roars out of the garage, Ed driving, tears down the driveway, fishtailing onto the street, LOSES CONTROL, rips across a neighbor's lawn then back onto the road and off.","INT. LOS ANGELES COURT HOUSE/COURTROOM - DAY Crowded pews. Scarlet stands before the JUDGE, her right hand raised as she's sworn in. BAILIFF - the whole truth and nothing but the truth so help you God? SCARLET I do. Scarlet sits beside her ATTORNEY. The Judge eyes her papers. JUDGE You've requested a divorce by the State of California citing irreconcilable differences. Is this correct? SCARLET Yes, your Honor. JUDGE Is Michael O'Donnell or his representative present? SCARLET -LRB- SADLY. -RRB- No, your Honor. JUDGE Then I take his absence as agreement to the orders of the divorce. Let's proceed. You're not asking for alimony or child support? JULIE No, your honor.","EXT. LOS ANGELES COURT HOUSE - DAY Ed's BMW skids to a stop in front of the building. Mike and Ed bound out, race up the court steps - ED What exactly are we doing? MIKE I do n't know. We just need to stop her from going through with it! ED A well thought out plan. Good job.","INT. LOS ANGELES COURT HOUSE/COURTROOM - DAY JUDGE The mother will have full custody of the children. The father will have visitation rights of one weekend a month - BOOM. The doors burst open. All turn to see Mike and Ed storm down the aisle. ED I declare a mistrial on the grounds of insufficient evidence and Sacco and Vanzetti! Scarlet can only shake her head. JUDGE Sacco and. what are you. who are you!? ED I am legal counsel for Mike O'Donnell and I demand a stay of execution for this marriage, your Majesty. SCARLET He's my husband's best friend. JUDGE Are you a lawyer, best friend? ED No but I have been a defendant in numerous lawsuits so - JUDGE Bailiff! Get these 2 out of my courtroom. The Bailiff grabs Mike and a yelling Ed, drags them toward the exit. Mike wiggles free, runs back to the front. MIKE Your Honor! I have a letter from Mike O'Donnell. Just let me read it. Please. JUDGE I'm sorry, but - SCARLET If it's okay, your Honor. I'd like to hear it. JUDGE Make it quick. Mike digs into his pocket, pulls out a piece of paper. MIKE Thank you, your Honor. -LRB- READS. -RRB- September 7th, 1988 was the first time I saw you. You were reading ` The Great Gatsby' and wearing a Guns N Roses T - shirt. I'd never seen anything so perfect. I remember thinking I had to have you or I'd die. not in a psycho kinda way but in that beautiful, innocent, unaffected way that way only a 17 year - old kid can have. You whispered you loved me at the homecoming dance and I felt so peaceful and safe because I knew no matter what happened from that night on nothing could ever be that bad because I had you. And then I grew up, lost my way and blamed you for my failures. But I was never lost. I'd just forgotten the way life makes you forget as you grow older. And I never failed at anything because on that September day you said ` yes' to me. And at that dance you said you loved me. And as I stand here. as I write this, I want you to know if I do n't have you I'll die. not in a psycho way but in that beautiful, innocent, unaffected way only a 17 year old kid can have. oh and. P.S. I'm ` Hungry Like the Wolf'. Mike places the PAPER ON THE TABLE, looks over to Scarlet. Scarlet just stares at him, tears streaming down her cheeks. sadness. recognition? JUDGE Alright, son, you have to go now. Mike nods, walks down the aisle and out the door. JUDGE -LRB- CONT'D. -RRB- Let's proceed. SCARLET Your Honor, Sir. I'm sorry. I'm in no shape. I need to postpone. I'm sorry. A tearful Scarlet starts to leave, stops, picks up Mike's ` letter'. DIRECTIONS TO THE COURTHOUSE. She looks back confused.","INT. BMW CONVERTIBLE - DAY A solemn Mike stares out the window. Ed turns the radio off. ED Maybe it was n't a spell of enlightenment. Mike looks to Ed. MIKE What are you talking about? ED According to the website once you've learned your lesson you'd turn back. That speech should've broken the spell. MIKE Enough with the magic crap, Ed. ED You know what this means? You need to let them go. You need to let them get on with their lives and you need to get on with yours. Mike chokes back tears. because he knows Ed is right.","INT. ED'S HOUSE/MIKE'S BEDROOM - DUSK Mike works on his laptop, plugs his iPhone into it. downloads pictures. Mike moves to the bed, packs his Falcons uniform into a duffel bag. A BEEP. Mike unplugs the iPhone, types an email to Scarlet, `` I think this will help your business. Best of luck, Mark'' Mike hits send, grabs his bag and exits.","EXT. ED'S HOUSE - DUSK Mike steps outside, throws his duffel into the Aston. Ed exits the house. ED Where you going? MIKE I'm moving on. See you at the game. Mike climbs into the car, pulls out of the driveway.","INT. MIKE'S HOUSE/KITCHEN - DUSK Scarlet sits at the kitchen table working on her laptop. The noise of an incoming email. She clicks over. MARK FREEDMAN. Scarlet reads Mike's email then clicks on the link. A web site pops up. ` Scarlet's Sanctuaries'. Scarlet smiles.","INT. FITCH SENIOR HIGH SCHOOL/GYM - NIGHT An empty gym. Mike stands feet beyond the 3 point line, grabs balls from a hopper and rapidly shoots, shoots, shoots. SWISH. SWISH. SWISH. Automatic. Coach Harvey enters. COACH HARVEY Hey, Freedman, save some for the game. Mike sinks one last jumper, turns to the coach. MIKE Just warming up, Coach. Coach Harvey hands Mike a towel. COACH HARVEY Son, I have n't seen anyone with your shooting ability in, well, in a long time. I called a couple college scouts I know. They're coming to the game tonight. to watch you. If you have half the season I think you're capable of, you can play anywhere you want. MIKE That's the plan, Coach. The rest of the Falcons basketball team jogs out from the locker room followed by a PHOTOGRAPHER. COACH HARVEY Round up, Jock Straps! Picture time. The Team assembles in the middle of the court. Alex moves away from Mike. A PLAYER kneeling in front holds a sign, ` FITCH FALCONS, 2008.' PHOTOGRPAHER 3, 2, 1 - FLASH. And with the flash WE cut to :","INT. FITCH SENIOR HIGH SCHOOL/GYM - LATER A POPULAR SONG rocks the gymnasium. CHEERLEADERS dance on the sidelines. STUDENTS and PARENTS cheer wildly from the packed stands. Julie gabs with a group of TEACHERS. On one end of the court, the Falcons run a pass and shoot drill. On the opposite end, a TEAM in BLUE shoots around. Mike sees Scarlet and Maggie enter. He smiles apologetically to them. Both turn away, climb the bleachers, join Nicole and the Wonder Bras. MAGGIE -LRB- to Scarlet. -RRB- I thought he was hanging out with Alex to get to me - not you. ANGLE. Coach Harvey claps loudly - COACH HARVEY Alright, Ladies, bring it in! The Falcons swarm the bench, take their seats. Mike takes a deep breath, sits next to Alex. Alex looks down. MIKE ALEX - ALEX I have nothing to say to you. MIKE I never meant to hurt you - ALEX Then why'd you kiss my mom!? MIKE Alex, I'm your fa. I do n't know. I'm sorry. Alex stands - ALEX You're lucky I do n't punch you out. Alex moves down the line, takes another seat. Ed strides through the door spots Julie, makes his way over to her. ED Julie, can I talk to you? Julie excuses herself from the Teachers. JULIE What is it, Ed? ED I've seen a good friend of mine lose everything that means anything to him. And maybe we'll never be there but. I just really want to play D & D with you. Julie ca n't help but smile, sizes Ed up. JULIE You can raid my dungeon anytime. ED I'll bring my long bow. A REFEREE blows his whistle. COACH HARVEY Let's go! Remember, Boys, winners get the girls. Losers please themselves! Mike and the Falcons jog onto the court. Mike takes his place for the jump ball. The Crowd stomps, cheers LOUDLY. Mike looks around the gymnasium. it almost seems to SLOW UP. the sound deafening. He finds Alex on the bench. his hopeful face. Mike looks into the stands. Maggie and Scarlet. Scarlet abruptly stands, climbs back down the bleachers and exits the gym. The Ref readies to toss the ball. Mike takes a deep breath. and walks off the court. REFEREE Son! Come back here! You're gon na get a delay of game! COACH HARVEY This ca n't be happening again. Mike steps over to Alex - MIKE It's your turn now. Good luck. Mike rushes off the court. As Mike disappears into the tunnel, WE see the OLD JANITOR amongst the crowd. He smiles. Coach Harvey turns to Alex - COACH HARVEY Get off your butt, O'Donnell! Get in there! Alex leaps off the bench.","INT. FITCH SENIOR HIGH SCHOOL/TUNNEL - NIGHT MIKE Scar! The tunnel is EMPTY. Crestfallen, Mike lowers his head. ANGLE ON : Scarlet as she appears at the far end of the tunnel. SCARLET What took you so long? ANGLE ON : Mike and he's 36 years - old again, bursting out of his uniform. MIKE The best choice I ever made was you. Scarlet and Mike walk towards one another, picking up their pace the closer they get. SCARLET How did this happ - Mike wraps his arms around her. MIKE Do n't ask. They lock lips. Mike takes Scarlet's hand and as they walk out of the tunnel - MIKE -LRB- CONT'D. -RRB- I think it's best if we do n't tell the kids about this. Especially Maggie. THE END"],"string":"[\n \"EXT. FITCH SENIOR HIGH SCHOOL - DUSK A few cars scatter the parking lot. WE hear GRUNTS followed by the distinct sound of basketballs shredding net.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - CONTINUOUS An empty gymnasium except for a shirtless MIKE O'DONNELL, 17. Mike stands feet BEYOND the 3 point line, grabs balls from a hopper and rapidly shoots, shoots, shoots. SWISH. SWISH. SWISH. This kid's automatic. Mike's hair, a pompadour mullet a la ` 21 Jump Street' and short shorts circa 1989. Mustached and curly haired COACH HARVEY, 40, enters. COACH HARVEY Hey, O'Donnell, save some for the game. Mike sinks one last jumper, turns to the Coach. MIKE Just warming up, Coach. Coach Harvey hands Mike a towel. COACH HARVEY First game of the season and the scouts are already lining up. You have half the season I know you're capable of, you can play anywhere you want, Mike. MIKE That's the plan coach. The rest of the FITCH FALCONS basketball team jogs out from the locker room followed by a PHOTOGRAPHER. COACH HARVEY Round up, Jock Straps! Picture time. The Team assembles in the middle of the court. A PLAYER kneeling in front holds a sign, ` FITCH FALCONS, 1989'. MIKE Hold on. Ed's not here yet. DOM, 17, handsome, tall, long rat tail, scoffs - DOM Who cares? He's the water boy. MIKE And you suck, Dom, but we're letting you in the picture. A shoving match breaks out between Mike and Dom. COACH HARVEY Hey! Hey! Knock it off. Coach Harvey pulls the Players apart just as the gym doors burst open. ED FREEDMAN, 17, sporting a jacket over a WIZARD costume, runs in, trips on his robe, gets up, peels his clothes off. ED Sorry I'm late. I was locked in a life and death battle with the dark wizard. COACH HARVEY Fall in, Freedman. Hurry up. Ed takes a spot next to Dom. PHOTOGRPAHER And 3, 2, 1 - WE see Dom reach behind Ed, grab hold of his underwear. RRRRIIIPP. FLASH. And with the flash WE cut to :\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - NIGHT The Falcons run, pass and shoot on one end of the court. On the opposite end, a TEAM in BLUE warms up. Lights dim. Cue MC Hammer's ` Ca n't Touch This'. CHEERLEADERS at center court perform the Hammer DANCE ROUTINE. PAN around the gym, everybody's doing the Hammer dance. Ed awkwardly tries to imitate Mike. Coach shakes his head in disgust and when the routine ends - COACH HARVEY Alright, Ladies, bring it in! The Falcons swarm to the bench, take seats. Ed hands waters to the Players, skips Dom, stops at Mike. MIKE Ed, I ca n't help you with the girls if you keep showing up places dressed like the Cookie Crisp guy. Okay? Dude, do n't look now but I think Muffy Campanella is scopin' you hard. ED For real? Ed jerks around to blatantly stare at her. MIKE Smile, pud. Ed flashes a goofy smile. MUFFY mimes puking. MIKE -LRB- CONT'D. -RRB- My bad. GIRL'S VOICE -LRB- o.s. -RRB- Mike? SCARLET, 17, an 80's beauty, stands at the end of the bench. MIKE Who's that stone cold fox? Oh, it's my girlfriend. -LRB- walks over. -RRB- I'm glad you're here, Scar. This whole scout thing's got me wicked nervous. Dom dribbles past, smiles at Scarlet. DOM I'm dedicating my first basket to you, Scarlet. MIKE Way you shoot that might be mid - season! -LRB- to Scarlet. -RRB- Everything cool? She smiles nervously, lies. SCARLET Oh yeah. Everything's totally copacetic. MIKE Totally? SCARLET Totally. REFEREE blows the whistle. COACH HARVEY Let's go! Remember, Boys, winners get the girls. Losers please themselves! MIKE -LRB- to Scarlet. -RRB- Excellent. Got ta run. He kisses her cheek, starts off, turns back - MIKE -LRB- CONT'D. -RRB- What's wrong? LONG SHOT : We hear nothing but see Mike's body deflate. He steps away from Scarlet towards center court. Muffy and her friends mock Ed and laugh hysterically ED Do you really think Muffy's in to me? Mike, in a daze walks right past Ed. Takes his place for the jump ball. The Crowd stomps and cheers LOUDLY. The Ref is about to toss the ball. Mike looks up at the stands, sees a crushed Scarlet heading for the exit. Mike's torn. Play or go after her. He goes after her. COACH HARVEY Where you going!? O'Donnell!?\",\n \"INT. FITCH SENIOR HIGH SCHOOL/TUNNEL - NIGHT Mike rushes in. MIKE Scar! Wait. She turns, slumps against the wall. Mike catches up to her. Mike leans in and kisses Scarlet.\",\n \"EXT. PALISADES NEIGHBORHOOD. PRESENT DAY - MORNING Opulent HOMES. OCEAN views. Luxury CARS. Manicured LAWNS. The sound of an alarm clock shatters the silence as WE settle in on a large, MEDITERRANEAN STYLE HOUSE.\",\n \"INT. ED'S HOUSE/MIKE'S BEDROOM - MORNING MIKE O'DONNELL, now 36, angrily slaps the alarm off. 6 AM. He climbs out of bed, bones creaking, stiff, groans.\",\n \"INT. BATHROOM - MORNING A showered, suited Mike stands before the mirror, knots a tie around his neck. MIKE -LRB- UNINSPIRED. -RRB- Today is going to be a good day. I love my job. I am a lucky man. Who's lucky? Mike O'Donnell. Mike yanks his tie straight up as if he were hanging himself.\",\n \"INT. ED'S HOUSE/LIVING ROOM - MORNING ED FREEDMAN, now 36, lies on a portable table in his boxers. ACUPUNCTURE NEEDLES protrude from every inch of his body, neck and face. at least 5000 needles. A HOT, YOUNG ACUPUNCTURIST adds more to him. ACUPUNCTURIST Can you feel your Qi flowing freely? ED I'm not sure if its my Qi or internal bleeding. Mike enters, shakes his head in amusement. MIKE What are you doing now? Ed looks over, sees Mike watching. ED There he is. There's Mr. Sunshine. Fei Jing Acupuncture. It's all the rage. Makes you look five years younger. Ed climbs slowly off the table, shuffles over, groaning in pain the entire way. He pours himself a shot of BROWN LIQUID from a pitcher, throws the shot back and immediately SPITS it all over the place. ED -LRB- CONT'D. -RRB- -LRB- calls to Acupuncturist. -RRB- What's this brown stuff again? ACUPUNCTURIST Rhinoceros urine. Pure protein. ED Delish! -LRB- to Mike. -RRB- The girl has absolutely no clue what she's doing. MIKE Then why are you letting her stick needles in you? ED Because she's hot. But today's not about me. It's about you becoming the new regional sales manager. MIKE I better be. I've invested 18 years of my life in that miserable company. ED No negativity. Negativity's for the 800 pound fat lady who needs to be airlifted out of bed. You, Michael Shawn O'Donnell, are a winner. MIKE A winner does n't have to crash at his best friend's house because he was kicked out of his own house. ED Are you kidding?! It does n't get any better than this! I got ta get back. My legs just went numb. Good luck today. Ed drags painfully back to the Acupuncturist.\",\n \"EXT. SAN FERNANDO VALLEY - MORNING Mike wheels his Audi A4 below a nondescript, two level building. Sign reads, ` Wyatt Pharmaceuticals'.\",\n \"INT. WYATT PHARMACEUTICALS/CONFERENCE ROOM - MORNING PHARMACEUTICAL DRUG POSTERS cover the walls. Smiling faces, happy couples. little pills. Surrounding a conference table are Mike's colleagues. HOT WOMEN, 20 to 35, in skimpy business suits, chatting away. Mike sits amongst them, the only male present. A glum look on his face. WENDY, bubbly, ditsy, 22, leans over to him. WENDY Congratulations, Mike. You deserve it. You're like a totally amazing salesman. MIKE Thanks, Wendy. That like totally means so much to me. ROGER, 23, boss, strides through the door. ROGER Good morning, peeps. As you all know, today I'll be naming the new regional sales manager. What's it take to be an RSM? Leadership skills, a comprehensive knowledge of today's prescription pharmaceuticals and most importantly a dedicated soldier. Mike straightens his tie, buttons his suit jacket. ROGER -LRB- CONT'D. -RRB- All being said, congratulations -. -LRB- Mike begins to rise. -RRB- Wendy. Dumbfounded, Mike slumps back into his seat. Wendy springs up out of hers, SCREAMING and BOUNCING. ROGER -LRB- CONT'D. -RRB- Now go out there and sell some drugs peeps! The Women stream out. MIKE How could you do this to me? I've been a salesman here 18 years. Wendy's only been here 2 months!? ROGER Look, your sales are admittedly better but she has the college degree. What can I do? MIKE You can give me the promotion, Roger! ROGER Things have changed. I could n't even hire you now with only a high school diploma. My hands are tied, bro - ski. Mike swallows his pride and exits.\",\n \"EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DUSK Mike pulls into the empty parking lot, climbs out of his car and into the building.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DUSK Mike hurries down the hall, opens a door, peeks his head in.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - DUSK Mike peers around. nobody. MIKE Alex? No answer. A basketball sits in the middle of the floor. Mike enters, picks up the ball, begins dribbling. faster, between his legs, around his back, up to the 3 point line - MIKE -LRB- CONT'D. -RRB- 3, 2, 1 - Mike hits a perfect jumper at the imaginary buzzer, smiles. MIKE -LRB- CONT'D. -RRB- The kid's still got it. Mike dashes for the bouncing ball, scoops it up, goes for a reverse lay up, makes it but when he lands. he lands. CRACK. hard. Mike grabs his lower back, groans - MIKE -LRB- CONT'D. -RRB- Ooooh. That was stupid.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DUSK Mike limps out of the gym, wanders over to a wall covered in PHOTOGRAPHS. Fitch basketball teams of the past. Mike searches the pictures until he finds it. the photo WE saw being taken earlier. the team of 1989. Ed mid howl from Dom's wedgy. Mike stares at the photograph. lost in time and thought. The smiling, confident image of his youth stares back at him. MALE VOICE -LRB- o.s. -RRB- You know someone in that picture? Mike startles from his daydream, turns. A kind - faced, old JANITOR, stands behind him, mop in hand. MIKE I do. Me. I'm in the center there. The Janitor leans in, takes a closer look at Young Mike. JANITOR Adolescence can be so cruel. MIKE What are you talking about? -LRB- lost in the picture AGAIN. -RRB- I had life by the balls in that picture. Everything was possible. Then a few minutes later, pffffft, all gone. JANITOR ` For of all sad words of tongue and pen, the saddest are these : ` It might have been.' MIKE That'll be my epitaph. JANITOR We all have regrets. MIKE Why's it have to be that way? JANITOR Maybe it does, maybe it does n't. Ca n't hurt to ask. You never know who's listening, Michael. Michael wistfully eyes the old photo, looks back to the JANITOR - MIKE How did you know. ALEX -LRB- O.S. -RRB- What are you doing, Dad? ALEX, 15, messy hair and slight, and MAGGIE, 17 and awkwardly pretty, appear at the other end of the hall. MIKE Hey, Guys. I was just talking to - Mike looks back to the Janitor. GONE. MIKE -LRB- CONT'D. -RRB- Never mind. Sorry I'm late. You ready to get some dinner then? They make their way towards the door. Mike limping. ALEX Why are you limping? MIKE Tweaked my back pumping iron. Really, really heavy iron.\",\n \"INT. CHEESECAKE FACTORY - NIGHT Mike, Alex and Maggie sit before dinner. Alex eats heartily. Maggie quietly pushes her food around. MIKE I bet your chompin' at the bit for hoop season to start. ALEX Yeah, me and the guys are running drills, scrimmaging, getting in shape. Maggie stifles a laugh. MIKE That's my boy. Remember, it's not how big you are - ALEX - it's how big you play. Father and Son touch fists. MIKE And what about you, Mags? What's new? MAGGIE Nothing. ALEX She got into Georgetown. MIKE You did!? That's fantastic! MAGGIE It's no big deal. MIKE It's a huge deal. That's a great university. I'm proud of you. -LRB- Maggie remains quiet. -RRB- Am I missing something here? MAGGIE You would n't understand. MIKE Try me. MAGGIE I have a lot of emotional stress right now. My friends are all going to different schools, I'm not even sure. MIKE That's not stress. Wait ` til you get out into the real world, get a crappy job, have some smarmy twerp - boss calling you bro - ski. Maggie rolls her eyes. ALEX Did you get the promotion, Dad? MIKE Still waiting to hear. Mike forces a smile hiding his disappointment.\",\n \"EXT. SAN FERNANDO VALLEY/MIKE'S HOUSE - NIGHT Mike pulls up behind a ` Dom's Nursery' van. He, Alex and Maggie step out. Mike eyes the van with disdain. MIKE Is your mom home? ALEX She's probably out back. MIKE Hey, next week we'll have a barbecue at Uncle Ed's. Sound good? MAGGIE I'm counting down the minutes. Maggie heads straight for the modest ranch house and inside. MIKE What's with her? ALEX We see you once a week for a couple hours. What do you expect? Alex follows Maggie into the house. Mike makes his way around back.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - DAY As Mike rounds the corner, he almost runs into a smiling Dom Johnson, 36. Don lugs 3 loaded trash bags. DOM Hey, Mike. Good to see you. Tough break, you and Scarlet. MIKE Bite me, Dom. Dom serves Mike a cocky wink, continues on. Mike scowls. Scarlet, 36, slams a shovel into the ground, wedges it beneath a dying shrub and rips it out. MIKE -LRB- CONT'D. -RRB- A little late for a delivery is n't it? SCARLET Dom was in the neighborhood. He offered to make a dump run for me. MIKE Does n't he live 30 miles from here? SCARLET What's your point? MIKE Come on. He's been after you since 10th grade and he's after you now. SCARLET At least someone's after me. Mike smiles playfully and begins to serenade - MIKE ` In touch with the ground, I'm on the hunt I'm after you.' Scarlet shakes her head - SCARLET Please, Mike. This is n't high school. That's not gon na work. MIKE ` Smell like I sound, I'm lost in a crowd, and I'm hungry like the wolf.' Mike flirtatiously stalks her. Scarlet fights smiling. SCARLET You can stop now. It's not working. MIKE ` Mouth is alive, with juices like wine, and I'm hungry like the wolf' Mike gets close to Scarlet's face. She smiles, stops herself and pushes him away. SCARLET You no longer have the right to invoke the `` wolf.'' A chastised Mike eyes the yard. it's a WRECK. holes and mounds of dirt everywhere, carcasses of dead plants, bushes and flowers strewn about. MIKE Why are you destroying the yard? Scarlet stops shoveling, wipes dirt from her face. SCARLET I'm gon na use it as a showpiece for clients. Thanks for asking. MIKE Kind of a big undertaking is n't it? SCARLET I am a landscape designer. Then again you barely took an interest in my work so I guess that's a fair question. An awkward silence. Then - MIKE I did n't get it. SCARLET I'm sorry. But maybe this is what you needed. Maybe it's time you looked for something else? MIKE That's a great idea, Scar. Because there are so many options out there for a 36 year old with only a high school diploma. Scarlet throws the shovel to the ground. SCARLET And it's all my fault, is n't it? MIKE I did n't say that. SCARLET No, but it's what you think, right? Mike's silence says it all. Scarlet fights back tears. SCARLET -LRB- CONT'D. -RRB- I never asked you to marry me. MIKE But I did. Scarlet shakes her head in frustration. SCARLET I'm sorry you're not happy with the way your life turned out Mike, really, I am, but you're not the victim here. Scarlet goes back to shoveling. Mike turns, steps, falls into a hole.\",\n \"INT. MIKE'S AUDI - NIGHT A somber Mike drives alongside the Los Angeles River. An old song plays low on the radio. static. then. BOOM. THUNDER roars scaring Mike and literally shaking the Audi. SPLASH. RAIN drops in buckets. MIKE Jesus! Mike turns the wipers on high. Not much help. He slows the car to a crawl, straining to see out the windshield. LIGHTNING flashes. We see the Janitor leaning over the railing looking into the raging river. Mike brakes, throws his door open, jumps out into the pouring rain.\",\n \"EXT. ROAD - NIGHT MIKE Hey!? Get away from there!? Mike, blinded by the rain makes his way to the railing. The Janitor's GONE. MIKE -LRB- CONT'D. -RRB- Oh no! Hello!? Mike leans over the rickety railing, looks down. The phosphorescent water swirls angrily. rising quickly. It's mesmerizing. Magical. Mike ca n't take his eyes off - LIGHTENING FLASHES Mike's 17 year - old face reflection stares back up at him. MIKE -LRB- CONT'D. -RRB- What the - CRACK. The railing BREAKS. Mike FALLS. SPLASH. headlong into the river.\",\n \"EXT. ED'S HOUSE - NEXT MORNING Mike's Audi rolls into the driveway. The door swings open. A muddy, shoeless foot steps out followed by a shoed foot but in no better shape. WE follow the feet, tattered slacks dragging on the cement, to the door. 2 filthy hands dig into pockets, searching - MIKE Damn it. -LRB- pushes doorbell. -RRB- Ed! Ed! I lost my key!\",\n \"INT. ED'S HOUSE - MORNING Ed, wrapped in a robe, tissue between his toes, wobbles to the door so as not to mess up his freshly polished nails. ED Coming! I've been worried sick! WHERE - Ed opens the door. standing before him is Mike, covered in MUD. His ripped, grimy suit now hangs off of him because. HE'S 17 AGAIN. Ed's eyes widen with FEAR. MIKE I've had a really rough night. ED AAAAAHHHHHHHHH! Ed slams the door, frantically wobbles away. The door opens, ANGLE ON the muddy feet as they enter and follow the trail of cotton balls up the stairs and to the bathroom door.\",\n \"INT. BATHROOM - DAY ANGLE ON Ed cowering against the back wall, brandishing an over - sized loofah. The door slowly swings open. Ed gasps - ED Do n't come any closer! I'll use it! MIKE What are you gon na do? Exfoliate me to death? -LRB- Ed shrieks. -RRB- You got into my samples case again, did n't you? A whimpering Ed points to the mirror. MIKE -LRB- CONT'D. -RRB- What's your problem, it's only mud. The muddy feet turn toward the mirror and - MIKE -LRB- CONT'D. -RRB- AAAAAAAAHHHHHHH! ANGLE ON the mirror. Mike's 17. He turns on the water, splashes his face frantically. Mud gone. He's still 17. MIKE -LRB- CONT'D. -RRB- AHHHHHHHHHHHH! Mike tears his suit jacket and shirt off. hairless chest. He yanks off his pants, peeks down his boxers - MIKE -LRB- CONT'D. -RRB- I'm dreaming right? Is this some kind of hallucination? Mike pulls Ed up by his robe. MIKE -LRB- CONT'D. -RRB- Do something! Anything! Pinch me! Ed throws a knee into Mike's nuts, bolts out the door SCREAMING. Mike crumbles. MIKE -LRB- CONT'D. -RRB- I said pinch!\",\n \"INT. ED'S HOUSE/FOYER - DAY Ed reaches the door, fumbles with the locks. He just manages to open the door when Mike tackles him to the floor. The two buddies roll around, limbs intertwined. MIKE Calm down! We need to talk! We can work this out! FEMALE VOICE -LRB- o.s. -RRB- Aye dios mio! They stop wrestling, look up. The LATINO MAID stands in the doorway genuflecting. ED Maria, we're just friends. Really. The Maid hurries off muttering prayers in Spanish.\",\n \"EXT. ED'S HOUSE/BACKYARD - LATER ED My theory is that you were transformed by a freak congruence of some of the planets most volatile elements. I've recreated the exact contents of the LA River. The toxic pollutants, the contaminants. REVEAL Mike in the gurgling green water of the hot tub. MIKE Well, it obviously is n't working. ED That's because the cocktail's not complete. Ed picks up a TOASTER attached to an extension cord. ED -LRB- CONT'D. -RRB- Last night we had the worst electrical storm of the last hundred years. MIKE Is that true? ED It was pretty bad. Ed raises the toaster - MIKE Wait! Wait! Wait! Do you really think this'll work? ED It could. Ed tosses it in. Mike screams. Nothing happens. ED -LRB- CONT'D. -RRB- Oops. Came unplugged. Wo n't be a moment. Ed reaches down to plug it in. ED -LRB- CONT'D. -RRB- What were you doing by the river anyway? CLOSE ON MIKE, Light bulb goes off. He leaps out, runs for the house. MIKE The janitor!\",\n \"EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DAY The Audi screeches to a stop in front of the school. Mike bounds out, wearing a robe, races inside.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike rushes past baffled STUDENTS, asking no one in PARTICULAR - MIKE Has anyone seen the janitor? Is the janitor here? Where's the janitor? Mike reaches the familiar wall of pictures. Kids point, laugh, stare. A FEMALE JANITOR, steps from a room. MIKE -LRB- CONT'D. -RRB- Excuse me! Excuse me!? Can you tell me where I can find the night janitor? JANITOR I'm the only custodial engineer currently employed here. MIKE There was an old guy, white hair. I showed him this picture of me - Mike points to the 1989 team photo. JANITOR - Of you? That picture's from 1989. Mike backs away from the picture and the Janitor. MIKE Right. Forget it. Confused, Mike stumbles to the bathroom. He's about to enter, three letter jacket wearing JOCKS, STAN, JAZZ and KEVIN, burst out laughing, knocking Mike on the way by.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/BATHROOM - DAY Mike enters, moves to a sink, turns the water on - VOICE -LRB- o.s. -RRB- Can I get a little help in here? Mike turns, sees what appears to be UNDERWEAR stretched over the corner of a closed stall door. Mike approaches the door, swings it open. there HANGS Alex, sneakers dangling 3 feet off the ground. The back of his underwear wrenched up over the corner of the door. MIKE Alex? What are you doing up there? ALEX I wanted to see if I could get my nuts into my esophagus. What do you think I'm doing!? Get me down! MIKE Okay. Okay. I'll get you down. Mike pulls the underwear off the door. Alex drops, reaches down his pants, adjusts his underwear. ALEX How do you know my name? MIKE I'm. Mark. Freedman. Your Uncle Ed's son. He told me to look out for you. ALEX Uncle Ed has a son? MIKE Believe me, it's gon na be a surprise to him too. Did those guys do this to you? ALEX Goons from the basketball team. MIKE But why? ALEX Because they can and so they do on a daily basis. MIKE -LRB- SHOCKED. -RRB- But you're one of them. ALEX No, I'm not. Nice robe, guy. Got ta go. Alex walks out bowlegged. A devastated Mike watches him go.\",\n \"INT. AUDI - MOMENTS LATER Mike drives off out of the parking lot. To his left he spies - ANGLE ON : Stan and Maggie making out against Stan's Mustang. Mike pounds on the horn, scaring them apart. Drive's off.\",\n \"INT. ED'S HOUSE/KITCHEN - NIGHT Ed sits at the island, a laptop in front of him. On the screen WE see he's perusing www.spellscursesincantations.com. The sound of the front door opening and closing. Mike enters. ED Did you find the janitor? MIKE He does n't exist. Nothing makes sense. ED Did he ask you for your soul? MIKE No? ED That's a good sign. We can eliminate Satan. -LRB- clicks on a link. -RRB- I think what we're dealing with here is a spell of enlightenment. -LRB- peruses the page. -RRB- `` Spell affect''. `` casting procedure''. yada, yada, yada. Basically it's a learning spell. There's something you need to figure out and until you do you'll stay a kid. My guess is that janitor was probably a war. MIKE I'm going back to high school. ED lock. I'm sorry. Could you repeat that? Because I thought you just said you were - MIKE Going back to high school. Mike grabs a beer from the fridge, cracks it. As Mike is about to take a sip, Ed swipes the beer from his hand. CHUGS it down. ED Are you out of your freaking mind!? MIKE My son was hanging by his underwear from a bathroom stall door and my daughter was being mauled by a smarmy gorilla. They need me. ED What about your job? MIKE Email and telephone. I got it covered. ED Well, Scarlet, then. What are you gon na tell her? MIKE Nothing. ED You're just gon na disappear? MIKE To be honest, I think she'd rather have it that way. What's with the attitude? ED Because I know you're going to suck me into this and I'm not going back there, Mike. You'll never get me to go back to Fitch. Never!\",\n \"INT. FITCH SENIOR HIGH SCHOOL/OFFICE - DAY ED I hate you. PULL BACK TO REVEAL Ed and Mike sit outside Principal's office. Mike is dressed in an overly exaggerated hip style, -LRB- a grown - ups concept of what's cool - he looks ridiculous -RRB-. MIKE Take a deep breath. All you have to do is enroll me and say as little as possible. Ed calms. Mike pulls a manila folder out of his book bag. MIKE -LRB- CONT'D. -RRB- Are you sure these look legit? ED -LRB- offended/cocky. -RRB- Please. I created software used to launch the space shuttle. I think I'm capable of forging some report cards. What's up with the gear? MIKE This is hip teenage apparel. I got it right off the mannequin at Ed Hardy. SECRETARY Ms. Goodwin will see you now. Mike and Ed stand, head for the door marked ` Principal'. ED First sign this old hag is on to us I'M - Mike and Ed step through the door -\",\n \"INT. PRINCIPAL'S OFFICE - DAY MS. GOODWIN, 35, sits behind her desk. she's no hag. She's an attractive, buttoned - up professional. Ed's face lights up and without missing a beat - ED - so glad we chose this school. I'm Ed Freedman. Ed steps in front of Mike, shakes Ms. Goodwin's hand. JULIE Nice to meet you. I'm Julie Goodwin, principal here at Fitch Senior High. And you behind there? You are? Mike tries to peer around Ed. Mike finally physically moves Ed steps aside. ED Oh, right. Sorry. This little chicken pock here is Mark. Say hello, Mark. Ed smiles, rubs Mikes head vigorously. Mike slaps his hand. MIKE Nice to meet you, Julie. JULIE Around here you're going to have to use Ms. Goodwin. Please, sit. Mike and Ed sit. ED Before we get started I want you to know that Mark's a bastard. JULIE Excuse me!? ED I had him out of wedlock. So the answer is yes, I'm very single. and very rich. MIKE Dad met mom in Thailand. She's a very successful prostitute. Ed's smile fades. JULIE O - Kay. Did you bring your transcripts? Mike hands Julie the folder. As Julie browses through it, Ed and Mike get into a pinching, elbowing fight. When she looks up, the friends stop. Both smiling. JULIE -LRB- CONT'D. -RRB- So the last school you went to was Cutler High in Connecticut. And you were a straight A student. Very impressive. ED I help him with his homework. a lot. MIKE Oh, dad, the doctor called. You were right. It is herpes. Ed's jaw drops. Julie rises abruptly. JULIE I think it's time we got Mark to class. Lisa! Lisa! The door opens, in steps LISA, 18. JULIE -LRB- CONT'D. -RRB- Lisa, will you print out a schedule for Mark and show him to class? LISA Sure. Come on, Mark. Mike stands. Ed addresses him as fatherly as he knows how - ED Be a good boy now. And sit up straight. Mike glares at Ed, follows Lisa out. Ed turns to Julie. ED -LRB- CONT'D. -RRB- They grow up so fast. Mojito? JULIE I beg your pardon. ED You strike me as a Mojito gal. I know this little Cuban place, great PLANTAINS - JULIE - Yeah, no. I do n't date my students' parents. It's a rule of mine. ED I'll enroll him somewhere else. JULIE I really need to get back to work. Julie ushers Ed to the door. ED See you at the next bake sale then? Julie shuts the door, shakes her head in disbelief.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Mike steps in. Scattered giggles at his appearance. Mike takes a seat, eyes three sexy girls wearing next to nothing, SAMANTHA, LAUREN and JAMIE, busy texting on their phones. MIKE Do their mothers know they dress like that? A GIRL next to him leans over - GIRL Those are the Wonder Bras. Beware. The Jocks, Stan, Jazz and Kevin strut in. Mike's eyes narrow. Stan stops before Mike, looks him up and down - STAN What did you did do? Mug the mannequin at the Ed Hardy store? JAZZ Tool! Laughter from the class. Mike shies. The Jocks sit, Stan behind Mike. Just as the last bell rings, Maggie rushes in, sits with the Bras. MAGGIE Oh thank God he's not here. I ran all the way from - Something catches Maggie's eye. It's Mike waving to her. MAGGIE -LRB- CONT'D. -RRB- Why's that freak waving at me. Maggie places a hand over her face, looks down. MALE VOICE -LRB- o.s. -RRB- Take your seats. Stop the talking. MR. ADAMS, 45, prissy, strides in carrying a stack of papers. MR. ADAMS Here are yesterday's tests. Let's see how you all did. Moans from the class. Adams walks up and down the aisle slapping them down on the desks. MR. ADAMS -LRB- CONT'D. -RRB- C -, C, B -, D, D -, F Adams reaches Maggie, drops the test on her desk. MR. ADAMS -LRB- CONT'D. -RRB- D for O'Donnell. Humiliated, Maggie lowers her head. MR. ADAMS -LRB- CONT'D. -RRB- Let me guess. Early acceptance? -LRB- Maggie nods. -RRB- Where are we going? MAGGIE Georgetown. MR. ADAMS If you flunk senior calculus you'll be lucky to get into beauty school, missy. So, if you plan on slacking your way through my class, do n't. Save your parents tuition money and pick up a blow dryer. Mike angrily stands - MIKE Enough! Mr. Adams turns to Mike. MR. ADAMS Excuse me? MIKE Do you think humiliating a 17 year - old in front of her peers is helpful or do you just get off on it? MR. ADAMS And you are? MIKE Mark Freedman. It's my first day. Adams turns, walks back towards the front of the room. MR. ADAMS Well, Mr. Freedman - Stan signals his friends, takes out a LIGHTER, flicks it, leans forward and places the flame BETWEEN Mike's legs. The flame GLOWS RED against Mike's jeans. The Jocks and Bras pull out their cells and begin VIDEOING. Adams scribbles on a pad - MR. ADAMS -LRB- CONT'D. -RRB- - you've earned yourself a trip to the principal's office. Welcome to Fitch. Adams rips the paper off, holds it out towards Mike. Mike sniffs at the air - MIKE Is someone barbecuing? -LRB- BEAT. -RRB- YYYYEEEEOOOOOWWWWWWW! Mike LEAPS out of his shoes. A FLAME runs up his crotch. LAUGHTER. Mike, SCREAMING, runs around the room fanning his package. MR. ADAMS Get out, Mr. Freedman! Mike snatches the slip from Adams and out the door.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CAFETERIA - DAY A packed lunchroom. The CLIQUES sit amongst themselves. WE notice all the KIDS hunched over STARING AT THEIR PHONES. Mike enters carrying a bag lunch. A BLACK BURN MARK on the crotch of his pants. A GAYSIAN spots him, yells - GAYSIAN Go Hot Pants! Do your dance, Girl! The entire cafeteria turns to Mike and erupts in laughter. As Mike passes each table, WE see the kids are watching his ` fire dance' on their phones. Mike approaches a table of the 3 BIGGEST LOSERS in school, unkempt hair, fat, acne. Mike begins to sit when - BIGGEST LOSER Look, we feel your pain. We really do. But life's hard enough, Brother. Mike nods, continues on past the snickering and catcalls until he sees Maggie and the Wonder Bras. ANGLE : Wonder Bra Table. Maggie, Samantha, Jamie and Lauren pick around plates of cafeteria food. MAGGIE What's the big deal? He stuck up for me in class. It was a nice thing to do. SAMANTHA He was totally sexing on you. LAUREN He's coming. Pretend you're not here. Mike approaches, big smile. The Wonder Bras look off in every direction except Mike's. MIKE Hi, Maggie. Hi, girls. I'm Mark - The Girls continue looking away, ignoring Mike. MIKE -LRB- CONT'D. -RRB- Girls? Hello? Anyone home? LAUREN Oh my God. Ca n't you see we're not here? MIKE Good. So there's plenty of room then. Mike drops down next to Samantha and across from Maggie. JAMIE Oh, look. He brought a bag lunch. How sped. -LRB- special ed. -RRB- Mike hides his lunch. SAMANTHA Look, this table is V.I.P. You're a NIP. MIKE What's a NIP? LAUREN Not Important. Go away. MIKE Maggie, why are you friends with these horrible girls? MAGGIE Listen, I appreciate what you did in class but, I already have a boyfriend. MIKE You have a boyfriend? -LRB- his phone rings. -RRB- Excuse me a second. Mike pulls out an OLDER Blackberry phone, looks at the caller ID. Scarlet. He sends it to voice mail. JAMIE He still gets calls. How 2007. SAMANTHA I think my grandfather has that phone. MIKE Maggie, could we talk somewhere ELSE - The sound of a bouncing ball interrupts. MALE VOICE -LRB- o.s. -RRB- Yo! Mike turns. Stan, Jazz and Kevin swagger over. STAN Bro - ski, what are you doing at our table? MAGGIE Nothing. He was just leaving. Maggie nods for Mike to go. MIKE -LRB- SARCASTIC. -RRB- We should do this again sometime. Mike stands. Stan pulls Maggie up, starts making out with her, hands all over her. WE can see Mike's blood BOIL until - MIKE -LRB- CONT'D. -RRB- Get your hands off her, you little punk! Oops. Stan stops groping, steps over to Mike, a solid foot taller than him. STAN You got ta problem with me, ` bra? Mike looks around. the entire cafeteria watches. Defeated - MIKE No, no, I do n't. Stan takes Mike's hat off, picks up an ice cream from Maggie's tray, puts the ice cream in the hat, places it back on Mike's head and SMUSHES it down. STAN Now make like Tom and Cruise. Flush with humiliation and ice cream dripping down his face, Mike turns and walks out. MAGGIE That was so not cool. STAN What? I'll buy you another ice cream. WE see Alex, seated by himself at a back table, shake his head in disgust.\",\n \"INT. RESTAURANT/BAR - NIGHT A beaten down Mike sits alongside Ed at the bar. MIKE It was terrible. The place is evil, Ed. That building needs to be exorcised. ED Come on. It could n't have been that bad. MIKE My beanbag was lit on fire, videoed and sent to every member of student body. ED Yeah, I caught it on youtube. Funny stuff. MIKE They mocked my clothes and phone. My daughter got a tongue bath in front of me and I have mint chip in my ears. ED High school's great, is n't it? The BARTENDER approaches. BARTENDER What can I get you? MIKE Double scotch neat. BARTENDER Funny, kid. ED Get the boy a Shirley Temple. Extra cherries. The Bartender nods serves up the drinks. Mike miserably plucks a cherry off his pink drink. MIKE I'm not going back there. ED Mike, you're an adult sitting on 36 years of experience. You should be dominating these kids, ripping their hearts out. An OLDER WOMAN takes a seat next to the boys. MIKE I know why you're encouraging me all of a sudden. ED Because I'm a supportive dad. MIKE Because you want to nail my principal. ED Did she ask about me? MIKE She's not your type. She's smart. ED As far as I can tell that's her only flaw. I need a reason to see her again. You could flunk your classes, start a fight, vandalise the place. You'll figure it out. Then I can rush in, a teary eyed, helpless, single dad who ca n't handle his angry, kitten killing son. What do you think? The Older Lady, having listened to it all, turns to Ed - OLDER LADY I think you should be reported to child services! ED Mind your business, Lady. This is a family matter. The Lady turns away in disgust. MIKE I ca n't do it. I do n't have it in me. ED Hey, no sweat off my sack. Tell Alex to stop wearing underwear all together. He'll be fine. That's what I did. Mike eyes Ed, considers just how `` well adjusted'' Ed is. A determined look comes over Mike. He pounds the bar. MIKE You're right! My kids need me. ED At' a boy. Now what you need is a crash course on being a teen in 2008. A MONTAGE OF MIKE'S CRASH COURSE\",\n \"EXT. MAGAZINE STAND - NIGHT The Boys gather a stack of TEEN MAGAZINES and TABLOID RAGS. Ed slips a MELONS Magazine into the pile.\",\n \"INT. TRENDY HAIR SALON - NIGHT A picture of a YOUNG, POPULAR STAR torn from one of the teen mags hangs on the mirror. A HAIRDRESSER cuts away and highlights Mike's long locks. Ed sits beside Mike sipping wine, enjoying a manicure.\",\n \"INT. TRENDY CLOTHES STORE - NIGHT It's the PRETTY WOMAN scene. 2 hip SALESGIRLS pull clothes from racks. A clean cut Mike tries on sneakers, jeans, T - shirts, hoodies, shirts, jewelry. Ed nods with his approval or disapproval. At the register, the Girls hand Mike his bags of clothes. Ed takes out his cell to put their numbers in it. The Girls frown and go back to work.\",\n \"INT. VIRGIN MEGA MUSIC STORE - NIGHT Mike and Ed stand before the wall of 100 top albums. Both wear headphones listening and moving to the music.\",\n \"INT. ED'S HOUSE/OFFICE - NIGHT Mike and Ed, surrounded by the magazines and music discs, sit before the computer. Ed TEACHES Mike how to create a MYSPACE page. Bogus About Me and Interests. Photoshopped pictures of Mike in exotic locations. All the ` now' movies, music and books. They fill his Friends section with only hot girls. The Boys view the flashy, finished product, tap fists. This page makes ` Mark Freedman' look like a playboy.\",\n \"INT. MAC STORE - NIGHT A SALESMAN hands a smiling Mike his new iPhone.\",\n \"INT. ED'S HOUSE/MIKE'S BEDROOM - NIGHT Mike sits on the bed, types away on his laptop. A knock on the door. Mike looks up and YELLS. Ed stands in the doorway, his entire body and head wrapped in SEAWEED. ED Before you ask, it's a seaweed wrap. I'm detoxifying as well as losing an inch or 2 from my problem areas. MIKE There must be a very hot girl downstairs. ED There is. What are you doing? MIKE I forwarded my calls to my new phone, sent some work emails and just lobbed one to Scarlet, told her I was in Peru finding myself. Think she'll buy it? ED Probably not because when she called earlier I told her you were being detained at Guantanamo. Ready for tomorrow? MIKE I am so ready. Ed flips Mike a set of keys. Mike's eyes light up. ED That ought' a put you over the top. And do n't forget to hook me up son. Ed plods off. Off Mike's huge smile.\",\n \"EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - MORNING The usual pre - school ritual. Stan, Jazz, Kevin, the Wonder Bras and Maggie all hang around Stan's ` stang. Stan and Maggie wrapped in a heated embrace, kissing. HONK. A horn blares. Stan and Maggie jump out of the way. An ASTON MARTIN VANQUISH stops next to the crew. The tinted window rolls down revealing the new and improved Mike. Mike winks then rolls on past. SAMANTHA Oh my god. Was that - JAMIE Did you see - LAUREN I told you he was cute.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY It's the MOMENT. Mike walks the hallway, handsome and hip. Samantha, Lauren and Jamie text by their lockers. Mike struts up to them. The Bras smile. MIKE So I've been here a couple days now and I think I got it figured out. You girls are lesbians, right? The Bras' jaws hit the floor. Mike walks off, a huge grin on his face. Man, that felt good.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CAFETERIA - DAY Mike steps from the kitchen area carrying a TRAY, scans the crowded room, finds Alex seated at a table ALONE. It's a heartbreaking image. Mike approaches - MIKE Mind if I sit here? ALEX Mark? You look totally different. Mike sits across from Alex. MIKE I got rid of the bull's eye on my forehead. ALEX Could you move to the left a little? Mike inches left, peeks behind him. 2 girls eat lunch together. The one facing them is a cute Latino, NICOLE, 16. Nicole smiles. Alex quickly shies away. MIKE Who's she? ALEX Nicole Lopez. She's in my Spanish class. MIKE Have you spoken to her? ALEX No. I get all stupid so I just stare. MIKE I'll tell you a funny story. The first time I met your mother I was so nervous - ALEX My mother? MIKE What? ALEX You said, ` the first time I met your mother I was so nervous.' MIKE I did? That's weird. Is your mom hot? ALEX Dude. MIKE What's going on tonight? You wan na hang out? Do something? ALEX Really? MIKE Yeah you could show me around. ALEX Cool. The Wonder Bras sway in, take seats at the VIP table. MIKE I'll swing by your house around 7. Mike rises. ALEX I would n't go over there. Stan and his Baboons have lunch this period. MIKE Do n't worry. I'll see you tonight. Mike strolls over to the Bras' table, plunks himself down. MIKE -LRB- CONT'D. -RRB- Did you girls catch Ellen yesterday? Rosie was on. Melissa Etheridge jammed - SAMANTHA - You're so rude!? We're not gay. We like boys. JAMIE Yeah, Samantha's a total slu. Samantha's jaw drops. LAUREN Last New Year's Samantha made it with my boyfriend. SAMANTHA I was on like 5 Red Bulls! I ca n't believe you keep bringing that up. The Bras' begin to bicker amongst themselves. Mike pulls out his new iPhone, plugs the earphones in his ears. The Bras immediately stop bickering, ogle the phone. JAMIE Rad phone. MIKE I know. I'll text you. NOT. Later. much. Mike rises from the table. SAMANTHA Like we'd ever give you our numbers. Stan, carrying a basketball, his goons and Maggie come up behind Mike. STAN Heads up! Stan whips the ball at Mike. Mike, cat - quick, spins around, catches the ball. The whole cafeteria turns their attention on Mike and Stan. Mike points to the name ` Stan' on Stan's letter jacket, reads - MIKE Stan. Did mommy sew that on there so you would n't forget your name? Laughter from the Students. STAN You think ` cause you got a haircut and new clothes people'd forget what a fag you are? MAGGIE Cut it out, Stan. Let's eat. STAN Gim me my ball back, bee - yotch. Mike ignores him and starts dribbling. MIKE You know, Stan, I feel sorry for you. STAN You do n't know me. Mike speaks loudly now, playing to the cafeteria. MIKE Oh but I do. All too well. You're the man. Captain of the basketball team. Dates the pretty girls. High school is your kingdom. Stan and his Posse tap fists. Mike dribbles between his legs. MIKE -LRB- CONT'D. -RRB- But, People, Stan's a bully. Why? It would be way too easy to say Stan preys on the weak because he's simply a dick. No, Stan's more complex than that. According to leading psychiatrists Stan is a bully for 1 of 3 reasons. 1, under all that male bravado there's an insecure little girl banging on the closet door trying to get out. 2, like a caveman, Stan's brain is underdeveloped. Therefore Stan is unable to use self - control so he acts out aggressively. And the third reason - Mike holds up his pinky then spins the ball on it. MIKE -LRB- CONT'D. -RRB- I'd argue that Stan suffers from all 3. The entire cafeteria LAUGHS HYSTERICALLY. Mike feigns whipping it back at Stan, who recoils, then gently rolls the ball back to Stan. MIKE -LRB- CONT'D. -RRB- -LRB- WINKS. -RRB- Do n't hurt yourself big boy. Some students, including Alex, ERUPT. The Wonder Bras eye Mike with new found lust. ANGLE ON Mike's face as he walks away. MIKE -LRB- CONT'D. -RRB- -LRB- to himself. -RRB- 3, 2, 1. Mike ducks just as the ball whizzes overhead, rockets across the cafeteria landing on Miss Goodwin's tray, splattering her with food. She glares at Stan. Mike's iphone buzzes. ANGLE ON SCREEN : the Wonder Bras digits appear.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/COLLEGE CENTER - DAY Mike enters, approaches MRS. MENCER, 60. MIKE My guidance councilor made me come, but just so you know I'm not planning on going to college. MRS. MENCER A lot of kids feel that way. Do n't be intimidated. It does n't hurt to take a look. Mrs. Mencer hands Mike a hefty book. MRS. MENCER -LRB- CONT'D. -RRB- A good place to start is here. this book has information on every college and university in the country. MIKE Thanks. Mike sits, starts paging through the book and gets lost in the bright colored pictures. smiling STUDENTS, CAMPUSES and LECTURE HALLS. THE OPTIONS HE LOST YEARS AGO.\",\n \"INT. ASTON MARTIN - NIGHT A pumped - up Mike dials. ringing. On the seat beside him rests a stack of college applications. Ed answers. ED -LRB- o.s. -RRB- Hello? MIKE It was incredible! I was incredible! You should' a seen me! I humiliated Stan in front of the entire lunchroom. Everyone was clapping. The popular girls were begging to give me their numbers! ED See what happens when you put a little lipstick on the pig? Did you manage to get sent to the principal's office? MIKE Man, I feel great! I even shot some hoops after school. No aches. No pains. Got ta run, Buddy. Mike hangs up.\",\n \"EXT. MIKE'S HOUSE - NIGHT The Aston Martin pulls up. Mike climbs out, walks to the door, takes a deep breath and rings the bell. SCARLET -LRB- o.s. -RRB- Coming! The door opens revealing Scarlet in her dirty yard attire. SCARLET -LRB- CONT'D. -RRB- I've been dying to meet you. I've known your father since. -LRB- gasps. -RRB- Scarlet. SPEECHLESS. visibly stunned by the resemblance. MIKE Is something wrong? SCARLET -LRB- FLUSTERED. -RRB- No. It's just. you look like. No. I'm fine. Come in. Please.\",\n \"INT. MIKE'S HOUSE/LIVING ROOM - NIGHT Scarlet and Mike sit across from one another. Scarlet stares at Mike as if examining every pore on his face. SCARLET And you say Ed Freedman is your father? MIKE That's my dad. All 68 inches of him. SCARLET You do n't look anything like him. If you do n't mind me asking, who's your mother? MIKE My mother. she. she was. a. Mike spies Dostoevsky's Crime and Punishment on a table. MIKE -LRB- CONT'D. -RRB- - a convict. In New Jersey. They met while dad was at Princeton. She was on parole. B&E, fist fighting, shanking. Nothing major. But she's dead now. SCARLET Oh? I'm sorry. MIKE I warned her about kite surfing during hurricane season. So how are things with you? Doing anything exciting? Dating? Flirting with Dom Johnson maybe? SCARLET Why would you ask about Dom? Did Ed tell you to say that? MIKE I mean do what you want. You're a grown woman but, word on the street is Dom's been spreading gingivitis all over town. SCARLET I'll keep that in mind, Mark. Scarlet ca n't take her eyes off Mike. SCARLET -LRB- CONT'D. -RRB- It's crazy how much you like my husband when he was a teenager. Mike switches subjects, points to her dirty clothes - MIKE You doing some gardening? SCARLET I am. I'm a landscape designer. I'm actually redoing the backyard. I'll show you. Scarlet stands, leads Mike to the french doors. SCARLET -LRB- CONT'D. -RRB- It's a work in progress so you'll have to use your imagination some. Scarlet opens the doors, flips on the lights. The yard's been cleaned up. Fresh blankets of sod rest in piles next to stacks of limestone. HUNDREDS of unplanted plants, flowers, trees and shrubs sit around the yard in strategic positions.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - NIGHT Mike and Scarlet step outside. MIKE I almost do n't even recognize it. er. if I had seen it before I probably would n't recognize it. SCARLET You would n't have. It was a disaster back here a few days ago. Obviously I have a lot to do still. I'm laying the sod next and the limestone pathway will go here. Scarlet moves about the yard, pointing and explaining. SCARLET -LRB- CONT'D. -RRB- Then I'll plant all those, over a hundred different types of flowers and plants. I have an amazing fountain being delivered that'll go here and a bench over there. And I'll string rows of tiny, white lights above it all so every night will be a starry one. It'll be a real sanctuary back here. MIKE It seems like a lot' a work for one person, Scar. A chill runs up Scarlet's spine. SCARLET My husband's the only one that ever calls me that. Alex appears at the doors interrupting - ALEX Yo, Mark. Let's do this. MIKE Good luck with the project. SCARLET Nice to meet you. And, Alex, be home by 10:30. Mike heads back inside. Scarlet stares after him.\",\n \"INT. ASTON MARTIN - NIGHT Mike and Alex step in. MIKE How's your mom doing? You know, with your dad not being around and all. ALEX She does n't like to show it but I know she's bummed. I think it bothers her more that he has n't called me or Maggie in a while. Whatever. BEEP. BEEP. Mike pulls out his iPhone, text message from Samantha. It reads : SAMANTHA'S TEXT Wat ^? mobinit 2 zuma. soi! but w/e. brb. bk. gtg. ttyl. xo. sam. Mike stares at the screen as if it were in hieroglyphics. MIKE I have no idea what this says? Alex takes the phone from Mike, reads - ALEX It says ` What up? Mobbing it to Zuma. So over it but whatever. Be right back. Back. Got to go. Talk to you later. kiss, hug. Sam. MIKE Let's hit the beach, wingman. The two touch fists.\",\n \"EXT. ZUMA BEACH - NIGHT A BONFIRE illuminates the night sky. MUSIC plays. KIDS lay on blankets, play football. Others splash in the ocean. WE find Maggie and the Wonder Bras seated by the fire. SAMANTHA We were on his myspace page. There's a picture of him jamming with the Chili Peppers at Coachella. JAMIE I heard Timbaland wants to produce an album with him. LAUREN Yeah, but he turned him down to help orphans with Brangelina in Nambib - ib - bib. in Africa. SAMANTHA Oh my God! I bet he knows Justin. ANGLE : Mike and a nervous Alex make their way down the sand. ALEX This looks boring. Let's go back to my house and play video games. Alex turns. Mike grabs his arm, turns him back. MIKE What are you so nervous about? ALEX The beach is for the older, cool kids. I do n't belong here. MIKE What are you talking about? You're a basketball player. You're cool. ALEX I do n't play basketball. I mean, I can play, I just do n't play on the team. Mike is stunned. MIKE But I thought you were getting ready for the season? ALEX I never told you that. As a confused Mike and Alex approach the scene, BOYS call out to Mike, tap his fist. GIRLS fawn over him. Mike's become a celebrity. and he's eating it up. ANGLE : Lauren spots Mike with Alex. LAUREN Here he comes! The Bras whip their heads around, get all dreamy. MAGGIE Can he be any lamer? Using my little brother to get to me? SAMANTHA If that boy was an apple he'd be delicious. Samantha leaps up, scurries over to Mike. Lauren and Jamie chase after her. Maggie shakes her head. As Mike and Alex approach the gathering, Alex freezes up. ALEX Oh, man. It's her. She's here. MIKE Who? Alex nods towards the fire. Seated with FRIENDS is Nicole. Alex BELCHES loudly. ALEX She's so pretty it makes me gassy. MIKE Calm down. Here's what you're gon na do. You're gon na go over there and introduce yourself - ALEX She wo n't like me, Mark. I'm a loser. Mike grabs Alex by the shoulders. MIKE Why? Because Stan says so? You think Stan's a winner? He's going nowhere. You're a great kid. Any girl would be lucky to get your attention. ALEX Really? MIKE Really. And right now, there's a girl over there who's dying to meet you. A determined look comes over Alex. ALEX Okay. What do I say? MIKE Just introduce yourself. Then compliment her on something she never gets complimented on. Like if she has big, meaty, man hands tell her she should be a hand model. -LRB- Alex burps nervously. -RRB- And do n't burp on her. ALEX I can do that. Alex takes a deep breath, marches off just as Samantha runs up and throws her arms around Mike. SAMANTHA You came! Why do n't we take a walk somewhere private and play? Jamie and Lauren rush over. JAMIE I do n't think so, Sam. Mark promised me a walk on the beach. LAUREN Walk with me. I've got less miles on me. A full blown ARGUMENT breaks out between the Bras. Mike sees Maggie sitting by the fire alone, slips out. ANGLE : Alex steps over to Nicole and suddenly loses confidence. As he turns to retreat, Nicole looks up - NICOLE Hi. Alex stops, turns back around and blurts out - ALEX Hi, Alex. I'm Nicole. Nicole and her Friends giggle. NICOLE You do n't look like a Nicole. ALEX You have big, meaty man hands. You should be a hand model. The Girls' jaws drop. Nicole hides her hands. NICOLE Oh my God! Seriously!? Alex rips a huge BURP. The Girls duck for cover. GIRL 1 I think he got some on me! ALEX Wait. I'm sorry. I'm just real nervous and I've wanted to talk to you for so long. And Mark told me to compliment you on something you never get complimented on but I could n't find anything because everything's so. perfect. Nicole and her Friends MELT. NICOLE Do you want to sit down, Nicole? Nicole scoots over making room next to her. Alex smiles. ANGLE : Mike sits down beside Maggie. MAGGIE What do you want? MIKE Stan. Why are you dating him? MAGGIE Get to the point why do n't you? MIKE I'm serious. He's not a nice guy. Matter of fact he's a jackass. MAGGIE Do n't talk about him like that. You do n't even know him. MIKE I know he bullies your brother. MAGGIE Stan barely knows Alex exists. We're moving in together after graduation. MIKE Whoa. Whoa. Whoa. I thought you were going to Georgetown? MAGGIE I'm going to Westwood Community College. Stan and I both are. Mike loses it, leaps to his feet shouting - MIKE The hell you are, Young Lady! If you think I'm gon na let you throw your life away on some Sleestack you're crazy! I forbid you to see him anymore and that's final! Maggie jumps up. Kids all stare. MAGGIE Who do you think you are!? My father?! Maggie stomps over to the still bickering Bras. MIKE Do n't you walk away from me, Margaret Sarah O'Donnell! Maggie and the Bras turn towards Mike and glare. Maggie heads for the parking lot. SAMANTHA Who's Margaret? LAUREN He does n't even know her name. JAMIE He's so not into her. The Bras make the ` text me' sign then hurry after Maggie. Mike kicks angrily at the sand and accidentally into the faces of a group of KIDS.\",\n \"EXT. ED'S HOUSE/POOL - MORNING A HOT GIRL wearing a ` Lifeguard' bathing suit sits atop a high chair. Ed floats on a raft. A frozen drink next to him. Scarlet looms over him, the 2 in a heated conversation - SCARLET I have n't heard from him in three weeks. Obviously he does n't care. ED He cares. SCARLET Then where is he? Mike steps from the house, sees Scarlet - MIKE What's going on? SCARLET Nothing, Mark. I was just dropping something off. Scarlet tosses a manila envelope on the patio table. SCARLET -LRB- CONT'D. -RRB- Our court date is the 27th. If he has anything to say, he can say it then. Scarlet exits. MIKE What was that all about? ED That envelope contains divorce papers. Mike eyes the envelope, in stunned silence. ED -LRB- CONT'D. -RRB- But what do you care? You're going to college, right? Life's one big panty raid for you. Mike feigns innocence. MIKE I do n't know what you're talking about? ED I saw the applications in your room. MIKE You went through my room!? ED If you'd cleaned like I asked I would n't have had to. You ca n't be serious about this can you? Mike starts to argue then gives in - MIKE I have to face the possibility that I might never turn back and if that's the case, I'm going to do it right this time around. ED Karmically speaking, in the next life you're coming back as a hemorrhoid. Mike scoffs, storms off. Ed calls after him - ED -LRB- CONT'D. -RRB- I'm not paying for college!\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike shoves books in his locker. Stan approaches. STAN You like her, do n't you? MIKE Who? STAN My girlfriend. She told me you were trashing me at the beach. MIKE Leave her alone, Stan. She's a good kid. STAN I do n't know how good she is yet but after I find out, she's all yours. Stan walks off. Mike slams his locker shut.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Mike slips inside the empty classroom, slathers KRAZY GLUE all over Stan's DESKTOP and CHAIR. Mike sits just as the rest of the class files in. Stan kisses Maggie and takes his seat. Stan leans on his desk, placing a FOREARM and a HAND on the sticky desktop. He catches Mike looking back at him and gives him a cocky wink. Mike winks back knowingly. Mike's phone beeps. He checks it. A PIX MESSAGE. 3 perfect ASSES in tiny bikini bottoms. A wide - eyed Mike spins in his seat to find the Wonder Bras smiling at him. Mr. Adams enters. MR. ADAMS Settle, people. Adams scribbles a large equation on the blackboard. MR. ADAMS -LRB- CONT'D. -RRB- This was your homework. Who can come up here and solve this for me? Anyone? Blank, uninterested faces. Scattered giggles. Adams tosses the chalk angrily on his desk. MR. ADAMS -LRB- CONT'D. -RRB- Not one person. Fine. Miss O'Donnell. Come up here and dazzle us with your brilliance. Maggie rises nervously from her seat, shuffles to the front of the class. As she passes Stan WE see. Stan lifts his fingers from the desktop. it's WET. he places his wet fingers to the tip of his nose and smells. When Stan tries to remove his fingers from his nose. they STICK. Stan tries to raise his other arm. STUCK. STAN Stuck! I'm stuck! My fingers! Stan stands, hunched. the CHAIR GLUED to his butt. The DESK ATTACHED to his forearm and his FINGERS STUCK to his nose. The Kids and Mike burst out laughing, break out their video phones as Stan fumbles around, dragging the desk, PANICKING. MR. ADAMS Sit down, Stan! Sit down! STAN It's glue! I'm glued to everything! Jazz bounds out of his seat, grabs hold of Stan's wrist. JAZZ I'll get it off! STAN No! No! Do n't pull -! RRRRIIIIPPPP. Jazz yanks. Stan's SCREAM echoes.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY Mike, wearing basketball gear and bouncing a basketball, stands in the middle of the court. Alex enters. ALEX I got your text. What's so important? MIKE This year you're making the team. We practice everyday ` til try outs. That gives us a week and a half. ALEX Forget it. MIKE Yeah, you're right. You probably do n't have any skills anyway. Mike begins to walk out. ALEX Hey! I got skills. Mike turns back. MIKE So what's your problem? Is it Stan and his friends? ALEX Just leave it alone. MIKE You do n't need to be afraid of them, Alex. ALEX I'm too small anyway. MIKE That's why we focus on your speed, dribbling and outside shot. Remember, it's not how big you are - ALEX - it's how big you play. -LRB- QUIZZICALLY. -RRB- Where did you hear that? MIKE -LRB- COVERS. -RRB- I do n't know? Read it somewhere I guess. Be a sport. Show me what you got. Mike tosses Alex the ball. Alex begins to dribble. Mike steps up to defend. Alex dribbles quicker, through his legs. MIKE -LRB- CONT'D. -RRB- Alright. You got a little game. WHAM. The doors slam open. In walk Stan and his Posse. A BLOOD speckled BAND - AID covers the tip of Stan's nose. STAN What are you 2 queers doing in my gym? MIKE Let's go, Alex. Alex stops dribbling. He and Mike move towards the door. Stan and his Posse block the way. STAN I do n't think so. You girls wan na play with the boys then let's play. 2 on 2. MIKE We'll save you the embarrassment for try - outs. Stan takes the ball from Alex, turns his back, dribbles. STAN Come on, Ally. Embarrass me. While dribbling, Stan moves backwards, bumping into Alex's midsection, forcing Alex back. MIKE Back off, Stan. Alex takes a deep breath, tired of being afraid - ALEX It's okay. I got him. Alex throws his hands up, tries to defend the much bigger Stan. Stan easily backs Alex down, faking left and right. STAN You ready? Here it comes. Stan spins, elbows high. POW. Alex catches one to the head and DROPS. Stan shoots and scores. STAN -LRB- CONT'D. -RRB- 2 points! And I was fouled! Stan high 5's Jazz and Kevin. Blind with RAGE, Mike RUSHES Stan. WHAM. tackles him hard to the floor. Jazz and Kevin throw Mike off Stan, punching and kicking him. COACH HARVEY, now 58, enters the gym, runs over to the fracas, pulls the boys apart. COACH HARVEY Hey! That's enough! That's enough!\",\n \"INT. FITCH SENIOR HIGH SCHOOL/OFFICE - DAY Mike and a nervous Alex sit outside the principal's office. Mike holds an ice pack to his eye. ALEX My mom's been in there a while. She's gon na be pissed. MIKE Act like you're hurt and she wo n't be able to stay mad at you. The door swings open. An elated Ed blows in. ED Way to go, slugger! Get any shots in? The Secretary's jaw drops. SECRETARY Mr. Freedman, your son has a black eye. ED Wuss! Ed sits between Mike and Alex. ED -LRB- CONT'D. -RRB- Hey, Alex. How you doin', buddy? ALEX I'm okay I guess. ED Good. Good. -LRB- turns to Mike, nudges HIM. -RRB- Nice goin'. How do I look? Anything in my teeth? How's my breath? Ed flashes his pearly whites then blows on Mike. The principal's door opens, an angry Scarlet steps out. SCARLET Ed. ED Hey, Scarlet. Exciting, is n't it? My first parent/principal conference. Scarlet looks sternly to Alex - SCARLET Fighting? What's gotten into you? ALEX -LRB- rubs his jaw. -RRB- I ca n't talk, Mom. My jaw. SCARLET -LRB- MELTS. -RRB- My poor baby. And how about you, Mark? Scarlet bends down so she's eye to eye with Mike. She removes the ice pack. a purple shiner. SCARLET -LRB- CONT'D. -RRB- Ouch. You poor thing. Does it hurt? Scarlet strokes Mike's face. Mike loses himself in her caring, gentle touch. MIKE Not anymore. You smell great. Scarlet, a bit weirded out by Mike, stands. SCARLET Alex, I'll meet you at the car. I need to talk to Uncle Ed for a second. Alex shuffles out of the office. Scarlet turns to Ed, hushed - SCARLET -LRB- CONT'D. -RRB- Did you give him the divorce papers? ED I sent them to him. SCARLET Is it another woman? I can handle it. Tell me the truth. ED I have n't heard from him, really. Scarlet looks down, fights back tears, unravels a bit. SCARLET Okay. If you do, please have him call home. For the kids. I'm running out of excuses - ED I'll tell him. I promise. Scarlet forces a smile. Mike watches her go. For the first time he's seen HER REALITY. hurt, pain, frustration. Mike places his head sadly in his hands. Julie the Principal pokes her head out the door. JULIE Ed, come on in. Ed whispers to Mike. ED I'll take it from here. As Ed passes Julie on the way in - ED -LRB- CONT'D. -RRB- I'm heartbroken. The boy's incorrigible.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Ed takes a seat across from Julie, puts on his best ` troubled parent' look. JULIE Look, if it was only one isolated fight it would n't distress me all that much. Boys will be boys. But, it's also been brought to my attention that Mark may have Krazy glued a boy to his chair. Ed stifles a laugh, puts on a serious face. ED My son? Mark! Get in here! Now! Mike slouches in, takes a seat. ED -LRB- CONT'D. -RRB- Did you glue a boy to his chair? MIKE No. Ed throws his hands up in exasperation. ED See? The boy's out of control. He's acting up at home. He wo n't eat his vegetables - MIKE He shaves his back. ED He sucks his thumb. MIKE He wears girls underwear. ED He wets his bed. JULIE Enough! Mark, I know it's hard to be the new kid but if I have anymore trouble from you, you'll be facing detentions or worse. You can go now. Mike nods, exits. Ed stands and with exaggerated sadness - ED He's crying out for help and I do n't know what to do. It hurts so bad. Maybe we could discuss this over margaritas? JULIE Let's give him time to figure it out on his own. If the situation gets worse then we'll take the next step. ED You're the expert. I'm just a single dad out here blowing like dust in the wind. Ed shakes Julie's hand and exits, sniffling.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - DAY A dirt covered Scarlet wrestles a roll of sod down. MIKE -LRB- o.s. -RRB- Got an extra pair of gloves? Scarlet peers over her shoulder. Mike wanders in. Scarlet stands, wipes her bare, dirty hands on her jeans. SCARLET Gloves are for sissies. MIKE Yeah, but I just had a manicure. SCARLET -LRB- LAUGHS. -RRB- You're serious? You want to help? MIKE Are you kidding? I love landscaping! It's right up there with watching `` Sex and the City'' and snuggling. Scarlet laughs, eyes him skeptically - SCARLET Mark, I'm 36 years old - MIKE I'm just doing this to make a few bucks so I can buy Laker tickets. SCARLET -LRB- BLUSHES. -RRB- Embarrassing. Sorry. I'll give you 10 dollars a day. MIKE Wow. 10 whole dollars. At that rate I should be able to buy tickets in. 2011. SCARLET Fine. 20. Grab a roll. Mike and Scarlet, step over to the sod, lift a roll together, carry it over to the spot. MIKE What are the benefits like here? SCARLET I'll throw in a baloney sandwich. MIKE Deal. Mike and Scarlet share a laugh.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/LIBRARY - DAY Mike strolls in, sits at a back table, pulls a college application from his knapsack. He takes out a pen, places the tip to the paper where it says ` name' when - WE hear the muffled sound of CRYING. Mike rises, follows the sobs through the maze of stacks until he finds - MIKE Maggie? - seated on the floor, head hidden between her knees. Maggie looks up, sees Mike, quickly dries her eyes. MAGGIE What do you want? To rub it in my face? Say I told you so? MIKE You lost me? Maggie drops her head back between her knees. MAGGIE Stan dumped me. Maggie BAWLS loudly. Mike panics, fearing the worst - MIKE What happened? What did he do? You did n't. MAGGIE My mom was working last night. Stan came over with a box of - Mike slaps his palms over his ears. MIKE Your next word better be ` cookies' or you're in big, big trouble! MAGGIE What am I going to do? I ca n't live without him. Maggie takes Mike's shirt, BLOWS her nose on it. MIKE Maggie, did you two. you know. do. MAGGIE Do what? MIKE That thing. that rabbits do a lot of and that a girl your age should never do and should only do when she's married. MAGGIE Sex? No, that's why he dumped me! Maggie bawls again. Mike silently celebrates, sits beside her, awkwardly pats her on the back. MIKE There, there now. It's okay. MAGGIE Sure he was a jerk but he was there for me. Which is more than I can say for any other man in my life. Maggie sobs uncontrollably. Mike takes a deep breath, calms - MIKE When you're young everything seems like the end of the world. But it's not. It's just the beginning. And you might have to meet a few more jerks, but one day you'll meet a boy who treats you the way you deserve to be treated. like the sun rises and sets with you. MAGGIE You really think so? MIKE I know so. Maggie throws her arms around Mike, hugs him tight. Mike hugs her back. A moment he's never had with his daughter. MAGGIE You're so sweet. ANGLE ON Maggie's face. She's SMITTEN. MONTAGE OF LIFE\",\n \"EXT. BASKETBALL COURT - DAY Alex dribbles, using both hands, while running through a maze of cones. Whenever he messes up, Mike makes him start again.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - DAY Mike and Scarlet settle the limestone rocks into the freshly laid sod creating a walkway.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY Maggie solves a difficult problem on the board, much to Mr. Adam's chagrin. Maggie turns from the chalkboard and smiles flirtatiously at Mike. Stan catches this exchange and pops the back of Mike's head.\",\n \"EXT. BASKETBALL COURT - NIGHT Lights shine down. Alex stands behind the 3 point line. Mike feeds him balls. Alex shoots and moves. Shoots and moves. More misses than hits.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Again, Mike and Ed sit before a stern Julie.\",\n \"EXT. MIKE'S HOUSE/DRIVEWAY - DAY Mike teaches Alex the cross over dribble. Scarlet brings the boys water. Mike checks her out as she goes back in the house. Alex bounces the ball off his head.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/CALCULUS CLASS - DAY A muffled buzz. Mike reaches into his pocket, pulls out his phone. A PIX MESSAGE. Mike opens it. A close up of perfect CLEAVAGE. Mike peeks over his shoulder. the Wonder Bras text on their phones. He's confused until - Mike turns a little more in his seat. MAGGIE smiles seductively at him, blows a kiss. Mike GASPS, spins back around. TRAUMATIZED.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - DAY Scarlet fills holes with plants then waters them with a hose. She turns, finds Mike SLEEPING in the grass. Scarlet picks up the hose, TURNS IT ON HIM. Mike leaps up, chases her.\",\n \"EXT. FITCH SENIOR HIGH SCHOOL/PARKING LOT - DAY Mike, Alex, Nicole, Maggie, the Bras and a slew of KIDS hang by Mike's Aston. Stan, Jazz and Kevin are all that's left by Stan's Mustang.\",\n \"EXT. BASKETBALL COURT - DAY Alex scampers through the maze of cones, dribbling from hand to hand. and does it perfectly. Mike and Alex high 5.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - DAY Mike and Scarlet lug an ornate, wooden bench to it's spot. They sit. Mike casually places a hand on Scarlet's leg. Scarlet casually removes it.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY A game of 1 on 1. Alex dribbles up to Mike. Mike crouches in a defensive stance. Mike goes for the ball. Alex crosses over. Mike misses. Alex pulls up, shoots and scores. Mike smiles, shakes his head.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/PRINCIPAL'S OFFICE - DAY Again, Mike and Ed sit before Julie. She hands Ed a slip of paper. 3 detentions. Ed chokes back crocodile tears.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY Mike places books in his locker, shuts the door revealing. a goo goo eyed Maggie. Mike startles and RUNS. Maggie chases.\",\n \"INT. BASKETBALL COURT - DAY Alex stands behind the 3 point line. Mike rapidly feeds him balls. Alex catches, shoots and moves. This time. they're all going in. Mike passes the last ball. Alex shoots and we -\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - DAY CLOSE ON a ball going through the hoop. Wider reveals Alex following through. He and Mike tap fists. It's TRY - OUTS. Coach Harvey, a number of HOPEFULS, Maggie, Nicole and the Bras watch the game of half court, 2 on 2. Stan and Jazz vs. Mike and Alex. Mike and Alex school Stan and Jazz. Steals, picks, fancy passes and scoring. The Coach watches with awe. A final 3 pointer by Mike in Stan's face seals the deal. COACH HARVEY That makes 11 - 3. Game over. Gather up. As Alex passes Harvey, Harvey stops him - COACH HARVEY -LRB- CONT'D. -RRB- You've got ta little bit of your old man in you, O'Donnell. The Team and the Hopefuls huddle around Coach Harvey. COACH HARVEY -LRB- CONT'D. -RRB- As you all know due to the amount of seniors coming back I only have 2 open spots on the roster. It's Freedman and O'Donnell. The rest of you hit the showers. The Hopefuls trudge out of the gym. Alex leaps into the air. ALEX Wooo! We did it, Mark! We did it! MIKE You killed it out there! Alex runs over, hugs Nicole. Mike beams with pride. Coach Harvey puts an arm around him - COACH HARVEY Son, I do n't know where you came from but you just made my year.\",\n \"INT. MIKE'S HOUSE - NIGHT Alex rushes through the door. Mike and Maggie follow. Maggie slaps Mike's butt.\",\n \"INT. MIKE'S HOUSE/KITCHEN - NIGHT ALEX Mom! Mom! SCARLET -LRB- o.s. -RRB- I'll be right out, Honey! MIKE I got' a use the bathroom. WE follow Mike down the hall. As he passes a half open door, he pauses, peeks in. Scarlet, facing away, pulls a shirt over her nude back, shakes out her long hair. Mike watches. no, he GAZES longingly, lovingly. lost in her beauty until. Scarlet turns, startles - SCARLET Mark? I did n't know you were there. MIKE I'm sorry. You just look so beautiful. Scarlet blushes. it's been a while since she's heard that. SCARLET Thank you. MIKE Can I zip you up? SCARLET I'm wearing a sweater. MIKE Your jeans? Scarlet walks towards him and. SLAM. shuts the door on him. Mike wanders to the bathroom, shaking his head - MIKE -LRB- CONT'D. -RRB- Stupid, idiot, stupid.\",\n \"INT. MIKE'S HOUSE/BATHROOM - NIGHT Mike enters, steps over to the toilet. Maggie slips in behind him, shuts the door. He whirls around. MIKE Maggie, what. Maggie places a finger on his lips. MAGGIE Shhh. I get it now. Why you did n't want me to be with Stan, the nice things you said in the library. It's because you wanted me. Maggie backs Mike against the wall. MIKE Maggie, listen to me. I'm not the person you think. MAGGIE Shhh. Yes, you are. You're a good guy. You're not like the others. MIKE That's right! I'm not like the others. I'm very different than the others. So different that you and I can never be. Maggie stops, looks quizzically at Mike - MAGGIE What are you trying to say? Are you. `` confused''? MIKE Yes! Yes! That's it. I'm confused. Extremely confused. MAGGIE Ohmygod! It all makes sense now! Your hair. The highlights. Mike starts to speak. Stops. Finally gets it - MIKE What? No - no - no - no. I'm not gay. I'm. I've been in love with the same girl since I was 17. Maggie switches back into predatory mode. MAGGIE Who is it? Does she go to our school? Do I know her? MIKE No, you do n't. Now -. -LRB- eyes the toilet. -RRB- - if you do n't mind? MAGGIE Tell your girlfriend she better keep a close eye on you. Maggie smiles seductively and struts out.\",\n \"INT. MIKE'S HOUSE/KITCHEN - NIGHT Alex types on his phone. Mike enters. MIKE Who you texting? ALEX My dad. I have to tell him about today. Mike nods. then realizes. BEEP. BEEP. HIS PHONE. Alex and Maggie look to Mike. Mike checks his phone. ALEX -LRB- CONT'D. -RRB- Did you just get a text? MIKE -LRB- NERVOUS. -RRB- Me? No. Yes. It's Ed. I mean dad. Not your dad. My dad. I'll just call him back. Scarlet enters. She looks AMAZING. SCARLET So? What happened? Tell me. Tell me. I'm dying to hear. ALEX I did it. I'm a Falcon! The first game's in 2 weeks. SCARLET Oh my God, Alex! That's so incredible! Scarlet wraps Alex in a big hug. Mike watches. It's a bittersweet moment for him. SCARLET -LRB- CONT'D. -RRB- I'm so happy for you. And now I want to show you guys something. Scarlet, unable to contain her excitement, leads Mike and Alex to the french doors and flicks a light switch. SCARLET -LRB- CONT'D. -RRB- Ta da! Thousands of tiny, white lights illuminate Scarlet's OASIS. MIKE You hung the lights! SCARLET I wanted you to be the first to see it. ALEX Mom, it's sick.\",\n \"EXT. MIKE'S HOUSE/BACKYARD - NIGHT The 3 step outside. Mike, truly blown away, takes picture with his iPhone. MIKE It's amazing. I'm speechless. I'm sorry I never saw how talented you are. I mean when people see this and how talented you are you'll be designing sanctuaries all over the city. SCARLET -LRB- BEAMS. -RRB- Thank you. ALEX Mom, why are you all dressed up? SCARLET Oh my God. I almost forgot. I have a date. Off Mike's stunned reaction.\",\n \"INT. MIKE'S HOUSE/FOYER - NIGHT Mike marches in behind Scarlet. As they reach the door, he steps in front of her. MIKE Let's see who the lucky guy is. Mike swings the door open revealing. Dom Johnson. MIKE -LRB- CONT'D. -RRB- I knew it! SLAM. Mike shuts the door, blocks it. MIKE -LRB- CONT'D. -RRB- I knew you had a thing for him! You ca n't do this! You took vows. What kind of example are you setting for the kids!? SCARLET Mark, I'm flattered. Really, I am. But I'm too old for you. Scarlet moves Mike aside, opens the door. Dom stands in the doorway holding a bouquet. DOM Wow. You look absolutely ravishing. MIKE Keep it in your pants, Casanova. SCARLET Do n't mind him. You all set? DOM Let's do it. Scarlet heads for the van. Dom looks to Mike - DOM -LRB- CONT'D. -RRB- Hey, kid. if the vans' a rockin'. well you know the rest. Dom imitates humping, jogs after Scarlet. MIKE Do n't you lay a finger on her, Johnson! I know where you live! Mike slams the door.\",\n \"INT. MIKE'S HOUSE/KITCHEN - NIGHT A contemplative Alex scoops lasagna onto plates. An agitated Mike enters, pulls up a seat at the counter. ALEX It's weird to think about my mom with someone other than my dad. MIKE It's adultery! If this were Afghanistan she'd be dragged through the village by goats. You need to talk to her. ALEX My mom's been pretty sad the past few months. She deserves to be happy. My dad obviously is. wherever he is. MIKE Maybe he's not? Maybe he wishes he could be here right now with you but there's a real good reason he ca n't be. ALEX No, my dad's not a family guy. This is dumb but I used to tell him I was on the basketball team because I knew he'd never make it to a game. MIKE Then why would you tell him that? ALEX I guess I was hoping it would make him like me more. Mike is CRUSHED.\",\n \"INT. GUCCI STORE - DAY Mike paces in front of a dressing room. A SALESMAN waits by the door. MIKE My wife's moving on. My son does n't think I like him and my daughter's in love with me. I need to change back, Ed. Ed steps from the changing room wearing very tight, ultra hip clothes that belong on a 20 year old. he looks ridiculous. ED What about college? MIKE I'm not going. I'll be a pharm rep til I die. I just want my family back. -LRB- BEAT. -RRB- You're not gon na wear that, are you? Ed checks his butt in a full length mirror, nods happily. ED Baby's got back. Ed retreats into the changing room. ED -LRB- CONT'D ; o.s. -RRB- Now that Julie's agreed to go out with me tonight, I need you to start behaving. I ca n't have her thinking my son is a complete degenerate. MIKE Fine. I want to have some kids over tonight to celebrate Alex making the team. Is that cool? Ed, wearing only his banana hammock underwear and socks, steps from the room, hands the clothes to the Salesman. ED Wrap it up. No, it's not cool. I remember hearing what those parties were like, kids peeing everywhere, food on the ceilings, puke in the pool. MIKE Listen to you. You sound like an old man. Other SHOPPERS eye Ed oddly as they pass. ED No party. I mean it. Do n't make me take the car away. MIKE Do n't treat me like a child, Ed. ED I wo n't when you stop acting like one. Mike grabs Ed's bare tits and TWISTS. Ed screams, grabs Mike's tits and TWISTS. Both of them HOWL in pain. SALESMAN Sir! Please! Mike and Ed, both still titty twisting, look up. Everyone in the store stares. They each let go, force smiles. ED This is n't over. son! MIKE Not even close. Dad! Ed stomps into the dressing room rubbing his sore boobs. Mike pulls out his iPhone, begins texting.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/HALL - DAY The Wonder Bras stand by their lockers when their phones beep. TEXT MESSAGE. MIKE'S TEXT Party at my house 2nite. 7. Get the word out. The Bras type away, simultaneously hit SEND. WIDE REVEALS. hundreds of students. the beeps of hundreds of cell phones.\",\n \"EXT. ED'S HOUSE - NIGHT CARS line the street. A steady flow of KIDS stream towards the front door. MUSIC pounds from within. It's a RAGER.\",\n \"INT. ED'S HOUSE/KITCHEN - NIGHT MAYHEM. Kids raid the refrigerator, throw food around. Another KID sprays the room with the removable sink head. Mike rushes in, grabs the sink head from the Kid. MIKE Give me that! WONDER BRAS -LRB- O.S. -RRB- Hey, Sexy. Mike turns without thinking SPRAYING all 3 Wonder Bras in the face. The Bras scream. Mike replaces the nozzle. MIKE I'm so sorry. Have you seen Alex? The Bras wipe themselves off, grab Mike's hands. SAMANTHA Dance with us! The Bras drag a reluctant Mike out of the kitchen and into -\",\n \"INT. ED'S HOUSE/LIVING ROOM - NIGHT PARTY - GOERS dance everywhere and on top of everything. The Bras surround Mike, each girl grinding on him as if it were a competition. Lauren takes Mike by the face, turns him towards her - LAUREN Nambib - bib - ib, that African country makes me horny. Jamie spins Mike towards her, places his hands on her boobs - JAMIE Perfect, are n't they? Samantha pulls Mike roughly by the hair, twists him around - SAMANTHA Which one of us is it gon na be? Mike tries to squeeze out. The Bras block him. The music changes. a remix version of Hammer's ` Ca n't Touch This' blares. MIKE I thought you girls wanted to dance? Mike breaks into the 80's Hammer routine WE saw from the first scene. The Bras back up. Party - Goers stop what they're doing and watch. not sure whether to laugh or join in. And then, the Bras fall in. Followed by others. The party just got hotter. Maggie runs through the party and out the back. Stan chases after her. Mike inconspicuously Hammer walks his way out of the mix and outside.\",\n \"EXT. ED'S HOUSE/POOL - NIGHT Stan corners Maggie against the back wall. STAN I was upset. I'm sorry. But I need you to show me you love me. Then we'll move in together. MAGGIE Whatever. I'm with someone else now. STAN Yeah, right. Who'd be stupid enough? MAGGIE Him. Stan turns angrily toward Mike as he approaches. MIKE Party's over, Stan. You're out of here. STAN Who's gon na make me leave? You? MIKE I would but it smells like you've been drinking so I'll let the cops do it. Mike pulls out his phone. Stan looks to Maggie then back to Mike, laughs - STAN You can have the nun. She does n't put out anyway. MIKE On second thought - Mike SWINGS. Stan ducks, throws a giant uppercut. POW. Mike's eyes roll back in his head and WE cut to BLACK.\",\n \"INT. UPSCALE RESTAURANT/DINING ROOM - NIGHT The HOSTESS shows Ed and Julie to their table by the window. Ed wears his new Gucci outfit. Julie's under dressed. HOSTESS There you are, Mr. Freedman. ED Thanks. Put this towards your studies. Ed hands the Hostess a 50. Julie rolls her eyes. JULIE When you asked me to get together to talk about Mark this is n't what I envisioned. This is n't a date, Ed. ED Are you insinuating that I'd use my son's misfortune just to go out with you? What kind of a father do you think I am? JULIE As long as we're on the same page. A WAITER approaches. WAITER Good evening. Would you care to see the wine - ED Bring us the 1962 Petrus. The Waiter nods, leaves. ED -LRB- CONT'D. -RRB- You're going to love this wine. $ 2000 dollars a bottle. JULIE I do n't drink. So tell me what you think's going on with Mark? ED It's baffling really but I noticed he's been drinking a lot of diet ice tea lately. Maybe he's gay? JULIE You did n't ask me here to talk about Mark, did you? ED Do you like caviar? Because if you do you have to try the Almas. 100 year - old Beluga. $ 700 per ounce. Julie throws her napkin on the table. JULIE You're disgusting, Ed. ED What? You do n't like Beluga? You can get something else. JULIE I'm not some 22 year - old who you can impress with caviar and expensive wine. ED Would the caviar and expensive wine impress you if you were on a yacht off Monte Carlo? JULIE I came here because I'm concerned about the wellbeing of your son but you do n't care about Mark. All you're concerned with is proving to me how wealthy you are. ED I do care about Mike. Mark. Whatever his name is. JULIE You know what's too bad, Ed? I'm sure when you were the guy the boys picked on and the girls ignored you were really sweet. But you thought becoming rich would solve all your problems. Instead it made you just like them. I have to go. Julie rises. Ed takes her wrist. ED Wait. You're right. I'm acting like an idiot. I'm sorry. Please stay. Julie begrudgingly sits back down. JULIE Act normal or I'm leaving.\",\n \"INT. ED'S HOUSE/MIKE'S BEDROOM - NIGHT CLOSE ON Mike's face, eyes shut. A hand gently strokes his head. Mike stirs awake, smiles, eyes still closed - MIKE I had the craziest dream. I was 17 again and back in high school. It was horrible, Scarlet - MAGGIE -LRB- o.s. -RRB- Scarlet!? Mike's eyes pop open. WIDER reveals Mike and Maggie on the bed. Mike's head rests on Maggie's lap. Mike JUMPS off the bed, scrambles to the other side of the room and behind a chair. Maggie leaps off the bed. MAGGIE -LRB- CONT'D. -RRB- You wan na play? Okay, let's play. I'm the hungry lioness and you're a baby gazelle. Maggie ROARS, chases Mike around the room. MIKE Wait! This is highly inappropriate and dysfunctional. Listen to me, Maggie. I'm your father. Maggie growls, stalks Mike around the bed. MAGGIE And I've been a bad, bad girl, Daddy. Maggie dives across the bed. Mike dodges, runs out the door.\",\n \"EXT. ED'S HOUSE/BACKYARD - NIGHT Alex and Nicole sit closely by a fire pit, laughing. ALEX How about Mrs. Cruz? Every time she rolls her r's she spits all over me. Alex imitates Mrs. Cruz. Nicole laughs, places her hand on Alex's leg. Alex looks down at her hand, then up at her, both staring at one another. THE MOMENT. Nicole closes her eyes, moves in. Alex moves in then FREAKS. He bounds out of his chair, sprints inside leaving Nicole hanging.\",\n \"INT. ED'S HOUSE - NIGHT A distraught Alex pushes his way through the insanity. He finds Mike running down the stairs. ALEX Mike, I blew it! I totally blew it! MIKE Blew what? What happened? ALEX She wanted me to kiss her but I panicked. I did n't know if I should close my eyes or which way to turn my head or how much tongue I'm supposed to use - MIKE Slow down. Have you ever kissed a girl before? ALEX Not a real one. I used to practice on my dad's Playboys. MIKE How did you find. forget it. It's easy. All you have to do is take her face in your hands gently like THIS - Mike places a hand gently on either side of Alex's face. MIKE -LRB- CONT'D. -RRB- - hold her still as you adjust your head, close your eyes and kiss her. The rest happens naturally. A BOY walks past, sees Mike romantically holding Alex's face. BOY That is so wrong. Mike and Alex quickly separate. ALEX What if I, you know, pitch a tent? MIKE If you feel it, you know, getting angry, take a step back. Now go get that kiss. Alex takes a deep breath, steps outside.\",\n \"EXT. ED'S HOUSE/BACKYARD - NIGHT A determined Alex marches over to the seated Nicole. ALEX Nicole. Nicole stands - NICOLE I'm sorry, Alex. I did n't mean to - Before she can finish Alex's hands are on her face and his lips on hers. It's as if time stands still.\",\n \"INT. ED'S HOUSE - NIGHT Mike watches his son's MAGICAL FIRST KISS. And when Alex takes a step back, Mike laughs. BEEP. BEEP. Mike pulls out his phone. Text message. SAMANTHA'S TEXT 911. ^ stairs. mastr b - room. Mike rushes to the stairs. An angry Maggie storms down them. Mike ducks. Maggie passes. Mike races up.\",\n \"INT. ED'S HOUSE/HALLWAY - NIGHT Mike sprints down the hall, throws open the door to find -\",\n \"INT. ED'S HOUSE/MASTER BEDROOM - NIGHT Samantha, Jamie and Lauren in the bed, clothes on the floor. SAMANTHA We decided not to make you choose. JAMIE You can have all 3 of us. The chance of a lifetime. A legend making moment. MIKE -LRB- looks sadly at the Bras. -RRB- Girls, if I was 20 years younger I'd. probably only last 10 seconds anyway. Put your clothes back on. Mike turns, exits. On the way out WE actually hear SNIFFLING. SAMANTHA Was he crying?\",\n \"INT. UPSCALE RESTAURNT - NIGHT Julie laughs hysterically. ED God's honest truth. I had the whole costume. I used to go everywhere dressed like a wizard. No wonder I did n't get a date all through high school. Annnnd you think I'm the biggest nerd ever. JULIE No, no, really. I do n't. -LRB- catches her breath, suddenly serious. -RRB- Hark! Who goes there? ED -LRB- UNSURE. -RRB- Tis I. The Wizard they call Marius. And who might you be fair maiden? Free to be herself, Julie lets her hair down, shakes it out. JULIE Tis I! Elf Princess Ariala of Jamroar. ED NO WAY! JULIE YES WAY! ED Level 10. JULIE Mage. Level 15. Bitch! They stare at each other incredibly turned on. Ed screams - ED Check please!\",\n \"EXT. ED'S HOUSE/POOL - NIGHT CLOSE ON a Heavy Kid leans over the pool PUKING. Wider. Mike beside him while Kids cheer the Heavy Kid on. MIKE I'm so dead. Mike turns, finds SCARLET making her way through the crowd. MIKE -LRB- CONT'D. -RRB- Oh no! Mike rushes over to her. MIKE -LRB- CONT'D. -RRB- Scarlet, what are you doing here? SCARLET I'm looking for Alex. It's past his curfew and he was n't picking up his phone. Is he here? MIKE Yeah, he's fine. He's with his girlfriend. SCARLET Alex has a girlfriend? MIKE He does and she's really cute. Come on. Mike leads Scarlet away from the pool.\",\n \"INT. FERRARI - NIGHT Ed and Julie drive through the upscale neighborhood. JULIE How did you get your hands on the 5th edition? That's not due out for another three years. ED I have two words for you. Russian mafia. JULIE Drive faster. He steps on the gas. He fishtails around a corner. Cars pack Ed's street and driveway. Boys and girls trample the front lawn. One BOY urinates in a flower bed. JULIE -LRB- CONT'D. -RRB- Calm thyself, Marius. ED That little -! I'll kill him! Ed double parks the car, jumps out.\",\n \"EXT. ED'S HOUSE - NIGHT Ed storms up the driveway. Julie hurries after him. A KID spies Julie, calls out - KID It's Ms. Goodwin! Run! All the Kids on the lawn SCATTER in different directions.\",\n \"INT. ED'S HOUSE/LIVING ROOM - NIGHT Ed and Julie enter the crowded, loud room. Kids dance, stomp around on the furniture. A furious Ed screams - ED Everybody out! Get out! Get out! Nobody flinches. Julie WHISTLES loudly. The Kids stop. JULIE This party is over! If you do n't want to spend the next 3 months in detention you will leave. now! The Kids BEELINE for the door. Ed stops a GIRL. ED Do you know where Mark Freedman is? GIRL I think I saw him go outside. SPLAT. A slice of pizza falls from the ceiling onto Ed's head. The Girl laughs, exits.\",\n \"INT. ED'S HOUSE/KITCHEN - NIGHT Maggie enters, weeds through the crowd, bumps into the Bras. MAGGIE Have you seen Mark? SAMANTHA We're looking for him too. Maggie scowls, heads for the back door. The Bras chase.\",\n \"EXT. ED'S HOUSE/BACKYARD - NIGHT Mike and Scarlet hide behind the pool house, peek around the corner, spy on Alex and Nicole by the fire pit. Alex is animated, confident. SCARLET He's like a totally different person. Scarlet and Mike step back by the pool, sit on a lounge. SCARLET -LRB- CONT'D. -RRB- It's been so good for him to have you around. You have no idea. MIKE Believe me, I do. He's a great kid. And you're an amazing mother. SCARLET I'm not so sure. I mean look at me. I showed up at a party to drag my son home. Could I be any more embarrassing? And how many amazing mothers run their kids' father off? MIKE Hey, you did n't run him off. Do n't blame yourself for his stupidity. SCARLET I knew he was unhappy. I knew he hated his job. I should've been more supportive, more sympathetic to what he was going through. He gave up a lot for me. MIKE That's bull shit! You, Maggie and Alex are the best thing that ever happened to me. him. He was just too selfish to recognize it. At least, that's how I see it. Scarlet smiles thankfully at Mike. ANGLE. Maggie and the Bras roam the backyard searching for Mike. JAMIE He's over there. By the pool. SAMANTHA Who's the ho? MAGGIE Mom? ANGLE. Alex and Nicole, hand in hand, stroll back towards the house when Alex freezes - ALEX Whoa. What's my mom doing here? ANGLE. Scarlet places a hand over Mike's. SCARLET You're sweet. I have no idea why I'm telling you all this. There's just something so familiar. Scarlet looks into Mike's eyes. Mike stares back. She's vulnerable. He loves her. It's perfect. Mike leans in and KISSES HER. PASSIONATELY. SSSSSLAP. Mike falls off the chair. Scarlet leaps up. SCARLET -LRB- CONT'D. -RRB- What do you think you're doing!? Mike scrambles to his feet. MIKE Scar, just calm down. I have something to tell you but I need you to keep an open mind. Can you do that for me? SCARLET This conversation is over, Mark. MIKE I'm not Mark. SCARLET I'm not in the mood for games. MIKE It's no game. I'm me. him. Mike. It's me. your husband. Scarlet winces as if dealt a blow - SCARLET What? Why would you say that? MIKE It's the truth. I'm the father of your children. You have to believe me. SCARLET Do n't ever come near me or my family again. If you do, I'll have you arrested or better yet, institutionalized. Scarlet marches towards the house. Mike on her heels pleading. MIKE Let me explain, Scar. As she passes Ed and Julie. SCARLET Your son needs a shrink! Scarlet storms off. Before Mike can protest - MAGGIE Pervert! Mike turns. SLAP. Maggie lights him up, runs for the house. SLAP, SLAP, SLAP. The Bras add theirs on the way out. Alex and Nicole march past. Mike reaches for Alex's arm. Alex pulls it away. MIKE Alex, wait. Let me explain - ALEX How could you do this to me? Alex whisks Nicole into the house. Mike lowers his head. Ed stomps over, grabs Mike. ED This place is a disaster! A kid pissed all over my English garden! What were you thinking!? MIKE She hates me, Ed. I've ruined everything. Mike runs for the house. Julie looks quizzically to Ed. JULIE Who hates him? What's going on? Ed shifts uncomfortably, takes a deep breath. ED Oh boy. I do n't quite know how to put this. JULIE Try being honest. ED He's not really my son. I do n't have a son. SLAP. Ed looks like he's about to cry. JULIE Mark's obviously having a crisis and you. you insensitive bastard, you disown him? He'd be better off with his mother in Thailand. Julie strides for the house. Ed yells after her - ED Should I call you?!\",\n \"EXT. ED'S HOUSE - MORNING All is normal. No signs of a party.\",\n \"INT. ED'S HOUSE/HALLWAY - MORNING Ed knocks and knocks on Mike's bedroom door. ED Come on. It's been 2 days. Open up. WE hear a dragging sound then. CLICK. Ed turns the knob, opens the door, enters.\",\n \"INT. ED'S HOUSE/MIKE'S BEDROOM - MORNING Dark. Mike climbs back into bed. Ed waves at the air. ED Jesus. It smells like Jeffrey Dahmer's kitchen in here. Ed pulls up the blinds, opens the windows. A disheveled, Mike groans, rolls away from the light. Ed sits on the bed. ED -LRB- CONT'D. -RRB- Are you alright? MIKE I really messed up. I've lost my family. ED That's not true. Nothing's ever truly lost. MIKE What about you and Julie? ED Oh, that? That's lost. MIKE Sorry about the party. I'll pay for any damages. ED Do n't worry about it. My spa guy got the last of the vomit out of the pool so we're good. I do n't mean to rub salt in your wounds but - Ed holds up the manila envelope of divorce papers. ED -LRB- CONT'D. -RRB- - you're due in court in an hour. A look of determination comes over Mike's face.\",\n \"EXT. ED'S HOUSE - DAY The BMW roars out of the garage, Ed driving, tears down the driveway, fishtailing onto the street, LOSES CONTROL, rips across a neighbor's lawn then back onto the road and off.\",\n \"INT. LOS ANGELES COURT HOUSE/COURTROOM - DAY Crowded pews. Scarlet stands before the JUDGE, her right hand raised as she's sworn in. BAILIFF - the whole truth and nothing but the truth so help you God? SCARLET I do. Scarlet sits beside her ATTORNEY. The Judge eyes her papers. JUDGE You've requested a divorce by the State of California citing irreconcilable differences. Is this correct? SCARLET Yes, your Honor. JUDGE Is Michael O'Donnell or his representative present? SCARLET -LRB- SADLY. -RRB- No, your Honor. JUDGE Then I take his absence as agreement to the orders of the divorce. Let's proceed. You're not asking for alimony or child support? JULIE No, your honor.\",\n \"EXT. LOS ANGELES COURT HOUSE - DAY Ed's BMW skids to a stop in front of the building. Mike and Ed bound out, race up the court steps - ED What exactly are we doing? MIKE I do n't know. We just need to stop her from going through with it! ED A well thought out plan. Good job.\",\n \"INT. LOS ANGELES COURT HOUSE/COURTROOM - DAY JUDGE The mother will have full custody of the children. The father will have visitation rights of one weekend a month - BOOM. The doors burst open. All turn to see Mike and Ed storm down the aisle. ED I declare a mistrial on the grounds of insufficient evidence and Sacco and Vanzetti! Scarlet can only shake her head. JUDGE Sacco and. what are you. who are you!? ED I am legal counsel for Mike O'Donnell and I demand a stay of execution for this marriage, your Majesty. SCARLET He's my husband's best friend. JUDGE Are you a lawyer, best friend? ED No but I have been a defendant in numerous lawsuits so - JUDGE Bailiff! Get these 2 out of my courtroom. The Bailiff grabs Mike and a yelling Ed, drags them toward the exit. Mike wiggles free, runs back to the front. MIKE Your Honor! I have a letter from Mike O'Donnell. Just let me read it. Please. JUDGE I'm sorry, but - SCARLET If it's okay, your Honor. I'd like to hear it. JUDGE Make it quick. Mike digs into his pocket, pulls out a piece of paper. MIKE Thank you, your Honor. -LRB- READS. -RRB- September 7th, 1988 was the first time I saw you. You were reading ` The Great Gatsby' and wearing a Guns N Roses T - shirt. I'd never seen anything so perfect. I remember thinking I had to have you or I'd die. not in a psycho kinda way but in that beautiful, innocent, unaffected way that way only a 17 year - old kid can have. You whispered you loved me at the homecoming dance and I felt so peaceful and safe because I knew no matter what happened from that night on nothing could ever be that bad because I had you. And then I grew up, lost my way and blamed you for my failures. But I was never lost. I'd just forgotten the way life makes you forget as you grow older. And I never failed at anything because on that September day you said ` yes' to me. And at that dance you said you loved me. And as I stand here. as I write this, I want you to know if I do n't have you I'll die. not in a psycho way but in that beautiful, innocent, unaffected way only a 17 year old kid can have. oh and. P.S. I'm ` Hungry Like the Wolf'. Mike places the PAPER ON THE TABLE, looks over to Scarlet. Scarlet just stares at him, tears streaming down her cheeks. sadness. recognition? JUDGE Alright, son, you have to go now. Mike nods, walks down the aisle and out the door. JUDGE -LRB- CONT'D. -RRB- Let's proceed. SCARLET Your Honor, Sir. I'm sorry. I'm in no shape. I need to postpone. I'm sorry. A tearful Scarlet starts to leave, stops, picks up Mike's ` letter'. DIRECTIONS TO THE COURTHOUSE. She looks back confused.\",\n \"INT. BMW CONVERTIBLE - DAY A solemn Mike stares out the window. Ed turns the radio off. ED Maybe it was n't a spell of enlightenment. Mike looks to Ed. MIKE What are you talking about? ED According to the website once you've learned your lesson you'd turn back. That speech should've broken the spell. MIKE Enough with the magic crap, Ed. ED You know what this means? You need to let them go. You need to let them get on with their lives and you need to get on with yours. Mike chokes back tears. because he knows Ed is right.\",\n \"INT. ED'S HOUSE/MIKE'S BEDROOM - DUSK Mike works on his laptop, plugs his iPhone into it. downloads pictures. Mike moves to the bed, packs his Falcons uniform into a duffel bag. A BEEP. Mike unplugs the iPhone, types an email to Scarlet, `` I think this will help your business. Best of luck, Mark'' Mike hits send, grabs his bag and exits.\",\n \"EXT. ED'S HOUSE - DUSK Mike steps outside, throws his duffel into the Aston. Ed exits the house. ED Where you going? MIKE I'm moving on. See you at the game. Mike climbs into the car, pulls out of the driveway.\",\n \"INT. MIKE'S HOUSE/KITCHEN - DUSK Scarlet sits at the kitchen table working on her laptop. The noise of an incoming email. She clicks over. MARK FREEDMAN. Scarlet reads Mike's email then clicks on the link. A web site pops up. ` Scarlet's Sanctuaries'. Scarlet smiles.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - NIGHT An empty gym. Mike stands feet beyond the 3 point line, grabs balls from a hopper and rapidly shoots, shoots, shoots. SWISH. SWISH. SWISH. Automatic. Coach Harvey enters. COACH HARVEY Hey, Freedman, save some for the game. Mike sinks one last jumper, turns to the coach. MIKE Just warming up, Coach. Coach Harvey hands Mike a towel. COACH HARVEY Son, I have n't seen anyone with your shooting ability in, well, in a long time. I called a couple college scouts I know. They're coming to the game tonight. to watch you. If you have half the season I think you're capable of, you can play anywhere you want. MIKE That's the plan, Coach. The rest of the Falcons basketball team jogs out from the locker room followed by a PHOTOGRAPHER. COACH HARVEY Round up, Jock Straps! Picture time. The Team assembles in the middle of the court. Alex moves away from Mike. A PLAYER kneeling in front holds a sign, ` FITCH FALCONS, 2008.' PHOTOGRPAHER 3, 2, 1 - FLASH. And with the flash WE cut to :\",\n \"INT. FITCH SENIOR HIGH SCHOOL/GYM - LATER A POPULAR SONG rocks the gymnasium. CHEERLEADERS dance on the sidelines. STUDENTS and PARENTS cheer wildly from the packed stands. Julie gabs with a group of TEACHERS. On one end of the court, the Falcons run a pass and shoot drill. On the opposite end, a TEAM in BLUE shoots around. Mike sees Scarlet and Maggie enter. He smiles apologetically to them. Both turn away, climb the bleachers, join Nicole and the Wonder Bras. MAGGIE -LRB- to Scarlet. -RRB- I thought he was hanging out with Alex to get to me - not you. ANGLE. Coach Harvey claps loudly - COACH HARVEY Alright, Ladies, bring it in! The Falcons swarm the bench, take their seats. Mike takes a deep breath, sits next to Alex. Alex looks down. MIKE ALEX - ALEX I have nothing to say to you. MIKE I never meant to hurt you - ALEX Then why'd you kiss my mom!? MIKE Alex, I'm your fa. I do n't know. I'm sorry. Alex stands - ALEX You're lucky I do n't punch you out. Alex moves down the line, takes another seat. Ed strides through the door spots Julie, makes his way over to her. ED Julie, can I talk to you? Julie excuses herself from the Teachers. JULIE What is it, Ed? ED I've seen a good friend of mine lose everything that means anything to him. And maybe we'll never be there but. I just really want to play D & D with you. Julie ca n't help but smile, sizes Ed up. JULIE You can raid my dungeon anytime. ED I'll bring my long bow. A REFEREE blows his whistle. COACH HARVEY Let's go! Remember, Boys, winners get the girls. Losers please themselves! Mike and the Falcons jog onto the court. Mike takes his place for the jump ball. The Crowd stomps, cheers LOUDLY. Mike looks around the gymnasium. it almost seems to SLOW UP. the sound deafening. He finds Alex on the bench. his hopeful face. Mike looks into the stands. Maggie and Scarlet. Scarlet abruptly stands, climbs back down the bleachers and exits the gym. The Ref readies to toss the ball. Mike takes a deep breath. and walks off the court. REFEREE Son! Come back here! You're gon na get a delay of game! COACH HARVEY This ca n't be happening again. Mike steps over to Alex - MIKE It's your turn now. Good luck. Mike rushes off the court. As Mike disappears into the tunnel, WE see the OLD JANITOR amongst the crowd. He smiles. Coach Harvey turns to Alex - COACH HARVEY Get off your butt, O'Donnell! Get in there! Alex leaps off the bench.\",\n \"INT. FITCH SENIOR HIGH SCHOOL/TUNNEL - NIGHT MIKE Scar! The tunnel is EMPTY. Crestfallen, Mike lowers his head. ANGLE ON : Scarlet as she appears at the far end of the tunnel. SCARLET What took you so long? ANGLE ON : Mike and he's 36 years - old again, bursting out of his uniform. MIKE The best choice I ever made was you. Scarlet and Mike walk towards one another, picking up their pace the closer they get. SCARLET How did this happ - Mike wraps his arms around her. MIKE Do n't ask. They lock lips. Mike takes Scarlet's hand and as they walk out of the tunnel - MIKE -LRB- CONT'D. -RRB- I think it's best if we do n't tell the kids about this. Especially Maggie. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,0,0,0,0,0,0,0,0,0,0,1,1,0,1,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,1,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,1,1,0],"string":"[\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"In 1989, 17-year-old star athlete Mike O'Donnell's girlfriend Scarlet Porter tells him that she is pregnant, just moments before his likely scholarship-clinching high school championship basketball game. Mike plays the first few seconds of the game, then walks off the court and goes after Scarlet, abandoning his hopes of going to college and achieving a career that could support their future. Nearly twenty years later, 37-year-old Mike finds his life stalled, abandoning any project he starts. Scarlet, now his wife and mother of their two children, has filed for divorce, forcing him to move in with his geeky, yet extremely wealthy, best friend, Ned Gold. He has quit his job after he is passed over for a promotion he deserves for his sixteen years at the company in favor of a younger female co-worker with two months experience, and his high school-age children, 17-year-old Maggie and 16-year-old Alex, want nothing to do with him. Later, while driving, an encounter on a bridge with a janitor transforms Mike back into his 17-year-old self. After convincing Ned of his identity, Ned believes that Mike's transformation was caused by a mystical spirit guide who is trying to steer him on a better path. Mike enrolls in high school posing as Mark Gold, Ned's son, and plans to go to college on a basketball scholarship. As he befriends his bullied son and discovers that his daughter has a boyfriend, Stan, who does not respect her and frequently torments Alex, Mike comes to believe that his mission is to help them. Through their children, Mike spends time with Scarlet, who notes his remarkable resemblance to her husband, but rationalizes it as an odd coincidence. Deciding to also try and fix his relationship with Scarlet, Mike begins to finish (under the pretense of getting \"volunteer credit\") all of the garden projects he abandoned as an adult. He does his best to separate Stan and Maggie while also encouraging Alex to be more confident so he can make the basketball team and go out with a girl he has a crush on named Nicole. Mike has difficulty resisting his desire for Scarlet despite the relationship's clear inappropriateness. Ned, meanwhile, begins to pursue the school's principal Jane Masterson through increasingly extravagant stunts in order to win her affections, which she adamantly rebukes. After Mike and Alex help win a basketball game, Mike throws a party at Ned's house while he is out on a date with Jane. When Scarlet arrives when she worries about her children for attending a party, Mike shows her that Alex has finally managed to get together with his crush, leading Mike and Scarlet to have an intimate conversation where Mike accidentally tries to kiss her. Disgusted, she storms off as Mike tries unsuccessfully to explain his true identity. On the day of the court hearing to finalize Scarlet and Mike's divorce, Mike makes one last attempt to win her back (as Mark) by reading a supposed letter from Mike. He states that although he couldn't set things right in the beginning of his life, it doesn't change the fact that he still loves her. After he exits, Scarlet notices that the \"letter\" is actually the directions to the courtroom and she begins to grow curious. As a result, she postpones the divorce by a month. Frustrated that he could not salvage his marriage, Mike decides to once again pursue a scholarship and move on with a new life. During a high school basketball game, Mike reveals himself to Scarlet. As Scarlet runs away, Mike decides to chase her down, just like he did in 1989, but not before handing the ball off to his son. Mike is then transformed back into his 37-year-old self, and happily reunites with Scarlet, saying that she was the best decision he ever made. As Mike prepares for his first day as the new coach at his children's school, Ned, who has successfully started a relationship with Jane, gifts him a whistle, both happy with their new starts in life."},"name":{"kind":"string","value":"17_Again_(film)"}}},{"rowIdx":175,"cells":{"scenes":{"kind":"list like","value":["INT. PASSAGEWAY - NIGHT The CAMERA briskly retreats as FORTY, HIGHLY CHARGED, ATTRACTIVE, YOUNG PEOPLE march towards it. Each side of the frame is black as this troupe of young actors moves up the middle, everyone talking, grinning, squealing,. everyone having the `` high'' of their lives.","INT. NEW YORK CLUB - NIGHT As the troupe, with geometric precision, spills into a large room -LRB- containing a raised dance floor -RRB- ; the CAMERA begins to move past dancing couples as a legend appears : ` This is 1975 and Matt Hobbs is singled out for the first time.' And now the CAMERA reveals MATT HOBBS. His open, friendly, American face slips between some of the many cracks in his profession. The face at 26, and forever more, not arresting enough for a leading man ; not quirky enough for a `` character.'' Matt must briefly walk on the dance floor to make his way past a knot of people. He dances furiously for two seconds, then steps down as THE DANCERS BEGIN TO SING `` WOW'', but just as the song breaks out musically, we hear the SOUND OF PEOPLE SHHHING ; the singers falter and then stop as the party - goers gather, in choreographed movement, at a ceiling mounted TV set. MAN ON TV We can barely discern the words. `` with his review is Leonard Graff.'' A FRANTIC ACTRESS yelps a command : FRANTIC ACTRESS I ca n't hear over this shhing. Silence, then : TV CRITIC a play about guess what? That's right, young people. ON MATT He stands next to a ruggedly handsome and extremely nauseous CONTEMPORARY. HANDSOME CONTEMPORARY I ca n't look. MATT Good idea, let's not. He begins to walk, the Handsome Contemporary falling into step. Everyone they pass is straining, upwards, at the TV. HANDSOME CONTEMPORARY How can we not listen to this? MATT We'll know all we need to from the reaction. At that moment, the rest of the party - goers turn from the TV as one, looking mugged. -LRB- One girl briefly gets our attention because she is particularly distraught ; tears streaming down her angry face. The mixture of tears and rage are, of course, the chemical components of incredible sexiness. Her name is BETH. -RRB- A TORTURED MALE DANCER offers an incantation. TORTURED MALE DANCER He should be shot, he should be dead, he should rot in hell, then come back as the soap cake in a urinal. HANDSOME CONTEMPORARY -LRB- to dancer. -RRB- He did n't like it? The DIRECTOR moves through the group, bucking up spirits. DIRECTOR Do n't worry. He does n't count. We'll just wait for the papers. ON MATT AND FELLOW CAST MEMBERS - LATER As they morosely watch the Director approach. MATT Hey, no matter what this review says, the play was a great experience for me. Beth looks at him, puzzled. MATT -LRB- again. -RRB- I mean, it is about process, right? HANDSOME CONTEMPORARY Matt's right. Good Lord, it is what we're alive for. Beth turns from the conversation, finding it preposterous, then rivets her attention on the Director, walking towards them, holding a ridiculously thick sheaf of papers. Beth begins to sob in anticipation. MATT You've just got to be tougher than this. BETH -LRB- incredulous. -RRB- Tougher than this?!? The Director reaches them. DIRECTOR I took it all down over the phone. It's quite bad. And, unfortunately, it's very, very long. I've got a broken heart and writers' cramp. He. MATT He's nuts. DIRECTOR He savages everyone. MATT I do n't want to hear anymore. Let's dance. DIRECTOR Except you, Matt. They all look at him. HANDSOME CONTEMPORARY -LRB- fiercely to Matt. -RRB- You filthy bastard. BETH -LRB- drawing closer to Matt. -RRB- What did he say? The Director hunts for the paragraph. MATT Do n't read it. OTHER ACTOR Oh, please. You ca n't wait to run out of here, buy a flashlight, and then go into some dark alley and drool over every word. MATT -LRB- truthfully. -RRB- You're wrong. I'm maybe relieved and curious. That's it. BETH -LRB- wildly exasperated. -RRB- What did they say about him? DIRECTOR -LRB- reading. -RRB-. ` in the midst of this delirium of pretension.' MATT Do n't. This divisive crap wo n't. DIRECTOR -LRB- again. -RRB-'. one actor, rather miraculously, manages to provide passion and, yes, truth. Matt Hobbs, in the supporting role of Jesus, manages to touch the heart long after you thought it numbed by boredom.' The table of actors look at a sober Matt. A long beat and then, against his will, he grins. then a short, involuntary barking laugh of joy. then : MATT -LRB- to his colleagues with sincerity. -RRB- Sorry. ESTABLISHING SHOT - L.A. MODERATE INCOME STREET As we HEAR the next lines of `` WOW'', BEGIN MAIN TITLES as the CAMERA BOOMS UP to the outside of a small apartment as a legend appears on screen : 'EMMY NIGHT - 1980' Beth, now 27, is standing in front of a TV set showing the Emmy dancers performing a phrase of `` WOW''. She screams out. BETH Will you get in here - for God's sake?","INT. ANOTHER ROOM Matt, 30, is on the phone. MATT -LRB- into phone. -RRB- Come on, Ma, how could I show up tonight when my union is boycotting the Emmys? Look, I have to hang up. BETH -LRB- O. S. -RRB- -LRB- screaming voice. -RRB- It's on right now. right now. right this second! You will miss it! MATT -LRB- into phone. -RRB- I got ta go. Watch! Matt hangs up and tear - asses into the living room. Beth screams as his name is read. TV VOICE -LRB- on TV. -RRB-. and Matt Hobbs for ` Caine Mutiny Court Martial'. And the winner is Powers Boothe for ` Jonestown - Story of a Massacre.' BETH Shit! Fuck! Shit! MATT He was good. BETH -LRB- again. -RRB- Shit! Shit! Shit! Fuck! Shit! Look, he even showed up. TV INSERT - POWERS BOOTHE ACCEPTANCE SPEECH MATT That took courage. I wonder if they send you something for just being nominated? BETH Of all the pathetic questions. MATT -LRB- sharply. -RRB- Why are you being so damn foul? Beth glares at him, on the verge of taking him on - but he is looking at her very directly. the lack of any other agenda giving him a temporary edge. Beth decides to state the unadorned truth. BETH We've been going back and forth on our status for so long. I was hoping that if you won, it might mean something for us. MATT Look, Beth. the only. She is waving her hand in a circle. he is puzzled. BETH Please go fast. I ca n't take you dragging it out. MATT -LRB- a bit faster. -RRB- The only reason I have n't. BETH I promised myself I would n't be so bossy. Take your time! Was that bossy too? MATT -LRB- persisting. -RRB- The only thing I have against getting married is that it might not be fair because I'm going to stay with acting forever and you know how erratic the money's been and there's no resolve. BETH Do I get to vote? I'm going to tell you something I never told you before. Your feeling towards your work is one of the things I love most about you. MATT Really? BETH Maybe the most. MATT Hey, then we have no problem here. Marry me. They kiss, then break, murmuring to each other. BETH Stinker, I almost gave up on you. MATT I was just worried whether I could make you happy.","INT. HOSPITAL WAITING AREA - FOUR A.M. A SET FRAME showing several clusters of waiting people. A man rushes to one of these clusters, cueing this group to sing the next phrase of `` WOW''. As an extremely hyper Matt enters, the SONG STOPS and a legend appears : '1986' MATT -LRB- extremely hyper. -RRB- Everything's okay. Great. She's six or eight pounds even. Oh, God. Nothing like it. I'll tell you something amazing. They really reach right into her stomach and pull out this baby. It's not just a rumor. God. I understand the expression ` mind blowing' for the first time. It means something so wonderful happens that the top of your head comes off and your brain pops out. Part of it was terrifying, the baby was turned and they could n't budge her. I kept looking at this one woman doctor's eyes. And when Jeannie finally came out, this doctor and I each wiped away a tear at the exact same time, caught ourselves doing it, and then laughed together at the same time. Nothing can prepare you for it. You know why you're alive.","INT. CORRIDOR - DAY As Matt walks with pep, accompanied by a burst of `` WOW''.","INT. BETH'S HOSPITAL ROOM - DAY Beth holds BABY JEANNIE and wears a scowl. MATT How you doing? What's wrong? BETH My mother said you were flirting with the doctor during the delivery. On Matt's expression.","INT. MODEST ONE-BEDROOM APARTMENT - LATE NIGHT Matt and Beth lie on an open sofa - bed. `` WOW'' is completed, though with a dirge - like cadence. We hear a baby crying over a cheap walky - talky near their bed. MATT Could you get her, honey? I have that big reading tomorrow. BETH No, I have a lot to do tomorrow, too. I have to borrow on our Christmas Club, I have to. MATT Do n't worry about money anymore. -LRB- on her look. -RRB- I did n't want to tell you, because it may sound a little strange when I say it out loud. You know me, I'm never that cocky. But I'm going to get ` Spider Woman'. It's me or Raul and I've never been so sure. It's weird, but I just know it. I do. BETH -LRB- broadly. -RRB- Boy, am I reassured. What good news. Is n't that a load off?","INT. BABY'S ROOM - NIGHT Where we see the crying baby holding the walky - talky in front of its mouth as it screams into the mouthpiece. BACK TO SCENE MATT I am gon na get this part, Beth. BETH I ca n't stand this anymore. END MAIN TITLES","INT. MATT'S APARTMENT - MORNING It's an awful place. the start - up apartment he's way too old for. but we do n't yet see his humble quarters. Rather : A BLURRED IMAGE Then, the screen is CLEARED ON ONE HALF so we see half of a contact lens holder in focus - the other half blurred - until Matt gets his second contact in. MATT'S POV A tube of tooth bleach. CLOSE ON THE DIRECTIONS, then : ON MATT Bleaching his teeth. finishing. smiling in the mirror. This is the bleached smile of fear - true fear - the awful state of having lost your way. The phone rings. Matt clears his voice before answering. MATT -LRB- into phone. -RRB- Hello. Hi, Beth. I'm glad you finally returned my call. What are you so mad about? -LRB- again, into phone. -RRB- YOU KNOW, YOU'RE NOT THE ONLY ONE WHO CAN SCREAM, I CAN SCREAM, TOO. Matt was so suddenly, emotionally extended that the anger leaves him that quickly. just a strange atypical lightning bolt of rage toward life and women. MATT -LRB- again, into phone. -RRB- You know what? I'm being a sort of gutless wonder here. I'm yelling back at you because I'm embarrassed. I wo n't be able to take the kid when I said. Why do n't you listen for a second? He rubs his head with both hands, including the one holding the phone. This allows us to hear his ex - wife repeat the same sentence over and over again. BETH -LRB- V. O. -RRB- -LRB- from phone. -RRB-. You're taking her. You're taking her. You're taking her. MATT Beth, I know exactly how long it's been and I feel strange as hell not seeing her but this is n't a choice. I'm broke. It's the driest spell of my life. I'm not saying it's your problem, but it's no place for a six - year - old. What can I do? The only full - time job I seem to have is not showing how scared I am. What? No, that's not something I said before. -LRB- accepting compliment. -RRB- Well, thanks. Beth turns angry again. Matt finds, unfortunately, that he's got one more act of bravado left. MATT -LRB- again, into phone. -RRB- Beth, Hey. hey. Never mind, I'll do it. He hangs up. MATT -LRB- again, to himself. -RRB- I must get work. I will take anything. I must get work. I must not be embarrassed by these pep talks to myself.","EXT. SIDE STREET - DAY As Matt walks from the outdoor parking lot, past inexpensive homes. In the lot, on private lawns and every public bench, at each street corner, are various actors doing the relaxation exercises which will form the basis of A DANCE, as they go over their `` sides''. MIDDLE-AGED ACTOR feathers I'm blowing. What am I, a duck? We pass various actors going over alternate sentences for the same speech so that we get a sense of the speech as a whole from the sum of its parts. VARIOUS YOUNG ACTORS 1. -RRB- I'm not thinking about whether I'm going to shoot you. I'm. 2. -RRB-. trying to decide where. 3. -RRB-. the little spot behind the ear where you die before you hear the shot. 4. -RRB-. on the left side of the belly which is a very mean place.","EXT. POPCORN PICTURES - DAY An office building of clear architectural merit located in an industrial area. Even the sign `` Popcorn Pictures'' has all the artistic dignity the name itself lacks. MUSIC ENTERS. Gradually, movement BECOMES CHOREOGRAPHED. i.e., the young actor and actress running across the street do so with uncommon grace. The area Matt passes is very crowded and we still have n't reached the most congested area of all as we STUDY FACES and HEAR snatches of the actors' preparation. MIDDLE-AGED ACTOR What am I, a duck? OLDER ACTRESS Sure I'll tell you. Favor first. Do a nice middle - aged lady a favor. A fair trade. tell you what you want to know in return for a. -LRB- grimaces over dialogue she must say. -RRB-. a pity fu. MUSIC BECOMING MORE INSISTENT as we approach the building - the mumbling of the actors taking on the SOUND of a Wailing Wall. VARIOUS YOUNG HYSTERICAL ACTRESSES the height of ego. You think your he - manness can make me get on that elevator even though I'm phobic? I CA N'T GET ON THAT ELEVATOR. I do n't care if. they catch us. DO YOU GET. IT. DO YOU GET IT! I CA N'T! I CA N'T. three, please. THREE HYSTERICAL ACTRESSES SINGING the dialogue. SINGING ACTRESSES ca n't get on the elevator. ca n't get on the elevator. even if you make me. even if you make me. Do you get it? do you get it? TWO ACTRESSES Standing near each other - exchange glares as they break each other's concentration and move apart. THEIR MOVEMENT SERVING as our gateway to DANCING. The SONG `` MAKE BELIEVE'' enters fully now and builds in intensity, reaching a repeated phrase, as we move to Matt and he enters the building, thereby cutting off the song. ON MATT As the SONG continues in intensity, Matt enters the building at the end of a repeated phrase cutting off the song as we move to : ANGLE ON RECEPTION AREA Where CATHY BRESLOW, age 30, waits. Hollywood is a bit of an uphill struggle for Cathy. She is bright where others are brilliant, pretty where others are gorgeous, enormously hard working where others are obsessive - compulsive. She is clearly waiting for someone while reading an enormously thick book galley. Matt almost scoots by her, then stops. MATT Hi. See, I did recognize you. You did n't have to wait for me. CATHY Well, I wanted to introduce you. As if knowing me would help.","INT. POPCORN PICTURES - DAY MOVING SHOT. Staircase packed with actors, an uphill slalom almost impossible to navigate. CATHY It's a ridiculously awful movie. MATT Well, challenge. I was n't sure you'd remember me. let alone help. CATHY Stop. You're good. I'm doing them a favor by getting you in. MATT Well, that's a fresh slant. They reach the casting assistant, CLAIRE. CATHY Claire, this is Matt Hobbs. As Matt is handed a set of sides, we SHOOT PAST Matt as he watches Cathy move back down the stairs before he can say another word. She moves with wit. He is struck by her. He looks back at Claire, who has an intricate hairdo and a ready smile. CLAIRE Hi. Sorry. We're running behind. Please forgive us. SAME SHOT - TWO HOURS LATER Her hairdo wilted, her blouse soiled, her smile gone, the tendons of her neck prominent. CLAIRE -LRB- fiercely. -RRB- Matt Hobbs? Matt Hobbs! ON MATT Going over his lines. Hearing his name, he rises. Claire gestures him in.","INT. BURKE'S OFFICE - DAY The walls are pockmarked with movie posters. THREE MEN sit in an area some distance from the desk. The casting director, MARTIN, makes the introduction : MARTIN This is Matt Hobbs. This is John Earl McAlpine, the director. MCALPINE Good to see you. He speaks with an Australian accent, gets half - up and extends his hand. MARTIN and Burke Adler, the producer. BURKE So, what have you been doing with yourself. -LRB- checking resume. -RRB-. the last few years? MATT -LRB- to Burke. -RRB- I'm real bad at interviews, so, if you do n't mind, I'd really prefer to just read first. BURKE That's the way you want to do it? MATT Yes. BURKE Maybe we should n't even read. I'll just take your word that you're good. Matt smiles. BURKE No. I'm serious. There's all different ways. Did you know Woody Allen never reads actors? He just looks at them, feels around a little and then decides who he wants. That's his way. Does n't hear them do a line. I also have a way. What I do is interview first - then read - maybe do it all over again the next day. I call up people the actor has worked with - check him out. If he's famous, I do an opinion survey to test how much people like him. If he's not famous, I put him on tape and show it to everyone I can grab. I believe in screen tests ; I believe in replacing if the dailies are bad, in cutting people out if the previews are n't there. Because I'm not doing movies for theaters where they serve cappucino in the lobby. I'm doing popcorn movies. You want to know what I like? Come to my house, look at my lamps. you wo n't find it in my movies. In my movies, you'll find out what I know. I know how to do detail. What I do n't know, I discover. Yesterday we finished mixing a movie - the last scene is in a field of windmills which blows up and all the blades of these windmills slice through the air, one of which hits a four - story tank of propane gas. A humongous explosion scene. I kept on saying ` louder', and they finally said to me they could n't go louder without distortion. We went louder. We had to discover a thing, a filter, but we went louder. I do n't question doing these things. I do them. So if you want to know if it's okay to do it differently - not to talk - to just read first. I say. -LRB- pointing to John Earl. -RRB- Ask him - he's the director. JOHN EARL Whatever. BURKE Okay, let's do it. Do you have any questions? MATT They only gave me these two pages. I'd like to give this my best shot. So if I could read the script and come back. BURKE This part works tomorrow. MATT Oh. Who will I be reading with? Burke indicates Martin. MATT -LRB- from his chair. -RRB- Can I read from here? BURKE I want you to do it wherever you're comfortable, but I'd prefer it if you were comfortable standing up. Matt rises uncomfortably. A SECRETARY enters and hands a note to the director. JOHN EARL Time for my buns to have visitors. Matt looks astonished as the director leaves the room. BURKE -LRB- to Matt. -RRB- Go ahead. MATT Go ahead? The director left. BURKE That's okay, he trusts me, uh. And we're just doing the first page. MARTIN -LRB- cueing him badly. -RRB- ` Okay, darling Harry, here it is. If someone were breaking up with me, I'd like it short and sweet. What about you?' MATT -LRB- reading - showing pain. -RRB- ` Incredibly drawn out.' MARTIN I ca n't take care of you right now. What am I, your mother?' MATT -LRB- intense. -RRB- ` Well, what am I? Your duck?' As he gets into the scene he begins to experience some release of the desperate feelings he's been harboring. MATT -LRB- again. -RRB- ` We've been together two years and you act like all you're doing is blowing away some feathers. So what I'm asking.' BURKE You did n't do the quack. MATT Huh? BURKE The stage direction says for him to quack. MATT I know, but why would he quack when someone's breaking up with him? BURKE Hopefully because it's funny. MATT This is n't a comedy. BURKE Then we're in trouble, because they're already fall down laughing at the teaser - trailer in fifty - two hundred and thirty theaters. MATT A comedy? -LRB- rubbing his face. -RRB- I think I have to make an adjustment here.","INT. CATHY'S OFFICE - DAY We HEAR the strains of the theme of a past hit movie coming from Cathy's cassette player. A rack of soundtracks clearly visible. Cathy is frowning as she reads the last of the galley pages. She overhears some conversation in the adjoining room which begins to disturb her concentration. FEMALE D PERSON -LRB- O.S. -RRB- I'm not supposed to read TV pilots. Do n't call us D - Girls. We're Development Persons! Cathy closes the door, shutting her off. She now begins to fill out a form with a felt - tipped pen. As she does so, the pad is supered on the screen - action seen through it. As she writes, we see the notations on the super. It is marked COVERAGE - CONFIDENTIAL FROM : CATHY BRESLOW. TO : BURKE ADLER. SUBJECT : -LRB- the pen writes out -RRB- `` LITTLE DICK'' GENRE/CATEGORY -LRB- the pen writes out ACTION - ADVENTURE -RRB-. Then there are columns to check EXCELLENT, GOOD, FAIR, POOR for the story. CHARACTERS, DIALOGUE. The pen checks FAIR for story, POOR for all else, CHARACTER, DIALOGUE, etc.. The form then states - CHECK ONE OF THE FOLLOWING SENTENCES : I DO NOT RECOMMEND THIS PROJECT I RECOMMEND THIS PROJECT I STRONGLY RECOMMEND THIS PROJECT I'D STAKE MY ALL ON THIS PROJECT I'D GLADLY STAKE MY ALL ON THIS PROJECT The phone rings. As she picks it up and reaches to turn down the volume of the motion picture soundtrack she's listening to. CATHY -LRB- into phone. -RRB- Hi. I just finished. I'll have my coverage right over. It's past derivative. it's photocopying. What a hoot! You're kidding, right? There is truly active bidding for this book? Really? 2.3 million? Okay, see you. She hangs up and begins to alter the form changing the STORY/POOR to STORY/EXCELLENT, and all the other POORS to GOOD. and now the Recommend section. INSERT The pen is poised. ON CATHY Her soul is poised. A beat and she allows `` I DO NOT RECOMMEND'' to stand, the source music theme - `` CHARIOTS OF FIRE'' - coincidentally celebrates this considerable act of heroism. Cathy takes the sheet and walks to the door.","INT. OUTER OFFICE - DAY As she approaches her secretary's desk, she overhears two other members of Burke's Development Staff -LRB- a 27 - year - old well - dressed man and a woman younger than Cathy -RRB- as they enthuse. MALE D PERSON Even the title `` Little Dick'' - it means so many things. FEMALE D PERSON Story, story, story, story, story. -LRB- seeing Cathy. -RRB- You loved it, right? CATHY I had some problems. FEMALE D PERSON Like what? CATHY Well, you know, it's a little garbagey. FEMALE D PERSON So it has to be cast right. MALE D PERSON If Cathy does n't like it, we know it's a smash. CATHY -LRB- stung. -RRB- Hey. It's not like I did n't recommend it. She surreptitiously changes her `` recommend'' as Matt enters. She looks up. CATHY How'd it go? MATT I did n't get it. He did say something about wanting me back. CATHY Good. His saver is he means what he says. MATT Yeah, I just wanted to say thanks. She nods and starts to turn back towards her office. MATT and I wanted to ask you out. The other people in the office stare at Matt. CATHY -LRB- turns. -RRB- For when? MATT Any time. CATHY I never know when I'm free. -LRB- Matt nods. -RRB- It sounds like I'm just. but it's true. MATT Okay. Thanks again. I felt funny asking. CATHY Well, do n't please. MATT I meant asking you to get me the audition. CATHY Oh. well, do n't please. He nods and starts to go. She looks at him. CATHY Do n't be sad. Matt smiles in astonishment and exits. MALE D PERSON Who is he? CATHY Oh, I was auditing this acting course and he filled in teaching one night. He did a scene himself and he was awesome. For some reason, he ca n't get arrested. MALE D PERSON Yeah. He does seem to have a layer of loser dust on him.","EXT. PARKING LOT - DAY Matt drives his faded, seven - year - old car into view.","INT./EXT. MATT'S CAR - EARLY EVENING He looks off. sees something that arrests his interest and pulls to the curb. It's a curious sight. MATT'S POV Burke Adler, standing at a street corner, palpably in pain. He's trying to rein in his emotions, sucking in huge gulps of air. and, then, a wave of emotion gets the better of him as he looks at his watch. A sob escapes him - shocked that he's so close to tears on a public street corner, he battles for control. another sob as he looks to the heavens. ON MATT A split second to consider, then he's out of his car. FULL SHOT - THE STREET CORNER A flow of PEOPLE - in the foreground, the tortured figure of Burke Adler - in the background, Matt Hobbs, pauses before intruding. But Burke's spectacle is growing more public, sounds of anguish escape him. CLOSER SHOT - BURKE BURKE Oh, God. why? Why? -LRB- louder. -RRB- What am I going to do? And now he begins to dissassemble, openly crying - on the verge of a complete breakdown. Matt moves into frame, grabbing Burke, trying to provide him with an anchor. CLOSE ON MATT His face - his eyes providing a beacon of strength. MATT Hey. Hey! HEY! ON BURKE Totally fucked - up, wild - eyed. As he witnesses his own state. BURKE Look at me. You'd think I was a writer. -LRB- his story of travail pours from him. -RRB- I hired this kid as a production assistant. His father's a business manager. a few good clients. MATT What happened? BURKE He's been driving for me two weeks. all he has to do is pick me up on time. he's twenty minutes late and I have a test screening in the valley. Everybody's gone from the office. Burke flails at himself as Matt looks at him. MATT Is that it? You need a lift? BURKE Yeah. MATT I'm right over here. Matt starts to lead him back, then realizes he's alone, Burke having seen his car finally arrive. MATT'S POV Burke, berating the YOUNG DRIVER. Matt pauses, awed by the wild gesticulating - the few screamed words. BURKE -LRB- O.S. -RRB- Not just today. believe me, there's no way you'll ever make it. You are going to fail. Listen, listen - I know about this ; you are going to be a failure. CAMERA FOLLOWING MATT As he joins Burke and the young man, Burke turns to Matt. BURKE -LRB- to Matt. -RRB- Let's get moving ; you said you'd give me a lift. MATT What the hell are you talking about? Not in your car. I've got my own. BURKE I'll give you a hundred and twenty dollars to take me. and it will still be a favor. -LRB- to Young Man. -RRB- Get out. Come on. -LRB- to Matt. -RRB- Please. This is very important. The driver gets out. YOUNG MAN -LRB- final plea. -RRB- A guy got shot on the freeway. Traffic's tied up. BURKE You should leave time for that kind of thing.","INT. BURKE'S CAR MATT What do you need me for? Do n't you drive? BURKE -LRB- a mumble. -RRB- Yeah, I drive. I do n't like to look for parking.","EXT. GOLDEN STATE FREEWAY - EARLY EVENING The sun setting on a nondescript slab of California.","INT. BURKE'S CAR - EARLY EVENING The two men. Matt feeling very peculiar in this line of work. Burke's tension renders him arresting, handsome even. The look of generals who go forth against long odds. He takes an enormous cleansing breath. It startles Matt. BURKE -LRB- explaining. -RRB- Yoga shit. I feel like barbed wire. I do n't know if you keep track, but I'm the sixth independent producer ever to have two big pictures scheduled for Christmas, and tonight we're testing the first one for the first time. You get it? MATT Yeah. It's important to you. BURKE -LRB- laughing at the understatement. -RRB- Yes. I do n't think I would have put it that way. but, yes.","EXT. MALL - EARLY EVENING Burke's car moves toward the movie complex. BURKE'S POV Our first view of NAN MULHANNEY ; middle - aged and pragmatic, yet extraordinarily naive. She's a scientist of sorts - monitoring the tastes and feelings of Americans, first in Washington and now here. Though she just had a very rough hour or so, she bends down to smile at Burke.","INT. BURKE'S CAR BURKE Keep driving. She runs the test screenings. Very smart. Very. She has a real case on me, but so far I've been keeping it in the bank. He stops talking, stops breathing, as he sees. BURKE'S POV - THE TEST AUDIENCE The line consists of disparate, disinterested people who are focused on their own small, personal dramas - not at all cognizant of the fact that they hold a life in their hands. They are clearly growing impatient.","INT. CAR BURKE Go very slow. MUSIC IN. Burke steels himself and exits the car.","EXT. MOVIE THEATRE - LATE DAY NAN We're 34 minutes late. The studio is appropriately wild. people are beginning to leave. but I knew how upset you'd be if we started without you. BURKE -LRB- distantly. -RRB- Yeah. Thanks. But he pays her no mind as MUSIC CONTINUES and he moves towards the line. Nan approaches the car. NAN How is he tonight? MATT I do n't know him, so I have nothing to compare it to. NAN Well, how would you say he is, anyway? MATT Not quite himself. ANGLE ON BURKE As he approaches the line, he BEGINS TO SING his love to them, `` I'll Do Anything.'' As he pours out his misdirected heart to individuals on the line who DO NOT HEAR HIM. ANGLE ON LINE Their impatience gives rise to a VERY SLOW TAP DANCE, each couple or cluster doing it differently - barely exaggerating the normal shifting of a line. As BURKE CONTINUES TO SING. the song builds as does the dance. Burke sings even more passionately, his D - PEOPLE perhaps joining in as BACKGROUND SINGERS. At a key point, the disparate groups turn and form a SOLID UNIFIED LINE. They begin the rhythmic clapping of impatience - having become a line, they now threaten to become a mob. Burke sings one more Joe Cocker - like passionate plea before turning to camera to shout over the mayhem : BURKE Let them in. As they enter.","INT. MOVIE THEATER - EVENING Nan is addressing the audience from down front. NAN The name of the picture you'll be seeing is ` Ground Zero'. There may be some scratches. some of the colors may be off, there are no final titles, and it has not been finally mixed for sound, and the music is temp, that means temporary. As she says this : ANGLE ON REAR OF HOUSE Where Burke spies the STUDIO HEAD and leaves Matt's side. ON STUDIO HEAD As BURKE enters the frame behind him. He is right behind his boss' ear. He leans in and offers an intimacy. BURKE I'm glad you came yourself instead of sending your staff. The boss is startled - jumps. BURKE eyes him. there must be some way to profit from these stolen moments with a powerful man. BURKE I would n't be surprised if tonight's screening is a monster. -LRB- emphatically. -RRB- Could happen, right? STUDIO HEAD Sure. BURKE Okay. He moves back to Matt and Nan at the rear of the audience. BURKE -LRB- to Matt. -RRB- Eisner just said he thinks the screening will be a monster. Strangely, Burke seems truly buoyed by the words of encouragement he himself manufactured. He moves down three rows and sits in an aisle seat just as the film opens with a series of violent explosions. CLOSE ON NAN NAN Please, God, let tonight give him peace. Incredibly, Burke turns and gestures to her that the sound of her small voice is interfering with the cacophony of his movie. Nan is clearly stricken by her lapse as she whispers to Matt. NAN We're short two card - counters, can you two help out?","INT. MOVIE THEATER - 1:47:20 LATER We are seeing one of the final moments of the film.","INT. WHOLESALE BUTCHER'S (THE FILM) - DAY As the muscular hero moves with stealth through the giant refrigerated meat door. He passes cows and dead men hanging from alternate hooks. Suddenly, he is attacked by the villain brandishing an electric meat dismembering tool. The hero ducks, the machine ripping apart hanging cow flesh. The hero grabs the only weapon he can find : a large piece of meat on a large bone, which he uses as a mace. He clubs the other man - then again - and again. Part of the audience is whooping and applauding. QUICK SHOT OF NAN Standing with Matt and Cathy. At the sound of the applause, Nan grins and mumbles with a connoisseur's knowledge. NAN Males, fifteen and under. BACK TO SCREEN Where the hero stands over the man whose face he has shattered, holding a club from which hang strings of meat. He is breathing heavily, and between breaths, states : HERO Sorry to bust your chops. General audience laughter. SERIES OF SHOTS ON NAN - FRONT OF AUDIENCE NAN If you'll just stay in your seats a few moments and fill out these cards for us. ON AISLES Matt and others handing out cards with pencils attached. Folks filling them out. As an ADOLESCENT MALE fills it out ; PREVIEW CARD FILLS THE SCREEN as we view LIVE ACTION THROUGH IT.","INT. THEATER MANAGER'S OFFICE An office meant for two, containing twenty counters. The counting is done with erasers rifling stacks, creating a sound, a MUSICAL RHYTHM, as the GROUP CAPTAIN calls out with gospel cadence. GROUP CAPTAIN Who has young males? Young women? Older males? Older males? Matt, his tally finished, squats on the floor, waiting. The Group Captain approaches. GROUP CAPTAIN Older males. older males? Matt looks blank. GROUP CAPTAIN -LRB- again. -RRB- Older males. over 25? Matt now realizes that it is his category and hands over the older male cards and exits.","INT. THEATER LOBBY - NIGHT Burke, prowling the lobby as audience stragglers leave and Studio Execs and Popcorn Development Staff wait. He looks off to see Matt and Nan chatting in another part of the lobby. ON MATT AND NAN As they arrive. Nan looks off to see the Group Captain approach. NAN How long since you've seen your daughter? MATT A little over two years. -LRB- on her look. -RRB- My wife insisted on moving back to the Midwest - then I was in the Philippines on the mini - series and. NAN -LRB- suddenly and loudly. -RRB- Oh, please. It's one thing being a son - of - a - bitch, but you do n't have to be a stupid son - of - a - bitch. People move heaven and earth to see their kids. I do n't care if she moved to Pluto, it's abandonment. MATT -LRB- a pause, then. -RRB- Hey, we just met. NAN -LRB- realizing. -RRB- Oh. Sorry. BURKE Make a guess how we did. NAN It would n't mean anything. BURKE Nothing good that happens can make it worth feeling the way I do now. Nothing. An OLDER WOMAN approaches them. OLDER WOMAN Excuse me. BURKE Who the hell are you? This is private. OLD LADY I'm Mr. Eisner's mother. BURKE Oh. Can I get you some water? OLD LADY No, thank you. The Group Captain approaches and hands Nan a sheet. FULL SHOT Everyone, all the studio and Popcorn staff, is drawn to Nan. ON NAN As she glances at the figures. ON NAN'S LEFT HAND As she secretly reaches for and holds Burke's hand. Is it in sympathy or congratulations? TIGHT ON STUDIO EXECUTIVE FACES As we see in ever - so - SLOWED ACTIONS, tense lips turning gloriously upward to reveal gums - then a smile. More smiles as we pan across teeth. bonded executives and bonded teeth. The shot widens. The studio head mumbles to himself as he carefully goes over the tally in every category. Then : STUDIO HEAD I do n't need the numbers. I loved it. His smiling face takes us : NAN Burke, ninety in the top two boxes. TO BURKE A tear in his eye - a smile shyer than others. He turns to the old lady, instinctively using this victory to settle his most recent score as he says mockingly : BURKE Now can I get you some water?","EXT. THEATER - NIGHT Cathy and Matt are leaning against Burke's car. Cathy is distraught - temporarily, but horribly, unsure of herself. Matt is looking at her. If he had a little more confidence going for him right now, he would make his move. But, for now, they are two self - doubters on different trips. CATHY I never thought it would do this well. There were so many holes ; I told everybody it was n't going to do business. Why am I so public with my opinions? MATT You might be right. CATHY Not with that score. You know, maybe tonight's the night I'm losing my entire mind, but were n't you in ` Platoon?' MATT Incredible. I was only there for a minute in the rape scene, moving past Charlie Sheen when I left the hut. I had a great scene cut out. I was. CATHY But there was that one long close up - where you seemed ashamed of yourself but still arrogant. MATT That's exactly what I was going for. CATHY It reminded me of my last boyfriend. -LRB- indicating book bag. -RRB- Got to go. She hefts the bag - puts it back down - crosses her eyes, burlesquing the weight of the bag. He helps her put it on her shoulder. MATT You have to read all that? CATHY Beast of burden. MATT -LRB- sincerely. -RRB- So what are you, totally wonderful or what? She smiles and is gone, staggering a bit under the weight of her scripts. Matt looks after her. Burke and Nan approach. BURKE How come you have n't said anything? This is great, right? NAN No. BURKE What no? NAN The definite recommends are way off for a score this high and, even for action - adventure, it's just too low for women. -LRB- Burke looks anguished. -RRB- I'm sorry. He leans against the car for support. BURKE It was such a good score. NAN -LRB- extraordinarily sympathetic. -RRB- I know. And, unfortunately, yesterday's tracking was n't. -LRB- he reacts. -RRB- I'm sorry. They just do n't seem in the mood for action - adventure right. -LRB- he reacts. -RRB- Sorry. May I tell you one more thing? -LRB- he looks up in anticipatory fear. -RRB- I think it's so wonderful that you do n't worry about even trying to act strong. BURKE Thanks. You want to eat something sometime? NAN I'm, uh. I'm blushing from head to foot. BURKE Good. I'll call you. As Burke moves to his car. He SEES the Group Captain paying Matt. GROUP CAPTAIN Thirty - two, thirty - three. Burke is looking at Matt with some surprise. BURKE You want to do this regularly for me? I was gon na offer, but I thought it would humiliate you. MATT -LRB- straight at him. -RRB- I do n't mind an occasional odd job. But I ca n't work tomorrow. I have to get my kid. As they get in the car, Burke has the front door open, about to get in - reconsiders, and gets in the rear door. BURKE Okay, I got the cards to look at - I think I'll ride back here. -LRB- to Nan. -RRB- Maybe I'll drop by your place tomorrow. Matt gets behind the wheel, thereby ending the day as a full - fledged chauffeur. They drive off.","EXT. CORRIDOR - DAY Burke and Nan returning from lunch. NAN So, thanks for lunch. I hope this leads to an evening date. Though I have to stay home with my daughter, Leslie, on Saturdays. BURKE -LRB- sincerely. -RRB- Yeah, okay. You were very interesting to talk to. I swear to God. Honest. No kidding. You really were. NAN I believe you. -LRB- sincerely. -RRB- And I was very surprised what you were like when you were n't working. There was absolutely no difference. You want to see where we do the tracking? BURKE -LRB- excited. -RRB- Is it okay?","INT. TRACKING ROOM - DAY The enter the room containing a maze of telephone cubbies with workers manning the phones. NAN Nobody ever wants to see how we do the polling, but they're like little starved puppies when the data comes in - running at you, scrambling to. Burke hardly hears. He is awed as if by a cathedral. VARIOUS WORKERS 1. -RRB- How often do you go to the movies? 2. -RRB- I'm going to describe a movie in one sentence and then ask you to rate it on a scale of. BURKE -LRB- as the workers continue. -RRB- I love this. This is what counts and this is where you count it. NAN -LRB- soft and true. -RRB- That's the same way I feel. BURKE You phone all over - you know what movies they're waiting to see, whether your TV spots are working. You know what the country thinks. WORKER what feelings do you have about Cher as a singer, an actress, or potential date. BURKE -LRB- again. -RRB-. and it's accurate. NAN Within six - point - eight percent. BURKE And you ca n't fix it. right? NAN No. no. Sometimes just for myself, I ca n't resist asking America a personal question. BURKE Like? NAN -LRB- simply. -RRB- When do you feel more worthless - mornings or afternoons? BURKE I got ta get back. They pause by a workers to say goodbye. WORKER Assume Michelle Pfeiffer is the woman - which of these 67 actors would you most like to see her with. Patrick Swayze, Keanu Reeves, Dustin Hoffman, Johnny Dep, the guy from ` Major Dad'. NAN There's something I meant to tell you. You may have noticed something unusual about me. BURKE I got ta get back. NAN I could never find the right time to. BURKE Is this urgent? NAN Well, maybe not urgent, but immediately significant and necessary to tell. -LRB- a deep breath. -RRB- You see, there's these pills. BURKE'Cause I got ta go. I'm listening with an eighth of an ear now. NAN So long. He exits as the telephone pollster continues with the list of prospective Michelle Pfeiffer male co - stars.","INT. PLANE Matt, wearing earphones, is in the middle of a row of five, intent on what he is watching. MATT'S POV A recent example of a great actor in a regular movie. something like Brando in `` The Freshman.'' No sound. ON MATT Watching intently. Not watching - studying. not studying - fully appreciating. Now he sees a particularly good moment - looks around joyously for half a beat - a reflex to share what he saw. His neighbors, not quite knowing what he's smiling at ; he returns his attention to the screen.","EXT. MID-WESTERN HOUSE - DAY As Matt's cab pulls up. He opens the front gate and walks up to the porch, noting a tricycle, stirred by old guilts. He knocks on the door. A MAN answers. MAN Are you Matt? MATT Uh - huh. MAN I did n't know if we could wait much longer. Come on in. He lights a cigarette, takes three quick drags, then flicks it away before walking inside behind Matt. MAN -LRB- again. -RRB- She's a real nut on smoking anywhere near the kid.","INT. HOUSE - DAY They enter. A bedroom down a narrow hallway from where they stand. Remember `` The Best Years of Our Lives''. Frederic March coming home from the wars and seeing his wife just a beat before she sees him. Here we have a wretched mutant of that moment. Beth, still fierce and attractive, is packing her daughter's suitcase when she senses him and looks up. Shaking her head with a disapproval which will never die, she walks to him. BETH Hello - did you two meet? MATT Not really. Is she ready? I have the taxi waiting. BETH I just have to say goodbye. You have no idea how difficult that is. MATT It's three weeks. BETH It's not three weeks. MATT Yes, it is. BETH No, it's not. Several beats - Beth and the man staring at Matt. MATT It is. MAN He does n't know? BETH You are not taking her for a visit. You are taking her for a while. MATT Just because you want to go off with him does n't mean I. MAN You're getting the wrong idea. MATT I do n't think so. No matter how you put this. MAN Hey, look, I'm a United States Marshal. I'm here because she did n't show up yesterday to start serving her time. BETH I do n't have a choice. You do n't have a choice. She turns and starts for the other room. MATT What did she do? BETH -LRB- turning. -RRB- I loved, helped and supported in every possible way a business man who committed the terrible crime of being financially imaginative with a pension fund. She exits. He sits down, stunned in the headlights of his fate.","INT. APARTMENT - DAY Matt and the Marshal in the foreground as Beth talks to Jeannie in the background. We see only glimpses of them. Beth's face as she leans towards Jeannie from one side of the doorway - just Jeannie's legs dangling on the other side. BETH'S VOICE Okay, listen carefully, Jeannie. Be still. Now, what's the most important thing in life to know? JEANNIE No one will ever love me as much as you do. Matt and the Marshal exchange a look of mutual horror. BETH Good. Now, concentrate with all your muscles and remember everything I'm about to say to you. The Marshal and Matt shift uncomfortably. BETH Do n't talk to strangers. They may be killers. Take your vitamins so the poison in the food ca n't hurt you. What else now? JEANNIE'S VOICE Teeth. BETH'S VOICE Right. Thank you. Brush right after you eat or your gums will start to bleed in your sleep and choke you. The Marshal and Matt can stand no more - they each call to her. `` Beth. Beth. Mrs. Hobbs. Beth.'' She looks out and then walks to them. BETH What? I'm giving Jeannie her reminders. MATT Reminders?!? You ca n't say things like that to a little. BETH No. Do n't. No. Do n't dare. Do n't criticize the way I mother or I think I'll start to scream and never st. MARSHAL Mrs. Hobbs. BETH -LRB- suddenly cheery. -RRB- Yes. MARSHAL You know, I've been involved with this sort of thing for a long time. BETH You're not going to criticize me, are you? Not in front of him - because all he's done is send Jeannie these long, stupid letters. He does n't even realize she ca n't read. He sends letters to someone who ca n't read. -LRB- laughs. -RRB- It's almost funny. MATT I thought you'd read them to her. BETH -LRB- realizing. -RRB- Oh. MARSHAL I'm not faulting you. You love your daughter and this is a very tough thing to go through. You feel guilty and caring and it all gets mixed up so that there's so much important stuff going down that there's no sure way of dealing with it, but the best thing you can do is just make sure you love her. BETH Typical cop talk. -LRB- on his look. -RRB- But I understand what you're trying to say. Thank you. Can I have another minute with her? She returns to the doorway which still only provides us with glimpses as she SINGS, `` DO N'T TALK TO STRANGERS.'' The CAMERA MOVES down the hallway to INTRODUCE JEANNIE, trying to puzzle things out as she sits amongst a ridiculous number of suitcases.","INT. SITTING ROOM - DAY As the two females who bear his name approach. Matt does n't want a pregnant first moment with Jeannie, so he wards off silence with chatter. Unfortunately, he can only think of one word. MATT Hi, hi, hi, hi, hi, hi. JEANNIE -LRB- laughing mirthlessly. -RRB- Hello, monster - poop. MATT -LRB- to U.S. Marshal. -RRB- She has her mother's sense of humor. Beth stops him with a look, then bends down. BETH Okay, love, Mommy's going to help others who need her for a few years, and you're going with Daddy as I explained. -LRB- to Marshal and Matt. -RRB- We'll all have to help with the luggage.","EXT. BETH'S HOUSE - DAY - LONG SHOT All three adults and Jeannie sharing the burden of the luggage as they move towards the cab. Mother and child hug. Matt struck by his child's plight, him. BETH -LRB- turning to Matt. -RRB- Beginning now, you must give less value to your own happiness and well - being, then hopefully, you will reach the point where you give that no value whatsoever. Give her everything. There's no such thing as spoiling a child. MAN Even if you have to steal to do it? BETH You do n't really want to mess with me, do you? MAN -LRB- simple honesty. -RRB- No. MATT -LRB- to Jeannie. -RRB- Okay, sweetie. We have to go. JEANNIE -LRB- to Beth. -RRB- I want to go with you. BETH Ca n't, pretty - heart. I'm sorry. Tears fall from Jeannie's eyes. JEANNIE Not even a compromise? BETH -LRB- thinking. -RRB- The compromise will be that you do n't have to ride in back ; you can ride up front with the driver. okay? MATT What? JEANNIE Okay. As Beth buckles Jeannie into the front seat, Matt gets in the back, alone, feeling preposterous. Beth nods to the Marshal, who surreptitiously handcuffs her. MATT -LRB- to driver. -RRB- Can we please go? SHOT - JEANNIE The cab pulls away. Matt leans towards her as she looks back at the receding figure of her mother and grows still. ON MOTHER AND MARSHALL As she sings him one last line of `` DO N'T TALK TO STRANGERS.''","EXT. SIDEWALK AREA - DAY Matt checks Jeannie's luggage, then takes her hand. She lets him. He is grateful. MATT It's going to be okay. I'm you're dad, you know? So it will be okay. You and I will make it okay. You ever ridden in a plane before? JEANNIE -LRB- a sudden gust of anger. -RRB- Yesssss!","INT. PLANE - DAY Jeannie and Matt in the center two seats of a five seat row. Jeannie is coloring in a book which Matt bought her ; he is holding some extra crayons. JEANNIE Do n't stare at me. MATT Sorry. JEANNIE I want to put on my yellow dress now. MATT It's underneath the plane. We ca n't get it. And just that quick, Jeannie screams. JEANNIE I want to put on my dress. I want to put on my dress. Other passengers turn around. This is pretty raw stuff we're into. Temper in all its wildness, MUSIC UNDER. electric guitar beginning to match the energy and naked emotion of the child. MATT There's no way we can get the dress - it's impossible. Jeannie's feet start kicking in front of her - the person in that seat turning sharply around. MATT Do n't kick the seat! JEANNIE I want the yellow dress. -LRB- a shriek. -RRB- Give me a compromise. She is crying now. MATT As soon as we land. That's the compromise. MORE MUSIC Without warning, Jeannie slaps herself in the face. All five people in the row ahead turn and say in unison : WOMEN IN ROW Do n't hit her. MATT God, I did n't hit her - she hit her. ANGLE ON LIGHTS As everyone starts pushing the cabin attendant call button. These dings magnify until they're part of the music - as it drives and drives. Matt takes Jeannie's hand and tries to restrain her. JEANNIE Noooooo. Let go of me. Noooo. The yellow dress. let go. let go. She breaks away from him. He moves after her. CAMERA MOVING At breakneck speed, Jeannie dashes through the plane with her father in pursuit. flashes of disapproving faces. The seat belt sign goes on. A FLIGHT ATTENDANT blocks his path. FLIGHT ATTENDANT You'll have to sit down. Jeannie takes advantage of Matt's being stopped and moves into the toilet, locking the door behind her. MATT -LRB- yelling. -RRB- Jeannie, we have to sit down. Please. CAPTAIN'S VOICE We'll be having some turbulence for the next twenty minutes or so. Will the cabin attendants please take their seats? FLIGHT ATTENDANT Sir. MATT -LRB- simply and utterly. -RRB- I have no idea what to do. A sudden bump and Matt falls. He yells to the locked door. MATT Jeannie, you okay? FLIGHT ATTENDANT Go back to your seat. I'll get her. As Matt makes his way back, the Flight Attendant uses a hidden latch to open the door. Music building - then calming, the worst is over. Matt makes his way back to his seat, shell - shocked. The Attendant leans over him. FLIGHT ATTENDANT She wants to be alone. So we're upgrading her. He just nods. FULL SHOT Down the aisle - Jeannie lets an Attendant lead her as she peers back at her dad.","EXT. PARKING LOT - NIGHT Matt carrying the sleeping child like a sack over his shoulder, also managing to hold onto all her luggage.","INT. MATT'S APARTMENT - NIGHT He has propped her on the sofa, a cotton nightgown out. He is unbuttoning her dress. She opens her eyes, the window's protective bars PLACING A SHADOW ACROSS HER FACE. She attempts to cover her fear. JEANNIE These are the wrong jammies. MATT Okay. so what do we do? Jeannie mimics him perfectly under her breath. She goes to an open suitcase and throws things on the floor until she finds the right jammies. JEANNIE Where do I sleep? MATT I have a sleeping bag and bed. Which one do you want? She surveys her pitiful choice ; then points to the sleeping bag. JEANNIE That. She gets into it. He zips her up - then she says something remarkably unexpected. JEANNIE Hug. Amazed, Matt hugs her. A half - beat, then : JEANNIE -LRB- sharply. -RRB- Let go. He does - then stands and looks down at her. She looks back, mocking his stare with one of her own.","INT. BATHROOM - DAY Nan uncertainly enters this decidedly masculine bathroom. She is wearing an evening gown. The sun streams through the lush foliage outside a wall - sized window. MUSIC as she opens her purse and removes a pillbox ; at one point lightly singing a snatch of lyric concerning the conflicts of being a single woman and a single mother - this while totally focused on the pills. INSERT - PILL BOX A major movie shot of this compartmentalized box. Each burrowed nest clearly labeled for the pill it contains : VITAMIN B, VITAMIN A, OSCILLOCOCCINUM, PROZAC, CALCIUM, TEST DRUG, ASPIRIN, XANAX, ETC.. ON NAN MUSIC CONTINUES. She dials a phone number while arching her neck and swallowing one pill after another with little swigs of water. This process continuing, even as she speaks into the phone. NAN Monica - is Leslie up yet? Good. I did n't want you to get worried when you realized I was n't there. I'm still with that man. I'll tell you about it later. But it's sure nice to have wobbly legs again. Look, today's recycling day for Leslie at school, so give her some empty cans. well, then dump some out for her! Tell her I had to leave real early for work and I'll pick her up at school myself to make up for it and we'll rent any cassette she wants for tonight. Thank you. Take good care. She hangs up. Another snatch of lyric as she bends to brush her teeth with her finger ; prepares herself and opens the door to greet her new lover.","INT. BURKE'S MASTER BEDROOM - DAY Burke sits on the edge of the bed, fearful. He sees her. BURKE Oh, I thought you took off in the middle of the night. She moves quickly to him. NAN No. I just had to call home. Is that why you're sad? BURKE No. It's Everett. This kid who used to work for me. He was always crazy to do his own movie. NAN -LRB- fearing worst. -RRB- What happened? BURKE -LRB- very down. -RRB- His movie not only opened to a three million dollar Friday - it's gotten great reviews. Nan is dumbfounded ; still she puts a hand on him, actually consoling him for his hideous thought - Hollywood lovers : he, wrapped up with ill thoughts of others ; she, feeling intimate, yet severely compromised. Cupid's work is done. BURKE -LRB- again. -RRB- Listen. I'm tremendously worried about ` Ground Zero' because of the bad ` want to sees' you sent over. But that's just me being nervous over nothing, is n't it? NAN No. That's just you correctly assessing the situation. So stop being so hard on yourself. He eyes her, then :","INT. MATT'S HALLWAY - NIGHT We hear a muffled argument between Matt and Jeannie coming from inside their apartment. Then the door opens and Matt, holding Jeannie by the hand, moves down the hall to the next door and knocks. -LRB- NOTE : Jeannie is dressed in layers of varied clothing - some of the layers play clothes, some fit for a coronation. She is a pocket contemporary Annie Hall. her style so much her own it transcends judgement. Her hair is unkempt. The door opens revealing Lucy, an Hispanic woman in her mid - 30s. MATT How're you doing? I'm from next door. I see you with your kids in the laundry room. LUCY Hello. -LRB- seeing Jeannie, turns warmer. -RRB-. Who are you? Jeannie is a bit shy. MATT Say, ` Hello, I'm your new neighbor now too.' Jeannie says nothing. LUCY I'm Lucy Crisala. What's your name? Jeannie says nothing. MATT Say, ` Jeannie.' The form of the conversation is forged. Jeannie not answering anything. Matt bending over to Jeannie while he forms her answers to Lucy. LUCY I have a little girl too. MATT Say, ` Is n't that nice. How old is she?' LUCY She's four and a half and I have a little boy who is not yet one year. MATT Say, ` That's nice. I'd like to play with them. My Daddy did n't know your phone number, so we just decided to.' LUCY -LRB- interrupting. -RRB- What can I do for you? MATT Say ` Daddy has to go to work tonight and.'. -LRB- catching himself and looks directly at Lucy. -RRB- I need someone to help me and her on short notice. I've seen your around with your kids and hoped you knew someone in the building or close by. I've got this new job that starts now. Do you know anyone? LUCY Well, I'm always here. I could maybe do it myself. MATT -LRB- there is a God and a good one at that. -RRB- Oh, this is so great. Let's work out a full - time schedule and. LUCY Wait. Jeannie, why do n't you come in for a minute and meet Ricky and Essa. Come on, we're making fruit bars. Jeannie walks into the apartment past her father. LUCY -LRB- again, to Matt. -RRB- Why do n't you leave her for a while and then we talk. MATT Sort of a test? LUCY We'll just see how it works.","INT. LUCY'S APARTMENT - NIGHT Play - pen in the middle of the floor. Jeannie stands there staring at Essa who is playing with her little brother. Matt moves to embrace Jeannie who cranes away from him. He stays with it, whispering in her ear. MATT Please behave, understand? I do n't know what we'll do if this does n't work, so behave, sweetheart. Behave, behave. As he exits towards his own apartment.","INT. MATT'S APT. - 20 MINUTES LATER Matt is extraordinarily anxious. Then he HEARS loud crying and screaming from next door. There is a stab of despair. Matt deflates, then resigned, exits.","INT. HALLWAY - NIGHT The sound of screaming now louder. He walks to Lucy's door, takes a breath and knocks. The door opens and Lucy stands there looking rattled. MATT I'm sorry I bothered you. -LRB- calling inside. -RRB- Jeannie. LUCY Could I have her a little bit longer? My little boy just fell and Jeannie is the only one he let hold him. ON MATT A devil's weight lifted from his shoulders. The slap - happy smile of the just saved plastered on his face. MATT Your little boy fell, so he's screaming. And you want her to stay. Lucy, confused by his buoyant reaction, nods. LUCY Okay. Seven dollars an hour? MATT Great. Thank you. See you later, Jeannie. He tries to kiss her, but she shuns him. Lucy, now having an official status, turns to admonish her. MATT No, that's okay. I'm fine with it. I feel fine.","EXT. MOVIE THEATER - NIGHT Burke walks tight little circles near Cathy and the rest of his staff while a few feet away Studio Executives stand in a cluster. There is a DISTANT, RHYTHMIC SHUFFLING SOUND. Burke walks past Cathy. BURKE Nothing good that happens tonight can make it worth feeling the way I do right now. Nothing. -LRB- turning to Cathy. -RRB- What do you think? CATHY -LRB- nervously taking the plunge. -RRB- To be honest, I had problems with ` Ground Zero.' But this ` People Get Hurt' one, while it might not be my exact, exact thing, I think will really work for an audience. It's so over the top, you have a great time. BURKE So you think it'll score big? CATHY Yes.","INT. COUNTING ROOM - NIGHT Where we discover the SOURCE OF THE SOUND. Some twenty card - counters on the floor riffling through stacks of cards with erasers. Matt and Nan stand in the doorway. NAN Do n't worry. My daughter used to throw fits in supermarkets when we first moved here. It's all so perfectly normal. Plus I know a great psychiatric children's group. MATT That's what breaks your heart. Jeannie's problem is that she's so down on herself. NAN Well, she's lucky to have a daddy who cares, believe me. MATT I do n't know if lucky's the word. I'm hoping she's asleep when I get home so I wo n't have to deal with her. I'm actually afraid of my own kid. NAN Oh, my. I've had exactly that feeling and never said it out loud. See, there are men who talk my language and I'm just cursed that I'm not attracted to them because they are so nice they remind me of myself. Matt laughs. In the b.g., the counting is completed. GROUP CAPTAIN Excellents? GIRL COUNTER Seven. GROUP CAPTAIN Very goods? BOY COUNTER 14. GROUP CAPTAIN Fairs? SECOND BOY CARD COUNTER 30. GROUP CAPTAIN Poors? SECOND GIRL CARD COUNTER Just a second. -LRB- finishes counting. -RRB- 666. The Group Captain notes the figure on a sheet, walks to the doorway and hands it to Nan, who is still deep into conversation with Matt. She begins walking back to the theater without looking at the sheet in her hand. NAN I felt terrible about the way I blew up at you when I first met you. -LRB- before he can object. -RRB- Please. FULL SHOT - THEATER AREA - NIGHT Burke and others waiting as Matt and Nan come to a stop some distance away. BURKE What are they doing? NAN I began taking anti - depressants when we moved here from Washington. I had some small reactions - sleeping 14 hours, no libido, I gained 17 pounds in nine days - that sort of thing. So they gave me pills to deal with the side effects. And then pills to deal with the side effects I was getting from those pills. All this besides the stuff the nutritionist was giving me. The combination formed some sort of potion so that I keep telling the truth. I do n't have a choice. That's why I was so rude to you. MATT Your doctor says this? NAN Oh, yes. He's excited, but only because he sees glory for himself in it. See, ordinarily I would n't say that about my doctor, but I ca n't help it, it's the truth. He's monitoring me for a while longer before writing it up for this medical journal. Cathy has joined them. CATHY Burke's going crazy waiting for the score. NAN Coming. CATHY -LRB- to Matt. -RRB- How are you, anyway? Matt shifts, figuring out his answer. CATHY -LRB- a small laugh. -RRB- It's a tough one, huh? Me too. Nan looks down at the score. NAN Oh, my. Matt, I'd better drive him myself. She starts for Burke. ON BURKE AND OTHERS As Nan arrives and hands the Studio Executives the score, Burke looking over their shoulders. BURKE I can fix this. Get some narration written. -LRB- turning to Director. -RRB- You'll cut 30 minutes. It will come out like butter. DIRECTOR We're only 77 minutes now. BURKE -LRB- mumbling to himself. -RRB-. a 47 - minute movie. no, that wo n't work. FEMALE STUDIO EXEC I have to go. I have a nanny problem. Priorities, right? BURKE Thanks for the support. She kisses his cheek and leaves. A beat of silence. Burke turns to Nan. BURKE -LRB- again. -RRB- Can you help? Exactly the moment Nan has been waiting for. she does have a valuable observation to offer at this dark moment. NAN Yes, I can. BURKE -LRB- hopeful. -RRB- Go ahead. NAN It's only a movie. As Burke looks at her from the depths of his pain and sees her confidently believing that she has imparted something of value, the movie's marquee lights go off giving us a :","INT. MATT'S HALLWAY - NIGHT As he carries an enormously resistant Jeannie, wearing a borrowed T - shirt nightie, back towards his apartment. Matt has Jeannie under one arm - her clothes and shoes in another. Jeannie's arms are extended towards Lucy, who stands in the open doorway of her apartment. She begins thrashing. Giant tears come - the moment is operatic. JEANNIE Let go. Please, Lucy, do n't make me go. MATT Everyone's tired. You can come back tomorr. LUCY Listen to me, Jeannie. JEANNIE I want to live here with these people. God, let me live here. MATT Maybe if she stayed tonight she. JEANNIE I love it here so much that. Now her father's last words have registered on her - she immediately stops crying, though tears still roll down her cheeks. JEANNIE Daddy says I can stay. Jeannie wriggles away towards Lucy's doorway. Lucy takes several steps toward Matt, who obviously fears the looming exchange. LUCY I no think you can give her what pleases when she act like this. Because then she think. Matt is very much like a fighter taking a great deal of punishment, knowing he is beaten, but being told by his corner he must make a fight of it. He nods his head repeatedly in agreement. MATT I know. I know. Now he sniffs the air in quick rhythm, hoping to draw in some courage and resolve. He moves to Jeannie. MATT You'll see Lucy in the morning. We're going home. JEANNIE No. I'm not! STOP!","INT. MATT'S APARTMENT - NIGHT As they enter and Matt pushes her into the other room and closes the door, placing her in there alone.","INT. BEDROOM - NIGHT Jeannie, behind the double glass - paneled doors of the bedroom. HER POV Matt, upset in a way he has never imagined, as he pops a beer - puts on some headphones for calming music and begins to read a book on child behavior modification. ON JEANNIE Feeling the restrictions of her punishment, pacing and now she begins to wail `` THIS LONELY LIFE''. Few adult women have sung with such appropriate passion out of need and loss, aloneness and confusion. The song finishes. Jeannie sits huddled.","EXT. ROOFTOP - DAY This rooftop serves as an outdoor commissary for Popcorn Pictures. There are a few tables, snack machines and umbrellas. The whole `` D'' staff is there, including Cathy, having lunch, along with Claire, the casting assistant. In the b.g., we see Matt, huddled, sitting on the roof's awful green outdoor carpeting, feeling much the same as Jeannie in the previous scene. ON MATT Off in the distance, the Popcorn execs contentedly ply their trade. As he overhears their conversation and the words begin to register in all their horror. MILLIE Will somebody take a minute to look over my casting list before Burke gets here? MALE D PERSON -LRB- scanning list. -RRB- This is n't so great, Millie. MILLIE Well, I wanted to put in people we had a shot at getting. MALE D PERSON -LRB- reading from list. -RRB- F. Murray Abraham, Jeff Daniels, Ed Harris, John Lithgow, Rip Torn, Willem Dafoe, John Malkovich. For an action lead? MILLIE Could you at least take it one person at a time instead of. MALE D PERSON Okay. Let's play ` State the Obvious'. F. Murray Abraham has a nose as long as an Aspen ski line, Ed Harris is losing his hair, Joe Mantegna has never played the lead in a big movie. Willem Dafoe's teeth. Bob Hoskins looks fur bearing when he takes off his shirt. Malkovich. Matt can take it no more. He hears a loud voice coming from his own throat. He wigs out. MATT I ca n't stand it anymore. I ca n't. CATHY What's wrong? What happened? MATT What, in God's name, are you doing in this job you have? SHOT As they all start to answer at once. MATT I mean him. What, in God's name, do you know about casting? MALE D PERSON Me? Matt rises and walks towards the Male D Person. MATT Yes. What do you know? About anything? You do n't even know you have a habit of touching your tongue with a finger like you want to lick yourself. -LRB- note : this is his little habit. -RRB- Yet, you talk like you actually know something. So I want you to tell me. -LRB- louder. -RRB-. what you know. MALE D PERSON I'm not going to be drawn into this. MATT I've been an actor most of my life and this is the first time I've ever heard what the people calling the shots sound like when they're casting. So I really want to find out what, if anything, you know because what if nothing you know. FEMALE D PERSON I do n't think the yelling is necessary. MATT Oh, you could n't be more wrong. And I'm not talking to you. And I do n't like you. MALE D PERSON How about you just mind your own business? Matt is very close to him - he shakes his chair. MATT You're minding my business. That's the problem. so, just tell me, what do you know? ON MALE D PERSON Matt's manner is threatening. The Male D Person looks around for some support and finds little. then Matt's tone changes. it's reasonable, almost seductive. MATT Just tell me and I'll shut up. MALE D PERSON -LRB- taking the bait. -RRB- First of all, I've been going to movies since I was six, for God's sake. MATT What you know is the size of a schnozz. What you do n't know is that these guys. -LRB- indicates list. -RRB-. are for real. ON CATHY She is a ricochet victim of every word Matt says, as he continues to indict the Male D Person and unknowingly reach her instead. His fury grows and becomes more complicated, containing an element of mourning. MATT -LRB- again. -RRB-. that they can make something happen, and even they do n't know what that is till they get in there and play a little. they can make something happen that you ca n't even imagine. and it's not your fault, this stupidity.'cause you're just this scared little prick who gets to say he's making movies, and the only thing they ever taught you is that what you like does n't matter. MALE D PERSON -LRB- frightened. -RRB- Thanks for understanding. The anger leaves Matt. He is depleted. MATT But is n't it almost good manners for you to feel a little shame? Cathy rises and begins to exit. MATT -LRB- again. -RRB- I did n't mean you. CATHY If you did n't, you sure should have. She exits. The D Person's Colleagues have taken advantage of the beat to egg him on. MALE D PERSON You talk about manners - are you actually so bitter you do n't realize how you acted just now? You're gone, pal. But at least know that we ca n't help that we're making it. MATT Oh, shit. You win. You got lucky with ` bitter.' That word just scares me to death.","INT. STAIRWELL - DAY A distraught Cathy is walking down as Burke bounds up. BURKE You look down. CATHY I am. BURKE Thank you. I appreciate the support. CATHY I'm not down for you. I'm down about myself. BURKE -LRB- not hearing. -RRB- Oh. What if ` Ground Zero' does n't do well this weekend? CATHY Please listen to me. He nods, but she pauses, disconcerted. BURKE What? CATHY I just got this feeling of seeing myself talking to you and how this is the most important moment of. ever. BURKE -LRB- brusquely. -RRB- Okay. Good. What is it? CATHY I've been watching this company make movies that cost tens of millions of dollars and all the while I've known about this wonderful script which we can somehow own and we could make for about $ 14,000,000. $ 3,000,000 if you can live without stars or a name director. BURKE Is that it? Okay, send me. CATHY I've sent you coverage on it nine times. I swear to you, Burke, it will work. You've never heard me say that. BURKE How about last night? CATHY -LRB- an unexpectedly fierce outburst. -RRB- I do n't know anything about action - adventure! -LRB- on his look, she gains control. -RRB- I have no idea where that came from. Hey, I know everyone thinks I do n't have any commercial sense because of what I said at the ` Gremlins' preview and all. And you think I ca n't put myself on the line. Well, if this picture does n't work, fire me. Have me killed if it does n't get good reviews. If this does n't get a 70 percent definite recommend from women 49 and under, I promise to be your sex slave until they drop ticket prices back to five bucks and start enforcing the R rating. BURKE You're selling very excellent. Very excellent presentation. CATHY You've got to do this. I think this movie can save me. BURKE -LRB- disgusted. -RRB- Oh, please. What's the script? CATHY ` Mr. Deeds Goes to Town.'","EXT. MATT'S APARTMENT - EVENING As Matt exits his car with beaten down body language.","INT. APARTMENT BUILDING - EVENING As he leads Jeannie briskly down the hall from Lucy's apartment and into his own. JEANNIE Why could n't you even look at the way I dressed Ricky? MATT Look, I do n't want to talk about it. I just had a real rough day. so just let it sit there, okay? JEANNIE But what was it? Tellll me. Compromise. You sad? MATT Yes. -LRB- through gritted neck cords. -RRB- Now, I really need to be quiet. JEANNIE -LRB- eyes him, then. -RRB- You! I know what will cheer you up. Moving very quickly and with great purpose, she slaps a tape into a pink child's cassette player and MUSIC BEGINS. Jeannie sings along with the child's chorus on the tape, `` YOU COULD BE WONDERFUL'', making, with little hand motions, the last thing Matt needs, but, in due course, he starts to actually make a bit of transitional progress out of his own troubles and into the fact that his daughter is beguiling. But, before the mood can fully sweeten, Jeannie forgets the lyrics and begins to verbally assault herself as the tape continues to play. JEANNIE I ca n't even remember the words. I am stupid. MATT No, you're not. You're not stupid and I'm not bitter. and you know why? Because there's no cure for either one and we've got to believe in some cure for each of us. JEANNIE I am stupid. I ca n't even remember the words to some baby song. MATT Oh, Jeannie. I just ca n't do this now. The phone rings. As he goes to answer it. MATT -LRB- into phone. -RRB- Hello? Yes. Cathy. Hey. Just a second. His mood has changed. It's a fine sign that Cathy has called him at home. He needs only for his child to take pity and listen to him. MATT Jeannie, please. be quiet for one second. this is very important for me. She decides, with some difficulty, to let him continue. MATT -LRB- into phone. -RRB- So? Wow. Good for you. Congratulations. Jeannie mouths the words, `` Who is it?'' Matt holds up a finger asking her to wait. MATT Me? This is great. I'll come right over and pick up the script. Okay. If you want to. Bring it over. Goodbye. -LRB- to Jeannie. -RRB- We might make it yet, kid.","EXT. MATT'S STREET - EVENING As Cathy drives past some rough examples of street life, and finally finds Matt's building with its grim iron gate security system. Cathy, uncomfortable in these surroundings, parks her car, brushes her hair, while, at the same time, putting in place a phony cheap - car - radio - sticker over her own expensive system, and gets out.","INT. MATT'S APT. ENTRANCE - EVENING She buzzes his apartment and waits. MATT'S VOICE Cathy? CATHY Yes. MATT'S VOICE I'll buzz you in. You've got to be quick and push hard. In the b.g.. WE HEAR Jeannie loudly imploring her father to make the person wait till she's finished dressing. There is the SOUND OF the buzzer. Cathy hurls herself at the door a good four times before finally timing it right and gathering the necessary strength to spill through.","INT. MATT'S HALLWAY - EVENING Cathy stands there overhearing the voices from inside. JEANNIE'S VOICE But why ca n't I stay just a little while? MATT'S VOICE Because this is a very special friend of Daddy's and I need privacy. Be fair. I let you wear that dress. Cathy knocks. Matt opens the door. MATT Hi. He steps aside so Cathy may enter. The place is tidied up. He has changed his clothes and Jeannie is wearing a lace dress, fit for a young princess, complete with flowered tiara and ballet slippers, with trailing blue ribbons at the heels and a velvet cape. MATT This is my daughter, Queen Elizabeth. Jeannie, this is Cathy. CATHY Hi. What a pretty dress. JEANNIE Thank you. That's nice. ON MATT Happy that Jeannie is behaving so well. CATHY Are you going to a party? JEANNIE -LRB- wildly hopeful. -RRB- Am I going to a party, Dad? MATT -LRB- quickly. -RRB- No. You're going next door. Jeannie is crest - fallen ; for a horrible second, it looks as if she may start to wail. Matt moves into action with a pep talk. MATT Remember our compromise? You're going next door to Lucy's to play and you'll show the kids your dress and I'll come get you later and we'll go out someplace and I'll buy you anything you want for under seventeen dollars? JEANNIE I remember. She starts for the door, doubles back, and kisses a surprised Cathy full on the lips. The gesture is beautifully, even movingly carried off. It is totally false. JEANNIE -LRB- again to Cathy. -RRB- Goodbye. I love you. CATHY -LRB- totally thrown. -RRB- Well,. thank you. Jeannie is on the run. as she passes her father. MATT -LRB- sotto. -RRB- Thanks. Jeannie nods acknowledgment as she flies past. OTHER ANGLE Favoring Cathy, Matt leans out the doorway until Jeannie is safely next door, then re - enters. CATHY What a little winner, huh? MATT -LRB- modestly. -RRB- Oh? CATHY -LRB- waving script. -RRB- This is my favorite project. And it looks like we're going ahead with it. MATT -LRB- overlap. -RRB- ` Mr. Deeds Goes to Town?' Oh, it's a remake. CATHY Well, come on, what's original? And this is a wonderful rewrite. It's funnier. MATT And there's a part in it for. CATHY Yes. Burke says I can test whoever I want. He was n't even surprised when I mentioned you. So, if you could read this rewrite now and if you like it, we can make a test deal. -LRB- catching herself. -RRB- they can make a test deal. we can tell them that they can make a test deal. -LRB- in explanation. -RRB- I think it's important for me to steer clear of the business end. MATT Okay. which part? CATHY Longfellow Deeds. MATT Mr. Deeds? CATHY Who goes to town, yes. Matt takes this in. takes this miracle in. MATT Who are we kidding? I'm even having trouble getting short parts - I'm going to say I love it no matter what you've done to it. CATHY Stop being so creepy honest. I really have an instinct about you for this. I'm going home - call me when you finish reading it. -LRB- how quickly status changes things. -RRB- Or. come on over.","INT. BURKE'S BEDROOM - EARLY EVENING A post - coital moment though only the man is visible ; Burke, who lies on the bed wearing a shirt and tie and nothing else. Nan lies out of sight on the floor where she is recovering from the deepest orgasm of her life. BURKE Why not? If you can test movies and premises and want - to - sees, why ca n't you test screen tests? Nan hauls herself into view, climbing back onto the bed. NAN I ca n't deal with your self - centered dribble right now. I have just had the biggest orgasm of my life and I'm trying to figure out if I'm in love with you. BURKE What? NAN Whoops. Tell me what made you rush over and pick me up and bring me here at six o'clock. I mean we seem to have. She closes her eyes in a characteristic and touching gesture, as the scientist in her struggles to be precise. NAN -LRB- again. -RRB-. this unspoken agreement not to talk about why we're together when we're together and I do n't think it's good to let that become a pattern for us. She focuses again on Burke. Prepared for, at last, some verbal intimacy. BURKE Why did I rush to you? Because I felt like I had to. be with someone and you were closest. -LRB- on Nan's reaction. -RRB- What's wrong? NAN You're not at all aware that you've just said something. -LRB- her eyes close. -RRB-. unattractive? BURKE Look, I'm sorry if that came out. NAN I'm not looking for an apology. BURKE I'm just trying to say that one of the things I'm not great at is. NAN Let's not make this about your shortcomings. I'm sure you've had enough of those conversations to last you a lifetime. What I'm. BURKE No, I have n't. NAN No, you have n't what? BURKE Had a conversation about shortcomings. NAN -LRB- aghast. -RRB- No woman has ever told you that you have an almost barbaric insensitivity? That you seem to have lapsed into some final cynicism, where you actually believe that, not only does everyone think the way you do, but only you have the courage to express it? That you seem horribly certain everyone else is sort of pretending when they talk about love or seem to care for anything outside their own anus? No one's ever said that sort of thing to you? BURKE Oh, yeah. But I did n't get what you meant by ` shortcomings.' Hey, if you think things like that, what are you doing here? NAN -LRB- indignantly. -RRB- I'm here for the same reason 86 percent of older women loved ` Beauty and the Beast.' I would like to believe that underneath the creature, there is a sweet, caring guy. BURKE I sure hope you're wrong. Nan breaks up, shaking her head ruefully. NAN I have to pick up Leslie. Burke, not having intended humor, is also lighthearted, having somehow avoided a tight spot.","EXT. CATHY'S HOUSE - NIGHT Matt, holding the script, walks the small lane through the tidy lawn to the perfect Silver Lake cottage. We HEAR MUSIC from inside. -LRB- A soundtrack. -RRB- There is a note on the door, which is slightly ajar, reading : `` Come right in if you loved it - ring if you have reservations.'' Matt enters.","INT. CATHY'S HOUSE - NIGHT White walls, thick rugs, great, great, fantasy garret ; sparse, but cozy. He walks a step, then there is a girlish squeal and a naked Cathy streaks the rest of the way to her bedroom from the bathroom. CATHY -LRB- calling. -RRB- I mistimed it. -LRB- sticking her head out the door. -RRB- I wanted you to catch me fully frontal. She smiles broadly ; hurriedly putting on something quick and loose to match her buzz. As she walks to him, the phone rings. She ignores it. CATHY So you loved it. A lot? A little? MATT Give me a second - all of a sudden, there's a lot to deal with. She sits on the sofa - looking at him. MATT -LRB- again. -RRB- It's terrific. CATHY -LRB- pointedly. -RRB- Do you see why I think you're right? MATT Because you're nice and you know I need work. CATHY -LRB- lower. -RRB- You know this is really happening, so I wish you would n't kid around about it. MATT Sorry, but I think the audition rule is that I have to be serious unless the person in charge is wearing a bathrobe and her nipples are sticking out. -LRB- holds fingers apart. -RRB-. this much. Cathy peeks down her bathrobe. Then broadly. CATHY There are some mixed signals coming out of here, are n't there? -LRB- phone rings ; she answers. -RRB- Hi. Working. I ca n't write down a number now. Call me back. -LRB- to Matt. -RRB- The script? MATT It's really good. I get a little nervous thinking about the opportunity. CATHY I want to hear everything. You want to go page by page? MATT If it's okay. I kind of work on these things in a private. it's just. it's a little better for me if I do n't. CATHY -LRB- hurt. -RRB- Okay. MATT Okay, let's do it. It wo n't kill me. CATHY Please. I understand. An uncertain beat and then she leans over and kisses him. A sound escapes him. They get up and begin walking to the bedroom. MATT I swear to God, I do n't know which thing I want more, the sex or the conversation afterwards. CATHY -LRB- a smile. -RRB- What do you mean?","INT. CATHY'S BEDROOM - NIGHT As they enter and move to the bed where Matt starts undressing. MATT I mean I have n't been to bed with anyone since Jeannie got here. I have n't talked to anyone the way I need to. -LRB- cradling her breast. -RRB- I have n't seen anything this beautiful. I have n't felt this good about life. I mean, I've been lonely, Cathy. CATHY -LRB- as he enters her. -RRB- I'll tell you the truth, Matt. I've never felt more like turning my phone off. She twists her body gracefully, sexily towards the phone. MATT You ca n't shut the phone off. I left this number with Jeannie's sitter. CATHY I do n't understand what you're worried about. MATT I'm not worried. But if the phone was off, I would worry. CATHY But I get a lot of calls. MATT Oh. CATHY I could put the machine on ` monitor,' but it's going to be. I do n't know. MATT It will be okay. I think the most important thing is to stop talking about the phone. Turn it off, monitor, whatever. CATHY Okay. She twists toward the phone again - not quite so beautifully. OTHER ANGLE As she hits the `` monitor'' button, then turns back to him. CATHY You look so serious. MATT I am so serious. CATHY'S POV Matt totally there. this is major for him, then he does something sensitive. reads her concern over the depth of his need and interest and shrugs, indicating he ca n't help it. ON CATHY She likes him. THE COUPLE As they make love. their union thrown off kilter by the phone messages which roll in periodically as they thrust and sweat towards intimacy. YOUNGER MALE VOICE -LRB- broadly. -RRB- Hi, Cathy. All my magazines came today. Read the new Vanity Fair, they take apart three people we hate. Spy is bad this month. Scorsese did n't get the Time cover, the plane crash did. ha, ha, ha. Why are n't you at the office? You know, I'm getting to the point where I prefer to reach people's machines. Bye. The love making continues as the calls continue. MALE D PERSON VOICE Cathy? Are you there? Hello. Are you there? I'm going to count to ten. One, two, three. -LRB- then to someone passing his office. -RRB- Did you go to the screening last night? What did you think? That makes two bombs in a row for her. -LRB- into phone. -RRB-. four, five, six. Pick up if you're there. I've got major gossip. major screwup. It could be good for us. Cathy, in the throes of sexual union, feeling a bit divided by the offer on the phone. she shakes it off. MATT Is this the kind of crap you listen to all day? CATHY Please, we're making love here. BURKE'S VOICE -LRB- incredibly depressed. -RRB- If the TV show bombs, there's going to be a dance party on my grave. I do n't give a crap. Nothing seems to have a point anymore. I'm really questioning everything. including action - adventure. Do n't tell anyone I'm down. Even destroy the message tape. Do n't tell anyone I said to destroy the message tape. Do n't even give hints that there's something you ca n't tell them, but you wish you could. I'm losing it. I'm losing it. I'm losing it. Do n't tell nobody. Do n't tell nobody. Do n't tell nobody. The sound of a hang up. the couple having more difficulty making love. ON CATHY AND MATT As they look to the phone and react - still joined, then : JEANNIE'S VOICE -LRB- sobbing. -RRB- Daddy. -LRB- berating someone who is with her. -RRB- You dialed bad. Where is he? LUCY'S VOICE -LRB- with Jeannie coaching b.g. -RRB- Matt, Jeannie is very upset because you are not here when you said. And now the big hand is on the eight. The sound of a hangup. As Matt springs from the bed. MATT I'm sorry. CATHY It's all right. MATT -LRB- as he leaves. -RRB- Is there a name for what we just had?","INT. BURKE'S CAR - DAY Matt driving. Burke in back as his anxieties gnaw away. MATT This is awkward, my driving you around and testing for you tomorrow. BURKE Not really. MATT Well, I hope you understand I ca n't drive you to work tomorrow and then go in and test. It's just. Burke reluctantly considers, then : BURKE Okay. I was going to come in late anyway. I'll get one of the kids to drive me. MATT Thanks. And, look, if I get the lead in this movie, you'll have to go back to sitting up front with me. Burke laughs - surprised at being genuinely amused.","INT. MATT'S APARTMENT - MORNING Matt, wildly dialing a phone - orange juice in hand, Jeannie standing nearby. He shrieks one phrase. MATT -LRB- into phone. -RRB- No sitter! Thanks. We're leaving now.","INT. MAKE-UP ROOM - DAY Matt is in the final process of being made up, going over his lines. Cathy enters. CATHY Jeannie's fine. There's a whole bunch of kids in the building. She's fascinated. And they're all ready for you. MATT How many men are they testing today? CATHY You're the only one. Matt is surprised. But he is a pro and so immediately makes use of this sudden blip in status. MATT Then tell them I need a little more time. MAKE-UP PERSON No, it's okay, we're done. MATT I mean for me. I want to focus a little. CATHY Sure. -LRB- she hugs Matt. -RRB- Good luck, Matt. -LRB- whispered advice. -RRB- The thing they're looking for most is sexy. And then they're gone. With that bit of advice, Matt is totally fucked up. A beat after Cathy leaves : HAIR PERSON You know who she was involved with for a minute or so? MAKE-UP PERSON Who? MATT -LRB- quickly. -RRB- Hey! On their look. MATT -LRB- again. -RRB- You guys have to leave. This is important and I need to be alone right now. They exit. Matt thumbs through the script. does a relaxation exercise. takes a breath and thinks. a beat and he is reasonably confident. he walks one half - circle of the room making sure he's fully pumped, then exits.","EXT. POPCORN MOVIES - DAY As crowded as it was for the previous audition scene, but this time they are reading children of varied ages, and the kids and their parents are all over the stairs, etc.. Jeannie is filled with wonder and is arrestingly and atypically shy, as she makes her way through this world of the young, clinging to Cathy's hand, as the kids sing their version of `` MAKE BELIEVE'' - the stage parents taking one verse. At one point, Cathy's begins talking to someone, blocking Jeannie's view. JEANNIE Get out of my way! CATHY Do n't say it like that! JEANNIE Which way should I? -LRB- polite little girl. -RRB- Get out of my way. -LRB- almost weeping. -RRB- Get out of my way. -LRB- furious. -RRB- Get out of my way. All this noticed by a casting person with a clipboard. CASTING PERSON Wow.","INT. POPCORN PICTURES HALLWAY - SEVERAL HOURS LATER Matt making his way past the last of the kid stragglers. Cathy and Jeannie come running up to him. MATT It felt great. Everybody. JEANNIE Let me tell him, let me tell him, let me tell him. CATHY -LRB- highly annoyed. -RRB- Let him finish! God! JEANNIE I want to tell him. CATHY If you wait one minute, I'll let you. Jeannie turns down her volume, but keeps repeating - incanting actually. `` I ca n't wait to tell him. I ca n't wait to tell him. I ca n't wait to tell him.'' MATT Anyway, the girl I did it with, by the way, she's really good ; the director, the crew. they all thought we nailed it. CATHY -LRB- loving, sexy. -RRB- Hey. JEANNIE -LRB- to Cathy. -RRB- Now? Cathy nods and Jeannie begins to push Matt into Cathy's office for privacy. CATHY Wait till you hear this one.","INT. CATHY'S OFFICE Jeannie sits her father down. This is the first time we've seen her joyful. Pure glee. JEANNIE Some lady asked me to go in a room and, you know, make believe and say stuff like we were playing a game. The words coming so fast that Jeannie lets loose with a bolt of SONG, as if taking a moment to catch her breath. Just a few sung lines proclaiming happiness. JEANNIE -LRB- again. -RRB- And everybody went ` yea' and they said they wanted me to be on television. And the SUNG PHRASE. JEANNIE And give me money and have a teacher there and a person to braid my hair and color my face and give me clothes. The sung phrase again. ON MATT Stricken. MATT You wait here, Jeannie.","INT. CATHY'S OUTER OFFICE - DAY Several people milling about. Matt eyes Cathy. We still hear Jeannie's muffled singing from the other side of the door. MATT -LRB- furious. -RRB- I have to talk to you.","EXT. POPCORN PICTURES - DAY As Matt and Cathy come into frame. Matt forcefully placing her with her back to the wall. She is not one to be pushed around. CATHY Do n't! MATT What in hell is wrong with you? You actually think. CATHY I'm trying to hang in here but everything in me cuts off when somebody acts this way. MATT -LRB- continuing right along. -RRB-. that you can have my kid audition for a show without asking me. CATHY I did n't. She went for water and by the time she got back, they had offered her the part. Blame Burke, he was there. Matt takes this in. Just a millimeter underneath his fury is professional curiosity. MATT What's the part, anyway? CATHY The white kid in a multi - racial foster home with all these kids of varying ages. It's not a bad show. I sure ca n't wait to see the test. MATT How were they able to test her so fast? CATHY No. They offered it to her off the reading. I meant your test. MATT Oh. A child actor. Just what any kid with problems needs to straighten out - a series of her own. Cathy has nothing to offer. Matt begins leading her back. We HOLD ON THEIR BACKS and see the chink in Matt's confidence, hear the tightness in his voice as he asks : MATT You'll let me know as soon as they see my test? CATHY Right away. You've got my vote. They hold hands.","INT. MATT'S APT. - NIGHT Jeannie, a script in her lap, caressing it, avoiding her father's gaze. He sits nearby sizing her up, pissed. JEANNIE I'm doing it. MATT Not if I do n't let you. That's the law, the police law. She takes this shot hard, but tries to pretend otherwise, continuing to stare hard at her script to avoid him. JEANNIE Do I have to learn to read to be on television? MATT -LRB- with a real edge. -RRB- You're going to have to learn to look at me and listen to me and the longer I have to wait THE ANGRIER I'M GOING TO BE. JEANNIE -LRB- looks up suddenly. -RRB- I'm so mad. MATT Me too. Just listen. JEANNIE I do n't. why?!? MATT Because I know about this. I have worked with kid actors. They do n't have that much fun. They're inside all day. they do n't get to go to regular schools or play with their regular friends like Ricky and Essa. -LRB- progressively losing it. -RRB- And their parents? You think I'm going to be one of those parents, sitting in one of those rooms, where we all go crazy trying to jump start our egos with our kids' sweat, all the time smiling at each other like our lives are working while we root against everyone else's little girl? -LRB- Jeannie is totally confused, until. -RRB- No! No way! I ca n't! JEANNIE Okay. So, no, you're cuckoo anyway. I wo n't do it. And I do n't care because I'm be stupid at it anyway. She throws the script down. Tears in her eyes. MATT Pick it up, Jeannie. She's so down, she complies - picking it up and walking it to the trash can. Matt stops her and takes the script. MATT Let's work on it.","INT. BURKE'S OFFICE - DAY The staff of Popcorn Pictures is gathered in the boss' office watching Matt's screentest on projection TV. Burke sits next to Nan on a sofa - Cathy sits in front of him - others in chairs or on the floor. One ASSISTANT is attempting to `` fine tune'' the color - the TINT BAR GRAPH is on screen sliding between + and - as the color changes. Burke talks sotto to Nan. BURKE So how do you think ` Ground Zero' will do tonight? She ignores him, continuing to watch the screen. He leans into her. BURKE How do you think my movie will do tonight? NAN -LRB- testy. -RRB- I'm not going to talk to you during Matt's screentest. Cathy turns in her chair and mouths `` thank you'' to Nan. BURKE -LRB- to himself. -RRB- How bad can it be? We've got to have at least a two million dollar Friday. There's nothing else out there. CATHY -LRB- turning to him. -RRB- Please. BURKE I'm watching. ON SCREEN A VERY ATTRACTIVE ACTRESS is crying. Matt very close to her. BURKE'S VOICE Stop playing with that thing. The COLOR BAR GRAPH does a quick slide and disappears from the screen leaving the actors' faces green. ACTRESS -LRB- crying. -RRB- C'mon, Deeds, tell me about the meeting. MATT What's wrong? ACTRESS Do n't worry about my crying. As a matter of fact, crying turns me on. MATT Well, in that case, your dog died. There is laughter in the room. The actress smiles through her tears - pats Matt for being wonderful. ACTRESS What happened at the meeting? MATT I ca n't remember. You're too pretty. -LRB- on her look. -RRB- Oh, I told them I'd keep on being Chairman. -LRB- then explaining. -RRB- I'm Chairman, you know. ACTRESS -LRB- smiling. -RRB- I know. MATT Told them I'd keep on being Chairman if they hired everybody back. ACTRESS What did they say? MATT Oh, that I was crazy. You always wear your hair back like that? She kisses him. We HEAR the director say, `` Cut. Terrific, guys.'' The girl and Matt hug, no longer in character, as others come in to congratulate them.","INT. SCREENING ROOM - DAY Ad - libbed enthusiasm. mostly about the girl. ON CATHY As the conversation about the girl grows more pointed. Cathy, impassive outwardly, recoiling inwardly. BURKE Okay, come on. let's have our creative meeting right here. MALE D PERSON Well, I'd sure go to bed with her. BURKE -LRB- professionally concurring. -RRB- Very fuckable. MALE CASTING PERSON I'd sure fuck her. BURKE Okay. that's her. What about him? FEMALE D PERSON I think he's a very good to excellent actor - I do. -LRB- puzzled. -RRB- But there's something. BURKE You would n't want to fuck him? FEMALE D PERSON Well, six years ago, maybe. CLAIRE I think he's talented and attractive. BURKE So you'd want to fuck him? CLAIRE He might be light in that area. CATHY The man is talented. If you get one of those directors who like actors, I think. BURKE A director ca n't make you hot if you're not hot. You'll end up with warm which is death. CATHY -LRB- defending Matt slightly. -RRB- We laughed. BURKE Let me ask you something. Would you fuck him? CATHY -LRB- wearily. -RRB- Everything does n't boil down to. BURKE Let me stop you before you embarrass yourself. Burke rises and addresses his staff. the camera has his back in the foreground as it MOVES TOWARDS A RENDEZVOUS, Burke moving too as he continues. BURKE -LRB- again. -RRB- We all can do our little lectures on what things boil down to. Everybody else here was professional enough to come out and say. I'd fuck her. I would n't fuck him. and you're ducking it. I want you to forget the acting stuff and totally focus on the issue. And now Burke and CAMERA meet up - the effect being that he is talking directly to us as he continues. BURKE -LRB- again. -RRB- We do have some kind of responsibility to the audience. You just saw his screentest. so, if this is the first time you saw the guy, do you come out thinking to yourself and your girl friends, ` I'd sure go to bed with him ; oh God, would he be something.' Would you, Cathy? I'm being real here. CATHY No. BURKE Okay, so let's keep looking. They file out. Cathy gets up several beats later than the others. and follows them out, avoiding Nan's look.","INT. CATHY'S OFFICE - EARLY EVENING She's been sitting here for quite a while. she can postpone no longer ; she dials as one of her MOVIE SOUND TRACKS PLAYS in the background. CATHY -LRB- into phone. -RRB- Hello. Matt. Hi. Okay, sure. She listens, waiting for him to quiet Jeannie. CATHY -LRB- again. -RRB- Matt. -LRB- louder. -RRB- Matt. Matt. Maybe it would be easier if I just said ` hi' to her. Hi, Jeannie. Yes, it's exciting. No, no. He's right, honey, they get somebody to read it to you. Now, put your dad on - it's important. No, first put your dad on. DAMN IT! -LRB- she waits a beat. -RRB-. Matt. Uh - huh, a few hours ago. They all. everyone liked your work, but I think they'll go for a name or something. She listens to him. He is hurt. Cathy, though, is also wrestling with her own internal struggles. She has betrayed him and is ashamed ; in a strange way - terrified. She is, therefore, just a little irritable. CATHY -LRB- again. -RRB- It's not a matter of doing it differently. they liked what you did, a lot. they laughed and. it's not you. it's them. -LRB- suddenly her breath comes weird. -RRB- No, please. Do n't thank me. If you feel like getting together later or anytime, call me, okay? You sound like you have your hands full right now. Goodbye.","INT. MATT'S APT. - NIGHT As he hangs up. JEANNIE I wanted to talk to her again. I. She stops in mid - sentence, looking at her father. He is overcome. his energy failing to get him past this most awful moment in his life. She moves to his side. He starts to cry and, urgently seeking privacy, he moves quickly towards the bathroom, rubbing Jeannie in an instinctive gesture of reassurance. He closes the door. ON JEANNIE Devoid of anger. Sympathy so pure that it wrenches. She starts to move towards the bathroom. Her voice sweet. JEANNIE Dad? Daddy? Matt opens the door quickly. MATT Everything's okay. I'm sorry I forgot to put you back on with Cathy. He walks across the room, Jeannie tracking him. JEANNIE You did n't cried because of that. I do n't even want to talk to her. Matt sits down, still suffering a bit of dysfunction, unable to keep up appearances other than a few minor half - hearted tweaks at his daughter who stands solemn and silent at his side. She pets him some. this goes on for several beats as the STRAINS OF `` YOU COULD BE WONDERFUL'' accompany the moment. Then : JEANNIE -LRB- a whisper. -RRB- Dad. Can I say just one thing? With some effort, Matt lifts his head and nods permission. JEANNIE You've got to make me supper. Matt nods, rises and leads her into the small kitchen.","INT. BURKE'S BEDROOM - DAY Burke is wearing a T - shirt and shorts as he walks to his four - stops - past - state - of - the - art Stairmaster and turns it on while looking over his shoulder at the telephone. now sucking in some courage, he goes to the phone and speed dials. He begins to climb the stairs. VOICE You have reached the Warner's Hotline. Estimated Box Office Grosses for Friday, December 3rd, Weekend Number 49, are as follows in millions of dollars. He braces himself. there is a tone, then : PHONE VOICE Due to the high volume of calls, we must ask you to wait till a line is clear. MUSIC IN. At first from the speaker phone. Burke moving in time to `` THERE IS A LONELY.'' And now singing. As the lyric concludes and the instrumental comes in. PHONE VOICE -LRB- again. -RRB- Thanks for waiting. Weekend 49 grosses follow in millions of dollars. ` Belligerence,' 714 theaters. Two - point - one - eight million, down 46 percent. Burke smiles with pleasure. his steps becoming lighter, more fanciful. PHONE VOICE -LRB- again. -RRB- ` Best Girl,' 1,820 theaters, six - point - four million, up 24 percent. BURKE -LRB- contemptuously. -RRB- Cappuccino movies. PHONE VOICE Opening this weekend, ` Double Dare Two,' 1,870 theaters, fourteen - point - three million. and now his film, `` Ground Zero,'' is coming up to bat. as succor to the gods, he tries to make his dance gleeful in anticipation. PHONE VOICE -LRB- again. -RRB- ` Ground Zero,' 2,110 theaters, no million, point four thousand dollars. Burke falls off his Stairmaster and, from his new position, finishes his song.","INT. BURKE'S CAR - DAY Matt is driving. Burke is seated alongside him, talking without looking at him. BURKE I'm going to pieces. -LRB- whispering. -RRB- The picture was budgeted at 21 million and I spent 49 so they were a little mad at me to begin with. Now it does n't open even with an Arby's Roast Beef tie - in. I mean, we only averaged 300 dollars a theater. they're going to think I'm Woody Allen. MATT I do n't think you have to worry about that. BURKE Thanks. But this is private. What about the exit survey? Did we do good with any group at all? Now we HEAR Nan's voice on the speakerphone which Burke has been addressing all along. NAN'S VOICE I ca n't hear you, but - hi, Matt - that was funny. MATT Hi. NAN'S VOICE I do n't think you have to worry about that?' She laughs delightedly. Burke leans across Matt's lap to get closer to the microphone. BURKE Did we do well with any group at all? NAN'S VOICE Eleven - year - old boys in the South. He sits stupified. NAN'S VOICE -LRB- again. -RRB- Burke? Burke? Matt, is he. BURKE I'll see you later. Goodbye. NAN'S VOICE But, hon. He hits the `` end'' button. He slumps for a second, then : BURKE I'm all alone. -LRB- pause. -RRB- At least there's that.","EXT. POPCORN PICTURES - DAY As the car arrives outside Popcorn Pictures, we can SEE some child actors and their parents arriving at the sound stage next door. MATT Are you going to need me? The kids are rehearsing and I'd like to take a look. BURKE Yeah, sure. I have to stay inside during lunch hours now anyway - that's when everybody returns my calls because they're trying to miss me. MATT -LRB- amazed. -RRB- Is that true? BURKE -LRB- misinterpreting. -RRB- Yeah. Thanks for the support.","INT. TV STUDIO - DAY A row of parents standing near their child actors, adjusting them - not unlike handlers of racing Greyhounds. ON JEANNIE Seen from a distance - her father behind her. In the foreground, the mass of workers on the stage, It is, in effect, her POV, even though she is in the extreme background of the shot. We MOVE CLOSER to Jeannie and her father - even a bit behind them. Jeannie is scared. MATT I bet I know what it looks like to you. JEANNIE What? MATT A giant `` find Waldo.'' Despite herself, she smiles at the reference, though her tone is a bit sarcastic. JEANNIE Very funny. PASSING VOICE Five minutes, children, then we need you for work on the set. JEANNIE Set? MATT That pretend living room, right over there. JEANNIE Okay. Set. Bye. MATT -LRB- holding her arm. -RRB- Wait a second, Jeannie. Let Daddy give you a few tips here. JEANNIE -LRB- twisting away. -RRB- Nooo. I've got to get to work. She breaks free, depriving Matt of the sweet and simple moment he wanted with her. She's one of the first ones on the set, other kids still hugging their parents. As Cathy comes up behind Matt, we can HEAR Jeannie who, having so small a trust for her father, needs to confirm what he just told her. JEANNIE -LRB- faintly. -RRB- Is this the set? Matt reacts. PASSING VOICE Parents to Room Two, please. -LRB- as he goes by Matt. -RRB- Parents to Room Two, please. Jeannie is watching. PASSING VOICE -LRB- again. -RRB- We have to clear the set. Matt looks him off fiercely. The Passing Voice addresses the friendlier parents. PASSING VOICE -LRB- again. -RRB- This way, parents. CATHY I'm glad I found you. MATT Hi. OTHER AREA - BEHIND GRANDSTAND SEATS As they walk. CATHY You holding up? What did you do last night after I called? MATT -LRB- as if teasing. -RRB- What do you think I did? I cried like a baby. CATHY Okay. Okay. So you do n't want to tell me. Be a tough guy. MATT Now you got it. CATHY I feel relieved just seeing you after all that stuff. whew. Okay. -LRB- preparing to go. -RRB- Burke wants to. MATT You ever go out with him? Cathy is as simple and direct as she is embarrassed. CATHY Yes. MATT You slept with him? CATHY Yes. MATT Did you hate it? CATHY Eventually. MATT -LRB- reeling a bit. -RRB- Good Lord. CATHY This is the thing that makes me nervous about you. You keep on assuming I'm nicer than I am. He kisses her. She kisses back. Then there is an extraordinarily loud and piercing voice. JEANNIE DAD! He turns to see Jeannie beckoning to him from the stage - the director, standing at her side, joins in. He walks to them. ANGLE - STAGE FULL OF ACTORS The Director is talking to Jeannie who seems, even from a distance, distraught and lost. She sees Matt. JEANNIE There's such trouble. DIRECTOR She's very worried about being able to pretend cry when she has to and she does n't get it about memorizing. That's all. JEANNIE -LRB- aghast. -RRB- That's all?!? The Director beckons Matt to lead her away. He does. JEANNIE This is n't going to be good. MATT Not with that attitude. She seems stung by this, unusually vulnerable. He changes tactics, softening. MATT -LRB- again. -RRB- It's just that they. Well, did they tell you what an audience is? JEANNIE -LRB- insulted. -RRB- I know what an audience is. MATT Good. Now, because there's an audience, they want you to know all the words you have to say really well. And since you ca n't read yet. -LRB- off her fierce look. -RRB-. you're going to have to be patient and try hard. I can help you. She grasps at this unlikely straw. JEANNIE Can you help me to cry? MATT Yes. -LRB- on her broad disbelief. -RRB- I can. I can help make it okay. Trust me. Jeannie pauses half a beat, then : JEANNIE I miss my mother bigger than you know.","INT. MATT'S APT. - DAY Matt on phone, Jeannie standing next to him reaching for the phone. MATT -LRB- to Jeannie. -RRB- Not yet. Do n't grab. -LRB- into phone. -RRB- Thank you. We really appreciate this. Hi, Beth. I. Jeannie grabs the phone in a flash. JEANNIE -LRB- softly into phone. -RRB- Mom? No. Nothing. Nothing. Nothing. Nothing. Would you talk? I'd just like to listen to you. Wait. Let me sit down. Jeannie sits herself by the window, protected by an iron grill, and sits listening to her mother. There is about this pose something prescient ; unmistakably, Jeannie will look this way again as a young woman cloaked in the love of some guy. but for now it's her mother, her crazy mother, who blots out dread. Matt is struck by how quiet and adoring Jeannie looks even as he moves to give his daughter some privacy. Several beats, Jeannie noticing her Dad looking at her - switching positions, body language indicating that she wants to put him out of her mind. then a thought. JEANNIE Dad says he's going to make me to really cry. MATT Jeannie, your mom's not going to understand what you mean. Jeannie shushes him, resisting with surprising will and strength when he tries to get the phone. JEANNIE -LRB- to Matt. -RRB- She understands! -LRB- into phone. -RRB- He's being terrible right now. -LRB- faster ; avoiding Matt. -RRB- I love, loved, the coloring book you sent me. Goodbye. Wait. I love you. Let me hang up first. Love you. Send me a letter. Bye. And a beaded T - shirt. Bye. She hangs up. Matt pissed. MATT Why do n't you let me be on your side for a second? JEANNIE I ca n't even understand what you're saying now. MATT Do you know what trust means? JEANNIE Not very. MATT It means that even if something is hard to believe, you believe someone you trust because you know he would n't say it unless it were true. JEANNIE I understand. So I do n't trust anybody, right? MATT Yeah, I think you get the concept. JEANNIE You do n't make sense. I do n't understand you. MATT I think you do. Jeannie reacts broadly. indicating what a difficult man she's stuck with. MATT Just know that. JEANNIE Okayyyy! MATT -LRB- giving up. -RRB- You want to help me make a phone call? She goes quickly to the phone and picks it up. MATT Seven. two. JEANNIE -LRB- hitting numbers. -RRB- Who are we calling? MATT Cathy. She's very nice. One. six. JEANNIE -LRB- hard to read. -RRB- `` Very nice.'' One.","INT. CATHY'S HOUSE - DAY As she answers phone. JEANNIE'S VOICE Hi. -LRB- to Matt. -RRB- What now? MATT'S VOICE IN BACKGROUND Tell her, ` How are you' and then let me. JEANNIE'S VOICE How are you? CATHY Jeannie. I ca n't talk now because. JEANNIE Wait, my dad wants to. CATHY Tell him I ca n't talk'cause I'm on the phone with a director. JEANNIE He wants to talk to you very much and. CATHY -LRB- sharply. -RRB- I ca n't. I have to hang up. She does.","INT. MATT'S APT. - NIGHT Jeannie, truly stung by the hang - up. She takes this act of Cathy's as an insult to herself and her father. Matt does n't feel too wonderful about it himself. MATT You have to understand that sometimes people are too busy. JEANNIE So she's too busy for you?","INT. RESTAURANT - NIGHT Burke and Nan eating together on an elevated balcony overlooking the main eating area. BURKE We look like jerks eating here this early. Everybody's going to think we could n't get a reservation for the hot hours. NAN Why do you do this to yourself? Why do you insist on eating dinner in a restaurant where you're bound to see all the people you're afraid of? BURKE I'm not afraid of them. NAN What do you call it when you think that what a group of people think of you can confirm or destroy any decent idea you have of yourself? BURKE Normal. NAN How did little Jeannie do today? BURKE Is n't it something that they have you testing the TV show? NAN What I asked was, how did Jeannie do? BURKE What are you talking about? NAN Somebody else. Jeannie. How did she do? BURKE Do n't talk to me like this. NAN -LRB- really pissed. -RRB- I want to be treated as if I'm really saying words to you which you engage and respond to. I like Matt ; I'd like to know how his daughter did. So before you take your dance of desperation across the restaurant and I end up feeling so sorry for you that I could die, I would like you to answer my question. BURKE She did okay. and do n't worry about Matt. If the pilot sells, his kid will be making five thousand a week. So what do you know about ` People Get Hurt?' NAN I'm told that they're not going to release it. BURKE I knew. I knew. What the hell are you smiling for? NAN Forgive me. But telling you about this latest failure of yours - it pleases me. I have no idea why. BURKE I ca n't be with someone who's not rooting for me. NAN I think I am. It's just that rooting for you is a good deal more complicated than you realize. -LRB- as he rises. -RRB- Do n't go. BURKE Do n't worry. I'm not that mad. I got ta do this. MUSIC IN as Burke leaves the table. This `` Dance of Desperation'' is classical. Burke himself lifting one of the women in greeting, then, as he puts her down. BURKE -LRB- again. -RRB- Sorry. I thought you were someone else. As he continues to go from table to table. TIGHT ON NAN As she looks down on him, dying for him, we HEAR her sing the song `` Poor Bastards''. Finally, not only about Burke - but the other damaged souls he seeks to dance with. Now, Nan can take no more. She exits. FULL SHOT - BURKE As he sees her go past in the background, he goes after her, finally grabbing her near the Maitre D' station. This, just as TWO IMPORTANT COUPLES arrive. Burke frantically tries to cover. BURKE Nan, you know Victor and his wife. -LRB- he mumbles, unable to remember any wife's name. -RRB- and Jay and his wife. -LRB- he mumbles. -RRB- NAN Yes. I'm sorry I ca n't talk now. I'm very upset about what's happening to Burke, so I just made up my mind I ca n't be witness to it anymore if I love him and I certainly should n't be here if I do n't. so I was just in the process of leaving when he stopped me and you folks walked in. I'm sure you've had something like this happen to you some time. some horrible thing in your personal life happening in public. They all nod and ad - lib agreements with her premise to Burke's amazement. NAN -LRB- again. -RRB- Thank you for understanding. -LRB- to Burke. -RRB- Goodbye. I wish only good things for you even though I feel I've been really damaged by this relationship. She exits, enormously upset. Burke, torn between following her and repairing the social damage. But the couples are paying him no mind ; rather they are impressed with Nan. As they comment, i.e. COUPLES Was n't that spectacular? I've never seen anybody that secure. Burke accepts the compliments as if meant for him. BURKE Thank you. Thank you. We're very close.","EXT. RESTAURANT - NIGHT The strains of `` Poor Bastards'' underscoring the moment as Burke rushes into the parking area and grabs Nan's hand just as a valet brings her car. NAN You do n't understand that I'm exhausted from hurting. I'm through with you. She begins to cry. Ordinarily this would be a scene which would be unendurable for Burke. However, the lesson of a moment ago is not lost on him. As people get out of cars and witness the sobbing Nan. BURKE -LRB- to restaurant patrons. -RRB- Excuse me, we're working our shit out. I'm sure it happened to you. you know, private stuff in public. The reaction to his openness is disdain and passing contempt. She drives off, leaving Burke hurt and alone. `` Poor Bastards'' up and out.","INT. MATT'S APT. - NIGHT The lighting soft and sweet. Jeannie's words are tentative as she talks to her father who sits watching intently. JEANNIE I do n't know if I've been bad. I know somebody's been bad. -LRB- hopefully. -RRB-. maybe it's you. Matt laughs. Jeannie looks at him shyly. he looks at her with encouragement. Suddenly she is in his arms, hugging him hard, an emotional dam seems to have broken. JEANNIE Oh, I love you so much, I love you so much. I love you so much. Matt holds on - clearly, deeply moved. Then he exercises the effort to control his emotions and speaks, surprisingly, as a Black woman. MATT -LRB- as Black woman. -RRB- I hope that makes you feel a whole lot better, Chile.'Cause it sure goes a long way to cure what ails me. JEANNIE I ca n't believe I. MATT -LRB- as himself, coaching. -RRB-. got in this much. JEANNIE got in this much trouble. MATT Right. Over a. JEANNIE -LRB- guessing. -RRB- Word? MATT Yes.' I ca n't believe I got in this much trouble over a word.' Now do you know what she means when she says that? JEANNIE I do n't want to talk about it - just say her stuff so I know mine. MATT No. She starts to flail a bit. MATT It's your choice. But I'm not helping unless you try to understand as well as memorize. It will be fun. Come on. I know it's hard. JEANNIE Okay. Okay. MATT Anything to shut me up, huh? Okay, this little girl you're pretending to be. she ca n't be with her Mommy either, just like you, or her father. she has to stay in Rainbow House which is called that because. -LRB- Jeannie starts fidgeting. -RRB- Jeannie. -LRB- she stops. -RRB-. because everyone's a different color. so when this little girl calls the black lady who takes care of all the children this terrible word. it's like the worst thing anybody can do. Come here. JEANNIE -LRB- approaching him. -RRB- I do n't want to do the' I love you' again. MATT Yeah, I might have been working you too hard on that one. She is unable to resist muttering one sarcastic shot. JEANNIE Yeah. Why do n't you do that with poopie Cathy? MATT -LRB- ignoring her. -RRB- Now, did the director tell you how he wanted you to do it? JEANNIE He said to smile all the time almost and to talk. uh. MATT Faster? JEANNIE Yes. MATT Okay. We do n't always get good directors, so it's important for us. JEANNIE Me. You're not in the show. MATT I'm referring to the family of actors, you little shithead. Jeannie does n't know quite how to take the name calling. MUSIC IN. we're heading for a rendezvous with a dance as it CONTINUES ACROSS THE CUT TO :","EXT. TV STAGE - EARLY MORNING Matt and Jeannie walking from the catering truck. They are eating ravenously. MUSIC CONTINUES. VERY JOYOUS. JEANNIE This is so good. MATT It's a breakfast burrito. It's what actors eat when they're working. JEANNIE -LRB- excited. -RRB- Really.","EXT. ROOF GARDEN - DAY MATT Now, let's work a little more. The most important acting you do is when you listen. You're worried about being able to cry when you're supposed to, right? JEANNIE Yes. So much. MATT Well, there are really only two ways to do it. Think of something that makes you really sad. or forget you're you and really forget you're pretending. JEANNIE How do I do that one? Matt reads from script. MATT -LRB- as a furious Black woman. -RRB- ` Do n't test me, child! I could eat you for lunch when I was your age and I'm a hell of a lot bigger now!' Jeannie looks afraid. MATT That's it. You just looked at me and acted right without even thinking. And there are games you can play to help you with this. Get up. -LRB- she does. -RRB- Now, be my mirror. do exactly what I do. that's it. now, at a certain point, I'm going to become your mirror, but I'm not going to tell you when. you tell me. JEANNIE -LRB- hesitantly. -RRB- Now? Matt nods. MATT -LRB- enthusiastically. -RRB- Okay. We're going to make up words. The words are n't what matter now. JEANNIE I'm on a roof. MATT You're a great dad. JEANNIE You're a. -LRB- then stops ; then smiles at him. -RRB- This acting exercise of Chicago's Story Theater leads into the song, `` BE MY MIRROR.'' As the song finishes, Matt and Jeannie are in the best spirits we've seen as an A.D. approaches. A.D. They need you. JEANNIE Okay. She takes the A.D.'s hand as Matt calls. MATT You're welcome. Do n't mention it.","INT. CATHY'S OFFICE - DAY Cathy is in mid conversation with Millie. Matt enters and boldly says his piece. MATT I'm a free man. Let's go to your house and break the answering machine. CATHY You know, I could get away now. But I've got a big meeting later. We'd better take two cars. Millie, having been at the screen test viewing, is taken aback, looking from one to the other. Cathy knows what she's thinking and is unnerved, feeling silently accused, as she leads Matt out. CATHY See you later. Thanks again.","EXT. STREETS - DAY Cathy's car followed by Matt in Burke's car. The frame holds both cars close as if this were one long car.","INT. CATHY'S CAR - DAY She seems troubled. Then a decision. She dials a number on her mobile phone and picks up the receiver.","INT. MATT/BURKE'S CAR - DAY The phone rings. He punches the speaker button. MATT I hope it's you. CATHY'S VOICE ON SPEAKER Hi. Matt waves. MATT -LRB- delighted. -RRB- So this is how the big ones make out. FULL SHOT - THE TWO CARS Almost bumper to bumper. snuggling. ANGLE - CATHY She takes a breath and then plunges.","INT. MATT/BURKE'S CAR - DAY As he hears one of the more ominous phrases of the motion picture community. CATHY'S VOICE Matt, will you take me off the speaker? He picks up the phone. We intercut between the cars. MATT What's the matter? CATHY -LRB- hyper. -RRB- I do n't know whether I'm being a coward for telling you this way or brave for telling you period. Can you hear me? MATT Yes. CATHY But I better talk fast because this is where my phone always kicks out. When we did your screentest. Can you hear me? MATT Yes. CATHY Well, I sort of folded on you at the end. She pauses, silence, then : CATHY Matt? MATT You did n't like what I did? CATHY I did. Truly. But the discussion got sort of dumb. It was a question of sexiness. MATT That's what it came down to? CATHY Well, sort of, yes. MATT You folded on whether or not I'm sexy. You do n't think I'm sexy. and you expressed that to. CATHY Well, I'll tell you. I certainly must think so pretty much because I feel great about where we're going now.","EXT. NARROW CANYON ROAD - DAY There is a longish line of cars behind Matt and Cathy.","INT. CATHY'S CAR - DAY CATHY Are you very mad at me? MATT No. You were just. Aw, damn it, I am. Very. Yes. Matt manages to pull to the side. the other cars gobbling the places behind Cathy, who sees this. and now she watches Matt's car recede from her view. MATT'S POV Cathy going out of sight. ON MATT As he lets her go.","INT. BURKE'S HOME - EARLY MORNING He is in bed, wearing a bathrobe, watching projection TV. FIRST VOICE number seven at the box office this week - end is. He switches channels. VOICE NUMBER TWO the two words are Tom Cruise. He switches channels. THIRD VOICE becoming the first lawyer to be awarded his own star on Hollywood Boule. He turns off the TV and crosses to the phone, allowing us to read the back of his bathrobe `` ROCKY BALBOA.'' ANGLE ON BURKE He looks at the clock which reads `` four a.m.'' and dials. BURKE Hello, Nan. I hope it's not too late to call.","INT. NAN'S KITCHEN - EARLY MORNING She has been crying. BURKE I'd like another chance. NAN You only think you feel that way because you're on the verge of failure and you're without a core. BURKE See. Nobody else gets me. -LRB- a beat then. -RRB- You wan na have a little sex, honey? NAN -LRB- a beat then. -RRB- You know I've never hung up on anybody in my life. because what if the next thing they said solved everything. but I must end this conversation. Nan hangs up. Burke picks up a pocket electronic notepad from the bedstand and hits the scroll button. INSERT ELECTRONIC NOTEBOOK Names and phone numbers. ON BURKE He scrolls past numbers, considering, finding them wanting, so that, finally, he is scrolling the emptiness of his relationships. Now he considers one number and dials.","INT. MATT'S APARTMENT - EARLY MORNING The phone rings. He picks it up. MATT Hello. INTERCUT BETWEEN THE TWO BURKE Hi, Matt, this is Burke. I'm sorry to bother you at home, but you know Nan. We were going out a little and I could use another guy's slant on what's just happened. MATT I do n't think I can get into this. BURKE Why? Did I catch you at a bad time? MATT Worse. You caught me at a bad time you caused. BURKE Oh, you mean about the screentest. The whole room thought you did good work. MATT -LRB- reinventing irony. -RRB- Thanks. BURKE Yeah, look, I'm not going to bother you about my thing. MATT Yeah. Okay, good night.","INT. BURKE'S APARTMENT - EARLY MORNING As he hangs up. Looks down and turns off his phone number pocket computer. MUSIC RECALLS Prince's `` There is Lonely.''","EXT. TV STUDIO - LATE AFTERNOON MUSIC SEGUES to recall `` I'LL DO ANYTHING,'' as he drives past the line waiting to see RAINBOW HOUSE. -LRB- NOTE : FROM THIS POINT ON, THERE WILL BE AN UNDERCURRENT OF CHOREOGRAPHY TO CONCLUSION. -RRB-","INT. MAKE-UP ROOM - LATE AFTERNOON We see Jeannie's face in the mirror, but it is seen through something resembling fleece, which we now recognize as the strands of Jeannie's hair being combed out to the side by an expert hair - dresser. Jeannie is shifting nervously in the large room where each chair is filled with a child of a different age and color. In the b.g., we can HEAR the voice of the WARM - UP MAN. WARM-UP MAN pilot for a new show called ` Rainbow House'. Just listen to our band and I'll be back to tell you more and make you love me. The audience laughs thinly. The BAND PLAYS as someone closes the door to the make - up room muffling the offstage sound. There is a good deal of tension in the brightly lit room. Jeannie sits between a FOURTEEN - YEAR - OLD HISPANIC BOY and a FOUR - YEAR - OLD ASIAN GIRL. The room is abuzz. kids running lines and loudly talking. this builds to a musical life as in our first audition scene. there is a briefly sung phrase -LRB- Jeannie not taking part -RRB-.","INT. GREEN ROOM - LATE AFTERNOON The parents, in the same variety of skin colors as the child actors, are stuffed into a small room being patronized by the ASSISTANT DIRECTOR. Matt is grimly seated in the middle of a long sofa containing stage mothers. Another sofa is two feet away ; the parents strain at each other. The A.D. is talking grandly but we can not hear his words because the Rainbow Parents are SINGING a phrase from the same song we heard in the make - up room. Matt does not take part in the singing. The music goes under allowing us to now hear the A.D.'s words. A.D. and when you're in the audience, make sure you laugh and applaud even when it's somebody else's kid. There is appreciative laughter from everyone save Matt, who rises in disgust and crosses out of the room. A.D. -LRB- again. -RRB- You're not allowed near the stage. We only have a few minutes. Matt ignores him and exits.","INT. BACKSTAGE AREA - LATE AFTERNOON MUSIC NOW EMPHASIZING THE TENSION OF THE PRE - SHOW ATMOSPHERE. Matt, moving about the area, looking for Jeannie, spots a cluster of other cast members excitedly awaiting their introduction. Jeannie not among them. An A.D. talks with concern to a P.A. A.D. Let me know if you see the little white girl. Matt, growing concerned, walks on, then : MATT'S POV Across the stage to the distant make - up room. Jeannie, alone in the room, which is so brightly lit it creates a bizarre effect, as if she were under a surreal spotlight. MUSIC reprises Jeannie's Sinead O'Connor song, `` Lonely Life of Mine.'' ON MATT Stopping his impulse to go to her - he continues to observe. MATT'S POV Jeannie is nervous and uncertain. She plays with the handle of the make - up chair. turns herself back and forth. Then a very attractive TEN - YEAR - OLD BOY enters the scene - obviously telling her to hustle. He offers his hand and she takes it, instinctively masking all clues that this hand holding is a `` first'' of great moment in her life. As they move toward the main stage area, Jeannie looks around, needing something. her dad. MATT Jeannie. She turns - sees her father and gives a small, cursory nod. He moves quickly, drawing even with her but still giving her a bit of space and a low - key pep talk. MATT Just remember. You're not even here tonight. There's only this other little girl that you're pretending to be who lives at Rainbow House. JEANNIE and who just vomited. Matt breaks up. Even Jeannie smiles briefly, then she takes him aside for privacy. JEANNIE I just found out that we bow before we even do anything. MATT Great. JEANNIE And everybody claps. MATT Great. JEANNIE I made up a great bow. You going to look? MATT Would n't miss it. JEANNIE I'm not going to be able to cry. It's too hard for me. MATT Hey, then they'll just give you more chances after everyone leaves. This does not satisfy her. She rolls her eyes as she is pulled away towards the front of the stage. Matt watches as the 10 - year - old veteran actor leads his little daughter towards her debut.","INT. BACKSTAGE - LATE AFTERNOON - MOVING SHOT - BURKE MUSIC, a tension - filled version of `` Poor Bastard.'' Burke's stride was never stronger, his posture never worse ; head hunched down into his neck. Suddenly, he reacts as he sees : the staff of Popcorn Pictures grouped together backstage. Cathy walking towards the group hurriedly from one direction as Burke approaches from the other. Seeing his staff has clearly moved Burke. BURKE Look at you. You're all here because of what's on the line for me tonight. Having this many people in your corner helps more than I would have ever guessed. I'm just very grateful that I made you come. He starts off, but a jubilant Cathy stops him, whispers something. He reacts with excitement. MOVING WITH CATHY She sees Matt deep in the wings watching the stage. She calls to him with some urgency. CATHY Matt. Matt. Matt. He turns and she beckons him towards her. With some hesitance, he joins her. MATT I do n't want to miss her introduction. CATHY I'll talk fast. It's amazing news. Oliver Stone's been looking for a comedy and. MATT -LRB- distracted. -RRB- I've got to see my kid. CATHY -LRB- her voice breaking. -RRB-. he's doing my picture. MATT Hey. Good. He starts off. CATHY Part of this involves you. He remembers you from ` Platoon' and wants to use you in this one. -LRB- he stops. -RRB- Got your attention, huh? Matt is terminally disappointed in her last cynical sentence. MATT Oh, Cathy. Look, I'm going to watch this. Let me talk to you later or tomorrow. Thanks for your help. It's good news. Got ta go. From the stage, we HEAR the VOICE of the WARM - UP MAN. WARM-UP MAN'S VOICE First, in her first appearance ever, Jeannie Hobbs. There is applause. Matt's missed her intro. MATT Shit. CATHY I'm sorry. MATT Why could n't you wait till later? Shit. CATHY -LRB- broadly. -RRB- I guess it's because I'm just incredibly insensitive to all human needs. I'd ask you to save me, but I'm so far gone, I would n't want you to waste your time. MATT -LRB- after a moment. -RRB- Huh? She reacts, but he walks off, not wanting to get into it. Cathy, however, has had a tricky nerve struck. She continues, biting off each word. CATHY You know, I do n't have a kid or a mate or a talent. -LRB- holding up book bag. -RRB- I got this. -LRB- she's quite upset. -RRB- And shoot me if I think it's important. MATT'S POV Cathy, who looks alone and adorable as we HEAR MUSIC of `` THIS LONELY LIFE OF MINE.'' He puts a comforting hand on her. She speaks nakedly from deep within herself ; her eyes downcast. CATHY You think I'm a superficial jerk. -LRB- and then a whispered afterthought. -RRB- You ca n't be right. MATT I think you're the best of the bunch. CATHY -LRB- broadly. -RRB- Oh, great. And now she raises her eyes - big, blue and vulnerable. If this look were returned, `` I love yous'' could flow - they could sink to the floor in a joint epiphany ; but there is no romance or kindling in Matt's eyes. He is in a hurry. Pridefully, Cathy turns and walks off in the opposite direction, her flight so instinctive, she forgets her book bag. We hold on this - her exit, then :","INT. STUDIO FLOOR - BURKE AND MATT - 20 MINUTES LATER Standing just behind the four television cameras, immediately behind them, the `` rail'' where the Show's Staff and Crew Members and Network Bosses stand crowded, choreographed in the way in which they `` clear'' for a moving camera. Behind these people is the studio audience. There is a loud laugh. Burke turns around to study the audience. BURKE'S POV Happy faces accompanied by the strains of Burke's love song to the crowd. BURKE -LRB- to Matt. -RRB- What do you think? But Matt does n't hear him. a few feet away, Jeannie is making ready for her big moment. Three cameras swing in front of them, TV monitors showing a MASTER and CLOSE - UPS of the three characters in the scene : a short comic WHITE MAN, the Black Female Lead, and Jeannie, dressed as a poor child. MATT -LRB- wide - eyed. -RRB- Wait. This is it. ANGLE - STAGE JEANNIE It's like everyone is pi. ticked off at me because I'm not colored. The White Man jumps on the phrase. SHORT WHITE MAN -LRB- correcting her pompously. -RRB- The word is black. BLACK LEAD ACTRESS -LRB- correcting him with booming voice. -RRB- The word is African American. A burst of laughter, whooping and applause from the audience. Burke brags in a whisper to Matt. BURKE I had them bring in two busloads of people from black churches. ANGLE - STAGE As they play out the scene. BLACK LEAD ACTRESS -LRB- scolding Jeannie. -RRB- Now you use it in a sentence. JEANNIE Look at me, I. ON JEANNIE And Jeannie begins to falter. she must somehow cry at this moment. She looks outward for help. JEANNIE'S POV She looks at the Lead Actress giving Jeannie all she can. BACK TO JEANNIE Jeannie still ca n't cry. She looks past the cameras. JEANNIE'S POV Her father nervously pulling for her. BACK TO JEANNIE That did n't do it either. She looks into herself. she blinks - there are tears running down her cheek. WHOLE AUDIENCE Awwwww. GROUP SHOT Matt, very much as he was when he watched Brando on the plane. and then some. Burke, craning to make sure the network bosses are suitably transported. BACK TO JEANNIE'S SCENE BLACK LEAD ACTRESS Go ahead. Use it in a sentence. JEANNIE -LRB- crying fully. -RRB- Look at me. I love an African American. BLACK LEAD ACTRESS Look at me. I love a little redneck. The Black Lead Actress holds out her arms to Jeannie, who, tears streaming down her face, runs towards the arms. ON BURKE His lips pursed tightly in pleasure, then agape in shock. BURKE'S POV Jeannie has run past the Lead Actress and off the set, going into her father's arms instead. She jumps on him, her legs and arms wrapped around him. MATT AND JEANNIE MATT -LRB- pridefully. -RRB- You little stinker! JEANNIE You big stinker. MATT My little stinker. JEANNIE My big stinker. The background to this intimacy is enormously alive. The Lead Actress and the Character Actor laughing out loud. In the b.g., we see the audience filling out preview cards as the FLOOR MANAGER leans in to say : FLOOR MANAGER It's okay, Jeannie. Take a minute. We just need to get that hug at the end. MATT -LRB- to Floor Manager. -RRB- Amazing, right? FLOOR MANAGER -LRB- to Jeannie. -RRB- You were great. JEANNIE Thank you. That's nice. MATT You look happy. JEANNIE I loved it, Daddy. Matt starts to walk her back to the set. MATT You want me to put you down? Her answer surprises him. JEANNIE No. This is okay. MATT Okay. Now, you're not finished until you hug the lady just like you did me. He puts her down. She turns from him to go back to work but, on impulse, he restrains her. He is kneeling down, holding her lightly by the arms, her back to him as he states an ultimate truth : MATT I'm very proud of you. I love you more than anybody. Jeannie, shocked by her father's unprecedented sentiment, turns to face him and clamp a hand over his mouth so he will add no more lush and primal affection. Having silenced him though, she finds that she has something of her own to say. She'd never tell it to her father, but she ca n't resist telling it to her acting coach. JEANNIE When I had to cry, I thought of you buried in the ground. MATT -LRB- a beat, then. -RRB- Give me a kiss. She does.","INT. DRESSING ROOM - NIGHT The cast of Rainbow House taking off their make - up, changing clothes, etc.. This is more than high energy and excitement - what's the opposite of trauma? All are off the wall with pleasure - the MUSICAL LIFE of the earlier dressing room scene returning - peaks of glee resulting in sung phrases as before. Jeannie enters and is immediately surrounded with love, attention and ad - libbed compliments about her work. In this glare of good will, Jeannie turns gloriously shy. BLACK LEAD ACTRESS Do you have any idea how special you were? -LRB- on Jeannie's goony reaction. -RRB- That looks like a ` yes.' You've got to get dressed for the party. JEANNIE -LRB- overwhelmed. -RRB- There's more? -LRB- then. -RRB- What will I wear? BLACK LEAD ACTRESS Go to wardrobe ; they'll give you anything you want. ON JEANNIE She moves to her dressing table - sits, looks in the mirror and giggles uncontrollably.","INT. BACKSTAGE AREA - NIGHT Matt stands waiting for Jeannie. Nan approaches. NAN It did n't sell. MATT This show did n't sell?!? How do you know so fast? NAN It's the first time they had me do cards for a pilot and the demographics are all wrong for after nine o'clock. That's their only opening. Jeannie exits the make - up room aglow. She is wearing an incredibly stylish outfit and her hair is in an expertly done intricate braid. NAN Hi. I'm Nan. I'm a good friend of your Dad's. JEANNIE Hello, Nan. I'm Jeannie. Did you see it? NAN -LRB- to Jeannie. -RRB- Yes, and you were wonderful. -LRB- aside to Matt. -RRB- 89 percent likeability. -LRB- to Jeannie. -RRB- And knowing that you were that good means so much more than the show not going. JEANNIE What? NAN Oh, no. -LRB- to Matt. -RRB- I could n't help it. JEANNIE What does she mean? -LRB- to Nan. -RRB- What do you mean? -LRB- to Matt. -RRB- What does she mean? -LRB- to Nan. -RRB- What do you mean? MATT That they're not going to be doing any more of these shows right now - but. JEANNIE -LRB- struck. -RRB- Oh, my God. MATT Honey. JEANNIE And that means they're not going to have a party? MATT No. They're still having the party. JEANNIE -LRB- totally relieved. -RRB- Oh. really? good. can we stay late? To which Matt answers : MATT Honey, we're going to close the place.","EXT. ROOF GARDEN - NIGHT The door to the roof garden opens and Jeannie enters - her dad behind her as she sees the party. the sparkling lights, the decorations, the other kids and MUSIC. our opening song. `` WOW''. ON JEANNIE As her father urges her into the flow. She passes Millie, who is dancing with the boy who held Jeannie's hand. MILLIE I cast him so he has to dance with me, but I'm sure he'd prefer dancing with you. BOY -LRB- to Jeannie. -RRB- Come on. You know how? JEANNIE -LRB- angrily, with disdain. -RRB- Yesssssss. They begin to dance with the others. MUSIC SLOWS IN TEMPO as we indicate TIME PASSAGE and : ANGLE ON BURKE AND MATT Perched on a ledge eyeing the party. BURKE I'm not comfortable with television anyway. it's too small. I'm much better at something with size. I do n't do itzy. Even this movie of Cathy's - it's small. medium small. But with Stone it takes on a certain volume where I start to feel comfortable. -LRB- out of nowhere. -RRB- I hate my life. -LRB- backtracking. -RRB-. in a way. I had a drink in my office. I'm confused. You're not saying anything. Is it because you're not listening or because I have n't stopped talking? MATT This Oliver Stone thing. does he really want me? BURKE Yeah. Oh, yeah. I forgot to say congratu. MATT Which part? BURKE Which one you want? MATT One of the two leads would n't be bad. BURKE No. It's the crippled factory owner. MATT Best part in the movie. He gets off the ledge and starts to move away. Burke moves quickly to cut him off. BURKE Wait a second. MATT I want to see my kid. BURKE A second - look, they're taking the cast picture now anyway. THEIR POV Jeannie, working her way to the absolute middle of the cast picture, where she plops on someone's lap. BACK TO SCENE BURKE She does n't look anything like the women I usually go with. And you know what they say, `` beauty fades.'' What they do n't say is that it fades very slowly. MATT You do n't think I can tell you what to do? BURKE No. Only I can do that. I want you to tell me what to feel. -LRB- he begins to use his fingers to run down Nan's qualities. -RRB- Look. I trust her. More important, everyone does. You have no idea how impressed people are with her. She's smart. She's interesting. You never know what she'll say next. Her work is amazing. I like talking to her. You have no idea what to expect next. I respect what she does more than any writer or director - sincerely - much more unusual - much more important. So? MATT Good luck. He walks away. Burke waves a grateful goodbye and looks around the room until he sees : BURKE'S POV - NAN ACROSS THE ROOF Nan eating cake with her hands. She sees him. He indicates he would like to dance. She does not move a muscle in response. Still, he walks towards her. She begins to shake her head, `` no.'' He shifts uncomfortably, but keeps coming until he reaches her side. ON NAN AND BURKE BURKE Dance with me. -LRB- she shakes her head. -RRB- On a business basis. NAN No. -LRB- he turns away, dejected. -RRB- But I'll dance with you because I think it will reassure me that I should have nothing to do with you. BURKE I'll take it. As they dance. NAN Why are you breathing so heavy? BURKE Nervous. Look, let's move our thing in a more regular direction. NAN What do you mean? BURKE Let me think. -LRB- then. -RRB- What if we go out this weekend. -LRB- before she can say `` no''. -RRB-. with your kid. Several more beats of dancing - as he awaits her answer. NAN whose name is? BURKE Whose name is. -LRB- then, triumphantly. -RRB- Leslie. NAN Okay. SONG BACK - `` WOW''. sung as a chorus. a slower cadence for the romance as we. CHANGE MUSIC and they dance more closely. The song slows for time passage and MUSIC CHANGES to `` BE MY MIRROR'' as we.","EXT. DESERTED POPCORN PICTURES ROOM - ONE HOUR LATER Matt and Jeannie - the last ones there. He holds her in his arms, dancing. She is asleep. He dances her to a chair with her wrap on it. shifts her around, wrestling to get it on. She wakes up and puts it on herself. JEANNIE -LRB- looking around satisfied. -RRB- Last ones here. MATT Well, I told you. He takes her hand and starts to lead her towards the stair shed - then : MATT I never got to see your bow. She looks up, smiling pridefully, to see her father smiling back pridefully. JEANNIE -LRB- as if it's a great sacrifice. -RRB- Oh, all right. She bows. It is a bow all her own. THE END"],"string":"[\n \"INT. PASSAGEWAY - NIGHT The CAMERA briskly retreats as FORTY, HIGHLY CHARGED, ATTRACTIVE, YOUNG PEOPLE march towards it. Each side of the frame is black as this troupe of young actors moves up the middle, everyone talking, grinning, squealing,. everyone having the `` high'' of their lives.\",\n \"INT. NEW YORK CLUB - NIGHT As the troupe, with geometric precision, spills into a large room -LRB- containing a raised dance floor -RRB- ; the CAMERA begins to move past dancing couples as a legend appears : ` This is 1975 and Matt Hobbs is singled out for the first time.' And now the CAMERA reveals MATT HOBBS. His open, friendly, American face slips between some of the many cracks in his profession. The face at 26, and forever more, not arresting enough for a leading man ; not quirky enough for a `` character.'' Matt must briefly walk on the dance floor to make his way past a knot of people. He dances furiously for two seconds, then steps down as THE DANCERS BEGIN TO SING `` WOW'', but just as the song breaks out musically, we hear the SOUND OF PEOPLE SHHHING ; the singers falter and then stop as the party - goers gather, in choreographed movement, at a ceiling mounted TV set. MAN ON TV We can barely discern the words. `` with his review is Leonard Graff.'' A FRANTIC ACTRESS yelps a command : FRANTIC ACTRESS I ca n't hear over this shhing. Silence, then : TV CRITIC a play about guess what? That's right, young people. ON MATT He stands next to a ruggedly handsome and extremely nauseous CONTEMPORARY. HANDSOME CONTEMPORARY I ca n't look. MATT Good idea, let's not. He begins to walk, the Handsome Contemporary falling into step. Everyone they pass is straining, upwards, at the TV. HANDSOME CONTEMPORARY How can we not listen to this? MATT We'll know all we need to from the reaction. At that moment, the rest of the party - goers turn from the TV as one, looking mugged. -LRB- One girl briefly gets our attention because she is particularly distraught ; tears streaming down her angry face. The mixture of tears and rage are, of course, the chemical components of incredible sexiness. Her name is BETH. -RRB- A TORTURED MALE DANCER offers an incantation. TORTURED MALE DANCER He should be shot, he should be dead, he should rot in hell, then come back as the soap cake in a urinal. HANDSOME CONTEMPORARY -LRB- to dancer. -RRB- He did n't like it? The DIRECTOR moves through the group, bucking up spirits. DIRECTOR Do n't worry. He does n't count. We'll just wait for the papers. ON MATT AND FELLOW CAST MEMBERS - LATER As they morosely watch the Director approach. MATT Hey, no matter what this review says, the play was a great experience for me. Beth looks at him, puzzled. MATT -LRB- again. -RRB- I mean, it is about process, right? HANDSOME CONTEMPORARY Matt's right. Good Lord, it is what we're alive for. Beth turns from the conversation, finding it preposterous, then rivets her attention on the Director, walking towards them, holding a ridiculously thick sheaf of papers. Beth begins to sob in anticipation. MATT You've just got to be tougher than this. BETH -LRB- incredulous. -RRB- Tougher than this?!? The Director reaches them. DIRECTOR I took it all down over the phone. It's quite bad. And, unfortunately, it's very, very long. I've got a broken heart and writers' cramp. He. MATT He's nuts. DIRECTOR He savages everyone. MATT I do n't want to hear anymore. Let's dance. DIRECTOR Except you, Matt. They all look at him. HANDSOME CONTEMPORARY -LRB- fiercely to Matt. -RRB- You filthy bastard. BETH -LRB- drawing closer to Matt. -RRB- What did he say? The Director hunts for the paragraph. MATT Do n't read it. OTHER ACTOR Oh, please. You ca n't wait to run out of here, buy a flashlight, and then go into some dark alley and drool over every word. MATT -LRB- truthfully. -RRB- You're wrong. I'm maybe relieved and curious. That's it. BETH -LRB- wildly exasperated. -RRB- What did they say about him? DIRECTOR -LRB- reading. -RRB-. ` in the midst of this delirium of pretension.' MATT Do n't. This divisive crap wo n't. DIRECTOR -LRB- again. -RRB-'. one actor, rather miraculously, manages to provide passion and, yes, truth. Matt Hobbs, in the supporting role of Jesus, manages to touch the heart long after you thought it numbed by boredom.' The table of actors look at a sober Matt. A long beat and then, against his will, he grins. then a short, involuntary barking laugh of joy. then : MATT -LRB- to his colleagues with sincerity. -RRB- Sorry. ESTABLISHING SHOT - L.A. MODERATE INCOME STREET As we HEAR the next lines of `` WOW'', BEGIN MAIN TITLES as the CAMERA BOOMS UP to the outside of a small apartment as a legend appears on screen : 'EMMY NIGHT - 1980' Beth, now 27, is standing in front of a TV set showing the Emmy dancers performing a phrase of `` WOW''. She screams out. BETH Will you get in here - for God's sake?\",\n \"INT. ANOTHER ROOM Matt, 30, is on the phone. MATT -LRB- into phone. -RRB- Come on, Ma, how could I show up tonight when my union is boycotting the Emmys? Look, I have to hang up. BETH -LRB- O. S. -RRB- -LRB- screaming voice. -RRB- It's on right now. right now. right this second! You will miss it! MATT -LRB- into phone. -RRB- I got ta go. Watch! Matt hangs up and tear - asses into the living room. Beth screams as his name is read. TV VOICE -LRB- on TV. -RRB-. and Matt Hobbs for ` Caine Mutiny Court Martial'. And the winner is Powers Boothe for ` Jonestown - Story of a Massacre.' BETH Shit! Fuck! Shit! MATT He was good. BETH -LRB- again. -RRB- Shit! Shit! Shit! Fuck! Shit! Look, he even showed up. TV INSERT - POWERS BOOTHE ACCEPTANCE SPEECH MATT That took courage. I wonder if they send you something for just being nominated? BETH Of all the pathetic questions. MATT -LRB- sharply. -RRB- Why are you being so damn foul? Beth glares at him, on the verge of taking him on - but he is looking at her very directly. the lack of any other agenda giving him a temporary edge. Beth decides to state the unadorned truth. BETH We've been going back and forth on our status for so long. I was hoping that if you won, it might mean something for us. MATT Look, Beth. the only. She is waving her hand in a circle. he is puzzled. BETH Please go fast. I ca n't take you dragging it out. MATT -LRB- a bit faster. -RRB- The only reason I have n't. BETH I promised myself I would n't be so bossy. Take your time! Was that bossy too? MATT -LRB- persisting. -RRB- The only thing I have against getting married is that it might not be fair because I'm going to stay with acting forever and you know how erratic the money's been and there's no resolve. BETH Do I get to vote? I'm going to tell you something I never told you before. Your feeling towards your work is one of the things I love most about you. MATT Really? BETH Maybe the most. MATT Hey, then we have no problem here. Marry me. They kiss, then break, murmuring to each other. BETH Stinker, I almost gave up on you. MATT I was just worried whether I could make you happy.\",\n \"INT. HOSPITAL WAITING AREA - FOUR A.M. A SET FRAME showing several clusters of waiting people. A man rushes to one of these clusters, cueing this group to sing the next phrase of `` WOW''. As an extremely hyper Matt enters, the SONG STOPS and a legend appears : '1986' MATT -LRB- extremely hyper. -RRB- Everything's okay. Great. She's six or eight pounds even. Oh, God. Nothing like it. I'll tell you something amazing. They really reach right into her stomach and pull out this baby. It's not just a rumor. God. I understand the expression ` mind blowing' for the first time. It means something so wonderful happens that the top of your head comes off and your brain pops out. Part of it was terrifying, the baby was turned and they could n't budge her. I kept looking at this one woman doctor's eyes. And when Jeannie finally came out, this doctor and I each wiped away a tear at the exact same time, caught ourselves doing it, and then laughed together at the same time. Nothing can prepare you for it. You know why you're alive.\",\n \"INT. CORRIDOR - DAY As Matt walks with pep, accompanied by a burst of `` WOW''.\",\n \"INT. BETH'S HOSPITAL ROOM - DAY Beth holds BABY JEANNIE and wears a scowl. MATT How you doing? What's wrong? BETH My mother said you were flirting with the doctor during the delivery. On Matt's expression.\",\n \"INT. MODEST ONE-BEDROOM APARTMENT - LATE NIGHT Matt and Beth lie on an open sofa - bed. `` WOW'' is completed, though with a dirge - like cadence. We hear a baby crying over a cheap walky - talky near their bed. MATT Could you get her, honey? I have that big reading tomorrow. BETH No, I have a lot to do tomorrow, too. I have to borrow on our Christmas Club, I have to. MATT Do n't worry about money anymore. -LRB- on her look. -RRB- I did n't want to tell you, because it may sound a little strange when I say it out loud. You know me, I'm never that cocky. But I'm going to get ` Spider Woman'. It's me or Raul and I've never been so sure. It's weird, but I just know it. I do. BETH -LRB- broadly. -RRB- Boy, am I reassured. What good news. Is n't that a load off?\",\n \"INT. BABY'S ROOM - NIGHT Where we see the crying baby holding the walky - talky in front of its mouth as it screams into the mouthpiece. BACK TO SCENE MATT I am gon na get this part, Beth. BETH I ca n't stand this anymore. END MAIN TITLES\",\n \"INT. MATT'S APARTMENT - MORNING It's an awful place. the start - up apartment he's way too old for. but we do n't yet see his humble quarters. Rather : A BLURRED IMAGE Then, the screen is CLEARED ON ONE HALF so we see half of a contact lens holder in focus - the other half blurred - until Matt gets his second contact in. MATT'S POV A tube of tooth bleach. CLOSE ON THE DIRECTIONS, then : ON MATT Bleaching his teeth. finishing. smiling in the mirror. This is the bleached smile of fear - true fear - the awful state of having lost your way. The phone rings. Matt clears his voice before answering. MATT -LRB- into phone. -RRB- Hello. Hi, Beth. I'm glad you finally returned my call. What are you so mad about? -LRB- again, into phone. -RRB- YOU KNOW, YOU'RE NOT THE ONLY ONE WHO CAN SCREAM, I CAN SCREAM, TOO. Matt was so suddenly, emotionally extended that the anger leaves him that quickly. just a strange atypical lightning bolt of rage toward life and women. MATT -LRB- again, into phone. -RRB- You know what? I'm being a sort of gutless wonder here. I'm yelling back at you because I'm embarrassed. I wo n't be able to take the kid when I said. Why do n't you listen for a second? He rubs his head with both hands, including the one holding the phone. This allows us to hear his ex - wife repeat the same sentence over and over again. BETH -LRB- V. O. -RRB- -LRB- from phone. -RRB-. You're taking her. You're taking her. You're taking her. MATT Beth, I know exactly how long it's been and I feel strange as hell not seeing her but this is n't a choice. I'm broke. It's the driest spell of my life. I'm not saying it's your problem, but it's no place for a six - year - old. What can I do? The only full - time job I seem to have is not showing how scared I am. What? No, that's not something I said before. -LRB- accepting compliment. -RRB- Well, thanks. Beth turns angry again. Matt finds, unfortunately, that he's got one more act of bravado left. MATT -LRB- again, into phone. -RRB- Beth, Hey. hey. Never mind, I'll do it. He hangs up. MATT -LRB- again, to himself. -RRB- I must get work. I will take anything. I must get work. I must not be embarrassed by these pep talks to myself.\",\n \"EXT. SIDE STREET - DAY As Matt walks from the outdoor parking lot, past inexpensive homes. In the lot, on private lawns and every public bench, at each street corner, are various actors doing the relaxation exercises which will form the basis of A DANCE, as they go over their `` sides''. MIDDLE-AGED ACTOR feathers I'm blowing. What am I, a duck? We pass various actors going over alternate sentences for the same speech so that we get a sense of the speech as a whole from the sum of its parts. VARIOUS YOUNG ACTORS 1. -RRB- I'm not thinking about whether I'm going to shoot you. I'm. 2. -RRB-. trying to decide where. 3. -RRB-. the little spot behind the ear where you die before you hear the shot. 4. -RRB-. on the left side of the belly which is a very mean place.\",\n \"EXT. POPCORN PICTURES - DAY An office building of clear architectural merit located in an industrial area. Even the sign `` Popcorn Pictures'' has all the artistic dignity the name itself lacks. MUSIC ENTERS. Gradually, movement BECOMES CHOREOGRAPHED. i.e., the young actor and actress running across the street do so with uncommon grace. The area Matt passes is very crowded and we still have n't reached the most congested area of all as we STUDY FACES and HEAR snatches of the actors' preparation. MIDDLE-AGED ACTOR What am I, a duck? OLDER ACTRESS Sure I'll tell you. Favor first. Do a nice middle - aged lady a favor. A fair trade. tell you what you want to know in return for a. -LRB- grimaces over dialogue she must say. -RRB-. a pity fu. MUSIC BECOMING MORE INSISTENT as we approach the building - the mumbling of the actors taking on the SOUND of a Wailing Wall. VARIOUS YOUNG HYSTERICAL ACTRESSES the height of ego. You think your he - manness can make me get on that elevator even though I'm phobic? I CA N'T GET ON THAT ELEVATOR. I do n't care if. they catch us. DO YOU GET. IT. DO YOU GET IT! I CA N'T! I CA N'T. three, please. THREE HYSTERICAL ACTRESSES SINGING the dialogue. SINGING ACTRESSES ca n't get on the elevator. ca n't get on the elevator. even if you make me. even if you make me. Do you get it? do you get it? TWO ACTRESSES Standing near each other - exchange glares as they break each other's concentration and move apart. THEIR MOVEMENT SERVING as our gateway to DANCING. The SONG `` MAKE BELIEVE'' enters fully now and builds in intensity, reaching a repeated phrase, as we move to Matt and he enters the building, thereby cutting off the song. ON MATT As the SONG continues in intensity, Matt enters the building at the end of a repeated phrase cutting off the song as we move to : ANGLE ON RECEPTION AREA Where CATHY BRESLOW, age 30, waits. Hollywood is a bit of an uphill struggle for Cathy. She is bright where others are brilliant, pretty where others are gorgeous, enormously hard working where others are obsessive - compulsive. She is clearly waiting for someone while reading an enormously thick book galley. Matt almost scoots by her, then stops. MATT Hi. See, I did recognize you. You did n't have to wait for me. CATHY Well, I wanted to introduce you. As if knowing me would help.\",\n \"INT. POPCORN PICTURES - DAY MOVING SHOT. Staircase packed with actors, an uphill slalom almost impossible to navigate. CATHY It's a ridiculously awful movie. MATT Well, challenge. I was n't sure you'd remember me. let alone help. CATHY Stop. You're good. I'm doing them a favor by getting you in. MATT Well, that's a fresh slant. They reach the casting assistant, CLAIRE. CATHY Claire, this is Matt Hobbs. As Matt is handed a set of sides, we SHOOT PAST Matt as he watches Cathy move back down the stairs before he can say another word. She moves with wit. He is struck by her. He looks back at Claire, who has an intricate hairdo and a ready smile. CLAIRE Hi. Sorry. We're running behind. Please forgive us. SAME SHOT - TWO HOURS LATER Her hairdo wilted, her blouse soiled, her smile gone, the tendons of her neck prominent. CLAIRE -LRB- fiercely. -RRB- Matt Hobbs? Matt Hobbs! ON MATT Going over his lines. Hearing his name, he rises. Claire gestures him in.\",\n \"INT. BURKE'S OFFICE - DAY The walls are pockmarked with movie posters. THREE MEN sit in an area some distance from the desk. The casting director, MARTIN, makes the introduction : MARTIN This is Matt Hobbs. This is John Earl McAlpine, the director. MCALPINE Good to see you. He speaks with an Australian accent, gets half - up and extends his hand. MARTIN and Burke Adler, the producer. BURKE So, what have you been doing with yourself. -LRB- checking resume. -RRB-. the last few years? MATT -LRB- to Burke. -RRB- I'm real bad at interviews, so, if you do n't mind, I'd really prefer to just read first. BURKE That's the way you want to do it? MATT Yes. BURKE Maybe we should n't even read. I'll just take your word that you're good. Matt smiles. BURKE No. I'm serious. There's all different ways. Did you know Woody Allen never reads actors? He just looks at them, feels around a little and then decides who he wants. That's his way. Does n't hear them do a line. I also have a way. What I do is interview first - then read - maybe do it all over again the next day. I call up people the actor has worked with - check him out. If he's famous, I do an opinion survey to test how much people like him. If he's not famous, I put him on tape and show it to everyone I can grab. I believe in screen tests ; I believe in replacing if the dailies are bad, in cutting people out if the previews are n't there. Because I'm not doing movies for theaters where they serve cappucino in the lobby. I'm doing popcorn movies. You want to know what I like? Come to my house, look at my lamps. you wo n't find it in my movies. In my movies, you'll find out what I know. I know how to do detail. What I do n't know, I discover. Yesterday we finished mixing a movie - the last scene is in a field of windmills which blows up and all the blades of these windmills slice through the air, one of which hits a four - story tank of propane gas. A humongous explosion scene. I kept on saying ` louder', and they finally said to me they could n't go louder without distortion. We went louder. We had to discover a thing, a filter, but we went louder. I do n't question doing these things. I do them. So if you want to know if it's okay to do it differently - not to talk - to just read first. I say. -LRB- pointing to John Earl. -RRB- Ask him - he's the director. JOHN EARL Whatever. BURKE Okay, let's do it. Do you have any questions? MATT They only gave me these two pages. I'd like to give this my best shot. So if I could read the script and come back. BURKE This part works tomorrow. MATT Oh. Who will I be reading with? Burke indicates Martin. MATT -LRB- from his chair. -RRB- Can I read from here? BURKE I want you to do it wherever you're comfortable, but I'd prefer it if you were comfortable standing up. Matt rises uncomfortably. A SECRETARY enters and hands a note to the director. JOHN EARL Time for my buns to have visitors. Matt looks astonished as the director leaves the room. BURKE -LRB- to Matt. -RRB- Go ahead. MATT Go ahead? The director left. BURKE That's okay, he trusts me, uh. And we're just doing the first page. MARTIN -LRB- cueing him badly. -RRB- ` Okay, darling Harry, here it is. If someone were breaking up with me, I'd like it short and sweet. What about you?' MATT -LRB- reading - showing pain. -RRB- ` Incredibly drawn out.' MARTIN I ca n't take care of you right now. What am I, your mother?' MATT -LRB- intense. -RRB- ` Well, what am I? Your duck?' As he gets into the scene he begins to experience some release of the desperate feelings he's been harboring. MATT -LRB- again. -RRB- ` We've been together two years and you act like all you're doing is blowing away some feathers. So what I'm asking.' BURKE You did n't do the quack. MATT Huh? BURKE The stage direction says for him to quack. MATT I know, but why would he quack when someone's breaking up with him? BURKE Hopefully because it's funny. MATT This is n't a comedy. BURKE Then we're in trouble, because they're already fall down laughing at the teaser - trailer in fifty - two hundred and thirty theaters. MATT A comedy? -LRB- rubbing his face. -RRB- I think I have to make an adjustment here.\",\n \"INT. CATHY'S OFFICE - DAY We HEAR the strains of the theme of a past hit movie coming from Cathy's cassette player. A rack of soundtracks clearly visible. Cathy is frowning as she reads the last of the galley pages. She overhears some conversation in the adjoining room which begins to disturb her concentration. FEMALE D PERSON -LRB- O.S. -RRB- I'm not supposed to read TV pilots. Do n't call us D - Girls. We're Development Persons! Cathy closes the door, shutting her off. She now begins to fill out a form with a felt - tipped pen. As she does so, the pad is supered on the screen - action seen through it. As she writes, we see the notations on the super. It is marked COVERAGE - CONFIDENTIAL FROM : CATHY BRESLOW. TO : BURKE ADLER. SUBJECT : -LRB- the pen writes out -RRB- `` LITTLE DICK'' GENRE/CATEGORY -LRB- the pen writes out ACTION - ADVENTURE -RRB-. Then there are columns to check EXCELLENT, GOOD, FAIR, POOR for the story. CHARACTERS, DIALOGUE. The pen checks FAIR for story, POOR for all else, CHARACTER, DIALOGUE, etc.. The form then states - CHECK ONE OF THE FOLLOWING SENTENCES : I DO NOT RECOMMEND THIS PROJECT I RECOMMEND THIS PROJECT I STRONGLY RECOMMEND THIS PROJECT I'D STAKE MY ALL ON THIS PROJECT I'D GLADLY STAKE MY ALL ON THIS PROJECT The phone rings. As she picks it up and reaches to turn down the volume of the motion picture soundtrack she's listening to. CATHY -LRB- into phone. -RRB- Hi. I just finished. I'll have my coverage right over. It's past derivative. it's photocopying. What a hoot! You're kidding, right? There is truly active bidding for this book? Really? 2.3 million? Okay, see you. She hangs up and begins to alter the form changing the STORY/POOR to STORY/EXCELLENT, and all the other POORS to GOOD. and now the Recommend section. INSERT The pen is poised. ON CATHY Her soul is poised. A beat and she allows `` I DO NOT RECOMMEND'' to stand, the source music theme - `` CHARIOTS OF FIRE'' - coincidentally celebrates this considerable act of heroism. Cathy takes the sheet and walks to the door.\",\n \"INT. OUTER OFFICE - DAY As she approaches her secretary's desk, she overhears two other members of Burke's Development Staff -LRB- a 27 - year - old well - dressed man and a woman younger than Cathy -RRB- as they enthuse. MALE D PERSON Even the title `` Little Dick'' - it means so many things. FEMALE D PERSON Story, story, story, story, story. -LRB- seeing Cathy. -RRB- You loved it, right? CATHY I had some problems. FEMALE D PERSON Like what? CATHY Well, you know, it's a little garbagey. FEMALE D PERSON So it has to be cast right. MALE D PERSON If Cathy does n't like it, we know it's a smash. CATHY -LRB- stung. -RRB- Hey. It's not like I did n't recommend it. She surreptitiously changes her `` recommend'' as Matt enters. She looks up. CATHY How'd it go? MATT I did n't get it. He did say something about wanting me back. CATHY Good. His saver is he means what he says. MATT Yeah, I just wanted to say thanks. She nods and starts to turn back towards her office. MATT and I wanted to ask you out. The other people in the office stare at Matt. CATHY -LRB- turns. -RRB- For when? MATT Any time. CATHY I never know when I'm free. -LRB- Matt nods. -RRB- It sounds like I'm just. but it's true. MATT Okay. Thanks again. I felt funny asking. CATHY Well, do n't please. MATT I meant asking you to get me the audition. CATHY Oh. well, do n't please. He nods and starts to go. She looks at him. CATHY Do n't be sad. Matt smiles in astonishment and exits. MALE D PERSON Who is he? CATHY Oh, I was auditing this acting course and he filled in teaching one night. He did a scene himself and he was awesome. For some reason, he ca n't get arrested. MALE D PERSON Yeah. He does seem to have a layer of loser dust on him.\",\n \"EXT. PARKING LOT - DAY Matt drives his faded, seven - year - old car into view.\",\n \"INT./EXT. MATT'S CAR - EARLY EVENING He looks off. sees something that arrests his interest and pulls to the curb. It's a curious sight. MATT'S POV Burke Adler, standing at a street corner, palpably in pain. He's trying to rein in his emotions, sucking in huge gulps of air. and, then, a wave of emotion gets the better of him as he looks at his watch. A sob escapes him - shocked that he's so close to tears on a public street corner, he battles for control. another sob as he looks to the heavens. ON MATT A split second to consider, then he's out of his car. FULL SHOT - THE STREET CORNER A flow of PEOPLE - in the foreground, the tortured figure of Burke Adler - in the background, Matt Hobbs, pauses before intruding. But Burke's spectacle is growing more public, sounds of anguish escape him. CLOSER SHOT - BURKE BURKE Oh, God. why? Why? -LRB- louder. -RRB- What am I going to do? And now he begins to dissassemble, openly crying - on the verge of a complete breakdown. Matt moves into frame, grabbing Burke, trying to provide him with an anchor. CLOSE ON MATT His face - his eyes providing a beacon of strength. MATT Hey. Hey! HEY! ON BURKE Totally fucked - up, wild - eyed. As he witnesses his own state. BURKE Look at me. You'd think I was a writer. -LRB- his story of travail pours from him. -RRB- I hired this kid as a production assistant. His father's a business manager. a few good clients. MATT What happened? BURKE He's been driving for me two weeks. all he has to do is pick me up on time. he's twenty minutes late and I have a test screening in the valley. Everybody's gone from the office. Burke flails at himself as Matt looks at him. MATT Is that it? You need a lift? BURKE Yeah. MATT I'm right over here. Matt starts to lead him back, then realizes he's alone, Burke having seen his car finally arrive. MATT'S POV Burke, berating the YOUNG DRIVER. Matt pauses, awed by the wild gesticulating - the few screamed words. BURKE -LRB- O.S. -RRB- Not just today. believe me, there's no way you'll ever make it. You are going to fail. Listen, listen - I know about this ; you are going to be a failure. CAMERA FOLLOWING MATT As he joins Burke and the young man, Burke turns to Matt. BURKE -LRB- to Matt. -RRB- Let's get moving ; you said you'd give me a lift. MATT What the hell are you talking about? Not in your car. I've got my own. BURKE I'll give you a hundred and twenty dollars to take me. and it will still be a favor. -LRB- to Young Man. -RRB- Get out. Come on. -LRB- to Matt. -RRB- Please. This is very important. The driver gets out. YOUNG MAN -LRB- final plea. -RRB- A guy got shot on the freeway. Traffic's tied up. BURKE You should leave time for that kind of thing.\",\n \"INT. BURKE'S CAR MATT What do you need me for? Do n't you drive? BURKE -LRB- a mumble. -RRB- Yeah, I drive. I do n't like to look for parking.\",\n \"EXT. GOLDEN STATE FREEWAY - EARLY EVENING The sun setting on a nondescript slab of California.\",\n \"INT. BURKE'S CAR - EARLY EVENING The two men. Matt feeling very peculiar in this line of work. Burke's tension renders him arresting, handsome even. The look of generals who go forth against long odds. He takes an enormous cleansing breath. It startles Matt. BURKE -LRB- explaining. -RRB- Yoga shit. I feel like barbed wire. I do n't know if you keep track, but I'm the sixth independent producer ever to have two big pictures scheduled for Christmas, and tonight we're testing the first one for the first time. You get it? MATT Yeah. It's important to you. BURKE -LRB- laughing at the understatement. -RRB- Yes. I do n't think I would have put it that way. but, yes.\",\n \"EXT. MALL - EARLY EVENING Burke's car moves toward the movie complex. BURKE'S POV Our first view of NAN MULHANNEY ; middle - aged and pragmatic, yet extraordinarily naive. She's a scientist of sorts - monitoring the tastes and feelings of Americans, first in Washington and now here. Though she just had a very rough hour or so, she bends down to smile at Burke.\",\n \"INT. BURKE'S CAR BURKE Keep driving. She runs the test screenings. Very smart. Very. She has a real case on me, but so far I've been keeping it in the bank. He stops talking, stops breathing, as he sees. BURKE'S POV - THE TEST AUDIENCE The line consists of disparate, disinterested people who are focused on their own small, personal dramas - not at all cognizant of the fact that they hold a life in their hands. They are clearly growing impatient.\",\n \"INT. CAR BURKE Go very slow. MUSIC IN. Burke steels himself and exits the car.\",\n \"EXT. MOVIE THEATRE - LATE DAY NAN We're 34 minutes late. The studio is appropriately wild. people are beginning to leave. but I knew how upset you'd be if we started without you. BURKE -LRB- distantly. -RRB- Yeah. Thanks. But he pays her no mind as MUSIC CONTINUES and he moves towards the line. Nan approaches the car. NAN How is he tonight? MATT I do n't know him, so I have nothing to compare it to. NAN Well, how would you say he is, anyway? MATT Not quite himself. ANGLE ON BURKE As he approaches the line, he BEGINS TO SING his love to them, `` I'll Do Anything.'' As he pours out his misdirected heart to individuals on the line who DO NOT HEAR HIM. ANGLE ON LINE Their impatience gives rise to a VERY SLOW TAP DANCE, each couple or cluster doing it differently - barely exaggerating the normal shifting of a line. As BURKE CONTINUES TO SING. the song builds as does the dance. Burke sings even more passionately, his D - PEOPLE perhaps joining in as BACKGROUND SINGERS. At a key point, the disparate groups turn and form a SOLID UNIFIED LINE. They begin the rhythmic clapping of impatience - having become a line, they now threaten to become a mob. Burke sings one more Joe Cocker - like passionate plea before turning to camera to shout over the mayhem : BURKE Let them in. As they enter.\",\n \"INT. MOVIE THEATER - EVENING Nan is addressing the audience from down front. NAN The name of the picture you'll be seeing is ` Ground Zero'. There may be some scratches. some of the colors may be off, there are no final titles, and it has not been finally mixed for sound, and the music is temp, that means temporary. As she says this : ANGLE ON REAR OF HOUSE Where Burke spies the STUDIO HEAD and leaves Matt's side. ON STUDIO HEAD As BURKE enters the frame behind him. He is right behind his boss' ear. He leans in and offers an intimacy. BURKE I'm glad you came yourself instead of sending your staff. The boss is startled - jumps. BURKE eyes him. there must be some way to profit from these stolen moments with a powerful man. BURKE I would n't be surprised if tonight's screening is a monster. -LRB- emphatically. -RRB- Could happen, right? STUDIO HEAD Sure. BURKE Okay. He moves back to Matt and Nan at the rear of the audience. BURKE -LRB- to Matt. -RRB- Eisner just said he thinks the screening will be a monster. Strangely, Burke seems truly buoyed by the words of encouragement he himself manufactured. He moves down three rows and sits in an aisle seat just as the film opens with a series of violent explosions. CLOSE ON NAN NAN Please, God, let tonight give him peace. Incredibly, Burke turns and gestures to her that the sound of her small voice is interfering with the cacophony of his movie. Nan is clearly stricken by her lapse as she whispers to Matt. NAN We're short two card - counters, can you two help out?\",\n \"INT. MOVIE THEATER - 1:47:20 LATER We are seeing one of the final moments of the film.\",\n \"INT. WHOLESALE BUTCHER'S (THE FILM) - DAY As the muscular hero moves with stealth through the giant refrigerated meat door. He passes cows and dead men hanging from alternate hooks. Suddenly, he is attacked by the villain brandishing an electric meat dismembering tool. The hero ducks, the machine ripping apart hanging cow flesh. The hero grabs the only weapon he can find : a large piece of meat on a large bone, which he uses as a mace. He clubs the other man - then again - and again. Part of the audience is whooping and applauding. QUICK SHOT OF NAN Standing with Matt and Cathy. At the sound of the applause, Nan grins and mumbles with a connoisseur's knowledge. NAN Males, fifteen and under. BACK TO SCREEN Where the hero stands over the man whose face he has shattered, holding a club from which hang strings of meat. He is breathing heavily, and between breaths, states : HERO Sorry to bust your chops. General audience laughter. SERIES OF SHOTS ON NAN - FRONT OF AUDIENCE NAN If you'll just stay in your seats a few moments and fill out these cards for us. ON AISLES Matt and others handing out cards with pencils attached. Folks filling them out. As an ADOLESCENT MALE fills it out ; PREVIEW CARD FILLS THE SCREEN as we view LIVE ACTION THROUGH IT.\",\n \"INT. THEATER MANAGER'S OFFICE An office meant for two, containing twenty counters. The counting is done with erasers rifling stacks, creating a sound, a MUSICAL RHYTHM, as the GROUP CAPTAIN calls out with gospel cadence. GROUP CAPTAIN Who has young males? Young women? Older males? Older males? Matt, his tally finished, squats on the floor, waiting. The Group Captain approaches. GROUP CAPTAIN Older males. older males? Matt looks blank. GROUP CAPTAIN -LRB- again. -RRB- Older males. over 25? Matt now realizes that it is his category and hands over the older male cards and exits.\",\n \"INT. THEATER LOBBY - NIGHT Burke, prowling the lobby as audience stragglers leave and Studio Execs and Popcorn Development Staff wait. He looks off to see Matt and Nan chatting in another part of the lobby. ON MATT AND NAN As they arrive. Nan looks off to see the Group Captain approach. NAN How long since you've seen your daughter? MATT A little over two years. -LRB- on her look. -RRB- My wife insisted on moving back to the Midwest - then I was in the Philippines on the mini - series and. NAN -LRB- suddenly and loudly. -RRB- Oh, please. It's one thing being a son - of - a - bitch, but you do n't have to be a stupid son - of - a - bitch. People move heaven and earth to see their kids. I do n't care if she moved to Pluto, it's abandonment. MATT -LRB- a pause, then. -RRB- Hey, we just met. NAN -LRB- realizing. -RRB- Oh. Sorry. BURKE Make a guess how we did. NAN It would n't mean anything. BURKE Nothing good that happens can make it worth feeling the way I do now. Nothing. An OLDER WOMAN approaches them. OLDER WOMAN Excuse me. BURKE Who the hell are you? This is private. OLD LADY I'm Mr. Eisner's mother. BURKE Oh. Can I get you some water? OLD LADY No, thank you. The Group Captain approaches and hands Nan a sheet. FULL SHOT Everyone, all the studio and Popcorn staff, is drawn to Nan. ON NAN As she glances at the figures. ON NAN'S LEFT HAND As she secretly reaches for and holds Burke's hand. Is it in sympathy or congratulations? TIGHT ON STUDIO EXECUTIVE FACES As we see in ever - so - SLOWED ACTIONS, tense lips turning gloriously upward to reveal gums - then a smile. More smiles as we pan across teeth. bonded executives and bonded teeth. The shot widens. The studio head mumbles to himself as he carefully goes over the tally in every category. Then : STUDIO HEAD I do n't need the numbers. I loved it. His smiling face takes us : NAN Burke, ninety in the top two boxes. TO BURKE A tear in his eye - a smile shyer than others. He turns to the old lady, instinctively using this victory to settle his most recent score as he says mockingly : BURKE Now can I get you some water?\",\n \"EXT. THEATER - NIGHT Cathy and Matt are leaning against Burke's car. Cathy is distraught - temporarily, but horribly, unsure of herself. Matt is looking at her. If he had a little more confidence going for him right now, he would make his move. But, for now, they are two self - doubters on different trips. CATHY I never thought it would do this well. There were so many holes ; I told everybody it was n't going to do business. Why am I so public with my opinions? MATT You might be right. CATHY Not with that score. You know, maybe tonight's the night I'm losing my entire mind, but were n't you in ` Platoon?' MATT Incredible. I was only there for a minute in the rape scene, moving past Charlie Sheen when I left the hut. I had a great scene cut out. I was. CATHY But there was that one long close up - where you seemed ashamed of yourself but still arrogant. MATT That's exactly what I was going for. CATHY It reminded me of my last boyfriend. -LRB- indicating book bag. -RRB- Got to go. She hefts the bag - puts it back down - crosses her eyes, burlesquing the weight of the bag. He helps her put it on her shoulder. MATT You have to read all that? CATHY Beast of burden. MATT -LRB- sincerely. -RRB- So what are you, totally wonderful or what? She smiles and is gone, staggering a bit under the weight of her scripts. Matt looks after her. Burke and Nan approach. BURKE How come you have n't said anything? This is great, right? NAN No. BURKE What no? NAN The definite recommends are way off for a score this high and, even for action - adventure, it's just too low for women. -LRB- Burke looks anguished. -RRB- I'm sorry. He leans against the car for support. BURKE It was such a good score. NAN -LRB- extraordinarily sympathetic. -RRB- I know. And, unfortunately, yesterday's tracking was n't. -LRB- he reacts. -RRB- I'm sorry. They just do n't seem in the mood for action - adventure right. -LRB- he reacts. -RRB- Sorry. May I tell you one more thing? -LRB- he looks up in anticipatory fear. -RRB- I think it's so wonderful that you do n't worry about even trying to act strong. BURKE Thanks. You want to eat something sometime? NAN I'm, uh. I'm blushing from head to foot. BURKE Good. I'll call you. As Burke moves to his car. He SEES the Group Captain paying Matt. GROUP CAPTAIN Thirty - two, thirty - three. Burke is looking at Matt with some surprise. BURKE You want to do this regularly for me? I was gon na offer, but I thought it would humiliate you. MATT -LRB- straight at him. -RRB- I do n't mind an occasional odd job. But I ca n't work tomorrow. I have to get my kid. As they get in the car, Burke has the front door open, about to get in - reconsiders, and gets in the rear door. BURKE Okay, I got the cards to look at - I think I'll ride back here. -LRB- to Nan. -RRB- Maybe I'll drop by your place tomorrow. Matt gets behind the wheel, thereby ending the day as a full - fledged chauffeur. They drive off.\",\n \"EXT. CORRIDOR - DAY Burke and Nan returning from lunch. NAN So, thanks for lunch. I hope this leads to an evening date. Though I have to stay home with my daughter, Leslie, on Saturdays. BURKE -LRB- sincerely. -RRB- Yeah, okay. You were very interesting to talk to. I swear to God. Honest. No kidding. You really were. NAN I believe you. -LRB- sincerely. -RRB- And I was very surprised what you were like when you were n't working. There was absolutely no difference. You want to see where we do the tracking? BURKE -LRB- excited. -RRB- Is it okay?\",\n \"INT. TRACKING ROOM - DAY The enter the room containing a maze of telephone cubbies with workers manning the phones. NAN Nobody ever wants to see how we do the polling, but they're like little starved puppies when the data comes in - running at you, scrambling to. Burke hardly hears. He is awed as if by a cathedral. VARIOUS WORKERS 1. -RRB- How often do you go to the movies? 2. -RRB- I'm going to describe a movie in one sentence and then ask you to rate it on a scale of. BURKE -LRB- as the workers continue. -RRB- I love this. This is what counts and this is where you count it. NAN -LRB- soft and true. -RRB- That's the same way I feel. BURKE You phone all over - you know what movies they're waiting to see, whether your TV spots are working. You know what the country thinks. WORKER what feelings do you have about Cher as a singer, an actress, or potential date. BURKE -LRB- again. -RRB-. and it's accurate. NAN Within six - point - eight percent. BURKE And you ca n't fix it. right? NAN No. no. Sometimes just for myself, I ca n't resist asking America a personal question. BURKE Like? NAN -LRB- simply. -RRB- When do you feel more worthless - mornings or afternoons? BURKE I got ta get back. They pause by a workers to say goodbye. WORKER Assume Michelle Pfeiffer is the woman - which of these 67 actors would you most like to see her with. Patrick Swayze, Keanu Reeves, Dustin Hoffman, Johnny Dep, the guy from ` Major Dad'. NAN There's something I meant to tell you. You may have noticed something unusual about me. BURKE I got ta get back. NAN I could never find the right time to. BURKE Is this urgent? NAN Well, maybe not urgent, but immediately significant and necessary to tell. -LRB- a deep breath. -RRB- You see, there's these pills. BURKE'Cause I got ta go. I'm listening with an eighth of an ear now. NAN So long. He exits as the telephone pollster continues with the list of prospective Michelle Pfeiffer male co - stars.\",\n \"INT. PLANE Matt, wearing earphones, is in the middle of a row of five, intent on what he is watching. MATT'S POV A recent example of a great actor in a regular movie. something like Brando in `` The Freshman.'' No sound. ON MATT Watching intently. Not watching - studying. not studying - fully appreciating. Now he sees a particularly good moment - looks around joyously for half a beat - a reflex to share what he saw. His neighbors, not quite knowing what he's smiling at ; he returns his attention to the screen.\",\n \"EXT. MID-WESTERN HOUSE - DAY As Matt's cab pulls up. He opens the front gate and walks up to the porch, noting a tricycle, stirred by old guilts. He knocks on the door. A MAN answers. MAN Are you Matt? MATT Uh - huh. MAN I did n't know if we could wait much longer. Come on in. He lights a cigarette, takes three quick drags, then flicks it away before walking inside behind Matt. MAN -LRB- again. -RRB- She's a real nut on smoking anywhere near the kid.\",\n \"INT. HOUSE - DAY They enter. A bedroom down a narrow hallway from where they stand. Remember `` The Best Years of Our Lives''. Frederic March coming home from the wars and seeing his wife just a beat before she sees him. Here we have a wretched mutant of that moment. Beth, still fierce and attractive, is packing her daughter's suitcase when she senses him and looks up. Shaking her head with a disapproval which will never die, she walks to him. BETH Hello - did you two meet? MATT Not really. Is she ready? I have the taxi waiting. BETH I just have to say goodbye. You have no idea how difficult that is. MATT It's three weeks. BETH It's not three weeks. MATT Yes, it is. BETH No, it's not. Several beats - Beth and the man staring at Matt. MATT It is. MAN He does n't know? BETH You are not taking her for a visit. You are taking her for a while. MATT Just because you want to go off with him does n't mean I. MAN You're getting the wrong idea. MATT I do n't think so. No matter how you put this. MAN Hey, look, I'm a United States Marshal. I'm here because she did n't show up yesterday to start serving her time. BETH I do n't have a choice. You do n't have a choice. She turns and starts for the other room. MATT What did she do? BETH -LRB- turning. -RRB- I loved, helped and supported in every possible way a business man who committed the terrible crime of being financially imaginative with a pension fund. She exits. He sits down, stunned in the headlights of his fate.\",\n \"INT. APARTMENT - DAY Matt and the Marshal in the foreground as Beth talks to Jeannie in the background. We see only glimpses of them. Beth's face as she leans towards Jeannie from one side of the doorway - just Jeannie's legs dangling on the other side. BETH'S VOICE Okay, listen carefully, Jeannie. Be still. Now, what's the most important thing in life to know? JEANNIE No one will ever love me as much as you do. Matt and the Marshal exchange a look of mutual horror. BETH Good. Now, concentrate with all your muscles and remember everything I'm about to say to you. The Marshal and Matt shift uncomfortably. BETH Do n't talk to strangers. They may be killers. Take your vitamins so the poison in the food ca n't hurt you. What else now? JEANNIE'S VOICE Teeth. BETH'S VOICE Right. Thank you. Brush right after you eat or your gums will start to bleed in your sleep and choke you. The Marshal and Matt can stand no more - they each call to her. `` Beth. Beth. Mrs. Hobbs. Beth.'' She looks out and then walks to them. BETH What? I'm giving Jeannie her reminders. MATT Reminders?!? You ca n't say things like that to a little. BETH No. Do n't. No. Do n't dare. Do n't criticize the way I mother or I think I'll start to scream and never st. MARSHAL Mrs. Hobbs. BETH -LRB- suddenly cheery. -RRB- Yes. MARSHAL You know, I've been involved with this sort of thing for a long time. BETH You're not going to criticize me, are you? Not in front of him - because all he's done is send Jeannie these long, stupid letters. He does n't even realize she ca n't read. He sends letters to someone who ca n't read. -LRB- laughs. -RRB- It's almost funny. MATT I thought you'd read them to her. BETH -LRB- realizing. -RRB- Oh. MARSHAL I'm not faulting you. You love your daughter and this is a very tough thing to go through. You feel guilty and caring and it all gets mixed up so that there's so much important stuff going down that there's no sure way of dealing with it, but the best thing you can do is just make sure you love her. BETH Typical cop talk. -LRB- on his look. -RRB- But I understand what you're trying to say. Thank you. Can I have another minute with her? She returns to the doorway which still only provides us with glimpses as she SINGS, `` DO N'T TALK TO STRANGERS.'' The CAMERA MOVES down the hallway to INTRODUCE JEANNIE, trying to puzzle things out as she sits amongst a ridiculous number of suitcases.\",\n \"INT. SITTING ROOM - DAY As the two females who bear his name approach. Matt does n't want a pregnant first moment with Jeannie, so he wards off silence with chatter. Unfortunately, he can only think of one word. MATT Hi, hi, hi, hi, hi, hi. JEANNIE -LRB- laughing mirthlessly. -RRB- Hello, monster - poop. MATT -LRB- to U.S. Marshal. -RRB- She has her mother's sense of humor. Beth stops him with a look, then bends down. BETH Okay, love, Mommy's going to help others who need her for a few years, and you're going with Daddy as I explained. -LRB- to Marshal and Matt. -RRB- We'll all have to help with the luggage.\",\n \"EXT. BETH'S HOUSE - DAY - LONG SHOT All three adults and Jeannie sharing the burden of the luggage as they move towards the cab. Mother and child hug. Matt struck by his child's plight, him. BETH -LRB- turning to Matt. -RRB- Beginning now, you must give less value to your own happiness and well - being, then hopefully, you will reach the point where you give that no value whatsoever. Give her everything. There's no such thing as spoiling a child. MAN Even if you have to steal to do it? BETH You do n't really want to mess with me, do you? MAN -LRB- simple honesty. -RRB- No. MATT -LRB- to Jeannie. -RRB- Okay, sweetie. We have to go. JEANNIE -LRB- to Beth. -RRB- I want to go with you. BETH Ca n't, pretty - heart. I'm sorry. Tears fall from Jeannie's eyes. JEANNIE Not even a compromise? BETH -LRB- thinking. -RRB- The compromise will be that you do n't have to ride in back ; you can ride up front with the driver. okay? MATT What? JEANNIE Okay. As Beth buckles Jeannie into the front seat, Matt gets in the back, alone, feeling preposterous. Beth nods to the Marshal, who surreptitiously handcuffs her. MATT -LRB- to driver. -RRB- Can we please go? SHOT - JEANNIE The cab pulls away. Matt leans towards her as she looks back at the receding figure of her mother and grows still. ON MOTHER AND MARSHALL As she sings him one last line of `` DO N'T TALK TO STRANGERS.''\",\n \"EXT. SIDEWALK AREA - DAY Matt checks Jeannie's luggage, then takes her hand. She lets him. He is grateful. MATT It's going to be okay. I'm you're dad, you know? So it will be okay. You and I will make it okay. You ever ridden in a plane before? JEANNIE -LRB- a sudden gust of anger. -RRB- Yesssss!\",\n \"INT. PLANE - DAY Jeannie and Matt in the center two seats of a five seat row. Jeannie is coloring in a book which Matt bought her ; he is holding some extra crayons. JEANNIE Do n't stare at me. MATT Sorry. JEANNIE I want to put on my yellow dress now. MATT It's underneath the plane. We ca n't get it. And just that quick, Jeannie screams. JEANNIE I want to put on my dress. I want to put on my dress. Other passengers turn around. This is pretty raw stuff we're into. Temper in all its wildness, MUSIC UNDER. electric guitar beginning to match the energy and naked emotion of the child. MATT There's no way we can get the dress - it's impossible. Jeannie's feet start kicking in front of her - the person in that seat turning sharply around. MATT Do n't kick the seat! JEANNIE I want the yellow dress. -LRB- a shriek. -RRB- Give me a compromise. She is crying now. MATT As soon as we land. That's the compromise. MORE MUSIC Without warning, Jeannie slaps herself in the face. All five people in the row ahead turn and say in unison : WOMEN IN ROW Do n't hit her. MATT God, I did n't hit her - she hit her. ANGLE ON LIGHTS As everyone starts pushing the cabin attendant call button. These dings magnify until they're part of the music - as it drives and drives. Matt takes Jeannie's hand and tries to restrain her. JEANNIE Noooooo. Let go of me. Noooo. The yellow dress. let go. let go. She breaks away from him. He moves after her. CAMERA MOVING At breakneck speed, Jeannie dashes through the plane with her father in pursuit. flashes of disapproving faces. The seat belt sign goes on. A FLIGHT ATTENDANT blocks his path. FLIGHT ATTENDANT You'll have to sit down. Jeannie takes advantage of Matt's being stopped and moves into the toilet, locking the door behind her. MATT -LRB- yelling. -RRB- Jeannie, we have to sit down. Please. CAPTAIN'S VOICE We'll be having some turbulence for the next twenty minutes or so. Will the cabin attendants please take their seats? FLIGHT ATTENDANT Sir. MATT -LRB- simply and utterly. -RRB- I have no idea what to do. A sudden bump and Matt falls. He yells to the locked door. MATT Jeannie, you okay? FLIGHT ATTENDANT Go back to your seat. I'll get her. As Matt makes his way back, the Flight Attendant uses a hidden latch to open the door. Music building - then calming, the worst is over. Matt makes his way back to his seat, shell - shocked. The Attendant leans over him. FLIGHT ATTENDANT She wants to be alone. So we're upgrading her. He just nods. FULL SHOT Down the aisle - Jeannie lets an Attendant lead her as she peers back at her dad.\",\n \"EXT. PARKING LOT - NIGHT Matt carrying the sleeping child like a sack over his shoulder, also managing to hold onto all her luggage.\",\n \"INT. MATT'S APARTMENT - NIGHT He has propped her on the sofa, a cotton nightgown out. He is unbuttoning her dress. She opens her eyes, the window's protective bars PLACING A SHADOW ACROSS HER FACE. She attempts to cover her fear. JEANNIE These are the wrong jammies. MATT Okay. so what do we do? Jeannie mimics him perfectly under her breath. She goes to an open suitcase and throws things on the floor until she finds the right jammies. JEANNIE Where do I sleep? MATT I have a sleeping bag and bed. Which one do you want? She surveys her pitiful choice ; then points to the sleeping bag. JEANNIE That. She gets into it. He zips her up - then she says something remarkably unexpected. JEANNIE Hug. Amazed, Matt hugs her. A half - beat, then : JEANNIE -LRB- sharply. -RRB- Let go. He does - then stands and looks down at her. She looks back, mocking his stare with one of her own.\",\n \"INT. BATHROOM - DAY Nan uncertainly enters this decidedly masculine bathroom. She is wearing an evening gown. The sun streams through the lush foliage outside a wall - sized window. MUSIC as she opens her purse and removes a pillbox ; at one point lightly singing a snatch of lyric concerning the conflicts of being a single woman and a single mother - this while totally focused on the pills. INSERT - PILL BOX A major movie shot of this compartmentalized box. Each burrowed nest clearly labeled for the pill it contains : VITAMIN B, VITAMIN A, OSCILLOCOCCINUM, PROZAC, CALCIUM, TEST DRUG, ASPIRIN, XANAX, ETC.. ON NAN MUSIC CONTINUES. She dials a phone number while arching her neck and swallowing one pill after another with little swigs of water. This process continuing, even as she speaks into the phone. NAN Monica - is Leslie up yet? Good. I did n't want you to get worried when you realized I was n't there. I'm still with that man. I'll tell you about it later. But it's sure nice to have wobbly legs again. Look, today's recycling day for Leslie at school, so give her some empty cans. well, then dump some out for her! Tell her I had to leave real early for work and I'll pick her up at school myself to make up for it and we'll rent any cassette she wants for tonight. Thank you. Take good care. She hangs up. Another snatch of lyric as she bends to brush her teeth with her finger ; prepares herself and opens the door to greet her new lover.\",\n \"INT. BURKE'S MASTER BEDROOM - DAY Burke sits on the edge of the bed, fearful. He sees her. BURKE Oh, I thought you took off in the middle of the night. She moves quickly to him. NAN No. I just had to call home. Is that why you're sad? BURKE No. It's Everett. This kid who used to work for me. He was always crazy to do his own movie. NAN -LRB- fearing worst. -RRB- What happened? BURKE -LRB- very down. -RRB- His movie not only opened to a three million dollar Friday - it's gotten great reviews. Nan is dumbfounded ; still she puts a hand on him, actually consoling him for his hideous thought - Hollywood lovers : he, wrapped up with ill thoughts of others ; she, feeling intimate, yet severely compromised. Cupid's work is done. BURKE -LRB- again. -RRB- Listen. I'm tremendously worried about ` Ground Zero' because of the bad ` want to sees' you sent over. But that's just me being nervous over nothing, is n't it? NAN No. That's just you correctly assessing the situation. So stop being so hard on yourself. He eyes her, then :\",\n \"INT. MATT'S HALLWAY - NIGHT We hear a muffled argument between Matt and Jeannie coming from inside their apartment. Then the door opens and Matt, holding Jeannie by the hand, moves down the hall to the next door and knocks. -LRB- NOTE : Jeannie is dressed in layers of varied clothing - some of the layers play clothes, some fit for a coronation. She is a pocket contemporary Annie Hall. her style so much her own it transcends judgement. Her hair is unkempt. The door opens revealing Lucy, an Hispanic woman in her mid - 30s. MATT How're you doing? I'm from next door. I see you with your kids in the laundry room. LUCY Hello. -LRB- seeing Jeannie, turns warmer. -RRB-. Who are you? Jeannie is a bit shy. MATT Say, ` Hello, I'm your new neighbor now too.' Jeannie says nothing. LUCY I'm Lucy Crisala. What's your name? Jeannie says nothing. MATT Say, ` Jeannie.' The form of the conversation is forged. Jeannie not answering anything. Matt bending over to Jeannie while he forms her answers to Lucy. LUCY I have a little girl too. MATT Say, ` Is n't that nice. How old is she?' LUCY She's four and a half and I have a little boy who is not yet one year. MATT Say, ` That's nice. I'd like to play with them. My Daddy did n't know your phone number, so we just decided to.' LUCY -LRB- interrupting. -RRB- What can I do for you? MATT Say ` Daddy has to go to work tonight and.'. -LRB- catching himself and looks directly at Lucy. -RRB- I need someone to help me and her on short notice. I've seen your around with your kids and hoped you knew someone in the building or close by. I've got this new job that starts now. Do you know anyone? LUCY Well, I'm always here. I could maybe do it myself. MATT -LRB- there is a God and a good one at that. -RRB- Oh, this is so great. Let's work out a full - time schedule and. LUCY Wait. Jeannie, why do n't you come in for a minute and meet Ricky and Essa. Come on, we're making fruit bars. Jeannie walks into the apartment past her father. LUCY -LRB- again, to Matt. -RRB- Why do n't you leave her for a while and then we talk. MATT Sort of a test? LUCY We'll just see how it works.\",\n \"INT. LUCY'S APARTMENT - NIGHT Play - pen in the middle of the floor. Jeannie stands there staring at Essa who is playing with her little brother. Matt moves to embrace Jeannie who cranes away from him. He stays with it, whispering in her ear. MATT Please behave, understand? I do n't know what we'll do if this does n't work, so behave, sweetheart. Behave, behave. As he exits towards his own apartment.\",\n \"INT. MATT'S APT. - 20 MINUTES LATER Matt is extraordinarily anxious. Then he HEARS loud crying and screaming from next door. There is a stab of despair. Matt deflates, then resigned, exits.\",\n \"INT. HALLWAY - NIGHT The sound of screaming now louder. He walks to Lucy's door, takes a breath and knocks. The door opens and Lucy stands there looking rattled. MATT I'm sorry I bothered you. -LRB- calling inside. -RRB- Jeannie. LUCY Could I have her a little bit longer? My little boy just fell and Jeannie is the only one he let hold him. ON MATT A devil's weight lifted from his shoulders. The slap - happy smile of the just saved plastered on his face. MATT Your little boy fell, so he's screaming. And you want her to stay. Lucy, confused by his buoyant reaction, nods. LUCY Okay. Seven dollars an hour? MATT Great. Thank you. See you later, Jeannie. He tries to kiss her, but she shuns him. Lucy, now having an official status, turns to admonish her. MATT No, that's okay. I'm fine with it. I feel fine.\",\n \"EXT. MOVIE THEATER - NIGHT Burke walks tight little circles near Cathy and the rest of his staff while a few feet away Studio Executives stand in a cluster. There is a DISTANT, RHYTHMIC SHUFFLING SOUND. Burke walks past Cathy. BURKE Nothing good that happens tonight can make it worth feeling the way I do right now. Nothing. -LRB- turning to Cathy. -RRB- What do you think? CATHY -LRB- nervously taking the plunge. -RRB- To be honest, I had problems with ` Ground Zero.' But this ` People Get Hurt' one, while it might not be my exact, exact thing, I think will really work for an audience. It's so over the top, you have a great time. BURKE So you think it'll score big? CATHY Yes.\",\n \"INT. COUNTING ROOM - NIGHT Where we discover the SOURCE OF THE SOUND. Some twenty card - counters on the floor riffling through stacks of cards with erasers. Matt and Nan stand in the doorway. NAN Do n't worry. My daughter used to throw fits in supermarkets when we first moved here. It's all so perfectly normal. Plus I know a great psychiatric children's group. MATT That's what breaks your heart. Jeannie's problem is that she's so down on herself. NAN Well, she's lucky to have a daddy who cares, believe me. MATT I do n't know if lucky's the word. I'm hoping she's asleep when I get home so I wo n't have to deal with her. I'm actually afraid of my own kid. NAN Oh, my. I've had exactly that feeling and never said it out loud. See, there are men who talk my language and I'm just cursed that I'm not attracted to them because they are so nice they remind me of myself. Matt laughs. In the b.g., the counting is completed. GROUP CAPTAIN Excellents? GIRL COUNTER Seven. GROUP CAPTAIN Very goods? BOY COUNTER 14. GROUP CAPTAIN Fairs? SECOND BOY CARD COUNTER 30. GROUP CAPTAIN Poors? SECOND GIRL CARD COUNTER Just a second. -LRB- finishes counting. -RRB- 666. The Group Captain notes the figure on a sheet, walks to the doorway and hands it to Nan, who is still deep into conversation with Matt. She begins walking back to the theater without looking at the sheet in her hand. NAN I felt terrible about the way I blew up at you when I first met you. -LRB- before he can object. -RRB- Please. FULL SHOT - THEATER AREA - NIGHT Burke and others waiting as Matt and Nan come to a stop some distance away. BURKE What are they doing? NAN I began taking anti - depressants when we moved here from Washington. I had some small reactions - sleeping 14 hours, no libido, I gained 17 pounds in nine days - that sort of thing. So they gave me pills to deal with the side effects. And then pills to deal with the side effects I was getting from those pills. All this besides the stuff the nutritionist was giving me. The combination formed some sort of potion so that I keep telling the truth. I do n't have a choice. That's why I was so rude to you. MATT Your doctor says this? NAN Oh, yes. He's excited, but only because he sees glory for himself in it. See, ordinarily I would n't say that about my doctor, but I ca n't help it, it's the truth. He's monitoring me for a while longer before writing it up for this medical journal. Cathy has joined them. CATHY Burke's going crazy waiting for the score. NAN Coming. CATHY -LRB- to Matt. -RRB- How are you, anyway? Matt shifts, figuring out his answer. CATHY -LRB- a small laugh. -RRB- It's a tough one, huh? Me too. Nan looks down at the score. NAN Oh, my. Matt, I'd better drive him myself. She starts for Burke. ON BURKE AND OTHERS As Nan arrives and hands the Studio Executives the score, Burke looking over their shoulders. BURKE I can fix this. Get some narration written. -LRB- turning to Director. -RRB- You'll cut 30 minutes. It will come out like butter. DIRECTOR We're only 77 minutes now. BURKE -LRB- mumbling to himself. -RRB-. a 47 - minute movie. no, that wo n't work. FEMALE STUDIO EXEC I have to go. I have a nanny problem. Priorities, right? BURKE Thanks for the support. She kisses his cheek and leaves. A beat of silence. Burke turns to Nan. BURKE -LRB- again. -RRB- Can you help? Exactly the moment Nan has been waiting for. she does have a valuable observation to offer at this dark moment. NAN Yes, I can. BURKE -LRB- hopeful. -RRB- Go ahead. NAN It's only a movie. As Burke looks at her from the depths of his pain and sees her confidently believing that she has imparted something of value, the movie's marquee lights go off giving us a :\",\n \"INT. MATT'S HALLWAY - NIGHT As he carries an enormously resistant Jeannie, wearing a borrowed T - shirt nightie, back towards his apartment. Matt has Jeannie under one arm - her clothes and shoes in another. Jeannie's arms are extended towards Lucy, who stands in the open doorway of her apartment. She begins thrashing. Giant tears come - the moment is operatic. JEANNIE Let go. Please, Lucy, do n't make me go. MATT Everyone's tired. You can come back tomorr. LUCY Listen to me, Jeannie. JEANNIE I want to live here with these people. God, let me live here. MATT Maybe if she stayed tonight she. JEANNIE I love it here so much that. Now her father's last words have registered on her - she immediately stops crying, though tears still roll down her cheeks. JEANNIE Daddy says I can stay. Jeannie wriggles away towards Lucy's doorway. Lucy takes several steps toward Matt, who obviously fears the looming exchange. LUCY I no think you can give her what pleases when she act like this. Because then she think. Matt is very much like a fighter taking a great deal of punishment, knowing he is beaten, but being told by his corner he must make a fight of it. He nods his head repeatedly in agreement. MATT I know. I know. Now he sniffs the air in quick rhythm, hoping to draw in some courage and resolve. He moves to Jeannie. MATT You'll see Lucy in the morning. We're going home. JEANNIE No. I'm not! STOP!\",\n \"INT. MATT'S APARTMENT - NIGHT As they enter and Matt pushes her into the other room and closes the door, placing her in there alone.\",\n \"INT. BEDROOM - NIGHT Jeannie, behind the double glass - paneled doors of the bedroom. HER POV Matt, upset in a way he has never imagined, as he pops a beer - puts on some headphones for calming music and begins to read a book on child behavior modification. ON JEANNIE Feeling the restrictions of her punishment, pacing and now she begins to wail `` THIS LONELY LIFE''. Few adult women have sung with such appropriate passion out of need and loss, aloneness and confusion. The song finishes. Jeannie sits huddled.\",\n \"EXT. ROOFTOP - DAY This rooftop serves as an outdoor commissary for Popcorn Pictures. There are a few tables, snack machines and umbrellas. The whole `` D'' staff is there, including Cathy, having lunch, along with Claire, the casting assistant. In the b.g., we see Matt, huddled, sitting on the roof's awful green outdoor carpeting, feeling much the same as Jeannie in the previous scene. ON MATT Off in the distance, the Popcorn execs contentedly ply their trade. As he overhears their conversation and the words begin to register in all their horror. MILLIE Will somebody take a minute to look over my casting list before Burke gets here? MALE D PERSON -LRB- scanning list. -RRB- This is n't so great, Millie. MILLIE Well, I wanted to put in people we had a shot at getting. MALE D PERSON -LRB- reading from list. -RRB- F. Murray Abraham, Jeff Daniels, Ed Harris, John Lithgow, Rip Torn, Willem Dafoe, John Malkovich. For an action lead? MILLIE Could you at least take it one person at a time instead of. MALE D PERSON Okay. Let's play ` State the Obvious'. F. Murray Abraham has a nose as long as an Aspen ski line, Ed Harris is losing his hair, Joe Mantegna has never played the lead in a big movie. Willem Dafoe's teeth. Bob Hoskins looks fur bearing when he takes off his shirt. Malkovich. Matt can take it no more. He hears a loud voice coming from his own throat. He wigs out. MATT I ca n't stand it anymore. I ca n't. CATHY What's wrong? What happened? MATT What, in God's name, are you doing in this job you have? SHOT As they all start to answer at once. MATT I mean him. What, in God's name, do you know about casting? MALE D PERSON Me? Matt rises and walks towards the Male D Person. MATT Yes. What do you know? About anything? You do n't even know you have a habit of touching your tongue with a finger like you want to lick yourself. -LRB- note : this is his little habit. -RRB- Yet, you talk like you actually know something. So I want you to tell me. -LRB- louder. -RRB-. what you know. MALE D PERSON I'm not going to be drawn into this. MATT I've been an actor most of my life and this is the first time I've ever heard what the people calling the shots sound like when they're casting. So I really want to find out what, if anything, you know because what if nothing you know. FEMALE D PERSON I do n't think the yelling is necessary. MATT Oh, you could n't be more wrong. And I'm not talking to you. And I do n't like you. MALE D PERSON How about you just mind your own business? Matt is very close to him - he shakes his chair. MATT You're minding my business. That's the problem. so, just tell me, what do you know? ON MALE D PERSON Matt's manner is threatening. The Male D Person looks around for some support and finds little. then Matt's tone changes. it's reasonable, almost seductive. MATT Just tell me and I'll shut up. MALE D PERSON -LRB- taking the bait. -RRB- First of all, I've been going to movies since I was six, for God's sake. MATT What you know is the size of a schnozz. What you do n't know is that these guys. -LRB- indicates list. -RRB-. are for real. ON CATHY She is a ricochet victim of every word Matt says, as he continues to indict the Male D Person and unknowingly reach her instead. His fury grows and becomes more complicated, containing an element of mourning. MATT -LRB- again. -RRB-. that they can make something happen, and even they do n't know what that is till they get in there and play a little. they can make something happen that you ca n't even imagine. and it's not your fault, this stupidity.'cause you're just this scared little prick who gets to say he's making movies, and the only thing they ever taught you is that what you like does n't matter. MALE D PERSON -LRB- frightened. -RRB- Thanks for understanding. The anger leaves Matt. He is depleted. MATT But is n't it almost good manners for you to feel a little shame? Cathy rises and begins to exit. MATT -LRB- again. -RRB- I did n't mean you. CATHY If you did n't, you sure should have. She exits. The D Person's Colleagues have taken advantage of the beat to egg him on. MALE D PERSON You talk about manners - are you actually so bitter you do n't realize how you acted just now? You're gone, pal. But at least know that we ca n't help that we're making it. MATT Oh, shit. You win. You got lucky with ` bitter.' That word just scares me to death.\",\n \"INT. STAIRWELL - DAY A distraught Cathy is walking down as Burke bounds up. BURKE You look down. CATHY I am. BURKE Thank you. I appreciate the support. CATHY I'm not down for you. I'm down about myself. BURKE -LRB- not hearing. -RRB- Oh. What if ` Ground Zero' does n't do well this weekend? CATHY Please listen to me. He nods, but she pauses, disconcerted. BURKE What? CATHY I just got this feeling of seeing myself talking to you and how this is the most important moment of. ever. BURKE -LRB- brusquely. -RRB- Okay. Good. What is it? CATHY I've been watching this company make movies that cost tens of millions of dollars and all the while I've known about this wonderful script which we can somehow own and we could make for about $ 14,000,000. $ 3,000,000 if you can live without stars or a name director. BURKE Is that it? Okay, send me. CATHY I've sent you coverage on it nine times. I swear to you, Burke, it will work. You've never heard me say that. BURKE How about last night? CATHY -LRB- an unexpectedly fierce outburst. -RRB- I do n't know anything about action - adventure! -LRB- on his look, she gains control. -RRB- I have no idea where that came from. Hey, I know everyone thinks I do n't have any commercial sense because of what I said at the ` Gremlins' preview and all. And you think I ca n't put myself on the line. Well, if this picture does n't work, fire me. Have me killed if it does n't get good reviews. If this does n't get a 70 percent definite recommend from women 49 and under, I promise to be your sex slave until they drop ticket prices back to five bucks and start enforcing the R rating. BURKE You're selling very excellent. Very excellent presentation. CATHY You've got to do this. I think this movie can save me. BURKE -LRB- disgusted. -RRB- Oh, please. What's the script? CATHY ` Mr. Deeds Goes to Town.'\",\n \"EXT. MATT'S APARTMENT - EVENING As Matt exits his car with beaten down body language.\",\n \"INT. APARTMENT BUILDING - EVENING As he leads Jeannie briskly down the hall from Lucy's apartment and into his own. JEANNIE Why could n't you even look at the way I dressed Ricky? MATT Look, I do n't want to talk about it. I just had a real rough day. so just let it sit there, okay? JEANNIE But what was it? Tellll me. Compromise. You sad? MATT Yes. -LRB- through gritted neck cords. -RRB- Now, I really need to be quiet. JEANNIE -LRB- eyes him, then. -RRB- You! I know what will cheer you up. Moving very quickly and with great purpose, she slaps a tape into a pink child's cassette player and MUSIC BEGINS. Jeannie sings along with the child's chorus on the tape, `` YOU COULD BE WONDERFUL'', making, with little hand motions, the last thing Matt needs, but, in due course, he starts to actually make a bit of transitional progress out of his own troubles and into the fact that his daughter is beguiling. But, before the mood can fully sweeten, Jeannie forgets the lyrics and begins to verbally assault herself as the tape continues to play. JEANNIE I ca n't even remember the words. I am stupid. MATT No, you're not. You're not stupid and I'm not bitter. and you know why? Because there's no cure for either one and we've got to believe in some cure for each of us. JEANNIE I am stupid. I ca n't even remember the words to some baby song. MATT Oh, Jeannie. I just ca n't do this now. The phone rings. As he goes to answer it. MATT -LRB- into phone. -RRB- Hello? Yes. Cathy. Hey. Just a second. His mood has changed. It's a fine sign that Cathy has called him at home. He needs only for his child to take pity and listen to him. MATT Jeannie, please. be quiet for one second. this is very important for me. She decides, with some difficulty, to let him continue. MATT -LRB- into phone. -RRB- So? Wow. Good for you. Congratulations. Jeannie mouths the words, `` Who is it?'' Matt holds up a finger asking her to wait. MATT Me? This is great. I'll come right over and pick up the script. Okay. If you want to. Bring it over. Goodbye. -LRB- to Jeannie. -RRB- We might make it yet, kid.\",\n \"EXT. MATT'S STREET - EVENING As Cathy drives past some rough examples of street life, and finally finds Matt's building with its grim iron gate security system. Cathy, uncomfortable in these surroundings, parks her car, brushes her hair, while, at the same time, putting in place a phony cheap - car - radio - sticker over her own expensive system, and gets out.\",\n \"INT. MATT'S APT. ENTRANCE - EVENING She buzzes his apartment and waits. MATT'S VOICE Cathy? CATHY Yes. MATT'S VOICE I'll buzz you in. You've got to be quick and push hard. In the b.g.. WE HEAR Jeannie loudly imploring her father to make the person wait till she's finished dressing. There is the SOUND OF the buzzer. Cathy hurls herself at the door a good four times before finally timing it right and gathering the necessary strength to spill through.\",\n \"INT. MATT'S HALLWAY - EVENING Cathy stands there overhearing the voices from inside. JEANNIE'S VOICE But why ca n't I stay just a little while? MATT'S VOICE Because this is a very special friend of Daddy's and I need privacy. Be fair. I let you wear that dress. Cathy knocks. Matt opens the door. MATT Hi. He steps aside so Cathy may enter. The place is tidied up. He has changed his clothes and Jeannie is wearing a lace dress, fit for a young princess, complete with flowered tiara and ballet slippers, with trailing blue ribbons at the heels and a velvet cape. MATT This is my daughter, Queen Elizabeth. Jeannie, this is Cathy. CATHY Hi. What a pretty dress. JEANNIE Thank you. That's nice. ON MATT Happy that Jeannie is behaving so well. CATHY Are you going to a party? JEANNIE -LRB- wildly hopeful. -RRB- Am I going to a party, Dad? MATT -LRB- quickly. -RRB- No. You're going next door. Jeannie is crest - fallen ; for a horrible second, it looks as if she may start to wail. Matt moves into action with a pep talk. MATT Remember our compromise? You're going next door to Lucy's to play and you'll show the kids your dress and I'll come get you later and we'll go out someplace and I'll buy you anything you want for under seventeen dollars? JEANNIE I remember. She starts for the door, doubles back, and kisses a surprised Cathy full on the lips. The gesture is beautifully, even movingly carried off. It is totally false. JEANNIE -LRB- again to Cathy. -RRB- Goodbye. I love you. CATHY -LRB- totally thrown. -RRB- Well,. thank you. Jeannie is on the run. as she passes her father. MATT -LRB- sotto. -RRB- Thanks. Jeannie nods acknowledgment as she flies past. OTHER ANGLE Favoring Cathy, Matt leans out the doorway until Jeannie is safely next door, then re - enters. CATHY What a little winner, huh? MATT -LRB- modestly. -RRB- Oh? CATHY -LRB- waving script. -RRB- This is my favorite project. And it looks like we're going ahead with it. MATT -LRB- overlap. -RRB- ` Mr. Deeds Goes to Town?' Oh, it's a remake. CATHY Well, come on, what's original? And this is a wonderful rewrite. It's funnier. MATT And there's a part in it for. CATHY Yes. Burke says I can test whoever I want. He was n't even surprised when I mentioned you. So, if you could read this rewrite now and if you like it, we can make a test deal. -LRB- catching herself. -RRB- they can make a test deal. we can tell them that they can make a test deal. -LRB- in explanation. -RRB- I think it's important for me to steer clear of the business end. MATT Okay. which part? CATHY Longfellow Deeds. MATT Mr. Deeds? CATHY Who goes to town, yes. Matt takes this in. takes this miracle in. MATT Who are we kidding? I'm even having trouble getting short parts - I'm going to say I love it no matter what you've done to it. CATHY Stop being so creepy honest. I really have an instinct about you for this. I'm going home - call me when you finish reading it. -LRB- how quickly status changes things. -RRB- Or. come on over.\",\n \"INT. BURKE'S BEDROOM - EARLY EVENING A post - coital moment though only the man is visible ; Burke, who lies on the bed wearing a shirt and tie and nothing else. Nan lies out of sight on the floor where she is recovering from the deepest orgasm of her life. BURKE Why not? If you can test movies and premises and want - to - sees, why ca n't you test screen tests? Nan hauls herself into view, climbing back onto the bed. NAN I ca n't deal with your self - centered dribble right now. I have just had the biggest orgasm of my life and I'm trying to figure out if I'm in love with you. BURKE What? NAN Whoops. Tell me what made you rush over and pick me up and bring me here at six o'clock. I mean we seem to have. She closes her eyes in a characteristic and touching gesture, as the scientist in her struggles to be precise. NAN -LRB- again. -RRB-. this unspoken agreement not to talk about why we're together when we're together and I do n't think it's good to let that become a pattern for us. She focuses again on Burke. Prepared for, at last, some verbal intimacy. BURKE Why did I rush to you? Because I felt like I had to. be with someone and you were closest. -LRB- on Nan's reaction. -RRB- What's wrong? NAN You're not at all aware that you've just said something. -LRB- her eyes close. -RRB-. unattractive? BURKE Look, I'm sorry if that came out. NAN I'm not looking for an apology. BURKE I'm just trying to say that one of the things I'm not great at is. NAN Let's not make this about your shortcomings. I'm sure you've had enough of those conversations to last you a lifetime. What I'm. BURKE No, I have n't. NAN No, you have n't what? BURKE Had a conversation about shortcomings. NAN -LRB- aghast. -RRB- No woman has ever told you that you have an almost barbaric insensitivity? That you seem to have lapsed into some final cynicism, where you actually believe that, not only does everyone think the way you do, but only you have the courage to express it? That you seem horribly certain everyone else is sort of pretending when they talk about love or seem to care for anything outside their own anus? No one's ever said that sort of thing to you? BURKE Oh, yeah. But I did n't get what you meant by ` shortcomings.' Hey, if you think things like that, what are you doing here? NAN -LRB- indignantly. -RRB- I'm here for the same reason 86 percent of older women loved ` Beauty and the Beast.' I would like to believe that underneath the creature, there is a sweet, caring guy. BURKE I sure hope you're wrong. Nan breaks up, shaking her head ruefully. NAN I have to pick up Leslie. Burke, not having intended humor, is also lighthearted, having somehow avoided a tight spot.\",\n \"EXT. CATHY'S HOUSE - NIGHT Matt, holding the script, walks the small lane through the tidy lawn to the perfect Silver Lake cottage. We HEAR MUSIC from inside. -LRB- A soundtrack. -RRB- There is a note on the door, which is slightly ajar, reading : `` Come right in if you loved it - ring if you have reservations.'' Matt enters.\",\n \"INT. CATHY'S HOUSE - NIGHT White walls, thick rugs, great, great, fantasy garret ; sparse, but cozy. He walks a step, then there is a girlish squeal and a naked Cathy streaks the rest of the way to her bedroom from the bathroom. CATHY -LRB- calling. -RRB- I mistimed it. -LRB- sticking her head out the door. -RRB- I wanted you to catch me fully frontal. She smiles broadly ; hurriedly putting on something quick and loose to match her buzz. As she walks to him, the phone rings. She ignores it. CATHY So you loved it. A lot? A little? MATT Give me a second - all of a sudden, there's a lot to deal with. She sits on the sofa - looking at him. MATT -LRB- again. -RRB- It's terrific. CATHY -LRB- pointedly. -RRB- Do you see why I think you're right? MATT Because you're nice and you know I need work. CATHY -LRB- lower. -RRB- You know this is really happening, so I wish you would n't kid around about it. MATT Sorry, but I think the audition rule is that I have to be serious unless the person in charge is wearing a bathrobe and her nipples are sticking out. -LRB- holds fingers apart. -RRB-. this much. Cathy peeks down her bathrobe. Then broadly. CATHY There are some mixed signals coming out of here, are n't there? -LRB- phone rings ; she answers. -RRB- Hi. Working. I ca n't write down a number now. Call me back. -LRB- to Matt. -RRB- The script? MATT It's really good. I get a little nervous thinking about the opportunity. CATHY I want to hear everything. You want to go page by page? MATT If it's okay. I kind of work on these things in a private. it's just. it's a little better for me if I do n't. CATHY -LRB- hurt. -RRB- Okay. MATT Okay, let's do it. It wo n't kill me. CATHY Please. I understand. An uncertain beat and then she leans over and kisses him. A sound escapes him. They get up and begin walking to the bedroom. MATT I swear to God, I do n't know which thing I want more, the sex or the conversation afterwards. CATHY -LRB- a smile. -RRB- What do you mean?\",\n \"INT. CATHY'S BEDROOM - NIGHT As they enter and move to the bed where Matt starts undressing. MATT I mean I have n't been to bed with anyone since Jeannie got here. I have n't talked to anyone the way I need to. -LRB- cradling her breast. -RRB- I have n't seen anything this beautiful. I have n't felt this good about life. I mean, I've been lonely, Cathy. CATHY -LRB- as he enters her. -RRB- I'll tell you the truth, Matt. I've never felt more like turning my phone off. She twists her body gracefully, sexily towards the phone. MATT You ca n't shut the phone off. I left this number with Jeannie's sitter. CATHY I do n't understand what you're worried about. MATT I'm not worried. But if the phone was off, I would worry. CATHY But I get a lot of calls. MATT Oh. CATHY I could put the machine on ` monitor,' but it's going to be. I do n't know. MATT It will be okay. I think the most important thing is to stop talking about the phone. Turn it off, monitor, whatever. CATHY Okay. She twists toward the phone again - not quite so beautifully. OTHER ANGLE As she hits the `` monitor'' button, then turns back to him. CATHY You look so serious. MATT I am so serious. CATHY'S POV Matt totally there. this is major for him, then he does something sensitive. reads her concern over the depth of his need and interest and shrugs, indicating he ca n't help it. ON CATHY She likes him. THE COUPLE As they make love. their union thrown off kilter by the phone messages which roll in periodically as they thrust and sweat towards intimacy. YOUNGER MALE VOICE -LRB- broadly. -RRB- Hi, Cathy. All my magazines came today. Read the new Vanity Fair, they take apart three people we hate. Spy is bad this month. Scorsese did n't get the Time cover, the plane crash did. ha, ha, ha. Why are n't you at the office? You know, I'm getting to the point where I prefer to reach people's machines. Bye. The love making continues as the calls continue. MALE D PERSON VOICE Cathy? Are you there? Hello. Are you there? I'm going to count to ten. One, two, three. -LRB- then to someone passing his office. -RRB- Did you go to the screening last night? What did you think? That makes two bombs in a row for her. -LRB- into phone. -RRB-. four, five, six. Pick up if you're there. I've got major gossip. major screwup. It could be good for us. Cathy, in the throes of sexual union, feeling a bit divided by the offer on the phone. she shakes it off. MATT Is this the kind of crap you listen to all day? CATHY Please, we're making love here. BURKE'S VOICE -LRB- incredibly depressed. -RRB- If the TV show bombs, there's going to be a dance party on my grave. I do n't give a crap. Nothing seems to have a point anymore. I'm really questioning everything. including action - adventure. Do n't tell anyone I'm down. Even destroy the message tape. Do n't tell anyone I said to destroy the message tape. Do n't even give hints that there's something you ca n't tell them, but you wish you could. I'm losing it. I'm losing it. I'm losing it. Do n't tell nobody. Do n't tell nobody. Do n't tell nobody. The sound of a hang up. the couple having more difficulty making love. ON CATHY AND MATT As they look to the phone and react - still joined, then : JEANNIE'S VOICE -LRB- sobbing. -RRB- Daddy. -LRB- berating someone who is with her. -RRB- You dialed bad. Where is he? LUCY'S VOICE -LRB- with Jeannie coaching b.g. -RRB- Matt, Jeannie is very upset because you are not here when you said. And now the big hand is on the eight. The sound of a hangup. As Matt springs from the bed. MATT I'm sorry. CATHY It's all right. MATT -LRB- as he leaves. -RRB- Is there a name for what we just had?\",\n \"INT. BURKE'S CAR - DAY Matt driving. Burke in back as his anxieties gnaw away. MATT This is awkward, my driving you around and testing for you tomorrow. BURKE Not really. MATT Well, I hope you understand I ca n't drive you to work tomorrow and then go in and test. It's just. Burke reluctantly considers, then : BURKE Okay. I was going to come in late anyway. I'll get one of the kids to drive me. MATT Thanks. And, look, if I get the lead in this movie, you'll have to go back to sitting up front with me. Burke laughs - surprised at being genuinely amused.\",\n \"INT. MATT'S APARTMENT - MORNING Matt, wildly dialing a phone - orange juice in hand, Jeannie standing nearby. He shrieks one phrase. MATT -LRB- into phone. -RRB- No sitter! Thanks. We're leaving now.\",\n \"INT. MAKE-UP ROOM - DAY Matt is in the final process of being made up, going over his lines. Cathy enters. CATHY Jeannie's fine. There's a whole bunch of kids in the building. She's fascinated. And they're all ready for you. MATT How many men are they testing today? CATHY You're the only one. Matt is surprised. But he is a pro and so immediately makes use of this sudden blip in status. MATT Then tell them I need a little more time. MAKE-UP PERSON No, it's okay, we're done. MATT I mean for me. I want to focus a little. CATHY Sure. -LRB- she hugs Matt. -RRB- Good luck, Matt. -LRB- whispered advice. -RRB- The thing they're looking for most is sexy. And then they're gone. With that bit of advice, Matt is totally fucked up. A beat after Cathy leaves : HAIR PERSON You know who she was involved with for a minute or so? MAKE-UP PERSON Who? MATT -LRB- quickly. -RRB- Hey! On their look. MATT -LRB- again. -RRB- You guys have to leave. This is important and I need to be alone right now. They exit. Matt thumbs through the script. does a relaxation exercise. takes a breath and thinks. a beat and he is reasonably confident. he walks one half - circle of the room making sure he's fully pumped, then exits.\",\n \"EXT. POPCORN MOVIES - DAY As crowded as it was for the previous audition scene, but this time they are reading children of varied ages, and the kids and their parents are all over the stairs, etc.. Jeannie is filled with wonder and is arrestingly and atypically shy, as she makes her way through this world of the young, clinging to Cathy's hand, as the kids sing their version of `` MAKE BELIEVE'' - the stage parents taking one verse. At one point, Cathy's begins talking to someone, blocking Jeannie's view. JEANNIE Get out of my way! CATHY Do n't say it like that! JEANNIE Which way should I? -LRB- polite little girl. -RRB- Get out of my way. -LRB- almost weeping. -RRB- Get out of my way. -LRB- furious. -RRB- Get out of my way. All this noticed by a casting person with a clipboard. CASTING PERSON Wow.\",\n \"INT. POPCORN PICTURES HALLWAY - SEVERAL HOURS LATER Matt making his way past the last of the kid stragglers. Cathy and Jeannie come running up to him. MATT It felt great. Everybody. JEANNIE Let me tell him, let me tell him, let me tell him. CATHY -LRB- highly annoyed. -RRB- Let him finish! God! JEANNIE I want to tell him. CATHY If you wait one minute, I'll let you. Jeannie turns down her volume, but keeps repeating - incanting actually. `` I ca n't wait to tell him. I ca n't wait to tell him. I ca n't wait to tell him.'' MATT Anyway, the girl I did it with, by the way, she's really good ; the director, the crew. they all thought we nailed it. CATHY -LRB- loving, sexy. -RRB- Hey. JEANNIE -LRB- to Cathy. -RRB- Now? Cathy nods and Jeannie begins to push Matt into Cathy's office for privacy. CATHY Wait till you hear this one.\",\n \"INT. CATHY'S OFFICE Jeannie sits her father down. This is the first time we've seen her joyful. Pure glee. JEANNIE Some lady asked me to go in a room and, you know, make believe and say stuff like we were playing a game. The words coming so fast that Jeannie lets loose with a bolt of SONG, as if taking a moment to catch her breath. Just a few sung lines proclaiming happiness. JEANNIE -LRB- again. -RRB- And everybody went ` yea' and they said they wanted me to be on television. And the SUNG PHRASE. JEANNIE And give me money and have a teacher there and a person to braid my hair and color my face and give me clothes. The sung phrase again. ON MATT Stricken. MATT You wait here, Jeannie.\",\n \"INT. CATHY'S OUTER OFFICE - DAY Several people milling about. Matt eyes Cathy. We still hear Jeannie's muffled singing from the other side of the door. MATT -LRB- furious. -RRB- I have to talk to you.\",\n \"EXT. POPCORN PICTURES - DAY As Matt and Cathy come into frame. Matt forcefully placing her with her back to the wall. She is not one to be pushed around. CATHY Do n't! MATT What in hell is wrong with you? You actually think. CATHY I'm trying to hang in here but everything in me cuts off when somebody acts this way. MATT -LRB- continuing right along. -RRB-. that you can have my kid audition for a show without asking me. CATHY I did n't. She went for water and by the time she got back, they had offered her the part. Blame Burke, he was there. Matt takes this in. Just a millimeter underneath his fury is professional curiosity. MATT What's the part, anyway? CATHY The white kid in a multi - racial foster home with all these kids of varying ages. It's not a bad show. I sure ca n't wait to see the test. MATT How were they able to test her so fast? CATHY No. They offered it to her off the reading. I meant your test. MATT Oh. A child actor. Just what any kid with problems needs to straighten out - a series of her own. Cathy has nothing to offer. Matt begins leading her back. We HOLD ON THEIR BACKS and see the chink in Matt's confidence, hear the tightness in his voice as he asks : MATT You'll let me know as soon as they see my test? CATHY Right away. You've got my vote. They hold hands.\",\n \"INT. MATT'S APT. - NIGHT Jeannie, a script in her lap, caressing it, avoiding her father's gaze. He sits nearby sizing her up, pissed. JEANNIE I'm doing it. MATT Not if I do n't let you. That's the law, the police law. She takes this shot hard, but tries to pretend otherwise, continuing to stare hard at her script to avoid him. JEANNIE Do I have to learn to read to be on television? MATT -LRB- with a real edge. -RRB- You're going to have to learn to look at me and listen to me and the longer I have to wait THE ANGRIER I'M GOING TO BE. JEANNIE -LRB- looks up suddenly. -RRB- I'm so mad. MATT Me too. Just listen. JEANNIE I do n't. why?!? MATT Because I know about this. I have worked with kid actors. They do n't have that much fun. They're inside all day. they do n't get to go to regular schools or play with their regular friends like Ricky and Essa. -LRB- progressively losing it. -RRB- And their parents? You think I'm going to be one of those parents, sitting in one of those rooms, where we all go crazy trying to jump start our egos with our kids' sweat, all the time smiling at each other like our lives are working while we root against everyone else's little girl? -LRB- Jeannie is totally confused, until. -RRB- No! No way! I ca n't! JEANNIE Okay. So, no, you're cuckoo anyway. I wo n't do it. And I do n't care because I'm be stupid at it anyway. She throws the script down. Tears in her eyes. MATT Pick it up, Jeannie. She's so down, she complies - picking it up and walking it to the trash can. Matt stops her and takes the script. MATT Let's work on it.\",\n \"INT. BURKE'S OFFICE - DAY The staff of Popcorn Pictures is gathered in the boss' office watching Matt's screentest on projection TV. Burke sits next to Nan on a sofa - Cathy sits in front of him - others in chairs or on the floor. One ASSISTANT is attempting to `` fine tune'' the color - the TINT BAR GRAPH is on screen sliding between + and - as the color changes. Burke talks sotto to Nan. BURKE So how do you think ` Ground Zero' will do tonight? She ignores him, continuing to watch the screen. He leans into her. BURKE How do you think my movie will do tonight? NAN -LRB- testy. -RRB- I'm not going to talk to you during Matt's screentest. Cathy turns in her chair and mouths `` thank you'' to Nan. BURKE -LRB- to himself. -RRB- How bad can it be? We've got to have at least a two million dollar Friday. There's nothing else out there. CATHY -LRB- turning to him. -RRB- Please. BURKE I'm watching. ON SCREEN A VERY ATTRACTIVE ACTRESS is crying. Matt very close to her. BURKE'S VOICE Stop playing with that thing. The COLOR BAR GRAPH does a quick slide and disappears from the screen leaving the actors' faces green. ACTRESS -LRB- crying. -RRB- C'mon, Deeds, tell me about the meeting. MATT What's wrong? ACTRESS Do n't worry about my crying. As a matter of fact, crying turns me on. MATT Well, in that case, your dog died. There is laughter in the room. The actress smiles through her tears - pats Matt for being wonderful. ACTRESS What happened at the meeting? MATT I ca n't remember. You're too pretty. -LRB- on her look. -RRB- Oh, I told them I'd keep on being Chairman. -LRB- then explaining. -RRB- I'm Chairman, you know. ACTRESS -LRB- smiling. -RRB- I know. MATT Told them I'd keep on being Chairman if they hired everybody back. ACTRESS What did they say? MATT Oh, that I was crazy. You always wear your hair back like that? She kisses him. We HEAR the director say, `` Cut. Terrific, guys.'' The girl and Matt hug, no longer in character, as others come in to congratulate them.\",\n \"INT. SCREENING ROOM - DAY Ad - libbed enthusiasm. mostly about the girl. ON CATHY As the conversation about the girl grows more pointed. Cathy, impassive outwardly, recoiling inwardly. BURKE Okay, come on. let's have our creative meeting right here. MALE D PERSON Well, I'd sure go to bed with her. BURKE -LRB- professionally concurring. -RRB- Very fuckable. MALE CASTING PERSON I'd sure fuck her. BURKE Okay. that's her. What about him? FEMALE D PERSON I think he's a very good to excellent actor - I do. -LRB- puzzled. -RRB- But there's something. BURKE You would n't want to fuck him? FEMALE D PERSON Well, six years ago, maybe. CLAIRE I think he's talented and attractive. BURKE So you'd want to fuck him? CLAIRE He might be light in that area. CATHY The man is talented. If you get one of those directors who like actors, I think. BURKE A director ca n't make you hot if you're not hot. You'll end up with warm which is death. CATHY -LRB- defending Matt slightly. -RRB- We laughed. BURKE Let me ask you something. Would you fuck him? CATHY -LRB- wearily. -RRB- Everything does n't boil down to. BURKE Let me stop you before you embarrass yourself. Burke rises and addresses his staff. the camera has his back in the foreground as it MOVES TOWARDS A RENDEZVOUS, Burke moving too as he continues. BURKE -LRB- again. -RRB- We all can do our little lectures on what things boil down to. Everybody else here was professional enough to come out and say. I'd fuck her. I would n't fuck him. and you're ducking it. I want you to forget the acting stuff and totally focus on the issue. And now Burke and CAMERA meet up - the effect being that he is talking directly to us as he continues. BURKE -LRB- again. -RRB- We do have some kind of responsibility to the audience. You just saw his screentest. so, if this is the first time you saw the guy, do you come out thinking to yourself and your girl friends, ` I'd sure go to bed with him ; oh God, would he be something.' Would you, Cathy? I'm being real here. CATHY No. BURKE Okay, so let's keep looking. They file out. Cathy gets up several beats later than the others. and follows them out, avoiding Nan's look.\",\n \"INT. CATHY'S OFFICE - EARLY EVENING She's been sitting here for quite a while. she can postpone no longer ; she dials as one of her MOVIE SOUND TRACKS PLAYS in the background. CATHY -LRB- into phone. -RRB- Hello. Matt. Hi. Okay, sure. She listens, waiting for him to quiet Jeannie. CATHY -LRB- again. -RRB- Matt. -LRB- louder. -RRB- Matt. Matt. Maybe it would be easier if I just said ` hi' to her. Hi, Jeannie. Yes, it's exciting. No, no. He's right, honey, they get somebody to read it to you. Now, put your dad on - it's important. No, first put your dad on. DAMN IT! -LRB- she waits a beat. -RRB-. Matt. Uh - huh, a few hours ago. They all. everyone liked your work, but I think they'll go for a name or something. She listens to him. He is hurt. Cathy, though, is also wrestling with her own internal struggles. She has betrayed him and is ashamed ; in a strange way - terrified. She is, therefore, just a little irritable. CATHY -LRB- again. -RRB- It's not a matter of doing it differently. they liked what you did, a lot. they laughed and. it's not you. it's them. -LRB- suddenly her breath comes weird. -RRB- No, please. Do n't thank me. If you feel like getting together later or anytime, call me, okay? You sound like you have your hands full right now. Goodbye.\",\n \"INT. MATT'S APT. - NIGHT As he hangs up. JEANNIE I wanted to talk to her again. I. She stops in mid - sentence, looking at her father. He is overcome. his energy failing to get him past this most awful moment in his life. She moves to his side. He starts to cry and, urgently seeking privacy, he moves quickly towards the bathroom, rubbing Jeannie in an instinctive gesture of reassurance. He closes the door. ON JEANNIE Devoid of anger. Sympathy so pure that it wrenches. She starts to move towards the bathroom. Her voice sweet. JEANNIE Dad? Daddy? Matt opens the door quickly. MATT Everything's okay. I'm sorry I forgot to put you back on with Cathy. He walks across the room, Jeannie tracking him. JEANNIE You did n't cried because of that. I do n't even want to talk to her. Matt sits down, still suffering a bit of dysfunction, unable to keep up appearances other than a few minor half - hearted tweaks at his daughter who stands solemn and silent at his side. She pets him some. this goes on for several beats as the STRAINS OF `` YOU COULD BE WONDERFUL'' accompany the moment. Then : JEANNIE -LRB- a whisper. -RRB- Dad. Can I say just one thing? With some effort, Matt lifts his head and nods permission. JEANNIE You've got to make me supper. Matt nods, rises and leads her into the small kitchen.\",\n \"INT. BURKE'S BEDROOM - DAY Burke is wearing a T - shirt and shorts as he walks to his four - stops - past - state - of - the - art Stairmaster and turns it on while looking over his shoulder at the telephone. now sucking in some courage, he goes to the phone and speed dials. He begins to climb the stairs. VOICE You have reached the Warner's Hotline. Estimated Box Office Grosses for Friday, December 3rd, Weekend Number 49, are as follows in millions of dollars. He braces himself. there is a tone, then : PHONE VOICE Due to the high volume of calls, we must ask you to wait till a line is clear. MUSIC IN. At first from the speaker phone. Burke moving in time to `` THERE IS A LONELY.'' And now singing. As the lyric concludes and the instrumental comes in. PHONE VOICE -LRB- again. -RRB- Thanks for waiting. Weekend 49 grosses follow in millions of dollars. ` Belligerence,' 714 theaters. Two - point - one - eight million, down 46 percent. Burke smiles with pleasure. his steps becoming lighter, more fanciful. PHONE VOICE -LRB- again. -RRB- ` Best Girl,' 1,820 theaters, six - point - four million, up 24 percent. BURKE -LRB- contemptuously. -RRB- Cappuccino movies. PHONE VOICE Opening this weekend, ` Double Dare Two,' 1,870 theaters, fourteen - point - three million. and now his film, `` Ground Zero,'' is coming up to bat. as succor to the gods, he tries to make his dance gleeful in anticipation. PHONE VOICE -LRB- again. -RRB- ` Ground Zero,' 2,110 theaters, no million, point four thousand dollars. Burke falls off his Stairmaster and, from his new position, finishes his song.\",\n \"INT. BURKE'S CAR - DAY Matt is driving. Burke is seated alongside him, talking without looking at him. BURKE I'm going to pieces. -LRB- whispering. -RRB- The picture was budgeted at 21 million and I spent 49 so they were a little mad at me to begin with. Now it does n't open even with an Arby's Roast Beef tie - in. I mean, we only averaged 300 dollars a theater. they're going to think I'm Woody Allen. MATT I do n't think you have to worry about that. BURKE Thanks. But this is private. What about the exit survey? Did we do good with any group at all? Now we HEAR Nan's voice on the speakerphone which Burke has been addressing all along. NAN'S VOICE I ca n't hear you, but - hi, Matt - that was funny. MATT Hi. NAN'S VOICE I do n't think you have to worry about that?' She laughs delightedly. Burke leans across Matt's lap to get closer to the microphone. BURKE Did we do well with any group at all? NAN'S VOICE Eleven - year - old boys in the South. He sits stupified. NAN'S VOICE -LRB- again. -RRB- Burke? Burke? Matt, is he. BURKE I'll see you later. Goodbye. NAN'S VOICE But, hon. He hits the `` end'' button. He slumps for a second, then : BURKE I'm all alone. -LRB- pause. -RRB- At least there's that.\",\n \"EXT. POPCORN PICTURES - DAY As the car arrives outside Popcorn Pictures, we can SEE some child actors and their parents arriving at the sound stage next door. MATT Are you going to need me? The kids are rehearsing and I'd like to take a look. BURKE Yeah, sure. I have to stay inside during lunch hours now anyway - that's when everybody returns my calls because they're trying to miss me. MATT -LRB- amazed. -RRB- Is that true? BURKE -LRB- misinterpreting. -RRB- Yeah. Thanks for the support.\",\n \"INT. TV STUDIO - DAY A row of parents standing near their child actors, adjusting them - not unlike handlers of racing Greyhounds. ON JEANNIE Seen from a distance - her father behind her. In the foreground, the mass of workers on the stage, It is, in effect, her POV, even though she is in the extreme background of the shot. We MOVE CLOSER to Jeannie and her father - even a bit behind them. Jeannie is scared. MATT I bet I know what it looks like to you. JEANNIE What? MATT A giant `` find Waldo.'' Despite herself, she smiles at the reference, though her tone is a bit sarcastic. JEANNIE Very funny. PASSING VOICE Five minutes, children, then we need you for work on the set. JEANNIE Set? MATT That pretend living room, right over there. JEANNIE Okay. Set. Bye. MATT -LRB- holding her arm. -RRB- Wait a second, Jeannie. Let Daddy give you a few tips here. JEANNIE -LRB- twisting away. -RRB- Nooo. I've got to get to work. She breaks free, depriving Matt of the sweet and simple moment he wanted with her. She's one of the first ones on the set, other kids still hugging their parents. As Cathy comes up behind Matt, we can HEAR Jeannie who, having so small a trust for her father, needs to confirm what he just told her. JEANNIE -LRB- faintly. -RRB- Is this the set? Matt reacts. PASSING VOICE Parents to Room Two, please. -LRB- as he goes by Matt. -RRB- Parents to Room Two, please. Jeannie is watching. PASSING VOICE -LRB- again. -RRB- We have to clear the set. Matt looks him off fiercely. The Passing Voice addresses the friendlier parents. PASSING VOICE -LRB- again. -RRB- This way, parents. CATHY I'm glad I found you. MATT Hi. OTHER AREA - BEHIND GRANDSTAND SEATS As they walk. CATHY You holding up? What did you do last night after I called? MATT -LRB- as if teasing. -RRB- What do you think I did? I cried like a baby. CATHY Okay. Okay. So you do n't want to tell me. Be a tough guy. MATT Now you got it. CATHY I feel relieved just seeing you after all that stuff. whew. Okay. -LRB- preparing to go. -RRB- Burke wants to. MATT You ever go out with him? Cathy is as simple and direct as she is embarrassed. CATHY Yes. MATT You slept with him? CATHY Yes. MATT Did you hate it? CATHY Eventually. MATT -LRB- reeling a bit. -RRB- Good Lord. CATHY This is the thing that makes me nervous about you. You keep on assuming I'm nicer than I am. He kisses her. She kisses back. Then there is an extraordinarily loud and piercing voice. JEANNIE DAD! He turns to see Jeannie beckoning to him from the stage - the director, standing at her side, joins in. He walks to them. ANGLE - STAGE FULL OF ACTORS The Director is talking to Jeannie who seems, even from a distance, distraught and lost. She sees Matt. JEANNIE There's such trouble. DIRECTOR She's very worried about being able to pretend cry when she has to and she does n't get it about memorizing. That's all. JEANNIE -LRB- aghast. -RRB- That's all?!? The Director beckons Matt to lead her away. He does. JEANNIE This is n't going to be good. MATT Not with that attitude. She seems stung by this, unusually vulnerable. He changes tactics, softening. MATT -LRB- again. -RRB- It's just that they. Well, did they tell you what an audience is? JEANNIE -LRB- insulted. -RRB- I know what an audience is. MATT Good. Now, because there's an audience, they want you to know all the words you have to say really well. And since you ca n't read yet. -LRB- off her fierce look. -RRB-. you're going to have to be patient and try hard. I can help you. She grasps at this unlikely straw. JEANNIE Can you help me to cry? MATT Yes. -LRB- on her broad disbelief. -RRB- I can. I can help make it okay. Trust me. Jeannie pauses half a beat, then : JEANNIE I miss my mother bigger than you know.\",\n \"INT. MATT'S APT. - DAY Matt on phone, Jeannie standing next to him reaching for the phone. MATT -LRB- to Jeannie. -RRB- Not yet. Do n't grab. -LRB- into phone. -RRB- Thank you. We really appreciate this. Hi, Beth. I. Jeannie grabs the phone in a flash. JEANNIE -LRB- softly into phone. -RRB- Mom? No. Nothing. Nothing. Nothing. Nothing. Would you talk? I'd just like to listen to you. Wait. Let me sit down. Jeannie sits herself by the window, protected by an iron grill, and sits listening to her mother. There is about this pose something prescient ; unmistakably, Jeannie will look this way again as a young woman cloaked in the love of some guy. but for now it's her mother, her crazy mother, who blots out dread. Matt is struck by how quiet and adoring Jeannie looks even as he moves to give his daughter some privacy. Several beats, Jeannie noticing her Dad looking at her - switching positions, body language indicating that she wants to put him out of her mind. then a thought. JEANNIE Dad says he's going to make me to really cry. MATT Jeannie, your mom's not going to understand what you mean. Jeannie shushes him, resisting with surprising will and strength when he tries to get the phone. JEANNIE -LRB- to Matt. -RRB- She understands! -LRB- into phone. -RRB- He's being terrible right now. -LRB- faster ; avoiding Matt. -RRB- I love, loved, the coloring book you sent me. Goodbye. Wait. I love you. Let me hang up first. Love you. Send me a letter. Bye. And a beaded T - shirt. Bye. She hangs up. Matt pissed. MATT Why do n't you let me be on your side for a second? JEANNIE I ca n't even understand what you're saying now. MATT Do you know what trust means? JEANNIE Not very. MATT It means that even if something is hard to believe, you believe someone you trust because you know he would n't say it unless it were true. JEANNIE I understand. So I do n't trust anybody, right? MATT Yeah, I think you get the concept. JEANNIE You do n't make sense. I do n't understand you. MATT I think you do. Jeannie reacts broadly. indicating what a difficult man she's stuck with. MATT Just know that. JEANNIE Okayyyy! MATT -LRB- giving up. -RRB- You want to help me make a phone call? She goes quickly to the phone and picks it up. MATT Seven. two. JEANNIE -LRB- hitting numbers. -RRB- Who are we calling? MATT Cathy. She's very nice. One. six. JEANNIE -LRB- hard to read. -RRB- `` Very nice.'' One.\",\n \"INT. CATHY'S HOUSE - DAY As she answers phone. JEANNIE'S VOICE Hi. -LRB- to Matt. -RRB- What now? MATT'S VOICE IN BACKGROUND Tell her, ` How are you' and then let me. JEANNIE'S VOICE How are you? CATHY Jeannie. I ca n't talk now because. JEANNIE Wait, my dad wants to. CATHY Tell him I ca n't talk'cause I'm on the phone with a director. JEANNIE He wants to talk to you very much and. CATHY -LRB- sharply. -RRB- I ca n't. I have to hang up. She does.\",\n \"INT. MATT'S APT. - NIGHT Jeannie, truly stung by the hang - up. She takes this act of Cathy's as an insult to herself and her father. Matt does n't feel too wonderful about it himself. MATT You have to understand that sometimes people are too busy. JEANNIE So she's too busy for you?\",\n \"INT. RESTAURANT - NIGHT Burke and Nan eating together on an elevated balcony overlooking the main eating area. BURKE We look like jerks eating here this early. Everybody's going to think we could n't get a reservation for the hot hours. NAN Why do you do this to yourself? Why do you insist on eating dinner in a restaurant where you're bound to see all the people you're afraid of? BURKE I'm not afraid of them. NAN What do you call it when you think that what a group of people think of you can confirm or destroy any decent idea you have of yourself? BURKE Normal. NAN How did little Jeannie do today? BURKE Is n't it something that they have you testing the TV show? NAN What I asked was, how did Jeannie do? BURKE What are you talking about? NAN Somebody else. Jeannie. How did she do? BURKE Do n't talk to me like this. NAN -LRB- really pissed. -RRB- I want to be treated as if I'm really saying words to you which you engage and respond to. I like Matt ; I'd like to know how his daughter did. So before you take your dance of desperation across the restaurant and I end up feeling so sorry for you that I could die, I would like you to answer my question. BURKE She did okay. and do n't worry about Matt. If the pilot sells, his kid will be making five thousand a week. So what do you know about ` People Get Hurt?' NAN I'm told that they're not going to release it. BURKE I knew. I knew. What the hell are you smiling for? NAN Forgive me. But telling you about this latest failure of yours - it pleases me. I have no idea why. BURKE I ca n't be with someone who's not rooting for me. NAN I think I am. It's just that rooting for you is a good deal more complicated than you realize. -LRB- as he rises. -RRB- Do n't go. BURKE Do n't worry. I'm not that mad. I got ta do this. MUSIC IN as Burke leaves the table. This `` Dance of Desperation'' is classical. Burke himself lifting one of the women in greeting, then, as he puts her down. BURKE -LRB- again. -RRB- Sorry. I thought you were someone else. As he continues to go from table to table. TIGHT ON NAN As she looks down on him, dying for him, we HEAR her sing the song `` Poor Bastards''. Finally, not only about Burke - but the other damaged souls he seeks to dance with. Now, Nan can take no more. She exits. FULL SHOT - BURKE As he sees her go past in the background, he goes after her, finally grabbing her near the Maitre D' station. This, just as TWO IMPORTANT COUPLES arrive. Burke frantically tries to cover. BURKE Nan, you know Victor and his wife. -LRB- he mumbles, unable to remember any wife's name. -RRB- and Jay and his wife. -LRB- he mumbles. -RRB- NAN Yes. I'm sorry I ca n't talk now. I'm very upset about what's happening to Burke, so I just made up my mind I ca n't be witness to it anymore if I love him and I certainly should n't be here if I do n't. so I was just in the process of leaving when he stopped me and you folks walked in. I'm sure you've had something like this happen to you some time. some horrible thing in your personal life happening in public. They all nod and ad - lib agreements with her premise to Burke's amazement. NAN -LRB- again. -RRB- Thank you for understanding. -LRB- to Burke. -RRB- Goodbye. I wish only good things for you even though I feel I've been really damaged by this relationship. She exits, enormously upset. Burke, torn between following her and repairing the social damage. But the couples are paying him no mind ; rather they are impressed with Nan. As they comment, i.e. COUPLES Was n't that spectacular? I've never seen anybody that secure. Burke accepts the compliments as if meant for him. BURKE Thank you. Thank you. We're very close.\",\n \"EXT. RESTAURANT - NIGHT The strains of `` Poor Bastards'' underscoring the moment as Burke rushes into the parking area and grabs Nan's hand just as a valet brings her car. NAN You do n't understand that I'm exhausted from hurting. I'm through with you. She begins to cry. Ordinarily this would be a scene which would be unendurable for Burke. However, the lesson of a moment ago is not lost on him. As people get out of cars and witness the sobbing Nan. BURKE -LRB- to restaurant patrons. -RRB- Excuse me, we're working our shit out. I'm sure it happened to you. you know, private stuff in public. The reaction to his openness is disdain and passing contempt. She drives off, leaving Burke hurt and alone. `` Poor Bastards'' up and out.\",\n \"INT. MATT'S APT. - NIGHT The lighting soft and sweet. Jeannie's words are tentative as she talks to her father who sits watching intently. JEANNIE I do n't know if I've been bad. I know somebody's been bad. -LRB- hopefully. -RRB-. maybe it's you. Matt laughs. Jeannie looks at him shyly. he looks at her with encouragement. Suddenly she is in his arms, hugging him hard, an emotional dam seems to have broken. JEANNIE Oh, I love you so much, I love you so much. I love you so much. Matt holds on - clearly, deeply moved. Then he exercises the effort to control his emotions and speaks, surprisingly, as a Black woman. MATT -LRB- as Black woman. -RRB- I hope that makes you feel a whole lot better, Chile.'Cause it sure goes a long way to cure what ails me. JEANNIE I ca n't believe I. MATT -LRB- as himself, coaching. -RRB-. got in this much. JEANNIE got in this much trouble. MATT Right. Over a. JEANNIE -LRB- guessing. -RRB- Word? MATT Yes.' I ca n't believe I got in this much trouble over a word.' Now do you know what she means when she says that? JEANNIE I do n't want to talk about it - just say her stuff so I know mine. MATT No. She starts to flail a bit. MATT It's your choice. But I'm not helping unless you try to understand as well as memorize. It will be fun. Come on. I know it's hard. JEANNIE Okay. Okay. MATT Anything to shut me up, huh? Okay, this little girl you're pretending to be. she ca n't be with her Mommy either, just like you, or her father. she has to stay in Rainbow House which is called that because. -LRB- Jeannie starts fidgeting. -RRB- Jeannie. -LRB- she stops. -RRB-. because everyone's a different color. so when this little girl calls the black lady who takes care of all the children this terrible word. it's like the worst thing anybody can do. Come here. JEANNIE -LRB- approaching him. -RRB- I do n't want to do the' I love you' again. MATT Yeah, I might have been working you too hard on that one. She is unable to resist muttering one sarcastic shot. JEANNIE Yeah. Why do n't you do that with poopie Cathy? MATT -LRB- ignoring her. -RRB- Now, did the director tell you how he wanted you to do it? JEANNIE He said to smile all the time almost and to talk. uh. MATT Faster? JEANNIE Yes. MATT Okay. We do n't always get good directors, so it's important for us. JEANNIE Me. You're not in the show. MATT I'm referring to the family of actors, you little shithead. Jeannie does n't know quite how to take the name calling. MUSIC IN. we're heading for a rendezvous with a dance as it CONTINUES ACROSS THE CUT TO :\",\n \"EXT. TV STAGE - EARLY MORNING Matt and Jeannie walking from the catering truck. They are eating ravenously. MUSIC CONTINUES. VERY JOYOUS. JEANNIE This is so good. MATT It's a breakfast burrito. It's what actors eat when they're working. JEANNIE -LRB- excited. -RRB- Really.\",\n \"EXT. ROOF GARDEN - DAY MATT Now, let's work a little more. The most important acting you do is when you listen. You're worried about being able to cry when you're supposed to, right? JEANNIE Yes. So much. MATT Well, there are really only two ways to do it. Think of something that makes you really sad. or forget you're you and really forget you're pretending. JEANNIE How do I do that one? Matt reads from script. MATT -LRB- as a furious Black woman. -RRB- ` Do n't test me, child! I could eat you for lunch when I was your age and I'm a hell of a lot bigger now!' Jeannie looks afraid. MATT That's it. You just looked at me and acted right without even thinking. And there are games you can play to help you with this. Get up. -LRB- she does. -RRB- Now, be my mirror. do exactly what I do. that's it. now, at a certain point, I'm going to become your mirror, but I'm not going to tell you when. you tell me. JEANNIE -LRB- hesitantly. -RRB- Now? Matt nods. MATT -LRB- enthusiastically. -RRB- Okay. We're going to make up words. The words are n't what matter now. JEANNIE I'm on a roof. MATT You're a great dad. JEANNIE You're a. -LRB- then stops ; then smiles at him. -RRB- This acting exercise of Chicago's Story Theater leads into the song, `` BE MY MIRROR.'' As the song finishes, Matt and Jeannie are in the best spirits we've seen as an A.D. approaches. A.D. They need you. JEANNIE Okay. She takes the A.D.'s hand as Matt calls. MATT You're welcome. Do n't mention it.\",\n \"INT. CATHY'S OFFICE - DAY Cathy is in mid conversation with Millie. Matt enters and boldly says his piece. MATT I'm a free man. Let's go to your house and break the answering machine. CATHY You know, I could get away now. But I've got a big meeting later. We'd better take two cars. Millie, having been at the screen test viewing, is taken aback, looking from one to the other. Cathy knows what she's thinking and is unnerved, feeling silently accused, as she leads Matt out. CATHY See you later. Thanks again.\",\n \"EXT. STREETS - DAY Cathy's car followed by Matt in Burke's car. The frame holds both cars close as if this were one long car.\",\n \"INT. CATHY'S CAR - DAY She seems troubled. Then a decision. She dials a number on her mobile phone and picks up the receiver.\",\n \"INT. MATT/BURKE'S CAR - DAY The phone rings. He punches the speaker button. MATT I hope it's you. CATHY'S VOICE ON SPEAKER Hi. Matt waves. MATT -LRB- delighted. -RRB- So this is how the big ones make out. FULL SHOT - THE TWO CARS Almost bumper to bumper. snuggling. ANGLE - CATHY She takes a breath and then plunges.\",\n \"INT. MATT/BURKE'S CAR - DAY As he hears one of the more ominous phrases of the motion picture community. CATHY'S VOICE Matt, will you take me off the speaker? He picks up the phone. We intercut between the cars. MATT What's the matter? CATHY -LRB- hyper. -RRB- I do n't know whether I'm being a coward for telling you this way or brave for telling you period. Can you hear me? MATT Yes. CATHY But I better talk fast because this is where my phone always kicks out. When we did your screentest. Can you hear me? MATT Yes. CATHY Well, I sort of folded on you at the end. She pauses, silence, then : CATHY Matt? MATT You did n't like what I did? CATHY I did. Truly. But the discussion got sort of dumb. It was a question of sexiness. MATT That's what it came down to? CATHY Well, sort of, yes. MATT You folded on whether or not I'm sexy. You do n't think I'm sexy. and you expressed that to. CATHY Well, I'll tell you. I certainly must think so pretty much because I feel great about where we're going now.\",\n \"EXT. NARROW CANYON ROAD - DAY There is a longish line of cars behind Matt and Cathy.\",\n \"INT. CATHY'S CAR - DAY CATHY Are you very mad at me? MATT No. You were just. Aw, damn it, I am. Very. Yes. Matt manages to pull to the side. the other cars gobbling the places behind Cathy, who sees this. and now she watches Matt's car recede from her view. MATT'S POV Cathy going out of sight. ON MATT As he lets her go.\",\n \"INT. BURKE'S HOME - EARLY MORNING He is in bed, wearing a bathrobe, watching projection TV. FIRST VOICE number seven at the box office this week - end is. He switches channels. VOICE NUMBER TWO the two words are Tom Cruise. He switches channels. THIRD VOICE becoming the first lawyer to be awarded his own star on Hollywood Boule. He turns off the TV and crosses to the phone, allowing us to read the back of his bathrobe `` ROCKY BALBOA.'' ANGLE ON BURKE He looks at the clock which reads `` four a.m.'' and dials. BURKE Hello, Nan. I hope it's not too late to call.\",\n \"INT. NAN'S KITCHEN - EARLY MORNING She has been crying. BURKE I'd like another chance. NAN You only think you feel that way because you're on the verge of failure and you're without a core. BURKE See. Nobody else gets me. -LRB- a beat then. -RRB- You wan na have a little sex, honey? NAN -LRB- a beat then. -RRB- You know I've never hung up on anybody in my life. because what if the next thing they said solved everything. but I must end this conversation. Nan hangs up. Burke picks up a pocket electronic notepad from the bedstand and hits the scroll button. INSERT ELECTRONIC NOTEBOOK Names and phone numbers. ON BURKE He scrolls past numbers, considering, finding them wanting, so that, finally, he is scrolling the emptiness of his relationships. Now he considers one number and dials.\",\n \"INT. MATT'S APARTMENT - EARLY MORNING The phone rings. He picks it up. MATT Hello. INTERCUT BETWEEN THE TWO BURKE Hi, Matt, this is Burke. I'm sorry to bother you at home, but you know Nan. We were going out a little and I could use another guy's slant on what's just happened. MATT I do n't think I can get into this. BURKE Why? Did I catch you at a bad time? MATT Worse. You caught me at a bad time you caused. BURKE Oh, you mean about the screentest. The whole room thought you did good work. MATT -LRB- reinventing irony. -RRB- Thanks. BURKE Yeah, look, I'm not going to bother you about my thing. MATT Yeah. Okay, good night.\",\n \"INT. BURKE'S APARTMENT - EARLY MORNING As he hangs up. Looks down and turns off his phone number pocket computer. MUSIC RECALLS Prince's `` There is Lonely.''\",\n \"EXT. TV STUDIO - LATE AFTERNOON MUSIC SEGUES to recall `` I'LL DO ANYTHING,'' as he drives past the line waiting to see RAINBOW HOUSE. -LRB- NOTE : FROM THIS POINT ON, THERE WILL BE AN UNDERCURRENT OF CHOREOGRAPHY TO CONCLUSION. -RRB-\",\n \"INT. MAKE-UP ROOM - LATE AFTERNOON We see Jeannie's face in the mirror, but it is seen through something resembling fleece, which we now recognize as the strands of Jeannie's hair being combed out to the side by an expert hair - dresser. Jeannie is shifting nervously in the large room where each chair is filled with a child of a different age and color. In the b.g., we can HEAR the voice of the WARM - UP MAN. WARM-UP MAN pilot for a new show called ` Rainbow House'. Just listen to our band and I'll be back to tell you more and make you love me. The audience laughs thinly. The BAND PLAYS as someone closes the door to the make - up room muffling the offstage sound. There is a good deal of tension in the brightly lit room. Jeannie sits between a FOURTEEN - YEAR - OLD HISPANIC BOY and a FOUR - YEAR - OLD ASIAN GIRL. The room is abuzz. kids running lines and loudly talking. this builds to a musical life as in our first audition scene. there is a briefly sung phrase -LRB- Jeannie not taking part -RRB-.\",\n \"INT. GREEN ROOM - LATE AFTERNOON The parents, in the same variety of skin colors as the child actors, are stuffed into a small room being patronized by the ASSISTANT DIRECTOR. Matt is grimly seated in the middle of a long sofa containing stage mothers. Another sofa is two feet away ; the parents strain at each other. The A.D. is talking grandly but we can not hear his words because the Rainbow Parents are SINGING a phrase from the same song we heard in the make - up room. Matt does not take part in the singing. The music goes under allowing us to now hear the A.D.'s words. A.D. and when you're in the audience, make sure you laugh and applaud even when it's somebody else's kid. There is appreciative laughter from everyone save Matt, who rises in disgust and crosses out of the room. A.D. -LRB- again. -RRB- You're not allowed near the stage. We only have a few minutes. Matt ignores him and exits.\",\n \"INT. BACKSTAGE AREA - LATE AFTERNOON MUSIC NOW EMPHASIZING THE TENSION OF THE PRE - SHOW ATMOSPHERE. Matt, moving about the area, looking for Jeannie, spots a cluster of other cast members excitedly awaiting their introduction. Jeannie not among them. An A.D. talks with concern to a P.A. A.D. Let me know if you see the little white girl. Matt, growing concerned, walks on, then : MATT'S POV Across the stage to the distant make - up room. Jeannie, alone in the room, which is so brightly lit it creates a bizarre effect, as if she were under a surreal spotlight. MUSIC reprises Jeannie's Sinead O'Connor song, `` Lonely Life of Mine.'' ON MATT Stopping his impulse to go to her - he continues to observe. MATT'S POV Jeannie is nervous and uncertain. She plays with the handle of the make - up chair. turns herself back and forth. Then a very attractive TEN - YEAR - OLD BOY enters the scene - obviously telling her to hustle. He offers his hand and she takes it, instinctively masking all clues that this hand holding is a `` first'' of great moment in her life. As they move toward the main stage area, Jeannie looks around, needing something. her dad. MATT Jeannie. She turns - sees her father and gives a small, cursory nod. He moves quickly, drawing even with her but still giving her a bit of space and a low - key pep talk. MATT Just remember. You're not even here tonight. There's only this other little girl that you're pretending to be who lives at Rainbow House. JEANNIE and who just vomited. Matt breaks up. Even Jeannie smiles briefly, then she takes him aside for privacy. JEANNIE I just found out that we bow before we even do anything. MATT Great. JEANNIE And everybody claps. MATT Great. JEANNIE I made up a great bow. You going to look? MATT Would n't miss it. JEANNIE I'm not going to be able to cry. It's too hard for me. MATT Hey, then they'll just give you more chances after everyone leaves. This does not satisfy her. She rolls her eyes as she is pulled away towards the front of the stage. Matt watches as the 10 - year - old veteran actor leads his little daughter towards her debut.\",\n \"INT. BACKSTAGE - LATE AFTERNOON - MOVING SHOT - BURKE MUSIC, a tension - filled version of `` Poor Bastard.'' Burke's stride was never stronger, his posture never worse ; head hunched down into his neck. Suddenly, he reacts as he sees : the staff of Popcorn Pictures grouped together backstage. Cathy walking towards the group hurriedly from one direction as Burke approaches from the other. Seeing his staff has clearly moved Burke. BURKE Look at you. You're all here because of what's on the line for me tonight. Having this many people in your corner helps more than I would have ever guessed. I'm just very grateful that I made you come. He starts off, but a jubilant Cathy stops him, whispers something. He reacts with excitement. MOVING WITH CATHY She sees Matt deep in the wings watching the stage. She calls to him with some urgency. CATHY Matt. Matt. Matt. He turns and she beckons him towards her. With some hesitance, he joins her. MATT I do n't want to miss her introduction. CATHY I'll talk fast. It's amazing news. Oliver Stone's been looking for a comedy and. MATT -LRB- distracted. -RRB- I've got to see my kid. CATHY -LRB- her voice breaking. -RRB-. he's doing my picture. MATT Hey. Good. He starts off. CATHY Part of this involves you. He remembers you from ` Platoon' and wants to use you in this one. -LRB- he stops. -RRB- Got your attention, huh? Matt is terminally disappointed in her last cynical sentence. MATT Oh, Cathy. Look, I'm going to watch this. Let me talk to you later or tomorrow. Thanks for your help. It's good news. Got ta go. From the stage, we HEAR the VOICE of the WARM - UP MAN. WARM-UP MAN'S VOICE First, in her first appearance ever, Jeannie Hobbs. There is applause. Matt's missed her intro. MATT Shit. CATHY I'm sorry. MATT Why could n't you wait till later? Shit. CATHY -LRB- broadly. -RRB- I guess it's because I'm just incredibly insensitive to all human needs. I'd ask you to save me, but I'm so far gone, I would n't want you to waste your time. MATT -LRB- after a moment. -RRB- Huh? She reacts, but he walks off, not wanting to get into it. Cathy, however, has had a tricky nerve struck. She continues, biting off each word. CATHY You know, I do n't have a kid or a mate or a talent. -LRB- holding up book bag. -RRB- I got this. -LRB- she's quite upset. -RRB- And shoot me if I think it's important. MATT'S POV Cathy, who looks alone and adorable as we HEAR MUSIC of `` THIS LONELY LIFE OF MINE.'' He puts a comforting hand on her. She speaks nakedly from deep within herself ; her eyes downcast. CATHY You think I'm a superficial jerk. -LRB- and then a whispered afterthought. -RRB- You ca n't be right. MATT I think you're the best of the bunch. CATHY -LRB- broadly. -RRB- Oh, great. And now she raises her eyes - big, blue and vulnerable. If this look were returned, `` I love yous'' could flow - they could sink to the floor in a joint epiphany ; but there is no romance or kindling in Matt's eyes. He is in a hurry. Pridefully, Cathy turns and walks off in the opposite direction, her flight so instinctive, she forgets her book bag. We hold on this - her exit, then :\",\n \"INT. STUDIO FLOOR - BURKE AND MATT - 20 MINUTES LATER Standing just behind the four television cameras, immediately behind them, the `` rail'' where the Show's Staff and Crew Members and Network Bosses stand crowded, choreographed in the way in which they `` clear'' for a moving camera. Behind these people is the studio audience. There is a loud laugh. Burke turns around to study the audience. BURKE'S POV Happy faces accompanied by the strains of Burke's love song to the crowd. BURKE -LRB- to Matt. -RRB- What do you think? But Matt does n't hear him. a few feet away, Jeannie is making ready for her big moment. Three cameras swing in front of them, TV monitors showing a MASTER and CLOSE - UPS of the three characters in the scene : a short comic WHITE MAN, the Black Female Lead, and Jeannie, dressed as a poor child. MATT -LRB- wide - eyed. -RRB- Wait. This is it. ANGLE - STAGE JEANNIE It's like everyone is pi. ticked off at me because I'm not colored. The White Man jumps on the phrase. SHORT WHITE MAN -LRB- correcting her pompously. -RRB- The word is black. BLACK LEAD ACTRESS -LRB- correcting him with booming voice. -RRB- The word is African American. A burst of laughter, whooping and applause from the audience. Burke brags in a whisper to Matt. BURKE I had them bring in two busloads of people from black churches. ANGLE - STAGE As they play out the scene. BLACK LEAD ACTRESS -LRB- scolding Jeannie. -RRB- Now you use it in a sentence. JEANNIE Look at me, I. ON JEANNIE And Jeannie begins to falter. she must somehow cry at this moment. She looks outward for help. JEANNIE'S POV She looks at the Lead Actress giving Jeannie all she can. BACK TO JEANNIE Jeannie still ca n't cry. She looks past the cameras. JEANNIE'S POV Her father nervously pulling for her. BACK TO JEANNIE That did n't do it either. She looks into herself. she blinks - there are tears running down her cheek. WHOLE AUDIENCE Awwwww. GROUP SHOT Matt, very much as he was when he watched Brando on the plane. and then some. Burke, craning to make sure the network bosses are suitably transported. BACK TO JEANNIE'S SCENE BLACK LEAD ACTRESS Go ahead. Use it in a sentence. JEANNIE -LRB- crying fully. -RRB- Look at me. I love an African American. BLACK LEAD ACTRESS Look at me. I love a little redneck. The Black Lead Actress holds out her arms to Jeannie, who, tears streaming down her face, runs towards the arms. ON BURKE His lips pursed tightly in pleasure, then agape in shock. BURKE'S POV Jeannie has run past the Lead Actress and off the set, going into her father's arms instead. She jumps on him, her legs and arms wrapped around him. MATT AND JEANNIE MATT -LRB- pridefully. -RRB- You little stinker! JEANNIE You big stinker. MATT My little stinker. JEANNIE My big stinker. The background to this intimacy is enormously alive. The Lead Actress and the Character Actor laughing out loud. In the b.g., we see the audience filling out preview cards as the FLOOR MANAGER leans in to say : FLOOR MANAGER It's okay, Jeannie. Take a minute. We just need to get that hug at the end. MATT -LRB- to Floor Manager. -RRB- Amazing, right? FLOOR MANAGER -LRB- to Jeannie. -RRB- You were great. JEANNIE Thank you. That's nice. MATT You look happy. JEANNIE I loved it, Daddy. Matt starts to walk her back to the set. MATT You want me to put you down? Her answer surprises him. JEANNIE No. This is okay. MATT Okay. Now, you're not finished until you hug the lady just like you did me. He puts her down. She turns from him to go back to work but, on impulse, he restrains her. He is kneeling down, holding her lightly by the arms, her back to him as he states an ultimate truth : MATT I'm very proud of you. I love you more than anybody. Jeannie, shocked by her father's unprecedented sentiment, turns to face him and clamp a hand over his mouth so he will add no more lush and primal affection. Having silenced him though, she finds that she has something of her own to say. She'd never tell it to her father, but she ca n't resist telling it to her acting coach. JEANNIE When I had to cry, I thought of you buried in the ground. MATT -LRB- a beat, then. -RRB- Give me a kiss. She does.\",\n \"INT. DRESSING ROOM - NIGHT The cast of Rainbow House taking off their make - up, changing clothes, etc.. This is more than high energy and excitement - what's the opposite of trauma? All are off the wall with pleasure - the MUSICAL LIFE of the earlier dressing room scene returning - peaks of glee resulting in sung phrases as before. Jeannie enters and is immediately surrounded with love, attention and ad - libbed compliments about her work. In this glare of good will, Jeannie turns gloriously shy. BLACK LEAD ACTRESS Do you have any idea how special you were? -LRB- on Jeannie's goony reaction. -RRB- That looks like a ` yes.' You've got to get dressed for the party. JEANNIE -LRB- overwhelmed. -RRB- There's more? -LRB- then. -RRB- What will I wear? BLACK LEAD ACTRESS Go to wardrobe ; they'll give you anything you want. ON JEANNIE She moves to her dressing table - sits, looks in the mirror and giggles uncontrollably.\",\n \"INT. BACKSTAGE AREA - NIGHT Matt stands waiting for Jeannie. Nan approaches. NAN It did n't sell. MATT This show did n't sell?!? How do you know so fast? NAN It's the first time they had me do cards for a pilot and the demographics are all wrong for after nine o'clock. That's their only opening. Jeannie exits the make - up room aglow. She is wearing an incredibly stylish outfit and her hair is in an expertly done intricate braid. NAN Hi. I'm Nan. I'm a good friend of your Dad's. JEANNIE Hello, Nan. I'm Jeannie. Did you see it? NAN -LRB- to Jeannie. -RRB- Yes, and you were wonderful. -LRB- aside to Matt. -RRB- 89 percent likeability. -LRB- to Jeannie. -RRB- And knowing that you were that good means so much more than the show not going. JEANNIE What? NAN Oh, no. -LRB- to Matt. -RRB- I could n't help it. JEANNIE What does she mean? -LRB- to Nan. -RRB- What do you mean? -LRB- to Matt. -RRB- What does she mean? -LRB- to Nan. -RRB- What do you mean? MATT That they're not going to be doing any more of these shows right now - but. JEANNIE -LRB- struck. -RRB- Oh, my God. MATT Honey. JEANNIE And that means they're not going to have a party? MATT No. They're still having the party. JEANNIE -LRB- totally relieved. -RRB- Oh. really? good. can we stay late? To which Matt answers : MATT Honey, we're going to close the place.\",\n \"EXT. ROOF GARDEN - NIGHT The door to the roof garden opens and Jeannie enters - her dad behind her as she sees the party. the sparkling lights, the decorations, the other kids and MUSIC. our opening song. `` WOW''. ON JEANNIE As her father urges her into the flow. She passes Millie, who is dancing with the boy who held Jeannie's hand. MILLIE I cast him so he has to dance with me, but I'm sure he'd prefer dancing with you. BOY -LRB- to Jeannie. -RRB- Come on. You know how? JEANNIE -LRB- angrily, with disdain. -RRB- Yesssssss. They begin to dance with the others. MUSIC SLOWS IN TEMPO as we indicate TIME PASSAGE and : ANGLE ON BURKE AND MATT Perched on a ledge eyeing the party. BURKE I'm not comfortable with television anyway. it's too small. I'm much better at something with size. I do n't do itzy. Even this movie of Cathy's - it's small. medium small. But with Stone it takes on a certain volume where I start to feel comfortable. -LRB- out of nowhere. -RRB- I hate my life. -LRB- backtracking. -RRB-. in a way. I had a drink in my office. I'm confused. You're not saying anything. Is it because you're not listening or because I have n't stopped talking? MATT This Oliver Stone thing. does he really want me? BURKE Yeah. Oh, yeah. I forgot to say congratu. MATT Which part? BURKE Which one you want? MATT One of the two leads would n't be bad. BURKE No. It's the crippled factory owner. MATT Best part in the movie. He gets off the ledge and starts to move away. Burke moves quickly to cut him off. BURKE Wait a second. MATT I want to see my kid. BURKE A second - look, they're taking the cast picture now anyway. THEIR POV Jeannie, working her way to the absolute middle of the cast picture, where she plops on someone's lap. BACK TO SCENE BURKE She does n't look anything like the women I usually go with. And you know what they say, `` beauty fades.'' What they do n't say is that it fades very slowly. MATT You do n't think I can tell you what to do? BURKE No. Only I can do that. I want you to tell me what to feel. -LRB- he begins to use his fingers to run down Nan's qualities. -RRB- Look. I trust her. More important, everyone does. You have no idea how impressed people are with her. She's smart. She's interesting. You never know what she'll say next. Her work is amazing. I like talking to her. You have no idea what to expect next. I respect what she does more than any writer or director - sincerely - much more unusual - much more important. So? MATT Good luck. He walks away. Burke waves a grateful goodbye and looks around the room until he sees : BURKE'S POV - NAN ACROSS THE ROOF Nan eating cake with her hands. She sees him. He indicates he would like to dance. She does not move a muscle in response. Still, he walks towards her. She begins to shake her head, `` no.'' He shifts uncomfortably, but keeps coming until he reaches her side. ON NAN AND BURKE BURKE Dance with me. -LRB- she shakes her head. -RRB- On a business basis. NAN No. -LRB- he turns away, dejected. -RRB- But I'll dance with you because I think it will reassure me that I should have nothing to do with you. BURKE I'll take it. As they dance. NAN Why are you breathing so heavy? BURKE Nervous. Look, let's move our thing in a more regular direction. NAN What do you mean? BURKE Let me think. -LRB- then. -RRB- What if we go out this weekend. -LRB- before she can say `` no''. -RRB-. with your kid. Several more beats of dancing - as he awaits her answer. NAN whose name is? BURKE Whose name is. -LRB- then, triumphantly. -RRB- Leslie. NAN Okay. SONG BACK - `` WOW''. sung as a chorus. a slower cadence for the romance as we. CHANGE MUSIC and they dance more closely. The song slows for time passage and MUSIC CHANGES to `` BE MY MIRROR'' as we.\",\n \"EXT. DESERTED POPCORN PICTURES ROOM - ONE HOUR LATER Matt and Jeannie - the last ones there. He holds her in his arms, dancing. She is asleep. He dances her to a chair with her wrap on it. shifts her around, wrestling to get it on. She wakes up and puts it on herself. JEANNIE -LRB- looking around satisfied. -RRB- Last ones here. MATT Well, I told you. He takes her hand and starts to lead her towards the stair shed - then : MATT I never got to see your bow. She looks up, smiling pridefully, to see her father smiling back pridefully. JEANNIE -LRB- as if it's a great sacrifice. -RRB- Oh, all right. She bows. It is a bow all her own. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,0,0,1,1,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0],"string":"[\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"In 1980, on the night he fails to win an Emmy Award, Matt Hobbs proposes to his longtime girlfriend Beth. He says the only thing holding him back is his dedication to his career, one which may not always work out, and Beth says that's one of the things she loves most about him. Seven years later, with a baby crying and no job for Matt, Beth is overflowing with resentment. By 1993, the pair have been divorced for several years and are living on opposite coasts. Matt auditions for a role in pompous, self-absorbed, and clueless film producer Burke Adler's new project but fails to get the part. He does however agree to chauffeur Adler occasionally. Matt flies to Georgia to pick up his daughter Jeannie for what he believes is a brief visit and discovers Beth is facing a prison term and Jeannie will be living with him for the duration of her sentence. The two return to Hollywood and struggle with their new circumstances and building a relationship (Matt hasn't seen the six-year-old since she was four). When Matt goes in to make a screen test for a lead in a film, he leaves Jeannie with a friend at the studio, and when he picks her up he's stunned to learn she's been cast in a sitcom. There are multiple sub-plots, including one focusing on Matt's relationship with staff script-reader Cathy Breslow and another concerning test screening analyst Nan Mulhanney and her tumultuous relationship with Adler."},"name":{"kind":"string","value":"Ill_Do_Anything"}}},{"rowIdx":176,"cells":{"scenes":{"kind":"list like","value":["CREDITS BEGIN OVER BLACK. DOMINIC MANETTA a man in his 70s, narrates nostalgically OVER a MONTAGE of related news photos. MANETTA -LRB- V.O. -RRB- 1957 was a big year. The Russians put that Sputnik into outer space, the Dodgers played their last game at Ebbets Field, ` that guy' shot Frank Costello in the head, and missed, and the Gallo brothers whacked Albert Anastasia in that barber shop in the Park Sheraton Hotel. It was total chaos. With Anastasia gone, Vito Genovese figures he's king shit, but Carlo Gambino and ` Joe Bananas' both want to be boss of all bosses. So they call a meeting - a big meeting.","EXT. UPSTATE NEW YORK - DAY CREDITS CONTINUE. In FADED 16mm documentary - style, we see a country road winding through rolling hills. At the top of the hill, a black'57 Cadillac appears and sweeps through the peaceful landscape. MANETTA -LRB- V.O. -RRB- It was the first time the whole commission was ever gon na meet face to face. Bosses and wiseguys were comin' in from all over the country, and all the New York families, too - maybe sixty bosses, the whole wiseguy world - all headin' toward this little town upstate to figure out what's what.","EXT. ROADSIDE - DAY A sign reads, `` Entering Apalachin - pop. 342.'' The black Cadillac speeds past the sign, then another black Caddy, then a black Lincoln, then another Caddy, a Lincoln, etc.. MANETTA -LRB- V.O. -RRB- Your father and me, we were goin' up with Tommy D., Fat Tommy. He was running the family at the time. Anyway, I do n't know what anybody was thinking, but some asshole thought it would be a good idea to have this meeting at Joe Babara's farm in the country where nobody would notice.","EXT. RURAL GAS STATION - DAY A local state police deputy is gassing up his motorcycle when the parade of shiny black cars rolls by. He looks up and scratches his head at the unusual sight. MANETTA -LRB- V.O. -RRB- Turns out the local cops were watching Joe Babara like a hawk. So now you got about fifty Caddies and Lincolns pullin' into Apalachin and some deputy sheriff with cow shit on his shoes notices all the traffic and calls the Feds.","EXT. JOE BABARA'S ESTATE - DAY The Caddies and Lincolns are all parked around a rambling country manor. Bosses and wiseguys are meeting and greeting each other on the big front porch. One WISEGUY is trying to shoo a cow away from his car. WISEGUY You wan na be a ribeye? Get away from the fuckin' car.","EXT. WOODS - SAME TIME Federal agents start moving in quietly, heavily - armed, wearing big FBI arm bands. MANETTA -LRB- V.O. -RRB- The meeting never even got started. The Feds moved in -","EXT. HOUSE - DAY Agents with weapons drawn charge the house and start breaking down the front door.","EXT. BACK OF HOUSE - SAME TIME MANETTA -LRB- V.O. -RRB- - and we moved out. Gangsters in shiny suits are squeezing through windows and leaping off balconies. WIDE - WISEGUYS fleeing into the surrounding woods and fields. MANETTA -LRB- V.O. -RRB- Your papa and me hid in a field with hay or corn, some kinda foliage, I do n't know.","EXT. FARM FIELD - DAY Two wiseguys in suits crouch in the tall grass. Suddenly they see a John Deere harvester bearing down on them. MANETTA -LRB- V.O. -RRB- Then along comes this farmer who almost runs us over in a tractor, so your father hauls out his piece, this.44 cannon he used to carry, and hijacks the goddamn tractor. Funniest fuckin' thing I ever saw.","EXT. COUNTRY ROAD - DAY The farmer goes flying off the harvester and the two wiseguys drive off on it. The farmer looks up to see the John Deere disappear in a swirling cloud of dust that FILLS the SCREEN. END CREDITS. SWIRLING CLOUD OF CREAM on top of an espresso. PULL BACK as a hand reaches in and runs a lemon rind along the rim of the cup. The espresso is picked up and sipped by MANETTA, the aging boss of a prominent New York crime family.","INT. RITZ CLAM BOX - LATE AFTERNOON (PRESENT) The place is nearly empty. Manetta is talking to PAUL VITTI, a dark, intense, intelligent man in his late forties, and a powerful boss in his own right. MANETTA Anyway, Carlo Gambino came out of it capo de tutti capi, and that was the last time the whole commission tried to meet - until now. VITTI -LRB- brooding. -RRB- I do n't know. I do n't like it. What do we need a meeting for? Let everybody worry about their own business. They finish eating. MANETTA The'57 meeting was about how we were going to divide up the whole country. This meeting is about how we're gon na survive. You got ` made' guys informing for the Feds ; bosses going to jail ; everybody's dealing drugs ; people are getting whacked without permission. And on top of everything, now we got the Chinese Triads and these crazy Russians to deal with. Everything's changing. We need a leader. Someone with fresh ideas. Someone like you. It's gon na be a new century, Paul. We got ta change with the times. VITTI What are we gon na get, a fuckin' web site? MANETTA You remember what else happened in 1957, Paul? VITTI Yeah, I remember. MANETTA When your father died, I promised him I'd always look out for you. Come to the meeting. They get up to leave. Vitti drops some money on the table. Bodyguards follow them to the door. The waiters and the owner bow to them as they pass. They are almost out the door when Vitti hesitates. VITTI Wait a second. I'm just gon na grab a toothpick. The instant he steps back inside, Manetta and his bodyguard are struck by an incredible VOLLEY of GUNFIRE, which BLOWS OUT all the GLASS in the DOOR and WINDOWS. Vitti's bodyguard, JELLY, grabs him and throws him behind the counter, shielding him with his body. Outside, the shooting has stopped and curious bystanders are looking in the broken windows. Vitti's eyes well up with tears. KLEENEX being pulled out of a box. CAROLINE, a woman in her early thirties, dabs at her eyes with the tissue. She's sitting on the couch in -","INT. BEN'S OFFICE - SAME TIME The office is warm, comfortable, and nicely decorated. CAROLINE -LRB- weepy. -RRB- I kept telling him that I needed room to grow and find myself as a person. Not just as a woman but as an independent entity. BEN SOBOL her therapist, seems to be listening intently. CAROLINE I told him I needed to get in touch with my uniqueness, but he could n't handle that. He said I was driving him away. Do you think I was driving him away, Dr. Sobol? Ben leans forward sympathetically. He's in his mid - forties, has an expressive face and a quick wit, and despite the occasional lapse, he is a gifted and caring psychologist. BEN Things end, Caroline. That's just a part of life. It's how we deal with things ending that's important. CAROLINE I just ca n't believe it's over between me and Steve. Maybe there's still hope. BEN Well, he did take out a restraining order against you. I have to be honest, that's usually not a good sign. CAROLINE But what should I do? BEN Well, Caroline, I think the first thing you have to do. -LRB- voice rising. -RRB-. is stop whining about this pathetic loser! You're a tragedy queen! -LRB- mocking. -RRB- ` Steve does n't respect me. Steve does n't love me anymore.' Who gives a shit! Get a fucking life! You are, without a doubt, the most boring human being I have ever met! Please, say something interesting before I lapse into a goddamn coma! Caroline looks curiously at Ben, unperturbed. CAROLINE Dr. Sobol? BEN Lost in his fantasy, not really listening. He comes to attention and tries to cover. BEN Yes. Yes. I was just reflecting on your whole - situation. It's very interesting what you were just saying. I want you to think about it, and I'm going to think about it, so we'll both think about it and we'll continue next week when I get back from my vacation. Caroline bursts into tears again. BEN Or not.","INT. UPSTAIRS HALLWAY - DAY Ben rushes upstairs and into his bedroom. His 14 - year - old son MICHAEL is in his room putting on a tuxedo. MICHAEL You're late. BEN -LRB- changing hurriedly. -RRB- I know. I could n't get rid of my last patient. I think she was a tick in a past life. MICHAEL Yeah, what's Caroline's problem? Your boyfriend's gone, he hates your guts, get over it. BEN Michael! What did I tell you? You ca n't listen to my sessions! It's private stuff. MICHAEL I ca n't help it. I hear you through the vent in my room. BEN Funny how that happens when you lie on the floor and put your ear up against it. MICHAEL Okay, okay. How's that guy who dreams about shitting trout? BEN -LRB- entering, putting on his tux shirt. -RRB- Fine. He moved up to striped bass. Put on your cummerbund. Boy, have you grown. Did your mother move next door to a nuclear power plant? MICHAEL -LRB- struggling with the cummerbund. -RRB- Why do we have to wear rented clothes to Grandpa's party? This blows. BEN -LRB- helping him. -RRB- We have to dress up because Grandpa ca n't have a good time unless everyone else is extremely uncomfortable. -LRB- looks at Michael and makes a quick decision. -RRB- Forget the tux. Regular clothes. Ben exits, pulling off the tux shirt. MICHAEL -LRB- taking off his tux shirt. -RRB- Are you ambivalent about Grandpa Isaac? BEN -LRB- O.S. -RRB- -LRB- from his room. -RRB- Ambivalent? Where do you get that stuff? MICHAEL Mom. BEN -LRB- annoyed. -RRB- She's not supposed to do that, you know. Your mother and I, when we got divorced, we agreed we would n't put you in the middle, or use you as a go - between to talk about each other. So just do me a favor and tell your mother to shut her big mouth. -LRB- comes back into Michael's room. -RRB- Did she say anything about me getting married again? I think she could be feeling a little anger about it. MICHAEL Oh, yeah. She really cares. She says you're intimidated by women your own age, and that's why you go for these young babes. BEN -LRB- fuming. -RRB- Okay. Listen, for two seconds, pretend I'm not your father. I'm just some guy, okay? MICHAEL You gon na vent? BEN Yeah. -LRB- venting. -RRB- I hate her! I really hate her! -LRB- a beat, then brightly. -RRB- Okay. Dad again. Let's go.","EXT. WAREHOUSE - SAME TIME Paul Vitti gets out of his car and walks to the warehouse with his most trusted soldier, Jelly, a hulking bruiser, and his sidekick JIMMY, a tightly - wound ferret with chips on both shoulders. VITTI So what did you find out? JELLY -LRB- as they walk. -RRB- The word is Primo Sindone must have ordered it, but, uh - He hesitates. VITTI What? Jelly looks at Jimmy. VITTI What? JELLY -LRB- reluctantly. -RRB- A lot of people think you set him up. VITTI Why the fuck would I want to kill Dominic? He was like a father to me. JELLY So you could be the big boss. Everybody figures you're lookin' to wipe out the competition before the big meeting. VITTI Oh, is that what they figure? JELLY It's alright with me if you did - VITTI I did n't kill him! I told you that! Do n't you hear?","INT. WAREHOUSE - CONTINUOUS ACTION They enter a room where other Vitti family soldiers, EDDIE COKES, TUNA, and JOHNNY BIGS are waiting. In the middle of the room, a young rat named NICKY SHIVERS is tied to a chair under a strong overhead light. When he speaks, we get a hint of mental incompetence. NICKY Please, Mr. Vitti, I told'em I do n't know anything but they do n't believe me'cause that one time I said Little Joe hit Dukey and it turned out he did n't but I did n't know because - JIMMY -LRB- smacks him. -RRB- Shut the fuck up! Nicky goes suddenly quiet. He watches in terror as Jimmy steps aside and Vitti moves close holding a short length of lead pipe. VITTI Nicky, you know me, right? NICKY Yeah. You're Mr. Vitti. VITTI And you know what I'm gon na do to you if you lie to me, right? NICKY Uh, you're gon na crack me on the head with that pipe? JIMMY -LRB- slaps him. -RRB- It's a rhetorical question, you fuckin' idiot. VITTI I'm only gon na ask you this one time. Who killed Dominic Manetta? NICKY I do n't know. VITTI -LRB- roars. -RRB- Do n't fuckin' lie to me! NICKY -LRB- in tears. -RRB- Honest to God, I do n't know! VITTI You little rat bastard. Vitti winds up to brain him with the pipe. They all wince in anticipation of the blow. But Vitti just freezes there with his arm upraised. Then he drops his arm and seems to sag. VITTI Forget about it. He does n't know anything. He tosses the pipe aside. VITTI Get him outta here. Jimmy looks at Jelly in surprise.","INT. MINIVAN - LATER Ben is driving to the party with Michael. Sitting in stopped traffic, he checks his mirrors anxiously. BEN -LRB- to himself, urgently. -RRB- Look at this. Everybody's nuts. Ooh, I hate walking into that house late. MICHAEL I think you're reacting like this because you're mad we have to go to this party. BEN No. Do n't. I'm not going to be analyzed by someone who up until a few years ago believed in Santa. Sorry, but we only have room for one Dr. Sobol in this family. MICHAEL But there's two Dr. Sobols. There's you and Grandpa. BEN -LRB- a beat. -RRB- Can we talk about something else? MICHAEL Are you going to read Grandpa's new book? Mom says you wo n't because you're. BEN Does your mother talk about anything else or is it just me twenty - four hours a day? Wham! Ben REAR - ENDS the CAR in front of them. BEN That's your mother's fault! Your mother did that! Damn!","EXT. EAST 90TH STREET - NIGHT The minivan has rear - ended a black Lincoln Town Car. The trunk has sprung open and Nicky Shivers can be seen in the trunk, bound and gagged, kicking and squirming. Muffled shouts can be heard through the duct tape over his mouth. Jelly and Jimmy jump out of the Lincoln and slam the top of the trunk just as Ben gets out of the minivan to inspect the damage. JIMMY -LRB- heading Ben off. -RRB- What's the matter with you? Are you some kind of moron? BEN I'm sorry. It's totally my fault. Ben looks at the damage. The Lincoln has gotten the worst of it. The rear bumper is hanging off, and Jelly is struggling to latch the trunk. JIMMY Did you see anything? BEN I was talking to my son. I took my eyes off the road - JIMMY Forget that bullshit. Did you see anything? Jelly steps in to defuse the situation, warning Jimmy off with a look. JELLY That's all right, sir. It's our fault for being in front of you like that. BEN -LRB- surprised. -RRB- Well, I should have been watching. Let me give you my insurance information - JELLY It's okay. Forget about it. BEN Really? It looks like your whole rear end might be screwed up. Jimmy is reattaching the rear bumper and securing the trunk lid with duct tape. JELLY No, it was like that before. BEN Maybe we should call the police? JELLY -LRB- suddenly menacing. -RRB- Why? Fuck the police. BEN Right! Fuck'em. HORNS start HONKING behind them. BEN At least take my card. You might look at the damage in the morning and change your mind. Jelly takes the card and reads it. JELLY You're a doctor? BEN Ph.D.. Psychologist. JELLY A shrink. You talk to a lotta nuts, huh? Ben hears KICKING from inside the car trunk. JELLY Pings and knocks. Cheap gas. Hey, how do those minivans handle? JIMMY -LRB- O.S. -RRB- Jelly! Let's go! JELLY Take it easy, Doc. Ben looks totally confused as Jelly hustles back to his car.","INT. SOBOL HOME - LIVING ROOM - ISAAC SOBOL Ben's father, at the piano in the spacious, elegant, tastefully - decorated living room, surrounded by adoring guests, playing and singing an exuberant rendition of `` You Must Have Been a Beautiful Baby.'' Isaac is a silver - haired patrician, overloaded with self - esteem. ISAAC -LRB- ending the sing - along. -RRB- All right, neurotics only! Well, you must have been a beautiful ba - a - by,'cause baby look at you now, thank God for Prozac, baby look at you now! BEN AND MICHAEL standing off to the side talking to Ben's mother DOROTHY. In the corner is a large advertising display featuring Isaac's smiling picture on the front cover of his new book, Tell Me What You Feel, Tell Me What You Want. BEN What do you mean you're not coming? It's my wedding. DOROTHY We understand it's a special day for you, Benny, but your father and I ca n't just pick up and leave town every time you decide to get married. BEN Every time? This is a once - in - a - twice - in - a - lifetime thing. Isaac joins them. BEN Dad, you're not coming to my wedding? ISAAC We want to be there, but I have three book signings next weekend. I ca n't piss off these big book stores. If I cancel, they'll stick me down on the bottom shelf. That's how they are. BEN Yeah, that's the word on the street. The self - help book business is full of vindictive pricks. DOROTHY -LRB- looking around. -RRB- Ben! The language. BEN I'm sorry, but I've been alone for eight years, now I've finally met someone I want to spend the rest of my life with and I would really like you to meet her before we get married. You're going to be her family. I think it's better she knows that up front. ISAAC You're really hostile tonight. BEN I'm joking. DOROTHY -LRB- jumping in. -RRB- I think I'll go talk to the mayor. BEN The mayor's here? DOROTHY I can only hope. Dorothy exits. ISAAC What's wrong? BEN Nothing. Everything's fine. ISAAC How's your practice? BEN It's great. Just great. I've got some very interesting patients - extremely interesting. Fascinating actually. MICHAEL Dad has a patient who dreams he shits trout. BEN Thanks, Mike. ISAAC Excuse us, Michael. Isaac pulls Ben into the foyer. ISAAC Why are you wasting your time out there in the boondocks? New York City is the Mecca of Madness. BEN I'm just not sure I could spend my life dealing with people whose biggest crisis is how to fire the maid. ISAAC It beats a guy with an ass full of flounder. BEN Trout! And do n't minimize my practice. ISAAC Why are you getting so defensive? This is about your own feelings of inadequacy. BEN You always turn it back on me. Why do you do that? ISAAC Why do you think I do that? BEN Why do you think I think you do that? Go ahead, now you ask me why I think you think I think you do that. ISAAC Enough. I want you to think about what I said. And when you're ready to talk to me like a normal person, I'll be at the piano with Regis Philbin. -LRB- as he crosses away. -RRB- Rege! REGIS PHILBIN I'm not singing, Isaac! ISAAC Now, ladies and gentlemen, at the piano, Regis Philbin! Applause and laughter from the guests. Ben grabs a glass of champagne from a passing waiter's tray. BEN -LRB- to the waiter. -RRB- Thomas Wolfe was right. You ca n't go home again - because your parents still live there.","INT. OLD LION SOCIAL CLUB - NIGHT Vitti's men converse quietly while a soldier sweeps the room for bugs. He gives the `` all clear'' and SALVATORE MASIELLO, the old consigliere, speaks. MASIELLO The Manetta family is asking a lot of questions. They think we hit Dominic. CARLO MANGANO, the burly underboss of the Vitti family, jumps in. MANGANO Forget Dominic! They were after Paul. -LRB- to Vitti. -RRB- It's a miracle you survived. I thank God. VITTI Yeah, thank God. All I know is if I did n't have some veal stuck in my teeth, I'd be laying there with Dominic. JOHNNY BIGS This is all about the big meeting. Primo Sindone wants to run the whole show. MANGANO Yeah, but Primo's a boss. He knows the rules. He could n't go after Dominic and Paul unless the other families gave their permission. VITTI -LRB- starting to sweat. -RRB- If they did, we're heading for one big fuckin' war. -LRB- having trouble breathing. -RRB- Talk to Zello and Baldassare. Find out what you can. We got two weeks. If the other New York bosses are against us, I want to know it before I walk into that meeting. He feels a stabbing pain in his chest. MANGANO You all right, Paul? You do n't look good. VITTI I'm a little choked up here. I got ta get some air. He walks outside. Jelly follows. Mangano looks quizzically after them.","EXT. OUTSIDE THE OLD LION - CONTINUOUS ACTION Vitti is having trouble breathing. JELLY You feel all right? VITTI I feel like shit. This whole thing is like a huge fuckin' headache. JELLY -LRB- concerned. -RRB- You havin' one of those mindgrains? Sweating profusely now, Vitti feels another stabbing chest pain. VITTI Get the car.","INT. EMERGENCY ROOM - LATER Vitti is putting on his shirt. He looks considerably better. Jelly is sitting down, tapping his own knee with the little rubber hammer. Nothing moves. DOCTOR SHULMAN, a young cardiology resident, enters. DOCTOR Good news, Mr. Evans. Your heart is just fine. VITTI How could it be fine? I've had like eight heart attacks in the last three weeks. DOCTOR Well, based on everything, I'd say you probably had an anxiety attack. VITTI -LRB- a beat. -RRB- What? DOCTOR An anxiety attack. A panic attack. I can give you some Xanax if it happens again soon - VITTI -LRB- menacing. -RRB- Look at me. Do I look like a guy who panics? DOCTOR -LRB- nervous now. -RRB- There's nothing - I mean - it's a common thing - VITTI Where did you go to medical school? I had a heart attack, you quack bastard. DOCTOR -LRB- very scared now. -RRB- Well, not according to these - As Vitti moves toward the Doctor, Jelly instinctively grabs the Doctor from behind and holds him while Vitti wraps the blood pressure cuff around his neck. VITTI -LRB- low and deadly, pumping up the cuff with the squeeze - ball. -RRB- Listen to me, jerk - off. I had a mild heart attack and now it's over. You understand? The Doctor nods vigorously, his eyes bugging out as the pressure around his neck increases. VITTI If anyone asks you, you never saw me, and I was never here. Is that clear? DOCTOR -LRB- strangled. -RRB- Yes. VITTI Good. -LRB- to Jelly. -RRB- Take the chart. Jelly releases the Doctor, grabs all the papers and follows Vitti out the door.","EXT. HOSPITAL - MOMENTS LATER Vitti and Jelly come walking out the emergency room exit. Vitti stops. VITTI Jelly, I need you to do something for me as my friend. JELLY Anything. VITTI You have to find me a doctor. JELLY We just came from the doctor. VITTI Not that kind of doctor. I need a head doctor. JELLY You're gon na change your face like Sonny Black? Do n't get his nose though, he looks like a pig. VITTI Not a plastic surgeon, ya spoostud. Do I have to spell everything out? JELLY It saves time. VITTI I need you to find me a psychiatrist. JELLY Wow. This is like the Psychic Network or something. I just ran into a psychiatrist. Actually he ran into me. VITTI Is he any good? JELLY Yeah, he seemed like a smart guy. He had a business card and everything - VITTI He had a card? That's a real fuckin' achievement. JELLY What do you need a shrink for anyway? VITTI It's not for me. It's for a friend. This friend is having some problems, so I'm going to ask the shrink some questions and get some answers for my friend. JELLY Got it. VITTI And nobody can know. If anyone hears I'm talking to a shrink, it could be interpreted the wrong way. You know what I mean? JELLY Of course. Absolutely. -LRB- then. -RRB- Can I ask you one thing? VITTI What? JELLY This friend. Is it me?","INT. BEN'S OFFICE - DAY Ben is with a patient, CARL ANDERSON, a high - strung milquetoast in his late forties. BEN Carl, I'm detecting a pattern here. You seem to settle too easily for things. CARL You're right. I do. BEN No, well, there you go. You just did it again. I suggested something and you immediately agreed. CARL You're right. I did. BEN Why do you think you do that? CARL I do n't know. BEN Well, sometimes people do it because they fear rejection or disapproval, but you ca n't let that worry you, Carl. And you ca n't agree with things just for the sake of agreeing. Stand your ground. Do n't let people roll over you. The door opens and Jelly enters. JELLY Dr. Sobol? BEN Excuse me! I'm in a session here. JELLY Yeah, I know, I'm sorry. BEN You're. You're one of the guys I rear - ended the other night. JELLY Bingo. -LRB- to Carl. -RRB- Get outta here. Jelly takes Carl by the elbow and lifts him off the couch. JELLY Upsa - daisy. You got a coat, nutbar? BEN What are you doing? JELLY He's leaving. BEN The hell he is. He's not going anywhere until we're done with his session. Jelly pulls a big roll of bills out of his pocket, removes the rubber band, and peels off a couple of fifties. JELLY -LRB- to Carl. -RRB- I'll give you a hundred bucks to get out of here. Carl looks at the money, then he gives Ben a plaintive look. BEN Do n't take it, Carl. Carl looks back to Jelly. JELLY -LRB- peeling off another bill. -RRB- A hundred and fifty. BEN He's not leaving. CARL -LRB- trembling. -RRB- Three hundred. JELLY -LRB- pays him. -RRB- You're not that fuckin' crazy. Carl takes the money, gives Ben the thumbs up and exits. Jelly follows him to the door and waves for someone to come in. BEN Listen, if you're upset about your car, I can understand that. But you do n't just barge in here - Paul Vitti steps into the office. Ben freezes. Jelly crosses to take Vitti's coat. VITTI You know who I am? BEN Yes. VITTI No you do n't. BEN Okay. VITTI You've seen my picture in the papers? BEN Yes. And no. Sometimes. Never. VITTI Jelly, wait outside. Jelly exits. Vitti walks around the room, taking everything in. He picks up the phone and listens. Hangs up. VITTI Sit down. BEN Sure. Ben sits quickly on the coffee table. He crushes a box of tissues, then moves them out from under his ass. Vitti picks up a stack of CDS and looks through them. VITTI Tony Bennett, huh? BEN Yeah. He's my favorite. Vitti picks up an autographed baseball bat from Ben's desk. BEN -LRB- puts up his hands. -RRB- Mr. Vitti, I tried to give the guy my insurance information, but he would n't take it. Seriously, I tried several times because it was all my please do n't kill me. VITTI I was just gon na ask if you liked baseball. BEN Yes. Big Yankee fan. Vitti puts the bat down. BEN Mr. Vitti. Not that it's your fault, but your friend, he interrupted a patient's session and that's - not good. I think this is a matter for our insurance companies, do n't you think? VITTI I do n't care about the car. BEN Then what -? VITTI A friend of mine is having a problem and he might have to see a shrink, so I'm going to ask you a couple questions. Do we sit? BEN Whatever makes you comfortable. Ben starts for his chair, but Vitti sits in it first. Ben sits on the couch. Vitti adjusts the cuffs of his shirt, and runs a hand down the crease in his slacks. VITTI Okay, the first thing I got ta know about is privacy. You must hear a lot of weird shit in here. How do I know you wo n't go testifying - not testifying - but, you know, talking about it to somebody else. BEN I wo n't discuss a patient with anyone for any reason, unless I know the patient may be a danger to himself. Like if I'm concerned a patient might kill himself. VITTI Not fuckin' likely - BEN - or kill someone else. Ben looks to Vitti for a response. Vitti stares at him for a long, uncomfortable beat. VITTI So who starts? BEN Why do n't you tell me why you think you need therapy? VITTI I do n't need therapy. I'm helping out my friend. You did n't hear me say that? BEN Right. I'm sorry. VITTI You guys are supposed to be so great when it comes to listening. You ca n't remember what I said two seconds ago. BEN I'm very sorry. VITTI I have to tell you, Doc, I'm not thrilled with the level of service up to this point. BEN Why do n't you tell me about your friend? VITTI He's a powerful guy. Never had a problem dealing with things, you know? Now all of a sudden, he's falling apart. He cries for no reason. He's having trouble sleeping. And then he started having these attacks. You know, ca n't breathe, dizzy, chest pains - like you think you're gon na die. BEN Panic attacks. VITTI What's with all you doctors and the fuckin' panic? Did I say panic? BEN Not panic. Dizzy - breathing - chest pain attacks. VITTI Right. So the question is, what can he do to make it stop? Ben decides to go for it. BEN I'm going to go out on a limb here. I think your friend is you. VITTI You - you - you - you have a gift, my friend. Go on. BEN Medication could help, but if you really want to get to the bottom of this, you're going to want to get some kind of therapy. VITTI With you? BEN -LRB- hedging. -RRB- With me? Oh, I do n't know. I'd have to look at my schedule. I'm very heavily booked right now and I'm going on a short vacation tomorrow. VITTI Where you going? BEN I do n't really share that information with. VITTI Where? BEN Miami Beach. VITTI You know, this could be good. Just getting that off my chest, I feel better already. It's like a load is off my shoulders. Thank you. BEN Well, I really did n't do anything - VITTI You did something. The load? Off. Where is it? Do n't know. You're good, Doctor. I'll be in touch. But listen to me. -LRB- leaning close, menacing. -RRB- If I talk to you and it turns me into a fag, I'll kill you. You understand? BEN Could we define ` fag,' because some feelings may come up - Vitti silences him with a wave of his hand. VITTI I go fag, you die. Got it? BEN Yes. Vitti gives Ben a little pat on the cheek, then turns and exits. Ben is stunned. OMITTED","EXT. BACK YARD - LATER Ben comes out the back door of the house carrying a couple of suitcases. Michael follows behind him with his bags. They cross to the car in the driveway. BEN I hope you did n't leave any food in your room. I do n't want to come home and find a science fair. MICHAEL I did n't. Hey, Dad? One thing though. BEN Yeah? MICHAEL I go fag, you die. BEN Michael! That's it! I am sealing that vent. MICHAEL You are so cool, Dad. Was that really Paul Vitti? BEN -LRB- throwing the bags in the car. -RRB- I did n't ask to see his Mafia decoder ring, but yeah, it was him. And you can not tell anyone he was here. You understand? MICHAEL Should I take it off the internet? BEN What? MICHAEL I'm kidding! OMITTED","EXT. MIAMI BEACH - DAY Helicopter SHOT of the hotels fronting the crowded beaches.","EXT. HOTEL SWIMMING POOL (MIAMI) - DAY LAURA MacNAMARA, a pretty and charming TV news correspondent, is on the air live, surrounded by her camera crew. Kids are frolicking in the pool, splashing off the water slide behind her. LAURA So judging from the mob scene around the pool here today, I think you'd have to say that there's nothing ` off' about the ` off - season' in Miami Beach this summer. Now, on a personal note, this is my last report for W.V.B.F. I'm getting married to a wonderful man and moving to New York, so if you're up that way, watch for me on the W.P.I.X. news team. Thanks for everything, Miami. -LRB- voice catching slightly. -RRB- For the last time, this is Laura MacNamara, W.V.B.F. news. She pulls a bouquet out from behind her back and tosses it to the camera. LAURA Catch! She smiles for a long beat. PRODUCER We're clear. Laura's smile abruptly disappears. LAURA -LRB- to the crew, all business. -RRB- I'll do the re - asks, then you guys can just shoot the inserts and pack it up. -LRB- looks off. -RRB- Ben! Laura runs to Ben, standing on the sidelines, and embraces him. Michael is there too. LAURA This is him, everyone! This is the guy! BEN -LRB- to the crew. -RRB- Hi, everybody. LAURA -LRB- as she hugs him. -RRB- Oh, I missed you. BEN I missed you too. Michael, say hello. MICHAEL Hi, Laura. LAURA -LRB- a little too big. -RRB- This is Michael? I do n't think so. If I remember correctly, Michael was a little boy, and this, this is a great big kid. Hey, you. Tell us what you did with Michael Sobol. Ben and Michael look at each other out of the corners of their eyes. LAURA Okay. Come on. Give me a break. I'm trying. MICHAEL No, it was nice, but I'm fourteen so it was n't - you know - age appropriate. LAURA -LRB- smiles appreciatively. -RRB- Sorry. Just smack me if I do that again. -LRB- hugs him. -RRB- How are you, Michael? MICHAEL Great. There is an awkward silent moment, everyone smiling uncomfortably. BEN Mike, you want to go look at the camera? MICHAEL Why would I want to look at the camera? BEN'Cause I bet there's all kinds of cool video stuff over there. Why do n't you check it out? MICHAEL -LRB- gets the hint. -RRB- Oh, yeah. -LRB- to Laura. -RRB- Is it okay? LAURA Go ahead. If you break something, do n't worry. I'm out of here. Michael crosses to the camera crew. LAURA You think he likes me? BEN Michael? He's crazy about you. I am too. They embrace. LAURA You are? And you still really want to get married? BEN Of course. LAURA But what if you get tired of me? I know so many couples that were really happy, then they got married and just completely lost interest in each other. BEN That's not going to be us. LAURA I just do n't want to lose the passion. BEN Yes, I'm brimming with passion. I'm up to here with passion. LAURA I want us to be like animals. You know just screaming and sweating and tearing at each other all the time - BEN The sweating should n't be a problem. The tearing sounds painful. The SOUND GUY crosses over. SOUND GUY -LRB- embarrassed. -RRB- Uhh, Laura? You want me to take your mic, or at least turn it off? Laura looks over at the crew. It's obvious that Michael and the crew have heard this whole exchange. LAURA Oh my God.","INT. WALDORF-ASTORIA - HOTEL CORRIDOR - NIGHT A room service cart with the remains of a sumptuous meal is standing in the hall outside one of the rooms. SHEILA -LRB- O.S. -RRB- Oh my God! Oh, yes. Oh, yes.","INT. HOTEL ROOM - SAME TIME Vitti is in bed making love to his mistress, SHEILA, a pretty woman in her late 20s. They're really going at it. SHEILA Oh, yes. Oh, yes. -LRB- then. -RRB- Is everything okay, Paul? VITTI What are you talking for? I'm trying to do this here. SHEILA You seem - distracted. VITTI I got things on my mind. Stop talking. SHEILA Okay, I'm sorry. Just relax, baby. He goes back to lovemaking. SHEILA -LRB- after a beat. -RRB- Were you thinking about your wife? VITTI No, I was n't thinking about my wife. -LRB- a long beat. -RRB- Now I'm thinking about my wife. Goddamn it, Sheila, why ca n't you keep your mouth shut! Completely frustrated now, he gets out of bed, leaving her alone and confused. SHEILA -LRB- small voice. -RRB- I'm sorry, Paul.","INT. BEN'S MIAMI HOTEL ROOM - NIGHT Ben and Laura are nestled together in bed, asleep. JELLY -LRB- O.S. -RRB- -LRB- whispering. -RRB- Dr. Sobol. Dr. Sobol. Ben stirs. BEN Mom? Jelly's head pops up on Ben's side of the bed. Ben wakes up and his eyes go wide. Jelly puts a finger to his lips. JELLY Mr. Vitti wants to see you. I have your robe. OMITTED UNDERWATER Kelp. Rocks. Bubbles. A mermaid swims INTO VIEW and meets up with another mermaid. They do beautiful back flips under the water. VITTI -LRB- O.S. -RRB- You no - good little two - bit piece of shit bastard! We PULL BACK to see the mermaids through the viewing windows of a large tank behind the bar of the -","INT. WIKI WACHI LOUNGE - LITTLE LATER A tacky dive with a tropical motif. Ben, in his robe, is being berated by Vitti. VITTI I got news for you. I'm still fucked up. Whatever you did the other day, it did n't take. You did nothing for me. BEN -LRB- indignant. -RRB- I did nothing? What did you expect? I saw you for five minutes. I do n't work miracles, Mr. Vitti. And I'll tell you something else. I do n't appreciate it when someone breaks into my hotel room and kidnaps me. I do n't go for that. I have a family and a life and a serious practice, and I do n't have time for your bullshit! -LRB- sheepishly. -RRB- That got away from me near the end. Vitti stares at Ben. VITTI I could n't get it up tonight. BEN -LRB- stopped cold. -RRB- You mean sexually? VITTI No, I mean for the big game against Michigan State. Of course sexually! BEN You flew fifteen hundred miles and dragged me out of bed in the middle of the night because you could n't get an erection? VITTI Does n't that prove I'm motivated? BEN You can take a pill for that, you know. VITTI No, that's a cheat. You start with the pills, next thing you know you got implants with pumps. I think a hard - on should be gotten legitimately or not at all. BEN Did you see that embroidered on a pillow somewhere? VITTI Are you gon na help me or not? BEN I do n't believe this. All right. Has this happened before? VITTI The dead dick thing? Never. Well, one time. Tonight. And another time. BEN So twice? VITTI Do the math. Two times. -LRB- a beat. -RRB- There was another time. But it was after a big meal, so, you know, that do n't count. BEN Listen, being unable to perform three or four times - VITTI Five. BEN Five times - it is n't the end of the world. VITTI Maybe not to you - look at you - but if I ca n't get it up, that makes me less of a man and I ca n't have that. -LRB- moving closer to Ben. -RRB- In my business I deal with animals. They may seem dumb to an educated guy like you, but make no mistake about it, Doctor, animals are very cunning. And they sense weakness. Right now I'm an injured animal. It's only a matter of time before one of the lions out there catches the scent. Then I'm dead. That's the way it is. If you do n't understand that, then you do n't understand the life I live and you do n't understand me. BEN -LRB- nodding. -RRB- Okay. VITTI I have until the end of the week to get strong or they're gon na eat me up. If they do n't kill me in the meantime. BEN What happens next week? VITTI I ca n't tell you and you do n't want to know. BEN It's impossible. I ca n't do anything that fast. And even if I could, what's my goal here? To make you a happy, well - adjusted gangster? VITTI Look, the other day I saw a commercial on television, some kid playing with a couple of puppies. I cried for 45 minutes. Slap a pair of tits on me, I'm a woman! BEN I'm sorry. I ca n't help you. VITTI You're turning me down? BEN Mr. Vitti, when I got into family therapy, this was not the family I had in mind. I'm turning you down. VITTI You with your schmucky little office in your schmucky little house out there in Schmuckville - you're turning me down? What, so you can spend more time listening to housewives piss and moan about how nobody fucks them right? BEN I'd like to go now. VITTI -LRB- starts to cry. -RRB- You see this? This is what I'm talking about! I'm a dead man! Ben turns away and starts for the door. VITTI -LRB- through the tears. -RRB- You call yourself a doctor? You should be ashamed. A real doctor could n't turn his back on a person who's suffering! BEN -LRB- finally. -RRB- All right. -LRB- hands him a handkerchief. -RRB- What happened with your wife tonight? VITTI -LRB- wiping away his tears. -RRB- I was n't with my wife. I was with my girlfriend. BEN You have a girlfriend? We could do two months on that alone. VITTI What, you're gon na start moralizing with me now? BEN Okay. Do you have marriage problems? VITTI No. BEN Then why do you have a girlfriend? VITTI I do things with her I ca n't do with my wife. BEN Why ca n't you do those things with your wife? VITTI Hey. That's the mouth she kisses my children good night with. What's the matter with you? BEN Okay, okay. Have you been under a lot of stress lately? VITTI You mean like seeing your best friend murdered? Yeah, I got stress. BEN Well, based on what you told me before about your attacks, I'd say that's probably it then. VITTI It's just stress? BEN I doubt if there's anything physically wrong with you. VITTI -LRB- brightening, pointing a finger at Ben. -RRB- You. You. You're very good. BEN There's a lot more to it - VITTI No, you're right. You're right on the money. I can feel the juices rushing back to my manhood as we speak. BEN Well, I did n't need to know that. VITTI This settles it. You're my shrink. BEN I ca n't treat you, Mr. Vitti. I do n't think you're really ready to open up and deal with - VITTI Listen to you. The honesty. Nobody - and I mean nobody - talks to me like this. I'm ready. Let's do it. BEN You do n't hear the word ` no' that often, do you? VITTI I hear it all the time. Only it's more like, ` No, no, please, no!' BEN -LRB- relenting. -RRB- All right. I'm here for two more days. When we get back to New York, I'll treat you exclusively for two weeks. I just need to figure out what to tell my other patients. VITTI You want me to clear your schedule for you? BEN No thanks, I'll handle it. Now can I go? Vitti throws his arms around him and kisses him on both cheeks. A look of concern crosses Ben's face. VITTI Thank you.","INT. BEN'S MIAMI HOTEL ROOM - NIGHT Ben enters. Laura is sitting up in bed, pissed off. LAURA What is wrong with you? I woke up, you were gone, no note or anything. I've been going out of my mind, Ben. I walked all over the hotel looking for you. I almost called the police! BEN Okay, listen. I'm going to tell you the truth. I had a serious patient emergency. LAURA You have patients in Florida? BEN Just one. He followed me here from New York. I had to go. LAURA Who is this patient? BEN Paul Vitti! -LRB- a beat. -RRB- Paul Vitti. A long beat. LAURA -LRB- worried. -RRB- Oh, Ben. BEN I know. But do n't worry. It's not like he's a real patient. He's got this idea in his head that I'm helping him. It's crazy. LAURA You're not going to treat him. BEN No. LAURA Tell me you're not. BEN I'm not! LAURA That would be too scary. You do n't want a person like that in your life, believe me. I've covered the mob down here. I've seen what they can do. BEN Listen, it's been taken care of. I told him I could n't see him again. He understood and it's over. LAURA You sure? Ben nods. LAURA -LRB- tearing up. -RRB- I was so worried. He hugs her and holds her tightly, feeling like a jerk for lying to her.","INT. SEWING ROOM (NEW YORK) - NEXT MORNING Immigrant garment workers cut and sew fabric.","INT. OFFICE - CONTINUOUS ACTION This is Sindone headquarters. A few of his trusted guys are in attendance : HANDSOME JACK, POTATOES, and MOONY, his consigliere. MOONY It does n't figure. We take out Manetta, what does Vitti do? Nothing. Why does n't he move? PRIMO SINDONE, a vain, pompous Mussolini, is standing on a stool in his underwear, being fitted for a suit by a nervous tailor. SINDONE Fuck him. MOONY I'm telling you, Primo, he's planning something big. The shit is really gon na come down. SINDONE Then let it come down. Vitti's a tough guy but a lot of tough guys got fed to the crabs off Red Hook over the years. -LRB- looking down at the tailor. -RRB- You been down there a long time. Are you measuring my inseam or contemplating a lifestyle change? Sindone nods for the tailor to get out. MOONY Primo? What about Vitti? SINDONE Vitti. Vitti. The whole time we were growing up, he was the smart guy ; I was the dope. My father was a nickel - and - dime shitheel ; his father had it all. Vito Genovese blew it at Apalachin because he forgot to kill Gambino before the meeting. I wo n't make the same mistake. I want Paul Vitti dead - now. You two astronauts think you can handle that? Handsome Jack and Potatoes nod their agreement. HANDSOME JACK You got it, Primo. MAN WITH FISH HANGING FROM HIS MOUTH A killer whale leaps up and takes it from between his teeth.","EXT. MIAMI SEAQUARIUM - CONTINUOUS ACTION The audience in the stands applaud as the killer whale splashes back into the water. LAURA AND MICHAEL are clapping. Ben is clearly bored. LAURA -LRB- to Ben. -RRB- Come on. Get into it. BEN I do n't understand. They jump out of the water, they splash, they eat fish. It's not a real stretch for a whale. If they did a number from West Side Story, then I'd be into it. LAURA Just stop. -LRB- to Michael. -RRB- We're having fun, right? MICHAEL Well, to be real honest. I'm not having as much fun as it looks like I am. I'm pretending, you know, because we have to bond and everything. Laura looks at Ben. BEN -LRB- to Laura. -RRB- You've got to admire the openness. MICHAEL -LRB- a tad too excited. -RRB- Here comes the whale again! TANK The whale leaps high in the air and crashes back down, sending a wall of water flying into the first few rows. JELLY AND JIMMY walking by the tank, get soaked by the huge wave. JIMMY Fuck me! STANDS Ben looks and sees Jelly beckoning him. BEN -LRB- to Laura and Michael. -RRB- I'm hungry. Yeah, I'm going to get a hot dog. Who wants a hot dog? MICHAEL -LRB- rising. -RRB- I'll go with you. BEN No, I'll go. You're pretending to have a good time. I do n't want to spoil that. Be right back.","EXT. VOMITORIUM - MOMENTS LATER Ben confronts Jelly and Jimmy, who are soaked to the skin. BEN What is this? Are you guys following me? JIMMY Fuckin' fifteen - hundred dollar suit. You think the whales piss in that water? JELLY No, I think they use the men's room next door at the Burger King. -LRB- to Ben. -RRB- Mr. Vitti wants to see you. BEN Is this a joke? JELLY You're an employee of Mr. Vitti's. That means you're on call twenty - four hours a day just like the rest of us. BEN No, he and I discussed this. I told him I'd see him when I got got back to New York. JELLY Do n't be a skavootz. It is what it is. If he needs you sooner, you go. BEN No, I'm not going, and if you bother me again I wo n't treat him at all. Understand? That's it. End of story. AQUARIUM VIEWING WINDOW Ben plunges into the tank in the middle of a school of sharks. He screams silently underwater and swims desperately for the top. A couple of families watching THROUGH the viewing window laugh and applaud as if it's part of the show. SANDCASTLE An alligator loafer steps down on it. We TILT UP TO a SEVEN - YEAR - OLD BOY with a shovel and pail. BOY Asshole. After a beat, a ten dollar bill falls where the sandcastle was. The Boy's face instantly brightens. BOY Thanks, mister.","EXT. BEACH - DAY The alligator loafer belongs to Jelly. He's walking with Jimmy and other bodyguards who form a loose protective perimeter around Ben and Vitti as they walk along the shore. All the guys are wearing loud Jersey beach outfits. BEN They threw me in the shark tank, Paul. The shark tank! VITTI They were trying to make a point. BEN What, that you're a scary guy? I get it. VITTI You're in a mood, you know that? BEN Yeah, I get that way when a shark tries to chew on my ass. VITTI Okay. Okay. Calm down. BEN I do n't want to calm down. My girl friend saw me all wet? I told her I fell into a tank with the manatees. I lied to her last night, now this. I do n't like it. VITTI Manatees. That's a funny word. Manatees. BEN I'm glad you're entertained. What's the problem? VITTI Oh, I can tell you really care. BEN Okay. What's going on? VITTI I had an episode. Not an actual panic attack, but I started panicking a little thinking I might have one. Does that seem weird to you? BEN I'm redefining ` weird' on an hourly basis. What were you thinking about when you started feeling anxious? VITTI I do n't know. The usual bullshit. Family problems. BEN Which family? -LRB- referring to bodyguards. -RRB- This one? VITTI No, regular family. BEN -LRB- stops. -RRB- I want you to draw a picture of a house. In the sand. VITTI What kind of house? A warehouse? A whorehouse? My house? What house? BEN A house. VITTI Why? BEN I'll tell you after you do it. Vitti bends over and starts drawing in the sand. VITTI This is good. I come to Florida and draw pictures in the sand like a jerkoff. BENCH TINO, a local Miami hitman, is covertly watching Ben and Vitti on the beach. He talks into a cell phone. TINO I do n't know what they're doing. He's talking to some guy. Looks like Vitti is drawing something in the sand. What's he drawing? What am I, Superman? I'm a hundred yards away - I ca n't see shit. No way, he's got that fat Jelly with him and his partner, Jimmy Boots. We could take him out with a rifle and a scope, but I do n't have any of that shit with me. My scope's in the shop. Nah, it's a warranty item. Hey, do n't sweat it. You told me to take care of him, I'll take care of him. Okay, I'll call you back. BACK ON BEACH Vitti finishes drawing. VITTI There. You happy? BEN Where are the people? VITTI What people? You told me to draw a house. BEN I know. But usually when people draw a house they draw people. Where are the people who live in your house? VITTI Well, you see, they'd come out and say hello, but the whole family's in the Witness Protection Program. It's very sad. What the fuck you want from me? They start walking. BEN Okay, forget the house. I'm going to say some words, and you say the first thing that comes into your mind. VITTI Good, more games. Shoot. BEN Home - VITTI - plate. BEN Mother - VITTI - fucker. BEN Father - VITTI - forgive me for I have sinned. BEN Wife? VITTI -LRB- clears his throat. -RRB- Love. BEN Son? Vitti looks out to sea. BEN Son? Ben ca n't see his face, but Vitti's eyes are full of tears. He wipes his eyes. VITTI See this? Again with the crying. Let's get out of here. We're being watched. Do n't look. There's Feds on the roof of the hotel. BEN How do you know that? VITTI I'm a criminal. It's my job.","EXT. HOTEL ROOF - DAY FBI AGENTS STEADMAN, RICCI, and PROVANO CLICK away with long - lens CAMERAS as they watch from the rooftop. AGENT RICCI Who's the new face? AGENT STEADMAN I do n't know. Get somebody down there to see what he drew in the sand. AGENT PROVANO Whoever this guy is, he must be important to the family. AGENT STEADMAN Maybe he's Vitti's new consigliere. Put his picture on the wire and see what you come up with.","INT. VITTI'S SUITE - DAY Vitti, Ben and Jelly enter the suite. MARIE, Vitti's wife, and their children, THERESA, 14, ANNA, 10, and ANTHONY, seven, are there. Vitti greets them warmly, suddenly a different man. VITTI Look at this, the whole crew. -LRB- kissing Marie. -RRB- You all right? Good flight? MARIE Yeah, we're fine. We're on our way to the pool. Kids, get your stuff. We'll get out of your way. VITTI That's okay. Marie, this is a friend of mine, Ben Sobol. -LRB- as they AD LIB greetings. -RRB- He's - from the boat. A fishing boat captain. Cuban refugee. MARIE -LRB- shaking his hand. -RRB- Nice to meet you, Senor Sobol. Ben looks to Vitti, then to Marie. BEN Gracias. VITTI And this is Theresa and Anna - ANNA Anne. VITTI - Anna, and the big guy, Anthony. Anthony gives Ben a manly handshake. ANTHONY How you doin'? BEN Nice to meet you. VITTI -LRB- noticing Theresa's bikini. -RRB- Jesus, Theresa, you are not wearing that suit to the pool. THERESA What do you want me to wear, a one - piece? VITTI I want you to wear one of those Arab bathrobes with a veil over your face, is what I want. THERESA Mom! MARIE Do n't worry about it, Paul. We'll be back in time for dinner. VITTI Okay, babe. Hey, Anthony. Guess what I got? ANTHONY What? VITTI -LRB- holds up some tickets. -RRB- Marlins and the Braves - right behind home plate, tonight. ANTHONY You and me? VITTI Of course, you and me. -LRB- hugs him. -RRB- Have fun at the pool. Stay out of the deep end. And do n't swim for a couple hours after you eat. ANTHONY Okay, Papa. He kisses his father and exits with the others. VITTI -LRB- to Jelly. -RRB- Send Jimmy down with them. JELLY Already done. Jelly exits. BEN Nice family. Cuban fishing boat captain? VITTI I ca n't tell Marie you're a shrink. She'd worry, you know. BEN About this? I think she'd be more worried about your career choice. VITTI Just keep going with the therapy. He crosses to the bar, pours himself a drink, and lights a cigarette. BEN You know, normally a patient would n't smoke or drink during a session. VITTI -LRB- blowing smoke. -RRB- That's an interesting fact I'll have to remember if I'm ever on ` Jeopardy.' BEN So tell me about your father. VITTI My father. He was a big man in the neighborhood - very well respected. Everybody loved him, God rest his soul. BEN He passed away? VITTI No, I just like saying ` God rest his soul.' Yeah, he passed away. He died when I was about twelve. BEN How? VITTI Heart attack. Sudden thing. BEN Were you and your father close? VITTI Close? Yeah, you know, pretty close. I guess we were n't getting along that great right then. BEN Why was that? VITTI I was hangin' out in the neighborhood. I had a borghata - like a kid gang - hooligan shit, nothin' big. But my father did n't like it. BEN You fought about it? VITTI He slapped the shit out of me. BEN And then? VITTI And then that night he died. BEN How did that feel? VITTI It felt great! How did it feel? -LRB- shrugs. -RRB- I do n't know. BEN Well, think about it. Were you angry, were you afraid? Sad? VITTI Yeah, I guess. BEN Any feelings of guilt? VITTI About what? I did n't kill him. BEN I'm just speculating, but maybe in some way you wanted him to die. VITTI Why would I want my father to die? BEN Well, you said you were fighting. You were rebelling against his authority. There may have been some unresolved Oedipal conflict. VITTI English. BEN Oedipus was a Greek king who killed his father and married his mother. VITTI Fuckin' Greeks. BEN It's an instinctual developmental drive. The young boy wants to replace his father so he can totally possess his mother. VITTI Are you saying I wanted to fuck my mother? BEN It's a primal fantasy - VITTI Have you seen my mother? That is the sickest fucking thing I've ever heard. BEN It's Freud. VITTI Well, then Freud's a sick fuck, and you are too for bringing it up.","INT. OCEAN VIEW RESTAURANT - NIGHT Laura's family, the MacNamaras, and a few close friends have gathered for the rehearsal dinner. There are three tables in a roped - off section of the restaurant with large floral centerpieces, a small bar in the corner. The MacNamaras, SCOTT and BELINDA, are standing with Laura, Ben, Michael and a couple of other relatives. BELINDA Well, is n't this wonderful, all of us finally getting to spend some time together. SCOTT All set for the big day, Ben? BEN Ca n't wait, Scott. Can I call you ` Scott?' SCOTT My friends call me ` Captain.' BEN Captain. BELINDA Well, if tomorrow goes as well as the rehearsal, I'd say it's going to be a beautiful wedding. BEN Yes, thanks for going to all this trouble, and I have to thank you and the Captain for something else. SCOTT For what? BEN -LRB- pointing to Laura. -RRB- For this. Everyone `` ahhs'' as Ben gives Laura a peck on the cheek. Michael makes a face. LAURA -LRB- to Ben. -RRB- Would you like a drink, because I'm definitely having eight or nine. BELINDA -LRB- disapproving. -RRB- Shall we go to the table? As the woman go to their seats, Scott holds Ben back for a private moment. SCOTT Ben, there's a lot I'd like to say to you, but I'm going to skip the big father - in - law speech because I know you've been married before. BEN Technically, it was n't considered a marriage. It was like the Korean War - more of a police action. SCOTT I served in Korea, son. I do n't think you'd be laughing if you'd seen some of the things I saw. BEN You're right. Sorry. VITTI -LRB- O.S. -RRB- Senor Sobol! Everyone turns to see Paul and Marie Vitti coming into the room, followed by their kids and a knot of bodyguards. Ben's face falls. He rushes over to intercept them. BEN -LRB- sputtering. -RRB- Mr. Vitti! How are you? Mrs. Vitti! Honey, it's the Vittis! Laura glares at Ben. VITTI -LRB- charming. -RRB- Look at everybody. Everybody's smiling, everybody's happy. Nice. This is Marie, my girls, my boy, then all these guys. BEN Mr. and Mrs. Vitti, this is Laura, my fiancee. VITTI Nice to meet you. LAURA -LRB- stunned. -RRB- Thank you very much. A tense moment. Ben presses on. BEN And this is my son Michael. VITTI Whoa. He's a bruiser. -LRB- to Ben. -RRB- You're sure this is your kid? You're a pound and a half soaking wet. I've had lobsters bigger than you. -LRB- to Michael. -RRB- You ever want a job, you come talk to me, right? MICHAEL Seriously? BEN Michael! SCOTT You're Paul Vitti. The mobster. BEN Mr. MacNamara - uh - VITTI Excuse me. Is that polite? Is it? I'm trying to be nice here. Do I walk up to you and go, ` You're whoever you are. The prick'? MARIE Paul! BEN Mr. Vitti, this is Laura's father. VITTI Yeah? Okay, well, sorry. But you should know, there is no mob, and, P.S., I personally have never been convicted of a crime. -LRB- to Jelly. -RRB- We're nine for nine, right? JELLY That's right. Vitti takes an envelope from his jacket pocket and presses it into Laura's hand. VITTI -LRB- quietly. -RRB- I heard about the wedding. Here you go. A little something for the bride and groom. God bless. You should live and be well. LAURA Mr. Vitti, we ca n't accept this. VITTI Yeah, you can. Now, if you do n't mind, I just need to borrow this guy for a couple of minutes, then that's it. I'm out of here. Okay? LAURA Okay. Then you leave us alone, right? VITTI Of course. I would n't do anything to screw up your wedding. -LRB- to Ben. -RRB- I got ta talk to you. Come on. -LRB- to group. -RRB- Have a great night, everybody. Nice to meet you. Vitti starts for the door. BEN -LRB- to Laura. -RRB- I've just got to talk to him for a sec. You okay? LAURA I've never been less okay. BEN Great. Ben is yanked away by Jimmy. Marie stands with Laura. MARIE I bet you eat a lot of fish since your fiance's in the business. Laura stares.","EXT. TERRACE - FEW MINUTES LATER Vitti, Ben and Jelly step out. VITTI -LRB- to Jelly. -RRB- Watch that door. And do n't listen to what we say. JELLY My ears are sealed. VITTI -LRB- to Ben. -RRB- Okay, listen. I had a really weird dream last night. BEN I feel like I'm having one right now. How could you interrupt our party? VITTI You know, you're very rigid about certain things. BEN Just tell me the dream. VITTI Okay. I'm asleep. I hear a baby crying. I go to the refrigerator, I get a bottle of milk, I take it to the baby, but when I go to give it to him, I see that the milk is black. JELLY That's fuckin' weird. VITTI Okay, get out of here! JELLY Sorry. Jelly exits. VITTI -LRB- to Ben. -RRB- What's it mean? And I do n't want to hear any more filth about my mother. BEN I do n't know what it means. What does it mean to you? VITTI This is what I'm paying you for? I say something, you say it right back to me? I could get Jelly to do this for nothing. BEN Then get Jelly. Ben starts to walk off the patio and comes face to face with Laura's father, Scott. BEN Mr. MacNamara. Ben exits. Scott MacNamara stares suspiciously at Vitti, wondering about his connection to Ben. VITTI -LRB- to Scott. -RRB- Why do n't you look over that way before I have to bust your fuckin' head open? Scott looks away, terrified, as Vitti exits past him.","EXT. HOTEL COURTYARD - DAY The sun shines brightly on the wedding day. Guests are assembling for the ceremony.","INT. HOTEL ENTRANCE - MOMENTS LATER Tino, the hitman, arrives and saunters into the hotel.","INT. AREA OUTSIDE HOTEL ROOM - MOMENTS LATER Jelly walks up to one of the bodyguards. JELLY I'm gon na get something to eat. You want like a sandwich or somethin'? BODYGUARD Yeah. What kinda sandwich is n't too fattening? JELLY A half a sandwich. BODYGUARD Sounds good. JELLY I'll be back in about twenty minutes. The elevator arrives, Jelly gets in and the doors close behind him. ANOTHER ELEVATOR The doors open and the Bodyguard turns to look. TWO SHOTS from a PISTOL with a SILENCER strike him in the chest and he falls to the floor dead. Tino steps out and drags the body to the stairwell. OMITTED","EXT. HOTEL COURTYARD - LATER The guests are seated, Ben and Michael stand with the justice of the peace as Scott walks Laura down the aisle. The harpist is playing and all's right with the world. Scott shakes Ben's hand. SCOTT -LRB- quietly, to Ben. -RRB- Nod your head and smile. Now, you listen to me, goombah. I know what your game is, and you'd better call it quits, because if you and your paisans do anything to hurt my little girl, I'll kill you. Understand? Nod and smile. Scott crosses away. LAURA -LRB- sotto. -RRB- What was that about? BEN Nothing. Your father thinks I'm in the Mafia. LAURA Oh. BEN Let's get married.","INT. VITTI'S HOTEL SUITE - SAME TIME Using a stolen pass key, Tino quietly opens the door and enters. He steps into the living room and hears WATER RUNNING in the bathroom. He stealthily approaches the bathroom door and draws his pistol with a silencer on it from under his jacket.","INT. BATHROOM - SAME TIME Vitti stares at his reflection in the mirror, then starts washing his face. In the mirror we can see the door starting to open behind him, and the long barrel of Tino's pistol through the crack. Vitti blindly gropes for a towel and starts drying his face.","INT. VITTI'S BEDROOM - SAME TIME Tino is about to shoot when Jelly comes up behind him, throws one strong arm around his neck in a powerful choke - hold, and grabs Tino's gun - hand with his free hand. Vitti hears the sounds of a scuffle, steps out of the bathroom, and sees Jelly struggling with Tino. Tino gets off a couple of wild SHOTS, but Jelly finally shakes the GUN loose from Tino's hand. Vitti picks up the gun and puts it to Tino's head. Tino shuts his eyes and turns away, expecting the shot, but then Vitti's hand starts to shake and he breaks into a cold sweat. Tino opens his eyes, sees Vitti frozen, and starts fighting with renewed strength. Jelly hangs on, looks at Vitti with concern, then wrestles Tino out onto the balcony.","EXT. HOTEL COURTYARD - DAY The ceremony is in progress. JUSTICE If any man here knows why these two people should not be joined in holy matrimony, let him speak now or forever hold his peace. A beat, then a SCREAM is heard from above, then Tino crashes into a buffet table in the b.g. Wedding guests react in horror.","INT. VITTI'S SUITE - LATER Jimmy and Jelly are hastily throwing clothes into suitcases. Vitti comes out of the bedroom hurriedly buttoning up his shirt. VITTI -LRB- urgently, to Jelly. -RRB- Tell Mikey to take Marie and the kids right to the airport. -LRB- to Jimmy. -RRB- You get the car, bring it around to the back and wait for me. Ben bursts into the room. BEN That's it. I've had it with you! VITTI What happened? BEN What happened? I just saw a man fall seven stories into a platter of poached salmon! That's what happened. VITTI Did he break anything? BEN Yes. Everything! They're still picking the capers out of his forehead. VITTI Hey, people get depressed, they jump. It's a human tragedy, but it's not my fault. BEN You're telling me it was suicide? VITTI -LRB- to Jelly. -RRB- I think he left a note. Jelly, did they find that note? JELLY No, but they will in a minute. BEN Oh, yeah, here it is. -LRB- picks up a slip of paper, pretends to read. -RRB- ` Life is bullshit. I ca n't fuckin' take it no more. Tino.' VITTI Enough talking. We got to get out of here. The place is crawling with feds. I'm going back to New York and I suggest you do the same. They're probably onto you too now. BEN Onto me? What are you talking about? Being an accessory to murder was not part of our understanding. VITTI Hey, why you busting my balls? I did n't kill him. I ca n't speak for everyone in the room, but -. -LRB- he looks at Jelly. -RRB- The son - of - a - bitch came after me! It was self - defense. Trust me, Doc. In this one, we're the good guys. Suddenly Laura bursts into the room, still in her wedding dress, but disheveled. BEN Laura! LAURA -LRB- distraught, to Vitti. -RRB- How could you do that? VITTI Great. Another country heard from. -LRB- sotto voice to Ben. -RRB- Get her outta here. BEN Honey, why do n't you wait downstairs? LAURA Why, they're going to throw me off the balcony, too? -LRB- to Vitti. -RRB- I am thirty - over thirty years old and all my life I have dreamed of walking down the aisle in a beautiful white dress and marrying the man I love. VITTI That's a beautiful dress. LAURA Thank you, but it's not about the dress! We were supposed to get married! VITTI You're upset. LAURA Of course I'm upset! -LRB- to Ben. -RRB- I'm going downstairs to pack, then I'm going to New York and I'm getting married with you or without you. Okay? BEN I'll be right there. -LRB- walks her to the door. -RRB- Everything's going to be all right. I promise. He kisses her and closes the door behind her. BEN Are you happy now? You ruined my life! VITTI What, you think I wanted this? I'm the victim here! I swear, I'm going to kill that son - of - a - bitch! BEN Is that all you know? Do you hear yourself? I knew this would happen This whole thing has been one big disaster from the minute you walked into my office. We're finished! You hear me? I am no longer your doctor! VITTI Just'cause of this? BEN Of course because of this! You do n't have even the tiniest shred of human decency. All you know is threats and violence and that's all you'll ever know and I ca n't be around that! Vitti stares at Ben for a long beat. VITTI What do you want me to do?","INT. SINDONE'S OFFICE - CONTINUOUS ACTION Sindone is watching `` America's Most Wanted,'' rooting for the criminals. Moony comes to him looking concerned. SINDONE How come I ca n't get on this show? This is a good show. MOONY Primo. You got a phone call. It's Paul Vitti. SINDONE -LRB- warily. -RRB- Vitti. -LRB- picks up the phone. -RRB- Hello? INTERCUT Vitti and Sindone. Vitti is on the phone, struggling to contain his rage. Ben watches. VITTI Primo, it's Paul Vitti. SINDONE Yeah, how's it goin'? VITTI Not good. Whoever killed Dominic is shooting at me now and I'm having a lot of feelings about it and I'd like to get some kinda - BEN Closure. VITTI - closure on this. Ben nods in encouragement. SINDONE What kind of feelings? VITTI I feel very angry, you know. Very, uh, enraged. Mad. Real mad. Thumbs up from Ben. SINDONE So why you telling me? VITTI Why am I telling you? Like you had nothing to do with it? SINDONE I do n't know what you're talking about. VITTI Okay, whatever, I just wanted to tell you how I feel because I know that anger is - He looks at Ben. BEN A blocked wish - VITTI - a blocked wish, and I'm getting my wish unblocked and I'm looking forward to getting some closure -. -LRB- loses it. -RRB- - and if you make one more move on me I swear to God I'll cut your fuckin' balls off and shove'em up your ass! SINDONE Vaffancul'! Vitti rips the phone cord out of the jack and smashes the phone against the wall. He stands there fuming. Sindone hangs up the phone on his end, worried. SINDONE Get a dictionary and find out what this ` closure' is. If that's what he's hitting us with, I want to know what the hell it is.","INT. VITTI'S SUITE - MOMENTS LATER Vitti is still fuming. VITTI Good? BEN Yeah, right up until the shoving the balls. You ca n't keep doing this! You want to get physical? Take a walk. Get a punching bag. Hit a pillow. Vitti whips out a.9 MM AUTOMATIC and EMPTIES the CLIP into a pillow on the couch. VITTI There's your fucking pillow. BEN Feel better now? VITTI Yeah, I do. LARGE ITALIANATE FOUNTAIN Cheeky marble cherubs bathe in the soaring jets and bubbling pools of a large rococo fountain.","EXT. BEN'S DRIVEWAY - DAY Ben, Laura and Michael are staring up at the elaborate fountain that now fills the back yard. BEN Call the Vatican. Ask them if anything's missing. MICHAEL So cool! JANET Michael, get your bags out of the car, please. MICHAEL It's almost as tall as the house! Michael crosses away. Laura glares at Ben. BEN -LRB- reads the card. -RRB- He felt bad. It's a wedding gift. LAURA Well, we're not married, so I guess we'll have to send it back. BEN Hey, do n't blame me. You did n't want to finish the ceremony. LAURA What did you expect? You think that's what I want to remember on our anniversary? ` Gee, honey, let's go look at the wedding video. There's my parents, there's your parents, and there's the guy who plunged to his death.' BEN I just want to marry you. LAURA I'm starting to think that's not going to happen. BEN Come on. Next Saturday. It's all set. I even asked for a room with a low ceiling, just to discourage the jumpers. LAURA And who's going to be there? BEN Us three, a clergyman, and any family members who've completed their crisis counseling. LAURA And no guests without necks. Everybody has to have a neck. BEN We'll do a neck check at the door. They kiss.","INT. SOBOL FAMILY ROOM - MOMENTS LATER The back door opens and Ben, Laura and Michael enter, struggling with the luggage. They freeze. Sitting in the family room are the three FBI agents : Steadman, Ricci and Provano. AGENT STEADMAN -LRB- showing his badge. -RRB- Doctor Sobol, Mrs. Sobol - I'm Agent Steadman, Agent Ricci, Agent Provano, Federal Bureau of Investigation, O.C.D. BEN -LRB- stunned. -RRB- Obsessive - compulsive disorder? AGENT PROVANO Organized Crime Division. We need to talk. Laura recognizes Provano from the hotel and glares at him. MICHAEL The FBI! This is better than the fountain! BEN Michael, go to your room. MICHAEL But - BEN Go! MICHAEL Fine. I can hear better in there anyway. Michael exits. On the coffee table are dozens of pictures of Ben and Paul Vitti taken in Miami and just about everywhere else. BEN -LRB- a beat. -RRB- So. FBI. AGENT STEADMAN Can you explain these photographs, Doctor Sobol? BEN I'm a psychotherapist. Paul Vitti is my patient. LAURA Was your patient. BEN Right. Was. That's what I meant. LAURA But not like a real patient. BEN Right. PROVANO So why did he send you that fountain? BEN That was a gift to celebrate the completion of his therapy. We got our television from an agoraphobic, so it's not that unusual - you know, maybe you should discuss this with my attorney. LAURA Yeah, maybe you should. AGENT STEADMAN Doctor Sobol, Paul Vitti is an extremely dangerous man. We're talking conspiracy, fraud, extortion, racketeering, grand theft, murder. BEN Well, yeah, but do n't forget, the man is a sociopath. You've got to expect that kind of behavior - Ben looks out the window and does a double take. BEN'S POV Isaac and Dorothy are standing in the yard, gawking at the fountain. BACK IN FAMILY ROOM BEN Excuse me, fellas. My folks are here and I'd like to - well, die would be my first choice. Can I go out? AGENT RICCI It's your house. LAURA Too bad you did n't remember that when you were breaking in. BEN -LRB- as he goes. -RRB- Honey, maybe the federal agents would like something to drink? Could you see what we have? LAURA -LRB- firmly. -RRB- No. BEN -LRB- to the Agents. -RRB- I tried, guys. Ben exits.","EXT. BACK YARD - CONTINUOUS ACTION Ben rushes up to Isaac and Dorothy. BEN Hi! What a surprise. Ben kisses his mother as she stares at the fountain. DOROTHY That certainly makes a statement. It's a little big for the yard, do n't you think? BEN What can I tell you, Mom? It looked much smaller in the store. ISAAC Think it'll affect your water pressure? BEN I think it'll affect the tides. What are you doing here? DOROTHY Your father and I are just very concerned about what happened in Florida. ISAAC How was your flight home? Anyone hang themselves in first class. DOROTHY We got in last night, we could n't sleep a wink. Is Laura inside? BEN Yeah, but she and Michael are spending some time alone, you know, getting to know each other. That's important. I do n't want to disturb that dynamic. DOROTHY -LRB- a beat. -RRB- So you're not going to invite us in? BEN -LRB- a beat. -RRB- No. DOROTHY -LRB- insulted. -RRB- Well, I'm going to wait in the car. There's too much spray. Dorothy crosses away. ISAAC All right. What's with you and Paul Vitti? BEN Well, Dad, I'm not at liberty to discuss that. ISAAC He's your patient? Are you joking? Have you thought about what this could do to your reputation? BEN You, know, I always wanted to be great, but then I realized that I might have to settle for just being good enough. Now I've got this guy who's hurting and I'm thinking that if I can help this guy, maybe I can be a little bit great. ISAAC Jesus, Ben, you're the one who's going to be hurting. I want you to stop seeing him. BEN Did n't you read your own book? Instead of trying to run my life, why do n't you just close your eyes, take a deep breath, tell me what you feel, tell me what you want. ISAAC -LRB- uncomfortable. -RRB- This is bullshit. BEN You wrote it. ISAAC Okay. -LRB- with difficulty. -RRB- I love you - and I'm afraid for you - I want you to be safe - and I want you to have a good life. BEN -LRB- deeply touched. -RRB- Is that really it? ISAAC That's it. They embrace awkwardly. BEN You know why I became a shrink? Because I grew up with a great one walking around the house. ISAAC I thought you became a shrink because you were sleeping with your psychology professor at Columbia. BEN Yes, and because of you.","INT. FAMILY ROOM - MINUTES LATER Ben comes back to Laura and the Agents. BEN Okay, so you were saying? AGENT STEADMAN Let me cut to the chase. Sometime in the next week or so, the heads of every major crime family in the United States are going to meet together somewhere in the New York area. Ben nods, finally understanding Vitti's two week deadline. AGENT PROVANO We think the stage is set for a major bloodbath. Has he mentioned anything about it to you? LAURA A bloodbath? BEN No. If he said anything about a bloodbath, I probably would've remembered it. Bloodbath is one of those words that, you know, stands out in a conversation. AGENT STEADMAN -LRB- gathering photos. -RRB- You could really help us out by supplying information about that meeting. BEN And if I do n't? AGENT STEADMAN If you do n't, I will personally make your life a living hell. I want you to think about that and call me at this number when you change your mind. BEN You mean if I change my mind. AGENT STEADMAN I mean when. LAURA -LRB- tough. -RRB- Okay. Guess what, fellas? You do n't scare me. BEN Laura - LAURA Sit down! -LRB- to the Agents. -RRB- There's going to be a bloodbath. Oh, yeah. Only it's going to be between you and me. You think you can break into our home and intimidate us? That ai n't the way it works here, boys. Whatever he and Paul Vitti talked about is privileged. He does n't have to tell you a thing. Tarasoff vs. The University of California. Look it up. Now, if he's done something wrong, take him downtown and book him. Otherwise, I'll ask you very kindly to get the hell out of my house. AGENT STEADMAN We'll be in touch. The Agents exit. BEN -LRB- impressed. -RRB- Laura, that was really - LAURA -LRB- furious. -RRB- Oh, shut up! Laura storms out of the room in a fury. Ben stands, looking miserable, then we hear Michael's voice from the vent. MICHAEL -LRB- V.O. -RRB- You are in trouble.","INT. OLD LION SOCIAL CLUB - DAY Vitti is conferring with Sal Masiello, his consigliere. MASIELLO Paul, I do n't mean this in a disrespectful way. You know I was a good friend to your father and I will always be a good friend to you. But the word is out that you've been talking to a shrink. Is that right? Vitti shoots Jelly a sharp look. Jelly looks away. VITTI What's the point here? MASIELLO This concerns the whole family. Right now, we're the only ones who know about it, but if it gets out on the street - what then? Who knows what you've been saying in there? VITTI It's none of anybody's business what I say in there. MASIELLO Paul, I beg to differ. If you're doing this to establish some kind of insanity defense later, that's one thing. But everybody's gon na think you're falling apart, and that ai n't good. They'll take it as a sign of weakness, and that makes us all vulnerable. Sindone would take over everything. VITTI So what do you want me to do? MASIELLO It's time to end it. VITTI What do you mean, end it? MASIELLO Get rid of this shrink. He knows too much already. VITTI You want me to whack my doctor? MASIELLO If you do n't do it, somebody else will. It's the only way. VITTI No. Nobody touches him. You hear me? Anybody lays a finger on him, I'll kill'em. Is that clear? FLASHBACK - EXT.. STREET ON LOWER EAST SIDE - DAY Vitti and Ben are walking down the street. For some reason, Vitti is wearing a hat. BEN I'm going to buy some fruit. You want anything? VITTI No, go ahead. Ben crosses to a sidewalk fruit stand and starts picking out oranges. Vitti leans up against a car waiting for him to finish. SHOTS are FIRED. He runs toward the car. More SHOTS are FIRED. Ben is hit. Vitti pulls out his gun but he fumbles and drops it. The gunmen run off. Ben sinks to the pavement, mortally wounded. Vitti kneels next to him and sobs loudly. He puts his hand to his head, knocking off his hat. VITTI Papa! Papa!","INT. BEN'S BEDROOM - NIGHT Ben jerks upright in bed, knocked awake by the nightmare. HOLY WATER FONT Someone dips their fingers in.","INT. CATHOLIC CHURCH - NEXT DAY It's Vitti. He goes down on one knee and genuflects in front of a big crucifix. Ben wiggles his finger in the holy water, just kind of curtsies and waves at Jesus on the cross. VITTI You look lousy. You all right. BEN Listen, Paul, please do n't send me any more gifts. VITTI You did n't like the fountain? BEN That's not the point. It's a boundary issue. VITTI Boundary issue? I say if more people gave from the heart, we'd all be better off. Let's see your watch. -LRB- as Ben shows his wrist. -RRB- Piece of junk. You're getting a Rolex. BEN Do n't buy me a Rolex. VITTI Who said anything about buying it? They cross to the main aisle of the church. BEN Listen, I really need to talk to you. Ben stops cold. A casket sits in front of the altar. A funeral service is in progress. VITTI Tommy Angels. We grew up together. Worked for a crew out of Jersey City. BEN How did he die? VITTI He was on his way to talk to a federal prosecutor. Got hit by a truck - twice. BEN Do I need to know that? I'm having nightmares as it is. The funeral procession comes down the aisle. BEN Last night I dreamed we were walking down the street, I stopped to buy some fruit, and they shot me - like Brando in The Godfather. VITTI Good scene. Was I there? A mourner walks up to Vitti, bows his head in respect and kisses Vitti on both cheeks. Vitti on both cheeks. Vitti gives him a consoling pat on the shoulder, then the man kisses Ben and walks off. BEN You dropped your gun, then you ran over to me and started yelling, ` Papa, Papa!' VITTI I was Fredo. I do n't think so. An older woman kisses Vitti's hand, then both his cheeks. Vitti whispers a few words to her, then she kisses Ben's hand and moves on. More old ladies kiss their hands as they walk by. VITTI You're losing it, Doc. You may need therapy yourself. A man comes up to Vitti, kisses him on both cheeks, embraces him with excessive energy, then repeats the whole scene with Ben and exits. Ben looks at Vitti. VITTI Him I do n't know. Let's get private.","EXT. CHURCH - MOMENTS LATER Ben and Vitti come out of the cathedral. BEN Do n't you see? You called me ` Papa.' It's all about your father. VITTI What're you, nuts? It was your dream. BEN Yes, but that's what your black milk dream was about, too. VITTI Uh - uh. I do n't buy it. In my dream, I'm bringing the baby the black milk. BEN Freud believed you're everyone in your dreams. VITTI Yeah, well, that guy I do n't need to hear about. I ca n't even call my mother on the phone after that thing you told me. BEN Let's say you are the baby. What kind of milk did you get from your father? VITTI Could we stop talking about my father? BEN -LRB- losing it. -RRB- That's the whole point! We have to start talking about your father. You know what it's like dealing with you? This is you. -LRB- imitating Vitti. -RRB- You got ta help me, Doc. I'm a mess. I'm in pain. -LRB- as himself. -RRB- Okay, Paul, I can help you. -LRB- as Vitti. -RRB- Fuck you. Nobody helps Paul Vitti. VITTI Very good. Now I'll do you. ` Boo - fuckin' - hoo.' I never said this would be easy. Let's see how you like it. Let's talk about your father. BEN Let's not. VITTI Is he still alive? BEN Yes, he's still alive. VITTI What kind of work does he do? BEN -LRB- a beat. -RRB- That's not important. VITTI You paused. BEN What? VITTI You paused. That means you had a feeling. What does he do? BEN He's a psychiatrist. VITTI Ooh, you're fucked up. Next patient, please. BEN We're running out of time, Paul. Let's not waste it talking about my problems. VITTI Your father's a problem? BEN No! VITTI That's what you just said! You seem upset. BEN I'm not upset! VITTI Hey, I'm good at this. BEN We have three days left. If you want to spend it screwing around, I ca n't help you. -LRB- hailing a taxi. -RRB- Call me when you're ready to get serious. VITTI Say hello to your father for me! A cab stops at the curb.","EXT. CHURCH - SAME TIME Handsome Jack and Potatoes watch from a vantage point in the park nearby. POTATOES We could just pop him right now. HANDSOME JACK In front of a church? What are you, a fuckin' animal? It's a holy place. POTATOES Is the sidewalk holy, too? I mean, where does the holiness end? HANDSOME JACK -LRB- thinks. -RRB- I do n't know. Second Avenue? DIGITAL SOUND MIXER in the FBI van. A technician works at the computer console. Steadman listens. Through speakers : VITTI -LRB- V.O. -RRB- You want me to whack my doctor? MASIELLO -LRB- V.O. -RRB- If you do n't do it, somebody else will. It's the only way. VITTI -LRB- V.O. -RRB- No. Nobody touches him. You hear me? Anybody lays a finger on him, I'll kill'em. Is that clear? Then the technician plays an altered version. VITTI -LRB- V.O. -RRB- You want me to whack my doctor? MASIELLO -LRB- V.O. -RRB- If you do n't do it, somebody else will. It's the only way. VITTI -LRB- V.O. -RRB- -LRB- after a beat. -RRB- I'll kill'em.","INT. LIVING ROOM - SAME TIME Steadman shuts off a tape recorder, having just played the altered tape for a stunned Ben and Laura. A long beat, then Ben looks up at the agents. BEN -LRB- quietly. -RRB- What do you want me to do?","INT. JIMMY'S CAR - SAME TIME Jimmy is parked at the corner watching the Sobol house as the three FBI agents leave.","EXT. OLD LION SOCIAL CLUB - LATE AFTERNOON Masiello is face to face with Vitti. MASIELLO Paul, he talked to the Feds. VITTI I know this guy. He would never talk to the Feds. Jelly's CELLULAR PHONE RINGS. He steps away and answers it quietly during the following. MASIELLO The FBI was at his house today. JIMMY It's the truth. I saw'em. MASIELLO You'll see. Next thing is he's gon na call you and ask for a meeting. VITTI Come on. You do n't know this guy. Jelly covers the phone and turns to Vitti. JELLY It's Dr. Sobol. He says he needs to see you right away. Vitti nods.","EXT. STREET CORNER - NIGHT Ben waits on a deserted corner in Brooklyn. A black Town Car appears and stops to pick him up. The windows are heavily tinted. Ben takes a deep breath, crosses to the car and opens the back door.","EXT. JELLY'S CAR - CONTINUOUS ACTION Ben finds Jelly sitting in the back seat next to Vitti. JELLY Sit up front with Jimmy. BEN -LRB- anxiously. -RRB- You want me to sit in front? Paul usually sits in front. JIMMY So this time you'll sit up front. Why you making a federal case? BEN -LRB- getting in the car. -RRB- Federal case? I'm not making a federal case? Let's go.","INT. PARETTI'S RESTAURANT (JERSEY CITY) - LATER A waiter pours red wine. Ben is eating out of pure anxiety. Jelly and Jimmy watch him intently. Vitti stares off. BEN -LRB- prattling nervously. -RRB- Wow, this is really good. Delicious. I love Italian food. I've never been to Italy but I'd love to go. I've been to France. And Jamaica. That's nice, but I'm sure it's very different from Italy. A whole different, uh -. -LRB- silence. -RRB- So what's everybody doing this summer? Carlo Mangano comes to the table. Vitti gets up, hugs and fraternal kisses all around, then Mangano sits down with them. VITTI This is Ben. He's a friend of mine. -LRB- to Ben. -RRB- Say hello to Carlo Mangano. MANGANO How you doin'? VITTI -LRB- to Ben. -RRB- Carlo was on my father's crew. He's always been like a - I do n't know - like a cousin to me. MANGANO I am your cousin. VITTI I know, that's what I'm saying. It's like a family thing. The closeness. MANGANO Anything you need, anything I can do for you, Paul, you know. I'm here for you. VITTI I know. So did you take care of that thing I asked you about? MANGANO Is it all right to talk business in front of your friend? VITTI It's okay. MANGANO Yeah, I took care of it. VITTI How about that other thing? MANGANO I'm waiting for that first thing to come through. I ca n't move until it does. VITTI Did the guy give you a problem? MANGANO A little. He's a lunatic.","INT. FBI VAN - SAME TIME The agents monitor the conversation through the bug Ben is wearing. They shake their heads at the incomprehensible dialogue. VITTI -LRB- V.O. -RRB- What did he say? MANGANO -LRB- V.O. -RRB- The usual. VITTI -LRB- V.O. -RRB- Did you tell him you were n't going for it? MANGANO -LRB- V.O. -RRB- What was I gon na do? BACK IN PARETTI'S VITTI You always got ta nip that shit in the bud. MANGANO Yeah. But if the first thing is okay, that should fix everything. VITTI Including the second thing. MANGANO Yeah, but - VITTI Exactly. -LRB- to Ben. -RRB- Do n't repeat any of that to anyone. BEN What? The first thing or the second thing? VITTI That's Stevie Beef over there. I got ta go say hello to him for a second. -LRB- to Mangano. -RRB- Come on. Ben watches Vitti and Mangano cross the room, then turns to Jelly and Jimmy. BEN Stevie Beef. Interesting name. When he was younger they probably called him Stevie Veal. -LRB- off no response. -RRB- You guys come here often? JELLY Paretti's has a very special meaning to Paul. JIMMY Yeah, this is where his father got whacked. JELLY Hey! JIMMY What's the big secret? BEN -LRB- incredulous. -RRB- Wait a second. Paul's father was murdered? JIMMY Right at that table. With his whole family there. JELLY Hey, just shut up. BEN Paul, too? He was there? JELLY He do n't like to talk about it. Everything is suddenly clear to Ben. He stands up. JIMMY Where you goin'? BEN Bathroom. JELLY I'll go with you.","INT. BATHROOM - MOMENT LATER Ben and Jelly enter. BEN I got ta - you know - poop. Ben goes into a stall, latches the door and drops his pants. Jelly combs his hair in the mirror.","INT. STALL - SAME TIME Ben hastily unbuttons his shirt, revealing a small microphone taped to his chest. He picks at the edge of the tape, takes a deep breath, then rips it off. BEN Ahhhh! JELLY at the urinal, reacts to Ben's cry. JELLY You need more roughage. A bran muffin in the morning would help with that.","INT. PARETTI'S - BACK AT TABLE - FEW MINUTES LATER Ben and Jelly rejoin Vitti. Ben starts right in on him. BEN I have to talk to you - in private. VITTI -LRB- to Jelly and Jimmy. -RRB- Leave us alone. They exit without hesitation. BEN Why did n't you tell me about your father? VITTI What about him? BEN You said he died of a heart attack. VITTI So what's the problem? BEN What's the problem? Your father was murdered! VITTI Heart attack, murdered, what's the difference? He's dead. BEN There's a big difference. Why did n't you tell me? VITTI Because it's private. You think I tell you every little thing? BEN That is not a little thing! VITTI Okay, you want to know? Analyze this. I was twelve years old, the whole family was having dinner together right over there, two guys walked in and shot him dead right in front of us. Okay? BEN And you did n't think this was important enough to tell me? VITTI What am I supposed to do? Spend the rest of my life crying about the past? Forget about it. BEN You know what? I think you want to talk about it. VITTI No, I do n't want to talk about it. BEN I think you do. VITTI No, I do n't. BEN Then why did you choose this restaurant? VITTI'Cause I like it, okay? BEN Of all the places we could've gone, why this one? VITTI White clam sauce. The best. BEN No, we're here because you wanted me to know about your father. You're reaching out to me. VITTI I'll reach out to you - Vitti suddenly reaches over and rips Ben's shirt open. All he sees is a bald patch on Ben's chest where the bug was taped. BEN I think we have some major trust issues here.","INT. SINDONE HEADQUARTERS - SAME TIME The cutting room is deserted except for Primo and his men. Sindone is at his desk reading the entertainment section of the New York Times. SINDONE -LRB- studying the paper. -RRB- I'd like to see a movie but there's nothing out there. It's all this shoot -'em - up action bullshit. I get enough of that at work. They all laugh. Moony finishes a call on his cell phone. MOONY That was our friend. He marked your guy at Paretti's. SINDONE Yeah? Then let's make it the last supper. Jack? HANDSOME JACK You got it, Primo. -LRB- to Potatoes. -RRB- Let's go. SINDONE -LRB- as they exit. -RRB- Hey, Jack. Just for fun, tear out his heart and bring it to me.","EXT. STREET - LATER Vitti, Ben and the boys come out of the restaurant and walk to the car. BEN Jimmy, you can have shotgun this time. I do n't mind. JIMMY Nah, sit up front. There's more room for your legs. BEN My legs are short, it's fine in the back. JIMMY Get in the front. BEN You know what? It's late. I think I'm just going to call it a night. Why do n't I just grab a cab and head on home. JIMMY Get in the car. BEN No really, it's all right. JIMMY -LRB- pulls a gun. -RRB- Get in the fucking car. Ben looks to Vitti for help. VITTI Do what he says. BEN You know, we call this a transference neurosis. It's when the patient starts acting out his problems with his therapist instead of out in the world. It's usually considered a good sign. Not for me, in this case, but - Jimmy forces him into the back of the car.","EXT. PARETTI'S RESTAURANT - MOMENTS LATER The Lincoln makes a U - turn in front of Paretti's and drives off down the street passing Handsome Jack and Potatoes in a car parked at the corner. The car takes off after the Lincoln.","INT. FBI VAN - SAME TIME The agents are monitoring the bug, but all they hear is WATER RUNNING and TOILETS FLUSHING. AGENT RICCI What's he doing in there? He's been in the bathroom for half an hour. Ricci and Steadman look at each other.","EXT. PARETTI'S RESTAURANT - MOMENTS LATER The FBI van pulls up and lurches to a stop.","INT. PARETTI'S BATHROOM - MOMENTS LATER Steadman rushes in, pushes open the stall and sees the microphone and transmitter in the bottom of the toilet bowl.","EXT. SCRAP YARD - NIGHT (LATER) Jelly's car pulls into a scrap metal yard and parks. They all get out. Jelly hands Vitti a gun. VITTI -LRB- to Jimmy and Jelly. -RRB- Leave us alone. Jelly looks apologetically at Ben. JELLY Sorry, Doc. It's not personal, you know. BEN Do n't kid yourself, Jelly. It does n't get more personal than this. Jelly and Jimmy walk away, leaving Ben alone with Vitti. VITTI You know why I have to do this, do n't you? BEN Because you're a paranoid? No, actually you're a reverse paranoid. You think you're out to get everybody. VITTI Do n't bullshit me! You betrayed me! You stabbed me in the back. They start shouting at each other. BEN I betrayed you? What are you talking about? Who's got the gun? VITTI You think I'm an idiot? Do n't insult my intelligence. You cooperated! You talked to the Feds! BEN They played me a tape! You said you were going to kill me. VITTI Never. I never said that. They glare at each other for a moment. BEN It does n't matter. I did n't betray you, Paul. Yes, they made me wear a wire, but I took it off, because I think I know how to help you now. VITTI I do n't want to know what you think. BEN Yes, you do. VITTI No, I do n't! BEN I think you do. VITTI -LRB- puts the gun to Ben's head. -RRB- It's over! Do n't you get it? I took one chance and that's it. BEN Okay. -LRB- as Vitti cocks the gun. -RRB- Can I ask you one last question? VITTI -LRB- a beat. -RRB- What? BEN What did you order? VITTI What? BEN What did you order? VITTI When? BEN That night. What were you eating the night your father got killed? VITTI How the hell do I know? BEN You do n't remember? VITTI It was 35 years ago. BEN What did your father have? VITTI I told you! I do n't remember. BEN Try. VITTI What's the matter with you? BEN It's a simple question. What was your father eating! VITTI -LRB- after a long pause. -RRB- Penne. BEN Good. And you. VITTI Ravioli. BEN The food was on the table? VITTI They were just serving it. BEN Did you see the guys coming? VITTI One of them. Dressed like a busboy. BEN Did your father see him? VITTI No, but I knew he looked wrong. BEN Why? VITTI His pants. They looked too good for a busboy. BEN He walked over to the table? VITTI I watched him the whole way. BEN Did you say anything? VITTI My father was so mad at me. BEN And you were mad at him. VITTI I could n't say anything. BEN And then. VITTI I never saw the second guy. My mother started screaming. BEN And you blame yourself? VITTI I coulda saved him. BEN But you were mad at him. VITTI -LRB- starting to hyperventilate. -RRB- I killed my father. BEN You did n't kill him, Paul. You were angry but you did n't kill him. That's the life he chose. VITTI I never got to say good - bye. BEN Say it now, Paul. Talk to him. What do you want to tell him? VITTI I ca n't. BEN You have to. Tell him, Paul. VITTI -LRB- breaks down. -RRB- I'm sorry. I'm so sorry. BEN It's okay, Paul. You can let go of it now. Vitti leans back against the car, slumps to the ground and starts sobbing, 35 years of pent - up grief finally finding expression. JELLY AND JIMMY Standing around smoking, waiting for the death shot. JIMMY What's taking so long? I'm ruining my goddamn shoes here. Fuckin' $ 350 Bruno Maglis. JELLY What's wrong with you? Do n't you have any respect? This is a very difficult thing for Paul. JIMMY Shoulda let me do it. I'd be home watchin' E.S.P.N. 2 by now. World's strongest man. You should see these guys. VITTI AND BEN Ben is comforting Vitti. BEN You could n't save him, Paul. He was trying to save you. That's what you fought about. He did n't want this for you, and you do n't want it for Anthony. You do n't want him to grow up the way you did - without a father. Vitti just cries louder. JELLY AND JIMMY hearing the crying. JELLY Jesus, the guy's fallin' apart. JIMMY Why does n't he just pop him? It's embarrassing. BEN AND VITTI Ben tries to comfort Vitti who is still crying. BEN Your father's not dead, Paul. He's alive - in you. And he's trying to tell you something. Suddenly, there is a GUNSHOT and a BULLET RICOCHETS off the TOP of the CAR. BEN Oh, my God! HANDSOME JACK He OPENS UP with a MAC - 10. JELLY AND JIMMY Jimmy goes down, hit in the shoulder. Jelly dives for cover behind a rusted car body. VITTI AND BEN BEN -LRB- in a panic. -RRB- Paul! They're shooting! Vitti continues to sob, oblivious to the GUN BATTLE raging around him. JELLY He FIRES back at Handsome Jack. POTATOES He rakes the Lincoln with a BURST from the ASSAULT RIFLE. JELLY'S CAR All the WINDOWS ARE BLOWN OUT by the GUNFIRE. Ben screams. BEN Paul! For God's sake, shoot somebody! Vitti just sits there on the ground, still sobbing quietly. JELLY He reloads and FIRES again. POTATOES Jelly's last SHOT strikes him right in the chest, and he goes down. HANDSOME JACK He sees Potatoes fall and starts moving out, covering his retreat with another BURST from his MACHINE GUN. JELLY'S CAR Something snaps inside Ben. BEN Goddamn it! He takes the GUN out of Vitti's hand and starts FIRING WILDLY. JELLY He sees Handsome Jack emerge from cover and takes him out with FIVE QUICK SHOTS. HANDSOME JACK He goes down FIRING, dead before he hits the ground. SCRAP YARD It's suddenly quiet. After a long moment, Jimmy rolls over and moans. Jelly goes to him and starts examining his wound. JELLY'S CAR Ben stands up, still holding Vitti's gun. He sees Handsome Jack lying dead on the ground. BEN Oh my God! Did I do that? JELLY No, Doc. That one's mine. You got the Chevy Camaro and the side - by - side refrigerator - freezer. Vitti emerges from behind the car looking red - eyed but composed again and looks at Ben. VITTI Pretty fuckin' ironic, is n't it? You can give me back the gun now, Doctor. Vitti holds out his hand. Ben hesitates for a moment, then hands him the gun. VITTI It's okay. I was n't really gon na whack you. -LRB- off Jelly's skeptical look. -RRB- All right, maybe I was gon na whack you, but I was real conflicted about it. Progress, right? BEN I do n't think I can see you anymore. VITTI Yeah, I figured. BEN This was big tonight. You might feel a little raw for a while. VITTI Yeah. BEN So good luck. It's been - Vitti nods, they stand there for another moment, then Ben walks off into the night.","INT. BEN'S OFFICE - MORNING ELAINE, a fortyish, tired - looking wife and mother sits on the couch across from Ben. Ben looks bored and depressed. ELAINE I want to please him in bed, but whatever I do it seems like it's never enough. Now he wants me to say things when we're making love. BEN What kinds of things does he want you to say, Elaine? ELAINE Well, he wants me to call him ` big boy.' And he's my bucking bronco, and I'm supposed to ride him hard and put him back in the barn wet. Michael's laughter is heard coming through the vent. Ben closes his eyes and sighs deeply. ELAINE Are you all right, Dr. Sobol? BEN Let me suggest something, Elaine. If the man wants you to say things. damn it, you should get down on all fours and bark like a dog if that's going to get the job done. Break out the wine, baby. Smoke a joint. Do what you have to do, because life is too short. It's just too fucking short. Elaine stares, taken aback, then she smiles. ELAINE Okay.","EXT. VITTI'S HOUSE - SEVERAL DAYS LATER Jelly, Jimmy and Iron Mike arrive and walk up to the house. The rest of the crew are standing around on the porch.","INT. VITTI'S BEDROOM - MOMENTS LATER Jelly enters and finds Vitti in his undershorts, putting on his tie, looking very strong. JELLY How you feelin', boss? You need anything? VITTI No, I'm great. Never felt better in my life. When this meeting is over they wo n't know what hit'em. Jelly gives him the thumbs up and exits. Vitti turns to the TV and starts knotting his tie as a PRUDENTIAL INSURANCE COMMERCIAL STARTS PLAYING, featuring a father and his son. As Vitti watches the sentimental ad, his eyes fill with tears.","EXT. WALDORF-ASTORIA HOTEL - LITTLE LATER The sun is shining. A beautiful day for a wedding. `` HERE COMES THE BRIDE'' is heard.","INT. WALDORF-ASTORIA BANQUET ROOM - LATER The crowd oohs and aahs as Laura starts down the aisle in her wedding dress. Isaac and Dorothy are standing near the chupah ready to receive her. DOROTHY Is Ben going to step on the glass? ISAAC No. He does n't want to hurt his foot, so they're going to drop a person on it.","INT. WALDORF-ASTORIA BANQUET ROOM - MOMENTS LATER Laura and Ben stand before a REFORMED RABBI. The family is gathered again. Michael stands just to the side. RABBI We are put on this earth to find a love, a soulmate, someone with whom we can create joy. How glad we are today that Ben and Laura have found each other, and we anticipate and celebrate the years of joy they will share together from this day on. We hear a PSST from somewhere. Ben and Laura do n't seem to notice it. RABBI Ben, do you take this woman, Laura, to be your lawfully wedded wife, for richer, for poorer, in sickness and in health,'til death do you part, so help you God? Another PSST. Ben looks over and sees Jelly standing behind some flowers to the side of the altar. BEN -LRB- hissing. -RRB- No! RABBI Excuse me? BEN No, not you. I was talking to him. RABBI Who him? BEN It's not important. Yes. RABBI Yes what? BEN Yes to the thing before. To her. That's a yes. Pick it up from there. Jelly moves closer. The guests start to mutter. JELLY -LRB- to Ben. -RRB- Doc, we're going to need to hurry it up here. -LRB- to Michael. -RRB- Hi, kid. LAURA I do not believe this! JELLY -LRB- to the Rabbi. -RRB- Haul ass, buddy. We got a problem. LAURA Who the hell do you think you are? JELLY -LRB- to Ben. -RRB- Ooh, she's feisty. Watch out, Doc. -LRB- to the Rabbi. -RRB- Tick tock, let's go. Hurry up and pronounce them, huh? RABBI By the power vested me by the state of New York, I now pronounce you man and wife. JELLY Okay. Kiss, kiss - Ben and Laura kiss. JELLY I'm sorry about this, Mrs. Sobol, but duty calls, you know? LAURA -LRB- tearing up. -RRB- Oh. You're the first person to call me Mrs. Sobol. JELLY Nice, huh? LAURA No. BEN Laura, I'm sorry. It's the job. LAURA Go. Just go. -LRB- to Jelly. -RRB- Have him back here by the salad course or you're in serious trouble. Capiche? JELLY You're a pistol. -LRB- to Ben. -RRB- I like her. Ben kisses Laura, then the organist plays `` Here Comes the Bride'' as Jelly and Ben hurry down the aisle together. ANGLE ON SCOTT AND BELINDA, ISAAC AND DOROTHY shaking their heads in confusion.","INT. WALDORF-ASTORIA HOTEL - RECEPTION AREA Ben comes out of the function room with Jelly. JELLY He's bad, Doc. Worse than I ever seen him. I think his inner child is all fucked up. BEN Have you ever seen an episode like this? JELLY Yes. Once on ` Bonanza,' Hoss Cartwright got bit by a raccoon. He got this fever and he was shaking - BEN Never mind. OMITTED","INT. WALDORF GARAGE - MOMENTS LATER Jelly and Ben come out of the hotel into the garage area. JELLY This is serious, Doc. If he does n't make this meeting, they'll kill him for sure. BEN Ca n't someone else in the family go for him? Tommy the Tongue? Louie the Lip? What about you? You go? JELLY That would work except for one little detail. I'm a fucking moron. I'm known for it. -LRB- a beat. -RRB- You have to go. BEN Me? You must be a moron. JELLY Hey! Watch that. BEN You just said it yourself. JELLY It's different when I say it. When you say it, it sounds very negative. BEN I'm sorry, Jelly, but I'm not going. I'm not on the payroll anymore, so forget about it. My wife is waiting - He turns to go back into the hotel. JELLY Doc. Ben feels a gun pressed against his back. BEN You ca n't shoot me, Jelly. JELLY Correction. Mr. Vitti could n't shoot you. But here's something about me you should know. I never got married, Doctor Sobol. I do n't have a hobby. I never got a dog or a cat. I do n't even have a goldfish. I live for one reason only, and that's to serve Mr. Paul Vitti. He's what I'm thinking about when I wake up, and he's what I'm thinking about when I close my eyes to sleep. If he told me to jump off a tall building, not only would I do it, I would hope to survive so I could do it again and again until he told me to stop. This is all I know. This is all I got. So please do n't think I wo n't kill you, because I'd hate for your last thought to be a wrong one. You're going to that meeting.","INT. FBI CAR - MOMENTS LATER Parked on 50th Street, Ricci and another agent watch the limo emerge from the Waldorf garage. Ricci signals someone on the radio. FBI HELICOPTER flies INTO VIEW over Park Avenue and starts tracking the limo.","EXT. MID-TOWN TUNNEL - DAY The black stretch limo approaches the tunnel entrance. An FBI helicopter zooms INTO VIEW high above.","INT. HELICOPTER - SAME TIME Steadman and Provano track the limo from the air as it enters the tunnel. OMITTED","EXT. TUNNEL EXIT - MOMENTS LATER Fifteen identical limos emerge from the tunnel on the Queens side and start criss - crossing as they leave the toll booths, then head off in different directions.","INT. HELICOPTER - SAME TIME Steadman and Provo try to pick Ben's limo out of the pack of identical limos heading up the Long Island Expressway. STEADMAN -LRB- desperately. -RRB- Which one is it? AGENT PROVANO The black one.","INT. LIMOUSINE - DAY Ben is in the back with Jelly and Jimmy. One of their crew, IRON MIKE, is driving. Ben is putting on a suit of Jimmy's. He looks very anxious. JIMMY -LRB- his shoulder bandaged. -RRB- Just remember. That's a fuckin' $ 1200 Valentino suit. You spill anything on it, I'll mess you up good. JELLY Shut up. You're making him nervous. If he gets nervous and fucks up, they'll kill him for sure. -LRB- to Ben. -RRB- Let's go over it again. BEN This is insane. JELLY Mr. Vitti's been detained, apologies all around, blah, blah, blah. Then you say you're the new consigliere, and you're prepared to speak for Mr. Vitti. BEN Then what? JELLY Then you just keep your mouth shut, and hope nobody asks you nothin'. JIMMY Boy, this is some fuckin' plan. JELLY Shut up. -LRB- to Ben. -RRB- If you have to talk, just be vague. Can you do that? BEN I'm a psychologist. Believe me, I can be vague.","INT. VITTI'S BEDROOM - SAME TIME Vitti is lying on the bed staring at the ceiling. Marie is stroking his forehead. Then he looks over and sees Anthony sitting in a chair at the foot of the bed, watching him with concern. VITTI Should n't you be outside playing or something? ANTHONY No, it's all right. VITTI How long you gon na sit there? ANTHONY -LRB- shrugs. -RRB- How long you gon na lay there? Vitti smiles. VITTI I'm done.","EXT. OZONE PARK (QUEENS) - MINUTES LATER The limo pulls into the parking lot of the Tops Limousine Service. Fifty other limos are already parked there. Jelly and Jimmy get out, followed by Ben, now dressed in shiny suit and pinky ring.","INT. TOPS LIMO GARAGE - CONTINUOUS ACTION Ben, Jelly, and Jimmy enter a garage the size of a small airplane hangar. The floor has been cleared and long tables set up to form a square in the middle of the room. Wiseguys with shotguns patrol the catwalks above the floor and soldiers are posted at all the doors. BEN -LRB- sotto voce. -RRB- I ca n't do this. I'm telling you, I can not do this. JELLY Do n't fucking whine! Whining's a dead giveaway. Come on! You're the consigliere, for Chrissake. Around the tables sit forty or fifty of the biggest gangsters in the world. A few captains stand around the perimeter, ready to serve their bosses. BEN These are the bosses? That one looks like my Uncle Max. Jelly steers Ben to an empty seat next to Carlo Mangano. MANGANO -LRB- surprised. -RRB- What's goin' on? Where's Vitti? JELLY On his way. Do n't worry. Mangano eyes Ben with contempt. MANGANO What's he doin' here? JELLY He's - it's okay. Forget about it. MANGANO Forget about it? What the hell is that? Seated directly across the room from Ben is Primo Sindone. He stares hard at Ben, trying to place him, then leans over to Moony, his consigliere. SINDONE Who's the guy with Jelly? MOONY I do n't know. Ben looks away nervously. BEN -LRB- to Jelly, borderline hysterical. -RRB- I ca n't do this. He starts to get up but Jelly pulls him back down. Moony stands up and gets everyone's attention. MOONY All right, gentlemen. I think we better start. We have a big agenda, so for now let's stick to the big issues. And it would help if you identify yourselves when you speak, since we do n't all know each other, and we did n't think anybody would be into wearing any fucking name tags. Laughter around the table. Sindone stands up and looks straight at Ben. SINDONE I'm Primo Sindone. They call me Sonny Long. It's good to see so many of the old faces here, and to welcome the new ones from all over the country. I see Frank Zello, and Joe Baldassare, but I'm a little disappointed to see that the head of our other New York family is n't here today. All I see is his man Jelly and some sawed - off little prick nobody knows. Jelly looks at Ben, waiting for him to speak, but Ben just sits, frozen, looking down at his hands. JELLY -LRB- stands up, rattled. -RRB- Yeah, well, the thing is Mr. Vitti has been detained and he sends his apologies for - being detained - and he apologizes for his - detainment. SINDONE Detained? What kind of bullshit is that? What's more important than this? As the host of this meeting, I take his not being here as a sign of disrespect to me and to all these other men, too, who came a long way to be here. JELLY Mr. Vitti meant no disrespect. The thing is, he's not feeling well. He's sick and he - did n't feel well - Ben rises and slaps Jelly hard across the face. BEN -LRB- quietly. -RRB- Jelly! We do n't ever discuss Mr. Vitti's health outside the family. You know better. Jelly is stunned. The bosses murmur. SINDONE All right, who is this guy and what the fuck is he doing here? BEN In answer to your first question, my name is Ben Sobol -. -LRB- off Sindone's look. -RRB- - leone. Sobboleone. They call me - ` The doctor.' As for your second question. I'm here representing Paul Vitti. As his conser - conghili - JELLY -LRB- prompting. -RRB- Consigliere - BEN -LRB- slaps him again. -RRB- Do n't you ever correct me again! As his consigliere, I'm intimately involved in all aspects of the family business and I'm prepared to speak for Mr. Vitti on all matters. SINDONE Okay, Doctor, then let's get down to business. Everybody knows there's been this thing between me and Paul Vitti for a long time. BEN Which thing are you talking about? The first thing or the second thing? SINDONE What second thing? I only know one thing. BEN Well, I do n't see how we can discuss the first thing without bringing up the second thing. Did n't you talk to the guy? He tugs meaningfully on his earlobe. SINDONE What guy? BEN The guy with the thing. SINDONE What thing? What the fuck are you talking about? BEN How should I know? You brought it up. -LRB- gestures helplessly to the others. -RRB- This is the whole problem. You ca n't have an intelligent conversation with the man. SINDONE How about if I just break your fuckin' neck? What do you think of that? BEN It's not important what I think. What do you think? SINDONE What do I think? I think it's a good idea! Why would I say it if I did n't think it was good? BEN I do n't know. Why would you? SINDONE -LRB- frustrated. -RRB- I would n't! That's what I'm saying! BEN Have you always had a problem dealing with your anger? SINDONE What are you talking about? BEN What do you think I'm talking about? SINDONSINDONE -LRB- explodes. -RRB- I do n't know what the fuck you're talking about! BEN See, you're angry again. Do you feel you have to get angry to be heard? Sindone turns to a couple of other bosses, FRANK ZELLO and JOE BALDASSARE. SINDONE What's he talking about? ZELLO I do n't know. But you do have a tendency to get angry a lot. BALDASSARE I agree, Primo. SINDONE I'm trying to talk about Vitti! Why are we talking about me? BEN Interesting. Do you feel you're not worthy enough to be talked about? SINDONE What does that mean? BEN What do you think it means? SINDONE Fuck you! ZELLO Primo, calm down. SINDONE Calm down? How can I calm down when this prick wo n't stop with the questions? BEN Could you pass the fruit, please? SINDONE That's it! You're a dead man! Sindone whips out a pistol and points it at Ben, but just as he's about to shoot - VITTI -LRB- O.S. -RRB- Primo! All eyes turn. PAUL VITTI He's standing there, staring at Sindone, cool, clear, and unafraid. He looks like a king. The room goes silent. Vitti looks around the table, nods, and crosses to Ben. Jelly gets up to greet him. VITTI -LRB- quietly, to Jelly. -RRB- Wait outside with the car running. Jelly nods and exits. BEN What are you doing here? VITTI Saving your ass. Sit down. I'll take it from here. Ben sits, greatly relieved. VITTI -LRB- to the group. -RRB- I'm Paul Vitti. I'm sorry I was late. Those of you who know me will know I meant no disrespect. If it's all right with you, there's something I'd like to say, then I'll leave you to your business. Ben looks at Vitti and sees a kind of serenity and clarity he's never seen before. VITTI About two and a half weeks ago, somebody killed my friend, Dominic Manetta. He looks straight at Sindone. SINDONE Do n't look at me. Everybody knows you whacked him so you could take over everything. VITTI What I really came here to say is that I've come to a very important decision in my life. I want out. A great murmur of surprise sweeps around the room. Ben looks at him proudly. VITTI I'm going away for a while, but I will respect the oath I took the day I was made, and whatever I know about anyone else's business, I take with me to the grave. You have my word. A negative buzz among the bosses. VITTI As for my own organization, I know Carlo Mangano would like to be the new boss. Mangano smiles gratefully. MANGANO Thank you, Paul. VITTI That's why he betrayed Dominic and me to our enemies and sent his own man to kill me in Miami. Mangano is stunned. VITTI But I leave it to my people to deal with that and choose their own boss. And even though it's my right, I wo n't take revenge, mostly because I'm in a good place mentally and feeling good about me. ZELLO -LRB- perplexed. -RRB- I do n't know, Paul. I can see where some people might have a problem with this. VITTI I realize that, so as an extra token of good faith between us, I've taken the liberty of writing down everything I know and putting it in a safe deposit box in case anything happens to me or my family. There's a long tense silence while the other bosses consider all this. Then, finally - ZELLO I do n't know what anybody else thinks, but I say good luck and God bless, Paul. BALDASSARE Good luck, Paul. Salut. They all raise their glasses and toast Vitti. Ben raises his glass to Vitti and drinks. BEN -LRB- to Vitti. -RRB- Well done. Vitti smiles at him and drinks.","EXT. PARKING LOT - MOMENTS LATER Ben and Vitti come out of the building and cross to the car. Jelly is waiting, Iron Mike has the MOTOR RUNNING, and Jimmy is in the front seat with him. VITTI Let's move. Sindone and Mangano come out with guns drawn, flanked by two wise guys. SINDONE Vitti! Vitti and his crew turn and face Sindone and Mangano across the parking lot. VITTI I do n't want to do this, Primo. SINDONE You do n't want to do this? That's fuckin' rich. What did you think, you could just quit and walk away? You think this is a fuckin' civil service job? What are you, crazy? VITTI Not anymore. -LRB- to Mangano. -RRB- Hey, Carlo, tell me. You gon na stab me in the back like the piece of shit I always knew you were? Mangano stares at him, cold and hard. MANGANO I'm not gon na stab you in the back, Paul. I want to see your face when I do it. VITTI I do n't think so. -LRB- calls out. -RRB- Mo - Mo! Mo - Mo stands up from behind a car pointing a shotgun at Mangano and Sindone. VITTI Bigs! Johnny Bigs steps out from behind a shed holding an assault rifle. VITTI Eddie! The back of a van opens to reveal Eddie `` Cokes'' and Tuna manning a military air - cooled machine gun on a tripod. VITTI It's over, Primo. Now get the fuck outta here. Sindone glares at him, then lowers his gun, turns, and starts to walk back into the building joined by Mangano and the soldiers. Vitti and Ben relax. BEN Good thinking. I was going to bring a machine gun but I do n't have one. Of course, we have n't opened the wedding gifts yet. Suddenly, Sindone whirls and FIRES at Vitti. Ben staggers in front of Vitti and takes the bullet in the shoulder.","INT. GARAGE - CONTINUOUS ACTION The assembled bosses hear the sound of GUNFIRE outside. Zello looks at Baldassare. ZELLO Oh, shit. The bosses all jump up and run for the exits.","EXT. PARKING LOT - SAME TIME As the GUN BATTLE CONTINUES, Sindone jumps into a car and tries to escape, but Eddie Cokes RIPS his car with the MACHINE GUN, stopping it dead. OMITTED GATES An NYPD armored assault vehicle bursts through the gates. Police cruisers and SWAT vans come racing up to the scene, SIRENS SHRIEKING. Then, from out of the sky, the FBI helicopter descends, blaring a warning. AGENT STEADMAN -LRB- V.O. -RRB- -LRB- on a loudspeaker. -RRB- Drop your weapons and lie facedown on the ground. I repeat. Drop your weapons and lie facedown on the ground.","EXT. ALLEY - CONTINUOUS ACTION Bosses and fat capos go running through the alleys and clambering over fences in their silk suits and expensive loafers.","EXT. PARKING LOT - CONTINUOUS ACTION Agent Ricci, wearing a flak jacket and FBI baseball cap, has Sindone down on the ground with his foot on Primo's neck and a.45 aimed at his head. AGENT RICCI -LRB- screaming. -RRB- Do n't move! Do n't you fucking move! SINDONE Hey! Take a pill, Robocop. Vitti is tending to Ben who is on the ground leaning against the side of the limo. VITTI -LRB- deeply moved. -RRB- I ca n't believe it. You took a bullet for me. What doctor ever did that much for a patient? I'll never forget that. BEN Paul - I tripped. VITTI Yeah. You tripped over your unconscious.","EXT. FEDERAL PRISON - MANY WEEKS LATER It's a beautiful summer day. Convicts are playing basketball and lounging in the yard.","INT. PRISON LIBRARY - SAME TIME Ben in a sport coat, and Vitti, in prison whites, are sitting around in a circle with several other convicts. DONNY, a heavyweight con with a shaved head and numerous tattoos is talking. DONNY I do n't think my mother really listens when I talk. She never listened. VITTI And how does that make you feel? DONNY It makes me feel angry. VITTI I'll bet you feel hurt, too, do n't you? DONNY -LRB- suddenly vulnerable. -RRB- Yes, I do. BEN Paul, what would you say about what Donny's feeling? VITTI Donny, when you're thirsty, you do n't go to the wall - you go to the well. You know what I'm saying? Your mother may never be able to listen to you, but you have friends here who will. Okay? Ben is proud of Vitti's new sensitivity. BEN And be patient, Donny. Most people's problems take months, sometimes years to resolve. DONNY I'm doing twenty - five to life. BEN That should be plenty of time.","INT. PRISON CORRIDOR - LATER Ben and Vitti have just left the therapy group. BEN You know they found Primo Sindone dead in a field near LaGuardia. VITTI I heard. -LRB- off Ben's look. -RRB- I had nothing to do with it. There were guys lined up from Canarsie to Atlantic City who wanted to whack that bastard. BEN Okay, just checking. VITTI You know, Doc, I do n't think I ever thanked you properly for curing me. BEN We do n't say ` cured.' We say you had a ` corrective emotional experience.' VITTI You, you, you're very good. BEN -LRB- pointing. -RRB- No. You. You. OMITTED","EXT. SOBOL BACK YARD - NIGHT Ben and Laura are dancing in the yard. Paper lanterns are hung here and there. A bottle of champagne sits open on the table. A great TONY BENNETT SONG can be heard playing. BEN Happy? LAURA I just ca n't get used to it. BEN What? LAURA It's been three weeks since the last time you were kidnapped. I do n't know if I can adjust. They kiss as the SONG ENDS. Ben turns and speaks to someone O.S. BEN What do you say, Tony? One more? TONY BENNETT and his trio are set up on the back porch. TONY BENNETT Whatever you want, Dr. Sobol. My friend told me to stay as long as you wanted me. What do you want to hear, Mrs. Sobol? LAURA Your choice, Tony. TONY BENNETT I was hoping you'd say that. -LRB- quietly, to trio. -RRB- ` World on a String,' fellas. Tony sings `` I've Got the World on a String'' as Ben and Laura continue to dance. The CAMERA PANS UP and we see Michael smiling and shooting video from his bedroom window, then the CAMERA PANS UP TO a starry sky, and we. FADE OUT. THE END"],"string":"[\n \"CREDITS BEGIN OVER BLACK. DOMINIC MANETTA a man in his 70s, narrates nostalgically OVER a MONTAGE of related news photos. MANETTA -LRB- V.O. -RRB- 1957 was a big year. The Russians put that Sputnik into outer space, the Dodgers played their last game at Ebbets Field, ` that guy' shot Frank Costello in the head, and missed, and the Gallo brothers whacked Albert Anastasia in that barber shop in the Park Sheraton Hotel. It was total chaos. With Anastasia gone, Vito Genovese figures he's king shit, but Carlo Gambino and ` Joe Bananas' both want to be boss of all bosses. So they call a meeting - a big meeting.\",\n \"EXT. UPSTATE NEW YORK - DAY CREDITS CONTINUE. In FADED 16mm documentary - style, we see a country road winding through rolling hills. At the top of the hill, a black'57 Cadillac appears and sweeps through the peaceful landscape. MANETTA -LRB- V.O. -RRB- It was the first time the whole commission was ever gon na meet face to face. Bosses and wiseguys were comin' in from all over the country, and all the New York families, too - maybe sixty bosses, the whole wiseguy world - all headin' toward this little town upstate to figure out what's what.\",\n \"EXT. ROADSIDE - DAY A sign reads, `` Entering Apalachin - pop. 342.'' The black Cadillac speeds past the sign, then another black Caddy, then a black Lincoln, then another Caddy, a Lincoln, etc.. MANETTA -LRB- V.O. -RRB- Your father and me, we were goin' up with Tommy D., Fat Tommy. He was running the family at the time. Anyway, I do n't know what anybody was thinking, but some asshole thought it would be a good idea to have this meeting at Joe Babara's farm in the country where nobody would notice.\",\n \"EXT. RURAL GAS STATION - DAY A local state police deputy is gassing up his motorcycle when the parade of shiny black cars rolls by. He looks up and scratches his head at the unusual sight. MANETTA -LRB- V.O. -RRB- Turns out the local cops were watching Joe Babara like a hawk. So now you got about fifty Caddies and Lincolns pullin' into Apalachin and some deputy sheriff with cow shit on his shoes notices all the traffic and calls the Feds.\",\n \"EXT. JOE BABARA'S ESTATE - DAY The Caddies and Lincolns are all parked around a rambling country manor. Bosses and wiseguys are meeting and greeting each other on the big front porch. One WISEGUY is trying to shoo a cow away from his car. WISEGUY You wan na be a ribeye? Get away from the fuckin' car.\",\n \"EXT. WOODS - SAME TIME Federal agents start moving in quietly, heavily - armed, wearing big FBI arm bands. MANETTA -LRB- V.O. -RRB- The meeting never even got started. The Feds moved in -\",\n \"EXT. HOUSE - DAY Agents with weapons drawn charge the house and start breaking down the front door.\",\n \"EXT. BACK OF HOUSE - SAME TIME MANETTA -LRB- V.O. -RRB- - and we moved out. Gangsters in shiny suits are squeezing through windows and leaping off balconies. WIDE - WISEGUYS fleeing into the surrounding woods and fields. MANETTA -LRB- V.O. -RRB- Your papa and me hid in a field with hay or corn, some kinda foliage, I do n't know.\",\n \"EXT. FARM FIELD - DAY Two wiseguys in suits crouch in the tall grass. Suddenly they see a John Deere harvester bearing down on them. MANETTA -LRB- V.O. -RRB- Then along comes this farmer who almost runs us over in a tractor, so your father hauls out his piece, this.44 cannon he used to carry, and hijacks the goddamn tractor. Funniest fuckin' thing I ever saw.\",\n \"EXT. COUNTRY ROAD - DAY The farmer goes flying off the harvester and the two wiseguys drive off on it. The farmer looks up to see the John Deere disappear in a swirling cloud of dust that FILLS the SCREEN. END CREDITS. SWIRLING CLOUD OF CREAM on top of an espresso. PULL BACK as a hand reaches in and runs a lemon rind along the rim of the cup. The espresso is picked up and sipped by MANETTA, the aging boss of a prominent New York crime family.\",\n \"INT. RITZ CLAM BOX - LATE AFTERNOON (PRESENT) The place is nearly empty. Manetta is talking to PAUL VITTI, a dark, intense, intelligent man in his late forties, and a powerful boss in his own right. MANETTA Anyway, Carlo Gambino came out of it capo de tutti capi, and that was the last time the whole commission tried to meet - until now. VITTI -LRB- brooding. -RRB- I do n't know. I do n't like it. What do we need a meeting for? Let everybody worry about their own business. They finish eating. MANETTA The'57 meeting was about how we were going to divide up the whole country. This meeting is about how we're gon na survive. You got ` made' guys informing for the Feds ; bosses going to jail ; everybody's dealing drugs ; people are getting whacked without permission. And on top of everything, now we got the Chinese Triads and these crazy Russians to deal with. Everything's changing. We need a leader. Someone with fresh ideas. Someone like you. It's gon na be a new century, Paul. We got ta change with the times. VITTI What are we gon na get, a fuckin' web site? MANETTA You remember what else happened in 1957, Paul? VITTI Yeah, I remember. MANETTA When your father died, I promised him I'd always look out for you. Come to the meeting. They get up to leave. Vitti drops some money on the table. Bodyguards follow them to the door. The waiters and the owner bow to them as they pass. They are almost out the door when Vitti hesitates. VITTI Wait a second. I'm just gon na grab a toothpick. The instant he steps back inside, Manetta and his bodyguard are struck by an incredible VOLLEY of GUNFIRE, which BLOWS OUT all the GLASS in the DOOR and WINDOWS. Vitti's bodyguard, JELLY, grabs him and throws him behind the counter, shielding him with his body. Outside, the shooting has stopped and curious bystanders are looking in the broken windows. Vitti's eyes well up with tears. KLEENEX being pulled out of a box. CAROLINE, a woman in her early thirties, dabs at her eyes with the tissue. She's sitting on the couch in -\",\n \"INT. BEN'S OFFICE - SAME TIME The office is warm, comfortable, and nicely decorated. CAROLINE -LRB- weepy. -RRB- I kept telling him that I needed room to grow and find myself as a person. Not just as a woman but as an independent entity. BEN SOBOL her therapist, seems to be listening intently. CAROLINE I told him I needed to get in touch with my uniqueness, but he could n't handle that. He said I was driving him away. Do you think I was driving him away, Dr. Sobol? Ben leans forward sympathetically. He's in his mid - forties, has an expressive face and a quick wit, and despite the occasional lapse, he is a gifted and caring psychologist. BEN Things end, Caroline. That's just a part of life. It's how we deal with things ending that's important. CAROLINE I just ca n't believe it's over between me and Steve. Maybe there's still hope. BEN Well, he did take out a restraining order against you. I have to be honest, that's usually not a good sign. CAROLINE But what should I do? BEN Well, Caroline, I think the first thing you have to do. -LRB- voice rising. -RRB-. is stop whining about this pathetic loser! You're a tragedy queen! -LRB- mocking. -RRB- ` Steve does n't respect me. Steve does n't love me anymore.' Who gives a shit! Get a fucking life! You are, without a doubt, the most boring human being I have ever met! Please, say something interesting before I lapse into a goddamn coma! Caroline looks curiously at Ben, unperturbed. CAROLINE Dr. Sobol? BEN Lost in his fantasy, not really listening. He comes to attention and tries to cover. BEN Yes. Yes. I was just reflecting on your whole - situation. It's very interesting what you were just saying. I want you to think about it, and I'm going to think about it, so we'll both think about it and we'll continue next week when I get back from my vacation. Caroline bursts into tears again. BEN Or not.\",\n \"INT. UPSTAIRS HALLWAY - DAY Ben rushes upstairs and into his bedroom. His 14 - year - old son MICHAEL is in his room putting on a tuxedo. MICHAEL You're late. BEN -LRB- changing hurriedly. -RRB- I know. I could n't get rid of my last patient. I think she was a tick in a past life. MICHAEL Yeah, what's Caroline's problem? Your boyfriend's gone, he hates your guts, get over it. BEN Michael! What did I tell you? You ca n't listen to my sessions! It's private stuff. MICHAEL I ca n't help it. I hear you through the vent in my room. BEN Funny how that happens when you lie on the floor and put your ear up against it. MICHAEL Okay, okay. How's that guy who dreams about shitting trout? BEN -LRB- entering, putting on his tux shirt. -RRB- Fine. He moved up to striped bass. Put on your cummerbund. Boy, have you grown. Did your mother move next door to a nuclear power plant? MICHAEL -LRB- struggling with the cummerbund. -RRB- Why do we have to wear rented clothes to Grandpa's party? This blows. BEN -LRB- helping him. -RRB- We have to dress up because Grandpa ca n't have a good time unless everyone else is extremely uncomfortable. -LRB- looks at Michael and makes a quick decision. -RRB- Forget the tux. Regular clothes. Ben exits, pulling off the tux shirt. MICHAEL -LRB- taking off his tux shirt. -RRB- Are you ambivalent about Grandpa Isaac? BEN -LRB- O.S. -RRB- -LRB- from his room. -RRB- Ambivalent? Where do you get that stuff? MICHAEL Mom. BEN -LRB- annoyed. -RRB- She's not supposed to do that, you know. Your mother and I, when we got divorced, we agreed we would n't put you in the middle, or use you as a go - between to talk about each other. So just do me a favor and tell your mother to shut her big mouth. -LRB- comes back into Michael's room. -RRB- Did she say anything about me getting married again? I think she could be feeling a little anger about it. MICHAEL Oh, yeah. She really cares. She says you're intimidated by women your own age, and that's why you go for these young babes. BEN -LRB- fuming. -RRB- Okay. Listen, for two seconds, pretend I'm not your father. I'm just some guy, okay? MICHAEL You gon na vent? BEN Yeah. -LRB- venting. -RRB- I hate her! I really hate her! -LRB- a beat, then brightly. -RRB- Okay. Dad again. Let's go.\",\n \"EXT. WAREHOUSE - SAME TIME Paul Vitti gets out of his car and walks to the warehouse with his most trusted soldier, Jelly, a hulking bruiser, and his sidekick JIMMY, a tightly - wound ferret with chips on both shoulders. VITTI So what did you find out? JELLY -LRB- as they walk. -RRB- The word is Primo Sindone must have ordered it, but, uh - He hesitates. VITTI What? Jelly looks at Jimmy. VITTI What? JELLY -LRB- reluctantly. -RRB- A lot of people think you set him up. VITTI Why the fuck would I want to kill Dominic? He was like a father to me. JELLY So you could be the big boss. Everybody figures you're lookin' to wipe out the competition before the big meeting. VITTI Oh, is that what they figure? JELLY It's alright with me if you did - VITTI I did n't kill him! I told you that! Do n't you hear?\",\n \"INT. WAREHOUSE - CONTINUOUS ACTION They enter a room where other Vitti family soldiers, EDDIE COKES, TUNA, and JOHNNY BIGS are waiting. In the middle of the room, a young rat named NICKY SHIVERS is tied to a chair under a strong overhead light. When he speaks, we get a hint of mental incompetence. NICKY Please, Mr. Vitti, I told'em I do n't know anything but they do n't believe me'cause that one time I said Little Joe hit Dukey and it turned out he did n't but I did n't know because - JIMMY -LRB- smacks him. -RRB- Shut the fuck up! Nicky goes suddenly quiet. He watches in terror as Jimmy steps aside and Vitti moves close holding a short length of lead pipe. VITTI Nicky, you know me, right? NICKY Yeah. You're Mr. Vitti. VITTI And you know what I'm gon na do to you if you lie to me, right? NICKY Uh, you're gon na crack me on the head with that pipe? JIMMY -LRB- slaps him. -RRB- It's a rhetorical question, you fuckin' idiot. VITTI I'm only gon na ask you this one time. Who killed Dominic Manetta? NICKY I do n't know. VITTI -LRB- roars. -RRB- Do n't fuckin' lie to me! NICKY -LRB- in tears. -RRB- Honest to God, I do n't know! VITTI You little rat bastard. Vitti winds up to brain him with the pipe. They all wince in anticipation of the blow. But Vitti just freezes there with his arm upraised. Then he drops his arm and seems to sag. VITTI Forget about it. He does n't know anything. He tosses the pipe aside. VITTI Get him outta here. Jimmy looks at Jelly in surprise.\",\n \"INT. MINIVAN - LATER Ben is driving to the party with Michael. Sitting in stopped traffic, he checks his mirrors anxiously. BEN -LRB- to himself, urgently. -RRB- Look at this. Everybody's nuts. Ooh, I hate walking into that house late. MICHAEL I think you're reacting like this because you're mad we have to go to this party. BEN No. Do n't. I'm not going to be analyzed by someone who up until a few years ago believed in Santa. Sorry, but we only have room for one Dr. Sobol in this family. MICHAEL But there's two Dr. Sobols. There's you and Grandpa. BEN -LRB- a beat. -RRB- Can we talk about something else? MICHAEL Are you going to read Grandpa's new book? Mom says you wo n't because you're. BEN Does your mother talk about anything else or is it just me twenty - four hours a day? Wham! Ben REAR - ENDS the CAR in front of them. BEN That's your mother's fault! Your mother did that! Damn!\",\n \"EXT. EAST 90TH STREET - NIGHT The minivan has rear - ended a black Lincoln Town Car. The trunk has sprung open and Nicky Shivers can be seen in the trunk, bound and gagged, kicking and squirming. Muffled shouts can be heard through the duct tape over his mouth. Jelly and Jimmy jump out of the Lincoln and slam the top of the trunk just as Ben gets out of the minivan to inspect the damage. JIMMY -LRB- heading Ben off. -RRB- What's the matter with you? Are you some kind of moron? BEN I'm sorry. It's totally my fault. Ben looks at the damage. The Lincoln has gotten the worst of it. The rear bumper is hanging off, and Jelly is struggling to latch the trunk. JIMMY Did you see anything? BEN I was talking to my son. I took my eyes off the road - JIMMY Forget that bullshit. Did you see anything? Jelly steps in to defuse the situation, warning Jimmy off with a look. JELLY That's all right, sir. It's our fault for being in front of you like that. BEN -LRB- surprised. -RRB- Well, I should have been watching. Let me give you my insurance information - JELLY It's okay. Forget about it. BEN Really? It looks like your whole rear end might be screwed up. Jimmy is reattaching the rear bumper and securing the trunk lid with duct tape. JELLY No, it was like that before. BEN Maybe we should call the police? JELLY -LRB- suddenly menacing. -RRB- Why? Fuck the police. BEN Right! Fuck'em. HORNS start HONKING behind them. BEN At least take my card. You might look at the damage in the morning and change your mind. Jelly takes the card and reads it. JELLY You're a doctor? BEN Ph.D.. Psychologist. JELLY A shrink. You talk to a lotta nuts, huh? Ben hears KICKING from inside the car trunk. JELLY Pings and knocks. Cheap gas. Hey, how do those minivans handle? JIMMY -LRB- O.S. -RRB- Jelly! Let's go! JELLY Take it easy, Doc. Ben looks totally confused as Jelly hustles back to his car.\",\n \"INT. SOBOL HOME - LIVING ROOM - ISAAC SOBOL Ben's father, at the piano in the spacious, elegant, tastefully - decorated living room, surrounded by adoring guests, playing and singing an exuberant rendition of `` You Must Have Been a Beautiful Baby.'' Isaac is a silver - haired patrician, overloaded with self - esteem. ISAAC -LRB- ending the sing - along. -RRB- All right, neurotics only! Well, you must have been a beautiful ba - a - by,'cause baby look at you now, thank God for Prozac, baby look at you now! BEN AND MICHAEL standing off to the side talking to Ben's mother DOROTHY. In the corner is a large advertising display featuring Isaac's smiling picture on the front cover of his new book, Tell Me What You Feel, Tell Me What You Want. BEN What do you mean you're not coming? It's my wedding. DOROTHY We understand it's a special day for you, Benny, but your father and I ca n't just pick up and leave town every time you decide to get married. BEN Every time? This is a once - in - a - twice - in - a - lifetime thing. Isaac joins them. BEN Dad, you're not coming to my wedding? ISAAC We want to be there, but I have three book signings next weekend. I ca n't piss off these big book stores. If I cancel, they'll stick me down on the bottom shelf. That's how they are. BEN Yeah, that's the word on the street. The self - help book business is full of vindictive pricks. DOROTHY -LRB- looking around. -RRB- Ben! The language. BEN I'm sorry, but I've been alone for eight years, now I've finally met someone I want to spend the rest of my life with and I would really like you to meet her before we get married. You're going to be her family. I think it's better she knows that up front. ISAAC You're really hostile tonight. BEN I'm joking. DOROTHY -LRB- jumping in. -RRB- I think I'll go talk to the mayor. BEN The mayor's here? DOROTHY I can only hope. Dorothy exits. ISAAC What's wrong? BEN Nothing. Everything's fine. ISAAC How's your practice? BEN It's great. Just great. I've got some very interesting patients - extremely interesting. Fascinating actually. MICHAEL Dad has a patient who dreams he shits trout. BEN Thanks, Mike. ISAAC Excuse us, Michael. Isaac pulls Ben into the foyer. ISAAC Why are you wasting your time out there in the boondocks? New York City is the Mecca of Madness. BEN I'm just not sure I could spend my life dealing with people whose biggest crisis is how to fire the maid. ISAAC It beats a guy with an ass full of flounder. BEN Trout! And do n't minimize my practice. ISAAC Why are you getting so defensive? This is about your own feelings of inadequacy. BEN You always turn it back on me. Why do you do that? ISAAC Why do you think I do that? BEN Why do you think I think you do that? Go ahead, now you ask me why I think you think I think you do that. ISAAC Enough. I want you to think about what I said. And when you're ready to talk to me like a normal person, I'll be at the piano with Regis Philbin. -LRB- as he crosses away. -RRB- Rege! REGIS PHILBIN I'm not singing, Isaac! ISAAC Now, ladies and gentlemen, at the piano, Regis Philbin! Applause and laughter from the guests. Ben grabs a glass of champagne from a passing waiter's tray. BEN -LRB- to the waiter. -RRB- Thomas Wolfe was right. You ca n't go home again - because your parents still live there.\",\n \"INT. OLD LION SOCIAL CLUB - NIGHT Vitti's men converse quietly while a soldier sweeps the room for bugs. He gives the `` all clear'' and SALVATORE MASIELLO, the old consigliere, speaks. MASIELLO The Manetta family is asking a lot of questions. They think we hit Dominic. CARLO MANGANO, the burly underboss of the Vitti family, jumps in. MANGANO Forget Dominic! They were after Paul. -LRB- to Vitti. -RRB- It's a miracle you survived. I thank God. VITTI Yeah, thank God. All I know is if I did n't have some veal stuck in my teeth, I'd be laying there with Dominic. JOHNNY BIGS This is all about the big meeting. Primo Sindone wants to run the whole show. MANGANO Yeah, but Primo's a boss. He knows the rules. He could n't go after Dominic and Paul unless the other families gave their permission. VITTI -LRB- starting to sweat. -RRB- If they did, we're heading for one big fuckin' war. -LRB- having trouble breathing. -RRB- Talk to Zello and Baldassare. Find out what you can. We got two weeks. If the other New York bosses are against us, I want to know it before I walk into that meeting. He feels a stabbing pain in his chest. MANGANO You all right, Paul? You do n't look good. VITTI I'm a little choked up here. I got ta get some air. He walks outside. Jelly follows. Mangano looks quizzically after them.\",\n \"EXT. OUTSIDE THE OLD LION - CONTINUOUS ACTION Vitti is having trouble breathing. JELLY You feel all right? VITTI I feel like shit. This whole thing is like a huge fuckin' headache. JELLY -LRB- concerned. -RRB- You havin' one of those mindgrains? Sweating profusely now, Vitti feels another stabbing chest pain. VITTI Get the car.\",\n \"INT. EMERGENCY ROOM - LATER Vitti is putting on his shirt. He looks considerably better. Jelly is sitting down, tapping his own knee with the little rubber hammer. Nothing moves. DOCTOR SHULMAN, a young cardiology resident, enters. DOCTOR Good news, Mr. Evans. Your heart is just fine. VITTI How could it be fine? I've had like eight heart attacks in the last three weeks. DOCTOR Well, based on everything, I'd say you probably had an anxiety attack. VITTI -LRB- a beat. -RRB- What? DOCTOR An anxiety attack. A panic attack. I can give you some Xanax if it happens again soon - VITTI -LRB- menacing. -RRB- Look at me. Do I look like a guy who panics? DOCTOR -LRB- nervous now. -RRB- There's nothing - I mean - it's a common thing - VITTI Where did you go to medical school? I had a heart attack, you quack bastard. DOCTOR -LRB- very scared now. -RRB- Well, not according to these - As Vitti moves toward the Doctor, Jelly instinctively grabs the Doctor from behind and holds him while Vitti wraps the blood pressure cuff around his neck. VITTI -LRB- low and deadly, pumping up the cuff with the squeeze - ball. -RRB- Listen to me, jerk - off. I had a mild heart attack and now it's over. You understand? The Doctor nods vigorously, his eyes bugging out as the pressure around his neck increases. VITTI If anyone asks you, you never saw me, and I was never here. Is that clear? DOCTOR -LRB- strangled. -RRB- Yes. VITTI Good. -LRB- to Jelly. -RRB- Take the chart. Jelly releases the Doctor, grabs all the papers and follows Vitti out the door.\",\n \"EXT. HOSPITAL - MOMENTS LATER Vitti and Jelly come walking out the emergency room exit. Vitti stops. VITTI Jelly, I need you to do something for me as my friend. JELLY Anything. VITTI You have to find me a doctor. JELLY We just came from the doctor. VITTI Not that kind of doctor. I need a head doctor. JELLY You're gon na change your face like Sonny Black? Do n't get his nose though, he looks like a pig. VITTI Not a plastic surgeon, ya spoostud. Do I have to spell everything out? JELLY It saves time. VITTI I need you to find me a psychiatrist. JELLY Wow. This is like the Psychic Network or something. I just ran into a psychiatrist. Actually he ran into me. VITTI Is he any good? JELLY Yeah, he seemed like a smart guy. He had a business card and everything - VITTI He had a card? That's a real fuckin' achievement. JELLY What do you need a shrink for anyway? VITTI It's not for me. It's for a friend. This friend is having some problems, so I'm going to ask the shrink some questions and get some answers for my friend. JELLY Got it. VITTI And nobody can know. If anyone hears I'm talking to a shrink, it could be interpreted the wrong way. You know what I mean? JELLY Of course. Absolutely. -LRB- then. -RRB- Can I ask you one thing? VITTI What? JELLY This friend. Is it me?\",\n \"INT. BEN'S OFFICE - DAY Ben is with a patient, CARL ANDERSON, a high - strung milquetoast in his late forties. BEN Carl, I'm detecting a pattern here. You seem to settle too easily for things. CARL You're right. I do. BEN No, well, there you go. You just did it again. I suggested something and you immediately agreed. CARL You're right. I did. BEN Why do you think you do that? CARL I do n't know. BEN Well, sometimes people do it because they fear rejection or disapproval, but you ca n't let that worry you, Carl. And you ca n't agree with things just for the sake of agreeing. Stand your ground. Do n't let people roll over you. The door opens and Jelly enters. JELLY Dr. Sobol? BEN Excuse me! I'm in a session here. JELLY Yeah, I know, I'm sorry. BEN You're. You're one of the guys I rear - ended the other night. JELLY Bingo. -LRB- to Carl. -RRB- Get outta here. Jelly takes Carl by the elbow and lifts him off the couch. JELLY Upsa - daisy. You got a coat, nutbar? BEN What are you doing? JELLY He's leaving. BEN The hell he is. He's not going anywhere until we're done with his session. Jelly pulls a big roll of bills out of his pocket, removes the rubber band, and peels off a couple of fifties. JELLY -LRB- to Carl. -RRB- I'll give you a hundred bucks to get out of here. Carl looks at the money, then he gives Ben a plaintive look. BEN Do n't take it, Carl. Carl looks back to Jelly. JELLY -LRB- peeling off another bill. -RRB- A hundred and fifty. BEN He's not leaving. CARL -LRB- trembling. -RRB- Three hundred. JELLY -LRB- pays him. -RRB- You're not that fuckin' crazy. Carl takes the money, gives Ben the thumbs up and exits. Jelly follows him to the door and waves for someone to come in. BEN Listen, if you're upset about your car, I can understand that. But you do n't just barge in here - Paul Vitti steps into the office. Ben freezes. Jelly crosses to take Vitti's coat. VITTI You know who I am? BEN Yes. VITTI No you do n't. BEN Okay. VITTI You've seen my picture in the papers? BEN Yes. And no. Sometimes. Never. VITTI Jelly, wait outside. Jelly exits. Vitti walks around the room, taking everything in. He picks up the phone and listens. Hangs up. VITTI Sit down. BEN Sure. Ben sits quickly on the coffee table. He crushes a box of tissues, then moves them out from under his ass. Vitti picks up a stack of CDS and looks through them. VITTI Tony Bennett, huh? BEN Yeah. He's my favorite. Vitti picks up an autographed baseball bat from Ben's desk. BEN -LRB- puts up his hands. -RRB- Mr. Vitti, I tried to give the guy my insurance information, but he would n't take it. Seriously, I tried several times because it was all my please do n't kill me. VITTI I was just gon na ask if you liked baseball. BEN Yes. Big Yankee fan. Vitti puts the bat down. BEN Mr. Vitti. Not that it's your fault, but your friend, he interrupted a patient's session and that's - not good. I think this is a matter for our insurance companies, do n't you think? VITTI I do n't care about the car. BEN Then what -? VITTI A friend of mine is having a problem and he might have to see a shrink, so I'm going to ask you a couple questions. Do we sit? BEN Whatever makes you comfortable. Ben starts for his chair, but Vitti sits in it first. Ben sits on the couch. Vitti adjusts the cuffs of his shirt, and runs a hand down the crease in his slacks. VITTI Okay, the first thing I got ta know about is privacy. You must hear a lot of weird shit in here. How do I know you wo n't go testifying - not testifying - but, you know, talking about it to somebody else. BEN I wo n't discuss a patient with anyone for any reason, unless I know the patient may be a danger to himself. Like if I'm concerned a patient might kill himself. VITTI Not fuckin' likely - BEN - or kill someone else. Ben looks to Vitti for a response. Vitti stares at him for a long, uncomfortable beat. VITTI So who starts? BEN Why do n't you tell me why you think you need therapy? VITTI I do n't need therapy. I'm helping out my friend. You did n't hear me say that? BEN Right. I'm sorry. VITTI You guys are supposed to be so great when it comes to listening. You ca n't remember what I said two seconds ago. BEN I'm very sorry. VITTI I have to tell you, Doc, I'm not thrilled with the level of service up to this point. BEN Why do n't you tell me about your friend? VITTI He's a powerful guy. Never had a problem dealing with things, you know? Now all of a sudden, he's falling apart. He cries for no reason. He's having trouble sleeping. And then he started having these attacks. You know, ca n't breathe, dizzy, chest pains - like you think you're gon na die. BEN Panic attacks. VITTI What's with all you doctors and the fuckin' panic? Did I say panic? BEN Not panic. Dizzy - breathing - chest pain attacks. VITTI Right. So the question is, what can he do to make it stop? Ben decides to go for it. BEN I'm going to go out on a limb here. I think your friend is you. VITTI You - you - you - you have a gift, my friend. Go on. BEN Medication could help, but if you really want to get to the bottom of this, you're going to want to get some kind of therapy. VITTI With you? BEN -LRB- hedging. -RRB- With me? Oh, I do n't know. I'd have to look at my schedule. I'm very heavily booked right now and I'm going on a short vacation tomorrow. VITTI Where you going? BEN I do n't really share that information with. VITTI Where? BEN Miami Beach. VITTI You know, this could be good. Just getting that off my chest, I feel better already. It's like a load is off my shoulders. Thank you. BEN Well, I really did n't do anything - VITTI You did something. The load? Off. Where is it? Do n't know. You're good, Doctor. I'll be in touch. But listen to me. -LRB- leaning close, menacing. -RRB- If I talk to you and it turns me into a fag, I'll kill you. You understand? BEN Could we define ` fag,' because some feelings may come up - Vitti silences him with a wave of his hand. VITTI I go fag, you die. Got it? BEN Yes. Vitti gives Ben a little pat on the cheek, then turns and exits. Ben is stunned. OMITTED\",\n \"EXT. BACK YARD - LATER Ben comes out the back door of the house carrying a couple of suitcases. Michael follows behind him with his bags. They cross to the car in the driveway. BEN I hope you did n't leave any food in your room. I do n't want to come home and find a science fair. MICHAEL I did n't. Hey, Dad? One thing though. BEN Yeah? MICHAEL I go fag, you die. BEN Michael! That's it! I am sealing that vent. MICHAEL You are so cool, Dad. Was that really Paul Vitti? BEN -LRB- throwing the bags in the car. -RRB- I did n't ask to see his Mafia decoder ring, but yeah, it was him. And you can not tell anyone he was here. You understand? MICHAEL Should I take it off the internet? BEN What? MICHAEL I'm kidding! OMITTED\",\n \"EXT. MIAMI BEACH - DAY Helicopter SHOT of the hotels fronting the crowded beaches.\",\n \"EXT. HOTEL SWIMMING POOL (MIAMI) - DAY LAURA MacNAMARA, a pretty and charming TV news correspondent, is on the air live, surrounded by her camera crew. Kids are frolicking in the pool, splashing off the water slide behind her. LAURA So judging from the mob scene around the pool here today, I think you'd have to say that there's nothing ` off' about the ` off - season' in Miami Beach this summer. Now, on a personal note, this is my last report for W.V.B.F. I'm getting married to a wonderful man and moving to New York, so if you're up that way, watch for me on the W.P.I.X. news team. Thanks for everything, Miami. -LRB- voice catching slightly. -RRB- For the last time, this is Laura MacNamara, W.V.B.F. news. She pulls a bouquet out from behind her back and tosses it to the camera. LAURA Catch! She smiles for a long beat. PRODUCER We're clear. Laura's smile abruptly disappears. LAURA -LRB- to the crew, all business. -RRB- I'll do the re - asks, then you guys can just shoot the inserts and pack it up. -LRB- looks off. -RRB- Ben! Laura runs to Ben, standing on the sidelines, and embraces him. Michael is there too. LAURA This is him, everyone! This is the guy! BEN -LRB- to the crew. -RRB- Hi, everybody. LAURA -LRB- as she hugs him. -RRB- Oh, I missed you. BEN I missed you too. Michael, say hello. MICHAEL Hi, Laura. LAURA -LRB- a little too big. -RRB- This is Michael? I do n't think so. If I remember correctly, Michael was a little boy, and this, this is a great big kid. Hey, you. Tell us what you did with Michael Sobol. Ben and Michael look at each other out of the corners of their eyes. LAURA Okay. Come on. Give me a break. I'm trying. MICHAEL No, it was nice, but I'm fourteen so it was n't - you know - age appropriate. LAURA -LRB- smiles appreciatively. -RRB- Sorry. Just smack me if I do that again. -LRB- hugs him. -RRB- How are you, Michael? MICHAEL Great. There is an awkward silent moment, everyone smiling uncomfortably. BEN Mike, you want to go look at the camera? MICHAEL Why would I want to look at the camera? BEN'Cause I bet there's all kinds of cool video stuff over there. Why do n't you check it out? MICHAEL -LRB- gets the hint. -RRB- Oh, yeah. -LRB- to Laura. -RRB- Is it okay? LAURA Go ahead. If you break something, do n't worry. I'm out of here. Michael crosses to the camera crew. LAURA You think he likes me? BEN Michael? He's crazy about you. I am too. They embrace. LAURA You are? And you still really want to get married? BEN Of course. LAURA But what if you get tired of me? I know so many couples that were really happy, then they got married and just completely lost interest in each other. BEN That's not going to be us. LAURA I just do n't want to lose the passion. BEN Yes, I'm brimming with passion. I'm up to here with passion. LAURA I want us to be like animals. You know just screaming and sweating and tearing at each other all the time - BEN The sweating should n't be a problem. The tearing sounds painful. The SOUND GUY crosses over. SOUND GUY -LRB- embarrassed. -RRB- Uhh, Laura? You want me to take your mic, or at least turn it off? Laura looks over at the crew. It's obvious that Michael and the crew have heard this whole exchange. LAURA Oh my God.\",\n \"INT. WALDORF-ASTORIA - HOTEL CORRIDOR - NIGHT A room service cart with the remains of a sumptuous meal is standing in the hall outside one of the rooms. SHEILA -LRB- O.S. -RRB- Oh my God! Oh, yes. Oh, yes.\",\n \"INT. HOTEL ROOM - SAME TIME Vitti is in bed making love to his mistress, SHEILA, a pretty woman in her late 20s. They're really going at it. SHEILA Oh, yes. Oh, yes. -LRB- then. -RRB- Is everything okay, Paul? VITTI What are you talking for? I'm trying to do this here. SHEILA You seem - distracted. VITTI I got things on my mind. Stop talking. SHEILA Okay, I'm sorry. Just relax, baby. He goes back to lovemaking. SHEILA -LRB- after a beat. -RRB- Were you thinking about your wife? VITTI No, I was n't thinking about my wife. -LRB- a long beat. -RRB- Now I'm thinking about my wife. Goddamn it, Sheila, why ca n't you keep your mouth shut! Completely frustrated now, he gets out of bed, leaving her alone and confused. SHEILA -LRB- small voice. -RRB- I'm sorry, Paul.\",\n \"INT. BEN'S MIAMI HOTEL ROOM - NIGHT Ben and Laura are nestled together in bed, asleep. JELLY -LRB- O.S. -RRB- -LRB- whispering. -RRB- Dr. Sobol. Dr. Sobol. Ben stirs. BEN Mom? Jelly's head pops up on Ben's side of the bed. Ben wakes up and his eyes go wide. Jelly puts a finger to his lips. JELLY Mr. Vitti wants to see you. I have your robe. OMITTED UNDERWATER Kelp. Rocks. Bubbles. A mermaid swims INTO VIEW and meets up with another mermaid. They do beautiful back flips under the water. VITTI -LRB- O.S. -RRB- You no - good little two - bit piece of shit bastard! We PULL BACK to see the mermaids through the viewing windows of a large tank behind the bar of the -\",\n \"INT. WIKI WACHI LOUNGE - LITTLE LATER A tacky dive with a tropical motif. Ben, in his robe, is being berated by Vitti. VITTI I got news for you. I'm still fucked up. Whatever you did the other day, it did n't take. You did nothing for me. BEN -LRB- indignant. -RRB- I did nothing? What did you expect? I saw you for five minutes. I do n't work miracles, Mr. Vitti. And I'll tell you something else. I do n't appreciate it when someone breaks into my hotel room and kidnaps me. I do n't go for that. I have a family and a life and a serious practice, and I do n't have time for your bullshit! -LRB- sheepishly. -RRB- That got away from me near the end. Vitti stares at Ben. VITTI I could n't get it up tonight. BEN -LRB- stopped cold. -RRB- You mean sexually? VITTI No, I mean for the big game against Michigan State. Of course sexually! BEN You flew fifteen hundred miles and dragged me out of bed in the middle of the night because you could n't get an erection? VITTI Does n't that prove I'm motivated? BEN You can take a pill for that, you know. VITTI No, that's a cheat. You start with the pills, next thing you know you got implants with pumps. I think a hard - on should be gotten legitimately or not at all. BEN Did you see that embroidered on a pillow somewhere? VITTI Are you gon na help me or not? BEN I do n't believe this. All right. Has this happened before? VITTI The dead dick thing? Never. Well, one time. Tonight. And another time. BEN So twice? VITTI Do the math. Two times. -LRB- a beat. -RRB- There was another time. But it was after a big meal, so, you know, that do n't count. BEN Listen, being unable to perform three or four times - VITTI Five. BEN Five times - it is n't the end of the world. VITTI Maybe not to you - look at you - but if I ca n't get it up, that makes me less of a man and I ca n't have that. -LRB- moving closer to Ben. -RRB- In my business I deal with animals. They may seem dumb to an educated guy like you, but make no mistake about it, Doctor, animals are very cunning. And they sense weakness. Right now I'm an injured animal. It's only a matter of time before one of the lions out there catches the scent. Then I'm dead. That's the way it is. If you do n't understand that, then you do n't understand the life I live and you do n't understand me. BEN -LRB- nodding. -RRB- Okay. VITTI I have until the end of the week to get strong or they're gon na eat me up. If they do n't kill me in the meantime. BEN What happens next week? VITTI I ca n't tell you and you do n't want to know. BEN It's impossible. I ca n't do anything that fast. And even if I could, what's my goal here? To make you a happy, well - adjusted gangster? VITTI Look, the other day I saw a commercial on television, some kid playing with a couple of puppies. I cried for 45 minutes. Slap a pair of tits on me, I'm a woman! BEN I'm sorry. I ca n't help you. VITTI You're turning me down? BEN Mr. Vitti, when I got into family therapy, this was not the family I had in mind. I'm turning you down. VITTI You with your schmucky little office in your schmucky little house out there in Schmuckville - you're turning me down? What, so you can spend more time listening to housewives piss and moan about how nobody fucks them right? BEN I'd like to go now. VITTI -LRB- starts to cry. -RRB- You see this? This is what I'm talking about! I'm a dead man! Ben turns away and starts for the door. VITTI -LRB- through the tears. -RRB- You call yourself a doctor? You should be ashamed. A real doctor could n't turn his back on a person who's suffering! BEN -LRB- finally. -RRB- All right. -LRB- hands him a handkerchief. -RRB- What happened with your wife tonight? VITTI -LRB- wiping away his tears. -RRB- I was n't with my wife. I was with my girlfriend. BEN You have a girlfriend? We could do two months on that alone. VITTI What, you're gon na start moralizing with me now? BEN Okay. Do you have marriage problems? VITTI No. BEN Then why do you have a girlfriend? VITTI I do things with her I ca n't do with my wife. BEN Why ca n't you do those things with your wife? VITTI Hey. That's the mouth she kisses my children good night with. What's the matter with you? BEN Okay, okay. Have you been under a lot of stress lately? VITTI You mean like seeing your best friend murdered? Yeah, I got stress. BEN Well, based on what you told me before about your attacks, I'd say that's probably it then. VITTI It's just stress? BEN I doubt if there's anything physically wrong with you. VITTI -LRB- brightening, pointing a finger at Ben. -RRB- You. You. You're very good. BEN There's a lot more to it - VITTI No, you're right. You're right on the money. I can feel the juices rushing back to my manhood as we speak. BEN Well, I did n't need to know that. VITTI This settles it. You're my shrink. BEN I ca n't treat you, Mr. Vitti. I do n't think you're really ready to open up and deal with - VITTI Listen to you. The honesty. Nobody - and I mean nobody - talks to me like this. I'm ready. Let's do it. BEN You do n't hear the word ` no' that often, do you? VITTI I hear it all the time. Only it's more like, ` No, no, please, no!' BEN -LRB- relenting. -RRB- All right. I'm here for two more days. When we get back to New York, I'll treat you exclusively for two weeks. I just need to figure out what to tell my other patients. VITTI You want me to clear your schedule for you? BEN No thanks, I'll handle it. Now can I go? Vitti throws his arms around him and kisses him on both cheeks. A look of concern crosses Ben's face. VITTI Thank you.\",\n \"INT. BEN'S MIAMI HOTEL ROOM - NIGHT Ben enters. Laura is sitting up in bed, pissed off. LAURA What is wrong with you? I woke up, you were gone, no note or anything. I've been going out of my mind, Ben. I walked all over the hotel looking for you. I almost called the police! BEN Okay, listen. I'm going to tell you the truth. I had a serious patient emergency. LAURA You have patients in Florida? BEN Just one. He followed me here from New York. I had to go. LAURA Who is this patient? BEN Paul Vitti! -LRB- a beat. -RRB- Paul Vitti. A long beat. LAURA -LRB- worried. -RRB- Oh, Ben. BEN I know. But do n't worry. It's not like he's a real patient. He's got this idea in his head that I'm helping him. It's crazy. LAURA You're not going to treat him. BEN No. LAURA Tell me you're not. BEN I'm not! LAURA That would be too scary. You do n't want a person like that in your life, believe me. I've covered the mob down here. I've seen what they can do. BEN Listen, it's been taken care of. I told him I could n't see him again. He understood and it's over. LAURA You sure? Ben nods. LAURA -LRB- tearing up. -RRB- I was so worried. He hugs her and holds her tightly, feeling like a jerk for lying to her.\",\n \"INT. SEWING ROOM (NEW YORK) - NEXT MORNING Immigrant garment workers cut and sew fabric.\",\n \"INT. OFFICE - CONTINUOUS ACTION This is Sindone headquarters. A few of his trusted guys are in attendance : HANDSOME JACK, POTATOES, and MOONY, his consigliere. MOONY It does n't figure. We take out Manetta, what does Vitti do? Nothing. Why does n't he move? PRIMO SINDONE, a vain, pompous Mussolini, is standing on a stool in his underwear, being fitted for a suit by a nervous tailor. SINDONE Fuck him. MOONY I'm telling you, Primo, he's planning something big. The shit is really gon na come down. SINDONE Then let it come down. Vitti's a tough guy but a lot of tough guys got fed to the crabs off Red Hook over the years. -LRB- looking down at the tailor. -RRB- You been down there a long time. Are you measuring my inseam or contemplating a lifestyle change? Sindone nods for the tailor to get out. MOONY Primo? What about Vitti? SINDONE Vitti. Vitti. The whole time we were growing up, he was the smart guy ; I was the dope. My father was a nickel - and - dime shitheel ; his father had it all. Vito Genovese blew it at Apalachin because he forgot to kill Gambino before the meeting. I wo n't make the same mistake. I want Paul Vitti dead - now. You two astronauts think you can handle that? Handsome Jack and Potatoes nod their agreement. HANDSOME JACK You got it, Primo. MAN WITH FISH HANGING FROM HIS MOUTH A killer whale leaps up and takes it from between his teeth.\",\n \"EXT. MIAMI SEAQUARIUM - CONTINUOUS ACTION The audience in the stands applaud as the killer whale splashes back into the water. LAURA AND MICHAEL are clapping. Ben is clearly bored. LAURA -LRB- to Ben. -RRB- Come on. Get into it. BEN I do n't understand. They jump out of the water, they splash, they eat fish. It's not a real stretch for a whale. If they did a number from West Side Story, then I'd be into it. LAURA Just stop. -LRB- to Michael. -RRB- We're having fun, right? MICHAEL Well, to be real honest. I'm not having as much fun as it looks like I am. I'm pretending, you know, because we have to bond and everything. Laura looks at Ben. BEN -LRB- to Laura. -RRB- You've got to admire the openness. MICHAEL -LRB- a tad too excited. -RRB- Here comes the whale again! TANK The whale leaps high in the air and crashes back down, sending a wall of water flying into the first few rows. JELLY AND JIMMY walking by the tank, get soaked by the huge wave. JIMMY Fuck me! STANDS Ben looks and sees Jelly beckoning him. BEN -LRB- to Laura and Michael. -RRB- I'm hungry. Yeah, I'm going to get a hot dog. Who wants a hot dog? MICHAEL -LRB- rising. -RRB- I'll go with you. BEN No, I'll go. You're pretending to have a good time. I do n't want to spoil that. Be right back.\",\n \"EXT. VOMITORIUM - MOMENTS LATER Ben confronts Jelly and Jimmy, who are soaked to the skin. BEN What is this? Are you guys following me? JIMMY Fuckin' fifteen - hundred dollar suit. You think the whales piss in that water? JELLY No, I think they use the men's room next door at the Burger King. -LRB- to Ben. -RRB- Mr. Vitti wants to see you. BEN Is this a joke? JELLY You're an employee of Mr. Vitti's. That means you're on call twenty - four hours a day just like the rest of us. BEN No, he and I discussed this. I told him I'd see him when I got got back to New York. JELLY Do n't be a skavootz. It is what it is. If he needs you sooner, you go. BEN No, I'm not going, and if you bother me again I wo n't treat him at all. Understand? That's it. End of story. AQUARIUM VIEWING WINDOW Ben plunges into the tank in the middle of a school of sharks. He screams silently underwater and swims desperately for the top. A couple of families watching THROUGH the viewing window laugh and applaud as if it's part of the show. SANDCASTLE An alligator loafer steps down on it. We TILT UP TO a SEVEN - YEAR - OLD BOY with a shovel and pail. BOY Asshole. After a beat, a ten dollar bill falls where the sandcastle was. The Boy's face instantly brightens. BOY Thanks, mister.\",\n \"EXT. BEACH - DAY The alligator loafer belongs to Jelly. He's walking with Jimmy and other bodyguards who form a loose protective perimeter around Ben and Vitti as they walk along the shore. All the guys are wearing loud Jersey beach outfits. BEN They threw me in the shark tank, Paul. The shark tank! VITTI They were trying to make a point. BEN What, that you're a scary guy? I get it. VITTI You're in a mood, you know that? BEN Yeah, I get that way when a shark tries to chew on my ass. VITTI Okay. Okay. Calm down. BEN I do n't want to calm down. My girl friend saw me all wet? I told her I fell into a tank with the manatees. I lied to her last night, now this. I do n't like it. VITTI Manatees. That's a funny word. Manatees. BEN I'm glad you're entertained. What's the problem? VITTI Oh, I can tell you really care. BEN Okay. What's going on? VITTI I had an episode. Not an actual panic attack, but I started panicking a little thinking I might have one. Does that seem weird to you? BEN I'm redefining ` weird' on an hourly basis. What were you thinking about when you started feeling anxious? VITTI I do n't know. The usual bullshit. Family problems. BEN Which family? -LRB- referring to bodyguards. -RRB- This one? VITTI No, regular family. BEN -LRB- stops. -RRB- I want you to draw a picture of a house. In the sand. VITTI What kind of house? A warehouse? A whorehouse? My house? What house? BEN A house. VITTI Why? BEN I'll tell you after you do it. Vitti bends over and starts drawing in the sand. VITTI This is good. I come to Florida and draw pictures in the sand like a jerkoff. BENCH TINO, a local Miami hitman, is covertly watching Ben and Vitti on the beach. He talks into a cell phone. TINO I do n't know what they're doing. He's talking to some guy. Looks like Vitti is drawing something in the sand. What's he drawing? What am I, Superman? I'm a hundred yards away - I ca n't see shit. No way, he's got that fat Jelly with him and his partner, Jimmy Boots. We could take him out with a rifle and a scope, but I do n't have any of that shit with me. My scope's in the shop. Nah, it's a warranty item. Hey, do n't sweat it. You told me to take care of him, I'll take care of him. Okay, I'll call you back. BACK ON BEACH Vitti finishes drawing. VITTI There. You happy? BEN Where are the people? VITTI What people? You told me to draw a house. BEN I know. But usually when people draw a house they draw people. Where are the people who live in your house? VITTI Well, you see, they'd come out and say hello, but the whole family's in the Witness Protection Program. It's very sad. What the fuck you want from me? They start walking. BEN Okay, forget the house. I'm going to say some words, and you say the first thing that comes into your mind. VITTI Good, more games. Shoot. BEN Home - VITTI - plate. BEN Mother - VITTI - fucker. BEN Father - VITTI - forgive me for I have sinned. BEN Wife? VITTI -LRB- clears his throat. -RRB- Love. BEN Son? Vitti looks out to sea. BEN Son? Ben ca n't see his face, but Vitti's eyes are full of tears. He wipes his eyes. VITTI See this? Again with the crying. Let's get out of here. We're being watched. Do n't look. There's Feds on the roof of the hotel. BEN How do you know that? VITTI I'm a criminal. It's my job.\",\n \"EXT. HOTEL ROOF - DAY FBI AGENTS STEADMAN, RICCI, and PROVANO CLICK away with long - lens CAMERAS as they watch from the rooftop. AGENT RICCI Who's the new face? AGENT STEADMAN I do n't know. Get somebody down there to see what he drew in the sand. AGENT PROVANO Whoever this guy is, he must be important to the family. AGENT STEADMAN Maybe he's Vitti's new consigliere. Put his picture on the wire and see what you come up with.\",\n \"INT. VITTI'S SUITE - DAY Vitti, Ben and Jelly enter the suite. MARIE, Vitti's wife, and their children, THERESA, 14, ANNA, 10, and ANTHONY, seven, are there. Vitti greets them warmly, suddenly a different man. VITTI Look at this, the whole crew. -LRB- kissing Marie. -RRB- You all right? Good flight? MARIE Yeah, we're fine. We're on our way to the pool. Kids, get your stuff. We'll get out of your way. VITTI That's okay. Marie, this is a friend of mine, Ben Sobol. -LRB- as they AD LIB greetings. -RRB- He's - from the boat. A fishing boat captain. Cuban refugee. MARIE -LRB- shaking his hand. -RRB- Nice to meet you, Senor Sobol. Ben looks to Vitti, then to Marie. BEN Gracias. VITTI And this is Theresa and Anna - ANNA Anne. VITTI - Anna, and the big guy, Anthony. Anthony gives Ben a manly handshake. ANTHONY How you doin'? BEN Nice to meet you. VITTI -LRB- noticing Theresa's bikini. -RRB- Jesus, Theresa, you are not wearing that suit to the pool. THERESA What do you want me to wear, a one - piece? VITTI I want you to wear one of those Arab bathrobes with a veil over your face, is what I want. THERESA Mom! MARIE Do n't worry about it, Paul. We'll be back in time for dinner. VITTI Okay, babe. Hey, Anthony. Guess what I got? ANTHONY What? VITTI -LRB- holds up some tickets. -RRB- Marlins and the Braves - right behind home plate, tonight. ANTHONY You and me? VITTI Of course, you and me. -LRB- hugs him. -RRB- Have fun at the pool. Stay out of the deep end. And do n't swim for a couple hours after you eat. ANTHONY Okay, Papa. He kisses his father and exits with the others. VITTI -LRB- to Jelly. -RRB- Send Jimmy down with them. JELLY Already done. Jelly exits. BEN Nice family. Cuban fishing boat captain? VITTI I ca n't tell Marie you're a shrink. She'd worry, you know. BEN About this? I think she'd be more worried about your career choice. VITTI Just keep going with the therapy. He crosses to the bar, pours himself a drink, and lights a cigarette. BEN You know, normally a patient would n't smoke or drink during a session. VITTI -LRB- blowing smoke. -RRB- That's an interesting fact I'll have to remember if I'm ever on ` Jeopardy.' BEN So tell me about your father. VITTI My father. He was a big man in the neighborhood - very well respected. Everybody loved him, God rest his soul. BEN He passed away? VITTI No, I just like saying ` God rest his soul.' Yeah, he passed away. He died when I was about twelve. BEN How? VITTI Heart attack. Sudden thing. BEN Were you and your father close? VITTI Close? Yeah, you know, pretty close. I guess we were n't getting along that great right then. BEN Why was that? VITTI I was hangin' out in the neighborhood. I had a borghata - like a kid gang - hooligan shit, nothin' big. But my father did n't like it. BEN You fought about it? VITTI He slapped the shit out of me. BEN And then? VITTI And then that night he died. BEN How did that feel? VITTI It felt great! How did it feel? -LRB- shrugs. -RRB- I do n't know. BEN Well, think about it. Were you angry, were you afraid? Sad? VITTI Yeah, I guess. BEN Any feelings of guilt? VITTI About what? I did n't kill him. BEN I'm just speculating, but maybe in some way you wanted him to die. VITTI Why would I want my father to die? BEN Well, you said you were fighting. You were rebelling against his authority. There may have been some unresolved Oedipal conflict. VITTI English. BEN Oedipus was a Greek king who killed his father and married his mother. VITTI Fuckin' Greeks. BEN It's an instinctual developmental drive. The young boy wants to replace his father so he can totally possess his mother. VITTI Are you saying I wanted to fuck my mother? BEN It's a primal fantasy - VITTI Have you seen my mother? That is the sickest fucking thing I've ever heard. BEN It's Freud. VITTI Well, then Freud's a sick fuck, and you are too for bringing it up.\",\n \"INT. OCEAN VIEW RESTAURANT - NIGHT Laura's family, the MacNamaras, and a few close friends have gathered for the rehearsal dinner. There are three tables in a roped - off section of the restaurant with large floral centerpieces, a small bar in the corner. The MacNamaras, SCOTT and BELINDA, are standing with Laura, Ben, Michael and a couple of other relatives. BELINDA Well, is n't this wonderful, all of us finally getting to spend some time together. SCOTT All set for the big day, Ben? BEN Ca n't wait, Scott. Can I call you ` Scott?' SCOTT My friends call me ` Captain.' BEN Captain. BELINDA Well, if tomorrow goes as well as the rehearsal, I'd say it's going to be a beautiful wedding. BEN Yes, thanks for going to all this trouble, and I have to thank you and the Captain for something else. SCOTT For what? BEN -LRB- pointing to Laura. -RRB- For this. Everyone `` ahhs'' as Ben gives Laura a peck on the cheek. Michael makes a face. LAURA -LRB- to Ben. -RRB- Would you like a drink, because I'm definitely having eight or nine. BELINDA -LRB- disapproving. -RRB- Shall we go to the table? As the woman go to their seats, Scott holds Ben back for a private moment. SCOTT Ben, there's a lot I'd like to say to you, but I'm going to skip the big father - in - law speech because I know you've been married before. BEN Technically, it was n't considered a marriage. It was like the Korean War - more of a police action. SCOTT I served in Korea, son. I do n't think you'd be laughing if you'd seen some of the things I saw. BEN You're right. Sorry. VITTI -LRB- O.S. -RRB- Senor Sobol! Everyone turns to see Paul and Marie Vitti coming into the room, followed by their kids and a knot of bodyguards. Ben's face falls. He rushes over to intercept them. BEN -LRB- sputtering. -RRB- Mr. Vitti! How are you? Mrs. Vitti! Honey, it's the Vittis! Laura glares at Ben. VITTI -LRB- charming. -RRB- Look at everybody. Everybody's smiling, everybody's happy. Nice. This is Marie, my girls, my boy, then all these guys. BEN Mr. and Mrs. Vitti, this is Laura, my fiancee. VITTI Nice to meet you. LAURA -LRB- stunned. -RRB- Thank you very much. A tense moment. Ben presses on. BEN And this is my son Michael. VITTI Whoa. He's a bruiser. -LRB- to Ben. -RRB- You're sure this is your kid? You're a pound and a half soaking wet. I've had lobsters bigger than you. -LRB- to Michael. -RRB- You ever want a job, you come talk to me, right? MICHAEL Seriously? BEN Michael! SCOTT You're Paul Vitti. The mobster. BEN Mr. MacNamara - uh - VITTI Excuse me. Is that polite? Is it? I'm trying to be nice here. Do I walk up to you and go, ` You're whoever you are. The prick'? MARIE Paul! BEN Mr. Vitti, this is Laura's father. VITTI Yeah? Okay, well, sorry. But you should know, there is no mob, and, P.S., I personally have never been convicted of a crime. -LRB- to Jelly. -RRB- We're nine for nine, right? JELLY That's right. Vitti takes an envelope from his jacket pocket and presses it into Laura's hand. VITTI -LRB- quietly. -RRB- I heard about the wedding. Here you go. A little something for the bride and groom. God bless. You should live and be well. LAURA Mr. Vitti, we ca n't accept this. VITTI Yeah, you can. Now, if you do n't mind, I just need to borrow this guy for a couple of minutes, then that's it. I'm out of here. Okay? LAURA Okay. Then you leave us alone, right? VITTI Of course. I would n't do anything to screw up your wedding. -LRB- to Ben. -RRB- I got ta talk to you. Come on. -LRB- to group. -RRB- Have a great night, everybody. Nice to meet you. Vitti starts for the door. BEN -LRB- to Laura. -RRB- I've just got to talk to him for a sec. You okay? LAURA I've never been less okay. BEN Great. Ben is yanked away by Jimmy. Marie stands with Laura. MARIE I bet you eat a lot of fish since your fiance's in the business. Laura stares.\",\n \"EXT. TERRACE - FEW MINUTES LATER Vitti, Ben and Jelly step out. VITTI -LRB- to Jelly. -RRB- Watch that door. And do n't listen to what we say. JELLY My ears are sealed. VITTI -LRB- to Ben. -RRB- Okay, listen. I had a really weird dream last night. BEN I feel like I'm having one right now. How could you interrupt our party? VITTI You know, you're very rigid about certain things. BEN Just tell me the dream. VITTI Okay. I'm asleep. I hear a baby crying. I go to the refrigerator, I get a bottle of milk, I take it to the baby, but when I go to give it to him, I see that the milk is black. JELLY That's fuckin' weird. VITTI Okay, get out of here! JELLY Sorry. Jelly exits. VITTI -LRB- to Ben. -RRB- What's it mean? And I do n't want to hear any more filth about my mother. BEN I do n't know what it means. What does it mean to you? VITTI This is what I'm paying you for? I say something, you say it right back to me? I could get Jelly to do this for nothing. BEN Then get Jelly. Ben starts to walk off the patio and comes face to face with Laura's father, Scott. BEN Mr. MacNamara. Ben exits. Scott MacNamara stares suspiciously at Vitti, wondering about his connection to Ben. VITTI -LRB- to Scott. -RRB- Why do n't you look over that way before I have to bust your fuckin' head open? Scott looks away, terrified, as Vitti exits past him.\",\n \"EXT. HOTEL COURTYARD - DAY The sun shines brightly on the wedding day. Guests are assembling for the ceremony.\",\n \"INT. HOTEL ENTRANCE - MOMENTS LATER Tino, the hitman, arrives and saunters into the hotel.\",\n \"INT. AREA OUTSIDE HOTEL ROOM - MOMENTS LATER Jelly walks up to one of the bodyguards. JELLY I'm gon na get something to eat. You want like a sandwich or somethin'? BODYGUARD Yeah. What kinda sandwich is n't too fattening? JELLY A half a sandwich. BODYGUARD Sounds good. JELLY I'll be back in about twenty minutes. The elevator arrives, Jelly gets in and the doors close behind him. ANOTHER ELEVATOR The doors open and the Bodyguard turns to look. TWO SHOTS from a PISTOL with a SILENCER strike him in the chest and he falls to the floor dead. Tino steps out and drags the body to the stairwell. OMITTED\",\n \"EXT. HOTEL COURTYARD - LATER The guests are seated, Ben and Michael stand with the justice of the peace as Scott walks Laura down the aisle. The harpist is playing and all's right with the world. Scott shakes Ben's hand. SCOTT -LRB- quietly, to Ben. -RRB- Nod your head and smile. Now, you listen to me, goombah. I know what your game is, and you'd better call it quits, because if you and your paisans do anything to hurt my little girl, I'll kill you. Understand? Nod and smile. Scott crosses away. LAURA -LRB- sotto. -RRB- What was that about? BEN Nothing. Your father thinks I'm in the Mafia. LAURA Oh. BEN Let's get married.\",\n \"INT. VITTI'S HOTEL SUITE - SAME TIME Using a stolen pass key, Tino quietly opens the door and enters. He steps into the living room and hears WATER RUNNING in the bathroom. He stealthily approaches the bathroom door and draws his pistol with a silencer on it from under his jacket.\",\n \"INT. BATHROOM - SAME TIME Vitti stares at his reflection in the mirror, then starts washing his face. In the mirror we can see the door starting to open behind him, and the long barrel of Tino's pistol through the crack. Vitti blindly gropes for a towel and starts drying his face.\",\n \"INT. VITTI'S BEDROOM - SAME TIME Tino is about to shoot when Jelly comes up behind him, throws one strong arm around his neck in a powerful choke - hold, and grabs Tino's gun - hand with his free hand. Vitti hears the sounds of a scuffle, steps out of the bathroom, and sees Jelly struggling with Tino. Tino gets off a couple of wild SHOTS, but Jelly finally shakes the GUN loose from Tino's hand. Vitti picks up the gun and puts it to Tino's head. Tino shuts his eyes and turns away, expecting the shot, but then Vitti's hand starts to shake and he breaks into a cold sweat. Tino opens his eyes, sees Vitti frozen, and starts fighting with renewed strength. Jelly hangs on, looks at Vitti with concern, then wrestles Tino out onto the balcony.\",\n \"EXT. HOTEL COURTYARD - DAY The ceremony is in progress. JUSTICE If any man here knows why these two people should not be joined in holy matrimony, let him speak now or forever hold his peace. A beat, then a SCREAM is heard from above, then Tino crashes into a buffet table in the b.g. Wedding guests react in horror.\",\n \"INT. VITTI'S SUITE - LATER Jimmy and Jelly are hastily throwing clothes into suitcases. Vitti comes out of the bedroom hurriedly buttoning up his shirt. VITTI -LRB- urgently, to Jelly. -RRB- Tell Mikey to take Marie and the kids right to the airport. -LRB- to Jimmy. -RRB- You get the car, bring it around to the back and wait for me. Ben bursts into the room. BEN That's it. I've had it with you! VITTI What happened? BEN What happened? I just saw a man fall seven stories into a platter of poached salmon! That's what happened. VITTI Did he break anything? BEN Yes. Everything! They're still picking the capers out of his forehead. VITTI Hey, people get depressed, they jump. It's a human tragedy, but it's not my fault. BEN You're telling me it was suicide? VITTI -LRB- to Jelly. -RRB- I think he left a note. Jelly, did they find that note? JELLY No, but they will in a minute. BEN Oh, yeah, here it is. -LRB- picks up a slip of paper, pretends to read. -RRB- ` Life is bullshit. I ca n't fuckin' take it no more. Tino.' VITTI Enough talking. We got to get out of here. The place is crawling with feds. I'm going back to New York and I suggest you do the same. They're probably onto you too now. BEN Onto me? What are you talking about? Being an accessory to murder was not part of our understanding. VITTI Hey, why you busting my balls? I did n't kill him. I ca n't speak for everyone in the room, but -. -LRB- he looks at Jelly. -RRB- The son - of - a - bitch came after me! It was self - defense. Trust me, Doc. In this one, we're the good guys. Suddenly Laura bursts into the room, still in her wedding dress, but disheveled. BEN Laura! LAURA -LRB- distraught, to Vitti. -RRB- How could you do that? VITTI Great. Another country heard from. -LRB- sotto voice to Ben. -RRB- Get her outta here. BEN Honey, why do n't you wait downstairs? LAURA Why, they're going to throw me off the balcony, too? -LRB- to Vitti. -RRB- I am thirty - over thirty years old and all my life I have dreamed of walking down the aisle in a beautiful white dress and marrying the man I love. VITTI That's a beautiful dress. LAURA Thank you, but it's not about the dress! We were supposed to get married! VITTI You're upset. LAURA Of course I'm upset! -LRB- to Ben. -RRB- I'm going downstairs to pack, then I'm going to New York and I'm getting married with you or without you. Okay? BEN I'll be right there. -LRB- walks her to the door. -RRB- Everything's going to be all right. I promise. He kisses her and closes the door behind her. BEN Are you happy now? You ruined my life! VITTI What, you think I wanted this? I'm the victim here! I swear, I'm going to kill that son - of - a - bitch! BEN Is that all you know? Do you hear yourself? I knew this would happen This whole thing has been one big disaster from the minute you walked into my office. We're finished! You hear me? I am no longer your doctor! VITTI Just'cause of this? BEN Of course because of this! You do n't have even the tiniest shred of human decency. All you know is threats and violence and that's all you'll ever know and I ca n't be around that! Vitti stares at Ben for a long beat. VITTI What do you want me to do?\",\n \"INT. SINDONE'S OFFICE - CONTINUOUS ACTION Sindone is watching `` America's Most Wanted,'' rooting for the criminals. Moony comes to him looking concerned. SINDONE How come I ca n't get on this show? This is a good show. MOONY Primo. You got a phone call. It's Paul Vitti. SINDONE -LRB- warily. -RRB- Vitti. -LRB- picks up the phone. -RRB- Hello? INTERCUT Vitti and Sindone. Vitti is on the phone, struggling to contain his rage. Ben watches. VITTI Primo, it's Paul Vitti. SINDONE Yeah, how's it goin'? VITTI Not good. Whoever killed Dominic is shooting at me now and I'm having a lot of feelings about it and I'd like to get some kinda - BEN Closure. VITTI - closure on this. Ben nods in encouragement. SINDONE What kind of feelings? VITTI I feel very angry, you know. Very, uh, enraged. Mad. Real mad. Thumbs up from Ben. SINDONE So why you telling me? VITTI Why am I telling you? Like you had nothing to do with it? SINDONE I do n't know what you're talking about. VITTI Okay, whatever, I just wanted to tell you how I feel because I know that anger is - He looks at Ben. BEN A blocked wish - VITTI - a blocked wish, and I'm getting my wish unblocked and I'm looking forward to getting some closure -. -LRB- loses it. -RRB- - and if you make one more move on me I swear to God I'll cut your fuckin' balls off and shove'em up your ass! SINDONE Vaffancul'! Vitti rips the phone cord out of the jack and smashes the phone against the wall. He stands there fuming. Sindone hangs up the phone on his end, worried. SINDONE Get a dictionary and find out what this ` closure' is. If that's what he's hitting us with, I want to know what the hell it is.\",\n \"INT. VITTI'S SUITE - MOMENTS LATER Vitti is still fuming. VITTI Good? BEN Yeah, right up until the shoving the balls. You ca n't keep doing this! You want to get physical? Take a walk. Get a punching bag. Hit a pillow. Vitti whips out a.9 MM AUTOMATIC and EMPTIES the CLIP into a pillow on the couch. VITTI There's your fucking pillow. BEN Feel better now? VITTI Yeah, I do. LARGE ITALIANATE FOUNTAIN Cheeky marble cherubs bathe in the soaring jets and bubbling pools of a large rococo fountain.\",\n \"EXT. BEN'S DRIVEWAY - DAY Ben, Laura and Michael are staring up at the elaborate fountain that now fills the back yard. BEN Call the Vatican. Ask them if anything's missing. MICHAEL So cool! JANET Michael, get your bags out of the car, please. MICHAEL It's almost as tall as the house! Michael crosses away. Laura glares at Ben. BEN -LRB- reads the card. -RRB- He felt bad. It's a wedding gift. LAURA Well, we're not married, so I guess we'll have to send it back. BEN Hey, do n't blame me. You did n't want to finish the ceremony. LAURA What did you expect? You think that's what I want to remember on our anniversary? ` Gee, honey, let's go look at the wedding video. There's my parents, there's your parents, and there's the guy who plunged to his death.' BEN I just want to marry you. LAURA I'm starting to think that's not going to happen. BEN Come on. Next Saturday. It's all set. I even asked for a room with a low ceiling, just to discourage the jumpers. LAURA And who's going to be there? BEN Us three, a clergyman, and any family members who've completed their crisis counseling. LAURA And no guests without necks. Everybody has to have a neck. BEN We'll do a neck check at the door. They kiss.\",\n \"INT. SOBOL FAMILY ROOM - MOMENTS LATER The back door opens and Ben, Laura and Michael enter, struggling with the luggage. They freeze. Sitting in the family room are the three FBI agents : Steadman, Ricci and Provano. AGENT STEADMAN -LRB- showing his badge. -RRB- Doctor Sobol, Mrs. Sobol - I'm Agent Steadman, Agent Ricci, Agent Provano, Federal Bureau of Investigation, O.C.D. BEN -LRB- stunned. -RRB- Obsessive - compulsive disorder? AGENT PROVANO Organized Crime Division. We need to talk. Laura recognizes Provano from the hotel and glares at him. MICHAEL The FBI! This is better than the fountain! BEN Michael, go to your room. MICHAEL But - BEN Go! MICHAEL Fine. I can hear better in there anyway. Michael exits. On the coffee table are dozens of pictures of Ben and Paul Vitti taken in Miami and just about everywhere else. BEN -LRB- a beat. -RRB- So. FBI. AGENT STEADMAN Can you explain these photographs, Doctor Sobol? BEN I'm a psychotherapist. Paul Vitti is my patient. LAURA Was your patient. BEN Right. Was. That's what I meant. LAURA But not like a real patient. BEN Right. PROVANO So why did he send you that fountain? BEN That was a gift to celebrate the completion of his therapy. We got our television from an agoraphobic, so it's not that unusual - you know, maybe you should discuss this with my attorney. LAURA Yeah, maybe you should. AGENT STEADMAN Doctor Sobol, Paul Vitti is an extremely dangerous man. We're talking conspiracy, fraud, extortion, racketeering, grand theft, murder. BEN Well, yeah, but do n't forget, the man is a sociopath. You've got to expect that kind of behavior - Ben looks out the window and does a double take. BEN'S POV Isaac and Dorothy are standing in the yard, gawking at the fountain. BACK IN FAMILY ROOM BEN Excuse me, fellas. My folks are here and I'd like to - well, die would be my first choice. Can I go out? AGENT RICCI It's your house. LAURA Too bad you did n't remember that when you were breaking in. BEN -LRB- as he goes. -RRB- Honey, maybe the federal agents would like something to drink? Could you see what we have? LAURA -LRB- firmly. -RRB- No. BEN -LRB- to the Agents. -RRB- I tried, guys. Ben exits.\",\n \"EXT. BACK YARD - CONTINUOUS ACTION Ben rushes up to Isaac and Dorothy. BEN Hi! What a surprise. Ben kisses his mother as she stares at the fountain. DOROTHY That certainly makes a statement. It's a little big for the yard, do n't you think? BEN What can I tell you, Mom? It looked much smaller in the store. ISAAC Think it'll affect your water pressure? BEN I think it'll affect the tides. What are you doing here? DOROTHY Your father and I are just very concerned about what happened in Florida. ISAAC How was your flight home? Anyone hang themselves in first class. DOROTHY We got in last night, we could n't sleep a wink. Is Laura inside? BEN Yeah, but she and Michael are spending some time alone, you know, getting to know each other. That's important. I do n't want to disturb that dynamic. DOROTHY -LRB- a beat. -RRB- So you're not going to invite us in? BEN -LRB- a beat. -RRB- No. DOROTHY -LRB- insulted. -RRB- Well, I'm going to wait in the car. There's too much spray. Dorothy crosses away. ISAAC All right. What's with you and Paul Vitti? BEN Well, Dad, I'm not at liberty to discuss that. ISAAC He's your patient? Are you joking? Have you thought about what this could do to your reputation? BEN You, know, I always wanted to be great, but then I realized that I might have to settle for just being good enough. Now I've got this guy who's hurting and I'm thinking that if I can help this guy, maybe I can be a little bit great. ISAAC Jesus, Ben, you're the one who's going to be hurting. I want you to stop seeing him. BEN Did n't you read your own book? Instead of trying to run my life, why do n't you just close your eyes, take a deep breath, tell me what you feel, tell me what you want. ISAAC -LRB- uncomfortable. -RRB- This is bullshit. BEN You wrote it. ISAAC Okay. -LRB- with difficulty. -RRB- I love you - and I'm afraid for you - I want you to be safe - and I want you to have a good life. BEN -LRB- deeply touched. -RRB- Is that really it? ISAAC That's it. They embrace awkwardly. BEN You know why I became a shrink? Because I grew up with a great one walking around the house. ISAAC I thought you became a shrink because you were sleeping with your psychology professor at Columbia. BEN Yes, and because of you.\",\n \"INT. FAMILY ROOM - MINUTES LATER Ben comes back to Laura and the Agents. BEN Okay, so you were saying? AGENT STEADMAN Let me cut to the chase. Sometime in the next week or so, the heads of every major crime family in the United States are going to meet together somewhere in the New York area. Ben nods, finally understanding Vitti's two week deadline. AGENT PROVANO We think the stage is set for a major bloodbath. Has he mentioned anything about it to you? LAURA A bloodbath? BEN No. If he said anything about a bloodbath, I probably would've remembered it. Bloodbath is one of those words that, you know, stands out in a conversation. AGENT STEADMAN -LRB- gathering photos. -RRB- You could really help us out by supplying information about that meeting. BEN And if I do n't? AGENT STEADMAN If you do n't, I will personally make your life a living hell. I want you to think about that and call me at this number when you change your mind. BEN You mean if I change my mind. AGENT STEADMAN I mean when. LAURA -LRB- tough. -RRB- Okay. Guess what, fellas? You do n't scare me. BEN Laura - LAURA Sit down! -LRB- to the Agents. -RRB- There's going to be a bloodbath. Oh, yeah. Only it's going to be between you and me. You think you can break into our home and intimidate us? That ai n't the way it works here, boys. Whatever he and Paul Vitti talked about is privileged. He does n't have to tell you a thing. Tarasoff vs. The University of California. Look it up. Now, if he's done something wrong, take him downtown and book him. Otherwise, I'll ask you very kindly to get the hell out of my house. AGENT STEADMAN We'll be in touch. The Agents exit. BEN -LRB- impressed. -RRB- Laura, that was really - LAURA -LRB- furious. -RRB- Oh, shut up! Laura storms out of the room in a fury. Ben stands, looking miserable, then we hear Michael's voice from the vent. MICHAEL -LRB- V.O. -RRB- You are in trouble.\",\n \"INT. OLD LION SOCIAL CLUB - DAY Vitti is conferring with Sal Masiello, his consigliere. MASIELLO Paul, I do n't mean this in a disrespectful way. You know I was a good friend to your father and I will always be a good friend to you. But the word is out that you've been talking to a shrink. Is that right? Vitti shoots Jelly a sharp look. Jelly looks away. VITTI What's the point here? MASIELLO This concerns the whole family. Right now, we're the only ones who know about it, but if it gets out on the street - what then? Who knows what you've been saying in there? VITTI It's none of anybody's business what I say in there. MASIELLO Paul, I beg to differ. If you're doing this to establish some kind of insanity defense later, that's one thing. But everybody's gon na think you're falling apart, and that ai n't good. They'll take it as a sign of weakness, and that makes us all vulnerable. Sindone would take over everything. VITTI So what do you want me to do? MASIELLO It's time to end it. VITTI What do you mean, end it? MASIELLO Get rid of this shrink. He knows too much already. VITTI You want me to whack my doctor? MASIELLO If you do n't do it, somebody else will. It's the only way. VITTI No. Nobody touches him. You hear me? Anybody lays a finger on him, I'll kill'em. Is that clear? FLASHBACK - EXT.. STREET ON LOWER EAST SIDE - DAY Vitti and Ben are walking down the street. For some reason, Vitti is wearing a hat. BEN I'm going to buy some fruit. You want anything? VITTI No, go ahead. Ben crosses to a sidewalk fruit stand and starts picking out oranges. Vitti leans up against a car waiting for him to finish. SHOTS are FIRED. He runs toward the car. More SHOTS are FIRED. Ben is hit. Vitti pulls out his gun but he fumbles and drops it. The gunmen run off. Ben sinks to the pavement, mortally wounded. Vitti kneels next to him and sobs loudly. He puts his hand to his head, knocking off his hat. VITTI Papa! Papa!\",\n \"INT. BEN'S BEDROOM - NIGHT Ben jerks upright in bed, knocked awake by the nightmare. HOLY WATER FONT Someone dips their fingers in.\",\n \"INT. CATHOLIC CHURCH - NEXT DAY It's Vitti. He goes down on one knee and genuflects in front of a big crucifix. Ben wiggles his finger in the holy water, just kind of curtsies and waves at Jesus on the cross. VITTI You look lousy. You all right. BEN Listen, Paul, please do n't send me any more gifts. VITTI You did n't like the fountain? BEN That's not the point. It's a boundary issue. VITTI Boundary issue? I say if more people gave from the heart, we'd all be better off. Let's see your watch. -LRB- as Ben shows his wrist. -RRB- Piece of junk. You're getting a Rolex. BEN Do n't buy me a Rolex. VITTI Who said anything about buying it? They cross to the main aisle of the church. BEN Listen, I really need to talk to you. Ben stops cold. A casket sits in front of the altar. A funeral service is in progress. VITTI Tommy Angels. We grew up together. Worked for a crew out of Jersey City. BEN How did he die? VITTI He was on his way to talk to a federal prosecutor. Got hit by a truck - twice. BEN Do I need to know that? I'm having nightmares as it is. The funeral procession comes down the aisle. BEN Last night I dreamed we were walking down the street, I stopped to buy some fruit, and they shot me - like Brando in The Godfather. VITTI Good scene. Was I there? A mourner walks up to Vitti, bows his head in respect and kisses Vitti on both cheeks. Vitti on both cheeks. Vitti gives him a consoling pat on the shoulder, then the man kisses Ben and walks off. BEN You dropped your gun, then you ran over to me and started yelling, ` Papa, Papa!' VITTI I was Fredo. I do n't think so. An older woman kisses Vitti's hand, then both his cheeks. Vitti whispers a few words to her, then she kisses Ben's hand and moves on. More old ladies kiss their hands as they walk by. VITTI You're losing it, Doc. You may need therapy yourself. A man comes up to Vitti, kisses him on both cheeks, embraces him with excessive energy, then repeats the whole scene with Ben and exits. Ben looks at Vitti. VITTI Him I do n't know. Let's get private.\",\n \"EXT. CHURCH - MOMENTS LATER Ben and Vitti come out of the cathedral. BEN Do n't you see? You called me ` Papa.' It's all about your father. VITTI What're you, nuts? It was your dream. BEN Yes, but that's what your black milk dream was about, too. VITTI Uh - uh. I do n't buy it. In my dream, I'm bringing the baby the black milk. BEN Freud believed you're everyone in your dreams. VITTI Yeah, well, that guy I do n't need to hear about. I ca n't even call my mother on the phone after that thing you told me. BEN Let's say you are the baby. What kind of milk did you get from your father? VITTI Could we stop talking about my father? BEN -LRB- losing it. -RRB- That's the whole point! We have to start talking about your father. You know what it's like dealing with you? This is you. -LRB- imitating Vitti. -RRB- You got ta help me, Doc. I'm a mess. I'm in pain. -LRB- as himself. -RRB- Okay, Paul, I can help you. -LRB- as Vitti. -RRB- Fuck you. Nobody helps Paul Vitti. VITTI Very good. Now I'll do you. ` Boo - fuckin' - hoo.' I never said this would be easy. Let's see how you like it. Let's talk about your father. BEN Let's not. VITTI Is he still alive? BEN Yes, he's still alive. VITTI What kind of work does he do? BEN -LRB- a beat. -RRB- That's not important. VITTI You paused. BEN What? VITTI You paused. That means you had a feeling. What does he do? BEN He's a psychiatrist. VITTI Ooh, you're fucked up. Next patient, please. BEN We're running out of time, Paul. Let's not waste it talking about my problems. VITTI Your father's a problem? BEN No! VITTI That's what you just said! You seem upset. BEN I'm not upset! VITTI Hey, I'm good at this. BEN We have three days left. If you want to spend it screwing around, I ca n't help you. -LRB- hailing a taxi. -RRB- Call me when you're ready to get serious. VITTI Say hello to your father for me! A cab stops at the curb.\",\n \"EXT. CHURCH - SAME TIME Handsome Jack and Potatoes watch from a vantage point in the park nearby. POTATOES We could just pop him right now. HANDSOME JACK In front of a church? What are you, a fuckin' animal? It's a holy place. POTATOES Is the sidewalk holy, too? I mean, where does the holiness end? HANDSOME JACK -LRB- thinks. -RRB- I do n't know. Second Avenue? DIGITAL SOUND MIXER in the FBI van. A technician works at the computer console. Steadman listens. Through speakers : VITTI -LRB- V.O. -RRB- You want me to whack my doctor? MASIELLO -LRB- V.O. -RRB- If you do n't do it, somebody else will. It's the only way. VITTI -LRB- V.O. -RRB- No. Nobody touches him. You hear me? Anybody lays a finger on him, I'll kill'em. Is that clear? Then the technician plays an altered version. VITTI -LRB- V.O. -RRB- You want me to whack my doctor? MASIELLO -LRB- V.O. -RRB- If you do n't do it, somebody else will. It's the only way. VITTI -LRB- V.O. -RRB- -LRB- after a beat. -RRB- I'll kill'em.\",\n \"INT. LIVING ROOM - SAME TIME Steadman shuts off a tape recorder, having just played the altered tape for a stunned Ben and Laura. A long beat, then Ben looks up at the agents. BEN -LRB- quietly. -RRB- What do you want me to do?\",\n \"INT. JIMMY'S CAR - SAME TIME Jimmy is parked at the corner watching the Sobol house as the three FBI agents leave.\",\n \"EXT. OLD LION SOCIAL CLUB - LATE AFTERNOON Masiello is face to face with Vitti. MASIELLO Paul, he talked to the Feds. VITTI I know this guy. He would never talk to the Feds. Jelly's CELLULAR PHONE RINGS. He steps away and answers it quietly during the following. MASIELLO The FBI was at his house today. JIMMY It's the truth. I saw'em. MASIELLO You'll see. Next thing is he's gon na call you and ask for a meeting. VITTI Come on. You do n't know this guy. Jelly covers the phone and turns to Vitti. JELLY It's Dr. Sobol. He says he needs to see you right away. Vitti nods.\",\n \"EXT. STREET CORNER - NIGHT Ben waits on a deserted corner in Brooklyn. A black Town Car appears and stops to pick him up. The windows are heavily tinted. Ben takes a deep breath, crosses to the car and opens the back door.\",\n \"EXT. JELLY'S CAR - CONTINUOUS ACTION Ben finds Jelly sitting in the back seat next to Vitti. JELLY Sit up front with Jimmy. BEN -LRB- anxiously. -RRB- You want me to sit in front? Paul usually sits in front. JIMMY So this time you'll sit up front. Why you making a federal case? BEN -LRB- getting in the car. -RRB- Federal case? I'm not making a federal case? Let's go.\",\n \"INT. PARETTI'S RESTAURANT (JERSEY CITY) - LATER A waiter pours red wine. Ben is eating out of pure anxiety. Jelly and Jimmy watch him intently. Vitti stares off. BEN -LRB- prattling nervously. -RRB- Wow, this is really good. Delicious. I love Italian food. I've never been to Italy but I'd love to go. I've been to France. And Jamaica. That's nice, but I'm sure it's very different from Italy. A whole different, uh -. -LRB- silence. -RRB- So what's everybody doing this summer? Carlo Mangano comes to the table. Vitti gets up, hugs and fraternal kisses all around, then Mangano sits down with them. VITTI This is Ben. He's a friend of mine. -LRB- to Ben. -RRB- Say hello to Carlo Mangano. MANGANO How you doin'? VITTI -LRB- to Ben. -RRB- Carlo was on my father's crew. He's always been like a - I do n't know - like a cousin to me. MANGANO I am your cousin. VITTI I know, that's what I'm saying. It's like a family thing. The closeness. MANGANO Anything you need, anything I can do for you, Paul, you know. I'm here for you. VITTI I know. So did you take care of that thing I asked you about? MANGANO Is it all right to talk business in front of your friend? VITTI It's okay. MANGANO Yeah, I took care of it. VITTI How about that other thing? MANGANO I'm waiting for that first thing to come through. I ca n't move until it does. VITTI Did the guy give you a problem? MANGANO A little. He's a lunatic.\",\n \"INT. FBI VAN - SAME TIME The agents monitor the conversation through the bug Ben is wearing. They shake their heads at the incomprehensible dialogue. VITTI -LRB- V.O. -RRB- What did he say? MANGANO -LRB- V.O. -RRB- The usual. VITTI -LRB- V.O. -RRB- Did you tell him you were n't going for it? MANGANO -LRB- V.O. -RRB- What was I gon na do? BACK IN PARETTI'S VITTI You always got ta nip that shit in the bud. MANGANO Yeah. But if the first thing is okay, that should fix everything. VITTI Including the second thing. MANGANO Yeah, but - VITTI Exactly. -LRB- to Ben. -RRB- Do n't repeat any of that to anyone. BEN What? The first thing or the second thing? VITTI That's Stevie Beef over there. I got ta go say hello to him for a second. -LRB- to Mangano. -RRB- Come on. Ben watches Vitti and Mangano cross the room, then turns to Jelly and Jimmy. BEN Stevie Beef. Interesting name. When he was younger they probably called him Stevie Veal. -LRB- off no response. -RRB- You guys come here often? JELLY Paretti's has a very special meaning to Paul. JIMMY Yeah, this is where his father got whacked. JELLY Hey! JIMMY What's the big secret? BEN -LRB- incredulous. -RRB- Wait a second. Paul's father was murdered? JIMMY Right at that table. With his whole family there. JELLY Hey, just shut up. BEN Paul, too? He was there? JELLY He do n't like to talk about it. Everything is suddenly clear to Ben. He stands up. JIMMY Where you goin'? BEN Bathroom. JELLY I'll go with you.\",\n \"INT. BATHROOM - MOMENT LATER Ben and Jelly enter. BEN I got ta - you know - poop. Ben goes into a stall, latches the door and drops his pants. Jelly combs his hair in the mirror.\",\n \"INT. STALL - SAME TIME Ben hastily unbuttons his shirt, revealing a small microphone taped to his chest. He picks at the edge of the tape, takes a deep breath, then rips it off. BEN Ahhhh! JELLY at the urinal, reacts to Ben's cry. JELLY You need more roughage. A bran muffin in the morning would help with that.\",\n \"INT. PARETTI'S - BACK AT TABLE - FEW MINUTES LATER Ben and Jelly rejoin Vitti. Ben starts right in on him. BEN I have to talk to you - in private. VITTI -LRB- to Jelly and Jimmy. -RRB- Leave us alone. They exit without hesitation. BEN Why did n't you tell me about your father? VITTI What about him? BEN You said he died of a heart attack. VITTI So what's the problem? BEN What's the problem? Your father was murdered! VITTI Heart attack, murdered, what's the difference? He's dead. BEN There's a big difference. Why did n't you tell me? VITTI Because it's private. You think I tell you every little thing? BEN That is not a little thing! VITTI Okay, you want to know? Analyze this. I was twelve years old, the whole family was having dinner together right over there, two guys walked in and shot him dead right in front of us. Okay? BEN And you did n't think this was important enough to tell me? VITTI What am I supposed to do? Spend the rest of my life crying about the past? Forget about it. BEN You know what? I think you want to talk about it. VITTI No, I do n't want to talk about it. BEN I think you do. VITTI No, I do n't. BEN Then why did you choose this restaurant? VITTI'Cause I like it, okay? BEN Of all the places we could've gone, why this one? VITTI White clam sauce. The best. BEN No, we're here because you wanted me to know about your father. You're reaching out to me. VITTI I'll reach out to you - Vitti suddenly reaches over and rips Ben's shirt open. All he sees is a bald patch on Ben's chest where the bug was taped. BEN I think we have some major trust issues here.\",\n \"INT. SINDONE HEADQUARTERS - SAME TIME The cutting room is deserted except for Primo and his men. Sindone is at his desk reading the entertainment section of the New York Times. SINDONE -LRB- studying the paper. -RRB- I'd like to see a movie but there's nothing out there. It's all this shoot -'em - up action bullshit. I get enough of that at work. They all laugh. Moony finishes a call on his cell phone. MOONY That was our friend. He marked your guy at Paretti's. SINDONE Yeah? Then let's make it the last supper. Jack? HANDSOME JACK You got it, Primo. -LRB- to Potatoes. -RRB- Let's go. SINDONE -LRB- as they exit. -RRB- Hey, Jack. Just for fun, tear out his heart and bring it to me.\",\n \"EXT. STREET - LATER Vitti, Ben and the boys come out of the restaurant and walk to the car. BEN Jimmy, you can have shotgun this time. I do n't mind. JIMMY Nah, sit up front. There's more room for your legs. BEN My legs are short, it's fine in the back. JIMMY Get in the front. BEN You know what? It's late. I think I'm just going to call it a night. Why do n't I just grab a cab and head on home. JIMMY Get in the car. BEN No really, it's all right. JIMMY -LRB- pulls a gun. -RRB- Get in the fucking car. Ben looks to Vitti for help. VITTI Do what he says. BEN You know, we call this a transference neurosis. It's when the patient starts acting out his problems with his therapist instead of out in the world. It's usually considered a good sign. Not for me, in this case, but - Jimmy forces him into the back of the car.\",\n \"EXT. PARETTI'S RESTAURANT - MOMENTS LATER The Lincoln makes a U - turn in front of Paretti's and drives off down the street passing Handsome Jack and Potatoes in a car parked at the corner. The car takes off after the Lincoln.\",\n \"INT. FBI VAN - SAME TIME The agents are monitoring the bug, but all they hear is WATER RUNNING and TOILETS FLUSHING. AGENT RICCI What's he doing in there? He's been in the bathroom for half an hour. Ricci and Steadman look at each other.\",\n \"EXT. PARETTI'S RESTAURANT - MOMENTS LATER The FBI van pulls up and lurches to a stop.\",\n \"INT. PARETTI'S BATHROOM - MOMENTS LATER Steadman rushes in, pushes open the stall and sees the microphone and transmitter in the bottom of the toilet bowl.\",\n \"EXT. SCRAP YARD - NIGHT (LATER) Jelly's car pulls into a scrap metal yard and parks. They all get out. Jelly hands Vitti a gun. VITTI -LRB- to Jimmy and Jelly. -RRB- Leave us alone. Jelly looks apologetically at Ben. JELLY Sorry, Doc. It's not personal, you know. BEN Do n't kid yourself, Jelly. It does n't get more personal than this. Jelly and Jimmy walk away, leaving Ben alone with Vitti. VITTI You know why I have to do this, do n't you? BEN Because you're a paranoid? No, actually you're a reverse paranoid. You think you're out to get everybody. VITTI Do n't bullshit me! You betrayed me! You stabbed me in the back. They start shouting at each other. BEN I betrayed you? What are you talking about? Who's got the gun? VITTI You think I'm an idiot? Do n't insult my intelligence. You cooperated! You talked to the Feds! BEN They played me a tape! You said you were going to kill me. VITTI Never. I never said that. They glare at each other for a moment. BEN It does n't matter. I did n't betray you, Paul. Yes, they made me wear a wire, but I took it off, because I think I know how to help you now. VITTI I do n't want to know what you think. BEN Yes, you do. VITTI No, I do n't! BEN I think you do. VITTI -LRB- puts the gun to Ben's head. -RRB- It's over! Do n't you get it? I took one chance and that's it. BEN Okay. -LRB- as Vitti cocks the gun. -RRB- Can I ask you one last question? VITTI -LRB- a beat. -RRB- What? BEN What did you order? VITTI What? BEN What did you order? VITTI When? BEN That night. What were you eating the night your father got killed? VITTI How the hell do I know? BEN You do n't remember? VITTI It was 35 years ago. BEN What did your father have? VITTI I told you! I do n't remember. BEN Try. VITTI What's the matter with you? BEN It's a simple question. What was your father eating! VITTI -LRB- after a long pause. -RRB- Penne. BEN Good. And you. VITTI Ravioli. BEN The food was on the table? VITTI They were just serving it. BEN Did you see the guys coming? VITTI One of them. Dressed like a busboy. BEN Did your father see him? VITTI No, but I knew he looked wrong. BEN Why? VITTI His pants. They looked too good for a busboy. BEN He walked over to the table? VITTI I watched him the whole way. BEN Did you say anything? VITTI My father was so mad at me. BEN And you were mad at him. VITTI I could n't say anything. BEN And then. VITTI I never saw the second guy. My mother started screaming. BEN And you blame yourself? VITTI I coulda saved him. BEN But you were mad at him. VITTI -LRB- starting to hyperventilate. -RRB- I killed my father. BEN You did n't kill him, Paul. You were angry but you did n't kill him. That's the life he chose. VITTI I never got to say good - bye. BEN Say it now, Paul. Talk to him. What do you want to tell him? VITTI I ca n't. BEN You have to. Tell him, Paul. VITTI -LRB- breaks down. -RRB- I'm sorry. I'm so sorry. BEN It's okay, Paul. You can let go of it now. Vitti leans back against the car, slumps to the ground and starts sobbing, 35 years of pent - up grief finally finding expression. JELLY AND JIMMY Standing around smoking, waiting for the death shot. JIMMY What's taking so long? I'm ruining my goddamn shoes here. Fuckin' $ 350 Bruno Maglis. JELLY What's wrong with you? Do n't you have any respect? This is a very difficult thing for Paul. JIMMY Shoulda let me do it. I'd be home watchin' E.S.P.N. 2 by now. World's strongest man. You should see these guys. VITTI AND BEN Ben is comforting Vitti. BEN You could n't save him, Paul. He was trying to save you. That's what you fought about. He did n't want this for you, and you do n't want it for Anthony. You do n't want him to grow up the way you did - without a father. Vitti just cries louder. JELLY AND JIMMY hearing the crying. JELLY Jesus, the guy's fallin' apart. JIMMY Why does n't he just pop him? It's embarrassing. BEN AND VITTI Ben tries to comfort Vitti who is still crying. BEN Your father's not dead, Paul. He's alive - in you. And he's trying to tell you something. Suddenly, there is a GUNSHOT and a BULLET RICOCHETS off the TOP of the CAR. BEN Oh, my God! HANDSOME JACK He OPENS UP with a MAC - 10. JELLY AND JIMMY Jimmy goes down, hit in the shoulder. Jelly dives for cover behind a rusted car body. VITTI AND BEN BEN -LRB- in a panic. -RRB- Paul! They're shooting! Vitti continues to sob, oblivious to the GUN BATTLE raging around him. JELLY He FIRES back at Handsome Jack. POTATOES He rakes the Lincoln with a BURST from the ASSAULT RIFLE. JELLY'S CAR All the WINDOWS ARE BLOWN OUT by the GUNFIRE. Ben screams. BEN Paul! For God's sake, shoot somebody! Vitti just sits there on the ground, still sobbing quietly. JELLY He reloads and FIRES again. POTATOES Jelly's last SHOT strikes him right in the chest, and he goes down. HANDSOME JACK He sees Potatoes fall and starts moving out, covering his retreat with another BURST from his MACHINE GUN. JELLY'S CAR Something snaps inside Ben. BEN Goddamn it! He takes the GUN out of Vitti's hand and starts FIRING WILDLY. JELLY He sees Handsome Jack emerge from cover and takes him out with FIVE QUICK SHOTS. HANDSOME JACK He goes down FIRING, dead before he hits the ground. SCRAP YARD It's suddenly quiet. After a long moment, Jimmy rolls over and moans. Jelly goes to him and starts examining his wound. JELLY'S CAR Ben stands up, still holding Vitti's gun. He sees Handsome Jack lying dead on the ground. BEN Oh my God! Did I do that? JELLY No, Doc. That one's mine. You got the Chevy Camaro and the side - by - side refrigerator - freezer. Vitti emerges from behind the car looking red - eyed but composed again and looks at Ben. VITTI Pretty fuckin' ironic, is n't it? You can give me back the gun now, Doctor. Vitti holds out his hand. Ben hesitates for a moment, then hands him the gun. VITTI It's okay. I was n't really gon na whack you. -LRB- off Jelly's skeptical look. -RRB- All right, maybe I was gon na whack you, but I was real conflicted about it. Progress, right? BEN I do n't think I can see you anymore. VITTI Yeah, I figured. BEN This was big tonight. You might feel a little raw for a while. VITTI Yeah. BEN So good luck. It's been - Vitti nods, they stand there for another moment, then Ben walks off into the night.\",\n \"INT. BEN'S OFFICE - MORNING ELAINE, a fortyish, tired - looking wife and mother sits on the couch across from Ben. Ben looks bored and depressed. ELAINE I want to please him in bed, but whatever I do it seems like it's never enough. Now he wants me to say things when we're making love. BEN What kinds of things does he want you to say, Elaine? ELAINE Well, he wants me to call him ` big boy.' And he's my bucking bronco, and I'm supposed to ride him hard and put him back in the barn wet. Michael's laughter is heard coming through the vent. Ben closes his eyes and sighs deeply. ELAINE Are you all right, Dr. Sobol? BEN Let me suggest something, Elaine. If the man wants you to say things. damn it, you should get down on all fours and bark like a dog if that's going to get the job done. Break out the wine, baby. Smoke a joint. Do what you have to do, because life is too short. It's just too fucking short. Elaine stares, taken aback, then she smiles. ELAINE Okay.\",\n \"EXT. VITTI'S HOUSE - SEVERAL DAYS LATER Jelly, Jimmy and Iron Mike arrive and walk up to the house. The rest of the crew are standing around on the porch.\",\n \"INT. VITTI'S BEDROOM - MOMENTS LATER Jelly enters and finds Vitti in his undershorts, putting on his tie, looking very strong. JELLY How you feelin', boss? You need anything? VITTI No, I'm great. Never felt better in my life. When this meeting is over they wo n't know what hit'em. Jelly gives him the thumbs up and exits. Vitti turns to the TV and starts knotting his tie as a PRUDENTIAL INSURANCE COMMERCIAL STARTS PLAYING, featuring a father and his son. As Vitti watches the sentimental ad, his eyes fill with tears.\",\n \"EXT. WALDORF-ASTORIA HOTEL - LITTLE LATER The sun is shining. A beautiful day for a wedding. `` HERE COMES THE BRIDE'' is heard.\",\n \"INT. WALDORF-ASTORIA BANQUET ROOM - LATER The crowd oohs and aahs as Laura starts down the aisle in her wedding dress. Isaac and Dorothy are standing near the chupah ready to receive her. DOROTHY Is Ben going to step on the glass? ISAAC No. He does n't want to hurt his foot, so they're going to drop a person on it.\",\n \"INT. WALDORF-ASTORIA BANQUET ROOM - MOMENTS LATER Laura and Ben stand before a REFORMED RABBI. The family is gathered again. Michael stands just to the side. RABBI We are put on this earth to find a love, a soulmate, someone with whom we can create joy. How glad we are today that Ben and Laura have found each other, and we anticipate and celebrate the years of joy they will share together from this day on. We hear a PSST from somewhere. Ben and Laura do n't seem to notice it. RABBI Ben, do you take this woman, Laura, to be your lawfully wedded wife, for richer, for poorer, in sickness and in health,'til death do you part, so help you God? Another PSST. Ben looks over and sees Jelly standing behind some flowers to the side of the altar. BEN -LRB- hissing. -RRB- No! RABBI Excuse me? BEN No, not you. I was talking to him. RABBI Who him? BEN It's not important. Yes. RABBI Yes what? BEN Yes to the thing before. To her. That's a yes. Pick it up from there. Jelly moves closer. The guests start to mutter. JELLY -LRB- to Ben. -RRB- Doc, we're going to need to hurry it up here. -LRB- to Michael. -RRB- Hi, kid. LAURA I do not believe this! JELLY -LRB- to the Rabbi. -RRB- Haul ass, buddy. We got a problem. LAURA Who the hell do you think you are? JELLY -LRB- to Ben. -RRB- Ooh, she's feisty. Watch out, Doc. -LRB- to the Rabbi. -RRB- Tick tock, let's go. Hurry up and pronounce them, huh? RABBI By the power vested me by the state of New York, I now pronounce you man and wife. JELLY Okay. Kiss, kiss - Ben and Laura kiss. JELLY I'm sorry about this, Mrs. Sobol, but duty calls, you know? LAURA -LRB- tearing up. -RRB- Oh. You're the first person to call me Mrs. Sobol. JELLY Nice, huh? LAURA No. BEN Laura, I'm sorry. It's the job. LAURA Go. Just go. -LRB- to Jelly. -RRB- Have him back here by the salad course or you're in serious trouble. Capiche? JELLY You're a pistol. -LRB- to Ben. -RRB- I like her. Ben kisses Laura, then the organist plays `` Here Comes the Bride'' as Jelly and Ben hurry down the aisle together. ANGLE ON SCOTT AND BELINDA, ISAAC AND DOROTHY shaking their heads in confusion.\",\n \"INT. WALDORF-ASTORIA HOTEL - RECEPTION AREA Ben comes out of the function room with Jelly. JELLY He's bad, Doc. Worse than I ever seen him. I think his inner child is all fucked up. BEN Have you ever seen an episode like this? JELLY Yes. Once on ` Bonanza,' Hoss Cartwright got bit by a raccoon. He got this fever and he was shaking - BEN Never mind. OMITTED\",\n \"INT. WALDORF GARAGE - MOMENTS LATER Jelly and Ben come out of the hotel into the garage area. JELLY This is serious, Doc. If he does n't make this meeting, they'll kill him for sure. BEN Ca n't someone else in the family go for him? Tommy the Tongue? Louie the Lip? What about you? You go? JELLY That would work except for one little detail. I'm a fucking moron. I'm known for it. -LRB- a beat. -RRB- You have to go. BEN Me? You must be a moron. JELLY Hey! Watch that. BEN You just said it yourself. JELLY It's different when I say it. When you say it, it sounds very negative. BEN I'm sorry, Jelly, but I'm not going. I'm not on the payroll anymore, so forget about it. My wife is waiting - He turns to go back into the hotel. JELLY Doc. Ben feels a gun pressed against his back. BEN You ca n't shoot me, Jelly. JELLY Correction. Mr. Vitti could n't shoot you. But here's something about me you should know. I never got married, Doctor Sobol. I do n't have a hobby. I never got a dog or a cat. I do n't even have a goldfish. I live for one reason only, and that's to serve Mr. Paul Vitti. He's what I'm thinking about when I wake up, and he's what I'm thinking about when I close my eyes to sleep. If he told me to jump off a tall building, not only would I do it, I would hope to survive so I could do it again and again until he told me to stop. This is all I know. This is all I got. So please do n't think I wo n't kill you, because I'd hate for your last thought to be a wrong one. You're going to that meeting.\",\n \"INT. FBI CAR - MOMENTS LATER Parked on 50th Street, Ricci and another agent watch the limo emerge from the Waldorf garage. Ricci signals someone on the radio. FBI HELICOPTER flies INTO VIEW over Park Avenue and starts tracking the limo.\",\n \"EXT. MID-TOWN TUNNEL - DAY The black stretch limo approaches the tunnel entrance. An FBI helicopter zooms INTO VIEW high above.\",\n \"INT. HELICOPTER - SAME TIME Steadman and Provano track the limo from the air as it enters the tunnel. OMITTED\",\n \"EXT. TUNNEL EXIT - MOMENTS LATER Fifteen identical limos emerge from the tunnel on the Queens side and start criss - crossing as they leave the toll booths, then head off in different directions.\",\n \"INT. HELICOPTER - SAME TIME Steadman and Provo try to pick Ben's limo out of the pack of identical limos heading up the Long Island Expressway. STEADMAN -LRB- desperately. -RRB- Which one is it? AGENT PROVANO The black one.\",\n \"INT. LIMOUSINE - DAY Ben is in the back with Jelly and Jimmy. One of their crew, IRON MIKE, is driving. Ben is putting on a suit of Jimmy's. He looks very anxious. JIMMY -LRB- his shoulder bandaged. -RRB- Just remember. That's a fuckin' $ 1200 Valentino suit. You spill anything on it, I'll mess you up good. JELLY Shut up. You're making him nervous. If he gets nervous and fucks up, they'll kill him for sure. -LRB- to Ben. -RRB- Let's go over it again. BEN This is insane. JELLY Mr. Vitti's been detained, apologies all around, blah, blah, blah. Then you say you're the new consigliere, and you're prepared to speak for Mr. Vitti. BEN Then what? JELLY Then you just keep your mouth shut, and hope nobody asks you nothin'. JIMMY Boy, this is some fuckin' plan. JELLY Shut up. -LRB- to Ben. -RRB- If you have to talk, just be vague. Can you do that? BEN I'm a psychologist. Believe me, I can be vague.\",\n \"INT. VITTI'S BEDROOM - SAME TIME Vitti is lying on the bed staring at the ceiling. Marie is stroking his forehead. Then he looks over and sees Anthony sitting in a chair at the foot of the bed, watching him with concern. VITTI Should n't you be outside playing or something? ANTHONY No, it's all right. VITTI How long you gon na sit there? ANTHONY -LRB- shrugs. -RRB- How long you gon na lay there? Vitti smiles. VITTI I'm done.\",\n \"EXT. OZONE PARK (QUEENS) - MINUTES LATER The limo pulls into the parking lot of the Tops Limousine Service. Fifty other limos are already parked there. Jelly and Jimmy get out, followed by Ben, now dressed in shiny suit and pinky ring.\",\n \"INT. TOPS LIMO GARAGE - CONTINUOUS ACTION Ben, Jelly, and Jimmy enter a garage the size of a small airplane hangar. The floor has been cleared and long tables set up to form a square in the middle of the room. Wiseguys with shotguns patrol the catwalks above the floor and soldiers are posted at all the doors. BEN -LRB- sotto voce. -RRB- I ca n't do this. I'm telling you, I can not do this. JELLY Do n't fucking whine! Whining's a dead giveaway. Come on! You're the consigliere, for Chrissake. Around the tables sit forty or fifty of the biggest gangsters in the world. A few captains stand around the perimeter, ready to serve their bosses. BEN These are the bosses? That one looks like my Uncle Max. Jelly steers Ben to an empty seat next to Carlo Mangano. MANGANO -LRB- surprised. -RRB- What's goin' on? Where's Vitti? JELLY On his way. Do n't worry. Mangano eyes Ben with contempt. MANGANO What's he doin' here? JELLY He's - it's okay. Forget about it. MANGANO Forget about it? What the hell is that? Seated directly across the room from Ben is Primo Sindone. He stares hard at Ben, trying to place him, then leans over to Moony, his consigliere. SINDONE Who's the guy with Jelly? MOONY I do n't know. Ben looks away nervously. BEN -LRB- to Jelly, borderline hysterical. -RRB- I ca n't do this. He starts to get up but Jelly pulls him back down. Moony stands up and gets everyone's attention. MOONY All right, gentlemen. I think we better start. We have a big agenda, so for now let's stick to the big issues. And it would help if you identify yourselves when you speak, since we do n't all know each other, and we did n't think anybody would be into wearing any fucking name tags. Laughter around the table. Sindone stands up and looks straight at Ben. SINDONE I'm Primo Sindone. They call me Sonny Long. It's good to see so many of the old faces here, and to welcome the new ones from all over the country. I see Frank Zello, and Joe Baldassare, but I'm a little disappointed to see that the head of our other New York family is n't here today. All I see is his man Jelly and some sawed - off little prick nobody knows. Jelly looks at Ben, waiting for him to speak, but Ben just sits, frozen, looking down at his hands. JELLY -LRB- stands up, rattled. -RRB- Yeah, well, the thing is Mr. Vitti has been detained and he sends his apologies for - being detained - and he apologizes for his - detainment. SINDONE Detained? What kind of bullshit is that? What's more important than this? As the host of this meeting, I take his not being here as a sign of disrespect to me and to all these other men, too, who came a long way to be here. JELLY Mr. Vitti meant no disrespect. The thing is, he's not feeling well. He's sick and he - did n't feel well - Ben rises and slaps Jelly hard across the face. BEN -LRB- quietly. -RRB- Jelly! We do n't ever discuss Mr. Vitti's health outside the family. You know better. Jelly is stunned. The bosses murmur. SINDONE All right, who is this guy and what the fuck is he doing here? BEN In answer to your first question, my name is Ben Sobol -. -LRB- off Sindone's look. -RRB- - leone. Sobboleone. They call me - ` The doctor.' As for your second question. I'm here representing Paul Vitti. As his conser - conghili - JELLY -LRB- prompting. -RRB- Consigliere - BEN -LRB- slaps him again. -RRB- Do n't you ever correct me again! As his consigliere, I'm intimately involved in all aspects of the family business and I'm prepared to speak for Mr. Vitti on all matters. SINDONE Okay, Doctor, then let's get down to business. Everybody knows there's been this thing between me and Paul Vitti for a long time. BEN Which thing are you talking about? The first thing or the second thing? SINDONE What second thing? I only know one thing. BEN Well, I do n't see how we can discuss the first thing without bringing up the second thing. Did n't you talk to the guy? He tugs meaningfully on his earlobe. SINDONE What guy? BEN The guy with the thing. SINDONE What thing? What the fuck are you talking about? BEN How should I know? You brought it up. -LRB- gestures helplessly to the others. -RRB- This is the whole problem. You ca n't have an intelligent conversation with the man. SINDONE How about if I just break your fuckin' neck? What do you think of that? BEN It's not important what I think. What do you think? SINDONE What do I think? I think it's a good idea! Why would I say it if I did n't think it was good? BEN I do n't know. Why would you? SINDONE -LRB- frustrated. -RRB- I would n't! That's what I'm saying! BEN Have you always had a problem dealing with your anger? SINDONE What are you talking about? BEN What do you think I'm talking about? SINDONSINDONE -LRB- explodes. -RRB- I do n't know what the fuck you're talking about! BEN See, you're angry again. Do you feel you have to get angry to be heard? Sindone turns to a couple of other bosses, FRANK ZELLO and JOE BALDASSARE. SINDONE What's he talking about? ZELLO I do n't know. But you do have a tendency to get angry a lot. BALDASSARE I agree, Primo. SINDONE I'm trying to talk about Vitti! Why are we talking about me? BEN Interesting. Do you feel you're not worthy enough to be talked about? SINDONE What does that mean? BEN What do you think it means? SINDONE Fuck you! ZELLO Primo, calm down. SINDONE Calm down? How can I calm down when this prick wo n't stop with the questions? BEN Could you pass the fruit, please? SINDONE That's it! You're a dead man! Sindone whips out a pistol and points it at Ben, but just as he's about to shoot - VITTI -LRB- O.S. -RRB- Primo! All eyes turn. PAUL VITTI He's standing there, staring at Sindone, cool, clear, and unafraid. He looks like a king. The room goes silent. Vitti looks around the table, nods, and crosses to Ben. Jelly gets up to greet him. VITTI -LRB- quietly, to Jelly. -RRB- Wait outside with the car running. Jelly nods and exits. BEN What are you doing here? VITTI Saving your ass. Sit down. I'll take it from here. Ben sits, greatly relieved. VITTI -LRB- to the group. -RRB- I'm Paul Vitti. I'm sorry I was late. Those of you who know me will know I meant no disrespect. If it's all right with you, there's something I'd like to say, then I'll leave you to your business. Ben looks at Vitti and sees a kind of serenity and clarity he's never seen before. VITTI About two and a half weeks ago, somebody killed my friend, Dominic Manetta. He looks straight at Sindone. SINDONE Do n't look at me. Everybody knows you whacked him so you could take over everything. VITTI What I really came here to say is that I've come to a very important decision in my life. I want out. A great murmur of surprise sweeps around the room. Ben looks at him proudly. VITTI I'm going away for a while, but I will respect the oath I took the day I was made, and whatever I know about anyone else's business, I take with me to the grave. You have my word. A negative buzz among the bosses. VITTI As for my own organization, I know Carlo Mangano would like to be the new boss. Mangano smiles gratefully. MANGANO Thank you, Paul. VITTI That's why he betrayed Dominic and me to our enemies and sent his own man to kill me in Miami. Mangano is stunned. VITTI But I leave it to my people to deal with that and choose their own boss. And even though it's my right, I wo n't take revenge, mostly because I'm in a good place mentally and feeling good about me. ZELLO -LRB- perplexed. -RRB- I do n't know, Paul. I can see where some people might have a problem with this. VITTI I realize that, so as an extra token of good faith between us, I've taken the liberty of writing down everything I know and putting it in a safe deposit box in case anything happens to me or my family. There's a long tense silence while the other bosses consider all this. Then, finally - ZELLO I do n't know what anybody else thinks, but I say good luck and God bless, Paul. BALDASSARE Good luck, Paul. Salut. They all raise their glasses and toast Vitti. Ben raises his glass to Vitti and drinks. BEN -LRB- to Vitti. -RRB- Well done. Vitti smiles at him and drinks.\",\n \"EXT. PARKING LOT - MOMENTS LATER Ben and Vitti come out of the building and cross to the car. Jelly is waiting, Iron Mike has the MOTOR RUNNING, and Jimmy is in the front seat with him. VITTI Let's move. Sindone and Mangano come out with guns drawn, flanked by two wise guys. SINDONE Vitti! Vitti and his crew turn and face Sindone and Mangano across the parking lot. VITTI I do n't want to do this, Primo. SINDONE You do n't want to do this? That's fuckin' rich. What did you think, you could just quit and walk away? You think this is a fuckin' civil service job? What are you, crazy? VITTI Not anymore. -LRB- to Mangano. -RRB- Hey, Carlo, tell me. You gon na stab me in the back like the piece of shit I always knew you were? Mangano stares at him, cold and hard. MANGANO I'm not gon na stab you in the back, Paul. I want to see your face when I do it. VITTI I do n't think so. -LRB- calls out. -RRB- Mo - Mo! Mo - Mo stands up from behind a car pointing a shotgun at Mangano and Sindone. VITTI Bigs! Johnny Bigs steps out from behind a shed holding an assault rifle. VITTI Eddie! The back of a van opens to reveal Eddie `` Cokes'' and Tuna manning a military air - cooled machine gun on a tripod. VITTI It's over, Primo. Now get the fuck outta here. Sindone glares at him, then lowers his gun, turns, and starts to walk back into the building joined by Mangano and the soldiers. Vitti and Ben relax. BEN Good thinking. I was going to bring a machine gun but I do n't have one. Of course, we have n't opened the wedding gifts yet. Suddenly, Sindone whirls and FIRES at Vitti. Ben staggers in front of Vitti and takes the bullet in the shoulder.\",\n \"INT. GARAGE - CONTINUOUS ACTION The assembled bosses hear the sound of GUNFIRE outside. Zello looks at Baldassare. ZELLO Oh, shit. The bosses all jump up and run for the exits.\",\n \"EXT. PARKING LOT - SAME TIME As the GUN BATTLE CONTINUES, Sindone jumps into a car and tries to escape, but Eddie Cokes RIPS his car with the MACHINE GUN, stopping it dead. OMITTED GATES An NYPD armored assault vehicle bursts through the gates. Police cruisers and SWAT vans come racing up to the scene, SIRENS SHRIEKING. Then, from out of the sky, the FBI helicopter descends, blaring a warning. AGENT STEADMAN -LRB- V.O. -RRB- -LRB- on a loudspeaker. -RRB- Drop your weapons and lie facedown on the ground. I repeat. Drop your weapons and lie facedown on the ground.\",\n \"EXT. ALLEY - CONTINUOUS ACTION Bosses and fat capos go running through the alleys and clambering over fences in their silk suits and expensive loafers.\",\n \"EXT. PARKING LOT - CONTINUOUS ACTION Agent Ricci, wearing a flak jacket and FBI baseball cap, has Sindone down on the ground with his foot on Primo's neck and a.45 aimed at his head. AGENT RICCI -LRB- screaming. -RRB- Do n't move! Do n't you fucking move! SINDONE Hey! Take a pill, Robocop. Vitti is tending to Ben who is on the ground leaning against the side of the limo. VITTI -LRB- deeply moved. -RRB- I ca n't believe it. You took a bullet for me. What doctor ever did that much for a patient? I'll never forget that. BEN Paul - I tripped. VITTI Yeah. You tripped over your unconscious.\",\n \"EXT. FEDERAL PRISON - MANY WEEKS LATER It's a beautiful summer day. Convicts are playing basketball and lounging in the yard.\",\n \"INT. PRISON LIBRARY - SAME TIME Ben in a sport coat, and Vitti, in prison whites, are sitting around in a circle with several other convicts. DONNY, a heavyweight con with a shaved head and numerous tattoos is talking. DONNY I do n't think my mother really listens when I talk. She never listened. VITTI And how does that make you feel? DONNY It makes me feel angry. VITTI I'll bet you feel hurt, too, do n't you? DONNY -LRB- suddenly vulnerable. -RRB- Yes, I do. BEN Paul, what would you say about what Donny's feeling? VITTI Donny, when you're thirsty, you do n't go to the wall - you go to the well. You know what I'm saying? Your mother may never be able to listen to you, but you have friends here who will. Okay? Ben is proud of Vitti's new sensitivity. BEN And be patient, Donny. Most people's problems take months, sometimes years to resolve. DONNY I'm doing twenty - five to life. BEN That should be plenty of time.\",\n \"INT. PRISON CORRIDOR - LATER Ben and Vitti have just left the therapy group. BEN You know they found Primo Sindone dead in a field near LaGuardia. VITTI I heard. -LRB- off Ben's look. -RRB- I had nothing to do with it. There were guys lined up from Canarsie to Atlantic City who wanted to whack that bastard. BEN Okay, just checking. VITTI You know, Doc, I do n't think I ever thanked you properly for curing me. BEN We do n't say ` cured.' We say you had a ` corrective emotional experience.' VITTI You, you, you're very good. BEN -LRB- pointing. -RRB- No. You. You. OMITTED\",\n \"EXT. SOBOL BACK YARD - NIGHT Ben and Laura are dancing in the yard. Paper lanterns are hung here and there. A bottle of champagne sits open on the table. A great TONY BENNETT SONG can be heard playing. BEN Happy? LAURA I just ca n't get used to it. BEN What? LAURA It's been three weeks since the last time you were kidnapped. I do n't know if I can adjust. They kiss as the SONG ENDS. Ben turns and speaks to someone O.S. BEN What do you say, Tony? One more? TONY BENNETT and his trio are set up on the back porch. TONY BENNETT Whatever you want, Dr. Sobol. My friend told me to stay as long as you wanted me. What do you want to hear, Mrs. Sobol? LAURA Your choice, Tony. TONY BENNETT I was hoping you'd say that. -LRB- quietly, to trio. -RRB- ` World on a String,' fellas. Tony sings `` I've Got the World on a String'' as Ben and Laura continue to dance. The CAMERA PANS UP and we see Michael smiling and shooting video from his bedroom window, then the CAMERA PANS UP TO a starry sky, and we. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,1,1,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,1,0,1,1,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,1,0,0,0,0,0,1,0,0,0,0,0,1,0,0,1,0,0,1,0,0,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Mob boss Paul Vitti and his consigliere Dominic are discussing an upcoming meeting and the Mafia's present-day problems over lunch. Just as Dominic warns Vitti to look out for Primo Sindone (an up-and-coming mafioso who wants to be capo di tutti capi), gunmen drive past and kill Dominic. Vitti narrowly escapes. Psychiatrist Ben Sobel is stressed: his son from his first marriage spies on his sessions, his patients are not challenging enough, and his wedding to Laura MacNamara is upcoming. Sobel rear-ends a car belonging to Vitti and the trunk opens, revealing a man bound and gagged inside, which Sobel and his son do not notice. Jelly, one of Vitti's men, takes the blame, but Sobel gives Jelly his business card in case he changes his mind regarding compensation. During a meeting, Vitti has a panic attack and tells Jelly that he needs to see a psychiatrist, but it has to be kept a secret. Jelly recommends Sobel. Vitti visits Sobel, claiming his friend needs therapy, but Sobel sees through the lie and realizes Vitti is talking about himself, impressing Vitti enough to want to see him constantly, to Sobel's frustration. Sobel goes to Miami for his wedding and Vitti, Jelly, and the crew follow. Vitti explains he has been suffering from erectile dysfunction and Sobel suggests the source of the problem might be stress. The next day Vitti has another panic attack and requests to see Sobel. Vitti explains his history with his father to Sobel, who thinks this might have something to do with Vitti's anxiety. The wedding is interrupted when an assassin is killed by Jelly. Sobel confronts Vitti and causes him to lose his temper. Sobel suggests he resolve his anger by calling Sindone and telling him how he feels. Vitti phones Sindone and starts by telling him how he feels but ends up threatening to kill him. Sobel and his family return to New York, where they find a fountain in their garden, a gift from Vitti. The FBI arrive and request Sobel inform on Vitti, but he refuses despite the FBI's threats. He changes his mind when the FBI play a tape in which Vitti reveals his intention to kill Sobel after the meeting (which the FBI had altered; Vitti was actually saying he would kill anyone who threatened Sobel). At his next meet-up with Vitti, Sobel wears a wire, but discards it when he learns that, as a child, Vitti witnessed his father murdered. Vitti, informed that Sobel was working with the FBI, takes him to a secluded place to kill him. Sobel and Vitti get into a heated argument, and Vitti breaks down as he admits that he blames himself for his father's death. Just then, two hitmen arrive to kill Vitti, but Jelly kills them both. Vitti apologizes for planning to kill Sobel, and the two part ways. The day of the meeting arrives, but Vitti has a severe panic attack. Jelly interrupts Sobel's wedding, requesting Sobel attend the meeting as Vitti's consigliere. Sobel is reluctant, but his ego causes him to patronize Primo until Primo finally pulls a gun. Vitti arrives, orders Primo to stand down, and announces he knows a traitor in his own family killed Dominic, but will not seek revenge and instead retire from the Mafia. Outside, a standoff ensues between Vitti's and Primo's men, during which Sobel sacrifices himself for Vitti. The FBI intervenes, the mobsters are arrested, and Sobel is taken to the hospital. Sobel visits Vitti in prison and Vitti thanks Sobel for his help before informing him that Sindone is dead. At home, Sobel dances with his new wife as Tony Bennett serenades them."},"name":{"kind":"string","value":"Analyze_This"}}},{"rowIdx":177,"cells":{"scenes":{"kind":"list like","value":["INT. FIRE STATION 17 - STORAGE ROOM - 20 YRS. EARLIER Darkness. Then the GLINT of a flashlight. Its beam rocks crazily to and fro across the inside of a small storage room as we hear two children arguing. OLDER KID You're doing it wrong. YOUNGER KID Shut up. OLDER KID You're doing it wrong. It's hard, but we get a sense of the room in the whipping beam of light. Huge, dark coats lined up like sides of beef on steel batons. Bent, stained helmets hung like African masks. Beneath them BRIAN, 7, and STEPHEN, 12, are trying to struggle into a pair of the ludicrously massive coats over their pajamas. STEPHEN It does n't go like that. BRIAN Who asked you? STEPHEN If you do it like that it'll open in the fire. Then you'll get burned and DIE. The door suddenly opens, morning sunlight roaring in. It's a fire station storage room full of fire gear. A fireman stands in the doorway, tall, athletic, their father ; DENNIS McCAFFREY. DENNIS Who's going to die? STEPHEN Brian. He's not doing it right, dad. He never does it right. DENNIS -LRB- gestures for them to come out. -RRB- Well, let's have a look.","INT. FIRE STATION 17 - DAY The two boys tromp out of the closet. The rubber turn - out boots are as high as their thighs. The ends of the coats drag on the floor. They salute, Brian's arm just an empty sleeve. Dennis kneels down and re - fastens Brian's coat. DENNIS Your brother's right. If you do n't fasten these correctly they could open and you'd get burned. STEPHEN And DIE! BRIAN You would n't let me die, would you, Dad? DENNIS McCaffreys are smarter than fire, Brian. -LRB- playfully slaps their shoulders. -RRB- How ` bout lunch, huh? STEPHEN Fireman shit? DENNIS Hey, what's with the mouth? Where'd you grow up, a barn? STEPHEN Firehouse. DENNIS Cute. - The station suddenly fills with the BELLOW of an ALARM KLAXON. DENNIS -LRB- sighs. -RRB- Never fails. A young fireman, ADCOX, appears with the dispatch card. DENNIS Big deal? AXE Medium deal. DENNIS Want to come along, Brian? Watch the old man earn his keep? STEPHEN -LRB- pissed. -RRB- Dad! DENNIS You've come along a dozen times, Stephen, give your brother a chance. We'll be back in a few minutes. -LRB- to Brian. -RRB- How ` bout it, sport? BRIAN Sure! Dennis scoops Brian up and loads him into the fire engine cab. The other three firemen climb aboard and take their places.","EXT. FIRE STATION 17 - DAY There's a cough of diesel, a crunch of gears, and the engine is pulling out of the station. DENNIS Hit the button, Brian. Brian stamps his foot on the siren button. The red light snaps on, the siren growls and blares, and they're off down the street. Brian turns around in his seat and, at the last instant before the corner, makes eye contact with his older brother. They stick their tongues out.","EXT. CHICAGO STREET - DAY - 20 YRS. EARLIER The engine howls its way through the city. Brian, sandwiched between his father and Adcox, looks out in wonderment at intersections zipping past like picket fences, at people on sidewalks holding hands over their ears, at the red emergency lights bouncing crazily off shop windows.","EXT. BUILDING - DAY - 20 YRS. EARLIER Lazy smoke curls out the second story of a commercial block. Medium deal. The engine pulls up and the firemen are jumping off like ship rats. Dennis opens his door, hops down, and pauses just long enough to point a serious finger at his son. DENNIS Stay near the truck. -LRB- winks. -RRB- And keep an eye out for us, huh? We're short handed today. Brian nods vigorously, taking the command seriously. Dennis smiles and is off, dragging a hoseline with his crew toward a doorway they disappear into. Brian climbs down from the cab. ENGINEER Do n't stray too far, little man. Brian smiles to the pumper operator. He just wants a better look. And he gets it : Smoke turned evil and dark now, taking on purpose.","EXT. BUILDING - DAY - 20 YRS. EARLIER There's a level of apartments above the storefronts. As Brian watches, a window opens and out steps his father and Adcox onto a small fire escape. Their attention's on the next window over, out of reach, wrapped in leaky smoke. Suddenly Dennis climbs up onto the fire escape railing, armed with only an axe, and JUMPS across to the next metal balcony. A ballsy, dangerous move. He kicks in the window, breaks out the frame with his axe, and dives in. A beat later he reemerges on the balcony with a terrified, smudged little girl. He hands the little girl over the railing to a fireman now coming up the more traditional way - a ladder. Dennis's face lifts and grins at Brian ; dirty, bigger than life, invincible. He winks a wink only possible between fathers and sons and he's gone again, back into the swirling darkness. As Brian stands there, full of love, full of pride, he sees a piece of awning along the roofline crack ; releasing a sickly yellow tongue of flame that slinks over the roof. The flame seems to pause, to stare at Brian a beat. Shhh, do n't tell anyone. Brian is transfixed, his little head staring up in astonishment. Nobody else has noticed it. Brian can see his father and Adcox through the window ; probing, looking for the flame lurking just above. Brian starts to call out in a small, hesitant voice, BRIAN Dad. He tries to call louder. But suddenly everything is happening very fast in slow motion : - Brian can see Adcox testing the ceiling with a pike pole as Brian steps forward, under the power of a flame that beckons him as - Dennis suddenly THROWS his body against Adcox, knocking him clear just as a flame EXPLODES DOWNWARD from the ceiling fully against him as - All the building's windows BLOW OUT and it's like the sky's erupted for Brian, a burning hailstorm that falls and pelts the ground around him. Plaster, wood, and something metal that cracks against the pavement and spins slowly. A fire helmet. And Adcox is coming out the door now, blackened and torn, hopeless tears streaming down his face. AXE Get us some backup! We need some goddamn backup! And, spotting Brian, he runs towards him. And the helmet spins and spins and Adcox keeps running, and the sky is raining fire, and the flame on the roof has risen up now to its full, horrifying size and it's laughing now, laughing at the little boy as the helmet finally stops spinning, and we read the printing on the neck guard. MCCAFFREY And Adcox is sobbing and has his arms around the boy, protecting him from the fire, the world, but it's like Brian does n't see him. He pulls away from Adcox, walks up to his father's helmet, And puts it on. The scene EXPLODES with a flash as a photographer captures the instant.","INT. SEEDY APARTMENT - DAY Sequence omitted from original script.","INT. BRIAN'S CAR - DAY Hold on the freeze - frame. Let it become an aged cover of LIFE. The magazine jiggles and rocks and we see now it's sitting atop a box of knick - knacks jostling in the back seat of an aging BMW. There's plenty of other boxes here, a live on the move, and in the driver's seat, BRIAN McCAFFREY, now 27. There's piles of empty burger wrappers, Coke cans, and Florida knick - knacks on the dash board ; a little blow - up palm tree, a cheesy hula girl emblazoned with `` McCaffrey High - End Stereo Sales''.","EXT. HIGHWAY - MONTAGE - DAY Brian and his battered BMW shoot past prairie, cow country, nervous suburbs and finally a sign : WELCOME TO CHICAGO.","EXT. CEMETERY - DAY Wind tugging at his bangs, Brian stares down at the graves of Dennis and Mary Elizabeth McCaffrey.","INT. CHICAGO GAS STATION RESTROOM - DAY In a crusty sink he combs his hair, knots a tie around his neck.","EXT. CHICAGO FIRE DEPARTMENT TRAINING ACADEMY - DAY Brian walks through its sculpted columns, straightening his tie. He comes to a door, FIRE ACADEMY CHIEF. He takes a deep breath, steadies his gaze, and enters.","INT. FIRE ACADEMY CHIEF'S OFFICE - DAY The ACADEMY CHIEF sits at his desk going over a file. Out the window can be heard a FIRE TRAINING CLASS in action. CHIEF FITZGERALD Is this a joke? Brian's sitting in the seat opposite. BRIAN If it was a joke, sir, you'd be laughing. CHIEF FITZGERALD You walked out on this academy six years ago. One week to graduation. You think we forgot that? You think I did? BRIAN I want another shot, Sir. CHIEF FITZGERALD -LRB- beat. -RRB- Look, everybody remembers your old man. Being his son, all you had to do was breathe to graduate here. Dead Hero Father Rule. But you blew us off. Why should I take you back? BRIAN If you remember, sir, my test scores were in the top - CHIEF FITZGERALD - I do n't give a damn what your test scores were, maybe you could have been a good firemen, but you had your shot. BRIAN I need another one, sir. CHIEF FITZGERALD Sorry, but it's out of my hands. Try again next year. BRIAN No, it is n't out of your hands or you would n't even have met me. If I push you have to let me back in. Dead Hero Father Rule. Sir. CHIEF FITZGERALD -LRB- simmers. -RRB- Even if you graduate this academy, you've still got nine months of probation. That's hard duty, son. If you do n't really love this job, it'll kill you. BRIAN -LRB- rises. -RRB- See you Monday. Sir. As we hear the BLOW OF A WHISTLE","EXT. CHICAGO FIRE DEPT. TRAINING ACADEMY - GRADUATION DAY And everybody lined up at attention in dress blues. CHIEF FITZGERALD -LRB- at podium. -RRB- Though the world changes every day, some things are truly forever : Courage, devotion, and honor in what we do. This class is a special one, for we dedicate it to the three firefighters that have fallen this year : Donald Knowlton, Richard Walter and Michael Petzold. -LRB- silent beat. -RRB- Ladies and gentlemen, it is with pleasure that I certify that Candidate Class number 322, having successfully completed all academy requirements, are hereby graduated to the Chicago Fire Department. Candidates and their relatives CHEER and leap to their feet. Something struggles inside of Brian. He does n't stand at first. Another Candidate, TIM, 20, looks at him strangely. So does the Academy Chief, his eyes finding Brian's. And Brian's standing slowly now, joining them.","EXT. BROWNSTONE - NIGHT An expensive one. We hear a window BREAK.","INT. BROWNSTONE - NIGHT Through the dimness a file cabinet. An AXE SUDDENLY SLAMS into it, RIPPING it apart. Files crash to the floor. And a picture. 1970. Four young guys marlin fishing. Time of their lives.","INT. BROWNSTONE BEDROOM - NIGHT And a GREY PUTTY being SLAPPED along the edges of a door.","INT. PUB - NIGHT A split - level firemen's dive ; complete with mounted axes and personalized T - shirts from various engine companies proudly declaring `` LADDER CO. 6 - AXE FIRST, HOSE LATER'' and `` CHICAGO FD, 150 YEARS OF TRADITION UNIMPEDED BY PROGRESS''. Tonight the place is firmly in the hands of an army of recently graduated candidates. A few on the back patio have hooked up a charged hoseline and are taking potshots at balloon targets, each other, the neighbor's cat. Brian and Tim, still in their uniforms, enter from the street. Survey the scene. BRIAN Completely out of control. TIM What the hell are we waiting for? As they shoulder their way inside, another CANDIDATE appears holding proudly a fistful of sealed envelopes. CANDIDATE Hot off the presses, guys. Station assignments. Tim and everyone else but Brian eagerly tear into them. Brian nonchalantly shoulders up to the bar. BRIAN A beer, Willy! The barkeep turns and smiles. WILLY Well, if it is n't the littlest McCaffrey. -LRB- to candidates with hose. -RRB- Hey! You break anything with that you buy it! -LRB- to Brian. -RRB- Sorry, there must be something wrong with my eyes. I keep thinking that's a fire department uniform. BRIAN It's in my blood, Willy. The candidates are ripping open their assignments, exclaiming to each other : `` All right! Engine 117! That's a slum! They get cookers every day!'' . `` Oh no, Engine 10, that's a nice neighborhood''. Willy turns to the bulletin board behind him and unpins a stack of business cards. WILLY Really. Well, let's have a look at what else was `` in your blood''. I always look forward to getting these, they make such a nice collage for the bar. `` Assistant Director, Sales, Aspen Snowmobile Tours.'' BRIAN Did n't offer the kinda growth and challenge I need. WILLY Uh huh. And `` Pioneer's Pride, Mobile Log Cabins''. That was in your blood about six months was n't it? BRIAN Management were pin heads. WILLY `` Laguna Jamming, Custom Surfboards''? BRIAN Coffee sucked. WILLY And just this year, `` Brian's Sound Spectrum''. Your own company even. Big step. BRIAN I was ahead of my time. WILLY You know, I've got a perfect little spot here for `` Brian McCaffrey, Fireman''. Tim holds an envelope marked McCAFFREY out to Brian. TIM Are n't you even curious? BRIAN Engine 115, right? TIM -LRB- opens it, surprised. -RRB- How'd you know? These are supposed to be sealed. BRIAN Lucky guess. -LRB- winks. -RRB- And a case of scotch to a captain in station assignments. TIM You crooked son of a bitch. Why 115? BRIAN Lots of fires. They promote faster there. Take a look at the last Lt.'s list, half the guys on it came from that battalion. Got ta think about your future, Timmy. 115's the station. TIM Ah man, if you're gon na bribe your way into a station, why not 17 with me and your brother? On Brian's reaction","EXT. STREET - NIGHT A Porsche knifes through darkened streets. The DRIVER, 50, is dressed for success. Pulling up to the brownstone we saw earlier, he gets out and rubs his eyes. Another day in the salt mines. Climbing the short stairs, he sticks his key into the lock and opens the door. It is the last thing he will ever do. A THUNDERING EXPLOSION ENGULFS the stoop.","INT. PUB - NIGHT The place is packed now with girls flirting with the candidates, putting their helmets on, etc.. The horseplay around the bar suddenly stops at the sweet sound of a SIREN.","EXT. PUB - NIGHT Everyone steps outside, cocks an ear. And here it comes, the real thing, SCREECHING past in a full - tilt rush. Shouts and raised toasts. TIM Hey, that's my cousin's company! C'mon! Let's go! As Brian turns, he suddenly confronted by an elderly LITHUANIAN WOMAN. BRIAN -LRB- surprised. -RRB- Mrs. Viatkus. She grabs his cheeks and rattles off in Lithuanian. Brian can only smile. Then two attractive jean - clad legs step up. JENNIFER. JENNIFER Brian. BRIAN -LRB- surprised. -RRB- Jennifer. JENNIFER You're back. BRIAN You look great. JENNIFER Thanks for calling. BRIAN Uh. I've been sorta keeping a low profile. the academy. I graduated today. JENNIFER Huh. BRIAN So. I see you're still in the neighborhood. JENNIFER Not quite. Just visiting. I live in Lincoln Park now. BRIAN Yeah? What have you been up to? JENNIFER I work for city hall. BRIAN Really? No kidding. JENNIFER What, you think I just dried up and blew away when you left? The world does turn once in awhile Brian, even without your permission. Just then, Tim OPENS UP the hoseline, DRENCHING Brian. TIM Do n't want you overheating, Brian! Brian ducks the stream and PULLS a length of hose near his feet, FLIPPING Tim. Brian JUMPS him, shuts off the hose and pins him to the pavement. TIM Okay okay! Uncle! Brian walks back toward Jennifer JENNIFER You've certainly matured. She turns to leave. BRIAN Well, if nothing else, it's nice to know we can still be friends. JENNIFER I do n't want to be your friend, Brian. Another in a series of fire engines HOWL past. Tim grabs Brian by the shoulder. TIM Let's go, man!","EXT. STREETS - NIGHT Brian and Tim jump into Brian's car. They shoot blindly down the street looking for the fire engine, running down red lights or anything else that gets in their way. Brian suddenly hits the brakes, SCREECHING to a stop. They roll down their windows. Far off can be heard the wind - up of a siren. TIM -LRB- points. -RRB- That way.","EXT. STREETS - FIRE ENGINE - NIGHT SCREECH. They fly around a corner, down a block, and there it is, lights flashing up ahead. Brian GUNS it, roars up alongside the fire engine. Tim leans out the window, shakes a bottle of beer, and lets loose a foamy eruption in the truck driver's face. DRIVER Tim! You crazy motherfucker! But he's laughing. TIM What ` cha got? DRIVER Box alarm. Walton Ave. TIM We'll meet ya.","EXT. BROWNSTONE - WALTON AVENUE - NIGHT As Brian and Tim pull up two engine companies are already dragging lines toward the rolling brownstone we saw explode earlier. Tim cheers the firemen on like a drive - in movie. Brian watches the fire with uneasy fascination. Embers whipping into the night, drifting to the ground around him. One of the engine companies is entering the doorway now. He watches as they willingly crawl into a place any sane person would run for their life from. Jesus Christ. FLASH - Brian turns at the blinding snap of a camera. Several locals are gathered around a parked car, some taking pictures. Brian notices that right away. It takes a beat longer to notice the CHARRED CORPSE stuffed head - first through the windshield. It's the Porsche driver, his legs sticking out at crazy angles. A dog barks furiously at it. TIM -LRB- also looking at body. -RRB- Man. Something sure put a crimp in his evening. BRIAN Backdraft. The brownstone fire quickly transforms itself into noisy clouds of dirty white steam. And one of the firemen is coming back out now, walking toward Brian. When he's just a few yards away he pulls off his air mask and helmet and we shudder with Brian, because the man is a dead ringer for HIS FATHER. STEPHEN Well, look what we have here. Nice costume. Rent it? BRIAN I want to thank you for coming to my graduation, Stephen. It was a great inspiration to me. STEPHEN So you're going to fight fires now, huh? He pats Brian's cheeks, leaving behind large charcoal smears. STEPHEN -LRB- re smears. -RRB- Does n't work on you. -LRB- turns to leave. -RRB- See ya around, little brother. BRIAN Not likely. STEPHEN -LRB- turns. -RRB- Well, see you're wrong already. Had a talk with Chief Fitzgerald, and we decided in the interest of brotherly love, that maybe you should n't be way over on the other side of town. So starting tomorrow, your assigned to company 17. My company. -LRB- Brian's color drops a hue. -RRB- One case of scotch, you're getting cheap in your old age, Brian. And Stephen turns for his own men, Tim staring at Brian as clouds of smoke drift past like ghosts.","EXT. BROWNSTONE - ACROSS THE STREET - NIGHT A flame LEAPS up into the foreground. Touches a cigarette. The cigarette glows, lingers, then lowers slowly from the mouth of RIMGALE, fifty - five years old and six and a half feet of solid granite. Wearing a windbreaker and grey slacks tucked into fire department rubber boots, he takes another slow drag. Looks at the body stuffed into the windshield. It's twenty yards away from the brownstone. Stephen looks up as Rimgale drops the cigarette, crushes it with his boot, and crosses the street to the building.","INT. BROWNSTONE - NIGHT Charred walls hiss and snap in the steamy darkness. Rimgale is there, gloomy in the beam of his flashlight. He crouches down, plays his flashlight along the ruined baseboard. SHADOW If you stare any longer Stevie, I'll start charging you admission. Stephen is leaning in the doorway, watching him. STEPHEN Got a cause? SHADOW Are the glory boys actually showing interest in Investigation's work? I may have a stroke. STEPHEN The glory boys just want to finish their report so they can go home. Rimgale's flashlight finds a wall socket that he pries loose and holds up to the light. He lowers it, takes in the walls, the room. SHADOW They're gon na have to wait a few days on this one.","EXT. BROWNSTONE - NIGHT Tim's talking to his cousin. Brian hangs back, watches the body - bag people load the Porsche driver into a meat wagon. There's a still an audience for this, still stray dogs circling and barking. Brian walks up, looks inside the car, and sees on a seat the ragged remains of a FINGER. BRIAN -LRB- to coroner crew. -RRB- Hey, you forgot. this. They're already climbing into the wagon. The driver smiles creepily. CORONER DRIVER We always leave something for the dogs. Brian looks across the fireground, sees his brother walking back to the fire engine. They share a brief, edgy glance.","EXT. HOUSE - DAY A modest one. South - side Irish old fashioned. Brian walks up. There's a little kid, about five, playing with a toy fire truck on the drive. BRIAN Hey, Sean. What's goin' on, man? The kid stares at him without a glimmer of recognition. BRIAN It's Uncle Brian. Y' know. He makes his hand into a talking puppet. BRIAN -LRB- bandito accent. -RRB- `` Spinach? We do n't need no stinking spinach''. Remember? The kid drops his toy truck and flees inside. KID Mom! Mom!","INT. HELEN'S HOUSE Brian follows, sticks his head in the door. BRIAN Hellooo. A warm looking woman, 30's, HELEN, comes around the corner. HELEN Brian? BRIAN Hi, Helen. Man, you look great. HELEN You look like. Brian. She gives him a tentative hug. HELEN ` Bout written you off. How long have you been in town? BRIAN Four months. HELEN Four months? BRIAN I know, I know, Should' a called. I've been really busy. I joined the fire department. Helen's expression suddenly saddens. HELEN Oh Brian. -LRB- beat. -RRB- You guys. you really know how to put each other through it, do n't you? The little kid is peeking fearfully from the kitchen doorway. BRIAN That's Sean? Jeez, he's a giant. HELEN Yeah, you'd be surprised what three years can do to a kid. BRIAN Sean, come on out, man. What, you forget your favorite uncle? HELEN Stephen told him you were killed in a hot tub accident. SEAN -LRB- intense. -RRB- Dad was kidding, Mom. And the kid runs unexpectedly away, angry. BRIAN Well that's two things to strangle Stephen for. Where is he, anyway? HELEN -LRB- beat. -RRB- Stephen's not staying here now, Brian. He moved out last April. An embarrassed sting. BRIAN Oh, man, I'm sorry. HELEN You guys ought to try picking up a phone once in awhile.","EXT. STEPHEN'S BOAT - MARINA - DAY A small one on the river. Several boats bob peacefully. Except one. Raised high in dry - dock, it's an ancient fishing trawler. Bachman - Turner - Overdrive drifts up from the galley on badly fuzzed speakers as Brian climbs the ladder. BRIAN Hey. Stripped to the waist, Stephen's bent - over cleaning out the guts of the inboard motor. He looks confused to see Brian. BRIAN I talked to Helen. Wrong thing to say. Stephen turns back to his work. BRIAN Man, I thought dad's boat was finally retired to the family graveyard. Do n't you worry about falling out of this thing? Stephen straightens up, his forearms smudged with grease. Brian admires the unwashed cereal bowls and peeling deck paint. BRIAN I like what you've done with the place. STEPHEN It's comin' along. want a beer? Stephen tosses him a beer from the fridge. As Brian pops it, he sees the small pile of city - issue gallon size cans in the corner. Armorall, solvent, extinguisher foam. BRIAN Been ripping off fire stations? STEPHEN It's old stuff Adcox gave me that the department was going to throw out anyway. Still good enough though for this tub. Brian winces at the music coming out of shot speakers. BRIAN Bachman Turner Overdrive? -LRB- looks through music rack. -RRB-. Buffalo Springfield? Stephen Bishop? Oh man. Brian lifts one of the tapes - an 8 - track - and holds it carefully in his palm as if it were a rare and fragile relic. BRIAN My God, an actual operating 8 - track. STEPHEN What, you've never seen one before? BRIAN In the Field Museum once. STEPHEN It works. BRIAN It worked when you were in sixth grade.","INT. STEPHEN'S BOAT - DAY Sequence omitted from original script.","EXT. STEPHEN'S BOAT - DAY Brian opens the trunk of his old BMW. It's full of stereo boxes marked BRIAN'S `` SOUND SPECTRUM''.","INT. STEPHEN'S BOAT - CABIN - DAY Brian's gutted the speakers and is re - wiring them. STEPHEN People actually used to pay you for this? BRIAN Millions, Stephen - And sexual favors. STEPHEN Sheep do n't count. BRIAN Yeah? What about Laura - STEPHEN That was never proved. Brian moves over to another speaker. STEPHEN Why'd you come here, Brian? BRIAN I wanted to know why you messed with my station assignment. I mean, is this really gon na have to one of those big brother - little brother `` you broke my GI Joe and I'm still pissed'' games? STEPHEN -LRB- sighs. -RRB- What is it with you, man, huh? How do you manage to keep coming up with new and amazing ways to screw up? That scotch bullshit? Am I really supposed to believe you came crawling back home because you suddenly felt heart strings moan for the family biz? You were bankrupt, man. BRIAN Hey! You do n't know me - STEPHEN I know you cold, Brian. The scary thing is, you probably could have faked it for awhile. But you see, in this job there's no place to hide. Is n't like selling log cabins. You have a bad day here - someone dies. And that's not fucking good enough. Want another beer? BRIAN So that's it? Big bad brother's gon na ride my ass till I cough blood? STEPHEN Big bad brother is going to treat you like any other probie - that I do n't think is going to make it. Brian staples the last of the audio cord in place and switches on the tape player. The cabin fills with sharp, crystal clear - Stephen Bishop. BRIAN There's only so much technology can do. -LRB- picks up his tool box. -RRB- Thanks for the beer. STEPHEN Thanks for the speakers.","EXT. STEPHEN'S BOAT - DAY Brian climbs down off the boat. Looks up at Stephen. BRIAN Y' know, I told myself a million times I did n't want to be a fireman. I said bullshit to that line about tradition and family legacy. I know I split, and I know how you felt. STEPHEN Yeah, you know. You know what it felt like. BRIAN I got ta do this, Stephen. I got ta know. STEPHEN I think you're gon na find out, Brian. Do n't be late tomorrow.","INT. BRIAN'S APARTMENT - MORNING A simple one - room walk - up. A stereo blares Chicago blues as Brian buttons up his uniform in the mirror. He steps back, looks at himself, - and oh man what the hell am I doing.","EXT. BRIAN'S APARTMENT - STREET - MORNING Brian climbs into his car, turns the key - nothing. He gets out, looks under the hood, then SLAMS it down in frustration.","INT. ELEVATED TRAIN - MORNING A pissed - off Chicago, hauling itself off to work in the morning snap, passes by Brian's window. Tough Midwestern brick. Tough Midwesterners. Heads - down in their 150 year war with a wind committed to pushing the whole damn thing into Lake Michigan.","EXT. EL STATION - MORNING The train clacking away above him, Brian walks down the sidewalk carrying his fire equipment. He turns a corner and comes on.","EXT. FIRE STATION 17 - MORNING Brian stands there. It's his dad's station. Turn of the century abused. Sooty with stone gargoyles and a pair of faded red doors that suddenly CRANK OPEN as Brian comes up the drive. Fire engine 17 and ladder truck 46, lights flashing, pull out onto the apron. The fireman sticking his head out of the passenger window is Stephen. One look at the silver trumpet on his collar and we know this is n't Fireman McCaffrey but Fire LT. McCaffrey. STEPHEN You're too late, probie. Tim, in ladder truck 46, waves a small bye - bye as both rigs begin heading down the street. BRIAN -LRB- chasing. -RRB- Goddamn it, Stephen. Brian bolts full - out for the engine. At the last instant before he falls on his face a fireman reaches out and drags him aboard.","INT./EXT. FIRE ENGINE 17 - DAY It's Adcox, the fireman from the first scene, now a veteran. AXE Why baby McCaffrey, how ya doin'? The Pumper driver, SCHMIDT, pops in a howling ROCK TUNE as they zoom off. SCHMIDT -LRB- re Brian to Adcox. -RRB- You know this rug rat? AXE Know him? I practically raised him. -LRB- Jewish mom. -RRB- And he never calls, he never writes. Brian shouts over the noise to GRINDLE, 35, one more seat down. BRIAN I'm Brian. GRINDLE I'm sorry. Grindle sticks his nose out the window, sniffs, then begins buckling up his coat. GRINDLE Boys, I do believe we have a barbecue. As Brian and Adcox fasten up their own equipment -","EXT. FACTORY - DAY Smoke pours with confused indecision from every window of a five story factory as the pumper and ladder company pull up. GRINDLE -LRB- staring at confusing smoke. -RRB- I hate it when we got ta fucking go look for it. STEPHEN -LRB- to Schmidt. -RRB- Call in another alarm. We're gon na need some back - up. Everyone begins strapping on air tanks and masks. Adcox drags the rig's suction line to the hydrant. A beautiful illegally parked Mercedes is blocking the way. AXE -LRB- to Stephen. -RRB- Oh these moments do try me. STEPHEN -LRB- admiring car. -RRB- Be gentle. Whistling to himself, Adcox SMASHES the brass coupling through the passenger window, runs the line through and SMASHES it out the other window before connecting up to the hydrant. Stephen and Grindle pull hose off the bed and move out. Brian's so jacked up he ca n't get his air tank on right. Schmidt calmly helps him into his gear. SCHMIDT It's only rock'n roll, kid. Stephen, Adcox and Grindle are crouched at the door, ready to go. Brian takes a hose roll and runs to catch up when he's cut - off by dazed Latin workers shouting incoherently at him in SPANISH. STEPHEN Hey, probie! How ` bout it, huh? Brian pushes past the workers and takes his position on the hose line. Stephen reaches over and re - adjusts Brian's air tank strap. STEPHEN You're doing it wrong. Stephen eases the door open. Thick smoke rolls sickly out over their heads. STEPHEN -LRB- to Brian. -RRB- Stay beside me. And in they go.","INT. BURNING FACTORY - DAY Inside the smoke is like liquid lead. Going by feel, they hump the hose up one staircase after another, crawling on their hands and knees toward a dull red glow. Turning a corner, they enter","INT. BURNING FACTORY - A VAST ROOM - DAY Totally ablaze. Brian looks up in wonder at the buffeting waves of flame in the ceiling, at the SCREECHING timbers crumbling to the white - hot floor. At the walls HOWLING in bestial agony. It is the most horrifying, and wonderful thing he has ever seen. AXE Wash it to the windows? STEPHEN No, we'll hit the son of a bitch head on. AXE It's gon na flash, Stevie. We got ta get behind it. STEPHEN Nah, listen to it. It's a pussy. It'll just steam on us. It wo n't flash. Go high in the ceiling. Adcox and Grindle shrug and pull their helmets down tight, expecting the worst. Adcox opens up the nozzle, turning loose a high pressure BLAST OF WATER into the ceiling. The fire SCREAMS in manic anger and HEAVES a cloud of HOWLING steam that WHIRLS back and BAKES them like lobsters. Brian gasps for air as swirling ash batters his facemask. A window somewhere EXPLODES. Somebody shouts. Christ, you ca n't see anything. Stephen HOOPS in victory. STEPHEN -LRB- to fire. -RRB- I knew you were a pussy! C'mon! Steam us! -LRB- to firemen. -RRB- Let's go! The chase is on! Going for the throat while the fire's confused and defensive, the firemen SCRAMBLE through the boiling cloud. They hit it in the ceiling, in the walls, forcing it back and back. It HOWLS and CLAWS in anger, furiously throwing cinders and broken timbers in their faces. The walls ECHO with its SCREAMS as it retreats to a corner. STEPHEN Ya love it, probie? BRIAN I'm in heaven, Lt. STEPHEN Hook us up to a stand - pipe. Brian runs back to the wall to hook up his hose roll to the building water system. He goes to unscrew the cap with his hydrant wrench but it keeps slipping off the nut. STEPHEN Jesus, how ` bout man, huh? We're gon na loose this! Brian finally gets it hooked up and runs back.","EXT. FACTORY - OTHER SIDE - DAY Tim and three guys from his ladder company, come up an extended aerial ladder, CRASH through a window and","INT. FACTORY - DAY begin HACKING their way toward Brian's company as - BOOM! It's a sudden, shattering vibration that shakes the building to its foundations. Then, a sucking sound : RUSH - RUSH - RUSH. Stephen speaks calmly into his radio handset. STEPHEN Hey Otis, is it? SCHMIDT -LRB- into radio. -RRB- Yeah. STEPHEN Goddamn it, where's our backup? Where's the second - in companies? SCHMIDT'S VOICE Sorry, man. John Wayne time. STEPHEN -LRB- to firemen. -RRB- Dig in! The firemen hesitate. PENGELLY, the Truck Company Lt., looks at Stephen with concern. STEPHEN Dig in, goddamn it! The crews immediately gather in the center of the floor. They turn over tables, chairs, anything to form a barrier. A circling of the wagons. - BOOM! rush - rush - rush - BOOM! Each louder than the last. Stephen and Brian are ducked behind an overturned desk. Adcox and Krizminski clutch hoselines like frontiersmen's Winchesters. STEPHEN You're gon na love this. - rush - rush - rush - CRAAAASH! On an instant the world comes apart as all four walls of factory windows EXPLODE in a hail of glass. A wave of HOWLING FLAME POURS IN after it, SHRIEKING and HISSING. At the same moment, part of the floor beside a heavy sewing machine GIVES WAY and a ladderman, SANTOS, FALLS THROUGH, grabbing the edges at the last minute as flames BELLOW UP from underneath. He SCREAMS as his grip loosens. Grindle leaps to the ladderman's side, grabbing his arms and coat. Brian hesitates just an instant and Stephen SHOVES him out of the way to back up Grindle. SANTOS Help. Oh God. Adcox's taken the hoseline and is opening fire. Water and flame crash and snarl across the floor in a blood curdling ROAR. It's a thrashing, murderous standoff. Stephen and Grindle have got Santos but the angle's bad. Blow it now and all three could take a header. Santos is panicking, losing his grip. Grindle bores his eyes into the man's with the calm and conviction of Moses. GRINDLE You go, we go. They may all die, but they wo n't leave him. He calms a little, hangs on till they PULL him out of harm's way. Adcox continues with the hose as suddenly, everyone HITS the deck as the fire EXPLODES over them, BURSTING their coats into flame. Tim's company opens up their line, WASHING everybody down before CHARGING after the fire. A ladderman, NIGHTENGALE, steps on Brian's back. BRIAN Hey! NIGHTENGALE Sorry man, I thought you were dead. Brian, stunned, sits up, his coat and helmet smoking. Stephen seems totally unaffected and is already on his feet and over the top of the barricade, the others backing him as he mercilessly drives the fire back, trapping it finally into a corner. The fire hisses, spits, shakes the walls with its furious anger. But it's all bluster now, the fire's dying. PENGELLY -LRB- ladder co. captain. -RRB- Stephen! BC's on the radio. Says they think a civilian got left behind downstairs. STEPHEN Adcox! Take Tim and do a search. Adcox leads Tim downstairs. Brian looks shaken up. Stephen helps him roughly to his feet. STEPHEN Do n't you fold on me now, man. Brian burns at that and shakes his brother's arm off. STEPHEN Clear the hose for me. Brian's walking over to clear the hoseline when he hears it. small voice. Faint. `` Help me.'' BRIAN Hey, I think it's coming from a different staircase. Nobody hears. - Brian takes off down the other steps on his own.","INT. BURNING FACTORY - DOWNSTAIRS It's only the fire's ghost here, lazy and slow. Off the corridor are rooms full of commercial sewing machines. Brian enters one and drops to his knees. Looks under a table, flashes his light behind a work stand. Nothing. He turns to backtrack his way out when A TONGUE OF FLAME suddenly LEAPS up through the floor in front of him, cutting off the door. Brian lands on his ass as it hisses and giggles and dances unreally in front of him. I never forget a face, kid. - That fire from childhood. He could maybe force his way through but Jesus, the way it looks at him - - Brian ROLLS away from it. Looks for another doorway - And ends up in thick smoke. He drops to a crawl, stays on his belly where the air's clear. When he sees it. Behind some furniture. Something flesh - colored. Shit. It's a body. He crawls up closer. It's a woman. Adrenalin pounding the top of his skull off, he grabs her and stumbles back down the hall, makes a turn - BRIAN I got one!","EXT. FACTORY - DAY - And now he's bursting from the building onto a short fire escape, shouting at the top of his lungs. BRIAN I got somebody! I got somebody! A sea of media flashbulbs ERUPTS in his face. The press have arrived in force, crowding the street. Brian pushes through them to a clear spot on the far side of the engine. Two fire paramedics rush over as he lowers the figure. BRIAN Is she. Is she alive? The paramedics suddenly stop their efforts. Turn to Brian. PARAMEDIC I'm afraid you're a little too late with this one. They step aside. Brian looks down. The woman looks strange. Mostly because she's a heavy store DRESSING DUMMY. The paramedics burst into laughter. Brian, looking pale and shaken, turns and walks away. He passes Grindle and Tim, sitting on the pumper's tailboard helping the REAL woman that was found inside. GRINDLE Sorry to hear about the mannequin. I heard you two were close. Photographers have appeared and are flashing the woman. Dizzy, Brian wanders off, tries to help out with the choking clog of singed factory employees before finally turning quickly into","EXT. FACTORY ALLEY - ACROSS THE STREET - DAY Where he barfs his guts out in private. Doubled - over, one arm on the brick wall for support, we see the raw terror. The demons rushing out of him. BRIAN Shit. Someone else does too. Jennifer. Dressed now in a long expensive coat, she's standing at the end of the alley with a clipboard. Brian, ashes smeared across an ashen face, spittle on his chin, does n't notice her. STEPHEN -LRB- appearing beside him. -RRB- You all right? Stephen is n't pale. He's flushed and buoyant. All this has n't taken anything from him. It's made his day. BRIAN Yeah. Fine. I'm a little busy right now. Stephen leans against the wall. Folds his arms. STEPHEN Y' know, you got an awful short memory for direct orders. I told you to stay beside me. BRIAN - C'mon, Stephen. STEPHEN - You split the team, man. And what was that crap with the standpipe? You'd think you and a hose were never introduced before. Stephen turns to leave. Brian yells after him. BRIAN Goddamn it Stephen! STEPHEN - I told you to stay next to me! BRIAN - I was doin' it! I was up there fucking doin' it. You do n't know, man, you do n't know what I did! STEPHEN What you did was drop the ball, Probie. Get that right. PENGELLY -LRB- from end of alley. -RRB- Hey! Stevie! They're callin' for ya. Stephen turns to walk away. Pauses. STEPHEN Bet 30,000 dollars a year and twenty two days a month off sounded pretty good twelve weeks ago, huh? As Stephen leaves, we see that Jennifer's been standing at the end of the alley, listening to them. She's turns and walks as Brian looks up. We register his surprise. He watches her head toward a dynamic - looking guy in his 40s, ALDERMAN SWAYZAK, surrounded by reporters.","EXT. BURNED BUILDING - FRONT - DAY SWAYZAK -LRB- to reporters. -RRB- Roger, Paul. How's it going, guys? REPORTER Another fire in this district. Getting to be Cinder Alley up here. JENNIFER -LRB- walking up. -RRB- You used that last week. She hands Swayzak a clipboard. AXE -LRB- yelling down from window. -RRB- -LRB- to Brian. -RRB- Hey! Probie! We're still workin' here, man.","INT. BURNED BUILDING Brian and the rest of the company rip open the walls and beat the last weak flames in a final flurry of dingy sparks. The moment the smoke clears just a fraction, cigarettes appear in everyone's mouth. Was it good for you? The talk is easy and obscene, the intense camaraderie of shared danger. Ash clods are thrown playfully back and forth in the afterglow of having taken on the worst there is and walking away one more time. GRINDLE -LRB- to Adcox. -RRB- Stephen man, what's going through that guy's head? Takin' it on in the first room. this shit's happening too often. It could've flashed. Should've flashed. AXE But it did n't. Guy knows. GRINDLE Guy's lucky. Adcox sees Brian. Smiles. AXE Hey, baby McCaffrey. First one's the clincher. You did okay. BRIAN My Lt. might have something to say about that. AXE Ah, everybody screws up some, Brian. You're working for the toughest Lt. on the job. Saw him once pick up a probie he thought was moving too slow and throw him into a burning building. It's just bad luck you're family. BRIAN -LRB- beat. -RRB- John, when you're in there. in the fire. do you ever see. STEPHEN -LRB- from across room, interrupting. -RRB- C'mon ladies, let's roll some hose. BRIAN -LRB- to Adcox. -RRB- - Never mind. Brian turns and sees out the window Jennifer and Swayzak standing near Rimgale's red fire dept. sedan.","EXT. FACTORY - DAY Rimgale walks up to his sedan. SHADOW Alderman Swayzak. SWAYZAK Investigator Rimgale. SHADOW I need to get in the trunk. Swayzak's leaning on it. We sense the dislike between them. Swayzak steps aside. Rimgale pops the trunk. SHADOW Awful expensive shoes to be wearing at a fireground, Alderman. But then I guess you have n't been to too many fires. JENNIFER I wanted to talk to you about Alan Seagrave's death. We still have n't gotten a fire report from your office. SHADOW You'll have an answer as soon as I do. SWAYZAK People are asking how a prominent taxpayer got stuffed through the windshield of his own car. They're asking me. JENNIFER - The point is, Investigator, you have n't even told us yet if the fire was accidental. We're starting to get the feeling your office is dragging out this case to embarrass the Alderman because of his fire dept. reorganization program - SHADOW - You mean his firehouse closing program, - Do n't you? JENNIFER We'd just be very disappointed if it turned out your office was playing politics. SWAYZAK - Because I'm not. I care about this city, and I care about this department - Rimgale cuts him off with the shutting of his trunk lid. SHADOW -LRB- calm of a monk. -RRB- Alderman, I have a remarkably uncomplicated job. To decide if a fire's arson, and if so catch the pain in the ass doing it. But to be honest, if my methodical investigative methods just happen to muck up the campaign of certain mayor wan na - bees, well, I guess I ca n't say I sleep any less peacefully. And he walks back to the burned building. SWAYZAK I wish I could just fire the son of a bitch. STEPHEN Hey! Swayzak! Stephen's leaning out of an upstairs window. As the TV cameras turn, he drops down onto a fire engine hose bed and pops right into Swayzak's face with a murderous grin. STEPHEN We almost lost a whole company up there, Swayzee buddy. Is n't any back - up since you closed' 33. And we really appreciate it, the guys and me. Honest. I know you've got my vote for mayor. Grindle and Santos start walking for Stephen. Brian's there, following after them. SWAYZAK Look Lt., I'm on your side. If there's a problem, please, work with our task force to fix it. STEPHEN Oh yeah, your famous task force. three guys have already died this year because of the cuts made by your `` task force''. GRINDLE Stevie, c'mon man. Stephen silences Grindle with an outstretched hand. Swayzak leans close, out of earshot of the cameras. SWAYZAK You see that funny glow that's starting to blink in the corner of your eye, Lt? That's your career dissipation light - and it just went into overtime. STEPHEN If anybody's light's gon na blink, it's yours. Swayzak holds his ground. It's a tense, out of control moment between them. Rimgale turns from his work, watches Stephen with concern. Adcox suddenly inserts himself face - to - face with Swayzak and we see the raw hatred. AXE You're in firemanland now, Swayzak. Do yourself a favor and just walk away. Swayzak holds Adcox's gaze, then turns for his car. Brian watches Jennifer climb in beside her boss. BRIAN This is your city job? Jennifer shrugs as they pull away.","INT./EXT. FIRE STATION 17 - LATE DAY Brian jumps down from the rig as it backs up the driveway. Across the street a middle - aged woman flashes them from the balcony of her apartment. AXE That's Franny. She likes firemen. STEPHEN Tim, fill out the alarm card. -LRB- to Brian. -RRB- Clean the pipe poles, wipe down the ladders and hang some hose. Adcox watches Brian and Tim exchange looks. Tim shrugs. Brian sighs and pulls out the pike poles, starts across the floor before freezing suddenly at a murderous GROWL. Brian turns and sees a DOG. Sort of. It has the rib cage of a wild beast, fangs, long greasy hair. It blocks his way, SNARLING with hate. GRINDLE That's The Thing. You ca n't stay unless he likes you. Slobber drools out of its mouth as it GROWLS. BRIAN Have you guys got something against dalmatians? Brian wipes some of the crusted grime from his face, looks back and forth between Franny and The Thing, and sighs.","INT. FIRE STATION 17 - BUNKROOM Sequence omitted from original script.","INT. FIRE STATION 17 - LOCKER ROOM Brian enters, strips down his battered uniform, and opens his locker. The mannequin from the fire SPRINGS OUT, legs spread. A sign taped to its mouth says : `` TAKE ME BRIAN, YOU'RE MY SUPERMAN!''","INT. FIRE STATION 17 - WASHROOM Brian and the others scrub the morning's fire off their bodies in the station shower. Tim keeps filling his mouth full of water and launching it upward in a stream. BRIAN Do you have to do that? TIM -LRB- pumped. -RRB- Could you believe that fire? Man! First day! There I was, Adcox and me, pullin' that lady right out of the fire's fuckin' throat! I love it here - No surround and drown for this company. Fighting 17th! Goddamn Stephen's amazing. You see how he took that fire by the balls? I'm gon na be that good some day, you watch. Brian compares himself to the praise heaped on Stephen. TIM Y' know what Stephen said to me, right when all the shit was coming hard? `` You never know till the moment the fire stares you down if you're just gon na do this job or be great at it''. BRIAN Ah man, is he usin' that line now on you? What, you think he made that little gem up? Jesus Christ, I used to have to listen to my old man use that every morning. Brian shuts off his shower and walks out.","INT. FIRE STATION 17 - BUNKROOM Stephen sits alone at his bunk, slowly stretching a strained and ruined back. He blows out a long, tired breath, and begins working ointment into an anciently scarred and battered knee. On the wall is a small glass case full of station memorabilia through the years. There's a two battered fire helmets there, set reverently on velvet. Beside it is a photograph of his father. Grinning. Top of the world. He's wearing a T - shirt proudly stenciled FIGHTING 17th. Father and son exchange a long, awkward greeting. In the doorway, Brian stands watching his brother, who not even 40, suddenly seems an old and broken man. The ALARM KLAXON suddenly sounds. Brian, just in a towel and Tim, in boxers covered with little dinosaurs, dash for the fire pole.","INT. FIRE STATION 17 - APPARATUS FLOOR Tim and Brian slide down and bounce off the floor. GRINDLE - C'mon! C'mon! Go! Go! Brian and Tim rush for their equipment. Grindle grabs their arms. GRINDLE No! C'mon! This way! He hustles them across the apparatus floor, through a doorway, and into the kitchen.","INT. FIRE STATION 17 - KITCHEN/DINING AREA The makings of a meal are laid out on the counter. Brian and Tim come to a screeching halt. The rest of the station is sitting calmly at the kitchen table, watching. BRIAN What's going on? PENGELLY Dinner, Probies. Get started.","INT. FIRE STATION 17 - KITCHEN Tim and Brian, still in their boxers, set down plates of food. STEPHEN Better be good. SANTOS Or we feed you to The Thing. Everybody digs in. The table is a craze of half a dozen different conversations. On the TV mounted above on the wall are news shots of Seagrave's body sticking out of the windshield. Adcox stands and tinks his glass with a spoon for silence. AXE Gentlemen, please. As 17's official toastmaster - SANTOS And bullshitter. AXE Thank you, Santos. Did I happen to mention that you were cut out of my will? -LRB- company laughs. -RRB- I think it appropriate that we recognize the two asswipes - I mean probationary firemen - among us who today were baptized officially into the world of Old Man Fire. First to Tim, who despite being handicapped at birth with a rather dull expression and a really hideous pair of ears, not only took on the beast but pulled from its clutches - assisted by a more famous and brilliant firefighter - me - a kicking and screaming civilian that will probably end up suing us for breaking her fingernail. -LRB- laughs. -RRB- And to Brian, who's own contribution was both more beautiful and less likely to sue. Adcox puts his arm affectionately around the mannequin, seated with honor at the head of the table. Right beside The Thing. AXE Y' know, when I heard that both McCaffrey brothers were going to be assigned together here, well, my heart was filled with. a sudden desire to transfer. -LRB- laughs. -RRB- So raise a glass, lads. To funny - looking Tim, and the McCaffrey brothers, who despite years of getting on each other's nerves have managed with great effort. to still be pissed off at each other. Gentlemen! COMPANY -LRB- together, a toast. -RRB- Fuck you! The klaxon suddenly rings. Two bells. The ladder guys groan and get up. STEPHEN Bye, boys. SCHMIDT -LRB- winks. -RRB- We'll keep it warm for you.","INT. FIRE STATION 17 - BUNKROOM Dawn lightens the room as Brian slowly opens his eyes and sees in extreme, fish - eyes close - up : THE THING GROWLING at him. Brian turns the other direction and sees Stephen, fully dressed, standing over his bunk. STEPHEN Clean the toilets.","INT. APPARATUS FLOOR Bleary - eyed, the nine firemen line up raggedly in front of their rigs, dressed like shit but for peaked uniform caps they wear only at this moment. Stephen stands before them, does a quick glance up and down the line. STEPHEN Okay, company dismissed. - See ya guys tonight at Fitzgerald's retirement party. They shuffle for the door. As Brian passes, STEPHEN You want a ride?","EXT. BRIAN'S APARTMENT BUILDING - MORNING Stephen pulls up. Brian opens the door. BRIAN Thanks. STEPHEN Brian -. -LRB- a beat that hangs there. -RRB- - See ya tonight.","INT. RESTAURANT - RETIREMENT PARTY - NIGHT That's been cleared out for a huge PARTY in full swing. An Irish folk band cuts loose a merciless bagpipe beat. City brass - including Alderman Swayzak - a few reporters, firemen and their families all mix together for this is a RETIREMENT PARTY for the Captain Fitzgerald. Brian enters, seeks out a beer at the bar. Stephen's there, swaying with what is clearly not his first drink of the evening. STEPHEN Hey. BRIAN Hey. CHEERS as a one joke gift after another is laid on the Chief. Stephen sees his ex - wife, Helen, dancing with another man. He turns away. STEPHEN I got ta change the view. Santos and Grindle walk up. GRINDLE Heard you did n't make the list for captain, man. I'm sorry. Stephen just shrugs. Brian sees Jennifer across the room. She looks great. Refined as she expertly works the room, schmoozing and hugging and calling various politicos by their first name. As she speaks to one, a waiter offers a drink. As she accepts, a bottle appears over her shoulder and splashes it with red syrup. BRIAN -LRB- holding bottle, interrupting. -RRB- With grenadine, right? JENNIFER When I was twenty. BRIAN Oooh, very sophisticated. Having fun? Her attention broken, the politico has slipped away. Annoyed, Jennifer leads Brian aside and speaks low, but angrily at him. JENNIFER Look, I'm not the same girl who had nothing better to do than wrap her legs around you on a Saturday night. This is n't about fun. I'm working here. BRIAN Carrying Swayzak's notebook? JENNIFER Let me tell you something. Martin Swayzak is going to be this town's next mayor. BRIAN Yeah. Swayzak. Humanity's last hope. How can you work for that guy? JENNIFER Why do you think Marty came here tonight? Because he cares about your department. You do n't know how hard he works. You do n't know about his programs helping West Side - BRIAN - All I know is that his programs are getting firemen hurt. JENNIFER Bullshit. Marty's plan is only about efficiency. I've got two cousins on the job, you think I'd work for him if I did n't believe in it? Jennifer instantly cuts off as a well - dressed COUPLE passes and switches stunningly into schmmoze - mode. JENNIFER -LRB- to man. -RRB- - Tom, how nice to see you. I know Marty'll be very happy you came. Thanks so much for the donation. -LRB- to woman. -RRB- Marie. how's little Kevin? Really? Seen the polls? This is the year. They move away. Jennifer turns to Brian and switches just as fast back to their argument. JENNIFER - The thing that really makes me angry is the way your union has - Brian ca n't help it. He cracks up. BRIAN What was that? Oh man, you have picked up a few moves since John Paul II Boulevard. JENNIFER Yeah, well I like to think I'm just a little past hanging out on JP II watching the Irish pick fights and Litwalks barf in the planters. BRIAN I seem to remember some pretty good nights on JP II. Brian turns and walks away. ACROSS THE ROOM Adcox is talking with another knot of firemen. He's brought a date, SALLY, a hot little number that has a habit of standing on her tip - toes when she talks. SALLY -LRB- looking at Swayzak across room. -RRB- Yuck, what a scumbag. AXE -LRB- to Santos. -RRB- Fuckin' city transferred Sally three months ago out of parking violations into Swayzak's office. Now I got ta pay my own goddamn tickets and she's stuck with an asshole. SANTOS Pay more? SALLY -LRB- shrugs. -RRB- No, but there's more exercise - being chased around a desk. There's a commotion at the other end of the bar. A group of firemen have gathered around a weekly magazine. GRINDLE Aw, I do n't believe this shit. SCHMIDT Somebody get a shovel! You seen this, Stephen? As they hold it up to Stephen we see a photo spread titled DARING FIRE RESCUE. The first photo shows Brian rushing out of the burning building with seemingly a woman in his arms. The second photo shows the backs of Adcox and Tim's helmets as they administered aid to the real woman they saved. The implication is it's the same woman. BRIAN What? TIM -LRB- reads. -RRB- `` Probationary Fireman Brian McCaffrey, on his very first fire, showed the kind of bravery and courage of a veteran firefighter when he risked life and limb to double - check a burning floor alone, emerging victoriously with Anna Rodriguez, a seamstress for the North Shore Clothing Company. McCaffrey first gained prominence as the subject of a 1972 Pulitzer Prize winning photograph taken at the scene of his father's death.'' The old photo is there too. Brian and his dad's helmet. GRINDLE Whadda we gon na do about this? Stephen glances over the headlines. STEPHEN Y' know, I think it's a union bylaw that if a guy gets in the paper - especially if it's bullshit - he owes the company a drink. In fact. -LRB- motions to waiter. -RRB-. I'll have a double. On the hero. The other firemen jump in with drink orders. Dozens of them. BRIAN -LRB- confused. -RRB- What's going on? Tim shows him the magazine. Brian reads with horror as Alderman Swayzak appears beside him. SWAYZAK Brian McCaffrey, right? JENNIFER Brian, this is my boss, Alderman Swayzak. -LRB- to Swayzak. -RRB- Brian's a big fan of yours. BRIAN Yeah. Big fan. SWAYZAK And I'm a huge fan of what you did to save that woman, Brian. BRIAN Uh, I think there's been a mistake. I did n't save that woman. SWAYZAK No need to be modest, Brian. BRIAN No, you do n't understand, I saved a mannequin. SWAYZAK - That really was incredibly work you did. You and your brother, fighting fires together, helluva image, is n't it? You must feel lucky to be assigned under his command. BRIAN Every little boy's fantasy. SWAYZAK Brian, let me come to the point. I'd like to offer you a job. BRIAN I have a job. SWAYZAK This one's still with the fire department. One of our best investigators, Don Rimgale, is working on a very difficult, visible case right now. We think he could use another pair of hands and you're exactly the kind of guy I want representing us : An authentic hero from a traditional firefighting clan. BRIAN Yeah, we got all kinds of traditions - like dying young. SWAYZAK Not every job in the fire department comes with a tombstone, Brian. This could be a great opportunity to move. beyond a fire engine. Brian looks at Jennifer, then smiles at Swayzak. BRIAN Thanks anyway, Mr. Swayzak, but fire engines sorta run in my family. Politics do n't. - A man suddenly steps between them to pump Swayzak's hand. Brian shakes his head and walks away. Swayzak shoots a concerned glance at Jennifer. She catches up with him at the buffet table. JENNIFER Boy, took you all of thirty seconds to blow that. BRIAN C'mon Jennifer, he's just another North - Side jag - off with a mouth. JENNIFER Brian, do you always have to be so stupid? Think about your future for once. BRIAN So now you suddenly care about my future? JENNIFER Look, I did n't mean to take a piece out of you back there, I just thought you'd call when you came back. You did n't and. -LRB- beat. -RRB- Do n't blow it just because of this garbage between us. BRIAN Hey, sorry if I made you look bad in front of your boss. But I'm not gon na be a poster boy for him, I'm trying to do something here. There's five hundred smoke eaters in this room that do that stuff for real every day. Tell Swayzak to talk to one of them. Across the room, Stephen's at the buffet, watching Helen dance with her fireman date, the drinks hammering him hard. PENGELLY Aw man, how can she dance with that guy? SCHMIDT I hate that guy. He's a dispatcher. I hate his voice. STEPHEN Whatever. PENGELLY I mean, I know women have got ta bang somebody, but why that son of a bitch? Stephen gives Pengelly an icy, sideways look. SCHMIDT Hey Stevie, he's an asshole. Stephen smiles and pushes off the bar - right for Helen as she dances. STEPHEN Uh, Helen, I wanted to talk to you a second about Sean. HELEN Stephen, I'm kinda busy here, can we talk about this later? DATE How ya doin', Stephen? STEPHEN Jackson. Jackson steers her away but Stephen is n't done yet. He dogs them. STEPHEN -LRB- to Helen. -RRB- What's wrong with right now? He's your son for christ's sake. He's - JACKSON Hey, Stephen, what about that dumb ass brother of yours, huh? STEPHEN Yeah? JACKSON Savin' a mannequin. How fuckin' stupid can a guy get? Stephen suddenly PUNCHES Jackson. STEPHEN You ca n't talk about my brother like that. HELEN -LRB- sighs. -RRB- Here we go. And Stephen PLOWS into Jackson. Another fireman JUMPS to Jackson's aid. And Brian's there, defending his brother, PUNCHING OUT a fireman. The crowd finally pulls the two apart. JACKSON You're crazy, man! STEPHEN Leave me alone! AXE Goddamn it, Stephen, lay off! -LRB- Stephen calms a little. -RRB- You stupid dumbshit, you never know when to fucking quit, do you? You ever wonder why your career's in the fucking toilet? Why you're gon na be stuck a Lt. for life? STEPHEN No. -LRB- beat. -RRB- I need a drink. Stephen takes a step for the bar - then suddenly turns and JUMPS Jackson again. Brian pulls him off and drags him for the door. BRIAN You do n't need a drink, man. You need to get outta here. As Jennifer watches Brian lead Stephen out the door. JENNIFER -LRB- to Swayzak. -RRB- Ah those McCaffreys. just hate leaving a party with anyone left standing.","EXT. RESTAURANT - NIGHT Brian leads Stephen toward his car. STEPHEN I'm okay. leave me alone. Stephen pushes Brian away and promptly stumbles to the sidewalk. BRIAN So you got a ` roid going with Jackson or what? STEPHEN Nah, he's nothin'. It's just sometimes. sometimes you just got ta punch somebody out, y' know? Brian stands there and folds his arms. STEPHEN I do n't think I can get up. Brian lends an arm. STEPHEN Look, Brian, a photographer. Maybe I can get on the cover of LIFE magazine, too. BRIAN C'mon, let's crawl home.","EXT. STEPHEN'S BOAT - NIGHT Stephen throws an arm over Brian's shoulder as he leads him up onto the boat. STEPHEN Adcox, those guys. they do n't get it. it is n't the goddamn promotion. or dad. I'm not my old man, y' know? No fire's gon na get me. I do n't give a shit about being a captain. it's just. it's just they do n't trust me anymore. -LRB- blows out painful breath. -RRB-. they do n't trust me anymore.","INT. STEPHEN'S BOAT Brian's flops his brother on the bed. Unties his shoes. STEPHEN If you'd get out of my fuckin' way. I could take my own goddamn shoes off. He clearly ca n't. Brian slips them off. STEPHEN You're such a pain in the ass. You've always been a pain in the ass. There's just a grim wall lamp above Stephen's face. STEPHEN Jesus, it's too damn bright in here. Like a goddamn spotlight. I'm goin' blind. BRIAN -LRB- touching light. -RRB- This? STEPHEN Yeah. too bright. Brian turns off the dim light. Stephen's breathing deepens. STEPHEN They do n't know. they do n't know what I hear in there. Brian tucks the blanket around him. STEPHEN This boat could be okay, huh? Take it out weekends. Sean'n me. Stephen's voice drifts off into sleep. Brian watches a moment, the rare look of peace on his brother's face, then leaves.","EXT. FIRE ACADEMY - NIGHT Dark and still. Brian, carrying a roll of hose, scales the chain link.","EXT. FIRE ACADEMY - EXERCISE GROUND - NIGHT Is a practice stand - pipe. Brian counts down to himself, then rushes the stand - pipe, spinning off the cap with a hydrant wrench and attaching the hose coupling. He does it again, over and over.","EXT. FIRE ACADEMY - DAWN The sky's gone pink and blue as Brian climbs back over the fence. Adcox, coming out of a donut shop across the street, sees him.","EXT. STREET - CHICKEN ACCIDENT - DAY A truck has JACKKNIFED across the avenue and SPILLED its contents - several THOUSAND baby chicks. They're scurrying everywhere as Brian's company tries to round them up. It's hopeless as the exhausted firemen stuff handfuls of the cheeping cargo into their turn - out coats. There's ghetto kids all around, grabbing at the chicks, grabbing at the fire engine. STEPHEN -LRB- at kids. -RRB- Hey! Knock it off! Brian stops a beat. Rubs his eyes. AXE -LRB- smiles. -RRB- Maybe you should have gotten more sleep last night. Brian looks at him. Does he mean what he thinks he means? Tim is coming out of a small store across the street. He hands a small bag of groceries to Adcox. TIM This everything you wanted? Everyone grows suddenly silent.","EXT. WIDOW'S HOUSE - DAY A fireman's without even saying so, `` Petzold'' on the mailbox, Engine 17 parked out front. Brian's alone outside, cleaning the diesel fuel off his arms. Watching a small kid playing with a toy fire truck in the drive.","INT. WIDOW'S HOUSE Tim and Brian are loading the groceries into the fridge. Stephen and Grindle are fixing a loose cabinet door as Adcox sits caulking a faucet fitting at the kitchen table with a young WOMAN. WOMAN -LRB- to Stephen. -RRB- Can I help you guys at all? STEPHEN Nah, we just about got it. WOMAN -LRB- noticing Adcox's shirt. -RRB- Sally must be finally ironing your shirts. AXE It's just new. Couple'a shifts and it'll be as thrashed as the rest. The sight of uniform is too much for her. Her eyes cloud. WOMAN I'm sorry. Adcox reaches out and lets her weep on his shoulder. AXE It's okay. WOMAN I miss him. I just miss him, y' know?","EXT. WIDOW'S HOUSE - DAY Adcox stands out at the fire engine smoking a cigarette, lost in himself, watching the little boy play with his toy fire truck. Stephen's followed him out. AXE This job. This fuckin' job sometimes. To buy it trying to go the extra yard, man, that's one thing, but to buy it just because there was n't any back - up. it's bullshit. Stephen leans down close. STEPHEN Yeah, it's bullshit. So what? Fuck Swayzak. Fuck'em all. We do n't go into fires for them. You know that. Christ, you taught me that. A beat of understanding between them. Stephen looks back at the house. STEPHEN You know Knowlton pretty well? AXE Yeah. STEPHEN -LRB- beat. -RRB- Kind of an asshole, was n't he? Adcox ca n't help but smile. AXE Biggest in two battalions. STEPHEN -LRB- beat, smiles. -RRB- We're gon na be okay, man.","INT. FIRE STATION 17 - DAY As Brian and Tim scrub down the fire engine, the rest of the company lies sprawled in THE STATION REC ROOM Watching a weepy soap. Schmidt walks through and is snared by the TV's glow. He hesitates. Shares the moment. SCHMIDT Is she going to get the divorce? SANTOS -LRB- sighs with honest concern. -RRB- Hell if I know, man. A ladderman, WASHINGTON, walks in with a memo. WASHINGTON Hey, Pengelly, you made the captain's list! Everybody clasps Pengelly on the shoulder. `` Way to go''. `` All right, man''. Brian turns and sees Stephen out on the apparatus floor, watching. Watches. Pengelly's younger than him.","EXT. FIRE STATION 17 - TRAINING BUILDING/HOSE TOWER - DAY An expanse of concrete lying out back of the station. Built in one corner is the concrete shell of a five story training building, just wide enough for a stairway and room on each level. Twenty yards away, Brian, Tim and Adcox stand ready beside a pile of coiled hose rolls. STEPHEN -LRB- looking at watch. -RRB- Alright. Go! Tim picks up a roll of hose, 50 pounds, throws it over his shoulder and runs with Adcox to the foot of the building. There's a fixed standpipe that Adcox ties into as Tim drags the other end inside and up a flight of stairs. STEPHEN Go! Brian lifts another hose roll under his arm and runs for the building. STEPHEN That is n't a football, probie. Get it on your shoulder. Brian runs up two flights to meet Tim and connect his end. Tim heads down for another roll as Brian drags his up another two flights. It's a bitch. Sweating, he barrels back down the stairs, passing Tim coming up with another roll. BRIAN Having fun, fireman? Tim flips him off. Brian laughs and sprints for another roll. STEPHEN You're not breaking any records, Brian. Brian holds it under his arm and takes off. Stephen grabs a roll himself, hoists it to his shoulder and runs alongside. STEPHEN Your shoulder. Like this! Brian lifts it to his shoulder. STEPHEN Come on! Pick it up! They come to the doorway. Instead of stopping, Stephen follows Brian in and runs alongside up the stairs. Without a word spoken it's become a race between them. Brian's face explodes in sweat. His heart pounds as they go up flight after flight. The hose rolls weigh a 100 pounds. A thousand. Neck'n neck all the way ; grunting, their throats burning, only one flight from the roof Stephen STUMBLES and SCRAPES his leg. Brian pauses. Stephen's already back on his feet. STEPHEN Run, damn you! Brian does, Stephen already gaining on him - getting ready to pass him - when they burst gasping out onto the roof, Brian the `` winner'' by a nose. Stephen drops his hose roll, sticks his face into Brian's, - And laughs. Unsure, Brian starts to join in. Stephen stops suddenly. STEPHEN Roll the hose. BRIAN What, are you kidding? By myself? Adcox and Tim, down below, have already disappeared back into the station. STEPHEN You heard me. We see now what Stephen apparently does n't. He was scraped badly, his pant leg torn and leaking dark circles of blood. BRIAN What, is it the stairs? Christ, I'll let you win next time. STEPHEN -LRB- in Brian's face. -RRB- You got a problem with drilling, probie? BRIAN No, Lt., I do n't have a problem with drilling. But let's just have one drill. Not one for the company and one for me. STEPHEN Roll the hose. Stephen turns and walks away. Brian stands there watching him in blind fury, finally exploding. BRIAN Goddamn you Stephen, I'm not gon na quit. You hear me! An awkward beat between them that's interrupted suddenly by the station alarm klaxon. Stephen smiles. STEPHEN Well, thank God for fires.","EXT. FIRE STATION 17 - HOSE TOWER - BELOW - DAY Sequence omitted from original script.","EXT. LAKE SHORE MANSION - NIGHT Sequence omitted from original script.","EXT. LAKE SHORE MANSION - NIGHT Sequence omitted from original script.","INT. LAKE SHORE MANSION - FRONT DOOR Sequence omitted from original script.","EXT. TENEMENT BUILDING - DAY Smoke and confusion. A MOTHER is screaming hysterically at Stephen as he jumps down from the engine. MOTHER -LRB- grabbing his coat. -RRB- My baby! My baby's still up there! BATTALION CHIEF Hang on a sec, Stevie, we got a hoseline coming. Stephen does n't even pause and enters the building. Brian hesitates a beat, then follows.","INT. TENEMENT BUILDING - DAY Where they bomb up a staircase just as a WALL OF FIRE LASHES DOWN, KNOCKING them on their ass. Stephen jumps to his feet with an axe as Brian struggles to get up. STEPHEN Do n't take that kind of shit from it! Do n't let it know you're scared! Come on! Stephen, with just his axe, CHASES up the stairs at the fire, HAMMERING at the flaming boards. The fire retreats into another room, SLAMMING the door shut behind it. Brian struggles up the stairs. The two of them slide up on either side of the closed door, Stephen cradling his axe like a SWAT team shotgun. The door breathes in and out and something animal scratches and snarls on the other side. Brian can feel the panic rising in his throat. That thing behind the door, that slobbering, evil thing. It wants out. It wants. him. STEPHEN Ready? BRIAN Christ, Stephen, let's wait for the hose team. STEPHEN Listen to it, Brian. Jump when I say. It wo n't get us. Stephen HAMMERS the lock with his axe and KICKS the door open. A WALL OF FLAME ROARS out past their cheeks, then BACKWASHES in. STEPHEN Now! Stephen picks up the door, and using it as a shield CHARGES into the flames. Brian tries to follow but the fire WELLS UP, cutting him off. He hesitates. It's that goddamn flame again, leering at him. Daring him. It BUCKS suddenly, DROPPING Brian to his knee. He GROANS in pain. - And now Adcox and Grindle are coming up the stairs with a hoseline WASHING DOWN the room. Clouds of furious steam bellow out and across the ceiling. Nobody could be alive in there. Except Stephen. His entire outfit smoldering, he emerges from the clouds like a fucking god, carrying in one arm a gasping child.","EXT. TENEMENT BUILDING - AFTERMATH - DAY Most of the firemen have gathered together for post - fire coffee and stories. Brian sits off alone on the fire engine bumper, apart from them. Santos walks up. SANTOS They think she's gon na live. Stephen walks up. Sits down beside him. STEPHEN You okay? BRIAN I waited. I would have fucking waited. STEPHEN That's not what it's about, Brian. The point is there was a kid in there. And what if there'd been two? I went in because that's what I do. It's my way. It's dad's way. It is n't everybody's way. BRIAN Dad's way? Where did he tell you that? In a fucking seance? STEPHEN You said you wanted to know something, Brian. What did you learn today? -LRB- Brian does n't answer. -RRB- What do you say, Brian, huh? Time to move on? Brian lingers only a moment before standing. BRIAN You're right, Stephen. You win. You're the best, man. Brian hands Stephen his helmet and walks away.","INT. SWAYZAK'S OFFICE - DAY There's only six like it in city hall, and this one has a view. SECRETARY'S VOICE -LRB- on intercom. -RRB- Brian McCaffrey on line two for Jennifer. JENNIFER I'll take it in my office. SWAYZAK -LRB- turns to her and smiles. -RRB- Go get him.","INT. CORRIDOR/CONFERENCE ROOM - DAY Jennifer comes out of Swayzak's office and walks down to her own.","INT. JENNIFER'S OFFICE/INT. BRIAN'S APARTMENT - DAY - It's a tiny, bleak little rat hole. She picks up the receiver. JENNIFER Brian? We see Brian in his apartment. BRIAN I've been thinking about what you said the other night. If the offer's still on the table, I'd like to talk about it. JENNIFER -LRB- beat. -RRB-. Okay. I'll arrange things with your assignment captain. -LRB- beat. -RRB- Marty's a good man, Brian. BRIAN Yeah. Brian hangs up. He stares at it a moment, then SLAMS it against the wall. Jennifer stares at the phone with something almost like sadness.","EXT. BROWNSTONE - DAY Stephen drives past the burned - out brownstone that fried Alan Seagrave. He parks in the alley behind, walks up the building, and PULLS OFF a plywood sheet covering a blown - out window.","INT. BROWNSTONE - DAY Stephen walks through the creepy, brutalized silence. Back to where Rimgale had focused his investigation that night. He searches the floor, the wall, looking for something.","EXT. ARSON HQ/FIREHOUSE - DAY A crumbling one in Chinatown. Brian checks the address on his slip of paper. He stands there a beat, hating himself.","INT. FIRE STATION/ARSON HQ It's a regular station but for the rear that has been converted into arson squad offices. As Brian approaches the office door he can see Rimgale sitting at his desk. Standing nervously beside it is a fresh - faced, uniformed PROBIE. SHADOW -LRB- to probie. -RRB-. So stop me if I get this wrong. The fire's almost out. You're upstairs on the unburned floor checking for heat. You've been told by your Battalion Chief, your Captain, by me, not to do anything up there until ordered. But now the itch starts, and all of a sudden comes the Glory Boy Flash : Hey, I'm a hero. Heroes do n't just stand around. So on your own you decided to punch out a window for ventilation. Was that before or after you noticed you were standing in a lake of gasoline? The kid is dying a thousand deaths of humiliation. SHADOW You could've crispered half your company with that little stunt, but more importantly you wrecked the physical evidence I use to prove it's arson. You've made my day longer, Probie. Go home and think about that. The kid shuffles off hang - dog. Rimgale's angry gaze falls on Brian. BRIAN Uh, I'm Brian McCaffrey. Your new assistant. SHADOW Your Dennis' kid. -LRB- beat. -RRB- I work alone. And Rimgale walks into his office, leaving Brian marooned in the doorway. Stepping behind a small partition, Rimgale changes his shirt. Brian can just glimpse from where he stands a horrible burn that has consumed most of Rimgale's stomach. Rimgale catches the look. SHADOW Are you still here? BRIAN Get used to me, Inspector. I'm not going anywhere. SHADOW Then go find a corner. I do n't want you in my way. BRIAN I think we should get something straight here. I was assigned to this office by the city. SHADOW Look, I knew your father, he had a helluva reputation on this job. But that do n't mean you get any slack. Swayzak sends you down here, okay, I got ta eat you, that's the rules and I got nothing to say about that. But Swayzak or no, you live with me. Step out of line, and I do n't care who knows you, I'll swing the hammer. -LRB- beat. -RRB- You think you're the first? Rimgale glances at his watch, puts on his coat, and picks up a small paper bag. BRIAN Where are you going? SHADOW Pest control.","INT. MAX SECURITY PRISON - DAY And the face of RONALD, an unremarkable man in his 40s. Unremarkable but for laser eyes and two heavily bandaged hands. Go wide and find him sitting in an institutional chair - handcuffed, actually - in an institutional hall. A uniformed guard stands nearby as Brian and Rimgale come down the corridor. Ronald smiles upon seeing Rimgale. RONALD Shadow. SHADOW How ya doin', Ronald. Staying comfortable? RONALD Did n't think you'd make it. SHADOW Would n't miss this for the world, pal. RONALD -LRB- looking at Brian. -RRB- Who's this? SHADOW He works for me. RONALD Is he a fireman? -LRB- smiles. -RRB- I like firemen. SHADOW You like everybody, Ronald. Ronald's eyes pick up Brian's name on his prison ID badge. RONALD Brian McCaffrey. -LRB- eyes light up happily. -RRB- Oh this is really a treat. Brian McCaffrey. Lost a dad to the animal, huh? BRIAN -LRB- heating up. -RRB- Hey, do I know you? SHADOW You do n't know him. RONALD I know you. BRIAN -LRB- to Ronald. -RRB- What the hell are you talking about my - Rimgale silences Brian with a threatening hand. SHADOW Knock it off. Now. RONALD Tell him about me, Shadow? SHADOW Ronald here likes telephones. Used to tape wooden matches to the bell striker and wrap it in cotton. Came up with a whole little thing there, did n't you Ronald? When you got bored, what did you do? You just started making calls. mostly day care centers and retirement homes, was n't it? RONALD Did he tell you how we finally met? SHADOW Nobody cares, Ronald. RONALD Oh, but it's a good story, Shadow. You're depriving our famous young friend here. VOICE IN CORRIDOR Okay. Ronald Bowland. The cop helps Ronald to his feet and all four are marching down the hall. RONALD It was on State Street, right? Just your basic warehouse torch for the owner. Cakewalk. But the animal. turned on me. ` Ol Shadow here, he shows up - whole place is going like hell - my hair, my hands. could've just let the animal take me - but Shadow, he's a good camper, so he tries to pull ` ol Ronald out. Guess he did n't notice the tub of phosphorous next to me. -LRB- smiles. -RRB- Notice you're still a little shy about rolling your sleeves up, Shadow. Show him your stomach yet?","INT. PRISON - INTERVIEW ROOM - DAY Ronald in the hot seat before a parole board, Rimgale and Brian on the sidelines. MAN All right, the parole board has received Mr. Bowland's fitness report, his ID - 44, endorsement from his section warden. Dr. Norris? WOMAN PSYCHIATRIST As supervising psychiatrist I would describe Mr. Bowland's progress as remarkable. Taking into account his disability and the six years already served, I recommend parole. MAN Mr. Bowland, do you regret your crimes? RONALD Yes. I understand now the pain I caused. MAN If released, will you commit these crimes again? RONALD I wo n't. MAN Do you consider yourself ready for society? RONALD Yes. The parole board shuffles their papers. It's a done deal. Rimgale suddenly stands and approaches Ronald. SHADOW Sure Ronald? You're ready alright. RONALD Absolutely. MAN -LRB- surprised. -RRB- Excuse me, Mr. Rimgale. SHADOW Excuse me. -LRB- to Ronald. -RRB- What do you do with little girls? A tortured look comes over Ronald's face. He's holding back. From the paper bag, Rimgale suddenly tosses a burned baby doll in his lap. SHADOW What do you do with them, Ronald? Huh? Rimgale then lights a cigarette lighter in Ronald's face. RONALD -LRB- smiles. -RRB- - Burn them. SHADOW And old ladies? RONALD - Burn them. SHADOW And the world - the whole world. RONALD -LRB- smiles. -RRB- - Burn it all. The parole board stares, stunned. Rimgale stands. SHADOW See ya next year, Ronald. Got ta go.","EXT. THEATRE BUILDING - DAY A pre - war theatre closed with a sign : UNDER RENOVATION - OPENING XMAS 1991. DAVID BENTON, mid - forties, climbs out of his car and walks to the entrance with some rolled - up blueprints.","INT. THEATRE BUILDING - DAY Benton walks through the vast theatre and up to a beautiful Art Noveau office door : DAVID BENTON, PRIVATE. He goes to insert his key. Drops it. As he reaches down, we see a tiny wisp of smoke SUCK back under the door. Benton sniffs, as if he smells something, then shrugs and inserts his key. It'd have been a good story if he'd lived longer. The moment he pushes the door open It EXPLODES OUTWARD in a ROARING FIREBALL.","EXT. THEATRE BUILDING - SUNDOWN Later and engine companies have already knocked down the building fire as Brian climbs out of Rimgale's red sedan. SHADOW -LRB- opens trunk. -RRB- Hey kid, c ` mere - At least make yourself useful. He starts handing Brian handfuls of equipment cases. Loaded down, Brian follows Rimgale into the building.","INT. THEATRE BUILDING Fire crews are at work in here, including Engine 17 at the other end of the theatre. Brian's surprised to see them, his eyes locking briefly with Stephen's. An ENGINE COMPANY LT. walks up to Rimgale. ENGINE LT We were lucky with this one. Could've taken out the whole complex, but the explosion blew out most of the flame. Good for us. -LRB- looks to body. -RRB- - Not so good for him. `` Him'' is our previous owner, David Benton, just his hands and a leg showing from under the collapsed door. Rimgale crouches beside it. SHADOW Turn this over. Brian does. The corpse's keys are still in the lock. So's Benton. Blown with such force he seems fused with the door. On the door's edge Rimgale notices a small patch of melted, sticky goo. With his penknife he scrapes a sample and seals it in a glass vial, stands, and walks into the office.","INT. THEATRE OFFICE BRIAN What do you want me to do with - Rimgale, now inside, silences him with an outstretched arm. SHADOW - Shhh. BRIAN -LRB- after a beat. -RRB- What are you listening to? Rimgale does n't answer. His eyes drift over the scorched walls as he speaks softly to them. SHADOW You sneaky little son of a bitch. Hide and seek. Come on, tell me what I want to know. He scratches at some soot. Smiles and lifts a small hand recorder. SHADOW -LRB- business - like into recorder. -RRB- Heavy smoke stains observed in entry room. Demarkation line high. Fire never got hot enough here to cook soot off. It started somewhere else. -LRB- walks down hall. -RRB- Less soot here. More heat. -LRB- they enter back room. -RRB- And very little soot here. -LRB- to Brian. -RRB- Get that couch out of the way. Brian pulls it aside. The lower third of the wall is completely untouched by soot. SHADOW -LRB- to himself. -RRB- So you were happy here. Warm and cozy and in no hurry. -LRB- into recorder. -RRB- Soot high, clean unburned wall low, indicates slow burn in thermal balance. -LRB- to Brian. -RRB- Find me some glass. BRIAN Glass? SHADOW Do we have a language barrier here? Glass. There's some on the sill of a blown window. Brian hands a shard to Rimgale, who turns it over in his palm. SHADOW -LRB- into recorder. -RRB- Glass found in ignition room is in small, thin pieces, indicating explosion. Lack of discoloration indicates a long, slow burn. Explosion must of come after a slow burn. -LRB- shuts recorder off. -RRB- You little tease. What were you up to you little bastard, huh? What made you that mad? -LRB- then, an idea. -RRB- Or scared. -LRB- switches on recorder. -RRB- It started in this room. Took its time, hung out. but the air ran out. It could n't breathe. So it was snuffed. But it was n't dead. still all that trapped heat, lying low, waiting for some sucker to open the door and give it that one gulp of air. BRIAN - Another backdraft. Rimgale turns to the wall, a section where the plaster is severely damaged. He probes with a penknife. SHADOW Finish coat burned away. Severe spawling of rough coat. Rimgale follows the damaged wall down - down - to a melted wall socket. SHADOW That's our ignition point. Dig it out. Carefully. Brian chops it out from the wall. Rimgale crouches down, peels back the melted faceplate and examines the wires. The copper tip is severely melted. Rimgale sniffs the plug. SHADOW -LRB- into recorder. -RRB- Temperature in this room was about 2000 degrees, but copper wire in outlet is melted, which requires 5000 degrees. An accidental short in the plug could of created a spark of 7000 degrees, hot enough to melt the wire and start a fire. BRIAN No it could n't. Rimgale shuts off the recorder. Stares down Brian. BRIAN I mean you'd be right - with normal wire. But that's gauge ten in that plug - industrial stuff. Who knows why they put it in here - but it wo n't melt at less than 12,000 degrees. And no natural spark short of lightning gets that hot. -LRB- Rimgale just stares. -RRB- In another life I was in high - end electronics. Rimgale opens a plastic bag and puts the plug inside. SHADOW -LRB- into recorder. -RRB- Have outlet analyzed for any traces of flammable accelerants. Rimgale stands and walks out. BRIAN Do n't mention it.","INT. THEATRE BUILDING - NIGHT Brian follows Rimgale down from the office into the vast theatre. Walls hiss and spit. Brian's surprised to see his former engine mates there, tromping and crunching their way through broken glass, their flashlights like dancing fireflies. Tim passes by. BRIAN Hey, Tim. Everybody turns at the voice and the air suddenly chills. TIM -LRB- distant. -RRB- Brian. SHADOW -LRB- to Brian. -RRB- Check the wall for burn patterns. And Rimgale's off to another room. Brian turns and looks at the wall. It's endless. BRIAN -LRB- to Tim. -RRB- So, you surviving without me? TIM There's no replacement'cause of your boss' cuts, if that's what you mean. If someone else goes out on an injury we're really screwed. BRIAN Swayzak's not my boss. Silence. Brian looks over the wall. A dirty puddle separates him from it. GRINDLE -LRB- to Brian. -RRB- Ooooh, like the tie. Love the tie. BRIAN Grindle, scrape down that wall for me, huh? I would myself, but the tie'n all, y' know. Grindle stares at him a beat, then wordlessly steps into the muck and pulls free a section of wall, dropping it on the ground in front of Brian. Santos and Grindle look at each other. SANTOS Uh, Brian, if you're lookin' for smoke patterns, there's some good ones over here. BRIAN Yeah? Where? GRINDLE -LRB- as Brian walks over. -RRB- Little to the right. further. further. Right behind there. Hey, could you hand me that pike pole? There's a pike pole leaning against the wall. Brian pulls it aside. SPLASH - The pole had been supporting a small, sagging piece of ceiling that instantly collapses, dumping twenty gallons of murky, putrid black water all over Brian's civvys. Nobody laughs. GRINDLE Sorry, maybe that was n't it after all. Stephen appears around the corner. Sees what's happened. STEPHEN That's just about enough, guys, okay? SCHMIDT See ya around, Brian. They leave. Brian stands there, humiliated. AXE -LRB- to Brian. -RRB- What the hell's the matter with you, huh? You're steppin' in the shit again. You could've done it. You do n't want this. -LRB- the suit'n tie. -RRB- Wake up, kid. Brian burns with shame and anger as Adcox walks away. Stephen hands Brian a towel. STEPHEN Here. Dry yourself off. Brian snatches it from him. Glares at his brother. STEPHEN Look, you are sorta making yourself fair game. BRIAN Thanks for the insight. STEPHEN Brian, look - BRIAN Just leave me alone, okay? Brian walks away. Stephen calls after him. STEPHEN Hey, Bri. Rimgale's okay. I do n't get half the shit he's talking about, but then everybody says the same thing about me. Who the hell knows?","INT. HELEN'S HOUSE - DAY Helen, Stephen's ex - wife, is sitting at her kitchen when she looks up suddenly at a strange sound coming from the roof.","EXT. HELEN'S HOUSE - ROOF - DAY On the short, sloping roof, Stephen stands hammering a shingle back into place. Helen sticks her head out the dormer window. HELEN Stephen, what are you doing here? STEPHEN Fixing my roof. HELEN It's not your roof anymore. He stops and tosses the hammer aside. Looks at his watch. STEPHEN Where's Sean? HELEN He's got piano lessons. STEPHEN Oh yeah? How's he doing? HELEN He's going to be a fireman. STEPHEN Give up, babe. You ca n't fight it. Believe me, my mom tried. HELEN -LRB- beat. -RRB- Stephen, you got ta stop just showing up on the roof like this. STEPHEN I just wanted to, I do n't know, not exactly apologize for the other night - especially since I do n't remember much of it - HELEN - You remember. STEPHEN Yeah. I just thought I should say, I do n't know, something. HELEN The great communicator. STEPHEN Sorry I hit Jackson. HELEN He deserved it. He was born deserving it. STEPHEN He treats you okay? HELEN Okay. STEPHEN I treated you better. HELEN You treated me like shit. But she smiles. HELEN You want some coffee? STEPHEN Coffee? Nah, I got ta go. HELEN What's wrong, Stephen? -LRB- looks at her. -RRB- C'mon, you only beat up the roof when something's on your mind. -LRB- beat. -RRB- How's Brian doing? STEPHEN He's out. HELEN I know he's out, but how's he doing? STEPHEN Y' know, I treated him better than any other probie I ever had. He probably hates my guts, but I did the best thing for him. I made him finally look in the mirror. HELEN Ah Stephen, that's what this is really about, is n't it? You always have to be right. STEPHEN Hey, I'm the first one to admit when I'm wrong. HELEN Yeah? When was the last time? STEPHEN In a fire? Never. -LRB- beat. -RRB- Look, I'm his brother. I care about him, y' know? He was going to get himself killed. Maybe not today, maybe not in a year, but it would've happened. And I could n't - I just could n't. HELEN You ca n't keep being his father. Stephen sighs deeply. STEPHEN You know what I realized today? I ca n't remember my dad's face anymore. There's pictures of him staring at me everywhere I go, but the guy behind them. he's gone. He sighs and hops down from the roof to the driveway. STEPHEN I'll see ya around, Helen. She watches him as he walks lonely up the street.","INT. CITY MORGUE - DAY A Lab Tech, RICCO, leads Brian and Rimgale through the autopsy area till they come on two corpses lying side by side covered in plastic. RICCO Okay, Alan Seagrave and Donald Cosgrove. If you say so. Brian's stomach does a half - gainer as he's confronted by two hideously charred bodies. RICCO Both deaths due to close encounters with stationary objects ; office door for Mr. Cosgrove,'89 Porsche for Mr. Seagrave. No non - relevant traumas. No significant blood toxicology. Attitude of both trajectories consistent with explosions. Brian is discreetly avoiding his gaze, whistling quietly to himself as he looks over specimen jars on a shelf. RICCO They ran the residue you scraped from both crispers' front doors. It's a combination of plumber's putty and rayophene gum. Burns almost completely away when you light it. SHADOW Putty? On both doors? RICCO There's something else kinda interesting. Ricco lifts Benton's charred shoulder. Underneath we see some of his clothes that have melted and co - mingled with his flesh. RICCO See this? A credit card has been fried right into Cosgrove's skin about where his back pocket should have been. RICCO Guess he did n't leave home without it. Ricco erupts in a honking laugh, then switches instantly back to a business tone. RICCO Anyway, down here, take a look. SHADOW McCaffrey, hold this for us. BRIAN Uh, I do n't think that's in my contract. SHADOW I just re - wrote your contract. C'mere. With supreme reluctance Brian pulls the crisper's head and shoulder away from the table. RICCO Jesus Christ, he is n't gon na try to sell you insurance, lift him. Brian gathers the torso up and hoists him higher. RICCO -LRB- to Rimgale. -RRB- See that patch of shirt? We wondered about the discoloration so he ran a spectro. On a lucky shot we picked up some traces of Trychticholorate. Nobody around here had ever heard of it. SHADOW Trychticholorate? Alright, it's an absorption catalyst in toxic waste accidents. It's pretty rare, they stopped making it a couple'a years ago. RICCO Probably got in Cosgrove's clothes in a gas state from the fire. SHADOW What the hell was it doing in the fire? RICCO That's your job. At that instant, Cosgrove's eyes OPEN and his body SIGHS. Brian DROPS the body in shock and backs away, stunned. SHADOW I asked you to hold him, not feel him up.","INT. RIMGALE'S CAR - DAY Rimgale's FD sedan. Brian is still wringing imaginary guts off his hands. Rimgale tosses an open fire chem book in his lap. SHADOW Read. BRIAN `` Trychtichlorate is a binary structured -'' SHADOW - Go to the bottom. Under heat properties. BRIAN `` During heat episodes of 2000 Kelvin or higher, Trych breaks down and dissipates. Will consume magnesium''. SHADOW Ever burned magnesium? It's so hot it takes water molecules and BAMM! Rimgale CLAPS his hands next to Brian's head, STARTLING him. SHADOW Son of a bitch tears'em apart just to eat the oxygen. Would n't take much at all to melt ten gauge wire. Problem's burnt magnesium leaves a powder trace - unless you could find something that would eat its residue. BRIAN Trychticholorate. Then Swayzak can announce Seagrave was a murder. Rimgale looks at Brian. He's getting tired of this. SHADOW Look, it is n't proof, okay? Someone may have put the chemical in the outlet, but we found it as a vapor in Cosgrove's clothes. BRIAN And the putty around the door? SHADOW Even if it was used to seal the air off, that does n't explain why someone would go to the trouble of a backdraft. A gun's a helluva lot easier BRIAN But the right guess on this is arson. SHADOW I do n't guess. BRIAN Some people say you do n't do much of anything when it comes to this case. SHADOW I do n't work for them, either.","INT. ARSON HQ - DAY Brian's sitting at a desk. He's finishing up a huge paper clip Tyrannosaurus. The phone RINGS. BRIAN Arson. JENNIFER Straightest answer your department's given me all week. We see Jennifer's calling from her office, she's busy signing papers brought to her and okaying campaign posters as she talks. BRIAN Hey. JENNIFER How's it going? BRIAN Boss and I are up to about three words an hour. JENNIFER -LRB- to secretary. -RRB- Green committed to a thousand. -LRB- to Brian. -RRB- There's another fund - raising party tonight. Marty'd really like you to come. BRIAN I do n't know, I'm kinda swamped here. He tosses a paper airplane. JENNIFER I could use a date. BRIAN Yeah? Well, maybe I can fit it in. RIMGALE'S VOICE McCaffrey! Come here! BRIAN -LRB- into phone. -RRB- Call ya back. Brian hangs up quickly and walks back into","INT. ARSON HQ - ANOTHER ROOM - DAY Rimgale's there, crouched excitedly beside a trash can that's lid's been sealed closed. He tamps a piece of putty on the rim and backs away. SHADOW Take the top off. Go ahead. Take it off. Brian walks over and RIPS OFF the lid. - Instantly a tongue of flame SHOOTS straight up past his head and BLOWS out. BRIAN Jesus! Rimgale's grinning like a little kid. SHADOW That's it! Oh, that son of a bitch, he's different, goddamn it! You see what this tells us, huh? Our killer does n't love fire! BRIAN What? SHADOW -LRB- pulls out file. -RRB- I got it after we talked to Ronald. Torches. Want to fry the whole goddamn world. But the fires that killed those guys never really burned up much. - The burns were all lit in outlets surrounded by double firebreaks in the walls. And he made his burns backdrafts. BRIAN But he killed these guys. SHADOW But he could have killed everybody there. The firebreaks kept it from spreading in the wall. The backdraft blew out the flame. That's it. That's the reason. BRIAN What reason? SHADOW Why backdrafts. Whoever fried Seagrave and Cosgrove went to a helluva lot of trouble to make sure they died by fire, but also made sure the fire blew itself out. BRIAN That's why the sealant on the doors. So what have we got, a torch with a conscience? SHADOW No, we have a stone killer trying to make a point. BRIAN Are you going public with this? SHADOW No. Do that and I guarantee you'll scare him off. I do n't want him running away.","EXT. PARTY BOAT - NIGHT A Latin band cuts loose as beautiful people mill about against a beautiful Chicago skyline. An AIR HORN blows, and suddenly the skyline is MOVING. We're on a huge, private party boat.","EXT. PARTY BOAT - NIGHT Brian's leaning on the boat railing watching the passing parade of rich and beautiful. Across the sea of champagne and brie, he spots Jennifer talking with her boss, Swayzak. He has his hand on her back. Jennifer spots Brian. She smile, detaches herself and walks over. JENNIFER Hi. BRIAN -LRB- eyes on Swayzak. -RRB- Hey. -LRB- beat. -RRB- So are you dating your boss or what? JENNIFER If you were n't at least the 300th person to ask me that, I'd probably be pissed. -LRB- beat, sighs. -RRB- Boy, you sure know it's a man's world sometimes. BRIAN Sorry. -LRB- beat. -RRB- Are you dating anyone? JENNIFER You think that's really any of your business? BRIAN Well, you did invite me here. JENNIFER Marty did. -LRB- beat, smiles. -RRB- But I wanted you to come to. Swayzak suddenly appears with his entourage. SWAYZAK Mr. McCaffrey. BRIAN Nice boat. SWAYZAK It is n't mine. -LRB- to photographer. -RRB- Let's get a picture. Swayzak swings around and puts his arm cheesily around Brian's shoulder. Another staffer slaps a SWAYZAK FOR MAYOR sticker to Brian's lapel. Jennifer rolls her eyes to Brian. I'm sorry. Snap. SWAYZAK -LRB- seeing someone else. -RRB- Larry! -LRB- sotto to Jennifer. -RRB- What does he do again? Swayzak leads her off in pursuit. Left alone, Brian turns to the railing, stares off at the passing city. You can hear the wind - up of a siren. And there it is now, an engine company zooming along Wacker Drive. Something digs and kicks inside of Brian as he watches it disappear. JENNIFER How's the job going? She's appeared again beside him. BRIAN Okay. JENNIFER Boy, Rimgale's as slow as a snail, is n't he? BRIAN No, he's more of a dinosaur. Guy's not a dummy, though. He's juggling alot of balls on this one. JENNIFER Yeah, but it does n't take Albert Einstein just to figure out if these guys were killed by accidents or not. BRIAN Jesus, give him a break. There is n't enough proof yet to go public. Sure, we found some chemical shit we think somebody dumped in the plugs to torch'em, and we've maybe figured out why backdrafts, but you ca n't rush this stuff. Not'till it's locked. JENNIFER But Rimgale's probably going to come around to arson. BRIAN In a dinosaur kinda way, yeah. BAMM! Both of them look up sharply. A woman drunk out of her mind has tipped over in her chair. She laughs, her fellow tablemates laugh, everybody laughs. Jennifer takes Brian by the arm in the opposite direction and smiles. JENNIFER Save me.","EXT. PARTY BOAT - NIGHT The band's completely cut loose now. A wild percussion rhythm that has everyone on their feet dancing like madmen. Brian and Jennifer stomp and sweat and shake and giggle through hair crazily askew. The lakeshore is twinkling and wonderful as it slips past. The drums beat faster and harder and the only thing that is n't moving now is their eyes - eyes locked on each other.","EXT. ARSON HQ - NIGHT Sweaty, flushed with the evening and a few drinks, Brian and Jennifer pull up in her car. BRIAN Thanks for the invite. JENNIFER Got anything to drink in there? BRIAN Oh, there might be something stashed away for emergencies.","INT. ARSON HQ/FIRE STATION The regular engine company's gone to bed and the arson squad's packed in for the night, leaving the apparatus floor quiet and dim as Brian and Jennifer enter. Brian leads her back past the engine and arson sedan to the rear where Rimgale has his offices. As they walk Jennifer's eyes drift up to the old sculpted parapets, the press - tin ceiling. BRIAN This is one of the oldest fire stations in the city. Lotta tradition locked up in here. What do you think? JENNIFER Homey. BRIAN See that trap door up there? That used to lead to the hay loft when they had horse - drawn engines. It was pretty different then. but kinda the same, y' know? JENNIFER Do you miss it? -LRB- he does n't answer. -RRB- You seem like you do. BRIAN When I came back, I knew more than anything else that I wanted to be a fireman. JENNIFER Then why did you quit? BRIAN I wanted to be a good one.","INT. ARSON HQ - BACK OFFICES They walk into the back arson offices. Brian pokes through a few drawers, one or two shelves. Finally he lifts a squat, specialized fire extinguisher. The bottom has been hollowed out, leaving room for a fifth of bourbon. BRIAN Old firehouse trick. He pours her a glass. Jennifer takes a generous sip of her's, turns, brushes past him and breathes, JENNIFER So show me your fire truck.","INT. ARSON HQ - APPARATUS FLOOR Brian escorts Jennifer along the side of the behemoth. BRIAN Well, our specimen here is your basic standard issue piece of primary suppression equipment. This area is the pumping panel, which controls the rate of liquid insertion into the hose. JENNIFER Uh huh. Brian lifts a narrow, tapered straight - bore nozzle. BRIAN This is a six inch playpipe, cast bronze to keep it firm during hard flows. -LRB- picks up another item. -RRB- This is our pipe extender, used in forward lays. -LRB- moves on. -RRB- This is our hard suction line. Our adjustable insertion nozzle. -LRB- comes around back of trunk. -RRB-. And this is the hose bed. Beat. The air cracks between them. And is brushed aside. In an instant they're all over each other. Tangled lips and gulping breaths. Jennifer abruptly breaks it off - And looks mischievously up at the hose bed, with its long curling rolls of soft cotton. Brian does n't remember this precise scenario being discussed at the academy, but he improvises admirably, popping up onto the hose bed and offering a gentlemanly hand to Jennifer. As they tumble into the soft folds","EXT. HIGH-RISE - NIGHT Engine 17 roars up, lights flashing, to a high - rise. As the crew jumps down Tim trips and falls flat on his face. GRINDLE Jesus Tim, if you're going to kill yourself at least wait till the fire, it's better P.R.","INT. ARSON HQ - HOSE BED - NIGHT Jennifer unbuttons Brian's shirt. JENNIFER Tell me about the playpipe again. She pulls the shirt off his shoulder as we","INT. HIGH-RISE - LOBBY - NIGHT Engine 17 walking up to a frazzled security guard in the lobby. STEPHEN Where is it? SECURITY GUARD Do n't know. There's alarms going off on three different floors. STEPHEN Wonderful. They climb into the elevator.","INT. HIGH RISE - ELEVATOR - NIGHT It's cramped on the way up with the bulky coats, helmets, hose rolls, and the tangible nervousness that always goes with this kind of fire. The elevator Musak plays 101 Strings version of `` Tie A Yellow Ribbon ` Round The Old Oak Tree''. TIM How do we know if the floor's going to be on fire? STEPHEN If the doors open and it's hot, do n't get out.","INT. ARSON HQ - HOSE BED Brian pulls off Jennifer's stockings. As she kicks it away.","INT. HIGH-RISE - UPPER FLOOR - NIGHT The elevator stops. DING. The door opens. No howling blaze, not even any noise, but enough hanging smoke that you ca n't see your hand in front of your face. They fan out gingerly onto the floor, looking for the fire. Hide and seek in a white fog bank. Everybody stops and listens. Slowly, carefully, they feel their way through the haze. STEPHEN It's here. On cue something snakes past behind the walls, whispers and whines and shivers up and over them and then is silent. Grindle attaches a hoseline to the building standpipe. GRINDLE These high - rise gigs give me the creeps. AXE Let's wait for a back - up, Stephen. We're early on this one, it has n't even broke out yet. We're one short as it is with Brian gone. But Stephen's on the hunt now. Obsessed. STEPHEN Want to learn something? TIM Yes sir! Stephen and Tim take the lead, their axes gripped like shotguns. Grindle backs them up with a charged hoseline. STEPHEN Adcox, go with Pengelly and check the other side. AXE It is n't safe, man. Do n't go splittin' us up. Not with this one. STEPHEN - What the hell's the matter with you? You always check the other side. I have n't got time for bullshit right now, okay? We got a job here. AXE Let me take the lead, Stephen. STEPHEN Goddamn it Adcox! Just do your fucking job! Adcox folds. With a stricken look on his face he takes his crew down the other way. Stephen and Tim slowly feel their way. CRACK Everybody SPINS around in terror. Nothing. Something inhuman giggles down ahead of them. Stephen smiles. STEPHEN -LRB- like a mantra. -RRB- Oh, you're so very sly, but so am I. -LRB- to Tim. -RRB-. Listen to it. you can tell when a wall cracks which way it's gon na jump. you can hear the doors breathe if they're hot. Tim looks confused. He does n't get it. They come to a side door. Stephen runs his hand down the jam, feels for heat. Then he steps back, takes a deep breath, and CRASHES the door down with one AXE BLOW. Quiet inside.","INT. ARSON HQ - HOSE BED - NIGHT Brian and Jennifer are into the rhythm now, breathing deeply. On the wall above them are framed photos of dead firemen. Watching.","INT. HIGH-RISE - SECOND DOORWAY - NIGHT Stephen concentrates on the sound of the fire above him, - then abruptly turns and CRASHES down another door.","INT. ARSON HQ - ALARM KLAXON GOES OFF - NIGHT Brian and Jennifer lie in a tight embrace, enjoying the moment, the lull, as suddenly the lights SNAP ON and an alarm klaxon BELLOWS. Firemen are coming down the pole now. JENNIFER What's going on? They frantically climb into their clothes. The firemen have n't noticed them as they climb aboard. They've STARTED THE ENGINE. JENNIFER What are they doing?","EXT. ARSON HQ - STREETS - NIGHT And before either of them realizes it, they're suddenly pulling out into the street and WAILING off down the block. The wind's wild in their hair, the siren deafening, the flashing red lights blinding staccato, And Jennifer loves it. She kisses Brian fiercely, he lets out a war whoop lost in the blast of air, and together they hold each other as the night screams past and.","EXT. HIGH-RISE - NIGHT Engine 17 pulls up into the parking lot of the high - rise fire. Firemen leap out of the cab and rush around behind to pull off lengths of hose from the bed. As the folds curl away the fireman is stunned to see a woman's stocking come out with it. With equal shock he looks up and watches as a disheveled and grinning Brian and Jennifer climb calmly down out of the bed. BRIAN Excuse us.","INT. HIGH-RISE - TIM'S DOOR - NIGHT Stephen and Tim creep along the hall. STEPHEN -LRB- to Tim. -RRB- Lotta smoke, but it is n't rolling. that means it's hiding. staying sleepy. one of these doors. Tim's come to one. STEPHEN -LRB- to himself. -RRB- Easy. no hurry. you're not going anywhere. Stephen BANGS down another door. Sticks his head in to check. A little woodpecker toy dips up and down in a glass of water. Tim readies his axe before his door, gathers his courage as Stephen comes out of the room he was checking. Sees Tim lifting his axe. STEPHEN Did you check the door for heat, Tim? Tim does n't hear. The axe is already up. STEPHEN Tim? Tim's committed now, coming hard at the door. And Stephen sees it for just an instant - Small tendrils of smoke edging lazily around the door - then being sucked back in. STEPHEN Tim! He rushes for Tim as Tim's axe SMACKS the door and a whine behind it builds and roars and howls and Tim's all follow - through now, hitting the door with his shoulder as The door EXPLODES OUTWARD, HURLING TIM against the opposite wall and for an instant he's okay but he freezes in terror as A SHRIEKING TONGUE OF FLAME SHOOTS OUT THE DOORWAY and Grindle shouts in horror and opens his hose line as the flames wrap Tim like a jealous lover as Adcox hears it and screams, AXE Oh God! Oh God no! And Tim's screaming now too, because his helmet, his mask, his face, it's all melting and Grindle dives suicidally at the monster, BLASTING it with his hose as Stephen ignores the flames and puts his arms around Tim as Grindle DOUSES them both, killing the flames. The monster rolls wounded back into the room, into the air shafts as Tim whimpers incoherently, sliding down the wall as Stephen tries to help but oh God you ca n't tell what's face and what's mask and helmet anymore. Grindle looks back where the fire came from. There's a corpse in there, burned and lying between two doors. Adcox rushes to Tim's side sobbing and it's the end, the end of the goddamn world.","EXT. HIGH-RISE - NIGHT Brian and Jennifer are having the time of their lives, when suddenly a group of firemen pass by rushing someone on a stretcher to an ambulance and Brian sees - sweet Jesus - it's Tim. Jennifer turns away in horror. They load Tim into the van as Adcox and Grindle jump in to ride along. To hold his hand. Stephen watches the ambulance disappear out into the street. Frustration and fury tear at him as he takes off his coat and slams it to the ground. He kicks it, kicks it till his strength's gone. He turns, his wounded eyes finding Brian.","INT. HIGH-RISE - NIGHT Rimgale walks down the smokey corridor. The charred civilian is there, sitting in the short stretch of hall between two blown doors. Through the haze Rimgale sees Stephen crouched in the interior room, picking at the debris. Lost in himself. STEPHEN Hey, Stevie. Stephen stands and looks around the room, seemingly unaware of Rimgale. He walks wordlessly straight out past him, his eyes streaming with tears.","INT. HOSPITAL - EMERGENCY ROOM - NIGHT Brian shoulders his way through the emergency room. He passes a small alcove full of vending machines. Adcox is there, sipping a paper cup, leaning against the machine in deep anguish. BRIAN Is he. AXE He's alive.","INT. HOSPITAL ICU - NIGHT Further down the hall is ICU. Grindle and Santos are there, sitting outside the room, raw and weary. Grindle nods to Brian. Everyone's still stained and smudged from the fire. Everyone but Brian. Brian looks through a door window into the room. There, surrounded by doctors and physicians, lies Tim. He's been cut out of his uniform. Gauze bandages everywhere. As a pair of forceps peel some away Brian glimpses what used to be a face, now only reds and browns and leaky whites. He turns away. BRIAN Do they think he'll pull through? GRINDLE They're not saying. BRIAN I should have been there. NIGHTENGALE None of us should have been there, Brian. Voices rise down the hall. Turn to shouts. It's Adcox and Stephen, tearing heartbreakingly into one another. Brian ca n't make out the words but it's ugly, emotional. Abruptly it ends and Stephen emerges from the alcove, walking toward them upset. BRIAN You had to do it, did n't you? Stephen's got other things on his mind. STEPHEN Not now, Brian. BRIAN Had to take on another fire bare - handed, huh? Had to be fucking myth man in there instead of looking out for your probie. Is that what happened? Is it, Stephen? STEPHEN I had that fire. He did n't listen! BRIAN He did n't listen? He was a fucking candidate! He was your responsibility. He should n't have been there in the first place, Stephen. -LRB- beat. -RRB- You burned him. STEPHEN Fuck you. Brian grabs his arm. Stephen SNAPS and roughly PUSHES Brian, knocking him against the wall. Brian comes off it in a flash and is all over Stephen. They go down and it's all thrashing and shouting now. A horrible, endless draw. Grindle and Santos are in it, pulling them apart, holding them up against opposite walls. Both brothers glare at one another, tears filling their eyes. Brian shakes Grindle off and walks away.","INT. ARSON HQ - BRIAN'S DESK - MORNING Brian sits staring blankly. A newspaper drops in front of him. FIRE DEPT.. SAYS IT'S MURDER. Rimgale stands above him. SHADOW Goes on about how the break was made through the discovery of `` chemical traces'' and a `` behavioral link''. Oh, and Swayzak's quoted saying the chief investigator is closing in on the torch and expects an arrest `` any time''. Brian's eyes wince closed. SHADOW Get your stuff and get out.","INT. JENNIFER'S OFFICE - DAY She's pouring some coffee as Brian bursts in. JENNIFER -LRB- surprised. -RRB- Brian. What's wrong? BRIAN You told Swayzak about our arson lead. It's all over the fucking news. JENNIFER I did n't know it was a secret. There are n't supposed to be secrets between the city and its investigators - BRIAN - Bullshit! You knew what I told you was n't ready for the papers - JENNIFER Will you please keep your voice down, there's people - BRIAN - You could have scared the son of a bitch off. We may never bust him now. All for a couple's political points. JENNIFER I was doing my job. BRIAN -LRB- grabs her arm. -RRB- Yeah? And just how much of all this has been `` doing your job''? JENNIFER -LRB- shakes it off. -RRB- Let me ask you something, do you really think Marty had you assigned to arson because of your firefighting skills? Who the hell are you kidding? I was there, remember? I saw you and your brother - BRIAN Leave Stephen out of this - JENNIFER Oh yeah, he's the real fireman. -LRB- beat. -RRB- Who are you? Just another probie working for Swayzak - BRIAN - I work for the city. JENNIFER You knew what we were asking you to do. Do n't suddenly pull out a conscience now. The fit is n't right. Swayzak appears in the doorway. He looks haggard, as if he has n't slept. There's something haunted in his eyes. SWAYZAK Mr. McCaffrey. Keeping busy? BRIAN Yeah. In fact, I just dropped off a letter to the Times explaining how yesterday's arson announcement was a fabrication by your office. They loved it. And you know what? You were right, my family background in firefighting gave it weight. JENNIFER Oh Brian. Brian shoulders his way past Swayzak and walks out.","INT. HOSPITAL - TIM'S ROOM - NIGHT Brian walks up to Tim's room. Stephen's sitting there, ragged looking. Inside the young probie lies wrapped in tubes and gauze and years of wasted promise. An EKG beeps, a respirator hisses, and Brian gulps down something heavy in his throat. STEPHEN He's gon na live. Maybe not much else, but he's gon na live. Stephen walks away.","EXT. ARSON HQ - MORNING As Rimgale gets out of his car a limousine pulls up. Swayzak opens the rear door from inside. SWAYZAK Inspector. SHADOW Alderman.","INT. SWAYZAK SEDAN - DAY Cruising through traffic. Swayzak is disheveled, unshaven, fidgety. A man who has n't slept and had a few drinks before the one he's pouring now. He offers one to Rimgale. SHADOW I usually have breakfast first. Swayzak apparently does n't. SWAYZAK When are you going to catch the prick that's doing this, Don? SHADOW `` Don?'' SWAYZAK Do n't you have any leads at all? SHADOW No Marty, I do n't. For the first time, Rimgale sees real fear on Swayzak's face. SHADOW We still have n't found a connection between the victims. SWAYZAK Jesus, open your eyes! Seagrave, Cosgrove, and now Holcomb - fried in a goddamn high - rise! SHADOW Holcomb? I did n't know the name of that victim had even been released yet. The sedan stops back at arson HQ. They'd gone around the block.","EXT. ARSON HQ - SWAYZAK SEDAN - DAY Rimgale opens the door, climbs out, lingers. SHADOW Is there a connection between them, Alderman? SWAYZAK Just catch the son of a bitch. The door shuts and Swayzak roars away.","INT. ARSON HQ - BACK OFFICES - DAY Rimgale walks back into his offices. He's surprised to see Brian there working at his desk. SHADOW What the hell are you doing here? BRIAN I'm finished with Swayzak. I'll do whatever you want me to do. I just want to help catch the guy that burned Tim. You got ta give me another shot. Rimgale stares at Brian, appraises him.","INT. HIGH-RISE A CLOSE UP of Rimgale POPPING the molding around the door frame of Holcomb's burned office. Underneath can be seen traces of the same white residue from the other fires. SHADOW I thought ` ol Marty was acting a little strange. And he's right. Rimgale rubs the white powder between his fingers. BRIAN Backdraft? Rimgale stands at the spot in the short hall where the body lied between two doors. SHADOW The backdraft was set somewhere in there. It fried Holcomb when he opened the inner door. But the outer door held. and waited for Tim. Brian steps into the inner office. SHADOW So find me the fire. Brian begins searching, probing. He finally stands. Defeated. SHADOW You're thinking too much of the building and not enough of the ghost. Brian's eyes do n't understand. From Rimgale's coat comes a plastic flask. He pours out of it a liquid onto the floor and lights a match. SHADOW In a word, Brian, what is this job all about? BRIAN Fire. Rimgale drops the match. WUMP. A small flame explodes to life. SHADOW It's a living thing, Brian. It breathes, it eats, and it hates. The fire's climbing a wall, chewing a corner. SHADOW The only way to beat it is to think like it. To know that this flame will spread this way across the floor not because of the physics of flammable liquids or heat convection, but because it wants to. FWUMP. It darts west. Licks the ceiling. The fire purrs and hisses. Stretches luxuriously and attacks savagely. SHADOW Some guys on this job, fire owns them. It makes them fight on its level. But the only way to truly kill it is to love it a little, just like Ronald. Brian stares at the flame. A goblin reaching out for him. - Woosh! Rimgale hits it with a fire extinguisher. In an instant the goblin is gone, the genie in the bottle. VOICE What the hell are you guys doin'? A young woman's entered. SHADOW We're the fire department, lady. WOMAN Well color me stupid, I always thought the fire dept. put out fires. SHADOW -LRB- to woman. -RRB- You work here? WOMAN Till yesterday. What do you think the odds are that a non - refundable ticket to Paris survived this? BRIAN Somewhere between zero and no way. WOMAN Shit. What a mess. SHADOW You seem real broken up about Mr. Holcomb. WOMAN Jeff Holcomb? The Darth Vader of tax accountants? He was a sleezeball. Hopefully a sleezeball that carried some insurance. BRIAN Go talk to the building owner. WOMAN He was the building owner. BRIAN Our book lists the owner as Dekom Trust. She looks at him like he's the dumbest human she's met all week. WOMAN Do n't investigators come in adult size?","INT. FIRE STATION 17 - OUTSIDE STEPHEN'S OFFICE - DAY Sequence omitted from original script.","INT. FIRE STATION 17 - STEPHEN'S STATION OFFICE - DAY Stephen's lying sprawled on his bunk, his hands pressed over his eyes. There's a voice outside the door. GRINDLE Stevie? Rimgale's here to see you. STEPHEN I'm busy. GRINDLE He just wants to - STEPHEN - I'm busy goddamn it, okay? A beat, then Rimgale himself enters. STEPHEN What, they do n't knock on your planet? Rimgale takes in Stephen's room, the half empty bourbon bottle. Without a word, Rimgale walks over and pours it out. He sits down beside Stephen. SHADOW I still have n't gotten your fire report, Stevie. On Tim. A wave of pain rolls through Stephen. STEPHEN I'm working on it. SHADOW I deal with this stuff every day. But a fireman. you never get used to it. -LRB- beat. -RRB- What happened up there? He was a candidate. Did he pay attention? Was he listening? STEPHEN He was n't listening to the right thing. SHADOW What do you listen to, Stephen? STEPHEN You do n't know. nobody knows. SHADOW I might. Stephen's eyes meet Rimgale's and hold. STEPHEN It knows us. This one knows us. SHADOW -LRB- beat. -RRB- I need that report, Lt. Stephen takes Rimgale's notebook out of his lap, rips out a page, and writes angrily in huge block letters. STEPHEN Tim - went - to - the - fire - and - now - he - does n't - have - a - face. Stephen throws the sheet at Rimgale, stands, and walks out.","INT. HALL OF RECORDS An Escher drawing of a place, endlessly vast racks spun around an open central core. High up, lost among its rows, Brian is going through rack after rack of dog - eared record books as Rimgale enters down below. BRIAN -LRB- trying to hold it together in his mind. -RRB- Hey boss, Dekom Trust is owned by Pan Illinois. which is majority controlled by Lakeside Dynamics. which is a division of Windy City Ventures. who's partners are. -LRB- beat. -RRB- Alan Seagrave, Donald Cosgrove, and Jeffrey Holcomb. SHADOW Son of a bitch. They knew each other.","INT. HALL OF RECORDS More books. Files. Acres of paper. BRIAN So Seagrave and Holcomb were accountants. SHADOW And Cosgrove. Coppers figured he laundered money for the mob before getting into real estate. They were n't very high on Seagrave, either. BRIAN Nice bunch of guys. SHADOW Who all ended up wearing candles for faces. -LRB- beat. -RRB- Swayzak's up to his ass in this somehow. Guy can barely hold a drink in his hand, he's so scared. A beat, then he looks directly at Brian. SHADOW We need to get a look at his files.","EXT. ROOFTOP RESTAURANT - NIGHT Sequence omitted from original script.","EXT. LAKESHORE - DUSK With glowing skyscrapers leaping up in the background, it's an unexpectedly quiet, serene place along the lake. Jennifer sits alone at a bench, watching an ancient fisherman look for dinner, as Brian walks up. JENNIFER Hi. BRIAN Hi. JENNIFER We still talking? -LRB- beat. -RRB- Look, I'm sorry about the other day - BRIAN Swayzak knows something about the guys that were murdered. I want to know why he keeps that hidden. JENNIFER I do n't know anything about it. BRIAN You could check. It'd be in his files. JENNIFER -LRB- beat. -RRB- Do you know what you're asking me to do? BRIAN Yes. JENNIFER Y' know, four years ago I was working in a bakery. Two years ago I was bringing Marty coffee and he did n't even know my name. I run that office now. Marty believed in me and I believe in him. You want me to just throw that away? BRIAN Your boss is lying, Jennifer. And it hangs between them, two people lonely on the edge of the lake.","INT. BRIAN'S APARTMENT - NIGHT Sequence omitted from original script.","INT. HELEN'S GARAGE - NIGHT At a workbench, under a single lamp, Stephen stands amongst a confusion of tools, wire, And a wall socket. With a pair of pliers, he tugs at something within the socket, puts the face - plate back on and screws it down. He stares at it, and we feel the sudden wave of hopelessness cascading through him. He sets the socket back down - and SCATTERS everything aside in a single, furious move.","INT. HELEN'S HOUSE - NIGHT Sequence omitted from original script.","EXT. HELEN'S HOUSE - NIGHT Stephen's sits quietly against Helen's back door, lost in himself. A light comes on. Helen opens the back door. HELEN Stephen? She sits down beside him. STEPHEN I'm sorry. I. could n't sleep. HELEN What's wrong? STEPHEN I. -LRB- beat. -RRB- It used to be, when I was a kid, what meant most to me about this job was there were no ifs. Life and death, right and wrong. When someone called the fire department, we came. Those guys do n't know how much I love them. You do n't leave people hanging. cause that's what it's all about. It's loyalty. It's'till death do us part. Is n't that what you heard? It's you go, we go. Cause without that, it's the end of families, it's the end of the fire department. and when the fire department stops coming. that's the end of the fucking world. -LRB- beat. -RRB- I'm sorry I came, Helen, it's just. it's just there's nobody I can talk to. -LRB- beat. -RRB- I miss you. The moment lingers, grows heavy and grey.","INT. HELEN'S HOUSE - BEDROOM - NIGHT Stephen and Helen in bed, holding each other.","INT. HELEN'S HOUSE - KITCHEN - MORNING Morning, and Stephen dressed, making eggs for three. Sean's there, lending a hand, beaming as Stephen tries to show him how to flip an egg. Helen enters in her robe. He kisses her. STEPHEN Cook and I are almost finished here. Have a seat. HELEN Stephen. I. can I talk to you a second. Stephen musses his son's hair and follows her out into the hall. STEPHEN Look, I'm sorry I - HELEN - No, that's okay. It's just Sean. STEPHEN - He's gettin' good on those eggs. And y' know, he told me he actually likes the piano. HELEN I do n't want to confuse him, Stephen. The blow's so long and hard and deep you do n't even see it. HELEN It's. It's just things have changed. you're the same, Stephen, but things are different now. you've got a son. you're the best at what you do Stephen, you always were, but you scare me now. Just then, Sean sticks his head into it. STEPHEN -LRB- to Sean. -RRB- Hey. Sean - man, your dad blew it. I forgot I had to work this morning. SEAN Aw dad, c'mon. STEPHEN Next time, huh? We'll do it up big. Promise. Helen's turned away. SEAN Okay. -LRB- then sotto. -RRB- Mom's crying, dad.","INT. SWAYZAK'S OFFICE - CITY HALL - MORNING Jennifer enters Swayzak's inner office. His chair's turned away toward the window. JENNIFER -LRB- holding print - out. -RRB- Latest polls came in, Marty. -LRB- he does n't answer. -RRB- Marty? Finally the chair turns, revealing a haunted man. Polls are far from his mind. JENNIFER Jesus Christ, Marty, what's going on? SWAYZAK Leave me alone. She sees a fire department file on the murders open on his desk. JENNIFER We've come a long way together, Marty. I've staked my whole career on you. And now you're sneaking around this office, leaking things to the papers behind my back. -LRB- beat. -RRB- Is there something you're not telling me about these deaths? Swayzak's eyes are dead metal. SWAYZAK No. And he turns his chair around again. Jennifer stands there a beat. - Then turns to the filing cabinets.","EXT. BRIAN'S APARTMENT BUILDING - NIGHT Brian drives up and parks. He's half way to the staircase when he sees someone sitting in the dark in a car. BRIAN Jennifer? She hands him a manila envelope. BRIAN What is - JENNIFER Just take it. Silence. BRIAN I'm sorry. JENNIFER That's a dumb thing to say. BRIAN You're right. She starts her car. JENNIFER Goodbye, Brian.","INT. FIRE DEPARTMENT REPAIR DEPOT A cavernous hall full of dozens of fire trucks loaded on jacks. Rimgale's sedan's there, the repairman shaking his head in amazement at the undercarriage. REPAIRMAN What the hell do you do with this thing? Rimgale's looking through the report Brian's handed him. SHADOW This is the copy of Swayzak's manning report that was released. Everybody on this job knows it's bullshit but we could never argue with the numbers. They're all airtight. BRIAN Yeah? Airtight? He dumps three more reports on Rimgale. BRIAN I've got three different drafts of the same report - with different numbers that're all over the place. Looks like they were just making it up as they went along. SHADOW Did a little check on the consulting firm that wrote the report. They did exactly one job - Swayzak's manpower study. It's not even really a company. No employees, no directors, just a PO Box. BRIAN Then who wrote the report? SHADOW It had to be someone who knows numbers. Some kind of fancy accountant. But what's the connection? Brian hands him something else. A photograph. Swayzak and the other three, posing on a fishing boat, 1970. Time of their lives. SHADOW I think it's time Mr. Swayzak and us had a little heart to heart talk.","EXT. SWAYZAK'S HOUSE - NIGHT The red arson sedan pulls up to wealthy home. Rimgale and Brian walk up and knock on the door - it creaks open ajar. They push the door open slowly.","INT. SWAYZAK'S HOUSE - NIGHT It's dark as they enter. SHADOW Hello? Swayzak? Brian and Rimgale split up down different halls. It's the HISS Brian hears first. Then the FLASH of an electrical socket FLARING ice - cold cobalt blue. Suddenly the room's dimensions are there in frantic, strobing shadows. Chairs, a couch - - And a figure that JUMPS Brian. the light from the burning plug is a fierce strobe as the figure, a confused shadow, crashes Brian to the floor. They STRUGGLE. The figure GRABS Brian's throat. Brian PUSHES him back - Against the burning wall plug. The figure SHRIEKS in pain, gets his hand on a crowbar and SLAMS Brian - who crumples, dazed. The figure stands - just as Rimgale TACKLES him. The figure CRASHES across a gas space heater, SNAPPING the connection off. The figure SLAMS Rimgale HARD with the crowbar, squirms free, and stumbles out the door. Hissss. Rimgale climbs to his feet as fire eats at the wall. A baby backdraft wagging its tail. He goes to a dazed Brian's side, lifting him by his armpits and","EXT. SWAYZAK HOUSE - NIGHT helping him outside. Hissss. The ruptured space heater pumps gas furiously. Rimgale sees that. He also sees a bedroom door ajar on the far side of the house. And through the door a couch. And on the couch, A body. Hissss.","INT. SWAYZAK HOUSE - NIGHT Rimgale rushes back inside. It's Swayzak, unconscious.","EXT. SWAYZAK HOUSE - NIGHT Rimgale drags him out on the stoop beside Brian just as the gas WHUMPS and the doors and windows EXPLODE in a HOWLING FIREBALL, the shrapnel BLOWING Rimgale off his feet. Brian slowly shakes his head clear. He looks around, tries to orient himself. SHADOW Uh. I sorta got a problem here. Brian climbs up to his feet and walks over to where Rimgale lies at a weird angle, a piece of wrought iron fence punched through his shoulder.","INT. HOSPITAL - EMERGENCY ROOM - NIGHT Rimgale lies in an emergency room bed. SHADOW Well Brian, I guess you can say it's arson now. BRIAN How ya feeling? Rimgale grunts. BRIAN Did you pull me out? SHADOW Yeah. BRIAN Did I say thanks? SHADOW No. BRIAN Just wondering. SHADOW I hate hospitals. You're so. so goddamn useless. Rimgale suddenly kicks the bed frame in anger. He kicks it over and over with frustration till something finally SNAPS off. Brian waits, let's him vent his frustration. BRIAN So what do you want me to do? SHADOW I've been lying here hours. just thinking. We're close. -LRB- beat. -RRB- We're not looking in the right place, Brian. This one knows us and we're not looking in the right place.","INT. PRISON INTERVIEW ROOM - DAY Brian's sitting alone in a chair. Finally the opposite door opens and in enters Ronald. RONALD Well, Mr. Life magazine. Come all this way just to say hi? Brian hands him a stack of murder files. BRIAN I'm close. but I ca n't get who it is. RONALD So you came to me. -LRB- smiles. -RRB- Well, this is going to be an interesting afternoon after all. As Ronald starts to read the files","INT. PRISON INTERVIEW ROOM - LATER - DAY Brian still sitting there. Watching Ronald devour the statistics. The photos of charred bodies. Ronald finishes, leans back. RONALD Okay, here's the deal. I'll tell you a story, you tell me one. Fair? BRIAN Who's doing this? RONALD Your first question should be who is n't. It is n't a spark, Brian. Not enough damage. And an insurance pro? Where's the profit margin? BRIAN Then who - RONALD - No no, your turn. Tell me a story. BRIAN I do n't have a story. RONALD Sure you do. Ronald drops on the table a dog - eared copy of that 1972 LIFE magazine with Brian on the cover. RONALD Famous story even. Straight burn. Just an engine and truck first on scene. What did you feel, Brian, when you first got there? BRIAN What? RONALD You got ta tell a story too, Brian. It's fair. C'mon, do n't think too hard - BRIAN I. I thought it was great. I loved it. It was nothing to these guys. medium deal. RONALD Right. Light smoke, low roll. Couple'a civilians hollering - medium deal. So young fireman Adcox and Captain McCaffrey, they head up stairs, get out on the fire escape - McCaffrey does the ballsy jump across. what were you feeling, Brian? -LRB- Brian does n't answer. -RRB- C'mon, you promised. Be honest. -LRB- Brian just stares. -RRB- Okay. Guard! BRIAN - I wanted to be him. Right then I wanted to be him more than anything. RONALD -LRB- smiles. -RRB- Very good, Brian. - About your report here. The way to a torch's heart is through his tools. That's how you know him. It's the way he talks to the fire. And to you if you listen. BRIAN The outlets. RONALD That's a probie answer. You're smarter than that, Brian. BRIAN Trychticholorate. RONALD Good. - So our two heroes, Adcox and McCaffrey, they go back inside. Only there's another fire in there nobody sees. And it took your dad, did n't it Brian? Did you see him burn? In a flash, Brian suddenly reaches across and grabs Ronald by the collar. BRIAN Who the fuck is doing this? RONALD After it took your dad. the fire. did it look at you Brian? Did it talk to you? And Ronald sees something in Brian's eyes. He smiles. RONALD You see, our world's are n't so different. Brian releases Ronald. BRIAN -LRB- quiet. -RRB- Who's doing this? The arsonist smiles a creepy, horrible grin. RONALD Think, Brian. Who does n't love fire, but knows it better than anyone else? Who's around trychticholorate 24 hours a day? A cold shock rolls through Brian as he slumps back in his chair. BRIAN Oh Jesus Christ. RONALD Not such a far walk after all, is it, Brian?","EXT. STEPHEN'S BOAT - MARINA - NIGHT Brian climbs up onto Stephen's boat. Nobody home. He opens the cabin door, goes inside and hits the lights.","INT. STEPHEN'S BOAT - NIGHT There's cereal bowls in the sink, beer bottles on the table, And a stack of fire department supplies in the corner. His whole body aching with reluctance, Brian begins looking through them. Solvents, Armorall, a small specialty can of fire dept. chemicals. There's a label of ingredients on it. Way down at the bottom, Is trychticholorate. Nausea wracks its way through Brian. BRIAN Oh goddamn it Stephen. Footsteps. Brian spins around in stone shock as Stephen comes into the cabin. STEPHEN Hey, what are you doing here? BRIAN Just. Just wanted to say hello. STEPHEN So hello. Brian backs away from the chemicals. STEPHEN Well, long as you're here you can help clean up a little. I've got a guy coming to look at this in a few minutes. BRIAN You're selling dad's boat? STEPHEN Yeah, it's just another memory in my life right now. And I got way too many of them. BRIAN I really should get back. There's. there's something I'm supposed to do. STEPHEN Yeah? What have you got to do? -LRB- beat. -RRB- Look at you. Look at your face. All the things you must be thinking. Man, you must really hate my guts. Well, you know what? It's okay. BRIAN Look, Stephen, maybe we can talk about this some other - STEPHEN - Okay, so you do n't like me. You do n't like everything I've done. What, because I was n't such a genius the way I raised you? Jesus Christ, dad was gone, what was I supposed to do? You tell me, what the fuck was I supposed to do?! He KICKS the bulkhead wall. BRIAN It's okay, Stephen, I - STEPHEN - I tried, y' know? Helen's right. I do n't have all the answers, but goddamn it, I've got some. -LRB- beat. -RRB- Look, you're gon na do what you have to, and maybe I should n't have gotten in the way. I'm your brother, not your father. Go on. You got ta go somewhere? Go. Brian turns to leave. Pauses. BRIAN I saw it. STEPHEN Saw what? BRIAN When dad died, I saw another fire. STEPHEN Everybody did. BRIAN I saw it before it got them. I tried to yell, but. He asked me to look out for him. And I did n't do it. I let him die. STEPHEN -LRB- stunned. -RRB-. Jesus, you been carrying that around for twenty years? For christ's sake, you were seven years old! You think he could have heard you in there? BRIAN I hate him so much sometimes, Stephen. You do n't know how hard it was for me to put that uniform on. STEPHEN Maybe I do. -LRB- sighs. -RRB-. What a fuckin' mess, huh? -LRB- beat. -RRB- People can change Brian. BRIAN Sometimes right when you're looking at them. Brian sees the chemicals in the corner again and something freezes up inside. Stephen catches the look and there's horrible silence between them. BRIAN Oh God, Stephen, what's going on with you? STEPHEN I do n't know, Brian. I do n't know.","EXT. FIRE STATION 17 - NIGHT Brian stands before the fire station. His brother's and his.","INT. FIRE STATION 17 - UPSTAIRS LOCKER ROOM Brian PRIES the lock off Stephen's locker. Starts looking through it. Adcox comes out of the shower with a towel on, starts shaving in a mirror. He does n't notice Brian. Adcox turns to head for his own locker and the towel slips a little. And Brian's universe caves in. An icy claw tears out his stomach. Gulping breaths, he forces himself to look at Adcox's back. On it is a small, rectangular burn. It's fresh and it's the size of a wall socket. At that moment Adcox turns. The two of them stare at one another just a beat, then Adcox walks past him. Just then the alarm bells RING. Brian hesitates a beat, confused, then turns and runs down to","INT. FIRE STATION 17 - APPARATUS FLOOR Where firemen are scurrying around, suiting up. Brian looks frantically for Stephen, sees him out back.","EXT. FIRE STATION 17 - BACK OF STATION - SUNDOWN BRIAN -LRB- breathless. -RRB- - Stephen, wait a minute. I got ta talk to you. It's Adcox, he's - STEPHEN - What are you doing here? BRIAN I saw Adcox's back! I saw the burn! I put it there! Jesus Christ, Stephen, he's been killing people! STEPHEN I know. BRIAN How do you know? STEPHEN I knew when you came looking for the chemicals. Looking for me. BRIAN - What were they doing there? STEPHEN They were for the fucking boat, Brian. Grindles sticks his head out the back door. GRINDLE We got ta roll, Stevie. STEPHEN I'll be there. GRINDLE They're waitin' man. STEPHEN I'll be there, goddamn it! Grindle goes back in. STEPHEN -LRB- to Brian. -RRB- Anything else? BRIAN What are we going to do about this? STEPHEN I'll handle it. BRIAN We got ta go to Rimgale, Stephen. STEPHEN I'm his Lt. He's my responsibility. I'll handle it. Me. Stephen turns and walks toward the station. Brian's eyes go to a window just above it. There, watching him, watching the whole exchange between brothers, is Adcox. Adcox stares at Brian a beat, then finally disappears as Brian hears the cough of diesel engines. BRIAN Oh, Christ. Stephen. He starts running for the station.","INT./EXT. FIRE STATION 17 - NIGHT - It's too late. Adcox climbs aboard just as the engine company pulls out and whistles down the street. The ladder company is just easing onto the drive. Brian hesitates only an instant, then runs to the equipment racks, PULLS off the hooks his helmet, coat, boots - and jumps onto the truck as it takes off in pursuit.","INT./EXT. ENGINE COMPANY 17 - NIGHT As it howls down the avenue, Stephen turns around and stares at Adcox sitting behind. The glimmer of an understanding.","INT./EXT. TRUCK COMPANY 46 - NIGHT The laddermen look confused seeing Brian sitting among them. A CAR Suddenly CUTS the truck company off. The driver SLAMS the brakes, PUSHING the truck company into a HORRIBLE SKID. The back fishtails, the wheels JUMP the curb, BASH a mailbox, and then the whole rig ROLLS onto its side and DRAGS to a stop. It's tangled confusion in the rear cab. Firemen, unhurt, piled atop one another. Brian slides his way out from under them and looks down the street where plumes of smoke rise six blocks away. He starts running.","EXT. WAREHOUSE FIRE - NIGHT Flames and smoke curl from a huge industrial warehouse along the river as Brian, panting, runs up. He searches frantically through the maze of arriving engine companies, looking for number 17. There it is but nobody's home. Brian stops a passing captain. BRIAN Where are they? Where's 17? CAPTAIN On the roof. Brian looks up at the smoke and whirling firestorm four stories above him, feels the bile of fear in his throat, the desperation, - And begins strapping on an air tank.","EXT. WAREHOUSE - NIGHT Brian, now fully suited up, climbs the endless rungs of an extended aerial ladder.","EXT. WAREHOUSE ROOF - NIGHT Tongues of flame ROCKET skyward through ragged holes. Black clouds drift murderously, roofing tars bubble and hiss as the roof itself GROANS like a comatose dinosaur, reminding you the whole thing could go any minute - and you with it. Trudging alone across this alien, spongy surface, Brian looks for his company. It's almost impossible to tell anyone apart, faces hidden behind helmets and masks. Suddenly a cloud of smoke clears and there's two firemen near the edge, `` 17'' on their helmets. BRIAN Stephen - The helmets look up. Stephen and Adcox. Facing each other. Adcox cradles an axe. STEPHEN Brian? Brian starts to move beside Stephen but Adcox turns, tightens his grip on the axe, and now all the cards are on the table. A hissing black cloud drifts through. They're the only three people on earth. Adcox's eyes are clouded with tears. AXE Aw man, Stephen, listen to me. STEPHEN - What the fuck were you thinking, huh? Burning people? You're a fireman. AXE They were killing firemen, man. When Sally showed me what was in Swayzak's files. They were my friends, I had to do it. I had to do it for the department. BRIAN Did you do it for Tim? AXE -LRB- pain, to Stephen. -RRB- That was an accident! Jesus Christ, why did you have to go in there so fucking early? Why did n't you listen to me! Brian and Stephen are backed up against the roof edge - sixty feet up. Far below a fireboat has begun pumping a massive stream at the side of the building. AXE You got ta let me finish - BRIAN Just come down, John. Just - AXE - Shut up! Your dad would fucking puke if he saw how you've shit on his department! STEPHEN - Knock it off! AXE -LRB- to Stephen. -RRB- - You ca n't let him turn you against your friends, man - BRIAN - He killed people - AXE - You know what Swayzak would do to the department if this got out? - BRIAN - Stephen, this is bullshit - AXE - What he would do to your dad's department? You got ta let me finish it - And there's a horrible glimmer of confusion on Stephen's face. BRIAN You're his Lt., Stephen. -LRB- beat. -RRB- Are you gon na handle it? Are you Stephen? STEPHEN Shut up! AXE What do you want me to do, Stephen? Talk to me. What am I supposed to do? STEPHEN -LRB- beat. -RRB- There's a fire. We've got a job here. Let's get on with it.","EXT. WAREHOUSE - ACROSS THE ROOF - NIGHT The rest of the crews are totally oblivious to what's happening through the smoke on the other side. Grindle and Santos feel the roof go suddenly spongy beneath them. GRINDLE Shit. It's going! Clear the roof! Now! Everybody drops their equipment and runs for the edges as","EXT. WAREHOUSE ROOF - BRIAN ET. AL - NIGHT Brian, Stephen and Adcox react as the roof HOWLS and GROANS and huge SPLITS begin racing along it. And then it goes. The center section DROPS, and in rolling waves of SCREECHING steel, the hole spreads outward ; DEVOURING. Adcox shoves them aside and runs for his life as the hole races for them, SWALLOWING roof. STEPHEN Jesus Christ Brian, run! Run goddamn it! And Brian balls - out dashes for the edge. Stephen's made one corner, Brian desperately heads for another. At the last instant - as the HOWLING FLAME BELLOWS UP to his ankles - Brian LEAPS OFF the roof -","EXT. WAREHOUSE - FIRE ESCAPE - NIGHT - And falls half a story before CRASHING onto an exterior fire escape. Flames have cut off the fire escape two floors below, so Brian climbs down as far as possible, crawls onto a ledge, KICKS out a window, steps through, And falls.","INT. WAREHOUSE - ELEVATOR SHAFT - NIGHT Blackness and emptiness, two stories of it, before he CRASHES into a pool of water at the bottom. He's in a freight elevator shaft, thrashing madly, drowning. Great SHEETS of WATER are POURING through an upper doorway and CASCADING down like monsoon rain.","EXT. WAREHOUSE - FIREBOAT We see it's coming from the fireboat's rushing stream.","INT. WAREHOUSE - ELEVATOR SHAFT The weight of his equipment is pulling Brian underwater. Struggling against the insane swirls and the sheets of water still POURING DOWN, Brian unhooks his air tank. He leans back, tries to float on the rising column of water. - His coat catches on something - YANKS him underwater. He struggles feverishly - finally tears the coat off. The building GROANS in earnest. Flaming chunks of plaster CRASH down around Brian, forcing him to duck underwater. The place is coming apart. Ten feet above, one of the falling chunks SMACKS a gas main, SPLITTING then IGNITING it. A white - hot JET OF FLAME SHOOTS from one side of the shaft to the other. Brian's floating okay, he's floating right up into the flames. Brian tries to flatten himself out, to keep everything but his nose below water, but he's still moving up - the heat becoming so intense his face flares and he's ducking under water now, trying to stay alive, trying to decide whether to drown or burn - - When there's a CRASH. And suddenly another door on the shaft is tearing open. There's a glint of an axe. A flashlight. It's Stephen. Brian has about two seconds left. In that time Stephen sees the shut - off for the gas line mounted on the wall opposite. It's unreachable, a good twelve feet across a horizontal curtain of flame. Before we can even assimilate that, Stephen's already jumped. A crazy leap over the fire. He SMACKS the opposite wall, HITS the shut - off, and FALLS CRASHING into the pool beside Brian. STEPHEN You crazy son of a bitch, why could n't you stay behind a desk where you belong? BRIAN `` You never know till the fire stares you down if you're gon na be -'' STEPHEN Oh shut up, huh? -LRB- grimaces. -RRB- I think I broke my goddamn arm. Brian helps him stay above water. The level continues to rise, bringing them finally even with an open doorway they scramble through.","INT. WAREHOUSE - STAIRWAY - NIGHT It leads to a stairwell that's become a RAGING TORRENT of water spilling down it. No way. They push through to the next doorway and out onto","INT. WAREHOUSE - NIGHT The place is full of hundreds of chemical drums. The fire has cracked its way into the room as WUMP - drums begin EXPLODING, SHOOTING UPWARD Roman candle fountains of glittering FLAME. Brian helps Stephen as they snake their way past sweating drums - pressure valves hissing madly with desperation. They duck low, round a corner,","INT. WAREHOUSE - CATWALK - NIGHT - And walk right into an axe handle that SMACKS Brian's throat KNOCKING him gasping flat on his back. It's Adcox. Stephen JUMPS Adcox and TACKLES him on the edge of a metal platform that extends out from the raised flooring. STEPHEN You stupid son of a bitch! What the fuck are you doing! AXE Stevie. I. Adcox struggles against him, heaving and sobbing. STEPHEN Let it go! Goddamn it let it go! And Adcox releases the axe. AXE I'm sorry. I'm so sorry. Brian's on his feet now, coming toward them, when a chemical drum below EXPLODES, the shock wave BUCKLING the platform and DROPPING it several feet before it HOLDS. Brian, cut - off, is HIT with a wall of debris. Adcox and Stephen are FLUNG across the platform and THROUGH the shattered railing. Stephen grabs a piece of broken, dangling strut and hangs on with one hand. In his other hand is Adcox. Hanging below him, his grip loosening. BRIAN Stephen! Brian's struggling to get out from under the debris. The railing Stephen's hanging onto is slick, his hand SLIPPING along it. But he wo n't let go of Adcox. His eyes bore into his best friend's with absolute conviction. STEPHEN You go, we go. The towering shots of FLAME from below have begun to IGNITE Adcox's pant leg. He's starting to burn. But Stephen wo n't let go. Wo n't let go even as the flames crawl up Adcox's back. And Stephen's hand is slipping and slipping and then it is n't slipping anymore because it's come off. BRIAN NO! Adcox and Stephen FALL. There's a narrow catwalk half - way down. Stephen HITS with a sickening CRUNCH. Adcox falls past it, down into the flames. There's an exposed I - beam running from the ruined platform out over the catwalk. Brian climbs up onto it, balances across over the fire below and jumps down to the catwalk where his brother lies, battered but still alive. BRIAN You're gon na be all right, man.","INT. WAREHOUSE - FLOOR - NIGHT Brian looks down and across the factory floor. There, coming through the doorway, is Pengelly and Nightengale with a hoseline.","INT. WAREHOUSE - NIGHT BRIAN Hey! Over here! They start for him when another drum EXPLODES, FLATTENING them and launching their hoseline into a crazy, thrashing arc. The flame has cut them off from the hose. Stephen sees what Brian's thinking. STEPHEN Wait for another hose team. But Brian's already moving for the catwalk ladder. STEPHEN Wait for the goddamn hose team! Brian puts his feet on the outside rungs of the ladder and SLIDES down to the factory floor. He's heading for the hoseline when WHAM! - The fire cuts him off. Not just any fire. That same one from so many years ago. Do n't fuck with me, kid. I'm not in the mood. Nightengale's lost his helmet and it's lying near the flames spinning slowly upside down - just like his father's. Brian stands there, paralyzed, as the fire laughs at him. Same old little kid with his finger up his ass. Then something different comes into Brian's eyes. BRIAN No. No more. There's a pathetic little wall extinguisher mounted on the pole. Brian lifts it, approaches the fire. You can practically hear the flames laugh at him. Brian suddenly turns and SLAMS the neck of the extinguisher against the pole, BREAKING it off before HEAVING the cannister HISSING into the flames where it EXPLODES - a cloud of extinguisher powder that STUNS the flames just long enough for Brian to dash through and TACKLE the hose. The fire shakes off the powder, rises up to kill - Just as Brian spins and HITS it with the STREAM. - And it's like a howling train wreck as the two grapple with each other - Pengelly and Nightengale have an opening, and they're dashing for the catwalk ladder up to Stephen because the fire does n't care - it only has eyes for Brian now - - And Stephen sees Brian tackle the monster, and his eyes fill with tears - - And the fire's pushing Brian - pushing him with the fury of a frightened street bully - but Brian wo n't give - and now the fire's back's broken - it's whimpering, dying. And Pengelly and Nightengale have climbed up to Stephen now, pulling him away. STEPHEN That's my brother! That's my brother goddamn it! And the fire's just a little gremlin now, sighing sadly as Brian steps up with the hoseline. BRIAN Another time, friend. And whoosh, it's gone.","EXT. BURNED BUILDING - NIGHT Brian rushes up as paramedics load his brother into an ambulance. STEPHEN -LRB- smiles, weak. -RRB- You are such a pain in the ass. As Brian jumps in with him","INT. AMBULANCE - NIGHT Paramedics swarm over Stephen as the ambulance screams through the night. Brian's right there, holding his hand. STEPHEN Do n't tell them about Adcox. Do n't let'em. BRIAN I'm sorry. I'm sorry I thought. I wo n't. His brother squeezes Brian's hand, his eyes never leaving him. PARAMEDIC -LRB- reading EKG. -RRB- Oh shit, give him some lidocaine, now. Now. STEPHEN -LRB- beat. -RRB- Who's your brother? Stephen's EKG's begun to falter. The other paramedic fires off an injection into his IV. PARAMEDIC His pressure's fading - push some adrenalin. The EKG's become erratic. Stephen's eyes never leave Brian's. BRIAN Oh man, do n't you die. Do n't you die. PARAMEDIC #2 He's going south. He's gon na box damn it. They put an ambo bag over Stephen's face. The eyes never leave Brian's. BRIAN Goddamn it do n't you die now. Not now! They're breathing for him now. The EKG begins shrieking. PARAMEDIC V - fib! The paramedics begin scrambling to load the defibrillator pads on Stephen's chest. But the fireman's eyes never waver from Brian. They look into his with complete conviction, complete acceptance, And then they do n't. Then, FADE UP TO :","EXT. MICHIGAN AVE - DAWN A silent, quiet street absolutely empty of traffic. Then over the crest of Chicago's mightiest thoroughfare, creeps slowly a fire engine. It's emergency lights are on but not the siren. This engine is n't in a hurry today. Behind comes another fire engine. And another. Ten, twenty, all of them creeping slowly along. And behind the engines now walk firemen in their dress blues. Hundreds of them. Walking silently in step behind TWO COFFINS Loaded in the rear of Engine 17. Santos drives as Grindle, Brian, and the men of ladder company 46, walk behind. The silent procession passes under extended aerial ladders crossed like dress swords. Average people stop, take their hats off.","EXT. LAKE SHORE DRIVE - THE SILENT PROCESSION Sequence omitted from original script.","EXT. CEMETERY - DAY Two coffins, lying side by side, draped in the blue and white of the Chicago flag. A single fire helmet rests atop each casket. Brian stands at attention beside Helen. He holds the hand of Stephen's son Sean, his eyes clouded with tears as a fire dept. honor guard plays Taps. Jennifer's there, too far away to touch. Rimgale, still wearing a head bandage, stands stiffly beside a brass bell and speaks with a voice raw and weary. SHADOW In the Chicago Fire Department the alarm code 3 - 3 - 5 signifies that the company has returned home to quarters. We will now ring out that code to welcome home John Adcox and Stephen McCaffrey. With a small hammer Rimgale rings out 3 - 3 - 5 on the bell. The honor guard folds the flag covering Stephen's casket and hands it to Helen, who holds it to her breast as we","EXT. CEMETERY - DAY A sea of blue uniforms drifting across green as the funeral breaks up. Brian hugs Helen and Sean. Lets them go.","EXT. CEMETERY EDGE - DAY Rimgale's there, resting against his dept. sedan as Brian walks by, pauses, and leans on it beside him. A beat. SHADOW Your brother was a good man. BRIAN Yeah. SHADOW Another couple of good men get burned up for their city? Is that how it's going to read? -LRB- Brian does n't answer. -RRB- You're the only one that knows. BRIAN Like it never happened. Rimgale turns to walk back to his sedan. He pauses. Looks back to Brian. SHADOW Want to help me with something?","INT. OFFICE - DAY An elevator opens as Brian and Rimgale walk quickly out, down a hall, and BURST into Swayzak's office.","INT. SWAYZAK'S OFFICE - DAY The Alderman's there, giving a press conference from his desk. SHADOW Mr. Swayzak! How ya doin'? SWAYZAK -LRB- confused. -RRB- Investigator. Rimgale sits on Swayzak's desk. SWAYZAK I'm a little busy right now - SHADOW This'll only take a minute. There's two cops outside that want to ask you about this - Rimgale drops the manning report on Swayzak's desk. SHADOW This is just a guess of course, but I think they're gon na want to know why you secretly paid Donald Cosgrove, Jeffrey Holcomb and Alan Seagrave to create a phony manpower study. -LRB- to cameras. -RRB- You guys'll wait, right? The room explodes with questions. Through the din Brian leans over the desk very close to Swayzak. BRIAN See that glow flashing in the corner of your eye? That's your career dissipation light. And it just went into high gear. Brian turns and pushes his way out. At the door he pauses and looks back at Rimgale. The investigator nods and smiles just a little.","INT. SWAYZAK'S OFFICE CORRIDOR As Brian walks down it, Rimgale appears and calls to him. SHADOW - Brian. Brian hesitates. SHADOW Do n't keep looking over your shoulder for the ghost. It's gone now. And there's just a beat between the investigator and his probie before Brian nods and walks away.","EXT. SWAYZAK OFFICE CORRIDOR Brian walks down the hall. He passes Jennifer's small office. She's in there, surrounded by packing boxes. BRIAN I think your boss is going to need some spin control. JENNIFER I quit two days ago, Brian. BRIAN -LRB- beat. -RRB- What'll you do? JENNIFER I do n't have the slightest idea. BRIAN I'll see ya around, huh? JENNIFER It's a small town.","EXT. FIRE STATION 17 - CITY And morning breaking across the avenues and up against the tired brick of firehouse 17.","INT. FIRE STATION 17 - LOCKER ROOM Brian sits staring into his locker, lost in thought, his equipment stacked up on the bench beside him. THE ALARM KLAXON SOUNDS","INT. FIRE STATION 17 - APPARATUS FLOOR And firemen scurrying to their equipment on the apparatus floor. They're climbing aboard their rigs now and the pumper's diesel is coughing to life. At the last moment, as it begins to pull out, Brian comes sliding down the pole in his turn - out gear, bounces off the floor, and climbs aboard as the engine WHISTLES away.","INT. ENGINE 17 - CAB There's a new fireman beside him on the bench. He ca n't get his coat buckled right. Brian leans over does it for him. BRIAN You're doing it wrong.","EXT. FIRE ENGINE 17 - STREET - DAY And the fire engine slips away from us, down the avenue, into the city as we FADE TO BLACK THE END"],"string":"[\n \"INT. FIRE STATION 17 - STORAGE ROOM - 20 YRS. EARLIER Darkness. Then the GLINT of a flashlight. Its beam rocks crazily to and fro across the inside of a small storage room as we hear two children arguing. OLDER KID You're doing it wrong. YOUNGER KID Shut up. OLDER KID You're doing it wrong. It's hard, but we get a sense of the room in the whipping beam of light. Huge, dark coats lined up like sides of beef on steel batons. Bent, stained helmets hung like African masks. Beneath them BRIAN, 7, and STEPHEN, 12, are trying to struggle into a pair of the ludicrously massive coats over their pajamas. STEPHEN It does n't go like that. BRIAN Who asked you? STEPHEN If you do it like that it'll open in the fire. Then you'll get burned and DIE. The door suddenly opens, morning sunlight roaring in. It's a fire station storage room full of fire gear. A fireman stands in the doorway, tall, athletic, their father ; DENNIS McCAFFREY. DENNIS Who's going to die? STEPHEN Brian. He's not doing it right, dad. He never does it right. DENNIS -LRB- gestures for them to come out. -RRB- Well, let's have a look.\",\n \"INT. FIRE STATION 17 - DAY The two boys tromp out of the closet. The rubber turn - out boots are as high as their thighs. The ends of the coats drag on the floor. They salute, Brian's arm just an empty sleeve. Dennis kneels down and re - fastens Brian's coat. DENNIS Your brother's right. If you do n't fasten these correctly they could open and you'd get burned. STEPHEN And DIE! BRIAN You would n't let me die, would you, Dad? DENNIS McCaffreys are smarter than fire, Brian. -LRB- playfully slaps their shoulders. -RRB- How ` bout lunch, huh? STEPHEN Fireman shit? DENNIS Hey, what's with the mouth? Where'd you grow up, a barn? STEPHEN Firehouse. DENNIS Cute. - The station suddenly fills with the BELLOW of an ALARM KLAXON. DENNIS -LRB- sighs. -RRB- Never fails. A young fireman, ADCOX, appears with the dispatch card. DENNIS Big deal? AXE Medium deal. DENNIS Want to come along, Brian? Watch the old man earn his keep? STEPHEN -LRB- pissed. -RRB- Dad! DENNIS You've come along a dozen times, Stephen, give your brother a chance. We'll be back in a few minutes. -LRB- to Brian. -RRB- How ` bout it, sport? BRIAN Sure! Dennis scoops Brian up and loads him into the fire engine cab. The other three firemen climb aboard and take their places.\",\n \"EXT. FIRE STATION 17 - DAY There's a cough of diesel, a crunch of gears, and the engine is pulling out of the station. DENNIS Hit the button, Brian. Brian stamps his foot on the siren button. The red light snaps on, the siren growls and blares, and they're off down the street. Brian turns around in his seat and, at the last instant before the corner, makes eye contact with his older brother. They stick their tongues out.\",\n \"EXT. CHICAGO STREET - DAY - 20 YRS. EARLIER The engine howls its way through the city. Brian, sandwiched between his father and Adcox, looks out in wonderment at intersections zipping past like picket fences, at people on sidewalks holding hands over their ears, at the red emergency lights bouncing crazily off shop windows.\",\n \"EXT. BUILDING - DAY - 20 YRS. EARLIER Lazy smoke curls out the second story of a commercial block. Medium deal. The engine pulls up and the firemen are jumping off like ship rats. Dennis opens his door, hops down, and pauses just long enough to point a serious finger at his son. DENNIS Stay near the truck. -LRB- winks. -RRB- And keep an eye out for us, huh? We're short handed today. Brian nods vigorously, taking the command seriously. Dennis smiles and is off, dragging a hoseline with his crew toward a doorway they disappear into. Brian climbs down from the cab. ENGINEER Do n't stray too far, little man. Brian smiles to the pumper operator. He just wants a better look. And he gets it : Smoke turned evil and dark now, taking on purpose.\",\n \"EXT. BUILDING - DAY - 20 YRS. EARLIER There's a level of apartments above the storefronts. As Brian watches, a window opens and out steps his father and Adcox onto a small fire escape. Their attention's on the next window over, out of reach, wrapped in leaky smoke. Suddenly Dennis climbs up onto the fire escape railing, armed with only an axe, and JUMPS across to the next metal balcony. A ballsy, dangerous move. He kicks in the window, breaks out the frame with his axe, and dives in. A beat later he reemerges on the balcony with a terrified, smudged little girl. He hands the little girl over the railing to a fireman now coming up the more traditional way - a ladder. Dennis's face lifts and grins at Brian ; dirty, bigger than life, invincible. He winks a wink only possible between fathers and sons and he's gone again, back into the swirling darkness. As Brian stands there, full of love, full of pride, he sees a piece of awning along the roofline crack ; releasing a sickly yellow tongue of flame that slinks over the roof. The flame seems to pause, to stare at Brian a beat. Shhh, do n't tell anyone. Brian is transfixed, his little head staring up in astonishment. Nobody else has noticed it. Brian can see his father and Adcox through the window ; probing, looking for the flame lurking just above. Brian starts to call out in a small, hesitant voice, BRIAN Dad. He tries to call louder. But suddenly everything is happening very fast in slow motion : - Brian can see Adcox testing the ceiling with a pike pole as Brian steps forward, under the power of a flame that beckons him as - Dennis suddenly THROWS his body against Adcox, knocking him clear just as a flame EXPLODES DOWNWARD from the ceiling fully against him as - All the building's windows BLOW OUT and it's like the sky's erupted for Brian, a burning hailstorm that falls and pelts the ground around him. Plaster, wood, and something metal that cracks against the pavement and spins slowly. A fire helmet. And Adcox is coming out the door now, blackened and torn, hopeless tears streaming down his face. AXE Get us some backup! We need some goddamn backup! And, spotting Brian, he runs towards him. And the helmet spins and spins and Adcox keeps running, and the sky is raining fire, and the flame on the roof has risen up now to its full, horrifying size and it's laughing now, laughing at the little boy as the helmet finally stops spinning, and we read the printing on the neck guard. MCCAFFREY And Adcox is sobbing and has his arms around the boy, protecting him from the fire, the world, but it's like Brian does n't see him. He pulls away from Adcox, walks up to his father's helmet, And puts it on. The scene EXPLODES with a flash as a photographer captures the instant.\",\n \"INT. SEEDY APARTMENT - DAY Sequence omitted from original script.\",\n \"INT. BRIAN'S CAR - DAY Hold on the freeze - frame. Let it become an aged cover of LIFE. The magazine jiggles and rocks and we see now it's sitting atop a box of knick - knacks jostling in the back seat of an aging BMW. There's plenty of other boxes here, a live on the move, and in the driver's seat, BRIAN McCAFFREY, now 27. There's piles of empty burger wrappers, Coke cans, and Florida knick - knacks on the dash board ; a little blow - up palm tree, a cheesy hula girl emblazoned with `` McCaffrey High - End Stereo Sales''.\",\n \"EXT. HIGHWAY - MONTAGE - DAY Brian and his battered BMW shoot past prairie, cow country, nervous suburbs and finally a sign : WELCOME TO CHICAGO.\",\n \"EXT. CEMETERY - DAY Wind tugging at his bangs, Brian stares down at the graves of Dennis and Mary Elizabeth McCaffrey.\",\n \"INT. CHICAGO GAS STATION RESTROOM - DAY In a crusty sink he combs his hair, knots a tie around his neck.\",\n \"EXT. CHICAGO FIRE DEPARTMENT TRAINING ACADEMY - DAY Brian walks through its sculpted columns, straightening his tie. He comes to a door, FIRE ACADEMY CHIEF. He takes a deep breath, steadies his gaze, and enters.\",\n \"INT. FIRE ACADEMY CHIEF'S OFFICE - DAY The ACADEMY CHIEF sits at his desk going over a file. Out the window can be heard a FIRE TRAINING CLASS in action. CHIEF FITZGERALD Is this a joke? Brian's sitting in the seat opposite. BRIAN If it was a joke, sir, you'd be laughing. CHIEF FITZGERALD You walked out on this academy six years ago. One week to graduation. You think we forgot that? You think I did? BRIAN I want another shot, Sir. CHIEF FITZGERALD -LRB- beat. -RRB- Look, everybody remembers your old man. Being his son, all you had to do was breathe to graduate here. Dead Hero Father Rule. But you blew us off. Why should I take you back? BRIAN If you remember, sir, my test scores were in the top - CHIEF FITZGERALD - I do n't give a damn what your test scores were, maybe you could have been a good firemen, but you had your shot. BRIAN I need another one, sir. CHIEF FITZGERALD Sorry, but it's out of my hands. Try again next year. BRIAN No, it is n't out of your hands or you would n't even have met me. If I push you have to let me back in. Dead Hero Father Rule. Sir. CHIEF FITZGERALD -LRB- simmers. -RRB- Even if you graduate this academy, you've still got nine months of probation. That's hard duty, son. If you do n't really love this job, it'll kill you. BRIAN -LRB- rises. -RRB- See you Monday. Sir. As we hear the BLOW OF A WHISTLE\",\n \"EXT. CHICAGO FIRE DEPT. TRAINING ACADEMY - GRADUATION DAY And everybody lined up at attention in dress blues. CHIEF FITZGERALD -LRB- at podium. -RRB- Though the world changes every day, some things are truly forever : Courage, devotion, and honor in what we do. This class is a special one, for we dedicate it to the three firefighters that have fallen this year : Donald Knowlton, Richard Walter and Michael Petzold. -LRB- silent beat. -RRB- Ladies and gentlemen, it is with pleasure that I certify that Candidate Class number 322, having successfully completed all academy requirements, are hereby graduated to the Chicago Fire Department. Candidates and their relatives CHEER and leap to their feet. Something struggles inside of Brian. He does n't stand at first. Another Candidate, TIM, 20, looks at him strangely. So does the Academy Chief, his eyes finding Brian's. And Brian's standing slowly now, joining them.\",\n \"EXT. BROWNSTONE - NIGHT An expensive one. We hear a window BREAK.\",\n \"INT. BROWNSTONE - NIGHT Through the dimness a file cabinet. An AXE SUDDENLY SLAMS into it, RIPPING it apart. Files crash to the floor. And a picture. 1970. Four young guys marlin fishing. Time of their lives.\",\n \"INT. BROWNSTONE BEDROOM - NIGHT And a GREY PUTTY being SLAPPED along the edges of a door.\",\n \"INT. PUB - NIGHT A split - level firemen's dive ; complete with mounted axes and personalized T - shirts from various engine companies proudly declaring `` LADDER CO. 6 - AXE FIRST, HOSE LATER'' and `` CHICAGO FD, 150 YEARS OF TRADITION UNIMPEDED BY PROGRESS''. Tonight the place is firmly in the hands of an army of recently graduated candidates. A few on the back patio have hooked up a charged hoseline and are taking potshots at balloon targets, each other, the neighbor's cat. Brian and Tim, still in their uniforms, enter from the street. Survey the scene. BRIAN Completely out of control. TIM What the hell are we waiting for? As they shoulder their way inside, another CANDIDATE appears holding proudly a fistful of sealed envelopes. CANDIDATE Hot off the presses, guys. Station assignments. Tim and everyone else but Brian eagerly tear into them. Brian nonchalantly shoulders up to the bar. BRIAN A beer, Willy! The barkeep turns and smiles. WILLY Well, if it is n't the littlest McCaffrey. -LRB- to candidates with hose. -RRB- Hey! You break anything with that you buy it! -LRB- to Brian. -RRB- Sorry, there must be something wrong with my eyes. I keep thinking that's a fire department uniform. BRIAN It's in my blood, Willy. The candidates are ripping open their assignments, exclaiming to each other : `` All right! Engine 117! That's a slum! They get cookers every day!'' . `` Oh no, Engine 10, that's a nice neighborhood''. Willy turns to the bulletin board behind him and unpins a stack of business cards. WILLY Really. Well, let's have a look at what else was `` in your blood''. I always look forward to getting these, they make such a nice collage for the bar. `` Assistant Director, Sales, Aspen Snowmobile Tours.'' BRIAN Did n't offer the kinda growth and challenge I need. WILLY Uh huh. And `` Pioneer's Pride, Mobile Log Cabins''. That was in your blood about six months was n't it? BRIAN Management were pin heads. WILLY `` Laguna Jamming, Custom Surfboards''? BRIAN Coffee sucked. WILLY And just this year, `` Brian's Sound Spectrum''. Your own company even. Big step. BRIAN I was ahead of my time. WILLY You know, I've got a perfect little spot here for `` Brian McCaffrey, Fireman''. Tim holds an envelope marked McCAFFREY out to Brian. TIM Are n't you even curious? BRIAN Engine 115, right? TIM -LRB- opens it, surprised. -RRB- How'd you know? These are supposed to be sealed. BRIAN Lucky guess. -LRB- winks. -RRB- And a case of scotch to a captain in station assignments. TIM You crooked son of a bitch. Why 115? BRIAN Lots of fires. They promote faster there. Take a look at the last Lt.'s list, half the guys on it came from that battalion. Got ta think about your future, Timmy. 115's the station. TIM Ah man, if you're gon na bribe your way into a station, why not 17 with me and your brother? On Brian's reaction\",\n \"EXT. STREET - NIGHT A Porsche knifes through darkened streets. The DRIVER, 50, is dressed for success. Pulling up to the brownstone we saw earlier, he gets out and rubs his eyes. Another day in the salt mines. Climbing the short stairs, he sticks his key into the lock and opens the door. It is the last thing he will ever do. A THUNDERING EXPLOSION ENGULFS the stoop.\",\n \"INT. PUB - NIGHT The place is packed now with girls flirting with the candidates, putting their helmets on, etc.. The horseplay around the bar suddenly stops at the sweet sound of a SIREN.\",\n \"EXT. PUB - NIGHT Everyone steps outside, cocks an ear. And here it comes, the real thing, SCREECHING past in a full - tilt rush. Shouts and raised toasts. TIM Hey, that's my cousin's company! C'mon! Let's go! As Brian turns, he suddenly confronted by an elderly LITHUANIAN WOMAN. BRIAN -LRB- surprised. -RRB- Mrs. Viatkus. She grabs his cheeks and rattles off in Lithuanian. Brian can only smile. Then two attractive jean - clad legs step up. JENNIFER. JENNIFER Brian. BRIAN -LRB- surprised. -RRB- Jennifer. JENNIFER You're back. BRIAN You look great. JENNIFER Thanks for calling. BRIAN Uh. I've been sorta keeping a low profile. the academy. I graduated today. JENNIFER Huh. BRIAN So. I see you're still in the neighborhood. JENNIFER Not quite. Just visiting. I live in Lincoln Park now. BRIAN Yeah? What have you been up to? JENNIFER I work for city hall. BRIAN Really? No kidding. JENNIFER What, you think I just dried up and blew away when you left? The world does turn once in awhile Brian, even without your permission. Just then, Tim OPENS UP the hoseline, DRENCHING Brian. TIM Do n't want you overheating, Brian! Brian ducks the stream and PULLS a length of hose near his feet, FLIPPING Tim. Brian JUMPS him, shuts off the hose and pins him to the pavement. TIM Okay okay! Uncle! Brian walks back toward Jennifer JENNIFER You've certainly matured. She turns to leave. BRIAN Well, if nothing else, it's nice to know we can still be friends. JENNIFER I do n't want to be your friend, Brian. Another in a series of fire engines HOWL past. Tim grabs Brian by the shoulder. TIM Let's go, man!\",\n \"EXT. STREETS - NIGHT Brian and Tim jump into Brian's car. They shoot blindly down the street looking for the fire engine, running down red lights or anything else that gets in their way. Brian suddenly hits the brakes, SCREECHING to a stop. They roll down their windows. Far off can be heard the wind - up of a siren. TIM -LRB- points. -RRB- That way.\",\n \"EXT. STREETS - FIRE ENGINE - NIGHT SCREECH. They fly around a corner, down a block, and there it is, lights flashing up ahead. Brian GUNS it, roars up alongside the fire engine. Tim leans out the window, shakes a bottle of beer, and lets loose a foamy eruption in the truck driver's face. DRIVER Tim! You crazy motherfucker! But he's laughing. TIM What ` cha got? DRIVER Box alarm. Walton Ave. TIM We'll meet ya.\",\n \"EXT. BROWNSTONE - WALTON AVENUE - NIGHT As Brian and Tim pull up two engine companies are already dragging lines toward the rolling brownstone we saw explode earlier. Tim cheers the firemen on like a drive - in movie. Brian watches the fire with uneasy fascination. Embers whipping into the night, drifting to the ground around him. One of the engine companies is entering the doorway now. He watches as they willingly crawl into a place any sane person would run for their life from. Jesus Christ. FLASH - Brian turns at the blinding snap of a camera. Several locals are gathered around a parked car, some taking pictures. Brian notices that right away. It takes a beat longer to notice the CHARRED CORPSE stuffed head - first through the windshield. It's the Porsche driver, his legs sticking out at crazy angles. A dog barks furiously at it. TIM -LRB- also looking at body. -RRB- Man. Something sure put a crimp in his evening. BRIAN Backdraft. The brownstone fire quickly transforms itself into noisy clouds of dirty white steam. And one of the firemen is coming back out now, walking toward Brian. When he's just a few yards away he pulls off his air mask and helmet and we shudder with Brian, because the man is a dead ringer for HIS FATHER. STEPHEN Well, look what we have here. Nice costume. Rent it? BRIAN I want to thank you for coming to my graduation, Stephen. It was a great inspiration to me. STEPHEN So you're going to fight fires now, huh? He pats Brian's cheeks, leaving behind large charcoal smears. STEPHEN -LRB- re smears. -RRB- Does n't work on you. -LRB- turns to leave. -RRB- See ya around, little brother. BRIAN Not likely. STEPHEN -LRB- turns. -RRB- Well, see you're wrong already. Had a talk with Chief Fitzgerald, and we decided in the interest of brotherly love, that maybe you should n't be way over on the other side of town. So starting tomorrow, your assigned to company 17. My company. -LRB- Brian's color drops a hue. -RRB- One case of scotch, you're getting cheap in your old age, Brian. And Stephen turns for his own men, Tim staring at Brian as clouds of smoke drift past like ghosts.\",\n \"EXT. BROWNSTONE - ACROSS THE STREET - NIGHT A flame LEAPS up into the foreground. Touches a cigarette. The cigarette glows, lingers, then lowers slowly from the mouth of RIMGALE, fifty - five years old and six and a half feet of solid granite. Wearing a windbreaker and grey slacks tucked into fire department rubber boots, he takes another slow drag. Looks at the body stuffed into the windshield. It's twenty yards away from the brownstone. Stephen looks up as Rimgale drops the cigarette, crushes it with his boot, and crosses the street to the building.\",\n \"INT. BROWNSTONE - NIGHT Charred walls hiss and snap in the steamy darkness. Rimgale is there, gloomy in the beam of his flashlight. He crouches down, plays his flashlight along the ruined baseboard. SHADOW If you stare any longer Stevie, I'll start charging you admission. Stephen is leaning in the doorway, watching him. STEPHEN Got a cause? SHADOW Are the glory boys actually showing interest in Investigation's work? I may have a stroke. STEPHEN The glory boys just want to finish their report so they can go home. Rimgale's flashlight finds a wall socket that he pries loose and holds up to the light. He lowers it, takes in the walls, the room. SHADOW They're gon na have to wait a few days on this one.\",\n \"EXT. BROWNSTONE - NIGHT Tim's talking to his cousin. Brian hangs back, watches the body - bag people load the Porsche driver into a meat wagon. There's a still an audience for this, still stray dogs circling and barking. Brian walks up, looks inside the car, and sees on a seat the ragged remains of a FINGER. BRIAN -LRB- to coroner crew. -RRB- Hey, you forgot. this. They're already climbing into the wagon. The driver smiles creepily. CORONER DRIVER We always leave something for the dogs. Brian looks across the fireground, sees his brother walking back to the fire engine. They share a brief, edgy glance.\",\n \"EXT. HOUSE - DAY A modest one. South - side Irish old fashioned. Brian walks up. There's a little kid, about five, playing with a toy fire truck on the drive. BRIAN Hey, Sean. What's goin' on, man? The kid stares at him without a glimmer of recognition. BRIAN It's Uncle Brian. Y' know. He makes his hand into a talking puppet. BRIAN -LRB- bandito accent. -RRB- `` Spinach? We do n't need no stinking spinach''. Remember? The kid drops his toy truck and flees inside. KID Mom! Mom!\",\n \"INT. HELEN'S HOUSE Brian follows, sticks his head in the door. BRIAN Hellooo. A warm looking woman, 30's, HELEN, comes around the corner. HELEN Brian? BRIAN Hi, Helen. Man, you look great. HELEN You look like. Brian. She gives him a tentative hug. HELEN ` Bout written you off. How long have you been in town? BRIAN Four months. HELEN Four months? BRIAN I know, I know, Should' a called. I've been really busy. I joined the fire department. Helen's expression suddenly saddens. HELEN Oh Brian. -LRB- beat. -RRB- You guys. you really know how to put each other through it, do n't you? The little kid is peeking fearfully from the kitchen doorway. BRIAN That's Sean? Jeez, he's a giant. HELEN Yeah, you'd be surprised what three years can do to a kid. BRIAN Sean, come on out, man. What, you forget your favorite uncle? HELEN Stephen told him you were killed in a hot tub accident. SEAN -LRB- intense. -RRB- Dad was kidding, Mom. And the kid runs unexpectedly away, angry. BRIAN Well that's two things to strangle Stephen for. Where is he, anyway? HELEN -LRB- beat. -RRB- Stephen's not staying here now, Brian. He moved out last April. An embarrassed sting. BRIAN Oh, man, I'm sorry. HELEN You guys ought to try picking up a phone once in awhile.\",\n \"EXT. STEPHEN'S BOAT - MARINA - DAY A small one on the river. Several boats bob peacefully. Except one. Raised high in dry - dock, it's an ancient fishing trawler. Bachman - Turner - Overdrive drifts up from the galley on badly fuzzed speakers as Brian climbs the ladder. BRIAN Hey. Stripped to the waist, Stephen's bent - over cleaning out the guts of the inboard motor. He looks confused to see Brian. BRIAN I talked to Helen. Wrong thing to say. Stephen turns back to his work. BRIAN Man, I thought dad's boat was finally retired to the family graveyard. Do n't you worry about falling out of this thing? Stephen straightens up, his forearms smudged with grease. Brian admires the unwashed cereal bowls and peeling deck paint. BRIAN I like what you've done with the place. STEPHEN It's comin' along. want a beer? Stephen tosses him a beer from the fridge. As Brian pops it, he sees the small pile of city - issue gallon size cans in the corner. Armorall, solvent, extinguisher foam. BRIAN Been ripping off fire stations? STEPHEN It's old stuff Adcox gave me that the department was going to throw out anyway. Still good enough though for this tub. Brian winces at the music coming out of shot speakers. BRIAN Bachman Turner Overdrive? -LRB- looks through music rack. -RRB-. Buffalo Springfield? Stephen Bishop? Oh man. Brian lifts one of the tapes - an 8 - track - and holds it carefully in his palm as if it were a rare and fragile relic. BRIAN My God, an actual operating 8 - track. STEPHEN What, you've never seen one before? BRIAN In the Field Museum once. STEPHEN It works. BRIAN It worked when you were in sixth grade.\",\n \"INT. STEPHEN'S BOAT - DAY Sequence omitted from original script.\",\n \"EXT. STEPHEN'S BOAT - DAY Brian opens the trunk of his old BMW. It's full of stereo boxes marked BRIAN'S `` SOUND SPECTRUM''.\",\n \"INT. STEPHEN'S BOAT - CABIN - DAY Brian's gutted the speakers and is re - wiring them. STEPHEN People actually used to pay you for this? BRIAN Millions, Stephen - And sexual favors. STEPHEN Sheep do n't count. BRIAN Yeah? What about Laura - STEPHEN That was never proved. Brian moves over to another speaker. STEPHEN Why'd you come here, Brian? BRIAN I wanted to know why you messed with my station assignment. I mean, is this really gon na have to one of those big brother - little brother `` you broke my GI Joe and I'm still pissed'' games? STEPHEN -LRB- sighs. -RRB- What is it with you, man, huh? How do you manage to keep coming up with new and amazing ways to screw up? That scotch bullshit? Am I really supposed to believe you came crawling back home because you suddenly felt heart strings moan for the family biz? You were bankrupt, man. BRIAN Hey! You do n't know me - STEPHEN I know you cold, Brian. The scary thing is, you probably could have faked it for awhile. But you see, in this job there's no place to hide. Is n't like selling log cabins. You have a bad day here - someone dies. And that's not fucking good enough. Want another beer? BRIAN So that's it? Big bad brother's gon na ride my ass till I cough blood? STEPHEN Big bad brother is going to treat you like any other probie - that I do n't think is going to make it. Brian staples the last of the audio cord in place and switches on the tape player. The cabin fills with sharp, crystal clear - Stephen Bishop. BRIAN There's only so much technology can do. -LRB- picks up his tool box. -RRB- Thanks for the beer. STEPHEN Thanks for the speakers.\",\n \"EXT. STEPHEN'S BOAT - DAY Brian climbs down off the boat. Looks up at Stephen. BRIAN Y' know, I told myself a million times I did n't want to be a fireman. I said bullshit to that line about tradition and family legacy. I know I split, and I know how you felt. STEPHEN Yeah, you know. You know what it felt like. BRIAN I got ta do this, Stephen. I got ta know. STEPHEN I think you're gon na find out, Brian. Do n't be late tomorrow.\",\n \"INT. BRIAN'S APARTMENT - MORNING A simple one - room walk - up. A stereo blares Chicago blues as Brian buttons up his uniform in the mirror. He steps back, looks at himself, - and oh man what the hell am I doing.\",\n \"EXT. BRIAN'S APARTMENT - STREET - MORNING Brian climbs into his car, turns the key - nothing. He gets out, looks under the hood, then SLAMS it down in frustration.\",\n \"INT. ELEVATED TRAIN - MORNING A pissed - off Chicago, hauling itself off to work in the morning snap, passes by Brian's window. Tough Midwestern brick. Tough Midwesterners. Heads - down in their 150 year war with a wind committed to pushing the whole damn thing into Lake Michigan.\",\n \"EXT. EL STATION - MORNING The train clacking away above him, Brian walks down the sidewalk carrying his fire equipment. He turns a corner and comes on.\",\n \"EXT. FIRE STATION 17 - MORNING Brian stands there. It's his dad's station. Turn of the century abused. Sooty with stone gargoyles and a pair of faded red doors that suddenly CRANK OPEN as Brian comes up the drive. Fire engine 17 and ladder truck 46, lights flashing, pull out onto the apron. The fireman sticking his head out of the passenger window is Stephen. One look at the silver trumpet on his collar and we know this is n't Fireman McCaffrey but Fire LT. McCaffrey. STEPHEN You're too late, probie. Tim, in ladder truck 46, waves a small bye - bye as both rigs begin heading down the street. BRIAN -LRB- chasing. -RRB- Goddamn it, Stephen. Brian bolts full - out for the engine. At the last instant before he falls on his face a fireman reaches out and drags him aboard.\",\n \"INT./EXT. FIRE ENGINE 17 - DAY It's Adcox, the fireman from the first scene, now a veteran. AXE Why baby McCaffrey, how ya doin'? The Pumper driver, SCHMIDT, pops in a howling ROCK TUNE as they zoom off. SCHMIDT -LRB- re Brian to Adcox. -RRB- You know this rug rat? AXE Know him? I practically raised him. -LRB- Jewish mom. -RRB- And he never calls, he never writes. Brian shouts over the noise to GRINDLE, 35, one more seat down. BRIAN I'm Brian. GRINDLE I'm sorry. Grindle sticks his nose out the window, sniffs, then begins buckling up his coat. GRINDLE Boys, I do believe we have a barbecue. As Brian and Adcox fasten up their own equipment -\",\n \"EXT. FACTORY - DAY Smoke pours with confused indecision from every window of a five story factory as the pumper and ladder company pull up. GRINDLE -LRB- staring at confusing smoke. -RRB- I hate it when we got ta fucking go look for it. STEPHEN -LRB- to Schmidt. -RRB- Call in another alarm. We're gon na need some back - up. Everyone begins strapping on air tanks and masks. Adcox drags the rig's suction line to the hydrant. A beautiful illegally parked Mercedes is blocking the way. AXE -LRB- to Stephen. -RRB- Oh these moments do try me. STEPHEN -LRB- admiring car. -RRB- Be gentle. Whistling to himself, Adcox SMASHES the brass coupling through the passenger window, runs the line through and SMASHES it out the other window before connecting up to the hydrant. Stephen and Grindle pull hose off the bed and move out. Brian's so jacked up he ca n't get his air tank on right. Schmidt calmly helps him into his gear. SCHMIDT It's only rock'n roll, kid. Stephen, Adcox and Grindle are crouched at the door, ready to go. Brian takes a hose roll and runs to catch up when he's cut - off by dazed Latin workers shouting incoherently at him in SPANISH. STEPHEN Hey, probie! How ` bout it, huh? Brian pushes past the workers and takes his position on the hose line. Stephen reaches over and re - adjusts Brian's air tank strap. STEPHEN You're doing it wrong. Stephen eases the door open. Thick smoke rolls sickly out over their heads. STEPHEN -LRB- to Brian. -RRB- Stay beside me. And in they go.\",\n \"INT. BURNING FACTORY - DAY Inside the smoke is like liquid lead. Going by feel, they hump the hose up one staircase after another, crawling on their hands and knees toward a dull red glow. Turning a corner, they enter\",\n \"INT. BURNING FACTORY - A VAST ROOM - DAY Totally ablaze. Brian looks up in wonder at the buffeting waves of flame in the ceiling, at the SCREECHING timbers crumbling to the white - hot floor. At the walls HOWLING in bestial agony. It is the most horrifying, and wonderful thing he has ever seen. AXE Wash it to the windows? STEPHEN No, we'll hit the son of a bitch head on. AXE It's gon na flash, Stevie. We got ta get behind it. STEPHEN Nah, listen to it. It's a pussy. It'll just steam on us. It wo n't flash. Go high in the ceiling. Adcox and Grindle shrug and pull their helmets down tight, expecting the worst. Adcox opens up the nozzle, turning loose a high pressure BLAST OF WATER into the ceiling. The fire SCREAMS in manic anger and HEAVES a cloud of HOWLING steam that WHIRLS back and BAKES them like lobsters. Brian gasps for air as swirling ash batters his facemask. A window somewhere EXPLODES. Somebody shouts. Christ, you ca n't see anything. Stephen HOOPS in victory. STEPHEN -LRB- to fire. -RRB- I knew you were a pussy! C'mon! Steam us! -LRB- to firemen. -RRB- Let's go! The chase is on! Going for the throat while the fire's confused and defensive, the firemen SCRAMBLE through the boiling cloud. They hit it in the ceiling, in the walls, forcing it back and back. It HOWLS and CLAWS in anger, furiously throwing cinders and broken timbers in their faces. The walls ECHO with its SCREAMS as it retreats to a corner. STEPHEN Ya love it, probie? BRIAN I'm in heaven, Lt. STEPHEN Hook us up to a stand - pipe. Brian runs back to the wall to hook up his hose roll to the building water system. He goes to unscrew the cap with his hydrant wrench but it keeps slipping off the nut. STEPHEN Jesus, how ` bout man, huh? We're gon na loose this! Brian finally gets it hooked up and runs back.\",\n \"EXT. FACTORY - OTHER SIDE - DAY Tim and three guys from his ladder company, come up an extended aerial ladder, CRASH through a window and\",\n \"INT. FACTORY - DAY begin HACKING their way toward Brian's company as - BOOM! It's a sudden, shattering vibration that shakes the building to its foundations. Then, a sucking sound : RUSH - RUSH - RUSH. Stephen speaks calmly into his radio handset. STEPHEN Hey Otis, is it? SCHMIDT -LRB- into radio. -RRB- Yeah. STEPHEN Goddamn it, where's our backup? Where's the second - in companies? SCHMIDT'S VOICE Sorry, man. John Wayne time. STEPHEN -LRB- to firemen. -RRB- Dig in! The firemen hesitate. PENGELLY, the Truck Company Lt., looks at Stephen with concern. STEPHEN Dig in, goddamn it! The crews immediately gather in the center of the floor. They turn over tables, chairs, anything to form a barrier. A circling of the wagons. - BOOM! rush - rush - rush - BOOM! Each louder than the last. Stephen and Brian are ducked behind an overturned desk. Adcox and Krizminski clutch hoselines like frontiersmen's Winchesters. STEPHEN You're gon na love this. - rush - rush - rush - CRAAAASH! On an instant the world comes apart as all four walls of factory windows EXPLODE in a hail of glass. A wave of HOWLING FLAME POURS IN after it, SHRIEKING and HISSING. At the same moment, part of the floor beside a heavy sewing machine GIVES WAY and a ladderman, SANTOS, FALLS THROUGH, grabbing the edges at the last minute as flames BELLOW UP from underneath. He SCREAMS as his grip loosens. Grindle leaps to the ladderman's side, grabbing his arms and coat. Brian hesitates just an instant and Stephen SHOVES him out of the way to back up Grindle. SANTOS Help. Oh God. Adcox's taken the hoseline and is opening fire. Water and flame crash and snarl across the floor in a blood curdling ROAR. It's a thrashing, murderous standoff. Stephen and Grindle have got Santos but the angle's bad. Blow it now and all three could take a header. Santos is panicking, losing his grip. Grindle bores his eyes into the man's with the calm and conviction of Moses. GRINDLE You go, we go. They may all die, but they wo n't leave him. He calms a little, hangs on till they PULL him out of harm's way. Adcox continues with the hose as suddenly, everyone HITS the deck as the fire EXPLODES over them, BURSTING their coats into flame. Tim's company opens up their line, WASHING everybody down before CHARGING after the fire. A ladderman, NIGHTENGALE, steps on Brian's back. BRIAN Hey! NIGHTENGALE Sorry man, I thought you were dead. Brian, stunned, sits up, his coat and helmet smoking. Stephen seems totally unaffected and is already on his feet and over the top of the barricade, the others backing him as he mercilessly drives the fire back, trapping it finally into a corner. The fire hisses, spits, shakes the walls with its furious anger. But it's all bluster now, the fire's dying. PENGELLY -LRB- ladder co. captain. -RRB- Stephen! BC's on the radio. Says they think a civilian got left behind downstairs. STEPHEN Adcox! Take Tim and do a search. Adcox leads Tim downstairs. Brian looks shaken up. Stephen helps him roughly to his feet. STEPHEN Do n't you fold on me now, man. Brian burns at that and shakes his brother's arm off. STEPHEN Clear the hose for me. Brian's walking over to clear the hoseline when he hears it. small voice. Faint. `` Help me.'' BRIAN Hey, I think it's coming from a different staircase. Nobody hears. - Brian takes off down the other steps on his own.\",\n \"INT. BURNING FACTORY - DOWNSTAIRS It's only the fire's ghost here, lazy and slow. Off the corridor are rooms full of commercial sewing machines. Brian enters one and drops to his knees. Looks under a table, flashes his light behind a work stand. Nothing. He turns to backtrack his way out when A TONGUE OF FLAME suddenly LEAPS up through the floor in front of him, cutting off the door. Brian lands on his ass as it hisses and giggles and dances unreally in front of him. I never forget a face, kid. - That fire from childhood. He could maybe force his way through but Jesus, the way it looks at him - - Brian ROLLS away from it. Looks for another doorway - And ends up in thick smoke. He drops to a crawl, stays on his belly where the air's clear. When he sees it. Behind some furniture. Something flesh - colored. Shit. It's a body. He crawls up closer. It's a woman. Adrenalin pounding the top of his skull off, he grabs her and stumbles back down the hall, makes a turn - BRIAN I got one!\",\n \"EXT. FACTORY - DAY - And now he's bursting from the building onto a short fire escape, shouting at the top of his lungs. BRIAN I got somebody! I got somebody! A sea of media flashbulbs ERUPTS in his face. The press have arrived in force, crowding the street. Brian pushes through them to a clear spot on the far side of the engine. Two fire paramedics rush over as he lowers the figure. BRIAN Is she. Is she alive? The paramedics suddenly stop their efforts. Turn to Brian. PARAMEDIC I'm afraid you're a little too late with this one. They step aside. Brian looks down. The woman looks strange. Mostly because she's a heavy store DRESSING DUMMY. The paramedics burst into laughter. Brian, looking pale and shaken, turns and walks away. He passes Grindle and Tim, sitting on the pumper's tailboard helping the REAL woman that was found inside. GRINDLE Sorry to hear about the mannequin. I heard you two were close. Photographers have appeared and are flashing the woman. Dizzy, Brian wanders off, tries to help out with the choking clog of singed factory employees before finally turning quickly into\",\n \"EXT. FACTORY ALLEY - ACROSS THE STREET - DAY Where he barfs his guts out in private. Doubled - over, one arm on the brick wall for support, we see the raw terror. The demons rushing out of him. BRIAN Shit. Someone else does too. Jennifer. Dressed now in a long expensive coat, she's standing at the end of the alley with a clipboard. Brian, ashes smeared across an ashen face, spittle on his chin, does n't notice her. STEPHEN -LRB- appearing beside him. -RRB- You all right? Stephen is n't pale. He's flushed and buoyant. All this has n't taken anything from him. It's made his day. BRIAN Yeah. Fine. I'm a little busy right now. Stephen leans against the wall. Folds his arms. STEPHEN Y' know, you got an awful short memory for direct orders. I told you to stay beside me. BRIAN - C'mon, Stephen. STEPHEN - You split the team, man. And what was that crap with the standpipe? You'd think you and a hose were never introduced before. Stephen turns to leave. Brian yells after him. BRIAN Goddamn it Stephen! STEPHEN - I told you to stay next to me! BRIAN - I was doin' it! I was up there fucking doin' it. You do n't know, man, you do n't know what I did! STEPHEN What you did was drop the ball, Probie. Get that right. PENGELLY -LRB- from end of alley. -RRB- Hey! Stevie! They're callin' for ya. Stephen turns to walk away. Pauses. STEPHEN Bet 30,000 dollars a year and twenty two days a month off sounded pretty good twelve weeks ago, huh? As Stephen leaves, we see that Jennifer's been standing at the end of the alley, listening to them. She's turns and walks as Brian looks up. We register his surprise. He watches her head toward a dynamic - looking guy in his 40s, ALDERMAN SWAYZAK, surrounded by reporters.\",\n \"EXT. BURNED BUILDING - FRONT - DAY SWAYZAK -LRB- to reporters. -RRB- Roger, Paul. How's it going, guys? REPORTER Another fire in this district. Getting to be Cinder Alley up here. JENNIFER -LRB- walking up. -RRB- You used that last week. She hands Swayzak a clipboard. AXE -LRB- yelling down from window. -RRB- -LRB- to Brian. -RRB- Hey! Probie! We're still workin' here, man.\",\n \"INT. BURNED BUILDING Brian and the rest of the company rip open the walls and beat the last weak flames in a final flurry of dingy sparks. The moment the smoke clears just a fraction, cigarettes appear in everyone's mouth. Was it good for you? The talk is easy and obscene, the intense camaraderie of shared danger. Ash clods are thrown playfully back and forth in the afterglow of having taken on the worst there is and walking away one more time. GRINDLE -LRB- to Adcox. -RRB- Stephen man, what's going through that guy's head? Takin' it on in the first room. this shit's happening too often. It could've flashed. Should've flashed. AXE But it did n't. Guy knows. GRINDLE Guy's lucky. Adcox sees Brian. Smiles. AXE Hey, baby McCaffrey. First one's the clincher. You did okay. BRIAN My Lt. might have something to say about that. AXE Ah, everybody screws up some, Brian. You're working for the toughest Lt. on the job. Saw him once pick up a probie he thought was moving too slow and throw him into a burning building. It's just bad luck you're family. BRIAN -LRB- beat. -RRB- John, when you're in there. in the fire. do you ever see. STEPHEN -LRB- from across room, interrupting. -RRB- C'mon ladies, let's roll some hose. BRIAN -LRB- to Adcox. -RRB- - Never mind. Brian turns and sees out the window Jennifer and Swayzak standing near Rimgale's red fire dept. sedan.\",\n \"EXT. FACTORY - DAY Rimgale walks up to his sedan. SHADOW Alderman Swayzak. SWAYZAK Investigator Rimgale. SHADOW I need to get in the trunk. Swayzak's leaning on it. We sense the dislike between them. Swayzak steps aside. Rimgale pops the trunk. SHADOW Awful expensive shoes to be wearing at a fireground, Alderman. But then I guess you have n't been to too many fires. JENNIFER I wanted to talk to you about Alan Seagrave's death. We still have n't gotten a fire report from your office. SHADOW You'll have an answer as soon as I do. SWAYZAK People are asking how a prominent taxpayer got stuffed through the windshield of his own car. They're asking me. JENNIFER - The point is, Investigator, you have n't even told us yet if the fire was accidental. We're starting to get the feeling your office is dragging out this case to embarrass the Alderman because of his fire dept. reorganization program - SHADOW - You mean his firehouse closing program, - Do n't you? JENNIFER We'd just be very disappointed if it turned out your office was playing politics. SWAYZAK - Because I'm not. I care about this city, and I care about this department - Rimgale cuts him off with the shutting of his trunk lid. SHADOW -LRB- calm of a monk. -RRB- Alderman, I have a remarkably uncomplicated job. To decide if a fire's arson, and if so catch the pain in the ass doing it. But to be honest, if my methodical investigative methods just happen to muck up the campaign of certain mayor wan na - bees, well, I guess I ca n't say I sleep any less peacefully. And he walks back to the burned building. SWAYZAK I wish I could just fire the son of a bitch. STEPHEN Hey! Swayzak! Stephen's leaning out of an upstairs window. As the TV cameras turn, he drops down onto a fire engine hose bed and pops right into Swayzak's face with a murderous grin. STEPHEN We almost lost a whole company up there, Swayzee buddy. Is n't any back - up since you closed' 33. And we really appreciate it, the guys and me. Honest. I know you've got my vote for mayor. Grindle and Santos start walking for Stephen. Brian's there, following after them. SWAYZAK Look Lt., I'm on your side. If there's a problem, please, work with our task force to fix it. STEPHEN Oh yeah, your famous task force. three guys have already died this year because of the cuts made by your `` task force''. GRINDLE Stevie, c'mon man. Stephen silences Grindle with an outstretched hand. Swayzak leans close, out of earshot of the cameras. SWAYZAK You see that funny glow that's starting to blink in the corner of your eye, Lt? That's your career dissipation light - and it just went into overtime. STEPHEN If anybody's light's gon na blink, it's yours. Swayzak holds his ground. It's a tense, out of control moment between them. Rimgale turns from his work, watches Stephen with concern. Adcox suddenly inserts himself face - to - face with Swayzak and we see the raw hatred. AXE You're in firemanland now, Swayzak. Do yourself a favor and just walk away. Swayzak holds Adcox's gaze, then turns for his car. Brian watches Jennifer climb in beside her boss. BRIAN This is your city job? Jennifer shrugs as they pull away.\",\n \"INT./EXT. FIRE STATION 17 - LATE DAY Brian jumps down from the rig as it backs up the driveway. Across the street a middle - aged woman flashes them from the balcony of her apartment. AXE That's Franny. She likes firemen. STEPHEN Tim, fill out the alarm card. -LRB- to Brian. -RRB- Clean the pipe poles, wipe down the ladders and hang some hose. Adcox watches Brian and Tim exchange looks. Tim shrugs. Brian sighs and pulls out the pike poles, starts across the floor before freezing suddenly at a murderous GROWL. Brian turns and sees a DOG. Sort of. It has the rib cage of a wild beast, fangs, long greasy hair. It blocks his way, SNARLING with hate. GRINDLE That's The Thing. You ca n't stay unless he likes you. Slobber drools out of its mouth as it GROWLS. BRIAN Have you guys got something against dalmatians? Brian wipes some of the crusted grime from his face, looks back and forth between Franny and The Thing, and sighs.\",\n \"INT. FIRE STATION 17 - BUNKROOM Sequence omitted from original script.\",\n \"INT. FIRE STATION 17 - LOCKER ROOM Brian enters, strips down his battered uniform, and opens his locker. The mannequin from the fire SPRINGS OUT, legs spread. A sign taped to its mouth says : `` TAKE ME BRIAN, YOU'RE MY SUPERMAN!''\",\n \"INT. FIRE STATION 17 - WASHROOM Brian and the others scrub the morning's fire off their bodies in the station shower. Tim keeps filling his mouth full of water and launching it upward in a stream. BRIAN Do you have to do that? TIM -LRB- pumped. -RRB- Could you believe that fire? Man! First day! There I was, Adcox and me, pullin' that lady right out of the fire's fuckin' throat! I love it here - No surround and drown for this company. Fighting 17th! Goddamn Stephen's amazing. You see how he took that fire by the balls? I'm gon na be that good some day, you watch. Brian compares himself to the praise heaped on Stephen. TIM Y' know what Stephen said to me, right when all the shit was coming hard? `` You never know till the moment the fire stares you down if you're just gon na do this job or be great at it''. BRIAN Ah man, is he usin' that line now on you? What, you think he made that little gem up? Jesus Christ, I used to have to listen to my old man use that every morning. Brian shuts off his shower and walks out.\",\n \"INT. FIRE STATION 17 - BUNKROOM Stephen sits alone at his bunk, slowly stretching a strained and ruined back. He blows out a long, tired breath, and begins working ointment into an anciently scarred and battered knee. On the wall is a small glass case full of station memorabilia through the years. There's a two battered fire helmets there, set reverently on velvet. Beside it is a photograph of his father. Grinning. Top of the world. He's wearing a T - shirt proudly stenciled FIGHTING 17th. Father and son exchange a long, awkward greeting. In the doorway, Brian stands watching his brother, who not even 40, suddenly seems an old and broken man. The ALARM KLAXON suddenly sounds. Brian, just in a towel and Tim, in boxers covered with little dinosaurs, dash for the fire pole.\",\n \"INT. FIRE STATION 17 - APPARATUS FLOOR Tim and Brian slide down and bounce off the floor. GRINDLE - C'mon! C'mon! Go! Go! Brian and Tim rush for their equipment. Grindle grabs their arms. GRINDLE No! C'mon! This way! He hustles them across the apparatus floor, through a doorway, and into the kitchen.\",\n \"INT. FIRE STATION 17 - KITCHEN/DINING AREA The makings of a meal are laid out on the counter. Brian and Tim come to a screeching halt. The rest of the station is sitting calmly at the kitchen table, watching. BRIAN What's going on? PENGELLY Dinner, Probies. Get started.\",\n \"INT. FIRE STATION 17 - KITCHEN Tim and Brian, still in their boxers, set down plates of food. STEPHEN Better be good. SANTOS Or we feed you to The Thing. Everybody digs in. The table is a craze of half a dozen different conversations. On the TV mounted above on the wall are news shots of Seagrave's body sticking out of the windshield. Adcox stands and tinks his glass with a spoon for silence. AXE Gentlemen, please. As 17's official toastmaster - SANTOS And bullshitter. AXE Thank you, Santos. Did I happen to mention that you were cut out of my will? -LRB- company laughs. -RRB- I think it appropriate that we recognize the two asswipes - I mean probationary firemen - among us who today were baptized officially into the world of Old Man Fire. First to Tim, who despite being handicapped at birth with a rather dull expression and a really hideous pair of ears, not only took on the beast but pulled from its clutches - assisted by a more famous and brilliant firefighter - me - a kicking and screaming civilian that will probably end up suing us for breaking her fingernail. -LRB- laughs. -RRB- And to Brian, who's own contribution was both more beautiful and less likely to sue. Adcox puts his arm affectionately around the mannequin, seated with honor at the head of the table. Right beside The Thing. AXE Y' know, when I heard that both McCaffrey brothers were going to be assigned together here, well, my heart was filled with. a sudden desire to transfer. -LRB- laughs. -RRB- So raise a glass, lads. To funny - looking Tim, and the McCaffrey brothers, who despite years of getting on each other's nerves have managed with great effort. to still be pissed off at each other. Gentlemen! COMPANY -LRB- together, a toast. -RRB- Fuck you! The klaxon suddenly rings. Two bells. The ladder guys groan and get up. STEPHEN Bye, boys. SCHMIDT -LRB- winks. -RRB- We'll keep it warm for you.\",\n \"INT. FIRE STATION 17 - BUNKROOM Dawn lightens the room as Brian slowly opens his eyes and sees in extreme, fish - eyes close - up : THE THING GROWLING at him. Brian turns the other direction and sees Stephen, fully dressed, standing over his bunk. STEPHEN Clean the toilets.\",\n \"INT. APPARATUS FLOOR Bleary - eyed, the nine firemen line up raggedly in front of their rigs, dressed like shit but for peaked uniform caps they wear only at this moment. Stephen stands before them, does a quick glance up and down the line. STEPHEN Okay, company dismissed. - See ya guys tonight at Fitzgerald's retirement party. They shuffle for the door. As Brian passes, STEPHEN You want a ride?\",\n \"EXT. BRIAN'S APARTMENT BUILDING - MORNING Stephen pulls up. Brian opens the door. BRIAN Thanks. STEPHEN Brian -. -LRB- a beat that hangs there. -RRB- - See ya tonight.\",\n \"INT. RESTAURANT - RETIREMENT PARTY - NIGHT That's been cleared out for a huge PARTY in full swing. An Irish folk band cuts loose a merciless bagpipe beat. City brass - including Alderman Swayzak - a few reporters, firemen and their families all mix together for this is a RETIREMENT PARTY for the Captain Fitzgerald. Brian enters, seeks out a beer at the bar. Stephen's there, swaying with what is clearly not his first drink of the evening. STEPHEN Hey. BRIAN Hey. CHEERS as a one joke gift after another is laid on the Chief. Stephen sees his ex - wife, Helen, dancing with another man. He turns away. STEPHEN I got ta change the view. Santos and Grindle walk up. GRINDLE Heard you did n't make the list for captain, man. I'm sorry. Stephen just shrugs. Brian sees Jennifer across the room. She looks great. Refined as she expertly works the room, schmoozing and hugging and calling various politicos by their first name. As she speaks to one, a waiter offers a drink. As she accepts, a bottle appears over her shoulder and splashes it with red syrup. BRIAN -LRB- holding bottle, interrupting. -RRB- With grenadine, right? JENNIFER When I was twenty. BRIAN Oooh, very sophisticated. Having fun? Her attention broken, the politico has slipped away. Annoyed, Jennifer leads Brian aside and speaks low, but angrily at him. JENNIFER Look, I'm not the same girl who had nothing better to do than wrap her legs around you on a Saturday night. This is n't about fun. I'm working here. BRIAN Carrying Swayzak's notebook? JENNIFER Let me tell you something. Martin Swayzak is going to be this town's next mayor. BRIAN Yeah. Swayzak. Humanity's last hope. How can you work for that guy? JENNIFER Why do you think Marty came here tonight? Because he cares about your department. You do n't know how hard he works. You do n't know about his programs helping West Side - BRIAN - All I know is that his programs are getting firemen hurt. JENNIFER Bullshit. Marty's plan is only about efficiency. I've got two cousins on the job, you think I'd work for him if I did n't believe in it? Jennifer instantly cuts off as a well - dressed COUPLE passes and switches stunningly into schmmoze - mode. JENNIFER -LRB- to man. -RRB- - Tom, how nice to see you. I know Marty'll be very happy you came. Thanks so much for the donation. -LRB- to woman. -RRB- Marie. how's little Kevin? Really? Seen the polls? This is the year. They move away. Jennifer turns to Brian and switches just as fast back to their argument. JENNIFER - The thing that really makes me angry is the way your union has - Brian ca n't help it. He cracks up. BRIAN What was that? Oh man, you have picked up a few moves since John Paul II Boulevard. JENNIFER Yeah, well I like to think I'm just a little past hanging out on JP II watching the Irish pick fights and Litwalks barf in the planters. BRIAN I seem to remember some pretty good nights on JP II. Brian turns and walks away. ACROSS THE ROOM Adcox is talking with another knot of firemen. He's brought a date, SALLY, a hot little number that has a habit of standing on her tip - toes when she talks. SALLY -LRB- looking at Swayzak across room. -RRB- Yuck, what a scumbag. AXE -LRB- to Santos. -RRB- Fuckin' city transferred Sally three months ago out of parking violations into Swayzak's office. Now I got ta pay my own goddamn tickets and she's stuck with an asshole. SANTOS Pay more? SALLY -LRB- shrugs. -RRB- No, but there's more exercise - being chased around a desk. There's a commotion at the other end of the bar. A group of firemen have gathered around a weekly magazine. GRINDLE Aw, I do n't believe this shit. SCHMIDT Somebody get a shovel! You seen this, Stephen? As they hold it up to Stephen we see a photo spread titled DARING FIRE RESCUE. The first photo shows Brian rushing out of the burning building with seemingly a woman in his arms. The second photo shows the backs of Adcox and Tim's helmets as they administered aid to the real woman they saved. The implication is it's the same woman. BRIAN What? TIM -LRB- reads. -RRB- `` Probationary Fireman Brian McCaffrey, on his very first fire, showed the kind of bravery and courage of a veteran firefighter when he risked life and limb to double - check a burning floor alone, emerging victoriously with Anna Rodriguez, a seamstress for the North Shore Clothing Company. McCaffrey first gained prominence as the subject of a 1972 Pulitzer Prize winning photograph taken at the scene of his father's death.'' The old photo is there too. Brian and his dad's helmet. GRINDLE Whadda we gon na do about this? Stephen glances over the headlines. STEPHEN Y' know, I think it's a union bylaw that if a guy gets in the paper - especially if it's bullshit - he owes the company a drink. In fact. -LRB- motions to waiter. -RRB-. I'll have a double. On the hero. The other firemen jump in with drink orders. Dozens of them. BRIAN -LRB- confused. -RRB- What's going on? Tim shows him the magazine. Brian reads with horror as Alderman Swayzak appears beside him. SWAYZAK Brian McCaffrey, right? JENNIFER Brian, this is my boss, Alderman Swayzak. -LRB- to Swayzak. -RRB- Brian's a big fan of yours. BRIAN Yeah. Big fan. SWAYZAK And I'm a huge fan of what you did to save that woman, Brian. BRIAN Uh, I think there's been a mistake. I did n't save that woman. SWAYZAK No need to be modest, Brian. BRIAN No, you do n't understand, I saved a mannequin. SWAYZAK - That really was incredibly work you did. You and your brother, fighting fires together, helluva image, is n't it? You must feel lucky to be assigned under his command. BRIAN Every little boy's fantasy. SWAYZAK Brian, let me come to the point. I'd like to offer you a job. BRIAN I have a job. SWAYZAK This one's still with the fire department. One of our best investigators, Don Rimgale, is working on a very difficult, visible case right now. We think he could use another pair of hands and you're exactly the kind of guy I want representing us : An authentic hero from a traditional firefighting clan. BRIAN Yeah, we got all kinds of traditions - like dying young. SWAYZAK Not every job in the fire department comes with a tombstone, Brian. This could be a great opportunity to move. beyond a fire engine. Brian looks at Jennifer, then smiles at Swayzak. BRIAN Thanks anyway, Mr. Swayzak, but fire engines sorta run in my family. Politics do n't. - A man suddenly steps between them to pump Swayzak's hand. Brian shakes his head and walks away. Swayzak shoots a concerned glance at Jennifer. She catches up with him at the buffet table. JENNIFER Boy, took you all of thirty seconds to blow that. BRIAN C'mon Jennifer, he's just another North - Side jag - off with a mouth. JENNIFER Brian, do you always have to be so stupid? Think about your future for once. BRIAN So now you suddenly care about my future? JENNIFER Look, I did n't mean to take a piece out of you back there, I just thought you'd call when you came back. You did n't and. -LRB- beat. -RRB- Do n't blow it just because of this garbage between us. BRIAN Hey, sorry if I made you look bad in front of your boss. But I'm not gon na be a poster boy for him, I'm trying to do something here. There's five hundred smoke eaters in this room that do that stuff for real every day. Tell Swayzak to talk to one of them. Across the room, Stephen's at the buffet, watching Helen dance with her fireman date, the drinks hammering him hard. PENGELLY Aw man, how can she dance with that guy? SCHMIDT I hate that guy. He's a dispatcher. I hate his voice. STEPHEN Whatever. PENGELLY I mean, I know women have got ta bang somebody, but why that son of a bitch? Stephen gives Pengelly an icy, sideways look. SCHMIDT Hey Stevie, he's an asshole. Stephen smiles and pushes off the bar - right for Helen as she dances. STEPHEN Uh, Helen, I wanted to talk to you a second about Sean. HELEN Stephen, I'm kinda busy here, can we talk about this later? DATE How ya doin', Stephen? STEPHEN Jackson. Jackson steers her away but Stephen is n't done yet. He dogs them. STEPHEN -LRB- to Helen. -RRB- What's wrong with right now? He's your son for christ's sake. He's - JACKSON Hey, Stephen, what about that dumb ass brother of yours, huh? STEPHEN Yeah? JACKSON Savin' a mannequin. How fuckin' stupid can a guy get? Stephen suddenly PUNCHES Jackson. STEPHEN You ca n't talk about my brother like that. HELEN -LRB- sighs. -RRB- Here we go. And Stephen PLOWS into Jackson. Another fireman JUMPS to Jackson's aid. And Brian's there, defending his brother, PUNCHING OUT a fireman. The crowd finally pulls the two apart. JACKSON You're crazy, man! STEPHEN Leave me alone! AXE Goddamn it, Stephen, lay off! -LRB- Stephen calms a little. -RRB- You stupid dumbshit, you never know when to fucking quit, do you? You ever wonder why your career's in the fucking toilet? Why you're gon na be stuck a Lt. for life? STEPHEN No. -LRB- beat. -RRB- I need a drink. Stephen takes a step for the bar - then suddenly turns and JUMPS Jackson again. Brian pulls him off and drags him for the door. BRIAN You do n't need a drink, man. You need to get outta here. As Jennifer watches Brian lead Stephen out the door. JENNIFER -LRB- to Swayzak. -RRB- Ah those McCaffreys. just hate leaving a party with anyone left standing.\",\n \"EXT. RESTAURANT - NIGHT Brian leads Stephen toward his car. STEPHEN I'm okay. leave me alone. Stephen pushes Brian away and promptly stumbles to the sidewalk. BRIAN So you got a ` roid going with Jackson or what? STEPHEN Nah, he's nothin'. It's just sometimes. sometimes you just got ta punch somebody out, y' know? Brian stands there and folds his arms. STEPHEN I do n't think I can get up. Brian lends an arm. STEPHEN Look, Brian, a photographer. Maybe I can get on the cover of LIFE magazine, too. BRIAN C'mon, let's crawl home.\",\n \"EXT. STEPHEN'S BOAT - NIGHT Stephen throws an arm over Brian's shoulder as he leads him up onto the boat. STEPHEN Adcox, those guys. they do n't get it. it is n't the goddamn promotion. or dad. I'm not my old man, y' know? No fire's gon na get me. I do n't give a shit about being a captain. it's just. it's just they do n't trust me anymore. -LRB- blows out painful breath. -RRB-. they do n't trust me anymore.\",\n \"INT. STEPHEN'S BOAT Brian's flops his brother on the bed. Unties his shoes. STEPHEN If you'd get out of my fuckin' way. I could take my own goddamn shoes off. He clearly ca n't. Brian slips them off. STEPHEN You're such a pain in the ass. You've always been a pain in the ass. There's just a grim wall lamp above Stephen's face. STEPHEN Jesus, it's too damn bright in here. Like a goddamn spotlight. I'm goin' blind. BRIAN -LRB- touching light. -RRB- This? STEPHEN Yeah. too bright. Brian turns off the dim light. Stephen's breathing deepens. STEPHEN They do n't know. they do n't know what I hear in there. Brian tucks the blanket around him. STEPHEN This boat could be okay, huh? Take it out weekends. Sean'n me. Stephen's voice drifts off into sleep. Brian watches a moment, the rare look of peace on his brother's face, then leaves.\",\n \"EXT. FIRE ACADEMY - NIGHT Dark and still. Brian, carrying a roll of hose, scales the chain link.\",\n \"EXT. FIRE ACADEMY - EXERCISE GROUND - NIGHT Is a practice stand - pipe. Brian counts down to himself, then rushes the stand - pipe, spinning off the cap with a hydrant wrench and attaching the hose coupling. He does it again, over and over.\",\n \"EXT. FIRE ACADEMY - DAWN The sky's gone pink and blue as Brian climbs back over the fence. Adcox, coming out of a donut shop across the street, sees him.\",\n \"EXT. STREET - CHICKEN ACCIDENT - DAY A truck has JACKKNIFED across the avenue and SPILLED its contents - several THOUSAND baby chicks. They're scurrying everywhere as Brian's company tries to round them up. It's hopeless as the exhausted firemen stuff handfuls of the cheeping cargo into their turn - out coats. There's ghetto kids all around, grabbing at the chicks, grabbing at the fire engine. STEPHEN -LRB- at kids. -RRB- Hey! Knock it off! Brian stops a beat. Rubs his eyes. AXE -LRB- smiles. -RRB- Maybe you should have gotten more sleep last night. Brian looks at him. Does he mean what he thinks he means? Tim is coming out of a small store across the street. He hands a small bag of groceries to Adcox. TIM This everything you wanted? Everyone grows suddenly silent.\",\n \"EXT. WIDOW'S HOUSE - DAY A fireman's without even saying so, `` Petzold'' on the mailbox, Engine 17 parked out front. Brian's alone outside, cleaning the diesel fuel off his arms. Watching a small kid playing with a toy fire truck in the drive.\",\n \"INT. WIDOW'S HOUSE Tim and Brian are loading the groceries into the fridge. Stephen and Grindle are fixing a loose cabinet door as Adcox sits caulking a faucet fitting at the kitchen table with a young WOMAN. WOMAN -LRB- to Stephen. -RRB- Can I help you guys at all? STEPHEN Nah, we just about got it. WOMAN -LRB- noticing Adcox's shirt. -RRB- Sally must be finally ironing your shirts. AXE It's just new. Couple'a shifts and it'll be as thrashed as the rest. The sight of uniform is too much for her. Her eyes cloud. WOMAN I'm sorry. Adcox reaches out and lets her weep on his shoulder. AXE It's okay. WOMAN I miss him. I just miss him, y' know?\",\n \"EXT. WIDOW'S HOUSE - DAY Adcox stands out at the fire engine smoking a cigarette, lost in himself, watching the little boy play with his toy fire truck. Stephen's followed him out. AXE This job. This fuckin' job sometimes. To buy it trying to go the extra yard, man, that's one thing, but to buy it just because there was n't any back - up. it's bullshit. Stephen leans down close. STEPHEN Yeah, it's bullshit. So what? Fuck Swayzak. Fuck'em all. We do n't go into fires for them. You know that. Christ, you taught me that. A beat of understanding between them. Stephen looks back at the house. STEPHEN You know Knowlton pretty well? AXE Yeah. STEPHEN -LRB- beat. -RRB- Kind of an asshole, was n't he? Adcox ca n't help but smile. AXE Biggest in two battalions. STEPHEN -LRB- beat, smiles. -RRB- We're gon na be okay, man.\",\n \"INT. FIRE STATION 17 - DAY As Brian and Tim scrub down the fire engine, the rest of the company lies sprawled in THE STATION REC ROOM Watching a weepy soap. Schmidt walks through and is snared by the TV's glow. He hesitates. Shares the moment. SCHMIDT Is she going to get the divorce? SANTOS -LRB- sighs with honest concern. -RRB- Hell if I know, man. A ladderman, WASHINGTON, walks in with a memo. WASHINGTON Hey, Pengelly, you made the captain's list! Everybody clasps Pengelly on the shoulder. `` Way to go''. `` All right, man''. Brian turns and sees Stephen out on the apparatus floor, watching. Watches. Pengelly's younger than him.\",\n \"EXT. FIRE STATION 17 - TRAINING BUILDING/HOSE TOWER - DAY An expanse of concrete lying out back of the station. Built in one corner is the concrete shell of a five story training building, just wide enough for a stairway and room on each level. Twenty yards away, Brian, Tim and Adcox stand ready beside a pile of coiled hose rolls. STEPHEN -LRB- looking at watch. -RRB- Alright. Go! Tim picks up a roll of hose, 50 pounds, throws it over his shoulder and runs with Adcox to the foot of the building. There's a fixed standpipe that Adcox ties into as Tim drags the other end inside and up a flight of stairs. STEPHEN Go! Brian lifts another hose roll under his arm and runs for the building. STEPHEN That is n't a football, probie. Get it on your shoulder. Brian runs up two flights to meet Tim and connect his end. Tim heads down for another roll as Brian drags his up another two flights. It's a bitch. Sweating, he barrels back down the stairs, passing Tim coming up with another roll. BRIAN Having fun, fireman? Tim flips him off. Brian laughs and sprints for another roll. STEPHEN You're not breaking any records, Brian. Brian holds it under his arm and takes off. Stephen grabs a roll himself, hoists it to his shoulder and runs alongside. STEPHEN Your shoulder. Like this! Brian lifts it to his shoulder. STEPHEN Come on! Pick it up! They come to the doorway. Instead of stopping, Stephen follows Brian in and runs alongside up the stairs. Without a word spoken it's become a race between them. Brian's face explodes in sweat. His heart pounds as they go up flight after flight. The hose rolls weigh a 100 pounds. A thousand. Neck'n neck all the way ; grunting, their throats burning, only one flight from the roof Stephen STUMBLES and SCRAPES his leg. Brian pauses. Stephen's already back on his feet. STEPHEN Run, damn you! Brian does, Stephen already gaining on him - getting ready to pass him - when they burst gasping out onto the roof, Brian the `` winner'' by a nose. Stephen drops his hose roll, sticks his face into Brian's, - And laughs. Unsure, Brian starts to join in. Stephen stops suddenly. STEPHEN Roll the hose. BRIAN What, are you kidding? By myself? Adcox and Tim, down below, have already disappeared back into the station. STEPHEN You heard me. We see now what Stephen apparently does n't. He was scraped badly, his pant leg torn and leaking dark circles of blood. BRIAN What, is it the stairs? Christ, I'll let you win next time. STEPHEN -LRB- in Brian's face. -RRB- You got a problem with drilling, probie? BRIAN No, Lt., I do n't have a problem with drilling. But let's just have one drill. Not one for the company and one for me. STEPHEN Roll the hose. Stephen turns and walks away. Brian stands there watching him in blind fury, finally exploding. BRIAN Goddamn you Stephen, I'm not gon na quit. You hear me! An awkward beat between them that's interrupted suddenly by the station alarm klaxon. Stephen smiles. STEPHEN Well, thank God for fires.\",\n \"EXT. FIRE STATION 17 - HOSE TOWER - BELOW - DAY Sequence omitted from original script.\",\n \"EXT. LAKE SHORE MANSION - NIGHT Sequence omitted from original script.\",\n \"EXT. LAKE SHORE MANSION - NIGHT Sequence omitted from original script.\",\n \"INT. LAKE SHORE MANSION - FRONT DOOR Sequence omitted from original script.\",\n \"EXT. TENEMENT BUILDING - DAY Smoke and confusion. A MOTHER is screaming hysterically at Stephen as he jumps down from the engine. MOTHER -LRB- grabbing his coat. -RRB- My baby! My baby's still up there! BATTALION CHIEF Hang on a sec, Stevie, we got a hoseline coming. Stephen does n't even pause and enters the building. Brian hesitates a beat, then follows.\",\n \"INT. TENEMENT BUILDING - DAY Where they bomb up a staircase just as a WALL OF FIRE LASHES DOWN, KNOCKING them on their ass. Stephen jumps to his feet with an axe as Brian struggles to get up. STEPHEN Do n't take that kind of shit from it! Do n't let it know you're scared! Come on! Stephen, with just his axe, CHASES up the stairs at the fire, HAMMERING at the flaming boards. The fire retreats into another room, SLAMMING the door shut behind it. Brian struggles up the stairs. The two of them slide up on either side of the closed door, Stephen cradling his axe like a SWAT team shotgun. The door breathes in and out and something animal scratches and snarls on the other side. Brian can feel the panic rising in his throat. That thing behind the door, that slobbering, evil thing. It wants out. It wants. him. STEPHEN Ready? BRIAN Christ, Stephen, let's wait for the hose team. STEPHEN Listen to it, Brian. Jump when I say. It wo n't get us. Stephen HAMMERS the lock with his axe and KICKS the door open. A WALL OF FLAME ROARS out past their cheeks, then BACKWASHES in. STEPHEN Now! Stephen picks up the door, and using it as a shield CHARGES into the flames. Brian tries to follow but the fire WELLS UP, cutting him off. He hesitates. It's that goddamn flame again, leering at him. Daring him. It BUCKS suddenly, DROPPING Brian to his knee. He GROANS in pain. - And now Adcox and Grindle are coming up the stairs with a hoseline WASHING DOWN the room. Clouds of furious steam bellow out and across the ceiling. Nobody could be alive in there. Except Stephen. His entire outfit smoldering, he emerges from the clouds like a fucking god, carrying in one arm a gasping child.\",\n \"EXT. TENEMENT BUILDING - AFTERMATH - DAY Most of the firemen have gathered together for post - fire coffee and stories. Brian sits off alone on the fire engine bumper, apart from them. Santos walks up. SANTOS They think she's gon na live. Stephen walks up. Sits down beside him. STEPHEN You okay? BRIAN I waited. I would have fucking waited. STEPHEN That's not what it's about, Brian. The point is there was a kid in there. And what if there'd been two? I went in because that's what I do. It's my way. It's dad's way. It is n't everybody's way. BRIAN Dad's way? Where did he tell you that? In a fucking seance? STEPHEN You said you wanted to know something, Brian. What did you learn today? -LRB- Brian does n't answer. -RRB- What do you say, Brian, huh? Time to move on? Brian lingers only a moment before standing. BRIAN You're right, Stephen. You win. You're the best, man. Brian hands Stephen his helmet and walks away.\",\n \"INT. SWAYZAK'S OFFICE - DAY There's only six like it in city hall, and this one has a view. SECRETARY'S VOICE -LRB- on intercom. -RRB- Brian McCaffrey on line two for Jennifer. JENNIFER I'll take it in my office. SWAYZAK -LRB- turns to her and smiles. -RRB- Go get him.\",\n \"INT. CORRIDOR/CONFERENCE ROOM - DAY Jennifer comes out of Swayzak's office and walks down to her own.\",\n \"INT. JENNIFER'S OFFICE/INT. BRIAN'S APARTMENT - DAY - It's a tiny, bleak little rat hole. She picks up the receiver. JENNIFER Brian? We see Brian in his apartment. BRIAN I've been thinking about what you said the other night. If the offer's still on the table, I'd like to talk about it. JENNIFER -LRB- beat. -RRB-. Okay. I'll arrange things with your assignment captain. -LRB- beat. -RRB- Marty's a good man, Brian. BRIAN Yeah. Brian hangs up. He stares at it a moment, then SLAMS it against the wall. Jennifer stares at the phone with something almost like sadness.\",\n \"EXT. BROWNSTONE - DAY Stephen drives past the burned - out brownstone that fried Alan Seagrave. He parks in the alley behind, walks up the building, and PULLS OFF a plywood sheet covering a blown - out window.\",\n \"INT. BROWNSTONE - DAY Stephen walks through the creepy, brutalized silence. Back to where Rimgale had focused his investigation that night. He searches the floor, the wall, looking for something.\",\n \"EXT. ARSON HQ/FIREHOUSE - DAY A crumbling one in Chinatown. Brian checks the address on his slip of paper. He stands there a beat, hating himself.\",\n \"INT. FIRE STATION/ARSON HQ It's a regular station but for the rear that has been converted into arson squad offices. As Brian approaches the office door he can see Rimgale sitting at his desk. Standing nervously beside it is a fresh - faced, uniformed PROBIE. SHADOW -LRB- to probie. -RRB-. So stop me if I get this wrong. The fire's almost out. You're upstairs on the unburned floor checking for heat. You've been told by your Battalion Chief, your Captain, by me, not to do anything up there until ordered. But now the itch starts, and all of a sudden comes the Glory Boy Flash : Hey, I'm a hero. Heroes do n't just stand around. So on your own you decided to punch out a window for ventilation. Was that before or after you noticed you were standing in a lake of gasoline? The kid is dying a thousand deaths of humiliation. SHADOW You could've crispered half your company with that little stunt, but more importantly you wrecked the physical evidence I use to prove it's arson. You've made my day longer, Probie. Go home and think about that. The kid shuffles off hang - dog. Rimgale's angry gaze falls on Brian. BRIAN Uh, I'm Brian McCaffrey. Your new assistant. SHADOW Your Dennis' kid. -LRB- beat. -RRB- I work alone. And Rimgale walks into his office, leaving Brian marooned in the doorway. Stepping behind a small partition, Rimgale changes his shirt. Brian can just glimpse from where he stands a horrible burn that has consumed most of Rimgale's stomach. Rimgale catches the look. SHADOW Are you still here? BRIAN Get used to me, Inspector. I'm not going anywhere. SHADOW Then go find a corner. I do n't want you in my way. BRIAN I think we should get something straight here. I was assigned to this office by the city. SHADOW Look, I knew your father, he had a helluva reputation on this job. But that do n't mean you get any slack. Swayzak sends you down here, okay, I got ta eat you, that's the rules and I got nothing to say about that. But Swayzak or no, you live with me. Step out of line, and I do n't care who knows you, I'll swing the hammer. -LRB- beat. -RRB- You think you're the first? Rimgale glances at his watch, puts on his coat, and picks up a small paper bag. BRIAN Where are you going? SHADOW Pest control.\",\n \"INT. MAX SECURITY PRISON - DAY And the face of RONALD, an unremarkable man in his 40s. Unremarkable but for laser eyes and two heavily bandaged hands. Go wide and find him sitting in an institutional chair - handcuffed, actually - in an institutional hall. A uniformed guard stands nearby as Brian and Rimgale come down the corridor. Ronald smiles upon seeing Rimgale. RONALD Shadow. SHADOW How ya doin', Ronald. Staying comfortable? RONALD Did n't think you'd make it. SHADOW Would n't miss this for the world, pal. RONALD -LRB- looking at Brian. -RRB- Who's this? SHADOW He works for me. RONALD Is he a fireman? -LRB- smiles. -RRB- I like firemen. SHADOW You like everybody, Ronald. Ronald's eyes pick up Brian's name on his prison ID badge. RONALD Brian McCaffrey. -LRB- eyes light up happily. -RRB- Oh this is really a treat. Brian McCaffrey. Lost a dad to the animal, huh? BRIAN -LRB- heating up. -RRB- Hey, do I know you? SHADOW You do n't know him. RONALD I know you. BRIAN -LRB- to Ronald. -RRB- What the hell are you talking about my - Rimgale silences Brian with a threatening hand. SHADOW Knock it off. Now. RONALD Tell him about me, Shadow? SHADOW Ronald here likes telephones. Used to tape wooden matches to the bell striker and wrap it in cotton. Came up with a whole little thing there, did n't you Ronald? When you got bored, what did you do? You just started making calls. mostly day care centers and retirement homes, was n't it? RONALD Did he tell you how we finally met? SHADOW Nobody cares, Ronald. RONALD Oh, but it's a good story, Shadow. You're depriving our famous young friend here. VOICE IN CORRIDOR Okay. Ronald Bowland. The cop helps Ronald to his feet and all four are marching down the hall. RONALD It was on State Street, right? Just your basic warehouse torch for the owner. Cakewalk. But the animal. turned on me. ` Ol Shadow here, he shows up - whole place is going like hell - my hair, my hands. could've just let the animal take me - but Shadow, he's a good camper, so he tries to pull ` ol Ronald out. Guess he did n't notice the tub of phosphorous next to me. -LRB- smiles. -RRB- Notice you're still a little shy about rolling your sleeves up, Shadow. Show him your stomach yet?\",\n \"INT. PRISON - INTERVIEW ROOM - DAY Ronald in the hot seat before a parole board, Rimgale and Brian on the sidelines. MAN All right, the parole board has received Mr. Bowland's fitness report, his ID - 44, endorsement from his section warden. Dr. Norris? WOMAN PSYCHIATRIST As supervising psychiatrist I would describe Mr. Bowland's progress as remarkable. Taking into account his disability and the six years already served, I recommend parole. MAN Mr. Bowland, do you regret your crimes? RONALD Yes. I understand now the pain I caused. MAN If released, will you commit these crimes again? RONALD I wo n't. MAN Do you consider yourself ready for society? RONALD Yes. The parole board shuffles their papers. It's a done deal. Rimgale suddenly stands and approaches Ronald. SHADOW Sure Ronald? You're ready alright. RONALD Absolutely. MAN -LRB- surprised. -RRB- Excuse me, Mr. Rimgale. SHADOW Excuse me. -LRB- to Ronald. -RRB- What do you do with little girls? A tortured look comes over Ronald's face. He's holding back. From the paper bag, Rimgale suddenly tosses a burned baby doll in his lap. SHADOW What do you do with them, Ronald? Huh? Rimgale then lights a cigarette lighter in Ronald's face. RONALD -LRB- smiles. -RRB- - Burn them. SHADOW And old ladies? RONALD - Burn them. SHADOW And the world - the whole world. RONALD -LRB- smiles. -RRB- - Burn it all. The parole board stares, stunned. Rimgale stands. SHADOW See ya next year, Ronald. Got ta go.\",\n \"EXT. THEATRE BUILDING - DAY A pre - war theatre closed with a sign : UNDER RENOVATION - OPENING XMAS 1991. DAVID BENTON, mid - forties, climbs out of his car and walks to the entrance with some rolled - up blueprints.\",\n \"INT. THEATRE BUILDING - DAY Benton walks through the vast theatre and up to a beautiful Art Noveau office door : DAVID BENTON, PRIVATE. He goes to insert his key. Drops it. As he reaches down, we see a tiny wisp of smoke SUCK back under the door. Benton sniffs, as if he smells something, then shrugs and inserts his key. It'd have been a good story if he'd lived longer. The moment he pushes the door open It EXPLODES OUTWARD in a ROARING FIREBALL.\",\n \"EXT. THEATRE BUILDING - SUNDOWN Later and engine companies have already knocked down the building fire as Brian climbs out of Rimgale's red sedan. SHADOW -LRB- opens trunk. -RRB- Hey kid, c ` mere - At least make yourself useful. He starts handing Brian handfuls of equipment cases. Loaded down, Brian follows Rimgale into the building.\",\n \"INT. THEATRE BUILDING Fire crews are at work in here, including Engine 17 at the other end of the theatre. Brian's surprised to see them, his eyes locking briefly with Stephen's. An ENGINE COMPANY LT. walks up to Rimgale. ENGINE LT We were lucky with this one. Could've taken out the whole complex, but the explosion blew out most of the flame. Good for us. -LRB- looks to body. -RRB- - Not so good for him. `` Him'' is our previous owner, David Benton, just his hands and a leg showing from under the collapsed door. Rimgale crouches beside it. SHADOW Turn this over. Brian does. The corpse's keys are still in the lock. So's Benton. Blown with such force he seems fused with the door. On the door's edge Rimgale notices a small patch of melted, sticky goo. With his penknife he scrapes a sample and seals it in a glass vial, stands, and walks into the office.\",\n \"INT. THEATRE OFFICE BRIAN What do you want me to do with - Rimgale, now inside, silences him with an outstretched arm. SHADOW - Shhh. BRIAN -LRB- after a beat. -RRB- What are you listening to? Rimgale does n't answer. His eyes drift over the scorched walls as he speaks softly to them. SHADOW You sneaky little son of a bitch. Hide and seek. Come on, tell me what I want to know. He scratches at some soot. Smiles and lifts a small hand recorder. SHADOW -LRB- business - like into recorder. -RRB- Heavy smoke stains observed in entry room. Demarkation line high. Fire never got hot enough here to cook soot off. It started somewhere else. -LRB- walks down hall. -RRB- Less soot here. More heat. -LRB- they enter back room. -RRB- And very little soot here. -LRB- to Brian. -RRB- Get that couch out of the way. Brian pulls it aside. The lower third of the wall is completely untouched by soot. SHADOW -LRB- to himself. -RRB- So you were happy here. Warm and cozy and in no hurry. -LRB- into recorder. -RRB- Soot high, clean unburned wall low, indicates slow burn in thermal balance. -LRB- to Brian. -RRB- Find me some glass. BRIAN Glass? SHADOW Do we have a language barrier here? Glass. There's some on the sill of a blown window. Brian hands a shard to Rimgale, who turns it over in his palm. SHADOW -LRB- into recorder. -RRB- Glass found in ignition room is in small, thin pieces, indicating explosion. Lack of discoloration indicates a long, slow burn. Explosion must of come after a slow burn. -LRB- shuts recorder off. -RRB- You little tease. What were you up to you little bastard, huh? What made you that mad? -LRB- then, an idea. -RRB- Or scared. -LRB- switches on recorder. -RRB- It started in this room. Took its time, hung out. but the air ran out. It could n't breathe. So it was snuffed. But it was n't dead. still all that trapped heat, lying low, waiting for some sucker to open the door and give it that one gulp of air. BRIAN - Another backdraft. Rimgale turns to the wall, a section where the plaster is severely damaged. He probes with a penknife. SHADOW Finish coat burned away. Severe spawling of rough coat. Rimgale follows the damaged wall down - down - to a melted wall socket. SHADOW That's our ignition point. Dig it out. Carefully. Brian chops it out from the wall. Rimgale crouches down, peels back the melted faceplate and examines the wires. The copper tip is severely melted. Rimgale sniffs the plug. SHADOW -LRB- into recorder. -RRB- Temperature in this room was about 2000 degrees, but copper wire in outlet is melted, which requires 5000 degrees. An accidental short in the plug could of created a spark of 7000 degrees, hot enough to melt the wire and start a fire. BRIAN No it could n't. Rimgale shuts off the recorder. Stares down Brian. BRIAN I mean you'd be right - with normal wire. But that's gauge ten in that plug - industrial stuff. Who knows why they put it in here - but it wo n't melt at less than 12,000 degrees. And no natural spark short of lightning gets that hot. -LRB- Rimgale just stares. -RRB- In another life I was in high - end electronics. Rimgale opens a plastic bag and puts the plug inside. SHADOW -LRB- into recorder. -RRB- Have outlet analyzed for any traces of flammable accelerants. Rimgale stands and walks out. BRIAN Do n't mention it.\",\n \"INT. THEATRE BUILDING - NIGHT Brian follows Rimgale down from the office into the vast theatre. Walls hiss and spit. Brian's surprised to see his former engine mates there, tromping and crunching their way through broken glass, their flashlights like dancing fireflies. Tim passes by. BRIAN Hey, Tim. Everybody turns at the voice and the air suddenly chills. TIM -LRB- distant. -RRB- Brian. SHADOW -LRB- to Brian. -RRB- Check the wall for burn patterns. And Rimgale's off to another room. Brian turns and looks at the wall. It's endless. BRIAN -LRB- to Tim. -RRB- So, you surviving without me? TIM There's no replacement'cause of your boss' cuts, if that's what you mean. If someone else goes out on an injury we're really screwed. BRIAN Swayzak's not my boss. Silence. Brian looks over the wall. A dirty puddle separates him from it. GRINDLE -LRB- to Brian. -RRB- Ooooh, like the tie. Love the tie. BRIAN Grindle, scrape down that wall for me, huh? I would myself, but the tie'n all, y' know. Grindle stares at him a beat, then wordlessly steps into the muck and pulls free a section of wall, dropping it on the ground in front of Brian. Santos and Grindle look at each other. SANTOS Uh, Brian, if you're lookin' for smoke patterns, there's some good ones over here. BRIAN Yeah? Where? GRINDLE -LRB- as Brian walks over. -RRB- Little to the right. further. further. Right behind there. Hey, could you hand me that pike pole? There's a pike pole leaning against the wall. Brian pulls it aside. SPLASH - The pole had been supporting a small, sagging piece of ceiling that instantly collapses, dumping twenty gallons of murky, putrid black water all over Brian's civvys. Nobody laughs. GRINDLE Sorry, maybe that was n't it after all. Stephen appears around the corner. Sees what's happened. STEPHEN That's just about enough, guys, okay? SCHMIDT See ya around, Brian. They leave. Brian stands there, humiliated. AXE -LRB- to Brian. -RRB- What the hell's the matter with you, huh? You're steppin' in the shit again. You could've done it. You do n't want this. -LRB- the suit'n tie. -RRB- Wake up, kid. Brian burns with shame and anger as Adcox walks away. Stephen hands Brian a towel. STEPHEN Here. Dry yourself off. Brian snatches it from him. Glares at his brother. STEPHEN Look, you are sorta making yourself fair game. BRIAN Thanks for the insight. STEPHEN Brian, look - BRIAN Just leave me alone, okay? Brian walks away. Stephen calls after him. STEPHEN Hey, Bri. Rimgale's okay. I do n't get half the shit he's talking about, but then everybody says the same thing about me. Who the hell knows?\",\n \"INT. HELEN'S HOUSE - DAY Helen, Stephen's ex - wife, is sitting at her kitchen when she looks up suddenly at a strange sound coming from the roof.\",\n \"EXT. HELEN'S HOUSE - ROOF - DAY On the short, sloping roof, Stephen stands hammering a shingle back into place. Helen sticks her head out the dormer window. HELEN Stephen, what are you doing here? STEPHEN Fixing my roof. HELEN It's not your roof anymore. He stops and tosses the hammer aside. Looks at his watch. STEPHEN Where's Sean? HELEN He's got piano lessons. STEPHEN Oh yeah? How's he doing? HELEN He's going to be a fireman. STEPHEN Give up, babe. You ca n't fight it. Believe me, my mom tried. HELEN -LRB- beat. -RRB- Stephen, you got ta stop just showing up on the roof like this. STEPHEN I just wanted to, I do n't know, not exactly apologize for the other night - especially since I do n't remember much of it - HELEN - You remember. STEPHEN Yeah. I just thought I should say, I do n't know, something. HELEN The great communicator. STEPHEN Sorry I hit Jackson. HELEN He deserved it. He was born deserving it. STEPHEN He treats you okay? HELEN Okay. STEPHEN I treated you better. HELEN You treated me like shit. But she smiles. HELEN You want some coffee? STEPHEN Coffee? Nah, I got ta go. HELEN What's wrong, Stephen? -LRB- looks at her. -RRB- C'mon, you only beat up the roof when something's on your mind. -LRB- beat. -RRB- How's Brian doing? STEPHEN He's out. HELEN I know he's out, but how's he doing? STEPHEN Y' know, I treated him better than any other probie I ever had. He probably hates my guts, but I did the best thing for him. I made him finally look in the mirror. HELEN Ah Stephen, that's what this is really about, is n't it? You always have to be right. STEPHEN Hey, I'm the first one to admit when I'm wrong. HELEN Yeah? When was the last time? STEPHEN In a fire? Never. -LRB- beat. -RRB- Look, I'm his brother. I care about him, y' know? He was going to get himself killed. Maybe not today, maybe not in a year, but it would've happened. And I could n't - I just could n't. HELEN You ca n't keep being his father. Stephen sighs deeply. STEPHEN You know what I realized today? I ca n't remember my dad's face anymore. There's pictures of him staring at me everywhere I go, but the guy behind them. he's gone. He sighs and hops down from the roof to the driveway. STEPHEN I'll see ya around, Helen. She watches him as he walks lonely up the street.\",\n \"INT. CITY MORGUE - DAY A Lab Tech, RICCO, leads Brian and Rimgale through the autopsy area till they come on two corpses lying side by side covered in plastic. RICCO Okay, Alan Seagrave and Donald Cosgrove. If you say so. Brian's stomach does a half - gainer as he's confronted by two hideously charred bodies. RICCO Both deaths due to close encounters with stationary objects ; office door for Mr. Cosgrove,'89 Porsche for Mr. Seagrave. No non - relevant traumas. No significant blood toxicology. Attitude of both trajectories consistent with explosions. Brian is discreetly avoiding his gaze, whistling quietly to himself as he looks over specimen jars on a shelf. RICCO They ran the residue you scraped from both crispers' front doors. It's a combination of plumber's putty and rayophene gum. Burns almost completely away when you light it. SHADOW Putty? On both doors? RICCO There's something else kinda interesting. Ricco lifts Benton's charred shoulder. Underneath we see some of his clothes that have melted and co - mingled with his flesh. RICCO See this? A credit card has been fried right into Cosgrove's skin about where his back pocket should have been. RICCO Guess he did n't leave home without it. Ricco erupts in a honking laugh, then switches instantly back to a business tone. RICCO Anyway, down here, take a look. SHADOW McCaffrey, hold this for us. BRIAN Uh, I do n't think that's in my contract. SHADOW I just re - wrote your contract. C'mere. With supreme reluctance Brian pulls the crisper's head and shoulder away from the table. RICCO Jesus Christ, he is n't gon na try to sell you insurance, lift him. Brian gathers the torso up and hoists him higher. RICCO -LRB- to Rimgale. -RRB- See that patch of shirt? We wondered about the discoloration so he ran a spectro. On a lucky shot we picked up some traces of Trychticholorate. Nobody around here had ever heard of it. SHADOW Trychticholorate? Alright, it's an absorption catalyst in toxic waste accidents. It's pretty rare, they stopped making it a couple'a years ago. RICCO Probably got in Cosgrove's clothes in a gas state from the fire. SHADOW What the hell was it doing in the fire? RICCO That's your job. At that instant, Cosgrove's eyes OPEN and his body SIGHS. Brian DROPS the body in shock and backs away, stunned. SHADOW I asked you to hold him, not feel him up.\",\n \"INT. RIMGALE'S CAR - DAY Rimgale's FD sedan. Brian is still wringing imaginary guts off his hands. Rimgale tosses an open fire chem book in his lap. SHADOW Read. BRIAN `` Trychtichlorate is a binary structured -'' SHADOW - Go to the bottom. Under heat properties. BRIAN `` During heat episodes of 2000 Kelvin or higher, Trych breaks down and dissipates. Will consume magnesium''. SHADOW Ever burned magnesium? It's so hot it takes water molecules and BAMM! Rimgale CLAPS his hands next to Brian's head, STARTLING him. SHADOW Son of a bitch tears'em apart just to eat the oxygen. Would n't take much at all to melt ten gauge wire. Problem's burnt magnesium leaves a powder trace - unless you could find something that would eat its residue. BRIAN Trychticholorate. Then Swayzak can announce Seagrave was a murder. Rimgale looks at Brian. He's getting tired of this. SHADOW Look, it is n't proof, okay? Someone may have put the chemical in the outlet, but we found it as a vapor in Cosgrove's clothes. BRIAN And the putty around the door? SHADOW Even if it was used to seal the air off, that does n't explain why someone would go to the trouble of a backdraft. A gun's a helluva lot easier BRIAN But the right guess on this is arson. SHADOW I do n't guess. BRIAN Some people say you do n't do much of anything when it comes to this case. SHADOW I do n't work for them, either.\",\n \"INT. ARSON HQ - DAY Brian's sitting at a desk. He's finishing up a huge paper clip Tyrannosaurus. The phone RINGS. BRIAN Arson. JENNIFER Straightest answer your department's given me all week. We see Jennifer's calling from her office, she's busy signing papers brought to her and okaying campaign posters as she talks. BRIAN Hey. JENNIFER How's it going? BRIAN Boss and I are up to about three words an hour. JENNIFER -LRB- to secretary. -RRB- Green committed to a thousand. -LRB- to Brian. -RRB- There's another fund - raising party tonight. Marty'd really like you to come. BRIAN I do n't know, I'm kinda swamped here. He tosses a paper airplane. JENNIFER I could use a date. BRIAN Yeah? Well, maybe I can fit it in. RIMGALE'S VOICE McCaffrey! Come here! BRIAN -LRB- into phone. -RRB- Call ya back. Brian hangs up quickly and walks back into\",\n \"INT. ARSON HQ - ANOTHER ROOM - DAY Rimgale's there, crouched excitedly beside a trash can that's lid's been sealed closed. He tamps a piece of putty on the rim and backs away. SHADOW Take the top off. Go ahead. Take it off. Brian walks over and RIPS OFF the lid. - Instantly a tongue of flame SHOOTS straight up past his head and BLOWS out. BRIAN Jesus! Rimgale's grinning like a little kid. SHADOW That's it! Oh, that son of a bitch, he's different, goddamn it! You see what this tells us, huh? Our killer does n't love fire! BRIAN What? SHADOW -LRB- pulls out file. -RRB- I got it after we talked to Ronald. Torches. Want to fry the whole goddamn world. But the fires that killed those guys never really burned up much. - The burns were all lit in outlets surrounded by double firebreaks in the walls. And he made his burns backdrafts. BRIAN But he killed these guys. SHADOW But he could have killed everybody there. The firebreaks kept it from spreading in the wall. The backdraft blew out the flame. That's it. That's the reason. BRIAN What reason? SHADOW Why backdrafts. Whoever fried Seagrave and Cosgrove went to a helluva lot of trouble to make sure they died by fire, but also made sure the fire blew itself out. BRIAN That's why the sealant on the doors. So what have we got, a torch with a conscience? SHADOW No, we have a stone killer trying to make a point. BRIAN Are you going public with this? SHADOW No. Do that and I guarantee you'll scare him off. I do n't want him running away.\",\n \"EXT. PARTY BOAT - NIGHT A Latin band cuts loose as beautiful people mill about against a beautiful Chicago skyline. An AIR HORN blows, and suddenly the skyline is MOVING. We're on a huge, private party boat.\",\n \"EXT. PARTY BOAT - NIGHT Brian's leaning on the boat railing watching the passing parade of rich and beautiful. Across the sea of champagne and brie, he spots Jennifer talking with her boss, Swayzak. He has his hand on her back. Jennifer spots Brian. She smile, detaches herself and walks over. JENNIFER Hi. BRIAN -LRB- eyes on Swayzak. -RRB- Hey. -LRB- beat. -RRB- So are you dating your boss or what? JENNIFER If you were n't at least the 300th person to ask me that, I'd probably be pissed. -LRB- beat, sighs. -RRB- Boy, you sure know it's a man's world sometimes. BRIAN Sorry. -LRB- beat. -RRB- Are you dating anyone? JENNIFER You think that's really any of your business? BRIAN Well, you did invite me here. JENNIFER Marty did. -LRB- beat, smiles. -RRB- But I wanted you to come to. Swayzak suddenly appears with his entourage. SWAYZAK Mr. McCaffrey. BRIAN Nice boat. SWAYZAK It is n't mine. -LRB- to photographer. -RRB- Let's get a picture. Swayzak swings around and puts his arm cheesily around Brian's shoulder. Another staffer slaps a SWAYZAK FOR MAYOR sticker to Brian's lapel. Jennifer rolls her eyes to Brian. I'm sorry. Snap. SWAYZAK -LRB- seeing someone else. -RRB- Larry! -LRB- sotto to Jennifer. -RRB- What does he do again? Swayzak leads her off in pursuit. Left alone, Brian turns to the railing, stares off at the passing city. You can hear the wind - up of a siren. And there it is now, an engine company zooming along Wacker Drive. Something digs and kicks inside of Brian as he watches it disappear. JENNIFER How's the job going? She's appeared again beside him. BRIAN Okay. JENNIFER Boy, Rimgale's as slow as a snail, is n't he? BRIAN No, he's more of a dinosaur. Guy's not a dummy, though. He's juggling alot of balls on this one. JENNIFER Yeah, but it does n't take Albert Einstein just to figure out if these guys were killed by accidents or not. BRIAN Jesus, give him a break. There is n't enough proof yet to go public. Sure, we found some chemical shit we think somebody dumped in the plugs to torch'em, and we've maybe figured out why backdrafts, but you ca n't rush this stuff. Not'till it's locked. JENNIFER But Rimgale's probably going to come around to arson. BRIAN In a dinosaur kinda way, yeah. BAMM! Both of them look up sharply. A woman drunk out of her mind has tipped over in her chair. She laughs, her fellow tablemates laugh, everybody laughs. Jennifer takes Brian by the arm in the opposite direction and smiles. JENNIFER Save me.\",\n \"EXT. PARTY BOAT - NIGHT The band's completely cut loose now. A wild percussion rhythm that has everyone on their feet dancing like madmen. Brian and Jennifer stomp and sweat and shake and giggle through hair crazily askew. The lakeshore is twinkling and wonderful as it slips past. The drums beat faster and harder and the only thing that is n't moving now is their eyes - eyes locked on each other.\",\n \"EXT. ARSON HQ - NIGHT Sweaty, flushed with the evening and a few drinks, Brian and Jennifer pull up in her car. BRIAN Thanks for the invite. JENNIFER Got anything to drink in there? BRIAN Oh, there might be something stashed away for emergencies.\",\n \"INT. ARSON HQ/FIRE STATION The regular engine company's gone to bed and the arson squad's packed in for the night, leaving the apparatus floor quiet and dim as Brian and Jennifer enter. Brian leads her back past the engine and arson sedan to the rear where Rimgale has his offices. As they walk Jennifer's eyes drift up to the old sculpted parapets, the press - tin ceiling. BRIAN This is one of the oldest fire stations in the city. Lotta tradition locked up in here. What do you think? JENNIFER Homey. BRIAN See that trap door up there? That used to lead to the hay loft when they had horse - drawn engines. It was pretty different then. but kinda the same, y' know? JENNIFER Do you miss it? -LRB- he does n't answer. -RRB- You seem like you do. BRIAN When I came back, I knew more than anything else that I wanted to be a fireman. JENNIFER Then why did you quit? BRIAN I wanted to be a good one.\",\n \"INT. ARSON HQ - BACK OFFICES They walk into the back arson offices. Brian pokes through a few drawers, one or two shelves. Finally he lifts a squat, specialized fire extinguisher. The bottom has been hollowed out, leaving room for a fifth of bourbon. BRIAN Old firehouse trick. He pours her a glass. Jennifer takes a generous sip of her's, turns, brushes past him and breathes, JENNIFER So show me your fire truck.\",\n \"INT. ARSON HQ - APPARATUS FLOOR Brian escorts Jennifer along the side of the behemoth. BRIAN Well, our specimen here is your basic standard issue piece of primary suppression equipment. This area is the pumping panel, which controls the rate of liquid insertion into the hose. JENNIFER Uh huh. Brian lifts a narrow, tapered straight - bore nozzle. BRIAN This is a six inch playpipe, cast bronze to keep it firm during hard flows. -LRB- picks up another item. -RRB- This is our pipe extender, used in forward lays. -LRB- moves on. -RRB- This is our hard suction line. Our adjustable insertion nozzle. -LRB- comes around back of trunk. -RRB-. And this is the hose bed. Beat. The air cracks between them. And is brushed aside. In an instant they're all over each other. Tangled lips and gulping breaths. Jennifer abruptly breaks it off - And looks mischievously up at the hose bed, with its long curling rolls of soft cotton. Brian does n't remember this precise scenario being discussed at the academy, but he improvises admirably, popping up onto the hose bed and offering a gentlemanly hand to Jennifer. As they tumble into the soft folds\",\n \"EXT. HIGH-RISE - NIGHT Engine 17 roars up, lights flashing, to a high - rise. As the crew jumps down Tim trips and falls flat on his face. GRINDLE Jesus Tim, if you're going to kill yourself at least wait till the fire, it's better P.R.\",\n \"INT. ARSON HQ - HOSE BED - NIGHT Jennifer unbuttons Brian's shirt. JENNIFER Tell me about the playpipe again. She pulls the shirt off his shoulder as we\",\n \"INT. HIGH-RISE - LOBBY - NIGHT Engine 17 walking up to a frazzled security guard in the lobby. STEPHEN Where is it? SECURITY GUARD Do n't know. There's alarms going off on three different floors. STEPHEN Wonderful. They climb into the elevator.\",\n \"INT. HIGH RISE - ELEVATOR - NIGHT It's cramped on the way up with the bulky coats, helmets, hose rolls, and the tangible nervousness that always goes with this kind of fire. The elevator Musak plays 101 Strings version of `` Tie A Yellow Ribbon ` Round The Old Oak Tree''. TIM How do we know if the floor's going to be on fire? STEPHEN If the doors open and it's hot, do n't get out.\",\n \"INT. ARSON HQ - HOSE BED Brian pulls off Jennifer's stockings. As she kicks it away.\",\n \"INT. HIGH-RISE - UPPER FLOOR - NIGHT The elevator stops. DING. The door opens. No howling blaze, not even any noise, but enough hanging smoke that you ca n't see your hand in front of your face. They fan out gingerly onto the floor, looking for the fire. Hide and seek in a white fog bank. Everybody stops and listens. Slowly, carefully, they feel their way through the haze. STEPHEN It's here. On cue something snakes past behind the walls, whispers and whines and shivers up and over them and then is silent. Grindle attaches a hoseline to the building standpipe. GRINDLE These high - rise gigs give me the creeps. AXE Let's wait for a back - up, Stephen. We're early on this one, it has n't even broke out yet. We're one short as it is with Brian gone. But Stephen's on the hunt now. Obsessed. STEPHEN Want to learn something? TIM Yes sir! Stephen and Tim take the lead, their axes gripped like shotguns. Grindle backs them up with a charged hoseline. STEPHEN Adcox, go with Pengelly and check the other side. AXE It is n't safe, man. Do n't go splittin' us up. Not with this one. STEPHEN - What the hell's the matter with you? You always check the other side. I have n't got time for bullshit right now, okay? We got a job here. AXE Let me take the lead, Stephen. STEPHEN Goddamn it Adcox! Just do your fucking job! Adcox folds. With a stricken look on his face he takes his crew down the other way. Stephen and Tim slowly feel their way. CRACK Everybody SPINS around in terror. Nothing. Something inhuman giggles down ahead of them. Stephen smiles. STEPHEN -LRB- like a mantra. -RRB- Oh, you're so very sly, but so am I. -LRB- to Tim. -RRB-. Listen to it. you can tell when a wall cracks which way it's gon na jump. you can hear the doors breathe if they're hot. Tim looks confused. He does n't get it. They come to a side door. Stephen runs his hand down the jam, feels for heat. Then he steps back, takes a deep breath, and CRASHES the door down with one AXE BLOW. Quiet inside.\",\n \"INT. ARSON HQ - HOSE BED - NIGHT Brian and Jennifer are into the rhythm now, breathing deeply. On the wall above them are framed photos of dead firemen. Watching.\",\n \"INT. HIGH-RISE - SECOND DOORWAY - NIGHT Stephen concentrates on the sound of the fire above him, - then abruptly turns and CRASHES down another door.\",\n \"INT. ARSON HQ - ALARM KLAXON GOES OFF - NIGHT Brian and Jennifer lie in a tight embrace, enjoying the moment, the lull, as suddenly the lights SNAP ON and an alarm klaxon BELLOWS. Firemen are coming down the pole now. JENNIFER What's going on? They frantically climb into their clothes. The firemen have n't noticed them as they climb aboard. They've STARTED THE ENGINE. JENNIFER What are they doing?\",\n \"EXT. ARSON HQ - STREETS - NIGHT And before either of them realizes it, they're suddenly pulling out into the street and WAILING off down the block. The wind's wild in their hair, the siren deafening, the flashing red lights blinding staccato, And Jennifer loves it. She kisses Brian fiercely, he lets out a war whoop lost in the blast of air, and together they hold each other as the night screams past and.\",\n \"EXT. HIGH-RISE - NIGHT Engine 17 pulls up into the parking lot of the high - rise fire. Firemen leap out of the cab and rush around behind to pull off lengths of hose from the bed. As the folds curl away the fireman is stunned to see a woman's stocking come out with it. With equal shock he looks up and watches as a disheveled and grinning Brian and Jennifer climb calmly down out of the bed. BRIAN Excuse us.\",\n \"INT. HIGH-RISE - TIM'S DOOR - NIGHT Stephen and Tim creep along the hall. STEPHEN -LRB- to Tim. -RRB- Lotta smoke, but it is n't rolling. that means it's hiding. staying sleepy. one of these doors. Tim's come to one. STEPHEN -LRB- to himself. -RRB- Easy. no hurry. you're not going anywhere. Stephen BANGS down another door. Sticks his head in to check. A little woodpecker toy dips up and down in a glass of water. Tim readies his axe before his door, gathers his courage as Stephen comes out of the room he was checking. Sees Tim lifting his axe. STEPHEN Did you check the door for heat, Tim? Tim does n't hear. The axe is already up. STEPHEN Tim? Tim's committed now, coming hard at the door. And Stephen sees it for just an instant - Small tendrils of smoke edging lazily around the door - then being sucked back in. STEPHEN Tim! He rushes for Tim as Tim's axe SMACKS the door and a whine behind it builds and roars and howls and Tim's all follow - through now, hitting the door with his shoulder as The door EXPLODES OUTWARD, HURLING TIM against the opposite wall and for an instant he's okay but he freezes in terror as A SHRIEKING TONGUE OF FLAME SHOOTS OUT THE DOORWAY and Grindle shouts in horror and opens his hose line as the flames wrap Tim like a jealous lover as Adcox hears it and screams, AXE Oh God! Oh God no! And Tim's screaming now too, because his helmet, his mask, his face, it's all melting and Grindle dives suicidally at the monster, BLASTING it with his hose as Stephen ignores the flames and puts his arms around Tim as Grindle DOUSES them both, killing the flames. The monster rolls wounded back into the room, into the air shafts as Tim whimpers incoherently, sliding down the wall as Stephen tries to help but oh God you ca n't tell what's face and what's mask and helmet anymore. Grindle looks back where the fire came from. There's a corpse in there, burned and lying between two doors. Adcox rushes to Tim's side sobbing and it's the end, the end of the goddamn world.\",\n \"EXT. HIGH-RISE - NIGHT Brian and Jennifer are having the time of their lives, when suddenly a group of firemen pass by rushing someone on a stretcher to an ambulance and Brian sees - sweet Jesus - it's Tim. Jennifer turns away in horror. They load Tim into the van as Adcox and Grindle jump in to ride along. To hold his hand. Stephen watches the ambulance disappear out into the street. Frustration and fury tear at him as he takes off his coat and slams it to the ground. He kicks it, kicks it till his strength's gone. He turns, his wounded eyes finding Brian.\",\n \"INT. HIGH-RISE - NIGHT Rimgale walks down the smokey corridor. The charred civilian is there, sitting in the short stretch of hall between two blown doors. Through the haze Rimgale sees Stephen crouched in the interior room, picking at the debris. Lost in himself. STEPHEN Hey, Stevie. Stephen stands and looks around the room, seemingly unaware of Rimgale. He walks wordlessly straight out past him, his eyes streaming with tears.\",\n \"INT. HOSPITAL - EMERGENCY ROOM - NIGHT Brian shoulders his way through the emergency room. He passes a small alcove full of vending machines. Adcox is there, sipping a paper cup, leaning against the machine in deep anguish. BRIAN Is he. AXE He's alive.\",\n \"INT. HOSPITAL ICU - NIGHT Further down the hall is ICU. Grindle and Santos are there, sitting outside the room, raw and weary. Grindle nods to Brian. Everyone's still stained and smudged from the fire. Everyone but Brian. Brian looks through a door window into the room. There, surrounded by doctors and physicians, lies Tim. He's been cut out of his uniform. Gauze bandages everywhere. As a pair of forceps peel some away Brian glimpses what used to be a face, now only reds and browns and leaky whites. He turns away. BRIAN Do they think he'll pull through? GRINDLE They're not saying. BRIAN I should have been there. NIGHTENGALE None of us should have been there, Brian. Voices rise down the hall. Turn to shouts. It's Adcox and Stephen, tearing heartbreakingly into one another. Brian ca n't make out the words but it's ugly, emotional. Abruptly it ends and Stephen emerges from the alcove, walking toward them upset. BRIAN You had to do it, did n't you? Stephen's got other things on his mind. STEPHEN Not now, Brian. BRIAN Had to take on another fire bare - handed, huh? Had to be fucking myth man in there instead of looking out for your probie. Is that what happened? Is it, Stephen? STEPHEN I had that fire. He did n't listen! BRIAN He did n't listen? He was a fucking candidate! He was your responsibility. He should n't have been there in the first place, Stephen. -LRB- beat. -RRB- You burned him. STEPHEN Fuck you. Brian grabs his arm. Stephen SNAPS and roughly PUSHES Brian, knocking him against the wall. Brian comes off it in a flash and is all over Stephen. They go down and it's all thrashing and shouting now. A horrible, endless draw. Grindle and Santos are in it, pulling them apart, holding them up against opposite walls. Both brothers glare at one another, tears filling their eyes. Brian shakes Grindle off and walks away.\",\n \"INT. ARSON HQ - BRIAN'S DESK - MORNING Brian sits staring blankly. A newspaper drops in front of him. FIRE DEPT.. SAYS IT'S MURDER. Rimgale stands above him. SHADOW Goes on about how the break was made through the discovery of `` chemical traces'' and a `` behavioral link''. Oh, and Swayzak's quoted saying the chief investigator is closing in on the torch and expects an arrest `` any time''. Brian's eyes wince closed. SHADOW Get your stuff and get out.\",\n \"INT. JENNIFER'S OFFICE - DAY She's pouring some coffee as Brian bursts in. JENNIFER -LRB- surprised. -RRB- Brian. What's wrong? BRIAN You told Swayzak about our arson lead. It's all over the fucking news. JENNIFER I did n't know it was a secret. There are n't supposed to be secrets between the city and its investigators - BRIAN - Bullshit! You knew what I told you was n't ready for the papers - JENNIFER Will you please keep your voice down, there's people - BRIAN - You could have scared the son of a bitch off. We may never bust him now. All for a couple's political points. JENNIFER I was doing my job. BRIAN -LRB- grabs her arm. -RRB- Yeah? And just how much of all this has been `` doing your job''? JENNIFER -LRB- shakes it off. -RRB- Let me ask you something, do you really think Marty had you assigned to arson because of your firefighting skills? Who the hell are you kidding? I was there, remember? I saw you and your brother - BRIAN Leave Stephen out of this - JENNIFER Oh yeah, he's the real fireman. -LRB- beat. -RRB- Who are you? Just another probie working for Swayzak - BRIAN - I work for the city. JENNIFER You knew what we were asking you to do. Do n't suddenly pull out a conscience now. The fit is n't right. Swayzak appears in the doorway. He looks haggard, as if he has n't slept. There's something haunted in his eyes. SWAYZAK Mr. McCaffrey. Keeping busy? BRIAN Yeah. In fact, I just dropped off a letter to the Times explaining how yesterday's arson announcement was a fabrication by your office. They loved it. And you know what? You were right, my family background in firefighting gave it weight. JENNIFER Oh Brian. Brian shoulders his way past Swayzak and walks out.\",\n \"INT. HOSPITAL - TIM'S ROOM - NIGHT Brian walks up to Tim's room. Stephen's sitting there, ragged looking. Inside the young probie lies wrapped in tubes and gauze and years of wasted promise. An EKG beeps, a respirator hisses, and Brian gulps down something heavy in his throat. STEPHEN He's gon na live. Maybe not much else, but he's gon na live. Stephen walks away.\",\n \"EXT. ARSON HQ - MORNING As Rimgale gets out of his car a limousine pulls up. Swayzak opens the rear door from inside. SWAYZAK Inspector. SHADOW Alderman.\",\n \"INT. SWAYZAK SEDAN - DAY Cruising through traffic. Swayzak is disheveled, unshaven, fidgety. A man who has n't slept and had a few drinks before the one he's pouring now. He offers one to Rimgale. SHADOW I usually have breakfast first. Swayzak apparently does n't. SWAYZAK When are you going to catch the prick that's doing this, Don? SHADOW `` Don?'' SWAYZAK Do n't you have any leads at all? SHADOW No Marty, I do n't. For the first time, Rimgale sees real fear on Swayzak's face. SHADOW We still have n't found a connection between the victims. SWAYZAK Jesus, open your eyes! Seagrave, Cosgrove, and now Holcomb - fried in a goddamn high - rise! SHADOW Holcomb? I did n't know the name of that victim had even been released yet. The sedan stops back at arson HQ. They'd gone around the block.\",\n \"EXT. ARSON HQ - SWAYZAK SEDAN - DAY Rimgale opens the door, climbs out, lingers. SHADOW Is there a connection between them, Alderman? SWAYZAK Just catch the son of a bitch. The door shuts and Swayzak roars away.\",\n \"INT. ARSON HQ - BACK OFFICES - DAY Rimgale walks back into his offices. He's surprised to see Brian there working at his desk. SHADOW What the hell are you doing here? BRIAN I'm finished with Swayzak. I'll do whatever you want me to do. I just want to help catch the guy that burned Tim. You got ta give me another shot. Rimgale stares at Brian, appraises him.\",\n \"INT. HIGH-RISE A CLOSE UP of Rimgale POPPING the molding around the door frame of Holcomb's burned office. Underneath can be seen traces of the same white residue from the other fires. SHADOW I thought ` ol Marty was acting a little strange. And he's right. Rimgale rubs the white powder between his fingers. BRIAN Backdraft? Rimgale stands at the spot in the short hall where the body lied between two doors. SHADOW The backdraft was set somewhere in there. It fried Holcomb when he opened the inner door. But the outer door held. and waited for Tim. Brian steps into the inner office. SHADOW So find me the fire. Brian begins searching, probing. He finally stands. Defeated. SHADOW You're thinking too much of the building and not enough of the ghost. Brian's eyes do n't understand. From Rimgale's coat comes a plastic flask. He pours out of it a liquid onto the floor and lights a match. SHADOW In a word, Brian, what is this job all about? BRIAN Fire. Rimgale drops the match. WUMP. A small flame explodes to life. SHADOW It's a living thing, Brian. It breathes, it eats, and it hates. The fire's climbing a wall, chewing a corner. SHADOW The only way to beat it is to think like it. To know that this flame will spread this way across the floor not because of the physics of flammable liquids or heat convection, but because it wants to. FWUMP. It darts west. Licks the ceiling. The fire purrs and hisses. Stretches luxuriously and attacks savagely. SHADOW Some guys on this job, fire owns them. It makes them fight on its level. But the only way to truly kill it is to love it a little, just like Ronald. Brian stares at the flame. A goblin reaching out for him. - Woosh! Rimgale hits it with a fire extinguisher. In an instant the goblin is gone, the genie in the bottle. VOICE What the hell are you guys doin'? A young woman's entered. SHADOW We're the fire department, lady. WOMAN Well color me stupid, I always thought the fire dept. put out fires. SHADOW -LRB- to woman. -RRB- You work here? WOMAN Till yesterday. What do you think the odds are that a non - refundable ticket to Paris survived this? BRIAN Somewhere between zero and no way. WOMAN Shit. What a mess. SHADOW You seem real broken up about Mr. Holcomb. WOMAN Jeff Holcomb? The Darth Vader of tax accountants? He was a sleezeball. Hopefully a sleezeball that carried some insurance. BRIAN Go talk to the building owner. WOMAN He was the building owner. BRIAN Our book lists the owner as Dekom Trust. She looks at him like he's the dumbest human she's met all week. WOMAN Do n't investigators come in adult size?\",\n \"INT. FIRE STATION 17 - OUTSIDE STEPHEN'S OFFICE - DAY Sequence omitted from original script.\",\n \"INT. FIRE STATION 17 - STEPHEN'S STATION OFFICE - DAY Stephen's lying sprawled on his bunk, his hands pressed over his eyes. There's a voice outside the door. GRINDLE Stevie? Rimgale's here to see you. STEPHEN I'm busy. GRINDLE He just wants to - STEPHEN - I'm busy goddamn it, okay? A beat, then Rimgale himself enters. STEPHEN What, they do n't knock on your planet? Rimgale takes in Stephen's room, the half empty bourbon bottle. Without a word, Rimgale walks over and pours it out. He sits down beside Stephen. SHADOW I still have n't gotten your fire report, Stevie. On Tim. A wave of pain rolls through Stephen. STEPHEN I'm working on it. SHADOW I deal with this stuff every day. But a fireman. you never get used to it. -LRB- beat. -RRB- What happened up there? He was a candidate. Did he pay attention? Was he listening? STEPHEN He was n't listening to the right thing. SHADOW What do you listen to, Stephen? STEPHEN You do n't know. nobody knows. SHADOW I might. Stephen's eyes meet Rimgale's and hold. STEPHEN It knows us. This one knows us. SHADOW -LRB- beat. -RRB- I need that report, Lt. Stephen takes Rimgale's notebook out of his lap, rips out a page, and writes angrily in huge block letters. STEPHEN Tim - went - to - the - fire - and - now - he - does n't - have - a - face. Stephen throws the sheet at Rimgale, stands, and walks out.\",\n \"INT. HALL OF RECORDS An Escher drawing of a place, endlessly vast racks spun around an open central core. High up, lost among its rows, Brian is going through rack after rack of dog - eared record books as Rimgale enters down below. BRIAN -LRB- trying to hold it together in his mind. -RRB- Hey boss, Dekom Trust is owned by Pan Illinois. which is majority controlled by Lakeside Dynamics. which is a division of Windy City Ventures. who's partners are. -LRB- beat. -RRB- Alan Seagrave, Donald Cosgrove, and Jeffrey Holcomb. SHADOW Son of a bitch. They knew each other.\",\n \"INT. HALL OF RECORDS More books. Files. Acres of paper. BRIAN So Seagrave and Holcomb were accountants. SHADOW And Cosgrove. Coppers figured he laundered money for the mob before getting into real estate. They were n't very high on Seagrave, either. BRIAN Nice bunch of guys. SHADOW Who all ended up wearing candles for faces. -LRB- beat. -RRB- Swayzak's up to his ass in this somehow. Guy can barely hold a drink in his hand, he's so scared. A beat, then he looks directly at Brian. SHADOW We need to get a look at his files.\",\n \"EXT. ROOFTOP RESTAURANT - NIGHT Sequence omitted from original script.\",\n \"EXT. LAKESHORE - DUSK With glowing skyscrapers leaping up in the background, it's an unexpectedly quiet, serene place along the lake. Jennifer sits alone at a bench, watching an ancient fisherman look for dinner, as Brian walks up. JENNIFER Hi. BRIAN Hi. JENNIFER We still talking? -LRB- beat. -RRB- Look, I'm sorry about the other day - BRIAN Swayzak knows something about the guys that were murdered. I want to know why he keeps that hidden. JENNIFER I do n't know anything about it. BRIAN You could check. It'd be in his files. JENNIFER -LRB- beat. -RRB- Do you know what you're asking me to do? BRIAN Yes. JENNIFER Y' know, four years ago I was working in a bakery. Two years ago I was bringing Marty coffee and he did n't even know my name. I run that office now. Marty believed in me and I believe in him. You want me to just throw that away? BRIAN Your boss is lying, Jennifer. And it hangs between them, two people lonely on the edge of the lake.\",\n \"INT. BRIAN'S APARTMENT - NIGHT Sequence omitted from original script.\",\n \"INT. HELEN'S GARAGE - NIGHT At a workbench, under a single lamp, Stephen stands amongst a confusion of tools, wire, And a wall socket. With a pair of pliers, he tugs at something within the socket, puts the face - plate back on and screws it down. He stares at it, and we feel the sudden wave of hopelessness cascading through him. He sets the socket back down - and SCATTERS everything aside in a single, furious move.\",\n \"INT. HELEN'S HOUSE - NIGHT Sequence omitted from original script.\",\n \"EXT. HELEN'S HOUSE - NIGHT Stephen's sits quietly against Helen's back door, lost in himself. A light comes on. Helen opens the back door. HELEN Stephen? She sits down beside him. STEPHEN I'm sorry. I. could n't sleep. HELEN What's wrong? STEPHEN I. -LRB- beat. -RRB- It used to be, when I was a kid, what meant most to me about this job was there were no ifs. Life and death, right and wrong. When someone called the fire department, we came. Those guys do n't know how much I love them. You do n't leave people hanging. cause that's what it's all about. It's loyalty. It's'till death do us part. Is n't that what you heard? It's you go, we go. Cause without that, it's the end of families, it's the end of the fire department. and when the fire department stops coming. that's the end of the fucking world. -LRB- beat. -RRB- I'm sorry I came, Helen, it's just. it's just there's nobody I can talk to. -LRB- beat. -RRB- I miss you. The moment lingers, grows heavy and grey.\",\n \"INT. HELEN'S HOUSE - BEDROOM - NIGHT Stephen and Helen in bed, holding each other.\",\n \"INT. HELEN'S HOUSE - KITCHEN - MORNING Morning, and Stephen dressed, making eggs for three. Sean's there, lending a hand, beaming as Stephen tries to show him how to flip an egg. Helen enters in her robe. He kisses her. STEPHEN Cook and I are almost finished here. Have a seat. HELEN Stephen. I. can I talk to you a second. Stephen musses his son's hair and follows her out into the hall. STEPHEN Look, I'm sorry I - HELEN - No, that's okay. It's just Sean. STEPHEN - He's gettin' good on those eggs. And y' know, he told me he actually likes the piano. HELEN I do n't want to confuse him, Stephen. The blow's so long and hard and deep you do n't even see it. HELEN It's. It's just things have changed. you're the same, Stephen, but things are different now. you've got a son. you're the best at what you do Stephen, you always were, but you scare me now. Just then, Sean sticks his head into it. STEPHEN -LRB- to Sean. -RRB- Hey. Sean - man, your dad blew it. I forgot I had to work this morning. SEAN Aw dad, c'mon. STEPHEN Next time, huh? We'll do it up big. Promise. Helen's turned away. SEAN Okay. -LRB- then sotto. -RRB- Mom's crying, dad.\",\n \"INT. SWAYZAK'S OFFICE - CITY HALL - MORNING Jennifer enters Swayzak's inner office. His chair's turned away toward the window. JENNIFER -LRB- holding print - out. -RRB- Latest polls came in, Marty. -LRB- he does n't answer. -RRB- Marty? Finally the chair turns, revealing a haunted man. Polls are far from his mind. JENNIFER Jesus Christ, Marty, what's going on? SWAYZAK Leave me alone. She sees a fire department file on the murders open on his desk. JENNIFER We've come a long way together, Marty. I've staked my whole career on you. And now you're sneaking around this office, leaking things to the papers behind my back. -LRB- beat. -RRB- Is there something you're not telling me about these deaths? Swayzak's eyes are dead metal. SWAYZAK No. And he turns his chair around again. Jennifer stands there a beat. - Then turns to the filing cabinets.\",\n \"EXT. BRIAN'S APARTMENT BUILDING - NIGHT Brian drives up and parks. He's half way to the staircase when he sees someone sitting in the dark in a car. BRIAN Jennifer? She hands him a manila envelope. BRIAN What is - JENNIFER Just take it. Silence. BRIAN I'm sorry. JENNIFER That's a dumb thing to say. BRIAN You're right. She starts her car. JENNIFER Goodbye, Brian.\",\n \"INT. FIRE DEPARTMENT REPAIR DEPOT A cavernous hall full of dozens of fire trucks loaded on jacks. Rimgale's sedan's there, the repairman shaking his head in amazement at the undercarriage. REPAIRMAN What the hell do you do with this thing? Rimgale's looking through the report Brian's handed him. SHADOW This is the copy of Swayzak's manning report that was released. Everybody on this job knows it's bullshit but we could never argue with the numbers. They're all airtight. BRIAN Yeah? Airtight? He dumps three more reports on Rimgale. BRIAN I've got three different drafts of the same report - with different numbers that're all over the place. Looks like they were just making it up as they went along. SHADOW Did a little check on the consulting firm that wrote the report. They did exactly one job - Swayzak's manpower study. It's not even really a company. No employees, no directors, just a PO Box. BRIAN Then who wrote the report? SHADOW It had to be someone who knows numbers. Some kind of fancy accountant. But what's the connection? Brian hands him something else. A photograph. Swayzak and the other three, posing on a fishing boat, 1970. Time of their lives. SHADOW I think it's time Mr. Swayzak and us had a little heart to heart talk.\",\n \"EXT. SWAYZAK'S HOUSE - NIGHT The red arson sedan pulls up to wealthy home. Rimgale and Brian walk up and knock on the door - it creaks open ajar. They push the door open slowly.\",\n \"INT. SWAYZAK'S HOUSE - NIGHT It's dark as they enter. SHADOW Hello? Swayzak? Brian and Rimgale split up down different halls. It's the HISS Brian hears first. Then the FLASH of an electrical socket FLARING ice - cold cobalt blue. Suddenly the room's dimensions are there in frantic, strobing shadows. Chairs, a couch - - And a figure that JUMPS Brian. the light from the burning plug is a fierce strobe as the figure, a confused shadow, crashes Brian to the floor. They STRUGGLE. The figure GRABS Brian's throat. Brian PUSHES him back - Against the burning wall plug. The figure SHRIEKS in pain, gets his hand on a crowbar and SLAMS Brian - who crumples, dazed. The figure stands - just as Rimgale TACKLES him. The figure CRASHES across a gas space heater, SNAPPING the connection off. The figure SLAMS Rimgale HARD with the crowbar, squirms free, and stumbles out the door. Hissss. Rimgale climbs to his feet as fire eats at the wall. A baby backdraft wagging its tail. He goes to a dazed Brian's side, lifting him by his armpits and\",\n \"EXT. SWAYZAK HOUSE - NIGHT helping him outside. Hissss. The ruptured space heater pumps gas furiously. Rimgale sees that. He also sees a bedroom door ajar on the far side of the house. And through the door a couch. And on the couch, A body. Hissss.\",\n \"INT. SWAYZAK HOUSE - NIGHT Rimgale rushes back inside. It's Swayzak, unconscious.\",\n \"EXT. SWAYZAK HOUSE - NIGHT Rimgale drags him out on the stoop beside Brian just as the gas WHUMPS and the doors and windows EXPLODE in a HOWLING FIREBALL, the shrapnel BLOWING Rimgale off his feet. Brian slowly shakes his head clear. He looks around, tries to orient himself. SHADOW Uh. I sorta got a problem here. Brian climbs up to his feet and walks over to where Rimgale lies at a weird angle, a piece of wrought iron fence punched through his shoulder.\",\n \"INT. HOSPITAL - EMERGENCY ROOM - NIGHT Rimgale lies in an emergency room bed. SHADOW Well Brian, I guess you can say it's arson now. BRIAN How ya feeling? Rimgale grunts. BRIAN Did you pull me out? SHADOW Yeah. BRIAN Did I say thanks? SHADOW No. BRIAN Just wondering. SHADOW I hate hospitals. You're so. so goddamn useless. Rimgale suddenly kicks the bed frame in anger. He kicks it over and over with frustration till something finally SNAPS off. Brian waits, let's him vent his frustration. BRIAN So what do you want me to do? SHADOW I've been lying here hours. just thinking. We're close. -LRB- beat. -RRB- We're not looking in the right place, Brian. This one knows us and we're not looking in the right place.\",\n \"INT. PRISON INTERVIEW ROOM - DAY Brian's sitting alone in a chair. Finally the opposite door opens and in enters Ronald. RONALD Well, Mr. Life magazine. Come all this way just to say hi? Brian hands him a stack of murder files. BRIAN I'm close. but I ca n't get who it is. RONALD So you came to me. -LRB- smiles. -RRB- Well, this is going to be an interesting afternoon after all. As Ronald starts to read the files\",\n \"INT. PRISON INTERVIEW ROOM - LATER - DAY Brian still sitting there. Watching Ronald devour the statistics. The photos of charred bodies. Ronald finishes, leans back. RONALD Okay, here's the deal. I'll tell you a story, you tell me one. Fair? BRIAN Who's doing this? RONALD Your first question should be who is n't. It is n't a spark, Brian. Not enough damage. And an insurance pro? Where's the profit margin? BRIAN Then who - RONALD - No no, your turn. Tell me a story. BRIAN I do n't have a story. RONALD Sure you do. Ronald drops on the table a dog - eared copy of that 1972 LIFE magazine with Brian on the cover. RONALD Famous story even. Straight burn. Just an engine and truck first on scene. What did you feel, Brian, when you first got there? BRIAN What? RONALD You got ta tell a story too, Brian. It's fair. C'mon, do n't think too hard - BRIAN I. I thought it was great. I loved it. It was nothing to these guys. medium deal. RONALD Right. Light smoke, low roll. Couple'a civilians hollering - medium deal. So young fireman Adcox and Captain McCaffrey, they head up stairs, get out on the fire escape - McCaffrey does the ballsy jump across. what were you feeling, Brian? -LRB- Brian does n't answer. -RRB- C'mon, you promised. Be honest. -LRB- Brian just stares. -RRB- Okay. Guard! BRIAN - I wanted to be him. Right then I wanted to be him more than anything. RONALD -LRB- smiles. -RRB- Very good, Brian. - About your report here. The way to a torch's heart is through his tools. That's how you know him. It's the way he talks to the fire. And to you if you listen. BRIAN The outlets. RONALD That's a probie answer. You're smarter than that, Brian. BRIAN Trychticholorate. RONALD Good. - So our two heroes, Adcox and McCaffrey, they go back inside. Only there's another fire in there nobody sees. And it took your dad, did n't it Brian? Did you see him burn? In a flash, Brian suddenly reaches across and grabs Ronald by the collar. BRIAN Who the fuck is doing this? RONALD After it took your dad. the fire. did it look at you Brian? Did it talk to you? And Ronald sees something in Brian's eyes. He smiles. RONALD You see, our world's are n't so different. Brian releases Ronald. BRIAN -LRB- quiet. -RRB- Who's doing this? The arsonist smiles a creepy, horrible grin. RONALD Think, Brian. Who does n't love fire, but knows it better than anyone else? Who's around trychticholorate 24 hours a day? A cold shock rolls through Brian as he slumps back in his chair. BRIAN Oh Jesus Christ. RONALD Not such a far walk after all, is it, Brian?\",\n \"EXT. STEPHEN'S BOAT - MARINA - NIGHT Brian climbs up onto Stephen's boat. Nobody home. He opens the cabin door, goes inside and hits the lights.\",\n \"INT. STEPHEN'S BOAT - NIGHT There's cereal bowls in the sink, beer bottles on the table, And a stack of fire department supplies in the corner. His whole body aching with reluctance, Brian begins looking through them. Solvents, Armorall, a small specialty can of fire dept. chemicals. There's a label of ingredients on it. Way down at the bottom, Is trychticholorate. Nausea wracks its way through Brian. BRIAN Oh goddamn it Stephen. Footsteps. Brian spins around in stone shock as Stephen comes into the cabin. STEPHEN Hey, what are you doing here? BRIAN Just. Just wanted to say hello. STEPHEN So hello. Brian backs away from the chemicals. STEPHEN Well, long as you're here you can help clean up a little. I've got a guy coming to look at this in a few minutes. BRIAN You're selling dad's boat? STEPHEN Yeah, it's just another memory in my life right now. And I got way too many of them. BRIAN I really should get back. There's. there's something I'm supposed to do. STEPHEN Yeah? What have you got to do? -LRB- beat. -RRB- Look at you. Look at your face. All the things you must be thinking. Man, you must really hate my guts. Well, you know what? It's okay. BRIAN Look, Stephen, maybe we can talk about this some other - STEPHEN - Okay, so you do n't like me. You do n't like everything I've done. What, because I was n't such a genius the way I raised you? Jesus Christ, dad was gone, what was I supposed to do? You tell me, what the fuck was I supposed to do?! He KICKS the bulkhead wall. BRIAN It's okay, Stephen, I - STEPHEN - I tried, y' know? Helen's right. I do n't have all the answers, but goddamn it, I've got some. -LRB- beat. -RRB- Look, you're gon na do what you have to, and maybe I should n't have gotten in the way. I'm your brother, not your father. Go on. You got ta go somewhere? Go. Brian turns to leave. Pauses. BRIAN I saw it. STEPHEN Saw what? BRIAN When dad died, I saw another fire. STEPHEN Everybody did. BRIAN I saw it before it got them. I tried to yell, but. He asked me to look out for him. And I did n't do it. I let him die. STEPHEN -LRB- stunned. -RRB-. Jesus, you been carrying that around for twenty years? For christ's sake, you were seven years old! You think he could have heard you in there? BRIAN I hate him so much sometimes, Stephen. You do n't know how hard it was for me to put that uniform on. STEPHEN Maybe I do. -LRB- sighs. -RRB-. What a fuckin' mess, huh? -LRB- beat. -RRB- People can change Brian. BRIAN Sometimes right when you're looking at them. Brian sees the chemicals in the corner again and something freezes up inside. Stephen catches the look and there's horrible silence between them. BRIAN Oh God, Stephen, what's going on with you? STEPHEN I do n't know, Brian. I do n't know.\",\n \"EXT. FIRE STATION 17 - NIGHT Brian stands before the fire station. His brother's and his.\",\n \"INT. FIRE STATION 17 - UPSTAIRS LOCKER ROOM Brian PRIES the lock off Stephen's locker. Starts looking through it. Adcox comes out of the shower with a towel on, starts shaving in a mirror. He does n't notice Brian. Adcox turns to head for his own locker and the towel slips a little. And Brian's universe caves in. An icy claw tears out his stomach. Gulping breaths, he forces himself to look at Adcox's back. On it is a small, rectangular burn. It's fresh and it's the size of a wall socket. At that moment Adcox turns. The two of them stare at one another just a beat, then Adcox walks past him. Just then the alarm bells RING. Brian hesitates a beat, confused, then turns and runs down to\",\n \"INT. FIRE STATION 17 - APPARATUS FLOOR Where firemen are scurrying around, suiting up. Brian looks frantically for Stephen, sees him out back.\",\n \"EXT. FIRE STATION 17 - BACK OF STATION - SUNDOWN BRIAN -LRB- breathless. -RRB- - Stephen, wait a minute. I got ta talk to you. It's Adcox, he's - STEPHEN - What are you doing here? BRIAN I saw Adcox's back! I saw the burn! I put it there! Jesus Christ, Stephen, he's been killing people! STEPHEN I know. BRIAN How do you know? STEPHEN I knew when you came looking for the chemicals. Looking for me. BRIAN - What were they doing there? STEPHEN They were for the fucking boat, Brian. Grindles sticks his head out the back door. GRINDLE We got ta roll, Stevie. STEPHEN I'll be there. GRINDLE They're waitin' man. STEPHEN I'll be there, goddamn it! Grindle goes back in. STEPHEN -LRB- to Brian. -RRB- Anything else? BRIAN What are we going to do about this? STEPHEN I'll handle it. BRIAN We got ta go to Rimgale, Stephen. STEPHEN I'm his Lt. He's my responsibility. I'll handle it. Me. Stephen turns and walks toward the station. Brian's eyes go to a window just above it. There, watching him, watching the whole exchange between brothers, is Adcox. Adcox stares at Brian a beat, then finally disappears as Brian hears the cough of diesel engines. BRIAN Oh, Christ. Stephen. He starts running for the station.\",\n \"INT./EXT. FIRE STATION 17 - NIGHT - It's too late. Adcox climbs aboard just as the engine company pulls out and whistles down the street. The ladder company is just easing onto the drive. Brian hesitates only an instant, then runs to the equipment racks, PULLS off the hooks his helmet, coat, boots - and jumps onto the truck as it takes off in pursuit.\",\n \"INT./EXT. ENGINE COMPANY 17 - NIGHT As it howls down the avenue, Stephen turns around and stares at Adcox sitting behind. The glimmer of an understanding.\",\n \"INT./EXT. TRUCK COMPANY 46 - NIGHT The laddermen look confused seeing Brian sitting among them. A CAR Suddenly CUTS the truck company off. The driver SLAMS the brakes, PUSHING the truck company into a HORRIBLE SKID. The back fishtails, the wheels JUMP the curb, BASH a mailbox, and then the whole rig ROLLS onto its side and DRAGS to a stop. It's tangled confusion in the rear cab. Firemen, unhurt, piled atop one another. Brian slides his way out from under them and looks down the street where plumes of smoke rise six blocks away. He starts running.\",\n \"EXT. WAREHOUSE FIRE - NIGHT Flames and smoke curl from a huge industrial warehouse along the river as Brian, panting, runs up. He searches frantically through the maze of arriving engine companies, looking for number 17. There it is but nobody's home. Brian stops a passing captain. BRIAN Where are they? Where's 17? CAPTAIN On the roof. Brian looks up at the smoke and whirling firestorm four stories above him, feels the bile of fear in his throat, the desperation, - And begins strapping on an air tank.\",\n \"EXT. WAREHOUSE - NIGHT Brian, now fully suited up, climbs the endless rungs of an extended aerial ladder.\",\n \"EXT. WAREHOUSE ROOF - NIGHT Tongues of flame ROCKET skyward through ragged holes. Black clouds drift murderously, roofing tars bubble and hiss as the roof itself GROANS like a comatose dinosaur, reminding you the whole thing could go any minute - and you with it. Trudging alone across this alien, spongy surface, Brian looks for his company. It's almost impossible to tell anyone apart, faces hidden behind helmets and masks. Suddenly a cloud of smoke clears and there's two firemen near the edge, `` 17'' on their helmets. BRIAN Stephen - The helmets look up. Stephen and Adcox. Facing each other. Adcox cradles an axe. STEPHEN Brian? Brian starts to move beside Stephen but Adcox turns, tightens his grip on the axe, and now all the cards are on the table. A hissing black cloud drifts through. They're the only three people on earth. Adcox's eyes are clouded with tears. AXE Aw man, Stephen, listen to me. STEPHEN - What the fuck were you thinking, huh? Burning people? You're a fireman. AXE They were killing firemen, man. When Sally showed me what was in Swayzak's files. They were my friends, I had to do it. I had to do it for the department. BRIAN Did you do it for Tim? AXE -LRB- pain, to Stephen. -RRB- That was an accident! Jesus Christ, why did you have to go in there so fucking early? Why did n't you listen to me! Brian and Stephen are backed up against the roof edge - sixty feet up. Far below a fireboat has begun pumping a massive stream at the side of the building. AXE You got ta let me finish - BRIAN Just come down, John. Just - AXE - Shut up! Your dad would fucking puke if he saw how you've shit on his department! STEPHEN - Knock it off! AXE -LRB- to Stephen. -RRB- - You ca n't let him turn you against your friends, man - BRIAN - He killed people - AXE - You know what Swayzak would do to the department if this got out? - BRIAN - Stephen, this is bullshit - AXE - What he would do to your dad's department? You got ta let me finish it - And there's a horrible glimmer of confusion on Stephen's face. BRIAN You're his Lt., Stephen. -LRB- beat. -RRB- Are you gon na handle it? Are you Stephen? STEPHEN Shut up! AXE What do you want me to do, Stephen? Talk to me. What am I supposed to do? STEPHEN -LRB- beat. -RRB- There's a fire. We've got a job here. Let's get on with it.\",\n \"EXT. WAREHOUSE - ACROSS THE ROOF - NIGHT The rest of the crews are totally oblivious to what's happening through the smoke on the other side. Grindle and Santos feel the roof go suddenly spongy beneath them. GRINDLE Shit. It's going! Clear the roof! Now! Everybody drops their equipment and runs for the edges as\",\n \"EXT. WAREHOUSE ROOF - BRIAN ET. AL - NIGHT Brian, Stephen and Adcox react as the roof HOWLS and GROANS and huge SPLITS begin racing along it. And then it goes. The center section DROPS, and in rolling waves of SCREECHING steel, the hole spreads outward ; DEVOURING. Adcox shoves them aside and runs for his life as the hole races for them, SWALLOWING roof. STEPHEN Jesus Christ Brian, run! Run goddamn it! And Brian balls - out dashes for the edge. Stephen's made one corner, Brian desperately heads for another. At the last instant - as the HOWLING FLAME BELLOWS UP to his ankles - Brian LEAPS OFF the roof -\",\n \"EXT. WAREHOUSE - FIRE ESCAPE - NIGHT - And falls half a story before CRASHING onto an exterior fire escape. Flames have cut off the fire escape two floors below, so Brian climbs down as far as possible, crawls onto a ledge, KICKS out a window, steps through, And falls.\",\n \"INT. WAREHOUSE - ELEVATOR SHAFT - NIGHT Blackness and emptiness, two stories of it, before he CRASHES into a pool of water at the bottom. He's in a freight elevator shaft, thrashing madly, drowning. Great SHEETS of WATER are POURING through an upper doorway and CASCADING down like monsoon rain.\",\n \"EXT. WAREHOUSE - FIREBOAT We see it's coming from the fireboat's rushing stream.\",\n \"INT. WAREHOUSE - ELEVATOR SHAFT The weight of his equipment is pulling Brian underwater. Struggling against the insane swirls and the sheets of water still POURING DOWN, Brian unhooks his air tank. He leans back, tries to float on the rising column of water. - His coat catches on something - YANKS him underwater. He struggles feverishly - finally tears the coat off. The building GROANS in earnest. Flaming chunks of plaster CRASH down around Brian, forcing him to duck underwater. The place is coming apart. Ten feet above, one of the falling chunks SMACKS a gas main, SPLITTING then IGNITING it. A white - hot JET OF FLAME SHOOTS from one side of the shaft to the other. Brian's floating okay, he's floating right up into the flames. Brian tries to flatten himself out, to keep everything but his nose below water, but he's still moving up - the heat becoming so intense his face flares and he's ducking under water now, trying to stay alive, trying to decide whether to drown or burn - - When there's a CRASH. And suddenly another door on the shaft is tearing open. There's a glint of an axe. A flashlight. It's Stephen. Brian has about two seconds left. In that time Stephen sees the shut - off for the gas line mounted on the wall opposite. It's unreachable, a good twelve feet across a horizontal curtain of flame. Before we can even assimilate that, Stephen's already jumped. A crazy leap over the fire. He SMACKS the opposite wall, HITS the shut - off, and FALLS CRASHING into the pool beside Brian. STEPHEN You crazy son of a bitch, why could n't you stay behind a desk where you belong? BRIAN `` You never know till the fire stares you down if you're gon na be -'' STEPHEN Oh shut up, huh? -LRB- grimaces. -RRB- I think I broke my goddamn arm. Brian helps him stay above water. The level continues to rise, bringing them finally even with an open doorway they scramble through.\",\n \"INT. WAREHOUSE - STAIRWAY - NIGHT It leads to a stairwell that's become a RAGING TORRENT of water spilling down it. No way. They push through to the next doorway and out onto\",\n \"INT. WAREHOUSE - NIGHT The place is full of hundreds of chemical drums. The fire has cracked its way into the room as WUMP - drums begin EXPLODING, SHOOTING UPWARD Roman candle fountains of glittering FLAME. Brian helps Stephen as they snake their way past sweating drums - pressure valves hissing madly with desperation. They duck low, round a corner,\",\n \"INT. WAREHOUSE - CATWALK - NIGHT - And walk right into an axe handle that SMACKS Brian's throat KNOCKING him gasping flat on his back. It's Adcox. Stephen JUMPS Adcox and TACKLES him on the edge of a metal platform that extends out from the raised flooring. STEPHEN You stupid son of a bitch! What the fuck are you doing! AXE Stevie. I. Adcox struggles against him, heaving and sobbing. STEPHEN Let it go! Goddamn it let it go! And Adcox releases the axe. AXE I'm sorry. I'm so sorry. Brian's on his feet now, coming toward them, when a chemical drum below EXPLODES, the shock wave BUCKLING the platform and DROPPING it several feet before it HOLDS. Brian, cut - off, is HIT with a wall of debris. Adcox and Stephen are FLUNG across the platform and THROUGH the shattered railing. Stephen grabs a piece of broken, dangling strut and hangs on with one hand. In his other hand is Adcox. Hanging below him, his grip loosening. BRIAN Stephen! Brian's struggling to get out from under the debris. The railing Stephen's hanging onto is slick, his hand SLIPPING along it. But he wo n't let go of Adcox. His eyes bore into his best friend's with absolute conviction. STEPHEN You go, we go. The towering shots of FLAME from below have begun to IGNITE Adcox's pant leg. He's starting to burn. But Stephen wo n't let go. Wo n't let go even as the flames crawl up Adcox's back. And Stephen's hand is slipping and slipping and then it is n't slipping anymore because it's come off. BRIAN NO! Adcox and Stephen FALL. There's a narrow catwalk half - way down. Stephen HITS with a sickening CRUNCH. Adcox falls past it, down into the flames. There's an exposed I - beam running from the ruined platform out over the catwalk. Brian climbs up onto it, balances across over the fire below and jumps down to the catwalk where his brother lies, battered but still alive. BRIAN You're gon na be all right, man.\",\n \"INT. WAREHOUSE - FLOOR - NIGHT Brian looks down and across the factory floor. There, coming through the doorway, is Pengelly and Nightengale with a hoseline.\",\n \"INT. WAREHOUSE - NIGHT BRIAN Hey! Over here! They start for him when another drum EXPLODES, FLATTENING them and launching their hoseline into a crazy, thrashing arc. The flame has cut them off from the hose. Stephen sees what Brian's thinking. STEPHEN Wait for another hose team. But Brian's already moving for the catwalk ladder. STEPHEN Wait for the goddamn hose team! Brian puts his feet on the outside rungs of the ladder and SLIDES down to the factory floor. He's heading for the hoseline when WHAM! - The fire cuts him off. Not just any fire. That same one from so many years ago. Do n't fuck with me, kid. I'm not in the mood. Nightengale's lost his helmet and it's lying near the flames spinning slowly upside down - just like his father's. Brian stands there, paralyzed, as the fire laughs at him. Same old little kid with his finger up his ass. Then something different comes into Brian's eyes. BRIAN No. No more. There's a pathetic little wall extinguisher mounted on the pole. Brian lifts it, approaches the fire. You can practically hear the flames laugh at him. Brian suddenly turns and SLAMS the neck of the extinguisher against the pole, BREAKING it off before HEAVING the cannister HISSING into the flames where it EXPLODES - a cloud of extinguisher powder that STUNS the flames just long enough for Brian to dash through and TACKLE the hose. The fire shakes off the powder, rises up to kill - Just as Brian spins and HITS it with the STREAM. - And it's like a howling train wreck as the two grapple with each other - Pengelly and Nightengale have an opening, and they're dashing for the catwalk ladder up to Stephen because the fire does n't care - it only has eyes for Brian now - - And Stephen sees Brian tackle the monster, and his eyes fill with tears - - And the fire's pushing Brian - pushing him with the fury of a frightened street bully - but Brian wo n't give - and now the fire's back's broken - it's whimpering, dying. And Pengelly and Nightengale have climbed up to Stephen now, pulling him away. STEPHEN That's my brother! That's my brother goddamn it! And the fire's just a little gremlin now, sighing sadly as Brian steps up with the hoseline. BRIAN Another time, friend. And whoosh, it's gone.\",\n \"EXT. BURNED BUILDING - NIGHT Brian rushes up as paramedics load his brother into an ambulance. STEPHEN -LRB- smiles, weak. -RRB- You are such a pain in the ass. As Brian jumps in with him\",\n \"INT. AMBULANCE - NIGHT Paramedics swarm over Stephen as the ambulance screams through the night. Brian's right there, holding his hand. STEPHEN Do n't tell them about Adcox. Do n't let'em. BRIAN I'm sorry. I'm sorry I thought. I wo n't. His brother squeezes Brian's hand, his eyes never leaving him. PARAMEDIC -LRB- reading EKG. -RRB- Oh shit, give him some lidocaine, now. Now. STEPHEN -LRB- beat. -RRB- Who's your brother? Stephen's EKG's begun to falter. The other paramedic fires off an injection into his IV. PARAMEDIC His pressure's fading - push some adrenalin. The EKG's become erratic. Stephen's eyes never leave Brian's. BRIAN Oh man, do n't you die. Do n't you die. PARAMEDIC #2 He's going south. He's gon na box damn it. They put an ambo bag over Stephen's face. The eyes never leave Brian's. BRIAN Goddamn it do n't you die now. Not now! They're breathing for him now. The EKG begins shrieking. PARAMEDIC V - fib! The paramedics begin scrambling to load the defibrillator pads on Stephen's chest. But the fireman's eyes never waver from Brian. They look into his with complete conviction, complete acceptance, And then they do n't. Then, FADE UP TO :\",\n \"EXT. MICHIGAN AVE - DAWN A silent, quiet street absolutely empty of traffic. Then over the crest of Chicago's mightiest thoroughfare, creeps slowly a fire engine. It's emergency lights are on but not the siren. This engine is n't in a hurry today. Behind comes another fire engine. And another. Ten, twenty, all of them creeping slowly along. And behind the engines now walk firemen in their dress blues. Hundreds of them. Walking silently in step behind TWO COFFINS Loaded in the rear of Engine 17. Santos drives as Grindle, Brian, and the men of ladder company 46, walk behind. The silent procession passes under extended aerial ladders crossed like dress swords. Average people stop, take their hats off.\",\n \"EXT. LAKE SHORE DRIVE - THE SILENT PROCESSION Sequence omitted from original script.\",\n \"EXT. CEMETERY - DAY Two coffins, lying side by side, draped in the blue and white of the Chicago flag. A single fire helmet rests atop each casket. Brian stands at attention beside Helen. He holds the hand of Stephen's son Sean, his eyes clouded with tears as a fire dept. honor guard plays Taps. Jennifer's there, too far away to touch. Rimgale, still wearing a head bandage, stands stiffly beside a brass bell and speaks with a voice raw and weary. SHADOW In the Chicago Fire Department the alarm code 3 - 3 - 5 signifies that the company has returned home to quarters. We will now ring out that code to welcome home John Adcox and Stephen McCaffrey. With a small hammer Rimgale rings out 3 - 3 - 5 on the bell. The honor guard folds the flag covering Stephen's casket and hands it to Helen, who holds it to her breast as we\",\n \"EXT. CEMETERY - DAY A sea of blue uniforms drifting across green as the funeral breaks up. Brian hugs Helen and Sean. Lets them go.\",\n \"EXT. CEMETERY EDGE - DAY Rimgale's there, resting against his dept. sedan as Brian walks by, pauses, and leans on it beside him. A beat. SHADOW Your brother was a good man. BRIAN Yeah. SHADOW Another couple of good men get burned up for their city? Is that how it's going to read? -LRB- Brian does n't answer. -RRB- You're the only one that knows. BRIAN Like it never happened. Rimgale turns to walk back to his sedan. He pauses. Looks back to Brian. SHADOW Want to help me with something?\",\n \"INT. OFFICE - DAY An elevator opens as Brian and Rimgale walk quickly out, down a hall, and BURST into Swayzak's office.\",\n \"INT. SWAYZAK'S OFFICE - DAY The Alderman's there, giving a press conference from his desk. SHADOW Mr. Swayzak! How ya doin'? SWAYZAK -LRB- confused. -RRB- Investigator. Rimgale sits on Swayzak's desk. SWAYZAK I'm a little busy right now - SHADOW This'll only take a minute. There's two cops outside that want to ask you about this - Rimgale drops the manning report on Swayzak's desk. SHADOW This is just a guess of course, but I think they're gon na want to know why you secretly paid Donald Cosgrove, Jeffrey Holcomb and Alan Seagrave to create a phony manpower study. -LRB- to cameras. -RRB- You guys'll wait, right? The room explodes with questions. Through the din Brian leans over the desk very close to Swayzak. BRIAN See that glow flashing in the corner of your eye? That's your career dissipation light. And it just went into high gear. Brian turns and pushes his way out. At the door he pauses and looks back at Rimgale. The investigator nods and smiles just a little.\",\n \"INT. SWAYZAK'S OFFICE CORRIDOR As Brian walks down it, Rimgale appears and calls to him. SHADOW - Brian. Brian hesitates. SHADOW Do n't keep looking over your shoulder for the ghost. It's gone now. And there's just a beat between the investigator and his probie before Brian nods and walks away.\",\n \"EXT. SWAYZAK OFFICE CORRIDOR Brian walks down the hall. He passes Jennifer's small office. She's in there, surrounded by packing boxes. BRIAN I think your boss is going to need some spin control. JENNIFER I quit two days ago, Brian. BRIAN -LRB- beat. -RRB- What'll you do? JENNIFER I do n't have the slightest idea. BRIAN I'll see ya around, huh? JENNIFER It's a small town.\",\n \"EXT. FIRE STATION 17 - CITY And morning breaking across the avenues and up against the tired brick of firehouse 17.\",\n \"INT. FIRE STATION 17 - LOCKER ROOM Brian sits staring into his locker, lost in thought, his equipment stacked up on the bench beside him. THE ALARM KLAXON SOUNDS\",\n \"INT. FIRE STATION 17 - APPARATUS FLOOR And firemen scurrying to their equipment on the apparatus floor. They're climbing aboard their rigs now and the pumper's diesel is coughing to life. At the last moment, as it begins to pull out, Brian comes sliding down the pole in his turn - out gear, bounces off the floor, and climbs aboard as the engine WHISTLES away.\",\n \"INT. ENGINE 17 - CAB There's a new fireman beside him on the bench. He ca n't get his coat buckled right. Brian leans over does it for him. BRIAN You're doing it wrong.\",\n \"EXT. FIRE ENGINE 17 - STREET - DAY And the fire engine slips away from us, down the avenue, into the city as we FADE TO BLACK THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,1,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0],"string":"[\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Two firefighters of Engine 17 of the Chicago Fire Department are brothers. Lt. Stephen \"Bull\" McCaffrey, the elder, is experienced, while Brian has labored under his brother's shadow his entire life. Brian returns to firefighting after a number of other careers falter, though Stephen has doubts that Brian is fit to be a firefighter. In 1971, Brian witnessed the death of their firefighting father, Captain Dennis McCaffrey, while accompanying him on a call. The longest-serving of all the men at Engine 17, John \"Axe\" Adcox, served under the McCaffreys' father, and was like an uncle to the boys when their father died. Adcox grows concerned about Stephen's unorthodox methods and disregard for safety procedures, as does Stephen's wife Helen, separating from Stephen to protect herself and their son Sean. Fire Department Captain Donald \"Shadow\" Rimgale, a dedicated arson investigator and veteran firefighter, is called in because a number of recent explosive fires resemble those set by pyromaniac Ronald Bartel, who has been imprisoned for years. Brian is reassigned as his assistant after a falling out with Stephen. Rimgale manipulates Ronald's obsession with fire to ensure his annual parole application is rejected. It is revealed during an investigation that Chicago City Council alderman Swayzak, who has supported fire department budget cuts, was paid off by contractors to shut down firehouses so they could be converted into community centers, with the contractors receiving contracts for the construction. Brian also rekindles a relationship with Jennifer Vaitkus, an aide to Swayzak. When Engine 17 answers a call in a high-rise, Stephen urges them to move in quickly, despite Adcox's advice to wait for back-up. Brian's friend and fellow trainee, Tim Krizminski, opens a door, creating a backdraft. His face is burned beyond recognition, and he barely survives. Adcox and Brian both blame Stephen for what happened. Rimgale and Brian go to Swayzak's home to confront him after learning of his connection to the three backdraft victims Alan Seagrave, Donald Cosgrove and Jeffery Holcomb, interrupting a masked man about to set the place on fire. The latter attacks them with a flashlight but is burned on his shoulder by an electrical socket. Rimgale saves Brian and Swayzak from the house but is injured in an explosion. In his hospital bed, Rimgale tells Brian to visit Ronald again, who helps Brian realize that only a firefighter would be so careful as to not let backdraft fires rage out of control. Brian suspects Stephen but spots a burn in the shape of an electrical socket on Adcox's back, revealing his suspicions to his brother just before an alarm. When Brian realizes Adcox has heard their exchange, he jumps aboard Truck 46 after borrowing some turnout gear. Stephen confronts Adcox about the backdrafts during a multiple-alarm fire at a chemical plant. Adcox admits that he set the fires to kill Swayzak's associates, because Swayzak was benefiting from the deaths of firefighters and closing down firehouses. When an explosion destroys the catwalk they are on, Stephen grabs Adcox's hand while hanging on to the remains of the catwalk. Stephen refuses Adcox's advice to let go of him. Stephen loses his grip on the catwalk, and Adcox is killed when they fall. Stephen dies with Brian by his side on the way to the hospital, his final request being that Brian not reveal that Adcox was the perpetrator so as not to hurt the fire department's reputation. After Stephen and Adcox's funeral, Brian and Rimgale, with the help of the police, interrupt Swayzak at a press conference. Rimgale questions Swayzak on a fake manpower study that led to the deaths of several firemen, including Stephen and Adcox. They also state that Swayzak engineered the downsizing of the Chicago Fire Department, destroying Swayzak's mayoral ambitions. Brian continues as a firefighter despite the loss of his father and brother. The film ends as Brian helps a rookie firefighter with his turnout gear as the department responds to a call."},"name":{"kind":"string","value":"Backdraft_(film)"}}},{"rowIdx":178,"cells":{"scenes":{"kind":"list like","value":["MORTON -LRB- mumbling. -RRB- Madman. Hideous spider. Run. Run! Warn the President. Morton zig - zags through a grove of trees, a desperate attempt to avoid the horrible serrated disc. But the ruse is futile. The disc goes straight through the trees, slicing a path straight as the crow flies. NEW ANGLE - OLD WAGON dilapidated, broken down, weathering away in the field. Morton runs around the wagon - but the DISC BUZZES straight through the sideboards! Wood shavings spit everywhere! There's no stopping this thing. NEW ANGLE - MORTON running for his life - stops, turns. He turns, incomprehensibly mumbling, pleading for his life, cowering. MORTON Noooooooo! And the DISC SWOOSHES TOWARD the CAMERA - BZZZZZZZ! CUT TO : BLACK DISSOLVE TO : NIGHT SKY FULL OF STARS - LOW ANGLE A man leans INTO FRAME. This is GENERAL McGRATH. And he's there to collect the silver death disc. McGRATH -LRB- to the unseen, dead Morton. -RRB- And they says you scientists are supposed to be smart.","","EXT. WATER TOWER - NIGHT SALOON GIRL -LRB- O.S. -RRB- The legendary Captain James West and I finally got him all to myself.","WEST That's right, sugar, and you should feel free to treat him just bad. She moves in and kisses him, long and hard. West hears the CLATTER of the APPROACHING WAGONS. He stops the kiss and peeks out the knothole.","","INT. WATER TOWER - NIGHT WEST -LRB- to himself. -RRB- General McGrath's boys. I thought y' all was never gon na show up. SALOON GIRL Mister West, you would n't be here workin' tonight, now would you? WEST No, no. ` Course not. Not tonight. Would you be working if you were up here with you? SALOON GIRL Good. They start kissing again. He surreptitiously peeks out the knothole, while continuing his kiss.","DORA I'm sorry. That wo n't be possible. I have. tonsillitis.","BIG REB Pack ` er up good, Virgil. Next stop N'Orleans.","SALOON GIRL -LRB- admonishing. -RRB- Jim! WEST Ah, this hole is a safety issue. I'm thinking, what if it starts to rain and the water level goes up. It could suck you right up. I'm protecting you. -LRB- variations. -RRB- Saloon Girl frustrated, has grabbed West's boxer shorts. -LRB- with little horses on them. -RRB- and plugs the hole with them. SALOON GIRL Problem solved. WEST Belle, you do n't just ram a man's underbritches into a knothole. You wan na plug the hole, you ram your own britches in there. West is at a loss. She moves in for another kiss.","","SALOON GIRL Oh, Jim. WEST -LRB- serious. -RRB- Much as I'd like to take credit for that you might need to hand me my gun. The tower starts to topple. WEST Hand me my gun. It CRASHES. CUT TO :","WEST Okay, who just made a wish? Was it you? He looks up at the freaked - out Saloon Girl, still in the tank. She hangs on with one hand, the other hand clutches his clothes. WEST I could sure use those clothes now. She responds by Frisbee - ing his hat down. West picks it up, with a look. uses it to cover his genitals. BIG REB Well, we got us a shy nig. But he never gets that word out. Bang! West lashes a lightning martial arts kick to the Reb's jaw. WEST Fought five long years with the Union Army not to hear that word again. And you boys lost, remember? As the other Reb comes at him, he spins, still holding the hat in front of him. and whap! Down that one goes. West looks up at the none - too - bright water tank woman. WEST How ` bout some pants!? As she throws the rest of his clothes down in a heap.","McGRATH I'm still waiting on my guns and ammo, but I see my men have brought your merchandise. McGrath subtly gestures with his eyes to the balcony for Hudson to confirm. Hudson nods. McGRATH I had expected to be delivering it personally to Mr. Hudson quickly cuts him off before he can say the name. The Indian speaks in a very precise King's English. HUDSON My employer, here in a brothel? -LRB- a small ironic smile. -RRB- That would be quite. redundant.","","INT. FAT-CAN'S - McGRATH AND HUDSON - NIGHT HUDSON You'll meet him when the time - and place - are appropriate. Now. -LRB- stands. -RRB-. shall we go upstairs to check the ` merchandise'? McGRATH Frankly, Mr. Hudson, I was n't planning to walk those oaken stairs with you. Direct me to the poot, sir. Something young and creamy. A gamer that takes to the crop and spur. McGrath looks to the singer. -LRB- Rita. -RRB-, who beats a hasty retreat from him after her song. So, once again, McGrath lays his rheumy eyes on. ANGLE ON SOILED DOVE She's oblivious, more intrigued by the ex - Rebs on the balcony with the trunk. As she starts for the stairs. a man's hand grabs her. It's the Eye - Crossed Reb again. EYE-CROSSED REB You drive a hard bargain, lady. All right, fifty cents to take them big juicy lips and. DORA Still not interested. She tries to pull away. But the Reb wo n't let go. EYE-CROSSED REB But you got ta be interested. You're a whore. Suddenly the coquettishness in the eyes becomes rage. The falsetto becomes a baritone growl. DORA -LRB- baritone. -RRB- That does n't mean a girl ca n't have high standards. Just as the Reb registers the odd new voice. wham! Her corsage springs out and whacks him right in the jaw. The Reb's eyes roll back. and he slumps to the ground. Whooa, hoss. the Soiled Dove is a man! He's ARTEMUS GORDON and his true profession will be revealed to us shortly. But now, as he/she stashes the unconscious Reb behind the bar, straightens bosom and wig.","WEST Could I have a little privacy here? As if in response, the water tower, still hovering above, now crashes to the floor - obliterating his opponents. WEST Thank you. He calmly looks up in time to catch the falling, naked, screaming Saloon Girl in his arms. WEST You'll have to excuse me, darlin'. but my evidence is getting away. West gallantly puts her down, jumps up, grabs the overhead block and tackle system and slides through the warehouse. As the HORSE TEAM, which has spooked, THUNDERS past. CLOSEUP - WEST sails onto the runaway wagon. As he pulls himself into the back, he gives the shivering Saloon Girl a tip of his hat - now on his head. WEST Sorry about there not being any towels.","McGRATH What's your name, missy? GORDON/DORA -LRB- demurely ; back to his falsetto. -RRB- Dora. Would you like to go upstairs? McGRATH Oh, indeedy I would. Gordon/Dora starts to go as the Eye - Crossed Reb wakes up. He grabs him/her, very pissed. EYE-CROSSED REB Hey, c ` mere! Who the hell are you anyway?! McGRATH She's. mine! Blam! McGrath emphasizes his claim by gut - shooting the Reb. The shot makes Dora/Gordon jump and the room go quiet. As the Reb crumples, McGrath turns back to Gordon/Dora, oddly inspired. McGRATH I feel like. a ditty! GORDON/DORA A ditty? But General. -LRB- trying to be coquettish again. -RRB-. my talents really lay elsewhere. McGRATH Nothing stokes the fire in my loins like a ditty. McGrath hauls him/her over to the piano player. McGRATH You've got some pretty fair lungs on ya, girl, now use'em! He punctuates with a slap to Gordon/Dora's rump. The other singer. -LRB- Rita. -RRB- watches too.","GORDON/DORA -LRB- weakly. -RRB- ` Buy a drink for the boys In the backroom for me.'","WEST Backwards - ass bumpkins got a wagon full of nitro! West tries to steady the glass vials with his hands. but it's no use. He quickly climbs over the boxes, onto the buckboard seat. But the reins are dragging on the ground beneath the frothing horses. West leaps onto the horses as the wagon careens down the street. He pulls himself over the first one's neck. onto the next horse. And as he tries for the lead horse, he falls between them!","GORDON/DORA ` And tell them I tried. And tell them I cried.' Just when it looks like the stone - faced rowdies might rip him/her apart, McGrath starts tapping a mud - caked toe. Encouraged, Gordon/Dora belts out the next verses OVER.","WEST Whoa now! But it does n't whoa. The wagon goes around a corner up on two wheels! It's about to tilt over when West grabs both the horses' ears, yanks them back - screaming into them. WEST I said, whoa! This approach seems to work.","WEST Well, well, this is workin' out to be a perfect day. My man. HIS POV - VICTORIAN BUILDING - ACROSS STREET The tasteful sign under the red light reads : `` FAT - CAN CANDY'S.'' And framed in the window, General McGrath with his singing soiled dove. WEST -LRB- O.S. -RRB- General Bloodbath McGrath.","GORDON/CROWD -LRB- rousing finish. -RRB- And tell them I tried just the same! He/she curtsies to rousing applause. McGrath beams like a man with the fire in his loins roaring. He grabs his little songbird and up the stairs they go. Out the WINDOWS, we see West tracking them. Simul - taneously going up outside steps.","GORDON/DORA Well, that's a new one. McGrath slams the door, drags Gordon/Dora roughly.","McGRATH Do n't let the ear scare you. I lost it at Chickamauga. Gordon/Dora squints at the jerry - rigged ear. GORDON/DORA Oh really. One can hardly notice. -LRB- fiddles with her belt buckle. -RRB- Would you mind? I. I. ca n't seem to release the clasp of my belt. Say no more. McGrath is on her like a flash, fidgeting with it. But it pops open, revealing a spiraling screen courtesy of Dr. Mesmer. His eyes lock onto it. McGRATH Wha. what's this? GORDON/DORA It's a deep, deep pool. Maybe your old swimmin' hole. Getting sleepy, General? McGRATH -LRB- ga - ga. -RRB- Yes, I'm sleepy. McGrath sits on the floor. Gordon smiles. this is gon na be easy. GORDON -LRB- normal voice. -RRB- Good. You're going to be my little doggy. And when I say ` speak,' you tell me everything I want to know. Understood? McGRATH -LRB- barks. -RRB- Woof! GORDON All right, little doggy. Sit up. -LRB- as he does. -RRB- Now tell me who's in the sack next door. Is it the scientist, Dr. Escobar? Speak! McGRATH Woof! Woof! GORDON Speak words, dumb doggy! Tell me the name of the man you kidnapped him for. But McGrath does n't answer. Gordon's Mesmer spiral slows to a stop. McGrath is coming out of the trance. McGrath starts to growl, rip at his/her petticoats. GORDON Watch the swirling spiral! Lie down, bad dog! As Gordon notices that his contraption's failed.","WEST Did n't mean to startle you, ma'am. Looked like you could use some help. It takes Gordon a moment to recover. He stares at this black Samaritan, obviously having no clue who he is. GORDON -LRB- clears throat to recover falsetto. -RRB- Looks can be deceivin'. dark stranger. I am perfectly fine. West quickly pats McGrath down, removes a revolver and his bag of gold coins. WEST I can see that, darlin'. Woman of your caliber probably gets top dollar, too. So here you go. -LRB- flips her McGrath's coin bag. -RRB- You can run along. I'll take care of McGrath. As West sticks the barrel of his gun in McGrath's gramophone ear, Gordon's eyes pop. GORDON/DORA No! I need him! WEST C'mon, lady. You got the money. Have a little dignity. Gordon jerks West's gun hand away from McGrath's head just as the dog - soldier comes around. McGrath suddenly lunges at him. McGRATH -LRB- bellows ferociously. -RRB- West!! He drives his full weight into Jim's back, pushing him out into.","","HUDSON Get Escobar out of here! The henchmen heft the wriggling sack, when : GORDON -LRB- O.S. -RRB- Leave him right there. Hudson whirls to see the gruff - talking Gordon/Dora holding the perfume bottle on him like it's a Colt 45. Now Gordon shakes one of the heavy bracelets off his wrist, CLICKS a LOCK, snapping it open. He's accessorized with custom handcuffs. GORDON Let's go, Hudson. hands! Hudson gives a sick little smile, reaches for his gun when. WSSSSHT! Gordon sprays him in the eyes with the second bulb of the atomizer. -LRB- The first Mace! -RRB- Hudson howls in pain, drops the gun, rubs his eyes madly with both hands. GORDON Thank. you. Gordon starts to snap the cuffs on the perfectly presented wrists when. FAT - CAN'S - UPSTAIRS HALL - WEST - NIGHT brawling a dozen attackers. West spots McGrath trying to escape down the stairs. He uncorks a lethal kick, sending a thug flying through the doorway and into the back of Gordon. Gordon staggers, drops the perfume/mace BOTTLE which SHATTERS. Hudson recovers his vision enough to send a fist into Gordon's mascaraed face, pile - driving him back into the hall. While Hudson and his men make their escape down the back stairs with the scientist sack. CLOSE - WEST AND GORDON West is blocked from chasing McGrath, Gordon from going after Hudson. West tries to push her aside. WEST U.S. Army. Now get outta my way, lady! GORDON -LRB- the baritone growl. -RRB- I'm no lady! I'm a U.S. Marshal! You get out of my way! Gordon whip off his wig, reaches inside it for something. West blinks at the weirdness, reflexively draws his Colt. As Gordon withdraws not a gun, but a badge, from his wig.","LIPPENREIDER -LRB- in a monotone. -RRB- Get out of my way. get out of my way. U.S. Army. U.S. Marshal. LOVELESS Oh, dear. The lip - reading is interrupted by the arrival of. ANGLE - TOP OF INCLINE - HUDSON AND HIS HENCHMEN who come racing up with the scientist - in - the - sack. HUDSON Federal agents inside, sir! LOVELESS So Miss Lippenreider informs me. -LRB- sighs. -RRB- Still, I believe good manners dictate we should send out. His cane telescopes out and Loveless pokes the lynch pin out of the harness on the nitro wagon. Then he gives the wagon the slightest push. LOVELESS the welcome wagon. Once started, the wagon rolls downhill, toward the back door of Fat - Can Candy's, picking up speed. Then, as his female coterie pulls the burlap sack into the carriage, Loveless steps in behind. And they're off.","WEST So now what? The answer is provided as the NITRO WAGON hits downstairs. KABOOOOOOM! THEME MUSIC UP. as we roll. MAIN TITLES The titles are the familiar animated freeze frames from the TV show. In the two corners are our heroes - Upper left shows West with his gun levelled toward. upper right - Gordon with his wig in one hand and his badge in the other, pointed across toward West. The cowboy/agent in the middle square fights and defeats the various bad guys. Then as he exits, QUICK ZOOM ON main title : `` THE WILD WILD WEST.'' PAN DOWN TO a sketch of a train caboose as TITLES END.","","","HOUSE DETECTIVE Whoa there, ` pardner.'. -LRB- as West stops. -RRB- Winning the war may have got you forty acres and a mule, but you ca n't just traipse into the President's office. Now gim me that gun. He nods at the six gun on West's hip. West coolly flexes his hand above it, like he's about to draw. WEST This gun? Then like lightning, with his other hand, he whips out a sawed - off shotgun hidden by his jacket. He pokes the 12 - gauge barrels up against Pinkerton's surprised crotch. WEST Or this one? A voice stops the situation from escalating further. PRESIDENT GRANT -LRB- O.S. -RRB- Gentlemen! The detective's head swivels around to see. ANGLE - OVAL OFFICE DOOR - PRESIDENT GRANT stands in the doorway. PRESIDENT GRANT Do n't make Captain West any later for his appointment than he already is! The detectives back away from the hair - trigger cowboy as fast as they can. West reholsters the gun and continues.","PRESIDENT GRANT Been a lot of death threats lately. Cabinet made me hire some damn detectives. -LRB- by way of apology. -RRB- Drink, cigar? WEST Thank you, sir. West limps across the room to the bar, pours himself a glass of whiskey, takes a cigar out of the humidor. PRESIDENT GRANT I hear you let General McGrath get away? Now West's blood is up. WEST Sir, I had him right in my hands when some half - a - sissy wearin' a dress ruined. PRESIDENT GRANT -LRB- cuts him off. -RRB- Artemus Gordon. WEST You. know him? PRESIDENT GRANT Of course I know him, he's the best marshal I've got! He's a genius. -LRB- off West's incredulous look. -RRB- Gordon has proven himself time and again as a very cunning operator with a rapacious intellect. Nothing will stop him from completing a mission for his President. except the impulsive actions of a headstrong cowboy! West just looks at him soberly. Draws his gun and places it against the President's head. Grant's eyes widen. WEST Who are you? PRESIDENT GRANT I am the President of the United States! West points the GUN to the ceiling and pulls the trigger. BLAM! As Grant jumps a foot and plaster rains down. WEST Wrong answer. Who are you? PRESIDENT GRANT I am the President of. -LRB- as West cocks gun. -RRB-. I'm Artemus Gordon. West lowers his gun, nods at Gordon's class ring. WEST The President went to West Point. not Harvard. PRESIDENT GRANT -LRB- O.S. -RRB- Will somebody tell me what the hell this stunt is all about!?!","GORDON Sir, in perilous times like these, I was simply illustrating how someone impersonating you could actually walk right into the very bowels of the White House. Just as Gordon makes his intestinal allusion, West takes a ceremonial bayonet off Grant's desk and pokes a hole in the inflated bladder that was his fake paunch. The AIR HISSES out, finishes deflating with a flatulent R - R - RIP. -LRB- Hey, the first whoopee cushion? -RRB- Gordon scowls at him. PRESIDENT GRANT You're clever, Gordon. One day it'll get you killed. West smirks as Grant looks up at the bullet hole in the ceiling, then fixes West with a disapproving eye. PRESIDENT GRANT And you, West - not every situation calls for your patented approach of shoot first, shoot later, shoot again - then when they're all dead, try to ask a question or two. -LRB- shakes his head. -RRB- Working together will be good for both of you. WEST AND GORDON But, sir, I work. PRESIDENT GRANT You work the way your Commander In Chief tells you to work. Grant turns and EXITS FRAME.","PRESIDENT GRANT Ten of our country's best scientists. all kidnapped in the last year. By General McGrath, it now seems. -LRB- turns to them. -RRB- The fact is, gentlemen, you've both been working on the same case all along. Why did it take you so long to realize it? WEST Well, sir, one of us was still trying to figure out if he was a man or a woman. The detectives snicker over that one. Grant's had enough. PRESIDENT GRANT I do n't have time for this bickering! One week, if we're to believe this. Grant holds out a letter to Gordon and West. Gordon snatches it, reads : PRESIDENT GRANT -LRB- reading. -RRB- ` General Grant, the scientists that you seek are in my employ - - Creating a weapons system beyond the pale of contemporary imagination. History and justice are on my side. I suggest you put your affairs in order. You have one week before you will surrender the U.S. Government.' PRESIDENT GRANT This letter was delivered inside this. An aide presents a glass case. Inside is a cake in the shape of the White House. GORDON -LRB- reaching inside. -RRB- Marzipan, is n't it? PRESIDENT GRANT -LRB- grabs his hand. -RRB- Wait! Suddenly dozens of deadly - looking spiders swarm out from inside the cake. Gordon jerks his hand back. WEST It's McGrath, sir. The South is rising again. I'm gon na stop it. GORDON Sir, West's obsession aside, McGrath may be a vicious killer, but a mastermind he is not. So whom do we seek? After consulting with Intelligence. WEST -LRB- cuts him off. -RRB- McGrath's headed for New Orleans. The longer we stand here talkin', the farther away he gets. I do n't need ` Intelligence' to tell me that. GORDON Ah, so that would mean you rely on. Stupidity? Grant's had enough. PRESIDENT GRANT Gentlemen! I'm leaving today for Utah where the transcontinental railroads will be joined at Promontory Point. Grant points to a map of the United States. The railroad lines have been drawn in. still a gap between them. PRESIDENT GRANT For the first time the United States will truly be united. -LRB- turns, holds up letter. -RRB- Someone wants us divided. Now look, you two are the best I've got. Put aside your differences and stop this madman. whoever he is. If you fail, well. we may never know how great this country could've been. -LRB- snaps off a salute. -RRB- You have a week. Dismissed! They both return Grant's salute as the President stomps off. His AIDE now approaches. AIDE The President has put a private train at your disposal. Engine number five, track six. -LRB- holds out a wrapped box. -RRB- Mr. Gordon, the item you requested. Gordon takes the box, hurries to catch up with West.","WEST Figures. GORDON I call it the Bi - axle Nitro - Combust. WEST Save it. I've got ta train to catch. West swings into the saddle. He looks at the SNORTING wild HORSE under him, then down at Gordon attaching the box onto the seat of his Nitro - whatever. WEST -LRB- snaps off a smug salute. -RRB- Yee - haaa! West spurs his horse and leaves Gordon in the proverbial cloud of dust. Although West's intentions are clear, for some reason, Gordon's in no particular hurry. He sighs, climbs on the bike, takes out a hankie and cleans a pair of goggles. Then, finally ready. GORDON Avant! VROOOM! An ENGINE KICKS IN and Gordon rockets forward. -LRB- Yep, Artemus has invented the first motorcycle! -RRB- Fiery exhaust blasts out of the manifolds as the bike propels him down the street at about 60 mph right past. ANGLE ON WEST AND HIS STALLION who both look over in wide - eyed shock. The horse rears as Gordon SCREAMS by - leaving them in a cloud of internal combustion.","WEST Stop this train! You hear me!?! If Gordon hears him, he pretends not to. He just casually makes the next stitch. West's horse has had it. They're losing ground to the train. At the last second, West leans over at full gallop and grabs a handle on the side of the train. He swings out of the saddle, hanging on for dear life, blowing in the breeze like laundry. Finally, his boot finds a small metal plate to put its weight on. Just as West stands safely on it. whoosh! He flies up in the air and drops through a sliding partition in the roof.","GORDON -LRB- calmly. -RRB- Thanks for dropping in. WEST Forget the bikes, the beards, the fake boobies. Put down the needlepoint and let's settle this like men! He takes off jacket, starts rolling up his sleeves. Gordon remains remarkably cool, continues sewing. GORDON As a matter of clarification, this is n't needlepoint. This is. He shows him some real needlepoint. GORDON Right now, I'm putting the final touches on a new invention of my creation. I call it. The Impermeable. It's a vest that, when worn under the clothing, can stop any modern bullet fired even at close range. West draws his gun, aims it at Gordon's stomach and cocks the trigger. WEST Really? Gordon quickly pulls the vest away from his stomach. GORDON But it has n't been really tested empirically yet. WEST Get up! West takes off his guns and puts them on the table. GORDON -LRB- yawn, yawn. -RRB- Guns. I find them so primitive and unnecessary. if one has done one's proper planning. WEST Yeah? How do you feel about a fist? Gordon puts down The Impermeable, stands with a weary sigh. GORDON I must tell you, Mr. West, I've always felt that allowing a situation to degenerate into physical violence is a failure on my part. WEST Well then, ` Mr.' Gordon, you failed. Whap! West unleashes a lightning punch that drives Gordon across the train car. He dabs at his bloody lip. GORDON I'm sorry, Mr. West, you brought this on yourself. Then to West's utter amazement, Gordon puts his hands together as if praying while at the same time, crooking his right leg stork - like. Is this some kind of martial art? Then, he bends at the waist, and like a ballet dancer, extends his leg out to the wall and flips a switch. It immediately triggers a leather hammer to swing down from the ceiling. It whacks West on the side of the head, and sends him spinning back onto the pool table. ANGLE ON POOL TABLE - WEST shakes it off and is about to attack again. Gordon calmly pokes a hidden button. Suddenly the pool table revolves. West is gone. GORDON I love this train!","","GORDON The President asked for my suggestions on how to make the Wanderer both comfortable and functional. As he swishes the wine in his mouth.","","GORDON And while you're down there, you may want to avail yourself of my Sub - carriage Inter - rail Egressor. Suddenly SHACKLES SNAP out of the arms of the chair, pinning Gordon's wrists. Before he knows what hit him, the floor opens and the club chair disappears.","WEST Only one doin' any ` egressin' is gon na be you. GORDON -LRB- wide - eyed. -RRB- Perhaps the President was right about us putting aside our petty differences. -LRB- recites above the CLATTER. -RRB- ` The opposite is beneficial, from things that differ comes the fairest attunement.' Aristotle. Suddenly they flip OUT OF FRAME and back into the car, shocked to find themselves facing.","COLEMAN Knock each other about all ya please, but harm my train and I'll douse ya like dogs. He threatens them with the pot of steaming liquid. Now, for the first time, Gordon really looks troubled. GORDON That's my veal reduction sauce! COLEMAN Well then, let's get on about our business, shall we, gentlemen? Now, where to? WEST New Orleans. GORDON Shall we let Professor Morton decide? WEST Who?","GORDON Meet Professor Thaddeus Morton, expert in the field of metallurgy. discovered in a field of alfalfa. Kidnapped from M.I.T. six months ago. West looks from the head to the open box. WEST That's a man's head! Gordon holds up a strange, circular metallic object. GORDON And this magnetic collar was around it when his body was discovered. Have n't figured that one out yet. But West is still staring in disbelief at the head. WEST That's a man's head. Gordon starts fiddling with a lantern positioned behind the head. GORDON According to the Retinal Terminus Theory. a dying person's last conscious image is burned into the back of the eyeball like a photograph. Perhaps there's a clue there. Excited, Gordon turns on the lantern attached to the back of his head. Beams of light are coming through his eyeballs, creating a blurry color image on the wall. GORDON Morton's last image! WEST That's a man's head! West turns his head sideways to try to view the inverted image projected on the wall. Gordon realizes the problem. GORDON Ah. The refraction of the lenses causes the image to appear upside down. We simply. He turns Morton's head in the vise. It's right side up, but still blurry. ANGLE ON WALL - FUZZY IMAGE appears. It's a man who has a tiny Victrola horn for an ear. He's holding a bloody metal boomerang. WEST It's McGrath. I was right all along. Gordon sees something in McGrath's pocket. GORDON He seems to have something in his pocket. too fuzzy to read, though. Gordon drums his fingers on his great frontal lobe, stymied. GORDON Mortification of the aqueous humor seems to have led to the loss of. WEST glasses. West takes the bifocals out of the box, casually puts them on Morton's nose. West now gestures to the wall. CLOSE - IMAGE ON WALL The white blur in the man's pocket is now focused. We can see that it's the top of a piece of paper. He reads the writing on it. WEST ` Friends of the South! Come to a Surprise Costume Ball. April 14, eight - thirty. 346 Garden Street.'. -LRB- lowers glasses, looks up. -RRB- Like I said. New Orleans.","GORDON -LRB- V.O. -RRB- How about this? You could come as my man servant?","GORDON How about this? You could come as my man servant. WEST -LRB- slave voice. -RRB- Oh yes, Massa Gordon, dats what I'll do. And I'll jus' smile and do as I's tole so those people won' ever know that I would rather shoot myself in the head than play your god damned man servant! West is right in Gordon's face. GORDON I have a horse costume. -LRB- then, cheery. -RRB- You could be the head. WEST The only thing I need to wear is this. West straps on his holster. GORDON Okay, if you insist on carrying a firearm, I have something I think you'll find intriguing. Gordon displays a belt with a silver buckle. He taps the buckle. a Derringer pops out. West stares, impressed. GORDON And it would go nicely with this. Gordon takes out a sequined dress, holds the Derringer up against it. WEST Jim West does not wear a dress. GORDON Then what's your plan? WEST How ` bout this : I'll go as a government agent who's gon na kill McGrath. GORDON An armed, Negro cowboy costume, how creative. In a room full of white Southerners, you oughtta fit right in. You might even win first prize! West starts to walk away. Gordon grabs him. GORDON Listen to me. The art of disguise is what's going to get us into that party, thus allowing us to find these kidnapped scientists before they're forced to create something that will destroy this great country. Now you and I are the chosen ones, Jim. We're under direct orders from the President himself. And our mission is clear : Save our country. Our freedom is at stake and this is our duty as men. Now, you go as a riverboat captain and I'll be a saloon girl. WEST Let me tell you a little something about beloved ` art of disguise'. That night at Fat - Can's, I knew you were n't a woman. GORDON But I was propositioned by three men. WEST Gordon, you looked nasty. Your breasts were all hard and stiff, and were sticking straight out like two rusty cannons on a sunken ship. Gordon grabs his fake breasts off the rack. He puts them on. GORDON These are a work of art. Scientifically and aesthetically perfect. WEST They look like shit. GORDON Touch them. WEST I do n't wan na touch'em. I can see I do n't like'em. GORDON What, are you afraid you're wrong? Touch my breasts. West touches Gordon's fake breasts. ANGLE - COLEMAN walking through the next car, carrying a tray of tea. Gordon's last line got his attention. What the? Coleman peeks around the corner to see West eyeing Gordon's `` chest.'' COLEMAN -LRB- to himself. -RRB- I knew it. Well, I'll have no part of it! Coleman shakes his head and walks off. ANGLE - WEST AND GORDON West is thwapping Gordon's breasts. WEST There, Gordon, you happy? I'm touching your breasts. GORDON Not so rough. The buckwheat'll come out. WEST Buckwheat? That's your problem. West takes one of the cow udders out of Gordon's bodice and dumps the buckwheat onto the ground. GORDON What are you doing? West goes over to a wash basin, picks up a water pitcher and fills the cow bladder. West squeezes the cow bladder shut and holds it up to his chest. WEST Now, squeeze this. This is what a breast should feel like. ANGLE - COLEMAN Passing back through the next car. When he hears that last line, he ca n't believe it. He peeks in again to see. GORDON Whoa. WEST Is n't that nice? GORDON Very nice. Coleman's mouth drops. He's sweating. WEST Now touch yourself. GORDON You win. I'm hard. COLEMAN -LRB- disgusted. -RRB- Federal officers, bah! Coleman walks off, shaking his head. BACK TO SCENE Suddenly, Gordon shoots the cuffs off his jacket. Out of one sleeve comes a pen. Out the other, a small pad of paper. They are both connected to a spring - loaded metal gizmo up his sleeve. West reacts, drawing his pistol up into Gordon's face. GORDON I was just going to jot down a thought. WEST You know something, that's a good place to put a gun. GORDON But then, where would I keep my notepad. WEST You know, Artemus, I think you underestimate the convenience of a pocket.","","GUARD You got about as much chance of havin' an invitation as him. He smirks at a lawn jockey. West reaches into his coat. WEST Matter of fact, got it right here. He withdraws his hand. While the Guard squints at his empty palm, West grabs his head with his other hand and smacks it into the lawn jockey's fist. clang! West leans the cold - cocked Guard against the house, uses his shoulder as a step, boosting him up to.","","WOMAN -LRB- O.S. -RRB- -LRB- in a Spanish accent. -RRB- Hey. get your hands off me! Now Miss Lippenreider, Amazonia and Munitia. -LRB- bewigged and wearing costumes. -RRB- wrangle a beautiful and defiant Latina into the room. When she turns we recognize she's the singer from Fat - Can's. Rita is in her early 20s, wearing a 19th - Century camisole so scanty, it makes it hard to concentrate on what she's saying. RITA Put me in the dungeon with all those smelly, dirty bearded men. but I am not goin' in there. AMAZONIA You applied for the position. RITA Yeah, a standing up position. I'm an entertainer, not a. Amazonia grabs her by the throat, choking the word off. MISS LIPPENREIDER Do not be selfish and stupid. He always spoils his new girl. RITA Yeah. Well gim me a simple diamond bracelet instead of that. POV - THROUGH DOOR - INTO BEDROOM A ramp leads to a large bed. A leather and steel prosthesis is hanging from pulleys attached to the ceiling. MUNITIA It is not so bad. once the metal warms up. Amazonia just picks her up and drags the hapless Rita into the room. West emerges from behind the curtains, shakes his head. Weird. He eases out the door and into.","SULTRY WOMAN -LRB- O.S. -RRB- An authentic cowboy outfit. complete with six - guns! West turns to see who busted him. Coming his way is a ravishing Chinese girl dressed up as a DRAGON LADY. DRAGON LADY What a terribly clever costume, Mr? WEST West. Jim West. DRAGON LADY Well. West meets East. Mae Lee East. -LRB- holds out delicate hand. -RRB- Are you here alone, Mr. West? WEST Actually I'm, uh trying to surprise an old friend - General McGrath. Seen him around anywhere? MISS EAST -LRB- DRAGON LADY. -RRB- I do n't believe that name was on our guest list. And I would know. I'm Dr. Loveless's personal assistant. The name means something to West. WEST Dr. Arliss Loveless? One of the great founders of the Confederacy with Jefferson Davis. Funny how most people think he's dead. MISS EAST Tonight's his coming - out party. We FOLLOW them as she takes his arm and leads him down the stairs, into the party.","MISS EAST See anybody that looks familiar? West scans the room. Stops. WEST Matter of fact, I do. WEST'S POV - WOMAN WITH BIG HAIR She's got the mole, too. Gordon has apparently encored his Soiled Dove get - up. Miss East sees who he's looking at. She makes a pouty face as there's a flourish from the STEREO QUARTET. MISS EAST I'm. jealous. -LRB- blows a little kiss at him. -RRB- Meet me later. in the foyer. West watches as she joins.","DISTAFF CORPS -LRB- singing. -RRB- ` Mine eyes have seen the glory Of the coming of the Lord.' From behind the doors we hear the WHIR of an ELEVATOR. It stops with a CLUNK. Suddenly. NEW ANGLE - DOORWAY bursts open and Abraham Lincoln in a mini - float appears. It's decked out like Lincoln's box at Ford's theater. On its own power, it moves past the laughing party - goers in the foyer. Now the women throw grapes on the floor. DISTAFF CORPS -LRB- singing. -RRB- ` He has trampled down the vintage Where the grapes of wrath are stored!' WEST'S POV - ANGLE ON WHEELS OF WHEELCHAIR are what's trampling down the vintage. West takes in the whole man. Very curious. Then suddenly. KABOOM! ANGLE ON ABE'S HEAD It explodes like a pinata. Up from the hole in his neck peeps. DR. ARLISS LOVELESS. LOVELESS -LRB- impishly. -RRB- Do n't you just hate that song? The Southern crowd gasps at Loveless's dramatic appearance. LOVELESS Why, y' all look like you've seen a ghost! It's me, dear friends, alive and kicking! Well, alive, anyway. As he giggles, the distaff corps surround him and remove the Lincoln paraphernalia. Then step aside, revealing. NEW ANGLE - DR. LOVELESS is half a man. Literally. Cut off at the waist and mounted on a wheelchair platform that is powered by an engine, he is a man bereft of tuchus, kishkes and everything else in that vicinity that makes life interesting. LOVELESS -LRB- chuckles. -RRB- We may've lost the war, but heaven knows. we have n't lost our sense of humor! Dr. Loveless looks down at himself, smoothes half of his Fritz Lang Metropolis - style suit. His face turns dark as he surveys the crowd. LOVELESS Not even when we've lost a lung. a spleen. a bladder. two legs. thirty - five feet of small intestine and our ability to reproduce. -LRB- like a preacher. -RRB- All in the name of the South. -LRB- then quietly. -RRB-. do we lose our sense of humor. You can hear a pin drop. Loveless turns to the foreign dignitaries. LOVELESS I owe a deep debt of gratitude to my friends across the sea for their comfort and. succor. He suddenly seems distracted by the comely beauties that surround him. Then abruptly, manically. LOVELESS So! Mi casa es su casa! Ma maison est a vous! Let the party begin! Loveless signals to the quartets to resume playing. Miss East leans down and whispers in his ear. Loveless looks in West's direction. Now Loveless wheels over to West. West is n't hiding. He's cocky in the face of rolling danger. LOVELESS Mr. West, how nice of you to join us tonight. and add color to these monochromatic proceedings. West keeps a lid on his temper. Two can play at this game. WEST Well, when a man comes back from the dead, it's an occasion to stand and be counted. Loveless smiles slightly. LOVELESS Miss East informs me that you were expecting to meet General McGrath here. I knew him years ago. but have n't seen him in a coon's age. WEST I bet a man like yourself would find it difficult to keep in touch with even half the people you know. Danger flickers in Loveless's eyes. He looks to Miss East. LOVELESS Perhaps the lovely Miss East will keep you from being a slave to your disappointment. WEST Well, you know beautiful women. they encourage you one second, cut the legs out from under you the next. Loveless's face drops. He is no longer amused. Miss East winks at West, then accompanies Loveless in the direction of the study where.","WEST Hey, honey. I see a big ole spider up on the wall. Hope it does n't drop down your pretty dress. As the Soiled Dove jumps a little, West continues over to the study door. Now the Soiled Dove turns, and we see the scared/confused expression. Maybe it's because she is not Artemus. ANGLE - GORDON - ACROSS ROOM He's the mountain man in the fringe jacket. And right now he's shaking his head as he watches West resort to a decidedly low - tech surveillance method of Loveless's study. GORDON Peeking through the keyhole? So 18th Century.","McGRATH Dr. Loveless, my men are ready to go to war with no weapons to fight. Ever since the nitro and the guns were destroyed at Fat - Can's, lice and demoralization have set in! LOVELESS Your men will have their weapons tonight. And my promise that they will be part of the greatest military victory of this century! McGrath's face relaxes into a pyorrheic grin. McGRATH Oh, you're a pip, sir! I'd follow you into the maw of Cerberus himself! Loveless takes pencil in hand and draws a map on the desk. LOVELESS And so you shall. -LRB- makes an X. -RRB- Have your men here at. 10 o'clock tonight. Loveless wheels his chair toward the door with McGrath behind him folding up the map.","","MISS EAST I said to meet me in the foyer. WEST Oh, the foy - aay. Sorry, I've never been much good at French. But instead of scolding him further, Miss East plants an over - heated kiss on him. Tongues are involved. As they break, she gives a little nod of approval. MISS EAST Au contraire. She pushes him down into Dr. Loveless's chair. MISS EAST So let's see, Mr. West. are you a dangerous spy of some sort? Or just a handsome cowboy who likes to. poke around. WEST Um. that second one. She starts to undo the buttons of his trousers. But West has a job to do. Well, maybe he can do two jobs at once.","GORDON Howdy there. big sturdy gal. Yer dance card full? Amazonia stares at him, then spiels off a couple lines in a foreign language that makes Gordon's eyes widen. He understands what she said and it's not flattering. Gordon moves off in a shock.","","WEST Thanks for helpin' me get to the bottom of this case.","WEST Real impressed the way you got the dance floor staked out. Maybe one of your missin' scientists'll cut in. -LRB- dip. -RRB- Thought you should know that while you were trying to decide what shoes to wear tonight. -LRB- twirl. -RRB- I found that our host, Dr. Loveless. West looks over to where Loveless is leading a contingent of foreigners out a side exit. WEST is meeting McGrath and his troops at Malheureux Point in an hour. -LRB- bends her back. -RRB- So you enjoy the party. I'm gon na go save the Republic. The Soiled Dove look - alike is speechless. Before he goes, West leans in, smirks. WEST But I will say, good work on your bladders tonight. they're damn perky. And just to dig the grave deeper, West lays hands on them and gives them a little squeeze. This immediately elicits a scream and a slap in the face that shocks the bejesus out of the black cowboy. And he's not the only one. ANGLE ON CROWD staring at him. We know what they're thinking, but the Mountain Man behind West says it for everyone. GORDON/MOUNTAIN MAN Hang him! And with that, Gordon opens his deerskin jacket to reveal his own rope, which he throws to the mob. West looks back at the character in amazement. That's Gordon?! Before West can say or do anything, guns are at his temple, and he's swept out of the room. Gordon calmly straightens his coonskin cap, seemingly uninterested in West's imminent hanging. In the hubbub of everyone rushing out for the hanging, Gordon heads up the unguarded stairs to the locked room. As he pulls out his high tech auto - wind lock - pick and quickly gains entrance to the door.","GEORGE WASHINGTON Looks like we're gon na have to teach y' all a little lesson on how to behave in polite society. WEST Do n't grab a white lady's boobies at the big redneck dance. Is that the lesson? Well, I learned it. Do n't scratch your head with the shrimp fork. I got that one too. So whaddaya say we call this off?","GORDON I feel as if we know each other from someplace? RITA Try again, buster! She takes a breath as if she's going to start screaming. Gordon quickly holds up a hand. GORDON Ma'am, please! While I realize I look like something straight out of James Fenimore Cooper. I mean you no harm. My name is Artemus Gordon. And you look like you're in trouble. RITA -LRB- dryly. -RRB- Really? To Rita's amazement, Gordon opens his jacket and unbuttons his vest to reveal. a complete miniature tool shop. Quickly he pulls out a thin cable and attaches it to a tiny wheel on the spur of one of his boots. RITA I'm Rita. I was hired here as an entertainer. Not that I'm complaining, but what are you doin' in here? GORDON -LRB- looking up miles of leg. -RRB- Looking for some missing scientists. not that I'm complaining. Gordon unsnaps the sole of his shoe. It becomes a pedal that operates the wheels' rotation. Now he removes a bit and handle from his vest and attaches the cable. Starts to pump his foot. It's a foot - powered drill. GORDON I'm a special U.S. Marshal on assignment from the President. RITA -LRB- almost impressed. -RRB- If you're so special, how come you're lookin' up here when Loveless has'em all workin' down in the dungeon? -LRB- rattles bars impatiently. -RRB- Get me out of here and I'll take you down there. GORDON Too late. The ` dungeon' is cleaned out. It was the first place I checked, right after I sampled the gumbo. Bit heavy on the okra. But Rita is n't listening to the food review. Her mind's racing. Finally, the LOCK CLICKS and the cage door swings open. Gordon takes the distressed damsel in his arms, lifts her out. RITA -LRB- suddenly a coquettish smile. -RRB- Thank you. Artemus, was it? GORDON One does n't forget a smile like that. Now where in the world was it? Have you ever played the Empire Room. the Bijou Cafe perhaps?","WEST Can I have everyone's attention please. I think we've had a series of major misunderstandings and I'd like to take a moment to clear them up. First, the whole drumming on the boobies thing. In my native land, Africa, my ancestors used drums to communicate between villages. I'm sure y' all can see that this young girl here can communicate all the way down to Baton Rouge. Hell, on a clear day, we might even get Galveston. All I was saying was, ` How're you doing,' ` My name's Jim,' ` How's your mama?' Second misunderstanding. That redneck comment. I'm getting the sense that some of you took that negatively. You know, some of my best friends are whiskey - guzzling, pot - bellied rednecks just like y' all here. -LRB- then. -RRB- That slavery thing, I do n't see what the big deal was. Hell, who would n't want somebody to run around for them doing chores. Are you going to get your big, fat, lazy ass out of bed every morning and pick your own damn cotton. I do n't think so. -LRB- then. -RRB- Let's head on inside and knock back some shine. Come on, back inside. No. Okay. -LRB- to Soiled Dove. -RRB- I stand before you as a man who realizes he has done something wrong and I am prepared to do the right thing. Will you marry me? Soiled Dove gasps. WEST I'll take that as a no. Darling, would it help at all if I said I thought you were a man? The CAMERA FINDS the Soiled Dove. She faints. BACK TO SCENE WEST Guess not. As West searches desperately for signs of rescue by his `` partner,'' suddenly the wagon lurches forward. GEORGE WASHINGTON Hang him! NEW ANGLE - WEST'S FEET As they plummet toward the ground. CLOSE - WEST'S NECK The rope catches. and stretches! CLOSE - WEST'S FEET As they slowly touch the ground. Nobody is more confused than West. ANGLE ON CROWD How the fuck did that happen? But before anybody can figure out Gordon's trick rope, speak of the devil. GORDON -LRB- O.S. -RRB- Hey - yaa! The crowd turns with alarm to see. ANGLE ON TEAM OF CHARGING HORSES Nostrils flared and wild - eyed, are having their rumps snapped by Gordon's reins. Rita holds on for dear life as the mad Mountain Man drives the carriage at full speed right into the crowd - scattering them. ANGLE ON WEST He sees his opportunity for rescue, puts a foot into the back of George Washington, grabs his gun, and somersaults into the air. ANGLE ON GORDON AND CARRIAGE - WEST lands squarely in the back. And just as the rope starts to stretch around his neck again, Gordon whirls around with a Bowie knife and cuts it.","WEST Hang'm! Suddenly, there's a VOLLEY of SHOTS from some cracker sharpshooters. West responds with an amazing display of RAPID - FIRE marksmanship, picking off half a dozen of Loveless's shooters, even while the carriage bumps wildly on its getaway. BLAMBLAMBLAMBLAM! WEST -LRB- still pissed, to Gordon. -RRB- Hang'm!?! GORDON -LRB- to Rita. -RRB- Meet my trigger - happy partner, James West. who does n't seem to realize that my carefully planned diversion gave me the opportunity to search for the missing scientists. Now West notices the half - dressed bombshell in the carriage. WEST Scientist, huh. GORDON This is Rita. I found her locked in a cage in Loveless's bedroom. She's an entertainer. RITA Um, maybe I have n't been quite honest about that. My name is Rita Escobar. I came to find Guillermo Escobar, the scientist, my. father. Gordon's eyes pop. GORDON Professor Escobar?! He was the one I almost rescued that night when. -LRB- lightbulb. -RRB- That's where I know you from! Fat - Can Candy's. you sang before I did. RITA Excuse me? GORDON That was me. Burgundy dress with the bustle. Gordon starts singing the song. West rolls his eyes, cuts off the chit - chat. WEST Look, Rita, I'm sorry you had the wrong agent working on your case. When I find your father I promise I'll send him back safely. And with that. West suddenly leaps over Rita - lands on the back of one of the horses. He grabs a handful of mane, leans over and unclips the harness. And with a kick in the ribs, West is off at a gallop - leaving Gordon, one remaining horse and an awed Rita behind to chew his dust. RITA He's impulsive, James.","LOVELESS Well, General, it's been a long journey from New Liberty. McGrath visibly winces at the sound of it. McGRATH Sir, there is n't a day that passes that I do n't contemplate it. LOVELESS Yes, and so do I. So do I. -LRB- reflexively reaches for missing legs. -RRB- If I'd only had the scientific understanding of gunpowder and primers that I have today. McGRATH That's not what I meant. Loveless looks at him, puzzled, then gets it. LOVELESS Oh, you mean the stomach - churning carnage that earned you your unfortunate nom de guerre. Loveless speaks for the benefit of the others. LOVELESS What was that nickname again? McGRATH -LRB- reluctantly. -RRB- ` Bloodbath' McGrath. the Butcher of New Liberty.'","REB #1 They oughta be here by now. REB #2 Maybe we're in the wrong place. REB #1 -LRB- rechecks map. -RRB- No, we're supposed to wait ` xactly on this here spot. Suddenly they hear a CLANKING and SCREECHING coming from the marsh. They ready their arms and get in defensive positions. What they ca n't see through the fog is. ANGLE - MARSH - ARMORED TANK amphibiously sludges up through the mud and reeds, passing by the dumbstruck soldiers as it heads to the center of the field. The contraption has a large cannon and Gatling guns bristling from several ports. The Rebs cheer their new weapon. THE WILD WILD WEST - Rev. 7/1/98 52.","","McGRATH Why you sawed - off sadistic bastard! You've betrayed us! Loveless turns to him, cocks his head. LOVELESS My dear General, after donating half my physical being creating a weapon capable of doing this. how did you and General Lee repay my loyalty? You surrendered at Appomattox! So, who betrayed whom? Loveless turns to Munitia holding a steno pad. LOVELESS Munitia, make note. Turret speed needs to be accelerated! MUNITIA -LRB- to Amazonia. -RRB- Change gear ratio from 2.2 to 2.8! Amazonia pushes a sick dignitary away from the rail so she can get a sight line to the tank with her lantern semaphore. She begins flashing the new gear ratio. AMAZONIA A bucket for the minister, please! Now in the b.g., we hear the GATLINGS OPEN UP. Lippenreider is reading the lips of the tank's victims. LIPPENREIDER Scream. Scream. My head. I'm dying. Scream. Moan. Scream. McGRATH Loveless, I demand you give the order to stop this slaughter now! LOVELESS -LRB- ignores him. -RRB-. We're going to need more loading drills! I'm hearing too much time between screams. As Munitia scribbles dutifully, McGrath shoves her aside. He pulls his pistol. McGRATH For the last time, give them the order to desist! Loveless, his back to him, is seemingly unconcerned at having a gun barrel pressed against his skull. LOVELESS General, I understand your distress. But believe me, those men are not dying senselessly. It is for a far greater cause than you can imagine. As Loveless's right index finger finds a black button on the arm of his wheelchair. CLOSE ANGLE - LOVELESS'S WHEELCHAIR ARM The steel tubes that comprise the armrests are actually shotgun barrels facing fore and aft. McGrath's finger tightens on the trigger. WIDER McGRATH Go straight to hell, sir! LOVELESS After you. sir. BOOOM! McGrath has a very startled expression as he looks down at the aftereffects of DOUBLE - OUGHT BUCKSHOT. As he crumples to the deck, Loveless sniffs. LOVELESS Bloodbath McGrath indeed. The dignitary's DOG starts BARKING, jumps to the deck. It sits next to the fallen General's gramophone ear and cocks his head. With the RCA logo invented we MOVE BACK TO. ANGLE ON LOVELESS He sighs at his pale guests. They do n't seem to appreciate the efficiency of his slaughter. LOVELESS Well, that concludes the festivities. Ladies, feed him to the crabs. Munitia and Amazonia unceremoniously dump McGrath's BODY overboard. SPLOOSH. Loveless addresses the dignitaries. LOVELESS But, my friends, that tank is just a little ol' toy compared to what this country's greatest scientists are cooking up for me next. So if I've piqued your interest, bring 1000 kilograms of your country's gold to Spider Canyon four days from now. -LRB- starts to roll off boat. -RRB- Now if you'll excuse me, I've got a tank to catch. CUT TO :","LOVELESS My destination is both the future. and the past! Forget Paul Revere, this will be the most revolutionary ride in the history of America! He looks dotingly at the TANK, which CLATTERS up from the battlefield on its treads. then drives onto the tracks. Wheels drop down out of the chassis, the treads retract up, and the TANK BACKS INTO the rest of the TRAIN. CLANK. It's a neat modular fit. Black death on rails. The foreigners watch with awe as. ANGLE - LOVELESS wheels up onto the tank/train. He drops the expansiveness, fixes them with a viper's eye. LOVELESS If you do n't want to miss the ride, have the last payment of 1000 kilograms of your country's gold in my hands no later than Friday. That's when I make our little proposal to President Grant. One I'm ever so confident he's gon na accept. -LRB- now a jaunty wave of his hat. -RRB- Au revoir, adios, and ta - ta!","","GORDON It came up out of the lake. from the way these corpses are positioned, laid down a 360 - degree pattern of cannon fire. then disappeared in moments. -LRB- puts a foot on a body, scratches his chin. -RRB- My God, what kind of weapon is it? Rita ca n't handle Gordon's clinical posturing. RITA Excuse me, I think I'm going to be sick. As she walks quickly away, West comes over, a haunted look on his face. WEST It just rolls on and on. Makes a screeching sound - like a wounded animal. Got a ` cabin' on top with a cannon. swivels ` round like an eagle's head. GORDON You saw it? WEST Heard about it. Thought it was crazy survivors' stories. GORDON What survivors? There are n't any here. WEST New Liberty, Illinois - the free slave town just over the border. Just one week before the War ended in' 65. I was in the 9th Cavalry that discovered it. Old men, women, children. they used them for target practice. He looks out at the battlefield as if reliving it. Gordon is sympathetic to his obvious pain - just shuts up. West's grim reverie is interrupted by MOANING coming from the shoreline. They all follow the sound to find.","WEST That's when I vowed to follow McGrath to the end of the earth. As grey as four - day - old mullet, McGrath manages a smile for his relentless pursuer. McGRATH -LRB- barely audible. -RRB- What's the matter, West? Thought you'd be happy to find me. like this. WEST I was hoping to kill you myself. RITA That's a nice way to talk to people. McGRATH You'll have to live with it. As I've lived with the blame for New Liberty. McGrath fades out. West grabs him and shakes him. WEST What do you mean? McGRATH -LRB- opens eyes. -RRB- It was Loveless. his plan. He operated the killing machine there. Smarter now. left it to others here. With the meaning of it all sinking in, West grabs McGrath by the collar and pulls him toward him. WEST Where is he? Where did he go?! The General tries to speak. West puts his ear to the General's mouth. But before he can say it, McGrath closes his eyes for the last time. West's shoulders sag. Then from behind. RITA -LRB- O.S. -RRB- Well, I know that. West turns to her. well? RITA I'll tell you if you take me along. WEST -LRB- in no mood. -RRB- Just tell me. RITA The girls at the mansion. They talk. -LRB- imitating a la Lippenreider. -RRB-' I vonder if my hair vill get frissy in ze desert? Vhere is diss Ooo - tah anyvay?' As West and Gordon turn to one another in alarm. WEST/GORDON Ooo - tah?!","","WEST Coleman. let's go! Full speed ahead! West snatches the catalogue out of his hands, does a take at the pictures of chunky models in bloomers. COLEMAN Aye, sir! As Coleman quickly exits, Gordon looks out the window, onto the platform. GORDON -LRB- wistful. -RRB- I do n't see why we could n't have given her a ride back home to Texas. It is on the way. WEST On the way to Utah where our President happens to be. Maybe we oughta be worryin' about that little coincidence! As the ENGINE ROARS to life.","","INT. WANDERER - ENGINE CAR - NIGHT GORDON We would n't have known where Loveless was going if it was n't for her. Seems a bit ungracious. Possibly perilous. WEST Look, all that would happen would be she'd get in our way and I'd probably wind up gettin' in the saddle with her. GORDON Funny that you say that. Because I thought she was more interested in me.","","GORDON -LRB- O.S. -RRB- -LRB- from gallery. -RRB- You know, I've been trying to place myself in Loveless's shoes. WEST Good luck on that one. GORDON -LRB- weakly. -RRB- Ha, ha, ha. You know, I ca n't imagine what Loveless - a man without any reproductive organs could possibly want with Rita. Suddenly there's a WHOOSH and Rita falls through the ceiling and plops in the chair just like West did earlier. He instinctively pulls his gun. Puts it away as Gordon muses about her anatomy. GORDON -LRB- O.S. -RRB- -LRB- not realizing she's there. -RRB- Not that Rita does n't have a figure that would inspire a Botticelli. or a Raphael. Rita raises an eyebrow, looks to the galley as Gordon comes out with a platter of food. He still does n't see her there. GORDON especially her breasts. Did you notice the way one of them. -LRB- cups his hands. -RRB- Both of them actually. to say nothing of her buttocks. Gordon turns and looks into the car. Finally sees her. Changes gears without missing a beat. GORDON and the group of foreign ministers at Loveless's party. What were they doing there? Gordon gestures for West to join him at the pool table. Rita immediately goes for the food. GORDON -LRB- using pool balls. -RRB- Here's France, Spain and Britain. -LRB- sotto voce. -RRB- How long has she been here? WEST Since the first breast. Gordon turns to her, exasperated with himself. GORDON I am so embarrassed. WEST I'll spare you. -LRB- to Rita. -RRB- Make yourself a sandwich to take with you. You're getting off.","RITA But. I can help you. WEST How could you possibly help us? RITA Well, I heard you talking about why all those foreign guys were at Loveless's party? You want me to tell you? GORDON By all means. She uses the time to get another bite into her mouth. RITA -LRB- to Gordon, chewing. -RRB- This is fantastic. You can cut it with a fork! How'd you cook it? GORDON -LRB- someone appreciates him. -RRB- Well, in a daubiere. a clay pot. A French method which. West cuts off the chit - chat. WEST What about the foreign guys?! RITA They were mad about something, you know? Something about a real bad deal in Louisiana on purpose. GORDON The Louisiana Purchase? RITA And Queen somebody - somebody of France got swindled. GORDON Queen Isabella of Spain. West rolls his eyes. WEST Gordon, this is crazy. She does n't know what she's talking about! West picks up the speaker horn and calls Coleman. WEST -LRB- into speaker horn. -RRB- Coleman, stop the train! Miss Escobar's getting off. COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- Who the hell's Miss Escobar? RITA -LRB- grabs horn. -RRB- I'm a frightened, starving, half - naked young woman who only wants to find her father! COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- Half - naked? WEST -LRB- grabs it back. -RRB- Coleman. stop the train. COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- We're not puttin' anybody off. Not out here in the middle of nowhere. West looks out the window. Nothing but sagebrush and animal skulls out there. Rita comes up close to Jim, fire in her big, brown eyes. RITA Please, Jim. My father's the only family I've got. What am I supposed to do? Sit home and wait for news he's been killed? Or go do something! What would you do, Jim?! That gets the man of action where he lives. WEST Look, I got nothing against you, Rita. It's just that. What's going to happen when we catch up to Loveless. with you on the train? She grabs West's hand. RITA I know you'd never let him take me back. I've seen you shoot. West kinda melts a little. This girl does have her charms. Gordon, a little jealous, puffs his chest out. GORDON I assure you, Rita, an attack by Loveless would be an exercise in futility. -LRB- stands for tour. -RRB-. Allow me to demonstrate how my design suggestions have made the Wanderer impervious to attack. West draws his guns, twirls them and reholsters. WEST I'm the impervious part. GORDON Hardly. Completely armor - plated. Artemus raps his knuckles on the wall making a METALLIC sound. Then he smugly demonstrates that the light fixture is actually a Gatling gun. GORDON An attacker would find the lighting inside extremely. unflattering. Finally he moves to the billiard table, while Rita nods. and keeps eating. GORDON And if, by some inconceivable fluke, they did manage to gain entrance. -LRB- rolls billiard ball into bumper. -RRB- An innocent billiard ball this way. -LRB- picks it up, presses the number. -RRB- But depress the number. a sleeping gas bomb. Effective in under three seconds. Gordon unclicks it, triumphantly rolls it into a pocket. GORDON So rest assured, Rita. you are completely safe within these walls. West snorts at his obvious play for Rita's attentions. WEST I do n't know about you, ma'am, but I know I'll be sleeping a whole lot better tonight. -LRB- yawns. -RRB-. assuming Loveless barges in here and feels like a game of pool. RITA Speaking of sleeping, I'm pretty tired. Artemus, do you think I could borrow something to wear? West jumps in before Gordon can answer. WEST I've got somethin' you might use. It ai n't stylish, but it's practical.","WEST Loveless kidnapped two chemists, that means there's gon na be explosives. He's got a metallurgist, so there's gon na be heavy armor. And he's got Rita's father, who - according to you - is the world's foremost specialist in hydraulics. Which means, whatever it is. it's gon na move. West sits up. WEST So what, is he building that's gon na make the President fall to his knees and surrender the country? GORDON A bedside heater. WEST What? GORDON Rita. She needs a bedside heater. I mean, it gets cold in there, you know, with the stained glass window right over the - ANGLE - COLEMAN opens and Rita emerges from the state room. -LRB- INSERT RITA'S BUTT HERE. -RRB- Rita leaves. GORDON Such a pleasant girl. A real breath of fresh ass. WEST You said ass. GORDON Did I? No. CUT TO :","COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- We have Loveless, gentlemen! Seven hundred yards and closing! As they scramble for boots, weapons, Rita comes out of her room. RITA What's going on? Gordon ushers her to the back. GORDON Stay back here, take cover! Meanwhile, West pulls on his boot. When he stands on it, a three - inch STILETTO SNAPS out of the toe. WEST What the hell is this? GORDON I took the liberty of installing it while you were sleeping. West looks at him incredulously. WEST Leave my stuff alone!","","","COLEMAN Am I missin' somethin' here?","","LOVELESS Amazonia, shall we disabuse our friends of the notion that one's problems are solved when we see the light at the end of the tunnel! As Munitia swivels the cannon barrel.","GORDON Jim, we're the ones chasing Loveless, correct? -LRB- as West shoots him a look. -RRB- Then perhaps you could explain what they're doing behind us. As West looks out the back too. KA - BOOM! A SHELL EXPLODES just to the right of them. Now ANOTHER EXPLOSION to the left of them. The Wanderer rocks precariously from wheel to wheel, throwing a screaming Rita back and forth between West and Gordon. WEST They could n't fire the cannon at us from in front. Any other questions?","WEST Would it put you out too much to throw me a rope and hit your little secret button? With a shrug, Gordon tosses West a rope and hits the same hidden button he had during their fight. Whoosh! West is gone as the pool table flips over. As Rita covers her mouth in amazement. GORDON I taught him how it worked.","","","","RITA You know you could put a gun on that thing. Gordon looks up at her disapprovingly. not you too? Meanwhile, on the tracks.","","","","","","MUNITIA I have them square in my sights, sire. LOVELESS -LRB- distracted. -RRB- As do I, Munitia. as do I. -LRB- looks up, wry smile. -RRB- Fire away! But it's a little difficult with him stroking her buttocks. BOOM! The CANNON FIRES.","","","LOVELESS Close the fire door! Just in time, Amazonia swings it shut as the unvented BOILER EXPLODES, sending a FIREBALL ripping through the back of the train, destroying it. Up ahead.","RITA I wo n't let Loveless take me again! I'd rather be dead! GORDON -LRB- recalling West's words. -RRB- That's not a good one to wish for. To defend herself, Rita grabs one of the sleeping - gas pool balls rolling around on the ground. Gordon leads her into the stateroom to lock her in, but she grabs his hand. RITA Please, Artemus, do n't leave me alone! Rita closes the door behind him and locks it.","WEST -LRB- O.S. -RRB- -LRB- hoarsely, not sounding like him. -RRB- It's me, Jim. Open up! RITA It's a trick, I know Loveless. CLICK, she pushes the number. Gordon makes a grab for it. GORDON Rita, no! It's just. CLUNK. she drops it to the floor. ANGLE - WEST standing in the doorway. He rubs a raw welt on his neck from the garrote, smirks when he sees Gordon on the bed with Rita. But his smirk drops when he sees the pool ball roll between his feet - spewing a purple cloud of sleeping gas. West gives Gordon a Wile E. Coyote look, croaks. WEST Too damn late, is what it is.","WEST -LRB- mimicking him. -RRB- An innocent billiard ball this way, but depress the number and on impact. a sleeping - gas bomb. West shakes his head disparagingly and stands. He feels the metal band around his neck and surveys the 18 - inch wire fence which has been laid around them in a circle. West is about to step over it. Gordon grabs his leg. GORDON Do n't move!","LOVELESS Continue, Miss Lippenreider. MISS LIPPENREIDER -LRB- doing both voices in a monotone. -RRB- West. Let go of my leg! Gordon. Listen to me. Loveless collared us with the same metal device we found on Morton. Loveless turns to Munitia, who is loading two 36 - inch - diameter metal discs into what looks like a CD changer/clay - pigeon - thrower. LOVELESS Oh, Munitia. I hope we're not going to leave evidence behind like we did last time. MUNITIA Nitro this time, sire. As she arms the device, and a red light comes on. LOVELESS -LRB- through megaphone. -RRB- Good morning, gentlemen! I trust you slept well.","GORDON What have you done with Rita? LOVELESS Rita, is it? How familiar! Rita is sleeping off the after - effects in the stateroom. -LRB- looks toward bedroom. -RRB- Quite lovely, is n't she? Who knows. I might even become ` familiar' with her myself. Gordon takes a step. West stops him. WEST And that would become one more reason why I'm going to kill you. LOVELESS Yes, Mr. West, I'm sure a well - endowed blackamoor like yourself must find it absolutely impossible. that a freak like me could fully enjoy the pleasure of a woman. But having witnessed my use of mechinology so far. would n't you think I could provide myself with something for the lower half of my body that was hard - pumping and indefatigably steely? Loveless looks O.S. LOVELESS And speaking of ` hard pumping.' Mr. Coleman, full steam ahead!","","LOVELESS What a marvelous train! You do n't mind if I borrow it, do you, gentlemen? Other than a lack of wheelchair access, I find it a most comfortable way to pass the long miles from here to my laboratory in Spider Canyon. -LRB- louder, as they move off. -RRB- I'll be seeing President Grant soon at Promontory Point. What shall I tell him for you? I'm afraid it ca n't be that you're alive and well. And as his maniacal giggle hangs in the air.","WEST Gordon, get out your little tool kit and get this damn thing off of me! Gordon unbuttons his shirt to reveal his leather tool kit. empty except for a note. Gordon opens it and reads. GORDON ` Gentlemen, welcome to the Loveless Experimental Camp for Political Dissidents. There are no guards. No barbed wire. As long as you stay within the designated perimeter, you will stay alive.'","MISS LIPPENREIDER West. How do you know it's not just bullshit? Gordon. Step over the fence and find out. Rita and I will put flowers on your grave every year.","WEST I do n't have time for this. GORDON Wait, I have an auxiliary tool kit! Gordon peels back the top of his boot revealing it. But it's too late. West has jumped over the fence. Then he hops back inside it. He holds his hands out to Gordon. WEST See? Nothing happened. West grabs Gordon by the back of his vest and yanks him over the fence. Now they hear a slight BUZZING in the air and it's not a bee. NEW ANGLE - DISC comes whipping over the corn straight for West's head. In a split second, he ducks and the disc cuts the tops of the corn off and banks around for a new attack. GORDON Oh, really? Now both of them step over the fenced perimeter and start running like hell through the cornfield. WEST Is it too late to take it off of me now?","","","MUNITIA Caviar? LIPPENREIDER Blini? LOVELESS -LRB- opening champagne bottle. -RRB- Rita, my dear, not that I'm ungrateful to Providence for bringing you back to me. Rita jumps as the champagne CORK POPS. LOVELESS I'm just a wee bit curious as to how you managed to wind up with them. RITA -LRB- scrambling. -RRB- Well, they uh. seemed so. sure that they could find you. and I thought if I stayed with them. they'd lead me back to. all my friends. Munitia shoots a look at Lippenreider. RITA And not to give you a big head but. -LRB- wrinkles her nose to Loveless. -RRB- I kinda missed you. LOVELESS -LRB- not buying it. -RRB- Is n't that a coincidence? I miss me, too.","","GORDON Head for that gully! West zigs out of the cornfield one way. Gordon zags out the other. They're both beat - up and exhausted from running and flopping on the ground.","","","WEST When I give the signal. Jump off the cliff into my arms. GORDON Are you crazy?! Do you see what's down there? WEST -LRB- watching the discs approach. -RRB- Five, four, three, two. West holds out his arms. GORDON Forget it. I'm not doing it. WEST One. West takes a leap of faith. and finally, so does Gordon. GORDON Oh shit! CLOSE - PARTNERS meeting mid - air. They drop OUT OF FRAME, just as. the two discs collide with a MIGHTY EXPLOSION that is heard by.","","GORDON I just remembered. I ca n't swim! WEST You wo n't have to! They drop OUT OF FRAME and we hear a LOUD THUK THUK.","WEST Maybe I should have stayed inside that fence another moment or two. CUT TO :","WEST All right, Gordon, what's your plan? How are you gon na get this damn thing off my neck? Gordon turns to West, simmering, controlling himself. GORDON Excuse me? WEST Is n't that why you're here?'Cause you're the master of, you know, mechanical stuff? GORDON -LRB- smiles. -RRB- Oh. Oh, I see. Now I'm the master of. ` mechanical stuff.' As opposed to five minutes ago, when I was trying to collect my thoughts and figure out a way to get us out of these contraptions! But no! Gordon starts moving towards West, who is forced to back up - looking a tad nervous for the first time in the movie. GORDON - That would n't have been any fun for a certain somebody, and I wo n't mention any names - Jim West! - who decided to take me on a bracing romp through a cornfield and play a fanciful game of hide and seek with serrated, spinning death discs, while our only mode of transportation is in the hands of a sadistic madman with weapons of mass destruction, who kidnapped Rita, and is on his way to kill our President and take over the country! WEST Hey, calm down, Gordon. GORDON -LRB- he's completely lost it. -RRB- No! Because I'm the ` Master of Mechanical Stuff!' And I have to help YOU! Because you're the ` Master of Stupid Stuff!' WEST Gordon. GORDON You want to get that collar off? Fine! Let's do it the fun, Jim West way! -LRB- picks up a rock. -RRB- Let's bash it with a rock! WEST Gordon, you do n't want to do that. GORDON -LRB- crazy. -RRB- Oh, but I do. Gordon grabs a rock and smashes West's collar. Suddenly - ZIIIINNG! West's collar emits a LOW HUM. Suddenly, West is thrown into Gordon, their collars locking. CLANG! GORDON -LRB- suddenly calm. -RRB- That's odd. What did you do? WEST I did n't do shit! GORDON No, you must've reversed the polarity of the magnets. WEST I did not do shit! -LRB- he's had enough. -RRB- That's it - West lifts his leg to Gordon's collar to push him away, but then - CLANG! The stiletto in his shoe dislodges and instantly sticks to Gordon's magnetic collar. For a mega - millisecond, West - his foot stuck to his partner's neck - is stunned. But before he knows what even happened, West flips upside down onto his shoulders. GORDON Are you all right? WEST Oh, I'm peachey. Now help me get my boot off! First, Gordon - trying to get some leverage - puts his foot in West's crotch and pulls the boot. WEST Ahhhh! GORDON Apologies, apologies. Gordon struggles to free the writhing West from the boot. -LRB- attached to Gordon's collar. -RRB-. Finally, West's foot comes free. But when he sits up - THWAP! His collar is sucked into Gordon's belt buckle. West is face to face with his partner's crotch. WEST Do me a favor. When you're telling this story to your grandkids, leave this part out. GORDON Do n't worry. West starts unbuttoning Gordon's belt. WEST Now, when I undo your belt, I'm going to run as fast as I can that way, and you run as fast as you can the other way. Understand? GORDON You're going to run as fast as you can one way and I'm going to run as fast as I can the other? Ingenious. WEST One. two. -LRB- undos belt. -RRB- Three! The men run in opposite directions. -LRB- Gordon's belt on West's collar, West's boot on Gordon's. -RRB-. They get about thirty, forty yards. Then - They're yanked backwards into each other. SPLASH! They fall in the water - back to back. Every time one rolls up and catches his breath, the other is under water. WEST -LRB- rolling face up. -RRB- Get off me, you steaming pile of. -LRB- GURGLE. -RRB-! GORDON -LRB- rolling face up. -RRB- I'm trying, you son of a. -LRB- GURGLE. -RRB-! WEST -LRB- rolling face up GURGLE. -RRB- you! GORDON -LRB- rolling face up GURGLE. -RRB- yourself! Finally they roll out of the stream and onto dry land. They sit up, out of breath, stuck together, back to back. WEST I do not want to spend the rest of my life looking like a meatball on a plate. GORDON We're going to have to discuss bathroom etiquette soon. Very soon. ANGLE ON TOOL KIT bobbing in the stream. Gordon grabs it out of the water. GORDON Aha. My auxiliary tool kit. I forgot all about it. It must've slipped out of my pocket. WEST Your pocket? Why was n't it attached to some spring - loaded something - or - other that shoots out of your ass? GORDON Because that, my friend, would be uncomfortable. CUT TO :","WEST Why did n't you tell me you had an ` auxiliary' tool kit? GORDON I did tell you, but in your zeal to run and leap off a two - hundred - foot cliff, I do n't think you heard me. West eats the grilled Gila monster voraciously. And eats. And enjoys it more. And eats. He notices Gordon watching him. WEST What?! Gordon looks to the heavens and recites. GORDON. Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.' Gordon's quote has gone on. And on. And on. He notices West watching him. GORDON What?! WEST You know, Gordon, you can be quite annoying - flaunting that fancy education. GORDON Well, truth be told, I never had a fancy education - not a formal one, anyway. WEST -LRB- looks at Gordon's ring. -RRB- The Harvard thing seems pretty formal to me. GORDON This ring? This ring is n't real. Do you want it? -LRB- takes ring off and tosses it into fire. -RRB- A prop. I'm an actor. Or was. I gave it up. I went by the name of Arthur Gordon. Ever hear of me? WEST No. How did you wind up in this line of work? GORDON The pinnacle of my life in the theater came in a production of Our American Cousin - a light comedy - at Ford's Theater in Washington. There was this one line I had. always got the biggest laugh in the show. One night, it drowned out the gunshot that killed President Lincoln. -LRB- beat. -RRB- I decided to devote my talents to making sure that never happened again. CLOSE - TARANTULA walks slowly across West's outstretched hand. GORDON Uh. There's a spider on your hand. Does n't that bother you? WEST She does n't want any trouble. She's just trying to get warm. He puts the spider down into the sand. GORDON How come you know so much about the desert, anyway? WEST The Indians taught me. I lived out here when I was a boy. Gordon starts to ask West something but West does n't want him to pry further. WEST Hey - watch - He points toward a small black wasp flying from above. WEST The desert wasp. one of the world's great hunters. She'll kill the tarantula - and lay her eggs on it, so her babies can have something to eat. GORDON Now I'm really hungry. -LRB- beat. -RRB- How did your parents, who I assume were Negroes, feel about you being raised by Indians? WEST They did n't have much to say about it. I was sent to another plantation when I was little. Ran away as soon as my legs were strong enough to take me. West can see the effect his story has had on Gordon. GORDON Did you ever see your family again? WEST Yeah. -LRB- stands, kicks out fire. -RRB- They were at the camp at New Liberty. Now they both stare into the fire. Finally Gordon speaks. GORDON I'll help you get him, Jim.","GORDON You have no idea where you're going, do you? WEST I know exactly where I'm goin'. Spider Canyon. Gordon stops to catch his breath. WEST -LRB- stops, looks back. -RRB- But I'm never gon na get there with you draggin' that damn thing around! Now we see Gordon's got the heavy metal collar in his hand. West grabs him and they start to walk away - Gordon listing noticeably. GORDON While a magneto of this power may not inspire your scientific curiosity, it does mine. Besides, you never know when it might come in handy. Gordon suddenly disappears OUT OF FRAME. West stops to see what's happened to his partner now. ANGLE - GORDON He's on his back, arm holding the metal doughnut straight out over his head, being dragged across the desert floor by some unseen force. Gordon snowplows backwards through the sand for 40 feet, finally coming to an abrupt stop with a metallic klang! West deadpans this bit of insanity, walks over, and with the toe of his boot, uncovers the explanation - iron railroad tracks covered by drifting sand. WEST Arte. when you're right, you're right. GORDON Well I think our partnership is taking a big step forward. You finally admitted I was right about something. West helps him up. Then, as or two heroes follow the tracks into the distance. towards Spider Canyon. GORDON Now. how about admitting you were lost? WEST Do n't push it.","GORDON Jim, I know I've hallucinated it several times before, so is that really the Wanderer? WEST That's the Wanderer. Gordon seems relieved to know his beloved train is not another mirage. They continue on to the rim of the canyon, peer over the edge. Reacting to what they see. GORDON And would it be too much to hope that I'm simply seeing a World's Fair down there? WEST Yeah, it would. That's Loveless' Lair.","","GORDON Now that's impressive. WEST Nice to see an invention that actually works.","","GORDON -LRB- dismissive. -RRB- We'll see about that. The fool does n't even realize he's trapped.","","WEST Gordon, let's ride! -LRB- pause. -RRB- You do know how to ride? He sticks his head through the door to.","WEST A horse, I mean. GORDON -LRB- distracted. -RRB- Yes. I know how to ride a horse. When the situation calls for something primitive. WEST How about now? There's a big spider stompin' towards our President! But Gordon wo n't be hurried. He has a big book out, studies it, then looks back to his Nitro - cycle. GORDON I was just thinking about another spider. Remember in the desert, when that little wasp killed the tarantula? West rolls his eyes impatiently. WEST Yeah. Well, the wasp had a small advantage. It could fly. GORDON Exactly! Gordon excitedly shows the book to West. Pictured is an archaic sepia diagram of a weird aircraft. West looks at it in disbelief as Gordon prattles on manically. GORDON In 1540, Leonardo Da Vinci invented a flying machine called the ` Ornithopter.' Though he never actually flew it. West's heard enough. He grabs Gordon, shakes him. WEST Artemus! There's no time for plans or half - cocked inventions! They do n't work. We got ta stick to what we're each good at! As West drags Gordon to the wardrobe.","","PRESIDENT GRANT -LRB- O.S. -RRB- May God continue the unity of our country. CAMERA PULLS BACK to reveal a crowd present to watch President Grant knock in the famous spike. Behind him, two train engines are facing each other. The detectives scan the crowd for possible trouble. PRESIDENT GRANT as this railroad unites the two great oceans of this world. Now he swings back the sledgehammer. but at the top of his swing. CLOSE - SPIKE starts to shake, wiggle, and actually pop out of its hole. Very curious. As it begins to hop on the ground, bounced by a RESOUNDING THUMPING. ANGLE ON GRANT AND CROWD look across the desert to see.","","LOVELESS Well, is n't this a coincidence! I'm out for a little mornin' ride, and right in the middle of nowhere, I bump into General Ulysses S. Grant himself! -LRB- leans over edge, mocking salute. -RRB- We've never been properly introduced. I'm Dr. Arliss Loveless, formerly with the Confederate Army.","PRESIDENT GRANT Yes, Dr. Loveless, what can I do for you today? -LRB- to his military aides. -RRB- Flank him, left and right. LOVELESS I have a humble abode nearby, and I hope you'll accept my hospitality. I have a little proposition to make. PRESIDENT GRANT What proposition is that? LOVELESS The unconditional and immediate surrender of the United States of America to the Loveless Alliance. PRESIDENT GRANT I did n't realize we were at war. Loveless gives the nod to Munitia.","","LOVELESS How about now?","GORDON/GRANT In matters of war, the person to talk to would be me. If there's anyone more surprised than the President himself it's.","LOVELESS Now just who are you? GORDON/GRANT The President. -LRB- turns to President, snorts. -RRB- He's just an actor hired to stand in for me on public occasions. A very bad actor, I must say. a little puffy and overweight. As the President eyes him, puffs on his cigar, Gordon/Grant apes his every move, bigger, mockingly. PRESIDENT GRANT -LRB- aside. -RRB- Gordon, you've got a lot of brass. Where's West? GORDON You know him, sir. Gordon/Grant shifts his eyes toward.","","GORDON/GRANT -LRB- loudly. -RRB- Captain, get this man out of my sight! And next time get me a real actor! As the bewildered captain starts to lead the President away.","LOVELESS Take them both! Munitia, manning a sort of cannon, takes a bead on the two Grants. She pulls the trigger.","PRESIDENT GRANT Well, Gordon. was this part of your plan? GORDON I'm by your side, sir. That's what's important. Now Munitia hits a lever and they're hoisted up off the ground. They only get a couple of feet when. BLAM! West shoots the mechanism and it jerks to a stop. All eyes turn to the source of the sharpshooting.","","","","","","LOVELESS Bonjour, buenas tardes and good day! Great glorious day! A day of healing for the wrongs that have been done to us all! Framed by a large flag featuring the spider emblem, he looks out from center stage of a Greek theater at the crowd of foreign dignitaries seated around him. LOVELESS Oh, how long have we waited! ANGLE - AMAZONIA, MUNITIA AND LIPPENREIDER dressed in tight Fascist - brown tankwear, rise from their seats and applaud. The only people not applauding are a row of haggard, bearded scientists and the manacled prisoners Gordon. -LRB- sans disguise. -RRB-, Rita, Grant and Coleman. LOVELESS -LRB- looks to Englishman. -RRB-. 1776, was n't it, old bean? Most expensive cup o' tea in history! As the Englishman dignitary nods soberly.","","LOVELESS -LRB- looks to Hudson the indian. -RRB- Manhattan for a handful of beads? -LRB- raises his hand ; injun - style. -RRB- How? -LRB- to the Mexicans. -RRB- Remember the Alamo indeed! -LRB- humbly to crowd. -RRB- Today I'm proud to be able to sit before you and tell you the wrongs will be righted. the past made present. the United, divided! To thunderous applause. Loveless signals for the flag to be pulled down, revealing. ANGLE ON MAP OF `` THE DE - UNITED STATES'' There have been some significant internal changes which Loveless now describes. The delegation from each country stands when they hear their name. LOVELESS Great Britain gets back the thirteen original colonies. minus Manhattan. -LRB- off applause. -RRB- Florida and the Fountain of Youth go back to Spain! -LRB- off applause. -RRB- Texas, New Mexico, California, Arizona revolve a Mexico! -LRB- off applause. -RRB- And the Louisiana Purchase reverts back to the King of France! In the front row Rita leans over to Gordon. RITA Queen of Spain. King of France. I was close. MUNITIA -LRB- jostles her. -RRB- Shut up and listen to a real genius! Finally Loveless taps Colorado, Kansas, Utah and Nevada - now labelled as `` Loveless Land.'' Smiles impishly. LOVELESS And a tiny piece for me to retire on. There's appreciative laughter.","","LOVELESS My partner nations insist that we make this as legal as possible. Personally, I like the symmetry of it. After all was n't it you who made us sign a surrender at Appomattox? Loveless snaps his fingers. Amazonia drags Grant out of his seat and sticks a pen in his manacled hands. PRESIDENT GRANT Never will I sign that paper, never will the United States ever surrender! LOVELESS Well, sir, we're at loggerheads then, are n't we? And I suppose the threat of death to someone with your valorous war record, would mean nothing. Grant sets his jaw intractably. He's right about that. LOVELESS so, if you still refuse to sign this surrender. we'll start by shooting your man, Gordon. Loveless whirls, nods to Amazonia who drags the President back to his seat, pulls Gordon out of his. Rita ca n't help her outburst. RITA Artemus! Artemus smiles at her, extremely brave under the circumstances. He whispers to Rita and the President. GORDON -LRB- tugs at his vest. -RRB- Do n't worry, I'm wearing the Impermeable. Rita turns to Grant. What the hell is that? Gordon has no time to explain as Amazonia hauls him up on the stage. As Munitia aims her rifle. Gordon holds up a finger. GORDON If I may have one request. it's that she aim at my heart. which has loved this great country so much! LOVELESS -LRB- considers for a moment. -RRB- Shoot him in the head. GORDON Great. Munitia cocks her rifle, then just as Loveless holds his hands up for the signal to fire. the lights dim.","CHANTEUSE -LRB- singing. -RRB- ` Ohhh. Hangtown gals are plump and rosy.' Loveless wheels his chair around to take a gander and forgets Gordon's execution instantly. And why not? She's young and beautiful in a RuPaul sort of way. About six feet tall, wearing the blue sequined number Gordon had in his dressing room. Accessorized with black mesh stockings, big feather boa, silver - buckled belt, lots of frilly petticoats for those can - can moves. CHANTEUSE -LRB- singing. -RRB- ` Hair in ringlets, mighty cozy.' She winds her finger around her ringlets and sticks out her derriere to the crowd. They stare, mouths agape at this piece of ass worthy of Othello. CLOSE - LOVELESS Intrigued. Well, maybe more than intrigued. LOVELESS A new girl! What a nice surprise! He motions to hold up Gordon's execution, rolls to her. CHANTEUSE ` Painted cheeks and frilly corsets.'. -LRB- bends over showing her undergarment. -RRB- Touch them.' Loveless hears this as an invitation, reaches out with his hand and whap! She slaps him right in the face. CHANTEUSE. And they'll sting like hornets!' There's a hush in the crowd. Loveless, a red handprint on his face, is a little nonplussed. Amazonia moves in threateningly, but Loveless stops her, starts to laugh. LOVELESS -LRB- making her name up on the spot. -RRB- Ebonia! Why are you so cruel to me? Ebonia has escaped a head - cutting neck bracelet. But she probably should n't be teasing a man who's having `` ghost aches'' in certain amputated places. ANGLE - GORDON waiting to be executed. Something's not quite kosher about her for Gordon. GORDON -LRB- musing to himself. -RRB- I have a dress like that. ANGLE - CHANTEUSE Now with the crowd singing along, she pulls out all the stops. Her gestures and dance moves become more exaggerated, she's in the thrall of her audience. CHANTEUSE -LRB- singing. -RRB- ` Hangtown gals are lovely creatures Think they'll marry Mormon preachers.' She sashays over to the French dignitary, pulls his monocle out of his eye and blows hot breath on it, steaming it up. As she pops it back on his face. CHANTEUSE -LRB- singing. -RRB- ` Heads thrown back to show their features.' Now she puts her cheek next to Rita as if matching their relative beauty while picking the pocket of Lippenreider. Rita pushes her away disgustedly but not before Ebonia hands Coleman the keys to the cuffs. Coleman looks from the keys to Ebonia. He just caught on. COLEMAN Go, Ebonia, go. Then Ebonia prances on stage to Gordon, cuddles up to him. Gordon looks at the big beautiful black woman with a mixture of amusement and relief. Of course, it's his `` I'd rather be dead'' partner, Jim West. WEST -LRB- singing. -RRB- Ha. Ha. Hangtown girls. GORDON Not to sound ungrateful, but you're a little over the top. WEST -LRB- sings. -RRB- Ha. Ha. Ha. West/Ebonia wraps the feather boa around Gordon's neck - hiding the derringer in the palm of his hand. Gordon looks worried. What's he going to do with a gun? As he tucks it up his sleeve. GORDON Let me warn you about that dress. WEST Got ta go. Big finish. -LRB- belts it out. -RRB- ` Ha, ha, ha! Hangtown gals!' An immediate standing ovation. The diversion allows Coleman to unlock both Grant's and Rita's shackles. Grant looks at the keys. PRESIDENT GRANT Where'd those come from? COLEMAN -LRB- nods to Ebonia. -RRB- Captain West. Their eyes practically pop out of their heads. RITA She's. no! ANGLE - EBONIA/WEST One more time. WEST -LRB- singing. -RRB- ` Ha, ha, ha. Hang. Town. Girls!' Suddenly the tassels on his bosoms are spinning to the delight of the crowd. WEST -LRB- suddenly blinks. -RRB- Wait a minute. What the hell is this? He stops, but his tassels are still spinning on their own.","RITA Serves you right for staring at them. As she relieves the charred goon of his keys. Loveless turns to the rest of his goons. LOVELESS Kill him! -LRB- off their confused looks, points. -RRB- Him! Him! The girl! Finally getting it, they rush Ebonia. Even his 4th of July breasts are n't a match for them. Desperate, West reaches way down in his undergarments to retrieve one of Gordon's billiard balls. He depresses the number and rolls it at the guards. GORDON Was that the eight ball? WEST Mmm - hmm. Gordon grabs West and Rita, pulls them behind the bar. GORDON That one's an incendiary bomb. KA - BOOOOM! An EXPLOSION rips the place and a Santa Ana - sized fire starts immediately. Rita jumps up and makes her way through the smoke to a bearded SCIENTIST. WEST/GORDON Rita! She unlocks his neck collar, turns to them and smiles. RITA -LRB- disappearing into the chaos. -RRB- Meet me after the show! Both West and Gordon look after her with yearning as three goons charge them. Coleman, amazed at their torpor, quickly grabs a RIFLE from the incinerated goon and OPENS FIRE. BLAM! BLAM! BLAM! Three goons drop. Gordon and West exchange looks. Not bad for an emphysemic old engineer. COLEMAN Special Marshal. President thought you needed some lookin' after. Speaking of the President. he's grabbed a dead goon's RIFLE, and is LAYING DOWN a pretty good field of FIRE himself. Suddenly, he gets a tap on the shoulder from behind. It's Amazonia. Whap, she sends a right to his chin knocking him out. She throws him over her shoulder and carries him away.","FRENCH MINISTER Monsieur, we are your partners! You ca n't let us die in this fire! LOVELESS It's not the first time y' all have been burned in America. He chuckles, nods to Amazonia, who SLAMS the DOOR closed.","","","EXT. AMPHITHEATER - DUSK COLEMAN This is diabolical! They've got the President and I've still got that silly song in my head! GORDON -LRB- freaking out. -RRB- C'mon we got ta go! We got ta ride horse! Something! West is watching the Tarantula, turns to calm him. WEST No, Arte. Right now, we need a plan. Gordon tries to compose himself. WEST That flyin' machine idea of yours. were you just acting like you knew what you were talking about. or could you build it?","GORDON -LRB- O.S. -RRB- Now Bernoulli's Principle states that the air flowing over a bird's wings. is moving at a lower pressure than the pressure below the wing. that's called ` lift.' Course, it's just a theory. it's never been tested. NEW ANGLE - GORDON'S DRAWING It depicts a wing cutting through the air. Arrows indicating airflow. Circular lines indicating `` life.'' Only one problem, it's upside down. Gordon remedies that. Looks sheepishly to West who, like him, is wearing a leather flight jacket and goggles. WEST You're not makin' me feel any better. Now they attach the wing to the frame - which is connected to the Nitro - cycle. Coleman, his ever - present cigarette dangling from his mouth, readies bombs from the gunpowder of cartridges and Gordon's design. They look like Flash Gordon's spaceship. He passes them out. COLEMAN Here's a coupla bon voyage presents. GORDON Coleman! Must you smoke when handling explosives! Gordon grabs them away from him and sits in the saddle of the Nitro - cycle. West looks at Coleman apologetically as he stuffs the bombs into his jacket. WEST He's just a little nervous'cause no one's ever flown before. West is barely on the back when Gordon kicks it over and they BLAST OUT OF FRAME.","WEST Avant! Avant! But their speed is not enough to get them airborne. GORDON We're not getting enough lift! We need more speed! Then in an uncharacteristic move by Gordon, he turns the machine around and heads for the cliff. WEST Hey, uh. that's the cliff over there, you know? He guns the accelerator. GORDON Yes, I do know. And with that, the Nitro - cycle goes off the cliff! It disappears for the count of five. Then suddenly it swoops up and PAST CAMERA. They're flying!","EXT. SKY - DESERT WASP - IN FLIGHT - DUSK GORDON -LRB- amazed. -RRB- It worked? It worked! WEST -LRB- looking down. -RRB- If you had to get one right, I'm real glad it was this one. GORDON -LRB- exhilarated, with West - like abandon. -RRB- Yeee - haaa! And with that, they bank the Desert Wasp around and fly off to save the Republic.","","LOVELESS Mr. President, I'll ask you once again. Sign the surrender or I decimate this town! PRESIDENT GRANT You've had my answer. Loveless's face darkens as Amazonia hands him a tray of cotton balls. LOVELESS -LRB- as he puts in earplugs. -RRB- I find the sound of people screaming while they get blown to smithereens, ruins the ear for music. Do n't you? He offers them to the President. Grant swats them away. LOVELESS Commence firing! And with that the Tarantula OPENS FIRE on the town. There's a lot of stomping and smashing, too.","GORDON I think I'll call it. WEST Lem me guess. an Elevation Enhancer? GORDON -LRB- why would you call it that? -RRB- No, Air. Gordon. Now West points to the Tarantula and chaos below. WEST Go down, down there! GORDON -LRB- as if to a child. -RRB- You ca n't just ` go down there.' Flight depends on lift, which must be calibrated to the angle of descent. WEST Shut up and go down there, will ya? West reaches up, shoves the make - shift joystick forward. As the wasp plummets toward the bridge of the Tarantula and Gordon strains to keep control.","LOVELESS Well, Mr. President. Have you had enough yet? Would you like to sign the surrender or shall we set a course for Denver? Wichita? Washington, perhaps? Suddenly there's a LOUD WHOOOSH and.","","","","PRESIDENT GRANT Well, I'll be damned. it's West and Gordon. flying! Grant chuckles at the dauntless pair's pluck. PRESIDENT GRANT Keep that surrender handy. I think you're going to need it! LOVELESS Do n't be too sure. Loveless thinks for a moment, pushes Grant out of the way, and rolls over to the controls. He pushes a lever and the Tarantula bends down on its knees. He barks to Munitia. LOVELESS I'm through with diplomacy. Take him away and kill him!","","","WEST What does your boy da Vinci say about puttin' this bird down? GORDON I do n't think he thought it would ever work, so he did n't get that far. I'm open to suggestions. WEST Take out as many bad guys out as you can. Gordon aims wasp at the Tarantula kamikaze - like just as.","","LOVELESS Munitia! Munitia!","GORDON Sorry about that, sir. Nose up, flaps down. Have to remember that next time. PRESIDENT GRANT Son, never apologize for saving a President's life. As Gordon realizes that he's finally made amends for that night long ago in Ford's Theater. AMAZONIA -LRB- O.S. -RRB- Soon you all can fly again. This time with little angel wings. West, Gordon and Grant turn to see Amazonia and Lippenreider with the drop on them.","LOVELESS Gentlemen, I am truly impressed by your effort and ingenuity. Why not swear an oath of loyalty to me. and forego your executions. WEST Why not? Well, I guess maybe I'd rather see what happens when I stuff your ass into that cannon up there and fertilize the landscape. GORDON Uh, Jim, I think a polite ` no' would suffice. Loveless taps a button on his chair and the floor opens up beneath West. He goes crashing down a story. Loveless sics Amazonia on Gordon and Grant and proceeds down the ramp to the level below. LOVELESS Lippenreider, take over the controls. -LRB- looks down at West. -RRB- We may not have a woodshed on board, but that boy is gon na get a whoopin' anyway!","WEST So, I guess you're the one who's gon na give me my whoopin'. They square off. A beat. Then, a long steely blade shoots out from where his left hand used to be. WEST Pfft. I got one a' those. West reveals the less impressive four inch stiletto in his boot. Knife Guy responds by producing another blade from his other cuff. WEST But you've got two of those. -LRB- beat. -RRB- Okay, lem me talk to Gordon, I'll see if he can. No time for talk. Knife Guy does a bad - ass series of moves. The blades criss - crossing one another at blinding speed. West, unimpressed, retorts with a lame shake of his stiletto and boot. And the fight begins. Knife Guy attacks! West narrowly escapes each thrust of the knife, and attempts a kick to the groin. but comes up short - The stiletto collides with one of the blades and snaps like a carrot. His only weapon. gone. WEST Damn. West rolls onto the railing to avoid the attack. Sparks fly as the Knife Guy tries to slice and dice West but misses each time, hitting the metal railing instead. West rolls to the floor, sucking air. Knife Guy lands a kick to West's ribs. And to make matters worse. WRENCH GUY just showed up. He swings his wrench at West's head. West ducks but gets kicked in the back. He sails across the room, lands flat on his back. Now. SHOVEL GUY makes an appearance. He hammers his shovel at West's groin, over and over. -LRB- West is in a crab position and backs up to avoid this. -RRB- West finally gets a kick in - it does a moderate amount of damage. Wrench Guy appears and swings his huge wrench at West's head. West escapes it, barely. Knife Guy thrusts a side - kick at West's chest, but West catches his foot, holds on for dear life. Wrench Guy is inbound, with wrench in hand. He swings on West, but West blocks it with Knife Guy's leg. OUCH! West punches both of them. Wrench Guy tumbles OUT OF FRAME. West stands. Looking for a way out, but. no luck. Shovel Guy attacks. West ducks and the shovel connects squarely with Knife Guy's blades. West crouches and throws two simultaneous punches, each connecting with a set of jewels. West stands, follows it up with a right cross and left hook and these two jokers wind up OUT OF FRAME. Now. the Wrench Guy is on his feet and he's pissed! He attacks West, lands a solid kick to the chest and West flies backward toward a. HANGING CHAIN which he grabs. He scales the gears, gets a solid grip, then swings, a huge arc across the room, gaining momentum, and kicks Shovel Guy and Wrench Guy at the same time! Off their feet they go, slamming onto the metal floor. West lands. Knife Guy attacks. West uses the chain to block the blades which are flying at him, left and right. Sparks fly. West manages to wrap the chain around one of the knives, locks it down, and heaves it into the gears. the blade snaps. WEST No more Mister Knife guy! West drops a stiff right - cross on the chin of the Knife Guy. wobbles his legs a bit. But before West can follow up. ANOTHER BLADE SHOOTS OUT to replace the broken one. It stops about a half - an - inch from West's nose. A struggle ensues, but West manages to wrap the chain around Knife Guy's neck and string him up. West throws a kick to his back. Knife Guy, hanging by his neck, flies through the belly. -LRB- the chain is on a track. -RRB-. and out of the mouth of the beast, down into the abyss, chain and all. Shovel Guy springs to his feet and swings on West. West grabs the shovel and they struggle for possession. Wrench Guy comes out of nowhere and wants a piece of the action. But West uses the shovel to deflect the swing - ing wrench. sparks fly. West gains sole possession of the shovel and mule - kicks Shovel Guy OUT OF FRAME. West spins just in time to land a crippling blow to Wrench Guy's back. Shovel Guy grabs the shovel. He and West tug - o' - war again. West ducks under the shovel and moves back - to - front with him. West elbows him in the ribs. He responds by putting West in a choke hold. West swings the shovel wildly but hits his target - shovel Guy's head! West steps back, gets his footing and, for good measure, whacks him in the back. Wrench Guy attacks. West defends himself with the shovel and lands a stiff kick to his stomach. Wrench Guy goes down. West turns, hits Shovel Guy in the chest with the shovel and he goes down. Wrench Guy sneaks up on West from behind and swings at his head. West, on instinct, lifts the shovel and blocks the deadly blow at the last second. West has now found his rhythm. He swings and shovel and connects with. first, the foot, then the chin, and last but not least, the head - BOINK! West drops the shovel and, World Wrestling Federation style, picks him up and hurls him into the space between the gears. We wo n't see him anymore! West pivots and WHACK! Shovel Guy plants a neat little roundhouse kick squarely on West's jaw. West backs up and catches another in the stomach. Then. Shovel Guy really shows what he's made of. He does a series of jump - kicks, round - houses and fan - kicks into the air. All perfectly timed, all deadly. SHOVEL GUY I learned that from a Chinaman. West, without missing a beat, steps on the shovel, which flips into his hand and - WHACK! - lands a clean one right on the top of Shovel Guy's melon. WEST I just made that up. Shovel Guy reels back and tumbles over the railing, through the hole and he's gone. WEST Do n't forget your shovel! West casts the shovel out into the abyss. WEST -LRB- upward. -RRB- Is that all you got for me, Loveless?! West, exhausted, turns and sees. METAL HEAD all seven feet of him. The top of his head is a metal plate. Extending downward, encircling his eyes. West soaks him in, sighs. WEST Uh, I just threw my shovel out. So this really is n't fair. If you do n't mind, I'd like to. West, at lightning speed, throws a sucker - punch/spin - ning back - fist to Metal Head's jaw. PING! That one really hurt. West's hand, that is. Metal Head is n't fazed a bit. West throws another shot, this time to the gut. PING! Then a kick to the groin. PING! WEST -LRB- incredulous. -RRB- Noooo. Metal Head has had enough. He effortlessly picks West up by his lapels and flings him across the room. West tumbles, and lands right next to. WRENCH He picks it up and starts swinging! A shot to the body. PING! Then another. PING! Then another. PINGGGG! Metal Head lurches forward, absorbing each blow with not so much as a twitch of the eye. West furries. PING! PING! PING! PING! nothing! He goes for the head. PINNNNNNGGGG! nothing! West is out of time. He's been backed up as far as he can go. His heels are dangling over the mouth of the beast, a thousand feet above the rocky cliff. WEST Sorry. Metal head grunts, grimaces and pitches forward, toward West, slowly but menacingly. West braces himself. METAL HEAD Urrrrrrrrrrggggghhh! West side - steps and Metal Head falls face first into the open air. WEST -LRB- downward. -RRB- You guys just do n't get out enough. CUT TO :","WEST When you get right down to it, Loveless, you just ca n't beat a good pair of legs. LOVELESS -LRB- thin smile. -RRB- You're obviously not a poker player, Mr. West. Loveless presses a button, the sound of MECHANICAL GEARS ENGAGING. Suddenly four metal legs appear from underneath the wheelchair, raising his body to a height of six foot ten. LOVELESS Two pair always beats a pair. West stares up at him slack - jawed. Loveless rolls up his sleeves, steps away from the wheelchair ready to fight. LOVELESS Now. Was it someone particularly close to you who perished in that military action? West responds with a roundhouse kick to the chin that makes Loveless spin around on the platform of his chair. LOVELESS -LRB- stunned. -RRB- Hmmm. Well, that hit a nerve. Loveless imitates West by kicking with a lightning flash of an alloy leg. It's a rib cracker that sends West sprawling. LOVELESS A mother, perhaps? A father? CLOSE - WEST'S HAND He's just trying to get up when a cleated metal foot stomps down with hundreds of foot pounds per square inch. As West screams in pain.","","LOVELESS It feels so good to stretch my legs. West ca n't take much more of this, he's about to pass out. Loveless lowers his alloy foot over West's head and begins to crush it like a grape. LOVELESS I likes to beat my feet on the Mississippi mud!","GORDON Stop this violence! Gordon blinks at the gun. So do Lippenreider and Amazonia. Grant knows what to say, if Gordon does n't. PRESIDENT GRANT Drop'em. They obey, chucking their guns overboard.","GORDON -LRB- O.S. -RRB- Stop or I'll shoot! If possible, West's eyes pop even further. Gordon shoot? NEW ANGLE - LOVELESS looks up to see Gordon holding the derringer on him from up above. LOVELESS You expect to kill me with that little pea shooter? GORDON If I have to. Yes. LOVELESS Why is it, that I'm unafraid? -LRB- chuckles. -RRB- I believe you gentlemen are the polar opposites of a moral dilemma and I'm stuck in the middle. On one end, we have Mr. West, a man of primitive vigours uncomplicated by intellect. And on the other, there's Mr. Gordon. A man of ideas, but unlike myself, lacks the passion to kill for them. He'd like to be able to act his way out of it. And for some reason when he's actin', someone always seems to get killed. Loveless puts more pressure on West's head, he groans. Gordon aims. WEST -LRB- gasps. -RRB- Shoot him, Gordon! LOVELESS I'm right about you, are n't I, Gordon? And that's why I'm gon na kill your friend here. Then I'm going to kill you. POP! The SHOT startles Loveless, West and even Gordon. But when Loveless realizes that he's not hit, he laughs. LOVELESS After all that, you missed. GORDON Not exactly. He gestures down Loveless's legs to a punctured metal tube that's spraying a stream of hydraulic fluid all over the deck - rendering the foot on West's head, powerless. West gets out from under, rubs his neck to regain circulation. WEST Better than a fountain pen, do n't you think. -LRB- nods behind Gordon. -RRB- By the way, your chivalry's about to be tested. Gordon turns to see. ANGLE - AMAZONIA AND LIPPENREIDER Charging him. They smash into him, driving him to the rail. As they pummel him, trying to throw him over, Gordon realizes this is no time for passivity. He retaliates with a series of chops and kicks that would make West proud. Over the rail, goes Lippenreider. In that split - second before she drops, Gordon mouths `` bye - bye.'' Before he can savor the moment further, Amazonia clubs him from behind. Gordon whirls and hits her so hard it surprises them both. Over the railing she goes! As Amazonia hovers there, President Grant gives her the kick in the pants she needs to go sailing. PRESIDENT GRANT -LRB- to Gordon, impressed. -RRB- We'll be joining them in a moment if you ca n't stop that thing!","PRESIDENT GRANT Let's see how clever you really are. Gordon frantically starts pulling this lever and that. Meanwhile.","WEST For almost four long years I've been trackin' the animal responsible for the Massacre at New Liberty. And I hear that's you. But with the hydraulic fluid, the fight has gone out of Loveless. His mechanical legs shrivel before our eyes, and Loveless sinks helplessly to the deck like the Wicked Witch. Whimpering pathetically, he uncouples his body from the useless contraption and slowly backs up to his wheelchair that's stuck against the railing. LOVELESS Please, West. show a little mercy to a poor defenseless cripple. WEST -LRB- imitating his accent. -RRB- Now, now, Doctor. let's not cloud this otherwise sunny day with that poor - ol' - me - cripple - talk. Just buck up and say to yourself,' I am indefatigably hard - pumpin' and steely!' Loveless gets to his wheelchair and collapses in it. LOVELESS After I kill ya, I swear I'm gon na boil you down to axle grease! WEST Now that's the ol' doctor I know! But the smile fades from West's face when he sees Loveless's shotgun armrests pop out leveled at his waist. West has nowhere to go but up as he leaps to grab the I - beam over his head just as Loveless pulls the triggers on both BARRELS. BOOM! BOOM! The SHOTS almost blow the heels off West's boots. They PUNCTURE a PIPE behind him. Steam spews out. This is going to have an effect on something.","","","","","LOVELESS Well, I'll be a monkey's uncle. How did we arrive in this dark situation? WEST I do n't know. Guess I'm stumped! LOVELESS And I'm so cotton - pickin' afraid of heights. They just give me the spooks! WEST Ah, do n't be afraid, Loveless. With this being the last leg of our journey and all, you should soak in the view, you're really missing something. LOVELESS Mister West, I'm gon na cut this conversation short. WEST Good one, Loveless. I did n't think of that one. LOVELESS -LRB- furious. -RRB- Mister West! I am faced with a difficult decision here. On one hand, there is the overwhelming love that I have for myself, and on the other, the raw, seething hatred I have for you! Now, I could kill you very easily, just by pulling this lever. He moves the joystick. The chair jerks back. LOVELESS But, of course, I would die along with you. I guess the only thing that I can take comfort in is the hope that you would hit those rocks a second before me and I could enjoy immeasurable bliss before I vanish. -LRB- moving joystick back and forth. -RRB- What to do, what to do. West grabs the joystick. WEST Allow me to make that decision easy on you, Loveless. Because I want to see you dead a hell of a lot more than I want to live. LOVELESS Why is it that I have a sneaking suspicion, that although you are as black as the night on the outside. inside, you are yellow?! They lock eyes. A beat. LOVELESS You do n't have it in you, do you. boy?! WEST You were right. Let's cut this conversation short! West yanks the joystick back. ANGLE - LOVELESS his eyes widen. The wheels spin for a second, finally catch, and in a flash, Loveless and West free - fall into space. LOVELESS Weeeeeeeeeest! A beat, then. ANGLE - CHAIN which is dangling from the belly of the beast. At the bottom of the chain is the Knife Guy from the fight scene. West is hanging on to his ankles, enjoying a vindictive, belly laugh. WEST -LRB- downward. -RRB- Now that looked like it hurt. CUT TO :","PRESIDENT GRANT Gentlemen, I now strongly believe the United States is going to be truly united. Not because of this railroad. but because of you. Grant scans the crowd, every race seems present at this momentous event. He reaches into his pocket, takes out two silver shields. PRESIDENT GRANT I've signed into law the creation of an agency whose sole duty is to protect the President and the country from lunatics like Loveless. -LRB- pins badges on their vests. -RRB- Welcome to the Secret Service, Agents No. 1 and No. 2. The President shakes both their hands. Gordon resists looking down. GORDON Uh, just out of curiosity, sir. who's Agent No. 1? Grant just shakes his head, some things never change. PRESIDENT GRANT I do n't think that matters very much, do you? Gordon? Besides, you'll have plenty of time to discuss it on your new assignment. -LRB- hands them piece of paper. -RRB- See you back in Washington. He snaps off a salute, starts to go as they read it. Gordon looks up, very troubled. GORDON But, sir. what about our train? PRESIDENT GRANT -LRB- over shoulder. -RRB- Well, I'm taking it of course. Hell, you let Loveless blow up mine. As they look at one another in dismay. RITA -LRB- O.S. -RRB- Jim. Arte? They turn to see Rita approaching them from a crowd of scientists. She's looking extraordinarily fetching in a print dress and parasol. West and Gordon sit up like dogs. WEST Rita! You look great. GORDON Ravishing, a vision. She hugs West, she hugs Gordon. Who's it gon na be? RITA I just wanted to thank you for everything you've done for me. before I went back home to Texas. WEST Texas? Why're you going back there? Why do n't you come with me back to Washington? GORDON Or better still, come with me to Washington. I could introduce you to people I still know in the theater. WEST She's not really an entertainer, remember? RITA -LRB- intercedes. -RRB- I ca n't go with either of you. She looks from one crestfallen suitor to the other. RITA It's not that you both do n't have your attributes. -LRB- to Gordon. -RRB- You're so sophisticated and such a wonderful cook. -LRB- to West. -RRB- Jim, you're good with a gun. and have great legs. -LRB- to both. -RRB- And you're both so brave. But. I'm afraid I have n't been completely honest with you. WEST AND GORDON Uh - oh. RITA Professor Escobar's not my father. He's my husband. She gestures to a handsome goateed Latino waiting for her. Shaved and cleaned up, he's not the old man we thought. WEST Rita. why did n't you just tell us that in the first place? RITA Well, I was going to. but would you have really brought me along if I said I was married? Honestly. Neither West nor Gordon knows what to say. RITA I did n't think so. She turns and starts to walk away. Stops and smiles. RITA At least you still have each other. As West and Gordon look at one another.","WEST -LRB- O.S. -RRB- You know, Arte. GORDON -LRB- O.S. -RRB- What's that, Jim? WEST -LRB- O.S. -RRB- Maybe Rita's right. Suddenly intruding into the f.g. is a huge metal leg. Then another LEG CLOMPS down. and the Tarantula comes INTO FULL VIEW. As our heroes ride slowly into the sunset. WEST Besides. there's a lot of other women in the world. GORDON That's easy for you to say. She did n't walk off with your best dress. FADE OUT. THE END"],"string":"[\n \"MORTON -LRB- mumbling. -RRB- Madman. Hideous spider. Run. Run! Warn the President. Morton zig - zags through a grove of trees, a desperate attempt to avoid the horrible serrated disc. But the ruse is futile. The disc goes straight through the trees, slicing a path straight as the crow flies. NEW ANGLE - OLD WAGON dilapidated, broken down, weathering away in the field. Morton runs around the wagon - but the DISC BUZZES straight through the sideboards! Wood shavings spit everywhere! There's no stopping this thing. NEW ANGLE - MORTON running for his life - stops, turns. He turns, incomprehensibly mumbling, pleading for his life, cowering. MORTON Noooooooo! And the DISC SWOOSHES TOWARD the CAMERA - BZZZZZZZ! CUT TO : BLACK DISSOLVE TO : NIGHT SKY FULL OF STARS - LOW ANGLE A man leans INTO FRAME. This is GENERAL McGRATH. And he's there to collect the silver death disc. McGRATH -LRB- to the unseen, dead Morton. -RRB- And they says you scientists are supposed to be smart.\",\n \"\",\n \"EXT. WATER TOWER - NIGHT SALOON GIRL -LRB- O.S. -RRB- The legendary Captain James West and I finally got him all to myself.\",\n \"WEST That's right, sugar, and you should feel free to treat him just bad. She moves in and kisses him, long and hard. West hears the CLATTER of the APPROACHING WAGONS. He stops the kiss and peeks out the knothole.\",\n \"\",\n \"INT. WATER TOWER - NIGHT WEST -LRB- to himself. -RRB- General McGrath's boys. I thought y' all was never gon na show up. SALOON GIRL Mister West, you would n't be here workin' tonight, now would you? WEST No, no. ` Course not. Not tonight. Would you be working if you were up here with you? SALOON GIRL Good. They start kissing again. He surreptitiously peeks out the knothole, while continuing his kiss.\",\n \"DORA I'm sorry. That wo n't be possible. I have. tonsillitis.\",\n \"BIG REB Pack ` er up good, Virgil. Next stop N'Orleans.\",\n \"SALOON GIRL -LRB- admonishing. -RRB- Jim! WEST Ah, this hole is a safety issue. I'm thinking, what if it starts to rain and the water level goes up. It could suck you right up. I'm protecting you. -LRB- variations. -RRB- Saloon Girl frustrated, has grabbed West's boxer shorts. -LRB- with little horses on them. -RRB- and plugs the hole with them. SALOON GIRL Problem solved. WEST Belle, you do n't just ram a man's underbritches into a knothole. You wan na plug the hole, you ram your own britches in there. West is at a loss. She moves in for another kiss.\",\n \"\",\n \"SALOON GIRL Oh, Jim. WEST -LRB- serious. -RRB- Much as I'd like to take credit for that you might need to hand me my gun. The tower starts to topple. WEST Hand me my gun. It CRASHES. CUT TO :\",\n \"WEST Okay, who just made a wish? Was it you? He looks up at the freaked - out Saloon Girl, still in the tank. She hangs on with one hand, the other hand clutches his clothes. WEST I could sure use those clothes now. She responds by Frisbee - ing his hat down. West picks it up, with a look. uses it to cover his genitals. BIG REB Well, we got us a shy nig. But he never gets that word out. Bang! West lashes a lightning martial arts kick to the Reb's jaw. WEST Fought five long years with the Union Army not to hear that word again. And you boys lost, remember? As the other Reb comes at him, he spins, still holding the hat in front of him. and whap! Down that one goes. West looks up at the none - too - bright water tank woman. WEST How ` bout some pants!? As she throws the rest of his clothes down in a heap.\",\n \"McGRATH I'm still waiting on my guns and ammo, but I see my men have brought your merchandise. McGrath subtly gestures with his eyes to the balcony for Hudson to confirm. Hudson nods. McGRATH I had expected to be delivering it personally to Mr. Hudson quickly cuts him off before he can say the name. The Indian speaks in a very precise King's English. HUDSON My employer, here in a brothel? -LRB- a small ironic smile. -RRB- That would be quite. redundant.\",\n \"\",\n \"INT. FAT-CAN'S - McGRATH AND HUDSON - NIGHT HUDSON You'll meet him when the time - and place - are appropriate. Now. -LRB- stands. -RRB-. shall we go upstairs to check the ` merchandise'? McGRATH Frankly, Mr. Hudson, I was n't planning to walk those oaken stairs with you. Direct me to the poot, sir. Something young and creamy. A gamer that takes to the crop and spur. McGrath looks to the singer. -LRB- Rita. -RRB-, who beats a hasty retreat from him after her song. So, once again, McGrath lays his rheumy eyes on. ANGLE ON SOILED DOVE She's oblivious, more intrigued by the ex - Rebs on the balcony with the trunk. As she starts for the stairs. a man's hand grabs her. It's the Eye - Crossed Reb again. EYE-CROSSED REB You drive a hard bargain, lady. All right, fifty cents to take them big juicy lips and. DORA Still not interested. She tries to pull away. But the Reb wo n't let go. EYE-CROSSED REB But you got ta be interested. You're a whore. Suddenly the coquettishness in the eyes becomes rage. The falsetto becomes a baritone growl. DORA -LRB- baritone. -RRB- That does n't mean a girl ca n't have high standards. Just as the Reb registers the odd new voice. wham! Her corsage springs out and whacks him right in the jaw. The Reb's eyes roll back. and he slumps to the ground. Whooa, hoss. the Soiled Dove is a man! He's ARTEMUS GORDON and his true profession will be revealed to us shortly. But now, as he/she stashes the unconscious Reb behind the bar, straightens bosom and wig.\",\n \"WEST Could I have a little privacy here? As if in response, the water tower, still hovering above, now crashes to the floor - obliterating his opponents. WEST Thank you. He calmly looks up in time to catch the falling, naked, screaming Saloon Girl in his arms. WEST You'll have to excuse me, darlin'. but my evidence is getting away. West gallantly puts her down, jumps up, grabs the overhead block and tackle system and slides through the warehouse. As the HORSE TEAM, which has spooked, THUNDERS past. CLOSEUP - WEST sails onto the runaway wagon. As he pulls himself into the back, he gives the shivering Saloon Girl a tip of his hat - now on his head. WEST Sorry about there not being any towels.\",\n \"McGRATH What's your name, missy? GORDON/DORA -LRB- demurely ; back to his falsetto. -RRB- Dora. Would you like to go upstairs? McGRATH Oh, indeedy I would. Gordon/Dora starts to go as the Eye - Crossed Reb wakes up. He grabs him/her, very pissed. EYE-CROSSED REB Hey, c ` mere! Who the hell are you anyway?! McGRATH She's. mine! Blam! McGrath emphasizes his claim by gut - shooting the Reb. The shot makes Dora/Gordon jump and the room go quiet. As the Reb crumples, McGrath turns back to Gordon/Dora, oddly inspired. McGRATH I feel like. a ditty! GORDON/DORA A ditty? But General. -LRB- trying to be coquettish again. -RRB-. my talents really lay elsewhere. McGRATH Nothing stokes the fire in my loins like a ditty. McGrath hauls him/her over to the piano player. McGRATH You've got some pretty fair lungs on ya, girl, now use'em! He punctuates with a slap to Gordon/Dora's rump. The other singer. -LRB- Rita. -RRB- watches too.\",\n \"GORDON/DORA -LRB- weakly. -RRB- ` Buy a drink for the boys In the backroom for me.'\",\n \"WEST Backwards - ass bumpkins got a wagon full of nitro! West tries to steady the glass vials with his hands. but it's no use. He quickly climbs over the boxes, onto the buckboard seat. But the reins are dragging on the ground beneath the frothing horses. West leaps onto the horses as the wagon careens down the street. He pulls himself over the first one's neck. onto the next horse. And as he tries for the lead horse, he falls between them!\",\n \"GORDON/DORA ` And tell them I tried. And tell them I cried.' Just when it looks like the stone - faced rowdies might rip him/her apart, McGrath starts tapping a mud - caked toe. Encouraged, Gordon/Dora belts out the next verses OVER.\",\n \"WEST Whoa now! But it does n't whoa. The wagon goes around a corner up on two wheels! It's about to tilt over when West grabs both the horses' ears, yanks them back - screaming into them. WEST I said, whoa! This approach seems to work.\",\n \"WEST Well, well, this is workin' out to be a perfect day. My man. HIS POV - VICTORIAN BUILDING - ACROSS STREET The tasteful sign under the red light reads : `` FAT - CAN CANDY'S.'' And framed in the window, General McGrath with his singing soiled dove. WEST -LRB- O.S. -RRB- General Bloodbath McGrath.\",\n \"GORDON/CROWD -LRB- rousing finish. -RRB- And tell them I tried just the same! He/she curtsies to rousing applause. McGrath beams like a man with the fire in his loins roaring. He grabs his little songbird and up the stairs they go. Out the WINDOWS, we see West tracking them. Simul - taneously going up outside steps.\",\n \"GORDON/DORA Well, that's a new one. McGrath slams the door, drags Gordon/Dora roughly.\",\n \"McGRATH Do n't let the ear scare you. I lost it at Chickamauga. Gordon/Dora squints at the jerry - rigged ear. GORDON/DORA Oh really. One can hardly notice. -LRB- fiddles with her belt buckle. -RRB- Would you mind? I. I. ca n't seem to release the clasp of my belt. Say no more. McGrath is on her like a flash, fidgeting with it. But it pops open, revealing a spiraling screen courtesy of Dr. Mesmer. His eyes lock onto it. McGRATH Wha. what's this? GORDON/DORA It's a deep, deep pool. Maybe your old swimmin' hole. Getting sleepy, General? McGRATH -LRB- ga - ga. -RRB- Yes, I'm sleepy. McGrath sits on the floor. Gordon smiles. this is gon na be easy. GORDON -LRB- normal voice. -RRB- Good. You're going to be my little doggy. And when I say ` speak,' you tell me everything I want to know. Understood? McGRATH -LRB- barks. -RRB- Woof! GORDON All right, little doggy. Sit up. -LRB- as he does. -RRB- Now tell me who's in the sack next door. Is it the scientist, Dr. Escobar? Speak! McGRATH Woof! Woof! GORDON Speak words, dumb doggy! Tell me the name of the man you kidnapped him for. But McGrath does n't answer. Gordon's Mesmer spiral slows to a stop. McGrath is coming out of the trance. McGrath starts to growl, rip at his/her petticoats. GORDON Watch the swirling spiral! Lie down, bad dog! As Gordon notices that his contraption's failed.\",\n \"WEST Did n't mean to startle you, ma'am. Looked like you could use some help. It takes Gordon a moment to recover. He stares at this black Samaritan, obviously having no clue who he is. GORDON -LRB- clears throat to recover falsetto. -RRB- Looks can be deceivin'. dark stranger. I am perfectly fine. West quickly pats McGrath down, removes a revolver and his bag of gold coins. WEST I can see that, darlin'. Woman of your caliber probably gets top dollar, too. So here you go. -LRB- flips her McGrath's coin bag. -RRB- You can run along. I'll take care of McGrath. As West sticks the barrel of his gun in McGrath's gramophone ear, Gordon's eyes pop. GORDON/DORA No! I need him! WEST C'mon, lady. You got the money. Have a little dignity. Gordon jerks West's gun hand away from McGrath's head just as the dog - soldier comes around. McGrath suddenly lunges at him. McGRATH -LRB- bellows ferociously. -RRB- West!! He drives his full weight into Jim's back, pushing him out into.\",\n \"\",\n \"HUDSON Get Escobar out of here! The henchmen heft the wriggling sack, when : GORDON -LRB- O.S. -RRB- Leave him right there. Hudson whirls to see the gruff - talking Gordon/Dora holding the perfume bottle on him like it's a Colt 45. Now Gordon shakes one of the heavy bracelets off his wrist, CLICKS a LOCK, snapping it open. He's accessorized with custom handcuffs. GORDON Let's go, Hudson. hands! Hudson gives a sick little smile, reaches for his gun when. WSSSSHT! Gordon sprays him in the eyes with the second bulb of the atomizer. -LRB- The first Mace! -RRB- Hudson howls in pain, drops the gun, rubs his eyes madly with both hands. GORDON Thank. you. Gordon starts to snap the cuffs on the perfectly presented wrists when. FAT - CAN'S - UPSTAIRS HALL - WEST - NIGHT brawling a dozen attackers. West spots McGrath trying to escape down the stairs. He uncorks a lethal kick, sending a thug flying through the doorway and into the back of Gordon. Gordon staggers, drops the perfume/mace BOTTLE which SHATTERS. Hudson recovers his vision enough to send a fist into Gordon's mascaraed face, pile - driving him back into the hall. While Hudson and his men make their escape down the back stairs with the scientist sack. CLOSE - WEST AND GORDON West is blocked from chasing McGrath, Gordon from going after Hudson. West tries to push her aside. WEST U.S. Army. Now get outta my way, lady! GORDON -LRB- the baritone growl. -RRB- I'm no lady! I'm a U.S. Marshal! You get out of my way! Gordon whip off his wig, reaches inside it for something. West blinks at the weirdness, reflexively draws his Colt. As Gordon withdraws not a gun, but a badge, from his wig.\",\n \"LIPPENREIDER -LRB- in a monotone. -RRB- Get out of my way. get out of my way. U.S. Army. U.S. Marshal. LOVELESS Oh, dear. The lip - reading is interrupted by the arrival of. ANGLE - TOP OF INCLINE - HUDSON AND HIS HENCHMEN who come racing up with the scientist - in - the - sack. HUDSON Federal agents inside, sir! LOVELESS So Miss Lippenreider informs me. -LRB- sighs. -RRB- Still, I believe good manners dictate we should send out. His cane telescopes out and Loveless pokes the lynch pin out of the harness on the nitro wagon. Then he gives the wagon the slightest push. LOVELESS the welcome wagon. Once started, the wagon rolls downhill, toward the back door of Fat - Can Candy's, picking up speed. Then, as his female coterie pulls the burlap sack into the carriage, Loveless steps in behind. And they're off.\",\n \"WEST So now what? The answer is provided as the NITRO WAGON hits downstairs. KABOOOOOOM! THEME MUSIC UP. as we roll. MAIN TITLES The titles are the familiar animated freeze frames from the TV show. In the two corners are our heroes - Upper left shows West with his gun levelled toward. upper right - Gordon with his wig in one hand and his badge in the other, pointed across toward West. The cowboy/agent in the middle square fights and defeats the various bad guys. Then as he exits, QUICK ZOOM ON main title : `` THE WILD WILD WEST.'' PAN DOWN TO a sketch of a train caboose as TITLES END.\",\n \"\",\n \"\",\n \"HOUSE DETECTIVE Whoa there, ` pardner.'. -LRB- as West stops. -RRB- Winning the war may have got you forty acres and a mule, but you ca n't just traipse into the President's office. Now gim me that gun. He nods at the six gun on West's hip. West coolly flexes his hand above it, like he's about to draw. WEST This gun? Then like lightning, with his other hand, he whips out a sawed - off shotgun hidden by his jacket. He pokes the 12 - gauge barrels up against Pinkerton's surprised crotch. WEST Or this one? A voice stops the situation from escalating further. PRESIDENT GRANT -LRB- O.S. -RRB- Gentlemen! The detective's head swivels around to see. ANGLE - OVAL OFFICE DOOR - PRESIDENT GRANT stands in the doorway. PRESIDENT GRANT Do n't make Captain West any later for his appointment than he already is! The detectives back away from the hair - trigger cowboy as fast as they can. West reholsters the gun and continues.\",\n \"PRESIDENT GRANT Been a lot of death threats lately. Cabinet made me hire some damn detectives. -LRB- by way of apology. -RRB- Drink, cigar? WEST Thank you, sir. West limps across the room to the bar, pours himself a glass of whiskey, takes a cigar out of the humidor. PRESIDENT GRANT I hear you let General McGrath get away? Now West's blood is up. WEST Sir, I had him right in my hands when some half - a - sissy wearin' a dress ruined. PRESIDENT GRANT -LRB- cuts him off. -RRB- Artemus Gordon. WEST You. know him? PRESIDENT GRANT Of course I know him, he's the best marshal I've got! He's a genius. -LRB- off West's incredulous look. -RRB- Gordon has proven himself time and again as a very cunning operator with a rapacious intellect. Nothing will stop him from completing a mission for his President. except the impulsive actions of a headstrong cowboy! West just looks at him soberly. Draws his gun and places it against the President's head. Grant's eyes widen. WEST Who are you? PRESIDENT GRANT I am the President of the United States! West points the GUN to the ceiling and pulls the trigger. BLAM! As Grant jumps a foot and plaster rains down. WEST Wrong answer. Who are you? PRESIDENT GRANT I am the President of. -LRB- as West cocks gun. -RRB-. I'm Artemus Gordon. West lowers his gun, nods at Gordon's class ring. WEST The President went to West Point. not Harvard. PRESIDENT GRANT -LRB- O.S. -RRB- Will somebody tell me what the hell this stunt is all about!?!\",\n \"GORDON Sir, in perilous times like these, I was simply illustrating how someone impersonating you could actually walk right into the very bowels of the White House. Just as Gordon makes his intestinal allusion, West takes a ceremonial bayonet off Grant's desk and pokes a hole in the inflated bladder that was his fake paunch. The AIR HISSES out, finishes deflating with a flatulent R - R - RIP. -LRB- Hey, the first whoopee cushion? -RRB- Gordon scowls at him. PRESIDENT GRANT You're clever, Gordon. One day it'll get you killed. West smirks as Grant looks up at the bullet hole in the ceiling, then fixes West with a disapproving eye. PRESIDENT GRANT And you, West - not every situation calls for your patented approach of shoot first, shoot later, shoot again - then when they're all dead, try to ask a question or two. -LRB- shakes his head. -RRB- Working together will be good for both of you. WEST AND GORDON But, sir, I work. PRESIDENT GRANT You work the way your Commander In Chief tells you to work. Grant turns and EXITS FRAME.\",\n \"PRESIDENT GRANT Ten of our country's best scientists. all kidnapped in the last year. By General McGrath, it now seems. -LRB- turns to them. -RRB- The fact is, gentlemen, you've both been working on the same case all along. Why did it take you so long to realize it? WEST Well, sir, one of us was still trying to figure out if he was a man or a woman. The detectives snicker over that one. Grant's had enough. PRESIDENT GRANT I do n't have time for this bickering! One week, if we're to believe this. Grant holds out a letter to Gordon and West. Gordon snatches it, reads : PRESIDENT GRANT -LRB- reading. -RRB- ` General Grant, the scientists that you seek are in my employ - - Creating a weapons system beyond the pale of contemporary imagination. History and justice are on my side. I suggest you put your affairs in order. You have one week before you will surrender the U.S. Government.' PRESIDENT GRANT This letter was delivered inside this. An aide presents a glass case. Inside is a cake in the shape of the White House. GORDON -LRB- reaching inside. -RRB- Marzipan, is n't it? PRESIDENT GRANT -LRB- grabs his hand. -RRB- Wait! Suddenly dozens of deadly - looking spiders swarm out from inside the cake. Gordon jerks his hand back. WEST It's McGrath, sir. The South is rising again. I'm gon na stop it. GORDON Sir, West's obsession aside, McGrath may be a vicious killer, but a mastermind he is not. So whom do we seek? After consulting with Intelligence. WEST -LRB- cuts him off. -RRB- McGrath's headed for New Orleans. The longer we stand here talkin', the farther away he gets. I do n't need ` Intelligence' to tell me that. GORDON Ah, so that would mean you rely on. Stupidity? Grant's had enough. PRESIDENT GRANT Gentlemen! I'm leaving today for Utah where the transcontinental railroads will be joined at Promontory Point. Grant points to a map of the United States. The railroad lines have been drawn in. still a gap between them. PRESIDENT GRANT For the first time the United States will truly be united. -LRB- turns, holds up letter. -RRB- Someone wants us divided. Now look, you two are the best I've got. Put aside your differences and stop this madman. whoever he is. If you fail, well. we may never know how great this country could've been. -LRB- snaps off a salute. -RRB- You have a week. Dismissed! They both return Grant's salute as the President stomps off. His AIDE now approaches. AIDE The President has put a private train at your disposal. Engine number five, track six. -LRB- holds out a wrapped box. -RRB- Mr. Gordon, the item you requested. Gordon takes the box, hurries to catch up with West.\",\n \"WEST Figures. GORDON I call it the Bi - axle Nitro - Combust. WEST Save it. I've got ta train to catch. West swings into the saddle. He looks at the SNORTING wild HORSE under him, then down at Gordon attaching the box onto the seat of his Nitro - whatever. WEST -LRB- snaps off a smug salute. -RRB- Yee - haaa! West spurs his horse and leaves Gordon in the proverbial cloud of dust. Although West's intentions are clear, for some reason, Gordon's in no particular hurry. He sighs, climbs on the bike, takes out a hankie and cleans a pair of goggles. Then, finally ready. GORDON Avant! VROOOM! An ENGINE KICKS IN and Gordon rockets forward. -LRB- Yep, Artemus has invented the first motorcycle! -RRB- Fiery exhaust blasts out of the manifolds as the bike propels him down the street at about 60 mph right past. ANGLE ON WEST AND HIS STALLION who both look over in wide - eyed shock. The horse rears as Gordon SCREAMS by - leaving them in a cloud of internal combustion.\",\n \"WEST Stop this train! You hear me!?! If Gordon hears him, he pretends not to. He just casually makes the next stitch. West's horse has had it. They're losing ground to the train. At the last second, West leans over at full gallop and grabs a handle on the side of the train. He swings out of the saddle, hanging on for dear life, blowing in the breeze like laundry. Finally, his boot finds a small metal plate to put its weight on. Just as West stands safely on it. whoosh! He flies up in the air and drops through a sliding partition in the roof.\",\n \"GORDON -LRB- calmly. -RRB- Thanks for dropping in. WEST Forget the bikes, the beards, the fake boobies. Put down the needlepoint and let's settle this like men! He takes off jacket, starts rolling up his sleeves. Gordon remains remarkably cool, continues sewing. GORDON As a matter of clarification, this is n't needlepoint. This is. He shows him some real needlepoint. GORDON Right now, I'm putting the final touches on a new invention of my creation. I call it. The Impermeable. It's a vest that, when worn under the clothing, can stop any modern bullet fired even at close range. West draws his gun, aims it at Gordon's stomach and cocks the trigger. WEST Really? Gordon quickly pulls the vest away from his stomach. GORDON But it has n't been really tested empirically yet. WEST Get up! West takes off his guns and puts them on the table. GORDON -LRB- yawn, yawn. -RRB- Guns. I find them so primitive and unnecessary. if one has done one's proper planning. WEST Yeah? How do you feel about a fist? Gordon puts down The Impermeable, stands with a weary sigh. GORDON I must tell you, Mr. West, I've always felt that allowing a situation to degenerate into physical violence is a failure on my part. WEST Well then, ` Mr.' Gordon, you failed. Whap! West unleashes a lightning punch that drives Gordon across the train car. He dabs at his bloody lip. GORDON I'm sorry, Mr. West, you brought this on yourself. Then to West's utter amazement, Gordon puts his hands together as if praying while at the same time, crooking his right leg stork - like. Is this some kind of martial art? Then, he bends at the waist, and like a ballet dancer, extends his leg out to the wall and flips a switch. It immediately triggers a leather hammer to swing down from the ceiling. It whacks West on the side of the head, and sends him spinning back onto the pool table. ANGLE ON POOL TABLE - WEST shakes it off and is about to attack again. Gordon calmly pokes a hidden button. Suddenly the pool table revolves. West is gone. GORDON I love this train!\",\n \"\",\n \"GORDON The President asked for my suggestions on how to make the Wanderer both comfortable and functional. As he swishes the wine in his mouth.\",\n \"\",\n \"GORDON And while you're down there, you may want to avail yourself of my Sub - carriage Inter - rail Egressor. Suddenly SHACKLES SNAP out of the arms of the chair, pinning Gordon's wrists. Before he knows what hit him, the floor opens and the club chair disappears.\",\n \"WEST Only one doin' any ` egressin' is gon na be you. GORDON -LRB- wide - eyed. -RRB- Perhaps the President was right about us putting aside our petty differences. -LRB- recites above the CLATTER. -RRB- ` The opposite is beneficial, from things that differ comes the fairest attunement.' Aristotle. Suddenly they flip OUT OF FRAME and back into the car, shocked to find themselves facing.\",\n \"COLEMAN Knock each other about all ya please, but harm my train and I'll douse ya like dogs. He threatens them with the pot of steaming liquid. Now, for the first time, Gordon really looks troubled. GORDON That's my veal reduction sauce! COLEMAN Well then, let's get on about our business, shall we, gentlemen? Now, where to? WEST New Orleans. GORDON Shall we let Professor Morton decide? WEST Who?\",\n \"GORDON Meet Professor Thaddeus Morton, expert in the field of metallurgy. discovered in a field of alfalfa. Kidnapped from M.I.T. six months ago. West looks from the head to the open box. WEST That's a man's head! Gordon holds up a strange, circular metallic object. GORDON And this magnetic collar was around it when his body was discovered. Have n't figured that one out yet. But West is still staring in disbelief at the head. WEST That's a man's head. Gordon starts fiddling with a lantern positioned behind the head. GORDON According to the Retinal Terminus Theory. a dying person's last conscious image is burned into the back of the eyeball like a photograph. Perhaps there's a clue there. Excited, Gordon turns on the lantern attached to the back of his head. Beams of light are coming through his eyeballs, creating a blurry color image on the wall. GORDON Morton's last image! WEST That's a man's head! West turns his head sideways to try to view the inverted image projected on the wall. Gordon realizes the problem. GORDON Ah. The refraction of the lenses causes the image to appear upside down. We simply. He turns Morton's head in the vise. It's right side up, but still blurry. ANGLE ON WALL - FUZZY IMAGE appears. It's a man who has a tiny Victrola horn for an ear. He's holding a bloody metal boomerang. WEST It's McGrath. I was right all along. Gordon sees something in McGrath's pocket. GORDON He seems to have something in his pocket. too fuzzy to read, though. Gordon drums his fingers on his great frontal lobe, stymied. GORDON Mortification of the aqueous humor seems to have led to the loss of. WEST glasses. West takes the bifocals out of the box, casually puts them on Morton's nose. West now gestures to the wall. CLOSE - IMAGE ON WALL The white blur in the man's pocket is now focused. We can see that it's the top of a piece of paper. He reads the writing on it. WEST ` Friends of the South! Come to a Surprise Costume Ball. April 14, eight - thirty. 346 Garden Street.'. -LRB- lowers glasses, looks up. -RRB- Like I said. New Orleans.\",\n \"GORDON -LRB- V.O. -RRB- How about this? You could come as my man servant?\",\n \"GORDON How about this? You could come as my man servant. WEST -LRB- slave voice. -RRB- Oh yes, Massa Gordon, dats what I'll do. And I'll jus' smile and do as I's tole so those people won' ever know that I would rather shoot myself in the head than play your god damned man servant! West is right in Gordon's face. GORDON I have a horse costume. -LRB- then, cheery. -RRB- You could be the head. WEST The only thing I need to wear is this. West straps on his holster. GORDON Okay, if you insist on carrying a firearm, I have something I think you'll find intriguing. Gordon displays a belt with a silver buckle. He taps the buckle. a Derringer pops out. West stares, impressed. GORDON And it would go nicely with this. Gordon takes out a sequined dress, holds the Derringer up against it. WEST Jim West does not wear a dress. GORDON Then what's your plan? WEST How ` bout this : I'll go as a government agent who's gon na kill McGrath. GORDON An armed, Negro cowboy costume, how creative. In a room full of white Southerners, you oughtta fit right in. You might even win first prize! West starts to walk away. Gordon grabs him. GORDON Listen to me. The art of disguise is what's going to get us into that party, thus allowing us to find these kidnapped scientists before they're forced to create something that will destroy this great country. Now you and I are the chosen ones, Jim. We're under direct orders from the President himself. And our mission is clear : Save our country. Our freedom is at stake and this is our duty as men. Now, you go as a riverboat captain and I'll be a saloon girl. WEST Let me tell you a little something about beloved ` art of disguise'. That night at Fat - Can's, I knew you were n't a woman. GORDON But I was propositioned by three men. WEST Gordon, you looked nasty. Your breasts were all hard and stiff, and were sticking straight out like two rusty cannons on a sunken ship. Gordon grabs his fake breasts off the rack. He puts them on. GORDON These are a work of art. Scientifically and aesthetically perfect. WEST They look like shit. GORDON Touch them. WEST I do n't wan na touch'em. I can see I do n't like'em. GORDON What, are you afraid you're wrong? Touch my breasts. West touches Gordon's fake breasts. ANGLE - COLEMAN walking through the next car, carrying a tray of tea. Gordon's last line got his attention. What the? Coleman peeks around the corner to see West eyeing Gordon's `` chest.'' COLEMAN -LRB- to himself. -RRB- I knew it. Well, I'll have no part of it! Coleman shakes his head and walks off. ANGLE - WEST AND GORDON West is thwapping Gordon's breasts. WEST There, Gordon, you happy? I'm touching your breasts. GORDON Not so rough. The buckwheat'll come out. WEST Buckwheat? That's your problem. West takes one of the cow udders out of Gordon's bodice and dumps the buckwheat onto the ground. GORDON What are you doing? West goes over to a wash basin, picks up a water pitcher and fills the cow bladder. West squeezes the cow bladder shut and holds it up to his chest. WEST Now, squeeze this. This is what a breast should feel like. ANGLE - COLEMAN Passing back through the next car. When he hears that last line, he ca n't believe it. He peeks in again to see. GORDON Whoa. WEST Is n't that nice? GORDON Very nice. Coleman's mouth drops. He's sweating. WEST Now touch yourself. GORDON You win. I'm hard. COLEMAN -LRB- disgusted. -RRB- Federal officers, bah! Coleman walks off, shaking his head. BACK TO SCENE Suddenly, Gordon shoots the cuffs off his jacket. Out of one sleeve comes a pen. Out the other, a small pad of paper. They are both connected to a spring - loaded metal gizmo up his sleeve. West reacts, drawing his pistol up into Gordon's face. GORDON I was just going to jot down a thought. WEST You know something, that's a good place to put a gun. GORDON But then, where would I keep my notepad. WEST You know, Artemus, I think you underestimate the convenience of a pocket.\",\n \"\",\n \"GUARD You got about as much chance of havin' an invitation as him. He smirks at a lawn jockey. West reaches into his coat. WEST Matter of fact, got it right here. He withdraws his hand. While the Guard squints at his empty palm, West grabs his head with his other hand and smacks it into the lawn jockey's fist. clang! West leans the cold - cocked Guard against the house, uses his shoulder as a step, boosting him up to.\",\n \"\",\n \"WOMAN -LRB- O.S. -RRB- -LRB- in a Spanish accent. -RRB- Hey. get your hands off me! Now Miss Lippenreider, Amazonia and Munitia. -LRB- bewigged and wearing costumes. -RRB- wrangle a beautiful and defiant Latina into the room. When she turns we recognize she's the singer from Fat - Can's. Rita is in her early 20s, wearing a 19th - Century camisole so scanty, it makes it hard to concentrate on what she's saying. RITA Put me in the dungeon with all those smelly, dirty bearded men. but I am not goin' in there. AMAZONIA You applied for the position. RITA Yeah, a standing up position. I'm an entertainer, not a. Amazonia grabs her by the throat, choking the word off. MISS LIPPENREIDER Do not be selfish and stupid. He always spoils his new girl. RITA Yeah. Well gim me a simple diamond bracelet instead of that. POV - THROUGH DOOR - INTO BEDROOM A ramp leads to a large bed. A leather and steel prosthesis is hanging from pulleys attached to the ceiling. MUNITIA It is not so bad. once the metal warms up. Amazonia just picks her up and drags the hapless Rita into the room. West emerges from behind the curtains, shakes his head. Weird. He eases out the door and into.\",\n \"SULTRY WOMAN -LRB- O.S. -RRB- An authentic cowboy outfit. complete with six - guns! West turns to see who busted him. Coming his way is a ravishing Chinese girl dressed up as a DRAGON LADY. DRAGON LADY What a terribly clever costume, Mr? WEST West. Jim West. DRAGON LADY Well. West meets East. Mae Lee East. -LRB- holds out delicate hand. -RRB- Are you here alone, Mr. West? WEST Actually I'm, uh trying to surprise an old friend - General McGrath. Seen him around anywhere? MISS EAST -LRB- DRAGON LADY. -RRB- I do n't believe that name was on our guest list. And I would know. I'm Dr. Loveless's personal assistant. The name means something to West. WEST Dr. Arliss Loveless? One of the great founders of the Confederacy with Jefferson Davis. Funny how most people think he's dead. MISS EAST Tonight's his coming - out party. We FOLLOW them as she takes his arm and leads him down the stairs, into the party.\",\n \"MISS EAST See anybody that looks familiar? West scans the room. Stops. WEST Matter of fact, I do. WEST'S POV - WOMAN WITH BIG HAIR She's got the mole, too. Gordon has apparently encored his Soiled Dove get - up. Miss East sees who he's looking at. She makes a pouty face as there's a flourish from the STEREO QUARTET. MISS EAST I'm. jealous. -LRB- blows a little kiss at him. -RRB- Meet me later. in the foyer. West watches as she joins.\",\n \"DISTAFF CORPS -LRB- singing. -RRB- ` Mine eyes have seen the glory Of the coming of the Lord.' From behind the doors we hear the WHIR of an ELEVATOR. It stops with a CLUNK. Suddenly. NEW ANGLE - DOORWAY bursts open and Abraham Lincoln in a mini - float appears. It's decked out like Lincoln's box at Ford's theater. On its own power, it moves past the laughing party - goers in the foyer. Now the women throw grapes on the floor. DISTAFF CORPS -LRB- singing. -RRB- ` He has trampled down the vintage Where the grapes of wrath are stored!' WEST'S POV - ANGLE ON WHEELS OF WHEELCHAIR are what's trampling down the vintage. West takes in the whole man. Very curious. Then suddenly. KABOOM! ANGLE ON ABE'S HEAD It explodes like a pinata. Up from the hole in his neck peeps. DR. ARLISS LOVELESS. LOVELESS -LRB- impishly. -RRB- Do n't you just hate that song? The Southern crowd gasps at Loveless's dramatic appearance. LOVELESS Why, y' all look like you've seen a ghost! It's me, dear friends, alive and kicking! Well, alive, anyway. As he giggles, the distaff corps surround him and remove the Lincoln paraphernalia. Then step aside, revealing. NEW ANGLE - DR. LOVELESS is half a man. Literally. Cut off at the waist and mounted on a wheelchair platform that is powered by an engine, he is a man bereft of tuchus, kishkes and everything else in that vicinity that makes life interesting. LOVELESS -LRB- chuckles. -RRB- We may've lost the war, but heaven knows. we have n't lost our sense of humor! Dr. Loveless looks down at himself, smoothes half of his Fritz Lang Metropolis - style suit. His face turns dark as he surveys the crowd. LOVELESS Not even when we've lost a lung. a spleen. a bladder. two legs. thirty - five feet of small intestine and our ability to reproduce. -LRB- like a preacher. -RRB- All in the name of the South. -LRB- then quietly. -RRB-. do we lose our sense of humor. You can hear a pin drop. Loveless turns to the foreign dignitaries. LOVELESS I owe a deep debt of gratitude to my friends across the sea for their comfort and. succor. He suddenly seems distracted by the comely beauties that surround him. Then abruptly, manically. LOVELESS So! Mi casa es su casa! Ma maison est a vous! Let the party begin! Loveless signals to the quartets to resume playing. Miss East leans down and whispers in his ear. Loveless looks in West's direction. Now Loveless wheels over to West. West is n't hiding. He's cocky in the face of rolling danger. LOVELESS Mr. West, how nice of you to join us tonight. and add color to these monochromatic proceedings. West keeps a lid on his temper. Two can play at this game. WEST Well, when a man comes back from the dead, it's an occasion to stand and be counted. Loveless smiles slightly. LOVELESS Miss East informs me that you were expecting to meet General McGrath here. I knew him years ago. but have n't seen him in a coon's age. WEST I bet a man like yourself would find it difficult to keep in touch with even half the people you know. Danger flickers in Loveless's eyes. He looks to Miss East. LOVELESS Perhaps the lovely Miss East will keep you from being a slave to your disappointment. WEST Well, you know beautiful women. they encourage you one second, cut the legs out from under you the next. Loveless's face drops. He is no longer amused. Miss East winks at West, then accompanies Loveless in the direction of the study where.\",\n \"WEST Hey, honey. I see a big ole spider up on the wall. Hope it does n't drop down your pretty dress. As the Soiled Dove jumps a little, West continues over to the study door. Now the Soiled Dove turns, and we see the scared/confused expression. Maybe it's because she is not Artemus. ANGLE - GORDON - ACROSS ROOM He's the mountain man in the fringe jacket. And right now he's shaking his head as he watches West resort to a decidedly low - tech surveillance method of Loveless's study. GORDON Peeking through the keyhole? So 18th Century.\",\n \"McGRATH Dr. Loveless, my men are ready to go to war with no weapons to fight. Ever since the nitro and the guns were destroyed at Fat - Can's, lice and demoralization have set in! LOVELESS Your men will have their weapons tonight. And my promise that they will be part of the greatest military victory of this century! McGrath's face relaxes into a pyorrheic grin. McGRATH Oh, you're a pip, sir! I'd follow you into the maw of Cerberus himself! Loveless takes pencil in hand and draws a map on the desk. LOVELESS And so you shall. -LRB- makes an X. -RRB- Have your men here at. 10 o'clock tonight. Loveless wheels his chair toward the door with McGrath behind him folding up the map.\",\n \"\",\n \"MISS EAST I said to meet me in the foyer. WEST Oh, the foy - aay. Sorry, I've never been much good at French. But instead of scolding him further, Miss East plants an over - heated kiss on him. Tongues are involved. As they break, she gives a little nod of approval. MISS EAST Au contraire. She pushes him down into Dr. Loveless's chair. MISS EAST So let's see, Mr. West. are you a dangerous spy of some sort? Or just a handsome cowboy who likes to. poke around. WEST Um. that second one. She starts to undo the buttons of his trousers. But West has a job to do. Well, maybe he can do two jobs at once.\",\n \"GORDON Howdy there. big sturdy gal. Yer dance card full? Amazonia stares at him, then spiels off a couple lines in a foreign language that makes Gordon's eyes widen. He understands what she said and it's not flattering. Gordon moves off in a shock.\",\n \"\",\n \"WEST Thanks for helpin' me get to the bottom of this case.\",\n \"WEST Real impressed the way you got the dance floor staked out. Maybe one of your missin' scientists'll cut in. -LRB- dip. -RRB- Thought you should know that while you were trying to decide what shoes to wear tonight. -LRB- twirl. -RRB- I found that our host, Dr. Loveless. West looks over to where Loveless is leading a contingent of foreigners out a side exit. WEST is meeting McGrath and his troops at Malheureux Point in an hour. -LRB- bends her back. -RRB- So you enjoy the party. I'm gon na go save the Republic. The Soiled Dove look - alike is speechless. Before he goes, West leans in, smirks. WEST But I will say, good work on your bladders tonight. they're damn perky. And just to dig the grave deeper, West lays hands on them and gives them a little squeeze. This immediately elicits a scream and a slap in the face that shocks the bejesus out of the black cowboy. And he's not the only one. ANGLE ON CROWD staring at him. We know what they're thinking, but the Mountain Man behind West says it for everyone. GORDON/MOUNTAIN MAN Hang him! And with that, Gordon opens his deerskin jacket to reveal his own rope, which he throws to the mob. West looks back at the character in amazement. That's Gordon?! Before West can say or do anything, guns are at his temple, and he's swept out of the room. Gordon calmly straightens his coonskin cap, seemingly uninterested in West's imminent hanging. In the hubbub of everyone rushing out for the hanging, Gordon heads up the unguarded stairs to the locked room. As he pulls out his high tech auto - wind lock - pick and quickly gains entrance to the door.\",\n \"GEORGE WASHINGTON Looks like we're gon na have to teach y' all a little lesson on how to behave in polite society. WEST Do n't grab a white lady's boobies at the big redneck dance. Is that the lesson? Well, I learned it. Do n't scratch your head with the shrimp fork. I got that one too. So whaddaya say we call this off?\",\n \"GORDON I feel as if we know each other from someplace? RITA Try again, buster! She takes a breath as if she's going to start screaming. Gordon quickly holds up a hand. GORDON Ma'am, please! While I realize I look like something straight out of James Fenimore Cooper. I mean you no harm. My name is Artemus Gordon. And you look like you're in trouble. RITA -LRB- dryly. -RRB- Really? To Rita's amazement, Gordon opens his jacket and unbuttons his vest to reveal. a complete miniature tool shop. Quickly he pulls out a thin cable and attaches it to a tiny wheel on the spur of one of his boots. RITA I'm Rita. I was hired here as an entertainer. Not that I'm complaining, but what are you doin' in here? GORDON -LRB- looking up miles of leg. -RRB- Looking for some missing scientists. not that I'm complaining. Gordon unsnaps the sole of his shoe. It becomes a pedal that operates the wheels' rotation. Now he removes a bit and handle from his vest and attaches the cable. Starts to pump his foot. It's a foot - powered drill. GORDON I'm a special U.S. Marshal on assignment from the President. RITA -LRB- almost impressed. -RRB- If you're so special, how come you're lookin' up here when Loveless has'em all workin' down in the dungeon? -LRB- rattles bars impatiently. -RRB- Get me out of here and I'll take you down there. GORDON Too late. The ` dungeon' is cleaned out. It was the first place I checked, right after I sampled the gumbo. Bit heavy on the okra. But Rita is n't listening to the food review. Her mind's racing. Finally, the LOCK CLICKS and the cage door swings open. Gordon takes the distressed damsel in his arms, lifts her out. RITA -LRB- suddenly a coquettish smile. -RRB- Thank you. Artemus, was it? GORDON One does n't forget a smile like that. Now where in the world was it? Have you ever played the Empire Room. the Bijou Cafe perhaps?\",\n \"WEST Can I have everyone's attention please. I think we've had a series of major misunderstandings and I'd like to take a moment to clear them up. First, the whole drumming on the boobies thing. In my native land, Africa, my ancestors used drums to communicate between villages. I'm sure y' all can see that this young girl here can communicate all the way down to Baton Rouge. Hell, on a clear day, we might even get Galveston. All I was saying was, ` How're you doing,' ` My name's Jim,' ` How's your mama?' Second misunderstanding. That redneck comment. I'm getting the sense that some of you took that negatively. You know, some of my best friends are whiskey - guzzling, pot - bellied rednecks just like y' all here. -LRB- then. -RRB- That slavery thing, I do n't see what the big deal was. Hell, who would n't want somebody to run around for them doing chores. Are you going to get your big, fat, lazy ass out of bed every morning and pick your own damn cotton. I do n't think so. -LRB- then. -RRB- Let's head on inside and knock back some shine. Come on, back inside. No. Okay. -LRB- to Soiled Dove. -RRB- I stand before you as a man who realizes he has done something wrong and I am prepared to do the right thing. Will you marry me? Soiled Dove gasps. WEST I'll take that as a no. Darling, would it help at all if I said I thought you were a man? The CAMERA FINDS the Soiled Dove. She faints. BACK TO SCENE WEST Guess not. As West searches desperately for signs of rescue by his `` partner,'' suddenly the wagon lurches forward. GEORGE WASHINGTON Hang him! NEW ANGLE - WEST'S FEET As they plummet toward the ground. CLOSE - WEST'S NECK The rope catches. and stretches! CLOSE - WEST'S FEET As they slowly touch the ground. Nobody is more confused than West. ANGLE ON CROWD How the fuck did that happen? But before anybody can figure out Gordon's trick rope, speak of the devil. GORDON -LRB- O.S. -RRB- Hey - yaa! The crowd turns with alarm to see. ANGLE ON TEAM OF CHARGING HORSES Nostrils flared and wild - eyed, are having their rumps snapped by Gordon's reins. Rita holds on for dear life as the mad Mountain Man drives the carriage at full speed right into the crowd - scattering them. ANGLE ON WEST He sees his opportunity for rescue, puts a foot into the back of George Washington, grabs his gun, and somersaults into the air. ANGLE ON GORDON AND CARRIAGE - WEST lands squarely in the back. And just as the rope starts to stretch around his neck again, Gordon whirls around with a Bowie knife and cuts it.\",\n \"WEST Hang'm! Suddenly, there's a VOLLEY of SHOTS from some cracker sharpshooters. West responds with an amazing display of RAPID - FIRE marksmanship, picking off half a dozen of Loveless's shooters, even while the carriage bumps wildly on its getaway. BLAMBLAMBLAMBLAM! WEST -LRB- still pissed, to Gordon. -RRB- Hang'm!?! GORDON -LRB- to Rita. -RRB- Meet my trigger - happy partner, James West. who does n't seem to realize that my carefully planned diversion gave me the opportunity to search for the missing scientists. Now West notices the half - dressed bombshell in the carriage. WEST Scientist, huh. GORDON This is Rita. I found her locked in a cage in Loveless's bedroom. She's an entertainer. RITA Um, maybe I have n't been quite honest about that. My name is Rita Escobar. I came to find Guillermo Escobar, the scientist, my. father. Gordon's eyes pop. GORDON Professor Escobar?! He was the one I almost rescued that night when. -LRB- lightbulb. -RRB- That's where I know you from! Fat - Can Candy's. you sang before I did. RITA Excuse me? GORDON That was me. Burgundy dress with the bustle. Gordon starts singing the song. West rolls his eyes, cuts off the chit - chat. WEST Look, Rita, I'm sorry you had the wrong agent working on your case. When I find your father I promise I'll send him back safely. And with that. West suddenly leaps over Rita - lands on the back of one of the horses. He grabs a handful of mane, leans over and unclips the harness. And with a kick in the ribs, West is off at a gallop - leaving Gordon, one remaining horse and an awed Rita behind to chew his dust. RITA He's impulsive, James.\",\n \"LOVELESS Well, General, it's been a long journey from New Liberty. McGrath visibly winces at the sound of it. McGRATH Sir, there is n't a day that passes that I do n't contemplate it. LOVELESS Yes, and so do I. So do I. -LRB- reflexively reaches for missing legs. -RRB- If I'd only had the scientific understanding of gunpowder and primers that I have today. McGRATH That's not what I meant. Loveless looks at him, puzzled, then gets it. LOVELESS Oh, you mean the stomach - churning carnage that earned you your unfortunate nom de guerre. Loveless speaks for the benefit of the others. LOVELESS What was that nickname again? McGRATH -LRB- reluctantly. -RRB- ` Bloodbath' McGrath. the Butcher of New Liberty.'\",\n \"REB #1 They oughta be here by now. REB #2 Maybe we're in the wrong place. REB #1 -LRB- rechecks map. -RRB- No, we're supposed to wait ` xactly on this here spot. Suddenly they hear a CLANKING and SCREECHING coming from the marsh. They ready their arms and get in defensive positions. What they ca n't see through the fog is. ANGLE - MARSH - ARMORED TANK amphibiously sludges up through the mud and reeds, passing by the dumbstruck soldiers as it heads to the center of the field. The contraption has a large cannon and Gatling guns bristling from several ports. The Rebs cheer their new weapon. THE WILD WILD WEST - Rev. 7/1/98 52.\",\n \"\",\n \"McGRATH Why you sawed - off sadistic bastard! You've betrayed us! Loveless turns to him, cocks his head. LOVELESS My dear General, after donating half my physical being creating a weapon capable of doing this. how did you and General Lee repay my loyalty? You surrendered at Appomattox! So, who betrayed whom? Loveless turns to Munitia holding a steno pad. LOVELESS Munitia, make note. Turret speed needs to be accelerated! MUNITIA -LRB- to Amazonia. -RRB- Change gear ratio from 2.2 to 2.8! Amazonia pushes a sick dignitary away from the rail so she can get a sight line to the tank with her lantern semaphore. She begins flashing the new gear ratio. AMAZONIA A bucket for the minister, please! Now in the b.g., we hear the GATLINGS OPEN UP. Lippenreider is reading the lips of the tank's victims. LIPPENREIDER Scream. Scream. My head. I'm dying. Scream. Moan. Scream. McGRATH Loveless, I demand you give the order to stop this slaughter now! LOVELESS -LRB- ignores him. -RRB-. We're going to need more loading drills! I'm hearing too much time between screams. As Munitia scribbles dutifully, McGrath shoves her aside. He pulls his pistol. McGRATH For the last time, give them the order to desist! Loveless, his back to him, is seemingly unconcerned at having a gun barrel pressed against his skull. LOVELESS General, I understand your distress. But believe me, those men are not dying senselessly. It is for a far greater cause than you can imagine. As Loveless's right index finger finds a black button on the arm of his wheelchair. CLOSE ANGLE - LOVELESS'S WHEELCHAIR ARM The steel tubes that comprise the armrests are actually shotgun barrels facing fore and aft. McGrath's finger tightens on the trigger. WIDER McGRATH Go straight to hell, sir! LOVELESS After you. sir. BOOOM! McGrath has a very startled expression as he looks down at the aftereffects of DOUBLE - OUGHT BUCKSHOT. As he crumples to the deck, Loveless sniffs. LOVELESS Bloodbath McGrath indeed. The dignitary's DOG starts BARKING, jumps to the deck. It sits next to the fallen General's gramophone ear and cocks his head. With the RCA logo invented we MOVE BACK TO. ANGLE ON LOVELESS He sighs at his pale guests. They do n't seem to appreciate the efficiency of his slaughter. LOVELESS Well, that concludes the festivities. Ladies, feed him to the crabs. Munitia and Amazonia unceremoniously dump McGrath's BODY overboard. SPLOOSH. Loveless addresses the dignitaries. LOVELESS But, my friends, that tank is just a little ol' toy compared to what this country's greatest scientists are cooking up for me next. So if I've piqued your interest, bring 1000 kilograms of your country's gold to Spider Canyon four days from now. -LRB- starts to roll off boat. -RRB- Now if you'll excuse me, I've got a tank to catch. CUT TO :\",\n \"LOVELESS My destination is both the future. and the past! Forget Paul Revere, this will be the most revolutionary ride in the history of America! He looks dotingly at the TANK, which CLATTERS up from the battlefield on its treads. then drives onto the tracks. Wheels drop down out of the chassis, the treads retract up, and the TANK BACKS INTO the rest of the TRAIN. CLANK. It's a neat modular fit. Black death on rails. The foreigners watch with awe as. ANGLE - LOVELESS wheels up onto the tank/train. He drops the expansiveness, fixes them with a viper's eye. LOVELESS If you do n't want to miss the ride, have the last payment of 1000 kilograms of your country's gold in my hands no later than Friday. That's when I make our little proposal to President Grant. One I'm ever so confident he's gon na accept. -LRB- now a jaunty wave of his hat. -RRB- Au revoir, adios, and ta - ta!\",\n \"\",\n \"GORDON It came up out of the lake. from the way these corpses are positioned, laid down a 360 - degree pattern of cannon fire. then disappeared in moments. -LRB- puts a foot on a body, scratches his chin. -RRB- My God, what kind of weapon is it? Rita ca n't handle Gordon's clinical posturing. RITA Excuse me, I think I'm going to be sick. As she walks quickly away, West comes over, a haunted look on his face. WEST It just rolls on and on. Makes a screeching sound - like a wounded animal. Got a ` cabin' on top with a cannon. swivels ` round like an eagle's head. GORDON You saw it? WEST Heard about it. Thought it was crazy survivors' stories. GORDON What survivors? There are n't any here. WEST New Liberty, Illinois - the free slave town just over the border. Just one week before the War ended in' 65. I was in the 9th Cavalry that discovered it. Old men, women, children. they used them for target practice. He looks out at the battlefield as if reliving it. Gordon is sympathetic to his obvious pain - just shuts up. West's grim reverie is interrupted by MOANING coming from the shoreline. They all follow the sound to find.\",\n \"WEST That's when I vowed to follow McGrath to the end of the earth. As grey as four - day - old mullet, McGrath manages a smile for his relentless pursuer. McGRATH -LRB- barely audible. -RRB- What's the matter, West? Thought you'd be happy to find me. like this. WEST I was hoping to kill you myself. RITA That's a nice way to talk to people. McGRATH You'll have to live with it. As I've lived with the blame for New Liberty. McGrath fades out. West grabs him and shakes him. WEST What do you mean? McGRATH -LRB- opens eyes. -RRB- It was Loveless. his plan. He operated the killing machine there. Smarter now. left it to others here. With the meaning of it all sinking in, West grabs McGrath by the collar and pulls him toward him. WEST Where is he? Where did he go?! The General tries to speak. West puts his ear to the General's mouth. But before he can say it, McGrath closes his eyes for the last time. West's shoulders sag. Then from behind. RITA -LRB- O.S. -RRB- Well, I know that. West turns to her. well? RITA I'll tell you if you take me along. WEST -LRB- in no mood. -RRB- Just tell me. RITA The girls at the mansion. They talk. -LRB- imitating a la Lippenreider. -RRB-' I vonder if my hair vill get frissy in ze desert? Vhere is diss Ooo - tah anyvay?' As West and Gordon turn to one another in alarm. WEST/GORDON Ooo - tah?!\",\n \"\",\n \"WEST Coleman. let's go! Full speed ahead! West snatches the catalogue out of his hands, does a take at the pictures of chunky models in bloomers. COLEMAN Aye, sir! As Coleman quickly exits, Gordon looks out the window, onto the platform. GORDON -LRB- wistful. -RRB- I do n't see why we could n't have given her a ride back home to Texas. It is on the way. WEST On the way to Utah where our President happens to be. Maybe we oughta be worryin' about that little coincidence! As the ENGINE ROARS to life.\",\n \"\",\n \"INT. WANDERER - ENGINE CAR - NIGHT GORDON We would n't have known where Loveless was going if it was n't for her. Seems a bit ungracious. Possibly perilous. WEST Look, all that would happen would be she'd get in our way and I'd probably wind up gettin' in the saddle with her. GORDON Funny that you say that. Because I thought she was more interested in me.\",\n \"\",\n \"GORDON -LRB- O.S. -RRB- -LRB- from gallery. -RRB- You know, I've been trying to place myself in Loveless's shoes. WEST Good luck on that one. GORDON -LRB- weakly. -RRB- Ha, ha, ha. You know, I ca n't imagine what Loveless - a man without any reproductive organs could possibly want with Rita. Suddenly there's a WHOOSH and Rita falls through the ceiling and plops in the chair just like West did earlier. He instinctively pulls his gun. Puts it away as Gordon muses about her anatomy. GORDON -LRB- O.S. -RRB- -LRB- not realizing she's there. -RRB- Not that Rita does n't have a figure that would inspire a Botticelli. or a Raphael. Rita raises an eyebrow, looks to the galley as Gordon comes out with a platter of food. He still does n't see her there. GORDON especially her breasts. Did you notice the way one of them. -LRB- cups his hands. -RRB- Both of them actually. to say nothing of her buttocks. Gordon turns and looks into the car. Finally sees her. Changes gears without missing a beat. GORDON and the group of foreign ministers at Loveless's party. What were they doing there? Gordon gestures for West to join him at the pool table. Rita immediately goes for the food. GORDON -LRB- using pool balls. -RRB- Here's France, Spain and Britain. -LRB- sotto voce. -RRB- How long has she been here? WEST Since the first breast. Gordon turns to her, exasperated with himself. GORDON I am so embarrassed. WEST I'll spare you. -LRB- to Rita. -RRB- Make yourself a sandwich to take with you. You're getting off.\",\n \"RITA But. I can help you. WEST How could you possibly help us? RITA Well, I heard you talking about why all those foreign guys were at Loveless's party? You want me to tell you? GORDON By all means. She uses the time to get another bite into her mouth. RITA -LRB- to Gordon, chewing. -RRB- This is fantastic. You can cut it with a fork! How'd you cook it? GORDON -LRB- someone appreciates him. -RRB- Well, in a daubiere. a clay pot. A French method which. West cuts off the chit - chat. WEST What about the foreign guys?! RITA They were mad about something, you know? Something about a real bad deal in Louisiana on purpose. GORDON The Louisiana Purchase? RITA And Queen somebody - somebody of France got swindled. GORDON Queen Isabella of Spain. West rolls his eyes. WEST Gordon, this is crazy. She does n't know what she's talking about! West picks up the speaker horn and calls Coleman. WEST -LRB- into speaker horn. -RRB- Coleman, stop the train! Miss Escobar's getting off. COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- Who the hell's Miss Escobar? RITA -LRB- grabs horn. -RRB- I'm a frightened, starving, half - naked young woman who only wants to find her father! COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- Half - naked? WEST -LRB- grabs it back. -RRB- Coleman. stop the train. COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- We're not puttin' anybody off. Not out here in the middle of nowhere. West looks out the window. Nothing but sagebrush and animal skulls out there. Rita comes up close to Jim, fire in her big, brown eyes. RITA Please, Jim. My father's the only family I've got. What am I supposed to do? Sit home and wait for news he's been killed? Or go do something! What would you do, Jim?! That gets the man of action where he lives. WEST Look, I got nothing against you, Rita. It's just that. What's going to happen when we catch up to Loveless. with you on the train? She grabs West's hand. RITA I know you'd never let him take me back. I've seen you shoot. West kinda melts a little. This girl does have her charms. Gordon, a little jealous, puffs his chest out. GORDON I assure you, Rita, an attack by Loveless would be an exercise in futility. -LRB- stands for tour. -RRB-. Allow me to demonstrate how my design suggestions have made the Wanderer impervious to attack. West draws his guns, twirls them and reholsters. WEST I'm the impervious part. GORDON Hardly. Completely armor - plated. Artemus raps his knuckles on the wall making a METALLIC sound. Then he smugly demonstrates that the light fixture is actually a Gatling gun. GORDON An attacker would find the lighting inside extremely. unflattering. Finally he moves to the billiard table, while Rita nods. and keeps eating. GORDON And if, by some inconceivable fluke, they did manage to gain entrance. -LRB- rolls billiard ball into bumper. -RRB- An innocent billiard ball this way. -LRB- picks it up, presses the number. -RRB- But depress the number. a sleeping gas bomb. Effective in under three seconds. Gordon unclicks it, triumphantly rolls it into a pocket. GORDON So rest assured, Rita. you are completely safe within these walls. West snorts at his obvious play for Rita's attentions. WEST I do n't know about you, ma'am, but I know I'll be sleeping a whole lot better tonight. -LRB- yawns. -RRB-. assuming Loveless barges in here and feels like a game of pool. RITA Speaking of sleeping, I'm pretty tired. Artemus, do you think I could borrow something to wear? West jumps in before Gordon can answer. WEST I've got somethin' you might use. It ai n't stylish, but it's practical.\",\n \"WEST Loveless kidnapped two chemists, that means there's gon na be explosives. He's got a metallurgist, so there's gon na be heavy armor. And he's got Rita's father, who - according to you - is the world's foremost specialist in hydraulics. Which means, whatever it is. it's gon na move. West sits up. WEST So what, is he building that's gon na make the President fall to his knees and surrender the country? GORDON A bedside heater. WEST What? GORDON Rita. She needs a bedside heater. I mean, it gets cold in there, you know, with the stained glass window right over the - ANGLE - COLEMAN opens and Rita emerges from the state room. -LRB- INSERT RITA'S BUTT HERE. -RRB- Rita leaves. GORDON Such a pleasant girl. A real breath of fresh ass. WEST You said ass. GORDON Did I? No. CUT TO :\",\n \"COLEMAN -LRB- V.O. -RRB- -LRB- over pipe. -RRB- We have Loveless, gentlemen! Seven hundred yards and closing! As they scramble for boots, weapons, Rita comes out of her room. RITA What's going on? Gordon ushers her to the back. GORDON Stay back here, take cover! Meanwhile, West pulls on his boot. When he stands on it, a three - inch STILETTO SNAPS out of the toe. WEST What the hell is this? GORDON I took the liberty of installing it while you were sleeping. West looks at him incredulously. WEST Leave my stuff alone!\",\n \"\",\n \"\",\n \"COLEMAN Am I missin' somethin' here?\",\n \"\",\n \"LOVELESS Amazonia, shall we disabuse our friends of the notion that one's problems are solved when we see the light at the end of the tunnel! As Munitia swivels the cannon barrel.\",\n \"GORDON Jim, we're the ones chasing Loveless, correct? -LRB- as West shoots him a look. -RRB- Then perhaps you could explain what they're doing behind us. As West looks out the back too. KA - BOOM! A SHELL EXPLODES just to the right of them. Now ANOTHER EXPLOSION to the left of them. The Wanderer rocks precariously from wheel to wheel, throwing a screaming Rita back and forth between West and Gordon. WEST They could n't fire the cannon at us from in front. Any other questions?\",\n \"WEST Would it put you out too much to throw me a rope and hit your little secret button? With a shrug, Gordon tosses West a rope and hits the same hidden button he had during their fight. Whoosh! West is gone as the pool table flips over. As Rita covers her mouth in amazement. GORDON I taught him how it worked.\",\n \"\",\n \"\",\n \"\",\n \"RITA You know you could put a gun on that thing. Gordon looks up at her disapprovingly. not you too? Meanwhile, on the tracks.\",\n \"\",\n \"\",\n \"\",\n \"\",\n \"\",\n \"MUNITIA I have them square in my sights, sire. LOVELESS -LRB- distracted. -RRB- As do I, Munitia. as do I. -LRB- looks up, wry smile. -RRB- Fire away! But it's a little difficult with him stroking her buttocks. BOOM! The CANNON FIRES.\",\n \"\",\n \"\",\n \"LOVELESS Close the fire door! Just in time, Amazonia swings it shut as the unvented BOILER EXPLODES, sending a FIREBALL ripping through the back of the train, destroying it. Up ahead.\",\n \"RITA I wo n't let Loveless take me again! I'd rather be dead! GORDON -LRB- recalling West's words. -RRB- That's not a good one to wish for. To defend herself, Rita grabs one of the sleeping - gas pool balls rolling around on the ground. Gordon leads her into the stateroom to lock her in, but she grabs his hand. RITA Please, Artemus, do n't leave me alone! Rita closes the door behind him and locks it.\",\n \"WEST -LRB- O.S. -RRB- -LRB- hoarsely, not sounding like him. -RRB- It's me, Jim. Open up! RITA It's a trick, I know Loveless. CLICK, she pushes the number. Gordon makes a grab for it. GORDON Rita, no! It's just. CLUNK. she drops it to the floor. ANGLE - WEST standing in the doorway. He rubs a raw welt on his neck from the garrote, smirks when he sees Gordon on the bed with Rita. But his smirk drops when he sees the pool ball roll between his feet - spewing a purple cloud of sleeping gas. West gives Gordon a Wile E. Coyote look, croaks. WEST Too damn late, is what it is.\",\n \"WEST -LRB- mimicking him. -RRB- An innocent billiard ball this way, but depress the number and on impact. a sleeping - gas bomb. West shakes his head disparagingly and stands. He feels the metal band around his neck and surveys the 18 - inch wire fence which has been laid around them in a circle. West is about to step over it. Gordon grabs his leg. GORDON Do n't move!\",\n \"LOVELESS Continue, Miss Lippenreider. MISS LIPPENREIDER -LRB- doing both voices in a monotone. -RRB- West. Let go of my leg! Gordon. Listen to me. Loveless collared us with the same metal device we found on Morton. Loveless turns to Munitia, who is loading two 36 - inch - diameter metal discs into what looks like a CD changer/clay - pigeon - thrower. LOVELESS Oh, Munitia. I hope we're not going to leave evidence behind like we did last time. MUNITIA Nitro this time, sire. As she arms the device, and a red light comes on. LOVELESS -LRB- through megaphone. -RRB- Good morning, gentlemen! I trust you slept well.\",\n \"GORDON What have you done with Rita? LOVELESS Rita, is it? How familiar! Rita is sleeping off the after - effects in the stateroom. -LRB- looks toward bedroom. -RRB- Quite lovely, is n't she? Who knows. I might even become ` familiar' with her myself. Gordon takes a step. West stops him. WEST And that would become one more reason why I'm going to kill you. LOVELESS Yes, Mr. West, I'm sure a well - endowed blackamoor like yourself must find it absolutely impossible. that a freak like me could fully enjoy the pleasure of a woman. But having witnessed my use of mechinology so far. would n't you think I could provide myself with something for the lower half of my body that was hard - pumping and indefatigably steely? Loveless looks O.S. LOVELESS And speaking of ` hard pumping.' Mr. Coleman, full steam ahead!\",\n \"\",\n \"LOVELESS What a marvelous train! You do n't mind if I borrow it, do you, gentlemen? Other than a lack of wheelchair access, I find it a most comfortable way to pass the long miles from here to my laboratory in Spider Canyon. -LRB- louder, as they move off. -RRB- I'll be seeing President Grant soon at Promontory Point. What shall I tell him for you? I'm afraid it ca n't be that you're alive and well. And as his maniacal giggle hangs in the air.\",\n \"WEST Gordon, get out your little tool kit and get this damn thing off of me! Gordon unbuttons his shirt to reveal his leather tool kit. empty except for a note. Gordon opens it and reads. GORDON ` Gentlemen, welcome to the Loveless Experimental Camp for Political Dissidents. There are no guards. No barbed wire. As long as you stay within the designated perimeter, you will stay alive.'\",\n \"MISS LIPPENREIDER West. How do you know it's not just bullshit? Gordon. Step over the fence and find out. Rita and I will put flowers on your grave every year.\",\n \"WEST I do n't have time for this. GORDON Wait, I have an auxiliary tool kit! Gordon peels back the top of his boot revealing it. But it's too late. West has jumped over the fence. Then he hops back inside it. He holds his hands out to Gordon. WEST See? Nothing happened. West grabs Gordon by the back of his vest and yanks him over the fence. Now they hear a slight BUZZING in the air and it's not a bee. NEW ANGLE - DISC comes whipping over the corn straight for West's head. In a split second, he ducks and the disc cuts the tops of the corn off and banks around for a new attack. GORDON Oh, really? Now both of them step over the fenced perimeter and start running like hell through the cornfield. WEST Is it too late to take it off of me now?\",\n \"\",\n \"\",\n \"MUNITIA Caviar? LIPPENREIDER Blini? LOVELESS -LRB- opening champagne bottle. -RRB- Rita, my dear, not that I'm ungrateful to Providence for bringing you back to me. Rita jumps as the champagne CORK POPS. LOVELESS I'm just a wee bit curious as to how you managed to wind up with them. RITA -LRB- scrambling. -RRB- Well, they uh. seemed so. sure that they could find you. and I thought if I stayed with them. they'd lead me back to. all my friends. Munitia shoots a look at Lippenreider. RITA And not to give you a big head but. -LRB- wrinkles her nose to Loveless. -RRB- I kinda missed you. LOVELESS -LRB- not buying it. -RRB- Is n't that a coincidence? I miss me, too.\",\n \"\",\n \"GORDON Head for that gully! West zigs out of the cornfield one way. Gordon zags out the other. They're both beat - up and exhausted from running and flopping on the ground.\",\n \"\",\n \"\",\n \"WEST When I give the signal. Jump off the cliff into my arms. GORDON Are you crazy?! Do you see what's down there? WEST -LRB- watching the discs approach. -RRB- Five, four, three, two. West holds out his arms. GORDON Forget it. I'm not doing it. WEST One. West takes a leap of faith. and finally, so does Gordon. GORDON Oh shit! CLOSE - PARTNERS meeting mid - air. They drop OUT OF FRAME, just as. the two discs collide with a MIGHTY EXPLOSION that is heard by.\",\n \"\",\n \"GORDON I just remembered. I ca n't swim! WEST You wo n't have to! They drop OUT OF FRAME and we hear a LOUD THUK THUK.\",\n \"WEST Maybe I should have stayed inside that fence another moment or two. CUT TO :\",\n \"WEST All right, Gordon, what's your plan? How are you gon na get this damn thing off my neck? Gordon turns to West, simmering, controlling himself. GORDON Excuse me? WEST Is n't that why you're here?'Cause you're the master of, you know, mechanical stuff? GORDON -LRB- smiles. -RRB- Oh. Oh, I see. Now I'm the master of. ` mechanical stuff.' As opposed to five minutes ago, when I was trying to collect my thoughts and figure out a way to get us out of these contraptions! But no! Gordon starts moving towards West, who is forced to back up - looking a tad nervous for the first time in the movie. GORDON - That would n't have been any fun for a certain somebody, and I wo n't mention any names - Jim West! - who decided to take me on a bracing romp through a cornfield and play a fanciful game of hide and seek with serrated, spinning death discs, while our only mode of transportation is in the hands of a sadistic madman with weapons of mass destruction, who kidnapped Rita, and is on his way to kill our President and take over the country! WEST Hey, calm down, Gordon. GORDON -LRB- he's completely lost it. -RRB- No! Because I'm the ` Master of Mechanical Stuff!' And I have to help YOU! Because you're the ` Master of Stupid Stuff!' WEST Gordon. GORDON You want to get that collar off? Fine! Let's do it the fun, Jim West way! -LRB- picks up a rock. -RRB- Let's bash it with a rock! WEST Gordon, you do n't want to do that. GORDON -LRB- crazy. -RRB- Oh, but I do. Gordon grabs a rock and smashes West's collar. Suddenly - ZIIIINNG! West's collar emits a LOW HUM. Suddenly, West is thrown into Gordon, their collars locking. CLANG! GORDON -LRB- suddenly calm. -RRB- That's odd. What did you do? WEST I did n't do shit! GORDON No, you must've reversed the polarity of the magnets. WEST I did not do shit! -LRB- he's had enough. -RRB- That's it - West lifts his leg to Gordon's collar to push him away, but then - CLANG! The stiletto in his shoe dislodges and instantly sticks to Gordon's magnetic collar. For a mega - millisecond, West - his foot stuck to his partner's neck - is stunned. But before he knows what even happened, West flips upside down onto his shoulders. GORDON Are you all right? WEST Oh, I'm peachey. Now help me get my boot off! First, Gordon - trying to get some leverage - puts his foot in West's crotch and pulls the boot. WEST Ahhhh! GORDON Apologies, apologies. Gordon struggles to free the writhing West from the boot. -LRB- attached to Gordon's collar. -RRB-. Finally, West's foot comes free. But when he sits up - THWAP! His collar is sucked into Gordon's belt buckle. West is face to face with his partner's crotch. WEST Do me a favor. When you're telling this story to your grandkids, leave this part out. GORDON Do n't worry. West starts unbuttoning Gordon's belt. WEST Now, when I undo your belt, I'm going to run as fast as I can that way, and you run as fast as you can the other way. Understand? GORDON You're going to run as fast as you can one way and I'm going to run as fast as I can the other? Ingenious. WEST One. two. -LRB- undos belt. -RRB- Three! The men run in opposite directions. -LRB- Gordon's belt on West's collar, West's boot on Gordon's. -RRB-. They get about thirty, forty yards. Then - They're yanked backwards into each other. SPLASH! They fall in the water - back to back. Every time one rolls up and catches his breath, the other is under water. WEST -LRB- rolling face up. -RRB- Get off me, you steaming pile of. -LRB- GURGLE. -RRB-! GORDON -LRB- rolling face up. -RRB- I'm trying, you son of a. -LRB- GURGLE. -RRB-! WEST -LRB- rolling face up GURGLE. -RRB- you! GORDON -LRB- rolling face up GURGLE. -RRB- yourself! Finally they roll out of the stream and onto dry land. They sit up, out of breath, stuck together, back to back. WEST I do not want to spend the rest of my life looking like a meatball on a plate. GORDON We're going to have to discuss bathroom etiquette soon. Very soon. ANGLE ON TOOL KIT bobbing in the stream. Gordon grabs it out of the water. GORDON Aha. My auxiliary tool kit. I forgot all about it. It must've slipped out of my pocket. WEST Your pocket? Why was n't it attached to some spring - loaded something - or - other that shoots out of your ass? GORDON Because that, my friend, would be uncomfortable. CUT TO :\",\n \"WEST Why did n't you tell me you had an ` auxiliary' tool kit? GORDON I did tell you, but in your zeal to run and leap off a two - hundred - foot cliff, I do n't think you heard me. West eats the grilled Gila monster voraciously. And eats. And enjoys it more. And eats. He notices Gordon watching him. WEST What?! Gordon looks to the heavens and recites. GORDON. Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.' Gordon's quote has gone on. And on. And on. He notices West watching him. GORDON What?! WEST You know, Gordon, you can be quite annoying - flaunting that fancy education. GORDON Well, truth be told, I never had a fancy education - not a formal one, anyway. WEST -LRB- looks at Gordon's ring. -RRB- The Harvard thing seems pretty formal to me. GORDON This ring? This ring is n't real. Do you want it? -LRB- takes ring off and tosses it into fire. -RRB- A prop. I'm an actor. Or was. I gave it up. I went by the name of Arthur Gordon. Ever hear of me? WEST No. How did you wind up in this line of work? GORDON The pinnacle of my life in the theater came in a production of Our American Cousin - a light comedy - at Ford's Theater in Washington. There was this one line I had. always got the biggest laugh in the show. One night, it drowned out the gunshot that killed President Lincoln. -LRB- beat. -RRB- I decided to devote my talents to making sure that never happened again. CLOSE - TARANTULA walks slowly across West's outstretched hand. GORDON Uh. There's a spider on your hand. Does n't that bother you? WEST She does n't want any trouble. She's just trying to get warm. He puts the spider down into the sand. GORDON How come you know so much about the desert, anyway? WEST The Indians taught me. I lived out here when I was a boy. Gordon starts to ask West something but West does n't want him to pry further. WEST Hey - watch - He points toward a small black wasp flying from above. WEST The desert wasp. one of the world's great hunters. She'll kill the tarantula - and lay her eggs on it, so her babies can have something to eat. GORDON Now I'm really hungry. -LRB- beat. -RRB- How did your parents, who I assume were Negroes, feel about you being raised by Indians? WEST They did n't have much to say about it. I was sent to another plantation when I was little. Ran away as soon as my legs were strong enough to take me. West can see the effect his story has had on Gordon. GORDON Did you ever see your family again? WEST Yeah. -LRB- stands, kicks out fire. -RRB- They were at the camp at New Liberty. Now they both stare into the fire. Finally Gordon speaks. GORDON I'll help you get him, Jim.\",\n \"GORDON You have no idea where you're going, do you? WEST I know exactly where I'm goin'. Spider Canyon. Gordon stops to catch his breath. WEST -LRB- stops, looks back. -RRB- But I'm never gon na get there with you draggin' that damn thing around! Now we see Gordon's got the heavy metal collar in his hand. West grabs him and they start to walk away - Gordon listing noticeably. GORDON While a magneto of this power may not inspire your scientific curiosity, it does mine. Besides, you never know when it might come in handy. Gordon suddenly disappears OUT OF FRAME. West stops to see what's happened to his partner now. ANGLE - GORDON He's on his back, arm holding the metal doughnut straight out over his head, being dragged across the desert floor by some unseen force. Gordon snowplows backwards through the sand for 40 feet, finally coming to an abrupt stop with a metallic klang! West deadpans this bit of insanity, walks over, and with the toe of his boot, uncovers the explanation - iron railroad tracks covered by drifting sand. WEST Arte. when you're right, you're right. GORDON Well I think our partnership is taking a big step forward. You finally admitted I was right about something. West helps him up. Then, as or two heroes follow the tracks into the distance. towards Spider Canyon. GORDON Now. how about admitting you were lost? WEST Do n't push it.\",\n \"GORDON Jim, I know I've hallucinated it several times before, so is that really the Wanderer? WEST That's the Wanderer. Gordon seems relieved to know his beloved train is not another mirage. They continue on to the rim of the canyon, peer over the edge. Reacting to what they see. GORDON And would it be too much to hope that I'm simply seeing a World's Fair down there? WEST Yeah, it would. That's Loveless' Lair.\",\n \"\",\n \"GORDON Now that's impressive. WEST Nice to see an invention that actually works.\",\n \"\",\n \"GORDON -LRB- dismissive. -RRB- We'll see about that. The fool does n't even realize he's trapped.\",\n \"\",\n \"WEST Gordon, let's ride! -LRB- pause. -RRB- You do know how to ride? He sticks his head through the door to.\",\n \"WEST A horse, I mean. GORDON -LRB- distracted. -RRB- Yes. I know how to ride a horse. When the situation calls for something primitive. WEST How about now? There's a big spider stompin' towards our President! But Gordon wo n't be hurried. He has a big book out, studies it, then looks back to his Nitro - cycle. GORDON I was just thinking about another spider. Remember in the desert, when that little wasp killed the tarantula? West rolls his eyes impatiently. WEST Yeah. Well, the wasp had a small advantage. It could fly. GORDON Exactly! Gordon excitedly shows the book to West. Pictured is an archaic sepia diagram of a weird aircraft. West looks at it in disbelief as Gordon prattles on manically. GORDON In 1540, Leonardo Da Vinci invented a flying machine called the ` Ornithopter.' Though he never actually flew it. West's heard enough. He grabs Gordon, shakes him. WEST Artemus! There's no time for plans or half - cocked inventions! They do n't work. We got ta stick to what we're each good at! As West drags Gordon to the wardrobe.\",\n \"\",\n \"PRESIDENT GRANT -LRB- O.S. -RRB- May God continue the unity of our country. CAMERA PULLS BACK to reveal a crowd present to watch President Grant knock in the famous spike. Behind him, two train engines are facing each other. The detectives scan the crowd for possible trouble. PRESIDENT GRANT as this railroad unites the two great oceans of this world. Now he swings back the sledgehammer. but at the top of his swing. CLOSE - SPIKE starts to shake, wiggle, and actually pop out of its hole. Very curious. As it begins to hop on the ground, bounced by a RESOUNDING THUMPING. ANGLE ON GRANT AND CROWD look across the desert to see.\",\n \"\",\n \"LOVELESS Well, is n't this a coincidence! I'm out for a little mornin' ride, and right in the middle of nowhere, I bump into General Ulysses S. Grant himself! -LRB- leans over edge, mocking salute. -RRB- We've never been properly introduced. I'm Dr. Arliss Loveless, formerly with the Confederate Army.\",\n \"PRESIDENT GRANT Yes, Dr. Loveless, what can I do for you today? -LRB- to his military aides. -RRB- Flank him, left and right. LOVELESS I have a humble abode nearby, and I hope you'll accept my hospitality. I have a little proposition to make. PRESIDENT GRANT What proposition is that? LOVELESS The unconditional and immediate surrender of the United States of America to the Loveless Alliance. PRESIDENT GRANT I did n't realize we were at war. Loveless gives the nod to Munitia.\",\n \"\",\n \"LOVELESS How about now?\",\n \"GORDON/GRANT In matters of war, the person to talk to would be me. If there's anyone more surprised than the President himself it's.\",\n \"LOVELESS Now just who are you? GORDON/GRANT The President. -LRB- turns to President, snorts. -RRB- He's just an actor hired to stand in for me on public occasions. A very bad actor, I must say. a little puffy and overweight. As the President eyes him, puffs on his cigar, Gordon/Grant apes his every move, bigger, mockingly. PRESIDENT GRANT -LRB- aside. -RRB- Gordon, you've got a lot of brass. Where's West? GORDON You know him, sir. Gordon/Grant shifts his eyes toward.\",\n \"\",\n \"GORDON/GRANT -LRB- loudly. -RRB- Captain, get this man out of my sight! And next time get me a real actor! As the bewildered captain starts to lead the President away.\",\n \"LOVELESS Take them both! Munitia, manning a sort of cannon, takes a bead on the two Grants. She pulls the trigger.\",\n \"PRESIDENT GRANT Well, Gordon. was this part of your plan? GORDON I'm by your side, sir. That's what's important. Now Munitia hits a lever and they're hoisted up off the ground. They only get a couple of feet when. BLAM! West shoots the mechanism and it jerks to a stop. All eyes turn to the source of the sharpshooting.\",\n \"\",\n \"\",\n \"\",\n \"\",\n \"\",\n \"LOVELESS Bonjour, buenas tardes and good day! Great glorious day! A day of healing for the wrongs that have been done to us all! Framed by a large flag featuring the spider emblem, he looks out from center stage of a Greek theater at the crowd of foreign dignitaries seated around him. LOVELESS Oh, how long have we waited! ANGLE - AMAZONIA, MUNITIA AND LIPPENREIDER dressed in tight Fascist - brown tankwear, rise from their seats and applaud. The only people not applauding are a row of haggard, bearded scientists and the manacled prisoners Gordon. -LRB- sans disguise. -RRB-, Rita, Grant and Coleman. LOVELESS -LRB- looks to Englishman. -RRB-. 1776, was n't it, old bean? Most expensive cup o' tea in history! As the Englishman dignitary nods soberly.\",\n \"\",\n \"LOVELESS -LRB- looks to Hudson the indian. -RRB- Manhattan for a handful of beads? -LRB- raises his hand ; injun - style. -RRB- How? -LRB- to the Mexicans. -RRB- Remember the Alamo indeed! -LRB- humbly to crowd. -RRB- Today I'm proud to be able to sit before you and tell you the wrongs will be righted. the past made present. the United, divided! To thunderous applause. Loveless signals for the flag to be pulled down, revealing. ANGLE ON MAP OF `` THE DE - UNITED STATES'' There have been some significant internal changes which Loveless now describes. The delegation from each country stands when they hear their name. LOVELESS Great Britain gets back the thirteen original colonies. minus Manhattan. -LRB- off applause. -RRB- Florida and the Fountain of Youth go back to Spain! -LRB- off applause. -RRB- Texas, New Mexico, California, Arizona revolve a Mexico! -LRB- off applause. -RRB- And the Louisiana Purchase reverts back to the King of France! In the front row Rita leans over to Gordon. RITA Queen of Spain. King of France. I was close. MUNITIA -LRB- jostles her. -RRB- Shut up and listen to a real genius! Finally Loveless taps Colorado, Kansas, Utah and Nevada - now labelled as `` Loveless Land.'' Smiles impishly. LOVELESS And a tiny piece for me to retire on. There's appreciative laughter.\",\n \"\",\n \"LOVELESS My partner nations insist that we make this as legal as possible. Personally, I like the symmetry of it. After all was n't it you who made us sign a surrender at Appomattox? Loveless snaps his fingers. Amazonia drags Grant out of his seat and sticks a pen in his manacled hands. PRESIDENT GRANT Never will I sign that paper, never will the United States ever surrender! LOVELESS Well, sir, we're at loggerheads then, are n't we? And I suppose the threat of death to someone with your valorous war record, would mean nothing. Grant sets his jaw intractably. He's right about that. LOVELESS so, if you still refuse to sign this surrender. we'll start by shooting your man, Gordon. Loveless whirls, nods to Amazonia who drags the President back to his seat, pulls Gordon out of his. Rita ca n't help her outburst. RITA Artemus! Artemus smiles at her, extremely brave under the circumstances. He whispers to Rita and the President. GORDON -LRB- tugs at his vest. -RRB- Do n't worry, I'm wearing the Impermeable. Rita turns to Grant. What the hell is that? Gordon has no time to explain as Amazonia hauls him up on the stage. As Munitia aims her rifle. Gordon holds up a finger. GORDON If I may have one request. it's that she aim at my heart. which has loved this great country so much! LOVELESS -LRB- considers for a moment. -RRB- Shoot him in the head. GORDON Great. Munitia cocks her rifle, then just as Loveless holds his hands up for the signal to fire. the lights dim.\",\n \"CHANTEUSE -LRB- singing. -RRB- ` Ohhh. Hangtown gals are plump and rosy.' Loveless wheels his chair around to take a gander and forgets Gordon's execution instantly. And why not? She's young and beautiful in a RuPaul sort of way. About six feet tall, wearing the blue sequined number Gordon had in his dressing room. Accessorized with black mesh stockings, big feather boa, silver - buckled belt, lots of frilly petticoats for those can - can moves. CHANTEUSE -LRB- singing. -RRB- ` Hair in ringlets, mighty cozy.' She winds her finger around her ringlets and sticks out her derriere to the crowd. They stare, mouths agape at this piece of ass worthy of Othello. CLOSE - LOVELESS Intrigued. Well, maybe more than intrigued. LOVELESS A new girl! What a nice surprise! He motions to hold up Gordon's execution, rolls to her. CHANTEUSE ` Painted cheeks and frilly corsets.'. -LRB- bends over showing her undergarment. -RRB- Touch them.' Loveless hears this as an invitation, reaches out with his hand and whap! She slaps him right in the face. CHANTEUSE. And they'll sting like hornets!' There's a hush in the crowd. Loveless, a red handprint on his face, is a little nonplussed. Amazonia moves in threateningly, but Loveless stops her, starts to laugh. LOVELESS -LRB- making her name up on the spot. -RRB- Ebonia! Why are you so cruel to me? Ebonia has escaped a head - cutting neck bracelet. But she probably should n't be teasing a man who's having `` ghost aches'' in certain amputated places. ANGLE - GORDON waiting to be executed. Something's not quite kosher about her for Gordon. GORDON -LRB- musing to himself. -RRB- I have a dress like that. ANGLE - CHANTEUSE Now with the crowd singing along, she pulls out all the stops. Her gestures and dance moves become more exaggerated, she's in the thrall of her audience. CHANTEUSE -LRB- singing. -RRB- ` Hangtown gals are lovely creatures Think they'll marry Mormon preachers.' She sashays over to the French dignitary, pulls his monocle out of his eye and blows hot breath on it, steaming it up. As she pops it back on his face. CHANTEUSE -LRB- singing. -RRB- ` Heads thrown back to show their features.' Now she puts her cheek next to Rita as if matching their relative beauty while picking the pocket of Lippenreider. Rita pushes her away disgustedly but not before Ebonia hands Coleman the keys to the cuffs. Coleman looks from the keys to Ebonia. He just caught on. COLEMAN Go, Ebonia, go. Then Ebonia prances on stage to Gordon, cuddles up to him. Gordon looks at the big beautiful black woman with a mixture of amusement and relief. Of course, it's his `` I'd rather be dead'' partner, Jim West. WEST -LRB- singing. -RRB- Ha. Ha. Hangtown girls. GORDON Not to sound ungrateful, but you're a little over the top. WEST -LRB- sings. -RRB- Ha. Ha. Ha. West/Ebonia wraps the feather boa around Gordon's neck - hiding the derringer in the palm of his hand. Gordon looks worried. What's he going to do with a gun? As he tucks it up his sleeve. GORDON Let me warn you about that dress. WEST Got ta go. Big finish. -LRB- belts it out. -RRB- ` Ha, ha, ha! Hangtown gals!' An immediate standing ovation. The diversion allows Coleman to unlock both Grant's and Rita's shackles. Grant looks at the keys. PRESIDENT GRANT Where'd those come from? COLEMAN -LRB- nods to Ebonia. -RRB- Captain West. Their eyes practically pop out of their heads. RITA She's. no! ANGLE - EBONIA/WEST One more time. WEST -LRB- singing. -RRB- ` Ha, ha, ha. Hang. Town. Girls!' Suddenly the tassels on his bosoms are spinning to the delight of the crowd. WEST -LRB- suddenly blinks. -RRB- Wait a minute. What the hell is this? He stops, but his tassels are still spinning on their own.\",\n \"RITA Serves you right for staring at them. As she relieves the charred goon of his keys. Loveless turns to the rest of his goons. LOVELESS Kill him! -LRB- off their confused looks, points. -RRB- Him! Him! The girl! Finally getting it, they rush Ebonia. Even his 4th of July breasts are n't a match for them. Desperate, West reaches way down in his undergarments to retrieve one of Gordon's billiard balls. He depresses the number and rolls it at the guards. GORDON Was that the eight ball? WEST Mmm - hmm. Gordon grabs West and Rita, pulls them behind the bar. GORDON That one's an incendiary bomb. KA - BOOOOM! An EXPLOSION rips the place and a Santa Ana - sized fire starts immediately. Rita jumps up and makes her way through the smoke to a bearded SCIENTIST. WEST/GORDON Rita! She unlocks his neck collar, turns to them and smiles. RITA -LRB- disappearing into the chaos. -RRB- Meet me after the show! Both West and Gordon look after her with yearning as three goons charge them. Coleman, amazed at their torpor, quickly grabs a RIFLE from the incinerated goon and OPENS FIRE. BLAM! BLAM! BLAM! Three goons drop. Gordon and West exchange looks. Not bad for an emphysemic old engineer. COLEMAN Special Marshal. President thought you needed some lookin' after. Speaking of the President. he's grabbed a dead goon's RIFLE, and is LAYING DOWN a pretty good field of FIRE himself. Suddenly, he gets a tap on the shoulder from behind. It's Amazonia. Whap, she sends a right to his chin knocking him out. She throws him over her shoulder and carries him away.\",\n \"FRENCH MINISTER Monsieur, we are your partners! You ca n't let us die in this fire! LOVELESS It's not the first time y' all have been burned in America. He chuckles, nods to Amazonia, who SLAMS the DOOR closed.\",\n \"\",\n \"\",\n \"EXT. AMPHITHEATER - DUSK COLEMAN This is diabolical! They've got the President and I've still got that silly song in my head! GORDON -LRB- freaking out. -RRB- C'mon we got ta go! We got ta ride horse! Something! West is watching the Tarantula, turns to calm him. WEST No, Arte. Right now, we need a plan. Gordon tries to compose himself. WEST That flyin' machine idea of yours. were you just acting like you knew what you were talking about. or could you build it?\",\n \"GORDON -LRB- O.S. -RRB- Now Bernoulli's Principle states that the air flowing over a bird's wings. is moving at a lower pressure than the pressure below the wing. that's called ` lift.' Course, it's just a theory. it's never been tested. NEW ANGLE - GORDON'S DRAWING It depicts a wing cutting through the air. Arrows indicating airflow. Circular lines indicating `` life.'' Only one problem, it's upside down. Gordon remedies that. Looks sheepishly to West who, like him, is wearing a leather flight jacket and goggles. WEST You're not makin' me feel any better. Now they attach the wing to the frame - which is connected to the Nitro - cycle. Coleman, his ever - present cigarette dangling from his mouth, readies bombs from the gunpowder of cartridges and Gordon's design. They look like Flash Gordon's spaceship. He passes them out. COLEMAN Here's a coupla bon voyage presents. GORDON Coleman! Must you smoke when handling explosives! Gordon grabs them away from him and sits in the saddle of the Nitro - cycle. West looks at Coleman apologetically as he stuffs the bombs into his jacket. WEST He's just a little nervous'cause no one's ever flown before. West is barely on the back when Gordon kicks it over and they BLAST OUT OF FRAME.\",\n \"WEST Avant! Avant! But their speed is not enough to get them airborne. GORDON We're not getting enough lift! We need more speed! Then in an uncharacteristic move by Gordon, he turns the machine around and heads for the cliff. WEST Hey, uh. that's the cliff over there, you know? He guns the accelerator. GORDON Yes, I do know. And with that, the Nitro - cycle goes off the cliff! It disappears for the count of five. Then suddenly it swoops up and PAST CAMERA. They're flying!\",\n \"EXT. SKY - DESERT WASP - IN FLIGHT - DUSK GORDON -LRB- amazed. -RRB- It worked? It worked! WEST -LRB- looking down. -RRB- If you had to get one right, I'm real glad it was this one. GORDON -LRB- exhilarated, with West - like abandon. -RRB- Yeee - haaa! And with that, they bank the Desert Wasp around and fly off to save the Republic.\",\n \"\",\n \"LOVELESS Mr. President, I'll ask you once again. Sign the surrender or I decimate this town! PRESIDENT GRANT You've had my answer. Loveless's face darkens as Amazonia hands him a tray of cotton balls. LOVELESS -LRB- as he puts in earplugs. -RRB- I find the sound of people screaming while they get blown to smithereens, ruins the ear for music. Do n't you? He offers them to the President. Grant swats them away. LOVELESS Commence firing! And with that the Tarantula OPENS FIRE on the town. There's a lot of stomping and smashing, too.\",\n \"GORDON I think I'll call it. WEST Lem me guess. an Elevation Enhancer? GORDON -LRB- why would you call it that? -RRB- No, Air. Gordon. Now West points to the Tarantula and chaos below. WEST Go down, down there! GORDON -LRB- as if to a child. -RRB- You ca n't just ` go down there.' Flight depends on lift, which must be calibrated to the angle of descent. WEST Shut up and go down there, will ya? West reaches up, shoves the make - shift joystick forward. As the wasp plummets toward the bridge of the Tarantula and Gordon strains to keep control.\",\n \"LOVELESS Well, Mr. President. Have you had enough yet? Would you like to sign the surrender or shall we set a course for Denver? Wichita? Washington, perhaps? Suddenly there's a LOUD WHOOOSH and.\",\n \"\",\n \"\",\n \"\",\n \"PRESIDENT GRANT Well, I'll be damned. it's West and Gordon. flying! Grant chuckles at the dauntless pair's pluck. PRESIDENT GRANT Keep that surrender handy. I think you're going to need it! LOVELESS Do n't be too sure. Loveless thinks for a moment, pushes Grant out of the way, and rolls over to the controls. He pushes a lever and the Tarantula bends down on its knees. He barks to Munitia. LOVELESS I'm through with diplomacy. Take him away and kill him!\",\n \"\",\n \"\",\n \"WEST What does your boy da Vinci say about puttin' this bird down? GORDON I do n't think he thought it would ever work, so he did n't get that far. I'm open to suggestions. WEST Take out as many bad guys out as you can. Gordon aims wasp at the Tarantula kamikaze - like just as.\",\n \"\",\n \"LOVELESS Munitia! Munitia!\",\n \"GORDON Sorry about that, sir. Nose up, flaps down. Have to remember that next time. PRESIDENT GRANT Son, never apologize for saving a President's life. As Gordon realizes that he's finally made amends for that night long ago in Ford's Theater. AMAZONIA -LRB- O.S. -RRB- Soon you all can fly again. This time with little angel wings. West, Gordon and Grant turn to see Amazonia and Lippenreider with the drop on them.\",\n \"LOVELESS Gentlemen, I am truly impressed by your effort and ingenuity. Why not swear an oath of loyalty to me. and forego your executions. WEST Why not? Well, I guess maybe I'd rather see what happens when I stuff your ass into that cannon up there and fertilize the landscape. GORDON Uh, Jim, I think a polite ` no' would suffice. Loveless taps a button on his chair and the floor opens up beneath West. He goes crashing down a story. Loveless sics Amazonia on Gordon and Grant and proceeds down the ramp to the level below. LOVELESS Lippenreider, take over the controls. -LRB- looks down at West. -RRB- We may not have a woodshed on board, but that boy is gon na get a whoopin' anyway!\",\n \"WEST So, I guess you're the one who's gon na give me my whoopin'. They square off. A beat. Then, a long steely blade shoots out from where his left hand used to be. WEST Pfft. I got one a' those. West reveals the less impressive four inch stiletto in his boot. Knife Guy responds by producing another blade from his other cuff. WEST But you've got two of those. -LRB- beat. -RRB- Okay, lem me talk to Gordon, I'll see if he can. No time for talk. Knife Guy does a bad - ass series of moves. The blades criss - crossing one another at blinding speed. West, unimpressed, retorts with a lame shake of his stiletto and boot. And the fight begins. Knife Guy attacks! West narrowly escapes each thrust of the knife, and attempts a kick to the groin. but comes up short - The stiletto collides with one of the blades and snaps like a carrot. His only weapon. gone. WEST Damn. West rolls onto the railing to avoid the attack. Sparks fly as the Knife Guy tries to slice and dice West but misses each time, hitting the metal railing instead. West rolls to the floor, sucking air. Knife Guy lands a kick to West's ribs. And to make matters worse. WRENCH GUY just showed up. He swings his wrench at West's head. West ducks but gets kicked in the back. He sails across the room, lands flat on his back. Now. SHOVEL GUY makes an appearance. He hammers his shovel at West's groin, over and over. -LRB- West is in a crab position and backs up to avoid this. -RRB- West finally gets a kick in - it does a moderate amount of damage. Wrench Guy appears and swings his huge wrench at West's head. West escapes it, barely. Knife Guy thrusts a side - kick at West's chest, but West catches his foot, holds on for dear life. Wrench Guy is inbound, with wrench in hand. He swings on West, but West blocks it with Knife Guy's leg. OUCH! West punches both of them. Wrench Guy tumbles OUT OF FRAME. West stands. Looking for a way out, but. no luck. Shovel Guy attacks. West ducks and the shovel connects squarely with Knife Guy's blades. West crouches and throws two simultaneous punches, each connecting with a set of jewels. West stands, follows it up with a right cross and left hook and these two jokers wind up OUT OF FRAME. Now. the Wrench Guy is on his feet and he's pissed! He attacks West, lands a solid kick to the chest and West flies backward toward a. HANGING CHAIN which he grabs. He scales the gears, gets a solid grip, then swings, a huge arc across the room, gaining momentum, and kicks Shovel Guy and Wrench Guy at the same time! Off their feet they go, slamming onto the metal floor. West lands. Knife Guy attacks. West uses the chain to block the blades which are flying at him, left and right. Sparks fly. West manages to wrap the chain around one of the knives, locks it down, and heaves it into the gears. the blade snaps. WEST No more Mister Knife guy! West drops a stiff right - cross on the chin of the Knife Guy. wobbles his legs a bit. But before West can follow up. ANOTHER BLADE SHOOTS OUT to replace the broken one. It stops about a half - an - inch from West's nose. A struggle ensues, but West manages to wrap the chain around Knife Guy's neck and string him up. West throws a kick to his back. Knife Guy, hanging by his neck, flies through the belly. -LRB- the chain is on a track. -RRB-. and out of the mouth of the beast, down into the abyss, chain and all. Shovel Guy springs to his feet and swings on West. West grabs the shovel and they struggle for possession. Wrench Guy comes out of nowhere and wants a piece of the action. But West uses the shovel to deflect the swing - ing wrench. sparks fly. West gains sole possession of the shovel and mule - kicks Shovel Guy OUT OF FRAME. West spins just in time to land a crippling blow to Wrench Guy's back. Shovel Guy grabs the shovel. He and West tug - o' - war again. West ducks under the shovel and moves back - to - front with him. West elbows him in the ribs. He responds by putting West in a choke hold. West swings the shovel wildly but hits his target - shovel Guy's head! West steps back, gets his footing and, for good measure, whacks him in the back. Wrench Guy attacks. West defends himself with the shovel and lands a stiff kick to his stomach. Wrench Guy goes down. West turns, hits Shovel Guy in the chest with the shovel and he goes down. Wrench Guy sneaks up on West from behind and swings at his head. West, on instinct, lifts the shovel and blocks the deadly blow at the last second. West has now found his rhythm. He swings and shovel and connects with. first, the foot, then the chin, and last but not least, the head - BOINK! West drops the shovel and, World Wrestling Federation style, picks him up and hurls him into the space between the gears. We wo n't see him anymore! West pivots and WHACK! Shovel Guy plants a neat little roundhouse kick squarely on West's jaw. West backs up and catches another in the stomach. Then. Shovel Guy really shows what he's made of. He does a series of jump - kicks, round - houses and fan - kicks into the air. All perfectly timed, all deadly. SHOVEL GUY I learned that from a Chinaman. West, without missing a beat, steps on the shovel, which flips into his hand and - WHACK! - lands a clean one right on the top of Shovel Guy's melon. WEST I just made that up. Shovel Guy reels back and tumbles over the railing, through the hole and he's gone. WEST Do n't forget your shovel! West casts the shovel out into the abyss. WEST -LRB- upward. -RRB- Is that all you got for me, Loveless?! West, exhausted, turns and sees. METAL HEAD all seven feet of him. The top of his head is a metal plate. Extending downward, encircling his eyes. West soaks him in, sighs. WEST Uh, I just threw my shovel out. So this really is n't fair. If you do n't mind, I'd like to. West, at lightning speed, throws a sucker - punch/spin - ning back - fist to Metal Head's jaw. PING! That one really hurt. West's hand, that is. Metal Head is n't fazed a bit. West throws another shot, this time to the gut. PING! Then a kick to the groin. PING! WEST -LRB- incredulous. -RRB- Noooo. Metal Head has had enough. He effortlessly picks West up by his lapels and flings him across the room. West tumbles, and lands right next to. WRENCH He picks it up and starts swinging! A shot to the body. PING! Then another. PING! Then another. PINGGGG! Metal Head lurches forward, absorbing each blow with not so much as a twitch of the eye. West furries. PING! PING! PING! PING! nothing! He goes for the head. PINNNNNNGGGG! nothing! West is out of time. He's been backed up as far as he can go. His heels are dangling over the mouth of the beast, a thousand feet above the rocky cliff. WEST Sorry. Metal head grunts, grimaces and pitches forward, toward West, slowly but menacingly. West braces himself. METAL HEAD Urrrrrrrrrrggggghhh! West side - steps and Metal Head falls face first into the open air. WEST -LRB- downward. -RRB- You guys just do n't get out enough. CUT TO :\",\n \"WEST When you get right down to it, Loveless, you just ca n't beat a good pair of legs. LOVELESS -LRB- thin smile. -RRB- You're obviously not a poker player, Mr. West. Loveless presses a button, the sound of MECHANICAL GEARS ENGAGING. Suddenly four metal legs appear from underneath the wheelchair, raising his body to a height of six foot ten. LOVELESS Two pair always beats a pair. West stares up at him slack - jawed. Loveless rolls up his sleeves, steps away from the wheelchair ready to fight. LOVELESS Now. Was it someone particularly close to you who perished in that military action? West responds with a roundhouse kick to the chin that makes Loveless spin around on the platform of his chair. LOVELESS -LRB- stunned. -RRB- Hmmm. Well, that hit a nerve. Loveless imitates West by kicking with a lightning flash of an alloy leg. It's a rib cracker that sends West sprawling. LOVELESS A mother, perhaps? A father? CLOSE - WEST'S HAND He's just trying to get up when a cleated metal foot stomps down with hundreds of foot pounds per square inch. As West screams in pain.\",\n \"\",\n \"LOVELESS It feels so good to stretch my legs. West ca n't take much more of this, he's about to pass out. Loveless lowers his alloy foot over West's head and begins to crush it like a grape. LOVELESS I likes to beat my feet on the Mississippi mud!\",\n \"GORDON Stop this violence! Gordon blinks at the gun. So do Lippenreider and Amazonia. Grant knows what to say, if Gordon does n't. PRESIDENT GRANT Drop'em. They obey, chucking their guns overboard.\",\n \"GORDON -LRB- O.S. -RRB- Stop or I'll shoot! If possible, West's eyes pop even further. Gordon shoot? NEW ANGLE - LOVELESS looks up to see Gordon holding the derringer on him from up above. LOVELESS You expect to kill me with that little pea shooter? GORDON If I have to. Yes. LOVELESS Why is it, that I'm unafraid? -LRB- chuckles. -RRB- I believe you gentlemen are the polar opposites of a moral dilemma and I'm stuck in the middle. On one end, we have Mr. West, a man of primitive vigours uncomplicated by intellect. And on the other, there's Mr. Gordon. A man of ideas, but unlike myself, lacks the passion to kill for them. He'd like to be able to act his way out of it. And for some reason when he's actin', someone always seems to get killed. Loveless puts more pressure on West's head, he groans. Gordon aims. WEST -LRB- gasps. -RRB- Shoot him, Gordon! LOVELESS I'm right about you, are n't I, Gordon? And that's why I'm gon na kill your friend here. Then I'm going to kill you. POP! The SHOT startles Loveless, West and even Gordon. But when Loveless realizes that he's not hit, he laughs. LOVELESS After all that, you missed. GORDON Not exactly. He gestures down Loveless's legs to a punctured metal tube that's spraying a stream of hydraulic fluid all over the deck - rendering the foot on West's head, powerless. West gets out from under, rubs his neck to regain circulation. WEST Better than a fountain pen, do n't you think. -LRB- nods behind Gordon. -RRB- By the way, your chivalry's about to be tested. Gordon turns to see. ANGLE - AMAZONIA AND LIPPENREIDER Charging him. They smash into him, driving him to the rail. As they pummel him, trying to throw him over, Gordon realizes this is no time for passivity. He retaliates with a series of chops and kicks that would make West proud. Over the rail, goes Lippenreider. In that split - second before she drops, Gordon mouths `` bye - bye.'' Before he can savor the moment further, Amazonia clubs him from behind. Gordon whirls and hits her so hard it surprises them both. Over the railing she goes! As Amazonia hovers there, President Grant gives her the kick in the pants she needs to go sailing. PRESIDENT GRANT -LRB- to Gordon, impressed. -RRB- We'll be joining them in a moment if you ca n't stop that thing!\",\n \"PRESIDENT GRANT Let's see how clever you really are. Gordon frantically starts pulling this lever and that. Meanwhile.\",\n \"WEST For almost four long years I've been trackin' the animal responsible for the Massacre at New Liberty. And I hear that's you. But with the hydraulic fluid, the fight has gone out of Loveless. His mechanical legs shrivel before our eyes, and Loveless sinks helplessly to the deck like the Wicked Witch. Whimpering pathetically, he uncouples his body from the useless contraption and slowly backs up to his wheelchair that's stuck against the railing. LOVELESS Please, West. show a little mercy to a poor defenseless cripple. WEST -LRB- imitating his accent. -RRB- Now, now, Doctor. let's not cloud this otherwise sunny day with that poor - ol' - me - cripple - talk. Just buck up and say to yourself,' I am indefatigably hard - pumpin' and steely!' Loveless gets to his wheelchair and collapses in it. LOVELESS After I kill ya, I swear I'm gon na boil you down to axle grease! WEST Now that's the ol' doctor I know! But the smile fades from West's face when he sees Loveless's shotgun armrests pop out leveled at his waist. West has nowhere to go but up as he leaps to grab the I - beam over his head just as Loveless pulls the triggers on both BARRELS. BOOM! BOOM! The SHOTS almost blow the heels off West's boots. They PUNCTURE a PIPE behind him. Steam spews out. This is going to have an effect on something.\",\n \"\",\n \"\",\n \"\",\n \"\",\n \"LOVELESS Well, I'll be a monkey's uncle. How did we arrive in this dark situation? WEST I do n't know. Guess I'm stumped! LOVELESS And I'm so cotton - pickin' afraid of heights. They just give me the spooks! WEST Ah, do n't be afraid, Loveless. With this being the last leg of our journey and all, you should soak in the view, you're really missing something. LOVELESS Mister West, I'm gon na cut this conversation short. WEST Good one, Loveless. I did n't think of that one. LOVELESS -LRB- furious. -RRB- Mister West! I am faced with a difficult decision here. On one hand, there is the overwhelming love that I have for myself, and on the other, the raw, seething hatred I have for you! Now, I could kill you very easily, just by pulling this lever. He moves the joystick. The chair jerks back. LOVELESS But, of course, I would die along with you. I guess the only thing that I can take comfort in is the hope that you would hit those rocks a second before me and I could enjoy immeasurable bliss before I vanish. -LRB- moving joystick back and forth. -RRB- What to do, what to do. West grabs the joystick. WEST Allow me to make that decision easy on you, Loveless. Because I want to see you dead a hell of a lot more than I want to live. LOVELESS Why is it that I have a sneaking suspicion, that although you are as black as the night on the outside. inside, you are yellow?! They lock eyes. A beat. LOVELESS You do n't have it in you, do you. boy?! WEST You were right. Let's cut this conversation short! West yanks the joystick back. ANGLE - LOVELESS his eyes widen. The wheels spin for a second, finally catch, and in a flash, Loveless and West free - fall into space. LOVELESS Weeeeeeeeeest! A beat, then. ANGLE - CHAIN which is dangling from the belly of the beast. At the bottom of the chain is the Knife Guy from the fight scene. West is hanging on to his ankles, enjoying a vindictive, belly laugh. WEST -LRB- downward. -RRB- Now that looked like it hurt. CUT TO :\",\n \"PRESIDENT GRANT Gentlemen, I now strongly believe the United States is going to be truly united. Not because of this railroad. but because of you. Grant scans the crowd, every race seems present at this momentous event. He reaches into his pocket, takes out two silver shields. PRESIDENT GRANT I've signed into law the creation of an agency whose sole duty is to protect the President and the country from lunatics like Loveless. -LRB- pins badges on their vests. -RRB- Welcome to the Secret Service, Agents No. 1 and No. 2. The President shakes both their hands. Gordon resists looking down. GORDON Uh, just out of curiosity, sir. who's Agent No. 1? Grant just shakes his head, some things never change. PRESIDENT GRANT I do n't think that matters very much, do you? Gordon? Besides, you'll have plenty of time to discuss it on your new assignment. -LRB- hands them piece of paper. -RRB- See you back in Washington. He snaps off a salute, starts to go as they read it. Gordon looks up, very troubled. GORDON But, sir. what about our train? PRESIDENT GRANT -LRB- over shoulder. -RRB- Well, I'm taking it of course. Hell, you let Loveless blow up mine. As they look at one another in dismay. RITA -LRB- O.S. -RRB- Jim. Arte? They turn to see Rita approaching them from a crowd of scientists. She's looking extraordinarily fetching in a print dress and parasol. West and Gordon sit up like dogs. WEST Rita! You look great. GORDON Ravishing, a vision. She hugs West, she hugs Gordon. Who's it gon na be? RITA I just wanted to thank you for everything you've done for me. before I went back home to Texas. WEST Texas? Why're you going back there? Why do n't you come with me back to Washington? GORDON Or better still, come with me to Washington. I could introduce you to people I still know in the theater. WEST She's not really an entertainer, remember? RITA -LRB- intercedes. -RRB- I ca n't go with either of you. She looks from one crestfallen suitor to the other. RITA It's not that you both do n't have your attributes. -LRB- to Gordon. -RRB- You're so sophisticated and such a wonderful cook. -LRB- to West. -RRB- Jim, you're good with a gun. and have great legs. -LRB- to both. -RRB- And you're both so brave. But. I'm afraid I have n't been completely honest with you. WEST AND GORDON Uh - oh. RITA Professor Escobar's not my father. He's my husband. She gestures to a handsome goateed Latino waiting for her. Shaved and cleaned up, he's not the old man we thought. WEST Rita. why did n't you just tell us that in the first place? RITA Well, I was going to. but would you have really brought me along if I said I was married? Honestly. Neither West nor Gordon knows what to say. RITA I did n't think so. She turns and starts to walk away. Stops and smiles. RITA At least you still have each other. As West and Gordon look at one another.\",\n \"WEST -LRB- O.S. -RRB- You know, Arte. GORDON -LRB- O.S. -RRB- What's that, Jim? WEST -LRB- O.S. -RRB- Maybe Rita's right. Suddenly intruding into the f.g. is a huge metal leg. Then another LEG CLOMPS down. and the Tarantula comes INTO FULL VIEW. As our heroes ride slowly into the sunset. WEST Besides. there's a lot of other women in the world. GORDON That's easy for you to say. She did n't walk off with your best dress. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,1,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"In 1869, four years after the end of the American Civil War, U.S. Army Captain James T. \"Jim\" West and U.S. Marshal Artemus Gordon hunt for ex-Confederate General \"Bloodbath\" McGrath. West is after McGrath for another reason: the general was responsible for the massacre of New Liberty which claimed his parents' lives. U.S. President Ulysses S. Grant informs the two about the disappearance of America's key scientists and a treasonous plot by McGrath, and tasks them with finding the scientists. Aboard their train The Wanderer, Gordon examines the head of a murdered scientist and found a clue leading them to Dr. Arliss Loveless, a legless ex-Confederate scientist. West and Gordon infiltrate Loveless's party, where they rescue a woman named Rita Escobar. Rita asks for their help in rescuing her father Professor Guillermo Escobar, one of the kidnapped scientists. Loveless holds a demonstration of his newest weapon, a steam-powered tank, and angers McGrath by using his soldiers as target practice. Accusing McGrath of \"betrayal\" for surrendering at Appomattox, Loveless shoots him and leaves him for dead. Gordon, West, and Rita find the dying McGrath, who reveals he was framed by Loveless for the massacre of New Liberty. The three caught up with Loveless on The Wanderer. After a brief fight, Rita accidentally releases sleeping gas which knocks out West, Gordon and herself. West and Gordon wake up as Loveless pulls away in The Wanderer with Rita as a hostage, announcing his intention to capture President Grant at the golden spike ceremony and leaving West and Gordon in a deadly trap. Evading the trap, the pair stumble across Loveless's private railroad leading to his industrial complex hidden in Spider Canyon. They witness Loveless's ultimate weapon: a gigantic mechanical spider armed with nitroglycerin cannons. Loveless uses his spider to capture Grant and Gordon at the ceremony. As West attempts to infiltrate the spider, he is shot in the chest by Munitia, one of Loveless's bodyguards. At his complex, Loveless threatens to destroy the United States with his mechanized forces unless Grant divides the states among Great Britain, France, Spain, Mexico, the Native American people and Loveless himself. After Grant refuses, West, having survived the shot, disguises himself as a belly dancer and distracts Loveless, allowing Gordon to free the captives. Loveless escapes on his mechanical spider while taking Grant with him, and attacks a small town to force Grant to sign the surrender. Using a flying machine, Gordon and West catch up to the spider. West battles the henchmen before confronting Loveless, who is now on mechanical legs. After freeing Grant, Gordon shoots one of Loveless's legs, allowing West to gain the upper hand. As the mechanical spider approaches a cliff, Loveless shoots West with a concealed gun, but instead hits the control and halts it abruptly at the edge of the canyon. West maneuvers himself to safety while Loveless falls to his death. Grant promotes Gordon and West as the first agents of his new United States Secret Service. After Grant departs on The Wanderer to Washington, D.C., West and Gordon reunite with Rita, whom they both attempt to court, but she announces that Professor Escobar is actually her husband. Gordon and West ride into the sunset on the spider."},"name":{"kind":"string","value":"Wild_Wild_West"}}},{"rowIdx":179,"cells":{"scenes":{"kind":"list like","value":["EXT. JUNGLE NIGHT An eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side, alert as hell. A legend tries to place us - ISLA NUBLAR 120 MILES WEST OF COSTA RICA - but to us it's still the middle of nowhere. It's quiet for a second. A ROAR rises up from the jungle, deafening. The trees shake as something very, very large plows ahead through them, right at us. Every head gathered in this little clearing snaps, turning in the direction of the sound as it bursts through the trees. It's a bulldozer. It drops its scoop and pushes forward into the back end of the crate, shoving it across the jungle floor towards an impressive fenced structure that towers over an enclosed section of thick jungle. There's a guard tower at one end of this holding open that makes it look like San Quentin. The bulldozer pushes forward into the back end, the crate THUDS TO THE FLOOR. A door slides open in the pen, making a space as big as the end of the crate. Nobody moves for a second, A grim - faced guy who seems to be in charge -LRB- Robert Muldoon, although we do n't know it yet -RRB-. MULDOON Alright now, pushers move in. Loading team move it. The movement as agitated whatever is inside the crate, and the whole thing shivers as GROWLS and SNAPS come from inside. Everyone moves back. MULDOON -LRB- cont'd. -RRB- Alright, steady. Get back in there now, push. Get back in there, Do n't let her know you're afraid! The men go back to the crate and begin to push it into the slot. The crate THUDS UP AGAINST THE OPENING. A green light on the side of the pen lights up, showing contact has been made. FROM INSIDE THE CRATE, we get glimpses of what's on the other side of those wooden slates - jungle foliage, MEN with rifles, searching searchlights. The view is herky - jerky as the crate put into position. MULDOON Well lockedŠ Loading team, step away. Joffrey, raise the gate. A WORKER climbs to the top of the crate. The search lights are trained on the door. The RIFFLEMEN throw the bolts on their rifles and CRACK their stun guns, sending arcs of current CRACKING through the air. The WORKER gets ready to grab the gate when all at once - A ROAR from the inside the crate, and the panel flies out of his hands and SMACKS into him, knocking him clear off the crate. Now everything happens at once. The WORKER THUDS to the jungle floor, the crate jerks away from the mouth of the holding pen flash, an alarm BUZZER sounds - - and a claw SLASHES out from inside the crate. It sinks into the ankle of the WORKER. dragging him toward the dark mouth between the crate and the pen. The WORKER SCREAMS and paws the dirt, leaving long claw marks as he is rapidly dragged toward the crate. Muldoon SHOUTS orders : MULDOON Tasers get in there, Goddamn it! They FIRE their guns - the wood of the crate SPLINTERS. Muldoon runs in and grabs the WORKER, trying to pull him free. The wild arcs of currents from the stun gun flash and CRACK all around, but in a second - - the WORKER is gone.","EXT. MOUNTAINSIDE DAY MANO DE DIOS AMBER MINE DOMINICAN REPUBLIC DONALD GENNARO, forty, in a city man's idea of hiking clothes and a hundred dollar haircut, approaches on a raft being pulled across a river by TWO MEN. On the hillside, JUAN ROSTAGNO, thirty - ish, Costa Rican, a smart - looking guy in workers clothes, is waiting for him. ROSTAGNO Tengo mil pesos que dicen que se cae. -LRB- I have a thousand pesos that say he falls. -RRB- -LRB- or. -RRB- Apuesto mil pesos que se cae. -LRB- I bet a thousand pesos he falls. -RRB- Gennaro finally lands, and Rostagno helps him off the raft. GENNARO Hola, Juanito ROSTAGNO Hola, bienvenido Rostagno leads Gennaro towards the mine. Dozen of shirtless WORKERS claw and SCRAPE at a rocky mountainside that is the site of an extensive mining operation. The work is all done by hand, pick and shovel instead of dynamite and bulldozer. GENNARO What's this I hear at the airportŠ Hammond's not even here? ROSTAGNO He sends his apologies. GENNARO You're telling me that we're facing a $ 20 million lawsuit from the family of that injured worker and Hammond could n't even be bothered to see me? ROSTAGNO He had to leave early to be with his daughter. She's getting a divorce. GENNARO I understand that. -LRB- or. -RRB- I'm sorry to hear that. We'd be well advised to deal with this situation now. The insurance company - Gennaro almost falls, Rostagno helps him. GENNARO -LRB- cont'd. -RRB- - the underwriters of the park feel the accident raises some very serious questions about the safety of the park, and they're making the investors very anxious. I had to promise I would conduct a thorough on - site inspection. ROSTAGNO Hammond hates inspections. They slow everything down. GENNARO Juanito, if they pull the funding, that will really slow things down. -LRB- or. -RRB- If they pull the funding that's going to slow things down around here. A WORKER hurries up to them and busts into the conversation, breathless. WORKER -LRB- to Rostagno. -RRB- Jefe, encontramos otro mosquito, en el mismo sitio. -LRB- Chief, we found another mosquito in the same place. -RRB- ROSTAGNO Seguro? Muestrame! -LRB- Are you sure? Show me. -RRB- The WORKER and ROSTAGNO scramble back deeper into the mine. Rostagno calls back over his shoulder to Gennaro. ROSTAGNO -LRB- cont'd. -RRB- It seems like it's going to be a good day after all. They found another one! C'mon. Gennaro struggles to keep up.","EXT. CAVE DAY ROSTAGNO and GENNARO move into the dark, dripping cave, where at least a dozen other WORKERS are gathered in a tight circle, staring at something intently. Rostagno fights his way to the center of the group. One of the WORKERS hands him something and Rostagno examines it carefully. It's a chuck of amber, a shiny yellow rock about the size of a half dollar. GENNARO If two experts sign off on the island, the insurance guys'll back off. I already got Ian Malcolm, but they think he's too trendy. They want Alan Grant. ROSTAGNO Grant? You'll never get him out of Montana. GENNARO Why not? ROSTAGNO Because he's like me. He's a digger. Rostagno turns and holds the amber up to the sunlight streaming through the mouth of the cave. With the light pouring through it, the amber is translucent, and we can see something inside this strange stone - - a huge mosquito, long dead, entombed there. ROSTAGNO -LRB- smiles. -RRB- Hay que lindo eres vas hacer a much gente feliz. -LRB- Oh you're so beautiful. You will make a lot of people happy. -RRB-","EXT. THE DIG DAY An artist's camel hair brush carefully sweeps away sand and rock to slowly reveal the dark curve of a fossil - it's a claw. A dentist's pick gently lifts it from the place its has laid for millions of years. Pull up to reveal a group of diggers working on a large skeleton. All we see are the tops of their hats. The paleontologist working on the claw lays it in his hand. GRANT -LRB- thoughtfully. -RRB- Four complete skeletons. such a small area. the same time horizon - ELLIE They died together? GRANT The taphonomy sure looks that way. ELLIE If they died together, they lived together. Suggests some kind of social order. DR ALAN GRANT, mid - thirties, a ragged - looking guy with intense concentration you would n't want to get in the way of, carefully examines a claw. DR ELLIE SATTLER, working with him, leans in close and studies it too. She paints the exposed bone with rubber cement. Ellie in her late twenties, athletic - looking. There's an impatience about Ellie, as if nothing in life happens quite fast enough for her. Her face is almost pressed up against his, she's sitting so close. GRANT -LRB- cont'd. -RRB- They hunted as a team. The dismembered tenontosaurus bone over there - that's lunch. But what killed our raptors in a lakebed, in a bunch like this? We better come up with something that makes sense. ELLIE A drought. The lake was shrinking - GRANT -LRB- excited. -RRB- That's good. That's right! They died around a dried - up puddle! Without fighting each other. This is looking good. From the bottom of the hill a voice SHOUTS to them : VOLUNTERR -LRB- o.s. -RRB- Dr Grant! Dr Sattler! We're ready to try again! Grant SIGNS and sits up, stretching out his back. GRANT I hate computers. He shoves the claw absent - mindedly into his pocket and he and Ellie walk toward the source of the voice. As they walk, we get our first look at the badlands. Exposed outcroppings of crumbling limestone stretch for miles in every direction, not a tree or a bush in sight. In the dig itself, the ground is checkered with excavations everywhere. There's a base camp with five or six teepees, a flapping mess tent, a few cards, a flatbed truck with wrapped fossils loaded on it, and a mobile home. There are a dozen VOLUNTEERS of all ages at work in various places around the dig. The Volunteers are from all walks of life, dinosaur buffs. Three or four of them have CHILDREN with them, and the kids run around, like in a giant sandbox. Grant, Ellie and a Volunteer walk down the hill. Grant spots a KID kicking dirt onto one of the digs. He notices and frowns. GRANT What's that kid doing? -LRB- to the kid. -RRB- What are you doing there!? Excuse me! Can you just back off? This is very fragile! Are you out of your mind? Get off that and go find your parents! -LRB- to Ellie. -RRB- Did you see what he just did? The kid stomps away, pissed off. KID Asshole. GRANT -LRB- to Ellie. -RRB- Why do they have to bring their kids?! ELLIE You could hire your help. But there's four summers of work here, with the money for one. And you say it's a learning experience, sort of a vacation, and you get volunteers with kids. He and Ellie arrive to where several VOLUNTEERS are clustered around a computer terminal that's set up on a table in a small tent, its flaps lashed open. GRANT -LRB- to the Volunteer. -RRB- Ready to give it a shot, Jerry? A LITTLE GIRL moves a little too close to the machine. ELLIE Want to watch the computer? Ellie quietly moves her out of Grant's way, to a place she can see. VOLUNTEER Thumper ready? MAN Ready. VOLUNTEER Fire. The VOLUNTEER throws a switch on a machine that looks a bit like a floor buffer. The whole thing hops up into the air as it drives a soft lead pellet into the earth with a tremendous force. There is a dull THUD, the earth seems to vibrate, and all eyes turn to the computer screen - ELLIE How long does this usually take? VOLUNTEER It should be immediate return. You shoot the radar into the ground, the bone bounces back. The screen suddenly comes alive, yellow contour lines tracing across it in three waves, detailing a dinosaur skeleton. VOLUNTEER This new program's incredible! A few more years of development and you do n't have to dig any more! Grant looks at him, and his expression is positively wounded. GRANT Well, where's the fun in that? VOLUNTEER It looks a little distorted, but I do n't think that's the computer. ELLIE -LRB- shakes her head. -RRB- Postmortem contraction of the posterior neck ligaments. -LRB- to Grant. -RRB- Velociraptor? GRANT Yes. Good shape, too. Five, six feet high. I'm guessing nine feet long. Look at the - He points to part of the skeleton, but when his finger touches the screen the computer BEEPS at him and the image changes. He pulls his hand back, as if it shocked him. VOLUNTEER What's you do? ELLIE He touched it. Dr. Grant is not machine compatible. GRANT They've got it in for me. The Volunteer LAUGHS and touches a different part of the screen, which brings the original image back. Grant continues, but does n't get as close. GRANT Look at the half - moon shaped bone in the wrist. No wonder these guys learned to fly. The group laughs. Grant is surprised. GRANT -LRB- cont'd. -RRB- Now, seriously. Show of the hands. How many of you have read my book? Everyone stops laughing and looks away. Ellie raises her hand supportively. So does the Volunteer, Grant sighs. GRANT -LRB- cont'd. -RRB- Great. Well maybe dinosaurs have more in common with present - day birds than reptiles. Look at the public bone - it's turned backwards, just like a bird. The vertebrae - full of hollows and air sacs, just like a bird. Even the word raptor means `` bird of prey''. The kid steps forward and looks at the computer skeleton critically. KID That does n't look very scary. More like a six - foot turkey. Everyone sort of draws in their breath and steps aside, revealing the KID, standing alone. Grant turns to the Kid, lowers his sunglasses, and stares at him like he just came from another planet. Grant strolls over to the KID, puts his arms around his shoulders in a friendly way. GRANT Try to imagine yourself in the Jurassic Period. -LRB- or. -RRB- Try to imagine yourself in the Cretaceous Period. Ellie rolls her eyes. ELLIE -LRB- under her breath. -RRB- Here we go. GRANT -LRB- cont'd. -RRB- You'd get your first look at the six - foot turkey as you move into a clearing. But raptor, he knew you were there a long time ago. He moves like a bird ; lightly, bobbing his head, And you keep still, because you think maybe his visual acuity's based on movement, like a T - rex, and he'll lose you if you do n't move. But no. Not VELOCIRAPTOR. You stare at him, and he just stares back. That's when the attack comes - not from the front, no, from the side, from the other two raptors you did n't even know were there. Grant walks around the Kid. GRANT -LRB- cont'd. -RRB- Velociraptor's a pack hunter, you see, he uses coordinated attack patterns, and he's out in force today. And he slashes at you with this - He takes the claw from his pocket and holds it at the front of the raptor's three - toed foot. GRANT -LRB- cont'd. -RRB- - a six - inch retractable claw, like a razor, on the middle toe. They do n't bother to bite the jugular, like a lion, they just slash here, here - He points to the Kid's chest and thigh. GRANT -LRB- cont'd. -RRB- - or maybe across the belly, spilling your intestines. Point is, you're alive when they start to eat you. Whole thing took about four seconds. The Kid is on the verge if tears. GRANT -LRB- cont'd. -RRB- So, you know, try to show a little respect. And with that he walks back across the camp, returning to his skeleton. Ellie hurries to catch up with him. ELLIE You know, if you really wanted to scare the kid you could've just pulled a gun on him. GRANT Yeah, I know, you know. kids. You want to have one of those? ELLIE Well, not one of those, well yeah, a possibly one at some point could be a good thing. What's so wrong with kids? GRANT Oh, Ellie, look. They're noisy, they're messy, they're sticky, they're expensive. ELLIE Cheap, cheap, cheap. GRANT They smell. ELLIE Oh my god, they do not! They do n't smell. GRANT They do smell. Some of them smell. babies smell. ELLIE Alright, the one on the airplane had an accident, but usually babies do n't smell. GRANT They know very little about the Jurassic Period they know less about the Cretaceous. ELLIE The what? GRANT The Cretaceous. ELLIE Anything else, you old fossil? GRANT Yeah, plenty. Some of them ca n't walk! ELLIE It frustrates me so much that I love you, that I need to strangle you right now! Ellie playfully takes Grant's hat off and gives him a tight hug. They kiss. A strange wind seems to be whipping up. Grant and Ellie look around, confused. The wind is getting stronger, blowing dirt and sand everywhere, filling in everything they've dug out, blowing the protective canvasses off. Now there's a more familiar ROAR, and they look up and see it - - a huge helicopter, descending on the camp. ELLIE -LRB- to the volunteers. -RRB- Get some canvasses and cover anything that's exposed! Grant's already on it, trying to desperately to protect the skeleton he's excavating. He looks up at the helicopter and SHOUTS, shaking his fist.","EXT. BASE CAMP DAY Down at the base camp, the helicopter has landed. The PILOT is already out, waiting as GRANT comes down from the mountaintop like Moses steaming. Grant gestures wildly at him to turn the chopper off. The pilot points timidly to a mobile home across the camp. Grant runs to the trailer.","EXT. TRAILER DAY The door to the trailer SLAPS open, and GRANT storms in. GRANT What the hell do you think you're doing in here? The trailer serves as the dig's office. There are several long wooden tables set up, every inch covered with bone specimens that are neatly laid out, tagged, and labeled. Farther along are ceramic dishes and crocks, soaking other bones in acid and vinegar. There's old dusty furniture at one end of the trailer, and a refrigerator. A man roots around in the refrigerator, his back to us. GRUMBLING about the contents which are mostly beer. His hand falls across a bottle of expensive champagne in the back. MAN Ah hah! He pulls it out - the cork POPS. The Man turns around. JOHN HAMMOND, seventy - ish, is sprightly as hell, with bright, shining eyes that say `` Follow me!'' Grant stares incredulously at the Man, holding his champagne bottle without an invitation. GRANT Hey, we were saving that! HAMMOND For today, I guarantee it. GRANT And who in God's name do you think you are? HAMMOND John Hammond. And I am delighted to finally meet you in person Dr Grant. Grant is struck silent. He shakes his hand, staring dumbly. GRANT Mr. - Hammond? Hammond looks around the trailer approvingly, at the enormous amount of work the bones represent. HAMMOND I can see my fifty thousand a year as been well spent. The door SLAPS open again and ELLIE comes in, just as pissed off as Grant was. ELLIE Okay, who's the jerk? GRANT Uh, this is our paleobotanist, Dr Ellie. ELLIE Sattler. Grant Dr Sattler. Ellie, this is Mr. HAMMOND. -LRB- in case she did n't catch it. -RRB- John Hammond. ELLIE Did I say jerk? HAMMOND I'm sorry for the dramatic entrance, but I'm in a hurry. Will you have a wee bit of a drink now and then? Hammond begins to walk into the kitchen, making himself at home. Ellie follows him tries to help. Grant settles behind the table. HAMMOND -LRB- cont'd. -RRB- Come along then, do n't let it get warm! -LRB- expansively. -RRB- Come on in, both of you. Sit down. As Hammond moves, they notice he walks with a slight limp and uses a cane - for balance or style, it's hard to say witch. ELLIE I have samples all over the kitchen. -LRB- she takes some stones out of one of the glasses. -RRB- HAMMOND Come along. I know my way around a kitchen. Come along. Ellie goes around towards Grant. She grabs a bottle of water. They look at each other, really aback by this guy's bravado, and site down. Hammond dries the glasses. HAMMOND -LRB- cont'd. -RRB- Well now, I'll get right to the point. I like you. Both of you. I can tell instantly with people ; it's a gift. -LRB- new subject. -RRB- I own an island. Off the coast of Costa Rica. I leased it from the government and spent the last five years setting up a kind of biological preserve down there. Really spectacular. Spared no expense. It makes the one I had in Kenya look like a petting zoo. No doubt that sooner or later our attractions will send. -LRB- drive the. -RRB- kids right out of their minds. GRANT And what are those? ELLIE Small versions of adults, honey. He gives her a dirty look. HAMMOND Not just kids - for everyone. We're going to open next year. Unless the lawyers kill me first. I do n't care for lawyers. You? GRANT I, uh, do n't really know any. We - HAMMOND Well, I'm afraid I do. There's one, a particular pebble in my shoe. He represents my investors. He says they insist on outside opinions. GRANT What kind of opinions? HAMMOND Not to put a fine point on it, your kind. Let's face it, in your particular field, you're the top minds. If I could just get you two to sign off on the park - you know, give a wee testimonial - I could get back on schedule -. -LRB- he Americanizes him pronunciation. -RRB- - schedule. ELLIE Why would they care what we think? GRANT What kind of park is it? HAMMOND -LRB- smiles. -RRB- Well, it's - right up your alley. -LRB- hands Grant a drink. -RRB- Look, why do n't you both. -LRB- the pair of you. -RRB- come on down for the weekend. Love to have the opinion of a paleobotoanist as well. -LRB- hands Ellie a drink. -RRB- I've got a jet standing by at Choteau. -LRB- he jumps up and sites on the counter. -RRB- GRANT No, I'm sorry, that would n't be possible. We've just discovered a new skeleton, and - HAMMOND -LRB- pours himself a drink. -RRB- I could compensate you by fully funding your dig GRANT - this would be an awfully unusual time - HAMMOND For a further three years. Grant OOFS as Ellie elbows him hard in the ribs. ELLIE Where's the plane?","EXT. CAFE DAY DENNIS NEDRY is in his late thirties, a big guy with a constant smile that could either be laughing with you or at you, you can never tell. He sits at a table in front of a Central American cafe, eating breakfast Another Legend : SAN JOSE, COSTA RICA Nedry looks up and sees a man get out of a taxi - LEWIS -LRB- Louis -RRB- DODGSON, fiftyish, wearing a large straw hat and looking almost too much like an American tourist. Dodgson clutches as attaché case close to him and scans the cafe furtively. Nedry laughs, shakes his head, and waves to him. NEDRY Dodgson! Dodgson hurries over to the table. DODGSON -LRB- as he sites. -RRB- You should n't use my name. NEDRY Dodgson, Dodgson. -LRB- loud. -RRB- We got Dodgson here! See, nobody cares. Nice hat. What are you trying to look like, a secret agent? Dodgson ignores that, sets his attaché case down next to the table, and slides it towards Nedry, DODGSON Seven fifty. Nedry smiles and pulls the attaché closer to him. DODGSON -LRB- cont'd. -RRB- On delivery, fifty thousand more for ever viable embryo. That's one point five million. If you get all fifteen species off the island. NEDRY Oh, I'll get'em all. DODGSON Remember - viable embryos. They're no use to us if they do n't survive. NEDRY How am I supposed to transport them? Dodgson pulls an ordinary can of shaving cream from a shoulder bag he carries and sets it on the table. DODGSON The bottom screws open ; it's cooled and compartmentalized inside. They can even check it if they want. Press the top. Nedry presses the top of the can and real shaving cream comes out. He grins, impressed. While Dodgson talks, Nedry looks around for somewhere to wipe the shaving cream and ends up dumping it on top of someone's Jell - O on a dessert tray next to him. DODGSON -LRB- cont'd. -RRB- There's enough coolant gas for thirty - six hours. Nedry looks at the can. NEDRY What? No menthol? DODGSON Mr Nedry, Mr Nedry. The embryos have to be back here in San Jose by then. NEDRY That's up to your guy on the boat. Seven o'clock tomorrow night, at the east dock. Make sure he got it right. DODGSON I was wondering, how are you planning to beat the security? NEDRY I got an eighteen minute window. Eighteen minutes, and your company catches up on ten years of research. A WAITER arrives and puts the check down on the table, between them. Nedry looks down at it pointedly, then up at Dodgson. NEDRY -LRB- cont'd. -RRB- Do n't get cheep on me Dodgson. Dodgson rolls his eyes and picks up the check. NEDRY -LRB- cont'd. -RRB- That was Hammond's mistake.","EXT. OPEN SEA DAY A helicopter, `` IN - GEN CONSTRUCTION'' emblazoned on the side, skims low over the shimmering Pacific.","EXT. HELICOPTER DAY GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back of the chopper ; HAMMOND is in the front with the PILOT. There are two other passengers was well - DONALD GENNARO, the lawyer from the amber mine, now dressed in safari clothes, everything straight from Banana Republic. The other Dr. IAN MALCOLM, fortyish, dressed all in black, with a snakeskin boots and sunglasses. Malcolm, who finds it hard to take his eyes off Ellie, leans over and SHOUTS over the engine whine. MALCOLM So you two dig up dinosaurs? GRANT Try to! Malcolm laughs, finding this very amusing, which confuses Grant. Hammond turns around annoyed. HAMMOND You'll have to get use to Dr. Malcolm! He suffers from a deplorable excess of personality, especially for a mathematician! MALCOLM Chaotician, actually! Chaotician! Hammond SNORTS, not even bothering to cover his contempt for Malcolm. MALCOLM John does n't subscribe to Chaos, particularly what it has to say about his little science project! HAMMOND Codswollop! Ian, you've never come close to explaining these concerns of yours about this island! MALCOLM I certainly have! Very clearly! Because of the behavior of the system in phase space! Hammond just waves him off. HAMMOND A load, if I may say so. of fashionable number crunching, that ¹ s all it is! MALCOLM -LRB- poking at Hammond's knee. -RRB- John, John. HAMMOND -LRB- pushing him away. -RRB- Do n't do that! MALCOLM Dr. Grant, Dr. Sattler - you've heard of Chaos Theory? ELLIE -LRB- shaking her head. -RRB- No. MALCOLM No? Non - linear equations? Strange attractions? -LRB- again, she shrugs. -RRB- Dr. Sattler, I refuse to believe that you are not familiar with the concept of attraction! Grant just rolls his eyes as Malcolm gives her an oily grin, but Ellie smiles, enjoying Grant's jealousy. Hammond turns to Gennaro and gives him a dirty look. HAMMOND I bring scientists - you bring a rock star. Hammond looks out the windshield, and CLAPS his hands excitedly. HAMMOND There it is! Up ahead, the others see it. ISLA NUBLAR. It's a smallish island, completely ringed by thick clouds that give it a lush, mysterious feel. The PILOT pulls up over a spot in the clouds and starts to descend, fast. HAMMOND -LRB- cont'd. -RRB- Bad wind shears! We have to drop pretty fast! Hold on, this can be a little thrilling! The helicopter drops like a stone. Outside the windows, they can see cliff walls racing by, uncomfortably close. They bounce like hell, hitting wind up and down drafts. Only Hammond still feels chatty. HAMMOND -LRB- cont'd. -RRB- We're planning an airstrip! On pilings, extending out into the ocean twelve thousand feet! Like La Guardia, only a lot safer! What do you think? They do n't answer, just hold on. As they near the ground, a luminous white cloud cross appears below them, a landing pad shining through the Plexiglas bubble in the floor of the chopper. The cross grows rapidly larger as the chopper plummets, but a sudden updraft catches them and they bounce skyward for a moment then drop again, even faster if possible, before landing with a hard BUMP.","EXT. HELICOPTER LANDING PAD DAY The chopper plummets and finally lands. One of the workers opens the door and the group gets out. Hammond looks out, proudly.","EXT. HILLTOP DAY Two large, open - top jeeps ROAR down the hilltop away from the landing cross as the helicopter engines WHINE back to life and the rotors start to spin again. ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, HAMMOND and GENNARO are in the rear jeep. Both cars have DRIVERS. They pass through an enormous gate in a thirty foot high fence, which is closed behind them by two PARK ATTENDANTS. There are large electrical insulators on the fences, warning lights that strobe importantly and clear signs - `` ELECTRIFIED FENCE! 10,000 VOLTS!'' IN THE REAR JEEP, Gennaro regards the fences critically. GENNARO The full fifty mile of perimeter fence are in place? HAMMOND And the concrete moats, and the motion sensor tracking systems. Donald, dear boy, do try to relax and enjoy yourself. GENNARO Let's get something straight, John. This is not a weekend excursion, this is a serious investigation of the stability of the island. Your investors, whom I represent, are deeply concerned. Forty - eight hours from now, if they -. -LRB- gestures to Grant, Ellie, and Malcolm. -RRB- - are n't convinced. I'm not convinced. And I can shut you down John. HAMMOND Forty - eight hours from now, I'll be accepting your apologies. Now get out of the way. So I can see them! He shoves Gennaro aside, to get a clear view of Grant, Ellie, and Malcolm. HAMMOND -LRB- cont'd. -RRB- I would n't miss this for the world. The jeeps wind their way along a mountain road. IN THE LEAD JEEP, Ellie stares off to the right, fascinated by the thick tropical plant life around them. She tilts her head, as if something's wrong with this picture. She reaches out and grabs hold of a leafy branch as they drive by, TEARING it from the tree. IN THE REAR JEPP, Hammond watching Grant, signals to his Driver. HAMMOND Just stop here, stop here. Slow, slow. He slows down, then stops. So does the front jeep. IN THE FRONT JEEP, Ellie stares at the leaf, amazed, running her hand lightly over it. ELLIE Alan - But Grant's not paying attention. He's staring too, out the other side of the jeep. Grant notices that several of the tree trunks are leafless - just as thick as the other trees, but gray and bare. ELLIE -LRB- cont'd. -RRB- -LRB- still staring at the leaf. -RRB- This should n't be here. Grant twists in his seat as the jeep stops and looks at one of the gray tree trunks. Riveted, he slowly stands up in his seat, as if to get closer. He moves to the top of the seat, practically on his tiptoes. He raises his head, looking up the length of the trunk. He looks higher. And higher. And higher. That's no tree trunk. That's a leg. Grant's jaw drops, his head falls all the way back, and he looks even higher, above the tree line. ELLIE -LRB- cont'd. -RRB- -LRB- still looking at the leaf. -RRB- This species of vermiform was been extinct since the cretaceous period. This thing - Grant, never tearing his eyes from the brachiosaur, reaches over and grabs Ellie's head, turning it to face the animal. She sees it, and drops the leaf. ELLIE -LRB- cont'd. -RRB- Oh - my - God. Grant lets out a long, sharp, HAH - a combination laugh and shout of joy. He gets out of the jeep, and Ellie follows. Grant points to the thing and manages to put together his first words since its appearance : GRANT THAT'S A DINOSAUR! - a dinosaur. Chewing the branches. Technically, it's a brachiosaur, of the sauropod family, but we've always called it brontosaurus. It CRUCHES the branch in its mouth, which is some thirty - five feet up off the ground, at the end of its long, arching neck. It stares down at the people in the car with a pleasant, stupid gaze. Ellie looks up at the sauropods in wonder. They've pretty light on their feet - a far cry from the sluggish, lumbering brutes we would have expected. Hammond gets out of his jeep and comes back to join them. He looks like a proud parent showing off the kid. Ian Malcolm looks at Hammond, amazed, and with an expression that is a mixture of admiration and rapprochement. MALCOLM You did it. You crazy son of a bitch, you did it. Grant and Ellie continue walking, following the dinosaur. GRANT The movement! ELLIE The - agility. You're right! In their amazement, Grant and Ellie talk right over each other. GRANT Ellie, we can tear up the rule book on cold - bloodedness. It does n't apply, they're totally wrong! This is a warm - blooded creature. They're totally wrong. ELLIE They were wrong. Case closed. This thing does n't live in a swamp to support it's body weight for God's sake! Several of the top branches are suddenly RIPPED away. Another sauropod, reaching for a branch high above their heads, stands effortlessly on its hind legs. GRANT -LRB- to Hammond. -RRB- That thing's got a what, twenty - five, twenty - seven foot neck? HAMMOND The brachiosaur? Thirty. Grant and Ellie continue to walk. GRANT - and you're going to sit there and try to tell me it can push blood up a thirty - foot neck without a four - chambered heart and get around like that?! Like that!? -LRB- to Hammond. -RRB- This is like a knockout punch for warm - bloodedness. HAMMOND -LRB- proudly. -RRB- We clocked the T - rex at thirty - two miles an hour. ELLIE You've got a T - rex!? -LRB- to Grant. -RRB- He's got a T - rex! A T - rex! He said he's - GRANT Say again? HAMMOND Yes, we have a T - rex. Grant feels faint. He sits down on the ground. ELLIE Honey, put your head between your knees, and breathe. Hammond walks in front of them and looks out. HAMMOND Dr. Grant, my dear Dr. Sattler. Welcome to Jurassic Park. They turn and look at the view again. It's beautiful vista, reminiscent of an African plain. A whole herd of dinosaurs crosses the plain, maybe a hundred that we see in a quick glance alone. GRANT Ellie, they're absolutely - they're moving in herds. They do move in herds! ELLIE We were right! GRANT -LRB- to Hammond. -RRB- How did you do it?! -LRB- or. -RRB- How did you do this?! HAMMOND I'll show you. Finally, we notice Gennaro, who was sort of faded into the background while the others reacted. He's just staring, a look of absolute rapture on his face. He speaks in a voice that is hushed and reverent. GENNARO We are going to make a fortune with this place.","EXT. MAIN COMPOUND DAY The main of Jurassic Park is a large area with three main structures connected by walkways and surrounded by two impressive fences, the outer fence almost twenty feet high. Outside the fences, the jungle has been encouraged to grow naturally. The largest building is the visitor's center, several stories tall, its walls still skeletal, unfinished. There's a huge glass rotunda in the center. The second building looks like a private residence, a compound unto itself, with smoked windows and its own perimeter fence. The third structure is n't really a building at all, but the impressive cage we saw earlier, overgrown inside with thick jungle foliage. The jeeps pull up in front of the visitor's center.","EXT. VISITOR'S CENTER DAY HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the stairs, talking as he goes, Two ladies open the doors to the Visitor Center.","INT. VISITOR'S CENTER DAY The lobby of the still - unfinished visitor's center is a high - ceilinged place, and has to be house its central feature, a large skeleton of a tyrannosaur that is attacking bellowing sauropod. WORKMEN in the basket of a Condor crane are still assembling skeletons. A staircase climbs the far wall, to another wing. HAMMOND -LRB- continuing. -RRB- - the most advanced amusement park in the world, combining all the latest technologies. I'm not talking rides, you know. Everybody has rides. We made a living biological attractions so astonishing they'll capture the imagination of the entire planet! Grant stares up at the dinosaur skeletons and just shakes his head. Ellie catches his reaction. ELLIE So what are you thinking? GRANT We're out of a job. Ian Malcolm pops in between them MALCOLM Do n't you mean `` extinct''? Ellie and Malcolm move on ahead.","INT. SHOW ROOM DAY HAMMOND Why do n't you all sit down. GRANT, ELLIE, and MALCOLM take their seats in the front row of the fifty seat auditorium. GENNARO sits behind them. HAMMOND walks over to the giant screen in front of them. Behind him, a huge image of himself beams down at him from the giant television screen. HAMMOND -LRB- screen. -RRB- Hello, John! HAMMOND -LRB- stage. -RRB- -LRB- to the group. -RRB- Say hello! -LRB- then, fumbling with his three by five cards. -RRB- Oh, I've got lines. He scans them, looking for his place. The screen Hammond continues without him, HAMMOND -LRB- screen. -RRB- Fine, I guess! But how did I get here?! HAMMOND -LRB- stage. -RRB- Uh -. -LRB- finding his place. -RRB- `` Here, let me show you. First I'll need a drop of blood. Your blood!'' The screen - Hammond extends his finger and the stage - Hammond reaches out and mimes pocking it with a needle. HAMMOND -LRB- screen. -RRB- Ouch, John! That hurt! HAMMOND -LRB- stage. -RRB- `` Relax, John. It's all part of the miracle of cloning!'' While the two Hammonds rattle on, the screen image splits into two Hammonds, then four then eight, and so on, like a shampoo commercial. Grant, Ellie, and Malcolm huddle together excitedly in the audience. GRANT Cloning from What?! Loy extraction has never recreated an intact DNA strand! MALCOLM Not without massive sequence gaps! ELLIE Paleo - DNA? From what source? Where do you get 100 million year old dinosaur blood?! GENNARO Shhhhh! IN THE FILM, the screen - Hammond is joined by another figure, this one animated. MR. DNA is a cartoon character, a happy - go - lucky double - helix strand of recombinant DNA. Mr. DNA jumps down onto the screen - Hammond's head and slides down his nose. HAMMOND Well! Mr. DNA! Where'd you come from? MR. DNA From your blood! Just one drop of your blood contains billions of strands of DNA, the building blocks of life! IN THE FILM, Mr. DNA has taken over the show, and is speaking to the audience from the screen. MR. DNA A DNA strand like me is a blueprint for building a living thing! And sometimes animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for us to find! We just had to know where to look! The screen image changes from animated to a nature - photography look. It's an extreme close - up of a mosquito, its fangs suck the deep into some animals flesh, its body pulsing and engorging with blood it's drinking. MR. DNA -LRB- cont'd. -RRB- A hundred million years ago, there were mosquitoes, just like today. And, just like today, they fed on the blood of animals. Even dinosaurs! The camera races back to show the mosquito is perched on top of a giant animated brachiosaur. The image changes, to another close - up, this one of a tree branch, its bark glistening with golden sap. Mr. DNA leaps on the sap. MR. DNA -LRB- cont'd. -RRB- Sometimes, after biting a dinosaur, the mosquito would land on a branch of a tree, and get stuck in the sap! The engorged mosquito lands in the tree sap, and gets stuck. So is Mr. DNA. He tugs his legs, but they stay stuck. MR. DNA WHOA! Now the tree sap flows over them, covering up Mr. DNA and the mosquito completely. Mr. DNA SHOUTS from inside the tree sap. MR. DNA -LRB- cont'd. -RRB- After a long time, the tree sap would get hard and become fossilized, just like a dinosaur bone, preserving the mosquito inside! A SCIENCE LABORATORY The place buzzes with activity. Everywhere, there are piles of amber, tagged and labeled with SCIENTISTS in white coats examining it under microscopes. One SCIENTIST moves a complicated drill apparatus next to the chuck of amber with a fossilized mosquito inside and BORES into the side of it. MR. DNA escapes through the drill hole as the Scientist moves the amber onto a microscope and peers through the eyepiece. MR. DNA -LRB- O.S. -RRB- This fossilized tree sap - which we call amber - waited millions of years, with the mosquito inside - until Jurassic Park's scientists came along! THROUGH THE MICROSCOPE We see the greatly enlarged image of a mosquito through the lens. MR. DNA -LRB- O.S. -RRB- Using sophisticated techniques, they extract the preserved blood from the mosquito, and - A long needle is inserted through the amber, into the thorax of the mosquito, and makes an extraction. MR. DNA -LRB- cont'd. -RRB- - Bingo! Dino DNA! Mr. DNA jumps down in front of DNA data as it races by at headache speed. He holds his head, dizzied by it. MR. DNA -LRB- cont'd. -RRB- A full DNA strand contains three billion genetic codes! If we looked at screens like these once a second for eight hours a day, it'd take two years to look at the entire strand! It's that long! And since it's so old, it's full of holes! That's where our geneticists take over!","INT. GENETICS LAB DAY SCIENTISTS toil in a lab with two huge white towers at either side. MR. DNA Thinking Machine supercomputers and gene sequencers break down the strand in minutes - One SCIENTIST, in the back has his arms encased in two long rubber tubes. He's strapped into a bizarre apparatus, staring into a complex headpiece and moving his arms gently, like Tai Chi movements. MR. DNA -LRB- cont'd. -RRB- - and Virtual Reality displays show our geneticists the gaps in the DNA sequence! Since most animal DNA is ninety percent identical, we use the complete DNA of a frog - ON THE V.R. DISPLAY we see an actual DNA strand, except it has a big hole in the center, where the vital information is missing. Mr. DNA bounds into the frame, carrying a butch of letters in one hand. He puts it in the gap and turns back against it, GRUNTING as he shoves into place. MR. DNA -LRB- straining. -RRB- - to fill in the - holes and - complete - the -. -LRB- finally getting it. -RRB- - code! Whew! He brushes his hands off, satisfied. MR. DNA -LRB- cont'd. -RRB- Now we can make a baby dinosaur! IN THE AUDIENCE The scientist look at each other, not sure. HAMMOND All this has some dramatic music - da dum da dum da dum dum - march or something, it's not written yet, and the tour moves on - He throws a switch and safety bars appear out of nowhere and drop over their seats, CLICKING into place. HAMMOND For your own safety! The row of seats moves out of the auditorium.","INT. HALLWAY DAY The row of seats moves slowly past a row of double - panned glass window beneath a large sign that reads `` GENETICS/FERTILIZATION/HATCHERY.'' Inside, TECHNICIANS work at microscopes. In the back is a section entirely lit by blue ultraviolet light. Mr. DNA VOICE continues over a speaker in each seat. MR. DNA -LRB- O.S. -RRB- Our fertilization department is where the dinosaur DNA takes the place of the DNA in unfertilized emu or ostrich eggs - and then it's on to the nursery, where we welcome the dinosaurs back into the world! GENNARO has a wondrous grin plastered on his face, just loving everything now. GENNARO This is overwhelming, John. Are these characters. -LRB- people. -RRB- animatronics? HAMMOND No, we do n't have any animatronics here. These are the real miracle workers of Jurassic Park. GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, straining against the safety bars for a better look. But the cars keep going. GRANT Wait a minute! How do you interrupt the cellular mitosis?!? ELLIE Ca n't we see the unfertilized host eggs?! But the cars are already moving on to another set of windows, which give a glimpse into what looks like a control room. HAMMOND Shortly, shortly. MR. DNA -LRB- O.S. -RRB- Our control room contains some of the most sophisticated automation ever attempted in - Grant strains to look back into the labs, but the cars move past again, no intention of slowing down. GRANT Ca n't you stop these things?! HAMMOND Sorry! It's kind of a ride! GRANT -LRB- to Malcolm. -RRB- Let's get outta here! The two of them team up on the safety bars. Grant shoves his all the way back with one foot and Malcolm does the same. They stand up and head for the door of the hatchery. GENNARO Hey! You ca n't do that! Too late. Ellie slips out from under her safety bar too and stomps right across Gennaro's seat. GENNARO Can they do that? They reach the door to the hatchery. Grant tries to shove it open, but just THUDS into it. He rattles the handle, but the door wo n't budge as it's on a security key - card system. HAMMOND steps up and takes his glasses off. HAMMOND Relax, Donald, relax. They're scientists, They ought to be curious. -LRB- he steps up to the code box. -RRB- It's a retinal scanner. He pushes various code numbers. The door opens. He steps aside, and the group eagerly goes up the stairs.","INT. HALLWAY/STAIRS - DAY GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to get a look at the lab. HAMMOND and GENNARO come up and join Grant at the door. GENNARO John, we - what I'm just saying. HAMMOND Relax Donald, relax. They're scientists. They ought to be curious. Hammond reaches the door, Grant tries to pry it open. HAMMOND -LRB- cont'd. -RRB- Dr. Grant, just a minute, just a minute. -LRB- or. -RRB- Dr. Grant, just a moment, dear boy. -LRB- he pushes the code ; the door opens. -RRB- Remember what Samuel Johnson said. -LRB- they step into the cubicle. -RRB- `` Curiosity is one of the permanent and certain characteristics of a vigorous intellect!''. -LRB- the second door opens. -RRB- Right! Come along. HATCHERY/NURSERY DAY The hatchery is a vast, open room, bathed in infrared light. Long tables run the length of the place, all covered with eggs, their pale outlines obscured by hissing low mist that's all through the room. HAMMOND Come on in. HAMMOND takes off his hat and hands it one of the technicians. HENRY WU, late twenties, Asian - American, wearing a white lab coat works at a nearby table, making notes. HAMMOND -LRB- cont'd. -RRB- Good day, Henry. WU Oh, good day, Sir. GRANT goes to a round, open with various eggs under a strong light. One of the eggs makes strong movements - a robotic arm steadies the shell. GRANT My God! Look! Hammond, Ellie, and Malcolm join him, as does Henry Wu. WU Ah, perfect timing! I'd hoped they'd hatch before I had to go to the boat. HAMMOND Henry, why did n't you tell me? you know I insist on being here when they're born. Hammond puts on a pair of plastic gloves. The egg begins to crack. The robotic arm moves away. a BABY DINOSAUR tries to get out, just its head sticking out of the shell. Hammond reaches down and carefully breaks away egg fragments, helping the baby dinosaur out of its shell. HAMMOND Come on, then, out you come. HAMMOND -LRB- cont'd. -RRB- They imprint on the first living creature they come in contact with. That helps them to trust me. I've been present for the birth of every animal on this Island. Just look at that. MALCOLM Surely not the ones that have bred in the wild? WU Actually, they ca n't breed in the wild. Population control is one of our security precautions here. There is no unauthorized breeding in Jurassic Park. Grant and Ellie exchange a look. She manages not to smile. MALCOLM How do you know they ca n't breed? WU Because all the animals in Jurassic Park are females. -LRB- I've. -RRB- We engineered them that way. Hammond keeps his attention trained on the new dinosaur. HAMMOND There you are. Out you come. ELLIE Oh my God. HAMMOND Could I have a tissue please? WU Right away. -LRB- certainly. -RRB-. Coming right up. The animal is now free, Hammond sets in don carefully next to its shell. Grant picks it up and holds it in the palm of his hand, under the incubator's heat light. GRANT Blood temperature feels like high eighties. HAMMOND Wu? WU Ninety - one. Grant picks up the large, broken half - shell, but the robotic arm snatches it back out of his hand, and puts it down. GRANT Homoeothermic? It holds that temperature? -LRB- to Wu. -RRB- Incredible. Malcolm is looking at Hammond, skeptical. MALCOLM But again, how do you know they're all female? Does someone go into the park and, uh - lift up the dinosaurs' skirts? WU We control their chromosomes. It's not that difficult. All vertebrate embryos are inherently female anyway. It takes an extra hormone at the right developmental stage to create a male, and we simply deny them that. HAMMOND Your silence intrigues me. MALCOLM John, the kind of control you're attempting is not possible. If there's one thing the history of evolution has taught us, it's that life will not be contained. Life breaks free. It expands to new territories. It crashes through barriers. Painfully, maybe even. dangerously, but and. well, there it is. Ellie listens to him, impressed. HAMMOND Watch her head - support her head. Grant, ignoring the others, picks up the baby dinosaur, and holds it on the palm of his hand, under the incubator's heat light. He spreads the tiny animal out on the back of his hand and delicately runs his finger over its tail, counting the vertebrae. A look of puzzled recognition crosses his face. WU You're implying that a group of composed entirely of females will breed? MALCOLM I'm simply saying that life - finds a way. ELLIE `` You ca n't control anything.'' I agree with that. I like that. She walks over to Malcolm, he smiles at her, too warmly. ELLIE -LRB- cont'd. -RRB- You can talk. I do n't k now how to say it. You're just articulate. You say everything that I think, that I feel. It's exciting. -LRB- or. -RRB- I find it so exciting. It's exciting that you ca n't control life, that you know -. -LRB- or. -RRB- You know that, I find it terrifying. Life will always find a way. MALCOLM That's right. Will break through. ELLIE I get ah - MALCOLM I know, it's very exciting. ELLIE And scary. MALCOLM And scary. ELLIE When people try to control things that it's out of their power - MALCOLM It's anti - nature. ELLIE Anti - nature. Grant does n't notice, as he's still obsessed with the infant dinosaur, measuring and weighing it on a nearby lab bench. He stops, a strange look on his face. He knows what this animal is - but it ca n't be. GRANT -LRB- dreading the answer. -RRB- What species is this? WU Uh - it's a Velociraptor. Grant and Ellie turn slowly and look at each other, then look at Hammond, astonished. GRANT You bred raptors?","EXT. RAPTOR PEN - DAY Grant charges across the compound, a fire in his eyes, ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to keep up. HAMMOND Dr. Grant, Dr. Grant? Uh - we planned to show you the raptors later, after lunch. But Grant has stopped abruptly next to the Velociraptor pen, which we recognize as the heavily fortified cage we some earlier, which the San Quentin towers at one end. Grant stands right up against the fence, eyes wide, dying for a glimpse. HAMMOND catches up, slightly out of breath. HAMMOND -LRB- cont'd. -RRB- Dr. Grant - as I was saying, we've laid out lunch for you before you head out into the park. Alejandro, our gourmet chef - GRANT What are they doing? As they watch, a giant crane lowers something large down into the middle of the jungle foliage inside the pen. Something very large. It's a steer. They poor thing looks disconcerted as hell, helpless its in a harness, flailing its legs in the air. HAMMOND Feeding them. -LRB- moving along. -RRB- Alejandro is preparing a delightful meal for us. A Chilean sea bass, I believe. Shall we? Grant goes up to the viewing deck. The others follow, staring as the steer disappears into the shroud of foliage. The line from the crane hangs for a moment. The jungle seems to grow very quiet. They all stare at the motionless crane line. It jerks suddenly, like a fishing pole finally getting a nibble. There's a pause - - and then a frenzy. The line jerks every which way, the jungle plants sway and SNAP from some frantic activity within, there is a cacophony of GROWLING, of SNAPPING, of wet CRUNCHES that mean the steer is literally being torn to pieces and is almost makes it worse that we ca n't see anything of what's going on - - and then it's quiet again. The line jerks a few times, then stops. Slowly the SOUND of the jungle starts up again. HAMMOND Fascinating animals, fascinating. ELLIE Oh my God. HAMMOND Give time, they'll out draw the T - rex. Guarantee it. GRANT I want to see them. Can we get closer? Ellie puts a hand on his arm, like calming an overexcited child. ELLIE Alan, these are n't bones anymore. HAMMOND We're - still perfecting a viewing system. The raptors seem to be a bit resistant to integration into a park setting. A VOICE comes from behind them. VOICE -LRB- O.S. -RRB- They should all be destroyed. They turn and look at the man who spoke. ROBERT MULDOON, the grim - faced man who was present at the accident in the beginning, is fortyish, British. He joins them and takes his hat off. When Muldoon talks, you listen. HAMMOND Robert. Robert Muldoon, my game warden from Kenya. Bit of an alarmist, I'm afraid, But he's dealt with the raptors more than anyone. GRANT -LRB- introducing himself. -RRB- Alan Grant. Tell me, what kind of metabolism do they have? What's their growth rate? -LRB- or. -RRB- rate of growth. MULDOON They're lethal at eight months. And I do lethal. I've hunted most things that can hunt you, but the way these things move - GRANT Fast for biped? MULDOON Cheetah speed. Fifty, sixty miles per hour if they ever got out in the open. And they're astonishing jumpers. HAMMOND Yes, yes, yes, which is why we take extreme precautions. They viewing area below us will have eight - inch tempered glass set in reinforced steel frames to - GRANT Do they show intelligence? With the brain cavity like theirs we assumed - MULDOON They show extreme intelligence, even problem solving. Especially the big one. We bred eight originally, but when she came in, she took over the pride and killed all but two of the others. That one - when she looks at you, you can see she's thinking. -LRB- or. -RRB- working things out. She's the reason we have to feed'em like this. She had them all attacking the fences when the feeders came. ELLIE The fences are electrified, right? MULDOON That's right. But they never attack the same place twice. They were testing the fences for weaknesses. Systematically. They remembered. Behind them, the crane WHIRRS back to life, raising the cable back up out of the raptor pen. The guest turn and stare as the end portion of the cable becomes visible. The steer has been dragged completely away, leaving only the tattered, bloody harness. Hammond claps his hands together excitedly. HAMMOND Who's hungry? After you, my dear.","INT. VISITOR CENTER PRESENTATION ROOM - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long table in the visitor's center restaurant. There is a large buffet table and two WAITERS to serve them. The room is darkened and Hammond is showing slides of various scenes all around them. Hammond's own recorded voice describes current and future features of the park while the slides flash artists' renderings of all them. The real Hammond turns and speaks over the narration. HAMMOND None of these attractions have been finished yet. The park will open with the basic tour you're about to take, and then other rides will come on line after six or twelve months. Absolutely spectacular designs. Spared no expense. More slides CLICK past, a series of graphs dealing with profits, attendance and other fiscal projections. Donald Gennaro, who has become increasingly friendly with Hammond, even giddy, grins from ear to ear. GENNARO And we can charge anything we want! Two thousand a day, ten thousand a day - people will pay it! And then there's the merchandising - HAMMOND Donald, this park was not built to carter only to the super rich. Everyone in the world's got a right to enjoy these animals. GENNARO Sure, they will, they will. -LRB- laughing. -RRB- We'll have a - coupon day or something. Grant looks down, at the plate he's eating from. It's in the shape of the island itself. He looks at his drinking cup. It's got a T - rex on it, and a splashy Jurassic Park logo. There are a stack of folded amusement park - style maps on the table in front of Grant. He picks one up. Boldly, across the top it says, `` Fly United to Jurassic Park!'' HAMMOND -LRB- on tape. -RRB- - from combined revenue streams for all three parks should reach eight to nine billion dollars a year - HAMMOND -LRB- to Gennaro. -RRB- That's conservative, of course. There's no reason to speculate wildly. GENNARO I've never been a rich man. I hear it's nice. Is it nice? Ian Malcolm, who was been watching the screens with outright contempt, SNORTS, as if he's finally had enough. MALCOLM The lack of humility before nature that's been displayed here staggers me. They all turn and look at him. GENNARO Thank you, Dr. Malcolm, but I think things are a little different than you and I feared. MALCOLM Yes, I know. They're a lot worse. GENNARO Now, wait a second, we have n't even see the park yet. Let's just hold out concerns until -. -LRB- or alt. version. -RRB- Wait - we were invited to this island to evaluate the safety conditions of the park, physical containment. The theories that all simple systems have complex behavior, that animals in a zoo environment will eventually begin to behave in an unpredictable fashion have nothing to do with that evaluation. This is not some existential furlough, this is an on - site inspection. You are a doctor. Do your job. You are invalidating your own assessment. I'm sorry, John - HAMMOND Alright Donald, alright, but just let him talk. I want to hear all viewpoints. I truly do. -LRB- or. -RRB- I truly am. MALCOLM Do n't you see the danger, John, inherent in what you're doing here? Genetic power is the most awesome force ever seen on this planet. But you wield it like a kid who's found his dad's gun. MALCOLM GENNARO If I may. It is hardly appropriate to start hurling Excuse me, excuse me - generalizations before - I'll tell you. MALCOLM -LRB- cont'd. -RRB- The problem with scientific power you've used is it did n't require any discipline to attain it. You read what others had done and you took the next step. You did n't earn the knowledge yourselves, so you do n't take the responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you knew what you had, you patented it, packages it, slapped in on a plastic lunch box, and now you want to sell it. HAMMOND You do n't give us our due credit. Our scientists have done things no one could ever do before. MALCOLM Your scientists were so preoccupied with whether or not they could that they did n't stop to think if they should. Science can create pesticides, but it ca n't tell us not to use them. Science can make a nuclear reactor, but it ca n't tell us not to build it! HAMMOND But this is nature! Why not give an extinct species a second chance?! I mean, Condors. Condors are on the verge of extinction - if I'd created a flock of them on the island, you would n't be saying any of this! -LRB- or. -RRB- have anything to say at all! MALCOLM Hold on - this is no species that was obliterated by deforestation or the building of a dam. Dinosaurs had their shot. Nature selected them for extinction. HAMMOND I do n't understand this Luddite attitude, especially from a scientist. How could we stand in the light of discovery and not act? MALCOLM There's nothing that great about discovery. -LRB- or. -RRB- What's so great about discovery? It's a violent, penetrative act that scars what it explores. What you call discovery I call the rape of the natural world! GENNARO Please - let's hear something from the others. Dr. Grant? I am sorry - Dr. Sattler? ELLIE The question is - how much can you know about an extinct ecosystem, and therefore, how could you assume you can control it? You have plants right here in this building, for example, that are poisonous. You picked them because they look pretty, but these are aggressive living things that have no idea what century they're living in and will defend themselves. Violently, if necessary. Exasperated, Hammond turns to Grant, who looks shell - shocked. HAMMOND Dr. Grant, if there's one person who can appreciate all of this -. -LRB- or. -RRB- What am I trying to do? But Grant speaks quietly, really thrown by all of this. GRANT I feel - elated and - frightened and -. -LRB- starts over. -RRB- The world has just changed so radically. We're all running to catch up. I do n't want to jump to any conclusions, but look - He leans forward, a look of true concern on his face. GRANT -LRB- cont'd. -RRB- Dinosaurs and man - two species separated by 65 million years of evolution - have just been suddenly thrown back into the mix together. How can we have the faintest idea of what to expect? HAMMOND I do n't believe it. I expected you to come down here and defend me from these characters and the only one I've got on my side it the bloodsucking lawyer!? GENNARO Thank you. One of the WAITERS whispers to Hammond. HAMMOND Ah - they're here. GRANT Who?","INT. VISITOR'S CENTER LOBBY - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of the restaurant and into the lobby of the visitor's center. They head down the stairs, and pass the skeletons of the dinosaurs again. HAMMOND You four are going to have a little company out in the park. Spend a little time with our target audience. Maybe they'll help you get the spirit of this place. GRANT What does he mean by `` target audience''? Hammond turns toward the door of the center and throws his arms out expansively. HAMMOND -LRB- bellowing. -RRB- KIDS! Two kids standing in the doorway to the center break into a broad smiles. TIM, the boy, is about nine years old ; ALEXIX, his sister, looks around twelve. TIM & LEX Grandpa! They race across the lobby and into Hammond's arms, knocking him over on the steps. LEX We miss you. TIM Thanks for the presents. LEX We love the presents. HAMMOND You must be careful with me. Did you like the helicopter? TIM It was great! It drops, we were dropping! Grant looks on.","EXT. VISITOR'S CENTER DAY Two modified Ford Explorers leap up out of an underground garage beneath the visitor's center. They move quietly, with a faint electronic HUM, and straddle a partially buried metal rail is the middle of the road. They pull to a stop where the group is gathered. Ellie is off to the side with ALEXIS, introducing herself warmly. HAMMOND is with MALCOLM, GRANT, and GENNARO. HAMMOND Have a heart gentlemen. Their parents are getting a divorce and they need the diversion. GENNARO Hey! Where are the brakes? HAMMOND Brakes? No. No brakes. They're electric cars, guided by this track in the roadway, and totally non - polluting, top of the line! LEX It's interactive CD - ROM. Look, see - you just touch the right part of the screen and it talks about whatever you want. HAMMOND Spared no expense. Have fun. I'll be watching you from the control. -LRB- or. -RRB- back in control. -LRB- to Ellie. -RRB- Come along, my dear. You'll ride in the second car, I can promise you you'll have a real wonderful time. ELLIE Oh thank you so much. So you'll see you later then. Hammond turns and head back towards the Visitor's Center. MALCOLM -LRB- too eagerly ; to Grant. -RRB- I'll ride with Dr. Sattler. -LRB- or. -RRB- I'm going to ride with Dr. Sattler. He turns and walks over to Ellie. Grant frowns, not liking this one bit. He moves to follow, but TIM cuts him off, and stares up at him, wide - eyed TIM I read your book. GRANT Oh, yeah - great. Grant heads for the rear car. Tim follows. TIM You really think dinosaurs turned into birds? And that's where all the dinosaurs went? Grant opens the door of the rear car and climbs in. Tim follows. GRANT Well, uh, a few species - may have evolved, uh - along those lines - yeah. A mechanical voice intones from inside : VOICE `` Two to four passengers to a car, please. Children under ten must be accompanied by an adult.'' Tim is right behind Grant, so Grant keeps moving, across the back seat of the car and out the other door. But Tim follows. TIM Because they sure do n't look like birds to me. I heard a meteor hit the earth and made like this one hundred mile crater someplace down in Mexico - GRANT Listen, ahh - TIM Tim. GRANT Tim. Which car were you planning on - TIM Whichever one you are. Grant goes to the front car again, opens the rear door, and holds it for Tim, who climbs in the back seat, rattling on and on. TIM Then I head about this thing in OMNI? About the meteor making all this heat that made a bunch of diamond dust? And that changed the weather and they died because of the weather? Then my teacher told me about this other book by a guy named Bakker? And he said the dinosaurs died of a bunch of diseases. SLAM! Grant closes the car door on Tim. He turns and head for the rear vehicle - - and bumps right into Lex. LEX -LRB- points at Ellie. -RRB- She said I should ride with you because it would be good for you. Grant looks over at Ellie, annoyed. GRANT She's a deeply neurotic woman.","INT. CONTROL ROOM DAY The Jurassic Park control room looks like a mission control for a space launch, with several computer terminals and dozens of video screens that display images of various dinosaurs, taken from all over the park. There's a large glass map of the island at the front of the room that is lit up like a Christmas tree with various colored lights, each one with a number and identification code next to it. But the place is unfinished, with unattached cables, construction materials, and ladders scattered about. The mood among the half dozen TECHNICIANS present is chaotic as they rush around with last - minute adjustments. MULDOON whisks in through the double doors. HAMMOND is right behind him. They go straight to the main console, where RAY ARNOLD fortyish, a chronic worrier and chain - smoker, is seated. MULDOON National Weather Service is tracking a tropical storm about seventy - five miles west of us. Hammond sighs and looks over Arnold's shoulder. HAMMOND Why did n't I build in Orlando? MULDOON I'll keep an eye on it. Maybe it'll swing south like the last one. HAMMOND -LRB- a deep breath. -RRB- Ray, start the tour program. He punches a button on the console. ARNOLD -LRB- cont'd. -RRB- -LRB- not exactly comforting. -RRB- Hold onto your butts.","EXT. VISITOR'S CENTER DAY With a loud CHUNK, the Explorers start forward along the electrical pathway. GENNARO, TIM, and LEX are in the front vehicle ; GRANT, ELLIE, and MALCOLM in the rear.","EXT. MAIN GATES DAY They pass through two enormous, primitive gates, torches blazing on either side.","EXT. JURASSIC PARK DAY IN THE REAR CAR, the Explorer's speakers BLARE with fanfare of trumpets, and the interior video screen flashes `` Welcome to Jurassic Park.'' A familiar VOICE comes over the speaker : VOICE -LRB- O.S. -RRB- Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world - VOICE -LRB- cont'd. -RRB- creatures long gone from the face of the earth, which you are privileged to see for the first time. CONTROL ROOM HAMMOND watches the monitor. His grandchildren are enjoying themselves. HAMMOND By the way, that's James Earl Jones. -LRB- or. -RRB- Richard Kiley. We spared no expense! IN THE PARK, the fences are retaining walls are covered with greenery and growth, to heighten the illusion of moving through a jungle. IN THE FRONT CAR GENNARO The accident took place in a restricted area. It would not have been available to the public access. So how can the safety of the public be called into question? The cars come to the top of a low rise, where a break in the foliage gives them a view down a sloping field that is broken by a river. The tour voice continues. VOICE -LRB- O.S. -RRB- To the right, you will see a herd of the first dinosaurs on our tour, called Dilophosaurus. IN THE FRONT CAR, Tim and Lex practically SLAM up against the windows, to get a look. GENNARO -LRB- keeps talking. -RRB- The safety. That's the problem I had to answer. LEX Shhh. TIM I ca n't see. GENNARO What are we looking for? TIM Dilophosaurus. IN THE REAR CAR Grant looks at his map. Ellie, hearing the voice, reacts. ELLIE Oh, shit. GRANT Dilophosaurus. Grant, Malcolm, and Ellie press against the windows. DOWN NEAR THE RIVER BANK there are a lot of beautiful plants, but no sign of a herd of anything. The tour voice continues anyway. VOICE -LRB- O.S. -RRB- One of the earliest carnivores, we now know Dilophosaurus is actually poisonous, spitting its venom at its prey, causing blindness and eventually paralysis, allowing the carnivore to eat at its leisure. This makes Dilophosaurus a beautiful, but deadly addition to Jurassic Park. Corny SCARY MUSIC plays over the speaker. IN THE FRONT CAR, TIM There's nothing there! IN THE REAR CAR, ELLIE Alan, where? Grant and the others sit back, disappointed. GRANT Damn. ON THE ROAD, the cars move on. As they roll past, we notice the headlights are on, even in the daytime.","INT. CONTROL ROOM DAY RAY ARNOLD watches his computer screen and the video monitors at the same time, keeping an eye on the cars as they move through the park. HAMMOND hovers over his shoulder. ARNOLD Vehicle headlights are on and do n't respond. Those should n't be running off the car batteries. He signs and reaches for a clipboard hanging next to his chair and jots this down. ARNOLD -LRB- cont'd. -RRB- Item one fifty - one on today's glitch list. We've got all the problems of a major theme park and a major zoo, and the computer's not even on its feet yet. Hammond shakes his head and turns to the TECHNICIAN to his right, who still has his back to them, watching a Costa Rican game show on one of his monitors and drinking a Jolt cola. HAMMOND Dennis, our lives are in your hands and you have butterfingers. The Technician turns around his chair and extends his arms in a Christ - like pose. As we get a good look at him, we get the sinking feeling that we've seen him somewhere before. And we have. DENNIS NEDRY is the man who accepted a suitcase full of cash in San Jose. NEDRY I am totally unappreciated in my time. We can run the whole park from this room, with minimal staff, for up to three days. You think that kind of automation is easy? Or cheap? You know anybody who can network eight Connection Machines and de - bug two million lines of code for what I bid this job? Because I'd sure as hell like to see them try. HAMMOND I'm sorry about your financial problems. I really am. But they are your problems. NEDRY You're right, John. You're absolutely right. Everything's my problem. HAMMOND I will not get drawn into another financial conversation with you, Dennis. I really will not. NEDRY I do n't think there's been any debate. There's no debate. my mistakes. HAMMOND I do n't blame people for their mistakes, but I do ask that they pay for them. NEDRY Thanks, Dad. ARNOLD Dennis - the headlights. NEDRY I'll de - bug the tour program when they get back. Okay? It'll eat a lot of computer cycles ; parts of the system may go down for a while - Do n't blame me. If I am playing. losing memory. MULDOON, who has been hovering near the video monitors as always, turns towards them, annoyed. MULDOON Quiet, all if you. They're coming to the tyrannosaur paddock.","EXT. TYRANNOSAUR PADDOCK DAY The two Explorers drive along a high ridge and stop at the edge of the large, open plain that is separated from the road by a fifteen - foot fence, clearly marked with `` DANGER!'' signs and ominous - looking electrical post. TIM, LEX, and GENNARO are pressed forward against the windows, eyes wide, waiting for you - know - who. IN THE REAR CAR, The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM are n't even listening anymore, dying of anticipation. VOICE -LRB- O.S. -RRB- The mighty tyrannosaurus arose late in the dinosaur history. Dinosaurs ruled the earth for hundred and fifty million years, but it was n't until the last - GRANT Will you turn that thing off? Ellie flips a switch and they wait in silence - except for Malcolm, who looks at the ceiling, thinking aloud. MALCOLM God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs. ELLIE -LRB- finishing it for him. -RRB- Dinosaur eats man. Woman inherits the Earth. ARNOLD -LRB- O.S. -RRB- Hold on, we'll try to tempt the rex. IN THE PADDOCK, there is a low HUMMING sound. Out in the middle of the field, a small cage rises up into view, lifted on hydraulics from underground. The cage bars slide down, leaving the cage's occupant standing alone in the middle of the field. It's a goat, one leg chained to a stake. It looks around, confused, and BLEATS plaintively. IN THE FRONT CAR, LEX and TIM look at the goat with widely different reactions. LEX What's going to happen to the goat? He's going to eat the goat?! TIM -LRB- in heaven. -RRB- Excellent. GENNARO -LRB- to Lex. -RRB- What's the matter, kid, you never had lamb chops? LEX I happen to be a vegetarian. IN THE REAR CAR, GRANT -LRB- shakes his head. -RRB- T - rex does n't want to be fed ; he wants to hunt. You ca n't just suppress sixty - five million years of gut instinct. IN THE PADDOCK The goat waits. And waits. From the Explorers, six faces watch it expectantly. The goat tugs on its chain. It walks back and forth, nervous. It BLEATS. IN THE REAR CAR, Grant watches, his eyes glued, his breathing becoming a little more rapid. IN THE FRONT CAR, Tim and Lex ca n't tear their eyes away, IN THE PADDOCK, finally, the goat - - lays down. IN THE REAR CAR, everyone sits back, disappointed again, as the cars pull forward to continue the tour. Malcolm picks up the microphone. MALCOLM Now, eventually you do plan to have dinosaurs on your dinosaur tour, right?","INT. CONTROL ROOM DAY HAMMOND just shakes his head as Malcolm's voice comes through, HAMMOND I really hate that man.","EXT. PARK DAY GRANT gets into the seat, leaving MALCOLM behind ELLIE. He longingly looks out of the opposite window, while Malcolm rattles on to Ellie. MALCOLM You see? The tyrannosaur does n't obey set patterns or park schedules. It's the essence of Chaos. ELLIE I'm still not clear on Chaos. MALCOLM It simply deals with unpredictability in complex systems. It's only principle is the Butterfly Effect. A butterfly can flap its wings in Peking and in Central Park you get rain instead of sunshine. Ellie gestures with her hand to show this information has gone right over her head. MALCOLM I made a fly by, I go too fast. Looking out of the opposite window, Grant sees movement at the far end of a field. He sits bolt upright, trying to get a better look. Malcolm, looking for another example - MALCOLM -LRB- cont'd. -RRB- -LRB- points to the glass of water. -RRB- Here. Give me your glass of water. He dips his hand into the glass of water. He takes Ellie's hand in his own. MALCOLM -LRB- cont'd. -RRB- Make like hieroglyphics. Now watch the way the drop of water falls on your hand. He flicks his fingers and a drop falls on the back of Ellie's hand. MALCOLM -LRB- cont'd. -RRB- Ready? Freeze your hand. Now I'm going to do the same thing from the exact same place. Which way is the drop going to roll off? -LRB- or. -RRB- Which way will the drop roll? Over which finger? Or down your thumb? Or to the other side? ELLIE Uh - thumb! -LRB- or. -RRB- The same way. MALCOLM It changed. Why? -LRB- or. -RRB- Okay, back over your wrist. -LRB- then. -RRB- Because and here is the principle of tiny variations - the orientations of the hairs - ELLIE Alan, listen to this. MALCOLM - on your hand, the amount of blood distending in your vessels, imperfections in the skin - ELLIE Oh, imperfections? MALCOLM Microscopic - never repeat, and vastly affect the outcome. That's what? ELLIE Unpredictability. MALCOLM And even if we have n't seen it yet, I'm quite sure it's going on in this park right now. There's definitely something out in that field, and Grant has to see it. He jerks on the door handle and opens his door a few inches. He looks outside towards freedom, then looks around to is anybody's watching him. Malcolm lowers his voice, becoming more seductive now. MALCOLM -LRB- cont'd. -RRB- Life's a lot like that, is n't it? You meet someone by chance you'll never meet again, and the course of your whole future changes. It's dynamic - its exciting - I think. Grant throws the door open and bolts out of the moving car. MALCOLM -LRB- cont'd. -RRB- There, there see?! I'm right again! ELLIE Alan? MALCOLM No one could have predicted Dr. Grant would suddenly jump out of a moving vehicle! ELLIE Alan? She jumps out too and follows him into the field. MALCOLM There's another example! IN THE FRONT CAR, TIM Hey! I want to go with them! IN THE REAR CAR, MALCOLM See? Here I am now, by myself, talking to myself - that's Chaos Theory! What the hell am I doing here? I'm the only one who knows what's going on, etc, etc.","INT. CONTROL ROOM DAY HAMMOND, MULDOON, and ARNOLD stare at the video monitor incredulously as everyone now pouts out of the cars and follows Grant down the hill. The cars roll on slowly, empty, their doors hanging open. ARNOLD Uh - Mr. Hammond - HAMMOND Stop the program! Stop the program! MULDOON There you are! How many times did I tell you we needed locking mechanisms on the vehicle doors! ACROSS THE ROOM DENNIS NEDRY sneaks a peek at the video monitor. It shows an image of the steel door, plainly marked - `` EMBRYONIC COLD STORAGE. RESTRICTED!'' He looks to another monitor, which is labeled `` EAST DOCK.'' The monitor shows a supply ship, moored at the dock. Its cargo is being uploaded and a large group of WORKERS is filing aboard. Nedry has something in the counter, where no one can see it. It's a can of shaving cream.","EXT. PARK DAY GRANT, ELLIE, GENNARO, and the KIDS are out in the open field, heading towards a small stand of trees. For the first time, we notice the sky is darken rather early in the day. Tim dogs Grant's footsteps, so excited he can hardly keep his feet on the ground. TIM So like I was saying, there's this other book by a guy named Bakker? And he said dinosaurs died of a bunch of diseases? He definitely did n't say they turned into birds. Gennaro is scared as hell, following the others, but his head darting left and right. ELLIE Alan? Where are we going? You see something? GENNARO Uh - anybody else think we should n't be out here? TIM And his book was a lot fatter than yours. GRANT Really? ELLIE Yours was fully illustrated, honey. GENNARO Anybody at all. Feel free to speak up. Lex stumbles and Grant takes her hand, to stop her from falling. She looks up at him and smiles. Grant smiles back and tries to recover his hand, but Lex holds tight. He's massively uncomfortable. Ellie notices. Suddenly they all stop in their tracks. A huge smile spreads across the faces of both Tim and Grant. Grant walks forward. Tim follows. ELLIE Timmy, Timmy. LEX Come back here, blanket head. Fearless, Tim walks forward behind Grant. HARDING -LRB- O.S. -RRB- Hi everybody, Do n't be scared. Tim reaches the clearing and sees : A Triceratops, a big one, lying on its side, blocking the light at the end of the path. It has an enormous curved shell that flanks its head, two big horns over its eyes, and a third on the end of its nose. It does n't move, just breathes, loud and raspy, blowing up a little clouds of dust with every exhalation. Grant stands next to Harding, almost in a daze. GRANT Beautiful. Is it okay? Can I touch it? HARDING Sure. Grant walks next to the animal and strokes its head. Ellie moves forward to the animal. GRANT Oh Ellie. It's so beautiful. It's the most beautiful thing I ever saw. ELLIE It's my favorite. They both kneel, checking the animal. He furrows his bow, noticing something, all professional curiosity now. The animal's tongue, dark purple, droops limply from its mouth. GRANT -LRB- cont'd. -RRB- Ellie, take a look at this. ELLIE Yeah, baby girl, it's okay. She scratches the tongue with her fingernail. A clear liquid leaks from the broken blisters. ELLIE Micro vesicles. That's interesting. Grant, fascinated, wanders all the way around to the back of the animal. Harding joins Ellie and hands her his penlight. ELLIE -LRB- cont'd. -RRB- What are her symptoms? HARDING Imbalance, disorientation, labored breathing. Seems to happen about every six weeks or so. ELLIE Six weeks? She takes the penlight from the veterinarian and shines it in the animal's eyes. ELLIE -LRB- cont'd. -RRB- Are there pupillary effects from the tranquilizer? HARDING Yes, mitotic, pupils should be constricted. ELLIE These are dilated. Take a look. HARDING They are? -LRB- checks it out. -RRB- I'll be damned. ELLIE That's pharmacological. From local plant life. She turns and studies the surrounding landscape. Her mind's really at work, puzzling over each piece of foliage. ELLIE -LRB- cont'd. -RRB- -LRB- pointing. -RRB- Is that. -LRB- or. -RRB- this West Indian lilac? HARDING Yes. We know they're toxic, but the animals do n't eat them. ELLIE Are you sure? HARDING Pretty sure. ELLIE There's only one way to be positive. I need to see some droppings. -LRB- or. -RRB- I have to see the dinosaur's droppings. HARDING You wo n't be able to miss them. -LRB- or. -RRB- Ca n't miss them. Malcolm walks up to Ellie. MALCOLM Dino droppings? ELLIE Yeah. She walks way, Malcolm looks on.","INT. CONTROL ROOM DAY HAMMOND and ARNOLD are watching the video monitors, displeased about something. Arnold is looking at one that gives them a view from the beach, looking out at the ocean. The clouds beyond are almost black with a tropical storm. ARNOLD That storm center has n't dissipated or changed course. We're going to have to cut the tour short, I'm afraid. Pick it up again tomorrow where we left off. HAMMOND You're sure we have to? ARNOLD It's not worth taking the chance, John. MULDOON -LRB- into phone. -RRB- Sustain winds 45 knots. HAMMOND -LRB- nods. -RRB- Tell them when they get back to the cars. MULDOON -LRB- into phone. -RRB- Thanks, Steve. ARNOLD -LRB- making an announcement to the others. -RRB- Ladies and gentlemen, last shuttle to the dock leaves in approximately five minutes. Drop what you are doing and leave now. HAMMOND Damn! ACROSS THE ROOM NEDRY stares at his video monitor, watching the boat. He's on the phone with the MATE, whose images he can see on the monitor. The seas around the dock are much rougher now. MATE We're not well - berthed here without a storm barrier! We may have to leave as soon as the last of the works are aboard. NEDRY -LRB- low voice. -RRB- No, no. You stick to the plan. You wait till they're back from the tour.","EXT. FIELD DAY As the weather grows darker, ELLIE, GRANT, HARDING, and MALCOLM are grouped around an enormous spoor of triceratops excreta that stands at least waist high and is covered with BUZZING flies. MALCOLM That is one big pile of shit. Ellie has plastic gloves on the reach up to her elbows, and is just withdrawing her hand from the middle of the dung. ELLIE -LRB- to Harding. -RRB- You're right. There's no trace of lilac berries. That's so weird, though. She shows all the classic signs of Meliatoxicity. -LRB- thinking aloud. -RRB- Every six weeks - She turns and walks out into the open field a few paces, thinking. Malcolm watches her, and looks back at the dung. MALCOLM -LRB- to Grant. -RRB- She's, uh - tenacious. GRANT You have no idea. MALCOLM -LRB- to Ellie. -RRB- You will remember to wash your hands before you eat anything?","INT. CONTROL ROOM DAY DENNIS NEDRY is busily and surreptitiously typing a series of commands into his console. On his screen, a cartoon hand winds up a cartoon clock, moving its second hand up to the twelve. The clock rotates around to face us. It has a large green dollar sign in the middle. A big word appears on screen, an option surrounded by forbidding red box. `` EXECUTE,'' it says.","EXT. PARK DAY The skies are really foreboding now, and there's a sense of growing urgency. ELLIE is by the animal, a short distance away from the group. GRANT is near her, thinking. GRANT Ellie, I've been thinking there's something about the periodicity does n't had up. ELLIE I know. Tim holds one of the smooth rocks up and calls out, a little timidly. TIM These look kind of familiar. GRANT Triceratops was a constant browser, and constant browsers would be constantly sick. ELLIE Constantly sick. GRANT Not just every six weeks. ELLIE Yeah, I know. TIM I've seen pictures of these! Grant turns and looks at him, a little annoyed. TIM In your fully illustrated book. Grant just rolls his eyes, but Ellie comes over and checks out the stones. ELLIE What's that? A light goes on in her eyes. ELLIE Alan - gizzard stones! She throws Grant one of the stones. They look at each other in amazement. As before, when they get excited, they talk right over each other. GRANT Elm that's it, it explains the periodicity, the - ELLIE - the undigested state of the berries because it's - GRANT - totally incidental. -LRB- or. -RRB- unrelated to the feeding pattern - TIM What are you guys saying? ELLIE -LRB- turning to Tim. -RRB- It's simple, see. Some animals like her, do n't have teeth - GRANT - like birds - ELLIE - like birds. What happen is, they swallow the stones and hold them in a muscular sack in their stomachs - GRANT - a gizzard - ELLIE - which is called a gizzard, and it helps them mash their food, but what happens after a while - GRANT - what happens is that after a while, the stones get smooth, every six weeks, so the animal regurgitates them - ELLIE -LRB- for Tim. -RRB- - barfs them up - GRANT - and swallows fresh ones. ELLIE And when she swallows the stones, she swallows the poison berries too. That's what makes her sick. -LRB- impressed. -RRB- Good work Tim. She looks at Grant pointedly. Tim looks up at Grant too, smiling from ear to ear. Grant GRUNTS, not so easily convinced. THUNDER rumbles as the storm overhead is about to bust loose. GENNARO, scared of more than one thing now, puts his foot down. GENNARO Doctors, if you please - I have to insist we get moving. ELLIE Oh, you know, if it's alright, I'd like to stay with Dr. Harding and finish with the trike. Is that okay? HARDING Sure. I've got a gas powered jeep. I can drop her at the visitor's center before I make the boat with the others. ELLIE -LRB- to Grant. -RRB- I'll catch up with you. You can go with the others. GRANT Are you sure? ELLIE I'll just finish. Yeah, I want to finish. There is a lightning flash now, with a tooth - rattling THUNDERCLAP right on its heels. GENNARO Now. Grant turns and follows the others, Lex right in his tracks. Ellie and Harding go back to the triceratops, which is starting to come back to life. As Grant reaches the Explorer, he turns back for one last look at Ellie. He raises his hand to wave, but she is turned the other way. Feeling silly, he drops his hand and goes into the woods. Just as he does, Ellie turns and waves to him, but with his back turned, he misses it too. In this way, they say goodbye. BACK AT THE CARS, as the reflections of the GROUP approach, the first raindrops fall on the windshields of the tour vehicles. They're big, fat drops, and they kick up little clouds of dust as they SMACK into the glass. It's going to be a hell of a storm.","EXT. PARK DUSK It's near dark now. The wind has whipped up, and the trees are swaying.","INT. CONTROL ROOM DUSK HAMMOND is with RAY ARNOLD, staring at the video screens. ARNOLD I found a way to re - route through the program. I'm turning the cars around in the rest area loop. HAMMOND Rotten luck, this storm. Get my grandchildren on the radio will you? I do n't want them to worry about a wee bit of rain. Arnold reaches for the hand microphone. ACROSS THE ROOM, DENNIS NEDRY, sweat forming on his upper lip now, is staring at his video monitor. The supply boat is still docked on the island shore, but is now being buffeted by heavy waves. Nedry whispers sharply into the phone, arguing with the MATE of the ship again, who he can see on the video monitor. MATE There's nothing I can do! If the Captain says we got ta go, we got ta go! NEDRY No, no, listen to me. You've got to give me this time. I did a test run on this thing and it took me twenty minutes. I thought I could do it in fifteen - you've got to give me fifteen minutes. MATE No promises! No promises! NEDRY I'll be there in ten! Arnold SNAPS a button on his console. ARNOLD Visitor vehicles are on their way back to the garage. HAMMOND So how much for our first tour. Two no - shows and one sick triceratops. ARNOLD It could have been worse, John. It could have been a lot worse. Dennis Nedry stands up. He's shaking in his shoes, but trying like hell to be casual. NEDRY Anybody want a Coke? Anybody what some from the machines? Or a soda or something? I had too many sweets. -LRB- or. -RRB- I thought I'd get something sweet. Hammond and Arnold shake their heads. Nedry starts to leave, then turns back with an afterthought that is so rehearsed its almost obvious. NEDRY -LRB- cont'd. -RRB- Oh, I finished de - bugging the phones, but the system's compiling for eighteen minutes, or twenty. So, some minor systems may go on and off for a while. There's nothing to worry about. Simple thing. HAMMOND Okay, okay, okay, okay, that's enough! Ahh! Nedry turns, stretches one finger out to his screen, and selects an option. `` EXECUTE.'' At the same time, he presses the start button on his digital stopwatch he holds in his hand. A digital clock on the computer screen starts to tick down from sixty seconds, and a musical clock starts to sound too - something like the `` Jeopardy'' theme. He starts to leave - but returns when he remembers the shaving cream can. He grabs it and leaves.","EXT. PARK ROAD NIGHT Night was completely fallen now, and the rain has started. It's a tropical storm, the rain falling in drenching sheets on the roofs and hoods of the Explorers, which are making their way slowly back to the visitor's center. IN THE REAR CAR, GRANT and MALCOLM are alone. Grant is staring out the window, lost in his thoughts. GRANT You got any kids? MALCOLM Me? Oh, hell yes. Three. -LRB- glowing. -RRB- I love'em. I love kids. Anything at all can and does happen. He takes a flask from jacket pocket and unscrews the top. His expression darkens. MALCOLM -LRB- cont'd. -RRB- Same with wives, for that matter. GRANT You're married? MALCOLM Occasionally. Always on the lookout for the future ex - Mrs. Malcolm.","INT. FERTILIZATION LAB NIGHT DENNIS NEDRY, waits outside the silver door marked `` EMBRYONIC COLD STORAGE,'' staring at the digital stopwatch in his hand. NEDRY Two - one - On cue, the security lock panel goes dark and the door CLUNKS ajar. IN THE COOLER, Nedry hurries in and flips open the hatch on the bottom of the shaving cream can, revealing slotted compartments inside. He goes to the rack of dozens of thin glass slides. A sign says `` VIABLE EMBRYOS - HANDLE WITH EXTREME CARE!'' He takes the slides out of the rack one by one. They're labeled - `` STEGOSAURUS'', `` APATOSAURUS'', `` TYRANNOSAURUS REX'' - and puts them into the can.","INT. CONTROL ROOM NIGHT ARNOLD is staring at his terminal, puzzled. On the screen, glowing red and blue lines are blinking off, in succession. ARNOLD What? HAMMOND comes up behind him, as does ROBERT MULDOON. HAMMOND What? ARNOLD The door security systems are shutting down. HAMMOND Well, Nedry said a few systems would go off - line, did n't he?","INT. REAR CAR NIGHT GRANT and MALCOLM still wait in their car. They do n't notice, but the video screen in the middle of their front console suddenly goes black. Malcolm continues their conversation. MALCOLM By the way, Dr. Sattler - she's not like, uh, available, is she? - GRANT Why? MALCOLM Why? Oh, I'm sorry. Are you two, uh - are? I wish you the best luck. The cars jerk to a stop. The lights in the vehicles and along the road go out, plunging them into blackness. Grant jerks his hands away from the steering column, immediately assuming it's his fault. GRANT What'd I touch?! MALCOLM You have n't touched. -LRB- or. -RRB- did n't touch anything. We're stopping. -LRB- or. -RRB- We've stopped. GRANT I must've touched something. This happens all the time. It must be my fault. Machines hate me. MALCOLM Machines hate you? GRANT Yeah, they hate me. MALCOLM You want to talk about this? GRANT No.","EXT. JURASSIC PARK NIGHT Nedry's jeep SPLASHES up to the giant gates that lead into Jurassic Park. NEDRY jumps out and hurries to the control panel on the side of the cement supports. He FLICKS a switch and gates CLICK unlocked. He jumps back in the car and noses into the gates, shoving them open far enough to drive through. He ROARS into the park grounds","EXT. CONTROL ROOM NIGHT RAY ARNOLD stares at his terminal, aghast, as row upon row of colored lights crawls off on his screen. ARNOLD Woah, woah, woah, what the hell, what the hell? HAMMOND What now? ARNOLD Fences are failing, all over the park! A few minor systems, he said! HAMMOND -LRB- to Muldoon, pissed. -RRB- Find Nedry! Check the vending machines! ARNOLD The monitors are failing. Muldoon heads for the door just as all the video monitors in the control room go out with a faint electronic ZIP. The three of them freeze for a moment, looking at each other. The tension in the room goes up a notch. HAMMOND -LRB- to Arnold. -RRB- Use Nedry's terminal. Get it all back on. He can de - bug later. ARNOLD pushes off on the floor and whizzes over to Nedry's master terminal in his chair. With one stroke of his arm, he brushes all the loose junk off Nedry's station - junk food, soda cans, torn out magazine pages - and tries to work. ARNOLD God, look at this workstation. The `` Jeopardy'' - type music is playing a little faster now. Muldoon steps forward, growing alarmed. MULDOON The raptor fences are n't out, are they? ARNOLD -LRB- checks. -RRB- No, they're still on. HAMMOND Why the hell would he turn the others off?!","EXT. PARK ROAD NIGHT A wire mesh fence in front of us has a very clear sign : DANGER! ELECTRIFIED FENCE! This Door Can not Be Opened When Fence is Armed! A hand reaches out, grabs the fence by the bare wire, flips a latch, and shoves the door open. No sparks fly. DENNIS NEDRY runs from the fence back to his jeep, drops it in gear, and tears off down the park road. The rain is absolutely flowing down now, the road is rapidly turning to mud. IN THE JEEP, Nedry can barely see through the windshield. He's driving as fast as possible, checking his watch every few seconds. He leans forward, squinting to see through the windshield, wiping off the condensation with his free hand. A fork in the road rushes into view. He jumps on the brakes - to late. The jeep careens into a signpost. NEDRY Shit! He throws the door open and hurries to the fallen sign : `` To The Docks''. He props it up - the directional arrow swings hopelessly on a nail. He clenches his jaws and growls. Soaked, Nedry stomps back to his car. Although he does n't look too convinced, he drops the car in gear and speeds off to the left.","EXT. CONTROL ROOM NIGHT HAMMOND still hovers over ARNOLD's shoulder while he works at Nedry's terminal. Arnold MUTTERS to himself as he tries another command. ARNOLD - access main program grid - He punches a button, but a BUZZER sounds and a little cartoon image of Nedry appears on the screen and waves its little finger disapprovingly. CARTOON NEDRY `` You did n't say the magic word!'' ARNOLD -LRB- livid. -RRB- Please, God damn it! I hate this hacker crap! He SMACKS the top of the monitor, furious. The game show music plays still faster. HAMMOND Call Nedry's people in Cambridge! Arnold whisks across the floor in his chair and snatches up the nearest phone. He punches for an outside line. ARNOLD Phones are out too. HAMMOND Where did the vehicles stop?","EXT. TYRANNOSAUR PADDOCK NIGHT BAAA! The goat that was brought up from the underground earlier is still tethered in the same place, BLEATING in the pouring rain The two explorers sit still in the middle of the road. A man's form races back from the front car to the rear car. IN THE REAR CAR, GRANT, soaking wet, gets back into the care and closes the door behind him. MALCOLM turns to him. GRANT Their radio's out too. Gennaro said to stay put. MALCOLM The kids okay? GRANT Well, I did n't ask. Why would n't they be? MALCOLM Kids get scared. GRANT What's to be scared about? It's just a little hiccup in the power. MALCOLM I did n't say I was scared. GRANT I did n't say you were scared. MALCOLM I know. GRANT Fine. Malcolm turns and looks out at the driving rain, and the fence that stands between them and the tyrannosaur paddock. He is scared. IN THE FRONT CAR, GENNARO, LEX, and TIM wait, bored. The rain drums on the roof monotonously. Tim is upside down in the front seat. Lex pushes his legs up, and he swings them down. TIM Up and down, up and down! GENNARO -LRB- sotto. -RRB- I ca n't believe we invited Ian Malcolm. TIM People were gettin' bloody noses - things on your head - aneurisms - LEX -LRB- a little dreamy. -RRB- I think Dr. Grant is really - smart. GENNARO How he'll write a butch of. -LRB- letters. -RRB- papers, go on Larry King Live, say we're irresponsible - Tim climbs into the back seat. Lex hits him with her hat as he moves by her. LEX Do n't scare me. - - - - - - - -? - - - - - - - - Tim finds something under the seat and sits up abruptly, holding what looks like a heavy - duty pair of safety goggles. GENNARO Hey! Where did you find those things? TIM In a box under my seat. GENNARO Are they heavy? TIM Yeah. GENNARO Then they're expensive. Put them back. He leans back and closes his eyes. Tim ignores him and puts on the goggles. - - - - - - - - - - - - - - - Tim stares out the back window of the Explorer with Grant and Malcolm in it, behind them. The image is bright fluorescent green. TIM Oh, cool! Night vision! As Tim watches, the door of the rear Explorer opens, and a hand reaches out, holding an empty canteen out to catch some rain water. IN THE REAR CAR Grant pulls the canteen back in, closes the door, and takes a drink. He and Malcolm wait. IN THE FRONT CAR Tim continues to stare out of the back window with the goggles. He swings his legs - but suddenly stops. He feels something. He pulls off the goggles and turns back. He moves into the back seat with Lex who is tapping her hat, and reaches forward to still her hand. BOOM. BOOM. BOOM. TIM Did you feel that? -LRB- or. -RRB- Can you feel that? She do n't answer. Tim leans over to the front passenger seat and looks at the two plastic cups of water that sit in the recessed holes on the dashboard. As he watches, the water in the glasses vibrates, making concentric circles - - then it stops - - and then it vibrates again. Rhythmically. Like from footsteps. BOOM. BOOM. BOOM. GENNARO -LRB- not entirely convinced. -RRB- What is that? M - Maybe it's the power trying to come back on. Tim jumps into the back seat and puts the goggles on again. LEX What is that? GENNARO What is what? Tim turns and looks out the side window. He can see the area where the goat is tethered. Or was tethered. The chain is still there, but the goat is gone. BANG! They all jump, and Lex SCREAMS as something hits the Plexiglas sunroof of the Explorer, hard. They look up. It's a bloody, disembodied goat leg. GENNARO Oh, Jesus. Jesus. Tim whips around to look out the side window again. His mouth pops open, but no sound comes out. Through the goggles, he sees an animal claw, a huge one, gripping the cables of the `` electrified'' fence. Tim whips the goggles off and presses forward, against the window. He looks up, up, than cranes his head back further, to look out the sunroof. Past the goat's leg, he can see - - Tyrannosaurus rex. It stands maybe twenty - five feet high, forty feet long from nose to tail, with an enormous, boxlike head that must be five feet long by itself. The remains of the goat hang out of the rex's mouth. It tilts its head back and swallows the animal in one big gulp. Gennaro ca n't even speak. His hand claws for the door handle, he shoulders it open, and takes off, out of the car. LEX -LRB- freaking out. -RRB- He left us! He left us alone! Dr. Grant! Dr. Grant! He left us! He left us! ON THE ROAD, Gennaro runs away, as fast as he can, right past the second car, towards a cement block outhouse twenty or thirty yards away. He reaches it, ducks inside, and pulls the door after him - - but there's no latch, just a round hole in the unfinished door. Gennaro backs into a stall, frantic. The whole bathroom begins to shake. IN THE REAR CAR, Grant and Malcolm turn in the direction Gennaro went. GRANT Where does he think he's going? MALCOLM When you got ta go, you got ta go. Malcolm looks the other way, out the passenger window. As he watches, the fence begins to buckle, its post collapsing into themselves, the wires SNAPPING free. MALCOLM What was that all about? - Grant now turns and watches as, ahead of them, the `` DANGER!'' sign SMACKS down on the hood of the first Explorer. The entire fence is coming down, the posts collapsing, the cables SNAPPING as - - the T - rex chews its way through the barrier. They watch in horror as the T - rex steps over the ruined barrier and into the middle of the park road. It just stands there for a moment, swinging its head from one vehicle to the other. IN THE FRONT CAR, The rex strides around to the side of the car and peers down, from high above. Tim leaps into the front seat and pulls the driver's door shut. Both kids are terrified, breathing hard, unable to speak. TIM Please! Please! IN THE REAR CAR, MALCOLM Boy, do I hate being right all the time. GRANT Look at that! The T - rex turns and strides quickly back towards them. It circles, slowly, bending over to look in at them through the window. Grant and Malcolm sit trembling in the front seat, watching as the giant legs stride past their windows. GRANT -LRB- a quivery whisper. -RRB- Keep absolutely still - it's vision's based on movement! MALCOLM You're sure?! GRANT -LRB- pause. -RRB- Relatively. Malcolm freezes as the rex bends down and peers right in through his window. The dinosaur's giant, yellowing eye is only slightly smaller than the entire pane of glass The T - rex pulls away slightly, then reaches down and BUMPS the car with its snout, rocking it. IN THE FRONT CAR, Lex is rummaging around in the back cargo area, looking for something, anything. She finds a flashlight. ON THE ROAD, The front car lights up from within as Lex switches on the flashlight. The dinosaur raises its head. It turns slowly from the second car to the first car, drawn by the light. Making a decision, it strides over to the first vehicle. FAST. IN THE FRONT CAR, Tim and Lex can only stare out of the windows as the T - rex reaches their car and starts to circle it. The rex bends down and looks in through the front windshield, then the side window. Tim is eye to eye with the thing for a second, then the dinosaur raises its head up, above the car. LEX I'm sorry - I'm sorry - TIM Turn it off, Lex! Turn it off! Tim climbs over the seat and joins Lex. TIM -LRB- cont'd. -RRB- Where is the button then? LEX I do n't know, I do n't know. I'm sorry - TIM Why did you do this? LEX I do n't know! I'm sorry! The Kids look up, through the sunroof, as the head goes higher, and higher, and higher, and then the rex turns, looks straight down at them through the sunroof, opens its mouth wide and - - ROARS. The windows RATTLE, Lex SCREAMS, the flashlight goes on again, and the tyrannosaur strikes. SMASH! The thing's head its the plastic sunroof, knocking the whole frame right out of the roof of the car and down into the vehicle. The bubble falls down onto Tim and Lex, trapping them, and the animal lunges down, through the hole, SNAPPING at them. The Plexiglas holds, though and protects Tim and Lex even as it pins them to the seats. The T - rex continues to push down, and the glass GROANS, crack lines racing across it. Tim, whose feet were caught above him, pushes back, only an inch of glass between him and the dinosaur's teeth. IN THE REAR CAR, Grant and Malcolm watch in horror as the dinosaur claws at the side of the vehicle with one of its powerful thigh legs. It pushes, starting to tip the car over. MALCOLM Oh my God! GRANT We got ta do something. MALCOLM What? What can we do? GRANT There's got ta be something - Grant looks around, climbs over the seat. He tears apart the back area, searching - and finally finds a metal case. He opens it, finding flares. He grabs one and moves quickly back to the driver's seat and opens the door. Malcolm grabs a flare, too. IN THE FRONT CAR, the glass windows SHATTER, the Kids are thrown to the side, and the Explorer tilts. The rex bends down and nudges the car with its head, rolling it up on its side. Tim and Lex tumble around. ON THE ROAD the T - rex starts to nudge the Explorer toward the barrier. Over the barrier, there is a gentle terraced area at one side where the rex emerged from, but the car is n't next to that, it's next to a sharp precipice, representing a fifty or sixty foot drop. The car, upside down now, is pushed near the edge. The rex towers over the car. Like a dog, its puts one foot on the chassis and tears a the undercarriage with its jaws. Biting at anything it can get a hold of, it rips the rear axle free, tosses it aside, and bites into a tire. The tire EXPLODES, startling the animal. INSIDE THE CAR, Tim and Lex are trapped inside the rapidly flattening car. As the frame continues to buckle, they crawl toward the open rear window, the car collapsing behind them. Mud and rain water pout into what little space there is left. Tim is ahead, nearing the back window, when there is a CRUNCH and a seat comes down, pinning him. ON THE ROAD, the dinosaur backs up, dragging the Explorer, swinging it left and right. It seems ready to fling it over the edge. Grant gets out of his car. He's holding the flare in one hand, which he pulls the top off of. Bright flames shoot out the end of it. GRANT Hey! Hey! Over here! The T - rex turns and looks at him Grant waves the flare slowly in front of him from side to side. The T - rex follows his moving arm, eyes locked on the flare. Grant looks over to the wall, and tosses the flare over the edge of the barrier. The rex lunges after it - Unclear with Grant's plan, Malcolm leaps out of the car and tries to scare up the T - rex's attention with his own newly lit flare. He begins to wave it at the animal. Grant sees him - GRANT Ian! Freeze! Freeze! Get rid of the flare! MALCCOLM Get the kids! Malcolm inches back slowly, then takes off, running for his life down the road. He runs to the cement block outhouse Gennaro went into earlier. The T - rex sees the movement. It whirls and takes off after Malcolm, fast. Malcolm runs as fast as he can, approaching the outside just steps ahead of the T - rex But not far enough ahead. Without even slowing down, the rex leans forward and flicks Malcolm into the air with its snout. It's just a nudge a for the rex, but it sends Malcolm sailing right through a wooden portion of the wall, and into the building. IN THE RESTROOM Gennaro, who cowers in a corner, SCREAMS as teh head of the T - rex EXPLODES through the front of the building, sending chunks of cement flying in all directions inside. The roof collapses ; Gennaro tries to protect himself from the falling junk. ON THE ROAD Grant gets on his feet and watches as the T - rex noses around in the rubble. It seems to find something. It lunges, and Grant can hear Gennaro SCREAMING, the sound piercing - - until it abruptly stops. Grant scrambles over to the car. GRANT Tim! Lex! LEX Dr. Grant! Dr. Grant! He lays on the ground, looking inside, and sees Lex staring up at him, conscious, her face covered in mud. GRANT Are you okay? Can you move? -LRB- calling into the car. -RRB- Tim! Are you okay? - - - - - - - - VERSION 1 - - - - - - - - GRANT Tim, are you okay? TIM I'm stuck. The seat's got my feet! GRANT Tim, I'll come back for you. I'll get Lex out first. - - - - - - - - VERSION 2 - - - - - - - - LEX He's knocked out! He's knocked out! Dr. Grant! Dr. Grant! Daddy, daddy! GRANT Let's get you out. - - - - - - - - - - - - - - - Grant reaches in and drags her out. GRANT Are you okay? Good girl. Grant tries to find Tim GRANT -LRB- cont'd. -RRB- Tim? Tim? Lex, staring over his shoulder, SCREAMS. Grant whirls, covering her mouth at the same time. GRANT -LRB- cont'd. -RRB- Shhh! Do n't move! It ca n't see us if we do n't move. Lex looks at him like he's crazy, but freezes. They wait. BOOM! A big T - rex foot print smacks down in front of them as the dinosaurs approaches the car again. It leans down, right past them, and SNIFFS the car, ragged bits of flesh and clothing hanging from its teeth. Not finding anything, the dinosaur swings its head away, SNORTING loudly through its nose. Grant's hat flies off his head. Still, he does n't move. The rex walks to the back of the car. It bends down. WHAP! The car spins as it is pushed from behind by the rex. Grant and Lex are pushed in front of it, helpless. They scramble around on their knees, trying to keep ahead of the car, which the rex is now pushing even closer to the edge of the barrier. Grant and Lex crawl quickly, but the car is moving faster, catching up on them. INSIDE THE CAR Tim awakens and SCREAMS. He tries to untangle himself. ON THE ROAD, the T - rex looms over Lex and Grant, who are trapped between the car and the sixty foot drop. INSIDE THE CAR, the rex bends down and sees Tim. Tim backs away, furiously, but there's almost no room to move in there. The rex opens its mouth wide and stretches its tongue into the car. Tim screams and kicks as the tongue tries to wrap around him. But it fails, and withdraws from the car. ON THE ROAD, the T - rex still tries to get to Grant and Lex, pushing the car, spinning on its roof. Grant and Lex scramble, trying to avoid being caught by the T - rex and crushed by the car. GRANT This way! The back of the car almost crushes them against the barrier - GRANT -LRB- cont'd. -RRB- Get back! They move, as the rex continues to move the car towards the edge. Grant finally gets on the wall, Lex follows. The T - rex ROARS in frustration. It bends down for one final lunge at the car. Grant sees it coming. He grabs one of the dangling fence cables on the other side of the barrier. GRANT Grab a hold of me! She wraps her arm around his neck. He scrambles to the edge of the barrier, and starts to climb down. LEX -LRB- screaming. -RRB- Timmy! Timmy! The cable is slick with rain, and it's all Grant can do to hang on as he and Lex slide rapidly down. Above them, the vehicle is now teetering over the edge, threatening to drop right on top of them if they did n't hurry. Grant GASPS, as Lex has unwittingly started to choke him as she holds on for dear life. GRANT You're choking me! The car GROANS, nearly over the edge now. Grant looks to the side. There are other cables, out of the line of the car's impending drop. His feet scrambling along the concrete wall, Grant tries to swing over towards one. GRANT Grab a wire! But he falls short. His momentum carries them back the other way, but on the second swing Lex manages to grab hold of the second cable. LEX I got it! The car falls. Lex and Grant are clear by inches, clinging to the second cable. LEX Timmy! The car CRUNCHES into the leafy top of a tree, resting on its roof some fifteen feet below them. The T - rex stares down at them, but they are safely out of its reach. It ROARS once more, in a final fit of frustration, turns -","INT. CONTROL ROOM NIGHT JOHN HAMMOND is lived HAMMOND I will kill Nedry. I will kill him. Muldoon bursts through the door. HAMMOND -LRB- to Muldoon. -RRB- Well? MULDOON There's no sign of him anywhere. The game show music is louder and faster now, very annoying. HAMMOND Ray will you please switch off. -LRB- or. -RRB- stop that music?! RAY ARNOLD's cigarette is practically burning his lips, down to almost nothing in his mouth. He hovers over NEDRY's computer terminal, which is a mass of incomprehensible commands that scroll by quickly as he futilely examines each one of them. MULDOON paces. ELLIE stares at Arnold in amazement. ELLIE Are we getting anywhere with these procedures of yours? I mean, what's hanging us up? ARNOLD I ran a key check on every stroke Nedry entered today. It's all pretty standard stuff, until this one - ELLIE -LRB- stands, joins the group at the computer. -RRB- What one? He points to his computer screen, to a specific series of commands. The others crowed over his shoulder and stare at the screen. ARNOLD -LRB- cont'd. -RRB- `` Keycheck / space - o keycheck off safety - o.'' He's turning the safety systems off. He does n't want anybody to see what he's about to do. Now look at this next entry, it's the kicker. `` Wht.rbt.obj.'' Whatever it did, it did it all. But with Keycheck off, the computer did n't file the keystrokes. Only way to find them now is to search the computer's lines of code one by one. ELLIE How many lines of code are there? ARNOLD Uh - about two million. ELLIE Two million - great. That would help. -LRB- or. -RRB- Oh good, that'll take no time. HAMMOND Robert - I wonder if perhaps you would be kind. -LRB- or. -RRB- good enough to take a gas jeep and bring back my grandchildren. MULDOON Sure. ELLIE I'm going with him. They head for the door. Hammond turns, staring out the windows at the front of the control room. He's gone pale, and he's sweating, wrapped up in million thoughts. Behind him, Ray Arnold's voice calls to him, but he does n't hear it. ARNOLD John - John - Hammond leans on his cane, and for the first time he looks like he's actually using it. ARNOLD -LRB- cont'd. -RRB- John. Hammond turns, finally hearing him. ARNOLD -LRB- cont'd. -RRB- I ca n't get Jurassic Park back on line without Dennis Nedry.","EXT. PARK ROAD NIGHT As the rain continues to pour down, a gas - powered jeep ROARS down another park road.","INT. JEEP NIGHT DENNIS NEDRY drives the jeep as fast as he can in the treacherous conditions. He MUTTERS to himself, shaking his head. NEDRY Shoulda been there by now - shoulda been there - He hauls it around a corner and looks down, checking his watch. When he looks back up, his eyes go wide. There's a white wood guard rail fence, right in front of him. He stands on the brakes as hard as he can. The jeep fishtails, skidding out of control in the mud towards the fence. Nedry hauls the wheel hard to the side to try to control the skid, but the jeep skids off the road, going halfway over the muddied embankment. NEDRY -LRB- cont'd. -RRB- God damn it! He drops the car in reverse and hits the gas. The wheels spin, sending mud flying everywhere, but the jeep goes nowhere, just digs in further. Nedry ca n't believe it. Frustrated, he gets out of the jeep. He stops suddenly - he can see another park road, down the sloping embankment, about twenty feet below. There is a large sign alongside the road. Nedry leans forward excitedly to get a better look. It reads `` TO EAST DOCK.'' He scrambles to the front of the jeep. ON THE HILLSIDE Nedry CRANKS a winch its coil on the front end of the jeep. NEDRY -LRB- mumbling to himself. -RRB- No problem. Winch this sucker off the thing - tie it do a thing - pull it down the thing - and pull it back up. He loses his balance and slips - falling back on his rear. He slides down the muddy embankment, across the road below. Pissed, he gets to his knees and searches for his glasses. NEDRY -LRB- cont'd. -RRB- Where are my glasses? I can afford new ones. He stands and grabs the winch, and goes to a sturdy - looking tree on the other side. NEDRY -LRB- cont'd. -RRB- You can make it! From the distance, there is a soft HOOTING sound. There's some movement in the bushes - Nedry looks around for the source of the sound and movement. He does n't find it. He nervously checks his watch and goes back to the winch, but faster. NEDRY -LRB- cont'd. -RRB- No problem - pop this thing right down - The HOOTING comes again and Nedry turns - again, nothing. A figure ducks around the tree and pops out on the other side, HOOTING playfully. Nedry looks around one side of the tree - nothing. It pops up on the other side, HOOTING again. And Nedry looks again. Nothing. It seems like a friendly game of hide - and - seek. But Nedry begins to get rattled. NEDRY That's nice. Got ta go. I'm getting out of here. C'mon you can make it! He secures the winch and starts across the road, back up the embankment. He freezes, as he feels something behind him. He turns around slowly and sees : A dilophosaur. It stands only about four feet high, its spotted like an owl, and has a brilliant colored crest that flanks its head. It does n't look very dangerous. In fact, it's kind of cute. NEDRY -LRB- cont'd. -RRB- Oh. Uh - nice boy. Nice boy. Okay. Run along. I do n't have anything for you! Go on! Go home! Dinner time! Are you hungry? They'll feed you! Go, boy. Girl. Whatever. The dilophosaur just stares at Nedry, tilting its head curiously. Nedry looks around on the ground and finds a stick. He picks it up and chucks it at the thing. He throws it as far as he can. NEDRY -LRB- cont'd. -RRB- Nice juicy stick! Fetch! The dilophosaur gets into the spirit of the game, but not the object. NEDRY -LRB- cont'd. -RRB- Lame brain! What's the matter with you? -LRB- or. -RRB- What's the matter with you? He shakes his head and starts back towards the jeep, muttering to himself. NEDRY -LRB- cont'd. -RRB- Walnut brain. extinct kangaroo. hope I run over you on the way down - - - - - - - - -? - OR -? - - - - - - - - NEDRY -LRB- cont'd. -RRB- Walnut brain. extinct kangaroo. hope I run over you on the way down - He's near the top when the dilophosaur suddenly hops out right in front him, startling him. Nedry loses his balance and falls back, right on his rear. He gets to his feet, angry. NEDRY -LRB- cont'd. -RRB- I said - He picks up a stick and chucks it at the thing. NEDRY -LRB- cont'd. -RRB- - beat it! - - - - - - - - - - - - - - - NEDRY -LRB- cont'd. -RRB- What are you do - The animals HISSES. The brightly colored fan around its neck flares wildly, two bulbous sacs on either side of its neck inflate. It rears its head back again - - and it SPITS. SPLAT! A big glob of something wet SMACKS into the middle of Nedry's chest. He reaches down and touches the goo that's dribbling down his slicker. NEDRY -LRB- cont'd. -RRB- That's disgusting! SPLAT! Another glob of goo SMACKS into the highlight, right next to Nedry's head. He stands up. A look of confusion crosses his face. He lifts his right hand, the one that he touched the spit with, and looks at it strangely, flexing it. POW! This time the lugie hits Nedry right smack in the face. He SCREAMS and rubs it away, frantically. Because it hurts. Like hell. Nedry falls back, clawing at this eyes, in excruciating pain. He pulls his hands away, starting to hyperventilate. He flails his arms in front of him, blinking a mile a minute, but blinded. He staggers forward, to try to get into the jeep. He gets the door open, but SMACKS his head on the door frame and collapses. The can of shaving cream flies out of Nedry's jacket pocket - and tumbles into runoff water, down the muddy hillside. Nedry gets to his feet again and staggers in the general direction of the jeep. He reaches the open door and feels his way in. He SLAMS the door. There is another HOOT. From inside the jeep. Nedry turns and SCREAMS. The dilophosaur is right there, in the passengers seat. It HISSES louder than before, its crest fans angrily, vibrating, reaching a crescendo - - and the thing pounces, SLAMMING Nedry back against the driver's window, SHATTERING it. As Nedry shrieks - Rain and mud wash over the shaving cream can, burying it.","EXT. PARK GROUNDS NIGHT The rain has all stopped now. GRANT and LEX are at the bottom of the large barrier leading up to the park road. Like it or not, they're in the park now, and are surrounded by think jungle foliage on all sides. They're both beaten up, and Grant's face is covered in blood. He's bent over a big puddle, splashing water on his face, rinsing the blood off and trying to bring himself to. Poor Lex is scared as hell. She stands behind Grant, ramrod straight, her breath coming short, desperate GASPS. Her eyes are wide, and she does n't look like she can move. As Grant gets rid of the blood, his injury does n't look so bad, just a gash on his forehead. He turns and looks up to the tree the Explorer fell in. It's stuck there, nose down in the thickest top branches. Lex's GASPS are getting louder. She's terrified. GRANT Hey, come on, do n't - do n't - do n't - just - just - stop, stop. He touches her, but it's awfully awkward, more of a pat on the head than anything strong or reassured. But she responds to the contact, hurling herself forward and throwing her arms tightly around his waist. She clamps here, holding on for dear life, SOBBING. GRANT -LRB- cont'd. -RRB- Lex, you got ta be quiet, please. Stop it. Shhhhh. This seems to quiet her. GRANT -LRB- cont'd. -RRB- Because if we make too much noise, he's going to hear us and come back. Lex bursts out crying again, a WAILING scream, nearly hysterical now. Grant holds her, no idea what to do. He turns and looks around. GRANT -LRB- cont'd. -RRB- -LRB- a whispered shout. -RRB- Timmy?! Timmy! He hears a CRACKING sound. He looks up to the tree again. The Explorer has fallen a few feet lower into the branches. Grant looks down at Lex, who is sitting on a rock. LEX Dad - Dad - GRANT Shhh - I'm right here, Lex. I'm going to look after you. I'm going to help your brother. I want you to stay here and wait for me, okay? LEX He left us! He left us! GRANT That's not what I'm going to do. Good! Grant walks to the tree. Lex scampers into the culvert.","EXT. TREE - NIGHT GRANT takes a deep breath. grabs hold of the first branch, and starts his long climb. Fortunately, it's a good climbing tree, its branches thick and regularly spaced. Grant moves at a good pace. He reaches the car's level, on the driver's side five or six feet to one side of it. The car's in rough shape. It's much thinner that it use to be, its nose completely smashed in, the front wheels driven solidly into a thick branch. They are what hold it in place. GRANT Tim? Tim? Grant comes up to the car and looks in. TIM is huddled on the floor on the passenger side, frightened, hugging his knees to his chest. He looks up at Grant with a tear and blood - streaked faced. His voice is barely audible. TIM I threw up. GRANT That's okay. Listen, give me your hand. Tim does n't move. GRANT -LRB- cont'd. -RRB- I wo n't tell anybody you threw up. Just give me your hand, okay? He reaches out. Tim reaches too, but they're still about a foot apart. Grant grabs hold of the steering wheel, to pull himself further in. The wheel turns. On the branch, the front wheel turns, losing a bit of their grip on the thick branch they're resting on. Tim and Grant grab hands. Grant holds on to him, getting an arm securely around his waist. They climb down. They stop on a branch. GRANT Okay, that's not so bad, ah Tim? TIM Yes it is. GRANT It's just like coming out of a tree house. Did your dad ever build you a tree house, Tim, eh? TIM No. GRANT Me too. -LRB- he starts to move down. -RRB- Okay. Well, the main thing about climbing is never, never look down, never. TIM This is impossible. How am I going. I ca n't make it. This is. it's about fifty feet. GRANT So am I going to help you with your foot? TIM What if the car falls? -LRB- or. -RRB- What if the wheels fall? The car GROWNS forward on the branch, which sags in their direction. They look up. The car begins to shift dramatically towards them. GRANT Oh, no! GO, Tim, go! Go! They climb down, as fast as they can, as the big branch that is supporting the car CREAKS, ready to give way any second. GRANT -LRB- cont'd. -RRB- Faster! Faster! The branch breaks. Disintegrates, really, and the car falls straight at them. Grant and Tim let go of the branch they're on and fall, THUDDING into another branch a few feet down. The car SMACKS into the bug branch they just vacated, and stops there. Grant and Tim are half climbing, half falling down the tree now, slipping on the resin - covered branches, just trying like hell to get out of the way. CREEEE - POW! The second branch breaks, and now the car SMASHES and CRASHES through a network of thinner branches, headed right for them. It hits open space and goes into free fall. Grant turns, and puts up his arms in defense - - and the car stops, SLAMMING into a thick branch just above him. Grant looks up, eyeball to eyeball with the front grill. The new branch starts to CREAK. Grant and Tim basically fall down the rest of the tree, the car BASHING its way through right behind them. They jump the last six or seven feet and hit the ground, hard. Grant grabs Tim and rolls with him, to the side, just as the car SMASHES into the earth, nose first, standing upright that way. They look up in relief, but the damn thing's still heading for them, now tipping over, falling straight at them, and there's no way they have time to get out of the way this time, so Grant just balls himself up on top of Tim to try to protect him and - - CRASH! The jeep falls on top of them. Grant, amazingly unhurt, looks up confused. They're inside the jeep again, saved by the hole sunroof.","EXT. CULVERT - NIGHT LEX is still in the culvert, terrified, slowly BANGING her head against the wall. GRANT is at the mouth of the culvert, carefully studying the rinky - dink map of the park he picked up during the slide show. GRANT Okay - okay - He's trying to get his bearings from the crude, cartoon - like drawing on the map, but it's tough. He looks up, picking a direction, and shoves the map in his pocket decisively. He looks back in at Lex. GRANT -LRB- cont'd. -RRB- Lex, you're going to have to get out of there. -LRB- he walks towards her. -RRB- Hiding is n't a rational solution ; we have to improve our situation. She does n't move. Grant looks at Tim. GRANT -LRB- cont'd. -RRB- Tim's out here. -LRB- Grant picks Tim up. -RRB- He's okay. Still nothing. Grant tries a new tact. GRANT -LRB- walking away. -RRB- ` Course you could just wait in there while we go back and get help. TIM -LRB- following Grant. -RRB- That's a good idea. GRANT You'll probably be safe enough. -LRB- alone. -RRB- on your own - TIM I doubt it. GRANT Maybe - it's hard to say. LEX Liar! You said you would n't leave! GRANT I'm trying to use psychology to get you out of the drain, you know! She just stares at him like he's nuts. Tim shakes his head at Grant, as if to say `` nice try.'' Grant calms his tone. - - - VERSION 1 - - - GRANT -LRB- cont'd. -RRB- We ca n't go back the way we came. What we have is a free - range T - rex on the road. There's. -LRB- there are. -RRB- fences on either side. If we meet him between here and the lodge, we'd have problems. But what this means, what this means, is that this whole paddock is empty. It's safe. LEX It's safe? GRANT It's safe. LEX It's safe. GRANT Go. -LRB- and. -RRB- that's the way we're going to go. What do you say? LEX Alright. - - - END - - - - - VERSION 2 - - - GRANT -LRB- cont'd. -RRB- Alright. We're just going to walk back home. Together. We walks over to Lex at the culvert and sits across from her. GRANT -LRB- cont'd. -RRB- But we ca n't walk back on the road. There are fences on either side. And if we meet the Rex between here and the lodge we'd - have problems. Lex covers her ears. Grant tries to calm her. GRANT He's probably staked out the road as a feeding ground, which means this whole paddock is empty. It's safe. It's safe, and that's the way we're going to go. What do you say? - - - END - - - He's spoken calmly and confidently, so Lex crawls out of the culvert and stands next to him. GRANT Good girl. He kisses her hand and helps her crawl out of the culvert. Tim and Lex nod, and he starts off in the direction he indicated. They trail behind him. GRANT -LRB- cont'd. -RRB- Might be kind of slow, but it ca n't be more than three or four miles. I'd hoped the rex finished feeding by now, but let's not kid ourselves. Did you know a carnivore can eat up to 25 % of its body weight in. -LRB- about. -RRB- one sitting, so he's probably just ready to move on to the main course by now - He stops in the middle of the sentence, noticing he's alone. He turns around. Now both kids have scampered all the way back into the culvert, terrified.","EXT. PARK ROAD NIGHT MULDOON and ELLIE race down the park road in an open - topped jeep like the one Nedry took earlier. Neither of them speak, they just stare ahead grimly, wondering what they're about to find. MULDOON There they are! They round a corner and come to the top of the hill, where the attack took place. The jeep skids to a stop and they jump out. The road is rutted, muddy mess. The cement block house is a pile of rubble. One of the Explorers is gone, the other stands untouched, both doors hanging open. ELLIE Oh, God. Where's the other car? She runs to the Explorer. Muldoon follows, looking around. AT THE EXPLORER, Ellie leans in and looks around. Nobody's there. She and Muldoon walk towards the wreckage of the outhouse, calling out : ELLIE -LRB- cont'd. -RRB- I think it's ahead of us. MULDOON It could be anywhere. With the fences out, it can go in and out of any paddock it likes. They hear a MOANING sound from somewhere in the wreckage of the restroom building. They rush over to it. IAN MALCOLM lies on his back, semiconscious among the twisted wood and cement. MULDOON It's Malcolm! He shines his light along the length of Malcolm's body. His shirt is soaked with blood, but his right leg is even worse off. The right ankle it bent outward at a strange angle from his leg, the trousers flattened, soaked with blood. Malcolm's belt has been twisted around his thigh. ELLIE He's put a tourniquet on. Ian! Ian! Malcolm GROANS as she touches him, groggy. MALCOLM Remind me to talk John for a lovely weekend. The T - rex ROARS again. But closer now. Ellie and Muldoon look at each other. ELLIE Can we chance moving him? MALCOLM Please - chance it. Muldoon lays Malcolm as carefully as possible in the back of the jeep. MALCOLM Where are the kids? Ellie looks around. ELLIE Lex! Tim! She turns and looks back at the empty road. She's on the verge of tears, but is fighting them back. MULDOON Dr. Sattler, I've seen a lot of animal attacks. People just disappear. No blood, no trace. That's the way it happens. ELLIE No, no, no! She walks to the edge of the road, her eyes following the deep ruts the Explorer made when it went over the edge. Muldoon gets ready to leave. MULDOON Ellie, com one! ELLIE The other car!","EXT. CLEARING NIGHT ELLIE's and MULDOON's flashlight beams spray light by the base of the tree. MULDOON Dr. Grant! ELLIE Alan! They find the wrecked Explorer. Muldoon peers inside, looking for anything. ELLIE Do you see anything? MULDOON I do n't know. The T - rex ROARS again, closer still Ellie nervously goes to the other side of the car and looks in. ELLIE Alan?! MULDOON They're not here. Ellie desperately searches the ground for any signs of Grant. She finds their footprints. ELLIE -LRB- O.S. -RRB- Thank God.","EXT. PARK ROAD NIGHT MALCOLM, laid out in the back of the jeep, feels something strange. He looks down, at the one of the T - rex footprints in the road. It's filled with water. The water in the puddle vibrates rhythmically. Malcolm's eyes widen. He looks around, frantically. MALCOLM Uh - anybody? Anybody hear that?","EXT. CLEARING NIGHT ELLIE is still looking around, to MULDOON's chagrin. Her flashlight falls on three sets of footprints in the mud. ELLIE Look! Wit her flashlight, she follows the trail the footprints made. They lead into the jungle and disappear.","EXT. PARK ROAD NIGHT MALCOLM's staring, wide - eyed, at the rings in the water, which are getting bigger now. MALCOLM It's a - an impact tremor is what it is, it, uh - BOOM. BOOM. MALCOLM -LRB- cont'd. -RRB- I'm fairly alarmed here! ELLIE and MALCOLM come up over the embankment, excited. MALCOLM Got ta move, got ta get out of here. Let's go - we got ta go, we got ta get out of here, right now! Go, go! Let's hurry, let's get out of here! They stop talking. The BOOMING is louder now, and faster. Much faster. They look back, over their shoulders. ELLIE Oh. Ellie and Muldoon get into the jeep, Muldoon in the driver's seat. MALCOLM Move now! Let's go, let's go, right now, right now! The tyrannosaur SMASHES out of the jungle foliage, bursts onto the road, and runs straight at them, moving at least thirty miles an hour. MALCOLM GOGOGOGOGOGOGOGOGOGO! Muldoon fumbles for the keys, turns the jeep over, and SLAMS it into gear. He drops the clutch, hits the gas, and tears ass out of there. But the jeep is slow to work through the first few gears. Terrified, Ellie dares to look down, to the side view mirror, which tells her `` Objects Are Closer Than They Appear.'' And they sure are. The T - rex is still gaining on the slowly accelerating jeep. All three of them stare back at the rex in terror - ELLIE Faster, faster! MALCOLM Must go faster, it's getting closer - must go faster! ELLIE Faster! Shit, shit, shit, faster! MALCOLM Must go faster, go, go. Open it up, 5th gear, 5th gear! Here it comes! Stand on it! Fifth - stand on it, 5th gear, go! - which means they do n't see the half - fallen tree branch right in front of them, blocking the path of the road. Muldoon looks back first, SHOUTS - MULDOON DOWN! - they all duck. The windshield hits the branch and SHATTERS as the jeep flies ahead, really picking up speed now. The T - rex just runs right through the branch, SMASHING it entirely. They're bounced around pretty badly. Malcolm is knocked into the front, and in so doing knocks the gear shift into neutral. The engine RACES, the T - rex closes in again - Losing ground now, the dinosaur makes a final lunge for the jeep and CRUNCHES into the left rear quarter panel - ELLIE Faster, faster! - but Muldoon SLAMS it back into gear and guns it. The T - rex gives up, fading into the distance. They drive in silence for a few moments, all scared out of their wits. MALCOLM Think they'll have that on the tour?","EXT.PARK GROUND NIGHT GRANT, LEX, and TIM make their way through Jurassic Park. Far in the distance, there's another ROAR. Grant hears it, but tries not to show it. LEX Hear that? -LRB- or. -RRB- Are you hearing this? GRANT No, I did n't hear anything. -LRB- or. -RRB- No, we're okay. They keep walking, but now Grant is looking around for a safe place to hide. He looks up, to the towering trees around them. GRANT -LRB- cont'd. -RRB- You. -LRB- guys. -RRB- both look pretty tired. I think. -LRB- or. -RRB- why do n't we find. -LRB- or. -RRB- we ought to find someplace to rest. He hears another ROAR GRANT -LRB- cont'd. -RRB- Like about now. C'mon! Hurry up! Like this tree. LEX Why are we hurrying if there's nothing wrong? TIM What if we fall? I hate trees.","EXT. TREE NIGHT LEX, TIM, and GRANT climb. Grant is behind, watching the other two, giving them a push up when they need it. TIM I hate trees! LEX They do n't bother me. TIM Yeah, you were n't in that last one. Now, near the top of the tree, the three of them sit there, dangling their legs, looking out over the park. It's an incredible view. They can see in all directions. And with the full moon, there's a lot of detail. Most striking of all are dozens of sauropod heads, at the end of long necks, that tower over the park. TIM -LRB- cont'd. -RRB- Hey! Those are brontosauruses - I mean, those are brachiosauruses. GRANT It's okay to call them brontosaurs, Tim. It's a great name. It's a romantic name. It means `` thunder lizard''. TIM -LRB- digging that. -RRB- `` Thunder lizard!'' Grant finds a solid web of branch and settles himself in it, leaning back against the trunk of the tree, with a little room on either side of him. Lex nestles up next to him on the branch. Grant is surprised, but accepts it. Tim climbs off to the side, to a nook in the branch of his own. Silent of a moment, the three can hear the HOOTS of the animals as they call. Some are almost musical. GRANT Listen to that! They're singing! -LRB- he moves over to a higher branch. -RRB- Of course no one's ever heard one from a dinosaur before, but - I could swear that sounds suspiciously to me like a mating call. -LRB- to me. -RRB-. In an all - female environment -. -LRB- or. -RRB- On an all - girl island? He smiles, enchanted. He HOOTS himself, trying to imitate one of the calls. Immediately, five or six of the heads turn in their direction and HOOT back. LEX No, no, sh, sh, sh - stop! Stop! Stop! Do n't let the monsters come over here! LEX They're not monsters, Lex. They're just animals. And these are herbivores. TIM That means they only eat vegetables. But for you, I think they'd make an exception. GRANT Tim, Tim, Tim. LEX Oh, I hate the other kind. GRANT They're just doing what they do. -LRB- or. -RRB- Well the other kind -. -LRB- he gets off the branch and goes back to sit with the kids. -RRB- - just do what they do. LEX Dorkatops! TIM Straight - A brainiac! GRANT Could you guys possibly cool that for a - Satisfied, Tim settles in for the night. Grant shifts too, getting comfortable, but something in his pocket pinches him. He winces and digs it out. It's the velociraptor claw he unearthed so long ago in Montana Yesterday, actually. He looks at it, thinking a million thoughts, staring at this thing that used to be so priceless. LEX What are you gon na do now if you do n't have to dig of dinosaur bones any more? GRANT I guess we'll just have to evolve too. TIM What do you call a blind dinosaur? GRANT I do n't know. What do you call a blind dinosaur? TIM A Do - you - think - he - saurus. What do you call a blind dinosaur's dog? GRANT You got me. TIM A Do - you - think - he - saurus Rex. Grant laughs. Both kids finally close their eyes, but after a moment, Lex pops hers open again. LEX What if the dinosaur comes back while we're all asleep? GRANT I'll stay awake. LEX -LRB- skeptical. -RRB- All night? GRANT All night. Grant lets the claw fall to the ground.","INT. RESTAURANT NIGHT ELLIE comes into the darkened restaurant, following the source of the flickering light. A candle burns at a table in the corner. JOHN HAMMOND sits at the table, alone. There is a bucket of ice cream in the middle, and he's eating a dish of it, staring down morosely. Ellie draws up to the table and Hammond looks up at her. His eyes are puffy, his hair is messed up - for the first time we've seen him, the fire is gone from his eyes. HAMMOND They were all melting. -LRB- or. -RRB- It was all melting. Ellie just nods. ELLIE Malcolm's okay for now. I gave him a shot of morphine. HAMMOND They'll all be fine. Who better to get the children through Jurassic Park than a dinosaur expert? Ellie nods. Another pause. Hammond breaks it again. HAMMOND -LRB- cont'd. -RRB- You know the first attraction I ever built when I came down south from Scotland? Was a Flea Circus, Petticoat Lane. Really quite wonderful. We had a wee trapeze, a roundabout - a merry - go - what you call it? ELLIE Carousel. HAMMOND A carousel - and a seesaw. They all moved, motorized of course, but people would swear they could see the fleas. `` I see the fleas, mummy! Ca n't you see the fleas?'' Clown fleas, high wire fleas, fleas on parade. -LRB- he trails off. -RRB- Ellie just looks at him, not sure what his state is. He goes on. HAMMOND But with this place, I - I wanted to give. -LRB- show. -RRB- them something real, something that was n't an illusion, something they could see and. -LRB- feel. -RRB- touch. An aim devoid of. -LRB- without. -RRB- merit. ELLIE But you ca n't think through this one. You have to feel it. HAMMOND You're absolutely right. Yes, you're right. Hiring Nedry was a mistake, that's obvious. We're over - dependent on automation, I can see that now. But that's all correctable for the next time around. ELLIE John, John. John, you're still building onto that Flea Circus, that illusion. And now you're adding onto it by what you're doing here. That's the illusion. HAMMOND -LRB- When. -RRB- Once we have control again we - ELLIE Control?! You never had control! I was overwhelmed by the power of this place. So I made a mistake too. I did n't have enough respect for that power, and it's out now. You're sitting here trying to pick up the pieces. John, there's nothing worth picking up. The only thing that matters now are the people we love. Alan, Lex, and Tim. And John, they're out there where people are dying - people are dying, you know? There is a long pause. Hammond avoids her gaze. Ellie reaches out and takes a spoon out of one of the buckets of ice cream, and licks it. Finally : ELLIE -LRB- cont'd. -RRB- It's good. He looks up at her, and his face is different, as the unhappy irony of what he's about to say finally hits home. HAMMOND Spared no expense.","EXT. PARK DAWN The sun comes up over Jurassic Park. The danger of the night before is overcome by the sheer beauty of the place - it really is like the Serengeti Plain. Over at the edge of a great open field, a huge tree marks the border between the open area and the thick of the jungle. UP IN THE TREE, GRANT, TIM, and LEX are asleep in the branches of the tree, both kids now curled up under Grant's arms. A heavy shadow falls over all three of them, blocking out the sun entirely. Grant awakens, only a little bit asleep, as - - a brachiosaur's head pushes into the tree branches, right up beside them. It hesitates there for a second, seemingly staring at them. Grant just watches as it opens its mouth very wide and CHOMPS down on a branch over their heads. The kids awaken with a start. Tim points, Lex opens her mouth to scream, but nothing comes out. Then - LEX Go away! GRANT -LRB- quietly. -RRB- It's okay! It's okay! It's a brachiosaur! TIM Veggiesaurus, Lex, Veggiesaurus! But Lex is n't taking any chances and scrambles back, away from its mouth. Tim and Grant come together on the branch, just staring at the dinosaur in wonder as it eats its breakfast. Grant gets another branch. Tim scampers up, trying to get the brachiosaur's attention. TIM -LRB- cont'd. -RRB- Come here, boy - I mean girl. -LRB- he tries whistling. -RRB- Grant moves forward and tries to feed the brachiosaur. The animal gets the end of the branch and starts a tug - of - war with Grant. Tim tries to help him - they really begin to have a good time with the brachiosaur. HONK! The brachiosaur makes a loud honking noise, startling Grant and the kids. GRANT Take a bite, take a bite. I'm not letting go. TIM It's so strong! Look at its nose. -LRB- he grabs onto the branch. -RRB- Need help? Tim reaches out, petting the dinosaur's head while it chews. TIM -LRB- cont'd. -RRB- That's a girl. Hey Lex, you can touch it. It's a girl, just like you. Come on, it's okay. Lex, come on and touch it. It likes you. It's got ta like you. Come on Lex. Lex, come over and touch - it's a girl, it has to like you. Lex, why do n't you touch it. It has to like you. It's a girl. GRANT Come on, try some. Take a bite. TIM It's good protein. Come on, Lex. Why do n't you touch it? Look at his nose. GRANT This is a seventy - seven ton animal. Come on over, Lex! Just think of it as a big cow. Look at it's teeth? -LRB- he moves in closer. -RRB- Come here, girl. This is a seventy - seven ton animal. Just think of it as a big cow! Grant maneuvers in closer. He reaches out and grabs hold of the thing's lip with both hands and pulls it down, revealing the jaw at work. LEX I like cows. GRANT You're a beautiful big animal. TIM His nose is running. It looks like it has a cold. The dinosaur keeps chewing, not objecting to the inspection. TIM Did you smell that? Lex tentatively edges forward in the tree to the inspection. LEX Come on girl, up here. She barely touches the thing on the tip of its nose - - and it SNEEZES. It's a vast explosion, and Lex falls back, dripping wet from head to toe. TIM God bless you! ON THE GROUND, Lex, her shirt is soaked, and face all wet, walks away from the tree. Tim and Grant follow. TIM Oh, great. Now she'll never try anything new! Lex is embarrassed and ticked off. TIM -LRB- cont'd. -RRB- She'll just sit in her room and never come out and play with her computer - LEX -LRB- as she wipes off some of the wet and throws it at Tim. -RRB- I'm a hacker! TIM That's what I said! You're a nerd! They do n't call you people hackers anymore - they call you people nerds! Tim and Lex continue talking, oblivious to Grant, who has stopped by a tree root trunk. TIM Hey Lex, ahhhchooo! -LRB- or. -RRB- Hey Lex, com here. LEX What? TIM Hey Lex, you forgot to say gazundheit. Grant is still crouching on the ground below the tree where he landed, staring at something in the palm of his hand. They both come and look over his shoulder, curious. They stare in amazement - - at a whole clutch of dinosaur eggs! All hatched, now empty. Grant picks up one of the fragments, a large one - nearly half an egg. GRANT You know what this is? It's a dinosaur egg. The dinosaurs are breeding. TIM -LRB- taking the shell from him. -RRB- But - my grandpa said all the dinosaurs were girls. GRANT Amphibian DNA. LEX What's that? GRANT Well, on the tour - the film said they used frog DNA to fill in the gene sequence gaps. They mutated the dinosaur's genetic code and blended it with that of frogs. Now, some West African frogs have been known to spontaneously change sex from male to female, in a single sex environment. Malcolm was right! Look, life found a way!","INT. CONTROL ROOM DAY The mood in the room is hopeless. MALCOLM, his wounds bandaged, but in real pain, hangs around with ELLIE and MULDOON, hoping for some development while RAY ARNOLD is still at the computer terminal and looking a mess, he doggedly sorts through the computer system's lines of code. One. By one. By one. They BLIP by, reflected in his glasses. He turns and stares up at HAMMOND with a look of absolute incredulity on his face. ARNOLD No, no, no, that's crazy, you're out of your mind, he's absolutely out of his mind - ELLIE Wait a minute. What exactly does this mean? Hammond turns to her, the twinkle back in his eye. HAMMOND We're talking, my dear, about a calculated risk, which is the only option left to us. We will never find the command NEDRY used. He covered his tracks far too well, and I think it's obvious he's not coming back. So shutting down the system - ARNOLD I will not do it. You'll have to get somebody else, because I will not. HAMMOND - shutting down the system is the only way to guarantee wiping out everything he did. If I understand correctly, all the system will come back on their original start - up modes correct? ARNOLD Theoretically, yeah. -LRB- yes. -RRB-, but we've never shut down the whole system. It may not come back at all. ELLIE But would we get the phones back? ARNOLD Yeah, again, in theory, but - MULDOON -LRB- desperate. -RRB- What about the lysine contingency? We could put that into effect! ELLIE What's that? HAMMOND It's absolutely out of the question. Hammond walks away from the group. ARNOLD The lysine contingency - it's intended to prevent the spread of the animals is case they ever got off the island, but we could use it now. Dr. Wu inserted a gene that makes a single faulty enzyme in protein metabolism. Animals ca n't manufacture the amino acid lysine. Unless they're continually supplied with lysine by us, they'll go into a coma and die. ELLIE How would we cut off the lysine? ARNOLD No trick to it. Just stop running the program. Leaving them unattended. Malcolm speaks up. MALCOLM How soon before they become comatose? ARNOLD It would be totally painless - they'd just slip into unconsciousness and they die. MALCOLM How long before they slip into unconsciousness? ARNOLD About - seven days, more or less. ELLIE Seven days?! Seven days?! Oh, great. Oh good - clever. MALCOLM That'll - it'd be a first ; man and dinosaur all die together. John's plan. -LRB- he raises a hand. -RRB- Hammond finally loses his cool. He BELLOWS, summoning every ounce of authority at his command. And that's quite a bit. HAMMOND PEOPLE ARE DYING! There is a moment in which no one dares to speak. Hammond regains himself. HAMMOND -LRB- cont'd. -RRB- Will you please shut down the system. Arnold swallows and gets to his feet. ARNOLD You asked for it - He walks slowly across the room to a red metal box on the wall. He takes a key from his belt, unlocks the door, and opens it. There is a row of four switches inside. He flips them off, one by one, leaving only a single lever left. His hand hovers over it. and he flips the lever. ARNOLD -LRB- cont'd. -RRB- - and you got it. Every monitor, every terminal, every fluorescent light shuts out. plunging them into near - darkness. They just sit in eerie stillness for a moment. ELLIE -LRB- hushed voice. -RRB- How long will this take? ARNOLD ` Bout thirty seconds. They wait, in tense silence. Hammond adjusts the wilting silk handkerchief in his breast pocket. He notices Malcolm staring at him, his eyes full of disapproval. HAMMOND I think perhaps I'll just sit down. I do n't suppose you think all that much of me now, do you? MALCOLM You're all right, John You're okay. It's just you do n't have intelligence. You have `` thinktelligence.'' You think narrowly and call it `` being focused.'' You do n't see the consequences. You're very good at solving problems, at getting answers - but you just do n't know the right questions. ELLIE Ian - Malcolm looks at her. MALCOLM Yes? ELLIE - shut up. MALCOLM Yes. -LRB- to Hammond. -RRB- It's not a criticism, by the way. Finally, Arnold turns back to the box. He flips the row of safety switches back again, then hesitates by the main switch. ARNOLD Hold on to your butts. He throws it. And nothing happens. There is a very long pause. MALCOLM It's not working. ARNOLD Uh - MULDOON Listen, which of you knows how to handle a gun? Arnold, who ca n't quite understand this, races over to the main monitor ARNOLD -LRB- joyously. -RRB- HAH! It's okay! It's okay! Look! See that?! LOOK! They stare at the monitor, which glows with a faint amber light, the only mechanical thing in the room that's on. The left hand corner of the screen displays two words - / system ready. Arnold looks at them, his face triumphant. ARNOLD -LRB- cont'd. -RRB- It's on! It worked! HAMMOND That will teach you to trust Grandpa. MALCOLM Wait a minute? What do you mean `` worked''? Everything is still off! ARNOLD The shutdown must have tripped the circuit breakers. All we have to do is turn them back on, reboot a few systems in here - the phones, security doors, half a dozen others - but it worked! System ready! MULDOON Where are the breakers? ARNOLD Out in the maintenance shed. Other side of the compound. I'll go out there. Three minutes, and I can have the power back on in the entire park. HAMMOND Just to be safe, I'd like to have everybody in the emergency bunker until Mr. Arnold returns, and the whole system is back on its feet again.","EXT. COMPOUND DAY MULDOON and ELLIE carry a Gerry rigged stretcher with MALCOLM on it down a narrow path in the compound. HAMMOND is with them.","EXT. PARK GROUNDS DAY GRANT, TIM, and LEX walk through the park grounds, heading across a relatively open area. Grant consults the map. TIM & LEX I'm tired, and I'm hungry. When I get back I'm gon na have peanuts and. etc.. GRANT The visitor's center should be just about a mile beyond that rise. If we keep - The ANIMAL CRY they heard earlier is closer now, louder, and repeated by many more animals. Grant looks up. GRANT -LRB- cont'd. -RRB- What is that? Can you tell me what they are? TIM Gallimimus. He turns around, to face the direction the sound is coming from. He squints. The ANIMAL CRY are much louder now, accompanied by a low rumble. TIM -LRB- cont'd. -RRB- Here - they're flocking this way. Grant takes a few steps forward. As he watches, he can make out shapes in the distance. Dinosaurs. Dozens of them. All at once, he figures it out. GRANT STAMPEDE! And that's exactly what it is, a stampede of at least forty dinosaurs, Gallimimus by name. Lex is ready to get out of there, but Grant and Tim hesitate, staring. The dinosaurs kick up a flock of birds, which startles them, and they call change direction at once, the same way. GRANT -LRB- cont'd. -RRB- Look at the wheeling - the uniform direction change! Like a flock of birds evading a predator! Sure enough, they hear a ROAR, the very familiar roar - - of Tyrannosaurus rex. GRANT Oh, shit. Grant and the kids whirl at the sound, but ca n't place it, as it seems to come from all around them. They look back towards the stampede. The herd spontaneously changes direction again, and now they're headed straight at them. The three of them take off, across the meadow, toward the relative cover of the jungle. It's a real footrace, but the herd is far faster, and Grant knows they're not going to make it. They jump over a huge root network. There's a space under it to hide, and Grant stops the kids, shoves them underneath, then follows them. They cover their heads as the herd THUNDERS over the roots. Chunks of everything fly everywhere as the herd plows overhead, their clawed feet striking the roots dangerously close to Grant and the kids. Finally, they pass. Grant peers up, over the top root. He looks toward the trees, which the herd is now running alongside. A ROAR comes from somewhere within the trees. Grant scans the trees, looking for any sign of the T - rex - - and then it bursts out, ahead of the herd, cutting them off, throwing them into disarray, scattering them everywhere. They all stare as the rex kicks it into overdrive, runs down one of the Gallimimus, and sinks its teeth into its neck. The T - rex makes the kill in a cloud of dust and debris. Tim and Grant half rise to their feet, staring in wonder. LEX I wan na go - now! But Grant and Tim are transfixed, watching the T - rex. GRANT Watch how it eats! LEX Please! GRANT Bet you'll never look at birds the same way again! Tim nods in fascination. The T - rex pauses in the middle of its meal and ROARS. LEX Let's go! GRANT Okay. Keep low. Follow me. She turns and takes off, running as fast as she can, across the open plain. Tim and Grant tear themselves away and follow her. TIM Look at all it's blood!","INT. BUNKER DAY ELLIE paces impatiently. She comes down the stairs. ELLIE Something's happened. Something went wrong. MULDOON paces too. HAMMOND and MALCOLM are also crammed in the underground bunker. Malcolm lays on a table, while Hammond tries to tend to his wounds. Hammond speaks, still feeling the obligation of the host. HAMMOND This is just a delay, that's all this is. All major theme parks have had delays. When they opened Disneyland in 1956, nothing worked, nothing. ELLIE John. MALCOLM But, John. But if the Pirates of the Caribbean breaks down, the pirates do n't eat the tourists. Another pause. More pacing. ELLIE I ca n't wait anymore. Something went wrong. I'm going to go get the power back on. MULDOON You ca n't just stroll down the road, you know. HAMMOND Bob, let's not be too hasty. He's only been gone -. -LRB- he looks at his watch. -RRB- Muldoon walks over to a steel cabinet. Ellie joins him. MULDOON I'm going with you. ELLIE Okay. Muldoon CLANGS open a steel cabinet, revealing an impressive array of weaponry inside. He removes a shotgun and what looks like a small rocket launcher. He shoves a shell into the barrel of the rocket launcher, which accepts it with a faint electronic SIZZLE. Hammond searches out the set of blueprints, gets them out of the file cabinet and spreads them out on top of Malcolm almost crushing his leg. HAMMOND Sorry. Ellie and Muldoon join Hammond. HAMMOND -LRB- cont'd. -RRB- This is n't like switching on the kitchen light, but I think I can follow this and talk you through it. Hammond signals with a look. ELLIE Talk. -LRB- or. -RRB- Right. -LRB- or. -RRB- -LRB- nothing. -RRB- Ellie gets a couple of walkie - talkies from the shelf and shoves them in her belt. ELLIE -LRB- cont'd. -RRB- Okay. HAMMOND But you know, I should really be the one going. -LRB- to go. -RRB-. ELLIE Why? HAMMOND Well, because you're a - I'm a - ELLIE Look. MULDOON Come on, let's go. ELLIE We'll discuss sexism in survival situations when I get back. -LRB- she backs towards the door. -RRB- You just take me through this step by step. I'm on channel two.","EXT. JUNGLE DAY GRANT, TIM, and LEX scrambles through the jungle, completely out of breath, exhausted. They arrive at the base of the big electrical fence that surrounds the main compound. Grant looks up at the fence. It must be over twenty feet high. GRANT It's a bit of a climb. You guys think you can make it? TIM Nope. LEX Way too high. Grant grabs a stick and climbs up on the ledge. He looks at the warning light on the fence. It's out. He pokes the wire with a stick. No sparks fly GRANT Well, I guess that means the power's off. Still not trusting the fence, he taps it with his foot. He moves in slowly and lays both hands on a cable and closes his fingers around it. Grant's body shakes! He SCREAMS. The kids SCREAM! He stops, and turns around slowly. and smiles wickedly. LEX That's not funny. TIM That was great! Far in the distance, the T - rex ROARS. Without a second's delay, both kids leap to their feet.","EXT. BUNKER DAY ELLIE and MULDOON step out of the bunker. The main compound feels different now - it belongs more to the jungle than to civilization. Muldoon has the big gun in his hands. ELLIE -LRB- on the radio. -RRB- Okay, I'm on channel two. MULDOON Stick to my heels. They start down the path, moving quickly.","EXT. PATH DAY MULDOON and ELLIE emerge from one path and come into a slightly more open area. The huge raptor pen stands silently, surrounded and penetrated by jungle, the abandoned goon toward looming over it like a haunted house. Muldoon slows down, Ellie right next to him. They notice a hole in the fence that surrounds the raptor pen. The metal is twisted, as if gnawed, the hole is large enough for an animal to slip through. ELLIE Oh my God. Aw, God. MULDOON The shutdown must have turned off all the fences. Goddamn it! Even Nedry knew better than to mess with the raptor fence. 103 He squats near the hole, looking at the ground. He sees three sets of footprints. He follows them with his eyes. They head off in different directions, but all in the jungle foliage on either side of them. MULDOON C'mon on, this way. ELLIE I can see the shed from here! We can make it if we run! Muldoon walks slowly, as if he heard something. MULDOON No. We ca n't. ELLIE Why not? MULDOON Because we're being hunted. From the bushes straight ahead. Ellie turns, very slowly, to face the bushes. At first, she does n't see anything, but then there's something very faint, like a shifting of the light, and a shadow seems to move in the bush, RUSTLING the leaves. MULDOON It's all right. ELLIE Like hell it is! Muldoon raises his weapon slowly to his shoulder. MULDOON Run, towards the shed. I've got her. Ellie backs up, down the path, slowly. Muldoon follows behind her, keeping his gun trained in the bushes. The shadow in the bushes moves too, at an even pace with them. MULDOON Go! Ellie, startled, turns and falls over a log. She quickly stands and starts to run towards the shed. Muldoon walks slowly into the bushes. ON THE PATH, Ellie runs as fast as she possibly can - a real broken field sprint, hopping over branches, flying across the open area at top speed. Over a log - SPLASH! , she hits a water puddle. She comes to another log obstacle - she grabs a tree and swings over it. She nears the maintenance shed, and does n't look back. She reaches the door, blasts through it, and SLAMS it behind her.","EXT. JUNGLE DAY A hand comes into the foreground and takes a firm grip on one of the tight fence cables. Another hand follows it, then a third. GRANT, TIM, and LEX climb over the fence, pulling themselves up by the tension wires, crawling right past a `` DANGER!'' sign that tells them this fence ought to be electrified.","INT. BUNKER DAY MALCOLM and HAMMOND hover over a complex diagram of the maintenance shed that's spread out in front of them. Hammond clutches the radio in his hand, almost praying to it. Finally, it CRACKLES. ELLIE -LRB- o.s. -RRB- I'm in. Mr. Arnold? Mr. Arnold?","INT. MAINTENANCE SHED DAY ELLIE is at the doorway of the maintenance shed, breathing hard from fear, listening to Hammond's VOICE on the radio HAMMOND -LRB- o.s. -RRB- Great. Good. Okay - ahead of you should be a metal stairway. Go down it. Ellie does, heading into the room, shining the flashlight ahead of her. There is a maze of pipes. ducts, and electrical work on both sides of her.","INT. SHED DAY ELLIE walks straight ahead from the bottom of the metal stairs. HAMMOND -LRB- o.s. -RRB- Right. After twenty or thirty feet, you'll come to a T junction. Take a left. MALCOLM -LRB- o.s. -RRB- John. just have her follow the main cable - HAMMOND -LRB- o.s. -RRB- I understand how to read a schematic. Ellie keeps walking, nervous as hell. She looks around. Awfully dark down here. ELLIE Going down the stairs. okay. damn it! Dead end! HAMMOND -LRB- o.s. -RRB- Wait a minute, wait a minute, there was a right back there somewhere - MALCOLM -LRB- o.s. -RRB- -LRB- taking over. -RRB- Ellie?! Look above you - there should be a large bundle of cable and pipes all leading in the same direction! Follow that! Ellie looks up, finds the bunch of cables, and follows it into a main corridor. ELLIE -LRB- into the radio. -RRB- Piping. okay. following the piping. It goes back up the stairs and across the stairs. following the stairs. HAMMOND -LRB- o.s. -RRB- Look for a metal grate and that to it's longest direction. -LRB- * ADDED DIALOGUE, NOT RECORDED. -RRB- ELLIE Mr. Arnold? He's not answering me. Okay I'm on the grating. HAMMOND Good! Keep going, now. The cable will terminate in a big, gray box. ELLIE Okay, I'm following the tubing. I'm going down a passage way. How long does this stuff go for? Could you guys talk a little bit to me? -LRB- NOTE : DIALOGUE TO BE ADDED, WAS N'T RECORDED - Steven Spielberg wants Malcolm to say something funny to Ellie over the radio ; she smiles. -RRB- Walking fast Ellie follows the tubing to the end of the corridor, where she sees just a box. ELLIE -LRB- into the radio. -RRB- Okay - I see the gray box. Ellie goes through a mesh gate and walks towards the gray box. ELLIE -LRB- cont'd. -RRB- It says `` High Voltage''. She pushes the door open even further, revealing a vast array of breakers and switches inside. HAMMOND -LRB- o.s. -RRB- Now, Ellie, you ca n't just throw the main switch by hand, you have to pump up the primer handle to give you a charge. It's a large, flat, gray - ELLIE I see it! 109 EXT JUNGLE DAY GRANT and the KIDS swig over the top of the fence and start their climb down.","INT. SHED DAY ELLIE pumps the gray handle, which is sluggish. Above it, a small white indicator CHINGS over the `` discharged'' to `` charged''. Ellie SLAMS the gray lever back into positions. ELLIE It's charged, okay! HAMMOND -LRB- o.s. -RRB- Right. -LRB- good. -RRB-! Now, under the words `` contact position'' there's a round green button that says `` push to close!'' Push it! Ellie does. The `` contact position'' light CHINGS over to `` closed'' and lights start to go on all over the panel. Did I do it? Is the power back on?","EXT. JUNGLE DAY GRANT and LEX continue to climb down the fence. Tim is having difficulty - just as he's about to take another step, he loses his footing and almost falls. but then regains control and hangs on.","INT. SHED DAY ELLIE watches as the column of twelve white indicator lights flash on the control panel. They are clearly labeled, each one for a different area of the park. HAMMOND -LRB- o.s. -RRB- Now Ellie, the red buttons turn on the individual park systems. Switch them on. As Ellie punches the buttons, they light up. and our eyes go to near the end of the row. It's marked `` Perimeter Fence.''","INT. JUNGLE DAY GRANT lets go, dropping the last few feet to the ground. LEX does the same. A warning light begins to flash, coming back to life. Grants eyes go wide. He looks up at TIM, who is still far up - near the top, in fact, he has to come to a complete stop.","INT. SHED DAY ELLIE keeps pushing the buttons. She's getting closer to the button for the fence.","EXT. JUNGLE DAY TIM, terrified, has frozen where he is. GRANT Tim - you have to let go! SHED DAY ELLIE's still punching the buttons, now only a half a dozen away from the one for the fence, now five, now three -","EXT. JUNGLE DAY GRANT and LEX are botch screaming at TIM GRANT C'mon Tim, move down, damn it! LEX Timmy! The power is coming down, quick! TIM I ca n't! I'm scared! GRANT Tim, you're gon na have to let go. I'm going to count to three. LEX Jump, Timmy! It's too late! TIM I'm afraid I am gon na fall! GRANT Go, go, go, jump! TIM You're crazy! I'm not gon na jump! GRANT Tim, you're going to have to let go of the fence. Tim! Get down right now. Get off the fence! Now! LEX Do as he says! The power's coming back, Timmy! GRANT Timmy, let go! You're gon na have to let go! Count to three. I'll catch you. LEX Timmy! Do as he says! Timmy! Do as Dr. Grant says, quick! TIM Are you crazy? What if you miss? I hate it up here. GRANT Tim, I'm right here. Easy catch. Easy catch. Count to Three. LEX You're gon na get electrocuted. -LRB- or. -RRB- electrified! The power's coming back! TIM Shut up! You're scaring me. Stop! You're scaring me. GRANT Shhhh. Tim, I'm right here below you. Easy catch. One, two, three. You count it yourself. One, two, three - LEX You're gon na get electrocuted. -LRB- or. -RRB- electrified! GRANT It's am easy catch, you let - go - you do the counting, you count it, Tim. One, two, three - you do all the counting, okay? LEX Timmy, listen to Dr. Grant! GRANT I'm coming up there Tim! I'm coming to get you! Lex, I've got to get him!","INT. MAINTENANCE SHED DAY ELLIE finally pushes the button for the fences. It stops flashing and lights up, a brilliant white.","EXT. JUNGLE DAY The fence HUMS as it awakens. GRANT and LEX are SCREAMING at TIM Okay, okay! I'm going to count to three. One, two, three. With a low, loud frightening BUZZ - - the fence comes alive. POW! Tim is cut off mid - sentence, and literally thrown from the fence. He SLAMS into Grant. They fall to the ground. Lex runs over to them. GRANT Tim, you're okay? You're okay? GRANT notices a larger problem. GRANT -LRB- cont'd. -RRB- He's not breathing. Tim?","INT. MAINTENANCE SHED ELLIE watches as the banks of fluorescent lights in the maintenance shed come on, one by one. The lights are going on in rows, coming closer and closer to her. Finally, her row comes on. She follows the light and sees - - a raptor, right there, behind the control panel! It SLASHES, taking a lunging sweep at Ellie, but gets stuck, its feet and legs tangled in the maze of pipes on the floor. This is our first good look at one of these things, and if it were n't so terrifying, we could admit that it truly is a thing of beauty. It's the biggest of the raptors, intensely muscled, coordinated as hell, a smoothly designed predator. Ellie SHOUTS and falls back into the pipes on the other side of the aisle. The raptor untangles itself from the pipes and gives chase, just as Ellie SLAMS the mesh door closed. The raptor BANGS against the mesh door, Ellie falls to the ground. She holds on by kicking the door shut as the raptor continues to push himself through the door. Ellie is able to get the door closed. She stands, but then falls back onto one of the walls. A dead arm falls onto her shoulder. RAY ARNOLD is there, or what's left of him, stuck in the tangle of pipes. Ellie moves away, and his arm falls to the ground. She does n't realize that she has moved right back near the mesh wall - and the raptor comes at her again. Ellie takes off running as fast as she can, back the way she came. She drags the flashlight with her, running over the dead arm and Arnold's legs. She continues to run, her headset dangling, the flashlight dragging behind her on its cord. She reaches the stairs and hits them hard, flying up them. The raptor must be right behind her, she can hear the CLICKING and CLANGING as it scrambles up the stairs, but she does n't look back. She reaches the top, throws open the door, hurls herself outside -","EXT. SHED DAY - and SLAMS the door behind her, just as the raptor's head SNARLS at her from near the top of the stairs. She runs out the fence and collapses.","EXT. JUNGLE DAY TIM is still unmoving. GRANT is performing CPR, alternately compressing Timmy's chest fifteen times, quickly, and breathing into his mouth twice. LEX is freaking out. Fifteen compressions. Two deep breaths. GRANT C'mon, Tim. Fifteen compressions. Two deep breaths. GRANT TIMMY! Fifteen compress - Tim GASPS and comes to. GRANT -LRB- cont'd. -RRB- Good boy, Tim. Good boy. TIM Three. -LRB- Two, three. -RRB-.","EXT. JUNGLE DAY ROBERT MULDOON creeps slowly through the jungle foliage, tracking his prey. He ducks and walks through a hollow log, underneath a fallen tree, following the RUSTLING sound up ahead of him. He can see just a trace of the raptor's gray flesh as it movies behind the bushes up ahead, staying camouflaged enough to deny him a decent shot. Thinking he's got a moment, Muldoon extends the back handle of the gun and clicks it into place. He prepares to take aim. A snake slithers across a tree branch, past what looks like the large iris of a flower. The flower blinks. It's the eye of the raptor. Muldoon sees it. He raises his gun. Instead of running away again, the raptor rises slowly out of the brush, fully revealing itself to Muldoon, HISSING at him. The corners of Muldoon's mouth twitch up into a smile. He draws a bead on the animal. His finger tenses on the trigger. Suddenly, his smile vanishes, both eyes pop open, and a terrible thought sweeps across his face. His eyes flick to the side - MULDOON Clever girl. - which is where the attack comes from. With a ROAR, another raptor comes flashing out of nowhere and pounces on him. The gun BLASTS, but wildly, and the raptor's claw SLASHES through Muldoon's midsection. Muldoon SCREAMS and falls back, the raptor locked on top of him, all tooth and claw all of a sudden. As the second raptor makes the kill, the first raptor strides slowly forward and watches approvingly. It throws its head back and SNARLS.","INT. VISITOR'S CENTER DAY GRANT, TIM, and LEX come into the deserted visitor's center. A large sign that says `` When Dinosaurs Ruled the Earth.'' droops overhead. Grant now carries Tim, who is weakened but conscious. GRANT HELLO?! But nobody answers.","INT. RESTAURANT DAY GRANT, TIM, and LEX come into the restaurant. Grant carefully sets Tim in a chair at one of the tables. Lex across from him. GRANT I am gon na have to find the others and get you to a doctor. Will you look after Tim, Lex? LEX -LRB- scared as hell. -RRB- Yes. Grant nods. He looks at Tim for a second. GRANT Your hair's all standing up. He gently rearranges Tim's hair, which is wild, all over this head. Tim looks up at him weakly and manages a smile. Grant smiles back. GRANT -LRB- cont'd. -RRB- Big Tim, the human piece of toast. Tim laughs. Grant pauses for a second, as if debating something - GRANT -LRB- cont'd. -RRB- Be back soon, guys. I promise. He leaves. As he goes across the lobby of the visitor's center and outside, they can see his silhouette, moving through a translucent mural that depicts dinosaurs in various natural settings. It's quiet for a second as Lex and Tim just look at each other. Tim goes across the room, to an all - you - can - eat table on the other side, and quickly piles some food on a tray. He brings its back to the table. Lex digs in, munching on veggies, grabbing food with two hands. Tim enjoys his food, too. Lex comes up with a spoonful of lime Jell - O from a plastic dinosaur egg cup - but her hand freezes halfway to her mouth. Tim looks up, and sees the expression on her face. She's staring over his shoulder, eyes wide, the Jell - O quivering in her shaking hands. TIM What? Tim turns around. Behind him, one of the silhouettes on the mural is a raptor, in a hunting pose. While they stare, the silhouette of a real raptor moves out from behind it and creeps forward, in the lobby of the visitor's center.","INT. KITCHEN DAY LEX pulls the shiny metal door shut as quietly as she can. It latches with a distinctive CLICK, but there's no lock. She runs to a panel of lights switches and kills them all, plunging the room into semidarkness. She helps TIM down an aisle and they hide at the end, behind a counter, breathing hard. A raptor's head pops into view, visible through the round window in the middle of the restaurant door. It just looks for a moment, its breath steaming up the window. THROUGH THE WINDOW, as the steam evaporates, the raptor can see a part of Tim that is not entirely hidden by the counter. IN THE KITCHEN, TIM and LEX remain frozen in fear as the raptor first SNIFFS at the bottom of the door, then THUMPS its head against it. But the door does n't budge.","EXT.COMPOUND DAY GRANT walks quickly down the narrow path towards Hammond's compound, eyes darting from side to side, not exactly sure where he's going. From far off, he hears someone SHOUTING to him. He turns. He sees ELLIE, standing outside the bunker. She's waving to him, SHOUTING something too faint for him to hear. He furrows his brow and walks towards her. She SHOUTS louder. He walks faster. He's closer now, and he can finally make out where she's shouting. ELLIE Run! Grant takes off running towards her, not even looking back. He races up, and she runs into his arms. ELLIE -LRB- cont'd. -RRB- Where are the kids?!","INT. BUNKER DAY JOHN HAMMOND stands between GRANT and ELLIE in the bunker, watching as Grant RACKS the bolts on a ten gauge shotgun. GRANT -LRB- to Ellie. -RRB- It's just the two raptors, right? You're sure the third one's contained? ELLIE Yes, unless they figured out how to open doors.","INT. KITCHEN DAY OUTSIDE THE DOOR TO THE KITCHEN, the raptor stares down at the door handle, cocking its head curiously. It SNARLS and bumps the door handle with its head, but that does n't do anything. It reaches out, toward the handle, with one clawed hand. IN THE KITCHEN, Tim and Lex stare in shock as the door handle starts to turn. The door opens. The first raptor stands in the doorway, draws itself up to its full height, and looks around the kitchen. Now, a second raptor joins it in the doorway. They move into the room, brushing against each other. The first raptor SNAPS as the second, as if to say `` keep your distance.'' Now the raptors split, taking two different aisles. Tim and Lex crawl away, Tim awfully weak now, down a third aisle, around the other side of the counter from the raptors, moving in the opposite direction. As Tim and Lex pass the raptors, one of the raptor's tails SMACK into some pots and pans, knocking them off the counter. They fall on the kids, who manage to keep quiet. The kids keep moving as one of the raptors dips down, looking through an open cabinet to inspect the racket. Tim and Lex reach the end of the aisle and round a corner - but Timmy's falling behind now, and he accidentally brushes against some hanging kitchen utensils. Both raptors turn. One jumps onto the counter, knocking more kitchen stuff to the floor. A ladle CLATTERS to a stop, and the strange metallic sounds confuse the raptors for a moment. But then they move, in Tim's direction, SNIFFING, heading right for him. The raptor on the floor is just about to turn the corner to where Tim sits, exposed and exhausted, but both the raptors suddenly stop, hearing a CLICKING sound from the other end of the aisle. It's Lex, TAPPING a spoon on the floor to distract them. The raptor on the counter jumps down and starts cautiously towards Lex's noise, leaving Tim. Lex sees a steel cabinet behind her, its sliding door slid up and open. She crawls inside, silently. Tim sees the raptors make the turn towards Lex, SMASHING more stuff around with their tails. He turns and sees a walk - in freezer in the far wall, with a pin - locking handle. As Lex tries to pull the overhead door to the cabinet shut, one of the raptors rounds a corner and sees her reflection on a shiny cabinet front. Lex tries frantically to lower the cabinet door, but it's stuck. Tim takes a few deep breathes, summons what little strength he has left - - and makes a break for the walk - in freezer. He's limping, dragging himself, really moving like a wounded prey now, and - - the other raptor spots him. Both raptors go into a pre - attack crouch - - and they pounce, one towards each of the kids. Lex tugs on the cover, to the avail - Tim's raptor charges after him, just open floor space between them - - and Lex's raptor THUDS into a shiny surface bearing hr reflection. It chased the wrong image. It sags to the floor, semiconscious. At the other end of the aisle, the real Lex SCREAMS as the other raptor bears down on Tim. Tim reaches the freezer, rips the door open, and falls inside. The floor is cold and slick and his feet go right out from under him. He sprawls across the floor, rolls out of the way - - and the raptor slips and falls into the freezer too, right past him. Tim drags himself to his feet and out of the freezer. The raptor makes one last lunge, right on Tim's heels, its mouth wide open - - but Lex SLAMS the door shut just as Tim is clear. The raptor's head is caught for a second, but it SNARLS, retreats, and Lex's gets the door shut all the way. The raptor ROARS and SCREAMS inside. Lex jams the pin through the handle, locking it in. Now the other raptor staggers to is feet. Groggy, it SMASHES into stuff all over the kitchen. Lex throws her arms around Tim again for support and they take off.","INT. RESTAURANT DAY TIM and LEX hurry across the restaurant. They stare back over their shoulders as they run. They CRASH into GRANT and ELLIE. LEX It's in there! ELLIE Control room.","INT. SECOND FLOOR CORRIDOR DAY GRANT, ELLIE, and the KIDS race down the second floor corridor towards the control room, Grant helping Tim.","INT. CONTROL ROOM DAY The door to the control room SMACKS open. GRANT, ELLIE, and the KIDS burst in. Ellie heads straight for Nedry's computer terminal. Grant moves Tim to the side, and races back to the door to lock it. LEX We can call for help?! ELLIE We've got to reboot the system first! She sits at the computer and studies the screen. It's flashing to her, dominated by a maze - like grid. She studies it, confused. GRANT -LRB- at the door. -RRB- Oh, no! The door locks - Ellie! Boot up the door locks! Boot up the door locks! POW! Something hits the door, hard, from the outside, the kids SCREAM, Grant hurls his back against it - Grant loses his gun. He struggles. The raptor scratches his head. ELLIE ALAN! - and Ellie leaps out of the chair and races over to the door to help him. A raptor SNARLS and SNAPS, RAMMING itself against the door, trying to force its way into the control room. It's all Ellie and Grant can do to hold the door against the onslaught, but it bucks against them viciously. GRANT -LRB- to Ellie. -RRB- Ellie - get back and boot up the door locks! ELLIE You ca n't hold it by yourself! GRANT Ellie, get the gun! -LRB- or. -RRB- Try to reach the gun! ELLIE I ca n't get it! -LRB- or. -RRB- I ca n't get it unless I move! OVER AT THE COMPUTER, Lex slides quickly into the command chair at Nedry's terminal. She stares at the screen for a moment - LEX This is a Unix system. I know this. It's the files for the whole park. It's like a phone book - it tells you everything. - and then her fingers start to fly over the keyboard. Tim watches, amazed, as the computer starts to respond to Lex's commands. LEX -LRB- cont'd. -RRB- I've got to find the right file. Oh no, this is n't right. This might be right, no this is n't it. TIM C'mon, Lex! C'mon, Lex! Go, Lexie! Reaching another menu, Lex spots a box on the screen that reads `` DOOR INTEGRITY.'' She reaches out and touches it. The screen BEEPS - LEX There it is, I got it! This is it, I did it. Yes, yes! - and the door latch panel BUZZES. Grant and Ellie put everything they have into it and finally the door SNICKS shut, locking the raptor outside. GRANT What works? LEX Phone security systems, everything works. You ask for it, we got it! 131 INT BUNKER DAY A phone RINGS. HAMMOND and MALCOLM look at each other, wide - eyed. Hammond lunges for it. HAMMOND Grant?! The children alright?","INT. CONTROL ROOM DAY All the screens in the control room have come alive now, and data is scrolling by at incredible speed as every remaining system is the park comes back on line. ELLIE is at the keyboard with LEX now, figuring things out, and GRANT is on the phone. GRANT The children are fine.","INT. CONTROL ROOM DAY HAMMOND is on the phone, MALCOLM is trying to listen. HAMMOND Thank God. GRANT -LRB- o.s. -RRB- Listen, the phones are back up! Call the mainland! Tell them to send the damn helicopters - Suddenly Grant stops in the middle of his sentence. A SCREAM cuts in, then three GUNSHOTS, fast, and a horrible CLUNKING as the phone is dropped. HAMMOND Grant! GRANT! But there's no answer.","INT. CONTROL ROOM DAY Grant's rifle lies on the floor, smoking, several spent shells alongside it. The front window of the control room has three huge impact shatter patterns in the glass, where the gunshots hit. TIM goes into an open panel through the ceiling, and into the crawl space. LEX climbs the ladder, followed by ELLIE and GRANT. Grant looks over to the front window, scared as hell, just as - - it SHATTERS in a shower of glass and a raptor EXPLODES into the control room. It lands on its feet on a work station console, images from wall projectors falling across its head. Grant vaults himself up into the ceiling, and knocks the ladder with his feet. The raptor tilts its head curiously, looking up at the swaying ceiling. IN THE CRAWL SPACE, Grant, Ellie, and the kids dash across the ceiling panels, moving fast, but carefully, so as not to break through. SMASH! The raptor's head bursts through a panel behind them, leaping up at them, SNARLING and SNAPPING. It drops down again, and they keep moving forward. But now it ERUPTS through a panel right in front of them. They SCREAM, its teeth CLICK just inches in from of Ellie - - but the raptor ca n't hold itself up there, and it falls back to the floor of the control room. Grant looks around frantically and spots an air duct a few yards away. GRANT Follow me! They move for it, but the raptor's head CRASHES through the ceiling again, this time right underneath Lex. She SCREAMS and is lifted up, on top of its head, and pinned to the ceiling above. Grant SMASHES hit boot into the side of the raptor's head. The raptor SLAMS at him, latching onto his boot for a second before the raptor's own weight pulls it back down. Lex goes down with the raptor, spinning into the hole in the ceiling, tumbling down. Grant grabs her by the collar at the last second, but Lex dangles there, above the raptor. The animal flips over onto its feet and crouches to pounce just as Grant summons his strength and jerks Lex back into the ceiling. The raptor springs, but too late. Grant and Lex scramble over to the air duct and join Ellie and Tim inside it. IN THE AIR DUCT, Grant, Ellie, and the kids crawl through the air duct as fast at they can, the thin metal BOOMING and creasing around them. They reach a metal gate that shows daylight beneath. Grant reaches out and pulls it up. Through the gate, they can see the lobby of the visitor's center below. They're directly above the skeletons of the dinosaurs, the T - rex and the sauropod it's attacking. The unfinished skeletons are surrounded by scaffolding.","INT. ROTUNDA DAY Grant and the others climb down out of the air duct and onto a platform of the scaffolding that stands alongside the skeletons. They continue down to the second platform, then the third. They suddenly see - A RAPTOR, standing to the side by the second floor railing. It's much too far to jump to the lobby floor, so Grant climbs gingerly onto the nearest skeleton, the towering brachiosaur. They climb down as fast as they can. Grant helps Tim down, Lex and Ellie follow. Ellie goes to the tail. Lex moves to the front. Grant lands on the main body in the middle with Tim. And the raptor watches them. Up in the ceiling, the skeleton's anchor bolts GROAN in the plaster, starting to pull free. But for now, they hold. The raptor flies out and lands on the back of the middle section of the skeleton. SNAP! It CRACKS apart with the weight, sending the sections spinning in all different directions. Grant and Tim twirl on the middle section. Tim begins to slide down. Grant tries to hold on to him - but Tim loses his grip and falls to the ground right underneath the swinging, large middle section of the dinosaur skeleton. Meanwhile, Lex spins on the front section. She slips - and tries to keep from falling as she hangs by her legs. The anchor bolts in the ceiling RIP free, ZINGING past them like bullets. The entire brachiosaur skeleton collapses like a house of cards sending Ellie to the ground. She covers herself with her arms, trying to protect her head from the shower of falling bones. Lex falls, landing on the ground with bones falling on top of her. She SCREAMS. Grant, alone in the middle section, looks up and sees the cable about to SNAP - he falls! The large section of the skeleton comes careening down, heading straight for Tim, who lays where he fell on the ground. It comes SMASHING down. with just enough space for him to be safe. The raptor tumbles to the floor in a cascade of splintering bone. It lands on its back a few yards away and staggers for a moment, the wind knocked out of it. Grant lands in front of Tim. He stands, and goes to Tim. Lex sits up and sees the raptor regain its feet. She SCREAMS. Ellie stands. She notices the shadows of the second raptor, standing behind the visqueen. She stops dead in her tracks. She backs up towards Grant and Tim. The raptor comes out from under the plastic and looks around. Grant gets Tim out from under the skeleton. Lex joins them. They back away from the raptor, approaching from the left side. They back up towards the large rock in the middle of the room holding the other skeleton. The raptor crouch in their pre - attack stance - The group is caught in the middle of the two approaching raptors. Lex looks back and SCREAMS. Grant and the others continue to back up. They look up and see - - TYRANNOSAURUS REX! It's massive head descends down from above. A set of six - foot jaws clamp down on the raptor. Eighteen - inch teeth sink into its side, and the helpless animal HOWLS in agony as it's lifted up, up, up off the floor of the lobby. Grant and the others look up in stunned amazement. They step back behind the rock for safety and look to the right. They see another raptor approaching. The other raptor goes up in the air now, twenty feet off of the lobby floor, held fast in the mouth of the Rex. It stands in the entrance to the lobby in front of the massive hole it ripped through the Visqueen wall. It shakes its enormous head once, BREAKING the neck of the velociraptor, then drops it, dead, to the floor at its feet. Grant, Ellie, and the kids skirt the battle royal on the lobby floor and dash of the door of the Visitor's Center. The second raptor turns from the humans and lunges at the Rex's side, leaping twelve feet into the air and rending the Rex's flesh as it comes down, slashing it open with its six - inch claw. The rex BELLOWS in pain, and turns on the raptor, eyes raging, and strikes, just once, quickly, as fast as the head of a serpent. It catches the raptor by thick back end, buts one of its enormous feet down on it, and tears. It rips the last velociraptor in half. The rex whirls around - as it turns, its heavy tail counterbalances, SNAPPING the other way, sweeping across the lobby and SMASHING right through the T - rex skeleton. The skeleton collapses in an explosion of bones, falling to pieces around the living rex. The rex stands majestically in the middle of the lobby, both skeletons swept away, SNAPPING like matchsticks as they settle around the animal. The rex draws itself up to its full height - - and ROARS. The sound is deafening, and the vibrations rattle the entire Visitor's Center. The sign which dangled over the lobby by its one remaining wire finally falls, CLATTERING to the floor at the Rex's feet, face up. `` WHEN DINOSAURS RULED THE EARTH'', it says. OUTSIDE THE VISITOR'S CENTER Hammond SQUEALS the Jeep to a halt in front of the steps. Malcolm is lying in the back. Grant and the other practically fall into the Jeep. GRANT Mr. Hammond, I've decided not to endorse your Park. HAMMOND After careful consideration, Dr. Grant - so have I. Hammond hits the gas and the Jeep takes off.","EXT. HELICOPTER LANDING PAD DAY The helicopter rotors whirl to life as the chopper waits on the landing cross. Two Jeeps ROAR up next to it, one driven by GRANT, the other by HAMMOND. HELICOPTER DAY One by one, they climb aboard, their faces white from their ordeal. ELLIE comes on first, holding LEX. Then HAMMOND, carrying TIM. And GRANT, helping MALCOLM. No one speaks. Hammond takes another look at his dream, Grant comes over and takes him back to the helicopter. The helicopter takes off immediately. As they rise into the air, they stare out the windows, looking down on the park as it spreads out below. DOWN IN THE PARK, the helicopter soars over a vast plain. The Tyrannosaur, which is still feeding on the remains of the dinosaurs it ran down and killed, looks up. It throws its head back and ROARS, waving its little forelimbs at the strange thing in frustration. As the helicopter moves off, the T - rex just stares, silently, with huge, yellowing eyes. It's a moment of utter bewilderment for the rex, and we almost feel - - sad for her. BACK IN THE HELICOPTER, Hammond looks down at the park, his eyes full. He looks over at the kids. They're in the back of the helicopter, with Grant. As they look out the window, Grant almost absently has his arms around both kids. Now Ellie looks at him. Both he and the kids seem so natural, so obviously comfortable and trusting with each other. She smiles. The four of them sit that way, in the back of the helicopter, huddled together. Survivors. Grant looks out the window. The helicopter sweeps low over a huge flock of sea birds that's feeding on a school of fish. As the chopper ROARS near, it kicks up the flock. Hundreds of birds sail off in all directions, powerful and graceful. Grant looks at the bids and breaks into a wide grin. The birds reform as flock again and fly straight into the sun. FADE OUT."],"string":"[\n \"EXT. JUNGLE NIGHT An eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side, alert as hell. A legend tries to place us - ISLA NUBLAR 120 MILES WEST OF COSTA RICA - but to us it's still the middle of nowhere. It's quiet for a second. A ROAR rises up from the jungle, deafening. The trees shake as something very, very large plows ahead through them, right at us. Every head gathered in this little clearing snaps, turning in the direction of the sound as it bursts through the trees. It's a bulldozer. It drops its scoop and pushes forward into the back end of the crate, shoving it across the jungle floor towards an impressive fenced structure that towers over an enclosed section of thick jungle. There's a guard tower at one end of this holding open that makes it look like San Quentin. The bulldozer pushes forward into the back end, the crate THUDS TO THE FLOOR. A door slides open in the pen, making a space as big as the end of the crate. Nobody moves for a second, A grim - faced guy who seems to be in charge -LRB- Robert Muldoon, although we do n't know it yet -RRB-. MULDOON Alright now, pushers move in. Loading team move it. The movement as agitated whatever is inside the crate, and the whole thing shivers as GROWLS and SNAPS come from inside. Everyone moves back. MULDOON -LRB- cont'd. -RRB- Alright, steady. Get back in there now, push. Get back in there, Do n't let her know you're afraid! The men go back to the crate and begin to push it into the slot. The crate THUDS UP AGAINST THE OPENING. A green light on the side of the pen lights up, showing contact has been made. FROM INSIDE THE CRATE, we get glimpses of what's on the other side of those wooden slates - jungle foliage, MEN with rifles, searching searchlights. The view is herky - jerky as the crate put into position. MULDOON Well lockedŠ Loading team, step away. Joffrey, raise the gate. A WORKER climbs to the top of the crate. The search lights are trained on the door. The RIFFLEMEN throw the bolts on their rifles and CRACK their stun guns, sending arcs of current CRACKING through the air. The WORKER gets ready to grab the gate when all at once - A ROAR from the inside the crate, and the panel flies out of his hands and SMACKS into him, knocking him clear off the crate. Now everything happens at once. The WORKER THUDS to the jungle floor, the crate jerks away from the mouth of the holding pen flash, an alarm BUZZER sounds - - and a claw SLASHES out from inside the crate. It sinks into the ankle of the WORKER. dragging him toward the dark mouth between the crate and the pen. The WORKER SCREAMS and paws the dirt, leaving long claw marks as he is rapidly dragged toward the crate. Muldoon SHOUTS orders : MULDOON Tasers get in there, Goddamn it! They FIRE their guns - the wood of the crate SPLINTERS. Muldoon runs in and grabs the WORKER, trying to pull him free. The wild arcs of currents from the stun gun flash and CRACK all around, but in a second - - the WORKER is gone.\",\n \"EXT. MOUNTAINSIDE DAY MANO DE DIOS AMBER MINE DOMINICAN REPUBLIC DONALD GENNARO, forty, in a city man's idea of hiking clothes and a hundred dollar haircut, approaches on a raft being pulled across a river by TWO MEN. On the hillside, JUAN ROSTAGNO, thirty - ish, Costa Rican, a smart - looking guy in workers clothes, is waiting for him. ROSTAGNO Tengo mil pesos que dicen que se cae. -LRB- I have a thousand pesos that say he falls. -RRB- -LRB- or. -RRB- Apuesto mil pesos que se cae. -LRB- I bet a thousand pesos he falls. -RRB- Gennaro finally lands, and Rostagno helps him off the raft. GENNARO Hola, Juanito ROSTAGNO Hola, bienvenido Rostagno leads Gennaro towards the mine. Dozen of shirtless WORKERS claw and SCRAPE at a rocky mountainside that is the site of an extensive mining operation. The work is all done by hand, pick and shovel instead of dynamite and bulldozer. GENNARO What's this I hear at the airportŠ Hammond's not even here? ROSTAGNO He sends his apologies. GENNARO You're telling me that we're facing a $ 20 million lawsuit from the family of that injured worker and Hammond could n't even be bothered to see me? ROSTAGNO He had to leave early to be with his daughter. She's getting a divorce. GENNARO I understand that. -LRB- or. -RRB- I'm sorry to hear that. We'd be well advised to deal with this situation now. The insurance company - Gennaro almost falls, Rostagno helps him. GENNARO -LRB- cont'd. -RRB- - the underwriters of the park feel the accident raises some very serious questions about the safety of the park, and they're making the investors very anxious. I had to promise I would conduct a thorough on - site inspection. ROSTAGNO Hammond hates inspections. They slow everything down. GENNARO Juanito, if they pull the funding, that will really slow things down. -LRB- or. -RRB- If they pull the funding that's going to slow things down around here. A WORKER hurries up to them and busts into the conversation, breathless. WORKER -LRB- to Rostagno. -RRB- Jefe, encontramos otro mosquito, en el mismo sitio. -LRB- Chief, we found another mosquito in the same place. -RRB- ROSTAGNO Seguro? Muestrame! -LRB- Are you sure? Show me. -RRB- The WORKER and ROSTAGNO scramble back deeper into the mine. Rostagno calls back over his shoulder to Gennaro. ROSTAGNO -LRB- cont'd. -RRB- It seems like it's going to be a good day after all. They found another one! C'mon. Gennaro struggles to keep up.\",\n \"EXT. CAVE DAY ROSTAGNO and GENNARO move into the dark, dripping cave, where at least a dozen other WORKERS are gathered in a tight circle, staring at something intently. Rostagno fights his way to the center of the group. One of the WORKERS hands him something and Rostagno examines it carefully. It's a chuck of amber, a shiny yellow rock about the size of a half dollar. GENNARO If two experts sign off on the island, the insurance guys'll back off. I already got Ian Malcolm, but they think he's too trendy. They want Alan Grant. ROSTAGNO Grant? You'll never get him out of Montana. GENNARO Why not? ROSTAGNO Because he's like me. He's a digger. Rostagno turns and holds the amber up to the sunlight streaming through the mouth of the cave. With the light pouring through it, the amber is translucent, and we can see something inside this strange stone - - a huge mosquito, long dead, entombed there. ROSTAGNO -LRB- smiles. -RRB- Hay que lindo eres vas hacer a much gente feliz. -LRB- Oh you're so beautiful. You will make a lot of people happy. -RRB-\",\n \"EXT. THE DIG DAY An artist's camel hair brush carefully sweeps away sand and rock to slowly reveal the dark curve of a fossil - it's a claw. A dentist's pick gently lifts it from the place its has laid for millions of years. Pull up to reveal a group of diggers working on a large skeleton. All we see are the tops of their hats. The paleontologist working on the claw lays it in his hand. GRANT -LRB- thoughtfully. -RRB- Four complete skeletons. such a small area. the same time horizon - ELLIE They died together? GRANT The taphonomy sure looks that way. ELLIE If they died together, they lived together. Suggests some kind of social order. DR ALAN GRANT, mid - thirties, a ragged - looking guy with intense concentration you would n't want to get in the way of, carefully examines a claw. DR ELLIE SATTLER, working with him, leans in close and studies it too. She paints the exposed bone with rubber cement. Ellie in her late twenties, athletic - looking. There's an impatience about Ellie, as if nothing in life happens quite fast enough for her. Her face is almost pressed up against his, she's sitting so close. GRANT -LRB- cont'd. -RRB- They hunted as a team. The dismembered tenontosaurus bone over there - that's lunch. But what killed our raptors in a lakebed, in a bunch like this? We better come up with something that makes sense. ELLIE A drought. The lake was shrinking - GRANT -LRB- excited. -RRB- That's good. That's right! They died around a dried - up puddle! Without fighting each other. This is looking good. From the bottom of the hill a voice SHOUTS to them : VOLUNTERR -LRB- o.s. -RRB- Dr Grant! Dr Sattler! We're ready to try again! Grant SIGNS and sits up, stretching out his back. GRANT I hate computers. He shoves the claw absent - mindedly into his pocket and he and Ellie walk toward the source of the voice. As they walk, we get our first look at the badlands. Exposed outcroppings of crumbling limestone stretch for miles in every direction, not a tree or a bush in sight. In the dig itself, the ground is checkered with excavations everywhere. There's a base camp with five or six teepees, a flapping mess tent, a few cards, a flatbed truck with wrapped fossils loaded on it, and a mobile home. There are a dozen VOLUNTEERS of all ages at work in various places around the dig. The Volunteers are from all walks of life, dinosaur buffs. Three or four of them have CHILDREN with them, and the kids run around, like in a giant sandbox. Grant, Ellie and a Volunteer walk down the hill. Grant spots a KID kicking dirt onto one of the digs. He notices and frowns. GRANT What's that kid doing? -LRB- to the kid. -RRB- What are you doing there!? Excuse me! Can you just back off? This is very fragile! Are you out of your mind? Get off that and go find your parents! -LRB- to Ellie. -RRB- Did you see what he just did? The kid stomps away, pissed off. KID Asshole. GRANT -LRB- to Ellie. -RRB- Why do they have to bring their kids?! ELLIE You could hire your help. But there's four summers of work here, with the money for one. And you say it's a learning experience, sort of a vacation, and you get volunteers with kids. He and Ellie arrive to where several VOLUNTEERS are clustered around a computer terminal that's set up on a table in a small tent, its flaps lashed open. GRANT -LRB- to the Volunteer. -RRB- Ready to give it a shot, Jerry? A LITTLE GIRL moves a little too close to the machine. ELLIE Want to watch the computer? Ellie quietly moves her out of Grant's way, to a place she can see. VOLUNTEER Thumper ready? MAN Ready. VOLUNTEER Fire. The VOLUNTEER throws a switch on a machine that looks a bit like a floor buffer. The whole thing hops up into the air as it drives a soft lead pellet into the earth with a tremendous force. There is a dull THUD, the earth seems to vibrate, and all eyes turn to the computer screen - ELLIE How long does this usually take? VOLUNTEER It should be immediate return. You shoot the radar into the ground, the bone bounces back. The screen suddenly comes alive, yellow contour lines tracing across it in three waves, detailing a dinosaur skeleton. VOLUNTEER This new program's incredible! A few more years of development and you do n't have to dig any more! Grant looks at him, and his expression is positively wounded. GRANT Well, where's the fun in that? VOLUNTEER It looks a little distorted, but I do n't think that's the computer. ELLIE -LRB- shakes her head. -RRB- Postmortem contraction of the posterior neck ligaments. -LRB- to Grant. -RRB- Velociraptor? GRANT Yes. Good shape, too. Five, six feet high. I'm guessing nine feet long. Look at the - He points to part of the skeleton, but when his finger touches the screen the computer BEEPS at him and the image changes. He pulls his hand back, as if it shocked him. VOLUNTEER What's you do? ELLIE He touched it. Dr. Grant is not machine compatible. GRANT They've got it in for me. The Volunteer LAUGHS and touches a different part of the screen, which brings the original image back. Grant continues, but does n't get as close. GRANT Look at the half - moon shaped bone in the wrist. No wonder these guys learned to fly. The group laughs. Grant is surprised. GRANT -LRB- cont'd. -RRB- Now, seriously. Show of the hands. How many of you have read my book? Everyone stops laughing and looks away. Ellie raises her hand supportively. So does the Volunteer, Grant sighs. GRANT -LRB- cont'd. -RRB- Great. Well maybe dinosaurs have more in common with present - day birds than reptiles. Look at the public bone - it's turned backwards, just like a bird. The vertebrae - full of hollows and air sacs, just like a bird. Even the word raptor means `` bird of prey''. The kid steps forward and looks at the computer skeleton critically. KID That does n't look very scary. More like a six - foot turkey. Everyone sort of draws in their breath and steps aside, revealing the KID, standing alone. Grant turns to the Kid, lowers his sunglasses, and stares at him like he just came from another planet. Grant strolls over to the KID, puts his arms around his shoulders in a friendly way. GRANT Try to imagine yourself in the Jurassic Period. -LRB- or. -RRB- Try to imagine yourself in the Cretaceous Period. Ellie rolls her eyes. ELLIE -LRB- under her breath. -RRB- Here we go. GRANT -LRB- cont'd. -RRB- You'd get your first look at the six - foot turkey as you move into a clearing. But raptor, he knew you were there a long time ago. He moves like a bird ; lightly, bobbing his head, And you keep still, because you think maybe his visual acuity's based on movement, like a T - rex, and he'll lose you if you do n't move. But no. Not VELOCIRAPTOR. You stare at him, and he just stares back. That's when the attack comes - not from the front, no, from the side, from the other two raptors you did n't even know were there. Grant walks around the Kid. GRANT -LRB- cont'd. -RRB- Velociraptor's a pack hunter, you see, he uses coordinated attack patterns, and he's out in force today. And he slashes at you with this - He takes the claw from his pocket and holds it at the front of the raptor's three - toed foot. GRANT -LRB- cont'd. -RRB- - a six - inch retractable claw, like a razor, on the middle toe. They do n't bother to bite the jugular, like a lion, they just slash here, here - He points to the Kid's chest and thigh. GRANT -LRB- cont'd. -RRB- - or maybe across the belly, spilling your intestines. Point is, you're alive when they start to eat you. Whole thing took about four seconds. The Kid is on the verge if tears. GRANT -LRB- cont'd. -RRB- So, you know, try to show a little respect. And with that he walks back across the camp, returning to his skeleton. Ellie hurries to catch up with him. ELLIE You know, if you really wanted to scare the kid you could've just pulled a gun on him. GRANT Yeah, I know, you know. kids. You want to have one of those? ELLIE Well, not one of those, well yeah, a possibly one at some point could be a good thing. What's so wrong with kids? GRANT Oh, Ellie, look. They're noisy, they're messy, they're sticky, they're expensive. ELLIE Cheap, cheap, cheap. GRANT They smell. ELLIE Oh my god, they do not! They do n't smell. GRANT They do smell. Some of them smell. babies smell. ELLIE Alright, the one on the airplane had an accident, but usually babies do n't smell. GRANT They know very little about the Jurassic Period they know less about the Cretaceous. ELLIE The what? GRANT The Cretaceous. ELLIE Anything else, you old fossil? GRANT Yeah, plenty. Some of them ca n't walk! ELLIE It frustrates me so much that I love you, that I need to strangle you right now! Ellie playfully takes Grant's hat off and gives him a tight hug. They kiss. A strange wind seems to be whipping up. Grant and Ellie look around, confused. The wind is getting stronger, blowing dirt and sand everywhere, filling in everything they've dug out, blowing the protective canvasses off. Now there's a more familiar ROAR, and they look up and see it - - a huge helicopter, descending on the camp. ELLIE -LRB- to the volunteers. -RRB- Get some canvasses and cover anything that's exposed! Grant's already on it, trying to desperately to protect the skeleton he's excavating. He looks up at the helicopter and SHOUTS, shaking his fist.\",\n \"EXT. BASE CAMP DAY Down at the base camp, the helicopter has landed. The PILOT is already out, waiting as GRANT comes down from the mountaintop like Moses steaming. Grant gestures wildly at him to turn the chopper off. The pilot points timidly to a mobile home across the camp. Grant runs to the trailer.\",\n \"EXT. TRAILER DAY The door to the trailer SLAPS open, and GRANT storms in. GRANT What the hell do you think you're doing in here? The trailer serves as the dig's office. There are several long wooden tables set up, every inch covered with bone specimens that are neatly laid out, tagged, and labeled. Farther along are ceramic dishes and crocks, soaking other bones in acid and vinegar. There's old dusty furniture at one end of the trailer, and a refrigerator. A man roots around in the refrigerator, his back to us. GRUMBLING about the contents which are mostly beer. His hand falls across a bottle of expensive champagne in the back. MAN Ah hah! He pulls it out - the cork POPS. The Man turns around. JOHN HAMMOND, seventy - ish, is sprightly as hell, with bright, shining eyes that say `` Follow me!'' Grant stares incredulously at the Man, holding his champagne bottle without an invitation. GRANT Hey, we were saving that! HAMMOND For today, I guarantee it. GRANT And who in God's name do you think you are? HAMMOND John Hammond. And I am delighted to finally meet you in person Dr Grant. Grant is struck silent. He shakes his hand, staring dumbly. GRANT Mr. - Hammond? Hammond looks around the trailer approvingly, at the enormous amount of work the bones represent. HAMMOND I can see my fifty thousand a year as been well spent. The door SLAPS open again and ELLIE comes in, just as pissed off as Grant was. ELLIE Okay, who's the jerk? GRANT Uh, this is our paleobotanist, Dr Ellie. ELLIE Sattler. Grant Dr Sattler. Ellie, this is Mr. HAMMOND. -LRB- in case she did n't catch it. -RRB- John Hammond. ELLIE Did I say jerk? HAMMOND I'm sorry for the dramatic entrance, but I'm in a hurry. Will you have a wee bit of a drink now and then? Hammond begins to walk into the kitchen, making himself at home. Ellie follows him tries to help. Grant settles behind the table. HAMMOND -LRB- cont'd. -RRB- Come along then, do n't let it get warm! -LRB- expansively. -RRB- Come on in, both of you. Sit down. As Hammond moves, they notice he walks with a slight limp and uses a cane - for balance or style, it's hard to say witch. ELLIE I have samples all over the kitchen. -LRB- she takes some stones out of one of the glasses. -RRB- HAMMOND Come along. I know my way around a kitchen. Come along. Ellie goes around towards Grant. She grabs a bottle of water. They look at each other, really aback by this guy's bravado, and site down. Hammond dries the glasses. HAMMOND -LRB- cont'd. -RRB- Well now, I'll get right to the point. I like you. Both of you. I can tell instantly with people ; it's a gift. -LRB- new subject. -RRB- I own an island. Off the coast of Costa Rica. I leased it from the government and spent the last five years setting up a kind of biological preserve down there. Really spectacular. Spared no expense. It makes the one I had in Kenya look like a petting zoo. No doubt that sooner or later our attractions will send. -LRB- drive the. -RRB- kids right out of their minds. GRANT And what are those? ELLIE Small versions of adults, honey. He gives her a dirty look. HAMMOND Not just kids - for everyone. We're going to open next year. Unless the lawyers kill me first. I do n't care for lawyers. You? GRANT I, uh, do n't really know any. We - HAMMOND Well, I'm afraid I do. There's one, a particular pebble in my shoe. He represents my investors. He says they insist on outside opinions. GRANT What kind of opinions? HAMMOND Not to put a fine point on it, your kind. Let's face it, in your particular field, you're the top minds. If I could just get you two to sign off on the park - you know, give a wee testimonial - I could get back on schedule -. -LRB- he Americanizes him pronunciation. -RRB- - schedule. ELLIE Why would they care what we think? GRANT What kind of park is it? HAMMOND -LRB- smiles. -RRB- Well, it's - right up your alley. -LRB- hands Grant a drink. -RRB- Look, why do n't you both. -LRB- the pair of you. -RRB- come on down for the weekend. Love to have the opinion of a paleobotoanist as well. -LRB- hands Ellie a drink. -RRB- I've got a jet standing by at Choteau. -LRB- he jumps up and sites on the counter. -RRB- GRANT No, I'm sorry, that would n't be possible. We've just discovered a new skeleton, and - HAMMOND -LRB- pours himself a drink. -RRB- I could compensate you by fully funding your dig GRANT - this would be an awfully unusual time - HAMMOND For a further three years. Grant OOFS as Ellie elbows him hard in the ribs. ELLIE Where's the plane?\",\n \"EXT. CAFE DAY DENNIS NEDRY is in his late thirties, a big guy with a constant smile that could either be laughing with you or at you, you can never tell. He sits at a table in front of a Central American cafe, eating breakfast Another Legend : SAN JOSE, COSTA RICA Nedry looks up and sees a man get out of a taxi - LEWIS -LRB- Louis -RRB- DODGSON, fiftyish, wearing a large straw hat and looking almost too much like an American tourist. Dodgson clutches as attaché case close to him and scans the cafe furtively. Nedry laughs, shakes his head, and waves to him. NEDRY Dodgson! Dodgson hurries over to the table. DODGSON -LRB- as he sites. -RRB- You should n't use my name. NEDRY Dodgson, Dodgson. -LRB- loud. -RRB- We got Dodgson here! See, nobody cares. Nice hat. What are you trying to look like, a secret agent? Dodgson ignores that, sets his attaché case down next to the table, and slides it towards Nedry, DODGSON Seven fifty. Nedry smiles and pulls the attaché closer to him. DODGSON -LRB- cont'd. -RRB- On delivery, fifty thousand more for ever viable embryo. That's one point five million. If you get all fifteen species off the island. NEDRY Oh, I'll get'em all. DODGSON Remember - viable embryos. They're no use to us if they do n't survive. NEDRY How am I supposed to transport them? Dodgson pulls an ordinary can of shaving cream from a shoulder bag he carries and sets it on the table. DODGSON The bottom screws open ; it's cooled and compartmentalized inside. They can even check it if they want. Press the top. Nedry presses the top of the can and real shaving cream comes out. He grins, impressed. While Dodgson talks, Nedry looks around for somewhere to wipe the shaving cream and ends up dumping it on top of someone's Jell - O on a dessert tray next to him. DODGSON -LRB- cont'd. -RRB- There's enough coolant gas for thirty - six hours. Nedry looks at the can. NEDRY What? No menthol? DODGSON Mr Nedry, Mr Nedry. The embryos have to be back here in San Jose by then. NEDRY That's up to your guy on the boat. Seven o'clock tomorrow night, at the east dock. Make sure he got it right. DODGSON I was wondering, how are you planning to beat the security? NEDRY I got an eighteen minute window. Eighteen minutes, and your company catches up on ten years of research. A WAITER arrives and puts the check down on the table, between them. Nedry looks down at it pointedly, then up at Dodgson. NEDRY -LRB- cont'd. -RRB- Do n't get cheep on me Dodgson. Dodgson rolls his eyes and picks up the check. NEDRY -LRB- cont'd. -RRB- That was Hammond's mistake.\",\n \"EXT. OPEN SEA DAY A helicopter, `` IN - GEN CONSTRUCTION'' emblazoned on the side, skims low over the shimmering Pacific.\",\n \"EXT. HELICOPTER DAY GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back of the chopper ; HAMMOND is in the front with the PILOT. There are two other passengers was well - DONALD GENNARO, the lawyer from the amber mine, now dressed in safari clothes, everything straight from Banana Republic. The other Dr. IAN MALCOLM, fortyish, dressed all in black, with a snakeskin boots and sunglasses. Malcolm, who finds it hard to take his eyes off Ellie, leans over and SHOUTS over the engine whine. MALCOLM So you two dig up dinosaurs? GRANT Try to! Malcolm laughs, finding this very amusing, which confuses Grant. Hammond turns around annoyed. HAMMOND You'll have to get use to Dr. Malcolm! He suffers from a deplorable excess of personality, especially for a mathematician! MALCOLM Chaotician, actually! Chaotician! Hammond SNORTS, not even bothering to cover his contempt for Malcolm. MALCOLM John does n't subscribe to Chaos, particularly what it has to say about his little science project! HAMMOND Codswollop! Ian, you've never come close to explaining these concerns of yours about this island! MALCOLM I certainly have! Very clearly! Because of the behavior of the system in phase space! Hammond just waves him off. HAMMOND A load, if I may say so. of fashionable number crunching, that ¹ s all it is! MALCOLM -LRB- poking at Hammond's knee. -RRB- John, John. HAMMOND -LRB- pushing him away. -RRB- Do n't do that! MALCOLM Dr. Grant, Dr. Sattler - you've heard of Chaos Theory? ELLIE -LRB- shaking her head. -RRB- No. MALCOLM No? Non - linear equations? Strange attractions? -LRB- again, she shrugs. -RRB- Dr. Sattler, I refuse to believe that you are not familiar with the concept of attraction! Grant just rolls his eyes as Malcolm gives her an oily grin, but Ellie smiles, enjoying Grant's jealousy. Hammond turns to Gennaro and gives him a dirty look. HAMMOND I bring scientists - you bring a rock star. Hammond looks out the windshield, and CLAPS his hands excitedly. HAMMOND There it is! Up ahead, the others see it. ISLA NUBLAR. It's a smallish island, completely ringed by thick clouds that give it a lush, mysterious feel. The PILOT pulls up over a spot in the clouds and starts to descend, fast. HAMMOND -LRB- cont'd. -RRB- Bad wind shears! We have to drop pretty fast! Hold on, this can be a little thrilling! The helicopter drops like a stone. Outside the windows, they can see cliff walls racing by, uncomfortably close. They bounce like hell, hitting wind up and down drafts. Only Hammond still feels chatty. HAMMOND -LRB- cont'd. -RRB- We're planning an airstrip! On pilings, extending out into the ocean twelve thousand feet! Like La Guardia, only a lot safer! What do you think? They do n't answer, just hold on. As they near the ground, a luminous white cloud cross appears below them, a landing pad shining through the Plexiglas bubble in the floor of the chopper. The cross grows rapidly larger as the chopper plummets, but a sudden updraft catches them and they bounce skyward for a moment then drop again, even faster if possible, before landing with a hard BUMP.\",\n \"EXT. HELICOPTER LANDING PAD DAY The chopper plummets and finally lands. One of the workers opens the door and the group gets out. Hammond looks out, proudly.\",\n \"EXT. HILLTOP DAY Two large, open - top jeeps ROAR down the hilltop away from the landing cross as the helicopter engines WHINE back to life and the rotors start to spin again. ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, HAMMOND and GENNARO are in the rear jeep. Both cars have DRIVERS. They pass through an enormous gate in a thirty foot high fence, which is closed behind them by two PARK ATTENDANTS. There are large electrical insulators on the fences, warning lights that strobe importantly and clear signs - `` ELECTRIFIED FENCE! 10,000 VOLTS!'' IN THE REAR JEEP, Gennaro regards the fences critically. GENNARO The full fifty mile of perimeter fence are in place? HAMMOND And the concrete moats, and the motion sensor tracking systems. Donald, dear boy, do try to relax and enjoy yourself. GENNARO Let's get something straight, John. This is not a weekend excursion, this is a serious investigation of the stability of the island. Your investors, whom I represent, are deeply concerned. Forty - eight hours from now, if they -. -LRB- gestures to Grant, Ellie, and Malcolm. -RRB- - are n't convinced. I'm not convinced. And I can shut you down John. HAMMOND Forty - eight hours from now, I'll be accepting your apologies. Now get out of the way. So I can see them! He shoves Gennaro aside, to get a clear view of Grant, Ellie, and Malcolm. HAMMOND -LRB- cont'd. -RRB- I would n't miss this for the world. The jeeps wind their way along a mountain road. IN THE LEAD JEEP, Ellie stares off to the right, fascinated by the thick tropical plant life around them. She tilts her head, as if something's wrong with this picture. She reaches out and grabs hold of a leafy branch as they drive by, TEARING it from the tree. IN THE REAR JEPP, Hammond watching Grant, signals to his Driver. HAMMOND Just stop here, stop here. Slow, slow. He slows down, then stops. So does the front jeep. IN THE FRONT JEEP, Ellie stares at the leaf, amazed, running her hand lightly over it. ELLIE Alan - But Grant's not paying attention. He's staring too, out the other side of the jeep. Grant notices that several of the tree trunks are leafless - just as thick as the other trees, but gray and bare. ELLIE -LRB- cont'd. -RRB- -LRB- still staring at the leaf. -RRB- This should n't be here. Grant twists in his seat as the jeep stops and looks at one of the gray tree trunks. Riveted, he slowly stands up in his seat, as if to get closer. He moves to the top of the seat, practically on his tiptoes. He raises his head, looking up the length of the trunk. He looks higher. And higher. And higher. That's no tree trunk. That's a leg. Grant's jaw drops, his head falls all the way back, and he looks even higher, above the tree line. ELLIE -LRB- cont'd. -RRB- -LRB- still looking at the leaf. -RRB- This species of vermiform was been extinct since the cretaceous period. This thing - Grant, never tearing his eyes from the brachiosaur, reaches over and grabs Ellie's head, turning it to face the animal. She sees it, and drops the leaf. ELLIE -LRB- cont'd. -RRB- Oh - my - God. Grant lets out a long, sharp, HAH - a combination laugh and shout of joy. He gets out of the jeep, and Ellie follows. Grant points to the thing and manages to put together his first words since its appearance : GRANT THAT'S A DINOSAUR! - a dinosaur. Chewing the branches. Technically, it's a brachiosaur, of the sauropod family, but we've always called it brontosaurus. It CRUCHES the branch in its mouth, which is some thirty - five feet up off the ground, at the end of its long, arching neck. It stares down at the people in the car with a pleasant, stupid gaze. Ellie looks up at the sauropods in wonder. They've pretty light on their feet - a far cry from the sluggish, lumbering brutes we would have expected. Hammond gets out of his jeep and comes back to join them. He looks like a proud parent showing off the kid. Ian Malcolm looks at Hammond, amazed, and with an expression that is a mixture of admiration and rapprochement. MALCOLM You did it. You crazy son of a bitch, you did it. Grant and Ellie continue walking, following the dinosaur. GRANT The movement! ELLIE The - agility. You're right! In their amazement, Grant and Ellie talk right over each other. GRANT Ellie, we can tear up the rule book on cold - bloodedness. It does n't apply, they're totally wrong! This is a warm - blooded creature. They're totally wrong. ELLIE They were wrong. Case closed. This thing does n't live in a swamp to support it's body weight for God's sake! Several of the top branches are suddenly RIPPED away. Another sauropod, reaching for a branch high above their heads, stands effortlessly on its hind legs. GRANT -LRB- to Hammond. -RRB- That thing's got a what, twenty - five, twenty - seven foot neck? HAMMOND The brachiosaur? Thirty. Grant and Ellie continue to walk. GRANT - and you're going to sit there and try to tell me it can push blood up a thirty - foot neck without a four - chambered heart and get around like that?! Like that!? -LRB- to Hammond. -RRB- This is like a knockout punch for warm - bloodedness. HAMMOND -LRB- proudly. -RRB- We clocked the T - rex at thirty - two miles an hour. ELLIE You've got a T - rex!? -LRB- to Grant. -RRB- He's got a T - rex! A T - rex! He said he's - GRANT Say again? HAMMOND Yes, we have a T - rex. Grant feels faint. He sits down on the ground. ELLIE Honey, put your head between your knees, and breathe. Hammond walks in front of them and looks out. HAMMOND Dr. Grant, my dear Dr. Sattler. Welcome to Jurassic Park. They turn and look at the view again. It's beautiful vista, reminiscent of an African plain. A whole herd of dinosaurs crosses the plain, maybe a hundred that we see in a quick glance alone. GRANT Ellie, they're absolutely - they're moving in herds. They do move in herds! ELLIE We were right! GRANT -LRB- to Hammond. -RRB- How did you do it?! -LRB- or. -RRB- How did you do this?! HAMMOND I'll show you. Finally, we notice Gennaro, who was sort of faded into the background while the others reacted. He's just staring, a look of absolute rapture on his face. He speaks in a voice that is hushed and reverent. GENNARO We are going to make a fortune with this place.\",\n \"EXT. MAIN COMPOUND DAY The main of Jurassic Park is a large area with three main structures connected by walkways and surrounded by two impressive fences, the outer fence almost twenty feet high. Outside the fences, the jungle has been encouraged to grow naturally. The largest building is the visitor's center, several stories tall, its walls still skeletal, unfinished. There's a huge glass rotunda in the center. The second building looks like a private residence, a compound unto itself, with smoked windows and its own perimeter fence. The third structure is n't really a building at all, but the impressive cage we saw earlier, overgrown inside with thick jungle foliage. The jeeps pull up in front of the visitor's center.\",\n \"EXT. VISITOR'S CENTER DAY HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the stairs, talking as he goes, Two ladies open the doors to the Visitor Center.\",\n \"INT. VISITOR'S CENTER DAY The lobby of the still - unfinished visitor's center is a high - ceilinged place, and has to be house its central feature, a large skeleton of a tyrannosaur that is attacking bellowing sauropod. WORKMEN in the basket of a Condor crane are still assembling skeletons. A staircase climbs the far wall, to another wing. HAMMOND -LRB- continuing. -RRB- - the most advanced amusement park in the world, combining all the latest technologies. I'm not talking rides, you know. Everybody has rides. We made a living biological attractions so astonishing they'll capture the imagination of the entire planet! Grant stares up at the dinosaur skeletons and just shakes his head. Ellie catches his reaction. ELLIE So what are you thinking? GRANT We're out of a job. Ian Malcolm pops in between them MALCOLM Do n't you mean `` extinct''? Ellie and Malcolm move on ahead.\",\n \"INT. SHOW ROOM DAY HAMMOND Why do n't you all sit down. GRANT, ELLIE, and MALCOLM take their seats in the front row of the fifty seat auditorium. GENNARO sits behind them. HAMMOND walks over to the giant screen in front of them. Behind him, a huge image of himself beams down at him from the giant television screen. HAMMOND -LRB- screen. -RRB- Hello, John! HAMMOND -LRB- stage. -RRB- -LRB- to the group. -RRB- Say hello! -LRB- then, fumbling with his three by five cards. -RRB- Oh, I've got lines. He scans them, looking for his place. The screen Hammond continues without him, HAMMOND -LRB- screen. -RRB- Fine, I guess! But how did I get here?! HAMMOND -LRB- stage. -RRB- Uh -. -LRB- finding his place. -RRB- `` Here, let me show you. First I'll need a drop of blood. Your blood!'' The screen - Hammond extends his finger and the stage - Hammond reaches out and mimes pocking it with a needle. HAMMOND -LRB- screen. -RRB- Ouch, John! That hurt! HAMMOND -LRB- stage. -RRB- `` Relax, John. It's all part of the miracle of cloning!'' While the two Hammonds rattle on, the screen image splits into two Hammonds, then four then eight, and so on, like a shampoo commercial. Grant, Ellie, and Malcolm huddle together excitedly in the audience. GRANT Cloning from What?! Loy extraction has never recreated an intact DNA strand! MALCOLM Not without massive sequence gaps! ELLIE Paleo - DNA? From what source? Where do you get 100 million year old dinosaur blood?! GENNARO Shhhhh! IN THE FILM, the screen - Hammond is joined by another figure, this one animated. MR. DNA is a cartoon character, a happy - go - lucky double - helix strand of recombinant DNA. Mr. DNA jumps down onto the screen - Hammond's head and slides down his nose. HAMMOND Well! Mr. DNA! Where'd you come from? MR. DNA From your blood! Just one drop of your blood contains billions of strands of DNA, the building blocks of life! IN THE FILM, Mr. DNA has taken over the show, and is speaking to the audience from the screen. MR. DNA A DNA strand like me is a blueprint for building a living thing! And sometimes animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for us to find! We just had to know where to look! The screen image changes from animated to a nature - photography look. It's an extreme close - up of a mosquito, its fangs suck the deep into some animals flesh, its body pulsing and engorging with blood it's drinking. MR. DNA -LRB- cont'd. -RRB- A hundred million years ago, there were mosquitoes, just like today. And, just like today, they fed on the blood of animals. Even dinosaurs! The camera races back to show the mosquito is perched on top of a giant animated brachiosaur. The image changes, to another close - up, this one of a tree branch, its bark glistening with golden sap. Mr. DNA leaps on the sap. MR. DNA -LRB- cont'd. -RRB- Sometimes, after biting a dinosaur, the mosquito would land on a branch of a tree, and get stuck in the sap! The engorged mosquito lands in the tree sap, and gets stuck. So is Mr. DNA. He tugs his legs, but they stay stuck. MR. DNA WHOA! Now the tree sap flows over them, covering up Mr. DNA and the mosquito completely. Mr. DNA SHOUTS from inside the tree sap. MR. DNA -LRB- cont'd. -RRB- After a long time, the tree sap would get hard and become fossilized, just like a dinosaur bone, preserving the mosquito inside! A SCIENCE LABORATORY The place buzzes with activity. Everywhere, there are piles of amber, tagged and labeled with SCIENTISTS in white coats examining it under microscopes. One SCIENTIST moves a complicated drill apparatus next to the chuck of amber with a fossilized mosquito inside and BORES into the side of it. MR. DNA escapes through the drill hole as the Scientist moves the amber onto a microscope and peers through the eyepiece. MR. DNA -LRB- O.S. -RRB- This fossilized tree sap - which we call amber - waited millions of years, with the mosquito inside - until Jurassic Park's scientists came along! THROUGH THE MICROSCOPE We see the greatly enlarged image of a mosquito through the lens. MR. DNA -LRB- O.S. -RRB- Using sophisticated techniques, they extract the preserved blood from the mosquito, and - A long needle is inserted through the amber, into the thorax of the mosquito, and makes an extraction. MR. DNA -LRB- cont'd. -RRB- - Bingo! Dino DNA! Mr. DNA jumps down in front of DNA data as it races by at headache speed. He holds his head, dizzied by it. MR. DNA -LRB- cont'd. -RRB- A full DNA strand contains three billion genetic codes! If we looked at screens like these once a second for eight hours a day, it'd take two years to look at the entire strand! It's that long! And since it's so old, it's full of holes! That's where our geneticists take over!\",\n \"INT. GENETICS LAB DAY SCIENTISTS toil in a lab with two huge white towers at either side. MR. DNA Thinking Machine supercomputers and gene sequencers break down the strand in minutes - One SCIENTIST, in the back has his arms encased in two long rubber tubes. He's strapped into a bizarre apparatus, staring into a complex headpiece and moving his arms gently, like Tai Chi movements. MR. DNA -LRB- cont'd. -RRB- - and Virtual Reality displays show our geneticists the gaps in the DNA sequence! Since most animal DNA is ninety percent identical, we use the complete DNA of a frog - ON THE V.R. DISPLAY we see an actual DNA strand, except it has a big hole in the center, where the vital information is missing. Mr. DNA bounds into the frame, carrying a butch of letters in one hand. He puts it in the gap and turns back against it, GRUNTING as he shoves into place. MR. DNA -LRB- straining. -RRB- - to fill in the - holes and - complete - the -. -LRB- finally getting it. -RRB- - code! Whew! He brushes his hands off, satisfied. MR. DNA -LRB- cont'd. -RRB- Now we can make a baby dinosaur! IN THE AUDIENCE The scientist look at each other, not sure. HAMMOND All this has some dramatic music - da dum da dum da dum dum - march or something, it's not written yet, and the tour moves on - He throws a switch and safety bars appear out of nowhere and drop over their seats, CLICKING into place. HAMMOND For your own safety! The row of seats moves out of the auditorium.\",\n \"INT. HALLWAY DAY The row of seats moves slowly past a row of double - panned glass window beneath a large sign that reads `` GENETICS/FERTILIZATION/HATCHERY.'' Inside, TECHNICIANS work at microscopes. In the back is a section entirely lit by blue ultraviolet light. Mr. DNA VOICE continues over a speaker in each seat. MR. DNA -LRB- O.S. -RRB- Our fertilization department is where the dinosaur DNA takes the place of the DNA in unfertilized emu or ostrich eggs - and then it's on to the nursery, where we welcome the dinosaurs back into the world! GENNARO has a wondrous grin plastered on his face, just loving everything now. GENNARO This is overwhelming, John. Are these characters. -LRB- people. -RRB- animatronics? HAMMOND No, we do n't have any animatronics here. These are the real miracle workers of Jurassic Park. GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, straining against the safety bars for a better look. But the cars keep going. GRANT Wait a minute! How do you interrupt the cellular mitosis?!? ELLIE Ca n't we see the unfertilized host eggs?! But the cars are already moving on to another set of windows, which give a glimpse into what looks like a control room. HAMMOND Shortly, shortly. MR. DNA -LRB- O.S. -RRB- Our control room contains some of the most sophisticated automation ever attempted in - Grant strains to look back into the labs, but the cars move past again, no intention of slowing down. GRANT Ca n't you stop these things?! HAMMOND Sorry! It's kind of a ride! GRANT -LRB- to Malcolm. -RRB- Let's get outta here! The two of them team up on the safety bars. Grant shoves his all the way back with one foot and Malcolm does the same. They stand up and head for the door of the hatchery. GENNARO Hey! You ca n't do that! Too late. Ellie slips out from under her safety bar too and stomps right across Gennaro's seat. GENNARO Can they do that? They reach the door to the hatchery. Grant tries to shove it open, but just THUDS into it. He rattles the handle, but the door wo n't budge as it's on a security key - card system. HAMMOND steps up and takes his glasses off. HAMMOND Relax, Donald, relax. They're scientists, They ought to be curious. -LRB- he steps up to the code box. -RRB- It's a retinal scanner. He pushes various code numbers. The door opens. He steps aside, and the group eagerly goes up the stairs.\",\n \"INT. HALLWAY/STAIRS - DAY GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to get a look at the lab. HAMMOND and GENNARO come up and join Grant at the door. GENNARO John, we - what I'm just saying. HAMMOND Relax Donald, relax. They're scientists. They ought to be curious. Hammond reaches the door, Grant tries to pry it open. HAMMOND -LRB- cont'd. -RRB- Dr. Grant, just a minute, just a minute. -LRB- or. -RRB- Dr. Grant, just a moment, dear boy. -LRB- he pushes the code ; the door opens. -RRB- Remember what Samuel Johnson said. -LRB- they step into the cubicle. -RRB- `` Curiosity is one of the permanent and certain characteristics of a vigorous intellect!''. -LRB- the second door opens. -RRB- Right! Come along. HATCHERY/NURSERY DAY The hatchery is a vast, open room, bathed in infrared light. Long tables run the length of the place, all covered with eggs, their pale outlines obscured by hissing low mist that's all through the room. HAMMOND Come on in. HAMMOND takes off his hat and hands it one of the technicians. HENRY WU, late twenties, Asian - American, wearing a white lab coat works at a nearby table, making notes. HAMMOND -LRB- cont'd. -RRB- Good day, Henry. WU Oh, good day, Sir. GRANT goes to a round, open with various eggs under a strong light. One of the eggs makes strong movements - a robotic arm steadies the shell. GRANT My God! Look! Hammond, Ellie, and Malcolm join him, as does Henry Wu. WU Ah, perfect timing! I'd hoped they'd hatch before I had to go to the boat. HAMMOND Henry, why did n't you tell me? you know I insist on being here when they're born. Hammond puts on a pair of plastic gloves. The egg begins to crack. The robotic arm moves away. a BABY DINOSAUR tries to get out, just its head sticking out of the shell. Hammond reaches down and carefully breaks away egg fragments, helping the baby dinosaur out of its shell. HAMMOND Come on, then, out you come. HAMMOND -LRB- cont'd. -RRB- They imprint on the first living creature they come in contact with. That helps them to trust me. I've been present for the birth of every animal on this Island. Just look at that. MALCOLM Surely not the ones that have bred in the wild? WU Actually, they ca n't breed in the wild. Population control is one of our security precautions here. There is no unauthorized breeding in Jurassic Park. Grant and Ellie exchange a look. She manages not to smile. MALCOLM How do you know they ca n't breed? WU Because all the animals in Jurassic Park are females. -LRB- I've. -RRB- We engineered them that way. Hammond keeps his attention trained on the new dinosaur. HAMMOND There you are. Out you come. ELLIE Oh my God. HAMMOND Could I have a tissue please? WU Right away. -LRB- certainly. -RRB-. Coming right up. The animal is now free, Hammond sets in don carefully next to its shell. Grant picks it up and holds it in the palm of his hand, under the incubator's heat light. GRANT Blood temperature feels like high eighties. HAMMOND Wu? WU Ninety - one. Grant picks up the large, broken half - shell, but the robotic arm snatches it back out of his hand, and puts it down. GRANT Homoeothermic? It holds that temperature? -LRB- to Wu. -RRB- Incredible. Malcolm is looking at Hammond, skeptical. MALCOLM But again, how do you know they're all female? Does someone go into the park and, uh - lift up the dinosaurs' skirts? WU We control their chromosomes. It's not that difficult. All vertebrate embryos are inherently female anyway. It takes an extra hormone at the right developmental stage to create a male, and we simply deny them that. HAMMOND Your silence intrigues me. MALCOLM John, the kind of control you're attempting is not possible. If there's one thing the history of evolution has taught us, it's that life will not be contained. Life breaks free. It expands to new territories. It crashes through barriers. Painfully, maybe even. dangerously, but and. well, there it is. Ellie listens to him, impressed. HAMMOND Watch her head - support her head. Grant, ignoring the others, picks up the baby dinosaur, and holds it on the palm of his hand, under the incubator's heat light. He spreads the tiny animal out on the back of his hand and delicately runs his finger over its tail, counting the vertebrae. A look of puzzled recognition crosses his face. WU You're implying that a group of composed entirely of females will breed? MALCOLM I'm simply saying that life - finds a way. ELLIE `` You ca n't control anything.'' I agree with that. I like that. She walks over to Malcolm, he smiles at her, too warmly. ELLIE -LRB- cont'd. -RRB- You can talk. I do n't k now how to say it. You're just articulate. You say everything that I think, that I feel. It's exciting. -LRB- or. -RRB- I find it so exciting. It's exciting that you ca n't control life, that you know -. -LRB- or. -RRB- You know that, I find it terrifying. Life will always find a way. MALCOLM That's right. Will break through. ELLIE I get ah - MALCOLM I know, it's very exciting. ELLIE And scary. MALCOLM And scary. ELLIE When people try to control things that it's out of their power - MALCOLM It's anti - nature. ELLIE Anti - nature. Grant does n't notice, as he's still obsessed with the infant dinosaur, measuring and weighing it on a nearby lab bench. He stops, a strange look on his face. He knows what this animal is - but it ca n't be. GRANT -LRB- dreading the answer. -RRB- What species is this? WU Uh - it's a Velociraptor. Grant and Ellie turn slowly and look at each other, then look at Hammond, astonished. GRANT You bred raptors?\",\n \"EXT. RAPTOR PEN - DAY Grant charges across the compound, a fire in his eyes, ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to keep up. HAMMOND Dr. Grant, Dr. Grant? Uh - we planned to show you the raptors later, after lunch. But Grant has stopped abruptly next to the Velociraptor pen, which we recognize as the heavily fortified cage we some earlier, which the San Quentin towers at one end. Grant stands right up against the fence, eyes wide, dying for a glimpse. HAMMOND catches up, slightly out of breath. HAMMOND -LRB- cont'd. -RRB- Dr. Grant - as I was saying, we've laid out lunch for you before you head out into the park. Alejandro, our gourmet chef - GRANT What are they doing? As they watch, a giant crane lowers something large down into the middle of the jungle foliage inside the pen. Something very large. It's a steer. They poor thing looks disconcerted as hell, helpless its in a harness, flailing its legs in the air. HAMMOND Feeding them. -LRB- moving along. -RRB- Alejandro is preparing a delightful meal for us. A Chilean sea bass, I believe. Shall we? Grant goes up to the viewing deck. The others follow, staring as the steer disappears into the shroud of foliage. The line from the crane hangs for a moment. The jungle seems to grow very quiet. They all stare at the motionless crane line. It jerks suddenly, like a fishing pole finally getting a nibble. There's a pause - - and then a frenzy. The line jerks every which way, the jungle plants sway and SNAP from some frantic activity within, there is a cacophony of GROWLING, of SNAPPING, of wet CRUNCHES that mean the steer is literally being torn to pieces and is almost makes it worse that we ca n't see anything of what's going on - - and then it's quiet again. The line jerks a few times, then stops. Slowly the SOUND of the jungle starts up again. HAMMOND Fascinating animals, fascinating. ELLIE Oh my God. HAMMOND Give time, they'll out draw the T - rex. Guarantee it. GRANT I want to see them. Can we get closer? Ellie puts a hand on his arm, like calming an overexcited child. ELLIE Alan, these are n't bones anymore. HAMMOND We're - still perfecting a viewing system. The raptors seem to be a bit resistant to integration into a park setting. A VOICE comes from behind them. VOICE -LRB- O.S. -RRB- They should all be destroyed. They turn and look at the man who spoke. ROBERT MULDOON, the grim - faced man who was present at the accident in the beginning, is fortyish, British. He joins them and takes his hat off. When Muldoon talks, you listen. HAMMOND Robert. Robert Muldoon, my game warden from Kenya. Bit of an alarmist, I'm afraid, But he's dealt with the raptors more than anyone. GRANT -LRB- introducing himself. -RRB- Alan Grant. Tell me, what kind of metabolism do they have? What's their growth rate? -LRB- or. -RRB- rate of growth. MULDOON They're lethal at eight months. And I do lethal. I've hunted most things that can hunt you, but the way these things move - GRANT Fast for biped? MULDOON Cheetah speed. Fifty, sixty miles per hour if they ever got out in the open. And they're astonishing jumpers. HAMMOND Yes, yes, yes, which is why we take extreme precautions. They viewing area below us will have eight - inch tempered glass set in reinforced steel frames to - GRANT Do they show intelligence? With the brain cavity like theirs we assumed - MULDOON They show extreme intelligence, even problem solving. Especially the big one. We bred eight originally, but when she came in, she took over the pride and killed all but two of the others. That one - when she looks at you, you can see she's thinking. -LRB- or. -RRB- working things out. She's the reason we have to feed'em like this. She had them all attacking the fences when the feeders came. ELLIE The fences are electrified, right? MULDOON That's right. But they never attack the same place twice. They were testing the fences for weaknesses. Systematically. They remembered. Behind them, the crane WHIRRS back to life, raising the cable back up out of the raptor pen. The guest turn and stare as the end portion of the cable becomes visible. The steer has been dragged completely away, leaving only the tattered, bloody harness. Hammond claps his hands together excitedly. HAMMOND Who's hungry? After you, my dear.\",\n \"INT. VISITOR CENTER PRESENTATION ROOM - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long table in the visitor's center restaurant. There is a large buffet table and two WAITERS to serve them. The room is darkened and Hammond is showing slides of various scenes all around them. Hammond's own recorded voice describes current and future features of the park while the slides flash artists' renderings of all them. The real Hammond turns and speaks over the narration. HAMMOND None of these attractions have been finished yet. The park will open with the basic tour you're about to take, and then other rides will come on line after six or twelve months. Absolutely spectacular designs. Spared no expense. More slides CLICK past, a series of graphs dealing with profits, attendance and other fiscal projections. Donald Gennaro, who has become increasingly friendly with Hammond, even giddy, grins from ear to ear. GENNARO And we can charge anything we want! Two thousand a day, ten thousand a day - people will pay it! And then there's the merchandising - HAMMOND Donald, this park was not built to carter only to the super rich. Everyone in the world's got a right to enjoy these animals. GENNARO Sure, they will, they will. -LRB- laughing. -RRB- We'll have a - coupon day or something. Grant looks down, at the plate he's eating from. It's in the shape of the island itself. He looks at his drinking cup. It's got a T - rex on it, and a splashy Jurassic Park logo. There are a stack of folded amusement park - style maps on the table in front of Grant. He picks one up. Boldly, across the top it says, `` Fly United to Jurassic Park!'' HAMMOND -LRB- on tape. -RRB- - from combined revenue streams for all three parks should reach eight to nine billion dollars a year - HAMMOND -LRB- to Gennaro. -RRB- That's conservative, of course. There's no reason to speculate wildly. GENNARO I've never been a rich man. I hear it's nice. Is it nice? Ian Malcolm, who was been watching the screens with outright contempt, SNORTS, as if he's finally had enough. MALCOLM The lack of humility before nature that's been displayed here staggers me. They all turn and look at him. GENNARO Thank you, Dr. Malcolm, but I think things are a little different than you and I feared. MALCOLM Yes, I know. They're a lot worse. GENNARO Now, wait a second, we have n't even see the park yet. Let's just hold out concerns until -. -LRB- or alt. version. -RRB- Wait - we were invited to this island to evaluate the safety conditions of the park, physical containment. The theories that all simple systems have complex behavior, that animals in a zoo environment will eventually begin to behave in an unpredictable fashion have nothing to do with that evaluation. This is not some existential furlough, this is an on - site inspection. You are a doctor. Do your job. You are invalidating your own assessment. I'm sorry, John - HAMMOND Alright Donald, alright, but just let him talk. I want to hear all viewpoints. I truly do. -LRB- or. -RRB- I truly am. MALCOLM Do n't you see the danger, John, inherent in what you're doing here? Genetic power is the most awesome force ever seen on this planet. But you wield it like a kid who's found his dad's gun. MALCOLM GENNARO If I may. It is hardly appropriate to start hurling Excuse me, excuse me - generalizations before - I'll tell you. MALCOLM -LRB- cont'd. -RRB- The problem with scientific power you've used is it did n't require any discipline to attain it. You read what others had done and you took the next step. You did n't earn the knowledge yourselves, so you do n't take the responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you knew what you had, you patented it, packages it, slapped in on a plastic lunch box, and now you want to sell it. HAMMOND You do n't give us our due credit. Our scientists have done things no one could ever do before. MALCOLM Your scientists were so preoccupied with whether or not they could that they did n't stop to think if they should. Science can create pesticides, but it ca n't tell us not to use them. Science can make a nuclear reactor, but it ca n't tell us not to build it! HAMMOND But this is nature! Why not give an extinct species a second chance?! I mean, Condors. Condors are on the verge of extinction - if I'd created a flock of them on the island, you would n't be saying any of this! -LRB- or. -RRB- have anything to say at all! MALCOLM Hold on - this is no species that was obliterated by deforestation or the building of a dam. Dinosaurs had their shot. Nature selected them for extinction. HAMMOND I do n't understand this Luddite attitude, especially from a scientist. How could we stand in the light of discovery and not act? MALCOLM There's nothing that great about discovery. -LRB- or. -RRB- What's so great about discovery? It's a violent, penetrative act that scars what it explores. What you call discovery I call the rape of the natural world! GENNARO Please - let's hear something from the others. Dr. Grant? I am sorry - Dr. Sattler? ELLIE The question is - how much can you know about an extinct ecosystem, and therefore, how could you assume you can control it? You have plants right here in this building, for example, that are poisonous. You picked them because they look pretty, but these are aggressive living things that have no idea what century they're living in and will defend themselves. Violently, if necessary. Exasperated, Hammond turns to Grant, who looks shell - shocked. HAMMOND Dr. Grant, if there's one person who can appreciate all of this -. -LRB- or. -RRB- What am I trying to do? But Grant speaks quietly, really thrown by all of this. GRANT I feel - elated and - frightened and -. -LRB- starts over. -RRB- The world has just changed so radically. We're all running to catch up. I do n't want to jump to any conclusions, but look - He leans forward, a look of true concern on his face. GRANT -LRB- cont'd. -RRB- Dinosaurs and man - two species separated by 65 million years of evolution - have just been suddenly thrown back into the mix together. How can we have the faintest idea of what to expect? HAMMOND I do n't believe it. I expected you to come down here and defend me from these characters and the only one I've got on my side it the bloodsucking lawyer!? GENNARO Thank you. One of the WAITERS whispers to Hammond. HAMMOND Ah - they're here. GRANT Who?\",\n \"INT. VISITOR'S CENTER LOBBY - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of the restaurant and into the lobby of the visitor's center. They head down the stairs, and pass the skeletons of the dinosaurs again. HAMMOND You four are going to have a little company out in the park. Spend a little time with our target audience. Maybe they'll help you get the spirit of this place. GRANT What does he mean by `` target audience''? Hammond turns toward the door of the center and throws his arms out expansively. HAMMOND -LRB- bellowing. -RRB- KIDS! Two kids standing in the doorway to the center break into a broad smiles. TIM, the boy, is about nine years old ; ALEXIX, his sister, looks around twelve. TIM & LEX Grandpa! They race across the lobby and into Hammond's arms, knocking him over on the steps. LEX We miss you. TIM Thanks for the presents. LEX We love the presents. HAMMOND You must be careful with me. Did you like the helicopter? TIM It was great! It drops, we were dropping! Grant looks on.\",\n \"EXT. VISITOR'S CENTER DAY Two modified Ford Explorers leap up out of an underground garage beneath the visitor's center. They move quietly, with a faint electronic HUM, and straddle a partially buried metal rail is the middle of the road. They pull to a stop where the group is gathered. Ellie is off to the side with ALEXIS, introducing herself warmly. HAMMOND is with MALCOLM, GRANT, and GENNARO. HAMMOND Have a heart gentlemen. Their parents are getting a divorce and they need the diversion. GENNARO Hey! Where are the brakes? HAMMOND Brakes? No. No brakes. They're electric cars, guided by this track in the roadway, and totally non - polluting, top of the line! LEX It's interactive CD - ROM. Look, see - you just touch the right part of the screen and it talks about whatever you want. HAMMOND Spared no expense. Have fun. I'll be watching you from the control. -LRB- or. -RRB- back in control. -LRB- to Ellie. -RRB- Come along, my dear. You'll ride in the second car, I can promise you you'll have a real wonderful time. ELLIE Oh thank you so much. So you'll see you later then. Hammond turns and head back towards the Visitor's Center. MALCOLM -LRB- too eagerly ; to Grant. -RRB- I'll ride with Dr. Sattler. -LRB- or. -RRB- I'm going to ride with Dr. Sattler. He turns and walks over to Ellie. Grant frowns, not liking this one bit. He moves to follow, but TIM cuts him off, and stares up at him, wide - eyed TIM I read your book. GRANT Oh, yeah - great. Grant heads for the rear car. Tim follows. TIM You really think dinosaurs turned into birds? And that's where all the dinosaurs went? Grant opens the door of the rear car and climbs in. Tim follows. GRANT Well, uh, a few species - may have evolved, uh - along those lines - yeah. A mechanical voice intones from inside : VOICE `` Two to four passengers to a car, please. Children under ten must be accompanied by an adult.'' Tim is right behind Grant, so Grant keeps moving, across the back seat of the car and out the other door. But Tim follows. TIM Because they sure do n't look like birds to me. I heard a meteor hit the earth and made like this one hundred mile crater someplace down in Mexico - GRANT Listen, ahh - TIM Tim. GRANT Tim. Which car were you planning on - TIM Whichever one you are. Grant goes to the front car again, opens the rear door, and holds it for Tim, who climbs in the back seat, rattling on and on. TIM Then I head about this thing in OMNI? About the meteor making all this heat that made a bunch of diamond dust? And that changed the weather and they died because of the weather? Then my teacher told me about this other book by a guy named Bakker? And he said the dinosaurs died of a bunch of diseases. SLAM! Grant closes the car door on Tim. He turns and head for the rear vehicle - - and bumps right into Lex. LEX -LRB- points at Ellie. -RRB- She said I should ride with you because it would be good for you. Grant looks over at Ellie, annoyed. GRANT She's a deeply neurotic woman.\",\n \"INT. CONTROL ROOM DAY The Jurassic Park control room looks like a mission control for a space launch, with several computer terminals and dozens of video screens that display images of various dinosaurs, taken from all over the park. There's a large glass map of the island at the front of the room that is lit up like a Christmas tree with various colored lights, each one with a number and identification code next to it. But the place is unfinished, with unattached cables, construction materials, and ladders scattered about. The mood among the half dozen TECHNICIANS present is chaotic as they rush around with last - minute adjustments. MULDOON whisks in through the double doors. HAMMOND is right behind him. They go straight to the main console, where RAY ARNOLD fortyish, a chronic worrier and chain - smoker, is seated. MULDOON National Weather Service is tracking a tropical storm about seventy - five miles west of us. Hammond sighs and looks over Arnold's shoulder. HAMMOND Why did n't I build in Orlando? MULDOON I'll keep an eye on it. Maybe it'll swing south like the last one. HAMMOND -LRB- a deep breath. -RRB- Ray, start the tour program. He punches a button on the console. ARNOLD -LRB- cont'd. -RRB- -LRB- not exactly comforting. -RRB- Hold onto your butts.\",\n \"EXT. VISITOR'S CENTER DAY With a loud CHUNK, the Explorers start forward along the electrical pathway. GENNARO, TIM, and LEX are in the front vehicle ; GRANT, ELLIE, and MALCOLM in the rear.\",\n \"EXT. MAIN GATES DAY They pass through two enormous, primitive gates, torches blazing on either side.\",\n \"EXT. JURASSIC PARK DAY IN THE REAR CAR, the Explorer's speakers BLARE with fanfare of trumpets, and the interior video screen flashes `` Welcome to Jurassic Park.'' A familiar VOICE comes over the speaker : VOICE -LRB- O.S. -RRB- Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world - VOICE -LRB- cont'd. -RRB- creatures long gone from the face of the earth, which you are privileged to see for the first time. CONTROL ROOM HAMMOND watches the monitor. His grandchildren are enjoying themselves. HAMMOND By the way, that's James Earl Jones. -LRB- or. -RRB- Richard Kiley. We spared no expense! IN THE PARK, the fences are retaining walls are covered with greenery and growth, to heighten the illusion of moving through a jungle. IN THE FRONT CAR GENNARO The accident took place in a restricted area. It would not have been available to the public access. So how can the safety of the public be called into question? The cars come to the top of a low rise, where a break in the foliage gives them a view down a sloping field that is broken by a river. The tour voice continues. VOICE -LRB- O.S. -RRB- To the right, you will see a herd of the first dinosaurs on our tour, called Dilophosaurus. IN THE FRONT CAR, Tim and Lex practically SLAM up against the windows, to get a look. GENNARO -LRB- keeps talking. -RRB- The safety. That's the problem I had to answer. LEX Shhh. TIM I ca n't see. GENNARO What are we looking for? TIM Dilophosaurus. IN THE REAR CAR Grant looks at his map. Ellie, hearing the voice, reacts. ELLIE Oh, shit. GRANT Dilophosaurus. Grant, Malcolm, and Ellie press against the windows. DOWN NEAR THE RIVER BANK there are a lot of beautiful plants, but no sign of a herd of anything. The tour voice continues anyway. VOICE -LRB- O.S. -RRB- One of the earliest carnivores, we now know Dilophosaurus is actually poisonous, spitting its venom at its prey, causing blindness and eventually paralysis, allowing the carnivore to eat at its leisure. This makes Dilophosaurus a beautiful, but deadly addition to Jurassic Park. Corny SCARY MUSIC plays over the speaker. IN THE FRONT CAR, TIM There's nothing there! IN THE REAR CAR, ELLIE Alan, where? Grant and the others sit back, disappointed. GRANT Damn. ON THE ROAD, the cars move on. As they roll past, we notice the headlights are on, even in the daytime.\",\n \"INT. CONTROL ROOM DAY RAY ARNOLD watches his computer screen and the video monitors at the same time, keeping an eye on the cars as they move through the park. HAMMOND hovers over his shoulder. ARNOLD Vehicle headlights are on and do n't respond. Those should n't be running off the car batteries. He signs and reaches for a clipboard hanging next to his chair and jots this down. ARNOLD -LRB- cont'd. -RRB- Item one fifty - one on today's glitch list. We've got all the problems of a major theme park and a major zoo, and the computer's not even on its feet yet. Hammond shakes his head and turns to the TECHNICIAN to his right, who still has his back to them, watching a Costa Rican game show on one of his monitors and drinking a Jolt cola. HAMMOND Dennis, our lives are in your hands and you have butterfingers. The Technician turns around his chair and extends his arms in a Christ - like pose. As we get a good look at him, we get the sinking feeling that we've seen him somewhere before. And we have. DENNIS NEDRY is the man who accepted a suitcase full of cash in San Jose. NEDRY I am totally unappreciated in my time. We can run the whole park from this room, with minimal staff, for up to three days. You think that kind of automation is easy? Or cheap? You know anybody who can network eight Connection Machines and de - bug two million lines of code for what I bid this job? Because I'd sure as hell like to see them try. HAMMOND I'm sorry about your financial problems. I really am. But they are your problems. NEDRY You're right, John. You're absolutely right. Everything's my problem. HAMMOND I will not get drawn into another financial conversation with you, Dennis. I really will not. NEDRY I do n't think there's been any debate. There's no debate. my mistakes. HAMMOND I do n't blame people for their mistakes, but I do ask that they pay for them. NEDRY Thanks, Dad. ARNOLD Dennis - the headlights. NEDRY I'll de - bug the tour program when they get back. Okay? It'll eat a lot of computer cycles ; parts of the system may go down for a while - Do n't blame me. If I am playing. losing memory. MULDOON, who has been hovering near the video monitors as always, turns towards them, annoyed. MULDOON Quiet, all if you. They're coming to the tyrannosaur paddock.\",\n \"EXT. TYRANNOSAUR PADDOCK DAY The two Explorers drive along a high ridge and stop at the edge of the large, open plain that is separated from the road by a fifteen - foot fence, clearly marked with `` DANGER!'' signs and ominous - looking electrical post. TIM, LEX, and GENNARO are pressed forward against the windows, eyes wide, waiting for you - know - who. IN THE REAR CAR, The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM are n't even listening anymore, dying of anticipation. VOICE -LRB- O.S. -RRB- The mighty tyrannosaurus arose late in the dinosaur history. Dinosaurs ruled the earth for hundred and fifty million years, but it was n't until the last - GRANT Will you turn that thing off? Ellie flips a switch and they wait in silence - except for Malcolm, who looks at the ceiling, thinking aloud. MALCOLM God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs. ELLIE -LRB- finishing it for him. -RRB- Dinosaur eats man. Woman inherits the Earth. ARNOLD -LRB- O.S. -RRB- Hold on, we'll try to tempt the rex. IN THE PADDOCK, there is a low HUMMING sound. Out in the middle of the field, a small cage rises up into view, lifted on hydraulics from underground. The cage bars slide down, leaving the cage's occupant standing alone in the middle of the field. It's a goat, one leg chained to a stake. It looks around, confused, and BLEATS plaintively. IN THE FRONT CAR, LEX and TIM look at the goat with widely different reactions. LEX What's going to happen to the goat? He's going to eat the goat?! TIM -LRB- in heaven. -RRB- Excellent. GENNARO -LRB- to Lex. -RRB- What's the matter, kid, you never had lamb chops? LEX I happen to be a vegetarian. IN THE REAR CAR, GRANT -LRB- shakes his head. -RRB- T - rex does n't want to be fed ; he wants to hunt. You ca n't just suppress sixty - five million years of gut instinct. IN THE PADDOCK The goat waits. And waits. From the Explorers, six faces watch it expectantly. The goat tugs on its chain. It walks back and forth, nervous. It BLEATS. IN THE REAR CAR, Grant watches, his eyes glued, his breathing becoming a little more rapid. IN THE FRONT CAR, Tim and Lex ca n't tear their eyes away, IN THE PADDOCK, finally, the goat - - lays down. IN THE REAR CAR, everyone sits back, disappointed again, as the cars pull forward to continue the tour. Malcolm picks up the microphone. MALCOLM Now, eventually you do plan to have dinosaurs on your dinosaur tour, right?\",\n \"INT. CONTROL ROOM DAY HAMMOND just shakes his head as Malcolm's voice comes through, HAMMOND I really hate that man.\",\n \"EXT. PARK DAY GRANT gets into the seat, leaving MALCOLM behind ELLIE. He longingly looks out of the opposite window, while Malcolm rattles on to Ellie. MALCOLM You see? The tyrannosaur does n't obey set patterns or park schedules. It's the essence of Chaos. ELLIE I'm still not clear on Chaos. MALCOLM It simply deals with unpredictability in complex systems. It's only principle is the Butterfly Effect. A butterfly can flap its wings in Peking and in Central Park you get rain instead of sunshine. Ellie gestures with her hand to show this information has gone right over her head. MALCOLM I made a fly by, I go too fast. Looking out of the opposite window, Grant sees movement at the far end of a field. He sits bolt upright, trying to get a better look. Malcolm, looking for another example - MALCOLM -LRB- cont'd. -RRB- -LRB- points to the glass of water. -RRB- Here. Give me your glass of water. He dips his hand into the glass of water. He takes Ellie's hand in his own. MALCOLM -LRB- cont'd. -RRB- Make like hieroglyphics. Now watch the way the drop of water falls on your hand. He flicks his fingers and a drop falls on the back of Ellie's hand. MALCOLM -LRB- cont'd. -RRB- Ready? Freeze your hand. Now I'm going to do the same thing from the exact same place. Which way is the drop going to roll off? -LRB- or. -RRB- Which way will the drop roll? Over which finger? Or down your thumb? Or to the other side? ELLIE Uh - thumb! -LRB- or. -RRB- The same way. MALCOLM It changed. Why? -LRB- or. -RRB- Okay, back over your wrist. -LRB- then. -RRB- Because and here is the principle of tiny variations - the orientations of the hairs - ELLIE Alan, listen to this. MALCOLM - on your hand, the amount of blood distending in your vessels, imperfections in the skin - ELLIE Oh, imperfections? MALCOLM Microscopic - never repeat, and vastly affect the outcome. That's what? ELLIE Unpredictability. MALCOLM And even if we have n't seen it yet, I'm quite sure it's going on in this park right now. There's definitely something out in that field, and Grant has to see it. He jerks on the door handle and opens his door a few inches. He looks outside towards freedom, then looks around to is anybody's watching him. Malcolm lowers his voice, becoming more seductive now. MALCOLM -LRB- cont'd. -RRB- Life's a lot like that, is n't it? You meet someone by chance you'll never meet again, and the course of your whole future changes. It's dynamic - its exciting - I think. Grant throws the door open and bolts out of the moving car. MALCOLM -LRB- cont'd. -RRB- There, there see?! I'm right again! ELLIE Alan? MALCOLM No one could have predicted Dr. Grant would suddenly jump out of a moving vehicle! ELLIE Alan? She jumps out too and follows him into the field. MALCOLM There's another example! IN THE FRONT CAR, TIM Hey! I want to go with them! IN THE REAR CAR, MALCOLM See? Here I am now, by myself, talking to myself - that's Chaos Theory! What the hell am I doing here? I'm the only one who knows what's going on, etc, etc.\",\n \"INT. CONTROL ROOM DAY HAMMOND, MULDOON, and ARNOLD stare at the video monitor incredulously as everyone now pouts out of the cars and follows Grant down the hill. The cars roll on slowly, empty, their doors hanging open. ARNOLD Uh - Mr. Hammond - HAMMOND Stop the program! Stop the program! MULDOON There you are! How many times did I tell you we needed locking mechanisms on the vehicle doors! ACROSS THE ROOM DENNIS NEDRY sneaks a peek at the video monitor. It shows an image of the steel door, plainly marked - `` EMBRYONIC COLD STORAGE. RESTRICTED!'' He looks to another monitor, which is labeled `` EAST DOCK.'' The monitor shows a supply ship, moored at the dock. Its cargo is being uploaded and a large group of WORKERS is filing aboard. Nedry has something in the counter, where no one can see it. It's a can of shaving cream.\",\n \"EXT. PARK DAY GRANT, ELLIE, GENNARO, and the KIDS are out in the open field, heading towards a small stand of trees. For the first time, we notice the sky is darken rather early in the day. Tim dogs Grant's footsteps, so excited he can hardly keep his feet on the ground. TIM So like I was saying, there's this other book by a guy named Bakker? And he said dinosaurs died of a bunch of diseases? He definitely did n't say they turned into birds. Gennaro is scared as hell, following the others, but his head darting left and right. ELLIE Alan? Where are we going? You see something? GENNARO Uh - anybody else think we should n't be out here? TIM And his book was a lot fatter than yours. GRANT Really? ELLIE Yours was fully illustrated, honey. GENNARO Anybody at all. Feel free to speak up. Lex stumbles and Grant takes her hand, to stop her from falling. She looks up at him and smiles. Grant smiles back and tries to recover his hand, but Lex holds tight. He's massively uncomfortable. Ellie notices. Suddenly they all stop in their tracks. A huge smile spreads across the faces of both Tim and Grant. Grant walks forward. Tim follows. ELLIE Timmy, Timmy. LEX Come back here, blanket head. Fearless, Tim walks forward behind Grant. HARDING -LRB- O.S. -RRB- Hi everybody, Do n't be scared. Tim reaches the clearing and sees : A Triceratops, a big one, lying on its side, blocking the light at the end of the path. It has an enormous curved shell that flanks its head, two big horns over its eyes, and a third on the end of its nose. It does n't move, just breathes, loud and raspy, blowing up a little clouds of dust with every exhalation. Grant stands next to Harding, almost in a daze. GRANT Beautiful. Is it okay? Can I touch it? HARDING Sure. Grant walks next to the animal and strokes its head. Ellie moves forward to the animal. GRANT Oh Ellie. It's so beautiful. It's the most beautiful thing I ever saw. ELLIE It's my favorite. They both kneel, checking the animal. He furrows his bow, noticing something, all professional curiosity now. The animal's tongue, dark purple, droops limply from its mouth. GRANT -LRB- cont'd. -RRB- Ellie, take a look at this. ELLIE Yeah, baby girl, it's okay. She scratches the tongue with her fingernail. A clear liquid leaks from the broken blisters. ELLIE Micro vesicles. That's interesting. Grant, fascinated, wanders all the way around to the back of the animal. Harding joins Ellie and hands her his penlight. ELLIE -LRB- cont'd. -RRB- What are her symptoms? HARDING Imbalance, disorientation, labored breathing. Seems to happen about every six weeks or so. ELLIE Six weeks? She takes the penlight from the veterinarian and shines it in the animal's eyes. ELLIE -LRB- cont'd. -RRB- Are there pupillary effects from the tranquilizer? HARDING Yes, mitotic, pupils should be constricted. ELLIE These are dilated. Take a look. HARDING They are? -LRB- checks it out. -RRB- I'll be damned. ELLIE That's pharmacological. From local plant life. She turns and studies the surrounding landscape. Her mind's really at work, puzzling over each piece of foliage. ELLIE -LRB- cont'd. -RRB- -LRB- pointing. -RRB- Is that. -LRB- or. -RRB- this West Indian lilac? HARDING Yes. We know they're toxic, but the animals do n't eat them. ELLIE Are you sure? HARDING Pretty sure. ELLIE There's only one way to be positive. I need to see some droppings. -LRB- or. -RRB- I have to see the dinosaur's droppings. HARDING You wo n't be able to miss them. -LRB- or. -RRB- Ca n't miss them. Malcolm walks up to Ellie. MALCOLM Dino droppings? ELLIE Yeah. She walks way, Malcolm looks on.\",\n \"INT. CONTROL ROOM DAY HAMMOND and ARNOLD are watching the video monitors, displeased about something. Arnold is looking at one that gives them a view from the beach, looking out at the ocean. The clouds beyond are almost black with a tropical storm. ARNOLD That storm center has n't dissipated or changed course. We're going to have to cut the tour short, I'm afraid. Pick it up again tomorrow where we left off. HAMMOND You're sure we have to? ARNOLD It's not worth taking the chance, John. MULDOON -LRB- into phone. -RRB- Sustain winds 45 knots. HAMMOND -LRB- nods. -RRB- Tell them when they get back to the cars. MULDOON -LRB- into phone. -RRB- Thanks, Steve. ARNOLD -LRB- making an announcement to the others. -RRB- Ladies and gentlemen, last shuttle to the dock leaves in approximately five minutes. Drop what you are doing and leave now. HAMMOND Damn! ACROSS THE ROOM NEDRY stares at his video monitor, watching the boat. He's on the phone with the MATE, whose images he can see on the monitor. The seas around the dock are much rougher now. MATE We're not well - berthed here without a storm barrier! We may have to leave as soon as the last of the works are aboard. NEDRY -LRB- low voice. -RRB- No, no. You stick to the plan. You wait till they're back from the tour.\",\n \"EXT. FIELD DAY As the weather grows darker, ELLIE, GRANT, HARDING, and MALCOLM are grouped around an enormous spoor of triceratops excreta that stands at least waist high and is covered with BUZZING flies. MALCOLM That is one big pile of shit. Ellie has plastic gloves on the reach up to her elbows, and is just withdrawing her hand from the middle of the dung. ELLIE -LRB- to Harding. -RRB- You're right. There's no trace of lilac berries. That's so weird, though. She shows all the classic signs of Meliatoxicity. -LRB- thinking aloud. -RRB- Every six weeks - She turns and walks out into the open field a few paces, thinking. Malcolm watches her, and looks back at the dung. MALCOLM -LRB- to Grant. -RRB- She's, uh - tenacious. GRANT You have no idea. MALCOLM -LRB- to Ellie. -RRB- You will remember to wash your hands before you eat anything?\",\n \"INT. CONTROL ROOM DAY DENNIS NEDRY is busily and surreptitiously typing a series of commands into his console. On his screen, a cartoon hand winds up a cartoon clock, moving its second hand up to the twelve. The clock rotates around to face us. It has a large green dollar sign in the middle. A big word appears on screen, an option surrounded by forbidding red box. `` EXECUTE,'' it says.\",\n \"EXT. PARK DAY The skies are really foreboding now, and there's a sense of growing urgency. ELLIE is by the animal, a short distance away from the group. GRANT is near her, thinking. GRANT Ellie, I've been thinking there's something about the periodicity does n't had up. ELLIE I know. Tim holds one of the smooth rocks up and calls out, a little timidly. TIM These look kind of familiar. GRANT Triceratops was a constant browser, and constant browsers would be constantly sick. ELLIE Constantly sick. GRANT Not just every six weeks. ELLIE Yeah, I know. TIM I've seen pictures of these! Grant turns and looks at him, a little annoyed. TIM In your fully illustrated book. Grant just rolls his eyes, but Ellie comes over and checks out the stones. ELLIE What's that? A light goes on in her eyes. ELLIE Alan - gizzard stones! She throws Grant one of the stones. They look at each other in amazement. As before, when they get excited, they talk right over each other. GRANT Elm that's it, it explains the periodicity, the - ELLIE - the undigested state of the berries because it's - GRANT - totally incidental. -LRB- or. -RRB- unrelated to the feeding pattern - TIM What are you guys saying? ELLIE -LRB- turning to Tim. -RRB- It's simple, see. Some animals like her, do n't have teeth - GRANT - like birds - ELLIE - like birds. What happen is, they swallow the stones and hold them in a muscular sack in their stomachs - GRANT - a gizzard - ELLIE - which is called a gizzard, and it helps them mash their food, but what happens after a while - GRANT - what happens is that after a while, the stones get smooth, every six weeks, so the animal regurgitates them - ELLIE -LRB- for Tim. -RRB- - barfs them up - GRANT - and swallows fresh ones. ELLIE And when she swallows the stones, she swallows the poison berries too. That's what makes her sick. -LRB- impressed. -RRB- Good work Tim. She looks at Grant pointedly. Tim looks up at Grant too, smiling from ear to ear. Grant GRUNTS, not so easily convinced. THUNDER rumbles as the storm overhead is about to bust loose. GENNARO, scared of more than one thing now, puts his foot down. GENNARO Doctors, if you please - I have to insist we get moving. ELLIE Oh, you know, if it's alright, I'd like to stay with Dr. Harding and finish with the trike. Is that okay? HARDING Sure. I've got a gas powered jeep. I can drop her at the visitor's center before I make the boat with the others. ELLIE -LRB- to Grant. -RRB- I'll catch up with you. You can go with the others. GRANT Are you sure? ELLIE I'll just finish. Yeah, I want to finish. There is a lightning flash now, with a tooth - rattling THUNDERCLAP right on its heels. GENNARO Now. Grant turns and follows the others, Lex right in his tracks. Ellie and Harding go back to the triceratops, which is starting to come back to life. As Grant reaches the Explorer, he turns back for one last look at Ellie. He raises his hand to wave, but she is turned the other way. Feeling silly, he drops his hand and goes into the woods. Just as he does, Ellie turns and waves to him, but with his back turned, he misses it too. In this way, they say goodbye. BACK AT THE CARS, as the reflections of the GROUP approach, the first raindrops fall on the windshields of the tour vehicles. They're big, fat drops, and they kick up little clouds of dust as they SMACK into the glass. It's going to be a hell of a storm.\",\n \"EXT. PARK DUSK It's near dark now. The wind has whipped up, and the trees are swaying.\",\n \"INT. CONTROL ROOM DUSK HAMMOND is with RAY ARNOLD, staring at the video screens. ARNOLD I found a way to re - route through the program. I'm turning the cars around in the rest area loop. HAMMOND Rotten luck, this storm. Get my grandchildren on the radio will you? I do n't want them to worry about a wee bit of rain. Arnold reaches for the hand microphone. ACROSS THE ROOM, DENNIS NEDRY, sweat forming on his upper lip now, is staring at his video monitor. The supply boat is still docked on the island shore, but is now being buffeted by heavy waves. Nedry whispers sharply into the phone, arguing with the MATE of the ship again, who he can see on the video monitor. MATE There's nothing I can do! If the Captain says we got ta go, we got ta go! NEDRY No, no, listen to me. You've got to give me this time. I did a test run on this thing and it took me twenty minutes. I thought I could do it in fifteen - you've got to give me fifteen minutes. MATE No promises! No promises! NEDRY I'll be there in ten! Arnold SNAPS a button on his console. ARNOLD Visitor vehicles are on their way back to the garage. HAMMOND So how much for our first tour. Two no - shows and one sick triceratops. ARNOLD It could have been worse, John. It could have been a lot worse. Dennis Nedry stands up. He's shaking in his shoes, but trying like hell to be casual. NEDRY Anybody want a Coke? Anybody what some from the machines? Or a soda or something? I had too many sweets. -LRB- or. -RRB- I thought I'd get something sweet. Hammond and Arnold shake their heads. Nedry starts to leave, then turns back with an afterthought that is so rehearsed its almost obvious. NEDRY -LRB- cont'd. -RRB- Oh, I finished de - bugging the phones, but the system's compiling for eighteen minutes, or twenty. So, some minor systems may go on and off for a while. There's nothing to worry about. Simple thing. HAMMOND Okay, okay, okay, okay, that's enough! Ahh! Nedry turns, stretches one finger out to his screen, and selects an option. `` EXECUTE.'' At the same time, he presses the start button on his digital stopwatch he holds in his hand. A digital clock on the computer screen starts to tick down from sixty seconds, and a musical clock starts to sound too - something like the `` Jeopardy'' theme. He starts to leave - but returns when he remembers the shaving cream can. He grabs it and leaves.\",\n \"EXT. PARK ROAD NIGHT Night was completely fallen now, and the rain has started. It's a tropical storm, the rain falling in drenching sheets on the roofs and hoods of the Explorers, which are making their way slowly back to the visitor's center. IN THE REAR CAR, GRANT and MALCOLM are alone. Grant is staring out the window, lost in his thoughts. GRANT You got any kids? MALCOLM Me? Oh, hell yes. Three. -LRB- glowing. -RRB- I love'em. I love kids. Anything at all can and does happen. He takes a flask from jacket pocket and unscrews the top. His expression darkens. MALCOLM -LRB- cont'd. -RRB- Same with wives, for that matter. GRANT You're married? MALCOLM Occasionally. Always on the lookout for the future ex - Mrs. Malcolm.\",\n \"INT. FERTILIZATION LAB NIGHT DENNIS NEDRY, waits outside the silver door marked `` EMBRYONIC COLD STORAGE,'' staring at the digital stopwatch in his hand. NEDRY Two - one - On cue, the security lock panel goes dark and the door CLUNKS ajar. IN THE COOLER, Nedry hurries in and flips open the hatch on the bottom of the shaving cream can, revealing slotted compartments inside. He goes to the rack of dozens of thin glass slides. A sign says `` VIABLE EMBRYOS - HANDLE WITH EXTREME CARE!'' He takes the slides out of the rack one by one. They're labeled - `` STEGOSAURUS'', `` APATOSAURUS'', `` TYRANNOSAURUS REX'' - and puts them into the can.\",\n \"INT. CONTROL ROOM NIGHT ARNOLD is staring at his terminal, puzzled. On the screen, glowing red and blue lines are blinking off, in succession. ARNOLD What? HAMMOND comes up behind him, as does ROBERT MULDOON. HAMMOND What? ARNOLD The door security systems are shutting down. HAMMOND Well, Nedry said a few systems would go off - line, did n't he?\",\n \"INT. REAR CAR NIGHT GRANT and MALCOLM still wait in their car. They do n't notice, but the video screen in the middle of their front console suddenly goes black. Malcolm continues their conversation. MALCOLM By the way, Dr. Sattler - she's not like, uh, available, is she? - GRANT Why? MALCOLM Why? Oh, I'm sorry. Are you two, uh - are? I wish you the best luck. The cars jerk to a stop. The lights in the vehicles and along the road go out, plunging them into blackness. Grant jerks his hands away from the steering column, immediately assuming it's his fault. GRANT What'd I touch?! MALCOLM You have n't touched. -LRB- or. -RRB- did n't touch anything. We're stopping. -LRB- or. -RRB- We've stopped. GRANT I must've touched something. This happens all the time. It must be my fault. Machines hate me. MALCOLM Machines hate you? GRANT Yeah, they hate me. MALCOLM You want to talk about this? GRANT No.\",\n \"EXT. JURASSIC PARK NIGHT Nedry's jeep SPLASHES up to the giant gates that lead into Jurassic Park. NEDRY jumps out and hurries to the control panel on the side of the cement supports. He FLICKS a switch and gates CLICK unlocked. He jumps back in the car and noses into the gates, shoving them open far enough to drive through. He ROARS into the park grounds\",\n \"EXT. CONTROL ROOM NIGHT RAY ARNOLD stares at his terminal, aghast, as row upon row of colored lights crawls off on his screen. ARNOLD Woah, woah, woah, what the hell, what the hell? HAMMOND What now? ARNOLD Fences are failing, all over the park! A few minor systems, he said! HAMMOND -LRB- to Muldoon, pissed. -RRB- Find Nedry! Check the vending machines! ARNOLD The monitors are failing. Muldoon heads for the door just as all the video monitors in the control room go out with a faint electronic ZIP. The three of them freeze for a moment, looking at each other. The tension in the room goes up a notch. HAMMOND -LRB- to Arnold. -RRB- Use Nedry's terminal. Get it all back on. He can de - bug later. ARNOLD pushes off on the floor and whizzes over to Nedry's master terminal in his chair. With one stroke of his arm, he brushes all the loose junk off Nedry's station - junk food, soda cans, torn out magazine pages - and tries to work. ARNOLD God, look at this workstation. The `` Jeopardy'' - type music is playing a little faster now. Muldoon steps forward, growing alarmed. MULDOON The raptor fences are n't out, are they? ARNOLD -LRB- checks. -RRB- No, they're still on. HAMMOND Why the hell would he turn the others off?!\",\n \"EXT. PARK ROAD NIGHT A wire mesh fence in front of us has a very clear sign : DANGER! ELECTRIFIED FENCE! This Door Can not Be Opened When Fence is Armed! A hand reaches out, grabs the fence by the bare wire, flips a latch, and shoves the door open. No sparks fly. DENNIS NEDRY runs from the fence back to his jeep, drops it in gear, and tears off down the park road. The rain is absolutely flowing down now, the road is rapidly turning to mud. IN THE JEEP, Nedry can barely see through the windshield. He's driving as fast as possible, checking his watch every few seconds. He leans forward, squinting to see through the windshield, wiping off the condensation with his free hand. A fork in the road rushes into view. He jumps on the brakes - to late. The jeep careens into a signpost. NEDRY Shit! He throws the door open and hurries to the fallen sign : `` To The Docks''. He props it up - the directional arrow swings hopelessly on a nail. He clenches his jaws and growls. Soaked, Nedry stomps back to his car. Although he does n't look too convinced, he drops the car in gear and speeds off to the left.\",\n \"EXT. CONTROL ROOM NIGHT HAMMOND still hovers over ARNOLD's shoulder while he works at Nedry's terminal. Arnold MUTTERS to himself as he tries another command. ARNOLD - access main program grid - He punches a button, but a BUZZER sounds and a little cartoon image of Nedry appears on the screen and waves its little finger disapprovingly. CARTOON NEDRY `` You did n't say the magic word!'' ARNOLD -LRB- livid. -RRB- Please, God damn it! I hate this hacker crap! He SMACKS the top of the monitor, furious. The game show music plays still faster. HAMMOND Call Nedry's people in Cambridge! Arnold whisks across the floor in his chair and snatches up the nearest phone. He punches for an outside line. ARNOLD Phones are out too. HAMMOND Where did the vehicles stop?\",\n \"EXT. TYRANNOSAUR PADDOCK NIGHT BAAA! The goat that was brought up from the underground earlier is still tethered in the same place, BLEATING in the pouring rain The two explorers sit still in the middle of the road. A man's form races back from the front car to the rear car. IN THE REAR CAR, GRANT, soaking wet, gets back into the care and closes the door behind him. MALCOLM turns to him. GRANT Their radio's out too. Gennaro said to stay put. MALCOLM The kids okay? GRANT Well, I did n't ask. Why would n't they be? MALCOLM Kids get scared. GRANT What's to be scared about? It's just a little hiccup in the power. MALCOLM I did n't say I was scared. GRANT I did n't say you were scared. MALCOLM I know. GRANT Fine. Malcolm turns and looks out at the driving rain, and the fence that stands between them and the tyrannosaur paddock. He is scared. IN THE FRONT CAR, GENNARO, LEX, and TIM wait, bored. The rain drums on the roof monotonously. Tim is upside down in the front seat. Lex pushes his legs up, and he swings them down. TIM Up and down, up and down! GENNARO -LRB- sotto. -RRB- I ca n't believe we invited Ian Malcolm. TIM People were gettin' bloody noses - things on your head - aneurisms - LEX -LRB- a little dreamy. -RRB- I think Dr. Grant is really - smart. GENNARO How he'll write a butch of. -LRB- letters. -RRB- papers, go on Larry King Live, say we're irresponsible - Tim climbs into the back seat. Lex hits him with her hat as he moves by her. LEX Do n't scare me. - - - - - - - -? - - - - - - - - Tim finds something under the seat and sits up abruptly, holding what looks like a heavy - duty pair of safety goggles. GENNARO Hey! Where did you find those things? TIM In a box under my seat. GENNARO Are they heavy? TIM Yeah. GENNARO Then they're expensive. Put them back. He leans back and closes his eyes. Tim ignores him and puts on the goggles. - - - - - - - - - - - - - - - Tim stares out the back window of the Explorer with Grant and Malcolm in it, behind them. The image is bright fluorescent green. TIM Oh, cool! Night vision! As Tim watches, the door of the rear Explorer opens, and a hand reaches out, holding an empty canteen out to catch some rain water. IN THE REAR CAR Grant pulls the canteen back in, closes the door, and takes a drink. He and Malcolm wait. IN THE FRONT CAR Tim continues to stare out of the back window with the goggles. He swings his legs - but suddenly stops. He feels something. He pulls off the goggles and turns back. He moves into the back seat with Lex who is tapping her hat, and reaches forward to still her hand. BOOM. BOOM. BOOM. TIM Did you feel that? -LRB- or. -RRB- Can you feel that? She do n't answer. Tim leans over to the front passenger seat and looks at the two plastic cups of water that sit in the recessed holes on the dashboard. As he watches, the water in the glasses vibrates, making concentric circles - - then it stops - - and then it vibrates again. Rhythmically. Like from footsteps. BOOM. BOOM. BOOM. GENNARO -LRB- not entirely convinced. -RRB- What is that? M - Maybe it's the power trying to come back on. Tim jumps into the back seat and puts the goggles on again. LEX What is that? GENNARO What is what? Tim turns and looks out the side window. He can see the area where the goat is tethered. Or was tethered. The chain is still there, but the goat is gone. BANG! They all jump, and Lex SCREAMS as something hits the Plexiglas sunroof of the Explorer, hard. They look up. It's a bloody, disembodied goat leg. GENNARO Oh, Jesus. Jesus. Tim whips around to look out the side window again. His mouth pops open, but no sound comes out. Through the goggles, he sees an animal claw, a huge one, gripping the cables of the `` electrified'' fence. Tim whips the goggles off and presses forward, against the window. He looks up, up, than cranes his head back further, to look out the sunroof. Past the goat's leg, he can see - - Tyrannosaurus rex. It stands maybe twenty - five feet high, forty feet long from nose to tail, with an enormous, boxlike head that must be five feet long by itself. The remains of the goat hang out of the rex's mouth. It tilts its head back and swallows the animal in one big gulp. Gennaro ca n't even speak. His hand claws for the door handle, he shoulders it open, and takes off, out of the car. LEX -LRB- freaking out. -RRB- He left us! He left us alone! Dr. Grant! Dr. Grant! He left us! He left us! ON THE ROAD, Gennaro runs away, as fast as he can, right past the second car, towards a cement block outhouse twenty or thirty yards away. He reaches it, ducks inside, and pulls the door after him - - but there's no latch, just a round hole in the unfinished door. Gennaro backs into a stall, frantic. The whole bathroom begins to shake. IN THE REAR CAR, Grant and Malcolm turn in the direction Gennaro went. GRANT Where does he think he's going? MALCOLM When you got ta go, you got ta go. Malcolm looks the other way, out the passenger window. As he watches, the fence begins to buckle, its post collapsing into themselves, the wires SNAPPING free. MALCOLM What was that all about? - Grant now turns and watches as, ahead of them, the `` DANGER!'' sign SMACKS down on the hood of the first Explorer. The entire fence is coming down, the posts collapsing, the cables SNAPPING as - - the T - rex chews its way through the barrier. They watch in horror as the T - rex steps over the ruined barrier and into the middle of the park road. It just stands there for a moment, swinging its head from one vehicle to the other. IN THE FRONT CAR, The rex strides around to the side of the car and peers down, from high above. Tim leaps into the front seat and pulls the driver's door shut. Both kids are terrified, breathing hard, unable to speak. TIM Please! Please! IN THE REAR CAR, MALCOLM Boy, do I hate being right all the time. GRANT Look at that! The T - rex turns and strides quickly back towards them. It circles, slowly, bending over to look in at them through the window. Grant and Malcolm sit trembling in the front seat, watching as the giant legs stride past their windows. GRANT -LRB- a quivery whisper. -RRB- Keep absolutely still - it's vision's based on movement! MALCOLM You're sure?! GRANT -LRB- pause. -RRB- Relatively. Malcolm freezes as the rex bends down and peers right in through his window. The dinosaur's giant, yellowing eye is only slightly smaller than the entire pane of glass The T - rex pulls away slightly, then reaches down and BUMPS the car with its snout, rocking it. IN THE FRONT CAR, Lex is rummaging around in the back cargo area, looking for something, anything. She finds a flashlight. ON THE ROAD, The front car lights up from within as Lex switches on the flashlight. The dinosaur raises its head. It turns slowly from the second car to the first car, drawn by the light. Making a decision, it strides over to the first vehicle. FAST. IN THE FRONT CAR, Tim and Lex can only stare out of the windows as the T - rex reaches their car and starts to circle it. The rex bends down and looks in through the front windshield, then the side window. Tim is eye to eye with the thing for a second, then the dinosaur raises its head up, above the car. LEX I'm sorry - I'm sorry - TIM Turn it off, Lex! Turn it off! Tim climbs over the seat and joins Lex. TIM -LRB- cont'd. -RRB- Where is the button then? LEX I do n't know, I do n't know. I'm sorry - TIM Why did you do this? LEX I do n't know! I'm sorry! The Kids look up, through the sunroof, as the head goes higher, and higher, and higher, and then the rex turns, looks straight down at them through the sunroof, opens its mouth wide and - - ROARS. The windows RATTLE, Lex SCREAMS, the flashlight goes on again, and the tyrannosaur strikes. SMASH! The thing's head its the plastic sunroof, knocking the whole frame right out of the roof of the car and down into the vehicle. The bubble falls down onto Tim and Lex, trapping them, and the animal lunges down, through the hole, SNAPPING at them. The Plexiglas holds, though and protects Tim and Lex even as it pins them to the seats. The T - rex continues to push down, and the glass GROANS, crack lines racing across it. Tim, whose feet were caught above him, pushes back, only an inch of glass between him and the dinosaur's teeth. IN THE REAR CAR, Grant and Malcolm watch in horror as the dinosaur claws at the side of the vehicle with one of its powerful thigh legs. It pushes, starting to tip the car over. MALCOLM Oh my God! GRANT We got ta do something. MALCOLM What? What can we do? GRANT There's got ta be something - Grant looks around, climbs over the seat. He tears apart the back area, searching - and finally finds a metal case. He opens it, finding flares. He grabs one and moves quickly back to the driver's seat and opens the door. Malcolm grabs a flare, too. IN THE FRONT CAR, the glass windows SHATTER, the Kids are thrown to the side, and the Explorer tilts. The rex bends down and nudges the car with its head, rolling it up on its side. Tim and Lex tumble around. ON THE ROAD the T - rex starts to nudge the Explorer toward the barrier. Over the barrier, there is a gentle terraced area at one side where the rex emerged from, but the car is n't next to that, it's next to a sharp precipice, representing a fifty or sixty foot drop. The car, upside down now, is pushed near the edge. The rex towers over the car. Like a dog, its puts one foot on the chassis and tears a the undercarriage with its jaws. Biting at anything it can get a hold of, it rips the rear axle free, tosses it aside, and bites into a tire. The tire EXPLODES, startling the animal. INSIDE THE CAR, Tim and Lex are trapped inside the rapidly flattening car. As the frame continues to buckle, they crawl toward the open rear window, the car collapsing behind them. Mud and rain water pout into what little space there is left. Tim is ahead, nearing the back window, when there is a CRUNCH and a seat comes down, pinning him. ON THE ROAD, the dinosaur backs up, dragging the Explorer, swinging it left and right. It seems ready to fling it over the edge. Grant gets out of his car. He's holding the flare in one hand, which he pulls the top off of. Bright flames shoot out the end of it. GRANT Hey! Hey! Over here! The T - rex turns and looks at him Grant waves the flare slowly in front of him from side to side. The T - rex follows his moving arm, eyes locked on the flare. Grant looks over to the wall, and tosses the flare over the edge of the barrier. The rex lunges after it - Unclear with Grant's plan, Malcolm leaps out of the car and tries to scare up the T - rex's attention with his own newly lit flare. He begins to wave it at the animal. Grant sees him - GRANT Ian! Freeze! Freeze! Get rid of the flare! MALCCOLM Get the kids! Malcolm inches back slowly, then takes off, running for his life down the road. He runs to the cement block outhouse Gennaro went into earlier. The T - rex sees the movement. It whirls and takes off after Malcolm, fast. Malcolm runs as fast as he can, approaching the outside just steps ahead of the T - rex But not far enough ahead. Without even slowing down, the rex leans forward and flicks Malcolm into the air with its snout. It's just a nudge a for the rex, but it sends Malcolm sailing right through a wooden portion of the wall, and into the building. IN THE RESTROOM Gennaro, who cowers in a corner, SCREAMS as teh head of the T - rex EXPLODES through the front of the building, sending chunks of cement flying in all directions inside. The roof collapses ; Gennaro tries to protect himself from the falling junk. ON THE ROAD Grant gets on his feet and watches as the T - rex noses around in the rubble. It seems to find something. It lunges, and Grant can hear Gennaro SCREAMING, the sound piercing - - until it abruptly stops. Grant scrambles over to the car. GRANT Tim! Lex! LEX Dr. Grant! Dr. Grant! He lays on the ground, looking inside, and sees Lex staring up at him, conscious, her face covered in mud. GRANT Are you okay? Can you move? -LRB- calling into the car. -RRB- Tim! Are you okay? - - - - - - - - VERSION 1 - - - - - - - - GRANT Tim, are you okay? TIM I'm stuck. The seat's got my feet! GRANT Tim, I'll come back for you. I'll get Lex out first. - - - - - - - - VERSION 2 - - - - - - - - LEX He's knocked out! He's knocked out! Dr. Grant! Dr. Grant! Daddy, daddy! GRANT Let's get you out. - - - - - - - - - - - - - - - Grant reaches in and drags her out. GRANT Are you okay? Good girl. Grant tries to find Tim GRANT -LRB- cont'd. -RRB- Tim? Tim? Lex, staring over his shoulder, SCREAMS. Grant whirls, covering her mouth at the same time. GRANT -LRB- cont'd. -RRB- Shhh! Do n't move! It ca n't see us if we do n't move. Lex looks at him like he's crazy, but freezes. They wait. BOOM! A big T - rex foot print smacks down in front of them as the dinosaurs approaches the car again. It leans down, right past them, and SNIFFS the car, ragged bits of flesh and clothing hanging from its teeth. Not finding anything, the dinosaur swings its head away, SNORTING loudly through its nose. Grant's hat flies off his head. Still, he does n't move. The rex walks to the back of the car. It bends down. WHAP! The car spins as it is pushed from behind by the rex. Grant and Lex are pushed in front of it, helpless. They scramble around on their knees, trying to keep ahead of the car, which the rex is now pushing even closer to the edge of the barrier. Grant and Lex crawl quickly, but the car is moving faster, catching up on them. INSIDE THE CAR Tim awakens and SCREAMS. He tries to untangle himself. ON THE ROAD, the T - rex looms over Lex and Grant, who are trapped between the car and the sixty foot drop. INSIDE THE CAR, the rex bends down and sees Tim. Tim backs away, furiously, but there's almost no room to move in there. The rex opens its mouth wide and stretches its tongue into the car. Tim screams and kicks as the tongue tries to wrap around him. But it fails, and withdraws from the car. ON THE ROAD, the T - rex still tries to get to Grant and Lex, pushing the car, spinning on its roof. Grant and Lex scramble, trying to avoid being caught by the T - rex and crushed by the car. GRANT This way! The back of the car almost crushes them against the barrier - GRANT -LRB- cont'd. -RRB- Get back! They move, as the rex continues to move the car towards the edge. Grant finally gets on the wall, Lex follows. The T - rex ROARS in frustration. It bends down for one final lunge at the car. Grant sees it coming. He grabs one of the dangling fence cables on the other side of the barrier. GRANT Grab a hold of me! She wraps her arm around his neck. He scrambles to the edge of the barrier, and starts to climb down. LEX -LRB- screaming. -RRB- Timmy! Timmy! The cable is slick with rain, and it's all Grant can do to hang on as he and Lex slide rapidly down. Above them, the vehicle is now teetering over the edge, threatening to drop right on top of them if they did n't hurry. Grant GASPS, as Lex has unwittingly started to choke him as she holds on for dear life. GRANT You're choking me! The car GROANS, nearly over the edge now. Grant looks to the side. There are other cables, out of the line of the car's impending drop. His feet scrambling along the concrete wall, Grant tries to swing over towards one. GRANT Grab a wire! But he falls short. His momentum carries them back the other way, but on the second swing Lex manages to grab hold of the second cable. LEX I got it! The car falls. Lex and Grant are clear by inches, clinging to the second cable. LEX Timmy! The car CRUNCHES into the leafy top of a tree, resting on its roof some fifteen feet below them. The T - rex stares down at them, but they are safely out of its reach. It ROARS once more, in a final fit of frustration, turns -\",\n \"INT. CONTROL ROOM NIGHT JOHN HAMMOND is lived HAMMOND I will kill Nedry. I will kill him. Muldoon bursts through the door. HAMMOND -LRB- to Muldoon. -RRB- Well? MULDOON There's no sign of him anywhere. The game show music is louder and faster now, very annoying. HAMMOND Ray will you please switch off. -LRB- or. -RRB- stop that music?! RAY ARNOLD's cigarette is practically burning his lips, down to almost nothing in his mouth. He hovers over NEDRY's computer terminal, which is a mass of incomprehensible commands that scroll by quickly as he futilely examines each one of them. MULDOON paces. ELLIE stares at Arnold in amazement. ELLIE Are we getting anywhere with these procedures of yours? I mean, what's hanging us up? ARNOLD I ran a key check on every stroke Nedry entered today. It's all pretty standard stuff, until this one - ELLIE -LRB- stands, joins the group at the computer. -RRB- What one? He points to his computer screen, to a specific series of commands. The others crowed over his shoulder and stare at the screen. ARNOLD -LRB- cont'd. -RRB- `` Keycheck / space - o keycheck off safety - o.'' He's turning the safety systems off. He does n't want anybody to see what he's about to do. Now look at this next entry, it's the kicker. `` Wht.rbt.obj.'' Whatever it did, it did it all. But with Keycheck off, the computer did n't file the keystrokes. Only way to find them now is to search the computer's lines of code one by one. ELLIE How many lines of code are there? ARNOLD Uh - about two million. ELLIE Two million - great. That would help. -LRB- or. -RRB- Oh good, that'll take no time. HAMMOND Robert - I wonder if perhaps you would be kind. -LRB- or. -RRB- good enough to take a gas jeep and bring back my grandchildren. MULDOON Sure. ELLIE I'm going with him. They head for the door. Hammond turns, staring out the windows at the front of the control room. He's gone pale, and he's sweating, wrapped up in million thoughts. Behind him, Ray Arnold's voice calls to him, but he does n't hear it. ARNOLD John - John - Hammond leans on his cane, and for the first time he looks like he's actually using it. ARNOLD -LRB- cont'd. -RRB- John. Hammond turns, finally hearing him. ARNOLD -LRB- cont'd. -RRB- I ca n't get Jurassic Park back on line without Dennis Nedry.\",\n \"EXT. PARK ROAD NIGHT As the rain continues to pour down, a gas - powered jeep ROARS down another park road.\",\n \"INT. JEEP NIGHT DENNIS NEDRY drives the jeep as fast as he can in the treacherous conditions. He MUTTERS to himself, shaking his head. NEDRY Shoulda been there by now - shoulda been there - He hauls it around a corner and looks down, checking his watch. When he looks back up, his eyes go wide. There's a white wood guard rail fence, right in front of him. He stands on the brakes as hard as he can. The jeep fishtails, skidding out of control in the mud towards the fence. Nedry hauls the wheel hard to the side to try to control the skid, but the jeep skids off the road, going halfway over the muddied embankment. NEDRY -LRB- cont'd. -RRB- God damn it! He drops the car in reverse and hits the gas. The wheels spin, sending mud flying everywhere, but the jeep goes nowhere, just digs in further. Nedry ca n't believe it. Frustrated, he gets out of the jeep. He stops suddenly - he can see another park road, down the sloping embankment, about twenty feet below. There is a large sign alongside the road. Nedry leans forward excitedly to get a better look. It reads `` TO EAST DOCK.'' He scrambles to the front of the jeep. ON THE HILLSIDE Nedry CRANKS a winch its coil on the front end of the jeep. NEDRY -LRB- mumbling to himself. -RRB- No problem. Winch this sucker off the thing - tie it do a thing - pull it down the thing - and pull it back up. He loses his balance and slips - falling back on his rear. He slides down the muddy embankment, across the road below. Pissed, he gets to his knees and searches for his glasses. NEDRY -LRB- cont'd. -RRB- Where are my glasses? I can afford new ones. He stands and grabs the winch, and goes to a sturdy - looking tree on the other side. NEDRY -LRB- cont'd. -RRB- You can make it! From the distance, there is a soft HOOTING sound. There's some movement in the bushes - Nedry looks around for the source of the sound and movement. He does n't find it. He nervously checks his watch and goes back to the winch, but faster. NEDRY -LRB- cont'd. -RRB- No problem - pop this thing right down - The HOOTING comes again and Nedry turns - again, nothing. A figure ducks around the tree and pops out on the other side, HOOTING playfully. Nedry looks around one side of the tree - nothing. It pops up on the other side, HOOTING again. And Nedry looks again. Nothing. It seems like a friendly game of hide - and - seek. But Nedry begins to get rattled. NEDRY That's nice. Got ta go. I'm getting out of here. C'mon you can make it! He secures the winch and starts across the road, back up the embankment. He freezes, as he feels something behind him. He turns around slowly and sees : A dilophosaur. It stands only about four feet high, its spotted like an owl, and has a brilliant colored crest that flanks its head. It does n't look very dangerous. In fact, it's kind of cute. NEDRY -LRB- cont'd. -RRB- Oh. Uh - nice boy. Nice boy. Okay. Run along. I do n't have anything for you! Go on! Go home! Dinner time! Are you hungry? They'll feed you! Go, boy. Girl. Whatever. The dilophosaur just stares at Nedry, tilting its head curiously. Nedry looks around on the ground and finds a stick. He picks it up and chucks it at the thing. He throws it as far as he can. NEDRY -LRB- cont'd. -RRB- Nice juicy stick! Fetch! The dilophosaur gets into the spirit of the game, but not the object. NEDRY -LRB- cont'd. -RRB- Lame brain! What's the matter with you? -LRB- or. -RRB- What's the matter with you? He shakes his head and starts back towards the jeep, muttering to himself. NEDRY -LRB- cont'd. -RRB- Walnut brain. extinct kangaroo. hope I run over you on the way down - - - - - - - - -? - OR -? - - - - - - - - NEDRY -LRB- cont'd. -RRB- Walnut brain. extinct kangaroo. hope I run over you on the way down - He's near the top when the dilophosaur suddenly hops out right in front him, startling him. Nedry loses his balance and falls back, right on his rear. He gets to his feet, angry. NEDRY -LRB- cont'd. -RRB- I said - He picks up a stick and chucks it at the thing. NEDRY -LRB- cont'd. -RRB- - beat it! - - - - - - - - - - - - - - - NEDRY -LRB- cont'd. -RRB- What are you do - The animals HISSES. The brightly colored fan around its neck flares wildly, two bulbous sacs on either side of its neck inflate. It rears its head back again - - and it SPITS. SPLAT! A big glob of something wet SMACKS into the middle of Nedry's chest. He reaches down and touches the goo that's dribbling down his slicker. NEDRY -LRB- cont'd. -RRB- That's disgusting! SPLAT! Another glob of goo SMACKS into the highlight, right next to Nedry's head. He stands up. A look of confusion crosses his face. He lifts his right hand, the one that he touched the spit with, and looks at it strangely, flexing it. POW! This time the lugie hits Nedry right smack in the face. He SCREAMS and rubs it away, frantically. Because it hurts. Like hell. Nedry falls back, clawing at this eyes, in excruciating pain. He pulls his hands away, starting to hyperventilate. He flails his arms in front of him, blinking a mile a minute, but blinded. He staggers forward, to try to get into the jeep. He gets the door open, but SMACKS his head on the door frame and collapses. The can of shaving cream flies out of Nedry's jacket pocket - and tumbles into runoff water, down the muddy hillside. Nedry gets to his feet again and staggers in the general direction of the jeep. He reaches the open door and feels his way in. He SLAMS the door. There is another HOOT. From inside the jeep. Nedry turns and SCREAMS. The dilophosaur is right there, in the passengers seat. It HISSES louder than before, its crest fans angrily, vibrating, reaching a crescendo - - and the thing pounces, SLAMMING Nedry back against the driver's window, SHATTERING it. As Nedry shrieks - Rain and mud wash over the shaving cream can, burying it.\",\n \"EXT. PARK GROUNDS NIGHT The rain has all stopped now. GRANT and LEX are at the bottom of the large barrier leading up to the park road. Like it or not, they're in the park now, and are surrounded by think jungle foliage on all sides. They're both beaten up, and Grant's face is covered in blood. He's bent over a big puddle, splashing water on his face, rinsing the blood off and trying to bring himself to. Poor Lex is scared as hell. She stands behind Grant, ramrod straight, her breath coming short, desperate GASPS. Her eyes are wide, and she does n't look like she can move. As Grant gets rid of the blood, his injury does n't look so bad, just a gash on his forehead. He turns and looks up to the tree the Explorer fell in. It's stuck there, nose down in the thickest top branches. Lex's GASPS are getting louder. She's terrified. GRANT Hey, come on, do n't - do n't - do n't - just - just - stop, stop. He touches her, but it's awfully awkward, more of a pat on the head than anything strong or reassured. But she responds to the contact, hurling herself forward and throwing her arms tightly around his waist. She clamps here, holding on for dear life, SOBBING. GRANT -LRB- cont'd. -RRB- Lex, you got ta be quiet, please. Stop it. Shhhhh. This seems to quiet her. GRANT -LRB- cont'd. -RRB- Because if we make too much noise, he's going to hear us and come back. Lex bursts out crying again, a WAILING scream, nearly hysterical now. Grant holds her, no idea what to do. He turns and looks around. GRANT -LRB- cont'd. -RRB- -LRB- a whispered shout. -RRB- Timmy?! Timmy! He hears a CRACKING sound. He looks up to the tree again. The Explorer has fallen a few feet lower into the branches. Grant looks down at Lex, who is sitting on a rock. LEX Dad - Dad - GRANT Shhh - I'm right here, Lex. I'm going to look after you. I'm going to help your brother. I want you to stay here and wait for me, okay? LEX He left us! He left us! GRANT That's not what I'm going to do. Good! Grant walks to the tree. Lex scampers into the culvert.\",\n \"EXT. TREE - NIGHT GRANT takes a deep breath. grabs hold of the first branch, and starts his long climb. Fortunately, it's a good climbing tree, its branches thick and regularly spaced. Grant moves at a good pace. He reaches the car's level, on the driver's side five or six feet to one side of it. The car's in rough shape. It's much thinner that it use to be, its nose completely smashed in, the front wheels driven solidly into a thick branch. They are what hold it in place. GRANT Tim? Tim? Grant comes up to the car and looks in. TIM is huddled on the floor on the passenger side, frightened, hugging his knees to his chest. He looks up at Grant with a tear and blood - streaked faced. His voice is barely audible. TIM I threw up. GRANT That's okay. Listen, give me your hand. Tim does n't move. GRANT -LRB- cont'd. -RRB- I wo n't tell anybody you threw up. Just give me your hand, okay? He reaches out. Tim reaches too, but they're still about a foot apart. Grant grabs hold of the steering wheel, to pull himself further in. The wheel turns. On the branch, the front wheel turns, losing a bit of their grip on the thick branch they're resting on. Tim and Grant grab hands. Grant holds on to him, getting an arm securely around his waist. They climb down. They stop on a branch. GRANT Okay, that's not so bad, ah Tim? TIM Yes it is. GRANT It's just like coming out of a tree house. Did your dad ever build you a tree house, Tim, eh? TIM No. GRANT Me too. -LRB- he starts to move down. -RRB- Okay. Well, the main thing about climbing is never, never look down, never. TIM This is impossible. How am I going. I ca n't make it. This is. it's about fifty feet. GRANT So am I going to help you with your foot? TIM What if the car falls? -LRB- or. -RRB- What if the wheels fall? The car GROWNS forward on the branch, which sags in their direction. They look up. The car begins to shift dramatically towards them. GRANT Oh, no! GO, Tim, go! Go! They climb down, as fast as they can, as the big branch that is supporting the car CREAKS, ready to give way any second. GRANT -LRB- cont'd. -RRB- Faster! Faster! The branch breaks. Disintegrates, really, and the car falls straight at them. Grant and Tim let go of the branch they're on and fall, THUDDING into another branch a few feet down. The car SMACKS into the bug branch they just vacated, and stops there. Grant and Tim are half climbing, half falling down the tree now, slipping on the resin - covered branches, just trying like hell to get out of the way. CREEEE - POW! The second branch breaks, and now the car SMASHES and CRASHES through a network of thinner branches, headed right for them. It hits open space and goes into free fall. Grant turns, and puts up his arms in defense - - and the car stops, SLAMMING into a thick branch just above him. Grant looks up, eyeball to eyeball with the front grill. The new branch starts to CREAK. Grant and Tim basically fall down the rest of the tree, the car BASHING its way through right behind them. They jump the last six or seven feet and hit the ground, hard. Grant grabs Tim and rolls with him, to the side, just as the car SMASHES into the earth, nose first, standing upright that way. They look up in relief, but the damn thing's still heading for them, now tipping over, falling straight at them, and there's no way they have time to get out of the way this time, so Grant just balls himself up on top of Tim to try to protect him and - - CRASH! The jeep falls on top of them. Grant, amazingly unhurt, looks up confused. They're inside the jeep again, saved by the hole sunroof.\",\n \"EXT. CULVERT - NIGHT LEX is still in the culvert, terrified, slowly BANGING her head against the wall. GRANT is at the mouth of the culvert, carefully studying the rinky - dink map of the park he picked up during the slide show. GRANT Okay - okay - He's trying to get his bearings from the crude, cartoon - like drawing on the map, but it's tough. He looks up, picking a direction, and shoves the map in his pocket decisively. He looks back in at Lex. GRANT -LRB- cont'd. -RRB- Lex, you're going to have to get out of there. -LRB- he walks towards her. -RRB- Hiding is n't a rational solution ; we have to improve our situation. She does n't move. Grant looks at Tim. GRANT -LRB- cont'd. -RRB- Tim's out here. -LRB- Grant picks Tim up. -RRB- He's okay. Still nothing. Grant tries a new tact. GRANT -LRB- walking away. -RRB- ` Course you could just wait in there while we go back and get help. TIM -LRB- following Grant. -RRB- That's a good idea. GRANT You'll probably be safe enough. -LRB- alone. -RRB- on your own - TIM I doubt it. GRANT Maybe - it's hard to say. LEX Liar! You said you would n't leave! GRANT I'm trying to use psychology to get you out of the drain, you know! She just stares at him like he's nuts. Tim shakes his head at Grant, as if to say `` nice try.'' Grant calms his tone. - - - VERSION 1 - - - GRANT -LRB- cont'd. -RRB- We ca n't go back the way we came. What we have is a free - range T - rex on the road. There's. -LRB- there are. -RRB- fences on either side. If we meet him between here and the lodge, we'd have problems. But what this means, what this means, is that this whole paddock is empty. It's safe. LEX It's safe? GRANT It's safe. LEX It's safe. GRANT Go. -LRB- and. -RRB- that's the way we're going to go. What do you say? LEX Alright. - - - END - - - - - VERSION 2 - - - GRANT -LRB- cont'd. -RRB- Alright. We're just going to walk back home. Together. We walks over to Lex at the culvert and sits across from her. GRANT -LRB- cont'd. -RRB- But we ca n't walk back on the road. There are fences on either side. And if we meet the Rex between here and the lodge we'd - have problems. Lex covers her ears. Grant tries to calm her. GRANT He's probably staked out the road as a feeding ground, which means this whole paddock is empty. It's safe. It's safe, and that's the way we're going to go. What do you say? - - - END - - - He's spoken calmly and confidently, so Lex crawls out of the culvert and stands next to him. GRANT Good girl. He kisses her hand and helps her crawl out of the culvert. Tim and Lex nod, and he starts off in the direction he indicated. They trail behind him. GRANT -LRB- cont'd. -RRB- Might be kind of slow, but it ca n't be more than three or four miles. I'd hoped the rex finished feeding by now, but let's not kid ourselves. Did you know a carnivore can eat up to 25 % of its body weight in. -LRB- about. -RRB- one sitting, so he's probably just ready to move on to the main course by now - He stops in the middle of the sentence, noticing he's alone. He turns around. Now both kids have scampered all the way back into the culvert, terrified.\",\n \"EXT. PARK ROAD NIGHT MULDOON and ELLIE race down the park road in an open - topped jeep like the one Nedry took earlier. Neither of them speak, they just stare ahead grimly, wondering what they're about to find. MULDOON There they are! They round a corner and come to the top of the hill, where the attack took place. The jeep skids to a stop and they jump out. The road is rutted, muddy mess. The cement block house is a pile of rubble. One of the Explorers is gone, the other stands untouched, both doors hanging open. ELLIE Oh, God. Where's the other car? She runs to the Explorer. Muldoon follows, looking around. AT THE EXPLORER, Ellie leans in and looks around. Nobody's there. She and Muldoon walk towards the wreckage of the outhouse, calling out : ELLIE -LRB- cont'd. -RRB- I think it's ahead of us. MULDOON It could be anywhere. With the fences out, it can go in and out of any paddock it likes. They hear a MOANING sound from somewhere in the wreckage of the restroom building. They rush over to it. IAN MALCOLM lies on his back, semiconscious among the twisted wood and cement. MULDOON It's Malcolm! He shines his light along the length of Malcolm's body. His shirt is soaked with blood, but his right leg is even worse off. The right ankle it bent outward at a strange angle from his leg, the trousers flattened, soaked with blood. Malcolm's belt has been twisted around his thigh. ELLIE He's put a tourniquet on. Ian! Ian! Malcolm GROANS as she touches him, groggy. MALCOLM Remind me to talk John for a lovely weekend. The T - rex ROARS again. But closer now. Ellie and Muldoon look at each other. ELLIE Can we chance moving him? MALCOLM Please - chance it. Muldoon lays Malcolm as carefully as possible in the back of the jeep. MALCOLM Where are the kids? Ellie looks around. ELLIE Lex! Tim! She turns and looks back at the empty road. She's on the verge of tears, but is fighting them back. MULDOON Dr. Sattler, I've seen a lot of animal attacks. People just disappear. No blood, no trace. That's the way it happens. ELLIE No, no, no! She walks to the edge of the road, her eyes following the deep ruts the Explorer made when it went over the edge. Muldoon gets ready to leave. MULDOON Ellie, com one! ELLIE The other car!\",\n \"EXT. CLEARING NIGHT ELLIE's and MULDOON's flashlight beams spray light by the base of the tree. MULDOON Dr. Grant! ELLIE Alan! They find the wrecked Explorer. Muldoon peers inside, looking for anything. ELLIE Do you see anything? MULDOON I do n't know. The T - rex ROARS again, closer still Ellie nervously goes to the other side of the car and looks in. ELLIE Alan?! MULDOON They're not here. Ellie desperately searches the ground for any signs of Grant. She finds their footprints. ELLIE -LRB- O.S. -RRB- Thank God.\",\n \"EXT. PARK ROAD NIGHT MALCOLM, laid out in the back of the jeep, feels something strange. He looks down, at the one of the T - rex footprints in the road. It's filled with water. The water in the puddle vibrates rhythmically. Malcolm's eyes widen. He looks around, frantically. MALCOLM Uh - anybody? Anybody hear that?\",\n \"EXT. CLEARING NIGHT ELLIE is still looking around, to MULDOON's chagrin. Her flashlight falls on three sets of footprints in the mud. ELLIE Look! Wit her flashlight, she follows the trail the footprints made. They lead into the jungle and disappear.\",\n \"EXT. PARK ROAD NIGHT MALCOLM's staring, wide - eyed, at the rings in the water, which are getting bigger now. MALCOLM It's a - an impact tremor is what it is, it, uh - BOOM. BOOM. MALCOLM -LRB- cont'd. -RRB- I'm fairly alarmed here! ELLIE and MALCOLM come up over the embankment, excited. MALCOLM Got ta move, got ta get out of here. Let's go - we got ta go, we got ta get out of here, right now! Go, go! Let's hurry, let's get out of here! They stop talking. The BOOMING is louder now, and faster. Much faster. They look back, over their shoulders. ELLIE Oh. Ellie and Muldoon get into the jeep, Muldoon in the driver's seat. MALCOLM Move now! Let's go, let's go, right now, right now! The tyrannosaur SMASHES out of the jungle foliage, bursts onto the road, and runs straight at them, moving at least thirty miles an hour. MALCOLM GOGOGOGOGOGOGOGOGOGO! Muldoon fumbles for the keys, turns the jeep over, and SLAMS it into gear. He drops the clutch, hits the gas, and tears ass out of there. But the jeep is slow to work through the first few gears. Terrified, Ellie dares to look down, to the side view mirror, which tells her `` Objects Are Closer Than They Appear.'' And they sure are. The T - rex is still gaining on the slowly accelerating jeep. All three of them stare back at the rex in terror - ELLIE Faster, faster! MALCOLM Must go faster, it's getting closer - must go faster! ELLIE Faster! Shit, shit, shit, faster! MALCOLM Must go faster, go, go. Open it up, 5th gear, 5th gear! Here it comes! Stand on it! Fifth - stand on it, 5th gear, go! - which means they do n't see the half - fallen tree branch right in front of them, blocking the path of the road. Muldoon looks back first, SHOUTS - MULDOON DOWN! - they all duck. The windshield hits the branch and SHATTERS as the jeep flies ahead, really picking up speed now. The T - rex just runs right through the branch, SMASHING it entirely. They're bounced around pretty badly. Malcolm is knocked into the front, and in so doing knocks the gear shift into neutral. The engine RACES, the T - rex closes in again - Losing ground now, the dinosaur makes a final lunge for the jeep and CRUNCHES into the left rear quarter panel - ELLIE Faster, faster! - but Muldoon SLAMS it back into gear and guns it. The T - rex gives up, fading into the distance. They drive in silence for a few moments, all scared out of their wits. MALCOLM Think they'll have that on the tour?\",\n \"EXT.PARK GROUND NIGHT GRANT, LEX, and TIM make their way through Jurassic Park. Far in the distance, there's another ROAR. Grant hears it, but tries not to show it. LEX Hear that? -LRB- or. -RRB- Are you hearing this? GRANT No, I did n't hear anything. -LRB- or. -RRB- No, we're okay. They keep walking, but now Grant is looking around for a safe place to hide. He looks up, to the towering trees around them. GRANT -LRB- cont'd. -RRB- You. -LRB- guys. -RRB- both look pretty tired. I think. -LRB- or. -RRB- why do n't we find. -LRB- or. -RRB- we ought to find someplace to rest. He hears another ROAR GRANT -LRB- cont'd. -RRB- Like about now. C'mon! Hurry up! Like this tree. LEX Why are we hurrying if there's nothing wrong? TIM What if we fall? I hate trees.\",\n \"EXT. TREE NIGHT LEX, TIM, and GRANT climb. Grant is behind, watching the other two, giving them a push up when they need it. TIM I hate trees! LEX They do n't bother me. TIM Yeah, you were n't in that last one. Now, near the top of the tree, the three of them sit there, dangling their legs, looking out over the park. It's an incredible view. They can see in all directions. And with the full moon, there's a lot of detail. Most striking of all are dozens of sauropod heads, at the end of long necks, that tower over the park. TIM -LRB- cont'd. -RRB- Hey! Those are brontosauruses - I mean, those are brachiosauruses. GRANT It's okay to call them brontosaurs, Tim. It's a great name. It's a romantic name. It means `` thunder lizard''. TIM -LRB- digging that. -RRB- `` Thunder lizard!'' Grant finds a solid web of branch and settles himself in it, leaning back against the trunk of the tree, with a little room on either side of him. Lex nestles up next to him on the branch. Grant is surprised, but accepts it. Tim climbs off to the side, to a nook in the branch of his own. Silent of a moment, the three can hear the HOOTS of the animals as they call. Some are almost musical. GRANT Listen to that! They're singing! -LRB- he moves over to a higher branch. -RRB- Of course no one's ever heard one from a dinosaur before, but - I could swear that sounds suspiciously to me like a mating call. -LRB- to me. -RRB-. In an all - female environment -. -LRB- or. -RRB- On an all - girl island? He smiles, enchanted. He HOOTS himself, trying to imitate one of the calls. Immediately, five or six of the heads turn in their direction and HOOT back. LEX No, no, sh, sh, sh - stop! Stop! Stop! Do n't let the monsters come over here! LEX They're not monsters, Lex. They're just animals. And these are herbivores. TIM That means they only eat vegetables. But for you, I think they'd make an exception. GRANT Tim, Tim, Tim. LEX Oh, I hate the other kind. GRANT They're just doing what they do. -LRB- or. -RRB- Well the other kind -. -LRB- he gets off the branch and goes back to sit with the kids. -RRB- - just do what they do. LEX Dorkatops! TIM Straight - A brainiac! GRANT Could you guys possibly cool that for a - Satisfied, Tim settles in for the night. Grant shifts too, getting comfortable, but something in his pocket pinches him. He winces and digs it out. It's the velociraptor claw he unearthed so long ago in Montana Yesterday, actually. He looks at it, thinking a million thoughts, staring at this thing that used to be so priceless. LEX What are you gon na do now if you do n't have to dig of dinosaur bones any more? GRANT I guess we'll just have to evolve too. TIM What do you call a blind dinosaur? GRANT I do n't know. What do you call a blind dinosaur? TIM A Do - you - think - he - saurus. What do you call a blind dinosaur's dog? GRANT You got me. TIM A Do - you - think - he - saurus Rex. Grant laughs. Both kids finally close their eyes, but after a moment, Lex pops hers open again. LEX What if the dinosaur comes back while we're all asleep? GRANT I'll stay awake. LEX -LRB- skeptical. -RRB- All night? GRANT All night. Grant lets the claw fall to the ground.\",\n \"INT. RESTAURANT NIGHT ELLIE comes into the darkened restaurant, following the source of the flickering light. A candle burns at a table in the corner. JOHN HAMMOND sits at the table, alone. There is a bucket of ice cream in the middle, and he's eating a dish of it, staring down morosely. Ellie draws up to the table and Hammond looks up at her. His eyes are puffy, his hair is messed up - for the first time we've seen him, the fire is gone from his eyes. HAMMOND They were all melting. -LRB- or. -RRB- It was all melting. Ellie just nods. ELLIE Malcolm's okay for now. I gave him a shot of morphine. HAMMOND They'll all be fine. Who better to get the children through Jurassic Park than a dinosaur expert? Ellie nods. Another pause. Hammond breaks it again. HAMMOND -LRB- cont'd. -RRB- You know the first attraction I ever built when I came down south from Scotland? Was a Flea Circus, Petticoat Lane. Really quite wonderful. We had a wee trapeze, a roundabout - a merry - go - what you call it? ELLIE Carousel. HAMMOND A carousel - and a seesaw. They all moved, motorized of course, but people would swear they could see the fleas. `` I see the fleas, mummy! Ca n't you see the fleas?'' Clown fleas, high wire fleas, fleas on parade. -LRB- he trails off. -RRB- Ellie just looks at him, not sure what his state is. He goes on. HAMMOND But with this place, I - I wanted to give. -LRB- show. -RRB- them something real, something that was n't an illusion, something they could see and. -LRB- feel. -RRB- touch. An aim devoid of. -LRB- without. -RRB- merit. ELLIE But you ca n't think through this one. You have to feel it. HAMMOND You're absolutely right. Yes, you're right. Hiring Nedry was a mistake, that's obvious. We're over - dependent on automation, I can see that now. But that's all correctable for the next time around. ELLIE John, John. John, you're still building onto that Flea Circus, that illusion. And now you're adding onto it by what you're doing here. That's the illusion. HAMMOND -LRB- When. -RRB- Once we have control again we - ELLIE Control?! You never had control! I was overwhelmed by the power of this place. So I made a mistake too. I did n't have enough respect for that power, and it's out now. You're sitting here trying to pick up the pieces. John, there's nothing worth picking up. The only thing that matters now are the people we love. Alan, Lex, and Tim. And John, they're out there where people are dying - people are dying, you know? There is a long pause. Hammond avoids her gaze. Ellie reaches out and takes a spoon out of one of the buckets of ice cream, and licks it. Finally : ELLIE -LRB- cont'd. -RRB- It's good. He looks up at her, and his face is different, as the unhappy irony of what he's about to say finally hits home. HAMMOND Spared no expense.\",\n \"EXT. PARK DAWN The sun comes up over Jurassic Park. The danger of the night before is overcome by the sheer beauty of the place - it really is like the Serengeti Plain. Over at the edge of a great open field, a huge tree marks the border between the open area and the thick of the jungle. UP IN THE TREE, GRANT, TIM, and LEX are asleep in the branches of the tree, both kids now curled up under Grant's arms. A heavy shadow falls over all three of them, blocking out the sun entirely. Grant awakens, only a little bit asleep, as - - a brachiosaur's head pushes into the tree branches, right up beside them. It hesitates there for a second, seemingly staring at them. Grant just watches as it opens its mouth very wide and CHOMPS down on a branch over their heads. The kids awaken with a start. Tim points, Lex opens her mouth to scream, but nothing comes out. Then - LEX Go away! GRANT -LRB- quietly. -RRB- It's okay! It's okay! It's a brachiosaur! TIM Veggiesaurus, Lex, Veggiesaurus! But Lex is n't taking any chances and scrambles back, away from its mouth. Tim and Grant come together on the branch, just staring at the dinosaur in wonder as it eats its breakfast. Grant gets another branch. Tim scampers up, trying to get the brachiosaur's attention. TIM -LRB- cont'd. -RRB- Come here, boy - I mean girl. -LRB- he tries whistling. -RRB- Grant moves forward and tries to feed the brachiosaur. The animal gets the end of the branch and starts a tug - of - war with Grant. Tim tries to help him - they really begin to have a good time with the brachiosaur. HONK! The brachiosaur makes a loud honking noise, startling Grant and the kids. GRANT Take a bite, take a bite. I'm not letting go. TIM It's so strong! Look at its nose. -LRB- he grabs onto the branch. -RRB- Need help? Tim reaches out, petting the dinosaur's head while it chews. TIM -LRB- cont'd. -RRB- That's a girl. Hey Lex, you can touch it. It's a girl, just like you. Come on, it's okay. Lex, come on and touch it. It likes you. It's got ta like you. Come on Lex. Lex, come over and touch - it's a girl, it has to like you. Lex, why do n't you touch it. It has to like you. It's a girl. GRANT Come on, try some. Take a bite. TIM It's good protein. Come on, Lex. Why do n't you touch it? Look at his nose. GRANT This is a seventy - seven ton animal. Come on over, Lex! Just think of it as a big cow. Look at it's teeth? -LRB- he moves in closer. -RRB- Come here, girl. This is a seventy - seven ton animal. Just think of it as a big cow! Grant maneuvers in closer. He reaches out and grabs hold of the thing's lip with both hands and pulls it down, revealing the jaw at work. LEX I like cows. GRANT You're a beautiful big animal. TIM His nose is running. It looks like it has a cold. The dinosaur keeps chewing, not objecting to the inspection. TIM Did you smell that? Lex tentatively edges forward in the tree to the inspection. LEX Come on girl, up here. She barely touches the thing on the tip of its nose - - and it SNEEZES. It's a vast explosion, and Lex falls back, dripping wet from head to toe. TIM God bless you! ON THE GROUND, Lex, her shirt is soaked, and face all wet, walks away from the tree. Tim and Grant follow. TIM Oh, great. Now she'll never try anything new! Lex is embarrassed and ticked off. TIM -LRB- cont'd. -RRB- She'll just sit in her room and never come out and play with her computer - LEX -LRB- as she wipes off some of the wet and throws it at Tim. -RRB- I'm a hacker! TIM That's what I said! You're a nerd! They do n't call you people hackers anymore - they call you people nerds! Tim and Lex continue talking, oblivious to Grant, who has stopped by a tree root trunk. TIM Hey Lex, ahhhchooo! -LRB- or. -RRB- Hey Lex, com here. LEX What? TIM Hey Lex, you forgot to say gazundheit. Grant is still crouching on the ground below the tree where he landed, staring at something in the palm of his hand. They both come and look over his shoulder, curious. They stare in amazement - - at a whole clutch of dinosaur eggs! All hatched, now empty. Grant picks up one of the fragments, a large one - nearly half an egg. GRANT You know what this is? It's a dinosaur egg. The dinosaurs are breeding. TIM -LRB- taking the shell from him. -RRB- But - my grandpa said all the dinosaurs were girls. GRANT Amphibian DNA. LEX What's that? GRANT Well, on the tour - the film said they used frog DNA to fill in the gene sequence gaps. They mutated the dinosaur's genetic code and blended it with that of frogs. Now, some West African frogs have been known to spontaneously change sex from male to female, in a single sex environment. Malcolm was right! Look, life found a way!\",\n \"INT. CONTROL ROOM DAY The mood in the room is hopeless. MALCOLM, his wounds bandaged, but in real pain, hangs around with ELLIE and MULDOON, hoping for some development while RAY ARNOLD is still at the computer terminal and looking a mess, he doggedly sorts through the computer system's lines of code. One. By one. By one. They BLIP by, reflected in his glasses. He turns and stares up at HAMMOND with a look of absolute incredulity on his face. ARNOLD No, no, no, that's crazy, you're out of your mind, he's absolutely out of his mind - ELLIE Wait a minute. What exactly does this mean? Hammond turns to her, the twinkle back in his eye. HAMMOND We're talking, my dear, about a calculated risk, which is the only option left to us. We will never find the command NEDRY used. He covered his tracks far too well, and I think it's obvious he's not coming back. So shutting down the system - ARNOLD I will not do it. You'll have to get somebody else, because I will not. HAMMOND - shutting down the system is the only way to guarantee wiping out everything he did. If I understand correctly, all the system will come back on their original start - up modes correct? ARNOLD Theoretically, yeah. -LRB- yes. -RRB-, but we've never shut down the whole system. It may not come back at all. ELLIE But would we get the phones back? ARNOLD Yeah, again, in theory, but - MULDOON -LRB- desperate. -RRB- What about the lysine contingency? We could put that into effect! ELLIE What's that? HAMMOND It's absolutely out of the question. Hammond walks away from the group. ARNOLD The lysine contingency - it's intended to prevent the spread of the animals is case they ever got off the island, but we could use it now. Dr. Wu inserted a gene that makes a single faulty enzyme in protein metabolism. Animals ca n't manufacture the amino acid lysine. Unless they're continually supplied with lysine by us, they'll go into a coma and die. ELLIE How would we cut off the lysine? ARNOLD No trick to it. Just stop running the program. Leaving them unattended. Malcolm speaks up. MALCOLM How soon before they become comatose? ARNOLD It would be totally painless - they'd just slip into unconsciousness and they die. MALCOLM How long before they slip into unconsciousness? ARNOLD About - seven days, more or less. ELLIE Seven days?! Seven days?! Oh, great. Oh good - clever. MALCOLM That'll - it'd be a first ; man and dinosaur all die together. John's plan. -LRB- he raises a hand. -RRB- Hammond finally loses his cool. He BELLOWS, summoning every ounce of authority at his command. And that's quite a bit. HAMMOND PEOPLE ARE DYING! There is a moment in which no one dares to speak. Hammond regains himself. HAMMOND -LRB- cont'd. -RRB- Will you please shut down the system. Arnold swallows and gets to his feet. ARNOLD You asked for it - He walks slowly across the room to a red metal box on the wall. He takes a key from his belt, unlocks the door, and opens it. There is a row of four switches inside. He flips them off, one by one, leaving only a single lever left. His hand hovers over it. and he flips the lever. ARNOLD -LRB- cont'd. -RRB- - and you got it. Every monitor, every terminal, every fluorescent light shuts out. plunging them into near - darkness. They just sit in eerie stillness for a moment. ELLIE -LRB- hushed voice. -RRB- How long will this take? ARNOLD ` Bout thirty seconds. They wait, in tense silence. Hammond adjusts the wilting silk handkerchief in his breast pocket. He notices Malcolm staring at him, his eyes full of disapproval. HAMMOND I think perhaps I'll just sit down. I do n't suppose you think all that much of me now, do you? MALCOLM You're all right, John You're okay. It's just you do n't have intelligence. You have `` thinktelligence.'' You think narrowly and call it `` being focused.'' You do n't see the consequences. You're very good at solving problems, at getting answers - but you just do n't know the right questions. ELLIE Ian - Malcolm looks at her. MALCOLM Yes? ELLIE - shut up. MALCOLM Yes. -LRB- to Hammond. -RRB- It's not a criticism, by the way. Finally, Arnold turns back to the box. He flips the row of safety switches back again, then hesitates by the main switch. ARNOLD Hold on to your butts. He throws it. And nothing happens. There is a very long pause. MALCOLM It's not working. ARNOLD Uh - MULDOON Listen, which of you knows how to handle a gun? Arnold, who ca n't quite understand this, races over to the main monitor ARNOLD -LRB- joyously. -RRB- HAH! It's okay! It's okay! Look! See that?! LOOK! They stare at the monitor, which glows with a faint amber light, the only mechanical thing in the room that's on. The left hand corner of the screen displays two words - / system ready. Arnold looks at them, his face triumphant. ARNOLD -LRB- cont'd. -RRB- It's on! It worked! HAMMOND That will teach you to trust Grandpa. MALCOLM Wait a minute? What do you mean `` worked''? Everything is still off! ARNOLD The shutdown must have tripped the circuit breakers. All we have to do is turn them back on, reboot a few systems in here - the phones, security doors, half a dozen others - but it worked! System ready! MULDOON Where are the breakers? ARNOLD Out in the maintenance shed. Other side of the compound. I'll go out there. Three minutes, and I can have the power back on in the entire park. HAMMOND Just to be safe, I'd like to have everybody in the emergency bunker until Mr. Arnold returns, and the whole system is back on its feet again.\",\n \"EXT. COMPOUND DAY MULDOON and ELLIE carry a Gerry rigged stretcher with MALCOLM on it down a narrow path in the compound. HAMMOND is with them.\",\n \"EXT. PARK GROUNDS DAY GRANT, TIM, and LEX walk through the park grounds, heading across a relatively open area. Grant consults the map. TIM & LEX I'm tired, and I'm hungry. When I get back I'm gon na have peanuts and. etc.. GRANT The visitor's center should be just about a mile beyond that rise. If we keep - The ANIMAL CRY they heard earlier is closer now, louder, and repeated by many more animals. Grant looks up. GRANT -LRB- cont'd. -RRB- What is that? Can you tell me what they are? TIM Gallimimus. He turns around, to face the direction the sound is coming from. He squints. The ANIMAL CRY are much louder now, accompanied by a low rumble. TIM -LRB- cont'd. -RRB- Here - they're flocking this way. Grant takes a few steps forward. As he watches, he can make out shapes in the distance. Dinosaurs. Dozens of them. All at once, he figures it out. GRANT STAMPEDE! And that's exactly what it is, a stampede of at least forty dinosaurs, Gallimimus by name. Lex is ready to get out of there, but Grant and Tim hesitate, staring. The dinosaurs kick up a flock of birds, which startles them, and they call change direction at once, the same way. GRANT -LRB- cont'd. -RRB- Look at the wheeling - the uniform direction change! Like a flock of birds evading a predator! Sure enough, they hear a ROAR, the very familiar roar - - of Tyrannosaurus rex. GRANT Oh, shit. Grant and the kids whirl at the sound, but ca n't place it, as it seems to come from all around them. They look back towards the stampede. The herd spontaneously changes direction again, and now they're headed straight at them. The three of them take off, across the meadow, toward the relative cover of the jungle. It's a real footrace, but the herd is far faster, and Grant knows they're not going to make it. They jump over a huge root network. There's a space under it to hide, and Grant stops the kids, shoves them underneath, then follows them. They cover their heads as the herd THUNDERS over the roots. Chunks of everything fly everywhere as the herd plows overhead, their clawed feet striking the roots dangerously close to Grant and the kids. Finally, they pass. Grant peers up, over the top root. He looks toward the trees, which the herd is now running alongside. A ROAR comes from somewhere within the trees. Grant scans the trees, looking for any sign of the T - rex - - and then it bursts out, ahead of the herd, cutting them off, throwing them into disarray, scattering them everywhere. They all stare as the rex kicks it into overdrive, runs down one of the Gallimimus, and sinks its teeth into its neck. The T - rex makes the kill in a cloud of dust and debris. Tim and Grant half rise to their feet, staring in wonder. LEX I wan na go - now! But Grant and Tim are transfixed, watching the T - rex. GRANT Watch how it eats! LEX Please! GRANT Bet you'll never look at birds the same way again! Tim nods in fascination. The T - rex pauses in the middle of its meal and ROARS. LEX Let's go! GRANT Okay. Keep low. Follow me. She turns and takes off, running as fast as she can, across the open plain. Tim and Grant tear themselves away and follow her. TIM Look at all it's blood!\",\n \"INT. BUNKER DAY ELLIE paces impatiently. She comes down the stairs. ELLIE Something's happened. Something went wrong. MULDOON paces too. HAMMOND and MALCOLM are also crammed in the underground bunker. Malcolm lays on a table, while Hammond tries to tend to his wounds. Hammond speaks, still feeling the obligation of the host. HAMMOND This is just a delay, that's all this is. All major theme parks have had delays. When they opened Disneyland in 1956, nothing worked, nothing. ELLIE John. MALCOLM But, John. But if the Pirates of the Caribbean breaks down, the pirates do n't eat the tourists. Another pause. More pacing. ELLIE I ca n't wait anymore. Something went wrong. I'm going to go get the power back on. MULDOON You ca n't just stroll down the road, you know. HAMMOND Bob, let's not be too hasty. He's only been gone -. -LRB- he looks at his watch. -RRB- Muldoon walks over to a steel cabinet. Ellie joins him. MULDOON I'm going with you. ELLIE Okay. Muldoon CLANGS open a steel cabinet, revealing an impressive array of weaponry inside. He removes a shotgun and what looks like a small rocket launcher. He shoves a shell into the barrel of the rocket launcher, which accepts it with a faint electronic SIZZLE. Hammond searches out the set of blueprints, gets them out of the file cabinet and spreads them out on top of Malcolm almost crushing his leg. HAMMOND Sorry. Ellie and Muldoon join Hammond. HAMMOND -LRB- cont'd. -RRB- This is n't like switching on the kitchen light, but I think I can follow this and talk you through it. Hammond signals with a look. ELLIE Talk. -LRB- or. -RRB- Right. -LRB- or. -RRB- -LRB- nothing. -RRB- Ellie gets a couple of walkie - talkies from the shelf and shoves them in her belt. ELLIE -LRB- cont'd. -RRB- Okay. HAMMOND But you know, I should really be the one going. -LRB- to go. -RRB-. ELLIE Why? HAMMOND Well, because you're a - I'm a - ELLIE Look. MULDOON Come on, let's go. ELLIE We'll discuss sexism in survival situations when I get back. -LRB- she backs towards the door. -RRB- You just take me through this step by step. I'm on channel two.\",\n \"EXT. JUNGLE DAY GRANT, TIM, and LEX scrambles through the jungle, completely out of breath, exhausted. They arrive at the base of the big electrical fence that surrounds the main compound. Grant looks up at the fence. It must be over twenty feet high. GRANT It's a bit of a climb. You guys think you can make it? TIM Nope. LEX Way too high. Grant grabs a stick and climbs up on the ledge. He looks at the warning light on the fence. It's out. He pokes the wire with a stick. No sparks fly GRANT Well, I guess that means the power's off. Still not trusting the fence, he taps it with his foot. He moves in slowly and lays both hands on a cable and closes his fingers around it. Grant's body shakes! He SCREAMS. The kids SCREAM! He stops, and turns around slowly. and smiles wickedly. LEX That's not funny. TIM That was great! Far in the distance, the T - rex ROARS. Without a second's delay, both kids leap to their feet.\",\n \"EXT. BUNKER DAY ELLIE and MULDOON step out of the bunker. The main compound feels different now - it belongs more to the jungle than to civilization. Muldoon has the big gun in his hands. ELLIE -LRB- on the radio. -RRB- Okay, I'm on channel two. MULDOON Stick to my heels. They start down the path, moving quickly.\",\n \"EXT. PATH DAY MULDOON and ELLIE emerge from one path and come into a slightly more open area. The huge raptor pen stands silently, surrounded and penetrated by jungle, the abandoned goon toward looming over it like a haunted house. Muldoon slows down, Ellie right next to him. They notice a hole in the fence that surrounds the raptor pen. The metal is twisted, as if gnawed, the hole is large enough for an animal to slip through. ELLIE Oh my God. Aw, God. MULDOON The shutdown must have turned off all the fences. Goddamn it! Even Nedry knew better than to mess with the raptor fence. 103 He squats near the hole, looking at the ground. He sees three sets of footprints. He follows them with his eyes. They head off in different directions, but all in the jungle foliage on either side of them. MULDOON C'mon on, this way. ELLIE I can see the shed from here! We can make it if we run! Muldoon walks slowly, as if he heard something. MULDOON No. We ca n't. ELLIE Why not? MULDOON Because we're being hunted. From the bushes straight ahead. Ellie turns, very slowly, to face the bushes. At first, she does n't see anything, but then there's something very faint, like a shifting of the light, and a shadow seems to move in the bush, RUSTLING the leaves. MULDOON It's all right. ELLIE Like hell it is! Muldoon raises his weapon slowly to his shoulder. MULDOON Run, towards the shed. I've got her. Ellie backs up, down the path, slowly. Muldoon follows behind her, keeping his gun trained in the bushes. The shadow in the bushes moves too, at an even pace with them. MULDOON Go! Ellie, startled, turns and falls over a log. She quickly stands and starts to run towards the shed. Muldoon walks slowly into the bushes. ON THE PATH, Ellie runs as fast as she possibly can - a real broken field sprint, hopping over branches, flying across the open area at top speed. Over a log - SPLASH! , she hits a water puddle. She comes to another log obstacle - she grabs a tree and swings over it. She nears the maintenance shed, and does n't look back. She reaches the door, blasts through it, and SLAMS it behind her.\",\n \"EXT. JUNGLE DAY A hand comes into the foreground and takes a firm grip on one of the tight fence cables. Another hand follows it, then a third. GRANT, TIM, and LEX climb over the fence, pulling themselves up by the tension wires, crawling right past a `` DANGER!'' sign that tells them this fence ought to be electrified.\",\n \"INT. BUNKER DAY MALCOLM and HAMMOND hover over a complex diagram of the maintenance shed that's spread out in front of them. Hammond clutches the radio in his hand, almost praying to it. Finally, it CRACKLES. ELLIE -LRB- o.s. -RRB- I'm in. Mr. Arnold? Mr. Arnold?\",\n \"INT. MAINTENANCE SHED DAY ELLIE is at the doorway of the maintenance shed, breathing hard from fear, listening to Hammond's VOICE on the radio HAMMOND -LRB- o.s. -RRB- Great. Good. Okay - ahead of you should be a metal stairway. Go down it. Ellie does, heading into the room, shining the flashlight ahead of her. There is a maze of pipes. ducts, and electrical work on both sides of her.\",\n \"INT. SHED DAY ELLIE walks straight ahead from the bottom of the metal stairs. HAMMOND -LRB- o.s. -RRB- Right. After twenty or thirty feet, you'll come to a T junction. Take a left. MALCOLM -LRB- o.s. -RRB- John. just have her follow the main cable - HAMMOND -LRB- o.s. -RRB- I understand how to read a schematic. Ellie keeps walking, nervous as hell. She looks around. Awfully dark down here. ELLIE Going down the stairs. okay. damn it! Dead end! HAMMOND -LRB- o.s. -RRB- Wait a minute, wait a minute, there was a right back there somewhere - MALCOLM -LRB- o.s. -RRB- -LRB- taking over. -RRB- Ellie?! Look above you - there should be a large bundle of cable and pipes all leading in the same direction! Follow that! Ellie looks up, finds the bunch of cables, and follows it into a main corridor. ELLIE -LRB- into the radio. -RRB- Piping. okay. following the piping. It goes back up the stairs and across the stairs. following the stairs. HAMMOND -LRB- o.s. -RRB- Look for a metal grate and that to it's longest direction. -LRB- * ADDED DIALOGUE, NOT RECORDED. -RRB- ELLIE Mr. Arnold? He's not answering me. Okay I'm on the grating. HAMMOND Good! Keep going, now. The cable will terminate in a big, gray box. ELLIE Okay, I'm following the tubing. I'm going down a passage way. How long does this stuff go for? Could you guys talk a little bit to me? -LRB- NOTE : DIALOGUE TO BE ADDED, WAS N'T RECORDED - Steven Spielberg wants Malcolm to say something funny to Ellie over the radio ; she smiles. -RRB- Walking fast Ellie follows the tubing to the end of the corridor, where she sees just a box. ELLIE -LRB- into the radio. -RRB- Okay - I see the gray box. Ellie goes through a mesh gate and walks towards the gray box. ELLIE -LRB- cont'd. -RRB- It says `` High Voltage''. She pushes the door open even further, revealing a vast array of breakers and switches inside. HAMMOND -LRB- o.s. -RRB- Now, Ellie, you ca n't just throw the main switch by hand, you have to pump up the primer handle to give you a charge. It's a large, flat, gray - ELLIE I see it! 109 EXT JUNGLE DAY GRANT and the KIDS swig over the top of the fence and start their climb down.\",\n \"INT. SHED DAY ELLIE pumps the gray handle, which is sluggish. Above it, a small white indicator CHINGS over the `` discharged'' to `` charged''. Ellie SLAMS the gray lever back into positions. ELLIE It's charged, okay! HAMMOND -LRB- o.s. -RRB- Right. -LRB- good. -RRB-! Now, under the words `` contact position'' there's a round green button that says `` push to close!'' Push it! Ellie does. The `` contact position'' light CHINGS over to `` closed'' and lights start to go on all over the panel. Did I do it? Is the power back on?\",\n \"EXT. JUNGLE DAY GRANT and LEX continue to climb down the fence. Tim is having difficulty - just as he's about to take another step, he loses his footing and almost falls. but then regains control and hangs on.\",\n \"INT. SHED DAY ELLIE watches as the column of twelve white indicator lights flash on the control panel. They are clearly labeled, each one for a different area of the park. HAMMOND -LRB- o.s. -RRB- Now Ellie, the red buttons turn on the individual park systems. Switch them on. As Ellie punches the buttons, they light up. and our eyes go to near the end of the row. It's marked `` Perimeter Fence.''\",\n \"INT. JUNGLE DAY GRANT lets go, dropping the last few feet to the ground. LEX does the same. A warning light begins to flash, coming back to life. Grants eyes go wide. He looks up at TIM, who is still far up - near the top, in fact, he has to come to a complete stop.\",\n \"INT. SHED DAY ELLIE keeps pushing the buttons. She's getting closer to the button for the fence.\",\n \"EXT. JUNGLE DAY TIM, terrified, has frozen where he is. GRANT Tim - you have to let go! SHED DAY ELLIE's still punching the buttons, now only a half a dozen away from the one for the fence, now five, now three -\",\n \"EXT. JUNGLE DAY GRANT and LEX are botch screaming at TIM GRANT C'mon Tim, move down, damn it! LEX Timmy! The power is coming down, quick! TIM I ca n't! I'm scared! GRANT Tim, you're gon na have to let go. I'm going to count to three. LEX Jump, Timmy! It's too late! TIM I'm afraid I am gon na fall! GRANT Go, go, go, jump! TIM You're crazy! I'm not gon na jump! GRANT Tim, you're going to have to let go of the fence. Tim! Get down right now. Get off the fence! Now! LEX Do as he says! The power's coming back, Timmy! GRANT Timmy, let go! You're gon na have to let go! Count to three. I'll catch you. LEX Timmy! Do as he says! Timmy! Do as Dr. Grant says, quick! TIM Are you crazy? What if you miss? I hate it up here. GRANT Tim, I'm right here. Easy catch. Easy catch. Count to Three. LEX You're gon na get electrocuted. -LRB- or. -RRB- electrified! The power's coming back! TIM Shut up! You're scaring me. Stop! You're scaring me. GRANT Shhhh. Tim, I'm right here below you. Easy catch. One, two, three. You count it yourself. One, two, three - LEX You're gon na get electrocuted. -LRB- or. -RRB- electrified! GRANT It's am easy catch, you let - go - you do the counting, you count it, Tim. One, two, three - you do all the counting, okay? LEX Timmy, listen to Dr. Grant! GRANT I'm coming up there Tim! I'm coming to get you! Lex, I've got to get him!\",\n \"INT. MAINTENANCE SHED DAY ELLIE finally pushes the button for the fences. It stops flashing and lights up, a brilliant white.\",\n \"EXT. JUNGLE DAY The fence HUMS as it awakens. GRANT and LEX are SCREAMING at TIM Okay, okay! I'm going to count to three. One, two, three. With a low, loud frightening BUZZ - - the fence comes alive. POW! Tim is cut off mid - sentence, and literally thrown from the fence. He SLAMS into Grant. They fall to the ground. Lex runs over to them. GRANT Tim, you're okay? You're okay? GRANT notices a larger problem. GRANT -LRB- cont'd. -RRB- He's not breathing. Tim?\",\n \"INT. MAINTENANCE SHED ELLIE watches as the banks of fluorescent lights in the maintenance shed come on, one by one. The lights are going on in rows, coming closer and closer to her. Finally, her row comes on. She follows the light and sees - - a raptor, right there, behind the control panel! It SLASHES, taking a lunging sweep at Ellie, but gets stuck, its feet and legs tangled in the maze of pipes on the floor. This is our first good look at one of these things, and if it were n't so terrifying, we could admit that it truly is a thing of beauty. It's the biggest of the raptors, intensely muscled, coordinated as hell, a smoothly designed predator. Ellie SHOUTS and falls back into the pipes on the other side of the aisle. The raptor untangles itself from the pipes and gives chase, just as Ellie SLAMS the mesh door closed. The raptor BANGS against the mesh door, Ellie falls to the ground. She holds on by kicking the door shut as the raptor continues to push himself through the door. Ellie is able to get the door closed. She stands, but then falls back onto one of the walls. A dead arm falls onto her shoulder. RAY ARNOLD is there, or what's left of him, stuck in the tangle of pipes. Ellie moves away, and his arm falls to the ground. She does n't realize that she has moved right back near the mesh wall - and the raptor comes at her again. Ellie takes off running as fast as she can, back the way she came. She drags the flashlight with her, running over the dead arm and Arnold's legs. She continues to run, her headset dangling, the flashlight dragging behind her on its cord. She reaches the stairs and hits them hard, flying up them. The raptor must be right behind her, she can hear the CLICKING and CLANGING as it scrambles up the stairs, but she does n't look back. She reaches the top, throws open the door, hurls herself outside -\",\n \"EXT. SHED DAY - and SLAMS the door behind her, just as the raptor's head SNARLS at her from near the top of the stairs. She runs out the fence and collapses.\",\n \"EXT. JUNGLE DAY TIM is still unmoving. GRANT is performing CPR, alternately compressing Timmy's chest fifteen times, quickly, and breathing into his mouth twice. LEX is freaking out. Fifteen compressions. Two deep breaths. GRANT C'mon, Tim. Fifteen compressions. Two deep breaths. GRANT TIMMY! Fifteen compress - Tim GASPS and comes to. GRANT -LRB- cont'd. -RRB- Good boy, Tim. Good boy. TIM Three. -LRB- Two, three. -RRB-.\",\n \"EXT. JUNGLE DAY ROBERT MULDOON creeps slowly through the jungle foliage, tracking his prey. He ducks and walks through a hollow log, underneath a fallen tree, following the RUSTLING sound up ahead of him. He can see just a trace of the raptor's gray flesh as it movies behind the bushes up ahead, staying camouflaged enough to deny him a decent shot. Thinking he's got a moment, Muldoon extends the back handle of the gun and clicks it into place. He prepares to take aim. A snake slithers across a tree branch, past what looks like the large iris of a flower. The flower blinks. It's the eye of the raptor. Muldoon sees it. He raises his gun. Instead of running away again, the raptor rises slowly out of the brush, fully revealing itself to Muldoon, HISSING at him. The corners of Muldoon's mouth twitch up into a smile. He draws a bead on the animal. His finger tenses on the trigger. Suddenly, his smile vanishes, both eyes pop open, and a terrible thought sweeps across his face. His eyes flick to the side - MULDOON Clever girl. - which is where the attack comes from. With a ROAR, another raptor comes flashing out of nowhere and pounces on him. The gun BLASTS, but wildly, and the raptor's claw SLASHES through Muldoon's midsection. Muldoon SCREAMS and falls back, the raptor locked on top of him, all tooth and claw all of a sudden. As the second raptor makes the kill, the first raptor strides slowly forward and watches approvingly. It throws its head back and SNARLS.\",\n \"INT. VISITOR'S CENTER DAY GRANT, TIM, and LEX come into the deserted visitor's center. A large sign that says `` When Dinosaurs Ruled the Earth.'' droops overhead. Grant now carries Tim, who is weakened but conscious. GRANT HELLO?! But nobody answers.\",\n \"INT. RESTAURANT DAY GRANT, TIM, and LEX come into the restaurant. Grant carefully sets Tim in a chair at one of the tables. Lex across from him. GRANT I am gon na have to find the others and get you to a doctor. Will you look after Tim, Lex? LEX -LRB- scared as hell. -RRB- Yes. Grant nods. He looks at Tim for a second. GRANT Your hair's all standing up. He gently rearranges Tim's hair, which is wild, all over this head. Tim looks up at him weakly and manages a smile. Grant smiles back. GRANT -LRB- cont'd. -RRB- Big Tim, the human piece of toast. Tim laughs. Grant pauses for a second, as if debating something - GRANT -LRB- cont'd. -RRB- Be back soon, guys. I promise. He leaves. As he goes across the lobby of the visitor's center and outside, they can see his silhouette, moving through a translucent mural that depicts dinosaurs in various natural settings. It's quiet for a second as Lex and Tim just look at each other. Tim goes across the room, to an all - you - can - eat table on the other side, and quickly piles some food on a tray. He brings its back to the table. Lex digs in, munching on veggies, grabbing food with two hands. Tim enjoys his food, too. Lex comes up with a spoonful of lime Jell - O from a plastic dinosaur egg cup - but her hand freezes halfway to her mouth. Tim looks up, and sees the expression on her face. She's staring over his shoulder, eyes wide, the Jell - O quivering in her shaking hands. TIM What? Tim turns around. Behind him, one of the silhouettes on the mural is a raptor, in a hunting pose. While they stare, the silhouette of a real raptor moves out from behind it and creeps forward, in the lobby of the visitor's center.\",\n \"INT. KITCHEN DAY LEX pulls the shiny metal door shut as quietly as she can. It latches with a distinctive CLICK, but there's no lock. She runs to a panel of lights switches and kills them all, plunging the room into semidarkness. She helps TIM down an aisle and they hide at the end, behind a counter, breathing hard. A raptor's head pops into view, visible through the round window in the middle of the restaurant door. It just looks for a moment, its breath steaming up the window. THROUGH THE WINDOW, as the steam evaporates, the raptor can see a part of Tim that is not entirely hidden by the counter. IN THE KITCHEN, TIM and LEX remain frozen in fear as the raptor first SNIFFS at the bottom of the door, then THUMPS its head against it. But the door does n't budge.\",\n \"EXT.COMPOUND DAY GRANT walks quickly down the narrow path towards Hammond's compound, eyes darting from side to side, not exactly sure where he's going. From far off, he hears someone SHOUTING to him. He turns. He sees ELLIE, standing outside the bunker. She's waving to him, SHOUTING something too faint for him to hear. He furrows his brow and walks towards her. She SHOUTS louder. He walks faster. He's closer now, and he can finally make out where she's shouting. ELLIE Run! Grant takes off running towards her, not even looking back. He races up, and she runs into his arms. ELLIE -LRB- cont'd. -RRB- Where are the kids?!\",\n \"INT. BUNKER DAY JOHN HAMMOND stands between GRANT and ELLIE in the bunker, watching as Grant RACKS the bolts on a ten gauge shotgun. GRANT -LRB- to Ellie. -RRB- It's just the two raptors, right? You're sure the third one's contained? ELLIE Yes, unless they figured out how to open doors.\",\n \"INT. KITCHEN DAY OUTSIDE THE DOOR TO THE KITCHEN, the raptor stares down at the door handle, cocking its head curiously. It SNARLS and bumps the door handle with its head, but that does n't do anything. It reaches out, toward the handle, with one clawed hand. IN THE KITCHEN, Tim and Lex stare in shock as the door handle starts to turn. The door opens. The first raptor stands in the doorway, draws itself up to its full height, and looks around the kitchen. Now, a second raptor joins it in the doorway. They move into the room, brushing against each other. The first raptor SNAPS as the second, as if to say `` keep your distance.'' Now the raptors split, taking two different aisles. Tim and Lex crawl away, Tim awfully weak now, down a third aisle, around the other side of the counter from the raptors, moving in the opposite direction. As Tim and Lex pass the raptors, one of the raptor's tails SMACK into some pots and pans, knocking them off the counter. They fall on the kids, who manage to keep quiet. The kids keep moving as one of the raptors dips down, looking through an open cabinet to inspect the racket. Tim and Lex reach the end of the aisle and round a corner - but Timmy's falling behind now, and he accidentally brushes against some hanging kitchen utensils. Both raptors turn. One jumps onto the counter, knocking more kitchen stuff to the floor. A ladle CLATTERS to a stop, and the strange metallic sounds confuse the raptors for a moment. But then they move, in Tim's direction, SNIFFING, heading right for him. The raptor on the floor is just about to turn the corner to where Tim sits, exposed and exhausted, but both the raptors suddenly stop, hearing a CLICKING sound from the other end of the aisle. It's Lex, TAPPING a spoon on the floor to distract them. The raptor on the counter jumps down and starts cautiously towards Lex's noise, leaving Tim. Lex sees a steel cabinet behind her, its sliding door slid up and open. She crawls inside, silently. Tim sees the raptors make the turn towards Lex, SMASHING more stuff around with their tails. He turns and sees a walk - in freezer in the far wall, with a pin - locking handle. As Lex tries to pull the overhead door to the cabinet shut, one of the raptors rounds a corner and sees her reflection on a shiny cabinet front. Lex tries frantically to lower the cabinet door, but it's stuck. Tim takes a few deep breathes, summons what little strength he has left - - and makes a break for the walk - in freezer. He's limping, dragging himself, really moving like a wounded prey now, and - - the other raptor spots him. Both raptors go into a pre - attack crouch - - and they pounce, one towards each of the kids. Lex tugs on the cover, to the avail - Tim's raptor charges after him, just open floor space between them - - and Lex's raptor THUDS into a shiny surface bearing hr reflection. It chased the wrong image. It sags to the floor, semiconscious. At the other end of the aisle, the real Lex SCREAMS as the other raptor bears down on Tim. Tim reaches the freezer, rips the door open, and falls inside. The floor is cold and slick and his feet go right out from under him. He sprawls across the floor, rolls out of the way - - and the raptor slips and falls into the freezer too, right past him. Tim drags himself to his feet and out of the freezer. The raptor makes one last lunge, right on Tim's heels, its mouth wide open - - but Lex SLAMS the door shut just as Tim is clear. The raptor's head is caught for a second, but it SNARLS, retreats, and Lex's gets the door shut all the way. The raptor ROARS and SCREAMS inside. Lex jams the pin through the handle, locking it in. Now the other raptor staggers to is feet. Groggy, it SMASHES into stuff all over the kitchen. Lex throws her arms around Tim again for support and they take off.\",\n \"INT. RESTAURANT DAY TIM and LEX hurry across the restaurant. They stare back over their shoulders as they run. They CRASH into GRANT and ELLIE. LEX It's in there! ELLIE Control room.\",\n \"INT. SECOND FLOOR CORRIDOR DAY GRANT, ELLIE, and the KIDS race down the second floor corridor towards the control room, Grant helping Tim.\",\n \"INT. CONTROL ROOM DAY The door to the control room SMACKS open. GRANT, ELLIE, and the KIDS burst in. Ellie heads straight for Nedry's computer terminal. Grant moves Tim to the side, and races back to the door to lock it. LEX We can call for help?! ELLIE We've got to reboot the system first! She sits at the computer and studies the screen. It's flashing to her, dominated by a maze - like grid. She studies it, confused. GRANT -LRB- at the door. -RRB- Oh, no! The door locks - Ellie! Boot up the door locks! Boot up the door locks! POW! Something hits the door, hard, from the outside, the kids SCREAM, Grant hurls his back against it - Grant loses his gun. He struggles. The raptor scratches his head. ELLIE ALAN! - and Ellie leaps out of the chair and races over to the door to help him. A raptor SNARLS and SNAPS, RAMMING itself against the door, trying to force its way into the control room. It's all Ellie and Grant can do to hold the door against the onslaught, but it bucks against them viciously. GRANT -LRB- to Ellie. -RRB- Ellie - get back and boot up the door locks! ELLIE You ca n't hold it by yourself! GRANT Ellie, get the gun! -LRB- or. -RRB- Try to reach the gun! ELLIE I ca n't get it! -LRB- or. -RRB- I ca n't get it unless I move! OVER AT THE COMPUTER, Lex slides quickly into the command chair at Nedry's terminal. She stares at the screen for a moment - LEX This is a Unix system. I know this. It's the files for the whole park. It's like a phone book - it tells you everything. - and then her fingers start to fly over the keyboard. Tim watches, amazed, as the computer starts to respond to Lex's commands. LEX -LRB- cont'd. -RRB- I've got to find the right file. Oh no, this is n't right. This might be right, no this is n't it. TIM C'mon, Lex! C'mon, Lex! Go, Lexie! Reaching another menu, Lex spots a box on the screen that reads `` DOOR INTEGRITY.'' She reaches out and touches it. The screen BEEPS - LEX There it is, I got it! This is it, I did it. Yes, yes! - and the door latch panel BUZZES. Grant and Ellie put everything they have into it and finally the door SNICKS shut, locking the raptor outside. GRANT What works? LEX Phone security systems, everything works. You ask for it, we got it! 131 INT BUNKER DAY A phone RINGS. HAMMOND and MALCOLM look at each other, wide - eyed. Hammond lunges for it. HAMMOND Grant?! The children alright?\",\n \"INT. CONTROL ROOM DAY All the screens in the control room have come alive now, and data is scrolling by at incredible speed as every remaining system is the park comes back on line. ELLIE is at the keyboard with LEX now, figuring things out, and GRANT is on the phone. GRANT The children are fine.\",\n \"INT. CONTROL ROOM DAY HAMMOND is on the phone, MALCOLM is trying to listen. HAMMOND Thank God. GRANT -LRB- o.s. -RRB- Listen, the phones are back up! Call the mainland! Tell them to send the damn helicopters - Suddenly Grant stops in the middle of his sentence. A SCREAM cuts in, then three GUNSHOTS, fast, and a horrible CLUNKING as the phone is dropped. HAMMOND Grant! GRANT! But there's no answer.\",\n \"INT. CONTROL ROOM DAY Grant's rifle lies on the floor, smoking, several spent shells alongside it. The front window of the control room has three huge impact shatter patterns in the glass, where the gunshots hit. TIM goes into an open panel through the ceiling, and into the crawl space. LEX climbs the ladder, followed by ELLIE and GRANT. Grant looks over to the front window, scared as hell, just as - - it SHATTERS in a shower of glass and a raptor EXPLODES into the control room. It lands on its feet on a work station console, images from wall projectors falling across its head. Grant vaults himself up into the ceiling, and knocks the ladder with his feet. The raptor tilts its head curiously, looking up at the swaying ceiling. IN THE CRAWL SPACE, Grant, Ellie, and the kids dash across the ceiling panels, moving fast, but carefully, so as not to break through. SMASH! The raptor's head bursts through a panel behind them, leaping up at them, SNARLING and SNAPPING. It drops down again, and they keep moving forward. But now it ERUPTS through a panel right in front of them. They SCREAM, its teeth CLICK just inches in from of Ellie - - but the raptor ca n't hold itself up there, and it falls back to the floor of the control room. Grant looks around frantically and spots an air duct a few yards away. GRANT Follow me! They move for it, but the raptor's head CRASHES through the ceiling again, this time right underneath Lex. She SCREAMS and is lifted up, on top of its head, and pinned to the ceiling above. Grant SMASHES hit boot into the side of the raptor's head. The raptor SLAMS at him, latching onto his boot for a second before the raptor's own weight pulls it back down. Lex goes down with the raptor, spinning into the hole in the ceiling, tumbling down. Grant grabs her by the collar at the last second, but Lex dangles there, above the raptor. The animal flips over onto its feet and crouches to pounce just as Grant summons his strength and jerks Lex back into the ceiling. The raptor springs, but too late. Grant and Lex scramble over to the air duct and join Ellie and Tim inside it. IN THE AIR DUCT, Grant, Ellie, and the kids crawl through the air duct as fast at they can, the thin metal BOOMING and creasing around them. They reach a metal gate that shows daylight beneath. Grant reaches out and pulls it up. Through the gate, they can see the lobby of the visitor's center below. They're directly above the skeletons of the dinosaurs, the T - rex and the sauropod it's attacking. The unfinished skeletons are surrounded by scaffolding.\",\n \"INT. ROTUNDA DAY Grant and the others climb down out of the air duct and onto a platform of the scaffolding that stands alongside the skeletons. They continue down to the second platform, then the third. They suddenly see - A RAPTOR, standing to the side by the second floor railing. It's much too far to jump to the lobby floor, so Grant climbs gingerly onto the nearest skeleton, the towering brachiosaur. They climb down as fast as they can. Grant helps Tim down, Lex and Ellie follow. Ellie goes to the tail. Lex moves to the front. Grant lands on the main body in the middle with Tim. And the raptor watches them. Up in the ceiling, the skeleton's anchor bolts GROAN in the plaster, starting to pull free. But for now, they hold. The raptor flies out and lands on the back of the middle section of the skeleton. SNAP! It CRACKS apart with the weight, sending the sections spinning in all different directions. Grant and Tim twirl on the middle section. Tim begins to slide down. Grant tries to hold on to him - but Tim loses his grip and falls to the ground right underneath the swinging, large middle section of the dinosaur skeleton. Meanwhile, Lex spins on the front section. She slips - and tries to keep from falling as she hangs by her legs. The anchor bolts in the ceiling RIP free, ZINGING past them like bullets. The entire brachiosaur skeleton collapses like a house of cards sending Ellie to the ground. She covers herself with her arms, trying to protect her head from the shower of falling bones. Lex falls, landing on the ground with bones falling on top of her. She SCREAMS. Grant, alone in the middle section, looks up and sees the cable about to SNAP - he falls! The large section of the skeleton comes careening down, heading straight for Tim, who lays where he fell on the ground. It comes SMASHING down. with just enough space for him to be safe. The raptor tumbles to the floor in a cascade of splintering bone. It lands on its back a few yards away and staggers for a moment, the wind knocked out of it. Grant lands in front of Tim. He stands, and goes to Tim. Lex sits up and sees the raptor regain its feet. She SCREAMS. Ellie stands. She notices the shadows of the second raptor, standing behind the visqueen. She stops dead in her tracks. She backs up towards Grant and Tim. The raptor comes out from under the plastic and looks around. Grant gets Tim out from under the skeleton. Lex joins them. They back away from the raptor, approaching from the left side. They back up towards the large rock in the middle of the room holding the other skeleton. The raptor crouch in their pre - attack stance - The group is caught in the middle of the two approaching raptors. Lex looks back and SCREAMS. Grant and the others continue to back up. They look up and see - - TYRANNOSAURUS REX! It's massive head descends down from above. A set of six - foot jaws clamp down on the raptor. Eighteen - inch teeth sink into its side, and the helpless animal HOWLS in agony as it's lifted up, up, up off the floor of the lobby. Grant and the others look up in stunned amazement. They step back behind the rock for safety and look to the right. They see another raptor approaching. The other raptor goes up in the air now, twenty feet off of the lobby floor, held fast in the mouth of the Rex. It stands in the entrance to the lobby in front of the massive hole it ripped through the Visqueen wall. It shakes its enormous head once, BREAKING the neck of the velociraptor, then drops it, dead, to the floor at its feet. Grant, Ellie, and the kids skirt the battle royal on the lobby floor and dash of the door of the Visitor's Center. The second raptor turns from the humans and lunges at the Rex's side, leaping twelve feet into the air and rending the Rex's flesh as it comes down, slashing it open with its six - inch claw. The rex BELLOWS in pain, and turns on the raptor, eyes raging, and strikes, just once, quickly, as fast as the head of a serpent. It catches the raptor by thick back end, buts one of its enormous feet down on it, and tears. It rips the last velociraptor in half. The rex whirls around - as it turns, its heavy tail counterbalances, SNAPPING the other way, sweeping across the lobby and SMASHING right through the T - rex skeleton. The skeleton collapses in an explosion of bones, falling to pieces around the living rex. The rex stands majestically in the middle of the lobby, both skeletons swept away, SNAPPING like matchsticks as they settle around the animal. The rex draws itself up to its full height - - and ROARS. The sound is deafening, and the vibrations rattle the entire Visitor's Center. The sign which dangled over the lobby by its one remaining wire finally falls, CLATTERING to the floor at the Rex's feet, face up. `` WHEN DINOSAURS RULED THE EARTH'', it says. OUTSIDE THE VISITOR'S CENTER Hammond SQUEALS the Jeep to a halt in front of the steps. Malcolm is lying in the back. Grant and the other practically fall into the Jeep. GRANT Mr. Hammond, I've decided not to endorse your Park. HAMMOND After careful consideration, Dr. Grant - so have I. Hammond hits the gas and the Jeep takes off.\",\n \"EXT. HELICOPTER LANDING PAD DAY The helicopter rotors whirl to life as the chopper waits on the landing cross. Two Jeeps ROAR up next to it, one driven by GRANT, the other by HAMMOND. HELICOPTER DAY One by one, they climb aboard, their faces white from their ordeal. ELLIE comes on first, holding LEX. Then HAMMOND, carrying TIM. And GRANT, helping MALCOLM. No one speaks. Hammond takes another look at his dream, Grant comes over and takes him back to the helicopter. The helicopter takes off immediately. As they rise into the air, they stare out the windows, looking down on the park as it spreads out below. DOWN IN THE PARK, the helicopter soars over a vast plain. The Tyrannosaur, which is still feeding on the remains of the dinosaurs it ran down and killed, looks up. It throws its head back and ROARS, waving its little forelimbs at the strange thing in frustration. As the helicopter moves off, the T - rex just stares, silently, with huge, yellowing eyes. It's a moment of utter bewilderment for the rex, and we almost feel - - sad for her. BACK IN THE HELICOPTER, Hammond looks down at the park, his eyes full. He looks over at the kids. They're in the back of the helicopter, with Grant. As they look out the window, Grant almost absently has his arms around both kids. Now Ellie looks at him. Both he and the kids seem so natural, so obviously comfortable and trusting with each other. She smiles. The four of them sit that way, in the back of the helicopter, huddled together. Survivors. Grant looks out the window. The helicopter sweeps low over a huge flock of sea birds that's feeding on a school of fish. As the chopper ROARS near, it kicks up the flock. Hundreds of birds sail off in all directions, powerful and graceful. Grant looks at the bids and breaks into a wide grin. The birds reform as flock again and fly straight into the sun. FADE OUT.\"\n]"},"labels":{"kind":"list like","value":[0,1,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,1,1,0,1,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,1],"string":"[\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Industrialist John Hammond, head of bioengineering company InGen, creates a theme park called Jurassic Park featuring cloned dinosaurs and prehistoric plants, on the Costa Rican island of Isla Nublar. Following an accident at the site, lawyer Donald Gennaro, representing his investors, orders he gets experts to certify his park is safe. Hammond takes a group consisting of Gennaro, mathematician and chaos theorist Ian Malcolm, paleontologist Dr. Alan Grant and paleobotanist Dr. Ellie Sattler, to see the park he has created, all of whom are shocked to see living dinosaurs including a trio of Brachiosaurus and a herd of Parasaurolophus upon arriving. Hammond reveals that InGen created the dinosaurs through cloning - the process used preserved DNA in amber, with DNA from frogs used to fill in missing genomes. When Dr. Henry Wu points out breeding is prevented by having all dinosaurs genetically engineered as females, Malcolm theorizes that nature will overcome this obstacle in time. Hammond arranges for the group, joined by his grandchildren Tim and Lex, to take a tour of the island, while he oversees things with his chief engineer Ray Arnold, and lead computer programmer Dennis Nedry. However, the tour is cut short after being a failure, as a tropical storm approaches the island; while Sattler stays to help treat a sick Triceratops, the rest head back for the center. With most of the park's employees having left for the mainland, Nedry begins sabotaging the park's security systems, having been approached by a representative of a rival corporation to steal fertilized dinosaur embryos for them. As the storm hits, the power goes out, causing the dinosaurs to escape, while stranding the tour vehicles near the pen of a Tyrannosaurus rex. The dinosaur soon attacks the vehicles, devouring Gennaro, injuring Malcolm, and forcing Grant, Tim and Lex into the park's dinosaur reserves. Sattler, joining the park's game warden Robert Muldoon, attempts to rescue them, but they are forced to bring Malcolm back when the Tyrannosaurus pursues them. Nedry, having acquired the embryos, attempts to reach the island's dock, but loses his way in the storm, becomes stranded, and is killed by a Dilophosaurus. After the storm passes the following morning, Grant comes across broken egg shells with the children and realizes the dinosaurs were given the DNA of Common reed frogs who can overcome a single-sex environment, thus proving Malcolm right that breeding control methods would fail. Along the way they come across a flock of Gallimimus, one of who is devoured by the Tyrannosaurus. The group soon proceed to return to the visitor center. Meanwhile, Arnold decides to reboot the park's systems to undo Nedry's damage, heading to a maintenance shed to complete the process while the others at the center take shelter in an emergency bunker. When Arnold fails to return, Sattler and Muldoon head for the shed, and discover that the shutdown has freed the Velociraptors. Muldoon opts to distract them and is subsequently killed in the process, while Sattler reaches the shed and completes the reboot, before being forced to flee after finding Arnold was killed by the freed dinosaurs. Grant, Tim and Lex manage to reach the center, following a mishap at the park's perimeter fence, and reunite with Sattler. With the park falling into chaos, the group find themselves being pursued by the Velociraptors across the center, but manage to escape from them when the Tyrannosaurus arrives through a hole in the wall of the building's main hall, and subsequently kills both Velociraptors. Picked up by Hammond, transporting Malcolm after calling for help, Grant announces he will not endorse the park, much to Hammond's understanding. The group swiftly reaches a helicopter sent out to rescue them and flees the island, whereupon the group watches the island disappear as they head for the mainland."},"name":{"kind":"string","value":"Jurassic_Park_(film)"}}},{"rowIdx":180,"cells":{"scenes":{"kind":"list like","value":["UP IN THE AIR A SPOTLIGHT reveals RYAN BINGHAM standing at a PODIUM. He unzips a BACKPACK and sets it down beside him. RYAN How much does your life weigh? Ryan pauses to let us consider this. RYAN -LRB- CONT'D. -RRB- Imagine for a second that you're carrying a backpack. I want you to feel the straps on your shoulders. You feel them? -LRB- gives us a beat. -RRB- Now, I want you to pack it with all the stuff you have in your life. Start with the little things. The stuff in drawers and on shelves. The collectables and knick - knacks. Feel the weight as it adds up. Now, start adding the larger stuff. Your clothes, table top appliances, lamps, linens, your TV. That backpack should be getting pretty heavy at this point - Go Bigger. Your couch, your bed, your kitchen table. Stuff it all in. Your car, get it in there. Your home, whether you have a studio apartment or a two story house, I want you to stuff it into that backpack. Ryan takes a beat to let the weight sink in. RYAN -LRB- CONT'D. -RRB- Now try to walk. We hear people around us chuckling. Ryan smiles. Reveal :","INT. HOTEL CONFERENCE ROOM - AFTERNOON The kind that shifts between lower income corporate retreats and lower income weddings. The few dozen people seem to be visualizing as told. RYAN -LRB- CONT'D. -RRB- Kinda hard, is n't it? This is what we do to ourselves on a daily basis. We weigh ourselves down until we ca n't even move. And make no mistake - Moving is living. We see nodding. People's gears turning. RYAN -LRB- CONT'D. -RRB- Now, I'm going to set your backpack on fire. What do you want to take out of it? Photos? Photos are for people who ca n't remember. Drink some gingko and let the photos burn. In fact let everything burn and imagine waking up tomorrow with nothing. -LRB- a beat of emphasis. -RRB- It's kind of exhilarating is n't it? That is how I approach every day. A titter through the crowd.","INT. BOEING 757 - DAY A FEMALE FLIGHT ATTENDANT is looking directly at us. FEMALE FLIGHT ATTENDANT Do you want the cancer? Turn to see RYAN looking back. Handsome. Anonymous. Right now - Confused. RYAN Excuse me? FEMALE FLIGHT ATTENDANT -LRB- SAME DELIVERY. -RRB- Do you want the cancer? Ryan furrows - What the hell is going on here? The flight attendant raises her hand to reveal a CAN OF SODA. FEMALE FLIGHT ATTENDANT The can, sir? RYAN Oh. No. Um, no thank you. The flight attendant moves to the next aisle. Ryan takes a beat, then returns to his work.","INT. SMALL CONFERENCE ROOM, SUN CASUALTY - DAY Two words - Subordinate chic. Seated at a tiny table is RYAN. The Grim Reaper in a suit. We see a series of REAL PEOPLE react to the news of being fired. They should be non - actors -LRB- actual victims of recent layoffs -RRB- that can react organically to the news with authenticity. Some are hurt. Others are upset and even abusive. The series concludes with. STEVE -LRB- AN ACTOR. -RRB- who's on the verge of tears. STEVE Who the fuck are you? FREEZE on Ryan. RYAN -LRB- V.O. -RRB- Excellent question. Who the fuck am I? Poor Steve has worked here for seven years.","INT. STEVE'S CUBICLE - DAY RYAN -LRB- V.O. -RRB- He's never had a meeting with me before.","INT. CONFERENCE ROOM - DAY Steve in a small meeting. RYAN -LRB- V.O. -RRB- or passed me in the hall.","INT. ELEVATOR BRIDGE - DAY Steve passes a female coworker. RYAN -LRB- V.O. -RRB- or told me a story in the break room.","INT. BREAK ROOM - DAY Steve laughs at a coworker's story. RYAN -LRB- V.O. -RRB- And that's because I do n't work here. I work for another company that lends me out to pussies like Steve's boss.","INT. STEVE'S BOSS'S OFFICE - DAY Steve's BOSS sits at his desk. Subtitle reads - `` A Big Pussy'' RYAN -LRB- V.O. -RRB- who do n't have the balls to sack their own employees. And in some cases, for good reason. Because, people do crazy shit when they get fired. Steve wipes off his boss's desk. Steve shreds sensitive documents. Steve pours bleach into the communal coffee pot. Steve loads an assault rifle. He stands up to get a view of his coworkers on a coffee break.","INT. SMALL CONFERENCE ROOM - DAY Steve is trying to hold it together. RYAN -LRB- V.O. -RRB- And that's where I come in. STEVE What did I. do? What could I have done differently here? RYAN This is not an assessment of your productivity. It's important not to personalize this. Steve scoffs at this. Ryan slides Steve a PACKET. RYAN -LRB- CONT'D. -RRB- Steve, I want you to review this packet. Take it seriously. I think you're going to find a lot of answers in there. STEVE -LRB- DISMISSIVE. -RRB- Oh, I'm sure it's going be really helpful. RYAN -LRB- CONT'D. -RRB- Look, anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. And just for a moment, Steve looks hopeful. RYAN -LRB- CONT'D. -RRB- I'm going to need your key card. STEVE Right. Steve begins removing it from his wallet. RYAN Take the day. Put together your personal things. Talk to your co - workers. Tomorrow, go out and get some exercise. Go for a jog. Give yourself routines and pretty soon you'll find your legs. Steve nods and gets up to leave. Just as he's about to walk out, he stops and turns back. STEVE Wait, how do I get in touch with you? RYAN Do n't worry. We'll be in touch soon. This is just the beginning. Steve nods and exits the room. RYAN -LRB- V.O. -RRB- I'll never see Steve again.","INT. RYAN'S ROOM - PHOENIX HILTON - DAY The choreography of Ryan's packing is worthy of Tchaikovsky. A coat slides off a hanger. A travel toothbrush folds closed like a switchblade. A briefcase clicks onto a roll - away bag. A hand flips a light switch without looking.","INT. LOBBY, PHOENIX HILTON - DAY Ryan is at the check out desk. CHECKOUT GIRL Do you have your Hilton Honors Card with you? Ryan smiles. `` Do I?'' He hands it to her, close enough to camera, that we get a nice big close up of it. She runs the card and the screen pops up with information that makes her blush. CHECKOUT GIRL Oh my God. Do you like, live, at the Hilton? Ryan nods in faux modesty.","EXT. OUTDOOR CAR RETURN, HERTZ RENT-A-CAR - DAY Ryan pulls up to one of the spaces marked with the # 1 GOLD PRESIDENTS CLUB emblem. He hops out and a uniformed man with a handheld device begins to punch in the license plate number. Ryan pulls out his HERTZ PRESIDENTS CLUB CARD and places it nice and close to lens so we can see it. The card slides through the handheld device and we see the DIGITAL NUMBER increase by a few thousand points.","INT. MAIN CONCOURSE, PHOENIX SKY HARBOR INTL AIRPORT - DAY The automated GLASS DOORS slide open. Ryan enters the concourse and takes a deep breath of the temperately controlled air. He has arrived. RYAN -LRB- V.O. -RRB- This is where I live. Subtitles - `` Airworld'' Ryan skips the long lines and steps directly into the AAdvantage Executive Platinum line. Glorious close - up of Ryan's AAdvantage Executive Platinum CARD sliding through the AUTOMATED MACHINE. Were it any sexier, we'd hear a moan. Maybe we even do. Immediately, the AIRPORT CLERK registers and perks up. AIRPORT CLERK Pleasure to see you again, Mr. Bingham. RYAN -LRB- V.O. -RRB- When I run my card, the system automatically prompts the desk clerk to greet me with this exact statement. We see it again. AIRPORT CLERK Pleasure to see you again, Mr. Bingham. Ryan nods back to the clerk. RYAN -LRB- V.O. -RRB- Had my status simply been gold or God - forbid, silver. I might have gotten a hello or a smile. Maybe. Ryan continues to hit buttons, swiftly checking in. RYAN -LRB- V.O. -RRB- Loyalty is earned and rewarded with these small touches. It's these kinds of systemized friendly touches that keep my world in orbit. A ticket begins printing. Ryan snaps it up.","INT. SECURITY - PHOENIX SKY HARBOR INTL AIRPORT - SAME Ryan steps up and observes his line choices. He finds a few Asian businessmen and hops in behind them. RYAN MOVING THROUGH THE SECURITY SCREENING It's a beautiful choreographed ballet of a bag handle collapsing, shoes coming off, a laptop going in a separate tray, wallet and watch sliding into a shoe, a boarding card sliding into a back pocket. both hands always moving, performing separate actions. It really is gorgeous.","INT. AMERICAN ADMIRALS CLUB - SAME Ryan enters and presents his ADMIRALS CLUB CARD. It has a hologram. The ADMIRALS CLUB HOSTESS immediately smiles. ADMIRALS CLUB HOSTESS Welcome back, Mr. Bingham. Ryan walks past a stack of newspapers on the way to the buffet, the whole time framed by an enormous window overlooking the tarmac. RYAN -LRB- V.O. -RRB- All the things you probably hate about travelling - The recycled air. The artificial lighting. The digital juice dispensers and mini pizzas stacked to their heat lamps are the warm reminders that I am home. With that comment, Ryan slides into a leather club seat. A DIGITAL DISPLAY reads : `` Thank You For Your Loyalty''. He opens his briefcase and pulls out his ITINERARY. He scans it. We see a string of flights, car rentals, and stays at Hitons. Then, something makes him frown. He pulls out his cell phone and dials.","INT. ASSISTANT'S DESK, CTC - DAY Ryan's assistant, Kevin, is not happy to be there. KEVIN Ryan Bingham's office. RYAN You have me in a Dodge Stratus in Kansas City. KEVIN They are completely out of all full sized sedans. RYAN -LRB- INTERRUPTS. -RRB- Did you? KEVIN -LRB- not the first time. -RRB- Yes, I reminded them of your remarkable # 1 Gold Club status and years in the program. They are moving mountains to see you in a Sebring. RYAN Fair enough. Any other messages? KEVIN Your sister Kara called. Needs to speak urgently about your sister's wedding. I told her you were midair and not even I knew your final destination. RYAN Well done. KEVIN And you got an invitation to speak at GoalQuest in Vegas. Ryan pauses. RYAN GoalQuest twenty?","INT. HOTEL CORRIDOR - NIGHT We push in on an EASEL with a SIGN that features RYAN'S HEADSHOT. Underneath his name, it reads : `` What's In Your Backpack?''","INT. SMALL CONFERENCE ROOM, HOTEL - NIGHT Ryan delivers his speech with a smile. RYAN -LRB- V.O. -RRB- Every once in a while I do speaking engagements. Motivational kind of stuff. But GoalQuest. We're talking major Tony Robbins shit.","INT. ADMIRALS CLUB - SAME Kevin examines the invitation emblazoned with a big `` XX''. KEVIN It's got a hologram. They're calling it Dos Equis. That's some pretty major Tony Robbins shit there. RYAN Talk about burying the lead. -LRB- EXHALES. -RRB- I'll check in when. KEVIN Hold on, I have Craig Gregory for you. RYAN I. ah, fuck.","INT. CRAIG GREGORY'S OFFICE, CTC - DAY Four words - Store - bought sports memorabilia. CRAIG GREGORY How's the road warrior? RYAN Twenty minutes from boarding into a world of bliss. CRAIG GREGORY Great numbers out of Phoenix. You know Big Auto is going to drop another 10K this month. RYAN No kidding? CRAIG GREGORY Yeah, Christmas came early. Wish I could have you in five places at once. I need you back in Omaha by the end of the week. RYAN I thought you needed me everywhere. CRAIG GREGORY -LRB- CONT'D. -RRB- We got something big - Game changer. RYAN I do n't know why you ever bring me in. Wherever I go, the money follows. Let me plant seeds, they'll grow to Oaks. Craig checks out a CUTE INTERN. CRAIG GREGORY I'm thinking of planting seeds right now. RYAN What are we talking about here? CRAIG GREGORY You'll see. -LRB- CHANGES DIRECTIONS. -RRB- Today, I took my first crap in two weeks. Hallelujah. RYAN That's me, hanging up on you. CRAIG GREGORY Good. I love that sound.","INT. BOEING 757 - DAY Ryan sits one row behind the bulkhead. Left side. Aisle. RYAN -LRB- V.O. -RRB- To know me is to fly with me. I'm the aisle, you're the window - trapped. Reveal - A man next to Ryan. Some BUSINESSMAN between cities. He talks, drink in hand, but we do n't hear him. RYAN -LRB- V.O. -RRB- We start chatting, impersonally at first. Our moderate politics, our sinking opinions on the American service industry. BUSINESSMAN AND RYAN MAKING SUGGESTIONS RYAN -LRB- V.O. -RRB- You recommend a hotel in Tulsa. I tip you off to a rib joint in Fort Worth. BUSINESSMAN TELLS A JOKE. HIS HANDS GESTURE. RYAN -LRB- V.O. -RRB- You tell me your best joke. I've heard it before, but listen anyway. Ryan laughs out loud. TURBULENCE. THE BUSINESSMAN TIGHTENS HIS SEAT BELT. RYAN -LRB- V.O. -RRB- Nothing like turbulence to cement a bond. Soon you're telling me about family. THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM. RYAN -LRB- V.O. -RRB- Your wife just went back to work but you ca n't intervene because you sure could use the extra paycheck and besides, last June she read some book and woke up one morning a feminist. THE MAN LEANS BACK, ARMS CROSSED, WITH A FAR OFF LOOK. RYAN -LRB- V.O. -RRB- And that if your windfall ever came through, you'd quit and spend the rest of your days restoring vintage speedboats. -LRB- saying it with him. -RRB- The water. That's where you belong.","EXT. TARMAC, DALLAS FORT WORTH AIRPORT - DAY Their PLANE LANDS.","INT. BOEING 757 - DAY As the plane begins to taxi to the gate, both Ryan and the Businessman pull out their cards. RYAN -LRB- V.O. -RRB- We exchange cards and slot them next to countless others. The dull bell `` dings'' to let us know it's safe to stand. Ryan and the Businessman get up and open the overheads. RYAN -LRB- V.O. -RRB- Fast friends are n't my only friends, but my best friends.","INT. CONCOURSE, DALLAS FORT WORTH AIRPORT - DAY Ryan and the Businessman walk next to each, now completely ignoring each other as if they never shared a word. RYAN -LRB- V.O. -RRB- Sad? Not really. We're a busy bunch. I'm peaceful. I'm in my element here. I suppose I'm a sort of mutation, a new species. I live between the margins of my itineraries. Ryan and the Businessman reach a point that separates - CONNECTING FLIGHTS go left / LONG TERM PARKING goes right. They share an awkward smile with a nod, then head in their separate directions.","INT. BROOKS BROTHERS, DALLAS FORT WORTH AIRPORT - DAY Ryan is checking out TIES when his cell phone rings. He checks the I.D. - UNAVAILABLE. He weighs it for a second. RYAN -LRB- PICKS UP. -RRB- Hello? KARA -LRB- O.C. -RRB- Hi Ryan. Ryan mouths a silent `` fuck''.","INT. KARA'S KITCHEN - NIGHT Kara is Ryan's sister. Her home overflows with books, photos, family collectables, and kid's artwork. RYAN -LRB- V.O. -RRB- Every family has one person who is the glue. The one who keeps the genealogy in check. That's my sister Kara - The glue. It just so happens that Kara is GLUING her daughter's school project mobile together. RYAN Hey Kara. KARA How are you holding up? RYAN Just fine. You? The kids? KARA -LRB- LYING. -RRB- Missy's outstanding. Matthew made varsity. How's the road? Ryan exits the store and we realize we are in.","INT. CONCOURSE, DALLAS FORT WORTH AIRPORT - DAY Ryan hops onto a PEOPLE MOVER. RYAN Could n't be better. KARA That's good. So, Ryan? RYAN -LRB- CAUTIOUS. -RRB- Yeah? KARA I did n't even want to have to ask you for this, because I know how you are about. doing things for others. Ryan rolls his eyes. KARA -LRB- CONT'D. -RRB- But we're coming in on three weeks to go for Julie's wedding and there's something we could really use your help on. RYAN Yeah. KARA We've been sending people these kits so they can print out photos of Julie and Jim on cardboard, and take photos of them in interesting places kind of like that gnome in the French movie. RYAN Why? KARA -LRB- SIGHS. -RRB- Because it's Julie's wedding. and she thinks it's fun. Does it matter why? RYAN How is Julie? KARA Would you call her? She thinks you've turned to butter - Disappeared. You're awfully isolated, the way you live. RYAN Isolated? I'm surrounded. KARA Your assistant told me you're going to be in Vegas. RYAN Did he? KARA Can you get a photo of the cut - out in front of the Luxor Pyramid? RYAN That place is a shit hole. No one stays there. KARA Jesus, Ryan, I'm not asking you to check in. Can you just take a stupid photo? RYAN I'm going to try my best. KARA Well, thank you for trying your best.","INT. BAR LOUNGE - HOUSTON HILTON - EVENING Ryan sits at one of the couch & table set - ups. He's going over some paperwork. He notices an attractive professionally dressed woman, ALEX, sifting through her purse. She sets a pair of car keys with a MAESTRO TAG on the table. RYAN You're satisfied with Maestro? ALEX Yeah, I am. RYAN They're stingy with their miles. I like Hertz. ALEX Hertz keeps its vehicles too long. If a car's over twenty - thousand miles, I wo n't drive it. Ryan is intrigued. RYAN Maestro does n't instant check out. I like to park and go. ALEX Hertz does n't guarantee Navigation. RYAN Funny, you do n't seem like a girl who needs directions. ALEX I hate asking for directions. That's why I get a Nav. RYAN The new outfit, Colonial, is n't bad. ALEX Is that a joke? After a beat. RYAN Yes. ALEX Their kiosk placement is a joke. RYAN Never have available upgrades. ALEX -LRB- PASSIONATE. -RRB- It's basically a fleet of shit boxes - Do n't know how they're still in business. RYAN -LRB- I love you. -RRB- I'm Ryan. ALEX Alex. RYAN So are you going to join me? She breaks into a smile.","INT. BAR LOUNGE - HOUSTON HILTON - LATER THAT EVENING Empty glasses litter the table. Ryan and Alex have taken over a couch and have the contents of their wallets spread out - All MEMBERSHIP CARDS. RYAN -LRB- grabs one of Alex's cards. -RRB- Maplewood Card? How dare you bring that into this palace. ALEX Hilton offers equal value and better food - But the Maplewood gives out warm cookies at check in. RYAN They got you with the cookies? ALEX I'm a sucker for simulated hospitality. RYAN There's actually an industry term for that. It's a mixture of faux and homey. It's faumey. Alex grabs Ryan's AMERICAN CONCIERGE KEY CARD. ALEX Oh my God. I've heard about these, but never seen one in person. Is this a? RYAN Concierge Key. Yeah. ALEX I love the weight. RYAN Graphite. I was pretty excited the day that puppy came in. ALEX I'll say. I put up pretty pedestrian numbers. Sixty thou a year, domestic. RYAN -LRB- TRYING. -RRB- That's not bad. ALEX Do n't patronize me. What's your total? RYAN That's a personal question. ALEX Oh please. RYAN -LRB- PLAYFUL. -RRB- I hardly know you. ALEX Show some hubris. Impress me. -LRB- SUGGESTIVE. -RRB- I bet it's huge. RYAN You have no idea. ALEX Come on. -LRB- holds her hands eight INCHES APART. -RRB- Is it this big? -LRB- extends a few inches. -RRB-. this big? RYAN Let's just say I've got a number in mind and I have n't hit it yet. Alex smiles, fair enough. Admires the CONCIERGE KEY CARD. ALEX This is pretty fucking sexy. RYAN I hope it does n't cheapen our relationship. ALEX We're two people who get turned on by elite status. We may have to settle for cheap. RYAN There's nothing cheap about loyalty. Alex looks into Ryan's eyes and gives him unspoken permission to take her right there and then.","INT. HOTEL HALLWAY - NIGHT Ryan and Alex walk down a curved corridor, suppressing laughter. There's no adult way to go back to somebody's hotel room. Once at the door, Ryan tries his KEY CARD, but it does n't work. He reaches into his pocket and comes up with five other key cards from recent trips. RYAN I really have to start throwing these out. He tries a couple. ALEX We can always use that room with the ice machine. Ryan chuckles. He finds the right key and opens the door.","INT. RYAN'S SUITE, HOUSTON HILTON - LATER THAT NIGHT Everything is scattered from a marathon Fuck. Ryan and Alex are laying on the bed, sprawled out on their backs like murder victims. RYAN Good call on the towel rack. ALEX Thanks. I liked how you burritoed me in the sofa cushions. RYAN I was improvising. ALEX Too bad we did n't make it to the closet. RYAN We got to do this again. TWO LAPTOPS SIDE BY SIDE RYAN I'm in Newark on the 12th, Madesto on the 13th, Oklahoma City on the 15th. ALEX Any Southwest? I'm swinging through Albuquerque the week of the 16th? RYAN No, but I'll be in Florida by the 20th. ALEX Miami? RYAN Ft. Lauderdale. ALEX That's nothing. RYAN Forty minutes. They simultaneously type each other into their calendars. ALEX I should probably go back to my room so I can wake up in my bed. RYAN I think that's the lady like thing to do.","INT. HOTEL CORRIDOR - NIGHT Ryan drops Alex off at her door. She flips the `` do not disturb'' on her door handle and kisses Ryan good night. The door closes. Ryan smiles to himself.","EXT. HOUSTON HILTON - NEXT MORNING Sprinklers doing their job. One's broken.","EXT. HOUSTON HILTON - MORNING Looking through the first floor window, we see Ryan doing laps in the pool.","INT. LOBBY, HOUSTON HILTON - MORNING Ryan gets a shoe shine.","INT. LOBBY, HOUSTON HILTON - DAY The CLERK swipes Ryan card.","EXT. CAR DROP OFF - MAESTRO RENT-A-CAR - DAY A CAR RETURN CLERK slides Ryan's card through a device.","INT. CHECK IN DESK, BUSH INTERCONTINENTAL AIRPORT - DAY Ryan SWIPES his FREQUENT FLIER CARD through the automated machine. A FEMALE DESK ASSISTANT notices the number, looks up at Ryan, and has a tiny orgasm right there.","INT. BOEING 757 - DAY Ryan looks out the OVAL WINDOW to the landscape of Omaha. RYAN -LRB- V.O. -RRB- Last year, I spent three hundred twenty two days on the road.","INT. KISS-N-FLY, EPPLEY AIRFIELD - DAY Ryan wheels passed a couple that leaps into each other's arms. RYAN -LRB- V.O. -RRB- Which means that I had to spend forty three miserable days at home.","EXT. RYAN'S APARTMENT BUILDING, OMAHA - DAY Ryan steps up to an upscale building with little character, searching for his keys at the bottom of his bag. Finally finds them and opens the front door.","INT. ELEVATOR, RYAN'S APARTMENT BUILDING - DAY Ryan presses his floor, when a NOSEY NEIGHBOR slides in. NOSEY NEIGHBOR Ryan? RYAN -LRB- does n't know his name. -RRB- Hi. NOSEY NEIGHBOR Feels like it's been months, busy man. We missed you at our Summer party. RYAN Yeah, sorry I could n't be there. NOSEY NEIGHBOR We've been trying to get a vote on the new landscaping. Can I e - mail you the plans? We'd love to get a final tally. RYAN It's fine. Really. I'll go with the majority. NOSEY NEIGHBOR Sometimes I forget that you even live here. You could probably save money and move into a hotel. RYAN -LRB- DEAD SERIOUS. -RRB- I looked into it, but the IRS requires a permanent address for employment. Otherwise, they classify you as a vagrant. Ding! - Ryan gets off at his floor. NOSEY NEIGHBOR Oh.","INT. RYAN'S APARTMENT, OMAHA - DAY Ryan walks in and sets his bag down. Reveal - the place is empty. Like empty, empty. Ryan opens the fridge - Chinese take out. Pizza box. Bottle of Vodka. Takes a whiff of something - not good. WOMAN'S VOICE Hey neighbor. Ryan turns to find Dianne, a pretty woman just shy of forty. RYAN Hey yourself. They hug - It's just intimate enough to know they've violated the rules of sleeping with your neighbors. DIANNE -LRB- hands over a package. -RRB- I signed for this while you were gone. RYAN Thanks. Hope it was n't a bother. Ryan opens it and finds the CUT - OUT of his sister Julie and her fiance Jim. It's an eighteen inch card stock photo of Jim hugging Julie from behind. DIANNE -LRB- RE : PHOTO. -RRB- They seem happy. RYAN It's my sister. She's getting married. Have n't met the guy yet. DIANNE Lots of luck. RYAN I know, right? They share a smile. Then, Dianne goes to leave. DIANNE It's good to see you. Feels like a while this time. RYAN Hey, you want to come over tonight? Dianne gets a little uncomfortable. DIANNE Actually, I kind of started seeing somebody. RYAN Oh, that's. that's great. DIANNE Yeah, we're having drinks tonight if you want to come over. RYAN That's okay. I' think I'll settle in. Dianne gives a smile/nod and exits. Ryan take another long look at the CUT - OUT. He shakes his head.","EXT. CTC HEADQUARTERS, CTC - MORNING A downtown midsize high rise.","INT. CONFERENCE ROOM - DAY The company has piled in, standing room only. Assistants and interns watch through the windows. Craig addresses the group including his own superiors. CRAIG GREGORY Just thrilled to have everyone under one roof. Welcome home boys. A couple odd looks from road warriors a decade his senior. CRAIG GREGORY -LRB- CONT'D. -RRB- I know there's are lot of whispering about why we're all here. Retailers are down twenty percent. Auto industry is in the dump. Housing market does n't have a heartbeat. This is our moment. It's one of the worst times on record for America. and I do n't want to be standing here two years from now, wondering how we missed this window of opportunity. A strangely encouraged response from the group. CRAIG GREGORY -LRB- CONT'D. -RRB- Now, last Summer we received a dynamite young woman by way of Cornell. She challenged us with some big ideas. My first reaction was, who does this kid think she is? But when I started to give a listen, I was pretty knocked out. So now, with a little peek into our future - Natalie Keener. Natalie stands up. NATALIE If there's one word I want to leave you with today, it's this. Natalie clicks on her POWER POINT PRESENTATION. POWER POINT SLIDE : `` GLOCAL'' Everyone including Ryan attempts to pronounce it. NATALIE -LRB- CONT'D. -RRB- Glocal. POWER POINT SLIDE : `` GLOBAL - > LOCAL'' NATALIE -LRB- CONT'D. -RRB- Our global must become local. POWER POINT SLIDE : A slide shows PEOPLE X 250. NATALIE -LRB- CONT'D. -RRB- This company keeps twenty three people on the road, at least two hundred fifty days a year. It's expensive and it's inefficient. When I came to Craig three months ago with this, he told me, and quite astutely - it's only a problem if you have a solution. Well, today I stand before you with jus that. She turns around and fires up her monitor. Sitting in a video conference session is a young man in a suit. NATALIE -LRB- CONT'D. -RRB- You all know Ned in reception. Various people say hello to Ned. NATALIE -LRB- CONT'D. -RRB- Today, I'm going to fire Ned. -LRB- ASIDE. -RRB- Sorry, Ned. I'm sure H.R. will hire you back this afternoon. Ned smiles. People chuckle in the conference room. One guy jokes `` Do n't count on it.'' NATALIE -LRB- CONT'D. -RRB- Ned could be any employee in any one of our client's locations worldwide. Strategy packets would be shipped in advance. Ned would be given a seat and find one of our transition specialists waiting for him. Natalie turns to the monitor and proceeds to fire Ned. It is a pretty dry process and lacks Ryan's charm. NATALIE -LRB- CONT'D. -RRB- Mr. Laskin, the reason we're having this conversation today is your position is no longer available. NED -LRB- from a script. -RRB- I do n't understand. I'm fired? NATALIE Hearing the words `` You've been let go'' is never easy. Change is always scary. But consider the following -. -LRB- using Ryan's line. -RRB- Anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. RYAN -LRB- QUIETLY. -RRB- That's my fucking line. NED Well, what happens now? NATALIE This is the first step of a process that will end with you in a new job that fulfills you. NED Yeah, but, how does it work? NATALIE I want you to take that packet in front of you. Ned picks up the packet. NATALIE -LRB- CONT'D. -RRB- Review it. All the answers you're looking for are inside. Start filling out the necessary information and before you know it, you'll be on your way to new opportunities. Ned starts to peruse the packet with fake interest. NATALIE -LRB- CONT'D. -RRB- Now Ned, I'm going to need you to go back to your desk and start putting together your things. As a favor to me, I'd appreciate it if you did n't spread the news just yet. Panic does n't help anybody. NED I understand. NATALIE Have a good day, Mr. Laskin and good luck with your future. NED Thank you. Ned gets up and goes to leave. NATALIE Give it up for Ned. People clap and tease him a little. POWER POINT : An animation of one monitor becoming multiple monitors, all tied into a central switch board in the middle of a map of the country. NATALIE -LRB- CONT'D. -RRB- You can start the morning in Boston, stop in Dallas over lunch and finish the day in San Francisco. All for the price of a T1 line. Our inflated travel budget is eviscerated by eighty - five percent. And most importantly to you guys on the road. No more Christmases in a hotel in Tulsa. No more hours lost to weather delays. You get to come home. Ryan is in a state of silent panic.","INT. CRAIG GREGORY'S OFFICE, CTC - MOMENTS LATER Ryan enters and stops short. RYAN Tell me you're not taking this seriously. CRAIG GREGORY Yeah, that's why we brought the entire company in from the road - Because we're not taking this seriously. RYAN It does n't make any sense. It's. -LRB- SEARCHING. -RRB-. completely impersonal. CRAIG GREGORY Who am I even talking to? RYAN There's a methodology to what I do. A reason why it works. CRAIG GREGORY Ryan, Coke and IBM have been doing it for years. Just like anything, there's a few months of transition, but everyone settles in. RYAN Who are you taking off the road? A beat. CRAIG GREGORY You do n't get it. You're grounded, Ryan. Everyone is. It's done. RYAN Okay, what we do here is brutal and leaves people devastated, but there's a dignity to the way I do it. CRAIG GREGORY Stabbing people in the chest instead of the back? Ryan rolls his eyes. Craig's door opens and Natalie pops her head in. NATALIE You wanted to see me? Craig goes to wave her off. RYAN Yeah, why do n't you come in. Natalie is confused but takes the chair next to Ryan. CRAIG GREGORY Great job in there, Nat. NATALIE Thank you. How's everyone taking it? Natalie and Ryan hold a look for a second. RYAN -LRB- TO NATALIE. -RRB- Look, I appreciate your. zeal. And you have some good ideas. But you know nothing of the realities of my job. Sure, you can set up an iChat. but you do n't know how people think. NATALIE Actually, I minored in psychology. CRAIG GREGORY Nice. RYAN -LRB- TO NATALIE. -RRB- Okay kiddo, fire me. CRAIG GREGORY Ryan, stop it. RYAN She's going to be doing this on a regular basis. You do n't want to know if she can fire somebody? CRAIG GREGORY She just fired Ned. RYAN My dog could fire Ned. -LRB- TO NATALIE. -RRB- Fire me. CRAIG GREGORY Ryan. NATALIE It's okay, I got this. Ryan and Natalie turn to face each other. NATALIE -LRB- CONT'D. -RRB- Mr. Bingham, I regret to inform you that your position is no longer available. RYAN Who the hell are you? NATALIE My name is Miss Keener and I'm here today to discuss your future. RYAN My future? I do n't know you. The only person who can fire me is Craig Gregory. NATALIE Mr. Gregory hired me to handle this for him. RYAN Handle what? Handle me? Mr. Gregory hired me and he's the only one who can fire me. I'm going to talk to him. Ryan gets up. Natalie gets up too. NATALIE Mr. Bingham. RYAN You ca n't follow me. You're on a computer screen. Remember? NATALIE -LRB- FRUSTRATED. -RRB- Ryan. Ryan sits back down. RYAN Try again. Fire me. NATALIE I just did. RYAN Actually, you did n't. Now, fire me. CRAIG GREGORY Stop it, Ryan. NATALIE -LRB- IGNORES CRAIG. -RRB- Mr. Bingham, I'm here today to inform you that your position is no longer available. RYAN I'm fired? NATALIE Yes, you're fired. RYAN -LRB- ASIDE. -RRB- Never say fired. NATALIE You've been let go. RYAN Why? NATALIE -LRB- breaks the moment. -RRB- This is a mythical situation. How could I possibly know why? RYAN You never know why. Why does n't matter. NATALIE -LRB- back on track. -RRB- It's important not to focus on the `` why'' and rather to spend your energy thinking about your future. RYAN I'm going to spend my energy on suing you if you do n't give me a reason that you're firing me. NATALIE Mr. Bingham, the reason is not important. RYAN Oh, so you're firing me without grounds. -LRB- TO CRAIG. -RRB- Now, I really have a lawsuit. CRAIG GREGORY Ryan, I think we know what you're trying to say. NATALIE -LRB- still in character. -RRB- Do n't take this personally, Mr. Bingham. Ryan stops. RYAN Personally? -LRB- quiet and calm. -RRB- This is the most personal situation you will ever enter. So before you try to revolutionize my business, I'd like to know that you actually know my business.","INT. RYAN'S OFFICE, CTC - DAY Ryan is staring out his window watching a plane take flight. Craig enters. CRAIG GREGORY Hell - of - a - way to welcome her to the team. RYAN Am I the only one who sees that by automating our own business, we're making ourselves irrelevant. CRAIG GREGORY -LRB- frankly. -RRB- No. We're making you irrelevant. Ryan shoots a look. CRAIG GREGORY -LRB- CONT'D. -RRB- Hey, do n't blame me. Blame fuel costs. Blame insurance premiums. Blame technology. -LRB- A BEAT. -RRB- Watch yourself, Ryan. You're too young to be a dinosaur. RYAN I'm not. I'm not a dinosaur. CRAIG GREGORY I want you to show her the ropes. RYAN What do I know about what happens around here? Have Ferguson do it. CRAIG GREGORY I'm not talking about here. A beat as Ryan registers what Craig means : The Road. RYAN No. CRAIG GREGORY Hey, you seem pretty confident that this girl does n't know what she's doing. RYAN Excuse me. I just do n't think a MySpace page qualifies you to rewire an entire company. CRAIG GREGORY Great. Well, here's your chance. Show her the magic. Take her through the paces. RYAN I'm not a fucking tour guide. Craig cups one of his hands and places a FOLDED POST - IT between his fingers like a ship's sail. CRAIG GREGORY -LRB- re : his hand. -RRB- This is the boat. Craig raises his other finger far away. CRAIG GREGORY -LRB- CONT'D. -RRB- -LRB- re : his finger. -RRB- This is you. A beat of Ryan taking in this ridiculous illustration. CRAIG GREGORY -LRB- CONT'D. -RRB- Do you want to be in the boat? RYAN Yes. Alone. CRAIG GREGORY Ryan, we're ringing the bell. Rounding everybody up. If you want to stay out there a little longer, you can. But you're not going to be on your own. -LRB- begins to leave. -RRB- Let me know. Ryan churns.","INT. RYAN'S APARTMENT - DAY Ryan is packing his ROLL - AWAY BAG. It is practiced and systematic. He's just about finished, when he notices the CUT - OUT of his sister's engagement photo. He tries placing it in the open bag, but it is immediately clear that the photo is two inches to long. He tries putting it on an angle, but that does n't help. RYAN Huh. Ryan centers the cut - out again and tries to ZIP around it, but he ca n't get the zipper around the HEADS of the photo. For a moment, it almost seems like he's assaulting their tiny head with the zipper handle. Does n't help. A moment of silent frustration. THE ROLL - AWAY Being pulled through an airport. The little heads of Ryan's sister and her fiance are poking out the top of the bag. The two zippers have been closed on either side of them as though they were tiny passengers peeking out the sunroof.","INT. EPPLEY AIRFIELD, OMAHA - MORNING Ryan cuts right through the crowd, wheeling his carry - on towards the automatic check - in machines. Ryan stops when he notices NATALIE saying goodbye to her BOYFRIEND - a kind of Hollister looking guy in his mid - twenties. He's not thrilled by the public affection. After a beat, they break and he exits. Natalie sees Ryan and starts dragging her LARGE SUITCASE towards him. The SCRAPING against the terrazzo sends a shiver up Ryan's spine. She arrives and sets the heavy bag down with a CLUNK. Ryan stares at her travel case for a beat then up to her. NATALIE What? A ROW OF ROLL AWAY BAGS","INT. LUGGAGE STORE, EPPLEY AIRFIELD - MORNING Ryan pulls one out and tests the action. NATALIE I really like my luggage. RYAN That's exactly what it is. Luggage. -LRB- off of Natalie's look. -RRB- You know how much time you lose by checking in? NATALIE I do n't know, maybe five minutes waiting for. RYAN Thirty five minutes per flight. I travel two hundred seventy days a year. That makes one hundred fifty seven hours. That's Seven Days. -LRB- points to her luggage. -RRB- You ready to throw away a whole week on that?","INT. TERMINAL FLOOR, EPPLEY AIRFIELD - MORNING Natalie is attempting to repack her new bag in the middle of the airport. Ryan helps by throwing a couple things out.","INT. SECURITY, EPPLEY AIRFIELD- MORNING Ryan spots various `` bad lines'', then sees a group of Asians. RYAN Bingo. Asians. Ryan starts walking. NATALIE You ca n't be serious. As they pass the first line - A FAMILY OF SIX. RYAN Never get behind people travelling with infants. I've never seen a stroller collapse in less than twenty minutes. Second Line - AN ELDERLY COUPLE RYAN -LRB- CONT'D. -RRB- Old people are worse. Their bodies are littered with hidden metal and they never seem to appreciate how little time they have left on Earth. Third Line - A COUPLE MIDDLE EASTERN GUYS. RYAN -LRB- CONT'D. -RRB- Five words. Randomly selected for additional screening. They enter the fourth line behind the Asians. RYAN -LRB- CONT'D. -RRB- Asians. They're light packers, treasure efficiency, and have a thing for slip - on shoes. God love'em. NATALIE That's racist. RYAN I'm like my mother. I stereotype. It's faster.","INT. SECURITY, EPPLEY AIRFIELD MOMENTS LATER Ryan is just fastening his belt, having just gone through security, when we hear a beeping go off. Natalie is trying to find the metal on her body that has set off the machine. She also has forgotten to take her laptop out of her bag. It's a mess.","INT. BOEING 757 - MID FLIGHT Ryan is sketching a theoretical book cover for `` The Backback''. Natalie is working on an Excel Document on her laptop - She's a loud tapper. Hitting the keys with violent strokes. It draws Ryan's attention and a raised eyebrow. RYAN Are you upset at your laptop? NATALIE No. Why? RYAN Fats Domino had a lighter touch. NATALIE I type with purpose. RYAN What are you working on so furiously? NATALIE I'm building a work flow of firing techniques. Questions & responses. Actions & reactions. A script that works kind of like a tributary, taking you through the steps of firing someone. RYAN Who is it for? NATALIE Theoretically, you could put it in the hands of anybody and they could be downsizing immediately. All they have to do is follow the steps. RYAN Natalie, what is it, you think we do here? NATALIE We prepare the newly unemployed for the emotional and physical hurdles of job hunting while. Minimizing potential legal blowback? RYAN That's what we're selling. But it's not what we're doing. NATALIE Okay, what are we doing? RYAN Our job is to make limbo tolerable - To ferry wounded souls across the river of dread and humiliation to the point at which hope's bright shore is dimly visible. -LRB- FRANKLY. -RRB- And then to stop the boat, shove'em in the water, and make them swim while we row back to the palace of their banishment to present the employers with our bills. NATALIE That was really impressive. You rehearse that? Natalie smiles and goes back to her work. Ryan goes to say something, but holds back for now.","INT. MAIN TERMINAL, ST. LOUIS INT'L AIRPORT - DAY Ryan zips through the wandering types as Natalie tries to keep up. Ryan's phone rings. He sees the caller ID. Smiles. RYAN -LRB- TO NATALIE. -RRB- I got to grab this. I'll meet you at the rental lot. Natalie nods and keeps moving. Ryan picks up. RYAN Hey, I was hoping I'd hear from you.","INT. HOTEL CONFERENCE ROOM - DAY Alex is on her cell phone as a junior behind her folds a portable projector screen. ALEX I'm in Hotlanta. I need a rib joint recommend bad. RYAN -LRB- SMILES. -RRB- Fat Matt's. Bring a bib. Ryan turns into an elevator well to talk. ALEX You have n't called. RYAN You know, I did n't know what was appropriate. Alex stops. She moves to a quieter place. ALEX Ryan, I'm not some waitress you banged in a snow storm. The word `` Appropriate'' has no place in our collective vocabulary. I'm the woman you do n't have to worry about. RYAN This sounds like a trick. ALEX Next time you're worried about manners - Do n't. If you want to call - Call. Just think of me as yourself. only with a vagina. Ryan lights up. This woman fucking rocks. Then recovers. RYAN When am I going to see you? ALEX I'm out of Hartsfield, into IAD, then a connection at ORD into SDF. RYAN -LRB- COMPASSIONATE. -RRB- Oh. sorry. ALEX Tell me about it. RYAN How long is your layover in O'Hare? They've got multiples into SDF. Think you could push? ALEX -LRB- SMILES. -RRB- I can push. Joy.","INT. ELEVATOR, BOTTLING COMPANY - DAY Ryan and Natalie ride, briefcases in hand. Natalie is swaying back and forth. Ryan notices. Is she nervous? Excited? Ding - The elevator door opens.","INT. RECEPTION, BOTTLING COMPANY - DAY Ryan and Natalie enter the door to find a reception desk on an empty floor. Scattered telephones sit on the ground where desks used to be. A few desks in one corner are still manned. Natalie tries not to show : It's all becoming very real. RYAN -LRB- to desk girl. -RRB- Ryan Bingham, from CTC. The desk girl looks up from her work. She knows who they are.","INT. CUBICLE CITY, BOTTLING COMPANY - DAY Ryan and Natalie pass rows of cubicles. Heads begin to pop up to see their arrival. Natalie accidentally makes eye contact with one guy, then quickly shifts her gaze forward.","INT. WINDOWLESS CONFERENCE ROOM, BOTTLING COMPANY - DAY Ryan and Natalie sit next to each other at a polyurethane conference table. RYAN All you have to do today is watch and listen. When I talk about the strategy packet. You hand them one of these. Ryan points to a stack of packets. NATALIE You ever find it strange that termination comes with a packet. RYAN Everything important in life comes with a packet. MONTAGE OF MORE REAL PEOPLE REACTING TO BEING FIRED A SERIES OF REAL PEOPLE sit down across from Ryan and Natalie RYAN Thank you for coming by. As you're probably well aware, this is a tough economic climate and your company is not immune. REAL PEOPLE tighten up as they begin to catch on. RYAN While I wish I was here with better news, the reason you and I are meeting is this is your final week of employment here. REAL PEOPLE blame all sorts of people and situations that they personally hold responsible. RYAN This is not a time to look for blame. Your position simply no longer exists. REAL PEOPLE respond further. Some are enraged. Some are polite. One is even grateful. RYAN I understand why you are saying these things. It's perfectly natural to feel this way. I want you to take the next week to explore this strategy packet. Ryan nods to Natalie who we now see begrudgingly HANDING PACKETS to all of the REAL PEOPLE we've already met. RYAN Fill out the skill set work sheet. Use the hopes and dreams diagram. And the tree of aspirations. We SEE the `` TREE OF ASPIRATIONS'' sheet. RYAN -LRB- WITH EMPHASIS. -RRB- The answers are all in there. We see more packets getting handed out as Ryan repeats. RYAN The answers are all in there. -LRB- ANOTHER PERSON. -RRB- The answers. -LRB- ANOTHER PERSON. -RRB- The answers. -LRB- ANOTHER PERSON. -RRB-. are - all - in - there. BOB -LRB- AN ACTOR -RRB- PRESENTING A PHOTO OF HIS CHILDREN BOB And what do you suggest I tell them? BOB. Dry red eyes from tears of rage stare down the lens. Natalie ca n't hold back any longer. NATALIE -LRB- A SUGGESTION. -RRB- Perhaps you're underestimating the positive effect your career transition may have on your children. Ryan looks at Natalie like she's out of her mind. BOB Positive effect? NATALIE Well, tests have shown that children under moderate trauma have a tendency to apply themselves academically as a method of coping. BOB Go fuck yourself. That's what my kids'll think. Natalie shrinks. Ryan immediately covers. RYAN Your children's admiration is important to you? BOB Yeah. It was. RYAN -LRB- FRANKLY. -RRB- Well, I doubt they ever admired you, Bob. Bob looks up shocked and pissed. BOB Hey asshole, are n't you here to console me? RYAN I'm not a shrink, Bob. I'm a wake up call. You know why kids love athletes? BOB Because they screw lingerie models. RYAN No, that's why we love athletes. Kids love them because they follow their dreams. BOB Yeah, well I ca n't dunk. RYAN But you can cook. Natalie looks to Ryan - Where is he going with this? BOB What are you talking about? Ryan picks up Bob's resume. RYAN Your resume says you minored in French Culinary Arts. Most students work the frier at KFC. You bussed tables at Il Picatorre to support yourself. Then you got out of college and started working here. -LRB- looks up at Bob. -RRB- How much did they first pay you to give up on your dreams? BOB -LRB- FLAT. -RRB- Twenty seven thousand a year. RYAN At what point were you going to stop and go back to what made you happy? Bob simply shrugs. RYAN Do you believe in fate, Bob? BOB Fate? RYAN Yeah. You know, the mysterious ways in which we wind up doing the things we were meant to do. BOB -LRB- OFFERING. -RRB- I met my wife at a gas station. RYAN Exactly. Well, I think fate is telling you to do something, Bob. Bob looks up and meets eyes with Ryan. RYAN -LRB- CONT'D. -RRB- I see guys who work for the same company their entire lives. Clock in. Clock out. Never a moment of happiness. -LRB- pauses for effect. -RRB- Not everyone gets this kind of opportunity. The chance for rebirth. If not for yourself. Do it for your kids. Bob's eyes begin to water again. He's a changed man. Ryan shoots Natalie a look - Hand over the packet. Natalie jumps to attention and hands Bob a packet.","INT. LOBBY, ST. LOUIS HILTON - NIGHT There's a BUSINESS WOMAN waiting in the regular line. Ryan walks right past her and gets into the ELITE LINE. They are now both first in their respective lines for the counter. The woman looks over at Ryan and sighs. Natalie holds back, confused by Ryan's actions and wanting to avoid confrontation. The DESK CLERK frees up and gestures for Ryan to step forward. Ryan begins wheeling his bag forward. Meanwhile, the woman lifts her hand in outrage. BUSINESS WOMAN I've been waiting ten minutes. He just waltzes in and gets to cut in line. DESK CLERK We reserve priority assistance for our Hilton Honors members. Ryan grabs a BROCHURE for ELITE MEMBERSHIP off the desk and hands it to the business woman. RYAN You should look into it - The promotions are great. The woman bats it out of Ryan's hand onto the floor. BUSINESS WOMAN Fuck off. Ryan looks back at the desk clerk and smiles. The desk clerk swipes his card. Ryan's DIGITAL NUMBER bumps up another thousand points.","INT. PUBLIC BATHROOM, ST. LOUIS HILTON - EVENING Natalie is washing her hands, when she stops to look at herself in the mirror. After a beat, she hears someone CRYING in one of the stalls. She goes to see if the woman is okay, then stops herself - Maybe I fired her. She grabs a paper towel, dries off her hands, and leaves.","INT. RESTAURANT BAR, ST. LOUIS HILTON - EVENING Natalie sits back down at the table a little visibly shaken. RYAN You okay? NATALIE -LRB- COVERS QUICKLY. -RRB- Yeah. Fine. Just then, their food arrives. And there's a lot of food. Natalie's eyes move back and forth trying to figure out why there seems to be three main courses and a bunch of sides. NATALIE Hungry, much? RYAN Our expense account allots for forty dollars each on dinner. I plan on grabbing every mile I can. NATALIE Okay, you got to fill me in on this mile business. What's that all about? Are you talking like frequent flier miles? Ryan gives Natalie a look - Is she ready for this information? RYAN Your really want to know? NATALIE -LRB- MOCK SERIOUS. -RRB- I'm dying to know. RYAN I do n't spend a nickel, if I can help it, unless it somehow profits my mileage account. I'm not talking hotel rooms and rental cars either, but internet services, cell phone, music downloads, teleflorists. The works. I shop them according to the miles they pay and I pit them against each other for the most value. NATALIE So, what are you saving up for? Hawaii? South of France? RYAN No, it's not like that. The miles are the goal. NATALIE That's it? You're saving to save? RYAN Let's just say I've got a number in mind and have n't hit it yet. NATALIE Wow. Seems a little abstract. What's your target? RYAN I'd rather not. NATALIE -LRB- TEASING. -RRB- It's a secret target? RYAN It's ten million miles. NATALIE Huh. Is n't ten million just a number? RYAN Pi is just a number. NATALIE I guess we all need a hobby. Ryan looks back at Natalie - Hobby? NATALIE -LRB- CONT'D. -RRB- Oh hey, I did n't mean to belittle your collection. I get it. Sounds cool. RYAN I'd be the seventh person to do it. More people have walked on the moon. NATALIE Do they give you a parade or something? RYAN Lifetime Exec Platinum status. You get to meet the Chief Pilot, Maynard Finch. And. They put your name on the side of a plane. NATALIE Men get such a hard - on from putting their name on stuff. You guys do n't grow up - You just need to pee on everything. RYAN Now, who's stereotyping? NANCY Fear of mortality. It's like Yes, you're going to die one day. RYAN And why do you suppose that's singular to men? NATALIE Probably cause you ca n't have babies. Ryan ca n't help but laugh a little. NATALIE -LRB- CONT'D. -RRB- If I had that many miles, I'd just show up at the airport, look up at one of those big destination boards, pick a place and go. This idea sinks in for a second with both of them.","INT. RYAN'S ROOM, ST. LOUIS HILTON - NIGHT Ryan is laying in bed wearing a Hilton bathrobe. He's reviewing his sister's wedding invite when his BLACKBERRY BUZZES on the night stand. He reaches over to check it. It's a text message : Alex : `` Ca n't fall asleep.'' Ryan types back : Ryan : `` Me too. Just laying here.''","INT. ALEX'S HOTEL ROOM - NIGHT Alex is in a t - shirt, lying in bed. She types away at her BLACKBERRY and presses SEND. Ryan's BLACKBERRY BUZZES again. Alex : `` You should rub one out.'' RYAN -LRB- CHUCKLES. -RRB- Thanks for the advice. Types back. Ryan : `` Only fair if you do too.'' BLACKBERRY BUZZES again. Alex : `` Way ahead of you.'' RYAN Man alive. Ryan : `` Call me next time so I can listen.'' Alex :'' ;-RRB- Have sweet dreams about me.'' Ryan smiles. He stares at the message for a second, then sets the blackberry down and turns off the light.","EXT. LAMBERT FIELD, ST. LOUIS - DAY Natalie is standing with a camera in her hands, giving directions. NATALIE Left, left, left, left. one more inch. and stop. Reveal : Ryan is placing the CUT - OUT of Julie and Jim. The camera POV makes it look like Julie and Jim are standing in front of St. Louis International Airport. NATALIE I do n't get it. RYAN My sister is cooky. She thinks this is charming. Like the gnome thing. NATALIE No, I mean. why would your sister want a fake photo in front of the St. Louis Airport? RYAN She should be so lucky to visit Lambert Field. The Wright Brothers flew through there. -LRB- points out the conical MAIN TERMINAL. -RRB- The domed main terminal was the first of its kind. A precursor to everything from JFK to DeGualle. NATALIE -LRB- LAME. -RRB- Wow. Pretty sweet. Natalie takes the photo. RYAN Why she wants dozens of reminders of all the places she has n't been is beyond me. NATALIE Well, I'm sure she's going to be crushed for having missed this airport. RYAN Look - Before Lindbergh could cross the Atlantic, he took off from one of those runways. Ever wondered why they call it the Spirit of St. Louis? NATALIE -LRB- QUICKLY. -RRB- No. Ryan goes to say something, but Natalie is already gone.","INT. CONFERENCE ROOM, WICHITA SECURITIES COMPANY - DAY Ryan and Natalie sit stoically as a YOUNG ASIAN GUY rants about why they are idiots to fire him. YOUNG ASIAN GUY And another thing? You know how fucked this place is without me? You know how fucked this place is without me? Fucked in the ass, man. I am the one thing preventing this place from being totally fucked in the ass. The young asian guy snaps up one of the PACKETS and leaves, slamming the door behind himself. RYAN Sometimes, they just need to vent. NATALIE Please, for the love of God, can I fire the next one? Ryan gives it some thought.","INT. CONFERENCE ROOM, WICHITA SECURITIES COMPANY - LATER A professional African - American woman wearing a smart suit sits down at the conference table. Natalie sits up. KAREN I'm here to be fired, right? NATALIE We're here to talk about your future. KAREN You do n't have to sugar coat it. I get the drill. What are they offering? NATALIE Inside the packet you'll find a clearly worked out severance package. KAREN Give me the bullet points. NATALIE Three months pay. Six months medical. A full year of placement services through our company, CTC. KAREN Placement services? How generous. NATALIE Commonly, it takes one month of searching for every ten thousand dollars you expect to earn in salary. KAREN So I could be looking for a while. NATALIE Not necessarily. KAREN Oh, do n't sweat it. I'm pretty confident about my plans. NATALIE -LRB- SPIRITS LIFTED. -RRB- Oh yeah? KAREN Yeah. Can you tell me? Is high tide in the morning or the evening? NATALIE I do n't know. Why? KAREN There's this beautiful bridge by my apartment. I need to figure out what time to jump off it. Natalie begins to tremble.","EXT. WICHITA SECURITIES COMPANY COURTYARD - DAY Natalie bursts out the doors and sits on a bench. She's freaked out. Ryan is five steps behind her. He puts a hand on her shoulder. RYAN People say these things all the time. It comes with the trade. NATALIE They do? RYAN Sure. People are always saying crazy stuff. They get worked up. NATALIE She was so calm. RYAN -LRB- not quite sure. -RRB- I think that's a good sign. NATALIE So they do n't actually ever do it? RYAN No. it's just talk. NATALIE How do you know? Do you follow up? RYAN I mean, no, nothing good can come of that, but I do n't think you should worry about it. Natalie is clearly still worried. RYAN -LRB- CONT'D. -RRB- This is the job. Taking people at their most fragile moment and setting them adrift. BEGIN MONTAGE A PLANE PULLING BACK ITS GATE AND TAKING OFF WHITE COLLAR PEOPLE ARE HANDED PACKETS RYAN AND ALEX ENTERING A NEW HOTEL ROOM. THEY'RE BECOMING MORE COMFORTABLE WITH EACH OTHER","INT. BOEING 757 - DAY Looking out the window at the passing landscape. Over the pastures and roads, we see GRAPHIC WHITE LINES AND NUMBERS denoting each mile as they click by. Ryan tears a page out of AMERICAN WAY MAGAZINE outlining their mileage program and hands it to Natalie. GARDENER DRIVES A RIDER MOWER ACROSS A TINY STRETCH OF GRASS","INT. HILTON HOTEL LOBBY - EARLY MORNING Ryan turns a corner to find Natalie talking to her computer screen with headphones on. She's having an iChat with someone, but we only hear her side of the conversation. Ryan decides to listen in for a second. NATALIE I'll be back soon. Not really sure how long this whole exercise is supposed to last. He's fine. It's hard for these guys to accept change, you know. -LRB- listens, rolls eyes. -RRB- I. I'm not even going to answer that. No, I ca n't even think of him that way. He's old. Ryan frowns. Checks a mirror. A NEW OFFICE - MORE EMPLOYEES REACT TO BEING LAID OFF WE SEE SHOTS OF VARIOUS SLICES OF THE AMERICAN LANDSCAPE FROM THOUSANDS OF FEET IN THE AIR","EXT. MIAMI INTERNATIONAL AIRPORT - DAY A 757 touches down on the runway. MUSIC BEGINS TO FADE AS THE MONTAGE COMES TO A CLOSE ON. RYAN'S HEADSHOT - sitting on an EASLE.","INT. CONFERENCE ROOM, WICHITA HOTEL - AFTERNOON Ryan stands before a similar crowd as the opening of the film. RYAN Okay. This is where it gets a little difficult, but stay with me. You have a new backpack. but this time, I want you to fill it with people. Start with casual acquaintances, people around the office, friends of friends and work your way to the people you trust with your most intimate secrets. Now move into family members - cousins, aunts, and uncles. Get your sisters and your brothers and you parents. Get them all in that backpack. And finally your husband or wife or boyfriend or girlfriend. Get them in their too. A titter through the crowd. For the first time, we see Natalie near the side, watching. RYAN -LRB- CONT'D. -RRB- Do n't worry. I'm not going to ask you to light it on fire. Light laughter. RYAN -LRB- CONT'D. -RRB- Feel the weight of that bag. Make no mistake, your relationships are the heaviest components of your life. Feel the straps cutting into your shoulders. All those negotiations and arguments and secrets and compromises. Ryan lets the weight sink in. RYAN -LRB- CONT'D. -RRB- Now set that bag down. You can feel the relief in the room. RYAN -LRB- CONT'D. -RRB- You do n't need to carry all that weight. Noticeable agreement. RYAN -LRB- CONT'D. -RRB- Some animals were meant to carry each other. To live symbiotically over a lifetime. Star - crossed lovers. Monogamous swans. We are not one of those animals. Ryan focuses towards his conclusion. RYAN -LRB- CONT'D. -RRB- The slower we move, the faster we die. We are not swans. We're sharks.","INT. ANNEX, WICHITA HOTEL - AFTERNOON Ryan has finished his session and is talking to eager stragglers. Ryan accepts a business card and elaborates on one of his theories. Meanwhile, down the hall, Natalie is finishing a phone call. She looks shell shocked. She closes her phone and pockets it in silence.","EXT. TARMAC, MIAMI INTERNATIONAL AIRPORT - DAY AN AMERICAN AIRLINES PLANE touches down.","EXT. MIAMI BOULEVARD - DAY We're following a HILTON SHUTTLE down a street of PALM TREES.","INT. HILTON AIRPORT SHUTTLE - AFTERNOON Natalie and Ryan ride back to the airport. We catch them mid - conversation as Natalie drills Ryan on his theory. NATALIE Never? Ryan smiles to the few other riders as if apologizing. NATALIE -LRB- CONT'D. -RRB- You never want to get married? Never want kids? RYAN Is that so bizarre? NATALIE Yes. Yes it is. RYAN I do n't see the value. Natalie sighs. RYAN -LRB- CONT'D. -RRB- Sell it to me. NATALIE What? RYAN Sell me marriage. NATALIE I. Uh. How how about love? RYAN Pff. NATALIE Okay. Stability? RYAN How many stabile marriages do you know? NATALIE Someone to talk to, spend your life with? RYAN I'm surrounded by people to talk to. I doubt that will change. The shuttle stops and everyone goes to grab their bags.","INT. LOBBY, MIAMI HILTON - DAY Ryan and Natalie enter, still having the same conversation. NATALIE How about just not dying alone? Ryan stops to address this. RYAN Starting when I was twelve, we moved each one of my grandparents into a nursing facility. My parents went the same way. -LRB- A BEAT. -RRB- Make no mistake. We all die alone. Ryan turns, thinks of something, then turns back. RYAN -LRB- CONT'D. -RRB- -LRB- ADDING. -RRB- Those cult members down in San Diego with the white sneakers and little Dixie cups of Kool - Aid. They did n't die alone. Natalie looks steamed. RYAN -LRB- CONT'D. -RRB- Just saying - There's options. Out of nowhere, Natalie starts crying. RYAN -LRB- ALMOST SILENT. -RRB- Oh fuck. Natalie is now balling in the middle of the lobby. NATALIE Brian left me. RYAN Oh, hey. I. Ryan goes to hug Natalie and she simply folds into his arms - A mop of tears. Ryan looks around for a place to set her down. Instead, he finds. ALEX - Who gives a questioning look to the young sobbing girl. RYAN Hi. Alex this is Natalie. Natalie, this is my. friend, Alex. ALEX I should give you both a moment. Natalie attempts a recovery. It's not graceful. NATALIE No, it's fine. I'm fine. Just stupid emotions. Natalie gives Alex a firm handshake. ALEX Maybe a drink? Ryan goes to challenge the idea, when. NATALIE Now we're talking. Natalie leads the way. Alex and Ryan exchange quick hellos. THE SCREEN OF NATALIE'S CELL PHONE TEXT READS : `` I Think it's time we c other people''","INT. BAR LOUNGE - MIAMI HILTON - MOMENTS LATER The three share a booth. Natalie is sipping a drink. She seems to have settled a little. ALEX He broke up with you over text message? RYAN -LRB- SOFT DIG. -RRB- That's kind of like firing people over the internet. Both Natalie and Alex shoot Ryan a look. ALEX -LRB- re : the ex - boyfriend. -RRB- What a weasely prick. NATALIE Yeah, but what does that make me? Someone who falls for a prick? ALEX We all fall for them. Pricks are spontaneous, unpredictable, and fun. And then we're surprised when they turn out to be pricks. NATALIE I followed him to Omaha. RYAN You did? NATALIE I had a job waiting for me in San Fran, when he got an offer from ConAgra. He told me we could start a life together. So I followed him. RYAN To Nebraska. NATALIE I look in the mirror and I just see compromise. I'm supposed to do something. ALEX You'll do plenty. NATALIE I just ca n't. I thought I'd be engaged by now. -LRB- CATCHES HERSELF. -RRB- No offense. ALEX RYAN It's alright. None taken. NATALIE When I was sixteen, I thought by twenty three, I would be married, maybe have a kid. Corner office by day, entertaining at night. I was supposed to be driving a Grand Cherokee by now. ALEX Life can underwhelm you that way. NATALIE Now I have my sights on twenty nine, because thirty is just way too. apocalyptic. I mean, where did you think you'd be by. Natalie catches herself, having no idea how old Alex is. ALEX It does n't work that way. RYAN At a certain point, you stop with the deadlines. ALEX They can be a little counterproductive. NATALIE I do n't want to say anything that's. anti - feminist. I mean, I really appreciate everything your generation did for me. ALEX -LRB- my generation? -RRB- It was our pleasure. RYAN Well done. NATALIE But sometimes it feels like no matter how much success I have, it all wo n't matter until I find the right guy. ALEX You really thought this guy was the one. NATALIE Yeah, I guess. I do n't know. I could have made it work. He just really fit the bill. RYAN The bill? NATALIE My type. You know, white collar. College grad. Loves dogs. Likes funny movies. Six foot one. Brown hair. Kind eyes. Works in finance but is Outdoorsy, you know, on the weekends. -LRB- we think she's done. -RRB- I always imagined he'd have a single syllable name like Matt or John or. Dave. In a perfect world, he drives a Four Runner and the only thing he loves more than me is his golden lab. Oh. and a nice smile. -LRB- back to Alex and Ryan. -RRB- How about you? This catches both Alex and Ryan off guard. RYAN I'm not sure if. NATALIE I meant Alex. RYAN Right. ALEX Huh, let me think for a sec. -LRB- mulls it over. -RRB- Well, by the time you're thirty four, all the physical requirements are pretty much out the window. I mean you secretly prey he'll be taller than you. Ryan smiles. ALEX -LRB- CONT'D. -RRB- Not an asshole would be nice? Just someone who enjoys my company. Comes from a good family - You do n't think about that when you're younger. -LRB- THINKING. -RRB- Wants kids. Likes kids. Wants kids. Healthy enough to play catch with his future son one day. We can tell Ryan is taking a serious interest in this. ALEX -LRB- CONT'D. -RRB- Please let him earn more than I do. That does n't make sense now, but believe me, it will one day. Otherwise it's just a recipe for disaster. -LRB- REACHING. -RRB- Hopefully some hair on his head? But it's not exactly a deal - breaker anymore. Nice smile. Yep, a nice smile just might do it. Alex looks to Ryan. He has a nice smile. NATALIE Wow. That was depressing. Alex and Ryan react - It's not that bad. NATALIE -LRB- CONT'D. -RRB- I should just date lesbians. ALEX Tried it. We're no picnic ourselves. Natalie looks worse than when the conversation started. NATALIE I do n't mind being married to my career, and I do n't expect it to hold me in bed as I fall asleep. -LRB- LOOKS UP. -RRB- I just do n't want to settle. ALEX You're young. Right now you see settling as some sort of failure. NATALIE It is. By definition. ALEX Do n't worry, by the time someone is right for you, it wo n't feel like settling. And the only person left to judge you will be the twenty four year old girl with a target on your back. Natalie cracks a smile. Ryan looks to Alex. They've grown closer.","INT. LOBBY LOUNGE, MIAMI HILTON - DAY Ryan, Alex, and Natalie wheel their ROLL - AWAYS towards the elevator. NATALIE So, what's the plan for this evening? Ryan and Alex share an uncomfortable silence. NATALIE What? Oh, is it illicit? RYAN -LRB- QUICKLY. -RRB- No. ALEX It's nothing like that. NATALIE We are in Miami. RYAN We were going to hit that party for the tech conference in the hotel. Natalie notices a group of SOFTWARE TYPES mingling with badges around their necks. NATALIE I did n't know you could just attend those. ALEX Well, I mean. NATALIE -LRB- EYES WIDEN. -RRB- You're going to crash it? RYAN ALEX I mean, I do n't know if. More money than they know These guy put on a quite a what to do with. party. NATALIE No, I get it. I'm in!","INT. CONFERENCE CORRIDOR, MIAMI HILTON - NIGHT Ryan, Alex, and Natalie confidently walk up to the CHECK - IN TABLE and take BADGES. They turn the corner. Alex reads Natalie's badge. ALEX Jennifer Chu? NATALIE Oh shit! RYAN It's going to be fine.","INT. SOFTWARE CONVENTION PARTY, MIAMI HILTON - NIGHT Corporate color balloons. Lots of guys in LOGO POLOS. That great hip hop song from 1998 is playing over the PA.. We find Ryan, Alex, and Natalie at a stand up table. They're now wearing badges. Natalie is pretty tipsy at this point. RYAN -LRB- TO NATALIE. -RRB- You okay there? NATALIE Oh yeah. This was a great idea. -LRB- TO ALEX. -RRB- You are so pretty. You're exactly what I want to look like in fifteen years. ALEX Thank you, Natalie. A CONFERENCE LEADER steps up to an on stage MIC. CONFERENCE LEADER How's everyone doing out there?! People cheer. So do Ryan, Alex, and particularly Natalie. CONFERENCE LEADER I'm going to need you to all put your hands together for a very special guest - YOUNG. M. C! The opening beats of the 90's jam `` Bust - A - Move'' blast over the speakers and sure enough, now - 40 - year - old rapper, Young MC steps out and starts rapping. YOUNG MC THIS HERE'S A TALE FOR ALL THE FELLAS. TRY TO DO WHAT THOSE LADIES TELL US. GET SHOT DOWN CAUSE YOU'RE OVERZEALOUS. PLAY HARD TO GET, FEMALES GET JEALOUS. Everyone goes crazy and starts dancing. Ryan and Alex make it out to the dance floor. They're awful dancers, but they're having fun. RYAN Think she'll be okay? ALEX Look. Natalie has already found a dancing partner, who ca n't believe his luck. She's all over him. Ryan smiles.","EXT. BOAT - NIGHT A nice two story yacht that was obviously purchased before the bubble popped. Inside the galley, a group is playing karaoke. NATALIE, wearing BADGES like Mardi Gras beads, is singing `` Time After Time''. Meanwhile, near the back, Ryan and Alex sit with their legs hanging off the back of the hull. ALEX Back home, I do n't get to act the way I do with you. RYAN That's why I do n't have a `` back home''. ALEX I know. You're so cool. `` Mr. Empty Back Pack''. Ryan emotionally stumbles. RYAN You know about the back pack? ALEX I googled you. RYAN You did? ALEX It's what us modern girls do when we have a crush. RYAN Did it bother you? ALEX Well, that depends. Is the bag empty because you hate people or just the baggage they bring along? RYAN I do n't hate people. I'm not exactly a hermit. ALEX You just do n't want to be tied down? The whole responsibility thing. RYAN I do n't think it's even that. I. First time I ever flew, I was sixteen. ALEX You're not going to answer? You're just going to tell me a story? RYAN -LRB- smiles, continues story. -RRB- It was January and I had just gotten my driver's license. The lakes were frozen over, so we piled into my car and hit the ice to do donuts. When, out of nowhere, I hit a soft spot and the hood of my car tilted up and I was sinking backwards into the water. ALEX Jesus. RYAN I literally started to drown. Within a few seconds, I black out. Then, I wake up in the sky. I'm in a helicopter, laying on a stretcher. This guy in a uniform is telling me I was minutes away from dying. ALEX Oh my God. RYAN Right? -LRB- relives it for a second. -RRB- So just as we're hovering over the hospital, I sit up. And from there, I could see the whole western horizon. We'd been flying twenty minutes. Twenty minutes to reach a city I'd thought of as remote, halfway across the state. a foreign capital. -LRB- A BEAT. -RRB- My parents had taught me we lived in the best place on Earth, but now I could see the world was really just one place and comparing did n't make much sense. And I remember thinking - Do n't tell me this is n't an age of miracles. Do n't tell me we ca n't be everywhere at once. The idea settles in. Ryan returns to the point. RYAN I do n't know what originally sparked the back pack. I probably needed to be alone. Recently, I've been thinking that maybe I needed to empty the bag before I knew what to put back in. And now they kiss. It's notably different from their previous kisses. Now, when they lock lips, we are reminded why people kiss in the first place. Then, all of a sudden, the lights go out on the boat. The motor has stopped. Ryan and Alex look back to find the software dude stepping out of the galley, drunk. SOFTWARE DUDE Hey. I think we're out of gas. Ryan and Alex look out to shore. about 500 yards away. For whatever reason, they just start cracking up.","EXT. PONTOON BOAT - NIGHT Ryan and Alex are huddled under a blanket in the corner of the rubber boat as it putters its way to shore. Cold, soaked, and smiling. Natalie and David are there too. still kissing.","EXT. BEACH - NIGHT Everyone gets out of the boat in the cold knee deep water and splashes up to shore.","INT. LOBBY, MIAMI HILTON - NIGHT Ryan and Alex followed by Natalie and her make - out buddy, soaked from the knee down, holding their shoes, scamper into the hotel on the balls of their feet.","INT. RYAN'S HOTEL ROOM, MIAMI HILTON - NEXT MORNING Ryan's eyes flutter awake to see Alex getting dressed. RYAN Hey, you're up. ALEX Got to fly stand - by and make a meeting in Milwaukee. RYAN -LRB- DISAPPOINTED. -RRB- Oh. Okay. ALEX -LRB- notices, teasing. -RRB- Oh, no. I made you feel cheap. RYAN Yeah, all right. Just leave the money on the dresser. ALEX -LRB- SWEETLY. -RRB- I'll text you later so we can swap schedules. Alex gives him a peck. Ryan takes her wrist so she ca n't leave. RYAN I ca n't remember the last time I enjoyed spending time with someone as much as you. ALEX Neither can I. They kiss again and he lets go. Alex leaves and the door closes. Ryan just lays in bed for a moment.","INT. CAFE - MIAMI HILTON - MORNING Ryan and Natalie have a quiet breakfast. Natalie looks pretty worse for wear. In the background is a TRAVELING SALESMAN rolling calls. He perks up for each message then goes back to being miserable. Meanwhile, after a little silent eating. NATALIE Last night got a little out of hand. I said things. I do n't remember everything I said. I just did n't want you to think. RYAN Just relax. It was nice to see you cut loose. So, did you wake him up or slip out? NATALIE What? RYAN This morning. Your new friend. Did you wake him for an awkward good bye or just slip out so he could feel like a whore. NATALIE -LRB- NOT PROUD. -RRB- I. just left. RYAN Protocol is always tricky. NATALIE I did n't know what was right. RYAN Sometimes there really is no right thing to do. This does n't comfort her.","EXT. OCEAN BOARDWALK, MIAMI - DAY The walkway overlooks a large MARINA filled with giant YACHTS. Ryan and Natalie are doing the photo thing with the CUT OUT of the engagement portrait again. NATALIE What happened to Alex? RYAN Had to skip town early to make a meeting. NATALIE That's too bad. Where does she live? RYAN Chicago. NATALIE You thinking of going to see her? RYAN I do n't know. We just do n't have that kind of relationship. NATALIE What kind of relationship do you have? RYAN It's, you know. Casual. NATALIE Sounds pretty special. RYAN It works for us. NATALIE Think there's any future there? RYAN Never thought about it. What's going on here? NATALIE Really never thought about it? RYAN -LRB- a good lie. -RRB- No. NATALIE How can you not think about these things? How does it not even cross your mind that you might want to have a future with somebody? RYAN It's simple, you know that moment when you look into someone's eyes and you feel them looking right into your soul, and the whole world goes quiet for a second. NATALIE -LRB- finally, a break through. -RRB- Yes. RYAN Right. Well, I do n't. NATALIE You're an asshole. Natalie knocks over the CUT OUT and stands up. RYAN Oh come on, I'm just dicking around. I need your help. NATALIE Do n't you think it's worth giving her a chance? RYAN A chance to what? NATALIE A chance at something real? RYAN Natalie, your definition of `` real'' is going to evolve as you get older. NATALIE Would you stop condescending for one second? Or is that one of the principles of your bullshit philosophy? RYAN Bullshit philosophy? NATALIE The isolation? The traveling? Is that supposed to be charming? RYAN No, it's simply a life choice. NATALIE It's a cocoon of self - banishment. RYAN Wow. Big words. NATALIE Screw you. RYAN Well, screw you too. NATALIE You've set up a way of life that basically makes it impossible for you to make any human connections. Now, somehow, this woman runs the gauntlet of your ridiculous `` life choice'' and comes out the other end with a smile - Just so you can call her casual. Jesus. I need to grow up? You're a twelve year old. Natalie begins walking away. RYAN I do n't have a gauntlet of. A GUST OF WIND suddenly blows the CUTOUT across the boardwalk into the OCEAN. RYAN Fuck! Ryan goes running after the cutout. He climbs down a GANGWAY to a dock that is closest to the CUTOUT, which is beginning to sink in the filthy water. Ryan reaches. and reaches. and just as he's got a finger tip on the photo. FALLS IN.","INT. BATHROOM, MIAMI HILTON - DAY Ryan, still damp from the ocean, is drying the CUTOUT with a hair dryer.","INT. CONCOURSE, MIAMI INTERNATIONAL AIRPORT - DAY We're following the CUTOUT HEADS popping out of the ROLL - AWAY like earlier, only now they are slightly faded and bent from their trip in the harbor.","EXT. TARMAC, MIAMI INTERNATIONAL - DAY We're watching Ryan through the window of the plane. He almost looks trapped.","EXT. TARMAC, DETROIT INTERATIONAL - DAY The plane lands amidst snow.","INT. RENTAL CAR, DETROIT HIGHWAY - DAY Ryan and Natalie drive in silence. The weather is frigid. RYAN These Detroit guys can be tough. They've been getting hammered. Do n't get distracted. Stick to the simple stuff. Get the packet in their hands and get them out the door.","EXT. DETROIT CAR PART COMPANY - DAY A one story brick building. There's an inch of snow on the ground. Ryan and Natalie enter the building in silence.","INT. DETROIT COMPANY - DAY Ryan and Natalie check in at the front desk.","INT. CONFERENCE ROOM, DETROIT COMPANY - DAY The door opens. Ryan and Natalie enter, when they both see something and immediately stop short. Sitting on the conference table is a COMPUTER set up for a VIDEO CONFERENCE. Framed up in a WINDOW on the screen is CRAIG GREGORY. CRAIG GREGORY Welcome to Detroit. Natalie and Ryan exchange a look. RYAN What's going on here? CRAIG GREGORY I've been getting those great numbers over the last few days. Thought we should nut up and give this a try. RYAN We could use a little more time. CRAIG GREGORY Got ta leave the nest at some point. RYAN This is a real company, Craig. We're here to do some damage. CRAIG GREGORY I know. Good thing we brought our best. So let's stop screwing around, alright? Ryan sighs. RYAN Just give me a minute to prepare and get my things together. CRAIG GREGORY I was thinking Natalie takes this one. Natalie, once confident, now takes pause. RYAN She's hardly ready for this. CRAIG GREGORY I've been watching her. She's great. RYAN -LRB- re : the webcam. -RRB- This is a whole other animal. CRAIG GREGORY I mean, she created it. Natalie, you not up for it? NATALIE I'm. I'm game. CRAIG GREGORY Atta girl.","INT. CONFERENCE ROOM, DETROIT COMPANY - MOMENTS LATER Ryan and Natalie have a moment aside. RYAN Just remember, do n't apologize. Do n't tell them how hard this is for you. Today is one of the worst days they will ever have. What we feel does n't even compare. NATALIE Got it. RYAN Just keep it professional. You're going to do fine.","INT. CRAIG GREGORY'S OFFICE, CTC - LATER Craig is leaning back in his office chair, watching Natalie on his monitor.","INT. ALTERNATE CONFERENCE ROOM, DETROIT COMPANY - DAY An unsuspecting man in his mid fifties enters the room and takes a seat at a COMPUTER TERMINAL. -LRB- for the remainder of the scene, we will intercut between Natalie's room and the POV of the man's iChat session. -RRB- NATALIE Hello, Mr. Samuels. My name is Natalie Keener. SAMUELS -LRB- checking out the PC. -RRB- What's going on here? NATALIE I wish I was here with better news, however your position here at Deckers is no longer available. SAMUELS What are you talking about? NATALIE You've been let go. SAMUELS What, just like that? I ca n't believe. Who are you? NATALIE My name is Miss Keener. I am here to tell you about your options. SAMUELS I work here for seventeen years and they send some fourth grader in here to can me? What the fuck is this?! Ryan fights the urge to jump in. He is sitting next to Natalie, but just out of view of the camera. NATALIE It's perfectly normal to be upset. However, the sooner you can tell yourself that there are greater opportunities waiting for you. SAMUELS Greater opportunities? I'm fifty - seven - fucking years old! Mr. Samuels is now on the verge of tears. Eyes red. NATALIE Anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. We remain in the room with Natalie and Ryan, but we hear Mr. Samuels crying. It's loud and embarrassing. It's coming from the next room. He's literally on the other side of the wall. NATALIE -LRB- CONT'D. -RRB- There's a packet in front of you. Samuels picks up the packet and opens it. NATALIE -LRB- CONT'D. -RRB- I want you to take some time and review it. Samuels begins to leaf through. NATALIE -LRB- CONT'D. -RRB- All the answers you're looking for are inside those pages. The sooner you trust the process, the sooner your next step in life will unveil itself. Samuels puts down the packet. The tears still coming slowly. NATALIE -LRB- CONT'D. -RRB- I need you to return to your office now and begin to put together your personal things. Samuels does n't move. He's just sitting there in a daze. NATALIE -LRB- CONT'D. -RRB- Thank you for your time, Mr. Samuels. No reaction. Just more silent tears. Natalie is getting nervous. NATALIE -LRB- CONT'D. -RRB- Mr. Samuels? There's nothing else we can discuss now. -LRB- AND AGAIN. -RRB- Thank you for your time. Ryan fights the urge to break in as Natalie continues to lose her composure. Craig leans into his computer, watching intently. NATALIE -LRB- CONT'D. -RRB- Mr. Samuels. Mr. Samuels. MR. SAMUELS. Finally, Samuels breaks from his daze. He looks up and around for a second, then gets up and leaves. Natalie catches her breath. A second later, Samuels passes their room, visible through the conference room windows. They watch as he walks away. RYAN You did good. Natalie nods. RYAN -LRB- CONT'D. -RRB- You okay? Want me to take over. NATALIE No, I'm alright. Natalie pulls out a LIST OF FORTY NAMES. The amount of people is daunting. She crosses off the first name.","EXT. PARKING LOT, DETROIT CAR PART COMPANY - AFTERNOON We find Natalie standing next to the rental car. She's staring into a snow drift. Her eyes say everything - She just grew up. Meanwhile, Ryan is on his CELL. We catch the end of his conversation with Craig. RYAN -LRB- CONT'D. -RRB- We just got out here. That was one place. I think we need to try a few more. -LRB- LISTENS. -RRB- Maybe there is n't a difference, but it's comforting to know we're in the next room. -LRB- LISTENING. -RRB- I know you do n't give a shit about my comfort. -LRB- LISTENS. -RRB- We could just use a little more time. That's all I'm saying. -LRB- LISTENS. -RRB- Right. Right. -LRB- shakes his head. -RRB- Yeah. Alright. Uh huh. Bye. Ryan hangs up. RYAN -LRB- CONT'D. -RRB- He thought you did a great job. You did - I was real proud of you. NATALIE Thanks. RYAN We're being pulled off the road. -LRB- CLARIFYING. -RRB- We're going home. NATALIE For good? RYAN That's what it looks like. A moment of mixed emotions.","INT. RYAN'S ROOM, DETROIT HILTON - NIGHT Ryan is holding the LARGE EMBOSSED ENVELOPE of his sister's WEDDING INVITATION. He pulls out the RESPONSE CARD, looks at the line for extra guests, then sets it down. He pulls out the actual INVITATION. It looks inexpensive. Sighs.","INT. NORTH TERMINAL, DETROIT AIRPORT - MORNING Ryan and Natalie ride the MOVING WALKWAY. Something is on Natalie's mind. She speaks up. NATALIE I'm sorry about what I said about Alex. I was out of line. RYAN It's alright. I understand. NATALIE I mean, who am I to be dolling out relationship advice? RYAN It's fine. NATALIE You going to be okay? RYAN What do you mean? NATALIE In Omaha? RYAN Oh, I do n't know. NATALIE It's better than you'd think. They get off the moving walkway and stop at a GATE that reads `` Omaha''. Something off screen grabs Ryan's attention. Ryan begins to walk off. Pulls out his BLACKBERRY and dials. NATALIE Ryan, where are you going? RYAN Grabbing another flight. Something I need to take care of. I'll see you in, uh. at home. Ryan disappears in the crowd.","EXT. PARKING LOT, LAS VEGAS - DAY We're looking at the LUXOR PYRAMID. RYAN -LRB- O.C. -RRB- Okay, start walking it in from the left. ALEX enters frame, carrying the engagement CUT OUT. ALEX I have to admit, when you asked me to meet you in Vegas. I thought we'd gamble, make out in a heart shaped jacuzzi, maybe see one of those weird French Canadian circus shows. RYAN There'll be plenty of time for all that. -LRB- directing the photo. -RRB- One more foot to the left. Alex obliges. She checks out the engagement photo. ALEX How do you feel about the wedding? RYAN I'm fine, I guess. -LRB- directing the photo. -RRB- Okay great. walk away. Ryan takes the photo. Alex picks up the engagement photo. ALEX They're a cute couple. RYAN Think so? ALEX Yeah, they'll make cute kids. If they're lucky, maybe look a little like you. Alex and Ryan look at the photo together for a second. RYAN How do you like Wisconsin in February? ALEX Who does n't? -LRB- SWEETLY. -RRB- I like it if you're there. Besides, I know a killer burger in Milwaukee. RYAN Northern Wisconsin. -LRB- CLARIFYING. -RRB- What are you doing this weekend? This quickly registers. He's inviting me to the wedding. ALEX -LRB- CONT'D. -RRB- No. RYAN What? I have n't even. ALEX I ca n't. RYAN Why not? ALEX I could n't. RYAN I'm being serious. ALEX You want me to be your date? RYAN Well. Yeah. ALEX To a wedding. Jesus, Ryan. Your sister's wedding? RYAN It's not like I know her that well. ALEX I'm just not sure if it's appropriate for me to. RYAN Look. You know. I'm not the wedding type. But for the first time in my life. I do n't want to be that guy, alone with his drink. I want a dancing partner. I want a plus one. And if you can stomach it, I'd like it to be you. A long thoughtful beat. Alex sighs. ALEX Okay. RYAN Really? ALEX Yeah, I ca n't believe I. Yeah, I'm in. When is it? RYAN I feel like we should kiss or something. ALEX Then kiss me. They do.","INT. BAGGAGE CAROUSEL, MILWAUKEE AIRPORT - DAY Two ROLL - AWAYS side - by - side, moving through the terminal. Ryan and Alex walk in unison. They share a smile. Almost like they ca n't believe they're getting away with something. They pass a LARGE AIRLINE ADVERTISEMENT featuring MAYNARD FINCH in uniform. `` We Value Your Loyalty.''","EXT. DRIVEWAY, CHALET SUITES - DAY Ryan's rental car pulls into the CHALET SUITES driveway. It's halfway between a Swiss Lodge and a Best Western. Just a little sadder. A yellow sign reads `` Welcome Miller - Bingham Wedding Guests!''","INT. LOBBY, CHALET SUITES HOTEL - DAY Ryan and Alex approach the check - in lines. Of course, there's an elite membership line, but they ca n't use it. Ryan is forced to stand in a queue of three people while a CHECK - IN LADY just stands at her computer at the elite line. RYAN -LRB- to the CHECK - IN LADY. -RRB- Are you available? CHECK-IN LADY Sorry, this line is for members of our Matterhorn program. Ryan steams.","INT. CORRIDOR, CHALET SUITES - DAY Ryan and Alex walk down the long hallway. They've been given a room at the end. Just as they're entering their room, the door across the hall opens revealing a woman in her early forties with a basket of laundry. It's Ryan's sister KARA. KARA Ryan? Ryan turns and stops. It's been a while. RYAN Kara. They hug. It's a strange hug. Awkward but heartfelt. RYAN -LRB- CONT'D. -RRB- Alex, this is my sister Kara. KARA Well, hello. ALEX Hi. KARA -LRB- quite frankly. -RRB- Ryan has told me nothing about you. RYAN Kara, what are you doing at a hotel? KARA Fuck, I was hoping I would n't have to. Yeah, uh, Frank and I are trying out a trial separation. RYAN You're not staying at the house? KARA There was an extra room on hold here, so I just took it for the weekend. RYAN Oh, okay. KARA Yup. So, you guys are dating? Ryan and Alex fumble over each other. RYAN Um. ALEX It's not exactly. KARA Hey, do n't worry about it. We're all getting a little old to be calling someone girlfriend. I remember when mom used to call Jack her boyfriend. It drove me up the wall. Boyfriends are for kids. -LRB- MOCK ANNOUNCING. -RRB- And I'm just a divorcee! An awkward beat in the corridor of the Chalet Suites. RYAN So, the rehearsal dinner? KARA Yeah, I'll see you two there. Kara humps the laundry basket down the hall.","INT. HOTEL ROOM, CHALET SUITES - DAY Ryan and Alex settle in. There's a cheap basket with a pink ribbon tied sloppily around some cellophane. In the basket is a packet, outlining the wedding weekend. RYAN There's a packet. ALEX What in life is worth doing that does n't have a packet. RYAN Um, I love you? Ryan is kidding, but not really. They play it off as a joke, but ca n't help feel the weight of this `` moment''.","INT. CLUB ROOM FIRESIDE LOUNGE, CHALET SUITES - EVENING A group of tables have been slid together for the rehearsal dinner. Ryan and Alex find the dinner in full swing. Ryan's sister JULIE, the bride, waves wildly. JULIE Oh my God, Ryan! She hops up and gives him a hug. JULIE -LRB- CONT'D. -RRB- You must be Alex. You are so beautiful. Kara was right. Did you get the basket? ALEX The basket was very lovely. JULIE Tammy wrapped all of them. Tammy waves. JULIE -LRB- CONT'D. -RRB- Ryan, you look so grown up. RYAN Me? You're the one getting married. JULIE I know, right? You have n't even seen my ring. Julie shows off her ring. It's not quite balanced and seems to favor quantity over quality. JULIE -LRB- CONT'D. -RRB- -LRB- PROUDLY. -RRB- Jim designed it. JIM raises a hand. This is Julie's husband - to - be and we can tell immediately that Ryan is n't thrilled. Ryan thinks of something. He pulls out the 5X7 PHOTOS they took of the JIM & JULIE CUT OUT. RYAN I brought those photos you were asking for. JULIE -LRB- LIGHTS UP. -RRB- Oh great! They go over there. Julie points to a table and Ryan walks over. When he gets there, we see almost a hundred photos pinned to a map of America. It's overwhelming. All of a sudden, his effort seems miniscule. Ryan begins to pin his photos on the map over the cities where they were taken. He backs away to see it as a whole and his addition has already become invisible. Ryan returns to the conversation with his sister and Alex. RYAN There were quite a few already up there. Almost could n't find room. JULIE I know, is n't it great how everyone chipped in? RYAN What gave you the idea to do something so. ALEX -LRB- HELPS. -RRB-. Substantial? JULIE Well, Jim has a lot of our nest egg invested in this real estate venture right now. So when we went over our finances, a honeymoon just did n't seem affordable this second. So I thought. Hey, just because we ca n't travel does n't mean we ca n't have pictures. The idea of this lands on Ryan pretty hard. ALEX It was a great idea. JULIE Thanks. AN HOUR LATER Ryan is stuck with Jim, talking real estate. Alex is having a chat with the brides maids about local relationship drama. JIM It's sixty acres up against the foothills. I subdivided the old Lazy W Ranch and took a nice slice for myself. RYAN Sounds nice. Jim makes an exhale noise that means `` you bet your ass''. JIM Homes will go in the high fours. RYAN Must be a nice development. JIM -LRB- CORRECTING. -RRB- It's a community, not a development. The concept is turn - key everything. You buy a maintenance contract with the home. We'll whack your weeds, we'll even change the light bulb. Furniture? You buy your own or choose a package. Seamless traditionalism, yet all the perks. RYAN Nice. Ryan and Alex make eye contact. There's a joy in their connection amongst the ramblings of their company. JIM We all need a place to call our own. This is America. This is what we were promised. RYAN That's a nice touch. JIM What? RYAN That bit at the end about promise. I like it. JIM -LRB- a little embarrassed. -RRB- Thanks. -LRB- LEADING. -RRB- So, you still renting that one - bedroom? RYAN I gave it up. JIM -LRB- SURPRISED. -RRB- You own now? RYAN No. JIM But you're looking? RYAN Not really. No. The conversation stalls out.","EXT. DRIVEWAY, CHALET SUITES - NIGHT Everyone is leaving. Tammy grabs Julie's hands. TAMMY Can you believe it's tomorrow?! How are you going to sleep? JULIE I do n't know! TAMMY You want some Xanax? RYAN I do n't think that's for sleeping. JULIE No, I'm good. I'll have some warm milk. That should do the trick. Jim comes walking by with a box of flower arrangements from the tables inside that are going to be reused at the wedding. JIM One more box. ALEX I'll get it. RYAN You sure? ALEX Yeah, yeah. Alex steps back in and for the first time in who knows how many years, Ryan, Kara, and Julie are alone together. RYAN Jim seems like a good guy. JULIE Yeah, I know. Is n't he great? KARA He's going to make a great husband. There's a moment where they just look at each other and giggle a little. Just the three of them. RYAN Hey, Julie, I was thinking. with dad not being. Well, I did n't know if you had someone to walk you down the aisle. JULIE Oh, yeah, Jim's uncle is going to do it. KARA -LRB- UNCOMFORTABLE. -RRB- He's been really supportive. RYAN Oh. Oh, great. Just wanted to make sure you were covered. So I should get there at. JULIE Guests are arriving around 5ish. Things get going at 530. So you know, around then. It's easy. Just come down the elevator. Alex comes out with the second box. Ryan notices and grabs the flowers from her and sets them in Jim's luxury pick - up truck.","INT. CORRIDOR, CHALET SUITES - NIGHT Ryan, Alex, and Kara arrive at their adjacent rooms. Key cards slide in simultaneously. Alex heads in. Ryan stops. RYAN Hey Kara? KARA Yeah. RYAN Can you believe she's getting married already? She's just a kid. KARA No Ryan. Actually, she's 37 years old. She's barely squeaking by. RYAN Oh. KARA Yup. Sleep tight.","EXT. RYAN'S OLD HIGH SCHOOL - NEXT MORNING The rental car pulls up into the empty lot. Snow on the ground. It's cold. Ryan and Alex walk up the steps and try the door of the main building - it's locked. Ryan shrugs. ALEX That's all you got? Alex starts walking down the side of the building, looking for an open window. The third one opens a crack. She slides her HOTEL HONORS CARD in and opens the latch. RYAN Are we really doing this? ALEX Give me a boost.","INT. CLASSROOM, WAUPACA HIGH SCHOOL - DAY Alex slowly wedges herself headfirst through the window. Ryan climbs in after her. He immediately recognizes his surroundings. RYAN I took geography in here. -LRB- POINTING. -RRB- That was my seat. ALEX You ever fool around with one of your teachers? RYAN No. You? ALEX Not until college. Come on, show me around. They head for the door. A TEAM PHOTO OF A HIGH SCHOOL BASKETBALL TEAM A finger reaches and points to a teenage face. RYAN -LRB- O.C. -RRB- That's me.","INT. HALLWAY, WAUPACA HIGH SCHOOL - NEXT MORNING Ryan and Alex are huddled at the trophy case. ALEX You played basketball? RYAN Point guard. Do n't act so surprised. ALEX I did n't know you were such a jock.","EXT. LOADING DOCK, WAUPACA HIGH SCHOOL - DAY Ryan and Alex walk passed a concrete ledge. RYAN My first fight. ALEX How'd it go? RYAN Got my ass kicked.","INT. STAIRWELL, WAUPACA HIGH SCHOOL - DAY Ryan shows an area behind the stairwell. RYAN This is where we used to go to make out. ALEX Very romantic. RYAN AND ALEX KISSING UNDER THE STAIRWELL","EXT. SOCCER FIELD, WAUPACA HIGH SCHOOL - DAY Alex and Ryan sit tight like teenagers on the team bench. ALEX I'm really happy I came here. The school soccer team takes the field for practice. RYAN -LRB- to the team. -RRB- Go Cougars! Players look back at him strangely. Ryan's phone rings. RYAN -LRB- checks caller ID. -RRB- It's Kara. The first thing we hear is crying in the background.","INT. CHURCH - DAY Kara is on her cell phone. Behind her in the deep background, we see bridesmaids consoling Julie. KARA Ryan, where are you? We're having a meltdown here. RYAN What's wrong? What happened? KARA It's Jim. Can you get back here? We need your help. RYAN Yeah, of course.","EXT. CHURCH - DAY Ryan's rental car pulls up in front. He hops out and Alex takes the driver's seat. ALEX I'll grab your suit. -LRB- ADDING. -RRB- Good luck.","INT. ENTRY, CHURCH - DAY Ryan immediately spots Julie sobbing and being consoled by her bride's maids. The groomsmen are huddled in another corner, embarrassed and confused. Kara splits from the brides maids and takes Ryan aside. RYAN What happened? KARA Jim's got cold feet. RYAN Today? KARA That's how cold feet work. RYAN What do you want me to do? KARA Talk to him. RYAN You want me to talk to him? KARA Hey, it's either you or me. You know my record. I've already struck out once. RYAN I have n't been to bat. I have n't been in the dugout. KARA Do n't you talk for a living? Motivational type stuff? RYAN I tell people how to avoid commitment. A beat. KARA What kind of fucked up message is that? RYAN It's a philosophy. KARA It's stupid. RYAN Hey, it might have helped you. A beat of stalemate. KARA Come on, Ryan. You have n't been around much. Fuck, you basically do n't exist to us. I know you want to be there for her. Well here it is. This is your chance. Ryan takes a breath.","INT. SUNDAY SCHOOL ROOM, CHURCH - DAY Ryan quietly steps in to find Jim, half dressed in a tux reading the children's book `` The Velveteen Rabbit''. Jim sniffles. Ryan goes to leave, when. JIM Ryan? RYAN Oh, hey Jim. JIM You ever read this? RYAN Yeah, it's pretty powerful stuff. JIM I'll say. RYAN Kara mentioned you were having some. thoughts? Jim puts down the book. JIM I do n't think I can do this. RYAN Okay. What makes you say that today? JIM I was just laying there last night in bed and I could n't sleep. I was thinking about the wedding and the ceremony and all. Us buying a house and moving in together. Having a kid. Having another kid. -LRB- begins to snowball. -RRB-. Thanksgiving, Christmas, spring break, football games, all of a sudden they're out of school, getting jobs, getting married, And then, you know. I'm a grandparent. I'm retired. Before you know it - I'm dead. and I just kept thinking. `` What's the point?'' Ryan gulps. Fuck. JIM -LRB- CONT'D. -RRB- -LRB- now asking Ryan directly. -RRB- I mean what is the point? RYAN The point? JIM Yeah, I mean, what am I starting here? RYAN -LRB- DANCING. -RRB- It's marriage. it's the most beautiful thing on Earth. you know, what everyone aspires to. JIM You never got married. RYAN That's true. JIM You never even tried. RYAN Well, it's hard to define `` try''. JIM You seem happier than most of my married friends. Ryan takes a beat. RYAN Jim, I'm not going to lie. Marriage can be a pain in the ass. And you're kind of right - All of this is just stuff on the way to your eventual demise. KARA EAVESDROPPING AT THE DOOR WITH A LOOK OF COLD FEAR RYAN -LRB- CONT'D. -RRB- We are all on running clocks that can not be slowed down or paused and they all lead to the same place. Some guys leave marks that last beyond their own mortality. Not guys like you and me. But some. But even those footprints disappear. -LRB- A BEAT. -RRB- There is n't a `` point''. Jim sinks a little. RYAN -LRB- CONT'D. -RRB- I'm not the guy you'd normally want to talk to about all this stuff. But think about it - your favorite memories. The greatest moments of your life? Were you alone? JIM -LRB- thinks about it. -RRB- No. I guess not. RYAN I do n't want to sound like a Hallmark card, but. Life? It's better with company. Jim nods. RYAN -LRB- CONT'D. -RRB- Come to think of it. Last night, the night before your wedding, when all this shit was circling through your head. Were n't you two sleeping in separate rooms? JIM Yeah, Julie went back to the apartment and I was all alone in that big honeymoon suite. Jim chuckles to himself. RYAN Kind of lonely? JIM Yeah. RYAN Hey. Everybody needs a copilot. This resonates with Jim and he ca n't help but smile. JIM That's a nice touch. RYAN Thanks. JIM What's the mood like out there? RYAN It's not good. Emotional. JIM What should I do? RYAN -LRB- twinkle in his eye. -RRB- Go get her.","INT. ENTRY, CHURCH Jim walks over to the huddle of bride's maids. They part and let him in. He kneels at Julie's feet. JIM I'm sorry I'm such a fuck up. Will you be my co - pilot? Julie gives him a perplexed look before smiling and falling into his arms. Tears and smiles spread amongst the girls. Kara walks over to Ryan and pats him on the shoulder. KARA Welcome home. - Ryan and Alex getting dressed in a little kitchen in the church. They're in a hurry and a little sloppy, but there's a crooked joy in their faces. - Jim standing at the alter with the priest getting a pat on the back from his best man. - Julie getting walked to the alter by Jim's uncle. They pass Ryan, who looks on proudly. - The priest gives his blessings. - Jim raises Julie's veil. They kiss. - Wedding attendees file into the Chalet Suites Banquet Hall. - Ryan and Alex mingle with their table. RYAN Hi, I'm Ryan. WEDDING GUEST I'm your cousin. Harold. RYAN Oh, hey! - Ryan and Alex dance like teenagers. - The band does a cheesy choreographed dance step. - Jim makes a speech. He is not good at public speaking, but the guests are generous with laughter. - Tammy has her tongue down a groomsmen's throat. - Ryan pulls Kara onto the dance floor. She rests her head on his shoulder and they slow dance. - Jim and Julie make their farewell and run off. - Ryan and Alex help pick the center pieces off the tables. - Ryan and Alex get into the elevator together. She's wearing his jacket. We're about to see them kiss, when the elevator door closes.","INT. CONCOURSE, MILWAUKEE AIRPORT - MORNING Ryan and Alex stand between their gates. One sign reads OMAHA. The other sign reads CHICAGO. ALEX When am I going to see you? RYAN You're just going to have to come and visit. ALEX So settled down. You're not going to change on me. RYAN Same guy. Just one address. We hear a boarding announcement for Chicago. Alex begins to step away to her gate. ALEX Call me if you get lonely. A beat. And then. RYAN I'm lonely. Alex turns for her gate and joins the crowd. Ryan goes to say something. He has an impulse. but he finally ignores it and gets in line under the sign that reads `` OMAHA''.","INT. RYAN'S APARTMENT, OMAHA - EARLY EVENING The door opens and Ryan wheels in his Roll - Away. He walks over to the window, parts the blinds and checks out his awful view. We see Ryan opening some mail. We see Ryan laying in bed. It's quiet. It's alone.","INT. CTC HEADQUARTERS, CTC - DAY Natalie is giving Ryan a tour of the new ONLINE FIRING AREA - A series of cubicles with YOUNG GUYS ON HEADSETS. She is in her element and very proud of her work. NATALIE Some guy sits down in a conference room somewhere and a server routes their session to one of our termination engineers. RYAN You do n't actually call them that. NATALIE I prefer `` terminators'', but it bumped with legal. RYAN Really? I ca n't imagine why. NATALIE They follow a workflow that can take them through anything from a standard dismissal to a violent aggressor. RYAN Are they actually on line, right now? NATALIE No, they're beta - testing. Role - playing. We go live at the end of the month. -LRB- catches one of the guys making a mistake. -RRB- Kyle, you're running through the events too quickly. You have to give them time to acknowledge each statement. Okay? It's a legal thing. Ryan can only watch.","INT. RYAN'S OFFICE, CTC - DAY Ryan is sitting at his desk. He puts on a HEADSET. RYAN This is ridiculous.","INT. CONFERENCE ROOM, CTC - ANOTHER DAY Craig is leading a meeting. Ryan seems focused on something on his laptop. We see his screen : An itinerary for GoalQuest.","EXT. LAS VEGAS STRIP - DAY One of the GIANT DIGITAL MARQUEES reads : `` GOALQUEST XX''","INT. GREEN ROOM, GOALQUEST - DAY Ryan sits on a sofa, holding his BACKPACK. A slick GOALQUEST HOST enters the room. GOALQUEST HOST You ready to rock? Ryan nods and gets up.","INT. CONVENTION HALL, LAS VEGAS - DAY Ryan stands in the wings. He takes a breath, then steps out in front of a sea of people. The GOALQUEST XX stage is like nothing we've seen yet. Large and professional. Blue Banners hang from the ceiling. Digital projectors show Ryan's Headshot - What's In Your Backpack? Ryan sets the BACK PACK on a table and quickly unzips it. A breath. RYAN Last year, I flew three hundred fifty thousand miles. The moon is only two fifty. A long beat. Uncomfortable. Ryan looks at the back pack. RYAN Imagine for a second that you're carrying a backpack. I want you to feel the straps on your shoulders. You feel them? Ryan is n't feeling them. He is not inspired. He is n't believable. He's barely even there. RYAN Now, I want you to pack it with all the stuff you have in your life. Start with the little things. Ryan is trying, but he ca n't find the will to do this. RYAN The. um. The stuff in drawers and on shelves. Ryan takes a beat. He just stares at the backpack and thinks about all the things he has removed from it. And then. RYAN Excuse me. And with that, Ryan leaves the stage. Handlers try to figure out what Ryan is doing. The Host runs for the mic. GOALQUEST HOST -LRB- TO RYAN. -RRB- What the fuck are you doing? -LRB- TO CROWD. -RRB- Okay, everyone just relax. We'll have your next guest out in a sec.","EXT. CONCOURSE, MCCARRAN INTERNATIONAL AIRPORT - DAY Ryan hustles past SLOT MACHINES until he is actually jogging.","INT. BOARDING GATE, MCCARRAN INTERNATIONAL AIRPORT - DAY Ryan runs up to a gate. He's the last one to board.","INT. BOEING 757 - NIGHT Over Ryan's shoulder, through the window, we see Chicago below as the flight begins its descent.","INT. CORRIDOR OF LIGHT, CHICAGO O'HARE AIRPORT - NIGHT Ryan on the PEOPLE MOVER under the ceiling of NEON LIGHTS. Peaceful music emits from hidden speakers. Ryan walks briskly past idle riders.","EXT. RENTAL CAR SATELLITE KIOSK, CHICAGO - NIGHT Ryan hurriedly signs a hand - held device, hops into a SEDAN and speeds off. The RENTAL CAR ASSISTANT suddenly realizes. RENTAL CAR ASSISTANT Hey, you forgot to give me your Devotion Club card!","EXT. TOWNHOUSE, CHICAGO SUBURBS - NIGHT Ryan steps out of his rental car and approaches the door of the townhouse - checking the address against a piece of HILTON STATIONARY. Ryan stops, knocks, and puts on a smile. We hear Footsteps. The door unlocks and opens revealing ALEX. She's wearing sweatpants and glasses. She's at home. She looks different. RYAN Surprise. But there's something else. Alex is in shock. She's frozen. Something's wrong. Ryan's smile begins to melt. A man's voice calls from inside. MAN'S VOICE -LRB- O.C. -RRB- Honey, who's at the door? A couple kids run by through the background, giggling. A man chases after them. Alex is still speechless. Her eyes are angry and apologizing all at the same time. Ryan just stands there. Emotionally bleeding to death. ALEX -LRB- ALMOST INAUDIBLE. -RRB- What are you doing here? Ryan begins to step away. He turns and heads for his car, dropping the flowers. Alex's husband becomes visible just as she's shutting the door. ALEX'S HUSBAND Who was that? ALEX just some guy who was lost. Ryan gets in his rental car and drives off.","EXT. CHICAGO HILTON - NIGHT We're watching Ryan through his window from far away. almost as if looking through binoculars. He sits on his bed, tie undone, holding a glass with an inch of scotch on his knee.","INT. RYAN'S SUITE, CHICAGO HILTON - MORNING We see quick glimpses of Ryan getting ready. Crappy little COFFEE MAKER crappily brewing. Crappy hotel BAR OF SOAP crappily lathering. Crappy HAIR DRYER crappily blowing.","EXT. AIR TRAIN, CHICAGO O'HARE AIRPORT - MORNING Ryan is on the phone with Alex. RYAN How could you lie to me?","INT. ALEX'S CAR, DOWNTOWN GARAGE - SAME Alex sits in the car with the engine running. ALEX What were you thinking - Just showing up at my door like that? RYAN What do you mean? I wanted to see you. I did n't know you had a family - Why did n't you tell me that? ALEX Come on, I thought we signed up for the same thing. RYAN Try to help me understand. What is it you signed up for? ALEX I thought our relationship was perfectly clear. You're. -LRB- a long beat. -RRB-. an escape. RYAN I'm an escape? ALEX You know, a break from our normal lives. A parenthesis. RYAN I'm a parenthesis? ALEX Seriously, Ryan? I ca n't believe we're having this conversation. I mean what do you want? Ryan stumbles on this. What does he want? ALEX -LRB- CONT'D. -RRB- You do n't even know what you want. I'm sorry that I ruined your night. But you could have seriously screwed things up for me. That was my family. That's my real life. RYAN I thought I was a part of your real life. ALEX -LRB- SIGHS. -RRB- Look, Ryan. I'm a grown up. I do n't hold a grudge. When you're ready to be an adult and see me again, just give me a call. Ryan ca n't quite believe what he's hearing. There's only one thing he can do. He hangs up.","EXT. ESCALATOR, CHICAGO O'HARE AIRPORT - MORNING Ryan is walking when his phone buzzes. He checks the DISPLAY - CTC Calling. He presses IGNORE.","INT. TICKET DESK - CHICAGO O'HAIRE - DAY Ryan walks up to the TICKET DESK. He is more lost than usual. There is something plucky about the TICKET AGENT. PLUCKY TICKET AGENT Welcome back, Mr. Bingham. RYAN Yeah, right, you got me in 2C? PLUCKY TICKET AGENT Of course. Left side aisle, non - bulkhead. Just like you like it. RYAN What's got you so fucking happy? The plucky agent fades a bit, then tries to recompose. PLUCKY TICKET AGENT Your boarding card, Mr. Bingham. Ryan takes the ticket and exits.","INT. BOEING 757 - DAY Ryan sits doing nothing. Others around him play Sudoku, read trashy paperbacks, work on laptops. Ryan just stairs at the stitching on the seat in front of him. When. `` Bing'' PURSER Ladies and gentlemen, we have a special announcement to make. Passengers look up. PURSER -LRB- CONT'D. -RRB- Our pilot has just informed me that we are passing over the city of Mesa. which might not mean much to most of you, but means a lot to one of our fliers today, because he just hit TEN. MILLION. MILES. RYAN Oh no. The Gershwin theme song for the airline rains down from the overhead speakers. Passengers clap. Flight attendants gather at Ryan's seat with big smiles and champagne. Ryan does n't even react. He's just stunned. The flight attendants separate just enough for a man in a bomber jacket to squeeze through. It's Maynard Finch, the Chief Pilot from the commercial. MAYNARD FINCH -LRB- TO RYAN. -RRB- That seat taken? Maynard gives a little salute to his flight attendants, then slides by Ryan to the window seat. MAYNARD FINCH You're the youngest yet to hit twenty mil. Do n't know where you found the time. -LRB- REMEMBERS. -RRB- Oh right, here you go. Maynard pulls out a MEMBERSHIP CARD. It's actually been stamped from platinum. MAYNARD FINCH -LRB- CONT'D. -RRB- Seventh card we've made. Small club. We really appreciate your loyalty. It has a pair of wings around `` Member Number 7''. Ryan holds it between his fingertips. Catches his own reflection. RYAN You know how many times I've thought about this moment? Played out the conversation I'd have with you right here. MAYNARD FINCH Really? What did you want to say? A long beat. RYAN You know, I. I ca n't remember. MAYNARD FINCH That's alright. Happens to all of us. -LRB- attempts chit chat. -RRB- So, where you from? Ryan looks at him straight in the face. RYAN I'm from here.","INT. RYAN'S OFFICE, CTC - NEXT DAY Ryan picks up the phone at his desk. He removes his new TEN MILLION MILE CARD and dials a number off the back. AIRLINE OPERATOR Hello, Mr. Bingham. RYAN Oh, how did you know it was me? AIRLINE OPERATOR This is your dedicated line. We reserve them for our most loyal and dedicated fliers. RYAN Oh. I'd like to transfer some of my miles. Can you open up an account under Jim and Julie Miller? AIRLINE OPERATOR Certainly. How many miles would you like to transfer? RYAN How many miles would it take to circle the globe? AIRPORT OPERATOR We have our `` around - the - world'' tickets. They're five hundred thousand miles each. RYAN Sounds perfect. Craig enters Ryan's doorway. CRAIG GREGORY Got a second? RYAN -LRB- to the airline operator. -RRB- I'm going to have to call you right back. Craig takes a seat across from Ryan. CRAIG GREGORY What happened to you yesterday? I was trying to reach you all day. RYAN I got tied up in. personal stuff. What's going on? An uncomfortable beat. CRAIG GREGORY Do you remember Karen Barnes? Ryan does n't. CRAIG GREGORY -LRB- CONT'D. -RRB- She was part of a thirty person reduction a few weeks back in Wichita. Natalie fired her. RYAN No, I fire dozens of people a day. CRAIG GREGORY She killed herself. Jumped off a bridge. RYAN Fuck. CRAIG GREGORY -LRB- AGREES. -RRB- Yeah. -LRB- FORMALITY. -RRB- Do you remember anyone giving you any signals of anything? Depression? RYAN They're all depressed. We're firing them. CRAIG GREGORY Hey, look, you know I have to ask. RYAN No, I do n't remember anything. Of course they're upset. You never think that. CRAIG GREGORY Was n't any woman who gave you any indication? Anything? Ryan remembers her. RYAN No, nothing that stands out. -LRB- A THOUGHT. -RRB- Is Natalie alright? Is she coming in? CRAIG GREGORY Natalie quit. Ryan is n't surprised. RYAN Just like that? CRAIG GREGORY Text message. Ryan stifles a laugh. CRAIG GREGORY -LRB- CONT'D. -RRB- Yeah, real fucking nice, right? No one has manners anymore. RYAN She say where she was going? CRAIG GREGORY Nah. She was pretty upset. RYAN I should give her a call. CRAIG GREGORY -LRB- BUSINESS. -RRB- I need you back in the air. Ryan does n't react. CRAIG GREGORY -LRB- CONT'D. -RRB- Did you hear me? I thought you'd be thrilled. RYAN I'm fine. What about video conferencing? CRAIG GREGORY CTC is pausing on the whole new media front for a moment. Giving it a little more thought. Getting our work horses back out doing what they do best. RYAN How long are you sending me out? CRAIG GREGORY We're going to let you sail and sail. Send us a postcard if you ever get there. Ryan absorbs this. Nods.","INT. OFFICE, SAN FRANCISCO - DAY A MANAGEMENT LEVEL GUY sits at his desk. Bay Area sports paraphernalia on the wall. MANAGER So, what happened? We turn to reveal Natalie. NATALIE How exactly do you mean? MANAGER You graduated top of your class. You seemed to have your pick of employment. Including right here. Instead, you went to Omaha. to fire people for a living. NATALIE -LRB- OBVIOUS COVER. -RRB- It's challenging work. MANAGER I ca n't imagine doing that day - in - day - out. Not in this climate. NATALIE -LRB- after a beat. -RRB-. I followed a boy. The manager smiles to himself. MANAGER Everybody does at one point or another. The manager raises a letter - It's Ryan's letter. MANAGER This guy says I'd be lucky to have you.","INT. RYAN'S OFFICE, CTC - DAY Ryan writing the letter. We hear what he's writing. RYAN -LRB- V.O. -RRB- To whom it may concern, I ca n't even count the number of people I've fired in my lifetime. So many, that I've forgotten what it's like to actually hire somebody. We've never met, but I know you'd be lucky to have Natalie Keener. My advice? Take her and do n't look back. She'll be the best decision you've made in a long time.","INT. OFFICE, SAN FRANCISCO - DAY The manager puts down the letter and reaches out a hand. MANAGER Hope he's right. Natalie breaks into a smile, then jumps back to professional.","INT. CORRIDOR, RYAN'S LOFT - DAY Ryan steps out his front door, ROLL - AWAY in tow.","INT. OMAHA AIRPORT - DAY Ryan walks through the automated door. He looks like he did in the opening of the film. Maybe even wearing the same clothes. Something is different though. RYAN -LRB- V.O. -RRB- Tonight, most people will be welcomed home by jumping dogs and squealing kids. Their spouses will ask about their day and tonight they'll sleep. Ryan stops and looks up at a GIANT BOARD OF DESTINATIONS. An endless list of cities around the world. A menu of new lives departing every five minutes. RYAN -LRB- V.O. -RRB- The stars will wheel forth from their daytime hiding places. We look back at Ryan. His eyes lock on one of the cities. We do n't see which one. He makes a mental decision and turns in the direction of the gate. He lets go of his ROLL - AWAY. RYAN -LRB- V.O. -RRB- And one of those lights, slightly brighter than the rest, will be my wingtip, passing over, blessing them. Ryan takes a step, but before his foot can land we. CUT TO CLOUDS"],"string":"[\n \"UP IN THE AIR A SPOTLIGHT reveals RYAN BINGHAM standing at a PODIUM. He unzips a BACKPACK and sets it down beside him. RYAN How much does your life weigh? Ryan pauses to let us consider this. RYAN -LRB- CONT'D. -RRB- Imagine for a second that you're carrying a backpack. I want you to feel the straps on your shoulders. You feel them? -LRB- gives us a beat. -RRB- Now, I want you to pack it with all the stuff you have in your life. Start with the little things. The stuff in drawers and on shelves. The collectables and knick - knacks. Feel the weight as it adds up. Now, start adding the larger stuff. Your clothes, table top appliances, lamps, linens, your TV. That backpack should be getting pretty heavy at this point - Go Bigger. Your couch, your bed, your kitchen table. Stuff it all in. Your car, get it in there. Your home, whether you have a studio apartment or a two story house, I want you to stuff it into that backpack. Ryan takes a beat to let the weight sink in. RYAN -LRB- CONT'D. -RRB- Now try to walk. We hear people around us chuckling. Ryan smiles. Reveal :\",\n \"INT. HOTEL CONFERENCE ROOM - AFTERNOON The kind that shifts between lower income corporate retreats and lower income weddings. The few dozen people seem to be visualizing as told. RYAN -LRB- CONT'D. -RRB- Kinda hard, is n't it? This is what we do to ourselves on a daily basis. We weigh ourselves down until we ca n't even move. And make no mistake - Moving is living. We see nodding. People's gears turning. RYAN -LRB- CONT'D. -RRB- Now, I'm going to set your backpack on fire. What do you want to take out of it? Photos? Photos are for people who ca n't remember. Drink some gingko and let the photos burn. In fact let everything burn and imagine waking up tomorrow with nothing. -LRB- a beat of emphasis. -RRB- It's kind of exhilarating is n't it? That is how I approach every day. A titter through the crowd.\",\n \"INT. BOEING 757 - DAY A FEMALE FLIGHT ATTENDANT is looking directly at us. FEMALE FLIGHT ATTENDANT Do you want the cancer? Turn to see RYAN looking back. Handsome. Anonymous. Right now - Confused. RYAN Excuse me? FEMALE FLIGHT ATTENDANT -LRB- SAME DELIVERY. -RRB- Do you want the cancer? Ryan furrows - What the hell is going on here? The flight attendant raises her hand to reveal a CAN OF SODA. FEMALE FLIGHT ATTENDANT The can, sir? RYAN Oh. No. Um, no thank you. The flight attendant moves to the next aisle. Ryan takes a beat, then returns to his work.\",\n \"INT. SMALL CONFERENCE ROOM, SUN CASUALTY - DAY Two words - Subordinate chic. Seated at a tiny table is RYAN. The Grim Reaper in a suit. We see a series of REAL PEOPLE react to the news of being fired. They should be non - actors -LRB- actual victims of recent layoffs -RRB- that can react organically to the news with authenticity. Some are hurt. Others are upset and even abusive. The series concludes with. STEVE -LRB- AN ACTOR. -RRB- who's on the verge of tears. STEVE Who the fuck are you? FREEZE on Ryan. RYAN -LRB- V.O. -RRB- Excellent question. Who the fuck am I? Poor Steve has worked here for seven years.\",\n \"INT. STEVE'S CUBICLE - DAY RYAN -LRB- V.O. -RRB- He's never had a meeting with me before.\",\n \"INT. CONFERENCE ROOM - DAY Steve in a small meeting. RYAN -LRB- V.O. -RRB- or passed me in the hall.\",\n \"INT. ELEVATOR BRIDGE - DAY Steve passes a female coworker. RYAN -LRB- V.O. -RRB- or told me a story in the break room.\",\n \"INT. BREAK ROOM - DAY Steve laughs at a coworker's story. RYAN -LRB- V.O. -RRB- And that's because I do n't work here. I work for another company that lends me out to pussies like Steve's boss.\",\n \"INT. STEVE'S BOSS'S OFFICE - DAY Steve's BOSS sits at his desk. Subtitle reads - `` A Big Pussy'' RYAN -LRB- V.O. -RRB- who do n't have the balls to sack their own employees. And in some cases, for good reason. Because, people do crazy shit when they get fired. Steve wipes off his boss's desk. Steve shreds sensitive documents. Steve pours bleach into the communal coffee pot. Steve loads an assault rifle. He stands up to get a view of his coworkers on a coffee break.\",\n \"INT. SMALL CONFERENCE ROOM - DAY Steve is trying to hold it together. RYAN -LRB- V.O. -RRB- And that's where I come in. STEVE What did I. do? What could I have done differently here? RYAN This is not an assessment of your productivity. It's important not to personalize this. Steve scoffs at this. Ryan slides Steve a PACKET. RYAN -LRB- CONT'D. -RRB- Steve, I want you to review this packet. Take it seriously. I think you're going to find a lot of answers in there. STEVE -LRB- DISMISSIVE. -RRB- Oh, I'm sure it's going be really helpful. RYAN -LRB- CONT'D. -RRB- Look, anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. And just for a moment, Steve looks hopeful. RYAN -LRB- CONT'D. -RRB- I'm going to need your key card. STEVE Right. Steve begins removing it from his wallet. RYAN Take the day. Put together your personal things. Talk to your co - workers. Tomorrow, go out and get some exercise. Go for a jog. Give yourself routines and pretty soon you'll find your legs. Steve nods and gets up to leave. Just as he's about to walk out, he stops and turns back. STEVE Wait, how do I get in touch with you? RYAN Do n't worry. We'll be in touch soon. This is just the beginning. Steve nods and exits the room. RYAN -LRB- V.O. -RRB- I'll never see Steve again.\",\n \"INT. RYAN'S ROOM - PHOENIX HILTON - DAY The choreography of Ryan's packing is worthy of Tchaikovsky. A coat slides off a hanger. A travel toothbrush folds closed like a switchblade. A briefcase clicks onto a roll - away bag. A hand flips a light switch without looking.\",\n \"INT. LOBBY, PHOENIX HILTON - DAY Ryan is at the check out desk. CHECKOUT GIRL Do you have your Hilton Honors Card with you? Ryan smiles. `` Do I?'' He hands it to her, close enough to camera, that we get a nice big close up of it. She runs the card and the screen pops up with information that makes her blush. CHECKOUT GIRL Oh my God. Do you like, live, at the Hilton? Ryan nods in faux modesty.\",\n \"EXT. OUTDOOR CAR RETURN, HERTZ RENT-A-CAR - DAY Ryan pulls up to one of the spaces marked with the # 1 GOLD PRESIDENTS CLUB emblem. He hops out and a uniformed man with a handheld device begins to punch in the license plate number. Ryan pulls out his HERTZ PRESIDENTS CLUB CARD and places it nice and close to lens so we can see it. The card slides through the handheld device and we see the DIGITAL NUMBER increase by a few thousand points.\",\n \"INT. MAIN CONCOURSE, PHOENIX SKY HARBOR INTL AIRPORT - DAY The automated GLASS DOORS slide open. Ryan enters the concourse and takes a deep breath of the temperately controlled air. He has arrived. RYAN -LRB- V.O. -RRB- This is where I live. Subtitles - `` Airworld'' Ryan skips the long lines and steps directly into the AAdvantage Executive Platinum line. Glorious close - up of Ryan's AAdvantage Executive Platinum CARD sliding through the AUTOMATED MACHINE. Were it any sexier, we'd hear a moan. Maybe we even do. Immediately, the AIRPORT CLERK registers and perks up. AIRPORT CLERK Pleasure to see you again, Mr. Bingham. RYAN -LRB- V.O. -RRB- When I run my card, the system automatically prompts the desk clerk to greet me with this exact statement. We see it again. AIRPORT CLERK Pleasure to see you again, Mr. Bingham. Ryan nods back to the clerk. RYAN -LRB- V.O. -RRB- Had my status simply been gold or God - forbid, silver. I might have gotten a hello or a smile. Maybe. Ryan continues to hit buttons, swiftly checking in. RYAN -LRB- V.O. -RRB- Loyalty is earned and rewarded with these small touches. It's these kinds of systemized friendly touches that keep my world in orbit. A ticket begins printing. Ryan snaps it up.\",\n \"INT. SECURITY - PHOENIX SKY HARBOR INTL AIRPORT - SAME Ryan steps up and observes his line choices. He finds a few Asian businessmen and hops in behind them. RYAN MOVING THROUGH THE SECURITY SCREENING It's a beautiful choreographed ballet of a bag handle collapsing, shoes coming off, a laptop going in a separate tray, wallet and watch sliding into a shoe, a boarding card sliding into a back pocket. both hands always moving, performing separate actions. It really is gorgeous.\",\n \"INT. AMERICAN ADMIRALS CLUB - SAME Ryan enters and presents his ADMIRALS CLUB CARD. It has a hologram. The ADMIRALS CLUB HOSTESS immediately smiles. ADMIRALS CLUB HOSTESS Welcome back, Mr. Bingham. Ryan walks past a stack of newspapers on the way to the buffet, the whole time framed by an enormous window overlooking the tarmac. RYAN -LRB- V.O. -RRB- All the things you probably hate about travelling - The recycled air. The artificial lighting. The digital juice dispensers and mini pizzas stacked to their heat lamps are the warm reminders that I am home. With that comment, Ryan slides into a leather club seat. A DIGITAL DISPLAY reads : `` Thank You For Your Loyalty''. He opens his briefcase and pulls out his ITINERARY. He scans it. We see a string of flights, car rentals, and stays at Hitons. Then, something makes him frown. He pulls out his cell phone and dials.\",\n \"INT. ASSISTANT'S DESK, CTC - DAY Ryan's assistant, Kevin, is not happy to be there. KEVIN Ryan Bingham's office. RYAN You have me in a Dodge Stratus in Kansas City. KEVIN They are completely out of all full sized sedans. RYAN -LRB- INTERRUPTS. -RRB- Did you? KEVIN -LRB- not the first time. -RRB- Yes, I reminded them of your remarkable # 1 Gold Club status and years in the program. They are moving mountains to see you in a Sebring. RYAN Fair enough. Any other messages? KEVIN Your sister Kara called. Needs to speak urgently about your sister's wedding. I told her you were midair and not even I knew your final destination. RYAN Well done. KEVIN And you got an invitation to speak at GoalQuest in Vegas. Ryan pauses. RYAN GoalQuest twenty?\",\n \"INT. HOTEL CORRIDOR - NIGHT We push in on an EASEL with a SIGN that features RYAN'S HEADSHOT. Underneath his name, it reads : `` What's In Your Backpack?''\",\n \"INT. SMALL CONFERENCE ROOM, HOTEL - NIGHT Ryan delivers his speech with a smile. RYAN -LRB- V.O. -RRB- Every once in a while I do speaking engagements. Motivational kind of stuff. But GoalQuest. We're talking major Tony Robbins shit.\",\n \"INT. ADMIRALS CLUB - SAME Kevin examines the invitation emblazoned with a big `` XX''. KEVIN It's got a hologram. They're calling it Dos Equis. That's some pretty major Tony Robbins shit there. RYAN Talk about burying the lead. -LRB- EXHALES. -RRB- I'll check in when. KEVIN Hold on, I have Craig Gregory for you. RYAN I. ah, fuck.\",\n \"INT. CRAIG GREGORY'S OFFICE, CTC - DAY Four words - Store - bought sports memorabilia. CRAIG GREGORY How's the road warrior? RYAN Twenty minutes from boarding into a world of bliss. CRAIG GREGORY Great numbers out of Phoenix. You know Big Auto is going to drop another 10K this month. RYAN No kidding? CRAIG GREGORY Yeah, Christmas came early. Wish I could have you in five places at once. I need you back in Omaha by the end of the week. RYAN I thought you needed me everywhere. CRAIG GREGORY -LRB- CONT'D. -RRB- We got something big - Game changer. RYAN I do n't know why you ever bring me in. Wherever I go, the money follows. Let me plant seeds, they'll grow to Oaks. Craig checks out a CUTE INTERN. CRAIG GREGORY I'm thinking of planting seeds right now. RYAN What are we talking about here? CRAIG GREGORY You'll see. -LRB- CHANGES DIRECTIONS. -RRB- Today, I took my first crap in two weeks. Hallelujah. RYAN That's me, hanging up on you. CRAIG GREGORY Good. I love that sound.\",\n \"INT. BOEING 757 - DAY Ryan sits one row behind the bulkhead. Left side. Aisle. RYAN -LRB- V.O. -RRB- To know me is to fly with me. I'm the aisle, you're the window - trapped. Reveal - A man next to Ryan. Some BUSINESSMAN between cities. He talks, drink in hand, but we do n't hear him. RYAN -LRB- V.O. -RRB- We start chatting, impersonally at first. Our moderate politics, our sinking opinions on the American service industry. BUSINESSMAN AND RYAN MAKING SUGGESTIONS RYAN -LRB- V.O. -RRB- You recommend a hotel in Tulsa. I tip you off to a rib joint in Fort Worth. BUSINESSMAN TELLS A JOKE. HIS HANDS GESTURE. RYAN -LRB- V.O. -RRB- You tell me your best joke. I've heard it before, but listen anyway. Ryan laughs out loud. TURBULENCE. THE BUSINESSMAN TIGHTENS HIS SEAT BELT. RYAN -LRB- V.O. -RRB- Nothing like turbulence to cement a bond. Soon you're telling me about family. THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM. RYAN -LRB- V.O. -RRB- Your wife just went back to work but you ca n't intervene because you sure could use the extra paycheck and besides, last June she read some book and woke up one morning a feminist. THE MAN LEANS BACK, ARMS CROSSED, WITH A FAR OFF LOOK. RYAN -LRB- V.O. -RRB- And that if your windfall ever came through, you'd quit and spend the rest of your days restoring vintage speedboats. -LRB- saying it with him. -RRB- The water. That's where you belong.\",\n \"EXT. TARMAC, DALLAS FORT WORTH AIRPORT - DAY Their PLANE LANDS.\",\n \"INT. BOEING 757 - DAY As the plane begins to taxi to the gate, both Ryan and the Businessman pull out their cards. RYAN -LRB- V.O. -RRB- We exchange cards and slot them next to countless others. The dull bell `` dings'' to let us know it's safe to stand. Ryan and the Businessman get up and open the overheads. RYAN -LRB- V.O. -RRB- Fast friends are n't my only friends, but my best friends.\",\n \"INT. CONCOURSE, DALLAS FORT WORTH AIRPORT - DAY Ryan and the Businessman walk next to each, now completely ignoring each other as if they never shared a word. RYAN -LRB- V.O. -RRB- Sad? Not really. We're a busy bunch. I'm peaceful. I'm in my element here. I suppose I'm a sort of mutation, a new species. I live between the margins of my itineraries. Ryan and the Businessman reach a point that separates - CONNECTING FLIGHTS go left / LONG TERM PARKING goes right. They share an awkward smile with a nod, then head in their separate directions.\",\n \"INT. BROOKS BROTHERS, DALLAS FORT WORTH AIRPORT - DAY Ryan is checking out TIES when his cell phone rings. He checks the I.D. - UNAVAILABLE. He weighs it for a second. RYAN -LRB- PICKS UP. -RRB- Hello? KARA -LRB- O.C. -RRB- Hi Ryan. Ryan mouths a silent `` fuck''.\",\n \"INT. KARA'S KITCHEN - NIGHT Kara is Ryan's sister. Her home overflows with books, photos, family collectables, and kid's artwork. RYAN -LRB- V.O. -RRB- Every family has one person who is the glue. The one who keeps the genealogy in check. That's my sister Kara - The glue. It just so happens that Kara is GLUING her daughter's school project mobile together. RYAN Hey Kara. KARA How are you holding up? RYAN Just fine. You? The kids? KARA -LRB- LYING. -RRB- Missy's outstanding. Matthew made varsity. How's the road? Ryan exits the store and we realize we are in.\",\n \"INT. CONCOURSE, DALLAS FORT WORTH AIRPORT - DAY Ryan hops onto a PEOPLE MOVER. RYAN Could n't be better. KARA That's good. So, Ryan? RYAN -LRB- CAUTIOUS. -RRB- Yeah? KARA I did n't even want to have to ask you for this, because I know how you are about. doing things for others. Ryan rolls his eyes. KARA -LRB- CONT'D. -RRB- But we're coming in on three weeks to go for Julie's wedding and there's something we could really use your help on. RYAN Yeah. KARA We've been sending people these kits so they can print out photos of Julie and Jim on cardboard, and take photos of them in interesting places kind of like that gnome in the French movie. RYAN Why? KARA -LRB- SIGHS. -RRB- Because it's Julie's wedding. and she thinks it's fun. Does it matter why? RYAN How is Julie? KARA Would you call her? She thinks you've turned to butter - Disappeared. You're awfully isolated, the way you live. RYAN Isolated? I'm surrounded. KARA Your assistant told me you're going to be in Vegas. RYAN Did he? KARA Can you get a photo of the cut - out in front of the Luxor Pyramid? RYAN That place is a shit hole. No one stays there. KARA Jesus, Ryan, I'm not asking you to check in. Can you just take a stupid photo? RYAN I'm going to try my best. KARA Well, thank you for trying your best.\",\n \"INT. BAR LOUNGE - HOUSTON HILTON - EVENING Ryan sits at one of the couch & table set - ups. He's going over some paperwork. He notices an attractive professionally dressed woman, ALEX, sifting through her purse. She sets a pair of car keys with a MAESTRO TAG on the table. RYAN You're satisfied with Maestro? ALEX Yeah, I am. RYAN They're stingy with their miles. I like Hertz. ALEX Hertz keeps its vehicles too long. If a car's over twenty - thousand miles, I wo n't drive it. Ryan is intrigued. RYAN Maestro does n't instant check out. I like to park and go. ALEX Hertz does n't guarantee Navigation. RYAN Funny, you do n't seem like a girl who needs directions. ALEX I hate asking for directions. That's why I get a Nav. RYAN The new outfit, Colonial, is n't bad. ALEX Is that a joke? After a beat. RYAN Yes. ALEX Their kiosk placement is a joke. RYAN Never have available upgrades. ALEX -LRB- PASSIONATE. -RRB- It's basically a fleet of shit boxes - Do n't know how they're still in business. RYAN -LRB- I love you. -RRB- I'm Ryan. ALEX Alex. RYAN So are you going to join me? She breaks into a smile.\",\n \"INT. BAR LOUNGE - HOUSTON HILTON - LATER THAT EVENING Empty glasses litter the table. Ryan and Alex have taken over a couch and have the contents of their wallets spread out - All MEMBERSHIP CARDS. RYAN -LRB- grabs one of Alex's cards. -RRB- Maplewood Card? How dare you bring that into this palace. ALEX Hilton offers equal value and better food - But the Maplewood gives out warm cookies at check in. RYAN They got you with the cookies? ALEX I'm a sucker for simulated hospitality. RYAN There's actually an industry term for that. It's a mixture of faux and homey. It's faumey. Alex grabs Ryan's AMERICAN CONCIERGE KEY CARD. ALEX Oh my God. I've heard about these, but never seen one in person. Is this a? RYAN Concierge Key. Yeah. ALEX I love the weight. RYAN Graphite. I was pretty excited the day that puppy came in. ALEX I'll say. I put up pretty pedestrian numbers. Sixty thou a year, domestic. RYAN -LRB- TRYING. -RRB- That's not bad. ALEX Do n't patronize me. What's your total? RYAN That's a personal question. ALEX Oh please. RYAN -LRB- PLAYFUL. -RRB- I hardly know you. ALEX Show some hubris. Impress me. -LRB- SUGGESTIVE. -RRB- I bet it's huge. RYAN You have no idea. ALEX Come on. -LRB- holds her hands eight INCHES APART. -RRB- Is it this big? -LRB- extends a few inches. -RRB-. this big? RYAN Let's just say I've got a number in mind and I have n't hit it yet. Alex smiles, fair enough. Admires the CONCIERGE KEY CARD. ALEX This is pretty fucking sexy. RYAN I hope it does n't cheapen our relationship. ALEX We're two people who get turned on by elite status. We may have to settle for cheap. RYAN There's nothing cheap about loyalty. Alex looks into Ryan's eyes and gives him unspoken permission to take her right there and then.\",\n \"INT. HOTEL HALLWAY - NIGHT Ryan and Alex walk down a curved corridor, suppressing laughter. There's no adult way to go back to somebody's hotel room. Once at the door, Ryan tries his KEY CARD, but it does n't work. He reaches into his pocket and comes up with five other key cards from recent trips. RYAN I really have to start throwing these out. He tries a couple. ALEX We can always use that room with the ice machine. Ryan chuckles. He finds the right key and opens the door.\",\n \"INT. RYAN'S SUITE, HOUSTON HILTON - LATER THAT NIGHT Everything is scattered from a marathon Fuck. Ryan and Alex are laying on the bed, sprawled out on their backs like murder victims. RYAN Good call on the towel rack. ALEX Thanks. I liked how you burritoed me in the sofa cushions. RYAN I was improvising. ALEX Too bad we did n't make it to the closet. RYAN We got to do this again. TWO LAPTOPS SIDE BY SIDE RYAN I'm in Newark on the 12th, Madesto on the 13th, Oklahoma City on the 15th. ALEX Any Southwest? I'm swinging through Albuquerque the week of the 16th? RYAN No, but I'll be in Florida by the 20th. ALEX Miami? RYAN Ft. Lauderdale. ALEX That's nothing. RYAN Forty minutes. They simultaneously type each other into their calendars. ALEX I should probably go back to my room so I can wake up in my bed. RYAN I think that's the lady like thing to do.\",\n \"INT. HOTEL CORRIDOR - NIGHT Ryan drops Alex off at her door. She flips the `` do not disturb'' on her door handle and kisses Ryan good night. The door closes. Ryan smiles to himself.\",\n \"EXT. HOUSTON HILTON - NEXT MORNING Sprinklers doing their job. One's broken.\",\n \"EXT. HOUSTON HILTON - MORNING Looking through the first floor window, we see Ryan doing laps in the pool.\",\n \"INT. LOBBY, HOUSTON HILTON - MORNING Ryan gets a shoe shine.\",\n \"INT. LOBBY, HOUSTON HILTON - DAY The CLERK swipes Ryan card.\",\n \"EXT. CAR DROP OFF - MAESTRO RENT-A-CAR - DAY A CAR RETURN CLERK slides Ryan's card through a device.\",\n \"INT. CHECK IN DESK, BUSH INTERCONTINENTAL AIRPORT - DAY Ryan SWIPES his FREQUENT FLIER CARD through the automated machine. A FEMALE DESK ASSISTANT notices the number, looks up at Ryan, and has a tiny orgasm right there.\",\n \"INT. BOEING 757 - DAY Ryan looks out the OVAL WINDOW to the landscape of Omaha. RYAN -LRB- V.O. -RRB- Last year, I spent three hundred twenty two days on the road.\",\n \"INT. KISS-N-FLY, EPPLEY AIRFIELD - DAY Ryan wheels passed a couple that leaps into each other's arms. RYAN -LRB- V.O. -RRB- Which means that I had to spend forty three miserable days at home.\",\n \"EXT. RYAN'S APARTMENT BUILDING, OMAHA - DAY Ryan steps up to an upscale building with little character, searching for his keys at the bottom of his bag. Finally finds them and opens the front door.\",\n \"INT. ELEVATOR, RYAN'S APARTMENT BUILDING - DAY Ryan presses his floor, when a NOSEY NEIGHBOR slides in. NOSEY NEIGHBOR Ryan? RYAN -LRB- does n't know his name. -RRB- Hi. NOSEY NEIGHBOR Feels like it's been months, busy man. We missed you at our Summer party. RYAN Yeah, sorry I could n't be there. NOSEY NEIGHBOR We've been trying to get a vote on the new landscaping. Can I e - mail you the plans? We'd love to get a final tally. RYAN It's fine. Really. I'll go with the majority. NOSEY NEIGHBOR Sometimes I forget that you even live here. You could probably save money and move into a hotel. RYAN -LRB- DEAD SERIOUS. -RRB- I looked into it, but the IRS requires a permanent address for employment. Otherwise, they classify you as a vagrant. Ding! - Ryan gets off at his floor. NOSEY NEIGHBOR Oh.\",\n \"INT. RYAN'S APARTMENT, OMAHA - DAY Ryan walks in and sets his bag down. Reveal - the place is empty. Like empty, empty. Ryan opens the fridge - Chinese take out. Pizza box. Bottle of Vodka. Takes a whiff of something - not good. WOMAN'S VOICE Hey neighbor. Ryan turns to find Dianne, a pretty woman just shy of forty. RYAN Hey yourself. They hug - It's just intimate enough to know they've violated the rules of sleeping with your neighbors. DIANNE -LRB- hands over a package. -RRB- I signed for this while you were gone. RYAN Thanks. Hope it was n't a bother. Ryan opens it and finds the CUT - OUT of his sister Julie and her fiance Jim. It's an eighteen inch card stock photo of Jim hugging Julie from behind. DIANNE -LRB- RE : PHOTO. -RRB- They seem happy. RYAN It's my sister. She's getting married. Have n't met the guy yet. DIANNE Lots of luck. RYAN I know, right? They share a smile. Then, Dianne goes to leave. DIANNE It's good to see you. Feels like a while this time. RYAN Hey, you want to come over tonight? Dianne gets a little uncomfortable. DIANNE Actually, I kind of started seeing somebody. RYAN Oh, that's. that's great. DIANNE Yeah, we're having drinks tonight if you want to come over. RYAN That's okay. I' think I'll settle in. Dianne gives a smile/nod and exits. Ryan take another long look at the CUT - OUT. He shakes his head.\",\n \"EXT. CTC HEADQUARTERS, CTC - MORNING A downtown midsize high rise.\",\n \"INT. CONFERENCE ROOM - DAY The company has piled in, standing room only. Assistants and interns watch through the windows. Craig addresses the group including his own superiors. CRAIG GREGORY Just thrilled to have everyone under one roof. Welcome home boys. A couple odd looks from road warriors a decade his senior. CRAIG GREGORY -LRB- CONT'D. -RRB- I know there's are lot of whispering about why we're all here. Retailers are down twenty percent. Auto industry is in the dump. Housing market does n't have a heartbeat. This is our moment. It's one of the worst times on record for America. and I do n't want to be standing here two years from now, wondering how we missed this window of opportunity. A strangely encouraged response from the group. CRAIG GREGORY -LRB- CONT'D. -RRB- Now, last Summer we received a dynamite young woman by way of Cornell. She challenged us with some big ideas. My first reaction was, who does this kid think she is? But when I started to give a listen, I was pretty knocked out. So now, with a little peek into our future - Natalie Keener. Natalie stands up. NATALIE If there's one word I want to leave you with today, it's this. Natalie clicks on her POWER POINT PRESENTATION. POWER POINT SLIDE : `` GLOCAL'' Everyone including Ryan attempts to pronounce it. NATALIE -LRB- CONT'D. -RRB- Glocal. POWER POINT SLIDE : `` GLOBAL - > LOCAL'' NATALIE -LRB- CONT'D. -RRB- Our global must become local. POWER POINT SLIDE : A slide shows PEOPLE X 250. NATALIE -LRB- CONT'D. -RRB- This company keeps twenty three people on the road, at least two hundred fifty days a year. It's expensive and it's inefficient. When I came to Craig three months ago with this, he told me, and quite astutely - it's only a problem if you have a solution. Well, today I stand before you with jus that. She turns around and fires up her monitor. Sitting in a video conference session is a young man in a suit. NATALIE -LRB- CONT'D. -RRB- You all know Ned in reception. Various people say hello to Ned. NATALIE -LRB- CONT'D. -RRB- Today, I'm going to fire Ned. -LRB- ASIDE. -RRB- Sorry, Ned. I'm sure H.R. will hire you back this afternoon. Ned smiles. People chuckle in the conference room. One guy jokes `` Do n't count on it.'' NATALIE -LRB- CONT'D. -RRB- Ned could be any employee in any one of our client's locations worldwide. Strategy packets would be shipped in advance. Ned would be given a seat and find one of our transition specialists waiting for him. Natalie turns to the monitor and proceeds to fire Ned. It is a pretty dry process and lacks Ryan's charm. NATALIE -LRB- CONT'D. -RRB- Mr. Laskin, the reason we're having this conversation today is your position is no longer available. NED -LRB- from a script. -RRB- I do n't understand. I'm fired? NATALIE Hearing the words `` You've been let go'' is never easy. Change is always scary. But consider the following -. -LRB- using Ryan's line. -RRB- Anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. RYAN -LRB- QUIETLY. -RRB- That's my fucking line. NED Well, what happens now? NATALIE This is the first step of a process that will end with you in a new job that fulfills you. NED Yeah, but, how does it work? NATALIE I want you to take that packet in front of you. Ned picks up the packet. NATALIE -LRB- CONT'D. -RRB- Review it. All the answers you're looking for are inside. Start filling out the necessary information and before you know it, you'll be on your way to new opportunities. Ned starts to peruse the packet with fake interest. NATALIE -LRB- CONT'D. -RRB- Now Ned, I'm going to need you to go back to your desk and start putting together your things. As a favor to me, I'd appreciate it if you did n't spread the news just yet. Panic does n't help anybody. NED I understand. NATALIE Have a good day, Mr. Laskin and good luck with your future. NED Thank you. Ned gets up and goes to leave. NATALIE Give it up for Ned. People clap and tease him a little. POWER POINT : An animation of one monitor becoming multiple monitors, all tied into a central switch board in the middle of a map of the country. NATALIE -LRB- CONT'D. -RRB- You can start the morning in Boston, stop in Dallas over lunch and finish the day in San Francisco. All for the price of a T1 line. Our inflated travel budget is eviscerated by eighty - five percent. And most importantly to you guys on the road. No more Christmases in a hotel in Tulsa. No more hours lost to weather delays. You get to come home. Ryan is in a state of silent panic.\",\n \"INT. CRAIG GREGORY'S OFFICE, CTC - MOMENTS LATER Ryan enters and stops short. RYAN Tell me you're not taking this seriously. CRAIG GREGORY Yeah, that's why we brought the entire company in from the road - Because we're not taking this seriously. RYAN It does n't make any sense. It's. -LRB- SEARCHING. -RRB-. completely impersonal. CRAIG GREGORY Who am I even talking to? RYAN There's a methodology to what I do. A reason why it works. CRAIG GREGORY Ryan, Coke and IBM have been doing it for years. Just like anything, there's a few months of transition, but everyone settles in. RYAN Who are you taking off the road? A beat. CRAIG GREGORY You do n't get it. You're grounded, Ryan. Everyone is. It's done. RYAN Okay, what we do here is brutal and leaves people devastated, but there's a dignity to the way I do it. CRAIG GREGORY Stabbing people in the chest instead of the back? Ryan rolls his eyes. Craig's door opens and Natalie pops her head in. NATALIE You wanted to see me? Craig goes to wave her off. RYAN Yeah, why do n't you come in. Natalie is confused but takes the chair next to Ryan. CRAIG GREGORY Great job in there, Nat. NATALIE Thank you. How's everyone taking it? Natalie and Ryan hold a look for a second. RYAN -LRB- TO NATALIE. -RRB- Look, I appreciate your. zeal. And you have some good ideas. But you know nothing of the realities of my job. Sure, you can set up an iChat. but you do n't know how people think. NATALIE Actually, I minored in psychology. CRAIG GREGORY Nice. RYAN -LRB- TO NATALIE. -RRB- Okay kiddo, fire me. CRAIG GREGORY Ryan, stop it. RYAN She's going to be doing this on a regular basis. You do n't want to know if she can fire somebody? CRAIG GREGORY She just fired Ned. RYAN My dog could fire Ned. -LRB- TO NATALIE. -RRB- Fire me. CRAIG GREGORY Ryan. NATALIE It's okay, I got this. Ryan and Natalie turn to face each other. NATALIE -LRB- CONT'D. -RRB- Mr. Bingham, I regret to inform you that your position is no longer available. RYAN Who the hell are you? NATALIE My name is Miss Keener and I'm here today to discuss your future. RYAN My future? I do n't know you. The only person who can fire me is Craig Gregory. NATALIE Mr. Gregory hired me to handle this for him. RYAN Handle what? Handle me? Mr. Gregory hired me and he's the only one who can fire me. I'm going to talk to him. Ryan gets up. Natalie gets up too. NATALIE Mr. Bingham. RYAN You ca n't follow me. You're on a computer screen. Remember? NATALIE -LRB- FRUSTRATED. -RRB- Ryan. Ryan sits back down. RYAN Try again. Fire me. NATALIE I just did. RYAN Actually, you did n't. Now, fire me. CRAIG GREGORY Stop it, Ryan. NATALIE -LRB- IGNORES CRAIG. -RRB- Mr. Bingham, I'm here today to inform you that your position is no longer available. RYAN I'm fired? NATALIE Yes, you're fired. RYAN -LRB- ASIDE. -RRB- Never say fired. NATALIE You've been let go. RYAN Why? NATALIE -LRB- breaks the moment. -RRB- This is a mythical situation. How could I possibly know why? RYAN You never know why. Why does n't matter. NATALIE -LRB- back on track. -RRB- It's important not to focus on the `` why'' and rather to spend your energy thinking about your future. RYAN I'm going to spend my energy on suing you if you do n't give me a reason that you're firing me. NATALIE Mr. Bingham, the reason is not important. RYAN Oh, so you're firing me without grounds. -LRB- TO CRAIG. -RRB- Now, I really have a lawsuit. CRAIG GREGORY Ryan, I think we know what you're trying to say. NATALIE -LRB- still in character. -RRB- Do n't take this personally, Mr. Bingham. Ryan stops. RYAN Personally? -LRB- quiet and calm. -RRB- This is the most personal situation you will ever enter. So before you try to revolutionize my business, I'd like to know that you actually know my business.\",\n \"INT. RYAN'S OFFICE, CTC - DAY Ryan is staring out his window watching a plane take flight. Craig enters. CRAIG GREGORY Hell - of - a - way to welcome her to the team. RYAN Am I the only one who sees that by automating our own business, we're making ourselves irrelevant. CRAIG GREGORY -LRB- frankly. -RRB- No. We're making you irrelevant. Ryan shoots a look. CRAIG GREGORY -LRB- CONT'D. -RRB- Hey, do n't blame me. Blame fuel costs. Blame insurance premiums. Blame technology. -LRB- A BEAT. -RRB- Watch yourself, Ryan. You're too young to be a dinosaur. RYAN I'm not. I'm not a dinosaur. CRAIG GREGORY I want you to show her the ropes. RYAN What do I know about what happens around here? Have Ferguson do it. CRAIG GREGORY I'm not talking about here. A beat as Ryan registers what Craig means : The Road. RYAN No. CRAIG GREGORY Hey, you seem pretty confident that this girl does n't know what she's doing. RYAN Excuse me. I just do n't think a MySpace page qualifies you to rewire an entire company. CRAIG GREGORY Great. Well, here's your chance. Show her the magic. Take her through the paces. RYAN I'm not a fucking tour guide. Craig cups one of his hands and places a FOLDED POST - IT between his fingers like a ship's sail. CRAIG GREGORY -LRB- re : his hand. -RRB- This is the boat. Craig raises his other finger far away. CRAIG GREGORY -LRB- CONT'D. -RRB- -LRB- re : his finger. -RRB- This is you. A beat of Ryan taking in this ridiculous illustration. CRAIG GREGORY -LRB- CONT'D. -RRB- Do you want to be in the boat? RYAN Yes. Alone. CRAIG GREGORY Ryan, we're ringing the bell. Rounding everybody up. If you want to stay out there a little longer, you can. But you're not going to be on your own. -LRB- begins to leave. -RRB- Let me know. Ryan churns.\",\n \"INT. RYAN'S APARTMENT - DAY Ryan is packing his ROLL - AWAY BAG. It is practiced and systematic. He's just about finished, when he notices the CUT - OUT of his sister's engagement photo. He tries placing it in the open bag, but it is immediately clear that the photo is two inches to long. He tries putting it on an angle, but that does n't help. RYAN Huh. Ryan centers the cut - out again and tries to ZIP around it, but he ca n't get the zipper around the HEADS of the photo. For a moment, it almost seems like he's assaulting their tiny head with the zipper handle. Does n't help. A moment of silent frustration. THE ROLL - AWAY Being pulled through an airport. The little heads of Ryan's sister and her fiance are poking out the top of the bag. The two zippers have been closed on either side of them as though they were tiny passengers peeking out the sunroof.\",\n \"INT. EPPLEY AIRFIELD, OMAHA - MORNING Ryan cuts right through the crowd, wheeling his carry - on towards the automatic check - in machines. Ryan stops when he notices NATALIE saying goodbye to her BOYFRIEND - a kind of Hollister looking guy in his mid - twenties. He's not thrilled by the public affection. After a beat, they break and he exits. Natalie sees Ryan and starts dragging her LARGE SUITCASE towards him. The SCRAPING against the terrazzo sends a shiver up Ryan's spine. She arrives and sets the heavy bag down with a CLUNK. Ryan stares at her travel case for a beat then up to her. NATALIE What? A ROW OF ROLL AWAY BAGS\",\n \"INT. LUGGAGE STORE, EPPLEY AIRFIELD - MORNING Ryan pulls one out and tests the action. NATALIE I really like my luggage. RYAN That's exactly what it is. Luggage. -LRB- off of Natalie's look. -RRB- You know how much time you lose by checking in? NATALIE I do n't know, maybe five minutes waiting for. RYAN Thirty five minutes per flight. I travel two hundred seventy days a year. That makes one hundred fifty seven hours. That's Seven Days. -LRB- points to her luggage. -RRB- You ready to throw away a whole week on that?\",\n \"INT. TERMINAL FLOOR, EPPLEY AIRFIELD - MORNING Natalie is attempting to repack her new bag in the middle of the airport. Ryan helps by throwing a couple things out.\",\n \"INT. SECURITY, EPPLEY AIRFIELD- MORNING Ryan spots various `` bad lines'', then sees a group of Asians. RYAN Bingo. Asians. Ryan starts walking. NATALIE You ca n't be serious. As they pass the first line - A FAMILY OF SIX. RYAN Never get behind people travelling with infants. I've never seen a stroller collapse in less than twenty minutes. Second Line - AN ELDERLY COUPLE RYAN -LRB- CONT'D. -RRB- Old people are worse. Their bodies are littered with hidden metal and they never seem to appreciate how little time they have left on Earth. Third Line - A COUPLE MIDDLE EASTERN GUYS. RYAN -LRB- CONT'D. -RRB- Five words. Randomly selected for additional screening. They enter the fourth line behind the Asians. RYAN -LRB- CONT'D. -RRB- Asians. They're light packers, treasure efficiency, and have a thing for slip - on shoes. God love'em. NATALIE That's racist. RYAN I'm like my mother. I stereotype. It's faster.\",\n \"INT. SECURITY, EPPLEY AIRFIELD MOMENTS LATER Ryan is just fastening his belt, having just gone through security, when we hear a beeping go off. Natalie is trying to find the metal on her body that has set off the machine. She also has forgotten to take her laptop out of her bag. It's a mess.\",\n \"INT. BOEING 757 - MID FLIGHT Ryan is sketching a theoretical book cover for `` The Backback''. Natalie is working on an Excel Document on her laptop - She's a loud tapper. Hitting the keys with violent strokes. It draws Ryan's attention and a raised eyebrow. RYAN Are you upset at your laptop? NATALIE No. Why? RYAN Fats Domino had a lighter touch. NATALIE I type with purpose. RYAN What are you working on so furiously? NATALIE I'm building a work flow of firing techniques. Questions & responses. Actions & reactions. A script that works kind of like a tributary, taking you through the steps of firing someone. RYAN Who is it for? NATALIE Theoretically, you could put it in the hands of anybody and they could be downsizing immediately. All they have to do is follow the steps. RYAN Natalie, what is it, you think we do here? NATALIE We prepare the newly unemployed for the emotional and physical hurdles of job hunting while. Minimizing potential legal blowback? RYAN That's what we're selling. But it's not what we're doing. NATALIE Okay, what are we doing? RYAN Our job is to make limbo tolerable - To ferry wounded souls across the river of dread and humiliation to the point at which hope's bright shore is dimly visible. -LRB- FRANKLY. -RRB- And then to stop the boat, shove'em in the water, and make them swim while we row back to the palace of their banishment to present the employers with our bills. NATALIE That was really impressive. You rehearse that? Natalie smiles and goes back to her work. Ryan goes to say something, but holds back for now.\",\n \"INT. MAIN TERMINAL, ST. LOUIS INT'L AIRPORT - DAY Ryan zips through the wandering types as Natalie tries to keep up. Ryan's phone rings. He sees the caller ID. Smiles. RYAN -LRB- TO NATALIE. -RRB- I got to grab this. I'll meet you at the rental lot. Natalie nods and keeps moving. Ryan picks up. RYAN Hey, I was hoping I'd hear from you.\",\n \"INT. HOTEL CONFERENCE ROOM - DAY Alex is on her cell phone as a junior behind her folds a portable projector screen. ALEX I'm in Hotlanta. I need a rib joint recommend bad. RYAN -LRB- SMILES. -RRB- Fat Matt's. Bring a bib. Ryan turns into an elevator well to talk. ALEX You have n't called. RYAN You know, I did n't know what was appropriate. Alex stops. She moves to a quieter place. ALEX Ryan, I'm not some waitress you banged in a snow storm. The word `` Appropriate'' has no place in our collective vocabulary. I'm the woman you do n't have to worry about. RYAN This sounds like a trick. ALEX Next time you're worried about manners - Do n't. If you want to call - Call. Just think of me as yourself. only with a vagina. Ryan lights up. This woman fucking rocks. Then recovers. RYAN When am I going to see you? ALEX I'm out of Hartsfield, into IAD, then a connection at ORD into SDF. RYAN -LRB- COMPASSIONATE. -RRB- Oh. sorry. ALEX Tell me about it. RYAN How long is your layover in O'Hare? They've got multiples into SDF. Think you could push? ALEX -LRB- SMILES. -RRB- I can push. Joy.\",\n \"INT. ELEVATOR, BOTTLING COMPANY - DAY Ryan and Natalie ride, briefcases in hand. Natalie is swaying back and forth. Ryan notices. Is she nervous? Excited? Ding - The elevator door opens.\",\n \"INT. RECEPTION, BOTTLING COMPANY - DAY Ryan and Natalie enter the door to find a reception desk on an empty floor. Scattered telephones sit on the ground where desks used to be. A few desks in one corner are still manned. Natalie tries not to show : It's all becoming very real. RYAN -LRB- to desk girl. -RRB- Ryan Bingham, from CTC. The desk girl looks up from her work. She knows who they are.\",\n \"INT. CUBICLE CITY, BOTTLING COMPANY - DAY Ryan and Natalie pass rows of cubicles. Heads begin to pop up to see their arrival. Natalie accidentally makes eye contact with one guy, then quickly shifts her gaze forward.\",\n \"INT. WINDOWLESS CONFERENCE ROOM, BOTTLING COMPANY - DAY Ryan and Natalie sit next to each other at a polyurethane conference table. RYAN All you have to do today is watch and listen. When I talk about the strategy packet. You hand them one of these. Ryan points to a stack of packets. NATALIE You ever find it strange that termination comes with a packet. RYAN Everything important in life comes with a packet. MONTAGE OF MORE REAL PEOPLE REACTING TO BEING FIRED A SERIES OF REAL PEOPLE sit down across from Ryan and Natalie RYAN Thank you for coming by. As you're probably well aware, this is a tough economic climate and your company is not immune. REAL PEOPLE tighten up as they begin to catch on. RYAN While I wish I was here with better news, the reason you and I are meeting is this is your final week of employment here. REAL PEOPLE blame all sorts of people and situations that they personally hold responsible. RYAN This is not a time to look for blame. Your position simply no longer exists. REAL PEOPLE respond further. Some are enraged. Some are polite. One is even grateful. RYAN I understand why you are saying these things. It's perfectly natural to feel this way. I want you to take the next week to explore this strategy packet. Ryan nods to Natalie who we now see begrudgingly HANDING PACKETS to all of the REAL PEOPLE we've already met. RYAN Fill out the skill set work sheet. Use the hopes and dreams diagram. And the tree of aspirations. We SEE the `` TREE OF ASPIRATIONS'' sheet. RYAN -LRB- WITH EMPHASIS. -RRB- The answers are all in there. We see more packets getting handed out as Ryan repeats. RYAN The answers are all in there. -LRB- ANOTHER PERSON. -RRB- The answers. -LRB- ANOTHER PERSON. -RRB- The answers. -LRB- ANOTHER PERSON. -RRB-. are - all - in - there. BOB -LRB- AN ACTOR -RRB- PRESENTING A PHOTO OF HIS CHILDREN BOB And what do you suggest I tell them? BOB. Dry red eyes from tears of rage stare down the lens. Natalie ca n't hold back any longer. NATALIE -LRB- A SUGGESTION. -RRB- Perhaps you're underestimating the positive effect your career transition may have on your children. Ryan looks at Natalie like she's out of her mind. BOB Positive effect? NATALIE Well, tests have shown that children under moderate trauma have a tendency to apply themselves academically as a method of coping. BOB Go fuck yourself. That's what my kids'll think. Natalie shrinks. Ryan immediately covers. RYAN Your children's admiration is important to you? BOB Yeah. It was. RYAN -LRB- FRANKLY. -RRB- Well, I doubt they ever admired you, Bob. Bob looks up shocked and pissed. BOB Hey asshole, are n't you here to console me? RYAN I'm not a shrink, Bob. I'm a wake up call. You know why kids love athletes? BOB Because they screw lingerie models. RYAN No, that's why we love athletes. Kids love them because they follow their dreams. BOB Yeah, well I ca n't dunk. RYAN But you can cook. Natalie looks to Ryan - Where is he going with this? BOB What are you talking about? Ryan picks up Bob's resume. RYAN Your resume says you minored in French Culinary Arts. Most students work the frier at KFC. You bussed tables at Il Picatorre to support yourself. Then you got out of college and started working here. -LRB- looks up at Bob. -RRB- How much did they first pay you to give up on your dreams? BOB -LRB- FLAT. -RRB- Twenty seven thousand a year. RYAN At what point were you going to stop and go back to what made you happy? Bob simply shrugs. RYAN Do you believe in fate, Bob? BOB Fate? RYAN Yeah. You know, the mysterious ways in which we wind up doing the things we were meant to do. BOB -LRB- OFFERING. -RRB- I met my wife at a gas station. RYAN Exactly. Well, I think fate is telling you to do something, Bob. Bob looks up and meets eyes with Ryan. RYAN -LRB- CONT'D. -RRB- I see guys who work for the same company their entire lives. Clock in. Clock out. Never a moment of happiness. -LRB- pauses for effect. -RRB- Not everyone gets this kind of opportunity. The chance for rebirth. If not for yourself. Do it for your kids. Bob's eyes begin to water again. He's a changed man. Ryan shoots Natalie a look - Hand over the packet. Natalie jumps to attention and hands Bob a packet.\",\n \"INT. LOBBY, ST. LOUIS HILTON - NIGHT There's a BUSINESS WOMAN waiting in the regular line. Ryan walks right past her and gets into the ELITE LINE. They are now both first in their respective lines for the counter. The woman looks over at Ryan and sighs. Natalie holds back, confused by Ryan's actions and wanting to avoid confrontation. The DESK CLERK frees up and gestures for Ryan to step forward. Ryan begins wheeling his bag forward. Meanwhile, the woman lifts her hand in outrage. BUSINESS WOMAN I've been waiting ten minutes. He just waltzes in and gets to cut in line. DESK CLERK We reserve priority assistance for our Hilton Honors members. Ryan grabs a BROCHURE for ELITE MEMBERSHIP off the desk and hands it to the business woman. RYAN You should look into it - The promotions are great. The woman bats it out of Ryan's hand onto the floor. BUSINESS WOMAN Fuck off. Ryan looks back at the desk clerk and smiles. The desk clerk swipes his card. Ryan's DIGITAL NUMBER bumps up another thousand points.\",\n \"INT. PUBLIC BATHROOM, ST. LOUIS HILTON - EVENING Natalie is washing her hands, when she stops to look at herself in the mirror. After a beat, she hears someone CRYING in one of the stalls. She goes to see if the woman is okay, then stops herself - Maybe I fired her. She grabs a paper towel, dries off her hands, and leaves.\",\n \"INT. RESTAURANT BAR, ST. LOUIS HILTON - EVENING Natalie sits back down at the table a little visibly shaken. RYAN You okay? NATALIE -LRB- COVERS QUICKLY. -RRB- Yeah. Fine. Just then, their food arrives. And there's a lot of food. Natalie's eyes move back and forth trying to figure out why there seems to be three main courses and a bunch of sides. NATALIE Hungry, much? RYAN Our expense account allots for forty dollars each on dinner. I plan on grabbing every mile I can. NATALIE Okay, you got to fill me in on this mile business. What's that all about? Are you talking like frequent flier miles? Ryan gives Natalie a look - Is she ready for this information? RYAN Your really want to know? NATALIE -LRB- MOCK SERIOUS. -RRB- I'm dying to know. RYAN I do n't spend a nickel, if I can help it, unless it somehow profits my mileage account. I'm not talking hotel rooms and rental cars either, but internet services, cell phone, music downloads, teleflorists. The works. I shop them according to the miles they pay and I pit them against each other for the most value. NATALIE So, what are you saving up for? Hawaii? South of France? RYAN No, it's not like that. The miles are the goal. NATALIE That's it? You're saving to save? RYAN Let's just say I've got a number in mind and have n't hit it yet. NATALIE Wow. Seems a little abstract. What's your target? RYAN I'd rather not. NATALIE -LRB- TEASING. -RRB- It's a secret target? RYAN It's ten million miles. NATALIE Huh. Is n't ten million just a number? RYAN Pi is just a number. NATALIE I guess we all need a hobby. Ryan looks back at Natalie - Hobby? NATALIE -LRB- CONT'D. -RRB- Oh hey, I did n't mean to belittle your collection. I get it. Sounds cool. RYAN I'd be the seventh person to do it. More people have walked on the moon. NATALIE Do they give you a parade or something? RYAN Lifetime Exec Platinum status. You get to meet the Chief Pilot, Maynard Finch. And. They put your name on the side of a plane. NATALIE Men get such a hard - on from putting their name on stuff. You guys do n't grow up - You just need to pee on everything. RYAN Now, who's stereotyping? NANCY Fear of mortality. It's like Yes, you're going to die one day. RYAN And why do you suppose that's singular to men? NATALIE Probably cause you ca n't have babies. Ryan ca n't help but laugh a little. NATALIE -LRB- CONT'D. -RRB- If I had that many miles, I'd just show up at the airport, look up at one of those big destination boards, pick a place and go. This idea sinks in for a second with both of them.\",\n \"INT. RYAN'S ROOM, ST. LOUIS HILTON - NIGHT Ryan is laying in bed wearing a Hilton bathrobe. He's reviewing his sister's wedding invite when his BLACKBERRY BUZZES on the night stand. He reaches over to check it. It's a text message : Alex : `` Ca n't fall asleep.'' Ryan types back : Ryan : `` Me too. Just laying here.''\",\n \"INT. ALEX'S HOTEL ROOM - NIGHT Alex is in a t - shirt, lying in bed. She types away at her BLACKBERRY and presses SEND. Ryan's BLACKBERRY BUZZES again. Alex : `` You should rub one out.'' RYAN -LRB- CHUCKLES. -RRB- Thanks for the advice. Types back. Ryan : `` Only fair if you do too.'' BLACKBERRY BUZZES again. Alex : `` Way ahead of you.'' RYAN Man alive. Ryan : `` Call me next time so I can listen.'' Alex :'' ;-RRB- Have sweet dreams about me.'' Ryan smiles. He stares at the message for a second, then sets the blackberry down and turns off the light.\",\n \"EXT. LAMBERT FIELD, ST. LOUIS - DAY Natalie is standing with a camera in her hands, giving directions. NATALIE Left, left, left, left. one more inch. and stop. Reveal : Ryan is placing the CUT - OUT of Julie and Jim. The camera POV makes it look like Julie and Jim are standing in front of St. Louis International Airport. NATALIE I do n't get it. RYAN My sister is cooky. She thinks this is charming. Like the gnome thing. NATALIE No, I mean. why would your sister want a fake photo in front of the St. Louis Airport? RYAN She should be so lucky to visit Lambert Field. The Wright Brothers flew through there. -LRB- points out the conical MAIN TERMINAL. -RRB- The domed main terminal was the first of its kind. A precursor to everything from JFK to DeGualle. NATALIE -LRB- LAME. -RRB- Wow. Pretty sweet. Natalie takes the photo. RYAN Why she wants dozens of reminders of all the places she has n't been is beyond me. NATALIE Well, I'm sure she's going to be crushed for having missed this airport. RYAN Look - Before Lindbergh could cross the Atlantic, he took off from one of those runways. Ever wondered why they call it the Spirit of St. Louis? NATALIE -LRB- QUICKLY. -RRB- No. Ryan goes to say something, but Natalie is already gone.\",\n \"INT. CONFERENCE ROOM, WICHITA SECURITIES COMPANY - DAY Ryan and Natalie sit stoically as a YOUNG ASIAN GUY rants about why they are idiots to fire him. YOUNG ASIAN GUY And another thing? You know how fucked this place is without me? You know how fucked this place is without me? Fucked in the ass, man. I am the one thing preventing this place from being totally fucked in the ass. The young asian guy snaps up one of the PACKETS and leaves, slamming the door behind himself. RYAN Sometimes, they just need to vent. NATALIE Please, for the love of God, can I fire the next one? Ryan gives it some thought.\",\n \"INT. CONFERENCE ROOM, WICHITA SECURITIES COMPANY - LATER A professional African - American woman wearing a smart suit sits down at the conference table. Natalie sits up. KAREN I'm here to be fired, right? NATALIE We're here to talk about your future. KAREN You do n't have to sugar coat it. I get the drill. What are they offering? NATALIE Inside the packet you'll find a clearly worked out severance package. KAREN Give me the bullet points. NATALIE Three months pay. Six months medical. A full year of placement services through our company, CTC. KAREN Placement services? How generous. NATALIE Commonly, it takes one month of searching for every ten thousand dollars you expect to earn in salary. KAREN So I could be looking for a while. NATALIE Not necessarily. KAREN Oh, do n't sweat it. I'm pretty confident about my plans. NATALIE -LRB- SPIRITS LIFTED. -RRB- Oh yeah? KAREN Yeah. Can you tell me? Is high tide in the morning or the evening? NATALIE I do n't know. Why? KAREN There's this beautiful bridge by my apartment. I need to figure out what time to jump off it. Natalie begins to tremble.\",\n \"EXT. WICHITA SECURITIES COMPANY COURTYARD - DAY Natalie bursts out the doors and sits on a bench. She's freaked out. Ryan is five steps behind her. He puts a hand on her shoulder. RYAN People say these things all the time. It comes with the trade. NATALIE They do? RYAN Sure. People are always saying crazy stuff. They get worked up. NATALIE She was so calm. RYAN -LRB- not quite sure. -RRB- I think that's a good sign. NATALIE So they do n't actually ever do it? RYAN No. it's just talk. NATALIE How do you know? Do you follow up? RYAN I mean, no, nothing good can come of that, but I do n't think you should worry about it. Natalie is clearly still worried. RYAN -LRB- CONT'D. -RRB- This is the job. Taking people at their most fragile moment and setting them adrift. BEGIN MONTAGE A PLANE PULLING BACK ITS GATE AND TAKING OFF WHITE COLLAR PEOPLE ARE HANDED PACKETS RYAN AND ALEX ENTERING A NEW HOTEL ROOM. THEY'RE BECOMING MORE COMFORTABLE WITH EACH OTHER\",\n \"INT. BOEING 757 - DAY Looking out the window at the passing landscape. Over the pastures and roads, we see GRAPHIC WHITE LINES AND NUMBERS denoting each mile as they click by. Ryan tears a page out of AMERICAN WAY MAGAZINE outlining their mileage program and hands it to Natalie. GARDENER DRIVES A RIDER MOWER ACROSS A TINY STRETCH OF GRASS\",\n \"INT. HILTON HOTEL LOBBY - EARLY MORNING Ryan turns a corner to find Natalie talking to her computer screen with headphones on. She's having an iChat with someone, but we only hear her side of the conversation. Ryan decides to listen in for a second. NATALIE I'll be back soon. Not really sure how long this whole exercise is supposed to last. He's fine. It's hard for these guys to accept change, you know. -LRB- listens, rolls eyes. -RRB- I. I'm not even going to answer that. No, I ca n't even think of him that way. He's old. Ryan frowns. Checks a mirror. A NEW OFFICE - MORE EMPLOYEES REACT TO BEING LAID OFF WE SEE SHOTS OF VARIOUS SLICES OF THE AMERICAN LANDSCAPE FROM THOUSANDS OF FEET IN THE AIR\",\n \"EXT. MIAMI INTERNATIONAL AIRPORT - DAY A 757 touches down on the runway. MUSIC BEGINS TO FADE AS THE MONTAGE COMES TO A CLOSE ON. RYAN'S HEADSHOT - sitting on an EASLE.\",\n \"INT. CONFERENCE ROOM, WICHITA HOTEL - AFTERNOON Ryan stands before a similar crowd as the opening of the film. RYAN Okay. This is where it gets a little difficult, but stay with me. You have a new backpack. but this time, I want you to fill it with people. Start with casual acquaintances, people around the office, friends of friends and work your way to the people you trust with your most intimate secrets. Now move into family members - cousins, aunts, and uncles. Get your sisters and your brothers and you parents. Get them all in that backpack. And finally your husband or wife or boyfriend or girlfriend. Get them in their too. A titter through the crowd. For the first time, we see Natalie near the side, watching. RYAN -LRB- CONT'D. -RRB- Do n't worry. I'm not going to ask you to light it on fire. Light laughter. RYAN -LRB- CONT'D. -RRB- Feel the weight of that bag. Make no mistake, your relationships are the heaviest components of your life. Feel the straps cutting into your shoulders. All those negotiations and arguments and secrets and compromises. Ryan lets the weight sink in. RYAN -LRB- CONT'D. -RRB- Now set that bag down. You can feel the relief in the room. RYAN -LRB- CONT'D. -RRB- You do n't need to carry all that weight. Noticeable agreement. RYAN -LRB- CONT'D. -RRB- Some animals were meant to carry each other. To live symbiotically over a lifetime. Star - crossed lovers. Monogamous swans. We are not one of those animals. Ryan focuses towards his conclusion. RYAN -LRB- CONT'D. -RRB- The slower we move, the faster we die. We are not swans. We're sharks.\",\n \"INT. ANNEX, WICHITA HOTEL - AFTERNOON Ryan has finished his session and is talking to eager stragglers. Ryan accepts a business card and elaborates on one of his theories. Meanwhile, down the hall, Natalie is finishing a phone call. She looks shell shocked. She closes her phone and pockets it in silence.\",\n \"EXT. TARMAC, MIAMI INTERNATIONAL AIRPORT - DAY AN AMERICAN AIRLINES PLANE touches down.\",\n \"EXT. MIAMI BOULEVARD - DAY We're following a HILTON SHUTTLE down a street of PALM TREES.\",\n \"INT. HILTON AIRPORT SHUTTLE - AFTERNOON Natalie and Ryan ride back to the airport. We catch them mid - conversation as Natalie drills Ryan on his theory. NATALIE Never? Ryan smiles to the few other riders as if apologizing. NATALIE -LRB- CONT'D. -RRB- You never want to get married? Never want kids? RYAN Is that so bizarre? NATALIE Yes. Yes it is. RYAN I do n't see the value. Natalie sighs. RYAN -LRB- CONT'D. -RRB- Sell it to me. NATALIE What? RYAN Sell me marriage. NATALIE I. Uh. How how about love? RYAN Pff. NATALIE Okay. Stability? RYAN How many stabile marriages do you know? NATALIE Someone to talk to, spend your life with? RYAN I'm surrounded by people to talk to. I doubt that will change. The shuttle stops and everyone goes to grab their bags.\",\n \"INT. LOBBY, MIAMI HILTON - DAY Ryan and Natalie enter, still having the same conversation. NATALIE How about just not dying alone? Ryan stops to address this. RYAN Starting when I was twelve, we moved each one of my grandparents into a nursing facility. My parents went the same way. -LRB- A BEAT. -RRB- Make no mistake. We all die alone. Ryan turns, thinks of something, then turns back. RYAN -LRB- CONT'D. -RRB- -LRB- ADDING. -RRB- Those cult members down in San Diego with the white sneakers and little Dixie cups of Kool - Aid. They did n't die alone. Natalie looks steamed. RYAN -LRB- CONT'D. -RRB- Just saying - There's options. Out of nowhere, Natalie starts crying. RYAN -LRB- ALMOST SILENT. -RRB- Oh fuck. Natalie is now balling in the middle of the lobby. NATALIE Brian left me. RYAN Oh, hey. I. Ryan goes to hug Natalie and she simply folds into his arms - A mop of tears. Ryan looks around for a place to set her down. Instead, he finds. ALEX - Who gives a questioning look to the young sobbing girl. RYAN Hi. Alex this is Natalie. Natalie, this is my. friend, Alex. ALEX I should give you both a moment. Natalie attempts a recovery. It's not graceful. NATALIE No, it's fine. I'm fine. Just stupid emotions. Natalie gives Alex a firm handshake. ALEX Maybe a drink? Ryan goes to challenge the idea, when. NATALIE Now we're talking. Natalie leads the way. Alex and Ryan exchange quick hellos. THE SCREEN OF NATALIE'S CELL PHONE TEXT READS : `` I Think it's time we c other people''\",\n \"INT. BAR LOUNGE - MIAMI HILTON - MOMENTS LATER The three share a booth. Natalie is sipping a drink. She seems to have settled a little. ALEX He broke up with you over text message? RYAN -LRB- SOFT DIG. -RRB- That's kind of like firing people over the internet. Both Natalie and Alex shoot Ryan a look. ALEX -LRB- re : the ex - boyfriend. -RRB- What a weasely prick. NATALIE Yeah, but what does that make me? Someone who falls for a prick? ALEX We all fall for them. Pricks are spontaneous, unpredictable, and fun. And then we're surprised when they turn out to be pricks. NATALIE I followed him to Omaha. RYAN You did? NATALIE I had a job waiting for me in San Fran, when he got an offer from ConAgra. He told me we could start a life together. So I followed him. RYAN To Nebraska. NATALIE I look in the mirror and I just see compromise. I'm supposed to do something. ALEX You'll do plenty. NATALIE I just ca n't. I thought I'd be engaged by now. -LRB- CATCHES HERSELF. -RRB- No offense. ALEX RYAN It's alright. None taken. NATALIE When I was sixteen, I thought by twenty three, I would be married, maybe have a kid. Corner office by day, entertaining at night. I was supposed to be driving a Grand Cherokee by now. ALEX Life can underwhelm you that way. NATALIE Now I have my sights on twenty nine, because thirty is just way too. apocalyptic. I mean, where did you think you'd be by. Natalie catches herself, having no idea how old Alex is. ALEX It does n't work that way. RYAN At a certain point, you stop with the deadlines. ALEX They can be a little counterproductive. NATALIE I do n't want to say anything that's. anti - feminist. I mean, I really appreciate everything your generation did for me. ALEX -LRB- my generation? -RRB- It was our pleasure. RYAN Well done. NATALIE But sometimes it feels like no matter how much success I have, it all wo n't matter until I find the right guy. ALEX You really thought this guy was the one. NATALIE Yeah, I guess. I do n't know. I could have made it work. He just really fit the bill. RYAN The bill? NATALIE My type. You know, white collar. College grad. Loves dogs. Likes funny movies. Six foot one. Brown hair. Kind eyes. Works in finance but is Outdoorsy, you know, on the weekends. -LRB- we think she's done. -RRB- I always imagined he'd have a single syllable name like Matt or John or. Dave. In a perfect world, he drives a Four Runner and the only thing he loves more than me is his golden lab. Oh. and a nice smile. -LRB- back to Alex and Ryan. -RRB- How about you? This catches both Alex and Ryan off guard. RYAN I'm not sure if. NATALIE I meant Alex. RYAN Right. ALEX Huh, let me think for a sec. -LRB- mulls it over. -RRB- Well, by the time you're thirty four, all the physical requirements are pretty much out the window. I mean you secretly prey he'll be taller than you. Ryan smiles. ALEX -LRB- CONT'D. -RRB- Not an asshole would be nice? Just someone who enjoys my company. Comes from a good family - You do n't think about that when you're younger. -LRB- THINKING. -RRB- Wants kids. Likes kids. Wants kids. Healthy enough to play catch with his future son one day. We can tell Ryan is taking a serious interest in this. ALEX -LRB- CONT'D. -RRB- Please let him earn more than I do. That does n't make sense now, but believe me, it will one day. Otherwise it's just a recipe for disaster. -LRB- REACHING. -RRB- Hopefully some hair on his head? But it's not exactly a deal - breaker anymore. Nice smile. Yep, a nice smile just might do it. Alex looks to Ryan. He has a nice smile. NATALIE Wow. That was depressing. Alex and Ryan react - It's not that bad. NATALIE -LRB- CONT'D. -RRB- I should just date lesbians. ALEX Tried it. We're no picnic ourselves. Natalie looks worse than when the conversation started. NATALIE I do n't mind being married to my career, and I do n't expect it to hold me in bed as I fall asleep. -LRB- LOOKS UP. -RRB- I just do n't want to settle. ALEX You're young. Right now you see settling as some sort of failure. NATALIE It is. By definition. ALEX Do n't worry, by the time someone is right for you, it wo n't feel like settling. And the only person left to judge you will be the twenty four year old girl with a target on your back. Natalie cracks a smile. Ryan looks to Alex. They've grown closer.\",\n \"INT. LOBBY LOUNGE, MIAMI HILTON - DAY Ryan, Alex, and Natalie wheel their ROLL - AWAYS towards the elevator. NATALIE So, what's the plan for this evening? Ryan and Alex share an uncomfortable silence. NATALIE What? Oh, is it illicit? RYAN -LRB- QUICKLY. -RRB- No. ALEX It's nothing like that. NATALIE We are in Miami. RYAN We were going to hit that party for the tech conference in the hotel. Natalie notices a group of SOFTWARE TYPES mingling with badges around their necks. NATALIE I did n't know you could just attend those. ALEX Well, I mean. NATALIE -LRB- EYES WIDEN. -RRB- You're going to crash it? RYAN ALEX I mean, I do n't know if. More money than they know These guy put on a quite a what to do with. party. NATALIE No, I get it. I'm in!\",\n \"INT. CONFERENCE CORRIDOR, MIAMI HILTON - NIGHT Ryan, Alex, and Natalie confidently walk up to the CHECK - IN TABLE and take BADGES. They turn the corner. Alex reads Natalie's badge. ALEX Jennifer Chu? NATALIE Oh shit! RYAN It's going to be fine.\",\n \"INT. SOFTWARE CONVENTION PARTY, MIAMI HILTON - NIGHT Corporate color balloons. Lots of guys in LOGO POLOS. That great hip hop song from 1998 is playing over the PA.. We find Ryan, Alex, and Natalie at a stand up table. They're now wearing badges. Natalie is pretty tipsy at this point. RYAN -LRB- TO NATALIE. -RRB- You okay there? NATALIE Oh yeah. This was a great idea. -LRB- TO ALEX. -RRB- You are so pretty. You're exactly what I want to look like in fifteen years. ALEX Thank you, Natalie. A CONFERENCE LEADER steps up to an on stage MIC. CONFERENCE LEADER How's everyone doing out there?! People cheer. So do Ryan, Alex, and particularly Natalie. CONFERENCE LEADER I'm going to need you to all put your hands together for a very special guest - YOUNG. M. C! The opening beats of the 90's jam `` Bust - A - Move'' blast over the speakers and sure enough, now - 40 - year - old rapper, Young MC steps out and starts rapping. YOUNG MC THIS HERE'S A TALE FOR ALL THE FELLAS. TRY TO DO WHAT THOSE LADIES TELL US. GET SHOT DOWN CAUSE YOU'RE OVERZEALOUS. PLAY HARD TO GET, FEMALES GET JEALOUS. Everyone goes crazy and starts dancing. Ryan and Alex make it out to the dance floor. They're awful dancers, but they're having fun. RYAN Think she'll be okay? ALEX Look. Natalie has already found a dancing partner, who ca n't believe his luck. She's all over him. Ryan smiles.\",\n \"EXT. BOAT - NIGHT A nice two story yacht that was obviously purchased before the bubble popped. Inside the galley, a group is playing karaoke. NATALIE, wearing BADGES like Mardi Gras beads, is singing `` Time After Time''. Meanwhile, near the back, Ryan and Alex sit with their legs hanging off the back of the hull. ALEX Back home, I do n't get to act the way I do with you. RYAN That's why I do n't have a `` back home''. ALEX I know. You're so cool. `` Mr. Empty Back Pack''. Ryan emotionally stumbles. RYAN You know about the back pack? ALEX I googled you. RYAN You did? ALEX It's what us modern girls do when we have a crush. RYAN Did it bother you? ALEX Well, that depends. Is the bag empty because you hate people or just the baggage they bring along? RYAN I do n't hate people. I'm not exactly a hermit. ALEX You just do n't want to be tied down? The whole responsibility thing. RYAN I do n't think it's even that. I. First time I ever flew, I was sixteen. ALEX You're not going to answer? You're just going to tell me a story? RYAN -LRB- smiles, continues story. -RRB- It was January and I had just gotten my driver's license. The lakes were frozen over, so we piled into my car and hit the ice to do donuts. When, out of nowhere, I hit a soft spot and the hood of my car tilted up and I was sinking backwards into the water. ALEX Jesus. RYAN I literally started to drown. Within a few seconds, I black out. Then, I wake up in the sky. I'm in a helicopter, laying on a stretcher. This guy in a uniform is telling me I was minutes away from dying. ALEX Oh my God. RYAN Right? -LRB- relives it for a second. -RRB- So just as we're hovering over the hospital, I sit up. And from there, I could see the whole western horizon. We'd been flying twenty minutes. Twenty minutes to reach a city I'd thought of as remote, halfway across the state. a foreign capital. -LRB- A BEAT. -RRB- My parents had taught me we lived in the best place on Earth, but now I could see the world was really just one place and comparing did n't make much sense. And I remember thinking - Do n't tell me this is n't an age of miracles. Do n't tell me we ca n't be everywhere at once. The idea settles in. Ryan returns to the point. RYAN I do n't know what originally sparked the back pack. I probably needed to be alone. Recently, I've been thinking that maybe I needed to empty the bag before I knew what to put back in. And now they kiss. It's notably different from their previous kisses. Now, when they lock lips, we are reminded why people kiss in the first place. Then, all of a sudden, the lights go out on the boat. The motor has stopped. Ryan and Alex look back to find the software dude stepping out of the galley, drunk. SOFTWARE DUDE Hey. I think we're out of gas. Ryan and Alex look out to shore. about 500 yards away. For whatever reason, they just start cracking up.\",\n \"EXT. PONTOON BOAT - NIGHT Ryan and Alex are huddled under a blanket in the corner of the rubber boat as it putters its way to shore. Cold, soaked, and smiling. Natalie and David are there too. still kissing.\",\n \"EXT. BEACH - NIGHT Everyone gets out of the boat in the cold knee deep water and splashes up to shore.\",\n \"INT. LOBBY, MIAMI HILTON - NIGHT Ryan and Alex followed by Natalie and her make - out buddy, soaked from the knee down, holding their shoes, scamper into the hotel on the balls of their feet.\",\n \"INT. RYAN'S HOTEL ROOM, MIAMI HILTON - NEXT MORNING Ryan's eyes flutter awake to see Alex getting dressed. RYAN Hey, you're up. ALEX Got to fly stand - by and make a meeting in Milwaukee. RYAN -LRB- DISAPPOINTED. -RRB- Oh. Okay. ALEX -LRB- notices, teasing. -RRB- Oh, no. I made you feel cheap. RYAN Yeah, all right. Just leave the money on the dresser. ALEX -LRB- SWEETLY. -RRB- I'll text you later so we can swap schedules. Alex gives him a peck. Ryan takes her wrist so she ca n't leave. RYAN I ca n't remember the last time I enjoyed spending time with someone as much as you. ALEX Neither can I. They kiss again and he lets go. Alex leaves and the door closes. Ryan just lays in bed for a moment.\",\n \"INT. CAFE - MIAMI HILTON - MORNING Ryan and Natalie have a quiet breakfast. Natalie looks pretty worse for wear. In the background is a TRAVELING SALESMAN rolling calls. He perks up for each message then goes back to being miserable. Meanwhile, after a little silent eating. NATALIE Last night got a little out of hand. I said things. I do n't remember everything I said. I just did n't want you to think. RYAN Just relax. It was nice to see you cut loose. So, did you wake him up or slip out? NATALIE What? RYAN This morning. Your new friend. Did you wake him for an awkward good bye or just slip out so he could feel like a whore. NATALIE -LRB- NOT PROUD. -RRB- I. just left. RYAN Protocol is always tricky. NATALIE I did n't know what was right. RYAN Sometimes there really is no right thing to do. This does n't comfort her.\",\n \"EXT. OCEAN BOARDWALK, MIAMI - DAY The walkway overlooks a large MARINA filled with giant YACHTS. Ryan and Natalie are doing the photo thing with the CUT OUT of the engagement portrait again. NATALIE What happened to Alex? RYAN Had to skip town early to make a meeting. NATALIE That's too bad. Where does she live? RYAN Chicago. NATALIE You thinking of going to see her? RYAN I do n't know. We just do n't have that kind of relationship. NATALIE What kind of relationship do you have? RYAN It's, you know. Casual. NATALIE Sounds pretty special. RYAN It works for us. NATALIE Think there's any future there? RYAN Never thought about it. What's going on here? NATALIE Really never thought about it? RYAN -LRB- a good lie. -RRB- No. NATALIE How can you not think about these things? How does it not even cross your mind that you might want to have a future with somebody? RYAN It's simple, you know that moment when you look into someone's eyes and you feel them looking right into your soul, and the whole world goes quiet for a second. NATALIE -LRB- finally, a break through. -RRB- Yes. RYAN Right. Well, I do n't. NATALIE You're an asshole. Natalie knocks over the CUT OUT and stands up. RYAN Oh come on, I'm just dicking around. I need your help. NATALIE Do n't you think it's worth giving her a chance? RYAN A chance to what? NATALIE A chance at something real? RYAN Natalie, your definition of `` real'' is going to evolve as you get older. NATALIE Would you stop condescending for one second? Or is that one of the principles of your bullshit philosophy? RYAN Bullshit philosophy? NATALIE The isolation? The traveling? Is that supposed to be charming? RYAN No, it's simply a life choice. NATALIE It's a cocoon of self - banishment. RYAN Wow. Big words. NATALIE Screw you. RYAN Well, screw you too. NATALIE You've set up a way of life that basically makes it impossible for you to make any human connections. Now, somehow, this woman runs the gauntlet of your ridiculous `` life choice'' and comes out the other end with a smile - Just so you can call her casual. Jesus. I need to grow up? You're a twelve year old. Natalie begins walking away. RYAN I do n't have a gauntlet of. A GUST OF WIND suddenly blows the CUTOUT across the boardwalk into the OCEAN. RYAN Fuck! Ryan goes running after the cutout. He climbs down a GANGWAY to a dock that is closest to the CUTOUT, which is beginning to sink in the filthy water. Ryan reaches. and reaches. and just as he's got a finger tip on the photo. FALLS IN.\",\n \"INT. BATHROOM, MIAMI HILTON - DAY Ryan, still damp from the ocean, is drying the CUTOUT with a hair dryer.\",\n \"INT. CONCOURSE, MIAMI INTERNATIONAL AIRPORT - DAY We're following the CUTOUT HEADS popping out of the ROLL - AWAY like earlier, only now they are slightly faded and bent from their trip in the harbor.\",\n \"EXT. TARMAC, MIAMI INTERNATIONAL - DAY We're watching Ryan through the window of the plane. He almost looks trapped.\",\n \"EXT. TARMAC, DETROIT INTERATIONAL - DAY The plane lands amidst snow.\",\n \"INT. RENTAL CAR, DETROIT HIGHWAY - DAY Ryan and Natalie drive in silence. The weather is frigid. RYAN These Detroit guys can be tough. They've been getting hammered. Do n't get distracted. Stick to the simple stuff. Get the packet in their hands and get them out the door.\",\n \"EXT. DETROIT CAR PART COMPANY - DAY A one story brick building. There's an inch of snow on the ground. Ryan and Natalie enter the building in silence.\",\n \"INT. DETROIT COMPANY - DAY Ryan and Natalie check in at the front desk.\",\n \"INT. CONFERENCE ROOM, DETROIT COMPANY - DAY The door opens. Ryan and Natalie enter, when they both see something and immediately stop short. Sitting on the conference table is a COMPUTER set up for a VIDEO CONFERENCE. Framed up in a WINDOW on the screen is CRAIG GREGORY. CRAIG GREGORY Welcome to Detroit. Natalie and Ryan exchange a look. RYAN What's going on here? CRAIG GREGORY I've been getting those great numbers over the last few days. Thought we should nut up and give this a try. RYAN We could use a little more time. CRAIG GREGORY Got ta leave the nest at some point. RYAN This is a real company, Craig. We're here to do some damage. CRAIG GREGORY I know. Good thing we brought our best. So let's stop screwing around, alright? Ryan sighs. RYAN Just give me a minute to prepare and get my things together. CRAIG GREGORY I was thinking Natalie takes this one. Natalie, once confident, now takes pause. RYAN She's hardly ready for this. CRAIG GREGORY I've been watching her. She's great. RYAN -LRB- re : the webcam. -RRB- This is a whole other animal. CRAIG GREGORY I mean, she created it. Natalie, you not up for it? NATALIE I'm. I'm game. CRAIG GREGORY Atta girl.\",\n \"INT. CONFERENCE ROOM, DETROIT COMPANY - MOMENTS LATER Ryan and Natalie have a moment aside. RYAN Just remember, do n't apologize. Do n't tell them how hard this is for you. Today is one of the worst days they will ever have. What we feel does n't even compare. NATALIE Got it. RYAN Just keep it professional. You're going to do fine.\",\n \"INT. CRAIG GREGORY'S OFFICE, CTC - LATER Craig is leaning back in his office chair, watching Natalie on his monitor.\",\n \"INT. ALTERNATE CONFERENCE ROOM, DETROIT COMPANY - DAY An unsuspecting man in his mid fifties enters the room and takes a seat at a COMPUTER TERMINAL. -LRB- for the remainder of the scene, we will intercut between Natalie's room and the POV of the man's iChat session. -RRB- NATALIE Hello, Mr. Samuels. My name is Natalie Keener. SAMUELS -LRB- checking out the PC. -RRB- What's going on here? NATALIE I wish I was here with better news, however your position here at Deckers is no longer available. SAMUELS What are you talking about? NATALIE You've been let go. SAMUELS What, just like that? I ca n't believe. Who are you? NATALIE My name is Miss Keener. I am here to tell you about your options. SAMUELS I work here for seventeen years and they send some fourth grader in here to can me? What the fuck is this?! Ryan fights the urge to jump in. He is sitting next to Natalie, but just out of view of the camera. NATALIE It's perfectly normal to be upset. However, the sooner you can tell yourself that there are greater opportunities waiting for you. SAMUELS Greater opportunities? I'm fifty - seven - fucking years old! Mr. Samuels is now on the verge of tears. Eyes red. NATALIE Anybody who ever built an empire, or changed the world, sat where you are now. And it's because they sat there that they were able to do it. We remain in the room with Natalie and Ryan, but we hear Mr. Samuels crying. It's loud and embarrassing. It's coming from the next room. He's literally on the other side of the wall. NATALIE -LRB- CONT'D. -RRB- There's a packet in front of you. Samuels picks up the packet and opens it. NATALIE -LRB- CONT'D. -RRB- I want you to take some time and review it. Samuels begins to leaf through. NATALIE -LRB- CONT'D. -RRB- All the answers you're looking for are inside those pages. The sooner you trust the process, the sooner your next step in life will unveil itself. Samuels puts down the packet. The tears still coming slowly. NATALIE -LRB- CONT'D. -RRB- I need you to return to your office now and begin to put together your personal things. Samuels does n't move. He's just sitting there in a daze. NATALIE -LRB- CONT'D. -RRB- Thank you for your time, Mr. Samuels. No reaction. Just more silent tears. Natalie is getting nervous. NATALIE -LRB- CONT'D. -RRB- Mr. Samuels? There's nothing else we can discuss now. -LRB- AND AGAIN. -RRB- Thank you for your time. Ryan fights the urge to break in as Natalie continues to lose her composure. Craig leans into his computer, watching intently. NATALIE -LRB- CONT'D. -RRB- Mr. Samuels. Mr. Samuels. MR. SAMUELS. Finally, Samuels breaks from his daze. He looks up and around for a second, then gets up and leaves. Natalie catches her breath. A second later, Samuels passes their room, visible through the conference room windows. They watch as he walks away. RYAN You did good. Natalie nods. RYAN -LRB- CONT'D. -RRB- You okay? Want me to take over. NATALIE No, I'm alright. Natalie pulls out a LIST OF FORTY NAMES. The amount of people is daunting. She crosses off the first name.\",\n \"EXT. PARKING LOT, DETROIT CAR PART COMPANY - AFTERNOON We find Natalie standing next to the rental car. She's staring into a snow drift. Her eyes say everything - She just grew up. Meanwhile, Ryan is on his CELL. We catch the end of his conversation with Craig. RYAN -LRB- CONT'D. -RRB- We just got out here. That was one place. I think we need to try a few more. -LRB- LISTENS. -RRB- Maybe there is n't a difference, but it's comforting to know we're in the next room. -LRB- LISTENING. -RRB- I know you do n't give a shit about my comfort. -LRB- LISTENS. -RRB- We could just use a little more time. That's all I'm saying. -LRB- LISTENS. -RRB- Right. Right. -LRB- shakes his head. -RRB- Yeah. Alright. Uh huh. Bye. Ryan hangs up. RYAN -LRB- CONT'D. -RRB- He thought you did a great job. You did - I was real proud of you. NATALIE Thanks. RYAN We're being pulled off the road. -LRB- CLARIFYING. -RRB- We're going home. NATALIE For good? RYAN That's what it looks like. A moment of mixed emotions.\",\n \"INT. RYAN'S ROOM, DETROIT HILTON - NIGHT Ryan is holding the LARGE EMBOSSED ENVELOPE of his sister's WEDDING INVITATION. He pulls out the RESPONSE CARD, looks at the line for extra guests, then sets it down. He pulls out the actual INVITATION. It looks inexpensive. Sighs.\",\n \"INT. NORTH TERMINAL, DETROIT AIRPORT - MORNING Ryan and Natalie ride the MOVING WALKWAY. Something is on Natalie's mind. She speaks up. NATALIE I'm sorry about what I said about Alex. I was out of line. RYAN It's alright. I understand. NATALIE I mean, who am I to be dolling out relationship advice? RYAN It's fine. NATALIE You going to be okay? RYAN What do you mean? NATALIE In Omaha? RYAN Oh, I do n't know. NATALIE It's better than you'd think. They get off the moving walkway and stop at a GATE that reads `` Omaha''. Something off screen grabs Ryan's attention. Ryan begins to walk off. Pulls out his BLACKBERRY and dials. NATALIE Ryan, where are you going? RYAN Grabbing another flight. Something I need to take care of. I'll see you in, uh. at home. Ryan disappears in the crowd.\",\n \"EXT. PARKING LOT, LAS VEGAS - DAY We're looking at the LUXOR PYRAMID. RYAN -LRB- O.C. -RRB- Okay, start walking it in from the left. ALEX enters frame, carrying the engagement CUT OUT. ALEX I have to admit, when you asked me to meet you in Vegas. I thought we'd gamble, make out in a heart shaped jacuzzi, maybe see one of those weird French Canadian circus shows. RYAN There'll be plenty of time for all that. -LRB- directing the photo. -RRB- One more foot to the left. Alex obliges. She checks out the engagement photo. ALEX How do you feel about the wedding? RYAN I'm fine, I guess. -LRB- directing the photo. -RRB- Okay great. walk away. Ryan takes the photo. Alex picks up the engagement photo. ALEX They're a cute couple. RYAN Think so? ALEX Yeah, they'll make cute kids. If they're lucky, maybe look a little like you. Alex and Ryan look at the photo together for a second. RYAN How do you like Wisconsin in February? ALEX Who does n't? -LRB- SWEETLY. -RRB- I like it if you're there. Besides, I know a killer burger in Milwaukee. RYAN Northern Wisconsin. -LRB- CLARIFYING. -RRB- What are you doing this weekend? This quickly registers. He's inviting me to the wedding. ALEX -LRB- CONT'D. -RRB- No. RYAN What? I have n't even. ALEX I ca n't. RYAN Why not? ALEX I could n't. RYAN I'm being serious. ALEX You want me to be your date? RYAN Well. Yeah. ALEX To a wedding. Jesus, Ryan. Your sister's wedding? RYAN It's not like I know her that well. ALEX I'm just not sure if it's appropriate for me to. RYAN Look. You know. I'm not the wedding type. But for the first time in my life. I do n't want to be that guy, alone with his drink. I want a dancing partner. I want a plus one. And if you can stomach it, I'd like it to be you. A long thoughtful beat. Alex sighs. ALEX Okay. RYAN Really? ALEX Yeah, I ca n't believe I. Yeah, I'm in. When is it? RYAN I feel like we should kiss or something. ALEX Then kiss me. They do.\",\n \"INT. BAGGAGE CAROUSEL, MILWAUKEE AIRPORT - DAY Two ROLL - AWAYS side - by - side, moving through the terminal. Ryan and Alex walk in unison. They share a smile. Almost like they ca n't believe they're getting away with something. They pass a LARGE AIRLINE ADVERTISEMENT featuring MAYNARD FINCH in uniform. `` We Value Your Loyalty.''\",\n \"EXT. DRIVEWAY, CHALET SUITES - DAY Ryan's rental car pulls into the CHALET SUITES driveway. It's halfway between a Swiss Lodge and a Best Western. Just a little sadder. A yellow sign reads `` Welcome Miller - Bingham Wedding Guests!''\",\n \"INT. LOBBY, CHALET SUITES HOTEL - DAY Ryan and Alex approach the check - in lines. Of course, there's an elite membership line, but they ca n't use it. Ryan is forced to stand in a queue of three people while a CHECK - IN LADY just stands at her computer at the elite line. RYAN -LRB- to the CHECK - IN LADY. -RRB- Are you available? CHECK-IN LADY Sorry, this line is for members of our Matterhorn program. Ryan steams.\",\n \"INT. CORRIDOR, CHALET SUITES - DAY Ryan and Alex walk down the long hallway. They've been given a room at the end. Just as they're entering their room, the door across the hall opens revealing a woman in her early forties with a basket of laundry. It's Ryan's sister KARA. KARA Ryan? Ryan turns and stops. It's been a while. RYAN Kara. They hug. It's a strange hug. Awkward but heartfelt. RYAN -LRB- CONT'D. -RRB- Alex, this is my sister Kara. KARA Well, hello. ALEX Hi. KARA -LRB- quite frankly. -RRB- Ryan has told me nothing about you. RYAN Kara, what are you doing at a hotel? KARA Fuck, I was hoping I would n't have to. Yeah, uh, Frank and I are trying out a trial separation. RYAN You're not staying at the house? KARA There was an extra room on hold here, so I just took it for the weekend. RYAN Oh, okay. KARA Yup. So, you guys are dating? Ryan and Alex fumble over each other. RYAN Um. ALEX It's not exactly. KARA Hey, do n't worry about it. We're all getting a little old to be calling someone girlfriend. I remember when mom used to call Jack her boyfriend. It drove me up the wall. Boyfriends are for kids. -LRB- MOCK ANNOUNCING. -RRB- And I'm just a divorcee! An awkward beat in the corridor of the Chalet Suites. RYAN So, the rehearsal dinner? KARA Yeah, I'll see you two there. Kara humps the laundry basket down the hall.\",\n \"INT. HOTEL ROOM, CHALET SUITES - DAY Ryan and Alex settle in. There's a cheap basket with a pink ribbon tied sloppily around some cellophane. In the basket is a packet, outlining the wedding weekend. RYAN There's a packet. ALEX What in life is worth doing that does n't have a packet. RYAN Um, I love you? Ryan is kidding, but not really. They play it off as a joke, but ca n't help feel the weight of this `` moment''.\",\n \"INT. CLUB ROOM FIRESIDE LOUNGE, CHALET SUITES - EVENING A group of tables have been slid together for the rehearsal dinner. Ryan and Alex find the dinner in full swing. Ryan's sister JULIE, the bride, waves wildly. JULIE Oh my God, Ryan! She hops up and gives him a hug. JULIE -LRB- CONT'D. -RRB- You must be Alex. You are so beautiful. Kara was right. Did you get the basket? ALEX The basket was very lovely. JULIE Tammy wrapped all of them. Tammy waves. JULIE -LRB- CONT'D. -RRB- Ryan, you look so grown up. RYAN Me? You're the one getting married. JULIE I know, right? You have n't even seen my ring. Julie shows off her ring. It's not quite balanced and seems to favor quantity over quality. JULIE -LRB- CONT'D. -RRB- -LRB- PROUDLY. -RRB- Jim designed it. JIM raises a hand. This is Julie's husband - to - be and we can tell immediately that Ryan is n't thrilled. Ryan thinks of something. He pulls out the 5X7 PHOTOS they took of the JIM & JULIE CUT OUT. RYAN I brought those photos you were asking for. JULIE -LRB- LIGHTS UP. -RRB- Oh great! They go over there. Julie points to a table and Ryan walks over. When he gets there, we see almost a hundred photos pinned to a map of America. It's overwhelming. All of a sudden, his effort seems miniscule. Ryan begins to pin his photos on the map over the cities where they were taken. He backs away to see it as a whole and his addition has already become invisible. Ryan returns to the conversation with his sister and Alex. RYAN There were quite a few already up there. Almost could n't find room. JULIE I know, is n't it great how everyone chipped in? RYAN What gave you the idea to do something so. ALEX -LRB- HELPS. -RRB-. Substantial? JULIE Well, Jim has a lot of our nest egg invested in this real estate venture right now. So when we went over our finances, a honeymoon just did n't seem affordable this second. So I thought. Hey, just because we ca n't travel does n't mean we ca n't have pictures. The idea of this lands on Ryan pretty hard. ALEX It was a great idea. JULIE Thanks. AN HOUR LATER Ryan is stuck with Jim, talking real estate. Alex is having a chat with the brides maids about local relationship drama. JIM It's sixty acres up against the foothills. I subdivided the old Lazy W Ranch and took a nice slice for myself. RYAN Sounds nice. Jim makes an exhale noise that means `` you bet your ass''. JIM Homes will go in the high fours. RYAN Must be a nice development. JIM -LRB- CORRECTING. -RRB- It's a community, not a development. The concept is turn - key everything. You buy a maintenance contract with the home. We'll whack your weeds, we'll even change the light bulb. Furniture? You buy your own or choose a package. Seamless traditionalism, yet all the perks. RYAN Nice. Ryan and Alex make eye contact. There's a joy in their connection amongst the ramblings of their company. JIM We all need a place to call our own. This is America. This is what we were promised. RYAN That's a nice touch. JIM What? RYAN That bit at the end about promise. I like it. JIM -LRB- a little embarrassed. -RRB- Thanks. -LRB- LEADING. -RRB- So, you still renting that one - bedroom? RYAN I gave it up. JIM -LRB- SURPRISED. -RRB- You own now? RYAN No. JIM But you're looking? RYAN Not really. No. The conversation stalls out.\",\n \"EXT. DRIVEWAY, CHALET SUITES - NIGHT Everyone is leaving. Tammy grabs Julie's hands. TAMMY Can you believe it's tomorrow?! How are you going to sleep? JULIE I do n't know! TAMMY You want some Xanax? RYAN I do n't think that's for sleeping. JULIE No, I'm good. I'll have some warm milk. That should do the trick. Jim comes walking by with a box of flower arrangements from the tables inside that are going to be reused at the wedding. JIM One more box. ALEX I'll get it. RYAN You sure? ALEX Yeah, yeah. Alex steps back in and for the first time in who knows how many years, Ryan, Kara, and Julie are alone together. RYAN Jim seems like a good guy. JULIE Yeah, I know. Is n't he great? KARA He's going to make a great husband. There's a moment where they just look at each other and giggle a little. Just the three of them. RYAN Hey, Julie, I was thinking. with dad not being. Well, I did n't know if you had someone to walk you down the aisle. JULIE Oh, yeah, Jim's uncle is going to do it. KARA -LRB- UNCOMFORTABLE. -RRB- He's been really supportive. RYAN Oh. Oh, great. Just wanted to make sure you were covered. So I should get there at. JULIE Guests are arriving around 5ish. Things get going at 530. So you know, around then. It's easy. Just come down the elevator. Alex comes out with the second box. Ryan notices and grabs the flowers from her and sets them in Jim's luxury pick - up truck.\",\n \"INT. CORRIDOR, CHALET SUITES - NIGHT Ryan, Alex, and Kara arrive at their adjacent rooms. Key cards slide in simultaneously. Alex heads in. Ryan stops. RYAN Hey Kara? KARA Yeah. RYAN Can you believe she's getting married already? She's just a kid. KARA No Ryan. Actually, she's 37 years old. She's barely squeaking by. RYAN Oh. KARA Yup. Sleep tight.\",\n \"EXT. RYAN'S OLD HIGH SCHOOL - NEXT MORNING The rental car pulls up into the empty lot. Snow on the ground. It's cold. Ryan and Alex walk up the steps and try the door of the main building - it's locked. Ryan shrugs. ALEX That's all you got? Alex starts walking down the side of the building, looking for an open window. The third one opens a crack. She slides her HOTEL HONORS CARD in and opens the latch. RYAN Are we really doing this? ALEX Give me a boost.\",\n \"INT. CLASSROOM, WAUPACA HIGH SCHOOL - DAY Alex slowly wedges herself headfirst through the window. Ryan climbs in after her. He immediately recognizes his surroundings. RYAN I took geography in here. -LRB- POINTING. -RRB- That was my seat. ALEX You ever fool around with one of your teachers? RYAN No. You? ALEX Not until college. Come on, show me around. They head for the door. A TEAM PHOTO OF A HIGH SCHOOL BASKETBALL TEAM A finger reaches and points to a teenage face. RYAN -LRB- O.C. -RRB- That's me.\",\n \"INT. HALLWAY, WAUPACA HIGH SCHOOL - NEXT MORNING Ryan and Alex are huddled at the trophy case. ALEX You played basketball? RYAN Point guard. Do n't act so surprised. ALEX I did n't know you were such a jock.\",\n \"EXT. LOADING DOCK, WAUPACA HIGH SCHOOL - DAY Ryan and Alex walk passed a concrete ledge. RYAN My first fight. ALEX How'd it go? RYAN Got my ass kicked.\",\n \"INT. STAIRWELL, WAUPACA HIGH SCHOOL - DAY Ryan shows an area behind the stairwell. RYAN This is where we used to go to make out. ALEX Very romantic. RYAN AND ALEX KISSING UNDER THE STAIRWELL\",\n \"EXT. SOCCER FIELD, WAUPACA HIGH SCHOOL - DAY Alex and Ryan sit tight like teenagers on the team bench. ALEX I'm really happy I came here. The school soccer team takes the field for practice. RYAN -LRB- to the team. -RRB- Go Cougars! Players look back at him strangely. Ryan's phone rings. RYAN -LRB- checks caller ID. -RRB- It's Kara. The first thing we hear is crying in the background.\",\n \"INT. CHURCH - DAY Kara is on her cell phone. Behind her in the deep background, we see bridesmaids consoling Julie. KARA Ryan, where are you? We're having a meltdown here. RYAN What's wrong? What happened? KARA It's Jim. Can you get back here? We need your help. RYAN Yeah, of course.\",\n \"EXT. CHURCH - DAY Ryan's rental car pulls up in front. He hops out and Alex takes the driver's seat. ALEX I'll grab your suit. -LRB- ADDING. -RRB- Good luck.\",\n \"INT. ENTRY, CHURCH - DAY Ryan immediately spots Julie sobbing and being consoled by her bride's maids. The groomsmen are huddled in another corner, embarrassed and confused. Kara splits from the brides maids and takes Ryan aside. RYAN What happened? KARA Jim's got cold feet. RYAN Today? KARA That's how cold feet work. RYAN What do you want me to do? KARA Talk to him. RYAN You want me to talk to him? KARA Hey, it's either you or me. You know my record. I've already struck out once. RYAN I have n't been to bat. I have n't been in the dugout. KARA Do n't you talk for a living? Motivational type stuff? RYAN I tell people how to avoid commitment. A beat. KARA What kind of fucked up message is that? RYAN It's a philosophy. KARA It's stupid. RYAN Hey, it might have helped you. A beat of stalemate. KARA Come on, Ryan. You have n't been around much. Fuck, you basically do n't exist to us. I know you want to be there for her. Well here it is. This is your chance. Ryan takes a breath.\",\n \"INT. SUNDAY SCHOOL ROOM, CHURCH - DAY Ryan quietly steps in to find Jim, half dressed in a tux reading the children's book `` The Velveteen Rabbit''. Jim sniffles. Ryan goes to leave, when. JIM Ryan? RYAN Oh, hey Jim. JIM You ever read this? RYAN Yeah, it's pretty powerful stuff. JIM I'll say. RYAN Kara mentioned you were having some. thoughts? Jim puts down the book. JIM I do n't think I can do this. RYAN Okay. What makes you say that today? JIM I was just laying there last night in bed and I could n't sleep. I was thinking about the wedding and the ceremony and all. Us buying a house and moving in together. Having a kid. Having another kid. -LRB- begins to snowball. -RRB-. Thanksgiving, Christmas, spring break, football games, all of a sudden they're out of school, getting jobs, getting married, And then, you know. I'm a grandparent. I'm retired. Before you know it - I'm dead. and I just kept thinking. `` What's the point?'' Ryan gulps. Fuck. JIM -LRB- CONT'D. -RRB- -LRB- now asking Ryan directly. -RRB- I mean what is the point? RYAN The point? JIM Yeah, I mean, what am I starting here? RYAN -LRB- DANCING. -RRB- It's marriage. it's the most beautiful thing on Earth. you know, what everyone aspires to. JIM You never got married. RYAN That's true. JIM You never even tried. RYAN Well, it's hard to define `` try''. JIM You seem happier than most of my married friends. Ryan takes a beat. RYAN Jim, I'm not going to lie. Marriage can be a pain in the ass. And you're kind of right - All of this is just stuff on the way to your eventual demise. KARA EAVESDROPPING AT THE DOOR WITH A LOOK OF COLD FEAR RYAN -LRB- CONT'D. -RRB- We are all on running clocks that can not be slowed down or paused and they all lead to the same place. Some guys leave marks that last beyond their own mortality. Not guys like you and me. But some. But even those footprints disappear. -LRB- A BEAT. -RRB- There is n't a `` point''. Jim sinks a little. RYAN -LRB- CONT'D. -RRB- I'm not the guy you'd normally want to talk to about all this stuff. But think about it - your favorite memories. The greatest moments of your life? Were you alone? JIM -LRB- thinks about it. -RRB- No. I guess not. RYAN I do n't want to sound like a Hallmark card, but. Life? It's better with company. Jim nods. RYAN -LRB- CONT'D. -RRB- Come to think of it. Last night, the night before your wedding, when all this shit was circling through your head. Were n't you two sleeping in separate rooms? JIM Yeah, Julie went back to the apartment and I was all alone in that big honeymoon suite. Jim chuckles to himself. RYAN Kind of lonely? JIM Yeah. RYAN Hey. Everybody needs a copilot. This resonates with Jim and he ca n't help but smile. JIM That's a nice touch. RYAN Thanks. JIM What's the mood like out there? RYAN It's not good. Emotional. JIM What should I do? RYAN -LRB- twinkle in his eye. -RRB- Go get her.\",\n \"INT. ENTRY, CHURCH Jim walks over to the huddle of bride's maids. They part and let him in. He kneels at Julie's feet. JIM I'm sorry I'm such a fuck up. Will you be my co - pilot? Julie gives him a perplexed look before smiling and falling into his arms. Tears and smiles spread amongst the girls. Kara walks over to Ryan and pats him on the shoulder. KARA Welcome home. - Ryan and Alex getting dressed in a little kitchen in the church. They're in a hurry and a little sloppy, but there's a crooked joy in their faces. - Jim standing at the alter with the priest getting a pat on the back from his best man. - Julie getting walked to the alter by Jim's uncle. They pass Ryan, who looks on proudly. - The priest gives his blessings. - Jim raises Julie's veil. They kiss. - Wedding attendees file into the Chalet Suites Banquet Hall. - Ryan and Alex mingle with their table. RYAN Hi, I'm Ryan. WEDDING GUEST I'm your cousin. Harold. RYAN Oh, hey! - Ryan and Alex dance like teenagers. - The band does a cheesy choreographed dance step. - Jim makes a speech. He is not good at public speaking, but the guests are generous with laughter. - Tammy has her tongue down a groomsmen's throat. - Ryan pulls Kara onto the dance floor. She rests her head on his shoulder and they slow dance. - Jim and Julie make their farewell and run off. - Ryan and Alex help pick the center pieces off the tables. - Ryan and Alex get into the elevator together. She's wearing his jacket. We're about to see them kiss, when the elevator door closes.\",\n \"INT. CONCOURSE, MILWAUKEE AIRPORT - MORNING Ryan and Alex stand between their gates. One sign reads OMAHA. The other sign reads CHICAGO. ALEX When am I going to see you? RYAN You're just going to have to come and visit. ALEX So settled down. You're not going to change on me. RYAN Same guy. Just one address. We hear a boarding announcement for Chicago. Alex begins to step away to her gate. ALEX Call me if you get lonely. A beat. And then. RYAN I'm lonely. Alex turns for her gate and joins the crowd. Ryan goes to say something. He has an impulse. but he finally ignores it and gets in line under the sign that reads `` OMAHA''.\",\n \"INT. RYAN'S APARTMENT, OMAHA - EARLY EVENING The door opens and Ryan wheels in his Roll - Away. He walks over to the window, parts the blinds and checks out his awful view. We see Ryan opening some mail. We see Ryan laying in bed. It's quiet. It's alone.\",\n \"INT. CTC HEADQUARTERS, CTC - DAY Natalie is giving Ryan a tour of the new ONLINE FIRING AREA - A series of cubicles with YOUNG GUYS ON HEADSETS. She is in her element and very proud of her work. NATALIE Some guy sits down in a conference room somewhere and a server routes their session to one of our termination engineers. RYAN You do n't actually call them that. NATALIE I prefer `` terminators'', but it bumped with legal. RYAN Really? I ca n't imagine why. NATALIE They follow a workflow that can take them through anything from a standard dismissal to a violent aggressor. RYAN Are they actually on line, right now? NATALIE No, they're beta - testing. Role - playing. We go live at the end of the month. -LRB- catches one of the guys making a mistake. -RRB- Kyle, you're running through the events too quickly. You have to give them time to acknowledge each statement. Okay? It's a legal thing. Ryan can only watch.\",\n \"INT. RYAN'S OFFICE, CTC - DAY Ryan is sitting at his desk. He puts on a HEADSET. RYAN This is ridiculous.\",\n \"INT. CONFERENCE ROOM, CTC - ANOTHER DAY Craig is leading a meeting. Ryan seems focused on something on his laptop. We see his screen : An itinerary for GoalQuest.\",\n \"EXT. LAS VEGAS STRIP - DAY One of the GIANT DIGITAL MARQUEES reads : `` GOALQUEST XX''\",\n \"INT. GREEN ROOM, GOALQUEST - DAY Ryan sits on a sofa, holding his BACKPACK. A slick GOALQUEST HOST enters the room. GOALQUEST HOST You ready to rock? Ryan nods and gets up.\",\n \"INT. CONVENTION HALL, LAS VEGAS - DAY Ryan stands in the wings. He takes a breath, then steps out in front of a sea of people. The GOALQUEST XX stage is like nothing we've seen yet. Large and professional. Blue Banners hang from the ceiling. Digital projectors show Ryan's Headshot - What's In Your Backpack? Ryan sets the BACK PACK on a table and quickly unzips it. A breath. RYAN Last year, I flew three hundred fifty thousand miles. The moon is only two fifty. A long beat. Uncomfortable. Ryan looks at the back pack. RYAN Imagine for a second that you're carrying a backpack. I want you to feel the straps on your shoulders. You feel them? Ryan is n't feeling them. He is not inspired. He is n't believable. He's barely even there. RYAN Now, I want you to pack it with all the stuff you have in your life. Start with the little things. Ryan is trying, but he ca n't find the will to do this. RYAN The. um. The stuff in drawers and on shelves. Ryan takes a beat. He just stares at the backpack and thinks about all the things he has removed from it. And then. RYAN Excuse me. And with that, Ryan leaves the stage. Handlers try to figure out what Ryan is doing. The Host runs for the mic. GOALQUEST HOST -LRB- TO RYAN. -RRB- What the fuck are you doing? -LRB- TO CROWD. -RRB- Okay, everyone just relax. We'll have your next guest out in a sec.\",\n \"EXT. CONCOURSE, MCCARRAN INTERNATIONAL AIRPORT - DAY Ryan hustles past SLOT MACHINES until he is actually jogging.\",\n \"INT. BOARDING GATE, MCCARRAN INTERNATIONAL AIRPORT - DAY Ryan runs up to a gate. He's the last one to board.\",\n \"INT. BOEING 757 - NIGHT Over Ryan's shoulder, through the window, we see Chicago below as the flight begins its descent.\",\n \"INT. CORRIDOR OF LIGHT, CHICAGO O'HARE AIRPORT - NIGHT Ryan on the PEOPLE MOVER under the ceiling of NEON LIGHTS. Peaceful music emits from hidden speakers. Ryan walks briskly past idle riders.\",\n \"EXT. RENTAL CAR SATELLITE KIOSK, CHICAGO - NIGHT Ryan hurriedly signs a hand - held device, hops into a SEDAN and speeds off. The RENTAL CAR ASSISTANT suddenly realizes. RENTAL CAR ASSISTANT Hey, you forgot to give me your Devotion Club card!\",\n \"EXT. TOWNHOUSE, CHICAGO SUBURBS - NIGHT Ryan steps out of his rental car and approaches the door of the townhouse - checking the address against a piece of HILTON STATIONARY. Ryan stops, knocks, and puts on a smile. We hear Footsteps. The door unlocks and opens revealing ALEX. She's wearing sweatpants and glasses. She's at home. She looks different. RYAN Surprise. But there's something else. Alex is in shock. She's frozen. Something's wrong. Ryan's smile begins to melt. A man's voice calls from inside. MAN'S VOICE -LRB- O.C. -RRB- Honey, who's at the door? A couple kids run by through the background, giggling. A man chases after them. Alex is still speechless. Her eyes are angry and apologizing all at the same time. Ryan just stands there. Emotionally bleeding to death. ALEX -LRB- ALMOST INAUDIBLE. -RRB- What are you doing here? Ryan begins to step away. He turns and heads for his car, dropping the flowers. Alex's husband becomes visible just as she's shutting the door. ALEX'S HUSBAND Who was that? ALEX just some guy who was lost. Ryan gets in his rental car and drives off.\",\n \"EXT. CHICAGO HILTON - NIGHT We're watching Ryan through his window from far away. almost as if looking through binoculars. He sits on his bed, tie undone, holding a glass with an inch of scotch on his knee.\",\n \"INT. RYAN'S SUITE, CHICAGO HILTON - MORNING We see quick glimpses of Ryan getting ready. Crappy little COFFEE MAKER crappily brewing. Crappy hotel BAR OF SOAP crappily lathering. Crappy HAIR DRYER crappily blowing.\",\n \"EXT. AIR TRAIN, CHICAGO O'HARE AIRPORT - MORNING Ryan is on the phone with Alex. RYAN How could you lie to me?\",\n \"INT. ALEX'S CAR, DOWNTOWN GARAGE - SAME Alex sits in the car with the engine running. ALEX What were you thinking - Just showing up at my door like that? RYAN What do you mean? I wanted to see you. I did n't know you had a family - Why did n't you tell me that? ALEX Come on, I thought we signed up for the same thing. RYAN Try to help me understand. What is it you signed up for? ALEX I thought our relationship was perfectly clear. You're. -LRB- a long beat. -RRB-. an escape. RYAN I'm an escape? ALEX You know, a break from our normal lives. A parenthesis. RYAN I'm a parenthesis? ALEX Seriously, Ryan? I ca n't believe we're having this conversation. I mean what do you want? Ryan stumbles on this. What does he want? ALEX -LRB- CONT'D. -RRB- You do n't even know what you want. I'm sorry that I ruined your night. But you could have seriously screwed things up for me. That was my family. That's my real life. RYAN I thought I was a part of your real life. ALEX -LRB- SIGHS. -RRB- Look, Ryan. I'm a grown up. I do n't hold a grudge. When you're ready to be an adult and see me again, just give me a call. Ryan ca n't quite believe what he's hearing. There's only one thing he can do. He hangs up.\",\n \"EXT. ESCALATOR, CHICAGO O'HARE AIRPORT - MORNING Ryan is walking when his phone buzzes. He checks the DISPLAY - CTC Calling. He presses IGNORE.\",\n \"INT. TICKET DESK - CHICAGO O'HAIRE - DAY Ryan walks up to the TICKET DESK. He is more lost than usual. There is something plucky about the TICKET AGENT. PLUCKY TICKET AGENT Welcome back, Mr. Bingham. RYAN Yeah, right, you got me in 2C? PLUCKY TICKET AGENT Of course. Left side aisle, non - bulkhead. Just like you like it. RYAN What's got you so fucking happy? The plucky agent fades a bit, then tries to recompose. PLUCKY TICKET AGENT Your boarding card, Mr. Bingham. Ryan takes the ticket and exits.\",\n \"INT. BOEING 757 - DAY Ryan sits doing nothing. Others around him play Sudoku, read trashy paperbacks, work on laptops. Ryan just stairs at the stitching on the seat in front of him. When. `` Bing'' PURSER Ladies and gentlemen, we have a special announcement to make. Passengers look up. PURSER -LRB- CONT'D. -RRB- Our pilot has just informed me that we are passing over the city of Mesa. which might not mean much to most of you, but means a lot to one of our fliers today, because he just hit TEN. MILLION. MILES. RYAN Oh no. The Gershwin theme song for the airline rains down from the overhead speakers. Passengers clap. Flight attendants gather at Ryan's seat with big smiles and champagne. Ryan does n't even react. He's just stunned. The flight attendants separate just enough for a man in a bomber jacket to squeeze through. It's Maynard Finch, the Chief Pilot from the commercial. MAYNARD FINCH -LRB- TO RYAN. -RRB- That seat taken? Maynard gives a little salute to his flight attendants, then slides by Ryan to the window seat. MAYNARD FINCH You're the youngest yet to hit twenty mil. Do n't know where you found the time. -LRB- REMEMBERS. -RRB- Oh right, here you go. Maynard pulls out a MEMBERSHIP CARD. It's actually been stamped from platinum. MAYNARD FINCH -LRB- CONT'D. -RRB- Seventh card we've made. Small club. We really appreciate your loyalty. It has a pair of wings around `` Member Number 7''. Ryan holds it between his fingertips. Catches his own reflection. RYAN You know how many times I've thought about this moment? Played out the conversation I'd have with you right here. MAYNARD FINCH Really? What did you want to say? A long beat. RYAN You know, I. I ca n't remember. MAYNARD FINCH That's alright. Happens to all of us. -LRB- attempts chit chat. -RRB- So, where you from? Ryan looks at him straight in the face. RYAN I'm from here.\",\n \"INT. RYAN'S OFFICE, CTC - NEXT DAY Ryan picks up the phone at his desk. He removes his new TEN MILLION MILE CARD and dials a number off the back. AIRLINE OPERATOR Hello, Mr. Bingham. RYAN Oh, how did you know it was me? AIRLINE OPERATOR This is your dedicated line. We reserve them for our most loyal and dedicated fliers. RYAN Oh. I'd like to transfer some of my miles. Can you open up an account under Jim and Julie Miller? AIRLINE OPERATOR Certainly. How many miles would you like to transfer? RYAN How many miles would it take to circle the globe? AIRPORT OPERATOR We have our `` around - the - world'' tickets. They're five hundred thousand miles each. RYAN Sounds perfect. Craig enters Ryan's doorway. CRAIG GREGORY Got a second? RYAN -LRB- to the airline operator. -RRB- I'm going to have to call you right back. Craig takes a seat across from Ryan. CRAIG GREGORY What happened to you yesterday? I was trying to reach you all day. RYAN I got tied up in. personal stuff. What's going on? An uncomfortable beat. CRAIG GREGORY Do you remember Karen Barnes? Ryan does n't. CRAIG GREGORY -LRB- CONT'D. -RRB- She was part of a thirty person reduction a few weeks back in Wichita. Natalie fired her. RYAN No, I fire dozens of people a day. CRAIG GREGORY She killed herself. Jumped off a bridge. RYAN Fuck. CRAIG GREGORY -LRB- AGREES. -RRB- Yeah. -LRB- FORMALITY. -RRB- Do you remember anyone giving you any signals of anything? Depression? RYAN They're all depressed. We're firing them. CRAIG GREGORY Hey, look, you know I have to ask. RYAN No, I do n't remember anything. Of course they're upset. You never think that. CRAIG GREGORY Was n't any woman who gave you any indication? Anything? Ryan remembers her. RYAN No, nothing that stands out. -LRB- A THOUGHT. -RRB- Is Natalie alright? Is she coming in? CRAIG GREGORY Natalie quit. Ryan is n't surprised. RYAN Just like that? CRAIG GREGORY Text message. Ryan stifles a laugh. CRAIG GREGORY -LRB- CONT'D. -RRB- Yeah, real fucking nice, right? No one has manners anymore. RYAN She say where she was going? CRAIG GREGORY Nah. She was pretty upset. RYAN I should give her a call. CRAIG GREGORY -LRB- BUSINESS. -RRB- I need you back in the air. Ryan does n't react. CRAIG GREGORY -LRB- CONT'D. -RRB- Did you hear me? I thought you'd be thrilled. RYAN I'm fine. What about video conferencing? CRAIG GREGORY CTC is pausing on the whole new media front for a moment. Giving it a little more thought. Getting our work horses back out doing what they do best. RYAN How long are you sending me out? CRAIG GREGORY We're going to let you sail and sail. Send us a postcard if you ever get there. Ryan absorbs this. Nods.\",\n \"INT. OFFICE, SAN FRANCISCO - DAY A MANAGEMENT LEVEL GUY sits at his desk. Bay Area sports paraphernalia on the wall. MANAGER So, what happened? We turn to reveal Natalie. NATALIE How exactly do you mean? MANAGER You graduated top of your class. You seemed to have your pick of employment. Including right here. Instead, you went to Omaha. to fire people for a living. NATALIE -LRB- OBVIOUS COVER. -RRB- It's challenging work. MANAGER I ca n't imagine doing that day - in - day - out. Not in this climate. NATALIE -LRB- after a beat. -RRB-. I followed a boy. The manager smiles to himself. MANAGER Everybody does at one point or another. The manager raises a letter - It's Ryan's letter. MANAGER This guy says I'd be lucky to have you.\",\n \"INT. RYAN'S OFFICE, CTC - DAY Ryan writing the letter. We hear what he's writing. RYAN -LRB- V.O. -RRB- To whom it may concern, I ca n't even count the number of people I've fired in my lifetime. So many, that I've forgotten what it's like to actually hire somebody. We've never met, but I know you'd be lucky to have Natalie Keener. My advice? Take her and do n't look back. She'll be the best decision you've made in a long time.\",\n \"INT. OFFICE, SAN FRANCISCO - DAY The manager puts down the letter and reaches out a hand. MANAGER Hope he's right. Natalie breaks into a smile, then jumps back to professional.\",\n \"INT. CORRIDOR, RYAN'S LOFT - DAY Ryan steps out his front door, ROLL - AWAY in tow.\",\n \"INT. OMAHA AIRPORT - DAY Ryan walks through the automated door. He looks like he did in the opening of the film. Maybe even wearing the same clothes. Something is different though. RYAN -LRB- V.O. -RRB- Tonight, most people will be welcomed home by jumping dogs and squealing kids. Their spouses will ask about their day and tonight they'll sleep. Ryan stops and looks up at a GIANT BOARD OF DESTINATIONS. An endless list of cities around the world. A menu of new lives departing every five minutes. RYAN -LRB- V.O. -RRB- The stars will wheel forth from their daytime hiding places. We look back at Ryan. His eyes lock on one of the cities. We do n't see which one. He makes a mental decision and turns in the direction of the gate. He lets go of his ROLL - AWAY. RYAN -LRB- V.O. -RRB- And one of those lights, slightly brighter than the rest, will be my wingtip, passing over, blessing them. Ryan takes a step, but before his foot can land we. CUT TO CLOUDS\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,1,0,0,1,1,1,0,1,0,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"Ryan Bingham works for a human resources consultancy firm that specializes in termination assistance, and makes his living traveling to workplaces across the United States, conducting company layoffs and firings on behalf of employers. He also gives motivational speeches, using the analogy \"What's in Your Backpack?\" to extol the virtues of a life free of burdensome relationships with people as well as things. A frequent flyer, Ryan has no fixed abode, relishes his travels, and aspires to become the seventh and youngest person to earn ten million frequent flyer miles with American Airlines. During his travels, he meets another frequent flyer named Alex, and they begin a casual relationship. Ryan is called back to his company's offices in Omaha, Nebraska. Natalie Keener, a young and ambitious new hire, promotes a program designed to cut costs by conducting layoffs via videoconferencing. Ryan raises concerns that the program could be seen as detached and apathetic, arguing that Natalie knows nothing about the reality of the firing process or how to handle upset people. He then plays the role of a fired employee to demonstrate her inexperience. Ryan's boss assigns him to bring Natalie on his next round of terminations to show her the ropes. At the airport Ryan shows Natalie how to travel better. He has her purchase new luggage and shows her, by stereotyping fellow travelers, how to move through airport security efficiently. As they travel together, Natalie questions Ryan's philosophies on life, particularly on relationships and love, but Ryan is adamant that he is more than happy with his lifestyle. During the trip, Natalie is shattered when her boyfriend unceremoniously dumps her by text message, and Ryan and Alex try to comfort her. On the test run, the earlier concerns Ryan raised prove valid; one laid-off person breaks down in tears before the camera, and Natalie is unable to comfort him. Another threatens to commit suicide. Natalie later lectures Ryan about his refusal to consider a commitment to Alex in spite of their obvious compatibility, and becomes infuriated; she apologizes later, but soon afterward they are both ordered back to Omaha to implement Natalie's program. Instead of returning immediately to Omaha, Ryan convinces Alex to accompany him to his younger sister’s wedding. He learns that the reason the couple had him take photos of a cutout picture of them in various places was because they cannot afford a honeymoon. When the groom gets cold feet, Ryan's older sister talks Ryan into using his motivational skills to persuade the groom to go through with the wedding. Although this runs counter to Ryan's personal philosophy, he successfully argues that the important moments in life are rarely unshared. The wedding proceeds without any further hitches. Ryan begins having second thoughts about his life and philosophies. As he starts delivering his \"What's in Your Backpack?\" speech at a convention in Las Vegas, he realizes he no longer believes it, and walks off the stage. On an impulse, he flies to Alex's home in Chicago. When she opens the door, Ryan is stunned to discover she is married and has children, and leaves before her husband can suspect anything. She later tells him over the phone that her family is her real life and he is an escape. On Ryan's flight home, the crew announces that he has just crossed the ten million mile mark, and a small celebration is thrown. The airline's chief pilot comes out of the cockpit to meet Ryan. He notes that Ryan is the youngest person to reach the milestone. When asked where he is from, a disheartened Ryan can only respond, \"here.\" Ryan calls the airline to transfer five hundred thousand miles each to his younger sister and her husband, enough for them to fly around the world for their honeymoon. His boss tells Ryan that a woman he and Natalie fired during their travels has killed herself, and that an upset Natalie has quit via text message. The company also puts the remote-layoff program on hold. Natalie applies for a job in San Francisco, where she was offered a job before following her now ex-boyfriend to Omaha. The interviewer is impressed by her qualifications and a glowing recommendation from Ryan, and hires her. The film concludes with Ryan standing in front of a vast destination board, looking up, and letting go of his luggage."},"name":{"kind":"string","value":"Up_in_the_Air_(2009_film)"}}},{"rowIdx":181,"cells":{"scenes":{"kind":"list like","value":["PRIMEVAL SWAMP - EARLY DAWN It is very early in the dawn - blue light filters through the jungle and across a foul swamp. A mist clings to the trees. This could be the jungle of a million years ago. Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to the tepid water. A small bubble rises to the surface ; then another. Suddenly, but quietly, a form begins to emerge ; a helmet. Water and mud pour off revealing a set of beady eyes just above the mud. Printed on a helmet, in a psychedelic hand, are the words : `` Gook Killer.'' The head emerges revealing that the tough - looking soldier beneath has exceptionally long hair and beard ; he has no shirt on, only bandoliers of ammunition - his body is painted in an odd camouflage pattern. He looks to the right ; he looks to the left ; he looks INTO CAMERA, and slowly sinks back into the swamp, disapperaring completely. Our VIEW HOLDS, We begin to HEAR natural, though unrecognizable JUNGLE SOUNDS, far off in the distance. We PAN TO REVEAL a clump of logs half submerged in the swamp ; and part of what seems to be a Falstaff beer can in the mud. A hand reaches out, and the beer can disappears. As we TILT UP, we NOTICE that the log is hollow and houses the rear of a M - 60 machine gun, hand painted in a paisley design. Now the VIEW MOVES AWAY, ACROSS the ancient growth, PAST the glimmer of what seems to be another soldier hiding in ambush, wearing an exotic hat made from birds and bushes. ACROSS to a dark trail where the legs of those in black pajamas move silently across our ever TIGHTENING VIEW. Their feet, boots and sandals leave no impression ; make no sound. A slight flicker of light reveals a pair of eyes in the foliage across the path, waiting and watching. The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTER AND FASTER WITH them, until suddenly, directly in front about ten feet away, an enormous AMERICAN clad in rags and bushes and holding a 12 gauge automatic shotgun casually at his side, steps in front of them. He smiles laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH US. By the second shot, the whole jungle blazes out with AUTOMATIC FIRE. Out VIEW TURNS as the men around us are thrown and torn, screaming and scattering into the jungle. More AMERICANS appear ; unexplainably, out of the growth. It is now that we fully SEE the bizarre manner in which they are dressed. Some wear helmets, others wear strange hats made from feathers and parts of animals. Some of them have long savage - looking hair ; other crew - cut or completely shaved ; they wear bandoliers, flak jackets, shorts and little else. They wear Montagnard sandals or no shoes at all, and their bodies and faces are painted in bizarre camouflage patterns. They appear one with the jungle and mist, FIRING INTO US as they move. The soldier we saw earlier emerges from the swamp, dripping mud, his MACHINE GUN BLASTING FIRE. We begin to move quickly with one Vietnamese, breathlessly running for his life ; we MOVE INTO the jungle with him, only to be impaled on a large spear of a smiling AMERICAN painted and wearing feathers like an Indian. OUR VIEW FALLS WITH him to the ground, STARING UPWARDS, as FLAME and EXPLODING MUD scatter above us. Men scream and die around us. The screams amid the GUNFIRE and EXPLOSIONS are piercing and terrible, as though the jungle itself is frightened. An AMERICAN wearing a jungle hat with a large Peace Sign on it, wearing war paint, bends TOWARD US, reaching down TOWARD US with a large knife, preparing to scalp the dead. OUR VIEW MOVES AWAY, along with the running sandals of a Vietnamese soldier, MOVING FASTER AND FASTER, only to be stopped by still another of the savage - looking AMERICANS with primitive ornamentation, wearing only a loin - cloth and green beret. He opens his flame - thrower directly ON US and the NVA soldier and we are incinerated in flame, bright psychedelic orange - red flame. Outrageous, loud, electric ROCK MUSIC OVERWHELMS the SOUNDTRACK : MAIN TITLE : APOCALYPSE NOW","TITLE SEQUENCE The CREDIT TITLES proceed as the FLANE CONSUME US, growing more intense, brighter, more vivid, purifying ; transforming into an intense white heat that we can barely look at, like the sun itself. Then it EXPLODES, breking apart, and shattering once again. It begins to cool, as the TITLES CONTINUE. It is as though WE ARE MOVING through the white center of cooling flame, forming a spinning web, and becoming more distant. The TITLES CONTINUE. We are MOVING TOWARD planetary nebulae ; MOVING through the stars ; MOVING closer to the Earth. We can BARELY HEAR the MUSIC now. We MOVE CLOSER to the earth ; beautiful, covered in clouds, as though SEEN from a satellite. The TITLES CONTINUE. We are MOVING CLOSER to the earth ; through the soft clouds, close enough that we can MAKE OUT the Western Hemisphere ; CLOSER to North America ; CLOSER, to America, then California ; Los Angeles, STILL CLOSER to the odd, finger - like shapes of :","EXT. MARINA DEL REY The VIEW finally SETTLES ON a partically luxury cabin cruiser harbored at a particular dock late in the day. It is large, pleasure boat : The people are relaxing in bathing suits and towels and robes. They are drinking cocktails, and snapping pictures. The boat belongs to the head of a large American Corporation, and this is his party. This man, CHARLIE, is sitting, his shirt off to catch some of the late sun. Others have their faces smeared with white suntan oil that reminds us of war paint. Charlie is going on and on : CHARLIE It's crazy - sugar is up to 200 dollars a ton - sugar! LAWYER What about oil? CHARLIE Food, oil - look, let me show you something. This is the economy of the United States in two years - He takes a newspaper, draws a circle. CHARLIE -LRB- continuing. -RRB- This is West Germany. -LRB- he draws another, bigger circle. -RRB- This is Japan. -LRB- another, bigger. -RRB- This is Italy. -LRB- a dot. -RRB- This is Iran. -LRB- a very big circle. -RRB- And this is Saudi Arabia. In two years? -LRB- a gigantic circle. -RRB- Do you understand? ACCOUNTANT What's to prevent it? CHARLIE Maybe nothing. But I'll tell you, I did n't build a two - billion - dollar company in the last twenty years by doing nothing. We can protect our interests. -LRB- pause, for a drink. -RRB- We are still the most powerful nation in the world. Militarily. He leans to his associates, in a half - whisper. CHARLIE -LRB- continuing. -RRB- You know bodyguard ; he was a captain in Viet Nam. You talk to him, except he wo n't talk. This kind of man can kill you with his pinky. A nice quiet fella, though. The VIEW BEGINS TO PULL AWAY from this group. CHARLIE -LRB- continuing. -RRB- Carries a attache case at all times. You know what's in it? -LRB- another sip. -RRB- An Ingram Machine pistol. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : CHARLIE I do n't tahe chances, and neither should this country. If we're strong, we should protect our interests, and we should have the respect of the world, even if it takes another war. WILLARD -LRB- V.O. -RRB- Bullshit. You can kill with the ridge of your with the ridge of your hand to the throat ; you can crush a skull with your knee. but you ca n't kill anybody with your pinky. The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. WILLARD -LRB- V.O. -RRB- The attache case has been empty for three years, but it makes him safe to think there's a machine pistol in it. I do n't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M - 16 to automatic, and it jammed. How much money did the contractors make on the M - 16? Our VIEW IS MOVING through the people on the boat ; some reading, flirting, drinking. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- He likes to hear stories about Nam. I tell him I ca n't ; they're not cleared. The truth is he would n't understand. We can now SEE A MAN with his BACK TO US, looking the opposite way. An attache case resting near to him. We MOVE CLOSER. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- There's no way I can tell them. what really happened over there. I would n't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we can not see his face. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- There was only one part that mattered - for me, anyway. I do n't even know if I remember all of it. I ca n't remember how it ended, exactly - because when it ended I was insane.","EXT. A STREET IN SAIGON - DAY A Saigon boom street in late 1968. There are bars and shops for servicemen ; the rickshaws, the motorbikes. Our VIEW MOVES TOWARD one particular officer ; B.L. WILLARD, in uniform, a Captain of the Airborne, followed by four or five Vietnamese kids trying to shine his shoes and sell him things. WILLARD -LRB- V.O. -RRB- But I know how it started for me - I was on R. and R. in Saigon ; my first time south of the DMZ in three months. I was n't sure, but I thought this guy was following me. Willard looks back. HIS VIEW an American CIVILIAN. MED. VIEW Willard ducks into a bar.","INT. THE SAIGON BAR - DAY Not much in this place - a bar, linoleum flooring, a few tables and chairs, and a juke box. The lounge is fairly crowded. Willard takes off his cap and walks quietly past the soldiers at the bar. Some of them, catching sight of his ribbons, stop talking as he moves by. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. CAPTAIN How about a drink? WILLARD Sure, thanks. He sits down at the table with the drinks. CAPTAIN Winning the war by yourself. WILLARD -LRB- he calls for the waiter. -RRB- Part. CAPTAIN Which part is that? WILLARD My part. -LRB- TO THE WAITER. -RRB- Beer, with ice and water. CAPTAIN That's good gin. WILLARD I'm sure it is, but I had hepatitis. CAPTAIN Delta? WILLARD No. CAPTAIN North? WILLARD Yeah. Way north. CAPTAIN What unit were you with? WILLARD None. CAPTAIN Rangers, eh? WILLARD Sort of. The JUKE BOX starts BLARING. Annoyed, Willard looks over his shoulder. CAPTAIN Were you Longe Range Recon - WILLARD No - I worked too far north for LRRP. He reaches into his shirt pocket for a cigarette, and the Captain leans over the table to light it for him. Willard notices the CIVILIAN on the street has glanced in the bar, then enters and sits down at a table by the doorway. CAPTAIN That's quite an array of ribbons. WILLARD Let's talk about you. CAPTAIN I was an FO for the 25th. WILLARD Tracks? CAPTAIN Yeah. WILLARD Fat. That's real fat. CAPTAIN Sometimes. WILLARD At least you always have enough water. How many gallons does each one of those damn things carry? CAPTAIN Thirty - sometimes fifty. WILLARD You know, I can remember once, getting back below the DMZ - and the first Americans we ran into were a track squadron. I just could n't believe how much water they had. We'd been chewing bamboo shoots for almost a week, and before that, for two weeks, we'd been drinking anything - rain water, river shit, stuff right out of the paddies. And there were these guys standing by their trucks spilling water all over. I could've killed them. -LRB- solemnly. -RRB- I swear to God I would have, too, if. CAPTAIN I did n't know we had units up there in North Vietnam. WILLARD We do. CAPTAIN How long were you up there? WILLARD A long time. CAPTAIN A year? Waiter another beer. WILLARD I go up on missions. Listen Captain, buy me all the beer you want, but you better tell that asshole over there you're not going to find out anymore about me. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. WILLARD -LRB- continuing. -RRB- What do you want? CIVILIAN -LRB- indicating the Army jeep. -RRB- If you're B.L. Willard, 4th Recon Group, we'd like you to come with us. WILLARD Whose orders? CAPTAIN Headquarters 11 Corps - 405th A.S.A Battalion - S - 2 - Com - Sec - Intelligence - Nha Trang. WILLARD Who are you? CIVILIAN The agency. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows.","EXT. HELICOPTER - DUSK A darkly painted `` HUEY'' ROARS over low paddies and jungle before emerging onto an open plain. It crosses a barbed wire and sand - bagged perimeter and lands in a heavily fortified, concealed compound. WILLARD -LRB- V.O. -RRB- They took me to some place outside Nha Trang. Intelligence Headquarters for all operations in South East Asia. I'd worked for Intelligence before - Armed men jump from the Huey - among them Willard. A large camouflaged cover is moved, revealing an underground corridor - they enter. FULL SHOT - UNDERGROUND PLOTTING ROOM A door swings wide - Willard steps through and comes to attention, blocking the view of the room. A strange reddish light pervades. The room is covered with plastic maps and filled with smoke. The whole place has been hewn out of the ground itself and there is a sense of the cut - back jungle growth slowly reclaiming it. WILLARD Captain B.L. Willard, G - 4 Headquarters, reporting as ordered, sir. COLONEL -LRB- O.S. -RRB- Okay, Willard, sit down. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out on the bottom of his shoe - behind him sits a MAJOR and a seedy - looking CIVILIAN. COLONEL Have you ever seen this officer before, Captain Willard? He points to the Major. WILLARD No, sir. COLONEL This gentleman or myself? WILLARD No, sir. COLONEL I believe on your last job you executed a tax collector in Kontum, is that right? WILLARD I am not presently disposed to discuss that, sir. MAJOR Very good. He turns to the Colonel and nods his approval. The Colonel gets up and goes to a large plastic map. COLONEL You know much about about Special Forces ; Green Berets, Captain? WILLARD I've worked with them on occasions and I saw the movie, sir. The officer smiles at this. COLONEL Then you can appreciate Command's concern over their - shall we say ` erratic' methods of operation. -LRB- pause. -RRB- I have never favored elite units, Captain, including your paratroopers or whatever. Just because a man jumps out of an airplane or wears a silly hat does n't give him any priviliges in my book - not in this man's army. MAJOR We did n't need'em in Korea - no sir, give me an Ohio farm boy and an M - 1 Garand, none of this fancy crap - no sir. CIVILIAN -LRB- stopping him. -RRB- Major. COLONEL We have Special Forces A detachments all along the Cambodian border. Two here and another one here - twelve or fourteen Americans - pretty much on their own ; they train and motivate Montagnard natives ; pick their own operations. If they need something, they call for it, and get it within reason. What we're concerned with is here. CLOSE VIEW - ON THE MAP COLONEL The A detachment at Nu Mung Ba. It was originally a larger base, built up along the river in an old Cambodian fortress. The area has been relatively quiet for the past two years - but - MED VIEW COLONEL Captain, we know something's going on up there - Major - The Major looks at some papers in front of him. MAJOR Communications naturally dwindled with the lack of V.C. activity, this is routine, expected. but six months ago communication virtually stopped. COLONEL About the same time - large numbers of Montagnards of the M'Nong descent began leaving the area - this in itself is not unusual since these people have fought with the Rhade Tribe that lived in the area for centuries. But what is unusual is that we began to find Rhade refugees too - in the same sampans as the M'Nongs. These people are n't afraid of V.C. They've put up with war for twenty years - but something is driving them out. MAJOR We communicate with the base infrequently. What they call for are air strikes, immediate - always at night. And we do n't know what or who the air strikes are called on. WILLARD Who? MAJOR You see, no one has really gone into this area and come back alive. WILLARD Why me? MAJOR Walter Kurtz, Lieutenant Colonel, Special Forces. We understand you knew him. He puts Kurtz' dossier in Willard's hand. WILLARD Yeah. COLONEL He's commanding the detachment at Nu Mung Ba. The Colonel gets up and walks over to a tape recorder, flicks it on. The recording is first STATIC - the AIR CONTROLLER then asks for more information on target coordinates - it all sounds very routine, military. Then a frantic VOICE comes on, talking slurred, like someone dumb, except very fast. VOICE -LRB- ON TAPE. -RRB- Up 2 - 0 - give it to me quick - Mark flare - affirmative damn - Immediate receive - hearing automatic weapons fire man. GUNFIRE is HEARD and a lower, slower VOICE in background. SECOND VOICE Blue Delta five This Big Rhine - three Need that ordinance immediately Goddamn give it to me immediate Christ - Big Rhino - Blue God - Delta damn - goddamn. A heavy BURST of AUTOMATIC WEAPONS FIRE - INSANE LAUGHTER - STATIC, and faintly, very faintly we HEAR HARD ROCK MUSIC - more STATIC - suddenly a low, clear VOICE peaceful and serene, almost tasting the words. THIRD VOICE This is Big Rhino six - Blue Delta. MAJOR That's Colonel Kurtz. KURTZ -LRB- V.O. -RRB- I want that napalm dropped in the trees - spread it among the branches. We'll give you a flare - an orange one - bright orange. -LRB- STATIC. -RRB- We'd also like some white phosporous, Blue Delta. White phosporous, give it to me. STATIC interrupts - the Major turns the machine off. WILLARD I only met Kurtz once. CIVILIAN Would he remember you? WILLARD Maybe. COLONEL What was your impression of him? Willard shrugs. CIVILIAN You did n't like him. WILLARD Anyone got a cigarette. The Major offers him one ; they wait as he lights up, thinks. WILLARD -LRB- continuing. -RRB- I thought he was a lame. COLONEL A lame? WILLARD This is years ago, before he joined Special Forces, I guess. We had an argument. COLONEL About what? WILLARD I do n't know. He was a lame, that's all. COLONEL But why? WILLARD He could n't get through a sentence without all these big words ; about why we kill. COLONEL Well, he's killing now. WILLARD Maybe. CIVILIAN What does that mean? WILLARD Maybe it's not Kurtz. I do n't believe he's capable of that. I just do n't believe it. COLONEL It's got to be Kurtz. CIVILIAN The point is that Kurtz or somebody attacked a South Vietnamese Ranger Platoon three days ago. Last week a Recon helicopter was lost in the area - another took heavy damage - direct fire from their base camp. WILLARD Our Recon flight? CIVILIAN Ours. WILLARD Touchy. CIVILIAN You can see, of course, the implications, if any of this - even rumours leaked out. WILLARD You want me to clean it up - simple and quiet. CIVILIAN Exactly - you'll go up the Nung River in a Navy P.B.R. - appear at Nu Mung Ba as if by accident, re - establish your acquintance with Colonel Kurtz, find out what's happened - and why. Then terminate his command. WILLARD Terminate? CIVILIAN Terminate with extreme prejudice. FULL VIEW - ON THE DELTA A waterway leading out to the ocean - it is broken and divided into hundreds of channels, islands, water farms. A Navy patrol boat -LRB- P.B.R. -RRB- is waiting by a dock area. This is small, light craft, very fast, and heavily armed. Its men stand at attention in a small and simple military ceremony. Willard approaches them in battle - dress : Tiger suit, full field pack, forty - five, helmet, M - 16. The boat commander salutes Willard. MED. VIEW We hear the introductions faintly, UNDER Willard's VOICE. WILLARD -LRB- V.O. -RRB- I met the P.B.R. crew ; they were pretty much all kids, except for Phillips, the Chief - Gunner's Mate Third Class L. Johnson - Lance Johnson ; Gunner's Mate Third Class J. Hicks - The Chef - Radio Operator Second Class T. Miller ; they called him Mr. Clean. WILLARD Chief, try to keep out of where we're going - Why we're goin' and what's gon na be the big surprise. CHIEF All right with me, I used to drive a taxi. WILLARD Let's go. The Chief nods. They all break formation and jump aboard and otherwise go about their work. The twin diesels kick up - and t he boat moves away from the dock. The Chef jumps aboard ; Lance mans the forward twin fifty - caliber machine guns - they wave to the guards on the dock and move away into the complexity that leads to the ocean. FULL VIEW - STORMY SEA The boat slams through the heavy sea ; hurtling off the top of a wave and crashing full into the trough of another. MED. SHOT - BOAT COCKPIT - WILLARD AND CHIEF Willard holds on to whatever he can - he looks very pale. Water crashes over the bow and drenches everyone. The Chief mans the wheel and the ENGINES WHINE. Lance climbs back from his position. He looks at Willard, who just stares ahead into space, swallowing. LONG SHOT - BOAT DUSK The dusk is spectacular through the broken storm clouds - the sea is calm again. VIEW ON THE BOAT - PROCEEDING UP THE COAST The Chief is at the helm - Willard approaches him. CHIEF The Delta closes off to us about ten miles out of Hau Fat. We'll be able to pick up some supplies - bit I think there are only two points we can draw enough water to get into the Nung River. It's all Charlie's turf from there on out. WILLARD We're gon na have some help to get in the river. You know these waters, Chief? CHIEF ` Bout six months ago I took a man up to Lo Mung Bridge. He was regular Army too. Shot himself in the head. I brought his body back down. WILLARD Shot himself. What for? CHIEF Beats me - the sun was too much for him, or the mud. Who knows? Pause, looking at Willard. CLOSE SHOT - ON WILLARD Suddenly, his attention is diverted - there is a slow buffeting, as if the air around them is being sucked out and replaced quickly. The boat shakes slightly. There is a distant ROLLING NOISE like interrupted thunder. All the men have stopped whatever they're doing - stand up and look out toward the shore and the green jungle hills beyond. The buffeting and NOISE CONTINUES - they all stand silently - suddenly it stops. WILLARD Arch light. CHEF I hate that - Every time I hear that noise something terrible happens. CHIEF Anybody see some smoke? CLEAN Too far inland. LANCE There they are. He points up to the sky. FULL SHOT - ON THE SKY Way up - past any clouds and barely discernible, we SEE the black silhouttes of four B - 52 bombers, their vapor trails streaming white against the dark blue sky. CLEAN Charlie do n't ever hear'em. Not till it's too late - do n't have to hit you neither, concussion'll do it for a quarter mile or better. Burst your ears - suck the air outta your lungs. FULL SHOT - BOAT - CREW They are looking up. Willard sits down, unconcerned. He takes out the dossier given him by ComSec. He flips through the letters and other documents. WILLARD -LRB- V.O. -RRB- The dossier on A detachment had letters from Kurtz' wife and the wives and families of his men. All asking where to send future mail, understanding the necessery silence due to the nature of their work - None of the men had written home in half a year. Occasionally, in the b.g., we FEEL the terrifying buffeting of the distant B - 52 BOMBING. CLOSE - ON WILLARD studying, examining a report. MONTAGE - PICTURES OF KURTZ Kurtz' face evolves through the various stages of his career as represented in the pictures in the dossier, as Willard reads : WILLARD -LRB- V.O. -RRB- Lieutenant Kurtz has shown a dedicated and well - disciplined spirit. He is a fine officer, combining military efficiency - with a broad background in the Humanities, the Arts and Sciences. Another picture of Kurtz in Germany, standing next to the 161st Petroleum Supply Group sign. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. He views his military career as the dedication of his talents to bringing our values and way of life to those darker, less fortunate areas in the world. A SHOT of Kurtz at jump school. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. I feel Captain Kurtz' request for Special Forces training is highly unusual in regard to his past humanitarian concerns, and his somewhat liberal politics, though I can see no reason to deny it. A CLOSE SHOT of Kurtz with Green Beret on in the Vietnam jungle. His face is blank and vacant. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. We feel Major Kurtz' need to bring a sense of Western culture to the backward peoples of these areas will be of use in accordance with our ` Vietnamization' programs. MOVE IN TO Kurtz' empty eyes until the photograph is just a BLURRED MASS OF DOTS.","EXT. HAU FAT - AN ADVANCE STAGING AREA WILLARD -LRB- V.O. -RRB- One day later we came to an advanced staging area along the coast. This was our last chance to pick up supplies before approaching the mouth of the Nung River. The VIEW OF THE COASTLINE leading up along the long load - ing docks at Hau Fat, an advance staging area for opera - tions `` Brute Force'' and `` Mailed Fist.'' Everywhere are tents - oil drums - sandbagged bunkers - helicopters - tanks - guns - men. Nobody builds advanced staging areas like the Americans. As the P.B.R. approaches the docking area, Lance notices something. LANCE Hey. They look as a Chris - craft speeds by pulling a fancy water - skier who waves as he slaloms by. The men just look at one another. VIEW ON THE DOCK The P.B.R. pulls in - the men scan the busy surroundings. CHIEF Lance - I want you to go with the Captain an' get three extra drums of fuel and maybe scrounge some more 50 caliber. LANCE Yeah - look at those uniforms. FULL SHOT - PARADE GROUNDS - TROOPS A platoon drills in the hot, lazy sun ; they are clean and pale, in contrast to Lance and the others, just off the airplane. CHIEF Poor bastards, have a long year to go. The troops turn and march TOWARD US with six weeks of Advanced Infantry Training to back them up. FULL SHOT - DOCK - P.B.R. - CREW They are tying up at the dock - a young SERGEANT is fill - ing cut papers concerning them and talking with Willard. SERGEANT I do n't know anything about these papers, sir. WILLARD They're in order - it's perfectly clean - just check with ComSec - Intel like I said. SERGEANT Well, you know I do n't have the priority to do that, sir. It says here not to contact Com - Sec - Int. Who's your commanding officer? WILLARD Right now - I am. SERGEANT Well who the hell verifies that? WILLARD I do. He signs it quickly, leaving the Sergeant totally confused. CHIEF No shit - what's all the activity for around here? SERGEANT The show - WILLARD What show? SERGEANT Big show in the parade grounds this noon - some boss stuff - WILLARD This - Bob Hope or the like - SERGEANT No sir, I think - this'll be a little bit different - CHIEF Where's it gon na be? He points - FULL SHOT - PARADE GROUNDS - PEDESTAL A large, well - built pedestal has been erected - this is surrounded by a deep moat filled with punji stakes and garnished with concertina wire. It is empty - FULL SHOT - PARADE GROUNDS - TROOPS The entire area around the pedestal and right up to the wire is mobbed with seething American fighting men. Some of these boys have just gotten here - others have been in the jungle for months. All have one thing in common, to see and if possible grab an American girl. Their need far surpasses that of the run - of - the - mill rapist, pervert, or child - molester. To counter their need of course are the moat, punji stakes and barbed wire - but implementing this are seven `` riot control positions'' equipped with the lastest in teargas launchers, attack - trained German shep - herds and assorted psychological warfare aides. Even so armed, the great mass of wild men are right up to the wire. FORWARD AREA jammed in the crowd CHEF It's really too much - I mean I've collected every picture of her since she was Miss December. CLEAN Yeah - you can really get hung up on them like the cat in the Delta. CHIEF What cat? CLEAN One that went up for murder - he was an Army Sergeant. CHIEF I never heard about that. CLEAN Yeah - he really dug his Playboy mag, man - I mean like he was there when it arrived - He just knew. CHEF So what happened? CLEAN He was working A.R.V.N. patrols and had one a them little cocky gook asshole Lieutenants - anyhow, the Lieutenant took his new Playboy one day, sat on the end of the dock, and would n't give it back. CHEF Yeah - typical A.R.V.N. CLEAN Then went too far - he sat there and starts mutilating the centerfold. Poking pins in her an' all that. Sergeant says, do n't do her like that. You leave your shitty little hands off that girl. Gook Lieutenant says Fuck you in Vietnamese - Sergeant says, do n't do that again. You'll wish you had n't. Then he stood up, flicked his iron to rock and roll and gave the little zero a long burst through the Playboy mag. Man, it blew him clean off the dock - Hell, just the magazine was floatin' there all full of holes. CHIEF They nail him for it bad? CLEAN He's in the L.B.J. - did n't give him no medals or nothing - In the b.g., we begin to HEAR a SWELL of TWO THOUSAND MALE VOICES ; the ENGINES of four helicopters approaching. All heads turn skywards while one descends onto the pedestal kicking up a lot of dust and general resentment. On the nose amd doors of the black Huey are painted large Playboy rabbits. Finally the blades are trimmed and a strange silence descends over the men. The door of the copter slides partially open - two young Green Berets step out with M - 16's to varied catcalls. When this abates a young, extremelly well - dressed man emerges. He is the epitome of a Hollywood AGENT. Hair is combed impeccably and free of dandruff - clothes are formal but hip - shoes are shined - Quite some dude - his presence causes some stirring but seems to strangely quiet the man. He walks over to the microphone. AGENT I'd like to say hello from all of us up here, to all of you out there. All of you who've worked so hard during Operation Brute Force - Paratroopers - Infantry - Airmen - Medics - Marines - and Sailors. And I want you to know that we feel proud of you and know how hard your job is. To prove it - we've brought some entertainment we think you're gon na like : The Playmate of the Year and her two runners up! He pulls open the door and three unbelieveably beautiful sex playmates in fringed go - go outfits leap out and start dancing to the Creedence Clearwater Revival singing `` Suzy Q.'' MONTAGE ON THE GIRLS AND MEN VARIOUS SHOTS as the girls dance in an incredibly erotic manner - smiling. The faces of the G.I.'s pass - their jaws drop - some look almost horrified. Chef is hypnotized - Mr. Clean cries. Chief mouths unspoken obscenities with sentimental tenderness. Others grab the air in front of them. With each movement their need increases by the square. FULL SHOT - PEDESTAL - GIRLS - MEN They crush forward starting to scream - men fall on the wire - the guards in the `` riot control positions'' forget - the attack dogs are trampled. The mob as one surges forward onto the wire. Men scream and fall into the moat, which is filling up fast. The Agent sees this all as he has seen it before. He casually pulls the pin of a smoke grenade ; the girls retreat into the copter - he follows, then the two Green Berets. The ROTARS WHINE - the black Playboy Huey lifts off just as the first crazed men reach it. They grab frantically for the wheels, but miss. The Huey wheels up into the blue sky, leaving them all below. Such are the ways of war.","EXT. FULL VIEW - DAY The P.B.R. moving further up the primitive coastline. There are few signs of civilization ; no villages, no boats - just the overwhelming presence of the jungle. WILLARD -LRB- V.O. -RRB- Two days out of Hau Fat, there was nothing but us and the coastline. I felt like I had set off for the center of the earth. Suddenly, Chief looks out, ahead. CHIEF Smoke! WILLARD Where? They all turn. Chief points up the coast. FULL SHOT - THE COASTLINE A thick train of black smoke rises from the green jungle. WILLARD Black smoke. secondary burning. The Chief grabs field glasses. CHIEF Yeah - fishing village - helicopters over there. Hueys, lots of'em. WILLARD First Air Cavalry. They're the ones gon na get us into the River. FULL SHOT - THE BEACH AND VILLAGE A vast field of devastation - smashed and smoking palm trees - deep, ragged craters - gutted and burning huts - shattered sampans and bodies washing around in the surf. MED. SHOT - BEACH - WILLARD AND CREW They wade through the water to the beach where they are met by a heavily armed group of men. Overhead jets swoop by FIRING ROCKETS, the NOISE drowning out Willard's attempt at conversation with some of the men. We ca n't hear any of the talk, but we notice that the Sergeant turns up to a particular Huey, and points to it. FULL SHOT - HELICOPTERS Three Hueys swoop in low - they are heavily laden with machine guns - rockets and loudspeakers. The two out - side copters hover, while the center copter lands, raising a lot of dust. It cuts its rotors and the other copters pull up and off to the side. Two armed soldiers jump from the doors and stand with guns ready. Then a tall, strong looking man emerges. He wears a well - cut and neatly - stretched tiger suit. It is COLONEL WILLIAM KILGORE - tough looking, well - tanned, with a black mustache. He crouches over, holding his hat in the rotor wash. It is no ordinary hat but a L.A. Dodgers baseball hat. He walks out, and then stards to his full immense height and with his hands on his hips he surveys the field of battle. His eyes are obscured by mirror - fronted sunglasses. KILGORE -LRB- bellowing. -RRB- Lieutenant : Bomb that tree line back about a hundred yards - give me some room to breathe. A Lieutenant and radio man nod and rush off. CLOSE VIEW ON WILLARD He was not quite prepared for this. VIEW ON KILGORE turning to his GUARDS KILGORE Bring me some cards. GUARD Sir? KILGORE Body cards, you damn fool - cards! The soldier rushes over and hands him two brand new packages of playing cards wrapped in plastic. Two other soldiers get out of the copter and walk over. They are well - tanned and carry no weapons. They seem more casual about the Colonel than anyone else. The Sergeant walks up, leading Willard, the Chief and Lance. WILLARD -LRB- formally. -RRB- Captain B - L. Willard, sir - 4th Recon Group - I carry priority papers from Com - Sec Intelligence 11 Corp - I believe you understand the nature of my mission. KILGORE -LRB- not looking up. -RRB- Yeah - Na Trang told me to expect you - we'll see what we can do. Just stay out of my way till this is done, Captain. He cracks the plastic wrapping sharply - takes out the deck of new cards and fans them. The Colonel strides right past Willard with no further acknowledgement. The others follow, TRACKING VIEW The Colonel walks through the shell - pocked field of devastation. Soldiers gather around smiling ; as Kilgore comes to each V.C. corpse he drops a playing card on it - carefully picking out which card he uses. KILGORE -LRB- to himself. -RRB- Six a spades - eight a hearts - Is n't one worth a Jack in this whole place. The Colonel goes on about this business. TRACKING ON KILGORE moving through the corpses, dropping the cards. On of the two tanned soldiers rushes up and whispers something to him. He stops. KILGORE What? Here. You sure? The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. KILGORE -LRB- continuing. -RRB- What's your name, sailor? LANCE Gunner's Mate, Third Class - L. Johnson, sir. KILGORE Lance Johnson? The surfer? LANCE That's right, sir. Kilgore smiles - sticks out his hand. KILGORE It's an honor to meet you Lance. I've admired your nose - riding for years - I like your cutback, too. I think you have the best cutback there is. LANCE Thank you, sir. KILGORE You can cut out the sir, Lance - I'm Bill kilgore - I'm a goofy foot. VIEW ON WILLARD His entire, top priority mission has been put in the background. KILGORE -LRB- O.S. -RRB- This is Mike from San Diego and Johnny from Malibu - they're good solid surfers - none of us are anywhere near your class, though. Lance blushes, sort of mumbling thanks. WILLARD My orders are from Com - Sec Intel - B.L. Willard, 4th Recon - KILGORE Just hold up a second, Captain - I'll get to you soon enough - We've got things to do here. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in - discriminately on the bodies as they talk. KILGORE -LRB- continuing. -RRB-. we do a lot of surfing around here. Like to finish up operations early and fly down to Vung Tau for the evening glass. Have you ever surfed the point at Vung Tau? I liked the beach breaks around Na Trang a lot - good lefts. He passes a twisted gun emplacement with about five bodies - sprinkles cards all over them. KILGORE -LRB- continuing. -RRB-. we keep three boards in my Command Huey at all times. You never can tell when you're gon na run into something good. I got a guy in Cam Rau Bay that can predict a swell two days in advance. We try to work it in. He stops at a particularly wild - looking Viet Cong who has died with his mouth agape - staring wild - eyed in horror at the sky. Kilgore pauses. KILGORE -LRB- continuing ; to himself. -RRB- Hell, that's an Ace if I ever saw one. He puts the card in the gaping mouth. CLOSE VIEW OVER THE VIET CONG We SEE the Colonel and the others walk off - the dead Viet Cong and card are in the immediate f.g.. The card has the shield of the CAV printed bautifully, and above it the motto : DEATH FROM ABOVE. KILGORE Where've you been riding, Lance? LANCE I have n't surfed since I got here. KILGORE That's terrible - we'll change that - I'd like to see you work - I've always liked your cutback ; got a hell of a left turn, too.","EXT. THE HELICOPTER - MED. SHOT Willard is sitting with Kilgore on acouple of chairs by a table set up in front of the command copter. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc.. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. KILGORE Why the hell you wan na go up to Nu Mung Ba for? WILLARD I got bored in Saigon. KILGORE What's the furthest you been in? WILLARD Haiphong. KILGORE Haiphong? Shit, you jump in? WILLARD No. Walked. KILGORE What'd you do for supplies? WILLARD -LRB- he shrugs. -RRB- Mercenaries - agents, traitors - they put out caches. KILGORE Can you trust them? WILLARD No. They put out two or three for every one I needed. When you get to the one you'll use, you just stake it out. If something feels wrong, you just pass it up. On one mission, I had to pass up three and ended up living on rats and chocolate bars. KILGORE Nu Mung Ba. Last I heard, Walter Kurtz commanded a Green Beret detachment at Nu Mung Ba. WILLARD When did you hear? KILGORE ` Bout a year ago? Is Kurtz still alive? WILLARD Who knows. KILGORE Seems to me he got himself fragged. i heard some grunt rolled a grenade in his tent. Maybe a rumor. Helluva man - remarkable officer. Walter Kurtz woulda been a General some day. General of the Army. Shit, Head of the Joint Chiefs of Staff. Did you knew Kurtz? WILLARD I met him. KILGORE Do n't you agree? WILLARD He musta changed! -LRB- pointing to the map. -RRB- I got to get into the Nung River, here or here. KILGORE That village you're pointing at is kinda hairy. WILLARD Hairy? KILGORE I mean it's hairy - they got some pretty heavy ordnance, boy - I've lost a few recon ships in there now and again. WILLARD So? I heard you had a good bunch of killers here. KILGORE And I do n't intend to get some of them chewed up just to get your tub put in the mouth of the goddman Nung River. You say you do n't know Kurtz? WILLARD I met him. KILGORE You talk like him. I do n't mind taking casualties, Captain, but I like to keep my ratio ten to one in this unit - ten Cong to one. WILLARD You'll find enough Cong up there. KILGORE What about this point here? He puts his finger on the map. KILGORE -LRB- continuing. -RRB- What's the name of that goddamn village - Vin Drin Dop or Lop ; damn gook names all sound the same. He motions to one of his surfers. KILGORE -LRB- continuing. -RRB- Mike, you know anything about the point at Vin Drip Drop? MIKE Boss left. KILGORE What do you mean? MIKE It's really long left slide, breaks on the short side of the point - catches a south swell. LANCE Nice. Willard looks at Lance - then at Kilgore. KILGORE Why the hell did n't you tell me about that place - a good left. -LRB- to Willard. -RRB- There are n't any good left slides in this whole, shitty country. It's all goddamn beach break. MIKE It's hairy, though. That's where we lost McDonnel - they shot the hell out of us. It's Charlie's point. KILGORE How big it is? MIKE Six to eight feet. Kilgore gazes out across the parked helicopters. KILGORE -LRB- to himself. -RRB- A six - foot left. Willard nudges Lance - who gets the idea. LANCE Boss. What's the wind like. MIKE Light off shore - really hollow. WILLARD We could go in tomorrow at dawn - there's always off - shore wind in the morning. CHIEF The draft of that river might be too shallow on the point. KILGORE Hell, we'll pick your boat up and lay it down like a baby, right where you want it. This is the Cav boy - airmobile. I can take that point and hold it as long as I like - and you can get anywhere you want up that river that suits you, Captain. Hell, a six foot left. -LRB- he turns to an advisor. -RRB- You take a gunship back to division - Mike, take Lance with you - let him pick out a board, and bring me my Yater Spoon - the eight six. TOM I do n't know, sir - it's - it's - KILGORE -LRB- hard. -RRB- What is it? TOM Well, I mean it's hairy in there - it's Charlie's point. Kilgore turns and looks to Willard, exasperated. WILLARD Charlie do n't surf. FULL SHOT - HELICOPTERS - DAWN What seems like hundreds of Hueys standing, their rotors churning a great wind - Inside, the men of the 1st Cavalry Airmobile - toughest unit in Vietnam. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. MED. VIEW Kilgore strides up to the side door, dressed for battle. He looks out, around. He turns to his door GUNNER. KILGORE How do you feel, boy? GUNNER Like a mean motherfucker, sir. He turns to his R.T. man. KILGORE Let's go. FULL VIEW Helicopter rotors build up speed - gas turbines belching fire from their jet pipes - dust flying as fifty helicopters rise ; ROAR OVER CAMERA and deploy into attack formation. NEW VIEW Helicopters moving THROUGH the FRAME : almost a dance of dragonflies.","INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD, OTHERS Willard looks ahead - Kilgore sits near the door. Below they see the jungle whisk by and they are suddenly over the ocean, low and fast. MONTAGE CLOSE SHOTS of rocket pods - mini - guns in bizarre looking mounts. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men - nervous, excited very few of them really scared - they fondle their rifles, grenade launchers, anti - personnel grenades, claymore mines ; plastic explosives cord ; flame - throwers ; M - 60 machine guns ; expandable rocket launchers ; mortars and bayonets.","INT. COMMAND COPTER Kilgore cranes his neck and almost leans out to watch the waves - then he sits back relaxed. KILGORE -LRB- to Willard. -RRB- We'll come in low out of the rising sun - We'll put on the music about a mile out. WILLARD Music? KILGORE Yeah. Classical stuff - scares the hell out of the slopes - the boys love it. MED. SHOT POV behind the PILOT and CO - PILOT - the ocean rushes below. PILOT Big Duke six to Eagle Thrust - turn on coordinates 1 - 0 - niner, assume attack formation. The helicopter banks into a tight turn and bears toward the coast. RADIO -LRB- V.O. -RRB- Eagle Thrust formation target 2800 yards - begin psch - war operations. CLOSE SHOT - LOUDSPEAKERS The ocean rushes below as suddenly the LOUDSPEAKERS BLARE out Wagner's `` Ride of the Valkyries.'' FULL SHOT - HELICOPTERS From the water we SEE the massive grouping of Hueys - gun - ships - troop carriers - medevac and recon - ROAR over low in battle formation BLARING out `` Ride of the Valkyries.''","INT. HELICOPTER - MED. SHOT -CREW POV behind pilot - PILOT 700 - 600 yards - 500 - Commence firing. The whole copter shakes.","EXT. VIET CONG FISHING VILLAGE - FULL SHOT A Vietnamese coastal fishing village built along the beach and palm trees - with rice paddies behind. This village commands a delta where ocean and river merge. Sampans are pulled into a cover where they are being unloaded. We SEE bunkers with N.V.A. regulars ambling about. Suddenly we HEAR the distant MUSIC - Everyone stops ; they stare out to see. Men scream orders - women run from huts bearing ammunition and rifles - Everywhere there is activity to prepare for the defense of the village. Camouflage is removed from anti - aircraft emplacements. People feverishly unlimber weapons of all types and run to tunnels and trenches. The MUSIC GROWS LOUDER with the FAINT SOUND of ROTORS","EXT. THE HELICOPTER FORMATION - AERIAL VIEW coming directly at us ; WAGNER BLARING. HIGH ANGLE looking down through the helicopters as they approach the village.","INT. HELICOPTER - MED. SHOT - CREW POV behind pilot PILOT 700 yards - 600 - 500 - commence firing. The whole copter shakes.","EXT. HELICOPTERS - MONTAGE We SEE rockets ROAR from pods - MACHINE GUNS RATTLE - grenade launchers POUND away - and MINI - GUNS pour streams of lead and tracers with the SOUND of a DIESEL HORN. FULL SHOT - HELICOPTERS POV behind lead gunship. They ROAR in over the beach streaming FIRE from doors, pods and nose - The ground is alive with smoke and fire - a hut EXPLODES. The leads ship banks sharply up over the trees - men run below SHOOTING back. MED. SHOT - ANTI - AIRCRAFT EMPLACEMENT EXPLOSIONS crash around - the MUSIC and SOUND of the COPTERS almost drown them out. The gunner FIRES frantically - COPTERS are ROARING over - GUNFIRE rips around. The gunner is blown away. MED. CLOSE ON WILLARD as the ship he is in swoops down, its MACHINE GUNS FIRING into the village. MED. SHOT - SWOOPING COPTER The Pilot leans out and SHOOTS a charging V.C. in the head with his.38, then ducks back in. CO-PILOT We're down, Eagle Thrust - we're hit. We got a hot L.Z. here. BULLETS RIP through the plexiglass. The Pilot FIRES back. CO-PILOT -LRB- continuing. -RRB- Hell of a hot L.Z. Need immediate air strike on the tree line, Eagle Thrust.","INT. COMMAND COPTER - MED. SHOT - WILLARD, KILGORE, OTHERS Kilgore has R.T. equipment - he leans out near the door gunner. KILGORE Big Duke Six to Hell's Angels Four - bring it in on along tree line and huts. RADIO -LRB- V.O. -RRB- Hell's Angels Four to Big Duke Six - we'll need green smoke - suggest you have the FAC mark it. KILGORE Have n't got time, Hell's Angels - lay it right up the tree line. FULL SHOT - JET SQUADRON Four F - 4H Phantoms peel off and streak toward the coast.","INT. COMMAND COPTER - VIEW ON WILLARD AND KILGORE KILGORE Fucking savages. WILLARD Who? KILGORE The enemy. Who else? HELICOPTER'S POV - THE JETS The jets streak by below laying in huge gobs of orange napalm along the trees. KILGORE -LRB- O.S. -RRB- -LRB- on radio. -RRB- Very good, Hell's Angels - suggest you follow with cannon fire.","INT. COMMAND COPTER - MED. SHOT They circle the battle. RADIO -LRB- V.O. -RRB- This is Baker Delta Four - Captain hit bad - need dust - off. Receiving heavy automatic weapons fire from huts about thirty yards to our left. KILGORE Big Duke Six to Baker Delta Four - hold - we're right over you. He turns to door gunner. KILGORE -LRB- continuing. -RRB- Right along the doors, boy. The gunner FIRES leaning out - KILGORE -LRB- continuing. -RRB- Fine. fine. little higher. Through the roof ; yeah, that's good. He leans back in. KILGORE -LRB- continuing. -RRB- Did n't anybody bring me any bombs, grenades, claymores or anything? LIEUTENANT You did n't tell me to, sir. KILGORE -LRB- grumbling. -RRB- You shoulda known. Suddenly, BULLETS SMASH through the copter - Plexiglass SHATTERS ; the copter vibrates and turns sharply. Kilgore is thrown down where he hangs on. KILGORE -LRB- continuing. -RRB- Sonuvabitch - anybody hurt? WILLARD Automatic weapons flashes along those trees - probably eleven millimeter guns and AK - 47's. KILGORE The trees, eh. He grabs the R.T. KILGORE -LRB- continuing. -RRB- Eagle Thrust Four - Big Duke Six. Join me in sparaying some trees. RADIO -LRB- V.O. -RRB- Affirmative, Big Duke Six - We're even got some rockets left. KILGORE Take her in low, Lieutenant. FULL SHOT - THE TREES, HELICOPTERS The two helicopters swoop up out of the smoke and blast the trees with ROCKETS, MACHINE GUNS and GRENADE LAUNCHERS. Other copters join - The V.C. break and run through the rice paddies in the f.g. - BULLETS EXPLODING around them - they scream and fall FIRING back.","INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD Kilgore looks out as three V.C. break and run through the rice paddies - the helicopter turns and follows them - the door gunner swings out and BLASTS two of them into the mud. He takes a bead on the third. KILGORE Hold it, boy. He puts his arms across the sights - the gunner swings back inside. KILGORE -LRB- continuing. -RRB- Take her up to 300 feet, Lieutenant. They rise above the paddy - the man below runs for all he's worth. Kilgore motions to the door gunner who steps aside. Kilgore buckles himself into the gunner's harness. KILGORE -LRB- continuing. -RRB- Rifle. A hand passes him a M - 16. KILGORE -LRB- continuing ; hard. -RRB- My rifle, soldier. There is some fumbling and then a hand passes him a 300 Weatherby Magnum with a zebra wood stock - mother of pearl inlays and a variable power scope. Kilgore takes it and opens the bolt. VIEW ON WILLARD Amazed at these proceedings. VIEW ON KILGORE as he loads the rifle with huge cartridges. He gets into the sling and slams the bolt shut. MOVING POV. ON THE V.C.. He is running hard, but starting to sink into the mud. The Huey DRONES overhead, its huge shadow behind him on the mud. He turns and FIRES with a pistol.","INT. COPTER - MED. SHOT - KILGORE, WILLARD Kilgore leans out ; pulls the gun in tight - takes careful aim and the Cong is BLASTED flat into the paddy. Kilgore leans back, opens the bolt, ejecting the spent cartridge out the door. He hands Weatherby back into the copter. VIEW ON WILLARD The gaudy rifle passed by him. SOLDIER -LRB- O.S. -RRB- That's 27, sir. WILLARD Anyone got a card? Somebody hands Willard the deck. He takes a card and flips it out of the copter, never lifting his gaze from Kilgore. FULL SHOT - BATTLEFIELD - THE CAV, V.C. Americans run through the hooches FIRING and throwing GRENADES. Helicopters swoop overhead - JETS ROAR by - Uniformed N.V.A. regulars burst from a tunnel en - trance and charge the Americans. The SHOOTING is at point blank range - automatic, as the V.C. are cut down.","INT. COMMAND COPTER - KILGORE, WILLARD, LANCE, ETC. Kilgore leans out carefully, looking over the battle - field. He has the R.T.. He leans back, deliberately avoiding Willard to speak to Lance. KILGORE The L.Z.'s cooling off fast - we'll move in another company an' then we'll own it. -LRB- he laughs to himself. -RRB- Charlie's point. He looks out toward the ocean. KILGORE -LRB- continuing. -RRB- Good swell. LANCE What, sir? KILGORE I said it's a good swell - hell of a good swell ` bout six feet. Let's get a look at it. Lance looks at Willard and then agrees. FULL SHOT - COPTER, SURF The pilots are used to this - they bank sharply and swoop in on the lineup of waves, coming in low over the point and streaking down a long, lined - up green wall as if surfing it. They tip up over and up at the last minute as the wave breaks. FULL SHOT - BEACH HUTS, SOLDIERS Americans line up blindfolded Viet Cong and N.V.A. regular troops outside a burning hut. GUNFIRE is DISTANT and sporadic - an occasional MORTAR round SCREAMS in. A soldier yells in Vietnamese in a southern accent and the prisoners are marched away. Other soldiers are already setting up heavy weapons emplacements - 50 cal machine guns etc.. Three Hueys ROAR in, fanning the smoke with their wind. The center one, the command ship, lands. JETS SCREAM over and the two gunships pull up at 200 feet. Another Huey zooms in low and lands behind the Colonel's. The doors open, guards jump out, check the situation, and out steps Kilgore and Lance. From the other copter are more guards, Kilgore's surfers and others of the P.B.R. crew. Willard follows. FULL SHOT - THE POINT They stride out across the debris - strewn beach. Kilgore stands majestically on the point watching the waves. A SHELL SCREAMS overhead. SOLDIER Incoming! They all dive, except Kilgore. He is watching a big set - the SHELL EXPLODES in the water about a hundred yards away, sending up a huge geyser of spray. Kilgore is unmoved. KILGORE Look at that. They look. LANCE This L.Z. is still pretty hot, sir, maybe we oughta stand somewhere else. Kilgore pays him no mention. WILLARD I'm waiting for the fucking boat, Colonel. KILGORE -LRB- without looking. -RRB- It'll get here, soldier. He turns to Mike and Johnny who have their faces in the sand. KILGORE -LRB- continuing. -RRB- Change. MIKE Wh - what? KILGORE Change - get out there - I want' a see if it's ridable - change. MIKE It's still pretty hairy, sir. KILGORE -LRB- bellowing. -RRB- You want' a surf, soldier? He nods yes meakly. KILGORE -LRB- continuing. -RRB- That's good, boy, because it's either surf or fight. They turn and hurry off - Kilgore grabs an M - 1 from one of the guards. They all think he's going to shoot the surfers or someone. They move back uneasy. KILGORE -LRB- continuing. -RRB- I'm gon na cover for'em - that's all. He cocks thye weapon. Lance looks around uneasily. The Colonel walks over. KILGORE -LRB- continuing. -RRB- You think that section on the point is ridable, Lance? LANCE I think we ought to wait for the tide to come in. A SHELL SCREAMS OVER - they all hit the dirt except for Kilgore. It EXPLODES throwing sand through the air. Kilgore leans down yelling over the NOISE. KILGORE Does n't happen for six hours. Lance looks up at him terrified, holding onto his helmet. KILGORE -LRB- continuing. -RRB- The tide - does n't come in for six hours. FULL SHOT - SURF - MIKE AND JOHNNY They walk through shallows carrying brightly colored boards. They look very scared. JETS SCREAM overhead, FIRING CANNONS. Helicopters wheel by carrying out wounded. They wear olive drab surfing trunks with the Cav's shield on the left leg. The same shield is emblazoned on the boards along the word `` Airmobile''. They edge into the water and paddle through the mild shorebreak. FULL SHOT - THE POINT - SURFERS They paddle up the point in the calm channel - the beautiful waves breaking beyond them. CLOSE SHOT ON JOHNNY, MIKE They paddle on their stomachs, keeping low - breathing hard and constantly looking around scared out of their minds. MED. SHOT - KILGORE AND LANCE Kilgore looks at them with his field glasses. Lance kind of sits below taking cover in a shell hole. KILGORE They far enough? LANCE Sure - fine - Kilgore turns and takes a giant electric megaphone from a waiting lackey. KILGORE -LRB- through megaphone. -RRB- That's far enough - pick one up and come on in - FULL SHOT - THE POINT, SURFERS They line themselves up on the point. A good set is building. Mike turns strokes into it - takes off - drops to the bottom and turns - trims up into a tight section - everything right except he keeps looking around frantically. CLOSE SHOT ON LANCE AND KILGORE Another SHELL SCREAMS over and EXPLODES down the beach. Lance looks over at Willard. LANCE -LRB- to himself. -RRB- Maybe he'll get tubed. WILLARD What? LANCE Maybe he'll get inside the tube - where - where they ca n't see him. A SERIES of SHELLS ROAR in. WILLARD Incoming! Lance ducks - puts his hands over his head. The SHELLS SCREAM over Kilgore and out towards the point. Kilgore looks through his glasses - two EXPLOSIONS in the water are HEARD. KILGORE Son of a bitch. Lance looks up and out toward the point in horror. FULL SHOT - THE POINT Two surfboards float in the channel bobbing up and down on the waves. MED. SHOT - LANCE AND KILGORE LANCE -LRB- to himself. -RRB- The tragedy of this war is a dead surfer. Willard looks over, beginning to think Lance is crazy, too. WILLARD What's that? LANCE Just something I read in the Free Press. KILGORE They just missed a good set - the chicken shits! Lance looks up. FULL SHOT - THE POINT, SURFERS They come up near their boards and climb on - smoke hangs over the water. KILGORE -LRB- O.S. -RRB- -LRB- megaphone. -RRB- Try it again, you little bastards. BACK TO SCENE He turns to Willard. KILGORE -LRB- continuing. -RRB- I ´ m not afraid to surf this place. I'll surf this place. CLOSE SHOT ON KILGORE He turns, glowering to his lackeys. KILGORE Bring that R.T., soldier. He grabs it. KILGORE -LRB- continuing. -RRB- Big Duke Six to Hell's Angels - Goddamit, I want that treeline bombed - yeah - napalm - gim me some napalm - son of a bitch - yeah, I'll take H.Z. or C.B.U.'s if you got any of them - just bomb'em into the Stone Age, boy. He throws the R.T. back to a soldier - another SALVO WHISTLES over - everyone drops. KILGORE -LRB- continuing ; to himself. -RRB- Son of a bitch. As the SHELLS EXPLODES on the beach behind him, KIlgore raises his M - 16 and EMPTIES it full automatic in the general direction of the trees. He mumbles a few un - intelligible swear words and jams a new clip into his rifle turning to Lance - KILGORE -LRB- continuing. -RRB- We'll have this place cleaned up and ready for us in a jiffy, boy. Do n't you worry. He FIRES another clip as the JETS SCREAM overhead. FULL SHOT - RIVER - COPTERS A sky - crane without pod descends slowly toward us - The P.B.R. hangs below it. The Chief, mr. Clean and Chef stand watching this sight alomg with other soldiers. A man guides the descending copter till the boat settles carefully in the shallows. The Chief and others leap aboard ; unshackle the hoists - load on ammunition and fuel. The battle is still going on around them. They all look up as a wadge of PHANTOMS streak over low and peel off one by one to begin their bombing run. FULL SHOT - PHANTOMS - MONTAGE Phantoms RAKE the trees with 20 mm CANNONS - FIRE five inch ROCKETS in salvo - `` Bull Pup'' MISSILES - drop H.E. -LRB- high explosives -RRB- and C.B.U's -LRB- Cluster Bomb Units -RRB- and finally an immense amount of NAPALM. FULL SHOT ON THE P.B.R.. The Chief is at the helm - the engine starts ; Clean and Chef work feverishly, ducking for cover every - so - often when an EXPLOSION hits nearby. The boat begins to back out of the shallows. The EXPLOSIONS of NAPALM are reflected on their faces ; the ROAR of the FIRE drowns out almost everything. CHIEF Forget that extra drum - it's too damn hot. CLEAN Clear on starboard - Where's Lance an' the Captain? CHIEF I saw that Colonel's Huey on the point - Two HELICOPTERS SCREAM over FIRING ROCKETS. CHIEF -LRB- continuing. -RRB- Let's just get outta here. FULL SHOT - THE POINT - KILGORE, WILLARD, LANCE, OTHERS Kilgore watches the waves with his field glasses - smoke drifts over. Lance crouches below. Willard is up looking off in another direction. SHELLS SCREAM over, but even their noise is drowned out by the fierce SHRIEK of the PHANTOMS and the deafening BLAST of HIGH EXPLOSIVES. Willard stares at the tree line where it comes down to the river. The JETS are making a hell of the tree line ; a hell of fire and bust - ling steam thet nothing could live in. Willard's glance goes further downriver through the black smoke and there merging in the river - small and vulnerable, is his boat. WILLARD -LRB- to Lance. -RRB- Look. There it is ; the boat. Lance looks over - a tremendous relief on his face. But still there remains the threat of Kilgore, standing stark against the sky. Willard silently motions Lance toward the boat. LANCE -LRB- whispers. -RRB- He'll kill us. WILLARD He ca n't kill us. -LRB- realizing as he says it. -RRB- We're on his side. Kilgore FIRES another clip at the tree line, and then strides back without looking at them. KILGORE -LRB- almost to himself. -RRB- You smell that. -LRB- louder. -RRB- You smell that? LANCE What? KILGORE Napalm, boy - nothing else in the world smells like that - They reflect the glow from the burning trees. KILGORE -LRB- continuing ; nostalgically. -RRB- I love the smell of napalm in the morning. One time we had a hill bombed for 12 hours. I walked up it when it was all over ; we did n't find one of'em. not one stinking gook body. They slipped out in the night - but the smell - that gasoline smell - the whole hill - it smelled like. -LRB- pause. -RRB- victory. He looks off nostalgically. WILLARD You know, some day this war's gon na end. KILGORE -LRB- sadly. -RRB- Yes, I know. Suddenly he senses something - he stops - lifts his hand - then frantically licks his fingers and puts them up in the air. KILGORE -LRB- continuing. -RRB- The wind - LANCE What? Sure enough there is a rushing breeze that increases. KILGORE -LRB- rising maniacally. -RRB- Feel it - it's the wind - it's blowing on shore - It's on shore! He leans down and practically grabs Lance. KILGORE -LRB- continuing ; screaming. -RRB- It's gon na blow this place out. It's gon na ruin it. WILLARD The kid ca n't ride sloppy waves. They turn and stare out to sea. FULL SHOT - THE POINT - SURFERS The wind has changed. Instead of blowing spray back over the waves and hollowing them out, this strange wind is causing white caps and cross chop. reducing the swell to slop. Mike and Johnny lay low on their boards, overjoyed. WILLARD -LRB- O.S. -RRB- The kid ca n't stand sloppy waves. MED. SHOT - THE BEACH - LANCE, KILGORE, WILLARD WILLARD You do n't expect this kid to ride that crap, do you? He's a goddamn artist, he needs something to work with. Slapping Lance on the shoulder. LANCE Yeah, I'm an artist, goddamit! KILGORE -LRB- apologetically. -RRB- Yeah - yeah, I can understand how you feel. He turns toward the trees. KILGORE -LRB- continuing. -RRB- It's the napalm - it's causing the wind - ruining my perfect left. He staggers off toward the trees followed by his guards and other lackeys. KILGORE -LRB- continuing ; mumbling. -RRB- The napalm - ruin - napalm my perfect left - my perfect left point break - napalm - Lance motions with his eyes to Willard. FULL SHOT ON THE P.B.R.. The P.B.R. along the river shallows - The Chief and crew waiting and yelling. MED. VIEW ON WILLARD AND LANCE WILLARD Are you finished surfing? LANCE Yeah. thanks. WILLARD Want to say goodbye to the Colonel? LANCE Nah. WILLARD Then let's get the hell out of here. They break and run like hell toward the boat in the distance. OUR VIEW TRACKS with them. They are cheered by the crew - suddenly, Willard sees some - thing and stops. Lance continuing. In a pile of equipment that the Hueys have left are two surfboards - Willard looks at them. LANCE No - no, Captain. WILLARD Which one's the Colonel's? LANCE The Yater - the clear one with the thin stringer. Willard glances over to it with determination. There is still MORTAR FIRE coming in between him and the board. Suddenly, Willard makes a run for it. CHIEF -LRB- O.S. -RRB- Incoming! Incoming - son of a bitch. The ROUNDS bracket the P.B.R. and line up the beach toward Willard. He stands there and does n't move, the surfboard under his arm. The shells kick up sand. Lance has dropped. Fragments whistle by, one rips a chunk of foam and fibreglass from the rain of the board. WILLARD -LRB- calm. -RRB- This one, Lance? LANCE Yeah, Jesus Christ! Once again, Willard takes off fast as hell with the board under his arm. Lance follows toward the boat, through the water. Willard hands the board up to Mr. Clean, and they both scamper abroad, exhausted and relieved. CLEAN What'd you that for? WILLARD When I was a kid I, never had a Yater spoon. Mr. Clean stuffs the board in the stern 50 Cal. mount. The boat turns - ENGINES RUNNING HARD and ROARS OFF toward the deeper water of the river - the board clearly visible on the stern. FULL SHOT ON THE RIVER - P.B.R The P.B.R. ROARS BY going down the river at full speed. It is swerving and zig - zagging to avoid potential enemy fire. MED. SHOT ON THE CREW They all are in full battle positions - their twin fifty Cal. guns turning ; warily covering the jungled banks. The Chief is at helm - Willard crouches against some armor plate, huddled with his M - 16 ready. Chef is behind him at the radio. Lance leans back from his forward turret. LANCE -LRB- yelling. -RRB- Maybe we better stay in under the trees till dark - we got his Yater. WILLARD He did n't look like he'd take that sitting down. They all look up into the sky - expecting the worst. WILLARD -LRB- continuing. -RRB- Let's put some distance between us and Charlie. The Chief nods. CHIEF Lance - LANCE Yeah. CHIEF Why do n't you roll us a big joint? I think the Captain'd like that. They all look at Willard uneasily. After a suspensful pause, Willard smiles : WILLARD Take one a mine - He fishes into his breast pocket - pulls out a huge cigar - sized joint. They all smile - Willard lights up. FULL SHOT - THE P.B.R.. It zig - zags away from us down the river at high speed. FULL SHOT - THE TREES, BOAT, CREW - NIGHT The boat is hidden under some trees along the river bank. The men wait tensely listening - LANCE You hear it again? WILLARD No - I do n't think so. But it'll be back. They were circling. It'll be back. LANCE You think he'd of shot us? WILLARD When? LANCE Any time - us - Americans. Lance looks over at Willard. WILLARD I do n't think he ´ d of shot us on the beach but - he'd of shot us if he saw me taking the board - LANCE A Yater spoon is hard to get - especially here. WILLARD He's a man who knows what he wants - he does know what he wants. CHEF Can I go get those mangos now? CHIEF I'll go with you in a while - judt hold tight awhile - LANCE Captain - that was all true about the rats and chocolate and stuff? WILLARD Sure. LANCE And you could just tell when the supplies were booby trapped? WILLARD It's a feeling you get in the jungle. When you get good, you can find a track and tell not only how many they are, but their morale, how far they're going, whether they're near their camp, the weapons they're carrying. CLEAN How can you tell their weapons. an' how far they're going? Willard smiles. WILLARD Mostly from the imprints when they put them down to rest. their morale from the way they drag their feet, or the joints that may be lying around. If they're near a base camp, they would n't be conserving food ; they'll be throwing it away half - eaten. If the branches are n't broken, their weapons are slung. But all this is just technique. There's a feeling you get after a while, that's what's important. I was going through a village once. I was looking for a certain party. I took off my boots, and walked into each hut. It was midnight. I went into three like that and suddenly I realized I ´ d gone into each hut the same way - standing up - so the next one I went in on my belly. An RPD burst took out the door a bit above my head. -LRB- he shrugs. -RRB- Things like that. A pause, and then suddenly his attention is diverted - They all are silent - It is pitch dark - we HEAR the distant SOUND of ROTOR - BLADES and indistinguishable language on a loudspeaker - The talk stops - the ROTORS grow LOUDER until almost overhead. KILGORE -LRB- V.O. -RRB- -LRB- over a loudspeaker. -RRB- I'm not gon na hurt or harm you, boy - I just want the board back - You can understand - It was one of my best - You know how hard it is to get a board you like, boy. I'm not gon na hurt or harm you - Just leave it where I can find it - The HELICOPTER DRONES on into the night - the same speech starts again further off - Finally the noise ceases. CLEAN Jesus - that guy's too damn much. CHIEF I wonder if that was the same copter. WILLARD He's probably got'em all over the river with that recording. We better move now while it's dark. Chef steps forward with a plastic basket. CHIEF Yeah, Chef - go ahead - take Lance with you - WILLARD I'll go with him - They all look at him. WILLARD -LRB- continuing. -RRB- I wanta get my feet on solid land once in awhile - He grabs an M - 16 and follows Chef over the side. MED. SHOT - THE JUNGLE - CHEF, WILLARD - NIGHT They cautiously walk through the underbrush. WILLARD Chef. CHEF Yes, sir - WILLARD Why they call you that? CHEF Call me what, sir? WILLARD Chef - is that'cause you like mangoes an' stuff? CHEF No, sir - I'm a real chef, sir - I'm a sauciere - WILLARD A sauciere - CHEF That's right, sir - I come from New Orleans - I was raised to be a sauciere. a great sauciere. We specialize in sauces ; my whole family. It's what we do. I was supposed to go to Paris and study at the Escoffier School ; I was saving the money. They called me for my physical so I figured the Navy had better food. WILLARD What are you doing out here? CHEF Cook school - that did it. WILLARD How? CHEF They lined us all up in front of a hundred yards of prime rib - magnificent meat, beautifully marbled. Then they started throwing it in these big cauldrons, all of it - boiling. I looked in, an' it was turning gray. I could n't stand it. I went into radio school. They move into a slight clearing. WILLARD -LRB- whispering. -RRB- - quiet - Chef crouches close - redies his M - 16. Willard ges - tures that he heard something ; he points. MED. SHOT - DIFFERENT ANGLE PAN SLOWLY over jungle - END REVEALING Willard and Chef. WILLARD -LRB- silent. -RRB- There. He points - motions Chef to move away - they cover the spot. A few yards from them they hear something move. It is obviously no small jungle creature. They walk toward a patch of black elephant grass ; their guns at the ready. They look at each other. Willard is cold, methodical, doing something he knows well. There is a noise again - some of the growth rustles. He and Chef move a distance apart, and join in stalking the probable V.C. Willard directs the Chef with hand gestures, and bird and cricket sounds. They move stealthily, closing the apex of their triangle on the hunted. The two men drop low into the elephant grass, and remain motionless. Then Willard makes the cricket noise, and they move closer. Willard's left hand edges out along the M - 16's far end, so that he only has to point the finger of that hand and he will hit what he wants. He makes another command and they rush the trapped enemy. MED. SHOT - THE ELEPHANT GRASS - WILLARD AND CHEF Suddenly there is a RUSHING SOUND - The grass folds down quickly toward them - willard plants his feet and from the hip lets go FULL AUTOMATIC. The Chef retreats FIRING short BURSTS into the grass - the grass folds almost to Willard - then a huge tiger leaps out at them ; snarling magnificently. They FIRE wildly, emptying their clips. CHEF It's a motherfucking tiger - goddamn. He turns and bolts through the jungle, as scared as a man can be. CHEF -LRB- continuing ; screaming. -RRB- Goddamn - Jesus Christ tiger - motherfucking tiger - ohhhhhhhhh - Willard jams another clip in his gun and backs out of the clearing, covering the bushes and runs, scared out of his head as well. FULL SHOT - THE BOAT - THE CREW They all are armed - Lance has the twin 50's pointed into the jungle. Chef comes screaming out of the brush, throws his rifle into the boat and dives headfirst after it. CHEF -LRB- hysterical. -RRB- Ohhhh - tiger! Oh goddamn! It's a tiger! Jesus Christ! Goddamn, a tiger! Ohhhhhhhh. The Chief tries to grab him ; takes his gun away, but is unable to take a hold of the Chef, as he slithers around the boat, trying to find safety. willard follows from the jungle - The Chef is moaning and stares off into the night. LANCE What's this tiger shit? WILLARD No shit. I think I shot the hell out of him. LANCE You think? WILLARD I wasn ´ t looking. I was running. CLEAN Was a big tiger - no shit? WILLARD Who stopped to measure him - let's get the hell out of here. CHEF A motherfucking tiger - I could've been killed. The ENGINE ROARS to life - the P.B.R. pulls away with great speed. CHIEF You forgot the mangoes, did n't you? CHEF Mangoes? There as a fucking tiger in the woods - I could've been eaten alive. I'm never going into that jungle again. I got ta remember never get out of the boat ; never get outta the boat. They move off ; swallowed by the darkness. The JUNGLE NOISES remain, as OUR VIEW BEGINS a MOVE INTO the jungle. WILLARD -LRB- V.O. -RRB- He was right, the Chef - never go into the jungle, unless you're ready to go all the way.","EXT. THE BOAT IN MARINA DEL RAY - NIGHT Willard, thinking, his BACK TO US. Suddenly, he turns around, and we SEE his face. WILLARD -LRB- V.O. -RRB- What was in the jungle? What was there, waiting for me? He lights the cigarette ; the light of his match illuminating his face momentarily. There is something different about him ; a maturity, a cool inner peace. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. Kurtz was in there. Or was he ; was it Kurtz? He was just a name to me now ; I could n't remember a face, a voice - he just did n't add up to me. all his liberal bullshit about the end of savagery - and the role of our culture, our way of life. Willard looks toward the group of people on the boat - there is still some MUSIC. They talk and drink and laugh. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- Our way of life - I really started to look forward to meeting Kurtz again. WATERWAY - MOVING FORWARD - DAY We HEAR : RADIO - must remember that we owe our thanks for these to the wonderful services of the U.S.O. - here's another oldie - this one dedicated. VIEW ON CHEF by himself on the P.B.R. ; he has wiped mud under his eyes to kill the glare ; it is incredibly hot. He is barechested, wearing a hat made of a banana palm. RADIO to the fire team at An Khe from their groovy C.O. Fred the Head - VIEW ON THE GROUP RADIO The Rolling Stones and `` Satisfaction.'' CHEF Outa sight. The SONG BLARES ON - they all dig it. PAN TO Willard, sitting alone in the rear, reading from his file on Kurtz. We REVEAL Lance in the b.g., water - skiing behind the P.B.R., slaloming back and forth on his single ski to the MUSIC - jumping the wake occasion - ally. NEW VIEW - ON THE P.B.R. Lance waterskiing to `` Satisfaction.'' VIEW ON CLEAN alert, at the rear of the boat - his M - 16 ready, just in case. VIEW ON WILLARD Willard opens a letter from the packet. We can SEE it is a private correspondence - feminine writing on the envelope. WILLARD -LRB- V.O. -RRB- The dossier of A Dtachment contained letters from the families and wives of Kurtz' men There were letters from Kurtz' wife as well. CLOSE SHOT - ON THE LETTER It is addressed to Colonel Walter Kurtz - in the corner is the return addess of Mrs. Colonel Walter Kurtz - Willard's hand fushes through the packet and comes up with apicture of a very attractive, thirty - five year old American Beauty. She is classically American. CLOSE SHOT - ON WILLARD looking at the picture - puts it back, then opens the letter, straightens it. WILLARD -LRB- V.O. -RRB- Dearest Walt - I have to confess something. I know how you feel about this, but I had to ask Bob to find out what he could - I just could n't stand it anymore, not knowing where you are, whether you're alive or dead. I'm sorry Walt, I'm sorry I said that. Bob did n't tell me anything - he said he could n't - I ca n't stand it anymore, Walt - I just ca n't stand it. Willard looks out at the jungle. Deep imppenetrable jungle - dark and primeval forests pass by. The Rolling Stones CHANT on in the b.g. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- I have to take the kids to school every morning now - carpools just never work out. Jeff came home with a black eye on Tuesday but said he won anyway. He would n't tell me what the fight was about. Jeff keeps asking where you are - he has maps of Viet Nam in his room now. He misses you very much. I ca n't take this much longer, Walt. I love you and I just ca n't stand it. CLOSE ON WILLARD He folds the letter up, files through some others quickly and gets to a peculiar envelope stamped Top Secret with a stenciled date on it. It is also noted that this was the last correspondence to leave Nu Mung Ba. It is addressed to Kurtz' wife. He opens the letter - it is written in a scrawled savage hand to no one in partic - ular. It reads : Sell the house. Sell the car. Sell the kids. Find someone else. Forget it. I'm never coming back. Forget it -. He folds up the letter. CLOSE SHOT - WILLARD He looks out at the ominous jungled mountains. FULL SHOT - P.B.R. - RIVER OUTPOST - RAIN The P.B.R. pulls in towards an American outpost that is being used as a forward medical evacuation center. Various helicopters pads are SEEN, but only one heli - copter - the H - 34 painted with Playboy rabbits that brought the girls to Hau Fat. Several soldiers in rain - coats come out the dock as the P.B.R. pulls up. MED. SHOT - WILLARD, SOLDIERS Willard looks into some empty tents - looks around the dreary muddy camp. Two soldiers pass. WILLARD Soldier - where' ´ s your C.O? SOLDIER Stepped on a booby trap, sir - got blown all to hell - WILLARD Well, who's in command here? SOLDIER I do n't know - do n't have any idea - I'm just the night man - He turns and walks off babbling incoherently - WILLARD What about you, soldier? The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. MED. SHOT - DIFFERENT ANGLE - WILLARD He looks around disgustedly VOICE -LRB- O.S. -RRB- -LRB- whispering. -RRB- Captain - Willard turns around looking for where the voice came from. VOICE -LRB- O.S. -RRB- -LRB- continuing. -RRB- Over here, Captain - He turns to see the Hollywood Agent under the flap of a large tent so that he wo n't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent.","INT. TENT - MED. SHOT - WILLARD, AGENT They duck inside - it is dark and damp. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. AGENT You came in on that boat, did n't you? WILLARD Yeah - AGENT Where are you headed? WILLARD What's it matter? Get to the point. AGENT Look - you know the girls - Thta's Terri - she was playmate of - WILLARD Yeah, I caught your show at Hau Fat. They all look over. AGENT Oh - I see - Well, girls, this is Captain - eh - WILLARD Captain Willard - go ahead. AGENT Look - we got in a little trouble - they rudely took our helicopter for MedEvac work on this - uh Operation Brute Force - They just brought it back this morning. WILLARD Yeah. AGENT Well I mean like they also took our fuel - We've been here two days. WILLARD Dreadful. AGENT Look - the girls could get killed - we're not supposed to be this close combat, I mean real combat. WILLARD Well - AGENT We could use some fuel - just a half drum - just enough to get us out a here. WILLARD We need all our fuel. He turns and starts to leave. AGENT But, Captain, think what these girls have done for the boys - think of how they've risked - Willard is almost out of the tent. TERRI Captain - He turns around. TERRI -LRB- continuing. -RRB- It's really rough here - Captain - we're just not built for it - The Pilot laughs. PILOT That's rich - TERRI Do us a favor - I'd do one for you - if I could - Willard just stares at her - even though she's in jeans and field jacket she is something to see - The Agent takes Willard aside - Terri goes back to the others. AGENT Look - you know who that is, Captain - you know what she's saying - you'll never see stuff that good outside of a magazine for the rest of your life. WILLARD I'm not that fond of blondes - maybe I like brunettes - AGENT Take your pick - they all like you - I can tell - WILLARD I like all of them - AGENT Good - like I said, take your pick. WILLARD I said I like all of them. AGENT Now just a second - I'm doing you a favor, buddy - what're you trying to pull? Willard turns to leave again. WILLARD We need all our fuel anyway. AGENT Wait - wait - do n't get up tight - what I meant was we'd need a whole drum for that - WILLARD Sit down - we'll talk about it. Willard sits down on a metal chair - motions the Agent to do likewise. AGENT What's there to talk about - this whole thing disgusts me. WILLARD My men - AGENT What! WILLARD That's what there is to talk about - my man - I take a good care of my men - The girls are trying to pretend they're not listening - the helicopter Pilot is cackling to himself. AGENT You're out of your skull - WILLARD We have a lot of pride in our unit - AGENT How far do you think you can push - what kind of people do you think - WILLARD Esprit de corps - AGENT No - absolutely not - WILLARD One for all - all for one - AGENT You can keep your fucking fuel - Willard gets up. WILLARD You make some of your closest friends in the army - war has a way of bringing men together. AGENT Get out - WILLARD Men of all races - nationalities - He gets up and starts out. AGENT Two drums - Willard turns around slowly. AGENT -LRB- continuing. -RRB- Two whole drums - WILLARD We can use some fifty caliber and a 16 too - AGENT I do n't know what you're talking about - Get fucked - WILLARD I will - I assure you that - You got a fifty on that H - 34 - leave the ammo in boxes - I'll get my men to bring the first drum with'em - He turns to go under the tent flap. WILLARD -LRB- continuing. -RRB- Have the girls freshen up a bit - comb their hair - put on something - you know what I mean - He leaves. FULL SHOT - P.B.R. - CREW They are all working on patching the boat and cleaning it up in general. Mr. Clean sits in f.g., cleaning an M - 16. CLEAN You keep this thing in this condition an' it's gon na jam, Lance - mark my words. LANCE Why do n't you go pet the water buffaloes - get off my back. Behins them on the beach stand several water buffaloes eating mud or whatever they do. They are painted jungle brown and green camouflage with grey bottoms - on their sides the words have been stenciled in black : 1 Each - Buffalo, Water B - 1A U.S. Army No. 15239 Willard walks through them down to the boat. CHIEF Careful, Captain, they've been known to charge. WILLARD All right I got a little surprise for you - They all look up. WILLARD -LRB- continuing. -RRB- I've arranged with those people we saw at Hau Fat to give us some 50 caliber in trade for a couple a drums of fuel - CHEF No shit. WILLARD Chef - since you're such a fan of Miss December's I think you should be detailed with Lance and Clean to take the first drum up there. CHEF I do n't believe you - CHIEF What're you trying to say, Captain - WILLARD You'll see soon enough - get going, sailor - CHIEF No shit - hot damn -","INT. TENT - MED. SHOT - LYNDA, CHEF He has followed her into the tent awe - struck - she casuallu starts unbuttoning her fatigue jacket and taking off her pants. he just stands there, his arms at his sides. CHEF I've got every one of your pictures - I've got the centerfold - the Playmate's review - the Playmate of the Year run - off - everything, even the calender - LYNDA Well, get undressed and let's get it over with - CHEF I ca n't believe it - I'd a never even got to see you if it was n't for this war - She lies down on the cot in only her panties. CHEF -LRB- continuing. -RRB- You would n't mind - uh kinda draping that jacket over you sort of the way you were in the calender, would you? LYNDA Come on - cut this crap - I got ta get back to Saigon - CHEF Just let me look awhile - I just do n't believe -","INT. TENT - CLOSE SHOT - LANCE, CATHY They have just finished making love. cathy looks very pleased. Lance finishes tying his boots - she draws on his back. He gets up - starts to leave. LANCE Well - uh thanks - see you around. CATHY Yeah. He leaves - she pulls herself up and starts combing her hair - Mr. Clean walks in. CATHY -LRB- continuing. -RRB- Who are you? CLEAN I'm next - She shrugs.","INT. TENT - MED. SHOT - WILLARD, TERRI He finishes tying on his boots - pulls on his jacket - his gun belt and picks up his M - 16. She looks up at him - WILLARD Ma'am - I'd like to thank you for what you an' all your friends have done for us - I want you to know that me an' the men appreciate you coming all this way - riskin' your lives - living uncomfortably an' doing all you can to entertain us. I want you to know personally, Miss, that for the past few minutes you have made me feel at home. She picks up a shoe to throw at him. he turns, exits f.g. WILLARD -LRB- continuing. -RRB- Just wanted to say that, ma'am. The SHOE CLANGS off his helmet.","EXT. THE P.B.R. APPROACHING DO LUNG BRIDGE - FULL SHOT NIGHT The boat edges in toward the wrecked bridge in the distance. Along the banks are sandbagged fortificvations with U.S. soldiers in them. There is a bright fire burning uncontrolled in the distance ; the sparks and white light from welding on the bridge momentarily lights up the night. WILLARD -LRB- V.O. -RRB- Two days and nights later, we approach the Do Lung Bridge. VIEW ON THE FACES OF THE P.B.R. CREW watching. Everywhere are wrecked boats - parts of trunks sticking out of the water - smashed helicopters on the banks. The bridge is in a state of siege. Mortars and rockets arc through the night indiscriminately and rip through the nearby jungle. Soldiers are everywhere - scurrying from trenches, carrying materials for the bridge or tending to the wounded, the maimed and the dead. Light automatic WEAPON FIRE is HEARD occasionally. The P.B.R. edges in under the span of the old bridge. Soldiers run up through the water. They are obscured in the darkness. SOLDIER I got ta get out a here - I ´ ll pay - I got money. CHIEF Get away from this boat. WILLARD Who's your C.O., soldier? The Soldier ducks back and runs away. SOLDIER Fuck you, you'll get what's coming to you. Other men approach the boat. A young LIEUTENANT steps forward. LIEUTENANT Captain Willard? WILLARD That's me. LIEUTENANT Captain Willard - we got these from Nha Thrang two days ago - they expected you here then - He hands up a plastic bag, maximum security markings, Willard takes it. LIEUTENANT -LRB- continuing. -RRB- You do n't know how happy that makes me, sir. WILLARD Why? LIEUTENANT Now I can get out a here - if I can find a way out. WILLARD We'll be needing some supplies and fuel - do you know anybody who can give me a hand? LIEUTENANT I'd just clear out as soon as I could if I were you, sir. They're gon na start working on the bridge with torches again. Charlie will start throwing it in hard - WILLARD What is this bridge? LIEUTENANT It's of strategic importance for keeping the highway into Bat Shan open - the generals do n't like to admit that Bat Shan is surrounded. He points to the men getting ready to work. LIEUTENANT -LRB- continuing. -RRB- Every night we build it and by 0800 they've blown it up - it and a lot of good men - But the generals like to say the road is open - ha! Nobody uses that road except Charlie. He turns and splashes off into the darkness. LIEUTENANT -LRB- continuing. -RRB- This is the cesspool of hell. SOLDIER -LRB- O.S. -RRB- Incoming. SHELLS WHISTLE OVER and CRASH into the bridge - MEN SCREAM in the distance - the EXPLOSIONS are thunderous. CHIEF -LRB- yelling. -RRB- All right - Lance, go with the Captain an' see what you can scrounge - Willard climbs out with Lance. CHIEF -LRB- continuing ; to Willard. -RRB- Better make it fast, sir - we do n't really need much anyway. Willard nods and they scurry off the bank under the bridge. MED. SHOT - WILLARD, LANCE They dash up the embankment and along the barbed wire on the edge of the road. SHELLS SCREAM overhead, they do n't know where to run. VOICE Straight ahead, son of a bitch. They dive towards the voice. CLOSE SHOT - TRENCH They dive in, a SOLDIER is crounched in f.g. holding his buddy who is crying uncontrollably. SOLDIER You came right to it, son of a bitch - WILLARD Son of a bitch, sir. The Soldier does n't respond. WILLARD -LRB- continuing. -RRB- Where's your chief supply officer? SOLDIER Beverly Hills - WILLARD What? SOLDIER Straight up the road - a concrete bunker - Beverly Hills - where else you think he'd be? WILLARD C'mon - There is an apparent lull and they dash out along the road. Suddenly to their right an M - 60 STARTS OPENING UP from a sandbagged emplacement. SOLDIER -LRB- O.S. -RRB- Get your asses down, buddy. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M - 60. One has a sniper rifle - another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. VOICE Watch your feet, asshole - Willard looks down. VOICE -LRB- continuing. -RRB- You stepped on my face. LANCE We thought you were dead. VOICE The whole world loves a smart ass. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. WILLARD What're you shooting at, soldier? GUNNER Gooks. He turns and sees it's an officer. GUNNER -LRB- continuing. -RRB- I ´ m sorry, sir. WILLARD It's all right, sergeant - what's out there? GUNNER They were tryin' to cut through the wire - I got'em all I think. OTHER SOLDIER Oh yeah - listen. There is a low moaning SCREAM from out in the wire - it stops for aminute then continues hideously. GUNNER He's trying to call his friends - send up a flare. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. SPOTTER Those are all dead, stupid, he's obviously underneath'em - They think about this as the flare goes out. The SCREAMING gets more intense. GUNNER Wake up the Roach. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words : `` GOD BLESS DOW.'' ROACH Yeah, man. SPOTTER Slope in the wire - hear him. He listens, he does, he nods. SPOTTER -LRB- continuing. -RRB- Bust him. Roach gets up somewhat annoyed but very cool. He saunters up the machine gun dragging his M - 79 which has paisley designs all over it. GUNNER Hear him? ROACH Sure, yeah. GUNNER You need a flare - ROACH No, it ´ s cool. He opens the breech of his shotgun - like weapon and plunks the big slug into it. He snaps it closed then rests it across his forearm over the trench - he listens to the SCREAM, calculating. ROACH -LRB- continuing. -RRB- He's close - real close. He adjusts his sights so that the gun is aimed high into the air. He listens again then FIRES. The GRENADE WHISTLES off into the night. There is a sharp EXPLOSION that cuts off the scream. Then the THUD of bodies or pieces of bodies coming down around them. ROACH -LRB- continuing. -RRB- Muhhh Fuhhh. He staggers back down the trench to go to sleep. FULL SHOT - P.B.R. - BRIDGE - CLEAN, CHEF They stand in the shallows waiting for Willard and Lance. Clean is nervous, he constantly checks his M - 16. SHELLS WHISTLE by and CRASH in the distance. CHEF Geez, I wish they'd hurry. A SOLDIER comes up on his way with some others to start building the bridge. SOLDIER Hey, buddy, that boat still runs, eh? CLEAN Yeah, it still runs. SOLDIER Do me a favor buddy, please. CLEAN What is it? He takes out a handful of crumpled envelopes. SOLDIER Send these out when you get back to the world. He puts them in Clean's hand. SOLDIER -LRB- continuing. -RRB- It's to everyone I really knew - the first girl I screwed - my brother - best friend - I wanted to tell'em how much I enjoyed knowing'em - it's been a great twenty years. I got ta let'em know. CLEAN What're you askin' me for - put'em in the first helicopter comes in tomorrow. SOLDIER Nobody comes in here. He points up at the mountain ridges. SOLDIER -LRB- continuing. -RRB- The N.V.A. 312th - over there the 307th - on that hill we counted fourteen different guns in one minute - they got rockets mortars, snipers in those trees, there's a million of those shitty little bastards out there - we're all gon na die. He grabs Clean and looks at him with a maniacal urgency. SOLDIER -LRB- continuing. -RRB- I'm gon na be dead. Clean takes the letters. SOLDIER -LRB- continuing. -RRB- You got a chance in that boat - by morning you could be five miles down the river. CLEAN We ai n't goin' down the river. The Soldier looks at him as if he is joking. CLEAN -LRB- continuing. -RRB- What's up river from here anyhow - The Soldier does n't answer, just stares dumbfounded. SOLDIER Spooky. CLEAN Charlie? SOLDIER No, it'd be spooky without the war - give'em back. He takes the letters and leaves, somewhat disappointed and disgusted. Willard and Lance come back down the beach carrying some belts of ammunition and a couple of extra M - 16's. CHIEF Wow, you must a found the C.O., eh? WILLARD We found some bodies - let's get out a here. FULL SHOT - DIFFERENT ANGLE - P.B.R.. They edge through the shallows as the men light up their welding torches to start work on the pontoon bridge - then pull away and accelerate fast. MED. SHOT - THE P.B.R. CREW The Chief is at the helm - they all look back in the distance where the bridge was - the hills flash with artillery discharges - there is a fiery glow from the bridge area and the CONCUSSION of heavy EXPLOSIONS.","EXT. FULL SHOT - P.B.R. - CREW - RAIN The boat moves uneasily upriver, through this tropical downpour. Mr. Clean is in thef.g., oiling and cleaning his 50 - cal, his M - 11 and M - 79 - the rest of the crew are forward, taking shelter from the rain under the canvas canopy. Clean works methodically under an umbrella he was set up by leaning the surfboard against gun mount.","EXT. THE RUSHING RIVER - NEW VIEW - RAIN The river is moving fast against them. all manner of de - bris ; tree trunks, sweeping by the P.B.R. CHIEF -LRB- to Willard. -RRB- I ca n't see a fucking thing. There is a loud CRACKING SOUND, as one of the pieces of tree - trunk whacks the hull, and bounces off. Willard climbs forward, and looks down. CHIEF -LRB- continuing. -RRB- We hit a big enough one this hull will shatter like a Corvette. Fucking plastic boat. Willard practically hangs off forward with a long pole, warding off the big debris moving toward the P.B.R. Clean joins him, helping. WILLARD -LRB- shouting to Chief. -RRB- What about ducking into one of those tributaries till this river slows down? CHIEF Who knows what's up there? WILLARD Ca n't be any worse than this. What do you think? CHIEF I think this river wants to take us home fast. I'm practically goin' in reverse. Willard points his pole in the direction of the mouth of a tributary. WILLARD Well, get in there. CHIEF This whole area is lousy with V.C. - We do n't stand a chance. Lem me turn around and we'll be in Hau Fat in six minutes. There is a really loud WHACK against the hull. willard really mad, throws the pole at the Chief, who ducks. WILLARD Get in there! CHIEF This is my crew and my fucking boat, and I'm the responsible party. WILLARD Get in there now or I'll bury you in this river. It's clear that Willard will kill the Chief if he does n't do as he says. CHIEF -LRB- finally relents, turns the helm. -RRB- You're fucking crazy. You're going to get us all killed. The P.B.R. navigates through the rush and into the mouth of the tributary.","EXT. THE TRIBUTARY - P.B.R. - RAIN Rain is pouring down, but the P.B.R. is slowed down to a snail's pace by Hyacinths, literally across the waterway. Willard, Chef and Clean in the water, cutting through them with machetes. VIEW ON LANCE having climbed to the highest point of the cockpit. LANCE It breaks through in about twenty feet. VIEW ON WILLARD cutting through. he looks to Chef, who has stopped cut - ting, and is staring into the jungle. WILLARD What do you see? CHEF I do n't know. He looks out - the jungle at this point is very dark and high - totally impenetrable. WILLARD Keep cutting. They work feverishly, knowing something is wrong. VIEW ON CHEF cutting with all he's got. CHEF I know it sounds stupid, but I feel like the goddamn jungle's watching us. WILLARD Probably is. CHEF Whatdoya think it thinks. WILLARD That we're dumber than we look. Chef stops again, looks hard, trying to penetrate the darkness and from the very depth of it - the darkness of it, comes a stream of tracers, lazily arching out at them. It whips between them - the SOUND FOLLOWING much later. Other BULLETS SMASH through and ricochet off the deck fittings. GLASS SHATTERS, and a huge hunk of paint is removed from the armor shield by a 20 mm cannon. CHIEF Lance - ` bout twenty meters starboard. Lance leaps down to his position. Willard, Clean and Chef cut feverishly, as the trapped boat struggles to get free. CHEF There in the trees! Everything is confusion - yelling - GUNFIRE - the THUD of heavy BULLETS ripping inti the P.B.R.'s fibreglass hull. VIEW ON LANCE Lance's twin guns return the FIRE. The Chief moves to one of the heavy guns and joins Lance in returning the FIRE. VIEW ON THE MEN IN THE WATER pushing, cutting. Bullets SMASH and EXPLODE around. Clean climbs onto the boat, and leaps onto a gun emplace - ment. MED. VIEW Nobody really knows where the erratic fire is coming from. CHIEF -LRB- back at the helm. -RRB- Elevate Lance, in the tree. No, I saw another. CHEF Thirty meters up, Lance ; I saw the fucking flash. Lance grits his teeth, FIRING - CLOSE SHOT ON CLEAN POV BEHIND CLEAN He BLASTS short bursts of tracers into the jungle, cutting it to salad. Suddenly more tracers from another direction - Clean swings around - BULLETS smash against his shield and rip chunks from the surfboard. He BLASTS a long heavy burst at the jungle - trees crumble. CLEAN I'm ripping'em, man, son - of - a - bitch, it's jammed, oh God, it's jammed. Clean is riddled by MACHINE GUN FIRE. Chief runs to Mr. Clean - it is obvious that he is dead. He looks angrily to Willard. Willard and Chef are practically through. Willard leaps up, as Chef finishes the last strokes. He moves toward the cockpit. WILLARD Throw me that ordnance. Chef throws him an M - 79 and several shells - Willard opens it, jams a huge projectile and pulls himself over the edge of the cockpit. WILLARD -LRB- continuing. -RRB- Give me some kind a field a fire - BULLETS rip by. CHEF -LRB- exhausted. -RRB- We're through. He climbs aboard and collapses. CHEF -LRB- continuing. -RRB- Oh, God - LANCE -LRB- FIRING. -RRB- I ai n't finished! I ai n't finished! WILLARD Bring that bow ordnance into those trees. He jams his gun up as he sees a flash and FIRES - there is a low POP and a WHISTLE as the GRENADE arches into the jungle. POV. - BEHIND THEM He FIRES another burst as the GRENADE EXPLODES brightly. There is another POP and WHISTLE, another BLAST. A large tree falls, just as the craft speeds up through the thin - ning growth. We HEAR strange SCREAMING from the trees and jungle, hideous MOANS and terror - filled CRIES. CLOSE SHOT ON THE CHIEF He jams the throttle forward - the boat surges ahead. Willard FIRES another GRENADE from his M - 79. FULL SHOT ON THE P.B.R.. The boat slams through the hyacinth growth, moving through the river, FIRING BACK at unseen enemy in the jungle. FULL VIEW ON THE P.B.R. - TWILIGHT The boat moves ahead at half speed through a wide, flat area in the river. MED. VIEW The men sit around, exhausted, brutalized, wounded. They look like animals, but they are relaxed, be - cause they know they're too far from the banks to be shot at. They smoke pot and eat silently. Lance smokes a joint and looks at his gun. Splotches of paint have been blown away from the armor shield - pieces of deck are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below ; he has been wounded in the shoulder. CHEF There's some bad holes, man, and the cracks - water's coming through the cracks. Food's shot to hell. WILLARD How much is left? CHEF Less than half - sure is a mess down there. Chief has been silent by the body of Clean in a plastic sack. WILLARD And the grass? CHEF Still got a lot of that stuff from Nha Trang. But we're running low on the other. Chief pushes Clean's body into the river. VIEW ON WILLARD He notices something in the distance. WILLARD'S POV A light. MED. VIEW Willard stands up, pointing up the river. WILLARD Hey. They all look over. WILLARD -LRB- continuing. -RRB- That's a light down there - CHEF Yeah, it is. CHIEF What the hell is it? WILLARD In the middle of the jungle - a goddamn light. FULL SHOT - THE P.B.R. - THE TWILIGHT The P.B.R. approaches the distant light - which seems to be on the dock of an overgrown plantation building. VIEW ON WILLARD, CHIEF straining to see ; he uses field glasses. POV - THROUGH THE GLASSES Seems to be some figures standing on the dock. The figures pull back behind some drums. BACK TO SCENE WILLARD Watch it! They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. WILLARD -LRB- continuing. -RRB- They're not Cong. CHIEF -LRB- over the loud - hailer. -RRB- We're Americans. Another BURST, closer. CHEF Maybe you should n't say we're Americans? Willard stares at the dock and building, trying to figure it out. WILLARD Chef, try your French. Chief hands the loud - hailer to Chef, who shrugs and shouts : CHEF Nous sommes Americains - Silence. CHEF -LRB- continuing. -RRB- Nous ne voulon pas vous agresser. VIEW ON WILLARD He looks through the glasses. POV THROUGH THE GLASSES Gradually, a small group appears from behind the drums on the dock. WILLARD -LRB- O.S. -RRB- French Nationals - they may not be too friendly, though. BACK TO SCENE We drift closer to the dock. The Chef starts enjoying speaking French. CHEF Nous sommes Americains - nous sommes des amis - There is silence as the boat drifts closer. Then : FRENCHMAN -LRB- shouting out. -RRB- Vous parlez Francais comme une vache espanole. CHEF -LRB- to himself. -RRB- I thought it was pretty good, myself. CHIEF What'd he say? CHEF Said I speak French like a Spanish cow. FRENCHMAN -LRB- O.S. -RRB- Laisser tomber vos armes - CHEF Put the guns straight up - stand away from the mounts. WILLARD Do it. They do. FRENCHMAN -LRB- O.S. -RRB- Vous pouvez approcher mais doucement - CHEF Take her in slow. FULL SHOT - DIFFERENT ANGLE - DOCK The men on the dock move forward, cautiously. They are a young man, PHILIPPE, about 25, strong and handsome, save for a scar down on the side of his face and through his left eye, which is covered by a patch. He is dressed in a tiger suit and the red beret of the French colonial para - troops. Also of the red beret are HENRY LeFEVRE, a bear - ded, dark - looking man of 35, and TRAN VAN KAC, a middle - aged half - breed slave. They all bear automatic weapons and suspicious in their eyes. As the boat pulls up to the dock, another Frenchman joins the group, obviously the head man, GASTON De MARAIS, about fifty, small and deli - cate, with a strength about him. PHILIPPE Hands on the heads. CHIEF I ca n't steer with my goddamn feet. CHEF Hey, they speak American. GASTON Who is the commanding officer? CHIEF I - WILLARD I am - I'm Captain B.L. Willard. This is Chief Warrant Officer Phillips - it's his boat. We were shot up bad downriver and need repairs and food - we can pay you in gold. GASTON Philippe - Philippe moves to another position - Kac grabs the rope from the deck and ties it to the dock. LANCE I'll help you with - PHILIPPE Do not move - Gaston looks at the skyward pointed twin fifties admiringly. GASTON Fifty calibers, eh, Captain - WILLARD As I said, we can pay you in gold. GASTON Entirely unnecessary, Captain. He puts down his gun - the others do likewise - GASTON We share a common enemy - you are our guests. -LRB- he steps back. -RRB- I am Gaston de marais - this is my family's plantation. It has been such for 121 years. It will be such after I die. This is my son, Philippe - he has fought in Algeria and held the rank of Captain. And Henry LeFevre - a sergeant ; he was at Dien Bien Phu. My personal servant, Tran Van Kac - Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions - all wear bush clothing and bear weapons. GASTON -LRB- continuing. -RRB- My youngest son - Christian - CLOSE SHOT - CHRISTIAN He carries an M - 60 machine gun in his hand - a belt of ammunition trailing off behind him. GASTON Christian's wife - Ann - Marie - A tall girl, goodlooking, but severe - she carries an M - 16. GASTON -LRB- continuing. -RRB- And my youngest daughter - Claudine. CLOSE ON CLAUDINE an attractive girl about eighteen. She wears a red paratrooper beret and a well - fitted bush suit. She carries an M - 79 grenade launcher and plenty of ammunition. FULL VIEW - P.B.R. - CREW, GASTON, OTHERS They stand there, exhausted and amazed. Philippe yells in Vietnamese - about a dozen native men in tiger suits, heavily armed, walk out of the trees from all around them. They look the Americans over warily and assemble at Philippe's command. WILLARD American weapons? GASTON We took them from the dead. -LRB- smiles. -RRB- Now - I assume you want to rest, to shower. We'll attend to your repairs after dinner. CHEF Shower. Willard's men look at one another, dazed. WILLARD We do n't want to bother you any, we - GASTON A man of war is never bothered to aid an ally - you will follow me, Captain. Willard steps off - then stops, reaches back and picks up his M - 16 by the stock. WILLARD A habit of men of war, sir - you understand. GASTON Of course, Captain - an unfortunate necessity. The men are relieved. They pick up their weapons and follow. CHIEF What about the boat? PHILIPPE My men will keep it for you - CHIEF Yeah - well, I'll stay with the boat. WILLARD Chief. -LRB- pause. -RRB- Come with us. They look at each other a moment. The Chief shrugs and follows. FULL SHOT - PLANTATION - WILLARD, GASTON, OTHERS Gaston stops, points to a guest house off the main struc - ture which is a typical jungle plantation house, save the many sandbagged gun emplacements and barbed wire. GASTON A suitable accomodation for your men, captain - you will, of course, be quartered with us - He indicates that the men should follow Philippe. The Chief is hesitant. WILLARD Go ahead - Philippe leads them on, muttering. GASTON Captain, this way. Willard follows - they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. GASTON -LRB- continuing. -RRB- Magnificent, eh, Captain? Willard looks. GASTON -LRB- continuing. -RRB- It is very good - there is no current - It is very good. I have never seen one like it in all Indochina. I was in Paris when it arrived - do you know what might have caused - WILLARD Looks like a two thousand pound to me. Yeah, a two thousand pound bomb. GASTON No, I've seen those in Normandy. This is much better. -LRB- pause. -RRB- My country - my country could never originate this. Magnificent. Gaston stands in serious admiration for this feat ; Willard looks between him and this big hole in the ground in amezement.","INT. WORKMEN'S SHOWER - EVENING A foreman's shower from the old plantation days. The Chief steps out of it, refreshed, though still exhausted. Lance stands there, about to step in, absolutely filthy, caked with blood. His reaction is odd ; rather than just stepping into the shower, he seems almost frightened, reluctant to step in. Chef is waiting behind him. CHEF A hot shower, hot damn. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is.","EXT. THE DOCK - P.B.R. - EVENING battered and torn - a few of Philippe's Vietnamese guard at the boat.","INT. WILLARD'S QUARTERS - EVENING A beautiful European room with tall ceilings. Still elegantly furnished, although old and decaying. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread ; the wash basin ; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. VIEW ON WILLARD haggard, looking down at the album. WILLARD -LRB- V.O. -RRB- I wondered - how long has this room been like this ; how long has the furniture been standing in these places? VIEW ON THE ALBUM Some old photographs of people standing around a car in the 20's in front of the plantation. Another picture shows a child playing by the rubber trees near the plantation. WILLARD -LRB- V.O. -RRB- Was it like this sixty years ago? Eighty years? But here, even eighty years is nothing. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. VIEW ON WILLARD fascinated WILLARD -LRB- V.O. -RRB- It was jungle, once ; and it will be jungle, again. VIEW ON THE ALBUM Onlu the very beginnings of the house ; the first struc - tures. Then another picture of the jungle site where it was to be built. CLOSE VIEW ON WILLARD He looks up and sees his own face, reflected in the garish mirror. He barely recognizes himself. MED. VIEW Willard looks at himself in the mirror, in this odd, out - of - time room.","INT. DINING ROOM GROUP - TRACKING SHOT TRACK DOWN the long table, covered with delicious food. The P.B.R. crew sits with others of the De Marais group. The table is headed by St. LeFevre. Chef's face lights up as he regards the wonderful European - style food. CHEF This food is wonderful! I ca n't believe the chef is a slope. -LRB- turning to Clean. -RRB- Some more? Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. CHEF -LRB- continuing. -RRB- Hey - Lance. LANCE Huh? Oh. Um, wouldya. wouldya pass me the Rice - a - roni, please. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. GASTON Roxanne, I hope you are feeling better. ROXANNE Je vais bien maintenant. GASTON May I present Captain Willard? He is of a paratroop regiment. You know the difference between a paratrooper and a regular soldier, do n't you, my dear? ROXANNE -LRB- smiling and taking Willard's hand. -RRB- Yes, they come from the sky. She sits - there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. WILLARD I would like to know more about the. uh, plaque. Philippe turns around, points to an elaborately scripted wooden plaque with various tallies on it. GASTON Attacks repulsed, as I was saying. -LRB- hard. -RRB- This is only for this war, Captain. Viet Cong - 54 ; North Vietnamese regular forces - 15 ; South Vietnamese - 28 - regular forces and otherwise. -LRB- pause. -RRB- Americain - 6. Of course, they were, perhaps, mistakes, Captain. WILLARD Of course. I - Once we make our repairs, we could send word, we could have you evacuated from here. GASTON Captain? WILLARD You'll get blown outta here some day. GASTON We will never ` evacuate', Captain - this is our home. Indochina is ours ; it has been so for a hundred and twenty - one years, there is something to say for that. WILLARD The Vietnamese think it's theirs - I guess the Americans do, too. GASTON But we civilized it. A place belongs to those who bring light to it, do n't you agree. WILLARD I always thought the French came here to get the rubber. PHILIPPE Excuse me, I must attend to my men. He gets up, and leaves abruptely - followed by his wife. ROXANNE May I ask where the Captain is going in his little boat? WILLARD We were going upriver when we got caught in a storm, ma'am. GASTON Upriver? Why upriver? There is nothing there, only jungle. WILLARD Do you know that jungle? GASTON When I was a boy, my father would take me there, to hunt. There are a few savages, but no man can live there, no white man. WILLARD What about an American named Kurtz? There is a pause. GASTON We have never heard of him. Gaston rises, and takes Roxanne's hand. GASTON -LRB- continuing. -RRB- Bon nuit, Roxanne - bon nuit, Captain. Willard turns. WILLARD Good night. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. ROXANNE You must realize, Captain - we have lost much here - I, my husband. Gaston - his wife and son. WILLARD I'm sorry to hear that. ROXANNE -LRB- rising. -RRB- Cognac? WILLARD I should be checking on the boat. ROXANNE The war will still be here tomorrow. She walks out of the room. WILLARD -LRB- thinking. -RRB- I guess so. He follows.","INT. SITTING ROOM - FULL SHOT - WILLARD AND ROXANNE Roxanne sits, pouring a brandy, while Willard stands. ROXANNE Do you miss your home, Captain? Have you someone there? WILLARD No. Not really. I was discharged from the army four years ago. I went home, wasted some time, bought a Mustang Mach 1, drove it a week. Then I re - upped for another tour. No, everything I love is here. ROXANNE Then you are like us. She reaches out to him ; indicating that he sit. ROXANNE -LRB- continuing. -RRB- What will you do after the war? WILLARD I just follow my footsteps, one at a time, trying to answer the little questions and staying away from the big ones. ROXANNE What's a big question? WILLARD Kurtz. -LRB- pause. -RRB- I know you've heard of him. ROXANNE Yes. WILLARD What did you hear? ROXANNE That strange things. terrible things have occured around this American, Kurtz. WILLARD What things? ROXANNE Gaston would never tell me. It was asubject not to be spoken of, Captain. WILLARD Yes. ROXANNE Did you know - deeper in the jungle, upriver - there are savages? WILLARD I know. ROXANNE But Captain, I mean - cannibals. A long pause. Then she looks at the cognac she poured for him. ROXANNE -LRB- continuing. -RRB- What a pity, you do n't drink. Since my husband died, there are so many things I must do alone. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river.","EXT. THE TERRACE - MED. VIEW - WILLARD - NIGHT A machine gun emplacement is situated on the terrace cover - ing the front of house, from the river. ROXANNE -LRB- from the sitting room. -RRB- Are you warm, Captain? WILLARD The river is beautiful. In fact, we REALIZE that he is checking the boat. WILLARD'S POV. The P.B.R. is under guard by a couple of Gaston's Vietnamese. MED. VIEW ON WILLARD, ROXANNE She, thinking it romantic to talk about the river, comes up behind him. ROXANNE I spend hours watching that river from my bedroom window. It fascinates me. She moves her body close to his ; and, in a moment, he is kissing her. CLOSE ON WILLARD, ROXANNE One eye steals another look at the P.B.R. VIEW ON THE P.B.R. Two of the guards leave - two remain, getting ready for the long night. VIEW ON WILLARD, ROXANNE - ON THE TERRACE His hands wander over her body as she clings to him. Then she takes his hand, and leads him back into the sitting room, and up the stairs.","INT. ROXANNE'S ROOM - FULL VIEW It is dark. She leads him into her room and closes the door. He stands there. In the center of the room is a large canopied bed with mosquito netting hanging down over it. The windows also have netting and barbed wire - there is a.30 calibre machine gun mount in the far one. He look around. she goes over to the bed, and turns down the sheets. Then she slips out of her dress and stands there facing him. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. ROXANNE I have been lonely here, Captain. He moves to her, slipping into the bed. M - 16 is leaning against the wall in his reach. FADE OUT.","EXT. ROXANNE'S TERRACE - NIGHT We can VIEW into the room, as Willard has silently slipped out of her bed, and is a dark sinister figure kneeling in final preparations for going out in the night. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness.","EXT. THE DOCK - P.B.R. - NIGHT Two Vietnamese guard the P.B.R. - suddenly, feet first, the first disappears into the thicket. CLOSE VIEW ON WILLARD in the thicket ; we realize he has just killed the man with a knife. Willard stalks the second guard and makes quick work of him with his knife. He even enjoys it. Silently, he drags the body out of sight. MED. VIEW ON THE P.B.R.. The dark figure boards the boat silently. He disappears into the hold. NEW VIEW He lifts out several cases of supplies, working quickly, with a grace that indicates he is a man who has done his best work alone, and at night. CUT TO.","INT. ROXANNE'S ROOM - CLOSE SHOT - WILLARD - MORNING He sleeps soundly alone in the bed - we HEAR SOMEONE moving around in the room. He wakes suddenly - PULL BACK TO REVEAL Roxanne combing her hair and buttoning up her blouse. She notices he is awake and smiles. ROXANNE I will fix you breakfast. He starts to get up. WILLARD I'm afraid I wo n't have time - I got ta - ROXANNE Whe you reach the boat you will find that half your fifty calibre stores - a case of grenades, a mortar and two M - 16's and a case of clips are being transfered to us by your order. He stops - seemingly stunned. WILLARD So that's it. ROXANNE You may think what you wish, Captain, but I like you very much. She turns to go. WILLARD What if I say no. ROXANNE Then Philippe will have to kill all of you. She leaves.","EXT. DOCK - FULL SHOT - WILLARD, OTHERS He walks down onto the dock. Gaston's men are transferring ammunition boxes. Gaston is standing with Philippe, who are covering the Chief and crew with M - 16's. GASTON Two of my men deserted last night. It happens from time to time. I assume my daughter told you of our conditions. WILLARD Your daughter. CHIEF They taking half our ammo, Captain - said it was your orders. He pauses for a second. WILLARD That's right - I did. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. WILLARD I guess this is whAt men of war do - eh? GASTON We endure, captain - you can blow up the house and we will live in the cellar - destroy that and we'll dig a hole in the jungle and sleep on it. Burn the forest and we'll hide in the swamp. all the while, we do but one thing - clean the blood off our bayonets. -LRB- pause. -RRB- Au revoir, Captain. LONG SHOT - DOCK - P.B.R. Willard climbs on board and it pulls away.","EXT. P.B.R. - MED. SHOT - WILLARD, CHIEF The BOAT ROARS out across the river. The Chief looks over at Willard. They stare at each other for a moment. CHIEF Next time we get in a good fire fight - I'd like to know how she was, Captain. Willard just smiles at the Chief. he leans over and pulls up a floorboard - the men stare in amezement ; it contains the contents of all those ammo boxes. 50 calibre ; clips ; grenades. CHEF Holy shit. CLEAN What did you put in all those ammo boxes? WILLARD Rocks, sand - those two men who deserted. CHIEF When'd you do it? WILLARD While you were sleeping. He lets the board drop. Willard moves to the back of the boat. FULL SHOT - P.B.R. - RIVER, CREW The river has narrowed and runs swifter - the water dark and deep. The trees are higher in this area and much of the river is shaded on one side. There is no undergrowth, just the tall trees and ferms. They move ahead at half speed, alert, ready for anything. WILLARD -LRB- V.O. -RRB- We moved deeper and deeper into the jungle. It was very quiet there. It was like wandering on a prehistoric planet, an unknown world. where the men thought they crawled to, I do n't know. For me, we crawled toward Kurtz - exclusively. Willard looks out ahead and points. They all turn their guns in that direction. We PAN TO REVEAL a small village of huts along the bank. FULL SHOT - DIFFERENT ANGLE - VILLAGE POV. OF THE P.B.R.. They pass in front of the village which is rundown and completely deserted. The huts are on stilts to avoid the flooding of the river - they are just skeletons of what they once were. CHEF -LRB- O.S. -RRB- Flood. CHIEF -LRB- O.S. -RRB- No - most of'em are still standing - might've been disease. WILLARD -LRB- O.S. -RRB- I do n't know - there'd still be some sign - it's just like the one this morning. POV BOAT - FULL SHOT - JUNGLE The canopy of trees grows taller and stretches out across the river filtering the sun. The forest itself has grown darker and more twisted with ferns and creepers. Strange birds fly out of the trees as the boat passes - a huge snake slips along an overheading limb. The depth of the jungle is dark, ominous - yet cool and strangely inviting. FULL SHOT - BOAT - JUNGLE Suddenly the river widens, the trees give way to marsh and as they emerge into the light a strange shadow falls upon the boat. It is the shadow cast by an enormous vertical tail section of a B - 52 bomber thrusting out from the mud. Pieces of aluminum hang loosely from it, oxi - dizing in the sun. Creepers have already started to grow up around its heights - the jungle is claiming it. But once under its shadow, they have passed a gateway. A gateway to paradise. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water - fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well - being. Each man in his heart feels a need to stay - his soul cries to stop - stop their madness - this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. FULL SHOT - P.B.R. - RIVER - DAWN The skull looms in the f.g. - the P.B.R. is pulled back about seventy yards - Early morning mist still hangs on the water - as it clears, we SEE another post and skulls on the opposite bank, It is strangely quiet. CHIEF - All right, Lance - Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank - Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. LANCE The other one - WILLARD No - leave it - CHIEF Why - Charlie put it there to kill - WILLARD Thta's not Charlie's work - There is silence. WILLARD Whoever put'em there did n't do it to kill people - They put'em up as signs - CHIEF Signs? WILLARD Yeah - like keep out - Willard motions - the Chief accelerates - they move ahead past the smoking mound.","EXT. THE RIVER - FOG - DAY The P.B.R. pushed deeper into this mysterious area. Mist swells in and around the river, as the boat moves into an obscure fog. The Chief cuts the engine, and they coast. WILLARD -LRB- V.O. -RRB- Toward the night of the fifth day out of Do Lung Bridge, we judged ourselves about eight miles from Kurtz' base. Everything was still, the trees, the creepers, even the brush seemed like it had been changed into some kind of stone. It was unnatural, like a trance. Not a sound could be heard. I began to think I was deaf - then the fog came suddenly, and I was blind too. The boat disappears in the thick fog. MED. CLOSE ON WILLARD We catch glimpses of him, even though we are close. WILLARD Listen. CHIEF What is it? WILLARD Listen. They are silent. We can HEAR the most ominous SOUND COMING FROM THE BANKS. The GROANING, OR WAILING. of HUNDREDS OF MEN. CHIEF They're on the banks of the river. VIEW ON LANCE Frantically, he swings the twin fifties around. LANCE Jesus! VIEW ON CHIEF We can barely SEE him - in and out of the fog. CHIEF No, Lance. Not while you ca n't see. VIEW ON WILLARD listening. The SOUND IS TERRIBLE, HORRIFYING. CHIEF Will they attack? WILLARD If they have boats. or canoes. they'd get lost in the fog. We ca n't move either - we'll end up on the shore. CHEF God. LANCE Sounds like hundreds of them. WILLARD Shhhhhh. The CHORUS OF GROANS in unbearable. But it is not ahostile cahnt ; or a war chant, but rather the SOUND OF HUMAN ANGUISH. WILLARD -LRB- continuing. -RRB- It does n't sound hostile - it sounds like they've seen us coming and it sounds like - I do n't know, a funeral. I do n't understand. VIEW ON LANCE A glimpse of him, almost in tears. We then SEE glimpses, fog moving, of all the men on the P.B.R. MED. VIEW - THE P.B.R. MOVING THROUGH the thinning mist. The Navy craft proceeds cautiously. WILLARD -LRB- V.O. -RRB- Two hours after the fog lifted, we moved slowly to a spot we thought was roughly a mile and a half below Kurtz's camp. We approached a long sand - bank stretching down the middle of the river. CHIEF Which way? Right or left? WILLARD Who knows? Right. CHIEF Looks pretty shallow. The P.B.R. moves toard the right - most channel. Chef takes a long pole and begins sounding depth. VIEW ON WILLARD The men are really tense now - Lances swivels his gun from bank to bank. Chief keeps his fingers on an M - 16. Willard takes out the TOP SECRET packet he received at Do Lung. Tears it open. We MOVE IN ON him. WILLARD -LRB- reading. -RRB- Upon reaching objective. Target key personnel and commence operation. Should difficulty arise from which extraction is impossible, break radio silence Com - Sec Command code Strong Arm - indicate purgative air strike - code - Street Gang. -LRB- pause. -RRB- Purgative air strike! Purgative! They'd kill me too! Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. CHIEF Shit! Fucking arrows! They're shooting fucking arrows at us. CLOSE ON WILLARD looking toward the banks. WILLARD'S POV Frags of men - naked limbs, arms, breasts, glaring eyes entangled in the dense jungle gloom. And hundreds of pathetic wooden arrows flying out toward them. VIEW ON THE P.B.R. crazily zig - zagging up the river in the midst of the childish assault. WILLARD Steer her right. VIEW ON THE P.B.R. arrows hitting the deck. The men open up everything they've got. Lance is FIRING the two fifties wildly. WILLARD Keep going. keep going. They're just fucking sticks! Chief, stay at the helm. But Chief seems out of control - he lets the clip of his M - 16 go. Then slowly lets the rifle fall out of his hands, and falls to Willard's feet, a primitive spear having caught him right through the ribs. Willard looks down in horror. VIEW ON CHIEF laying at Willard's feet - the long spear through him, bleeding onto Willard's boots. He looks up at Willard, about to say something. CHIEF A spear? He dies. MED. VIEW ON THE P.B.R.. The men are still crazily FIRING into the empty jungle long after those who attacked beat their retreat. WILLARD Stop it. Stop it! Slowly he pulls his boots from under Chief. They are absolutely soaked in blood. He is stunned - sits down and begins to unlace the bloody boots, and take them off. LANCE Chief's dead. Willard unlaces the other boot, and holds the bloody boot in his hand. WILLARD -LRB- V.O. -RRB- It was the strangest thing - I do n't know that I can explain it. Two of my men dead, and all I could think of was whether Kurtz was dead too. That's all I wanted : to see Kurtz, to hear Kurtz. He starts to wipe the blood off the boot. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- Somehow, in the middle of this. carnival, Kurtz had grown into something - a gifted officer ; a great man. Somehow, he was the only light in this hopeless, hopeless darkness. And now I was too late - he was probably gone, disappeared. by a grenade rolled into his tent - or by some spear on the head. Christ, I felt like howling like those animals in the fog.","EXT. THE BOAT AT MARINA DEL REY - NIGHT The people at Charlie's cocktail party on the boat. Some flashbulbs are going off. Some people are dancing to the MUSIC. OUR VIEW MOVES SLOWLY TOWARD Willard, on the edge of the party. WILLARD -LRB- V.O. -RRB- Here they are in Los Angeles. Everything is safe. There's a supermarket around the corner, the police station around the other. It would seem ridiculous to them that I was shot to hell because I had lost the privilege of listening to the mysterious Colonel Kurtz. -LRB- pause. -RRB- Of course I was wrong. He was waiting for me. Kurtz was alive and he was waiting for me.","EXT. THE RIVER - P.B.R. DAY The P.B.R. moving up the river. The men are practically in a trance now, looking at the banks of the river. They don ´ t even make an effort to touch their weapons. WHAT THEY SEE Hundreds and hundreds of Montagnard natives - dressed in the most ornate and primitive manner : feathers, parts of birds and animals ; cod - pieces - all in body and face paint of the most savage nature. But there is a purity about them, men and boys, standing passively watching the small Navy craft flying the strange flag of red, white and blue. VIEW ON THE P.B.R.. The men of the crew are not the same men who began this voyage. Their manner is lifeless as though in a trance. The various decorations and paraphenelia that they have picked up along the way seem oddly relevant to the savages that stand before them. The Chef has made a hat of birdfeathers ; Lance's face has been painted with mud under the eyes to block the glare of the sun. He wears certain animal skins ; trinkets ; some animal teeth. Their uniforms have been torn and patched throughout the difficult journey. They start to move to their gun positions. WILLARD Just stand here with me where they can see us. Do nothing. VIEW FROM BEHIND THE P.B.R. MOVING SLOWLY TOWARD the fantastic human wall of feathers and war paint, standing on canoes across the river. The men on the crew stand in a group, their hands visibly without weapons. The natives standing across the river make no hostile gestures as they approach. They accept the small boat moving toward them with a sort of inevi - tability. The boat moves closer, approaches the wall of feathers - which slowly and automatically gives away, in almost a ritual of birth, undulating, allowing the little boat to penetrate. VIEW ON WILLARD Mus on his face -LRB- to protect it from the sun -RRB-, the palms of some jungle vegetation protecting his head, he looks something like atribal chieftan himself. His intuition was right. He senses that they would be allowed to pass. FULL VIEW ON THE RIVER Hundreds of Montagnards who had been lining the river now run, absolutely silently, along the banks, keeping pace with the P.B.R.. There is no hostility in these faces, only curiosity and a sort of grief. VIEW ON WILLARD, THE CREW They look up toward the bank. THEIR POV The temple at NU MUNG BA, a fortified encampment, built around the ruins of a former Cambodian civilization. Stone walls, barbed wire, cracked pyramids and rows and rows of Escher - like sandbags arranged in an endless maze around the fortress. VIEW ON WILLARD He picks up his field glasses and looks through. WILLARD'S POV - THROUGH GLASSES A sign entangled in the barbed wire - its lettering strict and military : FOURTH SPECIAL FORCES MISSION F-82 NU MUNG BA The GLASSES POV MOVES REVEALING another sign written in a wild psychedelic hand. OUR MOTTO: APOCALYPSE NOW! says. The POV OF THE GLASSES MOVE once again and come upon an astonished sight, a black man dressed in a tatter of colored fabrics, feathers, and an Australian bush hat. He looks something like a multi - colored harlequin waving frantically to the P.B.R.. The POV OF THE GLASSES MOVE OFF of him. VIEW ON WILLARD not believing what he's just seen. THE GLASSES POV Once again the young black man is now waving his Australian hat. VIEW ON THE P.B.R. Willard shouts out to the starnge greeter. WILLARD We've been attacked. AUSTRALIAN -LRB- shouting back. -RRB- I know, I know, it's all right. Come in this way. It's mined over there. This way. It's all right. Willard look at Chef who is at the helm. He shrugs and they do as this man says. The P.B.R. moves towards the water's edge where there is a dock covered with concertina wire. The odd Australian stands waving his hat, guiding them safely in. A thick greasy smoke hangs from fires that burn near the fort ; fresh shell craters indicate a recent battle. Near the dock there is a tangled clump of corpses - half sub - merged in the water. Other piles of bodies lie about, some of them on fire. Fire literally burns from out of the ground. Chef nods at the bodies. CHEF Charlie? WILLARD Looks that way. CHEF -LRB- looking at the Australian. -RRB- Who's he? WILLARD God knows. The boat pulls up. The Australian harlequin hops on board ; the crew regards him with their dark faces splat - tered with mud and blood. WILLARD -LRB- continuing. -RRB- Who the hell are you? AUSTRALIAN Moonby. Got any Winstons? WILLARD Moonby what? AUSTRALIAN Moonby, 4th battalion, Royal Australian Regiment, Task Force. Ex - Corporal Moonby, deserted. WILLARD -LRB- incredulously, indicating the hundreds of natives. -RRB- What is this? MOONBY Oh, they're simple enough people. It's good to see you, baby. Nobody has any Winstons? Chef automatically offers Moonby a Winston. MOONBY This boat's a mess. WILLARD Where's Kurtz? I want to talk to him. MOONBY Oh, you do n't talk to Colonel Kurtz. -LRB- he puffs, then smiles. -RRB- You listen to him. God, these are good. I kept these people off you, you know. It was n't easy. WILLARD Why did they attack us? MOONBY Simple. They do n't want him to go. WILLARD You're Australian? MOONBY Pre - Australian, actually. But I'd dig goin' to California. I'm California dreamin'. WILLARD -LRB- almost to himself. -RRB- So Kurtz is alive. MOONBY Kurtz. I tell you, that man has enlarged my mind. He opens his arms wide, to indicate the breadth of his mind's expansion. MOONBY -LRB- continuing. -RRB- But lem me tell you, he is the most dangerous thing in every way that I've come on so far. He wanted to shoot me. The first thing he said is, ` I'm going to shoot you because you are a deserter.' I said I did n't desert from your army, I deserted from my army. He said, ` I'm going to shoot you just the same.' WILLARD Why did n't he shoot you? MOONBY I've asked myself that question. I said to myself, why did n't he shoot me? He did n't shoot me, because I had a stash like you would n't believe. I hid it in the jungle ; the wealth of the Orient : Marijuana - Hashish - Opium - cocaine - uncut Heroin ; the Gold of the Golden Triangle. and Acid - I make Koolaid that makes purple Owsley come on like piss. Now I'm Kurtz' own Disciple - I listen he talks. About everything! Everything. I forgot there's such a thing as sleep. Everything. Of love, too. CHEF Love? MOONBY Oh, no, not what you think. Cosmic love. He made me see things - things, you know. The whole time Moonby is chattering on, Willard has picked up his field glasses and scans the fortress. WILLARD'S POV - THROUGH THE FIELD GLASSES Men in small groups, huddled over food. Now he settles on the entrance in the temple. There are stakes in front, and on top of them are horrible shrunken heads. BACK TO SCENE WILLARD Sounds like he's gone crazy. MOONBY No, Colonel Kurtz could n't be crazy - if you heard him talk, just last week, you'd never think he was crazy. WILLARD Is that where he is? By the shrunken heads. MOONBY Those heads, yes. Well, the rebels. WILLARD -LRB- to his men. -RRB- We're going ashore. Tie her up - and leave your guns up, Lance. LANCE What? WILLARD Bring your rifles, that's all. -LRB- looking at Moonby. -RRB- Take us to him. MOONBY Right on - he's been waiting for - WILLARD And shut up. Moonby nods and shrugs, and hops off the P.B.R. willard and the men follow. MOVING VIEW - WILLARD, MOONBY AND THE CREW As they proceed closer to the fortress - temple, men appear where a moment before there was only jungle. They are mostly Montagnards, but far more savage looking than any we've seen before. They wear only loinclothes and bandoliers of ammunition. their bodies are painted in strange patterns. They carry Army M - 16's, Russian AK - 47's and a wide variety of knives and clubs. Women emerge from the brush as well. they are armed and equally primitive looking. Interspersed among them are a few taller men with paler skins, with the remnants of Army insignia on them. The paint on their bodies is, if anything more bizarre. We CONTINUE TO MOVE ACROSS the entire group up to the stone gates of the fort, where thirty or so more are seen silhouetted against the sky. Willard and his men look up at people more primitive and more savage than any since the time of Captain Cook. They encounter, in the center of the group, what once appears to have been an American. he is tall, gaunt, wears a flak jacket, but is otherwise naked, save a loincloth. His face is darkened from dirt, battle smoke, strange camouflage patterns. His hair and beard are long, matted with mud and grease. He carries an AK - 47 decorated with scalps and human ears. Willard approaches this beast, who seems shy and retiring. WILLARD Who are you? MOONBY -LRB- breaking in. -RRB- His name is. WILLARD I'm not ever goin' to tell you to shut up again. Moonby shuts up. The MAN tries to speak, but nothing comes out. He is dumbstrucked at seeing them, as they are to see him. MAN Colby. Exec. officer, A - Team. Special Forces. F - 82 - Col. Walter Kurtz, commanding. WILLARD What happened here? COLBY What - happened here. WILLARD Charlie? COLBY NVA regulars. They're coming again tonight. Tet - their big - assault. Willard is the man in the middle - he does n't know what to say to this man, but he understands the forces that pounded him. He takes his arm. REVERSE ON COLBY looks at Willard, not understanding. REVERSE ON WILLARD Six months later, and he and Colby would be identical. WILLARD I'm taking you back. Moonby slaps himself in the head with his hand. MOONBY Oh, no, don ´ t say that. COLBY Take us back. Take us back! But, the operation - the team. Colonel Kurtz has such plans for - the team. WILLARD Take me to him, Major. Colby starts, and then, seeing the shrunken heads on poles, he turns, agitated, to Willard : COLBY I had nothing to do with these operations - I did not do the planning - none of us did. It was all Colonel Kurtz - he was the genius. You'll see - the genius of our Colonel. He should be made a General, do n't you think? A General? It's. Suddenly, frightened, he stops. Without looking Willard knows that Kurtz is standing behind him. He turns. Kurtz has stepped out from his headquarters : He is a powerful man, though obviously very ill. He slowly attempts to pull the remnants of his uniform together, though it is ripped and bloodied, and now combined with primitive ornaments designating him a tribal chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. VIEW ON WILLARD This is not what he expected. He is quiet, and then, automatically, he comes to an attention. WILLARD Colonel Kurtz, I guess. KURTZ I'm Kurtz. WILLARD -LRB- he salutes. -RRB- Captain B.L. Willard reporting his presence, sir. VIEW ON KURTZ looking at him a long time. Then he returns the salute, and simply : KURTZ At ease. -LRB- pause, as he regards him. -RRB- Sit down. MED. VIEW There is, of course, no chair or anything like a chair. But behind and around him, Kurtz's men begin to sit on the ground, cross - legged. Finally, Willard sits as well. Then Kurtz does. Moonby lights a joint, and passes it respectfully to Kurtz - throughout the scene, the joint is passed from man to man, ritualistically. KURTZ -LRB- slowly. -RRB- Why did you come to. my province. WILLARD We were attacked - down river. We need supplies and medical help. KURTZ You were not coming here, to see me? WILLARD -LRB- finding it more and more difficult to go on with this lie. -RRB- No - no, sir. KURTZ You came up my river - in that small boat. So simple. I always thought the final justice would come from the sky, like we did. -LRB- pause. -RRB- You are the final justice, are n't you? WILLARD What do you mean, Colonel? KURTZ -LRB- gently. -RRB- What other reason could you have come? A Captain. Ranger. Paratrooper. Graduate of the Recondo School. Am I right about these things? WILLARD You know you're right. There is a clear, incredible intelligence about this man. KURTZ Then the Agency approached you. Maybe in a bar in Quinon or Pleiku. Simple. A year's pay for one life. Perhaps a village elder, or a tax collector. Nobody's orders but your own. Exciting work. CLOSE ON WILLARD He remains silent. CLOSE ON KURTZ He smiles. KURTZ You've spent tome at the Royal Tracking School of Malaysia. I can tell from the way the laces on your boots are tied. I understand you, Captain. We understand each other. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered.45 - withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. WILLARD Do you know me? KURTZ Yes. Kurtz reaches down ; takes the.45 - and without another word or gesture, shoots and kills a man. KURTZ -LRB- continuing. -RRB- Do you know me? He throws the.45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. CHEF Holy shit.","EXT. KURTZ'S OUTPOST - FULL VIEW - TWILIGHT Dotted with campfires ; Montagnard families - it is like a primitive civilization. VIEW BY THE TEMPLE WALL Willard is alone by a campfire - his M - 16 leans by a wall next to him. He is exhausted. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. CHEF Captain - they've been probed all this week - Cong and NVA regulars. There's gon na be a big offense any time. WILLARD I know. Lance stirs ; starts to wake up. CHEF What are we doing here? WILLARD Kurtz. I'm supposed to kill him, just like he said. KURTZ Yeah, I can see that. He's fuckin nuts - WILLARD Yeah. CHEF He killed that guy without feeling anything. WILLARD Not a thing. CHEF When you kill Cong, do n't you feel something. WILLARD Sure. -LRB- thinking. -RRB- Recoil. I feel the recoil of my rifle. Willard rises. Chef looks at him, confused and frightened. FULL SHOT - WALL - WILLARD, CHEF, LANCE Willard walks along the top of a thick wall - sandbagged and dug out every so often for an M - 60 or a mortar emplacement. Wild looking savages man these guns, and seem to bow to Willard as he passes. WILLARD This is good - triple overlapping fields of fire - walls so thick ordinary artillery just cleans the moss off their surfaces. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires. men, women and children. Skulls, shrunken and otherwise hang from every hut - adorn every sandbagged bunker - dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. WILLARD -LRB- continuing. -RRB- I've done things, when I was alone in the jungle - that I never told anyone about. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side so that a 7.62 mini - gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. CHEF This is evil - evil, Captain. We're all gon na die here. WILLARD Yeah, I know. CHEF I do n't get it - You said your mission was to kill him. Let's do it, an' get our asses outta here. This Kurtz is ruining the war ; I mean, this do n't look good for America! WILLARD -LRB- lost in his thoughts. -RRB-. he's an amazing officer. CHEF You got to kill this sonuvabitch - Lance and me, we don' ´ t understand none of this - Jesus, Captain - I do n't wan na die here - Do it quick. Lance just stands there ; his eyes vacant. He sort of nods, sucking a joint. WILLARD Yeah. I know. He thinks.","INT. KURTZ HEADQUARTERS - NIGHT VIEW FROM INSIDE - Willard approaches the stakes with the shrunken heads. Chef and Lance with him. Willard steps in - Lance and the Chef crouch outside, waiting. WILLARD'S VIEW An austere stone savern in the temple : Kurtz's head - quarters. Electric lights hanging in odd contrast to the ancient stone. We SEE what is left of the maps and other military charts - they had been tacked up on big boards, but have now fallen into decayed disuse. There are other indications of the modern headquarters this had been. Now all those things are no longer impor - tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits ; and graffiti on the stone walls, things ranging fromm `` Viet Nam, love it or leave it'' to quotes of Nietzsche `` Nothing is true - everything is permitted.'' Moonby, who had been crouching in a corner, moves to Willard. MOONBY He's asleep - do n't bother him. KURTZ I'm awake. Willard steps in closer. Kurtz looks to Moonby. KURTZ -LRB- continuing. -RRB- You. Get out. Moonby hesitates - not wanting to leave him alone with Willard. KURTZ -LRB- continuing ; suddenly. -RRB- I said get the fuck out! -LRB- to himself. -RRB- I'm going to kill the little weirdo myself tomorrow. -LRB- he shows some pain when moving his midsection. -RRB- He ´ s only stayed alive this long because he's a good orderly and medic. He knows how to use a hypodermic. WILLARD You're gon na get hit tonight, bad - a whole regiment of NVA regulars. KURTZ That's right, the little gook - pricks. But they are noble little gook - pricks, noble. Because they fight with their guts, like animals. And for an idea! That's rich. We fight with ingenious machines and fire, like Gods, and for nothing. But I'll call in a major blotto airstrike tonight. We'll have ourselves a helluva airstrike tonight, a lightshow. How do you like The Doors' : ` C'mon Baby Light My Fire.' Willard shrugs. KURTZ -LRB- continuing. -RRB- Do you? WILLARD Yeah, I like it. KURTZ I love it. He rests back, grinning. WILLARD You've gone crazy. KURTZ -LRB- angrily. -RRB- No. My thinking is clear. -LRB- calmly. -RRB- But my soul has gone mad. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. KURTZ -LRB- continuing. -RRB- My gut - Oh, Christ, my gut! Willard leans over him ; checking the seriousness of the wound.","EXT. THE HEADQUARTERS - NIGHT Lance is crouching by the stone entrance - Chef leans in, witnessing the proceedings inside. CHEF -LRB- muttering. -RRB- Kill him - come on, why do n't you kill him","INT. THE HEADQUARTERS - MED, VIEW - KURTZ AND WILLARD NIGHT Willard examining the wound. KURTZ -LRB- in pain. -RRB- Oh shit - on the table ; morphine. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. KURTZ -LRB- continuing ; looking up in pain. -RRB- You see how stupid it would have been to blow out my brains? I'm dying from the gut anyway. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. KURTZ -LRB- continuing. -RRB- No - I do n't want to sleep. I want to think. Water. Give me water. WILLARD You ca n't have water after morphine. KURTZ Still playing by the rules. -LRB- almost affectionately. -RRB- You're a damn good kiler. WILLARD -LRB- still holding the second morphine. -RRB- How's the pain? KURTZ How's yours? WILLARD I can handle it. KURTZ Pain is easy to handle - but nobility. the nobility of a man is judged by how much Truth he can handle. WILLARD What Truth? KURTZ The truth that you were sent here to murder me, ans so far you have n't done it. And do you know why? -LRB- looks at him. -RRB- Yes, you know why. -LRB- he looks. -RRB- Your mission makes about as much sense as those idiots who sent you on it. Asshole! Schmuck! How long does it take you to figure out that nobody knows what they're doing here. -LRB- coldly. -RRB- Except me. He rests back. The drug is beginning to take effect. KURTZ -LRB- continuing. -RRB- Gim me water. WILLARD No water. KURTZ You know what you're doing? You are interfering with my plans! He crawls in pain toward the canteen Willard watches him impassively. KURTZ -LRB- continuing. -RRB- This water's got Moonby's acid in it - He drinks sloppily from the canteen, water spilling all over. Then he throws the canteen to Willard. KURTZ -LRB- continuing. -RRB- Drink it - drink it for tonight. Think of it. A whole regiment of those shitty little Cong - War. Total war - war like you've never known it. It's beautiful - you'll love it. Trust me.","EXT. THE HEADQUARTERS - MED. VIEW - LANCE AND CHEF - NIGHT We can SEE into the headquarters : Kurtz offers the canteen to Willard. Chef is terrified - Lance is stoned out. CHEF Lance - the fucker's not gon na do it. KURTZ Goddamn - You've got ta dig napalm on Speed, too. It's spectacular, you'll see. Lance stands up holding his M - 16, looks into the cavern with Chef.","INT. HEADQUARTERS - NIGHT Willard stands there, holding the morphine needle in his hand. KURTZ Look into the jungle. You ca n't - it's too terrible. You have to smear yourself with warpaint to look at it - you have to be a cannibal. -LRB- whispered. -RRB- That's why warpaint was invented. Then it becomes your jungle. Willard shoots himself in the arm with the morphine. WILLARD How did we get here? KURTZ Because of all the things we do, the thing we do best - is lie. WILLARD I think think a lie stinks. KURTZ Oh Captain, that is so true. WILLARD Stinks. I could never figure -. -LRB- he drinks from the canteen. -RRB- I could never figure how they can teach boys how to bomb villages with napalm - and not let them write the word ` fuck' on their airplanes. Willard drinks more of the LSD water. KURTZ -LRB- angrily. -RRB- You could never figure it because it does n't make sense. WILLARD Fuck no. KURTZ I'll tell you what makes sense! Air strikes! White Phosphorus! Napalm! We'll bomb the shit out of them if they do n't do what we want. WILLARD We'll exterminate the fuckers! Chef steps into the Headquarters - he is terrified. He draws his bayonet. CHEF Captain - kill him. KURTZ Think of it - for years, millions of years, savages with pathetic painted faces were scared shitless that fire would rain down from the sky. And goddamn, we made it happen. God bless Dow! CHEF Kill him! Chef rushes at Kurtz with his bayonet - instinctively, Willard GUNS him - then there is additional automatic FIRE. Chef is being riddled by bullets. VIEW ON LANCE He has let loose with his M - 16 at Chef, like some sort of mindless, programmed killer. LANCE -LRB- FIRING. -RRB- Hot damn! Then hes tops - Chef falls to the dirt - there is an instant of silence, then :","EXT. OF THE TEMPLE AT NU MUNG BA - NIGHT The DOORS begin LIGHT MY FIRE, loud and overwhelming, as illuminating flares light up the blackness. MED. CLOSE VIEW of enormous loudspeakers protected behind spirals of razor - sharp concertina wire. LIGHT MY FIRE is blasted out to the enemy, poised to attack. ANOTHER LOUDSPEAKER Cannibal - painted men in savage decorations wait. Bay - onets are fixed. Men are stoned to acid, injecting speed, sniffing cocaine, eating grass, smoking hashish in water pipes. One looks up to the sky. EIS VIEW A rocket illuminates the sky, strobing, as in a psyche - delic hallucination. VIEW ON THE SOLDIER SOLDIER Wow. Another behind him is chanting the word NAPALM softly t himself. MED. VIEW ON THE GATE Willard strides out of the darkness, into the positions around the gate. He looks like a magnificent warrior - Genghis. All the men : Montagnards, fierce Americans, even the savage men of the P.B.R. crew either bow, salute or kneel before Willard. The color pulsates around the edge of the image, red and green, mauve and purple. We SEE Lance ; waiting, with his weapons - garlands of teeth around his neck, his face painted. FULL VIEW - MONTAGE Enemy ARTILLERY BLASTING away at the fortress. CLOSE SHOT - A MORTAR A hand drops a shell and it FIRES. CLOSE SHOT - ROCKET LAUNCHER It FIRES. EXPLOSIONS around the fort, red and orange and blue and green. They hit and grow, outward like some sort of cosmic flower. CLOSE SHOT - A FLAME - THROWER -LRB- ON TANK -RRB- Shoots out a stream of burning napalm that looks like a death ray gun, radiating outward with ice - blue energy. SHOT ON LOUDSPEAKERS blasting out music. MED. CLOSE VIEW ON YOUNG SOLDIERS With the MUSIC, like those people you see listening to radios in their cars. SHOT ON THE COMMAND BUNKER - WILLARD, KURTZ, OTHERS -LRB- In SLOW MOTION -RRB- Shells WHISTLE in and EXPLODE on the walls in the compound. The men behind them are setting up rocket launcher -LRB- missile -RRB-. Everywhere metal and rock and flame fly and it is beautiful to see. Willard looks through the infra - red sniper scope. WILLARD - INFRA - RED POV Strange, luminescent images of North Vietnamese approach - ing the outer perimeters. Thousands of them. FULL SHOT ON KURTZ KURTZ Mini - gun. Colby. Sergeant. Mini - gun. MED. SHOT - MINI - GUN A SERGEANT in feathered head - piece and wildly painted operates the mini - gun with several native helpers. SHELLS BURST around them. When they FIRE the SOUND is incredibly loud and steady like a high - pitched foghorn. A solid stream of molten lead seems to pour into the darkness as rounds a minute rip into the enemy. The pass of the lead reaches out in beautiful patterns as the Ser - geant sweeps the area. The sergeant laughs maniacally as the GUN resumes FIRING, right up to the moment he is blown to eternity by an all - engulfing 105mm shell. VIEW ON WILLARD Exhilarated, and moving with the MUSIC. WILLARD Napalm. Colby pushes a row of plungers : Advancing NVAs il - luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. VIEW ON KURTZ KURTZ Claymores, claymores. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv - ing in front of us. The SCREAMS of maimed and dismembered men almost pene - trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. FULL SHOT - NVA CHARGE through wires and claymore glass, each wilder and more extreme. They burn in the pools of luminescent napalm but press relentlessly on. SHELL BURSTS overhead. They chant to themselves as they advance. NVA have reached the walls and throw down scaling ladders and start up. Suddenly the sky is bright with flares which produce weird psychedelic light. Blared out at tremendous vol - ume over and above the DIN OF BATTLE is LIGHT MY FIRE. FULL SHOT - WALL - EVERYBODY The Americans and Montagnards stand up screaming. Spurred by MUSIC, they charge up. M - 16's in both hands, blasting, kicking, bayoneting, gouging, splittin throats, biting necks, both sides collide in the utter and most horrible savagery. MED. SHOT - WILLARD standing on the wall BLASTING as bodies fall around him ; he thrusts his bayonet into one attacker, removes it with a foot and stabs another. From him he takes his AK47 and BLASTS more as they come. MED. SHOT - LANCE The VC rush his position. Willard trips a claymore that BLASTS most of them to shreads. More fill in. Lance opens up FULL AUTOMATIC. Willard and Lance move down to the nest wall, FIRING, bodies tumbling over. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up - FIRES a final BURST and then falls under the enemy's feet. VIEW ON MOONBY sees this and scampers off into the jungle, muttering madly to himself. MED. VIEW - WILLARD AT THE R.T. shouting into the radio WILLARD Code - Street Gang - Street Gang! Purgative air strike ; Street Gang! He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting their way through the NVA masses like torches through metal. FULL SHOT - COMMAND POST - KURTZ Kurtz watches as invaders swarm through his domain. Women and children rush upon him now. Kurtz flicks some switch - es and the whole north wall EXPLODES in overwhelming FIRE. The gates are uprooted. The stone lions tumble, crushing men below. Kurtz cocks an M - 16 and walks off the bunker. VIEW ON WILLARD watching this spectacle. MED. SHOT - DIFFERENT ANGLE - KURTZ He rounds the shadow wall. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They do n't see him. He braces the gun at his side and steps out. KURTZ -LRB- yelling. -RRB- Charles! They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. MED. SHOT - LOW ANGLE - KURTZ taking swings with his rifle, standing atop the wall and battering the oncoming enemy like Davy Crockett at the Alamo. FULL VIEW - THE FORTRESS The air strike hits with all its force. Balls and rain of fire sweeps down on the temple, the enemy, everything. It is the biggest firework show in history. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. TRACKING SHOT ON WILLARD following Kurtz's trail in the mud. He has crawled on all fours back into the jungle to die. He stalks Kurtz into the jungle ; moving around and cutting off the crawling Kurtz KURTZ Go away - hide yourself. WILLARD What are you doing? KURTZ Going back - to the jungle to die. WILLARD I'm taking you back. You can still live. KURTZ I had immense plans. WILLARD I'm gon na get you out of here. KURTZ I was on threshold of great things. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g.","EXT. THE P.B.R. - THE RIVER This wreck of a boat is still afloat. Willard crawls out of the jungle, carrying the dying Kurtz and manages to get him onto the boat. EXTREME FULL SHOT The spectacle of total psychedelic war : the fortress of Nu Mung Ba. FADE OUT. FADE IN.","EXT. THE TEMPLE - MORNING The entire temple is devastation. Vultures by the hundreds circle overhead. There are a few survivors. Everywhere is smoke and heaps of bodies. Colby, a Sergeant, and some Montagnards sit near them. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. COLBY Who is he? WILLARD He was the tragedy - the tragedy of this war. THE P.B.R. battered, moving slowly down the river. TIGHTER VIEW Colby is at helm. Kurtz lies feverish, delirious. Willard sits by him. As the boat moves, Montagnards, those left alive, come and pay their respects by the riverbanks. Colby takes an automatic weapon and FIRES it into the air. Some of the natives move in terror, frightened of him. The battle is not over. KURTZ Do n't. Do n't frighten them away. Willard looks down at him. WILLARD So you understand this? Kurtz looks up at him, past him with fury, longing in his eyes. There is a slight smile. KURTZ Do I not?","EXT. RIVER - MED. VIEW The boat moves as though naturally carried by the river. KURTZ My river. my people. my jungle. my ideas. my country. my wife. -LRB- he looks at Willard. -RRB-. my death. WILLARD You had immense plans. immense plans. KURTZ Yes. WILLARD I'm taking you back. Kurtz looks up to him, then an expression of overwhelming intense and hopeless terror, hopeless despair. A whisper at some image, at some vision, he cries out twice, a cry that is no more than a breath. KURTZ The horror, the horror. We HEAR the distant SOUND of HELICOPTERS approaching. The SOUND of ROTORS in the distance. They look up, craning their eyes at the sky. Colby points. COLBY There. Over the jungle mountains the small formation of MEDEVAC helicopters hooping toward them. COLBY -LRB- continuing. -RRB- How did they know? WILLARD They must have seen the fire. The helicopters are closer now but high up. Two of them breaking off, spiraling in TOWARD US. COLBY They're coming to rescue us. They're Medevac. CLOSE SHOT ON WILLARD He stares up at the sky. WILLARD -LRB- to himself. -RRB- They're coming to take us back. Copters directly overhead. WILLARD -LRB- continuing. -RRB- Yeah. COLBY Colonel Kurtz, he's dead. WILLARD Yeah. He raises his M - 16 and FIRES the entire clip at the ap - proaching rescue helicopter. FULL SHOT - THE COPTER It frantically pours on the power and wheels up to the sky. FULL SHOT - WILLARD, COLBY WILLARD Yeah. Colby takes his rifle and joins Willard in FIRING at the retreating American helicopters. HELICOPTER'S POV - ON THE BOAT The men in the boat FIRING AT US as we fly further into the air, the boat getting smaller and smaller. WILLARD -LRB- V.O. -RRB- Do n't remember a lot about my rehabilitation. but I was sent back to the world before the fall of Saigon.","EXT. MARINA DEL RAY - EXTREME HIGH ANGLE - NIGHT MOVING DOWN back to the pleasure boat at the Marina. Pause. Willard is very silent. WILLARD I never answered questions about Kurtz - I gave them a few of his unimportant papers - but for the most part I saved everything. There were other letters, personal ones written earlier to his wife. I brought them to het. I watched the fall of Saigon on television in a bar in Alameda.","EXT. CALIFORNIA NEIGHBORHOOD - DAY A bright clear day in a scrubbed - clean California neigh - borhood. Some kids are playing in the street. Willard, years later, dressed as a civilian, proceeds past the lawn to the attractive home, carrying a packet under his arm. He passes a lanky, young teen - aged boy working on a motor - scooter. Willard looks at him. The boy looks back. WILLARD Hi. Then the door opens, and KURTZ'S WIFE is standing at the door. She is still beautiful, blonde, and dressed in mourning even though she does n't wear black. There is a sense of purity about her, though she is not young. KURTZ'S WIFE Come in, Captain Willard. He enters.","INT. KURTZ'S HOME - DAY Everything good and secure and desirable about America. She stands in the center of the room, a little nervous. KURTZ'S WIFE Can I get anything for you? There are pictures of Kurtz, not too many. but he is there in the various stages of his career. Then she sits suddenly, and Willard sits by her. KURTZ'S WIFE -LRB- continuing. -RRB- Did you know him very well? WILLARD You get to know each other pretty well out there. KURTZ'S WIFE And you admired him? WILLARD He was a remarkable man. It was impossible not to - KURTZ'S WIFE Love him. Yes, it is true. That's the hard part for me. I knew him better than anyone. I knew him best. WILLARD You knew him best. KURTZ'S WIFE You were his friend. You must have been, if he had given you this. -LRB- the packet. -RRB- If he sent you to his home. He was the best this country had - he was - WILLARD Yes, I know. KURTZ'S WIFE I'll never get over it - But I'll always remember him. WILLARD Both of us. KURTZ'S WIFE Men looked up to him. -LRB- she loses herself in a thought. -RRB- He died as he lived. WILLARD His death was - yes, he died as he lived. KURTZ'S WIFE Were you with him, when. WILLARD Yes I was. He said his last words to me. Pause. MED. CLOSE SHOT ON WILLARD A little of the madness is still with him. He knows what she will ask. KURTZ'S WIFE What were they? MED. CLOSE SHOT ON KURTZ'S WIFE KURTZ'S WIFE Tell me. MED. CLOSE ON WILLARD remembering that incredible day moving down the river. Our VIEW LOOSENS KURTZ'S WIFE Tell me what he said. KURTZ -LRB- V.O. -RRB- The horror! The horror! WILLARD He spoke of you, ma'am. He sits there looking at her.","EXT. TIGHT HIGH ANGLE ON THE MARINA DEL REY BOAT The cocktail party is breaking up. Willard is one of the few guests left. We MOVE FROM Willard standing alone on the deck of the boat. Moving back through the departing guests. Charlie is getting ready to leave himself. We MOVE CLOSER to Willard.","EXT. THE RIVER - P.B.R. - DAY the boat floating down the river. Kurtz's body ; an exhaust - ed, half - dead Colby. And HOLDING Kurtz, Willard. We HEAR THE DOORS' `` THE END'' as we present the END TITLES. FADE OUT. THE END"],"string":"[\n \"PRIMEVAL SWAMP - EARLY DAWN It is very early in the dawn - blue light filters through the jungle and across a foul swamp. A mist clings to the trees. This could be the jungle of a million years ago. Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to the tepid water. A small bubble rises to the surface ; then another. Suddenly, but quietly, a form begins to emerge ; a helmet. Water and mud pour off revealing a set of beady eyes just above the mud. Printed on a helmet, in a psychedelic hand, are the words : `` Gook Killer.'' The head emerges revealing that the tough - looking soldier beneath has exceptionally long hair and beard ; he has no shirt on, only bandoliers of ammunition - his body is painted in an odd camouflage pattern. He looks to the right ; he looks to the left ; he looks INTO CAMERA, and slowly sinks back into the swamp, disapperaring completely. Our VIEW HOLDS, We begin to HEAR natural, though unrecognizable JUNGLE SOUNDS, far off in the distance. We PAN TO REVEAL a clump of logs half submerged in the swamp ; and part of what seems to be a Falstaff beer can in the mud. A hand reaches out, and the beer can disappears. As we TILT UP, we NOTICE that the log is hollow and houses the rear of a M - 60 machine gun, hand painted in a paisley design. Now the VIEW MOVES AWAY, ACROSS the ancient growth, PAST the glimmer of what seems to be another soldier hiding in ambush, wearing an exotic hat made from birds and bushes. ACROSS to a dark trail where the legs of those in black pajamas move silently across our ever TIGHTENING VIEW. Their feet, boots and sandals leave no impression ; make no sound. A slight flicker of light reveals a pair of eyes in the foliage across the path, waiting and watching. The VIEW PUSHES ALONG WITH the Vietnamese, MOVING FASTER AND FASTER WITH them, until suddenly, directly in front about ten feet away, an enormous AMERICAN clad in rags and bushes and holding a 12 gauge automatic shotgun casually at his side, steps in front of them. He smiles laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH US. By the second shot, the whole jungle blazes out with AUTOMATIC FIRE. Out VIEW TURNS as the men around us are thrown and torn, screaming and scattering into the jungle. More AMERICANS appear ; unexplainably, out of the growth. It is now that we fully SEE the bizarre manner in which they are dressed. Some wear helmets, others wear strange hats made from feathers and parts of animals. Some of them have long savage - looking hair ; other crew - cut or completely shaved ; they wear bandoliers, flak jackets, shorts and little else. They wear Montagnard sandals or no shoes at all, and their bodies and faces are painted in bizarre camouflage patterns. They appear one with the jungle and mist, FIRING INTO US as they move. The soldier we saw earlier emerges from the swamp, dripping mud, his MACHINE GUN BLASTING FIRE. We begin to move quickly with one Vietnamese, breathlessly running for his life ; we MOVE INTO the jungle with him, only to be impaled on a large spear of a smiling AMERICAN painted and wearing feathers like an Indian. OUR VIEW FALLS WITH him to the ground, STARING UPWARDS, as FLAME and EXPLODING MUD scatter above us. Men scream and die around us. The screams amid the GUNFIRE and EXPLOSIONS are piercing and terrible, as though the jungle itself is frightened. An AMERICAN wearing a jungle hat with a large Peace Sign on it, wearing war paint, bends TOWARD US, reaching down TOWARD US with a large knife, preparing to scalp the dead. OUR VIEW MOVES AWAY, along with the running sandals of a Vietnamese soldier, MOVING FASTER AND FASTER, only to be stopped by still another of the savage - looking AMERICANS with primitive ornamentation, wearing only a loin - cloth and green beret. He opens his flame - thrower directly ON US and the NVA soldier and we are incinerated in flame, bright psychedelic orange - red flame. Outrageous, loud, electric ROCK MUSIC OVERWHELMS the SOUNDTRACK : MAIN TITLE : APOCALYPSE NOW\",\n \"TITLE SEQUENCE The CREDIT TITLES proceed as the FLANE CONSUME US, growing more intense, brighter, more vivid, purifying ; transforming into an intense white heat that we can barely look at, like the sun itself. Then it EXPLODES, breking apart, and shattering once again. It begins to cool, as the TITLES CONTINUE. It is as though WE ARE MOVING through the white center of cooling flame, forming a spinning web, and becoming more distant. The TITLES CONTINUE. We are MOVING TOWARD planetary nebulae ; MOVING through the stars ; MOVING closer to the Earth. We can BARELY HEAR the MUSIC now. We MOVE CLOSER to the earth ; beautiful, covered in clouds, as though SEEN from a satellite. The TITLES CONTINUE. We are MOVING CLOSER to the earth ; through the soft clouds, close enough that we can MAKE OUT the Western Hemisphere ; CLOSER to North America ; CLOSER, to America, then California ; Los Angeles, STILL CLOSER to the odd, finger - like shapes of :\",\n \"EXT. MARINA DEL REY The VIEW finally SETTLES ON a partically luxury cabin cruiser harbored at a particular dock late in the day. It is large, pleasure boat : The people are relaxing in bathing suits and towels and robes. They are drinking cocktails, and snapping pictures. The boat belongs to the head of a large American Corporation, and this is his party. This man, CHARLIE, is sitting, his shirt off to catch some of the late sun. Others have their faces smeared with white suntan oil that reminds us of war paint. Charlie is going on and on : CHARLIE It's crazy - sugar is up to 200 dollars a ton - sugar! LAWYER What about oil? CHARLIE Food, oil - look, let me show you something. This is the economy of the United States in two years - He takes a newspaper, draws a circle. CHARLIE -LRB- continuing. -RRB- This is West Germany. -LRB- he draws another, bigger circle. -RRB- This is Japan. -LRB- another, bigger. -RRB- This is Italy. -LRB- a dot. -RRB- This is Iran. -LRB- a very big circle. -RRB- And this is Saudi Arabia. In two years? -LRB- a gigantic circle. -RRB- Do you understand? ACCOUNTANT What's to prevent it? CHARLIE Maybe nothing. But I'll tell you, I did n't build a two - billion - dollar company in the last twenty years by doing nothing. We can protect our interests. -LRB- pause, for a drink. -RRB- We are still the most powerful nation in the world. Militarily. He leans to his associates, in a half - whisper. CHARLIE -LRB- continuing. -RRB- You know bodyguard ; he was a captain in Viet Nam. You talk to him, except he wo n't talk. This kind of man can kill you with his pinky. A nice quiet fella, though. The VIEW BEGINS TO PULL AWAY from this group. CHARLIE -LRB- continuing. -RRB- Carries a attache case at all times. You know what's in it? -LRB- another sip. -RRB- An Ingram Machine pistol. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : CHARLIE I do n't tahe chances, and neither should this country. If we're strong, we should protect our interests, and we should have the respect of the world, even if it takes another war. WILLARD -LRB- V.O. -RRB- Bullshit. You can kill with the ridge of your with the ridge of your hand to the throat ; you can crush a skull with your knee. but you ca n't kill anybody with your pinky. The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. WILLARD -LRB- V.O. -RRB- The attache case has been empty for three years, but it makes him safe to think there's a machine pistol in it. I do n't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M - 16 to automatic, and it jammed. How much money did the contractors make on the M - 16? Our VIEW IS MOVING through the people on the boat ; some reading, flirting, drinking. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- He likes to hear stories about Nam. I tell him I ca n't ; they're not cleared. The truth is he would n't understand. We can now SEE A MAN with his BACK TO US, looking the opposite way. An attache case resting near to him. We MOVE CLOSER. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- There's no way I can tell them. what really happened over there. I would n't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we can not see his face. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- There was only one part that mattered - for me, anyway. I do n't even know if I remember all of it. I ca n't remember how it ended, exactly - because when it ended I was insane.\",\n \"EXT. A STREET IN SAIGON - DAY A Saigon boom street in late 1968. There are bars and shops for servicemen ; the rickshaws, the motorbikes. Our VIEW MOVES TOWARD one particular officer ; B.L. WILLARD, in uniform, a Captain of the Airborne, followed by four or five Vietnamese kids trying to shine his shoes and sell him things. WILLARD -LRB- V.O. -RRB- But I know how it started for me - I was on R. and R. in Saigon ; my first time south of the DMZ in three months. I was n't sure, but I thought this guy was following me. Willard looks back. HIS VIEW an American CIVILIAN. MED. VIEW Willard ducks into a bar.\",\n \"INT. THE SAIGON BAR - DAY Not much in this place - a bar, linoleum flooring, a few tables and chairs, and a juke box. The lounge is fairly crowded. Willard takes off his cap and walks quietly past the soldiers at the bar. Some of them, catching sight of his ribbons, stop talking as he moves by. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. CAPTAIN How about a drink? WILLARD Sure, thanks. He sits down at the table with the drinks. CAPTAIN Winning the war by yourself. WILLARD -LRB- he calls for the waiter. -RRB- Part. CAPTAIN Which part is that? WILLARD My part. -LRB- TO THE WAITER. -RRB- Beer, with ice and water. CAPTAIN That's good gin. WILLARD I'm sure it is, but I had hepatitis. CAPTAIN Delta? WILLARD No. CAPTAIN North? WILLARD Yeah. Way north. CAPTAIN What unit were you with? WILLARD None. CAPTAIN Rangers, eh? WILLARD Sort of. The JUKE BOX starts BLARING. Annoyed, Willard looks over his shoulder. CAPTAIN Were you Longe Range Recon - WILLARD No - I worked too far north for LRRP. He reaches into his shirt pocket for a cigarette, and the Captain leans over the table to light it for him. Willard notices the CIVILIAN on the street has glanced in the bar, then enters and sits down at a table by the doorway. CAPTAIN That's quite an array of ribbons. WILLARD Let's talk about you. CAPTAIN I was an FO for the 25th. WILLARD Tracks? CAPTAIN Yeah. WILLARD Fat. That's real fat. CAPTAIN Sometimes. WILLARD At least you always have enough water. How many gallons does each one of those damn things carry? CAPTAIN Thirty - sometimes fifty. WILLARD You know, I can remember once, getting back below the DMZ - and the first Americans we ran into were a track squadron. I just could n't believe how much water they had. We'd been chewing bamboo shoots for almost a week, and before that, for two weeks, we'd been drinking anything - rain water, river shit, stuff right out of the paddies. And there were these guys standing by their trucks spilling water all over. I could've killed them. -LRB- solemnly. -RRB- I swear to God I would have, too, if. CAPTAIN I did n't know we had units up there in North Vietnam. WILLARD We do. CAPTAIN How long were you up there? WILLARD A long time. CAPTAIN A year? Waiter another beer. WILLARD I go up on missions. Listen Captain, buy me all the beer you want, but you better tell that asshole over there you're not going to find out anymore about me. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. WILLARD -LRB- continuing. -RRB- What do you want? CIVILIAN -LRB- indicating the Army jeep. -RRB- If you're B.L. Willard, 4th Recon Group, we'd like you to come with us. WILLARD Whose orders? CAPTAIN Headquarters 11 Corps - 405th A.S.A Battalion - S - 2 - Com - Sec - Intelligence - Nha Trang. WILLARD Who are you? CIVILIAN The agency. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows.\",\n \"EXT. HELICOPTER - DUSK A darkly painted `` HUEY'' ROARS over low paddies and jungle before emerging onto an open plain. It crosses a barbed wire and sand - bagged perimeter and lands in a heavily fortified, concealed compound. WILLARD -LRB- V.O. -RRB- They took me to some place outside Nha Trang. Intelligence Headquarters for all operations in South East Asia. I'd worked for Intelligence before - Armed men jump from the Huey - among them Willard. A large camouflaged cover is moved, revealing an underground corridor - they enter. FULL SHOT - UNDERGROUND PLOTTING ROOM A door swings wide - Willard steps through and comes to attention, blocking the view of the room. A strange reddish light pervades. The room is covered with plastic maps and filled with smoke. The whole place has been hewn out of the ground itself and there is a sense of the cut - back jungle growth slowly reclaiming it. WILLARD Captain B.L. Willard, G - 4 Headquarters, reporting as ordered, sir. COLONEL -LRB- O.S. -RRB- Okay, Willard, sit down. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out on the bottom of his shoe - behind him sits a MAJOR and a seedy - looking CIVILIAN. COLONEL Have you ever seen this officer before, Captain Willard? He points to the Major. WILLARD No, sir. COLONEL This gentleman or myself? WILLARD No, sir. COLONEL I believe on your last job you executed a tax collector in Kontum, is that right? WILLARD I am not presently disposed to discuss that, sir. MAJOR Very good. He turns to the Colonel and nods his approval. The Colonel gets up and goes to a large plastic map. COLONEL You know much about about Special Forces ; Green Berets, Captain? WILLARD I've worked with them on occasions and I saw the movie, sir. The officer smiles at this. COLONEL Then you can appreciate Command's concern over their - shall we say ` erratic' methods of operation. -LRB- pause. -RRB- I have never favored elite units, Captain, including your paratroopers or whatever. Just because a man jumps out of an airplane or wears a silly hat does n't give him any priviliges in my book - not in this man's army. MAJOR We did n't need'em in Korea - no sir, give me an Ohio farm boy and an M - 1 Garand, none of this fancy crap - no sir. CIVILIAN -LRB- stopping him. -RRB- Major. COLONEL We have Special Forces A detachments all along the Cambodian border. Two here and another one here - twelve or fourteen Americans - pretty much on their own ; they train and motivate Montagnard natives ; pick their own operations. If they need something, they call for it, and get it within reason. What we're concerned with is here. CLOSE VIEW - ON THE MAP COLONEL The A detachment at Nu Mung Ba. It was originally a larger base, built up along the river in an old Cambodian fortress. The area has been relatively quiet for the past two years - but - MED VIEW COLONEL Captain, we know something's going on up there - Major - The Major looks at some papers in front of him. MAJOR Communications naturally dwindled with the lack of V.C. activity, this is routine, expected. but six months ago communication virtually stopped. COLONEL About the same time - large numbers of Montagnards of the M'Nong descent began leaving the area - this in itself is not unusual since these people have fought with the Rhade Tribe that lived in the area for centuries. But what is unusual is that we began to find Rhade refugees too - in the same sampans as the M'Nongs. These people are n't afraid of V.C. They've put up with war for twenty years - but something is driving them out. MAJOR We communicate with the base infrequently. What they call for are air strikes, immediate - always at night. And we do n't know what or who the air strikes are called on. WILLARD Who? MAJOR You see, no one has really gone into this area and come back alive. WILLARD Why me? MAJOR Walter Kurtz, Lieutenant Colonel, Special Forces. We understand you knew him. He puts Kurtz' dossier in Willard's hand. WILLARD Yeah. COLONEL He's commanding the detachment at Nu Mung Ba. The Colonel gets up and walks over to a tape recorder, flicks it on. The recording is first STATIC - the AIR CONTROLLER then asks for more information on target coordinates - it all sounds very routine, military. Then a frantic VOICE comes on, talking slurred, like someone dumb, except very fast. VOICE -LRB- ON TAPE. -RRB- Up 2 - 0 - give it to me quick - Mark flare - affirmative damn - Immediate receive - hearing automatic weapons fire man. GUNFIRE is HEARD and a lower, slower VOICE in background. SECOND VOICE Blue Delta five This Big Rhine - three Need that ordinance immediately Goddamn give it to me immediate Christ - Big Rhino - Blue God - Delta damn - goddamn. A heavy BURST of AUTOMATIC WEAPONS FIRE - INSANE LAUGHTER - STATIC, and faintly, very faintly we HEAR HARD ROCK MUSIC - more STATIC - suddenly a low, clear VOICE peaceful and serene, almost tasting the words. THIRD VOICE This is Big Rhino six - Blue Delta. MAJOR That's Colonel Kurtz. KURTZ -LRB- V.O. -RRB- I want that napalm dropped in the trees - spread it among the branches. We'll give you a flare - an orange one - bright orange. -LRB- STATIC. -RRB- We'd also like some white phosporous, Blue Delta. White phosporous, give it to me. STATIC interrupts - the Major turns the machine off. WILLARD I only met Kurtz once. CIVILIAN Would he remember you? WILLARD Maybe. COLONEL What was your impression of him? Willard shrugs. CIVILIAN You did n't like him. WILLARD Anyone got a cigarette. The Major offers him one ; they wait as he lights up, thinks. WILLARD -LRB- continuing. -RRB- I thought he was a lame. COLONEL A lame? WILLARD This is years ago, before he joined Special Forces, I guess. We had an argument. COLONEL About what? WILLARD I do n't know. He was a lame, that's all. COLONEL But why? WILLARD He could n't get through a sentence without all these big words ; about why we kill. COLONEL Well, he's killing now. WILLARD Maybe. CIVILIAN What does that mean? WILLARD Maybe it's not Kurtz. I do n't believe he's capable of that. I just do n't believe it. COLONEL It's got to be Kurtz. CIVILIAN The point is that Kurtz or somebody attacked a South Vietnamese Ranger Platoon three days ago. Last week a Recon helicopter was lost in the area - another took heavy damage - direct fire from their base camp. WILLARD Our Recon flight? CIVILIAN Ours. WILLARD Touchy. CIVILIAN You can see, of course, the implications, if any of this - even rumours leaked out. WILLARD You want me to clean it up - simple and quiet. CIVILIAN Exactly - you'll go up the Nung River in a Navy P.B.R. - appear at Nu Mung Ba as if by accident, re - establish your acquintance with Colonel Kurtz, find out what's happened - and why. Then terminate his command. WILLARD Terminate? CIVILIAN Terminate with extreme prejudice. FULL VIEW - ON THE DELTA A waterway leading out to the ocean - it is broken and divided into hundreds of channels, islands, water farms. A Navy patrol boat -LRB- P.B.R. -RRB- is waiting by a dock area. This is small, light craft, very fast, and heavily armed. Its men stand at attention in a small and simple military ceremony. Willard approaches them in battle - dress : Tiger suit, full field pack, forty - five, helmet, M - 16. The boat commander salutes Willard. MED. VIEW We hear the introductions faintly, UNDER Willard's VOICE. WILLARD -LRB- V.O. -RRB- I met the P.B.R. crew ; they were pretty much all kids, except for Phillips, the Chief - Gunner's Mate Third Class L. Johnson - Lance Johnson ; Gunner's Mate Third Class J. Hicks - The Chef - Radio Operator Second Class T. Miller ; they called him Mr. Clean. WILLARD Chief, try to keep out of where we're going - Why we're goin' and what's gon na be the big surprise. CHIEF All right with me, I used to drive a taxi. WILLARD Let's go. The Chief nods. They all break formation and jump aboard and otherwise go about their work. The twin diesels kick up - and t he boat moves away from the dock. The Chef jumps aboard ; Lance mans the forward twin fifty - caliber machine guns - they wave to the guards on the dock and move away into the complexity that leads to the ocean. FULL VIEW - STORMY SEA The boat slams through the heavy sea ; hurtling off the top of a wave and crashing full into the trough of another. MED. SHOT - BOAT COCKPIT - WILLARD AND CHIEF Willard holds on to whatever he can - he looks very pale. Water crashes over the bow and drenches everyone. The Chief mans the wheel and the ENGINES WHINE. Lance climbs back from his position. He looks at Willard, who just stares ahead into space, swallowing. LONG SHOT - BOAT DUSK The dusk is spectacular through the broken storm clouds - the sea is calm again. VIEW ON THE BOAT - PROCEEDING UP THE COAST The Chief is at the helm - Willard approaches him. CHIEF The Delta closes off to us about ten miles out of Hau Fat. We'll be able to pick up some supplies - bit I think there are only two points we can draw enough water to get into the Nung River. It's all Charlie's turf from there on out. WILLARD We're gon na have some help to get in the river. You know these waters, Chief? CHIEF ` Bout six months ago I took a man up to Lo Mung Bridge. He was regular Army too. Shot himself in the head. I brought his body back down. WILLARD Shot himself. What for? CHIEF Beats me - the sun was too much for him, or the mud. Who knows? Pause, looking at Willard. CLOSE SHOT - ON WILLARD Suddenly, his attention is diverted - there is a slow buffeting, as if the air around them is being sucked out and replaced quickly. The boat shakes slightly. There is a distant ROLLING NOISE like interrupted thunder. All the men have stopped whatever they're doing - stand up and look out toward the shore and the green jungle hills beyond. The buffeting and NOISE CONTINUES - they all stand silently - suddenly it stops. WILLARD Arch light. CHEF I hate that - Every time I hear that noise something terrible happens. CHIEF Anybody see some smoke? CLEAN Too far inland. LANCE There they are. He points up to the sky. FULL SHOT - ON THE SKY Way up - past any clouds and barely discernible, we SEE the black silhouttes of four B - 52 bombers, their vapor trails streaming white against the dark blue sky. CLEAN Charlie do n't ever hear'em. Not till it's too late - do n't have to hit you neither, concussion'll do it for a quarter mile or better. Burst your ears - suck the air outta your lungs. FULL SHOT - BOAT - CREW They are looking up. Willard sits down, unconcerned. He takes out the dossier given him by ComSec. He flips through the letters and other documents. WILLARD -LRB- V.O. -RRB- The dossier on A detachment had letters from Kurtz' wife and the wives and families of his men. All asking where to send future mail, understanding the necessery silence due to the nature of their work - None of the men had written home in half a year. Occasionally, in the b.g., we FEEL the terrifying buffeting of the distant B - 52 BOMBING. CLOSE - ON WILLARD studying, examining a report. MONTAGE - PICTURES OF KURTZ Kurtz' face evolves through the various stages of his career as represented in the pictures in the dossier, as Willard reads : WILLARD -LRB- V.O. -RRB- Lieutenant Kurtz has shown a dedicated and well - disciplined spirit. He is a fine officer, combining military efficiency - with a broad background in the Humanities, the Arts and Sciences. Another picture of Kurtz in Germany, standing next to the 161st Petroleum Supply Group sign. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. He views his military career as the dedication of his talents to bringing our values and way of life to those darker, less fortunate areas in the world. A SHOT of Kurtz at jump school. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. I feel Captain Kurtz' request for Special Forces training is highly unusual in regard to his past humanitarian concerns, and his somewhat liberal politics, though I can see no reason to deny it. A CLOSE SHOT of Kurtz with Green Beret on in the Vietnam jungle. His face is blank and vacant. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. We feel Major Kurtz' need to bring a sense of Western culture to the backward peoples of these areas will be of use in accordance with our ` Vietnamization' programs. MOVE IN TO Kurtz' empty eyes until the photograph is just a BLURRED MASS OF DOTS.\",\n \"EXT. HAU FAT - AN ADVANCE STAGING AREA WILLARD -LRB- V.O. -RRB- One day later we came to an advanced staging area along the coast. This was our last chance to pick up supplies before approaching the mouth of the Nung River. The VIEW OF THE COASTLINE leading up along the long load - ing docks at Hau Fat, an advance staging area for opera - tions `` Brute Force'' and `` Mailed Fist.'' Everywhere are tents - oil drums - sandbagged bunkers - helicopters - tanks - guns - men. Nobody builds advanced staging areas like the Americans. As the P.B.R. approaches the docking area, Lance notices something. LANCE Hey. They look as a Chris - craft speeds by pulling a fancy water - skier who waves as he slaloms by. The men just look at one another. VIEW ON THE DOCK The P.B.R. pulls in - the men scan the busy surroundings. CHIEF Lance - I want you to go with the Captain an' get three extra drums of fuel and maybe scrounge some more 50 caliber. LANCE Yeah - look at those uniforms. FULL SHOT - PARADE GROUNDS - TROOPS A platoon drills in the hot, lazy sun ; they are clean and pale, in contrast to Lance and the others, just off the airplane. CHIEF Poor bastards, have a long year to go. The troops turn and march TOWARD US with six weeks of Advanced Infantry Training to back them up. FULL SHOT - DOCK - P.B.R. - CREW They are tying up at the dock - a young SERGEANT is fill - ing cut papers concerning them and talking with Willard. SERGEANT I do n't know anything about these papers, sir. WILLARD They're in order - it's perfectly clean - just check with ComSec - Intel like I said. SERGEANT Well, you know I do n't have the priority to do that, sir. It says here not to contact Com - Sec - Int. Who's your commanding officer? WILLARD Right now - I am. SERGEANT Well who the hell verifies that? WILLARD I do. He signs it quickly, leaving the Sergeant totally confused. CHIEF No shit - what's all the activity for around here? SERGEANT The show - WILLARD What show? SERGEANT Big show in the parade grounds this noon - some boss stuff - WILLARD This - Bob Hope or the like - SERGEANT No sir, I think - this'll be a little bit different - CHIEF Where's it gon na be? He points - FULL SHOT - PARADE GROUNDS - PEDESTAL A large, well - built pedestal has been erected - this is surrounded by a deep moat filled with punji stakes and garnished with concertina wire. It is empty - FULL SHOT - PARADE GROUNDS - TROOPS The entire area around the pedestal and right up to the wire is mobbed with seething American fighting men. Some of these boys have just gotten here - others have been in the jungle for months. All have one thing in common, to see and if possible grab an American girl. Their need far surpasses that of the run - of - the - mill rapist, pervert, or child - molester. To counter their need of course are the moat, punji stakes and barbed wire - but implementing this are seven `` riot control positions'' equipped with the lastest in teargas launchers, attack - trained German shep - herds and assorted psychological warfare aides. Even so armed, the great mass of wild men are right up to the wire. FORWARD AREA jammed in the crowd CHEF It's really too much - I mean I've collected every picture of her since she was Miss December. CLEAN Yeah - you can really get hung up on them like the cat in the Delta. CHIEF What cat? CLEAN One that went up for murder - he was an Army Sergeant. CHIEF I never heard about that. CLEAN Yeah - he really dug his Playboy mag, man - I mean like he was there when it arrived - He just knew. CHEF So what happened? CLEAN He was working A.R.V.N. patrols and had one a them little cocky gook asshole Lieutenants - anyhow, the Lieutenant took his new Playboy one day, sat on the end of the dock, and would n't give it back. CHEF Yeah - typical A.R.V.N. CLEAN Then went too far - he sat there and starts mutilating the centerfold. Poking pins in her an' all that. Sergeant says, do n't do her like that. You leave your shitty little hands off that girl. Gook Lieutenant says Fuck you in Vietnamese - Sergeant says, do n't do that again. You'll wish you had n't. Then he stood up, flicked his iron to rock and roll and gave the little zero a long burst through the Playboy mag. Man, it blew him clean off the dock - Hell, just the magazine was floatin' there all full of holes. CHIEF They nail him for it bad? CLEAN He's in the L.B.J. - did n't give him no medals or nothing - In the b.g., we begin to HEAR a SWELL of TWO THOUSAND MALE VOICES ; the ENGINES of four helicopters approaching. All heads turn skywards while one descends onto the pedestal kicking up a lot of dust and general resentment. On the nose amd doors of the black Huey are painted large Playboy rabbits. Finally the blades are trimmed and a strange silence descends over the men. The door of the copter slides partially open - two young Green Berets step out with M - 16's to varied catcalls. When this abates a young, extremelly well - dressed man emerges. He is the epitome of a Hollywood AGENT. Hair is combed impeccably and free of dandruff - clothes are formal but hip - shoes are shined - Quite some dude - his presence causes some stirring but seems to strangely quiet the man. He walks over to the microphone. AGENT I'd like to say hello from all of us up here, to all of you out there. All of you who've worked so hard during Operation Brute Force - Paratroopers - Infantry - Airmen - Medics - Marines - and Sailors. And I want you to know that we feel proud of you and know how hard your job is. To prove it - we've brought some entertainment we think you're gon na like : The Playmate of the Year and her two runners up! He pulls open the door and three unbelieveably beautiful sex playmates in fringed go - go outfits leap out and start dancing to the Creedence Clearwater Revival singing `` Suzy Q.'' MONTAGE ON THE GIRLS AND MEN VARIOUS SHOTS as the girls dance in an incredibly erotic manner - smiling. The faces of the G.I.'s pass - their jaws drop - some look almost horrified. Chef is hypnotized - Mr. Clean cries. Chief mouths unspoken obscenities with sentimental tenderness. Others grab the air in front of them. With each movement their need increases by the square. FULL SHOT - PEDESTAL - GIRLS - MEN They crush forward starting to scream - men fall on the wire - the guards in the `` riot control positions'' forget - the attack dogs are trampled. The mob as one surges forward onto the wire. Men scream and fall into the moat, which is filling up fast. The Agent sees this all as he has seen it before. He casually pulls the pin of a smoke grenade ; the girls retreat into the copter - he follows, then the two Green Berets. The ROTARS WHINE - the black Playboy Huey lifts off just as the first crazed men reach it. They grab frantically for the wheels, but miss. The Huey wheels up into the blue sky, leaving them all below. Such are the ways of war.\",\n \"EXT. FULL VIEW - DAY The P.B.R. moving further up the primitive coastline. There are few signs of civilization ; no villages, no boats - just the overwhelming presence of the jungle. WILLARD -LRB- V.O. -RRB- Two days out of Hau Fat, there was nothing but us and the coastline. I felt like I had set off for the center of the earth. Suddenly, Chief looks out, ahead. CHIEF Smoke! WILLARD Where? They all turn. Chief points up the coast. FULL SHOT - THE COASTLINE A thick train of black smoke rises from the green jungle. WILLARD Black smoke. secondary burning. The Chief grabs field glasses. CHIEF Yeah - fishing village - helicopters over there. Hueys, lots of'em. WILLARD First Air Cavalry. They're the ones gon na get us into the River. FULL SHOT - THE BEACH AND VILLAGE A vast field of devastation - smashed and smoking palm trees - deep, ragged craters - gutted and burning huts - shattered sampans and bodies washing around in the surf. MED. SHOT - BEACH - WILLARD AND CREW They wade through the water to the beach where they are met by a heavily armed group of men. Overhead jets swoop by FIRING ROCKETS, the NOISE drowning out Willard's attempt at conversation with some of the men. We ca n't hear any of the talk, but we notice that the Sergeant turns up to a particular Huey, and points to it. FULL SHOT - HELICOPTERS Three Hueys swoop in low - they are heavily laden with machine guns - rockets and loudspeakers. The two out - side copters hover, while the center copter lands, raising a lot of dust. It cuts its rotors and the other copters pull up and off to the side. Two armed soldiers jump from the doors and stand with guns ready. Then a tall, strong looking man emerges. He wears a well - cut and neatly - stretched tiger suit. It is COLONEL WILLIAM KILGORE - tough looking, well - tanned, with a black mustache. He crouches over, holding his hat in the rotor wash. It is no ordinary hat but a L.A. Dodgers baseball hat. He walks out, and then stards to his full immense height and with his hands on his hips he surveys the field of battle. His eyes are obscured by mirror - fronted sunglasses. KILGORE -LRB- bellowing. -RRB- Lieutenant : Bomb that tree line back about a hundred yards - give me some room to breathe. A Lieutenant and radio man nod and rush off. CLOSE VIEW ON WILLARD He was not quite prepared for this. VIEW ON KILGORE turning to his GUARDS KILGORE Bring me some cards. GUARD Sir? KILGORE Body cards, you damn fool - cards! The soldier rushes over and hands him two brand new packages of playing cards wrapped in plastic. Two other soldiers get out of the copter and walk over. They are well - tanned and carry no weapons. They seem more casual about the Colonel than anyone else. The Sergeant walks up, leading Willard, the Chief and Lance. WILLARD -LRB- formally. -RRB- Captain B - L. Willard, sir - 4th Recon Group - I carry priority papers from Com - Sec Intelligence 11 Corp - I believe you understand the nature of my mission. KILGORE -LRB- not looking up. -RRB- Yeah - Na Trang told me to expect you - we'll see what we can do. Just stay out of my way till this is done, Captain. He cracks the plastic wrapping sharply - takes out the deck of new cards and fans them. The Colonel strides right past Willard with no further acknowledgement. The others follow, TRACKING VIEW The Colonel walks through the shell - pocked field of devastation. Soldiers gather around smiling ; as Kilgore comes to each V.C. corpse he drops a playing card on it - carefully picking out which card he uses. KILGORE -LRB- to himself. -RRB- Six a spades - eight a hearts - Is n't one worth a Jack in this whole place. The Colonel goes on about this business. TRACKING ON KILGORE moving through the corpses, dropping the cards. On of the two tanned soldiers rushes up and whispers something to him. He stops. KILGORE What? Here. You sure? The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. KILGORE -LRB- continuing. -RRB- What's your name, sailor? LANCE Gunner's Mate, Third Class - L. Johnson, sir. KILGORE Lance Johnson? The surfer? LANCE That's right, sir. Kilgore smiles - sticks out his hand. KILGORE It's an honor to meet you Lance. I've admired your nose - riding for years - I like your cutback, too. I think you have the best cutback there is. LANCE Thank you, sir. KILGORE You can cut out the sir, Lance - I'm Bill kilgore - I'm a goofy foot. VIEW ON WILLARD His entire, top priority mission has been put in the background. KILGORE -LRB- O.S. -RRB- This is Mike from San Diego and Johnny from Malibu - they're good solid surfers - none of us are anywhere near your class, though. Lance blushes, sort of mumbling thanks. WILLARD My orders are from Com - Sec Intel - B.L. Willard, 4th Recon - KILGORE Just hold up a second, Captain - I'll get to you soon enough - We've got things to do here. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in - discriminately on the bodies as they talk. KILGORE -LRB- continuing. -RRB-. we do a lot of surfing around here. Like to finish up operations early and fly down to Vung Tau for the evening glass. Have you ever surfed the point at Vung Tau? I liked the beach breaks around Na Trang a lot - good lefts. He passes a twisted gun emplacement with about five bodies - sprinkles cards all over them. KILGORE -LRB- continuing. -RRB-. we keep three boards in my Command Huey at all times. You never can tell when you're gon na run into something good. I got a guy in Cam Rau Bay that can predict a swell two days in advance. We try to work it in. He stops at a particularly wild - looking Viet Cong who has died with his mouth agape - staring wild - eyed in horror at the sky. Kilgore pauses. KILGORE -LRB- continuing ; to himself. -RRB- Hell, that's an Ace if I ever saw one. He puts the card in the gaping mouth. CLOSE VIEW OVER THE VIET CONG We SEE the Colonel and the others walk off - the dead Viet Cong and card are in the immediate f.g.. The card has the shield of the CAV printed bautifully, and above it the motto : DEATH FROM ABOVE. KILGORE Where've you been riding, Lance? LANCE I have n't surfed since I got here. KILGORE That's terrible - we'll change that - I'd like to see you work - I've always liked your cutback ; got a hell of a left turn, too.\",\n \"EXT. THE HELICOPTER - MED. SHOT Willard is sitting with Kilgore on acouple of chairs by a table set up in front of the command copter. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc.. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. KILGORE Why the hell you wan na go up to Nu Mung Ba for? WILLARD I got bored in Saigon. KILGORE What's the furthest you been in? WILLARD Haiphong. KILGORE Haiphong? Shit, you jump in? WILLARD No. Walked. KILGORE What'd you do for supplies? WILLARD -LRB- he shrugs. -RRB- Mercenaries - agents, traitors - they put out caches. KILGORE Can you trust them? WILLARD No. They put out two or three for every one I needed. When you get to the one you'll use, you just stake it out. If something feels wrong, you just pass it up. On one mission, I had to pass up three and ended up living on rats and chocolate bars. KILGORE Nu Mung Ba. Last I heard, Walter Kurtz commanded a Green Beret detachment at Nu Mung Ba. WILLARD When did you hear? KILGORE ` Bout a year ago? Is Kurtz still alive? WILLARD Who knows. KILGORE Seems to me he got himself fragged. i heard some grunt rolled a grenade in his tent. Maybe a rumor. Helluva man - remarkable officer. Walter Kurtz woulda been a General some day. General of the Army. Shit, Head of the Joint Chiefs of Staff. Did you knew Kurtz? WILLARD I met him. KILGORE Do n't you agree? WILLARD He musta changed! -LRB- pointing to the map. -RRB- I got to get into the Nung River, here or here. KILGORE That village you're pointing at is kinda hairy. WILLARD Hairy? KILGORE I mean it's hairy - they got some pretty heavy ordnance, boy - I've lost a few recon ships in there now and again. WILLARD So? I heard you had a good bunch of killers here. KILGORE And I do n't intend to get some of them chewed up just to get your tub put in the mouth of the goddman Nung River. You say you do n't know Kurtz? WILLARD I met him. KILGORE You talk like him. I do n't mind taking casualties, Captain, but I like to keep my ratio ten to one in this unit - ten Cong to one. WILLARD You'll find enough Cong up there. KILGORE What about this point here? He puts his finger on the map. KILGORE -LRB- continuing. -RRB- What's the name of that goddamn village - Vin Drin Dop or Lop ; damn gook names all sound the same. He motions to one of his surfers. KILGORE -LRB- continuing. -RRB- Mike, you know anything about the point at Vin Drip Drop? MIKE Boss left. KILGORE What do you mean? MIKE It's really long left slide, breaks on the short side of the point - catches a south swell. LANCE Nice. Willard looks at Lance - then at Kilgore. KILGORE Why the hell did n't you tell me about that place - a good left. -LRB- to Willard. -RRB- There are n't any good left slides in this whole, shitty country. It's all goddamn beach break. MIKE It's hairy, though. That's where we lost McDonnel - they shot the hell out of us. It's Charlie's point. KILGORE How big it is? MIKE Six to eight feet. Kilgore gazes out across the parked helicopters. KILGORE -LRB- to himself. -RRB- A six - foot left. Willard nudges Lance - who gets the idea. LANCE Boss. What's the wind like. MIKE Light off shore - really hollow. WILLARD We could go in tomorrow at dawn - there's always off - shore wind in the morning. CHIEF The draft of that river might be too shallow on the point. KILGORE Hell, we'll pick your boat up and lay it down like a baby, right where you want it. This is the Cav boy - airmobile. I can take that point and hold it as long as I like - and you can get anywhere you want up that river that suits you, Captain. Hell, a six foot left. -LRB- he turns to an advisor. -RRB- You take a gunship back to division - Mike, take Lance with you - let him pick out a board, and bring me my Yater Spoon - the eight six. TOM I do n't know, sir - it's - it's - KILGORE -LRB- hard. -RRB- What is it? TOM Well, I mean it's hairy in there - it's Charlie's point. Kilgore turns and looks to Willard, exasperated. WILLARD Charlie do n't surf. FULL SHOT - HELICOPTERS - DAWN What seems like hundreds of Hueys standing, their rotors churning a great wind - Inside, the men of the 1st Cavalry Airmobile - toughest unit in Vietnam. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. MED. VIEW Kilgore strides up to the side door, dressed for battle. He looks out, around. He turns to his door GUNNER. KILGORE How do you feel, boy? GUNNER Like a mean motherfucker, sir. He turns to his R.T. man. KILGORE Let's go. FULL VIEW Helicopter rotors build up speed - gas turbines belching fire from their jet pipes - dust flying as fifty helicopters rise ; ROAR OVER CAMERA and deploy into attack formation. NEW VIEW Helicopters moving THROUGH the FRAME : almost a dance of dragonflies.\",\n \"INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD, OTHERS Willard looks ahead - Kilgore sits near the door. Below they see the jungle whisk by and they are suddenly over the ocean, low and fast. MONTAGE CLOSE SHOTS of rocket pods - mini - guns in bizarre looking mounts. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men - nervous, excited very few of them really scared - they fondle their rifles, grenade launchers, anti - personnel grenades, claymore mines ; plastic explosives cord ; flame - throwers ; M - 60 machine guns ; expandable rocket launchers ; mortars and bayonets.\",\n \"INT. COMMAND COPTER Kilgore cranes his neck and almost leans out to watch the waves - then he sits back relaxed. KILGORE -LRB- to Willard. -RRB- We'll come in low out of the rising sun - We'll put on the music about a mile out. WILLARD Music? KILGORE Yeah. Classical stuff - scares the hell out of the slopes - the boys love it. MED. SHOT POV behind the PILOT and CO - PILOT - the ocean rushes below. PILOT Big Duke six to Eagle Thrust - turn on coordinates 1 - 0 - niner, assume attack formation. The helicopter banks into a tight turn and bears toward the coast. RADIO -LRB- V.O. -RRB- Eagle Thrust formation target 2800 yards - begin psch - war operations. CLOSE SHOT - LOUDSPEAKERS The ocean rushes below as suddenly the LOUDSPEAKERS BLARE out Wagner's `` Ride of the Valkyries.'' FULL SHOT - HELICOPTERS From the water we SEE the massive grouping of Hueys - gun - ships - troop carriers - medevac and recon - ROAR over low in battle formation BLARING out `` Ride of the Valkyries.''\",\n \"INT. HELICOPTER - MED. SHOT -CREW POV behind pilot - PILOT 700 - 600 yards - 500 - Commence firing. The whole copter shakes.\",\n \"EXT. VIET CONG FISHING VILLAGE - FULL SHOT A Vietnamese coastal fishing village built along the beach and palm trees - with rice paddies behind. This village commands a delta where ocean and river merge. Sampans are pulled into a cover where they are being unloaded. We SEE bunkers with N.V.A. regulars ambling about. Suddenly we HEAR the distant MUSIC - Everyone stops ; they stare out to see. Men scream orders - women run from huts bearing ammunition and rifles - Everywhere there is activity to prepare for the defense of the village. Camouflage is removed from anti - aircraft emplacements. People feverishly unlimber weapons of all types and run to tunnels and trenches. The MUSIC GROWS LOUDER with the FAINT SOUND of ROTORS\",\n \"EXT. THE HELICOPTER FORMATION - AERIAL VIEW coming directly at us ; WAGNER BLARING. HIGH ANGLE looking down through the helicopters as they approach the village.\",\n \"INT. HELICOPTER - MED. SHOT - CREW POV behind pilot PILOT 700 yards - 600 - 500 - commence firing. The whole copter shakes.\",\n \"EXT. HELICOPTERS - MONTAGE We SEE rockets ROAR from pods - MACHINE GUNS RATTLE - grenade launchers POUND away - and MINI - GUNS pour streams of lead and tracers with the SOUND of a DIESEL HORN. FULL SHOT - HELICOPTERS POV behind lead gunship. They ROAR in over the beach streaming FIRE from doors, pods and nose - The ground is alive with smoke and fire - a hut EXPLODES. The leads ship banks sharply up over the trees - men run below SHOOTING back. MED. SHOT - ANTI - AIRCRAFT EMPLACEMENT EXPLOSIONS crash around - the MUSIC and SOUND of the COPTERS almost drown them out. The gunner FIRES frantically - COPTERS are ROARING over - GUNFIRE rips around. The gunner is blown away. MED. CLOSE ON WILLARD as the ship he is in swoops down, its MACHINE GUNS FIRING into the village. MED. SHOT - SWOOPING COPTER The Pilot leans out and SHOOTS a charging V.C. in the head with his.38, then ducks back in. CO-PILOT We're down, Eagle Thrust - we're hit. We got a hot L.Z. here. BULLETS RIP through the plexiglass. The Pilot FIRES back. CO-PILOT -LRB- continuing. -RRB- Hell of a hot L.Z. Need immediate air strike on the tree line, Eagle Thrust.\",\n \"INT. COMMAND COPTER - MED. SHOT - WILLARD, KILGORE, OTHERS Kilgore has R.T. equipment - he leans out near the door gunner. KILGORE Big Duke Six to Hell's Angels Four - bring it in on along tree line and huts. RADIO -LRB- V.O. -RRB- Hell's Angels Four to Big Duke Six - we'll need green smoke - suggest you have the FAC mark it. KILGORE Have n't got time, Hell's Angels - lay it right up the tree line. FULL SHOT - JET SQUADRON Four F - 4H Phantoms peel off and streak toward the coast.\",\n \"INT. COMMAND COPTER - VIEW ON WILLARD AND KILGORE KILGORE Fucking savages. WILLARD Who? KILGORE The enemy. Who else? HELICOPTER'S POV - THE JETS The jets streak by below laying in huge gobs of orange napalm along the trees. KILGORE -LRB- O.S. -RRB- -LRB- on radio. -RRB- Very good, Hell's Angels - suggest you follow with cannon fire.\",\n \"INT. COMMAND COPTER - MED. SHOT They circle the battle. RADIO -LRB- V.O. -RRB- This is Baker Delta Four - Captain hit bad - need dust - off. Receiving heavy automatic weapons fire from huts about thirty yards to our left. KILGORE Big Duke Six to Baker Delta Four - hold - we're right over you. He turns to door gunner. KILGORE -LRB- continuing. -RRB- Right along the doors, boy. The gunner FIRES leaning out - KILGORE -LRB- continuing. -RRB- Fine. fine. little higher. Through the roof ; yeah, that's good. He leans back in. KILGORE -LRB- continuing. -RRB- Did n't anybody bring me any bombs, grenades, claymores or anything? LIEUTENANT You did n't tell me to, sir. KILGORE -LRB- grumbling. -RRB- You shoulda known. Suddenly, BULLETS SMASH through the copter - Plexiglass SHATTERS ; the copter vibrates and turns sharply. Kilgore is thrown down where he hangs on. KILGORE -LRB- continuing. -RRB- Sonuvabitch - anybody hurt? WILLARD Automatic weapons flashes along those trees - probably eleven millimeter guns and AK - 47's. KILGORE The trees, eh. He grabs the R.T. KILGORE -LRB- continuing. -RRB- Eagle Thrust Four - Big Duke Six. Join me in sparaying some trees. RADIO -LRB- V.O. -RRB- Affirmative, Big Duke Six - We're even got some rockets left. KILGORE Take her in low, Lieutenant. FULL SHOT - THE TREES, HELICOPTERS The two helicopters swoop up out of the smoke and blast the trees with ROCKETS, MACHINE GUNS and GRENADE LAUNCHERS. Other copters join - The V.C. break and run through the rice paddies in the f.g. - BULLETS EXPLODING around them - they scream and fall FIRING back.\",\n \"INT. COMMAND COPTER - MED. SHOT - KILGORE, WILLARD Kilgore looks out as three V.C. break and run through the rice paddies - the helicopter turns and follows them - the door gunner swings out and BLASTS two of them into the mud. He takes a bead on the third. KILGORE Hold it, boy. He puts his arms across the sights - the gunner swings back inside. KILGORE -LRB- continuing. -RRB- Take her up to 300 feet, Lieutenant. They rise above the paddy - the man below runs for all he's worth. Kilgore motions to the door gunner who steps aside. Kilgore buckles himself into the gunner's harness. KILGORE -LRB- continuing. -RRB- Rifle. A hand passes him a M - 16. KILGORE -LRB- continuing ; hard. -RRB- My rifle, soldier. There is some fumbling and then a hand passes him a 300 Weatherby Magnum with a zebra wood stock - mother of pearl inlays and a variable power scope. Kilgore takes it and opens the bolt. VIEW ON WILLARD Amazed at these proceedings. VIEW ON KILGORE as he loads the rifle with huge cartridges. He gets into the sling and slams the bolt shut. MOVING POV. ON THE V.C.. He is running hard, but starting to sink into the mud. The Huey DRONES overhead, its huge shadow behind him on the mud. He turns and FIRES with a pistol.\",\n \"INT. COPTER - MED. SHOT - KILGORE, WILLARD Kilgore leans out ; pulls the gun in tight - takes careful aim and the Cong is BLASTED flat into the paddy. Kilgore leans back, opens the bolt, ejecting the spent cartridge out the door. He hands Weatherby back into the copter. VIEW ON WILLARD The gaudy rifle passed by him. SOLDIER -LRB- O.S. -RRB- That's 27, sir. WILLARD Anyone got a card? Somebody hands Willard the deck. He takes a card and flips it out of the copter, never lifting his gaze from Kilgore. FULL SHOT - BATTLEFIELD - THE CAV, V.C. Americans run through the hooches FIRING and throwing GRENADES. Helicopters swoop overhead - JETS ROAR by - Uniformed N.V.A. regulars burst from a tunnel en - trance and charge the Americans. The SHOOTING is at point blank range - automatic, as the V.C. are cut down.\",\n \"INT. COMMAND COPTER - KILGORE, WILLARD, LANCE, ETC. Kilgore leans out carefully, looking over the battle - field. He has the R.T.. He leans back, deliberately avoiding Willard to speak to Lance. KILGORE The L.Z.'s cooling off fast - we'll move in another company an' then we'll own it. -LRB- he laughs to himself. -RRB- Charlie's point. He looks out toward the ocean. KILGORE -LRB- continuing. -RRB- Good swell. LANCE What, sir? KILGORE I said it's a good swell - hell of a good swell ` bout six feet. Let's get a look at it. Lance looks at Willard and then agrees. FULL SHOT - COPTER, SURF The pilots are used to this - they bank sharply and swoop in on the lineup of waves, coming in low over the point and streaking down a long, lined - up green wall as if surfing it. They tip up over and up at the last minute as the wave breaks. FULL SHOT - BEACH HUTS, SOLDIERS Americans line up blindfolded Viet Cong and N.V.A. regular troops outside a burning hut. GUNFIRE is DISTANT and sporadic - an occasional MORTAR round SCREAMS in. A soldier yells in Vietnamese in a southern accent and the prisoners are marched away. Other soldiers are already setting up heavy weapons emplacements - 50 cal machine guns etc.. Three Hueys ROAR in, fanning the smoke with their wind. The center one, the command ship, lands. JETS SCREAM over and the two gunships pull up at 200 feet. Another Huey zooms in low and lands behind the Colonel's. The doors open, guards jump out, check the situation, and out steps Kilgore and Lance. From the other copter are more guards, Kilgore's surfers and others of the P.B.R. crew. Willard follows. FULL SHOT - THE POINT They stride out across the debris - strewn beach. Kilgore stands majestically on the point watching the waves. A SHELL SCREAMS overhead. SOLDIER Incoming! They all dive, except Kilgore. He is watching a big set - the SHELL EXPLODES in the water about a hundred yards away, sending up a huge geyser of spray. Kilgore is unmoved. KILGORE Look at that. They look. LANCE This L.Z. is still pretty hot, sir, maybe we oughta stand somewhere else. Kilgore pays him no mention. WILLARD I'm waiting for the fucking boat, Colonel. KILGORE -LRB- without looking. -RRB- It'll get here, soldier. He turns to Mike and Johnny who have their faces in the sand. KILGORE -LRB- continuing. -RRB- Change. MIKE Wh - what? KILGORE Change - get out there - I want' a see if it's ridable - change. MIKE It's still pretty hairy, sir. KILGORE -LRB- bellowing. -RRB- You want' a surf, soldier? He nods yes meakly. KILGORE -LRB- continuing. -RRB- That's good, boy, because it's either surf or fight. They turn and hurry off - Kilgore grabs an M - 1 from one of the guards. They all think he's going to shoot the surfers or someone. They move back uneasy. KILGORE -LRB- continuing. -RRB- I'm gon na cover for'em - that's all. He cocks thye weapon. Lance looks around uneasily. The Colonel walks over. KILGORE -LRB- continuing. -RRB- You think that section on the point is ridable, Lance? LANCE I think we ought to wait for the tide to come in. A SHELL SCREAMS OVER - they all hit the dirt except for Kilgore. It EXPLODES throwing sand through the air. Kilgore leans down yelling over the NOISE. KILGORE Does n't happen for six hours. Lance looks up at him terrified, holding onto his helmet. KILGORE -LRB- continuing. -RRB- The tide - does n't come in for six hours. FULL SHOT - SURF - MIKE AND JOHNNY They walk through shallows carrying brightly colored boards. They look very scared. JETS SCREAM overhead, FIRING CANNONS. Helicopters wheel by carrying out wounded. They wear olive drab surfing trunks with the Cav's shield on the left leg. The same shield is emblazoned on the boards along the word `` Airmobile''. They edge into the water and paddle through the mild shorebreak. FULL SHOT - THE POINT - SURFERS They paddle up the point in the calm channel - the beautiful waves breaking beyond them. CLOSE SHOT ON JOHNNY, MIKE They paddle on their stomachs, keeping low - breathing hard and constantly looking around scared out of their minds. MED. SHOT - KILGORE AND LANCE Kilgore looks at them with his field glasses. Lance kind of sits below taking cover in a shell hole. KILGORE They far enough? LANCE Sure - fine - Kilgore turns and takes a giant electric megaphone from a waiting lackey. KILGORE -LRB- through megaphone. -RRB- That's far enough - pick one up and come on in - FULL SHOT - THE POINT, SURFERS They line themselves up on the point. A good set is building. Mike turns strokes into it - takes off - drops to the bottom and turns - trims up into a tight section - everything right except he keeps looking around frantically. CLOSE SHOT ON LANCE AND KILGORE Another SHELL SCREAMS over and EXPLODES down the beach. Lance looks over at Willard. LANCE -LRB- to himself. -RRB- Maybe he'll get tubed. WILLARD What? LANCE Maybe he'll get inside the tube - where - where they ca n't see him. A SERIES of SHELLS ROAR in. WILLARD Incoming! Lance ducks - puts his hands over his head. The SHELLS SCREAM over Kilgore and out towards the point. Kilgore looks through his glasses - two EXPLOSIONS in the water are HEARD. KILGORE Son of a bitch. Lance looks up and out toward the point in horror. FULL SHOT - THE POINT Two surfboards float in the channel bobbing up and down on the waves. MED. SHOT - LANCE AND KILGORE LANCE -LRB- to himself. -RRB- The tragedy of this war is a dead surfer. Willard looks over, beginning to think Lance is crazy, too. WILLARD What's that? LANCE Just something I read in the Free Press. KILGORE They just missed a good set - the chicken shits! Lance looks up. FULL SHOT - THE POINT, SURFERS They come up near their boards and climb on - smoke hangs over the water. KILGORE -LRB- O.S. -RRB- -LRB- megaphone. -RRB- Try it again, you little bastards. BACK TO SCENE He turns to Willard. KILGORE -LRB- continuing. -RRB- I ´ m not afraid to surf this place. I'll surf this place. CLOSE SHOT ON KILGORE He turns, glowering to his lackeys. KILGORE Bring that R.T., soldier. He grabs it. KILGORE -LRB- continuing. -RRB- Big Duke Six to Hell's Angels - Goddamit, I want that treeline bombed - yeah - napalm - gim me some napalm - son of a bitch - yeah, I'll take H.Z. or C.B.U.'s if you got any of them - just bomb'em into the Stone Age, boy. He throws the R.T. back to a soldier - another SALVO WHISTLES over - everyone drops. KILGORE -LRB- continuing ; to himself. -RRB- Son of a bitch. As the SHELLS EXPLODES on the beach behind him, KIlgore raises his M - 16 and EMPTIES it full automatic in the general direction of the trees. He mumbles a few un - intelligible swear words and jams a new clip into his rifle turning to Lance - KILGORE -LRB- continuing. -RRB- We'll have this place cleaned up and ready for us in a jiffy, boy. Do n't you worry. He FIRES another clip as the JETS SCREAM overhead. FULL SHOT - RIVER - COPTERS A sky - crane without pod descends slowly toward us - The P.B.R. hangs below it. The Chief, mr. Clean and Chef stand watching this sight alomg with other soldiers. A man guides the descending copter till the boat settles carefully in the shallows. The Chief and others leap aboard ; unshackle the hoists - load on ammunition and fuel. The battle is still going on around them. They all look up as a wadge of PHANTOMS streak over low and peel off one by one to begin their bombing run. FULL SHOT - PHANTOMS - MONTAGE Phantoms RAKE the trees with 20 mm CANNONS - FIRE five inch ROCKETS in salvo - `` Bull Pup'' MISSILES - drop H.E. -LRB- high explosives -RRB- and C.B.U's -LRB- Cluster Bomb Units -RRB- and finally an immense amount of NAPALM. FULL SHOT ON THE P.B.R.. The Chief is at the helm - the engine starts ; Clean and Chef work feverishly, ducking for cover every - so - often when an EXPLOSION hits nearby. The boat begins to back out of the shallows. The EXPLOSIONS of NAPALM are reflected on their faces ; the ROAR of the FIRE drowns out almost everything. CHIEF Forget that extra drum - it's too damn hot. CLEAN Clear on starboard - Where's Lance an' the Captain? CHIEF I saw that Colonel's Huey on the point - Two HELICOPTERS SCREAM over FIRING ROCKETS. CHIEF -LRB- continuing. -RRB- Let's just get outta here. FULL SHOT - THE POINT - KILGORE, WILLARD, LANCE, OTHERS Kilgore watches the waves with his field glasses - smoke drifts over. Lance crouches below. Willard is up looking off in another direction. SHELLS SCREAM over, but even their noise is drowned out by the fierce SHRIEK of the PHANTOMS and the deafening BLAST of HIGH EXPLOSIVES. Willard stares at the tree line where it comes down to the river. The JETS are making a hell of the tree line ; a hell of fire and bust - ling steam thet nothing could live in. Willard's glance goes further downriver through the black smoke and there merging in the river - small and vulnerable, is his boat. WILLARD -LRB- to Lance. -RRB- Look. There it is ; the boat. Lance looks over - a tremendous relief on his face. But still there remains the threat of Kilgore, standing stark against the sky. Willard silently motions Lance toward the boat. LANCE -LRB- whispers. -RRB- He'll kill us. WILLARD He ca n't kill us. -LRB- realizing as he says it. -RRB- We're on his side. Kilgore FIRES another clip at the tree line, and then strides back without looking at them. KILGORE -LRB- almost to himself. -RRB- You smell that. -LRB- louder. -RRB- You smell that? LANCE What? KILGORE Napalm, boy - nothing else in the world smells like that - They reflect the glow from the burning trees. KILGORE -LRB- continuing ; nostalgically. -RRB- I love the smell of napalm in the morning. One time we had a hill bombed for 12 hours. I walked up it when it was all over ; we did n't find one of'em. not one stinking gook body. They slipped out in the night - but the smell - that gasoline smell - the whole hill - it smelled like. -LRB- pause. -RRB- victory. He looks off nostalgically. WILLARD You know, some day this war's gon na end. KILGORE -LRB- sadly. -RRB- Yes, I know. Suddenly he senses something - he stops - lifts his hand - then frantically licks his fingers and puts them up in the air. KILGORE -LRB- continuing. -RRB- The wind - LANCE What? Sure enough there is a rushing breeze that increases. KILGORE -LRB- rising maniacally. -RRB- Feel it - it's the wind - it's blowing on shore - It's on shore! He leans down and practically grabs Lance. KILGORE -LRB- continuing ; screaming. -RRB- It's gon na blow this place out. It's gon na ruin it. WILLARD The kid ca n't ride sloppy waves. They turn and stare out to sea. FULL SHOT - THE POINT - SURFERS The wind has changed. Instead of blowing spray back over the waves and hollowing them out, this strange wind is causing white caps and cross chop. reducing the swell to slop. Mike and Johnny lay low on their boards, overjoyed. WILLARD -LRB- O.S. -RRB- The kid ca n't stand sloppy waves. MED. SHOT - THE BEACH - LANCE, KILGORE, WILLARD WILLARD You do n't expect this kid to ride that crap, do you? He's a goddamn artist, he needs something to work with. Slapping Lance on the shoulder. LANCE Yeah, I'm an artist, goddamit! KILGORE -LRB- apologetically. -RRB- Yeah - yeah, I can understand how you feel. He turns toward the trees. KILGORE -LRB- continuing. -RRB- It's the napalm - it's causing the wind - ruining my perfect left. He staggers off toward the trees followed by his guards and other lackeys. KILGORE -LRB- continuing ; mumbling. -RRB- The napalm - ruin - napalm my perfect left - my perfect left point break - napalm - Lance motions with his eyes to Willard. FULL SHOT ON THE P.B.R.. The P.B.R. along the river shallows - The Chief and crew waiting and yelling. MED. VIEW ON WILLARD AND LANCE WILLARD Are you finished surfing? LANCE Yeah. thanks. WILLARD Want to say goodbye to the Colonel? LANCE Nah. WILLARD Then let's get the hell out of here. They break and run like hell toward the boat in the distance. OUR VIEW TRACKS with them. They are cheered by the crew - suddenly, Willard sees some - thing and stops. Lance continuing. In a pile of equipment that the Hueys have left are two surfboards - Willard looks at them. LANCE No - no, Captain. WILLARD Which one's the Colonel's? LANCE The Yater - the clear one with the thin stringer. Willard glances over to it with determination. There is still MORTAR FIRE coming in between him and the board. Suddenly, Willard makes a run for it. CHIEF -LRB- O.S. -RRB- Incoming! Incoming - son of a bitch. The ROUNDS bracket the P.B.R. and line up the beach toward Willard. He stands there and does n't move, the surfboard under his arm. The shells kick up sand. Lance has dropped. Fragments whistle by, one rips a chunk of foam and fibreglass from the rain of the board. WILLARD -LRB- calm. -RRB- This one, Lance? LANCE Yeah, Jesus Christ! Once again, Willard takes off fast as hell with the board under his arm. Lance follows toward the boat, through the water. Willard hands the board up to Mr. Clean, and they both scamper abroad, exhausted and relieved. CLEAN What'd you that for? WILLARD When I was a kid I, never had a Yater spoon. Mr. Clean stuffs the board in the stern 50 Cal. mount. The boat turns - ENGINES RUNNING HARD and ROARS OFF toward the deeper water of the river - the board clearly visible on the stern. FULL SHOT ON THE RIVER - P.B.R The P.B.R. ROARS BY going down the river at full speed. It is swerving and zig - zagging to avoid potential enemy fire. MED. SHOT ON THE CREW They all are in full battle positions - their twin fifty Cal. guns turning ; warily covering the jungled banks. The Chief is at helm - Willard crouches against some armor plate, huddled with his M - 16 ready. Chef is behind him at the radio. Lance leans back from his forward turret. LANCE -LRB- yelling. -RRB- Maybe we better stay in under the trees till dark - we got his Yater. WILLARD He did n't look like he'd take that sitting down. They all look up into the sky - expecting the worst. WILLARD -LRB- continuing. -RRB- Let's put some distance between us and Charlie. The Chief nods. CHIEF Lance - LANCE Yeah. CHIEF Why do n't you roll us a big joint? I think the Captain'd like that. They all look at Willard uneasily. After a suspensful pause, Willard smiles : WILLARD Take one a mine - He fishes into his breast pocket - pulls out a huge cigar - sized joint. They all smile - Willard lights up. FULL SHOT - THE P.B.R.. It zig - zags away from us down the river at high speed. FULL SHOT - THE TREES, BOAT, CREW - NIGHT The boat is hidden under some trees along the river bank. The men wait tensely listening - LANCE You hear it again? WILLARD No - I do n't think so. But it'll be back. They were circling. It'll be back. LANCE You think he'd of shot us? WILLARD When? LANCE Any time - us - Americans. Lance looks over at Willard. WILLARD I do n't think he ´ d of shot us on the beach but - he'd of shot us if he saw me taking the board - LANCE A Yater spoon is hard to get - especially here. WILLARD He's a man who knows what he wants - he does know what he wants. CHEF Can I go get those mangos now? CHIEF I'll go with you in a while - judt hold tight awhile - LANCE Captain - that was all true about the rats and chocolate and stuff? WILLARD Sure. LANCE And you could just tell when the supplies were booby trapped? WILLARD It's a feeling you get in the jungle. When you get good, you can find a track and tell not only how many they are, but their morale, how far they're going, whether they're near their camp, the weapons they're carrying. CLEAN How can you tell their weapons. an' how far they're going? Willard smiles. WILLARD Mostly from the imprints when they put them down to rest. their morale from the way they drag their feet, or the joints that may be lying around. If they're near a base camp, they would n't be conserving food ; they'll be throwing it away half - eaten. If the branches are n't broken, their weapons are slung. But all this is just technique. There's a feeling you get after a while, that's what's important. I was going through a village once. I was looking for a certain party. I took off my boots, and walked into each hut. It was midnight. I went into three like that and suddenly I realized I ´ d gone into each hut the same way - standing up - so the next one I went in on my belly. An RPD burst took out the door a bit above my head. -LRB- he shrugs. -RRB- Things like that. A pause, and then suddenly his attention is diverted - They all are silent - It is pitch dark - we HEAR the distant SOUND of ROTOR - BLADES and indistinguishable language on a loudspeaker - The talk stops - the ROTORS grow LOUDER until almost overhead. KILGORE -LRB- V.O. -RRB- -LRB- over a loudspeaker. -RRB- I'm not gon na hurt or harm you, boy - I just want the board back - You can understand - It was one of my best - You know how hard it is to get a board you like, boy. I'm not gon na hurt or harm you - Just leave it where I can find it - The HELICOPTER DRONES on into the night - the same speech starts again further off - Finally the noise ceases. CLEAN Jesus - that guy's too damn much. CHIEF I wonder if that was the same copter. WILLARD He's probably got'em all over the river with that recording. We better move now while it's dark. Chef steps forward with a plastic basket. CHIEF Yeah, Chef - go ahead - take Lance with you - WILLARD I'll go with him - They all look at him. WILLARD -LRB- continuing. -RRB- I wanta get my feet on solid land once in awhile - He grabs an M - 16 and follows Chef over the side. MED. SHOT - THE JUNGLE - CHEF, WILLARD - NIGHT They cautiously walk through the underbrush. WILLARD Chef. CHEF Yes, sir - WILLARD Why they call you that? CHEF Call me what, sir? WILLARD Chef - is that'cause you like mangoes an' stuff? CHEF No, sir - I'm a real chef, sir - I'm a sauciere - WILLARD A sauciere - CHEF That's right, sir - I come from New Orleans - I was raised to be a sauciere. a great sauciere. We specialize in sauces ; my whole family. It's what we do. I was supposed to go to Paris and study at the Escoffier School ; I was saving the money. They called me for my physical so I figured the Navy had better food. WILLARD What are you doing out here? CHEF Cook school - that did it. WILLARD How? CHEF They lined us all up in front of a hundred yards of prime rib - magnificent meat, beautifully marbled. Then they started throwing it in these big cauldrons, all of it - boiling. I looked in, an' it was turning gray. I could n't stand it. I went into radio school. They move into a slight clearing. WILLARD -LRB- whispering. -RRB- - quiet - Chef crouches close - redies his M - 16. Willard ges - tures that he heard something ; he points. MED. SHOT - DIFFERENT ANGLE PAN SLOWLY over jungle - END REVEALING Willard and Chef. WILLARD -LRB- silent. -RRB- There. He points - motions Chef to move away - they cover the spot. A few yards from them they hear something move. It is obviously no small jungle creature. They walk toward a patch of black elephant grass ; their guns at the ready. They look at each other. Willard is cold, methodical, doing something he knows well. There is a noise again - some of the growth rustles. He and Chef move a distance apart, and join in stalking the probable V.C. Willard directs the Chef with hand gestures, and bird and cricket sounds. They move stealthily, closing the apex of their triangle on the hunted. The two men drop low into the elephant grass, and remain motionless. Then Willard makes the cricket noise, and they move closer. Willard's left hand edges out along the M - 16's far end, so that he only has to point the finger of that hand and he will hit what he wants. He makes another command and they rush the trapped enemy. MED. SHOT - THE ELEPHANT GRASS - WILLARD AND CHEF Suddenly there is a RUSHING SOUND - The grass folds down quickly toward them - willard plants his feet and from the hip lets go FULL AUTOMATIC. The Chef retreats FIRING short BURSTS into the grass - the grass folds almost to Willard - then a huge tiger leaps out at them ; snarling magnificently. They FIRE wildly, emptying their clips. CHEF It's a motherfucking tiger - goddamn. He turns and bolts through the jungle, as scared as a man can be. CHEF -LRB- continuing ; screaming. -RRB- Goddamn - Jesus Christ tiger - motherfucking tiger - ohhhhhhhhh - Willard jams another clip in his gun and backs out of the clearing, covering the bushes and runs, scared out of his head as well. FULL SHOT - THE BOAT - THE CREW They all are armed - Lance has the twin 50's pointed into the jungle. Chef comes screaming out of the brush, throws his rifle into the boat and dives headfirst after it. CHEF -LRB- hysterical. -RRB- Ohhhh - tiger! Oh goddamn! It's a tiger! Jesus Christ! Goddamn, a tiger! Ohhhhhhhh. The Chief tries to grab him ; takes his gun away, but is unable to take a hold of the Chef, as he slithers around the boat, trying to find safety. willard follows from the jungle - The Chef is moaning and stares off into the night. LANCE What's this tiger shit? WILLARD No shit. I think I shot the hell out of him. LANCE You think? WILLARD I wasn ´ t looking. I was running. CLEAN Was a big tiger - no shit? WILLARD Who stopped to measure him - let's get the hell out of here. CHEF A motherfucking tiger - I could've been killed. The ENGINE ROARS to life - the P.B.R. pulls away with great speed. CHIEF You forgot the mangoes, did n't you? CHEF Mangoes? There as a fucking tiger in the woods - I could've been eaten alive. I'm never going into that jungle again. I got ta remember never get out of the boat ; never get outta the boat. They move off ; swallowed by the darkness. The JUNGLE NOISES remain, as OUR VIEW BEGINS a MOVE INTO the jungle. WILLARD -LRB- V.O. -RRB- He was right, the Chef - never go into the jungle, unless you're ready to go all the way.\",\n \"EXT. THE BOAT IN MARINA DEL RAY - NIGHT Willard, thinking, his BACK TO US. Suddenly, he turns around, and we SEE his face. WILLARD -LRB- V.O. -RRB- What was in the jungle? What was there, waiting for me? He lights the cigarette ; the light of his match illuminating his face momentarily. There is something different about him ; a maturity, a cool inner peace. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB-. Kurtz was in there. Or was he ; was it Kurtz? He was just a name to me now ; I could n't remember a face, a voice - he just did n't add up to me. all his liberal bullshit about the end of savagery - and the role of our culture, our way of life. Willard looks toward the group of people on the boat - there is still some MUSIC. They talk and drink and laugh. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- Our way of life - I really started to look forward to meeting Kurtz again. WATERWAY - MOVING FORWARD - DAY We HEAR : RADIO - must remember that we owe our thanks for these to the wonderful services of the U.S.O. - here's another oldie - this one dedicated. VIEW ON CHEF by himself on the P.B.R. ; he has wiped mud under his eyes to kill the glare ; it is incredibly hot. He is barechested, wearing a hat made of a banana palm. RADIO to the fire team at An Khe from their groovy C.O. Fred the Head - VIEW ON THE GROUP RADIO The Rolling Stones and `` Satisfaction.'' CHEF Outa sight. The SONG BLARES ON - they all dig it. PAN TO Willard, sitting alone in the rear, reading from his file on Kurtz. We REVEAL Lance in the b.g., water - skiing behind the P.B.R., slaloming back and forth on his single ski to the MUSIC - jumping the wake occasion - ally. NEW VIEW - ON THE P.B.R. Lance waterskiing to `` Satisfaction.'' VIEW ON CLEAN alert, at the rear of the boat - his M - 16 ready, just in case. VIEW ON WILLARD Willard opens a letter from the packet. We can SEE it is a private correspondence - feminine writing on the envelope. WILLARD -LRB- V.O. -RRB- The dossier of A Dtachment contained letters from the families and wives of Kurtz' men There were letters from Kurtz' wife as well. CLOSE SHOT - ON THE LETTER It is addressed to Colonel Walter Kurtz - in the corner is the return addess of Mrs. Colonel Walter Kurtz - Willard's hand fushes through the packet and comes up with apicture of a very attractive, thirty - five year old American Beauty. She is classically American. CLOSE SHOT - ON WILLARD looking at the picture - puts it back, then opens the letter, straightens it. WILLARD -LRB- V.O. -RRB- Dearest Walt - I have to confess something. I know how you feel about this, but I had to ask Bob to find out what he could - I just could n't stand it anymore, not knowing where you are, whether you're alive or dead. I'm sorry Walt, I'm sorry I said that. Bob did n't tell me anything - he said he could n't - I ca n't stand it anymore, Walt - I just ca n't stand it. Willard looks out at the jungle. Deep imppenetrable jungle - dark and primeval forests pass by. The Rolling Stones CHANT on in the b.g. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- I have to take the kids to school every morning now - carpools just never work out. Jeff came home with a black eye on Tuesday but said he won anyway. He would n't tell me what the fight was about. Jeff keeps asking where you are - he has maps of Viet Nam in his room now. He misses you very much. I ca n't take this much longer, Walt. I love you and I just ca n't stand it. CLOSE ON WILLARD He folds the letter up, files through some others quickly and gets to a peculiar envelope stamped Top Secret with a stenciled date on it. It is also noted that this was the last correspondence to leave Nu Mung Ba. It is addressed to Kurtz' wife. He opens the letter - it is written in a scrawled savage hand to no one in partic - ular. It reads : Sell the house. Sell the car. Sell the kids. Find someone else. Forget it. I'm never coming back. Forget it -. He folds up the letter. CLOSE SHOT - WILLARD He looks out at the ominous jungled mountains. FULL SHOT - P.B.R. - RIVER OUTPOST - RAIN The P.B.R. pulls in towards an American outpost that is being used as a forward medical evacuation center. Various helicopters pads are SEEN, but only one heli - copter - the H - 34 painted with Playboy rabbits that brought the girls to Hau Fat. Several soldiers in rain - coats come out the dock as the P.B.R. pulls up. MED. SHOT - WILLARD, SOLDIERS Willard looks into some empty tents - looks around the dreary muddy camp. Two soldiers pass. WILLARD Soldier - where' ´ s your C.O? SOLDIER Stepped on a booby trap, sir - got blown all to hell - WILLARD Well, who's in command here? SOLDIER I do n't know - do n't have any idea - I'm just the night man - He turns and walks off babbling incoherently - WILLARD What about you, soldier? The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. MED. SHOT - DIFFERENT ANGLE - WILLARD He looks around disgustedly VOICE -LRB- O.S. -RRB- -LRB- whispering. -RRB- Captain - Willard turns around looking for where the voice came from. VOICE -LRB- O.S. -RRB- -LRB- continuing. -RRB- Over here, Captain - He turns to see the Hollywood Agent under the flap of a large tent so that he wo n't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent.\",\n \"INT. TENT - MED. SHOT - WILLARD, AGENT They duck inside - it is dark and damp. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. AGENT You came in on that boat, did n't you? WILLARD Yeah - AGENT Where are you headed? WILLARD What's it matter? Get to the point. AGENT Look - you know the girls - Thta's Terri - she was playmate of - WILLARD Yeah, I caught your show at Hau Fat. They all look over. AGENT Oh - I see - Well, girls, this is Captain - eh - WILLARD Captain Willard - go ahead. AGENT Look - we got in a little trouble - they rudely took our helicopter for MedEvac work on this - uh Operation Brute Force - They just brought it back this morning. WILLARD Yeah. AGENT Well I mean like they also took our fuel - We've been here two days. WILLARD Dreadful. AGENT Look - the girls could get killed - we're not supposed to be this close combat, I mean real combat. WILLARD Well - AGENT We could use some fuel - just a half drum - just enough to get us out a here. WILLARD We need all our fuel. He turns and starts to leave. AGENT But, Captain, think what these girls have done for the boys - think of how they've risked - Willard is almost out of the tent. TERRI Captain - He turns around. TERRI -LRB- continuing. -RRB- It's really rough here - Captain - we're just not built for it - The Pilot laughs. PILOT That's rich - TERRI Do us a favor - I'd do one for you - if I could - Willard just stares at her - even though she's in jeans and field jacket she is something to see - The Agent takes Willard aside - Terri goes back to the others. AGENT Look - you know who that is, Captain - you know what she's saying - you'll never see stuff that good outside of a magazine for the rest of your life. WILLARD I'm not that fond of blondes - maybe I like brunettes - AGENT Take your pick - they all like you - I can tell - WILLARD I like all of them - AGENT Good - like I said, take your pick. WILLARD I said I like all of them. AGENT Now just a second - I'm doing you a favor, buddy - what're you trying to pull? Willard turns to leave again. WILLARD We need all our fuel anyway. AGENT Wait - wait - do n't get up tight - what I meant was we'd need a whole drum for that - WILLARD Sit down - we'll talk about it. Willard sits down on a metal chair - motions the Agent to do likewise. AGENT What's there to talk about - this whole thing disgusts me. WILLARD My men - AGENT What! WILLARD That's what there is to talk about - my man - I take a good care of my men - The girls are trying to pretend they're not listening - the helicopter Pilot is cackling to himself. AGENT You're out of your skull - WILLARD We have a lot of pride in our unit - AGENT How far do you think you can push - what kind of people do you think - WILLARD Esprit de corps - AGENT No - absolutely not - WILLARD One for all - all for one - AGENT You can keep your fucking fuel - Willard gets up. WILLARD You make some of your closest friends in the army - war has a way of bringing men together. AGENT Get out - WILLARD Men of all races - nationalities - He gets up and starts out. AGENT Two drums - Willard turns around slowly. AGENT -LRB- continuing. -RRB- Two whole drums - WILLARD We can use some fifty caliber and a 16 too - AGENT I do n't know what you're talking about - Get fucked - WILLARD I will - I assure you that - You got a fifty on that H - 34 - leave the ammo in boxes - I'll get my men to bring the first drum with'em - He turns to go under the tent flap. WILLARD -LRB- continuing. -RRB- Have the girls freshen up a bit - comb their hair - put on something - you know what I mean - He leaves. FULL SHOT - P.B.R. - CREW They are all working on patching the boat and cleaning it up in general. Mr. Clean sits in f.g., cleaning an M - 16. CLEAN You keep this thing in this condition an' it's gon na jam, Lance - mark my words. LANCE Why do n't you go pet the water buffaloes - get off my back. Behins them on the beach stand several water buffaloes eating mud or whatever they do. They are painted jungle brown and green camouflage with grey bottoms - on their sides the words have been stenciled in black : 1 Each - Buffalo, Water B - 1A U.S. Army No. 15239 Willard walks through them down to the boat. CHIEF Careful, Captain, they've been known to charge. WILLARD All right I got a little surprise for you - They all look up. WILLARD -LRB- continuing. -RRB- I've arranged with those people we saw at Hau Fat to give us some 50 caliber in trade for a couple a drums of fuel - CHEF No shit. WILLARD Chef - since you're such a fan of Miss December's I think you should be detailed with Lance and Clean to take the first drum up there. CHEF I do n't believe you - CHIEF What're you trying to say, Captain - WILLARD You'll see soon enough - get going, sailor - CHIEF No shit - hot damn -\",\n \"INT. TENT - MED. SHOT - LYNDA, CHEF He has followed her into the tent awe - struck - she casuallu starts unbuttoning her fatigue jacket and taking off her pants. he just stands there, his arms at his sides. CHEF I've got every one of your pictures - I've got the centerfold - the Playmate's review - the Playmate of the Year run - off - everything, even the calender - LYNDA Well, get undressed and let's get it over with - CHEF I ca n't believe it - I'd a never even got to see you if it was n't for this war - She lies down on the cot in only her panties. CHEF -LRB- continuing. -RRB- You would n't mind - uh kinda draping that jacket over you sort of the way you were in the calender, would you? LYNDA Come on - cut this crap - I got ta get back to Saigon - CHEF Just let me look awhile - I just do n't believe -\",\n \"INT. TENT - CLOSE SHOT - LANCE, CATHY They have just finished making love. cathy looks very pleased. Lance finishes tying his boots - she draws on his back. He gets up - starts to leave. LANCE Well - uh thanks - see you around. CATHY Yeah. He leaves - she pulls herself up and starts combing her hair - Mr. Clean walks in. CATHY -LRB- continuing. -RRB- Who are you? CLEAN I'm next - She shrugs.\",\n \"INT. TENT - MED. SHOT - WILLARD, TERRI He finishes tying on his boots - pulls on his jacket - his gun belt and picks up his M - 16. She looks up at him - WILLARD Ma'am - I'd like to thank you for what you an' all your friends have done for us - I want you to know that me an' the men appreciate you coming all this way - riskin' your lives - living uncomfortably an' doing all you can to entertain us. I want you to know personally, Miss, that for the past few minutes you have made me feel at home. She picks up a shoe to throw at him. he turns, exits f.g. WILLARD -LRB- continuing. -RRB- Just wanted to say that, ma'am. The SHOE CLANGS off his helmet.\",\n \"EXT. THE P.B.R. APPROACHING DO LUNG BRIDGE - FULL SHOT NIGHT The boat edges in toward the wrecked bridge in the distance. Along the banks are sandbagged fortificvations with U.S. soldiers in them. There is a bright fire burning uncontrolled in the distance ; the sparks and white light from welding on the bridge momentarily lights up the night. WILLARD -LRB- V.O. -RRB- Two days and nights later, we approach the Do Lung Bridge. VIEW ON THE FACES OF THE P.B.R. CREW watching. Everywhere are wrecked boats - parts of trunks sticking out of the water - smashed helicopters on the banks. The bridge is in a state of siege. Mortars and rockets arc through the night indiscriminately and rip through the nearby jungle. Soldiers are everywhere - scurrying from trenches, carrying materials for the bridge or tending to the wounded, the maimed and the dead. Light automatic WEAPON FIRE is HEARD occasionally. The P.B.R. edges in under the span of the old bridge. Soldiers run up through the water. They are obscured in the darkness. SOLDIER I got ta get out a here - I ´ ll pay - I got money. CHIEF Get away from this boat. WILLARD Who's your C.O., soldier? The Soldier ducks back and runs away. SOLDIER Fuck you, you'll get what's coming to you. Other men approach the boat. A young LIEUTENANT steps forward. LIEUTENANT Captain Willard? WILLARD That's me. LIEUTENANT Captain Willard - we got these from Nha Thrang two days ago - they expected you here then - He hands up a plastic bag, maximum security markings, Willard takes it. LIEUTENANT -LRB- continuing. -RRB- You do n't know how happy that makes me, sir. WILLARD Why? LIEUTENANT Now I can get out a here - if I can find a way out. WILLARD We'll be needing some supplies and fuel - do you know anybody who can give me a hand? LIEUTENANT I'd just clear out as soon as I could if I were you, sir. They're gon na start working on the bridge with torches again. Charlie will start throwing it in hard - WILLARD What is this bridge? LIEUTENANT It's of strategic importance for keeping the highway into Bat Shan open - the generals do n't like to admit that Bat Shan is surrounded. He points to the men getting ready to work. LIEUTENANT -LRB- continuing. -RRB- Every night we build it and by 0800 they've blown it up - it and a lot of good men - But the generals like to say the road is open - ha! Nobody uses that road except Charlie. He turns and splashes off into the darkness. LIEUTENANT -LRB- continuing. -RRB- This is the cesspool of hell. SOLDIER -LRB- O.S. -RRB- Incoming. SHELLS WHISTLE OVER and CRASH into the bridge - MEN SCREAM in the distance - the EXPLOSIONS are thunderous. CHIEF -LRB- yelling. -RRB- All right - Lance, go with the Captain an' see what you can scrounge - Willard climbs out with Lance. CHIEF -LRB- continuing ; to Willard. -RRB- Better make it fast, sir - we do n't really need much anyway. Willard nods and they scurry off the bank under the bridge. MED. SHOT - WILLARD, LANCE They dash up the embankment and along the barbed wire on the edge of the road. SHELLS SCREAM overhead, they do n't know where to run. VOICE Straight ahead, son of a bitch. They dive towards the voice. CLOSE SHOT - TRENCH They dive in, a SOLDIER is crounched in f.g. holding his buddy who is crying uncontrollably. SOLDIER You came right to it, son of a bitch - WILLARD Son of a bitch, sir. The Soldier does n't respond. WILLARD -LRB- continuing. -RRB- Where's your chief supply officer? SOLDIER Beverly Hills - WILLARD What? SOLDIER Straight up the road - a concrete bunker - Beverly Hills - where else you think he'd be? WILLARD C'mon - There is an apparent lull and they dash out along the road. Suddenly to their right an M - 60 STARTS OPENING UP from a sandbagged emplacement. SOLDIER -LRB- O.S. -RRB- Get your asses down, buddy. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M - 60. One has a sniper rifle - another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. VOICE Watch your feet, asshole - Willard looks down. VOICE -LRB- continuing. -RRB- You stepped on my face. LANCE We thought you were dead. VOICE The whole world loves a smart ass. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. WILLARD What're you shooting at, soldier? GUNNER Gooks. He turns and sees it's an officer. GUNNER -LRB- continuing. -RRB- I ´ m sorry, sir. WILLARD It's all right, sergeant - what's out there? GUNNER They were tryin' to cut through the wire - I got'em all I think. OTHER SOLDIER Oh yeah - listen. There is a low moaning SCREAM from out in the wire - it stops for aminute then continues hideously. GUNNER He's trying to call his friends - send up a flare. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. SPOTTER Those are all dead, stupid, he's obviously underneath'em - They think about this as the flare goes out. The SCREAMING gets more intense. GUNNER Wake up the Roach. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words : `` GOD BLESS DOW.'' ROACH Yeah, man. SPOTTER Slope in the wire - hear him. He listens, he does, he nods. SPOTTER -LRB- continuing. -RRB- Bust him. Roach gets up somewhat annoyed but very cool. He saunters up the machine gun dragging his M - 79 which has paisley designs all over it. GUNNER Hear him? ROACH Sure, yeah. GUNNER You need a flare - ROACH No, it ´ s cool. He opens the breech of his shotgun - like weapon and plunks the big slug into it. He snaps it closed then rests it across his forearm over the trench - he listens to the SCREAM, calculating. ROACH -LRB- continuing. -RRB- He's close - real close. He adjusts his sights so that the gun is aimed high into the air. He listens again then FIRES. The GRENADE WHISTLES off into the night. There is a sharp EXPLOSION that cuts off the scream. Then the THUD of bodies or pieces of bodies coming down around them. ROACH -LRB- continuing. -RRB- Muhhh Fuhhh. He staggers back down the trench to go to sleep. FULL SHOT - P.B.R. - BRIDGE - CLEAN, CHEF They stand in the shallows waiting for Willard and Lance. Clean is nervous, he constantly checks his M - 16. SHELLS WHISTLE by and CRASH in the distance. CHEF Geez, I wish they'd hurry. A SOLDIER comes up on his way with some others to start building the bridge. SOLDIER Hey, buddy, that boat still runs, eh? CLEAN Yeah, it still runs. SOLDIER Do me a favor buddy, please. CLEAN What is it? He takes out a handful of crumpled envelopes. SOLDIER Send these out when you get back to the world. He puts them in Clean's hand. SOLDIER -LRB- continuing. -RRB- It's to everyone I really knew - the first girl I screwed - my brother - best friend - I wanted to tell'em how much I enjoyed knowing'em - it's been a great twenty years. I got ta let'em know. CLEAN What're you askin' me for - put'em in the first helicopter comes in tomorrow. SOLDIER Nobody comes in here. He points up at the mountain ridges. SOLDIER -LRB- continuing. -RRB- The N.V.A. 312th - over there the 307th - on that hill we counted fourteen different guns in one minute - they got rockets mortars, snipers in those trees, there's a million of those shitty little bastards out there - we're all gon na die. He grabs Clean and looks at him with a maniacal urgency. SOLDIER -LRB- continuing. -RRB- I'm gon na be dead. Clean takes the letters. SOLDIER -LRB- continuing. -RRB- You got a chance in that boat - by morning you could be five miles down the river. CLEAN We ai n't goin' down the river. The Soldier looks at him as if he is joking. CLEAN -LRB- continuing. -RRB- What's up river from here anyhow - The Soldier does n't answer, just stares dumbfounded. SOLDIER Spooky. CLEAN Charlie? SOLDIER No, it'd be spooky without the war - give'em back. He takes the letters and leaves, somewhat disappointed and disgusted. Willard and Lance come back down the beach carrying some belts of ammunition and a couple of extra M - 16's. CHIEF Wow, you must a found the C.O., eh? WILLARD We found some bodies - let's get out a here. FULL SHOT - DIFFERENT ANGLE - P.B.R.. They edge through the shallows as the men light up their welding torches to start work on the pontoon bridge - then pull away and accelerate fast. MED. SHOT - THE P.B.R. CREW The Chief is at the helm - they all look back in the distance where the bridge was - the hills flash with artillery discharges - there is a fiery glow from the bridge area and the CONCUSSION of heavy EXPLOSIONS.\",\n \"EXT. FULL SHOT - P.B.R. - CREW - RAIN The boat moves uneasily upriver, through this tropical downpour. Mr. Clean is in thef.g., oiling and cleaning his 50 - cal, his M - 11 and M - 79 - the rest of the crew are forward, taking shelter from the rain under the canvas canopy. Clean works methodically under an umbrella he was set up by leaning the surfboard against gun mount.\",\n \"EXT. THE RUSHING RIVER - NEW VIEW - RAIN The river is moving fast against them. all manner of de - bris ; tree trunks, sweeping by the P.B.R. CHIEF -LRB- to Willard. -RRB- I ca n't see a fucking thing. There is a loud CRACKING SOUND, as one of the pieces of tree - trunk whacks the hull, and bounces off. Willard climbs forward, and looks down. CHIEF -LRB- continuing. -RRB- We hit a big enough one this hull will shatter like a Corvette. Fucking plastic boat. Willard practically hangs off forward with a long pole, warding off the big debris moving toward the P.B.R. Clean joins him, helping. WILLARD -LRB- shouting to Chief. -RRB- What about ducking into one of those tributaries till this river slows down? CHIEF Who knows what's up there? WILLARD Ca n't be any worse than this. What do you think? CHIEF I think this river wants to take us home fast. I'm practically goin' in reverse. Willard points his pole in the direction of the mouth of a tributary. WILLARD Well, get in there. CHIEF This whole area is lousy with V.C. - We do n't stand a chance. Lem me turn around and we'll be in Hau Fat in six minutes. There is a really loud WHACK against the hull. willard really mad, throws the pole at the Chief, who ducks. WILLARD Get in there! CHIEF This is my crew and my fucking boat, and I'm the responsible party. WILLARD Get in there now or I'll bury you in this river. It's clear that Willard will kill the Chief if he does n't do as he says. CHIEF -LRB- finally relents, turns the helm. -RRB- You're fucking crazy. You're going to get us all killed. The P.B.R. navigates through the rush and into the mouth of the tributary.\",\n \"EXT. THE TRIBUTARY - P.B.R. - RAIN Rain is pouring down, but the P.B.R. is slowed down to a snail's pace by Hyacinths, literally across the waterway. Willard, Chef and Clean in the water, cutting through them with machetes. VIEW ON LANCE having climbed to the highest point of the cockpit. LANCE It breaks through in about twenty feet. VIEW ON WILLARD cutting through. he looks to Chef, who has stopped cut - ting, and is staring into the jungle. WILLARD What do you see? CHEF I do n't know. He looks out - the jungle at this point is very dark and high - totally impenetrable. WILLARD Keep cutting. They work feverishly, knowing something is wrong. VIEW ON CHEF cutting with all he's got. CHEF I know it sounds stupid, but I feel like the goddamn jungle's watching us. WILLARD Probably is. CHEF Whatdoya think it thinks. WILLARD That we're dumber than we look. Chef stops again, looks hard, trying to penetrate the darkness and from the very depth of it - the darkness of it, comes a stream of tracers, lazily arching out at them. It whips between them - the SOUND FOLLOWING much later. Other BULLETS SMASH through and ricochet off the deck fittings. GLASS SHATTERS, and a huge hunk of paint is removed from the armor shield by a 20 mm cannon. CHIEF Lance - ` bout twenty meters starboard. Lance leaps down to his position. Willard, Clean and Chef cut feverishly, as the trapped boat struggles to get free. CHEF There in the trees! Everything is confusion - yelling - GUNFIRE - the THUD of heavy BULLETS ripping inti the P.B.R.'s fibreglass hull. VIEW ON LANCE Lance's twin guns return the FIRE. The Chief moves to one of the heavy guns and joins Lance in returning the FIRE. VIEW ON THE MEN IN THE WATER pushing, cutting. Bullets SMASH and EXPLODE around. Clean climbs onto the boat, and leaps onto a gun emplace - ment. MED. VIEW Nobody really knows where the erratic fire is coming from. CHIEF -LRB- back at the helm. -RRB- Elevate Lance, in the tree. No, I saw another. CHEF Thirty meters up, Lance ; I saw the fucking flash. Lance grits his teeth, FIRING - CLOSE SHOT ON CLEAN POV BEHIND CLEAN He BLASTS short bursts of tracers into the jungle, cutting it to salad. Suddenly more tracers from another direction - Clean swings around - BULLETS smash against his shield and rip chunks from the surfboard. He BLASTS a long heavy burst at the jungle - trees crumble. CLEAN I'm ripping'em, man, son - of - a - bitch, it's jammed, oh God, it's jammed. Clean is riddled by MACHINE GUN FIRE. Chief runs to Mr. Clean - it is obvious that he is dead. He looks angrily to Willard. Willard and Chef are practically through. Willard leaps up, as Chef finishes the last strokes. He moves toward the cockpit. WILLARD Throw me that ordnance. Chef throws him an M - 79 and several shells - Willard opens it, jams a huge projectile and pulls himself over the edge of the cockpit. WILLARD -LRB- continuing. -RRB- Give me some kind a field a fire - BULLETS rip by. CHEF -LRB- exhausted. -RRB- We're through. He climbs aboard and collapses. CHEF -LRB- continuing. -RRB- Oh, God - LANCE -LRB- FIRING. -RRB- I ai n't finished! I ai n't finished! WILLARD Bring that bow ordnance into those trees. He jams his gun up as he sees a flash and FIRES - there is a low POP and a WHISTLE as the GRENADE arches into the jungle. POV. - BEHIND THEM He FIRES another burst as the GRENADE EXPLODES brightly. There is another POP and WHISTLE, another BLAST. A large tree falls, just as the craft speeds up through the thin - ning growth. We HEAR strange SCREAMING from the trees and jungle, hideous MOANS and terror - filled CRIES. CLOSE SHOT ON THE CHIEF He jams the throttle forward - the boat surges ahead. Willard FIRES another GRENADE from his M - 79. FULL SHOT ON THE P.B.R.. The boat slams through the hyacinth growth, moving through the river, FIRING BACK at unseen enemy in the jungle. FULL VIEW ON THE P.B.R. - TWILIGHT The boat moves ahead at half speed through a wide, flat area in the river. MED. VIEW The men sit around, exhausted, brutalized, wounded. They look like animals, but they are relaxed, be - cause they know they're too far from the banks to be shot at. They smoke pot and eat silently. Lance smokes a joint and looks at his gun. Splotches of paint have been blown away from the armor shield - pieces of deck are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below ; he has been wounded in the shoulder. CHEF There's some bad holes, man, and the cracks - water's coming through the cracks. Food's shot to hell. WILLARD How much is left? CHEF Less than half - sure is a mess down there. Chief has been silent by the body of Clean in a plastic sack. WILLARD And the grass? CHEF Still got a lot of that stuff from Nha Trang. But we're running low on the other. Chief pushes Clean's body into the river. VIEW ON WILLARD He notices something in the distance. WILLARD'S POV A light. MED. VIEW Willard stands up, pointing up the river. WILLARD Hey. They all look over. WILLARD -LRB- continuing. -RRB- That's a light down there - CHEF Yeah, it is. CHIEF What the hell is it? WILLARD In the middle of the jungle - a goddamn light. FULL SHOT - THE P.B.R. - THE TWILIGHT The P.B.R. approaches the distant light - which seems to be on the dock of an overgrown plantation building. VIEW ON WILLARD, CHIEF straining to see ; he uses field glasses. POV - THROUGH THE GLASSES Seems to be some figures standing on the dock. The figures pull back behind some drums. BACK TO SCENE WILLARD Watch it! They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. WILLARD -LRB- continuing. -RRB- They're not Cong. CHIEF -LRB- over the loud - hailer. -RRB- We're Americans. Another BURST, closer. CHEF Maybe you should n't say we're Americans? Willard stares at the dock and building, trying to figure it out. WILLARD Chef, try your French. Chief hands the loud - hailer to Chef, who shrugs and shouts : CHEF Nous sommes Americains - Silence. CHEF -LRB- continuing. -RRB- Nous ne voulon pas vous agresser. VIEW ON WILLARD He looks through the glasses. POV THROUGH THE GLASSES Gradually, a small group appears from behind the drums on the dock. WILLARD -LRB- O.S. -RRB- French Nationals - they may not be too friendly, though. BACK TO SCENE We drift closer to the dock. The Chef starts enjoying speaking French. CHEF Nous sommes Americains - nous sommes des amis - There is silence as the boat drifts closer. Then : FRENCHMAN -LRB- shouting out. -RRB- Vous parlez Francais comme une vache espanole. CHEF -LRB- to himself. -RRB- I thought it was pretty good, myself. CHIEF What'd he say? CHEF Said I speak French like a Spanish cow. FRENCHMAN -LRB- O.S. -RRB- Laisser tomber vos armes - CHEF Put the guns straight up - stand away from the mounts. WILLARD Do it. They do. FRENCHMAN -LRB- O.S. -RRB- Vous pouvez approcher mais doucement - CHEF Take her in slow. FULL SHOT - DIFFERENT ANGLE - DOCK The men on the dock move forward, cautiously. They are a young man, PHILIPPE, about 25, strong and handsome, save for a scar down on the side of his face and through his left eye, which is covered by a patch. He is dressed in a tiger suit and the red beret of the French colonial para - troops. Also of the red beret are HENRY LeFEVRE, a bear - ded, dark - looking man of 35, and TRAN VAN KAC, a middle - aged half - breed slave. They all bear automatic weapons and suspicious in their eyes. As the boat pulls up to the dock, another Frenchman joins the group, obviously the head man, GASTON De MARAIS, about fifty, small and deli - cate, with a strength about him. PHILIPPE Hands on the heads. CHIEF I ca n't steer with my goddamn feet. CHEF Hey, they speak American. GASTON Who is the commanding officer? CHIEF I - WILLARD I am - I'm Captain B.L. Willard. This is Chief Warrant Officer Phillips - it's his boat. We were shot up bad downriver and need repairs and food - we can pay you in gold. GASTON Philippe - Philippe moves to another position - Kac grabs the rope from the deck and ties it to the dock. LANCE I'll help you with - PHILIPPE Do not move - Gaston looks at the skyward pointed twin fifties admiringly. GASTON Fifty calibers, eh, Captain - WILLARD As I said, we can pay you in gold. GASTON Entirely unnecessary, Captain. He puts down his gun - the others do likewise - GASTON We share a common enemy - you are our guests. -LRB- he steps back. -RRB- I am Gaston de marais - this is my family's plantation. It has been such for 121 years. It will be such after I die. This is my son, Philippe - he has fought in Algeria and held the rank of Captain. And Henry LeFevre - a sergeant ; he was at Dien Bien Phu. My personal servant, Tran Van Kac - Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions - all wear bush clothing and bear weapons. GASTON -LRB- continuing. -RRB- My youngest son - Christian - CLOSE SHOT - CHRISTIAN He carries an M - 60 machine gun in his hand - a belt of ammunition trailing off behind him. GASTON Christian's wife - Ann - Marie - A tall girl, goodlooking, but severe - she carries an M - 16. GASTON -LRB- continuing. -RRB- And my youngest daughter - Claudine. CLOSE ON CLAUDINE an attractive girl about eighteen. She wears a red paratrooper beret and a well - fitted bush suit. She carries an M - 79 grenade launcher and plenty of ammunition. FULL VIEW - P.B.R. - CREW, GASTON, OTHERS They stand there, exhausted and amazed. Philippe yells in Vietnamese - about a dozen native men in tiger suits, heavily armed, walk out of the trees from all around them. They look the Americans over warily and assemble at Philippe's command. WILLARD American weapons? GASTON We took them from the dead. -LRB- smiles. -RRB- Now - I assume you want to rest, to shower. We'll attend to your repairs after dinner. CHEF Shower. Willard's men look at one another, dazed. WILLARD We do n't want to bother you any, we - GASTON A man of war is never bothered to aid an ally - you will follow me, Captain. Willard steps off - then stops, reaches back and picks up his M - 16 by the stock. WILLARD A habit of men of war, sir - you understand. GASTON Of course, Captain - an unfortunate necessity. The men are relieved. They pick up their weapons and follow. CHIEF What about the boat? PHILIPPE My men will keep it for you - CHIEF Yeah - well, I'll stay with the boat. WILLARD Chief. -LRB- pause. -RRB- Come with us. They look at each other a moment. The Chief shrugs and follows. FULL SHOT - PLANTATION - WILLARD, GASTON, OTHERS Gaston stops, points to a guest house off the main struc - ture which is a typical jungle plantation house, save the many sandbagged gun emplacements and barbed wire. GASTON A suitable accomodation for your men, captain - you will, of course, be quartered with us - He indicates that the men should follow Philippe. The Chief is hesitant. WILLARD Go ahead - Philippe leads them on, muttering. GASTON Captain, this way. Willard follows - they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. GASTON -LRB- continuing. -RRB- Magnificent, eh, Captain? Willard looks. GASTON -LRB- continuing. -RRB- It is very good - there is no current - It is very good. I have never seen one like it in all Indochina. I was in Paris when it arrived - do you know what might have caused - WILLARD Looks like a two thousand pound to me. Yeah, a two thousand pound bomb. GASTON No, I've seen those in Normandy. This is much better. -LRB- pause. -RRB- My country - my country could never originate this. Magnificent. Gaston stands in serious admiration for this feat ; Willard looks between him and this big hole in the ground in amezement.\",\n \"INT. WORKMEN'S SHOWER - EVENING A foreman's shower from the old plantation days. The Chief steps out of it, refreshed, though still exhausted. Lance stands there, about to step in, absolutely filthy, caked with blood. His reaction is odd ; rather than just stepping into the shower, he seems almost frightened, reluctant to step in. Chef is waiting behind him. CHEF A hot shower, hot damn. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is.\",\n \"EXT. THE DOCK - P.B.R. - EVENING battered and torn - a few of Philippe's Vietnamese guard at the boat.\",\n \"INT. WILLARD'S QUARTERS - EVENING A beautiful European room with tall ceilings. Still elegantly furnished, although old and decaying. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread ; the wash basin ; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. VIEW ON WILLARD haggard, looking down at the album. WILLARD -LRB- V.O. -RRB- I wondered - how long has this room been like this ; how long has the furniture been standing in these places? VIEW ON THE ALBUM Some old photographs of people standing around a car in the 20's in front of the plantation. Another picture shows a child playing by the rubber trees near the plantation. WILLARD -LRB- V.O. -RRB- Was it like this sixty years ago? Eighty years? But here, even eighty years is nothing. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. VIEW ON WILLARD fascinated WILLARD -LRB- V.O. -RRB- It was jungle, once ; and it will be jungle, again. VIEW ON THE ALBUM Onlu the very beginnings of the house ; the first struc - tures. Then another picture of the jungle site where it was to be built. CLOSE VIEW ON WILLARD He looks up and sees his own face, reflected in the garish mirror. He barely recognizes himself. MED. VIEW Willard looks at himself in the mirror, in this odd, out - of - time room.\",\n \"INT. DINING ROOM GROUP - TRACKING SHOT TRACK DOWN the long table, covered with delicious food. The P.B.R. crew sits with others of the De Marais group. The table is headed by St. LeFevre. Chef's face lights up as he regards the wonderful European - style food. CHEF This food is wonderful! I ca n't believe the chef is a slope. -LRB- turning to Clean. -RRB- Some more? Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. CHEF -LRB- continuing. -RRB- Hey - Lance. LANCE Huh? Oh. Um, wouldya. wouldya pass me the Rice - a - roni, please. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. GASTON Roxanne, I hope you are feeling better. ROXANNE Je vais bien maintenant. GASTON May I present Captain Willard? He is of a paratroop regiment. You know the difference between a paratrooper and a regular soldier, do n't you, my dear? ROXANNE -LRB- smiling and taking Willard's hand. -RRB- Yes, they come from the sky. She sits - there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. WILLARD I would like to know more about the. uh, plaque. Philippe turns around, points to an elaborately scripted wooden plaque with various tallies on it. GASTON Attacks repulsed, as I was saying. -LRB- hard. -RRB- This is only for this war, Captain. Viet Cong - 54 ; North Vietnamese regular forces - 15 ; South Vietnamese - 28 - regular forces and otherwise. -LRB- pause. -RRB- Americain - 6. Of course, they were, perhaps, mistakes, Captain. WILLARD Of course. I - Once we make our repairs, we could send word, we could have you evacuated from here. GASTON Captain? WILLARD You'll get blown outta here some day. GASTON We will never ` evacuate', Captain - this is our home. Indochina is ours ; it has been so for a hundred and twenty - one years, there is something to say for that. WILLARD The Vietnamese think it's theirs - I guess the Americans do, too. GASTON But we civilized it. A place belongs to those who bring light to it, do n't you agree. WILLARD I always thought the French came here to get the rubber. PHILIPPE Excuse me, I must attend to my men. He gets up, and leaves abruptely - followed by his wife. ROXANNE May I ask where the Captain is going in his little boat? WILLARD We were going upriver when we got caught in a storm, ma'am. GASTON Upriver? Why upriver? There is nothing there, only jungle. WILLARD Do you know that jungle? GASTON When I was a boy, my father would take me there, to hunt. There are a few savages, but no man can live there, no white man. WILLARD What about an American named Kurtz? There is a pause. GASTON We have never heard of him. Gaston rises, and takes Roxanne's hand. GASTON -LRB- continuing. -RRB- Bon nuit, Roxanne - bon nuit, Captain. Willard turns. WILLARD Good night. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. ROXANNE You must realize, Captain - we have lost much here - I, my husband. Gaston - his wife and son. WILLARD I'm sorry to hear that. ROXANNE -LRB- rising. -RRB- Cognac? WILLARD I should be checking on the boat. ROXANNE The war will still be here tomorrow. She walks out of the room. WILLARD -LRB- thinking. -RRB- I guess so. He follows.\",\n \"INT. SITTING ROOM - FULL SHOT - WILLARD AND ROXANNE Roxanne sits, pouring a brandy, while Willard stands. ROXANNE Do you miss your home, Captain? Have you someone there? WILLARD No. Not really. I was discharged from the army four years ago. I went home, wasted some time, bought a Mustang Mach 1, drove it a week. Then I re - upped for another tour. No, everything I love is here. ROXANNE Then you are like us. She reaches out to him ; indicating that he sit. ROXANNE -LRB- continuing. -RRB- What will you do after the war? WILLARD I just follow my footsteps, one at a time, trying to answer the little questions and staying away from the big ones. ROXANNE What's a big question? WILLARD Kurtz. -LRB- pause. -RRB- I know you've heard of him. ROXANNE Yes. WILLARD What did you hear? ROXANNE That strange things. terrible things have occured around this American, Kurtz. WILLARD What things? ROXANNE Gaston would never tell me. It was asubject not to be spoken of, Captain. WILLARD Yes. ROXANNE Did you know - deeper in the jungle, upriver - there are savages? WILLARD I know. ROXANNE But Captain, I mean - cannibals. A long pause. Then she looks at the cognac she poured for him. ROXANNE -LRB- continuing. -RRB- What a pity, you do n't drink. Since my husband died, there are so many things I must do alone. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river.\",\n \"EXT. THE TERRACE - MED. VIEW - WILLARD - NIGHT A machine gun emplacement is situated on the terrace cover - ing the front of house, from the river. ROXANNE -LRB- from the sitting room. -RRB- Are you warm, Captain? WILLARD The river is beautiful. In fact, we REALIZE that he is checking the boat. WILLARD'S POV. The P.B.R. is under guard by a couple of Gaston's Vietnamese. MED. VIEW ON WILLARD, ROXANNE She, thinking it romantic to talk about the river, comes up behind him. ROXANNE I spend hours watching that river from my bedroom window. It fascinates me. She moves her body close to his ; and, in a moment, he is kissing her. CLOSE ON WILLARD, ROXANNE One eye steals another look at the P.B.R. VIEW ON THE P.B.R. Two of the guards leave - two remain, getting ready for the long night. VIEW ON WILLARD, ROXANNE - ON THE TERRACE His hands wander over her body as she clings to him. Then she takes his hand, and leads him back into the sitting room, and up the stairs.\",\n \"INT. ROXANNE'S ROOM - FULL VIEW It is dark. She leads him into her room and closes the door. He stands there. In the center of the room is a large canopied bed with mosquito netting hanging down over it. The windows also have netting and barbed wire - there is a.30 calibre machine gun mount in the far one. He look around. she goes over to the bed, and turns down the sheets. Then she slips out of her dress and stands there facing him. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. ROXANNE I have been lonely here, Captain. He moves to her, slipping into the bed. M - 16 is leaning against the wall in his reach. FADE OUT.\",\n \"EXT. ROXANNE'S TERRACE - NIGHT We can VIEW into the room, as Willard has silently slipped out of her bed, and is a dark sinister figure kneeling in final preparations for going out in the night. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness.\",\n \"EXT. THE DOCK - P.B.R. - NIGHT Two Vietnamese guard the P.B.R. - suddenly, feet first, the first disappears into the thicket. CLOSE VIEW ON WILLARD in the thicket ; we realize he has just killed the man with a knife. Willard stalks the second guard and makes quick work of him with his knife. He even enjoys it. Silently, he drags the body out of sight. MED. VIEW ON THE P.B.R.. The dark figure boards the boat silently. He disappears into the hold. NEW VIEW He lifts out several cases of supplies, working quickly, with a grace that indicates he is a man who has done his best work alone, and at night. CUT TO.\",\n \"INT. ROXANNE'S ROOM - CLOSE SHOT - WILLARD - MORNING He sleeps soundly alone in the bed - we HEAR SOMEONE moving around in the room. He wakes suddenly - PULL BACK TO REVEAL Roxanne combing her hair and buttoning up her blouse. She notices he is awake and smiles. ROXANNE I will fix you breakfast. He starts to get up. WILLARD I'm afraid I wo n't have time - I got ta - ROXANNE Whe you reach the boat you will find that half your fifty calibre stores - a case of grenades, a mortar and two M - 16's and a case of clips are being transfered to us by your order. He stops - seemingly stunned. WILLARD So that's it. ROXANNE You may think what you wish, Captain, but I like you very much. She turns to go. WILLARD What if I say no. ROXANNE Then Philippe will have to kill all of you. She leaves.\",\n \"EXT. DOCK - FULL SHOT - WILLARD, OTHERS He walks down onto the dock. Gaston's men are transferring ammunition boxes. Gaston is standing with Philippe, who are covering the Chief and crew with M - 16's. GASTON Two of my men deserted last night. It happens from time to time. I assume my daughter told you of our conditions. WILLARD Your daughter. CHIEF They taking half our ammo, Captain - said it was your orders. He pauses for a second. WILLARD That's right - I did. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. WILLARD I guess this is whAt men of war do - eh? GASTON We endure, captain - you can blow up the house and we will live in the cellar - destroy that and we'll dig a hole in the jungle and sleep on it. Burn the forest and we'll hide in the swamp. all the while, we do but one thing - clean the blood off our bayonets. -LRB- pause. -RRB- Au revoir, Captain. LONG SHOT - DOCK - P.B.R. Willard climbs on board and it pulls away.\",\n \"EXT. P.B.R. - MED. SHOT - WILLARD, CHIEF The BOAT ROARS out across the river. The Chief looks over at Willard. They stare at each other for a moment. CHIEF Next time we get in a good fire fight - I'd like to know how she was, Captain. Willard just smiles at the Chief. he leans over and pulls up a floorboard - the men stare in amezement ; it contains the contents of all those ammo boxes. 50 calibre ; clips ; grenades. CHEF Holy shit. CLEAN What did you put in all those ammo boxes? WILLARD Rocks, sand - those two men who deserted. CHIEF When'd you do it? WILLARD While you were sleeping. He lets the board drop. Willard moves to the back of the boat. FULL SHOT - P.B.R. - RIVER, CREW The river has narrowed and runs swifter - the water dark and deep. The trees are higher in this area and much of the river is shaded on one side. There is no undergrowth, just the tall trees and ferms. They move ahead at half speed, alert, ready for anything. WILLARD -LRB- V.O. -RRB- We moved deeper and deeper into the jungle. It was very quiet there. It was like wandering on a prehistoric planet, an unknown world. where the men thought they crawled to, I do n't know. For me, we crawled toward Kurtz - exclusively. Willard looks out ahead and points. They all turn their guns in that direction. We PAN TO REVEAL a small village of huts along the bank. FULL SHOT - DIFFERENT ANGLE - VILLAGE POV. OF THE P.B.R.. They pass in front of the village which is rundown and completely deserted. The huts are on stilts to avoid the flooding of the river - they are just skeletons of what they once were. CHEF -LRB- O.S. -RRB- Flood. CHIEF -LRB- O.S. -RRB- No - most of'em are still standing - might've been disease. WILLARD -LRB- O.S. -RRB- I do n't know - there'd still be some sign - it's just like the one this morning. POV BOAT - FULL SHOT - JUNGLE The canopy of trees grows taller and stretches out across the river filtering the sun. The forest itself has grown darker and more twisted with ferns and creepers. Strange birds fly out of the trees as the boat passes - a huge snake slips along an overheading limb. The depth of the jungle is dark, ominous - yet cool and strangely inviting. FULL SHOT - BOAT - JUNGLE Suddenly the river widens, the trees give way to marsh and as they emerge into the light a strange shadow falls upon the boat. It is the shadow cast by an enormous vertical tail section of a B - 52 bomber thrusting out from the mud. Pieces of aluminum hang loosely from it, oxi - dizing in the sun. Creepers have already started to grow up around its heights - the jungle is claiming it. But once under its shadow, they have passed a gateway. A gateway to paradise. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water - fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well - being. Each man in his heart feels a need to stay - his soul cries to stop - stop their madness - this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. FULL SHOT - P.B.R. - RIVER - DAWN The skull looms in the f.g. - the P.B.R. is pulled back about seventy yards - Early morning mist still hangs on the water - as it clears, we SEE another post and skulls on the opposite bank, It is strangely quiet. CHIEF - All right, Lance - Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank - Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. LANCE The other one - WILLARD No - leave it - CHIEF Why - Charlie put it there to kill - WILLARD Thta's not Charlie's work - There is silence. WILLARD Whoever put'em there did n't do it to kill people - They put'em up as signs - CHIEF Signs? WILLARD Yeah - like keep out - Willard motions - the Chief accelerates - they move ahead past the smoking mound.\",\n \"EXT. THE RIVER - FOG - DAY The P.B.R. pushed deeper into this mysterious area. Mist swells in and around the river, as the boat moves into an obscure fog. The Chief cuts the engine, and they coast. WILLARD -LRB- V.O. -RRB- Toward the night of the fifth day out of Do Lung Bridge, we judged ourselves about eight miles from Kurtz' base. Everything was still, the trees, the creepers, even the brush seemed like it had been changed into some kind of stone. It was unnatural, like a trance. Not a sound could be heard. I began to think I was deaf - then the fog came suddenly, and I was blind too. The boat disappears in the thick fog. MED. CLOSE ON WILLARD We catch glimpses of him, even though we are close. WILLARD Listen. CHIEF What is it? WILLARD Listen. They are silent. We can HEAR the most ominous SOUND COMING FROM THE BANKS. The GROANING, OR WAILING. of HUNDREDS OF MEN. CHIEF They're on the banks of the river. VIEW ON LANCE Frantically, he swings the twin fifties around. LANCE Jesus! VIEW ON CHIEF We can barely SEE him - in and out of the fog. CHIEF No, Lance. Not while you ca n't see. VIEW ON WILLARD listening. The SOUND IS TERRIBLE, HORRIFYING. CHIEF Will they attack? WILLARD If they have boats. or canoes. they'd get lost in the fog. We ca n't move either - we'll end up on the shore. CHEF God. LANCE Sounds like hundreds of them. WILLARD Shhhhhh. The CHORUS OF GROANS in unbearable. But it is not ahostile cahnt ; or a war chant, but rather the SOUND OF HUMAN ANGUISH. WILLARD -LRB- continuing. -RRB- It does n't sound hostile - it sounds like they've seen us coming and it sounds like - I do n't know, a funeral. I do n't understand. VIEW ON LANCE A glimpse of him, almost in tears. We then SEE glimpses, fog moving, of all the men on the P.B.R. MED. VIEW - THE P.B.R. MOVING THROUGH the thinning mist. The Navy craft proceeds cautiously. WILLARD -LRB- V.O. -RRB- Two hours after the fog lifted, we moved slowly to a spot we thought was roughly a mile and a half below Kurtz's camp. We approached a long sand - bank stretching down the middle of the river. CHIEF Which way? Right or left? WILLARD Who knows? Right. CHIEF Looks pretty shallow. The P.B.R. moves toard the right - most channel. Chef takes a long pole and begins sounding depth. VIEW ON WILLARD The men are really tense now - Lances swivels his gun from bank to bank. Chief keeps his fingers on an M - 16. Willard takes out the TOP SECRET packet he received at Do Lung. Tears it open. We MOVE IN ON him. WILLARD -LRB- reading. -RRB- Upon reaching objective. Target key personnel and commence operation. Should difficulty arise from which extraction is impossible, break radio silence Com - Sec Command code Strong Arm - indicate purgative air strike - code - Street Gang. -LRB- pause. -RRB- Purgative air strike! Purgative! They'd kill me too! Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. CHIEF Shit! Fucking arrows! They're shooting fucking arrows at us. CLOSE ON WILLARD looking toward the banks. WILLARD'S POV Frags of men - naked limbs, arms, breasts, glaring eyes entangled in the dense jungle gloom. And hundreds of pathetic wooden arrows flying out toward them. VIEW ON THE P.B.R. crazily zig - zagging up the river in the midst of the childish assault. WILLARD Steer her right. VIEW ON THE P.B.R. arrows hitting the deck. The men open up everything they've got. Lance is FIRING the two fifties wildly. WILLARD Keep going. keep going. They're just fucking sticks! Chief, stay at the helm. But Chief seems out of control - he lets the clip of his M - 16 go. Then slowly lets the rifle fall out of his hands, and falls to Willard's feet, a primitive spear having caught him right through the ribs. Willard looks down in horror. VIEW ON CHIEF laying at Willard's feet - the long spear through him, bleeding onto Willard's boots. He looks up at Willard, about to say something. CHIEF A spear? He dies. MED. VIEW ON THE P.B.R.. The men are still crazily FIRING into the empty jungle long after those who attacked beat their retreat. WILLARD Stop it. Stop it! Slowly he pulls his boots from under Chief. They are absolutely soaked in blood. He is stunned - sits down and begins to unlace the bloody boots, and take them off. LANCE Chief's dead. Willard unlaces the other boot, and holds the bloody boot in his hand. WILLARD -LRB- V.O. -RRB- It was the strangest thing - I do n't know that I can explain it. Two of my men dead, and all I could think of was whether Kurtz was dead too. That's all I wanted : to see Kurtz, to hear Kurtz. He starts to wipe the blood off the boot. WILLARD -LRB- V.O. -RRB- -LRB- continuing. -RRB- Somehow, in the middle of this. carnival, Kurtz had grown into something - a gifted officer ; a great man. Somehow, he was the only light in this hopeless, hopeless darkness. And now I was too late - he was probably gone, disappeared. by a grenade rolled into his tent - or by some spear on the head. Christ, I felt like howling like those animals in the fog.\",\n \"EXT. THE BOAT AT MARINA DEL REY - NIGHT The people at Charlie's cocktail party on the boat. Some flashbulbs are going off. Some people are dancing to the MUSIC. OUR VIEW MOVES SLOWLY TOWARD Willard, on the edge of the party. WILLARD -LRB- V.O. -RRB- Here they are in Los Angeles. Everything is safe. There's a supermarket around the corner, the police station around the other. It would seem ridiculous to them that I was shot to hell because I had lost the privilege of listening to the mysterious Colonel Kurtz. -LRB- pause. -RRB- Of course I was wrong. He was waiting for me. Kurtz was alive and he was waiting for me.\",\n \"EXT. THE RIVER - P.B.R. DAY The P.B.R. moving up the river. The men are practically in a trance now, looking at the banks of the river. They don ´ t even make an effort to touch their weapons. WHAT THEY SEE Hundreds and hundreds of Montagnard natives - dressed in the most ornate and primitive manner : feathers, parts of birds and animals ; cod - pieces - all in body and face paint of the most savage nature. But there is a purity about them, men and boys, standing passively watching the small Navy craft flying the strange flag of red, white and blue. VIEW ON THE P.B.R.. The men of the crew are not the same men who began this voyage. Their manner is lifeless as though in a trance. The various decorations and paraphenelia that they have picked up along the way seem oddly relevant to the savages that stand before them. The Chef has made a hat of birdfeathers ; Lance's face has been painted with mud under the eyes to block the glare of the sun. He wears certain animal skins ; trinkets ; some animal teeth. Their uniforms have been torn and patched throughout the difficult journey. They start to move to their gun positions. WILLARD Just stand here with me where they can see us. Do nothing. VIEW FROM BEHIND THE P.B.R. MOVING SLOWLY TOWARD the fantastic human wall of feathers and war paint, standing on canoes across the river. The men on the crew stand in a group, their hands visibly without weapons. The natives standing across the river make no hostile gestures as they approach. They accept the small boat moving toward them with a sort of inevi - tability. The boat moves closer, approaches the wall of feathers - which slowly and automatically gives away, in almost a ritual of birth, undulating, allowing the little boat to penetrate. VIEW ON WILLARD Mus on his face -LRB- to protect it from the sun -RRB-, the palms of some jungle vegetation protecting his head, he looks something like atribal chieftan himself. His intuition was right. He senses that they would be allowed to pass. FULL VIEW ON THE RIVER Hundreds of Montagnards who had been lining the river now run, absolutely silently, along the banks, keeping pace with the P.B.R.. There is no hostility in these faces, only curiosity and a sort of grief. VIEW ON WILLARD, THE CREW They look up toward the bank. THEIR POV The temple at NU MUNG BA, a fortified encampment, built around the ruins of a former Cambodian civilization. Stone walls, barbed wire, cracked pyramids and rows and rows of Escher - like sandbags arranged in an endless maze around the fortress. VIEW ON WILLARD He picks up his field glasses and looks through. WILLARD'S POV - THROUGH GLASSES A sign entangled in the barbed wire - its lettering strict and military : FOURTH SPECIAL FORCES MISSION F-82 NU MUNG BA The GLASSES POV MOVES REVEALING another sign written in a wild psychedelic hand. OUR MOTTO: APOCALYPSE NOW! says. The POV OF THE GLASSES MOVE once again and come upon an astonished sight, a black man dressed in a tatter of colored fabrics, feathers, and an Australian bush hat. He looks something like a multi - colored harlequin waving frantically to the P.B.R.. The POV OF THE GLASSES MOVE OFF of him. VIEW ON WILLARD not believing what he's just seen. THE GLASSES POV Once again the young black man is now waving his Australian hat. VIEW ON THE P.B.R. Willard shouts out to the starnge greeter. WILLARD We've been attacked. AUSTRALIAN -LRB- shouting back. -RRB- I know, I know, it's all right. Come in this way. It's mined over there. This way. It's all right. Willard look at Chef who is at the helm. He shrugs and they do as this man says. The P.B.R. moves towards the water's edge where there is a dock covered with concertina wire. The odd Australian stands waving his hat, guiding them safely in. A thick greasy smoke hangs from fires that burn near the fort ; fresh shell craters indicate a recent battle. Near the dock there is a tangled clump of corpses - half sub - merged in the water. Other piles of bodies lie about, some of them on fire. Fire literally burns from out of the ground. Chef nods at the bodies. CHEF Charlie? WILLARD Looks that way. CHEF -LRB- looking at the Australian. -RRB- Who's he? WILLARD God knows. The boat pulls up. The Australian harlequin hops on board ; the crew regards him with their dark faces splat - tered with mud and blood. WILLARD -LRB- continuing. -RRB- Who the hell are you? AUSTRALIAN Moonby. Got any Winstons? WILLARD Moonby what? AUSTRALIAN Moonby, 4th battalion, Royal Australian Regiment, Task Force. Ex - Corporal Moonby, deserted. WILLARD -LRB- incredulously, indicating the hundreds of natives. -RRB- What is this? MOONBY Oh, they're simple enough people. It's good to see you, baby. Nobody has any Winstons? Chef automatically offers Moonby a Winston. MOONBY This boat's a mess. WILLARD Where's Kurtz? I want to talk to him. MOONBY Oh, you do n't talk to Colonel Kurtz. -LRB- he puffs, then smiles. -RRB- You listen to him. God, these are good. I kept these people off you, you know. It was n't easy. WILLARD Why did they attack us? MOONBY Simple. They do n't want him to go. WILLARD You're Australian? MOONBY Pre - Australian, actually. But I'd dig goin' to California. I'm California dreamin'. WILLARD -LRB- almost to himself. -RRB- So Kurtz is alive. MOONBY Kurtz. I tell you, that man has enlarged my mind. He opens his arms wide, to indicate the breadth of his mind's expansion. MOONBY -LRB- continuing. -RRB- But lem me tell you, he is the most dangerous thing in every way that I've come on so far. He wanted to shoot me. The first thing he said is, ` I'm going to shoot you because you are a deserter.' I said I did n't desert from your army, I deserted from my army. He said, ` I'm going to shoot you just the same.' WILLARD Why did n't he shoot you? MOONBY I've asked myself that question. I said to myself, why did n't he shoot me? He did n't shoot me, because I had a stash like you would n't believe. I hid it in the jungle ; the wealth of the Orient : Marijuana - Hashish - Opium - cocaine - uncut Heroin ; the Gold of the Golden Triangle. and Acid - I make Koolaid that makes purple Owsley come on like piss. Now I'm Kurtz' own Disciple - I listen he talks. About everything! Everything. I forgot there's such a thing as sleep. Everything. Of love, too. CHEF Love? MOONBY Oh, no, not what you think. Cosmic love. He made me see things - things, you know. The whole time Moonby is chattering on, Willard has picked up his field glasses and scans the fortress. WILLARD'S POV - THROUGH THE FIELD GLASSES Men in small groups, huddled over food. Now he settles on the entrance in the temple. There are stakes in front, and on top of them are horrible shrunken heads. BACK TO SCENE WILLARD Sounds like he's gone crazy. MOONBY No, Colonel Kurtz could n't be crazy - if you heard him talk, just last week, you'd never think he was crazy. WILLARD Is that where he is? By the shrunken heads. MOONBY Those heads, yes. Well, the rebels. WILLARD -LRB- to his men. -RRB- We're going ashore. Tie her up - and leave your guns up, Lance. LANCE What? WILLARD Bring your rifles, that's all. -LRB- looking at Moonby. -RRB- Take us to him. MOONBY Right on - he's been waiting for - WILLARD And shut up. Moonby nods and shrugs, and hops off the P.B.R. willard and the men follow. MOVING VIEW - WILLARD, MOONBY AND THE CREW As they proceed closer to the fortress - temple, men appear where a moment before there was only jungle. They are mostly Montagnards, but far more savage looking than any we've seen before. They wear only loinclothes and bandoliers of ammunition. their bodies are painted in strange patterns. They carry Army M - 16's, Russian AK - 47's and a wide variety of knives and clubs. Women emerge from the brush as well. they are armed and equally primitive looking. Interspersed among them are a few taller men with paler skins, with the remnants of Army insignia on them. The paint on their bodies is, if anything more bizarre. We CONTINUE TO MOVE ACROSS the entire group up to the stone gates of the fort, where thirty or so more are seen silhouetted against the sky. Willard and his men look up at people more primitive and more savage than any since the time of Captain Cook. They encounter, in the center of the group, what once appears to have been an American. he is tall, gaunt, wears a flak jacket, but is otherwise naked, save a loincloth. His face is darkened from dirt, battle smoke, strange camouflage patterns. His hair and beard are long, matted with mud and grease. He carries an AK - 47 decorated with scalps and human ears. Willard approaches this beast, who seems shy and retiring. WILLARD Who are you? MOONBY -LRB- breaking in. -RRB- His name is. WILLARD I'm not ever goin' to tell you to shut up again. Moonby shuts up. The MAN tries to speak, but nothing comes out. He is dumbstrucked at seeing them, as they are to see him. MAN Colby. Exec. officer, A - Team. Special Forces. F - 82 - Col. Walter Kurtz, commanding. WILLARD What happened here? COLBY What - happened here. WILLARD Charlie? COLBY NVA regulars. They're coming again tonight. Tet - their big - assault. Willard is the man in the middle - he does n't know what to say to this man, but he understands the forces that pounded him. He takes his arm. REVERSE ON COLBY looks at Willard, not understanding. REVERSE ON WILLARD Six months later, and he and Colby would be identical. WILLARD I'm taking you back. Moonby slaps himself in the head with his hand. MOONBY Oh, no, don ´ t say that. COLBY Take us back. Take us back! But, the operation - the team. Colonel Kurtz has such plans for - the team. WILLARD Take me to him, Major. Colby starts, and then, seeing the shrunken heads on poles, he turns, agitated, to Willard : COLBY I had nothing to do with these operations - I did not do the planning - none of us did. It was all Colonel Kurtz - he was the genius. You'll see - the genius of our Colonel. He should be made a General, do n't you think? A General? It's. Suddenly, frightened, he stops. Without looking Willard knows that Kurtz is standing behind him. He turns. Kurtz has stepped out from his headquarters : He is a powerful man, though obviously very ill. He slowly attempts to pull the remnants of his uniform together, though it is ripped and bloodied, and now combined with primitive ornaments designating him a tribal chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. VIEW ON WILLARD This is not what he expected. He is quiet, and then, automatically, he comes to an attention. WILLARD Colonel Kurtz, I guess. KURTZ I'm Kurtz. WILLARD -LRB- he salutes. -RRB- Captain B.L. Willard reporting his presence, sir. VIEW ON KURTZ looking at him a long time. Then he returns the salute, and simply : KURTZ At ease. -LRB- pause, as he regards him. -RRB- Sit down. MED. VIEW There is, of course, no chair or anything like a chair. But behind and around him, Kurtz's men begin to sit on the ground, cross - legged. Finally, Willard sits as well. Then Kurtz does. Moonby lights a joint, and passes it respectfully to Kurtz - throughout the scene, the joint is passed from man to man, ritualistically. KURTZ -LRB- slowly. -RRB- Why did you come to. my province. WILLARD We were attacked - down river. We need supplies and medical help. KURTZ You were not coming here, to see me? WILLARD -LRB- finding it more and more difficult to go on with this lie. -RRB- No - no, sir. KURTZ You came up my river - in that small boat. So simple. I always thought the final justice would come from the sky, like we did. -LRB- pause. -RRB- You are the final justice, are n't you? WILLARD What do you mean, Colonel? KURTZ -LRB- gently. -RRB- What other reason could you have come? A Captain. Ranger. Paratrooper. Graduate of the Recondo School. Am I right about these things? WILLARD You know you're right. There is a clear, incredible intelligence about this man. KURTZ Then the Agency approached you. Maybe in a bar in Quinon or Pleiku. Simple. A year's pay for one life. Perhaps a village elder, or a tax collector. Nobody's orders but your own. Exciting work. CLOSE ON WILLARD He remains silent. CLOSE ON KURTZ He smiles. KURTZ You've spent tome at the Royal Tracking School of Malaysia. I can tell from the way the laces on your boots are tied. I understand you, Captain. We understand each other. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered.45 - withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. WILLARD Do you know me? KURTZ Yes. Kurtz reaches down ; takes the.45 - and without another word or gesture, shoots and kills a man. KURTZ -LRB- continuing. -RRB- Do you know me? He throws the.45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. CHEF Holy shit.\",\n \"EXT. KURTZ'S OUTPOST - FULL VIEW - TWILIGHT Dotted with campfires ; Montagnard families - it is like a primitive civilization. VIEW BY THE TEMPLE WALL Willard is alone by a campfire - his M - 16 leans by a wall next to him. He is exhausted. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. CHEF Captain - they've been probed all this week - Cong and NVA regulars. There's gon na be a big offense any time. WILLARD I know. Lance stirs ; starts to wake up. CHEF What are we doing here? WILLARD Kurtz. I'm supposed to kill him, just like he said. KURTZ Yeah, I can see that. He's fuckin nuts - WILLARD Yeah. CHEF He killed that guy without feeling anything. WILLARD Not a thing. CHEF When you kill Cong, do n't you feel something. WILLARD Sure. -LRB- thinking. -RRB- Recoil. I feel the recoil of my rifle. Willard rises. Chef looks at him, confused and frightened. FULL SHOT - WALL - WILLARD, CHEF, LANCE Willard walks along the top of a thick wall - sandbagged and dug out every so often for an M - 60 or a mortar emplacement. Wild looking savages man these guns, and seem to bow to Willard as he passes. WILLARD This is good - triple overlapping fields of fire - walls so thick ordinary artillery just cleans the moss off their surfaces. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires. men, women and children. Skulls, shrunken and otherwise hang from every hut - adorn every sandbagged bunker - dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. WILLARD -LRB- continuing. -RRB- I've done things, when I was alone in the jungle - that I never told anyone about. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side so that a 7.62 mini - gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. CHEF This is evil - evil, Captain. We're all gon na die here. WILLARD Yeah, I know. CHEF I do n't get it - You said your mission was to kill him. Let's do it, an' get our asses outta here. This Kurtz is ruining the war ; I mean, this do n't look good for America! WILLARD -LRB- lost in his thoughts. -RRB-. he's an amazing officer. CHEF You got to kill this sonuvabitch - Lance and me, we don' ´ t understand none of this - Jesus, Captain - I do n't wan na die here - Do it quick. Lance just stands there ; his eyes vacant. He sort of nods, sucking a joint. WILLARD Yeah. I know. He thinks.\",\n \"INT. KURTZ HEADQUARTERS - NIGHT VIEW FROM INSIDE - Willard approaches the stakes with the shrunken heads. Chef and Lance with him. Willard steps in - Lance and the Chef crouch outside, waiting. WILLARD'S VIEW An austere stone savern in the temple : Kurtz's head - quarters. Electric lights hanging in odd contrast to the ancient stone. We SEE what is left of the maps and other military charts - they had been tacked up on big boards, but have now fallen into decayed disuse. There are other indications of the modern headquarters this had been. Now all those things are no longer impor - tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits ; and graffiti on the stone walls, things ranging fromm `` Viet Nam, love it or leave it'' to quotes of Nietzsche `` Nothing is true - everything is permitted.'' Moonby, who had been crouching in a corner, moves to Willard. MOONBY He's asleep - do n't bother him. KURTZ I'm awake. Willard steps in closer. Kurtz looks to Moonby. KURTZ -LRB- continuing. -RRB- You. Get out. Moonby hesitates - not wanting to leave him alone with Willard. KURTZ -LRB- continuing ; suddenly. -RRB- I said get the fuck out! -LRB- to himself. -RRB- I'm going to kill the little weirdo myself tomorrow. -LRB- he shows some pain when moving his midsection. -RRB- He ´ s only stayed alive this long because he's a good orderly and medic. He knows how to use a hypodermic. WILLARD You're gon na get hit tonight, bad - a whole regiment of NVA regulars. KURTZ That's right, the little gook - pricks. But they are noble little gook - pricks, noble. Because they fight with their guts, like animals. And for an idea! That's rich. We fight with ingenious machines and fire, like Gods, and for nothing. But I'll call in a major blotto airstrike tonight. We'll have ourselves a helluva airstrike tonight, a lightshow. How do you like The Doors' : ` C'mon Baby Light My Fire.' Willard shrugs. KURTZ -LRB- continuing. -RRB- Do you? WILLARD Yeah, I like it. KURTZ I love it. He rests back, grinning. WILLARD You've gone crazy. KURTZ -LRB- angrily. -RRB- No. My thinking is clear. -LRB- calmly. -RRB- But my soul has gone mad. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. KURTZ -LRB- continuing. -RRB- My gut - Oh, Christ, my gut! Willard leans over him ; checking the seriousness of the wound.\",\n \"EXT. THE HEADQUARTERS - NIGHT Lance is crouching by the stone entrance - Chef leans in, witnessing the proceedings inside. CHEF -LRB- muttering. -RRB- Kill him - come on, why do n't you kill him\",\n \"INT. THE HEADQUARTERS - MED, VIEW - KURTZ AND WILLARD NIGHT Willard examining the wound. KURTZ -LRB- in pain. -RRB- Oh shit - on the table ; morphine. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. KURTZ -LRB- continuing ; looking up in pain. -RRB- You see how stupid it would have been to blow out my brains? I'm dying from the gut anyway. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. KURTZ -LRB- continuing. -RRB- No - I do n't want to sleep. I want to think. Water. Give me water. WILLARD You ca n't have water after morphine. KURTZ Still playing by the rules. -LRB- almost affectionately. -RRB- You're a damn good kiler. WILLARD -LRB- still holding the second morphine. -RRB- How's the pain? KURTZ How's yours? WILLARD I can handle it. KURTZ Pain is easy to handle - but nobility. the nobility of a man is judged by how much Truth he can handle. WILLARD What Truth? KURTZ The truth that you were sent here to murder me, ans so far you have n't done it. And do you know why? -LRB- looks at him. -RRB- Yes, you know why. -LRB- he looks. -RRB- Your mission makes about as much sense as those idiots who sent you on it. Asshole! Schmuck! How long does it take you to figure out that nobody knows what they're doing here. -LRB- coldly. -RRB- Except me. He rests back. The drug is beginning to take effect. KURTZ -LRB- continuing. -RRB- Gim me water. WILLARD No water. KURTZ You know what you're doing? You are interfering with my plans! He crawls in pain toward the canteen Willard watches him impassively. KURTZ -LRB- continuing. -RRB- This water's got Moonby's acid in it - He drinks sloppily from the canteen, water spilling all over. Then he throws the canteen to Willard. KURTZ -LRB- continuing. -RRB- Drink it - drink it for tonight. Think of it. A whole regiment of those shitty little Cong - War. Total war - war like you've never known it. It's beautiful - you'll love it. Trust me.\",\n \"EXT. THE HEADQUARTERS - MED. VIEW - LANCE AND CHEF - NIGHT We can SEE into the headquarters : Kurtz offers the canteen to Willard. Chef is terrified - Lance is stoned out. CHEF Lance - the fucker's not gon na do it. KURTZ Goddamn - You've got ta dig napalm on Speed, too. It's spectacular, you'll see. Lance stands up holding his M - 16, looks into the cavern with Chef.\",\n \"INT. HEADQUARTERS - NIGHT Willard stands there, holding the morphine needle in his hand. KURTZ Look into the jungle. You ca n't - it's too terrible. You have to smear yourself with warpaint to look at it - you have to be a cannibal. -LRB- whispered. -RRB- That's why warpaint was invented. Then it becomes your jungle. Willard shoots himself in the arm with the morphine. WILLARD How did we get here? KURTZ Because of all the things we do, the thing we do best - is lie. WILLARD I think think a lie stinks. KURTZ Oh Captain, that is so true. WILLARD Stinks. I could never figure -. -LRB- he drinks from the canteen. -RRB- I could never figure how they can teach boys how to bomb villages with napalm - and not let them write the word ` fuck' on their airplanes. Willard drinks more of the LSD water. KURTZ -LRB- angrily. -RRB- You could never figure it because it does n't make sense. WILLARD Fuck no. KURTZ I'll tell you what makes sense! Air strikes! White Phosphorus! Napalm! We'll bomb the shit out of them if they do n't do what we want. WILLARD We'll exterminate the fuckers! Chef steps into the Headquarters - he is terrified. He draws his bayonet. CHEF Captain - kill him. KURTZ Think of it - for years, millions of years, savages with pathetic painted faces were scared shitless that fire would rain down from the sky. And goddamn, we made it happen. God bless Dow! CHEF Kill him! Chef rushes at Kurtz with his bayonet - instinctively, Willard GUNS him - then there is additional automatic FIRE. Chef is being riddled by bullets. VIEW ON LANCE He has let loose with his M - 16 at Chef, like some sort of mindless, programmed killer. LANCE -LRB- FIRING. -RRB- Hot damn! Then hes tops - Chef falls to the dirt - there is an instant of silence, then :\",\n \"EXT. OF THE TEMPLE AT NU MUNG BA - NIGHT The DOORS begin LIGHT MY FIRE, loud and overwhelming, as illuminating flares light up the blackness. MED. CLOSE VIEW of enormous loudspeakers protected behind spirals of razor - sharp concertina wire. LIGHT MY FIRE is blasted out to the enemy, poised to attack. ANOTHER LOUDSPEAKER Cannibal - painted men in savage decorations wait. Bay - onets are fixed. Men are stoned to acid, injecting speed, sniffing cocaine, eating grass, smoking hashish in water pipes. One looks up to the sky. EIS VIEW A rocket illuminates the sky, strobing, as in a psyche - delic hallucination. VIEW ON THE SOLDIER SOLDIER Wow. Another behind him is chanting the word NAPALM softly t himself. MED. VIEW ON THE GATE Willard strides out of the darkness, into the positions around the gate. He looks like a magnificent warrior - Genghis. All the men : Montagnards, fierce Americans, even the savage men of the P.B.R. crew either bow, salute or kneel before Willard. The color pulsates around the edge of the image, red and green, mauve and purple. We SEE Lance ; waiting, with his weapons - garlands of teeth around his neck, his face painted. FULL VIEW - MONTAGE Enemy ARTILLERY BLASTING away at the fortress. CLOSE SHOT - A MORTAR A hand drops a shell and it FIRES. CLOSE SHOT - ROCKET LAUNCHER It FIRES. EXPLOSIONS around the fort, red and orange and blue and green. They hit and grow, outward like some sort of cosmic flower. CLOSE SHOT - A FLAME - THROWER -LRB- ON TANK -RRB- Shoots out a stream of burning napalm that looks like a death ray gun, radiating outward with ice - blue energy. SHOT ON LOUDSPEAKERS blasting out music. MED. CLOSE VIEW ON YOUNG SOLDIERS With the MUSIC, like those people you see listening to radios in their cars. SHOT ON THE COMMAND BUNKER - WILLARD, KURTZ, OTHERS -LRB- In SLOW MOTION -RRB- Shells WHISTLE in and EXPLODE on the walls in the compound. The men behind them are setting up rocket launcher -LRB- missile -RRB-. Everywhere metal and rock and flame fly and it is beautiful to see. Willard looks through the infra - red sniper scope. WILLARD - INFRA - RED POV Strange, luminescent images of North Vietnamese approach - ing the outer perimeters. Thousands of them. FULL SHOT ON KURTZ KURTZ Mini - gun. Colby. Sergeant. Mini - gun. MED. SHOT - MINI - GUN A SERGEANT in feathered head - piece and wildly painted operates the mini - gun with several native helpers. SHELLS BURST around them. When they FIRE the SOUND is incredibly loud and steady like a high - pitched foghorn. A solid stream of molten lead seems to pour into the darkness as rounds a minute rip into the enemy. The pass of the lead reaches out in beautiful patterns as the Ser - geant sweeps the area. The sergeant laughs maniacally as the GUN resumes FIRING, right up to the moment he is blown to eternity by an all - engulfing 105mm shell. VIEW ON WILLARD Exhilarated, and moving with the MUSIC. WILLARD Napalm. Colby pushes a row of plungers : Advancing NVAs il - luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. VIEW ON KURTZ KURTZ Claymores, claymores. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv - ing in front of us. The SCREAMS of maimed and dismembered men almost pene - trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. FULL SHOT - NVA CHARGE through wires and claymore glass, each wilder and more extreme. They burn in the pools of luminescent napalm but press relentlessly on. SHELL BURSTS overhead. They chant to themselves as they advance. NVA have reached the walls and throw down scaling ladders and start up. Suddenly the sky is bright with flares which produce weird psychedelic light. Blared out at tremendous vol - ume over and above the DIN OF BATTLE is LIGHT MY FIRE. FULL SHOT - WALL - EVERYBODY The Americans and Montagnards stand up screaming. Spurred by MUSIC, they charge up. M - 16's in both hands, blasting, kicking, bayoneting, gouging, splittin throats, biting necks, both sides collide in the utter and most horrible savagery. MED. SHOT - WILLARD standing on the wall BLASTING as bodies fall around him ; he thrusts his bayonet into one attacker, removes it with a foot and stabs another. From him he takes his AK47 and BLASTS more as they come. MED. SHOT - LANCE The VC rush his position. Willard trips a claymore that BLASTS most of them to shreads. More fill in. Lance opens up FULL AUTOMATIC. Willard and Lance move down to the nest wall, FIRING, bodies tumbling over. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up - FIRES a final BURST and then falls under the enemy's feet. VIEW ON MOONBY sees this and scampers off into the jungle, muttering madly to himself. MED. VIEW - WILLARD AT THE R.T. shouting into the radio WILLARD Code - Street Gang - Street Gang! Purgative air strike ; Street Gang! He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting their way through the NVA masses like torches through metal. FULL SHOT - COMMAND POST - KURTZ Kurtz watches as invaders swarm through his domain. Women and children rush upon him now. Kurtz flicks some switch - es and the whole north wall EXPLODES in overwhelming FIRE. The gates are uprooted. The stone lions tumble, crushing men below. Kurtz cocks an M - 16 and walks off the bunker. VIEW ON WILLARD watching this spectacle. MED. SHOT - DIFFERENT ANGLE - KURTZ He rounds the shadow wall. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They do n't see him. He braces the gun at his side and steps out. KURTZ -LRB- yelling. -RRB- Charles! They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. MED. SHOT - LOW ANGLE - KURTZ taking swings with his rifle, standing atop the wall and battering the oncoming enemy like Davy Crockett at the Alamo. FULL VIEW - THE FORTRESS The air strike hits with all its force. Balls and rain of fire sweeps down on the temple, the enemy, everything. It is the biggest firework show in history. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. TRACKING SHOT ON WILLARD following Kurtz's trail in the mud. He has crawled on all fours back into the jungle to die. He stalks Kurtz into the jungle ; moving around and cutting off the crawling Kurtz KURTZ Go away - hide yourself. WILLARD What are you doing? KURTZ Going back - to the jungle to die. WILLARD I'm taking you back. You can still live. KURTZ I had immense plans. WILLARD I'm gon na get you out of here. KURTZ I was on threshold of great things. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g.\",\n \"EXT. THE P.B.R. - THE RIVER This wreck of a boat is still afloat. Willard crawls out of the jungle, carrying the dying Kurtz and manages to get him onto the boat. EXTREME FULL SHOT The spectacle of total psychedelic war : the fortress of Nu Mung Ba. FADE OUT. FADE IN.\",\n \"EXT. THE TEMPLE - MORNING The entire temple is devastation. Vultures by the hundreds circle overhead. There are a few survivors. Everywhere is smoke and heaps of bodies. Colby, a Sergeant, and some Montagnards sit near them. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. COLBY Who is he? WILLARD He was the tragedy - the tragedy of this war. THE P.B.R. battered, moving slowly down the river. TIGHTER VIEW Colby is at helm. Kurtz lies feverish, delirious. Willard sits by him. As the boat moves, Montagnards, those left alive, come and pay their respects by the riverbanks. Colby takes an automatic weapon and FIRES it into the air. Some of the natives move in terror, frightened of him. The battle is not over. KURTZ Do n't. Do n't frighten them away. Willard looks down at him. WILLARD So you understand this? Kurtz looks up at him, past him with fury, longing in his eyes. There is a slight smile. KURTZ Do I not?\",\n \"EXT. RIVER - MED. VIEW The boat moves as though naturally carried by the river. KURTZ My river. my people. my jungle. my ideas. my country. my wife. -LRB- he looks at Willard. -RRB-. my death. WILLARD You had immense plans. immense plans. KURTZ Yes. WILLARD I'm taking you back. Kurtz looks up to him, then an expression of overwhelming intense and hopeless terror, hopeless despair. A whisper at some image, at some vision, he cries out twice, a cry that is no more than a breath. KURTZ The horror, the horror. We HEAR the distant SOUND of HELICOPTERS approaching. The SOUND of ROTORS in the distance. They look up, craning their eyes at the sky. Colby points. COLBY There. Over the jungle mountains the small formation of MEDEVAC helicopters hooping toward them. COLBY -LRB- continuing. -RRB- How did they know? WILLARD They must have seen the fire. The helicopters are closer now but high up. Two of them breaking off, spiraling in TOWARD US. COLBY They're coming to rescue us. They're Medevac. CLOSE SHOT ON WILLARD He stares up at the sky. WILLARD -LRB- to himself. -RRB- They're coming to take us back. Copters directly overhead. WILLARD -LRB- continuing. -RRB- Yeah. COLBY Colonel Kurtz, he's dead. WILLARD Yeah. He raises his M - 16 and FIRES the entire clip at the ap - proaching rescue helicopter. FULL SHOT - THE COPTER It frantically pours on the power and wheels up to the sky. FULL SHOT - WILLARD, COLBY WILLARD Yeah. Colby takes his rifle and joins Willard in FIRING at the retreating American helicopters. HELICOPTER'S POV - ON THE BOAT The men in the boat FIRING AT US as we fly further into the air, the boat getting smaller and smaller. WILLARD -LRB- V.O. -RRB- Do n't remember a lot about my rehabilitation. but I was sent back to the world before the fall of Saigon.\",\n \"EXT. MARINA DEL RAY - EXTREME HIGH ANGLE - NIGHT MOVING DOWN back to the pleasure boat at the Marina. Pause. Willard is very silent. WILLARD I never answered questions about Kurtz - I gave them a few of his unimportant papers - but for the most part I saved everything. There were other letters, personal ones written earlier to his wife. I brought them to het. I watched the fall of Saigon on television in a bar in Alameda.\",\n \"EXT. CALIFORNIA NEIGHBORHOOD - DAY A bright clear day in a scrubbed - clean California neigh - borhood. Some kids are playing in the street. Willard, years later, dressed as a civilian, proceeds past the lawn to the attractive home, carrying a packet under his arm. He passes a lanky, young teen - aged boy working on a motor - scooter. Willard looks at him. The boy looks back. WILLARD Hi. Then the door opens, and KURTZ'S WIFE is standing at the door. She is still beautiful, blonde, and dressed in mourning even though she does n't wear black. There is a sense of purity about her, though she is not young. KURTZ'S WIFE Come in, Captain Willard. He enters.\",\n \"INT. KURTZ'S HOME - DAY Everything good and secure and desirable about America. She stands in the center of the room, a little nervous. KURTZ'S WIFE Can I get anything for you? There are pictures of Kurtz, not too many. but he is there in the various stages of his career. Then she sits suddenly, and Willard sits by her. KURTZ'S WIFE -LRB- continuing. -RRB- Did you know him very well? WILLARD You get to know each other pretty well out there. KURTZ'S WIFE And you admired him? WILLARD He was a remarkable man. It was impossible not to - KURTZ'S WIFE Love him. Yes, it is true. That's the hard part for me. I knew him better than anyone. I knew him best. WILLARD You knew him best. KURTZ'S WIFE You were his friend. You must have been, if he had given you this. -LRB- the packet. -RRB- If he sent you to his home. He was the best this country had - he was - WILLARD Yes, I know. KURTZ'S WIFE I'll never get over it - But I'll always remember him. WILLARD Both of us. KURTZ'S WIFE Men looked up to him. -LRB- she loses herself in a thought. -RRB- He died as he lived. WILLARD His death was - yes, he died as he lived. KURTZ'S WIFE Were you with him, when. WILLARD Yes I was. He said his last words to me. Pause. MED. CLOSE SHOT ON WILLARD A little of the madness is still with him. He knows what she will ask. KURTZ'S WIFE What were they? MED. CLOSE SHOT ON KURTZ'S WIFE KURTZ'S WIFE Tell me. MED. CLOSE ON WILLARD remembering that incredible day moving down the river. Our VIEW LOOSENS KURTZ'S WIFE Tell me what he said. KURTZ -LRB- V.O. -RRB- The horror! The horror! WILLARD He spoke of you, ma'am. He sits there looking at her.\",\n \"EXT. TIGHT HIGH ANGLE ON THE MARINA DEL REY BOAT The cocktail party is breaking up. Willard is one of the few guests left. We MOVE FROM Willard standing alone on the deck of the boat. Moving back through the departing guests. Charlie is getting ready to leave himself. We MOVE CLOSER to Willard.\",\n \"EXT. THE RIVER - P.B.R. - DAY the boat floating down the river. Kurtz's body ; an exhaust - ed, half - dead Colby. And HOLDING Kurtz, Willard. We HEAR THE DOORS' `` THE END'' as we present the END TITLES. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,1,0,1,1,0,0,0,1,0,0,0,0,1,0,0,1,1,1,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,1,1,1,0,0,0,1,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"During the Vietnam War, U.S. Army 5th Special Forces soldier, Colonel Walter E. Kurtz has apparently gone insane and is waging a brutal and successful guerilla war against terrified NVA and PLAF forces without permission, directions or resupply from his commanders. At an outpost in Cambodia, he commands American and Montagnard troops who see him as a demigod. Captain Benjamin L. Willard is summoned to I Field Force headquarters in Nha Trang, MACV-SOG is briefed on the situation by two Army commanders and a CIA officer and ordered to \"terminate Kurtz' command... with extreme prejudice\". Willard, initially ambivalent, joins a U.S. Navy river patrol boat (PBR) commanded by Chief, with crewmen Lance, \"Chef\", and \"Mr. Clean\" to quietly navigate up the Nùng River to Kurtz' outpost. Before reaching the coastal mouth of the Nùng, they rendezvous with the 1st Squadron, 9th Cavalry Regiment, a helicopter-borne air assault unit commanded by Lieutenant Colonel Bill Kilgore, to discuss safe passage. Kilgore is initially uncooperative as he has not received word about their mission through normal channels, but he becomes more engaged after discovering that Lance is a well-known surfer. The commander is an avid surfer himself and agrees to escort them through the Nùng's Viet Cong-held coastal mouth. The squadron raids at dawn, with Kilgore ordering a napalm strike on the Viet Cong. Before Kilgore can lure Lance out to surf on the newly conquered beach, Willard gathers the sailors to the PBR to continue their mission. Tension arises as Willard believes himself in command of the PBR while Chief prioritizes routine patrol objectives over Willard's. Slowly making their way upriver, Willard partially reveals his mission to the Chief to assuage his concerns about why his mission should proceed. As Willard studies Kurtz' dossier, he is struck by the mid-career sacrifice he made by leaving a prestigious Pentagon assignment to join a special operations branch, which afforded no prospect of advancing in rank past colonel. The third-generation West Point graduate could have pursued more conventional command assignments to eventually rise to four-star general. Weeks later, the PBR reaches the remote U.S. Army outpost by the Do Lung Bridge. Willard and Lance enter the outpost after nightfall, seeking information on what is upriver and receive a dispatch bag containing official and personal mail. Unable to find any commanding officer at Do Lung, Willard orders the Chief to continue as an unseen enemy assaults the bridge. Willard learns via the dispatch that another MACV-SOG operative, Captain Colby, was sent on an earlier mission identical to Willard's and has since joined Kurtz.As the crew read letters from home, Lance activates a smoke grenade while under the influence of LSD, attracting the attention of an unseen enemy, and Mr. Clean is killed. Further upriver, Chief is impaled by a spear thrown by Montagnards and attempts to kill Willard by impaling him on the spear point protruding from his own chest. Willard suffocates Chief and Lance buries him in the river. Willard reveals his mission to Chef, who is now in charge of the PBR, but despite Chef's anger about the mission, he rejects Willard's offer to cut the sailors loose and continue alone and insists that they complete the mission together. The PBR arrives at Kurtz's outpost, located on the site of a long abandoned Angkor Empire temple compound, teeming with Montagnards and strewn with corpses and severed heads. Willard, Chef and Lance are greeted by an American freelance photojournalist, who manically praises Kurtz's genius. As they wander through, they come across a near-catatonic Colby, along with other US servicemen now in Kurtz's renegade army. Willard returns to the moored PBR to leave Chef with the boat, ordering him to call in a pre-arranged airstrike on the outpost if Willard and Lance do not return. In the camp, Willard is subdued, bound and brought before Kurtz in a darkened temple. Willard is detained and tortured for several days, during which time Kurtz kills Chef, preventing the airstrike from occurring. Willard is soon released and allowed to roam the compound. Kurtz lectures him on his theories of war, the human condition and civilization, while praising the ruthlessness and dedication of his adversaries, the Viet Cong. Kurtz discusses his family and asks that Willard tell his son about him after his death. That night, as the Montagnards ceremonially slaughter a water buffalo, Willard stealthily enters Kurtz's chamber as he is making a voice recording and attacks him with a machete. Mortally wounded, Kurtz utters \"... The horror ... the horror ...\" and dies. All in the compound see Willard departing, carrying a collection of Kurtz's writings, and bow down to him. Willard then leads Lance to the boat and they sail away. Kurtz's final words echo eerily as everything fades to black."},"name":{"kind":"string","value":"Apocalypse_Now"}}},{"rowIdx":182,"cells":{"scenes":{"kind":"list like","value":["INT. A MENTAL HOSPITAL - DAY A few patients sit around fumbling with themselves. One man sits at a table scratching back and forth on a piece of paper with a crayon. Another stands in a corner smoking a cigarette and staring at the crayon guy. This is CHARLES. Another man, KARL, sits in a chair staring at the floor and rubbing his hands together. We cut back and forth between Charles staring and Crayon Man scratching. After a moment, an attendant approaches Charles. ATTENDANT You ca n't smoke in here. Charles stares at him blankly for a moment and continues smoking. He looks back to Crayon Man again for a moment then looks over at Karl and then goes and sits down beside him. CHARLES A Mercury is a good car and that's what I was driving that day. I've owned a lot of cars. Different kinds. Lots of different kinds of cars. She was standing, this girl, on the side of the street where there was a chicken stand ; not the Colonel, mind you, but nevertheless a chicken stand, and I pulled the Mercury over and rolled down the window by electric power. She was wearing a leather skirt and she had a lot of hair on her arms. I like that. I like it a lot. It means a big bush. I like a big bush. She said, `` Are you dating?'' I said, `` yes,'' and she got in the car. We pulled to a remote location, one that she and I both felt comfortable with and she said, `` How much can you spend?'' I said, `` What it takes to see your bush. I know it's a big one.'' She said `` twenty five dollars,'' which to a working man is not chicken feed. I produced the money and she put it in her shoe and pulled up her skirt. There before me lay a thin, crooked, uncircumcised penis. You can imagine how badly I wanted my twenty - five dollars back.","INT. A HALLWAY - DAY Two young women, MARSHA DWIGGINS, carrying a briefcase, and THERESA EVANS, carrying two camera bags are being led down the hallway by a GUARD. THERESA I do n't know why you're so weirded out, this is not San Quentin, it's just a nuthouse. Most of these people do n't even know where they are, they're not gon na hurt you. MARSHA In a few minutes we're gon na be in a room with a killer. That does n't bother you? THERESA Hey, you're the one that wanted to major in journalism. Anyhow, was n't the guy something like twelve or thirteen when he did it, it was twenty - five years ago, he probably does n't even remember it. MARSHA -LRB- wrinkling her nose. -RRB- Do you smell shit? THERESA Yeah. They reach a door and the guard ushers them through.","INT. AN OFFICE - DAY JERRY WOOLRIDGE stands up from behind the desk as they enter. He's in his fifiles and looks like a school teacher, shop class or perhaps eighth - grade science. GUARD These are the people from that newspaper deal. WOOLRIDGE Oh yeah, from the college? MARSHA Yes sir. Woolridge shakes hands with them. WOOLRIDGE My name's Jerry Woolridge. MARSHA Nice to meet you. I'm Marsha Dwiggins and this is Theresa Evans. She's here to take the pictures. WOOLRIDGE Y' all have a seat. Is this all of you? MARSHA Yes sir. WOOLRIDGE I think there must have been a little mix up. I told your sponsor or teacher or whatever he is, there could n't be any pictures. It's s ` posed to be just a little story or article or something, is n't that right? MARSHA Well, yeah, it's for the school newspaper. But it has pictures. I mean it's a regular paper, you know. WOOLRIDGE Karl's real sensitive about having his picture made. He would n't even be on the bulletin board for the Easter Collage. -LRB- to guard. -RRB- Melvin, would you get me a good hot cup with two sugar substitutes? You girls want some coffee? MARSHA No thank you. WOOLRIDGE The other thing is I told your boss on the phone to send a man. Karl wo n't talk to women.","INT. REC ROOM - DAY CLOSE UP on Karl's face. Charles has started another monologue. CHARLES There was a young man named John Liggit Hunter who was in the filling station business and a good filling station business. He was one of those young men that we run across so often in life. I'm sure you've run across them, that did n't deserve the things he had. One of those things was his beautiful bride, Sarah. She was a Georgia Peach. As a matter of fact she looked more like the picture I've had in my head than any woman I've ever seen. I took it upon myself to take her away from John Liggit Hunter, who did n't deserve her. I'm not sure if I mentioned that he was a Frenchman who claimed to be an Englishman. It took some very strong nylon cord to take her away from him. She was a fighter as well as a Georgia Peach.","INT. WOOLRIDGE'S OFFICE The girls look confused. WOOLRIDGE I do n't know what to tell you. I'm sorry. I made myself pretty clear I thought. He probably got busy and was n't thinking. I know how that is. I used to teach shop and eighth grade science. MARSHA Well, what do we do? We drove all the way out here. THERESA Let's just go, Marsha. MARSHA No, we have to get this story. THERESA I thought you'd be happy to leave. MARSHA Why wo n't he talk to women? WOOLRIDGE He has problems. You know. With all that. He wo n't hardly talk to anybody really. Just certain people. He's very troubled.","INT. REC ROOM CHARLES -LRB- leaning in to Karl. -RRB- A shovel just makes too goddamn much racket.","INT. WOOLRIDGE'S OFFICE WOOLRIDGE -LRB- takes a drink of coffee. -RRB- I do n't think he's talked to a woman in twenty - five or so years. That I know of anyway. That's why I said to send a man. At least maybe he'd answer a question or two for a man. I'm all for helping the college out, believe me. It might be a real good article or story. MARSHA Ca n't you talk to him? Maybe talk him into it. I'm a real good interviewer. Just get me in the room with him. WOOLRIDGE -LRB- to guard. -RRB- Melvin, go get Karl and take him down to the old classroom.","INT. HALLWAY - DAY Woolridge and the two women walk down the hallway. WOOLRIDGE I'll talk to him and see what we can do.","INT. CLASSROOM - DAY Woolridge is opening a door. He enters and the women follow him in. He flips on a light switch and very bright florescent lights illuminate the room. WOOLRIDGE You see, Karl, growing up, only knew that sex was wrong and that people who did it should be killed for it. He could n't really read but, well, neither could his mother. But, his father made sure that his mother knew what the Bible said. And she made sure Karl knew. You know he slept in a hole in the ground under a toolshed, right? MARSHA I knew he slept in a toolshed. WOOLRIDGE His mother told him that he was their punishment. Hers and his father's ; from God, for having sex - MARSHA Before they were married? WOOLRIDGE I do n't think so. Just period, I think. She told him. God gave them the ugliest creation he could think of. Karl has an entire book - a notebook. On every page it says `` Franklin Chapter 1 Verse number 1.'' He wrote that a few years ago after he'd learned to write. His father's name was Franklin. MARSHA That's really strange. What does it mean? WOOLRIDGE One of his Daddy's Bible lessons I imagine. Y' all pull up a chair. I'll go out and talk to him.","INT. REC ROOM CLOSE UP on Charles's face. CHARLES You have to make something explode to truly understand it. You have to examine the tiny particles while they're on fire. Off screen we hear FOOTSTEPS approaching. We pull back and see MELVIN the guard. MELVIN Karl, I got ta take you down to the old classroom. Mr. Woolridge has some people for you to see down there. Come on. Let's go.","INT. HALLWAY - DAY Melvin and Karl walk down the hallway. Woolridge stands outside the door of the classroom. They reach him and Woolridge talks quietly to Karl. WOOLRIDGE Karl, you know, do you remember when I told you about those people from that newspaper? -LRB- pause. -RRB- They want to ask you some questions about your release. They think it would make an interesting story. Will you talk to'em? Get interviewed. -LRB- pause. -RRB- Now, they're women. I think it might be good for you to. You're gon na be seein' all kinds of people when you go on the outside. This'll help you I believe.","INT. CLASSROOM - DAY It's just Woolridge and the two women in the room. WOOLRIDGE Well, it surprised the dickens out of me. He said he'll talk to you. Marsha smiles and looks at Theresa. WOOLRIDGE -LRB- CONT'D. -RRB- But, here's the thing. He'll only talk to you. He does n't want you to ask him anything. And you should n't stare at him. MARSHA How am I going to conduct an interview if I ca n't ask him any questions? WOOLRIDGE It's the best you're gon na get. I'm sorry. MARSHA Can I ask you a question? If he's so troubled, why are you letting him out? What if he does it again? It happens all the time. WOOLRIDGE He's free. His time's up. That's the rules. He's been treated and reevaluated. He does n't show any signs any more. MARSHA Signs? WOOLRIDGE Homicidal signs. Oh, we're gon na change the light in here for Karl. I hope you can see to write. Woolridge turns on a lamp on a desk and turns off the overhead lights. He opens the door and Melvin brings Karl in. In the semidarkness Woolridge pushes a chair up and motions for Marsha to sit. Karl stands beside Melvin motionless. Woolridge whispers to Theresa. WOOLRIDGE -LRB- CONT'D. -RRB- You'll have to step outside. Theresa starts to protest. WOOLRIDGE -LRB- CONT'D. -RRB- Please. Karl sits down in a folding chair near a lamp as Melvin ushers Theresa outside into the hallway. Karl sits staring at the floor. Rubbing his palms together and breathing strangely, as usual. He sits silent for what seems like forever.","INT. HALLWAY - DAY Theresa stands on one side of the door, Melvin on the other. THERESA Can I just sneak in there? I wo n't take any pictures, I promise. I just want to listen. MELVIN No ma'am. I'm sorry you ca n't. Theresa takes a cigarette from her purse and starts to light it. MELVIN -LRB- CONT'D. -RRB- You ca n't smoke in here. I'm sorry.","INT. CLASSROOM - DAY Marsha is staring at Karl. Karl, still breathing and rubbing his palms, starts to speak. His voice is low and raspy, but not just low and raspy ; strange. KARL Well, I reckon what you're a wanting to know is what I'm doing in here. I reckon the reason I'm in here is'cause I killed somebody. But I reckon what you was a wanting to know is how come me to kill somebody. Well, I reckon I'll start at the front and tell you. -LRB- pause, heavy breathing. -RRB- I lived most of my life out behind my mother and father's house in a little old shed and my daddy'd built for me. They did n't too much want me up there in the house with the rest of'em. I mostly just set around out there in the shed all the time a lookin' at the ground. It did n't have no floor but I had me a hole dug out to lay down in and a quilt or tow that I put down there. -LRB- pause, more breathing. -RRB- My daddy was a hard workin' man most of his life, not that I can say the same fer myself. I most just set around the shed and tinkered around with a lawn mower or two and went to school off and on from time to time but the children there made quite a bit of sport of me, made fun of me quite a bit. Some of'em roughed me up sometimes so mostly I stayed out back there in the shed. My daddy worked down at the sawmill there, down there at the planer mill for an old man named Dixon. Old man Dixon was a very cruel feller, he did n't treat his employees very well, did n't pay'em much of a wage, did n't pay my daddy much of a wage, just barely enough to get by on. But I reckon he got by all right, they come out one or the other of'em, usually my mother, and fed me pretty regular. At least I know he made enough for me to have mustard and biscuits three or four times a week. Old man Dixon had a boy named Jesse Dixon. Jesse was really more cruel than his daddy. He made quite a bit of sport of me and takened advantage of the little girls around the neighborhood quite a bit. -LRB- pause. -RRB- He used to say my mother was a very pretty woman. He said it quite a bit from time to time, when I was at the school house. Well, I reckon you want me to get on and tell you what happened so I reckon I'll tell you. I was settin' out in the shed one evenin' not doin' too much, just kindly starin' at the wall and a waitin' fer my mother to come out and give me my Bible lesson and I heared a commotion up in the house there so I got up and run up on the screened - in porch there to see what was a goin' on, and I looked in the kitchen window and I seen my mother a layin' there on the floor without any clothes on. -LRB- pause, breathing. -RRB- And seen Jesse Dixon a layin' on top of her having his way with her. -LRB- pause. -RRB- Well, I just seen red. I picked up a kaiser blade that was a layin' there by the screen door, some folks calls it a sling blade, I call it a kaiser blade. It's just a long handle like a axe handle with a long blade on it that's shaped kind of like a banana. Sharp on one edge and dull on the other. It's what the highway boys use to cut down weeds and whatnot. I went in the kitchen there and I hit Jesse Dixon up side the head with it and knocked him off my mother. I reckon that did n't quite satisfy me so I hit him again in the neck with the sharp edge and just plumb near cut his head off. Killed him. Well, my mother, she jumped up from there and started yellin', `` What did you kill Jesse fer? What did you kill Jesse fer?''. -LRB- pause, intense breathing. -RRB- Well, come to find out my mother did n't really mind what Jesse was a doin' to her. I reckon that made me madder than what Jesse had made me. I takened the kaiser blade, some folks calls it a sling blade, I call it a kaiser blade and hit my mother up side the head with it an' killed her. -LRB- long pause, breathing. -RRB- Some folks has asked me if I had it to do over again would I do the same thing. I do n't know, I reckon I would. Anyhow, they seen fit to put me in here and here I've been for a great long while. I've learned to read some ; took me four years to read the Bible. I reckon I understand a good deal of it. It was n't what I expected in a lot of places. I've slept in a good bed for a great long while. They've seen fit to put me out now. They tell me they're a settin' me free today. Anyhow, I reckon that's all you need to know. If you want any more details I reckon I can tell'em to you. I do n't know if that's enough for your newspaper or not. Suddenly Marsha speaks from the darkness. MARSHA Will you ever kill anybody again, Karl? This seems to startle the very room itself. Woolridge motions for Marsha to shut up and Karl stops still. Very still. He breathes hard for a moment then starts to calm down. He seems almost at ease. He slowly looks up. From Karl's point of view we barely see Marsha's face in the dim light. Karl is looking straight at Marsha. KARL -LRB- slowly. -RRB- I do n't reckon I got no reason to kill nobody.","INT. HALLWAY - DAY Woolridge stands just outside the classroom door with Marsha and Theresa. Karl stands down the way a few feet with Melvin. MARSHA Is he leaving right this minute? WOOLRIDGE We've got some paperwork to take care of. Pretty soon. Do n't worry, you wo n't run into him in the parking lot. MARSHA I did n't mean that. WOOLRIDGE I hope the best for you, Miss Dwiggins, with your school and your paper and all. MARSHA Where will he go? WOOLRIDGE Wherever he wants to. I think he's going back to Millsburg where he's from. It's just about twenty miles from here. MARSHA Will he be supervised? WOOLRIDGE As much as anybody else is, I guess. Y' all have a good rest of the day now. Marsha and Theresa walk toward the exit. As they pass Karl he speaks to Marsha. KARL -LRB- looking down. -RRB- Thank you. MARSHA -LRB- immediately extends her hand. -RRB- Thank you. Karl does n't take her hand. Karl continues to stare at the floor until the women exit. KARL I reckon I'm gon na have to get used to looking at pretty people. WOOLRIDGE Yes, I guess you are. KARL I reckon I'm gon na have to get used to them lookin' at me, too. WOOLRIDGE You better go get your things. KARL I ai n't got nothing but them books. WOOLRIDGE You better go get'em. KARL All right then. Karl walks slowly down the hallway.","EXT. BUS STATION - MILLSBURG - DAY Karl steps off the bus carrying a few books by a strap. He stands there for moment staring at the bus station as the few people around stare at him, then he starts walking. A SERIES OF SHOTS Karl standing in front of a barbershop looking through the window at a man having his hair cut. In front of the police station. Staring at an empty school yard.","EXT. DAIRY QUEEN - DAY Karl stands and stares at the building for a moment. He sees a woman take a tray of food from the window. When she's gone, he walks up to the window. A pimply - faced TEENAGE BOY comes to wait on him. BOY Can I help you? KARL I was kindly wantin' somethin' or ` nother d'eat. BOY Well, what did you want? KARL You have any biscuits for sale? BOY Naw, we do n't have biscuits. Karl stands in silence for a moment. BOY -LRB- CONT'D. -RRB- Did you decide, sir? KARL What you got that's good to eat? BOY Well, I guess it's all good. KARL What do you like to eat here? BOY French fries. I like to eat them pretty good. KARL French - fried potaters. BOY Yeah. KARL How much you want fer'em? I'll get some of them I reckon. BOY Sixty for small and seventy - five for large. KARL Give me the big ` uns. Karl digs in his pocket for money.","EXT. LAUNDROMAT - DAY Karl sits on a bench eating french fries. After a moment, a twelve - or thirteen - year - old BOY comes out of the laundromat wrestling three or four big bags of laundry. He ca n't seem to get a plan together for carrying them all. Karl gets up and goes over to him. The boy looks up at Karl, a little startled by Karl's strange figure looming over him. BOY These dang things are heavy. Hard to carry, too. KARL What you got in there, warshing? BOY Yeah. KARL Ai n't you got no mama and daddy to tend to it? BOY I got a mama, but she's at work over at Ben's Dollar Store. My daddy's dead. -LRB- pause. -RRB- He got hit by a train. KARL How fer you going with them sacks full of warsh? BOY About a half a mile I think it is. KARL I'll help you tote'em if I do n't give out first. BOY Okay. You do n't have to though. Karl picks up two sacks and they walk away.","EXT. STREET - DAY They walk in silence for a while before the boy finally speaks. BOY My name is Frank Wheatley. What's your name? KARL Karl's my name. FRANK -LRB- BOY. -RRB- What's you last name? KARL Childers. FRANK What are all them books? KARL Different ones. One's the Bible. One of'em s a book on Christmas. One of'em s how to be a carpenter. FRANK How come you're carryin' them around with you. KARL Ai n't got nowhere to set'em down. FRANK Do n't you live somewhere? KARL I did live there in the state hospital. FRANK Why'd you live there? KARL I killed some folks quite awhile back. They said I wad n't right in the head and they put me in there in the nervous hospital instead of puttin' me in jail. FRANK They let you out? KARL Yeah. FRANK How come? KARL They told me I was well. They had to turn me loose. FRANK Are you well? KARL I reckon I feel all right. FRANK You do n't seem like you'd kill nobody. They reach a little white frame house and the boy turns up the sidewalk. FRANK -LRB- CONT'D. -RRB- This is my house. You can just set those bags on the porch. Karl sets the bags down and he and the boy stare at each other in silence for a moment. FRANK -LRB- CONT'D. -RRB- Do you like to play football? KARL I never was much count at it. I never did get picked out fer it. FRANK Me and the Burnett twins and some boys plays down at the junior high practice field all the time. If you ever want to come by and play. We ai n't no good either. Well, I'll see you later. He goes inside leaving Karl staring at the front door.","INT. BUS STATION - DAY Karl stands at the counter. A middle - aged man is selling tickets. KARL How does a feller go about gettin' up to the state hospital? MAN You buy a ticket for fourteen dollars and then set and wait for the four - fifteen bus to Kelton. KARL All right then.","INT. MENTAL HOSPITAL - DAY Karl walks down the hallway carrying his books. A couple staffers give him ` Why are you still here' looks. He reaches a door and goes in.","INT. WAITING ROOM - DAY There is no one at the desk in the outer office, so Karl goes into Woolridge's office.","INT. WOOLRIDGE'S OFFICE - DAY Karl finds Woolridge doing paper work. Woolridge looks up startled. WOOLRIDGE Karl, what in the world are you doing here? KARL I want to come back and stay here. WOOLRIDGE Well, you ca n't do that. You're a free man. You've been let out to do as you please. KARL I reckon I do n't care nothin' about bein' a free man. I do n't know how to go about it. WOOLRIDGE Well, you have to learn. It'll take some time. Do n't you know anybody down there to help you out? KARL Naw. WOOLRIDGE Your daddy's still livin' down there from what you told me. -LRB- pause. -RRB- I guess he would n't help you any, would he? I was n't thinking. You do n't know anybody? KARL Naw. Never did know too much of nobody. Not to he' p me out anyway. WOOLRIDGE -LRB- sighs. -RRB- Listen, Karl, the truth is I do n't know where they expect you to go or what they expect you to do. If it was up to me, I'd let you stay here if that's what you wanted. I'm just doin' my job. -LRB- they sit in silence for a moment. -RRB- You follow me? -LRB- no answer. -RRB- Listen, I know an old boy that runs a fix - it shop deal down in Millsburg. He used to go to church with me. You're good workin' on small engines and things. If I put my neck out for you with him, will you work at it if he'll hire you? KARL I'm pretty handy I reckon on lawn mowers and whatnot. WOOLRIDGE I know, I've seen it myself. Would you give that a try? KARL I reckon. WOOLRIDGE I ca n't promise he'll hire you. I'll have to tell him about your history. KARL I never was no good with history. WOOLRIDGE No, I mean your past. About why you were in here. -LRB- pause. -RRB- I'll take you first thing in the mornin'. You have anyplace you can stay tonight at all? I just ca n't let you stay here. It's the rules. If something happened well, I'd be liable. KARL I reckon I can just walk around till the mornin'. Or set and read me a book somewhere. They sit and stare at each other for a moment.","INT. WOOLRIDGE DEN - NIGHT Woolridge, his WIFE, his teenage SON, BUBBA, and teenage DAUGHTER sit in various comfortable chairs looking extremely uncomfortable and staring at Karl, who is sitting on the edge of a chair looking at the floor. After a long creepy moment, Mom speaks. MRS. WOOLRIDGE Karl, would you like a muffin? KARL No thank ye. MRS. WOOLRIDGE I understand Jerry is going to take you somewhere else tomorrow. KARL I do n't reckon I know nobody name Jerry. WOOLRIDGE She's talkin' about me, Karl. That's my first name. KARL He's a - carryin' me to look fer work in Millsburg where I was borned. MRS. WOOLRIDGE Would you like some coffee? KARL Coffee makes me a might nervous when I drink it. DAUGHTER Daddy, can I be excused to go to bed? WOOLRIDGE Sure, honey. You sleep with Mama tonight. I'll sleep with your brother and Karl can take your room. DAUGHTER Why? WOOLRIDGE We have company. Now you go on.","INT. BEDROOM - NIGHT It's an all - American girls room. Everything is pink. There are stuffed animals everywhere and posters of pop idols. WOOLRIDGE Well, Karl, there's plenty of blankets and things there. Bathroom's right there in the hall. We'll leave first thing tomorrow. Karl stands in the middle of the room holding his books. Woolridge closes the door.","INT. WOOLRIDGE KITCHEN - NIGHT Woolridge walks into the kitchen where Mom and Son sit at the table. MRS. WOOLRIDGE Jerry, why did n't you give him Bubba's room? Sister's is kind of girly, is n't it? WOOLRIDGE Yeah, I thought about that. No sense in moving him now I guess. BUBBA Daddy, do n't you think one of us ought to stay up all night and kind of - guard or somethin'? WOOLRIDGE Why, hell no, son. What's wrong with you? BUBBA Well, he's crazy. He's a nut ai n't he? MRS. WOOLRIDGE ` Is n't' he, Bubba. Do n't say ai n't.","INT. WOOLRIDGE DEN AND HALLWAY - MORNING Woolridge, already dressed, walks through the den and down the hallway. He knocks on the bedroom door. WOOLRIDGE Karl, you up? KARL -LRB- O.S. -RRB- Yes sir. Woolridge opens the bedroom door and sees Karl sitting on the edge of the bed beside his books. The light is on, the bed still as it was the night before. WOOLRIDGE Did n't you go to sleep at all, Karl? You been sittin' there like that all night? KARL Yes sir. WOOLRIDGE Well, I guess we better hit the road.","INT. FIXIT SHOP - DAY Woolridge's car pulls into the parking lot. He and Karl get out and walk toward the shop.","INT. FIXIT SHOP - DAY Two men, BILL COX, a large man in his forties, and SCOOTER HODGES, a really country - looking guy in his thirties, look up from behind the counter as Woolridge and Karl enter. Woolridge goes to the counter, Karl stands by the door looking at the floor. BILL Hey Jerry, how it's goin'. Good to see you. Been a long time. WOOLRIDGE Good to see you, Bill. How's everybody doin'? BILL Aw, pretty good. Kids are drivin' me crazy and Phyliss is gon na put me in the poorhouse. Ca n't complain other than that. Would n't do any good if I did. -LRB- laughs. -RRB- Do you know Scooter, Jerry? WOOLRIDGE No, do n't guess I do. -LRB- he shakes hands with Scooter who sort of smiles. -RRB- Scooter, good to meet you. -LRB- Woolridge leans in and gets confidential. -RRB- This is him, the one I talked to you about on the phone. Now like I said, I'll understand if you get nervous about it. I'm not gon na lie to you now, he did get in that trouble but then he was real young. BILL I remember it real well. Cut them folks to pieces. His mama one of'em. SCOOTER And that ol' Dixon boy. Hell, I always wanted to kill him myself. Asshole's what he was. I remember that ol' boy. -LRB- points to Karl. -RRB- too. Kind of retarded or somethin' back in school. WOOLRIDGE Well, he seems pretty well - adjusted these days. I do n't think he'd ever hurt anybody. BILL Do n't look much like he could. You say he can fix a small engine like nobody's bidness. WOOLRIDGE He's a regular whiz at it. That's all he did when he was a kid. BILL Well, I ai n't scared of him workin' here. You know me. I'm a church goin' man. Forgivin' man. When your time's up the Lord's gon na come git you. You seared of him, Scooter? SCOOTER I do n't guess. Can he talk? WOOLRIDGE Oh yeah. Listen I really appreciate it. He needs the job. I do n't know what to do with him. He do n't have anybody really. BILL That old man of his still livin' over there on Clark Street I believe. WOOLRIDGE He wo n't have anything to do with him. Now you say it's all right for him to stay out here in the back? BILL Fine with me. If he steals anything, I'll take it out of your pocket anyway. Bill slaps Woolridge on the shoulders and wheezes with laughter. WOOLRIDGE He wo n't steal. I'm tellin' you he's a pretty good ol' boy. Keeps to himself. BILL Well, I've got a roomful of work for him to do. Ca n't get Scooter to do any of it. WOOLRIDGE Karl, come over here. I want you to meet your new boss. -LRB- Karl obediently shuffles over. -RRB- This is Bill Cox, runs this place. Says you can work here and stay in the back. BILL Good to know you, Karl. KARL Thank ye. BILL Now it's minimal wage and there ai n't nothin' but a army cot and a toilet back there. Karl does n't say anything. WOOLRIDGE That'll be fine. Karl, I'll go to the car and get your books. Woolridge exits. Bill and Scooter just stare at Karl and Karl stares at the floor. BILL They say you're a whiz on fixin' lawn mowers and things. KARL I've tinkered around on'em a little bit. BILL We order from Dairy Queen at noontime usually. We can buy your lunch till you get on your feet a little. KARL I like them french - fried potaters. BILL -LRB- long pause. -RRB- Yeah, me too. SCOOTER They make a good double meat burger.","INT. SHOP WORKROOM - NIGHT The place is cluttered with mowers, edgers, weed - eaters, and other equipment, most of it in pieces. A small cot is in a little clearing in the corner by the bathroom. Karl is sweeping up oil with sawdust and a push broom while Scooter puts some tools away. Bill comes to the door. BILL All right then, I'll see y' all later. Karl you done a good day's work. They right about you. Scooter, he's gon na knock you out of a job if you're not careful. I'll see you tomorrow. SCOOTER Wait up, I'll leave with you and lock up. BILL Karl, they's a blanket up in under that cot and soap in the bathroom to clean up with. -LRB- pause. -RRB- Now there's one more thing. The way we lock these doors at night, you ca n't get out. You did n't want to go anywhere, did you? KARL I do n't reckon. BILL If it works out and all, maybe we'll get you a key so you can get out at night if you need to. See you later. They leave Karl standing in the midst of the lawn mowers. He sets the broom down and goes and sits on the cot. After a moment, he gets back up and starts sweeping again.","INT. SHOP - DAY It's lunch time and Bill, Scooter, and Karl are sitting in folding chairs behind the counter eating from their Dairy Queen to - go bags. Karl has french fries. BILL Scooter, did I tell about the two old boys pissin' off the bridge? SCOOTER I ca n't remember. BILL There was these two old boys hung their peckers off of a bridge to piss, one old boy from California and one old boy from Arkansas. Old boy from California says, `` Boy this water's cold.'' Old boy from Arkansas says `` Yeah, and it's deep too.'' -LRB- starts wheezing. -RRB- Get it? That's a goodun. SCOOTER -LRB- laughing. -RRB- Yeah, that's a goodun. I believe you did tell me that one before. I've heard that a bunch. Long time ago. BILL Well, yeah it's a classic. You know, Karl, I got to thinkin' about it last night and it's just not Christian of me to not let you have a key. I mean you been in lockup so long, you do n't need me keepin' you locked up. You need to come and go as you please. Here, take this key, it'll get you in and out that back door. -LRB- Karl takes the key and keeps eating french fries. -RRB- Them french fries good? KARL Yeah, they's good all right. BILL You got any money? KARL They give me fifty dollars when they turned me loose. I spent up some of it on ridin' the bus and eatin' french - fried potaters. BILL Well, I'm gon na pay you today for this comin' week, so you'll have some walkin' around money. When you get off this evenin' you better go buy some toothpaste and cleanin' up supplies to have back there. Some hard candy and some magazines. Somethin' to keep you busy at night. KARL All right then. BILL I'll let you off while it's still daylight.","EXT. STREET - DAY Karl is walking down a residential street. He stops in front of the house where the boy, Frank, lives and stares at the house for a moment, then he walks up to the door and stares at it. A curtain moves and the boy's face appears at the window. He comes and opens the door. FRANK Hey there. I thought I heard somebody on the porch. Was n't your name Karl? KARL Yeah it is. Your name's Frank. FRANK Yeah. What you doin' by here? KARL You told me to come by. FRANK Did you want to play ball with us? KARL I ai n't no good at it. I just come by. FRANK Well, anyhow, I was just fixin' to go see my mama down at Ben's Dollar Store. She's workin' two till eight. KARL All right then. He starts to walk away. FRANK Wait a minute. You want to go with me? You can meet my mama. KARL I do n't want to worry your mama with company. FRANK Aw, come on. You'll like her. She's real nice. She'll give us somethin' if we ask her to. Candy or somethin'. KARL I was kindly needin' to do some tradin'. Reckon they sell toothpaste? FRANK They sell some of everything. Come on let's go. I wo n't tell her about you bein' in the state hospital for killin'.","INT. BEN'S DOLLAR STORE - DAY Frank and Karl make their way through the fairly crowded store. It's sort of a mini - version of a Walmart. They find Frank's mother in her red smock talking to a guy in a red Ben's knit shirt. They are laughing together and pricing some mouthwash. LINDA WHEATLEY is a short, plain woman in her thirties. The man, VAUGHAN CUNNINGHAM, is in his forties, with a neat flattop hair cut, glasses, and a paunch hanging over his belt. They eye Karl suspiciously, as the boys approach. FRANK Hey, Mama. Hey, Vaughan. LINDA Hey, sweetheart. What you up to? VAUGHAN Let me guess. You want a bunch of candy and a pop. FRANK Yeah. VAUGHAN You're gon na rot your teeth that way. But I bet I know what you would like even better. I put potted meat on special, four cans for a dollar and they're not moving very well. I'd sure let a few cans go for free to the right boy. FRANK I do n't like potted meat. Daddy used to say it was made out of lips and peckers and intestints. LINDA Frank, do n't talk that way. Who's that strange lookin' man behind you? Did he follow you in here? VAUGHAN Can I help you, sir? FRANK Oh, that's Karl. I met him at the laundrymat. Karl, this is my mama. And Vaughan, Vaughan's the manager. He lets mama off any time she feels like it'cause they're best friends. LINDA Nice to meet you, Karl. KARL -LRB- keeping his distance. -RRB- Pleased to know y' all. There's an uncomfortable silence. LINDA Frank come back here with me for a minute. She shuffles him away and leaves Vaughan staring at Karl. VAUGHAN I do n't think I've ever seen you before. KARL Naw, I do n't believe you have. I do n't reckon I never been in here. This store did n't used to be here. VAUGHAN It's been here seventeen years. Did you live here before or something? KARL I's horned and raised here up till I's twelve year old. VAUGHAN What brings you back? KARL What's that you say? VAUGHAN Why are you here now? KARL They turned me loose from the state hospital. VAUGHAN Is that right? -LRB- pause. -RRB- Are you going to be staying here long? KARL I reckon Mr. Woolridge got me hired on to work for Bill Cox's outfit. VAUGHAN Do you have family here? KARL Not really to speak of. Linda and Frank return from the back. FRANK Hey Karl, guess what. Mama said you can stay with us. Out in the garage. Our car wo n't fit in there anyway. It's real neat. LINDA Frank told me about your situation. And Frank loves company. You know, especially after his daddy passed and all. There ai n't no sense in you stayin' in that old greasy shop. -LRB- to Vaughan, hushed. -RRB- He's mentally retarded, poor thing. VAUGHAN -LRB- hushed. -RRB- He just got out of the state hospital. LINDA -LRB- put out. -RRB- I know. FRANK Can we get some candy and pops? VAUGHAN Sure, go ahead. They walk off down the aisle leaving Vaughan a little puzzled. VAUGHAN -LRB- CONT'D. -RRB- Are you sure it's safe to let him around that guy? LINDA Frank's just crazy about him. He likes the way he talks. He helped him carry home the clean laundry. VAUGHAN He's been in the state hospital a long time, something must be wrong with him. LINDA He's retarded's all. You know he's always after a father figure and Lord knows Doyle ai n't a good one with his mean ass. VAUGHAN What about me? LINDA I do n't think he sees you as a guy guy. VAUGHAN -LRB- wrinkles his brow. -RRB- Karl is a guy guy?","EXT. WOODED AREA - LATE AFTERNOON Karl and Frank sit on stumps in a little clearing enjoying the spoils of their Ben's Dollar Store visit. FRANK This is what I call my secret place'cause I come out here when I feel like bein' by myself. I used to come here with Karen Cross. She's kind of like my girlfriend, or used to be. She says she likes Jerry Maroney now. But I'm gon na get her back'cause I love her. We used to come here and hold hands and talk and read books to each other with a flashlight. She did n't want to have anything to do with me in front of other people'cause I do n't have any money. Well, mama and me, I mean. She seemed to like me a whole lot when we were out here though. She said she loved me, too. Out here. Settin' right on that stump you're on. See, her daddy's a dentist so they're rich. So's Jerry Maroney's daddy. He owns the ice plant. Was your folks well off? KARL Naw. Did n't have too much. Enough to scrape by on, I reckon. FRANK They still around, your folks? KARL My mother's dead. My daddy's s ` posed to be around still. He do n't want to have nothin' to do with me though. FRANK How do you know? KARL He never did want to. I figure he ai n't changed his mind much. FRANK How did your mama die? KARL -LRB- long pause. -RRB- You do n't need to know all of that. You're just a boy. You need to think about good thoughts while you're still a boy. They'll be plenty of time for the other. FRANK I've had a lot of bad thoughts since my daddy died. Sometimes I wish I was still real little and he was still here. My mama's real good, but I wish I had both of'em. -LRB- pause. -RRB- When we went to Memphis one time in the car, it was rainin' so hard we could n't see the road. But I wad n't scared because I thought as long as daddy was drivin' nothin' could happen to us. I feel that way about mama now. -LRB- he looks at the ground for a moment. -RRB- Mama has a boyfriend now. His name is Doyle Hargraves. He works construction so he makes a pretty good livin'. He still do n't help mama out with any money though. He ai n't no good. He's mean to her. He do n't like me at all. Mama says it's because he's jealous I belong to my daddy instead of him. He stays with us all night sometimes, but he's got his own house. Somebody told me it's so he can still have other girlfriends. I like it on the nights when he ai n't at our house. I'm not so nervous then. KARL How come her to keep bein' girlfriends and all with him if he's mean to her? FRANK She says it's for the times when he's good to her. She's lonely since daddy died. She said sometimes she do n't know why. -LRB- pause. -RRB- He threatened to kill her if she ever left him. My daddy would kill him if he was here and somebody was mean to mama. Vaughan, he's real good to mama. Vaughan that you met. But he's not able to do anything to Doyle, he's funny you know. Not funny ha, ha, funny queer. He likes to go with men instead of women. That makes him not to be able to fight too good. He sure is nice though. He's from St. Louis. People who are queer can get along better in a big town. He got transferred here to work. But mama said the real reason he left is'cause his daddy hated him. For bein' the way he is. I wish he liked to go with women. I'd rather him be mama's boyfriend than Doyle. Pause as Frank looks at the ground again. He seems troubled. FRANK -LRB- CONT'D. -RRB- Karl. -LRB- pause. -RRB- You know when I said daddy got hit by a train. KARL Yeah, I remember you a - tellin' me that. FRANK It ai n't the truth. He shot hisself with a shotgun on purpose. KARL Why did he do that, reckon. FRANK'Cause he did n't have enough money to take care of us the way he wanted to. That's what the letter said. He got laid off from work and had to just work odd jobs. I thought he took care of us fine. -LRB- pause. -RRB- Karl, did you really kill somebody? KARL Yeah, I did. FRANK Who did you kill? KARL Two people. FRANK Were they bad people? KARL I thought they was. FRANK Maybe they needed it. KARL I growed up and got taught it ai n't right to kill nobody. FRANK It's okay if you're lookin' out for yourself. If it's self - defense. Was it self - defense? Karl shifts around and makes a noise in his throat and does n't answer. FRANK -LRB- CONT'D. -RRB- My daddy was good. I think too many good people die. It ai n't right. That's what I think.","INT. SHOP - DAY Karl is tying the strap around his books. His sack of toiletries is on the bed. Bill Cox comes in. BILL Now, Karl, you sure you want to go stay with these folks? You're welcome to keep on stayin here. It's workin' out real good. KARL That boy wants me to. BILL All right then. I'll see you bright and early. How you comin' along on that garden tiller? KARL I fixed it. Hit's a workin' pretty good. BILL You done fixed it? I'll be damned. Scooter told me it could n't be fixed. ` Course Scooter's about as shitless as one poor son - of - a - bitch can be. You done fixed it. I'll just be damned. See you tomorrow.","INT. WHEATLEY LIVING ROOM - NIGHT DOYLE is in the comfortable easy chair with adjuster handle drinking beer. He's in his late thirties and dressed in his construction clothes. Linda sits on the arm of the chair and Frank stands before them. DOYLE Well, honey, I do n't guess I give a shit. I ai n't here half the time anyway. If you want a retard livin' in the garage, I do n't guess I care. I've got a good tool box and socket set out there I do n't want stol'd. I guess I could take it home with me. FRANK He's real honest. He would n't steal nothin'. DOYLE Now son, I wad n't talkin' to you, was I? -LRB- pause. -RRB- Was I? FRANK No sir. DOYLE No sir's right. I'm talkin' to your mama. This is your mama's decision, not yours. I'm lettin' it go on because she asked me, not you. -LRB- to Linda. -RRB- Now is this the kind of retard that drools and rubs shit in his hair and all that,'cause I have trouble eatin' around that kind of thing. Just like I am about antique furniture and midgets. I ca n't so much as drink a glass of water around a midget or a piece of antique furniture. Same thing with a droolin' retard. LINDA Doyle, you're awful. You should n't be that way. DOYLE I ai n't sayin' it's right. I'm just tellin' the truth. What was he in the nuthouse for? LINDA He's just mentally retarded, I guess. DOYLE He had of went nuts and did somethin'. They do n't put you in there for just bein' a retard. They's retards all over the place that ai n't in the nuthouse. Do you know, Frank? FRANK I ai n't sure. DOYLE You might want to find out. He might of hacked his family to pieces with a hatchet or somethin'. LINDA Yeah, that's right, Frank, you better ask him. I mean, do n't hurt his feelin's or anything, but it would be good to know. I'm sure it's nothin'. He seems real sweet. DOYLE You sure are hung up on people bein' sweet. -LRB- takes a long pull on his beer. -RRB- Speakin' of which, where's your girlfriend? I thought he was comin' by here for something. LINDA He'll be here in a little while, he's takin' me to get an ice cream. DOYLE Ai n't that the sweetest thing. What am I supposed to do about supper with you traipsin' around with that fag? LINDA You're not crippled. Get in there and make somethin'. DOYLE Boy, ai n't you somethin' else. Talkin' back and everything. It kinda makes me horny when you talk back. LINDA Frank, why do n't you go off and play in your room if Doyle's gon na talk nasty. FRANK I want to watch T.V. DOYLE Yeah, honey, let the kid watch T.V. Hell, let's all watch T.V. like a family till your retarded friend and your homosexual friend gets here.","EXT. PORCH - NIGHT Karl is standing on the porch with his bag and his books staring at the door. After a moment, we hear a car door slam and footsteps on the porch. Then we hear Vaughan's voice. VAUGHAN Karl? Karl turns to face Vaughan. KARL Yes sir. VAUGHAN So, you're really going to stay here? KARL That boy wants me to. VAUGHAN Did you knock on the door yet? KARL Naw, I ai n't. VAUGHAN How long have you been standing here? KARL Quite a spell, I reckon. VAUGHAN Listen, before you get very used to staying here, I think you and I need to talk about a few things. Can I take you to lunch? KARL I done et just a little bit ago. VAUGHAN I mean tomorrow or the next day. KARL I reckon I can stand to eat a little somethin' or ` nother at noontime tomorrow. Bill Cox generally gets me a box of french fried potaters. But I reckon he can lay off doin' it tomorrow. VAUGHAN Okay, I'll come by Mr. Cox's and get you at noon. They stand therefor a moment. Vaughan does n't really know exactly what else to do, so he knocks on the door. After a moment, Frank answers the door. FRANK Hey. Y' all come on in.","INT. LIVING ROOM - NIGHT Vaughan ushers Karl in and they stand behind the sofa. Doyle looks up and grins. LINDA Hey, Vaughan. How are you, Karl? KARL Tolerable, I reckon. LINDA -LRB- in a hurry to get out. -RRB- Karl, this is my boyfriend, Doyle. Frank, why do n't you and Karl go out in the garage and fix him up a place or play a game or somethin'. Vaughan, you ready to go? VAUGHAN Sure, I guess. DOYLE Do n't rush ever ` body, honey. She starts to get her things together. LINDA -LRB- to Frank. -RRB- Maybe you and Karl want to go with us? FRANK Naw, I do n't want to. Me and Karl got things we need to do. DOYLE Hey, Vaughan, you know what I heard? I heard you been puttin' it to Albert Sellers that works over at the funeral home. VAUGHAN I know Albert. We're friends. DOYLE I heard you was more than friends. I heard Dick Rivers caught y' all all bowed up and goin' at it in the same room with poor, little, old Mizz Ogletree and her dead as a doornail layed out on a gurney. VAUGHAN That's ridiculous. That's just a total lie. LINDA Let's go, Vaughan. -LRB- they start for the door. -RRB- Frank, we'll be back in a little while. I'll bring you back somethin'. You're food's in the oven warmin' over. DOYLE See, you made him somethin'. Hey Vaughan, I was just goin' on with you, jokin' around, buddy. VAUGHAN -LRB- smiles a little. -RRB- Yeah, I knew that. You're a card all right. Linda kisses Frank on the forehead and they leave. DOYLE So, Karl, come have a seat, talk to me. Karl sits on the couch. FRANK Come on, Karl, let's go out to the garage. DOYLE Goddamnit, I'm talkin' to the man. You set right there, Karl. Frank leans on the sofa arm beside Karl. DOYLE -LRB- CONT'D. -RRB- What's in your bag? KARL This and that. Toothpaste and whatnot. DOYLE What's all them books? KARL Different ones. The Bible's one of'em. DOYLE You believe in the Bible? KARL A good deal of it, I reckon. Ca n't understand all of it. DOYLE Well, I ca n't understand none of it. This one begat this one and that one begat this one and begat and begat and begat and lo somebody sayeth some shit or another. Just how retarded are you? FRANK Stop it, Doyle! DOYLE You be quiet, Frank, we're talkin'. The adults are talkin'. Were you in the lockup for cuttin' somebody up with a hatchet? KARL I ai n't never used no hatchet that I remember. DOYLE You're just crazy in a retarded kind of way then. -LRB- pause. -RRB- It would n't matter to me if you did do violence on somebody'cause I ai n't afraid of shit. You think I'm afraid for you to stay here. You're just a humped over retard it looks like to me. Not really, I'm just jokin' with you. Welcome to our humble home, buddy. Frank needs all the friends he can get. Frank's a real weak little kid. His daddy taught him how to be a pussy. FRANK Stop it, Doyle! Do n't talk about daddy, you hear me! DOYLE -LRB- mocking. -RRB- Do n't talk about daddy. Y' all go on to the garage and let me be. Frank is crying now. FRANK Come on, Karl. They get up and walk away. DOYLE -LRB- yelling to Frank. -RRB- Do n't tell your mama we had a little spat. She do n't need to be worried with your ass.","INT. GARAGE - NIGHT Karl sits on an old sofa and Frank sits on an upside down paint bucket, still upset. FRANK I'd like to kill that son of a bitch. I hate him. KARL You ort not to talk that way. You're just a boy. FRANK Well, I hate him. KARL He ort not to talk that away to you neither. He ai n't no count. He's mean to you and your mama. -LRB- pause. -RRB- Yore mama and that feller that's carryin' me to get somethin' d'eat's gon na be back here directly. FRANK Will you stay here with us for a long time? KARL I reckon if you want me to. -LRB- pause. -RRB- I got some of that potted meat and sodie crackers left over if you want some. FRANK I do n't see how you can eat that stuff with all those insides it's made out of. KARL I reckon it tastes pretty good to me. FRANK I like the way you talk. KARL I like the way you talk. Karl starts to put together a cracker and potted meat delight as we :","INT. HAMBURGER ESTABLISHMENT - DAY Vaughan is carrying a tray of food as Karl follows him to a table and they sit and immediately start to eat. After a few bites, Vaughan starts to speak in an official manner. VAUGHAN Okay, Karl, the reason I brought you here was to talk to you about something that is on my mind. -LRB- pauses for a response, instead Karl eats french fries and stares at the table. -RRB- I guess I'll put it right out on the table. Where do I start. Linda and Frank are very important to me. They're like family. My own family was never like family. They're horrible people. As a matter of fact I prayed every night for years that my father would die. I finally realized through a lot of therapy that I was wasting my energy on hating him. Now I just do n't care. -LRB- pause. -RRB- You see, you and I are a lot alike, strange as that may seem. I mean not physically or even mentally really, just well, maybe emotionally or actually the hand we've been dealt in life. We're different. People see us as being different anyway. You're - well you have your affliction or whatever and I, well mine's not as easy to see. I'm just going to say it. I'm gay. -LRB- watts. -RRB- Does that surprise you? -LRB- watts. -RRB- That I'm gay. You know what being gay is, do n't you? KARL I reckon not. VAUGHAN Homosexual. I like men. Sexually. KARL Not funny, ha, ha, funny queer. VAUGHAN Well that's a very offensive way to put it. You should n't say that. You were taught that, were n't you? KARL I've heard it said that way. VAUGHAN Anyway, it's hard to live gay, that's the right way to say it, in a small town like this. I've wanted to leave many times, but my love for Linda and Frank and another certain person that we wo n't go into have kept me from it. Anyway, I'm rambling. If you're going to live in the Wheatly garage you need to know that it wo n't be easy. Doyle is a monster. Not just a closed minded redneck, but a monster. A dangerous person. I've told Linda that one day that man is going to really hurt her or that boy. Maybe even kill one of them. I see it in his eyes. I'm very in tune, maybe even psychic. Doyle will make your life hell. You're a perfect target. When I first saw you I was afraid of you. Not really afraid, I guess, just taken aback. But also, I felt a real sensitive feeling from you. And for some reason, Frank has adopted you. Much like a stray animal. I'm sorry, I did n't mean it like that. In a good way. Anyway, I just want you to know what you're in for. I have a good feeling about you. You're good for Frank. Maybe it's that he can have an adult friend on a child's level. I'm sorry, I did n't mean it in a bad way. -LRB- pause. -RRB- There's one more thing. It's none of my business why you were in the state hospital. Everyone has something in their past, maybe you tried suicide, maybe you did something - terrible. But what I see before me is a gentle, simple man. All I want you to promise me is that you're capable of being around Linda and Frank. You know. You would never hurt them under any circumstances, would you? KARL I would n't never hurt them. VAUGHAN That's what I thought. I hope I have n't offended you in any way. You seem like a thinker. You seem to always be in deep thought. Tell me something. What are you thinking right now? Karl looks up and stares for a moment. KARL I was thinkin' I could use me another helpin' of these potaters. VAUGHAN Oh. How about before that? KARL Before that I was thinkin' it'd be good if I could get another three or four cans of that potted meat if you got any extry.","INT. WHEATLEY KITCHEN - NIGHT Linda, Frank, and Doyle are eating. LINDA How come Karl wo n't eat here with us? FRANK I do n't know. He just said he'd eat out there. DOYLE Well, I would n't let it get to you. LINDA I just feel sorry for the poor thing. DOYLE Who could eat with him settin' there makin' that goddamn racket with his throat. LINDA He does make some funny noises. FRANK I sure like the way he talks. It sounds like a race car motor idlin'. It makes me not be nervous. LINDA I'm glad of it, honey. DOYLE What have you got to be nervous about? You're a damn kid. You ai n't got any bills to pay or bidness to run or old lady to stay on your ass all the time. FRANK I get nervous, that's all I know. They eat in silence for a while. Linda and Frank know where this conversation could lead and know when to leave well enough alone. DOYLE You know what, by God? LINDA What? DOYLE You know what we ought to do tonight? LINDA Please Doyle, do n't. DOYLE Have a damn party! Call Morris and them and get the band together and just party our asses off. I'd like to show that fuckin' Karl to the guys. They'd get a kick out of that. Do n't you know they would. LINDA Please do n't. Not tonight. I'm not up for it. They always stay till mornin'. I'm just give out, Doyle. DOYLE You do n't have to do anything but pour some potato chips in a bowl and bring beers out when we get low. FRANK Last time you got mad and run Morris and them off and said to stay away from here. DOYLE That ai n't none of your damn bidness. Besides that's the way friends do one another. Fuck it, I'm gon na go call'em. Honey, find my guitar, I think it's out there in the garage with that loony tune.","INT. GARAGE - NIGHT Karl sits on his cot eating from the plate Frank brought him. Frank and Linda come through the door. Frank comes and sits beside Karl. Linda gets a guitar case down from a shelf and comes over and stands in front of Karl. LINDA Karl, now listen, there's gon na be a party tonight here at the house. Doyle's invited his music - playin' buddies over to make a bunch of racket out on the patio. FRANK They ai n't even no good. The only one can play is Randy Horsefeathers. He claims he's an Indian. His real name's Randy Collins and he works at the feed mill. He can at least play guitar. LINDA He's no more an Indian than I am though. Anyhow, Doyle's gon na try and tease you and be mean to you to show off to his friends. Just like he does to Frank and me sometimes. You just ignore it. Or stay out here away from'em if he'll let you. He's an okay guy till he gets drunk but tonight he'll get drunk. I guarantee it. FRANK He ai n't ever okay to me. The garage door opens and Doyle appears. He seems really happy. DOYLE Well, it's on! We're gon na rock. Linda, call Vaughan. Tell him to get over here. I'd like him to be here. I owe him a good time. LINDA No Doyle. Vaughan do n't want to come to a party with you. DOYLE Too late, Honey. Fooled you. Done called him. He'll be here. -LRB- grins. -RRB- Or I'll go get him. Come on Karl, I need you to help me ice down a tub of beer, you and Frank.","INT. BACKYARD - NIGHT White Christmas tree lights are strung above the patio. Karl sits to the side in a kitchen chair staring at the ground alongside Vaughan, Frank, and Linda. The `` band'' is set up on the patio. The band consists of MORRIS, a heavyset guy in a military uniform on tambourine, TERENCE, a skinny guy in a wheelchair on bass, RANDY, a long haired younger guy who's not an Indian on guitar, Doyle on a guitar which he ca n't play and MONTY `` The Johnson'' Johnson, a large guy with a ZZ Top beard on drums. A tub of beer is in front of them. They're all hooting and hollering and drinking. They've obviously been at it for a while. Doyle steps forward to address the ` crowd.' DOYLE Okay ladies and gentlemen. -LRB- points to Vaughan. -RRB- or both. It's come to the time in our show when we like to introduce the band. Over here on lead guitar Mr. Randy Horsefeathers. Come on hit a hot lick, Randy. -LRB- Randy plays a lick. -RRB- Well, come on, y' all are supposed to clap now. Come on! -LRB- they clap a little except for Karl. -RRB- ANGLE ON LINDA LINDA Karl, you better clap your hands or he'll just keep on. Karl claps his hands a little. DOYLE On the bass, give it up for Terence `` One Ball'' Atkins. -LRB- more half - assed clapping. -RRB- On the tambourine and lyrics Morris Hobbs the fuckin' genius of the group. -LRB- claps. -RRB- On drums `` The Johnson.'' -LRB- claps. -RRB- And last and most importantly, Doyle Hargraves on rhythm guitar and business affairs and the only motherfucker with a truck big enough to haul this outfit on the next world fuckin' tour. Come on, a big hand for these guys. They're workin' their asses off here. -LRB- pauses for a slug of beer. -RRB- Okay I'd like to dedicate this next one to some very special people in our audience tonight. To my lovely female companion Linda, her lovely son Frank, our new boarder Karl - what's your last name Karl? KARL Childers. DOYLE Karl Childers just in from the state facility. Make one of them gruntin' sounds Karl or whatever it is you do. -LRB- nothing. -RRB- Oh well, Karl's a little retarded, he do n't know what the hell I'm talkin' about. And to Vaughan who fucks a mortician in the rear entrance right in front of his clients. Now that takes balls. Our number one tune for the folks, boys. Kick it off Johnson! They play `` Walk Do n't Run'' while the audience of four sits in motionless silence. They finish the song and hoot and holler and drink some more and say nasty things to each other. DOYLE -LRB- CONT'D. -RRB- You like that Vaughan? VAUGHAN Sure. It sounded like a number one tune all right. DOYLE You enjoying yourself, Karl? KARL I reckon. We hear the voice of an OLD MAN NEIGHBOR in the near distance. VOICE -LRB- O.S. -RRB- I wished you all would lay off for tonight. I ca n't hear myself think for that racket. It's nighttime, now let folks be! I'll call the law! DOYLE -LRB- hollers back. -RRB- I told you already three times, the laws on my side. I play cards with J.D. Shelnutt, chief' of police. Get fucked you old bastard! -LRB- to the party. -RRB- Okay now, Linda, you and the kid clean up and get a tarpaulin over this instruments. Me and the boys are goin' to the county line. We're out of liquor and beer. Come on Karl, you and Vaughan are goin' with us. VAUGHAN I'd better go on home now, it's late. I have to work tomorrow. DOYLE Come on, do n't be a pussy. Everybody has to work. LINDA He do n't want to Doyle. Do n't go Vaughan if you do n't want to. You'll wreck Doyle, you're drunk. DOYLE -LRB- very sincere. -RRB- But honey, I'll be good. I promise. I love you sweetie. I'm just tryin' to help these two be part of things.","INT. DOYLE'S TRUCK - NIGHT Doyle is driving, Vaughan in the middle, and Karl by the window. Doyle cranks up the truck and pops in a cassette tape. The first few notes of `` Ghost Riders in the Sky'' play. VAUGHAN Are you sure you can drive? You've really had a lot of alcohol. DOYLE Shhhh! This is the national anthem. They take off, tires screaming on the pavement as the song goes louder.","EXT. STREET - NIGHT The truck fishtails into the night and we see the rest of the `` band'' in the back of the truck trying to control Terence's wheelchair as it rolls back and forth.","INT. TRUCK - NIGHT DOYLE -LRB- points to tape player. -RRB- Not that you afflicted sons of bitches would know anything about it, but this is art. They are stopped by a red traffic light. A police car pulls up beside them and Doyle looks over at the RED - FACED COP on the passenger side and turns down the music. DOYLE -LRB- CONT'D. -RRB- Hey Freddy, what's goin' on boy. I seen your pitcher in the paper for catchin' that big - ass bass. FREDDY Yeah She was a big ` un. You ai n't drunk drivin' are you Doyle? DOYLE Yeah. FREDDY I figured that. Well you better be careful with that cripple in the back. You'll throw him out. Looks like you got a wagonful. DOYLE We run outta somethin' to drink. Goin' to the county line. You want to race? FREDDY -LRB- laughing. -RRB- You know better than that. We're on duty. Catch me in that Camaro next week one night. DOYLE Catch you later Freddy! Doyle peels out and the music blares again. DOYLE -LRB- CONT'D. -RRB- I bet you like sittin' between two men in a dual wheel truck do n't you? VAUGHAN Oh, yeah, I'm thrilled. DOYLE Sarcastic right? -LRB- pause. -RRB- You know the boys in the band are probably gon na stay over tonight. We'd be glad to have you.","INT. LIVING ROOM - NIGHT Doyle slouches in his chair drinking whiskey from the bottle. Terence and Morris are sitting facing Karl and Vaughan who are on the sofa. Randy and The Johnson are sitting across the room in straight - backed chairs drinking beer. They really stocked up at the county line and beer and liquor bottles are strewn everywhere. Morris is in the middle of a monologue, which has obviously been going on for awhile. MORRIS Anyhow I'm not sure if you follow me on those particular points, but it's not really important in the smaller picture, which is where most people dwell anyway. Not that being manager of Ben's Dollar Store is insignificant. Or that making it through years of incarceration in a state supported facility is any small feat. THE JOHNSON Morris, he's the only one in the band that went to college. RANDY I'm in junior college right now over in Westfield. THE JOHNSON That ai n't no college, that's trade school. Auto repair ai n't ever made a genius out of nobody. MORRIS Holidays are for campers. RANDY What do you know about bein' a genius, Johnson. You ca n't even hardly keep a steady beat on that high - price drum set. TERENCE I think y' all play really tight together, Randy. Y' all should n't throw off on one another. MORRIS Anything that has to be discussed ca n't mean anything. DOYLE You got that shit right. VAUGHAN What exactly do you mean by that? I do n't understand. MORRIS Exactly the point, my young levelheaded friend. VAUGHAN I do n't get it. MORRIS I rest my case. TERENCE Morris is real smart with philosophies and things. That's why him and me are the songwriting team of our group. I make up good tunes or melodies as we call them and Morris is the lyrics. MORRIS Not unlike Gary Brooker of the Protocol Harum. RANDY We do n't ever play any songs that y' all wrote. I never even heard one of'em. Y' all just talk. THE JOHNSON We do n't even play any songs with words at all that I remember. We ai n't got no fuckin' microphone. Or speaker set up. TERENCE We wrote one last night standin' outside Mini - Mart. Morris called it `` Stuart Drives a Comfortable Car.'' Then, you know, like on country songs in parenthesis it says `` There is usually someone in the trunk.'' I came up with a tune just humming. DOYLE See Vaughan, you should n't question a genius. Morris is a modern day poet like in the old days. MORRIS Our latest composition is as follows : entitled : `` The Thrill'' - `` I stand on the hill Not for a thrill but for a breath of a fresh kill Never mind the man who contemplates doing away with license plates He stands alone anyway Baking the cookies of discontent By the heat of a laundrymat vent Leaving his soul''. -LRB- Then like in poetry I have dot dot dot then drop down to the next line kind of off center. -RRB- `` Leaving his soul parting waters Under the medulla oblongata of. -LRB- then dot dot dot again. -RRB- mankind.'' Silence for a moment as everyone in the room just stares at something other than Morris. TERENCE I do n't think that's right. I believe dot dot dot come between medulla and oblongata or something like that. -LRB- Morris stares at him. -RRB- Well it did. It wad n't before mankind, I know that much. MORRIS The dots are where I say they are. Melody and tune. That's your trade. You're a tunesmith Terence. VAUGHAN I do n't really understand the meaning of the words. DOYLE If y' all do n't shut up I'm gon na go out of my mind. And plus you're liable to bust a spring in Karl's head. He's already off balance. TERENCE That wad n't the way you made it up before, Morris. That's all I know. RANDY We do n't need fancy words, we need to practice. We do n't ever rehearse. THE JOHNSON We need some payin' gigs instead of just messin' around on first one patio and then another ` n. RANDY Morris, you should just be the manager, you ca n't play nothin' anyway. Doyle jumps up and throws his whiskey bottle through the window. He has changed from groggy drunk to a wild - eyed madman in a flash. DOYLE We do n't have a goddamn band! Y' all just shut the fuck up! We do n't need no practicin' or managers cause we ai n't no fuckin' band! Morris ai n't no genius and the rest of you are just losers. Am I the only one sane human bein' around here? Just get the hell out of my house and do n't come back! VAUGHAN It's not your house, Doyle, it's Linda's. DOYLE I'll kill you, you fuckin' faggot! You mind your own business. Now get out! Now, before I get too mad to turn back. TERENCE What about our instruments? Doyle grabs the handles of Terence's wheelchair and pushes him right out the screen door. We hear the chair clatter down the steps and a cry of pain from Terence. DOYLE Now! They all file out the door except Vaughan and Karl who sit frozen on the sofa. THE JOHNSON -LRB- turning back. -RRB- You ai n't right Doyle. Somethin's wrong with you. Nobody needs your shit. MORRIS -LRB- stops at the door. -RRB- The dots just look good on paper. You do n't sing'em anyway. You're showing your true Aries colors now. DOYLE Get out of my goddamn face, you fuckin' buzzard! He slams the door and turns to see Vaughan and Karl on the sofa and Linda and Frank, in their nightclothes, standing in the doorway. DOYLE -LRB- CONT'D. -RRB- I thought I told everybody to get out of my house. That includes cocksuckers and retards. Get off your asses and go. LINDA This is not your house, Doyle. This is my house and I'll say who stays and goes. You've got a house, why do n't you go get one of your girlfriends and go home to it. DOYLE You know better than to talk like that when I'm hurtin'. Do n't make me knock the piss out of you. VAUGHAN Doyle, do n't you lay one hand on her. DOYLE That's funny. -LRB- to Linda. -RRB- You go to bed and take snot nose with you. Linda walks up to him with Frank close behind. Vaughan gets up also. Karl stares at the floor rubbing his hands together. LINDA You're not stayin' here tonight. Go get sober before you come back. I'm tired of my child seein' this. Now you get yourself straight or I'll lock your ass out of my life for good. DOYLE You know what I told you, you even think of leavin' me, I'll kill you dead as a doornail. LINDA That might be better than this. VAUGHAN I'm a witness. I heard you threaten her life. DOYLE I thought I told you to keep out! LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE -LRB- an inch from her face. -RRB- Do n't tell me what to do. She shoves him in the chest and he slaps her hard in the face. Vaughan starts looking for a weapon and Frank goes wild. He starts throwing anything he can find at Doyle. Empty cans, bottles, a lampstand. He connects with an encyclopedia to the head. Doyle goes to the door. His face has changed from angry to sad, almost pitiful. DOYLE -LRB- CONT'D. -RRB- Okay, I'll leave and sober up. Everything's botherin' me, that's all. I'm hurtin' Linda. I love you. FRANK I hate you! DOYLE Well, I hate you, too. No I do n't. I love your mama. Nobody understands what I go through. I'll leave. You bunch of freaks have fun. I'll call you tomorrow honey. I'm sorry. You can kiss my ass, really. -LRB- to Frank. -RRB- You ever hit me again you little bastard and I'll make you sorry your daddy ever squirted your little ass out. He leaves and slams the door. Frank goes to Linda's side, as does Vaughan. FRANK You all right, Mama? LINDA I'm fine, honey. Let's just try and forget about tonight. FRANK We do n't need to think bad thoughts, do we Mama? LINDA No, honey, we do n't. -LRB- pause. -RRB- I'll make some coffee and start cleanin' up this mess. Karl, you want some coffee, huh? KARL No, ma'am. Coffee kindly makes me nervous when I drink it.","INT. LIVING ROOM - NIGHT Linda cleaning up the last of the mess. Frank comes in sleepy eyed in his pajamas. LINDA What are you doin' up again, Frank? You need to get a little sleep. FRANK Did Vaughan go home? LINDA Yeah, he has to go to work in a little while. I do too. FRANK Did Karl go to bed? LINDA I guess. He went to the garage. Poor thing, he's probably never seen such a crazy mess. He probably wants to go back and live in Mr. Cox's shop. FRANK I bet he do n't. Karl likes me. LINDA I know he does. FRANK Mama? LINDA Huh? FRANK Is everything gon na be all right someday? I just stay nervous all the time just about. LINDA Yeah, honey, someday everything's gon na be all right. FRANK Doyle would n't really kill you, would he? LINDA I promise we're gon na get away from him. The time has to be right, that's all. I'd rather him get tired of me and leave me. Then he would n't want to hurt me. He would n't care then. We'll be fine. I promise. You go to bed now. -LRB- she hugs him. -RRB- I love you. FRANK I love you, too, Mama. He goes to his room.","INT. KITCHEN - NIGHT Linda goes into the kitchen and pours a cup of coffee and sits at the table. After a moment, she looks up and is startled to see Karl in the doorway. LINDA You scared me. KARL I did n't aim to. LINDA Want to sit down? Did you need somethin'? KARL No ma'am. Karl just keeps standing there and Linda keeps staring. KARL -LRB- CONT'D. -RRB- Two fellers was on a bridge a takin' a leak and one feller says the water was cold and the other said it was deep water. One of'em came from Arkansas, I believe. LINDA -LRB- puzzled. -RRB- I'll be dog. More silence. KARL Do you reckon you can make me some biscuits? LINDA Right now? KARL Just whenever you take a notion to. I do n't aim to put you out. LINDA Well, it is nearly breakfast time anyway. I ca n't go to sleep. I have to be at work in three hours. You know how it is when you just sleep an hour or two, you feel worse than if you had n't slept at all? KARL Yes ma'am. LINDA Well, set down and I'll make some biscuits and gravy. KARL Mustard's good on'em to me. LINDA Okay. Karl sets at the table and Linda starts to make the biscuits. KARL Thank ye. LINDA It's all right. -LRB- pause. -RRB- You know I was thinkin' there's this girl that works with me. She's real heavy, but she's cute in the face. Well, you know, she's slow. She's a little bit, I think. She's not retarded, just - it do n't matter, listen to me. I thought you might like to meet her. Vaughan wants to have a little supper over at his house and we could invite her. Would you like that? KARL I would n't mind a havin' supper. LINDA Vaughan's `` friend'' will be there, too. He works at the funeral home. And Frank. You know Frank likes you a lot. He says you make him feel calm. KARL I like Frank. He's a good boy. Me and him's made friends. She keeps working. KARL -LRB- CONT'D. -RRB- Hit ai n't right for me to keep from tellin' you how come me to be put in the state hospital. LINDA That's okay. It's not really my business. I have wondered though. Why was it? Was it like a nervous breakdown? KARL I killed my mother and a old boy name Jesse Dixon. I thought they was a - doin' wrong. I was about your boy's age. They say I'm well now from it. Linda stops working and turns to Karl, a little shocked, but not as much as you would think. LINDA Was that you? I remember that. I was only three or four, but I always heard about it growin' up. -LRB- pause. -RRB- They say you're well? KARL Yes ma'am. -LRB- pause. -RRB- I like your garage. -LRB- pause. -RRB- I would n't never hurt you or your boy. I'd lay my hand on the Bible and say the same thing. LINDA I believe you. I really do.","EXT. COVS PARKING LOT - DAY Bill Cox is standing beside a garden tiller with an old man. Bill is trying to crank it up, but it wo n't start. A car pulls into the parking lot and Gerry Woolridge gets out of it and comes over to Bill. BILL How ` bout you, Jerry. WOOLRIDGE How are you, Bill? BILL Doin' pretty good. Got a sick tiller here. What's got you down this way? WOOLRIDGE Just thought I'd check on Karl and see if everything's working out. BILL Well, he's pretty quiet. Except for them rackets and breathin' things he does. Ai n't threatened me with a killin' or anything. -LRB- laughs. -RRB- But boy you could n't of been more right about him fixin' things. That son of a bitch is a regular Eli Whitney on a lawnmower. Loves french fries. Eats four larges and do n't even so much as belch. I'm proud to have him. WOOLRIDGE Is him stayin' here workin' out? BILL He's gone to stayin' over with that Wheatley boy and his mama in their garage. I think that little boy adopted him damn near like a mascot. But he's got a key here to come and go as he pleases. Everything's worked out good. WOOLRIDGE Can I see him? BILL Sure. Bill looks over at Scooter, who is putting up a sale sign on new mowers in the front window. BILL -LRB- CONT'D. -RRB- Scooter! Run get Karl for me.","EXT. PARKING LOT - DAY Woolridge and Karl lean on the hood of Woolridge's car. In the background, Bill and the old man tinker with the tiller. WOOLRIDGE Are you sure you're okay staying with that woman and boy? KARL Yes sir. WOOLRIDGE Do they know about you? KARL My history. WOOLRIDGE Yeah. KARL I told'em about it. They know I'm well. That Mizz Wheatley made me some biscuits. WOOLRIDGE I'll be. KARL That boy, he's my friend. He likes the way I talk and I like the way he talks. WOOLRIDGE I knew you'd do all right. Well, I just wanted to check on you. I'll say bye to Bill and get on back. They walk over to Bill. BILL Karl, see if you can figure out what's wrong with this thing. It wo n't crank up and ever ` thing seems to be put together right. Karl squats beside the tiller. WOOLRIDGE I'll see you, Bill. BILL Okay, stop back by. Do n't worry about your boy here, he's doin' good. Karl looks up from the tiller holding the gas cap. KARL Hit ai n't got no gas in it. BILL See there. Thinks of the simplest thing first.","INT. VAUGHAN'S DINING ROOM - NIGHT Vaughan, ALBERT the `` friend,'' Linda, Frank, Karl, and MELINDA, the Dollar - Store girl, are seated at the table. Karl and Frank are going at the delicacies while Melinda shyly picks at hers and the others are engaged in idle chit chat. This goes on for a few moments, then Albert's attention turns to Karl. ALBERT So Karl, do you intend to stay in the lawnmower business for a while or do you have other plans? KARL I reckon. VAUGHAN I think Karl is going to be a writer or a librarian eventually. You should see all the books he has. He must read constantly. KARL I ai n't read'em yet except two or three of'em. I ca n't understand a lot of what I try to read. My mind, hit wonders off to somethin' else when I try to read. ALBERT I'm the same way. Of course, in my line of work, I stay too busy to read. But at least I have job security. People may stop doing a lot of things, but one thing is for sure, they wo n't stop dying. LINDA -LRB- looks at Frank. -RRB- Why do n't we talk about something a little more festive. VAUGHAN Does everyone like the food? Nods and yeses. VAUGHAN -LRB- CONT'D. -RRB- Good. I have n't decided yet if I'm a good cook. LINDA Hey Karl, you know what? Melinda was voted employee of the month at the Dollar Store last February. Is n't that somethin'? KARL Yes ma'am, I reckon. MELINDA Well, when you like pricing items as much as I do, I guess it's just bound to happen sooner or later. VAUGHAN Karl, maybe you and Melinda might want to take a walk or something after dinner. It's a nice night. LINDA Vaughan, do n't get pushy. VAUGHAN I'm sorry. KARL I like walkin' quite a bit from time to time. MELINDA I stay on my feet all the time at work. I just ca n't find shoes that's comfortable. ALBERT Hospital shoes might be the answer. Nurses' shoes. VAUGHAN Or the kind old ladies who work in the school cafeteria wear. ALBERT Same difference. MELINDA I get real mean when my feet hurt. It's the only time I do n't like checkin' out the customers, when my feet hurt. LINDA Frank, you and Karl are n't talkin' much, you boys must really like that food. FRANK I just do n't have anything to say about shoes. Silence for a moment. VAUGHAN Listen everybody, I know this may sound corny, I've had a few glasses of wine and that kind of makes me a little emotional, but I'm going to say it anyway. It just came over me in a rush. I want you all to know that I care about each and every one of you at this table. LINDA That's very sweet of you Vaughan. We care about you, too. Do n't we y' all? Nods, grunts, `` Sure do's.'' VAUGHAN Also, Melinda, please do n't tell anybody at the store that Albert was here tonight, okay. MELINDA Why? VAUGHAN Well, a lot of people in town talk and spread cruel rumors. Unfortunately, I have to keep certain parts of my life private. MELINDA You mean about y' all bein' together in `` that'' way? VAUGHAN Yes. MELINDA I think everybody at the store knows that already. They always talk about it. Maureen Ledbetter told a awful story about why you ai n't allowed over at the First Baptist Church no more. LINDA Karl, why do n't you and Melinda go take a walk. It's nice out. KARL All right then. He gets up and walks toward the front door. Melinda gets up and tries to catch up.","EXT. SIDEWALK - NIGHT Karl and Melinda are walking in the moonlight. It seems a little hard for Melinda to keep up. MELINDA You walk fast, do n't you? KARL I reckon. They walk a little farther in silence. MELINDA These is the worst shoes I own for walkin'. How far did you want to go? KARL I ai n't really thought about it too much I do n't reckon. They walk until they disappear into the darkness.","INT. COX'S SHOP - DAY Karl is on the floor working on a mower with Scooter, they are ad libbing semi - technical lawnmower things. Bill Cox appears in the door. BILL Hey Karl, they's somebody out here to see you. Some gal holding a nice bouquet. -LRB- Karl does n't move. -RRB- Come on now, she wants to talk to you. Do n't just set there. Karl gets up and goes to the counter followed by Scooter. Melinda stands on the other side of the counter holding a cellophane wrapped store - bought flower assortment. Nobody says anything for a moment. MELINDA Hi, Karl, I'm on lunch break. These was on sale'cause they're not fresh. Two ninety - nine a bunch plus my ten percent employee discount. Since I did n't bring you anything to our date last night, I thought you'd like to have'em. She hands them to him. KARL Thank ye. BILL Scooter, let's me and you go over to Dairy Queen and pick up a few things for lunchtime. SCOOTER I can go. You do n't have to. You do n't never go. BILL Goddamnit, Scooter, come on. Pardon my language, ma'am. They start to leave. At the door, Bill Cox turns and winks at Karl. They exit leaving Karl and Melinda staring at the counter. They are silent for a while. MELINDA Well, I just thought I'd give you them. I liked walkin' with you. I got a blister the size of a quarter on one heel. Well, I'll see you sometime, I guess. She walks to the door and stops as if she expects Karl to say something. KARL A blister shore can hurt. MELINDA Yeah. KARL Flowers is pretty. I've always thought that. MELINDA Me, too. She leaves and Karl goes to the window holding the flowers and watches her walk away.","EXT. SIDEWALK - DUSK Holding the flowers, Karl is walking down the sidewalk toward the Wheatley house when he sees Frank coming out the front door with a book and a flashlight. He sees Karl. FRANK Hey Karl, you off work? KARL Yeah. FRANK Where'd you get them flowers? KARL That gal that made employee of the month give'em to me for awalkin' with her. FRANK I was goin' to the secret place. I borried one of your books to take down there. You ai n't mad, are you? KARL Naw. You can look at all my books you want to. FRANK It's name's A Christmas Carol. KARL That's than un on Christmas I was tellin' you about. FRANK You want to go with me? KARL Yeah.","EXT. SECRET PLACE - NIGHT Karl and Frank sit in the clearing, Karl on the stump, Frank on the ground. Frank is shining the flashlight on the book. He finishes reading a few lines and turns off the flashlight. FRANK I'm gettin' tired of readin' for a while. KARL All right then. FRANK Boy, folks sure had it rough back a long time ago, did n't they? KARL Yeah, I reckon they did. Hit like to tore me up when I read about that pore little cripple boy. FRANK Yeah, me too. -LRB- pause. -RRB- That was nice of that woman to give you them flowers. KARL Hit was right thoughty of her. FRANK I was wantin' to ask you somethin'. KARL All right then. FRANK You know that girl I told you about. The one I love. KARL Yeah, I recollect it. FRANK Would you go see her with me? I kind of thought I might take her some flowers like that woman done you. KARL If you want me to. FRANK I ai n't got no money to get'em with but I bet Vaughan will let me have some of them flowers at the store. KARL I bet he will. I got a little money if he do n't. I'll get'em for ye. FRANK I usually get run off by her mama or daddy if they're home. Reckon why they do n't like me? KARL They ort to. You're a good boy. FRANK Just'cause I'm not rich do n't mean I do n't love her. KARL Naw. FRANK And I do n't try to touch her. You know, in a bad way. Foolin' around, sex and all. KARL That's real good. You ort not to if ye ai n't married to somebody. Bible tells you that much. Hit tells some things that do n't seem right too, I reckon. I guess a feller ort to foller it close as he can, though. -LRB- pause. -RRB- You do n't touch yourself, do you? FRANK What do you mean? KARL Pull on your works. Your privates. FRANK Oh, jackin' off? KARL Yes sir. You ort not know that language. FRANK I did n't know till here while back a year or two ago when I spent the night with Ronnie Smart one time. He said just tug on your peter and think about your mama. I tried it, but I felt funny thinkin' about my mama. So, I switched over to thinkin' about his mama and then what he told me would happen, happened. It sure tingles, do n't it? KARL You ort not to pull on yourself that away. FRANK I kind of like you tellin' me what to do and not to do. Just like my daddy. I did n't mind him tellin' me. I hate Doyle to tell me what to do. Mama said the only way to ever get away from him is for him to get away from us. That we ca n't leave him or he'll try and hurt her. KARL He ai n't no count. FRANK You do n't seem like a daddy. You seem like a brother. -LRB- pause. -RRB- Wonder what makes you like somebody right off when you do n't even know'em like what happened with me and you. KARL I do n't reckon I know. FRANK And then some people you do n't like right off. It's funny. -LRB- pause. -RRB- You know why I want you to play ball with me? KARL Naw. FRANK'Cause it's fun. It do n't matter if you ai n't no good. It takes your mind off of everything else while you're doin' it. When you run real fast tryin' to make a touchdown you do n't think about anything else. I ai n't no good, but my daddy always said he was proud of me when I threw a ball or ran with it. Did you have any brothers and sisters growin' up to play with? KARL I had one there for little bit. Hit did n't get old enough to play with. FRANK Why not? It died? KARL Yeah. FRANK Why? KARL Hit was borned a little too early on. My mother and father made hit come too early some way or other. I reckon they changed their mind about havin' another ` n. I was about six or eight year old then and they did n't care too much for me so I reckon they did n't need somethin' else to worry'em with. FRANK So it died when it come out? KARL My daddy come to the shed out back and got me and said throw this here away and handed me a towel with somethin' in it. I went for the trash barrel there and opened up the towel to see'cause they was a noise and somethin' movin' in it. Hit was bloody - like around that towel. Hit was a little ol' bitty baby, no bigger than a squirrel. FRANK It was alive? KARL Yes sir. Right then it was. FRANK A boy or girl? KARL A little ol' boy. FRANK You threw it in a trash barrel? KARL I did n't feel right about doin' that. I takened a shoe box from there in the shed and emptied out some screwdrivers and nuts and warshers from it and put the little feller in that and buried him in the corner of the yard there. That seemed more proper to me, I reckon. FRANK It was still alive when you buried it? KARL I heared it cryin' a little through that box. FRANK That do n't seem right. It seems like you should have kept him alive and took care of him if he was your brother. KARL I wad n't but six or eight. I reckon I did n't know what to do. I did n't know how to care for no baby. Mama and Daddy did n't want him. They learned me to do what they told me to. These days I figure it might of been best to give him right back to the Good Lord right off the bat anyhow. FRANK That makes me feel real sad. Could n't you have done somethin', Karl? I would have. I wish I would of had him. He'd be here right now. Livin'. KARL Hits been hard thinkin' about it. They ai n't a day goes by I do n't think about it. I kindly have a picture of it up in my head that I see. Hit makes me sad, too. I have bad thoughts on it. I wished they was somethin' I could of did, too. Should n't no bad things happen to childern. All the ol' bad things ort to be saved up for folks that's growed up, the way I see it. I should n't of told you about that. A boy ort not hear about such things. It just kindly come out. FRANK I did n't mean to say anything bad about you. I know you're good. You did n't mean no harm. -LRB- pause. -RRB- Did you ever think about killin' yourself on purpose like my daddy did? KARL I've studied about it. The Bible says not to or you end up goin' to Hades. Some folks calls it Hell, I call it Hades. FRANK Bible says the same thing about killin' others, too. KARL Yes sir, I reckon it does.","EXT. RESIDENTIAL NEIGHBORHOOD - DAY Frank, flowers in hand, and Karl approach a very nice two story house. They get to the door and Frank rings the doorbell. FRANK I always get nervous when I hear that doorbell. I'm okay just walkin' over, but somethin' about that dang doorbell. They have one room where you ca n't walk on the carpet or sit on the furniture. I do n't see much sense in havin' it. The door opens and we see an older black lady, the HOUSEKEEPER. HOUSEKEEPER -LRB- eyes Karl. -RRB- Son, I do n't know why you keep comin' over here. You know these folks do n't want you here. They run you off ever' time. Do n't keep doin' this to yourself. You a sweet boy. Now go give them flowers to somebody that'll enjoy'em. FRANK Ma'am, I really want to give them to Karen. HOUSEKEEPER -LRB- to Karl. -RRB- You his daddy? KARL No ma'am. HOUSEKEEPER Well, whoever you are, you ought to talk some sense into him. That little old girl is way too fast for him and do n't wan na see him no way. FRANK Will you get her for me. Please. I really want to see her. She'll want to see me, too,'cause we're not in public. Just do n't tell her folks I'm here. HOUSEKEEPER -LRB- sighs. -RRB- Okay. She disappears and a moment later KAREN appears. She's thirteen, pretty and very neatly dressed. KAREN -LRB- put out. -RRB- Hey Frank. You should n't be coming over here. My parents really do n't want you to. FRANK I wanted to bring you some flowers. They're pretty good ones. KAREN They're from the Dollar Store. I'm not an idiot. Besides we have a garden full of flowers. She eyes Karl. FRANK I wanted for you to meet Karl, too. He's my new friend. But I feel like I've always known him. I thought you should meet him. KAREN Why? Hi, Karl. FRANK He's gon na be around a lot and I hope you are too, so. KAREN Here give me the flowers, I'll do something with them. Thank you. Now you better go. Maybe I'll see you down at the secret place one day in a week or two or something. I have a boyfriend now you know. And we're pretty serious. He gave me a ring. She proudly displays the ring. FRANK Can you go there with us now? Me and Karl. We could just hang out. Karl has some cool books. KAREN Frank, I just like you as a friend. Only at the secret place. Okay? I ca n't go there now. I'll see you later. FRANK But maybe just for awhile - KAREN I'm closing the door now. I told you, I'll see you later. She closes the door. They stand therefor a moment, then walk away down the sidewalk. FRANK She said she'd see me later. That's kinda good, right? KARL I reckon.","EXT. WHEATLEY HOUSE - DAY Frank and Karl walk up the steps to the house. Frank opens the door and they enter.","INT. HOUSE - DAY As Frank and Karl enter, they see Doyle sitting on a footstool facing Linda who's in a chair. Doyle is holding both her hands and talking very softly to her. He sees the guys and looks up. DOYLE Well, I'll be damned, there's the boys. I'm glad y' all came in. I wanted to talk to y' all, too. I was just tellin' Linda here - Oh hell, I'll just start over, set down you boys. They do, on the couch. DOYLE -LRB- CONT'D. -RRB- Well, what it is is, I just, well I took off work early today and your mama was good enough to do the same so we could talk. I guess you'd say I'm really here to apologize, which ai n't easy for me to do, about the way I acted the other night. I was just drunk and kinda got a little too worked up and one thing led to another. I care about y' all a lot, I do. I do n't mean to be so damned, assholish I guess the word would be. Now Karl, I do n't believe I hit you, did I? So no apology needed there I guess, but Frank, I'm sorry. I'm sorry I hit your mama. I'm just jealous of her. I do n't like her life or the way she runs it. I do n't like homosexuals and she buddies with one. I do n't like little wimpy ass kids or fuckin' mental retards and she's got one of each livin' with her. -LRB- laughs. -RRB- I was just kiddin'. But really I guess people need to get along even if they have differences. -LRB- pause. -RRB- You see, I work construction. I build things. Do you realize how important that is to the world. I have a lot of pressure on me. The upshot is, I'm gon na spend a lot more time over here and we're gon na get along. Like a family should. -LRB- to Linda. -RRB- I may even surprise you one day and pop the question. -LRB- he gets up. -RRB- Well, I'm goin' back to work. I just wanted to give y' all some little piece of happiness today. -LRB- kisses Linda. -RRB- See you tonight honey. Karl. Be a good boy, Frank. He leaves. LINDA Well, at least he's tryin'. But who knows for how long. FRANK He's lyin' Mama. He ai n't gon na do better. LINDA I know honey. Just remember what I said, we'll bide our time. You just steer clear of him as much as you can. Doyle's had a real hard life. It's just about run him crazy I think. FRANK We've had a real hard life, too, Mama. Linda moves to the couch and puts her arms around Frank. LINDA You're a hell of a boy, Frank. Someday you're gon na get all the good things you deserve. And Karl here's gon na get some more biscuits tonight. What do you think about that? KARL I could shore use some. Thank ye.","INT. SHOP - DAY Karl is cleaning some parts in a bucket of gasoline. Bill comes to the door. BILL Hey there Karl, can you come unload a generator for me? Karl wipes his hands on a shop towel and starts outside.","EXT. PARKING LOT - DAY A MAN and a TEENAGE BOY stand by a pickup truck. A small generator is on the tailgate. BILL Karl, lift this thing down and carry it to the back. It's on the blink. -LRB- to man as Karl unloads it. -RRB- We'll have it for you in a day or two, Walter. WALTER Y' ont us to he' p you there liftin' that? BILL Oh no, that dang Karl can lift a bulldozier. Fix anything, too. -LRB- confidentially. -RRB- He's mentally retarded, but he's a whiz on small engines. Lord works in mysterious ways. Karl carries the generator toward the shop. He turns and watches the man and boy talking and laughing with Bill. The man playfully puts an arm around his son's neck and tousles his hair. WALTER Hell, he did n't just make the team, Coach says he's probably gon na start at end on defense. He's a chip off the old block. Ai n't you, Steve? STEVE I guess so. Karl turns and goes in the shop.","INT. WHEATLEY GARAGE - DAY Karl is on his cot reading a book. Frank comes in. He looks very depressed. He sits beside Karl. FRANK What you readin'? KARL Readin' on this book on how to work carpentry. I aim to learn how to build things out of wood one of these times. I've always been partial to wood buildin's and cabinets and whatnot. These drawin's they got here do n't make no sense to me so far. -LRB- he looks directly at Frank, which he seldom does. -RRB- You seem like yore tails a ` draggin' a might. You got somethin' wrong with ye? FRANK Seems like Doyle's wormed his way back in. Mama said he's stayin' over tonight and he's talkin' about movin' in for good. We ai n't ever gon na be happy. We'll always be nervous, wo n't we Karl? KARL I do n't reckon I know. I ai n't found no way yet and I'm three or four times as old as you. Might be that's just the way folks is. FRANK I feel sad about Karen Cross, too. I just make like to myself she loves me. I know better, though. It just feels good to me when I imagine it. KARL Make believin' always made me feel good too from time to time. They sit in silence for a moment. KARL -LRB- CONT'D. -RRB- Bill Cox is goin' to a funeral for a Mister Turner tomorrow and a closin' up shop early. FRANK Is that right? KARL I'll play ball with ye. I reckon if neither one of us is no count it wo n't make no difference. FRANK You will? For sure? KARL Yeah. FRANK We'll be on teams, me and you? KARL Yessir.","EXT. JUNIOR HIGH FOOTBALL FIELD - DAY It's the practice field, so it's not very well kept. Karl, Frank, and two other boys around Frank's age are huddled up. Four boys are lined on defense. They break the huddle and come to the line. They are on about the fifty - yard line. Frank hikes the ball to one of the boys. He later als it to Karl who stands there for a minute as the defenders run toward him. Then he takes off like the wind. He runs funny, kind of humped over and pigeon - toed, but fast. All the others are chasing him. Two of the other team's boys catch him on about the fifteen - yard line, but he drags them along. Karl sees Frank out of the corner of his eye and tosses him the ball just as Karl bites the dirt. Frank goes into the end zone untouched. There are cheers from Frank and the other boys. Frank runs over to Karl who's still on the ground. FRANK Way to go, Karl. We got a touchdown. That was a good lateral, man. That was just like the Wishbone. KARL I dern near had me a touchdown till them boys got a - hold of me there so I figured I better give it off to you. I seen you over there follerin' me. FRANK We're liable to win if we keep this up. For somebody like you, you sure run fast. He grabs Karl by the hands and helps pull him up. FRANK -LRB- CONT'D. -RRB- Come on, let's kick off to'em.","EXT. SIDEWALK - DAY Karl and Frank, dirt, grass stains and all, walk toward home. FRANK I know you could of scored them three touchdowns by yourself instead of throwing'em over to me. KARL Them boys was tryin' to pull me down pretty hard. FRANK You're strong though. You let me make them touchdowns so I'd feel good. My daddy used to do that kind of thing. They walk in silence for a moment. FRANK -LRB- CONT'D. -RRB- It do n't matter to me about us losin' does it to you? KARL No sir. FRANK It was fun, anyhow. KARL I wad n't thinkin' about nothin' else just like you told me I'd do. FRANK Can we play ever' Saturday? KARL If I ai n't too stove up. I ai n't like you. I'm old and give out. -LRB- pause. -RRB- I'm proud of ye.","INT. GARAGE - DAY Karl sits on his bed rubbing his hands together, deep in thought.","EXT. STREET - DAY Karl is walking down the street past rundown houses. He comes to an old gray woodframe house. It is in bad repair, the paint is peeling, the yard is grown up. There is an old wooden shed in the back yard. He stands looking at it for a moment then walks through the yard and opens the door to the shed. He's motionless for a moment, then goes inside.","INT. SHED - DAY Sunlight comes through the cracks in the wood. The shed has nothing but dirt for a floor. A few tall patches of grass shoot up between boxes and rusty lawnmowers. A few old garden tools hang on the wall. In the center is a low circular spot in the ground and a few tattered shreds of an old quilt. Karl stands looking at the hole for a moment, then turns and walks out of the shed.","EXT. YARD - DAY Karl walks across the yard to the house.","INT. SCREENED-IN PORCH - DAY Karl goes onto the screened - in porch, looks through the kitchen window and goes inside.","INT. KITCHEN - DAY The place is a mess. Dirty dishes are piled in the sink and on the table. It's not just clutter, but filth everywhere.","INT. LIVING ROOM - DAY Karl walks into an equally filthy living room where an OLD MAN in overalls sits slumped in a chair looking at his lap. Karl stands facing him for several moments. KARL I'm ye boy. OLD MAN I ai n't got no boy. KARL I'm ye oldest boy name Karl. OLD MAN I ai n't got no boy. KARL They turned me aloose from the nervous hospital. Said I was well. No response. KARL -LRB- CONT'D. -RRB- I got hired to work for a Mr. Cox fixin' lawnmowers and whatnot. No response. KARL -LRB- CONT'D. -RRB- That grass out in the yard's all growed up. I figured I might cut it fer ye. OLD MAN I told you, I ai n't got no boy, now get on out from here and let me be. Long silence. KARL I learned to read some. I've read on the Bible quite a bit. I do n't understand all of it, but I believe I understand a good deal of it. Them stories Mama and you told me ai n't in there. You ort not to of done that to ye boy. -LRB- pause. -RRB- I've studied on killin' you. But I do n't reckon they's no reason fer it if all you're gon na do is set there in that chair. You'll be dead soon enough I reckon and the world'll be shut of ye. -LRB- Karl walks toward the kitchen and turns back to the old man. -RRB- You ort not to of killed my brother. He ort to have had a chance to grow up. Sometimes he would of had fun.","EXT. YARD Karl walks out of the house and across the yard to a hedge in the corner and kneels down. He pushes some grass aside to reveal a rock about afoot tall and afoot across. In front of it, the ground is raised a little. He stares at the rock for a moment and touches it. KARL Little feller.","EXT. A LARGE OLD WOODEN SLAT BRIDGE - DUSK Karl stands on the side of the bridge looking into the river below.","INT. WHEATLEY HOUSE - NIGHT All the lights are out. We see a shot of Frank in his bed asleep, but tossing and turning. Then a shot of Linda in bed staring at the ceiling and Doyle beside her snoring. Suddenly, the lights come on and Linda lets out a little yelp and sits up, which wakes up Doyle and he sits up with a start. From their P.O.V. we see Karl standing in the door holding a hammer. DOYLE What in the goddamn hell are you doin'? It's the middle of the night. LINDA What do you want, hun? KARL I want to be baptized. DOYLE Baptized? Well, get baptized then. I do n't give a shit. Call a fuckin' preacher, goddamnit! I ca n't baptize you. LINDA We'll go to church and get you baptized, tomorrow's Sunday. You go on back to bed. DOYLE What are you doin' with that damn hammer? KARL I do n't rightly know. I just kindly woke up a - holdin' it.","INT. CHURCH - DAY We see a shot of Frank and Linda and Vaughan in a church pew. The church is pretty full. From their P.O.V. we seek Karl in a robe standing in the baptismal tank. The preacher takes Karl and dunks him under the water and brings him back up.","INT. WHEATLEY LIVING ROOM - DAY Doyle is in his favorite chair as Linda, Frank, and Karl come through the front door. DOYLE How'd your baptizin' go? LINDA It went real good. DOYLE Well, that's good. It's about time to eat and you know what I'm cravin'? Some of that take out chicken. Why do n't you run get some of it, honey, for lunch? LINDA -LRB- to Frank and Karl. -RRB- Would y' all like that? FRANK Yeah, I guess. KARL Yes ma'am. I like a fried chicken leg. LINDA All right, y' all gon na go with me? DOYLE Naw, hell, let them stay here with me and do men things. There might be some kind of ball game on we can watch. You go on. LINDA I'll be back in a little bit then. She leaves and Doyle walks up to Karl and Frank. DOYLE I really just wanted to git your mama out of the house for a minute so we can have a talk. Y' all set down. They sit on the couch and Doyle kneels in front of them. DOYLE Now here's the deal. Now that I'm gon na throw my entire life away doin' what I want to come live here with y' all, we have to get a few things straight. See, Frank, me and you mama would n't have any problems if it wad n't for you. We'd never have a bad word between us. But since you do exist, if I'm gon na be here as the head of the household, we'll have to live by my rules. And my rules are you do n't speak unless you're spoken to. Stay out of my way and do what a regular kid does. You're a weird little shit. I do n't get you. So wake up. Face what they call reality. We're gon na be a family now. And it's my family. I'll be payin' the bills so you got me. But I ai n't your daddy. You just treat me like I am. I'm the boss, okay. And the other thing is your friend Karl has to go. We ca n't have a normal family with him livin' in the garage and comin' in the bedroom at four in the mornin' with hammers and shit. See? FRANK Karl can stay if he wants to. Mama said - Doyle slaps him across the face and Karl grabs Doyle's arm. Doyle shakes him off. KARL Do n't hit that boy no more. DOYLE You shut up you, fuckin' retard. Get your shit and get out of here. -LRB- to Frank. -RRB- That was a wake - up slap, Frank. Remember. Reality, like I said. Do n't forget any bit of what I said to you and we'll be fine. Frank jumps up and runs from the house and Doyle sits back in his chair and pops a beer. Karl gets up and goes to the garage.","INT. GARAGE - DAY Karl ties his books up with his strap and gets a bag from his bed and leaves.","EXT. DRIVEWAY - DAY Karl is walking away as Linda pulls up in her car and gets out with fast - food bags. LINDA Where are you goin', Karl? Did n't you want some chicken and things? KARL No ma'am. I'm a ` goin' off sommers. LINDA Well, okay. I got you some. KARL Frank, he went off, too. He ai n't gon na be in there when you get indoors. LINDA Where'd he go? What's goin' on? KARL He wanted to go off and play, I reckon. -LRB- pause. -RRB- You go in there and you and that Doyle eat ye dinner. You do n't have to worry yourself none. LINDA All right then. Well, I'll see you later. If you see Frank, tell him to come on back home. I do n't get to see him all day except Sundays. He can play tomorrow. KARL Ma'am? LINDA Yeah. KARL You're a good mama to that boy. You care for him. You work hard fer him to take care of him. You light him up in his eyes, I've seen it. He would n't know what to do without ye. LINDA Well thank you, hun. That's real good of you to say. I would n't know what to do without him either. KARL You've been real good to me, too. It ai n't ever ` body that'd make biscuits in the middle of the night. You and that boy has give me a good feelin'. LINDA We sure like havin' you. KARL Thank ye. -LRB- Karl walks away, then turns. -RRB- I'm just getting around to tellin' you, but I fixed your warshin' machine.","EXT. SECRET PLACE - DAY Frank is on the ground digging a trench in the dirt with a stick. He hears footsteps in the leaves and looks up and sees Karl coming toward him. FRANK Hey, Karl. How'd you know to come out here? KARL I knowed you'd be here. -LRB- Karl sits on the stump. -RRB- What are you a - doin' digging with that stob? FRANK Just diggin'. -LRB- pause. -RRB- I ai n't ever gon na be happy now. Not with that son of a bitch movin' in for good. I wish me and you and Mama could just run away. But she said he would find us wherever we went. He's crazy. Sometimes I think it would of been better if I wad n't ever born. KARL I'm glad of it you was borned. -LRB- pause. -RRB- I reckon I ai n't gon na be there in the garage no more. FRANK You have to Karl. You have to look out for me. You do n't let that son of a bitch run you off. KARL You're just a boy. You ort not to use that sort of language. FRANK Karl, I ai n't tryin' to say nothin' bad about you, but why do n't you stop Doyle when he gets that away? You're older than him. You're strong, too. My daddy would n't let him do that to me and Mama. KARL That feller's a whole sight meaner than me. He'd just whup the tar out of me. FRANK Yeah, I guess so. I'm real tired, you know that. A kid my age should n't be tired of things. KARL I'm tired, too, Frank. -LRB- pause. -RRB- If I ai n't around no more, it do n't mean I do n't care fer ye. I care for ye a good deal. I care for you more than anybody they is. We made friends right off the bat. FRANK I care for you, too. But you'll be around, do n't say that. KARL Hit do n't make no difference where I was to be. We'll always be friends. There ai n't no way to stop that. -LRB- pause. -RRB- I aim for you to have these books. He hands him the books. KARL Maybe you can make more sense out of them than I can. I made you a little old book marker and stuck it in that book on Christmas. FRANK You do n't want to give away all your books. KARL I aim fer you to have'em. FRANK Man. Thanks. -LRB- pause. -RRB- You know when you get a feelin' and you do n't know why? KARL Yes sir. FRANK I've got a feelin' today. KARL Reckon what kind of a feelin'? FRANK Like something different. I do n't know. -LRB- pause. -RRB- You're leavin' ai n't you, Karl? KARL Will ye do somethin' for me if I ast you to? FRANK You know I would. Whatever you want. KARL Do n't go home tonight and stay with that Doyle. He's got it in for ye tonight. I got me a feelin', too. Feels like to me you ort not be there in that house with him liquored up and mean. Ye mama neither. When you get up from here, I want you to go to that feller's house. Your mama's friend. I want you to give me your word on it. FRANK Okay. I give you my word. Is ever ` thing gon na be okay? Are you all right? KARL Ever ` thing's okay, boy. I kindly want to put my arm around ye for a minute and then I'm gon na go on and leave here. FRANK Okay. Karl lays his arm on Frank's shoulder and Frank puts his hand on Karl's arm. They sit like that for a few moments, then Karl gets up with his paper sack and walks away. Frank takes the book marker out of the Christmas book. It is just a folded piece of notebook paper. On it is written ` You will be happy.' He looks up at Karl who is now thirty yards away in the trees. FRANK -LRB- CONT'D. -RRB- Karl! Karl turns around and he and Frank stare at each other through the trees.","EXT. VAUGHAN'S HOUSE - DAY Karl knocks on the door. After a moment, Vaughan answers in a pair of big shorts and a sweatshirt. VAUGHAN Karl, what are you doing here? Come in. KARL I ai n't a - stayin'. I need to ast you fer a favor. VAUGHAN Okay. KARL This evenin' I want you to go get Mizz Wheatley and that Frank and have them stay with you tonight. VAUGHAN What's wrong? Is everything okay? KARL That dern Doyle is in a bad way again with that drinkin' and bein' mean to folks. Will you give me your word you'll do it? VAUGHAN Well, sure, okay. He has n't hurt them, has he? KARL Naw, not yet. -LRB- hands the bag to Vaughan. -RRB- I want ye to give this to Mizz Wheatley. Hit ai n't much, but maybe there's a little somethin' to hep out. Hits what I've earned fixin' lawnmowers and whatnot fer Bill Cox. Vaughan takes the bag. VAUGHAN What about you, Karl? Do you want to stay here? KARL I do n't reckon you have to go with women to be a daddy to a boy. -LRB- pause. -RRB- You've been real square dealin' with me. The Bible says two men ort not lay together. But I'll bet you the Good Lord would n't send nobody like you to Hades. Some folks calls it Hell, I call it Hades. -LRB- Karl starts away. -RRB- That boy lives inside of his own heart. Hits an awful big place. You take care of that boy. Vaughan watches Karl walk away.","EXT. BUS STATION - NIGHT Karl stares at the bus station door.","EXT. WHEATLEY HOUSE - NIGHT Karl stares at the house from the sidewalk.","EXT. OLD WOODS BRIDGE - NIGHT Karl stares into the river.","INT. COX'S SHOP - NIGHT Karl has a lawnmower blade sharpening it on a grinding wheel.","EXT. WHEATLEY HOUSE - NIGHT Karl carrying the blade walks onto the porch and enters the living room.","INT. LIVING ROOM - NIGHT Doyle is in his chair drinking beer and watching TV. He looks up as Karl comes around and sits on the sofa. DOYLE Where's ever ` body else? You seen'em? -LRB- no response. -RRB- I thought I told you to get the hell moved out of here anyway. KARL How does a feller go about gettin' ahold of the police? DOYLE -LRB- CONT'D. -RRB- Pick up the fuckin' phone and call'em, I guess. KARL What numbers do you punch? DOYLE I told you to get away from here, did n't I? I'm tryin' to relax and look at TV. -LRB- notices blade. -RRB- What are you doin' with that piece of iron? I swear to God you're the weirdest son of a bitch I ever heard of. KARL I aim to kill you with it. Doyle keeps drinking and watching TV. DOYLE Yeah, okay. Well, to get the police you push 911. You'll need to tell'em to send an ambulance, too. Or a hearse. You fuckin' idiot. You're gon na kill me. -LRB- laughs. -RRB- Karl gets up and walks slowly toward Doyle out of frame. We see the flickering light of the TV on the wall. O.S. we hear one short dull thud. DOYLE -LRB- O.S. -RRB- Oh God! Oh God! We hear one more thud, then the sound of Doyle's body hitting the floor. Karl appears in frame again and we follow him to the kitchen where he picks up the wall phone. He stares at it for a moment, then pushes 911. He has a few specks of blood on his face, hand and shirt. KARL -LRB- into phone. -RRB- Yes ma'am. I need the police over here at the Wheatley house. -LRB- pause. -RRB- I've killed somebody with a mower blade. -LRB- pause. -RRB- Yes ma'am, I'm right sure of it. I hit him two good whacks. That second time just plumb near cut his head in two. -LRB- pause. -RRB- Hits a little old yeller house right on the corner of Marigold Street and some other street. They's a red pickup truck out front says DOYLE HARGRAVES CONSTRUCTION on it. I'll be a settin' here waitin' on ye. Beside sendin' the police, Doyle said you might want to send a ambulance or a hearse. Thank ye. He hangs up and goes to the refrigerator and takes out a jar of mustard. He gets a knife out of the drawer and sits at the kitchen table and pulls back a table cloth that is covering up some leftovers. He picks up a biscuit and opens the mustard jar and runs the knife around it. There's hardly any mustard in it. He dabs a little on the biscuit and takes a bite and relaxes to wait for the law. CLOSE UP OF CHARLES THE NUT CASE He's in the middle of one of his sick monologues. We pull back and see we're in the recreation room of the hospital again with Karl in his usual chair listening to Charles. Karl is now wearing the hospital issue clothing. CHARLES on the third day I washed her. She was n't very clean. I got all the right spots. She was the first one I ever kept for any length of time, you see I get bored easily, I have a short attention span. I ca n't say she enjoyed her stay, although the washcloth in her mouth held in place by good duct tape kept any complaints to a minimum. I do n't really like people who talk a lot. I like to do the talking. I guess that's why I'm so fond of you. You're so easygoing, although I do sense a little tension in you sometimes. By the way, how was it out there? Did you have any fun? Make any new acquaintances? Tell me what it was like. KARL They was a boy. We made friends. CHARLES I bet you did. I was never bent that way. I'm bent the other way. So, you liked it out there in the world. KARL It's too big. CHARLES Well, it's not too big in here, is it? -LRB- pause. -RRB- I feel very generous today. I feel like listening. I'm sure you have plenty to tell me. And please bore me with the details. -LRB- long pause. -RRB- Come on Karl, who did you kill? Was it the boy? KARL Do n't say nothin' about that boy. Karl looks him right in the eye for the first time ever. KARL Fact the bidness, do n't you say another word to me. I ai n't listenin' to you no more. Karl gets up and goes to the window and looks out at the grass that separates him from the next building. He stares out the window, as we : FADE OUT. THE END"],"string":"[\n \"INT. A MENTAL HOSPITAL - DAY A few patients sit around fumbling with themselves. One man sits at a table scratching back and forth on a piece of paper with a crayon. Another stands in a corner smoking a cigarette and staring at the crayon guy. This is CHARLES. Another man, KARL, sits in a chair staring at the floor and rubbing his hands together. We cut back and forth between Charles staring and Crayon Man scratching. After a moment, an attendant approaches Charles. ATTENDANT You ca n't smoke in here. Charles stares at him blankly for a moment and continues smoking. He looks back to Crayon Man again for a moment then looks over at Karl and then goes and sits down beside him. CHARLES A Mercury is a good car and that's what I was driving that day. I've owned a lot of cars. Different kinds. Lots of different kinds of cars. She was standing, this girl, on the side of the street where there was a chicken stand ; not the Colonel, mind you, but nevertheless a chicken stand, and I pulled the Mercury over and rolled down the window by electric power. She was wearing a leather skirt and she had a lot of hair on her arms. I like that. I like it a lot. It means a big bush. I like a big bush. She said, `` Are you dating?'' I said, `` yes,'' and she got in the car. We pulled to a remote location, one that she and I both felt comfortable with and she said, `` How much can you spend?'' I said, `` What it takes to see your bush. I know it's a big one.'' She said `` twenty five dollars,'' which to a working man is not chicken feed. I produced the money and she put it in her shoe and pulled up her skirt. There before me lay a thin, crooked, uncircumcised penis. You can imagine how badly I wanted my twenty - five dollars back.\",\n \"INT. A HALLWAY - DAY Two young women, MARSHA DWIGGINS, carrying a briefcase, and THERESA EVANS, carrying two camera bags are being led down the hallway by a GUARD. THERESA I do n't know why you're so weirded out, this is not San Quentin, it's just a nuthouse. Most of these people do n't even know where they are, they're not gon na hurt you. MARSHA In a few minutes we're gon na be in a room with a killer. That does n't bother you? THERESA Hey, you're the one that wanted to major in journalism. Anyhow, was n't the guy something like twelve or thirteen when he did it, it was twenty - five years ago, he probably does n't even remember it. MARSHA -LRB- wrinkling her nose. -RRB- Do you smell shit? THERESA Yeah. They reach a door and the guard ushers them through.\",\n \"INT. AN OFFICE - DAY JERRY WOOLRIDGE stands up from behind the desk as they enter. He's in his fifiles and looks like a school teacher, shop class or perhaps eighth - grade science. GUARD These are the people from that newspaper deal. WOOLRIDGE Oh yeah, from the college? MARSHA Yes sir. Woolridge shakes hands with them. WOOLRIDGE My name's Jerry Woolridge. MARSHA Nice to meet you. I'm Marsha Dwiggins and this is Theresa Evans. She's here to take the pictures. WOOLRIDGE Y' all have a seat. Is this all of you? MARSHA Yes sir. WOOLRIDGE I think there must have been a little mix up. I told your sponsor or teacher or whatever he is, there could n't be any pictures. It's s ` posed to be just a little story or article or something, is n't that right? MARSHA Well, yeah, it's for the school newspaper. But it has pictures. I mean it's a regular paper, you know. WOOLRIDGE Karl's real sensitive about having his picture made. He would n't even be on the bulletin board for the Easter Collage. -LRB- to guard. -RRB- Melvin, would you get me a good hot cup with two sugar substitutes? You girls want some coffee? MARSHA No thank you. WOOLRIDGE The other thing is I told your boss on the phone to send a man. Karl wo n't talk to women.\",\n \"INT. REC ROOM - DAY CLOSE UP on Karl's face. Charles has started another monologue. CHARLES There was a young man named John Liggit Hunter who was in the filling station business and a good filling station business. He was one of those young men that we run across so often in life. I'm sure you've run across them, that did n't deserve the things he had. One of those things was his beautiful bride, Sarah. She was a Georgia Peach. As a matter of fact she looked more like the picture I've had in my head than any woman I've ever seen. I took it upon myself to take her away from John Liggit Hunter, who did n't deserve her. I'm not sure if I mentioned that he was a Frenchman who claimed to be an Englishman. It took some very strong nylon cord to take her away from him. She was a fighter as well as a Georgia Peach.\",\n \"INT. WOOLRIDGE'S OFFICE The girls look confused. WOOLRIDGE I do n't know what to tell you. I'm sorry. I made myself pretty clear I thought. He probably got busy and was n't thinking. I know how that is. I used to teach shop and eighth grade science. MARSHA Well, what do we do? We drove all the way out here. THERESA Let's just go, Marsha. MARSHA No, we have to get this story. THERESA I thought you'd be happy to leave. MARSHA Why wo n't he talk to women? WOOLRIDGE He has problems. You know. With all that. He wo n't hardly talk to anybody really. Just certain people. He's very troubled.\",\n \"INT. REC ROOM CHARLES -LRB- leaning in to Karl. -RRB- A shovel just makes too goddamn much racket.\",\n \"INT. WOOLRIDGE'S OFFICE WOOLRIDGE -LRB- takes a drink of coffee. -RRB- I do n't think he's talked to a woman in twenty - five or so years. That I know of anyway. That's why I said to send a man. At least maybe he'd answer a question or two for a man. I'm all for helping the college out, believe me. It might be a real good article or story. MARSHA Ca n't you talk to him? Maybe talk him into it. I'm a real good interviewer. Just get me in the room with him. WOOLRIDGE -LRB- to guard. -RRB- Melvin, go get Karl and take him down to the old classroom.\",\n \"INT. HALLWAY - DAY Woolridge and the two women walk down the hallway. WOOLRIDGE I'll talk to him and see what we can do.\",\n \"INT. CLASSROOM - DAY Woolridge is opening a door. He enters and the women follow him in. He flips on a light switch and very bright florescent lights illuminate the room. WOOLRIDGE You see, Karl, growing up, only knew that sex was wrong and that people who did it should be killed for it. He could n't really read but, well, neither could his mother. But, his father made sure that his mother knew what the Bible said. And she made sure Karl knew. You know he slept in a hole in the ground under a toolshed, right? MARSHA I knew he slept in a toolshed. WOOLRIDGE His mother told him that he was their punishment. Hers and his father's ; from God, for having sex - MARSHA Before they were married? WOOLRIDGE I do n't think so. Just period, I think. She told him. God gave them the ugliest creation he could think of. Karl has an entire book - a notebook. On every page it says `` Franklin Chapter 1 Verse number 1.'' He wrote that a few years ago after he'd learned to write. His father's name was Franklin. MARSHA That's really strange. What does it mean? WOOLRIDGE One of his Daddy's Bible lessons I imagine. Y' all pull up a chair. I'll go out and talk to him.\",\n \"INT. REC ROOM CLOSE UP on Charles's face. CHARLES You have to make something explode to truly understand it. You have to examine the tiny particles while they're on fire. Off screen we hear FOOTSTEPS approaching. We pull back and see MELVIN the guard. MELVIN Karl, I got ta take you down to the old classroom. Mr. Woolridge has some people for you to see down there. Come on. Let's go.\",\n \"INT. HALLWAY - DAY Melvin and Karl walk down the hallway. Woolridge stands outside the door of the classroom. They reach him and Woolridge talks quietly to Karl. WOOLRIDGE Karl, you know, do you remember when I told you about those people from that newspaper? -LRB- pause. -RRB- They want to ask you some questions about your release. They think it would make an interesting story. Will you talk to'em? Get interviewed. -LRB- pause. -RRB- Now, they're women. I think it might be good for you to. You're gon na be seein' all kinds of people when you go on the outside. This'll help you I believe.\",\n \"INT. CLASSROOM - DAY It's just Woolridge and the two women in the room. WOOLRIDGE Well, it surprised the dickens out of me. He said he'll talk to you. Marsha smiles and looks at Theresa. WOOLRIDGE -LRB- CONT'D. -RRB- But, here's the thing. He'll only talk to you. He does n't want you to ask him anything. And you should n't stare at him. MARSHA How am I going to conduct an interview if I ca n't ask him any questions? WOOLRIDGE It's the best you're gon na get. I'm sorry. MARSHA Can I ask you a question? If he's so troubled, why are you letting him out? What if he does it again? It happens all the time. WOOLRIDGE He's free. His time's up. That's the rules. He's been treated and reevaluated. He does n't show any signs any more. MARSHA Signs? WOOLRIDGE Homicidal signs. Oh, we're gon na change the light in here for Karl. I hope you can see to write. Woolridge turns on a lamp on a desk and turns off the overhead lights. He opens the door and Melvin brings Karl in. In the semidarkness Woolridge pushes a chair up and motions for Marsha to sit. Karl stands beside Melvin motionless. Woolridge whispers to Theresa. WOOLRIDGE -LRB- CONT'D. -RRB- You'll have to step outside. Theresa starts to protest. WOOLRIDGE -LRB- CONT'D. -RRB- Please. Karl sits down in a folding chair near a lamp as Melvin ushers Theresa outside into the hallway. Karl sits staring at the floor. Rubbing his palms together and breathing strangely, as usual. He sits silent for what seems like forever.\",\n \"INT. HALLWAY - DAY Theresa stands on one side of the door, Melvin on the other. THERESA Can I just sneak in there? I wo n't take any pictures, I promise. I just want to listen. MELVIN No ma'am. I'm sorry you ca n't. Theresa takes a cigarette from her purse and starts to light it. MELVIN -LRB- CONT'D. -RRB- You ca n't smoke in here. I'm sorry.\",\n \"INT. CLASSROOM - DAY Marsha is staring at Karl. Karl, still breathing and rubbing his palms, starts to speak. His voice is low and raspy, but not just low and raspy ; strange. KARL Well, I reckon what you're a wanting to know is what I'm doing in here. I reckon the reason I'm in here is'cause I killed somebody. But I reckon what you was a wanting to know is how come me to kill somebody. Well, I reckon I'll start at the front and tell you. -LRB- pause, heavy breathing. -RRB- I lived most of my life out behind my mother and father's house in a little old shed and my daddy'd built for me. They did n't too much want me up there in the house with the rest of'em. I mostly just set around out there in the shed all the time a lookin' at the ground. It did n't have no floor but I had me a hole dug out to lay down in and a quilt or tow that I put down there. -LRB- pause, more breathing. -RRB- My daddy was a hard workin' man most of his life, not that I can say the same fer myself. I most just set around the shed and tinkered around with a lawn mower or two and went to school off and on from time to time but the children there made quite a bit of sport of me, made fun of me quite a bit. Some of'em roughed me up sometimes so mostly I stayed out back there in the shed. My daddy worked down at the sawmill there, down there at the planer mill for an old man named Dixon. Old man Dixon was a very cruel feller, he did n't treat his employees very well, did n't pay'em much of a wage, did n't pay my daddy much of a wage, just barely enough to get by on. But I reckon he got by all right, they come out one or the other of'em, usually my mother, and fed me pretty regular. At least I know he made enough for me to have mustard and biscuits three or four times a week. Old man Dixon had a boy named Jesse Dixon. Jesse was really more cruel than his daddy. He made quite a bit of sport of me and takened advantage of the little girls around the neighborhood quite a bit. -LRB- pause. -RRB- He used to say my mother was a very pretty woman. He said it quite a bit from time to time, when I was at the school house. Well, I reckon you want me to get on and tell you what happened so I reckon I'll tell you. I was settin' out in the shed one evenin' not doin' too much, just kindly starin' at the wall and a waitin' fer my mother to come out and give me my Bible lesson and I heared a commotion up in the house there so I got up and run up on the screened - in porch there to see what was a goin' on, and I looked in the kitchen window and I seen my mother a layin' there on the floor without any clothes on. -LRB- pause, breathing. -RRB- And seen Jesse Dixon a layin' on top of her having his way with her. -LRB- pause. -RRB- Well, I just seen red. I picked up a kaiser blade that was a layin' there by the screen door, some folks calls it a sling blade, I call it a kaiser blade. It's just a long handle like a axe handle with a long blade on it that's shaped kind of like a banana. Sharp on one edge and dull on the other. It's what the highway boys use to cut down weeds and whatnot. I went in the kitchen there and I hit Jesse Dixon up side the head with it and knocked him off my mother. I reckon that did n't quite satisfy me so I hit him again in the neck with the sharp edge and just plumb near cut his head off. Killed him. Well, my mother, she jumped up from there and started yellin', `` What did you kill Jesse fer? What did you kill Jesse fer?''. -LRB- pause, intense breathing. -RRB- Well, come to find out my mother did n't really mind what Jesse was a doin' to her. I reckon that made me madder than what Jesse had made me. I takened the kaiser blade, some folks calls it a sling blade, I call it a kaiser blade and hit my mother up side the head with it an' killed her. -LRB- long pause, breathing. -RRB- Some folks has asked me if I had it to do over again would I do the same thing. I do n't know, I reckon I would. Anyhow, they seen fit to put me in here and here I've been for a great long while. I've learned to read some ; took me four years to read the Bible. I reckon I understand a good deal of it. It was n't what I expected in a lot of places. I've slept in a good bed for a great long while. They've seen fit to put me out now. They tell me they're a settin' me free today. Anyhow, I reckon that's all you need to know. If you want any more details I reckon I can tell'em to you. I do n't know if that's enough for your newspaper or not. Suddenly Marsha speaks from the darkness. MARSHA Will you ever kill anybody again, Karl? This seems to startle the very room itself. Woolridge motions for Marsha to shut up and Karl stops still. Very still. He breathes hard for a moment then starts to calm down. He seems almost at ease. He slowly looks up. From Karl's point of view we barely see Marsha's face in the dim light. Karl is looking straight at Marsha. KARL -LRB- slowly. -RRB- I do n't reckon I got no reason to kill nobody.\",\n \"INT. HALLWAY - DAY Woolridge stands just outside the classroom door with Marsha and Theresa. Karl stands down the way a few feet with Melvin. MARSHA Is he leaving right this minute? WOOLRIDGE We've got some paperwork to take care of. Pretty soon. Do n't worry, you wo n't run into him in the parking lot. MARSHA I did n't mean that. WOOLRIDGE I hope the best for you, Miss Dwiggins, with your school and your paper and all. MARSHA Where will he go? WOOLRIDGE Wherever he wants to. I think he's going back to Millsburg where he's from. It's just about twenty miles from here. MARSHA Will he be supervised? WOOLRIDGE As much as anybody else is, I guess. Y' all have a good rest of the day now. Marsha and Theresa walk toward the exit. As they pass Karl he speaks to Marsha. KARL -LRB- looking down. -RRB- Thank you. MARSHA -LRB- immediately extends her hand. -RRB- Thank you. Karl does n't take her hand. Karl continues to stare at the floor until the women exit. KARL I reckon I'm gon na have to get used to looking at pretty people. WOOLRIDGE Yes, I guess you are. KARL I reckon I'm gon na have to get used to them lookin' at me, too. WOOLRIDGE You better go get your things. KARL I ai n't got nothing but them books. WOOLRIDGE You better go get'em. KARL All right then. Karl walks slowly down the hallway.\",\n \"EXT. BUS STATION - MILLSBURG - DAY Karl steps off the bus carrying a few books by a strap. He stands there for moment staring at the bus station as the few people around stare at him, then he starts walking. A SERIES OF SHOTS Karl standing in front of a barbershop looking through the window at a man having his hair cut. In front of the police station. Staring at an empty school yard.\",\n \"EXT. DAIRY QUEEN - DAY Karl stands and stares at the building for a moment. He sees a woman take a tray of food from the window. When she's gone, he walks up to the window. A pimply - faced TEENAGE BOY comes to wait on him. BOY Can I help you? KARL I was kindly wantin' somethin' or ` nother d'eat. BOY Well, what did you want? KARL You have any biscuits for sale? BOY Naw, we do n't have biscuits. Karl stands in silence for a moment. BOY -LRB- CONT'D. -RRB- Did you decide, sir? KARL What you got that's good to eat? BOY Well, I guess it's all good. KARL What do you like to eat here? BOY French fries. I like to eat them pretty good. KARL French - fried potaters. BOY Yeah. KARL How much you want fer'em? I'll get some of them I reckon. BOY Sixty for small and seventy - five for large. KARL Give me the big ` uns. Karl digs in his pocket for money.\",\n \"EXT. LAUNDROMAT - DAY Karl sits on a bench eating french fries. After a moment, a twelve - or thirteen - year - old BOY comes out of the laundromat wrestling three or four big bags of laundry. He ca n't seem to get a plan together for carrying them all. Karl gets up and goes over to him. The boy looks up at Karl, a little startled by Karl's strange figure looming over him. BOY These dang things are heavy. Hard to carry, too. KARL What you got in there, warshing? BOY Yeah. KARL Ai n't you got no mama and daddy to tend to it? BOY I got a mama, but she's at work over at Ben's Dollar Store. My daddy's dead. -LRB- pause. -RRB- He got hit by a train. KARL How fer you going with them sacks full of warsh? BOY About a half a mile I think it is. KARL I'll help you tote'em if I do n't give out first. BOY Okay. You do n't have to though. Karl picks up two sacks and they walk away.\",\n \"EXT. STREET - DAY They walk in silence for a while before the boy finally speaks. BOY My name is Frank Wheatley. What's your name? KARL Karl's my name. FRANK -LRB- BOY. -RRB- What's you last name? KARL Childers. FRANK What are all them books? KARL Different ones. One's the Bible. One of'em s a book on Christmas. One of'em s how to be a carpenter. FRANK How come you're carryin' them around with you. KARL Ai n't got nowhere to set'em down. FRANK Do n't you live somewhere? KARL I did live there in the state hospital. FRANK Why'd you live there? KARL I killed some folks quite awhile back. They said I wad n't right in the head and they put me in there in the nervous hospital instead of puttin' me in jail. FRANK They let you out? KARL Yeah. FRANK How come? KARL They told me I was well. They had to turn me loose. FRANK Are you well? KARL I reckon I feel all right. FRANK You do n't seem like you'd kill nobody. They reach a little white frame house and the boy turns up the sidewalk. FRANK -LRB- CONT'D. -RRB- This is my house. You can just set those bags on the porch. Karl sets the bags down and he and the boy stare at each other in silence for a moment. FRANK -LRB- CONT'D. -RRB- Do you like to play football? KARL I never was much count at it. I never did get picked out fer it. FRANK Me and the Burnett twins and some boys plays down at the junior high practice field all the time. If you ever want to come by and play. We ai n't no good either. Well, I'll see you later. He goes inside leaving Karl staring at the front door.\",\n \"INT. BUS STATION - DAY Karl stands at the counter. A middle - aged man is selling tickets. KARL How does a feller go about gettin' up to the state hospital? MAN You buy a ticket for fourteen dollars and then set and wait for the four - fifteen bus to Kelton. KARL All right then.\",\n \"INT. MENTAL HOSPITAL - DAY Karl walks down the hallway carrying his books. A couple staffers give him ` Why are you still here' looks. He reaches a door and goes in.\",\n \"INT. WAITING ROOM - DAY There is no one at the desk in the outer office, so Karl goes into Woolridge's office.\",\n \"INT. WOOLRIDGE'S OFFICE - DAY Karl finds Woolridge doing paper work. Woolridge looks up startled. WOOLRIDGE Karl, what in the world are you doing here? KARL I want to come back and stay here. WOOLRIDGE Well, you ca n't do that. You're a free man. You've been let out to do as you please. KARL I reckon I do n't care nothin' about bein' a free man. I do n't know how to go about it. WOOLRIDGE Well, you have to learn. It'll take some time. Do n't you know anybody down there to help you out? KARL Naw. WOOLRIDGE Your daddy's still livin' down there from what you told me. -LRB- pause. -RRB- I guess he would n't help you any, would he? I was n't thinking. You do n't know anybody? KARL Naw. Never did know too much of nobody. Not to he' p me out anyway. WOOLRIDGE -LRB- sighs. -RRB- Listen, Karl, the truth is I do n't know where they expect you to go or what they expect you to do. If it was up to me, I'd let you stay here if that's what you wanted. I'm just doin' my job. -LRB- they sit in silence for a moment. -RRB- You follow me? -LRB- no answer. -RRB- Listen, I know an old boy that runs a fix - it shop deal down in Millsburg. He used to go to church with me. You're good workin' on small engines and things. If I put my neck out for you with him, will you work at it if he'll hire you? KARL I'm pretty handy I reckon on lawn mowers and whatnot. WOOLRIDGE I know, I've seen it myself. Would you give that a try? KARL I reckon. WOOLRIDGE I ca n't promise he'll hire you. I'll have to tell him about your history. KARL I never was no good with history. WOOLRIDGE No, I mean your past. About why you were in here. -LRB- pause. -RRB- I'll take you first thing in the mornin'. You have anyplace you can stay tonight at all? I just ca n't let you stay here. It's the rules. If something happened well, I'd be liable. KARL I reckon I can just walk around till the mornin'. Or set and read me a book somewhere. They sit and stare at each other for a moment.\",\n \"INT. WOOLRIDGE DEN - NIGHT Woolridge, his WIFE, his teenage SON, BUBBA, and teenage DAUGHTER sit in various comfortable chairs looking extremely uncomfortable and staring at Karl, who is sitting on the edge of a chair looking at the floor. After a long creepy moment, Mom speaks. MRS. WOOLRIDGE Karl, would you like a muffin? KARL No thank ye. MRS. WOOLRIDGE I understand Jerry is going to take you somewhere else tomorrow. KARL I do n't reckon I know nobody name Jerry. WOOLRIDGE She's talkin' about me, Karl. That's my first name. KARL He's a - carryin' me to look fer work in Millsburg where I was borned. MRS. WOOLRIDGE Would you like some coffee? KARL Coffee makes me a might nervous when I drink it. DAUGHTER Daddy, can I be excused to go to bed? WOOLRIDGE Sure, honey. You sleep with Mama tonight. I'll sleep with your brother and Karl can take your room. DAUGHTER Why? WOOLRIDGE We have company. Now you go on.\",\n \"INT. BEDROOM - NIGHT It's an all - American girls room. Everything is pink. There are stuffed animals everywhere and posters of pop idols. WOOLRIDGE Well, Karl, there's plenty of blankets and things there. Bathroom's right there in the hall. We'll leave first thing tomorrow. Karl stands in the middle of the room holding his books. Woolridge closes the door.\",\n \"INT. WOOLRIDGE KITCHEN - NIGHT Woolridge walks into the kitchen where Mom and Son sit at the table. MRS. WOOLRIDGE Jerry, why did n't you give him Bubba's room? Sister's is kind of girly, is n't it? WOOLRIDGE Yeah, I thought about that. No sense in moving him now I guess. BUBBA Daddy, do n't you think one of us ought to stay up all night and kind of - guard or somethin'? WOOLRIDGE Why, hell no, son. What's wrong with you? BUBBA Well, he's crazy. He's a nut ai n't he? MRS. WOOLRIDGE ` Is n't' he, Bubba. Do n't say ai n't.\",\n \"INT. WOOLRIDGE DEN AND HALLWAY - MORNING Woolridge, already dressed, walks through the den and down the hallway. He knocks on the bedroom door. WOOLRIDGE Karl, you up? KARL -LRB- O.S. -RRB- Yes sir. Woolridge opens the bedroom door and sees Karl sitting on the edge of the bed beside his books. The light is on, the bed still as it was the night before. WOOLRIDGE Did n't you go to sleep at all, Karl? You been sittin' there like that all night? KARL Yes sir. WOOLRIDGE Well, I guess we better hit the road.\",\n \"INT. FIXIT SHOP - DAY Woolridge's car pulls into the parking lot. He and Karl get out and walk toward the shop.\",\n \"INT. FIXIT SHOP - DAY Two men, BILL COX, a large man in his forties, and SCOOTER HODGES, a really country - looking guy in his thirties, look up from behind the counter as Woolridge and Karl enter. Woolridge goes to the counter, Karl stands by the door looking at the floor. BILL Hey Jerry, how it's goin'. Good to see you. Been a long time. WOOLRIDGE Good to see you, Bill. How's everybody doin'? BILL Aw, pretty good. Kids are drivin' me crazy and Phyliss is gon na put me in the poorhouse. Ca n't complain other than that. Would n't do any good if I did. -LRB- laughs. -RRB- Do you know Scooter, Jerry? WOOLRIDGE No, do n't guess I do. -LRB- he shakes hands with Scooter who sort of smiles. -RRB- Scooter, good to meet you. -LRB- Woolridge leans in and gets confidential. -RRB- This is him, the one I talked to you about on the phone. Now like I said, I'll understand if you get nervous about it. I'm not gon na lie to you now, he did get in that trouble but then he was real young. BILL I remember it real well. Cut them folks to pieces. His mama one of'em. SCOOTER And that ol' Dixon boy. Hell, I always wanted to kill him myself. Asshole's what he was. I remember that ol' boy. -LRB- points to Karl. -RRB- too. Kind of retarded or somethin' back in school. WOOLRIDGE Well, he seems pretty well - adjusted these days. I do n't think he'd ever hurt anybody. BILL Do n't look much like he could. You say he can fix a small engine like nobody's bidness. WOOLRIDGE He's a regular whiz at it. That's all he did when he was a kid. BILL Well, I ai n't scared of him workin' here. You know me. I'm a church goin' man. Forgivin' man. When your time's up the Lord's gon na come git you. You seared of him, Scooter? SCOOTER I do n't guess. Can he talk? WOOLRIDGE Oh yeah. Listen I really appreciate it. He needs the job. I do n't know what to do with him. He do n't have anybody really. BILL That old man of his still livin' over there on Clark Street I believe. WOOLRIDGE He wo n't have anything to do with him. Now you say it's all right for him to stay out here in the back? BILL Fine with me. If he steals anything, I'll take it out of your pocket anyway. Bill slaps Woolridge on the shoulders and wheezes with laughter. WOOLRIDGE He wo n't steal. I'm tellin' you he's a pretty good ol' boy. Keeps to himself. BILL Well, I've got a roomful of work for him to do. Ca n't get Scooter to do any of it. WOOLRIDGE Karl, come over here. I want you to meet your new boss. -LRB- Karl obediently shuffles over. -RRB- This is Bill Cox, runs this place. Says you can work here and stay in the back. BILL Good to know you, Karl. KARL Thank ye. BILL Now it's minimal wage and there ai n't nothin' but a army cot and a toilet back there. Karl does n't say anything. WOOLRIDGE That'll be fine. Karl, I'll go to the car and get your books. Woolridge exits. Bill and Scooter just stare at Karl and Karl stares at the floor. BILL They say you're a whiz on fixin' lawn mowers and things. KARL I've tinkered around on'em a little bit. BILL We order from Dairy Queen at noontime usually. We can buy your lunch till you get on your feet a little. KARL I like them french - fried potaters. BILL -LRB- long pause. -RRB- Yeah, me too. SCOOTER They make a good double meat burger.\",\n \"INT. SHOP WORKROOM - NIGHT The place is cluttered with mowers, edgers, weed - eaters, and other equipment, most of it in pieces. A small cot is in a little clearing in the corner by the bathroom. Karl is sweeping up oil with sawdust and a push broom while Scooter puts some tools away. Bill comes to the door. BILL All right then, I'll see y' all later. Karl you done a good day's work. They right about you. Scooter, he's gon na knock you out of a job if you're not careful. I'll see you tomorrow. SCOOTER Wait up, I'll leave with you and lock up. BILL Karl, they's a blanket up in under that cot and soap in the bathroom to clean up with. -LRB- pause. -RRB- Now there's one more thing. The way we lock these doors at night, you ca n't get out. You did n't want to go anywhere, did you? KARL I do n't reckon. BILL If it works out and all, maybe we'll get you a key so you can get out at night if you need to. See you later. They leave Karl standing in the midst of the lawn mowers. He sets the broom down and goes and sits on the cot. After a moment, he gets back up and starts sweeping again.\",\n \"INT. SHOP - DAY It's lunch time and Bill, Scooter, and Karl are sitting in folding chairs behind the counter eating from their Dairy Queen to - go bags. Karl has french fries. BILL Scooter, did I tell about the two old boys pissin' off the bridge? SCOOTER I ca n't remember. BILL There was these two old boys hung their peckers off of a bridge to piss, one old boy from California and one old boy from Arkansas. Old boy from California says, `` Boy this water's cold.'' Old boy from Arkansas says `` Yeah, and it's deep too.'' -LRB- starts wheezing. -RRB- Get it? That's a goodun. SCOOTER -LRB- laughing. -RRB- Yeah, that's a goodun. I believe you did tell me that one before. I've heard that a bunch. Long time ago. BILL Well, yeah it's a classic. You know, Karl, I got to thinkin' about it last night and it's just not Christian of me to not let you have a key. I mean you been in lockup so long, you do n't need me keepin' you locked up. You need to come and go as you please. Here, take this key, it'll get you in and out that back door. -LRB- Karl takes the key and keeps eating french fries. -RRB- Them french fries good? KARL Yeah, they's good all right. BILL You got any money? KARL They give me fifty dollars when they turned me loose. I spent up some of it on ridin' the bus and eatin' french - fried potaters. BILL Well, I'm gon na pay you today for this comin' week, so you'll have some walkin' around money. When you get off this evenin' you better go buy some toothpaste and cleanin' up supplies to have back there. Some hard candy and some magazines. Somethin' to keep you busy at night. KARL All right then. BILL I'll let you off while it's still daylight.\",\n \"EXT. STREET - DAY Karl is walking down a residential street. He stops in front of the house where the boy, Frank, lives and stares at the house for a moment, then he walks up to the door and stares at it. A curtain moves and the boy's face appears at the window. He comes and opens the door. FRANK Hey there. I thought I heard somebody on the porch. Was n't your name Karl? KARL Yeah it is. Your name's Frank. FRANK Yeah. What you doin' by here? KARL You told me to come by. FRANK Did you want to play ball with us? KARL I ai n't no good at it. I just come by. FRANK Well, anyhow, I was just fixin' to go see my mama down at Ben's Dollar Store. She's workin' two till eight. KARL All right then. He starts to walk away. FRANK Wait a minute. You want to go with me? You can meet my mama. KARL I do n't want to worry your mama with company. FRANK Aw, come on. You'll like her. She's real nice. She'll give us somethin' if we ask her to. Candy or somethin'. KARL I was kindly needin' to do some tradin'. Reckon they sell toothpaste? FRANK They sell some of everything. Come on let's go. I wo n't tell her about you bein' in the state hospital for killin'.\",\n \"INT. BEN'S DOLLAR STORE - DAY Frank and Karl make their way through the fairly crowded store. It's sort of a mini - version of a Walmart. They find Frank's mother in her red smock talking to a guy in a red Ben's knit shirt. They are laughing together and pricing some mouthwash. LINDA WHEATLEY is a short, plain woman in her thirties. The man, VAUGHAN CUNNINGHAM, is in his forties, with a neat flattop hair cut, glasses, and a paunch hanging over his belt. They eye Karl suspiciously, as the boys approach. FRANK Hey, Mama. Hey, Vaughan. LINDA Hey, sweetheart. What you up to? VAUGHAN Let me guess. You want a bunch of candy and a pop. FRANK Yeah. VAUGHAN You're gon na rot your teeth that way. But I bet I know what you would like even better. I put potted meat on special, four cans for a dollar and they're not moving very well. I'd sure let a few cans go for free to the right boy. FRANK I do n't like potted meat. Daddy used to say it was made out of lips and peckers and intestints. LINDA Frank, do n't talk that way. Who's that strange lookin' man behind you? Did he follow you in here? VAUGHAN Can I help you, sir? FRANK Oh, that's Karl. I met him at the laundrymat. Karl, this is my mama. And Vaughan, Vaughan's the manager. He lets mama off any time she feels like it'cause they're best friends. LINDA Nice to meet you, Karl. KARL -LRB- keeping his distance. -RRB- Pleased to know y' all. There's an uncomfortable silence. LINDA Frank come back here with me for a minute. She shuffles him away and leaves Vaughan staring at Karl. VAUGHAN I do n't think I've ever seen you before. KARL Naw, I do n't believe you have. I do n't reckon I never been in here. This store did n't used to be here. VAUGHAN It's been here seventeen years. Did you live here before or something? KARL I's horned and raised here up till I's twelve year old. VAUGHAN What brings you back? KARL What's that you say? VAUGHAN Why are you here now? KARL They turned me loose from the state hospital. VAUGHAN Is that right? -LRB- pause. -RRB- Are you going to be staying here long? KARL I reckon Mr. Woolridge got me hired on to work for Bill Cox's outfit. VAUGHAN Do you have family here? KARL Not really to speak of. Linda and Frank return from the back. FRANK Hey Karl, guess what. Mama said you can stay with us. Out in the garage. Our car wo n't fit in there anyway. It's real neat. LINDA Frank told me about your situation. And Frank loves company. You know, especially after his daddy passed and all. There ai n't no sense in you stayin' in that old greasy shop. -LRB- to Vaughan, hushed. -RRB- He's mentally retarded, poor thing. VAUGHAN -LRB- hushed. -RRB- He just got out of the state hospital. LINDA -LRB- put out. -RRB- I know. FRANK Can we get some candy and pops? VAUGHAN Sure, go ahead. They walk off down the aisle leaving Vaughan a little puzzled. VAUGHAN -LRB- CONT'D. -RRB- Are you sure it's safe to let him around that guy? LINDA Frank's just crazy about him. He likes the way he talks. He helped him carry home the clean laundry. VAUGHAN He's been in the state hospital a long time, something must be wrong with him. LINDA He's retarded's all. You know he's always after a father figure and Lord knows Doyle ai n't a good one with his mean ass. VAUGHAN What about me? LINDA I do n't think he sees you as a guy guy. VAUGHAN -LRB- wrinkles his brow. -RRB- Karl is a guy guy?\",\n \"EXT. WOODED AREA - LATE AFTERNOON Karl and Frank sit on stumps in a little clearing enjoying the spoils of their Ben's Dollar Store visit. FRANK This is what I call my secret place'cause I come out here when I feel like bein' by myself. I used to come here with Karen Cross. She's kind of like my girlfriend, or used to be. She says she likes Jerry Maroney now. But I'm gon na get her back'cause I love her. We used to come here and hold hands and talk and read books to each other with a flashlight. She did n't want to have anything to do with me in front of other people'cause I do n't have any money. Well, mama and me, I mean. She seemed to like me a whole lot when we were out here though. She said she loved me, too. Out here. Settin' right on that stump you're on. See, her daddy's a dentist so they're rich. So's Jerry Maroney's daddy. He owns the ice plant. Was your folks well off? KARL Naw. Did n't have too much. Enough to scrape by on, I reckon. FRANK They still around, your folks? KARL My mother's dead. My daddy's s ` posed to be around still. He do n't want to have nothin' to do with me though. FRANK How do you know? KARL He never did want to. I figure he ai n't changed his mind much. FRANK How did your mama die? KARL -LRB- long pause. -RRB- You do n't need to know all of that. You're just a boy. You need to think about good thoughts while you're still a boy. They'll be plenty of time for the other. FRANK I've had a lot of bad thoughts since my daddy died. Sometimes I wish I was still real little and he was still here. My mama's real good, but I wish I had both of'em. -LRB- pause. -RRB- When we went to Memphis one time in the car, it was rainin' so hard we could n't see the road. But I wad n't scared because I thought as long as daddy was drivin' nothin' could happen to us. I feel that way about mama now. -LRB- he looks at the ground for a moment. -RRB- Mama has a boyfriend now. His name is Doyle Hargraves. He works construction so he makes a pretty good livin'. He still do n't help mama out with any money though. He ai n't no good. He's mean to her. He do n't like me at all. Mama says it's because he's jealous I belong to my daddy instead of him. He stays with us all night sometimes, but he's got his own house. Somebody told me it's so he can still have other girlfriends. I like it on the nights when he ai n't at our house. I'm not so nervous then. KARL How come her to keep bein' girlfriends and all with him if he's mean to her? FRANK She says it's for the times when he's good to her. She's lonely since daddy died. She said sometimes she do n't know why. -LRB- pause. -RRB- He threatened to kill her if she ever left him. My daddy would kill him if he was here and somebody was mean to mama. Vaughan, he's real good to mama. Vaughan that you met. But he's not able to do anything to Doyle, he's funny you know. Not funny ha, ha, funny queer. He likes to go with men instead of women. That makes him not to be able to fight too good. He sure is nice though. He's from St. Louis. People who are queer can get along better in a big town. He got transferred here to work. But mama said the real reason he left is'cause his daddy hated him. For bein' the way he is. I wish he liked to go with women. I'd rather him be mama's boyfriend than Doyle. Pause as Frank looks at the ground again. He seems troubled. FRANK -LRB- CONT'D. -RRB- Karl. -LRB- pause. -RRB- You know when I said daddy got hit by a train. KARL Yeah, I remember you a - tellin' me that. FRANK It ai n't the truth. He shot hisself with a shotgun on purpose. KARL Why did he do that, reckon. FRANK'Cause he did n't have enough money to take care of us the way he wanted to. That's what the letter said. He got laid off from work and had to just work odd jobs. I thought he took care of us fine. -LRB- pause. -RRB- Karl, did you really kill somebody? KARL Yeah, I did. FRANK Who did you kill? KARL Two people. FRANK Were they bad people? KARL I thought they was. FRANK Maybe they needed it. KARL I growed up and got taught it ai n't right to kill nobody. FRANK It's okay if you're lookin' out for yourself. If it's self - defense. Was it self - defense? Karl shifts around and makes a noise in his throat and does n't answer. FRANK -LRB- CONT'D. -RRB- My daddy was good. I think too many good people die. It ai n't right. That's what I think.\",\n \"INT. SHOP - DAY Karl is tying the strap around his books. His sack of toiletries is on the bed. Bill Cox comes in. BILL Now, Karl, you sure you want to go stay with these folks? You're welcome to keep on stayin here. It's workin' out real good. KARL That boy wants me to. BILL All right then. I'll see you bright and early. How you comin' along on that garden tiller? KARL I fixed it. Hit's a workin' pretty good. BILL You done fixed it? I'll be damned. Scooter told me it could n't be fixed. ` Course Scooter's about as shitless as one poor son - of - a - bitch can be. You done fixed it. I'll just be damned. See you tomorrow.\",\n \"INT. WHEATLEY LIVING ROOM - NIGHT DOYLE is in the comfortable easy chair with adjuster handle drinking beer. He's in his late thirties and dressed in his construction clothes. Linda sits on the arm of the chair and Frank stands before them. DOYLE Well, honey, I do n't guess I give a shit. I ai n't here half the time anyway. If you want a retard livin' in the garage, I do n't guess I care. I've got a good tool box and socket set out there I do n't want stol'd. I guess I could take it home with me. FRANK He's real honest. He would n't steal nothin'. DOYLE Now son, I wad n't talkin' to you, was I? -LRB- pause. -RRB- Was I? FRANK No sir. DOYLE No sir's right. I'm talkin' to your mama. This is your mama's decision, not yours. I'm lettin' it go on because she asked me, not you. -LRB- to Linda. -RRB- Now is this the kind of retard that drools and rubs shit in his hair and all that,'cause I have trouble eatin' around that kind of thing. Just like I am about antique furniture and midgets. I ca n't so much as drink a glass of water around a midget or a piece of antique furniture. Same thing with a droolin' retard. LINDA Doyle, you're awful. You should n't be that way. DOYLE I ai n't sayin' it's right. I'm just tellin' the truth. What was he in the nuthouse for? LINDA He's just mentally retarded, I guess. DOYLE He had of went nuts and did somethin'. They do n't put you in there for just bein' a retard. They's retards all over the place that ai n't in the nuthouse. Do you know, Frank? FRANK I ai n't sure. DOYLE You might want to find out. He might of hacked his family to pieces with a hatchet or somethin'. LINDA Yeah, that's right, Frank, you better ask him. I mean, do n't hurt his feelin's or anything, but it would be good to know. I'm sure it's nothin'. He seems real sweet. DOYLE You sure are hung up on people bein' sweet. -LRB- takes a long pull on his beer. -RRB- Speakin' of which, where's your girlfriend? I thought he was comin' by here for something. LINDA He'll be here in a little while, he's takin' me to get an ice cream. DOYLE Ai n't that the sweetest thing. What am I supposed to do about supper with you traipsin' around with that fag? LINDA You're not crippled. Get in there and make somethin'. DOYLE Boy, ai n't you somethin' else. Talkin' back and everything. It kinda makes me horny when you talk back. LINDA Frank, why do n't you go off and play in your room if Doyle's gon na talk nasty. FRANK I want to watch T.V. DOYLE Yeah, honey, let the kid watch T.V. Hell, let's all watch T.V. like a family till your retarded friend and your homosexual friend gets here.\",\n \"EXT. PORCH - NIGHT Karl is standing on the porch with his bag and his books staring at the door. After a moment, we hear a car door slam and footsteps on the porch. Then we hear Vaughan's voice. VAUGHAN Karl? Karl turns to face Vaughan. KARL Yes sir. VAUGHAN So, you're really going to stay here? KARL That boy wants me to. VAUGHAN Did you knock on the door yet? KARL Naw, I ai n't. VAUGHAN How long have you been standing here? KARL Quite a spell, I reckon. VAUGHAN Listen, before you get very used to staying here, I think you and I need to talk about a few things. Can I take you to lunch? KARL I done et just a little bit ago. VAUGHAN I mean tomorrow or the next day. KARL I reckon I can stand to eat a little somethin' or ` nother at noontime tomorrow. Bill Cox generally gets me a box of french fried potaters. But I reckon he can lay off doin' it tomorrow. VAUGHAN Okay, I'll come by Mr. Cox's and get you at noon. They stand therefor a moment. Vaughan does n't really know exactly what else to do, so he knocks on the door. After a moment, Frank answers the door. FRANK Hey. Y' all come on in.\",\n \"INT. LIVING ROOM - NIGHT Vaughan ushers Karl in and they stand behind the sofa. Doyle looks up and grins. LINDA Hey, Vaughan. How are you, Karl? KARL Tolerable, I reckon. LINDA -LRB- in a hurry to get out. -RRB- Karl, this is my boyfriend, Doyle. Frank, why do n't you and Karl go out in the garage and fix him up a place or play a game or somethin'. Vaughan, you ready to go? VAUGHAN Sure, I guess. DOYLE Do n't rush ever ` body, honey. She starts to get her things together. LINDA -LRB- to Frank. -RRB- Maybe you and Karl want to go with us? FRANK Naw, I do n't want to. Me and Karl got things we need to do. DOYLE Hey, Vaughan, you know what I heard? I heard you been puttin' it to Albert Sellers that works over at the funeral home. VAUGHAN I know Albert. We're friends. DOYLE I heard you was more than friends. I heard Dick Rivers caught y' all all bowed up and goin' at it in the same room with poor, little, old Mizz Ogletree and her dead as a doornail layed out on a gurney. VAUGHAN That's ridiculous. That's just a total lie. LINDA Let's go, Vaughan. -LRB- they start for the door. -RRB- Frank, we'll be back in a little while. I'll bring you back somethin'. You're food's in the oven warmin' over. DOYLE See, you made him somethin'. Hey Vaughan, I was just goin' on with you, jokin' around, buddy. VAUGHAN -LRB- smiles a little. -RRB- Yeah, I knew that. You're a card all right. Linda kisses Frank on the forehead and they leave. DOYLE So, Karl, come have a seat, talk to me. Karl sits on the couch. FRANK Come on, Karl, let's go out to the garage. DOYLE Goddamnit, I'm talkin' to the man. You set right there, Karl. Frank leans on the sofa arm beside Karl. DOYLE -LRB- CONT'D. -RRB- What's in your bag? KARL This and that. Toothpaste and whatnot. DOYLE What's all them books? KARL Different ones. The Bible's one of'em. DOYLE You believe in the Bible? KARL A good deal of it, I reckon. Ca n't understand all of it. DOYLE Well, I ca n't understand none of it. This one begat this one and that one begat this one and begat and begat and begat and lo somebody sayeth some shit or another. Just how retarded are you? FRANK Stop it, Doyle! DOYLE You be quiet, Frank, we're talkin'. The adults are talkin'. Were you in the lockup for cuttin' somebody up with a hatchet? KARL I ai n't never used no hatchet that I remember. DOYLE You're just crazy in a retarded kind of way then. -LRB- pause. -RRB- It would n't matter to me if you did do violence on somebody'cause I ai n't afraid of shit. You think I'm afraid for you to stay here. You're just a humped over retard it looks like to me. Not really, I'm just jokin' with you. Welcome to our humble home, buddy. Frank needs all the friends he can get. Frank's a real weak little kid. His daddy taught him how to be a pussy. FRANK Stop it, Doyle! Do n't talk about daddy, you hear me! DOYLE -LRB- mocking. -RRB- Do n't talk about daddy. Y' all go on to the garage and let me be. Frank is crying now. FRANK Come on, Karl. They get up and walk away. DOYLE -LRB- yelling to Frank. -RRB- Do n't tell your mama we had a little spat. She do n't need to be worried with your ass.\",\n \"INT. GARAGE - NIGHT Karl sits on an old sofa and Frank sits on an upside down paint bucket, still upset. FRANK I'd like to kill that son of a bitch. I hate him. KARL You ort not to talk that way. You're just a boy. FRANK Well, I hate him. KARL He ort not to talk that away to you neither. He ai n't no count. He's mean to you and your mama. -LRB- pause. -RRB- Yore mama and that feller that's carryin' me to get somethin' d'eat's gon na be back here directly. FRANK Will you stay here with us for a long time? KARL I reckon if you want me to. -LRB- pause. -RRB- I got some of that potted meat and sodie crackers left over if you want some. FRANK I do n't see how you can eat that stuff with all those insides it's made out of. KARL I reckon it tastes pretty good to me. FRANK I like the way you talk. KARL I like the way you talk. Karl starts to put together a cracker and potted meat delight as we :\",\n \"INT. HAMBURGER ESTABLISHMENT - DAY Vaughan is carrying a tray of food as Karl follows him to a table and they sit and immediately start to eat. After a few bites, Vaughan starts to speak in an official manner. VAUGHAN Okay, Karl, the reason I brought you here was to talk to you about something that is on my mind. -LRB- pauses for a response, instead Karl eats french fries and stares at the table. -RRB- I guess I'll put it right out on the table. Where do I start. Linda and Frank are very important to me. They're like family. My own family was never like family. They're horrible people. As a matter of fact I prayed every night for years that my father would die. I finally realized through a lot of therapy that I was wasting my energy on hating him. Now I just do n't care. -LRB- pause. -RRB- You see, you and I are a lot alike, strange as that may seem. I mean not physically or even mentally really, just well, maybe emotionally or actually the hand we've been dealt in life. We're different. People see us as being different anyway. You're - well you have your affliction or whatever and I, well mine's not as easy to see. I'm just going to say it. I'm gay. -LRB- watts. -RRB- Does that surprise you? -LRB- watts. -RRB- That I'm gay. You know what being gay is, do n't you? KARL I reckon not. VAUGHAN Homosexual. I like men. Sexually. KARL Not funny, ha, ha, funny queer. VAUGHAN Well that's a very offensive way to put it. You should n't say that. You were taught that, were n't you? KARL I've heard it said that way. VAUGHAN Anyway, it's hard to live gay, that's the right way to say it, in a small town like this. I've wanted to leave many times, but my love for Linda and Frank and another certain person that we wo n't go into have kept me from it. Anyway, I'm rambling. If you're going to live in the Wheatly garage you need to know that it wo n't be easy. Doyle is a monster. Not just a closed minded redneck, but a monster. A dangerous person. I've told Linda that one day that man is going to really hurt her or that boy. Maybe even kill one of them. I see it in his eyes. I'm very in tune, maybe even psychic. Doyle will make your life hell. You're a perfect target. When I first saw you I was afraid of you. Not really afraid, I guess, just taken aback. But also, I felt a real sensitive feeling from you. And for some reason, Frank has adopted you. Much like a stray animal. I'm sorry, I did n't mean it like that. In a good way. Anyway, I just want you to know what you're in for. I have a good feeling about you. You're good for Frank. Maybe it's that he can have an adult friend on a child's level. I'm sorry, I did n't mean it in a bad way. -LRB- pause. -RRB- There's one more thing. It's none of my business why you were in the state hospital. Everyone has something in their past, maybe you tried suicide, maybe you did something - terrible. But what I see before me is a gentle, simple man. All I want you to promise me is that you're capable of being around Linda and Frank. You know. You would never hurt them under any circumstances, would you? KARL I would n't never hurt them. VAUGHAN That's what I thought. I hope I have n't offended you in any way. You seem like a thinker. You seem to always be in deep thought. Tell me something. What are you thinking right now? Karl looks up and stares for a moment. KARL I was thinkin' I could use me another helpin' of these potaters. VAUGHAN Oh. How about before that? KARL Before that I was thinkin' it'd be good if I could get another three or four cans of that potted meat if you got any extry.\",\n \"INT. WHEATLEY KITCHEN - NIGHT Linda, Frank, and Doyle are eating. LINDA How come Karl wo n't eat here with us? FRANK I do n't know. He just said he'd eat out there. DOYLE Well, I would n't let it get to you. LINDA I just feel sorry for the poor thing. DOYLE Who could eat with him settin' there makin' that goddamn racket with his throat. LINDA He does make some funny noises. FRANK I sure like the way he talks. It sounds like a race car motor idlin'. It makes me not be nervous. LINDA I'm glad of it, honey. DOYLE What have you got to be nervous about? You're a damn kid. You ai n't got any bills to pay or bidness to run or old lady to stay on your ass all the time. FRANK I get nervous, that's all I know. They eat in silence for a while. Linda and Frank know where this conversation could lead and know when to leave well enough alone. DOYLE You know what, by God? LINDA What? DOYLE You know what we ought to do tonight? LINDA Please Doyle, do n't. DOYLE Have a damn party! Call Morris and them and get the band together and just party our asses off. I'd like to show that fuckin' Karl to the guys. They'd get a kick out of that. Do n't you know they would. LINDA Please do n't. Not tonight. I'm not up for it. They always stay till mornin'. I'm just give out, Doyle. DOYLE You do n't have to do anything but pour some potato chips in a bowl and bring beers out when we get low. FRANK Last time you got mad and run Morris and them off and said to stay away from here. DOYLE That ai n't none of your damn bidness. Besides that's the way friends do one another. Fuck it, I'm gon na go call'em. Honey, find my guitar, I think it's out there in the garage with that loony tune.\",\n \"INT. GARAGE - NIGHT Karl sits on his cot eating from the plate Frank brought him. Frank and Linda come through the door. Frank comes and sits beside Karl. Linda gets a guitar case down from a shelf and comes over and stands in front of Karl. LINDA Karl, now listen, there's gon na be a party tonight here at the house. Doyle's invited his music - playin' buddies over to make a bunch of racket out on the patio. FRANK They ai n't even no good. The only one can play is Randy Horsefeathers. He claims he's an Indian. His real name's Randy Collins and he works at the feed mill. He can at least play guitar. LINDA He's no more an Indian than I am though. Anyhow, Doyle's gon na try and tease you and be mean to you to show off to his friends. Just like he does to Frank and me sometimes. You just ignore it. Or stay out here away from'em if he'll let you. He's an okay guy till he gets drunk but tonight he'll get drunk. I guarantee it. FRANK He ai n't ever okay to me. The garage door opens and Doyle appears. He seems really happy. DOYLE Well, it's on! We're gon na rock. Linda, call Vaughan. Tell him to get over here. I'd like him to be here. I owe him a good time. LINDA No Doyle. Vaughan do n't want to come to a party with you. DOYLE Too late, Honey. Fooled you. Done called him. He'll be here. -LRB- grins. -RRB- Or I'll go get him. Come on Karl, I need you to help me ice down a tub of beer, you and Frank.\",\n \"INT. BACKYARD - NIGHT White Christmas tree lights are strung above the patio. Karl sits to the side in a kitchen chair staring at the ground alongside Vaughan, Frank, and Linda. The `` band'' is set up on the patio. The band consists of MORRIS, a heavyset guy in a military uniform on tambourine, TERENCE, a skinny guy in a wheelchair on bass, RANDY, a long haired younger guy who's not an Indian on guitar, Doyle on a guitar which he ca n't play and MONTY `` The Johnson'' Johnson, a large guy with a ZZ Top beard on drums. A tub of beer is in front of them. They're all hooting and hollering and drinking. They've obviously been at it for a while. Doyle steps forward to address the ` crowd.' DOYLE Okay ladies and gentlemen. -LRB- points to Vaughan. -RRB- or both. It's come to the time in our show when we like to introduce the band. Over here on lead guitar Mr. Randy Horsefeathers. Come on hit a hot lick, Randy. -LRB- Randy plays a lick. -RRB- Well, come on, y' all are supposed to clap now. Come on! -LRB- they clap a little except for Karl. -RRB- ANGLE ON LINDA LINDA Karl, you better clap your hands or he'll just keep on. Karl claps his hands a little. DOYLE On the bass, give it up for Terence `` One Ball'' Atkins. -LRB- more half - assed clapping. -RRB- On the tambourine and lyrics Morris Hobbs the fuckin' genius of the group. -LRB- claps. -RRB- On drums `` The Johnson.'' -LRB- claps. -RRB- And last and most importantly, Doyle Hargraves on rhythm guitar and business affairs and the only motherfucker with a truck big enough to haul this outfit on the next world fuckin' tour. Come on, a big hand for these guys. They're workin' their asses off here. -LRB- pauses for a slug of beer. -RRB- Okay I'd like to dedicate this next one to some very special people in our audience tonight. To my lovely female companion Linda, her lovely son Frank, our new boarder Karl - what's your last name Karl? KARL Childers. DOYLE Karl Childers just in from the state facility. Make one of them gruntin' sounds Karl or whatever it is you do. -LRB- nothing. -RRB- Oh well, Karl's a little retarded, he do n't know what the hell I'm talkin' about. And to Vaughan who fucks a mortician in the rear entrance right in front of his clients. Now that takes balls. Our number one tune for the folks, boys. Kick it off Johnson! They play `` Walk Do n't Run'' while the audience of four sits in motionless silence. They finish the song and hoot and holler and drink some more and say nasty things to each other. DOYLE -LRB- CONT'D. -RRB- You like that Vaughan? VAUGHAN Sure. It sounded like a number one tune all right. DOYLE You enjoying yourself, Karl? KARL I reckon. We hear the voice of an OLD MAN NEIGHBOR in the near distance. VOICE -LRB- O.S. -RRB- I wished you all would lay off for tonight. I ca n't hear myself think for that racket. It's nighttime, now let folks be! I'll call the law! DOYLE -LRB- hollers back. -RRB- I told you already three times, the laws on my side. I play cards with J.D. Shelnutt, chief' of police. Get fucked you old bastard! -LRB- to the party. -RRB- Okay now, Linda, you and the kid clean up and get a tarpaulin over this instruments. Me and the boys are goin' to the county line. We're out of liquor and beer. Come on Karl, you and Vaughan are goin' with us. VAUGHAN I'd better go on home now, it's late. I have to work tomorrow. DOYLE Come on, do n't be a pussy. Everybody has to work. LINDA He do n't want to Doyle. Do n't go Vaughan if you do n't want to. You'll wreck Doyle, you're drunk. DOYLE -LRB- very sincere. -RRB- But honey, I'll be good. I promise. I love you sweetie. I'm just tryin' to help these two be part of things.\",\n \"INT. DOYLE'S TRUCK - NIGHT Doyle is driving, Vaughan in the middle, and Karl by the window. Doyle cranks up the truck and pops in a cassette tape. The first few notes of `` Ghost Riders in the Sky'' play. VAUGHAN Are you sure you can drive? You've really had a lot of alcohol. DOYLE Shhhh! This is the national anthem. They take off, tires screaming on the pavement as the song goes louder.\",\n \"EXT. STREET - NIGHT The truck fishtails into the night and we see the rest of the `` band'' in the back of the truck trying to control Terence's wheelchair as it rolls back and forth.\",\n \"INT. TRUCK - NIGHT DOYLE -LRB- points to tape player. -RRB- Not that you afflicted sons of bitches would know anything about it, but this is art. They are stopped by a red traffic light. A police car pulls up beside them and Doyle looks over at the RED - FACED COP on the passenger side and turns down the music. DOYLE -LRB- CONT'D. -RRB- Hey Freddy, what's goin' on boy. I seen your pitcher in the paper for catchin' that big - ass bass. FREDDY Yeah She was a big ` un. You ai n't drunk drivin' are you Doyle? DOYLE Yeah. FREDDY I figured that. Well you better be careful with that cripple in the back. You'll throw him out. Looks like you got a wagonful. DOYLE We run outta somethin' to drink. Goin' to the county line. You want to race? FREDDY -LRB- laughing. -RRB- You know better than that. We're on duty. Catch me in that Camaro next week one night. DOYLE Catch you later Freddy! Doyle peels out and the music blares again. DOYLE -LRB- CONT'D. -RRB- I bet you like sittin' between two men in a dual wheel truck do n't you? VAUGHAN Oh, yeah, I'm thrilled. DOYLE Sarcastic right? -LRB- pause. -RRB- You know the boys in the band are probably gon na stay over tonight. We'd be glad to have you.\",\n \"INT. LIVING ROOM - NIGHT Doyle slouches in his chair drinking whiskey from the bottle. Terence and Morris are sitting facing Karl and Vaughan who are on the sofa. Randy and The Johnson are sitting across the room in straight - backed chairs drinking beer. They really stocked up at the county line and beer and liquor bottles are strewn everywhere. Morris is in the middle of a monologue, which has obviously been going on for awhile. MORRIS Anyhow I'm not sure if you follow me on those particular points, but it's not really important in the smaller picture, which is where most people dwell anyway. Not that being manager of Ben's Dollar Store is insignificant. Or that making it through years of incarceration in a state supported facility is any small feat. THE JOHNSON Morris, he's the only one in the band that went to college. RANDY I'm in junior college right now over in Westfield. THE JOHNSON That ai n't no college, that's trade school. Auto repair ai n't ever made a genius out of nobody. MORRIS Holidays are for campers. RANDY What do you know about bein' a genius, Johnson. You ca n't even hardly keep a steady beat on that high - price drum set. TERENCE I think y' all play really tight together, Randy. Y' all should n't throw off on one another. MORRIS Anything that has to be discussed ca n't mean anything. DOYLE You got that shit right. VAUGHAN What exactly do you mean by that? I do n't understand. MORRIS Exactly the point, my young levelheaded friend. VAUGHAN I do n't get it. MORRIS I rest my case. TERENCE Morris is real smart with philosophies and things. That's why him and me are the songwriting team of our group. I make up good tunes or melodies as we call them and Morris is the lyrics. MORRIS Not unlike Gary Brooker of the Protocol Harum. RANDY We do n't ever play any songs that y' all wrote. I never even heard one of'em. Y' all just talk. THE JOHNSON We do n't even play any songs with words at all that I remember. We ai n't got no fuckin' microphone. Or speaker set up. TERENCE We wrote one last night standin' outside Mini - Mart. Morris called it `` Stuart Drives a Comfortable Car.'' Then, you know, like on country songs in parenthesis it says `` There is usually someone in the trunk.'' I came up with a tune just humming. DOYLE See Vaughan, you should n't question a genius. Morris is a modern day poet like in the old days. MORRIS Our latest composition is as follows : entitled : `` The Thrill'' - `` I stand on the hill Not for a thrill but for a breath of a fresh kill Never mind the man who contemplates doing away with license plates He stands alone anyway Baking the cookies of discontent By the heat of a laundrymat vent Leaving his soul''. -LRB- Then like in poetry I have dot dot dot then drop down to the next line kind of off center. -RRB- `` Leaving his soul parting waters Under the medulla oblongata of. -LRB- then dot dot dot again. -RRB- mankind.'' Silence for a moment as everyone in the room just stares at something other than Morris. TERENCE I do n't think that's right. I believe dot dot dot come between medulla and oblongata or something like that. -LRB- Morris stares at him. -RRB- Well it did. It wad n't before mankind, I know that much. MORRIS The dots are where I say they are. Melody and tune. That's your trade. You're a tunesmith Terence. VAUGHAN I do n't really understand the meaning of the words. DOYLE If y' all do n't shut up I'm gon na go out of my mind. And plus you're liable to bust a spring in Karl's head. He's already off balance. TERENCE That wad n't the way you made it up before, Morris. That's all I know. RANDY We do n't need fancy words, we need to practice. We do n't ever rehearse. THE JOHNSON We need some payin' gigs instead of just messin' around on first one patio and then another ` n. RANDY Morris, you should just be the manager, you ca n't play nothin' anyway. Doyle jumps up and throws his whiskey bottle through the window. He has changed from groggy drunk to a wild - eyed madman in a flash. DOYLE We do n't have a goddamn band! Y' all just shut the fuck up! We do n't need no practicin' or managers cause we ai n't no fuckin' band! Morris ai n't no genius and the rest of you are just losers. Am I the only one sane human bein' around here? Just get the hell out of my house and do n't come back! VAUGHAN It's not your house, Doyle, it's Linda's. DOYLE I'll kill you, you fuckin' faggot! You mind your own business. Now get out! Now, before I get too mad to turn back. TERENCE What about our instruments? Doyle grabs the handles of Terence's wheelchair and pushes him right out the screen door. We hear the chair clatter down the steps and a cry of pain from Terence. DOYLE Now! They all file out the door except Vaughan and Karl who sit frozen on the sofa. THE JOHNSON -LRB- turning back. -RRB- You ai n't right Doyle. Somethin's wrong with you. Nobody needs your shit. MORRIS -LRB- stops at the door. -RRB- The dots just look good on paper. You do n't sing'em anyway. You're showing your true Aries colors now. DOYLE Get out of my goddamn face, you fuckin' buzzard! He slams the door and turns to see Vaughan and Karl on the sofa and Linda and Frank, in their nightclothes, standing in the doorway. DOYLE -LRB- CONT'D. -RRB- I thought I told everybody to get out of my house. That includes cocksuckers and retards. Get off your asses and go. LINDA This is not your house, Doyle. This is my house and I'll say who stays and goes. You've got a house, why do n't you go get one of your girlfriends and go home to it. DOYLE You know better than to talk like that when I'm hurtin'. Do n't make me knock the piss out of you. VAUGHAN Doyle, do n't you lay one hand on her. DOYLE That's funny. -LRB- to Linda. -RRB- You go to bed and take snot nose with you. Linda walks up to him with Frank close behind. Vaughan gets up also. Karl stares at the floor rubbing his hands together. LINDA You're not stayin' here tonight. Go get sober before you come back. I'm tired of my child seein' this. Now you get yourself straight or I'll lock your ass out of my life for good. DOYLE You know what I told you, you even think of leavin' me, I'll kill you dead as a doornail. LINDA That might be better than this. VAUGHAN I'm a witness. I heard you threaten her life. DOYLE I thought I told you to keep out! LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE Do n't tell me what to do. LINDA Leave. DOYLE -LRB- an inch from her face. -RRB- Do n't tell me what to do. She shoves him in the chest and he slaps her hard in the face. Vaughan starts looking for a weapon and Frank goes wild. He starts throwing anything he can find at Doyle. Empty cans, bottles, a lampstand. He connects with an encyclopedia to the head. Doyle goes to the door. His face has changed from angry to sad, almost pitiful. DOYLE -LRB- CONT'D. -RRB- Okay, I'll leave and sober up. Everything's botherin' me, that's all. I'm hurtin' Linda. I love you. FRANK I hate you! DOYLE Well, I hate you, too. No I do n't. I love your mama. Nobody understands what I go through. I'll leave. You bunch of freaks have fun. I'll call you tomorrow honey. I'm sorry. You can kiss my ass, really. -LRB- to Frank. -RRB- You ever hit me again you little bastard and I'll make you sorry your daddy ever squirted your little ass out. He leaves and slams the door. Frank goes to Linda's side, as does Vaughan. FRANK You all right, Mama? LINDA I'm fine, honey. Let's just try and forget about tonight. FRANK We do n't need to think bad thoughts, do we Mama? LINDA No, honey, we do n't. -LRB- pause. -RRB- I'll make some coffee and start cleanin' up this mess. Karl, you want some coffee, huh? KARL No, ma'am. Coffee kindly makes me nervous when I drink it.\",\n \"INT. LIVING ROOM - NIGHT Linda cleaning up the last of the mess. Frank comes in sleepy eyed in his pajamas. LINDA What are you doin' up again, Frank? You need to get a little sleep. FRANK Did Vaughan go home? LINDA Yeah, he has to go to work in a little while. I do too. FRANK Did Karl go to bed? LINDA I guess. He went to the garage. Poor thing, he's probably never seen such a crazy mess. He probably wants to go back and live in Mr. Cox's shop. FRANK I bet he do n't. Karl likes me. LINDA I know he does. FRANK Mama? LINDA Huh? FRANK Is everything gon na be all right someday? I just stay nervous all the time just about. LINDA Yeah, honey, someday everything's gon na be all right. FRANK Doyle would n't really kill you, would he? LINDA I promise we're gon na get away from him. The time has to be right, that's all. I'd rather him get tired of me and leave me. Then he would n't want to hurt me. He would n't care then. We'll be fine. I promise. You go to bed now. -LRB- she hugs him. -RRB- I love you. FRANK I love you, too, Mama. He goes to his room.\",\n \"INT. KITCHEN - NIGHT Linda goes into the kitchen and pours a cup of coffee and sits at the table. After a moment, she looks up and is startled to see Karl in the doorway. LINDA You scared me. KARL I did n't aim to. LINDA Want to sit down? Did you need somethin'? KARL No ma'am. Karl just keeps standing there and Linda keeps staring. KARL -LRB- CONT'D. -RRB- Two fellers was on a bridge a takin' a leak and one feller says the water was cold and the other said it was deep water. One of'em came from Arkansas, I believe. LINDA -LRB- puzzled. -RRB- I'll be dog. More silence. KARL Do you reckon you can make me some biscuits? LINDA Right now? KARL Just whenever you take a notion to. I do n't aim to put you out. LINDA Well, it is nearly breakfast time anyway. I ca n't go to sleep. I have to be at work in three hours. You know how it is when you just sleep an hour or two, you feel worse than if you had n't slept at all? KARL Yes ma'am. LINDA Well, set down and I'll make some biscuits and gravy. KARL Mustard's good on'em to me. LINDA Okay. Karl sets at the table and Linda starts to make the biscuits. KARL Thank ye. LINDA It's all right. -LRB- pause. -RRB- You know I was thinkin' there's this girl that works with me. She's real heavy, but she's cute in the face. Well, you know, she's slow. She's a little bit, I think. She's not retarded, just - it do n't matter, listen to me. I thought you might like to meet her. Vaughan wants to have a little supper over at his house and we could invite her. Would you like that? KARL I would n't mind a havin' supper. LINDA Vaughan's `` friend'' will be there, too. He works at the funeral home. And Frank. You know Frank likes you a lot. He says you make him feel calm. KARL I like Frank. He's a good boy. Me and him's made friends. She keeps working. KARL -LRB- CONT'D. -RRB- Hit ai n't right for me to keep from tellin' you how come me to be put in the state hospital. LINDA That's okay. It's not really my business. I have wondered though. Why was it? Was it like a nervous breakdown? KARL I killed my mother and a old boy name Jesse Dixon. I thought they was a - doin' wrong. I was about your boy's age. They say I'm well now from it. Linda stops working and turns to Karl, a little shocked, but not as much as you would think. LINDA Was that you? I remember that. I was only three or four, but I always heard about it growin' up. -LRB- pause. -RRB- They say you're well? KARL Yes ma'am. -LRB- pause. -RRB- I like your garage. -LRB- pause. -RRB- I would n't never hurt you or your boy. I'd lay my hand on the Bible and say the same thing. LINDA I believe you. I really do.\",\n \"EXT. COVS PARKING LOT - DAY Bill Cox is standing beside a garden tiller with an old man. Bill is trying to crank it up, but it wo n't start. A car pulls into the parking lot and Gerry Woolridge gets out of it and comes over to Bill. BILL How ` bout you, Jerry. WOOLRIDGE How are you, Bill? BILL Doin' pretty good. Got a sick tiller here. What's got you down this way? WOOLRIDGE Just thought I'd check on Karl and see if everything's working out. BILL Well, he's pretty quiet. Except for them rackets and breathin' things he does. Ai n't threatened me with a killin' or anything. -LRB- laughs. -RRB- But boy you could n't of been more right about him fixin' things. That son of a bitch is a regular Eli Whitney on a lawnmower. Loves french fries. Eats four larges and do n't even so much as belch. I'm proud to have him. WOOLRIDGE Is him stayin' here workin' out? BILL He's gone to stayin' over with that Wheatley boy and his mama in their garage. I think that little boy adopted him damn near like a mascot. But he's got a key here to come and go as he pleases. Everything's worked out good. WOOLRIDGE Can I see him? BILL Sure. Bill looks over at Scooter, who is putting up a sale sign on new mowers in the front window. BILL -LRB- CONT'D. -RRB- Scooter! Run get Karl for me.\",\n \"EXT. PARKING LOT - DAY Woolridge and Karl lean on the hood of Woolridge's car. In the background, Bill and the old man tinker with the tiller. WOOLRIDGE Are you sure you're okay staying with that woman and boy? KARL Yes sir. WOOLRIDGE Do they know about you? KARL My history. WOOLRIDGE Yeah. KARL I told'em about it. They know I'm well. That Mizz Wheatley made me some biscuits. WOOLRIDGE I'll be. KARL That boy, he's my friend. He likes the way I talk and I like the way he talks. WOOLRIDGE I knew you'd do all right. Well, I just wanted to check on you. I'll say bye to Bill and get on back. They walk over to Bill. BILL Karl, see if you can figure out what's wrong with this thing. It wo n't crank up and ever ` thing seems to be put together right. Karl squats beside the tiller. WOOLRIDGE I'll see you, Bill. BILL Okay, stop back by. Do n't worry about your boy here, he's doin' good. Karl looks up from the tiller holding the gas cap. KARL Hit ai n't got no gas in it. BILL See there. Thinks of the simplest thing first.\",\n \"INT. VAUGHAN'S DINING ROOM - NIGHT Vaughan, ALBERT the `` friend,'' Linda, Frank, Karl, and MELINDA, the Dollar - Store girl, are seated at the table. Karl and Frank are going at the delicacies while Melinda shyly picks at hers and the others are engaged in idle chit chat. This goes on for a few moments, then Albert's attention turns to Karl. ALBERT So Karl, do you intend to stay in the lawnmower business for a while or do you have other plans? KARL I reckon. VAUGHAN I think Karl is going to be a writer or a librarian eventually. You should see all the books he has. He must read constantly. KARL I ai n't read'em yet except two or three of'em. I ca n't understand a lot of what I try to read. My mind, hit wonders off to somethin' else when I try to read. ALBERT I'm the same way. Of course, in my line of work, I stay too busy to read. But at least I have job security. People may stop doing a lot of things, but one thing is for sure, they wo n't stop dying. LINDA -LRB- looks at Frank. -RRB- Why do n't we talk about something a little more festive. VAUGHAN Does everyone like the food? Nods and yeses. VAUGHAN -LRB- CONT'D. -RRB- Good. I have n't decided yet if I'm a good cook. LINDA Hey Karl, you know what? Melinda was voted employee of the month at the Dollar Store last February. Is n't that somethin'? KARL Yes ma'am, I reckon. MELINDA Well, when you like pricing items as much as I do, I guess it's just bound to happen sooner or later. VAUGHAN Karl, maybe you and Melinda might want to take a walk or something after dinner. It's a nice night. LINDA Vaughan, do n't get pushy. VAUGHAN I'm sorry. KARL I like walkin' quite a bit from time to time. MELINDA I stay on my feet all the time at work. I just ca n't find shoes that's comfortable. ALBERT Hospital shoes might be the answer. Nurses' shoes. VAUGHAN Or the kind old ladies who work in the school cafeteria wear. ALBERT Same difference. MELINDA I get real mean when my feet hurt. It's the only time I do n't like checkin' out the customers, when my feet hurt. LINDA Frank, you and Karl are n't talkin' much, you boys must really like that food. FRANK I just do n't have anything to say about shoes. Silence for a moment. VAUGHAN Listen everybody, I know this may sound corny, I've had a few glasses of wine and that kind of makes me a little emotional, but I'm going to say it anyway. It just came over me in a rush. I want you all to know that I care about each and every one of you at this table. LINDA That's very sweet of you Vaughan. We care about you, too. Do n't we y' all? Nods, grunts, `` Sure do's.'' VAUGHAN Also, Melinda, please do n't tell anybody at the store that Albert was here tonight, okay. MELINDA Why? VAUGHAN Well, a lot of people in town talk and spread cruel rumors. Unfortunately, I have to keep certain parts of my life private. MELINDA You mean about y' all bein' together in `` that'' way? VAUGHAN Yes. MELINDA I think everybody at the store knows that already. They always talk about it. Maureen Ledbetter told a awful story about why you ai n't allowed over at the First Baptist Church no more. LINDA Karl, why do n't you and Melinda go take a walk. It's nice out. KARL All right then. He gets up and walks toward the front door. Melinda gets up and tries to catch up.\",\n \"EXT. SIDEWALK - NIGHT Karl and Melinda are walking in the moonlight. It seems a little hard for Melinda to keep up. MELINDA You walk fast, do n't you? KARL I reckon. They walk a little farther in silence. MELINDA These is the worst shoes I own for walkin'. How far did you want to go? KARL I ai n't really thought about it too much I do n't reckon. They walk until they disappear into the darkness.\",\n \"INT. COX'S SHOP - DAY Karl is on the floor working on a mower with Scooter, they are ad libbing semi - technical lawnmower things. Bill Cox appears in the door. BILL Hey Karl, they's somebody out here to see you. Some gal holding a nice bouquet. -LRB- Karl does n't move. -RRB- Come on now, she wants to talk to you. Do n't just set there. Karl gets up and goes to the counter followed by Scooter. Melinda stands on the other side of the counter holding a cellophane wrapped store - bought flower assortment. Nobody says anything for a moment. MELINDA Hi, Karl, I'm on lunch break. These was on sale'cause they're not fresh. Two ninety - nine a bunch plus my ten percent employee discount. Since I did n't bring you anything to our date last night, I thought you'd like to have'em. She hands them to him. KARL Thank ye. BILL Scooter, let's me and you go over to Dairy Queen and pick up a few things for lunchtime. SCOOTER I can go. You do n't have to. You do n't never go. BILL Goddamnit, Scooter, come on. Pardon my language, ma'am. They start to leave. At the door, Bill Cox turns and winks at Karl. They exit leaving Karl and Melinda staring at the counter. They are silent for a while. MELINDA Well, I just thought I'd give you them. I liked walkin' with you. I got a blister the size of a quarter on one heel. Well, I'll see you sometime, I guess. She walks to the door and stops as if she expects Karl to say something. KARL A blister shore can hurt. MELINDA Yeah. KARL Flowers is pretty. I've always thought that. MELINDA Me, too. She leaves and Karl goes to the window holding the flowers and watches her walk away.\",\n \"EXT. SIDEWALK - DUSK Holding the flowers, Karl is walking down the sidewalk toward the Wheatley house when he sees Frank coming out the front door with a book and a flashlight. He sees Karl. FRANK Hey Karl, you off work? KARL Yeah. FRANK Where'd you get them flowers? KARL That gal that made employee of the month give'em to me for awalkin' with her. FRANK I was goin' to the secret place. I borried one of your books to take down there. You ai n't mad, are you? KARL Naw. You can look at all my books you want to. FRANK It's name's A Christmas Carol. KARL That's than un on Christmas I was tellin' you about. FRANK You want to go with me? KARL Yeah.\",\n \"EXT. SECRET PLACE - NIGHT Karl and Frank sit in the clearing, Karl on the stump, Frank on the ground. Frank is shining the flashlight on the book. He finishes reading a few lines and turns off the flashlight. FRANK I'm gettin' tired of readin' for a while. KARL All right then. FRANK Boy, folks sure had it rough back a long time ago, did n't they? KARL Yeah, I reckon they did. Hit like to tore me up when I read about that pore little cripple boy. FRANK Yeah, me too. -LRB- pause. -RRB- That was nice of that woman to give you them flowers. KARL Hit was right thoughty of her. FRANK I was wantin' to ask you somethin'. KARL All right then. FRANK You know that girl I told you about. The one I love. KARL Yeah, I recollect it. FRANK Would you go see her with me? I kind of thought I might take her some flowers like that woman done you. KARL If you want me to. FRANK I ai n't got no money to get'em with but I bet Vaughan will let me have some of them flowers at the store. KARL I bet he will. I got a little money if he do n't. I'll get'em for ye. FRANK I usually get run off by her mama or daddy if they're home. Reckon why they do n't like me? KARL They ort to. You're a good boy. FRANK Just'cause I'm not rich do n't mean I do n't love her. KARL Naw. FRANK And I do n't try to touch her. You know, in a bad way. Foolin' around, sex and all. KARL That's real good. You ort not to if ye ai n't married to somebody. Bible tells you that much. Hit tells some things that do n't seem right too, I reckon. I guess a feller ort to foller it close as he can, though. -LRB- pause. -RRB- You do n't touch yourself, do you? FRANK What do you mean? KARL Pull on your works. Your privates. FRANK Oh, jackin' off? KARL Yes sir. You ort not know that language. FRANK I did n't know till here while back a year or two ago when I spent the night with Ronnie Smart one time. He said just tug on your peter and think about your mama. I tried it, but I felt funny thinkin' about my mama. So, I switched over to thinkin' about his mama and then what he told me would happen, happened. It sure tingles, do n't it? KARL You ort not to pull on yourself that away. FRANK I kind of like you tellin' me what to do and not to do. Just like my daddy. I did n't mind him tellin' me. I hate Doyle to tell me what to do. Mama said the only way to ever get away from him is for him to get away from us. That we ca n't leave him or he'll try and hurt her. KARL He ai n't no count. FRANK You do n't seem like a daddy. You seem like a brother. -LRB- pause. -RRB- Wonder what makes you like somebody right off when you do n't even know'em like what happened with me and you. KARL I do n't reckon I know. FRANK And then some people you do n't like right off. It's funny. -LRB- pause. -RRB- You know why I want you to play ball with me? KARL Naw. FRANK'Cause it's fun. It do n't matter if you ai n't no good. It takes your mind off of everything else while you're doin' it. When you run real fast tryin' to make a touchdown you do n't think about anything else. I ai n't no good, but my daddy always said he was proud of me when I threw a ball or ran with it. Did you have any brothers and sisters growin' up to play with? KARL I had one there for little bit. Hit did n't get old enough to play with. FRANK Why not? It died? KARL Yeah. FRANK Why? KARL Hit was borned a little too early on. My mother and father made hit come too early some way or other. I reckon they changed their mind about havin' another ` n. I was about six or eight year old then and they did n't care too much for me so I reckon they did n't need somethin' else to worry'em with. FRANK So it died when it come out? KARL My daddy come to the shed out back and got me and said throw this here away and handed me a towel with somethin' in it. I went for the trash barrel there and opened up the towel to see'cause they was a noise and somethin' movin' in it. Hit was bloody - like around that towel. Hit was a little ol' bitty baby, no bigger than a squirrel. FRANK It was alive? KARL Yes sir. Right then it was. FRANK A boy or girl? KARL A little ol' boy. FRANK You threw it in a trash barrel? KARL I did n't feel right about doin' that. I takened a shoe box from there in the shed and emptied out some screwdrivers and nuts and warshers from it and put the little feller in that and buried him in the corner of the yard there. That seemed more proper to me, I reckon. FRANK It was still alive when you buried it? KARL I heared it cryin' a little through that box. FRANK That do n't seem right. It seems like you should have kept him alive and took care of him if he was your brother. KARL I wad n't but six or eight. I reckon I did n't know what to do. I did n't know how to care for no baby. Mama and Daddy did n't want him. They learned me to do what they told me to. These days I figure it might of been best to give him right back to the Good Lord right off the bat anyhow. FRANK That makes me feel real sad. Could n't you have done somethin', Karl? I would have. I wish I would of had him. He'd be here right now. Livin'. KARL Hits been hard thinkin' about it. They ai n't a day goes by I do n't think about it. I kindly have a picture of it up in my head that I see. Hit makes me sad, too. I have bad thoughts on it. I wished they was somethin' I could of did, too. Should n't no bad things happen to childern. All the ol' bad things ort to be saved up for folks that's growed up, the way I see it. I should n't of told you about that. A boy ort not hear about such things. It just kindly come out. FRANK I did n't mean to say anything bad about you. I know you're good. You did n't mean no harm. -LRB- pause. -RRB- Did you ever think about killin' yourself on purpose like my daddy did? KARL I've studied about it. The Bible says not to or you end up goin' to Hades. Some folks calls it Hell, I call it Hades. FRANK Bible says the same thing about killin' others, too. KARL Yes sir, I reckon it does.\",\n \"EXT. RESIDENTIAL NEIGHBORHOOD - DAY Frank, flowers in hand, and Karl approach a very nice two story house. They get to the door and Frank rings the doorbell. FRANK I always get nervous when I hear that doorbell. I'm okay just walkin' over, but somethin' about that dang doorbell. They have one room where you ca n't walk on the carpet or sit on the furniture. I do n't see much sense in havin' it. The door opens and we see an older black lady, the HOUSEKEEPER. HOUSEKEEPER -LRB- eyes Karl. -RRB- Son, I do n't know why you keep comin' over here. You know these folks do n't want you here. They run you off ever' time. Do n't keep doin' this to yourself. You a sweet boy. Now go give them flowers to somebody that'll enjoy'em. FRANK Ma'am, I really want to give them to Karen. HOUSEKEEPER -LRB- to Karl. -RRB- You his daddy? KARL No ma'am. HOUSEKEEPER Well, whoever you are, you ought to talk some sense into him. That little old girl is way too fast for him and do n't wan na see him no way. FRANK Will you get her for me. Please. I really want to see her. She'll want to see me, too,'cause we're not in public. Just do n't tell her folks I'm here. HOUSEKEEPER -LRB- sighs. -RRB- Okay. She disappears and a moment later KAREN appears. She's thirteen, pretty and very neatly dressed. KAREN -LRB- put out. -RRB- Hey Frank. You should n't be coming over here. My parents really do n't want you to. FRANK I wanted to bring you some flowers. They're pretty good ones. KAREN They're from the Dollar Store. I'm not an idiot. Besides we have a garden full of flowers. She eyes Karl. FRANK I wanted for you to meet Karl, too. He's my new friend. But I feel like I've always known him. I thought you should meet him. KAREN Why? Hi, Karl. FRANK He's gon na be around a lot and I hope you are too, so. KAREN Here give me the flowers, I'll do something with them. Thank you. Now you better go. Maybe I'll see you down at the secret place one day in a week or two or something. I have a boyfriend now you know. And we're pretty serious. He gave me a ring. She proudly displays the ring. FRANK Can you go there with us now? Me and Karl. We could just hang out. Karl has some cool books. KAREN Frank, I just like you as a friend. Only at the secret place. Okay? I ca n't go there now. I'll see you later. FRANK But maybe just for awhile - KAREN I'm closing the door now. I told you, I'll see you later. She closes the door. They stand therefor a moment, then walk away down the sidewalk. FRANK She said she'd see me later. That's kinda good, right? KARL I reckon.\",\n \"EXT. WHEATLEY HOUSE - DAY Frank and Karl walk up the steps to the house. Frank opens the door and they enter.\",\n \"INT. HOUSE - DAY As Frank and Karl enter, they see Doyle sitting on a footstool facing Linda who's in a chair. Doyle is holding both her hands and talking very softly to her. He sees the guys and looks up. DOYLE Well, I'll be damned, there's the boys. I'm glad y' all came in. I wanted to talk to y' all, too. I was just tellin' Linda here - Oh hell, I'll just start over, set down you boys. They do, on the couch. DOYLE -LRB- CONT'D. -RRB- Well, what it is is, I just, well I took off work early today and your mama was good enough to do the same so we could talk. I guess you'd say I'm really here to apologize, which ai n't easy for me to do, about the way I acted the other night. I was just drunk and kinda got a little too worked up and one thing led to another. I care about y' all a lot, I do. I do n't mean to be so damned, assholish I guess the word would be. Now Karl, I do n't believe I hit you, did I? So no apology needed there I guess, but Frank, I'm sorry. I'm sorry I hit your mama. I'm just jealous of her. I do n't like her life or the way she runs it. I do n't like homosexuals and she buddies with one. I do n't like little wimpy ass kids or fuckin' mental retards and she's got one of each livin' with her. -LRB- laughs. -RRB- I was just kiddin'. But really I guess people need to get along even if they have differences. -LRB- pause. -RRB- You see, I work construction. I build things. Do you realize how important that is to the world. I have a lot of pressure on me. The upshot is, I'm gon na spend a lot more time over here and we're gon na get along. Like a family should. -LRB- to Linda. -RRB- I may even surprise you one day and pop the question. -LRB- he gets up. -RRB- Well, I'm goin' back to work. I just wanted to give y' all some little piece of happiness today. -LRB- kisses Linda. -RRB- See you tonight honey. Karl. Be a good boy, Frank. He leaves. LINDA Well, at least he's tryin'. But who knows for how long. FRANK He's lyin' Mama. He ai n't gon na do better. LINDA I know honey. Just remember what I said, we'll bide our time. You just steer clear of him as much as you can. Doyle's had a real hard life. It's just about run him crazy I think. FRANK We've had a real hard life, too, Mama. Linda moves to the couch and puts her arms around Frank. LINDA You're a hell of a boy, Frank. Someday you're gon na get all the good things you deserve. And Karl here's gon na get some more biscuits tonight. What do you think about that? KARL I could shore use some. Thank ye.\",\n \"INT. SHOP - DAY Karl is cleaning some parts in a bucket of gasoline. Bill comes to the door. BILL Hey there Karl, can you come unload a generator for me? Karl wipes his hands on a shop towel and starts outside.\",\n \"EXT. PARKING LOT - DAY A MAN and a TEENAGE BOY stand by a pickup truck. A small generator is on the tailgate. BILL Karl, lift this thing down and carry it to the back. It's on the blink. -LRB- to man as Karl unloads it. -RRB- We'll have it for you in a day or two, Walter. WALTER Y' ont us to he' p you there liftin' that? BILL Oh no, that dang Karl can lift a bulldozier. Fix anything, too. -LRB- confidentially. -RRB- He's mentally retarded, but he's a whiz on small engines. Lord works in mysterious ways. Karl carries the generator toward the shop. He turns and watches the man and boy talking and laughing with Bill. The man playfully puts an arm around his son's neck and tousles his hair. WALTER Hell, he did n't just make the team, Coach says he's probably gon na start at end on defense. He's a chip off the old block. Ai n't you, Steve? STEVE I guess so. Karl turns and goes in the shop.\",\n \"INT. WHEATLEY GARAGE - DAY Karl is on his cot reading a book. Frank comes in. He looks very depressed. He sits beside Karl. FRANK What you readin'? KARL Readin' on this book on how to work carpentry. I aim to learn how to build things out of wood one of these times. I've always been partial to wood buildin's and cabinets and whatnot. These drawin's they got here do n't make no sense to me so far. -LRB- he looks directly at Frank, which he seldom does. -RRB- You seem like yore tails a ` draggin' a might. You got somethin' wrong with ye? FRANK Seems like Doyle's wormed his way back in. Mama said he's stayin' over tonight and he's talkin' about movin' in for good. We ai n't ever gon na be happy. We'll always be nervous, wo n't we Karl? KARL I do n't reckon I know. I ai n't found no way yet and I'm three or four times as old as you. Might be that's just the way folks is. FRANK I feel sad about Karen Cross, too. I just make like to myself she loves me. I know better, though. It just feels good to me when I imagine it. KARL Make believin' always made me feel good too from time to time. They sit in silence for a moment. KARL -LRB- CONT'D. -RRB- Bill Cox is goin' to a funeral for a Mister Turner tomorrow and a closin' up shop early. FRANK Is that right? KARL I'll play ball with ye. I reckon if neither one of us is no count it wo n't make no difference. FRANK You will? For sure? KARL Yeah. FRANK We'll be on teams, me and you? KARL Yessir.\",\n \"EXT. JUNIOR HIGH FOOTBALL FIELD - DAY It's the practice field, so it's not very well kept. Karl, Frank, and two other boys around Frank's age are huddled up. Four boys are lined on defense. They break the huddle and come to the line. They are on about the fifty - yard line. Frank hikes the ball to one of the boys. He later als it to Karl who stands there for a minute as the defenders run toward him. Then he takes off like the wind. He runs funny, kind of humped over and pigeon - toed, but fast. All the others are chasing him. Two of the other team's boys catch him on about the fifteen - yard line, but he drags them along. Karl sees Frank out of the corner of his eye and tosses him the ball just as Karl bites the dirt. Frank goes into the end zone untouched. There are cheers from Frank and the other boys. Frank runs over to Karl who's still on the ground. FRANK Way to go, Karl. We got a touchdown. That was a good lateral, man. That was just like the Wishbone. KARL I dern near had me a touchdown till them boys got a - hold of me there so I figured I better give it off to you. I seen you over there follerin' me. FRANK We're liable to win if we keep this up. For somebody like you, you sure run fast. He grabs Karl by the hands and helps pull him up. FRANK -LRB- CONT'D. -RRB- Come on, let's kick off to'em.\",\n \"EXT. SIDEWALK - DAY Karl and Frank, dirt, grass stains and all, walk toward home. FRANK I know you could of scored them three touchdowns by yourself instead of throwing'em over to me. KARL Them boys was tryin' to pull me down pretty hard. FRANK You're strong though. You let me make them touchdowns so I'd feel good. My daddy used to do that kind of thing. They walk in silence for a moment. FRANK -LRB- CONT'D. -RRB- It do n't matter to me about us losin' does it to you? KARL No sir. FRANK It was fun, anyhow. KARL I wad n't thinkin' about nothin' else just like you told me I'd do. FRANK Can we play ever' Saturday? KARL If I ai n't too stove up. I ai n't like you. I'm old and give out. -LRB- pause. -RRB- I'm proud of ye.\",\n \"INT. GARAGE - DAY Karl sits on his bed rubbing his hands together, deep in thought.\",\n \"EXT. STREET - DAY Karl is walking down the street past rundown houses. He comes to an old gray woodframe house. It is in bad repair, the paint is peeling, the yard is grown up. There is an old wooden shed in the back yard. He stands looking at it for a moment then walks through the yard and opens the door to the shed. He's motionless for a moment, then goes inside.\",\n \"INT. SHED - DAY Sunlight comes through the cracks in the wood. The shed has nothing but dirt for a floor. A few tall patches of grass shoot up between boxes and rusty lawnmowers. A few old garden tools hang on the wall. In the center is a low circular spot in the ground and a few tattered shreds of an old quilt. Karl stands looking at the hole for a moment, then turns and walks out of the shed.\",\n \"EXT. YARD - DAY Karl walks across the yard to the house.\",\n \"INT. SCREENED-IN PORCH - DAY Karl goes onto the screened - in porch, looks through the kitchen window and goes inside.\",\n \"INT. KITCHEN - DAY The place is a mess. Dirty dishes are piled in the sink and on the table. It's not just clutter, but filth everywhere.\",\n \"INT. LIVING ROOM - DAY Karl walks into an equally filthy living room where an OLD MAN in overalls sits slumped in a chair looking at his lap. Karl stands facing him for several moments. KARL I'm ye boy. OLD MAN I ai n't got no boy. KARL I'm ye oldest boy name Karl. OLD MAN I ai n't got no boy. KARL They turned me aloose from the nervous hospital. Said I was well. No response. KARL -LRB- CONT'D. -RRB- I got hired to work for a Mr. Cox fixin' lawnmowers and whatnot. No response. KARL -LRB- CONT'D. -RRB- That grass out in the yard's all growed up. I figured I might cut it fer ye. OLD MAN I told you, I ai n't got no boy, now get on out from here and let me be. Long silence. KARL I learned to read some. I've read on the Bible quite a bit. I do n't understand all of it, but I believe I understand a good deal of it. Them stories Mama and you told me ai n't in there. You ort not to of done that to ye boy. -LRB- pause. -RRB- I've studied on killin' you. But I do n't reckon they's no reason fer it if all you're gon na do is set there in that chair. You'll be dead soon enough I reckon and the world'll be shut of ye. -LRB- Karl walks toward the kitchen and turns back to the old man. -RRB- You ort not to of killed my brother. He ort to have had a chance to grow up. Sometimes he would of had fun.\",\n \"EXT. YARD Karl walks out of the house and across the yard to a hedge in the corner and kneels down. He pushes some grass aside to reveal a rock about afoot tall and afoot across. In front of it, the ground is raised a little. He stares at the rock for a moment and touches it. KARL Little feller.\",\n \"EXT. A LARGE OLD WOODEN SLAT BRIDGE - DUSK Karl stands on the side of the bridge looking into the river below.\",\n \"INT. WHEATLEY HOUSE - NIGHT All the lights are out. We see a shot of Frank in his bed asleep, but tossing and turning. Then a shot of Linda in bed staring at the ceiling and Doyle beside her snoring. Suddenly, the lights come on and Linda lets out a little yelp and sits up, which wakes up Doyle and he sits up with a start. From their P.O.V. we see Karl standing in the door holding a hammer. DOYLE What in the goddamn hell are you doin'? It's the middle of the night. LINDA What do you want, hun? KARL I want to be baptized. DOYLE Baptized? Well, get baptized then. I do n't give a shit. Call a fuckin' preacher, goddamnit! I ca n't baptize you. LINDA We'll go to church and get you baptized, tomorrow's Sunday. You go on back to bed. DOYLE What are you doin' with that damn hammer? KARL I do n't rightly know. I just kindly woke up a - holdin' it.\",\n \"INT. CHURCH - DAY We see a shot of Frank and Linda and Vaughan in a church pew. The church is pretty full. From their P.O.V. we seek Karl in a robe standing in the baptismal tank. The preacher takes Karl and dunks him under the water and brings him back up.\",\n \"INT. WHEATLEY LIVING ROOM - DAY Doyle is in his favorite chair as Linda, Frank, and Karl come through the front door. DOYLE How'd your baptizin' go? LINDA It went real good. DOYLE Well, that's good. It's about time to eat and you know what I'm cravin'? Some of that take out chicken. Why do n't you run get some of it, honey, for lunch? LINDA -LRB- to Frank and Karl. -RRB- Would y' all like that? FRANK Yeah, I guess. KARL Yes ma'am. I like a fried chicken leg. LINDA All right, y' all gon na go with me? DOYLE Naw, hell, let them stay here with me and do men things. There might be some kind of ball game on we can watch. You go on. LINDA I'll be back in a little bit then. She leaves and Doyle walks up to Karl and Frank. DOYLE I really just wanted to git your mama out of the house for a minute so we can have a talk. Y' all set down. They sit on the couch and Doyle kneels in front of them. DOYLE Now here's the deal. Now that I'm gon na throw my entire life away doin' what I want to come live here with y' all, we have to get a few things straight. See, Frank, me and you mama would n't have any problems if it wad n't for you. We'd never have a bad word between us. But since you do exist, if I'm gon na be here as the head of the household, we'll have to live by my rules. And my rules are you do n't speak unless you're spoken to. Stay out of my way and do what a regular kid does. You're a weird little shit. I do n't get you. So wake up. Face what they call reality. We're gon na be a family now. And it's my family. I'll be payin' the bills so you got me. But I ai n't your daddy. You just treat me like I am. I'm the boss, okay. And the other thing is your friend Karl has to go. We ca n't have a normal family with him livin' in the garage and comin' in the bedroom at four in the mornin' with hammers and shit. See? FRANK Karl can stay if he wants to. Mama said - Doyle slaps him across the face and Karl grabs Doyle's arm. Doyle shakes him off. KARL Do n't hit that boy no more. DOYLE You shut up you, fuckin' retard. Get your shit and get out of here. -LRB- to Frank. -RRB- That was a wake - up slap, Frank. Remember. Reality, like I said. Do n't forget any bit of what I said to you and we'll be fine. Frank jumps up and runs from the house and Doyle sits back in his chair and pops a beer. Karl gets up and goes to the garage.\",\n \"INT. GARAGE - DAY Karl ties his books up with his strap and gets a bag from his bed and leaves.\",\n \"EXT. DRIVEWAY - DAY Karl is walking away as Linda pulls up in her car and gets out with fast - food bags. LINDA Where are you goin', Karl? Did n't you want some chicken and things? KARL No ma'am. I'm a ` goin' off sommers. LINDA Well, okay. I got you some. KARL Frank, he went off, too. He ai n't gon na be in there when you get indoors. LINDA Where'd he go? What's goin' on? KARL He wanted to go off and play, I reckon. -LRB- pause. -RRB- You go in there and you and that Doyle eat ye dinner. You do n't have to worry yourself none. LINDA All right then. Well, I'll see you later. If you see Frank, tell him to come on back home. I do n't get to see him all day except Sundays. He can play tomorrow. KARL Ma'am? LINDA Yeah. KARL You're a good mama to that boy. You care for him. You work hard fer him to take care of him. You light him up in his eyes, I've seen it. He would n't know what to do without ye. LINDA Well thank you, hun. That's real good of you to say. I would n't know what to do without him either. KARL You've been real good to me, too. It ai n't ever ` body that'd make biscuits in the middle of the night. You and that boy has give me a good feelin'. LINDA We sure like havin' you. KARL Thank ye. -LRB- Karl walks away, then turns. -RRB- I'm just getting around to tellin' you, but I fixed your warshin' machine.\",\n \"EXT. SECRET PLACE - DAY Frank is on the ground digging a trench in the dirt with a stick. He hears footsteps in the leaves and looks up and sees Karl coming toward him. FRANK Hey, Karl. How'd you know to come out here? KARL I knowed you'd be here. -LRB- Karl sits on the stump. -RRB- What are you a - doin' digging with that stob? FRANK Just diggin'. -LRB- pause. -RRB- I ai n't ever gon na be happy now. Not with that son of a bitch movin' in for good. I wish me and you and Mama could just run away. But she said he would find us wherever we went. He's crazy. Sometimes I think it would of been better if I wad n't ever born. KARL I'm glad of it you was borned. -LRB- pause. -RRB- I reckon I ai n't gon na be there in the garage no more. FRANK You have to Karl. You have to look out for me. You do n't let that son of a bitch run you off. KARL You're just a boy. You ort not to use that sort of language. FRANK Karl, I ai n't tryin' to say nothin' bad about you, but why do n't you stop Doyle when he gets that away? You're older than him. You're strong, too. My daddy would n't let him do that to me and Mama. KARL That feller's a whole sight meaner than me. He'd just whup the tar out of me. FRANK Yeah, I guess so. I'm real tired, you know that. A kid my age should n't be tired of things. KARL I'm tired, too, Frank. -LRB- pause. -RRB- If I ai n't around no more, it do n't mean I do n't care fer ye. I care for ye a good deal. I care for you more than anybody they is. We made friends right off the bat. FRANK I care for you, too. But you'll be around, do n't say that. KARL Hit do n't make no difference where I was to be. We'll always be friends. There ai n't no way to stop that. -LRB- pause. -RRB- I aim for you to have these books. He hands him the books. KARL Maybe you can make more sense out of them than I can. I made you a little old book marker and stuck it in that book on Christmas. FRANK You do n't want to give away all your books. KARL I aim fer you to have'em. FRANK Man. Thanks. -LRB- pause. -RRB- You know when you get a feelin' and you do n't know why? KARL Yes sir. FRANK I've got a feelin' today. KARL Reckon what kind of a feelin'? FRANK Like something different. I do n't know. -LRB- pause. -RRB- You're leavin' ai n't you, Karl? KARL Will ye do somethin' for me if I ast you to? FRANK You know I would. Whatever you want. KARL Do n't go home tonight and stay with that Doyle. He's got it in for ye tonight. I got me a feelin', too. Feels like to me you ort not be there in that house with him liquored up and mean. Ye mama neither. When you get up from here, I want you to go to that feller's house. Your mama's friend. I want you to give me your word on it. FRANK Okay. I give you my word. Is ever ` thing gon na be okay? Are you all right? KARL Ever ` thing's okay, boy. I kindly want to put my arm around ye for a minute and then I'm gon na go on and leave here. FRANK Okay. Karl lays his arm on Frank's shoulder and Frank puts his hand on Karl's arm. They sit like that for a few moments, then Karl gets up with his paper sack and walks away. Frank takes the book marker out of the Christmas book. It is just a folded piece of notebook paper. On it is written ` You will be happy.' He looks up at Karl who is now thirty yards away in the trees. FRANK -LRB- CONT'D. -RRB- Karl! Karl turns around and he and Frank stare at each other through the trees.\",\n \"EXT. VAUGHAN'S HOUSE - DAY Karl knocks on the door. After a moment, Vaughan answers in a pair of big shorts and a sweatshirt. VAUGHAN Karl, what are you doing here? Come in. KARL I ai n't a - stayin'. I need to ast you fer a favor. VAUGHAN Okay. KARL This evenin' I want you to go get Mizz Wheatley and that Frank and have them stay with you tonight. VAUGHAN What's wrong? Is everything okay? KARL That dern Doyle is in a bad way again with that drinkin' and bein' mean to folks. Will you give me your word you'll do it? VAUGHAN Well, sure, okay. He has n't hurt them, has he? KARL Naw, not yet. -LRB- hands the bag to Vaughan. -RRB- I want ye to give this to Mizz Wheatley. Hit ai n't much, but maybe there's a little somethin' to hep out. Hits what I've earned fixin' lawnmowers and whatnot fer Bill Cox. Vaughan takes the bag. VAUGHAN What about you, Karl? Do you want to stay here? KARL I do n't reckon you have to go with women to be a daddy to a boy. -LRB- pause. -RRB- You've been real square dealin' with me. The Bible says two men ort not lay together. But I'll bet you the Good Lord would n't send nobody like you to Hades. Some folks calls it Hell, I call it Hades. -LRB- Karl starts away. -RRB- That boy lives inside of his own heart. Hits an awful big place. You take care of that boy. Vaughan watches Karl walk away.\",\n \"EXT. BUS STATION - NIGHT Karl stares at the bus station door.\",\n \"EXT. WHEATLEY HOUSE - NIGHT Karl stares at the house from the sidewalk.\",\n \"EXT. OLD WOODS BRIDGE - NIGHT Karl stares into the river.\",\n \"INT. COX'S SHOP - NIGHT Karl has a lawnmower blade sharpening it on a grinding wheel.\",\n \"EXT. WHEATLEY HOUSE - NIGHT Karl carrying the blade walks onto the porch and enters the living room.\",\n \"INT. LIVING ROOM - NIGHT Doyle is in his chair drinking beer and watching TV. He looks up as Karl comes around and sits on the sofa. DOYLE Where's ever ` body else? You seen'em? -LRB- no response. -RRB- I thought I told you to get the hell moved out of here anyway. KARL How does a feller go about gettin' ahold of the police? DOYLE -LRB- CONT'D. -RRB- Pick up the fuckin' phone and call'em, I guess. KARL What numbers do you punch? DOYLE I told you to get away from here, did n't I? I'm tryin' to relax and look at TV. -LRB- notices blade. -RRB- What are you doin' with that piece of iron? I swear to God you're the weirdest son of a bitch I ever heard of. KARL I aim to kill you with it. Doyle keeps drinking and watching TV. DOYLE Yeah, okay. Well, to get the police you push 911. You'll need to tell'em to send an ambulance, too. Or a hearse. You fuckin' idiot. You're gon na kill me. -LRB- laughs. -RRB- Karl gets up and walks slowly toward Doyle out of frame. We see the flickering light of the TV on the wall. O.S. we hear one short dull thud. DOYLE -LRB- O.S. -RRB- Oh God! Oh God! We hear one more thud, then the sound of Doyle's body hitting the floor. Karl appears in frame again and we follow him to the kitchen where he picks up the wall phone. He stares at it for a moment, then pushes 911. He has a few specks of blood on his face, hand and shirt. KARL -LRB- into phone. -RRB- Yes ma'am. I need the police over here at the Wheatley house. -LRB- pause. -RRB- I've killed somebody with a mower blade. -LRB- pause. -RRB- Yes ma'am, I'm right sure of it. I hit him two good whacks. That second time just plumb near cut his head in two. -LRB- pause. -RRB- Hits a little old yeller house right on the corner of Marigold Street and some other street. They's a red pickup truck out front says DOYLE HARGRAVES CONSTRUCTION on it. I'll be a settin' here waitin' on ye. Beside sendin' the police, Doyle said you might want to send a ambulance or a hearse. Thank ye. He hangs up and goes to the refrigerator and takes out a jar of mustard. He gets a knife out of the drawer and sits at the kitchen table and pulls back a table cloth that is covering up some leftovers. He picks up a biscuit and opens the mustard jar and runs the knife around it. There's hardly any mustard in it. He dabs a little on the biscuit and takes a bite and relaxes to wait for the law. CLOSE UP OF CHARLES THE NUT CASE He's in the middle of one of his sick monologues. We pull back and see we're in the recreation room of the hospital again with Karl in his usual chair listening to Charles. Karl is now wearing the hospital issue clothing. CHARLES on the third day I washed her. She was n't very clean. I got all the right spots. She was the first one I ever kept for any length of time, you see I get bored easily, I have a short attention span. I ca n't say she enjoyed her stay, although the washcloth in her mouth held in place by good duct tape kept any complaints to a minimum. I do n't really like people who talk a lot. I like to do the talking. I guess that's why I'm so fond of you. You're so easygoing, although I do sense a little tension in you sometimes. By the way, how was it out there? Did you have any fun? Make any new acquaintances? Tell me what it was like. KARL They was a boy. We made friends. CHARLES I bet you did. I was never bent that way. I'm bent the other way. So, you liked it out there in the world. KARL It's too big. CHARLES Well, it's not too big in here, is it? -LRB- pause. -RRB- I feel very generous today. I feel like listening. I'm sure you have plenty to tell me. And please bore me with the details. -LRB- long pause. -RRB- Come on Karl, who did you kill? Was it the boy? KARL Do n't say nothin' about that boy. Karl looks him right in the eye for the first time ever. KARL Fact the bidness, do n't you say another word to me. I ai n't listenin' to you no more. Karl gets up and goes to the window and looks out at the grass that separates him from the next building. He stares out the window, as we : FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,1,0,1,1,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,1,1,1,1,0,0,0,1,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,1,0,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In the mid-1990s, Karl Childers is an intellectually disabled Arkansas man, who has been in the custody of the state mental hospital since the age of 12, for having killed his mother and her lover. Although he had been thoroughly institutionalized, Karl is deemed fit to be released into the outside world. Prior to his release, he is interviewed by a local college newspaper reporter, and he recounts committing the murders with a kaiser blade, saying, \"Most folks call it a Sling blade. I call it a Kaiser blade.\" Karl explains that he attended school with his father's boss' teenage son Jesse Dixon, who was a mean-spirited bully and pervert; he thought that Jesse was raping his mother, and decapitated him. When he discovered that his mother was a willing participant in the affair, he killed her also. Thanks to the doctor in charge of his institutionalization, Karl, who is highly skilled at repairing small engines, lands a job at a repair shop in the small town where he was born and raised. He befriends 12-year-old Frank Wheatley, and shares some of the details of his past, including the killings. Frank reveals that his father was killed when he was hit by a train, leaving him and his mother on their own. He later admits that he lied, and that his father committed suicide. Frank introduces Karl to his mother, Linda, and her gay friend, Vaughan Cunningham. Vaughan is the manager of the dollar store where Linda works. Despite Vaughan's concerns about Karl's history in the mental hospital, Linda allows him to move into her garage, which angers Linda's abusive alcoholic boyfriend, Doyle Hargraves. Karl bonds with Linda. Vaughan invites Karl to lunch where he explains that a gay man and a mentally challenged man face similar obstacles of intolerance, and ridicule, in small-town America, before warning Karl about Doyle's violent demeanor, as well as his fears that Doyle might hurt or kill Linda and Frank. Karl quickly becomes a father figure to Frank, who misses his real father and despises Doyle. Doyle continues his abusive behavior. While practicing with his friends, with whom he is in a band, he erupts in an alcoholic outburst, ejects them from the house, and attempts to do the same with Karl and Vaughan. Linda tries ejecting Doyle from the house, despite his threats to kill her if she ever left him, which results in a physical confrontation. Frank is enraged and hurls household objects at Doyle until he finally leaves. Karl is successful at his job, and enjoys socializing with Linda, Vaughn and their friends. Despite this, he is haunted by an incident that happened when he was 6 or 8 years old. His parents performed an abortion of his unwanted baby brother; it was wrapped in a bloody towel and given to Karl with instructions to \"get rid of it\", however, Karl realized that the infant had survived the abortion. While recounting this story to Frank, Frank asks why Karl did not keep the baby, to which Karl replies that he had no way to care for it. He placed the baby, still in the bloody towel, inside a shoebox and buried it alive. He went on to say it was better to \"return him to the good Lord right off the bat,\" sparing him the abuse and neglect Karl himself had received at the hands of his own parents. Linda and Doyle reconcile and Doyle announces his plan to move into the house permanently. He claims he will soon propose marriage to Linda, much to Frank's anger. Karl visits his father, who has become a sickly hermit, and still lives in the dilapidated home where Karl grew up. The father claims he doesn't recognize Karl and doesn't have a son. Karl tells his father that killing his baby brother was wrong, and that he had wanted to kill his father for making him do it, but eventually decided that he was not worth the effort. Karl thereafter decides to be baptized. The newly emboldened Doyle confronts Karl and Frank shortly after Karl's baptism and announces Karl is no longer welcome to live in the house. He also demands that Frank begin obeying his orders. Frank does not acquiesce and Doyle attempts to attack him, but Karl stops him and warns him never to touch Frank again. Karl begins to realize that, eventually, either Frank will kill Doyle and end up just like him, or that Doyle's abuse will end up killing Frank and Linda. Karl makes Frank promise to spend the night at Vaughan's house. Karl then goes to Vaughan's house and asks Vaughan to pick up Linda from her home, and have her stay over also; he then tells Vaughan that, even though homosexuality is a sin according to the Bible, that he doesn't think the Lord would ever send someone as nice as him to Hell, and that he doesn't have to \"go with women\" to be a good father to Frank. Karl returns to Linda's house and enters. A drunken Doyle asks what Karl is doing with the lawnmower blade he had sharpened and fashioned into a weapon. Karl replies, \"I aim to kill you with it,\" but not before asking how to reach the police by telephone. Not taking Karl seriously, Doyle facetiously says Karl should dial 911 and request \"an ambulance or a hearse.\" Karl then kills Doyle with two blows of the blade to the head, phones the police to turn himself in, and requests a hearse be sent for Doyle. He eats biscuits and mustard while waiting for the police. Returned to the state hospital, he is less passive than he was during his previous institutionalization. He silences a sexual predator who had previously forced him to listen to stories about his crimes, before standing to look out of the window towards a field."},"name":{"kind":"string","value":"Sling_Blade"}}},{"rowIdx":183,"cells":{"scenes":{"kind":"list like","value":["DISTURBIA KALE -LRB- V.O. -RRB- -LRB- tense. -RRB- Do you think he sees us? JEFF -LRB- V.O. -RRB- No, he ca n't see us. But he feels us watching. DEEP BLUE WATER FILLS THE FRAME. And there. a few feet beneath the surface. something SHIMMERS in the sunlight. As ripples dissipate, we make out the shape of a bright yellow CRANKBAIT waiting patiently for its prey on the end of a 10 - pound line. We hold on this for another silent beat. then - a huge BLACK BASS suddenly swoops into frame, circling the bait! ON KALE BRECHT -LRB- 17 -RRB- AND HIS DAD, JEFF BRECHT -LRB- 45 -RRB- Both startle at the sight. Kale, a clean - cut all - American kid, reflexively yanks back on his rod and reel. KALE Whoa, did you see that thing? Kale anxiously winds the spool - JEFF Settle down, slow it down. Jeff lightly puts his hand on Kale's, slowing the cranking to a slight, steady pull as we WIDEN TO REVEAL them standing near the stern of their 16 - foot BASSMASTER. We are.","EXT. BISHOP LAKE - DAY The undisturbed beauty of nature serves as our backdrop as we MOVE CLOSER to Kale and Jeff, taking note of their t - shirts : Jeff's has a silkscreened cartoon rendition of a Bass wearing aviator goggles with mounted missiles on its fins. Beneath it, the slogan : `` Weapons of Bass Destruction.'' The fish on Kale's shirt wears a stock car uniform, a single word across the bottom : BASSCAR. As Jeff steadies Kale's hand and pulls away : JEFF You do n't want to scare him off. You've got his attention, now just play with him. Tease him a little. Kale and Jeff watch the water in anxious silence. Kale inching the line back toward the boat. One more crank, then - The BLACK BASS suddenly ATTACKS THE LURE with a tremendous SLOSH OF HIS TAIL! KALE Holy shit! JEFF It's all you, Kale, keep cranking! Kale cranks fast and furious. But this is one fish that's going down fighting. KALE I need reinforcements! Jeff moves in, grabs the rod and reel from behind Kale. JEFF Heave, laddie! They PULL. The rod curls under the weight. JEFF -LRB- CONT'D. -RRB- -LRB- pirate accent. -RRB- Give it all ya got, mate, or you're gon na lose him! KALE -LRB- laughing ; pulling ; struggling. -RRB- Dad, your pirate - impersonation - sucks! JEFF How would ya know, have ya ever met one? I doubt it - The BASS SLOSHES FURIOUSLY around the bait, now just a few feet from the boat! KALE He's freakin' pulling us in! JEFF -LRB- laughing. -RRB- Never! No Brecht has ever - lost a fight - to a fish! The BASS suddenly snaps free. The line goes limp. Jeff and Kale lose their balance, nearly falling backward. Then - All becomes silent save for Jeff and Kale's heavy breathing. Kale winds the empty line back to the boat, shoots a glance to Jeff, then throws the rod aside in mock disgust. Jeff takes a seat in the captain's chair. JEFF -LRB- CONT'D. -RRB- Throw me a - Kale is already in the cooler. He throws Jeff a Coke. Both sit in silence for a beat. Then - JEFF -LRB- CONT'D. -RRB- Hey, at least the weather's great. we're spending quality time together. KALE -LRB- grabbing pole. -RRB- That fish is going down. JEFF -LRB- not missing a beat. -RRB- Let's nab the bastard. They both cast their lines -","EXT. HIGHWAY 395 - NORTHERN SIERRA MOUNTAINS - EVENING An amber glow sets the mountainside ablaze as Jeff's SUV winds through the serpentine pass.","INT. SUV - EVENING - CONTINUOUS - MOVING Jeff drives. Kale's on his cell : KALE -LRB- cont'd. -RRB- -LRB- into phone as needed. -RRB- Hey mom, it's us. Listen, fire up the grill'cause the Bassmasters are headed home! Jeff slaps Kale five as he veers the SUV into the left lane, passing a slow - moving PATHFINDER.","INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS Kale's attractive mom, JULIE, 40, on cordless, preps dinner. JULIE You're kidding. So I can actually put the burgers away this time? KALE Yes, be gone with the red meat! Julie smiles. Jeff grabs the phone from Kale. JEFF -LRB- into phone as needed. -RRB- We're having fish for a week. Kale smiles as a LINCOLN NAVIGATOR PICK - UP zooms past in the right lane, swerves back in the left lane in front of them. JEFF -LRB- CONT'D. -RRB- -LRB- over the above. -RRB- I'd say an hour. Love you, too. Jeff flips the phone shut, tosses it to Kale. They exchange smiles. A silent moment passes. They both turn to face the road as - THE NAVIGATOR PICK - UP suddenly SWERVES back into the right lane, revealing a STALLED MINI - VAN directly in front of them! KALE DAD - Jeff instinctively reaches his arm in front of Kale as he SWINGS the wheel hard right and SLAMS ON THE BRAKES. But it's not in time. The SUV clips the mini - van's right rear bumper, SMASHING it into the left lane concrete barricade. The SUV spins into the right lane where that SLOW - MOVING PATHFINDER suddenly BROADSIDES IT with such FORCE that it FLIPS the SUV up and over. It TUMBLES off the highway, barreling into.","EXT. VACANT CLIFFSIDE PULLOFF/VIEWING AREA - EVENING - CONT A couple of final, METAL - CRUNCHING FLIPS send the SUV's undercarriage CRASHING to a violent stop on top of a rickety wood beam - mounted GUARDRAIL. A silent beat. Then - steam billows from the hood. INSIDE THE SUV Airbags deflate. Dust settles. Blood streams from Jeff's hairline. His eyes flutter open. He looks up to Kale, strapped in the passenger seat, unconscious. A small gash on his forehead. We only see blue sky through Kale's shattered passenger window. JEFF Kale? - Kale, are you okay? Kale opens his eyes. Jeff reaches up, touches Kale's face. KALE I think so. Kale looks down at his dad - his eyes widen in horror, not only at the sight of Jeff, but of the ravine beneath them - For this brief moment, we may have thought the SUV was stable. But we CRANE BACK UP AND OUT KALE'S PASSENGER WINDOW to REVEAL A MUCH GRIMMER REALITY : the SUV is PERCHED LENGTHWISE ON TOP OF THE GUARDRAIL AT A 45 - DEGREE DOWNWARD ANGLE. The SUV's right front and rear tires precariously grip the rail, keeping it from plunging 500 feet to the RAVINE below. BACK INSIDE THE SUV KALE Oh my God, dad - - Jeff's leg is trapped beneath the crumpled dashboard. JEFF I'm fine. But you're gon na have to climb out, Kale. Can you do that? Kale's hands shake from the SHOCK as his fingers search for the seatbelt buckle. But the shoulder strap is LOCKED IN PLACE, preventing Kale from turning. He tugs it furiously. KALE I ca n't - It wo n't give - JEFF That's okay, I've got it - grab the door, I do n't need your ass falling on my face - Kale reaches up, grips the outside of the door as JEFF'S HAND shakily reaches to Kale's seatbelt buckle and presses. Kale's belt SNAPS LOOSE. Kale's body DROPS, but he hangs on to the window - just as a GUARDRAIL BEAM SNAPS LOOSE FROM ITS FOUNDATION! The SUV ROCKS VIOLENTLY as the guardrail starts to bend and peel away from the cliffside under the SUV's weight. INSIDE THE SUV - JEFF reaches up, grabs Kale's legs and pushes, helping Kale climb out the window. OUTSIDE THE SUV - KALE slowly slides down the outside of the door, then turns around on his chest, reaches his hand back down to Jeff - KALE Dad, here - Jeff reaches up as a SECTION OF GUARDRAIL RIVETS a few inches behind the SUV's rear bumper suddenly POP LOOSE. THE GUARDRAIL SNAPS IN TWO! KALE SCREAMS, hangs on for dear life as the GUARDRAIL and SUV SWING OUT AND OVER THE RAVINE. The guardrail is buckling fast. Another beam RIPS FREE of its foundation - Kale slides a few more inches down the door and right front fender allowing HIS FEET to find the edge of the foundering rail underneath. Having at least some footing, Kale reaches back inside - KALE -LRB- CONT'D. -RRB- Dad, please, you can do it - Jeff unbuckles his belt and reaches up. Kale summons his strength, grabs Jeff's wrist, pulls him up and through the passenger window just as the SUV FALLS AWAY! Jeff's weight pulls Kale down. Kale's feet SLIP off the rail. Kale SLAMS chest down, his TORSO wrapping around the top of the rail, feet dangling. But he's still clutching Jeff's wrist as the SUV CRASHES INTO THE RAVINE IN A MUSHROOM CLOUD OF DUST AND DEBRIS. JEFF'S WRIST slips from Kale's grasp. Kale struggles to hang on, but he's losing the battle and the balancing act. And he knows it. Tears well in Kale's eyes. JEFF Kale, you have to climb up - KALE No - I'm not leaving - JEFF Kale - Another GUARDRAIL BEAM UPROOTS - KALE NO - Dad, please, I've got you - JEFF -LRB- with a slight smile. -RRB- I know - CU - Jeff's left hand enters frame, clasps Kale's. Another beat of eyes on eyes. The guardrail continues to BUCKLE. Then - Jeff starts to PRY KALE'S HAND AWAY - Jeff's arm RELEASES FROM KALE'S GRIP. Kale opens his mouth to scream as a shrill bell RINGS!","INT. MORROW HIGH SCHOOL - HALLWAY - DAY ON THE RINGING BELL. STUDENTS disappear into their respective classrooms. As the corridor quiets down. SUPER : ONE YEAR LATER RONNIE -LRB- CONT'D. -RRB- -LRB- subtitles as needed. -RRB- This summer, after visiting Hawaii, I will perhaps visit my grandparents in Korea.","INT. CLASSROOM - DAY - CONTINUOUS ON RONNIE YUN, 16, a scrawny Korean kid with a knack for perfect Spanish, stands at the front giving his speech. Note : every time Ronnie says `` quizás'' -LRB- `` perhaps'' -RRB- the class giggles because it sounds a lot like `` kiss - ass.'' The teacher, SENOR GUTIERREZ, a rotund 50, bad comb - over and khakis up to his naval, stands off to the side, quickly picking up on Ronnie's excessive and increasingly dramatic use of the word. RONNIE Perhaps I wo n't. Perhaps I'll just stay at home. But perhaps my parents will take pity on me. -LRB- more dramatic. -RRB- Perhaps they will make my dream a reality! Perhaps they will take me to a beach on the French Riviera so that I may gaze upon the natural beauty of its female inhabitants. Over this, only one GIRL, MINNIE TYCO, a rail - thin BLONDE, picks up on this : MINNIE TYCO -LRB- under her breath. -RRB- Keep dreaming, perv. RONNIE -LRB- CONT'D. -RRB- Perhaps. Thank you. The class laughs, claps. Ronnie bows, heads to his seat. SR GUTIERREZ Thank you, Ronnie. Perhaps I'll give you an `` F.'' The class laughs again. Gutierrez shakes his head, zeros in on the student behind Ronnie. Sleeping with his arms folded on his desk, a grey hoodie pulled over his head. SENOR GUTIERREZ Senor Brecht. Senor Gutierrez takes some chalk, flicks it at the kid. He still does n't budge. Ronnie nudges him. RONNIE Dude - The kid stirs, raises his head. The hoodie falls away to reveal KALE. Longer, disheveled hair. The spark in his eye's been replaced with an empty haze. SENOR GUTIERREZ So Kale, think you can stay conscious long enough to tell us your plans for the three wondrous summer months ahead? Kale glances around. All eyes on him. He looks at Ronnie who nods in support. Kale gets up, heads to the front of the class. He pauses. Trying to focus. Then - KALE Este invierno - The class chuckles. SENOR GUTIERREZ -LRB- correcting. -RRB- Verano. KALE Este verano - voy a - SENOR GUTIERREZ ¿ Qué? Kale shuts his eyes, frustrated at the interruption. Senor Gutierrez, also losing patience, steps closer to Kale. SR GUTIERREZ -LRB- CONT'D. -RRB- -LRB- subtitled. -RRB- What are you going to do? KALE I do n't know, alright? I have n't gotten that far. SENOR GUTIERREZ Did you do the homework or not? KALE -LRB- no eye contact. -RRB- Guess not. SENOR GUTIERREZ -LRB- in Kale's face. -RRB- You `` guess'' not. I do n't know who you think you are or who you think you're dealing with. You ca n't give me a straight answer, fine, give me one good reason why I should n't fail you right now? Kale CLOCKS Gutierrez.","INT. JUVENILE COURTROOM - DAY ON SENOR GUTIERREZ - displaying a black eye, sitting next to the school's PRINCIPAL and COUNSELOR in a single row of seats behind the attorneys' tables. Kale, a little more cleaned up, wearing a suit, sits between Julie and his DEFENSE ATTORNEY. Julie, noticeably tired, glances at her son, her expression a fusion of anger and sympathy. Kale's eyes shift her way, but his head never turns. The JUDGE mulls over his notes. JUDGE Okay, Mr. Brecht. Kale's lawyer prompts him to stand. JUDGE -LRB- CONT'D. -RRB- You're six months shy of eighteen, that means the assault - two charge you've pled guilty to carries a max of one year in juvey. With these priors, you're up to three. The judge lets that sink in. Kale remains silent. JUDGE -LRB- CONT'D. -RRB- But losing a parent is n't easy. Which is why I'm sentencing you to three months house arrest. Julie closes her eyes in relief. JUDGE -LRB- CONT'D. -RRB- You can thank your counselors and lawyer later. Mr. Brecht, I just cut you a break. Do n't test me. The judge taps his gavel.","INT. KALE'S HOUSE - KITCHEN - DAY A pair of hands wrap an ELECTRONIC MONITORING BRACELET around Kale's left ankle. WIDER TO REVEAL the hands belong to Kale's case officer, JANET PARKER, 35, no - nonsense. Kale's perched on the center island. Julie watches from the b.g.. As Parker clicks the bracelet's buckle into place, a GREEN LED light illuminates. It's ON THE TOP EDGE OF THE BRACELET'S BAND so Kale can easily see it if he looks down. Next to this light is an additional RED LIGHT that is n't on. PARKER -LRB- making final checks. -RRB- Okay, you. are all set. to go nowhere. -LRB- re : the LED lights. -RRB- Now, green means you're good, you're in the safe zone which covers about a sixty - foot radius from this guy here. Parker points to a big black box -LRB- the CENTRAL TRACKING UNIT -RRB- on the kitchen counter. PARKER -LRB- CONT'D. -RRB- He's like a modem. He gets a constant signal from Mr. Bracelet that he sends through your phone line to the monitoring station downtown. So they know where you are, where you've been and what you're thinkin' 25/7. JULIE What if he accidentally goes beyond - PARKER -LRB- anticipating ; re : red light on bracelet. -RRB- Red light flashes. Means you've got about ten seconds to get your butt back to green, or else - KALE The execution squad shows up? PARKER And they do n't bring blindfolds. It's also tamper proof and waterproof. So do n't try sticking your foot in a bucket of water and hopping across the line. It wo n't work, and you'll look stupid. Now, I'll be checking up on you a lot. Here's my card - You're set up to pay his incarceration fee, Ms. Brecht? JULIE Automatic withdrawal. -LRB- to Kale. -RRB- Twelve bucks every day. PARKER -LRB- re : a booklet. -RRB- Everything else is in the manual. -LRB- making her way out. -RRB- Oh, except this - House arrest might sound like a breeze, but trust me, I've seen all kinds of folks get a bit loopy before too long, some after just a day or two. So make sure you find lots of constructive things to keep yourself busy.","INT. KALE'S BEDROOM - NIGHT - LATER Kales sits in his video game chair, wearing his X - box live headset, playing HALO 2 - he's on the final `` boss level.'' GUNFIRE and EXPLOSIONS BLARE over his stereo speakers. KALE -LRB- into headset as needed. -RRB- Hobby, you read me? I said come around my left flank and draw his fire - damn straight I'm trying to get you smoked, you've been hiding behind my ass the whole game - The TV SCREEN suddenly GLITCHES. KALE -LRB- CONT'D. -RRB- Hobby, Jet, you guys still there? The screen goes black. The XBOX LIVE LOGO APPEARS along with the words : SERVER ERROR. Kale throws the headset aside, makes sure all the wires are connected. Checks the TV screen. Same thing. Kale glares at the screen another beat, then gets up, wanders out of his room.","INT. ENTRY HALL - NIGHT - CONTINUOUS Kale slowly heads down the stairs, rounds the corner into.","INT. KALE'S HOUSE - KITCHEN - NIGHT - CONTINUOUS Kale runs into Julie who wears a black blouse and slacks, the required uniform of the steakhouse she works at. She's just thrown a couple of microwave dinners on the kitchen table. She's scrambling around, eating a couple bites, gathering her things. JULIE Dinner's on the table. I'm closing at the restaurant the next few nights. Could be some late ones, but hey. the extra tips could n't hurt. Kale sits at the table, picks through his food. JULIE -LRB- CONT'D. -RRB- -LRB- glancing around. -RRB- Where's my apron. apron. She heads O.S. for a beat, comes back in with her apron and purse, sets them on the counter. Eyes her watch, sits at the table, takes a couple more quick bites. Then - JULIE -LRB- CONT'D. -RRB- You wan na talk about anything? KALE I got nothin'. JULIE Y' know, when we're finally free of all this legal stuff with the accident, the other families' lawyers. there might be a little insurance money left. maybe you should go back and see Dr. Phillips? KALE What, so he can tell me I'm ADD, have PTSD, and severe IAD? JULIE IAD? KALE -LRB- messing with bracelet. -RRB- Freakin' irritated ankle disorder. Julie ca n't help but crack a little smile : JULIE Well, that one could've been avoided. Kale looks back up. He's not smiling. Whatever chance we had of a lighter conversation panning out here quickly fizzles. Another beat, then - Julie pushes her chair back, heads to the counter, grabs her apron and purse. JULIE -LRB- CONT'D. -RRB- -LRB- heading out. -RRB- Do the dishes. -LRB- pleading. -RRB- Please? Julie leaves. Kale glances around the kitchen. A mess of dirty dishes, stacks of paper. screw that.","INT. KALE'S BEDROOM - NIGHT - LATER Kale, looking disheveled and very perplexed, now has his TV pulled out from the wall. He's behind it, meticulously checking and re - connecting all the wires and ethernet cable. Carefully studying the manual as he goes. He blows on the Halo 2 CD, wipes it down with his sweatshirt, gently puts it in the tray, giving us the idea this might not be his first attempt at this. He powers up the Xbox, grabs a controller. so far, so good. he scrolls through the screens, a little hope returning. SERVER ERROR. Kale throws a mini - fit, slams the controller to the floor. Rips the controller cord out of the XBOX -","INT. KALE'S BEDROOM - THE NEXT MORNING A few stray beams of sunlight pierce the blinds. Otherwise, it's a tomb. Clothes strewn everywhere. We TRACK ACROSS the floor and a virtual DEBRIS FIELD of junk food bags, wrappers, Mountain Dew cans. find Kale in bed, ankle and bracelet stick out from the sheets, arm hangs over the side -","INT. KITCHEN - MORNING Still a mess as we find Kale, hair disheveled, rummaging through the cabinets. Lots of Costco - size boxes : crackers, Pringles. a HUGE BOX OF TWINKIES. Kale spots a jar of peanut butter. He grabs the nearest bowl, pulls a bottle of Hershey's syrup from the fridge, pours it all into the bowl. He's about to throw the syrup bottle in the trash when something in the bottom of the can catches his eye. He reaches in, pulls out a bill for XBOX LIVE : SUBSCRIPTION CANCELED.","INT. LIVING ROOM - MORNING - MOMENTS LATER Kale lounges in on the couch watching `` The Price is Right'' as he spoons the peanut butter from the jar, dips it in the bowl of chocolate syrup, devours it. Brings up a two - liter of Mountain Dew, takes a big swig to wash it down. KALE -LRB- to contestant on TV. -RRB- C'mon, bid a dollar, one dollar - CONTESTANT -LRB- ON TV. -RRB- I'll bid one dollar, Bob. Kale belches as he raises his spoon, saluting the screen. Then, after a beat, a look of grave concern crosses his face -","INT. 2ND FL HALL OUTSIDE BATHROOM - DAY The toilet flushes O.S. Kale opens the door, leans against the frame, spent. He stands there a beat, absorbing the silence of the house. He eyes a door at the end of the hall.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - SECONDS LATER CU - the doorknob. Kale's hand enters frame, slowly turns it. Click. Kale pushes. The door CREAKS open to reveal DAD'S OFFICE Hardwood floor. Ornate, cherry wood desk. Plush leather chairs. Quiet. ON THE DESK - dad's reading glasses sit on a stack of papers next to an antique typewriter. THE WALLS - adorned with framed, poster - size covers of Dad's books - non - fiction, true account titles : WHISTLEBLOWER - The Inside Story of a Real Corporate Insider ; THE SENATOR'S SHADOWS : How Eight Men Conspired to Control One. ON ANOTHER WALL - a family portrait of Jeff, Julie, and Kale - age six ; Jeff at a book signing, smiling wide. Kale takes it all in from the doorway. His feet never once cross into the room. His eyes say everything. Loss, anger, regret. He gently pulls the door shut.","INT. KALE'S BEDROOM - THAT NIGHT Kale samples some rap clips on I - tunes. Likes what he's hearing. ON THE SCREEN - Kale moves the cursor to `` buy song.'' The account screen pops up. Kale types his password. After a beat, bold red letters pop up : `` THE APPLE ID OR PASSWORD YOU ENTERED WAS INVALID OR INCORRECT.'' Kale types it again. Same thing. Then - like we all do to be sure, Kale types his password at a rate of ONE KEY PER SECOND. Same thing. Kale fumes, smelling a rat.","INT. KALE'S BEDROOM - DAYS LATER The shades are drawn. Kale's door is closed. Find Kale looking utterly miserable, lounging in bed watching `` Bikini Destinations'' on HD NET. Julie enters wearing a business suit and name badge emblazoned with the RE/MAX LOGO. Kale quickly changes the channel to the local news. JULIE -LRB- heading to the window. -RRB- More trash TV? NEWS ANCHOR -LRB- ON TV. -RRB- Thirty - three year old Patricia Walsh was last seen three nights ago. KALE -LRB- innocently. -RRB- News. Kale points to the TV showing a photo of a smiling PATRICIA WALSH, VIBRANT, FLOWING RED HAIR - `` MISSING'' keyed in underneath. Julie shoots him a look, then rips open the blinds. Sunlight pours in. She gathers trash off the floor. JULIE The lawyer's sending some papers over. KALE And your point is? JULIE -LRB- heading O.S. -RRB- I've got two open houses, you've got ta sign for them. That's the point. KALE You canceled my Xbox subscription. JULIE -LRB- O.S. -RRB- I - tunes, too. -LRB- then. -RRB- You know what else I'm canceling? Kale turns to Julie who suddenly drops a pile of Kale's clothes on the floor in front of him. JULIE -LRB- CONT'D. -RRB- Maid service. -LRB- off Kale. -RRB- Sorry, you're a felon. And we're broke. I ca n't do it all, anymore, Kale. This is n't gon na be vacation as usual. I want these washed and the kitchen cleaned by the time I get home. KALE That might be difficult. JULIE Well let me make it easier. Julie goes to the TV, UNPLUGS IT. KALE That's a little dramatic, is n't it? I'm just gon na plug it back - Julie suddenly yanks a pair of scissors off Kale's desk and SNIPS THE POWER CORD IN HALF. KALE -LRB- CONT'D. -RRB- What are you, mental? JULIE -LRB- a very stern tone. -RRB- One more look at that kitchen and I will be. Julie picks up her keys and briefcase, pecks Kale on the forehead, leaves. JULIE -LRB- O.S. ; CONT'D. -RRB- You heard what I said about the lawyer? KALE Yes!","INT. LAUNDRY ROOM - DAY - LATER Kale furiously stuffs clothes in the washer, blindly cranks the knob, presses start.","INT. KITCHEN - DAY - LATER Kale SHOVELS dishes and glasses into the dishwasher, breaking a couple as he goes. He pours half the box of Cascade in the dispenser, kicks the door up and closed, cranks the knob.","INT. KALE'S BEDROOM - DAY - LATER Kale sits on his bed, staring into space. He eyes the clock. Tick tick tick. We hear KIDS PLAYING IN THE STREET O.S. Kale glances out the window. HIS POV - Kids on bikes, NEIGHBORS out on walks. ahh. the sights and sounds of summer. And Kale's not invited. He glares down at his ankle bracelet. It glares back.","INT. KALE'S BEDROOM - DAY - LATER Kale sits on the floor as he spreads a line of Elmer's glue across the bottom of a Twinkie. He's just completed the first couple of floors of what will be. TWINKIE TOWER.","INT. KALE'S BEDROOM - DAY Kale, on cell, sits in his video game chair painting his toe nails. KALE -LRB- into phone as needed. -RRB- Dammit, Ronnie, I'm losing my mind. Give me some details, what's happening out there? RONNIE -LRB- V.O. -RRB- -LRB- phone filter ; party sounds in the b.g. -RRB- Dude, the chicks here in Oahu rock the houusse! Oh my god, this one is totally showing me her kite board. Belay that, she was n't pointing at me. Look, Kale, I've got ta hop - KALE Wait, Ronnie - Hello? Kale tosses the phone and the nail polish aside. Sits there in silence for a beat. Then eyes a racketball on the floor. Picks it up. Starts mindlessly bouncing it against the wall. and keeps bouncing it. and keeps bouncing it.","INT. KALE'S BEDROOM - DAY - LATER Kale reclines in his chair, now FURIOUSLY SWATTING the racketball against the wall - with a racket. We PULL BACK to reveal SCUFF MARKS on the walls and CEILING where Kale has figured out the exact points to hit it allowing him to bounce the ball off multiple walls and return it perfectly to his hand. He SWATS it. and SWATS it.","INT. KALE'S BEDROOM - DAY - STILL LATER Kale's passed out in his chair, the racket still in his hand. He's about to fall out of the chair when a loud BANG O.S. JOLTS him awake.","INT. 2ND FLOOR HALLWAY/WINDOW - DAY - SECONDS LATER Kale goes to the window, tilts his head, trying to see where the noise is coming from. KALE'S POV - He's able to make out some bits of movement next door, but his VIEW is OBSTRUCTED by the architecture of his house. Kale steps back from the window, studies it a beat - then opens it, slowly sticks his head out. HIS POV - A U - HAUL TRUCK comes into view. It's backed into the driveway next door. ALAN NORRIS, 43, appears from inside the truck's cab, carrying a moving box. He hands it down to his wife, BONNIE, 42, who walks back in the house. Kale's about to pull his head in when another PERSON comes out of the moving truck. She's carrying a box that's obscuring her face as she carefully negotiates the incline of the moving truck's ramp. But her blonde hair and perfect legs look to be about 17. We'll soon know her as ASHLEY, the Norris' daughter. She reaches the end of the ramp. Bends over to retrieve another smaller box, her back and ass to Kale who stares in utter disbelief. Ashley stacks the boxes, picks them up and heads into the house, her face still a mystery. Kale watches her go. Mesmerized. Suddenly, the DOORBELL RINGS O.S. Kale snaps to, yanks his head back in - and KERBONGS it on the underside of the window. He drops to the floor. KALE GODDAMMIT! Kale staggers to his feet.","INT. ENTRY HALL - DAY - SECONDS LATER More doorbell RINGING. Kale heads down the stairs to the front door. KALE I'm coming! Kale swings the door open to see - A BURNING PAPER BAG on the welcome mat.","EXT. KALE'S HOUSE - FRONT PORCH - DAY - CONTINUOUS Kale instinctively STOMPS ON IT with his SOCKED FEET! KALE Oh shit! Shit water shit! Kale frantically hops around, looking for a hose, bucket, anything wet - but the flames are already out. Kale looks down, finally realizes this - but there's another problem - his socks are smothered in SLIMY DOG SHIT. We hear GIGGLING O.S. Kale glances up as two neighborhood BRATS on bikes emerge from their hiding place behind a shrub across the street. They high five each other. BRAT #1 What a retard! Kale glares - then heads down the steps into.","EXT. KALE'S YARD - DAY - CONTINUOUS Kale walks briskly, menacingly toward them - KALE You think that's funny? The Brats grow more concerned, back away as Kale draws closer - BRAT #2 What are you gon na do, kill us like your teacher? KALE CHARGES THEM! KALE Not before I shove this shit up your ass! The brats pedal away. Kale races through the sprinkler, crossing his yard into the far corner of Ashley's, trying to cut the Brats off as they race down.","EXT. STREET - DAY - CONTINUOUS The chase is on. Kale increases his speed. Almost catching up to them - BRAT #2 -LRB- terrified to Brat # 1. -RRB- Dude, you said he could n't leave his house! Kale overhears, stops cold. He glances to the ANKLE BRACELET : FLASHING RED LIGHT. KALE Shit! Kale races back down the street, his shit - stained feet leaving tracks as he goes. He cuts through Ashley's yard again, yelling at the bracelet all the way - KALE -LRB- CONT'D. -RRB- Turn green turn green turn green. Kale races by ASHLEY'S PARENTS, leaps back into.","EXT. KALE'S FRONT YARD - DAY - CONTINUOUS He looks at the bracelet. Still FLASHING RED. He hops up and down as the SPRINKLER STREAMS approach him from behind. KALE -LRB- CONT'D. -RRB- No, c'mon, I'm way inside, turn green - He spins back toward the house, runs SMACK into the STREAMS, trips on the sprinkler, falls on his face. Now his foot's tangled in the sprinkler. Spraying water all over him. Kale's foot jiggles the sprinkler free. He then sees the ankle bracelet : GREEN LIGHT. KALE -LRB- CONT'D. -RRB- Yes! That's what I'm talking about! He gazes over : ASHLEY'S PARENTS, EACH WITH A MOVING BOX, STAND THERE, JAWS DROPPED. BOTH TAKE A NERVOUS STEP BACKWARD as ASHLEY steps out the front door. Freezes at the sight of the sopping wet, shit - and - grass - stained Kale. Kale locks eyes with her. Then smiles and waves. KALE -LRB- CONT'D. -RRB- It's cool, I'm all green. Then - SIRENS WAIL. Kale turns to the street : TWO POLICE CARS SCREECH TO A STOP. Kale loses the smile. PARKER -LRB- V.O. -RRB- -LRB- phone filter prelap. -RRB- Kale, calm down, the officers were probably in the neighborhood already.","INT. KALE'S BEDROOM - EVENING ON KALE - pacing, on cell phone, pressing an ice - filled Ziplock back to his head. KALE -LRB- into phone as needed. -RRB- Okay, fine, but if I'd known - PARKER -LRB- V.O. -RRB- Kale, first times happen. The officers knew that. But next time they will take you to jail. Kale flips the phone shut, collapses to the bed - PRELAP - The doorbell RINGS.","INT. KALE'S HOUSE - ENTRY HALL - THAT NIGHT Kale, his Louisville Slugger firmly in hand, groggily heads to the door, swings it open. COURIER. With papers. COURIER Hi, I'm from McNeill - Stewart law firm, dropping off for Ms. Julie - Over this, Kale yanks the envelope away, SLAMS the door in the guy's face. Kale heads away. The doorbell RINGS. Kale opens the door, grabs the courier's clipboard, signs his name, SLAMS THE DOOR EVEN HARDER.","EXT. KALE'S BACK YARD - THE NEXT DAY ON KALE'S FEET - entering frame, inching their way through the yard. ON THE BRACELET - The green light suddenly goes out, red light FLASHES. Kale's foot quickly steps back. GREEN LIGHT. A beat, then - A SMILING GARDEN GNOME SLAMS DOWN INTO FRAME. WIDER - Kale ties kite string around the gnome's hat, then unspools it across the yard to a waiting croquet mallet already hammered into the ground. He pulls the string taut and ties it off. We PULL BACK to REVEAL Kale's emerging KITE STRING PERIMETER - a crude SEMI - CIRCULAR ARC around the yard tied off at different points using makeshift `` stakes'' - gnomes, mallets, shovels, screwdrivers.","EXT. KALE'S FRONT YARD - DAY - SHORT TIME LATER Same `` BOUNDARY CONSTRUCTION'' here. Kale shoves a screwdriver into the ground a few feet shy of his mailbox. He ties some string to it as he glances over to the other neighbors' -LRB- the PILCH's -RRB- yard, sees their black Labra - doodle watching him. KALE Hey doggie, come here. The dog trots toward Kale. It almost reaches his outstretched hand when it suddenly gets ZAPPED by the underground electric fence. It YELPS away. Spins back around, sits and stares. KALE -LRB- CONT'D. -RRB- -LRB- re : his ankle bracelet. -RRB- Hey, you and me both. OVER KALE'S SHOULDER IN THE B.G. - ASHLEY lifts more boxes from the back of their station wagon. She sets them on the drive, SLAMS the liftgate. Kale turns around. Ashley throws him a quick glance, then heads around the back of her house. Kale stares after her.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY CU - The doorknob. Kale's hand enters frame, slowly turns it. Click. Kale pushes.","INT. DAD'S OFFICE - DAY - CONTINUOUS Kale stands in the doorway. He takes a moment, considering what he's about to do. Then - HIS FOOT steps inside. He goes to the window, gently pulls the blind up to reveal the BACK OF ASHLEY'S HOUSE He peers down, sees Ashley and her mom standing by the swimming pool. Ashley disappears through the back door. Kale tilts his head up, curiously gazing through the pair of OPEN WINDOWS on the SECOND FLOOR of Ashley's house. HIS POV - ASHLEY'S BEDROOM Unmade bed, stacks of open moving boxes, poster frames waiting to be hung. Kale squints, steps closer. ASHLEY enters the room. Digging clothes from boxes, stuffing them in her dresser, then - she pulls her hair back, yanks off her t - shirt, revealing a black bra. ON KALE - he continues to watch as Ashley digs a towel out of a moving box, and, with her back to us, pulls off the bra and disappears into the bathroom. Off Kale -","INT. KALE'S HOUSE - ENTRY HALL - DAY The front door swings open to reveal Ronnie, DV camera in hand. He's wearing aviator shades, half a dozen leis and a hawaiian shirt. RONNIE -LRB- hula dancing. -RRB- Aloooha Senor Ka - Dude, you look like hell. REVERSE ANGLE TO REVEAL KALE - now with a patchy stubble, wearing a bathrobe and a SHRUNKEN t - shirt that used to be white but is now LIGHT PINK. He holds his bat in one hand, quart of Haagen Dazs in the other. He smiles, hugs Ronnie. Tight - and not letting go -","INT. 2ND FL HALLWAY/WINDOW - DAY - MOMENTS LATER Kale leads Ronnie up the stairs and to the window. RONNIE Seriously man, you need some sun. -LRB- re : DV cam. -RRB- Hey, I've got ta show you this. Maui chicks rule. KALE -LRB- anxious. -RRB- I've got something to show you, too. -LRB- then ; slightly crazed. -RRB- I mean. there's such structure to it, so many layers, but it's invisible if you're not looking close enough. RONNIE What are you talking about? KALE The world right outside the window. Kale gestures out the window. Ronnie looks out. They peer down to the Pilch's backyard. A Ford Escort is in the drive. Besides that, all's quiet. RONNIE - Fascinating. KALE -LRB- eyeing his watch. -RRB- Just wait. and. -LRB- then. -RRB- Three. two. one. dog. The Pilch's dog darts out the back door - then - KALE -LRB- CONT'D. -RRB- Mrs. Pilch. saying goodbye to Lonnie. RONNIE Husband? KALE -LRB- shaking a `` no''. -RRB- Maid. Over the above, Mrs. Pilch, wearing an unflattering tennis skirt, exits the house. The dog hops around her as she waves back to her heavy set, male maid, LONNIE, 35. KALE -LRB- CONT'D. -RRB- Four o'clock every Thursday, she goes to the country club to play tennis with Betty Big - Bangs there. Kale and Ronnie watch as Mrs. Pilch heads down the walkway, meets her rail - thin 50 - ish female tennis PARTNER at the curb. As they walk away, the dog tries to follow but gets ZAPPED by the electric fence and YELPS back into the house. KALE -LRB- CONT'D. -RRB- And. ladies disappear. cue white Mercedes. Mr. Pilch. arriving from the office. A white mercedes pulls in the driveway. MR. PILCH, 63, gets out, carrying briefcase and flowers. RONNIE Great, that still does n't explain why you're in a bathrobe at four in the afternoon. KALE -LRB- pulls Ronnie closer. -RRB- Will you just look - RONNIE Dude, he's gon na see - KALE He ca n't. We do n't have any lights on. Plus the angle's sharper from ground level, it only seems like he could see us. I did the math. RONNIE Oh, you did the math. KALE Optical illusion, line - of - sight does n't apply to the subject. RONNIE Kale - KALE Now tilt your gaze up. RONNIE AND KALE'S POV - TILTING UP TO THE PILCH'S BEDROOM WINDOW - Lonnie vacuums as Mr. Pilch enters the room behind him. Mr. Pilch flips off the light switch, cutting the power to the vacuum. Lonnie startles, turns around, sees Pilch standing there with the flowers and a big smile. A beat, then - Lonnie jumps in Pilch's arms, kissing him passionately. RONNIE DAMN! Kale slaps his hand over Ronnie's mouth. Ronnie pulls away, reaches in his pocket, yanks out his ASTHMA INHALER and takes a hit. Then - RONNIE -LRB- CONT'D. -RRB- -LRB- re : hallway and window. -RRB- Seal this area off, Kale. KALE C'mon, there's more. RONNIE What, I go to Maui, you become a stalker? KALE No, stalking's for psychos. These are just simple observations. natural side effects of chronic boredom. As Kale heads away : RONNIE -LRB- pleading. -RRB- Find your passion, Kale.","INT. KALE'S BEDROOM - DAY Kale leads Ronnie to the window. Ronnie takes in the mess in Kale's room - the scuff marks on the walls, the completed TWINKIE TOWER. He glances to the desk, sees a penciled GEOMETRIC DIAGRAM of Kale's line - of - sight spying theory - shit, Kale was n't lying - he did do the math. KALE -LRB- pointing out. -RRB- So. Robert Giles. KALE AND RONNIE'S POV - In the yard across from Kale's back yard, find ROBERT GILES, gassing up his lawnmower in the driveway. He's early 40's, clean - cut, fit, decent looking. He closes the garage door via remote, then fires up the mower, pushes it around the side of his house toward the front yard. KALE -LRB- CONT'D. -RRB- He's lived there a couple of years, but I've never noticed he mows his lawn every two days. RONNIE Huh, I guess he likes his grass short. KALE Next to him is Judy Thorp. Dude, she freakin' sneaks over to her neighbors' every morning, steals their newspaper, I guess reads it or swipes the coupons, then puts it back before they even wake up. RONNIE -LRB- sarcastic. -RRB- No shit? -LRB- weirdly eyeing Kale who heads out. -RRB- People. You never can tell these days.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - MOMENTS LATER Kale slowly pushes on the door. It creaks open. Kale tilts his head, listening. Then - SPLASH! Kale smiles. RONNIE What was that?","INT. DAD'S OFFICE - DAY - CONTINUOUS Kale leads Ronnie to the window. KALE Last stop on the tour. KALE AND RONNIE'S POV - ASHLEY swims underwater the length of the pool. She finally surfaces in all her two - piece glory. RONNIE Oh - my - God. Who be she? They watch as Ashley steps out of the pool, towels off. She pulls her bikini from her butt, lies in the lounge chair. KALE Do n't know. RONNIE What's stopping you?! Off Kale, considering -","EXT. KALE'S FRONT YARD - THE NEXT DAY ON KALE - now clean - shaven, sitting on the front steps. He eyes his watch, then stretches his neck. Yawns. Then he sees something O.S. KALE'S POV - peering down the street, Ashley's stationwagon rounds the corner - Kale hops to his feet, quickly fixes his hair as the stationwagon draws closer. Kale casually strides into the yard, approaching the kite string boundary and mailbox. Then - keeping his feet planted in what looks to be a very practiced maneuver, he suddenly falls forward against the mailbox. Reaches around with his free hand, opens the door, going to grab the mail inside just as ASHLEY pulls the car into and up the drive. She glances at Kale who nods and smiles back. As the stationwagon heads up the driveway, Kale tries to push himself upright - but his feet SLIP. He pitches forward more. He glances back over his shoulder, sees Ashley getting out of the car and looking his way. Kale struggles under his own weight, trying to keep his feet from crossing the line - he looks back to Ashley who's now heading toward him. A slight smile crosses Kale's face as - ASHLEY Can I help you? KALE Nope, no I'm fine. ASHLEY -LRB- helping him up. -RRB- Too late. KALE Thanks, that was really humiliating. Ashley reaches in the box, grabs the mail, hands it over. ASHLEY Please. I think any pride you had left was gone a while ago. KALE Oh, you mean that thing with the cops? They had the wrong guy, total foul up. I'm Kale by the way. Ashley nods with a semi - polite smile, starts to head away - KALE -LRB- CONT'D. -RRB- Hey, so - how'd the move go? ASHLEY Still going. KALE I'd help, but. -LRB- re : ankle bracelet. -RRB- I'm a little spatially challenged at the moment. Ashley walks closer to Kale, checks out his ankle bracelet. ASHLEY Yeah, you've kinda got the whole Martha Stewart thing going on - KALE -LRB- nodding. -RRB- But minus the 48 - hour allowance for office visits. And no lame `` Apprentice'' spin - off. -LRB- off her laugh. -RRB- So where'd you move from? ASHLEY I'm a city girl. Born, raised, and now. -LRB- glances around ; sighs. -RRB- Forcefully relocated. KALE That does n't sound good. ASHLEY I'm telling you, if I have another clueless jock hit on me or one more soccer mom cuts me off in her oversize SUV, I'm gon na go postal. KALE Oh, sorry, I was just gon na see if you wanted to hop in my Hummer and cruise to a kegger. -LRB- turning away. -RRB- Nice talking to you. ASHLEY -LRB- cracking a smile. -RRB- Wait, I - BONNIE -LRB- O.S. -RRB- -LRB- from inside house. -RRB- Ashley? Can you come in here, please? ASHLEY -LRB- quietly to Kale. -RRB- My mom - she's very polite, always says `` please'' but she's got that tone, did you notice? KALE I know the tone. ASHLEY -LRB- heading away. -RRB- Oh, I'm Ashley - KALE Noticed that, too. Ashley smiles, disappears inside. Kale's in love.","INT. LIVING ROOM - NIGHT The wind HOWLS outside. Kale sits on the couch flipping channels. Julie's in the chair, nodding off. ON THE TV - Kale lands on that same photo of PATRICIA WALSH, the MISSING REDHEAD we saw earlier. NEWS ANCHOR -LRB- ON TV. -RRB- attended a friend's birthday party at a local nightclub before she was last seen alone at a diner outside Madison, 50 miles east of here. A waitress said Ms. Walsh was picked up around 10:30 P.M. by an unidentified person driving a black 1960's era Mustang that was dented on the left side and may have - Kale CLICKS the TV off - looks over to Julie who's now sound asleep. Kale's watch ALARM suddenly BEEPS. He quickly shuts it off, eyes Julie. She stirs but does n't wake up. Kale quietly gets up, grabs the blanket off the sofa, covers Julie up. He then picks up his soda and bowl of popcorn from the coffee table, heads away.","INT. DAD'S OFFICE - NIGHT - SECONDS LATER Kale, immersed in shadow, enters. He quietly pulls Dad's leather chair toward the window, positions it just right, and sits. KALE'S POV - Ashley's working out to a YOGA DVD. KALE -LRB- to Ashley. -RRB- You started without me? As if eerily on cue, Ashley suddenly stops. KALE -LRB- CONT'D. -RRB- What are you stopping for? She goes to her window and peers out - Kale ducks - He looks back up, sees Ashley gazing in his direction - Kale's breathing intensifies - could she actually be seeing him? KALE -LRB- CONT'D. -RRB- -LRB- convincing himself. -RRB- No - ASHLEY turns around, goes back to her yoga mat. She takes a breath, getting back in `` the zone,'' then - she slowly raises her arms and bends into a ridiculously sexy pose. KALE -LRB- CONT'D. -RRB- Whoa. Kale watches Ashley another couple of beats. Then her dad appears in the doorway. Looking pissed. Kale leans closer - Ashley stops the DVD. From her body language, she's clearly annoyed at the interruption. The scene quickly devolves into a heated argument. But Ashley's dad gets the last word in and leaves. Ashley SLAMS the door behind him, flips off the TV, storms in the bathroom and SLAMS that door, too. Kale watches the vacant room. waiting. another beat, then - Ashley emerges from the bathroom with a box of tissues. She sits on her bed, pulls THREE TISSUES from the box, staring off. From this angle, it almost looks as if her eyes could meet Kale's at any moment. Kale instinctively lowers himself in the chair, his eyes never leaving her. Then - with a huge gust of HOWLING WIND we","INT. DAD'S OFFICE - NIGHT - LATER Kale SNAPS AWAKE. Breathing hard. Bad dream. He sits up, peers across to Ashley's windows. Dark, shades pulled. Kale pulls himself out of the chair.","INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER Kale enters, grabs his PSP and falls back to the bed. As he starts playing, HEADLIGHT BEAMS appear from O.S.. He glances out the window : KALE'S POV - A BLACK 1965 MUSTANG CONVERTIBLE pulls in Giles' driveway. Kale goes back to playing the PSP, then suddenly stops - KALE -LRB- realizing. -RRB- - Mustang - Kale hops up, heads to the window - KALE'S POV - Kale watches as Giles hops out, leaves the car running as he heads inside the house. After a beat, the MAIN GARAGE DOOR raises up. Giles appears, ducking underneath, heads back to the Mustang, gets in. Giles maneuvers the car around the driveway. The front end of the car swings around, revealing a bashed - in right front fender. KALE -LRB- CONT'D. -RRB- Holy shit. A dent - Kale races to his closet, pulls down a pair of binoculars, heads back to the window. BINOCULAR POV - In the garage, Giles is already out of the car, rounding the back as the garage door lowers. Kale crouches, trying to see under the CLOSING DOOR. catching a glimpse of Giles popping the trunk - A HAND suddenly enters frame, lands on Kale's shoulder! Kale SCREAMS, whips around - Julie. She SCREAMS, too. KALE -LRB- CONT'D. -RRB- Jesus, mom! JULIE Christ, Kale! JULIE -LRB- CONT'D. -RRB- I'm sorry. I thought you heard me. KALE What? No, I - JULIE What's going on? KALE Nothing, just watching the wind blow. JULIE -LRB- re : binoculars. -RRB- Anything else? Kale turns back. HIS POV - Giles' garage door is now closed. KALE No, see for yourself. JULIE -LRB- beat ; then. -RRB- That's okay, I just. wanted to say good night. Julie leaves. Kale turns back to the window, stares out at Giles' house. The lights go out.","INT. DAD'S OFFICE - THE NEXT DAY ON KALE - sitting in the leather chair, binoculars raised. On the floor next to the chair is a 7 - 11 bag, a slurpee cup, a bag of beef jerky and an AUTOMOTIVE MAGAZINE with a MUSTANG on the cover. BINOCULAR POV - Ashley sits on the roof leaning against her closed window. She's reading Lolita. RONNIE -LRB- O.S. -RRB- So you do n't know what year the Mustang is? REVEAL RONNIE - sitting at dad's computer looking at the FBI'S OFFICIAL WEBSITE. KALE -LRB- now flipping through magazine. -RRB-'65 or' 66, could n't tell. RONNIE Check this out. The feds think your missing girl might be related to three murders in Austin. All redheads. Kale processes that as we suddenly hear a car door SLAM O.S. BINOCULAR POV - Kale TILTS DOWN to see Ashley's mom backing out the driveway. Kale TILTS UP to Ashley's window - Ashley ducks back inside her room, disappears. KALE Movement. BINOCULAR POV - Kale TILTS DOWN to the pool, sees Ashley emerging from the house with a towel that she throws on the lounge chair. KALE -LRB- CONT'D. -RRB- Better late than never. Ronnie joins Kale at the window. THEIR POV - Ashley flips her sandals off one at a time, pulls her tank off revealing her bronzed back and bikini top. RONNIE Dude. Ashley slinks out of her shorts revealing a `` near - thong'' bikini this time. RONNIE -LRB- CONT'D. -RRB- DUDE! KALE -LRB- re : bikini. -RRB- That's definitely new. Ashley crouches down, runs her fingers through the water. RONNIE Oh, it's so warm, baby. Ashley cups her hands, scoops a handful of water from the pool, splashes her face. runs her hands through her hair. She stands, takes a deep breath, holds it - then exhales. RONNIE -LRB- CONT'D. -RRB- Cleansing breath. Ashley stretches her arms high above her head. RONNIE -LRB- CONT'D. -RRB- Concentrate now. This is for the gold. Ronnie grabs the binoculars from Kale, puts them to his eyes, moves closer to the window - but his zoomed - in vision causes him to underestimate the distance - THWUMP. The end of the binoculars HIT THE WINDOW just as Ashley dives into the pool - Ronnie and Kale hit the deck as we hear the splash O.S. KALE Jackass! RONNIE Dude, there's no way she heard that. KALE Dick, my deaf aunt in Omaha heard that. Kale grabs the binoculars from Ronnie. BINOCULAR POV - Ashley's underwater at the far end of the pool. She tucks and pushes off the wall, swims back. RONNIE -LRB- peering out. -RRB- She's got great lung capacity. ON ASHLEY - She suddenly surfaces, hoists herself from the water. She spins and sits on the ledge, rings the water from her hair. But she suddenly stops - and shifts her GAZE UP toward Kale and Ronnie! KALE -LRB- pulling Ronnie down. -RRB- I think she saw me - RONNIE There's no way - Ronnie grabs the binoculars back. RONNIE -LRB- CONT'D. -RRB- -LRB- re : Ashley O.S. -RRB- Okay, maybe she did. KALE Seriously? Kale peeks out - THEIR POV - Ashley's slipping back into her shorts and tank top. She heads to the back door, tries the knob. Locked. Over this, Ronnie turns to Kale : RONNIE Her swims always that short? KALE -LRB- growing concern. -RRB- No, she usually takes her time - They turn back. Ashley's gone. RONNIE Now where is she? The DOORBELL RINGS. Kale and Ronnie freeze. Then - KALE No. RONNIE No.","INT. ENTRY HALL - LATE AFTERNOON - MOMENTS LATER Kale and Ronnie quietly approach the door. Ronnie suddenly pulls Kale back. RONNIE Do n't, it could be her! KALE It's not gon na be her. RONNIE Then stop! Just - let'em go away. The DOORBELL RINGS AGAIN. Kale heads to the door. KALE I have to. Kale peeps through the peephole - DISTORTED PEEPHOLE POV - Ashley. Kale calmly turns to Ronnie. RONNIE What?! What?! Speak. KALE It's her. RONNIE You're full of - Ronnie tip - toes to the door. One look at Ashley and he covers his mouth, grabs Kale and pulls him back. RONNIE -LRB- CONT'D. -RRB- Shit shit! Oh my shit! Both laugh, giggle, acting `` girlie,'' practically spinning in circles as they speak in hushed, panicked whispers : KALE She totally saw us - The DOORBELL RINGS again. Kale heads to the door. RONNIE We are so busted. Do n't answer it! KALE -LRB- re : his bracelet. -RRB- Dude, she knows I'm here. Kale swings the door open. Ashley stands there a beat. Her arms folded. Then - ASHLEY What took you so long? -LRB- eyeing Ronnie in b.g. -RRB- The house is n't that big. KALE Yeah, no, we were playing upstairs - Ronnie cringes at how that sounded. RONNIE -LRB- covering. -RRB- Video games? KALE -LRB- awkward beat ; then. -RRB- So. what brings you here. ASHLEY Oh. - Locked out. KALE Do you need to call anyone? ASHLEY Thanks, but I'd rather stay stranded if you do n't mind. Kale and Ronnie trade glances. ASHLEY -LRB- CONT'D. -RRB- May I? KALE Uh, sure, come on in - Ashley steps inside, glances around, checking out the place. KALE -LRB- CONT'D. -RRB- That's Ronnie. ASHLEY Nice to meet you. Video games, huh? -LRB- then suggestively to Kale. -RRB- I like to play. Kale trades a look with Ronnie as Ashley nonchalantly heads up the stairs. KALE Excuse me.","INT. KALE'S BEDROOM - LATE AFTERNOON - MOMENTS LATER Ashley barges in, instantly struck by the mess. Kale pushes past her, starts grabbing underwear and garbage off the floor. KALE It's a little messy. ASHLEY A little? Kale keeps gathering clothes, tossing them to Ronnie who tosses them in the closet. Ashley picks up the binoculars from the window sill, peers outside. ASHLEY -LRB- CONT'D. -RRB- Anything interesting out there? Kale and Ronnie trade looks. Ashley turns around, binoculars still raised, aiming them like a gun at Kale. ASHLEY -LRB- CONT'D. -RRB- Are you spying on the neighbors, Kale? Kale freezes. RONNIE -LRB- stepping in. -RRB- Actually, he is. Kale's eyes widen in panic. RONNIE -LRB- CONT'D. -RRB- See, he has this neighbor - who I guess by definition would also be your neighbor - who may, in point of fact, be a cold - blooded killer. ASHLEY Is that so. Ronnie points out the window to Giles' house. RONNIE Exhibit A, Robert Giles. ASHLEY Yeah, I've seen him. So? KALE So you hear about that missing girl from Madison? ASHLEY -LRB- realizing ; then pointing out to Giles'. -RRB- What, you think he - KALE He drives a car like the one she was seen in. RONNIE Black Mustang. KALE 60's era Mustang. ASHLEY Gee, that really narrows it down. KALE They said it was dented. His has a bashed - in fender. ASHLEY -LRB- re : binoculars. -RRB- So this is why - you're - Suddenly seeing something O.S., Kale RIPS the binoculars out of Ashley's hand, goes to the window. RONNIE What? BINOCULAR POV - Giles pulls the Silver Toyota out of the garage and out the driveway. Ashley suddenly grabs the binoculars from Kale, peers out. KALE Hey - ASHLEY So that's the infamous black mustang, huh? KALE Yeah - ASHLEY The one with no dent? KALE -LRB- grabbing the binocs. -RRB- What? BINOCULAR POV - Sure enough, the Mustang NO LONGER HAS A BASHED - IN FENDER. The garage door starts to close - KALE -LRB- CONT'D. -RRB- How'd he fix it so fast - ASHLEY Because it was never there in the first place? Kale eyes Ashley. Shit, could he have imagined it? Ashley playfully grabs the binoculars back from Kale. BINOCULAR POV - Ashley catches a glimpse of a faded TEXAS LONGHORNS BUMPER STICKER. ASHLEY -LRB- CONT'D. -RRB- Sorry guys, no bashed - in fender, just a Longhorns bumper sticker. KALE -LRB- grabbing the binocs. -RRB- You serious? -LRB- then to Ronnie. -RRB- She's right. THEIR POV - Giles' garage door finally SLAMS CLOSED. KALE -LRB- CONT'D. -RRB- -LRB- off Ashley's questioning look. -RRB- They think it might be linked to some murders in Texas two years ago. RONNIE Austin, Texas. Texas Longhorns. Kale and Ronnie eye Ashley as if to say `` see?'' Ashley eyes them another beat - then : ASHLEY Okay, fine, stakeout. -LRB- grabs binoculars. -RRB- Who's on my shift? Off Kale and Ronnie, their dreams realized -","INT. KALE'S BEDROOM - EVENING - LATER A BOX OF SPYING CRAP is dumped onto Kale's bed. Another DV Camera, an old, bulky VHS camera, a black and white portable TV, couple of tri - pods, walkie talkies, wires. a real mess. RONNIE This is all the stuff I could find - Ashley sits at Kale's computer as Kale anxiously sifts through Ronnie's stuff. ASHLEY Do you know how long Giles has lived there? KALE About two or three years. ASHLEY So he could've lived in Texas. -LRB- re : computer screen. -RRB- Hey, check this out. Ronnie goes to Ashley, reads the Amazon web page for the book : RONNIE `` Murderer : Tell Tale Signs of a Serial Killer.'' Qualifies for free shipping if you pair it with `` The Shrine of Jeffrey Dahmer.'' ASHLEY The summary lists four main criteria. Our guy meets at least three. White male between the age of twenty - five and fifty. He does n't have any pets, right? KALE Not that I've seen - ASHLEY You said he lives alone - RONNIE What's the fourth? ASHLEY -LRB- nonchalant. -RRB- Sexual dysfunction. Silence. Kale and Ronnie trade awkward glances, shaking their heads to each other as if reassuring themselves they do n't suffer from such a condition. ASHLEY -LRB- CONT'D. -RRB- -LRB- changing the subject. -RRB- I'm hungry, let's order pizza.","INT. KALE'S BEDROOM - NIGHT - LATER TRACKING ACROSS KALE'S ROOM - The two tri - pod - mounted DV Cams stand watch over Giles' house. One camera feeds a grainy close - up shot of Giles' garage door to Ronnie's portable TV on the floor. The other feeds a WIDE SHOT of Giles' entire house to Kale's color TV. Both images appear on Kale's computer monitor. WIDER TO REVEAL - Kale and Ashley sit on the floor near the window. Kale peers over to Giles with the binoculars as Ashley messes with Kale's cell phone. In the b.g. Ronnie's passed out on Kale's bed, his hand resting inside the pizza box just inches from the last slice. KALE -LRB- re : Giles. -RRB- He's been gone awhile. ON ASHLEY - she's messing with Kale's cell phone. ASHLEY -LRB- handing him his cell. -RRB- Here. KALE How'd you get my phone? ASHLEY I'm crafty like that. KALE What'd you do? Ashley carefully unclips Ronnie's cell from his hip, flips it open, dials. After a beat, Kale's cell RINGS with Madonna's `` LIKE A VIRGIN.'' Kale laughs. ASHLEY Every time he calls, that's what you'll hear. Kale laughs as Ashley delicately re - clips the phone to Ronnie's belt. KALE'S POV - the Pilch's dog, wearing a pink sweater, suddenly darts into Kale's yard. KALE What the hell? THEIR POV - Pilch's dog stops, spins around and takes a dump. KALE -LRB- CONT'D. -RRB- Where's - Mr. Pilch, in his robe, suddenly appears from the shadows, watches the dog do its business. ASHLEY -LRB- re : Mr. Pilch. -RRB- Three to one he does n't pick it up. Nope. The dog finishes. Pilch calls it over, scoops up the dog and heads O.S. KALE So that's why the grass is greener. ASHLEY Only in disturbia. KALE So why the move? ASHLEY What do you mean? The greener grass, the safer pastures. KALE No, seriously. There's a beat as Ashley locks eyes with Kale. Then - ASHLEY Well, I guess my mom thought it'd help keep dad on a shorter leash. City life. had its temptations. -LRB- beat ; then matter of fact. -RRB- But my mom pretty much cries just as much as she always did, and dad does n't care - more than ever. KALE What did they think, an extra bathroom and two - car garage would actually change things. somehow protect them and you from all that crap you can never escape? Ashley holds Kale's gaze for a beat. Then, she nods, with : ASHLEY Something like that. -LRB- eyeing the bracelet. -RRB- So. what're your issues, Kale? Kale hesitates. We see in his eyes that he's flashing to the past. `` going there.'' There's an uneasy beat as Ashley picks up on it : Then - HEADLIGHTS APPEAR OUTSIDE. Kale quickly turns away from Ashley, pulls one of the DV Cams off its tri - pod, flips out the three - inch LCD SCREEN. KALE That's him. DV CAM POV - Giles' silver Toyota pulls in the driveway. Stops. Engine and headlights turn off. ASHLEY Another car - DV CAM POV - Kale ZOOMS IN. The GRAINY IMAGE finally steadies to reveal a SECOND CAR pulling in behind Giles. A thirty - something attractive WOMAN - a REDHEAD - is at the wheel. She pulls in next to Giles' car. ASHLEY -LRB- CONT'D. -RRB- You seen her before? KALE No. DV CAM POV - Giles gets out. Wearing a suit, no tie. ASHLEY -LRB- re : Giles. -RRB- Cute for a killer. Giles goes to the woman's car, opens her door. ASHLEY -LRB- CONT'D. -RRB- Who said chivalry's dead? The woman gets out, wearing a black cocktail dress. ASHLEY -LRB- CONT'D. -RRB- There's a club girl for you. KALE How do you know? ASHLEY Bright green bracelet's `` The Pyramids,'' purple's `` Club 360,'' the big black stamp's from `` Flavor.'' DV CAM POV - Kale ZOOMS in on the woman's wrist and hand. Sure enough, she's wearing both a green and a purple bracelet, and has a black stamp blotch on her hand. KALE -LRB- over the above. -RRB- Missing girl was seen at a club. Did n't say which one though. -LRB- then aside to Ashley. -RRB- Your I.D. must be pretty good. ASHLEY -LRB- with a smile. -RRB- I do n't need one. They turn back to the window, watch as Giles escorts the woman to the house, shows her in. A light comes on inside. DV CAM POV - Kale ZOOMS IN on one of the living room windows, spots the woman moving around inside, looking at artwork. she sits on the sofa as Giles enters with two glasses and a bottle of wine. He sits down, pours the wine. They toast, take sips. Giles moves in for a kiss - KALE He's going in. DV CAM POV - The woman shies away from Giles, stands from the sofa. ASHLEY Denied. They watch as the woman gets up, moves to the center of the room, and starts to get a little groove on. ASHLEY -LRB- CONT'D. -RRB- -LRB- been there, done that. -RRB- Oh no, he put on music. DV CAM POV - Giles watches the woman as she seductively moves her body to the music we're not hearing. ASHLEY -LRB- CONT'D. -RRB- Oh, c'mon, Giles, all she wants to do is dance. KALE What do you think they're listening to? ASHLEY Could be radio. See if you can find the station. Kale sets the camera down, turns on his receiver. As he toggles through radio stations - Rock, Alternative. ASHLEY -LRB- CONT'D. -RRB- -LRB- watching the woman & Giles. -RRB- No. no. Kale flips to an easy listening R & B station playing Lou Rawls `` You'll Never Find Another Love Like Mine.'' ASHLEY -LRB- CONT'D. -RRB- Stop. BINOCULAR POV - Ashley watches as Giles takes the woman's hand and dances with her. Their rhythm fits the music perfectly. ON RONNIE - he stirs on the bed, still asleep. RONNIE -LRB- eyes closed ; grinning re : music. -RRB- Hmmm. Ashley and Kale eye Ronnie for a beat. Then turn back to the window. DV CAM POV - Kale pans back to the woman and Giles. They're really dancing close now. Kale's and Ashley's eyes shift to each other, then quickly flick away. A beat. Then - Ashley raises the binoculars, faces back toward Giles' with : ASHLEY Now's the time to bust your move. Ashley glances to Kale. Kale turns, holds her gaze. A palpable tension between these two. They ever so slowly lean toward each other when - RONNIE - suddenly interrupts, pushing himself between them. RONNIE -LRB- yawning ; re : woman with Giles. -RRB- Who's that? Ronnie looks to Kale and Ashley who glare back. RONNIE -LRB- CONT'D. -RRB- -LRB- realizing. -RRB- Ookay, just fill me in later. -LRB- taking Ashley's hand. -RRB- A pleasure. -LRB- then ; aside to Kale, mouths ; re : Ashley. -RRB- Duude! -LRB- slaps Kale's hand. -RRB- Later. Ronnie stands, leaves. Kale shakes his head, turns back to Ashley. They lean in again when - Ashley's CELL PHONE ominously RINGS with the first measures of BEETHOVEN'S 5TH - `` BUM BUM BUM BUMMMMM.'' She pulls the cell from her pocket. ASHLEY -LRB- re : cell. -RRB- It's my mom. -LRB- into cell. -RRB- Hi. No, I'm fine. -LRB- with a smile. -RRB- I'm at Barnes and Noble. Okay, I'm leaving. No, I'll walk. Ashley flips the phone shut, joins Kale who's watching the LCD screen : DV CAM POV - Giles and the woman are back on the couch. The woman is leaning her head on Giles' shoulder. As Giles leans forward to take her wine glass, the woman falls over behind him. Out cold. Kale and Ashley cringe. KALE And she's down for the count.","EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER Kale and Ashley cross the yard to Kale's kite string boundary. ASHLEY Looks like this is as far as you go. KALE Looks like. They peer into each other's eyes. Then - ASHLEY Y' know, I have to admit, you're different than I expected. KALE What were you expecting? ASHLEY I thought you'd be more messed up. KALE Does that disappoint you?'Cause I can be more messed up if you want me to. ASHLEY No, you're fine. KALE `` Fine?'' ASHLEY Yeah. KALE `` Fine'' like your first cousin `` fine'' or `` fine'' in kind of a Brad Pitt sorta way? Ashley smiles. They suddenly hear VOICES O.S. Kale and Ashley glance over to Giles' house. THEIR POV - The woman is heading briskly to her car. Giles is right behind her. Ashley grabs Kale's arm and pulls him behind a shrub on his side of the boundary. They peek back over to Giles'. THEIR POV - We're crouched low now, so we only hear the barely audible voices of Giles and the WOMAN. Talking SERIOUSLY about something - GILES -LRB- voice raising. -RRB- Just come back in the house, you should n't drive - ASHLEY He wants her to come back in - KALE I ca n't hear - ASHLEY Let's get closer - Ashley suddenly darts from behind the shrub and bolts toward the fence - KALE -LRB- re : his bracelet. -RRB- I ca n't - But Ashley keeps going. WE FOLLOW BEHIND ASHLEY - She creeps over to the fence, presses up against it, peering through the cracks - ASHLEY'S POV - We see the dark silhouettes of Giles and the woman - Ashley shifts her head, straining to listen - GILES You really should stay. WOMAN I just do n't think it's a good idea -. -LRB- still searching ; more frustrated. -RRB- Where the hell are they? The woman suddenly drops her purse. The CONTENTS spill onto the driveway. ASHLEY'S POV - Giles bends down, picks up her car keys. WOMAN -LRB- CONT'D. -RRB- Here - GILES You're in no condition - WOMAN Give me my keys. GILES Sorry. ASHLEY'S POV - She sees Giles make a motion toward the fence. Suddenly, the woman's CAR KEYS WHACK the other side of the fence, then PLOP DOWN underneath it just a couple of feet from Ashley's position! ON ASHLEY - she startles, looks over, sees the keys. ASHLEY'S POV - She looks back toward Giles and the woman. Hears the woman start to LAUGH. Giles, not laughing, purposefully steps toward the woman, takes her arm. GILES -LRB- CONT'D. -RRB- C'mon. ASHLEY'S POV - The woman relents. Giles helps her back toward the house. WITH KALE - He's seeing it all. KALE -LRB- whispering. -RRB- Ashley, come on. WITH ASHLEY - she glances down, eyes the car keys sparkling in the moonlight. She scoots toward them as - WE CRANE UP TO REVEAL - Giles - heading back toward the fence! ON KALE - seeing this. Kale tries to get Ashley's attention, but she's not looking - CU - ASHLEY'S HAND - she reaches for the car keys - CLOSER - ASHLEY'S FINGERTIPS barely TOUCH them when - GILES' HAND - suddenly SWOOPS IN from O.S., BRUSHES ASHLEY'S FINGERS just before grabbing the keys and swiping them back to his side! Somehow Ashley keeps herself from screaming as she YANKS HER HAND BACK, PRESSES HERSELF AGAINST THE FENCE. She puts her hand over her mouth to silence her own breathing - KALE'S POV - Giles stands frozen in the shadows behind Ashley. WITH ASHLEY - She slowly turns her head, sees Giles through one of the cracks - STANDING RIGHT THERE. Ashley starts to slowly SLIIIDE away. when suddenly - a TWIG SNAPS under her foot! Ashley FREEZES. She peers back through the nearest crack. ASHLEY'S POV - searching for Giles - does n't see him - Ashley presses herself even harder against the fence as we. TILT UP AND PAN OVER TO REVEAL GILES - peering over the fence. We can only hope it's tall enough to keep him from looking down and seeing Ashley. WITH KALE - He's seeing it all. ON GILES - He raises up, standing on his tip toes to get a better look down. Shifting his head back and forth. WITH KALE - He ducks behind the shrub, contemplating his next move. He glances down, picks up a large pebble. He pops out and tosses it over into Giles' yard. We HEAR IT DROPPING through branches, SCATTERING to the ground as Kale ducks back behind the shrub, breathing hard. He then peers back out - HIS POV - Giles lowers back down, turns and heads back toward the house. Kale sighs in relief. Waves Ashley the `` all clear.'' Ashley heads back over to Kale, breathless. ASHLEY -LRB- oddly exhilarated. -RRB- That was intense. KALE Are you nuts?! Ashley silences Kale with a finger to his lips. She then leans in, gives him a peck on the cheek and bolts away - Off Kale, utterly stupefied -","INT. DAD'S OFFICE - NIGHT - MOMENTS LATER Exhilarated, Kale SLAMS through the office door, binoculars in hand. He goes to his chair, sits, taking position. BINOCULAR POV - Ashley walks in, heads straight for the window and draws the blinds. Kale slumps. Damn.","INT. DAD'S OFFICE - NIGHT - LATER ON ASHLEY'S WINDOW - shades still drawn. Lights are out now. The wind picks up outside as we PAN TO REVEAL Kale asleep in the leather chair. We suddenly hear GLASS SHATTER O.S. Kale's eyes POP OPEN. He looks around. Did he hear something or did he dream it - he pulls himself out of the chair, makes his way to the door, slowly swings it open.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - NIGHT - CONTINUOUS Kale cautiously steps into the hall. KALE Mom? No answer. He heads to.","INT. KALE'S BEDROOM - NIGHT - CONTINUOUS Kale enters, tosses the binoculars on the desk, throws a glance out the window to Giles' house. Dark. Kale turns to the bed, pulls back the sheets. As Kale unties his shoes, takes off his socks, we notice over his shoulder - IN THE B.G. - A LIGHT COMES ON IN GILES' LIVING ROOM. ON KALE - not noticing as he strips down to his boxers - IN THE B.G. - GILES' LIVING ROOM - THE WOMAN HEADS INTO THE ROOM FOLLOWED CLOSELY BY GILES. SHE SPINS AND SLAPS HIM IN THE FACE. SHE WALKS AWAY AS GILES STANDS THERE FROZEN. ON KALE - he throws his clothes in the closet, finally turns back and sees - KALE'S POV - Giles standing in the living room, glaring at the woman. KALE Dammit. Kale darts to his desk, turns off the light, grabs the binoculars. BINOCULAR POV - Giles and the woman are arguing. The woman paces around the room as Giles stands there. The woman's arms flail about. As she paces back by Giles, he suddenly GRABS HER ARMS. KALE -LRB- CONT'D. -RRB- Shit! Kale watches as the woman yanks herself from his grasp and knocks over the lamp. The BULB shatters on the floor, throwing the living room into total darkness. Kale drops the binoculars and grabs the DV CAM. He fumbles with it, flips open the LCD SCREEN. But as he presses the power button, the camera's LAMP suddenly IGNITES, MOMENTARILY LIGHTING UP KALE'S ROOM! Kale spins and hits the floor. He frantically finds the switch, turns off the lamp. KALE -LRB- CONT'D. -RRB- Dumbass dumbass - Kale stays on the floor, slouched under the window sill for a couple of beats. Then - he slowly raises up, peers out. DV CAM POV - Giles, now alone, has turned on another light and is simultaneously picking up pieces of shattered light bulb and wiping some RED LIQUID OFF THE FLOOR. Could be wine. or blood even. Giles wads the towel up, picks up one of the woman's HIGH HEELS lying near the couch. Giles then moves to the stereo, turns it off, leans down, picks up the woman's OTHER SHOE. He flips off the lights, heads out of the room. Kale trades the grainy DV CAM for the binoculars. BINOCULAR POV - Kale PANS ACROSS the lower floor windows of Giles' house that's now become eerily still. He TILTS UP to the second floor, SLOWLY PANS ACROSS those windows - Again, nothing. KALE -LRB- CONT'D. -RRB- Okay, so where is she - BINOCULAR POV - Over the above, Kale SLOWLY PANS BACK ACROSS THE SAME WINDOWS, comes to the last one and see GILES STARING RIGHT BACK AT HIM. Kale spins and dives to the floor, knocking the other camera and tri - pod over. KALE -LRB- CONT'D. -RRB- Oh shit oh shit. Kale shoves himself against the wall, frozen in terror. He does n't dare get up. He spots his CELL PHONE - on the floor a few feet away. He extends his leg out, uses his foot to slowly SLIIIDE the phone toward him. KALE'S TREMBLING HAND reaches for the phone, picks it up - Kale's about to flip it open when the PHONE'S LCD SCREEN SUDDENLY LIGHTS UP, BLARING MADONNA'S `` LIKE A VIRGIN.'' Kale startles, fumbles the phone - realizes it's Ronnie, flips the phone open - KALE -LRB- CONT'D. -RRB- -LRB- into phone as needed. -RRB- Ronnie - RONNIE -LRB- V.O. -RRB- -LRB- phone filter as needed. -RRB- Dude, Ashley is ho - ho - hotttt - KALE Giles totally busted me. RONNIE -LRB- V.O. -RRB- What do you mean, are you sure? Kale finally musters the courage to peek over the sill - KALE'S POV - Gile's BACK DOOR is OPEN. KALE They were arguing - RONNIE -LRB- V.O. -RRB- Who? KALE Giles and the girl he brought home. They had an argument, he grabbed her - RONNIE -LRB- V.O. -RRB- And then what? KALE And then - nothing. RONNIE -LRB- V.O. -RRB- Uh - huh. KALE Dude, something is going on over there. What if he killed her, too? RONNIE -LRB- V.O. -RRB- Then call your friends at the police department. A DOOR suddenly SLAMS O.S. KALE Wait - RONNIE -LRB- V.O. -RRB- What? KALE A door just slammed. RONNIE -LRB- V.O. -RRB- -LRB- in his best sinister `` Scream'' voice. -RRB- That's right, Kale, and now I'm coming up to slash your guts out, you little bastard! KALE Asshole, I'm serious. RONNIE -LRB- V.O. -RRB- I'm not and I'm hanging up. KALE Just - wait - wait till I check the hall - This as Kale grabs his bat, slowly approaches his door. Ronnie yawns, starts snoring. Kale's hand is about to grab the knob - RONNIE -LRB- V.O. -RRB- BOO! KALE Goddamn you! Kale flips the phone closed, throws it to the bed. He turns back to the door just as IT SUDDENLY PUSHES OPEN, SMACKING KALE IN THE FOREHEAD! Kale STUMBLES BACK, screams, raises the bat. JULIE Kale, Kale, it's me! Kale does n't immediately drop the bat as he focuses on Julie, dressed in her serving uniform, barely visible in the darkness. She flips the light on. KALE No, do n't! JULIE What's going on, who were you talking to?! KALE Ronnie - just Ronnie. Kale falls back to the bed. KALE -LRB- CONT'D. -RRB- I heard the door - JULIE I'm sorry, the wind caught it - KALE Fine. Good. Okay - JULIE Okay then, so. -LRB- catching her breath ; then. -RRB- You want anything from the grocery? I'm going in the morning. KALE Anything caffeinated. Kale turns back on his side. Julie eyes him a long beat. What to say. she flips off the light, then - pulls the door closed. ON KALE - eyes wide open, heart racing. He's gon na need that caffeine in the morning.","INT. KALE'S BEDROOM - THE NEXT MORNING A groggy Kale tugs on the blind, cautiously raises it - KALE'S POV - GILES' DRIVEWAY - The silver Toyota's gone. The woman's car is still there.","INT. ENTRY HALL - LATE THE NEXT MORNING Kale saunters down the stairs.","INT. KITCHEN - DAY - CONTINUOUS Kale enters, notices a few full grocery bags on the counter and the coffee maker brewing. He opens the fridge, sees a new Mountain Dew twelve - pack. He cracks open the carton, pulls out a can, closes the fridge door revealing GILES - IN THE FLESH, IN KALE'S KITCHEN. Kale JUMPS, drops the can. It rolls to Giles' feet. GILES -LRB- picking up the can. -RRB- Whoa, whoa, settle down, slow down. Robert Giles, your neighbor -. -LRB- gesturing outside. -RRB- Behind you? Kale glares, breathing hard. Giles taps on the top of the dented soda can, hands it to Kale. Kale does n't take it. Note : Giles' shirt should have BURNT ORANGE somewhere in it, either in the pattern, stripes, etc. KALE I know, how did you - Giles puts the soda on the counter as Julie comes through the kitchen door carrying groceries. GILES -LRB- to Julie. -RRB- Think I startled him. JULIE -LRB- laughs. -RRB- Oh. Kale, I ran into Mr. Giles at - GILES Robert. JULIE -LRB- smiles. -RRB-. At the grocery. I had a flat tire when I came out. We tried to change it, but - KALE Dad put those security bolts on - JULIE And that adapter thingy that unscrews it ended up stripping it instead - GILES My fault. JULIE No, it was n't. You saved my life. -LRB- then to Kale. -RRB- We had it towed to Frank's. KALE -LRB- with attitude. -RRB- Gee, really lucky you were there. GILES Just glad I could help. -LRB- then ; favors Julie. -RRB- Must be a little difficult when the man of the house is stuck in the house. Kale reacts to that. There's an awkward silence as Kale's eyes instinctively glance down to the ankle bracelet. JULIE Oh. no, it's okay, we're managing. Giles steps closer to Kale, bends down to get a closer look at the ankle bracelet. GILES I've always been curious about those things, do you mind? KALE Yeah, I do. JULIE Oh c'mon, Kale. -LRB- to Giles. -RRB- I'm sorry. GILES No, no. It's none of my business. KALE That's right. GILES Whoa, hey, dude. you seem like a straight hitter. You ask me, whoever they are deserved it. Kale reacts, surprised at how genuine that sounded. JULIE -LRB- stepping in. -RRB- Okay. I do n't think that's the case, and - KALE I think I'd like to hear his opinion. GILES And I think I opened my big mouth again. You're absolutely right. -LRB- then ; heading for the door. -RRB- I should go. JULIE Wait, what about your coffee? KALE I popped my Spanish teacher. Awkward beat. Giles turns back to Julie : GILES In that case, cafe con leche, por favor? JULIE -LRB- searching bags. -RRB- Shoot, milk's. still in the car. Julie heads out the door. Giles turns to Kale. An awkward, silent beat. Then - KALE I like your shirt, by the way. I mean, the color. GILES Which one? KALE Oh, the. that dark orange. Always reminds me of Texas. GILES Yeah? You a Longhorns fan, too? KALE Sure, absolutely. Even though I've never stepped foot in Texas - GILES Me neither. Had a lot of friends who went there. I stayed in Minnesota till I moved here. KALE Huh. GILES So when you say you `` popped'' your teacher - KALE Just a black eye. GILES Phew, just making sure I was n't living next to some psycho killer. Listen, I get it though. I had plenty of teachers I wanted to just. kill. Giles quickly adjusts his tone as Julie comes back with a last bag of groceries : GILES -LRB- CONT'D. -RRB- But no matter how hard it is to hold back, the high road's always the better choice. As Giles says this, he casually sits at the kitchen table. Kale eyes him, about to turn and leave, but : JULIE Kale, could you grab the sugar? -LRB- to Giles. -RRB- Sugar? GILES -LRB- favors Kale. -RRB- Why not. Kale quickly grabs the jar of sugar from the counter and even thinks to grab a spoon from the drawer. He delivers it to Giles as Julie brings the coffee, sits at the table. GILES -LRB- CONT'D. -RRB- Thanks, man. Kale turns to leave again. GILES -LRB- CONT'D. -RRB- Oh, hey, Kale. -LRB- as Kale turns back. -RRB- Nice to finally meet you. Off Kale - ASHLEY -LRB- V.O. -RRB- -LRB- prelap. -RRB- Oooh. That's creepy.","INT. KALE'S BEDROOM - DAY - LATER Ashley sits on the bed. She looks damned good, too. Dolled up, lipstick. She's just heard the story from Kale. KALE I know, he's a total freak, right? ASHLEY And very vague. did he genuinely mean it was nice meeting you or was he sending you a `` sinister message?'' KALE Are you messing with me? ASHLEY Maybe a little. Did you even notice my hair? KALE So you think it's all a coincidence. We've got the car - ASHLEY With the non dent dent - KALE The bumper sticker, the argument, the staring contest - And now he's showing up in my kitchen - ASHLEY Why, because he slashed your mom's tire? KALE Maybe. Ashley rolls her eyes. KALE -LRB- CONT'D. -RRB- -LRB- pointing out window. -RRB- Her car has n't moved. ASHLEY It's called `` the day after,'' Kale. Nobody moves after a night like that. KALE Well what if she's really `` not moving?'' What if she's tied in the dungeon with the other girl, starving to death - ASHLEY -LRB- getting up. -RRB- Then come up with a rescue plan and get back to me. KALE You're leaving? ASHLEY Have to. Party. KALE Whose? ASHLEY Uh, mine? KALE How is that possible? ASHLEY Excuse me? KALE Well, I mean. Sorry, I just did n't think you knew anybody - ASHLEY I do n't, I did n't -. -LRB- off Kale's confusion. -RRB- I met this girl earlier, Minnie Tyco? KALE Oh my god, `` Skinny Psycho?!'' I sat next to that bitch in Spanish - ASHLEY -LRB- skipping that one. -RRB- I told her my parents were outta town - KALE And now the whole neighborhood's coming. ASHLEY Look, I'm stuck here. So I figured I can either shut myself in and keep hating it or. try to make the most of it. KALE Hey, I get it. You do n't have to explain. ASHLEY Kale, you're welcome to come, but - Kale looks at Ashley, realizes what she's referring to as he glances down to the ankle bracelet. KALE -LRB- with attitude. -RRB- Well, I appreciate the thought. Really. ASHLEY -LRB- returning the tude. -RRB- Glad to hear it. Ashley turns to leave. KALE It's funny, though. ASHLEY -LRB- turning back. -RRB- What? KALE I did n't peg you as a conformist. Ashley glares, furious. She picks up the DV cam and binoculars, approaches Kale, hands them over with : ASHLEY Try to keep these in your drawers tonight, will ya? Ashley leaves. A sullen Kale stares after her - PRELAP - CROWD WALLA and THWUMPING MUSIC.","INT. DAD'S OFFICE - EARLY EVENING Kale sits in the darkness at dad's desk. He's on the phone, pressing his other finger to his ear, trying to drown out the NOISE emanating from Ashley's party next door. Kale, on phone, gets Ronnie's VOICE MAIL. RONNIE -LRB- phone filter. -RRB- This is Ronnie, leave a message. Kale slams the phone down, sits there a beat. JUMP CUT : - The white pages THWUMP onto the desk. JUMP CUT : - Kale on the phone : KALE -LRB- into phone. -RRB- Yeah, I'm calling about the Jeep Cherokee that was brought in with the flat and the stripped lug - it's ready? Listen, did they have to replace the whole tire - they patched it? Is there any way to tell if it was slashed or - But a nail usually acts like its own plug for awhile, does n't it? I mean it's a really slow leak, it ca n't flatten a tire in twenty minutes. -LRB- beat as Kale listens. -RRB- - Yeah, I guess anything's possible. A ROAR of LAUGHTER O.S. makes Kale jump from his chair. He grabs the binoculars, heads to the window. BINOCULAR POV - Kale scans the crowd until he finds Ashley, talking with a group of PARTYGOERS. She pretends to listen to one of the guy's stories as she furtively glances toward Kale's window. But it's quick. We ca n't be a hundred percent sure if it was on purpose. KALE -LRB- CONT'D. -RRB- Wait, what was that? You think I'm watching? Well, I'm not. Nope, I am minding my own business. BINOCULAR POV - Ashley excuses herself from the group and approaches the drink and food table where MINNIE TYCO -LRB- a.k.a. `` Skinny Psycho'' -RRB- is standing, nitpicking over her snack choices. Ashley hugs her then taps the cute GUY next to her on the shoulder. The guy turns around. Ashley mouths `` Oh my God'' like he's some long lost lover. Ashley hugs the surprised guy who wastes no time in hugging her back. KALE -LRB- CONT'D. -RRB- You think I'm buying that? Kale keeps watching. KALE -LRB- CONT'D. -RRB- I'm not biting - BINOCULAR POV - Ashley glances up in Kale's direction again - it's more obvious this time as she keeps HUGGING THE GUY. KALE -LRB- CONT'D. -RRB- That's it. Kale tosses the binoculars, heads out.","EXT. 2ND FL PORCH - EVENING - SHORT TIME LATER Kale SLAMS a ladder up against the roof.","EXT. ROOF - EVENING - SECONDS LATER Kale SLAMS a speaker down on the edge of the roof facing Ashley's. Makes sure the speaker wires are securely clamped in place, then unwinds the roll of wire back across the roof toward the ladder. JUMP CUT :","INT. 2ND FL PORCH - EVENING - SECONDS LATER Kale runs the wire down the hall.","INT. DAD'S OFFICE - EVENING - MOMENTS LATER CU - Kale's hand flips on dad's bookshelf amplifier, CRANKS THE VOLUME CONTROL KNOB. CU - Kale's I - POD LCD SCREEN lights up. His thumb hovers over the PLAY button. BINOCULAR POV - Ashley's party comes into focus. Kale presses play. The speaker EXPLODES with the ROAR OF BARRY MANILOW -LRB- or AIR SUPPLY -RRB-. BINOCULAR POV - Ashley's party comes to a grinding halt. Kale PANS AROUND, picks up Ashley again. Glaring. Fire in her eyes as she storms O.S. Kale smiles with perverse satisfaction as he tilts his head, anticipating the doorbell to ring. Another beat, then - DING DONG.","INT. ENTRY HALL - EVENING - SECONDS LATER Kale descends the stairs, maintaining his wicked grin. He opens the door for Ashley, but instead - gets PELTED WITH A BARRAGE OF WATER BALLOONS. Kale stands there, frozen as the two BRATS jump from the bushes, AD LIB MOCKING Kale as they laugh and race away into the shadows. Kale's about to pursue when the sound of a DOOR OPENING O.S. stops him cold. He spins around to see ASHLEY storming in from the kitchen and marching up the stairs! KALE Hey! Kale races back to the stairs. Ashley increases her speed.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS Ashley storms down the hall, sees the speaker wires running into dad's office.","INT. DAD'S OFFICE - EVENING - CONTINUOUS Ashley SLAMS through the door, spots Kale's I - pod, rips it out of its dock. The music stops. She spins around, runs smack into Kale who SWIPES the I - pod out of her hand and SLAMS it back in the dock. The music BLARES. Ashley moves in, but Kale blocks her path. She tries to get around him. He stands in her way. ASHLEY -LRB- peering out the window as if shocked by something. -RRB- Oh my God - Kale falls for it. He looks. Ashley shoves him out of the way, grabs the I - pod. Kale chases her out into.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS Ashley bolts into.","INT. KALE'S BEDROOM - EVENING - CONTINUOUS Where she holds the I - pod out the window, stopping Kale in his tracks. ASHLEY Back off or I'll throw it where you ca n't follow. KALE Take it easy, that's sixty gigs of my life. ASHLEY Even better. KALE Okay - okay - ASHLEY What are you doing? KALE What are you doing? ASHLEY I'm trying to enjoy my party. Wait, that's wrong. According to you, I'm trying to conform - KALE Coulda fooled me. ASHLEY What does that mean? KALE Forget - ASHLEY No, I'm not gon na forget it. KALE You wan na blend in with that crowd, fine, then stop looking up and trying to get a rise outta me. ASHLEY -LRB- realizing. -RRB- So you were watching me. Question is for how long? Just tonight? Or maybe a week? Two weeks? Since I moved in? Kale tries to respond, but Ashley keeps pressing : ASHLEY -LRB- CONT'D. -RRB- And the whole `` my - neighbor's - the - killer'' thing. Great cover - KALE It's not a cover - Over the above Ashley glances around ASHLEY So what is it, Kale? Huh? What else have you seen? KALE What else have I seen? ASHLEY Yeah. What else? KALE Okay - I've seen how you always pull your kleenex from the box in groups of three. Not two, not four, always three. I've seen you're the only one in the world who eats pizza - flavored Pringles. And you never stuff the chips in, you savor each one by dividing it into four precise bites. I did n't know that was even possible. You're also the first girl I've ever seen who spends more time on her roof than in her own house. And what do you do out there? You do n't talk on the phone, you do n't paint your nails, you read books. Now one would think with the whole numbers thing you've got going on that you'd put them on your shelf alphabetically, but you do n't. Your system's much more perfect. The ones you like go on the bottom, the ones you love go in the middle, and the ones you need, the ones you keep going back to. well they go straight to the top next to the dream encyclopedia. You know what all this tells me? You know how things should be. The world according to Ashley. And guess what? It's a very entertaining and beautiful thing. Even when it takes a hit. When you end up in a place like this. when your parents dump their baggage on you, or just. when it seems like those curveballs are never gon na stop - It sucks, but just so you know - I get it. But I've also seen those designer window shades of yours, and guess what? They always go up the next day - no matter what. And even if no one else has, I've noticed that. And I ai n't sorry. The only thing I'll even consider apologizing for is. not dropping the binoculars and telling you this a lot sooner. A long beat as Ashley peers into Kale's eyes. She slowly steps closer to him : ASHLEY That was either the creepiest. or the sweetest thing I've ever heard. Kale leans in and kisses her. They pull away, lock eyes. Then - Ashley pulls Kale by his soaking wet t - shirt, kisses him back even harder. Heavy make - out. Then - they stumble back toward the bed out of frame as we hold on Kale's window - and Giles' house beyond.","INT. DAD'S OFFICE - NIGHT OUR POV - peering down into Ashley's back yard. There's a couple of guys passed out on rafts floating in the pool. WE SLOWLY PAN to reveal - KALE - looking tired, his eyes glazed, sitting at dad's computer surfing a website : `` BRUTAL KILLINGS IN AUSTIN.'' ON THE SCREEN - As Kale clicks pages, we see FLASHES of CRIME SCENE PHOTOS from the three murders - the bodies of the three redheads - BLOODIED, BRUISED. ON KALE - he does n't blink as he clicks on ONE PHOTO after the OTHER. We see a FLASHES of the victims' eyes - WIDE OPEN, LIFELESS. We suddenly hear laughter O.S. Kale SNAPS TO. He runs a hand through his hair, gets up, moves to the window. HIS POV - ASHLEY'S POOL - a couple of girls GIGGLE as they stand at the edge of the pool pouring beer onto the passed - out guys' chests.","INT. KALE'S BEDROOM - NIGHT - MOMENTS LATER Kale quietly enters and shuts the door. He's hiding something behind his back as he sits on the bed next to a sleeping Ashley. She stirs, opens her eyes, peers up at him, smiles. KALE Hey. ASHLEY Hey. where have you been? Kale holds up a folded piece of paper, hands it to Ashley. She curiously eyes Kale, then takes it, opens it to reveal a printed - out picture of a long - stem red rose. Ashley smiles. KALE If would have gone to the flower shop, but - ASHLEY I know. Ashley pulls Kale in for a kiss. She pulls away, falls back to the bed. Her eyes glance down at Kale's ankle bracelet. ASHLEY -LRB- CONT'D. -RRB- So how much longer? KALE Oh, two months, twelve days, nineteen hours give or take. A beat as the two peer into each other's eyes. Then : KALE -LRB- CONT'D. -RRB- You know the other night. when you said you thought I'd be more messed up. ASHLEY For a guy who killed his teacher. KALE I did n't kill my - ASHLEY Shhh. -LRB- kisses him again. -RRB- I know. - I know. We get the impression she knows a lot. Kale leans in for another kiss. But this time, as they lock lips, Ashley's eyes shoot open. HER POV - the first hints of daylight out the window. ASHLEY -LRB- CONT'D. -RRB- Oh my God, what time is it? KALE Three - thirty. ASHLEY I've got ta go. Ashley scrambles out of bed for her clothes, getting dressed, searching for her shirt. Kale spots it behind the bed. As he gets up to retrieve it, he hears a NOISE O.S. Kale peers out the window - HIS POV - Giles is dragging a HEAVY BLUE PLASTIC BAG down the stairs leading to the garage. KALE You better see this. Ashley throws on her shoes, joins Kale at the window. THEIR POV - Giles pulls the bag into the garage next to what we presume is the Mustang that's now been covered with a TARP. -LRB- Note : The woman's car is still in the driveway. -RRB- Kale grabs the binoculars. BINOCULAR POV - We catch a glimpse of a few CRIMSON RED SMEARS on the blue bag as Giles heaves it behind the Mustang. KALE -LRB- CONT'D. -RRB- Look, quick - ASHLEY What? Kale gives her the binoculars. Ashley looks over. ASHLEY -LRB- CONT'D. -RRB- -LRB- sarcastic. -RRB- That's normal. Giles' GARAGE DOOR CLOSES. KALE -LRB- re : woman's car. -RRB- Her car. still has n't moved. Ashley pauses, peers out the window again. She ca n't help but be a little concerned. Then - ASHLEY So what do you wan na do? Off Kale - RONNIE -LRB- prelap. -RRB- You want me to do what?","INT. KALE'S BEDROOM - DAY - LATER ON KALE - holding up a UNIVERSAL GARAGE DOOR REMOTE still in the package. Ashley and Ronnie are on the bed. Note : Kale is wearing the same clothes he was yesterday, the stubble coming back. Hair more disheveled, eyes a little puffier. KALE Phase one, steal his code from his opener. RONNIE There's more than one phase? KALE There's only two. Now look, his remote's in the glove compartment of his Toyota. All you have to do is pop it open and read me the switch settings. `` On'' or `` off.'' RONNIE For the later purpose of doing what? Breaking in to his house? KALE No, not breaking in. We're just talking about having access to his garage so we can go in on our own time - when he's not there - to just. to get a closer look at the car, the bag - RONNIE -LRB- to Ashley. -RRB- All this sounds reasonable to you? ASHLEY I do n't know about that, but - KALE -LRB- re : universal remote. -RRB- This is good up to thirteen digits - RONNIE -LRB- realizing. -RRB- How long have you been planning this? Ronnie eyes Kale with concern. Kale does n't answer. GILES suddenly FIRES UP HIS LAWNMOWER O.S. KALE'S POV - Giles pushes the mower around the side of the house to the front yard. KALE Look, if we're gon na do this, it's got ta be now. He takes twenty - one minutes average to mow his front yard. you'll be hearing him the whole time. Ashley grabs the remote. ASHLEY I'll do it. RONNIE No. -LRB- beat ; then grabbing the remote. -RRB- It is n't safe. -LRB- getting up ; macho. -RRB- Let's do it.","INT. KALE'S BEDROOM - DAY - LATER CU - KALE'S CELL PHONE - `` LIKE A VIRGIN'' suddenly blares. WIDER - Kale flips his cell open, holds it in one hand, binocs in the other. KALE -LRB- into headset as needed. -RRB- Yo, you set? RONNIE -LRB- V.O. -RRB- -LRB- phone filter as needed ; suddenly sounding not so macho. -RRB- I ca n't believe I'm doing this. KALE Let me conference Ashley in. -LRB- punches buttons ; then. -RRB- Ashley, you there? ASHLEY -LRB- V.O. -RRB- Ten - four. KALE Nice. Kale presses `` RECORD'' on the tri - pod - mounted DV CAM. He peers back out the window. We hear Giles' lawnmower O.S. Both sides of his house are clear. KALE -LRB- CONT'D. -RRB- Okay, Ron - Green light. KALE'S POV - OUT HIS WINDOW - RONNIE - suddenly appears from the bottom of frame, keeping low as he darts to the fence. Ronnie turns, peers back up to Kale, gives him the thumbs up or down. KALE -LRB- CONT'D. -RRB- You're all good. BINOCULAR POV - Ronnie draws a breath, then very ungracefully hops the fence and falls into Giles' yard out of sight. RONNIE -LRB- V.O. -RRB- Oww, shit - KALE You okay - RONNIE -LRB- V.O. -RRB- What do you think? BINOCULAR POV - Ronnie scrambles to his feet from behind the fence, darts to the driver's side door of Giles' Toyota. KALE Dude, glove compartment, other side. RONNIE -LRB- V.O. -RRB- Excuse me if I'm used to my mom's import. Can I just try this one while I'm here? BINOCULAR POV - Ronnie lifts up on the latch. Locked. RONNIE -LRB- V.O. ; CONT'D. -RRB- Shit. Ronnie tries the back door. Locked. RONNIE -LRB- CONT'D. -RRB- -LRB- in Korean. -RRB- Shit. BINOCULAR POV - Kale PANS ACROSS to the other side of Giles' house. Nothing. He PANS BACK to Ronnie. OUR POV - Over Kale's shoulder, we see Kale is clearly aiming his binocs at Ronnie. But we also see ON THE FAR SIDE OF FRAME GILES' NEIGHBOR PULLS HER LAWNMOWER OUT OF HER GARAGE AND ROLLS IT O.S - But Kale is n't seeing this! RONNIE -LRB- V.O. ; CONT'D. -RRB- They're all gon na be locked - KALE Well, while you're there, will you just check? Ronnie goes around the back of the Toyota to the other side. He lifts up on the passenger door latch. Bingo. RONNIE -LRB- V.O. -RRB- I'm in. KALE You see the package? We see and hear Ronnie, his ass to us, rummaging around the inside of Giles' car. RONNIE -LRB- V.O. -RRB- Oh my God - ASHLEY -LRB- V.O. -RRB- What's wrong? RONNIE -LRB- V.O. -RRB- There's like a month - old order of Nachos Bell Grande under the seat. -LRB- then. -RRB- Okay, I found it. Kale grabs the pencil and notebook. KALE Whenever you're ready. RONNIE -LRB- V.O. -RRB- Looks like `` on, on, on, off, off, on.'' No wait, that one was `` off.'' KALE Just start over. RONNIE -LRB- V.O. -RRB- `` On, on, on, off, off, off, on -'' Ronnie pauses. Kale glances up. Just happens to shift his gaze to the side of Giles' house to see - KALE'S POV - GILES IS WALKING BACK AROUND with no lawnmower! But for some reason we still HEAR A LAWNMOWER. KALE No, no - Kale grabs the binoculars. RONNIE -LRB- V.O. -RRB- I'll get it right this time. KALE Ronnie, he's coming around. RONNIE -LRB- V.O. -RRB- Dude, stop dicking with me, I still hear his - BINOCULAR POV - Kale WHIP PANS to Giles' neighbor, JUDY THORP - CUTTING HER GRASS, TOO. KALE -LRB- trying to remain calm and succinct. -RRB- Ronnie, I am not dicking with you. The neighbor is also mowing her lawn and he's going to see you - RONNIE -LRB- V.O. -RRB- -LRB- full - on panic. -RRB- Kale, what do I do?! Where - KALE GET IN THE CAR! KALE'S POV - Ronnie dives in the car just as Giles rounds the corner of the house. KALE -LRB- CONT'D. -RRB- Put the remote back - RONNIE -LRB- V.O. -RRB- I did, I did - KALE Easy on the door. Ronnie gently pulls the door shut. KALE -LRB- CONT'D. -RRB- Do n't panic, he's coming straight for you - RONNIE -LRB- V.O. -RRB- What?! Kale, you've got ta get me - KALE Back seat, NOW! BINOCULAR POV - Ronnie TUMBLES into the back seat and out of sight just as GILES heads for the car. KALE -LRB- V.O. ; CONT'D. -RRB- Ashley - ASHLEY -LRB- V.O. -RRB- I'm on it. RONNIE -LRB- practically crying. -RRB- Kale, tell my mom - KALE Shut up, stay down and do n't move. KALE'S POV - Giles opens the passenger door. About to reach in when something distracts him - Giles pulls himself out, looks over to see ASHLEY Heading up the driveway. We barely hear her introduce herself to Giles. Giles steps around to the front of the car, uneasily shakes her hand. KALE -LRB- CONT'D. -RRB- Ronnie, you're good - No answer. KALE -LRB- CONT'D. -RRB- Ronnie? BINOCULAR POV - Kale TILTS BACK TO THE TOYOTA, sees Ronnie sneaking out the back seat door on the driver's side as Ashley distracts Giles, pointing up to the trees on the opposite side of the yard. Who knows what they're talking about. Bird - watching perhaps. Whatever it is, it's working. KALE -LRB- CONT'D. -RRB- Ronnie, was that the whole code? Ronnie? BINOCULAR POV - Kale PANS BACK to Ronnie as he hops the fence back into Kale's yard. Kale TILTS BACK UP to Ashley and Giles in the driveway. KALE -LRB- CONT'D. -RRB- -LRB- talking to Ashley even though she ca n't hear. -RRB- Okay, Ashley, you're good, come on. Over this, a breathless Ronnie stumbles into the bedroom, joins Kale at the window. KALE -LRB- CONT'D. -RRB- Was that the whole code? RONNIE -LRB- pissed. -RRB- Excuse me? KALE -LRB- serious. -RRB- The code, did you get it? RONNIE You've got ta be kidding. Ronnie and Kale lock eyes for a tense beat. Then : KALE -LRB- re : something O.S. -RRB- No way. KALE'S POV - THE CLUB GIRL Giles brought home the other night exits the back door and walks up to Ashley and Giles! RONNIE -LRB- stepping closer. -RRB- Great, Kale. She lives. Kale and Ronnie watch as Ashley shakes hands with the club girl, then throws a quick surprised glance up to Kale and Ronnie. Giles' body language tells us he's ready for Ashley to leave. Ashley gets the hint, shakes his hand, heads back down the driveway and out of sight. Kale raises the binoculars again, then furiously grabs for his pad and pencil. BINOCULAR POV - The club girl gets in her car. Giles closes her door, watches as she backs out. Kale TILTS DOWN to her license plate, starts jotting down the number. RONNIE -LRB- CONT'D. -RRB- What are you doing? KALE Getting her license number - RONNIE Why? Kale does n't answer, still trying to get the rest of the number as Ashley enters, eyes Ronnie who gestures to Kale. ASHLEY Okay, case closed. RONNIE Try telling Inspector Clouseau that. Now he thinks he needs her license number. ASHLEY Why, Kale? It's over. Kale's starting to get manic : KALE `` Yeah, he seemed like such a normal guy. Sure he kept to himself, but he was always nice to me.'' That's what they all say. That's what all the neighbors always say - after the fact. Only after they've caught the guy, after he's killed thirty people - Ashley and Ronnie trade concerned looks. ASHLEY Okay, I think we all just need to take a breath. KALE -LRB- heading out. -RRB- Fine, but what about the bumper sticker, there's still a girl missing, just. what's in the bag? -LRB- then from O.S. -RRB- Can anyone tell me that? Off Ronnie and Ashley -","INT. DAD'S OFFICE - DAY - CONTINUOUS Kale enters, goes to the desk, sits at dad's computer, clicking keys as Ashley and Ronnie enter - ASHLEY Kale, why are you so - Ashley and Ronnie stop in their tracks at the MESS. Note : Up till now, the office has been in reasonably good order. But now, it's noticeably different. WIDER - The shades are drawn. Soda cans everywhere. papers are spread on the floor : PRINTED OUT FULL COLOR GRUESOME CRIME SCENE PHOTOS, BLACK & WHITE AUTOPSY PHOTOS of the murdered redheads. more pictures of the girl who disappeared, PATRICIA WALSH. `` MISSING'' FLYERS. Over the above, Ronnie leans down, lifts a couple of books out of an Amazon.com box : `` Murderer : Tell Tale Signs of a Serial Killer'' and `` The Shrine of Jeffrey Dahmer'' - the titles Ashley was referencing earlier. Ronnie shows them to Ashley who takes a RECEIPT out of a nearby Home Depot box - on the page - SMITH'S UNIVERSAL GARAGE DOOR REMOTE QTY -LRB- 1 -RRB- $ 29.99. Ashley and Ronnie turn to Kale. They notice on the wall behind him, hanging next to his Dad's book cover posters, a BLACK AND WHITE POSTER - SIZE SATELLITE PHOTO of THE NEIGHBORHOOD. Giles' house is circled and labeled in flourescent ink. Kale finally looks up, notices them looking - KALE -LRB- re : satellite poster. -RRB- Ronnie, you've seen this satellite website, right? You can find any location on earth and take a picture - RONNIE Yeah, for a small fee - ASHLEY Kale, what are you doing? KALE Trying to get to the bottom of this. ASHLEY -LRB- delicately. -RRB- Kale, right now, it does n't look that way. KALE What's it look like? ASHLEY Like you're determined to turn Giles in to who you think he is. KALE Not who I think. ASHLEY -LRB- beat ; then. -RRB- I just did n't realize - you were this - KALE What, crazy? Maybe I am. But maybe I'm right. ASHLEY It's not about that, it's about -. -LRB- beat ; then quietly. -RRB- - What I see. What Ronnie and I are seeing right now. I see a guy who looks like he has n't slept in days. -LRB- peers at dad's book cover posters. -RRB- I'm seeing you sitting at your dad's desk - That gets Kale's attention. ASHLEY -LRB- CONT'D. -RRB- - Because you lost him before maybe. you ever really knew him. Before the world according to Kale took a hit from that same stuff you were telling me about, remember? All those curveballs? But it's like - it's like you're still trying to dodge them by forcing pieces together that are never gon na fit. by getting all wrapped up in. -LRB- re : mess. -RRB- This. -LRB- beat ; then. -RRB- Obsessing's not gon na `` protect you,'' Kale. It's not gon na make the hurt go away. Kale locks eyes with Ashley. A long beat, then - KALE Are you two gon na help me or not? Ashley pauses, shocked she has n't gotten through to Kale. Then - ASHLEY I want to. KALE -LRB- picks up a stack. -RRB- Then start looking through these - ASHLEY That's not what I meant. KALE -LRB- beat ; then. -RRB- Well, this is all I need, so - I guess I'll see you later. Ashley and Ronnie trade looks. Then - Ashley leaves. Ronnie turns back to Kale. KALE -LRB- CONT'D. -RRB- So what's your deal? You hanging out or not? RONNIE I would, dude, but - I've got ta pull it together and - change my underwear. Catch you later? KALE Sure. Ronnie leaves. Kale sits in silence, his thoughts unreadable - Kale falls back in the leather chair, fighting his emotions, trying to keep them in check. He glances out to Ashley's. Dark. He peers around the office - the articles, the books, his DAD'S PHOTOS. the family portrait of Dad, Mom, and Kale, smiling wide. their lives ahead of them.","INT. KALE'S BEDROOM - NIGHT In the darkness, find Kale sitting in his video game chair staring out at Giles' house. HIS POV - Giles' garage door is open. Giles' silver Toyota is parked inside next to the Mustang. There's a light or two on inside Giles' house but no signs of movement. Kale throws intermittent glances out the window as he starts to UNSCREW the back of the DV CAM. He lifts the back off, then reaches in a nearby BOX and pulls out a BLUE TOOTH WIRELESS CIRCUIT BOARD. He starts connecting it inside the camera. JUMP CUT : Kale screws the back of the camera on, takes a swig of a soda. There's suddenly fierce KNOCKING at Kale's front door. Kale just sits there. Staring ahead. More knocking and DOORBELL RINGING. Kale jumps from his chair, grabs the bat.","INT. ENTRY HALL - NIGHT - SECONDS LATER Kale swings the door open - nobody's there - then - Ronnie suddenly STEPS INTO FRAME, grabs Kale - KALE Get off me, man. RONNIE Dude - my cell phone's - still in his car. Kale eyes Ronnie a beat. RONNIE -LRB- CONT'D. -RRB- Kale, did you hear me? KALE -LRB- beat ; then. -RRB- Ronnie, I know you think I'm losing my mind, but. listen, I'll help you get it, I just need you to do one thing. RONNIE -LRB- shaking his head. -RRB- Phase two. I knew it.","INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER A SHAKY and grainy VIDEO IMAGE appears on Kale's computer screen. Kale picks up one of Ronnie's old walkie - talkies. KALE -LRB- into walkie talkie as needed. -RRB- You read? RONNIE -LRB- V.O. -RRB- -LRB- walkie talkie filter as needed. -RRB- Yeah, you got a signal? ON KALE'S COMPUTER SCREEN - Ronnie suddenly aims THE VIDEO CAMERA AT HIS FACE. KALE Got video, no audio. RONNIE -LRB- V.O. -RRB- Yeah, mic's on the fritz. How am I looking? Kale picks up the binoculars. BINOCULAR POV - Giles' garage door is still open. There's a light on at the opposite end of the house. KALE Light on, far end. RONNIE -LRB- V.O. -RRB- I guess it's now or never. Moving out. Kale turns back to the computer screen - RONNIE'S DV CAM POV - His feet dart across the yard - he TILTS UP - approaching the fence. KALE -LRB- re : Giles. -RRB- No movement. RONNIE'S DV CAM POV - Ronnie hops the fence. RONNIE -LRB- V.O. -RRB- First hurdle - RONNIE'S DV CAM POV - The image goes to SNOW for a split second - the signal weakening. Kale peers out the window - BINOCULAR POV - We barely make out Ronnie's silhouette as he makes his way toward the garage - RONNIE -LRB- V.O. ; CONT'D. -RRB- Twenty feet. Ten feet - RONNIE'S DV CAM POV - Rapidly approaching the back of Giles' Toyota. RONNIE -LRB- V.O. ; CONT'D. -RRB- Garage - RONNIE'S DV CAM POV - Very shaky as Ronnie makes his way to the back seat door - he takes out a pen light, aims it at the door as his hand enters frame, lifts up on the latch. The door pops open. RONNIE -LRB- V.O. ; CONT'D. -RRB- Bingo. RONNIE'S DV CAM POV - We see Ronnie's hand feeling around the back seat floor of Giles' car. Kale's CALL WAITING suddenly BEEPS. He looks at the CALLER I.D : ASHLEY. Shit. He has to let it go. RONNIE -LRB- V.O. ; CONT'D. -RRB- I'm not seeing it - KALE Stay calm, it's there. RONNIE'S DV CAM POV - Ronnie's hand finally pulls out the cell phone. RONNIE -LRB- V.O. -RRB- I've got it. BINOCULAR POV - Giles' house. Still no sign of movement. KALE You're still clear, check the bag. RONNIE -LRB- V.O. -RRB- Hang on - RONNIE'S DV CAM POV - We see Ronnie's hand gently push the door of Giles' Toyota closed. The angle TILTS DOWN - we're now watching Ronnie's feet as they stride deeper into the garage, walking in between the Toyota and Mustang. RONNIE -LRB- V.O. ; CONT'D. -RRB- I'm setting the camera on the trunk. KALE Try to get the plate number of the Mustang and check for dents - RONNIE -LRB- V.O. -RRB- I'm checking the bag first. RONNIE'S DV CAM POV - Ronnie sets the camera on the trunk of the Mustang, aims it perfectly at the BLUE BAG sitting in the corner. We watch with Kale as Ronnie enters frame, crouched low, heading toward the bag. He raises the walkie talkie - RONNIE -LRB- V.O. ; CONT'D. -RRB- It does look like blood - and hair - RONNIE'S DV CAM POV - We watch as Ronnie kneels down, starts to open the bag. But suddenly, the still POV suddenly STARTS TO SLOWLY, STEADILY TRACK TO THE LEFT - And Kale realizes - KALE The camera's sliding - RONNIE'S DV CAM POV - We watch as Ronnie spins and grabs the camera. RONNIE -LRB- V.O. -RRB- That was close. We hear another NOISE O.S. RONNIE -LRB- V.O. ; CONT'D. -RRB- Oh shit - Kale looks out - KALE'S POV - Giles' GARAGE DOOR STARTS TO CLOSE. KALE Ronnie? RONNIE -LRB- staticky. -RRB- - make it - interference - somebody's here - KALE Ronnie?! Dead air. Giles' GARAGE DOOR SLAMS SHUT. RONNIE'S DV CAM POV - We watch as Ronnie picks up the camera, aims it at his face. Looking terrified. The camera swings away as we see Ronnie's feet scrambling along the concrete floor and then - they appear to RACE THROUGH A DOORWAY ONTO DIMLY LIT HARDWOOD FLOOR - making us and Kale realize - KALE -LRB- CONT'D. -RRB- He's in the house -. -LRB- into walkie. -RRB- Ronnie? Still nothing. RONNIE'S DV CAM POV - Shaky. We catch GLIMPSES OF RONNIE'S FEET - hauling ass down a HALLWAY, ROUNDING A CORNER ONTO CARPET, THEN BACK ONTO HARDWOOD - KALE -LRB- CONT'D. -RRB- What the hell - ON THE SCREEN - Ronnie suddenly PANS THE CAMERA up to his face as he runs, clearly mouthing `` HELP ME!'' KALE -LRB- CONT'D. -RRB- RONNIE! Shit - Then - the camera seems to fall, SLIDING ON THE HARDWOOD FLOOR TOWARD AN OLD BOOKCASE. THE IMAGE CUTS OUT - GOES TO ALL SNOW - Kale jumps up, pacing. Peers out the window to Giles'. No telling what the hell's happening - or happened - in there. Kale eyes his ankle bracelet. Green light. Kale eyes his bat. Grabs it. Fuck it.","EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER Kale SLAMS out the back door, races across the yard, skips over his kite string boundary - ON HIS ANKLE BRACELET - Red light FLASHES. WITH KALE - he hops the fence, racing to.","EXT. GILES' BACK YARD/HOUSE - NIGHT - CONTINUOUS KALE Ronnie?! Kale darts to Giles' back door, tries the knob - locked. KALE -LRB- CONT'D. -RRB- Ronnie, can you hear me?! Giles, open the door! The house is still. Kale bolts around the side, uneasily feeling his way through shadows and low - hanging branches.","EXT. GILES' FRONT YARD - NIGHT - CONTINUOUS It's even darker on this side. No lights on in Giles' house. Kale cautiously rounds the side, approaches the front door - it's open a few inches - darkness beyond. Kale eyes it a beat. Then - steps up onto the porch, about to push it open when - SIRENS BLARE O.S. Kale SPINS AROUND to see A POLICE CRUISER ROLLING TO A STOP. Kale races toward it as two uniformed officers step out - KALE Hey! The officer pulls his sidearm, aims it at Kale - UNIFORM #1 Freeze. Hands above your head, now! KALE Please, my friend's been kidnapped, he's in this house - he's inside, I think the owner's trying to kill him - UNIFORM #1 Stay right there. UNIFORM #2 I've got it - Uniform # 2 heads briskly to Giles' front door. UNIFORM #1 -LRB- into radio mic. -RRB- Dispatch, 13A74, we're 10 - 26 with the kid, he's claiming a 10 - 31 at. -LRB- eying numbers above Giles' door. -RRB- 4710 Fairway Court. House behind his residence, request 10 - 78. DISPATCHER -LRB- V.O. -RRB- -LRB- over mic. -RRB- 13A74, ten - four, units already in the area, will advise - Kale watches as Uniform # 2 approaches the Giles' door. UNIFORM #2 It's open. KALE It was already open. Uniform # 2 knocks on the door. Rings the bell. No answer. Uniform # 2's about to knock again when a light comes on inside. After a beat - Giles opens the door. Looking disheveled, in his bathrobe. GILES Uh, yes, can I help you, officer? UNIFORM #2 Sorry to wake you, sir, we have a young man here claiming a friend of his is in your house. Would you know anything about that? GILES -LRB- laughs. -RRB- No, I certainly would n't. KALE You're a lying son of a bitch! Uniform # 1 retrains Kale as another CRUISER rolls to a stop. Uniforms # 3 & 4 hop out, head to Uniform # 1 to assist. UNIFORM #1 Take it easy - KALE He's in there, goddammit! He's inside! He's lying! Uniform # 1 pulls Kale back to the cruiser, opens the back door and pushes him down on the seat - UNIFORM #1 Sir, calm down - KALE Okay, but he's lying - he has my friend, and he kidnapped that girl last week, he killed maybe three others, all redheads, they could be in a bag - a big blue plastic bag - in his garage - my friend knew this -. -LRB- re : Giles. -RRB- That's why he's covering - he did n't just wake up five minutes ago - Uniform # 1 looks concerned as he steps away from Kale. UNIFORM #1 -LRB- to Uniform # 3 ; re : Kale. -RRB- Can you - Uniform # 3 nods as Uniform # 1 heads back up to Giles and Uniform # 2. KALE'S POV - Uniform # 1 whispers something to Uniform # 2. They turn back to Giles. UNIFORM #2 Sir, do you mind if we take a look inside? A beat. A couple more police cruisers roll to a stop. Curious NEIGHBORS are now gathering across the street. GILES Absolutely, be my guest. Giles ushers them through the door and follows them into the house. Giles turns, shoots a quick glance to Kale before closing the door. ON KALE - all he can do is wait. He shifts his gaze to the gathering neighbors. A few lock eyes with him, shake their heads. Kale turns back toward the house.","EXT. GILES' BACK YARD - GARAGE - NIGHT - SHORT TIME LATER ON THE GARAGE DOOR - as it slowly raises up. WIDER - The uniforms, standing with Kale, wait as the door opens all the way. A light comes on inside. Giles and Uniform # 1 come out the inner garage door as Uniform # 2 Giles drags the BLUE BAG out from the garage. Sure enough, there's blood smears and visible strands of matted hair near the top. Uniform # 2 unties the bag, pulls the sides away. Everyone gathers around, peers inside, then suddenly yank themselves back at the horrible STENCH emanating from within. Kale eyes Uniform # 1 who gestures him to look. Kale steps toward the bag. KALE'S POV - We peer into the bag to reveal the WIDE OPEN eyes of a dead - DEER. GILES -LRB- to the cops. -RRB- I hit it the other night. Thought I'd save a few steps and get it off the road myself. I was gon na bury it sooner, but it's been a helluva week - KALE So why'd you have to have the car fixed in record time, huh? Because it was covered in her blood - GILES -LRB- talking over him ; re : Mustang. -RRB- Because it's a classic, I got it out of storage for the auto show, I needed it in pristine condition. UNIFORM #2 It's one of the biggest in the world. -LRB- off Uniform # 1. -RRB- The auto show. All eyes on Kale. He slumps. Giles has an answer for everything. UNIFORM #1 I think we're done here. Sorry for the intrusion, sir. GILES Please, I understand. As the Uniforms lead Kale back down the driveway. KALE -LRB- quietly ; drained. -RRB- So where's my friend, then? Can anyone tell me that? Does anyone believe me?! Kale looks over, sees PARKER, standing with JULIE whose eyes are filled with it all : anger, concern, sadness. JULIE Kale, come on - Kale turns back to Giles' house. Sees lights being turned out inside. As Kale shifts his gaze forward, he locks eyes with ASHLEY standing in the crowd of neighbors. She watches him with concern. Kale turns away, drops his head as the cops, Parker and Julie lead him away. a FLASH OF LIGHTNING in the distance.","INT. LIVING ROOM - NIGHT - LATER Kale sits on the sofa, staring off. He looks to the stairs as Julie and Parker head down. Parker nods to Uniform # 3 who's standing next to Kale. Uniform # 3 meets Parker and Julie at the front door. Julie quietly nods to them, opens the door. A few more inaudible words are exchanged before Julie gently closes the door behind them. Julie heads back into the living room, sits across from Kale. JULIE -LRB- a beat ; then. -RRB- I'm sorry, Kale. Not the words Kale expected. He looks up - JULIE -LRB- CONT'D. -RRB- I really am. You know, one thing I always told myself was that no matter what, I would always know what was going on with my kid - KALE Mom - JULIE Let me finish - because I have to tell you something. -LRB- then. -RRB- I feel like I let you down. I was too caught up in my own grief to see straight. I thought time would heal this and taking a second job was. the answer to keeping a roof over our heads - KALE It was - JULIE -LRB- points to ceiling. -RRB- That's just wood. Do you hear me? We're still not through this - obviously - it's gon na take more time - maybe a lot more time - and that's just got ta be okay, because I know - it'll get better. -LRB- beat. -RRB- I want us to be us again. I want us to be honest with each other like we used to be. Is that possible? KALE Yeah. I just - did n't think you'd believe me - JULIE Listen to me. I am always on your side. No matter what. It may not look like it sometimes, but it's the truth. And we'll get through this. Okay? Kale nods. He stands, goes to Julie and hugs her - tight.","INT. KALE'S BEDROOM - NIGHT - LATER Kale enters amidst a few more LIGHTNING FLASHES and distant ROLLS OF THUNDER. He heads to his window, glances out at Giles' house. Dark. The wind's picking up. Kale closes his window, draws the shade, sticks his cell in the charger. He collapses to the bed, stares at the roof over his head for a beat - then `` LIKE A VIRGIN'' suddenly BLARES ON HIS CELL PHONE. Kale stares at it. then jumps from his bed, races to the phone, rips it from the charger, flips it open - ON THE PHONE'S LCD SCREEN - A text message : LOOK AT YOUR SCREEN. The LCD SCREEN suddenly BLACKS OUT. The battery's dead. A wide eyed Kale puts the cell phone on his desk, slowly shifts his gaze to his computer monitor - a grainy image suddenly pops on - shaky at first - then it finally steadies, and clears up. A torso and face come into focus : RONNIE, lying in the corner of a very enclosed space. Eyes open, head tilted against the wall. Dead. KALE OH MY GOD - Nearly hyperventilating, Kale leans closer to the screen, sees a pile of clothes and a stray racketball trophy lying next to Ronnie. KALE -LRB- CONT'D. -RRB- Shit - Kale realizes - Ronnie's IN HIS CLOSET. Kale slowly turns, eyes his closet door. He then steps toward it, reaches out - and SLIDES THE CLOSET DOOR OPEN TO REVEAL - RONNIE - lying dead in the corner. KALE -LRB- CONT'D. -RRB- Ronnie - Kale kneels down to Ronnie who suddenly POPS BACK TO LIFE! RONNIE BOO! Kale screams, falls back to the floor as Ronnie cracks up. MORE LIGHTNING FLASHES and THUNDER. Kale staggers to his feet. Stunned. Not knowing whether to hug Ronnie or beat the shit out of him. RONNIE -LRB- CONT'D. -RRB- Dude, do n't kill me, do n't kill me - I can explain - KALE How - How long have you been here? RONNIE You should have seen your face -. -LRB- off Kale's glare. -RRB- I got out his front door. I got lucky. I heard you yelling, but dude, cops were everywhere - KALE Still, you could have - RONNIE What, popped out and said, `` oh yeah, officers, my friend's right, I was just in that house, I'd gone to get my cell phone out of the guy's car I broke into earlier.'' Are you kidding me? KALE -LRB- beat ; then. -RRB- I get it. Kale paces around, runs a hand through his hair as Ronnie steps out of the closet, DV CAM in hand. RONNIE Dude, I am sorry. Can we just. hug it out? KALE Why did n't Giles tell the cops someone broke in? I mean, he did see you, right? RONNIE You know, let's be positive for a change. I thought he did, but maybe he did n't. Or maybe he's a nice guy afterall, and he did n't wan na make a big deal of it, you know? I mean, he's a guy, he was a kid once. Kale eyes Ronnie. KALE What if he was n't always a guy? Ronnie eyes Kale for a beat, wondering if he's serious. Then Kale cracks a smile. Ronnie cracks up. RONNIE But I do have to ask. what was in the bag? KALE -LRB- as if it were obvious. -RRB- Dead deer. Kale and Ronnie lock eyes a beat. Then crack up again. Both laugh hysterically, slap happy as hell. RONNIE Naturally. -LRB- re : DV CAM. -RRB- Hey, you want more evidence, detective? KALE I was watching, remember? Kale grabs the DV CAM from Ronnie - Ronnie pulls it away. RONNIE No, no, this is comedy, it deserves big screen treatment. Ronnie grabs some wires, starts hooking the camera up to Kale's TV.","INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER Kale and Ronnie watch the video of Ronnie's break - in. They're cracking themselves up as we see - ON THE TV - Ronnie's feet stumbling through the garage, the camera sliding away off the trunk of the Mustang, Ronnie diving for it. RONNIE Hey, I caught that. KALE So that's when the garage door started closing. RONNIE Yeah, he must have heard me. He came through the inside door -. -LRB- re : TV screen. -RRB- This is where I ducked low and started. ON THE TV - Ronnie's feet start motoring across the concrete floor, racing through the doorway onto the hardwood floor. RONNIE -LRB- CONT'D. -RRB- hauling aaaass. KALE That's great. ON THE TV - As before, we're mostly watching Ronnie's feet as they scamper around Giles' house. Then - the camera falls away, slides across the floor toward that bookcase, its POV - FOR A SPLIT SECOND - aiming UNDER THE BOOKCASE. RONNIE Dropped it. KALE Yeah, I lost signal - ON THE TV - This we did n't see earlier - The camera is quickly scooped up by Ronnie whose feet dart across Giles' entry hall floor toward the front door. We see Ronnie's hand reach for the knob. RONNIE But I never leave evidence behind. ON THE TV - Ronnie's feet dart out Giles' front door and into the darkness of the yard. RONNIE -LRB- CONT'D. -RRB- And that's about when you started yelling bloody murder and the shit hit the fan. The TV SCREEN goes black. RONNIE -LRB- CONT'D. -RRB- -LRB- getting up. -RRB- I'm starving. All that running around. Ronnie heads from the room. KALE -LRB- re : video. -RRB- I'm gon na burn this. Kale gets up, heads to the camera. About to eject the tape, when a thought stops him. He pulls the camera off the TV, sits on the floor, presses `` PLAY'', scans back through the tape. ON THE TV - The same footage. Nothing glaring stands out. The camera falls from Ronnie's hand, slides to the bookcase. Ronnie quickly scoops the camera up, keeps running. KALE -LRB- CONT'D. -RRB- You're not fooling me, Giles. Kale scans the tape back again, this time just to the point where Ronnie drops the camera. ON KALE - his eyes suddenly narrow - did he see something? Kale scans back again.","INT. KITCHEN - NIGHT - CONTINUOUS Ronnie enters, starts rummaging through the fridge, pulls a soda out, then goes for the cabinets.","INT. KALE'S BEDROOM - NIGHT - CONTINUOUS ON THE TV - just as the camera slides to a stop at the bookcase and aims underneath it, Kale FREEZES THE IMAGE. Dark, grainy. Kale grabs his remote, cranks the brightness all the way up on his TV. Kale scoots closer to the TV amidst another FLASH OF LIGHTNING & MUCH LOUDER CLAP OF THUNDER. ON HIS FINGER - pressing the FRAME BY FRAME ADVANCE button - ON THE TV - we start to see SOMETHING UNDER THE BOOKCASE. Kale presses the button a couple more times. ON THE TV - The next frames are blurred - this is the point where Ronnie grabs the camera back - but - KALE'S FINGER - presses the advance button one more time. ON THE TV - The next frame POPS INTO FOCUS. THERE, UNDER THE BOOKCASE, WE SEE A FADED BLACK STAMP ON THE BACK OF A WOMAN'S HAND! Kale's eyes widen as he keeps pressing the ADVANCE BUTTON. CU - Kale's eyes are transfixed on the screen, his face just inches away as a few more blurry frames FLIP BY then - BAM - THE FACE OF THE MISSING GIRL - PATRICIA WALSH - POPS ON THE SCREEN IN SHARP FOCUS, HER LONG RED HAIR PARTIALLY COVERING HER GHOSTLY, WIDE OPEN EYES THAT STARE RIGHT INTO CAMERA! Kale recoils in horror as LIGHTNING IGNITES his room. KALE -LRB- calling O.S. -RRB- Ronnie, get your ass up here! But a ROLL OF THUNDER drowns our Kale's voice -","INT. KITCHEN - NIGHT - CONTINUOUS Ronnie throws a bag of popcorn in the microwave, punches the clock. Presses start. As he reaches behind him for his soda can on the island, a BASEBALL BAT suddenly enters frame and SLAMS DOWN on RONNIE'S ARM - FWACK! Ronnie WHIRLS AROUND in excruciating pain to come face to face with GILES who swings the bat across Ronnie's face. Ronnie drops out of frame behind the island.","INT. KALE'S BEDROOM - NIGHT - CONTINUOUS KALE Ronnie?! No answer. Shit. Kale grabs the cordless off his bed, clicks it on : DEAD. Another lightning FLASH. He grabs the tape out of the camera, buries it in his closet, pulls out his racketball trophy then creeps to the door, peers out - KALE'S POV - The hallway's empty. Clear shot to the stairs.","INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS Kale steps out, raises the trophy, ready for anything as he approaches the stairs, glancing in every direction. He reaches the railing, peers down. No movement.","INT. ENTRY HALL - NIGHT - CONTINUOUS Kale heads down, slowly makes his way toward the kitchen, peeks around the corner - KALE'S POV - IN THE KITCHEN - The popcorn's POPPING in the microwave.","INT. KITCHEN - NIGHT - CONTINUOUS Kale rounds the island to the microwave, presses `` STOP'' then glances down, sees Ronnie's body - KALE Ronnie - MOM! Kale spins around as GILES SUDDENLY APPEARS FROM THE SHADOWS. More THUNDER. Kale whirls around, HURLS the trophy at Giles. Giles knocks it away as Kale BOLTS for the back door, throws it open. Giles pursues.","EXT. KALE'S BACK YARD - NIGHT - CONTINUOUS Kale bolts out the door, but trips on a well - placed garden gnome on the steps. Giles or the brats must have put it there. Regardless, it slows Kale down. He staggers into the yard, SCREAMING for anyone to hear. But the WIND and THUNDER drown him out as GILES - Now right behind him - swings the bat and trips Kale up. Kale falls just short of his kite string boundary line. Like a quarterback pressing to the goal line, Kale lunges forward, but - GILES' HAND suddenly grab's KALE'S ANKLE just as the ANKLE BRACELET is about to cross the line. Kale screams, digs his hands into the earth, trying to pull himself forward, but Giles is too strong. He DRAGS Kale backward, then PINS him to the ground, pulls out a roll of duct tape, quickly and efficiently wraps some around Kale's mouth, hands and ankles. Giles yanks Kale up, throws him over his shoulder and heads back toward Kale's house.","INT. KITCHEN - NIGHT - CONTINUOUS Giles quickly opens and shuts the door as Kale struggles against him. GILES -LRB- hard in Kale's ear. -RRB- You finally wan na be an orphan? Giles drags Kale into.","INT. LIVING ROOM - NIGHT - CONTINUOUS To reveal a bruised but conscious JULIE tied to the chair, her arms wrapped behind it! Kale's eyes widen with rage as he pulls free of Giles, drops to the floor, tries to roll away. But Giles grabs him back up, gets in his face - GILES If you do n't stop fighting me, I will gut her like a fish. Kale glares as Giles drags him into the. ENTRY HALL - NIGHT - CONTINUOUS. And pulls him up the stairs.","INT. KALE'S BEDROOM - NIGHT - SECONDS LATER Giles SLAMS Kale down in his desk chair. Giles eyes the DV CAM sitting on the TV. The tape slot's open. GILES So where's the tape? Kale mumbles a muffled `` FUCK YOU'' under the duct tape. GILES -LRB- CONT'D. -RRB- You're right, I'll find it later. Giles sits on Kale's bed. Eyes the book on serial killers. He picks it up, flips through it. GILES -LRB- CONT'D. -RRB- It's funny, I hear a lot of authors say their first books were easy, it's the second one that's really hard. Wonder if your dad thought that. -LRB- off Kale's glare. -RRB- See with me, it's the opposite. The very first one was. -LRB- sickly reminiscing. -RRB-. Very difficult. she was very beautiful. fragile. a lot of promise. the others in Texas were flings, low class. Patty Walsh had potential, but so did Amy. You saw her, right? When you were watching me? You should feel good, Kale, you guys saved her life. I was headed in to kill her when your girlfriend showed up. So, you're a hero, Kale. Savor the moment. -LRB- tosses the book. -RRB- You have Microsoft Word? -LRB- off Kale's questioning look ; re : computer. -RRB- Turn it on. Kale does n't move. Giles raises the bat : GILES -LRB- CONT'D. -RRB- I can type, you know. Kale turns to the computer, lifts his taped wrists to the keyboard. GILES -LRB- CONT'D. -RRB- `` Dear Ashley. I killed Ronnie and my mom because. -LRB- re : Kale not typing. -RRB- What's wrong? Hey, you're the one who could n't leave me alone. Truthfully, I'm sick of covering my tracks. You think I like spending my spare time looking over my shoulder for people like you? Word of advice, if you ever need to hurt someone, think everything through. Because you do get a taste for it, do n't you? But damned if people are n't just waiting to stand in your way. cops, reporters, determined relatives, nosy fucking neighbors. next thing you know, you're on tilt, you ca n't think straight, you're clocking your teacher in front of the whole class, me. I'm hitting a damned deer. Man, that was some shitty luck. -LRB- then. -RRB- Anyway, it's pretty clear how we've got ta clean this up. The irony is, you've done all the hard stuff. Whaddaya think : `` Troubled youth finally snapped.'' Maybe because he was jealous of his girlfriend, or maybe he just could n't deal with the guilt from not saving daddy. -LRB- off Kale. -RRB- Hey, you Googled me. Giles steps away, turns back to the bed as Kale suddenly does SNAP. He leans forward, grabs the LCD computer monitor with his taped wrists, stands, whirls around, and HURLS it at GILES, SMACKING HIM on the side of his head - a one in a hundred shot! Giles goes down. But the forward momentum of Kale's throw combined with his taped ankles causes him to lose his balance. Kale falls to the floor, scrambles for the BASEBALL BAT just inches away - GILES staggers to his feet and charges Kale. Kale grabs the bat, rolls around and swings up at Giles, WHACKING HIM IN THE CHEST. Giles doubles over as Kale frantically plants the bat on the floor, using it as a `` cane'' to pull himself back to his feet. He HOPS toward Giles, raises the bat, swings it, but Giles anticipates, grabs the bat, pulls it forward, and REVERSE JABS KALE in the face! Kale staggers back, but somehow keeps his balance and the bat. He spins around, hops to the door into.","INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS Kale rounds the corner and runs smack into ASHLEY. The collision sends Kale back to the floor. ASHLEY KALE - Ashley leans down to Kale. Kale gestures with his eyes and head : BEHIND YOU! Ashley gets the message, whirls around just as Giles GRABS HER. Ashley SCREAMS and knees Giles. He drops her to the floor. Ashley scrambles for Kale, helps him to his feet, pulls Kale back down the hall to.","INT. DAD'S OFFICE - NIGHT - CONTINUOUS Ashley shoves Kale inside as she spins back, SLAMS the office door in Giles' face, locks it. Giles BANGS on the door. Ashley goes to Kale, RIPS the duct tape off his mouth. Kale SCREAMS in PAIN as Ashley heads for the desk phone. KALE It's dead. Ashley grabs a pair of scissors off dad's desk, cuts Kale's ankles and hands free. Kale reaches down to the ankle bracelet, furiously tugs at it. ASHLEY Let me try - Ashley moves in, tries to cut it loose with the scissors as Giles suddenly SLAMS SOMETHING against the door, trying to break it down! ASHLEY -LRB- CONT'D. -RRB- Where's your mom - KALE -LRB- tugging on bracelet. -RRB- Living room - tied up - he got Ronnie - in the kitchen -. -LRB- then ; re : bracelet. -RRB- GODDAMN YOU! ASHLEY -LRB- giving up with scissors. -RRB- Okay, just - I'll get your mom, you figure out a way to call the cops - KALE No, I've got ta get her - ASHLEY Kale, you've got ta get outside, get over the boundary - do you hear me? KALE -LRB- beat ; then ; an idea sparking. -RRB- Okay, but - just follow my lead - we're gon na need stuff - Ashley and Kale glance around for weapons. Ashley pockets the scissors, grabs a letter opener off dad's desk. Kale finds his racketball racket and the ball. Pockets the ball, slips the racket in the back of his shorts, then grabs the baseball bat as he heads for the bookshelves near the door that leads to the outside porch. He reaches up, runs his fingers to the third book on the middle shelf, pulls it out, flips it open to reveal a KEY that drops in his hand. KALE -LRB- CONT'D. -RRB- Once I have his attention, you go get her. Ashley nods. Kale takes the key, heads to the porch door, unlocks it with a quiet CLICK. He swings the door open, steps out onto.","EXT. 2ND FL PORCH - NIGHT - CONTINUOUS Kale raises the bat, swings it at the 2nd floor hallway window that separates the interior of the house from the porch. The window SHATTERS. Kale tosses the bat back to Ashley. KALE -LRB- to Giles O.S. -RRB- We're out here, asshole! There's a lull in the thunder. All becomes eerily quiet for a beat as Kale waits for Giles to appear at the window. He glances back at Ashley who ducks behind the wall inside dad's office - she glances to the office door. No more BANGING. She shrugs to Kale : `` where is he?'' Another beat, then suddenly - a FLASH OF LIGHTNING reveals GILES Standing in the other porch doorway BEHIND KALE! ASHLEY Kale! Kale whirls around just as Giles reaches out, grabs him by the throat, pulls him off his feet and HURLS KALE through the shattered window into the hallway! ASHLEY -LRB- CONT'D. -RRB- NO! You son of a - Ashley charges out onto the porch with the bat. Swings it at Giles who promptly RIPS it from her hand and hurls it off the porch. Ashley whips out the letter opener, spins around, about to stab Giles, but he backhands her. Ashley falls, SMACKS her head on the porch railing. She drops to the floor, half conscious as Giles picks up the letter opener, turns his attention back to the 2nd floor hallway window - HIS POV - THE HALLWAY - KALE'S GONE. WHIP PAN to behind Giles - REVEAL KALE - CHARGING OUT the same porch door Giles just came out! Kale uses his FULL BODY WEIGHT to SHOVE Giles back through the SAME BROKEN WINDOW and into the hallway! KALE Ashley! Are you okay? ASHLEY I wan na kill him - KALE Stick to the plan - Over this, Kale pulls Ashley to her feet. They share a smile as Ashley ducks into the porch door leading to Kale's room. Kale turns back - KALE'S POV - A BLOODY GILES Gets to his feet and heads toward the window. Kale turns for the ladder, starts climbing up. Giles pursues, steps out the window as we see Ashley, in the b.g., appear from Kale's bedroom and race for the stairs!","EXT. ROOF - NIGHT - CONTINUOUS Kale reaches the top of the ladder, steps onto the roof, but Giles, from below, HEAVES THE LADDER UPWARD, tripping Kale. Kale SLAMS down on the roof, smacks the back of his head. KALE'S BLURRY POV - against a fury of lightning flashes, Giles races up the ladder and steps onto the roof. Stalks toward Kale. Kale gets to his feet, draws the racketball racket from his shorts, takes out the ball, assumes a professional looking serving position and WHAM! Kale beams the ball at Giles - and misses completely. KALE That was a warning! Giles rushes Kale who wails on him with the racket. Giles ducks, spins around, brings his fist up and punches Kale in the chest. Kale drops the racket. It slides away down the roof as Kale doubles over. But Giles grabs Kale before he can fall. He pulls Kale up off his feet, pulls him closer, gets in his face. Kale summons some strength, tilts his head up and HEADBUTTS GILES. Giles stumbles back, pulling Kale with him. Giles SLAMS down on the roof. He and Kale roll down the incline and stop just short of the edge - Kale looks over, spots his STEREO SPEAKER a few feet away.","INT. LIVING ROOM - NIGHT - CONTINUOUS Ashley rounds the corner, heads to Julie. ASHLEY Hi, Mrs. Brecht, I'm Ashley -. -LRB- re : duct tape. -RRB- It's gon na hurt. Julie nods as Ashley RIPS the tape off Julie's mouth. JULIE -LRB- not flinching. -RRB- Where's Kale?","EXT. ROOF - NIGHT - CONTINUOUS Kale HURLS the speaker at Giles', SMACKING him hard. Giles shakes it off, grabs the speaker wire - WITH KALE - he gets to his feet, heads back up the roof as Giles suddenly whips out the letter opener and hurls it like a THROWING KNIFE at Kale. The letter opener embeds itself in the back of Kale's thigh. Kale screams, falls to his knees. CU - Kale cringes from the pain as Giles, now right behind him, wraps the SPEAKER WIRE around Kale's NECK and pulls. Kale grabs for it as Giles chokes the life out of him. Kale only has one chance. He reaches behind his leg, grabs the embedded letter opener, RIPS it away, twirls it in his hand and shoves it back into Giles' stomach! Giles recoils as Kale flings himself away from the choke - hold, falls back to the roof, rolls down and PLUMMETS to -","EXT. GARAGE ROOF - NIGHT - CONTINUOUS Kale hits HARD, the wind knocked out of him. He looks over, sees his racketball racket lying there. He grabs it, looks back up. KALE'S POV - Giles stands on the upper roof, smiles as he brings up the letter opener. Kale's eyes widen. He pulls himself to his feet, and sidearms the racket up at Giles. The racket spins through the air like a boomerang and miraculously smacks Giles in the hand, knocking the letter opener away! WITH KALE - he whirls around, races toward the edge of the roof. and JUMPS. ANGLE : FOLLOWING BEHIND KALE IN MID AIR, WE CRANE UP AND OVER HIM PEERING DOWN TO REVEAL ASHLEY'S POOL! ON THE ANKLE BRACELET - it FLASHES RED.","EXT. ASHLEY'S BACK YARD/SWIMMING POOL - NIGHT - CONTINUOUS Kale drops into the pool with a tremendous SPLASH! He pulls himself to the surface, peers up - KALE'S POV - the roof - Giles is gone. Kale frantically swims to the edge, pulls himself out -","INT. KITCHEN - NIGHT - MOMENTS LATER The kitchen door slowly pushes open. After a beat, Kale quietly steps in, heavily armed with a swimming pool LEAF - SKIMMING NET. Another FLASH OF LIGHTNING illuminates the kitchen. Kale cautiously rounds the island, glances down : Ronnie's gone. He glances to the block of butcher knives - empty. Kale grabs a couple of table knives from the kitchen drawer, opts to keep the leaf - skimming net as he makes his way out of the kitchen and into.","INT. ENTRY HALL - NIGHT - CONTINUOUS Breathing hard, Kale glances around, up the stairs - No sign of Giles. He rounds the corner into.","INT. LIVING ROOM - NIGHT - CONTINUOUS Julie's GONE. Kale's eyes widen. He turns around as ASHLEY suddenly jumps up from behind the sofa brandishing a BUTCHER KNIFE! She exhales in relief at the sight of Kale who rounds the back of the couch, sees Ronnie's body lying on the floor next to the entire set of butcher knives. KALE Where's my mom? ASHLEY She went upstairs for you - where's Giles? KALE I do n't know - the cops should be here any sec - The doorbell RINGS. Kale and Ashley whip their heads to the door. Kale throws a troubled glance out the window - ASHLEY What's wrong? KALE No flashing lights - stay here - Kale trades Ashley the net for the butcher knife. We then FOLLOW KALE into.","INT. ENTRY HALL - NIGHT - CONTINUOUS Still no sign of Giles - Kale turns back to Ashley, then heads to the front door - PEEPHOLE POV - Parker. Kale swings the door open. PARKER Kale, what's going on now? KALE Parker, where's the cavalry?! PARKER I told'em do n't bother, you were my responsibility - KALE Parker, you need to get them here right now - Giles is - GILES -LRB- O.S. -RRB- Evening. Parker turns to see Giles casually walking up the front steps. KALE PARKER LOOK OUT, HE'S THE - As Parker turns, Giles suddenly GRABS HER, spins her around and TWISTS HER NECK. Parker drops forward into the entry hall. Kale stumbles back inside the door, tries to SLAM it closed, but Giles overpowers Kale, shoves the door open, knocking Kale to the floor. The butcher knife slides away under a table. Giles enters, kicks Parker's body out of the way and closes the door. He steps toward Kale as Ashley, from O.S. suddenly drops the LEAF - SKIMMING NET OVER HIS HEAD and furiously YANKS Giles back to the floor! Kale gets to his feet, grabs a vase off the entry hall table and SMASHES it over Giles' head. Giles rolls away, only to be KICKED HARD in the face by Ashley. Kale and Ashley TAG TEAM Giles. But Giles finds an opening and elbows both Ashley and Kale back to the floor. Kale scrambles for the butcher knife back down the entry hall. Giles gets to his feet, pounds after Kale who slides the butcher knife out from under the table. But Giles suddenly STOMPS down on Kale's hand. Giles lifts his foot up. Kale pulls his hand away. Giles kicks the knife away, grabs Kale up, SLAMS him against the staircase banister, splintering it. Kale drops back to the floor. Giles leans down to pick him up when the BUTT OF A SHOTGUN suddenly SLAMS into the back of Giles' head! Giles tumbles forward, spins around to see JULIE standing on the staircase with a 12 - GAUGE SHOTGUN - KABOOM! Julie BLOWS GILES BACK INTO THE WALL! - And THAT'S WHERE HE STAYS. Julie races down to Kale, hugs him tight. Ashley comes to, slowly makes her way over and joins the huddle. MONTAGE","EXT. NEIGHBORHOOD - DAWN - Police, squad cars, ambulances surround Kale's and Giles' houses. - CRIME SCENE TECHS tape off Giles' entire back yard.","INT. LIVING ROOM - DAWN - SUITED detectives jot notes as they question Kale, Ashley, Julie. - Kale hands the detective the VIDEO TAPE.","INT. GILES' HOUSE - DETECTIVES and CRIME SCENE TECHS slide the bookcase away to reveal the body of the dead club girl. CAMERAS FLASH.","INT. KITCHEN - DAY - Kale sits on the island as CASE OFFICER # 2 removes the ankle bracelet. Julie and Ashley watch in the b.g.","EXT. GILES' BACK YARD - DAY - Crime scene techs excavate portions of Giles' back yard. - A crime scene tech waves his colleagues over, points down. - GLOVED HANDS of techs gently clear the damp earth away to reveal an ARM and HAND. and matted strands of RED HAIR.","EXT. GILES' FRONT YARD - DAY - A REPORTER stands at the end of Giles' driveway as CRIME TECHS carry body bags to the coroner's van in the b.g. REPORTER the body of Partricia Walsh, missing since last week, has been recovered along with the remains of at least three other women. Authorities say Giles meticulously maintained his yard, mowing the lawn routinely in order to avoid the formation of sinkholes which could have exposed his terrible secret.","INT. COUNSELOR'S OFFICE - DAY A cleaner - cut Kale sits across from a COUNSELOR. KALE -LRB- beat. -RRB- He was my best friend. We always talked about what guys talk about. sports, women. food. We were talking about the freakin' fish - this huge, amazing black bass we'd just caught - and how we'd be eating it for a week. the next thing I know - I ca n't hold on. and he's letting go. I was so pissed at him, I was so - he's the one who left, he's the one who gave up, you know? - But that's b.s. See, the truth is, my dad - He saved me.","INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY CU - The doorknob. A hand slowly enters frame. WIDER TO REVEAL Kale and Julie stand outside the door that's now been fixed. JULIE You ready?","INT. DAD'S OFFICE - DAY - CONTINUOUS Kale and Julie enter with two large boxes, set them on the floor. They both take breaths, then - start sifting through dad's things, deciding which items to keep and which to box up. As they carefully consider each one we slowly PULL BACK and BINOCULAR POV - Giles' house. The yard's been completely put back together. We are.","INT. KALE'S BEDROOM - WEEKS LATER CU - KALE intently watches. Then : KALE Movement. Ashley joins him at the window. THEIR POV - Julie, wearing her realtor business suit, walks a YOUNG COUPLE up Giles' driveway and into the back yard. ASHLEY Why's your mom doing this again? KALE She's whacked. Plain and simple. I think she thought it'd be some sick challenge or something - hey, commission's the same I guess. They watch as Julie points out the yard to the couple. The couple turns back to the house. Julie suddenly spins around and gives a quick sotto `` thumbs up'' to Kale and Ashley! KALE -LRB- CONT'D. -RRB- No way. She ca n't be serious. ASHLEY Hey, if anyone can spin a psycho house into the opportunity of a lifetime, I'd bet on your mom any day of the week. KALE -LRB- re : the couple. -RRB- Fine, but we still have to seriously question the yayhoos buying the place. ASHLEY Whaddaya think, another stakeout? KALE -LRB- tossing the binoculars. -RRB- Screw that. My mom has another half hour over there at least. Kale pulls Ashley back to the bed. They kiss, but then suddenly stop - sensing something O.S.. They both slowly shift their heads to see - THEIR POV - Ronnie, with a head bandage, stands in the doorway, aiming his DV camera straight at them. RONNIE -LRB- do n't mind me. -RRB- I'm not even here. Off this we - SMASH TO BLACK."],"string":"[\n \"DISTURBIA KALE -LRB- V.O. -RRB- -LRB- tense. -RRB- Do you think he sees us? JEFF -LRB- V.O. -RRB- No, he ca n't see us. But he feels us watching. DEEP BLUE WATER FILLS THE FRAME. And there. a few feet beneath the surface. something SHIMMERS in the sunlight. As ripples dissipate, we make out the shape of a bright yellow CRANKBAIT waiting patiently for its prey on the end of a 10 - pound line. We hold on this for another silent beat. then - a huge BLACK BASS suddenly swoops into frame, circling the bait! ON KALE BRECHT -LRB- 17 -RRB- AND HIS DAD, JEFF BRECHT -LRB- 45 -RRB- Both startle at the sight. Kale, a clean - cut all - American kid, reflexively yanks back on his rod and reel. KALE Whoa, did you see that thing? Kale anxiously winds the spool - JEFF Settle down, slow it down. Jeff lightly puts his hand on Kale's, slowing the cranking to a slight, steady pull as we WIDEN TO REVEAL them standing near the stern of their 16 - foot BASSMASTER. We are.\",\n \"EXT. BISHOP LAKE - DAY The undisturbed beauty of nature serves as our backdrop as we MOVE CLOSER to Kale and Jeff, taking note of their t - shirts : Jeff's has a silkscreened cartoon rendition of a Bass wearing aviator goggles with mounted missiles on its fins. Beneath it, the slogan : `` Weapons of Bass Destruction.'' The fish on Kale's shirt wears a stock car uniform, a single word across the bottom : BASSCAR. As Jeff steadies Kale's hand and pulls away : JEFF You do n't want to scare him off. You've got his attention, now just play with him. Tease him a little. Kale and Jeff watch the water in anxious silence. Kale inching the line back toward the boat. One more crank, then - The BLACK BASS suddenly ATTACKS THE LURE with a tremendous SLOSH OF HIS TAIL! KALE Holy shit! JEFF It's all you, Kale, keep cranking! Kale cranks fast and furious. But this is one fish that's going down fighting. KALE I need reinforcements! Jeff moves in, grabs the rod and reel from behind Kale. JEFF Heave, laddie! They PULL. The rod curls under the weight. JEFF -LRB- CONT'D. -RRB- -LRB- pirate accent. -RRB- Give it all ya got, mate, or you're gon na lose him! KALE -LRB- laughing ; pulling ; struggling. -RRB- Dad, your pirate - impersonation - sucks! JEFF How would ya know, have ya ever met one? I doubt it - The BASS SLOSHES FURIOUSLY around the bait, now just a few feet from the boat! KALE He's freakin' pulling us in! JEFF -LRB- laughing. -RRB- Never! No Brecht has ever - lost a fight - to a fish! The BASS suddenly snaps free. The line goes limp. Jeff and Kale lose their balance, nearly falling backward. Then - All becomes silent save for Jeff and Kale's heavy breathing. Kale winds the empty line back to the boat, shoots a glance to Jeff, then throws the rod aside in mock disgust. Jeff takes a seat in the captain's chair. JEFF -LRB- CONT'D. -RRB- Throw me a - Kale is already in the cooler. He throws Jeff a Coke. Both sit in silence for a beat. Then - JEFF -LRB- CONT'D. -RRB- Hey, at least the weather's great. we're spending quality time together. KALE -LRB- grabbing pole. -RRB- That fish is going down. JEFF -LRB- not missing a beat. -RRB- Let's nab the bastard. They both cast their lines -\",\n \"EXT. HIGHWAY 395 - NORTHERN SIERRA MOUNTAINS - EVENING An amber glow sets the mountainside ablaze as Jeff's SUV winds through the serpentine pass.\",\n \"INT. SUV - EVENING - CONTINUOUS - MOVING Jeff drives. Kale's on his cell : KALE -LRB- cont'd. -RRB- -LRB- into phone as needed. -RRB- Hey mom, it's us. Listen, fire up the grill'cause the Bassmasters are headed home! Jeff slaps Kale five as he veers the SUV into the left lane, passing a slow - moving PATHFINDER.\",\n \"INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS Kale's attractive mom, JULIE, 40, on cordless, preps dinner. JULIE You're kidding. So I can actually put the burgers away this time? KALE Yes, be gone with the red meat! Julie smiles. Jeff grabs the phone from Kale. JEFF -LRB- into phone as needed. -RRB- We're having fish for a week. Kale smiles as a LINCOLN NAVIGATOR PICK - UP zooms past in the right lane, swerves back in the left lane in front of them. JEFF -LRB- CONT'D. -RRB- -LRB- over the above. -RRB- I'd say an hour. Love you, too. Jeff flips the phone shut, tosses it to Kale. They exchange smiles. A silent moment passes. They both turn to face the road as - THE NAVIGATOR PICK - UP suddenly SWERVES back into the right lane, revealing a STALLED MINI - VAN directly in front of them! KALE DAD - Jeff instinctively reaches his arm in front of Kale as he SWINGS the wheel hard right and SLAMS ON THE BRAKES. But it's not in time. The SUV clips the mini - van's right rear bumper, SMASHING it into the left lane concrete barricade. The SUV spins into the right lane where that SLOW - MOVING PATHFINDER suddenly BROADSIDES IT with such FORCE that it FLIPS the SUV up and over. It TUMBLES off the highway, barreling into.\",\n \"EXT. VACANT CLIFFSIDE PULLOFF/VIEWING AREA - EVENING - CONT A couple of final, METAL - CRUNCHING FLIPS send the SUV's undercarriage CRASHING to a violent stop on top of a rickety wood beam - mounted GUARDRAIL. A silent beat. Then - steam billows from the hood. INSIDE THE SUV Airbags deflate. Dust settles. Blood streams from Jeff's hairline. His eyes flutter open. He looks up to Kale, strapped in the passenger seat, unconscious. A small gash on his forehead. We only see blue sky through Kale's shattered passenger window. JEFF Kale? - Kale, are you okay? Kale opens his eyes. Jeff reaches up, touches Kale's face. KALE I think so. Kale looks down at his dad - his eyes widen in horror, not only at the sight of Jeff, but of the ravine beneath them - For this brief moment, we may have thought the SUV was stable. But we CRANE BACK UP AND OUT KALE'S PASSENGER WINDOW to REVEAL A MUCH GRIMMER REALITY : the SUV is PERCHED LENGTHWISE ON TOP OF THE GUARDRAIL AT A 45 - DEGREE DOWNWARD ANGLE. The SUV's right front and rear tires precariously grip the rail, keeping it from plunging 500 feet to the RAVINE below. BACK INSIDE THE SUV KALE Oh my God, dad - - Jeff's leg is trapped beneath the crumpled dashboard. JEFF I'm fine. But you're gon na have to climb out, Kale. Can you do that? Kale's hands shake from the SHOCK as his fingers search for the seatbelt buckle. But the shoulder strap is LOCKED IN PLACE, preventing Kale from turning. He tugs it furiously. KALE I ca n't - It wo n't give - JEFF That's okay, I've got it - grab the door, I do n't need your ass falling on my face - Kale reaches up, grips the outside of the door as JEFF'S HAND shakily reaches to Kale's seatbelt buckle and presses. Kale's belt SNAPS LOOSE. Kale's body DROPS, but he hangs on to the window - just as a GUARDRAIL BEAM SNAPS LOOSE FROM ITS FOUNDATION! The SUV ROCKS VIOLENTLY as the guardrail starts to bend and peel away from the cliffside under the SUV's weight. INSIDE THE SUV - JEFF reaches up, grabs Kale's legs and pushes, helping Kale climb out the window. OUTSIDE THE SUV - KALE slowly slides down the outside of the door, then turns around on his chest, reaches his hand back down to Jeff - KALE Dad, here - Jeff reaches up as a SECTION OF GUARDRAIL RIVETS a few inches behind the SUV's rear bumper suddenly POP LOOSE. THE GUARDRAIL SNAPS IN TWO! KALE SCREAMS, hangs on for dear life as the GUARDRAIL and SUV SWING OUT AND OVER THE RAVINE. The guardrail is buckling fast. Another beam RIPS FREE of its foundation - Kale slides a few more inches down the door and right front fender allowing HIS FEET to find the edge of the foundering rail underneath. Having at least some footing, Kale reaches back inside - KALE -LRB- CONT'D. -RRB- Dad, please, you can do it - Jeff unbuckles his belt and reaches up. Kale summons his strength, grabs Jeff's wrist, pulls him up and through the passenger window just as the SUV FALLS AWAY! Jeff's weight pulls Kale down. Kale's feet SLIP off the rail. Kale SLAMS chest down, his TORSO wrapping around the top of the rail, feet dangling. But he's still clutching Jeff's wrist as the SUV CRASHES INTO THE RAVINE IN A MUSHROOM CLOUD OF DUST AND DEBRIS. JEFF'S WRIST slips from Kale's grasp. Kale struggles to hang on, but he's losing the battle and the balancing act. And he knows it. Tears well in Kale's eyes. JEFF Kale, you have to climb up - KALE No - I'm not leaving - JEFF Kale - Another GUARDRAIL BEAM UPROOTS - KALE NO - Dad, please, I've got you - JEFF -LRB- with a slight smile. -RRB- I know - CU - Jeff's left hand enters frame, clasps Kale's. Another beat of eyes on eyes. The guardrail continues to BUCKLE. Then - Jeff starts to PRY KALE'S HAND AWAY - Jeff's arm RELEASES FROM KALE'S GRIP. Kale opens his mouth to scream as a shrill bell RINGS!\",\n \"INT. MORROW HIGH SCHOOL - HALLWAY - DAY ON THE RINGING BELL. STUDENTS disappear into their respective classrooms. As the corridor quiets down. SUPER : ONE YEAR LATER RONNIE -LRB- CONT'D. -RRB- -LRB- subtitles as needed. -RRB- This summer, after visiting Hawaii, I will perhaps visit my grandparents in Korea.\",\n \"INT. CLASSROOM - DAY - CONTINUOUS ON RONNIE YUN, 16, a scrawny Korean kid with a knack for perfect Spanish, stands at the front giving his speech. Note : every time Ronnie says `` quizás'' -LRB- `` perhaps'' -RRB- the class giggles because it sounds a lot like `` kiss - ass.'' The teacher, SENOR GUTIERREZ, a rotund 50, bad comb - over and khakis up to his naval, stands off to the side, quickly picking up on Ronnie's excessive and increasingly dramatic use of the word. RONNIE Perhaps I wo n't. Perhaps I'll just stay at home. But perhaps my parents will take pity on me. -LRB- more dramatic. -RRB- Perhaps they will make my dream a reality! Perhaps they will take me to a beach on the French Riviera so that I may gaze upon the natural beauty of its female inhabitants. Over this, only one GIRL, MINNIE TYCO, a rail - thin BLONDE, picks up on this : MINNIE TYCO -LRB- under her breath. -RRB- Keep dreaming, perv. RONNIE -LRB- CONT'D. -RRB- Perhaps. Thank you. The class laughs, claps. Ronnie bows, heads to his seat. SR GUTIERREZ Thank you, Ronnie. Perhaps I'll give you an `` F.'' The class laughs again. Gutierrez shakes his head, zeros in on the student behind Ronnie. Sleeping with his arms folded on his desk, a grey hoodie pulled over his head. SENOR GUTIERREZ Senor Brecht. Senor Gutierrez takes some chalk, flicks it at the kid. He still does n't budge. Ronnie nudges him. RONNIE Dude - The kid stirs, raises his head. The hoodie falls away to reveal KALE. Longer, disheveled hair. The spark in his eye's been replaced with an empty haze. SENOR GUTIERREZ So Kale, think you can stay conscious long enough to tell us your plans for the three wondrous summer months ahead? Kale glances around. All eyes on him. He looks at Ronnie who nods in support. Kale gets up, heads to the front of the class. He pauses. Trying to focus. Then - KALE Este invierno - The class chuckles. SENOR GUTIERREZ -LRB- correcting. -RRB- Verano. KALE Este verano - voy a - SENOR GUTIERREZ ¿ Qué? Kale shuts his eyes, frustrated at the interruption. Senor Gutierrez, also losing patience, steps closer to Kale. SR GUTIERREZ -LRB- CONT'D. -RRB- -LRB- subtitled. -RRB- What are you going to do? KALE I do n't know, alright? I have n't gotten that far. SENOR GUTIERREZ Did you do the homework or not? KALE -LRB- no eye contact. -RRB- Guess not. SENOR GUTIERREZ -LRB- in Kale's face. -RRB- You `` guess'' not. I do n't know who you think you are or who you think you're dealing with. You ca n't give me a straight answer, fine, give me one good reason why I should n't fail you right now? Kale CLOCKS Gutierrez.\",\n \"INT. JUVENILE COURTROOM - DAY ON SENOR GUTIERREZ - displaying a black eye, sitting next to the school's PRINCIPAL and COUNSELOR in a single row of seats behind the attorneys' tables. Kale, a little more cleaned up, wearing a suit, sits between Julie and his DEFENSE ATTORNEY. Julie, noticeably tired, glances at her son, her expression a fusion of anger and sympathy. Kale's eyes shift her way, but his head never turns. The JUDGE mulls over his notes. JUDGE Okay, Mr. Brecht. Kale's lawyer prompts him to stand. JUDGE -LRB- CONT'D. -RRB- You're six months shy of eighteen, that means the assault - two charge you've pled guilty to carries a max of one year in juvey. With these priors, you're up to three. The judge lets that sink in. Kale remains silent. JUDGE -LRB- CONT'D. -RRB- But losing a parent is n't easy. Which is why I'm sentencing you to three months house arrest. Julie closes her eyes in relief. JUDGE -LRB- CONT'D. -RRB- You can thank your counselors and lawyer later. Mr. Brecht, I just cut you a break. Do n't test me. The judge taps his gavel.\",\n \"INT. KALE'S HOUSE - KITCHEN - DAY A pair of hands wrap an ELECTRONIC MONITORING BRACELET around Kale's left ankle. WIDER TO REVEAL the hands belong to Kale's case officer, JANET PARKER, 35, no - nonsense. Kale's perched on the center island. Julie watches from the b.g.. As Parker clicks the bracelet's buckle into place, a GREEN LED light illuminates. It's ON THE TOP EDGE OF THE BRACELET'S BAND so Kale can easily see it if he looks down. Next to this light is an additional RED LIGHT that is n't on. PARKER -LRB- making final checks. -RRB- Okay, you. are all set. to go nowhere. -LRB- re : the LED lights. -RRB- Now, green means you're good, you're in the safe zone which covers about a sixty - foot radius from this guy here. Parker points to a big black box -LRB- the CENTRAL TRACKING UNIT -RRB- on the kitchen counter. PARKER -LRB- CONT'D. -RRB- He's like a modem. He gets a constant signal from Mr. Bracelet that he sends through your phone line to the monitoring station downtown. So they know where you are, where you've been and what you're thinkin' 25/7. JULIE What if he accidentally goes beyond - PARKER -LRB- anticipating ; re : red light on bracelet. -RRB- Red light flashes. Means you've got about ten seconds to get your butt back to green, or else - KALE The execution squad shows up? PARKER And they do n't bring blindfolds. It's also tamper proof and waterproof. So do n't try sticking your foot in a bucket of water and hopping across the line. It wo n't work, and you'll look stupid. Now, I'll be checking up on you a lot. Here's my card - You're set up to pay his incarceration fee, Ms. Brecht? JULIE Automatic withdrawal. -LRB- to Kale. -RRB- Twelve bucks every day. PARKER -LRB- re : a booklet. -RRB- Everything else is in the manual. -LRB- making her way out. -RRB- Oh, except this - House arrest might sound like a breeze, but trust me, I've seen all kinds of folks get a bit loopy before too long, some after just a day or two. So make sure you find lots of constructive things to keep yourself busy.\",\n \"INT. KALE'S BEDROOM - NIGHT - LATER Kales sits in his video game chair, wearing his X - box live headset, playing HALO 2 - he's on the final `` boss level.'' GUNFIRE and EXPLOSIONS BLARE over his stereo speakers. KALE -LRB- into headset as needed. -RRB- Hobby, you read me? I said come around my left flank and draw his fire - damn straight I'm trying to get you smoked, you've been hiding behind my ass the whole game - The TV SCREEN suddenly GLITCHES. KALE -LRB- CONT'D. -RRB- Hobby, Jet, you guys still there? The screen goes black. The XBOX LIVE LOGO APPEARS along with the words : SERVER ERROR. Kale throws the headset aside, makes sure all the wires are connected. Checks the TV screen. Same thing. Kale glares at the screen another beat, then gets up, wanders out of his room.\",\n \"INT. ENTRY HALL - NIGHT - CONTINUOUS Kale slowly heads down the stairs, rounds the corner into.\",\n \"INT. KALE'S HOUSE - KITCHEN - NIGHT - CONTINUOUS Kale runs into Julie who wears a black blouse and slacks, the required uniform of the steakhouse she works at. She's just thrown a couple of microwave dinners on the kitchen table. She's scrambling around, eating a couple bites, gathering her things. JULIE Dinner's on the table. I'm closing at the restaurant the next few nights. Could be some late ones, but hey. the extra tips could n't hurt. Kale sits at the table, picks through his food. JULIE -LRB- CONT'D. -RRB- -LRB- glancing around. -RRB- Where's my apron. apron. She heads O.S. for a beat, comes back in with her apron and purse, sets them on the counter. Eyes her watch, sits at the table, takes a couple more quick bites. Then - JULIE -LRB- CONT'D. -RRB- You wan na talk about anything? KALE I got nothin'. JULIE Y' know, when we're finally free of all this legal stuff with the accident, the other families' lawyers. there might be a little insurance money left. maybe you should go back and see Dr. Phillips? KALE What, so he can tell me I'm ADD, have PTSD, and severe IAD? JULIE IAD? KALE -LRB- messing with bracelet. -RRB- Freakin' irritated ankle disorder. Julie ca n't help but crack a little smile : JULIE Well, that one could've been avoided. Kale looks back up. He's not smiling. Whatever chance we had of a lighter conversation panning out here quickly fizzles. Another beat, then - Julie pushes her chair back, heads to the counter, grabs her apron and purse. JULIE -LRB- CONT'D. -RRB- -LRB- heading out. -RRB- Do the dishes. -LRB- pleading. -RRB- Please? Julie leaves. Kale glances around the kitchen. A mess of dirty dishes, stacks of paper. screw that.\",\n \"INT. KALE'S BEDROOM - NIGHT - LATER Kale, looking disheveled and very perplexed, now has his TV pulled out from the wall. He's behind it, meticulously checking and re - connecting all the wires and ethernet cable. Carefully studying the manual as he goes. He blows on the Halo 2 CD, wipes it down with his sweatshirt, gently puts it in the tray, giving us the idea this might not be his first attempt at this. He powers up the Xbox, grabs a controller. so far, so good. he scrolls through the screens, a little hope returning. SERVER ERROR. Kale throws a mini - fit, slams the controller to the floor. Rips the controller cord out of the XBOX -\",\n \"INT. KALE'S BEDROOM - THE NEXT MORNING A few stray beams of sunlight pierce the blinds. Otherwise, it's a tomb. Clothes strewn everywhere. We TRACK ACROSS the floor and a virtual DEBRIS FIELD of junk food bags, wrappers, Mountain Dew cans. find Kale in bed, ankle and bracelet stick out from the sheets, arm hangs over the side -\",\n \"INT. KITCHEN - MORNING Still a mess as we find Kale, hair disheveled, rummaging through the cabinets. Lots of Costco - size boxes : crackers, Pringles. a HUGE BOX OF TWINKIES. Kale spots a jar of peanut butter. He grabs the nearest bowl, pulls a bottle of Hershey's syrup from the fridge, pours it all into the bowl. He's about to throw the syrup bottle in the trash when something in the bottom of the can catches his eye. He reaches in, pulls out a bill for XBOX LIVE : SUBSCRIPTION CANCELED.\",\n \"INT. LIVING ROOM - MORNING - MOMENTS LATER Kale lounges in on the couch watching `` The Price is Right'' as he spoons the peanut butter from the jar, dips it in the bowl of chocolate syrup, devours it. Brings up a two - liter of Mountain Dew, takes a big swig to wash it down. KALE -LRB- to contestant on TV. -RRB- C'mon, bid a dollar, one dollar - CONTESTANT -LRB- ON TV. -RRB- I'll bid one dollar, Bob. Kale belches as he raises his spoon, saluting the screen. Then, after a beat, a look of grave concern crosses his face -\",\n \"INT. 2ND FL HALL OUTSIDE BATHROOM - DAY The toilet flushes O.S. Kale opens the door, leans against the frame, spent. He stands there a beat, absorbing the silence of the house. He eyes a door at the end of the hall.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - SECONDS LATER CU - the doorknob. Kale's hand enters frame, slowly turns it. Click. Kale pushes. The door CREAKS open to reveal DAD'S OFFICE Hardwood floor. Ornate, cherry wood desk. Plush leather chairs. Quiet. ON THE DESK - dad's reading glasses sit on a stack of papers next to an antique typewriter. THE WALLS - adorned with framed, poster - size covers of Dad's books - non - fiction, true account titles : WHISTLEBLOWER - The Inside Story of a Real Corporate Insider ; THE SENATOR'S SHADOWS : How Eight Men Conspired to Control One. ON ANOTHER WALL - a family portrait of Jeff, Julie, and Kale - age six ; Jeff at a book signing, smiling wide. Kale takes it all in from the doorway. His feet never once cross into the room. His eyes say everything. Loss, anger, regret. He gently pulls the door shut.\",\n \"INT. KALE'S BEDROOM - THAT NIGHT Kale samples some rap clips on I - tunes. Likes what he's hearing. ON THE SCREEN - Kale moves the cursor to `` buy song.'' The account screen pops up. Kale types his password. After a beat, bold red letters pop up : `` THE APPLE ID OR PASSWORD YOU ENTERED WAS INVALID OR INCORRECT.'' Kale types it again. Same thing. Then - like we all do to be sure, Kale types his password at a rate of ONE KEY PER SECOND. Same thing. Kale fumes, smelling a rat.\",\n \"INT. KALE'S BEDROOM - DAYS LATER The shades are drawn. Kale's door is closed. Find Kale looking utterly miserable, lounging in bed watching `` Bikini Destinations'' on HD NET. Julie enters wearing a business suit and name badge emblazoned with the RE/MAX LOGO. Kale quickly changes the channel to the local news. JULIE -LRB- heading to the window. -RRB- More trash TV? NEWS ANCHOR -LRB- ON TV. -RRB- Thirty - three year old Patricia Walsh was last seen three nights ago. KALE -LRB- innocently. -RRB- News. Kale points to the TV showing a photo of a smiling PATRICIA WALSH, VIBRANT, FLOWING RED HAIR - `` MISSING'' keyed in underneath. Julie shoots him a look, then rips open the blinds. Sunlight pours in. She gathers trash off the floor. JULIE The lawyer's sending some papers over. KALE And your point is? JULIE -LRB- heading O.S. -RRB- I've got two open houses, you've got ta sign for them. That's the point. KALE You canceled my Xbox subscription. JULIE -LRB- O.S. -RRB- I - tunes, too. -LRB- then. -RRB- You know what else I'm canceling? Kale turns to Julie who suddenly drops a pile of Kale's clothes on the floor in front of him. JULIE -LRB- CONT'D. -RRB- Maid service. -LRB- off Kale. -RRB- Sorry, you're a felon. And we're broke. I ca n't do it all, anymore, Kale. This is n't gon na be vacation as usual. I want these washed and the kitchen cleaned by the time I get home. KALE That might be difficult. JULIE Well let me make it easier. Julie goes to the TV, UNPLUGS IT. KALE That's a little dramatic, is n't it? I'm just gon na plug it back - Julie suddenly yanks a pair of scissors off Kale's desk and SNIPS THE POWER CORD IN HALF. KALE -LRB- CONT'D. -RRB- What are you, mental? JULIE -LRB- a very stern tone. -RRB- One more look at that kitchen and I will be. Julie picks up her keys and briefcase, pecks Kale on the forehead, leaves. JULIE -LRB- O.S. ; CONT'D. -RRB- You heard what I said about the lawyer? KALE Yes!\",\n \"INT. LAUNDRY ROOM - DAY - LATER Kale furiously stuffs clothes in the washer, blindly cranks the knob, presses start.\",\n \"INT. KITCHEN - DAY - LATER Kale SHOVELS dishes and glasses into the dishwasher, breaking a couple as he goes. He pours half the box of Cascade in the dispenser, kicks the door up and closed, cranks the knob.\",\n \"INT. KALE'S BEDROOM - DAY - LATER Kale sits on his bed, staring into space. He eyes the clock. Tick tick tick. We hear KIDS PLAYING IN THE STREET O.S. Kale glances out the window. HIS POV - Kids on bikes, NEIGHBORS out on walks. ahh. the sights and sounds of summer. And Kale's not invited. He glares down at his ankle bracelet. It glares back.\",\n \"INT. KALE'S BEDROOM - DAY - LATER Kale sits on the floor as he spreads a line of Elmer's glue across the bottom of a Twinkie. He's just completed the first couple of floors of what will be. TWINKIE TOWER.\",\n \"INT. KALE'S BEDROOM - DAY Kale, on cell, sits in his video game chair painting his toe nails. KALE -LRB- into phone as needed. -RRB- Dammit, Ronnie, I'm losing my mind. Give me some details, what's happening out there? RONNIE -LRB- V.O. -RRB- -LRB- phone filter ; party sounds in the b.g. -RRB- Dude, the chicks here in Oahu rock the houusse! Oh my god, this one is totally showing me her kite board. Belay that, she was n't pointing at me. Look, Kale, I've got ta hop - KALE Wait, Ronnie - Hello? Kale tosses the phone and the nail polish aside. Sits there in silence for a beat. Then eyes a racketball on the floor. Picks it up. Starts mindlessly bouncing it against the wall. and keeps bouncing it. and keeps bouncing it.\",\n \"INT. KALE'S BEDROOM - DAY - LATER Kale reclines in his chair, now FURIOUSLY SWATTING the racketball against the wall - with a racket. We PULL BACK to reveal SCUFF MARKS on the walls and CEILING where Kale has figured out the exact points to hit it allowing him to bounce the ball off multiple walls and return it perfectly to his hand. He SWATS it. and SWATS it.\",\n \"INT. KALE'S BEDROOM - DAY - STILL LATER Kale's passed out in his chair, the racket still in his hand. He's about to fall out of the chair when a loud BANG O.S. JOLTS him awake.\",\n \"INT. 2ND FLOOR HALLWAY/WINDOW - DAY - SECONDS LATER Kale goes to the window, tilts his head, trying to see where the noise is coming from. KALE'S POV - He's able to make out some bits of movement next door, but his VIEW is OBSTRUCTED by the architecture of his house. Kale steps back from the window, studies it a beat - then opens it, slowly sticks his head out. HIS POV - A U - HAUL TRUCK comes into view. It's backed into the driveway next door. ALAN NORRIS, 43, appears from inside the truck's cab, carrying a moving box. He hands it down to his wife, BONNIE, 42, who walks back in the house. Kale's about to pull his head in when another PERSON comes out of the moving truck. She's carrying a box that's obscuring her face as she carefully negotiates the incline of the moving truck's ramp. But her blonde hair and perfect legs look to be about 17. We'll soon know her as ASHLEY, the Norris' daughter. She reaches the end of the ramp. Bends over to retrieve another smaller box, her back and ass to Kale who stares in utter disbelief. Ashley stacks the boxes, picks them up and heads into the house, her face still a mystery. Kale watches her go. Mesmerized. Suddenly, the DOORBELL RINGS O.S. Kale snaps to, yanks his head back in - and KERBONGS it on the underside of the window. He drops to the floor. KALE GODDAMMIT! Kale staggers to his feet.\",\n \"INT. ENTRY HALL - DAY - SECONDS LATER More doorbell RINGING. Kale heads down the stairs to the front door. KALE I'm coming! Kale swings the door open to see - A BURNING PAPER BAG on the welcome mat.\",\n \"EXT. KALE'S HOUSE - FRONT PORCH - DAY - CONTINUOUS Kale instinctively STOMPS ON IT with his SOCKED FEET! KALE Oh shit! Shit water shit! Kale frantically hops around, looking for a hose, bucket, anything wet - but the flames are already out. Kale looks down, finally realizes this - but there's another problem - his socks are smothered in SLIMY DOG SHIT. We hear GIGGLING O.S. Kale glances up as two neighborhood BRATS on bikes emerge from their hiding place behind a shrub across the street. They high five each other. BRAT #1 What a retard! Kale glares - then heads down the steps into.\",\n \"EXT. KALE'S YARD - DAY - CONTINUOUS Kale walks briskly, menacingly toward them - KALE You think that's funny? The Brats grow more concerned, back away as Kale draws closer - BRAT #2 What are you gon na do, kill us like your teacher? KALE CHARGES THEM! KALE Not before I shove this shit up your ass! The brats pedal away. Kale races through the sprinkler, crossing his yard into the far corner of Ashley's, trying to cut the Brats off as they race down.\",\n \"EXT. STREET - DAY - CONTINUOUS The chase is on. Kale increases his speed. Almost catching up to them - BRAT #2 -LRB- terrified to Brat # 1. -RRB- Dude, you said he could n't leave his house! Kale overhears, stops cold. He glances to the ANKLE BRACELET : FLASHING RED LIGHT. KALE Shit! Kale races back down the street, his shit - stained feet leaving tracks as he goes. He cuts through Ashley's yard again, yelling at the bracelet all the way - KALE -LRB- CONT'D. -RRB- Turn green turn green turn green. Kale races by ASHLEY'S PARENTS, leaps back into.\",\n \"EXT. KALE'S FRONT YARD - DAY - CONTINUOUS He looks at the bracelet. Still FLASHING RED. He hops up and down as the SPRINKLER STREAMS approach him from behind. KALE -LRB- CONT'D. -RRB- No, c'mon, I'm way inside, turn green - He spins back toward the house, runs SMACK into the STREAMS, trips on the sprinkler, falls on his face. Now his foot's tangled in the sprinkler. Spraying water all over him. Kale's foot jiggles the sprinkler free. He then sees the ankle bracelet : GREEN LIGHT. KALE -LRB- CONT'D. -RRB- Yes! That's what I'm talking about! He gazes over : ASHLEY'S PARENTS, EACH WITH A MOVING BOX, STAND THERE, JAWS DROPPED. BOTH TAKE A NERVOUS STEP BACKWARD as ASHLEY steps out the front door. Freezes at the sight of the sopping wet, shit - and - grass - stained Kale. Kale locks eyes with her. Then smiles and waves. KALE -LRB- CONT'D. -RRB- It's cool, I'm all green. Then - SIRENS WAIL. Kale turns to the street : TWO POLICE CARS SCREECH TO A STOP. Kale loses the smile. PARKER -LRB- V.O. -RRB- -LRB- phone filter prelap. -RRB- Kale, calm down, the officers were probably in the neighborhood already.\",\n \"INT. KALE'S BEDROOM - EVENING ON KALE - pacing, on cell phone, pressing an ice - filled Ziplock back to his head. KALE -LRB- into phone as needed. -RRB- Okay, fine, but if I'd known - PARKER -LRB- V.O. -RRB- Kale, first times happen. The officers knew that. But next time they will take you to jail. Kale flips the phone shut, collapses to the bed - PRELAP - The doorbell RINGS.\",\n \"INT. KALE'S HOUSE - ENTRY HALL - THAT NIGHT Kale, his Louisville Slugger firmly in hand, groggily heads to the door, swings it open. COURIER. With papers. COURIER Hi, I'm from McNeill - Stewart law firm, dropping off for Ms. Julie - Over this, Kale yanks the envelope away, SLAMS the door in the guy's face. Kale heads away. The doorbell RINGS. Kale opens the door, grabs the courier's clipboard, signs his name, SLAMS THE DOOR EVEN HARDER.\",\n \"EXT. KALE'S BACK YARD - THE NEXT DAY ON KALE'S FEET - entering frame, inching their way through the yard. ON THE BRACELET - The green light suddenly goes out, red light FLASHES. Kale's foot quickly steps back. GREEN LIGHT. A beat, then - A SMILING GARDEN GNOME SLAMS DOWN INTO FRAME. WIDER - Kale ties kite string around the gnome's hat, then unspools it across the yard to a waiting croquet mallet already hammered into the ground. He pulls the string taut and ties it off. We PULL BACK to REVEAL Kale's emerging KITE STRING PERIMETER - a crude SEMI - CIRCULAR ARC around the yard tied off at different points using makeshift `` stakes'' - gnomes, mallets, shovels, screwdrivers.\",\n \"EXT. KALE'S FRONT YARD - DAY - SHORT TIME LATER Same `` BOUNDARY CONSTRUCTION'' here. Kale shoves a screwdriver into the ground a few feet shy of his mailbox. He ties some string to it as he glances over to the other neighbors' -LRB- the PILCH's -RRB- yard, sees their black Labra - doodle watching him. KALE Hey doggie, come here. The dog trots toward Kale. It almost reaches his outstretched hand when it suddenly gets ZAPPED by the underground electric fence. It YELPS away. Spins back around, sits and stares. KALE -LRB- CONT'D. -RRB- -LRB- re : his ankle bracelet. -RRB- Hey, you and me both. OVER KALE'S SHOULDER IN THE B.G. - ASHLEY lifts more boxes from the back of their station wagon. She sets them on the drive, SLAMS the liftgate. Kale turns around. Ashley throws him a quick glance, then heads around the back of her house. Kale stares after her.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY CU - The doorknob. Kale's hand enters frame, slowly turns it. Click. Kale pushes.\",\n \"INT. DAD'S OFFICE - DAY - CONTINUOUS Kale stands in the doorway. He takes a moment, considering what he's about to do. Then - HIS FOOT steps inside. He goes to the window, gently pulls the blind up to reveal the BACK OF ASHLEY'S HOUSE He peers down, sees Ashley and her mom standing by the swimming pool. Ashley disappears through the back door. Kale tilts his head up, curiously gazing through the pair of OPEN WINDOWS on the SECOND FLOOR of Ashley's house. HIS POV - ASHLEY'S BEDROOM Unmade bed, stacks of open moving boxes, poster frames waiting to be hung. Kale squints, steps closer. ASHLEY enters the room. Digging clothes from boxes, stuffing them in her dresser, then - she pulls her hair back, yanks off her t - shirt, revealing a black bra. ON KALE - he continues to watch as Ashley digs a towel out of a moving box, and, with her back to us, pulls off the bra and disappears into the bathroom. Off Kale -\",\n \"INT. KALE'S HOUSE - ENTRY HALL - DAY The front door swings open to reveal Ronnie, DV camera in hand. He's wearing aviator shades, half a dozen leis and a hawaiian shirt. RONNIE -LRB- hula dancing. -RRB- Aloooha Senor Ka - Dude, you look like hell. REVERSE ANGLE TO REVEAL KALE - now with a patchy stubble, wearing a bathrobe and a SHRUNKEN t - shirt that used to be white but is now LIGHT PINK. He holds his bat in one hand, quart of Haagen Dazs in the other. He smiles, hugs Ronnie. Tight - and not letting go -\",\n \"INT. 2ND FL HALLWAY/WINDOW - DAY - MOMENTS LATER Kale leads Ronnie up the stairs and to the window. RONNIE Seriously man, you need some sun. -LRB- re : DV cam. -RRB- Hey, I've got ta show you this. Maui chicks rule. KALE -LRB- anxious. -RRB- I've got something to show you, too. -LRB- then ; slightly crazed. -RRB- I mean. there's such structure to it, so many layers, but it's invisible if you're not looking close enough. RONNIE What are you talking about? KALE The world right outside the window. Kale gestures out the window. Ronnie looks out. They peer down to the Pilch's backyard. A Ford Escort is in the drive. Besides that, all's quiet. RONNIE - Fascinating. KALE -LRB- eyeing his watch. -RRB- Just wait. and. -LRB- then. -RRB- Three. two. one. dog. The Pilch's dog darts out the back door - then - KALE -LRB- CONT'D. -RRB- Mrs. Pilch. saying goodbye to Lonnie. RONNIE Husband? KALE -LRB- shaking a `` no''. -RRB- Maid. Over the above, Mrs. Pilch, wearing an unflattering tennis skirt, exits the house. The dog hops around her as she waves back to her heavy set, male maid, LONNIE, 35. KALE -LRB- CONT'D. -RRB- Four o'clock every Thursday, she goes to the country club to play tennis with Betty Big - Bangs there. Kale and Ronnie watch as Mrs. Pilch heads down the walkway, meets her rail - thin 50 - ish female tennis PARTNER at the curb. As they walk away, the dog tries to follow but gets ZAPPED by the electric fence and YELPS back into the house. KALE -LRB- CONT'D. -RRB- And. ladies disappear. cue white Mercedes. Mr. Pilch. arriving from the office. A white mercedes pulls in the driveway. MR. PILCH, 63, gets out, carrying briefcase and flowers. RONNIE Great, that still does n't explain why you're in a bathrobe at four in the afternoon. KALE -LRB- pulls Ronnie closer. -RRB- Will you just look - RONNIE Dude, he's gon na see - KALE He ca n't. We do n't have any lights on. Plus the angle's sharper from ground level, it only seems like he could see us. I did the math. RONNIE Oh, you did the math. KALE Optical illusion, line - of - sight does n't apply to the subject. RONNIE Kale - KALE Now tilt your gaze up. RONNIE AND KALE'S POV - TILTING UP TO THE PILCH'S BEDROOM WINDOW - Lonnie vacuums as Mr. Pilch enters the room behind him. Mr. Pilch flips off the light switch, cutting the power to the vacuum. Lonnie startles, turns around, sees Pilch standing there with the flowers and a big smile. A beat, then - Lonnie jumps in Pilch's arms, kissing him passionately. RONNIE DAMN! Kale slaps his hand over Ronnie's mouth. Ronnie pulls away, reaches in his pocket, yanks out his ASTHMA INHALER and takes a hit. Then - RONNIE -LRB- CONT'D. -RRB- -LRB- re : hallway and window. -RRB- Seal this area off, Kale. KALE C'mon, there's more. RONNIE What, I go to Maui, you become a stalker? KALE No, stalking's for psychos. These are just simple observations. natural side effects of chronic boredom. As Kale heads away : RONNIE -LRB- pleading. -RRB- Find your passion, Kale.\",\n \"INT. KALE'S BEDROOM - DAY Kale leads Ronnie to the window. Ronnie takes in the mess in Kale's room - the scuff marks on the walls, the completed TWINKIE TOWER. He glances to the desk, sees a penciled GEOMETRIC DIAGRAM of Kale's line - of - sight spying theory - shit, Kale was n't lying - he did do the math. KALE -LRB- pointing out. -RRB- So. Robert Giles. KALE AND RONNIE'S POV - In the yard across from Kale's back yard, find ROBERT GILES, gassing up his lawnmower in the driveway. He's early 40's, clean - cut, fit, decent looking. He closes the garage door via remote, then fires up the mower, pushes it around the side of his house toward the front yard. KALE -LRB- CONT'D. -RRB- He's lived there a couple of years, but I've never noticed he mows his lawn every two days. RONNIE Huh, I guess he likes his grass short. KALE Next to him is Judy Thorp. Dude, she freakin' sneaks over to her neighbors' every morning, steals their newspaper, I guess reads it or swipes the coupons, then puts it back before they even wake up. RONNIE -LRB- sarcastic. -RRB- No shit? -LRB- weirdly eyeing Kale who heads out. -RRB- People. You never can tell these days.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - MOMENTS LATER Kale slowly pushes on the door. It creaks open. Kale tilts his head, listening. Then - SPLASH! Kale smiles. RONNIE What was that?\",\n \"INT. DAD'S OFFICE - DAY - CONTINUOUS Kale leads Ronnie to the window. KALE Last stop on the tour. KALE AND RONNIE'S POV - ASHLEY swims underwater the length of the pool. She finally surfaces in all her two - piece glory. RONNIE Oh - my - God. Who be she? They watch as Ashley steps out of the pool, towels off. She pulls her bikini from her butt, lies in the lounge chair. KALE Do n't know. RONNIE What's stopping you?! Off Kale, considering -\",\n \"EXT. KALE'S FRONT YARD - THE NEXT DAY ON KALE - now clean - shaven, sitting on the front steps. He eyes his watch, then stretches his neck. Yawns. Then he sees something O.S. KALE'S POV - peering down the street, Ashley's stationwagon rounds the corner - Kale hops to his feet, quickly fixes his hair as the stationwagon draws closer. Kale casually strides into the yard, approaching the kite string boundary and mailbox. Then - keeping his feet planted in what looks to be a very practiced maneuver, he suddenly falls forward against the mailbox. Reaches around with his free hand, opens the door, going to grab the mail inside just as ASHLEY pulls the car into and up the drive. She glances at Kale who nods and smiles back. As the stationwagon heads up the driveway, Kale tries to push himself upright - but his feet SLIP. He pitches forward more. He glances back over his shoulder, sees Ashley getting out of the car and looking his way. Kale struggles under his own weight, trying to keep his feet from crossing the line - he looks back to Ashley who's now heading toward him. A slight smile crosses Kale's face as - ASHLEY Can I help you? KALE Nope, no I'm fine. ASHLEY -LRB- helping him up. -RRB- Too late. KALE Thanks, that was really humiliating. Ashley reaches in the box, grabs the mail, hands it over. ASHLEY Please. I think any pride you had left was gone a while ago. KALE Oh, you mean that thing with the cops? They had the wrong guy, total foul up. I'm Kale by the way. Ashley nods with a semi - polite smile, starts to head away - KALE -LRB- CONT'D. -RRB- Hey, so - how'd the move go? ASHLEY Still going. KALE I'd help, but. -LRB- re : ankle bracelet. -RRB- I'm a little spatially challenged at the moment. Ashley walks closer to Kale, checks out his ankle bracelet. ASHLEY Yeah, you've kinda got the whole Martha Stewart thing going on - KALE -LRB- nodding. -RRB- But minus the 48 - hour allowance for office visits. And no lame `` Apprentice'' spin - off. -LRB- off her laugh. -RRB- So where'd you move from? ASHLEY I'm a city girl. Born, raised, and now. -LRB- glances around ; sighs. -RRB- Forcefully relocated. KALE That does n't sound good. ASHLEY I'm telling you, if I have another clueless jock hit on me or one more soccer mom cuts me off in her oversize SUV, I'm gon na go postal. KALE Oh, sorry, I was just gon na see if you wanted to hop in my Hummer and cruise to a kegger. -LRB- turning away. -RRB- Nice talking to you. ASHLEY -LRB- cracking a smile. -RRB- Wait, I - BONNIE -LRB- O.S. -RRB- -LRB- from inside house. -RRB- Ashley? Can you come in here, please? ASHLEY -LRB- quietly to Kale. -RRB- My mom - she's very polite, always says `` please'' but she's got that tone, did you notice? KALE I know the tone. ASHLEY -LRB- heading away. -RRB- Oh, I'm Ashley - KALE Noticed that, too. Ashley smiles, disappears inside. Kale's in love.\",\n \"INT. LIVING ROOM - NIGHT The wind HOWLS outside. Kale sits on the couch flipping channels. Julie's in the chair, nodding off. ON THE TV - Kale lands on that same photo of PATRICIA WALSH, the MISSING REDHEAD we saw earlier. NEWS ANCHOR -LRB- ON TV. -RRB- attended a friend's birthday party at a local nightclub before she was last seen alone at a diner outside Madison, 50 miles east of here. A waitress said Ms. Walsh was picked up around 10:30 P.M. by an unidentified person driving a black 1960's era Mustang that was dented on the left side and may have - Kale CLICKS the TV off - looks over to Julie who's now sound asleep. Kale's watch ALARM suddenly BEEPS. He quickly shuts it off, eyes Julie. She stirs but does n't wake up. Kale quietly gets up, grabs the blanket off the sofa, covers Julie up. He then picks up his soda and bowl of popcorn from the coffee table, heads away.\",\n \"INT. DAD'S OFFICE - NIGHT - SECONDS LATER Kale, immersed in shadow, enters. He quietly pulls Dad's leather chair toward the window, positions it just right, and sits. KALE'S POV - Ashley's working out to a YOGA DVD. KALE -LRB- to Ashley. -RRB- You started without me? As if eerily on cue, Ashley suddenly stops. KALE -LRB- CONT'D. -RRB- What are you stopping for? She goes to her window and peers out - Kale ducks - He looks back up, sees Ashley gazing in his direction - Kale's breathing intensifies - could she actually be seeing him? KALE -LRB- CONT'D. -RRB- -LRB- convincing himself. -RRB- No - ASHLEY turns around, goes back to her yoga mat. She takes a breath, getting back in `` the zone,'' then - she slowly raises her arms and bends into a ridiculously sexy pose. KALE -LRB- CONT'D. -RRB- Whoa. Kale watches Ashley another couple of beats. Then her dad appears in the doorway. Looking pissed. Kale leans closer - Ashley stops the DVD. From her body language, she's clearly annoyed at the interruption. The scene quickly devolves into a heated argument. But Ashley's dad gets the last word in and leaves. Ashley SLAMS the door behind him, flips off the TV, storms in the bathroom and SLAMS that door, too. Kale watches the vacant room. waiting. another beat, then - Ashley emerges from the bathroom with a box of tissues. She sits on her bed, pulls THREE TISSUES from the box, staring off. From this angle, it almost looks as if her eyes could meet Kale's at any moment. Kale instinctively lowers himself in the chair, his eyes never leaving her. Then - with a huge gust of HOWLING WIND we\",\n \"INT. DAD'S OFFICE - NIGHT - LATER Kale SNAPS AWAKE. Breathing hard. Bad dream. He sits up, peers across to Ashley's windows. Dark, shades pulled. Kale pulls himself out of the chair.\",\n \"INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER Kale enters, grabs his PSP and falls back to the bed. As he starts playing, HEADLIGHT BEAMS appear from O.S.. He glances out the window : KALE'S POV - A BLACK 1965 MUSTANG CONVERTIBLE pulls in Giles' driveway. Kale goes back to playing the PSP, then suddenly stops - KALE -LRB- realizing. -RRB- - Mustang - Kale hops up, heads to the window - KALE'S POV - Kale watches as Giles hops out, leaves the car running as he heads inside the house. After a beat, the MAIN GARAGE DOOR raises up. Giles appears, ducking underneath, heads back to the Mustang, gets in. Giles maneuvers the car around the driveway. The front end of the car swings around, revealing a bashed - in right front fender. KALE -LRB- CONT'D. -RRB- Holy shit. A dent - Kale races to his closet, pulls down a pair of binoculars, heads back to the window. BINOCULAR POV - In the garage, Giles is already out of the car, rounding the back as the garage door lowers. Kale crouches, trying to see under the CLOSING DOOR. catching a glimpse of Giles popping the trunk - A HAND suddenly enters frame, lands on Kale's shoulder! Kale SCREAMS, whips around - Julie. She SCREAMS, too. KALE -LRB- CONT'D. -RRB- Jesus, mom! JULIE Christ, Kale! JULIE -LRB- CONT'D. -RRB- I'm sorry. I thought you heard me. KALE What? No, I - JULIE What's going on? KALE Nothing, just watching the wind blow. JULIE -LRB- re : binoculars. -RRB- Anything else? Kale turns back. HIS POV - Giles' garage door is now closed. KALE No, see for yourself. JULIE -LRB- beat ; then. -RRB- That's okay, I just. wanted to say good night. Julie leaves. Kale turns back to the window, stares out at Giles' house. The lights go out.\",\n \"INT. DAD'S OFFICE - THE NEXT DAY ON KALE - sitting in the leather chair, binoculars raised. On the floor next to the chair is a 7 - 11 bag, a slurpee cup, a bag of beef jerky and an AUTOMOTIVE MAGAZINE with a MUSTANG on the cover. BINOCULAR POV - Ashley sits on the roof leaning against her closed window. She's reading Lolita. RONNIE -LRB- O.S. -RRB- So you do n't know what year the Mustang is? REVEAL RONNIE - sitting at dad's computer looking at the FBI'S OFFICIAL WEBSITE. KALE -LRB- now flipping through magazine. -RRB-'65 or' 66, could n't tell. RONNIE Check this out. The feds think your missing girl might be related to three murders in Austin. All redheads. Kale processes that as we suddenly hear a car door SLAM O.S. BINOCULAR POV - Kale TILTS DOWN to see Ashley's mom backing out the driveway. Kale TILTS UP to Ashley's window - Ashley ducks back inside her room, disappears. KALE Movement. BINOCULAR POV - Kale TILTS DOWN to the pool, sees Ashley emerging from the house with a towel that she throws on the lounge chair. KALE -LRB- CONT'D. -RRB- Better late than never. Ronnie joins Kale at the window. THEIR POV - Ashley flips her sandals off one at a time, pulls her tank off revealing her bronzed back and bikini top. RONNIE Dude. Ashley slinks out of her shorts revealing a `` near - thong'' bikini this time. RONNIE -LRB- CONT'D. -RRB- DUDE! KALE -LRB- re : bikini. -RRB- That's definitely new. Ashley crouches down, runs her fingers through the water. RONNIE Oh, it's so warm, baby. Ashley cups her hands, scoops a handful of water from the pool, splashes her face. runs her hands through her hair. She stands, takes a deep breath, holds it - then exhales. RONNIE -LRB- CONT'D. -RRB- Cleansing breath. Ashley stretches her arms high above her head. RONNIE -LRB- CONT'D. -RRB- Concentrate now. This is for the gold. Ronnie grabs the binoculars from Kale, puts them to his eyes, moves closer to the window - but his zoomed - in vision causes him to underestimate the distance - THWUMP. The end of the binoculars HIT THE WINDOW just as Ashley dives into the pool - Ronnie and Kale hit the deck as we hear the splash O.S. KALE Jackass! RONNIE Dude, there's no way she heard that. KALE Dick, my deaf aunt in Omaha heard that. Kale grabs the binoculars from Ronnie. BINOCULAR POV - Ashley's underwater at the far end of the pool. She tucks and pushes off the wall, swims back. RONNIE -LRB- peering out. -RRB- She's got great lung capacity. ON ASHLEY - She suddenly surfaces, hoists herself from the water. She spins and sits on the ledge, rings the water from her hair. But she suddenly stops - and shifts her GAZE UP toward Kale and Ronnie! KALE -LRB- pulling Ronnie down. -RRB- I think she saw me - RONNIE There's no way - Ronnie grabs the binoculars back. RONNIE -LRB- CONT'D. -RRB- -LRB- re : Ashley O.S. -RRB- Okay, maybe she did. KALE Seriously? Kale peeks out - THEIR POV - Ashley's slipping back into her shorts and tank top. She heads to the back door, tries the knob. Locked. Over this, Ronnie turns to Kale : RONNIE Her swims always that short? KALE -LRB- growing concern. -RRB- No, she usually takes her time - They turn back. Ashley's gone. RONNIE Now where is she? The DOORBELL RINGS. Kale and Ronnie freeze. Then - KALE No. RONNIE No.\",\n \"INT. ENTRY HALL - LATE AFTERNOON - MOMENTS LATER Kale and Ronnie quietly approach the door. Ronnie suddenly pulls Kale back. RONNIE Do n't, it could be her! KALE It's not gon na be her. RONNIE Then stop! Just - let'em go away. The DOORBELL RINGS AGAIN. Kale heads to the door. KALE I have to. Kale peeps through the peephole - DISTORTED PEEPHOLE POV - Ashley. Kale calmly turns to Ronnie. RONNIE What?! What?! Speak. KALE It's her. RONNIE You're full of - Ronnie tip - toes to the door. One look at Ashley and he covers his mouth, grabs Kale and pulls him back. RONNIE -LRB- CONT'D. -RRB- Shit shit! Oh my shit! Both laugh, giggle, acting `` girlie,'' practically spinning in circles as they speak in hushed, panicked whispers : KALE She totally saw us - The DOORBELL RINGS again. Kale heads to the door. RONNIE We are so busted. Do n't answer it! KALE -LRB- re : his bracelet. -RRB- Dude, she knows I'm here. Kale swings the door open. Ashley stands there a beat. Her arms folded. Then - ASHLEY What took you so long? -LRB- eyeing Ronnie in b.g. -RRB- The house is n't that big. KALE Yeah, no, we were playing upstairs - Ronnie cringes at how that sounded. RONNIE -LRB- covering. -RRB- Video games? KALE -LRB- awkward beat ; then. -RRB- So. what brings you here. ASHLEY Oh. - Locked out. KALE Do you need to call anyone? ASHLEY Thanks, but I'd rather stay stranded if you do n't mind. Kale and Ronnie trade glances. ASHLEY -LRB- CONT'D. -RRB- May I? KALE Uh, sure, come on in - Ashley steps inside, glances around, checking out the place. KALE -LRB- CONT'D. -RRB- That's Ronnie. ASHLEY Nice to meet you. Video games, huh? -LRB- then suggestively to Kale. -RRB- I like to play. Kale trades a look with Ronnie as Ashley nonchalantly heads up the stairs. KALE Excuse me.\",\n \"INT. KALE'S BEDROOM - LATE AFTERNOON - MOMENTS LATER Ashley barges in, instantly struck by the mess. Kale pushes past her, starts grabbing underwear and garbage off the floor. KALE It's a little messy. ASHLEY A little? Kale keeps gathering clothes, tossing them to Ronnie who tosses them in the closet. Ashley picks up the binoculars from the window sill, peers outside. ASHLEY -LRB- CONT'D. -RRB- Anything interesting out there? Kale and Ronnie trade looks. Ashley turns around, binoculars still raised, aiming them like a gun at Kale. ASHLEY -LRB- CONT'D. -RRB- Are you spying on the neighbors, Kale? Kale freezes. RONNIE -LRB- stepping in. -RRB- Actually, he is. Kale's eyes widen in panic. RONNIE -LRB- CONT'D. -RRB- See, he has this neighbor - who I guess by definition would also be your neighbor - who may, in point of fact, be a cold - blooded killer. ASHLEY Is that so. Ronnie points out the window to Giles' house. RONNIE Exhibit A, Robert Giles. ASHLEY Yeah, I've seen him. So? KALE So you hear about that missing girl from Madison? ASHLEY -LRB- realizing ; then pointing out to Giles'. -RRB- What, you think he - KALE He drives a car like the one she was seen in. RONNIE Black Mustang. KALE 60's era Mustang. ASHLEY Gee, that really narrows it down. KALE They said it was dented. His has a bashed - in fender. ASHLEY -LRB- re : binoculars. -RRB- So this is why - you're - Suddenly seeing something O.S., Kale RIPS the binoculars out of Ashley's hand, goes to the window. RONNIE What? BINOCULAR POV - Giles pulls the Silver Toyota out of the garage and out the driveway. Ashley suddenly grabs the binoculars from Kale, peers out. KALE Hey - ASHLEY So that's the infamous black mustang, huh? KALE Yeah - ASHLEY The one with no dent? KALE -LRB- grabbing the binocs. -RRB- What? BINOCULAR POV - Sure enough, the Mustang NO LONGER HAS A BASHED - IN FENDER. The garage door starts to close - KALE -LRB- CONT'D. -RRB- How'd he fix it so fast - ASHLEY Because it was never there in the first place? Kale eyes Ashley. Shit, could he have imagined it? Ashley playfully grabs the binoculars back from Kale. BINOCULAR POV - Ashley catches a glimpse of a faded TEXAS LONGHORNS BUMPER STICKER. ASHLEY -LRB- CONT'D. -RRB- Sorry guys, no bashed - in fender, just a Longhorns bumper sticker. KALE -LRB- grabbing the binocs. -RRB- You serious? -LRB- then to Ronnie. -RRB- She's right. THEIR POV - Giles' garage door finally SLAMS CLOSED. KALE -LRB- CONT'D. -RRB- -LRB- off Ashley's questioning look. -RRB- They think it might be linked to some murders in Texas two years ago. RONNIE Austin, Texas. Texas Longhorns. Kale and Ronnie eye Ashley as if to say `` see?'' Ashley eyes them another beat - then : ASHLEY Okay, fine, stakeout. -LRB- grabs binoculars. -RRB- Who's on my shift? Off Kale and Ronnie, their dreams realized -\",\n \"INT. KALE'S BEDROOM - EVENING - LATER A BOX OF SPYING CRAP is dumped onto Kale's bed. Another DV Camera, an old, bulky VHS camera, a black and white portable TV, couple of tri - pods, walkie talkies, wires. a real mess. RONNIE This is all the stuff I could find - Ashley sits at Kale's computer as Kale anxiously sifts through Ronnie's stuff. ASHLEY Do you know how long Giles has lived there? KALE About two or three years. ASHLEY So he could've lived in Texas. -LRB- re : computer screen. -RRB- Hey, check this out. Ronnie goes to Ashley, reads the Amazon web page for the book : RONNIE `` Murderer : Tell Tale Signs of a Serial Killer.'' Qualifies for free shipping if you pair it with `` The Shrine of Jeffrey Dahmer.'' ASHLEY The summary lists four main criteria. Our guy meets at least three. White male between the age of twenty - five and fifty. He does n't have any pets, right? KALE Not that I've seen - ASHLEY You said he lives alone - RONNIE What's the fourth? ASHLEY -LRB- nonchalant. -RRB- Sexual dysfunction. Silence. Kale and Ronnie trade awkward glances, shaking their heads to each other as if reassuring themselves they do n't suffer from such a condition. ASHLEY -LRB- CONT'D. -RRB- -LRB- changing the subject. -RRB- I'm hungry, let's order pizza.\",\n \"INT. KALE'S BEDROOM - NIGHT - LATER TRACKING ACROSS KALE'S ROOM - The two tri - pod - mounted DV Cams stand watch over Giles' house. One camera feeds a grainy close - up shot of Giles' garage door to Ronnie's portable TV on the floor. The other feeds a WIDE SHOT of Giles' entire house to Kale's color TV. Both images appear on Kale's computer monitor. WIDER TO REVEAL - Kale and Ashley sit on the floor near the window. Kale peers over to Giles with the binoculars as Ashley messes with Kale's cell phone. In the b.g. Ronnie's passed out on Kale's bed, his hand resting inside the pizza box just inches from the last slice. KALE -LRB- re : Giles. -RRB- He's been gone awhile. ON ASHLEY - she's messing with Kale's cell phone. ASHLEY -LRB- handing him his cell. -RRB- Here. KALE How'd you get my phone? ASHLEY I'm crafty like that. KALE What'd you do? Ashley carefully unclips Ronnie's cell from his hip, flips it open, dials. After a beat, Kale's cell RINGS with Madonna's `` LIKE A VIRGIN.'' Kale laughs. ASHLEY Every time he calls, that's what you'll hear. Kale laughs as Ashley delicately re - clips the phone to Ronnie's belt. KALE'S POV - the Pilch's dog, wearing a pink sweater, suddenly darts into Kale's yard. KALE What the hell? THEIR POV - Pilch's dog stops, spins around and takes a dump. KALE -LRB- CONT'D. -RRB- Where's - Mr. Pilch, in his robe, suddenly appears from the shadows, watches the dog do its business. ASHLEY -LRB- re : Mr. Pilch. -RRB- Three to one he does n't pick it up. Nope. The dog finishes. Pilch calls it over, scoops up the dog and heads O.S. KALE So that's why the grass is greener. ASHLEY Only in disturbia. KALE So why the move? ASHLEY What do you mean? The greener grass, the safer pastures. KALE No, seriously. There's a beat as Ashley locks eyes with Kale. Then - ASHLEY Well, I guess my mom thought it'd help keep dad on a shorter leash. City life. had its temptations. -LRB- beat ; then matter of fact. -RRB- But my mom pretty much cries just as much as she always did, and dad does n't care - more than ever. KALE What did they think, an extra bathroom and two - car garage would actually change things. somehow protect them and you from all that crap you can never escape? Ashley holds Kale's gaze for a beat. Then, she nods, with : ASHLEY Something like that. -LRB- eyeing the bracelet. -RRB- So. what're your issues, Kale? Kale hesitates. We see in his eyes that he's flashing to the past. `` going there.'' There's an uneasy beat as Ashley picks up on it : Then - HEADLIGHTS APPEAR OUTSIDE. Kale quickly turns away from Ashley, pulls one of the DV Cams off its tri - pod, flips out the three - inch LCD SCREEN. KALE That's him. DV CAM POV - Giles' silver Toyota pulls in the driveway. Stops. Engine and headlights turn off. ASHLEY Another car - DV CAM POV - Kale ZOOMS IN. The GRAINY IMAGE finally steadies to reveal a SECOND CAR pulling in behind Giles. A thirty - something attractive WOMAN - a REDHEAD - is at the wheel. She pulls in next to Giles' car. ASHLEY -LRB- CONT'D. -RRB- You seen her before? KALE No. DV CAM POV - Giles gets out. Wearing a suit, no tie. ASHLEY -LRB- re : Giles. -RRB- Cute for a killer. Giles goes to the woman's car, opens her door. ASHLEY -LRB- CONT'D. -RRB- Who said chivalry's dead? The woman gets out, wearing a black cocktail dress. ASHLEY -LRB- CONT'D. -RRB- There's a club girl for you. KALE How do you know? ASHLEY Bright green bracelet's `` The Pyramids,'' purple's `` Club 360,'' the big black stamp's from `` Flavor.'' DV CAM POV - Kale ZOOMS in on the woman's wrist and hand. Sure enough, she's wearing both a green and a purple bracelet, and has a black stamp blotch on her hand. KALE -LRB- over the above. -RRB- Missing girl was seen at a club. Did n't say which one though. -LRB- then aside to Ashley. -RRB- Your I.D. must be pretty good. ASHLEY -LRB- with a smile. -RRB- I do n't need one. They turn back to the window, watch as Giles escorts the woman to the house, shows her in. A light comes on inside. DV CAM POV - Kale ZOOMS IN on one of the living room windows, spots the woman moving around inside, looking at artwork. she sits on the sofa as Giles enters with two glasses and a bottle of wine. He sits down, pours the wine. They toast, take sips. Giles moves in for a kiss - KALE He's going in. DV CAM POV - The woman shies away from Giles, stands from the sofa. ASHLEY Denied. They watch as the woman gets up, moves to the center of the room, and starts to get a little groove on. ASHLEY -LRB- CONT'D. -RRB- -LRB- been there, done that. -RRB- Oh no, he put on music. DV CAM POV - Giles watches the woman as she seductively moves her body to the music we're not hearing. ASHLEY -LRB- CONT'D. -RRB- Oh, c'mon, Giles, all she wants to do is dance. KALE What do you think they're listening to? ASHLEY Could be radio. See if you can find the station. Kale sets the camera down, turns on his receiver. As he toggles through radio stations - Rock, Alternative. ASHLEY -LRB- CONT'D. -RRB- -LRB- watching the woman & Giles. -RRB- No. no. Kale flips to an easy listening R & B station playing Lou Rawls `` You'll Never Find Another Love Like Mine.'' ASHLEY -LRB- CONT'D. -RRB- Stop. BINOCULAR POV - Ashley watches as Giles takes the woman's hand and dances with her. Their rhythm fits the music perfectly. ON RONNIE - he stirs on the bed, still asleep. RONNIE -LRB- eyes closed ; grinning re : music. -RRB- Hmmm. Ashley and Kale eye Ronnie for a beat. Then turn back to the window. DV CAM POV - Kale pans back to the woman and Giles. They're really dancing close now. Kale's and Ashley's eyes shift to each other, then quickly flick away. A beat. Then - Ashley raises the binoculars, faces back toward Giles' with : ASHLEY Now's the time to bust your move. Ashley glances to Kale. Kale turns, holds her gaze. A palpable tension between these two. They ever so slowly lean toward each other when - RONNIE - suddenly interrupts, pushing himself between them. RONNIE -LRB- yawning ; re : woman with Giles. -RRB- Who's that? Ronnie looks to Kale and Ashley who glare back. RONNIE -LRB- CONT'D. -RRB- -LRB- realizing. -RRB- Ookay, just fill me in later. -LRB- taking Ashley's hand. -RRB- A pleasure. -LRB- then ; aside to Kale, mouths ; re : Ashley. -RRB- Duude! -LRB- slaps Kale's hand. -RRB- Later. Ronnie stands, leaves. Kale shakes his head, turns back to Ashley. They lean in again when - Ashley's CELL PHONE ominously RINGS with the first measures of BEETHOVEN'S 5TH - `` BUM BUM BUM BUMMMMM.'' She pulls the cell from her pocket. ASHLEY -LRB- re : cell. -RRB- It's my mom. -LRB- into cell. -RRB- Hi. No, I'm fine. -LRB- with a smile. -RRB- I'm at Barnes and Noble. Okay, I'm leaving. No, I'll walk. Ashley flips the phone shut, joins Kale who's watching the LCD screen : DV CAM POV - Giles and the woman are back on the couch. The woman is leaning her head on Giles' shoulder. As Giles leans forward to take her wine glass, the woman falls over behind him. Out cold. Kale and Ashley cringe. KALE And she's down for the count.\",\n \"EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER Kale and Ashley cross the yard to Kale's kite string boundary. ASHLEY Looks like this is as far as you go. KALE Looks like. They peer into each other's eyes. Then - ASHLEY Y' know, I have to admit, you're different than I expected. KALE What were you expecting? ASHLEY I thought you'd be more messed up. KALE Does that disappoint you?'Cause I can be more messed up if you want me to. ASHLEY No, you're fine. KALE `` Fine?'' ASHLEY Yeah. KALE `` Fine'' like your first cousin `` fine'' or `` fine'' in kind of a Brad Pitt sorta way? Ashley smiles. They suddenly hear VOICES O.S. Kale and Ashley glance over to Giles' house. THEIR POV - The woman is heading briskly to her car. Giles is right behind her. Ashley grabs Kale's arm and pulls him behind a shrub on his side of the boundary. They peek back over to Giles'. THEIR POV - We're crouched low now, so we only hear the barely audible voices of Giles and the WOMAN. Talking SERIOUSLY about something - GILES -LRB- voice raising. -RRB- Just come back in the house, you should n't drive - ASHLEY He wants her to come back in - KALE I ca n't hear - ASHLEY Let's get closer - Ashley suddenly darts from behind the shrub and bolts toward the fence - KALE -LRB- re : his bracelet. -RRB- I ca n't - But Ashley keeps going. WE FOLLOW BEHIND ASHLEY - She creeps over to the fence, presses up against it, peering through the cracks - ASHLEY'S POV - We see the dark silhouettes of Giles and the woman - Ashley shifts her head, straining to listen - GILES You really should stay. WOMAN I just do n't think it's a good idea -. -LRB- still searching ; more frustrated. -RRB- Where the hell are they? The woman suddenly drops her purse. The CONTENTS spill onto the driveway. ASHLEY'S POV - Giles bends down, picks up her car keys. WOMAN -LRB- CONT'D. -RRB- Here - GILES You're in no condition - WOMAN Give me my keys. GILES Sorry. ASHLEY'S POV - She sees Giles make a motion toward the fence. Suddenly, the woman's CAR KEYS WHACK the other side of the fence, then PLOP DOWN underneath it just a couple of feet from Ashley's position! ON ASHLEY - she startles, looks over, sees the keys. ASHLEY'S POV - She looks back toward Giles and the woman. Hears the woman start to LAUGH. Giles, not laughing, purposefully steps toward the woman, takes her arm. GILES -LRB- CONT'D. -RRB- C'mon. ASHLEY'S POV - The woman relents. Giles helps her back toward the house. WITH KALE - He's seeing it all. KALE -LRB- whispering. -RRB- Ashley, come on. WITH ASHLEY - she glances down, eyes the car keys sparkling in the moonlight. She scoots toward them as - WE CRANE UP TO REVEAL - Giles - heading back toward the fence! ON KALE - seeing this. Kale tries to get Ashley's attention, but she's not looking - CU - ASHLEY'S HAND - she reaches for the car keys - CLOSER - ASHLEY'S FINGERTIPS barely TOUCH them when - GILES' HAND - suddenly SWOOPS IN from O.S., BRUSHES ASHLEY'S FINGERS just before grabbing the keys and swiping them back to his side! Somehow Ashley keeps herself from screaming as she YANKS HER HAND BACK, PRESSES HERSELF AGAINST THE FENCE. She puts her hand over her mouth to silence her own breathing - KALE'S POV - Giles stands frozen in the shadows behind Ashley. WITH ASHLEY - She slowly turns her head, sees Giles through one of the cracks - STANDING RIGHT THERE. Ashley starts to slowly SLIIIDE away. when suddenly - a TWIG SNAPS under her foot! Ashley FREEZES. She peers back through the nearest crack. ASHLEY'S POV - searching for Giles - does n't see him - Ashley presses herself even harder against the fence as we. TILT UP AND PAN OVER TO REVEAL GILES - peering over the fence. We can only hope it's tall enough to keep him from looking down and seeing Ashley. WITH KALE - He's seeing it all. ON GILES - He raises up, standing on his tip toes to get a better look down. Shifting his head back and forth. WITH KALE - He ducks behind the shrub, contemplating his next move. He glances down, picks up a large pebble. He pops out and tosses it over into Giles' yard. We HEAR IT DROPPING through branches, SCATTERING to the ground as Kale ducks back behind the shrub, breathing hard. He then peers back out - HIS POV - Giles lowers back down, turns and heads back toward the house. Kale sighs in relief. Waves Ashley the `` all clear.'' Ashley heads back over to Kale, breathless. ASHLEY -LRB- oddly exhilarated. -RRB- That was intense. KALE Are you nuts?! Ashley silences Kale with a finger to his lips. She then leans in, gives him a peck on the cheek and bolts away - Off Kale, utterly stupefied -\",\n \"INT. DAD'S OFFICE - NIGHT - MOMENTS LATER Exhilarated, Kale SLAMS through the office door, binoculars in hand. He goes to his chair, sits, taking position. BINOCULAR POV - Ashley walks in, heads straight for the window and draws the blinds. Kale slumps. Damn.\",\n \"INT. DAD'S OFFICE - NIGHT - LATER ON ASHLEY'S WINDOW - shades still drawn. Lights are out now. The wind picks up outside as we PAN TO REVEAL Kale asleep in the leather chair. We suddenly hear GLASS SHATTER O.S. Kale's eyes POP OPEN. He looks around. Did he hear something or did he dream it - he pulls himself out of the chair, makes his way to the door, slowly swings it open.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - NIGHT - CONTINUOUS Kale cautiously steps into the hall. KALE Mom? No answer. He heads to.\",\n \"INT. KALE'S BEDROOM - NIGHT - CONTINUOUS Kale enters, tosses the binoculars on the desk, throws a glance out the window to Giles' house. Dark. Kale turns to the bed, pulls back the sheets. As Kale unties his shoes, takes off his socks, we notice over his shoulder - IN THE B.G. - A LIGHT COMES ON IN GILES' LIVING ROOM. ON KALE - not noticing as he strips down to his boxers - IN THE B.G. - GILES' LIVING ROOM - THE WOMAN HEADS INTO THE ROOM FOLLOWED CLOSELY BY GILES. SHE SPINS AND SLAPS HIM IN THE FACE. SHE WALKS AWAY AS GILES STANDS THERE FROZEN. ON KALE - he throws his clothes in the closet, finally turns back and sees - KALE'S POV - Giles standing in the living room, glaring at the woman. KALE Dammit. Kale darts to his desk, turns off the light, grabs the binoculars. BINOCULAR POV - Giles and the woman are arguing. The woman paces around the room as Giles stands there. The woman's arms flail about. As she paces back by Giles, he suddenly GRABS HER ARMS. KALE -LRB- CONT'D. -RRB- Shit! Kale watches as the woman yanks herself from his grasp and knocks over the lamp. The BULB shatters on the floor, throwing the living room into total darkness. Kale drops the binoculars and grabs the DV CAM. He fumbles with it, flips open the LCD SCREEN. But as he presses the power button, the camera's LAMP suddenly IGNITES, MOMENTARILY LIGHTING UP KALE'S ROOM! Kale spins and hits the floor. He frantically finds the switch, turns off the lamp. KALE -LRB- CONT'D. -RRB- Dumbass dumbass - Kale stays on the floor, slouched under the window sill for a couple of beats. Then - he slowly raises up, peers out. DV CAM POV - Giles, now alone, has turned on another light and is simultaneously picking up pieces of shattered light bulb and wiping some RED LIQUID OFF THE FLOOR. Could be wine. or blood even. Giles wads the towel up, picks up one of the woman's HIGH HEELS lying near the couch. Giles then moves to the stereo, turns it off, leans down, picks up the woman's OTHER SHOE. He flips off the lights, heads out of the room. Kale trades the grainy DV CAM for the binoculars. BINOCULAR POV - Kale PANS ACROSS the lower floor windows of Giles' house that's now become eerily still. He TILTS UP to the second floor, SLOWLY PANS ACROSS those windows - Again, nothing. KALE -LRB- CONT'D. -RRB- Okay, so where is she - BINOCULAR POV - Over the above, Kale SLOWLY PANS BACK ACROSS THE SAME WINDOWS, comes to the last one and see GILES STARING RIGHT BACK AT HIM. Kale spins and dives to the floor, knocking the other camera and tri - pod over. KALE -LRB- CONT'D. -RRB- Oh shit oh shit. Kale shoves himself against the wall, frozen in terror. He does n't dare get up. He spots his CELL PHONE - on the floor a few feet away. He extends his leg out, uses his foot to slowly SLIIIDE the phone toward him. KALE'S TREMBLING HAND reaches for the phone, picks it up - Kale's about to flip it open when the PHONE'S LCD SCREEN SUDDENLY LIGHTS UP, BLARING MADONNA'S `` LIKE A VIRGIN.'' Kale startles, fumbles the phone - realizes it's Ronnie, flips the phone open - KALE -LRB- CONT'D. -RRB- -LRB- into phone as needed. -RRB- Ronnie - RONNIE -LRB- V.O. -RRB- -LRB- phone filter as needed. -RRB- Dude, Ashley is ho - ho - hotttt - KALE Giles totally busted me. RONNIE -LRB- V.O. -RRB- What do you mean, are you sure? Kale finally musters the courage to peek over the sill - KALE'S POV - Gile's BACK DOOR is OPEN. KALE They were arguing - RONNIE -LRB- V.O. -RRB- Who? KALE Giles and the girl he brought home. They had an argument, he grabbed her - RONNIE -LRB- V.O. -RRB- And then what? KALE And then - nothing. RONNIE -LRB- V.O. -RRB- Uh - huh. KALE Dude, something is going on over there. What if he killed her, too? RONNIE -LRB- V.O. -RRB- Then call your friends at the police department. A DOOR suddenly SLAMS O.S. KALE Wait - RONNIE -LRB- V.O. -RRB- What? KALE A door just slammed. RONNIE -LRB- V.O. -RRB- -LRB- in his best sinister `` Scream'' voice. -RRB- That's right, Kale, and now I'm coming up to slash your guts out, you little bastard! KALE Asshole, I'm serious. RONNIE -LRB- V.O. -RRB- I'm not and I'm hanging up. KALE Just - wait - wait till I check the hall - This as Kale grabs his bat, slowly approaches his door. Ronnie yawns, starts snoring. Kale's hand is about to grab the knob - RONNIE -LRB- V.O. -RRB- BOO! KALE Goddamn you! Kale flips the phone closed, throws it to the bed. He turns back to the door just as IT SUDDENLY PUSHES OPEN, SMACKING KALE IN THE FOREHEAD! Kale STUMBLES BACK, screams, raises the bat. JULIE Kale, Kale, it's me! Kale does n't immediately drop the bat as he focuses on Julie, dressed in her serving uniform, barely visible in the darkness. She flips the light on. KALE No, do n't! JULIE What's going on, who were you talking to?! KALE Ronnie - just Ronnie. Kale falls back to the bed. KALE -LRB- CONT'D. -RRB- I heard the door - JULIE I'm sorry, the wind caught it - KALE Fine. Good. Okay - JULIE Okay then, so. -LRB- catching her breath ; then. -RRB- You want anything from the grocery? I'm going in the morning. KALE Anything caffeinated. Kale turns back on his side. Julie eyes him a long beat. What to say. she flips off the light, then - pulls the door closed. ON KALE - eyes wide open, heart racing. He's gon na need that caffeine in the morning.\",\n \"INT. KALE'S BEDROOM - THE NEXT MORNING A groggy Kale tugs on the blind, cautiously raises it - KALE'S POV - GILES' DRIVEWAY - The silver Toyota's gone. The woman's car is still there.\",\n \"INT. ENTRY HALL - LATE THE NEXT MORNING Kale saunters down the stairs.\",\n \"INT. KITCHEN - DAY - CONTINUOUS Kale enters, notices a few full grocery bags on the counter and the coffee maker brewing. He opens the fridge, sees a new Mountain Dew twelve - pack. He cracks open the carton, pulls out a can, closes the fridge door revealing GILES - IN THE FLESH, IN KALE'S KITCHEN. Kale JUMPS, drops the can. It rolls to Giles' feet. GILES -LRB- picking up the can. -RRB- Whoa, whoa, settle down, slow down. Robert Giles, your neighbor -. -LRB- gesturing outside. -RRB- Behind you? Kale glares, breathing hard. Giles taps on the top of the dented soda can, hands it to Kale. Kale does n't take it. Note : Giles' shirt should have BURNT ORANGE somewhere in it, either in the pattern, stripes, etc. KALE I know, how did you - Giles puts the soda on the counter as Julie comes through the kitchen door carrying groceries. GILES -LRB- to Julie. -RRB- Think I startled him. JULIE -LRB- laughs. -RRB- Oh. Kale, I ran into Mr. Giles at - GILES Robert. JULIE -LRB- smiles. -RRB-. At the grocery. I had a flat tire when I came out. We tried to change it, but - KALE Dad put those security bolts on - JULIE And that adapter thingy that unscrews it ended up stripping it instead - GILES My fault. JULIE No, it was n't. You saved my life. -LRB- then to Kale. -RRB- We had it towed to Frank's. KALE -LRB- with attitude. -RRB- Gee, really lucky you were there. GILES Just glad I could help. -LRB- then ; favors Julie. -RRB- Must be a little difficult when the man of the house is stuck in the house. Kale reacts to that. There's an awkward silence as Kale's eyes instinctively glance down to the ankle bracelet. JULIE Oh. no, it's okay, we're managing. Giles steps closer to Kale, bends down to get a closer look at the ankle bracelet. GILES I've always been curious about those things, do you mind? KALE Yeah, I do. JULIE Oh c'mon, Kale. -LRB- to Giles. -RRB- I'm sorry. GILES No, no. It's none of my business. KALE That's right. GILES Whoa, hey, dude. you seem like a straight hitter. You ask me, whoever they are deserved it. Kale reacts, surprised at how genuine that sounded. JULIE -LRB- stepping in. -RRB- Okay. I do n't think that's the case, and - KALE I think I'd like to hear his opinion. GILES And I think I opened my big mouth again. You're absolutely right. -LRB- then ; heading for the door. -RRB- I should go. JULIE Wait, what about your coffee? KALE I popped my Spanish teacher. Awkward beat. Giles turns back to Julie : GILES In that case, cafe con leche, por favor? JULIE -LRB- searching bags. -RRB- Shoot, milk's. still in the car. Julie heads out the door. Giles turns to Kale. An awkward, silent beat. Then - KALE I like your shirt, by the way. I mean, the color. GILES Which one? KALE Oh, the. that dark orange. Always reminds me of Texas. GILES Yeah? You a Longhorns fan, too? KALE Sure, absolutely. Even though I've never stepped foot in Texas - GILES Me neither. Had a lot of friends who went there. I stayed in Minnesota till I moved here. KALE Huh. GILES So when you say you `` popped'' your teacher - KALE Just a black eye. GILES Phew, just making sure I was n't living next to some psycho killer. Listen, I get it though. I had plenty of teachers I wanted to just. kill. Giles quickly adjusts his tone as Julie comes back with a last bag of groceries : GILES -LRB- CONT'D. -RRB- But no matter how hard it is to hold back, the high road's always the better choice. As Giles says this, he casually sits at the kitchen table. Kale eyes him, about to turn and leave, but : JULIE Kale, could you grab the sugar? -LRB- to Giles. -RRB- Sugar? GILES -LRB- favors Kale. -RRB- Why not. Kale quickly grabs the jar of sugar from the counter and even thinks to grab a spoon from the drawer. He delivers it to Giles as Julie brings the coffee, sits at the table. GILES -LRB- CONT'D. -RRB- Thanks, man. Kale turns to leave again. GILES -LRB- CONT'D. -RRB- Oh, hey, Kale. -LRB- as Kale turns back. -RRB- Nice to finally meet you. Off Kale - ASHLEY -LRB- V.O. -RRB- -LRB- prelap. -RRB- Oooh. That's creepy.\",\n \"INT. KALE'S BEDROOM - DAY - LATER Ashley sits on the bed. She looks damned good, too. Dolled up, lipstick. She's just heard the story from Kale. KALE I know, he's a total freak, right? ASHLEY And very vague. did he genuinely mean it was nice meeting you or was he sending you a `` sinister message?'' KALE Are you messing with me? ASHLEY Maybe a little. Did you even notice my hair? KALE So you think it's all a coincidence. We've got the car - ASHLEY With the non dent dent - KALE The bumper sticker, the argument, the staring contest - And now he's showing up in my kitchen - ASHLEY Why, because he slashed your mom's tire? KALE Maybe. Ashley rolls her eyes. KALE -LRB- CONT'D. -RRB- -LRB- pointing out window. -RRB- Her car has n't moved. ASHLEY It's called `` the day after,'' Kale. Nobody moves after a night like that. KALE Well what if she's really `` not moving?'' What if she's tied in the dungeon with the other girl, starving to death - ASHLEY -LRB- getting up. -RRB- Then come up with a rescue plan and get back to me. KALE You're leaving? ASHLEY Have to. Party. KALE Whose? ASHLEY Uh, mine? KALE How is that possible? ASHLEY Excuse me? KALE Well, I mean. Sorry, I just did n't think you knew anybody - ASHLEY I do n't, I did n't -. -LRB- off Kale's confusion. -RRB- I met this girl earlier, Minnie Tyco? KALE Oh my god, `` Skinny Psycho?!'' I sat next to that bitch in Spanish - ASHLEY -LRB- skipping that one. -RRB- I told her my parents were outta town - KALE And now the whole neighborhood's coming. ASHLEY Look, I'm stuck here. So I figured I can either shut myself in and keep hating it or. try to make the most of it. KALE Hey, I get it. You do n't have to explain. ASHLEY Kale, you're welcome to come, but - Kale looks at Ashley, realizes what she's referring to as he glances down to the ankle bracelet. KALE -LRB- with attitude. -RRB- Well, I appreciate the thought. Really. ASHLEY -LRB- returning the tude. -RRB- Glad to hear it. Ashley turns to leave. KALE It's funny, though. ASHLEY -LRB- turning back. -RRB- What? KALE I did n't peg you as a conformist. Ashley glares, furious. She picks up the DV cam and binoculars, approaches Kale, hands them over with : ASHLEY Try to keep these in your drawers tonight, will ya? Ashley leaves. A sullen Kale stares after her - PRELAP - CROWD WALLA and THWUMPING MUSIC.\",\n \"INT. DAD'S OFFICE - EARLY EVENING Kale sits in the darkness at dad's desk. He's on the phone, pressing his other finger to his ear, trying to drown out the NOISE emanating from Ashley's party next door. Kale, on phone, gets Ronnie's VOICE MAIL. RONNIE -LRB- phone filter. -RRB- This is Ronnie, leave a message. Kale slams the phone down, sits there a beat. JUMP CUT : - The white pages THWUMP onto the desk. JUMP CUT : - Kale on the phone : KALE -LRB- into phone. -RRB- Yeah, I'm calling about the Jeep Cherokee that was brought in with the flat and the stripped lug - it's ready? Listen, did they have to replace the whole tire - they patched it? Is there any way to tell if it was slashed or - But a nail usually acts like its own plug for awhile, does n't it? I mean it's a really slow leak, it ca n't flatten a tire in twenty minutes. -LRB- beat as Kale listens. -RRB- - Yeah, I guess anything's possible. A ROAR of LAUGHTER O.S. makes Kale jump from his chair. He grabs the binoculars, heads to the window. BINOCULAR POV - Kale scans the crowd until he finds Ashley, talking with a group of PARTYGOERS. She pretends to listen to one of the guy's stories as she furtively glances toward Kale's window. But it's quick. We ca n't be a hundred percent sure if it was on purpose. KALE -LRB- CONT'D. -RRB- Wait, what was that? You think I'm watching? Well, I'm not. Nope, I am minding my own business. BINOCULAR POV - Ashley excuses herself from the group and approaches the drink and food table where MINNIE TYCO -LRB- a.k.a. `` Skinny Psycho'' -RRB- is standing, nitpicking over her snack choices. Ashley hugs her then taps the cute GUY next to her on the shoulder. The guy turns around. Ashley mouths `` Oh my God'' like he's some long lost lover. Ashley hugs the surprised guy who wastes no time in hugging her back. KALE -LRB- CONT'D. -RRB- You think I'm buying that? Kale keeps watching. KALE -LRB- CONT'D. -RRB- I'm not biting - BINOCULAR POV - Ashley glances up in Kale's direction again - it's more obvious this time as she keeps HUGGING THE GUY. KALE -LRB- CONT'D. -RRB- That's it. Kale tosses the binoculars, heads out.\",\n \"EXT. 2ND FL PORCH - EVENING - SHORT TIME LATER Kale SLAMS a ladder up against the roof.\",\n \"EXT. ROOF - EVENING - SECONDS LATER Kale SLAMS a speaker down on the edge of the roof facing Ashley's. Makes sure the speaker wires are securely clamped in place, then unwinds the roll of wire back across the roof toward the ladder. JUMP CUT :\",\n \"INT. 2ND FL PORCH - EVENING - SECONDS LATER Kale runs the wire down the hall.\",\n \"INT. DAD'S OFFICE - EVENING - MOMENTS LATER CU - Kale's hand flips on dad's bookshelf amplifier, CRANKS THE VOLUME CONTROL KNOB. CU - Kale's I - POD LCD SCREEN lights up. His thumb hovers over the PLAY button. BINOCULAR POV - Ashley's party comes into focus. Kale presses play. The speaker EXPLODES with the ROAR OF BARRY MANILOW -LRB- or AIR SUPPLY -RRB-. BINOCULAR POV - Ashley's party comes to a grinding halt. Kale PANS AROUND, picks up Ashley again. Glaring. Fire in her eyes as she storms O.S. Kale smiles with perverse satisfaction as he tilts his head, anticipating the doorbell to ring. Another beat, then - DING DONG.\",\n \"INT. ENTRY HALL - EVENING - SECONDS LATER Kale descends the stairs, maintaining his wicked grin. He opens the door for Ashley, but instead - gets PELTED WITH A BARRAGE OF WATER BALLOONS. Kale stands there, frozen as the two BRATS jump from the bushes, AD LIB MOCKING Kale as they laugh and race away into the shadows. Kale's about to pursue when the sound of a DOOR OPENING O.S. stops him cold. He spins around to see ASHLEY storming in from the kitchen and marching up the stairs! KALE Hey! Kale races back to the stairs. Ashley increases her speed.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS Ashley storms down the hall, sees the speaker wires running into dad's office.\",\n \"INT. DAD'S OFFICE - EVENING - CONTINUOUS Ashley SLAMS through the door, spots Kale's I - pod, rips it out of its dock. The music stops. She spins around, runs smack into Kale who SWIPES the I - pod out of her hand and SLAMS it back in the dock. The music BLARES. Ashley moves in, but Kale blocks her path. She tries to get around him. He stands in her way. ASHLEY -LRB- peering out the window as if shocked by something. -RRB- Oh my God - Kale falls for it. He looks. Ashley shoves him out of the way, grabs the I - pod. Kale chases her out into.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS Ashley bolts into.\",\n \"INT. KALE'S BEDROOM - EVENING - CONTINUOUS Where she holds the I - pod out the window, stopping Kale in his tracks. ASHLEY Back off or I'll throw it where you ca n't follow. KALE Take it easy, that's sixty gigs of my life. ASHLEY Even better. KALE Okay - okay - ASHLEY What are you doing? KALE What are you doing? ASHLEY I'm trying to enjoy my party. Wait, that's wrong. According to you, I'm trying to conform - KALE Coulda fooled me. ASHLEY What does that mean? KALE Forget - ASHLEY No, I'm not gon na forget it. KALE You wan na blend in with that crowd, fine, then stop looking up and trying to get a rise outta me. ASHLEY -LRB- realizing. -RRB- So you were watching me. Question is for how long? Just tonight? Or maybe a week? Two weeks? Since I moved in? Kale tries to respond, but Ashley keeps pressing : ASHLEY -LRB- CONT'D. -RRB- And the whole `` my - neighbor's - the - killer'' thing. Great cover - KALE It's not a cover - Over the above Ashley glances around ASHLEY So what is it, Kale? Huh? What else have you seen? KALE What else have I seen? ASHLEY Yeah. What else? KALE Okay - I've seen how you always pull your kleenex from the box in groups of three. Not two, not four, always three. I've seen you're the only one in the world who eats pizza - flavored Pringles. And you never stuff the chips in, you savor each one by dividing it into four precise bites. I did n't know that was even possible. You're also the first girl I've ever seen who spends more time on her roof than in her own house. And what do you do out there? You do n't talk on the phone, you do n't paint your nails, you read books. Now one would think with the whole numbers thing you've got going on that you'd put them on your shelf alphabetically, but you do n't. Your system's much more perfect. The ones you like go on the bottom, the ones you love go in the middle, and the ones you need, the ones you keep going back to. well they go straight to the top next to the dream encyclopedia. You know what all this tells me? You know how things should be. The world according to Ashley. And guess what? It's a very entertaining and beautiful thing. Even when it takes a hit. When you end up in a place like this. when your parents dump their baggage on you, or just. when it seems like those curveballs are never gon na stop - It sucks, but just so you know - I get it. But I've also seen those designer window shades of yours, and guess what? They always go up the next day - no matter what. And even if no one else has, I've noticed that. And I ai n't sorry. The only thing I'll even consider apologizing for is. not dropping the binoculars and telling you this a lot sooner. A long beat as Ashley peers into Kale's eyes. She slowly steps closer to him : ASHLEY That was either the creepiest. or the sweetest thing I've ever heard. Kale leans in and kisses her. They pull away, lock eyes. Then - Ashley pulls Kale by his soaking wet t - shirt, kisses him back even harder. Heavy make - out. Then - they stumble back toward the bed out of frame as we hold on Kale's window - and Giles' house beyond.\",\n \"INT. DAD'S OFFICE - NIGHT OUR POV - peering down into Ashley's back yard. There's a couple of guys passed out on rafts floating in the pool. WE SLOWLY PAN to reveal - KALE - looking tired, his eyes glazed, sitting at dad's computer surfing a website : `` BRUTAL KILLINGS IN AUSTIN.'' ON THE SCREEN - As Kale clicks pages, we see FLASHES of CRIME SCENE PHOTOS from the three murders - the bodies of the three redheads - BLOODIED, BRUISED. ON KALE - he does n't blink as he clicks on ONE PHOTO after the OTHER. We see a FLASHES of the victims' eyes - WIDE OPEN, LIFELESS. We suddenly hear laughter O.S. Kale SNAPS TO. He runs a hand through his hair, gets up, moves to the window. HIS POV - ASHLEY'S POOL - a couple of girls GIGGLE as they stand at the edge of the pool pouring beer onto the passed - out guys' chests.\",\n \"INT. KALE'S BEDROOM - NIGHT - MOMENTS LATER Kale quietly enters and shuts the door. He's hiding something behind his back as he sits on the bed next to a sleeping Ashley. She stirs, opens her eyes, peers up at him, smiles. KALE Hey. ASHLEY Hey. where have you been? Kale holds up a folded piece of paper, hands it to Ashley. She curiously eyes Kale, then takes it, opens it to reveal a printed - out picture of a long - stem red rose. Ashley smiles. KALE If would have gone to the flower shop, but - ASHLEY I know. Ashley pulls Kale in for a kiss. She pulls away, falls back to the bed. Her eyes glance down at Kale's ankle bracelet. ASHLEY -LRB- CONT'D. -RRB- So how much longer? KALE Oh, two months, twelve days, nineteen hours give or take. A beat as the two peer into each other's eyes. Then : KALE -LRB- CONT'D. -RRB- You know the other night. when you said you thought I'd be more messed up. ASHLEY For a guy who killed his teacher. KALE I did n't kill my - ASHLEY Shhh. -LRB- kisses him again. -RRB- I know. - I know. We get the impression she knows a lot. Kale leans in for another kiss. But this time, as they lock lips, Ashley's eyes shoot open. HER POV - the first hints of daylight out the window. ASHLEY -LRB- CONT'D. -RRB- Oh my God, what time is it? KALE Three - thirty. ASHLEY I've got ta go. Ashley scrambles out of bed for her clothes, getting dressed, searching for her shirt. Kale spots it behind the bed. As he gets up to retrieve it, he hears a NOISE O.S. Kale peers out the window - HIS POV - Giles is dragging a HEAVY BLUE PLASTIC BAG down the stairs leading to the garage. KALE You better see this. Ashley throws on her shoes, joins Kale at the window. THEIR POV - Giles pulls the bag into the garage next to what we presume is the Mustang that's now been covered with a TARP. -LRB- Note : The woman's car is still in the driveway. -RRB- Kale grabs the binoculars. BINOCULAR POV - We catch a glimpse of a few CRIMSON RED SMEARS on the blue bag as Giles heaves it behind the Mustang. KALE -LRB- CONT'D. -RRB- Look, quick - ASHLEY What? Kale gives her the binoculars. Ashley looks over. ASHLEY -LRB- CONT'D. -RRB- -LRB- sarcastic. -RRB- That's normal. Giles' GARAGE DOOR CLOSES. KALE -LRB- re : woman's car. -RRB- Her car. still has n't moved. Ashley pauses, peers out the window again. She ca n't help but be a little concerned. Then - ASHLEY So what do you wan na do? Off Kale - RONNIE -LRB- prelap. -RRB- You want me to do what?\",\n \"INT. KALE'S BEDROOM - DAY - LATER ON KALE - holding up a UNIVERSAL GARAGE DOOR REMOTE still in the package. Ashley and Ronnie are on the bed. Note : Kale is wearing the same clothes he was yesterday, the stubble coming back. Hair more disheveled, eyes a little puffier. KALE Phase one, steal his code from his opener. RONNIE There's more than one phase? KALE There's only two. Now look, his remote's in the glove compartment of his Toyota. All you have to do is pop it open and read me the switch settings. `` On'' or `` off.'' RONNIE For the later purpose of doing what? Breaking in to his house? KALE No, not breaking in. We're just talking about having access to his garage so we can go in on our own time - when he's not there - to just. to get a closer look at the car, the bag - RONNIE -LRB- to Ashley. -RRB- All this sounds reasonable to you? ASHLEY I do n't know about that, but - KALE -LRB- re : universal remote. -RRB- This is good up to thirteen digits - RONNIE -LRB- realizing. -RRB- How long have you been planning this? Ronnie eyes Kale with concern. Kale does n't answer. GILES suddenly FIRES UP HIS LAWNMOWER O.S. KALE'S POV - Giles pushes the mower around the side of the house to the front yard. KALE Look, if we're gon na do this, it's got ta be now. He takes twenty - one minutes average to mow his front yard. you'll be hearing him the whole time. Ashley grabs the remote. ASHLEY I'll do it. RONNIE No. -LRB- beat ; then grabbing the remote. -RRB- It is n't safe. -LRB- getting up ; macho. -RRB- Let's do it.\",\n \"INT. KALE'S BEDROOM - DAY - LATER CU - KALE'S CELL PHONE - `` LIKE A VIRGIN'' suddenly blares. WIDER - Kale flips his cell open, holds it in one hand, binocs in the other. KALE -LRB- into headset as needed. -RRB- Yo, you set? RONNIE -LRB- V.O. -RRB- -LRB- phone filter as needed ; suddenly sounding not so macho. -RRB- I ca n't believe I'm doing this. KALE Let me conference Ashley in. -LRB- punches buttons ; then. -RRB- Ashley, you there? ASHLEY -LRB- V.O. -RRB- Ten - four. KALE Nice. Kale presses `` RECORD'' on the tri - pod - mounted DV CAM. He peers back out the window. We hear Giles' lawnmower O.S. Both sides of his house are clear. KALE -LRB- CONT'D. -RRB- Okay, Ron - Green light. KALE'S POV - OUT HIS WINDOW - RONNIE - suddenly appears from the bottom of frame, keeping low as he darts to the fence. Ronnie turns, peers back up to Kale, gives him the thumbs up or down. KALE -LRB- CONT'D. -RRB- You're all good. BINOCULAR POV - Ronnie draws a breath, then very ungracefully hops the fence and falls into Giles' yard out of sight. RONNIE -LRB- V.O. -RRB- Oww, shit - KALE You okay - RONNIE -LRB- V.O. -RRB- What do you think? BINOCULAR POV - Ronnie scrambles to his feet from behind the fence, darts to the driver's side door of Giles' Toyota. KALE Dude, glove compartment, other side. RONNIE -LRB- V.O. -RRB- Excuse me if I'm used to my mom's import. Can I just try this one while I'm here? BINOCULAR POV - Ronnie lifts up on the latch. Locked. RONNIE -LRB- V.O. ; CONT'D. -RRB- Shit. Ronnie tries the back door. Locked. RONNIE -LRB- CONT'D. -RRB- -LRB- in Korean. -RRB- Shit. BINOCULAR POV - Kale PANS ACROSS to the other side of Giles' house. Nothing. He PANS BACK to Ronnie. OUR POV - Over Kale's shoulder, we see Kale is clearly aiming his binocs at Ronnie. But we also see ON THE FAR SIDE OF FRAME GILES' NEIGHBOR PULLS HER LAWNMOWER OUT OF HER GARAGE AND ROLLS IT O.S - But Kale is n't seeing this! RONNIE -LRB- V.O. ; CONT'D. -RRB- They're all gon na be locked - KALE Well, while you're there, will you just check? Ronnie goes around the back of the Toyota to the other side. He lifts up on the passenger door latch. Bingo. RONNIE -LRB- V.O. -RRB- I'm in. KALE You see the package? We see and hear Ronnie, his ass to us, rummaging around the inside of Giles' car. RONNIE -LRB- V.O. -RRB- Oh my God - ASHLEY -LRB- V.O. -RRB- What's wrong? RONNIE -LRB- V.O. -RRB- There's like a month - old order of Nachos Bell Grande under the seat. -LRB- then. -RRB- Okay, I found it. Kale grabs the pencil and notebook. KALE Whenever you're ready. RONNIE -LRB- V.O. -RRB- Looks like `` on, on, on, off, off, on.'' No wait, that one was `` off.'' KALE Just start over. RONNIE -LRB- V.O. -RRB- `` On, on, on, off, off, off, on -'' Ronnie pauses. Kale glances up. Just happens to shift his gaze to the side of Giles' house to see - KALE'S POV - GILES IS WALKING BACK AROUND with no lawnmower! But for some reason we still HEAR A LAWNMOWER. KALE No, no - Kale grabs the binoculars. RONNIE -LRB- V.O. -RRB- I'll get it right this time. KALE Ronnie, he's coming around. RONNIE -LRB- V.O. -RRB- Dude, stop dicking with me, I still hear his - BINOCULAR POV - Kale WHIP PANS to Giles' neighbor, JUDY THORP - CUTTING HER GRASS, TOO. KALE -LRB- trying to remain calm and succinct. -RRB- Ronnie, I am not dicking with you. The neighbor is also mowing her lawn and he's going to see you - RONNIE -LRB- V.O. -RRB- -LRB- full - on panic. -RRB- Kale, what do I do?! Where - KALE GET IN THE CAR! KALE'S POV - Ronnie dives in the car just as Giles rounds the corner of the house. KALE -LRB- CONT'D. -RRB- Put the remote back - RONNIE -LRB- V.O. -RRB- I did, I did - KALE Easy on the door. Ronnie gently pulls the door shut. KALE -LRB- CONT'D. -RRB- Do n't panic, he's coming straight for you - RONNIE -LRB- V.O. -RRB- What?! Kale, you've got ta get me - KALE Back seat, NOW! BINOCULAR POV - Ronnie TUMBLES into the back seat and out of sight just as GILES heads for the car. KALE -LRB- V.O. ; CONT'D. -RRB- Ashley - ASHLEY -LRB- V.O. -RRB- I'm on it. RONNIE -LRB- practically crying. -RRB- Kale, tell my mom - KALE Shut up, stay down and do n't move. KALE'S POV - Giles opens the passenger door. About to reach in when something distracts him - Giles pulls himself out, looks over to see ASHLEY Heading up the driveway. We barely hear her introduce herself to Giles. Giles steps around to the front of the car, uneasily shakes her hand. KALE -LRB- CONT'D. -RRB- Ronnie, you're good - No answer. KALE -LRB- CONT'D. -RRB- Ronnie? BINOCULAR POV - Kale TILTS BACK TO THE TOYOTA, sees Ronnie sneaking out the back seat door on the driver's side as Ashley distracts Giles, pointing up to the trees on the opposite side of the yard. Who knows what they're talking about. Bird - watching perhaps. Whatever it is, it's working. KALE -LRB- CONT'D. -RRB- Ronnie, was that the whole code? Ronnie? BINOCULAR POV - Kale PANS BACK to Ronnie as he hops the fence back into Kale's yard. Kale TILTS BACK UP to Ashley and Giles in the driveway. KALE -LRB- CONT'D. -RRB- -LRB- talking to Ashley even though she ca n't hear. -RRB- Okay, Ashley, you're good, come on. Over this, a breathless Ronnie stumbles into the bedroom, joins Kale at the window. KALE -LRB- CONT'D. -RRB- Was that the whole code? RONNIE -LRB- pissed. -RRB- Excuse me? KALE -LRB- serious. -RRB- The code, did you get it? RONNIE You've got ta be kidding. Ronnie and Kale lock eyes for a tense beat. Then : KALE -LRB- re : something O.S. -RRB- No way. KALE'S POV - THE CLUB GIRL Giles brought home the other night exits the back door and walks up to Ashley and Giles! RONNIE -LRB- stepping closer. -RRB- Great, Kale. She lives. Kale and Ronnie watch as Ashley shakes hands with the club girl, then throws a quick surprised glance up to Kale and Ronnie. Giles' body language tells us he's ready for Ashley to leave. Ashley gets the hint, shakes his hand, heads back down the driveway and out of sight. Kale raises the binoculars again, then furiously grabs for his pad and pencil. BINOCULAR POV - The club girl gets in her car. Giles closes her door, watches as she backs out. Kale TILTS DOWN to her license plate, starts jotting down the number. RONNIE -LRB- CONT'D. -RRB- What are you doing? KALE Getting her license number - RONNIE Why? Kale does n't answer, still trying to get the rest of the number as Ashley enters, eyes Ronnie who gestures to Kale. ASHLEY Okay, case closed. RONNIE Try telling Inspector Clouseau that. Now he thinks he needs her license number. ASHLEY Why, Kale? It's over. Kale's starting to get manic : KALE `` Yeah, he seemed like such a normal guy. Sure he kept to himself, but he was always nice to me.'' That's what they all say. That's what all the neighbors always say - after the fact. Only after they've caught the guy, after he's killed thirty people - Ashley and Ronnie trade concerned looks. ASHLEY Okay, I think we all just need to take a breath. KALE -LRB- heading out. -RRB- Fine, but what about the bumper sticker, there's still a girl missing, just. what's in the bag? -LRB- then from O.S. -RRB- Can anyone tell me that? Off Ronnie and Ashley -\",\n \"INT. DAD'S OFFICE - DAY - CONTINUOUS Kale enters, goes to the desk, sits at dad's computer, clicking keys as Ashley and Ronnie enter - ASHLEY Kale, why are you so - Ashley and Ronnie stop in their tracks at the MESS. Note : Up till now, the office has been in reasonably good order. But now, it's noticeably different. WIDER - The shades are drawn. Soda cans everywhere. papers are spread on the floor : PRINTED OUT FULL COLOR GRUESOME CRIME SCENE PHOTOS, BLACK & WHITE AUTOPSY PHOTOS of the murdered redheads. more pictures of the girl who disappeared, PATRICIA WALSH. `` MISSING'' FLYERS. Over the above, Ronnie leans down, lifts a couple of books out of an Amazon.com box : `` Murderer : Tell Tale Signs of a Serial Killer'' and `` The Shrine of Jeffrey Dahmer'' - the titles Ashley was referencing earlier. Ronnie shows them to Ashley who takes a RECEIPT out of a nearby Home Depot box - on the page - SMITH'S UNIVERSAL GARAGE DOOR REMOTE QTY -LRB- 1 -RRB- $ 29.99. Ashley and Ronnie turn to Kale. They notice on the wall behind him, hanging next to his Dad's book cover posters, a BLACK AND WHITE POSTER - SIZE SATELLITE PHOTO of THE NEIGHBORHOOD. Giles' house is circled and labeled in flourescent ink. Kale finally looks up, notices them looking - KALE -LRB- re : satellite poster. -RRB- Ronnie, you've seen this satellite website, right? You can find any location on earth and take a picture - RONNIE Yeah, for a small fee - ASHLEY Kale, what are you doing? KALE Trying to get to the bottom of this. ASHLEY -LRB- delicately. -RRB- Kale, right now, it does n't look that way. KALE What's it look like? ASHLEY Like you're determined to turn Giles in to who you think he is. KALE Not who I think. ASHLEY -LRB- beat ; then. -RRB- I just did n't realize - you were this - KALE What, crazy? Maybe I am. But maybe I'm right. ASHLEY It's not about that, it's about -. -LRB- beat ; then quietly. -RRB- - What I see. What Ronnie and I are seeing right now. I see a guy who looks like he has n't slept in days. -LRB- peers at dad's book cover posters. -RRB- I'm seeing you sitting at your dad's desk - That gets Kale's attention. ASHLEY -LRB- CONT'D. -RRB- - Because you lost him before maybe. you ever really knew him. Before the world according to Kale took a hit from that same stuff you were telling me about, remember? All those curveballs? But it's like - it's like you're still trying to dodge them by forcing pieces together that are never gon na fit. by getting all wrapped up in. -LRB- re : mess. -RRB- This. -LRB- beat ; then. -RRB- Obsessing's not gon na `` protect you,'' Kale. It's not gon na make the hurt go away. Kale locks eyes with Ashley. A long beat, then - KALE Are you two gon na help me or not? Ashley pauses, shocked she has n't gotten through to Kale. Then - ASHLEY I want to. KALE -LRB- picks up a stack. -RRB- Then start looking through these - ASHLEY That's not what I meant. KALE -LRB- beat ; then. -RRB- Well, this is all I need, so - I guess I'll see you later. Ashley and Ronnie trade looks. Then - Ashley leaves. Ronnie turns back to Kale. KALE -LRB- CONT'D. -RRB- So what's your deal? You hanging out or not? RONNIE I would, dude, but - I've got ta pull it together and - change my underwear. Catch you later? KALE Sure. Ronnie leaves. Kale sits in silence, his thoughts unreadable - Kale falls back in the leather chair, fighting his emotions, trying to keep them in check. He glances out to Ashley's. Dark. He peers around the office - the articles, the books, his DAD'S PHOTOS. the family portrait of Dad, Mom, and Kale, smiling wide. their lives ahead of them.\",\n \"INT. KALE'S BEDROOM - NIGHT In the darkness, find Kale sitting in his video game chair staring out at Giles' house. HIS POV - Giles' garage door is open. Giles' silver Toyota is parked inside next to the Mustang. There's a light or two on inside Giles' house but no signs of movement. Kale throws intermittent glances out the window as he starts to UNSCREW the back of the DV CAM. He lifts the back off, then reaches in a nearby BOX and pulls out a BLUE TOOTH WIRELESS CIRCUIT BOARD. He starts connecting it inside the camera. JUMP CUT : Kale screws the back of the camera on, takes a swig of a soda. There's suddenly fierce KNOCKING at Kale's front door. Kale just sits there. Staring ahead. More knocking and DOORBELL RINGING. Kale jumps from his chair, grabs the bat.\",\n \"INT. ENTRY HALL - NIGHT - SECONDS LATER Kale swings the door open - nobody's there - then - Ronnie suddenly STEPS INTO FRAME, grabs Kale - KALE Get off me, man. RONNIE Dude - my cell phone's - still in his car. Kale eyes Ronnie a beat. RONNIE -LRB- CONT'D. -RRB- Kale, did you hear me? KALE -LRB- beat ; then. -RRB- Ronnie, I know you think I'm losing my mind, but. listen, I'll help you get it, I just need you to do one thing. RONNIE -LRB- shaking his head. -RRB- Phase two. I knew it.\",\n \"INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER A SHAKY and grainy VIDEO IMAGE appears on Kale's computer screen. Kale picks up one of Ronnie's old walkie - talkies. KALE -LRB- into walkie talkie as needed. -RRB- You read? RONNIE -LRB- V.O. -RRB- -LRB- walkie talkie filter as needed. -RRB- Yeah, you got a signal? ON KALE'S COMPUTER SCREEN - Ronnie suddenly aims THE VIDEO CAMERA AT HIS FACE. KALE Got video, no audio. RONNIE -LRB- V.O. -RRB- Yeah, mic's on the fritz. How am I looking? Kale picks up the binoculars. BINOCULAR POV - Giles' garage door is still open. There's a light on at the opposite end of the house. KALE Light on, far end. RONNIE -LRB- V.O. -RRB- I guess it's now or never. Moving out. Kale turns back to the computer screen - RONNIE'S DV CAM POV - His feet dart across the yard - he TILTS UP - approaching the fence. KALE -LRB- re : Giles. -RRB- No movement. RONNIE'S DV CAM POV - Ronnie hops the fence. RONNIE -LRB- V.O. -RRB- First hurdle - RONNIE'S DV CAM POV - The image goes to SNOW for a split second - the signal weakening. Kale peers out the window - BINOCULAR POV - We barely make out Ronnie's silhouette as he makes his way toward the garage - RONNIE -LRB- V.O. ; CONT'D. -RRB- Twenty feet. Ten feet - RONNIE'S DV CAM POV - Rapidly approaching the back of Giles' Toyota. RONNIE -LRB- V.O. ; CONT'D. -RRB- Garage - RONNIE'S DV CAM POV - Very shaky as Ronnie makes his way to the back seat door - he takes out a pen light, aims it at the door as his hand enters frame, lifts up on the latch. The door pops open. RONNIE -LRB- V.O. ; CONT'D. -RRB- Bingo. RONNIE'S DV CAM POV - We see Ronnie's hand feeling around the back seat floor of Giles' car. Kale's CALL WAITING suddenly BEEPS. He looks at the CALLER I.D : ASHLEY. Shit. He has to let it go. RONNIE -LRB- V.O. ; CONT'D. -RRB- I'm not seeing it - KALE Stay calm, it's there. RONNIE'S DV CAM POV - Ronnie's hand finally pulls out the cell phone. RONNIE -LRB- V.O. -RRB- I've got it. BINOCULAR POV - Giles' house. Still no sign of movement. KALE You're still clear, check the bag. RONNIE -LRB- V.O. -RRB- Hang on - RONNIE'S DV CAM POV - We see Ronnie's hand gently push the door of Giles' Toyota closed. The angle TILTS DOWN - we're now watching Ronnie's feet as they stride deeper into the garage, walking in between the Toyota and Mustang. RONNIE -LRB- V.O. ; CONT'D. -RRB- I'm setting the camera on the trunk. KALE Try to get the plate number of the Mustang and check for dents - RONNIE -LRB- V.O. -RRB- I'm checking the bag first. RONNIE'S DV CAM POV - Ronnie sets the camera on the trunk of the Mustang, aims it perfectly at the BLUE BAG sitting in the corner. We watch with Kale as Ronnie enters frame, crouched low, heading toward the bag. He raises the walkie talkie - RONNIE -LRB- V.O. ; CONT'D. -RRB- It does look like blood - and hair - RONNIE'S DV CAM POV - We watch as Ronnie kneels down, starts to open the bag. But suddenly, the still POV suddenly STARTS TO SLOWLY, STEADILY TRACK TO THE LEFT - And Kale realizes - KALE The camera's sliding - RONNIE'S DV CAM POV - We watch as Ronnie spins and grabs the camera. RONNIE -LRB- V.O. -RRB- That was close. We hear another NOISE O.S. RONNIE -LRB- V.O. ; CONT'D. -RRB- Oh shit - Kale looks out - KALE'S POV - Giles' GARAGE DOOR STARTS TO CLOSE. KALE Ronnie? RONNIE -LRB- staticky. -RRB- - make it - interference - somebody's here - KALE Ronnie?! Dead air. Giles' GARAGE DOOR SLAMS SHUT. RONNIE'S DV CAM POV - We watch as Ronnie picks up the camera, aims it at his face. Looking terrified. The camera swings away as we see Ronnie's feet scrambling along the concrete floor and then - they appear to RACE THROUGH A DOORWAY ONTO DIMLY LIT HARDWOOD FLOOR - making us and Kale realize - KALE -LRB- CONT'D. -RRB- He's in the house -. -LRB- into walkie. -RRB- Ronnie? Still nothing. RONNIE'S DV CAM POV - Shaky. We catch GLIMPSES OF RONNIE'S FEET - hauling ass down a HALLWAY, ROUNDING A CORNER ONTO CARPET, THEN BACK ONTO HARDWOOD - KALE -LRB- CONT'D. -RRB- What the hell - ON THE SCREEN - Ronnie suddenly PANS THE CAMERA up to his face as he runs, clearly mouthing `` HELP ME!'' KALE -LRB- CONT'D. -RRB- RONNIE! Shit - Then - the camera seems to fall, SLIDING ON THE HARDWOOD FLOOR TOWARD AN OLD BOOKCASE. THE IMAGE CUTS OUT - GOES TO ALL SNOW - Kale jumps up, pacing. Peers out the window to Giles'. No telling what the hell's happening - or happened - in there. Kale eyes his ankle bracelet. Green light. Kale eyes his bat. Grabs it. Fuck it.\",\n \"EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER Kale SLAMS out the back door, races across the yard, skips over his kite string boundary - ON HIS ANKLE BRACELET - Red light FLASHES. WITH KALE - he hops the fence, racing to.\",\n \"EXT. GILES' BACK YARD/HOUSE - NIGHT - CONTINUOUS KALE Ronnie?! Kale darts to Giles' back door, tries the knob - locked. KALE -LRB- CONT'D. -RRB- Ronnie, can you hear me?! Giles, open the door! The house is still. Kale bolts around the side, uneasily feeling his way through shadows and low - hanging branches.\",\n \"EXT. GILES' FRONT YARD - NIGHT - CONTINUOUS It's even darker on this side. No lights on in Giles' house. Kale cautiously rounds the side, approaches the front door - it's open a few inches - darkness beyond. Kale eyes it a beat. Then - steps up onto the porch, about to push it open when - SIRENS BLARE O.S. Kale SPINS AROUND to see A POLICE CRUISER ROLLING TO A STOP. Kale races toward it as two uniformed officers step out - KALE Hey! The officer pulls his sidearm, aims it at Kale - UNIFORM #1 Freeze. Hands above your head, now! KALE Please, my friend's been kidnapped, he's in this house - he's inside, I think the owner's trying to kill him - UNIFORM #1 Stay right there. UNIFORM #2 I've got it - Uniform # 2 heads briskly to Giles' front door. UNIFORM #1 -LRB- into radio mic. -RRB- Dispatch, 13A74, we're 10 - 26 with the kid, he's claiming a 10 - 31 at. -LRB- eying numbers above Giles' door. -RRB- 4710 Fairway Court. House behind his residence, request 10 - 78. DISPATCHER -LRB- V.O. -RRB- -LRB- over mic. -RRB- 13A74, ten - four, units already in the area, will advise - Kale watches as Uniform # 2 approaches the Giles' door. UNIFORM #2 It's open. KALE It was already open. Uniform # 2 knocks on the door. Rings the bell. No answer. Uniform # 2's about to knock again when a light comes on inside. After a beat - Giles opens the door. Looking disheveled, in his bathrobe. GILES Uh, yes, can I help you, officer? UNIFORM #2 Sorry to wake you, sir, we have a young man here claiming a friend of his is in your house. Would you know anything about that? GILES -LRB- laughs. -RRB- No, I certainly would n't. KALE You're a lying son of a bitch! Uniform # 1 retrains Kale as another CRUISER rolls to a stop. Uniforms # 3 & 4 hop out, head to Uniform # 1 to assist. UNIFORM #1 Take it easy - KALE He's in there, goddammit! He's inside! He's lying! Uniform # 1 pulls Kale back to the cruiser, opens the back door and pushes him down on the seat - UNIFORM #1 Sir, calm down - KALE Okay, but he's lying - he has my friend, and he kidnapped that girl last week, he killed maybe three others, all redheads, they could be in a bag - a big blue plastic bag - in his garage - my friend knew this -. -LRB- re : Giles. -RRB- That's why he's covering - he did n't just wake up five minutes ago - Uniform # 1 looks concerned as he steps away from Kale. UNIFORM #1 -LRB- to Uniform # 3 ; re : Kale. -RRB- Can you - Uniform # 3 nods as Uniform # 1 heads back up to Giles and Uniform # 2. KALE'S POV - Uniform # 1 whispers something to Uniform # 2. They turn back to Giles. UNIFORM #2 Sir, do you mind if we take a look inside? A beat. A couple more police cruisers roll to a stop. Curious NEIGHBORS are now gathering across the street. GILES Absolutely, be my guest. Giles ushers them through the door and follows them into the house. Giles turns, shoots a quick glance to Kale before closing the door. ON KALE - all he can do is wait. He shifts his gaze to the gathering neighbors. A few lock eyes with him, shake their heads. Kale turns back toward the house.\",\n \"EXT. GILES' BACK YARD - GARAGE - NIGHT - SHORT TIME LATER ON THE GARAGE DOOR - as it slowly raises up. WIDER - The uniforms, standing with Kale, wait as the door opens all the way. A light comes on inside. Giles and Uniform # 1 come out the inner garage door as Uniform # 2 Giles drags the BLUE BAG out from the garage. Sure enough, there's blood smears and visible strands of matted hair near the top. Uniform # 2 unties the bag, pulls the sides away. Everyone gathers around, peers inside, then suddenly yank themselves back at the horrible STENCH emanating from within. Kale eyes Uniform # 1 who gestures him to look. Kale steps toward the bag. KALE'S POV - We peer into the bag to reveal the WIDE OPEN eyes of a dead - DEER. GILES -LRB- to the cops. -RRB- I hit it the other night. Thought I'd save a few steps and get it off the road myself. I was gon na bury it sooner, but it's been a helluva week - KALE So why'd you have to have the car fixed in record time, huh? Because it was covered in her blood - GILES -LRB- talking over him ; re : Mustang. -RRB- Because it's a classic, I got it out of storage for the auto show, I needed it in pristine condition. UNIFORM #2 It's one of the biggest in the world. -LRB- off Uniform # 1. -RRB- The auto show. All eyes on Kale. He slumps. Giles has an answer for everything. UNIFORM #1 I think we're done here. Sorry for the intrusion, sir. GILES Please, I understand. As the Uniforms lead Kale back down the driveway. KALE -LRB- quietly ; drained. -RRB- So where's my friend, then? Can anyone tell me that? Does anyone believe me?! Kale looks over, sees PARKER, standing with JULIE whose eyes are filled with it all : anger, concern, sadness. JULIE Kale, come on - Kale turns back to Giles' house. Sees lights being turned out inside. As Kale shifts his gaze forward, he locks eyes with ASHLEY standing in the crowd of neighbors. She watches him with concern. Kale turns away, drops his head as the cops, Parker and Julie lead him away. a FLASH OF LIGHTNING in the distance.\",\n \"INT. LIVING ROOM - NIGHT - LATER Kale sits on the sofa, staring off. He looks to the stairs as Julie and Parker head down. Parker nods to Uniform # 3 who's standing next to Kale. Uniform # 3 meets Parker and Julie at the front door. Julie quietly nods to them, opens the door. A few more inaudible words are exchanged before Julie gently closes the door behind them. Julie heads back into the living room, sits across from Kale. JULIE -LRB- a beat ; then. -RRB- I'm sorry, Kale. Not the words Kale expected. He looks up - JULIE -LRB- CONT'D. -RRB- I really am. You know, one thing I always told myself was that no matter what, I would always know what was going on with my kid - KALE Mom - JULIE Let me finish - because I have to tell you something. -LRB- then. -RRB- I feel like I let you down. I was too caught up in my own grief to see straight. I thought time would heal this and taking a second job was. the answer to keeping a roof over our heads - KALE It was - JULIE -LRB- points to ceiling. -RRB- That's just wood. Do you hear me? We're still not through this - obviously - it's gon na take more time - maybe a lot more time - and that's just got ta be okay, because I know - it'll get better. -LRB- beat. -RRB- I want us to be us again. I want us to be honest with each other like we used to be. Is that possible? KALE Yeah. I just - did n't think you'd believe me - JULIE Listen to me. I am always on your side. No matter what. It may not look like it sometimes, but it's the truth. And we'll get through this. Okay? Kale nods. He stands, goes to Julie and hugs her - tight.\",\n \"INT. KALE'S BEDROOM - NIGHT - LATER Kale enters amidst a few more LIGHTNING FLASHES and distant ROLLS OF THUNDER. He heads to his window, glances out at Giles' house. Dark. The wind's picking up. Kale closes his window, draws the shade, sticks his cell in the charger. He collapses to the bed, stares at the roof over his head for a beat - then `` LIKE A VIRGIN'' suddenly BLARES ON HIS CELL PHONE. Kale stares at it. then jumps from his bed, races to the phone, rips it from the charger, flips it open - ON THE PHONE'S LCD SCREEN - A text message : LOOK AT YOUR SCREEN. The LCD SCREEN suddenly BLACKS OUT. The battery's dead. A wide eyed Kale puts the cell phone on his desk, slowly shifts his gaze to his computer monitor - a grainy image suddenly pops on - shaky at first - then it finally steadies, and clears up. A torso and face come into focus : RONNIE, lying in the corner of a very enclosed space. Eyes open, head tilted against the wall. Dead. KALE OH MY GOD - Nearly hyperventilating, Kale leans closer to the screen, sees a pile of clothes and a stray racketball trophy lying next to Ronnie. KALE -LRB- CONT'D. -RRB- Shit - Kale realizes - Ronnie's IN HIS CLOSET. Kale slowly turns, eyes his closet door. He then steps toward it, reaches out - and SLIDES THE CLOSET DOOR OPEN TO REVEAL - RONNIE - lying dead in the corner. KALE -LRB- CONT'D. -RRB- Ronnie - Kale kneels down to Ronnie who suddenly POPS BACK TO LIFE! RONNIE BOO! Kale screams, falls back to the floor as Ronnie cracks up. MORE LIGHTNING FLASHES and THUNDER. Kale staggers to his feet. Stunned. Not knowing whether to hug Ronnie or beat the shit out of him. RONNIE -LRB- CONT'D. -RRB- Dude, do n't kill me, do n't kill me - I can explain - KALE How - How long have you been here? RONNIE You should have seen your face -. -LRB- off Kale's glare. -RRB- I got out his front door. I got lucky. I heard you yelling, but dude, cops were everywhere - KALE Still, you could have - RONNIE What, popped out and said, `` oh yeah, officers, my friend's right, I was just in that house, I'd gone to get my cell phone out of the guy's car I broke into earlier.'' Are you kidding me? KALE -LRB- beat ; then. -RRB- I get it. Kale paces around, runs a hand through his hair as Ronnie steps out of the closet, DV CAM in hand. RONNIE Dude, I am sorry. Can we just. hug it out? KALE Why did n't Giles tell the cops someone broke in? I mean, he did see you, right? RONNIE You know, let's be positive for a change. I thought he did, but maybe he did n't. Or maybe he's a nice guy afterall, and he did n't wan na make a big deal of it, you know? I mean, he's a guy, he was a kid once. Kale eyes Ronnie. KALE What if he was n't always a guy? Ronnie eyes Kale for a beat, wondering if he's serious. Then Kale cracks a smile. Ronnie cracks up. RONNIE But I do have to ask. what was in the bag? KALE -LRB- as if it were obvious. -RRB- Dead deer. Kale and Ronnie lock eyes a beat. Then crack up again. Both laugh hysterically, slap happy as hell. RONNIE Naturally. -LRB- re : DV CAM. -RRB- Hey, you want more evidence, detective? KALE I was watching, remember? Kale grabs the DV CAM from Ronnie - Ronnie pulls it away. RONNIE No, no, this is comedy, it deserves big screen treatment. Ronnie grabs some wires, starts hooking the camera up to Kale's TV.\",\n \"INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER Kale and Ronnie watch the video of Ronnie's break - in. They're cracking themselves up as we see - ON THE TV - Ronnie's feet stumbling through the garage, the camera sliding away off the trunk of the Mustang, Ronnie diving for it. RONNIE Hey, I caught that. KALE So that's when the garage door started closing. RONNIE Yeah, he must have heard me. He came through the inside door -. -LRB- re : TV screen. -RRB- This is where I ducked low and started. ON THE TV - Ronnie's feet start motoring across the concrete floor, racing through the doorway onto the hardwood floor. RONNIE -LRB- CONT'D. -RRB- hauling aaaass. KALE That's great. ON THE TV - As before, we're mostly watching Ronnie's feet as they scamper around Giles' house. Then - the camera falls away, slides across the floor toward that bookcase, its POV - FOR A SPLIT SECOND - aiming UNDER THE BOOKCASE. RONNIE Dropped it. KALE Yeah, I lost signal - ON THE TV - This we did n't see earlier - The camera is quickly scooped up by Ronnie whose feet dart across Giles' entry hall floor toward the front door. We see Ronnie's hand reach for the knob. RONNIE But I never leave evidence behind. ON THE TV - Ronnie's feet dart out Giles' front door and into the darkness of the yard. RONNIE -LRB- CONT'D. -RRB- And that's about when you started yelling bloody murder and the shit hit the fan. The TV SCREEN goes black. RONNIE -LRB- CONT'D. -RRB- -LRB- getting up. -RRB- I'm starving. All that running around. Ronnie heads from the room. KALE -LRB- re : video. -RRB- I'm gon na burn this. Kale gets up, heads to the camera. About to eject the tape, when a thought stops him. He pulls the camera off the TV, sits on the floor, presses `` PLAY'', scans back through the tape. ON THE TV - The same footage. Nothing glaring stands out. The camera falls from Ronnie's hand, slides to the bookcase. Ronnie quickly scoops the camera up, keeps running. KALE -LRB- CONT'D. -RRB- You're not fooling me, Giles. Kale scans the tape back again, this time just to the point where Ronnie drops the camera. ON KALE - his eyes suddenly narrow - did he see something? Kale scans back again.\",\n \"INT. KITCHEN - NIGHT - CONTINUOUS Ronnie enters, starts rummaging through the fridge, pulls a soda out, then goes for the cabinets.\",\n \"INT. KALE'S BEDROOM - NIGHT - CONTINUOUS ON THE TV - just as the camera slides to a stop at the bookcase and aims underneath it, Kale FREEZES THE IMAGE. Dark, grainy. Kale grabs his remote, cranks the brightness all the way up on his TV. Kale scoots closer to the TV amidst another FLASH OF LIGHTNING & MUCH LOUDER CLAP OF THUNDER. ON HIS FINGER - pressing the FRAME BY FRAME ADVANCE button - ON THE TV - we start to see SOMETHING UNDER THE BOOKCASE. Kale presses the button a couple more times. ON THE TV - The next frames are blurred - this is the point where Ronnie grabs the camera back - but - KALE'S FINGER - presses the advance button one more time. ON THE TV - The next frame POPS INTO FOCUS. THERE, UNDER THE BOOKCASE, WE SEE A FADED BLACK STAMP ON THE BACK OF A WOMAN'S HAND! Kale's eyes widen as he keeps pressing the ADVANCE BUTTON. CU - Kale's eyes are transfixed on the screen, his face just inches away as a few more blurry frames FLIP BY then - BAM - THE FACE OF THE MISSING GIRL - PATRICIA WALSH - POPS ON THE SCREEN IN SHARP FOCUS, HER LONG RED HAIR PARTIALLY COVERING HER GHOSTLY, WIDE OPEN EYES THAT STARE RIGHT INTO CAMERA! Kale recoils in horror as LIGHTNING IGNITES his room. KALE -LRB- calling O.S. -RRB- Ronnie, get your ass up here! But a ROLL OF THUNDER drowns our Kale's voice -\",\n \"INT. KITCHEN - NIGHT - CONTINUOUS Ronnie throws a bag of popcorn in the microwave, punches the clock. Presses start. As he reaches behind him for his soda can on the island, a BASEBALL BAT suddenly enters frame and SLAMS DOWN on RONNIE'S ARM - FWACK! Ronnie WHIRLS AROUND in excruciating pain to come face to face with GILES who swings the bat across Ronnie's face. Ronnie drops out of frame behind the island.\",\n \"INT. KALE'S BEDROOM - NIGHT - CONTINUOUS KALE Ronnie?! No answer. Shit. Kale grabs the cordless off his bed, clicks it on : DEAD. Another lightning FLASH. He grabs the tape out of the camera, buries it in his closet, pulls out his racketball trophy then creeps to the door, peers out - KALE'S POV - The hallway's empty. Clear shot to the stairs.\",\n \"INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS Kale steps out, raises the trophy, ready for anything as he approaches the stairs, glancing in every direction. He reaches the railing, peers down. No movement.\",\n \"INT. ENTRY HALL - NIGHT - CONTINUOUS Kale heads down, slowly makes his way toward the kitchen, peeks around the corner - KALE'S POV - IN THE KITCHEN - The popcorn's POPPING in the microwave.\",\n \"INT. KITCHEN - NIGHT - CONTINUOUS Kale rounds the island to the microwave, presses `` STOP'' then glances down, sees Ronnie's body - KALE Ronnie - MOM! Kale spins around as GILES SUDDENLY APPEARS FROM THE SHADOWS. More THUNDER. Kale whirls around, HURLS the trophy at Giles. Giles knocks it away as Kale BOLTS for the back door, throws it open. Giles pursues.\",\n \"EXT. KALE'S BACK YARD - NIGHT - CONTINUOUS Kale bolts out the door, but trips on a well - placed garden gnome on the steps. Giles or the brats must have put it there. Regardless, it slows Kale down. He staggers into the yard, SCREAMING for anyone to hear. But the WIND and THUNDER drown him out as GILES - Now right behind him - swings the bat and trips Kale up. Kale falls just short of his kite string boundary line. Like a quarterback pressing to the goal line, Kale lunges forward, but - GILES' HAND suddenly grab's KALE'S ANKLE just as the ANKLE BRACELET is about to cross the line. Kale screams, digs his hands into the earth, trying to pull himself forward, but Giles is too strong. He DRAGS Kale backward, then PINS him to the ground, pulls out a roll of duct tape, quickly and efficiently wraps some around Kale's mouth, hands and ankles. Giles yanks Kale up, throws him over his shoulder and heads back toward Kale's house.\",\n \"INT. KITCHEN - NIGHT - CONTINUOUS Giles quickly opens and shuts the door as Kale struggles against him. GILES -LRB- hard in Kale's ear. -RRB- You finally wan na be an orphan? Giles drags Kale into.\",\n \"INT. LIVING ROOM - NIGHT - CONTINUOUS To reveal a bruised but conscious JULIE tied to the chair, her arms wrapped behind it! Kale's eyes widen with rage as he pulls free of Giles, drops to the floor, tries to roll away. But Giles grabs him back up, gets in his face - GILES If you do n't stop fighting me, I will gut her like a fish. Kale glares as Giles drags him into the. ENTRY HALL - NIGHT - CONTINUOUS. And pulls him up the stairs.\",\n \"INT. KALE'S BEDROOM - NIGHT - SECONDS LATER Giles SLAMS Kale down in his desk chair. Giles eyes the DV CAM sitting on the TV. The tape slot's open. GILES So where's the tape? Kale mumbles a muffled `` FUCK YOU'' under the duct tape. GILES -LRB- CONT'D. -RRB- You're right, I'll find it later. Giles sits on Kale's bed. Eyes the book on serial killers. He picks it up, flips through it. GILES -LRB- CONT'D. -RRB- It's funny, I hear a lot of authors say their first books were easy, it's the second one that's really hard. Wonder if your dad thought that. -LRB- off Kale's glare. -RRB- See with me, it's the opposite. The very first one was. -LRB- sickly reminiscing. -RRB-. Very difficult. she was very beautiful. fragile. a lot of promise. the others in Texas were flings, low class. Patty Walsh had potential, but so did Amy. You saw her, right? When you were watching me? You should feel good, Kale, you guys saved her life. I was headed in to kill her when your girlfriend showed up. So, you're a hero, Kale. Savor the moment. -LRB- tosses the book. -RRB- You have Microsoft Word? -LRB- off Kale's questioning look ; re : computer. -RRB- Turn it on. Kale does n't move. Giles raises the bat : GILES -LRB- CONT'D. -RRB- I can type, you know. Kale turns to the computer, lifts his taped wrists to the keyboard. GILES -LRB- CONT'D. -RRB- `` Dear Ashley. I killed Ronnie and my mom because. -LRB- re : Kale not typing. -RRB- What's wrong? Hey, you're the one who could n't leave me alone. Truthfully, I'm sick of covering my tracks. You think I like spending my spare time looking over my shoulder for people like you? Word of advice, if you ever need to hurt someone, think everything through. Because you do get a taste for it, do n't you? But damned if people are n't just waiting to stand in your way. cops, reporters, determined relatives, nosy fucking neighbors. next thing you know, you're on tilt, you ca n't think straight, you're clocking your teacher in front of the whole class, me. I'm hitting a damned deer. Man, that was some shitty luck. -LRB- then. -RRB- Anyway, it's pretty clear how we've got ta clean this up. The irony is, you've done all the hard stuff. Whaddaya think : `` Troubled youth finally snapped.'' Maybe because he was jealous of his girlfriend, or maybe he just could n't deal with the guilt from not saving daddy. -LRB- off Kale. -RRB- Hey, you Googled me. Giles steps away, turns back to the bed as Kale suddenly does SNAP. He leans forward, grabs the LCD computer monitor with his taped wrists, stands, whirls around, and HURLS it at GILES, SMACKING HIM on the side of his head - a one in a hundred shot! Giles goes down. But the forward momentum of Kale's throw combined with his taped ankles causes him to lose his balance. Kale falls to the floor, scrambles for the BASEBALL BAT just inches away - GILES staggers to his feet and charges Kale. Kale grabs the bat, rolls around and swings up at Giles, WHACKING HIM IN THE CHEST. Giles doubles over as Kale frantically plants the bat on the floor, using it as a `` cane'' to pull himself back to his feet. He HOPS toward Giles, raises the bat, swings it, but Giles anticipates, grabs the bat, pulls it forward, and REVERSE JABS KALE in the face! Kale staggers back, but somehow keeps his balance and the bat. He spins around, hops to the door into.\",\n \"INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS Kale rounds the corner and runs smack into ASHLEY. The collision sends Kale back to the floor. ASHLEY KALE - Ashley leans down to Kale. Kale gestures with his eyes and head : BEHIND YOU! Ashley gets the message, whirls around just as Giles GRABS HER. Ashley SCREAMS and knees Giles. He drops her to the floor. Ashley scrambles for Kale, helps him to his feet, pulls Kale back down the hall to.\",\n \"INT. DAD'S OFFICE - NIGHT - CONTINUOUS Ashley shoves Kale inside as she spins back, SLAMS the office door in Giles' face, locks it. Giles BANGS on the door. Ashley goes to Kale, RIPS the duct tape off his mouth. Kale SCREAMS in PAIN as Ashley heads for the desk phone. KALE It's dead. Ashley grabs a pair of scissors off dad's desk, cuts Kale's ankles and hands free. Kale reaches down to the ankle bracelet, furiously tugs at it. ASHLEY Let me try - Ashley moves in, tries to cut it loose with the scissors as Giles suddenly SLAMS SOMETHING against the door, trying to break it down! ASHLEY -LRB- CONT'D. -RRB- Where's your mom - KALE -LRB- tugging on bracelet. -RRB- Living room - tied up - he got Ronnie - in the kitchen -. -LRB- then ; re : bracelet. -RRB- GODDAMN YOU! ASHLEY -LRB- giving up with scissors. -RRB- Okay, just - I'll get your mom, you figure out a way to call the cops - KALE No, I've got ta get her - ASHLEY Kale, you've got ta get outside, get over the boundary - do you hear me? KALE -LRB- beat ; then ; an idea sparking. -RRB- Okay, but - just follow my lead - we're gon na need stuff - Ashley and Kale glance around for weapons. Ashley pockets the scissors, grabs a letter opener off dad's desk. Kale finds his racketball racket and the ball. Pockets the ball, slips the racket in the back of his shorts, then grabs the baseball bat as he heads for the bookshelves near the door that leads to the outside porch. He reaches up, runs his fingers to the third book on the middle shelf, pulls it out, flips it open to reveal a KEY that drops in his hand. KALE -LRB- CONT'D. -RRB- Once I have his attention, you go get her. Ashley nods. Kale takes the key, heads to the porch door, unlocks it with a quiet CLICK. He swings the door open, steps out onto.\",\n \"EXT. 2ND FL PORCH - NIGHT - CONTINUOUS Kale raises the bat, swings it at the 2nd floor hallway window that separates the interior of the house from the porch. The window SHATTERS. Kale tosses the bat back to Ashley. KALE -LRB- to Giles O.S. -RRB- We're out here, asshole! There's a lull in the thunder. All becomes eerily quiet for a beat as Kale waits for Giles to appear at the window. He glances back at Ashley who ducks behind the wall inside dad's office - she glances to the office door. No more BANGING. She shrugs to Kale : `` where is he?'' Another beat, then suddenly - a FLASH OF LIGHTNING reveals GILES Standing in the other porch doorway BEHIND KALE! ASHLEY Kale! Kale whirls around just as Giles reaches out, grabs him by the throat, pulls him off his feet and HURLS KALE through the shattered window into the hallway! ASHLEY -LRB- CONT'D. -RRB- NO! You son of a - Ashley charges out onto the porch with the bat. Swings it at Giles who promptly RIPS it from her hand and hurls it off the porch. Ashley whips out the letter opener, spins around, about to stab Giles, but he backhands her. Ashley falls, SMACKS her head on the porch railing. She drops to the floor, half conscious as Giles picks up the letter opener, turns his attention back to the 2nd floor hallway window - HIS POV - THE HALLWAY - KALE'S GONE. WHIP PAN to behind Giles - REVEAL KALE - CHARGING OUT the same porch door Giles just came out! Kale uses his FULL BODY WEIGHT to SHOVE Giles back through the SAME BROKEN WINDOW and into the hallway! KALE Ashley! Are you okay? ASHLEY I wan na kill him - KALE Stick to the plan - Over this, Kale pulls Ashley to her feet. They share a smile as Ashley ducks into the porch door leading to Kale's room. Kale turns back - KALE'S POV - A BLOODY GILES Gets to his feet and heads toward the window. Kale turns for the ladder, starts climbing up. Giles pursues, steps out the window as we see Ashley, in the b.g., appear from Kale's bedroom and race for the stairs!\",\n \"EXT. ROOF - NIGHT - CONTINUOUS Kale reaches the top of the ladder, steps onto the roof, but Giles, from below, HEAVES THE LADDER UPWARD, tripping Kale. Kale SLAMS down on the roof, smacks the back of his head. KALE'S BLURRY POV - against a fury of lightning flashes, Giles races up the ladder and steps onto the roof. Stalks toward Kale. Kale gets to his feet, draws the racketball racket from his shorts, takes out the ball, assumes a professional looking serving position and WHAM! Kale beams the ball at Giles - and misses completely. KALE That was a warning! Giles rushes Kale who wails on him with the racket. Giles ducks, spins around, brings his fist up and punches Kale in the chest. Kale drops the racket. It slides away down the roof as Kale doubles over. But Giles grabs Kale before he can fall. He pulls Kale up off his feet, pulls him closer, gets in his face. Kale summons some strength, tilts his head up and HEADBUTTS GILES. Giles stumbles back, pulling Kale with him. Giles SLAMS down on the roof. He and Kale roll down the incline and stop just short of the edge - Kale looks over, spots his STEREO SPEAKER a few feet away.\",\n \"INT. LIVING ROOM - NIGHT - CONTINUOUS Ashley rounds the corner, heads to Julie. ASHLEY Hi, Mrs. Brecht, I'm Ashley -. -LRB- re : duct tape. -RRB- It's gon na hurt. Julie nods as Ashley RIPS the tape off Julie's mouth. JULIE -LRB- not flinching. -RRB- Where's Kale?\",\n \"EXT. ROOF - NIGHT - CONTINUOUS Kale HURLS the speaker at Giles', SMACKING him hard. Giles shakes it off, grabs the speaker wire - WITH KALE - he gets to his feet, heads back up the roof as Giles suddenly whips out the letter opener and hurls it like a THROWING KNIFE at Kale. The letter opener embeds itself in the back of Kale's thigh. Kale screams, falls to his knees. CU - Kale cringes from the pain as Giles, now right behind him, wraps the SPEAKER WIRE around Kale's NECK and pulls. Kale grabs for it as Giles chokes the life out of him. Kale only has one chance. He reaches behind his leg, grabs the embedded letter opener, RIPS it away, twirls it in his hand and shoves it back into Giles' stomach! Giles recoils as Kale flings himself away from the choke - hold, falls back to the roof, rolls down and PLUMMETS to -\",\n \"EXT. GARAGE ROOF - NIGHT - CONTINUOUS Kale hits HARD, the wind knocked out of him. He looks over, sees his racketball racket lying there. He grabs it, looks back up. KALE'S POV - Giles stands on the upper roof, smiles as he brings up the letter opener. Kale's eyes widen. He pulls himself to his feet, and sidearms the racket up at Giles. The racket spins through the air like a boomerang and miraculously smacks Giles in the hand, knocking the letter opener away! WITH KALE - he whirls around, races toward the edge of the roof. and JUMPS. ANGLE : FOLLOWING BEHIND KALE IN MID AIR, WE CRANE UP AND OVER HIM PEERING DOWN TO REVEAL ASHLEY'S POOL! ON THE ANKLE BRACELET - it FLASHES RED.\",\n \"EXT. ASHLEY'S BACK YARD/SWIMMING POOL - NIGHT - CONTINUOUS Kale drops into the pool with a tremendous SPLASH! He pulls himself to the surface, peers up - KALE'S POV - the roof - Giles is gone. Kale frantically swims to the edge, pulls himself out -\",\n \"INT. KITCHEN - NIGHT - MOMENTS LATER The kitchen door slowly pushes open. After a beat, Kale quietly steps in, heavily armed with a swimming pool LEAF - SKIMMING NET. Another FLASH OF LIGHTNING illuminates the kitchen. Kale cautiously rounds the island, glances down : Ronnie's gone. He glances to the block of butcher knives - empty. Kale grabs a couple of table knives from the kitchen drawer, opts to keep the leaf - skimming net as he makes his way out of the kitchen and into.\",\n \"INT. ENTRY HALL - NIGHT - CONTINUOUS Breathing hard, Kale glances around, up the stairs - No sign of Giles. He rounds the corner into.\",\n \"INT. LIVING ROOM - NIGHT - CONTINUOUS Julie's GONE. Kale's eyes widen. He turns around as ASHLEY suddenly jumps up from behind the sofa brandishing a BUTCHER KNIFE! She exhales in relief at the sight of Kale who rounds the back of the couch, sees Ronnie's body lying on the floor next to the entire set of butcher knives. KALE Where's my mom? ASHLEY She went upstairs for you - where's Giles? KALE I do n't know - the cops should be here any sec - The doorbell RINGS. Kale and Ashley whip their heads to the door. Kale throws a troubled glance out the window - ASHLEY What's wrong? KALE No flashing lights - stay here - Kale trades Ashley the net for the butcher knife. We then FOLLOW KALE into.\",\n \"INT. ENTRY HALL - NIGHT - CONTINUOUS Still no sign of Giles - Kale turns back to Ashley, then heads to the front door - PEEPHOLE POV - Parker. Kale swings the door open. PARKER Kale, what's going on now? KALE Parker, where's the cavalry?! PARKER I told'em do n't bother, you were my responsibility - KALE Parker, you need to get them here right now - Giles is - GILES -LRB- O.S. -RRB- Evening. Parker turns to see Giles casually walking up the front steps. KALE PARKER LOOK OUT, HE'S THE - As Parker turns, Giles suddenly GRABS HER, spins her around and TWISTS HER NECK. Parker drops forward into the entry hall. Kale stumbles back inside the door, tries to SLAM it closed, but Giles overpowers Kale, shoves the door open, knocking Kale to the floor. The butcher knife slides away under a table. Giles enters, kicks Parker's body out of the way and closes the door. He steps toward Kale as Ashley, from O.S. suddenly drops the LEAF - SKIMMING NET OVER HIS HEAD and furiously YANKS Giles back to the floor! Kale gets to his feet, grabs a vase off the entry hall table and SMASHES it over Giles' head. Giles rolls away, only to be KICKED HARD in the face by Ashley. Kale and Ashley TAG TEAM Giles. But Giles finds an opening and elbows both Ashley and Kale back to the floor. Kale scrambles for the butcher knife back down the entry hall. Giles gets to his feet, pounds after Kale who slides the butcher knife out from under the table. But Giles suddenly STOMPS down on Kale's hand. Giles lifts his foot up. Kale pulls his hand away. Giles kicks the knife away, grabs Kale up, SLAMS him against the staircase banister, splintering it. Kale drops back to the floor. Giles leans down to pick him up when the BUTT OF A SHOTGUN suddenly SLAMS into the back of Giles' head! Giles tumbles forward, spins around to see JULIE standing on the staircase with a 12 - GAUGE SHOTGUN - KABOOM! Julie BLOWS GILES BACK INTO THE WALL! - And THAT'S WHERE HE STAYS. Julie races down to Kale, hugs him tight. Ashley comes to, slowly makes her way over and joins the huddle. MONTAGE\",\n \"EXT. NEIGHBORHOOD - DAWN - Police, squad cars, ambulances surround Kale's and Giles' houses. - CRIME SCENE TECHS tape off Giles' entire back yard.\",\n \"INT. LIVING ROOM - DAWN - SUITED detectives jot notes as they question Kale, Ashley, Julie. - Kale hands the detective the VIDEO TAPE.\",\n \"INT. GILES' HOUSE - DETECTIVES and CRIME SCENE TECHS slide the bookcase away to reveal the body of the dead club girl. CAMERAS FLASH.\",\n \"INT. KITCHEN - DAY - Kale sits on the island as CASE OFFICER # 2 removes the ankle bracelet. Julie and Ashley watch in the b.g.\",\n \"EXT. GILES' BACK YARD - DAY - Crime scene techs excavate portions of Giles' back yard. - A crime scene tech waves his colleagues over, points down. - GLOVED HANDS of techs gently clear the damp earth away to reveal an ARM and HAND. and matted strands of RED HAIR.\",\n \"EXT. GILES' FRONT YARD - DAY - A REPORTER stands at the end of Giles' driveway as CRIME TECHS carry body bags to the coroner's van in the b.g. REPORTER the body of Partricia Walsh, missing since last week, has been recovered along with the remains of at least three other women. Authorities say Giles meticulously maintained his yard, mowing the lawn routinely in order to avoid the formation of sinkholes which could have exposed his terrible secret.\",\n \"INT. COUNSELOR'S OFFICE - DAY A cleaner - cut Kale sits across from a COUNSELOR. KALE -LRB- beat. -RRB- He was my best friend. We always talked about what guys talk about. sports, women. food. We were talking about the freakin' fish - this huge, amazing black bass we'd just caught - and how we'd be eating it for a week. the next thing I know - I ca n't hold on. and he's letting go. I was so pissed at him, I was so - he's the one who left, he's the one who gave up, you know? - But that's b.s. See, the truth is, my dad - He saved me.\",\n \"INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY CU - The doorknob. A hand slowly enters frame. WIDER TO REVEAL Kale and Julie stand outside the door that's now been fixed. JULIE You ready?\",\n \"INT. DAD'S OFFICE - DAY - CONTINUOUS Kale and Julie enter with two large boxes, set them on the floor. They both take breaths, then - start sifting through dad's things, deciding which items to keep and which to box up. As they carefully consider each one we slowly PULL BACK and BINOCULAR POV - Giles' house. The yard's been completely put back together. We are.\",\n \"INT. KALE'S BEDROOM - WEEKS LATER CU - KALE intently watches. Then : KALE Movement. Ashley joins him at the window. THEIR POV - Julie, wearing her realtor business suit, walks a YOUNG COUPLE up Giles' driveway and into the back yard. ASHLEY Why's your mom doing this again? KALE She's whacked. Plain and simple. I think she thought it'd be some sick challenge or something - hey, commission's the same I guess. They watch as Julie points out the yard to the couple. The couple turns back to the house. Julie suddenly spins around and gives a quick sotto `` thumbs up'' to Kale and Ashley! KALE -LRB- CONT'D. -RRB- No way. She ca n't be serious. ASHLEY Hey, if anyone can spin a psycho house into the opportunity of a lifetime, I'd bet on your mom any day of the week. KALE -LRB- re : the couple. -RRB- Fine, but we still have to seriously question the yayhoos buying the place. ASHLEY Whaddaya think, another stakeout? KALE -LRB- tossing the binoculars. -RRB- Screw that. My mom has another half hour over there at least. Kale pulls Ashley back to the bed. They kiss, but then suddenly stop - sensing something O.S.. They both slowly shift their heads to see - THEIR POV - Ronnie, with a head bandage, stands in the doorway, aiming his DV camera straight at them. RONNIE -LRB- do n't mind me. -RRB- I'm not even here. Off this we - SMASH TO BLACK.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,1,1,1,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,1,1,1,1,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,1,0,1,0,0,0,1,0,0,0,1,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"Troubled by the death of his father in an auto accident, Kale Brecht attacks his Spanish teacher when the teacher invokes his father while reprimanding him. For the assault, he is sentenced by a sympathetic judge to three months under house arrest with an ankle monitor and a proximity sensor. Detective Parker explains the system to Kale and his mother Julie. Initially, the teen just plays video games and watches television, but he is soon grounded by Julie and loses his access to the iTunes Music Store, Xbox Live, and his television. Kale's boredom leads him to watch the neighborhood, including the two neighbor boys who play pranks on him, his next-door neighbor Robert Turner, and Ashley Carlson, the new girl in town. One night, Kale becomes suspicious of Turner, who returns home in a 1960s Ford Mustang with a dented fender that matches the description given on a news report of a serial killer at large. Kale's best friend Ronnie visits to spy on Ashley and, when they accidentally alert her to their hijinks, the curious girl joins them in spying on Turner. Kale observes a young woman Turner had picked up from a nightclub as she flees the house in a panic but later appears to leave in her car. Ashley throws a party and teases Kale, knowing he is watching. He plays non-party music loudly to needle her, and Ashley comes over to stop it. But the two flirt and start to make out, distracting each other while blood splatters on Turner's windows. Later, as Kale and Ashley watch, Turner drags a heavy bag to his garage. Kale gets Ashley to follow Turner, but he confronts her in her car with a calm, but threatening manner. Meanwhile, Ronnie successfully breaks into Turner's garage with a camera but gets trapped when the garage door closes. Kale leaves to rescue him but alerts the police upon leaving his property with the ankle monitor. The police come and search the garage but show Kale the bag contains a roadkill deer. Julie then goes across the street to talk to Turner to ask him not to press charges, while Ronnie reveals that he has escaped from Turner's house. When Kale watches the tape when Ronnie made it into Turner's house, he notices a corpse in plastic in a vent. Next door, Turner takes Julie captive and enters Kale's house, knocking out Ronnie and binding and gagging Kale. The killer reveals his plan to frame Kale for the murders of Ronnie and Julie and make it appear Kale then killed himself. When Ashley arrives, interrupting the plan, Kale attacks Turner, throwing him from the top of the stairs before Ashley frees him from his bindings; they jump out of the window into the pool when Turner resurfaces. Kale's ankle monitor again alerts the police, and he enters Turner's home to search for his mother. In a hidden room, Kale finds ample evidence of Turner's previous murders. The officer who monitors Kale arrives at the scene but Turner breaks his neck, killing him. Kale stumbles upon the decaying remains of murder victims and finds his mother bound and gagged. Turner appears, slashes Kale in the back and pins him to a wall, but before Turner can kill Kale, Julie stabs him in the leg with a dagger, allowing Kale to grab a pair of gardening shears and impale Turner in the chest with them, killing him. In the aftermath, Kale is shown having his ankle bracelet removed by the authorities for good behavior and getting back at the two boys from earlier pranks. He then passionately kisses Ashley on his sofa, while Ronnie is playfully video taping them."},"name":{"kind":"string","value":"Disturbia_(film)"}}},{"rowIdx":184,"cells":{"scenes":{"kind":"list like","value":["EXT. CHURCH - DOMREMY - DAY FADE UP on ripples on the surface of a puddle. Slow PAN UP : the water becomes placid, and in it we see the reflection of an inverted CROSS on the top of a small church. We move across the little churchyard and in through the open doors.","INT. CHURCH - DOMREMY - DAY Utter simplicity - stone walls, rough - hewn wooden benches, primitive saints in the stained - glass windows - chickens peck among the straw that covers the earthen floor.","INT. CONFESSIONAL BOX - CHURCH - DAY A little wooden grill slides open and the friendly face of the village PRIEST peers at us. He glances about, perplexed. PRIEST Is anybody there? A small hand appears - then the face of a girl aged about 10, peering up at him through the grill. The Priest smiles a trifle wearily. PRIEST You know I'm always happy to see you, Jeanne, but to keep coming here twice, three times a day. JEANNE I need to confess. PRIEST But you already confessed this morning. JEANNE I need to confess again. PRIEST So. alright. What terrible sin have you committed since then that ca n't wait till tomorrow to be forgiven? Jeanne climbs up on the prayer - stool to be tall enough to look the Priest in the eye. JEANNE I saw a poor monk without shoes so I gave him some. PRIEST There's no sin in charity, Jeanne. JEANNE They were n't my shoes. Mine were too small. PRIEST Whose were they? JEANNE My father's. PRIEST I'm sure he'll forgive you. JEANNE He already did, but I want God to forgive me too. PRIEST Jeanne - if we were to ask forgiveness all the time, we'd spend our whole life in church. JEANNE Is that bad? PRIEST -LRB- perplexed. -RRB- Well no, but. Jeanne, are you happy at home? JEANNE Oh yes. very. PRIEST And your mother - everything's fine with her? JEANNE Oh yes, she's. wonderful. FLASH : we see Jeanne's peasant MOTHER, sitting by the fire, sewing. Their home is little more than a hovel - a low, dark cave of a place, traversed by a huge beam. PRIEST Good, good. And your sister. Catherine - she's still your best friend? JEANNE Oh yes, my sister's just. she's. wonderful. FLASH : Jeanne's sister CATHERINE -LRB- 18 -RRB- sits near her mother, spinning wool. PRIEST And what about your other friends. you do n't like playing with them? JEANNE Oh yes, I play with them. lots. FLASH : Jeanne is battling against some reeds with a wooden stick under a full noonday sun. Not far away, a group of kids are in the shadow of a huge tree, playing. One of them watches Jeanne in the distance. KID #1 What's she doing? KID #2 Playing. Resume on the Priest. PRIEST So. everything sounds. wonderful? JEANNE Yes, it is. PRIEST Then. why are you here so often? JEANNE I feel safe here. And it's where I can talk to him. PRIEST Him? JEANNE Well, I try and talk to him, but mostly he's the one who does the talking. PRIEST Who is this `` he''? JEANNE He never says his name. PRIEST What. does he. look like? FLASH : a little boy of 8, sitting on a throne in a clearing in a wood. JEANNE Beautiful. PRIEST And what does he say to you? FLASH : the Boy points solemnly at us, but says nothing. JEANNE He says. he says I must be good. and help everyone. and take care of myself. Do you think he's coming from the sky? PRIEST Perhaps. but wherever he comes from, I think you should listen to him, because it sounds like he's giving you very good advice. The Priest smiles, and Jeanne beams back at him. He blesses her. PRIEST Ego te absolvo, in nomine Patris, et Filii, et Spiritus Sancti, Amen.","EXT. CHURCH & STREAM - DAY Jeanne runs from the little church, the weight of her sins now happily off her shoulders. Her reflection skips across a little stream, then on through a meadow of cowslips and buttercups and up the sloping hillside beyond.","EXT. MEADOW & WOOD - DUSK A hazy, summer dusk - pollen floating in the shimmering air. Jeanne swirls between the high elms, happy and carefree - it's all a little surreal - are those church bells in the distance? Or cow bells? Or merely the SOUND of insects? Jeanne swings round faster and faster, then tumbles over, laughing, and lies on her back. She's dizzy and out of breath. Above her, the clouds seeming to swirl as though she were still spinning round. The SOUND of the bells slows down, deepening. Her face moves into shadow. Although not distinguishable as words at this stage, there's an urgent whisper in the wind. a strange echo that will eventually resolve into a call `` Jeanne!'' Presently Jeanne turns and sees something glinting in the long grass. A SWORD. The background SOUND of the bells grows ominous. A shooting star silently flashes across the sky - then scores of them. She gets to her feet and picks up the heavy sword. It's growing darker - colder - the leaves have turned to autumn brown, now blown about by a gust of wind. Presently she sees a WOLF approaching, slowly but straight toward her - then two, three - finally the whole pack. She grips the sword, but ca n't use it - too heavy, too frightened. As the wolves approach, she closes her eyes. The wolves pass either side of her, as though oblivious to her presence. When she opens her eyes, they have passed, and are now heading along the forest track.","EXT. FOREST - NIGHT Jeanne follows the wolves along the track. They're heading toward a red glow, visible beyond the trees. The wolves disappear over a ridge, though all we can see for the moment is the red sky beyond. But as Jeanne reaches the edge, we move up with her to see. her village in the valley below, ablaze.","EXT. DOMREMY VILLAGE - NIGHT Panic - screams - crashing timbers - animals stampeding - wolves drag corpses from gutted buildings - and through the midst of the tumult tears Jeanne, still dragging the sword she found. She runs inside a farm cottage.","INT. JEANNE'S HOME - NIGHT The low, dark building we saw earlier - now empty, lit by the fires of the houses on the far side of the street. Jeanne runs in, searching about - JEANNE Mother? No response. She begins to panic - runs through into a smaller room beyond, calling out - JEANNE Catherine?! Suddenly a door swings open and a hand reaches out - Jeanne screams, then turns to see her elder sister, CATHERINE, who's been hiding in a cupboard. CATHERINE Jeanne! Catherine embraces her, hugging her in relief - CATHERINE Are you alright? Did they hurt you? JEANNE No no, I'm fine, really. CATHERINE I was so worried - we've all been looking for you! The English are everywhere! O thank you, lord! She hugs her again - then freezes, hearing the SOUND of horses, the clanking of armor. But Jeanne has n't heard. JEANNE I was in church. Catherine glances about, ears tuned. CATHERINE Really? JEANNE I was talking to the priest, and do you know what he said to me? Catherine puts her hand across Jeanne's mouth - CATHERINE Shhh. tell me later. She hears the drunken laughter getting closer. CATHERINE Quick - hide in here. JEANNE What about you? CATHERINE Do n't worry about me - just stay in here. and do n't move! JEANNE But where are you going to be? CATHERINE I'll be right here. I promise. Catherine quickly lifts Jeanne inside the cupboard, locks the door, then turns to confront THREE hefty ruffians calling themselves soldiers. The biggest and ugliest has a jet black beard. BLACKBEARD Now that's what I call booty! Blackbeard turns back to his comrades, who are sharing out a roast chicken between them. Catherine picks up the sword dropped by Jeanne as Blackbeard swaggers up to her. BLACKBEARD A woman with a sword? -LRB- to his comrades. -RRB- Hey, take a look at this - Frenchmen are such cowards that they've left all the fighting to women! CATHERINE If that's God's will, then so be it! Blackbeard's comrades start tucking into their food, leaving Blackbeard to his pleasure. BLACKBEARD Fine with me. I love women. He undoes his buckle. From her POV behind the cupboard door, Jeanne can just about see Blackbeard's face through a crack. Catherine raises the heavy sword as Blackbeard advances, then brings it sweeping down. But he intercepts it effortlessly, grasping the blade as though it were a twig. BLACKBEARD Oh. now you've hurt my feeling. He puts his hand around her throat, rips off her little wooden cross, pins her against the door, then, with a lecherous roar, plunges his face on her. Jeanne is terrified. Blackbeard has his tunic down and is attempting to gain entry - Catherine tries to scream - he slams his hand over her mouth - she bites it - Blackbeard howls. with laughter. Now his juices are really moving. Catherine squirms against the door, twisting and turning - BLACKBEARD Hold still, bitch. How can I do it if you keep wriggling about? He picks her up by the throat, lifts her clear off the floor by several inches, then rams the sword clean through her gut and the door behind her, the blade just missing Jeanne. BLACKBEARD There, that's better. With a grin at his comrades, Blackbeard resumes his intercourse with the lifeless Catherine. Behind the door, Jeanne is suffocating with terror. The little wooden necklace lies on the floor in f.g. as Blackbeard pulls up his pants and turns to his comrades - BLACKBEARD Your turn.","EXT. CHURCHYARD - VILLAGE - DAY The little village church is no more than a smoldering pile of rubble - among it, the twisted stained - glass of an angel. Corpses are piled up alongside a warren of shallow graves, awaiting committal. The Priest passes by each grave in turn, administering hasty last rites, then moving onto the next while a harassed grave - digger fills in the last. Jeanne stands by a shallow grave, now wearing her sister's wooden cross and grazing fixedly at her body, wrapped in linen and awaiting interment. Her parents and other adults stand nearby, but at Jeanne's level we only see them from the waist down. MAN #1 -LRB- O.S. -RRB- We should n't be doing this by daylight. it's too dangerous. MAN #2 -LRB- O.S. -RRB- You're right - the English are still around - I can smell them. MAN #3 -LRB- O.S. -RRB- When is the king going to do something? MAN #1 -LRB- O.S. -RRB- He's good for nothing. MAN #2 -LRB- O.S. -RRB- Yeah. we ca n't even be sure he really is a king. -LRB- whispering. -RRB- I heard someone say he's a bastard. MAN #1 -LRB- O.S. -RRB- With a mother like that? I would n't be surprised. she's such a whore. WOMAN -LRB- O.S. -RRB- Can you show some respect? We're burying our children. You should be praying instead of cursing. MAN #2 -LRB- O.S. -RRB- That's just about all we can do. WOMAN -LRB- O.S. -RRB- Yes. because only God can help us. Now the Priest scurries over, hurriedly mumbles the last rites in Latin, then moves on to the next grave. Jeanne's family have their eyes closed in prayer, and it is only Jeanne who sees the Grave - digger nudge the corpse into the shallow grave with his foot. He shovels in the earth, then moves on. The Father puts his hand on her shoulder. FATHER Listen, Jeanne. your Uncle and Aunt are taking you to their house for a few weeks. just to give us time to rebuild what we can. Jeanne looks at him blankly, her thoughts too deep for tears.","EXT. VILLAGE & ROAD - DAY Jeanne sits on the back of a small hay - wagon. Her Uncle and Aunt are up front, eyes on the barren, devastated countryside ahead, while Jeanne gazes fixedly on the road behind. From her POV : the receding figures of her parents, gradually merging with the dusty landscape.","INT. DAXART'S HOUSE - NIGHT A large, low room, almost identical to Jeanne's house : a bare, earthen floor with chickens running about, and a huge cave of a fireplace. The Aunt doles out soup from a cauldron - first to her husband, then to Jeanne. DAXART Lord, we give thanks for the food you have given us. Teach us always to love this land, and to save it from those who seek to destroy it. Amen. Jeanne says nothing - noted by Daxart. His wife nudges him with a gesture to let her be.","INT. DAXART ATTIC - NIGHT Daxart opens the door to an attic room, his wife standing behind him with Jeanne. She wanders into the room, tidy but sparse, and sits on the edge of the bed. Daxart looks a little put out. DAXART So. good night then. The Aunt understands Jeanne better than her husband, and leads him from the room.","INT. SLEEPING QUARTERS - NIGHT The Daxarts share the communal sleeping area with a couple of goats and a mangy dog. Daxart is settling down to sleep, but his wife lies awake. AUNT What's going to happen to her? DAXART She'll be fine. She'll grow up. find a good man. make him some children. Do n't worry - she's been hurt, but she'll survive. Tomorrow she'll be as right as rain, you'll see.","INT. DAXART ATTIC - DAY Daxart opens the door to the attic. Jeanne has not moved : she's still sitting on the bed like the day before. JEANNE I want to see a priest.","INT. VILLAGE CHURCH - DAY Christ, crucified in stained glass. A silver cup is raised in blessing. The local PRIEST, much older than the one at Domremy, lowers the cup, filled with wine in preparation for the Mass.. The Daxarts enter the church at the far end, with Jeanne between them. The Priest is expecting her.","INT. CONFESSIONAL BOX - DAY Jeanne sits in the shielded darkness of the confessional box. She clutches at her little wooden cross and at last begins to cry. PRIEST I heard about your sister, and I. understand your pain. JEANNE Why did she have to die? PRIEST Only God knows the answer to that. JEANNE I know Jesus says to love our enemies but I ca n't - I just want the English to burn in hell for ever and ever! PRIEST I realize your anger, Jeanne, but we must learn to forgive. It's hard, but revenge will never bring about peace. JEANNE Then what will? And what will bring her back? And why did she have to die in the first place instead of me? Why did n't he take my life instead of hers? It was my fault - I was late - she gave me her hiding place!! PRIEST Jeanne. calm down! Calm down, Jeanne! Jeanne breaks off, trembling, tears pouring down her cheeks. PRIEST I do n't pretend to know God's will, but I am sure of one thing - the Lord always has a good reason. Perhaps he saved you because he needs you. for some higher calling. So. as long as you answer that call, your sister will not have died in vain. Jeanne clams down. She stares at the Priest for a long moment, and her look becomes very deep and intense. JEANNE I do n't want to wait for his call. PRIEST Jeanne, be patient. JEANNE I want to be with him always. PRIEST Soon you'll be able to take the Holy Mass, and as you eat of his flesh and drink of his blood, you will be at one with him. JEANNE I want to be at one with Him now.","EXT. COUNTRY ROAD - DAY On the open road, with Jeanne sitting on the back of Daxart's wagon. It's a grey, lowering, dismal sort of day. The Daxarts are up front, talking in low voices. DAXART What did he say? AUNT He says we must bring her to church whenever she wants. DAXART Hmmm. easy for him - he's not the one that has to do the bringing. Behind them, the wagon is empty. Jeanne is long gone.","EXT. COUNTRYSIDE - DAY The rain pours down in torrents - Jeanne runs.","EXT. VILLAGE - DAY down the deserted road - into the church.","INT. VILLAGE CHURCH - DAY and up the aisle to the altar. She grabs a jug of wine, pours some into the chalice - holds it up high as the Priest did, then gulps it down. The wine cascades from her mouth like blood as she gazes up at the stained glass image - JEANNE I want to be with you now!","INT. DAXART HOUSE - DAWN Daxart sits bolt upright, awaking from a nightmare. It's early morning, his wife still asleep beyond him.","INT./ EXT. DAXART ATTIC/POV OF FIELD - DAWN Daxart opens the door to Jeanne's room. Empty, the bed unslept in. He walks in - hears something. Looking out of the window he sees - Jeanne in the distance, playing be herself. Daxart smiles.","EXT. HOUSE & FIELD - DAWN Jeanne pauses, her stick poised in mid - air - SUBLIMINAL FLASH - - a real sword impales a soldier through the stomach - another sword slices through chain - mail - and a severed head encased in metal spins lose from armored shoulders.","EXT. HOUSE & FIELD - DAWN Jeanne looks at Daxart. JEANNE I'm playing. Once again Jeanne raises her stick - sword - the head of a sunflower is violently decapitated -","INT. CHINON - STATE ROOM - DAY - and a sword swishes down, trying to hack someone in the leg. But it is only a wooden sword, and its wielder a mere boy of five. This is young Prince LOUIS, practicing his nascent swordsmanship on the castle GUARDS. VOICES and approaching footsteps alert the Guards, who quickly stand to attention as a door is swung open. GUARD The Dauphin! Louis takes advantage of the Guards forced immobility, and jabs one of them in the leg. he lets out a muffled `` Ow!'' The Dauphin CHARLES VII enters, followed by his courtiers. They include the bloated REGNAULT, Archbishop of Rheims, and Georges de la TREMOILLE - a sly and devious diplomat. CHARLES Louis, should n't you be learning your lessons? LOUIS I do n't want to learn, I want to fight! CHARLES You will, you will. But for now, you must learn. at least to wipe your nose. Charles -LRB- who speaks with a slight stutter -RRB- affectionately wipes his son's nose with a corner of his shirt. Beyond them, a young soldier, Jean d'AULON, arrives with a scroll. AULON A letter for His Majesty. Tremoille takes it, opens the seal and begins to read. Charles hands over Louis to a courtier. TREMOILLE Another one from this girl calling herself the Maiden of Lorraine. Charles snatches it somewhat testily from Tremoille. CHARLES I can read for myself, you know. While Charles reads, Tremoille turns aside to Regnault - TREMOILLE She pretends she's been sent by God! These charlatans - it's a pity there is n't enough wood to burn them all! CHARLES She says she'll be here tomorrow! TREMOILLE You must n't see her, my lord. We know nothing about her. we do n't even know if she is from Lorraine. CHARLES What difference does it make where she comes from? TREMOILLE If she comes from Burgundy it makes a difference. It might be a trap. -LRB- takes back letter. -RRB- Look. Signed `` X''. What sort of name is `` X''? Or must we conclude that a messenger of God ca n't even write her own name? REGNAULT My lord Tremoille is correct. She says she hears voices. she may be a sorceress. a witch. CHARLES -LRB- snatching back letter. -RRB- Regnault - you see witches everywhere. She's just a peasant. a peasant who cares for her king. Look. all she wants is to help me win my crown. and permission to fight for me. TREMOILLE Not exactly. -LRB- takes back letter. -RRB- She wants you to give her an army - at your expanse. Bearing in mind that your mother stole every last piece of gold in the treasury, I fail to see how you can afford such an adventure. CHARLES -LRB- snatches back letter. -RRB- I can see her if I want to. I mean, with half of France in the hands of the English, what have I got to lose? TREMOILLE The other half. REGNAULT You must n't see her, my lord. She may be an instrument of the devil. YOLANDE -LRB- O.S. -RRB- Well. I think you should. All eyes turn to the window, where Yolande has been standing with her back to the room, reading a little book. Her right - arm is standing beside her - RICHMOND, his face hideously disfigured by battle scars. CHARLES Ah, Yolande. and what makes you think the exact opposite of my two most trusted advisors? Yolande smiles, though hardly a devoted smile. Mild contempt would be more accurate. YOLANDE Because I care about you. Come here. Charles walks over. He has his shirt undone. Yolande buttons it back up. YOLANDE Your health and happiness has always been my first concern, Charles. ever since you were a little boy - and I think I know you better than your own mother. CHARLES You think? YOLANDE Mmmm. Yes. I know for example the sickness that plagues your heart. I know how painful it is for you. to have loved a father. without ever knowing if he really was yours. CHARLES W - w - what has that got to do with this Maiden? YOLANDE Who better than a messenger from God to give answers to your questions? CHARLES You really think she's been sent. by God? YOLANDE You're a fine judge of character, Charles. It'll take you less than five minutes to expose her if she's a fake. But if she's not - then she will give you your answers. and place the crown on your head. Charles shines at the prospect, but Tremoille and Regnault look less than happy. TREMOILLE With respect, my lady, I think it's going to take more than just a simple peasant girl to. YOLANDE I'm not interested in what you think, Tremoille - or even what I think. It's what simple people think that matters, and the fact is that simple people up and down the country are already talking about her. Now you know what simple people are like, always ready to believe any old prophecy. like this one about a virgin from Lorraine saving France? -LRB- hands Tremoille the book. -RRB- And now this girl comes along - from Lorraine - and suddenly there's a spark of hope in their simple minds. We should n't disappoint them. If they believe in her - if she can put back the fire in our army - then I believe in her too.","EXT. CHINON - LONG SHOT - NIGHT Moving torches gallop toward us - a FLAME flares through foreground with a whoosh, PANNING ROUND as soldiers ride toward the distant castle of Chinon - a gloomy great silhouette, rising against a bloody sunset.","INT. CHINON - GREAT HALL - NIGHT Celebrations after a hunt. Troubadours play - a whole tree trunk is burning in the vast chimney. A Page comes running into the big room and hurries excitedly over to Charles. PAGE She's coming, your majesty. with an armed escort! CHARLES Alright, alright - calm yourself. TREMOILLE Your majesty, I urge you not to see this woman. It all reeks of a Burgundian trap! CHARLES My astrologers assure me that the hour is p - p - propitious - Leo, with Virgo rising. Have you ever noticed on the astrological chart how the Virgin is next to the Lion? TREMOILLE Supposing she's an assassin? CHARLES Tremoille, I'm not even king yet. who'd want to assassinate me? Looking around at his courtiers? They all would.","EXT. CHINON COURTYARD - NIGHT A FLAME swirls in the darkness - the urgent clatter of horses hooves - steaming breath in the cold night air - the SOUND of festivities coming from the castle walls beyond - the horses are reined - one whinnies as SOLDIERS jump down onto the cobbles - a dark cape wraps about a figure.","INT. CHINON - GREAT HALL - NIGHT Another page boy bursts in - PAGE #2 She's arrived, my lord! She's in the guards' room. CHARLES So. I suppose I'd better make a decision. Charles glances between Tremoille, Regnault and Yolande, but - either by accident of will - none are looking his way. He sighs deeply to the dashing, open - faced young soldier we saw earlier, Jean d'AULON. CHARLES Oh dear, why is life so complicated? Sometimes I really wish I could be someone else. AULON That's a good idea, sire. CHARLES What do you mean? AULON Let someone else pretend to be you, and see if. CHARLES if she can find me? - That's a brilliant idea! If she's really been sent by God she'll discover the trap, and if she's an assassin she'll kill the wrong man! -LRB- to the page. -RRB- Bring her up! Charles turns to a coterie of ARMY CAPTAINS, standing aside and aloof from the courtiers whom they evidently despise. CHARLES My dear Captains, I've had a brilliant idea! We're going to have a little game. Now. let's pretend my throne is empty. Who wants to be the king? They all put up their hands. CHARLES Now there's a heart - warming sight! So let's see. which one of you could possibly pass as king? He turns to the Duke of ALENCON, 25, strikingly handsome in his bright, gilded armor. CHARLES Ah, Alencon, my noble duke, my royal cousin - so fine, so brave, so rich - so very rich - so far - too - rich to be the King of France. Everyone knows I'm the poorest man in my kingdom. He turns to GILLES de Rais : a dark, glamorous seducer, dressed in black armor with a ring through one ear. CHARLES Gilles de Rais. Marshal of France. formidable to men, fascinating to women, feared by all. You'd be perfect to sit on my throne. so perfect that you might like it too much for my own piece of mind. Charles turns to the bearded La Hire. CHARLES Ah, La Hire - my angry captain. the bravest in France - scarred by a dozen wars, but with heart and stomach for a dozen more. You could pass for the king. LA HIRE Damn bloody right I could! CHARLES until you opened your mouth. No one with a tongue like yours could pass as the King of France. The other Captains laugh heartily. CHARLES Ah well. it looks as though it's going to have to be me after all. But. wait a minute. Charles spots the shy Jean d'Aulon. Unlike the other court toadies, Aulon is a quiet, honorable man. CHARLES Why not you - Jean d'Aulon? The only man who's poorer than I am, and so the only man I can trust. Dignified, honorable, wise. what more could we ask of a king? AULON My lord, I'm not sure that. Charles takes his coat and puts it around Aulon's shoulders. CHARLES My dear Aulon, to you it shall befall the honor of impersonating the royal blood! AULON Majesty, I ca n't. CHARLES Why, are you not ready to die for your king? AULON Of course I am, it's just that. CHARLES Good. Until then, feel free to live like a king! Laughter - then the sound of approaching excitement. CHARLES Hurry, hurry - on the throne.","INT. CORRIDOR - CHINON - NIGHT Armored feet clank along a stone corridor -","INT. GREAT HALL - CHINON - NIGHT Charles unceremoniously dumps Aulon on the throne. AULON Sire, you know how bad I am at this sort of game. CHARLES So. pretend it's not a game. Charles abandons Aulon and disappears among his courtiers. A pair of PAGE BOYS swing open the doors : the courtiers turn expectantly ; Aulon tries to pose as the king. From the Court's POV, a girl of 17 enters the great hall, dressed in a grubby tunic, with long hair tied back beneath a hood. There could not be a more striking contrast than the sophisticated, opulent, yet cowardly courtiers and this naive, rough girl, almost childlike in her simplicity, and yet so focused, so confident, so secure in her mission, with a courage that radiates conviction, and is contagious. The courtiers step back to form a narrow channel as she moves into the great hall. Yolande marks the effect her presence has on the court, smiling at their bemused gazes. Jeanne passes the Archbishop, who defends himself by sprinkling holy water in her path. Tremoille oils his way toward her with a can - I - help ingratiating smile. JEANNE I have come to see the Dauphin. Tremoille nods obsequiously, ushering her toward Aulon, who is now visibly uneasy. Jeanne stops in front of him. Aulon gazes at her. Jeanne scans him a couple of times, looks at him stonily. Then smiles. Aulon melts, his cheeks blushing hot. Jeanne cocks her head, like an inquisitive child. JEANNE Who are you? Aulon stammers in response. AULON I'm. I'm. I'm. TREMOILLE His most gracious majesty Charles de Valois, Dauphin of France. She gives Aulon another smile. JEANNE I can see you are a good man, but you're not the Dauphin. -LRB- to Tremoille. -RRB- I'm sorry to insist, but we have no time to lose. I must see the Dauphin. Where is he? TREMOILLE He's here. -LRB- a gracious gesture. -RRB- Find him yourself. A brief pause, then Jeanne takes up the challenge. She moves on, examining the faces acutely. Although a few of the wimpoled ladies find her simple peasant dress amusing, most are caught like moths in her flame. She notices the Three Captains -LRB- La Hire, Alencon and Gilles de Rais -RRB- edging closer together, as though shielding someone beyond. Jeanne approaches them - they draw closer together, but now we can see Charles, overtly curious, yet anxious to remain hidden. His inquisitiveness wins - but as Jeanne walks up to him, the Three Captains spring in front of her, swords drawn, the tips pressing at her throat. JEANNE There's no need to be afraid, sire. CHARLES I'm. I'm not the king. JEANNE I know you're not yet - but you will be, soon. Charles makes a gesture, and the soldiers cautiously sheath their swords. CHARLES H - h - how did you know who I am? ALENCON Her voices, of course. GILLES `` That's him'' they said, `` The one with the big nose and bags under his eyes.'' They laugh - whereupon Jeanne rushes at Charles and flings herself on her knees, embracing him round the ankles. Charles screams - the 3 Captains redraw their swords - the court gasps - then Charles gestures the Captains to back off. JEANNE My gentle Dauphin, I bring you good news. Charles puts out his hand to her, allowing her to rise. She draws close to him, whispering. JEANNE It is a message from the King of Heaven. For you - and you only. Jeanne speaks with such conviction that it seems unnecessary to doubt her. Her mesmeric effect on Charles is being noticed by his courtiers. He hesitates a moment, then - CHARLES Follow me. He leads her from the room. Tremoille hurriedly follows them. Charles turns round in the doorway, barring him further access. TREMOILLE Your majesty, I really think you. CHARLES My dear loyal Tremoille, I know I can count on you. TREMOILLE as always, majesty. CHARLES to ensure our privacy. I need to talk to her. Alone. Tremoille looks non - plussed. TREMOILLE As you wish, majesty. Charles disappears with Jeanne. Tremoille ire at being barred is mollified by blocking the path of Yolande. TREMOILLE He needs to talk to her. Alone.","INT. CASTLE - KING'S CHAMBER - DAY Jeanne is seated facing Charles in front of a huge fire. As the scene unfolds, their faces draw closer and closer. Her voice is soft and sweet, but her conviction is absolute. JEANNE I was about eight years old. It was a beautiful spring day. I was in the forest taking a short cut home when the wind started blowing in the trees - such a strange sound - almost like words - as if someone was calling. FLASH : The little BOY seen earlier is seated on his chair in the middle of the field, pointing his finger at us -","INT. CASTLE - KING'S CHAMBER - DAY Charles is intrigued. JEANNE The second time was many years later. It was autumn, and I was coming back from church when suddenly the same violent wind started to blow again.","EXT. FIELD - SFX - DAY FLASH : The wind lifts Jeanne -LRB- 17 -RRB- from the ground, spins her forward and flattens her on her back, her arms outstretched, Her face gazing upward at the sky. JEANNE -LRB- O.S. -RRB- Everything was moving so fast - the wind - the clouds - I could n't move! Then suddenly a shape appeared in the middle of the sky. The fast - moving CLOUDS resolve themselves into the shape of a face. the face of an OLD MAN. He opens his mouth wide, radiating a shaft of sunlight that strikes Jeanne, still lying in the field. The old man's mouth seems to form the word `` Jeanne'', but the sound that emanates is so vast that we ca n't be sure. Suddenly the mouth snaps shut, releasing a huge FLASH OF LIGHT -","INT. CASTLE - KING'S CHAMBER - DAY - Charles jumps back, startled yet totally absorbed. Jeanne's eyes sparkle with tears - JEANNE I was so frightened. he was so - so here. FLASH : The Boy is still sitting in his forest seat, but now he is a beautiful young Man, pointing his finger at Jeanne - JEANNE -LRB- O.S. -RRB- I realized then that he had chosen me, but I did n't understand what it was I had to do. Jeanne's eyes sparkle with intensity. JEANNE What was my mission? To help my country? But how could I do that? I was only a poor girl who knew nothing about riding or making war. so I decided to wait and not to speak to anyone about it. CHARLES You did well. JEANNE I did n't wait long. One day I was going to Mass, like I do every day, when the same strange wind started blowing again.","INT./ EXT. CHURCH - SFX The double doors of a church are blown open by wind coming from inside - right in front of Jeanne! Surreal shafts of light criss - cross the interior from the stained - glass windows, illuminating Jeanne in myriad hues and colors. She sways uneasily as the central stained - glass window above the altar starts to warp and undulate, like heat waves creating a mirage. The image of a beautiful archangel slowly comes to life, stepping out from the window frame, then moving toward Jeanne. JEANNE Everything was suddenly made clear to me. God was finally calling me. He had a mission for me - a message to deliver. The Archangel opens his arms to Jeanne as though to embrace her. She drops to her knees, opening her arms and - FLASH -","INT. CASTLE - KING'S CHAMBER - DAY Charles is in suspense, his face sweating. CHARLES and what. what did he say? JEANNE He said that I have to save France from her enemies and give her back to God, and He told me that I - Jeanne - will lead you to the altar at Rheims to be crowned King of France. Charles slowly releases the breath he's been holding - and the brimming tears run down his cheeks. Jeanne takes his hand and places it on her own damp cheek. JEANNE All you have to do now is put your trust in me. Jeanne kisses his hands, and Charles is almost overcome with emotion. He seems, for the first time, utterly defenseless, like the little hurt boy that he is. CHARLES I trust you, Jeanne - I do - and I envy your certainty, but how can I be certain that I have the right to call myself king when I do n't even know who my father is. My mother ca n't even remember. I - I need to know. Jeanne gazes at him a moment, then places her hands either side of his head and draws him slowly forward until both their foreheads are touching. A series of too - perfect images : 1 : A BELL comes crashing down on top of us - 2 : The ROYAL BANNER flies triumphantly in the wind - 3 : English CAPTAINS throw down their weapons and kneel in submission before Charles - 4 : Huge city GATES swing open, releasing a jubilant crowd who welcome the King in triumph - 5 : CHARLES kneels in Rheims Cathedral - 6 : Bejeweled HANDS place the CROWN of France on his head -","INT. CHINON - KING'S CHAMBER - DAY Jeanne's hands hold Charles' head, as though she has just crowned him. For Charles, the fantasy has become reality. JEANNE Do you really believe that God would let all this happen. if you were not the true King of France?","INT. CASTLE - GREAT HALL - DAY The Courtiers talk among themselves, nervously awaiting Charles to rejoin them. Presently the door opens and Charles emerges, followed by Jeanne. He is a man transfigured. Tremoille looks anxious. Charles glances at them, their expectant eyes awaiting his verdict. He leads Jeanne across to Aulon. CHARLES Jeanne, this is - in fact - my loyal friend and finest archer, Jean d'Aulon. Jean. I place her in your care. Find her suitable lodgings - here - in the castle. and guard her with your life. AULON Yes, my lord. JEANNE I do n't need lodgings if we're to be marching on Orleans. CHARLES Orleans has held out for six months. I do n't suppose a few days will make much difference. Take some rest. Jeanne follows Jean d'Aulon from the Great Hall, watched in silence by his courtiers. As soon as she's gone, the whole room is filled with the myriad buzz of opinion. Gilles gives Charles the eye. GILLES She certainly cast a spell on you. Charles draws his three Captains aside. CHARLES She'll cast her spell on everyone if she's given half a chance. and we must ensure that she gets that chance. The Captains look astonished. CHARLES Can you imagine the effect it will have on the English - to see a girl riding at the head of our army? LA HIRE Yes. They'll bleeding wet themselves! Laughing. GILLES We're not your favorite captains anymore? CHARLES No - I mean yes! - of course. ALENCON Charles. you want to give the command of our army to a - woman? CHARLES Of course not! You're the ones in command, as always. but if she can put back the fire in our soldiers, then maybe you, my dear Captains, will be able to raise the siege of Orleans. What do you think? GILLES Brilliant idea. but to be really effective, why not send a whole army of virgins? LA HIRE That'll put fire in my soldiers! The Captains laugh - at Charles' expense. CHARLES Please, my friends. you know me. you know how certain I am about everything, but - maybe for the first time in my life I - I do n't know why - but I feel I have to trust her. and now I'm asking you - I'm begging you - to trust me.","INT. ROOM - CHINON CASTLE - DAY Jeanne blows the dust from a wooden crucifix, then replaces it above a bed. Jean d'Aulon has brought her to a small room in one of the castle's turrets : clean, plainly furnished, but hardly hospitable. Jeanne inspects the room while Aulon stands by the door. AULON Listen, please accept my apologies for. you know, me pretending to be the. well it was n't really my idea. well, yes it was my idea but. JEANNE Do you think I could have some water? Jeanne smiles sweetly, catching Aulon off guard. AULON Yes, of course. water. anything else? Two page boys run into the room, carrying luggage, water, washing bowl and some food. They are LOUIS and RAYMOND, both 13, as inseparable as they are loyal. Jeanne looks up, then sits on the bed, testing the horsehair mattress. JEANNE I would like some fresh straw. AULON Louis. water and fresh straw! Louis goes running off. JEANNE And I would like to see a priest. AULON Now? JEANNE Yes. I did n't confess today. AULON Right. -LRB- to Raymond. -RRB- Raymond. a priest. Raymond goes running off. JEANNE I shall also be needing a war horse - mine is too slow - and armor - and a good sword - and an artist to make me a banner. AULON Now? JEANNE Better today than tomorrow. AULON Well. uh - this might take a little time - but let me see what I can do. He's about to leave when Jeanne adds - JEANNE I also need someone who can read and write. AULON This I can do. -LRB- Jeanne looks surprised. -RRB- I was studying at the University of Paris - till the English invaded it. JEANNE I thought you were an archer? AULON Yes, I am. I'm an archer who can read and write. Who do you want to write to? JEANNE The King of England. I want to give them the chance to leave Orleans in peace before I get there. Aulon just stares at her.","INT. GUARD HOUSE - CHINON - DAWN Raymond hands a rolled parchment to a Rider, already mounted and waiting.","EXT. CHINON CASTLE & MEADOW - DAWN The Rider gallops over the drawbridge and away.","EXT. CHINON - TERRACE - DAY Tremoille stands on a terrace before Chinon, watching the rider heading down the dusty highway. TREMOILLE I ca n't believe you let her send such a letter. Charles is a short distance away, watching Jeanne in a meadow below the castle, swishing a stick from side to side. CHARLES She's going to do it. Tremoille exchanges a worried glance with Archbishop Regnault, who is standing behind Charles. REGNAULT Sire, it's going to take more than a letter to drive out the English. TREMOILLE An army for instance. CHARLES My captains have sworn their support. TREMOILLE No doubt your captains will fight for your fine cause - but what about the ordinary soldier? They do n't fight for causes these days. They fight for money. Who's going to pay them? YOLANDE -LRB- O.S. -RRB- I am. Yolande moves forward, accompanied by her daughter Mary -LRB- Charles' wife -RRB- and grandson, young Louis. CHARLES You will? YOLANDE For the sake of France, Charles. And for the sake of my grandson. She pats Louis on the head. TREMOILLE With respect, my lady - the Archbishop and I have begun delicate negotiations with the Burgundians. If we can bring them over to our side. YOLANDE Negotiate by all means, but from a position of strength. If the English take Orleans, there'll be nothing left to negotiate - the rest of the country will be theirs. TREMOILLE My lady, it would be the height of folly to let this. child. lead our army in the king's name without first verifying her true motives. REGNAULT Tremoille is right. This girl must be subjected to a rigorous examination by the Doctors of the Church at Poitiers. We need to be absolutely certain that she is not an instrument of the devil. CHARLES How can anyone be absolutely certain about anything? Our intuitions are sometimes our best counselors. REGNAULT We must listen to Mother Holy Church before listening to our intuitions. TREMOILLE Wait. she claims to be a virgin. Well that's something we can examine - and be absolutely certain about. Charles hesitates - turns to Yolande, who looks somewhat uneasy at the suggestion. YOLANDE Why not? Charles looks across to Jeanne in the distance, still playing with her stick. Suddenly she swipes at a bulrush, violently decapitating its head. Charles looks worried. CHARLES Let's find out.","INT. POITIERS UNIVERSITY - ROOM - NIGHT A big, spacious room, into which files a procession of TEN DOCTORS of THEOLOGY and TEN NOTABLES, walking two - by - two. They divide either side of CAMERA, then halt and about - turn, facing inward with military precision. Two PAGE BOYS set up screens in front of the two rows, preventing them from viewing Jeanne, who is standing on a low table between the rows, wearing a laced - up robe. Now a procession of NUNS form up behind the table. Two of them step forward, on cue, then proceed to loosen the laces of Jeanne's robe and roll up the hem. Meanwhile an old HAG is washing her hands. With Jeanne suitably prepared, the old HAG stands in front of her. Two little Girls slip in a special stool and the old HAG squats down, enabling her to look between Jeanne's legs. Only women are privy to this ritualistic inspection ; the men remain standing behind the screens. Yolande waits with the disfigured Richmond near a window. The old Hag is certainly taking her time, and Yolande is getting decidedly nervous. RICHMOND -LRB- whispering. -RRB- What if she's not? YOLANDE I'll kill her myself. A few tense moments - then the ancient HAG announces with great solemnity. HAG There is no sign of corruption or violation. She is intact. to Yolande's visible relief.","INT. COUNCIL ROOM - POITIERS UNIVERSITY - DAY A dark, musty council room, where theologians and learned doctors of the Church sit in wooden tiers, examining Jeanne. Archbishop Regnault is among them. So too is Jean d'Aulon - but he as a silent, albeit supportive observer. Jeanne stands in the center of the room, hands folded, as though on trial. She's evidently been here many hours. INQUISITOR #1 And. what exactly was this - `` vision'' - wearing? JEANNE I do n't remember. INQUISITOR #2 Was it wearing a crown? JEANNE I saw no crown. INQUISITOR #3 Well, was it naked? The Court have a good chuckle. JEANNE Do you think that God ca n't afford to give him clothes? An audible reaction, somewhere between amusement and admiration. A deadpan scribe carefully writes down both questions and answers in a large, vellum - bound book. INQUISITOR #1 Did this - vision - give you anything - an object, like a ring, or a rosary or anything - by which we can verify your claim? JEANNE He gave me good advice. INQUISITOR #4 During your childhood, did you have any sort of military experience? JEANNE No. INQUISITOR Are you practiced in the skills of swordsmanship? JEANNE No. But I'm good with a stick. A murmur of laughter, though not from us. INQUISITOR #4 Do you know what a Dijon Culverin is? JEANNE No. INQUISITOR #4 It's an item of artillery. How do you expect to raise the siege of Orleans if you are ignorant about modern artillery? JEANNE The road to Orleans is long, and I have good captains with me. I will learn fast, believe me. The Inquisitor and his colleagues whisper in a huddle. Regnault remains unconvinced, and indicates his strong reservations. Finally the Chief Inquisitor addresses Jeanne. CHIEF INQUISITOR We would like to believe you Jeanne, but we feel that if God were to want us to believe in you, he would have sent you with a sign as proof that we should believe in you. We can not advise the King to entrust you with the army merely on your assertion. Ca n't you do something? Or show us something? Some sign to prove that you are sent by God? JEANNE Sire, I did not come here to preform tricks. You are all much cleverer than I am - me, I do n't know A from B - but this much I do know : that while the people of France lie bleeding, you sit around in your fine clothes trying to deceive me - yet all you're doing is deceiving yourselves. You say you are men of God, yet you ca n't see His hand in having guided me safely through five hundred leagues of enemy country to bring you His help? Is that not proof enough? Or do you want still more signs? Give me command of an army, take me to Orleans, and there you will see the sign I was sent to make! Aulon can barely restrain himself from applauding. The Chief Inquisitor reaches his decision, raises his gavel and -","EXT. LES TOURELLES - ORLEANS - DAY - down comes a mallet, SLAMMING out a safety wedge which releases a CATAPULT - and a huge boulder flies across the river in the direction of Orleans.","EXT. BATTLEMENTS - ORLEANS - DAY A LOOK - OUT spots the incoming missile - yells out - GAMACHE 45 - er, nor - nor - west - straight at us!","INT. DUNOIS' HQ - ORLEANS - DAY DUNOIS is alone, writing a letter at a small table - DUNOIS Which side's that? GAMACHE -LRB- O.S. -RRB- Window side!! Dunois realizes he's near the window and dives for cover just as the massive boulder plummets through the ceiling, demolishing the table where he'd been sitting seconds before, and leaving a huge hole in the wall. Dunois emerges from under a large table, dusting himself. He looks thin, haggard and exhausted after six months of siege. Suddenly a young soldier - Poton de XAINTRAILLES - comes bursting in, ignoring the mess. XAINTRAILLES My lord Dunois. I have wonderful news! - finally - he's sending her to us - thanks be to God - we're saved - it's wonderful! DUNOIS Calm yourself, Xaintrailles. Now slowly. Who has finally done what? XAINTRAILLES The Dauphin - he's sending us food - and supplies - and an army - led by Jeanne - the maiden from Lorraine - is n't it wonderful?! DUNOIS -LRB- deadpan. -RRB- Yes, it's a miracle. XAINTRAILLES And it's not the first one! They say she saved a little boy who was dying of. DUNOIS Xaintrailles! Do n't talk to me about miracles. -LRB- pointing to hole in floor. -RRB- If I was still sitting there waiting for a miracle, I'd be dead now. Anyway. Dunois looks up at the sky, now visible through a hole in the roof. XAINTRAILLES But. do n't you think we should at least. go and. welcome her? DUNOIS -LRB- sighs. -RRB- As long as she brings food and supplies, she'll be welcome.","EXT. RIVER BANK & POV OF ORLEANS - DAY The walled city of Orleans stands in the distance on the far side of the river Loire. CAMERA CRANES DOWN to find Dunois, Xaintrailles and a small escort of soldiers, waiting atop a ridge where they're evidently been for some time. GAMACHE I ca n't believe they're sending a woman. DUNOIS Maybe they never sent anyone. TRAVELING SHOT : Horse's hooves galloping. GAMACHE I wonder what color dress she'll be wearing? TRAVELING SHOT : Horse's breath steaming. GAMACHE I'll wager red - how about you? DUNOIS Blue. TRAVELING SHOT : Stirrups press into the horse's flanks. DUNOIS with a blue ribbon in her hair to tie up Talbot! TRAVELING SHOT : the horse's eyes, wild and dilated. DUNOIS Does anyone know if she even knows how to ride a horse? TRAVELING SHOT : horse's legs at the triple gallop. XAINTRAILLES She knows. THEIR POV : a white banner sweeps into SHOT - then a knight clad in shinning white armor. The knight raises his visor to reveal - Jeanne, her face gleaming with sweat, eyes blazing. Dunois is speechless. JEANNE Were you sent by Lord Dunois? DUNOIS Yes. they were. JEANNE Good. Where are the English? DUNOIS Everywhere. Where is the food? JEANNE It's coming - I rode on ahead. I have to speak with the Captain of the English army. his name's Talbot. DUNOIS I know. JEANNE Good. Can you bring me to him? DUNOIS He's on the other side of the river. Now La Hire and Gilles de Rais ride into view. JEANNE So who gave the order to bring me to this side of the river? LA HIRE -LRB- calling to Dunois. -RRB- Hey, my friend! I'm glad to see your ugly damn face again! JEANNE La Hire, I'm warning you - do n't swear! LA HIRE Sorry Jeanne. -LRB- to Dunois. -RRB- Did you both meet already? DUNOIS Well. sort of. GILLES -LRB- to Dunois, smiling. -RRB- She's quite something, huh? LA HIRE Jeanne, let me introduce the king's half brother, the dogged Lord Dunois. JEANNE Then, Lord Dunois, show me the way to the other side of the river. She starts to move as Jean d'Aulon rides up - DUNOIS Wait, wait. JEANNE For what? DUNOIS Because. because - I mean - the English have a broad sense of humor, but. I mean, you do n't understand. to them you're a witch, working for the devil. What makes you think they'll listen to you? JEANNE Because if they do n't, I'll raise such a war - cry against them that they will remember us forever! DUNOIS Well. I'd love to see that, but after taking counsel with my captains, I felt it would be better to first bring the food into the city, then wait till Alencon arrives with reinforcements before doing anything. JEANNE You may have been with your counsel, but I've been with mine, and I'm telling you, God's counsel is wiser than yours, and he's telling me to speak to the English - now! DUNOIS -LRB- matching her anger. -RRB- Fine - go now if you want, but not with me! You may have a duty to God but I have a duty to my people, and my people are starving! So right now I'm going to take the food back to the city, and if you can please calm down, and let me accompany you to Orleans, it will be my honor to welcome you. Gilles smiles at Jeanne's evident frustration.","EXT. EAST GATE - STREET & SQUARE - ORLEANS - DUSK The battered east gate of Orleans swings open, and a convoy of wagons enter the town, guarded by soldiers. Jeanne and the Captains are on horseback, the remainder on foot. A group of hungry children spot the arrival, their eyes widening at the sight of the food : beef, mutton, chickens, sacks of grain, barrels of salted fish. But most of the citizens are too starved and too weary to show much excitement ; hollow - eyed and emaciated, they have the expressionless faces of concentration camp inmates. La Hire is sickened at the sight. LA HIRE Jesus Christ. the goddamn English will pay for this! JEANNE They will - and so will you if you go on swearing like that. By the time the little procession has reached the main square, a CROWD has gathered. Sluggishly they make way for Jeanne and Dunois to ride between them. Now the interest in Jeanne begins to warm up - the CROWD press in on her. Slowly at first, but with increasing fervor, the pressure builds as the crowd try to touch her. CROWD Bless us, Jeanne! Save us!","EXT. JEANNE'S HOUSE - ORLEANS - NIGHT Soldiers push back the crowd, allowing Jeanne to reach a large gabled house. As she dismounts, a woman runs forward - WOMAN Jeanne! Bless her - touch her! The woman holds up her BABY for Jeanne to touch. JEANNE Touch her yourself. your touch is just as good as mine. WOMAN But. you've been sent by God! JEANNE So has everyone. Jeanne turns sharply away and walks inside the house, followed by Aulon and the others.","INT. HQ - ORLEANS HOUSE - NIGHT A frustrated Jeanne marches into Dunois' new war - room. Dunois enters, followed by his Captains, and is happy to see a model of Orleans. DUNOIS La Hire, Gilles - let me show you something. The Captains go into a huddle, leaving Jeanne smarting. She looks out of the window, where the crowd is still trying to catch a glimpse of her. JEANNE Who do they think I am?! AULON Jeanne, calm down. You ca n't blame the people - they've been hearing all about you for weeks. JEANNE There's nothing to hear - I have n't done anything. And why have n't I done anything? -LRB- turning to the captains. -RRB- Because none of you will listen to me! She shouts in frustration, and Dunois and the other captains swing round. Dunois waits for the echo to die away. DUNOIS Would you like to join us? We're about to discuss the campaign. Jeanne walks over, still vexed. Using the model, Dunois continues his situation briefing. DUNOIS From here, Talbot has spread his forces between these forts up here, but in the last few days it seems - according to our scouts - that some troops have been deployed to this fort here - which makes me think that this is where they'll be launching their attack from. Dunois points to St. Loup - a smaller fort to the east. GILLES I would have thought they'd have attacked from here, where Talbot is. DUNOIS I doubt it. From here they wo n't be able to utilize the river, whereas over here the current will be with them. LA HIRE What about this huge pile down here? DUNOIS That's the Tourelles. The English were planning to launch an attack from it, but then we broke down the bridge, which should keep them quiet for a while. My hunch is, the attack will come from St. Loup. He pauses, then turns to Jeanne, somewhat apprehensively. GILLES And. what does Jeanne think? JEANNE I do n't think. I leave that to God. I'm nothing in all this, I'm just the messenger. DUNOIS So. what is the message? JEANNE We offer the English a last chance to return home in peace. If they refuse, we recross the river and attack them here - at the Tourelles. They all look astonished. Gilles grins. DUNOIS Jeanne, that really makes no sense at all. The Tourelles is virtually impregnable. besides, if we're on the other side of the river attacking the Tourelles, what's to stop Talbot attacking the city from the north? JEANNE God. GILLES God. why of course - we'd forgotten about him! Strange, I do n't seem to remember seeing him at Agincourt. LA HIRE Damn right! GILLES Oh, but I forgot! It was a Sunday. that explains it. God's day off. They all laugh, apart from Aulon and the page boys. JEANNE You know, I feel a great sorrow for you, because you're laughing now, but by tomorrow night some of you will be dead and having to repeat your jokes in front of God. DUNOIS Jeanne, with respect - we ca n't just attack the Tourelles like that - it's a very complicated matter and. JEANNE What complicated about it? All you have to do is do what you're told - what could be simpler than that? I'm the drum on which God is beating out his message - beating so loudly it's bursting my ears - but you're all so full of your own voices, you're deaf to His! AULON Jeanne, be patient. Jeanne turns on him - JEANNE `` Be patient, be patient''. is that the only advice you can ever come up with? I've shown more patience than a dozen saints! DUNOIS Jeanne, you have to understand - it's not easy for us - I mean for our pride - to suddenly be usurped by a - well, with all due respect, by a. girl. JEANNE Ah, so that's it. To you I'm just a girl. DUNOIS Jeanne, put yourself in my shoes for a moment - how would you feel, if you were me? JEANNE Knowing what I know? Enormous gratitude. Jeanne turns and heads for the door. La Hire nudges Gilles as she approaches - LA HIRE One hell of a girl, huh? As she passes, Jeanne slaps La Hire right across the face - JEANNE I warned you! - and walk out, slamming the door behind her. The others stare after her, while La Hire nurses his cheek. GILLES -LRB- to La Hire. -RRB- I do love her when her fire gets well and truly stoked! LA HIRE Me too. A pause, then the door at the other end of the room bursts open and in walks the expansive Duke of Alencon. ALENCON Hello my friends! What a journey, but we made it! Back together again. let's have some fun! He rubs his hands in anticipation, then notes his comrades' expressions, still recovering from Jeanne's outburst. ALENCON Did I miss something?","INT. JEANNE'S BEDROOM - ORLEANS HOUSE - NIGHT Jeanne draws her sword with a terrifying scrape as though about to kill someone, slices something in f.g. - and a chunk of black hair falls to the ground. JEANNE So what if I'm a girl? -LRB- cuts another chunk. -RRB- You need to look like a man to drive out the English? -LRB- and another. -RRB- Fine. let's look like a man! Aulon grabs her by the wrist to take the sword from her - AULON Jeanne, stop it! JEANNE How dare you stop me doing God's will! Aulon wrestles to get the sword from her - AULON He did n't tell you to cut all your hair off! JEANNE How dare you tell me what God tells me to do! AULON Alright, whatever - but since He's not going to come down and cut it himself, at least let someone cut it properly! He finally manages to grab the sword from her. AULON Raymond - bring me scissors! Louis - fetch that mirror! The two page boys hop to it, but when Louis brings the mirror, Jeanne slaps it from his hand. AULON Jeanne, stop getting so angry about everything! Calm down! Jeanne stares at him. JEANNE I am calm. It's God who's angry. I need to send a letter. Now. Aulon looks at her.","INT. HQ - ORLEANS HOUSE - NIGHT Dunois reads the parchment that Aulon hands to him. JEANNE -LRB- V.O. -RRB- To you, Henry King of England, and to you, Duke of Bedford who call yourself Regent of France, obey the King of Heaven and abandon your siege. Dunois can scarcely believe it. He hands it to Alencon. JEANNE -LRB- V.O. -RRB- give back the keys to the other towns you have taken, and go back home to your island. Equally bemused, Alencon hands it to La Hire. JEANNE -LRB- V.O. -RRB- To you Lord Talbot, I beg you as humbly as I can beg you, for the sake of the lives of your soldiers, do not bring about your own destruction. La Hire whistles with admiration and hands it to Gilles. JEANNE -LRB- V.O. -RRB- Surrender to me, Jeanne the Maiden, who is sent here by God, and she will make peace with you. Gilles grins, and hands back to Aulon, who looks to Dunois for an answer. Dunois gives a vague nod of the head.","EXT. BROKEN BRIDGE - ORLEANS - NIGHT As Jeanne's letter continues, Aulon walks across the broken stone bridge that once connected the city to the south bank of the Loire. Two - thirds the way across, the bridge ends abruptly, leaving a yawning gap between us and the fortress of the Tourelles. JEANNE -LRB- V.O. -RRB- but if you do not heed my warning, then we shall raise such a battle - cry as there has not been heard in France for a thousand years! Aulon takes the arrow to which Jeanne's letter is already tied, places it in the bow - takes aim and fires.","EXT. TOURELLES - ROOF/COURTYARD - NIGHT The arrow lands in wooden planking. An English soldier with a flaming red beard yanks it out, gives it a cursory glance, grins, then clambers down to the courtyard below where soldiers are busily trimming the branches from freshly - felled trees. Redbeard hands the letter to an English captain, Glasdale. JEANNE -LRB- V.O. -RRB- This is the third and last time I will write to you. Glasdale reads it, and gives his response.","EXT. BROKEN BRIDGE - ORLEANS - NIGHT Aulon is still waiting at the end of the broken bridge. JEANNE -LRB- V.O. -RRB- If you are still here at noon, I warn you that you will hear from me to your very great destruction. Please give me your answer speedily. Redbeard yells out from the top of the Tourelles. REDBEARD Go fuck yourself!","INT. JEANNE'S BEDROOM - ORLEANS HOUSE - NIGHT Aulon hesitates, then softly opens the door. He tiptoes into the room, looks at Jeanne, then at Louis, who has fallen asleep with the scissors still clasped somewhat dangerously to his chest. Aulon gently removes them. As he places them on the table, Jeanne murmurs in her sleep, but without opening her eyes. JEANNE What did they say? AULON Uh. they said. they will think about it. JEANNE Good. AULON But. to be honest. I do n't think they'll leave tomorrow. Jeanne is almost asleep again. JEANNE I ca n't wait. for tomorrow. Aulon sits in a chair nearby, gazing at Jeanne, who now looks even younger, with her hair shorn short like a boy.","EXT. BATTLEFIELD - ST. LOUP - DAWN SMASH CUT into the fury of battle - swords hacking through armor, whirling maces smashing visors, blood spurting from severed limbs. Among the combatants : Dunois, Alencon, La Hire and Gilles.","INT. JEANNE'S BEDROOM - ORLEANS HOUSE - DAWN Jeanne suddenly sits bolt upright, eyes wide. Aulon is still asleep in his chair where we last saw him. JEANNE French blood is spilling! Aulon awakes as she leaps to her feet, strapping on her breast plate and gauntlets. AULON What's going on?! JEANNE They've started the battle without me! She tips the two page boys onto the floor. JEANNE Oh, my boys - why did n't you wake me up?! Come on, hurry up - Raymond, saddle my horse - there's a battle to fight and a war to be won! Raymond runs off and Aulon takes his place, helping Louis to buckle on Jeanne's armor. She rushes off, leaving Louis to assist Aulon with his own armor.","EXT. HOUSE & STREET - ORLEANS - DAWN Jeanne runs out of the house to where Raymond is standing with her horse. She mounts it and canters off.","INT. JEANNE'S BEDROOM - ORLEANS - DAWN Still buckling on his own armor, Aulon spots Jeanne's furled white banner leaning against the wall.","EXT. HOUSE & STREET - ORLEANS - DAWN Jeanne suddenly remembers she's forgotten her banner. She turns her horse about and canters back, screaming out - JEANNE My banner! I forgot my banner! Aulon appears at the window, holding her banner - AULON Jeanne. here! Jeanne circles about and canters forward. JEANNE Throw it! Aulon throws it down to her. She catches it with one hand, turns and gallops off down the street, the white banner streaming out behind her.","EXT. EAST GATE - ORLEANS - DAWN The Guard above the main gate sees the French army approaching in full retreat. He calls down. GUARD Open the gates!","EXT. STREETS - ORLEANS - DAWN Sparks fly as the hooves of Jeanne's horse strike the flint cobblestones, swift and clean.","EXT. ST. LOUP VALLEY - ORLEANS - DAWN unlike the hundreds of hooves pounding through mud and mire in the opposite direction.","EXT. EAST GATE - ORLEANS - DAWN Jeanne reaches the gates as they are swung open, and the first of the retreating troops make it back to the city - among them, La Hire and Gilles de Rais. JEANNE What happened? Who gave the order to attack? LA HIRE God knows, but it was a bad idea! JEANNE -LRB- to Gilles. -RRB- Were the men confessed? Where are the priests? GILLES -LRB- out of breath. -RRB- We did n't take them. we wanted to be fast. wanted to make a surprise attack. Dunois rides up and Jeanne assails him - JEANNE Dunois. was it you who ordered the attack? Answer me?! DUNOIS Can we - uh - discuss this later? JEANNE Sooner is better than later! Jeanne charges forward, into the confused ranks of retreating French soldiers. Dunois thinks she's gone crazy - DUNOIS Come back. you'll be killed! But Jeanne's not listening. She's been waiting long enough for this moment, and now she has it, there's no going back. She stands in her stirrups and shouts out - JEANNE Follow me and I will give you victory! La Hire is the first to change his mind, riding up behind Jeanne like Attila the Hun as she gallops forward into the path of the retreating French. Now the Duke of Alencon joins them, and soon the whole army has turned about - an immense tidal wave of energy rolling back across the valley.","EXT. ST. LOUP FORTIFICATIONS - ORLEANS - DAY toward the astonished English. One moment they were pursuing their hapless enemies, but now an avenging angel bears down on them, sunlight glinting off her armor. They start racing back toward their own fortifications : the bastille St. Loup - a great fortress amid a network of trenches and tunnels. The French army is finally behaving as a single organism whereas the English cohesion fragments into shards of individual panic - every man for himself! They regard Jeanne as a sorceress, and terror spreads like cancer among their ranks. They turn and flee back to their own lines, only to be bombarded by a fusillade of their own missiles, poorly aimed at the French. Soon the St. Loup tower is ablaze, the English are forced to abandon their fortress. and the French finally get to celebrate their first victory within living memory. Jeanne has become an object of worship and veneration, and the soldiers crowd about her, cheering her as their savior. Presently Dunois rides up with his Captains. DUNOIS It's a great victory, Jeanne. your victory. But we must follow it through and pursue the English back to Talbot's camp. unless of course you have another good idea? Jeanne closes her eyes a moment. then smiles at Dunois. JEANNE We return to Orleans. across the bridge, at the Tourelles. GILLES But the bridge has been pulled down! JEANNE The English are rebuilding it. DUNOIS How do you know?! FLASH : Jeanne and her army are silently moving through a forest. From her POV, she notices hundreds of fresh trees - stumps. JEANNE You have been with your counsel, and I have been with mine.","EXT. TOURELLES COMPLEX - ORLEANS - DAY The English are moving up the stripped trees we saw earlier from the Tourelles courtyard toward the broken bridge. Glasdale surveys the operation with satisfaction.","EXT. TOURELLES - POV FROM ROOF - DAY Redbeard and the other English Guards on the roof of the Tourelles spot Jeanne's army in the far distance. Redbeard calls down to Glasdale. REDBEARD Glasdale! Looks like the froggie whore's coming to pay you a visit.","EXT. MONASTERY - ORLEANS - DAY Jeanne rides at the head of the army, flanked by Dunois, La Hire, Alencon, Gilles, Aulon, Xaintrailles. They halt in front of a ruined monastery to the south of the Tourelles. Jeanne gives instructions for the placement of artillery. JEANNE Position the long - bows over there, crossbows over there - and set up Dijon Culverins either side of those trees. DUNOIS The wind will be against us. JEANNE The wind will be with us! -LRB- to the Captains. -RRB- Do as I say.","EXT. TOURELLES - BATTERY - DAY The English take up their positions along the ramparts of the battery - a massive, square fortification, surrounded by a deep, empty moat. Jeanne rides forward to the edge of the dry moat, her banner billowing in the breeze, and addresses the English. JEANNE Glasdale, can you hear me? You who call me a whore, I pity your soul and the souls of your men. Yield now to the King of Heaven, and go back to your island. GLASDALE And you, go back to Hell! Jeanne turns and gallops back to the French soldiers as Glasdale turns coolly to Redbeard - GLASDALE Do n't kill her till I've had my fill of her! - and walks back to the Tourelles. The French have established a temporary headquarters. Dunois is drawing a map in the dirt and is preparing a battle plan with his Captains. DUNOIS Let's plan this attack a little more carefully than this morning. GILLES Good idea! JEANNE -LRB- O.S. -RRB- -LRB- calling. -RRB- My fine soldiers! Dunois turns to see Jeanne, standing before the army. JEANNE This morning, God gave us our first victory, but that was nothing compared to what he is ready to give us now. I know you are tired and hungry, but I swear to you in the name of the King of Heaven that even if these English were hanging from the clouds by their fingertips, we shall tear them down before nightfall! Now, my brave soldiers. let those who love me follow me! With a valiant cry, a thousand soldiers tear forward behind Jeanne. Dunois is speechless. Gilles lays a sympathetic hand on his shoulder. GILLES You were saying? Jeanne rides at full tilt down into the dry moat, and for the next few minutes, the air is thick with the tumult of battle. As each successive wave swarms across the moat, so they are met by a fusillade of English flame and steel from the battery above. But the French respond with equal fervor : the Dijon Culverins deployed by Jeanne now rain an aerial bombardment of boulders down upon the English, while their arrows darken the sky above. Jeanne reaches the base of the battery. She leaps down from her horse and starts to climb one of the ladders being thrown up against the wall. but is suddenly struck by an arrow from the rampart above. She reels - the ladder sways - and Aulon catches her in his arms as she falls back to earth. Redbeard is jokingly furious - REDBEARD Hey, you just killed my woman! The English laugh and jeer, but the French are in dismay at the sight of their Jeanne, unconscious, lying in Aulon's arms, with the arrow wedged deep above her breast.","EXT. MONASTERY BEHIND TOURELLES - DAY Aulon, La Hire and Xaintrailles carry her to the ruined monastery while the two page boys follow anxiously behind.","INT. ST. AUGUSTINE MONASTERY - DAY They enter the shell - shattered sanctuary of a gothic chapel where Aulon directs them to lay Jeanne against the wall. In the distance we can hear the muffled sounds of war, but in here it is strangely quiet. The great war - lords stand in a semi - circle, pathetically wringing their hands, like the seven dwarves bereaving the stricken Snow White. The sight of tears trickling down La Hire's scarred cheeks is as touching as it is pathetic. Aulon wipes her brow, leaning in very close to feel her pulse and whether her mouth exhales breath. He turns to Raymond, who stands close by with Louis - AULON Go and find the physician. I saw him with the supplies. Raymond races off. GILLES We have to take out the arrow now. AULON It's in so deep - I'm afraid she'll bleed to death if we pull it out. LA HIRE There must be something we can do for her for Chrissakes! GILLES -LRB- sarcastic. -RRB- Yes. We can pray. LA HIRE Good idea. La Hire turns and directs his pledge to the broken stained - glass image of Christ above the trashed altar. LA HIRE I swear I'll never swear again in my life if you save her life! But I'm warning you, if you let her die, then you're the biggest. JEANNE Do n't swear. Jeanne stirs, her eyes beginning to open. LA HIRE He heard me! AULON Jeanne. we thought we'd lost you! JEANNE Not so. easily. Why are n't you. fighting? go on. we're almost there. AULON Jeanne, you've been badly wounded. JEANNE No, it's. it's nothing, it's. Speaking provokes a sudden stab of pain. She tries to clutch the arrow, but Aulon stops her. He peels back her shirt, exposing the bloody wound above her pale breast. GILLES It's an arrow, and it's in deep. AULON You must stay still till the physician arrives! LA HIRE Physicians are a waste of time. You'll have more luck with this charm of mine. it saved my life at Agincourt! JEANNE I'd sooner die than use magic! AULON Jeanne, you will die if that arrow stays in you much longer. Jeanne suddenly seizes the arrow and yanks it out of her body. Blood spurts - the suddenness and violence of her action catches the men unaware, and it's a moment before Aulon can stem the flow with his hand. Jeanne looks at the arrow before throwing it aside. JEANNE At least this one wo n't bother us any more. Now let's get back to the fight! She tries to get up. and collapses, grabbing Aulon. AULON Jeanne. please. you must stay calm. you must rest. please! He lays her back down. Jeanne whispers to him, intimately. JEANNE Alright. I promise to rest if you promise. to go back to the battle. AULON I promise. Jeanne smiles - then suddenly collapses. LA HIRE Oh shit! Jeanne. do n't die! La Hire breaks off as Raymond arrives back with the Physician. AULON Quickly. do something! The Physician kneels beside her and listens for any sound of life. All the Captains crowd closer and closer, and as we too move closer, we hear the sound of deep breathing, almost a snore. PHYSICIAN She's sleeping. Like a baby. La Hire and the others sigh with relief.","EXT. TOURELLES - BATTERY - DUSK Dunois surveys his army's attempt to storm the English battery. It is now dusk, and without Jeanne the battle has become a half - hearted affair. He turns to a trumpeter as Aulon comes running up. AULON Jeanne's alive! DUNOIS Good. AULON We have to press home the attack! DUNOIS -LRB- to the Trumpeter. -RRB- Sound the retreat. AULON But I promised Jeanne we'd fight on! DUNOIS I made no such promise. Sound the retreat for the night! AULON But that was her order! DUNOIS I'm fed up with taking her orders. She swore she'd defeat the English before nightfall, instead of which she goes and plays the fool and gets herself nearly killed! Look at the mess we're in! That's her mess, not mine! We're worse off then if she'd never come at all! -LRB- to the Trumpeter. -RRB-. now do as I say and Sound the Retreat! The Trumpeter obeys and signals the evening wrap. The English jeer and whistle from their impregnable battery as the French head back up the sloping sides of the moat.","INT. ST. AUGUSTINE MONASTERY - DUSK Jeanne lies asleep inside the ruined church, guarded by her two page boys. A small fire burns nearby to keep her warm, but she is shivering.","EXT. ORLEANS - JEANNE'S NIGHTMARE - NIGHT She suddenly awakes with a start, then gets up and goes to the fire. She kneels down. puts her hands in the flames. and scoops up a handful of ash. She paints her face with the black ash, like a native warrior, then stands back up, turning to face a small army. JEANNE My brave soldiers, do you believe in God? The Army cries out `` Yeesssss!'' JEANNE Then let God's punishment be done : Eye for eye. and a sudden FLASH of lightning transforms some of her men into skeletons. JEANNE tooth for tooth! -LRB- another flash. -RRB-. burn for burn! -LRB- another flash. -RRB-. life for a life! a final FLASH, and her whole army is now a seething swarm of SKELETONS. With a curdling cry of vengeance they race forward, passing either side of her. Jeanne turns to see the skeleton army heading across a bizarre bridge and onto the moonlit battery, flowing either side of the 8 year - old BOY she saw in the woods as a child. Intrigued, Jeanne follows him, but by the time she reaches him, the boy has disappeared. The skeletons have also vanished, to be replaced by an army of little English boys in man - sized armor, heading toward a distant figure. The boy - soldiers are being welcomed by the beautiful MAN Jeanne saw earlier. He smiles at her, extending his arms in a Christ - like gesture of embrace. As Jeanne approaches him, others turn to welcome her - Aulon, Dunois, Alencon. finally La Hire, holding out his arms - LA HIRE Jeanne, come here my friend, my soldier. in my arms! La Hire scoops her up into his bear - like arms and swings her round. suddenly, over his shoulder she spots a familiar figure : her dead sister. JEANNE Catherine? She breaks from La Hire and runs to Catherine, throwing her arms around her and sobbing with joy. JEANNE Catherine. oh, Catherine - I knew you would n't leave me! They stand for a moment, embracing each other, while La Hire and the other Captains applaud Jeanne's victory. The beautiful young MAN approaches them, but we now see that he has a sword clasped behind his back. Catherine's face contorts in pain. She slumps forward, the sword in her back. Beyond her, the beautiful MAN has transformed into the grotesque Blackbeard, who roars with laughter as Jeanne holds her dying sister. CATHERINE Avenge me. avenge me! A circle of fire forms around them, with skeleton soldiers dancing in the flames. Blackbeard's echoing laugh is gradually superimposed by real laughter and a familiar voice. REDBEARD -LRB- O.S. -RRB- Hey. Frenchies. what happened to your precious angel, huh?","EXT. TOURELLES - FRENCH CAMP - DAWN All is quiet, the troops lie sleeping. Redbeard calls through the mist from the raised drawbridge spanning the dry moat linking the battery to the French camp - REDBEARD Frenchies, you hear me? What happened to your little virgin? Jeanne is awake. She listens to Redbeard. REDBEARD I'll tell you what happened. we sent her back to Hell so she can go fuck with the Devil! Now Jeanne is caressing her horse while Redbeard taunts. REDBEARD What are you going to do, Frenchies? Why not come out and fight? Or are you too busy praying to bring your witch back from the dead? Do you hear me? Suddenly Jeanne emerges from the mist, riding her horse and brandishing her banner - JEANNE I hear you! May God forgive your blasphemy. but I never can! She turns and disappears back into the mist.","EXT. TOURELLES - BATTERY - DAWN Redbeard blinks in amazement. He turns to another soldier - REDBEARD Go and wake up Glasdale!","EXT. TOURELLES - FRENCH CAMP - DAWN Jeanne rides along the columns of sleeping soldiers. JEANNE Come on - wake up - sound trumpets and to horse! The dazed and sleepy French drag themselves from their straw beds. Dunois emerges from his tent, bleary and half - naked. DUNOIS What's going on? JEANNE We're taking back the Tourelles!","INT. TOURELLES - TURRET ROOM - DAWN The Guard shakes Glasdale awake. GLASDALE What's happening? GUARD My lord. the French witch just came back from the dead. Glasdale hauls himself from his bed.","EXT. TOURELLES - FRENCH CAMP - DAWN Jeanne supervises her men as they push a huge siege tower toward the dry moat. She rides over to Aulon. JEANNE Get all the men to horse and ready to follow. Aulon goes as Dunois hurries over. DUNOIS Jeanne, what are you doing with that. you've got it back to front. JEANNE I know what I'm doing, so either lend a hand or go back to bed!","EXT. TOURELLES - BATTERY - DAWN Redbeard watches in bewilderment as the siege machine starts to materialize through the mist. REDBEARD What the hell she's playing at?","EXT. TOURELLES - TURRET - DAWN Glasdale is equally perplexed, gazing out from his garret window across the battery. An archer is by his side. GLASDALE Crazy bitch. she does n't even know how to use it.","EXT. TOURELLES - DRY MOAT/BATTERY - DAWN The French wheel the enormous siege tower toward a wooden lip above the dry moat. The drawbridge is firmly raised on the far side. Redbeard's complacent expression changes as he suddenly realizes what's about to happen. REDBEARD Oh shit. He backs away as the machine reaches the lip. Suddenly it topples forward, crashing down on top of the raised drawbridge and demolishing it beneath its enormous weight.","EXT. TOURELLES - TURRET - DAWN From his elevated viewpoint, Glasdale watches in horror as Aulon leads the French cavalry across the siege machine bridge that now spans the dry moat, giving them access to the battery. GLASDALE Raise the drawbridge! The Archer passes Glasdale's order along - a chain message that reaches the gate - keeper, who promptly starts to turn the winch.","EXT. TOURELLES - BATTERY - DAY As the French swarm onto the battery, Redbeard and his soldiers turn tail and race back toward the second drawbridge into the Tourelles. REDBEARD Wait for me! The bridge is already being winched up. Redbeard is the first to reach it. with a desperate leap he manages to grab the lip of the bridge and scramble over.","EXT. TOURELLES - COURTYARD - DAY rolling down into the sanctuary of the Tourelles on the far side.","EXT. TOURELLES - BATTERY - DAY His comrades are less fortunate, and are slaughtered by the advancing French. Jeanne urges her troops forward, her white banner billowing in the breeze, but with the drawbridge raised, there is no way for them to enter the Tourelles. The English hurl fresh insults - and bombards - from the battlements above, and the French are forced to take cover behind two ruined buildings on the battery. Jeanne rides across to a ruined barn where several carts are stacked with felled tree - trunks. She spots La Hire. JEANNE Prepare these as battering - rams! LA HIRE What's the use? The drawbridge is up! JEANNE Not for long. Under a hail of English arrows, Jeanne rides back across the open battery to a ruined house on the other side. She sees Aulon and dismounts. JEANNE The king said you're his finest archer? AULON Well. JEANNE Come with me.","INT. RUINED HOUSE - TOURELLES - DAY Jeanne leads Aulon through the ruined house to the far end, where a window overlooks the river - moat that separates the battery from the Tourelles. JEANNE You see those wooden beams? Jeanne points to the two beams supporting the chains of the drawbridge further along. JEANNE I want you to set them on fire!","INT. TOURELLES - TURRET - DAY Glasdale spots Jeanne running back across the battery. He summons his Archer, pointing her out. GLASDALE Kill her.","EXT. TOURELLES - BATTERY - DAY Jeanne leaves the ruined house and spots Gilles standing with Alencon. As she approaches, Gilles spots the archer in Glasdale's window far above, taking aim. JEANNE Gilles - fetch the Dijon Culverins and place them over there. Jeanne turns her back - the Archer fires - Gilles holds up his shield - the arrow strikes it - and Jeanne turns back, unaware that he has just saved her life. JEANNE Clear? GILLES Perfectly. Gilles heads off, leaving Alencon looking left out. ALENCON And me. what can I do? JEANNE Um. round up the horses and keep them safe. ALENCON Good idea. Leaving Alencon to his task, Jeanne rides off. and THUMP! a flaming arrow lands in one of the drawbridge beams.","EXT. TOURELLES - COMPLEX - DAY An English soldier peers down to see both beams ablaze. SOLDIER Fetch some water! The command is passed down the line - a bucket is lowered into the river and hauled back up - the bucket rushed up stone stairs to the soldier on the battlements.","EXT. TOURELLES - BATTERY - DAY Meanwhile Jeanne returns to Dunois and La Hire - JEANNE Stand by with the battering - rams. DUNOIS We need another ten minutes. JEANNE The bridge wo n't wait! LA HIRE Leave it to me. Back on the battlements, the bucket of water is passed up to the Soldier, who tries to pour it over the edge and onto the blazing beam. Aulon spots him from below and fires a flaming arrow - it pierces the soldier, who pours the water on himself, extinguishing the flames.","EXT. TOURELLES - COMPLEX - DAY TIGHT SHOTS : hands wind the handle of a bobbin - a device is activated - a lever thrown - a grille slides sideways.","EXT. TOURELLES - BATTERY - DAY The beams collapse - the support chains give way - and the drawbridge comes crashing down. Beyond it is a portcullis, but to La Hire's exuberant volunteers this is no barrier. Carrying buckets of flaming oil, they charge forward. but as they race across the drawbridge, a sudden volley of high - velocity arrows discharge from the lower apertures of the portcullis, felling them before they even get halfway across the bridge.","EXT. TOURELLES - COMPLEX - DAY The English cackle with delight at the sight of the dying French writhing in the flaming oil. Redbeard - in charge of the multiple balista - orders the device to be reloaded, then yells through the upper portcullis. REDBEARD Hey, what happened to the whore? Sorry. virgin!","EXT. TOURELLES - BATTERY - DAY Dunois views the massacred soldiers lying on the bridge amid the dying flames. Jeanne is about to mount her horse. REDBEARD Send her over here and she wo n't stay a virgin for long! DUNOIS Jeanne, do n't do it! Just stop and think for once! Do n't you see? The gate's a trap. and he's the bait! Redbeard roars with laughter as Jeanne yells back - JEANNE I take pity on your soul, Englishman!","EXT. TOURELLES - COMPLEX - DAY Redbeard checks the reloading of the balista. REDBEARD What the matter? Frightened of a little English stuffing?","EXT. TOURELLES - BATTERY - DAY Jeanne gently puts her arm around her horse's neck, whispering to it. JEANNE We must both be brave. She kisses it lightly, then grabs her banner from Louis, calling out to the others - JEANNE When you see my banner touch the door, the fortress is ours! and away she rides, across the drawbridge, still piled with the slaughtered men from the first attack. REDBEARD and. fire! Another volley of arrows discharges from the portcullis and Jeanne's horse collapses. The English cheer.","INT. TOURELLES - TURRET - DAY From his garret window high above, Glasdale sees Jeanne spread - eagled next to her dead horse on the drawbridge below. He turns to his servant with a grin. GLASDALE This time she wo n't be back.","EXT. TOURELLES - BATTERY - DAY Aulon gapes in horror. but then suddenly Jeanne is back up on her feet again. Gripping her banner, she dashes forward toward the portcullis, implanting it just as Redbeard opens a little sliding grille - Jeanne jabs her banner through -","EXT. TOURELLES - COMPLEX - DAY impaling Redbeard's skull on the far side! His body crumples to the ground, wedged between the base of the portcullis and the balista.","EXT. TOURELLES - BATTERY - DAY Jeanne runs back across the drawbridge, crying out. JEANNE The place is ours!","EXT. TOURELLES - COMPLEX - DAY Inside the Tourelles, the English try to operate the reloaded balista. But Redbeard's corpse is wedged so tightly that they ca n't move it.","EXT. TOURELLES - BATTERY - DAY Jeanne moves aside as La Hire and his men heave the carts laden with tree - trunk battering - rams across the bridge.","INT. TOURELLES - TURRET - DAY Glasdale has seen enough.","INT. TOURELLES - DAY He tears down into the courtyard, mustering soldiers as he goes - GLASDALE To arms! To arms! With a triumphant battle - cry, the French charge their battering - ram into the portcullis.","EXT. TOURELLES - COMPLEX - DAY demolishing it like matchwood, then storm inside the fortress. Glasdale cries out to his troops - GLASDALE Soldiers. In the name of the king, I want you to kill these French dogs until there's none left! The English troops swarm either side of the broken portcullis, forcing most of the French back onto the battery.","EXT. TOURELLES - BATTERY - DAY La Hire lets out a blood - curdling, primeval war - cry and charges forward to meet the English wave head on. Jeanne is caught in the middle, buffeted from side to side by a sea of heaving, sweating, bleeding bodies. In this melee it is impossible to know who is friend or foe, and the images become so blurred that we and Jeanne are soon lost in a mist of dust and noise.","EXT. TOURELLES - DREAM - DAY FLASH : our eyes are momentarily blinded by the sun. and when we return, we find Jeanne in the middle of the battery, but now totally alone, weaving her sword through the air in SLOW MOTION as she once did with her stick.","EXT. FIELD - DREAM - DAY/NIGHT FLASH : Jeanne is still weaving the air with her sword, but she is now a little girl of eight, playing in the field we first saw her in. The small BOY looks at her, smiling. FLASH : Jeanne continues to play, but is now 17, and the boy is now a young MAN, still smiling. He calls out to her. MAN Jeanne. what are you doing? JEANNE Playing. She sweeps her sword and decapitates a flower. Blood flows from the stalk. Jeanne looks at it, more in childish curiosity than astonishment or horror. She looks at the sword, the blade now streaked with blood. MAN Jeanne. what are you doing? Jeanne pauses, looks at him steadily. and suddenly notices that blood is trickling down his face. A SHAFT OF LIGHT blazes, wind billows. and suddenly it's winter, the trees naked, heavy with snow. MAN What have you done to me, Jeanne? Jeanne looks horrified. The Man puts his hands to her face, gazing deep into her eyes. MAN What have you done to me? JEANNE I - I - I.","EXT. TOURELLES - COURTYARD - DAY Jeanne is screaming at Aulon, who is gripping her blood - splattered face as the Man did. AULON Jeanne, calm down, do you hear me? Are you alright? JEANNE Yes. AULON It's over, Jeanne. We won, just as you said! Jeanne looks about her in a daze. La Hire strides over, arms extended, extravagant as always - LA HIRE Jeanne, come here my friend, my soldier. in my arms! Jeanne starts laughing - she ca n't believe it. JEANNE We. won?! LA HIRE Won?! Such a small word will never do! This is victory, Jeanne, this is. glory! He scoops her up in his bear - like arms like an ebullient lover, both laughing in the moment. He slowly turns her around, breathing in a great lungful of air and savoring the smell of what Jeanne now sees over his shoulder : the entire courtyard, knee - deep in bodies and bits of bodies - including the gallant Xaintrailles. Jeanne too can smell the reek of fresh, warm gore. Her laugh turns to a cry of anguish. La Hire sets her back down. LA HIRE Jeanne - what's the matter? Jeanne is utterly horrified. her legs tremble. amber liquid trickles down her armor. JEANNE You call this. glory? All this. this blood. this smell of. LA HIRE the smell of victory, Jeanne! Mmmmmmm! I love it! JEANNE It's not possible. Jeanne sees a French soldier of meager wit, hauling a dying English soldier onto his knees for some obscure purpose. GILLES You look disappointed. Is n't this what you wanted? JEANNE No. not like this. GILLES For weeks you've been asking for this. well now you have it! The Soldier is about to smash the Englishman's mouth with a mace. Jeanne snaps out of her momentary stupor and races across, stumbling over the dead bodies. JEANNE Stop it! What are you doing? SOLDIER Nothing. just taking his teeth. JEANNE But you ca n't just kill a man for his teeth! SOLDIER Why not? He has good teeth. JEANNE Because. because you just ca n't! GILLES Eye for an eye, tooth for a tooth. Jeanne ignores the laconic Gilles. SOLDIER Besides, what about these? JEANNE That's different. I mean. we were fighting for a. for a cause! Gilles grins, but La Hire looks genuinely bemused at Jeanne's behavior. The soldier shrugs, unimpressed. SOLDIER Not me. He's my prisoner. I can take his teeth if I want to. He is about to smash the teeth. JEANNE No! She throws herself in front of the startled Frenchman. JEANNE Take mine instead - here - smash mine first! LA HIRE Jeanne. get up. this is ridiculous. JEANNE If you kill him, you kill me! GILLES Jeanne. let him do it. One more dead body's not going to make any difference, so who cares? JEANNE I care! And I care because God cares! All life is precious to God - even his - even yours and mine. LA HIRE Jeanne. the man has n't been paid for six months - that's his only reward. Let him take a few teeth. JEANNE A few teeth. that's the price of his life? SOLDIER Yeah. JEANNE Here - take this instead. She wrenches a ring from her finger and flings it at the soldier. JEANNE He's mine now. Jeanne cuts the Englishman's bonds. JEANNE Now you. get out. The English soldier does n't wait for further prompting. Gilles claps. GILLES Bravo! What about all the other hundreds of prisoners? Do we let them go too? JEANNE Maybe. I do n't know. but first we have to confess.","INT. AUGUSTINE MONASTERY - DAY Jeanne marches her blood - splattered captains into the church and up the aisle toward the rubble - strewn altar. She sees a terrified Franciscan PRIEST and grabs hold of him. JEANNE Please. we have to be confessed. all of us. now! I know it's not normal custom, but sometimes. you know. we have to make an exception and. and today is an exception. The Priest looks confounded. Jeanne turns to the Captains. JEANNE He's going to confess us. Kneel! All but La Hire kneel, although their armor is stiff at the joints. LA HIRE Jeanne, if you do n't mind. I'll stay standing. this armor. it's a nightmare to get back up. JEANNE I said, kneel! Jeanne raises her sword and brings the flat blade whacking against the back of his legs. La Hire crumples, and Jeanne turns to the Priest. JEANNE Please. we're ready. begin! The Priest is totally lost. he begins to mumble a few words in Latin just as a soldier burst in - SOLDIER -LRB- breathless. -RRB- The English. they're forming up. thousands of them. on the far side of the river. The Captains look anxiously at Jeanne. She hesitates a moment, then gazes up at the battered crucifix on the altar and closes her eyes in prayer.","EXT. NORTH PLATEAU - ORLEANS - DAWN Jeanne opens her eyes. It is dawn, and two silent armies are drawn up facing one another : four thousand Englishmen on the left, two thousand Frenchmen on the right. They have barely had time to recover from the Tourelles, and the lust for battle is gone. We sense that this is going to be a blood bath that nobody wants. Franciscan monks move among them, sprinkling them with holy water in final absolution. The battle lines are too far apart for the English to see any details, but the sight of massed soldiers kneeling before an invisible God is an awesome spectacle. Jeanne and the Captains are mounted, facing the English. DUNOIS Well? Shall we go? JEANNE Not yet. DUNOIS The English wo n't wait. Jeanne hesitates. JEANNE I'll go. AULON Jeanne, no. But Dunois silences him, indicating to Gilles that he should accompany her. JEANNE Alone. Dunois is again obliged to comply, and Gilles hangs back. From the English lines, we see a small, solitary figure emerge from the massed ranks of French soldiers. Jeanne moves halfway between the two armies. The English soldiers watch her, mesmerized, while their captains remain motionless. In the middle of the field, Jeanne halts. From the French POV she looks dangerously vulnerable. The English commander - TALBOT - draws up alongside his Captains, watching her with grey eyes and an expression of stone. Only we see that Jeanne is crying. She rubs the tears away. JEANNE I have a message for your King Henry. It is a message from God. The English stand silent. JEANNE Go home. Go now, in peace. If you do n't go now, you will be buried in this field. I've seen enough blood for today, but if you want more, I ca n't stop you. I can only warn you that it will be your blood, not ours. Talbot whispers something to one of his Captains. He withdraws to pass the message on. Jeanne - and her French captains - try to gauge the English mood. JEANNE I'm waiting for your answer. Now the English Captains start moving along their flanks. Something's about to happen. Dunois and the French watch in dismay as the English flanks move aside, exposing their dreaded archers. Jeanne closes her eyes, tears brimming. JEANNE Please, Lord. do n't. do n't let this happen. do n't leave me. The English archers take a step back, their cavalry move slowly forward, then turn to their right, the men letting them through. Dunois turns to La Hire. DUNOIS Never wait for miracles. Stand by to attack. The serried ranks of English infantry close in, then halt. We're ready for the worst, and it takes Jeanne - and us - a full twenty seconds to realize what is happening : the English are leaving. First the cavalry, then the infantry, finally the archers themselves. Jeanne can not believe her eyes. She burst out laughing and crying at the same time. The French captains gape in astonishment. Finally La Hire can contain himself no longer - LA HIRE By God and all the saints. now that's what I call a bloody miracle! The French burst into jubilation.","INT. CHINON CASTLE - DAY As the cheering builds, we see a Messenger race along a corridor and burst into the throne room. Charles slowly rises on hearing the joyous news, clapping his hands in delight - not least at the discomfort of Tremoille and Regnault. But Yolande shares his enthusiasm, although we sense that the news comes as no great surprise.","INT. ROUEN CASTLE - DAY The cheering continues as another Messenger races along a similar stone corridor and bursts in on the haggard Duke of BEDFORD. He is the English regent, and is in council with several others, including the Bishop of Beauvais - one Pierre CAUCHON. As Bedford hears the news, the cheering FADES. He rises from his chair. BEDFORD I want that girl. I want her burned.","EXT. STREET - RHEIMS - DAY The crowd goes wild as Jeanne rides through the streets of Rheims, carrying her banner in triumph. She is followed by Aulon and her two page boys, and is accompanied by soldiers who do their best to hold the ecstatic crowd at bay. At the far end of the street : a magnificent cathedral.","INT. VESTRY - RHEIMS CATHEDRAL - DAY Backstage pandemonium as Charles is readied for his imminent coronation. A glamorous Gilles tries to help him into his ermine robe ; Tremoille stands with Archbishop Regnault, adjusting his gold - trimmed cloak. An ancient BISHOP - palsied and pushing 80 - stands by, hands a - trembling. CHARLES It's too tight - where's the seamstress? And that. -LRB- pointing to crown. -RRB-. that's meant to be a crown? Do n't you have something more - more regal? A young Priest is holding the dowdy crown. PRIEST The English took the real one. CHARLES I asked for a grandiose coronation, and this is what you give me? This whole thing's going to be a complete fiasco! BISHOP Sire, we were only given three days to prepare - three days! - Why, your father's coronation took three months! Charles turns to Tremoille - CHARLES He's probably right - let's call a delay. TREMOILLE There's no time, sire - we ca n't hold up the ceremony. there's no telling when the English might come back. they're only ten leagues away. CHARLES Let them come! Let them see who's the true king of France! Further away, Dunois is examining himself in a looking - glass. He is standing with Gilles de Rais, both resplendent in their armor, now cleaned and polished. DUNOIS It's been muddy for so long, I forgot how good it looked when cleaned up. LA HIRE Did you remember to clean up what's inside as well? Dunois ribs him with his elbow, both laughing. In another corner, Alencon is fast asleep. Charles is still grumbling. CHARLES Those damn English. we should be doing this in Paris. in Notre Dame - much more prestigious - and twice as big as this one! Yolande, who has been standing quietly in the shadows with Richmond, steps forward. YOLANDE It is the sacred place that matters, Charles - not the size. Am I correct, Bishop? BISHOP Oh yes, my lady. All true kings of France must first be anointed in our great cathedral of Rheims. with the holy oil of Clovis. for it was within these very walls that Saint Remy received the sacred oil from Heaven, brought to him by a white dove for the anointing of King Clovis. TREMOILLE Yes, yes - well let's just get on with it, shall we? GILLES before the English turn up and spoil everything. CHARLES They would n't dare! GILLES I would n't be so sure. It only takes one of them - in disguise - Gilles pulls a sharp dagger - Charles looks petrified. GILLES with a good dagger. that's all it takes. Gilles lifts the dagger. and snips a loose thread from Charles's shoulder. GILLES to ruin the whole thing. Gilles sheaths his dagger, but Charles is now panicking. He glances at those around him as though one of them might be a spy. Gilles moves away, and Charles turns to his pages - CHARLES Hurry up! Further away, the Bishop's assistant Canon hurries in, holding a small jar - CANON Your Grace, there can be no anointing! BISHOP What in heaven's name are you talking about? CANON The holy oil of Clovis - it's all gone! The ancient Archbishop can scarcely believe his ears. He peers inside the little jar just as Yolande arrives with Richmond. BISHOP Gone? But that's impossible - it's magic oil. I mean miraculous oil - it can never be exhausted. CANON Look for yourself! The Canon offers it to the Bishop, but Yolande intervenes. YOLANDE Problem? He hands her the little jar. BISHOP I do n't understand. the holy oil of Clovis. it was quite full the last time I saw it. YOLANDE And when was that? BISHOP Well. at the coronation of King Charles VI. YOLANDE Thirty years ago? I'm not surprised it's gone. BISHOP No no, you do n't understand - this is no ordinary oil - this is miraculous. this oil was brought from heaven by a white dove to crown King Clovis in this. very. cathedral. Yolande has moved away, to be replaced by the hideously - scarred Richmond. The Bishop's voice trails as he sees Yolande beyond him, taking an oil lamp from the wall and pouring a little oil into the jar. BISHOP W - w - what are you doing?! YOLANDE Performing a miracle. Richmond curtails any protest with a toothy grin. There's a growing SOUND of excitement coming from beyond. Finally Jeanne appears in the doorway, carrying her banner and followed by her faithful page boys, Louis and Raymond. La Hire nudges Alencon awake as she passes, giving an admiring whistle. CHARLES Ah, Jeanne. come here! This whole coronation idea of yours is a fiasco. nothing is ready. JEANNE You look wonderful. CHARLES and my crown does n't fit and. -LRB- breaking off. -RRB- Really? She looks up and down, appraising him. JEANNE You look like a king. Charles melts. TRUMPETS SOUND from the great Cathedral beyond.","INT. RHEIMS CATHEDRAL - DAY Two tiers of boys sing in plainsong as Charles enters through a small door and into the vastness of the crowded Cathedral. It is filled to capacity, with Jeanne's comrades - in - arms filling the front pews like eager fans, straining for a glimpse of her. Tremoille waddles behind Charles, with Regnault, Yolande and Richmond in tow. Next, the two page boys - and then at last the main attraction as far as this congregation is concerned - the crowd lets out an audible gasp as Jeanne enters in her white armor, carrying her proud, war - scarred banner and escorted by Jean d'Aulon. La Hire is so moved at the sight that he has to wipe away big soppy tears -LRB- for sentimentality was ever the flip - side of cruelty -RRB-. Alencon and Dunois likewise gaze at their adored one, though Gilles is perhaps more taken with the cherubic choir boys. Jeanne trembles with emotion. This is the peak of her career, and she knows it, and she's making the most of it. As the little procession reaches the nave, all but Charles filter aside. He walks forward alone to where Archbishop Regnault is standing - a few paces - then stops, turns - and holds out his hands to Jeanne. The crowd gasp with approval at the unprecedented gesture. La Hire briefly claps, before being dug in the ribs by Gilles. but the kingly act provokes jealous looks from Regnault and Tremoille. Jeanne hesitates, then is almost willed on by the crowd into joining Charles. She stands a little aside as he kneels. Regnault sprinkles the Holy Oil on his sovereign's head. REGNAULT With this sacred oil, blessed by the hand of God the Father Almighty, we do anoint thee Charles Valois. Regnault breaks off : there's a commotion at the back of the cathedral. Charles looks around - anxious faces turn - soldiers draw their swords - is it the English? Bored by the ceremony, young Louis has been kicking legs again, and one of the guards is nursing a bruised shin. With all eyes suddenly upon him, Louis flushes - and is quickly taken in hand by Yolande. After the brief interruption, Regnault continues. REGNAULT we do anoint thee Charles Valois, Sovereign Lord and King of this great kingdom of France, charging that ye defend the faith of our Mother Holy Church so long as ye shall live. It could almost be the marriage ceremony. Jeanne watches in tears, trembling with emotion as the Archbishop takes the crown and holds it above Charles' head, then slowly, slowly lowers it. As he does so, an eerie SOUND, like a bullet in slow - motion coming straight at us. followed by a cry from Jeanne.","EXT. PARIS WALLS - ST. DENIS - DAY Jeanne gasps - sways. Torrential rain, sweeping across the grey, mud - filled moat in great curtains. She's standing on the bank above the moat, looking across at the massive city walls where ladders have been set up. Aulon catches up with her. AULON Jeanne! Are you alright? JEANNE Yes. Yes, I'm fine. -LRB- yelling out. -RRB- We need more brushwood! -LRB- to Aulon. -RRB- Why are you staring at me like that? AULON Because there's an arrow in your leg. She looks down and there it is, poking out her leg : an arrow has penetrated her armor. JEANNE So there is. She had n't realized - and does n't seem that bothered. JEANNE but that's no reason for you to stop. You can still climb a ladder, ca n't you? So go on then. climb! Aulon looks across at the endless ladders, disappearing into the mist and smoke at the top of the gigantic wall. Jeanne calls out to her page, Raymond - JEANNE Raymond! Over here! Raymond hurries over. JEANNE Pull it out. Raymond looks terrified - JEANNE Pull it out! Raymond grips the arrow while Jeanne gazes across at one of the ladders laden with Frenchmen. As he pulls it out, the ladder falls back, plunging the soldiers to their deaths. Jeanne gasps in pain. La Hire and Gilles are further along the bank. GILLES This is no good! LA HIRE No good? This is a disaster! Gilles stumbles along the bank to Jeanne. GILLES Jeanne. The men are exhausted! JEANNE I know, but so is the enemy - they're falling back - Paris is ours! GILLES Jeanne. we're not enough. JEANNE So. bring up the reinforcements! GILLES Reinforcements? Where? Jeanne waves vaguely behind her - JEANNE Right behind us - Dunois with another then thousand men! GILLES Jeanne, look behind you. JEANNE Never look behind - only ahead! Gilles grips her by the shoulders, forcing her to turn and look behind. At most, a hundred bedraggled soldiers, limping amid the carnage in the moat. Jeanne stares at them. GILLES Do you know how to count? JEANNE Of course I do? Bring them up! GILLES Jeanne. that is not ten thousand reinforcements - that is one hundred very loyal but very tired soldiers. JEANNE But. where is Dunois. where are the men the king promised me? GILLES He never sent them. Do n't you understand? He does n't want this war anymore. he has his crown now, that's all he ever wanted. JEANNE But my voices. they promised me. GILLES To hell with your voices - it's time to face facts! We have nothing to do here. none of us. not even you. You should go home, Jeanne. Jeanne stares at them, in shock. JEANNE You do n't believe me anymore? LA HIRE We still believe in you, Jeanne. If it were up to me, I'd chase every goddamn Englishman into the ocean. But it's not up to us anymore - it's up to the king. Jeanne looks at him, suddenly furious -","INT. CHINON CASTLE - CORRIDORS - DAY - Jeanne storms along a corridor, her two page boys doing their best to catch up with her.","INT. CHINON CASTLE - CHAMBER - DAY She bursts in on Charles, who is cavorting in a bath - tub with a few frivolous females. CHARLES Well, this is an unexpected pleasure. Ladies, let me introduce you to the celebrated Jeanne. The damsels titter. JEANNE Get them out of here! CHARLES Now hold on - you're not captain here. on the battlefield perhaps, but not in the royal bedchamber! JEANNE Why did you betray me? Paris was ours for the taking! All I needed was another few hundred men. Why did you take back the army you gave me? CHARLES Gave you? Well now, I would n't quite put it like that. JEANNE -LRB- bluntly. -RRB- So how would you put it? CHARLES Well. we are, of course, enormously grateful for your past efforts, but your task is done. Now it's time for negotiation. and after many months of skillful work, our dear Tremoille is about to seal a treaty with our Burgundian friends who will no longer lend their support to the English. You see, my dear Jeanne. as it is written in the Bible, `` to everything there is a season : a time for war, and a time for peace''. JEANNE Peace will only be got from the English at the end of a lance! CHARLES Why do you have to be so bloodthirsty? Do you enjoy it? All that blood and noise and pain? Diplomacy is far more civilized. far safer. and far cheaper. Jeanne angrily holds out a fistful of letters - JEANNE I have letters here from towns under siege - Compiegne, Provins, Melin - where the people are starving, begging God on their knees to help them. and I'm here to answer their prayers - and you want to stop me? France does not belong to you, Charles - she belongs to God. And if you wo n't help me save her, I shall do it alone! Jeanne slings the letters in his face and marches out of the room. Charles turns to the girls with a weary sigh. CHARLES If only she would just go home.","INT. CORRIDOR - CHINON - DAY Aulon reaches the door to a chapel to find it guarded by Louis and Raymond. RAYMOND You ca n't go in. AULON Get out!","INT. CHAPEL - CHINON - DAY Aulon enters to find Jeanne crumpled by the altar. He kneels beside her. AULON Jeanne. the king has ordered us not to ride with you anymore. JEANNE So. what am I supposed to do now? Aulon hesitates. AULON What do your voices say? Jeanne pauses. a long moment, whether or not to confide. Finally, and with a bleakness not sensed in her before. JEANNE They've abandoned me. like everyone. AULON What. what do you mean? JEANNE It's been weeks since they spoke to me. Since the coronation. no signs. nothing. AULON Maybe their silence is a sign? Maybe it's a sign to go home? JEANNE It's not time yet. My mission is not over yet. There is still more I must do before I can really - finally - go home. AULON But how do you know that these - these voices are n't really just - well, you. Jeanne stares at him in bemusement - then suddenly laughs. JEANNE Well of course they're me! That's how God talks to me. If you listen hard enough, even you can hear him. Everyone can hear him. AULON But I hear so many voices. one voice saying one thing, another voice saying the opposite - love your enemy, kill your enemy - what is good, what is evil? JEANNE All you have to do is stop talking and just listen. AULON But how do you know what you hear is the truth? JEANNE I do n't know it. I feel it. AULON You make it sound so simple. JEANNE The truth is always simple. it's you, Jean, who's making things complicated. AULON Me?! It's not me, it's God who makes everything complicated! If he's all - powerful, why not let the English stay on their island in the first place? And why let this war go on for a hundred years? And why send you out to fight when a girl like you should be at home with your family? Why, why?! JEANNE So. even you do n't believe in me anymore. AULON Jeanne. I believe in you. more than anyone. Aulon's hand touches Jeanne's hair. He leans forward, as though being drawn by her eyes and mouth. AULON I. I just wish I could. I want to. to help you. The moment is a little too intense. They gaze at each other, then Jeanne suddenly pulls away. JEANNE If you really want to help me, there's one thing you can do. AULON Tell me. JEANNE Tell the king to give me more men. Jeanne goes, leaving Aulon alone, deliberating.","EXT. CHINON - DAY Jeanne and her pages mount their horses and ride off.","INT. CHAMBERS - CHINON - DAY Aulon walks through a small antechamber and is about to knock at a door when he pauses, hearing familiar voices. TREMOILLE -LRB- O.S. -RRB- We have to stop her, your majesty. If she raises her own army and attacks the Burgundians at Compiegne, all my months of painful negotiations will have been in vain! Aulon draws closer, shocked at what he hears. REGNAULT -LRB- O.S. -RRB- Tremoille is right. She behaves as though she were God! It's high time she found out who's really in command.","INT. KING'S CHAMBERS - CHINON - DAY Regnault, Tremoille and Yolande coil about Charles like serpents. Charles looks at them all. CHARLES It's true. There's only one king. people need to be reminded of that. Nevertheless. Jeanne has done so much for us. YOLANDE I assure you, Charles, the Maiden has no greater admirer than myself. But whatever our personal feelings, we can not allow her to conduct her own private war. For the sake of the kingdom, it is imperative that you stop her going to Compiegne. CHARLES I. I ca n't stop her. TREMOILLE Well if you do n't, I'm sure the Burgundians will be happy to oblige. If they capture her at Compiegne. REGNAULT no one can blame us. CHARLES I. I do n't know. it'll sound like we. betrayed her? TREMOILLE Noooo! REGNAULT Good heavens no! TREMOILLE Never! YOLANDE Do n't worry, Charles. If God is still with her, she will be victorious. We're not her judges. we're just spectators. Let her go to Compiegne, as you let her go to Orleans, and let God decide her fate. CHARLES But. her army's so small now. YOLANDE Then her faith will have to be bigger. Yolande gives Richmond a significant look.","INT. CHAMBERS - CHINON - DAY Aulon can scarcely believe what he has heard!","INT. AULON'S ROOM - CHINON CASTLE - DAY A table smashes against a stone wall. a chair splinters in fragments. Aulon is in a frenzy, smashing up furniture.","EXT. CHINON CASTLE - DAY Aulon rides out from the castle.","EXT. FOREST CLEARING - DAY Jeanne and her meager band of soldiers have paused for food. Aulon makes his way through the trees - and finds Jeanne a little apart from the others, with her two page boys. AULON Jeanne. I need to speak to you. -LRB- pointedly. -RRB- Alone. Jeanne glances at him a moment, then nods for Louis and Raymond to leave. JEANNE Did the king listen to you? Aulon blushes. clears his throat. AULON Jeanne, I. I love you, Jeanne. I love you and. I want to marry you. Jeanne is a little taken aback, but is genuinely touched. JEANNE That's not what I asked. Why do you want to marry me? AULON You listen to your voices, I listen to my heart. Jeanne looks at him a beat. JEANNE What did the king say? AULON He said that. he's making a treaty with the Duke of Burgundy and. JEANNE It's a trap! They're buying time till they can bring over more soldiers from England! AULON Did your voices tell you that? You told me you had n't heard them for months. JEANNE No, but. AULON Or maybe it's Jeanne who's in a trap - her own trap - a downward spiral that she ca n't stop? JEANNE Did you come back to marry me or to insult me? AULON To marry you. A beat. then she looks away. JEANNE I will ask my voices. if they come back one day. Meanwhile. I'm going to Compiegne. AULON Jeanne. I have been hearing voices - and believe me, those voices left me in no doubt that you must not go to Compiegne! She looks at him a moment, knowing that he speaks the truth. AULON Jeanne. I believe in you - but can you believe in me for once? Do n't go. even if you do n't want to marry me. JEANNE I would like to marry you. But I have already promised myself. to God. AULON But. you've done so much for God as it is. ca n't you do something for yourself for once - for Jeanne? JEANNE But it is what I want. AULON To be killed in battle? JEANNE If God wants me to win, he will find a way. And if he wants me to die. if he wants me back. then that's fine too. Then I'll be with him forever. She has a dreamy, faraway look - one with which Aulon can not compete. AULON Will you at least let me stay with you? JEANNE It would not be the same without you.","EXT. COMPIEGNE - BATTLEFIELD - DAY SHARP CUT to a Man being felled by a cudgel. We are in the middle of the battle, and things are not going well for the French. The citizens and their MAYOR watch anxiously from the draw - bridge and the town walls. Nearby stands a familiar face : the battle - scarred Richmond. The Mayor and Richmond exchange a glance that chills. Jeanne is struggling to keep her banner aloft. then a cry from close by, and to her horror she sees Raymond collapse with an arrow in his breast. His faithful companion Louis races to his side, throwing his arms around him. Jeanne jumps down from her horse, but by the time she reaches him, his eyes are closed. Louis looks up at her, tears brimming. Aulon rides up alongside Jeanne. AULON We must sound the retreat! JEANNE Not yet! With the enemy bearing down, there's no time to pause.","EXT. COMPIEGNE - WALLS & POV OF BATTLEFIELD - DAY From high on the town walls, the Mayor surveys the distant battle. Richmond is standing a short distance away. He gives him a sign. The Mayor turns to a Guard. MAYOR I ca n't risk the town's safety. Raise the drawbridge.","EXT. COMPIEGNE - BATTLEFIELD - DAY As Jeanne rides back with Aulon, she spots Richmond beyond the drawbridge inside the town. There's a brief exchange between them, a locking of eyes. Jeanne turns to Aulon. JEANNE Get back inside the town and see if the English are attacking from the other side! AULON But. why. what's the point? JEANNE Do as I say! AULON I want to stay with you. JEANNE That's an order! Aulon looks almost shocked. He backs away, then turns his horse about and rides back across the drawbridge and into the town. Seconds later, the drawbridge begins to rise, and Jeanne is trapped. She tries to fight her way clear of the advancing English, but they encircle her. She lashes out with the flat of her sword, trying to keep their swords and lances at bay. The noose tightens - her horse starts to panic. but strangely there's a smile on her face, as though she sees the end coming, this end that she so desires : to die on a battlefield in penance for the blood shed in her name. Suddenly a BOLT slices through BONE - - and Jeanne's horse collapses from under her. She rolls to the ground, springing back to her feet as the English close in. Again she flays the air with her sword, but it becomes heavier and heavier as her energy finally begins to drain. A huge iron ball smashes her sword in two - now she has no weapon but her fists. Yet still she lashes out, like a fox cornered by hounds. Another blow - she falls to the ground, her face gazing up. Her eyes soften, and again that smile - Her POV : High above the dust and smoke and flame of battle - a little patch of blue.","EXT. FIELD - SUMMER - DAY and Jeanne falls into the field of her childhood. JEANNE My Lord. - the sky brightens - the SUN dazzles - space/time dilates. with her arms wide open, Jeanne offers herself to the skies - JEANNE Take me! Nature starts to consume her, integrating her as a part of the whole. clouds, seasons and wind become one in an apocalyptic ballet. grass, flowers and roots consume her. the camera suddenly pulls back so fast and far that within seconds the earth has become a revolving sphere in the darkness of space. FLASH : the sphere now becomes a four - dimensional torus, a fluid, dynamic ring, evolving in and out of space. FLASH : the torus blinks, and the dark center becomes a BLUE EYE, the same diameter as Jeanne's. overwhelmed by this vision. A shadow of a MAN clutching a mace is reflected in the blueness. SHARP CUT to the Man as he slams her. WHAM! BLACK. Then a zillion stars evolve from the darkness, slowly rotating inversely toward a central point as though returning to the origin of space/time in one single dimensionless point of light - which then suddenly EXPLODES. At the same moment a HUGE EYE blinks open - the EYE of Jeanne.","INT. COMPIEGNE - PRISON - NIGHT Jeanne's eyes search a darkness that gradually resolves into the grim, dank confines of a dungeon. She sits bolt upright, as though awakening from a nightmare. She is on a wooden bed, her face bruised and tumefied. A few inches away is a MAN, one side of his shaved head catching a sliver of light. He's laughing at her. MAN I ca n't believe it. your romantic vision of death, with all that grass growing everywhere. I must admit, you have a great imagination. Or maybe not great enough. Death is much more simple. FLASH : A dead body lying in the silent forest, a trickle of blood running from his mouth. MAN after a few months it gets more interesting. FLASH : Same shot, only now the body is wriggling. FLASH : The body is now reduced to skin and bones. MAN then - after a year - it finally becomes romantic. FLASH : The same spot in the forest, but now there is no sign of the body. Jeanne shakes her head. JEANNE Who. who are you? MAN I am that I am. -LRB- beat. -RRB- You do n't like my face? -LRB- evidently not. -RRB- Maybe you prefer this one. His face melts into the little boy, sitting on a throne in the middle of the wood. She gazes at him in bewilderment - MAN Too young maybe? How about this one? The boy becomes the young man she saw in the forest. Jeanne is breathless. The Man is invading her most secret memories. MAN Better, no? But incomplete. Suddenly his face is flooded with blood, like the image of the man she saw during the battle of Orleans. Jeanne SCREAMS, covering her face. JEANNE Get thee behind me. Satan! The Man smiles, unaffected by her outburst. MAN Who are you to even think you can know the difference between good and evil? Are you God? JEANNE No. no. I'm just a messenger. He needs me. a higher calling. Suddenly the man starts to bellow - the walls tremble - the bellow becomes a roar. clouds boil behind his head. MAN HOW CAN YOU BEGIN TO IMAGINE THAT GOD, THE CREATOR OF HEAVEN AND EARTH, THE SOURCE OF ALL LIFE, COULD POSSIBLY NEED - YOU? Jeanne can no longer stop her tears. JEANNE I do n't know. I thought. MAN YOU THINK GOD IS N'T BIG ENOUGH TO DELIVER HIS OWN MESSAGES? JEANNE I do n't know. please. tell me I'm dead. MAN WHO ARE YOU TO DECIDE IF YOU SHOULD LIVE OR DIE? JEANNE I. do n't know. what do you want from me? MAN Nothing. I'm here to set you free. The Man holds up his hand as though in judgment - A hand slams across her face - - and she wakes up, nursing her hot cheek. In front of her : the rough English guard who just struck her. GUARD -LRB- angrily. -RRB- I said, smile! You have visitors. The door opens, and a smart delegation arrives in her cell, led by a thin reed of a man, the Duke of BURGUNDY and his right - arm, DIJON. GUARD His Grace the Duke of Burgundy. Jeanne stares at him, confused. BURGUNDY So. here is the famous Jeanne. Savior of Orleans. terror of the English? You look pretty ordinary to me. JEANNE Am I. am I dead? BURGUNDY Dead you're worthless, darling. JEANNE Where. where am I? BURGUNDY Guess. She looks about her dismal confines. JEANNE My king will pay any ransom you ask. BURGUNDY Your king? Ah yes, of course. What's he going to pay me with? Cows? Chickens? I prefer gold, and the English have plenty. I wonder how much they'll pay. to have the Witch of Orleans in their clutches? Those English are so arrogant, they ca n't accept the idea of being defeated by a peasant girl. it has to have been the devil's work. JEANNE God defeated the English, not me. BURGUNDY And God who allowed you to be caught? Jeanne had n't thought about that before. BURGUNDY Personally I do n't believe in God, and I do n't believe in the Devil either. That's why I'm never disappointed. -LRB- to Dijon. -RRB- Sell her.","INT. CHINON CASTLE - DAY Aulon goes to see the King in his chamber and hands him a heavy sack. Tremoille and Regnault are present, as always. AULON Here. to help pay Jeanne's ransom. All the Captains gave what they could, as well as the citizens of Orleans and the other towns she saved. CHARLES Very generous of you all. How much? AULON 10,000 gold crowns. From their expressions, this is clearly an enormous amount. CHARLES 10,000. that's a lot. but I fear not enough. But it will be my pleasure to make up the difference. -LRB- to Archbishop Regnault. -RRB- Your Grace. I place you in charge of this. sensitive negotiation.","INT. OFFICE - DUKE OF BURGUNDY'S CASTLE - DAY Burgundy's right - arm - DIJON - turns to his Assistant. DIJON They send a Bishop to negotiate? That's a good sign. Let him in. It is not Archbishop Regnault who enters, but another ecclesiastic swaddled in the rich robes of his office : the Bishop of Beauvais, one Pierre CAUCHON. CAUCHON Good day, sir. I trust my honorable Duke of Burgundy is feeling well? DIJON He's feeling wonderful. CAUCHON Thanks be to God. DIJON And your Duke? The Duke of Bedford? CAUCHON Not so well, I regret to say. This business with the Maiden. it's caused him endless grief and torment. That's why he's entrusted me with the task of. shall we say. DIJON Buying her? CAUCHON This word is - regrettably appropriate for the situation. In fact what we - the Church - wish to do is determine whether or not this girl is sent by God, as she claims. You understand that we can not allow just anybody to abuse God's name in this manner. DIJON I understand. How much? It is that other man of the cloth, Regnault, who answers. REGNAULT 5,000 gold crowns. DIJON That's not a lot. REGNAULT It is all his majesty can afford. He has even donated his very own personal savings. His majesty will greatly appreciate a gesture of good will in this delicate negotiation between our two families. DIJON I know. but the English want her very badly, and I have to tell you that they are proving much more generous. REGNAULT May I, without offending you, inquire how generous? DIJON 20,000 gold crowns. Regnault's rival cleric Cauchon looks aghast. CAUCHON 20,000?! But. I heard King Charles was. financially embarrassed. DIJON Do n't look at the cost, look at what it brings. What is your last offer? REGNAULT 8,000. We ca n't raise more. We can only place ourselves at the mercy of your generosity. DIJON I must offer to the Duke. I will give you his answer tomorrow.","INT. PRISON CELL - BEAUREVOIR - DAY A Burgundian Soldier shakes Jeanne to wake her up. SOLDIER Hey, wake up. get yourself ready. you're leaving! Jeanne opens her eyes as Cauchon enters her cell, dressed in ecclesiastical robes. He stands in front of her, flanked by two monks. At the sigh of the churchmen, she brightens. JEANNE Oh, thank you Lord! -LRB- to Cauchon. -RRB- I'm so glad to see you! I need to confess. I have n't been confessed since Easter. or been to Mass. Will you hear me now? CAUCHON I will hear you. but not now, not here. JEANNE Who are you? CAUCHON Pierre Cauchon, Bishop of Beauvais. As you were captured in my diocese, the duty of conducting the trial falls upon me. JEANNE Trial? What trial? CAUCHON Your trial, Jeanne. On a charge of heresy. JEANNE But. the King - my king - did n't he pay my ransom? CAUCHON It seems that the English care more about you than the French. JEANNE The English? CAUCHON Yes. They paid your ransom. tomorrow you will be transferred to their great castle at Rouen. The door slams shut, and she is left alone. Jeanne is utterly distraught. She looks round the bleak cell, then moves over to a small window. just wide enough for her to squeeze through.","EXT. LEDGE - BEAUREVOIR - NIGHT Jeanne clambers out onto a narrow ledge, high above the frozen moat below. Only a fool - or one bent on suicide - would hazard such a leap. VOICE -LRB- O.S. -RRB- Need some help? The Man we saw after Compiegne is once again behind her. JEANNE What are you doing out here? MAN I might ask you the same question. JEANNE I. I'm leaving. I ca n't take anymore. MAN And what exactly is it that you ca n't take anymore of? JEANNE Everything! Prison - humiliation - being abandoned and betrayed by everyone - I ca n't stand it anymore - I'd rather die! MAN You'll be dead soon enough anyway, so why be in such a hurry? Why not face up to your lies? It's your lies you ca n't stand anymore. JEANNE I. I never lied! MAN If you were true to yourself. if your faith was firm, you would n't need to run away from yourself like this. JEANNE I am true - to my Lord, the King of Heaven. He knows how much I love him - that's all that matters to me. MAN How can you pretend that you love God when you're about to throw away the most precious thing he gave you? Life is a gift, you should know that by now Jeanne - a gift from God. You know what He'd say to you, if He was here? `` What are you doing to me, Jeanne?'' Jeanne is lost, exhausted, numbed. She gazes into the void, contemplating the fall. JEANNE You're right. I should n't do that. The Man suddenly pushes her so that she nearly falls. MAN That's too easy. One minute you want to die, the next you want to live. -LRB- again pushes her. -RRB- Do you think that life is a toy that can be played with and then broken when you do n't want it anymore? JEANNE No, no. I'm just so tired, and lost, and. I did n't realize what I was doing! He pushes her again. MAN Oh? And just because you realize now, everybody else should forgive you?! JEANNE I do n't know - I do n't care anymore - I just want to be at peace! MAN Oh, so you do n't want war anymore? You want to be at peace? You want to be able to change your mind anytime you feel like it and expect everyone to go along with it? JEANNE I do n't understand. What do you want from me? MAN I told you already. I'm here to set you free. Again the Man pushes her! This time she loses her balance, and with a startled cry falls from the ledge - plunging down, down - and crashing into the frozen moat! Two castle GUARDS on watch are alerted by the SOUND of splintering ice. Jeanne is drowning, barely able to cling to the broken ice around her. The first Guard to reach the moat tests the surface with his foot. GUARD #2 Do n't try - you'll fall through! The First Guard lies flat to spread his weight, then crawls toward Jeanne. GUARD #1 Good God, it's the prisoner! The Second Guard glances up at the tower ledge far above. GUARD #2 If she jumped from up there, she's dead for sure! forget it. The First Guard reaches the edge of the hole just as Jeanne disappears beneath the water. He plunges in his hand and grabs her hair, pulling her head back above the water.","INT. CORRIDOR - CHINON CASTLE - DAWN Aulon races along castle corridors until he reaches a door, guarded by two burly Guards. GUARD The king is occupied! AULON Out of my way!","INT. THRONE ROOM - CHINON CASTLE - DAY Aulon bursts into the room to find Charles, Regnault and Tremoille in conversation. CHARLES My dear Aulon. -LRB- dismissing Guards. -RRB- That's fine. AULON Jeanne's been badly injured! She jumped from the top of a tower into a frozen moat! Charles shivers at the thought. CHARLES It's a miracle she's not dead! AULON We have to do something before she tries it again! I beg of you, my lord, do n't let her down. let me organize an escape. CHARLES Jean, it's. it's not so easy. AULON But not impossible. Gilles and La Hire are ready to risk everything to save her. CHARLES Jean. me dear, loyal Jean. why do you want to oppose the will of God? Jeanne wanted to go to Compiegne - we let her - she got caught. Then, on my personal orders, Regnault proposed 30,000 crowns for her ransom, and once again the answer was no. And now you say she tried to escape, and the answer is still no. Jean, open your eyes - ca n't you see the hand of God in all this? AULON No. I see the hand of Tremoille, and Regnault, and Yolande, and you. and they are dirty hands. REGNAULT How can you speak such treachery when his majesty has done everything to try and save her? AULON Because I was at this door when you planned to betray her. and I was at Compiegne when she was betrayed. Charles, Tremoille and Regnault are speechless. Tremoille breaks the silence - TREMOILLE Guards! Arrest this traitor! The Two Guards turn on Aulon, who readily dispatches them with his sword. Tremoille hides behind Charles just as Aulon pins the King with the tip of his sword against his windpipe. It would now be an easy matter for Tremoille to push Charles onto the tip of Aulon's sword. AULON What do you fear most now. my sword? -LRB- eyeing Tremoille. -RRB-. or his hands? CHARLES Tremoille. do n't. Please. Tremoille hesitates a beat. Still holding the tip of his sword at Charles' throat, Aulon motions to Tremoille. AULON My sword is long enough for both of you. Sweating now, Tremoille eases himself from behind the King's back. Charles exhales with relief. AULON I have always been loyal and true to you, but my allegiance is now at an end. From now on, my loyalty belongs to Jeanne. and Aulon runs from the room, leaving Charles, Tremoille and Regnault in a state of shock.","EXT. CHINON CASTLE - DAY Aulon gallops away from the castle.","EXT. ROUEN CASTLE - DUSK The great castle of Rouen, vast and bleak, silhouetted against the dusk.","INT. ROUEN CASTLE - CORRIDOR - DUSK A Guard leads a group of wealthy - looking visitors along a dank, dark corridor. GUARD so do n't say I did n't warn you! Do n't touch her whatever you do - do n't even stretch out your hand or she'll have one of your fingers off sooner than spit at you! WOMAN #1 As savage as that, is she? GUARD Savage? She's a monster! At Orleans they say she drank her victim's blood! WOMAN #2 Oh, it's too horrible! The woman's escort takes advantage of the situation. MALE Do n't worry, my sweet - I'll have my sword at the ready. They reach the door, and the Guard fumbles for the right key. The Duke of Bedford brings up the rear, escorting his wife Anne, who is visibly pregnant. DUCHESS Do n't you think this visit is a little. inappropriate? BEDFORD My dear, it's our duty. she's our guest! The Guard unlocks the door, and the Group cautiously enter.","INT. JEANNE'S CELL - ROUEN CASTLE - NIGHT The visitors glance about, but the cell appears empty - until they look up. An iron cage is hanging from the middle of the ceiling. In the center of the cage is a body, dressed in rags and curled up like a wounded animal. BEDFORD Wake her up so we can see her face! The Guard takes his cudgel and pokes her through the bars. GUARD Hey, wake up. we got noble guests - do n't disappoint them - turn round! He prods her in the ribs, and she turns to avoid further pain. Her face is swollen, her mouth parched, her eyes full of grief. The Duchess is stunned. GUARD Now she's sleepy but you wait and see - any moment now and she'll start speaking to her devils, and then she'll get to yelping like a wolf in heat! The other night she made her cage spin round so fast we thought she was going to fly away! WOMAN Oooo. she gives me creeps. GUARD Do you want her to stand up so you can get a better look? DUCHESS No. But get her out of this cage and give her a decent bed. The Guard looks stunned. The Duchess turns to her husband. DUCHESS I'm sorry, but this child is being treated like an animal! Do n't you think that whatever her crimes may be, she deserves a little more of our charity? BEDFORD -LRB- whispering lightly. -RRB- She's not a child, my dear - she's a witch.","INT. COURTROOM - ROUEN - DAY Cauchon enters a large, gloomy courtroom and sits down, surrounded by clerics, assessors, doctors of theology and other churchmen. CAUCHON Let the prisoner be brought in. The door opens and Jeanne is led in, her wrists and ankles fettered, her face pale and drawn. She stands in the center of the room, isolated, alone. A scribe dips his quill in the ink and prepares to write on a blank sheet of parchment. CAUCHON Our most serene and Christian King Henry the Sixth, King of England and France, has handed this girl over to us, accused of a number of heretical deeds, to be tried in a matter of faith. Jeanne is hustled closer to Cauchon, who leans forward, peering at her intently. CAUCHON Take the Holy Gospels in your hand and swear to tell the whole truth concerning everything you will be asked. JEANNE I do n't know what you're going to ask me questions about. You may ask things that I wo n't want to answer. Jeanne's boldness takes everyone somewhat by surprise. CAUCHON You will swear to tell the truth about whatever you are asked. JEANNE I will willingly swear to tell the truth about earthly things, but as for my revelations, I've never told anyone except my king. Charles the Seventh. the one and only king of France. There is murmured dissension among the judges. We now see that the Duke of Bedford is also in the room, together with a small coterie of English observers. Cauchon is impatient. CAUCHON You must take the oath! Not even a king, would refuse to take an oath to tell the truth in a matter of faith. JEANNE I will willingly swear to tell you what I am allowed to tell you, but as to the rest, even if you threaten to cut off my head, I still wo n't tell you. Cauchon looks confused - and aware that his authority is slipping. The judges and theologians are getting agitated. CAUCHON So. begin by telling us your name - assuming you're allowed to tell us that much? JEANNE My name is Jeanne. My little cross I had round my neck was taken away from me. I would like to have it back. The Duchess touches the gold cross she has around her neck. CAUCHON Show us a little more cooperation first. Where were you born? JEANNE In a village called Domremy. CAUCHON How old are you? CAUCHON Nineteen. or thereabouts. CAUCHON Were you baptized? JEANNE Yes. In the church at Domremy. CAUCHON Recite the Lord's Prayer. JEANNE Not unless you hear my confession. Cauchon is getting impatient. CAUCHON Jeanne, listen to me very carefully. We are all men of faith, and we shall earnestly strive for the salvation of both your soul and body as though it were our own. We do so in the name of our Holy Mother Church, who never closes her arms to those who would return to her. But we can not help you unless you submit to our learned judgment and authority. Take heed of this charitable admonition, for if you persist in refusing our help, then we shall have no choice but to abandon you to the secular powers, and I think you know well enough the punishment that would await you. So now. will you please recite Our Lord's Prayer? JEANNE Not unless you hear my confession. The clerks and judges grow agitated, though we sense a few are already beginning to warm to her, not least the Duchess. CAUCHON Jeanne - be careful - you're not helping yourself by refusing to submit to our judgment. JEANNE And you be careful, you who claim to be my judges, for you too will be judged one day! The court explodes in protest, with cries of `` Blasphemy!'' `` She's possessed!'' `` An infected limb!'' `` Sorceress!'' Cauchon hammers on the table to restore order, calling out - CAUCHON Guards! Take the prisoner away! Clear the room! Armed Guards hustle the clerics from the room while Jeanne is led away, watched by the Duke and Duchess of Bedford. Bedford turns to his aide -LRB- Buck -RRB- - BEDFORD I count on you to have it done. BUCK Uh. to have what done? BEDFORD I want her burned. BUCK As you say, sir.","INT. ANTECHAMBER - ROUEN CASTLE - DAY The assessors look extremely uncomfortable, not least Pierre Cauchon, who does his best to conceal it. CAUCHON Well. in the future I think we should conduct our enquiries in private - away from public pressure - so we can all be more. level - headed. ASSESSOR #1 I think the church should wash its hands of this whole business. ASSESSOR #2 Let the English burn her if they want to. why does it have to involve us? Buck enters the room as an old Priest walks over. CAUCHON Because it's. it's our clear duty to root out heresy wherever it occurs. -LRB- to the Old Priest. -RRB- Father Vincente. you are the most venerable among us, what do you think? OLD PRIEST I think this trial is a masquerade, and I wo n't be part of it anymore. I am willing to be her judge, but not her executioner. This young girl seems courageous and pious. she deserves to be well judged. The Old Priest walks toward the door. CAUCHON That's what I'm trying to ensure! OLD PRIEST The verdict comes at the end of a trial, Cauchon, not at the beginning. I am going back to Rome, to give me report to our Holy Father the Pope. CAUCHON This is ridiculous! Now I'm the one who's on trial and being judged?! OLD PRIEST Yes. exactly as Jeanne predicted. The Old Priest heads for the door, followed by the other two. Buck calls out to the Guards. BUCK Arrest them! CAUCHON What are you doing? This is an ecclesiastical court - you have no right to do this! BUCK Rouen is in English territory. I have the right to do anything I like. -LRB- to guards. -RRB- Take them away. Ignoring their protestations, the Guards hustle them away, leaving the others in a state of high anxiety.","INT. CELL - ROUEN CASTLE - NIGHT Jeanne is in her cell, facing the wall and frantically scratching it with her nails. She is engraving a cross, and her nails are covered with blood. She is now kneeling in front of her cross, racing through The Lord's Prayer as though on the run from the Devil. JEANNE Our father who is in heaven hallowed be thy name thy kingdom come in earth as it is in heaven forgive them that lead. forgive us that lead them. as we forgive them that. oh God, do n't cut yourself off from me like this. I do n't know what I'm meant to say or not say anymore. I do n't even know what to think. oh, God, I'm so lost. do n't abandon me like everyone else. please, I beg of you. at least say you can hear me! Tell me you hear me! Why wo n't you answer me? Please, I beg of you - ANSWER ME! Suddenly `` the Man'' comes out of the wall, kneeling in front of her and violently hitting his forehead against hers - MAN Why were you yelling like that?! JEANNE What are you doing here? -LRB- urgently. -RRB- Please. leave. you ca n't stay here. MAN Why? Are you waiting for someone else? JEANNE Yes! MAN Who? Jeanne hesitates. JEANNE My. visions. MAN They're going to come and visit you in here? JEANNE Yes. that's what I pray for! MAN I want to see that. Do you mind if I stay. on the side? I wo n't bother you. JEANNE No, no - you ca n't stay or they wo n't come! MAN Why not? JEANNE Because. I have to be alone! He smiles regretfully. MAN They wo n't come anyway. JEANNE What do you mean, they wo n't come? MAN Why would they? JEANNE Because! Because I've always been faithful to God, and I've followed everything he said. and I've done everything he asked me. MAN God asked you to do something? JEANNE Yes. lots of things! MAN You mean God said, `` I need you, Jeanne?'' JEANNE No, but. he sent me so many signs! MAN What signs? JEANNE Like. like the wind. and the clouds. and. the bells. and what about that sword lying in the field. that was a sign! MAN No. That was a sword in a field. JEANNE But. it did n't just get there by itself. MAN True - every event has an infinite number of causes - but why pick one rather than another? There are many ways a sword might find itself in a field. FLASH : A group of soldiers on horseback trot across the field of Jeanne's childhood. The last soldier's sword is coming loose, and ends up falling into the long grass. MAN Seems a perfectly valid explanation. but how about this one. FLASH : Two young children are hurrying with the sword when an old man calls them from far away - OLD MAN Hey, you little devils - come back! The two children drop the sword in the long grass -LRB- in the same spot as before -RRB- and run off. MAN But then again, there are other possibilities. FLASH : A man is being chased across the field by a couple of English soldiers out looting. His heavy sword is slowing him down - he flings it into the long grass. MAN or even faster. FLASH : The same man running across the field is suddenly hit by an arrow from nowhere. He drops the sword in the long grass, but manages to stagger off into the forest. MAN and that's without counting the inexplicable. FLASH : A man crosses the field. For no apparent reason whatsoever, he drops the sword and keeps on walking. MAN Yet from an infinite number of possibilities, you had to pick this one. FLASH : A peel of thunder - clouds swirl - a familiar wind stirs the long grass - a fabulous shaft of light illuminates the patch - the sword slowly descends from the heavens and lands gently in the grass. Mission accomplished, the shaft of heavenly light disappears. Jeanne is bewildered. MAN You did n't see what was, Jeanne. You saw what you wanted to see. speechless.","INT. SMALL COURTROOM - ROUEN CASTLE - DAY We are now in a smaller, more intimate courtroom. The Duchess of Bedford is at the back, shielded behind the theologians and doctors of the church. Beaupere is questioning Jeanne : a cooler man than Cauchon. BEAUPERE This. `` voice'' that you say appears to you. is it an angel? Or a saint? Or does it come from God? Jeanne is still in shock from her encounter with the Man. JEANNE I wo n't tell you more about that. I'm more afraid of displeasing Him than not answering you. BEAUPERE You're afraid of displeasing God when telling the truth?! JEANNE No. BEAUPERE Did God forbid you to tell the truth? JEANNE No. But my revelations were for the King of France, not for you. D'ESTIVET When you saw your king for the first time, was there an angel over his head? JEANNE If there was, I did n't see it. D'ESTIVET Then why did your king believe in you without any proof? JEANNE Go and ask him yourself. CAUCHON Jeanne, you are not helping yourself. If you do n't answer our questions properly, your refusal will be taken into account. JEANNE These questions have nothing to do with your trial. CAUCHON I assure you they do. So. answer me. when was the last time you heard this voice? JEANNE Not long ago. CAUCHON When exactly? A day, a week - when? JEANNE Last night. This takes the assessors by surprise. Cauchon leans forward. CAUCHON What were you doing when the voice came? JEANNE Praying. CAUCHON The voice was in your cell? JEANNE Yes. CAUCHON What did it tell you? JEANNE Many things. CAUCHON Did it give you advice? -LRB- Jeanne hesitates. -RRB- Good advice? Jeanne hesitates. JEANNE Go onto the next question. BEAUPERE Good advice for the French, not for the English! Do you think God hates the English? JEANNE I do n't know, but you're all men of the church. why not ask Him yourself? Cauchon tries to continue, but another theologian - JEAN MIDI - gets in first. JEAN MIDI Do you consider yourself to be in a state of grace? Jeanne looks perplexed. a beat. JEANNE Go on to the next question. Cauchon seizes his opportunity. CAUCHON Tell us, Jeanne. do you often hear this voice? JEANNE Yes. CAUCHON Is it here? Now? In this room? Jeanne slowly looks at the assessors, staring at each in turn. They all look acutely uneasy, holding there breath. JEANNE No. Relief from the assessors, but Buck is far from happy.","INT. ANTECHAMBER - ROUEN CASTLE - DAY Buck paces in front of Cauchon and a dozen clerics. BUCK Who's running this trial, you or her? I ca n't believe it! This wretched girl - how dare she speak to us like that? CAUCHON She's loyal to her king. it's only to be expected that she. Buck explodes with fury - BUCK There is only one king of France and that's our liege Lord Henry the Sixth! It is written in black and white in the Treaty of Troyes - that you French bastards signed! Buck presses a digit against Cauchon's sweaty forehead. CAUCHON I understand your impatience, but if you want this trial to be acknowledged as legal we must follow correct procedure and. BUCK To hell with procedure! We paid a bloody fortune for this slut, and we can do whatever the hell we like with her, whether the church likes it or not - is that clear? CAUCHON But if this trial seems fixed, I fear you'll have the very opposite result to the one you want. BUCK We want her burned as a witch! CAUCHON But in order to do so, the church must first prove her heresy, or else you'll be burning a martyr. BUCK Well then? Start proving. or else the church will have another martyr! Buck storms out, slamming the door behind him.","INT. SMALL COURTROOM - ROUEN CASTLE - DAY Instruments of torture are brought into court by the Executioner, who lays them out with due ceremony. D'ESTIVET You told us about the appearance of this. voice. What exactly did you see? Part of it. or all of it? JEANNE His face. D'ESTIVET Does he have hair? JEANNE Yes. D'ESTIVET Is it long and hanging down? JEANNE I'm more interested in what he says, not what he looks like. D'ESTIVET But if the devil were to take on the physical appearance of a saint or an angel. or a man. how would you recognize him? By what he said? JEANNE Go on to the next question. D'ESTIVET That's enough! You will answer the question. or face the consequences! A beat. the Executioner readies. JEANNE If you were to tear me limb from limb and make my soul leave my body, I would tell you nothing more. And if I did say anything, then afterward I would simply say that you dragged it out of me by force. Now. please. go onto the next question.","INT. SMALL COURTROOM - ROUEN CASTLE - DAY CUT TO another session. JEAN LE MAISTRE Who told you to wear men's clothes? JEANNE The clothes are not important. JEAN LE MAISTRE You also cut your hair short like a man, and in the Bible it clearly states that it is an abomination for a woman to pretend to be a man! It proves your desire to deceive. JEANNE It was just. more convenient as I was among soldiers. JEAN LE MAISTRE So you think you did well to cut your hair and dress as a man? JEANNE I. submit to Our Lord. JEAN LE MAISTRE But will you also submit to the decision of the Church? JEANNE It seems to me that the Church and Our Lord are one and the same. Why must you complicate what is so simple? Jean Le Maistre looks at Cauchon for help. CAUCHON Let me clarify things for you, Jeanne. On the one hand there is the Church Triumphant, that is to say God, his saints, and the souls that are saved. And then there is the Church Militant, that is to say our Holy Father the Pope, the cardinals, the prelates of the Church, the clergy, and all good Catholic Christians. Moreover this Church, when assembled, is guided by the Holy Spirit and therefore can not be in error. That is why we ask you to submit to the Church Militant. that is to say, us. JEANNE So it is the Church Militant that refuses to confess me, and so prevents me from being a good Christian? Cauchon bridles his temper. CAUCHON It is for us to determine whether you are a good Christian, not you. JEANNE I am sent by God, and I submit all my words and deeds to His judgment. Or do you think that you are better judges than He is?","INT. SMALL COURTROOM - ROUEN CASTLE - DAY and another session. MAITRE MAURICE When you were taken prisoner at Compiegne, did you have a horse? JEANNE Yes. a half - steed. white. MAITRE MAURICE Who gave you that horse? JEANNE My king. MAITRE MAURICE How many did he give you? JEANNE Five steeds and a few hackneys. MAITRE MAURICE As much as for a Lord? What an honor! Did your king give you other wealth apart from horses? JEANNE No. MAITRE MAURICE What about all those dresses you were given. silk dresses were n't they? JEANNE Yes, I was given a few, but I never had time to wear them. MAITRE MAURICE Still, pretty wealthy for a peasant girl would n't you say? JEANNE And you look pretty wealthy for a servant of God, would n't you say? Maitre Maurice looks uncomfortably about him. She's right. BEAUPERE Is it true that you launched an attack on Paris? JEANNE I tried to. BEAUPERE It was on a Sunday, was n't it? JEANNE I do n't remember. Maybe. BEAUPERE Do you think is was a good idea to launch an attack on a holy day? JEANNE I do n't know. BEAUPERE And did n't you order the citizens of Paris to surrender the city in the name of the King of Heaven? JEANNE No. I said `` Surrender in the name of the King of France''. BEAUPERE That is not what is written in the evidence. look for yourself! Beaupere thrusts a document in her face. JEANNE I ca n't read. BEAUPERE Ah, yes, I forgot. God sent us an illiterate peasant to carry out such an important mission! Do you think that God made the right decision, to take an ignorant girl to save the kingdom of France? JEANNE I leave the answer to God. Beaupere is exasperated. A sly - looking Theologian speaks up. JEAN MIDI Tell us, Jeanne. why did you jump from the tower at Beaurevoir? JEANNE I had been sold to the English. I'd rather die than fall into their hands. JEAN MIDI Did your voice tell you to jump? JEANNE No. JEAN MIDI So when you jumped, you wanted to kill yourself? JEANNE No! JEAN MIDI How can you deny it when you just said `` I'd rather die than fall into the hands of the English''? JEANNE That's now what I meant. JEAN MIDI Do you not know that suicide is a very grievous sin? No one is allowed to destroy the life that God created! JEANNE I know, but that's not the way things happened. JEAN MIDI You mean it was not of your own free will that you were on the ledge? JEANNE Yes, but. JEAN MIDI And you did n't jump of your free will? JEANNE No! JEAN MIDI -LRB- making fun of her. -RRB- Oh? Perhaps someone pushed you then? They laugh. Jeanne lowers her head.","INT. SMALL COURTROOM - ROUEN CASTLE - DAY Yet another weary session. BEAUPERE Do you have a sword? JEANNE Quite a few. BEAUPERE Did n't you also carry a banner? JEANNE Yes. BEAUPERE Which did you prefer, your banner or your sword? JEANNE I was forty times more fond of my banner than my sword. BEAUPERE And why was that? Did it have some particular value or power? JEANNE No, it's just. a sword is a weapon. BEAUPERE And? JEANNE And so I. I prefer my banner. BEAUPERE Why? JEANNE To avoid killing anyone. BEAUPERE Are you saying that if you had not been carrying your banner you'd have killed more people? Jeanne is losing her confidence. JEANNE No, of course not. I never killed anyone. BEAUPERE Then perhaps the temptation to kill would have been stronger. too strong perhaps? JEANNE No! I warned the English to go back home - I begged them not to force us to fight - they knew the defeat I would bring on them. why did n't they listen to me? BEAUPERE We have numerous witnesses who can confirm that you were not always carrying your banner. JEANNE Yes, probably. maybe. BEAUPERE So sometimes you were carrying just your sword? JEANNE Yes, but. BEAUPERE Did you use the sword that you held in your hand? JEANNE No, I. I held it up to. BEAUPERE You held up your sword and flourished it about in the air? Like this? JEANNE Yes, maybe. I do n't remember. BEAUPERE so you were in the middle of the battlefield, with your sword in your hand, waving it above your head. charging against the enemy, screaming and yelling. fighting for your life. and you want us to believe that in the middle of all this excitement you never killed anyone? JEANNE No, I. I never killed anyone! MAN -LRB- O.S. -RRB- I ca n't believe you can lie like that!","INT. JEANNE'S CELL - ROUEN CASTLE - NIGHT Jeanne's fetter is once again attached to her chain, and she's walking in circles, trying to escape `` the Man''. JEANNE I'm not lying, I. I ca n't remember. leave me alone! MAN Oh? You ca n't remember? Let me help your memory. FLASH : an Englishman is skewed during the battle of Orleans. JEANNE No! I do n't want to know anymore! Leave me alone! I did n't kill that man! MAN Oh no? How about this one? FLASH : another English soldier is killed. MAN Or this one? FLASH :. and another. JEANNE Stop, stop. I ca n't remember! The battles were all so confusing. there was so much smoke, dust, noise. I was being attacked on all sides, so. maybe. perhaps I fought back but it was only to defend myself. MAN So your memory's coming back? JEANNE Yes. yes! And now you tell me why God let all these battles happen in the first place. if he's so powerful. he said he's `` the creator of heaven and earth, the source of all life.'' he could have easily stopped all this blood and misery? Why did n't he? MAN Is he the one who spread all this blood and misery? JEANNE No, but. why did n't he stop it? Or did he get pleasure, watching us killing each other in his name? MAN In His name? JEANNE Yes! We fought and killed in His name. the King of Heaven! MAN Really? FLASH : Jeanne is seated in her saddle before Orleans, raising her standard with the cry - JEANNE Let all who love me follow me! Back in Jeanne's cell : MAN `` Let all who love me follow me''. Where does God get mentioned? -LRB- Jeanne is cornered. -RRB- Come on Jeanne, be honest. You fought for yourself, in your name. JEANNE I. I was defending myself as best I could! Everyone has the right to defend themselves, do n't they? Or should I have let myself be killed? MAN No, no, you did fine. I'd even say well done. Besides, most of the ones you killed probably deserved it, do n't you think? JEANNE No, I do not think so. I do n't think that killing each other will ever bring peace. MAN I agree. FLASHBACK : Jeanne telling Charles - JEANNE Peace will only be got from the English at the end of a lance! The Man looks at Jeanne, who is becoming unnerved. MAN I do n't agree. Why do you have to keep changing your mind all the time? JEANNE Why are you doing this to me? Do you get pleasure from hurting me? MAN Ah, pleasure. that's a difficult word to define. When does the pain end and the pleasure begin? When did your pleasure begin with that sword in your hand? JEANNE I never took pleasure in hurting anyone? MAN Really? FLASH : In EXTREME SLOW MOTION, Jeanne's face contorts - a look of madness as she sweeps a sword across the SCREEN. JEANNE Nnnnooooooooo! Jeanne covers her face with her hands, sobbing in despair. JEANNE Help me. please. set me free! The Man seems genuinely compassionate. MAN You will be, Jeanne. You will be.","INT. HALLWAY - ROUEN CASTLE - DAY A hooded Priest moves along the hallway, stopping in front of the Guard. He shows him his `` pass'' - a heavy seal. The Priest is Aulon in disguise. The Guard looks at the seal. AULON I'm replacing Father Demaury. He's become very sick. GUARD It's amazing how many people have become suddenly very sick since the beginning of this trial. it must be this witch casting spells on them. Burn her! No doubt Aulon would like to stab the Guard right there, but thinks better of it. AULON I'll do my best. Aulon enters the court room.","INT. COURTROOM - ROUEN CASTLE - DAY - and sits on a bench, doing his best to look inconspicuous. He guardedly glances at Jeanne who seems to be asleep on her feet. Beaupere is whispering to Cauchon, document in hand. Beaupere beckons to the Guard. BEAUPERE Wake her up. The Guard pokes Jeanne in the ribs. She seems almost used to this kind of treatment, but is weaker. Aulon seethes with impotent rage, hidden behind his hood. JEAN MIDI So. let us summarize your situation. You refuse to submit to the authority of the church militant by taking an oath ; you made an assault on Paris on a Sunday ; you hurled yourself down from the tower at Beaurevoir, and you persist in wearing male dress. I ask you again : do you believe that you are in a state of grace? Jeanne takes a deep breath. JEANNE If I am not, may God bring me there. If I am, may He keep me there. The admiration of the assessors is almost tangible.","INT. ANTECHAMBER - ROUEN CASTLE - DAY Buck sweeps everything off the table in a fit of anger. Alone with him, Cauchon looks troubled. CAUCHON Calm down, my lord, I beg you! BUCK How can I calm down when I'm made the laughing - stock of the whole court?! I've had enough! CAUCHON Be patient, my lord. you've seen how it is. This girl has a way with people. but everyday we're making progress. BUCK So long as this bitch remains alive, our armies refuse to fight! Do n't you understand? They want proof that God is on their side. and the only way they're going to believe that is when they see her being burnt as a witch! Buck takes a mug and pours himself some wine, but the carafe is empty. CAUCHON It is not for us to burn her, my lord. That is your prerogative. BUCK and your prerogative is to find her guilty. CAUCHON But we ca n't do that unless she admits to blasphemy. BUCK Well what are you waiting for? You've got a castle full of racks and ropes and pulleys : go and torture the bitch! Cauchon takes out his own personal hip - flask, his hand visibly trembling as he pours Buck some liquor. CAUCHON You wo n't be able to drag anything from her that way. You also must realize that many of my colleagues are. well, scared. BUCK Scared of a girl? CAUCHON Scared to make a mistake. Supposing she's right. supposing she really has been sent by God? Buck narrows his eyes. BUCK Whose side are you on, Cauchon? CAUCHON I'm on the side of our Mother Holy Church. Besides, a confession under torture will never convince anyone of her guilt. BUCK Well find some other way! Be creative. Tell them she fucks the devil. Hmm, not a bad idea. why ca n't you say that? Sounds good to me. and who can prove she does n't? Buck drains the liquor. CAUCHON One small problem, my lord. The girl is a virgin. Buck has a horrible glint in his eye. BUCK That is a very small problem.","INT./ EXT. JEANNE'S CELL/COURTYARD - ROUEN - DAY Jeanne is smoothing food into the cross she scratched into the wall. She does it with great care, as though painting. The Man appears in the background, watching her. MAN What are you doing? Jeanne is delighted and relieved to see him. JEANNE I - I cleaned up my room, look. and I said my prayers. all of them. and. MAN What are you doing on the wall? JEANNE I'm trying to make my cross look more beautiful. MAN What for? JEANNE Because. because I do n't know what else to do to please him. MAN Do you think this cross will protect you? JEANNE No, I. Jeanne looks helpless. The Man smiles, turns and looks out of the window. MAN Look at them. with their beautiful cross. Far below in the courtyard, a Priest is blessing a dozen soldiers and their wooden cross. MAN The sight of priests blessing entire armies before they go off to kill each other never ceases to amaze me. And that these massacres should be recorded as acts of faith in God's name. -LRB- no reaction from Jeanne. -RRB- And they think that making a beautiful cross or building a cathedral will wash away their sins. ridiculous! Just like that priest who accused you of fighting on a Sunday. Did God give permission to kill each other for the rest of the week? In the courtyard, the soldiers mount their horses. JEANNE `` Love your enemies''. MAN -LRB- a satisfied smile. -RRB- Good. But `` love your enemies''. body and soul. Jeanne nods, knowing the truth but still not prepared to admit it. JEANNE My voices. my voices. do you think they will ever come back? MAN I do n't think so. JEANNE Are you going to leave me too? MAN Yes. of course. when you do n't need me anymore. JEANNE Are you sent by God? FLASH : to Jeanne at Orleans. WOMAN But you've been sent by God! JEANNE So has everyone. Back to the Man : MAN So has everyone. Jeanne looks at him - then at her cross - then back at the soldiers in the courtyard below. With a lusty cry, they set off at a gallop, blessed and ready for battle. JEANNE There's nothing for me to do here anymore. I do n't belong here I want to be with Him now. MAN Do you think you are ready? Jeanne stands up. comes and kneels before him, kissing his hands. JEANNE Yes I am. MAN Are you willing to follow all His commandments? JEANNE Yes. MAN to love your enemy as much as you love yourself? Jeanne hesitates a moment - a short amount of time, but enough for a lie to slip in. JEANNE Yes. I'm ready now. The Man smiles. MAN Let's see. She hears approaching footsteps. the SOUND of keys jangling. a lock turns - - and the three SOLDIERS walk into the room. The first one has a familiar black beard. BLACKBEARD Now that's what I call booty! He is none other than her sister's rapist and murderer. Jeanne reacts in terror. JEANNE Oh no. BLACKBEARD -LRB- undoing his belt. -RRB- We thought you must be pretty bored in here, so we've come to liven you up a bit. right, lads? JEANNE Please - do n't do it - do n't hurt me - BLACKBEARD Of course not, sweetheart. if you promise to do as I say. Blackbeard caresses her cheek and tries to force her legs apart, but she resists - whispers imploringly. JEANNE Where are you? Do n't leave me. please. BLACKBEARD Hey, come on. open up! His two comrades egg him on. Jeanne struggles even harder, and Blackbeard suddenly becomes violent. He grabs her by the throat, thrusts her against the bed and tears off her clothes. Jeanne suddenly goes berserk, yelling and thrashing like a cornered animal. BLACKBEARD Stop screaming like that! You'll wake up the whole bleedin' castle! Blackbeard clamps his hand over her mouth, whereupon Jeanne summons hidden reserves of strength, and in a sudden surge manages to clamp her chains around Blackbeard's neck. she presses down on the chains, choking him, strangling him! The two other soldiers come to Blackbeard's rescue and manage to haul her off. Blackbeard gropes his throat, then belts her across the face. BLACKBEARD Ah, so you want to play it rough? Good. I like it better that way! He pulls out a knife and starts to tear at her clothes while the two others hold her down. Jeanne struggles for her life - yelling, spitting, biting, scratching - Blackbeard is too excited to pay any attention. Nor does he notice the door open and the Duchess enter with the Guard. DUCHESS Stop that at once! That's an order! But to Blackbeard, it could be Jeanne speaking. The Duchess, in her nightgown, grabs Blackbeard by the shoulders. DUCHESS I command you to stop, in the name of the King! The mention of the King jolts Blackbeard to attention. DUCHESS Leave her alone, do you hear? Come on, get out! The three soldiers back sheepishly away. BLACKBEARD We were just having a little fun, that's all, keeping her company. DUCHESS Men like you are the cause of our country's dishonor! BLACKBEARD We were serving our country. just obeying orders, ma'am. The Duchess does n't want to hear more. DUCHESS Go on, get out of here! The Guards hustle the three soldiers from the room, but not before Blackbeard has mumbled - BLACKBEARD See you later, angel. The soldiers leave and the Guard bolts the door behind them. Jeanne curls up on her bed, destroyed, humiliated, lost. The Duchess caresses her face and does n't know what to do to comfort her. The Guard brings a blanket - probably his. JEANNE Thank you. She wraps the blanket round Jeanne, and presses the little cross back in her hand. DUCHESS This wo n't happen again, I give you my word.","INT. ROOM - ROUEN CASTLE - DAY The Duchess storms into a room where Cauchon is talking with Bedford and Buck. She walks up to him. BEDFORD And. What a pleasant surprise. and slaps him across the face as he has never been slapped before. DUCHESS You should know that each humiliation you inflict on this woman, you inflict on all women, including yours my lord. BEDFORD Wha. what on earth are you talking about? DUCHESS If you send anymore of your soldiers to Jeanne's cell. I will kill them myself. The Duchess turns and sweeps past Cauchon, leaving Bedford staring at Buck who looks decidedly embarrassed. Bedford turns to Cauchon. BEDFORD I'm giving you one more day. Then he turns and leaves.","EXT. CEMETERY OF ST. OUEN - DAY A masked Executioner stands beside a stake, piled high with faggots. Jeanne, her hands bound, stands nearby, facing a podium filled with the usual assembly of priests and prelates, headed by Cauchon. He rises to address Jeanne. CAUCHON Jeanne, my very dear friend in Christ, we, your judges and assessors, desirous of reaching a true and lawful verdict, submitted a transcript of your trial to the University of Paris in order to obtain their opinion. After careful consideration, the learned scholars have concluded with us that you have committed many grievous sins, and I ask you to listen most carefully to their opinion as contained in these articles. Cauchon hands a manuscript to one of the assessors, Canon Pierre Maurice, then resumes his seat. Among the monks we spot Aulon, who slowly tries to make his way toward Jeanne. MAURICE Article One. You have said that from an early age you have had revelations from the blessed saints and angels, that you have seen them with your own eyes, and that they speak to you. As to this article, the learned scholars have declared that these claims are untrue, pernicious and evil, and that all such revelations are superstitious, and proceed from the devil. The Duke of Bedford and his English peers are in a separate stand, guarded by English soldiers. The cemetery walls and the branches of trees beyond are crowded with spectators. The English are impatient to carry out sentence, but Maurice is not a man to be intimidated. Jeanne seems hardly aware of what is being said. MAURICE Article Two. You said that by God's command you have continually worn men's clothes, and that you have also worn your hair short, without nothing. From Jeanne's POV, Maurice's drone FADES, and the crowd seems to disappear. She whispers in agony. JEANNE My lord. do n't abandon me. where are you? Is this what you want? You want me to burn? To burn without being confessed? I'll do anything you want. but do n't leave me. Jeanne is completely alone in the middle of the cemetery. Only the graves, the stakes, and the moaning wind. JEANNE Do n't leave me here. please. do n't leave me alone! Suddenly the crowd is back, with Maurice droning on. MAURICE Finally, Article Twelve. You have said that you are not willing to submit yourself to the judgment of the Church Militant, but only to God. As to this Article, the scholars say that you have no comprehension of the authority of the Church, that you have perniciously erred in the faith of God, and that you are a child of superstition, a wanderer from the Faith, an invoker of demons, a sorceress, an idolater and a heretic! Maurice resumes his seat while Chatillon approaches Jeanne. CHATILLON Jeanne, we once again admonish, beg and exhort you to cast out and recant your erroneous beliefs, and return into the way of truth by submitting yourself to the authority of our Mother Holy Church by signing this recantation. Jeanne looks at the parchment in confusion. JEANNE If the church wants me to say that my visions are evil, then I do n't believe in this church and I submit myself to the judgment of God! Chatillon throws up his hands in despair. Bedford is brimming with anticipation. He calls out to the Executioner : BEDFORD Perform your office! The Executioner turns to Jeanne, but before he can take hold of her, Cauchon strides over - CAUCHON Wait! Cauchon grabs the document from Chatillon and holds it up to Jeanne. CAUCHON Jeanne, I beg of you. sign! -LRB- Jeanne looks dazed. -RRB- In God's name, do n't you understand? I'm trying to save you! If you do n't sign, the English will burn you to death! Is that what you want? JEANNE No. I want to be confessed. Cauchon hands her a quill. The English are getting agitated, heckling Cauchon to hand her over, but the spectators in the trees and on the wall are urging her escape the pyre by signing. Jeanne begins to waver. CAUCHON Sign this, and I will confess you myself if you want. JEANNE And may I go to Mass? CAUCHON As often as you like - now, please - for the love of God - sign! Again Jeanne looks about for the Man. but sees only the Executioner, waiting to conduct her to the stake. CAUCHON Sign, and you'll be free from your chains. free from the fire, Jeanne. now. sign! The Crowd begins to chant. Sign, sign, sign! Aulon, who has managed to get closer, joins them. AULON Sign, Jeanne - sign! Bedford is in a panic as Jeanne takes the quill and makes her mark - a wavering cross at the bottom of the parchment. The Crowd cheers, Aulon is ecstatic. but their voices go silent as the Man once again appears from behind Cauchon. MAN You know what you just signed, Jeanne? You just signed away my existence. For you I'm a lie, an illusion. -LRB- Jeanne is horrified. -RRB- You see? In the end, you were the one who abandoned me. JEANNE No. the Man a smile of faint regret and disappears. Jeanne turns to Cauchon. JEANNE Please. may I have it back. CAUCHON You have nothing to regret. She tries to grab it from Cauchon, but soldiers pinion her. JEANNE I did n't mean it! I did n't know what I was signing! You tricked me! CAUCHON Silence her! -LRB- soldier clamps hand over her mouth. -RRB- Take her away! The Soldiers hustle her away as Cauchon walks back to the podium. Aulon is relieved, and yet strangely apprehensive. Cauchon hands the Duke the document signed by Jeanne. CAUCHON There. she has recanted, and we accept her repentance, for the church never closes her arms to those who return to the fold. She's yours to do whatever you want with her, but the church has nothing to do with it anymore. She's your prisoner - your martyr - not ours. Bedford ca n't answer as the Duchess is next to him.","INT. DUNGEON - ROUEN CASTLE - NIGHT Jeanne is flung into a filthy dungeon. Buck appears in the doorway and flings male clothes in her face. BUCK Here. in case you want to get dressed - try these for size! JEANNE He promised I'd be confessed. and go to Mass. and be free from these chains! BUCK We never promised you anything! But this much I can promise you. that you wo n't be leaving this dungeon till the day you die! The Guards laugh, slamming and bolting the door behind her. Jeanne sinks to her knees in grief and anguish.","EXT. ROUEN CASTLE - DAWN Dawn is breaking beyond the distant castle.","INT. CHURCH - DAY Cauchon is alone, lost in his thoughts. A young monk runs in, out of breath. MONK My lord Bishop. come quickly!","EXT. COURTYARD - ROUEN CASTLE - DAY Cauchon and the Monk hurry across the castle courtyard. Aulon sees them pass, anxious at their apparent concern.","INT. DUNGEON - ROUEN CASTLE - DAY Cauchon arrives in Jeanne's dungeon, out of breath. It is full of people : Bedford, his Aide, priests and soldiers. BEDFORD Ah, Cauchon. come to see for yourself? Well, take a look. Beyond them stands Jeanne, her back to us, dressed as a man. BEDFORD You see? Dressed as a man again! Her touching repentance did n't last very long, did it. The Bishop of Senlis was passing by and was on hand to witness her very evident relapse. CAUCHON And by what miracle did these clothes find their way in here? BEDFORD Not a miracle, my dear Cauchon. an evil spell! This girl is a witch, and tomorrow she will burn for it! -LRB- to Buck. -RRB- Have the stake prepared in the market place! Jeanne does n't say a word. She stands with her back to us, gazing up at the dim crack of light bleeding in through the high window - slit. Bedford exits with the others, leaving Cauchon alone with Jeanne. CAUCHON I do n't understand, Jeanne. why did you do it? Why? JEANNE And you? Why did you lie? You promised I could be confessed. CAUCHON I know, Jeanne. it was the only way to save you from the fire! JEANNE It's not my body I want to save. It's my soul. Jeanne turns round, and we see that she is strangely calm, as though a great weight had been lifted from her. She kneels before Cauchon. JEANNE I ask only one thing. to hear me in confession. CAUCHON I - I ca n't Jeanne. I ca n't hear your confession. I'm sorry. He hurries out of the cell. A Guard locks the door behind him, and Jeanne is alone. But not for long. The Man materializes and sits next to her. MAN Do you really want to confess, Jeanne? -LRB- Jeanne nods. -RRB- I'm listening. He turns his back, as the Priest did in the confessional. JEANNE I have committed sins, my Lord - so many sins. As a child, the only way I could help my people was to pray. So I prayed to God and his saints. I prayed more and more, and gave God all my love. but is n't it said that God helps them who help themselves? So I helped myself. and I saw signs. the ones I wanted to see - and I fought, out of revenge and despair. Yes, I was proud - stubborn - selfish - and cruel. I was all the things that humans believe they are allowed to be when they're fighting for a cause. The Man smiles a little, satisfied sigh. MAN You think you are ready now? JEANNE Yes, my lord. MAN Let's see. As he disappears, she hears a noise. turns round and sees a Guard in the doorway. A beat, then the Guard topples forward to the floor, blood oozing from his mouth. Behind him stands a Priest. He pulls a sword from the Guard's body, then throws back his hood. It is Aulon. He runs to Jeanne and takes her in his arms. AULON Jeanne. thank God! He quickly sets about removing her chains from her ankle. AULON We must hurry - I took care of the guard, but others are coming! Jeanne gently caresses his hand. JEANNE I am ready now. AULON Just give me a moment and then you'll be free. JEANNE I'm already free. AULON -LRB- preoccupied. -RRB- Yes yes. any moment. you're always so impatient. Jeanne puts her hand on his to stop him wasting his time. JEANNE My gentle Captain. I'm staying. AULON I - I do n't understand. JEANNE One day you will. AULON You do n't know what you're saying. You're going to leave this place, Jeanne - you're going home - or whatever you want - you're going to be happy, and have children, and. She caresses his face with both hands, smiling at him gently. Aulon continues to talk, but his eyes are beginning to brim with tears. he knows it's useless, that Jeanne has made her decision. AULON and maybe the king will give you some money, and a little land, and a title even. -LRB- smiling through his tears. -RRB-. would n't that be a fine thing? You, a lady of title! JEANNE I'm staying, Jean. AULON No, you must come, Jeanne - we need you - so much has happened since you left. I have a new horse now, a white one, just like yours. and La Hire hardly swears at all anymore. -LRB- crying. -RRB- You ca n't stay - they'll burn you! JEANNE I'm not afraid of the fire anymore. It will purify me. AULON Jeanne, you ca n't leave us like this! Jeanne smiles at him. JEANNE I am at peace now, my gentle friend. at peace with myself. She speaks gently, but with resolution : there is no going back, and Aulon knows it. He hears the distant SOUND of soldiers approaching. Aulon takes Jeanne's face in his hands and kisses her on the lips. A full kiss, the only one and the last one, one which Jeanne neither encourages nor resists. JEANNE You must go. She says it gently but urgently. With tears welling, Aulon tears himself from her sight and disappears. Jeanne is left alone, strangely calm and serene. Slowly she raises her finger - tips to her lips. touches them softly. The Man emerges from the darkness, carrying an ornate Cross on a long pole, bearing an effigy of the crucified Christ. MAN Ego te absolvo, in nomine Patris, et Filii, et Spiritus Sancti, Amen. He stands in front of her, raising the Cross above.","EXT. ROUEN MARKET PLACE - DAY Jeanne, who looks up to see the crucifix rising against a clear blue sky, now held aloft by a Priest. She is bound to the stake, her head shaved. At the base of the pyre, the EXECUTIONER sprinkles the faggots with oil. EXECUTIONER Do n't worry, it's going to be fast. I used plenty of dry wood so there'll be lots of smoke. but do n't forget to breath fast and you'll be dizzy before the flames even get to you. A great CROWD has assembled in the market place. On a podium is the Duke of Bedford, trying to remain impassive. Beside him, the Duchess can barely contain her emotions. Further along stands Cauchon, his eyes lowered, not wanting to see. Still disguised as a monk, Aulon stands close to the pyre, tormented and torn between revenge and despair. Bedford makes a sign to the Executioner, who then takes a torch and sets fire to the brushwood. Flames erupt, and Jeanne's breathing quickens. As thick smoke rises, the Priest begins to cough ; his eyes water, and he can no longer hold up the cross to Jeanne's sight. She begins to panic, her eyes wildly searching. JEANNE the. cross. show me the cross. please. The Priest struggles to hold it up, but the choking smoke drives him back. JEANNE Where. where are you? Jeanne is filled with panic. the Priest is bent double with coughing and can get no closer. JEANNE please. the cross! Suddenly Aulon rushes forward, grabs the cross from the Priest and boldly defies the smoke and flames, risking his life as he holds it high for Jeanne. Finally the cross is visible to her, rising above the flames into a clear blue sky. Her anxiety melts, her eyes fill with tears of hope as she gazes up at the cross. As her eyes close, the image of the cross becomes engulfed with flames. until the smoke finally fills the SCREEN, plunging it into darkness. CUT TO BLACK. THE END"],"string":"[\n \"EXT. CHURCH - DOMREMY - DAY FADE UP on ripples on the surface of a puddle. Slow PAN UP : the water becomes placid, and in it we see the reflection of an inverted CROSS on the top of a small church. We move across the little churchyard and in through the open doors.\",\n \"INT. CHURCH - DOMREMY - DAY Utter simplicity - stone walls, rough - hewn wooden benches, primitive saints in the stained - glass windows - chickens peck among the straw that covers the earthen floor.\",\n \"INT. CONFESSIONAL BOX - CHURCH - DAY A little wooden grill slides open and the friendly face of the village PRIEST peers at us. He glances about, perplexed. PRIEST Is anybody there? A small hand appears - then the face of a girl aged about 10, peering up at him through the grill. The Priest smiles a trifle wearily. PRIEST You know I'm always happy to see you, Jeanne, but to keep coming here twice, three times a day. JEANNE I need to confess. PRIEST But you already confessed this morning. JEANNE I need to confess again. PRIEST So. alright. What terrible sin have you committed since then that ca n't wait till tomorrow to be forgiven? Jeanne climbs up on the prayer - stool to be tall enough to look the Priest in the eye. JEANNE I saw a poor monk without shoes so I gave him some. PRIEST There's no sin in charity, Jeanne. JEANNE They were n't my shoes. Mine were too small. PRIEST Whose were they? JEANNE My father's. PRIEST I'm sure he'll forgive you. JEANNE He already did, but I want God to forgive me too. PRIEST Jeanne - if we were to ask forgiveness all the time, we'd spend our whole life in church. JEANNE Is that bad? PRIEST -LRB- perplexed. -RRB- Well no, but. Jeanne, are you happy at home? JEANNE Oh yes. very. PRIEST And your mother - everything's fine with her? JEANNE Oh yes, she's. wonderful. FLASH : we see Jeanne's peasant MOTHER, sitting by the fire, sewing. Their home is little more than a hovel - a low, dark cave of a place, traversed by a huge beam. PRIEST Good, good. And your sister. Catherine - she's still your best friend? JEANNE Oh yes, my sister's just. she's. wonderful. FLASH : Jeanne's sister CATHERINE -LRB- 18 -RRB- sits near her mother, spinning wool. PRIEST And what about your other friends. you do n't like playing with them? JEANNE Oh yes, I play with them. lots. FLASH : Jeanne is battling against some reeds with a wooden stick under a full noonday sun. Not far away, a group of kids are in the shadow of a huge tree, playing. One of them watches Jeanne in the distance. KID #1 What's she doing? KID #2 Playing. Resume on the Priest. PRIEST So. everything sounds. wonderful? JEANNE Yes, it is. PRIEST Then. why are you here so often? JEANNE I feel safe here. And it's where I can talk to him. PRIEST Him? JEANNE Well, I try and talk to him, but mostly he's the one who does the talking. PRIEST Who is this `` he''? JEANNE He never says his name. PRIEST What. does he. look like? FLASH : a little boy of 8, sitting on a throne in a clearing in a wood. JEANNE Beautiful. PRIEST And what does he say to you? FLASH : the Boy points solemnly at us, but says nothing. JEANNE He says. he says I must be good. and help everyone. and take care of myself. Do you think he's coming from the sky? PRIEST Perhaps. but wherever he comes from, I think you should listen to him, because it sounds like he's giving you very good advice. The Priest smiles, and Jeanne beams back at him. He blesses her. PRIEST Ego te absolvo, in nomine Patris, et Filii, et Spiritus Sancti, Amen.\",\n \"EXT. CHURCH & STREAM - DAY Jeanne runs from the little church, the weight of her sins now happily off her shoulders. Her reflection skips across a little stream, then on through a meadow of cowslips and buttercups and up the sloping hillside beyond.\",\n \"EXT. MEADOW & WOOD - DUSK A hazy, summer dusk - pollen floating in the shimmering air. Jeanne swirls between the high elms, happy and carefree - it's all a little surreal - are those church bells in the distance? Or cow bells? Or merely the SOUND of insects? Jeanne swings round faster and faster, then tumbles over, laughing, and lies on her back. She's dizzy and out of breath. Above her, the clouds seeming to swirl as though she were still spinning round. The SOUND of the bells slows down, deepening. Her face moves into shadow. Although not distinguishable as words at this stage, there's an urgent whisper in the wind. a strange echo that will eventually resolve into a call `` Jeanne!'' Presently Jeanne turns and sees something glinting in the long grass. A SWORD. The background SOUND of the bells grows ominous. A shooting star silently flashes across the sky - then scores of them. She gets to her feet and picks up the heavy sword. It's growing darker - colder - the leaves have turned to autumn brown, now blown about by a gust of wind. Presently she sees a WOLF approaching, slowly but straight toward her - then two, three - finally the whole pack. She grips the sword, but ca n't use it - too heavy, too frightened. As the wolves approach, she closes her eyes. The wolves pass either side of her, as though oblivious to her presence. When she opens her eyes, they have passed, and are now heading along the forest track.\",\n \"EXT. FOREST - NIGHT Jeanne follows the wolves along the track. They're heading toward a red glow, visible beyond the trees. The wolves disappear over a ridge, though all we can see for the moment is the red sky beyond. But as Jeanne reaches the edge, we move up with her to see. her village in the valley below, ablaze.\",\n \"EXT. DOMREMY VILLAGE - NIGHT Panic - screams - crashing timbers - animals stampeding - wolves drag corpses from gutted buildings - and through the midst of the tumult tears Jeanne, still dragging the sword she found. She runs inside a farm cottage.\",\n \"INT. JEANNE'S HOME - NIGHT The low, dark building we saw earlier - now empty, lit by the fires of the houses on the far side of the street. Jeanne runs in, searching about - JEANNE Mother? No response. She begins to panic - runs through into a smaller room beyond, calling out - JEANNE Catherine?! Suddenly a door swings open and a hand reaches out - Jeanne screams, then turns to see her elder sister, CATHERINE, who's been hiding in a cupboard. CATHERINE Jeanne! Catherine embraces her, hugging her in relief - CATHERINE Are you alright? Did they hurt you? JEANNE No no, I'm fine, really. CATHERINE I was so worried - we've all been looking for you! The English are everywhere! O thank you, lord! She hugs her again - then freezes, hearing the SOUND of horses, the clanking of armor. But Jeanne has n't heard. JEANNE I was in church. Catherine glances about, ears tuned. CATHERINE Really? JEANNE I was talking to the priest, and do you know what he said to me? Catherine puts her hand across Jeanne's mouth - CATHERINE Shhh. tell me later. She hears the drunken laughter getting closer. CATHERINE Quick - hide in here. JEANNE What about you? CATHERINE Do n't worry about me - just stay in here. and do n't move! JEANNE But where are you going to be? CATHERINE I'll be right here. I promise. Catherine quickly lifts Jeanne inside the cupboard, locks the door, then turns to confront THREE hefty ruffians calling themselves soldiers. The biggest and ugliest has a jet black beard. BLACKBEARD Now that's what I call booty! Blackbeard turns back to his comrades, who are sharing out a roast chicken between them. Catherine picks up the sword dropped by Jeanne as Blackbeard swaggers up to her. BLACKBEARD A woman with a sword? -LRB- to his comrades. -RRB- Hey, take a look at this - Frenchmen are such cowards that they've left all the fighting to women! CATHERINE If that's God's will, then so be it! Blackbeard's comrades start tucking into their food, leaving Blackbeard to his pleasure. BLACKBEARD Fine with me. I love women. He undoes his buckle. From her POV behind the cupboard door, Jeanne can just about see Blackbeard's face through a crack. Catherine raises the heavy sword as Blackbeard advances, then brings it sweeping down. But he intercepts it effortlessly, grasping the blade as though it were a twig. BLACKBEARD Oh. now you've hurt my feeling. He puts his hand around her throat, rips off her little wooden cross, pins her against the door, then, with a lecherous roar, plunges his face on her. Jeanne is terrified. Blackbeard has his tunic down and is attempting to gain entry - Catherine tries to scream - he slams his hand over her mouth - she bites it - Blackbeard howls. with laughter. Now his juices are really moving. Catherine squirms against the door, twisting and turning - BLACKBEARD Hold still, bitch. How can I do it if you keep wriggling about? He picks her up by the throat, lifts her clear off the floor by several inches, then rams the sword clean through her gut and the door behind her, the blade just missing Jeanne. BLACKBEARD There, that's better. With a grin at his comrades, Blackbeard resumes his intercourse with the lifeless Catherine. Behind the door, Jeanne is suffocating with terror. The little wooden necklace lies on the floor in f.g. as Blackbeard pulls up his pants and turns to his comrades - BLACKBEARD Your turn.\",\n \"EXT. CHURCHYARD - VILLAGE - DAY The little village church is no more than a smoldering pile of rubble - among it, the twisted stained - glass of an angel. Corpses are piled up alongside a warren of shallow graves, awaiting committal. The Priest passes by each grave in turn, administering hasty last rites, then moving onto the next while a harassed grave - digger fills in the last. Jeanne stands by a shallow grave, now wearing her sister's wooden cross and grazing fixedly at her body, wrapped in linen and awaiting interment. Her parents and other adults stand nearby, but at Jeanne's level we only see them from the waist down. MAN #1 -LRB- O.S. -RRB- We should n't be doing this by daylight. it's too dangerous. MAN #2 -LRB- O.S. -RRB- You're right - the English are still around - I can smell them. MAN #3 -LRB- O.S. -RRB- When is the king going to do something? MAN #1 -LRB- O.S. -RRB- He's good for nothing. MAN #2 -LRB- O.S. -RRB- Yeah. we ca n't even be sure he really is a king. -LRB- whispering. -RRB- I heard someone say he's a bastard. MAN #1 -LRB- O.S. -RRB- With a mother like that? I would n't be surprised. she's such a whore. WOMAN -LRB- O.S. -RRB- Can you show some respect? We're burying our children. You should be praying instead of cursing. MAN #2 -LRB- O.S. -RRB- That's just about all we can do. WOMAN -LRB- O.S. -RRB- Yes. because only God can help us. Now the Priest scurries over, hurriedly mumbles the last rites in Latin, then moves on to the next grave. Jeanne's family have their eyes closed in prayer, and it is only Jeanne who sees the Grave - digger nudge the corpse into the shallow grave with his foot. He shovels in the earth, then moves on. The Father puts his hand on her shoulder. FATHER Listen, Jeanne. your Uncle and Aunt are taking you to their house for a few weeks. just to give us time to rebuild what we can. Jeanne looks at him blankly, her thoughts too deep for tears.\",\n \"EXT. VILLAGE & ROAD - DAY Jeanne sits on the back of a small hay - wagon. Her Uncle and Aunt are up front, eyes on the barren, devastated countryside ahead, while Jeanne gazes fixedly on the road behind. From her POV : the receding figures of her parents, gradually merging with the dusty landscape.\",\n \"INT. DAXART'S HOUSE - NIGHT A large, low room, almost identical to Jeanne's house : a bare, earthen floor with chickens running about, and a huge cave of a fireplace. The Aunt doles out soup from a cauldron - first to her husband, then to Jeanne. DAXART Lord, we give thanks for the food you have given us. Teach us always to love this land, and to save it from those who seek to destroy it. Amen. Jeanne says nothing - noted by Daxart. His wife nudges him with a gesture to let her be.\",\n \"INT. DAXART ATTIC - NIGHT Daxart opens the door to an attic room, his wife standing behind him with Jeanne. She wanders into the room, tidy but sparse, and sits on the edge of the bed. Daxart looks a little put out. DAXART So. good night then. The Aunt understands Jeanne better than her husband, and leads him from the room.\",\n \"INT. SLEEPING QUARTERS - NIGHT The Daxarts share the communal sleeping area with a couple of goats and a mangy dog. Daxart is settling down to sleep, but his wife lies awake. AUNT What's going to happen to her? DAXART She'll be fine. She'll grow up. find a good man. make him some children. Do n't worry - she's been hurt, but she'll survive. Tomorrow she'll be as right as rain, you'll see.\",\n \"INT. DAXART ATTIC - DAY Daxart opens the door to the attic. Jeanne has not moved : she's still sitting on the bed like the day before. JEANNE I want to see a priest.\",\n \"INT. VILLAGE CHURCH - DAY Christ, crucified in stained glass. A silver cup is raised in blessing. The local PRIEST, much older than the one at Domremy, lowers the cup, filled with wine in preparation for the Mass.. The Daxarts enter the church at the far end, with Jeanne between them. The Priest is expecting her.\",\n \"INT. CONFESSIONAL BOX - DAY Jeanne sits in the shielded darkness of the confessional box. She clutches at her little wooden cross and at last begins to cry. PRIEST I heard about your sister, and I. understand your pain. JEANNE Why did she have to die? PRIEST Only God knows the answer to that. JEANNE I know Jesus says to love our enemies but I ca n't - I just want the English to burn in hell for ever and ever! PRIEST I realize your anger, Jeanne, but we must learn to forgive. It's hard, but revenge will never bring about peace. JEANNE Then what will? And what will bring her back? And why did she have to die in the first place instead of me? Why did n't he take my life instead of hers? It was my fault - I was late - she gave me her hiding place!! PRIEST Jeanne. calm down! Calm down, Jeanne! Jeanne breaks off, trembling, tears pouring down her cheeks. PRIEST I do n't pretend to know God's will, but I am sure of one thing - the Lord always has a good reason. Perhaps he saved you because he needs you. for some higher calling. So. as long as you answer that call, your sister will not have died in vain. Jeanne clams down. She stares at the Priest for a long moment, and her look becomes very deep and intense. JEANNE I do n't want to wait for his call. PRIEST Jeanne, be patient. JEANNE I want to be with him always. PRIEST Soon you'll be able to take the Holy Mass, and as you eat of his flesh and drink of his blood, you will be at one with him. JEANNE I want to be at one with Him now.\",\n \"EXT. COUNTRY ROAD - DAY On the open road, with Jeanne sitting on the back of Daxart's wagon. It's a grey, lowering, dismal sort of day. The Daxarts are up front, talking in low voices. DAXART What did he say? AUNT He says we must bring her to church whenever she wants. DAXART Hmmm. easy for him - he's not the one that has to do the bringing. Behind them, the wagon is empty. Jeanne is long gone.\",\n \"EXT. COUNTRYSIDE - DAY The rain pours down in torrents - Jeanne runs.\",\n \"EXT. VILLAGE - DAY down the deserted road - into the church.\",\n \"INT. VILLAGE CHURCH - DAY and up the aisle to the altar. She grabs a jug of wine, pours some into the chalice - holds it up high as the Priest did, then gulps it down. The wine cascades from her mouth like blood as she gazes up at the stained glass image - JEANNE I want to be with you now!\",\n \"INT. DAXART HOUSE - DAWN Daxart sits bolt upright, awaking from a nightmare. It's early morning, his wife still asleep beyond him.\",\n \"INT./ EXT. DAXART ATTIC/POV OF FIELD - DAWN Daxart opens the door to Jeanne's room. Empty, the bed unslept in. He walks in - hears something. Looking out of the window he sees - Jeanne in the distance, playing be herself. Daxart smiles.\",\n \"EXT. HOUSE & FIELD - DAWN Jeanne pauses, her stick poised in mid - air - SUBLIMINAL FLASH - - a real sword impales a soldier through the stomach - another sword slices through chain - mail - and a severed head encased in metal spins lose from armored shoulders.\",\n \"EXT. HOUSE & FIELD - DAWN Jeanne looks at Daxart. JEANNE I'm playing. Once again Jeanne raises her stick - sword - the head of a sunflower is violently decapitated -\",\n \"INT. CHINON - STATE ROOM - DAY - and a sword swishes down, trying to hack someone in the leg. But it is only a wooden sword, and its wielder a mere boy of five. This is young Prince LOUIS, practicing his nascent swordsmanship on the castle GUARDS. VOICES and approaching footsteps alert the Guards, who quickly stand to attention as a door is swung open. GUARD The Dauphin! Louis takes advantage of the Guards forced immobility, and jabs one of them in the leg. he lets out a muffled `` Ow!'' The Dauphin CHARLES VII enters, followed by his courtiers. They include the bloated REGNAULT, Archbishop of Rheims, and Georges de la TREMOILLE - a sly and devious diplomat. CHARLES Louis, should n't you be learning your lessons? LOUIS I do n't want to learn, I want to fight! CHARLES You will, you will. But for now, you must learn. at least to wipe your nose. Charles -LRB- who speaks with a slight stutter -RRB- affectionately wipes his son's nose with a corner of his shirt. Beyond them, a young soldier, Jean d'AULON, arrives with a scroll. AULON A letter for His Majesty. Tremoille takes it, opens the seal and begins to read. Charles hands over Louis to a courtier. TREMOILLE Another one from this girl calling herself the Maiden of Lorraine. Charles snatches it somewhat testily from Tremoille. CHARLES I can read for myself, you know. While Charles reads, Tremoille turns aside to Regnault - TREMOILLE She pretends she's been sent by God! These charlatans - it's a pity there is n't enough wood to burn them all! CHARLES She says she'll be here tomorrow! TREMOILLE You must n't see her, my lord. We know nothing about her. we do n't even know if she is from Lorraine. CHARLES What difference does it make where she comes from? TREMOILLE If she comes from Burgundy it makes a difference. It might be a trap. -LRB- takes back letter. -RRB- Look. Signed `` X''. What sort of name is `` X''? Or must we conclude that a messenger of God ca n't even write her own name? REGNAULT My lord Tremoille is correct. She says she hears voices. she may be a sorceress. a witch. CHARLES -LRB- snatching back letter. -RRB- Regnault - you see witches everywhere. She's just a peasant. a peasant who cares for her king. Look. all she wants is to help me win my crown. and permission to fight for me. TREMOILLE Not exactly. -LRB- takes back letter. -RRB- She wants you to give her an army - at your expanse. Bearing in mind that your mother stole every last piece of gold in the treasury, I fail to see how you can afford such an adventure. CHARLES -LRB- snatches back letter. -RRB- I can see her if I want to. I mean, with half of France in the hands of the English, what have I got to lose? TREMOILLE The other half. REGNAULT You must n't see her, my lord. She may be an instrument of the devil. YOLANDE -LRB- O.S. -RRB- Well. I think you should. All eyes turn to the window, where Yolande has been standing with her back to the room, reading a little book. Her right - arm is standing beside her - RICHMOND, his face hideously disfigured by battle scars. CHARLES Ah, Yolande. and what makes you think the exact opposite of my two most trusted advisors? Yolande smiles, though hardly a devoted smile. Mild contempt would be more accurate. YOLANDE Because I care about you. Come here. Charles walks over. He has his shirt undone. Yolande buttons it back up. YOLANDE Your health and happiness has always been my first concern, Charles. ever since you were a little boy - and I think I know you better than your own mother. CHARLES You think? YOLANDE Mmmm. Yes. I know for example the sickness that plagues your heart. I know how painful it is for you. to have loved a father. without ever knowing if he really was yours. CHARLES W - w - what has that got to do with this Maiden? YOLANDE Who better than a messenger from God to give answers to your questions? CHARLES You really think she's been sent. by God? YOLANDE You're a fine judge of character, Charles. It'll take you less than five minutes to expose her if she's a fake. But if she's not - then she will give you your answers. and place the crown on your head. Charles shines at the prospect, but Tremoille and Regnault look less than happy. TREMOILLE With respect, my lady, I think it's going to take more than just a simple peasant girl to. YOLANDE I'm not interested in what you think, Tremoille - or even what I think. It's what simple people think that matters, and the fact is that simple people up and down the country are already talking about her. Now you know what simple people are like, always ready to believe any old prophecy. like this one about a virgin from Lorraine saving France? -LRB- hands Tremoille the book. -RRB- And now this girl comes along - from Lorraine - and suddenly there's a spark of hope in their simple minds. We should n't disappoint them. If they believe in her - if she can put back the fire in our army - then I believe in her too.\",\n \"EXT. CHINON - LONG SHOT - NIGHT Moving torches gallop toward us - a FLAME flares through foreground with a whoosh, PANNING ROUND as soldiers ride toward the distant castle of Chinon - a gloomy great silhouette, rising against a bloody sunset.\",\n \"INT. CHINON - GREAT HALL - NIGHT Celebrations after a hunt. Troubadours play - a whole tree trunk is burning in the vast chimney. A Page comes running into the big room and hurries excitedly over to Charles. PAGE She's coming, your majesty. with an armed escort! CHARLES Alright, alright - calm yourself. TREMOILLE Your majesty, I urge you not to see this woman. It all reeks of a Burgundian trap! CHARLES My astrologers assure me that the hour is p - p - propitious - Leo, with Virgo rising. Have you ever noticed on the astrological chart how the Virgin is next to the Lion? TREMOILLE Supposing she's an assassin? CHARLES Tremoille, I'm not even king yet. who'd want to assassinate me? Looking around at his courtiers? They all would.\",\n \"EXT. CHINON COURTYARD - NIGHT A FLAME swirls in the darkness - the urgent clatter of horses hooves - steaming breath in the cold night air - the SOUND of festivities coming from the castle walls beyond - the horses are reined - one whinnies as SOLDIERS jump down onto the cobbles - a dark cape wraps about a figure.\",\n \"INT. CHINON - GREAT HALL - NIGHT Another page boy bursts in - PAGE #2 She's arrived, my lord! She's in the guards' room. CHARLES So. I suppose I'd better make a decision. Charles glances between Tremoille, Regnault and Yolande, but - either by accident of will - none are looking his way. He sighs deeply to the dashing, open - faced young soldier we saw earlier, Jean d'AULON. CHARLES Oh dear, why is life so complicated? Sometimes I really wish I could be someone else. AULON That's a good idea, sire. CHARLES What do you mean? AULON Let someone else pretend to be you, and see if. CHARLES if she can find me? - That's a brilliant idea! If she's really been sent by God she'll discover the trap, and if she's an assassin she'll kill the wrong man! -LRB- to the page. -RRB- Bring her up! Charles turns to a coterie of ARMY CAPTAINS, standing aside and aloof from the courtiers whom they evidently despise. CHARLES My dear Captains, I've had a brilliant idea! We're going to have a little game. Now. let's pretend my throne is empty. Who wants to be the king? They all put up their hands. CHARLES Now there's a heart - warming sight! So let's see. which one of you could possibly pass as king? He turns to the Duke of ALENCON, 25, strikingly handsome in his bright, gilded armor. CHARLES Ah, Alencon, my noble duke, my royal cousin - so fine, so brave, so rich - so very rich - so far - too - rich to be the King of France. Everyone knows I'm the poorest man in my kingdom. He turns to GILLES de Rais : a dark, glamorous seducer, dressed in black armor with a ring through one ear. CHARLES Gilles de Rais. Marshal of France. formidable to men, fascinating to women, feared by all. You'd be perfect to sit on my throne. so perfect that you might like it too much for my own piece of mind. Charles turns to the bearded La Hire. CHARLES Ah, La Hire - my angry captain. the bravest in France - scarred by a dozen wars, but with heart and stomach for a dozen more. You could pass for the king. LA HIRE Damn bloody right I could! CHARLES until you opened your mouth. No one with a tongue like yours could pass as the King of France. The other Captains laugh heartily. CHARLES Ah well. it looks as though it's going to have to be me after all. But. wait a minute. Charles spots the shy Jean d'Aulon. Unlike the other court toadies, Aulon is a quiet, honorable man. CHARLES Why not you - Jean d'Aulon? The only man who's poorer than I am, and so the only man I can trust. Dignified, honorable, wise. what more could we ask of a king? AULON My lord, I'm not sure that. Charles takes his coat and puts it around Aulon's shoulders. CHARLES My dear Aulon, to you it shall befall the honor of impersonating the royal blood! AULON Majesty, I ca n't. CHARLES Why, are you not ready to die for your king? AULON Of course I am, it's just that. CHARLES Good. Until then, feel free to live like a king! Laughter - then the sound of approaching excitement. CHARLES Hurry, hurry - on the throne.\",\n \"INT. CORRIDOR - CHINON - NIGHT Armored feet clank along a stone corridor -\",\n \"INT. GREAT HALL - CHINON - NIGHT Charles unceremoniously dumps Aulon on the throne. AULON Sire, you know how bad I am at this sort of game. CHARLES So. pretend it's not a game. Charles abandons Aulon and disappears among his courtiers. A pair of PAGE BOYS swing open the doors : the courtiers turn expectantly ; Aulon tries to pose as the king. From the Court's POV, a girl of 17 enters the great hall, dressed in a grubby tunic, with long hair tied back beneath a hood. There could not be a more striking contrast than the sophisticated, opulent, yet cowardly courtiers and this naive, rough girl, almost childlike in her simplicity, and yet so focused, so confident, so secure in her mission, with a courage that radiates conviction, and is contagious. The courtiers step back to form a narrow channel as she moves into the great hall. Yolande marks the effect her presence has on the court, smiling at their bemused gazes. Jeanne passes the Archbishop, who defends himself by sprinkling holy water in her path. Tremoille oils his way toward her with a can - I - help ingratiating smile. JEANNE I have come to see the Dauphin. Tremoille nods obsequiously, ushering her toward Aulon, who is now visibly uneasy. Jeanne stops in front of him. Aulon gazes at her. Jeanne scans him a couple of times, looks at him stonily. Then smiles. Aulon melts, his cheeks blushing hot. Jeanne cocks her head, like an inquisitive child. JEANNE Who are you? Aulon stammers in response. AULON I'm. I'm. I'm. TREMOILLE His most gracious majesty Charles de Valois, Dauphin of France. She gives Aulon another smile. JEANNE I can see you are a good man, but you're not the Dauphin. -LRB- to Tremoille. -RRB- I'm sorry to insist, but we have no time to lose. I must see the Dauphin. Where is he? TREMOILLE He's here. -LRB- a gracious gesture. -RRB- Find him yourself. A brief pause, then Jeanne takes up the challenge. She moves on, examining the faces acutely. Although a few of the wimpoled ladies find her simple peasant dress amusing, most are caught like moths in her flame. She notices the Three Captains -LRB- La Hire, Alencon and Gilles de Rais -RRB- edging closer together, as though shielding someone beyond. Jeanne approaches them - they draw closer together, but now we can see Charles, overtly curious, yet anxious to remain hidden. His inquisitiveness wins - but as Jeanne walks up to him, the Three Captains spring in front of her, swords drawn, the tips pressing at her throat. JEANNE There's no need to be afraid, sire. CHARLES I'm. I'm not the king. JEANNE I know you're not yet - but you will be, soon. Charles makes a gesture, and the soldiers cautiously sheath their swords. CHARLES H - h - how did you know who I am? ALENCON Her voices, of course. GILLES `` That's him'' they said, `` The one with the big nose and bags under his eyes.'' They laugh - whereupon Jeanne rushes at Charles and flings herself on her knees, embracing him round the ankles. Charles screams - the 3 Captains redraw their swords - the court gasps - then Charles gestures the Captains to back off. JEANNE My gentle Dauphin, I bring you good news. Charles puts out his hand to her, allowing her to rise. She draws close to him, whispering. JEANNE It is a message from the King of Heaven. For you - and you only. Jeanne speaks with such conviction that it seems unnecessary to doubt her. Her mesmeric effect on Charles is being noticed by his courtiers. He hesitates a moment, then - CHARLES Follow me. He leads her from the room. Tremoille hurriedly follows them. Charles turns round in the doorway, barring him further access. TREMOILLE Your majesty, I really think you. CHARLES My dear loyal Tremoille, I know I can count on you. TREMOILLE as always, majesty. CHARLES to ensure our privacy. I need to talk to her. Alone. Tremoille looks non - plussed. TREMOILLE As you wish, majesty. Charles disappears with Jeanne. Tremoille ire at being barred is mollified by blocking the path of Yolande. TREMOILLE He needs to talk to her. Alone.\",\n \"INT. CASTLE - KING'S CHAMBER - DAY Jeanne is seated facing Charles in front of a huge fire. As the scene unfolds, their faces draw closer and closer. Her voice is soft and sweet, but her conviction is absolute. JEANNE I was about eight years old. It was a beautiful spring day. I was in the forest taking a short cut home when the wind started blowing in the trees - such a strange sound - almost like words - as if someone was calling. FLASH : The little BOY seen earlier is seated on his chair in the middle of the field, pointing his finger at us -\",\n \"INT. CASTLE - KING'S CHAMBER - DAY Charles is intrigued. JEANNE The second time was many years later. It was autumn, and I was coming back from church when suddenly the same violent wind started to blow again.\",\n \"EXT. FIELD - SFX - DAY FLASH : The wind lifts Jeanne -LRB- 17 -RRB- from the ground, spins her forward and flattens her on her back, her arms outstretched, Her face gazing upward at the sky. JEANNE -LRB- O.S. -RRB- Everything was moving so fast - the wind - the clouds - I could n't move! Then suddenly a shape appeared in the middle of the sky. The fast - moving CLOUDS resolve themselves into the shape of a face. the face of an OLD MAN. He opens his mouth wide, radiating a shaft of sunlight that strikes Jeanne, still lying in the field. The old man's mouth seems to form the word `` Jeanne'', but the sound that emanates is so vast that we ca n't be sure. Suddenly the mouth snaps shut, releasing a huge FLASH OF LIGHT -\",\n \"INT. CASTLE - KING'S CHAMBER - DAY - Charles jumps back, startled yet totally absorbed. Jeanne's eyes sparkle with tears - JEANNE I was so frightened. he was so - so here. FLASH : The Boy is still sitting in his forest seat, but now he is a beautiful young Man, pointing his finger at Jeanne - JEANNE -LRB- O.S. -RRB- I realized then that he had chosen me, but I did n't understand what it was I had to do. Jeanne's eyes sparkle with intensity. JEANNE What was my mission? To help my country? But how could I do that? I was only a poor girl who knew nothing about riding or making war. so I decided to wait and not to speak to anyone about it. CHARLES You did well. JEANNE I did n't wait long. One day I was going to Mass, like I do every day, when the same strange wind started blowing again.\",\n \"INT./ EXT. CHURCH - SFX The double doors of a church are blown open by wind coming from inside - right in front of Jeanne! Surreal shafts of light criss - cross the interior from the stained - glass windows, illuminating Jeanne in myriad hues and colors. She sways uneasily as the central stained - glass window above the altar starts to warp and undulate, like heat waves creating a mirage. The image of a beautiful archangel slowly comes to life, stepping out from the window frame, then moving toward Jeanne. JEANNE Everything was suddenly made clear to me. God was finally calling me. He had a mission for me - a message to deliver. The Archangel opens his arms to Jeanne as though to embrace her. She drops to her knees, opening her arms and - FLASH -\",\n \"INT. CASTLE - KING'S CHAMBER - DAY Charles is in suspense, his face sweating. CHARLES and what. what did he say? JEANNE He said that I have to save France from her enemies and give her back to God, and He told me that I - Jeanne - will lead you to the altar at Rheims to be crowned King of France. Charles slowly releases the breath he's been holding - and the brimming tears run down his cheeks. Jeanne takes his hand and places it on her own damp cheek. JEANNE All you have to do now is put your trust in me. Jeanne kisses his hands, and Charles is almost overcome with emotion. He seems, for the first time, utterly defenseless, like the little hurt boy that he is. CHARLES I trust you, Jeanne - I do - and I envy your certainty, but how can I be certain that I have the right to call myself king when I do n't even know who my father is. My mother ca n't even remember. I - I need to know. Jeanne gazes at him a moment, then places her hands either side of his head and draws him slowly forward until both their foreheads are touching. A series of too - perfect images : 1 : A BELL comes crashing down on top of us - 2 : The ROYAL BANNER flies triumphantly in the wind - 3 : English CAPTAINS throw down their weapons and kneel in submission before Charles - 4 : Huge city GATES swing open, releasing a jubilant crowd who welcome the King in triumph - 5 : CHARLES kneels in Rheims Cathedral - 6 : Bejeweled HANDS place the CROWN of France on his head -\",\n \"INT. CHINON - KING'S CHAMBER - DAY Jeanne's hands hold Charles' head, as though she has just crowned him. For Charles, the fantasy has become reality. JEANNE Do you really believe that God would let all this happen. if you were not the true King of France?\",\n \"INT. CASTLE - GREAT HALL - DAY The Courtiers talk among themselves, nervously awaiting Charles to rejoin them. Presently the door opens and Charles emerges, followed by Jeanne. He is a man transfigured. Tremoille looks anxious. Charles glances at them, their expectant eyes awaiting his verdict. He leads Jeanne across to Aulon. CHARLES Jeanne, this is - in fact - my loyal friend and finest archer, Jean d'Aulon. Jean. I place her in your care. Find her suitable lodgings - here - in the castle. and guard her with your life. AULON Yes, my lord. JEANNE I do n't need lodgings if we're to be marching on Orleans. CHARLES Orleans has held out for six months. I do n't suppose a few days will make much difference. Take some rest. Jeanne follows Jean d'Aulon from the Great Hall, watched in silence by his courtiers. As soon as she's gone, the whole room is filled with the myriad buzz of opinion. Gilles gives Charles the eye. GILLES She certainly cast a spell on you. Charles draws his three Captains aside. CHARLES She'll cast her spell on everyone if she's given half a chance. and we must ensure that she gets that chance. The Captains look astonished. CHARLES Can you imagine the effect it will have on the English - to see a girl riding at the head of our army? LA HIRE Yes. They'll bleeding wet themselves! Laughing. GILLES We're not your favorite captains anymore? CHARLES No - I mean yes! - of course. ALENCON Charles. you want to give the command of our army to a - woman? CHARLES Of course not! You're the ones in command, as always. but if she can put back the fire in our soldiers, then maybe you, my dear Captains, will be able to raise the siege of Orleans. What do you think? GILLES Brilliant idea. but to be really effective, why not send a whole army of virgins? LA HIRE That'll put fire in my soldiers! The Captains laugh - at Charles' expense. CHARLES Please, my friends. you know me. you know how certain I am about everything, but - maybe for the first time in my life I - I do n't know why - but I feel I have to trust her. and now I'm asking you - I'm begging you - to trust me.\",\n \"INT. ROOM - CHINON CASTLE - DAY Jeanne blows the dust from a wooden crucifix, then replaces it above a bed. Jean d'Aulon has brought her to a small room in one of the castle's turrets : clean, plainly furnished, but hardly hospitable. Jeanne inspects the room while Aulon stands by the door. AULON Listen, please accept my apologies for. you know, me pretending to be the. well it was n't really my idea. well, yes it was my idea but. JEANNE Do you think I could have some water? Jeanne smiles sweetly, catching Aulon off guard. AULON Yes, of course. water. anything else? Two page boys run into the room, carrying luggage, water, washing bowl and some food. They are LOUIS and RAYMOND, both 13, as inseparable as they are loyal. Jeanne looks up, then sits on the bed, testing the horsehair mattress. JEANNE I would like some fresh straw. AULON Louis. water and fresh straw! Louis goes running off. JEANNE And I would like to see a priest. AULON Now? JEANNE Yes. I did n't confess today. AULON Right. -LRB- to Raymond. -RRB- Raymond. a priest. Raymond goes running off. JEANNE I shall also be needing a war horse - mine is too slow - and armor - and a good sword - and an artist to make me a banner. AULON Now? JEANNE Better today than tomorrow. AULON Well. uh - this might take a little time - but let me see what I can do. He's about to leave when Jeanne adds - JEANNE I also need someone who can read and write. AULON This I can do. -LRB- Jeanne looks surprised. -RRB- I was studying at the University of Paris - till the English invaded it. JEANNE I thought you were an archer? AULON Yes, I am. I'm an archer who can read and write. Who do you want to write to? JEANNE The King of England. I want to give them the chance to leave Orleans in peace before I get there. Aulon just stares at her.\",\n \"INT. GUARD HOUSE - CHINON - DAWN Raymond hands a rolled parchment to a Rider, already mounted and waiting.\",\n \"EXT. CHINON CASTLE & MEADOW - DAWN The Rider gallops over the drawbridge and away.\",\n \"EXT. CHINON - TERRACE - DAY Tremoille stands on a terrace before Chinon, watching the rider heading down the dusty highway. TREMOILLE I ca n't believe you let her send such a letter. Charles is a short distance away, watching Jeanne in a meadow below the castle, swishing a stick from side to side. CHARLES She's going to do it. Tremoille exchanges a worried glance with Archbishop Regnault, who is standing behind Charles. REGNAULT Sire, it's going to take more than a letter to drive out the English. TREMOILLE An army for instance. CHARLES My captains have sworn their support. TREMOILLE No doubt your captains will fight for your fine cause - but what about the ordinary soldier? They do n't fight for causes these days. They fight for money. Who's going to pay them? YOLANDE -LRB- O.S. -RRB- I am. Yolande moves forward, accompanied by her daughter Mary -LRB- Charles' wife -RRB- and grandson, young Louis. CHARLES You will? YOLANDE For the sake of France, Charles. And for the sake of my grandson. She pats Louis on the head. TREMOILLE With respect, my lady - the Archbishop and I have begun delicate negotiations with the Burgundians. If we can bring them over to our side. YOLANDE Negotiate by all means, but from a position of strength. If the English take Orleans, there'll be nothing left to negotiate - the rest of the country will be theirs. TREMOILLE My lady, it would be the height of folly to let this. child. lead our army in the king's name without first verifying her true motives. REGNAULT Tremoille is right. This girl must be subjected to a rigorous examination by the Doctors of the Church at Poitiers. We need to be absolutely certain that she is not an instrument of the devil. CHARLES How can anyone be absolutely certain about anything? Our intuitions are sometimes our best counselors. REGNAULT We must listen to Mother Holy Church before listening to our intuitions. TREMOILLE Wait. she claims to be a virgin. Well that's something we can examine - and be absolutely certain about. Charles hesitates - turns to Yolande, who looks somewhat uneasy at the suggestion. YOLANDE Why not? Charles looks across to Jeanne in the distance, still playing with her stick. Suddenly she swipes at a bulrush, violently decapitating its head. Charles looks worried. CHARLES Let's find out.\",\n \"INT. POITIERS UNIVERSITY - ROOM - NIGHT A big, spacious room, into which files a procession of TEN DOCTORS of THEOLOGY and TEN NOTABLES, walking two - by - two. They divide either side of CAMERA, then halt and about - turn, facing inward with military precision. Two PAGE BOYS set up screens in front of the two rows, preventing them from viewing Jeanne, who is standing on a low table between the rows, wearing a laced - up robe. Now a procession of NUNS form up behind the table. Two of them step forward, on cue, then proceed to loosen the laces of Jeanne's robe and roll up the hem. Meanwhile an old HAG is washing her hands. With Jeanne suitably prepared, the old HAG stands in front of her. Two little Girls slip in a special stool and the old HAG squats down, enabling her to look between Jeanne's legs. Only women are privy to this ritualistic inspection ; the men remain standing behind the screens. Yolande waits with the disfigured Richmond near a window. The old Hag is certainly taking her time, and Yolande is getting decidedly nervous. RICHMOND -LRB- whispering. -RRB- What if she's not? YOLANDE I'll kill her myself. A few tense moments - then the ancient HAG announces with great solemnity. HAG There is no sign of corruption or violation. She is intact. to Yolande's visible relief.\",\n \"INT. COUNCIL ROOM - POITIERS UNIVERSITY - DAY A dark, musty council room, where theologians and learned doctors of the Church sit in wooden tiers, examining Jeanne. Archbishop Regnault is among them. So too is Jean d'Aulon - but he as a silent, albeit supportive observer. Jeanne stands in the center of the room, hands folded, as though on trial. She's evidently been here many hours. INQUISITOR #1 And. what exactly was this - `` vision'' - wearing? JEANNE I do n't remember. INQUISITOR #2 Was it wearing a crown? JEANNE I saw no crown. INQUISITOR #3 Well, was it naked? The Court have a good chuckle. JEANNE Do you think that God ca n't afford to give him clothes? An audible reaction, somewhere between amusement and admiration. A deadpan scribe carefully writes down both questions and answers in a large, vellum - bound book. INQUISITOR #1 Did this - vision - give you anything - an object, like a ring, or a rosary or anything - by which we can verify your claim? JEANNE He gave me good advice. INQUISITOR #4 During your childhood, did you have any sort of military experience? JEANNE No. INQUISITOR Are you practiced in the skills of swordsmanship? JEANNE No. But I'm good with a stick. A murmur of laughter, though not from us. INQUISITOR #4 Do you know what a Dijon Culverin is? JEANNE No. INQUISITOR #4 It's an item of artillery. How do you expect to raise the siege of Orleans if you are ignorant about modern artillery? JEANNE The road to Orleans is long, and I have good captains with me. I will learn fast, believe me. The Inquisitor and his colleagues whisper in a huddle. Regnault remains unconvinced, and indicates his strong reservations. Finally the Chief Inquisitor addresses Jeanne. CHIEF INQUISITOR We would like to believe you Jeanne, but we feel that if God were to want us to believe in you, he would have sent you with a sign as proof that we should believe in you. We can not advise the King to entrust you with the army merely on your assertion. Ca n't you do something? Or show us something? Some sign to prove that you are sent by God? JEANNE Sire, I did not come here to preform tricks. You are all much cleverer than I am - me, I do n't know A from B - but this much I do know : that while the people of France lie bleeding, you sit around in your fine clothes trying to deceive me - yet all you're doing is deceiving yourselves. You say you are men of God, yet you ca n't see His hand in having guided me safely through five hundred leagues of enemy country to bring you His help? Is that not proof enough? Or do you want still more signs? Give me command of an army, take me to Orleans, and there you will see the sign I was sent to make! Aulon can barely restrain himself from applauding. The Chief Inquisitor reaches his decision, raises his gavel and -\",\n \"EXT. LES TOURELLES - ORLEANS - DAY - down comes a mallet, SLAMMING out a safety wedge which releases a CATAPULT - and a huge boulder flies across the river in the direction of Orleans.\",\n \"EXT. BATTLEMENTS - ORLEANS - DAY A LOOK - OUT spots the incoming missile - yells out - GAMACHE 45 - er, nor - nor - west - straight at us!\",\n \"INT. DUNOIS' HQ - ORLEANS - DAY DUNOIS is alone, writing a letter at a small table - DUNOIS Which side's that? GAMACHE -LRB- O.S. -RRB- Window side!! Dunois realizes he's near the window and dives for cover just as the massive boulder plummets through the ceiling, demolishing the table where he'd been sitting seconds before, and leaving a huge hole in the wall. Dunois emerges from under a large table, dusting himself. He looks thin, haggard and exhausted after six months of siege. Suddenly a young soldier - Poton de XAINTRAILLES - comes bursting in, ignoring the mess. XAINTRAILLES My lord Dunois. I have wonderful news! - finally - he's sending her to us - thanks be to God - we're saved - it's wonderful! DUNOIS Calm yourself, Xaintrailles. Now slowly. Who has finally done what? XAINTRAILLES The Dauphin - he's sending us food - and supplies - and an army - led by Jeanne - the maiden from Lorraine - is n't it wonderful?! DUNOIS -LRB- deadpan. -RRB- Yes, it's a miracle. XAINTRAILLES And it's not the first one! They say she saved a little boy who was dying of. DUNOIS Xaintrailles! Do n't talk to me about miracles. -LRB- pointing to hole in floor. -RRB- If I was still sitting there waiting for a miracle, I'd be dead now. Anyway. Dunois looks up at the sky, now visible through a hole in the roof. XAINTRAILLES But. do n't you think we should at least. go and. welcome her? DUNOIS -LRB- sighs. -RRB- As long as she brings food and supplies, she'll be welcome.\",\n \"EXT. RIVER BANK & POV OF ORLEANS - DAY The walled city of Orleans stands in the distance on the far side of the river Loire. CAMERA CRANES DOWN to find Dunois, Xaintrailles and a small escort of soldiers, waiting atop a ridge where they're evidently been for some time. GAMACHE I ca n't believe they're sending a woman. DUNOIS Maybe they never sent anyone. TRAVELING SHOT : Horse's hooves galloping. GAMACHE I wonder what color dress she'll be wearing? TRAVELING SHOT : Horse's breath steaming. GAMACHE I'll wager red - how about you? DUNOIS Blue. TRAVELING SHOT : Stirrups press into the horse's flanks. DUNOIS with a blue ribbon in her hair to tie up Talbot! TRAVELING SHOT : the horse's eyes, wild and dilated. DUNOIS Does anyone know if she even knows how to ride a horse? TRAVELING SHOT : horse's legs at the triple gallop. XAINTRAILLES She knows. THEIR POV : a white banner sweeps into SHOT - then a knight clad in shinning white armor. The knight raises his visor to reveal - Jeanne, her face gleaming with sweat, eyes blazing. Dunois is speechless. JEANNE Were you sent by Lord Dunois? DUNOIS Yes. they were. JEANNE Good. Where are the English? DUNOIS Everywhere. Where is the food? JEANNE It's coming - I rode on ahead. I have to speak with the Captain of the English army. his name's Talbot. DUNOIS I know. JEANNE Good. Can you bring me to him? DUNOIS He's on the other side of the river. Now La Hire and Gilles de Rais ride into view. JEANNE So who gave the order to bring me to this side of the river? LA HIRE -LRB- calling to Dunois. -RRB- Hey, my friend! I'm glad to see your ugly damn face again! JEANNE La Hire, I'm warning you - do n't swear! LA HIRE Sorry Jeanne. -LRB- to Dunois. -RRB- Did you both meet already? DUNOIS Well. sort of. GILLES -LRB- to Dunois, smiling. -RRB- She's quite something, huh? LA HIRE Jeanne, let me introduce the king's half brother, the dogged Lord Dunois. JEANNE Then, Lord Dunois, show me the way to the other side of the river. She starts to move as Jean d'Aulon rides up - DUNOIS Wait, wait. JEANNE For what? DUNOIS Because. because - I mean - the English have a broad sense of humor, but. I mean, you do n't understand. to them you're a witch, working for the devil. What makes you think they'll listen to you? JEANNE Because if they do n't, I'll raise such a war - cry against them that they will remember us forever! DUNOIS Well. I'd love to see that, but after taking counsel with my captains, I felt it would be better to first bring the food into the city, then wait till Alencon arrives with reinforcements before doing anything. JEANNE You may have been with your counsel, but I've been with mine, and I'm telling you, God's counsel is wiser than yours, and he's telling me to speak to the English - now! DUNOIS -LRB- matching her anger. -RRB- Fine - go now if you want, but not with me! You may have a duty to God but I have a duty to my people, and my people are starving! So right now I'm going to take the food back to the city, and if you can please calm down, and let me accompany you to Orleans, it will be my honor to welcome you. Gilles smiles at Jeanne's evident frustration.\",\n \"EXT. EAST GATE - STREET & SQUARE - ORLEANS - DUSK The battered east gate of Orleans swings open, and a convoy of wagons enter the town, guarded by soldiers. Jeanne and the Captains are on horseback, the remainder on foot. A group of hungry children spot the arrival, their eyes widening at the sight of the food : beef, mutton, chickens, sacks of grain, barrels of salted fish. But most of the citizens are too starved and too weary to show much excitement ; hollow - eyed and emaciated, they have the expressionless faces of concentration camp inmates. La Hire is sickened at the sight. LA HIRE Jesus Christ. the goddamn English will pay for this! JEANNE They will - and so will you if you go on swearing like that. By the time the little procession has reached the main square, a CROWD has gathered. Sluggishly they make way for Jeanne and Dunois to ride between them. Now the interest in Jeanne begins to warm up - the CROWD press in on her. Slowly at first, but with increasing fervor, the pressure builds as the crowd try to touch her. CROWD Bless us, Jeanne! Save us!\",\n \"EXT. JEANNE'S HOUSE - ORLEANS - NIGHT Soldiers push back the crowd, allowing Jeanne to reach a large gabled house. As she dismounts, a woman runs forward - WOMAN Jeanne! Bless her - touch her! The woman holds up her BABY for Jeanne to touch. JEANNE Touch her yourself. your touch is just as good as mine. WOMAN But. you've been sent by God! JEANNE So has everyone. Jeanne turns sharply away and walks inside the house, followed by Aulon and the others.\",\n \"INT. HQ - ORLEANS HOUSE - NIGHT A frustrated Jeanne marches into Dunois' new war - room. Dunois enters, followed by his Captains, and is happy to see a model of Orleans. DUNOIS La Hire, Gilles - let me show you something. The Captains go into a huddle, leaving Jeanne smarting. She looks out of the window, where the crowd is still trying to catch a glimpse of her. JEANNE Who do they think I am?! AULON Jeanne, calm down. You ca n't blame the people - they've been hearing all about you for weeks. JEANNE There's nothing to hear - I have n't done anything. And why have n't I done anything? -LRB- turning to the captains. -RRB- Because none of you will listen to me! She shouts in frustration, and Dunois and the other captains swing round. Dunois waits for the echo to die away. DUNOIS Would you like to join us? We're about to discuss the campaign. Jeanne walks over, still vexed. Using the model, Dunois continues his situation briefing. DUNOIS From here, Talbot has spread his forces between these forts up here, but in the last few days it seems - according to our scouts - that some troops have been deployed to this fort here - which makes me think that this is where they'll be launching their attack from. Dunois points to St. Loup - a smaller fort to the east. GILLES I would have thought they'd have attacked from here, where Talbot is. DUNOIS I doubt it. From here they wo n't be able to utilize the river, whereas over here the current will be with them. LA HIRE What about this huge pile down here? DUNOIS That's the Tourelles. The English were planning to launch an attack from it, but then we broke down the bridge, which should keep them quiet for a while. My hunch is, the attack will come from St. Loup. He pauses, then turns to Jeanne, somewhat apprehensively. GILLES And. what does Jeanne think? JEANNE I do n't think. I leave that to God. I'm nothing in all this, I'm just the messenger. DUNOIS So. what is the message? JEANNE We offer the English a last chance to return home in peace. If they refuse, we recross the river and attack them here - at the Tourelles. They all look astonished. Gilles grins. DUNOIS Jeanne, that really makes no sense at all. The Tourelles is virtually impregnable. besides, if we're on the other side of the river attacking the Tourelles, what's to stop Talbot attacking the city from the north? JEANNE God. GILLES God. why of course - we'd forgotten about him! Strange, I do n't seem to remember seeing him at Agincourt. LA HIRE Damn right! GILLES Oh, but I forgot! It was a Sunday. that explains it. God's day off. They all laugh, apart from Aulon and the page boys. JEANNE You know, I feel a great sorrow for you, because you're laughing now, but by tomorrow night some of you will be dead and having to repeat your jokes in front of God. DUNOIS Jeanne, with respect - we ca n't just attack the Tourelles like that - it's a very complicated matter and. JEANNE What complicated about it? All you have to do is do what you're told - what could be simpler than that? I'm the drum on which God is beating out his message - beating so loudly it's bursting my ears - but you're all so full of your own voices, you're deaf to His! AULON Jeanne, be patient. Jeanne turns on him - JEANNE `` Be patient, be patient''. is that the only advice you can ever come up with? I've shown more patience than a dozen saints! DUNOIS Jeanne, you have to understand - it's not easy for us - I mean for our pride - to suddenly be usurped by a - well, with all due respect, by a. girl. JEANNE Ah, so that's it. To you I'm just a girl. DUNOIS Jeanne, put yourself in my shoes for a moment - how would you feel, if you were me? JEANNE Knowing what I know? Enormous gratitude. Jeanne turns and heads for the door. La Hire nudges Gilles as she approaches - LA HIRE One hell of a girl, huh? As she passes, Jeanne slaps La Hire right across the face - JEANNE I warned you! - and walk out, slamming the door behind her. The others stare after her, while La Hire nurses his cheek. GILLES -LRB- to La Hire. -RRB- I do love her when her fire gets well and truly stoked! LA HIRE Me too. A pause, then the door at the other end of the room bursts open and in walks the expansive Duke of Alencon. ALENCON Hello my friends! What a journey, but we made it! Back together again. let's have some fun! He rubs his hands in anticipation, then notes his comrades' expressions, still recovering from Jeanne's outburst. ALENCON Did I miss something?\",\n \"INT. JEANNE'S BEDROOM - ORLEANS HOUSE - NIGHT Jeanne draws her sword with a terrifying scrape as though about to kill someone, slices something in f.g. - and a chunk of black hair falls to the ground. JEANNE So what if I'm a girl? -LRB- cuts another chunk. -RRB- You need to look like a man to drive out the English? -LRB- and another. -RRB- Fine. let's look like a man! Aulon grabs her by the wrist to take the sword from her - AULON Jeanne, stop it! JEANNE How dare you stop me doing God's will! Aulon wrestles to get the sword from her - AULON He did n't tell you to cut all your hair off! JEANNE How dare you tell me what God tells me to do! AULON Alright, whatever - but since He's not going to come down and cut it himself, at least let someone cut it properly! He finally manages to grab the sword from her. AULON Raymond - bring me scissors! Louis - fetch that mirror! The two page boys hop to it, but when Louis brings the mirror, Jeanne slaps it from his hand. AULON Jeanne, stop getting so angry about everything! Calm down! Jeanne stares at him. JEANNE I am calm. It's God who's angry. I need to send a letter. Now. Aulon looks at her.\",\n \"INT. HQ - ORLEANS HOUSE - NIGHT Dunois reads the parchment that Aulon hands to him. JEANNE -LRB- V.O. -RRB- To you, Henry King of England, and to you, Duke of Bedford who call yourself Regent of France, obey the King of Heaven and abandon your siege. Dunois can scarcely believe it. He hands it to Alencon. JEANNE -LRB- V.O. -RRB- give back the keys to the other towns you have taken, and go back home to your island. Equally bemused, Alencon hands it to La Hire. JEANNE -LRB- V.O. -RRB- To you Lord Talbot, I beg you as humbly as I can beg you, for the sake of the lives of your soldiers, do not bring about your own destruction. La Hire whistles with admiration and hands it to Gilles. JEANNE -LRB- V.O. -RRB- Surrender to me, Jeanne the Maiden, who is sent here by God, and she will make peace with you. Gilles grins, and hands back to Aulon, who looks to Dunois for an answer. Dunois gives a vague nod of the head.\",\n \"EXT. BROKEN BRIDGE - ORLEANS - NIGHT As Jeanne's letter continues, Aulon walks across the broken stone bridge that once connected the city to the south bank of the Loire. Two - thirds the way across, the bridge ends abruptly, leaving a yawning gap between us and the fortress of the Tourelles. JEANNE -LRB- V.O. -RRB- but if you do not heed my warning, then we shall raise such a battle - cry as there has not been heard in France for a thousand years! Aulon takes the arrow to which Jeanne's letter is already tied, places it in the bow - takes aim and fires.\",\n \"EXT. TOURELLES - ROOF/COURTYARD - NIGHT The arrow lands in wooden planking. An English soldier with a flaming red beard yanks it out, gives it a cursory glance, grins, then clambers down to the courtyard below where soldiers are busily trimming the branches from freshly - felled trees. Redbeard hands the letter to an English captain, Glasdale. JEANNE -LRB- V.O. -RRB- This is the third and last time I will write to you. Glasdale reads it, and gives his response.\",\n \"EXT. BROKEN BRIDGE - ORLEANS - NIGHT Aulon is still waiting at the end of the broken bridge. JEANNE -LRB- V.O. -RRB- If you are still here at noon, I warn you that you will hear from me to your very great destruction. Please give me your answer speedily. Redbeard yells out from the top of the Tourelles. REDBEARD Go fuck yourself!\",\n \"INT. JEANNE'S BEDROOM - ORLEANS HOUSE - NIGHT Aulon hesitates, then softly opens the door. He tiptoes into the room, looks at Jeanne, then at Louis, who has fallen asleep with the scissors still clasped somewhat dangerously to his chest. Aulon gently removes them. As he places them on the table, Jeanne murmurs in her sleep, but without opening her eyes. JEANNE What did they say? AULON Uh. they said. they will think about it. JEANNE Good. AULON But. to be honest. I do n't think they'll leave tomorrow. Jeanne is almost asleep again. JEANNE I ca n't wait. for tomorrow. Aulon sits in a chair nearby, gazing at Jeanne, who now looks even younger, with her hair shorn short like a boy.\",\n \"EXT. BATTLEFIELD - ST. LOUP - DAWN SMASH CUT into the fury of battle - swords hacking through armor, whirling maces smashing visors, blood spurting from severed limbs. Among the combatants : Dunois, Alencon, La Hire and Gilles.\",\n \"INT. JEANNE'S BEDROOM - ORLEANS HOUSE - DAWN Jeanne suddenly sits bolt upright, eyes wide. Aulon is still asleep in his chair where we last saw him. JEANNE French blood is spilling! Aulon awakes as she leaps to her feet, strapping on her breast plate and gauntlets. AULON What's going on?! JEANNE They've started the battle without me! She tips the two page boys onto the floor. JEANNE Oh, my boys - why did n't you wake me up?! Come on, hurry up - Raymond, saddle my horse - there's a battle to fight and a war to be won! Raymond runs off and Aulon takes his place, helping Louis to buckle on Jeanne's armor. She rushes off, leaving Louis to assist Aulon with his own armor.\",\n \"EXT. HOUSE & STREET - ORLEANS - DAWN Jeanne runs out of the house to where Raymond is standing with her horse. She mounts it and canters off.\",\n \"INT. JEANNE'S BEDROOM - ORLEANS - DAWN Still buckling on his own armor, Aulon spots Jeanne's furled white banner leaning against the wall.\",\n \"EXT. HOUSE & STREET - ORLEANS - DAWN Jeanne suddenly remembers she's forgotten her banner. She turns her horse about and canters back, screaming out - JEANNE My banner! I forgot my banner! Aulon appears at the window, holding her banner - AULON Jeanne. here! Jeanne circles about and canters forward. JEANNE Throw it! Aulon throws it down to her. She catches it with one hand, turns and gallops off down the street, the white banner streaming out behind her.\",\n \"EXT. EAST GATE - ORLEANS - DAWN The Guard above the main gate sees the French army approaching in full retreat. He calls down. GUARD Open the gates!\",\n \"EXT. STREETS - ORLEANS - DAWN Sparks fly as the hooves of Jeanne's horse strike the flint cobblestones, swift and clean.\",\n \"EXT. ST. LOUP VALLEY - ORLEANS - DAWN unlike the hundreds of hooves pounding through mud and mire in the opposite direction.\",\n \"EXT. EAST GATE - ORLEANS - DAWN Jeanne reaches the gates as they are swung open, and the first of the retreating troops make it back to the city - among them, La Hire and Gilles de Rais. JEANNE What happened? Who gave the order to attack? LA HIRE God knows, but it was a bad idea! JEANNE -LRB- to Gilles. -RRB- Were the men confessed? Where are the priests? GILLES -LRB- out of breath. -RRB- We did n't take them. we wanted to be fast. wanted to make a surprise attack. Dunois rides up and Jeanne assails him - JEANNE Dunois. was it you who ordered the attack? Answer me?! DUNOIS Can we - uh - discuss this later? JEANNE Sooner is better than later! Jeanne charges forward, into the confused ranks of retreating French soldiers. Dunois thinks she's gone crazy - DUNOIS Come back. you'll be killed! But Jeanne's not listening. She's been waiting long enough for this moment, and now she has it, there's no going back. She stands in her stirrups and shouts out - JEANNE Follow me and I will give you victory! La Hire is the first to change his mind, riding up behind Jeanne like Attila the Hun as she gallops forward into the path of the retreating French. Now the Duke of Alencon joins them, and soon the whole army has turned about - an immense tidal wave of energy rolling back across the valley.\",\n \"EXT. ST. LOUP FORTIFICATIONS - ORLEANS - DAY toward the astonished English. One moment they were pursuing their hapless enemies, but now an avenging angel bears down on them, sunlight glinting off her armor. They start racing back toward their own fortifications : the bastille St. Loup - a great fortress amid a network of trenches and tunnels. The French army is finally behaving as a single organism whereas the English cohesion fragments into shards of individual panic - every man for himself! They regard Jeanne as a sorceress, and terror spreads like cancer among their ranks. They turn and flee back to their own lines, only to be bombarded by a fusillade of their own missiles, poorly aimed at the French. Soon the St. Loup tower is ablaze, the English are forced to abandon their fortress. and the French finally get to celebrate their first victory within living memory. Jeanne has become an object of worship and veneration, and the soldiers crowd about her, cheering her as their savior. Presently Dunois rides up with his Captains. DUNOIS It's a great victory, Jeanne. your victory. But we must follow it through and pursue the English back to Talbot's camp. unless of course you have another good idea? Jeanne closes her eyes a moment. then smiles at Dunois. JEANNE We return to Orleans. across the bridge, at the Tourelles. GILLES But the bridge has been pulled down! JEANNE The English are rebuilding it. DUNOIS How do you know?! FLASH : Jeanne and her army are silently moving through a forest. From her POV, she notices hundreds of fresh trees - stumps. JEANNE You have been with your counsel, and I have been with mine.\",\n \"EXT. TOURELLES COMPLEX - ORLEANS - DAY The English are moving up the stripped trees we saw earlier from the Tourelles courtyard toward the broken bridge. Glasdale surveys the operation with satisfaction.\",\n \"EXT. TOURELLES - POV FROM ROOF - DAY Redbeard and the other English Guards on the roof of the Tourelles spot Jeanne's army in the far distance. Redbeard calls down to Glasdale. REDBEARD Glasdale! Looks like the froggie whore's coming to pay you a visit.\",\n \"EXT. MONASTERY - ORLEANS - DAY Jeanne rides at the head of the army, flanked by Dunois, La Hire, Alencon, Gilles, Aulon, Xaintrailles. They halt in front of a ruined monastery to the south of the Tourelles. Jeanne gives instructions for the placement of artillery. JEANNE Position the long - bows over there, crossbows over there - and set up Dijon Culverins either side of those trees. DUNOIS The wind will be against us. JEANNE The wind will be with us! -LRB- to the Captains. -RRB- Do as I say.\",\n \"EXT. TOURELLES - BATTERY - DAY The English take up their positions along the ramparts of the battery - a massive, square fortification, surrounded by a deep, empty moat. Jeanne rides forward to the edge of the dry moat, her banner billowing in the breeze, and addresses the English. JEANNE Glasdale, can you hear me? You who call me a whore, I pity your soul and the souls of your men. Yield now to the King of Heaven, and go back to your island. GLASDALE And you, go back to Hell! Jeanne turns and gallops back to the French soldiers as Glasdale turns coolly to Redbeard - GLASDALE Do n't kill her till I've had my fill of her! - and walks back to the Tourelles. The French have established a temporary headquarters. Dunois is drawing a map in the dirt and is preparing a battle plan with his Captains. DUNOIS Let's plan this attack a little more carefully than this morning. GILLES Good idea! JEANNE -LRB- O.S. -RRB- -LRB- calling. -RRB- My fine soldiers! Dunois turns to see Jeanne, standing before the army. JEANNE This morning, God gave us our first victory, but that was nothing compared to what he is ready to give us now. I know you are tired and hungry, but I swear to you in the name of the King of Heaven that even if these English were hanging from the clouds by their fingertips, we shall tear them down before nightfall! Now, my brave soldiers. let those who love me follow me! With a valiant cry, a thousand soldiers tear forward behind Jeanne. Dunois is speechless. Gilles lays a sympathetic hand on his shoulder. GILLES You were saying? Jeanne rides at full tilt down into the dry moat, and for the next few minutes, the air is thick with the tumult of battle. As each successive wave swarms across the moat, so they are met by a fusillade of English flame and steel from the battery above. But the French respond with equal fervor : the Dijon Culverins deployed by Jeanne now rain an aerial bombardment of boulders down upon the English, while their arrows darken the sky above. Jeanne reaches the base of the battery. She leaps down from her horse and starts to climb one of the ladders being thrown up against the wall. but is suddenly struck by an arrow from the rampart above. She reels - the ladder sways - and Aulon catches her in his arms as she falls back to earth. Redbeard is jokingly furious - REDBEARD Hey, you just killed my woman! The English laugh and jeer, but the French are in dismay at the sight of their Jeanne, unconscious, lying in Aulon's arms, with the arrow wedged deep above her breast.\",\n \"EXT. MONASTERY BEHIND TOURELLES - DAY Aulon, La Hire and Xaintrailles carry her to the ruined monastery while the two page boys follow anxiously behind.\",\n \"INT. ST. AUGUSTINE MONASTERY - DAY They enter the shell - shattered sanctuary of a gothic chapel where Aulon directs them to lay Jeanne against the wall. In the distance we can hear the muffled sounds of war, but in here it is strangely quiet. The great war - lords stand in a semi - circle, pathetically wringing their hands, like the seven dwarves bereaving the stricken Snow White. The sight of tears trickling down La Hire's scarred cheeks is as touching as it is pathetic. Aulon wipes her brow, leaning in very close to feel her pulse and whether her mouth exhales breath. He turns to Raymond, who stands close by with Louis - AULON Go and find the physician. I saw him with the supplies. Raymond races off. GILLES We have to take out the arrow now. AULON It's in so deep - I'm afraid she'll bleed to death if we pull it out. LA HIRE There must be something we can do for her for Chrissakes! GILLES -LRB- sarcastic. -RRB- Yes. We can pray. LA HIRE Good idea. La Hire turns and directs his pledge to the broken stained - glass image of Christ above the trashed altar. LA HIRE I swear I'll never swear again in my life if you save her life! But I'm warning you, if you let her die, then you're the biggest. JEANNE Do n't swear. Jeanne stirs, her eyes beginning to open. LA HIRE He heard me! AULON Jeanne. we thought we'd lost you! JEANNE Not so. easily. Why are n't you. fighting? go on. we're almost there. AULON Jeanne, you've been badly wounded. JEANNE No, it's. it's nothing, it's. Speaking provokes a sudden stab of pain. She tries to clutch the arrow, but Aulon stops her. He peels back her shirt, exposing the bloody wound above her pale breast. GILLES It's an arrow, and it's in deep. AULON You must stay still till the physician arrives! LA HIRE Physicians are a waste of time. You'll have more luck with this charm of mine. it saved my life at Agincourt! JEANNE I'd sooner die than use magic! AULON Jeanne, you will die if that arrow stays in you much longer. Jeanne suddenly seizes the arrow and yanks it out of her body. Blood spurts - the suddenness and violence of her action catches the men unaware, and it's a moment before Aulon can stem the flow with his hand. Jeanne looks at the arrow before throwing it aside. JEANNE At least this one wo n't bother us any more. Now let's get back to the fight! She tries to get up. and collapses, grabbing Aulon. AULON Jeanne. please. you must stay calm. you must rest. please! He lays her back down. Jeanne whispers to him, intimately. JEANNE Alright. I promise to rest if you promise. to go back to the battle. AULON I promise. Jeanne smiles - then suddenly collapses. LA HIRE Oh shit! Jeanne. do n't die! La Hire breaks off as Raymond arrives back with the Physician. AULON Quickly. do something! The Physician kneels beside her and listens for any sound of life. All the Captains crowd closer and closer, and as we too move closer, we hear the sound of deep breathing, almost a snore. PHYSICIAN She's sleeping. Like a baby. La Hire and the others sigh with relief.\",\n \"EXT. TOURELLES - BATTERY - DUSK Dunois surveys his army's attempt to storm the English battery. It is now dusk, and without Jeanne the battle has become a half - hearted affair. He turns to a trumpeter as Aulon comes running up. AULON Jeanne's alive! DUNOIS Good. AULON We have to press home the attack! DUNOIS -LRB- to the Trumpeter. -RRB- Sound the retreat. AULON But I promised Jeanne we'd fight on! DUNOIS I made no such promise. Sound the retreat for the night! AULON But that was her order! DUNOIS I'm fed up with taking her orders. She swore she'd defeat the English before nightfall, instead of which she goes and plays the fool and gets herself nearly killed! Look at the mess we're in! That's her mess, not mine! We're worse off then if she'd never come at all! -LRB- to the Trumpeter. -RRB-. now do as I say and Sound the Retreat! The Trumpeter obeys and signals the evening wrap. The English jeer and whistle from their impregnable battery as the French head back up the sloping sides of the moat.\",\n \"INT. ST. AUGUSTINE MONASTERY - DUSK Jeanne lies asleep inside the ruined church, guarded by her two page boys. A small fire burns nearby to keep her warm, but she is shivering.\",\n \"EXT. ORLEANS - JEANNE'S NIGHTMARE - NIGHT She suddenly awakes with a start, then gets up and goes to the fire. She kneels down. puts her hands in the flames. and scoops up a handful of ash. She paints her face with the black ash, like a native warrior, then stands back up, turning to face a small army. JEANNE My brave soldiers, do you believe in God? The Army cries out `` Yeesssss!'' JEANNE Then let God's punishment be done : Eye for eye. and a sudden FLASH of lightning transforms some of her men into skeletons. JEANNE tooth for tooth! -LRB- another flash. -RRB-. burn for burn! -LRB- another flash. -RRB-. life for a life! a final FLASH, and her whole army is now a seething swarm of SKELETONS. With a curdling cry of vengeance they race forward, passing either side of her. Jeanne turns to see the skeleton army heading across a bizarre bridge and onto the moonlit battery, flowing either side of the 8 year - old BOY she saw in the woods as a child. Intrigued, Jeanne follows him, but by the time she reaches him, the boy has disappeared. The skeletons have also vanished, to be replaced by an army of little English boys in man - sized armor, heading toward a distant figure. The boy - soldiers are being welcomed by the beautiful MAN Jeanne saw earlier. He smiles at her, extending his arms in a Christ - like gesture of embrace. As Jeanne approaches him, others turn to welcome her - Aulon, Dunois, Alencon. finally La Hire, holding out his arms - LA HIRE Jeanne, come here my friend, my soldier. in my arms! La Hire scoops her up into his bear - like arms and swings her round. suddenly, over his shoulder she spots a familiar figure : her dead sister. JEANNE Catherine? She breaks from La Hire and runs to Catherine, throwing her arms around her and sobbing with joy. JEANNE Catherine. oh, Catherine - I knew you would n't leave me! They stand for a moment, embracing each other, while La Hire and the other Captains applaud Jeanne's victory. The beautiful young MAN approaches them, but we now see that he has a sword clasped behind his back. Catherine's face contorts in pain. She slumps forward, the sword in her back. Beyond her, the beautiful MAN has transformed into the grotesque Blackbeard, who roars with laughter as Jeanne holds her dying sister. CATHERINE Avenge me. avenge me! A circle of fire forms around them, with skeleton soldiers dancing in the flames. Blackbeard's echoing laugh is gradually superimposed by real laughter and a familiar voice. REDBEARD -LRB- O.S. -RRB- Hey. Frenchies. what happened to your precious angel, huh?\",\n \"EXT. TOURELLES - FRENCH CAMP - DAWN All is quiet, the troops lie sleeping. Redbeard calls through the mist from the raised drawbridge spanning the dry moat linking the battery to the French camp - REDBEARD Frenchies, you hear me? What happened to your little virgin? Jeanne is awake. She listens to Redbeard. REDBEARD I'll tell you what happened. we sent her back to Hell so she can go fuck with the Devil! Now Jeanne is caressing her horse while Redbeard taunts. REDBEARD What are you going to do, Frenchies? Why not come out and fight? Or are you too busy praying to bring your witch back from the dead? Do you hear me? Suddenly Jeanne emerges from the mist, riding her horse and brandishing her banner - JEANNE I hear you! May God forgive your blasphemy. but I never can! She turns and disappears back into the mist.\",\n \"EXT. TOURELLES - BATTERY - DAWN Redbeard blinks in amazement. He turns to another soldier - REDBEARD Go and wake up Glasdale!\",\n \"EXT. TOURELLES - FRENCH CAMP - DAWN Jeanne rides along the columns of sleeping soldiers. JEANNE Come on - wake up - sound trumpets and to horse! The dazed and sleepy French drag themselves from their straw beds. Dunois emerges from his tent, bleary and half - naked. DUNOIS What's going on? JEANNE We're taking back the Tourelles!\",\n \"INT. TOURELLES - TURRET ROOM - DAWN The Guard shakes Glasdale awake. GLASDALE What's happening? GUARD My lord. the French witch just came back from the dead. Glasdale hauls himself from his bed.\",\n \"EXT. TOURELLES - FRENCH CAMP - DAWN Jeanne supervises her men as they push a huge siege tower toward the dry moat. She rides over to Aulon. JEANNE Get all the men to horse and ready to follow. Aulon goes as Dunois hurries over. DUNOIS Jeanne, what are you doing with that. you've got it back to front. JEANNE I know what I'm doing, so either lend a hand or go back to bed!\",\n \"EXT. TOURELLES - BATTERY - DAWN Redbeard watches in bewilderment as the siege machine starts to materialize through the mist. REDBEARD What the hell she's playing at?\",\n \"EXT. TOURELLES - TURRET - DAWN Glasdale is equally perplexed, gazing out from his garret window across the battery. An archer is by his side. GLASDALE Crazy bitch. she does n't even know how to use it.\",\n \"EXT. TOURELLES - DRY MOAT/BATTERY - DAWN The French wheel the enormous siege tower toward a wooden lip above the dry moat. The drawbridge is firmly raised on the far side. Redbeard's complacent expression changes as he suddenly realizes what's about to happen. REDBEARD Oh shit. He backs away as the machine reaches the lip. Suddenly it topples forward, crashing down on top of the raised drawbridge and demolishing it beneath its enormous weight.\",\n \"EXT. TOURELLES - TURRET - DAWN From his elevated viewpoint, Glasdale watches in horror as Aulon leads the French cavalry across the siege machine bridge that now spans the dry moat, giving them access to the battery. GLASDALE Raise the drawbridge! The Archer passes Glasdale's order along - a chain message that reaches the gate - keeper, who promptly starts to turn the winch.\",\n \"EXT. TOURELLES - BATTERY - DAY As the French swarm onto the battery, Redbeard and his soldiers turn tail and race back toward the second drawbridge into the Tourelles. REDBEARD Wait for me! The bridge is already being winched up. Redbeard is the first to reach it. with a desperate leap he manages to grab the lip of the bridge and scramble over.\",\n \"EXT. TOURELLES - COURTYARD - DAY rolling down into the sanctuary of the Tourelles on the far side.\",\n \"EXT. TOURELLES - BATTERY - DAY His comrades are less fortunate, and are slaughtered by the advancing French. Jeanne urges her troops forward, her white banner billowing in the breeze, but with the drawbridge raised, there is no way for them to enter the Tourelles. The English hurl fresh insults - and bombards - from the battlements above, and the French are forced to take cover behind two ruined buildings on the battery. Jeanne rides across to a ruined barn where several carts are stacked with felled tree - trunks. She spots La Hire. JEANNE Prepare these as battering - rams! LA HIRE What's the use? The drawbridge is up! JEANNE Not for long. Under a hail of English arrows, Jeanne rides back across the open battery to a ruined house on the other side. She sees Aulon and dismounts. JEANNE The king said you're his finest archer? AULON Well. JEANNE Come with me.\",\n \"INT. RUINED HOUSE - TOURELLES - DAY Jeanne leads Aulon through the ruined house to the far end, where a window overlooks the river - moat that separates the battery from the Tourelles. JEANNE You see those wooden beams? Jeanne points to the two beams supporting the chains of the drawbridge further along. JEANNE I want you to set them on fire!\",\n \"INT. TOURELLES - TURRET - DAY Glasdale spots Jeanne running back across the battery. He summons his Archer, pointing her out. GLASDALE Kill her.\",\n \"EXT. TOURELLES - BATTERY - DAY Jeanne leaves the ruined house and spots Gilles standing with Alencon. As she approaches, Gilles spots the archer in Glasdale's window far above, taking aim. JEANNE Gilles - fetch the Dijon Culverins and place them over there. Jeanne turns her back - the Archer fires - Gilles holds up his shield - the arrow strikes it - and Jeanne turns back, unaware that he has just saved her life. JEANNE Clear? GILLES Perfectly. Gilles heads off, leaving Alencon looking left out. ALENCON And me. what can I do? JEANNE Um. round up the horses and keep them safe. ALENCON Good idea. Leaving Alencon to his task, Jeanne rides off. and THUMP! a flaming arrow lands in one of the drawbridge beams.\",\n \"EXT. TOURELLES - COMPLEX - DAY An English soldier peers down to see both beams ablaze. SOLDIER Fetch some water! The command is passed down the line - a bucket is lowered into the river and hauled back up - the bucket rushed up stone stairs to the soldier on the battlements.\",\n \"EXT. TOURELLES - BATTERY - DAY Meanwhile Jeanne returns to Dunois and La Hire - JEANNE Stand by with the battering - rams. DUNOIS We need another ten minutes. JEANNE The bridge wo n't wait! LA HIRE Leave it to me. Back on the battlements, the bucket of water is passed up to the Soldier, who tries to pour it over the edge and onto the blazing beam. Aulon spots him from below and fires a flaming arrow - it pierces the soldier, who pours the water on himself, extinguishing the flames.\",\n \"EXT. TOURELLES - COMPLEX - DAY TIGHT SHOTS : hands wind the handle of a bobbin - a device is activated - a lever thrown - a grille slides sideways.\",\n \"EXT. TOURELLES - BATTERY - DAY The beams collapse - the support chains give way - and the drawbridge comes crashing down. Beyond it is a portcullis, but to La Hire's exuberant volunteers this is no barrier. Carrying buckets of flaming oil, they charge forward. but as they race across the drawbridge, a sudden volley of high - velocity arrows discharge from the lower apertures of the portcullis, felling them before they even get halfway across the bridge.\",\n \"EXT. TOURELLES - COMPLEX - DAY The English cackle with delight at the sight of the dying French writhing in the flaming oil. Redbeard - in charge of the multiple balista - orders the device to be reloaded, then yells through the upper portcullis. REDBEARD Hey, what happened to the whore? Sorry. virgin!\",\n \"EXT. TOURELLES - BATTERY - DAY Dunois views the massacred soldiers lying on the bridge amid the dying flames. Jeanne is about to mount her horse. REDBEARD Send her over here and she wo n't stay a virgin for long! DUNOIS Jeanne, do n't do it! Just stop and think for once! Do n't you see? The gate's a trap. and he's the bait! Redbeard roars with laughter as Jeanne yells back - JEANNE I take pity on your soul, Englishman!\",\n \"EXT. TOURELLES - COMPLEX - DAY Redbeard checks the reloading of the balista. REDBEARD What the matter? Frightened of a little English stuffing?\",\n \"EXT. TOURELLES - BATTERY - DAY Jeanne gently puts her arm around her horse's neck, whispering to it. JEANNE We must both be brave. She kisses it lightly, then grabs her banner from Louis, calling out to the others - JEANNE When you see my banner touch the door, the fortress is ours! and away she rides, across the drawbridge, still piled with the slaughtered men from the first attack. REDBEARD and. fire! Another volley of arrows discharges from the portcullis and Jeanne's horse collapses. The English cheer.\",\n \"INT. TOURELLES - TURRET - DAY From his garret window high above, Glasdale sees Jeanne spread - eagled next to her dead horse on the drawbridge below. He turns to his servant with a grin. GLASDALE This time she wo n't be back.\",\n \"EXT. TOURELLES - BATTERY - DAY Aulon gapes in horror. but then suddenly Jeanne is back up on her feet again. Gripping her banner, she dashes forward toward the portcullis, implanting it just as Redbeard opens a little sliding grille - Jeanne jabs her banner through -\",\n \"EXT. TOURELLES - COMPLEX - DAY impaling Redbeard's skull on the far side! His body crumples to the ground, wedged between the base of the portcullis and the balista.\",\n \"EXT. TOURELLES - BATTERY - DAY Jeanne runs back across the drawbridge, crying out. JEANNE The place is ours!\",\n \"EXT. TOURELLES - COMPLEX - DAY Inside the Tourelles, the English try to operate the reloaded balista. But Redbeard's corpse is wedged so tightly that they ca n't move it.\",\n \"EXT. TOURELLES - BATTERY - DAY Jeanne moves aside as La Hire and his men heave the carts laden with tree - trunk battering - rams across the bridge.\",\n \"INT. TOURELLES - TURRET - DAY Glasdale has seen enough.\",\n \"INT. TOURELLES - DAY He tears down into the courtyard, mustering soldiers as he goes - GLASDALE To arms! To arms! With a triumphant battle - cry, the French charge their battering - ram into the portcullis.\",\n \"EXT. TOURELLES - COMPLEX - DAY demolishing it like matchwood, then storm inside the fortress. Glasdale cries out to his troops - GLASDALE Soldiers. In the name of the king, I want you to kill these French dogs until there's none left! The English troops swarm either side of the broken portcullis, forcing most of the French back onto the battery.\",\n \"EXT. TOURELLES - BATTERY - DAY La Hire lets out a blood - curdling, primeval war - cry and charges forward to meet the English wave head on. Jeanne is caught in the middle, buffeted from side to side by a sea of heaving, sweating, bleeding bodies. In this melee it is impossible to know who is friend or foe, and the images become so blurred that we and Jeanne are soon lost in a mist of dust and noise.\",\n \"EXT. TOURELLES - DREAM - DAY FLASH : our eyes are momentarily blinded by the sun. and when we return, we find Jeanne in the middle of the battery, but now totally alone, weaving her sword through the air in SLOW MOTION as she once did with her stick.\",\n \"EXT. FIELD - DREAM - DAY/NIGHT FLASH : Jeanne is still weaving the air with her sword, but she is now a little girl of eight, playing in the field we first saw her in. The small BOY looks at her, smiling. FLASH : Jeanne continues to play, but is now 17, and the boy is now a young MAN, still smiling. He calls out to her. MAN Jeanne. what are you doing? JEANNE Playing. She sweeps her sword and decapitates a flower. Blood flows from the stalk. Jeanne looks at it, more in childish curiosity than astonishment or horror. She looks at the sword, the blade now streaked with blood. MAN Jeanne. what are you doing? Jeanne pauses, looks at him steadily. and suddenly notices that blood is trickling down his face. A SHAFT OF LIGHT blazes, wind billows. and suddenly it's winter, the trees naked, heavy with snow. MAN What have you done to me, Jeanne? Jeanne looks horrified. The Man puts his hands to her face, gazing deep into her eyes. MAN What have you done to me? JEANNE I - I - I.\",\n \"EXT. TOURELLES - COURTYARD - DAY Jeanne is screaming at Aulon, who is gripping her blood - splattered face as the Man did. AULON Jeanne, calm down, do you hear me? Are you alright? JEANNE Yes. AULON It's over, Jeanne. We won, just as you said! Jeanne looks about her in a daze. La Hire strides over, arms extended, extravagant as always - LA HIRE Jeanne, come here my friend, my soldier. in my arms! Jeanne starts laughing - she ca n't believe it. JEANNE We. won?! LA HIRE Won?! Such a small word will never do! This is victory, Jeanne, this is. glory! He scoops her up in his bear - like arms like an ebullient lover, both laughing in the moment. He slowly turns her around, breathing in a great lungful of air and savoring the smell of what Jeanne now sees over his shoulder : the entire courtyard, knee - deep in bodies and bits of bodies - including the gallant Xaintrailles. Jeanne too can smell the reek of fresh, warm gore. Her laugh turns to a cry of anguish. La Hire sets her back down. LA HIRE Jeanne - what's the matter? Jeanne is utterly horrified. her legs tremble. amber liquid trickles down her armor. JEANNE You call this. glory? All this. this blood. this smell of. LA HIRE the smell of victory, Jeanne! Mmmmmmm! I love it! JEANNE It's not possible. Jeanne sees a French soldier of meager wit, hauling a dying English soldier onto his knees for some obscure purpose. GILLES You look disappointed. Is n't this what you wanted? JEANNE No. not like this. GILLES For weeks you've been asking for this. well now you have it! The Soldier is about to smash the Englishman's mouth with a mace. Jeanne snaps out of her momentary stupor and races across, stumbling over the dead bodies. JEANNE Stop it! What are you doing? SOLDIER Nothing. just taking his teeth. JEANNE But you ca n't just kill a man for his teeth! SOLDIER Why not? He has good teeth. JEANNE Because. because you just ca n't! GILLES Eye for an eye, tooth for a tooth. Jeanne ignores the laconic Gilles. SOLDIER Besides, what about these? JEANNE That's different. I mean. we were fighting for a. for a cause! Gilles grins, but La Hire looks genuinely bemused at Jeanne's behavior. The soldier shrugs, unimpressed. SOLDIER Not me. He's my prisoner. I can take his teeth if I want to. He is about to smash the teeth. JEANNE No! She throws herself in front of the startled Frenchman. JEANNE Take mine instead - here - smash mine first! LA HIRE Jeanne. get up. this is ridiculous. JEANNE If you kill him, you kill me! GILLES Jeanne. let him do it. One more dead body's not going to make any difference, so who cares? JEANNE I care! And I care because God cares! All life is precious to God - even his - even yours and mine. LA HIRE Jeanne. the man has n't been paid for six months - that's his only reward. Let him take a few teeth. JEANNE A few teeth. that's the price of his life? SOLDIER Yeah. JEANNE Here - take this instead. She wrenches a ring from her finger and flings it at the soldier. JEANNE He's mine now. Jeanne cuts the Englishman's bonds. JEANNE Now you. get out. The English soldier does n't wait for further prompting. Gilles claps. GILLES Bravo! What about all the other hundreds of prisoners? Do we let them go too? JEANNE Maybe. I do n't know. but first we have to confess.\",\n \"INT. AUGUSTINE MONASTERY - DAY Jeanne marches her blood - splattered captains into the church and up the aisle toward the rubble - strewn altar. She sees a terrified Franciscan PRIEST and grabs hold of him. JEANNE Please. we have to be confessed. all of us. now! I know it's not normal custom, but sometimes. you know. we have to make an exception and. and today is an exception. The Priest looks confounded. Jeanne turns to the Captains. JEANNE He's going to confess us. Kneel! All but La Hire kneel, although their armor is stiff at the joints. LA HIRE Jeanne, if you do n't mind. I'll stay standing. this armor. it's a nightmare to get back up. JEANNE I said, kneel! Jeanne raises her sword and brings the flat blade whacking against the back of his legs. La Hire crumples, and Jeanne turns to the Priest. JEANNE Please. we're ready. begin! The Priest is totally lost. he begins to mumble a few words in Latin just as a soldier burst in - SOLDIER -LRB- breathless. -RRB- The English. they're forming up. thousands of them. on the far side of the river. The Captains look anxiously at Jeanne. She hesitates a moment, then gazes up at the battered crucifix on the altar and closes her eyes in prayer.\",\n \"EXT. NORTH PLATEAU - ORLEANS - DAWN Jeanne opens her eyes. It is dawn, and two silent armies are drawn up facing one another : four thousand Englishmen on the left, two thousand Frenchmen on the right. They have barely had time to recover from the Tourelles, and the lust for battle is gone. We sense that this is going to be a blood bath that nobody wants. Franciscan monks move among them, sprinkling them with holy water in final absolution. The battle lines are too far apart for the English to see any details, but the sight of massed soldiers kneeling before an invisible God is an awesome spectacle. Jeanne and the Captains are mounted, facing the English. DUNOIS Well? Shall we go? JEANNE Not yet. DUNOIS The English wo n't wait. Jeanne hesitates. JEANNE I'll go. AULON Jeanne, no. But Dunois silences him, indicating to Gilles that he should accompany her. JEANNE Alone. Dunois is again obliged to comply, and Gilles hangs back. From the English lines, we see a small, solitary figure emerge from the massed ranks of French soldiers. Jeanne moves halfway between the two armies. The English soldiers watch her, mesmerized, while their captains remain motionless. In the middle of the field, Jeanne halts. From the French POV she looks dangerously vulnerable. The English commander - TALBOT - draws up alongside his Captains, watching her with grey eyes and an expression of stone. Only we see that Jeanne is crying. She rubs the tears away. JEANNE I have a message for your King Henry. It is a message from God. The English stand silent. JEANNE Go home. Go now, in peace. If you do n't go now, you will be buried in this field. I've seen enough blood for today, but if you want more, I ca n't stop you. I can only warn you that it will be your blood, not ours. Talbot whispers something to one of his Captains. He withdraws to pass the message on. Jeanne - and her French captains - try to gauge the English mood. JEANNE I'm waiting for your answer. Now the English Captains start moving along their flanks. Something's about to happen. Dunois and the French watch in dismay as the English flanks move aside, exposing their dreaded archers. Jeanne closes her eyes, tears brimming. JEANNE Please, Lord. do n't. do n't let this happen. do n't leave me. The English archers take a step back, their cavalry move slowly forward, then turn to their right, the men letting them through. Dunois turns to La Hire. DUNOIS Never wait for miracles. Stand by to attack. The serried ranks of English infantry close in, then halt. We're ready for the worst, and it takes Jeanne - and us - a full twenty seconds to realize what is happening : the English are leaving. First the cavalry, then the infantry, finally the archers themselves. Jeanne can not believe her eyes. She burst out laughing and crying at the same time. The French captains gape in astonishment. Finally La Hire can contain himself no longer - LA HIRE By God and all the saints. now that's what I call a bloody miracle! The French burst into jubilation.\",\n \"INT. CHINON CASTLE - DAY As the cheering builds, we see a Messenger race along a corridor and burst into the throne room. Charles slowly rises on hearing the joyous news, clapping his hands in delight - not least at the discomfort of Tremoille and Regnault. But Yolande shares his enthusiasm, although we sense that the news comes as no great surprise.\",\n \"INT. ROUEN CASTLE - DAY The cheering continues as another Messenger races along a similar stone corridor and bursts in on the haggard Duke of BEDFORD. He is the English regent, and is in council with several others, including the Bishop of Beauvais - one Pierre CAUCHON. As Bedford hears the news, the cheering FADES. He rises from his chair. BEDFORD I want that girl. I want her burned.\",\n \"EXT. STREET - RHEIMS - DAY The crowd goes wild as Jeanne rides through the streets of Rheims, carrying her banner in triumph. She is followed by Aulon and her two page boys, and is accompanied by soldiers who do their best to hold the ecstatic crowd at bay. At the far end of the street : a magnificent cathedral.\",\n \"INT. VESTRY - RHEIMS CATHEDRAL - DAY Backstage pandemonium as Charles is readied for his imminent coronation. A glamorous Gilles tries to help him into his ermine robe ; Tremoille stands with Archbishop Regnault, adjusting his gold - trimmed cloak. An ancient BISHOP - palsied and pushing 80 - stands by, hands a - trembling. CHARLES It's too tight - where's the seamstress? And that. -LRB- pointing to crown. -RRB-. that's meant to be a crown? Do n't you have something more - more regal? A young Priest is holding the dowdy crown. PRIEST The English took the real one. CHARLES I asked for a grandiose coronation, and this is what you give me? This whole thing's going to be a complete fiasco! BISHOP Sire, we were only given three days to prepare - three days! - Why, your father's coronation took three months! Charles turns to Tremoille - CHARLES He's probably right - let's call a delay. TREMOILLE There's no time, sire - we ca n't hold up the ceremony. there's no telling when the English might come back. they're only ten leagues away. CHARLES Let them come! Let them see who's the true king of France! Further away, Dunois is examining himself in a looking - glass. He is standing with Gilles de Rais, both resplendent in their armor, now cleaned and polished. DUNOIS It's been muddy for so long, I forgot how good it looked when cleaned up. LA HIRE Did you remember to clean up what's inside as well? Dunois ribs him with his elbow, both laughing. In another corner, Alencon is fast asleep. Charles is still grumbling. CHARLES Those damn English. we should be doing this in Paris. in Notre Dame - much more prestigious - and twice as big as this one! Yolande, who has been standing quietly in the shadows with Richmond, steps forward. YOLANDE It is the sacred place that matters, Charles - not the size. Am I correct, Bishop? BISHOP Oh yes, my lady. All true kings of France must first be anointed in our great cathedral of Rheims. with the holy oil of Clovis. for it was within these very walls that Saint Remy received the sacred oil from Heaven, brought to him by a white dove for the anointing of King Clovis. TREMOILLE Yes, yes - well let's just get on with it, shall we? GILLES before the English turn up and spoil everything. CHARLES They would n't dare! GILLES I would n't be so sure. It only takes one of them - in disguise - Gilles pulls a sharp dagger - Charles looks petrified. GILLES with a good dagger. that's all it takes. Gilles lifts the dagger. and snips a loose thread from Charles's shoulder. GILLES to ruin the whole thing. Gilles sheaths his dagger, but Charles is now panicking. He glances at those around him as though one of them might be a spy. Gilles moves away, and Charles turns to his pages - CHARLES Hurry up! Further away, the Bishop's assistant Canon hurries in, holding a small jar - CANON Your Grace, there can be no anointing! BISHOP What in heaven's name are you talking about? CANON The holy oil of Clovis - it's all gone! The ancient Archbishop can scarcely believe his ears. He peers inside the little jar just as Yolande arrives with Richmond. BISHOP Gone? But that's impossible - it's magic oil. I mean miraculous oil - it can never be exhausted. CANON Look for yourself! The Canon offers it to the Bishop, but Yolande intervenes. YOLANDE Problem? He hands her the little jar. BISHOP I do n't understand. the holy oil of Clovis. it was quite full the last time I saw it. YOLANDE And when was that? BISHOP Well. at the coronation of King Charles VI. YOLANDE Thirty years ago? I'm not surprised it's gone. BISHOP No no, you do n't understand - this is no ordinary oil - this is miraculous. this oil was brought from heaven by a white dove to crown King Clovis in this. very. cathedral. Yolande has moved away, to be replaced by the hideously - scarred Richmond. The Bishop's voice trails as he sees Yolande beyond him, taking an oil lamp from the wall and pouring a little oil into the jar. BISHOP W - w - what are you doing?! YOLANDE Performing a miracle. Richmond curtails any protest with a toothy grin. There's a growing SOUND of excitement coming from beyond. Finally Jeanne appears in the doorway, carrying her banner and followed by her faithful page boys, Louis and Raymond. La Hire nudges Alencon awake as she passes, giving an admiring whistle. CHARLES Ah, Jeanne. come here! This whole coronation idea of yours is a fiasco. nothing is ready. JEANNE You look wonderful. CHARLES and my crown does n't fit and. -LRB- breaking off. -RRB- Really? She looks up and down, appraising him. JEANNE You look like a king. Charles melts. TRUMPETS SOUND from the great Cathedral beyond.\",\n \"INT. RHEIMS CATHEDRAL - DAY Two tiers of boys sing in plainsong as Charles enters through a small door and into the vastness of the crowded Cathedral. It is filled to capacity, with Jeanne's comrades - in - arms filling the front pews like eager fans, straining for a glimpse of her. Tremoille waddles behind Charles, with Regnault, Yolande and Richmond in tow. Next, the two page boys - and then at last the main attraction as far as this congregation is concerned - the crowd lets out an audible gasp as Jeanne enters in her white armor, carrying her proud, war - scarred banner and escorted by Jean d'Aulon. La Hire is so moved at the sight that he has to wipe away big soppy tears -LRB- for sentimentality was ever the flip - side of cruelty -RRB-. Alencon and Dunois likewise gaze at their adored one, though Gilles is perhaps more taken with the cherubic choir boys. Jeanne trembles with emotion. This is the peak of her career, and she knows it, and she's making the most of it. As the little procession reaches the nave, all but Charles filter aside. He walks forward alone to where Archbishop Regnault is standing - a few paces - then stops, turns - and holds out his hands to Jeanne. The crowd gasp with approval at the unprecedented gesture. La Hire briefly claps, before being dug in the ribs by Gilles. but the kingly act provokes jealous looks from Regnault and Tremoille. Jeanne hesitates, then is almost willed on by the crowd into joining Charles. She stands a little aside as he kneels. Regnault sprinkles the Holy Oil on his sovereign's head. REGNAULT With this sacred oil, blessed by the hand of God the Father Almighty, we do anoint thee Charles Valois. Regnault breaks off : there's a commotion at the back of the cathedral. Charles looks around - anxious faces turn - soldiers draw their swords - is it the English? Bored by the ceremony, young Louis has been kicking legs again, and one of the guards is nursing a bruised shin. With all eyes suddenly upon him, Louis flushes - and is quickly taken in hand by Yolande. After the brief interruption, Regnault continues. REGNAULT we do anoint thee Charles Valois, Sovereign Lord and King of this great kingdom of France, charging that ye defend the faith of our Mother Holy Church so long as ye shall live. It could almost be the marriage ceremony. Jeanne watches in tears, trembling with emotion as the Archbishop takes the crown and holds it above Charles' head, then slowly, slowly lowers it. As he does so, an eerie SOUND, like a bullet in slow - motion coming straight at us. followed by a cry from Jeanne.\",\n \"EXT. PARIS WALLS - ST. DENIS - DAY Jeanne gasps - sways. Torrential rain, sweeping across the grey, mud - filled moat in great curtains. She's standing on the bank above the moat, looking across at the massive city walls where ladders have been set up. Aulon catches up with her. AULON Jeanne! Are you alright? JEANNE Yes. Yes, I'm fine. -LRB- yelling out. -RRB- We need more brushwood! -LRB- to Aulon. -RRB- Why are you staring at me like that? AULON Because there's an arrow in your leg. She looks down and there it is, poking out her leg : an arrow has penetrated her armor. JEANNE So there is. She had n't realized - and does n't seem that bothered. JEANNE but that's no reason for you to stop. You can still climb a ladder, ca n't you? So go on then. climb! Aulon looks across at the endless ladders, disappearing into the mist and smoke at the top of the gigantic wall. Jeanne calls out to her page, Raymond - JEANNE Raymond! Over here! Raymond hurries over. JEANNE Pull it out. Raymond looks terrified - JEANNE Pull it out! Raymond grips the arrow while Jeanne gazes across at one of the ladders laden with Frenchmen. As he pulls it out, the ladder falls back, plunging the soldiers to their deaths. Jeanne gasps in pain. La Hire and Gilles are further along the bank. GILLES This is no good! LA HIRE No good? This is a disaster! Gilles stumbles along the bank to Jeanne. GILLES Jeanne. The men are exhausted! JEANNE I know, but so is the enemy - they're falling back - Paris is ours! GILLES Jeanne. we're not enough. JEANNE So. bring up the reinforcements! GILLES Reinforcements? Where? Jeanne waves vaguely behind her - JEANNE Right behind us - Dunois with another then thousand men! GILLES Jeanne, look behind you. JEANNE Never look behind - only ahead! Gilles grips her by the shoulders, forcing her to turn and look behind. At most, a hundred bedraggled soldiers, limping amid the carnage in the moat. Jeanne stares at them. GILLES Do you know how to count? JEANNE Of course I do? Bring them up! GILLES Jeanne. that is not ten thousand reinforcements - that is one hundred very loyal but very tired soldiers. JEANNE But. where is Dunois. where are the men the king promised me? GILLES He never sent them. Do n't you understand? He does n't want this war anymore. he has his crown now, that's all he ever wanted. JEANNE But my voices. they promised me. GILLES To hell with your voices - it's time to face facts! We have nothing to do here. none of us. not even you. You should go home, Jeanne. Jeanne stares at them, in shock. JEANNE You do n't believe me anymore? LA HIRE We still believe in you, Jeanne. If it were up to me, I'd chase every goddamn Englishman into the ocean. But it's not up to us anymore - it's up to the king. Jeanne looks at him, suddenly furious -\",\n \"INT. CHINON CASTLE - CORRIDORS - DAY - Jeanne storms along a corridor, her two page boys doing their best to catch up with her.\",\n \"INT. CHINON CASTLE - CHAMBER - DAY She bursts in on Charles, who is cavorting in a bath - tub with a few frivolous females. CHARLES Well, this is an unexpected pleasure. Ladies, let me introduce you to the celebrated Jeanne. The damsels titter. JEANNE Get them out of here! CHARLES Now hold on - you're not captain here. on the battlefield perhaps, but not in the royal bedchamber! JEANNE Why did you betray me? Paris was ours for the taking! All I needed was another few hundred men. Why did you take back the army you gave me? CHARLES Gave you? Well now, I would n't quite put it like that. JEANNE -LRB- bluntly. -RRB- So how would you put it? CHARLES Well. we are, of course, enormously grateful for your past efforts, but your task is done. Now it's time for negotiation. and after many months of skillful work, our dear Tremoille is about to seal a treaty with our Burgundian friends who will no longer lend their support to the English. You see, my dear Jeanne. as it is written in the Bible, `` to everything there is a season : a time for war, and a time for peace''. JEANNE Peace will only be got from the English at the end of a lance! CHARLES Why do you have to be so bloodthirsty? Do you enjoy it? All that blood and noise and pain? Diplomacy is far more civilized. far safer. and far cheaper. Jeanne angrily holds out a fistful of letters - JEANNE I have letters here from towns under siege - Compiegne, Provins, Melin - where the people are starving, begging God on their knees to help them. and I'm here to answer their prayers - and you want to stop me? France does not belong to you, Charles - she belongs to God. And if you wo n't help me save her, I shall do it alone! Jeanne slings the letters in his face and marches out of the room. Charles turns to the girls with a weary sigh. CHARLES If only she would just go home.\",\n \"INT. CORRIDOR - CHINON - DAY Aulon reaches the door to a chapel to find it guarded by Louis and Raymond. RAYMOND You ca n't go in. AULON Get out!\",\n \"INT. CHAPEL - CHINON - DAY Aulon enters to find Jeanne crumpled by the altar. He kneels beside her. AULON Jeanne. the king has ordered us not to ride with you anymore. JEANNE So. what am I supposed to do now? Aulon hesitates. AULON What do your voices say? Jeanne pauses. a long moment, whether or not to confide. Finally, and with a bleakness not sensed in her before. JEANNE They've abandoned me. like everyone. AULON What. what do you mean? JEANNE It's been weeks since they spoke to me. Since the coronation. no signs. nothing. AULON Maybe their silence is a sign? Maybe it's a sign to go home? JEANNE It's not time yet. My mission is not over yet. There is still more I must do before I can really - finally - go home. AULON But how do you know that these - these voices are n't really just - well, you. Jeanne stares at him in bemusement - then suddenly laughs. JEANNE Well of course they're me! That's how God talks to me. If you listen hard enough, even you can hear him. Everyone can hear him. AULON But I hear so many voices. one voice saying one thing, another voice saying the opposite - love your enemy, kill your enemy - what is good, what is evil? JEANNE All you have to do is stop talking and just listen. AULON But how do you know what you hear is the truth? JEANNE I do n't know it. I feel it. AULON You make it sound so simple. JEANNE The truth is always simple. it's you, Jean, who's making things complicated. AULON Me?! It's not me, it's God who makes everything complicated! If he's all - powerful, why not let the English stay on their island in the first place? And why let this war go on for a hundred years? And why send you out to fight when a girl like you should be at home with your family? Why, why?! JEANNE So. even you do n't believe in me anymore. AULON Jeanne. I believe in you. more than anyone. Aulon's hand touches Jeanne's hair. He leans forward, as though being drawn by her eyes and mouth. AULON I. I just wish I could. I want to. to help you. The moment is a little too intense. They gaze at each other, then Jeanne suddenly pulls away. JEANNE If you really want to help me, there's one thing you can do. AULON Tell me. JEANNE Tell the king to give me more men. Jeanne goes, leaving Aulon alone, deliberating.\",\n \"EXT. CHINON - DAY Jeanne and her pages mount their horses and ride off.\",\n \"INT. CHAMBERS - CHINON - DAY Aulon walks through a small antechamber and is about to knock at a door when he pauses, hearing familiar voices. TREMOILLE -LRB- O.S. -RRB- We have to stop her, your majesty. If she raises her own army and attacks the Burgundians at Compiegne, all my months of painful negotiations will have been in vain! Aulon draws closer, shocked at what he hears. REGNAULT -LRB- O.S. -RRB- Tremoille is right. She behaves as though she were God! It's high time she found out who's really in command.\",\n \"INT. KING'S CHAMBERS - CHINON - DAY Regnault, Tremoille and Yolande coil about Charles like serpents. Charles looks at them all. CHARLES It's true. There's only one king. people need to be reminded of that. Nevertheless. Jeanne has done so much for us. YOLANDE I assure you, Charles, the Maiden has no greater admirer than myself. But whatever our personal feelings, we can not allow her to conduct her own private war. For the sake of the kingdom, it is imperative that you stop her going to Compiegne. CHARLES I. I ca n't stop her. TREMOILLE Well if you do n't, I'm sure the Burgundians will be happy to oblige. If they capture her at Compiegne. REGNAULT no one can blame us. CHARLES I. I do n't know. it'll sound like we. betrayed her? TREMOILLE Noooo! REGNAULT Good heavens no! TREMOILLE Never! YOLANDE Do n't worry, Charles. If God is still with her, she will be victorious. We're not her judges. we're just spectators. Let her go to Compiegne, as you let her go to Orleans, and let God decide her fate. CHARLES But. her army's so small now. YOLANDE Then her faith will have to be bigger. Yolande gives Richmond a significant look.\",\n \"INT. CHAMBERS - CHINON - DAY Aulon can scarcely believe what he has heard!\",\n \"INT. AULON'S ROOM - CHINON CASTLE - DAY A table smashes against a stone wall. a chair splinters in fragments. Aulon is in a frenzy, smashing up furniture.\",\n \"EXT. CHINON CASTLE - DAY Aulon rides out from the castle.\",\n \"EXT. FOREST CLEARING - DAY Jeanne and her meager band of soldiers have paused for food. Aulon makes his way through the trees - and finds Jeanne a little apart from the others, with her two page boys. AULON Jeanne. I need to speak to you. -LRB- pointedly. -RRB- Alone. Jeanne glances at him a moment, then nods for Louis and Raymond to leave. JEANNE Did the king listen to you? Aulon blushes. clears his throat. AULON Jeanne, I. I love you, Jeanne. I love you and. I want to marry you. Jeanne is a little taken aback, but is genuinely touched. JEANNE That's not what I asked. Why do you want to marry me? AULON You listen to your voices, I listen to my heart. Jeanne looks at him a beat. JEANNE What did the king say? AULON He said that. he's making a treaty with the Duke of Burgundy and. JEANNE It's a trap! They're buying time till they can bring over more soldiers from England! AULON Did your voices tell you that? You told me you had n't heard them for months. JEANNE No, but. AULON Or maybe it's Jeanne who's in a trap - her own trap - a downward spiral that she ca n't stop? JEANNE Did you come back to marry me or to insult me? AULON To marry you. A beat. then she looks away. JEANNE I will ask my voices. if they come back one day. Meanwhile. I'm going to Compiegne. AULON Jeanne. I have been hearing voices - and believe me, those voices left me in no doubt that you must not go to Compiegne! She looks at him a moment, knowing that he speaks the truth. AULON Jeanne. I believe in you - but can you believe in me for once? Do n't go. even if you do n't want to marry me. JEANNE I would like to marry you. But I have already promised myself. to God. AULON But. you've done so much for God as it is. ca n't you do something for yourself for once - for Jeanne? JEANNE But it is what I want. AULON To be killed in battle? JEANNE If God wants me to win, he will find a way. And if he wants me to die. if he wants me back. then that's fine too. Then I'll be with him forever. She has a dreamy, faraway look - one with which Aulon can not compete. AULON Will you at least let me stay with you? JEANNE It would not be the same without you.\",\n \"EXT. COMPIEGNE - BATTLEFIELD - DAY SHARP CUT to a Man being felled by a cudgel. We are in the middle of the battle, and things are not going well for the French. The citizens and their MAYOR watch anxiously from the draw - bridge and the town walls. Nearby stands a familiar face : the battle - scarred Richmond. The Mayor and Richmond exchange a glance that chills. Jeanne is struggling to keep her banner aloft. then a cry from close by, and to her horror she sees Raymond collapse with an arrow in his breast. His faithful companion Louis races to his side, throwing his arms around him. Jeanne jumps down from her horse, but by the time she reaches him, his eyes are closed. Louis looks up at her, tears brimming. Aulon rides up alongside Jeanne. AULON We must sound the retreat! JEANNE Not yet! With the enemy bearing down, there's no time to pause.\",\n \"EXT. COMPIEGNE - WALLS & POV OF BATTLEFIELD - DAY From high on the town walls, the Mayor surveys the distant battle. Richmond is standing a short distance away. He gives him a sign. The Mayor turns to a Guard. MAYOR I ca n't risk the town's safety. Raise the drawbridge.\",\n \"EXT. COMPIEGNE - BATTLEFIELD - DAY As Jeanne rides back with Aulon, she spots Richmond beyond the drawbridge inside the town. There's a brief exchange between them, a locking of eyes. Jeanne turns to Aulon. JEANNE Get back inside the town and see if the English are attacking from the other side! AULON But. why. what's the point? JEANNE Do as I say! AULON I want to stay with you. JEANNE That's an order! Aulon looks almost shocked. He backs away, then turns his horse about and rides back across the drawbridge and into the town. Seconds later, the drawbridge begins to rise, and Jeanne is trapped. She tries to fight her way clear of the advancing English, but they encircle her. She lashes out with the flat of her sword, trying to keep their swords and lances at bay. The noose tightens - her horse starts to panic. but strangely there's a smile on her face, as though she sees the end coming, this end that she so desires : to die on a battlefield in penance for the blood shed in her name. Suddenly a BOLT slices through BONE - - and Jeanne's horse collapses from under her. She rolls to the ground, springing back to her feet as the English close in. Again she flays the air with her sword, but it becomes heavier and heavier as her energy finally begins to drain. A huge iron ball smashes her sword in two - now she has no weapon but her fists. Yet still she lashes out, like a fox cornered by hounds. Another blow - she falls to the ground, her face gazing up. Her eyes soften, and again that smile - Her POV : High above the dust and smoke and flame of battle - a little patch of blue.\",\n \"EXT. FIELD - SUMMER - DAY and Jeanne falls into the field of her childhood. JEANNE My Lord. - the sky brightens - the SUN dazzles - space/time dilates. with her arms wide open, Jeanne offers herself to the skies - JEANNE Take me! Nature starts to consume her, integrating her as a part of the whole. clouds, seasons and wind become one in an apocalyptic ballet. grass, flowers and roots consume her. the camera suddenly pulls back so fast and far that within seconds the earth has become a revolving sphere in the darkness of space. FLASH : the sphere now becomes a four - dimensional torus, a fluid, dynamic ring, evolving in and out of space. FLASH : the torus blinks, and the dark center becomes a BLUE EYE, the same diameter as Jeanne's. overwhelmed by this vision. A shadow of a MAN clutching a mace is reflected in the blueness. SHARP CUT to the Man as he slams her. WHAM! BLACK. Then a zillion stars evolve from the darkness, slowly rotating inversely toward a central point as though returning to the origin of space/time in one single dimensionless point of light - which then suddenly EXPLODES. At the same moment a HUGE EYE blinks open - the EYE of Jeanne.\",\n \"INT. COMPIEGNE - PRISON - NIGHT Jeanne's eyes search a darkness that gradually resolves into the grim, dank confines of a dungeon. She sits bolt upright, as though awakening from a nightmare. She is on a wooden bed, her face bruised and tumefied. A few inches away is a MAN, one side of his shaved head catching a sliver of light. He's laughing at her. MAN I ca n't believe it. your romantic vision of death, with all that grass growing everywhere. I must admit, you have a great imagination. Or maybe not great enough. Death is much more simple. FLASH : A dead body lying in the silent forest, a trickle of blood running from his mouth. MAN after a few months it gets more interesting. FLASH : Same shot, only now the body is wriggling. FLASH : The body is now reduced to skin and bones. MAN then - after a year - it finally becomes romantic. FLASH : The same spot in the forest, but now there is no sign of the body. Jeanne shakes her head. JEANNE Who. who are you? MAN I am that I am. -LRB- beat. -RRB- You do n't like my face? -LRB- evidently not. -RRB- Maybe you prefer this one. His face melts into the little boy, sitting on a throne in the middle of the wood. She gazes at him in bewilderment - MAN Too young maybe? How about this one? The boy becomes the young man she saw in the forest. Jeanne is breathless. The Man is invading her most secret memories. MAN Better, no? But incomplete. Suddenly his face is flooded with blood, like the image of the man she saw during the battle of Orleans. Jeanne SCREAMS, covering her face. JEANNE Get thee behind me. Satan! The Man smiles, unaffected by her outburst. MAN Who are you to even think you can know the difference between good and evil? Are you God? JEANNE No. no. I'm just a messenger. He needs me. a higher calling. Suddenly the man starts to bellow - the walls tremble - the bellow becomes a roar. clouds boil behind his head. MAN HOW CAN YOU BEGIN TO IMAGINE THAT GOD, THE CREATOR OF HEAVEN AND EARTH, THE SOURCE OF ALL LIFE, COULD POSSIBLY NEED - YOU? Jeanne can no longer stop her tears. JEANNE I do n't know. I thought. MAN YOU THINK GOD IS N'T BIG ENOUGH TO DELIVER HIS OWN MESSAGES? JEANNE I do n't know. please. tell me I'm dead. MAN WHO ARE YOU TO DECIDE IF YOU SHOULD LIVE OR DIE? JEANNE I. do n't know. what do you want from me? MAN Nothing. I'm here to set you free. The Man holds up his hand as though in judgment - A hand slams across her face - - and she wakes up, nursing her hot cheek. In front of her : the rough English guard who just struck her. GUARD -LRB- angrily. -RRB- I said, smile! You have visitors. The door opens, and a smart delegation arrives in her cell, led by a thin reed of a man, the Duke of BURGUNDY and his right - arm, DIJON. GUARD His Grace the Duke of Burgundy. Jeanne stares at him, confused. BURGUNDY So. here is the famous Jeanne. Savior of Orleans. terror of the English? You look pretty ordinary to me. JEANNE Am I. am I dead? BURGUNDY Dead you're worthless, darling. JEANNE Where. where am I? BURGUNDY Guess. She looks about her dismal confines. JEANNE My king will pay any ransom you ask. BURGUNDY Your king? Ah yes, of course. What's he going to pay me with? Cows? Chickens? I prefer gold, and the English have plenty. I wonder how much they'll pay. to have the Witch of Orleans in their clutches? Those English are so arrogant, they ca n't accept the idea of being defeated by a peasant girl. it has to have been the devil's work. JEANNE God defeated the English, not me. BURGUNDY And God who allowed you to be caught? Jeanne had n't thought about that before. BURGUNDY Personally I do n't believe in God, and I do n't believe in the Devil either. That's why I'm never disappointed. -LRB- to Dijon. -RRB- Sell her.\",\n \"INT. CHINON CASTLE - DAY Aulon goes to see the King in his chamber and hands him a heavy sack. Tremoille and Regnault are present, as always. AULON Here. to help pay Jeanne's ransom. All the Captains gave what they could, as well as the citizens of Orleans and the other towns she saved. CHARLES Very generous of you all. How much? AULON 10,000 gold crowns. From their expressions, this is clearly an enormous amount. CHARLES 10,000. that's a lot. but I fear not enough. But it will be my pleasure to make up the difference. -LRB- to Archbishop Regnault. -RRB- Your Grace. I place you in charge of this. sensitive negotiation.\",\n \"INT. OFFICE - DUKE OF BURGUNDY'S CASTLE - DAY Burgundy's right - arm - DIJON - turns to his Assistant. DIJON They send a Bishop to negotiate? That's a good sign. Let him in. It is not Archbishop Regnault who enters, but another ecclesiastic swaddled in the rich robes of his office : the Bishop of Beauvais, one Pierre CAUCHON. CAUCHON Good day, sir. I trust my honorable Duke of Burgundy is feeling well? DIJON He's feeling wonderful. CAUCHON Thanks be to God. DIJON And your Duke? The Duke of Bedford? CAUCHON Not so well, I regret to say. This business with the Maiden. it's caused him endless grief and torment. That's why he's entrusted me with the task of. shall we say. DIJON Buying her? CAUCHON This word is - regrettably appropriate for the situation. In fact what we - the Church - wish to do is determine whether or not this girl is sent by God, as she claims. You understand that we can not allow just anybody to abuse God's name in this manner. DIJON I understand. How much? It is that other man of the cloth, Regnault, who answers. REGNAULT 5,000 gold crowns. DIJON That's not a lot. REGNAULT It is all his majesty can afford. He has even donated his very own personal savings. His majesty will greatly appreciate a gesture of good will in this delicate negotiation between our two families. DIJON I know. but the English want her very badly, and I have to tell you that they are proving much more generous. REGNAULT May I, without offending you, inquire how generous? DIJON 20,000 gold crowns. Regnault's rival cleric Cauchon looks aghast. CAUCHON 20,000?! But. I heard King Charles was. financially embarrassed. DIJON Do n't look at the cost, look at what it brings. What is your last offer? REGNAULT 8,000. We ca n't raise more. We can only place ourselves at the mercy of your generosity. DIJON I must offer to the Duke. I will give you his answer tomorrow.\",\n \"INT. PRISON CELL - BEAUREVOIR - DAY A Burgundian Soldier shakes Jeanne to wake her up. SOLDIER Hey, wake up. get yourself ready. you're leaving! Jeanne opens her eyes as Cauchon enters her cell, dressed in ecclesiastical robes. He stands in front of her, flanked by two monks. At the sigh of the churchmen, she brightens. JEANNE Oh, thank you Lord! -LRB- to Cauchon. -RRB- I'm so glad to see you! I need to confess. I have n't been confessed since Easter. or been to Mass. Will you hear me now? CAUCHON I will hear you. but not now, not here. JEANNE Who are you? CAUCHON Pierre Cauchon, Bishop of Beauvais. As you were captured in my diocese, the duty of conducting the trial falls upon me. JEANNE Trial? What trial? CAUCHON Your trial, Jeanne. On a charge of heresy. JEANNE But. the King - my king - did n't he pay my ransom? CAUCHON It seems that the English care more about you than the French. JEANNE The English? CAUCHON Yes. They paid your ransom. tomorrow you will be transferred to their great castle at Rouen. The door slams shut, and she is left alone. Jeanne is utterly distraught. She looks round the bleak cell, then moves over to a small window. just wide enough for her to squeeze through.\",\n \"EXT. LEDGE - BEAUREVOIR - NIGHT Jeanne clambers out onto a narrow ledge, high above the frozen moat below. Only a fool - or one bent on suicide - would hazard such a leap. VOICE -LRB- O.S. -RRB- Need some help? The Man we saw after Compiegne is once again behind her. JEANNE What are you doing out here? MAN I might ask you the same question. JEANNE I. I'm leaving. I ca n't take anymore. MAN And what exactly is it that you ca n't take anymore of? JEANNE Everything! Prison - humiliation - being abandoned and betrayed by everyone - I ca n't stand it anymore - I'd rather die! MAN You'll be dead soon enough anyway, so why be in such a hurry? Why not face up to your lies? It's your lies you ca n't stand anymore. JEANNE I. I never lied! MAN If you were true to yourself. if your faith was firm, you would n't need to run away from yourself like this. JEANNE I am true - to my Lord, the King of Heaven. He knows how much I love him - that's all that matters to me. MAN How can you pretend that you love God when you're about to throw away the most precious thing he gave you? Life is a gift, you should know that by now Jeanne - a gift from God. You know what He'd say to you, if He was here? `` What are you doing to me, Jeanne?'' Jeanne is lost, exhausted, numbed. She gazes into the void, contemplating the fall. JEANNE You're right. I should n't do that. The Man suddenly pushes her so that she nearly falls. MAN That's too easy. One minute you want to die, the next you want to live. -LRB- again pushes her. -RRB- Do you think that life is a toy that can be played with and then broken when you do n't want it anymore? JEANNE No, no. I'm just so tired, and lost, and. I did n't realize what I was doing! He pushes her again. MAN Oh? And just because you realize now, everybody else should forgive you?! JEANNE I do n't know - I do n't care anymore - I just want to be at peace! MAN Oh, so you do n't want war anymore? You want to be at peace? You want to be able to change your mind anytime you feel like it and expect everyone to go along with it? JEANNE I do n't understand. What do you want from me? MAN I told you already. I'm here to set you free. Again the Man pushes her! This time she loses her balance, and with a startled cry falls from the ledge - plunging down, down - and crashing into the frozen moat! Two castle GUARDS on watch are alerted by the SOUND of splintering ice. Jeanne is drowning, barely able to cling to the broken ice around her. The first Guard to reach the moat tests the surface with his foot. GUARD #2 Do n't try - you'll fall through! The First Guard lies flat to spread his weight, then crawls toward Jeanne. GUARD #1 Good God, it's the prisoner! The Second Guard glances up at the tower ledge far above. GUARD #2 If she jumped from up there, she's dead for sure! forget it. The First Guard reaches the edge of the hole just as Jeanne disappears beneath the water. He plunges in his hand and grabs her hair, pulling her head back above the water.\",\n \"INT. CORRIDOR - CHINON CASTLE - DAWN Aulon races along castle corridors until he reaches a door, guarded by two burly Guards. GUARD The king is occupied! AULON Out of my way!\",\n \"INT. THRONE ROOM - CHINON CASTLE - DAY Aulon bursts into the room to find Charles, Regnault and Tremoille in conversation. CHARLES My dear Aulon. -LRB- dismissing Guards. -RRB- That's fine. AULON Jeanne's been badly injured! She jumped from the top of a tower into a frozen moat! Charles shivers at the thought. CHARLES It's a miracle she's not dead! AULON We have to do something before she tries it again! I beg of you, my lord, do n't let her down. let me organize an escape. CHARLES Jean, it's. it's not so easy. AULON But not impossible. Gilles and La Hire are ready to risk everything to save her. CHARLES Jean. me dear, loyal Jean. why do you want to oppose the will of God? Jeanne wanted to go to Compiegne - we let her - she got caught. Then, on my personal orders, Regnault proposed 30,000 crowns for her ransom, and once again the answer was no. And now you say she tried to escape, and the answer is still no. Jean, open your eyes - ca n't you see the hand of God in all this? AULON No. I see the hand of Tremoille, and Regnault, and Yolande, and you. and they are dirty hands. REGNAULT How can you speak such treachery when his majesty has done everything to try and save her? AULON Because I was at this door when you planned to betray her. and I was at Compiegne when she was betrayed. Charles, Tremoille and Regnault are speechless. Tremoille breaks the silence - TREMOILLE Guards! Arrest this traitor! The Two Guards turn on Aulon, who readily dispatches them with his sword. Tremoille hides behind Charles just as Aulon pins the King with the tip of his sword against his windpipe. It would now be an easy matter for Tremoille to push Charles onto the tip of Aulon's sword. AULON What do you fear most now. my sword? -LRB- eyeing Tremoille. -RRB-. or his hands? CHARLES Tremoille. do n't. Please. Tremoille hesitates a beat. Still holding the tip of his sword at Charles' throat, Aulon motions to Tremoille. AULON My sword is long enough for both of you. Sweating now, Tremoille eases himself from behind the King's back. Charles exhales with relief. AULON I have always been loyal and true to you, but my allegiance is now at an end. From now on, my loyalty belongs to Jeanne. and Aulon runs from the room, leaving Charles, Tremoille and Regnault in a state of shock.\",\n \"EXT. CHINON CASTLE - DAY Aulon gallops away from the castle.\",\n \"EXT. ROUEN CASTLE - DUSK The great castle of Rouen, vast and bleak, silhouetted against the dusk.\",\n \"INT. ROUEN CASTLE - CORRIDOR - DUSK A Guard leads a group of wealthy - looking visitors along a dank, dark corridor. GUARD so do n't say I did n't warn you! Do n't touch her whatever you do - do n't even stretch out your hand or she'll have one of your fingers off sooner than spit at you! WOMAN #1 As savage as that, is she? GUARD Savage? She's a monster! At Orleans they say she drank her victim's blood! WOMAN #2 Oh, it's too horrible! The woman's escort takes advantage of the situation. MALE Do n't worry, my sweet - I'll have my sword at the ready. They reach the door, and the Guard fumbles for the right key. The Duke of Bedford brings up the rear, escorting his wife Anne, who is visibly pregnant. DUCHESS Do n't you think this visit is a little. inappropriate? BEDFORD My dear, it's our duty. she's our guest! The Guard unlocks the door, and the Group cautiously enter.\",\n \"INT. JEANNE'S CELL - ROUEN CASTLE - NIGHT The visitors glance about, but the cell appears empty - until they look up. An iron cage is hanging from the middle of the ceiling. In the center of the cage is a body, dressed in rags and curled up like a wounded animal. BEDFORD Wake her up so we can see her face! The Guard takes his cudgel and pokes her through the bars. GUARD Hey, wake up. we got noble guests - do n't disappoint them - turn round! He prods her in the ribs, and she turns to avoid further pain. Her face is swollen, her mouth parched, her eyes full of grief. The Duchess is stunned. GUARD Now she's sleepy but you wait and see - any moment now and she'll start speaking to her devils, and then she'll get to yelping like a wolf in heat! The other night she made her cage spin round so fast we thought she was going to fly away! WOMAN Oooo. she gives me creeps. GUARD Do you want her to stand up so you can get a better look? DUCHESS No. But get her out of this cage and give her a decent bed. The Guard looks stunned. The Duchess turns to her husband. DUCHESS I'm sorry, but this child is being treated like an animal! Do n't you think that whatever her crimes may be, she deserves a little more of our charity? BEDFORD -LRB- whispering lightly. -RRB- She's not a child, my dear - she's a witch.\",\n \"INT. COURTROOM - ROUEN - DAY Cauchon enters a large, gloomy courtroom and sits down, surrounded by clerics, assessors, doctors of theology and other churchmen. CAUCHON Let the prisoner be brought in. The door opens and Jeanne is led in, her wrists and ankles fettered, her face pale and drawn. She stands in the center of the room, isolated, alone. A scribe dips his quill in the ink and prepares to write on a blank sheet of parchment. CAUCHON Our most serene and Christian King Henry the Sixth, King of England and France, has handed this girl over to us, accused of a number of heretical deeds, to be tried in a matter of faith. Jeanne is hustled closer to Cauchon, who leans forward, peering at her intently. CAUCHON Take the Holy Gospels in your hand and swear to tell the whole truth concerning everything you will be asked. JEANNE I do n't know what you're going to ask me questions about. You may ask things that I wo n't want to answer. Jeanne's boldness takes everyone somewhat by surprise. CAUCHON You will swear to tell the truth about whatever you are asked. JEANNE I will willingly swear to tell the truth about earthly things, but as for my revelations, I've never told anyone except my king. Charles the Seventh. the one and only king of France. There is murmured dissension among the judges. We now see that the Duke of Bedford is also in the room, together with a small coterie of English observers. Cauchon is impatient. CAUCHON You must take the oath! Not even a king, would refuse to take an oath to tell the truth in a matter of faith. JEANNE I will willingly swear to tell you what I am allowed to tell you, but as to the rest, even if you threaten to cut off my head, I still wo n't tell you. Cauchon looks confused - and aware that his authority is slipping. The judges and theologians are getting agitated. CAUCHON So. begin by telling us your name - assuming you're allowed to tell us that much? JEANNE My name is Jeanne. My little cross I had round my neck was taken away from me. I would like to have it back. The Duchess touches the gold cross she has around her neck. CAUCHON Show us a little more cooperation first. Where were you born? JEANNE In a village called Domremy. CAUCHON How old are you? CAUCHON Nineteen. or thereabouts. CAUCHON Were you baptized? JEANNE Yes. In the church at Domremy. CAUCHON Recite the Lord's Prayer. JEANNE Not unless you hear my confession. Cauchon is getting impatient. CAUCHON Jeanne, listen to me very carefully. We are all men of faith, and we shall earnestly strive for the salvation of both your soul and body as though it were our own. We do so in the name of our Holy Mother Church, who never closes her arms to those who would return to her. But we can not help you unless you submit to our learned judgment and authority. Take heed of this charitable admonition, for if you persist in refusing our help, then we shall have no choice but to abandon you to the secular powers, and I think you know well enough the punishment that would await you. So now. will you please recite Our Lord's Prayer? JEANNE Not unless you hear my confession. The clerks and judges grow agitated, though we sense a few are already beginning to warm to her, not least the Duchess. CAUCHON Jeanne - be careful - you're not helping yourself by refusing to submit to our judgment. JEANNE And you be careful, you who claim to be my judges, for you too will be judged one day! The court explodes in protest, with cries of `` Blasphemy!'' `` She's possessed!'' `` An infected limb!'' `` Sorceress!'' Cauchon hammers on the table to restore order, calling out - CAUCHON Guards! Take the prisoner away! Clear the room! Armed Guards hustle the clerics from the room while Jeanne is led away, watched by the Duke and Duchess of Bedford. Bedford turns to his aide -LRB- Buck -RRB- - BEDFORD I count on you to have it done. BUCK Uh. to have what done? BEDFORD I want her burned. BUCK As you say, sir.\",\n \"INT. ANTECHAMBER - ROUEN CASTLE - DAY The assessors look extremely uncomfortable, not least Pierre Cauchon, who does his best to conceal it. CAUCHON Well. in the future I think we should conduct our enquiries in private - away from public pressure - so we can all be more. level - headed. ASSESSOR #1 I think the church should wash its hands of this whole business. ASSESSOR #2 Let the English burn her if they want to. why does it have to involve us? Buck enters the room as an old Priest walks over. CAUCHON Because it's. it's our clear duty to root out heresy wherever it occurs. -LRB- to the Old Priest. -RRB- Father Vincente. you are the most venerable among us, what do you think? OLD PRIEST I think this trial is a masquerade, and I wo n't be part of it anymore. I am willing to be her judge, but not her executioner. This young girl seems courageous and pious. she deserves to be well judged. The Old Priest walks toward the door. CAUCHON That's what I'm trying to ensure! OLD PRIEST The verdict comes at the end of a trial, Cauchon, not at the beginning. I am going back to Rome, to give me report to our Holy Father the Pope. CAUCHON This is ridiculous! Now I'm the one who's on trial and being judged?! OLD PRIEST Yes. exactly as Jeanne predicted. The Old Priest heads for the door, followed by the other two. Buck calls out to the Guards. BUCK Arrest them! CAUCHON What are you doing? This is an ecclesiastical court - you have no right to do this! BUCK Rouen is in English territory. I have the right to do anything I like. -LRB- to guards. -RRB- Take them away. Ignoring their protestations, the Guards hustle them away, leaving the others in a state of high anxiety.\",\n \"INT. CELL - ROUEN CASTLE - NIGHT Jeanne is in her cell, facing the wall and frantically scratching it with her nails. She is engraving a cross, and her nails are covered with blood. She is now kneeling in front of her cross, racing through The Lord's Prayer as though on the run from the Devil. JEANNE Our father who is in heaven hallowed be thy name thy kingdom come in earth as it is in heaven forgive them that lead. forgive us that lead them. as we forgive them that. oh God, do n't cut yourself off from me like this. I do n't know what I'm meant to say or not say anymore. I do n't even know what to think. oh, God, I'm so lost. do n't abandon me like everyone else. please, I beg of you. at least say you can hear me! Tell me you hear me! Why wo n't you answer me? Please, I beg of you - ANSWER ME! Suddenly `` the Man'' comes out of the wall, kneeling in front of her and violently hitting his forehead against hers - MAN Why were you yelling like that?! JEANNE What are you doing here? -LRB- urgently. -RRB- Please. leave. you ca n't stay here. MAN Why? Are you waiting for someone else? JEANNE Yes! MAN Who? Jeanne hesitates. JEANNE My. visions. MAN They're going to come and visit you in here? JEANNE Yes. that's what I pray for! MAN I want to see that. Do you mind if I stay. on the side? I wo n't bother you. JEANNE No, no - you ca n't stay or they wo n't come! MAN Why not? JEANNE Because. I have to be alone! He smiles regretfully. MAN They wo n't come anyway. JEANNE What do you mean, they wo n't come? MAN Why would they? JEANNE Because! Because I've always been faithful to God, and I've followed everything he said. and I've done everything he asked me. MAN God asked you to do something? JEANNE Yes. lots of things! MAN You mean God said, `` I need you, Jeanne?'' JEANNE No, but. he sent me so many signs! MAN What signs? JEANNE Like. like the wind. and the clouds. and. the bells. and what about that sword lying in the field. that was a sign! MAN No. That was a sword in a field. JEANNE But. it did n't just get there by itself. MAN True - every event has an infinite number of causes - but why pick one rather than another? There are many ways a sword might find itself in a field. FLASH : A group of soldiers on horseback trot across the field of Jeanne's childhood. The last soldier's sword is coming loose, and ends up falling into the long grass. MAN Seems a perfectly valid explanation. but how about this one. FLASH : Two young children are hurrying with the sword when an old man calls them from far away - OLD MAN Hey, you little devils - come back! The two children drop the sword in the long grass -LRB- in the same spot as before -RRB- and run off. MAN But then again, there are other possibilities. FLASH : A man is being chased across the field by a couple of English soldiers out looting. His heavy sword is slowing him down - he flings it into the long grass. MAN or even faster. FLASH : The same man running across the field is suddenly hit by an arrow from nowhere. He drops the sword in the long grass, but manages to stagger off into the forest. MAN and that's without counting the inexplicable. FLASH : A man crosses the field. For no apparent reason whatsoever, he drops the sword and keeps on walking. MAN Yet from an infinite number of possibilities, you had to pick this one. FLASH : A peel of thunder - clouds swirl - a familiar wind stirs the long grass - a fabulous shaft of light illuminates the patch - the sword slowly descends from the heavens and lands gently in the grass. Mission accomplished, the shaft of heavenly light disappears. Jeanne is bewildered. MAN You did n't see what was, Jeanne. You saw what you wanted to see. speechless.\",\n \"INT. SMALL COURTROOM - ROUEN CASTLE - DAY We are now in a smaller, more intimate courtroom. The Duchess of Bedford is at the back, shielded behind the theologians and doctors of the church. Beaupere is questioning Jeanne : a cooler man than Cauchon. BEAUPERE This. `` voice'' that you say appears to you. is it an angel? Or a saint? Or does it come from God? Jeanne is still in shock from her encounter with the Man. JEANNE I wo n't tell you more about that. I'm more afraid of displeasing Him than not answering you. BEAUPERE You're afraid of displeasing God when telling the truth?! JEANNE No. BEAUPERE Did God forbid you to tell the truth? JEANNE No. But my revelations were for the King of France, not for you. D'ESTIVET When you saw your king for the first time, was there an angel over his head? JEANNE If there was, I did n't see it. D'ESTIVET Then why did your king believe in you without any proof? JEANNE Go and ask him yourself. CAUCHON Jeanne, you are not helping yourself. If you do n't answer our questions properly, your refusal will be taken into account. JEANNE These questions have nothing to do with your trial. CAUCHON I assure you they do. So. answer me. when was the last time you heard this voice? JEANNE Not long ago. CAUCHON When exactly? A day, a week - when? JEANNE Last night. This takes the assessors by surprise. Cauchon leans forward. CAUCHON What were you doing when the voice came? JEANNE Praying. CAUCHON The voice was in your cell? JEANNE Yes. CAUCHON What did it tell you? JEANNE Many things. CAUCHON Did it give you advice? -LRB- Jeanne hesitates. -RRB- Good advice? Jeanne hesitates. JEANNE Go onto the next question. BEAUPERE Good advice for the French, not for the English! Do you think God hates the English? JEANNE I do n't know, but you're all men of the church. why not ask Him yourself? Cauchon tries to continue, but another theologian - JEAN MIDI - gets in first. JEAN MIDI Do you consider yourself to be in a state of grace? Jeanne looks perplexed. a beat. JEANNE Go on to the next question. Cauchon seizes his opportunity. CAUCHON Tell us, Jeanne. do you often hear this voice? JEANNE Yes. CAUCHON Is it here? Now? In this room? Jeanne slowly looks at the assessors, staring at each in turn. They all look acutely uneasy, holding there breath. JEANNE No. Relief from the assessors, but Buck is far from happy.\",\n \"INT. ANTECHAMBER - ROUEN CASTLE - DAY Buck paces in front of Cauchon and a dozen clerics. BUCK Who's running this trial, you or her? I ca n't believe it! This wretched girl - how dare she speak to us like that? CAUCHON She's loyal to her king. it's only to be expected that she. Buck explodes with fury - BUCK There is only one king of France and that's our liege Lord Henry the Sixth! It is written in black and white in the Treaty of Troyes - that you French bastards signed! Buck presses a digit against Cauchon's sweaty forehead. CAUCHON I understand your impatience, but if you want this trial to be acknowledged as legal we must follow correct procedure and. BUCK To hell with procedure! We paid a bloody fortune for this slut, and we can do whatever the hell we like with her, whether the church likes it or not - is that clear? CAUCHON But if this trial seems fixed, I fear you'll have the very opposite result to the one you want. BUCK We want her burned as a witch! CAUCHON But in order to do so, the church must first prove her heresy, or else you'll be burning a martyr. BUCK Well then? Start proving. or else the church will have another martyr! Buck storms out, slamming the door behind him.\",\n \"INT. SMALL COURTROOM - ROUEN CASTLE - DAY Instruments of torture are brought into court by the Executioner, who lays them out with due ceremony. D'ESTIVET You told us about the appearance of this. voice. What exactly did you see? Part of it. or all of it? JEANNE His face. D'ESTIVET Does he have hair? JEANNE Yes. D'ESTIVET Is it long and hanging down? JEANNE I'm more interested in what he says, not what he looks like. D'ESTIVET But if the devil were to take on the physical appearance of a saint or an angel. or a man. how would you recognize him? By what he said? JEANNE Go on to the next question. D'ESTIVET That's enough! You will answer the question. or face the consequences! A beat. the Executioner readies. JEANNE If you were to tear me limb from limb and make my soul leave my body, I would tell you nothing more. And if I did say anything, then afterward I would simply say that you dragged it out of me by force. Now. please. go onto the next question.\",\n \"INT. SMALL COURTROOM - ROUEN CASTLE - DAY CUT TO another session. JEAN LE MAISTRE Who told you to wear men's clothes? JEANNE The clothes are not important. JEAN LE MAISTRE You also cut your hair short like a man, and in the Bible it clearly states that it is an abomination for a woman to pretend to be a man! It proves your desire to deceive. JEANNE It was just. more convenient as I was among soldiers. JEAN LE MAISTRE So you think you did well to cut your hair and dress as a man? JEANNE I. submit to Our Lord. JEAN LE MAISTRE But will you also submit to the decision of the Church? JEANNE It seems to me that the Church and Our Lord are one and the same. Why must you complicate what is so simple? Jean Le Maistre looks at Cauchon for help. CAUCHON Let me clarify things for you, Jeanne. On the one hand there is the Church Triumphant, that is to say God, his saints, and the souls that are saved. And then there is the Church Militant, that is to say our Holy Father the Pope, the cardinals, the prelates of the Church, the clergy, and all good Catholic Christians. Moreover this Church, when assembled, is guided by the Holy Spirit and therefore can not be in error. That is why we ask you to submit to the Church Militant. that is to say, us. JEANNE So it is the Church Militant that refuses to confess me, and so prevents me from being a good Christian? Cauchon bridles his temper. CAUCHON It is for us to determine whether you are a good Christian, not you. JEANNE I am sent by God, and I submit all my words and deeds to His judgment. Or do you think that you are better judges than He is?\",\n \"INT. SMALL COURTROOM - ROUEN CASTLE - DAY and another session. MAITRE MAURICE When you were taken prisoner at Compiegne, did you have a horse? JEANNE Yes. a half - steed. white. MAITRE MAURICE Who gave you that horse? JEANNE My king. MAITRE MAURICE How many did he give you? JEANNE Five steeds and a few hackneys. MAITRE MAURICE As much as for a Lord? What an honor! Did your king give you other wealth apart from horses? JEANNE No. MAITRE MAURICE What about all those dresses you were given. silk dresses were n't they? JEANNE Yes, I was given a few, but I never had time to wear them. MAITRE MAURICE Still, pretty wealthy for a peasant girl would n't you say? JEANNE And you look pretty wealthy for a servant of God, would n't you say? Maitre Maurice looks uncomfortably about him. She's right. BEAUPERE Is it true that you launched an attack on Paris? JEANNE I tried to. BEAUPERE It was on a Sunday, was n't it? JEANNE I do n't remember. Maybe. BEAUPERE Do you think is was a good idea to launch an attack on a holy day? JEANNE I do n't know. BEAUPERE And did n't you order the citizens of Paris to surrender the city in the name of the King of Heaven? JEANNE No. I said `` Surrender in the name of the King of France''. BEAUPERE That is not what is written in the evidence. look for yourself! Beaupere thrusts a document in her face. JEANNE I ca n't read. BEAUPERE Ah, yes, I forgot. God sent us an illiterate peasant to carry out such an important mission! Do you think that God made the right decision, to take an ignorant girl to save the kingdom of France? JEANNE I leave the answer to God. Beaupere is exasperated. A sly - looking Theologian speaks up. JEAN MIDI Tell us, Jeanne. why did you jump from the tower at Beaurevoir? JEANNE I had been sold to the English. I'd rather die than fall into their hands. JEAN MIDI Did your voice tell you to jump? JEANNE No. JEAN MIDI So when you jumped, you wanted to kill yourself? JEANNE No! JEAN MIDI How can you deny it when you just said `` I'd rather die than fall into the hands of the English''? JEANNE That's now what I meant. JEAN MIDI Do you not know that suicide is a very grievous sin? No one is allowed to destroy the life that God created! JEANNE I know, but that's not the way things happened. JEAN MIDI You mean it was not of your own free will that you were on the ledge? JEANNE Yes, but. JEAN MIDI And you did n't jump of your free will? JEANNE No! JEAN MIDI -LRB- making fun of her. -RRB- Oh? Perhaps someone pushed you then? They laugh. Jeanne lowers her head.\",\n \"INT. SMALL COURTROOM - ROUEN CASTLE - DAY Yet another weary session. BEAUPERE Do you have a sword? JEANNE Quite a few. BEAUPERE Did n't you also carry a banner? JEANNE Yes. BEAUPERE Which did you prefer, your banner or your sword? JEANNE I was forty times more fond of my banner than my sword. BEAUPERE And why was that? Did it have some particular value or power? JEANNE No, it's just. a sword is a weapon. BEAUPERE And? JEANNE And so I. I prefer my banner. BEAUPERE Why? JEANNE To avoid killing anyone. BEAUPERE Are you saying that if you had not been carrying your banner you'd have killed more people? Jeanne is losing her confidence. JEANNE No, of course not. I never killed anyone. BEAUPERE Then perhaps the temptation to kill would have been stronger. too strong perhaps? JEANNE No! I warned the English to go back home - I begged them not to force us to fight - they knew the defeat I would bring on them. why did n't they listen to me? BEAUPERE We have numerous witnesses who can confirm that you were not always carrying your banner. JEANNE Yes, probably. maybe. BEAUPERE So sometimes you were carrying just your sword? JEANNE Yes, but. BEAUPERE Did you use the sword that you held in your hand? JEANNE No, I. I held it up to. BEAUPERE You held up your sword and flourished it about in the air? Like this? JEANNE Yes, maybe. I do n't remember. BEAUPERE so you were in the middle of the battlefield, with your sword in your hand, waving it above your head. charging against the enemy, screaming and yelling. fighting for your life. and you want us to believe that in the middle of all this excitement you never killed anyone? JEANNE No, I. I never killed anyone! MAN -LRB- O.S. -RRB- I ca n't believe you can lie like that!\",\n \"INT. JEANNE'S CELL - ROUEN CASTLE - NIGHT Jeanne's fetter is once again attached to her chain, and she's walking in circles, trying to escape `` the Man''. JEANNE I'm not lying, I. I ca n't remember. leave me alone! MAN Oh? You ca n't remember? Let me help your memory. FLASH : an Englishman is skewed during the battle of Orleans. JEANNE No! I do n't want to know anymore! Leave me alone! I did n't kill that man! MAN Oh no? How about this one? FLASH : another English soldier is killed. MAN Or this one? FLASH :. and another. JEANNE Stop, stop. I ca n't remember! The battles were all so confusing. there was so much smoke, dust, noise. I was being attacked on all sides, so. maybe. perhaps I fought back but it was only to defend myself. MAN So your memory's coming back? JEANNE Yes. yes! And now you tell me why God let all these battles happen in the first place. if he's so powerful. he said he's `` the creator of heaven and earth, the source of all life.'' he could have easily stopped all this blood and misery? Why did n't he? MAN Is he the one who spread all this blood and misery? JEANNE No, but. why did n't he stop it? Or did he get pleasure, watching us killing each other in his name? MAN In His name? JEANNE Yes! We fought and killed in His name. the King of Heaven! MAN Really? FLASH : Jeanne is seated in her saddle before Orleans, raising her standard with the cry - JEANNE Let all who love me follow me! Back in Jeanne's cell : MAN `` Let all who love me follow me''. Where does God get mentioned? -LRB- Jeanne is cornered. -RRB- Come on Jeanne, be honest. You fought for yourself, in your name. JEANNE I. I was defending myself as best I could! Everyone has the right to defend themselves, do n't they? Or should I have let myself be killed? MAN No, no, you did fine. I'd even say well done. Besides, most of the ones you killed probably deserved it, do n't you think? JEANNE No, I do not think so. I do n't think that killing each other will ever bring peace. MAN I agree. FLASHBACK : Jeanne telling Charles - JEANNE Peace will only be got from the English at the end of a lance! The Man looks at Jeanne, who is becoming unnerved. MAN I do n't agree. Why do you have to keep changing your mind all the time? JEANNE Why are you doing this to me? Do you get pleasure from hurting me? MAN Ah, pleasure. that's a difficult word to define. When does the pain end and the pleasure begin? When did your pleasure begin with that sword in your hand? JEANNE I never took pleasure in hurting anyone? MAN Really? FLASH : In EXTREME SLOW MOTION, Jeanne's face contorts - a look of madness as she sweeps a sword across the SCREEN. JEANNE Nnnnooooooooo! Jeanne covers her face with her hands, sobbing in despair. JEANNE Help me. please. set me free! The Man seems genuinely compassionate. MAN You will be, Jeanne. You will be.\",\n \"INT. HALLWAY - ROUEN CASTLE - DAY A hooded Priest moves along the hallway, stopping in front of the Guard. He shows him his `` pass'' - a heavy seal. The Priest is Aulon in disguise. The Guard looks at the seal. AULON I'm replacing Father Demaury. He's become very sick. GUARD It's amazing how many people have become suddenly very sick since the beginning of this trial. it must be this witch casting spells on them. Burn her! No doubt Aulon would like to stab the Guard right there, but thinks better of it. AULON I'll do my best. Aulon enters the court room.\",\n \"INT. COURTROOM - ROUEN CASTLE - DAY - and sits on a bench, doing his best to look inconspicuous. He guardedly glances at Jeanne who seems to be asleep on her feet. Beaupere is whispering to Cauchon, document in hand. Beaupere beckons to the Guard. BEAUPERE Wake her up. The Guard pokes Jeanne in the ribs. She seems almost used to this kind of treatment, but is weaker. Aulon seethes with impotent rage, hidden behind his hood. JEAN MIDI So. let us summarize your situation. You refuse to submit to the authority of the church militant by taking an oath ; you made an assault on Paris on a Sunday ; you hurled yourself down from the tower at Beaurevoir, and you persist in wearing male dress. I ask you again : do you believe that you are in a state of grace? Jeanne takes a deep breath. JEANNE If I am not, may God bring me there. If I am, may He keep me there. The admiration of the assessors is almost tangible.\",\n \"INT. ANTECHAMBER - ROUEN CASTLE - DAY Buck sweeps everything off the table in a fit of anger. Alone with him, Cauchon looks troubled. CAUCHON Calm down, my lord, I beg you! BUCK How can I calm down when I'm made the laughing - stock of the whole court?! I've had enough! CAUCHON Be patient, my lord. you've seen how it is. This girl has a way with people. but everyday we're making progress. BUCK So long as this bitch remains alive, our armies refuse to fight! Do n't you understand? They want proof that God is on their side. and the only way they're going to believe that is when they see her being burnt as a witch! Buck takes a mug and pours himself some wine, but the carafe is empty. CAUCHON It is not for us to burn her, my lord. That is your prerogative. BUCK and your prerogative is to find her guilty. CAUCHON But we ca n't do that unless she admits to blasphemy. BUCK Well what are you waiting for? You've got a castle full of racks and ropes and pulleys : go and torture the bitch! Cauchon takes out his own personal hip - flask, his hand visibly trembling as he pours Buck some liquor. CAUCHON You wo n't be able to drag anything from her that way. You also must realize that many of my colleagues are. well, scared. BUCK Scared of a girl? CAUCHON Scared to make a mistake. Supposing she's right. supposing she really has been sent by God? Buck narrows his eyes. BUCK Whose side are you on, Cauchon? CAUCHON I'm on the side of our Mother Holy Church. Besides, a confession under torture will never convince anyone of her guilt. BUCK Well find some other way! Be creative. Tell them she fucks the devil. Hmm, not a bad idea. why ca n't you say that? Sounds good to me. and who can prove she does n't? Buck drains the liquor. CAUCHON One small problem, my lord. The girl is a virgin. Buck has a horrible glint in his eye. BUCK That is a very small problem.\",\n \"INT./ EXT. JEANNE'S CELL/COURTYARD - ROUEN - DAY Jeanne is smoothing food into the cross she scratched into the wall. She does it with great care, as though painting. The Man appears in the background, watching her. MAN What are you doing? Jeanne is delighted and relieved to see him. JEANNE I - I cleaned up my room, look. and I said my prayers. all of them. and. MAN What are you doing on the wall? JEANNE I'm trying to make my cross look more beautiful. MAN What for? JEANNE Because. because I do n't know what else to do to please him. MAN Do you think this cross will protect you? JEANNE No, I. Jeanne looks helpless. The Man smiles, turns and looks out of the window. MAN Look at them. with their beautiful cross. Far below in the courtyard, a Priest is blessing a dozen soldiers and their wooden cross. MAN The sight of priests blessing entire armies before they go off to kill each other never ceases to amaze me. And that these massacres should be recorded as acts of faith in God's name. -LRB- no reaction from Jeanne. -RRB- And they think that making a beautiful cross or building a cathedral will wash away their sins. ridiculous! Just like that priest who accused you of fighting on a Sunday. Did God give permission to kill each other for the rest of the week? In the courtyard, the soldiers mount their horses. JEANNE `` Love your enemies''. MAN -LRB- a satisfied smile. -RRB- Good. But `` love your enemies''. body and soul. Jeanne nods, knowing the truth but still not prepared to admit it. JEANNE My voices. my voices. do you think they will ever come back? MAN I do n't think so. JEANNE Are you going to leave me too? MAN Yes. of course. when you do n't need me anymore. JEANNE Are you sent by God? FLASH : to Jeanne at Orleans. WOMAN But you've been sent by God! JEANNE So has everyone. Back to the Man : MAN So has everyone. Jeanne looks at him - then at her cross - then back at the soldiers in the courtyard below. With a lusty cry, they set off at a gallop, blessed and ready for battle. JEANNE There's nothing for me to do here anymore. I do n't belong here I want to be with Him now. MAN Do you think you are ready? Jeanne stands up. comes and kneels before him, kissing his hands. JEANNE Yes I am. MAN Are you willing to follow all His commandments? JEANNE Yes. MAN to love your enemy as much as you love yourself? Jeanne hesitates a moment - a short amount of time, but enough for a lie to slip in. JEANNE Yes. I'm ready now. The Man smiles. MAN Let's see. She hears approaching footsteps. the SOUND of keys jangling. a lock turns - - and the three SOLDIERS walk into the room. The first one has a familiar black beard. BLACKBEARD Now that's what I call booty! He is none other than her sister's rapist and murderer. Jeanne reacts in terror. JEANNE Oh no. BLACKBEARD -LRB- undoing his belt. -RRB- We thought you must be pretty bored in here, so we've come to liven you up a bit. right, lads? JEANNE Please - do n't do it - do n't hurt me - BLACKBEARD Of course not, sweetheart. if you promise to do as I say. Blackbeard caresses her cheek and tries to force her legs apart, but she resists - whispers imploringly. JEANNE Where are you? Do n't leave me. please. BLACKBEARD Hey, come on. open up! His two comrades egg him on. Jeanne struggles even harder, and Blackbeard suddenly becomes violent. He grabs her by the throat, thrusts her against the bed and tears off her clothes. Jeanne suddenly goes berserk, yelling and thrashing like a cornered animal. BLACKBEARD Stop screaming like that! You'll wake up the whole bleedin' castle! Blackbeard clamps his hand over her mouth, whereupon Jeanne summons hidden reserves of strength, and in a sudden surge manages to clamp her chains around Blackbeard's neck. she presses down on the chains, choking him, strangling him! The two other soldiers come to Blackbeard's rescue and manage to haul her off. Blackbeard gropes his throat, then belts her across the face. BLACKBEARD Ah, so you want to play it rough? Good. I like it better that way! He pulls out a knife and starts to tear at her clothes while the two others hold her down. Jeanne struggles for her life - yelling, spitting, biting, scratching - Blackbeard is too excited to pay any attention. Nor does he notice the door open and the Duchess enter with the Guard. DUCHESS Stop that at once! That's an order! But to Blackbeard, it could be Jeanne speaking. The Duchess, in her nightgown, grabs Blackbeard by the shoulders. DUCHESS I command you to stop, in the name of the King! The mention of the King jolts Blackbeard to attention. DUCHESS Leave her alone, do you hear? Come on, get out! The three soldiers back sheepishly away. BLACKBEARD We were just having a little fun, that's all, keeping her company. DUCHESS Men like you are the cause of our country's dishonor! BLACKBEARD We were serving our country. just obeying orders, ma'am. The Duchess does n't want to hear more. DUCHESS Go on, get out of here! The Guards hustle the three soldiers from the room, but not before Blackbeard has mumbled - BLACKBEARD See you later, angel. The soldiers leave and the Guard bolts the door behind them. Jeanne curls up on her bed, destroyed, humiliated, lost. The Duchess caresses her face and does n't know what to do to comfort her. The Guard brings a blanket - probably his. JEANNE Thank you. She wraps the blanket round Jeanne, and presses the little cross back in her hand. DUCHESS This wo n't happen again, I give you my word.\",\n \"INT. ROOM - ROUEN CASTLE - DAY The Duchess storms into a room where Cauchon is talking with Bedford and Buck. She walks up to him. BEDFORD And. What a pleasant surprise. and slaps him across the face as he has never been slapped before. DUCHESS You should know that each humiliation you inflict on this woman, you inflict on all women, including yours my lord. BEDFORD Wha. what on earth are you talking about? DUCHESS If you send anymore of your soldiers to Jeanne's cell. I will kill them myself. The Duchess turns and sweeps past Cauchon, leaving Bedford staring at Buck who looks decidedly embarrassed. Bedford turns to Cauchon. BEDFORD I'm giving you one more day. Then he turns and leaves.\",\n \"EXT. CEMETERY OF ST. OUEN - DAY A masked Executioner stands beside a stake, piled high with faggots. Jeanne, her hands bound, stands nearby, facing a podium filled with the usual assembly of priests and prelates, headed by Cauchon. He rises to address Jeanne. CAUCHON Jeanne, my very dear friend in Christ, we, your judges and assessors, desirous of reaching a true and lawful verdict, submitted a transcript of your trial to the University of Paris in order to obtain their opinion. After careful consideration, the learned scholars have concluded with us that you have committed many grievous sins, and I ask you to listen most carefully to their opinion as contained in these articles. Cauchon hands a manuscript to one of the assessors, Canon Pierre Maurice, then resumes his seat. Among the monks we spot Aulon, who slowly tries to make his way toward Jeanne. MAURICE Article One. You have said that from an early age you have had revelations from the blessed saints and angels, that you have seen them with your own eyes, and that they speak to you. As to this article, the learned scholars have declared that these claims are untrue, pernicious and evil, and that all such revelations are superstitious, and proceed from the devil. The Duke of Bedford and his English peers are in a separate stand, guarded by English soldiers. The cemetery walls and the branches of trees beyond are crowded with spectators. The English are impatient to carry out sentence, but Maurice is not a man to be intimidated. Jeanne seems hardly aware of what is being said. MAURICE Article Two. You said that by God's command you have continually worn men's clothes, and that you have also worn your hair short, without nothing. From Jeanne's POV, Maurice's drone FADES, and the crowd seems to disappear. She whispers in agony. JEANNE My lord. do n't abandon me. where are you? Is this what you want? You want me to burn? To burn without being confessed? I'll do anything you want. but do n't leave me. Jeanne is completely alone in the middle of the cemetery. Only the graves, the stakes, and the moaning wind. JEANNE Do n't leave me here. please. do n't leave me alone! Suddenly the crowd is back, with Maurice droning on. MAURICE Finally, Article Twelve. You have said that you are not willing to submit yourself to the judgment of the Church Militant, but only to God. As to this Article, the scholars say that you have no comprehension of the authority of the Church, that you have perniciously erred in the faith of God, and that you are a child of superstition, a wanderer from the Faith, an invoker of demons, a sorceress, an idolater and a heretic! Maurice resumes his seat while Chatillon approaches Jeanne. CHATILLON Jeanne, we once again admonish, beg and exhort you to cast out and recant your erroneous beliefs, and return into the way of truth by submitting yourself to the authority of our Mother Holy Church by signing this recantation. Jeanne looks at the parchment in confusion. JEANNE If the church wants me to say that my visions are evil, then I do n't believe in this church and I submit myself to the judgment of God! Chatillon throws up his hands in despair. Bedford is brimming with anticipation. He calls out to the Executioner : BEDFORD Perform your office! The Executioner turns to Jeanne, but before he can take hold of her, Cauchon strides over - CAUCHON Wait! Cauchon grabs the document from Chatillon and holds it up to Jeanne. CAUCHON Jeanne, I beg of you. sign! -LRB- Jeanne looks dazed. -RRB- In God's name, do n't you understand? I'm trying to save you! If you do n't sign, the English will burn you to death! Is that what you want? JEANNE No. I want to be confessed. Cauchon hands her a quill. The English are getting agitated, heckling Cauchon to hand her over, but the spectators in the trees and on the wall are urging her escape the pyre by signing. Jeanne begins to waver. CAUCHON Sign this, and I will confess you myself if you want. JEANNE And may I go to Mass? CAUCHON As often as you like - now, please - for the love of God - sign! Again Jeanne looks about for the Man. but sees only the Executioner, waiting to conduct her to the stake. CAUCHON Sign, and you'll be free from your chains. free from the fire, Jeanne. now. sign! The Crowd begins to chant. Sign, sign, sign! Aulon, who has managed to get closer, joins them. AULON Sign, Jeanne - sign! Bedford is in a panic as Jeanne takes the quill and makes her mark - a wavering cross at the bottom of the parchment. The Crowd cheers, Aulon is ecstatic. but their voices go silent as the Man once again appears from behind Cauchon. MAN You know what you just signed, Jeanne? You just signed away my existence. For you I'm a lie, an illusion. -LRB- Jeanne is horrified. -RRB- You see? In the end, you were the one who abandoned me. JEANNE No. the Man a smile of faint regret and disappears. Jeanne turns to Cauchon. JEANNE Please. may I have it back. CAUCHON You have nothing to regret. She tries to grab it from Cauchon, but soldiers pinion her. JEANNE I did n't mean it! I did n't know what I was signing! You tricked me! CAUCHON Silence her! -LRB- soldier clamps hand over her mouth. -RRB- Take her away! The Soldiers hustle her away as Cauchon walks back to the podium. Aulon is relieved, and yet strangely apprehensive. Cauchon hands the Duke the document signed by Jeanne. CAUCHON There. she has recanted, and we accept her repentance, for the church never closes her arms to those who return to the fold. She's yours to do whatever you want with her, but the church has nothing to do with it anymore. She's your prisoner - your martyr - not ours. Bedford ca n't answer as the Duchess is next to him.\",\n \"INT. DUNGEON - ROUEN CASTLE - NIGHT Jeanne is flung into a filthy dungeon. Buck appears in the doorway and flings male clothes in her face. BUCK Here. in case you want to get dressed - try these for size! JEANNE He promised I'd be confessed. and go to Mass. and be free from these chains! BUCK We never promised you anything! But this much I can promise you. that you wo n't be leaving this dungeon till the day you die! The Guards laugh, slamming and bolting the door behind her. Jeanne sinks to her knees in grief and anguish.\",\n \"EXT. ROUEN CASTLE - DAWN Dawn is breaking beyond the distant castle.\",\n \"INT. CHURCH - DAY Cauchon is alone, lost in his thoughts. A young monk runs in, out of breath. MONK My lord Bishop. come quickly!\",\n \"EXT. COURTYARD - ROUEN CASTLE - DAY Cauchon and the Monk hurry across the castle courtyard. Aulon sees them pass, anxious at their apparent concern.\",\n \"INT. DUNGEON - ROUEN CASTLE - DAY Cauchon arrives in Jeanne's dungeon, out of breath. It is full of people : Bedford, his Aide, priests and soldiers. BEDFORD Ah, Cauchon. come to see for yourself? Well, take a look. Beyond them stands Jeanne, her back to us, dressed as a man. BEDFORD You see? Dressed as a man again! Her touching repentance did n't last very long, did it. The Bishop of Senlis was passing by and was on hand to witness her very evident relapse. CAUCHON And by what miracle did these clothes find their way in here? BEDFORD Not a miracle, my dear Cauchon. an evil spell! This girl is a witch, and tomorrow she will burn for it! -LRB- to Buck. -RRB- Have the stake prepared in the market place! Jeanne does n't say a word. She stands with her back to us, gazing up at the dim crack of light bleeding in through the high window - slit. Bedford exits with the others, leaving Cauchon alone with Jeanne. CAUCHON I do n't understand, Jeanne. why did you do it? Why? JEANNE And you? Why did you lie? You promised I could be confessed. CAUCHON I know, Jeanne. it was the only way to save you from the fire! JEANNE It's not my body I want to save. It's my soul. Jeanne turns round, and we see that she is strangely calm, as though a great weight had been lifted from her. She kneels before Cauchon. JEANNE I ask only one thing. to hear me in confession. CAUCHON I - I ca n't Jeanne. I ca n't hear your confession. I'm sorry. He hurries out of the cell. A Guard locks the door behind him, and Jeanne is alone. But not for long. The Man materializes and sits next to her. MAN Do you really want to confess, Jeanne? -LRB- Jeanne nods. -RRB- I'm listening. He turns his back, as the Priest did in the confessional. JEANNE I have committed sins, my Lord - so many sins. As a child, the only way I could help my people was to pray. So I prayed to God and his saints. I prayed more and more, and gave God all my love. but is n't it said that God helps them who help themselves? So I helped myself. and I saw signs. the ones I wanted to see - and I fought, out of revenge and despair. Yes, I was proud - stubborn - selfish - and cruel. I was all the things that humans believe they are allowed to be when they're fighting for a cause. The Man smiles a little, satisfied sigh. MAN You think you are ready now? JEANNE Yes, my lord. MAN Let's see. As he disappears, she hears a noise. turns round and sees a Guard in the doorway. A beat, then the Guard topples forward to the floor, blood oozing from his mouth. Behind him stands a Priest. He pulls a sword from the Guard's body, then throws back his hood. It is Aulon. He runs to Jeanne and takes her in his arms. AULON Jeanne. thank God! He quickly sets about removing her chains from her ankle. AULON We must hurry - I took care of the guard, but others are coming! Jeanne gently caresses his hand. JEANNE I am ready now. AULON Just give me a moment and then you'll be free. JEANNE I'm already free. AULON -LRB- preoccupied. -RRB- Yes yes. any moment. you're always so impatient. Jeanne puts her hand on his to stop him wasting his time. JEANNE My gentle Captain. I'm staying. AULON I - I do n't understand. JEANNE One day you will. AULON You do n't know what you're saying. You're going to leave this place, Jeanne - you're going home - or whatever you want - you're going to be happy, and have children, and. She caresses his face with both hands, smiling at him gently. Aulon continues to talk, but his eyes are beginning to brim with tears. he knows it's useless, that Jeanne has made her decision. AULON and maybe the king will give you some money, and a little land, and a title even. -LRB- smiling through his tears. -RRB-. would n't that be a fine thing? You, a lady of title! JEANNE I'm staying, Jean. AULON No, you must come, Jeanne - we need you - so much has happened since you left. I have a new horse now, a white one, just like yours. and La Hire hardly swears at all anymore. -LRB- crying. -RRB- You ca n't stay - they'll burn you! JEANNE I'm not afraid of the fire anymore. It will purify me. AULON Jeanne, you ca n't leave us like this! Jeanne smiles at him. JEANNE I am at peace now, my gentle friend. at peace with myself. She speaks gently, but with resolution : there is no going back, and Aulon knows it. He hears the distant SOUND of soldiers approaching. Aulon takes Jeanne's face in his hands and kisses her on the lips. A full kiss, the only one and the last one, one which Jeanne neither encourages nor resists. JEANNE You must go. She says it gently but urgently. With tears welling, Aulon tears himself from her sight and disappears. Jeanne is left alone, strangely calm and serene. Slowly she raises her finger - tips to her lips. touches them softly. The Man emerges from the darkness, carrying an ornate Cross on a long pole, bearing an effigy of the crucified Christ. MAN Ego te absolvo, in nomine Patris, et Filii, et Spiritus Sancti, Amen. He stands in front of her, raising the Cross above.\",\n \"EXT. ROUEN MARKET PLACE - DAY Jeanne, who looks up to see the crucifix rising against a clear blue sky, now held aloft by a Priest. She is bound to the stake, her head shaved. At the base of the pyre, the EXECUTIONER sprinkles the faggots with oil. EXECUTIONER Do n't worry, it's going to be fast. I used plenty of dry wood so there'll be lots of smoke. but do n't forget to breath fast and you'll be dizzy before the flames even get to you. A great CROWD has assembled in the market place. On a podium is the Duke of Bedford, trying to remain impassive. Beside him, the Duchess can barely contain her emotions. Further along stands Cauchon, his eyes lowered, not wanting to see. Still disguised as a monk, Aulon stands close to the pyre, tormented and torn between revenge and despair. Bedford makes a sign to the Executioner, who then takes a torch and sets fire to the brushwood. Flames erupt, and Jeanne's breathing quickens. As thick smoke rises, the Priest begins to cough ; his eyes water, and he can no longer hold up the cross to Jeanne's sight. She begins to panic, her eyes wildly searching. JEANNE the. cross. show me the cross. please. The Priest struggles to hold it up, but the choking smoke drives him back. JEANNE Where. where are you? Jeanne is filled with panic. the Priest is bent double with coughing and can get no closer. JEANNE please. the cross! Suddenly Aulon rushes forward, grabs the cross from the Priest and boldly defies the smoke and flames, risking his life as he holds it high for Jeanne. Finally the cross is visible to her, rising above the flames into a clear blue sky. Her anxiety melts, her eyes fill with tears of hope as she gazes up at the cross. As her eyes close, the image of the cross becomes engulfed with flames. until the smoke finally fills the SCREEN, plunging it into darkness. CUT TO BLACK. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,1,1,1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,1,0,0,1,1,1,0,0,0,0,0,0,1,1,0,1,0,0,0,0,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"As a child, Joan has a violent and supernatural vision. She returns home to find her village burning. Her sister Catherine tries to protect her by hiding her from the attacking English forces, part of a longstanding rivalry with France. Joan, while hiding, witnesses the brutal murder and rape of her sister. Afterward, Joan is taken in by distant relatives. Several years later at Chinon, the Dauphin and soon to be King of France, Charles VII (John Malkovich), receives a message from the now adult Joan (Milla Jovovich), asking him to provide an army to lead into battle against the occupying English. After meeting him and his mother-in-law Yolande of Aragon (Faye Dunaway) she describes her visions. Desperate, he believes her prophecy. Clad in armor, Joan leads the French army to the besieged city of Orléans. She gives the English a chance to surrender, which they refuse. The armies' commanders, skeptical of Joan's leadership, initiate the next morning's battle to take over the stockade at St. Loup without her. By the time she arrives on the battlefield, the French soldiers are retreating. Joan ends the retreat and leads another charge, successfully capturing the fort. They proceed to the enemy stronghold called the \"Tourelles\". Joan gives the English another chance to surrender, but they refuse. Joan leads the French soldiers to attack the Tourelles, though the English defenders inflict heavy casualties, also severely wounding Joan. Nevertheless, Joan leads a second attack the following day. As the English army regroups, the French army moves to face them across an open field. Joan rides alone toward the English and offers them a final chance to surrender and return to England. The English accept her offer and retreat. Joan returns to Rheims to witness the coronation of Charles VII of France. Her military campaigns then continue to the walls of Paris, though she does not receive her requested reinforcements, and the siege is a failure. Joan tells King Charles VII to give her another army, but he refuses, saying he now prefers diplomacy over warfare. Believing she threatens his position and will require expenditure of treasure, Charles conspires to get rid of Joan by allowing her to be captured by enemy forces. She is taken prisoner by the pro-English Burgundians at Compiègne, who sell her to the English. Led in chains, her trial begins. Charged with the crime of heresy, based on her claim of visions and signs from God, she is tried in an ecclesiastical court proceeding, which is forced by the English occupation government. The English wish to quickly condemn and execute Joan since English soldiers are afraid to fight while she remains alive, based on their belief that she could supernaturally affect battles even while in prison. Bishop Cauchon expresses his fear of wrongfully executing someone who might have received visions from God. About to be burned for heresy, Joan is distraught that she will be executed without making a final confession. The Bishop tells her she must recant her visions before he can hear her confession. Joan signs the recantation. The relieved Bishop shows the paper to the English, saying that Joan can no longer be burned as a heretic. Whilst in her cell, Joan is confronted by an unnamed cloaked man (Dustin Hoffman), who is implied to be Joan's conscience. The man makes Joan question whether she was actually receiving messages from God. The frustrated English devise another way to have Joan executed by the church. English soldiers go into Joan's cell room, rip her clothes and give her men's clothing to wear. They then state she conjured a spell to make the new clothing appear, suggesting that she is a witch who must be burned. Although suspecting the English are lying, the Bishop abandons Joan to her fate, and she is burned alive in the marketplace of Rouen, though a postscript adds that she was canonized as a saint in the 20th century."},"name":{"kind":"string","value":"The_Messenger:_The_Story_of_Joan_of_Arc"}}},{"rowIdx":185,"cells":{"scenes":{"kind":"list like","value":["EXT. FOREST - NIGHT Darkness. The sound of battle cries and the clang of metal upon metal. The forest lights up with huge sparks flying from sword and ax as armored knights hack and swing at each other. Mounted knights collide head - on at full gallop, their armor made incandescent in the clash. Sparks eddy in their wakes and float to the ground. The forest catches fire. MAIN TITLES on the flames. Out of the sounds of ancient battle grows music, heroic and barbaric, shot through with melancholy. Two crazed eyes reflect the fire. The eyes belong to a man without age, at once ancient and boyish, female and male ; his eyes are pained from the burden of too much knowledge. So close is he to the flames that a lock of his wild hair sizzles alight. He slaps at the fire as if it were an annoying insect. He wears a cloak of black trimmed with silver. It is Merlin. The wizard weaves a path through the burning forest, dodging the combatants, searching. MERLIN Lord Uther! Lord Uther! The forest around him weeps softly with the sounds that follow slaughter. Patches of undergrowth are smoldering. Small flames lick bark and branches. Smoke floats through the trees and hovers over the bodies of the dying and the dead. A huge knight reins up beside Merlin on a lathered horse. His armor is blood spattered. He is weary from battle. He looks down at Merlin, his countenance fierce. The blade of his sword glows with an unnatural aura. MERLIN It's done. A truce. We meet at the river. UTHER -LRB- disgusted. -RRB- Talk. Lovers murmuring to each other.","EXT. RIVER, FOREST - DAY Waiting on one bank of a small river that flows through the forest is a warlord, the Duke of Cornwall. He is flanked by his armored warriors. Lot of Lowthean prominent among them. They are battle - weary and bloodied, but they look ready to fight. Behind them is an army of lesser knights. To the opposite bank come Uther and Merlin, a much smaller force of knights, including Uryens, Lord of Gore, surrounding them. DUKE OF CORNWALL I spit on your truce, Uther. If you want peace, throw down your swords. Uther and the Duke of Cornwall glare at each other in silence across the river. Uther strains forward, burning with anger ; but Merlin restrains him. UTHER I should butcher all and every one of them. Merlin, what is this wagging of tongues? MERLIN Just show the sword. Uther unsheathes his mighty sword, and brandishes it in the air high over his head. The blade hums disquietingly and leaves a lingering electric hue upon the air. The marvel instills dread in all present. MERLIN -LRB- waxing eloquent. -RRB- Behold the sword of power, Excalibur. Before Uther, it belonged to Lud, before Lud, to Beowulf, before Beowulf to Baldur the Good, before Baldur to Thor himself and that was when the world was young and there were more than seven colors in the rainbow. -LRB- and in an aside to Uther. -RRB- Speak the words. UTHER -LRB- bellowing. -RRB- One land, one king! That is my peace! The Duke of Cornwall looks around nervously as some of his knights fall to their knees in awe. DUKE OF CORNWALL Lord Uther, if I yield to the sword of power, what will you yield? UTHER Me, yield!? Merlin urges Uther hard. MERLIN -LRB- a whisper. -RRB- He has given. Now you must. The two knights glare at each other, rage contending with anger. UTHER The land from here to the sea is yours if you will enforce the King's will. The enemies lock eyes and Merlin watches anxiously. DUKE OF CORNWALL Done! All men from both sides break out in wild cheers. DUKE OF CORNWALL My Lord King Uther, let us feast together. To my castle. Lord Merlin, you must join - But Merlin is nowhere in sight.","INT. TINTAGEL CASTLE - HALL - NIGHT Drums and wailing flutes fill the banquet hall with a lusty rhythm. Armored warriors watch a lone woman dancing. She is very beautiful, both sensuous and innocent. Uther sits at the long table beside the Duke of Cornwall with the barons and dukes of the land, and the lesser knights. The table is stained with wine and littered with bones and half - eaten fruit. Uther's eyes burn with lust as he watches the dancer. DUKE OF CORNWALL I would wish you such a wife, Lord Uther, as my Igrayne. So innocent, but in bed, a furnace. The Duke rises and goes to his wife, be - striding the center of the hall and Igrayne weaves circles of dance around him. He gloats with pride. The words escape his lips : UTHER I must have her. Lot spins to face him. LOT What? You're mad! What about the alliance? UTHER -LRB- oblivious. -RRB- I must have her. LOT And risk all you've won? This castle commands the sea gate to the kingdom. Uther is not one for politics, and Lot's words sail past him. The King lusts for Igrayne. A bell is struck not far away. The music ceases and the hall falls silent. The great door creaks open, revealing the dawn light, and a monk steps into the hall and waits by it. Muffled by corridors of stone, a choir of monks can now be heard singing the high, ecstatic harmonies of the Te Deum. Those who have fallen asleep at the table are roused, those drunk, helped up.","INT. PASSAGEWAY, TINTAGEL CASTLE - DAWN The monk leads the party down the hallway of the castle. Thin shafts of dawnlight filter through archers' slits in the thick walls onto stone floors. Otherwise, it is dark. Each person, lady and knight, proceeds alone, head bent, some crossing themselves. Uther is among them. He stops in a dark alcove, breathing heavily, waiting. As the lovely Igrayne drifts past him, he pulls her out of sight of the others. In a shaft of pale light Uther clasps Igrayne to his breastplate, his iron arm wrapped around her frail body. So violent is his embrace that she can not breathe, her mouth is wide with fear, and her feet do not touch the ground ; an impaled butterfly. UTHER You will be mine. Wife and queen, bed and crown. His face is close to hers, looking as though he would devour her tender whiteness with his kiss. She does n't answer ; she ca n't. Even Uther understands this and lets her go. IGRAYNE -LRB- a fierce whisper. -RRB- I want no other crown and no other bed than those I have. Her gown and her fragile skin torn on the spikes of his armor, Igrayne backs away and joins the procession. Uther trembles with unreleased passion.","INT. PASSAGEWAY OUTSIDE CHAPEL, TINTAGEL CASTLE - DAWN Igrayne enters the candlelit chapel from which issues the chant, calling the castle to worship. She rushes to her husband's side, kneeling next to him and whispering. The Duke of Cornwall looks back at Uther, hatred in his eyes.","EXT. WAR CAMP - BEFORE TINTAGEL CASTLE - DAY Uther is in a towering rage. Sword drawn, he stalks among the biers of fallen knights. Squires and clerics keep a healthy distance. The sky is lowering, pregnant with rolling thunder. Beyond his encampment, high on a cliff rising out of the sea stands the impregnable Tintagel Castle, seat of the Duke of Cornwall, now under siege. UTHER -LRB- bellowing in all directions. -RRB- Merlin! Where are you!? Just then a knight rides up and dismounts. It is Ulfius, a lieutenant. UTHER Have you found him? ULFIUS No - But he can not finish. He is taken aback by the sudden appearance of a hideous hag who approaches, rattling a beggar's pan. HAG What a hurry you were in this morning, good sir. You forgot to give this old woman a coin. ULFIUS I saw you half a day's gallop from here. I asked you if you had seen Merlin. I returned here straight away. How did - HAG - I heard. I have come. I am also Merlin. The figure straightens, the filthy rags become a flowing cape, and the hair is swept back by the wind, andóit is Merlin, laughing. MERLIN I have walked my way since the beginning of time. Sometimes I give, sometimes I take. It is mine to know which, and when. UTHER -LRB- exploding. -RRB- Dumb riddles, Merlin. I am your King. Ulfius edges away. MERLIN I know the storm inside you, and what it has wrought. The alliance I forged is wrecked. The Duke of Cornwall under siege. All this for lust. Selfish lust. Uther grabs Merlin. UTHER For Igrayne. One night with her. Do it. Use the magic. Merlin frowns pensively, his gaze searching strange distances and wandering ; then focusing, blazing straight at Uther. MERLIN You will swear by your true kingship to grant me what I wish. Then you shall have it. Uther kneels and draws his sword and holds it up by the blade, a cross. UTHER I swear it. By Excalibur and the holy - MERLIN - What issues from your lust will be mine. Swear it again. UTHER I swear it. Merlin looks down sorrowfully at the kneeling King.","EXT. BATTLEMENTS, TINTAGEL CASTLE - EVENING The Duke of Cornwall watches a force of armored knights riding forth from Uther's war camp, with banners flying. It passes beneath the castle and on toward a distant cliff. DUKE OF CORNWALL -LRB- to a lieutenant. -RRB- It's Uther and all his best knights. He leaves behind little more than fledglings to guard his camp. His eyes are as cold and as pale as ice.","EXT. CLIFF ABOVE THE SEA - TWILIGHT Uther and his knights, and Merlin on a mule, ride to the high promontory and dismount. Here, overlooking the sea, is a circle of ancient stones, carved with strange runes and hieroglyphics, and as the wind moves through them it moans and sighs. The knights watch as Merlin and Uther, leading his horse, walk toward the stones. Merlin strides into the circle, turning to look at Uther, who hesitates. MERLIN Come. Uther starts to make the sign of the cross, but Merlin halts him with a gesture. Uther's hand drops, and he enters the circle with his horse. Merlin and Uther look out across the sea, to Tintagel Castle high upon the cliff. Merlin solemnly raises his arms toward that distant castle, and chants in an ancient language, the sounds of which he marries to the roaring and whining of the wind. The wind becomes stronger, and Merlin's incantations become more intense, and the wind in turn becomes wilder still. Until Merlin is charged with a fierce, nonhuman power, as the wind buffets his slight frame. And then, for all to understand : MERLIN I hold the balance of all things in my summoning. Arise mists. Come fog.","EXT. VISTA FROM THE CLIFF - TINTAGLE CASTLE - TWILIGHT From the horizon a front of fog advances toward the castle to envelop it, and continues across the gulf to the circle of stones.","EXT. GATE, TINTAGLE CASTLE - TWILIGHT The portal opens and a small force of armored men, led by the Duke of Cornwall, exits. A fog is thickening all around them.","EXT. CLIFF ABOVE THE SEA - TWILIGHT The advancing front envelops Merlin and Uther, eddying around the stones. All else is obliterated. MERLIN Mount your horse. The King does. MERLIN Ride straight to the castle, across the sea of fog. Uther spurs straight for the edge of the cliff, then reins in his horse abruptly. UTHER But the cliff, the sea. Merlin rages, crazed. MERLIN Ride across! Across the bridges of desire. Your lust will hold you up. For I have just woven it into the fabric of the world. This is magic - making solid what is in the mind, and unsolid, that which is already solid. He gives the horse a stinging blow with his staff. The horse and Uther charge forward into a gallop and stepping off where the hidden edge of the cliff would be, hoofbeats ceasing and the horse dropping for the blink of an eye, they gallop across the fog.","EXT. MERLIN'S FOG Galloping on no visible terrain, Uther and his horse advance through the restless fog, and as they recede rider and animal become a wavering, changeable form within the cloud.","EXT. GATE, TINTAGEL CASTLE - NIGHT Horse and rider pull up at the gate. RIDER -LRB- calling. -RRB- Wake up in there. It is I. If it was not for the electric blue hue burning in the eyes of the man entering the castle, the same magic hue that Excalibur left upon the air when wielded, the resemblance to the Duke if Cornwall would be perfect. After a moment the portal opens.","INT. INNER GATE, INTAGEL CASTLE - NIGHT He passes into an inner court, the portal closing behind. Armed men emerge cautiously. Thinking that it is their Duke they help him dismount. 'DUKE' OF CORNWALL Have the horse ready. I ride out before sunrise. An inner gate opens and the ` Duke' goes through it.","EXT. UTHER'S WAR CAMP - NIGHT The real Duke and his men ride through the fogbound camp, cutting the ropes of the tents, stabbing the men trapped beneath the canvas. When a frightened crow flies squawking into the face of the Duke's horse, which rears. He is unhorsed and falls, and impales himself on a tent stake. Dying, the true Lord of Tintagel Castle rises and staggers forward, blood pumping from him.","INT. CHAMBER, TINTAGEL CASTLE - NIGHT A little girl of four awakens from a nightmare, a small lone figure in her canopied bed. Her eyes are ice, like her father's. MORGANA Papa. Papa. Igrayne is soon at her side, lifting the child from the bed, holding her tight. MORGANA My father is dead.","INT. IGRAYNE'S BEDCHAMBER - NIGHT The ` Duke' enters. The room is empty, but the door to Morgana's room is open.","INT. MORGANA'S CHAMBER - NIGHT The ` Duke' stands in the doorway. Igrayne herself is surprised. IGRAYNE Look, here is your father. It was just a dream, little one. 'DUKE' OF CORNWALL Come Igrayne. Igrayne kisses Morgana, tucks her in and returns to her own room, closing the door. The child does n't know whether to believe the truth of the dream or the waking truth.","INT. IGRAYNE'S BEDCHAMBER - NIGHT In full armor, the ` Duke' bears down on the naked Igrayne on her marriage bed. She stares at him, wondering. But his eyes are closed, and finally he carries her in his wild passion, her white limbs tangling around the lustre of his armor.","EXT. CLIFF ABOVE THE SEA - NIGHT And Merlin is jolted awake from deep within himself, coming out of a trance. MERLIN It is done. The future has found root in the present. He lifts himself up on his staff. He stands in the midst of the ancient stones, bristling with excitement. Uther's mighty knights are asleep, a deep unnatural sleep, huddled together and surrounded by their horses. And then Merlin swoons, collapsing to the ground.","INT. HALL, TINTAGEL CASTLE - DAWN His lieutenants deposit the Duke of Cornwall's bloodless body upon the long table. His eyes are wide open, icy and cunning even in death. The ladies of the castle support and comfort the grief - stricken Igrayne as she approaches the body of her husband. Morgana hangs onto her mother's gown. IGRAYNE When did it happen? Where? LIEUTENANT In the camp of Uther, my lady, just after nightfall. IGRAYNE It ca n't be. He came to me, to his bed, last night. LADY It was his spirit, yearning for you in his hour of death, that visited you. IGRAYNE His spirit? Pale with grief, Igrayne stares at her dead husband in silence. Then her hand drifts to her stomach. When she talks again, undone and resolved, it is to all and herself : IGRAYNE Tintagel Castle falls to Uther. But what shall become of me, and the child I bear? Morgana shows no distress. She runs her baby hands across her father's face and closes his eyes. The intensity that was frozen in them is now added to her own pale and cunning eyes.","EXT. CLIFF ABOVE THE SEA - DAY Merlin has been propped up against one of the stones. He is in a deep trance and Uther is attempting to shake him awake. UTHER I want her, Merlin. I can not be without her. Tintagel is mine. Can I take her now? Tell me! Merlin's eyes open but he sees nothing, and only a puzzling squeal issues from him.","INT. IGRAYNE'S BEDCHAMBER, TINTAGEL CASTLE- EVENING Morgana watches from a corner. The ladies of the castle surround Igrayne who is giving birth. Noisy crows alight on the windowsill. Only Morgana notices.","INT. PASSAGEWAY, TINTAGEL CASTLE - NIGHT Uther strides to Igrayne's bedchamber, his warrior knights following. He is dirty and his iron dress is blood - spattered. UTHER -LRB- bellowing. -RRB- Three horses died under me, so hard did I spur them here. Is it born? Is it alive?","INT. IGRAYNE'S BEDCHAMBER, TINTAGEL CASTLE - NIGHT At his approach and entrance the ladies shrink back, and Morgana edges closer to her mother, and seats herself on the bed beside her. Ingrain holds her newborn baby in her arms, the blood of birth still wet upon it. UTHER Out! The ladies slip past him to the door, and he goes up to Igrayne. UTHER What is it, lady? Terrified of him, Igrayne faces him the best she can. IGRAYNE A boy, sir. Rest yourself. Uther waves away her words but does sit down on the bed, exhausted. He notices Morgana, who stares at him. UTHER Send the girl away. IGRAYNE She is just a child - UTHER Out! Igrayne draws the child to her and kisses her cheek. IGRAYNE -LRB- whispering. -RRB- Go now. Come back later. The child leaves silently, hatred in her eyes. UTHER She watches me with her father's eyes. He grasps the newborn baby with his iron hand, and pulls it to himself. He looks upon it with wonder, with a gentleness that is unexpected. UTHER Igrayne, is he mine, or - He ca n't bring himself to say his name. She hesitates on the edge of tears, worried for the infant lying in its iron cradle. IGRAYNE The night he died, a man loved me with great fierceness. He looked like my husband, spoke like, smelled like, felt like my own husband. But it was not he, for he was already dead. It was n't his spirit, for this child, who was conceived that night, is flesh and blood. I know nothing more. Uther draws a dagger. He lifts it. IGRAYNE No - But he uses it before Igrayne can move. He severs the leather thongs that bind the iron breastplate to his chest. He casts it to the floor. His chest is smooth and milk - white in striking contrast to his creased, weathered face. And beaming, he holds the baby to it. UTHER Through him, I will learn to love them, for I am tired of battle. I will stay by his side and. -LRB- looking shyly at Igrayne. -RRB- his mother's. Igrayne's hatred for the man is at the very edge of becoming love. The baby starts to cry. UTHER Here. It's hungry. And his free hand opens her shift, and he holds a swollen breast in his gloved hand, squeezing gently. Milk bubbles from it and he thrusts the baby's mouth onto it. Igrayne weeps and Uther watches proudly as the baby suckles. Merlin advances from the window, his cape the same iridescent green - black as the feathers of the crows that were perched by the window. UTHER Merlin! Out of the sick sleep at last. MERLIN Doing what I did for you, it was n't easy, you know. It takes it's toll. It took nine moons to get back my strength. Uther avoids looking at him. MERLIN Now you must pay me. UTHER I? MERLIN The child is mine, Uther. I have come for him. Uther is shaken to his roots. Igrayne watches, trying to understand. UTHER The oath. You did n't say - MERLIN You did n't ask! IGRAYNE Uther, is it true? Do n't let him take the child. UTHER I swore an oath, Igrayne. I made a pact with Merlin. Igrayne suddenly understands. She glares at Uther. IGRAYNE It was you? You came to me that night. You are the father. Uther is caught, and turns to Merlin who is harsh and unswaying. MERLIN It's not for you, Uther, hearth and home, wife and child. UTHER To kill and be king, is that all? MERLIN Maybe not even that, Uther. I thought once that you were the one to unite the land under one sword. But it'll take another, a greater king. UTHER You strike me with words as hard as steel. MERLIN They are not weapons, my friend, but truths. You betrayed the Duke, stole his wife and took his castle, now no one trusts you. Lot, Uryens, your allies will turn against you. Give me the child, Uther, I will protect him. Go back to your war tent. Uther wrenches the baby from it's mother's breast and hands him to Merlin. UTHER -LRB- in torment. -RRB- By the oath, take the devil child. Take him! With the bawling baby under his cape, Merlin exits. Igrayne pulls herself out of the bed, weak, her legs giving under her. She starts after Merlin. IGRAYNE WHY? Why must he have the baby? Uther stops her with his bulk and she claws savagely at his chest to get past him. He weeps as he folds his arms around her.","INT. PASSAGEWAY, TINTAGEL CASTLE - NIGHT As Merlin walks through the castle, the baby crying in his arms, the knights and ladies step back, afraid to intervene in royal matters.","INT. HALL, TINTAGEL CASTLE - NIGHT. Merlin comes across the empty banquet hall, cooing to the baby, strangely pacifying him. Morgana steps out of the shadows in his path, and Merlin stops at the sight of the little girl, her pale eyes glaring at him. She speaks haltingly and clearly while far - off Igrayne cries out her distress. MORGANA Merlin, are you now the father, and the mother, of the baby? Staring at her, Merlin shudders and without answering he continues away, faster now, and into an unlit passageway, disappearing from sight a bit sooner than an ordinary mortal would have.","EXT. FOREST - DAY The forest is dark and shiny with rain. An unseen battle rages. The first combatant in sight is Uther, who swings the mighty Excalibur, cutting an attacker in half at the waist. Uther and a small force of knights, Ulfius among them, are retreating through the slippery wet forest, completely outnumbered. Lord Lot of Lowthean and Lord Uryens of Gore are the leaders of the attack. URYENS -LRB- to his men. -RRB- The King's sword. I must have it. Ulfius and his men stand their ground so the King may escape the onslaught. They are hacked down. Uther flees alone, severing the limbs of any man and tree that stands in his way.","EXT. STONE IN THE FOREST - DAY Uther has gained on his pursuers. He comes to a small clearing where the spine of a buried boulder rises through the forest floor. He stops upon it, breathing hard, dripping blood. He rages aloud, but his throat is raw and cracked and only a whisper comes out. UTHER Merlin, where are you? To weave a mist, to hide us. He hears his pursuers closing in. UTHER No one shall have the sword. No one shall wield Excalibur but me. He holds it by the hilt with both hands, the blade pointing to the ground of stone. He flexes his knees. He lifts up his hands above his head. And with all the strength that rage and pain can muster, and more, he drives the blade of Excalibur into the stone, nearly to the hilt. His mouth widens in an awful silent scream, and then the foam of saliva pink with blood issues from deep within him, so violent was his effort. As the sword cuts into the rock, the earth shudders.","EXT. FOREST - DAY The forest quakes. The knights searching for Uther halt in fear.","EXT. FIELDS, WOODS - DAY And far away, a caped figure is crossing a field toward a wood, when the earth shakes, stirring animals and birds. The man turns. He is Merlin, the two day - old baby peeking from his cape. Merlin is amazed at the phenomenon, he puts his ear to a rock protruding from the earth. MERLIN Into the spine of the dragon! -LRB- and then he is saddened. -RRB- Uther. I loved you, mighty child. And tears welling, and giggling at the same time, he whisks away into the woods.","EXT. STONE IN THE FOREST - DAY Uther staggers away, colliding with trees, staggering, crashing to the ground. Until the only life left in him is the coursing of his blood, flowing from his gaping mouth onto the leaves on the forest floor. The enemy knights advance through the trees. They prod at the fallen leviathan, they roll him over to get at his scabbard. Only then do they see the sword in the stone, and they stop, amazed and afraid. Their captains appear. Uryens sees what they are staring at, and races to the sword and attempts to pull it out. He strains with all his might, but it is immovable. LOT Let me. He shoves Uryens aside, but he ca n't loosen the sword either, and he rages with frustration. `` Fifteen years passed and the land was without a king.''","EXT. FIELDS - DAY Peasants spill over the crest of a hill. They are fleeing a force of armored knights, their plumed helmets forged in the semblance of predatory animals. The knights thunder past the peasants, trampling the ripening crops. Sir Uryens is their leader, his hard face indifferent to the havoc he leaves in his wake. The peasants watch in mute anger.","EXT. FARMYARD - EVENING Sir Lot leading another group of mounted knights comes galloping into a small hamlet, panicked chickens and pigs scattering at their approach. The farmers run for their lives as the steel men dismount, leading their horses to water and hay, and searching for vittles. A knight spots a woman who stands frozen with fear, and he drags her into the barn as her crying child watches.","EXT. COUNTRYSIDE - NIGHT - MOONLIGHT A farmhouse is burning nearby, and three mounted figures make their way along a trail at a walking pace - an old knight in leather and mail, a young knight proud in gleaming new armor ; and on a farm horse, a squire with baggage and jousting lance. The old knight, Sir Ector, is troubled by what he sees. SIR ECTOR It is a dark hour. everywhere lawlessness and destruction, and no one to lead us out of it. Just then, ten crazed peasants emerge from the darkness, hurling stones and armed with clubs and pronged sticks. They surround the three riders. Sir Ector wheels around and slices the air with his sword to ward off the ambushers. SIR ECTOR Listen all. I am Sir Ector of Morven and these are my sons. You would wrong me, for I have never stolen from others, or destroyed the fruit of the land. The peasants edge closer, working up the nerve to rush the horsemen. The sound of thundering hooves cuts through the clamor. A cavalcade of riders, armor gleaming in the moonlight, advances across the fields at a gallop. Immediately the peasants scatter. The old knight is on the verge of tears. SIR ECTOR The people's anger is just. It is sad that for our own safety, we will have to ride to the tournament with these robber knights.","EXT. SITE OF THE SWORD IN THE STONE - SUNRISE Red with the first light of day, Excalibur rests in the stone as King Uther left it. The field is itched with tents, each flying its heraldic banner. Knights and squires are everywhere, preparing horses and armor for the joust. A burly man in religious robes harangues the crowd, vying for attention. BISHOP This is Easter day, when Christ rose again. Who will find strength in victory of arms? Who will draw the sword? The Bishop goes among the tents, through the teeming throng, solemnly casting holy water upon man and horse, armor and banner. The knights kneel at the Bishop's transit, but ceremony does not lift the air of grimness that lies over the event.","EXT. JOUSTING GROUND, SWORD IN THE STONE - DAY Their armor ablaze with sunlight, two mounted knights thunder toward each other at full gallop, lowering their long jousting lances. As they meet, the lance of each knight is deflected by the shield of the other. A gasp goes through the crowd, and the two knights charge past each other. They wheel around at the end of the jousting ground and go at each other again from the other direction. Again lances strike, and this time one of the men is hit in the chest and violently unhorsed. The crowd cheers.","EXT. THE SWORD IN THE STONE - DAY The victor, Leondegrance, rides up to the stone and dismounts. Each great knight with his coterie of lesser knights comes to watch. A charge of expectation is in the air, although most knights are glowering with envy. Leondegrance of Camelyarde ascends to the sword, grabs it by the hilt, and begins to tug with all his might. Excalibur is immovable. The moment of tension passes. Leondegrance staggers toward his waiting squires, who lead him away. All the others return to the battle sport.","EXT. JOUSTING GROUND - DAY At the edge of the jousting ground Sir Ector's son Sir Kay is getting ready for a bout. His brother Arthur is buckling the new armor while his father fusses about him, making small adjustments when he notices that Kay's scabbard is empty. He turns to Arthur and grab's him by the ear. SIR ECTOR Arthur, where is Kay's sword? A good squire does n't forget his knight's sword. The fifteen year - old boy blushes. ARTHUR I left it in the tent, sir. SIR ECTOR Well hurry then, and get it. The boy dashes off as Sir Ector shakes his head, not without affection beneath the sternness.","EXT. TENTS - DAY Arthur runs in search of their tent. He finds it.","INT. TENT - DAY He enters. The saddle trunk has been emptied on the floor, equipment is scattered all over. Arthur is shocked, nonetheless he rummages madly. Finally he stops, on the verge of tears. ARTHUR It's been stolen.","EXT. TENTS - DAY He comes out, utterly defeated, and frantic. He stops by two knights who are arguing angrily ; and one of them has left his sword in the grass. Arthur looks at it. He is tempted to steal it, but he ca n't. Head down, he wanders off.","EXT. JOUSTING GROUND - DAY Sir Ector and Sir Kay are waiting. SIR KAY Father, I'll go and see what's keeping him.","EXT. THE SWORD IN THE STONE - DAY Arthur stops at the edge of the dark forest, totally dejected, when he sees the sword in the stone. He walks up to it, his face lighting up, brimming with innocence. He is alone, as everyone has returned to the jousting ground. ARTHUR If only Kay could have it. He smiles, forgetting his troubles, a boy again living in a fairy tale. He grasps the sword by the hilt and it comes away easily from its stone lock. Not expecting it to, he nearly falls. He stares at it, terribly excited and surprised : he tucks it under his arm and rushes back.","EXT. TENTS - DAY He bumps into Kay. ARTHUR -LRB- breathless. -RRB- Your sword was stolen, Kay, but here is Excalibur. Is it too late? I hurried - Kay takes it. He can not believe what he's holding in his hands. He starts to talk but he is so agitated he can only stutter.","EXT. JOUSTING GROUND - DAY Kay, with Arthur in tow, rushes to Sir Ector and shows him the sword ; he trembles with excitement. SIR KAY Look, Father. Excalibur. Does that mean that I am to be king? Sir Ector is dumbstruck. SIR ECTOR Did you free the sword, boy? SIR KAY I. did, Father. Ector looks at his son amazed, wanting to believe but not able to. SIR ECTOR We must go to the stone at once. With Excalibur in hand Ector of Morven heads for the stone, Kay following, and Arthur too, the boy flushed with excitement but a little worried, not understanding what is happening. The exchange between Sir Ector and Sir Kay has been overheard. Some have seen the sword in Sir Ector's hand. Rumor spreads like wildfire.","EXT. THE SWORD IN THE STONE - DAY As Sir Ector ascends the stone, from all parts of the jousting ground knights and squires, the Bishop and the clerics, and peasants too, press around. Ector lowers the blade into the tight cleft and Excalibur sinks to its original position. SIR ECTOR Draw it, son! Sir Kay grabs the hilt and pulls without conviction, and the sword does n't give. Eyes downcast, he lets go. SIR KAY Sir, I did n't draw the sword. Arthur gave it to me. SIR ECTOR Arthur?! -LRB- spinning around to face him. -RRB- How did you get the sword, child? ARTHUR -LRB- frightened. -RRB- Sir. Kay needed a sword. His was stolen. I saw Excalibur, and. I took it. SIR ECTOR You freed it, son? ARTHUR I did, Father. I beg your forgiveness. He starts to kneel but Ector pulls him up. SIR ECTOR Try the sword, Arthur. Arthur is about to grasp the hilt when Uryens and Lot, and other nobles, Leondegrance of Camelyarde, and Sir Caradoc and Sir Turquine among the younger, stride up. URYENS Stand back, Sir Ector, and take your children. LOT We will try again. Uryens, Lot, Leondegrance, Caradoc, Turquine - each in turn grapples with the sword, only to be defeated by its immobility. The crowd around the stone is thickening with common folk. SIR ECTOR Let the boy try the sword. BISHOP Let the boy try. The demand is echoed by peasants and serfs. The great knights remain silent and bitter in their defeat. Sir Ector pushes Arthur to the sword. SIR ECTOR Go ahead, boy. Do n't be afraid. The boy hesitates shyly, and then takes the hilt of Excalibur and pulls out the sword with a great sweep. The throng is stunned. Silence falls. Some kneel, following the example of Sir Ector and Sir Kay, of the Bishop and Leondegrance. The other nobles stay back, confused, afraid, angered. Arthur stands there, little more than a boy, his cheeks flushed, his soft hair ruffled by the wind, his eyes shining with exultation, awe, and fear. Then, as if gaining confidence from the sword itself, he turns it in arcs above his head. BISHOP We have our King, thanks be to God. The commoners and some of the knights react with roaring enthusiasm. The others draw closer to Uryens and Lot and their supporters, closing ranks around them. ARTHUR Please, Father, rise up. I was your son before I became your King. if I am King. Sir Ector rises, tears streaming down his cheeks. SIR ECTOR My Lord, you are King, all the more because you are not my son, and I am not your father. This is quite a shock to the boy king, and to the onlookers. ARTHUR Who is, then? SIR ECTOR I do n't know. Merlin brought you to me when you were newly born and charged me to raise you as my own. At first, I did so because I feared Merlin, later because I loved you. Merlin's name is on the lips of all those close by. ARTHUR Who is Merlin? MERLIN Speak of the devil! From out of the forest strides Merlin, dramatic, cape flowing, eyes crazed as ever, laughing at his own entrance. A crow is perched on his shoulder, and it squawks loudly. Annoyed with it, Merlin swooshes it away. MERLIN I am Merlin. Counselor to kings. Wizard and beggar. Prophet and. -LRB- he drops it. -RRB- I have feasted on thunderbolts, I savored my death before I got myself born. I - Merlin interrupts himself when his eyes fall on the boy, who is taking in his performance raptly, half awestruck, half amused. ARTHUR Whose son am I? MERLIN You are the son of King Uther, and the fair Igrayne. you are King Arthur. The suspicion and confusion and envy of the lords erupts. LOT Merlin, we have n't forgotten you. This is more of your trickery. URYENS You're trying to foist a boy of dubious birth upon us. You want to shame us? LOT Lord Leondegrance, join us against the boy. Surely you can see he is only Merlin's tool. LEONDEGRANCE No. I, Leondegrance, Lord of Camelyarde, saw the drawing of Uther's sword, and witnessed no trickery. If a boy has been chosen, a boy shall be king. The crowd of serfs and peasants cheer wildly, and their long suppressed anger against the nobles comes to the fore. They dare to press up against them, fists hammering on their shields as the chant Arthur King over and over. Dark and scowling, full of rebellion, all the lords except Leondegrance begin to withdraw their iron men surrounding them.","EXT. CHAPEL, JOUSTING GROUND - DAY Bells toll the good news. People stream by to see the new king and join the celebration.","EXT. SITE OF THE SWORD IN THE STONE - DAY Uryens and Lot, and Caradoc, Turquine, and the other lords have mounted, and are moving out, when from the rear guard a bowman in Lot's service draws upon the unarmored figure of Arthur across the cheering crowd. The bowman lets the arrow fly. It flies over the heads of the crowd, unseen. Except by Merlin at Arthur's side. He extends his arms halfway up, his fists clenched tightly as if drawing urgently on the power within himself. The sound of wings is heard as he flaps his arms. The arrow flies toward Arthur. Arthur sees the arrow coming right at him, when a swooping crow plucks it out of the air. Arthur watches the crow flapping its wings, climbing swiftly, the arrow in its beak, disappearing over the forest. Only he has noticed. When he turns Merlin is no longer at his side ; to the puzzlement of all. And Arthur is all of a sudden terribly alone and afraid, as people from all sides clamor for his attention and guidance.","EXT. FOREST - DAY Arthur charges through the shadowy forest. He is in armor, but it is only a light tunic of mail. Excalibur is sheathed in a leather scabbard by his side. He is frantic and he calls urgently. ARTHUR Merlin. Merlin. His face shines with sweat, the horse is lathered. He dismounts and continues on foot into denser, more tangled undergrowth. ARTHUR Merlin! A huge eye opens in the foreground of what had appeared to be shadow, bark and tufts of weeds is really Merlin's head. MERLIN You called, sir? His voice is thin as he is awakening from a deep, exhausted sleep. Arthur finds him lying within the large gnarled roots of a great tree. The boy kneels before Merlin and lifts his hands and kisses them. ARTHUR You saved me from the arrow. MERLIN -LRB- a flicker of mischief. -RRB- But not from your destiny. ARTHUR I want to thank you. MERLIN That's not why you came. Arthur blurts it out : ARTHUR Merlin, help me. I need your help. I do n't know how - MERLIN -LRB- irritated. -RRB- ` Help me, Help me.' Help me get up. Arthur helps Merlin up and the wizard stands unsteadily. MERLIN I'm tired. Doing magic takes its toll, you know. My arms ache terribly. -LRB- he makes flying movements with his arms and grimaces. -RRB- Once - or is it yet to happen - I stood exposed to the Dragon's breath so that a man could lie one night with a woman. It took me ten moons to recover. I'm sure that story would interest you, since. Well, we'll have to talk about it another time. You're too busy now. The forest groans and creaks, alive with murmurs and shrill calls. MERLIN It is whispered in the forest that. -LRB- he cups his ear with exaggeration. -RRB-. Leondegrance's castle is under siege by Lot and Uryens. ARTHUR -LRB- pressing. -RRB- Yes, yes, I know that. Everybody does. Lord Leondegrance is my only ally among the barons and the great knights. I ca n't lose him. MERLIN Well there. You do n't need me half as much as you think you do. You already know what must not happen. ARTHUR -LRB- exasperated. -RRB- I must find the means to save him, then. I was hoping I could ask you for a little magic help, but if it makes you so tired. MERLIN Thank you. Silence. Arthur tries again. ARTHUR It's just that I have no experience, and no men to speak of. How can I - MERLIN -LRB- suddenly fierce. -RRB- Because you must! You and only you. Have you forgotten that it was you who freed Excalibur? Just as suddenly, he is his amused, ironic self again. MERLIN Besides, it will be a good lesson. -LRB- giggling. -RRB- The best, if it's not the last. Arthur bows his head, confused and almost defeated. Merlin steals a look at him, and puts his arm around the boy. MERLIN Maybe you'd like to meet the power that gave you the sword? He enjoys being cryptic. ARTHUR How? Where? MERLIN In the great book. ARTHUR What book is that? MERLIN -LRB- melodramatic. -RRB- The book without pages. Open before you, all around us. You can see it in bits and pieces, for if mortal men were to see it whole and all complete in a single glance, why, it would burn him to cinders. ARTHUR What?!","EXT. FOREST AND ELSEWHERE - DAY AND NIGHT MERLIN The dragon! There. A deep cleft at the edge of the forest, where far below lava boils with a phosphorescence that lights up a great cloud, billowing upward. MERLIN Coiled in the unfathomed depths, it emerges. Merlin points to the sky where roiling clouds appear to be unfurling of immeasurable wings. MERLIN It unfolds itself in the storm clouds. A terrific wave batters a coastline, spray shooting up, and as the wave recedes it exposes dark rocks and deep crevices. MERLIN it washes its mane sparkling white in the blackness of seething whirlpools. Merlin spins Arthur around, and they are transported into a storm swept forest. Lightning strikes. MERLIN its claws are the forks of lightning. its scales glisten in the bark of trees. The trees shine with wetness, as a great wind tosses their crowns, the branches groaning against each other. MERLIN its voice is heard in the hurricane. Arthur is awestruck.","EXT. FOREST - DAY Arthur and Merlin are back in the same spot, having in fact never moved at all, but traveled on the spell of Merlin's words alone. MERLIN it is so much more than a scaly monster. It is Everything! Arthur's eyes shine with the brilliance of the vision. ARTHUR And if I am to be King of everything, lord and commoner, beast, leaf and rock, I must use its voice, its claws, its power.","EXT. BATTLEMENTS, CASTLE OF CAMELYARDE - NIGHT Leondegrance, Lord of Camelyarde, is shocked by what he sees in the distance. His daughter Guenevere, a beautiful girl of sixteen, draws close to him, terrified. With his surviving knights, Leondegrance is making his last stand. The walls have been breached, parts of the castle are burning.","EXT. OUTSIDE THE CASTLE - NIGHT A bellowing dragon advances. Its eyes burn, its scales gleam from light shining from within. It snorts fire from its nostrils. Uryens and Lot, Caradoc and Turquine, the great knights in command of the siege of Leondegrance's castle, back away speechless as the monster descends upon their unprepared war camp. All around them, squires and lesser knights flee in panic and confusion. Only a dozen or so remain with their leaders. The group backs up against the swampy moat that surrounds the castle, waiting with swords drawn. The dragon moves closer, and now it becomes apparent that it is nothing more than a force of knights and footmen. Their shields glinting in the moonlight are the dragon's scales, torches its burning eyes. And the snorting flames from its nostrils are only Merlin doing a fire - eater's trick. The dragon form dissolves, and a banner rises bearing the emblem of the Dragon, and under it, Arthur and Ector and Kay lead a charge of twenty knights. In Arthur's hands, Excalibur leaves an electric glow upon the air.","EXT. BATTLEMENTS, CAMELYARDE CASTLE - NIGHT GUENEVERE Father, it's the boy King. LEONDEGRANCE It is. I will fight my way to his side.","EXT. OUTSIDE THE CASTLE - NIGHT Arthur and his men charge into the enemy ranks. Lot's and Uryens' people are pushed into the moat. Although the water is only waist - deep, the fallen, weighed down by their armor, drown. The horses of the attackers are brought down, Arthur's among them. He pulls out from under it, limping. Bleeding form wounds, cutting, slashing, thrusting, he falls back from the havoc of the charge. A small distance exists now between the foes, a brief respite. Uryens and Lot, exhausted, bleeding, and fierce in their rage : URYENS War - wise fighters, grown gray in battle, checkmated by a boy. LOT It's Merlin's trickery, nothing more. I wo n't swear faith to that wizard's brat. Arthur and his men have been joined by Leondegrance and his knights, few in number. ARTHUR Let's finish this with a show of force. We have no more tricks and no more advantages. He rushes alone at the enemy, shouting at the top of his lungs, Excalibur flashing over his head, prepared to die.","EXT. BATTLEMENTS, CAMELYARDE CASTLE - NIGHT Guenevere watches. GUENEVERE No.","EXT. OUTSIDE THE CASTLE - NIGHT SIR ECTOR No. Arthur - The old knight rushes after the boy, sword drawn, to defend his flank, and the others follow, a battle cry issuing from them that is terrifying in its fierceness.","EXT. BATTLEMENTS AND BATTLEFIELD BELOW - NIGHT and when she ca n't watch any longer, she buries her face in her hands.","EXT. OUTSIDE THE CASTLE - NIGHT Arthur fights like a wounded lion at the center of the savage melee of sword and shield, and once again the two sides fall apart. Uryens and Lot are standing in the moat among the bodies of their men, are reduced to eleven knights, all wounded. Arthur is flanked by twenty men at arms, most of them wounded, and trembling now beyond exhaustion with blood lust. Arthur steps forward alone, and addresses his opponents. ARTHUR You are in my hands, to slay or spare. I need battle lords such as you. Swear faith to me and you shall have mercy. URYENS Noble knights swear faith to a mere squire? Arthur turns, searching for Merlin. He spots him watching from a distance. They stare at each other, Merlin implacable, Arthur's eyes pleading. It's obvious that Merlin is n't going to help. ARTHUR You are right. I'm not yet a knight. -LRB- gaining strength. -RRB- You, Uryens, will knight me. He unsheathes Excalibur and goes forward, kneeling before Uryens and offering him the sword. ARTHUR Then as knight to knight I can offer you mercy. MERLIN -LRB- to himself. -RRB- What's this, what's this?! Arthur, kneeling, bows his head and Uryens steps up to him, his features set. He accepts the sword. Lot watches, a mad hope dancing in his eyes.","EXT. BATTLEMENTS, CAMELYARDE CASTLE - NIGHT Guenevere watches, frightened for Arthur, not daring to breathe.","EXT. OUTSIDE THE CASTLE - NIGHT Uryens stands towering above the boy. He smiles enigmatically. He lifts Excalibur. Merlin is attempting to push through the crowded ranks to get to Arthur. He's frantic and worried for once. MERLIN I never saw this. Uryens swiftly lowers the sword on Arthur's neck ; with the flat of the blade he gives Arthur the three strokes. URYENS In the name of God, of Saint Michael and Saint George, I give you the right to bear arms, the power to mete justice. Arthur looks up. ARTHUR That duty I will solemnly obey as knight and King. Uryens is deeply moved. URYENS Rise, my King. I am your humble knight, and I swear allegiance to the courage in your veins, for so strong it is, it's source must be Uther. I doubt you no more. Arthur rises and Uryens kneels and kisses his hands. Sir Ector turns away to hide brimming tears. Merlin pushes through finally, out of breath. Uryens embraces Leondegrance while Lot and the other enemy knights kneel in turn and kiss Arthur's hands.","EXT. WOOD BY CAMELYARDE CASTLE - DAY The castle can be glimpsed through the trees. A clear spring bubbles from the ground, and the sun splashes leaf, bird, squirrel, and bee with golden light, and Arthur and Guenevere too. Guenevere is serious and intent on her work. ARTHUR Owww. With water from the spring, she is bathing a large cut on his chest that has been stitched closed. Wounds on his arms, and one on a calf also show evidence of her neat sewing. She's just finishing, and she dabs his chest with a dry cloth. GUENEVERE It did n't hurt too much, did it? ARTHUR Ye. GUENEVERE - I'm pretty good at stitchery. I've sewn my father's wounds more than once. He starts to get up. GUENEVERE Careful! You'll have to stay still for a few days or you'll tear them open. Arthur shivers at the thought. ARTHUR But I have to leave tomorrow. The forests are thick with rebels, invaders plunder our shores. GUENEVERE - And damsels in besieged castles are waiting to be rescued? ARTHUR I did n't know Leondegrance had a daughter. GUENEVERE Well, then, I shall tell you which knights have maiden daughters, so you can avoid their castles. Arthur smiles at her, enjoying her jealousy, and it irritates her a little. GUENEVERE No, I think it's better if you just stay here to heal. At least a week. ARTHUR I'm going. GUENEVERE Quiet, or I'll sew up your mouth too. She touches his lips with hers, her eyelids fluttering shut. He stares at her young beauty, and draws her into a long, slow kiss. A shrill almost human squeal pierces the air not far away. Arthur pulls away startled, half - rising. Guenevere giggles. GUENEVERE Would you rescue me from a fiery dragon, sir? She puts her arms around him, drawing him close again, speaking in a half - whisper. GUENEVERE It's just a furry little rabbit that took the bait and sprung the trap. They smile at each other, about to kiss. As they come closer : GUENEVERE You'll find him served up to you tonight, cooked in a most excellent sauce.","INT. BANQUET HALL, CAMELYARDE CASTLE - EVENING The soft beat of psaltery and the liquid flow of lute. A serving platter bearing roast rabbit in rampant position is carried across the hall. It is laid on the long raised table before Arthur, who presides in the middle. He looks at it suspiciously and blushes, remembering the afternoon ; and it looks back at him accusingly with its cherry eye. Guenevere is dancing around her father, lovely, gliding, sensual. She sees Arthur and the rabbit and laughs out - right. He twists off a leg of the rabbit and sinks his teeth into it to hide his embarrassment. Guenevere passes to another partner, smiling at him, radiant. Arthur watches her, his heart breaking. He is in love. Merlin leans close. MERLIN A king must marry, after all. ARTHUR of course. Only then does he realize that Merlin has understood everything. He is annoyed at being so transparent. ARTHUR I love her. If she would be my queen, my dreams would be answered. MERLIN -LRB- mischievous. -RRB- There are maidens as fair, and fairer than Guenevere. If I put my mind to it, I could see them now, many of them, weeping for love of you, watching the hills for you coming from the high towers of their castles. Offering you their every favor. Rich, clever - but if it is to be Guenevere, so be it. A shadow of doubt crosses Arthur's brow. ARTHUR Who will it be? Put your mind to it, then. MERLIN Guenevere. And a beloved friend who will betray you. ARTHUR -LRB- smiling. -RRB- Guenevere. MERLIN You're not listening. Your heart is not. Love is deaf as well as blind. Guenevere approaches, smiling and coquettish. She slaps her hands, and a servant sets down a tray of pastries before Arthur. GUENEVERE They are only for you, for in them I mixed things that heal, but not too quickly ; and things that make limbs sleepy, preventing escape, but keep one's mind sharp. She smiles at Arthur's embarrassment and confusion. ARTHUR What's in them? She takes a cake and bites into it. GUENEVERE It is an ancient mixture, containing only soft, unborn grains, and flavored with roses. The rest is secret. Guenevere offers one to Arthur, and he hesitates, looking at it. MERLIN Looking at the cake is like looking at the future. Until you have savored its bitterness and its sweetness, its texture and its perfume, what do you really know? And then, of course, it will he too late. Arthur bites into the cake, and Guenevere looks deep into his eyes. MERLIN Too late. ''. but for years war kept Arthur from thoughts of marriage.''","EXT. OAK FOREST - DAY War tents have been pitched beneath the majestic trees. Near the banner of the Dragon a doe grazes. Arthur is older, in battle - scarred plate armor, pacing and angry. He is watched by his wounded and bruised knights - Kay, Uryens, Lot, Leondegrance, Caradoc, and some new young faces among the ranks. No one talks. The harsh clank of its battle trappings announces the arrival of a horse. All eyes watch it walk into the camp. A knight is slouched in the saddle. Arthur runs to meet the horse, followed by squires and some of the knights. He eases the rider to the ground, unlaces his helmet. It is Sir Ector, and his hauberk is badly dented. Tears burn in Arthur's eyes. SIR ECTOR He is the mightiest and fairest of knights. ARTHUR We fought and won battles, and now one man defeats all my knights? I will go. He pushes past the knights and goes to his horse. Kay steps in front of him. SIR KAY A king must not engage in single contest. I'll go again. Arthur rises into the saddle and takes a jousting spear from the rack. ARTHUR Where is Merlin? The squires are silent. Arthur gallops off in the direction Sir Ector came from. His knights are afraid for him.","EXT. COUNTRYSIDE - DAY His countenance grim, Arthur gallops along a trail bordering a plowed field when in it a scarecrow moves. It starts to run as stick - wielding farmers pursue it. It is Merlin. Arthur turns off into the field, and at the sight of an armored knight on a war horse, the farmers turn and flee. Merlin stops to catch his breath. ARTHUR -LRB- angry. -RRB- I should have left you to fend for yourself. MERLIN I had to weave a little enchantment on the bees so I could get some honey, and I did n't feel up to using any more magic just yet. Anyway, I was in less danger than you'll be in today. Arthur's hand is clenched tight around Excalibur's hilt. ARTHUR So you were stealing their honey. They should have killed you. MERLIN Come now. So much anger for such a little crime? Are you sure there is nothing else troubling you? ARTHUR You know full well there is, and I go to meet it now. Come witness my revenge. He offers his arm and Merlin hoists himself up behind the King.","EXT. GORGE THROUGH THE HILLS - DAY A waterfall cascades into a pool. The spray casts a rainbow. Beneath it is a colorful confusion of flowers and budding trees, a place dreamlike in its beauty. Arthur, with Merlin behind, gallops along the edge of the pool. The trail widens into a field of grass. Arthur reins beside a pile of broken lances and twisted shields. Across the field, pitched upon the trail is a war tent made of diaphanous white silk, a sky blue banner above it. Merlin slides off and Arthur continues. From the tent, a knight with jousting lance rides forward to meet him. His armor is so shiny it is a mirror. His eyes, seen through the open visor, seem to laugh. His speech is foreign, from across the sea. He is Lancelot of the Lake. LANCELOT Good day to you, sir. ARTHUR Move aside. This is the King's road, and the knights you joined arms against were his very own. LANCELOT I await the King himself. His knights are in need of training. ARTHUR I am King, and this is Excalibur, sword of kings from the dawn of time. Who are you, and why do you block the way? LANCELOT I am Sir Lancelot of the Lake, from across the sea. I am the best knight in the whole of Christiandom, and I look for the king who is worthy of my sword's service. ARTHUR - That is a wild boast. You lack a knight's humility. LANCELOT Not a boast, sir, but a curse. -LRB- a cloud passes over his innocent face. -RRB- Never have I met my match in joust or duel. ARTHUR Move aside! LANCELOT I will not. You must retreat or prove your kingship in the test of arms, under the eyes of God. He crosses himself. ARTHUR Then may He give me the strength to unhorse you and send you with one blow back across the sea. Arthur wheels away, trembling with anger, and gallops to his edge of the field. He sees that Lancelot has already positioned himself and is waiting, lance down. Merlin watches, a spectator, as the two charge at each other. They collide with great force, their spears shattering. Arthur is jolted but stays in the saddle. Lancelot's jousting is impeccable. Arthur draws Excalibur. LANCELOT Hold! I offer you another lance. Pages come forward with new lances for Arthur and Lancelot. LANCELOT You joust well, sir. Battle learnt, but tournament fancy. You should ride more forward in the saddle, though. Arthur grabs the spear from the page's hands, and circles back to work the horse up into an all - out gallop. Lancelot spurs forward to meet him. Arthur is neatly unhorsed. He picks himself up from the ground in a rage, drawing Excalibur. Lancelot on his horse weaves circles around him. LANCELOT Yield. I have the advantage. ARTHUR I will not. Arthur charges Lancelot, a raging bull, but cuts and slashes only at the air as Lancelot stays clear of him. ARTHUR Fight me from your horse or on foot, but fight me. Your avoidance mocks me. LANCELOT I sought only not to harm you, sir. He dismounts and draws his sword, and they clash. Shield and sword and armor against shield and sword and armor. The swordplay is furious, Arthur attacking, slashing, hacking, Lancelot parrying effortlessly, elegantly defensive. Arthur breaks the onslaught to catch his breath. Lancelot lifts his visor. His eyes are calm, laughing. LANCELOT Sir, your rage has unbalanced you. It seems you would fight to the death against a knight who is not your enemy, for a length of road you can ride around. ARTHUR So be it, to the death. LANCELOT It is you, sir, who knows not the virtue of humility, as a true king must. Arthur goes forward attacking with terrible blows upon Lancelot's shield, and Lancelot holds his ground, shield high. And in its mirror - like metal Arthur can see his own reflection, a face distorted by uncontrolled passion. Arthur discards his own shield, grabs Excalibur with both hands, and with a frightening shout that speaks of all his rage, he swings a terrific blow upon the shield, cutting through his own reflection and the metal. And Excalibur snaps in two. A blinding blue - green light explodes from the broken sword. Lancelot, knocked back by the force of the blow, is stunned by the blast and falls to the ground unconscious. Arthur backs away, horrified, half of Excalibur in his hand. ARTHUR What horror is this? -LRB- calling. -RRB- Merlin! Merlin approaches, pale, gripped by dread. MERLIN The sword is broken. Hope is broken. Arthur picks up the broken blade, utterly undone. ARTHUR My pride broke it, my rage broke it. Humiliation and defeat lie in ambush even for a king. -LRB- looking at Lancelot. -RRB- This excellent knight who fought with fairness and grace was meant to win. With Excalibur, I tried to change that verdict. Merlin stands there, drawn, defeated, his hopes dead. ARTHUR I have lost for all time the ancient sword of my fathers whose power was meant to unite all men, to serve the vanity of a single man. Despairing, he flings the two parts of Excalibur into the pool. He kneels at the waters edge, and he cries. ARTHUR I am nothing. Then Arthur sees something that startles him. Beneath the surface, suspended in the blue - green water amid the dancing weeds, he sees Excalibur, intact. It is held by a maiden in flowing gown the color of water, her long hair rippling across her face, obscuring it. ARTHUR Excalibur! Is it true? MERLIN The Lady of the Lake. Take it. Take it, quickly! Arthur dips his hand under the water and grasps the hilt and the moment he does the vision in the blue - green water fades. He rises with Excalibur in hand, and Merlin speaks before Arthur can ask the question. MERLIN There are infinite worlds within the infinite coils of the Dragon. In one of them, which I have not traveled, the sword was forged. I only know that the King is returned to us through the instrument of his power. The game continues! And he laughs. Just then Lancelot stirs. Arthur rushes to his side. He loosens his helmet and removes it, uncovering damp curls. The young knight's eyes open, and his laughing charm once more animates his face. ARTHUR Thanks to God, you are alive. LANCELOT -LRB- sitting up. -RRB- I, the best knight in the world, bested! This is a great day, for my search is over. I love you, my King. He embraces Arthur, who is overwhelmed by his childlike directness. The King helps him to his feet. ARTHUR You are still the best knight in Christiandom. You gained a hundred advantages over me. It is I who must love you, for through your courage and patience you taught me a bitter lesson. LANCELOT Then make me your champion and I will always fight in your place. ARTHUR But your life and lands are far from here. LANCELOT I gave up my castles and my lands! He thumps his breastplate. LANCELOT My domain is here, inside this metal skin. And I would pledge to you all that I still own : muscle, bone, blood and the heart that pumps it. ARTHUR And a great heart it is. Sir Lancelot, you will be my champion. Lancelot draws his sword, holding it by the blade, a crucifix. LANCELOT In the name of Jesus Christ and His holy blood, I swear eternal faith to Arthur, King. They embrace, and Merlin watches.","EXT. ARTHUR'S WAR CAMP - NIGHT Converging from different directions parties of mounted knights enter the war camp. Lancelot among them. They dismount, battle - weary and burning with the excitement of victory. They quench their huge thirst from buckets carried by squires. They rip off hunks of meat from carcasses sizzling on spits over a roaring fire. And they join the throng of knights, where stories of deeds of arms of the day are enthusiastically exchanged. A great number of knights are packed tightly around King Arthur, each man anxious to tell of his victories. One of them has the King's attention. KNIGHT We killed every one of them. Burnt their ship. Arthur sees Lancelot in the throng and moves toward him. Merlin follows Arthur and is pushed and knocked around in the crush of spikes and iron. The only unarmored man in the crowd, he glares at the excited knights irritably. ARTHUR Lancelot, how did you fare in the North? LANCELOT We spared the lives of a few, so they could sail home and tell their fellows what fate they met at the hands of King Arthur's knights. Arthur turns toward Uryens. ARTHUR And you, Uryens? URYENS Victory! ARTHUR Lot, and you? LOT We drove the invaders into the sea. ARTHUR You, Gawain, the East? GAWAIN The East is ours again. Cheers greet each declaration. ARTHUR The war is over. One land, one King. Peace. Amidst the celebration, a fracas is heard. A knight pushing forward to talk to Arthur has entered a shoving match with those in front of him. KNIGHT Let me through. I fought the King's battle too. He must know my story. Merlin is brutally jostled. He draws a fistful of powder from his cape and he tosses it into the air above him. He raises his staff into the cloud, cracking it like a whip. The tip of the staff catches fire, and the fire spreads through the powder in the air, stunning all into silence. Merlin shouts and snarls. MERLIN Chaos. confusion. brutes. savages. troglodytes. Stand back. make space. Merlin swings his burning staff into a wide arc. The knights back away, amused at first, then a bit afraid. MERLIN The moon. the sun. the stars. they spin. they turn. they circle. around us. us. The knights have fallen back. Merlin stalks past each man, and Arthur too, holding the flaming tip of his staff before each pair of eyes, and staring into them with his gimlet gaze. MERLIN You, and you, and you, take up your place. Be wedded to the world. Respect its perfection. All of you, together, be one. The knights have formed a circle. They realize this. Awestruck, they whisper in astonishment, looking up at the sky burning with stars. Merlin brims with pride as he waits for Arthur to recognize his handiwork. ARTHUR Your ancient wisdom and infinite sight have forged this circle, Merlin. Hereafter we shall come together in a circle, to tell and hear of deeds good and brave. I will build a table where this fellowship shall meet. And a hall around the table. And a castle about the hall. A cheer rises. Arthur strides into the ring of knights. ARTHUR And I will marry. Another bout of cheers goes up, and Arthur stops before Leondegrance, resting his hand on the old knight's shoulder. ARTHUR And the land will have an heir to wield Excalibur. Leondegrance's eyes fill with tears of joy. A roar of cheers. Arthur draws the sword of power. ARTHUR Knights of the Round Table, good friends, brothers in arms. I send you on a quest harder by far than the battles we have fought together, a quest to uphold always, and everywhere, justice, honor, and truth. Each day shall bring forth a cause, and may each cause bring forth a knight. Lancelot is drawn in by the King's enthusiasm. He unsheathes his sword and swoops it low in salute. LANCELOT I swear never to rest twice on the same pillow till all men live at peace. In quick succession all knights draw their swords, following Lancelot's example. Merlin struggles to put out the flame on his staff. He finally does it by smothering it with earth. When he looks up again, he sees the knights galloping off in all directions.","INT. FARMHOUSE - DAY Terrified women, a screaming child, cowering men, old or made old by the hard labor of the fields. Armored men are ransacking a farm, looking for grain, and gold which they find among the votive objects of a little house altar. A woman is dragged away to be raped. Through a window, a knight in shining armor is seen emerging from the adjoining woods. The plunderers are all of a sudden apprehensive, and fall silent. One of them grabs the crying child and covers her mouth with his iron hand.","EXT. FARMYARD - DAY The knight is Lancelot, in his mirror - like armor. He rides into the cluster of houses and barns that make up the farm. There are other armored men there, around a cart half - loaded with loot. They smile nervously at Lancelot. The farmers are blank with fear. Lancelot stops in the middle of the yard. A knight among the armored men comes forward. KNIGHT Good day, sir. LANCELOT Good day to you. And he also acknowledges with a nod the ashen - faced patriarch of the community. Lancelot spurs his horse on, and the knight sighs with relief. But then he reins his horse to a stop. He has sensed something. He turns his head, his hooded eyes on the knight and his men, and they squirm inwardly.","INT. FARMHOUSE - DAY The child, her mouth covered by the armored hand.","EXT. FARMYARD - DAY Lancelot, listening, watching.","INT. BARN - DAY The woman, a blade flashing next to her eye.","EXT. FARMYARD - DAY Lancelot, immobile. Behind him, the knight, his face shiny with sweat. His minions inch forward, hands moving slowly toward sword hilts. Lancelot wheels his horse around. LANCELOT I hear the stifled cry for help, I smell the reek of fear. With a shout the knight and his men draw their swords and rush Lancelot. He reins in his horse, causing it to rear and break their attack. He slides off, falling on his feet with sword drawn, already fighting. In an extraordinary show of sword play he cuts down six men.","INT. FARMHOUSE - DAY Hearing Lancelot storm in, the man holding the child hands her to a woman and kneels before the altar, just as Lancelot bursts into the room, sword high and already swooping down on the man's neck. Lancelot brings the sword to a halt mid - air, his fury held in check. The repent man is spared. The woman kneels to kiss Lancelot's hand.","EXT. SITE OF THE SWORD IN THE STONE - DAY The field is pitched with war tents and pavilions decked for holiday. Nobles and knights flank the King and Guenevere, a beautiful vision in white samite, a wreath of flowers around her head. Lancelot leads a long file of prisoners to the King. They fall to their knees, begging forgiveness ; among them is the man whom Lancelot had spared before the altar. LANCELOT These men repented before God for their evil deeds. Those who would not, met their fate at the end of my sword. -LRB- he kneels. -RRB- Accept the fruit of my first quest as my wedding gift. ARTHUR I do. Rise, Lancelot, come with me. He rises and follows Arthur and Guenevere into the central pavilion. Pages draw its curtains closed as they pass inside.","INT. PAVILION - DAY Guenevere is surrounded by a group of ladies and maids who fuss over her dress and her hair. They eye the great knight and whisper about him, Guenevere laughing with them. Arthur sits, excited and happy. ARTHUR Sit beside me, Lancelot. Lancelot sits, stiff and upright. ARTHUR Your deeds set an example for all other knights. For your gift, ask a gift of me. LANCELOT Only give me leave to ride out again, to do what I am most able to do, and happiest doing. Guenevere overhears. She approaches and Lancelot jumps to his feet. GUENEVERE -LRB- to Arthur. -RRB- He must stay for the feasting days of our wedding, and tell his deeds himself. ARTHUR -LRB- to Lancelot, smiling. -RRB- I grant you your wish if you grant Lady Guenevere hers. LANCELOT I will stay Madame. Merlin leans close to Arthur. MERLIN The knights of Galys approach the camp. It would be politic. ARTHUR to ride out and meet them. He rises. Lancelot, who was about to sit again, straightens. ARTHUR I will ride with Sir Kay. Lancelot, rest here. GUENEVERE Do n't start a war on my wedding day! ARTHUR Without Lancelot?! Arthur and Merlin exit, leaving Guenevere and Lancelot. She looks at him, lively and amused, and he ca n't help smiling. GUENEVERE Look Lancelot. The maids and ladies whisper about you. They all dream of winning you, young and old, fair and ugly. Lancelot blushes. GUENEVERE But surely that's no secret to you, dear Lancelot. You're the bravest and strongest knight they've ever seen, and beauty has kissed your brow. He ca n't look at her. GUENEVERE The well - kept secret is whether any of them has won your heart. LANCELOT No. GUENEVERE Why? LANCELOT I am a fighting man and I am married to the quest. That is enough. GUENEVERE And there is no maiden in the whole world who inspires you? LANCELOT There is one. GUENEVERE Who?! LANCELOT You. GUENEVERE Me? LANCELOT Yes. I would swear my love to you. GUENEVERE To me? But why? LANCELOT I can not love as a woman the lady who will be wife to my King and my friend. And, in pledging my love to you, I can not love any other woman. Guenevere smiles, moved by his blunt innocence. LANCELOT I will see you in all women, and I will defend them as I would defend you. He kneels, kisses her thigh, rises and leaves.","INT. CHAPEL - DAY A chorus of children sings. The Bishop waits at the altar with his friars and altar boys. Cornucopias overflowing with vegetables and wildflowers adorn the church, which glows with the light of a thousand candles. Sir Kay is satisfied. He comes back up the petal - strewn aisle.","EXT. CHAPEL, SITE OF THE SWORD IN THE STONE - DAY Arthur and Guenevere are ushered in by Kay. They are flanked by Leondegrance and Sir Ector. Lancelot and Merlin follow, leading the cortege of knights and ladies. Merlin is incapable of entering the chapel, as if at the threshold there is an unseen force that repels him. LANCELOT Lord Merlin, are you ill? MERLIN No, no, I need air. Strangling a laugh he wrenches himself away. Just then Uryens and a small party of knights rides up through the tents and dismounts in front of the church. Uryens helps a lady off her horse and joins the cortege on foot. URYENS Merlin, do n't you join the celebration? Merlin, who was slinking away through the throng of bystanders, looks up. What he sees sends a chill through his body. At Uryens' side stands a young woman of sinister beauty, with bewitching eyes of ice. Merlin just stares at her, and she smiles back at him faintly. URYENS My wife, Merlin. Lady Morgana of Cornwall. MORGANA I remember you, Merlin. I was a child. You took my brother away. Merlin laughs. Uryens shrugs and continues into the chapel with Morgana. As she enters she glances back, and just then Merlin steals a look, their eyes meet.","INT. CHAPEL - DAY Uryens and Morgana take their places near the altar. Arthur and Guenevere kneel before the Bishop, and Arthur takes her hand. The clatter of armor mingles with the enthusiastic, happy singing of the children, and seems to strengthen their song.","EXT. SITE OF THE SWORD IN THE STONE - EVENING The chorus carries across the field to the dark wall of trees from which issues another chorus, of hoots and squawks and howls. Merlin advances along the edge of the forest. He stops by the stone that once held the sword, his eyes wild. He forgets his inner torment when he sees a plant at the base of the stone. He kneels beside it and plucks it. He admires its strange flowers ; he smells them. Two feet appear at his side. He rises to be face to face with Morgana. They look deep into each other. Then Merlin breaks the silence. MERLIN You left your husband's side? You left your brother's wedding? MORGANA Is that Mandrake, Lord Merlin? MERLIN It is. MORGANA Can it truly be used for magic? Merlin smiles at last, and Morgana does, her eyes piercing, cruel and lovely. MERLIN Yes. sometimes. His gaze drifts toward the chapel. MERLIN There are many powers in this world.","INT. CHAPEL - EVENING Arthur and Guenevere are radiant with joy, and Lancelot behind them mirrors the ceremony of their joining in his armor ; and the sweet voices of the children fill the chapel as the Bishop pours the wine into the chalice, and lifts it up before him, blessing it. He turns to the royal couple. BISHOP Drink this the blood of Jesus Christ our Lord. The chalice seems to burn with a mystical light ; and as the chorus soars : `` And Arthur built his castle, Camelot. And one day, in the far reaches of the Kingdom.''","EXT. FOREST, STREAM - DAY It is shadowy and dark ; ancient trees creak, unseen animals cry out. A rabbit hops into view and a boy leaps forward, grabbing the animal by the ears before it can move. He - Perceval - is a wild boy of seventeen, dressed in skins with an endearing and childlike smile. PERCEVAL -LRB- to the rabbit. -RRB- Sorry. Hungry. A din is heard to the forest, and it grows. Perceval glances around, panicked. The sound is the rubbing of leather upon leather, of metal on metal, for now a mounted figure in armor hovers over the terrified boy. PERCEVAL -LRB- stuttering. -RRB- Have I taken too much? He lets the rabbit go free. The threatening figure dismounts. And Perceval, cartwheels backward, landing in the stream and scooping a fish out. PERCEVAL -LRB- desperately trying to ingratiate. -RRB- I had rabbit yesterday. Today I'll eat fish. No? He returns the fish to the water. The figure steps into a pool of sunlight and a glorious halo streaks from the armor. It is Lancelot. LANCELOT Do n't be afraid. Perceval is overcome with astonishment, and he kneels. PERCEVAL You're an angel! Not a devil. Lancelot laughs and pulls the boy to his feet. LANCELOT Just a man. A knight in the King's service. PERCEVAL You're a man?! -LRB- he reaches out to touch Lancelot. -RRB-. with metal skin! Perceval is beside himself with enthusiasm. PERCEVAL Can I grow metal skin? Lancelot rolls his eyes, amused. LANCELOT You've got a lot to learn.","EXT. SPARSE FOREST - DAY Lancelot is cantering and Perceval is running alongside, shouting in gasps. PERCEVAL I'll learn. take me. to the King. What's a. King? Lancelot shakes his head and spurs the horse into a gallop. Perceval lengthens his stride, and keeps up! Lancelot reins to a halt. LANCELOT Very well. Climb up. PERCEVAL I will run. LANCELOT Listen, boy, it's more than twenty days from here. PERCEVAL Twenty days!? The world is that big?","EXT. OUTSIDE CAMELOT, FOREST - DAY Perceval can not believe his eyes. As Lancelot and Kay talk about him out of earshot, he sees things that he's never seen before ; and he gapes like the country bumpkin that he is. Dragon - like kites sweep low, maneuvered by children. In a meadow among the trees, knights hone their skills with lance and sword, and ladies watch and their `` bright eyes rain influence and judge the prize.'' And then, there is Camelot itself ; the great gate and the drawbridge ; the massive walls, and the soaring towers and spires above. Perceval rushes up to Lancelot and Kay. PERCEVAL Who will give me my sword? Kay is not at all pleased ; nonetheless he takes the boy by the ear and leads him across the drawbridge and into the castle. KAY Kitchen knives and greasy spits will be your weapons, boy. Lancelot smiles to himself, hesitation, lingering before the great gate of Camelot. There is a walkway suspended in the trees above, that also leads to the castle, and promenading on it is a group of women, Guenevere and her ladies - in - waiting. The Queen sees Lancelot and hastens toward him. Lancelot sees her, and mounts his horse and heads back into the forest. She stops, somewhat ahead of the ladies, and watches wistfully. Lancelot turns back and seeing her one last time, draws down his visor and spurs his horse into a canter. He passes two commoners who are heading for the castle, one fat and the other thin, and they are locked in hot dispute. Their wives keep them from coming to blows and their children spur them on, enjoying the excitement. Lancelot is swallowed by the forest.","INT. HALL OF THE ROUND TABLE, CAMELOT - DAY Guenevere, bearing a bowl of perfect, deep red apples, approaches the Round Table, where Arthur sits and Merlin at his side, attending to the affairs of the kingdom. Quite a few of the knights occupy their seats, talking with each other, drinking and laughing, attended by ladies and pages. Guenevere places the apples at Lancelot's empty place and takes her seat next to Arthur. In the archways that lead into the hall, petitioners wait, eating, drinking, talking among themselves. In the din, no one pays attention to the vehement arguing of the fat man and the thin man, which continues even here. The hall is the burgeoning, happy center of the kingdom. But Merlin is oblivious to the lively clamor. He gazes like a lovesick puppy across the table at Morgana, who bends over whispering to a knight at the table, the young Sir Gahalt,, while his older brother Sir Gawain listens. Morgana notices Merlin's stare and smiles at him, and then resumes her flirtation with Sir Gahalt, much to Merlin's annoyance. Sir Kay ushers the thin man and the fat man into the open space at the center of the table for their audience with the king. They quarrel even as Kay tries to present them, and the attention of the hall gradually focuses on them. The two men talk at once, interrupting, overlapping. FAT MAN I brew ale, sir - from old shoes - I am an honest tradesman sir. I must sell what I produce. He wo n't buy ale and he wo n't pay. Pay up! He leans over the barrel and sucks in the vapors. The vapors are mine. THIN MAN How would you know I, sir, have the misfortune to live next to this criminal. What loss in that? Not to me! Pay for what? Why?! They are floating on the wind. Arthur is both amused and exasperated. ARTHUR Enough! What is a fair price for the smell of your ale? FAT MAN That's why we have come to you, sir There's no one else who can tell us. ARTHUR What does it cost to get drunk on your ale? FAT MAN At least three shillings, sir. Arthur addresses the Thin Man. ARTHUR Give me three shillings. The Thin Man is crestfallen, the smile gone from his face. He reluctantly hands the coins to Kay, who gives them to Arthur. Arthur tosses them in the air and lets them fall on a metal plate. He hands them back to the Thin Man, who is totally confused now, as is everybody else. ARTHUR For the smell of your ale, the jingle of his coins. The knights roar with laughter and the Fat Man and the Thin Man look at each other in astonishment. Perceval lets out a raucous laugh that wins him a glance of disapproval from Kay.","INT. HALL OF THE ROUND TABLE - NIGHT The din of the petitioners is replaced by music. It is the hour of the evening feast, and all knights are present, except Lancelot. Whole tree trunks burn in the great fireplace, and lambs roast on spits in the flames. Pages run to and fro with trays of food and wine, Perceval among them. Morgana stops beside Merlin. MORGANA What did I see today in the wizard's eyes? Censure, because I enjoy a few words with a young handsome knight? Merlin is in agony, a bug stuck on a pin. MERLIN No, no, of course not. You are young. MERLIN I'm not jealous! MORGANA It's clear you are, and it irks me. MERLIN No. Yes, I am. I am jealous. I want to write poems about you with moonbeams, make the sea sing your name. MORGANA A lovestruck page! MERLIN Shh. yes, yes. Sit with me, please. Morgana. She does, laughing and in complete control. His hand immediately slides onto her thigh. She removes it, but holds it in her hand, toying with his fingers. MORGANA A steamy, panting, lovestruck page. But what good are songs and poems to me? They are the barter of ordinary love. A gift that reflected your greatness is the only one worthy of your love. Merlin looks at her, knowing already, sad yet eager. MERLIN I showed you all my conjuring tricks. MORGANA The deepest secrets, the forbidden formulas. MERLIN Maybe. maybe. Merlin's thoughts have carried him far away, when he realizes that Arthur is addressing him. ARTHUR Merlin, are you counselor to the King, or to my sister? Some knights laugh. MERLIN At your service, sir. ARTHUR Then answer me this. For years peace has reigned in the land. Crops grow in abundance, there is no want. Every one of my subjects enjoys his portion of happiness and justice, even those whose tiresome misunderstandings we must resolve here each day. Tell me, Merlin : have we defeated evil, as it seems? MERLIN Good and evil ; there is never one without the other. Arthur is taken aback. ARTHUR Where hides evil, then, in my kingdom? MERLIN Never where you expect it, that's all I know. He chuckles softly and Arthur is puzzled. A knight speaks out, the young knight with whom Morgana was flirting. His manner is sarcastic. SIR GAHALT If we have peace and justice, why is Lancelot never with us? Why is he always riding out on his quests? He must know where this evil is. SIR GAWAIN Could there be evil within Lancelot himself? To live above human folly, as is his aim, is to be overly proud. SIR GAHALT He pays no heed even to the Queens longing for his company. The hall falls silent, all eyes upon the Queen. GUENEVERE -LRB- lashing out. -RRB- What is it you would have your words mean, Sir Gahalt? Frightened, Gahalt does n't answer. Morgana has slipped to Guenevere's side. MORGANA Do n't listen to him. You are the Queen. Arthur, ashen - faced, turns to Merlin for help, but he has escaped into sleep. ARTHUR Sir Gahalt, answer the Queen. GUENEVERE No. I meant not to be angry with you, Sir Gahalt. In the idleness that comes with peace gossip has bread its own evil. You merely repeat it. Please, sir, have one of those apples that Lancelot loves, and in that gesture partake of its goodness. Morgana picks the bowl up and as she does so, unseen by any and with a magician's dexterity, she thrusts her fingernails deep into the top apple. She gives the bowl to Guenevere, who takes it and sweeps around to where Sir Gahalt sits, followed by Morgana. The young knight jumps to his feet. GUENEVERE Take one, Sir Gahalt. SIR GAHALT I am most honored, my lady. He is too shy to take the shiniest, most beautiful apple on top, and goes for another one. Morgana giggles, and he looks at her. She looks at the apple on top and then smiles encouragingly at him. Sir Gahalt takes it and starts eating as the Queen returns to her seat. With the third bite his is unable to breathe. His face goes red and he rises to his feet, attempting to call out. He falls, dying immediately. All leap to their feet, and Arthur rushes to the young knight. Merlin is asleep and far from human affairs. Arthur and Sir Gawain rise from the body of the young knight. Sir Gawain backs away from Arthur and points at Guenevere, trembling with cold rage. SIR GAWAIN Hear me, Lord Arthur, and knights and chieftains : I charge Guenevere with the murder of my brother. Guenevere, white and with a broken voice, turns to Arthur. GUENEVERE I did n't. I am innocent. She begins to swoon and Morgana keeps her steady on her feet. Arthur slumps into his seat and Sir Gawain kneels before him. SIR GAWAIN I champion this truth : That Queen Guenevere murdered Sir Gahalt with the aid of sorcery. Enraged, Arthur reaches for Excalibur. But with effort he checks his impulse. ARTHUR The Queen will be in my charge till a champion steps forward to fight on her behalf. GUENEVERE Not you, my husband? Arthur can not look at her. SIR GAWAIN She must be burnt at the stake. That is the sentence for murder done with magic. ARTHUR It is. Lords and knights of the Round Table, as her husband I say that this deed was not done by Guenevere. Who among you will champion this truth? No one responds. Guenevere falls into her seat. Arthur searches the eyes of his knights and they evade him. ARTHUR Sir Caradoc! You! The knight looks up. CARADOC I am torn. Sir Ector, old and feeble, weeps for Arthur. Someone speaks up. It is Perceval, who kneels before the Queen. His voice is unnaturally loud, and his eyes shine with held - back tears ; he stutters. PERCEVAL I will champion you, my lady. He is overwhelmed by his own boldness. He looks around. All eyes are upon him. Guenevere smiles at him, sadly. GUENEVERE I thank you, but you are not yet a knight. PERCEVAL I will find Lancelot! He will come! Perceval hurries from the hall. Arthur looks away, ashamed, and his eyes fall on Merlin, twitching and mumbling in his sleep. MERLIN Boys! boys will be boys.","EXT. HOVEL - COUNTRYSIDE - DAY In full armor but for his helmet, Lancelot is seated at a small table in the shadow of a tree, eating an apple. A young girl is turning a chicken on a spit, and her mother is removing freshly - baked bread from an oven. It is very peaceful and silent until, galloping all out, Perceval arrives. Frantic, out of breath, he leaps from his lathered horse. PERCEVAL I have found you. The Queen. An apple. Tomorrow. Sir Gawain. LANCELOT - It must wait, child. These good ladies, for whom I intervened once, will honor me with a meal. I am beholden to them now as I was when they begged my protection. The two women set the chicken and the bread before the great knight, and stand back to watch him eat, flushed with excitement. Perceval falls silent, in awe of Lancelot.","INT. BEDCHAMBER, CAMELOT - NIGHT Arthur stands hunched over the fireplace, staring into the flames. Guenevere paces back and forth to a window. GUENEVERE Why ca n't you be my champion? ARTHUR If I am your judge, I can not be your champion. When I act as your King, I can not be your husband. GUENEVERE And you can not love me. ARTHUR The laws, my laws, must bind everyone, high and low, or they are not laws at all. Lancelot will come. GUENEVERE And if he can not be found, no other knight will champion me, though you beseeched each and every one of them. Why be king if there is no one you can call loyal subject but an eager boy? He hides his anguish from her. Numb with hurt, she goes to a tall curtained window, and draws it open, and stands there looking out upon the surrounding forest, silent and still beneath the moon.","EXT. WINDOW - NIGHT She cries softly, and she whispers the name of the great knight.","EXT. EDGE OF THE FOREST, WALLS OF CAMELOT - NIGHT. A mounted knight stands motionless at the edge of the forest, his armor gleaming with dark lustre. It is Lancelot. His eyes are raised to the high window, where he sees Guenevere. He watches her in silence. In the high window Guenevere draws the curtain and Lancelot reins back into the forest.","EXT. FOREST - NIGHT Lancelot has unsaddled and tethered his horse in a small clearing. He sits, resting back against a tree. He removes his helmet ; he plants his sword before him, like a cross. He loosens the ties of his breastplate. He waits for day, yawning, tired. But his eyes burn, and he closes them and nods off to sleep. A knight appears silently hovering over him. Lancelot looks up, and his eyes go wide with fear. The knight towering above him wears armor identical to his, and he raises his sword, and the blade is descending upon Lancelot. Lancelot draws his sword from the ground and rolls away, but the knight's sword slices through his shoulder joint. Lancelot attempts to rise but already the knight, Lancelot's mirror image, is upon him. From the ground, Lancelot parries the blow and slashes at the opponent's knee, cutting through the joint in the armor and severing the leg. The knight does n't fall, does n't bleed, does n't cry out. On one leg he comes forward, a horror. Lancelot is paralyzed by fear. As the knight leaps upon Lancelot, Lancelot rises to meet him, impaling himself on the knight's sword below the hauberk. He throws the knight to the ground, and comes down upon him. He rips off the helmet and the breastplate. The armor is empty and Lancelot rolls over on his back, awakening from the nightmare with his own sword deep in his stomach, and in his hand his own helmet and breastplate, while other parts of his armor lie strewn around him. Only then does he become conscious of the terrible pain and the shock of the truth. He grabs the hilt of his sword and draws it from his stomach. He curls up in agony, clutching a fistful of leaves to the wound. LANCELOT Guenevere, I fight against myself. He loses consciousness.","EXT. JOUSTING GROUND OUTSIDE CAMELOT - DAWN The Bishop blesses the field. Guenevere, numb and disbelieving, is being led to the stake, which rises from a bed of straw and wood. Arthur watches, in shock. Other knights and ladies keep their distance, watching darkly, stealing glances at Arthur, mumbling disapproval of his refusing to defend Guenevere. In battle dress, Sir Gawain rides up and down the jousting run on a snorting and powerful horse, practicing. Perceval, in a mail doublet, waits beside a mangy roan, his face burning with anxiety. Guenevere is tied to the stake. All eyes watch for the approach of her champion. Arthur goes to Perceval. ARTHUR Is he coming? PERCEVAL He heard Lady Guenevere's request and he said nothing. That is all. Arthur hides his pain behind a rigid mask.","EXT. JOUSTING GROUND - DAY The sun has risen shining cruelly into Guenevere's eyes ; the queen is alone at the stake. Sir Gawain rides up to King Arthur, who waits alone, separated from the others. SIR GAWAIN My Lord, the sun is upon the field. The Queen has no champion. I demand justice, as is my right. ARTHUR So it is. Perceval leaps onto his horse. PERCEVAL Let me champion the Queen! Sir Gawain looks at the squire with contempt. SIR GAWAIN -LRB- to Arthur. -RRB- Since no knight comes forward, I demand justice - Arthur is in anguish. He searches the tree line for a sign of Lancelot. He looks from Guenevere at the stake to his own knights watching him. He draws Excalibur. A gasp goes through the crowd of onlookers. ARTHUR Boy, kneel. Perceval leaps from his horse and bends his knee before the King. Arthur brings the sword down on the boy's shoulder, giving him the three strokes. ARTHUR In the name of God, of St. Michael, and St. George, I make you a knight. Rise, Sir. PERCEVAL Perceval! Gawain shakes his head disdainfully as Perceval mounts back into the saddle, his eyes burning with fervor. Sir Gawain and Perceval ride to opposite ends of the field. The spectators fall silent, all staring blankly, their senses dulled by the tragedy, at the uneven combatants. A cry goes up. Lancelot rides out of the forest. He rides up to the King and salutes him. Arthur smiles at his old friend, tears of joy in his eyes. Lancelot bows toward Guenevere and rides on to where Perceval waits. Lancelot reaches out to touch Perceval's cheek. LANCELOT It's my task to prove the Queen's innocence. Perceval can not reply, his eyes affixed on the blood that trickles from Lancelot's hauberk. Lancelot raises his lance in salute to Gawain across the field. Gawain salutes in answer. The two huge knights charge at each other, each man's spear tip making contact with the other's armor, and in the violent collision both are unhorsed. Lancelot is slower at getting to his feet and drawing his sword. He is bleeding below the hauberk from his self - inflicted wound. In the first onslaught Lancelot fights defensively, falling back. He has to toss aside his shield and hold his stomach with his shield hand. Morgana watches with Merlin. Every terrible blow of sword on sword reverberates through her body pleasurable. Merlin is captivated by her cruel sensuality.","EXT. JOUSTING GROUND - LATE DAY They swing and thrust at each other with slower but bone - crushing force, both unsteady now. Blood seeps from Lancelot's feet, leaving awful footprints on the earth. Finally, with a daring thrust, Lancelot lifts Gawain's visor and the sword tip is before his eyes. Gawain drops his sword and shield, kneels and speaks in a voice hoarse with weariness. SIR GAWAIN The Queen is innocent. I yield to your mercy, Sir Lancelot. Lancelot collapses in a dead faint.","INT. CELL, CAMELOT - EVENING Eyes closed, Lancelot lies on a bed, naked but for a cloth across his loins. His minor wounds have been dressed, and Merlin is kneading the huge gash in his stomach, working the severed flesh together. Guenevere stands on one side of the bed, Arthur on the other, both looking down upon Lancelot, relieved and not daring to look at each other. MERLIN Flesh on flesh. You must press on the wound, Guenevere, hold it, and it will begin to bind. Guenevere kneels, and at her touch Lancelot's eyes flicker open. Merlin exits, and draws Arthur away with him. Arthur is deeply tormented. ARTHUR Merlin, tell me. Now that Guenevere is returned to me. MERLIN What is it my child? Merlin appears moved by the predicaments that Arthur has to face. ARTHUR Will I have a son? Merlin stares off into the evening sky, where a lark sings high up. MERLIN Yes. ARTHUR Just yes? No mad laughter, no riddles, nothing but a simple yes? That frightens me. MERLIN A king should be afraid, always. The enemy is everywhere. Waiting in ambush in the dark corridors of his castle, on the deer paths of his forest, or in the gray and winding paths of a more tangled forest, in here. He taps his skull and smiles.","INT. CELL - EVENING Lancelot is staring into Guenevere's eyes. She opens her shift, baring a breast with the innocence of a mother preparing to suckle a child. She presses her breast to his wound, her face to his chest, her arms enfolding him. She whispers. GUENEVERE Flesh on flesh. I will heal you. His body trembles and his eyes brim with tears. He is lost.","INT. HALL OF THE ROUND TABLE, CAMELOT - NIGHT The court is assembled, for the evening feast. There is music and heavy drinking. Some knights are slouched across the table. Lancelot, still weak, takes his seat, looking at the drunken and frivolous knights. Arthur catches it, and they smile at each other. ARTHUR They miss the battlefield. I think we do too. LANCELOT But one can still keep a sword sharp riding out in the name of the King's law. Guenevere can not tear her eyes from Lancelot. He avoids her look. Arthur looks from Guenevere to Lancelot, and speaks softly to him, across her, and with stabbing directness. ARTHUR It is not easy for the young ones to learn knightly virtues without the hard teaching of war and quest. It is only your example, Lancelot, that binds them now. Then, addressing the hall : ARTHUR Which is the greatest quality of knighthood? Courage? Compassion? Loyalty? Humility? What do you say, Merlin? He is bent close to Morgana, whispering. Only when the hall rings with laughter does he look up. MERLIN What? -LRB- then seeing he has an audience. -RRB- The greatest? They blend together like the metals we mix to make a good sword. ARTHUR I did n't ask for poetry. Which is it? Merlin looks from Arthur to Guenevere to Lancelot to Arthur. MERLIN All right. Truth. It must be truth, above all. When a man lies he murders some part of the world. An uneasy silence falls upon the feast. Guenevere and Lancelot can not look at each other, and Arthur feels it. Lancelot jumps to his feet. LANCELOT Conversation and court life do n't suit me. I must take my rest in the forest. Guenevere stifles her dismay. ARTHUR Has n't Merlin mended your wound? LANCELOT It is deep. Arthur is about to rise to embrace him, but checks himself. ARTHUR You will be sorely missed. Heal yourself and come back. The exchange has become closely intimate, even though they stand apart and speak before everyone in the large hall. Lancelot leaves. Only Guenevere can not watch.","EXT. FOREST GLADE -DAY Water gurgles from a rock that is captive in the roots of an ancient oak. Lancelot, in armor, reclines against its trunk, the roots cradling him. He is perfectly still, drawing life from the vibrant, all - enfolding forest. Flower petals drift on the breeze. Trees sigh. Fox and rabbit, sparrow and hawk, at peace with each other, watch over the knight.","EXT. FOREST -DAY A horse and rider tear through the thick undergrowth. It is Guenevere. The forest races past her as she gallops toward the glade, brambles tearing at her flesh and clothes.","EXT. FOREST GLADE - DAY Lancelot gets to his feet, tense. Guenevere dismounts and approaches. She is flushed and breathless from the wild race. Her horse, left free, wanders over to his and grazes beside it. LANCELOT Why? You will destroy Arthur, and us. She moves closer and he thrusts out his mailed fist to keep her away. She clutches it and presses the metal to her soft tear - streaked cheek. LANCELOT The law forbids it. GUENEVERE Love demands it. Hungry with passion, she embraces the cold unmoving armor, kissing it. LANCELOT There are things about love - GUENEVERE - Nothing! He steps back, drawing his sword. He holds it up by the blade between them. LANCELOT By my knight's sword, I swore faith - And before he can finish she grabs the blade to push it aside. He holds it fast. Blood streams from her bare hands. He can not prevail without cutting them deeply. He lets go of the sword, and she lets it fall to the ground. She embraces his still and defeated hulk. She kisses the metal, and sensation shoots through him, dizzying him. LANCELOT Guenevere. He folds her in his arm, and their bodies lock together as though a trap had sprung. Their mouths meet, each devouring the other.","EXT. BATTLEMENTS, CAMELOT - DUSK Arthur and Merlin, the King desperate, the Wizard overwhelmed by compassion : ARTHUR I am alone and betrayed. By my wife, by my beloved friend, by my knights. And by you. Perhaps most of all by you. For you made me, you forged this wretched life. And like a child tired of a toy, you toss me aside, a babbling lecher trotting after my sister. MERLIN That is my destiny. I have a destiny, too. ARTHUR With all your powers, you are content to be ridiculed, laughed at. MERLIN My powers fade, Arthur. I resort to cheap tricks. -LRB- with sudden enthusiasm. -RRB- Yes! I enjoy every moment of my foolishness, I join in the making of it, so no one can betray me. But you! You betray yourself. ARTHUR Me? I have lived by the oath of king and knight. MERLIN You betray the boy who drew the sword, the boy who saw the Dragon. the Dragon who moves close by, coiling and uncoiling, restless, looking down, waiting for the King to be a king. Arthur looks up and in the rolling clouds maybe, just maybe, the form of a dragon is taking shape. Arthur draws Excalibur, intensity animating his dead features. ARTHUR I must do it myself. I must kill them both. Lancelot and Guenevere. Will you ride with me, Merlin? MERLIN I can not. I must not. Here I must stay. They embrace. Merlin is on the verge of tears, his face immediately sad and finally ancient. Arthur exits. Morgana, who has been watching from the shadows, watching from the shadows, slinks up to Merlin's side. MORGANA Crazy old fool. You think yourself a kingmaker. Ha! A meddler, more likely. Look what a mess you've made of things. Merlin smiles knowingly at her. MERLIN I? Perhaps, perhaps. I'm losing interest, Morgana. I have helped men - or meddled in their affairs, if you would have it that way - since the dawn of time. Now let them live by their own laws. Let them stand on their own feet. The gods of once are gone forever, it is time for men. Morgana, make a man out of me. Kiss me. He reaches to touch her lips. She cradles his hand in hers and does n't allow Merlin to kiss her. She kisses his knuckles and stares into his eyes, stoking his desire. MORGANA You know what I want. I want the secret of true magic, how to thicken the stuff of dreams and wishes with the flesh of the world. MERLIN That I can not. She breaks away, provocative, alluring. MORGANA Then I will not.","EXT. FOREST - NIGHT Arthur and Sir Kay gallop through the forest, silently. It is not a dream. Their armor and the hooves of their horses are muffled with pieces of cloth.","EXT. FOREST GLADE - NIGHT Only Nature will ever see their love ; the creatures of the air, tree and ground witness the final reality of their passion and sense its unfathomable depths, singing of it in a hundred languages. Lancelot and Guenevere are naked and interlocked, one being, suspended in the darkness in the eye of the forest.","EXT. FOREST - NIGHT Arthur walks soundlessly through the trees, approaching the glade. The forest falls suddenly silent.","EXT. FOREST GLADE - NIGHT All passion spent, locked in each other's arms, Lancelot and Guenevere drift off into sleep. Arthur comes upon them. He stands over them. He draws Excalibur. Checking all emotion, he holds it above his head. The ancient steel glows darkly. The lovers faces are serene and innocently beautiful. He hesitates, tormented. His mask of anguish gives way to determination and calm. He strikes the sword home, letting go of it. He backs away, turns and disappears into the forest.","EXT. FOREST GLADE - DAWN The sky is red ; so is the steel of Excalibur. Lancelot awakens and starts at what he sees. His cry stirs Guenevere. They are horrified to see Excalibur impaled in the ground between their entwined bodies. It has pierced their union without grazing their flesh. They leap up and back away, unable to speak at first. LANCELOT Why did n't he kill us? GUENEVERE He has given up. She kneels before the sword, embracing the hilt to her breast. LANCELOT The King without his sword, the land without a king. GUENEVERE We are to blame. Lancelot stumbles into the forest, berserk with guilt. He rages against a small tree, crying out, and he rips its roots from the ground, the terrible tearing and renting the symbol of his own inner torment. Guenevere sinks to the ground next to Lancelot's empty armor and his abandoned sword.","INT. DUNGEONS OF CAMELOT Merlin and Morgana descend winding steps cut out of rock. The only light comes from the glow of Merlin's staff. MERLIN When Arthur built the castle, I carved out a place for myself, where I could laugh or sleep, and no one would bother me. MORGANA People make you laugh? He laughs. MERLIN They do. MORGANA Why? He leans close to her ear, whispering into it. MERLIN They do n't know how close they live to the edge of delight or disas. He is about to kiss her when he slips. He laughs. MERLIN Happiness or horror.","INT. CAVE BENEATH CAMELOT They pass through jaws of stalactites and stalagmites. Merlin cracks his staff whip - like and a ball of fire billows up from the tip and illuminates a cave wildly veined and filigreed with minerals and crusted with growths of crystals. The light goes out but the malachite and the gold, the quartz, diamond and beryllium burn dully. He turns to her, suddenly tall and unstooped, younger, sleek and evil. MERLIN In the folds of the earth where the forces that hold the world together are more alive, my power is strongest. Here I will possess you, as a man possesses a woman. And the god, the eunuch, the mule that I was, will be no more. He sweeps her up into his arms. MORGANA You are truly magnificent! MERLIN Flattery! Do you think I am ignorant of your stupid little games? Preying on you weakness of others. That's your power, a petty evil. Mine is great. Great plans. Impossible dreams. Laughable endings. He deposits her on bare rock. He kisses her. She pushes him away. MORGANA Merlin, the powers of Summoning, the true Name of the charms of Doing and Undoing. Show me! MERLIN I wo n't. You would misuse such power. I have paid enough for you, and I will have you. She leans forward and kisses his ear and whispers. MORGANA Make magic, my foolish wizard. For our love. Weave a marvelous room around us, a room worthy of our coupling. She draws closer, kissing him deeply. He breathes heavily. MERLIN What do you want? You must desire it for me to weave it. MORGANA Walls of shining crystals, burning with red fire, furnishings of metals and jewels never seen by man. Morgana falls silent as Merlin raises a hand, majestically intoning a harsh repetitive charm. The mineral veins of the cave begin to glow and fog seeps out from them enveloping the couple. MERLIN Desire it and it will be as you desire. Morgana burns with intensity. Merlin utters a formula and the fog coalesces around them into the shimmering presence of crystal walls, fountains raining jewels, flowers made of scented air, a bed of glass shot with light and covered with skins of animals dead before the time of man, goblets of ruby, tapestries woven of golden hair. She reaches out to touch the wall and her hand plunges through the unmaterialized illusion. MORGANA It's only a semblance. You disappoint me. She begins lacing up her loosened gown. MERLIN Do n't touch the walls. Come close to me. She does, a mad hope in her eyes. She kisses his chest. MORGANA Do it, Merlin, the deepest secret. Fix it with the charm of Making, for our endless pleasure. He utters the ancient charm, Morgana listening closely, memorizing it. The illusion is all of a sudden solid. MERLIN For you. She runs her hand across the hard crystal surface, her eyes gleaming. From outside the wondrous room they can be seen to embrace. He carries her to the magical bed where he makes love to her, as they disappear from view in its effulgent light. She comes out through the crystal door, burning with evil intent. She turns to watch him asleep in the bed. She utters the charm of Summoning learnt from Merlin, and the room melts into an eddying carmine fog. Within it, Merlin struggles to awaken from the torpor of love, alarmed. Outside, Morgana utters the charm of Making and the gaseous mass begins to crystallize. Inside, Merlin is rising to his feet, breathing the red fog, his movements slowing to a standstill, his mouth opening in a scream of horror. The cloud has metamorphosed into a magnificent cluster of red crystals. Morgana peers into its facets and there she sees, in fragments, Merlin's terror. an eye, the gaping mouth, a clawing hand - as he is entombed in the stone. She laughs in triumph.","EXT. FOREST - CAMELOT - DAY Surrounded by forest, the spires and battlements of Camelot rise under black storm clouds. Arthur and Kay ride back to the castle.","INT. HALL OF THE ROUND TABLE - DAY The great hall is in gloom. Few knights are in attendance at the table. Some sleep off last night's wine. Arthur approaches, haggard, searching. ARTHUR Has no one seen Merlin? Knights look up ; those who meet Arthur's reddened eyes shake their heads. Arthur leaves. A knight whispers to another. KNIGHT Did you see? The King was without Excalibur.","INT. PASSAGEWAYS, CAMELOT - DAY Echoing in the vaulted corridors outside the hall, the knight's whisper stabs Arthur. The words now seem borne on the whistling wind and follow the King wherever he goes in search of Merlin. He comes upon a knight seducing a lady in a dark corner by the chapel door, his hand under her gown. Arthur notes the sacrilege in silence, and continues on his way.","INT. BEDCHAMBER - DAY The wind keens. Thunder rolls overhead. Arthur enters his bedchamber. He sits by the empty fireplace, a broken man. Feminine hands light on his shoulders. He starts. He looks up. It is Morgana. He smiles and grasps her hand. MORGANA I'll weep for you, brother, for a King must not weep. She comes around and she kneels in front of him. Before he can talk she silences him with a tender caress. MORGANA Do you know what Guenevere's maids have whispered? He shakes his head. MORGANA That when the King returned from battle. She begins untying the laces of his metal thigh and shin guards. MORGANA Guenevere would unlace his armor and massage the burns where metal rubbed on flesh. She is stripping his legs naked, gently touching the flesh with her fingertips. He stares off, remembering. MORGANA She would prepare a bath for you, mixing special ointment in the water. Arthur's eyes brim with tears. Morgana weeps, embracing his knees. He rests his hand gently upon her head, choked with remembrance, soothing her. But as she weeps, she incants a charm. Arthur looks down upon her, and the woman who looks up at him is Guenevere, a Guenevere with cold ice eyes. He is made weak by desire and weakened further by magic. He holds her face adoringly. ARTHUR Guenevere! You are - \"GUENEVERE\" - Do n't speak. A thousand words, a hundred thousand words, would only be prologue to the truth that must be. That you, King, and I, your Queen, beget a son to bond our love and to strengthen our weak kingdom with a successor. Come, my lord. She draws him to the floor and upon her body, holding him tightly to himself. Arthur trembles with excitement, pathetic in his desperate passion. As he takes her, she shudders, losing control of the charm, and her features change till once again `` Guenevere'' is Morgana. She holds him in a tight embrace so that he may not see her. She whispers in his ear. MORGANA The moon flows in my blood to meet your seed. And already I bear him who will be King. Arthur wrenches himself away so he can see her, her arms still around his neck. He looks down upon her, aghast, incredulous. MORGANA I could easily kill you, brother. But I want you to live to see our son be King. In me, the blood of Cornwall will have its revenge ; in me, the blood of Uther will show its dark side. She presses her thumbs into his neck and he faints.","EXT. FOREST - CAMELOT - DAY Morgana, with a small party, rides away from the castle through the lashing storm, till they are taken from sight in the folds of the forest.","INT. CHAPEL, TINTAGEL CASTLE - NIGHT Lightening forks across the sky, illuminating the interior. The chapel has been transformed into a place of satanic worship. Held up and surrounded by hooded figures, Morgana lies on the altar, her pregnant belly huge ; and her features are fierce with passionate intensity. She writhes in the pangs of childbirth. MORGANA Stand back, all of you. Through my own body I have nurtured him with my potions. I made him. I alone can give him life.","INT. CHAPEL, CAMELOT - NIGHT Arthur enters, pale and haunted. Mass is being celebrated, and some knights are present. Those not asleep whisper to each other about the King. The sound of an approaching storm is heard. As the priest raises the chalice to consecrate the wine. Arthur comes down the aisle and steps onto the altar. He reaches out to grasp the chalice from the priest's hands.","INT. CHAPEL, TINTAGEL CASTLE - NIGHT Morgana holds aloft her beautiful newborn baby, his body glistening in a flash of lightening. She is triumphant.","INT. CHAPEL, CAMELOT - NIGHT. A bolt of lightening strikes the chalice, rocking the chapel, and Arthur is knocked back violently. Rain lashes in through the shattered window upon the terrified knights. They and the priest back away. Arthur is left alone. He rises and goes to the chalice, which is bent and cracked. He kneels before it. Steam hisses up as rain falls on it.","INT. HALL OF THE ROUND TABLE - DAY Sun streams in. Many of the knights are in attendance, in full armor. Ladies and pages watch from dark corners. Arthur addresses the fellowship. He holds the cracked chalice in his hands. He burns with a new - found fervor. ARTHUR Who will ride the labyrinths of the forest, to the very root of his soul, to the very ends of the earth, to find the secret that will redeem us from the evil that has fallen upon us, and make this chalice, and ourselves, whole again? Gawain rises and draws his sword in salute. SIR GAWAIN I will ride forth in the name of that quest, and commit my strength and my soul to it. Perceval, Kay and a few others draw their swords and touch their lips to the blades in oath. Sunbeams splash off their armor. PERCEVAL I will go. The rest of the fellowship draw their swords in imitation, but the resolution within them is not strong. Arthur comes forward to Gawain. ARTHUR Gawain, a dreadful fear is upon me, that we may never meet again, that the fellowship will be no more. He embraces Gawain, tears in his eyes. He turns to Perceval, and Perceval kneels. PERCEVAL We will find the secret or die. Arthur kisses the young knight's brow. Then he turns to Kay. ARTHUR Kay, I know your heart yearns to go, but I am prisoner to my duties, and you must be to yours, at my side. Arthur and Kay watch the knights file out till the hall is empty, the harsh song of their armor growing distant. `` For nine years they searched. Morgana's power grew in the land.''","EXT. SNOWSCAPE - DAY Under a leaden sky, Gawain drives his horse through swirling snow. He comes upon a mounted knight who is frozen in his tracks. He brushes the snow from the man's face. The frozen features belong to Caradoc. He slowly continues on his way.","EXT. DEAD FOREST - DAY Dangling from the branches of a dead tree are a dozen dead knights of the Round Table, crows pecking at the rotting flesh in the chinks of armor. Perceval rides up, cries out in horror, and spurs his horse away.","EXT. MOORS - DAY The rotting carcasses of sheep. The crops blackened and withered on the stalk. Hungry peasants head for a distant hill. EXT, HILLSIDE, MOORS - DAY A giant head has been carved out of an outcrop of rock, its stone mouth gaping toward the sky. People are congregated around the mouth. Peasants and farmers, they are wild with excitement, responding to drums throbbing and bagpipes wailing. They watch Morgana, who is surrounded by knights in dark armor. At her side is an angelic boy of eight, his eyes cold as his mother's. Morgana is more beautiful than ever, in flowing druidic robes, the gossamer silk clinging to her sweat - drenched body. She is standing by the deep hole which forms the giant's open mouth. It is covered by a tooth - like grating acting as a drain for the blood of human sacrifices made there. Before her is Gawain, chained and struggling against five strong men who hold him. Morgana lifts a dagger and plunges it into Gawain's chest. The fountain of blood that gushes from the great knight's body drives the crowd into a frenzy. MORGANA -LRB- intoning. -RRB- The blood of this knight will feed the god in the earth, he is weak with hunger, and he will be made strong by this blood. Then he will plant his seed, and the land will be fertile once again. Gawain, his blood flowing from him and into the giant's mouth, looks up in anguish. His bellowing voice is echoed and amplified by the hollow beneath the drain. GAWAIN Arthur, forgive me. I die without the secret. I have failed.","EXT. MOORS - DAY Gawain's death cry and the din of the ritual carries to Perceval's ears as he wanders through the wasteland. He draws down his visor and spurs his horse forward.","EXT. HILLSIDE, MOORS - DAY He gallops toward the giant's head. He checks his sword and lowers his lance. The knight charging forward on his war horse is an awesome sight, but the crowd around the giant's mouth is strangely unfrightened. Morgana is excited ; she turns to the boy. MORGANA Look, Mordred, a true prize for the giant. The lamb rides into our jaws. Perceval is galloping toward them when the ground gives way beneath the horse, and he and the animal plunge into a pit. The cheering crowd rushes to the edge of the trap. MORGANA -LRB- to Mordred. -RRB- You must kill him, for this knight is dear to your father. You must do it and learn to enjoy your father's pain. Her knights drag Perceval, unarmed, into Morgana's presence. MORGANA Have you found what you search for? Have you found what Arthur seeks? Perceval does n't answer, defiant and hiding his fear. MORGANA You have n't, or you would be smiling now in the face of death. Your quest is an impossible one. PERCEVAL That it might be impossible makes it all the more necessary. MORGANA Fool! -LRB- to the men holding Perceval. -RRB- Uncover him. I'll show you the mystery of life. It's death. -LRB- to Mordred. -RRB- Do it, Mordred! Holding Perceval by his limbs and hair, the men force him down on the bloody grating, drawing back his head, exposing his throat. Morgana kneels by his head, and draws the boy beside her. She holds the tip of the dagger to Perceval's neck and takes Mordred's hand and wraps it around the handle. Perceval is choked with fear, his heart pounding in his throat. MORGANA Feel the life through the dagger, child. It belongs to you. The boy looks up at his mother. The vein in Perceval's neck pushes against the dagger's point. MORDRED I feel it, Mother. I will give his blood to the giant. The boy raises the dagger, and hesitates just a bit. Perceval resigns himself bravely. He looks the child calmly in the eye. Mordred brings down the blade without strength, just piercing the skin with the tip. He lets go of the dagger, afraid now of his mistake. The dagger clatters to the grating and slips away down the drain, before Morgana can retrieve it. She rages against Mordred. In the confusion, Perceval tears loose, the men holding him slipping on the blood - wet stone. Perceval runs through the crowd. Immediately, lance lowered, a knight is upon him. Perceval leaps toward him, catching the lance in his hand, and pulling down the rider with it. He jumps the rider and draws the knight's sword. Whirling the lance and cutting the air with the sword, he keeps back the other knights for a moment, giving him time to see his chance. He leaps onto the riderless horse and charges off through the crowd. He reins in abruptly, the horse rearing. He is wary of the ground before him ; there could be a hidden pit. But there is no time to think. Knights and men on foot are rushing him. He spurs forward into a gallop, the horse striding mightily And its hind leg sinks into a pit, the animal losing its gait. But the momentum carries the horse forward, and it recovers from the stumble. Perceval gallops away. Morgana is enraged. She shakes Mordred by the hair. MORGANA You did n't kill him! You did n't kill him! But suddenly she begins kissing him tenderly. MORGANA My dear, sweet boy. He just stands there emotionless, the dead center of her turbulent passions.","EXT. DEAD FOREST - DAY Perceval gallops down a trail. The black - armored knights of Morgana chase him. Perceval reins into deep cover alongside the trail. The pursuers thunder past and the sound of hooves recedes. Perceval checks his newly found sword, slashes the air to feel the weapon's balance. He re - sheathes it. He pats the horse. PERCEVAL We'll become good friends. He starts off again, into the patchless forest of dead trees. He is suddenly set upon by a wildman who, swinging a small uprooted tree, knocks him off his horse. Perceval crashes to the ground and before he can use his sword the wildman has knocked it out of his hand. It is Lancelot, demented, who furiously rains battering blows on Perceval's armor, bellowing with rage. All that Perceval can do is attempt to avoid the blows. Lancelot addresses Perceval as if the young knight were Lancelot himself. LANCELOT Where are you going, Lancelot, in your iron tomb? Still trying to save the world? -LRB- He hammers blows into Perceval's armor. -RRB- The best. the bravest. the greatest. fool that ever lived. Now the world rots. Death is king of the earth. And it is you who make it so, Lancelot. Before Perceval can speak, Lancelot disappears again into the forest, his eyes blank, as though his encounter with the young knight had never happened. A knot of pain, Perceval pulls himself up. He tries to rise into the saddle. He is too hurt to do it. He starts off on foot, slowly, leading the horse.","EXT. DEAD FOREST AND STREAM - NIGHT It is very dark and Perceval has to feel his way. He comes to the edge of a stream. He kneels to drink, and the horse drinks beside him. Then he rests back on his heels, brooding, too tired to rise. He lowers his eyes, staring into the dark water, defeated, empty. Before him in the water a long thin bar of light appears. He looks at it amazed. Voices are heard singing very far away. He reaches out to touch the long strip of light but his hand just disturbs the water. It is a reflection. The strip grows wider and the ethereal music is closer. Perceval looks up. The strip of light is before him, suspended, thirty feet above. It continues to grow wider. A drawbridge is being slowly lowered, allowing a powerful light to escape from within. Perceval is terrified. In pain, he slowly rises into the saddle, ready to gallop off ; but fascinated, hypnotized by the sight, he can not, and he stays and watches. The dim outline of a castle becomes visible as the drawbridge is lowered across the water to the ground at his feet. At the center of the blast of light coming from the castle, Perceval can make out a burning chalice. The music swells to a terrifying pitch, searing the forest.","EXT. ENTRANCE TO CASTLE - NIGHT At the sight of the chalice, Perceval masters his fear. Bathed in light and music, he spurs the horse forward onto the drawbridge. Once he is on it, the bridge begins to rise. Unsure of its footing and blinded by the light, the horse becomes skittish, and Perceval has to struggle to control it. He dismounts to lead it, but the horse is terrified, rears up and jumps off the bridge, which continues to rise, drawn up by unseen hands. Perceval hesitates, then advances down the sloping drawbridge into the castle courtyard. All details are bleached out by the blinding light. The chalice appears suspended in space, and now the figure of a man can be glimpsed standing behind it. Enchanting music from unseen singers grows and weaves. Perceval looks back to see the drawbridge slowly closing, trapping him inside. He approaches the figure, his courage ebbing. Hands cupping the chalice, it speaks to him. FIGURE What is the secret of the chalice? Who does it serve? Perceval does n't understand. He glances back again. The drawbridge is nearly closed. Terror seizes him. Panicked, puzzled, baffled, he backs away. He scrambles up the drawbridge desperate to reach the top before it closes. He claws his way up till his hand grasps the top. He heaves himself through the narrow closing slit which is about to crush him. He screams, and with a final effort he wriggles free and topples over crashing into the water below.","EXT. DEAD FOREST AND STREAM - NIGHT He looks up. The drawbridge thunders shut, the last thin strip of light disappearing ; and now he is surrounded only by the silence of the forest. Where there was a castle, now there is darkness. Perceval wades through the water. He has crossed the stream and all he can see and feel are tree trunks. The castle has disappeared. He is utterly defeated. PERCEVAL The chalice. The secret was in my grasp. I let it slip, afraid for myself. A question was asked. I did n't understand. I did n't try. I failed. `` Nine years passed.''","INT. CAVE BENEATH CAMELOT. Dripping water is steadily encrusting the crystal with limestone.","INT. HALL OF THE ROUND TABLE, CAMELOT - DAY Dead knights lay on biers. The once glorious seat of power is falling into decay. Few are in attendance around the table. Agitated, Kay enters and goes to Arthur, who is worn and haggard, and aged. KAY Your son Mordred is at the gate. Arthur comes alive. ARTHUR At last. KAY Do n't recognize him. You were trapped by Morgana's sorcery. ARTHUR -LRB- staring off. -RRB-. Gawain and Perceval, Bors and Bohort, Caradoc and Ector, and all the others - lost to me. Only the echo of their voices remains in this empty hall. All I have left is the memory of their fellowship. Echoes and memories. I am a ghost of the King that once was. -LRB- he turns to Kay and with sudden harshness. -RRB-. Mordred is real, alive, my own flesh and blood. I will see him, I must.","EXT. GATE, INSIDE AND OUTSIDE CAMELOT - DAY The drawbridge lowers slowly, and Arthur moves away from Kay and the other knights, and advances across it. Rooks wheel over the dead trees of the forest that surrounds Camelot. A group of armed men waits at the edge of the forest. One steps forward, a huge knight in black armor, the metal defining and exaggerating the powerful musculature of his body. He is Mordred, a young man of eighteen, and of extraordinary beauty. A page follows ten steps behind him bearing an enormous spear, its points hooded. Arthur stops at the edge of the drawbridge, the huge knight a few steps from him. Kay, ready for anything, moves halfway across the drawbridge. Mordred kneels on one knee. MORDRED Father. ARTHUR Rise, Mordred. MORDRED I have come to claim what is mine, Father. ARTHUR I recognize you only as my son, no more. MORDRED -LRB- his tone is scathing. -RRB- And you are the great King? The lords have rebelled. Invaders attack the coasts. Crops do n't grow. There is nothing but plague and hunger in the land. Only I am feared. I will be king. You may have lost Excalibur, but I have found my own weapon of power. There. He points to the huge lance. The page pulls a string and the hood drops, revealing a diabolically sharp spear tip, its metal glinting menacingly. MORDRED The very spear that pierced the side of Christ as he died on the cross. ARTHUR Your mother told you that? Mordred is thrown off by the doubt Arthur has cast. Arthur looks upon his son, desperately trying to read him. ARTHUR I can not offer you the land, only my love. MORDRED And I offer only this, Father. To commit with passion and pleasure all the evils that you failed to commit, as man and king. Arthur goes forward to embrace his son, a desperate attempt. Mordred recoils. MORDRED We will embrace only in battle. Father, and I will touch you only with the blade of my spear. Arthur is on the verge of tears. MORDRED I will muster a great force of knights, and I will return to fight for what is mine. ARTHUR So be it. He turns and re - enters the castle, the drawbridge pulled up immediately behind him. He is hunched over, broken.","EXT. BARREN LAND - EVENING Asleep in the saddle, Perceval rides across burnt and smoldering fields. The horse walks aimlessly ; it is the same animal, mangy and old. A hoard of children in filthy rags closes in on him, begging, pulling at the horse's trappings. He bolts awake and reins away. His eyes are red and feverish. Wild hope grips him when he sees a glinting light by a farmhouse. He spurs the horse forward into a gallop.","EXT. FARM - EVENING He leaps from the saddle and a terrified woman backs away. Perceval plunges his hand into the source of light. It is nothing but the reflection of the dying sun in a bucketful of water. Perceval covers his face. PERCEVAL Illusions. I will never find it again. I am sorry, woman, that I frightened you. Peasants have emerged, surrounding him, and they hold axes and pitchforks. PERCEVAL Good woman, do you have any food? Some water? PEASANT The little we had, we gave to Mordred's knights. He has taken this land. Tell the King that now we must look to Mordred. SECOND PEASANT But we will give you some water. At least ten peasants encircle Perceval and he is too exhausted to put up a fight. They grab him and carry him away. Other peasants pull his horse to the ground, and one raises and ax to kill it.","EXT. STREAM, BARREN LAND - EVENING They throw Perceval down an escarpment and he rolls into the fast - moving water. He is swept downstream and thrown ferociously against the rocks in the stream bed, crying out in pain.","EXT. RIVER AND UNDERWATER - EVENING The water is deeper and Perceval is dragged under by the weight of his armor. He struggles desperately to shed it, half drowning. Exhausted, he pulls himself up onto the muddy shore beside a rotting sheep carcass, and around him, the daylight dies.","EXT. RIVER - NIGHT Ragged and bruised, lifeless, he stares into space. PERCEVAL I have lost my horse, my armor, my sword. I have lost my way. I have lost my strength. I have lost everything. I will not lose hope. A light bursting through the trees shines on the mud, wordless, harmonies sound somewhere in the forest. Perceval sets off toward the source. The burning light blasts into his face but he does n't flinch. The chorus builds in power. Before him, a drawbridge lowers.","EXT. CASTLE GATE - NIGHT He steps onto the bridge and walks in. He crosses the courtyard as the drawbridge closes behind him. All details of the castle are bleached out by the searing light.","EXT. CASTLE GATE - NIGHT He steps onto the bridge and walks in. He crosses the courtyard as the drawbridge closes behind him. All details of the castle are bleached out by the searing light.","INT. CASTLE, VARIOUS Heading for the source of the light he ascends what seem to be a staircase. He enters a hall where the chalice stands suspended, burning with light, and the mysterious music swirls and grows. Perceval approaches the diaphanous and featureless Figure who stands over the chalice. FIGURE Who does it serve? PERCEVAL You, my lord. FIGURE I have waited long for you. Once you almost saw, but fear blinded you. Why am I served from the chalice? PERCEVAL Because you and the land are one. FIGURE I am wasting away and I can not die. And I can not live. PERCEVAL You and the land are one. Drink from the chalice. You will be reborn and the land with you. Perceval cups his hands around the chalice to lift it. But they close on nothing, and he draws back. The Figure's hands, although insubstantial, grasp Perceval's and appear to hold his hands around the cup. FIGURE But who am I? Perceval begins to kneel. PERCEVAL You are my lord and King. You are Arthur. The blinding light vanishes, the music drifts away.","INT. HALL OF THE ROUND TABLE - NIGHT Perceval falls to his knees before Arthur and he holds the chalice, now whole again, up to the King. It fills with blood from within and Arthur takes it from Perceval. He drinks. And having done so, he seems to become younger and to grow in strength. ARTHUR I did n't know how empty was my soul until it was filled. Sir Kay stands by the vast fireplace where a small fire burns, and only now looks up and is aware of Perceval. KAY Perceval, you have returned! ARTHUR Ready my knights for battle ; they will ride with their King once more. I have lived through others far too long! Lancelot carried my honor and Guenevere my guilt. My knights have fought my causes. Mordred carries my sins. Now, at last, I will rule.","EXT. WOODS AND FIELDS - NIGHT Arthur at the head of a small force of knights, their armor shining beneath the moon, gallops through the land. Where hooves thunder, the ground becomes alive with sprouts and tendrils, and bare trees start to bud, and grasses to blossom, the power of Nature exploding into life.","INT. CONVENT - DAWN An old nun approaches the doors, upon which someone is pounding loudly. She opens the peephole. It is Arthur. NUN Go away. No man is allowed beyond these doors. ARTHUR I am Arthur. The old nun is amazed and starts pushing open the many bolts, mumbling and agitated.","INT. CONVENT COURTYARD - DAWN She leads the King, his footsteps ringing in the silent cloister, past the doors to the cells. His armor is wet with dew and it shines with a dull and deep luster. Nuns whisper at his transit. She opens the door to a cell and Arthur steps inside.","INT. CELL - DAWN Candles flicker on a small altar before which a nun is praying. She turns to see who has entered. It is Guenevere, older, thin with self - denial, all the more beautiful. She looks up at the majestic figure who stands before her. She nearly swoons. He helps her to her feet, and words rush from deep within him. ARTHUR Guenevere, accept my forgiveness, and put your heart to rest. We have suffered to long. I have always loved you, and I still love you. She weeps. GUENEVERE I loved you much, as King, and sometimes as husband, but one can not gaze too long at the sun in the sky. ARTHUR Forgive me, my wife, if you can. I was not born to live a man's life, but to be the stuff of future memory. The fellowship was a brief beginning, a fair time that can not be forgotten ; and because it will not be forgotten, that fair time may come again. Now once more I must ride with my knights to defend what was, and the dream of what could be. GUENEVERE I have kept it. She draws back the covers of her pallet, and there is Excalibur. Arthur is overwhelmed by emotion ; he can barely speak ARTHUR I never dared to hope all these years that it was in your keeping. He kneels before her and kisses her thigh. She gazes off, remembering the life of long ago. He rises and looks off into her eyes, unable to find the words ; he finally does. ARTHUR I have often thought that in the hereafter of our lives, when I owe no more to the future and can be just a man, that we may meet, and you will come to me and claim me as yours, and know that I am your husband. It is a dream I have. He takes Excalibur by the hilt and exits.","INT. CONVENT COURTYARD - DAWN The nuns scatter before him in awe and terror. He strides forward, Excalibur in hand. He stops and tests its balance, and he draws force from it. ARTHUR Guenevere.","EXT. WOODS - DAY Excalibur gleams in the sunlight. Arthur holds it high, at the head of a small force of knights under the banner of the Dragons. Kay and Perceval ride at his side. Plumed helmets, shields blazing with armorial colors, pennants flying in the clean wind from their lances ; it is a brave sight. The trees are in blossom and dandelion fluff billows up at their passage.","EXT. PIT, MOORS - DAY Arthur's group comes to a halt. Two knights and a few squires galloping from the opposite direction rein in before the King. The knights draw their swords in homage, and the older one addresses Arthur. KNIGHT It is only me and my son. All other knights of the dukedom have rallied to Mordred. Arthur smiles hiding the hurt. He points to an open pit, a huge devastation. ARTHUR What horror is that? KNIGHT Mordred, sir. He digs for precious metals, with which he buys the loyalty of men at arms, binding them to his side.","EXT. THE MOORS - ARTHUR'S WAR CAMP - LATE EVENING It is a clear night and the sky blazes with stars. A crescent moon casts its silvery light upon Arthur, who wanders from his camp alone.","EXT. STONEHENGE, THE MOORS - LATE EVENING He stops in the ancient circle of Druidic stones. ARTHUR I am outnumbered ten to one by Mordred's forces. Merlin, I need you at my side as you were once, my friend, to give me courage. There are no war tricks that will fool Mordred. He was weaned on blood. He falls on his knees in front of the stone, tired, between thinking and dreaming, and he bangs his mailed fist against it. ARTHUR More than I ever did, I need you now. Where are you, Merlin? Is it true that Morgana has trapped you?","INT. CAVE BELOW CAMELOT The veins of crystal glow darkly, and the hammering of Arthur's fist upon the stone is dimly echoed here. In the red crystal, fragments of Merlin can be glimpsed, trapped, frozen.","EXT. STONEHENGE - LATE EVENING Arthur slips off into sleep. The stones around him distort. He speaks softly, but then though the words continue, his lips are closed. ARTHUR If only you could be at my side, Merlin, to see me wield Excalibur once more.","INT. CAVE BELOW CAMELOT The crystal is cracking, shards falling to the cave floor.","EXT. STONEHENGE - NIGHT Arthur is still on his knees, and he sits back, looking up. But the atmosphere is different, within a dream, and the stones of the henge loom larger over him now. ARTHUR What is this place? It is rumored Merlin, that you drew your power from these circles. A hand ruffles the King's hair. He turns, and is face to face with Merlin, standing over him. Arthur looks at him without surprise, as though the intervening years never were. Merlin begins to laugh his hideous giggle. Arthur rises. ARTHUR Quiet. You'll wake the men, and they must fight tomorrow for their very lives. MERLIN I know. I have heard noises and echoes through the stones. ARTHUR What is this place, Merlin? MERLIN It is like a tree. The roots of the stones spread out across the land and they draw on the thoughts and actions of men. Like sap those human matters course through the stones feeding the stars that are the leaves of the tree. And the stars whisper back to men the future course of events. -LRB- becoming passionate. -RRB- But the earth is being torn apart, its metals stolen, and the balance is broken and the lines of power no longer converge. In fact, I nearly did n't make it in one piece. He limps affectedly and stretches with exaggerated pain. MERLIN But, I'm here. ARTHUR Where have you been these many years? Is it true that Morgana - MERLIN - Stories. You brought me back. Your love brought me back. Back to where you are now, in the land of dreams. ARTHUR Is this a dream? Tell me, Merlin! Merlin smiles, turns and leaves, heading for Arthur's camp, giggling. Arthur starts off after him and awakens from the dream when he walks into one of the stones. It takes him a moment to realize that Merlin has vanished. ARTHUR Merlin?! He hurries away toward the camp.","INT. KAY'S TENT, ARTHUR'S WAR CAMP - NIGHT Arthur shakes Kay awake, and as the faithful knight comes out of a deep sleep, he clutches Arthur's arm. KAY Merlin, will I live? -LRB- he shakes away the dream. -RRB-. I was dreaming. ARTHUR Of Merlin? KAY Yes. He spoke to me. He said I would fight bravely tomorrow. I have never dreamed of Merlin before. ARTHUR I dreamed of him too. Merlin lives! He lives in our dreams now, in that dark and shadowy place that is as strong and real as this more solid one. He speaks to us from there.","EXT. MORDRED'S WAR CAMP - NIGHT Cape flowing, Merlin sweeps between Mordred's war tents, and in the logic of dreams, unseen by the guards. He passes a tent where the huge shadow of Mordred is thrown on the canvas, as he sharpens the blade of a fearsome spear. He enters a tent.","INT. MORGANA'S TENT - NIGHT She is stunningly beautiful in her sleep. Merlin leans over her lovely body, kisses her softly on the lips, and waits for her to awaken. MERLIN I have returned, enchantress. You are beautiful, magnificent. Have you used up all the magic you stole from me to keep yourself young? Have you any magic left to do battle with Merlin?","INT. TENT - MORGANA'S DREAM She rises from her sleeping body. MORGANA You provoke me, Merlin. MERLIN What's behind that beauty? A wizened, cold - hearted snake. Merlin steps back, grandiose and melodramatic. MERLIN You are a snake about to strike! He raises his staff. MERLIN And I am the staff that drives the snake back. He lowers the staff with dreamlike slowness and she slinks right up to him. MORGANA Burning with the fire of desire, I am the flames that consume the staff to ashes. She winds her fluttering hands around the staff, and the shadows they cast upon the tent give the illusion of licking flames. MERLIN I am the cloudburst that quenches the flames. MORGANA I am the desert, where water disappears - MERLIN - I am the sea, which covers the desert forever under its weight. MORGANA - I am the fog and mists that rise up from the sea, escaping. She laughs at her cleverness. MERLIN Fog and mist! You could n't be that. You do n't have enough magic.","INT. MORGANA'S TENT - NIGHT Morgana tosses and mutters in her tormented dream. MORGANA I have the desire and I have the magic.","INT. TENT - MORGANA'S DREAM Merlin, huge, magnetic, enfolds Morgana in his cape. MERLIN You are mine at last. I am the sea and you will never escape me. Fog and Mist!? And he laughs at her, suffocating her. Morgana begins chanting the charm of Making, desperate -","INT. MORGANA'S TENT - NIGHT - and she finishes uttering it in her sleep. Her eyes spring open, and vapors issue from her gaping mouth. She screams and the fog gushes out filling the tent.","EXT. MORGANA'S TENT, MORDRED'S WAR CAMP - NIGHT Fog billows out of the tent, spreading through the camp.","INT. MORGANA'S TENT - NIGHT LIEUTENANT A fog is rising, sir. MORDRED That can not be. He rises and goes out with the lieutenant.","EXT. MORDRED'S WAR CAMP - NIGHT It is fogbound, the campfires yellow smudges within it. MORDRED -LRB- to the lieutenant. -RRB- My mother has a sense for such things. She said there would be no fog. Mordred enters his mother's tent.","INT. MORGANA'S TENT - NIGHT Mordred enters. MORDRED Mother? Morgana, withered, old, lies dead in the bed, wisps of smoke rising from within her ruptured body.","EXT. MOORS BY THE SEA - FOG - DAWN Arthur, with Kay and Perceval, canters through the white fog. They are flanked by a phalanx of knights in silver armor. ARTHUR Kay, you will lead the attack. Perceval, you will stay with me. Kay draws his sword in salute, elated. ARTHUR Be cautious, my brother. He spurs forward, while Arthur reins to a halt, watching him disappear. Perceval and a few knights stay behind and surround the King. ARTHUR In this battle there is one thing I must do, that no one else can. Find Mordred and kill him. Ahead, the horrible din of joined battle. In the swirling fog, clash of arms follows clash of arms. There is confusion, for each knight is unable to see if he is fighting friend or foe until they are upon each other. The battle becomes a series of vicious duels, a knight in silver armor against a knight in black - burnished armor, just glimpsed in the fog that is alive with the clang of sword on shield, the pounding of hooves, the cries of the dying. Squires drag away their wounded knights, their young faces pale at the sight of the carnage. Kay is unhorsed but picks himself up and mounts a riderless horse, rejoining the combat although he is bleeding.","EXT. MOORS BY THE SEA - FOG - DAY It is full day, and the fog blinds with its painful glare. Arthur with Perceval at his side rides through the fog, searching. Perceval takes up a challenge against the King. He unhorses this opponent, piercing him with his lance. He returns to the King's side. PERCEVAL There are too many on Mordred's side. We can not hold out much longer. Kay is glimpsed fighting on foot, hurt, barely holding his own, but then the sight is hidden in the fog. Kay overcomes his opponent and stops to catch his breath. He is amazed by what he sees. A knight, in old, battle - scarred armor whose pieces do n't match, cuts down the knights in black in foray after foray, wheeling and turning in a brilliant and ruthless spectacle of martial arts. He fights without a shield, a lance in his left hand and sword in his right. Kay moves away in search of Arthur. Arthur and Perceval watch the lone knight meting out death with such terrible beauty, weaving in and out of the fog. KAY He can be no other. ARTHUR Lancelot? It is Lancelot! He spurs his horse forward to join him, but Perceval is quick to stop him. PERCEVAL No, my lord. We seek Mordred. KAY I will join him. Kay rises onto a fresh horse and gallops away.","EXT. MOORS BY THE SEA - FOG - LATE DAY Arthur and Perceval ride alone, the accompanying knights gone, the dying and the dead and the crazed horses all around them. Squires are carrying Kay upon his shield. He is dead. Arthur leaps to the ground and reaches out to touch his face, and closes his eyes. He stifles his tears. ARTHUR Has anyone seen Lancelot? SQUIRE He lies over there, sir. Arthur rushes off, Perceval following on horseback. Lancelot is mortally wounded, blood flowing from his abdomen, his eyes open but his gaze dead. Arthur falls to his side. ARTHUR Squire! Here! But there is no one now except the dead and wounded, and Perceval, who dismounts to watch over the King, sword drawn. Desperate, Arthur stops the wound with his hand. Lancelot's eyes are sightless, but tears spill from them. LANCELOT Arthur. ARTHUR Lancelot, I will save you. Do n't die. He tears off a piece of his tunic and staunches the wound with it. LANCELOT My salvation is to die a Knight of the Round Table. ARTHUR You are that and much more. You are its greatest knight, you are what is best in men. Now we will be together - LANCELOT - It is the old wound, that has been opened. I have always known it would be the gateway to my death, for it has never healed. Let my heart do its job, my King, and pump me empty. Arthur takes Lancelot in his arms and rests his lips against the knight's brow. LANCELOT -LRB- a death whisper. -RRB- Guenevere, has she come to you, is she Queen again? He lies, closing his eyes, unable to look at Lancelot. ARTHUR She is, Lancelot. A boyish smile settles over the features of Lancelot's face, and he dies. Arthur holds him to his breast, his eyes shut tight. A strong wind rises. Perceval kneels beside Arthur. PERCEVAL The fog is lifting. Only we remain alive.","EXT. MOORS BY THE SEA - EVENING Arthur and Perceval rise, and as far as they can see across the green hills that roll down to the sea lies the aftermath of the massacre. Hacked bodies, abandoned armor, steaming horse carcasses, everything still. The murmur of the dying is carried on the wind to the soft roar of the sea. The squires have fled the scene of horror. ARTHUR But for Mordred. Where is Mordred? Elsewhere on the battlefield, Mordred searches the dead, accompanied only by his lieutenant, who turns over the bodies of Arthur's knights. MORDRED Where is Arthur? One of Arthur's knights reaches out blindly for help. Mordred crushes his skull underfoot. The shaft of his huge lance is caked with blood, as are his hands. Arthur and Perceval see Mordred and his lieutenant, and the King restrains Perceval from going forward. ARTHUR No, Perceval. Now it is time for me to raise my sword. -LRB- he bellows out. -RRB- Mordred, prepare to meet your death. Shield on his left arm, and Excalibur in his right, he starts toward Mordred. MORDRED I wait for you, Father. Mordred advances forward, the huge spear in both hands and parallel to the ground. Arthur goes straight for him, shield ready to receive the blow. Mordred keeps walking, his arms now tensed back and ready to strike. Once they are within weapon's reach of each other, Mordred dashes forward and thrusts the spear. It glances off Arthur's shield, slides under his hauberk and penetrates the King's body, and so powerful was the blow that the blade pierces him right through. Mortally wounded, Arthur's scream of pain becomes a horrible war cry, and he drives himself forward with all the strength he has along the spear shaft almost to Mordred's hands. Mordred is knocked back and to the ground and Arthur presses down on him, the butt of the spear pinning Mordred. Arthur lifts Excalibur. Mordred attempts to free himself, as the blade of Excalibur descends upon him and cuts through metal, flesh and bone. Mordred's head falls to the ground, rolling away. Mordred's lieutenant flees. Perceval races to Arthur's side, and supports the King who has fallen on his knees. Arthur speaks through the pain : ARTHUR Draw the spear from me. Do it. Perceval holds the King tight to himself with one arm, while with the other he draws the shaft through and out of Arthur's body. Arthur sags but does n't fall. Perceval begins to remove his armor to get at the gaping wounds. The King speaks slowly, softly, from outside his own pain - wracked body. ARTHUR There is one thing left to do. Excalibur. And you must do it, Perceval. Leave my wounds, I command you. PERCEVAL I can not - ARTHUR - Take Excalibur. Find a pool of calm water and throw the sword into it. Perceval, stunned by the command, does n't move. ARTHUR Obey me, Perceval. You must act for me. It is my last order as your King. Do it, and be back! Perceval picks up the sword, mounts his horse and rides inland. Arthur watches him go, struggling with the pain, still kneeling, and then his head falls to his chest.","EXT. POOL, MOORS - EVENING Perceval steps through tall reeds to the edge of a pool. He can not bring himself to throw Excalibur into the water. He examines the blade, and it is haloed with a faint iridescence. PERCEVAL It is too precious a thing. I ca n't. He backs away from the water and hides the sword in the reeds, and starts back.","EXT. MOORS BY THE SEA - EVENING Perceval dismounts, rushing to kneel at the King's side. Arthur looks up, calm and intense. ARTHUR When you threw it in, what did you see? PERCEVAL I saw nothing. The King looks at him with piercing power. Perceval blurts it out. PERCEVAL My King, I could n't do it. Excalibur can not be lost. Other men - ARTHUR - By itself it is only a piece of steel. Its power comes from he who wields it. For now there is no one. Do as I have ordered! Perceval leaves once more. The daylight is failing, the sun is near the horizon over the sea, bursting through clouds.","EXT. POOL - EVENING He picks up the sword and looks at it for a long time. Finally, with great misgiving, he hurls it into the middle of the pool. As Excalibur is about to touch the water a woman's hand reaches and grasps it by the hilt. It holds the sword aloft for a moment and then draws it under. Perceval backs away from the pool stunned by the marvel.","EXT. MOORS BY THE SEA - SUNSET Perceval returns to the King, terribly excited, shouting from his horse : PERCEVAL Arthur! But Arthur is n't there. Perceval looks around him, he does n't understand. He sees a trail of blood. He spurs his horse and follows the trail down to the sea.","EXT. BEACH - SUNSET THEN NIGHT There is a trail of blood and prints upon the sand left by a man crawling. Perceval follows them toward the sea. He looks around, searching, terribly distraught. Where the blood and prints cease, there are many footprints coming from and returning into the sea. Perceval looks out across the waves. He sees a sailing vessel rising on the swell. On its deck he can make out the distant figure of Arthur, lying surrounded by women, their gossamer robes rippling in the wind. The sun hovers on the horizon and the ship is heading for it. He gallops into the waves until his horse will go no further, calling out with all his strength, a futile attempt : PERCEVAL Arthur! Will you return? The sun slips below the horizon. Night is falling, and the wind whips the wavecrests. He turns from the sea and wades back. PERCEVAL All the knights of the Round Table are dead. Excalibur is returned. Arthur is gone. Maybe he lives, maybe he will return. He stops at the edge of the water. In the uncertain light sky and sea become one. He draws the chalice out of a pouch on his saddle, and he holds it up before him. PERCEVAL Only I remain, and this. The wind swirls and whistles mysteriously in the hollow of the cup. Music grand and melancholic grows from it. The chalice, etched in starlight, is the last thing that is taken from sight in the enfolding darkness. THE END"],"string":"[\n \"EXT. FOREST - NIGHT Darkness. The sound of battle cries and the clang of metal upon metal. The forest lights up with huge sparks flying from sword and ax as armored knights hack and swing at each other. Mounted knights collide head - on at full gallop, their armor made incandescent in the clash. Sparks eddy in their wakes and float to the ground. The forest catches fire. MAIN TITLES on the flames. Out of the sounds of ancient battle grows music, heroic and barbaric, shot through with melancholy. Two crazed eyes reflect the fire. The eyes belong to a man without age, at once ancient and boyish, female and male ; his eyes are pained from the burden of too much knowledge. So close is he to the flames that a lock of his wild hair sizzles alight. He slaps at the fire as if it were an annoying insect. He wears a cloak of black trimmed with silver. It is Merlin. The wizard weaves a path through the burning forest, dodging the combatants, searching. MERLIN Lord Uther! Lord Uther! The forest around him weeps softly with the sounds that follow slaughter. Patches of undergrowth are smoldering. Small flames lick bark and branches. Smoke floats through the trees and hovers over the bodies of the dying and the dead. A huge knight reins up beside Merlin on a lathered horse. His armor is blood spattered. He is weary from battle. He looks down at Merlin, his countenance fierce. The blade of his sword glows with an unnatural aura. MERLIN It's done. A truce. We meet at the river. UTHER -LRB- disgusted. -RRB- Talk. Lovers murmuring to each other.\",\n \"EXT. RIVER, FOREST - DAY Waiting on one bank of a small river that flows through the forest is a warlord, the Duke of Cornwall. He is flanked by his armored warriors. Lot of Lowthean prominent among them. They are battle - weary and bloodied, but they look ready to fight. Behind them is an army of lesser knights. To the opposite bank come Uther and Merlin, a much smaller force of knights, including Uryens, Lord of Gore, surrounding them. DUKE OF CORNWALL I spit on your truce, Uther. If you want peace, throw down your swords. Uther and the Duke of Cornwall glare at each other in silence across the river. Uther strains forward, burning with anger ; but Merlin restrains him. UTHER I should butcher all and every one of them. Merlin, what is this wagging of tongues? MERLIN Just show the sword. Uther unsheathes his mighty sword, and brandishes it in the air high over his head. The blade hums disquietingly and leaves a lingering electric hue upon the air. The marvel instills dread in all present. MERLIN -LRB- waxing eloquent. -RRB- Behold the sword of power, Excalibur. Before Uther, it belonged to Lud, before Lud, to Beowulf, before Beowulf to Baldur the Good, before Baldur to Thor himself and that was when the world was young and there were more than seven colors in the rainbow. -LRB- and in an aside to Uther. -RRB- Speak the words. UTHER -LRB- bellowing. -RRB- One land, one king! That is my peace! The Duke of Cornwall looks around nervously as some of his knights fall to their knees in awe. DUKE OF CORNWALL Lord Uther, if I yield to the sword of power, what will you yield? UTHER Me, yield!? Merlin urges Uther hard. MERLIN -LRB- a whisper. -RRB- He has given. Now you must. The two knights glare at each other, rage contending with anger. UTHER The land from here to the sea is yours if you will enforce the King's will. The enemies lock eyes and Merlin watches anxiously. DUKE OF CORNWALL Done! All men from both sides break out in wild cheers. DUKE OF CORNWALL My Lord King Uther, let us feast together. To my castle. Lord Merlin, you must join - But Merlin is nowhere in sight.\",\n \"INT. TINTAGEL CASTLE - HALL - NIGHT Drums and wailing flutes fill the banquet hall with a lusty rhythm. Armored warriors watch a lone woman dancing. She is very beautiful, both sensuous and innocent. Uther sits at the long table beside the Duke of Cornwall with the barons and dukes of the land, and the lesser knights. The table is stained with wine and littered with bones and half - eaten fruit. Uther's eyes burn with lust as he watches the dancer. DUKE OF CORNWALL I would wish you such a wife, Lord Uther, as my Igrayne. So innocent, but in bed, a furnace. The Duke rises and goes to his wife, be - striding the center of the hall and Igrayne weaves circles of dance around him. He gloats with pride. The words escape his lips : UTHER I must have her. Lot spins to face him. LOT What? You're mad! What about the alliance? UTHER -LRB- oblivious. -RRB- I must have her. LOT And risk all you've won? This castle commands the sea gate to the kingdom. Uther is not one for politics, and Lot's words sail past him. The King lusts for Igrayne. A bell is struck not far away. The music ceases and the hall falls silent. The great door creaks open, revealing the dawn light, and a monk steps into the hall and waits by it. Muffled by corridors of stone, a choir of monks can now be heard singing the high, ecstatic harmonies of the Te Deum. Those who have fallen asleep at the table are roused, those drunk, helped up.\",\n \"INT. PASSAGEWAY, TINTAGEL CASTLE - DAWN The monk leads the party down the hallway of the castle. Thin shafts of dawnlight filter through archers' slits in the thick walls onto stone floors. Otherwise, it is dark. Each person, lady and knight, proceeds alone, head bent, some crossing themselves. Uther is among them. He stops in a dark alcove, breathing heavily, waiting. As the lovely Igrayne drifts past him, he pulls her out of sight of the others. In a shaft of pale light Uther clasps Igrayne to his breastplate, his iron arm wrapped around her frail body. So violent is his embrace that she can not breathe, her mouth is wide with fear, and her feet do not touch the ground ; an impaled butterfly. UTHER You will be mine. Wife and queen, bed and crown. His face is close to hers, looking as though he would devour her tender whiteness with his kiss. She does n't answer ; she ca n't. Even Uther understands this and lets her go. IGRAYNE -LRB- a fierce whisper. -RRB- I want no other crown and no other bed than those I have. Her gown and her fragile skin torn on the spikes of his armor, Igrayne backs away and joins the procession. Uther trembles with unreleased passion.\",\n \"INT. PASSAGEWAY OUTSIDE CHAPEL, TINTAGEL CASTLE - DAWN Igrayne enters the candlelit chapel from which issues the chant, calling the castle to worship. She rushes to her husband's side, kneeling next to him and whispering. The Duke of Cornwall looks back at Uther, hatred in his eyes.\",\n \"EXT. WAR CAMP - BEFORE TINTAGEL CASTLE - DAY Uther is in a towering rage. Sword drawn, he stalks among the biers of fallen knights. Squires and clerics keep a healthy distance. The sky is lowering, pregnant with rolling thunder. Beyond his encampment, high on a cliff rising out of the sea stands the impregnable Tintagel Castle, seat of the Duke of Cornwall, now under siege. UTHER -LRB- bellowing in all directions. -RRB- Merlin! Where are you!? Just then a knight rides up and dismounts. It is Ulfius, a lieutenant. UTHER Have you found him? ULFIUS No - But he can not finish. He is taken aback by the sudden appearance of a hideous hag who approaches, rattling a beggar's pan. HAG What a hurry you were in this morning, good sir. You forgot to give this old woman a coin. ULFIUS I saw you half a day's gallop from here. I asked you if you had seen Merlin. I returned here straight away. How did - HAG - I heard. I have come. I am also Merlin. The figure straightens, the filthy rags become a flowing cape, and the hair is swept back by the wind, andóit is Merlin, laughing. MERLIN I have walked my way since the beginning of time. Sometimes I give, sometimes I take. It is mine to know which, and when. UTHER -LRB- exploding. -RRB- Dumb riddles, Merlin. I am your King. Ulfius edges away. MERLIN I know the storm inside you, and what it has wrought. The alliance I forged is wrecked. The Duke of Cornwall under siege. All this for lust. Selfish lust. Uther grabs Merlin. UTHER For Igrayne. One night with her. Do it. Use the magic. Merlin frowns pensively, his gaze searching strange distances and wandering ; then focusing, blazing straight at Uther. MERLIN You will swear by your true kingship to grant me what I wish. Then you shall have it. Uther kneels and draws his sword and holds it up by the blade, a cross. UTHER I swear it. By Excalibur and the holy - MERLIN - What issues from your lust will be mine. Swear it again. UTHER I swear it. Merlin looks down sorrowfully at the kneeling King.\",\n \"EXT. BATTLEMENTS, TINTAGEL CASTLE - EVENING The Duke of Cornwall watches a force of armored knights riding forth from Uther's war camp, with banners flying. It passes beneath the castle and on toward a distant cliff. DUKE OF CORNWALL -LRB- to a lieutenant. -RRB- It's Uther and all his best knights. He leaves behind little more than fledglings to guard his camp. His eyes are as cold and as pale as ice.\",\n \"EXT. CLIFF ABOVE THE SEA - TWILIGHT Uther and his knights, and Merlin on a mule, ride to the high promontory and dismount. Here, overlooking the sea, is a circle of ancient stones, carved with strange runes and hieroglyphics, and as the wind moves through them it moans and sighs. The knights watch as Merlin and Uther, leading his horse, walk toward the stones. Merlin strides into the circle, turning to look at Uther, who hesitates. MERLIN Come. Uther starts to make the sign of the cross, but Merlin halts him with a gesture. Uther's hand drops, and he enters the circle with his horse. Merlin and Uther look out across the sea, to Tintagel Castle high upon the cliff. Merlin solemnly raises his arms toward that distant castle, and chants in an ancient language, the sounds of which he marries to the roaring and whining of the wind. The wind becomes stronger, and Merlin's incantations become more intense, and the wind in turn becomes wilder still. Until Merlin is charged with a fierce, nonhuman power, as the wind buffets his slight frame. And then, for all to understand : MERLIN I hold the balance of all things in my summoning. Arise mists. Come fog.\",\n \"EXT. VISTA FROM THE CLIFF - TINTAGLE CASTLE - TWILIGHT From the horizon a front of fog advances toward the castle to envelop it, and continues across the gulf to the circle of stones.\",\n \"EXT. GATE, TINTAGLE CASTLE - TWILIGHT The portal opens and a small force of armored men, led by the Duke of Cornwall, exits. A fog is thickening all around them.\",\n \"EXT. CLIFF ABOVE THE SEA - TWILIGHT The advancing front envelops Merlin and Uther, eddying around the stones. All else is obliterated. MERLIN Mount your horse. The King does. MERLIN Ride straight to the castle, across the sea of fog. Uther spurs straight for the edge of the cliff, then reins in his horse abruptly. UTHER But the cliff, the sea. Merlin rages, crazed. MERLIN Ride across! Across the bridges of desire. Your lust will hold you up. For I have just woven it into the fabric of the world. This is magic - making solid what is in the mind, and unsolid, that which is already solid. He gives the horse a stinging blow with his staff. The horse and Uther charge forward into a gallop and stepping off where the hidden edge of the cliff would be, hoofbeats ceasing and the horse dropping for the blink of an eye, they gallop across the fog.\",\n \"EXT. MERLIN'S FOG Galloping on no visible terrain, Uther and his horse advance through the restless fog, and as they recede rider and animal become a wavering, changeable form within the cloud.\",\n \"EXT. GATE, TINTAGEL CASTLE - NIGHT Horse and rider pull up at the gate. RIDER -LRB- calling. -RRB- Wake up in there. It is I. If it was not for the electric blue hue burning in the eyes of the man entering the castle, the same magic hue that Excalibur left upon the air when wielded, the resemblance to the Duke if Cornwall would be perfect. After a moment the portal opens.\",\n \"INT. INNER GATE, INTAGEL CASTLE - NIGHT He passes into an inner court, the portal closing behind. Armed men emerge cautiously. Thinking that it is their Duke they help him dismount. 'DUKE' OF CORNWALL Have the horse ready. I ride out before sunrise. An inner gate opens and the ` Duke' goes through it.\",\n \"EXT. UTHER'S WAR CAMP - NIGHT The real Duke and his men ride through the fogbound camp, cutting the ropes of the tents, stabbing the men trapped beneath the canvas. When a frightened crow flies squawking into the face of the Duke's horse, which rears. He is unhorsed and falls, and impales himself on a tent stake. Dying, the true Lord of Tintagel Castle rises and staggers forward, blood pumping from him.\",\n \"